text:
THIS IS THE CHAIR
KYLE AS A HUMAN TIE-DYE ART CANVAS - In part seven, the conversation on the jet was to do with the reversed fingerprint, while now the jet is itself reversed / Cooper wordplay / More argent with Silverado / Another time anchor of 11:09 / Finally confirmation that Duncan works for Mr. C / Pun of Chantal and making the warden sing for her, though the surname, from canto, means "stony", and may this links to why she and the son of the 119 woman both wear shirts with the numeral one, these two scenes also connected by the time of 11:09 / Exploring the two birds with one stone idea / Silly Cheetos pun maybe
NOTHING ON MR. JONES PRIOR TO 1997 - The repeated Bushnell boxing references / The Australian guy with the pliers / Will we finally get some DNA leading Cooper-Dougie to Cooper? / The red shoes and the flag in the corner links COOPER=DOUGIE, hearing "America the Beautiful", to the totem pole and lamp in the corners at the Great Northern and the mysterious tone / What happened in 1997? What about this car accident?
NO CIGAR - Confusion over the right and left tail light as a police car in the foreground shows 911 / Ike drinks the same Black Label whisky as the 119 mother
THE BEIGE CHAIR OR THE RED CHAIR - Lucy the bell ringer / The red chair a dead ringer for the beige one but for the color / The viewer is still looking for 4-3-0 / Which Truman and which chair / Who won the argument and does it matter when they both will be happy?
JOHNNY HORNE - Comparing Johnny Horne with Cooper-doppelcoop / Ike and Eisenhower / The hole in the wall and Audrey / The pun of the dead ringer morphing to ringing one's bell
THIS IS THE CHAIR - Lucy's selection of the red chair leads to this red chair that contains the secret
AROUND THE TABLE, THE DINNER CONVERSATION IS LIVELY - Differences between the message Mr. C sent and the one Diane receives / Another not-quite-a-dead-ringer / Albert meets his match / So many red shoes now
I AM NOT YOUR FOOT - Our attention drawn to all those feet with the red shoes, we now focus on Jerry's foot / Angelo Badalementi's "A Real Indication"
TWO DAYS FROM NOW - The problem of Chad's two meals / Lucy's not there / Problem of Lucy dressed differently than she earlier was and her jacket on the clothes rack is blue not pink / Does something stink in the conference room / The problem of the saw mill / The anchor of a date in the future and a current place in time seems to show that our timeline is fundamentally correct (at least up until now, and at the moment), it is September 29th / Jack Rabbit's palace and the bunny question / Our make-believe world / The soil in the pocket / The Cooper message clipped from a message Briggs originally gave Cooper
WE USED TO SMOKE TOGETHER WAY BACK WHEN - Diane doesn't take the opportunity to tell Gordon about the message she received
9/29 OR 9/20 OR 9/26 - Bill's age, 43, as another anchor for the year / Bill's signature and the three dates / Bill's age, 43, Mr. C sharing the same age, and 4-3-0 / Ruth had indications, and "Real Indications" / Why is Bill asked what his wife's name is / The head of Major Briggs and Briggs as the messenger delivering his own message from the future / Bill had to hold the dead Ruth (like Cooper held Windom Earle's wife as she died / Alternate dimension that is like a dream
A MONASTERY BELL - A reversed order of shots / Continuing the theme of fidelity and infidelity, Ben is unable to have an affair with Beverly / J'ai une ame solitaire
THE ZEBRA, THE PENGUIN, AND THE RASH - I can't remember
ON THE WEBSITE OF BILL HASTINGS
ON THE JUMPING MAN
KYLE AS A HUMAN TIE-DYE ART CANVAS
IN PART SEVEN THE CONVERSATION ON THE JET WAS TO DO WITH THE REVERSED FINGERPRINT, WHILE NOW THE JET IS ITSELF SHOWN REVERSED / COOPER FLIES THE COOP WORDPLAY / MORE ARGENT WITH SILVERADO / ANOTHER TIME ANCHOR OF 11:09 / FINALLY CONFIRMATION THAT DUNCAN WORKS FOR MR. C / PUN OF CHANTAL AND MAKING THE WARDEN SING FOR HER, THOUGH THE SURNAME, FROM CANTO, MEANS "STONY", AND MAYBE THIS LINKS TO WHY SHE AND THE SON OF THE 119 WOMAN BOTH WEAR SHIRTS WITH THE NUMERAL ONE, THESE TWO SCENES ALSO CONNECTED BY THE TIME STAMP OF 11:09 / EXPLORING THE TWO BIRDS WITH ONE STONE IDEA / SILLY CHEETOS PUN MAYBE
(1) Thursday a.m. (if we go by Ruth having been killed on a Thursday). It lives! Doppelcoop looks like hell but has survived. Smeared with blood, his white t-shirt so soaked with blood it looks like red and black tie-dye, he walks up a road through what appears to be an equestrian area and takes a red bandana down from a post, we understanding the bandana would be there for him as a signal.
Red Bandana
(2) We see now a jet flying, its ID number reversed on an engine.
Jet in part nine
Jet in part seven
As Lynch/Frost do have very occasional reversals of images it seems notable the jet is flipped in part nine as opposed to when they are flying out to South Dakota in part seven. Instead, in part seven, they were examining the doppel's reversed print.
(2) Go to Gordon, inside, looking out a window. This may remind of part seven in which he, again, was first shown seated here next to the window on the way to South Dakota. In part seven that preceded him speaking with Tammy and Albert about yrev and the reversed fingerprint of Mr. C, which was not a physical reversal on Mr. C's physical body but a reversal on the paperwork. Now, instead we have the reversed jet, and it seems this would have to do with the earlier conversation in part seven.
Diane and Albert asleep
(3) Tammy passes through the next cabin, (4) where we see Diane and Albert apparently asleep. (5) She is bringing Gordon coffee, and (6) he thanks her for it. (7) She also has a call ready for him, "patched in through the office. It's a Colonel Davis for you at the Pentagon. Urgent". The viewer remembers that Davis is Cindy Knox's superior. She had relayed to Davis the information that Briggs' body was in Buckhorn and he'd sent her out to Buckhorn where she examined Briggs' body. (8-20) As Gordon takes the phone, Tammy tells him, "Try to keep your voice down."
Ha. As Gordon speaks in his loud, broadcasting voice we have shots of Diane and Albert, and Tammy.
GORDON (loudly): What? (To the colonel.) Hello? Colonel? What have you got? I don't appreciate your language one bit, Colonel. Oh, a place. Buckhorn. Buckhorn, South Dakota. West South Dakota. Well, by golly, we're over east South Dakota right now. (To Tammy) Take this down. (To Davis.) Hold on. Capital K, small N, small O, small X, Knox. Lieutenant Knox. Buckhorn Police Department. All right. Thank you, Colonel.
Toward the conversation's end, as Gordon spells out Knox, Diane has opened her eyes, listening.
Gordon gets off the phone and we (21) cut to Mr. C walking past a white farm type building, holding the bandana. Hutch (Gary Hutchens is played by Tim Roth) approaches, and says, "Hey, partner. We was expecting you last night. Looks like you've been spilling." Mr. C asks, " Who owns the establishment?". Hutch replies, "Farmers." Mr. C asks, "Where are they?" Hutch says, "Oh, they're sleeping out back. What you need." Mr. C says, "A couple clean phones. And something for this." He hands him the gun. Hutch says, "Well, fuck that. I'll get him some real nice puppies and biscuits." He calls for Chantal (his wife, played by Jennifer Jason Leigh), telling her, "Boss man's here! Grab the kit!" (22) Approaching, she asks, "Is he hurt? Shit! We was waiting for you all night. Where'd they get you?" (23-24) Mr. C pulls up his shirt to reveal a bullet hole through his left abdomen. "Looks like you was lucky," she says, going to get the kit.
Hutch and Chantal
I normally like Tim Roth and Jennifer Jason Leigh but I'll say right now that, like the Fusco brothers, their characters didn't do much for me in Twin Peaks: The Return, though I understood the rationale behind them. I'm not saying they shouldn't have been there.
Chantal has a red numeral one on her shirt. The boy who was in the house across from where Dougie's car was blown up also had a red numeral one on his shirt. For some reason they have been given this visual that ties them together.
(25) Cut back to the jet, Diane and Albert asleep. Gordon approaches and wakes Diane. "Rather then return directly to Philadelphia, would we mind if we made a short trip to Buckhorn South Dakota? It's quite important" he asks. She protests, "Fuck you, Gordon. I want to go home." He tells her, "This is important and it could be of interest to you, Diane. An old case involving a man Agent Cooper once knew."
"The Blue Rose case," she says. She agrees by showing that she needs more little bottles of alcohol. Gordon says, "Coming up. Got to talk to the pilot first." (26) Gordon goes up front. We hear him say, "There's been a change of plan. We're going over to Buckhorn, South Dakota." (27) Diane glances over to see Albert now awake. Albert says, "I know, 'Fuck you, Albert'," and turns in his seat away from her, trying to return to sleep.
(28-29) Diane tries her phone and sees it reads "BLOCKED" white letters on a red rectangle. (30) Tammy's phone then rings. She answers, (31-32) and goes to give it to Gordon as he is getting a couple of bottles for Diane. (33) "It's Warden Murphy," she tells Gordon. (34-35) We hear Murphy tell Gordon, "Your man, Cooper, escaped..." Gordon exclaims, "What? How the hell did that happen?" He announces to all, "Cooper flew the coop!"
(36) Cut back to the farm and Mr. C rounding the corner of a house where we see a deceased elder man seated and leaning against an outer wall and a deceased woman resting on his lap. Mr. C and Chantal walk up to a black 30 Silverado truck. (37) He takes out a pink phone and taps in a message.
the conversation is lively
We see it is 11:09, message 2/2, and what he's typed is "around the dinner table the conversation is liv". He adds ely.
(38) He then makes a call. (39) And cut to Duncan who hears his cell and with a look of dread pulls it out of his drawer and answers.
Mr. C asks, "Did you do it?" Duncan tells him, "Not yet." (40) Mr. C says, "Better be done next time I call", and hangs up. (41) Duncan calls in Roger.
(42) Cut to Hutch walking up to the Silverado, carrying a metal case, a bag and a gun. He shows Mr. C the contents of the bag, asks, "How's that, boss?" Mr. C tells him, "Its real good, Hutch. He takes the box and bag.
(43) MR. C: I want you to kill a warden within the next two days.
HUTCH: A warden. All right. You want Chantal to mess with him before I kill him?
CHANTAL: He'll sing for me.
MR. C: Whatever you want. Then I got a doubleheader for you in Vegas.
HUTCH: Oh, let's play two.
(44-45) MR. C: I'll text you details after you do the warden. Remember this. Warden Murphy, Yankton Federal Prison. Kill him at home, at work, or on the way.
HUTCH: All right. Hey, Chantal, give the boss man a wet one.
CHANTAL (takes gum out of her mouth and kisses him): I wish it was more.
MR. C: I'll take a rain check.
CHANTAL: You got it, sweetheart.
She gives him a bag of Cheetohs. Mr. C tosses the pink phone on the ground, and tells Hutch, "Kill that phone and get out of this place." Hutch points Mr. C to the main road. (46) Hutch then blasts the phone.
Damn. Now Chantal and Hutch are going to go after Cooper-Dougie...and maybe Janey? Is that the double header in Las Vegas?
This scene has given us confirmation that the bad guy Duncan is working for is Mr. C. We assume that what Mr. C is calling about is whether or not Dougie (Cooper) has been killed. Not yet. So, since the prior Thursday the doppel has been trying to arrange a hit on Cooper-Dougie--first through Lorraine, who had failed, and then through Ike the Spike who had killed Lorraine but failed to kill Cooper-Dougie. We'd assumed Duncan was working for Mr. C but now we have our first transaction between the two.
If Mr. C was expected by Hutch and Chantal, that means he never had any intention (of course not) of going to "the farm" with Ray. Instead, he goes to this other place that is described as belonging to a farmer as well, which may be a little confusing at first.
Hutch and Chantal are played by great actors, but their performances are pure camp.
Going back to my interest in infidelity associated with certain deaths, if there's any relation to Windom Earle seeking vengeance on Cooper for his affair with his wife, Chantal is also married, to Hutch, and we might wonder what her fate may eventually be. I've considered that a teaser for this infidelity thread is her handing Mr. C a bag of Cheetos (cheat). Who knows. There are enough bad puns floating around.
We don't know what the mysterious message means that "around the dinner table the conversation is lively". But that it first ends in liv when Lynch cuts to the phone reminds of Dougie's license plate ending in LV. Where did Dougie's license plate land? On the house of the 119 woman, and the time stamp of the message should be 11:09.
Hutch is a new character. Chantal we already met back at the motel in Buckhorn, tasked with cleaning up Darya's murder. In both scenes the word "wet" is associated with her. On her shirt is a patch that looks like a 1st Marines insignia. Marine associates with the idea of "wet", marine etymologically being to do with the sea. Marine? Red had worn a Submariner Rolex. The real insignia of the 1st Marines is a red number one with five stars surrounding, but her insignia has four.
When we examine this scene we have many elements that connect back to the 119 mother and boy. He has also a shirt that does not have that insignia but has the red number one. His mother shouts 119 as the bomb is being put under Dougie's car, then when Dougie's license is retrieved from her roof that scene is recycled so she is shouting 119 again. Chantal calls attention to the idea of her own name being associated with song (she will make the warden sing for her), but actually it comes from canto which is stony. The 119 boy had been saved from the bomb blowing up Dougie's car by having a stone thrown at him by the gang who chased him away. Finally, we are shown Mr. C's message has the time of 11:09. 119. And we are shown liv of his message before the ely is typed in. This would seem to refer to Dougie's LV (Las Vegas) license plate.
To kill two birds with one stone is to solve two problems with one action, but how will this play out in Lynch/Frost world? Why do we have this nexus of associations concerning the stone and the bird tying together the drugged mother and her boy, the house upon which Dougie's license plate landed, and Chantal?
Does the lively conversation around the dinner table have anything to do with the drugged-out mother yelling 1-1-9 as she sat at the card table? Is "lively", sent at 11:09, some kind of code that refers to Dougie's license plate?
Return to the top of the page.
NOTHING ON MR. JONES PRIOR TO 1997
THE REPEATED BUSHNELL BOXING REFERENCES / THE AUSTRALIAN GUY WITH THE PLIERS / WILL WE FINALLY GET SOME DNA LEADING COOPER-DOUGIE TO COOPER? / THE RED SHOES AND THE FLAG IN THE CORNER LINKS COOPER-DOUGIE, HEARING "AMERICA THE BEAUTIFUL", TO THE TOTEM POLE AND LAMP IN THE CORNERS AT THE GREAT NORTHERN AND THE MYSTERIOUS TONE / WHAT HAPPENED IN 1997? WHAT ABOUT THIS CAR ACCIDENT?
(1) Cut to the Las Vegas Metropolitan Police Department, address 140. (2) Cooper-Dougie and Janey seated in a waiting area, Cooper-Dougie holding a red cup.
(3) Then to Bushnell speaking with the Fusco brothers in their office. D. Fusco asks, "He ever give any problems?" Bushnell protests, "No, I never had any trouble with Dougie at all. He's a solid citizen." Another Fusco asks, (4) "So you can't think of any reason why someone would try to kill him?" Bushnell says, (5-7) "Not off the top of my head. Of course, in the insurance business, folks have been known to hold a grudge if things don't go their way." He's told, (8) "It's usually about money, Bushnell, pure and simple. Nobody needs more reason than that. So what's his background? How long has he been with you?" (9) Bushnell says, "Twelve years now. He's a good worker, slow, steady." When it's joked, (10) "Little more emphasis on the slow", (11-12) Bushnell tells them, "Dougie had a car accident, as I recall, not long before he came to work for me. Every once and a while, he shows some lingering effects. His wife can talk to that better than I can." (13) Standing, the Fuscos thank him for coming down.
(14-16) "Well, I really appreciate your help," Bushnell says, but also pauses, rethinking. He adds, "Damn strange business. First his car blows up, and then somebody tries to kill him."
(17) The Fuscos simply stare at him. (18) Bushnell exhales, frustrated by their lack of response. (19) "We'll get back to you as soon as we have something," he's told. (20-23) Bushnell clenches and unclenches his boxer fist several times then exits.
Bushnell is repeatedly associated with his old Boxing Bud Bushnell days. A fighter. The clenching of the hand into a fist and the opening of it.
(24) Janey and Dougie. (25) Bushnell approaches. "Dougie, you can take the rest of the day off," he says. (26) Janey says, "That's great because I can take him to the doctor." Bushnell says, "Starting tomorrow, you and I are going to work together and get some answers." Dougie echoes, "Answers." (27) Bushnell exits, patting Janey's shoulder.
LVPD
(28) The Fuscos discuss how, "There is nothing, and I mean nothing, on our Mr. Douglas Jones prior to 1997. No driver's license, no passport, no social. Class records. Tax records. No birth certificate." (29) They wonder, "Witness protection?" They'll run it by a "guy at justice".
(30) D. Fusco asks, "Did you get that tail light fixed?" He's told "to the tune of 239 bucks for a fucking tail light". D. Fusco says, "Must be a beauty." Smiley laughs, "Remember that Australian guy with the pliers?"
This is a little out-of-the-blue story touch, and works as such for adding a bit of meat, but I'm assuming with the pliers reference we're intended to think back on the pliers in the set of clues for the congressman's dilemma.
(31) Dougie and Janey. (32-34) T. Fusco wonders if they should try talking to Dougie again. D. Fusco says it's, "like talking to a dog." T says, "And she does all the barking."
Janey's red shoes
D. watches (35) Janey take Cooper-Dougie's empty coffee cup away from him and (36) says he has an idea. (37-41) He goes out, returns with a red mug (42) and takes it out to Cooper-Dougie, (43) saying, "Brought you a fresh one, Mr. Jones." He carries the old cup back to the office. (44-46) They bag it and give it to a sergeant (47) "to be sent off for prints and DNA". The sergeant informs, (48) "Hey, I was just coming to tell you that those palm prints came back off that gun. Our old friend Ike the Spike. And we just got a 20 on him at an off-Strip motel. Smiley says, "Ike the Spike finally fucked himself." T says, "Hey, let's join the fun. (49) As they exit to go get Ike, the Fuscos tell the sarge to let the Jonses go. He says, referring to the red cup, he needs to "log this first".
A touch of art. We see behind him a 3d horse head coming out of a canvas. There is also a painting of a cowboy on a pale horse. Though it has a dark mane, we might be reminded of Sarah Palmer's visions of the pale horse, and Cooper's vision of the horse as well when he was told it was time for him to leave the Red Room.
(50) Go to Cooper-Dougie draining his coffee cup. He stares into a corner and it seems he is staring at (51-52) the flag.
We hear "America the Beautiful" playing, as if he is remembering this. (53) As the music continues, a woman enters. (54) He notices (55) her red shoes and (56) his eyes follow those. (57-60) She passes an electrical outlet and his eyes track back to the outlet, ominous music entering.
The plot pushes forward. The viewer now is certain that the Fusco brothers will, having sent off for Cooper-Dougie's prints, find out who he is and call the FBI. Yea!!! The Fusco brothers have reminded of The Three Stooges, without the violence. They are idiots but they did do this right, having the idea to get the red cup Cooper-Dougie was drinking from and send it out.
The corner in which the flag stands, and the focus on it, Cooper hearing then "America the Beautiful", should certainly remind us of the search for the hum dwelling partly on the totem pole in the corner at the Great Northern (which also counters the flag with its reminders of indigenous occupation prior European's taking over sea-to-shining-sea via the Doctrine of Discovery). The search for the hum had also focused on a corner behind a lamp. But our focus was always directed beyond these things and into the wall itself.
The flag is a strong call to memory for Cooper with his FBI patriotism. But then the red shoes pass. We remember Audrey Horne, who also wore red heels in the original Twin Peaks. Is Cooper reminded of her? His eyes, however, only follow the heels as far as the power outlet. Does he remember anything about having transitioned into Las Vegas through the power outlet? The horse's head emerging from the painting in the police office could link up to this, for Cooper had translated into a physical form as out of smoke, emerging from the outlet in the wall.
We get more background finally on Dougie, that he has worked for Bushnell for 12 years and that records only exist for him for about 19 years. Does this mean that he was "manufactured" back around 1997? When Bushnell vaguely states that Dougie had a car accident not long before he went to work for him, is that in the vicinity of 1997 instead? Just as Dougie got swept out of this world when Mr. C had the car accident, is there a sort of symmetry to be had with Dougie entering the world via a car accident? Will the Fusco brothers talk to Janey about this? How did she and Dougie meet? Was he already having these "episodes" when they met? Did Dougie have a back story for his life before 1997? What was it? So many questions.
James is thought of as slow or different since his motorcycle accident as well.
NO CIGAR
CONFUSION OVER THE RIGHT AND LEFT TAIL LIGHT AS A POLICE CAR IN THE FOREGROUND SHOWS 911 / IKE DRINKS THE SAME BLACK LABEL WHISKY AS THE 119 MOTHER
(1) A police car showing 911 in the foreground. Out in the police department parking lot, the Fusco brothers commiserate on the right tail light of the car that was replaced, examining it, but Smiley is now uncertain whether it was right or left, for he looks at the left one as well. D. insists it was the right, pointing out a scratch on the right side of the body.
Of course all this takes us back to 119, the reversal of 911, and other reversals.
(2) Cut to the exterior of Spike's motel. (3) Then Spike on the phone.
IKE: Message for JT. Been trying your cell No luck, so trying this line. Here's the message. No cigar. Taking medical leave.
Ike hangs up and downs some whiskey. He appears now to be drinking what the drugged 119 mother was drinking, Black Label Evan Williams manufactured by Heaven Hill.
(4) We see the Fusco brothers drive up in the parking lot, meeting other officers.
(5) In his room, seated before the mirror, Ike looks at his reflection and throws down the rest of the whiskey. He gets his bag. (6) The Fusco brothers and the other police separate to enter the building. (7) Ike steps out into the hall, leaving. He is stopped by police at one end (8-9) so he goes in the opposite direction and is confronted by the Fuscos. (10) T tells him that he's under arrest "for attempted murder". D. says, "We have your palm print." T says, "As a matter of fact, Ike, we have your whole palm."
(11) Ike drops his bag. He raises his arms and we see that his right hand, which had been covered by a jacket, is wholly bandaged, the gauze extending up to his elbow.
We are left with the question of who is JT? The envelope for Spike, that contained the information for the hits on Lorraine and Dougie, began at Duncan's office, where he handled it so as not to leave any prints. The next we see the envelope, it was being slid under Ike's door. It would seem that there was an intermediary and Ike is perhaps unaware that he was working for Duncan. Certainly he's unaware he was working for Mr. C.
Bandaged
We're relieved to have Ike the Spike out of the picture and that Cooper-Dougie won't have to deal with him again. But we suspect Dougie is one of the double-header hits that Mr. C has told Hutch and Chantal wait them in Las Vegas. We don't know who the other person would be. Janey? Duncan?
THE BEIGE CHAIR OR THE RED CHAIR
LUCY THE BELL RINGER / THE RED CHAIR A DEAD RINGER FOR THE BEIGE ONE BUT FOR THE COLOR / THE VIEWER IS STILL LOOKING FOR 4-3-0 / WHICH TRUMAN AND WHICH CHAIR / WHO WON THE ARGUMENT AND DOES IT MATTER WHEN THEY WILL BOTH BE HAPPY?
(1) Cut to radiant sun beams above trees and pan down to the Twin Peaks Sheriff's department.
Twin Peaks' Sheriff's Department in part nine
It is a shot similar to the first one we saw of the department but is indeed different, and the hues are more golden. We hear morning bird song.
Twin Peaks' sheriff's department in part one
(2) Cut to Lucy at her desk. She wears a multi-colored, striped sweater vest over a white shirt with red bell embroidery on the collar. (3-4) Transfixed, She looks at a Canworth (fictional) ad for a "Comfortable Fabric Chair and Ottoman, Beige". Cut in price from $229.99 to $179.99, the ad copy reads, "This plush fabric chair will instantly update your space. Sit back and enjoy the padded seating as you read the paper, surf the web, or watch your favorite television show. This chair offers personalized comfort and sturdy construction that stands up to the rigors of your daily needs. Relax in style with the matching ottoman and sit back in comfort." A little orange post-it note below reads, "Tab over twice to make indented ... in Excel".
The updated Twin Peaks is looking at chairs that will update the Brennan household, Wally having given them permission to turn his bedroom into study.
(5) She looks at the red version as well then clicks back to the beige.
Red chair
(6) Lucy stands and stalks over to (7) Andy, who sits at his desk behind her also looking at the same ad of the red chair. (8) She tells him, "Andy, I really love the beige chair." She stalks back to her chair and sits down. (9-11) Andy stands, stalks over to her, says, "And Lucy, I really love the red chair." (12) She is infuriated. She goes back to over him to say, "And I really love the beige chair, Andy." Lucy's eyes, fixed on the monitor, are open the kind of wide that she might break into angry tears at any moment. Andy sits, staring at the monitor for a little longer then goes to her. "I'm sorry, pumpkin, you can get the beige chair," he sweetly concedes, giving her a hug, then returns to his desk.
Lucy purchases the red chair
(13) Lucy ponders a second. She smiles, (14) selects instead the red chair (15) and completes her purchase with a little gleeful chuckle. The subtitles note, "A bell dings on website", reminding of the two red bells on her shirt collar.
This makes Lucy a bell ringer.
(16-17) We see a web page for the completion of her purchase. Item #3891305. Store ID #760343-21. Order #12-343503-1983. Pleased, excited, she turns 180 degrees in her chair to face Andy, but not saying anything, then 180 degrees back to her computer screen.
The viewer has been looking and looking for Cooper's 4-3-0 that he is to remember. Here is 0343 in the store ID#. It's close...but not quite there, is it.
That color red. We may be reminded of the bright red square that comes up on Duncan's computer monitor, in part six, that is a symbol for him to pull the file on Lorraine and Dougie and send it to Ike the Spike for the hit. We may be reminded, too, of the red quadrangle of Janey's bag by which she is identified by the loan sharks/thugs, and in which she carries the money to pay them off. She argues them down to the sum of money she will pay and then lectures them on empathy and compassion and how it's a dark, dark world.
We also are having many other red signals. There are the red shoes that are now being worn. There was the red bandana that served as sign for Mr. C he was at the right place to meet Hutch and Chantal, or that not only was he at the right place but it had been secured. There is the red traffic light. The red curtains of the Red Room. The red mug out of which Cooper-Dougie was drinking upon which are his prints and DNA. These are just a few of the so many stand-out uses of red.
Lucy's conflict, in part one, with the insurance agent, was that he needed to select which Truman he wanted, that it could make a difference. We were reminded of the difference between the doppel and Cooper (and the two sheriffs as well, though the viewer might not have known yet Harry had been replaced with Frank). For some reason we have impressed upon us again this doppel similarity and difference. The red chair is a duplicate/dead ringer for the beige chair but for the color.
In this case, the choice between the two chairs seems only aesthetic and a matter of preference. With the making of a choice, it is dependent on how the disagreement is handled.
Andy could be looked upon as being possibly duplicitous in his sweetly conceding to Lucy that she can have the beige chair. Either he knows Lucy well enough that he anticipates she will order the red chair for him, or this is a concession-in-earnest and a kind of gift. In turn, Lucy, happy with his love and his selflessness, gleefully and selflessly chooses the red chair for Andy, elated with how much of a surprise it will be for him. Is Andy that kind of a manipulator that he knows Lucy will order the red chair and returns to his desk content with that presumption? I would like to say that I doubt it, and we instead have a Lynch/Frost example of selflessness on both sides circumventing strife.
Lucy and Andy are not such innocents that they can't be self-centered and petulant. We've observed such behavior, and how Hawk and Frank deal with them, ignoring petty irritations.
JOHNNY HORNE
COMPARING JOHNNY HORNE WITH COOPER-DOPPELCOOP / IKE AND EISENHOWER / THE HOLE IN THE WALL AND AUDREY / THE PUN OF THE DEAD RINGER MORPHING TO RINGING ONE'S BELL
(1) We see the rafters of an unknown household. We hear a door and then a woman's voice asks, "Mary, what are you doing?" The camera pans down to a balcony and stairs. We hear someone running, another sound of a door, and then the same woman's voice calls, "Who let him out?"
Immediately, we know from his history, this will be Johnny Horne, the brother of Audrey.
We see a man's figure run across a second floor balcony from right to left. Though we know this is going to be Johnny, his briefly-observed build reminds of the old Cooper, plus he is wearing blue pajamas. Cooper used to wear the same color of blue pajamas, and the doppel wore them when, having replaced Cooper, released from the Black Lodge, he'd crashed his head into BOB's reflection in the bathroom mirror and drawn blood.
The doppel and BOB
A door slams and we hear the same woman demand, "Where is he?! Johnny! Johnny, where are you?" Having heard the slam of another door, we hear footsteps again and then the same male figure runs through a hall on the first floor and out of sight. There is a crash and a bright flash of light, as if a light bulb has exploded. Glass shatters. The woman yells, "Johnny!"
(2) Cut to a hole in a wall with blood running down from it. On the floor before the wall is an unknown man, blood streaming from his left cheekbone. On his right is a lamp that has been knocked down, also a portrait of President Eisenhower that has fallen from the wall. To his (our) left is a monochrome picture of the twin streams of the waterfall by the Great Northern, joining as they crash into the river below. Shards of glass litter the carpeted floor. The woman cries, "Johnny, Johnny", as she bends over him.
Now that we've a closer look of the man we see he doesn't resemble Cooper at all and that he is wearing a blue sweatsuit.
The image of the falls at the Great Northern confirms for us this is Johnny Horne (Eric Rondell in The Return), son of Ben and Sylvia Horne. What is wrong with him has never been clarified--but he is known to be uncommunicative and bangs his head. Laura Palmer sometimes took care of him and he responded well to her.
The Twin Peaks wikia reveals that in a deleted scene in "Realization Time", Audrey told Dr. Jacoby her mother was responsible for Johnny's condition, Sylvia apparently being abusive in some way. Sylvia instead blamed Audrey, who had pushed Johnny down the stairs when they were young. Jacoby told Audrey she wasn't to blame, that Johnny had instead experienced an early emotional trauma that was responsible for his condition. We don't know what had led Jacoby to make this assessment. Maybe he had knowledge the viewers don't have.
From hitman Ike the Spike to President "Ike" Dwight D. Eisenhower. And now there's been a hit arranged for Warden Dwight Murphy.
Johnny, tragically, has not gotten any better in the "meanwhile". It's at first a comical scene, Johnny running, like a video game, until the crash, we see the hole busted in the wall, the blood, and Johnny lying below.
We may be reminded of Ben and his secretary looking for the source of the ringing sound at the lodge, and how the camera zoomed in on a wall, so it seemed the sound was possibly radiating from within the walls of the lodge. We might have been reminded of Josie seemingly absorbed into the wood of the lodge, after her death. But then we also might be reminded of the secret corridors in the walls of the Great Northern where we sometimes saw Audrey, such as when she would spy on her father in his office through a hole in the wall.
We had, in the previous scene, the bells on Lucy's shirt and the perhaps allusion to the pun of the "dead ringer", an exact copy. Now we have Johnny having his "bell rung" by slamming his head into the wall. At first he looked very much like Cooper in his blue pajamas--or, rather, the doppelcoop who had busted his head, breaking the glass of the bathroom mirror at his room in the Great Northern.
In fact, at first it looks like Johnny could be dead. And if he is dead then certainly this will bring Audrey home and we will finally get to see her and get some of her history, and learn if she really is Richard Horne's mother. But as Sylvia (we suspect) leans over Johnny, we see he his alive.
Still, we wonder if he is injured enough that Audrey might show up? Surely, whether it's through Johnny or Richard, Audrey is going to have to show back up because of family ties.
LUCY'S SELECTION OF THE RED CHAIR LEADS TO THIS RED CHAIR THAT CONTAINS THE SECRET
(1) Cut to Betty Briggs, Bobby's mother, seated at her computer in her dining room.
(2) The front door opens and Bobby enters, calling out, "Ma?" (3) Betty asks him, "Hey, Bobby, what's up? You want some coffee?". (4) Bobby says, "No, thanks I'm here with the fellas. We need to talk to you. We need to ask you some questions."
(5) She closes her computer, saying okay.
(6-10) Frank and Hawk enter and they exchange greetings.
FRANK: We're here to talk to you about Agent Cooper's visit with the Major the day...
(11-13) BETTY (holds up her hand, silencing Frank): The day before Garland died.
(14) FRANK: Yes.
(15-25 approx) BETTY: All right, listen to me. Right after Agent Cooper left that day, Garland pulled me aside and he said that one day our son Bobby, and Hawk, and Sheriff Truman--I didn't know it would be this Sheriff Truman--he said that they would come and ask me about Special Agent Dale Cooper. He squeezed my shoulders when he told me this. I tried to ask him what it was about but he wouldn't say any more. He just said, "When they come to ask you about Agent Cooper, you give them this." And now you're here. Would you fellas like some coffee?
They say no and she says (26-27) "come with me", going into the living room. She stands behind a red chair.
(28-29) BETTY: This is the chair. I can't believe this day has come. Watch right here.
Briggs red chair
She reaches down and perhaps taps a secret button beneath the chair. (30) We see then that a part of the chair's frame has popped open at the top, revealing a secret compartment. She extracts from the chair a metallic, cigar shaped object.
Briggs red chair with secret compartment
(31-36) BETTY: Bobby, when your father told me this, you were a very long way from where you are today. Somehow, he knew, that it would all turn out well. He saw this life for you. Your father never lost faith in you.
(37-39) She gives the object to Frank, (40) Bobby near tears. (41) "Well, fellas, let's have that coffee," she says, (42-43) and all agree.
Lucy and Andy arguing over which chair, and the choice being made for the red, leads to "this is the chair".
What if Lucy hadn't selected the red chair?
The viewer supposes that Briggs could only have been a time traveler to know exactly what would happen in the future. What we don't know is for what reason Briggs has prepared this excursion to Jack Rabbit Palace. We don't know his reasons for not stating the "why", except that this is a Lynch/Frost fictional mystery. We don't know why he didn't have the FBI and everyone warned about the doppel twenty-five years beforehand, except that is a Lynch/Frost fictional mystery and this is how the story runs.
A further connection between both Lucy and Andy's chair and Briggs' chair, is both involve also the relationship of a child to his parents. Lucy and Andy were only selecting the chair as Wally had returned and given permission for them to turn his childhood room into a study. They obviously dote on him. Mingled in with the Briggs story is how years beforehand Bobby was in a bad place but his father had foreseen he would turn out all right, so we have the touching moment of Bobby brought near to tears with this, a revelation that the Major had actually made known to him back in the original Twin Peaks when he told Bobby of his vision of a grand home and Bobby visiting and the two happily embracing.
AROUND THE TABLE, THE DINNER CONVERSATION IS LIVELY
DIFFERENCES BETWEEN THE MESSAGE MR. C SENT AND THE ONE DIANE RECEIVES / ANOTHER NOT-QUITE-A-DEAD-RINGER / ALBERT MEETS HIS MATCH / SO MANY RED SHOES NOW
(1) Cut to the rear door of an unknown building, (3) then the interior. We realize that we are in Buckhorn as Diane, Gordon, Tammy and Albert enter, "Ah, the waiting room," Gordon says.
Ah, the waiting room. Perhaps we will be reminded of the Red Room waiting room though there's no resemblance.
(2) Lt. Cindy Knox and Detective Dave Mackley follow. (3) Diane has taken a seat on a green sofa, pulls out a cigarette and announces, "I'm not in the mood to see a dead body this morning. I'll just wait for you guys here." When Dave protests (4) , "I'm sorry, ma'am, you can't smoke here", she exclaims, (5) "It's a fucking morgue."
(6-9) There is no argument after this. "Fucking pansies," she says as they leave the room.
Diane in red shoes
Zoom in. She takes out her phone and checks her messages.
(11) We see, "AROUND THE DINNER TABLE, THE CONVERSATION IS LIVELY." This would seem to be the message that doppelcoop had sent. However, this message is in all caps and has a comma after table. The original message was in lowercase and had no punctuation. It was simply, "around the dinner table the conversation is lively".
The viewer has the question--is doppelcoop stalking her now that she has been to meet him? Or have they been in contact all along? What would that mean if they've been in contact all along? What is the message meant to communicate to her? But, as I've mentioned, this message is different from the one that doppelcoop had sent. Was the message relayed through an intermediary? Does the intermediary act as a kind of "transformer"? The message is itself like an inexact doppel. Like something that's not quite a "dead ringer". What's going on? After Diane's horrified reaction to doppelcoop, her insisting that he is not the same as the man she had known, the viewer doesn't know what to think about her receiving a message from him. They don't know why the message is not exactly as the one that Mr. C had sent out at 11:09, right before he called Duncan.
(12) Diane, seated next to her yellow pack of American Spirit cigarettes, gives us no clues by way of her expression. We don't know what this might mean to her. We don't know if she even knows this is from Mr. C. We know it is, but does she? The way that she sits, considering, could be Lynch/Frost communicating that she does know who sent it.
(13) Cut to a corridor and Cindy telling the others that Dave Mackley had handled the case when it came in and he'll brief them on the background.
DAVE: William Hastings was having an affair with the local librarian, Ruth Davenport. Now, Davenport's head was found atop the headless body of your Major Briggs. Once we took Hastings into custody, his wife was murdered in their house, apparently by their lawyer, a man named George Bouncer, who is now also in custody. And the next day, Hastings' secretary died in a car explosion.
ALBERT: What happens in season two?
GORDON: Apologies in advance for Albert.
(14) They enter the morgue, Briggs already pulled out of refrigeration, exposed for them, (15-18) Constance standing beside him.
(19-23) DAVE: Well, this is your Major Briggs. It turns out that William Hastings, along with the help of Ruth, the librarian, was researching and publishing some strange little blog about some alternate dimension.
(24-25) ALBERT: This from the principal of your local high school.
(26) CONSTANCE: Not to mention, marble champion of the sixth grade.
(27) ALBERT: When did he lose his marbles?
(28) CONSTANCE: When the dog got his cat's-eyes.
(29-33) ALBERT: About one week ago, Hastings ended his blog entry with this cryptic sentence: "Today we finally entered what we call The Zone, and we met the Major." This is the body of a man in his 40s.
CONSTANCE: Yes.
GORDON: Albert?
Albert and Gordon step outside into the hall.
(34) GORDON (placing his right arm on Albert's left shoulder): Let's think out loud.
ALBERT: Major Briggs would have been 72. As you know, we thought he died in a fire in that government facility outside Twin Peaks 25 years ago. About the age this man is now.
GORDON: Well, consider this. Cooper knew Briggs. Cooper was around Briggs 25 years ago, and now Cooper shows up in this neck of the woods.
ALBERT: On the loose in this neck of the woods.
GORDON: Right.
(35) They return to Constance and the body.
(36-38) Constance (bringing out the ring): And I found this in his stomach. It's inscribed. It says, "To Dougie, love Janey-E".
(39-40) GORDON: We need to speak with this William Hastings.
Things seem to be moving along. The FBI is now going to go talk to Hastings, and Hastings has information on Major Briggs. Maybe we'll find out about the ring?
Wardrobe. Diane is wearing red flats. Janey was wearing red flats. Our attention was brought to the red heels passing the electrical outlet, those red heels reminding of Audrey Horne. Lynch/Frost are turning our attention, over and over again, to red shoes, red shoes, red shoes. Will they eventually transport us home, like Dorothy of Kansas desiring her way home from Oz?
I AM NOT YOUR FOOT
OUR ATTENTION DRAWN TO ALL THOSE FEET WITH THE RED SHOES, WE NOW FOCUS ON JERRY'S FOOT / ANGELO BADALEMENTI's "A REAL INDICATION"
(1) Mountain tops with forest. (2) We see then Jerry, viewed from below, looking terrified.
(3) We see his foot, which squeaks, "I-am-not-your-foot".
(4) Jerry tentatively reaches (5) for his foot (6) and draws back sharply. (7) He holds his foot at a distance from him, leaning away from it. (8) The offending foot. (9-10) He tries again to grasp his foot and draws away. (11) The foot. (12) (13) Jerry. (14) The foot. (15) Finally, yelling, "Go away!", (16) he grasps his foot, (17) and flips over on his back, his foot in the air. Cut to black.
When did we last see Jerry? Back at the beginning of part seven. It would have seemingly been Wednesday. This is supposedly Thursday. But it feels like Jerry's been missing forever. Poor Jerry!
Badalamenti's "A Real Indication" was used in Fire Walk with Me when Laura and Bobby part after school one day, and also when Laura finds there are missing pages in her diary. The lyrics refer to a very distant foot.
So I'm goin' down this street
And I'm tryin' not to smile
'Cause the street is where I'm goin'
And the curb is at the side
By the sewer
Where the rain goes down
Like this girl I once knew
'Cause the sewer is so hollow
And the yell
Could last forever
Like the night my girl went away
Gone off in a world filled with stuff
Lights start changin'
And there's wires in the air
And the asphalt man
Is all around me
And I look down
And my shoes are so far away from me, man
I can't believe it
I got a real indication
Of a laugh comin' on
That old wind
Is howling like a cold steel train
Girl has left me
Not comin' back again
Got rusted bullet holes in the Dodge
And a heartburn like a solar flare
The grass by the house is dry, man
And a horsefly
Buzzes
By the big mistake In the distance, man
I see myself start to smile
I got a real indication of a laugh comin' on
All this focus on shoes and feet. It began via the red heels that resembled Audrey Horne's, that drew Cooper-Dougie's attention to the wall outlet, which is when we (I) noticed that Janey was now in red flats and Diane was now in flats. Then with that focus on the feet, we now have Jerry in a confrontation with his foot, which is not his, speaks to him, and says it is not his.
Well, wait. Shoes. Cooper-Dougie arrived in this world without shoes. For some reason they were left behind in the world of the violet sea.
We could return to the problem, presented at the end of part two, where I discuss what is "inherent being". What is the Jerry of Jerry? Where is it located?
We could also wonder if Jerry is fried because Richard Horne dosed him with Sparkle.
Poor missing Jerry. But Ben hasn't reported him as missing even though Jerry had called him, frantic, because he didn't know where he was.
TWO DAYS FROM NOW
THE PROBLEM OF CHAD'S TWO MEALS / LUCY'S NOT THERE / PROBLEM OF LUCY DRESSED DIFFERENTLY THAN SHE EARLIER WAS AND HER JACKET ON THE CLOTHES RACK IS BLUE NOT PINK / DOES SOMETHING STINK IN THE CONFERENCE ROOM / THE PROBLEM OF THE SAW MILL / THE ANCHOR OF A DATE IN THE FUTURE AND A CURRENT PLACE IN TIME SEEMS TO SHOW THAT OUR TIMELINE IS FUNDAMENTALLY CORRECT (AT LEAST UP UNTIL NOW, AND AT THE MOMENT), IT IS SEPTEMBER 29TH / JACK RABBIT'S PALACE AND THE BUNNY QUESTION / OUR MAKE-BELIEVE WORLD / THE SOIL IN THE POCKET / THE COOPER MESSAGE CLIPPED FROM A MESSAGE BRIGGS ORIGINALLY GAVE COOPER
(1) Cut to Chad eating lunch in the Twin Peaks sheriff's department conference room. Indeed, he has two lunches that he is switching back and forth between, while he reads.
Chad's 2 meals
(2) Cut to Frank, Hawk and Bobby entering the front door. Frank calls out to Lucy and she replies, eating a sandwich, "Sheriff Truman, I'm not here, I'm on my lunch break."
She is wearing a different outfit than she was earlier when she was ordering the chair. Also, usually a pink jacket of hers is hung on the clothes rack, as it was in the earlier scene, and now there is instead a blue jacket.
(3) Hawk, Frank and Bobby continue through to the conference room, Chad looking up in surprise when they enter. He says, "Oh, Sheriff, oh," like he's been caught doing something he shouldn't be doing. Which is the case. "No lunch in the conference room, Chad," Frank tells him. Chad pleads, "I know, but you guys have coffee and doughnuts in here all the time." Frank tells him, "Chad, take your lunch to the lunchroom." Chad agrees, "Sure thing. No problem, sheriff. Sorry. Won't happen again." He stands and piles his food trays one atop the other, (4) nearly spilling them. (5-6) At the door he waits for someone to open it, asking Hawk, "Could you get the door? A little help here?" (7) Finally, Hawk opens the door and Chad exits.
They really hate Chad.
(8) FRANK: Bobby, open the window.
BOBBY: Yeah.
(9) FRANK (taking out Briggs' object and examining it): No seams. No openings. How the heck are you supposed to open this thing?
HAWK: Maybe there's a hidden button somewhere.
FRANK: I don't see any hidden button. (To Bobby.) What are you smiling at?
BOBBY: I know how to open that. My dad brought one home one night.
(10) FRANK: You having fun with us, Bobby?
(11) BOBBY: Yeah, sort of.
FRANK (handing it to him): Go for it.
BOBBY: We got to go back outside.
FRANK: Outside?
BOBBY: Yeah, we got to go back outside.
(12) Bobby, Frank and Hawk leave the conference room, and (13-14) troop back outside past Lucy who is still eating, she holding up her hand to signal that she is not there.
Lucy eating
(13) Outside, we see the old mill across the street.
Okay, let's stop here for a moment before continuing. First, we have the problems of the doppels and Dougie and now we have Chad eating two meals. This might mean nothing. Or it could mean everything concerning the false, duplicitous Chad who is working behind their backs letting drugs through.
Everyone so hates Chad. They won't even help him with the door so he can exit the room. Which thematically kind of fits in now with their trying to figure out how to open this object.
Second, we have a timeline problem with Lucy, who is not even there. Instead of this just being something that everyone says who isn't on the clock, what if we consider we're supposed to pay attention to what Lucy says. She's there but she's not. I don't know.
When Bobby opens the window we're given the impression that they feel Chad has stunk up the room with his lunch. Is that the case? Like how Ike the Spike smelled foul to the child? Some of his food is yellow. Is this supposed to remind us of garmonbozia, and Mr. C's vomiting of it and how it was toxic. Are we supposed to be reminded of the problem of the skunk back at the Great Northern in part one? It, too, wasn't there, according to Ben. But Mrs. Houseman said it was and Beverly seemed to believe there had been a skunk.
Now we get outside and though the Twin Peaks: An Access Guide to the Town shows the Packard Mill up on Black Lake, reached by Sparkwood road, and the sheriff's department in town, at Angel Avenue and Frost avenue, across the tracks from The Bookhouse, the old railroad depot, and the Double R Diner, now we have the mill instead right across from the sheriff's department. Lynch/Frost know this is going to take all the viewers aback. They have only seen the mill isolated. The informed viewer knows where it is from maps. They have never been shown it was right across the street from the sheriff's department. Everyone's going to go, "What?" They may not go "What?" about Lucy wearing different clothing, they may not notice that, but they will go "What?" about the sawmill.
The thing is, Lynch/Frost didn't have to take the the opening-the-tube scene inside to the conference room just to move it back outside. They could have just stood outside the building and discussed the tube. The purpose of going inside was to present the problem of Chad, his two meals, how he (or his lunch) smelled, and Lucy in her different clothing and her insistence she's not there.
They didn't have to show the saw mill across from the sheriff's department ever, if they hadn't shown it there up until now. But now they are showing it there with the intention of eliciting, "What? What's the saw mill doing there?!"
Bobby slams the device on the concrete. (14) Retrieving it, he holds the tube up to Frank's ear and then Hawk's, so that they can hear it hum. (15) Then he listens to it. When the humming stops, (16-18) he throws it against the concrete again.
Bobby opening the tube
(19-21) Bobby gives the device to Frank who is now able to open it, sliding one end out of the other. (22) He sees inside a slip of rolled paper (23) and extracts it.
(24-31) Frank reads the message.
FRANK: 253 yards east of Jack Rabbit's Palace. Before leaving Jack Rabbit's Palace, put some soil from that area in your pocket. And two dates. And a time. Same time. 2:53. That's two days from now, and the day after. Jack Rabbit's Palace. I never heard of such a place.
(32) BOBBY: He did it again. Wow.
(33) FRANK: What? What is it, Bobby?
(34-36) BOBBY: I know exactly where Jack Rabbit's Palace is. My dad, when I was a little kid, he took me to this place, it was near where our station used to be. It was our make-believe world. You know, where we made up stories. I was the one who named it Jack Rabbit's Palace.
(37) FRANK: He saw all this. Whatever this is.
(38) BOBBY: Well, that's my dad.
(39-43) FRANK: We'll go up there two days from now and you can lead the way, just as your dad wanted. Wait a minute. (44) He pulls out the second slip of paper underneath the first, not having noticed it until now. (45) FRANK: There's something else. Cooper. Cooper. (46) He looks at the paper beneath, a loud rumbling sounding.
(47) HAWK: Two Coopers.
(48-49) They all look at each other, wonderingly.
Second message
The viewer is given a date anchor. Finally. They are to be some place on 10/1, and that is 2 days from now, so it's 9/29? The timeline I've built has us currently on Thursday 9/29, a week after the murders of Ruth and Briggs on 9/22. So we have that. Lynch/Frost concede this after holding off for so long.
The significance of the number 253 takes us back to Cooper in the room with the American Girl and her watch reading 2:52. Takes us back to The Tree as the Arm saying "2-5-3, time and time again". Takes us back to the time of Cooper's transition out of the Red Room.
Is it about the bunny? They're supposed to go to Jack Rabbit's Palace. And, I don't know about others, but they may feel a bit of discomfort at hearing it was a place of make-believe between Bobby and his father. As in, "Don't tell me all this is going to be a Briggs make believe world." Which is something else Lynch/Frost will know the viewer will consider. Just as they know the viewer will wonder, "Is it about the bunny? But I thought we already found what was missing and it was the diary pages."
Though the diary pages were already found twenty-five years ago by the RR tracks.
The bit of soil they are supposed to place in their pockets sounds very fairy tale like. Such as stories where a person forgets they have been to a place and then find they have in their possession something which proves they have been there. Will that be the purpose of the soil? Will they forget they went to Jack Rabbit's Palace? Then find the soil in their pockets and remember?
Why are they supposed to be there on 10/1 and 10/2? Why two days in a row?
The map shows what we believe to be the twin peaks of the town. We see a version of the symbol on the green ring above the mountain on the right, that symbol looking more like what Mr. C had on his Ace of Spades card. The thing that he wanted.
The message showing COOPER/COOPER is one that Briggs had delivered to Cooper, believing he was supposed to see it. It had come in over the deep space monitors that would hopefully receive alien communications but routinely had only gibberish, space garbage. Then when Cooper was shot the message had come in, "The owls are now what they seem," followed by "Cooper" repeated a number of times. People typically think of "Cooper" as only having been repeated twice but the paper showed Cooper's name five times, and as the frame cut off the paper on the right before it ended, there were possibly more repeats of the name than that.
Ah, there is so much going on here. The only explanation they could come up with for such a dramatic change as the mill being located now across from the sheriff's department is that, in keeping with "time and time again", this has all happened before and each time there are differences.
WE USED TO SMOKE TOGETHER WAY BACK WHEN
DIANE DOESN'T TAKE THE OPPORTUNITY TO TELL GORDON ABOUT THE MESSAGE SHE RECEIVED
(1) The exterior of the Buckhorn police station. (2) Then Diane standing outside, on some steps, smoking. Gordon and Tammy step out, Gordon saying, "We came to join you, Diane, while Albert's indisposed."
Tammy keeps changing positions, seeming annoyed, unwilling to look at Diane. Gordon stares all the while at Diane smoking.
Gordon finally holds out his hand for the cigarette. Tammy protests, but he takes a drag. "Whoa!" He smiles, pleased. "We used to smoke together way back when. You remember?" Diane says, "Yeah, we sure did, Gordon. We sure did." He hands the cigarette back to her. She asks if he wants to finish it off but he declines.
The scene begins at about 40:45 and ends at about 42:45. Two minutes. One shot.
We wait for Diane to perhaps bring up the mysterious message she received. She does not.
We wonder if Albert is "indisposed" with Constance.
9/29 OR 9/20 OR 9/26
BILL'S AGE, 43, AS ANOTHER ANCHOR FOR THE YEAR / BILL'S SIGNATURE AND THE THREE DATES / BILL'S AGE, 43, MR. C SHARING THE SAME AGE, AND 4-3-0 / RUTH HAD INDICATIONS, AND "REAL INDICATIONS" / WHY IS BILL ASKED WHAT HIS WIFE'S NAME IS / THE HEAD OF MAJOR BRIGGS AND BRIGGS AS THE MESSENGER DELIVERING HIS OWN MESSAGE FROM THE FUTURE / BILL HAD TO HOLD THE DEAD RUTH (LIKE COOPER HELD WINDOM EARLE'S WIFE AS SHE DIED / ALTERNATE DIMENSION THAT IS LIKE A DREAM
(1-2) Cut to Bill Hastings in the interrogation room, wailing away. (3) Albert, Dave, Gordon and Diane stand in the next room watching. (4) Tammy enters and sits opposite Bill.
(5-7) TAMMY: Hello, Mr. Hasings. I'm Agent Tammy Preston of the FBI.
(8-10) BILL: Oh, God. The FBI.
TAMMY: Mr. Hastings, I'm also recording the conversation.
BILL: Okay.
(11) TAMMY: Would you state your name and age for the record?
(12-16) BILL: William Hastings. I'm 43.
TAMMY: Mr. Hastings, are you the author of an online journal or blog, entitled The Search for the Zone?
BILL: Yes.
TAMMY: What sort of things do you write about?
BILL: Different things.
(17) TAMMY: Approximately two weeks ago, did you write an entry about encountering what you described as an alternate reality?
(18) BILL: A different dimension. Yes, but it's real. (Crying.) It's all real.
TAMMY: How long have you been interested in this subject, Mr. Hastings?
BILL: Many years. I do, I do a lot of reading.
TAMMY: But this time you wrote that you actually found and entered such a place.
(19) TAMMY: And that while in this place, you wrote, and I quote, "We met the Major."
(20) BILL: Yes. (21) Gordon and Diane. BILL: You see, Ruth was very good at... (22) Tammy and Bill from the observation room. BILL: ...uncovering hidden records (23) Albert. BILL: ...and she had indications... (24-25) Bill and Tammy. BILL: ...that if we went to a certain place, at a certain time, we would enter the dimension and make contact with a certain person. And so we went there.
TAMMY: And that's where you found the Major.
BILL: He was hiding there. Or "hibernating" as he said. And other people were maybe gonna find him? And he wanted to go to a different place, and so he asked us to get him numbers. Important numbers. (26) Albert. BILL: Coordinates. (27) Gordon looks at Albert. BILL: And we found them in the place he told us to go, a secure military database.
(28-34) TAMMY: Do you still have these coordinates?
BILL: No, Ruth had them. She wrote them on her hand though, so that she wouldn't forget. Sorry.
TAMMY: What happened then, William?
BILL: We brought him back the numbers last Thursday. And then something terrible happened. These others, these others came in and they grabbed me by the neck, and they, and they pushed me down. They said, "What's your wife's name? What's your wife's name?" "Phyllis," I said. (35) Diane looks at Gordon. BILL: I didn't kill Ruth. I didn't kill her. You have to believe me. (36) BILL: I loved her. This is all my fault. This is all my fault. It never should have happened.
(37) TAMMY: William, are any of these six photographs I'm showing you, the man you call the Major?
(38) BILL: That's the Major.
(39) A photograph showing 6 people with Briggs bottom left.
(40) TAMMY: Draw a circle around the photo of the man you call the Major, sign and date it.
(41) BILL: Yes ma'am.
(42) A close up of Bill finishing writing his signature and date. (43) Tammy, as Bill sniffles, and, his voice obscured by sniffles, says, "Twenty-six.". This is not close-captioned.
Bill Hastings
(44-45) TAMMY: Can you tell me what happened?
(46) BILL: We gave him the numbers. And he started to float up. And he said some words, "Cooper, Cooper," right before his head disappeared. (47) Gordon. BILL: It was something like no one... (48-51) Bill and Tammy. BILL: ...has ever seen before. I've never seen anything like it. I've never, I've never, I've never read anything like it. You don't know. You weren't there. It was, he, it was beautiful. And then Ruth was dead. It was terrible. And then I had, I had to hold her. And then, and then I woke up, and I was in, I was in my home. I was in my home.
TAMMY: Did the Major kill Ruth?
BILL: No, there were so many people there. You have to believe me. Please, I didn't kill Ruth. I loved her. I loved her. I don't know what is happening to me. Why can't you help me, please? Please. We were so happy together. We were gonna go to the Bahamas. We were gonna scuba dive, and drink mixed drinks on the beach. And we were gonna soak up the sun and look at the beautiful sunsets. (52) Dave, Gordon glancing in the direction of Dave or Albert, and Diane standing with eyes down. BILL: She said to me, she said, "Bill, let's just go. (53-55) Tammy and Bill. BILL: Let's just do it. Let's go to the Bahamas. Let's go scuba diving. I want to go scuba diving.
(56) ALBERT: Fruitcake, anyone?
Okay. Bill gives his age as 43. His driver's license had shown he was born August 15 (a Leo) 1973. This is another anchor that fits with it being 2016 and the date should be 9/29. Ruth died 9/22, on a Thursday. But Lynch/Frost also deny us a secure anchor of a date when Bill signs the paper. It looks like Bill has signed 9/20, but there is a line coming out from the zero so it could be a 9, as it should be 9. That fits the calendar perfectly, a 9/29 that looks odd because Bill is wearing handcuffs. But...no. Though it's not close captioned, Bill says, after signing, "Twenty-six". Agh! The 9 has been flipped so it's a 6. 9/26 in 2016 would be Monday which is when Cooper took Dougie's place and Mr. C had his wreck and was picked up by the police. 9/26 would be the day that the FBI learned Mr. C had been picked up. Yet he says 9/26. If we have to go by 9/26 then Ruth was instead killed on 9/19. On a Monday. That's not right. We know she was killed on a Thursday. Bill has said she was killed on a Thursday.
Problems. We still have Mr. C's prison paper that gives him as arrested on 9/22 when it should have been 9/26.
It would be so easy to go with 9/29 if Bill just hadn't said, "Twenty-six." And that it wasn't close-captioned makes it problematic, like Lynch/Frost were burying the twenty-six.
We had a similarly revolving 6/9 on the day that Ruth's body was discovered. On the police car was observed 116 instead of 119.
September 26 falls on a Thursday in 1991, and 1991 was supposed to be 25 years ago. September 26 next falls on a Thursday in 2013.
A problem has been Mr. C sharing the same birthdate as Hastings, because Mr. C is certainly not 43. So...I think...hey, Dougie showed up in 1997. 430 is an important number. Let's test 43 there. Cooper is supposed to have really been born April 19, 1954. Add 43 to 1954 and you get 1997. What's happening there?
Moving on. Bill has said that Ruth had "indications" if they went to a certain place, at a certain time, they would enter an alternate dimension. I had noted above in the scene with Jerry's foot that it reminded me of some lyrics for Badalementi's "A Real Indication" that played when Laura discovered the pages in her diary were ripped out. (Another problem, as it was after this she had the dream about Cooper and Annie and was told to write it in her diary, and the ripped out pages Hawk finds concern the dream.) The lyrics were:
A real indication of a certain place, a certain time by which to enter an alternate dimension. Where poor Bill lost his girl and she's not coming back. And Jerry has no clue where he is and his foot isn't even his own any longer.
Whatever these "hidden records" are that Ruth found, she and Bill go to the place and see Briggs who is "hibernating". Briggs wants to change to another place as people are looking for him so has them get coordinates. They go back and give him the coordinates and are ambushed. They are able, however, to give Briggs the coordinates. He floats up in what is described as a very beautiful way.
When Briggs says, "Cooper, Cooper", this may be suggesting he is the earlier asserted messenger from another world that communicated "The owls are not what they seem" when Cooper was shot, this followed by "Cooper" repeated several times. The message he carried to Cooper was when that Briggs had himself transmitted from the future.
Mr. C obviously has something to do with all this. We know the person imitating Jeffries had stated Mr. C had met with Briggs. Also, Mr. C knew Phyllis, and killed her and framed Bill. He shot Phyllis in the same way he had shot Ruth. Mr. C would have been there when Briggs and Ruth were killed. But it's been implied Bill knew Phyllis was having an affair, so might he not have recognized Mr. C if he was there?
Why would the ambushed Bill be asked what his wife's name was? I think it plays in with the theme of infidelity. Windom Earle sought vengeance on Cooper for his affair with Caroline. Like Bill, Cooper had to hold the dead Caroline in his arms, to suffer greatly due her death. The demanding to know Bill's wife's name is reminding him that Ruth is not his wife, that Phyllis is. Unfaithful, he pays for it with Ruth being killed and having to hold her dead body.
Physically, they entered an alternate reality that acts as a dream, Bill somehow translated back home to his bed. He thought it was a dream. But it was real after all.
Poor guy.
Ruth's body is out there somewhere with the coordinates on it. Mr. C is seeking coordinates. Are these the ones he wants? The ones Ruth has? If he had killed Ruth personally, might he not have seen the coordinates on her!? Well?! When Briggs was ascending in such a beautiful way, as his head disappeared and he said, "Cooper, Cooper," was it because Mr. C was there and cut off his head as he ascended?
Mysteries, mysteries.
A MONASTERY BELL
A REVERSED ORDER OF SHOTS / CONTINUING THE THEME OF FIDELITY/INFIDELITY, BEN IS UNABLE TO HAVE AN AFFAIR WITH BEVERLY / J'AI UNE AME SOLITAIRE
(1-2) Mountains covered in mist, (3-4) then the Great Northern at night, the falls flowing outside.
The sequence of the falls and the Great Northern is reverse from what we saw in part seven when Beverly and Ben were looking for the source of the ringing sound. Then, we were first shown the falls, then the lodge. Now, we are shown the lodge then the falls. Reverse.
(5) Inside, we see a ram's head and horns hanging on the wall. (6) Then the lamp in the corner again from where the ringing had seemed to emanate. (7) In the opposite corner, Beverly and Ben stand next to the totem pole listening to the ringing. They cross back over to the middle of the room.
BEN: Security couldn't find anything?
BEVERLY: Uh-uhm. They checked everywhere. (She gestures toward the lamp and they move to it.)
BEN (briefly raising his hands): It seems to be loudest here.
BEVERLY: It's uhm it's kind of a mesmerizing tone.
BEN: Yes, the ring out of a monastery bell has the same quality. Or the...otherworldy. (They brush against one another. Then hold each other.) Beverly. I can't do this. I don't know why it is.
BEVERLY: You're a good man, Ben.
Beverly and Ben
The theme of fidelity/infidelity is continued, with Ben stating he is unable to engage in an intimate relationship with Beverly. He doesn't know why, however. It seems not to be a decision fully his own. Ben's comparing the bell sound to that of a monastery is thus appropriate considering his faithfulness, or his reluctance to simply engage in an affair with a woman who is married.
Ben comparing the ringing of the bell to a monastery, which means "solitary", brings back in Harold Smith, the keeper of Laura's diary, who had hung himself and left the message, "J'ai une ame solitaire." I am a lonely soul.
We wonder why Ben isn't looking for Jerry. Because, hey, Ben, your brother called you and told you his car was stolen and he didn't know where he was! Why aren't you looking for him? He's out there with a foot that isn't his own!
THE ZEBRA, THE PENGUIN, AND THE RASH
I CAN'T REMEMBER
(1) The Bang Bang. Electronic music. (2-4) We briefly see the musician, Hudson Howake, performing "Human", (5) then cut to a blond woman at a booth. She appears to be well on her way to the 119 woman's physical condition. She checks her armpit (does it smell?) and scratches it. (6-11) Another woman joins her.
CHLOE (Karolina Wydra): You know that zebra's out again? (She laughs.) Haven't seen you in a while.
(12) ELLA (Sky Ferreira): I got another job.
CHLOE: Oh, yeah? What happened?
ELLA: I got fired. That fucker fired me.
(13) CHLOE: That's fucked. How come?
ELLA: I came in high a couple times, I guess.
CHLOE: You guess?
(14-25 approx) ELLA: Yeah. Fuck. I can't remember. You know what I mean. What's the big fucking deal? I mean, I did the fucking work. Like, how can you fuck up serving burgers. You know what I mean? I've got some kind of wicked rash. (Rubbing her underarm.)
CHLOE: So where are you working now?
ELLA: Across the fucking street. Serving burgers. Oh, shit.
CHLOE: Yep.
ELLA: Have you seen that penguin?
CHLOE: Have I what?
ELLA: You know, the penguin. (They laugh.)
Close out on Simone Au Revoir performing "A Violent Yet Flammable World".
Simone Au Revoir also closed out part four, with Lark, directly following Gordon and Albert discussing their visit with Mr. C, that this was a Blue Rose case, and that they needed to get (unnamed) Diane to take a look at him.
The viewer's assessment may be that Ella, like the 119 woman, like Denny Craig, like Stephen, like Richard, is on Sparkle and that her deterioration is one of the effects of it.
Plus the loss of memory. But what does that loss of memory mean in respect of the show as a whole? We have, certainly, through Stephen and the 119 woman, the real physical, emotional attraction of drugs as an escape from stress and hopelessness, and as also a means to access the spiritual domain, such as had with Becky's elation. But for what do they serve also as a metaphor?
The black and white of the zebra/penguin make take us back to The Great Northern's skunk, which Ben said wasn't there.
Is zebra/penguin itself a drug? Or is it a person? And for what is it a metaphor?
Just for the hell of it. I looked up on the Waybackmachine a couple of the dead links from the Twin Peaks thesearchforthezonedotcom website of Bill Hastings. Below is what I gathered.
mishscifimusings at wordpress is (as with the others) a real blog/website. This one's interests were centered on Trekkie posts but had a few other things, all mostly sci fi related. It ran from August 2008 to December 2014, the last post being 12/14/2014. The individual then abandoned the blog, appearing to move over to blogger, whatever blog she had there since deleted.
Two things of note. One is that the individual started up a new blog under the same name, on May 22, 2017, which is the day after Twin Peaks The Return began airing. Which leads one to wonder if the individual had been contacted about being linked to, said OK, and decided to start her blog again though it is on a different Wordpress site.
One would hope that they contacted the person and asked for permission to link to the old blog, considering the notice that would be attracted to it.
The second thing of note, Mish's single post on parallel universes was on May 17th 2012. Why does Mish end up linked to from thesearchforthezonedotcom when Mish has only one parallel universes posting? Thesearchforthezone website also links to thehorizonprojectdotcom and an article on deja vu at theepochtimesdotcom. There is a nexus for the three websites (epoch times, horizon project and mishascifimusings) and it is on the blog of a Laura Bruno at shiftfrequencydotcom, in a post she made June 12, 2012. She thanks a Tim Glenn for making her aware of The Horizon Project, links to it, and briefly talks about parallel universes and "possible dimensional rift as we cross the Galactic Dark Rift on December 21, 2012". At the end of the post there are related articles specifically provided that day by "Enhanced by Zumata" and they are these 3: Mishscifimusing's "Parallel Universes in Science Fiction, theepochtimes' "Is Deja Vu Caused by Parallel Universes", and andrebelle's "parallel universes".
If I was someone putting together a fake website wuch as thesearchforthezonedotcom, I might have hit on this web post of Laura's and used it to conveniently gather several related postings. Thesearchforthezonedotcom links to thehorizonprojectdotcom, theepochtimes article on parallel universes and deja vu, and mishscifimusing's site. So does Laura's web post when one includes the zumatra links at the end.
Mishscifimusings appears to belong to a woman but on thesearchforthezone.com website it is referred to as "Fred's blog". If you go to Andre Belle's post that is linked to from Laura Bruno's post on parallel universes, she is writing about how she bought "Fred Alan Wolf's book "Parallel Universes: The Search for Other Worlds". He is a real physicist and one wonders if here is where might enter some inspiration for "Fred's blog".
Mishscifimusing's gravatar is that of Jadzia Dax of ST: Deep Space Nine, a woman who lives in symbiosis with a "wise" symbiont, Dax, a slug that resides in her abdomen. They share a single conscious mind and her personality is a blend of host and symbiot. Just thought I'd toss that in as BOB is kind of like a bad symbiont. We just saw him in part 8 briefly rising out of Bad Cooper's abdomen.
Thehorizonprojectdotcom has served for several different websites, one being the aforementioned thehorizonproject. Before that, however, it was a website for The Warehouse at 731 10th Street SE. As far as I can tell, this was a rave type spot in Calgary but that was located at 10th Street SW. What's interesting and probably purely coincidental is that its ancient-of-days website had a kind of mystery-oriented-intel theme with the headings: "briefing", "opreatives" (sp), "intel" and "associates". The Briefing area only ever gave who was performing in the month of November 2002. Under DJ's were group events and individuals: Fright Night, Josh Wink, Sonic Playground 3, The Freestylers and Jelo. Nothing ever happened under Intel except for blocks of "coming soon survalence" (sp). Opreatives (sp) only ever listed "special agent", and clicking on special agent brought up the dj by that name, Special Agent. This was a site that was not maintained and then in 2005 thehorizonprojectdotcom starts up as the website that thesearchforthezonedotcom would have been interested in linking to. That site eventually is replaced with thefinalpropheciesdotcom between July and September of 2013 and then goes dark some time in 2016.
I thought it was kind of fun that the original thehorizonproject had a "special agent".
As I've noted, the above are real person websites, not fake, and if one does note any synchs with TP these would be purely coincidental and taken advantage of by those putting together the thesearchforthezone website. For instance, they might have checked the internet archive to see the history for postings at thehorizonproject and had their interest further piqued by the "special agent". Or they may not have.
Below is a screenshot of the original thehorizonproject website with the "special agent" before the 2nd thehorizonproject incarnation on apocalyptic futures via the "galactic dark rift".
I note above that mishscifimusings had made one post about parallel universes.This post also has related articles provided by Zumata, and one of those is on "Parallel Universes" at mgitecetechdotworpressdotcom and concerns ideas by Hugh Everett III (thesearchforthezonedotcom links to a bio on him) and Michio Kaku.
To quote from that linked article:
"While this can't be proven or disproven, some scientists have believed that in order to change where you are (your location), you merely need to change your thought pattern or frequencies. This is called quantum jumping. While the opportunities seem endless, the practice seems elusive to many people. Science is increasingly moving ahead with theories about alternate universes. While the data is inconclusive, many do believe that an alternate or parallel universe is not just made for science fiction. It is a true phenomenon that requires more study."
Note the idea of quantum jumping. This has been absorbed, over the years, into positive thinking methodology a la transform-your-reality send-us-your-dollars-and-learn-how-to-make-the-leap. The roots would be had in the quantum jumps of Bohr's 1913 theory of the atom, also called quantum leaps, and Hugh Everett III's Many Worlds theory of quantum physics, he believing in "quantum immortality".
The Jumping Man might be a symbolic expression of quantum jumping? He is present at the convenience store meeting in FWWM where we find the Tremond/Chalfont boy who sometimes wears a mask similar to that on The Jumping Man. The boy was identified as studying magic when Donna delivered food to the home of Mrs. Tremond (three world) and observed the creamed corn "leap" from the grandmother's plate to the boy's hands. When Donna later returns, the apartment has radically transformed into 1950s vintage and she learns from Mrs. Tremond's supposed daughter that her mother died 3 years prior and there never was a grandson. The reason I say "supposed" is because the grandmother is a Mrs. Tremond, and the middle-aged woman is also a Mrs. Tremond. Patriarchal naming conventions in which women take the surnames of their husbands mean that the mother of the middle-aged Mrs. Tremond is very unlikely to also be a Mrs. Tremond.
The Chalfont/Tremond boy is presented visually as seeming to be David Lynch as a youth, and in the series is portrayed by his grandson. In the movie he is portrayed by another.
The pairing of the grandmother and youth goes back to Lynch's indie Grandmother. In that film, a boy, is traumatized by his parents, especially by his father, whenever he urinates while asleep, and in this predominately black and white film he wakes every morning to orange urine covering his sheet. In response to that rage, the boy magically creates a grandmother. First he piles soil upon a bed then waters it. Though the water is not orange, his watering the soil on the bed brings to mind his urinating in bed. A peculiar tree grows from the soil and from the roots of the tree the grandmother is born. The boy goes to her whenever he's in need of comfort. Eventually she dies. If memory serves, the boy visits a cemetery in a field and sees her there. She is unable to hear him, and being unable to hear him, unable to communicate, she disappears. In this we may find a suggestion of the ear that Jeffrey finds in the field in "Blue Velvet", which ushers him into the underworld.
Notably, in FWWM, the grandmother and boy are also the second Chalfonts to have lived in the Fat Trout trailer park on a particular spot. When Chet Desmond found the ring it was on an obviously artificially created hill of soil beneath the Chalfont trailer (the Chalfonts being also the Tremonds, perhaps there is a link with the name Desmond). Laura's broken-hearted necklace is also placed on an artificially created hill of soil. These hills resemble ant hills.
And here is where we get into some etymology. Formica (the green formica table in the meeting room) could refer to mica, which is "crumb, bit, morsel, grain" and fits well with the idea of the atomic world, as well as the grains of dust and sand that occasionally make appearance in Lynch's films. Perhaps we also need to consider that "Mike" could be referred to in mica. But formica may also refer to the ant, which is "formica" and related to word "pysmire" which is pys=urine + mire=ant, alluding to the acrid smell of an anthill. Pissant comes from this.
Chaucer stated, "He is as angry as a pissemyre, Though pat he haue al that he kan desire." The anger of the ant, as in the furious energy of an anthill. This is relevant to Lynch as Lynch has famously spoken of how (to paraphrase) when middle class America is looked at closely it is swarming with ants--or, rather, a cherry tree swarms with red ants.
Mike, in FWWM, had described, however, formica as a place of stillness. He'd said to Laura, on the opening of the canned corn of garmonbozia, "The look on her face when it was opened! There was a stillness. Like the formica table top."
Script dialogue not included in FWWM brings in the quantum world of the quantum jumpers, atomic exchanges between worlds:
FIRST WOODSMAN (subtitled): We have descended from pure air.
MAN FROM ANOTHER PLACE (subtitled): Going up and down. Intercourse between the two worlds.
BOB (subtitled): Light of new discoveries.
MRS. TREMOND (subtitled): Why not be composed of materials and combinations of atoms?
MRS. TREMOND'S GRANDSON (subtitled): This is no accident.
MAN FROM ANOTHER PLACE (subtitled): This is a Formica table. Green is its color.
FIRST WOODSMAN (subtitled): Our world.
MAN FROM ANOTHER PLACE (subtitled): With chrome. And everything will proceed cyclically.
SECOND WOODSMAN (subtitled): Boneless.
MIKE (subtitled): Yes, find the middle place.
BOB (subtitled): I have the fury of my momentum.
Green is its color. Our world. With chrome.
Why with chrome? Perhaps because "chrome" is from the Greek khroma "color".
Ants that are dichromats, for instance, only see UV and green? And would be unable to see then the redness of blood or the bright red of Audrey's heels or the bright red of many of the women's shoes in part nine of The Return.
Khroma is "surface of the body, skin, color of the skin", also used generically for "color" and in the plural is "ornaments, embellishments". The root is somehow related to "grit", sand, tiny particles, which again brings in the idea of the small crumbs, grains. Which would be Mrs. Tremond's atoms.
3. Twin Peaks. Meeting between Richard Horne and Red.
4. Twin Peaks. The New Fat Trout Trailer Park.
5. Twin Peaks. Miriam at the Double R.
7. Las Vegas. Duncan gets red message, pulls file for Ike.
13. Twin Peaks. Richard Horne cleans blood off the truck.
1. Twin Peaks. Jerry missing in the woods. We last saw him possibly Tuesday night watching Jacoby's show in Part Five.
2. Twin Peaks. Hawk gives Frank the missing pages. Still Wednesday it seems.
3. Twin Peaks. 2:30 p.m. Andy goes to speak with man whose truck hit the child. Still Wednesday it seems, or at least the Richard Horne timeline.
4. Twin Peaks. Frank speaks with Doc Hayward.
5. Buckhorn. Cindy shows up and finds they have Briggs' body. Would be Wednesday. However, Dave says Briggs died 4-5 days beforehand, when he has been in their possession for 5.
6. Philadelphia. Gordon and Albert go to speak to Diane.
7. Gordon, Albert, Diane and Tammy fly to South Dakota.
8. South Dakota. Diane sees doppelcoop. Wednesday (still going by Part One). This would have a problem fitting in with the timeline of Andy speaking earlier to the owner of the truck at 2:30 p.m. Right now I'm just looking at Philie as being Wednesday scenes not in the same hourly framework as Twin Peaks.
9. Twin Peaks. Andy waits to speak to owner of truck who does not show. Possible wrench? Andy's watch reads it's the 10th. 5:05.
10. South Dakota. Doppelcoop arranges for his escape with the warden for that night, same night as seeing Diane.
11. Las Vegas. Cooper-Dougie interviewed by police over the explosion of his car. Would be Wednesday still for them.
12. Las Vegas. Ike the Spike attacks Cooper-Dougie. Evening to night.
13. Twin Peaks. Beverly and Ben look for source of noise that began sometime the prior week.
14. Twin Peaks. Beverly goes home to her husband. Night.
15. Twin Peaks. The sweeping scene. Night.
16. South Dakota. Cooper released at 1:00 a.m. on Thursday.
17. Twin Peaks. 1:00 a.m. in South Dakota but still dinner hour in Twin Peaks at the Double R. Bing looks for Billy. Have we simply dropped back in time to earlier Wednesday night? The shots are also out of sequence with the last needing probably to come first, and Norma belongs back in part five.
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.
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.
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. 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. He also says (hidden in sniffles) 26. Take your pick, but the fundamental timeline seems to be September 2016 beginning with Ruth killed on 9/22.
12. Twin Peaks. Listening to the "monastic" tone, Ben says he is incapable of romantically involving himself with Beverly.
13. Bang Bang. The woman with the itch.
Next: Go to Part 10


text:
Чираг () — село Агульського району, Дагестану Росії. Входить до складу муніципального утворення Сільрада Село Чираг.
Населення — 541 (2015).

Історія

У 1926 році село належало до Лакського району.

Населення

За даними перепису населення 2002 року в селі мешкало 580 осіб. В тому числі 262 (45.17 %) чоловіків та 318 (54.82 %) жінок.

Переважна більшість мешканців — даргинці (97 % від усіх мешканців). У селі переважає чиразька мова.

У 1926 році в селі проживало 1113 осіб, серед яких 1113 даргинців (100 %).

Примітки

Населені пункти Агульського району
Села Дагестану

redpajama_set_name: RedPajamaWikipedia


text:
Q: Selecting an element using jquery .parent() I have this markup as shown below:

Now i want to get the div with the id "content_area" using the div with the id "some_id" and style the "content_area" using jquery. How can i traverse upwars using ".parent() in this scenario?  Will the table structure be a hurdle?

A: The ids are unique. If they aren't, change that to class.
If they are:
$('#content_area').css();

If you change that to class:
$('#some_id').parent('.content_area').css();

A: jQuery.parent()
$("#some_id").parent();

Will return the element

jQuery.parents()
$("#some_id").parents("#content_area");

Will return the element

jQuery.css()
$("#some_id").parents("#content_area").css({ color: "#333", height: "100%" });

Will style the element
 with a font color of #333333 and a height of 100% of it's parent.

A: jQuery API closest

.closest( selector ) Returns: jQuery
Description: For each element in the set, get the first element that
  matches the selector by testing the element itself and traversing up
  through its ancestors in the DOM tree.

A: Pretty sure it's as simple as
$("#some_id").parent().parent().parent().css("some-style", "value");

Not sure why you wouldn't want to just do this though:
$("#content_area").css("some-style", "value");

If it's because you have multiple divs with the same ID, consider switching to using classes. Each ID should only occur once on any given page.

redpajama_set_name: RedPajamaStackExchange


text:
alias jimweirich="rake"

alias rake="noglob rake" # allows square brackets for rake task invocation
alias brake='noglob bundle exec rake' # execute the bundled rake gem
alias srake='noglob sudo rake' # noglob must come before sudo
alias sbrake='noglob sudo bundle exec rake' # altogether now ...

redpajama_set_name: RedPajamaGithub


text:
Intro to Spitsbergen: Fjords, Glaciers and Wildlife of Svalbard
VOYAGE PROMOTION: 10% Cabin Discount + Free Charter Flight Package + Pay in full by 31 Mar '19 for a further 10% cabin discount.
The Introduction to Spitsbergen: Fjords, Glaciers and Wildlife of Svalbard itinerary gives you a taste of everything this region has to offer, beginning in Longyearbyen, the island's largest settlement. Geared toward optimum wildlife viewing, this expedition provides plenty of opportunities to witness polar bears, walrus and reindeer, and the occasions to capture some amazing photographs in the continuous daylight are as bountiful as the landscape itself. While exploring the remarkable scenery and colourful tundra, you'll also learn about the history and geology of Spitsbergen.
The Arctic has been inspiring explorers for centuries, and our expeditions offer the chance for you to discover why.
IMPORTANT VOYAGE INFORMATION: This voyage has a mandatory charter flight component with an additional cost of AU$1,300 per person.
Embarkation Point: Oslo, Norway
Disembarkation Point: Oslo, Norway
Fly/Cruise: Mandatory extra flight
Day 1 - Arrive in Oslo, Norway
Your arctic voyage begins in Oslo, Norway's vibrant capital city. If you arrive early, there are many museums, restaurants and green spaces to keep you busy before retiring at your included airport hotel.
Day 2 - Longyearbyen, Spitsbergen: Embarkation day
This morning, the group will transfer to the airport and board our private charter flight to Longyearbyen, Spitsbergen's largest settlement, where you'll have some time to explore before embarkation. As your ship sets sail, enjoy your first view of the island's rugged, glacier-topped mountains rising
majestically from icy waters.
You'll cruise around this magical island on a constant search for wildlife. Your expedition will cover western Spitsbergen as well as stunning fjords and outlying islands to the north. From polar flora to immense glaciers, the natural landscape here is just as varied as the wildlife.
Each expedition presents new opportunities and different weather and ice, so there is no fixed itinerary; however, we do have some favorite destinations, including the 14th of July Glacier, Smeerenburg, Alkefjellet and the Hinlopen Strait. The destinations visited will be selected for optimum wildlife viewing and appreciation of the history and geology of Spitsbergen. Polar bear viewing is almost guaranteed, with Hornsund being one of their preferred hunting areas, and the towering cliffs of Alkefjellet providing many free bird egg meals for both them and the arctic fox.
Poolepynton is great for walrus viewing and photography. Coming across a walrus haul-out is a moment you won't forget. These lumbering giants of the Arctic create quite a noisy scene as each walrus vies for a choice spot of coastline.
If you're itching for a more personal and intimate view of the arctic scenery, then taking an optional kayaking excursion to some of the more isolated pockets of Spitsbergen is highly recommended. Smeerenburg is a great place for an optional snowshoeing excursion, if conditions permit. You can visit a memorial erected in 1906. This historical site honors the whalers who lost their lives in the 17th and 18th centuries while working in extreme arctic conditions.
There is no shortage of natural beauty in Spitsbergen. The tundra can be surprisingly colorful in summer, with wildflowers bursting for a taste of sunshine. Each day, you'll see something new, whether it is a rare bird species, a polar bear on the hunt, or a century-old abandoned hut.
Day 10 - Longyearbyen, Spitsbergen: Disembarkation day & fly to Oslo.
The time to say goodbye to your Expedition Team and shipmates has come. Your adventure ends as it began, in the historic frontier-style settlement of Longyearbyen. From here, we'll transfer you to the airport for your return group charter flight to Oslo.
Charter Flights (Oslo - Longyeabyen)
Required as part of this voyage are return charter flights from Oslo, Norway to Longyearbyen, Svalbard.
AUD$ 1,300 per person
Paddling Excursion
If you're interested in kayaking and would like to try something less in depth than Sea Kayaking, you can still enjoy the benefits of adding an on-water experience to your expedition with a Paddling Excursion. Sign up for a onetime paddle on our sit-on-top kayaks, which are stable and unencumbered— perfect for anyone with little to no kayak experience. Expert guides take rotating groups of passengers on calm days to connect with the sea.
Documenting your voyage so you can take the memories home is a rewarding experience. Our photography guides will help you learn skills to capture the beauty of the Polar Regions.
Polar Plunge
This rite of passage, experienced just once per expedition, sees you safely jumping into icy ocean waters under the watchful eye of our staff—and just about every single camera lens on board!
Daily chats with on-board experts—our guides, scientists and other special guests—let guests rub shoulders with historians, ornithologists, biologists, geologists and more.
Led by experienced staff, exploring in foot is the best way to appreciate the polar landscapes. Our guides are able to accommodate a range of skill levels to suit every passenger.
Distinct and comfortable, refined and roomy—these attributes and more describe World Explorer. Not only will it be among our fastest ships, it will also be one of our finest, with six tiers of deluxe accommodation. The personal space is exceptional. Every cabin has either a private walk-out or Juliet balcony for direct ocean views. World Explorer also delivers plenty of public areas to unwind in after a day outdoors, including the glass-domed Observation Lounge for quiet contemplation and full skyline views, the Explorer Lounge for a drink and a chat, and the library for more intimate relaxing and reading. Presentations and discussions are facilitated in a dedicated lecture theatre. Health and wellness facilities feature an outdoor running track, a small gym and a sauna, plus a spa with change rooms, showers and lockers. For the active adventurers, add-ons include kayaking, camping and stand-up paddleboarding. Blending high design with total functionality, World Explorer is all set to be your home away from home on the seas.
Crew #: 125
Ice Class: 1B
Refurbished: 2018
Draft: 4
Tonnage:
Registry: Portugal
Elec Outlets: 220V / European plug
Triple Porthole
Located on Deck 6, and approximately 246 sq. ft. (23 sq. m) in size, these cabins have one double or two single beds, and a 55 sq. ft. (5 sq. m) walk-out balcony. A separate combo sitting area/bedroom with a sofa bed and additional closet, refrigerator, TV, state of the art "infotainment" system, and private bathroom with shower are also featured in each cabin. *Cabin shown provides style insight only. **This voyage has a required charter flight at an additional cost.
Infinity Suite
Located on Decks 5 and 6, and approximately 270 sq. ft. (25 sq. m) in size, these cabins have one double or two single beds, and a floor-to-ceiling glass Juliet balcony. A sitting area with sofa, refrigerator, TV, state of the art "infotainment" system, and private bathroom with shower is also featured in each cabin. *Cabin shown provides style insight only. **This voyage has a required charter flight at an additional cost.
Veranda Suite
Located on Decks 5 and 6, and approximately 215 sq. ft. (20 sq. m) in size, these cabins have one double or two single beds, and a 55 sq. ft. (5 sq. m) walk-out balcony. A sitting area with sofa, refrigerator, TV, state of the art "infotainment" system, and private bathroom with shower is also featured in each cabin. *Cabin shown provides style insight only. **This voyage has a required charter flight at an additional cost.
Located on Decks 5 and 6, and approximately 278 sq. ft. (26 sq. m) in size, these cabins have one double or two single beds, and a 110 sq. ft. (10 sq. m) walk-out balcony with access from sitting room and bedroom. A separate sitting area with sofa, walk-in closet, refrigerator, TV, state of the art "infotainment" system, and private bathroom with shower is also featured in each cabin. *Cabin shown provides style insight only. **This voyage has a required charter flight at an additional cost.
Located on Deck 5, and approximately 334 sq. ft. (31 sq. m) in size, these cabins have one double or two single beds, and a 110 sq. ft. (10 sq. m) walk-out balcony with access from sitting room and bedroom. A separate sitting area with sofa, his & hers closets, refrigerator, TV, state of the art "infotainment" system, and private bathroom with shower and his & hers sinks is also featured in each cabin. *Cabin shown provides style insight only. **This voyage has a required charter flight at an additional cost.
Located on Decks 5 and 6, and approximately 355 sq. ft. (33 sq. m) in size, these cabins have one double or two single beds, and a 110 sq. ft. (10 sq. m) walk-out balcony with access from sitting room and bedroom. A separate sitting area with sofa, refrigerator, TV, state of the art "infotainment" system, and private bathroom with shower, his & hers sinks, and bathtub is also featured in each cabin. *Cabin shown provides style insight only. **This voyage has a required charter flight at an additional cost.

redpajama_set_name: RedPajamaCommonCrawl