Go to Twin Peaks Table of Contents for a note on the analysis.

PART ELEVEN

LINKS TO SECTIONS OF THE ANALYSIS ON THIS PAGE:

MIRIAM CRAWLS OUT OF THE WOODS
BECKY TAKES SHELLY'S CAR AND SHOOTS UP GERSTEN'S DOOR - Shelly and The Wizard of Oz / Bobby and Shelly / Shaking up the Becky and Steven story with Becky going nuclear / The Wizard of Oz and Wild at Heart / Sailor / Laura as the good witch / Gersten Hayward and Glinda the good witch / Carl's magic van and the VW logo / Kokopelli and Carl
THE PORTAL IN THE SKY - From Shelly and Gersten and The Wizard of Oz to the vortex at Sycamore in Buckhorn / Diane's reverse view of the woodsman in comparison with other reversals / The creation of a myth for our times / The black dot within the vortex / The woodsmen on the stairs / Briggs and his knowledge of the future / Etant Donnes and the two holes in the Jupiter palace, and a possible inspiration for 4-3-0.
WE'RE LATE FOR DINNER! IT'S WAY PAST 6:30!!!! - Examining the boy with the gun and the sick girl as much like a dream restatement of Bobby's feelings concerning Becky's shooting up Gersten's door, and the dinner conversation with Becky and Shelly / The traffic jam and the piling up of scenes in a limited time frame.
THERE'S FIRE WHERE YOU ARE GOING - A living map / The traffic jam / Candie's speaking of being luck to have cooling with the coming heat and Margaret warning about fire.
CAT ON A HOT TIN ROOF - More heat with the hot tin roof / The shaking / Prevented from learning the place the coordinates represent by the arrival of coffee and doughnuts, but then are the coordinates in the photo the same as the coordinates in the field? Differences between the photo of Ruth's arm and how she was observed in the field.
NOBODY KEEPS BATTLING BUD ON THE ROPES FOR LONG - Battling Bud and Bushnell Keeler / The motif of the righteous fighter / Catastrophic and cat on a hot tin roof
2:23 - Purpose of the scene.
ENTERING THE DREAM, 5:30 - The Godfather and Santino's / Candie's cut and the problem of the accidental as versus cosmic design / The relationship of the cut on Rodney's cheek to the cut on Cooper's cheek received in the second season story of Cooper being taken hostage at Dead Dog Farm and Jean Renault dying there / The dream of the pie
HEARTBREAKING - Melancholia and the sense of the too-good-to-be-true dream / Friends and smoking / More traffic / Gersten and the piano player / Cooper-Dougie has become special to us all
STAB AT A TIMELINE

MIRIAM CRAWLS OUT OF THE WOODS

(1) The rocky peaks of Twin Peaks, a similar shot to what opened part ten, but different, and with clouds rather than a clear day. (2) We see three boys playing catch beside a trailer. The ball is overthrown, out into the street, (3-4) and the older boy of the three runs to get it, the others following. (5-8) He notices someone in the brush to the side of the road. (9) We see that it's Miriam. (10) He instructs the boys to go tell mom. (11-13) A closer shot of Miriam. The boy watching her. Then back to Miriam.

Miriam
Miriam

Yea! Miriam's alive. Pushing the story forward in the direction that Richard will now certainly be identified as having killed the boy. And now he has the assault on Miriam against him as well.

Richard had attacked Miriam on what seemed, for all we knew, to be a Thursday, the day after he struck the boy in the truck. I'm voting that we stick with this being Thursday.

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BECKY TAKES SHELLY'S CAR AND SHOOTS UP GERSTEN'S DOOR

SHELLY AND THE WIZARD OF OZ / BOBBY AND SHELLY / SHAKING UP THE BECKY AND STEVEN NARRATIVE WITH BECKY GOING NUCLEAR / THE WIZARD OF OZ AND WILD AT HEART / SAILOR / LAURA AS THE GOOD WITCH / GERSTEN HAYWARD AND GLINDA THE GOOD WITCH / CARL'S MAGIC VAN AND THE VW LOGO / KOKOPELLI AND CARL

(1) The New Fat Trout Trailer Park. (2) We see Becky in her trailer wearing clothing that she was wearing in part ten during her fight with Steven. Right now I'm going to suppose we are still going with a Thursday story line. She's on the phone. "Where? What? Damn it! I don't have a fucking car!" Getting off the phone, she screams in frustration, then calls a number.

(3) At the diner, Shelly answers her phone.

SHELLY: Hey, Becky.
BECKY: Hey, mom. I need your car! It's Steven!
SHELLY: Honey, shat's wrong?
(4) BECKY: It's Steven! Please, I need your car! Please hurry! Please hurry!
(5-8) SHELLY: I'm coming right over! I'm sorry, Norma! I have to go!

Norma's booth in part five and part seven showed the same arrangement of articles. Now it is different.

Shelly
Shelly

(9) Becky crawls under the sofa and pulls out a gun. (10-12) Cut to Shelly arriving at Becky's. She gets out of the car calling, "Becky! Becky, what's going on!" (13-15) Becky runs out, gun in full sight, exclaiming, "I hate him! I hate him!" (16-34) She grabs the keys from Shelly, gets in the car, locks it and starts it. Shelly begs her, "Don't! Don't!" She leaps on the car hood to try to keep Becky from driving off.

Becky takes Shelly's car

Becky shakes her mother off the car, Shelly tumbling hard, her bright red shoes flying off. Becky drives off.

(35-36) A train horn blows. Carl, hearing trouble, comes over to help Shelly. She scrambles up off the grass, a knee bloodied.

CARL: What the hell?
SHELLY: Can you give me a ride to the Double R, Carl? (Carl blows a penny whistle.) What the hell happened?
SHELLY: Becky and Steven are fighting again.
CARL: Oh, god.

(37-38) Like magic, a VW van rolls up. (39-41) Cut then to Carl and Shelly riding in the van.

Shelly and Carl

SHELLY: Can't we go any faster, Carl?
CARL: I want to get us there in one piece, Shelly.
SHELLY: Oh, Carl.
CARL: I know there's been trouble in that trailer. We've all heard it. And I feel for you and your girl. Okay, Shelly?
SHELLY: Okay. (She takes out her phone and calls Norma.)

(42-44) NORMA: Shelly.
SHELLY: Norma, Becky took off. I don't know where she went. What should I do?
NORMA: Why don't you just call Bobby? Shell? Shelly?
CARL (having opened a wood compartment next to some Redbird matches, pulling out a radio): Maggie? Maggie! This is Carl.
(45-50) MAGGIE (at the police department): 10-17, copy that. Hello, Carl.
CARL: Maggie, I got Shelly Briggs here in the truck with me. Could you patch us through to Deputy Briggs?
MAGGIE: Hold on, please, I'll put you through.
NORMA: Shelly!
SHELLY: Thanks, Norma. I'll call you back.
BOBBY: This is Briggs.
CARL (handing the radio to Shelly): Deputy Briggs.
SHELLY: Bobby, it's Shelly. Becky took off with the car.
BOBBY: Whose car?
SHELLY: My car. I don't know where she went. Bobby, she's got a gun.
CARL: Oh, god.

(51) Cut to a stairwell in an apartment building. A table with decorative flowers. We hear Becky come screeching up outside. She runs in and up the stairs to 208. (52) "Steven, I know you're in there! Fucking coward! Damn you, Steven!" she yells, banging on the door. (53) A woman in a neighboring apartment opens her door to tell Becky, "They've left. They just left. There's nobody in there." She sees the gun and quickly shuts the door. (54-58) "Fuck you, Steven," Becky says and shoots the door 6 times.

Becky with gun

(59-63) The camera whips around and travels down the hall, down another set of stairs, (64) to show Steven hiding in a stairwell with Gersten Hayward, little sister of Donna. She wears a jacket similar, but not identical, to what Darya had been wearing when picked up by Mr. C at Buella's. Steven is dressed, as with Becky, in the same clothing as in Part Ten.

Steven hiding

(65-69) Cut back to Maggie taking a number of calls that have to do with the gunfire at 1601 Timberlake Drive. She tells them repeatedly that someone is on the way.

As with many of the side stories in the series, the ease of being able to comfortably and reassuringly pinpoint "good" and "bad" guy is upended. We have a same ambiguity with Becky and Steven. We had earlier been shown Steven going nuclear on Becky. Now Becky pulls a gun and goes after Steven for infidelity.

So much infidelity.

Who informed on Steven to Becky? That's something to wonder about. Who was out to make trouble?

At first, we are like Shelly, unclear as to what is happening. Like Shelly, we would run over there in our cars, afraid that someone was in dire trouble. Did they fall down a hole? Were they clobbered by a falling piano? But then Shelly hangs up the phone and we see Becky pull out the gun. Shelly shows up with the car, sees the gun, and tries to stop Becky running off with the car. Shelly pitches herself between her daughter and a potentially dire situation, foreseeing the possibility of Becky impulsively shooting someone. Becky assaults her mother, going wild on her with the car and tossing her off of it. Fortunately, Shelly isn't badly hurt, but she's the one in the story who ends up with the bloody knee and is lucky she didn't break some bones.

Lynch's portrayal of Shelly seems to bring in a blending of the Dorothy and the wicked witch in The Wizard of Oz. As she clings to the windshield, we might see Dorothy in Shelly's red shoes, but there's also the wicked witch who has imprisoned Dorothy, and when Dorothy looks in the witch's big crystal ball and sees the reassuring face of her Aunt Em, in the next moment it transforms into the cackling witch and terrifies her. With the noteworthy exception of the wizard, The Wizard of Oz seems pretty straightforward with its bad guys and good guys and how they relate to Kansas. However, when we see the tearful Aunt Em in the glass ball, calling for her Dorothy to return home, seeking her, we don't think about why it is Aunt Em's face that the wicked witch obscures, terrifying poor Dorothy. We know that Miss Gulch turned out to be the evil Witch of the East. But who is the Wicked Witch of the West's counterpart in real life Kansas? That, we never know.

We often forget the red slippers Dorothy accepts from Glinda, the Good Witch, initially belonged to the Witch of the East.

In Lynch's Wild at Heart, the mother is much the same evil force as the mother-in-law in Eraserhead who had tried to seduce Henry. She is undoubtedly the evil witch of The Wizard of Oz, coming onto Lula's (Dern's) boyfriend and then bitterly going after him when he turns her down. Sailor's a true dimwit and makes some horrible decisions. He ends up in jail (a couple of times). When Sailor gets out of prison, Lula and a son he's never seen are waiting for him. Lula's mother tries to stop Lula from reuniting with him, and essentially melts like the evil witch when Lula refuses to let her mother keep her from her true love. Sailor now believes he's just a fuck-up and no good for Lula and his son, so tells them goodbye. Fate presents him with a moment to pause, and in that moment of pause, Sheryl Lee, as the Good Witch (also, I think, representing Laura Palmer) turns up at the end and tells Sailor, Lula's boyfriend, not to turn away from love. He races back to Lula and his son.

As Shelly clings to the windshield of the car, we see Dorothy in her red shoes, we may see Dorothy in the turquoise-blue dress (though Dorothy's was a blue check), but Shelly is also the Wicked Witch of the West appearing in the glass ball and then entirely overtaking the movie screen. To cement the association, we see in Shelly also the Wicked Witch of the East when she is thrown off the car and her red shoes go flying. As I pointed out in part five, when Norma and Shelly stand staring out at Becky and Steven from the RR, and Steven drives out of their view, spooked by them, as a young twenty-something year old, I wouldn't want their critical judgment staring me down either, no matter their good intentions and their elder perspective.

Due this drama, we finally discover who Becky's father is. Bobby! Of course! It for some reason had never occurred to me that Shelly would have married her teen sweetheart, the guy with whom she was having an affair while married to the abusive Leo.

More infidelity. We learn that Becky's raging mad because Steven is having an affair with Gersten Hayward (Alicia Witt), who brings in Glinda the Good through her appearance in "May the Giant be with You" in the original Twin Peaks.

Gersten

The jacket she wears is much like the one we had seen on Darya. She is thus a little like the Twin Peaks counterpart of Buckhorn's Darya.

Ray and Darya

But is she negative? We may not be convinced she is the negative "other woman", not when Becky comes after them with a gun. For all we know, she may be better for Steven.

Shelly may not have had anything to do with Laura in the original series, but Bobby was her boyfriend, the one Laura didn't really love, who she used for drugs and two-timed on with a number of other people including James. Gersten's sister, Donna, was the good girl best friend of Donna, who struggled with falling in love with James and played with assuming some of Laura's bad girl characteristics. As it also turned out, she was only a half-sister of Gersten, her father being Ben Horne. So Bobby's daughter's husband is involved with Laura's best friend's little half-sister. Becky coming after Steven with a gun is pretty alarming.

Unanswered questions that may not nag too much? As stated earlier, who called Becky?

The VW van

And what of Carl the piper and his magical driver who appears in two seconds with the van (1965 VW, split windshield from the outside view, but a single windshield when there is an interior view) and whose face is never shown. Pretty magical stuff there. We may understand Carl's magic van a little better if we look at the VW logo inverted and remember that he, like Margaret, was "abducted" (went missing) as a child, and returned with a mark of 3 triangles, just as Briggs went missing and returned with the same mark. Within the logo of the VW we have a rearrangement of the 3 triangles.

The piper, Kokopelli, had been present when Richard hit the boy with the truck at the intersection, and Carl had come forward to sit with the grieving mother. I had noted that Kokopelli's source origins are obscure and that the figure can represent a number of things, such as the robber fly, which I have linked to the Jumping Man. But in Twin Peaks the good has its bad side, and sometimes these two sides are integrated. Carl seems, with his pipe, to have a relationship, too, to Kokopelli. Carl's magic van, the driver of which we never see, seems to represent, with Carl, a kind of taming of the forces he encountered, and which are everpresent for him in perhaps a shamanistic sense.

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THE PORTAL IN THE SKY

FROM SHELLY AND GERSTEN AND THE WIZARD OF OZ TO THE VORTEX AT SYCAMORE IN BUCKHORN / DIANE'S REVERSE VIEW OF THE WOODSMAN IN COMPARISON WITH OTHER REVERSALS / THE CREATION OF A MYTH FOR OUR TIMES / THE BLACK DOT WITHIN THE VORTEX / THE WOODSMEN ON THE STAIRS / BRIGGS AND HIS KNOWLEDGE OF THE FUTURE / ETANT DONNES AND THE TWO HOLES IN THE JUPITER PALACE, AND A POSSIBLE INSPIRATION FOR 4-3-0

(1) An establishing shot of Buckhorn, South Dakota. (2) Then two cars pulling into an area behind a dilapidated white house, and stopping beside a fence, beyond which are other abandoned houses and some metal shipping containers, one rust-colored and one light blue.

Based on the deaths of Ruth and Briggs, this should be Friday.

Hastings takes to the place

Albert, Gordon, Tammy and Diane get out of the first, black car. (3) Dave and Bill are in the second car. Dave asks Bill, "This is the place?" Bill nods his head that it is.

(4-11) GORDON: Tammy? You go work with Hastings. Find out exactly where he went.
DIANE (leaning against the black car): This is as far as I go.
TAMMY: William? William? Is this where you saw Major Briggs?
BILL: It is.
TAMMY: How did you get inside?
BILL: The hole in the fence over there.
TAMMY: How far in there did you go?
BILL: About 15 or 20 feet.
TAMMY: What happened after that?
BILL: I don't remember what happened.

(12-13) Bill sees a dark figure appear beyond the fence, next to the pale blue container. He says nothing about it and looks away, (14) but Albert sees it and points it out to Gordon, the figure disappearing as it moves behind the blue container.

The woodsman as viewed by Hastings, Albert and Gordon

Albert and Gordon already standing by the fence, Tammy approaches them.

(15-20) TAMMY: This is the place. He went in through the fence there, about 15 or 20 feet. He can't remember what happened after that.
GORDON: Think there's one in there, Albert?
ALBERT: We'll soon find out.
GORDON: You cover us, Tammy.
TAMMY: Got it.

Gordon and Albert enter through the hole in the fence and advance a few feet . There is the sound of an electrical disturbance. (21-26) Albert watches as Gordon stops, gazing up, his figure going in and out of focus. There's a flash of light.

Portal

(4-33) Above, Gordon watches as a whorl in the sky forms, drawing in leaves off the trees. The whorl-portal grows, electric flashes within, the center at first white, then it becomes black. Cut back occasionally to an unfocused shot of Gordon looking up into it. Then cut to a wonderful shot from Albert's point-of-view of him watching Gordon, Gordon's hands up, he starting to glitch out. He may remind of Phillip Gerard seeking Cooper.

Gordon
Gordon

These shots, of anything I have viewed in a television format, were pure magic. Because, perhaps, of the semblance to low-quality film footage, an eerie sense of deja-vu is had, connecting with all the sketchy, 8 mm captures of criptids and UFOs from the 50s through the 70s that have made it onto Youtube. Only this felt real. Because we know Gordon Cole. Gordon Cole made the weird and impossible seem authentic.

We've been experiencing, in The Return, the creation of a myth for our times.

(34) Gordon from a POV within the whorl.

(35-37) Some shots then from the point-of-view around the cars, nothing unusual observed by the others, Gordon simply seen standing with his arms up. We see then (38-40 approx) Gordon viewed from within the whorl and then Gordon's point-of-view the interior of the whorl which has fully replaced the sky. It has a black center.

The whorl

This grows and (41) he briefly sees a stairway with several dark men on it, light flashing.

Woodsmen on stairs

(42-46) Albert observes Gordon begin to disappear within a crackling, vague field of light, and reaches out and pulls him back, a sound of thunder accompanying. (47-51) The sky returns to normal for Gordon.

ALBERT: Well, I guess we found out.
GORDON: We sure did, Albert.
ALBERT (turning and seeing a woman's body in the brush): Gordon!

Was the body there beforehand? Had it always been there? Or did it appear with the thunderclap?

(52) As Albert and Gordon walk over to investigate, (53) Diane sees the dark figure, but the shot is a horizontal flipped reversal from the earlier sighting of him.

Diane sees woodsman

(54-59) Albert says, "Ruth Davenport, I presume", and approaches the nude body. He takes several photos.

(60) We return to Diane. She sees a figure (61-64) come out from behind the white house they had earlier passed. The dark figure disappears then reappears as it approaches the car holding Dave and Bill Hastings.

Woodsman

The dark figure disappears into the car. Though Diane has seen this, she appears to ignore it purposefully, saying nothing about it.

(65) Cut back to Albert and Gordon with Ruth's body. Albert says, "Looks like co-ordinates are written on her arm." He got a picture of it.

(66) Return to Bill Hastings. We hear a slight crackling sound. He suddenly looks alarmed. (67-75) We hear a loud crunch as cut to Dave and blood spewing over him. He yells "Oh, my god!" and leaps from the car. Again, he yells, then calls for all available back-up at 2240 Sycamore. (76) Approaching the car, looking in, Diane says, "There's no back-up for this." (77-79) Gordon, Albert and Tammy approach. Gordon asks, "What the hell happened?" (80) We get a good look at Bill Hastings, the top of his head gone from the eyes up, the interior looking like an open pomegranate. (81) "He's dead," Gordon says. Tammy rolls her eyes.

Having been primed for Oz by Shelly, Lynch/Frost take us to where Bill Hastings and Ruth Davenport had their meeting with Briggs. How Ruth ever learned about this place, we're never told, only that she was good at "uncovering hidden records". Briggs had been hidden here, hibernating, and it was only on their second visit that Bill and Ruth were assailed by numerous presences, so if we see now the woodsmen, I'm not assuming they were at this place until recently, but the vortex likely was. The vortex, like a tornado, is only experienced by Gordon when he stands at a specific location.

His hands raised, Gordon might remind of Candie greeting Sinclair in the casino, her hands raised as she is presented as describing to him "the version" or inversion, the casino protected from its heat by air-conditioning. This had been accompanied by an inversion of 2:53 so we observed a recycling of 2:35 on the surveillance camera of a roulette board. We have had other such inversions in The Return. There was one with the cameras of the glass box before the security guard's disappearance and Sam and Tracey had their heads ripped wide open. Another inversion was had with the FBI jet, it being viewed in a normal orientation on its flight to the prison, but inverted during its return flight to Philly when it was rerouted to Buckhorn. Another inversion was had with the print of Cooper's left ring ringer, and with the doppel greeting Gordon with it being "yrev" good to see him again, "old friend". The 116 on the police car outside of Davenport's apartment building is an example of an inversion, just as is the 119 mother in Las Vegas. We've had inversions of ordering of shots from scene to scene, such as when Beverly and Ben are looking for the source of the ringing tone. We've had inversions of time sequence, such as at the RR diner when Bing approaches it looking for the missing Billy. I have written extensively, in my Kubrick analyses of his employment of such reversals in his films, and we encounter some of the same with Lynch. These are typically in the background, but now with the appearance of the vortex we have a reversal showcased in connection with Diane, as if to say something about her state-of-being. Gordon, Albert and Bill see one of the woodsman on the right before Gordon's encounter with the spiral, then afterward Diane has the same view of the woodsman but the orientation is reversed and on the left.

With Kubrick, the reversals, his horizontal flips, set off a center, such as his monolith. Often enough the sensibility is one of the game board. In the case of HAL, his word choices during his famous chess game reveal that he is seeing from two perspectives--his own and his competitor's, the opposition (and I suspect two other possible viewpoints as well). Often enough, with Kubrick, there are at least three perspectives intermingled. Such as in the horrifying room 237 scene. We are never sure whose viewpoint we are observing--whether it is Jack's, Danny's, or Hallorann's.

In this scene, the viewer's orientation is somewhat skewed by two white buildings. There is the white building that was passed by as the cars entered this area behind the fence. After the initial and very brief glimpse of that right white building, it isn't observed in the landscape shots. We see instead a white building on the left. Thus, when the woodsman approaches the car in which Hastings is seated, the viewer may mistakenly orient their own view so that it is flipped, they instead reading the woodsman as coming from behind the left white building. This is largely unconscious. Unwittingly, the viewer is experiencing something like Diane's reversal.

This was had before with two white buildings when Andy, in part seven, was trying to speak with the man to whom the truck belonged that hit the boy. The way the scene was shot the viewer ends up with a sense of there being perhaps one white building instead of Andy and the farmer standing between two closely positioned white houses. We have the feeling of the farmer turning and entering the white building initially viewed behind Andy, when instead he is entering one opposite it. We are never shown both white houses at once and so don't have a proper orientation.

The center, the portal, in Buckhorn, opens through a black dot in the whorl to a staircase similar to which we'd seen Phillip Jeffries on in Fire Walk With Me. He appeared on it after showing up in the FBI office after having been missing for two years. The staircase was at a hotel in Argentina from which he had disappeared and reappeared in a matter of seconds, scorch marks left on the wall behind him, and onlookers horrified and confused. Sensing danger, Albert grabs Gordon before he is swept through the vortex into this other realm.

We don't know why Hastings is killed at this point--why he was permitted to return, to wake up in his bed after Ruth's death, and why he wasn't killed in his prison cell when we observed a woodsman near him. I suspect, as I've earlier noted, that in his case, as with his lawyer's, their survival replays the vengeance that was carried out on Cooper for his affair with Caroline. She died and he then had to live with that death. Hastings and George experienced the same. For some reason, But, for some reason, Hastings' brain now becomes lunch.

It's only at the end of this scene that we learn where Bill and Ruth met Briggs was at Sycamore, paralleling Twin Peaks' Glastonbury Grove with its sycamores, and the Sycamore street in the Las Vegas Rancho Rosa suburb where Dougie was replaced by Cooper-Dougie, and the 119 woman resided.

The plot is pushed forward with the FBI now having the co-ordinates. We suspect that they will likely lead to the area of Twin Peaks. It just kind of makes sense. We suspect that they probably lead to Jack Rabbit's Palace. But Briggs knew all about Jack Rabbit's Palace, so why would he need the coordinates for it brought to him by Bill and Ruth? Is Briggs instead laying out bread crumbs for others to follow? Was he only in hibernation, waiting for the moment at which he knew Hastings and Davenport would appear and he could ask them to bring him the bread crumbs coordinates? After all, he knew that Truman, Hawk and Bobby would one day ask his wife for information. He knew the future. Possibly he knew this future as well and was waiting for it.

Briggs hadn't been in deep freeze from the moment of his disappearance up to the time of his death, because there had been 16 hits for his prints in 25 years. Briggs was occasionally around and about in ways that his prints were left in conjunction with activities that would demand a database search for matching prints. He was doing not-very-innocuous things. We simply are not given the information on what he was doing.

Duchamp's Etant donnes, unsourced image from the web

Lynch takes inspiration from various artists, but most striking to me is the resemblance between poor Ruth's body and Marcel Duchamp's Etant donnes: 1) La chute d'eau, 2) Le gaz d'eclairage'. which is at the Philadelphia Museum of Art. Translated, it means "Given: 1) The Waterfall, 20 The Illuminating Gas. The description of it is that it has a barn door with two peepholes through which one views this diorama of a woman lying spread-eagle in the brush in a pastoral setting, her left hand holding a gas lamp. The effect is not so erotic as it is alarming, the impression had of a posed murder voyeuristically observed. Duchamp worked on it in secret for 20 years, from 1946 to 1966, and it was placed in the museum in 1969. A 2009 exhibition on the work revealed that the woman was inspired by three women Duchamp loved during those years, including Maria Martins, Mary Reynolds and Alexina Matisse, who became his wife in 1951. The figure was cast from Martins, the arm based on Alexina. I read that an "etant donne" is the given knowledge with which you begin to play a game or the initial situation a detective finds himself in, and that Gorik Lindemans believes the waterfall represents urine while the gas represents gas from the woman and that Duchamp sexually was turned on by these things, but he has analyzed Duchamp's work so that it is all hidden penises and labias. Instead, Serkan Ozakaya believes the work acts as a camera obscura and that through the peepholes one sees a concealed image of Duchamp's face on the opposite wall. And there are other theories. I have no opinion, and haven't seen the exhibit in person, but Duchamp was a chess player, and it seems to me that a good bit is being overlooked if the floor isn't taken into account, for it is a base for the exhibit, and is the alternately checked black-and-white floor of a chess board, which makes me curious about the different components in relationship to chess, though it would seem the floor isn't even viewed through the peepholes, and yet it has a very precise layout.

One of the studios in which Duchamp worked was at 80 East 11th Street in New York. Its number was #403. This is the St. Denis hotel, which has a great history, and has been doomed by gentrification.

Duchamp's Etant donnes, as conceived of in 1948-49

Ruth

The two peepholes in the transitional Naido/American Girl scenes, perhaps were given inspiration by this work. Cooper had attempted to move toward the area, when the pounding began, but was held away from it, so he never looked through the two holes, nor did the camera provide a view. One was given the impression the pounding was connected with the wrath of the Experiment in Manhattan, murders that were being committed at approximately the same time Briggs and Ruth were killed. But a stark bright light was emitted through the holes and we don't know what was beyond the door.

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WE'RE LATE FOR DINNER! IT'S WAY PAST 6:30!!!!

EXAMINING THE BOY WITH THE GUN AND THE SICK GIRL AS MUCH LIKE A DREAM RESTATEMENT OF BOBBY'S FEELINGS CONCERNING BECKY'S SHOOTING UP GERSTEN'S DOOR, AND THE DINNER CONVERSATION WITH BECKY AND SHELLY / THE TRAFFIC JAM AND THE PILING UP OF SCENES IN A LIMITED TIME FRAME

(1) Night. The exterior of the Double R Cafe. Inside we see Shelly seated with Becky at a booth, Bobby opposite them. Norma watches from the counter. For right now, let's go with this being Thursday, the same day that Becky took Shelly's car and went after Steven.

Family meeting

(2-39) BOBBY: What do you want to do, Becky?
BECKY: I hate him. I want out.
BOBBY: You want a divorce.
BECKY (teary): I don't know. I love him.
BOBBY: You're going to have to pay for the door and the damage to the apartment.
BECKY: I'm not paying for her apartment!
SHELLY: Becky.
BECKY: I'm not going to do it! I don't have any money, anyway.
BOBBY: Honey, if I didn't work for the sheriff, you'd be in jail right now.
SHELLY: I'll loan you the money.
BECKY: Uh, no! I can't take any more money from you, mom, and he spent everything you ever gave me, anyway.
BOBBY: I'll loan you the money. But you gotta pay me back. And you gotta make this right.
SHELLY: And we've got to get you out of that trailer and away from him.
BECKY: He's just going through a bad time right now.
BOBBY: Becky, the only reason I haven't busted him is I was hoping he would come around, for you. I don't think that's gonna happen.
BECKY: I know it will. He's good inside. He goes out everyday looking for work. At least I thought he did.
SHELLY: Carl said things aren't right in that trailer.
BOBBY: Has he ever hit you?
BECKY: Uh, no, no, he's not like that. Come on.
BOBBY: I hope you're right. From now on if he ever touches you or breaks the law in any way I'm gonna bring him down.
SHELLY: Look, Becky, we know you're a grown married woman, but we're your parents and we love you. We just don't want to lose you. (She cries.)
BECKY: Oh when you flew off the windshield, are you okay? I'm sorry. I didn't mean to do that.
SHELLY: I'm okay. I'm okay.
BECKY (hugging Shelly): I'm sorry.
SHELLY: You're staying with me tonight, okay?

(40-50) Becky now sees Red through the window and goes to the door to meet him. They kiss while Bobby watches, and Becky watches Bobby for his reaction.

Shelly and Red

(51-56) Shelly and Red go off to the side and kiss. "See you later?" she asks. "Same place?" he replies. Yes. Smiling, excited, she returns to Becky and Bobby. Bobby stares at her, as does Becky.

(57-64) Sudden gunfire through the window. (58) Bobby yells at everyone to get down. Norma yells for Toad to turn off the lights.

(65-96 approx) Gun drawn, Bobby goes outside and finds a family outside a van, the mother in a panic, a father partly in camouflage, and a little boy in camouflage who seems unfazed. A horn honks throughout the scene.

CARRIE: Russ, what the hell? Russ! Oh my god! Ralph, he's got a gun! Russ! Oh, my god, Russ. You put a gun in this car? Damn you, what were you thinking?!
RUSS: It was in the front seat in a box.
CARRIE: I didn't know it was a gun. He could have killed himself! He could have killed all of us! It was by my feet, Russ! I moved it to get it out of the way. Do you think I would have put it in the backseat of the car with Ralph if I knew it was a gun? Are you a fucking moron? What is wrong with you?
BOBBY: Ma'am, I'm with the Twin Peaks Sheriff's Department, Deputy Briggs. Please hand me that gun.
CARRIE: Okay. Here.
BOBBY (empties the gun): Now I'm going to need identification from both of you please. (He stares, bewildered, at the boy who looks back at him expressionless.)
JESSE (coming up): I was at Big Ed's Gas Farm. And you know what? I heard shots.
BOBBY: That kid found a gun, evidently, in the back of this van and shot through the window into the Double R. These are his parents, I think. I need ID's on both of them. (A Twin Peaks traffic jam occurring, Bobby yells at a silver car behind the van that has been honking nonestop.) Ma'am please!

Aftermath of gunfire

BOBBY: I'm gonna try to stop this woman from honking her horn and get this traffic moving.
JESSE: I got it, Bobby.
(97-116 approx) BOBBY (approaching the driver): Please ma'am, ma'am please!
WOMAN (yelling): What are you doing? We're trying to get home! We're already late! We're late for dinner! It's way past 6:30. Why is this happening?! I saw that gun go shooting out the window. Her uncle is joining us. She hasn't seen him in a very long while. We're late! We've got miles to go!! Please, we have to get home! She's sick!!!

A girl rises up in the passenger's seat, arms raised like a zombie, a green substance pouring out of her mouth. The woman screams and screams. Bobby stares on in disbelief.

Girl with green pouring from mouth

This section, which I would assume to be on Thursday (based on our original timeline of Ruth and Briggs being killed on Thursday 9/22), happening the evening after Becky shot up Gersten's door, begins with dialogue over the shooting, that has everything to do with the second half of this section, the child who has found the gun in the car and puts an accidental bullet through the restaurant. Though how these two halves relate may be at first obscured for the viewer, as Becky is an adult, both involve a child recklessly using a firearm, and both involve infidelity. How does the second involve infidelity? Well, let's say emotional infidelity. We're not confident Shelly and Bobby are no longer married, though we know they've split up, and we've not observed either one wearing a wedding ring. If they're not married, how long has it been since they split? When Shelly returns from sprinting outside to see Red, Becky looks at her in disbelief, and Bobby is clearly unsettled but complacent. He obviously still wants to be with Shelly but knows he has no business in Shelly's personal life. It's at this point, after Shelly comes back in, Bobby's pain and Becky's disbelief evident, that the bullet comes blasting through the glass. That bullet reads like an emotional response to the pain.

Bobby, as the deputy, gets to be the hero. What does he find when he runs outside? A child who has come upon a firearm hidden in a box and accidentally shot up the restaurant. The child seems unrepentant, just staring back at him, which perplexes Bobby. It is a reframing of the discussion with Becky. She seemed largely undisturbed by what she had done, even refusing to consider paying for the door. Bobby has to remind her that if not for him she would be in jail. What does stir her is that she doesn't want her mother to pay for the door either. So Bobby announces he will pay for it, though she must pay him back.

Shelly had been in an abusive relationship with Leo, and Bobby of course is concerned that Steven might be abusive with Becky. Becky protests that he hasn't hit her, and I'm not going to assume that he has and that she is simply protecting him. I'm going to assume he has not hit her. When they earlier had their argument, he stopped himself before hitting her, as if catching himself and thankfully not allowing himself to cross that boundary. We might assume that what likely had begun the argument was whether or not Steven was having an affair, and that was why Steven was yelling that what he did or didn't do didn't concern Becky.

Ambiguities, ambiguities. Becky insists she still loves Steven. At first she says she hates him, that she wants out, but then pulls back. She loves him. She is both of these opposite things. She both hates him and loves him. She protests he's good inside.

Shelly, the good and concerned parent, then runs outside to meet Red. We know who Red is. We know he's worse than bad news. His trade is bad drugs. He's a gangster. Shelly is urging Becky to leave an irresponsible and progressing-into-abusive husband, while she is herself involved with hell boy. She may not know it, but this is what she has gravitated back to.

Becky's rage and impulsivity, blowing up Gersten's door, goes completely unaddressed.

We return to Albert's "Judge not lest ye be judged."

The second half of the section is almost like the kind of dream replay that a person would have after a stressful day. Child shoots up someone's door. Bobby might go home and dream that he was partly the one responsible, leaving a gun in a box, not realizing it would be found, and Shelly moving the box into the back seat where Becky finds it and shoots the gun through a window.

But then we move beyond that to all this traffic now in Twin Peaks. A lot of traffic for such a small town, and an angry mother who won't stop blowing her horn, insisting she must get her child home to have dinner with an uncle she's not seen in a long time. On top of this, the child is sick. But then not only is the child sick, she is zombie sick. She is sparkle-like sick. Nightmare, sci-fi sick. The girl is puking green, and rather than calling for a medic, Bobby stands and stares, overwhelmed, in utter disbelief, as if he is in a nightmare and can't fully comprehend what he's seeing.

The traffic jam I think could possibly allude to the viewer beginning to be aware of something having really gone wrong with the timeline of the film. Scenes seem to be piling one atop the other, which feel as though they should be on separate days but might be occurring on the same day. This will become more and more apparent as the episode moves along.

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THERE'S FIRE WHERE YOU ARE GOING

A LIVING MAP / THE TRAFFIC JAM / CANDIE'S SPEAKING OF BEING LUCKY TO HAVE COOLING WITH THE COMING HEAT AND MARGARET WARNING ABOUT "FIRE"

(1) Night exterior of the Sheriff's Department. (2) Hawk and Frank in the conference room. It would likely be Thursday night, the same day they were given Briggs' tube. (3-8) Frank shows Hawk a geographical map on his laptop.

Map

FRANK: By my reckoning, this is where we're headed. But there's no read. The road's gone.
HAWK: The information that Major Briggs gave got me thinking. You'll understand a lot more when I explain my map.

(9-40 approx) Hawk rolls out an old map painted on hide.

Hawk's Map

HAWK: This map is very old but it is always current. It's a living thing. This is where Major Briggs' station was, Blue Pine Mountain, and a very revered sacred site. I think that the information the Major gave us is gonna take us here.
FRANK: Looks like a campfire. What is this?
HAWK: It's not a campfire. It's, it's a fire symbol.
FRANK: What's that mean?
HAWK: It's a type of fire. More like modern-day electricity.
FRANK: Good?
HAWK: Depends. Depends upon the intention. The intention behind the fire. The Major also gave us a date, day after tomorrow. If you read these stars, you find that same date, and it refers you to here.
FRANK: What is this?
HAWK: It's corn. It's fertility. But it's black, diseased or unnatural. Death. If you put these two symbols together (pointing to the yellow fire and the black corn), you get this. (Points to the black fire.)
FRANK: Black fire.
HAWK: Correct.
FRANK (pointing out the black symbol above a peak that was on the Ace of Spades card): We saw this on that little slip of paper we took out of Major Briggs' tube. What is this?
HAWK: Frank, you don't ever want to know about that.
FRANK: Really?
HAWK: Really.
(41-45 approx) LUCY (on the intercom): I don't know why I'm even thinking about furniture. Andy and I hardly ever get home.
HAWK: What's up, Lucy?
LUCY: Margaret Lanterman for you on line 2, Hawk. That's the one that's blinking when I hang up.
(46-62 approx) HAWK: Hello, Margaret.
MARGARET: Hawk? Can you hear me?
HAWK: Yes, Margaret.
MARGARET: Hawk, can you hear me?
HAWK: Yes, Margaret.
MARGARET: You found something, didn't you.
HAWK: It's just like you said. I'm sorry, I should have let you know.
MARGARET: What did you find, Hawk?
HAWK: Margaret, I can't tell you that.
MARGARET: My log is afraid of fire. There's fire where you are going. Hawk, there's fire where you are going.
HAWK: Okay, Margaret.
MARGARET: Good night, Hawk.
HAWK: Good night, and thank you, Margaret.

Margaret

(63-70 approx) There's a light knock at the door. Frank and Hawk look at each other then Frank goes to answer the door. It's Jesse.

FRANK: What is it Jesse?
JESSE: Sheriff Truman, are you interested in seeing my new car? It's a two thousand...
FRANK: Jesse, I'm in a meeting. Can I look at your new car tomorrow?
JESSE: Okay. Thank you, Sheriff Truman.

The main point of the section is to compare Briggs' map with Hawk's, which he says is "alive" and thus would be ever-changing, and to show the black form at the top, under the horns-down crescent moon, which was on Briggs' map and on the doppel's Ace of Spades card.

You don't want to know about that

Not much information is really provided about the map, other than to qualify the fire as like electricity, and that intent of use makes all the difference.

And that the black horned symbol is so disturbing that Hawk won't tell Frank what it means.

Aside from the slim amount of information we receive, the section functions as reinforcing the idea of the traffic jam. Lucy had been viewed in one set of clothing ordering the red chair, then was in another set of clothing when Briggs' tube was opened. These incidents supposedly happened on Thursday. Then, when Chad was checking the mail, Lucy wore the same clothing she had when buying the chair, and she spoke about the nature of time, how it could feel like time was standing still. Lucy muses on wondering why she is thinking about furniture, and the viewer may begin to feel how events are seeming to begin to pile up without care of linear time.

I had supposed in part ten that Hawk was speaking to Margaret on Thursday night, when she said the circle was closing, but here she is calling again and a good guess is that it is still Thursday as they are going out the "day after tomorrow". Again, we feel the traffic jam of events piling up without any care for the restrictions and laws of linear time.

An example for me of the pile-up is the conference room phone.

The conference room phone

We see 2 102 lines and 2 lines labeled 18. So we have a pile-up of numbers. We also see 781-2165 at the bottom. Purely coincidentally, 782-2165 is a number to report malfunctioning traffic signals or signs down in Forsyth, Georgia.

Candie had spoken of "the version layer" and how fortunate the casino was to be air-cooled. Now Margaret warns about "fire" after Hawk had explained that the fire on the map was an energy like electricity.

One of the more curious symbols for me are the three swallows or swallow-tail birds.

The swallowtails

The leaves that seemed to be slipping off the trees into the vortex in Buckhead had a resemblance to birds.

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CAT ON A HOT TIN ROOF

MORE HEAT WITH THE HOT TIN ROOF / THE SHAKING / PREVENTED FROM LEARNING THE PLACE THE COORDINATES REPRESENT BY THE ARRIVAL OF COFFEE AND DOUGHNUTS, BUT THEN ARE THE COORDINATES IN THE PIC THE SAME AS THE COORDINATES IN THE FIELD?

(1-2) Shot of Gordon's hand shaking on the wood table. "Cat on a hot tin roof. It's never done that before," he says, grabbing and holding it. They are back at the Buckhorn Police Department. Gordon and Albert are seated at a small round table before Dave's desk. Diane sits on a stool above them. She wears the clothing that she had on when they had explored where Hastings saw Briggs.

Albert says, "We're supposed to get some coffee, but I doesn't think that's a good idea." Gordon looks back toward the door and says, "Coffee? I would like some coffee." Albert says, "Maybe some warm milk. For the cat, on the roof." Gordon says, "Yes, the picture you took of Ruth. I would like to see it, Albert."

Coordinates

Gordon has misheard "Ruth" instead of roof.

(3-6) Albert shows Gordon the picture of Ruth's arm. (7) He looks up and sees (8) Diane looking at the picture, memorizing the co-ordinates, mouthing them. She notices that (9) he has noticed. (7) She asks, "Can I smoke in here?" Gordon says, "Smoke? Ask Macklay when he gets back." Albert says, "But smoking's bad for you," and (10) when she shoots him a look (11) he adds, "I know, fuck you, Albert." (11-14) She says, "That's right. Fuck you, Albert." They sit in uncomfortable silence for a moment. Then Gordon asks, "What place do those co-ordinates represent?" Albert says, "The last few digits are smudged but the numbers indicate a small town in the north..." ...at which point they are interrupted by Tammy and Dave returning with coffee and doughnuts. "The policeman's dream," Gordon says.

Doughnuts in Buckhorn

Diane asks if she can smoke and when (15-18) Dave says, "There's no smoking allowed." She says, "You know how good a cigarette would taste with this coffee?" He concedes, "Smoke 'em if you've got em."

(19-30) DAVE: So, no suspects were found in the area. A positive ID on Ruth Davenport.
ALBERT: I don't suppose you found Major Briggs' head anywhere.
DAVE: We looked. There's no trace. Nobody heard anything. No shots.
ALBERT: A bullet didn't do that to Hastings.
DAVE: Yeah, they're still cleaning the vehicle.
GORDON: We saw somebody, Albert and I, out back, out back where we found Ruth Daveport's body.
DIANE: What'd he look like?
ALBERT: He looked like a homeless man, old clothes, beard, wool cap.
DIANE: I think I saw somebody like that getting out of the police car. I could be mistaken.
DAVE: Well, I was in the car. I didn't see anybody.
TAMMY: I didn't see anybody either.
DIANE: Well, I said I wasn't sure.
GORDON: Now, I remember. I saw them, in a room. I saw the bearded men. The same type Albert and I saw. Dirty, bearded men in a room.

In an episode of the original series, "The Path to the Black Lodge", an elderly woman with a knit cap is eating cherry pie at the RR when her right arm starts shaking and she drops her fork. We hear a peculiar soundscape, like a bow scraped softly over violin strings, not sounding notes. We take for granted she is having a stroke, then we move to a conversation between Bobby and Shelly and he tells her he loves her. Later, Audrey has just learned that Jack Wheeler has left for Brazil and is rushing out to catch him. Ben is calling after her, "Audrey, Audrey, Audrey, Audrey", when he hears a ringing tone sound and turns to face it. Cut to Pete speaking to Josie above the fireplace, saying he sees her face (there is some PNW native art work up there as well). Audrey grabs him and enlists him to drive her to the airport to try to catch Wheeler. Cut to Cooper and Truman and Andy trying to figure out the map. Cooper looks out the blinds and says he's thinking about Annie Blackburn. He says his mind is clear and focused, then he sees her face and hears her voice. His symptoms suggest malaria. The blinds begin to vibrate and finally his right hand shakes and he grabs it to stop it. We hear the same sound as with the older woman. Cut to Briggs, wandering in the woods, and he feels the tattoo behind his ear, as if it is suddenly bothering him. Windom Earle shows up, masquerading as a horse, and shoots him with a dart that disables him. Cooper has an affectionate scene with Annie at the RR. Audrey catches up with Jack Wheeler at the airport and has a love scene with him (they have sex on the jet). Pete is tearing up at young love when his right hand begins to uncontrollably shake. Cut to Gordon in Windom Earle's lair, saying his greatest fear is love is not enough. At the end of the episode, we hear the same music permeating all of Twin Peaks. Milford Douglas, who has been having troubles with a microphone, keeps saying something is wrong. At Glastonbury Grove we see Bob's quivering right arm emerge in a spotlight, and he follows.

There are a number of things that, with Gordon's shaking arm, we are being reminded about, all of them seemingly bound by the subject of love?

Bobby tells Shelly that when he saw her kissing Gordon (Gordon wanted a kiss from the girl he could hear, and who made him want to speak a little French) he realized how much he loved her. He likely felt the same way when he saw her kissing Red at the RR.

Ben is trying to get Audrey to serve as a spokesperson for the project to stop Ghostwood development and enter Miss Twin Peaks, but she puts him off in her eagerness to catch Wheeler. It's a normal scene until, as she runs off, Ben is left calling, "Audrey, Audrey, Audrey...", and then hears the ringing noise and turns to it. The same ringing noise that has been heard by Ben and Beverly in The Return.

Taking for granted Richard is Audrey's child, did everyone believe instead that his father was Jack Wheeler? That's a possibility, as Audrey had slept with him, and we're supposing she retained memory of it after her coma.

What happened to Jack Wheeler? Did he perhaps die on his trip to Brazil to take the place of his partner who had been murdered? Was he murdered as well?

Confessions of love seem to unite the shaking of the arm in the original Twin Peaks, but only Cooper was the one who confessed love who had his arm shake, and even then it was the blinds that first shook. Pete Martell, who died protecting Audrey from the blast at the bank, had his arm shake when he was sentimentally moved to tears by the love between Audrey and Wheeler. Cooper? He didn't die but he wound up trapped in the Red Room when rescuing Annie.

We don't know about the old woman, but Pete and Cooper were soon to suffer horrible consequences in taking dramatic measures for people they loved. For, no doubt, Pete had a non-romantic love for Audrey that compelled his action, at the bank, to try to protect her from the bomb.

"Cat on a hot tin roof" is an idiom for someone being jumpy. In the case of the Tennessee Williams play, the jumpy one is Maggie the "Cat" whose husband, Brick, hasn't slept with her in a long while. The play hints at his homosexuality, or bisexuality, and that he and a football friend were in love (perhaps only unconsciously). The friend tried to sleep with Maggie in order to prove he wasn't gay, but was impotent, and later died, perhaps by suicide. The overbearing father of the husband is dying and at the end is reassured by Maggie that she is pregnant. Life will go on. As it turns out, she isn't pregnant, she was lying. But the play ends with Maggie's resolution that she and her husband will conceive, which also ensures they will get an inheritance.

We suspect Gordon's arm shakes because he was affected by the vortex in which he saw the stairs with the woodsmen. We may be reminded of the Jumping Man.

Gordon and Albert suspect Diane can't be trusted, but are ready to reveal the place of the coordinates when Tammy and Dave return with the doughnuts and coffee. This means that the audience doesn't learn right off either, but of course we know, "Twin Peaks! They will be going to Twin Peaks!"

Let's look at the coordinates again.

The coordinates in the pic

The coordinates in the field

Ruth's arm and body rest against straw-like, dead grass in the field in the scene in which she was found, while in Albert's photo her arm rests against earth with only a very little grass. Also, the formation of the numbers of the coordinates in the pic and in the field are slightly different. One could explain this away as being a continuity error except that in the picture it looks like under the 48 a bad photoshop job has been done on her arm in painting a beige flesh tone. If I saw that outside of The Return, I would wonder if the original numbers had been painted out and replaced with new ones. Maybe we are supposed to wonder if they have been, but we also know from the original scene that the numbers were 48.

Between the original scene and the photo, we have no difference as far as the numbers themselves are concerned, except that we don't see, in the field, all of the numbers on Ruth's arm. In the pic we observe what translates to be: 48 55.142, -117 56.3938. In the field we only observe: 4855142.

Are we intended to wonder if Albert and Gordon cooked up a fake photo for Diane to see?

Should we be reminded of the newscast of Janey and Dougie and how it differed from the original scene?

Just as we'd observed Diane seeing a woodsman reversed from what Gordon and Albert had seen, though we saw Diane also observing a woodsman get into the detective's car, Diane instead says she saw one getting out of the car. We are uncertain what exactly she saw as we know we have cause to not trust her. She also doesn't press the issue, as if, despite what we saw her seeing, she's uncertain of everything. Maybe she doesn't know what she saw.

Then Gordon reveals he is only now remembering what he had experienced in the vortex.

Bill Hastings he couldn't remember what had happened, and what memories he did relate were a confused jumble. It seems very usual to forget parts of what one has seen when confronting this other realm.

One other thing, Hastings had said Ruth had written the co-ordinates on her hand. Instead they are on her arm and quite large. If the doppel was present at her murder (he had seen Briggs) then it's hard to absorb how he could not see these coordinates, for which reason he wanted the information from Ray, gathered from Hastings' secretary. Or maybe the secretary was simply an alternative source.

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NOBODY KEEPS BATTLING BUD ON THE ROPES FOR LONG

BATTLING BUD AND BUSHNELL KEELER / THE MOTIF OF THE RIGHTEOUS FIGHTER / CATASTROPHIC AND CAT ON A HOT TIN ROOF

(1) The exterior of Cooper-Dougie's office building, (2) and then Bushnell's office. He calls for Dougie.

BUSHNELL: Dougie, come into my office, please.
PHIL (intercom): Mr. Mullins, Phil Bisby here. I got your coffee and we'll be right in.
BUSHNELL: Good.

Bushnell does several push-ups against his desk. Phil enters with the coffee, Cooper-Dougie following, like a dog lured by a bone. Great shot. Phil gives Bushnell his coffee and is thanked for it. (3) Outside, through the window, we see Tony staring in. (4) He wanders off, concerned about being observed. Phil helps Dougie sit down and leaves the office.

(5-11) BUSHNELL: Dougie, now that I've had time to think about this, it's clear that your investigative work has exposed a ring of organized crime and possible police corruption flowing through this office. The recent two attempts on your life, the blowing up your car, the man trying to shoot you, absolutely confirm this. Also, thanks to you, We now know that the Mitchum brothers' case was not arson but a legitimate claim for an accidental fire, which indicates to me that the Mitchum brothers, although alleged gangsters, are not part of this conspiracy, which suggests that the shots are being called by somebody else.
(12) COOPER-DOUGIE: Somebody else.
(13-17) BUSHNELL: I think you're right, Dougie. And this is interesting. The Mitchums just called me wanting to have a personal sit-down with you. Now, normally, I wouldn't put one of my agents into the ring with guys like this, but since you uncovered and righted the wrong on their behalf, they are gonna be ecstatic when you deliver to them this 30-million-dollar check. Now, I know what you're thinking. You're thinking, "A 30-million-dollar payout for a firm our size, that has to be catastrophic", right?
(18) COOPER-DOUGIE: Catastrophic. Right.
(19-21) BUSHNELL: But Battling Bud always punched above his weight class. I took out a secondary policy to cover our play on this one, which, because it truly was an accident, will cover our potential loss and then some. Bushnell double down.
(22) COOPER-DOUGIE: Bushnell double down.
(23-28) BUSHNELL: Nobody keeps battling bud on the ropes for long. They want to see you at 5:30. They're sending a car.

Bushnell

(29-31) Cooper-Dougie mirrors Bushnell's eye blinks and nods. Bushnell nods back at him. Cooper-Dougie, imitating, nods in return.

We are of course concerned about Cooper-Dougie. We know that the Mitchum brothers are after him, and here's Battling Bud Bushnell delivering Cooper-Dougie to them. But with a 30 million dollar check. That is unexpected. We know Cooper-Dougie must survive for sake of the show, but how will he do it? Lynch/Frost hand us the check as the possible out for him. But we also know Cooper-Dougie has lame communication skills, we know Cooper-Dougie doesn't know what that 30 million dollar check even means, and we wonder how the Mitchum brothers will know he even has the check unless he meets them with the check pinned to the lapel of his jacket.

Lynch/Frost repeatedly make a point of Cooper-Dougie attempting to absorb and connect with Battling Bud, the boxer, with Bushnell, his insurance agent boss. This is the same man. We know the character, Bushnell, is named for Bushnell Keeler, an artist mentor of Lynch's who had a profound impact on him when he was young and both guided and pushed him toward significant opportunities. He was not a boxer, but in the boxer we've the motif of the righteous fighter.

There is a lot of word play and so it's not out-of-line to wonder if this scene's use of "catastrophic" is intended to link back to Gordon Cole's "cat on a hot tin roof" trembling open hand. Lynch/Frost are always shy about providing times but they do so here. Cooper-Dougie is to meet the brothers at 5:30.

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2:23

PURPOSE OF THE SCENE

(1) Rodney Mitchum eats breakfast at his counter, the pool visible through the windows behind him. He reads a paper. One of the three assistants, dressed as ever in the pink costume, pours coffee for Bradley, telling Rodney, "He's just coming out of the bathroom now." Bradley seats himself beside Rodney and pours himself some Raisin Bran.

Mitchum Breakfast

BRADLEY: All right. Rodney, I had a dream.
RODNEY: Did ya?
BRADLEY: I had it all fucking night. I dreamt about killing that Douglas Jones fuck. I just hate him so bad. I can't wait to kill this guy.
(2-3) RODNEY (glancing at an orange digital clock that reads 2:23): Can it wait three more hours?
BRADLEY: Barely. I can't eat this.

It seems Rodney is eating a cereal like Kaptain Krunch but it may remind of garmonbozia.

For whatever reason, Lynch/Frost give a time here, on a digital timepiece, that may remind us of the American Girl looking at her watch as it read 2:52 approaching 2:53. I had noted then that with the digital numbers, in a backwards world, the 2 and 5 were interchangeable. We've the same situation here so that we could potentially have a permutation of 2:53. Indeed, there seems little other reason to have this scene other than to display the clock and associate it with the hatred of the Mitchum brothers for Cooper-Dougie and their resolve to do him in.

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ENTERING THE DREAM, 5:30

THE GODFATHER AND SANTINO'S / CANDIE'S CUT AND THE PROBLEM OF THE ACCIDENTAL AS VERSUS COSMIC DESIGN / THE RELATIONSHIP OF THE CUT ON RODNEY'S CHEEK TO THE CUT ON COOPER'S CHEEK, RECEIVED IN THE SECOND SEASON STORY OF COOPER'S BEING TAKEN HOSTAGE AT DEAD DOG FARM AND JEAN RENAULT DYING THERE

(1) Bushnell leads Cooper-Dougie out past the elevators. (2) Cooper-Dougie looks to screen left and sees an establishment called SZYMONS. The Z is a heavier font, reminding perhaps of the zig-zag floor of the Red Room (it also reminds of the Z coffee cups in New York) and the O is a pie with rays radiating from it, reminding of what looks like a compass-sun on the Twin Peaks maps that show Glastonbury and its environment. Phillip, in the Red Room, is superimpositioned against the shop and is waving for Cooper-Dougie to approach. (3) Cooper-Dougie does so, Bushnell calling after him, "Dougie, it's 5:30, where are you going?" (4) As Cooper-Dougie approaches, the vision of Phillip Gerard fades and we see instead the shop's real interior. (5-6) Bushnell looks after him in confusion then follows.

Szymons

(7) Cut to the gunman statue and Bushnell and Cooper-Dougie approaching it. Cooper-Dougie carries a big box. (8) At the limo that waits for Cooper-Dougie, driven by the same individual who took him home from the casino, Bushnell whispers in Cooper-Dougie's ear, "You've got the check, don't you?" He checks his jacket and sees it. "Yeah, you're all set." He asks the driver, "Where are you taking him?" The driver says, "Santino's." Bushnell assures Cooper-Dougie that he's going to like it. "I'm in your corner, champ. Knock 'em dead," he says, giving Cooper-Dougie a fake punch on the chin. Cooper-Dougie holds his hand up to his face and squeezes his cheeks in a manner that reminds us of how Mr. C squeezed Jack's cheeks before killing him. "Dead," he says.

Knock 'em dead

We need to remember, however, that when this limo and driver dropped Cooper-Dougie off at home, Janey had marched up and struck him.

The driver helps Cooper-Dougie in the car.

(8-13) Then the driver gets in the car. The driver smiles, recalling for him, "Red door!" (14-15) Bushnell waves them off.

(16-22) Shawn Colvin's "Viva Las Vegas" plays as we have shots of Vegas as Cooper-Dougie is driven through it. We see ICONS. Cirque du Soleil's O at Bellagio Drive. ARIA. "Paris" on a helium balloon, the fake Eiffel Tower nearby. EXCALIBUR and its Tournament of Kings. The LUXOR. TREASURE ISLAND. THE MIRAGE.

Storybook names. Mythic places and imitations of real places.

(23) Then a shot from high overhead of a long lonely stretch of road through the desert.

(24) End music. Cut to the Mitchum brothers in a black car waiting.

(25) RODNEY: What is with you? Be happy. We're about to rid ourselves of an asshole who has majorly, majorly fucked us over.
BRADLEY: Well, he nailed Ike the Spike for us.
RODNEY: He didn't do that for us. Plus, he lost our 30 million, then he takes our casino for 472 grand.
BRADLEY: Yeah, yeah, you're right.
RODNEY: You're damn right I'm right.
BRADLEY: I know.

(26-31) Back to the limo turning off onto a dirt road, driving deeper and deeper into the desert, the driver occasionally back in the rearview mirror at the silent Cooper-Dougie holding his box. We wonder what the driver knows. If he is aware Cooper-Dougie is being driven to his death. He had lied to Bushnell about where he was taking Dougie.

(32) Back to the Mitchums.

RODNEY: What?
BRADLEY: The dream.
RODNEY: Ah, the dream again.
BRADLEY: In the dream, in the dream your Candie cut was completely healed.
RODNEY: What?
BRADLEY: The cut Candie gave you.
RODNEY: How can that be?
BRADLEY: Come here.
RODNEY: No, no, stop. Bradley, stop it.
BRADLEY (holding Rodney's jaw): Come here. Hold still.
RODNEY: What are you doing?
BRADLEY: Easy.
RODNEY: Stop it. It's gonna... (Bradley removes the bandaid and the cut is gone.) I'll be damned. How?
BRADLEY: Yeah. There's more. I can't remember.

(33) High overview of the limo driving up to the area. (34) Then Bradley and Rodney getting out of their car to wait. (35) We see the limo pulling up past the ruins of a couple of stone buildings. (36-37) The driver of Cooper-Dougie's limo assists him out of it. (38) "See you later, Al," Rodney tells the driver, waving him off. When Bradley sees the box in Cooper-Dougie's arms, he urgently tells him to wait, hold on a minute.

The box
The box

BRADLEY: You see that box that he's holding there?
RODNEY: Yeah.
BRADLEY: That was in my dream.
RODNEY: Aw fuck.
BRADLEY: No, listen to me, listen to me. There's something in that box, and if that something is what I saw in my dream, we can't kill him.
RODNEY: What the fuck are you talking about?
BRADLEY: No, I'm not kidding, Rodney. If he's got this one certain thing that's in that box, it means we can't kill him.
RODNEY: Why?
BRADLEY: It means he's not our enemy, Rodney.
RODNEY: How the fuck can you know that?
BRADLEY: I'm just telling you what was in the dream. But it's gotta be this one certain thing.
RODNEY: What?
BRADLEY: Rodney, it's a million-in-one shot but if it's in there you gotta, you gotta promise me. Listen to me. We gotta be together on this.
RODNEY: Okay.
BRADLEY: We won't kill him.
RODNEY: Okay, enough, what is it?

(39-40) Bradley whispers in Rodney's ear what it is. Fully expecting it not to be there, Rodney takes out his gun and heads over to Cooper-Dougie. He points the gun at him.

(41-43) RODNEY: Okay, what the fuck, in the box there, is that a cherry pie?
(44) COOPER-DOUGIE: Cherry pie.
(45-51) BRADLEY (checks it): Cherry pie!
(52) RODNEY: Frisk him just in case.
(53-55) BRADLEY: Doesn't even have a wallet. (He finds the check in his left inner pocket.) It's addressed to us.
(56) RODNEY: Open it.
(57-67 approx) He opens it, shows the check to Rodney and they howl in joy.
RODNEY: Oh, my god! Holy...
BRADLEY: I love this guy. Dougie?
COOPER-DOUGIE: Dougie Jones.
BRADLEY: What a pleasure to meet you.

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.

Santino's, as the place the driver is taking Cooper-Dougie, seems to reference this. The idea is that Cooper-Dougie will be killed. We also have Mr. C having told the Warden that he knows about "Mr. Strawberry" through a Joe McClusky, which is when Warden Murphy, shaken, agreed to let Mr. C go. Dougie arrives at the meeting with the Mitchum brothers with a box that Bradley had dreamed about, and the deadly ending for Cooper-Dougie doesn't take place. Instead, Cooper-Dougie finds himself aligned with the Mitchums, who end up also not having killed an FBI agent. Because of a dream realized, the story follows a different line.

This is an intense progression, for the viewer, a lot of anticipation and some wonderful shots leading up to a fantastic payoff that might have one leaping on the couch yelling, "Cherry pie!"

As the scene evolves we learn about Bradley's dream as he remembers it. We had already seen with Gordon that interaction with the "other" world may be had without memory of it. We know this from Bill Hastings who woke up in his bed and believed he'd had only a dream of Ruth being killed.

In fact, we can't be sure what Bradley might have remembered of his dream had not Cooper-Dougie followed his vision of Gerard into the bakery. Either Cooper-Dougie is entering the dream world, per se, via his following his vision and fulfilling the dream, or we can instead look on this as Cooper-Dougie assisting in the making of the "dream" itself. Had he not picked up the pie would Bradley have remembered his dream of the pie in the box? That's something to consider and what Lynch/Frost mean by this. At 2:23, Bradley seemed confident that he dreamed all night only of killing Cooper-Dougie, and his hatred for him can't wait to enact the act in the physical world. But after Cooper-Dougie has picked up the pie (which to us is just a box with an unknown potential), Bradley's "memory" of the dream alters.

First, Bradley remembers the Candie cut was healed.

I have already discussed a couple of times elsewhere the above-the-convenience store remark of "This is no accident". In part ten, in relation to Candie having whacked Rodney, I'd written:

What about all these "accidents"? This is another version of the accident theme, and to look at it properly we need to return to what I've written in part nine about the "chroma" world as versus the "formica" world. Put together, the dialogue in the room above the convenience store forms this continuous statement, "We have descended from pure air. Going up and down. Intercourse between the two worlds. Light of new discoveries. Why not be composed of materials and combinations of atoms? This is no accident..."

What is not an accident? Is Lynch inferring there are no accidents? That what occurs below comes from above? (As above, so below.) In which case, that Candie dropped the red napkin, and whacked Rodney with the "remote", ends up being word play related to this. Candie isn't aware she's walking a destined path. She follows the fly and slaps and slaps at it and keeps missing. Then she picks up the "remote" (as in what happens next is an unconscious, guided destiny) and whacks Rodney with it.

What if Candie wasn't such a sleep-walking character? It's as if she is completely oblivious to Rodney's presence, so focused is she on the fly. If she wasn't "asleep" would she not have been the hand used by the upper world to whack Rodney?

Why is Rodney being whacked by the upper world in the first place?

Did the dream take the opportunity of a cut Rodney already had to deliver a sign to the Mitchum brothers? Or, instead, did Rodney receive the cut for the purpose of being availed a sign, in which case Candie's hand was not only her own but within was motivated by cosmic design.

The "accidental" burning of the Mitchum's hotel, though ruled in the physical world not to be an arson, seems, in Lynch/Frost world, to be part of the design, one that began to come to a head when Cooper-Dougie took Dougie's place. If we look back to Cooper-Dougie's first vision of Gerard, in Dougie's living room, and remember that Gerard pleads with him, "Don't die!", and that it is after this Cooper-Dougie draws the connecting designs on the paperwork, we can see it all leading directly up to this moment when Cooper-Dougie is being driven to his death if all the parts don't fall perfectly in place and make for a different path.

The cut Candie gave Rodney is in the same place as a cut Cooper received in the second season, during his hostage situation with Jean Renault, in episode 13, "Checkmate". He carried that cut with him for several episodes and then it was suddenly gone in episode 18, "On the Wings of Love", when Gordon Cole returned to town from Bend and made him an FBI agent again.

In "Checkmate", Cooper trades himself for Ernie Niles and Agent Bryson, who Jean Renault is holding hostage, hoping to get safe passage back to Canada. The trade done, we next see Cooper with the cut on his cheek, but we never see how he received it. We only assume that he was struck by Jean. In Jean's possession, Cooper tells Jean that they will neither let him run nor strike a deal, that all he can do is surrender. Jean then wonders whether to give up quietly or kill Cooper. Cooper says, "Then we both die." Renault says he knows. Cooper asks if his death is so important to him. Renault tells him that his two brothers died (since his arriving in town), and that he holds Cooper responsible. "Before you came here, Twin Peaks was a simple place, my brothers deal dope to the teenagers and the truck drivers, One-Eyed Jack welcomed the businessmen and the tourists. Quiet people lived a quiet life. Then, a pretty girl die, and you arrive and everything change. My brother Bernardo shot and left to die in the woods. A grieving father smother my remaining brother with a pillow. Kidnapping. Death. Suddenly, the quiet people, they're quiet no more. Suddenly, the simple dream become the nightmare. So, if you die, maybe you will be the last to die. Maybe you brought the nightmare with you and maybe the nightmare will die with you."

Where this occurs may also be important. Cooper had been let go from the FBI and was considering purchasing property and staying in Twin Peaks. Realtor, Irene Littlehorse, showed him some acreage with a white house known as Dead Dog Fram. She'd told him, "Of all the people in the world, the best and the worst are drawn to Dead Dog, and must turn away. Only those with the purest of heart can feel its pain. and somwhere in between, the rest of us struggle." At the house, Cooper found it had been used for preparing cocaine, and had set up the sting operation which resulted in Jean Renault taking the hostages who were exchanged for Cooper. When Renault is killed, most seem to feel little enough about it, except for Hawk, who has some extra gravity in his voice when he checks Renault and announces to the others he is dead. There is, in his announcement, a sense of his reminding the others that any death is tragic. As Irene had said, "Only those with the purest of heart can feel its pain." Though Renault was a bad guy, his death has meaning and is not to be taken lightly.

We may be reminded of the dog's paw in Mr. C's car, along with the cocaine and the gun. These are all items that may point to Cooper's experience at the Dead Dog Farm, as if it was indeed a very significant episode in the story of Cooper, and Mr. C.

There seems a relevant connection between Renault wondering if the nightmare will die with Cooper, Cooper being in a position in which he is about to be killed, and Dougie-Cooper being told, "Don't Die", as he begins work on the papers that will expose the Mitchum brothers' hotel was accidental, and Rodney receiving the cut on his cheek in the same place that Cooper received his cut, the healing of Rodney's cut being part of a series of signs that they should not kill Cooper-Dougie. He is not, after all, the enemy.

The last episode in which we see the cut (received at Dead Dog Farm) on Cooper's cheek, in the 2nd series, is in episode 17, "Wounds and Scars". This is the episode in which Audrey falls out of love with Cooper and in love with another. It is also the episode in which Annie appears, and Cooper appears to fall in love with her at first sight. He sees, as she serves him coffee at the diner, that she has a scar on her wrist, give-away of her having attempted to commit suicide.

Rodney is given the cut just before he sees Cooper-Dougie on the newscast and has a laugh over Dougie Jones not being a fake name. He's real. He has the cut when he is told that Dougie Jones has a vendetta against the Mitchum brothers, that he is their enemy, and they determine to kill him. Then the cut disappears on the drive to kill Cooper-Dougie and is part of a sign that would communicate to them Cooper-Dougie shouldn't be killed. A dramatic shift occurs and not only is Cooper-Dougie no longer their enemy but they love him.

The argument that Jean Renault made, that Cooper brought the nightmare to Twin Peaks, has no weight if one isn't looking at from Jean's viewpoint. Deaths were already happening. Laura had been killed. Death is what brought Cooper to Twin Peaks. What is more important is that Jean says Cooper changed the dream to a nightmare.

Only good things seem to follow the pure-in-heart Dougie-Cooper. He wins thousands of dollars, gets the family out of debt and provides for their future. He reveals corruption, carries a cherry pie to a high-noon-at-five-thirty showdown, and the Mitchum brothers have a change in nature to being good guys. One begins to have the feeling of a too-good-to-be-true dream. The viewer loves what is happening but is also made uncomfortable by it.

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HEARTBREAKING

MELANCHOLIA AND THE SENSE OF THE TOO-GOOD-TO-BE-TRUE DREAM / FRIENDS AND SMOKING / MORE TRAFFIC / GERSTEN'S RELATIONSHIP TO THE PIANO PLAYER

(1) Cut to a man playing piano ("Smokey Miles", aka "Count Smokula", Robert Miles), (2) then to a restaurant booth in which sit Rodney and Bradley celebrating with Cooper-Dougie. They pour Cooper-Dougie champagne.

(3-4) BRADLEY: You mean to say your kid doesn't have one? No gym set. (Apparently there has been some confusion between Sonny Jim and Son needs Gym.)
(5) COOPER-DOUGIE: No gym set.
(6-16) BRADLEY: Jeez.
RODNEY: Even our fucking orphanage had a gym set.
BRADLEY: Every kid should have a gym set. There you go, brother.
RODNEY: Toast.
BRADLEY (hands Cooper-Dougie a glass): Dougie.
RODNEY: Here's to you Dougie.

Cooper-Dougie takes a sip and (17-19) the music changes from upbeat to melancholy, he noticing. (20-34 approx) An older woman, well-dressed, walks up. She is the one who won jackpots due being pointed in the right direction by Cooper-Dougie.

LADY SLOT-ADDICT (hugging him): Mr. Jackpots!! (To her son.) This is the man I told you about. (To Cooper-Dougie.) I wanted to see you again. I've thought of you every day. What you did for me. You changed my life. This is my dear son, Denver. He's back in my life again. I have a little dog. I have a house. I have my life back again. How can I ever thank you? (To Rodney and Bradley.) I hope you realize what a special person you have dining with you. He saved my life.
BRADLEY: He sure saved us a lot too.
LADY SLOT-ADDICT (kissing him on the cheek): Thank you. Thank you, Mr. Jackpots. I'm so glad I got chance to say thank you again.
COOPER-DOUGIE: Thank you again.

Woman from casino

(35-36) The woman leaves and the Mitchum brothers avoid tears as the heated cherry pie arrives. The piano music becomes upbeat again.

(37-45) BRADLEY: Here it is.
RODNEY (as Candie, Sandie and Mandie walk up): And here are the girls. Candie? Candie? Candie, look at me. Where have you been?
(46) BRADLEY: Candie.
(47-79 approx) CANDIE (finally responding to Bradley, as she usually does): There was so much traffic on the Strip. It was incredible. There were cars everywhere.
COOPER-DOUGIE (eating his pie): Mmmm.
RODNEY (eating): That pie is so damn good.
COOPER-DOUGIE (seeming to almost remember): Damn good.
RODNEY: A toast.
BRADLEY (hands Cooper-Dougie a glass): Dougie.
RODNEY: Here's to the pie that saved your life, Dougie.
BRADLEY: And our money. Candie. Candie. Another piece of pie for our friend.
COOPER-DOUGIE: Friend.

Friends
Friends

Piano
Piano

(80) The credits run over the piano player, who switches back to the melancholy music for them.

Friends. It's a wonderful scene that makes one want to carry cherry pie to every meeting with a stranger, even carry it around all day long and liberally hand out slices. Friends.

Friends and family. Much is being made of the importance of family. The two brothers. The deprivation of an orphanage and being without parents. The woman gets her family back and the son gets his mother back. Cooper-Dougie brings people together, and families.

We have the increasing sense of the too-good-to-be-true dream with the slots lady approaching and crediting Cooper-Dougie with saving her life. But, as this happens, a melancholy song plays, or appears to, that is called, "Heartbreaking". Cooper-Dougie seems to stare up at something, and we have no idea what it is. We are given no clue. But whatever it is, in the midst of the joviality, he seems suddenly, in a Cooper-Dougie fashion, stricken with sadness, even as the woman congratulates him for saving her so that she has her family returned to her, and a dog, and a house, after which the mood lifts. What the Mitchum brothers experience is different, more sentimental. We have learned they are orphans and perhaps it's also of exceptional meaning to them this woman having her family restored to her. They are not sad, they are simply brought near to tears by the good. But Cooper-Dougie? No. We have no idea what he is seeing, but it is not a subject of happy tears poignance.

Gersten Hayward had played piano for Leland and Sarah in a 2nd season episode in which the Hayward family was having a special dinner with the Palmers, one of congratulations for Gersten's successes, and also a memorial for Laura. As this episode ends with the acoustic piano, recalling that 2nd season episode, we should probably look at the two as having a relationship to one another. When Gersten was giving her little recital, there had also been a shift in music and tone. Leland decided that she should play "Get Happy", then when she does he gets out of control and the "Get Happy" becomes instead confusing then sad and even horrifying.

Judy Garland's performance of "Get Happy" also has a tonal shift. The song is about the joy of judgment day and attaining the Promised Land, but the jubilation shifts to the eerie as she sings of crossing the river, sins washed away in the tide, and attaining peace on the other side.

The piano player is a Smokey Miles/Count Smokula. Knowing this we can think back on how smoking has seemed to frame an idea of an earlier friendship between Gordon and Diane. They used to smoke together. When Gordon Cole has his vision of Laura it is related to the idea of friends, she having gone crying to her best friend Donna, looking for solace, a friend, and then when Donna asked if she wanted to talk to her she said no that she wanted to smoke. Smoking and friends. There is no smoking of cigarettes here, it is instead replaced by Smokey Miles. However, in his music, he also brings an air of the tragic.

And we worry. What is going to happen? This good stuff can't continue on forever. It will end. What will happen then. We have also become fond of Cooper-Dougie as a person in his own right, instead of waiting for him to become Cooper, though when it briefly looks like a bite of cherry pie might bring Cooper back to us, we don't complain. We would be exultant. But that doesn't happen, and it's all right. One reason it's all right is because the Mitchum brothers have made friends with Cooper-Dougie, and the old lady is thankful to Cooper-Dougie. They aren't waiting for Cooper. They are friends with what they know as Cooper-Dougie.

Cooper-Dougie has become a special person to us as well.

In the midst of this revelry, Candie returns us to the idea of the build-up of traffic. That's why she was late. As I've stated earlier, I think the traffic idea has to do at least partly with the piling up of incidents/scenes irrespective of any kind of a rational timeline. As if time has broken but the world keeps moving on. In Twin Peaks, the traffic jam was a horror show that occurs coincident with a gun shot through the RR after we see Shelly with Red. In Las Vegas, in Candie's world, it is instead a marvel, a thing of wonder. There were so many cars!

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STAB AT A TIMELINE

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

PART ONE:

1. Supernatural - B&W room
2. Jacoby's trailer, day - Wednesday
3. New York, Sam and Tracey, after 10 at night - Wednesday
4. The Great Northern Lodge, Ben and Jerry, day - Thursday
5. Twin Peaks Sheriff's Department, Lucy and the insurance agent, day - Thursday
6. Buella's, night - Thursday
7. New York, 2nd night (we know this is certain) - Thursday
8. Buckhorn, South Dakota, discovery of Ruth, day - Friday
9. Twin Peaks, Margaret calls Hawk at work, night - Friday
10. Buckhorn, the coroner's, day - Saturday
11. Buckhorn, Hastings taken into custody, day - Saturday
12. Twin Peaks, Hawk, Lucy and Andy in the conference room, day - Saturday. (Lucy wears the same clothes as in the scene with the insurance salesman, but this scene and that one are separated by at least one night in Twin Peaks. Hawk spoken with Margaret at night, at the office, but this scene is in daylight and so is another day.)
13. Buckhorn, Hastings interrogated. We have the initial Thursday to Saturday timeline from this. - Saturday
14. Buckhorn, Hastings home searched - Saturday
15. Supernatural - B&W room.

PART TWO

1. Buckhorn, Phyllis visits Bill in jail -- Saturday (Bill was picked up on Saturday, presumably)
2. Buckhorn, Mr. C kills Phyllis -- Saturday night
3. Las Vegas, Duncan and Roger in Las Vegas, a woman is given a job -- Saturday night
4. Buckhorn, Darya, Ray, Jack and Mr. C eat at the motel's diner -- Saturday night
5. Twin Peaks, Hawk visits Glastonbury Grove - Saturday night
6. Laura disappears from the Red Room -- Undetermined time but perhaps equivalent to Saturday night in real time
7. Buckhorn, Jack and Mr. C hide the Mercedes, Ray lands in prison -- Sunday
8. Buckhorn, Jack and Darya killed by Mr. C -- Sunday
9. Supernatural, Cooper looks out on Mr. C driving the car -- Monday (as for as Mr. C goes)
10. New York, Cooper drops into the New York box -- Fall back to NY Thursday
11. Twin Peaks, Sarah Palmer watches television -- Undetermined time, can't be stated with any confidence right now due to Cooper's slipping into Thursday and then being swept out into space again. Perhaps Thursday.
12. Twin Peaks, Shelly and James are seen at The Bang Bang -- Undetermined time, can't be stated with any confidence right now due to Cooper's slipping into Thursday and then being swept out into space again. Perhaps Thursday.

PART THREE

1. Cooper falls through space, spends time with Naida and American Girl, then takes Dougie's place. The American Girl's watch seems to read Saturday the first. Frost's The Secret History of Twin Peaks is based on a dossier of events relevant to Twin Peaks that is being researched by Tammy Preston in August of 2016, and which is finally determined to have been put together by Major Briggs. Saturday falls on a 1st on 2/1/2014, 3/1/2014, 11/1/2014, 8/1/2015 and 10/1/2016. If this is 2016 then this Saturday the 1st that was on the American Girl's watch would likely have to be October 1st of 2016--but in the otherworldly space who's to say what year it is? SA could instead refer to Saturn (and perhaps does as well). If the date is Saturday the first, we still have Mr. C driving down the highway on, according to prior events, what should/could be a Monday. Right now we would take it for granted that Dougie is replaced by Cooper during the same time frame, on Monday, though it may be Saturday, October the 1st in this room with the American Girl. - Monday, as well as Saturday October 1st
2. Buckhorn, Mr. C found on the highway - Monday
3. Twin Peaks Sheriff's Dept bunnies. Perhaps this is Monday. - Monday
4. Twin Peaks, Jacoby's shovels. Also perhaps Monday. - Monday
5. Las Vegas, Back to Vegas and the Silver Mustang Casino, this occurring on the same day that Cooper replaces Dougie. - Monday
6. Philadelphia, The FBI meeting at sunset. Phillie timeline appears to link right in with Buckhorn/SD - Monday
7. Twin Peaks, The band at the Roadhouse would be a night scene. Just based on all previous shots in this episode being during the day, I will go with this being Monday night. - Monday

PART FOUR

1. Las Vegas, The house with the red door. If it was Monday when Cooper returned as Cooper-Dougie, it is still Monday as he is still at the casino. He goes to the Jones household on Monday night. - Monday
2. Philadelphia, The meeting of Gordon with Denise over taking Tammy to South Dakota would be Monday night as Gordon had earlier said they would be in South Dakota the next morning. - Monday
3. Twin Peaks, Frank Truman's return to the Twin Peaks Sheriff's Department fits with possibly being Monday night as Maggie tells him about an incident, seemingly that day, of a boy overdosing in class, a school day. - Monday
4. Las Vegas, Tricked. Las Vegas morning at the Jones household. This would be the following morning. - Tuesday
5. Buckhorn. Access denied. A seeming wrench is thrown in. It looks like night at Buckhorn in Constance's office with the news that there is a security issue on the prints of the John Doe. But, as I've pointed out, there are many peculiarities about this scene. - Undecided as anomalous
6. South Dakota. Faces of Stone. The ride to the Yankton prison would be Tuesday morning. They are to be there at 9. - Tuesday
7. South Dakota. The meeting with Cooper's doppelganger. This is approximately at 9 on Tuesday morning. Another wrench is thrown into the timeline with the date, perhaps, of Cooper being picked up given as 9/22. 9/22 in 2016 is on a Thursday. 9/22 in 2015 is on a Tuesday. 9/22 in 2014 does fall on a Monday, so that would fit if we were moving 25 years forward from the Twin Peaks events of February 1989 (aired in 1991), but The Secret History of Twin Peaks has Briggs' dossier being research in 2016 and the comments made wile it is being researched don't indicate any knowledge on Cooper or Briggs past when the original series ended so it seems it would be researched before the events in the Return. Cooper's birthdate on his prison information is also wrong, off by nineteen years. - Tuesday (I'm sticking with Tuesday for now, based on the Thursday death of Ruth)
8. South Dakota. The blue night scene in which Gordon and Albert discuss Cooper and the Blue Rose cases. I think it's not night, that it is instead blue because of Blue Rose. - Tuesday.

PART FIVE

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

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

PART SIX

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

PART SEVEN

1. Twin Peaks. Jerry missing in the woods. We last saw him possibly Tuesday night watching Jacoby's show in Part Five.
2. Twin Peaks. Hawk gives Frank the missing pages. Still Wednesday it seems.
3. Twin Peaks. Andy goes to speak with man whose truck hit the child. Still Wednesday it seems, or at least the Richard Horne timeline.
4. Twin Peaks. Frank speaks with Doc Hayward.
5. Buckhorn. Cindy shows up and finds they have Briggs' body. Would be Wednesday.
6. Philadelphia. Gordon and Albert go to speak to Diane.
7. Gordon, Albert, Diane and Tammy fly to South Dakota.
8. South Dakota. Diane sees doppelcoop. Wednesday (still going by Part One).
9. Twin Peaks. Andy waits to speak to owner of truck who does not show. Possible wrench? Andy's watch reads it's the 10th. 5:05.
10. South Dakota. Doppelcoop arranges for his escape with the warden for that night, same night as seeing Diane.
11. Las Vegas. Cooper-Dougie interviewed by police over the explosion of his car. Would be Wednesday still for them.
12. Las Vegas. Ike the Spike attacks Cooper-Dougie. Evening to night.
13. Twin Peaks. Beverly and Ben look for source of noise that began sometime the prior week. She gives him the old key that came in the mail for Cooper's room.
14. Twin Peaks. Beverly goes home to her husband. Night.
15. Twin Peaks. The sweeping scene. Night.
16. South Dakota. Cooper released at 1:00 a.m. on Thursday.
17. Twin Peaks. Time glitch. 1:00 a.m. in South Dakota but still dinner hour in Twin Peaks at the Double R. Bing looks for Billy. Have we simply dropped back in time to earlier Wednesday night?

PART EIGHT

Part Eight begins with Thursday about 1:00 a.m. in South Dakota and then goes back to July 16, 1945 and the Trinity bomb. It then moves forward to August 5, 1956.

PART NINE

1. South Dakota. Doppelcoop meets Hutch and Chantal. Probably Thursday.
2. Diane, Albert and Gordon are flying back to Philie when they're rerouted to Buckhorn due Briggs. They find out Doppelcoop escaped. Would be Thursday.
3. Las Vegas. The Fusco brothers meet with Cooper-Dougie as arranged the day beforehand. Would be Thursday morning.
4. Las Vegas. Ike the Spike is picked up. Thursday.
5. Twin Peaks. The buying of the red chair rather than the beige one scene with Andy and Lucy.
6. Twin Peaks. Johnny Horne hits his head.
7. Twin Peaks. The meeting with Mrs. Briggs. She gives the message from the secret compartment of the chair.
8. Buckhorn. Diane receives the message from seemingly doppelcoop. Meeting with coroner over Briggs.
9. Twin Peaks. Jerry has problems with his foot.
10. Twin Peaks. After meeting with Mrs. Briggs, Bobby, Frank and Hawk open the cylinder which has the message for going to Jack Rabbit Palace 2:53 10/1, 10/2. They say they will go in two days, which fits with this being Thursday and Saturday being 10/1/2016. But, a wrench is thrown in. Lucy is wearing different clothes when they pass her than when she ordered the chair. Eating lunch, she says she's not there.
11. Buckhorn. Smoking scene with Diane then Tammy meets with Hastings. He speaks about the Thursday before, and dates a paper 9/29 but can look like 9/20.
12. Twin Peaks. Ben refuses to kiss Beverly.
13. Bang Bang. The woman with the itch.

PART TEN

In part nine we had the problem of Hastings voicing 9/26, though his writing of the date was 9/29. For now I am sticking with 9/29 as having been the Thursday date. But that is a big problem.

1. Twin Peaks. Richard assaults Miriam. Perhaps Thursday.
2. Twin Peaks. Carl sings. Becky and Steven fight. 3. Las Vegas. Candie hits Rodney. Thursday.
4. Las Vegas. Cooper-Dougie's physical. Thursday.
5. Las Vegas. News of Ike's arrest and the assault on Cooper- Dougie. Timeline problem. May show Wednesday now for Las Vegas.
6. Las Vegas. Janey and Dougie make love. Wednesday or Thursday.
7. Twin Peaks. Jacoby's 2nd internet broadcast.
8. Las Vegas. Thursday or Friday. The next day for them, Cooper-Dougie shown leaving for work.
9. Jerry in the woods. I've been here before!
10. Twin Peaks. Chad gets the mail. Is it Friday now, the day after Miriam mailed her letter? Or is it Thursday? Lucy wears what she was wearing in part nine in the early red or beige chair scene. Lucy speaks of the sense of time standing still. As Twin Peaks is such a small town, if Miriam mailed her letter early on Thursday, it could be that mail delivery might occur on the same day and that it is still Thursday.
11. Twin Peaks. Richard assaults his grandmother, Sylvia Horne. Let's assume it is Thursday. It seems after he assaults Miriam he would want to get out of town pronto.
12. Las Vegas. Thursday or there may be a drop back in time to Wednesday night? Duncan tells Anthony to put the Mitchums on Dougie's trail.
13. Buckhorn. Albert has dinner with Constance. Maybe Thursday if we go with 9/29 as when Tammy interviewed Hastings. Tammy was wearing the lacy blouse in part nine and appears also to be wearing the lace blouse in part ten.
14. Las Vegas. Sinclair meets with the Mitchum brothers. Wednesday or Thursday.
15. Buckhorn. Albert gives Gordon news about Diane's message from the doppel. Thursday.
16. Twin Peaks. Sylvia tells Ben about Richards. Broken timeline problem here if this is Thursday, for in part nine we had believed it was Thursday when Ben wouldn't kiss Beverly. He is dressed differently here. He has on his shirt with the finely checkered lines and a dark tie.
17. Twin Peaks. Margaret's message to Hawk that Laura is the one.
18. The Bang-Bang. Rebekah del Rio.

PART ELEVEN

In part nine we had the problem of Hastings voicing 9/26, though his writing of the date was 9/29. For now I am sticking with 9/29 as having been the Thursday date. But that is a big problem.

Also, in part ten, Las Vegas had seemingly pushed us back a day from Thursday to Wednesday, at least on the Vegas timeline, the weather forecast beginning with the upcoming Thursday. But because these timelines are all tied together, I am continuing with 9/29 as having been the Thursday when Hastings was interviewed by Tammy, and 9/22 as the death date of Ruth and Briggs.

1. Twin Peaks. Miriam crawls out of the woods. I'm going with probably Thursday, the day that she was assaulted, rather than her having taken over twenty-four hours to emerge.
2. Twin Peaks. Becky takes Shelly's car and shoots up Gersten's door. Again, I am sticking with Thursday, which may have been the day that Becky and Steven were observed fighting. They wear the same clothing as in part ten.
3. Buckhorn. The portal in the sky reveals the woodsman on the stairs, and Hastings is killed. Tammy interviewed Hastings on seemingly 9/29 (he says, however, 9/26). They are all wearing now different clothing than on 9/29 so I'm going with this being Friday, 9/30.
4. Twin Peaks. RR diner with Becky, Bobby and Shelly, the boy shoots the gun, the traffic jam. I'm going with Thursday as Becky is dressed in the same sweater and they are discussing what to do following the shooting.
5. Twin Peaks. Frank and Hawk discuss the living map. I'm going with this being Thursday night, they having looked at Briggs' map on Thursday. But we have a problem with Margaret calling and in part ten it seems she may have already talked with Hawk on Thursday. Traffic jam of occurrences.
6. Buckhorn. Gordon, Albert, Tammy, Dave and Diane discuss the day and the coordinates on Ruth's arm. I'm going with Friday evening. In part nine, they had seemingly met with Hastings on Thursday 9/29 (he said 9/26), then in part ten there were Thursday evening activities at the Mayfair, so, again, it seems highly unlikely they would have gone to see where Hastings found Briggs on the same day.
7. Las Vegas. Bushnell tells Cooper-Dougie he has a 5:30 meeting with the Mitchums. This should have been on Friday, but it may be Thursday as there was seemingly a drop back.
8. Las Vegas. Breakfast with the Mitchums at 2:23. Ditto above, seemingly Thursday, not Friday.
9. Las Vegas, 5:30, meeting with the Mitchums. Ditto above, should be Friday but is seemingly Thursday.
10. Las Vegas. Celebrating with the Mitchums. Ditto above. Should be Friday but is seemingly Thursday.

Approx 15,900 words or 32 single-spaced pages. A 122 minute read at 130 wpm.

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Prior: Go to Part 10
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Go to Table of Contents for Analysis of Twin Peaks Return
Link to the main TOC page for all the analyses

TWIN PEAKS: THE RETURN
PART ELEVEN
THERE'S FIRE WHERE YOU ARE GOING

AN ANALYSIS OF THE UNFOLDING

PART ELEVEN

MIRIAM CRAWLS OUT OF THE WOODS

BECKY TAKES SHELLY'S CAR AND SHOOTS UP GERSTEN'S DOOR

SHELLY AND THE WIZARD OF OZ / BOBBY AND SHELLY / SHAKING UP THE BECKY AND STEVEN NARRATIVE WITH BECKY GOING NUCLEAR / THE WIZARD OF OZ AND WILD AT HEART / SAILOR / LAURA AS THE GOOD WITCH / GERSTEN HAYWARD AND GLINDA THE GOOD WITCH / CARL'S MAGIC VAN AND THE VW LOGO / KOKOPELLI AND CARL

THE PORTAL IN THE SKY

WE'RE LATE FOR DINNER! IT'S WAY PAST 6:30!!!!

EXAMINING THE BOY WITH THE GUN AND THE SICK GIRL AS MUCH LIKE A DREAM RESTATEMENT OF BOBBY'S FEELINGS CONCERNING BECKY'S SHOOTING UP GERSTEN'S DOOR, AND THE DINNER CONVERSATION WITH BECKY AND SHELLY / THE TRAFFIC JAM AND THE PILING UP OF SCENES IN A LIMITED TIME FRAME

THERE'S FIRE WHERE YOU ARE GOING

A LIVING MAP / THE TRAFFIC JAM / CANDIE'S SPEAKING OF BEING LUCKY TO HAVE COOLING WITH THE COMING HEAT AND MARGARET WARNING ABOUT "FIRE"

CAT ON A HOT TIN ROOF

MORE HEAT WITH THE HOT TIN ROOF / THE SHAKING / PREVENTED FROM LEARNING THE PLACE THE COORDINATES REPRESENT BY THE ARRIVAL OF COFFEE AND DOUGHNUTS, BUT THEN ARE THE COORDINATES IN THE PIC THE SAME AS THE COORDINATES IN THE FIELD?

NOBODY KEEPS BATTLING BUD ON THE ROPES FOR LONG

BATTLING BUD AND BUSHNELL KEELER / THE MOTIF OF THE RIGHTEOUS FIGHTER / CATASTROPHIC AND CAT ON A HOT TIN ROOF

2:23

PURPOSE OF THE SCENE

ENTERING THE DREAM, 5:30

THE GODFATHER AND SANTINO'S / CANDIE'S CUT AND THE PROBLEM OF THE ACCIDENTAL AS VERSUS COSMIC DESIGN / THE RELATIONSHIP OF THE CUT ON RODNEY'S CHEEK TO THE CUT ON COOPER'S CHEEK, RECEIVED IN THE SECOND SEASON STORY OF COOPER'S BEING TAKEN HOSTAGE AT DEAD DOG FARM AND JEAN RENAULT DYING THERE

HEARTBREAKING

MELANCHOLIA AND THE SENSE OF THE TOO-GOOD-TO-BE-TRUE DREAM / FRIENDS AND SMOKING / MORE TRAFFIC / GERSTEN'S RELATIONSHIP TO THE PIANO PLAYER

STAB AT A TIMELINE

TWIN PEAKS: THE RETURNPART ELEVENTHERE'S FIRE WHERE YOU ARE GOING

AN ANALYSIS OF THE UNFOLDING

PART ELEVEN

MIRIAM CRAWLS OUT OF THE WOODS

BECKY TAKES SHELLY'S CAR AND SHOOTS UP GERSTEN'S DOOR

SHELLY AND THE WIZARD OF OZ / BOBBY AND SHELLY / SHAKING UP THE BECKY AND STEVEN NARRATIVE WITH BECKY GOING NUCLEAR / THE WIZARD OF OZ AND WILD AT HEART / SAILOR / LAURA AS THE GOOD WITCH / GERSTEN HAYWARD AND GLINDA THE GOOD WITCH / CARL'S MAGIC VAN AND THE VW LOGO / KOKOPELLI AND CARL

THE PORTAL IN THE SKY

WE'RE LATE FOR DINNER! IT'S WAY PAST 6:30!!!!

EXAMINING THE BOY WITH THE GUN AND THE SICK GIRL AS MUCH LIKE A DREAM RESTATEMENT OF BOBBY'S FEELINGS CONCERNING BECKY'S SHOOTING UP GERSTEN'S DOOR, AND THE DINNER CONVERSATION WITH BECKY AND SHELLY / THE TRAFFIC JAM AND THE PILING UP OF SCENES IN A LIMITED TIME FRAME

THERE'S FIRE WHERE YOU ARE GOING

A LIVING MAP / THE TRAFFIC JAM / CANDIE'S SPEAKING OF BEING LUCKY TO HAVE COOLING WITH THE COMING HEAT AND MARGARET WARNING ABOUT "FIRE"

CAT ON A HOT TIN ROOF

MORE HEAT WITH THE HOT TIN ROOF / THE SHAKING / PREVENTED FROM LEARNING THE PLACE THE COORDINATES REPRESENT BY THE ARRIVAL OF COFFEE AND DOUGHNUTS, BUT THEN ARE THE COORDINATES IN THE PIC THE SAME AS THE COORDINATES IN THE FIELD?

NOBODY KEEPS BATTLING BUD ON THE ROPES FOR LONG

BATTLING BUD AND BUSHNELL KEELER / THE MOTIF OF THE RIGHTEOUS FIGHTER / CATASTROPHIC AND CAT ON A HOT TIN ROOF

2:23

PURPOSE OF THE SCENE

ENTERING THE DREAM, 5:30

THE GODFATHER AND SANTINO'S / CANDIE'S CUT AND THE PROBLEM OF THE ACCIDENTAL AS VERSUS COSMIC DESIGN / THE RELATIONSHIP OF THE CUT ON RODNEY'S CHEEK TO THE CUT ON COOPER'S CHEEK, RECEIVED IN THE SECOND SEASON STORY OF COOPER'S BEING TAKEN HOSTAGE AT DEAD DOG FARM AND JEAN RENAULT DYING THERE

HEARTBREAKING

MELANCHOLIA AND THE SENSE OF THE TOO-GOOD-TO-BE-TRUE DREAM / FRIENDS AND SMOKING / MORE TRAFFIC / GERSTEN'S RELATIONSHIP TO THE PIANO PLAYER

STAB AT A TIMELINE

TWIN PEAKS: THE RETURN
PART ELEVEN
THERE'S FIRE WHERE YOU ARE GOING