TWIN PEAKS RETURN -- PART FOURTEEN -- WE ARE LIKE THE DREAMER

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.

GORDON RETURNS SHERIFF TRUMAN'S CALL

BORA-BORA AS A DOPPELGANGER JOKE

(1) The exterior of the Mayfair in Buckhorn, South Dakota. Daylight. (2) Gordon is on the phone in his room making a call. (3) The Twin Peaks Sheriff's Department phone rings. Lucy answers.

Lucy speaks to Gordon
Lucy speaks to Gordon

LUCY: Twin Peaks sheriff's station.
(4) GORDON: Is that you, Lucy?
(5) LUCY (drawing back from his yell): Director Cole...
(6) GORDON: You've been there all through the years, Lucy?
(7) LUCY: Well, actually, I have gone home and Andy and I have taken some vacations. One year we went to Bora-Bora. (8) What has Gordon heard? He sits absolutely silent, looking astonished or perplexed. (9) LUCY: Would you like to speak with Sheriff Truman?
(9) GORDON: Yes, Lucy, I'm returning his call.
(10) Again Lucy draws back from the phone and his loud voice. LUCY: Okay! I'll connect you!!
(11) Cut now to Frank in his office. LUCY: Sheriff Truman? FBI Director Gordon Cole is on line one. That's the blinking one. The one that's blinking right now.
(12) FRANK (answering): Hello.
(13) GORDON: It's Gordon Cole, Harry. Returning your call.
(14) FRANK: No, no. This is Sheriff Frank Truman, Harry's brother.
(15) GORDON: Where's Harry?
(16) FRANK: Harry's sick. He's, uh, in the doctor's care.
(17) GORDON: I'm sorry to hear that.
(18) FRANK: I'll give him your regards, sir.
(19) GORDON: What've you got for me, Frank?
(20-22) FRANK: Uh, I just thought you should know this. It's gonna sound strange. Something's been found. Something Deputy Chief Hawk found. Missing pages from a certain Laura Palmer's diary that could indicate two Coopers. I don't know any more than this, but, uh, I just thought you should know it. Maybe it means something to you.
(23) GORDON: Thank you very much, Frank. Although I can't comment on this information, I want you to know I really appreciate it.
(24) FRANK: All right, Director Cole. I understand.
(25) GORDON: And all the best to you, and all the best to Harry.
(26) FRANK: Thank you, sir. I'll pass it on.
(27-28) Gordon hangs up, then Frank hangs up, perplexed.

The FBI and Twin Peaks finally touch base, and yet it seems inconsequential. More conversation is devoted to Harry's illness than Cooper. At least the question of there being two Coopers has been transmitted from Twin Peaks to Cole. And there's not much more to say about it. But, y'know, finally, finally, Twin Peaks and the FBI have made contact.

The Bora-Bora seems a joke to do with doppelgangers. We have no idea how Frank hears Bora-Bora that would give him pause.

WE ARE LIKE THE DREAMER

THE STORY OF LOIS DUFFY AND BLUE ROSE / BLUE ROSE EXPLANATION / THE JUMPING MAN WINDOW WASHER AND DIANE / JANEY-E IS DIANE'S HALF-SISTER / THE PARISIAN DREAM / THE TRISKELION MAKES AN APPEARANCE AGAIN

(1-17 approx) The FBI office at the Mayfair. Tammy and Albert. They are srrounded by monitors and other equipment.

ALBERT: Tammy? Case number one, this started the whole thing. 1975. Two young field agents investigate a murder in Olympia, Washington. They arrive at a motel to arrest a suspect named Lois Duffy. They hear a gunshot outside her room and kick the door in. They find two women inside, one on the floor dying from a bullet wound to the abdomen. The other holds a gun that she drops as she backs away when they enter. They recognize the wounded woman as Lois Duffy. She speaks her last words to them. "I'm like the blue rose." She smiles, then dies, then disappears before their eyes. The other woman screaming in the corner, they now notice is also Lois Duffy. By the way, Lois Duffy did not have a twin sister. Then while awaiting trial for a murder she swore she didn't commit, this Lois hangs herself. Those two arresting officers were Gordon Cole and Phillip Jeffries. Now, what's the one question you should ask me?
(18) TAMMY: What's the significance of the blue rose?
(19) ALBERT: And the answer?
(20-22) TAMMY: Blue rose does not occur in nature. It's not a natural thing. The dying woman was not natural. Conjured. What's the word? A tulpa.
(23) ALBERT: Good.

(24-25) Gordon enters. GORDON (a thumbs up): Coffee time!
(26) Tammy stands to get coffee.

(27-29) GORDON: Albert, think I've got it. (He hands Albert a paper.) And Diane's on her way. (30-41) The window beside a monitor that reads Security System Online. The sudden frenetic energy of a person outside washing the window in jerky motions. The squeaking sound hurts Gordon's ears, his hearing aid ringing, then bad feedback. A closeup of the individual, whose face we don't see. Gordon adjusts his hearing aid. Then the person at the window again, moving along. Gordon stares.

Window washer
Jumping Man Window Washer

There's a knock on the door and Gordon calls out, GORDON: Come on in, Diane. We hear one last squeak, Albert and Gordon looking toward it. (42-43) Diane enters. She's wearing her green top and a black skirt.This is probably the outfit she was wearing during the "co-ordineights plus two" in the after-hours bar scene in part twelve.

(44) GORDON: Make yourself at home.
(45) Diane sits in a green chair next the door. (46-47) Tammy brings her coffee while Diane takes out a cigarette. She doesn't thank Tammy.
(48) GORDON: Enjoy some coffee.
(49) Diane lights her cigarette.
(50) DIANE: Deputy Diane reporting.
(51) GORDON: Diane, that last night you saw Cooper, did he by any chance mention Major Garland Briggs?

Diane
Diane

(52) DIANE: I don't want to talk about that night.
(53-57 ) GORDON: I understand. All I want to know is did he mention Major Briggs.
(58) DIANE: Fuck you, Gordon. Yes.
(59) GORDN: Albert?
(60-62) ALBERT: Diane, as you know we've been investigating an old case of Cooper's involving Major Briggs. Briggs died in a fire at his government facility 25 years ago.
(63) DIANE: Right.
(64-68) ALBERT: We thought. Turns out he died a few days ago here in Buckhorn, and we found this in his stomach. (Gordon holds up a plastic packet contining the ring.) The ring was inscribed: To Dougie, with love, Janey-E.
(69) DIANE: Oh my god.
(70) GORDON: What is it?
(71-75) DIANE: My sister's name is Jane. My half-sister. She's married to a man named Douglas Jones. But everybody calls him Dougie. And her nickname's Janey-E.
(76) ALBERT: Where do they live?
(77) DIANE: Last I heard, Las Vegas.
(78) GORDON: When did you last speak with her?
(79) DIANE: We're estranged. I hate her. So, I haven't talked to her in years.
(80-81) GORDON: Tammy, get the Las Vegas office on the line.

(82) Tammy dials. (83) Diane watches as we hear Tammy say, TAMMY: Las Vegas office, please.

(84-99) Las Vegas Office. Wilson enters to speak to Randall Headley. As Headley speaks to Gordon, cut back and forth between the Las Vegas office and Buckhorn.

WILSON: Uh, I have Director Gordon Cole on the line for you, sir.
HEADLEY: Gordon Cole?! (Picks up the line.) Director Cole, sir.
GORDON: I want everything you've got or could find on a Mr. and Mrs. Douglas Jones of your fair city. These people are wanted in connection with a double murder and may be armed and dangerous. Put caution in the shotgun seat.
HEADLEY: Douglas Jones. Yes, sir.
GORDON: High priority. Get back to me. Your man has my info. (Hangs up.)
HEADLEY: Yes, sir. (Looking at his computer.) There's 23 Douglas Joneses in the greater metro area.
WILSON: How are we gonna find the right one?
HEADLEY (shouting and slamming on his desk): Wilson, how many times have I told you this is what we do in the FBI?


(100-101) Return to Buckhorn. GORDON: Thank you, Diane.
DIANE: Yeah. Okay.
(She exits.)

Okay. The Blue Rose refers to the tulpa double, though it would seem after Lois Duffy to have become a blanket name for all cases that involve the paranormal.

We had seen a blue rose in the American Girl scene, when Cooper had returned from Naido cutting off the generator/transformer and Briggs had floated by. Briggs had said, "Blue rose", then when Cooper went back inside, there was one on a table that hadn't been there previously, and the outlet had changed to the one that would deliver him into his own Blue Rose scenario of taking over Dougie's life, that of a manufactured tulpa. "When you get there, you will already be there," The American Girl had told him.

Now we have to wonder about Janey-E and Sonny Jim. Janey Evans.

What is Janey-E, a half-sister of Diane, doing married to Dougie, a tulpa of Cooper's? Why was she chosen? Was Janey possibly made into a tulpa? Wouldn't there have been concern that Diane would eventually see a photo of Dougie and realize it was Cooper? But, wait, Diane knows about Las Vegas. She has been communicating with Mr. C about how the FBI hadn't been asked about Vegas yet. She knew about Dougie-Cooper. She knew about the tulpa. We've already been shown she knew about Las Vegas. She's acting disturbed about it all, but she's acting. She has finally been asked about Las Vegas and she has told them about Janey E. and Dougie.

I suppose, trying the salvage the Diane character as trustworthy, we could rationalize she didn't know all about Las Vegas, only that Las Vegas was somehow important.

Diane! What's going on with you?

I had wondered if Briggs might have ingested the ring purposefully so the FBI could be led to Las Vegas, eventually, and Janey, and thus Cooper. But might Mr. C instead have forced Briggs to ingest the ring that would eventually lead the FBI to Las Vegas?

It's almost too much to absorb.

This is how the FBI will come to learn about Cooper in Las Vegas? Right now they don't know it's Cooper. It's Dougie Jones they're looking for, and they think he possibly murdered Briggs and Ruth. So we're presented with the possibility that the FBI could quite possibly kill Dougie-Cooper in pursuit of him, but we honestly don't think that will happen. We know it won't. But we are likely to think that this is how Cooper will be found (though it's joked that the FBI may have a difficult time finding the right Dougie Jones), and we hope it happens before Hutch and Chantal catch up with him, though Cooper-Dougie has shown himself adept at handling other dangerous situations.

No wonder the Jumping Man appeared when Diane's name was mentioned, signaling something is wrong, in a way, to Gordon. Certainly to the viewer. But why appear as a window washer? Squeegeeing the windows? Simply serving as a metaphor for seeing with clarity of vision?

The picture on the floor by Diane is an interesting touch, that it has come down off the wall.

(102-110) GORDON: Before I came up, I was on the phone with Sheriff Truman in Twin Peaks. He told me they are onto something from Laura Palmer's diary indicating two Coopers. And last night, I had another Monica Bellucci dream. I was in Paris on a case. Monica called and asked me to meet her at a certain cafe.

(111) Cut to the dream of Paris in black and white. We see a Creperie Plougastel and beyond that a Hotel Renoir. The Creperie Plougastel, where they all meet, is next to the Idem Paris which is where Lynch did a 2012 film on lithography. The artwork that is shown of Lynch's, in the film, being made at Idem Paris, is "Murdered Woman in Burning Car".

Lithography produces a limited number of copies from a plate. Litho means stone. It could be that Lynch chose this location because it is outside a place where reproductions are made, playing into the idea of the multiples, the doppelgangers, the tulpas. The Blue Rose.

I'm not familiar with Monica Bellucci other than that she was in a fantasy on the Brothers Grimm, playing an evil Mirror Queen who is the woman of one's dreams in the mirror but is actually a sorceress who gained the gift of eternal life but not eternal youth.

Monica advances. She said she needed to talk to me. (112) Cole in Buckhorn. When we met at the cafe, Cooper was there... (113) Black and white. A window reflecting an opposite building. Cooper fades into view. ...but I couldn't see his face.

Cooper in Dream
Cooper in Dream

Monica
Monica

(114) Cole in Buckhorn. Monica was very pleasant. (115) Lynch greeting Monica, a man and woman behind her. She had brought friends. (116) Gordon in Buckhorn. We all had a coffee. (117) Gordon seated with Monica and the older woman. (118-120) Close-ups of Gordon then Monica. Gordon again. (121) Gordon in Buckhorn. (122) Albert and Tammy. (123) Gordon. And then she said the ancient phrase.
(124) Black and white in Paris again. MONICA: We're like the dreamer, who dreams and then lives inside the dream.
(125) Gordon, black and white, in Paris. Voiceover. GORDON: We are like the dreamer... (126) Gordon in Buckhorn. ...who dreams and then lives inside the dream. (127) Tammy and Albert. I told her I understood. (128) Gordon. And then she said...
(129) Monica in Paris. MONICA: But who is the dreamer? (130) Gordon looking back at her, quizzical. (131) Monica.
(132) Gordon in Buckhorn. GORDON: "But who is the dreamer?" (133) Tammy and Albert. (134) Gordon in Buckhorn. GORDON: A very powerful... (135) Gordon in Paris. ...uneasy feeling came over me. (136) Monica. Monica looked past me and indicated to me to look back... (137) Gordon in Buckhorn. ...at something that was happening there. (138-140) Gordon in Paris. I turned and looked. (141) Black and white of a young Gordon in the old Phillie office. I saw myself. (142-143) Gordon in Buckhorn. I saw myself from long ago, in the old Philadelphia offices, listening to Cooper telling me he was worried about a dream he had.
(144) Black and white of Cooper kneeling before Gordon's desk. COOPER: Gordon, it's 10:10 a.m. on February 16th. (145) Gordon looks at his watch. (146) Back to Cooper. I was worried about today because of the dream I told you about.
(147) Gordon in Buckhorn. GORDON: And that was the day Phillip Jeffries appeared... (148-149) Jeffries enters the Philadelphia office. ...and didn't appear.
(150) Jeffries in the office, Cooper entering behind him. GORDON: Phillip? Is that you?
COOPER: Phillip?
GORDON: Cooper, meet the long-lost Phillip Jeffries. You may have heard of him from the academy.

(151) Gordon in Buckhorn. GORDON: And while Jeffries was apparently there, he raised his arm and pointed at Cooper and asked me...
(152) Jeffries in Philadelphia, Albert standing alongside, as Jeffries points at Cooper. JEFFRIES: Who do you think that is there?
(153-156) Gordon in Buckhorn. GORDON: Damn! I hadn't remembered that. Now, this is really something interesting to think about.
(157-160) ALBERT: Yes. I'm beginning to remember that too.

There's a problem with memory, it turns out. Neither Gordon nor Albert recollected all the details of Jeffries' appearance and that he had raised the question of "who" Cooper was. I think we can be confident that the Cooper in that scene is Cooper, but there is the problem of the other Cooper we had seen in the hallway, which is what Cooper himself had been looking for, seemingly alert to the fact, via a dream, that a double of himself would appear there. He had kept running in and out of the hall, checking the monitor for its presence.

The triskelion, symbol of the trinity, which I've discussed in relation to Trinity and the congressman's dilemma, as well as the "My Prayer" promo 45 played at the radio station, makes an off-screen appearance during the Parisian scene. Next door is the Creperie Le Phare and its awning shows a triskelion that is either a decoration or logo. This can be viewed in Google maps. Just thought I'd make a note of it because of the address. 47 Rue du Montparnasse is the address for the Creperie where they meet, but also the Creperie Le Phare next to it, and then Toritcho, which is a little Japanese restaurant. After that comes, Krua Thai, the address of which is 41 Rue du Montparnasse. We've a gap. From 47 to 41. But if 45 and 43 were included then Creperie Le Phare would logically be 45 and Krua Thai would be 43. The 3 restaurants, Creperie Plougastel, Creperie Le Phare, and Toritcho are all in the same building. Recollect that the little 45 record had the triskelion inset and that Creperie Le Phare shows the triskelion logo.

The triskelion and the trinity. 3 in 1.

Toritcho. What does it mean? It's Japanese. Both cho and tori seem to mean bird in Japanese.

Two birds with one stone.

Seriously? Two birds with one stone?

Nah.

Seriously? Two birds with one stone?

OK. No fair. Now my head hurts.

Mount Parnassus was the home of Orpheus and was where Apollo gave him his lyre.

Lynch, speaking about the lithographer's before which the Parisian scene takes place, described his experience there as being like a dream.

I see this incredible place, and I get the opportunity to work there. And this was like a dream! It just opened up this brand-new world of the lithography and the magic of lithography, the magic of the stones. And it was a great, great thing! This thing of lithography, this channel of lithography opened up and a bunch of ideas came flowing out and it led to about a hundred lithographs. I will say that Idem printing studio has a unique, very special mood, and it is so conducive to creating. Patrice has the greatest attitude for all the artists and he creates this space of freedom and this joy of creating. It's so beautiful! And I think the place is very important--in other words, the same stone could be moved to another place, and I think that the work that comes out would be different. It's a combination of the stone, the place, the people, this mood, and out comes these certain ideas.

As for the dreamer quote, from the Upanishads, it's really nothing new, and it shouldn't be that jarring for the viewer as Lynch has been pitching the dream angle for a while. But what is the dream?

"We are like the spider," said the king. "We weave our life, and then move along in it. We are like the dreamer who dreams and then lives in the dream.

"This is true for the entire universe. That is why it is said, 'Having created the creation, the Creator entered into it'.

"This is true for us. We create our world, and then enter into that world. We live in the world that we have created. When our hearts are pure, then we create the beautiful, enlightened life we have wished for...

"...The world is like...sparks...the world is a part of Brahman just as sparks are a part of the fire. The sun, moon, and lightning are a part of Brahman, like the sparks in a fire. Our sleep, our dreams and our whole life are a part of Brahman, like the sparks in a fire.

"Brahman is the totality. It is wholeness. And Brahman is known by knowing the Self. This is the truth of truths."

There are different ways we could take this in the Twin Peaks universe. We are invited to wonder if this is, after all, a "dream" of Cooper's. However, Gordon is also dreaming, and we could wonder if this is Gordon's dream as it is when he begins to "remember" that Albert too finds his memory jolted, aligning with Gordon's.

I'm going to go with Lynch/Frost's idea of the dream they are communicating to the Twin Peaks viewer having to be deeper than either of the above two options.

This isn't a self-help book on how to dream yourself into a better life. What is the "beautiful, enlightened" live, after all?

However, we could look upon all of this as being the "dream" of Lynch and Frost. Now, that we could do. The Twin Peaks universe is their creation.

For the hell of it, I'm going to throw in that Cooper (whose face can't be seen) is standing in front of a window at Creperie Plougastel (in the 47 building) and that reflected in the window behind him, of course in reverse, is 48 Rue du Montparnasse opposite. If we continued over a little bit we would see the 48 but in reverse, and if we only saw part of the 8 we would see a 3.

THE ARREST OF CHAD

(1) Exterior of the Twin Peaks Sheriff's Department. Daylight. Car 138 seen. An official SUV vehicle passed. (2) Hawk and Andy in the conference room. Andy sets out 4 silver lunchboxes with names on them. Bobby enters with to-go boxes from the RR.

BOBBY: All right. Turkey and cheese. Ham and cheese. Roast beef and cheese. And just cheese.
(3) HAWK: Who ordered just cheese?
ANDY: I did.

Cheese
Vortex

(4) Frank enters with Chad following. FRANK: It's all old business, Chad, from long before your time.
CHAD: Where you guys going?

(5) Hawk pulls a gun on Chad. HAWK: Up the mountain.
(6) FRANK (cuffing Chad): And you are under arrest, Chad.
CHAD: What the fuck? What's this all about?
FRANK: I think you know. Andy, Bobby, take him downstairs.
CHAD (yells): You're making a big mistake!
FRANK: You made the mistake, Chad. We've been watching you for months. Take his badge, too, and lock him up.
CHAD: You're making a big mistake.
BOBBY: Shut up.
(7-10) HAWK (to Frank): There's your roast beef and cheese.


Suddenly, Chad is taken into custody. Nobody liked him but we wouldn't have guessed he was being watched for a long while based on an earlier conversation between Frank and Bobby on how they were seeing nothing concerning drug traffic on trails that they knew about. But it turns out, according to this conversation, that Chad has been under surveillance for months.

JACK RABBIT'S PALACE

THE VORTEX 253 YARDS FROM JACK RABBIT'S PALACE / THE FIREMAN AND THE REVELATIONS GIVEN ANDY / WHAT IS IN LUCY'S FUTURE? / THE FUTURE UTILITY POLE / LINCOLN AND THE ANNOUNCEMENT OF LAURA'S DATH / BUTOH

It is 10/1 and Bobby, Frank, Hawk, and Andy are on their way up to Jack Rabbit's palace.

(1) Mountains with mist above a flat outlook, as in the opening shot. Wind. (2) Police vehicle driving down a road. (3) The vehicle, 142, pulls over. Andy, Hawk, Bobby and Frank climb out. (4) Trees and utility cables. Transformer hum and electrical sound. (5-6) Long shot of the vehicle. All preparing to enter the woods, Frank calls Bobby forward to lead. They enter the forest. (7) They trek through woods. (8) Trees. (9) They climb up from a stream. (10) Trees. (11) They walk down a wide path.

BOBBY: This used to be the road, where we're walking. My dad's listening post station was right through there. Nothing left of it now. Took everything away.
ANDY: And what all did your father do up there, Bobby?
BOBBY: I don't know. It was all top secret. Took me inside a couple times when I was little, but all I remember is lots and lots of machines. He would take me here, though.


(12) Jackrabbit's Palace, which is an upright, massive and statuesque tree trunk on a hill, an appropriate place for the creation of legendary tales.

(13-14) BOBBY: Just a sec. This is it, Jackrabbit's Palace. (15) You know, we'd sit here and-and make up great tall tales.
HAWK (pointing): Two hundred and fifty-three yards due east.
ANDY: And we have to put some soil in our pockets.
FRANK (all reaching to put soil in their pockets): Let's hope this is not one of your father's tall tales.
BOBBY: I hope so too. I don't think so. We'll soon find out. Father did tell me never wander around here without him.
HAWK: Let's go.


(16) Trees. (17-23 ) All make their way through the woods. (24-28) They come upon a mist on the ground, light like electrical bursts within. As the mist begins to clear we see a naked woman lying on the ground beyond what looks like a small well. The well is golden and beside it, seeming anomalous to the area, stands a slim, straight (29-30) Andy stoops and turns the woman over. It's Naido. We see Andy's watch for the first time since the farmer failed to keep his appointment with him.

FRANK: She's alive.

(31) Naido. She chatters. (32) Andy beside Naido. (33) Hawk. (34) The golden well. (35) Hawk. (36) Naido. (37) Hawk. (38) Bobby. (39) Frank says, "It's 2:53, fellas." (40) Bobby. (41) Hawk looks up. (42) Bobby looks up. (43) A vortex forms above. (44) Hawk. (45) The crackling vortex. (46) Bobby. (47) Hawk. (48) The vortex. (49) Naido and Andy. (50) The vortex. (51) Andy. (52) Naido. (53) Andy. (54) The white light in the vortex. (55) Andy. (56) Naido holding Andy's hand. (57) Andy. (58) He puts her hand down. (59) Andy. (60) The vortex with an intensifying white light.

Vortex
Vortex

(61) Andy stands. (62) The white light. (63) Andy. (64) Andy disappears from among the rest.

Andy disappears
Andy disappears

(65) Andy, spirited into the Fireman's lodge, in fast motion moves across the room and into a chair. It is the same chair in which Cooper sat in part one. ??????? enters and sits opposite him. (66) The giant. (67) Andy. (68) ??????? speaks in backwards speech. "I am the Fireman." (69) Andy. (70) The fireman raises his right hand. (71) He lowers his hand and an object appears in Andy's hands. Slowly, a cloud forms above him and rises.

Andy and the vessel
Andy and the vessel

(72) A mist around Andy crackles. (73) We see a lit portal above Andy. (74) The portal. (75) Andy and the portal. (76) Andy stares up into the portal. (77) The fireman watches Andy. (78) Andy staring up into the portal. (79) The camera zooms into the portal and we see the Experiment as it was in the glass box in Manhattan. We see next the Experiment birthing the eggs, and in the midst of the eggs, BOB. (80) Andy. (81) We see the Convenience Store as it was observed in part 8 in the desert and the woodsmen appearing around it. We see the Lincoln woodsman asking, "Gotta light?"

Gotta light
Gotta light

(82) Andy. (83) Utility lines. The girl running through the schoolyard, screaming, before the principal announces the death of Laura.

Girl running
Girl running

(84) The red curtains of the Red Room. Then Laura's portrait between two angels, this angel being one who appeared to her in the Red Room in Fire Walk with Me. (85) Andy.

Laura
Laura

(86) A close-up of Naido lying on the grass. (87) Andy. (88) In the Red Room, Cooper and Mr. C appear superimposed over each other and then draw apart. (89) Andy.

Cooper and Mr. C
Cooper and Mr. C

(90) A phone, seemingly at the sheriff's department. Its light is flashing.

Phone
A phone.

(91) The sheriff's department. Andy draws a reluctant Lucy into a doorway. She is facing away from, and what she is facing we don't know, as he lets go her arms and stands back away from her. She looks side to side, gaze slightly up, seemingly fearful.

Andy and Lucy
Andy and Lucy

(92) Andy. (93) Naido again, attempting to speak. (94) Andy, he opens his own mouth, speechless, disconcerted. (95) A utility pole much like the one we had seen at the scene where the boy had been hit, and previously at the trailer park many years before. The camera zooms in on the pole and there are 3 cuts as the pole scene assumes color. Then go to white.

Pole
Pole

(96-100) Andy, and the Fireman watching him. The mist that had been earlier expelled from the object he holds now returns to it through its nozzle. The object seems to be reabsorbed into Andy's stomach. And then he disappears.


Jack Rabbit Palace

(101) Return to Jack Rabbit Palace as multiples of Bobby, Hawk and Frank walk up to and around it, from different angles, different sides, until they are positioned much as they were, though not exactly the same, before their walk. Andy is not with them. (102) Bobby looking up into the sky. (103-104) Andy materializes from behind the palace, carrying Naido. ANDY: We need to get her down the mountain. She's very important, and there are people that want her dead. (105-106) Frank and Hawk, then Bobby. (107) ANDY: She's fine physically. We need to put her in a cell where she'll be safe. (108) Frank and Hawk. FRANK: Okay. (109) Andy. ANDY: Don't tell anybody about this. He carries Naido away.

(110) Bobby stumbles away, perplexed. (111) Frank and Hawk.

FRANK: What happened to us back there?
HAWK: I don't know. Something. But I don't remember a thing.
FRANK: Same with me.


As with everything liminal, individuals walk away foggy, aware that something has happened but unable to remember what it was, and seemingly not very curious either for no one thinks to return to where they had gone after leaving the palace. Andy has curiously assumed authority, he is the one in charge, and the others simply follow his lead and do what he tells them to do.

Naido was last seen with Cooper, on the cusp of 2:52, before he saw Briggs who announced the Blue Rose, before he transitioned over to being Dougie-Cooper. She had kept him away from the two peepholes, as well as the outlet. We've already connected the two peepholes possibly with Duchamp's Etant Donnes, and how Ruth's nude body was laid out at the site of the Buckhorn portal/vortex. Similarly, here lies a nude Naido at the place of the Twin Peaks vortex. We don't know how long she has been lying there. It could be that she materialized in the cloud that was observed as everyone walked up.

Why is Andy chosen? Because he is the one who stoops to be compassionate to Naido, holding her hand? Because he is the innocent? Because he only ate cheese?

Now we learn that ??????? is actually the Fireman. He introduces Andy to a series of visions that seem also to be contained in this peculiar contraption in his stomach that reminds somewhat of a Merkaba or star tetrahedron. He's given enough information to know about the creation of BOB, Laura, the woodsmen, the two Coopers, and that Naido is somehow precious as she must be protected. He also seems to see the future, something concerning him and Lucy. He is pulling her to a doorway to show her something, and he steps back from her when he does so, despite the fact she looks terrified. Since she is looking right and left, my only guess is that it could have something to do with the return of Cooper and maybe she will see both Coopers in the lobby of the sheriff's department and will have to choose between the two. That seems the logical conclusion that would meet her fear and confusion and that somehow she must face this alone. These two are a pair and if Lucy was facing something immediately dangerous to herself, something that she couldn't emotionally handle, we can't imagine that Andy wouldn't stand with her, his hands on her supporting her, instead of standing back and away. No, this is something she must do on her own.

Another future vision seems to be the utility pole. That's something else we need to look for.

It seemed odd to me that they would make such a point of showing the running girl again, so I looked that scene back up. What is there that I might have missed? For one thing, as I was looking at this black and white image of it, it occurred to me that the way the window was shot, architectural details of the building across the way echoed the window's frame so that it seemed a double of it. Then I realized that we have several important things on the bulletin board in the classroom when the policeman enters.

Should I go into how Naido reminds me of Butoh, the Japanese "dance of darkness"? The form rejects the normal forms of beauty, aiming for something deeper, and catharsis. There is even a film online of a Butoh dancer in the forest, the beginning of which shows her writhing on the ground beside a slim, straight tree much like the white tree at Naido's feet.

I am simply reminded of Naido, not saying at all there is any link, lest anyone misunderstand.

A rudimentary philosophy of Butoh is as follows, expressed by Kazuo Ohno, an originator.

“Your dance must emotionally engage us: remember, your performance has to nourish both the dead and the living. Language springs forth spontaneously when we’re deeply touched. Our emotions come to life when we eat of ourselves. But should we really devour so much delicious food? Keep on eating of yourself copiously, for you yourself are the fountainhead of your emotions and the pleasure you take in life. We’ve got to sense your passionate affair with life unfold. In asking you to dance free style, I’m not merely telling you to use your body as an expressive instrument. Forget everything you’ve ever practiced here. It doesn’t matter in the slightest if you just stood there stock-still.”

Lincoln
Lincoln

On the bulletin board is an image of Lincoln. Above that is a doubled question mark, which reminds of doubles. And beside that is a lightbulb with the word "Think" over it.

Lincoln here is accompanied by a doubled image. Lincoln has been used over and over again by Lynch. The boundary street in Blue Velvet where Jeffrey crosses over into the underworld of Dorothy. The dark woodsman who demands, "Gotta light?" (In that we could say we have the lightbulb, the question and Lincoln combined.) The Lincoln penny found heads up as the light was swinging next to the gas station. The Lincoln car with its Lincoln clock stuck on 2:52. The "stony" face of Lincoln on Mount Rushmore.

What did occur to me was the story of Lincoln seeing his double in a mirror.

A queer dream or illusion had haunted Lincoln at times through the winter. On the evening of his election he had thrown himself on one of the haircloth sofas at home, just after the first telegrams of November 6 had told him he was elected President, and looking into a bureau mirror across the room he saw himself full length, but with two faces.

It bothered him; he got up; the illusion vanished; but when he lay down again there in the glass again were two faces, one paler than the other. He got up again, mixed in the election excitement, forgot about it; but it came back, and haunted him. He told his wife about it; she worried too.

A few days later he tried it once more and the illusion of the two faces again registered to his eyes. But that was the last; the ghost since then wouldn't come back, he told his wife, who said it was a sign he would be elected to a second term, and the death pallor of one face meant he wouldn't live through his second term.

(Sandburg, Carl. Abraham Lincoln: The Prairie Years. Harcourt, Brace and Co., New York, 1926. Volume 2, Chapter 165, pp.423-4)

Another version of the story was told by a man named Noah Brooks, who said he heard it from Lincoln.

It was just after my election in 1860, when the news had been coming in thick and fast all day and there had been a great "hurrah, boys," so that I was well tired out, and went home to rest, throwing myself down on a lounge in my chamber. Opposite where I lay was a bureau with a swinging glass upon it (and here he got up and placed furniture to illustrate the position), and looking in that glass I saw myself reflected nearly at full length; but my face, I noticed had two separate and distinct images, the tip of the nose of one being about three inches from the tip of the other. I was a little bothered, perhaps startled, and got up and looked in the glass, but the illusion vanished. On lying down again, I saw it a second time, plainer, if possible, than before; and then I noticed that one of the faces was a little paler -- say five shades -- than the other. I got up, and the thing melted away, and I went off, and in the excitement of the hour forgot all about it -- nearly, but not quite, for the thing would once in a while come up, and give me a little pang as if something uncomfortable had happened. When I went home again that night I told my wife about it, and a few days afterward I made the experiment again, when (with a laugh), sure enough! the thing came back again; but I never succeeded in bringing the ghost back after that, though I once tried very industriously to show it to my wife, who was somewhat worried about it. She thought it was a "sign" that I was to be elected to a second term of office, and that the paleness of one of the faces was an omen that I should not see life through the last term.

Lincoln had a doppelganger that appeared to him as a reflection. But he was also president during the time of the Civil War, a nation divided. So there is that as well. Again something that is one and two. Lynch, in Blue Velvet paired Lincoln street with the crazy, murderous Frank Booth, part of the name seemingly drawn from John Wilkes Booth who shot Lincoln in the head.

THE DOG AND THE PAJAMAS

THE MYSTERY OF THE DOG / THE MYSTERY OF THE MUMBLING MAN / LOOKING BACK AT LUCY'S CONVERSATION ABOUT THE THERMOSTAT AND THE FURNACE AND THE PROBLEM OF TELLING WHAT IS HAPPENING WHEN NO ONE IS THERE

(1) The exterior of the Twin Peaks Sheriff's Department. Night. (2) A cell. Lucy and Andy are with Naido, Lucy dressing her in a pink robe.

LUCY: I hope these pajamas are okay. They've been in my locker since the time that dog got lost in here.
ANDY: They're beautiful, Lucy.
LUCY (tenderly): Do you remember that night, Andy?
ANDY: Yes, I do.


They leave Naido in her cell, locking her up cell #1. In cell #10, Chad calls out. (3-5) CHAD: Idiots. You're a joke, Andy! You're no kind of cop! You're no kind of cop at all! (6) We see a man in another cell, which would likely be opposite Chad's. His mouth is bloodied and the flesh of his cheek seems to be deteriorating. He echoes Chad. CELL #4: You're no kind of cop at all.

(7-12) Andy goes over to Chad's cell.


Andy and Lucy

ANDY: You're a very bad person, Chad. Give good policemen a bad name.
(13) CELL #4: Good policemen a bad name.

(14-19) Andy returns to a smiling, proud Lucy. They exit, affectionately holding hands. Naido chatters in her cell. The bloody, mumbling man mimics her. (20 ) CHAD: Shut up, you fucking drunk! (21 ) CELL #4: Shut up, you fucking drunk! (22-34) Naido chatters, Cell #4 mimicking, until Chad finally shouts again. CHAD: God damn it, I said shut up! (35) CELL #4: Shut up! (36) CHAD: What the fuck is wrong with you? (37) CELL #4: What the fuck is wrong with you? (38) CHAD: Fucking nuthouse. (39) CELL #4: Fucking nuthouse.

(40-44) Chad lies down and covers his head with a pillow as Naido continues chattering and Cell #4 echoes.

It seems a foregone conclusion that we will never learn about the dog and how it got lost in the cell area, though it seems it would be difficult for a dog to get lost in such a confined space. What the conversation does is move Lucy and Andy into an area of intimacy, recalled from the night of the lost dog, that distances them from what is happening in the cells. Though Andy does interact with Chad, they seem in their own little world as they float out, holding hands, even courtly. This distancing, combined with the intimacy, helps to cover for the fact they don't interact with the man in cell #4.

Earlier, when Frank had first arrived in The Return, Lucy had been having a crisis about the thermostat, what was happening with it when no one was there, and she even had a man out to look at the furnace but he couldn't answer her. She had talked about how "mostly, we don't have prisoners". Now, there is one guest, Naido, and two prisoners, Chad and the "drunk". It's a full house for them.

And the man in cell 4 is a bloody mess. He seems to wear an oxygen tube in his nose and a bandaid over that, his cheek a nasty open sore, his eyes blackened, blood literally pouring from his mouth and pooling on the ground. It would be one thing for him to parrot what is being said around him, like Cooper-Dougie--we would wonder if he is in a similar situation as Cooper-Dougie's and that would be it. But it is another thing for this man to be down here in this cell in the dreadful physical condition he's in and having no attention from Lucy or Andy. What's up with that? They don't even seem to acknowledge his existence.

We are intended to remember Lucy's conversation about the furnace, about what is going on when no one is there to see what's going on, because now we go to the Great Northern and James will end in going to check on the furnace.

Lucy had said to Frank of the man who looked at the furnace, "He wouldn't answer any of my questions about what happens when no one's here."

And now Naido's there. Non-existent.

FREDDIE AND THE GREEN GLOVE

THE PULVERIZED WALNUTS / THE INFIDELITY THEME AGAIN / FREDDIE'S STORY OF MEETING THE FIREMAN / THE GREEN GLOVE AND THE PUN WITH MARJORIE GREEN'S DOG, ARMSTRONG / THE FUGITIVE / A DAY IN THE LIFE / FROM BEING REMINDED OF LUCY'S CONVERSATION ABOUT THE FURNACE AND THERMOSTAT TO THE RINGING TONE IN THE FURNACE ROOM AT THE GREAT NORTHERN

(1) Night.The exterior of the Great Northern, mist rising from its waterfall. (2-3) James and Freddie dressed in security outfits for the Great Northern. Freddie holds a walnut in his green-gloved hand. It cracks. A long shot out of them sitting out the back near the trash. Freddie takes another walnut out of the bag and tries again to crack it but only pulverizes it.

JAMES: I better do that. (He cracks a walnut.)
FREDDIE: What do you want me to do with the crates?
JAMES: Just leave them.


(4-38) The conversation continues with cuts between the two as they speak.

JAMES: I'll throw the linens on them in the morning. It's easier for them that way. There you go. (Freddie takes a nut and eats it.) Take it easy. We're cool. We got one more delivery, and then it's hit the Roadhouse.
FREDDIE: Who's playing?
JAMES: Don't know.
FREDDIE: You want to see if Renee will be there.
JAMES: Yeah, maybe.
FREDDIE: But she's married.
JAMES: I know. How old are you, Freddie?
FREDDIE: Going on 23.
JAMES: I remember being 23. It's my birthday today.
FREDDIE: Is that right? Well, happy birthday, Jimmy. This is a real occasion.
JAMES: So you really can't take that thing off, huh?
FREDDIE: Nah, I can't.
JAMES: I don't understand.
FREDDIE: It's, uh, part of me. Doctor tried to take it off once, and I started bleeding.

The green glove
The green glove

JAMES: Where'd you get it?
FREDDIE: I'm, uh, not supposed to tell.
JAMES: It's my birthday, Freddie. You gotta tell me. Come on, I'm not gonna tell anybody.
FREDDIE: Eh, you ain't gonna believe me anyway.
JAMES: So you may as well tell me. Freddie, come on, tell me the story. Come on.
FREDDIE: Well I told the doctor. I, uh I guess I can tell you. And seeing as how it's your birthday. I was still living at home, see?
JAMES: Where was that?
FREDDIE: That would be London Town, East End. About six months ago, after a night down at the pub with me mates, I'm walking home alone. I get this peculiar feeling as I turn into this alley I use as a shortcut. It strikes me that I'm wasting me life, Jimmy. Hanging about, hitting the pub every night, drinking, when I should be helping people. With this feeling in me on this particular night, I see in the alleyway a high stack of boxes, and I jumped, you know, like, for fun. I jumped onto this high stack of boxes. And all of a sudden, I was sucked up into the vortex of this massive tunnel in the air. Next thing you know, I'm floating in thin air, way up somewhere, like a void. And this bloke's there. The Fireman's what he's called himself. And he says to me, "Go to the hardware store near your flat. And there you will find a rack of green rubber gardening gloves. One package will already be open, with only a right-handed glove inside. Purchase that package and place the glove on your right hand. Your right hand will then possess the power of an enormous pile driver." Poof. And I'm back in me room, waking up the next morning. I got up, got out of bed. Dragged a comb across me head. And I went downstairs and had a cup. No. Just kidding about that part. So I pop round the corner to the hardware store, find the rack of gloves. And, sure enough, there's the open package with the one right hand. Off I go to the counter, lay down the package for the clerk, and he says, "I can't sell you that one. You have to buy one that hasn't been opened." So I say, "That's all right. I want this one." He says, "I can't sell you that one." I says, "Listen, mate. I want to buy just the one glove, and I will pay you full price." "No, it's already been opened. I can't sell it to ya." Now, where I come from, we call a bloke like this a "jobsworth". That is a person who delights in acting in an obstructive or otherwise unhelpful manner, as in, "I can't do that. It's more than my job's worth." So I says to Mr. Jobsworth, "Listen, I'm buying this glove." And I put me bees on the counter and walk towards the door. Well, Jobsworth leaps after me like a possessed puma, screaming that I can't have the glove from the package which has already been opened. I bolt out the door, hit the cobbles, hoping to leave Mr. Jobsworth in the dust, slipping the glove on while I go. Then he slows me down a mite. And before you know it, Jobsworth puts a tackle on me worthy of a red card and sends me skidding on the field. On instinct, to defend myself, I popped Jobsworth one in the loaf with me green glove. I hear a crack, and by the way his head's tilting and him trying to talk I fear I've snapped his Gregory. And then, in that moment, I remember something else that bloke up in the sky told me. "Once you've got the glove on, go to Twin Peaks, Washington, United States of America. And there, you will find your destiny." So here I am, Jimmy, on your birthday. Many happy returns.
JAMES: Wow. Thank you, Freddie. That's a great story.
FREDDIE: The pleasure's all mine, sir.
JAMES: Why you? I mean, why do you think the Fireman picked you?
FREDDIE: Well, that's a good question. I asked him myself, I said, "Why me?" And he said, "Why not you?" And when I went to buy me ticket to fly over here, they told me I already had a ticket. Don't forget. We're supposed to check the furnace.
JAMES: Yeah. You wait for the delivery. Don't forget to sign the invoice. I'm gonna go check the furnaces.


(39) Interior shot of a basement-like hall, steam emanating from the left. James enters. He rounds a corner and hears a ringing tone. (40) He pursues the ringing into another area of the basement. (41-43) His eyes follow it over to a closed door.

The walnuts. Why walnuts? It occurs to me it may be because the interior fruit of the walnut is usually composed of two hemispheres and can resemble a brain with its crinkles and lumps. We can make the connection from Freddie's strong hand to the Lincoln man and others going around crushing and consuming brains. Freddie would seem a good guy opposite to them with his magic green glove gifted him by the Fireman.

We previously saw Freddie in part two when James and Freddie were drinking Colonials at the Roadhouse and Hannah had wondered if there was something wrong with James. But, if we think about it, Freddie was referred to back in part one, in the section with Marjorie, her dog having alerted her to the smell coming out of Ruth's room. The little Chihuahua's name? Armstrong. And what was Marjorie's last name? Green. All the way back in part one there's a pun that forecasts Freddie's green glove. Marjorie Green and her little dog Armstrong. Plus, much had been made of the latex gloves following that, Dave showing to Constance he was wearing his blue gloves. He displayed his hands for her, drawing attention to the gloves he must wear when handling the dead, and Freddie, during his story, of course, repeatedly displays his gloved hand.

Marjorie, too, had problems with memory. So it would seem, as with others, she was in a liminal area and her memory suffered for it. In part one, at the beginning, one could excuse her as simply being forgetful under stress.

Freddie is a big, out-of-the-blue surprise, and is made even more disconcerting by the mumbling, bloody drunk man from the scene before, these new characters stepping forward front and center and occupying precious screen time. What is this guy doing here all the way from England? We wonder--what is this? Is this a nod to popular superheroes with strangle abilities, or has it more to do with the Court of King Arthur and such people as the Green Knight and the exceptional strengths and abilities of the heroes and heroines of so many ancient legends. With everything that has happened in Twin Peaks, with all its oddities, we somehow would never have anticipated Freddie and his green glove. Mr. C is super-human powerful, and Cooper is powerful, and strange and peculiar happenings never cease. But Freddie has thrown us for a loop. Freddie and his green glove, gifted him by the Fireman when Freddie questioned his purpose in life one night, not wanting to waste it, and was supplied a destiny. When he went to purchase his ticket for America, he even found one waiting for him.

He also could well be a fugitive, if he hurt Jobsworth as badly as he said he did. What would have happened had he stayed in England?

His full name is Freddie Sykes. Freddie Sykes is also the name of the one-armed man in the movie version of The Fugitive, the name for that Freddie Sykes seeming to come from The Wild Bunch. The one-armed man had killed Dr. Richard Kimble's wife, Helen. Kimble is pinned with the murder and spends the rest of the film chasing Sykes. In the original television series, the detective chasing the framed Kimble is Lt. Philip Gerard. He eventually has doubts about Kimble's guilt, but continues to chase him because it's the law.

One could look at Sykes, in Twin Peaks, as being a one-armed man as his left arm is no longer his own. It belongs to the Green Glove and the Fireman. It is no longer under his power.

Why does Freddie reference The Beatles' song "A Day in the Life"?

Woke up, fell out of bed
Dragged a comb across my head
Found my way downstairs and drank a cup
And looking up I noticed I was late
Found my coat and grabbed my hat
Made the bus in seconds flat
Made my way upstairs and had a smoke
And everybody spoke and I went into a dream


Freddie had experienced what seemed like a physical happening, he caught up in a vortex, just as Andy had been swept up in one, but then he woke up in his bed. When he continued with his day, however, he entered the dream as a reality when he found the single green glove at the hardware store.

Andy is an innocent, and as I said, as he and Lucy left the jail cells, they seemed even to be "courtly" in the manner in which they did so, the way they held hands and were bearing themselves. Freddie, too, from England, is a kind of innocent. He comes from the land of Arthurian legend...

The theme of infidelity/fidelity enters again, Freddie reminding James that Renee is married. Fidelity. The importance of not breaking an oath. Freddie feels as though he made a promise not to tell anyone about the Green Glove and his experience with the Fireman, but he reasons he can tell James, for his birthday, and, after all, he had already told a doctor.

What will happen with Freddie? That we've had a guy brought in who might be able to handle Mr. C's wrestling strong arm seems significant.

The jail cell scene previous had referred us an earlier one concerning the furnace and how can one know what is going on if no one is there to see what's going on. Now, James, fresh from having heard Freddie's story, not knowing what to think about it, enters the basement to check the furnace and hears the ringing tone. Earlier, Beverly had said that security had checked and found nothing. That would mean Freddie and James. But now James hears the ringing and it's coming from behind a door in the furnace room, or seems to be.

Open the door, James! Open the door and show us what's behind it! We'll be fine with nothing being behind it, if you just open the door! As long as you take a look, we'll be fine if you don't find anything! Just take a look!!!!

But he doesn't open the door. Of course not.

SARAH PALMER DRINKS AT ELK'S POINT BAR

THE REVELATION OF THE EXPERIMENT WITHIN SARAH AND ANOTHER FACE BEYOND THAT

(1) Neon of the Elk's Point #9 Bar. (2) Sarah, wandering down a sidewalk, hears laughter and billard balls, goes to the entrance, then hesitantly enters. (3) She passes through the pool room to the bar and takes a seat. She orders a "Bloody Mary", putting her cigarettes on the counter and settling in. The bartender tells her it's coming up.

(4) At the end of the bar sits a man with long hair and a baseball cap. (5) Sarah lights a cigarette. (6) The man takes notice of her. (7) Sarah thanks the bartender for her Bloody Mary. (8) The man stands to approach Sarah. We see he wears a hand-lettered "Truck you" shirt. (9) She eyes him. (10) TRUCK DRIVER: You drinking all alone tonight?
(11) SARAH: Mind your own business, please.
(12) TRUCK DRIVER: That's not very polite.
(13-17) SARAH: It wasn't meant to be polite. Would you sit back where you were, please?
(18-22) TRUCK DRIVER: I'll sit wherever I want. It's a free country. It's a free country! It's a free cunt-ry. Maybe you're one of them bull dykes. Yeah. Come to think of it, you look kind of like a bull dyke lesbo. You like to eat cunt, huh?
(23) SARAH: I'll eat you.
(24-28) TRUCK DRIVER: What? Like hell you will, you miserable bitch. I'll fucking pull your little lesbo titties off.

(29-32) Sarah suddenly turns to face him, places her right hand over her face and removes it just as Laura had in the Red Room. We see a flashing from what seems the mouth of the Experiment. Then a left hand rises and removes that face so we see a smiling mouth.

Sarah
Sarah

Sarah
Sarah

Sarah
Sarah

SARAH: Do you really want to fuck with this? (33-50 approximately) She replaces the face and in a flash leans forward and rips out his neck with her mouth, though leaving no trace of blood on herself. She screams and the bartender rushes over.

BARTENDER: What the hell? What happened?
SARAH: He just fell over. I don't know.
BARTENDER: What, with half his neck missing? Damn. You have something to do with this?
SARAH: What? You saw me. I was just sitting here, having my drink.
BARTENDER: Honey! Call 911! We got a dead one at the bar. (To Sarah.) We'll see about this.
SARAH: Yeah. Sure is a mystery, huh?

I'm going to assume this happens after Sarah, in part thirteen, watches the time-and-time-again boxing match, runs out of alcohol and tomato juice, and leaves the living room. Stores perhaps closed in the town, at this time of night, she has resigned herself to going to the Elk's Point Bar.

It's a shocking scene, but also an exciting one for the female viewer, for Sarah exacts revenge for every woman ever hassled in this manner, and yet it is also discomfiting. Because it ain't right. As in I'm not sure, at all, I would ever want Sarah on my team. Not right now.

At the same time, Sarah *has* been polite. She has said please. She didn't invite the man over and chomp him. She didn't randomly follow him out of the bar and chomp him. He came over. She asked him, please, to leave her alone, he became threatening, harassing her, and she let him have it finally.

Sarah's got problems. Behind the mask of her face she seems to harbor the Mother Experiment, and behind that mask is as if her dark version of Laura Palmer's prom smile, though not exactly. The hand that drew away the inner mask had a darkened ring finger. Has she ever worn the green ring?

Sarah houses within her the Experiment? Really? Does she know this? This is that side of her that snarled at Hawk and said it was a bad story? After saying she was dead, yet lives, Laura had pulled aside the mask of her face to show an interior bright light. But Sarah pulls away the mask of her face to show darkness, the Experiment that birthed BOB, and a seeming caricature of Laura's smile.

Oh, Sarah. Were you always like this inside?

THE BANG-BANG

FROM THE NUTHOUSE AT THE JAIL, TO FREDDIE OBLITERATING WALNUTS (THE FRUIT OF WHICH LOOKS LIKE BRAINS), TO THE NUTHOUSE AT MEGAN'S, AND AUDREY'S BILLY

(1) Neon of the Bang-Bang Bar. (2-45 approximately) Two women sit inside at a booth, talking. And, as usual, we have no previous knowledge of them.

SOPHIE: That's because you're hanging out at the nuthouse.
MEGAN: I'm not.
SOPHIE: Getting high in there.
MEGAN: Bullshit. I'm not. I'm getting high in my room. Flying in my own room.
SOPHIE: Just don't go in that nut place.
MEGAN: Fuck you. Who said I would anyway?
SOPHIE: Nice sweater. Where'd you lift that?
MEGAN: It's Paula's.
SOPHIE: It's nice. Have you seen Billy?
MEGAN: No, not for a couple of days.
SOPHIE: I heard you were the last person to see Billy.
MEGAN:It was so fucking scary. He was in the kitchen with me and my mom. Think my uncle was there, I'm not sure. You know, at the window, we see Billy. He's jumped over a fence, a six-foot fence, lands in our backyard. He comes running like crazy to the back door and I can tell he sees me through the window. And he had this look in his eyes. Comes slamming in the back, stumbles in the kitchen. I start screaming, and I think my mom screamed too. And there was blood coming out his nose and mouth. And he goes and hangs his head in the sink. Blood's just gushing like a waterfall. And he turns and looks at us, real strange and all bloody and then he bolts out the back again. We're like, "What?"
SOPHIE: And you didn't tell anyone?
MEGAN:We just didn't know what to do. I mean, we didn't know what the hell was going on with him. And I know my mom and him had a thing.
SOPHIE: What? Really?
MEGAN: Yeah. Up until pretty recent, at least. I mean, I just caught wind of it from time to time, the smile in her face whenever his name came up.
SOPHIE: What's your mom's name?
MEGAN: It's Tina. Then he just ran out again? Yeah, just, like, he was in our kitchen for maybe, like, ten seconds, and then he just took off, real fast and crazy. And after, we see all the blood on the floor and some on the wall. Took a while to clean it up, me and my mom. I don't remember if my uncle was there.


The MC announces Lissie (Elisabeth Corrin Maurus) and go out on her singing "Wild West". The episode is dedicated to David Bowie.

Are you out there
To take away my fear?

I haven't lost my hope
Even though I am so far from my home

I've been living my life on the edge
Slip and fall if I take one more step
There's safety in numbers, I guess
But I'm going rogue in the wild, wild west
Wild, wild west
Wild, wild west
Wild, wild

From where I stand
There's a world where you can

All that you lost, you get back
And all that you want, you can have

I've been living my life on the edge
Slip and fall if I take one more step
There's safety in numbers, I guess
But I'm going rogue in the wild, wild west
Wild, wild west
Wild, wild west
Wild, wild

I've been dancing in the moonlight
I've been laughing with this firelight
Living, I've been giving
I've been living with the firelight
I'll be fine, fine
I'll be fine, fine
I'll be fine, fine, fine

I've been living my life on the edge
Slip and fall if I take one more step
There's safety in numbers, I guess
But I'm going rogue in the wild, wild west (wild, wild west)
I've been living (wild, wild west) too close to the edge (wild, wild west)
If I fall (wild, wild), who's gonna catch me?
There's safety in numbers, I guess
But I'm going rogue in the wild, wild west (wild, wild west)

I've been dancing (wild, wild west) in the moonlight (wild, wild)
I've been laughing with this firelight
Living, I've been giving
I've been giving with the firelight
I'll be fine, fine
I'll be fine, fine
I'll be fine, fine
I'll be fine, fine
I'll be fine, fine
I'll be fine, fine


The nuthouse connects this scene to the Great Northern with Freddie crushing walnuts to the jail cells with Naido and the weird man making it hell in there for Chad.

Is it Billy in the jail cell, the one who's pouring blood? That's what we're supposed to wonder, and we do wonder that, if he's pouring blood like Billy was, but it doesn't fit that Lucy and Andy wouldn't be cleaning up after him and making sure he had medical care. Andy and Lucy and the others just wouldn't have someone in the lock-up in that state.

Audrey may be stuck somewhere in the 1940s with Charlie, but her story about Billy, even her dream about Billy, pans out. For here we have Billy last being seen by Tina and Megan...and perhaps an uncle. It's a liminal state we're dealing with and so Megan finds she can't remember things very well. Twice she wonders if her uncle was there or not. But Billy certainly was. He was acting crazy, may have been terrified himself, was certainly not right, pouring blood, and on the run from something. On the run from what?

The character of Sophie stands in for the audience when she asks, "What's your mom's name?" She's like Tracey was to Sam, prodding the little bits of information she could get out of him for the audience. Sophie does the same with Megan.

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?

PART FOURTEEN

1. Twin Peaks. Lucy speaks to Gordon Cole and transfers the call to Frank. I'm going with Saturday morning 10/1/2016.
2. Buckhorn. The FBI room at the Mayfair. Diane says Janey-E is her sister. Gordon describes his dream. Going with 10/1/2016. Diane wears the green top and black skirt that she was wearing in part twelve when she looked up the coordin-eights on her phone after the bar was closed. So it seems that scene could be on Saturday. We already had a scene of Diane in the bar that day communicating on the iPhone about Las Vegas. That scene was presumably on Friday. 3. Twin Peaks. The arrest of Chad. 10/1/2016.
4. Twin Peaks. The trip to Jack Rabbit's Place. 10/1/2016.
5. Twin Peaks. Naido taken to the jail. 10/1/2016.
6. Twin Peaks. Freddy tells his story of the green glove on James' birthday. I'm assuming it/s 10/1/2016.
7. Twin Peaks. Sarah Palmer at Elk's Point Bar. Maybe 10/1/2016 as well.
8. Twin Peaks. The roadhouse. Conversation about Billy. Unknown date. Perhaps 10/1 as well.

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