TWIN PEAKS RETURN -- PART THIRTEEN -- WHAT STORY IS THAT, CHARLIE?

AN ANALYSIS OF THE UNFOLDING

NOTE: Analysis is mixed in with the relation of scene contents as well as at the end of scenes. Because of the nature of Lynch's and Frost's work together, I'm approaching this analysis differently from how I do usually. As I proceed in the analysis, I am only looking at the "present" and back to information that has been given previously. I keep in time with what is revealed per part, looking at connections that link back to previous parts, old episodes, and other Lynch and Lynch/Frost works, for the manner of unfolding is my primary interest. I will likely repeat history from part to part so I ask your patience with this. This 18 hour film is made for one who knows Twin Peaks from the beginning and so I am also approaching it as such a viewer--their expectations and questions as they receive new information.

In my Kubrick analyses I include a screengrab of each shot, and number the shots from the beginning. I am also careful with the Kubrick to have dialogue associated only with the shot in which we hear it. I'm doing things differently here. I am listing shots but not providing screengrabs of each, and am numbering them from the beginnings of scenes. I am also not strict, in the Twin Peaks analysis, about keeping dialogue within the context of a shot. For instance, if a character starts speaking in shot 2 but the bulk of the dialogue is in shot 3 then I will have that dialogue associated with shot 3. Also, as a matter of convenience for me, I'm not being a stickler about numbering shots in this analysis. Often I group them in blocks, and their number may not even be exact. The use of them at all is to provide some structure as far as ease in separating a relation of shots and dialogue from commentary, and to give a sense of approximate number of shots. Usually a lot. Lynch/Frost do a lot of back-and-forth response shots between people. I'm a little surprised at how many shots are used in some scenes. In my Kubrick analyses I'm very careful with shots to get them exact, to have the exact number, to associate them exactly with what is going on in dialogue etc. I don't feel it's as essential to pay such meticulous attention to certain particulars with Lynch. His works show some bit of Kubrick influence, but they are very different directors.

This is first draft material so go easy on me, if you will. I'll eventually get around to proofing and refining, but, in the meanwhile, if you see spelling errors or some grammar confusion or misphrasings, and have the time, let me know.

BEARING GIFTS

(1) Exterior of Lucky 7 office building and the statue of the gunman. (2-7) Inside, Rodney, Bradley, Cooper-Dougie, Candie, Sandie and Mandie dance into view in a kind of conga line. Tony hears them and watches in astonishment as (8-12) they make their way into Bushnell's office. Candie, Sandie and Mandie place boxed gifts on Bushnell's desk.

RODNEY: Our new favorite insurance agency!
BRADLEY: Oh, my god, Battling Bud, you're the man!
(13-24) BUSHNELL: Looks like you boys made quite a night of it. Dougie, you might want to call your wife.
COOPER-DOUGIE: Wife?

We've been getting some wonderful joy in the unfolding of the relationship between Dougie and his wife, it seeming as though Dougie is indeed the love of Janey's life, and she is becoming the love of his life. Humorously, we are now given a poke in the ribs with Dougie-in-party-mode completely forgetting about his wife. Or perhaps the "idea" of wife rather than the specific person.

Bearing gifts
Bearing gifts

How excited Candie is! When has she ever been so joyful? One feels with her the pleasure of "gift", the delight in how that gift might bring happiness.

RODNEY: Bushnell, we come bearing gifts, tokens of our gratitude to you.
BUSHNELL: What is all this?
CANDIE (opening the first box): A box of Montecristo Number Twos.
BUSHNELL: Oh, nice.
CANDIE: A set of monogrammed diamond cuff links.
BUSHNELL: Oh, they're beautiful.
CANDIE: And the keys to your new car!
RODNEY: A BMW convertible. Now you and Dougie have a matched set.
BUSHNELL: Fellas, I am speechless.
BRADLEY: A wrong has been made right and the sun is shining bright.
BUSHNELL: Ah, thank you, fellas.


(25) We see Tony hiding behind his desk in his office (26) as the partiers dance out of Bushnell's office. (27-31) He calls Duncan.

Duncan
Duncan

TONY: I have no idea what happened, Mr. Todd.
DUNCAN: Well, this is most unfortunate.
TONY: I agree. I don't know what to say.
DUNCAN: But you know what to do. We talked about this. I am giving you one day to remedy this situation.
(32-37) TONY: But you said two before.
DUNCAN: One day. Do we have a complete understanding?
TONY: Yes, sir.
DUNCAN (he hangs up and calls in Roger): Roger. Roger, get in here, please.

The opening is a classic, joyful, celebratory scene, with its delightfully bent video game style music and the conga line. I've not much else to say on it other than we celebrate with Dougie-Cooper his having made friends of the Mitchums. We may wonder if they may even become protectors of him in any upcoming troubles with assassins pursuing him.

We may also may feel a little discomfort due the old Trojan horse inspired warning to beware of Greeks bearing gifts. In this case, the Greeks are Lynch/Frost. What could go wrong? We don't know, but there's always a possibility that there could come a reversal. So, there is also significant tension. What happened is fun and funny and we hope that Dougie will be protected by the Mitchums. On the other hand, these are gangsters and what makes us believe we have any reason to trust them once they are out of sight? Would I be comfortable if they came to me with expensive gifts? I would instead worry, "Oh, what the fuck, what do I do. These are gangsters. What are they going to expect out of me in the future? What kind of unspoken obligations are connected with these gifts? How can I possibly accept a car?"

Other than that, moving onto the dialogue between Tony and Duncan, we have a pushing of the plot forward. As the plan to have the Mitchum brothers kill Cooper-Dougie has fallen through, now Tony is tasked with murdering him.

SEVENTH HEAVEN

IT'S SO TOO GOOD TO BE TRUE THAT WE'RE NERVOUS, AND "DANCE OF THE SWANS" SIGNALS THAT MAYBE WE SHOULD BE NERVOUS

(1-2) Silver Mustang Casino workmen deliver gifts to Cooper-Dougie's home, (3-10) Janey answering a knock on their door.

DELIVERY: Mrs. Jones?
JANEY: Yeah?
DELIVERY: Where do you want it set up?
JANEY: What?
DELIVERY: Sonny Jim's new gym set, courtesy of the Mitchum brothers.
JANEY (eyes scanning from the gym to the white car tied up with a red bow in the drive): And the car, too?
DELIVERY: Mitchum brothers. Where do you want the gym?
JANEY: Back yard?

New car
New car

The quality of light has even changed. The glow surrounding the new BMW reminds of that before Naido switched off what may have been a generator.

The glow
The glow

Shimmery music plays softly while Janey smiles in amazement, watching the gym set carried into the back yard, regarding her new car.

(11-14) Cut to night and the massive gym set in the back yard, all lit up with even a golden arch flashing lights. A spotlight sweeps across the gym set as Sonny Jim plays on it, a loop of the opening refrain from Tchaikovsky's "Dance of the Swans" playing as on a music box.

Gym
Gym

Janey and Cooper-Dougie watch from the house.

(15-20) JANEY: Oh, Dougie, when you didn't come home last night, I thought the worst. Look what you've done. Sonny Jim's in Seventh Heaven.
COOPER-DOUGIE: Seven heaven.
JANEY: And then the car. Oh, Dougie, I love you so much.
COOPER-DOUGIE (silently repeats): So much.

This a heart-rending scene, and one reason it is so troubling, while beautiful, is the sense of the impossible having occurred, a fairy tale come true. What if it collapses and we discover none of it is real? Which is when we discover how attached we've become to Janey and Sonny Jim and Cooper-Dougie's life with them.

We feel gratified for Janey, Sonny Jim and Cooper-Dougie, not in their sudden and lucky accumulation of consumer goods, the idea these will bring them happiness, but for the simple celebration of good fortune. The scene sparkles and dazzles, in its overwrought Las Vegas way, a spotlight wafting about, the golden arch bringing to mind Dorothy's rainbow over which she is taken to an alternate world. We know that their relationships are deeper than these toys and that if deprived of them they will not suffer. What they need is each other.

That Sonny Jim plays on the gym set to Tchaikovsky's "Dance of the Swans" does anything but reassure. "Swan Lake" is about the problem of two women who are as twins. One is a princess, Odette, who has been turned into a swan by an evil magician and only takes her natural form at night. The other, Odile, is the daughter of the evil magician. A prince meets Odette and falls in love with her. The next night he meets Odile, and believing her to be Odette, agrees to marry her. When he learns of the deception, he begs Odette's forgiveness. Then rather than submit to marrying the evil magician's daughter, after which Odette is destined to die, he and Odette commit suicide by leaping in the lake together. As Wikipedia notes, they "ascend into the Heavens together, forever united in love".

So, what of Cooper-Dougie? Is he as a version the swan story? After all, Cooper-Dougie isn't Dougie. She thinks she's with Dougie but she's not.



Why this sense of unease that he and Janey and Sonny Jim are an unreal seventh heaven, when we compare this to the story of "Swan Lake"?

When's the rug going to be pulled out from under them? Cooper-Dougie at some point is going to have to become Cooper. What then?

ARM WRESTLING

NO 3MOKING / THE NURSERY SCHOOL TEACHER / THE AUDIENCE PUT IN THE POSITION OF CHAMPIONING MR. C / TIME-AND-TIME AGAIN ARM WRESTLING MATCH / THE DUTCHMAN

(1-2) We have a view of rocky peaks unlike what we've seen before. A sound of wind. We're in western Montana.

(3-4) A garage door opens on a large warehouse and doppelcoop's Silverado drives in. He climbs out. (5-14) We see Ray and Renzo watching him on a big screen.

RAY: Fuck.
RENZO: What's the problem, Ray.
RAY: I killed that guy. He's the one I told you about.
RENZO: You didn't kill him too good, Ray.
RAY: I will now.
MR. C: Hey, Ray, you in here somewhere?
RENZO: And how did he get the code?
RAY: I gave it to him.
MR. C: Came to see you buddy.
RAY: But only to the door. So he's trapped. And mine.
RENZO: All right. I'll let you have him. I want to have some fun with him first. Bring him up.
MUDDY: Get in the elevator.

Elevator
Elevator

(15) Mr. C's ride up in the elevator may remind of the glass box in NY. (16) A number of men have gathered around Ray and Renzo, including a clean-cut guy in a tie. Ray draws a gun but Renzo tells him to put it away.

(17) A view of Mr. C in the elevator. Behind we see:

FREIGHT ONLY
NO PASSENGERS
NO 3MOKING
CAPACITY
2000

Mr. C exits.

(18-52) RENZO: What do we have here?
MR. C: I came to see my friend, Ray.
RAY: I'm here, you fuck.
RENZO: Settle down, Ray. It looks like we've got ourselves a new contestant here. Tell him how it works, Muddy.
MUDDY: Real simple. This man is our boss because no one can beat him at arm wrestling. Imagine all the men who have tried. Many, many. In 14 years, no one's even come close. Any new guy gets one chance. One chance. If you lose, Renzo's your boss. So you can leave now, or stay and lose, and you do not do what Renzo says, you die. So you decide. You stay and play the game. It's your choice. But looking at you, I say you better leave.
MR. C: What is this? Kindergarten? Nursery school? What do I get if I win?
MUDDY: You'd be our boss.
MR. C: I don't wanna be your boss. But if I win, I want him.
RENZO: Step inside. Let's play the game. (Renzo hits Mr. C in the back of the head.) That was from the nursery-school teacher. (He sits at a small table and has Mr. C sit opposite.)
(53-69) MUDDY: Rules! Starting position. Wrestling arm on table. Other hand cannot touch table. Hands up! Grip! Do not start until I say. Ready, boss?
RENZO: Ready.
MUDDY: You ready?
MR. C: Ready.
MUDDY: Commence arm wrestling!
(70-82) MR. C: Starting positions. (Returning arms to upright position easily.) (83-94) (95-113 approx) Starting positions's more comfortable. (He does the same again, easily, the other man struggling.) It hurt my arm when you moved it down here. But it really hurt me when you had it down here. (He moves the arm now to the other side.) (114-121) See? Doesn't it hurt your arm when I go like that? I think it's much worse when it's down here. (122-136 approx) Let's go back to starting positions. It's really much more comfortable.

Starting place
Starting positions

Starting place again
Starting positions again again

Mr. C slams down Renzo's arm, breaking it, (137-161 approx) then punches his face literally in, killing him. Two men having grabbed Ray who is struggling. Muddy says he's all his, boss. Mr. C tells them to get him some cell phones. They all hand theirs over, Muddy telling him he won't get any reception there. Mr. C pockets a few and tells them that he's going to need some privacy with Ray. Muddy hands him over saying Ray's all his. The others leave. "Can we talk about this?" Rays asks then runs, Mr. C shooting him in the leg. "Now we can talk," Mr. C says. (162-169) He looks up and notices the man in the tie who asks him if he needs any money. Mr. C tells him no and he goes downstairs.

(170-208) Mr. C: Somebody hired you to kill me. Who is it? I can make you tell me.
RAY: I know it. It came through a man named Phillip Jeffries. At least that's the name he gives. I never met him. I only talked to him on the phone.
MR. C: Keep talking.
RAY: He set the whole prison thing up with Warden Murphy. Jeffries says you were gonna kill me. He said I could get out and stay out if I killed you first.
MR. C: Why?
RAY: He said that you got something inside that they want.
MR. C: Did he ever mention Major Briggs?
RAY: No. (Reaching for a pocket.)
MR. C: Easy.
RAY: You know I don't have a gun. I got to show you something. (He takes out the jade ring.) Jeffries said I was supposed to put this on you after I killed you.
MR. C: Where did you get that?
RAY: It was given to me right before I walked out of my cell and saw you.
MR. C: Who gave it to you?
RAY: A guard. I don't know. He was dressed as a guard but I'd never seen him before.
MR. C: Put it on. Ring finger. Left hand. Now, you know what I want, Ray.
RAY: You want the coordinates I got from Hastings, or rather his pretty secretary, Betty. Do you really think I'm going to give them to you: You really think you could even trust the numbers I give you? I know who you are. Can I reach in my pocket?
MR. C: Depends on what's in your pocket.
RAY: The numbers, stupid. I have the coordinates written out. They're in my pocket.

Richard
Richard

(209-212) As he reaches in, we see Richard Horne in the crowd of men watching on the big screen. He advances forward to stare at Mr. C, captivated.

(213-224) RAY (handing the paper to Mr. C): Here.
MR. C: Ray, where is Phillip Jeffries?
RAY: I don't know.
MR. C: Ray, where is Phillip Jeffries?
RAY: Last I heard, he was at a place called the Dutchman's, but it's not a real place.
MR. C (shoots him through the head): I know what it is.

The ring
The ring

(225-235 approx) The ring disappears from Ray's hand, appearing with a ringing sound on the Red Room's floor. Mr. C leaves the room, staring up at the camera. Then we see Ray lying on the Red Room floor, blood pooling under his head, and Phillip's hand placing the ring on the black marble table.

Mr. C's ride up the elevator at The Farm probably brings to mind the elevator at the glass box penthouse for a good reason. We had the emphasis on the 3rd camera there, and a reversal concerning it in which Sam was depicted as archiving footage both from the 3rd camera and the one opposite it. Here, as Mr. C rides up the elevator we see the S of the "NO SMOKING" sign is instead a 3.

The assault on the nursery school teacher is brought back in with Mr. C dismissing the proceedings as infantile, then is punched in the back of the head "for the nursery school teacher". We know that this is not literally for Miriam. She is not a factor here. But the reference to the teacher establishes a link between Richard and Mr. C via Miriam, who Richard assaulted and nearly killed. Perhaps we are to consider this in relation to the injunction that Cooper remember "Richard and Linda". We still don't know who Linda might be, but Mr. C takes the place of Richard Horne in a small audience reprisal for the teacher.

We've no love for Mr. C, but, curiously, in this setting, the audience is going to likely root for him against Renzo and his bunch. Because of Mr. C's relationship to Cooper? Because they want to see the eventual battle between Mr. C and Cooper? Because, as far as bad guys go, Mr. C is smarter and we know he is more powerful? It's also a peculiar situation in that the audience has no doubt that Mr. C will win. He must. But there is the tension as to the "how" he will win, and it is in this "how" they take the side of Mr. C as preferable to Renzo. We even task Mr. C with being the "fairer" one. Which makes no sense, considering Mr. C's personality and what we know of his history. Our quest for justice is turned upside down. Mr. C is hit on the back of the head for the nursery school teacher. Yea! Nursery school teacher! Oh, boo! Mr. C was unfairly hit on the back of the head! That's not right!

It makes no sense. But this is the place where the audience goes, rooting for Mr. C to show Renzo and his group how they are no match for him.

Why arm wrestling? Does it have to do with The Tree as the Arm? Are we supposed to connect it with The Tree as the Arm?

It would seem so, because The Tree as the Arm had said to Cooper, "Time and time again," which we have acted out with Mr. C several times returning Renzo to the more comfortable "starting position".

The accountant is a curious touch, his remaining behind to ask his new boss if he needs any money.

We've been aware since part two that Jeffries had been an intermediary in the hiring of Ray and Darya to kill Mr. C. There was also some uncertainty with this as Mr. C believed himself to be in contact with Jeffries, but during a phone call realized he wasn't speaking with Jeffries. To whom was he speaking? In part eight we became aware that Mr. C had been double-crossed with the release from the prison, Ray having been given a gun and Mr. C's had no bullets. Now we find out that it seems Jeffries was involved in this. But was it really Jeffries? Or the person who had passed himself off as Jeffries to Mr. C? We don't know. Whoever they are, a deep connection to the Red Room is had otherwise Ray wouldn't now have the green ring. He has been in contact with the other side. And what's on the other side is not taking it for granted that Cooper will win his battle against the doppel if they plotted for Ray to kill the doppel, even providing Ray with the green ring.

For some reason Ray tells Mr. C about the ring. For whatever reason, instead of giving Mr. C outright the wrong coordinates, he instead raises the possibility to Mr. C that he has no reason to trust the coordinates Ray gives him.

Finally, he tells Mr. C that Jeffries is at the Dutchman's, which is not a real place.

The Dutchman takes us back to the Flying Dutchman legend that entered with The Albatross jerky. That the Dutchman's is not a real place fits with the Flying Dutchman being a mirage, a Fata Morgana, named after the Arthurian sorceress, Morgan le Fay.

The Flying Dutchman is a mirage of something that is far away.

LAS VEGAS METROPOLITAN POLICE DEPARTMENT

THE FUSCO BROTHERS DITCH THE CASE OF COOPER-DOUGIE / TONY SEEKS POISON

(1) The exterior of the police department. Siren.

(2-4) The fusco brothers. T Fusco eats while Smiley talks on the phone.

SMILEY FUSCO: No. You went too far. It's it's about two blocks back. Try to make a U-turn. Okay, then go around the block. You just missed it. Yeah. I'll tell him. All right. Bye, mom. Drive careful. (Hangs up the phone.) Mom wants us to come to Sunday dinner. Hopes there's no murders this weekend. (Laughs.) Fat chance that's gonna happen.

An offscreen conversation happens, involving a man named Phil, in which a woman is pissing on the floor and won't stop. It's yelled that she has a knife, and Phil is called upon to tase her. She begins to scream. Another woman yells they want to report a cop and she is told to take a seat, that they'll be with her in a moment. D. enters during this.

(5-11 approx) D FUSCO: Got the prints on our pal Douglas Jones. According to AFIS, he escaped from a high-security prison in South Dakota two days ago.
T. FUSCO: What?
D. FUSCO: No, it gets better. He's a missing FBI agent.
T. FUSCO: That's a huge fucking mistake!
D. FUSCO: What? A dollar?


D. Fusco wads up that paper into a bowl and shoots it into a basket.

Fusco brothers
Fusco brothers

(12-15) Tony appears.

TONY: Ex excuse me? I'm looking for Detective Clark.
T. FUSCO: Yeah, he's out back, grabbing a smoke. Just through the doors.


(16-35) Tony exits doors into the back alley, seeing Clark.

Anthony wants poison
Anthony wants poison

DET. CLARK: Hey. Fuck. What are you doing?
TONY: I need to ask you a question.
DET. CLARK: You know you're not supposed to come here.
TONY: I have to ask you a question.
DET. CLARK: Better be good.
TONY: It is. I need to know a good poison I could use. Undetectable.
DET. CLARK: You shit.
TONY: What?
DET. CLARK: Aconitine. Crime labs are getting wise to it, but it's your best bet.
TONY: Where do I get it?
DET. CLARK: By paying me top fucking dollar, cowboy.
TONY: Why are you so against me?
DET. CLARK: 'Cause you're a weak fucking coward. It makes me sick just to look at you.
TONY: I'm trying to keep this whole operation from falling apart. Somebody's onto us. That's why I need the stuff.
DET. CLARK: It's gonna cost you. Five thousand. It'll do the job, give you two hours to get away. It's perfect for a chickenshit punk like you.
TONY: I'll get the money.
DET. CLARK: Nine-thirty tonight, outside of Crosley's, at the back door.


Tony leaves and another individual approaches who has been watching.

MAN: What's up?
DET. CLARK: He's cracking. The fuck wants to poison somebody.
MAN: I'll call Mr. Todd.
DET. CLARK: Yeah.

Well, that does in our hopes for the Fusco brothers linking Dougie-Cooper to Cooper. Not happening! Or, rather, it has happened. They have the DNA evidence, but it has been tossed into the trash. The Fusco brothers, who have appeared to be idiots, are indeed idiots. Their investigation is finished. They have no further interest in Dougie, who appeared on the scene in 1997 with no former history, and who has the same DNA of an FBI agent who's on the lam.

Well, they're not exactly idiots. After all, Cooper-Dougie was there in Las Vegas when Mr. C got out of prison. Of course they think this is a mistake. But the audience looks up them as being idiots who have blown a chance to link Cooper to Dougie-Cooper.

The last time we saw the Fusco brothers was in part nine when they had their meeting with Cooper-Dougie, gathered his DNA, and after which they nabbed Ike the Spike. In part nine it still seemed it was Wednesday, but by part ten we are having to push our timeline (illogically) back a day so when it is Thursday it is instead Wednesday in Las Vegas.

What Lynch/Frost give us in this section is that it seems perhaps to be Saturday if we go by Mr. C having escaped from prison early Thursday morning, and he's given as having escaped two days beforehand. But they could also be looking at early Thursday morning as late Wednesday night, and so it is Friday.

I don't know if it's of interest that the poison, aconitine, of the Wolfsbane, was thought to have a positive use in preventing transformation into a werewolf. There is no werewolf phenomena with Cooper but he does have his evil doppelganger side. Or it may be relevant that the The Fusco Brothers comic strip, by J. C. Duffy, has a wolverine in it named Axel Fusco. I don't know how long it continued but there were some strips concerning Axel and The Elephant Man (a movie Lynch directed). A doctor, meeting Axel, says he's waited his entire life for a patient like him and asks if he's seen the movie The Elephant Man. In another strip, he asks Axel if he wants to team up and makes a sequel to The Elephant Man called The Wolverine Boy.

ON THE ROAD IN UTAH WITH HUTCH AND CHANTAL

(1) Night. The interstate. (2) Hutch drives while Chantal snacks. (3) Signs show they are on 189 South to Provo, nearing the 52 to 15 exit to Orem.

(4) CHANTAL: Utah. Mormons. They don't drink liquor. They don't drink coffee. They don't drink Coca-Cola. And they don't even have sex before marriage.
HUTCH: Yeah, but when they do get married, I heard they they can marry, like, six or ten women.
CHANTAL: Funny there's not more of them. I guess it's the drinks.

Utah
Utah

Murderers have conversations just like the rest of us. And this solid husband and wife team are on their way to Las Vegas. And Cooper-Dougie. We don't want Cooper-Dougie to have to deal with this pair. There are way too many assassins going after Cooper-Dougie.

TONY THROWS OUT COOPER-DOUGIE'S POISONED COFFEE

TONY'S DANDRUFF / COOPER-DOUGIE'S REMARKABLE GOLDEN TOUCH EFFECT CONTINUES, RIGHTOUSNESS FOLLOWING HIS INNOCENCE (AND CHERRY PIE) WHEREVER HE GOES

(1-6) In the new BMW, Janey drops off Cooper-Dougie for work. Lovingly, she helps him undo his seat belt and assists him out the door. Affectionately, she says, "Oh, Dougie", as he plods across the plaza. She drives off.

Ride to work
Ride to work

(7) Tony waits on the first floor near the entrance for Cooper-Dougie. (8) Cooper-Dougie approaching the glass doors, with no one to assist him, he walks straight into them. (9-15) Tony watches the stunned Cooper-Dougie. (Two men who were entering via doors to the left in shot 8 appear again in shot 10 in the same positions and enter.) Cooper-Dougie touches the glass, trying to comprehend it and what to do. Another man approaches finally and opens the door, and Cooper-Dougie enters, slightly stunned.

(16-20) TONY: Good morning, Dougie. What do you say to a nice hot cup of coffee?
COOPER-DOUGIE (smiling): Coffee.
TONY: It's on me. Coffee for the great Dougie Jones.
COOPER-DOUGIE: Dougie Jones.

(21) A close-up of the SZYMON'S FAMOUS COFFEES pie sign. (22-33) Cooper-Dougie and Tony sit at a table outside, Cooper-Dougie in a red chair and Tony in an aquamarine blue.

SERVER IN ORANGE (delivering the coffee): Here you go.

Cooper-Dougie drinks, as Tony watches, then he looks up and gazes at the coffee shop in such a way that Tony looks over to it. Cooper-Dougie rises and enters the coffee shop. (34) Inside the coffee shop he bows to look at the cherry pie. (35-40) Tony takes out the poison and puts it in Cooper-Dougie's coffee. (41) A server approaches Cooper-Dougie. "Hon, you want some cherry pie?" He repeats, "Cherry pie." She tells him, "Go sit down.I'll bring you a slice. Go enjoy your coffee." He repeats after her, "Coffee."

(42) A view of Tony as Cooper-Dougie exits the shop behind him. (43) The dandruff on Tony's jacket from the rear. (44) Cooper-Dougie advancing behind Tony. (45) The jacket. (46-53) Cooper-Dougie touches the jacket. First with one hand, then with both. Tony becomes agitated, looking at the coffee.

Dandruff
Dandruff

(54-61) TONY: Dougie. There's your coffee.
COOPER-DOUGIE: Your coffee.
TONY: Oh, God! So sorry. I never meant to hurt anyone.


Tony runs off with Cooper-Dougie's coffee. Cooper-Dougie takes Tony's coffee and sits in the red chair. The server approaches, "Here's your cherry pie."

(62) Tony rushes into a bathroom where we see, in a mirror, the back of a man in a light-colored suit before a urinal. He tosses the coffee in a urinal and, crying, dumps the cup in the garbage. "That bad, huh?" says the man as Tony exits.

(63) Tony returns to Cooper-Dougie who is eating his pie. He cries out, "Dougie! Dougie, I'm so sorry! So sorry!"

Repentant Anthony
Repentant Anthony

The dandruff on Tony's jacket, that so attracted Cooper-Dougie's notice, seemed to me to be a replay of the "stars" through which he fell when he was "tricked" and landed first in Manhattan and then in the palace above the purple sea. He may not even remember the fall. The white specks on the dark background simply look familiar.

Things get more and more unreal in Las Vegas with Cooper-Dougie being a touchpoint for positive change and amazingly good luck. It may all feel more and more impossible, and thus worrisome. What will ultimately be revealed concerning Cooper-Dougie and Las Vegas? The better it gets, the kind of scarier it gets because of all the good that could be lost.

STEVEN MISSING FOR TWO DAYS

MORE MISSING PEOPLE / CAN CHERRY PIE MAKE EVERYTHING GOOD FOR BECKY AGAIN?

(1) Thunder and storm clouds over the T MAR RR Cafe. (2) Inside, Shelly is busy putting a pie in the pie cupboard and handing out menus. Her phone rings. She answers, saying, "Hey, Becky."

Becky
Becky

(3) Cut to Becky, wearing a brown plaid shirt over a turquoise shirt, sitting on her sofa at home, crying.

BECKY: Mom, Steven never came home last night. That's two nights that he's been gone. That's two days, mom.
(4) SHELLY: Oh, I'm sorry, honey.
BECKY: I'm really worried.
SHELLY: Well, maybe he just needs some time.
(5) BECKY: I don't know. I think he's going through something bad. I can feel it.
(6) SHELLY: Okay, honey, can we talk about this later? Hungry customers.
(7) BECKY: Sure.
(8-10) SHELLY: No, you know what? Why don't you come down here and I'm going to serve you up a beautiful piece of cherry pie, a scoop of vanilla ice cream and lots of whipped cream.
(11) BECKY: Oh, damn, OK. That sounds so good. OK. Okay, I'll be right there.
(12) SHELLY: Okay, hurry up and we'll find some time to talk, okay?
BECKY: Okay. I love you.
SHELLY: I love you, too.


Becky wears a turquoise top that may align her with her mother in her turquoise uniform. Last we knew, which seemed to be on a Thursday, Shelly and Bobby were encouraging Becky to split up with Steven, but she was undecided. Now we find that Becky has been waiting for Steven to return for two days, so Shelly encourages her to come down for some magic cherry pie. Is it Saturday? Audrey's Billy has been gone for two days. In Las Vegas, the Fusco brothers had stated that Cooper escaped from prison two days prior. I was supposing, though Mr. C. escaped early Thursday morning, that they were likely meaning Wednesday night and thus it was Friday, then on Saturday (?) Tony attempted to and decided not to poison Cooper-Dougie. I'm going to assume that for Becky it is Saturday as well.

Becky, Becky, Becky. You shoot up your husband's girlfriend's door and you expect him to come home?

TONY'S CONFESSION

RIGHTEOUSNESS FOLLOWS DOUGIE-COOPER RIGHT INTO BUSHNELL'S OFFICE WITH TONY'S CONFESSION AND HIS CREDITING DOUGIE WITH BEING RESPONSIBLE FOR HIS CHANGE AND SAVING HIS LIFE

(1-2) Bushnell's office. Cooper-Dougie stands between a crying Tony, seated, and Bushnell.

(3-7) TONY: I can't believe what I've done. I can't believe what I've become. I tried poisoning Dougie. He saw right through me. Oh, God. He was so kind about it. I can't believe what I was about to do. I have bo confess.
COOPER-DOUGIE: Confess.
TONY: I will, Dougie. I will. Bushnell, I've been selling you down the river for months and months for Duncan Todd. I've been working for Todd. I've lied and cheated for money.

Repentant Anthony and Bushnell
Repentant Anthony and Bushnell

(8-37 approx) BUSHNELL: Anthony, Dougie already showed me. He explained all this already.
TONY: He did?
BUSHNELL: Now that you're confessing, I have to admit that my anger, my contempt for you, is subsiding. Dougie even implicated himself. And he showed me how you manipulated claims. And you cost me plenty. I trusted you, Anthony. I looked at you as my friend and my number-one sales agent.
TONY: Number-one sales agent. How can I make it up to you? I'm so ashamed of what I've done. And if it weren't for Dougie, I might have a murder on my hands. Oh, my God, what can I do?
BUSHNELL: I was prepared to send you away for a long, long time.
TONY: Oh.
BUSHNELL: But, now, are you prepared to testify against Duncan Todd?
TONY: Yes. Yes. Yes, even if I die in the process. I haven't slept for weeks. I vomited blood. I can't live like this. I only want to die or change. Bushnell, please help me. I only want to make things right again.
BUSHNELL: And these two cops that Dougie found?
TONY: What? He knows about them, too?
COOPER-DOUGIE: Them, too.
TONY: They're worse than Todd. You don't know what you're asking.
BUSHNELL: Oh, I'm not really asking, Anthony.
TONY: I only want to fix this mess I made. Dougie saved my life. Thank you, Dougie.
COOPER-DOUGIE: Thank Dougie.
TONY: Thank you. Thank you.

Bad is not necessarily bad forever. Evil doesn't always win. Innocence and good has power. Tony credits Cooper-Dougie as being directly responsible for his change, for which he's grateful, and now the crooks in the Las Vegas police department are going to go down. As a viewer, it being episode thirteen, we don't know if we'll be a witness to any of this, which seems like it would take up some valuable screen time, or maybe not. At least we don't have to worry about Tony going after Cooper-Dougie. That's over with.

NORMA'S DOUBLE R FRANCHISE

THE CONTINUING TRAFFIC JAM EFFECT / BOBBY AS THE FATHERLESS SON RATHER THAN AS THE FATHER / NORMA NOT SO STUCK IN THE PAST AS SHE APPEARS

(1) The exterior of the RR Cafe. Earlier we'd heard thunder. It's night and the ground is now wet. (2) Interior. Bobby enters wearing a plaid shirt over a black t-shirt. He asks a waitress, "How are you?" She asks how he is and he says, "Hanging in. I will have the usual." She says she'll get it right up for him. Looking toward the kitchen, he goes and stands next to Norma's booth, where she does her paperwork. She is seated with Ed.

Ed's back!!! Hi, Ed!

BOBBY: Shelly go home already?
NORMA: Yeah, she did.
BOBBY: Oh, okay. I'll leave you two...
NORMA: No, no, come and have some dinner.
BOBBY (moving away): I just ordered, thanks.
ED: Bobby, get your butt back over here. It's no good eating alone.
BOBBY: Thanks.

Bobby, Ed and Norma
Bobby, Ed and Norma

ED: So, what's new, deputy?
BOBBY: Oh, well, we found some stuff that my dad left, today.
ED: Really. What kind of stuff?
BOBBY: Don't know yet. But it's...something.
ED: Oh.
BOBBY: You know? (Served his food. Spaghetti and red sauce and garlic bread.) Oh, thanks. We're going to check it out though, I'll tell you that.
NORMA (exiting): I'll go bring your dinner, Ed.
BOBBY: You want me to move to another booth so you guys can...
ED: No reason, Pal. Nothing happening here.
NORMA (returning and giving Ed his plate): Here you go.
ED: Thanks, babe.
NORMA (looking up): Hey, you!
WALTER: Hey, girl.


(3) Walter, a guy in brown suit, blue shirt, carrying a briefcase, walks down toward the booth. (4) He and Norma lightly kiss and look toward Ed and Bobby, who get the message.

ED: You two talk business, we'll move somewhere else. Good to see you, Walter.
WALTER: Oh, yeah. Good to see you, too. (Taking a seat.) What's his name again?
NORMA: Ed. Ed Hurley.
WALTER: Oh, right. Yeah. You're looking beautiful.
(6) NORMA: Well, thanks. So, to what do I owe this pleasure?

Walter and Norma
Walter and Norma

(7-13) WALTER: Norma, I had to make the drive 'cause I got last month's reports this morning and I was so excited to share them with you.
NORMA: Tell me.
WALTER (pulls out a laptop): Three of our five Norma's Double R franchises turned a profit. And that's a huge milestone for such a new brand. Particularly, when this whole region still faces such uphill challenges economically.
NORMA: So that's good.
WALTER: That's very good.


(14-16) Ed (two booths down) and Norma briefly exchange glances, Ed looking none too happy.

(17-41 approx) WALTER: Curiously, one of the two that's lagging is this one right here, your flagship diner.
NORMA: Well, business always takes a little dip this time of year.
WALTER: It's been going on for a few months now. So, I took the liberty of running a point-of-sale analysis between this location and the others.
NORMA: I can't really decipher that. Could you just tell me what it means?
WALTER: In black and white, you're spending too much per pie and not charging enough.
NORMA: Well, look, Walter, I wanted to say this to you before. It's I-I've heard from other people that they think that our pies at the other locations are just not as good as the ones we have here.
WALTER: I hear you.
NORMA: And I gave them all my exact recipes, as per our agreement, but I don't think they're following them.
WALTER: Norma, I assure you they're following your recipes to the letter, but also per the agreement, using their discretion about where they get the ingredients.
NORMA: Mm, no. All my ingredients are natural, organic, local.
WALTER: I know. You make them with love.
NORMA: But this was our agreement.
WALTER: Norma you're a real artist, but love doesn't always turn a profit. We believe in you 100 percent, but from a business perspective, the board would like you to consider some alternatives without sacrificing any of the high standards that you're so well-known for.
NORMA: Well, if you can explain the alternatives, I'll look into it.
WALTER: Well, look, I don't mean to sound discouraging one little bit. This is all good news. It's just about tweaking the formula to ensure consistency and profitability. For instance, we think it's really time you changed this name to Norma's Double R.
NORMA: You know, Walter, in Twin Peaks, it's been the Double R Diner for over 50 years, and that's how people know it.
WALTER: No disrespect to the Double R, but you'll recall our market research showed people responded so much more favorably to your name Norma's Double R, as it should be. You're the face of the franchise.Are we on for dinner later? To celebrate?
NORMA: Yes, Walter.


(42 approx) Ed looking on with growing irritation. (43 approx) Norma. (44 approx) Ed.

Suddenly we are back to Thursday again with Bobby saying that they had found stuff that his dad left. Thursday was also the day that we'd had him in the diner with Becky and Shelly discussing Becky's actions, then the firing of the gun occurring, which may or may not have caused the traffic jam. I've noted that I think the "traffic jam" is a metaphor for the collapse of time, so that we've had a pile-up of scenes seeming to take place about the same time period. Such as with this one, where I think we are back at Thursday again. This is not a later scene taking place on the same night after he was with Becky and Shelly. It's like another Thursday instead. Or like Thursday just keeps happening time and time again. He's dressed in different clothing. Rather than Bobby as father and ex-husband, the man with his own family for which he's been responsible, he is instead Bobby the fatherless son, the man without a family, who's being invited by Ed and Norma to partake in their family table, and he grins and acts like an orphaned son in a second, adopted home. I'm not saying he doesn't have Becky as his daughter with Shelly. Obviously, he is there hoping to have Shelly wait on him and she's already gone. He's the divorced guy or the separated guy. As well as the fatherless son.

Ed is back! But he insists nothing is going on with him and Norma.

Then Walter appears and Ed and Bobby slink away. With Walter's entrance we learn that Norma isn't stuck in the past at all, which we may have been inclined to believe with her paper-method way of handling records. No, Norma instead is a big business woman with a franchise.

Walter as a love interest for Norma? We collectively moan--oh, no. Not that we think he might be only into her for her money. But he's not respecting her decisions and is trying to change her. We've just had the scenes in which pie (presumably all made with love) changes lives. But Walt wants Norma to cut corners and produce not-so-special pies. They're using the same ingredients, yet not. They're not exact. They're not organic and local. It's like you have Cooper and Mr. C who is Cooper but not and Dougie who is Cooper but not. Walt wants to make Dougie and Mr. C pies rather than bonafide Cooper pies. He may not be evil, he may not be Hank, but we don't trust him to be good enough for our Norma. Can't you see that, Norma? Walter isn't good enough for you!

JACOBY AND NADINE REUNITED

HOW, IN THE SMALL TOWN OF TWIN PEAKS, HAVE THEY NOT SEEN EACH OTHER FOR SEVEN YEARS? NOT RUN INTO EACH OTHER?

(1) The exterior of Nadine's Run Silent, Run Drapes store, the drapes slowly opening and closing over the golden shovel displayed. (2) Nadine, with a green drink this time, seated before her computer monitor. She wears a burgundy top, as she was when watching the second Jacoby installment in episode ten, but in episode ten her drink was pink and this time she has a vest over her top. (3) The exterior of the shop. Jacoby's truck passes and seeing the shovel it stops and backs up. (4) Nadine typing at her computer. There's a buzz at the door and she goes to answer it. (5) Jacoby is at the door. Nadine opens the drapes before the door and calls out, "I'm sorry, we're closed." Then she sees who it is and opens the door.

Jacoby and Nadine
Jacoby and Nadine

NADINE: Oh, my god! Dr. Jacoby!
JACOBY: Nadine! Is that you?
NADINE: It's me. Can I call you Dr. Amp?
JACOBY: That's me.
NADINE: I usually leave out the back. Oh, my God! I love your show so much. You have done so much for me.
JACOBY: Well, I love your window display.
NADINE: Oh. Do you like it?
JACOBY: Oh, my God.
NADINE: Do you really like it?
JACOBY: It it's magnificent.
NADINE: And those drapes are completely silent. This is my tribute to you, Dr. Amp. (6) Thanks to you, (7) I am really starting to shovel myself out of the shit!
(8) JACOBY: Oh, Nadine. That, that just means the world to me. It really does. You know, it's us against them.
(9) NADINE: And I am your most loyal foot soldier or shoveler.
(10) JACOBY: You know, the last last time I saw you, it was about seven years ago. You were down on your hands and knees, looking for a potato.
(11) NADINE: Where was I?
(12) JACOBY: It was, uh, you know, in the supermarket. You had dropped it. There was a a big storm that day.
(13) NADINE: Oh.


A distant train whistle blows. (14) Jacoby and Nadine gaze at one another.

Love is in the air.

A large storm was hinted as having happened earlier in this part, with the thunder and storm clouds when Becky was speaking to Shelly. One of the more interesting things about the conversation between Jacoby and Nadine, besides them obviously tumbling into love, is that Jacoby states the last time he saw Nadine it was in the supermarket, she was down on her hands and knees looking for a potato, and that it was seven years ago on the day of a big storm.

Seven years before. On the day of a big storm. One wonders how, in a small town like Twin Peaks, these two could go without seeing each other for seven years!

THE TIME AND TIME AGAIN BOXING MATCH

EXTERIOR SHOT OR THE PALMER HOUSE HAS DIFFERENCES FROM THE INTERIOR SHOT / THE BOXING MATCH AND THE CHANGE IN THE 8TH REPEAT

(1) The exterior of the Palmer household. Night. The light in the screen right room is on. A dog barks in the distance. (2) The television set. An old boxing broadcast.

MAN ON TV: Oh, the right hand catches the big guy by the ear! (3) We see Sarah watching. And he finally goes down, hangs onto the ropes. Oh, the gentleman asks him if he's okay. Looks like, uh, round number one and two under way. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) Oh, the right hand catches the big guy by the ear! And he finally goes down, hangs onto the ropes. Oh, the gentleman asks him if he's okay. Looks like, uh, round number one and two under way. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) Oh, the right hand catches the big guy by the ear! And he finally goes down, hangs onto the ropes. Oh, the gentleman asks him if he's okay. Looks like, uh, round number one and two under way. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) Sarah finishes her drink and realizes she's out of alcohol, the bottle empty. She stands and leaves the room. Oh, the right hand catches the big guy by the ear! And he finally goes down, hangs onto the ropes. Oh, the gentleman asks him if he's okay. We hear bottles clinking perhaps in the kitchen. Looks like, uh, round number one and two under way. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) (4) The television. Oh, the right hand catches the big guy by the ear! (5) Sarah returns with another bottle and empties the little from it. And he finally goes down, hangs onto the ropes. Oh, the gentleman asks him if he's okay. Looks like, uh, round number one and two under way. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) Oh, the right hand catches the big guy by the ear! And he finally goes down, hangs onto the ropes. Oh, the gentleman asks him if he's okay. Looks like, uh, round number one and two under way. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) (6) The television. Oh, the right hand catches the big guy by the ear! (7) Sarah watches. And he finally goes down, hangs onto the ropes. Oh, the gentleman asks him if he's okay. Looks like, uh, round number one and two under way. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) Oh, the right hand catches the big guy by the ear! And he finally goes down, hangs onto the ropes. Bam! (Static.) Sarah stands and leaves. Oh, the gentleman asks him if he's okay. Now it's a boxing match again. Bong, bong, bong! Bam! (Cheering on TV. Static.) (8) The television. Oh, the right hand catches the big guy by the ear!

Sarah
Sarah

Boxing
Boxing

The exterior of the house is different from the interior, as with part two when we first saw the outside of the house and then Sarah inside. In part two, as now, in the exterior shot, the light is on in the screen right room, rather than the screen left room, which is the living room in which Sarah is sitting. Also, the arrangement of lamps in the two first floor rooms, observed from outside, is different from what we have inside, no lamp directly before the window in the living room.

The boxing segment plays over and over again. It is the same through the seventh repeat, then during the eighth repeat it changes slightly. A "Bam!" and static enter this time after "hangs onto the ropes". It's at this point that Sarah stands and leaves the room, perhaps for good, while the rest repeats as usual.

The repetitive boxing match perhaps is expressing what we're experiencing with the metaphor of the traffic jam. Is Twin Peaks caught in a time loop? Do days keep repeating until there is some small change and then time presses forward a little? Have Mr. C and Cooper met in the boxing ring of Twin Peaks multiple times and not been able to make any headway, and no one knows/remembers that they are repeating the same experiences over and over again?

"2-5-3. Time and time again."

WHAT STORY IS THAT, CHARLIE?

THE 1940s LIVING ROOM / I FEEL LIKE I'M SOMEWHERE ELSE...AND SOMEBODY ELSE / DO I HAVE TO END YOUR STORY, TOO?

(1) Audrey stands in a 1940s era living room, on the bureau behind her an old framed picture of a child in perhaps winter clothing. Audrey no longer wears her red jacket, it draped instead over hr right arm. Her breathing erratic, she demands, "What did she say?" (2) We see Charlie seated on an old sofa, an old radio cabinet on the right. There is no longer any doubt about it. We're in the 1940s.

CHARLIE: Audrey, we've been over this.
(3) AUDREY: Tell me!
(4) CHARLIE: Audrey, stop it.
(5) AUDREY (upset): I feel like I'm somewhere else. Have you ever had that feeling, Charlie?
(6) CHARLIE: No.
(7) AUDREY: Like I'm somewhere else and I'm somebody else. Have you ever felt that?
(8-9) CHARLIE: No. I always feel like myself. And it may not always be the best feeling.
AUDREY: Well, I'm not sure who I am, but I'm not me.
(10) CHARLIE: This is Existentialism 101.
(11-13) AUDREY: Oh, fuck you! I'm serious! Who am I supposed to trust but myself? And I don't even know who I am, so what the fuck am I supposed to do?
(14) CHARLIE: You're supposed to go to the Roadhouse and see if Billy is there.
(15) AUDREY: I guess. Is it far?
(16-18) CHARLIE: Come on, Audrey. You know where it is. If I didn't know better, I would swear you were on drugs.
(19) AUDREY: Just where is it.
(20--22) CHARLIE: I'm gonna take you there. Now, are you gonna stop playing games or do I have to end your story, too?
(23-29) AUDREY: What story is that, Charlie? Is that the story of the little girl who lived down the lane? Is it? (She sits, shaken.)

Audrey and Charlie
Audrey and Charlie

(30-41 approx) CHARLIE: You're the one that wanted to go. Now you're looking like you want to stay.
AUDREY: I want to stay. And I want to go. I want to do both. Which shall it be, Charlie? Hmmm? Which one would you be? Charlie, help me. It's like Ghostwood here!


Audrey breaks down crying.

Audrey and Charlie are stuck on the same page as in part twelve, unable to move forward. She had her jacket on at the end of the scene in part twelve, but no longer. They are stuck. But, momentarily, Audrey moves beyond the crisis of Billy to wondering who she is. This doesn't feel like her. In fact it's not her. Charlie explains it away as Existentialism 101. She presses on, insisting it's not that way, and finally Charlie says, "Do I have to end your story, too?"

His remark takes us back to part twelve and Sarah having growled at Hawk, "It's a bad story, isn't it?" With Sarah, it almost felt like the omnipotent writer/director stepping into the story and remarking for Sarah on her feelings over just how shitty her life has been as crafted by Lynch and Frost, who have poured trauma upon her. Now, Charlie, the accountant, seems to be declaring himself as that omnipotent being who has power over the story, and could end Audrey's story line "too". Too? What other story line has he ended? Who is this 1940s Charlie who has so much to do before he sleeps, who is so tired, who expresses himself as having the power to end Audrey's storyline if she doesn't comport herself as he prefers?

Is Audrey literally in Ghostwood? What has happened to Audrey? Why is she stuck in this 1940s storyline? Does it have to do with the bomb that put her in a coma being related to the Trinity blast?

Where does Charlie get the gall to threaten her with ending her story line? Does he represent Lynch/Frost? Why would they be so cruel to Audrey?

What of the little girl who lives down the lane? I can't imagine it's a reference to the 1976 film that was a Jodie Foster vehicle. I am more reminded of Grace Zabriskie showing up at Laura Dern's doorstep in Inland Empire, announcing herself as a "new neighbor" who lives "just down the street", and then telling her of the little boy who saw the world when he opened the door, but as he passed through the doorway he caused a reflection, and evil was born. And then another tale of a little girl who went out to play and was lost in the marketplace, as if half born, but not through the marketplace after all but the alley behind. She'd said, "But it isn't something you remember. Forgetfulness, it happens to us all." She can't remember if it's today, two days from now or yesterday. "If today was tomorrow, you wouldn't even remember that you owned on an unpaid bill. Actions do have consequences. And yet there is magic. If it was tomorrow you'd be sitting over there."

One way of looking at this artistically is that Audrey is somehow stranded in a 1940s world and so it is represented as a 1940s world. But one still has to wonder, if that was the case, why she hasn't entered the world of Twin Peaks: The Return in any conversations of present day happenings.

JUST YOU AND I, TOGETHER, FOREVER

COMPARING LAURA, DONNA AND JAMES TO ANNA, CLAUDIA AND SANDOR IN ANTONIONI'S L'AVVENTURA / OF WHOM IS JAMES SIGNING

(1) The Bang Bang. (2) The MC introduces James Hurley. (3) Applauding crowd. (4) James. (5) Renee, at a booth, quiets and listens. (6-and so forth)

My connection has been messing up so I'm not going to try to count off how many shots are had here. Suffice it to say we have a number of shots of James and the two women singing, and an occasional shot of Renee, who we saw in part two had attracted James' shy attention. She is so profoundly affected by the song that she cries.

James sings
James sings

Woman cries
Renee cries

The song is a repeat from season two. Donna, at the end, believes James and Maddy are making eyes at each other and runs out of the room, James following her and asking what's wrong. James had been in love with Laura, then fell in love with Donna after Laura disappeared. Both Donna and James said they felt this love had been building for a while, and that this was the love that James had been feeling rather than anything for Laura. Maddy, Laura's cousin, comes to visit and she and James develop an attraction to one another. James seems unwilling to confront this, and how he he has possibly imposed Laura upon Maddy. He even denies, to Donna, there has been any attraction. But Maddy is more self-aware and decides it's time for her to leave. Before that can happen, she is murdered by Leland. Poor Maddy.

The situation is reminiscent of Antonioni's L'Avventura, in which friends, Anna and Claudia, go on a cruise with some acquaintances and Anna's fiance, Sandor. Anna is impetuous, and her feelings are cloudy. She also likes to play tricks that are rather severe. She gives Claudia a blouse of hers she has admired and we already have the feeling that she is for some reason pushing Sandor and Claudia together--but why? Even she says she isn't sure why she behaves as she does, emotional connections with her lover and Claudia alternately loose and passionate. When the yacht stops for a few leisurely hours at a rocky island, Anna and Sandor argue. She says she needs him but wants to spend time away from him, maybe even several years. The next thing everyone knows, Anna has disappeared from this rock. Immediately, Sandro pursues Claudia, who tries at first to resist but then falls madly, exuberantly in love with him. Donna and James experience some guilt over their relationship but both decide also the relationship is right. Claudia and Sandro experience the same guilt and overriding conviction that they should be together. While carrying on their love affair, they go to Sicily to search for Anna, hoping that she may have hitched a ride there on a passing boat, the island from which she disappeared being a haven for smugglers. Antonioni leaves us a bit of a clue in the story that Anna is a Persephone figure who has vanished into the underworld, and we wonder if she may very well have died when a medium/actress/writer/prostitute appears who we are given the impression of briefly serving as a vessel for Anna's spirit, drawing Sandor away from Claudia even as we have felt that Anna was playing with pushing them together before she disappeared. When Claudia finds Sandor with the prostitute, Gloria, she runs outside and he follows her. The end shot is them both consumed by their grief, yet she affectionately touches him, consoling.

James may sing of "just you and I, together, forever", but for whom is he singing? Donna? Maddy? Laura? We've no idea.

There's a touch of the eerie to the song with two young women with long brown hair lip syncing for Maddy and Donna, as if a going beyond the veil into time past, or they have become as mediums. One might be reminded of Rebekeh Del Rio singing "Llorando" in Mulholland Drive, delivering a profoundly affecting performance in Club silencio, then she collapses on stage but the song continues, she wasn't singing it after all. As this performance is a lip syncing of the old song, we have much the same going on here.

Renee's name means "reborn". I don't know if we should read anything into this. The actress has on her upper left arm a tattoo that Lynch/Frost have not covered with make-up. The tattoo reads 7/6/63. One wonders if Lynch/Frost haven't covered the tattoo because of the 63, thinking that year, the year of J. F. Kennedy's death, could work well with Cooper's preoccupation with JFK's death and Lynch's seeming preoccupation with that year, even from Blue Velvet, as a profound threshold. I read that the actress has said the tattoo is the date her grandparents married. If Lynch/Frost left it for us to wonder if it is someone's birthdate, it's an in-between year for Twin Peaks characters, too old for those who played teens and young adults in the original two seasons, and too young for their parents and many of the authority figures.

TWO EDS

THE SEPARATE LIVES OF ED AND HIS REFLECTION / THE BURNING PAPER

(1) An exterior shot of Big Ed's Gas Farm. (2) Interior, the "Bear with me" wooden sculpture on Ed's desk. Pan slightly over to show Ed eating from 1 of 2 cups of to-go soup from the RR. He pauses eating, puts down the cup, and looks out the window. (3) A shot of him facing the window. He watches--what? The car's passing by?

Ed 1
Ed 1

Ed 2
Ed 2

(4) A shot facing Ed as he looks quizzical. He then picks the cup up and eats some more. Contemplates. (5) Shot from behind again of him looking out on the road. (6) He picks up a piece of folded paper and burns it. He returns to eating his soup as the credits scroll.

Earlier, Ed had, down at the RR, called Bobby over to where he was sitting with Norma, saying no one should eat alone. But now, following James' song of two lovers being together forever, and after Norma shedding Bobby and Ed for Walter, we find Ed alone at his gas station eating to-go soup.

I'm never quite sure whether to feel sorry for Ed or to feel like he just should have moved on and gotten over this years ago.

Lynch likes to film dark, and it's dark enough that one may not notice that when Ed stares quizzically into the window, the reflection he is looking at is different from what he is doing. His reflection is still eating his soup. Is this what causes him some disquiet? Does he notice this? Does he notice and not completely absorb it? Does he forget as soon as he's noticed it?

We feel a hint of the two Eds in the two lamps on the desk that have the quality of mirroring each other.

Time-and-time-again. But time-and-time-again with differences? This is the first instance of a have a character confronting this in his slightly-out-of-sync reflection. Unless, with Ed, this is more like a doppelganger.

Lynch/Frost aren't content with presenting us that mystery alone. They then have Ed burn a piece of paper. What's on it? Will we ever find out? Has it to do with Norma?

Why is Ed's reflection out of sync with him, the audience wonders.

What did he burn on that piece of paper?!

Why is everything a mystery?!!!!

But it's great, too, that everything is a mystery.

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.

PART TWELVE

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. Buckhorn. Gordon and Albert induct Tammy onto the Blue Rose team and Diane is hired. Time is piling up with the traffic jam as metaphor. Though Friday evening (seemingly) in part eleven they'd had doughnuts at the Buckhorn station, I'm sticking with Friday evening.
2. Twin Peaks. Jerry runs out of the woods. Who knows when it is?
3. Twin Peaks. Sarah Palmer freaks out over the Albatross Turkey Jerky. We have no idea when this is. There's no relationship to other events. Maybe Friday.
4. Twin Peaks. The New Fat Trout Trailer Park. Carl encourages Kriscol not to give blood. We have no idea when this is as there's no relationship to other events. Maybe Friday.
5. Las Vegas. In part eleven it had been Thursday evening (seemingly, though it should have been Friday before being pushed back) when the friendship with the Mitchum brothers was celebrated. This is day. Is it Friday? We have no relationship to other events.
6. Twin Peaks. Hawk visits Sarah Palmer. This would be the same day that she freaks out at the grocery store, earlier in this part. Perhaps Friday.
7. Twin Peaks. Miriam in the hospital. Friday?
8. Buckhorn. Diane in the bar gets the Las Vegas message. She wears the same red top as in 1. Friday evening at 7:28?? That seems too early to fit with having doughnuts in part eleven and then the earlier meeting. Traffic jam = time/event pile-up.
9. Twin Peaks. Frank talks to Ben about Richard. When Ben turned down the romantic liaison with Beverly in part nine, it was just after Hastings had signed a sheet identifying Briggs with the current date of 9/29, but looked like a 9/20, and he had said, covered by his sniffling, 9/26, though this was not in the subtitles. It seemed reasonable the scene between Ben and Beverly was also in 9/29, the day after Richard Horne hit the boy, the day that he had assaulted Miriam. In part seven he had asked Beverly to check with security on the source of the ringing, and she had given him the key that had arrived in the mail. We assumed this was Wednesday, Jade seeming to have mailed the key on Tuesday. Is this then Friday? Did Ben's turning down Beverly happen earlier in the evening, perhaps not long before this? Had they gone for dinner the previous night and it had just been between friends but led her to assume that more was a possibility? Did Miriam not crawl out of the woods until Friday? Ben has said he hasn't heard from Richard. Does this mean that this is instead on Thursday, and Chad's intercept of the wrong Miriam's letter occurred on Friday? And that Richard went to Sylvia's on Friday? When Chad intercepts the letter, Lucy is wearing a sweater vest that she had been wearing in part nine when she purchased the red chair. We'd thought on Thursday. But then on Thursday at lunch, during the solving of the Briggs' puzzle, she was wearing another outfit. If this happens before Richard attacks Sylvia then it would make sense why Ben doesn't tell Frank he has heard from him. That instead happened the following day. It would explain also why Sylvia had immediately threatened Richard with calling the sheriff when she saw him. She already knew about Miriam.
10. Buckhorn. 11:05 p.m. Gordon entertains the French Woman. Friday?
11. South Dakota. Hutch shoots Murphy. I'm going with Thursday.
12. Twin Peaks. Jacoby's third broadcast, which is a repeat of part five with a few differences. Friday?
13. Twin Peaks? First scene of Charlie and Audrey. Who knows when this is.
14. Buckhorn. Diane checks the coordinates on her phone in the closed bar. Wears the green top from Thursday (?) but black pants, not red. Thursday?
15. Twin Peaks. Bang Bang. Natalie and Abbie and Trick.

PART THIRTEEN

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. Las Vegas. The morning after their celebration, the Mitchums and Cooper-Dougie bring gifts to Bushnell. Tony Calls Duncan. Assuming the LV timeline was pushed back from Friday to Thursday for Cooper-Dougie's winning over of the Mitchum brothers, this would be Friday?
2. Las Vegas. Seventh Heaven. This scene goes from day to night. Friday?
3. Western Montana. Arm Wrestling. Might this be Friday as Mr. C escaped from prison on Thursday.
4. Las Vegas Metropolitan Police Department. Plans for 9:30 p.m. are made. Though 7th Heaven took us into the evening in Las Vegas, I''m going with the Fusco brothers tossing out the Cooper-Dougie case, and Tony pursuing info on the poisoning to be on Friday. Also, Tony wears the same tie as in the earlier scene--a dark field with light small dots.
5. Utah with Hutch and Chantal. I'm going with Friday?
6. Las Vegas. Tony throws out the poisoned coffee and breaks down. Though it seems bizarre that Cooper-Dougie would go to work on Saturday, it seems perhaps he is at work on Saturday.
7. Twin Peaks. Steven missing for 2 days. Assuming that Steven and Becky fought on Thursday...this would be...Saturday?
8. Las Vegas. Tony confesses to Bushnell. Again, Saturday.
9. Norma's Double R Franchise. It's back to Thursday for Bobby as he says some stuff is dad left has been found. However this conflicts with the Thursday night scene of Becky, Bobby and Shelly at the diner. Should we try pushing the storyline of Becky, Bobby and Shelly back a day or is there intended to be an overlap? More traffic jam of events scrunched together.
10. Twin Peaks. Jacoby and Nadine Reunited. I don't now. Saturday?
11. Twin Peaks. The Time-and-Time-Again Boxing Match. No firm timeline.
12. Twin Peaks. Charlie and Audrey in the living room. No firm timeline.
13. Twin Peaks. Just You and I Together. No firm timeline.
14. Twin Peaks. Ed eats take-out. Thursday night?

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