Season 2, Episode 10: Dispute Between Brothers — December 08–14, 1990

In article <gTHqT5w163w@halcyon.uucp>, halcyon!hikaru@sumax.seattleu.edu (Richard Barrett) writes...

} I agree that either Bobby, the Major (Don Davis - is this the same Don 
} Davis that did the paintings in _Cosmos_?), [...]

No. I've met the latter on several occasions. They aren't the same person.

-- "I can't die yet. I haven't seen THE JOLSON STORY." --- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA) UUCP: ...!decwrl!ruby.enet.dec.com!boyajian ARPA: boyajian%ruby.DEC@DECWRL.DEC.COM

In article <TZiqT6w163w@halcyon.uucp>, halcyon!hikaru@sumax.seattleu.edu (Richard Barrett) writes...

} I have yet to understand what all the confusion is about where BOB is 
} - he told us where he was goin, remember? "Soon, I will pull that ripcord 
} - and then it'll be time to shove off to Buffalo!"

It was "Shuffle off to Buffalo", which is the title of an old song.  I
think he was just making an allusion to the song, and we aren't supposed
to take him literally.

-- "I can't die yet. I haven't seen THE JOLSON STORY." --- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA) UUCP: ...!decwrl!ruby.enet.dec.com!boyajian ARPA: boyajian%ruby.DEC@DECWRL.DEC.COM

In article <130036@midas.encore.com>, jpenovic@encore.com (Jan Penovich) writes...

} From article <35570018@hpopd.HP.COM>, by richardh@hpopd.HP.COM (Richard Hancock):

}} Did Russ Tamblyn play General Tom Thumb, or some other small person,
}} in a film of a fairytale?

} I do seem to remember him playing Tom Thumb but can't remember the movie.

Yes, he did. The movie was "tom thumb", produced and directed by George Pal.
It's currently playing on the Disney Channel, in fact. It was amusing when
I happened upon it the other night. I hadn't known that Tamblyn was in the
lead, and it was striking that I was able to recognize a 30-year-younger
Tamblyn so readily (especially when one considers that I didn't see any
close-up shots of him).

Even more amusing was the fact that my housemate recognized him as "one of
the guys from SEVEN BRIDES FOR SEVEN BROTHERS".

-- "I can't die yet. I haven't seen THE JOLSON STORY." --- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA) UUCP: ...!decwrl!ruby.enet.dec.com!boyajian ARPA: boyajian%ruby.DEC@DECWRL.DEC.COM

bskendig@bonnet.Princeton.EDU (Brian Kendig) writes:

> >[[ Long discussion of the problems with Lauras secret diary -- to wit,
> >   how could she have given it to Harold a week before and yet still
> >   makes entries the day before she died?  He points out that she could
> >   have dropped by: ]]

> >The _only_ possible way out of this conundrum is by figuring that,
> >well, maybe Laura _did_ stop by and write that one diary entry, and
> >swore Harold not to tell anyone about it.  But that makes absolutely
> >no sense at all.  If you knew you were going to die, would you visit a
> >paranoid shut-in to write a page in your diary that was critically
> >important for a friend of yours to see, then have the paranoid shut-in
> >give that important letter to someone else and promise not to breathe
> >a word about it?  Not.

Several assumptions above are not warranted.  Yes, Laura gave the diary
to Harold for safekeeping.  But what does safekeeping mean?  She's
clearly concerned that someone (BOB) may be reading it.  She is already
going to the trouble to keep two diaries (why? to deliberately mislead
readers of the `public' diary, of course).  It makes good sense to keep
that `real' diary as hidden as possible.  When she thinks the house is
no longer safe, she hides it with Harold.  Not gives it to Harold, not
gives it up -- she hides it there.  When Harold says Laura gave it to
him, he doesn't say why.  `To keep hidden' is as reasonable an
assumption as `she gave it away.'  Safekeeping means she must still be
intending to write in the diary.  She visits Harold regularly on
apparently innocent, so it's both convenient and reasonable for her to
get there regularly.  Harold clearly respects diarists, so it's safely
private with him.  No need to swear secrecy.

Also, it is not safe to assume Harolds later actions were at Lauras
request.  I still think he was host to the boy magician, who may well
have been helping to expose/defeat BOB.  Note too that the false Mrs.
Tremayne and the boy magician were instrumental in pointing Donna at
Harold.
-- "SO be it! The fate of the UNIVERSE is in your hands!" "Talk about job-related stress."

In article <17965@shlump.nac.dec.com> boyajian@ruby.dec.com (Cisco's Buddy) writes:
> >In article <TZiqT6w163w@halcyon.uucp>, halcyon!hikaru@sumax.seattleu.edu (Richard Barrett) writes...

> >} I have yet to understand what all the confusion is about where BOB is 
> >} - he told us where he was goin, remember? "Soon, I will pull that ripcord 
> >} - and then it'll be time to shove off to Buffalo!"

> >It was "Shuffle off to Buffalo", which is the title of an old song.

And, incidentally, from "42nd Street", a great Busby Berkeley musical
from about the era that Leland is so fond of, musically.  BOB isn't
telling us he's going to Buffalo--he might as well have said "23
Skidoo" or "gonna saddle up that ol' pony and ride off into the
sunset."

-- * Rod Johnson * rjohnson@vela.acs.oakland.edu * (313) 650 2315 * "Become FUEL, you FOSSILS!" --Ambush Bug

In article <obM07my00Uh-E2Xn1c@andrew.cmu.edu> tf1g+@andrew.cmu.edu (Tracy Fluharty) writes:
> >Someone said that we can't know if Leland and Maddie are blood relations.
> >They are not.  She is Sarah's niece and his by marriage.  Their last name is
> >Palmer and Maddie's was Ferguson.

Do you have some evidence from the show or diary from this?
Otherwise, Maddy could easily have been 

* Leland's sister's daughter, by Mr. Ferguson,
* Sarah (nee Ferguson)'s brother's daughter,
* Sarah (nee X)'s sister's daughter by Mr. Ferguson

No?

-- * Rod Johnson * rjohnson@vela.acs.oakland.edu * (313) 650 2315 * "Become FUEL, you FOSSILS!" --Ambush Bug

In article <14740025@hpfcso.HP.COM>, daq@hpfcso.HP.COM (Doug Quarnstrom) writes:
> > I KNOW that Gary Newell will disagree with this for his own reasons,

Well I guess you KNOW wrong now don't you? 

> > but I think that certain episodes of TP approach the zenith of
> > what Lynch is capable.  They are, if you will, TV masterpieces.

 I agree. I thought that most (not all but most) of the FIRST season
was extremely strong. Howeve, it seems clear to me that when it came down
to trying to put it out week after week, and extend the story past the
originally planned line (or are there still people who think that this
story has been planned all along?) Frost and Lynch and the rest were
unable to do it - the show has become weak in my opinion with only
short flashes of what it was or could have been. Perhaps if they tried
to break really new ground and go with a once a month episode they could
have pulled it off....

> > Please do not flame me Gary.  I don't care diddley dick for Lynch and

Why should I? You're not telling anyone to stop posting here, nor are you
claiming that Lynch is the second coming....

> > Yes, TP has plenty of plot for me.  It moves very slowly, but who cares.

The original argument was not that it had no plot but that it didn't
handle the plot well. The show has "spurts" of plot in 5-10 minute pieces and
then goes long spans with little development or much of anything else
besides some interesting (usually) visuals and bizarre dialogue.

> > I also wisht they would kill James or Donna.  One or the other has
> > to go!

Bravo. I am amazed at how many people seemed to actually enjoy the scenes
with Donna/Maddie/James - perhaps I'm missing something but as far as
I can tell - they simply cannot act worth a damn - I mean they *really* stink.

gln

In article <17965@shlump.nac.dec.com> boyajian@ruby.dec.com (Cisco's Buddy) writes:
> >In article <TZiqT6w163w@halcyon.uucp>, halcyon!hikaru@sumax.seattleu.edu (Richard Barrett) writes...
> >
> >} I have yet to understand what all the confusion is about where BOB is 
> >} - he told us where he was goin, remember? "Soon, I will pull that ripcord 
> >} - and then it'll be time to shove off to Buffalo!"
> >
> >It was "Shuffle off to Buffalo", which is the title of an old song.  I
> >think he was just making an allusion to the song, and we aren't supposed
> >to take him literally.
> >
    Um, tacky little point here, but isn't "shuffle off to Buffalo" a
euphemism for death, as in "shuffle off this mortal coil" or (more
prosaically) "kick the bucket"?  I don't know WHY it has this meaning,
but I don't think BOB was telling us about his destination.  He obviously
meant that Leland was going to have a big headache real soon. 

Elizabeth LeClair <lecl@midway.uchiacgo.edu>

In article <4153@vela.acs.oakland.edu> rjohnson@vela.acs.oakland.edu (R o d Johnson) writes:
 
>> >>It was "Shuffle off to Buffalo", which is the title of an old song.
 
> >And, incidentally, from "42nd Street", a great Busby Berkeley musical
>from about the era that Leland is so fond of, musically.  BOB isn't

No, from around 20 years earlier than the period Leland's into. 42nd
Street was made in 1933.  Most of Lelend's songs seem to be from the
fifties.
-- c2h5oh@ucscb.ucsc.edu | "Have you ever seen a grown man in a beard and | business attire hopping, skipping and jumping in the | Port Authority terminal? It looks damned stupid."

In article <00940B9A.B5275520@ELM.CIRCA.UFL.EDU> statman@oak.circa.ufl.edu (Charles D. Kincaid) writes:
> >
> >Someone (sorry for lack of memory) that when Cooper was guiding Leland
> >into death, Leland's hair was back to normal.  I thought back and this 
> >seems correct (and right).  Do any of you rich people with VCR's :-)
> >concur with this?  I would guess then that his hair turned back when
> >BOB left him.  When and why his hair turned white was probably already
> >discussed (before I found out about the group).  What is the general
> >consensus (ha! in _this_ newsgroup?) now of the changing hair?

I just checked the tape and Leland's hair stays white. It's a bit
hard to tell while Cooper is administering last rites because the
back of Leland's head is in Cooper's shadow and the hair in front 
is covered with blood, but after Leland dies, the camera draws back
and you can see that the hair on the side of his head is still white.

-- Dave Mack

In article <4519@idunno.Princeton.EDU> bskendig@der.Princeton.EDU (Brian Kendig) writes:
> >In article <12331@milton.u.washington.edu> jespah@milton.u.washington.edu (Kathleen Hunt) writes:
>> >>
>> >>By the way, BOB was shouting the "darkness of future past" speech.  Anyone
>> >>else get the impression that this isn't just a bit of poetry, but is a
>> >>potent chant that BOB *had* to say in order to leave the host?
> >
> >No, I got the distinct feeling that Lynch had decided to have BOB
> >recite the poem sometime there in that hour, and he figured that the
> >scene in the jail cell would be the best place to put it.
> >
> >It was too forced -- it felt like Mike knew he had to say it, and he
> >just wanted to get it over with conveniently.  I got no sense of
> >failure, or triumph, or wvil in it; he just shouted it.

I think your perception is being distorted by two things: first, the
fact that this has been discussed so heavily in this newsgroup, and
second, that we saw it early in the show. What if Cooper's dream was
at least partially precognitive? He was dreaming what BOB *would* say.

That speech was BOB's final comment to his captors before killing
Leland and bailing out. And the last thing he said was, "I promise
you, I will kill again."

It could have been in reference to Leland, but I doubt it.
BOB will be back.

-- Dave Mack

In article <1990Dec8.210358.12702@mailer.cc.fsu.edu>, svihla@evax0 (C. Kurt Svihla) writes:
> >1. Shuffle off this mortal coil.
> >2. Kick the bucket.
> >3. Buy the farm.
> >4. Pass on
> >5. Pass away
> >6. Push up daisies.

7.  Daid .... wrapped in plaaaaaastic.
8.  Make a premature purchase of the proverbial farm.
--
"Cotton _balls_!  By God, those things will be quiet now!" -- Nadine Hurley

Yes, the famous Twin Peaks dialogue eater has struck again, this time 
nearly obliterating Cooper's conversation with the Major by the campfire 
(something about a White Lodge, I think). Can someone who heard and taped 
the conversation (or taped the close captioning) pleas mail or post a 
transcription of that scene?

And have we ever conclusively figured out what causes that? Twin Peaks is 
the >only< show on which I've scene this happen (about 4 times so far).

Joe Zitt...cs.utexas.edu!kvue!zitt!joe (512)450-1916

One thing that struck me while catching up on a week's worth of
alt.tv.twin-peaks.  We knew a few episodes in (in the dream sequence)
that Cooper had found out who the killer was in a dream.  He then says
all he has to do is decipher the dream and he will find the killer.
There was no trick played on us by the creators/writers.  He didn't
mention anything about standard investigation or deduction, he just said
if he could figure out the things in the dream, he would have solved the
mystery.  I too felt like everything came together too fast in the end,
but I didn't think I was misled.  However, I do wonder why the FBI would
keep a guy on who worked that way; Cooper doesn't really appear to have
done much on his own to solve the case, although he may be some sort of
focus.  I sort of imagine the FBI to be more down-to-earth than that.

Muffy
muffy@mica.berkeley.edu

Oh yeah...for those who responded to my questions about MIKE, BOB, and
Bob Lydecker...I was wondering about the *future*...having watched the
show, I already knew what had happened in the past.

would someone mind telling me why we should care what the hell nadine
does?  i am finding her memory loss/high school stuff quite stupid.
tonight's episode 12/8 (gathered a lot of posts) seemed like a trans-
ition.  The interesting thing to me is that the supernatural is usually
just far enough off to be not really happening, if you want to look
at it that way.  All the dream-like things happen in dreams, but
the major's disappearance into bright light is pretty overt! what's
cooper going to say about this?
of course, briggs could reappear (w or without BOB) and the bright
light could turn out to be figurative.
...and of course there are exceptions to the otherworldly happening
somewhat removed from this earth (say, to the point of view of a
skeptical country boy, Truman,) such as briggs' gibberish with the
message injected, everyone basically believing in BOB, but those
don't cause as much of a fuss as briggs disappearing when cooper is
the only one around.
personally, i'm excited about how its going to go! Palmer? Who's that?

  I thought I was the only one losing sound, but it seemes that in last
night's episode (12/8) that the sound 'went out' whenever the dialogue
was leading to a crucial point....any other opinions?

Savvy

In article <47941@eerie.acsu.Buffalo.EDU> v103pdt5@ubvmsd.cc.buffalo.edu writes:
> >In article <27810005@hprpcd.HP.COM>, jimh@hprpcd.HP.COM (Jim Hickey) writes...
>> >>...Correct me if I am wrong (and I'm sure you will), but in the
>> >>Book of Revelations there are different colored horses symbolizing different
>> >>things (red, blue, grey, etc).  The white horse symbolized evil.  I also 
>> >>remember much talk of fire.
>> >>C'mon, there's gotta be someone out there that can help us out with the
>> >>details...
> >
> >'And I looked,and behold,a white horse,
> > And he who sat on it had a bow;And a 
> > crown was given to him; and he went
> > out conquering,and to conquer.
> >
> >                --Revelations 6:2

i think the horse probably symbolizes Sarah's being drugged, but
more to the point of your query is:

'Behold a pale horse: and his name that sat on him was Death,
 and Hell followed with him.'

                 --Revelations 6:8

from whence Milton's "Death...on his pale horse." comes.

-tim(ahorseofadifferentcolor)r
-- ..the owl also and the raven shall dwell in it: and he shall stretch out upon it the line of confusion, and the stones of emptiness. Isiah 35:11 Usenet: !{uunet,ucbvax!ucscc,decvax!microsof}!sco!timr, ...!mcsun!ukc!scol!timr Internet: timr@sco.COM,timr%sco.COM@ucscc.UCSC.EDU,@ucscc.UCSC.EDU:timr@sco.COM

So, like, what's the _story_ here??

I spent two hours on Saturday night hacking through the storyline miasma to
catch up a friend who hadn't watched TP since the second episode last season,
and then she agreed to really pay attention during the show, and not even get
distracted by the dogs or make tea or _anything_.

So I thought the whole episode was syruppy slow, as if the writer was told to
s-t-r-e-t-c-h everything out because of patchy storyline.  I wanted more of
anything (except James'n'Donna).  I thought what Coop said to comfort Sarah was
really very nice.

Questions:
1. Are Shelley and Bobby gonna get it...?
2. Was Major Briggs really disintegrated, or was he carried away (oh, come ON)
by Great Horned Bob, and why HIM?  He wasn't feeling the fear and vulnerability
he had just been describing to Coop....
3. How could Cooper have looked up at the owl so naively?
4. Was that Bob's silhouette? Sure it was.
5. What's with Josie?
6. I agree with some previous poster that Audrey's up to something.
7.  This isn't a question but I really get irritated by Bobby and I wish Leo
would wake up already and cream him.

Back to Work, really.

Ilana R.


*******************************************************************************

In article <9895@darkstar.ucsc.edu> c2h5oh@ucscb.UCSC.EDU (Idealistic Bibliomystic) writes:
> >In article <4153@vela.acs.oakland.edu> rjohnson@vela.acs.oakland.edu (R o d Johnson) writes:

>>> >>>It was "Shuffle off to Buffalo", which is the title of an old song.
> > 
>> >>And, incidentally, from "42nd Street", a great Busby Berkeley musical
> >>from about the era that Leland is so fond of, musically.  BOB isn't

> >No, from around 20 years earlier than the period Leland's into. 42nd
> >Street was made in 1933.  Most of Lelend's songs seem to be from the
> >fifties.

Well, it depends what one means by "era", I suppose.  Eras have no
trouble lasting for twenty years or more.  But remember "Glenn Miller
Night"?  Glenn Miller died in WWII.  I think Leland's tastes are
decidedly pre-war, even if the genre survived into the fifties.  (Just
like all those horrible "Classic Rock" stations play the same records
I listened to twenty-odd years ago as if they were still current.)

To the person who thought "Shuffle Off to Buffalo" means "die"--in the
original song, it's kind of a clever indirect way of saying "get
married".  Buffalo being the place one went to to get to Niagara
Falls, homeymoon destination par excellence for New Yorkers of the
day.  (It's interesting how New York culture became general American
culture through the medium of the movies.  People from, say, Kansas,
didn't traditionally honeymoon in Niagara Falls, though everyone knew
the popular trope of Niagara Falls as honeymoon heaven.  But that's
irrelevant to Twin Peaks. . .)

"I'll go home and pack my panties,                   (approximately)
 You go home and get your scanties
 And away we'll go--
 (O-o-o-oh!)
 Shuffle off to Buffa, shuffle off to Buffalo."

-- * Rod Johnson * rjohnson@vela.acs.oakland.edu * (313) 650 2315 * "Become FUEL, you FOSSILS!" --Ambush Bug

Major Briggs says something like:
"There is more on heaven and earth than is dreamt of in
our philosophy".  

Maybe this has been discussed before, but where is this
quote from?

Thanks,
pjc

In article <V1ZTTK5@cs.swarthmore.edu> dup94@campus.swarthmore.edu (Daniel Pedersen - Keren's Daddy) writes:
> >
> >Speaking of lawsuits, Leland's constitutional rights were being demolished in
> >the scene where he is shoved into the cell and questioned - unless during the
> >blackout between the two scenes someone had read him his rights and obtained
> >a signed waiver from him, declining his right to an attorney.
> >
> >The Miranda act, that which just survived an attack on it by Georgie's
> >administration in the Supreme Court, states that a suspect must be read his
> >"you have the right to remain silent..." and that nothing that that suspect
> >says can be used against them in a court of law.  The police are not allowed
> >to question a suspect _and_obtain_a_legitimate_confession_ in the absence of
> >a lawyer representing said suspect.

Drivel. If a prisoner waives his Miranda rights, as Leland did the
first time they arrested him for murder, anything he says, including
a confession, can be used as evidence against him. Of course, the cops
had damn well better have a court stenographer present, or a video tape
camera rolling.

Also, anything a prisoner says to an officer of the court *after* he
has been read the Miranda warning and the officer has ascertained that
the prisoner understands what the warning means (they may have to
read it in Spanish, Vietnamese, whatever, or make sure the prisoner
isn't deaf or on drugs) most certainly can be used as evidence. He
does not have to explicitly waive his rights.

The Miranda warning (from memory, cops are supposed read it from
the card to get the wording exactly right) is:

"You have the right to remain silent. Anything you do say can be used
in court as evidence against you. You have the right to have an
attorney present during questioning. If you cannot afford an attorney,
one will be appointed for you by the court. Do you understand these
rights as I have read them to you?"

The recent Supreme Court decision merely clarified that a prisoner is
entitled to have a lawyer present *every* time he is questioned.

Most television shows are rather sloppy when it comes to the minutiae
of the legal process. Their goal isn't to educate the viewer in the
fine points of the law, it's to present an entertaining story. And
we've already seen that TP has a strong vigilante streak to it -
the questioning of Bernard Renault in the Bookhouse, the raid on
OEJ by Cooper and Truman.

If you want courtroom drama, watch L.A. Law.

-- Dave Mack

In article <carey.660594730@m.cs.uiuc.edu> carey@cs.uiuc.edu (John Carey) writes:
> >tneff@bfmny0.BFM.COM (Tom Neff) writes:
> >
>> >>Clarence Williams III from MOD SQUAD?
> >
> >Last time I saw Clarence Williams III, he blew out his brains in
> >Purple Rain.

Last time I saw him, he played a burnt-out Black Panther type in
the movie "I'm Gonna Git You Sucka".

 Just an example of what I see as weak in twin-peaks. At the start
of the last episode, we see what I assume was meant to be a touching
dialogue between Cooper and Mrs. Palmer. But I was unable to buy
into the emotion of the scene because it was clear that it was being used 
to once again pile in the details of the plot. Rather than simply having
a scene in a previous episode showing Leland drugging her, we have to
have cooper sit there and spew out some awkward lines describing (in a 
very unatural way in my opinion) how leland had drugged her etc. Why?
My guess is because they noticed a hole in the storyline - a hole that
could have and should have been explained earlier. It clearly is not a
major part of the mystery and it would have taken nothing away form the
last three episodes to have shown leland taking care of his wife before
bouncing Maddie off the walls.

 Also, I am surprised at the general positive response that this episode
has received on the net so far. I thought that it was one of the
weakest shows yet. The dialogue was pretty sad (the Donna whining was
pathetic and Truman's "cooper is a saint" speech went a bit far for my 
tastes) and aside from the "holiday-like" spread at the funeral, the
images didn't impress me as much. Frankly, I expected to see a number
of "geez - this show is really going downhill fast" postings after this
one - maybe they'll come later.......

gln

In the 12/1 episode, when the sprinklers
shut off immediately on Leland's death
there's a continuity glitch which is
*almost* too egregious to be accidental.
There's a long shot of Cooper sorrowfully
brushing back his sopping hair, and then
we flash in to a head shot in which the
hair is back as it was.  Once you've
noticed this it looks awfully funny.  Are
they pulling our chain?  And if so, why then?

The owl emerging from the light at the end of
that episode - Freeze it when it begins its
landing.  When it pushes its tail feathers
down it assumes the shape of an angel for
an instant.


J.N.Rubin (WELL - lilj)

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-- ..................... ___________________ :::: ::::::::::::::::/not so threatening/ ............................... :: . : . : . : . . ::\__in_lower_case___\ : tpehrson%javelin@dsd.es.com : ::...:...:...:.:::.:: >aka:_t_clinkenpeel>:.dsd.es.com!javelin!tpehrson.:

I've got a question about the 12/8 episode and I wonder if any of you TP
fanatics have the answer.  Here it is:

Remember the scene at Leland's wake where the mayor, Dwayne, and his brother,
Dougie (the two old men) were arguing by the food table?  I heard Dwayne say
something that perplexed me.  He said "Besides, she's the cursed!" or something
to that effect about his brother's new wife(?) or someone, and then the fist
fight broke out.  Can someone please tell me if my recollection is accurate?
Also, are there any speculations as to what this means?...does it imply BOB? th

In article <1990Dec9.132905.1479@vax5.cit.cornell.edu> wd5j@vax5.cit.cornell.edu writes:

> >Questions:
> >3. How could Cooper have looked up at the owl so naively?

Clearly you are not male.

You see, when men pee in the woods, we go into a state of blissed out
communion with the universe SO INTENSE that we are unable to have a
single coherent thought.  Obviously it leaves us defenseless to malign
forces like owls; on the other hand, it's one of the big reasons so
many of the men you meet are the spiritually advanced, introspective,
in-tune-with-nature, incredibly swell creatures we are.  Next time you
ask yourself, "why IS it that men are SO GREAT?", just remember this.

Just wanted to clear that up.

-- * Rod Johnson * rjohnson@vela.acs.oakland.edu * (313) 650 2315 * "Become FUEL, you FOSSILS!" --Ambush Bug

Was it just me, or did anyone else notice the owl shaped shadow on 
Catherines face (left side) during her meeting with HST?  It was most
visible during the first few seconds of the scene but I also got a 
look at it at the end of the scene.

In the scene in the woods at the end of
the 12/8 episode, with Cooper answering 
the call, Cooper seemed pleased and 
perhaps even comforted when he heard the 
owl.  The entity in the woods didn't have 
a "BOB's-eye view" (at least not in BOB's 
animal form), but was at eye-level.  Look 
at the silhouette in flowing robes in 
front of the White Light - an Archangel?  
Methinks the Major was not zapped but 
merely transported.

J.N.Rubin (WELL - lilj)

Also, Catherine was saved by an angel.

alternat@watserv1.waterloo.edu (Ann Hodgins) writes:

> > In article <32@tdw205.ed.ray.com> graffam@sud509.ed.ray.com (Jim Graffam) wri
>> > >The makers of TP and everbody else has forgotton to address the question of
>> > >Who Shot Agent Cooper!?
>> > >
>> > >I assume that it was Leland/Bob but I find it strange that the question
>> > >has not been raised again.
> >  
> > Surely Cooper saw his assailant since they were standing face to face.
> > Either the trauma of the attack wiped Cooper's short term memory (a common
> > phenomenon in violent attacks) or else Cooper is deliberately keeping the
> > identity of his assailant to himself for reasons of his own. His 
> > relationship with his ex-partner may be the reason.

Sorry to blow your [good] theory, but Cooper said in the season premiere 
that the gunman was wearing a mask.

**************************************************************************
"Mr. BOB, you've killed Theresa Banks,   *                Richard Barrett
 Laura Palmer, Jacques Renault, and      *             18004 146th Ave NE
 Maddy Ferguson. What are you going to   *          Woodinville, WA 98072
 do next?"                               *                (206)487-1312
"I'm going to Disneyland!"               *hikaru%halcyon.uucp@seattleu.edu
**************************************************************************

Well, I'm realitivly new to the show (11/10 was my first episode) so can someone
please explain/describe the bookhouse boys I keep hearing about? And didn't 
someone once post that their secret sign was a motion of a finger over the
forehead or something like that, just like Cooper did to Truman as Cooper left
the interagation after giving up his gun???

Just wondering.
-- \ /\ / | | | Jendrahl Erikson, K.S.C., Conscious Erisan Avatar (4a), \/ \/ | | | P.O.E.E. Chaplin, P.H.U.I. Cabal /\ /\ | | | cei@po.cwru.edu / \/ \ | | | A.K.A. Chuck Ivy ivy@shasta.SCL.CWRU.EDU

In article <1990Dec10.004815.2097@agate.berkeley.edu> sally@eris.berkeley.edu (S. A. Wilson) writes:

   In article <22075@well.sf.ca.us> lilj@well.sf.ca.us (Joshua Neil Rubin) writes:

>> >>Also, Catherine was saved by an angel.
> >
> >Could this be the G(g)od-person whom MIKE mentioned???
> >We've seen the evil BOB, we now have to meet the good.
> >

Ummmmm . . . I hate to break it to you, but I have this sneaky suspicion
that Catherine was lying through her teeth with that angel story.
Of course I could be wrong.

Dale Schouten
schouten@uiuc.edu

In article <22074@well.sf.ca.us>, lilj@well.sf.ca.us (Joshua Neil Rubin) writes...
> > 
> >In the scene in the woods at the end of the 12/8 episode, with Cooper
> > answering the call, Cooper seemed pleased and perhaps even comforted when he
> > heard the owl.  The entity in the woods didn't have a "BOB's-eye view" (at
> > least not in BOB's animal form), but was at eye-level.  Look at the
> > silhouette in flowing robes in front of the White Light - an Archangel?  
> >Methinks the Major was not zapped but merely transported.
> > 
I think Cooper was pleased when he heard the owl because it fit in with
the transcendental experience of relieving himslef in the open air - kind
of a Thoreauean/Wordsworthian type of experience - man confronting nature
face to face and all that.  Given his earlier enthusiasm for Douglas firs and
ducks on the lake, having an owl perch above him must have been *peachy*.
If the bright light turns out to be aliens and Cooper starts building a
model of Devil's Tower out of mashed potatoes, I'm retiring my VCR from active
duty on Saturday nights.

csu@alembic.acs.com (Dave Mack) writes:

> >Last time I saw him, he played a burnt-out Black Panther type in
> >the movie "I'm Gonna Git You Sucka".

Oops.  Have some bean ice cream on me!
--
John Carey
University of Illinois
Dept. of Computer Science
carey@a.cs.uiuc.edu {uu-net,pur-ee,convex,...}!uiucdcs!carey

In article <22075@well.sf.ca.us> lilj@well.sf.ca.us (Joshua Neil Rubin) writes:
> >
> >
> >Also, Catherine was saved by an angel.

Could this be the G(g)od-person whom MIKE mentioned???
We've seen the evil BOB, we now have to meet the good.


Sally A. Wilson             || But you never know what can happen...
    || at the last minute...I mean I may
sally@berkeley.mica.edu     || actually think of something here;
         || and if I do you just watch out!

In article <SCHOUTEN.90Dec9210357@sp1.csrd.uiuc.edu> schouten@sp1.csrd.uiuc.edu (Dale Schouten) writes:
> >In article <1990Dec10.004815.2097@agate.berkeley.edu> sally@eris.berkeley.edu (S. A. Wilson) writes:
> >
> >   In article <22075@well.sf.ca.us> lilj@well.sf.ca.us (Joshua Neil Rubin) writes:
> >
>>> >>>Also, Catherine was saved by an angel.
>> >>
>> >>Could this be the G(g)od-person whom MIKE mentioned???
>> >>We've seen the evil BOB, we now have to meet the good.
>> >>
> >
> >Ummmmm . . . I hate to break it to you, but I have this sneaky suspicion
> >that Catherine was lying through her teeth with that angel story.
> >Of course I could be wrong.
> >
> >Dale Schouten
> >schouten@uiuc.edu

Yeah, Probably are right. I wasn't sure if Catherine was/wasn't
spreading the Bull. Yet, an angel, seems she would think of a
better story than that. But, what I also meant could this bright
Light be the (g)God thingy which MIKE spoke about? Seemed brighter
than BOB's light. Seems also that the Major knew all this was
going to take place: his dream, leading Coop out there, and the
easiness which he accepted BOB--not to mention his job. 



Sally A. Wilson             || But you never know what can happen...
    || at the last minute...I mean I may
sally@berkeley.mica.edu     || actually think of something here;
         || and if I do you just watch out!

This weekend I was visiting a friend in LA who works in the entertainment
industry, and we went bowling in an event with proceeds going to benefit
an environmental organization. Anyway, there was a team from ABC there and
several of the Twin Peaks cast participated, including Frank Silva (Killer
Bob), although he wasn't wearing his trademark denim jacket and his hair
was tidier than usual. So not only do we now know that Bob is environmentally
concerned, but also that he's a pretty bad bowler (he was averaging in the
90's).

In article <XXHwT1w163w@zitt> joe [Joe Zitt] writes:
> >Yes, the famous Twin Peaks dialogue eater has struck again, this time 
> >nearly obliterating Cooper's conversation with the Major by the campfire 

[...]

> >And have we ever conclusively figured out what causes that? Twin Peaks is 
> >the >only< show on which I've scene this happen (about 4 times so far).
> >
> >Joe Zitt...cs.utexas.edu!kvue!zitt!joe (512)450-1916



It's all them OWLS perched on the dishes ...

Michel Adam
adam@cs.ualberta.ca  (...!alberta!adam)

or

adam@iceman.UUCP  (...!alberta!iceman!adam)

Yes of course ... "M. T. Wentz, c'est moi."

Vivian says, "Don't you think you're overreacting?"  What she really should
have said was "Don't you think you're overacting?"

Boy Peggy _stank_ in that scene!

Mojo

djb@mailer.cc.fsu.edu (David Brightbill) writes:
> >Was it just me, or did anyone else notice the owl shaped shadow on 
> >Catherines face (left side) during her meeting with HST?  It was most
> >visible during the first few seconds of the scene but I also got a 
> >look at it at the end of the scene.

I saw that!  But I thought it was just a smudge.  Was it really
owl-shaped?

I was struck by how attractive and even sincere Catherine appeared in
that scene.  Piper Laurie really looked nice as a nature girl!  I think
it took ten to fifteen years off her appearance.  So was she really
on the up-and-up?  She certainly didn't admit to bilking Horne while
she was supposedly living on tuna fish.

And kudos to Michael Ontkean as the non-plussed Sheriff Truman.  For
someone who probably wouldn't be surprised to see a ghost now, I think
he played the scene very well.  Nice subtlety.

Mojo

-- mojo@netcom.UUCP Site Coordinating Instructor, San Jose South Morris "Mojo" Jones Skilled Motorcycling And Rider Training (S.M.A.R.T.) Campbell, CA 800-675-5559 ... 800-CC-RIDER ... 408-423-2212 AA4KB @ N6LDL.#NOCAL.CA.USA.NA / aa4kb.ampr.org / netcom!mojo@apple.com

In article <1990Dec10.053759.15766@portia.Stanford.EDU> spg@portia.Stanford.EDU (Stephen Guthrie) writes:
> >an environmental organization. Anyway, there was a team from ABC there and
> >several of the Twin Peaks cast participated, including Frank Silva (Killer
> >Bob), although he wasn't wearing his trademark denim jacket and his hair
> >was tidier than usual. So not only do we now know that Bob is environmentally
> >concerned, but also that he's a pretty bad bowler (he was averaging in the
> >90's).

 Well, we know his game is really golf and competitive Ballroom
Dancing...
 I can just see a BOB bowling shirt; do we have a favorite Sponsor
for the emblem on the back? (Nissan is too obvious...)
 And can you imagine his style? I don't see him bowling underhanded,
more of a "Send you to Missoula, MONTANA" pitch right down the
aisle.
 Of course, he would be wearing bowling shoes...with cleats.
 Even with a bad score, he could probably beat MIKE, if Mike
bowls lefthanded.
 The team against him? How about Cooper and Andy!
 Just picture Cooper using Tibetan Technique, while Andy uses
his new self confidence to score strike after strike, no matter
what the condition of his balls.

 Wouldn't it be neat if ABC brought back "Battle of the Network
Stars"? Audrey and Shelley in the swimming competitions, Nadine
as the Track Team, BOB and Leland do Golf, Miguel Ferrer does
commentary and fills in for whatever network needs help.

 Eh! Seven days of straight OWL shift are beginning to get to
me.


--
  Aran Guy  guy@bevsun.bev.lbl.gov         LBL
    Knobtwister and Buttonpusher           And me be me
 SuperHeavy Ion Linear Accelerator         Our opinions
 The Accelerator that wouldn't Die         Rarely agree.

Here's a thought with (as per usual) nothing to back it up...when Leo
rolls toward Shelley, what if, in his infant-like state, he has simply
and horribly fallen in love with her?
-- Jeff Davis davis@keats.ca.uky.edu Where we are here, Gerrit said, is the backside of nowhere....

Here is a binhex'd sound of Major Briggs saying, "Bobby, would
you care for a piece of pie?"  I highly recommend this as a disk
eject sound.  The result is "Bobby...would you...[disk ejects]...
care for a piece of pie?"


Attachments:
Part 1.266.6 KB

> >Am I the only one on this board who still thinks James is a real hunk ? 
:-)
> >Julie Kozaczka Stahlhut

I imagine so--possibly the only one in the Western Hemisphere!  :-)  :-)

MVB
"There is hope, just not for us."--Kafka

Here is a binhex'd file of an exchange between Truman and Big
Ed, back from the 2nd episode or so.


Attachments:
Part 1.265.6 KB

"Diane: It is 9:30 pm on Sunday, Dec 9. I have just attempted to replay my
videotape of last night's Twin Peaks. To my great surprise, I have discovered
that my VCR did not activate itself as programmed. I can only conclude that
some malignant force has invaded the mechanism in order to foil my 
investigations. Mike's message seems to echo hauntingly...
'In the darkness of reruns past
the viewer longs to see
the episode of December 8.
VCR, remain BOB-free!'
Diane, please circulate this message to all special agents. Anyone who can
loan me that tape should reply via e-mail to Dan Miller at miller@applix.com 
or applix!miller. I am in the Boston area and could pick up/drop off the tape 
if desired."


- Dan M.

Our friendly ABC station showed a local college basketball game which ran
longer than they'd apparenly expected. As a result, we missed the first 20
minutes or so of the 12/8 episode. When we picked it up, Catherine was 
already talking to Harry. If someone could send me a synopsis of what 
happened up to and including Catherine's discussion with Harry (I think I
saw most of it, but I don't know how long she'd been there) I'd greatly
appreciate it.

Oops. I just noticed, this thing posted my address as TIM@MUVMS3.BITNET
If you happen to not be on BITNET, you can use TIM@MARSHALL.WVNET.EDU
Hope this clears things up.

The makers of TP and everbody else has forgotton to address the question of
Who Shot Agent Cooper!?

I assume that it was Leland/Bob but I find it strange that the question
has not been raised again.

-- =============================================================================== Jim Graffam | "Fortune...it favors the bold, Titan Applications | small children, and ships named Enterprise" c/o Raytheon-Sudbury | Riker _The Contagion_ ===============================================================================

Where is Bob now?

Well, who will be Bob's next victim?  Donna gets my vote...

So, if Bob needs to be invited into his host, there aren't too many
people who qualify.  I suspect Leo, since he seems to be getting more
active and Bob was getting discovered.

(Bob's your uncle...)

B.
-- ( Bernie Wieser, wieser@cpsc.ucalgary.ca, BSWieser@uncamult.BITNET ) ( 4rth Year Dbl.Mgr Cpsc Clhc University of Calgary | ) ( S/H Developer Dept. of Psychology, " " " \|/ ) ( Octavian Micro Development Group --- o --- )

In article <18441@netcom.UUCP> mojo@netcom.UUCP (Morris Jones) writes:
> >djb@mailer.cc.fsu.edu (David Brightbill) writes:
>> >>Was it just me, or did anyone else notice the owl shaped shadow on 
>> >>Catherines face (left side) during her meeting with HST?  It was most
>> >>visible during the first few seconds of the scene but I also got a 
>> >>look at it at the end of the scene.
> >
> >I saw that!  But I thought it was just a smudge.  Was it really
> >owl-shaped?
> >

I thought that it was a burn - that a bit of burning tree had struck her
face. Her makeup as the japenese man had obscured it till now, I thought.



> >I was struck by how attractive and even sincere Catherine appeared in
> >that scene.  Piper Laurie really looked nice as a nature girl!  I think
> >it took ten to fifteen years off her appearance.  So was she really
> >on the up-and-up?  She certainly didn't admit to bilking Horne while
> >she was supposedly living on tuna fish.
 
It is easy to imagine the young girl her husband fell in love with.
Piper Laurie (in a review of her role in Carrie) was called "winsome'
and I think that word really fits her.
I don't see why she would bother to tell such an elaborate lie about
an angel. Why would she bother?  Besides, I *want* to believe it.
 
a.h.

In article <1990Dec10.155441.12454@athena.mit.edu> mvb@eagle.mit.edu (Mary V. Burke) writes:
> >
> >
>> >>Am I the only one on this board who still thinks James is a real hunk ? 
> >:-)
>> >>Julie Kozaczka Stahlhut
> >
> >I imagine so--possibly the only one in the Western Hemisphere!  :-)  :-)
> >
> >MVB
 
Well, I can see that he has excellent features, when I can get past his 
judgemental personality.
 
a.h.

Oh, please please PLEASE give us more trivia from the press kit!!

I am waiting with breath baited.  Bated.  Where ARE those lexicographers?

Thanks in advance, I'll check you every minute.

Ilana R.

From article <130036@midas.encore.com>, by jpenovic@encore.com (Jan Penovich):
= From article <35570018@hpopd.HP.COM>, by richardh@hpopd.HP.COM (Richard Hancock):
=> Did Russ Tamblyn play General Tom Thumb, or some other small person, in a film
=> of a fairytale?
=>
=> Richard.
=
= I do seem to remember him playing Tom Thumb but can't remember
= the movie. He did play a woodsman with a magic cloak that
= makes him invisible in the "Wonderful World of the Brothers Grimm."
= (he had to find out why the King's daughter was wearing out
= her shoes every night.)

It's me again.

Actually, Disney just ran the movie "Tom Thumb" yesterday. It
contained a very small, but nonetheless recognizable, Russ Tamblyn.

jan

From my wife:

Related trivia (more or less) -

The 12/6 LA Times Food Section had the headline -

"Fire, walk with me" -

an article about Thai food - specifically Isaan - from an area of Thailand
where the food is "hot enough to stun even natives of Bangkok...The summit of
Isaan cooking is the grilled beef thing called sevaronghai, which is reputed
to be hot enough to make a tiger cry."
(quoted without permission)

Also...
"Remember what our father oft told us: the ways of heaven and earth are dark
intricate, Puzzled in mazes and perplext with errors, Our understanding traces
'em in vain, lost and bewildered in the fruitless search, Nor sees with how much art the windings run, Nor where the regular confusion ends."
"Cato" (I i 47-53)

And...
Something for the trivially observant:
Channel hopping late at night (guess this means BOB's posessed our remote
control) - found "Psycho". Norman Bates has a large stuffed owl hanging from
the ceiling of his room at the Bates motel.

Make of them what you will.

-- 
Jim von Schmacht Senior Member, Project Test Staff Ashton Tate Corporation
Disclaimer: Standard Issue
--------------------------------------------------------------------------------
"It isn't the years - it's the mileage" -Indiana Jones

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:18:43 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.131843CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: response to criticisms

    I am a new member of netnews, since recently looking into it.  I am a big f
an of Twin Peaks and David Lynch.  I read through the articles on TP, and I tho
ught I would offer some of my own thoughts on the subject.  By the way I am cur
rently writing my honors thesis on television and I am discussing TP within the
 paper.  I would appreciate any followup messages about my impressions of the s
how.
     It seems that a lot of the criticism I have been reading regards the plot
structure of the show as well as the notion of Lynch's "style" vs. substance.
I firmly believe that Lynch has created a show of strong substance while mainta
ining the style inherent in his motion pictures.  TP is full of strong human
emotions and passions. There are many episodes in which emotion and reason have
battled on opposite sides in a character's mind. This show more than any I have
seen in recent memory has presented characters fighting within themselves in
an attempt to deal with the grief surrounding the town.  I have been upset for
some time now that people think of TP as nothing but "Who killed Laura Palmer?"
Much more important are such topics as Leland Palmer's grief, Cooper's dealing
with good and evil, Audrey's maturation from a high school tease to a woman
dealing with her feelings for Cooper, and the relationship between Bobby and
Major Briggs(high school rebel and conservative father).  These are just a few
of the many. The point is that these characters as eccentric as they may appear
are really just people dealing with life.  I admit that the show also has some
abnormal topics such as Cooper's sometimes strange approach to crime solving
and the mystical side of the murder's solution.  However, these oddities are
also a breath of fresh air in tv which too often fails to take a chance with
any ideas that are not based in staunch reality.
     I see this show as a brilliant portrayal of humankind, which follows in
the mold Lynch used for Blue Velvet and Wild At Heart.  I have read that people
see parts of the show (specifically Donna and James) as being sappy, but let
us remember that these characters are supposed to be of high school age.  I
don't recall too many very mature high school relationships.  I think that
these students are handling an emotional time of their lives (further complicat
ed by the murder of their friend Laura) as best as they know how.  To get rid
of this aspect of the show would take away from it.
    As I said before I would appreciate any responses.  Thank you.

--Corey Mitchell

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:56:44 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.135644CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Distribution: world
Subject: NOTEBOOK A0
      NETPOST  NOTEBOOK A0 V         79         45          1 12/10/90 13:51:43
* K100 NETPOST  NOTEBOOK A0
=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:18:43 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.131843CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: response to criticisms

    I am a new member of netnews, since recently looking into it.  I am a big f
an of Twin Peaks and David Lynch.  I read through the articles on TP, and I tho
ught I would offer some of my own thoughts on the subject.  By the way I am cur
rently writing my honors thesis on television and I am discussing TP within the
 paper.  I would appreciate any followup messages about my impressions of the s
how.
     It seems that a lot of the criticism I have been reading regards the plot
structure of the show as well as the notion of Lynch's "style" vs. substance.
I firmly believe that Lynch has created a show of strong substance while mainta
ining the style inherent in his motion pictures.  TP is full of strong human
emotions and passions. There are many episodes in which emotion and reason have
battled on opposite sides in a character's mind. This show more than any I have
seen in recent memory has presented characters fighting within themselves in
an attempt to deal with the grief surrounding the town.  I have been upset for
some time now that people think of TP as nothing but "Who killed Laura Palmer?"
Much more important are such topics as Leland Palmer's grief, Cooper's dealing
with good and evil, Audrey's maturation from a high school tease to a woman
dealing with her feelings for Cooper, and the relationship between Bobby and
Major Briggs(high school rebel and conservative father).  These are just a few
of the many. The point is that these characters as eccentric as they may appear
are really just people dealing with life.  I admit that the show also has some
abnormal topics such as Cooper's sometimes strange approach to crime solving
and the mystical side of the murder's solution.  However, these oddities are
also a breath of fresh air in tv which too often fails to take a chance with
any ideas that are not based in staunch reality.
     I see this show as a brilliant portrayal of humankind, which follows in
the mold Lynch used for Blue Velvet and Wild At Heart.  I have read that people
see parts of the show (specifically Donna and James) as being sappy, but let
us remember that these characters are supposed to be of high school age.  I
don't recall too many very mature high school relationships.  I think that
these students are handling an emotional time of their lives (further complicat
ed by the murder of their friend Laura) as best as they know how.  To get rid
of this aspect of the show would take away from it.
    As I said before I would appreciate any responses.  Thank you.

--Corey Mitchell

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:56:44 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.135644CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Distribution: world
Subject: NOTEBOOK A0

* K100 NETPOST  NOTEBOOK A0
=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:18:43 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.131843CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: response to criticisms

    I am a new member of netnews, since recently looking into it.  I am a big f
an of Twin Peaks and David Lynch.  I read through the articles on TP, and I tho
ught I would offer some of my own thoughts on the subject.  By the way I am cur
rently writing my honors thesis on television and I am discussing TP within the
 paper.  I would appreciate any followup messages about my impressions of the s
how.
     It seems that a lot of the criticism I have been reading regards the plot
structure of the show as well as the notion of Lynch's "style" vs. substance.
I firmly believe that Lynch has created a show of strong substance while mainta
ining the style inherent in his motion pictures.  TP is full of strong human
emotions and passions. There are many episodes in which emotion and reason have
battled on opposite sides in a character's mind. This show more than any I have
seen in recent memory has presented characters fighting within themselves in
an attempt to deal with the grief surrounding the town.  I have been upset for
some time now that people think of TP as nothing but "Who killed Laura Palmer?"
Much more important are such topics as Leland Palmer's grief, Cooper's dealing
with good and evil, Audrey's maturation from a high school tease to a woman
dealing with her feelings for Cooper, and the relationship between Bobby and
Major Briggs(high school rebel and conservative father).  These are just a few
of the many. The point is that these characters as eccentric as they may appear
are really just people dealing with life.  I admit that the show also has some
abnormal topics such as Cooper's sometimes strange approach to crime solving
and the mystical side of the murder's solution.  However, these oddities are
also a breath of fresh air in tv which too often fails to take a chance with
any ideas that are not based in staunch reality.
     I see this show as a brilliant portrayal of humankind, which follows in
the mold Lynch used for Blue Velvet and Wild At Heart.  I have read that people
see parts of the show (specifically Donna and James) as being sappy, but let
us remember that these characters are supposed to be of high school age.  I
don't recall too many very mature high school relationships.  I think that
these students are handling an emotional time of their lives (further complicat
ed by the murder of their friend Laura) as best as they know how.  To get rid
of this aspect of the show would take away from it.
    As I said before I would appreciate any responses.  Thank you.

--Corey Mitchell

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:56:44 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.135644CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Distribution: world
Subject: NOTEBOOK A0
      NETPOST  NOTEBOOK A0 V         79         45          1 12/10/90 13:51:43
* K100 NETPOST  NOTEBOOK A0

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:18:43 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.131843CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: response to criticisms

    I am a new member of netnews, since recently looking into it.  I am a big f
an of Twin Peaks and David Lynch.  I read through the articles on TP, and I tho
ught I would offer some of my own thoughts on the subject.  By the way I am cur
rently writing my honors thesis on television and I am discussing TP within the
 paper.  I would appreciate any followup messages about my impressions of the s
how.
     It seems that a lot of the criticism I have been reading regards the plot
structure of the show as well as the notion of Lynch's "style" vs. substance.
I firmly believe that Lynch has created a show of strong substance while mainta
ining the style inherent in his motion pictures.  TP is full of strong human
emotions and passions. There are many episodes in which emotion and reason have
battled on opposite sides in a character's mind. This show more than any I have
seen in recent memory has presented characters fighting within themselves in
an attempt to deal with the grief surrounding the town.  I have been upset for
some time now that people think of TP as nothing but "Who killed Laura Palmer?"
Much more important are such topics as Leland Palmer's grief, Cooper's dealing
with good and evil, Audrey's maturation from a high school tease to a woman
dealing with her feelings for Cooper, and the relationship between Bobby and
Major Briggs(high school rebel and conservative father).  These are just a few
of the many. The point is that these characters as eccentric as they may appear
are really just people dealing with life.  I admit that the show also has some
abnormal topics such as Cooper's sometimes strange approach to crime solving
and the mystical side of the murder's solution.  However, these oddities are
also a breath of fresh air in tv which too often fails to take a chance with
any ideas that are not based in staunch reality.
     I see this show as a brilliant portrayal of humankind, which follows in
the mold Lynch used for Blue Velvet and Wild At Heart.  I have read that people
see parts of the show (specifically Donna and James) as being sappy, but let
us remember that these characters are supposed to be of high school age.  I
don't recall too many very mature high school relationships.  I think that
these students are handling an emotional time of their lives (further complicat
ed by the murder of their friend Laura) as best as they know how.  To get rid
of this aspect of the show would take away from it.
    As I said before I would appreciate any responses.  Thank you.

--Corey Mitchell

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:56:44 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.135644CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Distribution: world
Subject: NOTEBOOK A0
      NETPOST  NOTEBOOK A0 V         79         45          1 12/10/90 13:51:43
* K100 NETPOST  NOTEBOOK A0
=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 14:00:18 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.140018CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: criticisms
Distribution: world

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:18:43 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.131843CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: response to criticisms

    I am a new member of netnews, since recently looking into it.  I am a big f
an of Twin Peaks and David Lynch.  I read through the articles on TP, and I tho
ught I would offer some of my own thoughts on the subject.  By the way I am cur
rently writing my honors thesis on television and I am discussing TP within the
 paper.  I would appreciate any followup messages about my impressions of the s
how.
     It seems that a lot of the criticism I have been reading regards the plot
structure of the show as well as the notion of Lynch's "style" vs. substance.
I firmly believe that Lynch has created a show of strong substance while mainta
ining the style inherent in his motion pictures.  TP is full of strong human
emotions and passions. There are many episodes in which emotion and reason have
battled on opposite sides in a character's mind. This show more than any I have
seen in recent memory has presented characters fighting within themselves in
an attempt to deal with the grief surrounding the town.  I have been upset for
some time now that people think of TP as nothing but "Who killed Laura Palmer?"
Much more important are such topics as Leland Palmer's grief, Cooper's dealing
with good and evil, Audrey's maturation from a high school tease to a woman
dealing with her feelings for Cooper, and the relationship between Bobby and
Major Briggs(high school rebel and conservative father).  These are just a few
of the many. The point is that these characters as eccentric as they may appear
are really just people dealing with life.  I admit that the show also has some
abnormal topics such as Cooper's sometimes strange approach to crime solving
and the mystical side of the murder's solution.  However, these oddities are
also a breath of fresh air in tv which too often fails to take a chance with
any ideas that are not based in staunch reality.
     I see this show as a brilliant portrayal of humankind, which follows in
the mold Lynch used for Blue Velvet and Wild At Heart.  I have read that people
see parts of the show (specifically Donna and James) as being sappy, but let
us remember that these characters are supposed to be of high school age.  I
don't recall too many very mature high school relationships.  I think that
these students are handling an emotional time of their lives (further complicat
ed by the murder of their friend Laura) as best as they know how.  To get rid
of this aspect of the show would take away from it.
    As I said before I would appreciate any responses.  Thank you.

--Corey Mitchell

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:56:44 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.135644CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Distribution: world
Subject: NOTEBOOK A0
      NETPOST  NOTEBOOK A0 V         79         45          1 12/10/90 13:51:43
* K100 NETPOST  NOTEBOOK A0
=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:18:43 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.131843CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: response to criticisms

    I am a new member of netnews, since recently looking into it.  I am a big f
an of Twin Peaks and David Lynch.  I read through the articles on TP, and I tho
ught I would offer some of my own thoughts on the subject.  By the way I am cur
rently writing my honors thesis on television and I am discussing TP within the
 paper.  I would appreciate any followup messages about my impressions of the s
how.
     It seems that a lot of the criticism I have been reading regards the plot
structure of the show as well as the notion of Lynch's "style" vs. substance.
I firmly believe that Lynch has created a show of strong substance while mainta
ining the style inherent in his motion pictures.  TP is full of strong human
emotions and passions. There are many episodes in which emotion and reason have
battled on opposite sides in a character's mind. This show more than any I have
seen in recent memory has presented characters fighting within themselves in
an attempt to deal with the grief surrounding the town.  I have been upset for
some time now that people think of TP as nothing but "Who killed Laura Palmer?"
Much more important are such topics as Leland Palmer's grief, Cooper's dealing
with good and evil, Audrey's maturation from a high school tease to a woman
dealing with her feelings for Cooper, and the relationship between Bobby and
Major Briggs(high school rebel and conservative father).  These are just a few
of the many. The point is that these characters as eccentric as they may appear
are really just people dealing with life.  I admit that the show also has some
abnormal topics such as Cooper's sometimes strange approach to crime solving
and the mystical side of the murder's solution.  However, these oddities are
also a breath of fresh air in tv which too often fails to take a chance with
any ideas that are not based in staunch reality.
     I see this show as a brilliant portrayal of humankind, which follows in
the mold Lynch used for Blue Velvet and Wild At Heart.  I have read that people
see parts of the show (specifically Donna and James) as being sappy, but let
us remember that these characters are supposed to be of high school age.  I
don't recall too many very mature high school relationships.  I think that
these students are handling an emotional time of their lives (further complicat
ed by the murder of their friend Laura) as best as they know how.  To get rid
of this aspect of the show would take away from it.
    As I said before I would appreciate any responses.  Thank you.

--Corey Mitchell

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:56:44 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.135644CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Distribution: world
Subject: NOTEBOOK A0

* K100 NETPOST  NOTEBOOK A0
=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:18:43 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.131843CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Subject: response to criticisms

    I am a new member of netnews, since recently looking into it.  I am a big f
an of Twin Peaks and David Lynch.  I read through the articles on TP, and I tho
ught I would offer some of my own thoughts on the subject.  By the way I am cur
rently writing my honors thesis on television and I am discussing TP within the
 paper.  I would appreciate any followup messages about my impressions of the s
how.
     It seems that a lot of the criticism I have been reading regards the plot
structure of the show as well as the notion of Lynch's "style" vs. substance.
I firmly believe that Lynch has created a show of strong substance while mainta
ining the style inherent in his motion pictures.  TP is full of strong human
emotions and passions. There are many episodes in which emotion and reason have
battled on opposite sides in a character's mind. This show more than any I have
seen in recent memory has presented characters fighting within themselves in
an attempt to deal with the grief surrounding the town.  I have been upset for
some time now that people think of TP as nothing but "Who killed Laura Palmer?"
Much more important are such topics as Leland Palmer's grief, Cooper's dealing
with good and evil, Audrey's maturation from a high school tease to a woman
dealing with her feelings for Cooper, and the relationship between Bobby and
Major Briggs(high school rebel and conservative father).  These are just a few
of the many. The point is that these characters as eccentric as they may appear
are really just people dealing with life.  I admit that the show also has some
abnormal topics such as Cooper's sometimes strange approach to crime solving
and the mystical side of the murder's solution.  However, these oddities are
also a breath of fresh air in tv which too often fails to take a chance with
any ideas that are not based in staunch reality.
     I see this show as a brilliant portrayal of humankind, which follows in
the mold Lynch used for Blue Velvet and Wild At Heart.  I have read that people
see parts of the show (specifically Donna and James) as being sappy, but let
us remember that these characters are supposed to be of high school age.  I
don't recall too many very mature high school relationships.  I think that
these students are handling an emotional time of their lives (further complicat
ed by the murder of their friend Laura) as best as they know how.  To get rid
of this aspect of the show would take away from it.
    As I said before I would appreciate any responses.  Thank you.

--Corey Mitchell

=========================================================================
Organization: Penn State University
Date: Monday, 10 Dec 1990 13:56:44 EST
From: <CDM101@psuvm.psu.edu>
Message-ID: <90344.135644CDM101@psuvm.psu.edu>
Newsgroups: alt.tv.twin-peaks
Distribution: world
Subject: NOTEBOOK A0
      NETPOST  NOTEBOOK A0 V         79         45          1 12/10/90 13:51:43
* K100 NETPOST  NOTEBOOK A0

In article <32@tdw205.ed.ray.com> graffam@sud509.ed.ray.com (Jim Graffam) writes:
> >The makers of TP and everbody else has forgotton to address the question of
> >Who Shot Agent Cooper!?
> >
> >I assume that it was Leland/Bob but I find it strange that the question
> >has not been raised again.
 
 It certainly is odd. Cooper is very strangely incurious about who is trying
to kill him. I suppose it could have been one of Leland/BOB's sideline
activities. But Bernie Rohl and I are not fully satisfied with that explanation.
 
We suspect that Cooper's insane ex-partner is responsible. 
We know that Wyndam Earle escaped form the asylum and that he sent
a strange letter to Cooper with a chess move in it.
I take it that he is playing an insane game with Cooper in sport.
 
Surely Cooper saw his assailant since they were standing face to face.
Either the trauma of the attack wiped Cooper's short term memory (a common
phenomenon in violent attacks) or else Cooper is deliberately keeping the
identity of his assailant to himself for reasons of his own. His 
relationship with his ex-partner may be the reason.
 
Wynham Earle would know that Cooper would have to be wearing his bullet
proof vest since that is standard FBI procedure for stakeouts.
Earle may have assumed that his bullets would have no major effects and, 
being nuts, he would not care about the bruises and shock. He did not
know that Cooper had lifted the vest to catch a wood tick. Perhaps 
he told the old night clerk that he should ignore anything strange about
Cooper that night because it was all a prank. Later the night clerk
realized that it was serious and apologized to cooper at the roadhouse.
 

Why did Earle go mad?  Was he in love with the same woman Cooper was
protecting and fell in love with. Was it in fact Earle who killed her?
 
a.h.

In article <1990Dec10.193212.9310@watserv1.waterloo.edu> alternat@watserv1.waterloo.edu (Ann Hodgins) writes:

> >Surely Cooper saw his assailant since they were standing face to face.

Didn't Cooper say the assailant was masked?

> >Either the trauma of the attack wiped Cooper's short term memory (a common
> >phenomenon in violent attacks) 

In head injury cases; not in violent attacks in general.

> >or else Cooper is deliberately keeping the
> >identity of his assailant to himself for reasons of his own. His 
> >relationship with his ex-partner may be the reason.

Or else really doesn't know.  Certainly the simplest hypothesis.

-- * Rod Johnson * rjohnson@vela.acs.oakland.edu * (313) 650 2315 * "Become FUEL, you FOSSILS!" --Ambush Bug

I noticed something odd in the 12/8 episode in the scene where Cooper
is saying goodbye to Hawk, Andy, and Lucy.  As Cooper walks into the
hall he passes a bulletin board next to a water cooler that has an NRA
poster in the middle.  That's not the National Rifle Assocation,
though, but a poster for the National Recovery Administration (or was
it the National Relief Agency?), which, if I remember my history (which
is supsect) was a depression-era government agency.  The poster has red
letters that say "NRA member" over a blue eagle clutching something in
its talons with words "we do our part" underneath.  Most of the words
weren't visible on tv, but the poster looked the same as the other
NRA reference I had handy which was the front page of the New York
Times from Oct. 15 1933.*  I wonder what, if any, was the purpose of
this apparent anachronism.

I also noticed that to Lucy's left past the no smoking sign was the
"have you seen this man" poster of Killer Bob.  Given that it was three
days after Leland's death I would think they would have taken it down
by now.  Who knows, maybe they know they'll need it again.

--
* In case you were wondering, I saw a show on PBS a few weeks
ago about the Lindbergh baby kidnapping and checked my copy of
"Page One," reprints of the front pages of the NYT from
1920 on, to see what was there.  I noticed the NRA symbol and
later while watching TP I noticed it again.

In reply to your comments about meeting "killer Bob" at an ABC bowling party,
I just want to say that it must have been a pretty nifty experience to see
the guy face-to-face. I wonder if people see him on the street and freak out?

So tell us, did he "bowl you over" with his personality and good looks?! Tell,  tell!!
-- ____*_ Lynn Schneider lzs@indetech.com \ / / Independence Technologies {sun,sharkey,pacbell}!indetech!lzs \/ / 42705 Lawrence Place FAX: 415 438-2034 \/ Fremont, CA 94538 Voice: 415 438-2077

Spoilers for 12/8, I guess....


Yay!  I'm gonna keep watching!  The White Lodge!  I want him crucified!
All right!

As before, Cooper is the axle around which the show turns... there's lots of
other stuff, like always, but Coop's the clincher, like always.  He's in
big trouble!  I could see his deductive gears whirring as Clarence Williams
III talked about disturbing allegations... he'll need to use his head to
get outta this one (at least if he doesn't I'll wonder why his brain's rotted
so badly this season)....

Wonder how that sleazeball Mounty got in with the FBI?  I was badly injured,
and my partner lost his mind... eek!

Quite amusing how almost every episode produces a flurry of postings, some
saying how much better the episode was, others bemoaning the show's decline...
how many other TV shows have been so many things to so many people?  Everyone
looks for something different in TP....

I still need Leland's death speech and Cooper's Book of the Dead mantra.
Anyone?  Anyone?

As always, comments, additions, corrections are eagerly solicited.  Thanks for
all the good feedback!

------------------------------------

Cooper:  I'm sure the Sheriff will be able to recommend a clean place,
reasonably priced--that's what I need, a clean place, reasonably priced.

Leo:  Leo needs a new pair of shoes!

Ben:    Leland's daughter was murdered and the Norwegians left.
Jerry:  Did they sign?
Ben:    No.
Jerry:  We had those vikings by the HORNS!  What HAPPENED?
Ben:    We're not exactly sure; they took the translator with them.
Jerry:  Sigh.  Did you say Leland's daughter was murdered?
Ben:    Yes.
Jerry:  I'm depressed.

Cooper:  Harry, when Albert finishes up at the Great Northern, we'll meet back
         at the station.  I'm ready to lay the whole thing out.
Truman:  Rocks and bottles?
Cooper:  Chalk and blackboard will be just fine.
Truman:  Jelly donuts?
Cooper:  Harry, that goes without saying.

Andy:  Lucy!
Lucy:  What?
Andy:  <Crash!>
Lucy:  Andy?

Senor Droolcup:  Your milk is gonna get cool....
Cooper (lying on his back, bleeding):  OhKaayy

Sarah Palmer:  I miss her so much.  I miss her so much!  I miss her so much!!!

Cooper:  Sheriff, get your mind off Shelley.

Audrey (naked in Cooper's bed, to Cooper):  Don't make me leave?  Please...
don't make me leave?

Truman:  I'll make the phone calls.  Leland will know how to get a hold of
         Maddy's family.
Cooper:  Harry, don't make any calls.  I need twenty-four hours.
Truman:  For what?
Cooper:  To finish this.
Albert:  Cooper.  [Cooper walks over]  An observation.  I don't know where this
         is headed.  But the only one with the coordinates for this destination
         in his hardware is you.  Go on whatever vision quest you have to--
         stand on the rim of the volcano--stand alone and do your dance.  Just
         find this beast before he takes another bite.
Cooper:  God help me, I don't know where to start.
Hawk:    You're on the path.  You don't need to know where it leads.  Just
         follow.

Chief Norwegian (to Audrey):  Is something wrong, young, pretty girl?

Cooper:  Albert's path is a strange and difficult one.

Dick:  I lost your number....
Lucy:  I work at the sheriff's office!  You could have dialed 911!

Albert:  Agent Cooper, I am thrilled to pieces that the Dharma came to King
         Hohoho, I really am, but right now I am trying hard to focus on the
         more immediate problems of our own century, right here in Twin Peaks.
Cooper:  Albert, you'd be surprised at the connections between the two.
Albert:  Color me amazed.

Bobby (to Leo):  Quit spittin', man!

Truman:  You saw a giant?
Cooper:  Yes.
Albert:  Any relation to the dwarf? 

Hawk:  Some of my best friends are white people!

Pete:  This smoke inhalation is a nasty business.  I feel like someone taped my
lips to the tailpipe of a bus!

[Waitress pours Cooper's coffee:]
Cooper:  Wait a minute!  Wait a minute!  [sips, sighs blissfully]  This is--
excuse me--a DAMN fine cup of coffee.  I've had I don't know how many cups of
coffee in my life, but this is one of the best.  Two eggs over hard.  I know,
I know, it's hard on the arteries, but old habits die hard--just about as hard
as I want those eggs.  Two strips of bacon, extra crispy--almost black.
Cremate it.  And I'd like a big glass of grapefruit juice, just as long as
those grapefruits... [sees Audrey walking towards him] ...are freshly squeezed.

Jerry:  Marshmallows?!!  Ben, WHERE are those HICKORY STICKS?

Gwen:  You see, people just wanna do terrible things to you.  I know.

Cooper:  Look!  Ducks!  On a lake!  Ahhh.

Pete:  Now let me get this straight... your _entire_country_ is _above_ the
_timberline_?

Jonathan:  Blood brother, next time, I take your head off.

Giant:   Sorry to wake you.
Cooper:  I'm not dreaming.
Giant:   I forgot to tell you something.
Cooper:  You were right about the smiling bag.
Giant:   The things I tell you will not be wrong.   Better to listen than
         to talk.
Cooper:  I believe you.
Giant:   Don't search for all the answers at once.  A path is formed by
         laying one stone at a time.  One person saw the third man.  Three
         have seen him, yes, but not his body.  One only, known to you, ready
         now to talk.  One more thing:  there is something which you have
         forgotten.
Cooper:  What?
Giant:   <Flash!>

Mike:  This is his true face, but few can see it.  The gifted--and the 
_damned._

Donna:   Romantic, isn't it?
Harold:  Interesting...it serves as a landing platform for pollinating insects.
Donna:   Romantic, isn't it?

Truman:  You know, I should take up medicine.
Cooper:  Oh?  Why's that?
Truman:  Because I'm beginning to feel a bit like... Dr. Watson.

Leland:  Just call me Fred!

Cooper:  Mrs. Palmer, there are things dark and heinous in this world.

Judge Sternwood:   So, Agent Cooper, how are you finding our little corner of
                   the world?
Cooper:     It's heaven, sir.
Judge S.:   Well, this week heaven includes arson, multiple homicide, and an
            attempt on the life of a Federal agent.
Cooper:     Heaven is a large and interesting place, sir!

Catherine:  I can't understand a word you're saying... you have a thing in your
mouth!

Truman:  What's going on?
Lucy: Thanks to Jade, Gerard decided not to kill himself.  And he's changed
         his will, leaving the Towers to Jade instead of Emerald.  But Emerald
         found out about it, and now she's trying to seduce Chet to give her
         the new will so that she can destroy it, and Montana's planning to
         kill Gerard at midnight so the Towers will belong to Emerald and
         Montana but I think she's going to double-cross him though he doesn't
         know it.  Poor Chet!
Truman:  What's going on _here_?

Bobby:  Doc Hayward said you needed familiar stimulants, so we figured, what
the hell, kazoos.

Cooper:  It's a good idea to leave your troubles at home when you operate a
motor vehicle, Leland.

Log Lady:  My husband was a logging man... he met the devil.  Fire is the
devil, hiding like a coward in the smoke.

Jerry:  Ben, as your attorney, your friend, and your brother, I strongly 
suggest you get a better lawyer.

Cooper:  Diane, last night I dreamed I was eating a large, tasteless gumdrop,
and awoke to discover I was chewing on one of my foam disposable earplugs.
Perhaps I should consider moderating my nighttime coffee consumption.

Catherine:  Everything here smells like fish.
Pete:       Well, you could try washing your socks separately.

Ben:         So, here in Twin Peaks, health and industry go hand-in-hand.
Translator:  Helse og industri de gaar haand-i-haand.

Major:   You appear to be fully recovered from your recent setback.
Jacoby:  Well, nothing beats the restorative powers of Honolai Bay. 

Mike:  He is BOB!  Eager for fun!  He wears a smile.  EVERYBODY RUN.

Cooper:  Did you know Laura Palmer?
Leo:     No.
Cooper:  How well did you know her?
Leo:     I said I didn't!
Cooper (smiling):  You're lying.

Ben:   What's she want?!  I'll pay anything!  What's she _want_??!!
Pete:  You OK there, Benjy?

Jacques:  So Leo put the chip in her mouth, and say, "Bite the bullet, baby,
biiite the bullet!!"

Cooper:  In another world he might have been a seer or a shaman priest... here
he's just a shoe salesman who walks with the shadows.

Andy:  Listen to me, Lucy Moran, you just listen.  When the Tacoma Sperm Bank
was looking for donors, naturally I applied.  It's my civic duty and I like
whales.  A routine physical examination revealed that I'm sterile.  Sure I
thought it meant that I didn't have to take a bath, but the doctors told me
the truth.  They told me I can't have babies.  So what I wanna know now is why
are you having one and how?

Catherine:  Are you an ambitious man, Mr. Neff?
Mr. Neff:   One likes to think so.
Catherine:  One never knows.  There may still be a few T's left to cross.

Cooper:  Laura and I had the same dream.
Andy:    That's impossible!
Cooper:  Yes, it is.

Hawk:  I had to drink 3 pots of chamomile tea to find that out!  Which reminds
me--can I be excused, sir?

Cooper:  So Harry, how long you been seeing her?
Truman (awestruck):  How did you know?
Cooper:  Body language.
Truman:  Geez louise!

Albert:  Okay, confining my conclusions to the planet Earth....

Pierre:  Sometimes things happen just like THAT.  <snap!>

Pete:    And how do you take your coffee, Agent Cooper?
Cooper:  Black as midnight on a moonless night.
Pete:    Pret-ty black.

Cooper:  This morning, I will practice an extra twenty minutes of yogic dis-
cipline, after which the pain is banished to a cul-de-sac in a remote suburb
of my conscious mind.

Nadine:  Where are Mom and Dad?
Big Ed:  Whooooa!  They're... out of town!
Nadine:  Oh.  Okay!

Leo:  <spit>  new shoes!

Major:   For starters, would you care to join me for an incredibly
         pleasant evening of night fishing?
Cooper:  Aces!

Lucy:  All men in the world should be taken to a desert island and forced to
eat sand!

Nadine:  Ed!  You waiting for those drapes to hang themselves?

Cooper:  I think I saw a rabbit!
Truman:  Must've been a snowshoe rabbit.
Cooper:  Snowshoe!  Snowshoe rabbit!

Jerry:  Lord, what's become of us?

Albert:  I performed the autopsy on Jacques Renault.  Stomach contents re-
         vealed, let's see, beer cans, a Maryland license plate, half a bi-
         cycle tire, a goat, and a small wooden puppet.  Goes by the name of
         Pinocchio.
Cooper:  You're making a joke!
Albert:  I like to think of myself as one of the happy generations.

Andy:  They shot Waldo!

Log Lady:  Sometimes owls are big.

Cooper:  So... are you still seeing this... Dick?

Hawk:    One woman can make you fly like an eagle.  Another can give you the
         strength of a lion.  But only one in a cycle of life can fill you with
         gladness and the wisdom that you have known a singular joy.  I wrote
         that for my girlfriend.
Cooper:  Girlfriend?
Hawk:    Diane Shapiro.  PhD, Brandeis.
Cooper:  Ooo.

Log Lady:  I do not introduce the log!

Cooper:  Wanna know why I'm whittling?
Truman:  OK, I'll bite.  Why are you whittling?
Cooper:  Because that's what you do in a town where a yellow light still means
 slow down, not speed up.

Ben:  If you will permit me, Sven, to repeat what you told me this morning
after your run--"My air sacs have never felt so good!"

Bobby:  Dad?
Major:  Yes, son?
Bobby:  What is it that you do, exactly?
Major:  That's classified.
Bobby:  Oh.

Jerry:  Look at what she gave me:   a whole leg of lamb!  You sprinkle some
garlic on that, some fresh mint, that's rotisserie heaven!

Cooper:  Sheriff, what kind of fantastic trees have you got around here?  Big,
 majestic--
Truman:  Douglas firs.
Cooper:  Douglas firs....

Jerry:  Brother Ben, we've got two ledgers and a smoked cheese pig... so which
one do we burn?  And it ain't gonna be my pig.

Cooper:  Diane, I'm holding in my hand a small box of chocolate bunnies.

Leland:  Dance with me!  Please, someone, dance with me!!

Sarah Palmer:  Don't ruin this too!

Audrey:  Friendship is the foundation of any lasting relationship.
Cooper:  Well, it's nice to be quoted accurately.

Lucy:  Sheriff, it's Pete Martell up at the mill.  Um, I'm gonna transfer it
to the phone on the table by the red chair, the red chair against the wall.
The little table, with the lamp on it--the lamp that we moved from the corner?
The BLACK phone, not the brown phone.

Cooper:  They got a cherry pie there that'll kill ya!

Gordon:  COOP, YOU REMIND ME TODAY OF A SMALL, MEXICAN CHIWOWWOW.

Albert:  You listen to _me_!  While I will admit to a certain cynicism, the
fact is I am a nay-sayer and a hatchet man in the fight against violence!  I
pride myself in taking a punch and I'll gladly take another because I choose
to live my life in the company of Gandhi and King!  My concerns are _global_.
I reject absolutely revenge, aggression, and retaliation.  The foundation of
such a method... is love.  I love you, Sheriff Truman.

Pierre: She SEEMED like a nice girl.

Cooper:  You and Laura had a fight last week, is that correct?
Bobby:   So WHAT!  If I had a fight with her, if I sang songs with her, if I
         went skipping ROPE with her--WHAT difference does it make?!?  I
         DIDN'T KILL HER!
Cooper (grinning widely):  Bobby, here's how this works.  I ask the questions,
         and you answer them!  Briefly!  And to the point!

Doc Hayward:  Nurse, I really mean it.  You better speak to that kitchen.

Nadine:  I am just so happy!
Glass:   <Crunch!!>
Nadine:  OH!!  I'm so sorry!  There goes _another_ one!!

Andy:  I'm a WHOLE DAMN TOWN!!!

Log Lady:  Dark.  Laughing.  The owls were flying.  Many things were blocked.
           Laughing.  Two men, two girls.  Flashlights pass by in the woods
           over the ridge.  The owls were near.  The dark was pressing in on
           her.  Quiet then.  Later, footsteps.  One man passed by.  Screams
           far away.  Terrible.  Terrible.  One voice.
Cooper:    Man or girl?
Log Lady:  Girl.  The owls were silent.

Cooper:  Man!  Smell those trees.  Smell those Douglas firs.

Sarah Palmer:  Laura, honey, are you upstairs?

Cooper:  Harry, I really have to urinate!

James:  When'd you start smokin'?
Donna:  I smoke every once in a while.  Helps relieve tension.
James:  When'd you get so tense?
Donna:  When I started smokin'.

Ben:     Go away.  Get out, go on!  Go on!  I'm going out for a sandwich.
         <scuffle scuffle>  No!  No!  No!  You can't do this!
Cooper:  It's already done.

Nadine:  Love me?
Big Ed:  You bet.

Secretary at the Great Northern:  The Norwegians are leaving!  The _Norwegians_
are _leaving_!

Cooper:  Gentlemen, two days ago a young woman was found murdered by the same
         killer I believe responsible for the death of Laura Palmer.  I have
         reason to believe the killer is in this room.  As a member of the
         Bureau I spend most of my time seeking simple answers to difficult
         questions.  In the pursuit of Laura's killer I have employed Bureau
         guidelines, deductive technique, Tibetan method, instinct, and luck.
         But now I find myself in need of something new, which for lack of a
         better word, I will call... magic.
         [Thunder & lightning!]
Ben:     Would you like us to hum?  A Tibetan chant, perhaps?
Albert (to Truman):  I think it's going wonderfully well, don't you?
Truman (to Cooper):  Now what?
Cooper:  Harry, I'm not completely sure.  Someone is missing.
         [Major and Senor Droolcup appear at the door as clock strikes 3]
Major:   Excuse us.
Cooper:  Major Briggs.  Right on time.
Major:   I was on my way home.  This kind gentleman flagged me down and asked
         if I could drive him here.
         [Senor Droolcup dodders up to Cooper and gives him a stick of gum]
Leland:  I know that gum!  I used to chew it when I was a kid!  That's my most
         favorite gum in the world.
Senor Droolcup:  That gum you like is going to come back in style.
         [Still flashes of everyone in the room, ending with Cooper... the
         Roadhouse fades out, and Cooper's in the red room from the dream.
         Laura moves to him, kisses him, and whispers in his ear:]
Laura:   My father... killed me....
         [The dream fades away, Cooper is standing in the empty Roadhouse, and
         the Giant appears.  The Giant holds out Cooper's ring and vanishes.
         The ring falls to the floor and the vision ends.  
         Cooper pops the gum in his mouth, picks up the ring, and:]
Cooper:  Ben Horne, I would like you to accompany me to the sheriff's office.
         You might like to take along Leland Palmer as your attorney.

Pete:  There was a fish... in... the percolator!

<Cooper reaches for one of the Log Lady's cookies and she slaps his hand:>
Log Lady:  Wait for the tea!  The fish aren't running!

Truman:  Think they spotted us?
Cooper:  Gimme a donut.

Albert (in reference to Sheriff Truman):  Look, it's trying to think.

Secretary at the Great Northern:  Audrey, look what you've done!  Audrey....
Audrey, don't go in there--Audrey!

Cooper:  Diane, I've just entered the town of Twin Peaks.  Twelve miles south
of the Canadian border, eight miles west of the state line.  I've never seen
so many trees in my life!  As W. C. Fields would say, I'd rather be here than
Philadelphia.

Jacoby:  Bobby--did you CRY?!?

Ernie:  I never stole from a church!  It was a savings & loan!

Doc Hayward:  You're not going anywhere.
Cooper:       Doc, when the will is invoked, the recuperative powers of the
              physical body are simply extraordinary.  Just give me a couple
              of hours to get dressed.

Giant:  It is happening again.  It is happening again.

Hawk:  Good thing you guys can't keep a secret!

Little Man from Another Place:  Llllet'srock!
         [ringing sound, shadow moves across the curtains]
LMFAP:   That gum you liike is goinng to kum bak in styyle.  [looks at Laura]
         Shee's mi couzin.  Butt doesn't she look--almostt exactly--like
         Lowra Powlmer?
Cooper:  But, it is Laura Palmer.  [to Laura:]  Are you Laura Palmer?
Laura:   I feeel liike I knoww her, but sumtimes mi arrms bendback.
LMFAP:   Shee's filled with segrets.  Where we're from, the birds zing a
         happy zong, and therre's always muzic intheair.

Gordon:  I BELIEVE IN SECRECY, COOP!

Truman:  You know, you are the best lawman I have ever seen.  But Coop, some-
         times you think too much.
Cooper:  Thanks, Harry.

Jerry:  It's a baguette... with brie, and butter... I had six of these damn
things every day I was over there!

Truman:  Lucy, you better bring Agent Cooper up to date.
Lucy:    Leo Johnson was shot, Jacques Renault was strangled, the mill burned,
         Shelley and Pete got smoke inhalation, Catherine and Josie are
         missing, Nadine is in a coma from taking sleeping pills.
Cooper:  How long have I been out?
Truman:  Six hours.

Chief Icelander:  Ben, I am so happy, I can't even tell you how much.

Lucy:  Agent Cooper, I've got a call for you from a Mr. Albert Rosenfeld,
sounds like long distance.  It has that open air sound, you know, where it
sounds like wind blowing... like wind blowing through trees....

Log Lady:  We don't know what will happen, or when.  But there are owls at
           the Roadhouse.
Cooper:    The Roadhouse.  Something is happening, isn't it, Margaret?
Log Lady:  Yes.

Albert:  I've got compassion running out of my nose, pal--I'm the sultan of
sentiment!

Truman:  So, you leaving?
Cooper:  Going fishing with the Major.
Truman:  That's why I figure you're gonna be needing this.
         [hands Cooper a bag, Cooper opens it and finds a lure]
Cooper:  Whoo.  Harry, this is unbelievable!
Truman:  Yeah.  Now, when those steelhead are running upstream, there's only
         one thing they're thinking about:  sex.  A green butt skunk breaks
         their concentration.
Cooper:  A green butt skunk!

Ed:  Nadine, don't you give up.  We'll just have to keep looking until we find
a patent attorney who understands drape runners.

Cooper:  Sheriff, we got a lot to talk about.

Jerry:  I'm in love... her name is Heppa... she's a giant snow queen with a
smile like a sunrise on an ice floe--you could go blind just _looking_ at this
girl!

Cooper:  There's a large group of insane men staying on my floor.

Mrs. Tremond:  I requested no creamed corn.  Do you see creamed corn on this
plate?

Cooper [to Jacoby]:  You are standing on a smooth green carpet of grass.  The
         ball is 15 feet from the hole.  Beyond the green two pristine white
         sand-traps and a lily-filled pond yawn out towards the emerald
         fairway.  The hole seems to slowly drift away... across the green,
         towards the pond, carried by the summer wind.  Harry!
Truman [shakes himself]:  Oh, um.
Cooper:  The green grows larger and larger... the green engulfs you, envelops
         you in a soft blanket of peace.  You stroke the ball, it drifts
         towards the hole and gently drops into its center.  Do you hear me,
         Dr. Jacoby?

Pete:  Catherine????  You look terrible!  Just... terrible!!  Just TERRIBLE!!!

Ben:  Now let's get in there and get those cheese-eaters where they live.

Cooper:    What did your log see?
Log Lady:  Tea first.  Then be ready.

Judge Sternwood:  The woods are wondrous here, but strange.

Cooper:  Diane, it struck me again earlier this morning:  there are two things
that continue to trouble me, and I am speaking now not only as an agent of
the Bureau but also as a human being.  What really went on between Marilyn
Monroe and the Kennedys, and who really pulled the trigger on JFK?

Nadine:  I am so happy, Eddie, I could just kiss you to death!
Big Ed:  Oh, boy, Nadine.

Albert:  Mr. Horne, I recognize that your position in this fair community
pretty much guarantees venality, insincerity, and a rather irritating
manner of expressing yourself.  Stupidity, however, is not a necessarily
inherent trait.  Therefore, please listen closely--You can have a funeral any
old time.  You dig a hole, you plant a coffin.  I, however, cannot perform
these tests next year, next month, next week or even tomorrow--I must perform
them now.  <drill noise--VEEP VEEP!>  I've got a lot of cutting and pasting to
do, gentlemen, so please return to your porch rockers and resume whittling!
[Puts drill to Laura's forehead and starts drilling....]

Jerry:  Is this real, Ben?  Or just some strange and twisted dream?

Andy:         I've been wearing boxer shorts like you told me to.
Doc Hayward:  You want to give it another shot?

Harold:  Are you looking for secrets?  Is that what this is all about?  Well,
maybe I can help you.  Do you know what the ultimate secret is?  Do you want
to know?  Laura did.
The secret of knowing who killed you---

Ben:  Jerry?  Please kill Leland.

Cooper:  At a time like this, curiously, you begin to think of the things you
regret, or the things you might miss.  I would like in general to treat people
with much more care and respect.  I would like to climb a tall hill, but not
too tall, sit in the cool grass, but not too cool, and feel the sun on my face.
I wish I could have cracked the Lindbergh kidnapping case.  I would very much
like to make love to a beautiful woman who I had a genuine affection for.  And
of course it goes without saying that I would like to visit Tibet.  I wish that
the Tibetan government would allow the Dalai Lama to return to his native land.
Oh, I would like that very much.

Gordon:  WE'VE GOT A DIFFERENT PROBLEM HERE, COOP.  TWO PLUS TWO DOES NOT 
ALWAYS EQUAL FOUR!

Log Lady:  Shut your eyes and you'll burst into flames.
Truman:    Thanks, Margaret.

Cooper:  Twenty-four hour room service must be one of the premier achievements
of modern civilization.

James:  Would you like to play with fire, little boy?  Would you like to play
with BOB?  Would you like to play with _BOB_?

Pie-Eating Man:  Hot DAMN, that's good pie!

Albert:  Sounds like you've been snacking on some of the local mushrooms.

Cooper:  You have the right to remain silent.  Anything you say may be used
         against you in a court of law.  You have the right to an attorney.
BOB:     Hee hee hee!  Oh, I suppose you want to ask him some questions.
Cooper:  Did you kill Laura Palmer?
BOB:     WHOOOO!  WHOOOO!  WHOO WHOO WHOO WHOO WHOO WHOO WHOO WHOOO!!  That's
         a yes.
Cooper:  Did you kill Madeleine Ferguson?
BOB:     What do you think?
Cooper:  I'm asking you.
BOB:     No, what do you think?
Cooper:  That's not the question.
BOB:     Oh, gosh, oh, well, oh, gee!  I guess I kinda sorta did... I've got
         this thing for knives... just like what happened to you in PITTSBURGH
         that time, right, Cooper??  Oh, Leland, Leland, Leland... you've been
         a good vehicle, but you're getting old... weak... it's almost time to
         shuffle off to Buffalo!!
Cooper:  Does Leland know what you've done?
BOB:     Ah, Leland's a babe in the woods... with a large hole... where his
         conscience used to be.  But when I go, boys and girls, I will pull
         that ripcord--and you watch Leland remember!!  Watch him!  But not for
         long....  WHOO!  WHOO!
Truman:  That's good enough for me.

Pierre Tremond:  J'ai une ame solitaire.  [I have a solitary soul.]

Bobby:  Good thing we didn't light the candles!

Cooper:  Who's the lady with the log?
Truman:  Oh, we call her the Log Lady.

Ben:  Temporary insanity, Leland?  Hopefully, some of these people will be on
your jury.  You will be home free.

Cooper:  Harry, I'm gonna let you in on a little secret.  Every day, once a
day, give yourself a present.  Don't plan it, don't wait for it, just... let
it happen.  Could be a new shirt at the men's store, a catnap in your office
chair, or two cups of good, hot, black coffee.

Leland:  Sing hallelujah, c'mon, get happy--c'mon & chase all your blues away!

Albert:  Has anyone seen BOB on earth in the past few weeks?

Cooper:  Harry, the last thing I want you to worry about while I'm here is some
city slicker I brought into your town relieving himself upstream.

Truman:  You must have the metabolism of a bumblebee!

Mike:  In the darkness of future past, the magician longs to see.  One chants
       out between two worlds, FIRE, WALK WITH ME.  We lived among the people.
       I think you say... convenience store.  We lived above it.  I mean it
       like it is, and it _sounds_!  I too was touched by the devilish one--
       tattoo on the left shoulder.  Ah, but when I saw the face of God, I was
       changed.  Took the entire arm off.  My name is Mike... _his_ name is
       BOB.
BOB:   Mike?  Mike?  Can you hear me?  Catch you, with my death bag!
       You may think I've gone insane, but I promise, _I_will_kill_again_!

Leland:  He would say, "Would you like to play with fire, little boy?"
         [flicks burning match at Cooper, Cooper picks it up and looks at it]
Cooper:  That's our man.  <Poof!>

Senor Droolcup:  How ya doin' down there?

Giant:   I will tell you three things.  If I tell them to you, and they come
         true, then will you believe me?
Cooper:  Who's that?
Giant:   Think of me as a friend.
Cooper:  Where do you come from?
Giant:   The question is, where have you gone?  The first thing I will tell
         you is:  there is a man in a smiling bag.
Cooper:  Man in a smiling bag.
Giant:   The second thing is:  the owls are not what they seem.  The third
         thing is:  without chemicals, he points.
Cooper:  What do these things mean?
Giant:   This is all I'm permitted to say.  Give me your ring.  I will return
         it to you when you find these things to be true.  We want to help you.
Cooper:  Who's "we"?
Giant:   One last thing:  Leo locked inside a hungry horse.  There is a clue at
         Leo's house.  You will require medical attention.

Albert (after Andy boards himself):  And it's another great moment in law
enforcement history.

Shelley:  I don't care about the money.  I don't want Leo home.
Bobby:    Leo is in dream-land.  We can stick him in a corner and hang donuts
          from his ears.

Cooper:  This must be where pies go when they die.

Truman:  Anything we should be working on?
Albert:  Yeah, try not dragging your knuckles on the ground when you walk!

Jerry:  Next stop:   Rocket Science!!!!

Cooper:  Can I ask her about her log?
Truman:  Many have.

Albert:  I know, Andy, I know.  It's what we call a three-hanky crime.

Andy:  I want to talk about my child--our baby.
Lucy:  Maybe.
Andy:  Maybe what?
Lucy:  Maybe it is our baby and maybe it isn't!
Andy:  DICK?!  My lord, is HE the father?
Lucy:  At first I thought _you_ were the father!  But then you said you didn't
       have any _sperms_!  Then I thought it was Dick, but now you say your
       sperms are _back_!  So as far as I can tell it's a fifty-fifty propo-
       sition!

Pete:  She's dead... wrapped in plastic!

Cooper:  DAMN good coffee, and HOT!

Albert:  Oh yeah?  Well, I've had about enough of morons and halfwits, dolts,
dunces, dullards and dumbbells--and you chowderhead yokel, you blithering
hayseed, you--you've had enough of me?

Jerry:  Is there any sign of her?  Bones?  Teeth?

Cooper:  Short stack of griddle cakes, maple syrup slightly heated, melted
butter, slice of ham... nothing beats the taste sensation when maple syrup
<CLAP> collides with ham.

Log Lady:  Come then!  My log does not judge!

Judge Sternwood:  Life is hard, dear.  Still, it's harder in most places than
in Twin Peaks.

Cooper:  Diane, it's 11:55 pm, approximately 19 hours since the shooting
incident which nearly caused me to make a premature purchase of the proverbial
farm.

Log Lady:  You wear shiny objects on your chest.
Major:     Yes, I do.
Log Lady:  Are you proud?
Major:     No, achievement is its own reward.  Pride obscures it.  Cream?

Cooper:  Where does BOB come from?
Mike:    That cannot be revealed.

Mrs. Briggs:  We're here for you, Bobby!

Gwen:  The first time I nursed my baby I just sort of held him like this, you
know, and I looked down at him to see what kind of a tiny creature I was 
dealing with, and the first thing that popped into my mind was, "Just what the
world needs.  Another potential sperm gun running around."

Ben:  Nice touch, Leo.  Bright red sports car for a secret meeting.  Nice.

Major:   Have you ever heard of the... White Lodge?
Cooper:  The White Lodge.  No, I don't believe I have.  Major, I'm gonna take
         a moment here; I feel the call of nature.  There's nothing quite
         like urinating out in the open air.  I look forward to hearing more
         about this... White Lodge, when I return from my journey.
Major:   Ha ha!
         [Owl hoots, Major cocks his head and listens]
         [Cooper is taking care of business when an owl hoots above him.
          Suddenly, a blinding white light appears from beyond the campfire!
          A semi-human silhouette appears at its center--]
Major:   Cooper!  COOPER!!!
Cooper:  Major Briggs?  Major?!!
         [Cooper runs back to the campfire, finding no one--he runs towards
          the light--we see something running up a gully--Cooper reaches the
          top of the dip--and stares and stares as the light goes out....]

Jerry:  Clearly, this man's stairs do not reach the attic!

Cooper:  And as we all know from experiments conducted during the Korean War,
Diane, sleep deprivation is a one-way ticket to temporary psychosis.

Leland:  Mares eat oats, and does eat oats, and little lambs eat ivy... a
kid'll eat ivy too, wouldn't you?

Cooper:  Harry, my dream is a code waiting to be broken.  Break the code, solve
         the crime.
Lucy (taking notes):  Break the... code, solve the... crime.

Bobby:  Bills?  Forget about bills.  I'm talking about a new way of life.

BOB:  Leland says you're going back to MISSOULA, MONTANAAA!!!  <CRASH!!!!>

--------------------








--
Rob Jellinghaus                 | "Next time you see a lie being spread or
Autodesk, Inc.                  |  a bad decision being made out of sheer
robertj@Autodesk.COM            |  ignorance, pause, and think of hypertext."
{decwrl,uunet}!autodesk!robertj |    -- K. Eric Drexler, _Engines of Creation_

I think the doorway idea is brilliant.

In article <12014@sybase.sybase.com> mysti@violet.UUCP (Bookhouse Girl) writes:
> >Kyle M. was
> >performing at the definitely not-small venue of Ashland Shakespeare
> >Festival (I've seen the program) sometime before 1983.  It's not
> >likely that he was on a small stage after that, is it?

It's *quite* likely!  Having done some acting, I can tell you that actors
(even good actors) find work where they can get it.

-- Bernie Roehl, University of Waterloo Electrical Engineering Dept Mail: broehl@watserv1.waterloo.edu OR broehl@watserv1.UWaterloo.ca BangPath: {allegra,decvax,utzoo,clyde}!watmath!watserv1!broehl Voice: (519) 885-1211 x 2607 [work]

In article <16520@s.ms.uky.edu> fehr@ms.uky.edu (Jeffrey Davis) writes:
> >
> >Here's a thought with (as per usual) nothing to back it up...when Leo
> >rolls toward Shelley, what if, in his infant-like state, he has simply
> >and horribly fallen in love with her?

And his next line, instead of the usual "new shoes", is "Ma ma."

gack. What brilliant and disgusting twist. Kudos, Jeffrey.

-- Dave Mack

In article <1990Dec9.132905.1479@vax5.cit.cornell.edu> wd5j@vax5.cit.cornell.edu writes:
> >Questions:
> >1. Are Shelley and Bobby gonna get it...?

I doubt it, at least not until Bobby has dumped Shelley for Audrey,
leaving Shelley to cope with her increasingly active husband. I 
think Shelley has a few screams left in her.

> >2. Was Major Briggs really disintegrated, or was he carried away (oh, come ON)
> >by Great Horned Bob, and why HIM?  He wasn't feeling the fear and vulnerability
> >he had just been describing to Coop....

I think we'll be seeing Major Briggs again. Major Briggs, like the owl,
is not what he seems. At which time I imagine he will need to say a
great many things to perhaps-still-Special-Agent Cooper about owls,
bright lights, and White Lodges.

> >3. How could Cooper have looked up at the owl so naively?

He was communing with Nature. Guys get weird when they do that.

> >4. Was that Bob's silhouette? Sure it was.

Not unless he's put on about four inches and sixty pounds since
leaving Leland.

> >5. What's with Josie?

Just diverting Truman's attention from her previous escapades.

> >6. I agree with some previous poster that Audrey's up to something.

Yes, she's planning on tying Bobby in a knot. She's graduated from
cherry stems.

> >7.  This isn't a question but I really get irritated by Bobby and I wish Leo
> >would wake up already and cream him.

I would expect to see a previously unrevealed, deeply spiritual side
to Leo when he wakes up.

I will tell you seven things. If you find them to be true, then
will you believe me? Give me your earrings. When you find these
things to be true, I will return them, since they clash with my eyes.

You will not require medical attention.

--
Dave Mack

In article <1990Dec9.224035.21940@mailer.cc.fsu.edu> djb@mailer.cc.fsu.edu (David Brightbill) writes:
> >
> >Was it just me, or did anyone else notice the owl shaped shadow on 
> >Catherines face (left side) during her meeting with HST?  It was most
> >visible during the first few seconds of the scene but I also got a 
> >look at it at the end of the scene.

Owl-shaped?

Allow me to introduce you to my good friend, Dr. Rorschach.

-- Dave Mack

In article <28456@megaron.cs.arizona.edu> gln@cs.arizona.edu (Gary Newell) writes:
> >
> >
> > Just an example of what I see as weak in twin-peaks. At the start
> >of the last episode, we see what I assume was meant to be a touching
> >dialogue between Cooper and Mrs. Palmer. But I was unable to buy
> >into the emotion of the scene because it was clear that it was being used 
> >to once again pile in the details of the plot. Rather than simply having
> >a scene in a previous episode showing Leland drugging her, we have to
> >have cooper sit there and spew out some awkward lines describing (in a 
> >very unatural way in my opinion) how leland had drugged her etc. Why?
> >My guess is because they noticed a hole in the storyline - a hole that
> >could have and should have been explained earlier. It clearly is not a
> >major part of the mystery and it would have taken nothing away form the
> >last three episodes to have shown leland taking care of his wife before
> >bouncing Maddie off the walls.

Actually, the scene of Sarah Palmer crawling down the stairs was very good
and very creepy. But I agree that Maclachlan reading the explanation off of
some cue card was pretty awful. "Your husband went so far as to drug you..."
Blech. If that's the way we're going to get the answers, I'd rather stay in 
the dark.

Is it just me, or do all of the explanations turn out to be so trite and 
mundane that it's clear that the writers were more interested in dropping the
clues than in deciding what the clues would mean. So far, we've gotten totally
improbable explanations of the dwarf, the gum, the letters, the hair, and now
Sarah's condition.

> > Also, I am surprised at the general positive response that this episode
> >has received on the net so far. I thought that it was one of the
> >weakest shows yet. The dialogue was pretty sad (the Donna whining was
> >pathetic 

I'm a little unsure why Donna chose Ed as the person to share her problems
with. Was it because the writers felt that the character is underused? 
Certainly he looked as interested in Donna's love life as I am.

> >and Truman's "cooper is a saint" speech went a bit far for my 
> >tastes) and aside from the "holiday-like" spread at the funeral, the
> >images didn't impress me as much. Frankly, I expected to see a number
> >of "geez - this show is really going downhill fast" postings after this
> >one - maybe they'll come later.......

Not from me. I liked this episode. Certainly, it wasn't one of the very best,
but compared to last week's...

Maybe it was because I felt there was some genuine emotion in Cooper's good-bye
to Truman (we knew he wasn't really leaving, but still) or because I liked the
fact that Cooper turned down Audrey, or because Ben Horne is out of jail and
ready to throw a two-bit punk with delusions of grandeur out on his ass, or
because the last scene was fairly interesting, but I liked this episode. Even
the dastardly double-dealing Dudley Do-Right, while being a really hackneyed
plot device, might work.Thankfully, the investigation has brought back a Cooper
we have not seen for a long time. Nadine worrying about "the boys" seeing her
panties was funny, as was the look on Ed's face. The teasers for next week look
promising. All in all, not bad.

(By the way, I can't leave without giving the canonical spelling of Cooper's
ex-partner, according to the TV listings. "Windom Earle". There. That's 
W-I-N-D-O-M. Personally, I feel that "Wyndham" makes more sense, but I don't
write the show. So now we all know how to spell it and can go back to arguing
about "McLaughlin", "Jose", and "Jaque Renou".)






--
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
| "I don't believe it! You actually found a practical use for geometry!"  |
|                                                         --Bart Simpson  |
|                                                                         |
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

In article <18439@netcom.UUCP>, mojo@netcom.UUCP (Morris Jones) writes:
> >
> > Yes of course ... "M. T. Wentz, c'est moi."
> > 
> > Vivian says, "Don't you think you're overreacting?"  What she really should
> > have said was "Don't you think you're overacting?"
> > 
> > Boy Peggy _stank_ in that scene!
> > 
> > Mojo

We disagree.  Norma's darling mother is clearly one of those diseased psyches
(future bob host) whose ideas of childrearing include controlling every aspect
of the child's life as fits her whim.  Norma failed her by rebelling in the
first place, to open the cafe'.  A lesser person would have punished the
errant child by overt disapproval and anger; not so mommie dearest, who
punishes Norma by using her influence to take away daughter's toy and make her
feel guilty about having wanted it in the first place.

Norma, well trained by her years of this kind of child abuse (theme!), reacts
in just the ineffectual and abject fashion that rewards mommie dearest, giving
her the satisfaction of knowing that the child is failing, as she knew all
along, that the disobedient brat is reacting as she always has, rebelling and
pushing her loving mother away, poor martyred wronged mater... and the child
knows it and is helpless to deal with it and is helpless to act in any other
way.  This is dysfunctional relationship at its most sickening.

Norma, were she strong enough to really deal with ruthless mommie in the
way that mommie deals with her, would, on discovering the deception, have
turned mommie out into the streets, after contacting the tabloids so she
could blow dear mommie's job out of the water.  At very least she would
tell the conniving old biddy (who is going to SUFFER when her dear hubby
blows all her cash) that her sanctimonious twaddle about "not wanting her
to compromise her journalistic ethics by lying" is crapola because she's
already compromised them by reviewing her daughter's restaurant!

hutch

my owl theory:

owls are simply "transport vehicles" for beings ('bob', giant).  alliance is    either.  

i thot the log lady said simply "there are owls in the roadhouse" -- don't      recall the word "gathering" in that dialogue...
-- ..................... ___________________ :::: ::::::::::::::::/not so threatening/ ............................... :: . : . : . : . . ::\__in_lower_case___\ : tpehrson%javelin@dsd.es.com : ::...:...:...:.:::.:: >aka:_t_clinkenpeel>:.dsd.es.com!javelin!tpehrson.:

Theory #1:  Sarah is now BOB.  We know that drugs are useful for keeping
spirits at bay, but Sarah doesn't want any because it's important for
"every part" of her to be at the funeral/wake.  Eke out a little more of
those painful emotions from Leland's death...

Theory #2:  Why do Mr. Eckardt and the Chinese mafia want Ghostwood/the
mill so badly?  My first thought was that something important was buried there,
and that's still a possibility, but I've thought of a better one.  China
is the birthplace of the art of Geomancy, studying the mystical forces assoc-
iated with certain pieces of geography.  Maybe the area around the mill is
of particularly good omen for, say, running a major criminal empire.  Maybe
that's why Ben Horne has been so successful, even though he's a bit of a
jerk :-)

That's all for now,
Alexx

Do *NOT* send mail/reply to this address.  Use:
pro-angmar!alexx@alphalpha.com
Alexx Kay  3 Norumbega Ter.  Waltham, MA  02154
"When *are* we, anyway?"

In article <90339.231616PMK@psuvm.psu.edu> PMK@psuvm.psu.edu writes:
> >One inconsistency in the clues to Maddie's murderer has me puzzled...
> >her body was found with white fox hairs underneath her fingernails.
> >Now it was shown that Ben Horne has a stuffed, white fox in his office
> >when Truman et al. were looking for clues to connect Ben with her
> >murder, but since we know it wasn't Ben, how do you explain the hairs?
> >Was Maddie in his office earlier that evening?  Anyone care to comment?

You apparently missed the episode where Leland (in Bens office)
pocketed a few hairs from the fox.  He obviously had been planning
the Maddy murder for a day or two in advance.

-- Scott Amspoker | Basis International, Albuquerque, NM | "I'm going out for a sandwich" (505) 345-5232 | - Ben unmvax.cs.unm.edu!bbx!bbxsda!scott |

Wondering why I enjoyed the latest episode so very much I
realized that it was an extremely, subtly pro-woman episode.
 
It began with Sarah rejecting drugs so that she could face
her life with all of herself.  And later she is shown with
other women, the doctor's wife and Audrey, drawing strength
from them.
Stories of abused children often feature a mother disabled
by drugs, in real life usually alcohol or prescription drugs, 
such as valium and sleeping pills. Trusted males, doctors
and psychiatrists,  pushed pills on to a generation of women 
who trusted them as Sarah trusted Leland.
 
It was nice to see a more enlightened psychiatrist, Jacobi,
helping Nadine's recovery.  And it was great to see how flexible
and tolerant her husband Is with her. Again the story of a 
generation of women is hidden between those lines.  Nadine is
just a very extreme example of a common mistake: leaving highschool
to make an impulsive marriage, finding herself dead ended in an
empty life.  This bizarre and comic plot line has a serious basis,
which is the need to re-live critical points in a life in
order to repair and correct them.  There is a book of psychology
called "It is never to late to have a happy childhood" meaning that
in some respects it is possible to relive and correct
past losses. In the same way it is never too late
to have a happy adolescence, as Nadine will show.
 
Audrey showed a lot of strength this episode. Her handling of
Cooper was very strong yet loving and her connection with Bobby was
a subversion of standard imagery: she was a strong little red riding
hood (note the basket) totally in control of the big bad wolf (Bobby).
 
And last but not least, Lucy, totally subverting the standard image of
the abandoned and unwanted unwed mother. Standing up on a pedestal 
bringing the new light  to her two ardent suitors below
her. Well, need I say more.

Attention Twin Peaks fans.  

TP 275 is now available from anonymous FTP at

site: kfps-roble6-dynamic.stanford.edu
name: anonymous
password: <user id>
directory: msdos/misc

This is a fortune program that will randomly display quotes from 
Twin Peaks on your screen.  

If your site does not have FTP privileges I will be glad to mail a copy
of the program to you.

|-------------------------------------------------------------------------
| ccb.ucsf.edu  IS the home of the Sound-List and over 15 megabytes      |
| of sound files for REmac and Playmac.  To add to sound list send       |
| to: sound@ccb.ucsf.edu the phrase ADD-ME: <your e-mail address>        |
|-------------------------------------------------------------------------
| komatsu@uhunix.uhcc.hawaii.edu    | I will not encourage others to fly |
| komatsu@aludra.usc.edue           | Tar is not a plaything         |
| sound@ccb.ucsf.edu            | I will not waste chalk             |
| -----> Dave                       |                                    |
--------------------------------------------------------------------------

In article <1516@mtunf.ATT.COM>, pjc@mtunf.att.com (Pamela Culbreth) writes...
> >Major Briggs says something like:
> >"There is more on heaven and earth than is dreamt of in
> >our philosophy".  
> > 
> >Maybe this has been discussed before, but where is this
> >quote from?
> > 
> >Thanks,
> >pjc

In article <90339.231616PMK@psuvm.psu.edu> PMK@psuvm.psu.edu writes:
> >One inconsistency in the clues to Maddie's murderer has me puzzled...
> >her body was found with white fox hairs underneath her fingernails.
> >Now it was shown that Ben Horne has a stuffed, white fox in his office
> >when Truman et al. were looking for clues to connect Ben with her
> >murder, but since we know it wasn't Ben, how do you explain the hairs?
> >Was Maddie in his office earlier that evening?  Anyone care to comment?

Sure.

Remember a couple weeks ago, Leland was in Ben's office on some
trumped-up errand (Ben wanted to know if he was ready to get back in
the saddle)?  Leland reached around and pinched a handful of the fox
fur.  (He did, I saw it.)  Later he planted them on Maddy as an
attempt to frame Ben, just as he tried to frame Ben for Laura's murder
by making a phone call from Ben's office to Laura the night she was
killed.

This all happened, honest.

-- * Rod Johnson * rjohnson@vela.acs.oakland.edu * (313) 650 2315 * "Become FUEL, you FOSSILS!" --Ambush Bug

Some serious continuity problems in the last episode.  In the campfire
sequence, we see Major Briggs' marshmallow actually *catch fire*.  But in
the very next scene he gesticulates broadly with a *raw* marshmallow on
his stick.  We also see Agent Cooper pop a suspiciously under-toasted
morsel into his mouth.  The camera immediately shifts to the Major as
Cooper delivers some lines.  Have you ever tried to talk with a whole
marshmallow in your mouth?  Maybe it's some sort of Tibetan secret.

--  maggie

-- --scott douglass Any opinions above may be mine and are not necessarily those of Apple Computer. domain: scott@apple.com UUCP: {nsc, sun, voder, well, dual}!apple!scott CSNet: scott@Apple.CSNet AppleLink: Douglass1

There are still alot of unanswered questions that keep bothering me.
What was the blue dye found in Ronette's IV Bag?  Presumably BOB did that
and put the letter under her fingernail.  How did BOB get in there?  As Leland?
How did Leland get past the security guard?  What was the point of it if he  
didn't kill her?
Maybe I missed this, but what's the deal with the bloody rag that was
found somewhere near the crimescene?  Was this ever fully explained?
Why did BOB write "FIRE WALK WITH ME" in blood?   And how was Leland  
made to bleed to write this?
I also wonder what MIKE is doing now.  Was he released?  Is Philip
Gerard back in control now selling shoes?  I think that he would still be
important to future storylines since he is the only person that BOB fears.
And who the Hell was wearing a vicuna coat?  I'll take a wild guess
and say it was Tojamoura's Japanese assistant who we first saw in that episode.
Catherine may have put him up to it for some reason.

Some speculation of the future events:
The letter 'E' will be found under Josie's fingernail.  Did anyone else hear 
the 'thumping' sound that usually accompanies the Giant's appearance when she
arrived?
The cross-dresser is obviously a new character.  Since we have already seen
Lucy's sister I bet it is Andy's brother.  The man being hugged in the frame
has go to be Andy out of uniform.  Proabably wearing a sport jacket for Lucy.

Also, something interesting I noticed in the 2009 episode.  When the
sprinklers go off we see an above shot of BOB screaming with his arms spread
wide appart, but Leland is still wearing handcuffs!  Usually, in the past
corresponding shots of BOB and Leland lined up pretty well such as the one
where Leland is wearing at the gloves with his hands together when Maddy first
sees him.  I wonder what Ronnette's vision would like with Leland inserted.
Maybe he was wearing handcuffs after all but BOB's arms were free!

-The Disco Strangler

Just got the sheet music for falling and Laura's theme...pretty
good except that Laura's theme really sounds more like the "Twin
Peaks Love Theme" from the album, at least the bass line.

I noticed an error on the soundtrack tape in the "Love Theme"
cut...have any other musically inclined people noticed the
mistake?  I won't say where it is, in order to give people a chance
to listen and try to find it.  I guess it would be difficult to
describe where it is anyway.

#Ron

In article <90340.142031ST00038@auvm.auvm.edu> <ST00038@auvm.auvm.edu> writes:

>> >>One inconsistency in the clues to Maddie's murderer has me puzzled...
>> >>her body was found with white fox hairs underneath her fingernails.
>> >>Now it was shown that Ben Horne has a stuffed, white fox in his office

> >One explanation could be that Leland pulled some of the hair from this fox and
> >put it into his pocket in one of the scenes earlier in the season.  This still
> >doesn't explain *HOW* this got underneath Maddie's fingernails, but I'm sure
> >that there is a connection.

Presumably the reason LeBOBland took it in the first place was to help frame
Ben Horne for Maddy's death.  I believe he already knew Ben was under suspicion
for Laura's death when he snagged the fur, though I'm not absolutely sure.
In any case he certainly knew it by the time he killed Maddy.  Therefore,
the fur probably got under her fingernails because he put it there.


Dale Schouten
schouten@uiuc.edu

} Speaking of lawsuits, Leland's constitutional rights were being demolished
} in the scene where he is shoved into the cell and questioned - unless
} during the blackout between the two scenes someone had read him his rights
} and obtained a signed waiver from him, declining his right to an attorney.

I rewatched the end of the 12/1 episode. After Leland was thrown into the
cell, but before Leland is questioned, Harry *clearly* states, "You have
the right to an attorney; if you cannot afford an attorney, one will be
appointed to you."  The whole Miranda spiel is not said, but that's
undoubtedly for time considerations, and we are to assume that Harry gave
the entire spiel.

-- "Evvy little bug got a honey ta hug but me." --- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA) UUCP: ...!decwrl!ruby.enet.dec.com!boyajian ARPA: boyajian%ruby.DEC@DECWRL.DEC.COM

In article <1990Dec10.015148.14528@usenet.ins.cwru.edu>, cei@po.CWRU.Edu (Charles E. Ivy) writes...

} Well, I'm realitivly new to the show (11/10 was my first episode) so can
} someone please explain/describe the bookhouse boys I keep hearing about?

They are a "secret society" made up of Twin Peaks folks who are an extra-
legal force for law and order and niceness (something like the Guardian
Angels in New York City). So far, the members that we know of are Harry,
Hawk, Big Ed, James, Joey Paulsen, and, now, Coop. Hank was a BB who
went bad.

} And didn't someone once post that their secret sign was a motion of a
} finger over the forehead or something like that, just like Cooper did
} to Truman as Cooper left the interagation after giving up his gun???

Yup. It was Truman's signal to Coop to say, "Don't worry, Coop, the
Bookhouse Boys will be behind you all the way."

-- "Evvy little bug got a honey ta hug but me." --- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA) UUCP: ...!decwrl!ruby.enet.dec.com!boyajian ARPA: boyajian%ruby.DEC@DECWRL.DEC.COM

In article <90337.090052ADMN8647@Ryerson.CA>, ADMN8647@Ryerson.CA (Linda Birmingham) writes...

} This has nothing to do with the recent episode but I'd like to asked
} whether it is common for networks to sell video tapes of shows like
} Twin Peaks?  Has any one out there heard that they will be marketed.

It's not at all common for networks (actually, more likely the production
company) to market a show on videotape, especially while the show is in
first-run. They'd lose a potential audience that way. The idea is to
provide (on the networks) something that their audience can't get
elsewhere. Tapes of TV shows are generally not marketed until well after
the show is off the air.

There are some random exceptions. A videotape of the 2-hour pilot for
MOONLIGHTING had been released while the show was still on network. And
at least one tape containing the pilot and first season finale of BEAUTY
AND THE BEAST was released while the show was still running on CBS.

It's possible we'll see the Euroversion of the TP pilot released on tape
here, but I wouldn't hold my breath.

In article <1577@lot.ACA.MCC.COM>, ables@lot.ACA.MCC.COM (King Ables) writes...

} I read in a Laser Disc catalog recently that they are supposed to be
} releasing TP on LD soon... they were raving about some of the music
} and surround sound quality of it, [...]

This I haven't heard. However, the *Euroversion* of the TP pilot *has*
been released on disc in Japan. This may be what you're seeing described.

-- "Evvy little bug got a honey ta hug but me." --- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA) UUCP: ...!decwrl!ruby.enet.dec.com!boyajian ARPA: boyajian%ruby.DEC@DECWRL.DEC.COM

In article <1990Dec11.025140.23608@watserv1.waterloo.edu>, alternat@watserv1.waterloo.edu (Ann Hodgins) writes...

} Nadine is just a very extreme example of a common mistake: leaving
} highschool to make an impulsive marriage, finding herself dead ended
} in an empty life.

There has been nothing said to indicate that Nadine left high school to
get married. The reason that she's "finishing" high school is because
she has reverted back to her age from before she graduated, so she
thinks she's still in high school.

-- "Evvy little bug got a honey ta hug but me." --- jayembee (Jerry Boyajian, DEC, "The Mill", Maynard, MA) UUCP: ...!decwrl!ruby.enet.dec.com!boyajian ARPA: boyajian%ruby.DEC@DECWRL.DEC.COM

/ hpopd:alt.tv.twin-peaks / wolter@cs.tamu.edu (Jan D. Wolter) /  7:22 pm  Dec 10, 1990 /

> > Personally, I liked this episode better than any for a long time.  The last
> > two were packed full of revelations.  They explained all sorts of mysteries,
> > from who killed Laura Palmer to who was the Dwarf.  But for me they were just
> > solid anticlimax.  I've never understood why anyone would want to spoil a
> > perfectly good mystery by solving it.

Do we DEFINITELY know who the Dwarf (MFAP?) was/represented? If so, who was he?

Richard.

In article <1990Dec10.193212.9310@watserv1.waterloo.edu>,
alternat@watserv1.waterloo.edu (Ann Hodgins) writes:
> > In article <32@tdw205.ed.ray.com> graffam@sud509.ed.ray.com (Jim
Graffam) writes:
>> > >The makers of TP and everbody else has forgotton to address the question of
>> > >Who Shot Agent Cooper!?
> >  
> > Wynham Earle would know that Cooper would have to be wearing his bullet
> > proof vest since that is standard FBI procedure for stakeouts.

Ah, but did Wyndom (Windom?) Earle know that Cooper was on a stakeout?  
If Earle did not know, he may have assumed that Cooper did not have
a vest.  Seeing some blood after the shooting, he would conclude that
his assumption was correct.  


Fred Igo        

Horizon Research, Inc.                                      igo@hri.com
1432 Main Street                                     ...bbn!hri.com!igo
Waltham, MA  01432                                       (617) 446-8300
-----------------------------------------------------------------------
"Nothing beats the taste sensation when maple syrup collides with ham."
=======================================================================

  (1) Somebody helped Catharine become Mr Tojimura.  Could that someone
be Wyndham Earl?  (described as a master of disguise in some preview material)

  (2) I've been advocating the theory that Albert shot Cooper in order to be
sent with his team back to Twin Peaks.  He did that so he could covertly
exhume Laura to finish his autopsy.  That notion seems to have outlived
its usefulness, but I did notice Sarah saying something about less grass
on Laura's grave than she expected.

  (3) I thought Mr Gerard might have died a couple episodes ago.     

  (4) ``Well, Cooper, since you've been in Twin Peaks, there's been a murder,
two suspects dead in your custody, and now you take somebody on a fishing trip
and they disappear.  Oh, and there's also this stuff in your car...''

>> >> I KNOW that Gary Newell will disagree with this for his own reasons,

> >Well I guess you KNOW wrong now don't you? 

I guess so.

>> >> but I think that certain episodes of TP approach the zenith of
>> >> what Lynch is capable.  They are, if you will, TV masterpieces.

> > I agree. I thought that most (not all but most) of the FIRST season
> >was extremely strong. Howeve, it seems clear to me that when it came down
> >to trying to put it out week after week, and extend the story past the
> >originally planned line (or are there still people who think that this
> >story has been planned all along?) Frost and Lynch and the rest were
> >unable to do it - the show has become weak in my opinion with only
> >short flashes of what it was or could have been. Perhaps if they tried
> >to break really new ground and go with a once a month episode they could
> >have pulled it off....

Well, I think that we differ here, because I think that on the whol the
best shows have come in the second season.  I know that the supernatural
plotline bugs you a lot, but I kind of like it.  I know that a
'vampire' story would be pretty stupid, but the thing that makes the
Bob plotline so fun is that we know nothing about what he is.  If 
they said he was a vampire then a whole buttload of cliches would
apply: he can't go out in daylight, he can be killed with a stake
through the heart, etc.  But with Bob, we do not know wht the rules
of the game are, and it is kind of fun to ponder.

The ending sequences of the shows lately are really fun.  It is really
nothing more that cheap voyerism and emotional terrorism, but I enjoy
it.

>> >> Please do not flame me Gary.  I don't care diddley dick for Lynch and

> >Why should I? You're not telling anyone to stop posting here, nor are you
> >claiming that Lynch is the second coming....

Well, I did once suggest that you stop watching the show, but only because
you seem to hate it so much.  But I think I do understand the compulsion to
view something you hate and try to point out how bad it is.  I learned 
that several years ago living here in Bronco country.


>> >> Yes, TP has plenty of plot for me.  It moves very slowly, but who cares.

> >The original argument was not that it had no plot but that it didn't
> >handle the plot well. The show has "spurts" of plot in 5-10 minute pieces and
> >then goes long spans with little development or much of anything else
> >besides some interesting (usually) visuals and bizarre dialogue.

Yes, that is the show in a nutshell.  The plotting moves in bursts.  Either
you like it or you don't.  I don't mind it.  I know that once the Bob
plot line ends, I might stop watching, because the show comes dangerously
close to a typical nighttime soap without it.

>> >> I also wisht they would kill James or Donna.  One or the other has
>> >> to go!

> >Bravo. I am amazed at how many people seemed to actually enjoy the scenes
> >with Donna/Maddie/James - perhaps I'm missing something but as far as
> >I can tell - they simply cannot act worth a damn - I mean they *really* stink.

It is not even the acting that gets to me.  It is just the incredibly sappy
scenes and the terminally stupid relationship.  I would like to see
Bob possess both of them so we can see them torture each other to death.

>gln

Doug

I noticed some similarities in the final scene of the 11/30/90 episode and the
final scene of the
12/8/90 episode:

11/30/90

Shot of a crashed car (reddish).
SOMETHING travels through a kind of leafy tunnel that's open at the top.
You can hear a fast heartbeat.
SOMETHING approaches a white light.
An owl flys out of the light.

12/8/90

After Cooper "urinates in the open air", hears an owl, and hears the Major
call him:
Shot of the fire (reddish).
saveer travels through a kind of leafy tunnel that's open at the top.  The
tunnel only comes up to
Cooper's thighs.
You can hear a fast heartbeat.
Cooper approaches a white light.

I think these similarities are deliberate, but I have no idea what they mean.
Any suggestions?

In article <1990Dec11.080717.656@eddie.mit.edu>, ronnie@mit-eddie (Ron
Schnell) writes:
> > 
> > I noticed an error on the soundtrack tape in the "Love Theme"
> > cut...have any other musically inclined people noticed the
> > mistake?  I won't say where it is, in order to give people a chance
> > to listen and try to find it.  I guess it would be difficult to
> > describe where it is anyway.

If you really are interested in bringing musically inclined people
into the picture, you might be a little more specific.  "Mistake"
is a very loaded word.  It can mean an incorrectly played part
by a musician, or it could be something which strikes us as "wrong"
although it was intentionally placed there by the composer so it
would get that effect.  Or maybe what to one ear is a mistake is
a nice touch to another.  Or maybe by 'mistake' you mean 'an error
in musical strategy', like having Laura's theme appear in the wrong
place; or maybe it means a mixdown error on the part of the
recording engineers.  See what I mean?

Greg
****************************************************************
* Greg Sandell (sandell@ils.nwu.edu)          Evanston, IL USA *
* Institute for the Learning Sciences, Northwestern University *
****************************************************************

Did anyone botice how much Bobby (with slicked-back hair) looked like Cooper?
Deliberate or not?
Maybe the Major is interested in Cooper because he sees Cooper as what Bobby
could become.

I think the govt. knows a lot more than we can guess about the goings on at TP.
Maybe the govt.
contacted aliens there in the past and one rogue alien (BOB) escaped.  Maybe the
govt. CREATED BOB,
Mike, etc.
In any event, I think the Major knows a great deal more about what is happening
in TP than he has
let on.  He is obviously interested in Cooper for a reason.  In the 12/8/90
episode he told Cooper
 was gifted, and was not alone in that respect.  Either he himself is gifted,
or he knows others
that are gifted.

About audio files -  I don't have the
equipment to use these. I send all
un-read articles to a file without 
reading them first and then download 
them to read at my leisure.  Many of 
us are probably in the same boat.  The 
binhex'd files are very large and take 
a long time to download at some 
personal expense and are absolutely 
useless to me and to others who have 
no hardware or no expertise to use them.
Why can't you simply post an article 
telling people where the file may be found?

I was sitting around watching channel 36 on Saturday afternoon when I
recognized Russ Tamblyn (Dr. Jacoby) in the film that was featured.  The
show was "Battle of the Gargantuans" or some such title.  He was the
only person in the film that was not dubbed over.  Pretty descent film
if you are into the Tokyo Thrillers.

Russ Tamblyn was a Disney contractor of some sort.  He played all sorts
of supporting parts that really never were star material.  I believed he
played in "Seven Brides for Seven Brothers" and some role in "Babes in
Toyland".  I am glad to see him still around

In article <90339.231616PMK@psuvm.psu.edu>, PMK@psuvm.psu.edu writes:
> > One inconsistency in the clues to Maddie's murderer has me puzzled...
> > her body was found with white fox hairs underneath her fingernails.
> > Now it was shown that Ben Horne has a stuffed, white fox in his office
> > when Truman et al. were looking for clues to connect Ben with her
> > murder, but since we know it wasn't Ben, how do you explain the hairs?
> > Was Maddie in his office earlier that evening?  Anyone care to comment?


Leland took them while talking to Ben about delaying the Japenese bid on the 
mill.

--Cool Bean

-- **This is not cultural.

In article <18073@shlump.nac.dec.com> boyajian@ruby.dec.com (Cisco's Buddy) writes:
> >In article <1990Dec11.025140.23608@watserv1.waterloo.edu>, alternat@watserv1.waterloo.edu (Ann Hodgins) writes...
> >
> >} Nadine is just a very extreme example of a common mistake: leaving
> >} highschool to make an impulsive marriage, finding herself dead ended
> >} in an empty life.
> >
> >There has been nothing said to indicate that Nadine left high school to
> >get married. The reason that she's "finishing" high school is because
> >she has reverted back to her age from before she graduated, so she
> >thinks she's still in high school.

I do believe it is widely assumed that Shelly was the one
who dropped out of high school and got married -- she and
Bobby are the same age, are they not??

Carrie

In article <1990Dec11.025140.23608@watserv1.waterloo.edu>, alternat@watserv1.waterloo.edu (Ann Hodgins) writes:
> > Wondering why I enjoyed the latest episode so very much I
> > realized that it was an extremely, subtly pro-woman episode.
> >  

Well, probably having both a female scriptwriter and female director helped.
I noticed the difference also, there was quite a different tone than
previous episodes....

mskucher@watmath.waterloo.edu (Murray S. Kucherawy) writes:

> > It had to be.  It seems to be Lynch's way.  What you least expect is what
> > happens.
> > 
As has been pointed out before, Lynch >rarely< leaves the audience 
clueless as to what is going to happen. Information that Wentz was 
Norma's mother built up over several episodes, and led many here to guess 
that that was true. Similarly, the info that built up to support those 
who accurately ID'd Laura's killer led, if I recall, a majority of the 
posters to get the answer several episodes early.
> > 
> > What about his badge?  Who is Hank really?  That really has me puzzled.
> > 
AAARGGGH!!!!! a;skejhtf (bangs head on keyboard (but only once)). 
Somebody PLEASE put this in the FAQ file. Hank STOLE the badge from 
Darryl Lodwick, the large man in the diner.

Joe Zitt...cs.utexas.edu!kvue!zitt!joe (512)450-1916

Was anyone else waiting for Agent Cooper to give Hawk, Andy, and Lucy
going away presents ala Wizard of Oz?

Especially the line to Andy ("Your courage is only exceeded by the
size of your heart") or words to that effect?  All we needed was
Toto to come running around the corner......