Season 2, Episode 15: Slaves and Masters — February 09–15, 1991

I recently got the old oft-mentioned Otto Premminger film ``Laura'' on video
for my birthday.

Superb film!! Unmissable for all peaks-freaks out there...

What i'm posting for is to ask whether anyone has made a list of ties (supposed
or otherwise) between this film and TP ?

e.g. theres a Jackoby in Luara etc. etc....

If so, then do the right thing ans post it too me!

Roger


-- r.dubar@uk.ac.strath.vaxa or r.dubar%vaxa.strath.ac.uk@nsfnet-relay.ac.uk Roger Dubar, (Anjou), The Law School, Strathclyde University, Glasgow, Scotland. "I'd rather be watching Twin Peaks."

/ dvb@emisle.uucp (David Van Beveren) / 10:28 pm  Feb 11, 1991 /

> > 3. WE is a masochist. How will this figure? How do I know? - When he gave
> >  the collar to Leo-Stein (I love it!) he took it off of HIMSELF!

Okay, I can't stand it any longer. Everyone else out there seems to like and
understand Windom Earle's use of the name "Leo-Stein" to refer to Leo. I don't
get it. Please explain. What is the significance of this name?

I received a copy of David Lynch's Industrial Symphony #1 on videotape for
Christmas. I viewed it and then loaned it to a couple of friends who have now
also seen it. All of us seemed to be disturbed by it and to have found a lot
of interesting imagery in it, but none of us seems to have any idea what it's
"about". Can someone enlighten us, please? The answer "nothing" is an answer
I've certainly considered by it's not a particularly interesting answer, so
I'm hope someone has something else to add.

/* Written  9:50 am  Feb  6, 1991 by rjohnson@vela.acs.oakland.edu */

> >I think I would be concerned with trying not to pee my pants than I
> >would being Modesty Blaise.

Another Modesty Blaise fan!!! Yeah!!!

In article <18688.9102151653@uk.ac.keele.seq1> iru03@seq1.keele.ac.uk (P.R. Grove) writes:
> >LYNCH SHOULD HAVE REMAINED AS DIRECTOR FOR THE WHOLE SERIES!

You don't know how difficult, nay impossible, this is to do.

Each episode, a teleplay in itself, requires weeks of preparation on the
director's part.  At any one moment there are usually three to five
episodes in various stages of completion.  Each of these demands most of
a day's work from its director, every day.  For one director to do
everything, he or she would have to juggle all these jobs in his or her
head at once, and work 120 hours a week.  And the results would suffer.

For this reason, virtually no American television series makes it with
one director.  Most employ stables of three to five regulars, plus
guests.  Some half-hour taped sitcoms do get by with one or two, but
they have little location work or post-production to deal with and
usually have a two week cycle.

UK readers are accustomed to canned miniseries from the BBC, Thames TV
et al.  featuring one director, but these are usually a year's project
for the production team since episodes must be developed and filmed
serially.  American TV works differently.

The REAL trouble with Lynch, or rather his chosen stable of directors,
is that they do not share a consistent tone.  This makes the week-to-week 
handover more noticeable to the viewer than is ideal.  It's a danger
when you aim for anything approaching the cutting edge, I guess.

In article <1991Feb11.173302.21288@watserv1.waterloo.edu> alternat@watserv1.waterloo.edu (Ann Hodgins) writes:
> >Is it possible for us to establish whether Cooper is black
> >or white?
> > 
> >a.h.

Geez, Ann, I think you need to get access to a better TV!

Oh - you meant in the chess game?  

(Cue Emily Litella...)

--
Hypocrisy is the vaseline |UUCP: ...!sun!EBay!thismoment!duane
of political intercourse. | COM: duane@thismoment.EBay.sun.com
- Billy Connolly on ABC's |ARPA: duane@EBay.sun.arpa                      
  "Head Of the Class"     |USPS: 2550 Garcia Ave. M/S M3-76, Mtn. View CA 94042

In article <10340006@hplvec.LVLD.HP.COM> collier@hplvec.LVLD.HP.COM (Mark Collier) writes:
> >I received a copy of David Lynch's Industrial Symphony #1 on videotape for
> >Christmas. I viewed it and then loaned it to a couple of friends who have now
> >also seen it. All of us seemed to be disturbed by it and to have found a lot
> >of interesting imagery in it, but none of us seems to have any idea what it's
> >"about". Can someone enlighten us, please? The answer "nothing" is an answer
> >I've certainly considered by it's not a particularly interesting answer, so
> >I'm hope someone has something else to add.

Hey.  What do you want.  It's a performance art piece, taped in
performance at the Brooklyn Academy of Music (BAM) in fall '89.  As such
it is an exemplar of obscure symbolist style.  It's also a compendium of
all David Lynch's favorite fetishes, and a showcase for the
Badalamenti/Cruse collaboration.  Yes, it's disturbing, and after seeing
it twice I've relegated it to the back stack in my video collection, but
the images in it won't leave my mind quietly!  There's a lot of
memorable stuff in there.

I also feel it gives a useful perspective on just what Lynch meant by
some of the creepier elements in the TWIN PEAKS pilot and first season.
By now we've pretty much left IS#1 territory, though.

Of course if they wanted to introduce a topless dancer cavorting through
the woods in TWIN PEAKS later this season, they could probably count on
improved ratings...!  :-)

The Modern Languages Association's next meeting in San Francisco
(Christmastime 1991) will include a session devoted to Twin Peaks.
The name of the session is "'The Owls Are Note What They Seem':  Literary
Perspectives on TWIN PEAKS."  Proposals (2-page abstracts) are due
by March 5.  For further information, write the MLA at 10 Astor Place, 
NY NY 10003-6981.

- Greg Sandell

In article <59847@eerie.acsu.Buffalo.EDU> v22964qs@ubvmsd.cc.buffalo.edu writes:
> >I felt that [Ed&Norma] was the scene that Keaton did the best; the panning was 
> >useful in showing the isolation of each character.  Visually, it was an 
> >interesting twist.  That said, however, I believe that Keaton *was* guilty of
> >"Look, ma, I can direct."  

In all fairness, inventive directing on TV tends to stick out like a
sore thumb because most TV directing is aggressively bland and
unimaginative.  Stuff you can do with impunity in film causes raised
eyebrows on the tube.

> >                           The scene with the chauffeurs at the bar is a better
> >example of Keaton's gratuitousness.  

Yeah, way too arty.  A rookie mistake.  Bet we don't see it again.

Whilst watching a programme called 'The Word' (Channel 4 ,U.K),
Kyle Mclachlan ,during an interview, was asked about Diane,
i.e is he/she/it a real person/thing  ,he replied that he had always
thought of Diane as a kind of Helen Mirren type of gal.
Could this be a foreshadowing of future casting.....(perhaps)
Well for just now we'll have to settle for Diane being
'a little black box' with a record,play and 'voice activated' switch.

Does anyone know what effect Twin Peaks has had on the Dictaphone industry ?




******************************************************************************
ullaha@cs.glasgow.ac.uk************ life is just one thing after another
******************************************************************************

In last night's episode of L.A. Law, one of the segments concerned a
child-custody dispute between an Anglo woman and her Navaho ex. It
was revealed in passing that owls and coyotes are bad luck symbols
for the Navaho.


--Mike



-- Mike Godwin, (617) 864-0665 | "That information, as I have repeated infinitely mnemonic@eff.org | to myself, is classified ... though the keeping Electronic Frontier | of secrets ... seems less meaningful to me now." Foundation | --Major Garland Briggs

*Someone suggested that there was no reason for Coop to stay in TP.
*Doesn't the WE tie-in with the C-murders -- in 4 different states --
*keep the FBI involved.?

T'wern't murders, but  packages sent to police stations-- wedding dress,
shoes, etc.  Or am *I* confused?

MJS

In article <2745@autodesk.COM>, robertj@unreal.uucp (Young Rob Jellinghaus) 
writes:
> >Well, many people have been asking me for copies of my Twin Peaks quote
> >file, and I am finally forced to confess that I have dropped the ball.
> >Yes, my life has become more interesting than Twin Peaks, and lacking
> >a VCR or friends with whom I can reliably hook up to watch it, I have
> >let Twin Peaks slide in favor of other Saturday activities.
> >
> >Therefore, I am no longer a fit keeper of the Twin Peaks Quote List.  I
> >post here the last version, which is current up through early January,
> >I think.  Anyone who wishes to add quotes to it and in general maintain it
> >is free to do so; I release it into the public domain.
> >
> >Have fun y'all!
> >
    [many excellent quotes deleted]
> >
> >--
> >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 am volunteering to maintain the quotes list and I will have a 
coffee showdown with anybody that disagrees  :-).
Many kudos to Rob for doing an amazing job with the quotes list 
in the past I am sad that he is leaving.  (Let's hope it isn't contagious
:-)  
I will actually be starting "Twin Quotes", a new file that is,
obviously, the twin of the previous one.  (Unless the name is too much to
take)  I will post the new one and e-mail upon request Rob's to cut
down on bandwith.  Any suggestions for quotes or disagreements and corrections
to the current ones are greatly appreciated.  Obviously, quotes that I 
think are good others will disagree with.  I will use my own judgment
in most places unless there is strong opinion against.  And if I do a poor
job, then you can always lynch me.  (Oooh, baad)  Since it is Friday as I
write this I will post the first edition by Monday (or so).  This will
start from episode 3001.

Until then.

charles d. kincaid
statman@sole.stat.ufl.edu

"I hate quotations.  Tell me what you know."  --  Ralph Waldo Emerson

In article <083XSAG@cs.swarthmore.edu> pouncy@campus.swarthmore.edu writes:
> >Did anyone see Bergman's Seventh Seal?  Is this the one where
> >the protagonist plays chess with death?  Since death has never
> >lost (we all die), Bergman's set up is a bit like Coop vs. WE
> >(`I've never beaten WE').   If I remember this movie properly,
> >the protagonist (a knight (?)), escapes death, or there is some
> >sort of surprise, or double reverse at the end.
 
As I remember it from a long time ago (no doubt other peakers will
remember better) the Knight lost but staved off death long enough
to experience a fulfilling moment of joy and an insight into life's
purpose which took the bitterness out of his inevitable death. 
By finding love and peace the Knight achieved a spiritual victory.
 
--------------------------------------------------------------------
---------------------------------------------------------------------

Re. Cooper`s "Undercover" jacket.
=================================

In the first series ( I can't remember which episode ), you may remember
that Cooper went "undercover", wearing a bright red jacket with the
letters "FBI" written all over it in big bright yellow letters. He was
wearing it when he found Audrey in his bed ( lucky devil! ) at the
hotel.

Does anyone out there know where I can get such a jacket, preferably in
the U.K.?

I am also looking gor any company that sells  T.P. goodies in the U.K.

Paul R. Grove.

Send e-mail to:

iru03@uk.ac.keele.seq1

"Damn fine bulletin board"

The Trouble with David Lynch.....
=================================

Here in the U.K., we are a approaching the end of the second series of
Twin Peaks. I think that it has proved to be one of the most original 
TV series for many years ( ever since Hill Street Blues ....).

However, there are one or two points that I would like to raise about
David Lynch - your comments are welcome!

A lot of people here stopped watching after the first few programmes. I
put this down partly down to the swopping of directors. The programmes
directed by Lynch himself were by far the best.

Now, we know how good a director Lynch is - just take a look at
Eraserhead, Elephant Man, and Blue Velvet.

But remember the cock up over Dune? Nearly two hours cut? Lynch created
a Frankenstein's monster that went out of control. De Laurentis took
over, and the whole project ended in disaster (but I still like some
aspects of the film). A similar problem lies with Twin Peaks - Lynch
created a huge project that he seems to have surrendered to other
directors, hence the decline in viewer popularity over here. LYNCH
SHOULD HAVE REMAINED AS DIRECTOR FOR THE WHOLE SERIES! As things stand,
I have my doubts as to whether the BBC will purchase the next series.

Before Twin Peaks, Lynch was in danger of becoming stereotyped - get a
bucket of gore, a steamy sex scene, and throw them into a dark room with
some ambiguous dialogue, and you had the essentials of a Lynch film.
Twin Peaks proved a refreshing change!

Paul R. Grove.

Please send e-mail to:

iru03@uk.ac.keele.seq1

Don`t clutter up the board!

Yes, I have seen the Seventh Seal and it does have the same setup.
If memory serves (it's been ~4 years since I've seen the film) the main
character is a knight on a crusade (theres a news flash) during the time of
a great plague or other disease killing off hundreds of people.
Death confronts him and our hero challenges him to a game of chess in
exchange for his life and his traveling companions.  This is where it becomes
interesting.  The game I think is symbolizing what the knight does with his
remaining time until Death eventually wins (we are lead to believe).  The
knight does good works and the corresponding chess games goes well.  Here's
where my memory is fuzzy, the knight slackens his chivalrous pose and becomes
cocky "Beating death will be easy, look how well I've done so far".
To cut to the end (moral?) Death beats the knight whilst the world has
darkened (literally, light rain, heavy cloud cover, gusting cold wind) so the
knight and his companions are dead. (no happy ending here)

To compare this to TP.  I believe it is similar in it's allegorical
representation of the board vs. real-life, but the comparison will fall short
in the fact that Cooper is doing his damndest to stop WE from killing pawns and
other such dark works.  Our protagonist will not slacken his taught regime of
evil battling.  He is a just and good man.  So unlike the knight who started
the game as a humble knight trying to do good for his companions and evolved
into an egoist trying to beat Death and gain fame; Cooper will continue on in
his even Tibetan keel(sp?) and confront WE on even terms if not win out right.

The double reverse at the end of SS comes with the knight's aggressive
board moves (cocky attitude) being turned against him by Death; if he had
played more conservatively and thoughtfully (keep up his run of good deeds) he
would have triumphed over Death (IMHO).

Hope all found this interesting.
--
-------------------  disclaimer.h (To protect the guilty)
simmons@cs.utk.edu               | 
Paul T. Simmons [The Doctor]     |  "The secret is: you have to
3500 Sutherland Ave Apt K-302    |     bang the rocks together!"
Knoxville, TN 37919              |

I think of myself as a bright person.  I can add, subtract, integrate,
differentiate... I have enough college degrees to wallpaper a small
room... I can speak and write in complete sentences.

But I am admitting defeat, and requesting help on this one:  Could
some kind soul give me a (brief) idiot's guide to the 
Josie/Ben/Catherine/Packard/Andrew/Mill/Great Northern/Ghostwood estates
plot line?  (As in, who is scheming to get what property, and for
what purposes?  Who is in cahoots with who?)

Thanks to anyone who can help,

Sue (email to hough@lamont.ldgo.columbia.edu)

In article <2149@novavax.UUCP> hal9000@novavax.UUCP (Computer Science) writes:
> >Why couldn't Shelley have simply crashed through the plastic like Leo
> >did??  I mean, wouldn't that have been the next logical exit after she
> >found the doors were locked?  The moon or whatever was shining through
> >it so it was a visible enough escape route.  Somehow I enjoy the show
> >more when I don't think about these things!!

She did just that.  WHen she grabbed the knife from the drawer, she
said something to the effect of "I swear I'll kill you!", then ran to the
plastic wall and started slicing it open.  Leo then grabbed her and threw
her to the floor, where the knife slipped out of her hand.  At that point,
he was between her and the opening.  Remember: the doors were locked, which
prevented Bobby from getting in, and he came in through that slit in the
plastic; after being stabbed in the leg, Leo left through the same opening.

Keep enjoying the show, but pay attention!! ;-)

Dave

-- Disclaimer: These opinions subject to change without notice. ************************************************************************** The heart and the mind on a parallel course, never the two shall meet. -E. Saliers

In article <19080033@hpclpa.HP.COM> dupree@hpclpa.HP.COM (Chuck Dupree) writes:
> >/ jms@vanth.UUCP (Jim Shaffer) / 10:03 am  Feb 11, 1991 /
> >writes:
> >
>> >>Wow, fits in nicely with a certain other Cooper's
>> >>allegations about Operation Majestic Twelve.(An
>> >>organization allegedly founded by none other than a certain
>> >>other Harry S. Truman.)
> >
> >Sounds interesting.  What is/was Operation Majestic Twelve,
> >and which Cooper alleged what about it?

Majestic Twelve, or any of half a dozen other names, is an alleged
government project to study the presence of extraterrestrials on this
planet.  It was allegedly formed after the UFO crash outside Roswell, New
Mexico, in 1947.  Since the top-secret papers that prove its existence (if
they're authentic) were leaked to the public in 1986 or 1987, various
people have extended the story to enormous proportions, generally taking it
in an evil direction (on the part of both the aliens and the government)
and linking it to other pre-existing government, secret-society, and
religious conspiracy theories.One of the most outspoken people on this
front is Milton William ("Bill") Cooper, who has produced the largest and
most outrageous extensions of the theory to date.  (It's widely believed,
even among people who normally believe in aliens, that he's making most of
it up, and has stolen the parts he didn't make up from others.  There are
also, however, people who believe him in full.Best avoided, in my
opinion.)  If you want to read some of the theory, for entertainment
purposes or whatever, you can send mail to grass-server@wharton.upenn.edu
with a Subject: line of GET MAJESTIC.C (I haven't seen this file, but if
it's one of the ones I already have from other sources, it's probably very
long.)

We now return you to your regular Twin Peaks discussion...

In the words of John Lear, "RUN LIKE HELL!"

--
~  From the disk of:  | jms@vanth.uucp     | "Glittering prizes and
Jim Shaffer, Jr.      | amix.commodore.com!vanth!jms | endless compromises
37 Brook Street       | 72750.2335@compuserve.com    | shatter the illusion of
Montgomery, PA 17752  | (CompuServe as a last resort)| integrity!"  (Rush)

In article <2149@novavax.UUCP> hal9000@novavax.UUCP (Computer Science) writes:
> >Why couldn't Shelley have simply crashed through the plastic like Leo
> >did??  I mean, wouldn't that have been the next logical exit after she
> >found the doors were locked?

It is really easy to figure out what to do in an emergency when one is
sitting comfortably in front of one's computer screen.

Shelley's actions were completely consistent with human (and her) psychology.
If you don't go to the trouble of planning alternate escape routes and going
over them occasionally, when an emergency happens they just don't come to
mind.  The brain tends to go into "auto-pilot" and only normal exits are
turned to.  This is one reason why it is a VERY GOOD IDEA to get all the
members of a household together once every month or so and go over emergency
escape routes and general emergency procedures.

The entire time Shelley has been living in that house, she probably has
trained herself to think of the plastic walls as real walls and not something
to walk through.  And Leo would probably have beat her (in his "better" days)
if she had treated them otherwise.  It's this kind of thinking -- that walls
are something that people don't go through -- that resulted in a cost-cutting
measure in San Diego (if I remember correctly) where a new prison was built
with walls of plasterboard instead of solid concrete.  I bet it seemed like
a reasonable idea at the time...

-Pete Zakel
 (phz@cadence.com or ..!{hpda,versatc,apollo,ucbcad,uunet}!cadence!phz)

In article <5949@mentor.cc.purdue.edu> russelrd@mentor.cc.purdue.edu (Robert Russell) writes:
> >A while back someone posted about PeaksMUSH.
> >
> >Is it still up??
> >

Sigh.  No, TwinPeaksMUSH went byby.  It had a code
problem that neither I nor my fellow wizards could
fix accurately without carving large chunks out
of the db.  We've been trying halfheartedly to get
it back up, but all four of us are involved in other
projects at the present time... 

If TPMUSH goes back up, I'll crosspost here and to
rec.games.mud... Inquiries about character names
and db information (details of geography, etc.)
can be emailed to me.


-Audrey



--
|  Erin K. Jacobs (TiffanyTwisted)    |      Cyberpixies morp                |
|  ejacobs@umaxc.weeg.uiowa.edu       |      And bat their eyes at ladies    |
|  IOWA: You can check out anytime    |      Garrett is taken.               |
|  you like but you can never leave   |                         -Random      |

Darn, finally an episode on which I can make a useful comment,
and I wait all week to view it.

I haven't got time just now to wade through all 200 odd (sic) remaining
messages to see whether someone else has reported this (saw fine bogosity
in. re. Hungarian), but the "exotic" foreign dialogue was in Afrikaans.  

First the transcription/translation, then commentary of various ilks:

The (less than illuminating) dialog [TE==Ek, W==his companion]:

TE: Sy het verspilbar geword.
    [She has become expendable.]
     (actually, the crucial word here is not absolutely clear to me,
      but I think that's what it means.)

W: Ek het jou gewaarsky om haar nie te vertrou nie.
   [I warned you not to trust her.]

Notes for the curious:
Afrikaans is the language of most of the Afrikaners, the decendants of the
early Dutch settlers of South Africa.  (These are by and large very
conservative whites, whose main political voice is the National Party, whom
we have to thank for apartheid.)  [This language is also spoken by a 
majority of the mixed-race "coloreds".]

Afrikaans is nearly a pidgen (sp?) form of Dutch.  The very acute (who
are also familiar with German or Dutch) will have noticed that the two
sentences are in the same tense, while I have translated the former  with
the present perfect and the latter with the simple past.  This is because
Afrikaans, being perhaps the world's simplest natural language, has only
three grammatical tenses.  Finer nuances are carried by adverbs or
deduced from context (as I have done here.)

I'm not at all certain about the characters' accents either in English or
in Afrikaans.  The Afrikaans was not terribly well articulated (not as
perfectly pronounced as, for example, Meryl Streep's refined and precise
German in Sophie's Choice).  The actors might be
  (1)English-speaking South Africans  (who constitute 40% of the whites);
  (2)American actors faking both Afrikaans and a South African accent;
  (3)Good speakers of Afrikaans trying to sound exotic and incomprehensible;
  (4) Who knows what else.

Any questions?  Any answers?  Any rags?  Any bones?  Any bottles today?

Kim

In article <10340005@hplvec.LVLD.HP.COM> collier@hplvec.LVLD.HP.COM (Mark Collier) writes:
> >
> >Okay, I can't stand it any longer. Everyone else out there seems to like and
> >understand Windom Earle's use of the name "Leo-Stein" to refer to Leo. I don't
> >get it. Please explain. What is the significance of this name?

It is an obvious refence to Frankenstein's monster, but it is the movie
monster as opposed to the one in the novel.  I personally think that it is
supposed to be a knock on the monster in YOUNG FRANKENSTEIN, especially
because of the whole comic sense of the entire scene.

- Dan Solomon

----------------------------------------------------------------------------
dsolomon@hmcvax.claremont.edu   |  "No amount of planning will ever replace
dsolomon@jarthur.claremont.edu  |     dumb luck"  
----------------------------------------------------------------------------
"At that moment, an event--or is "event" the word for it?--takes place which
cannot be described, and hence no attempt will be made to describe it."

> > The guy playing Wyndy is ok, but what if...they could get Dennis Hopper to 
> > reprise his role in "Blue Velvet"?  ( Does anybody know what that stuff in
> > his inhaler was?  I figured it must be either amyll nitrate or nitrous oxide.
> > Where can I get some? )

        Nitrous oxide makes your voice really deep, so it couldn't have been         that.  You can get NO2 at any department store.  I don't know what
        section its in, but its used for whipped cream dispensers.


> > jimbo


sam

hough@lamont.ldgo.columbia.edu (sue hough) writes:

> >But I am admitting defeat, and requesting help on this one:  Could
> >some kind soul give me a (brief) idiot's guide to the 
> >Josie/Ben/Catherine/Packard/Andrew/Mill/Great Northern/Ghostwood estates
> >plot line?  (As in, who is scheming to get what property, and for
> >what purposes?  Who is in cahoots with who?)

   VERY good question!

``Welcome to amateur hour''

I don't think anybody has really figured out what's going on here,
including the TP writers, but this is my attempt:

Ben's Angle:
Ben wants the Mill property for his Ghostwood Estates project. He
was plotting with Catherine to torch the mill and blame Josie, but 
this was a ruse. He was actually secretly plotting with _Josie_
to torch the mill and blame _Catherine_ (Catherine being killed
in the blaze). He would then pay Josie off ($5 million?), and
Josie would leave the TP area forever.
HIS GOAL: Setting up the Ghostwood Estates Project.

Josie's angle:
Josie "escaped" from Thomas Eckhardt (her master/owner) with Andrew
Packard's help. Presumably, she used her (considerable) feminine
"wiles" to make Andrew fall in love with her. But, this was all a 
ruse as well. Actually, Eckhardt _ordered_ her to go with Andrew,
to gain control of the valuable Mill property. Josie had her husband 
Andrew killed by Hank in order to own the Packard sawmill. She plotted
with Ben as mentioned above, probably on Eckhardt's orders. She began 
an affair with the local sheriff (Harry) to throw off suspicion for 
the murder. When Jonathon showed up with his message from Eckhardt to
clear out, she collected her money from Ben and took off. Here's where
her role becomes unclear, but the way I see it, she decided to kill
Jonathon and take the money for herself, double-crossing Eckhardt.  
Unfortunately, she had fallen into love with Truman, and so came back
to Twin Peaks.
HER GOAL: Money for Eckhardt

Catherine/Andrew's angle:
Andrew _wasn't_ killed by Josie and was kept in secret by Catherine.
They want to entrap Eckhardt in some way that hasn't been made clear
yet. The only reason they have the Sawmill is incredible luck. Laura's
murder and Ben's subsequent arrest made it possible for them to regain 
the Mill land (although this is not their main goal). Anyway, they
WANT TO TRAP ECKHARDT. This has been their real goal all the time
(even before the mill burned). They knew that Josie was in love with
Harry and that she would come back, and now they will use her to get
what they want from Eckhardt.
THEIR GOAL: Squeeze Eckhardt

Eckhardt's angle:
He sent his favorite mistress, Josie, with Andrew to take over his
property. After she killed Jonathon and went back to Twin Peaks, he
followed her because he's hopelessly in love with her.
HIS GOAL: He used to want the money from the Ghostwood sale, but
          now he just wants Josie back.


Big Question: Since now it seems that either Josie shot Cooper, or
              someone framed Josie in the shooting, how does this
              fit in with all this?

My Theory: Andrew and Catherine framed her. This was their original
           plan for bringing Eckhardt into Twin Peaks. They thought
           that Josie would be arrested for the shooting
           and probably on suspicion for killing Laura Palmer. Eckhardt
           would come, and Andrew would demand something for evidence
           that would clear Josie.   

Of course, this theory changes every episode as we are given new
information (and as the writers make things up).
        
-- David E. Coufal coufal@owl.caltech.edu "One time I removed all the hair from a mouse with Nair-Hair just to see what it looked like. And it looked beautiful." - David K. Lynch

In article <1991Feb15.201324.11285@parc.xerox.com>
mccall@parc.xerox.com (Kim McCall) writes:

> >The (less than illuminating) dialog [TE==Ek, W==his companion]:
> >
> >TE: Sy het verspilbar geword.
> >    [She has become expendable.]
> >     (actually, the crucial word here is not absolutely clear to me,
> >      but I think that's what it means.)
> >
> >W: Ek het jou gewaarsky om haar nie te vertrou nie.
> >   [I warned you not to trust her.]

Excellent!  Thanks, Kim!

I'm curious how this appeared to closed caption viewers.  I've lost
Bart Geraci's email address, so this is a general request to him or
others with closed caption decoders to post what appeared on the
screen for this bit of dialog.  Might also help clarify the
"expendable" question.

> >What's the deal with Jacoby?  Are there two?
> >
> >First he's supervising Ben Horne's war games, then (in the very next
> >scene) he tells Cooper and Truman that he's spent the last 24 hours with
> >the widow.  
> >
> >This may be a subtle nod in the direction of the Parallel Universe
> >theory I've long used to explain TP.

Or it could be due to the fact that each episode of Twin Peaks isn't
necessarily a day long (i'd thought they'd stopped that gimmic with
"Three Days Later" though i don't have any proof for or against (except
for extreme improbability, and that's nothing new).


--------------------------------------------------------------------
| Andrew D. M. U. Weiland | aw1s@andrew.cmu.edu|
--------------------------------------------------------------------
| "I am trying very hard to be open and objective, but i|
|  find that i just can't take you seriously."|
| --Brother Paul|
--------------------------------------------------------------------

In article <1991Feb14.213317.29826@midway.uchicago.edu>,
lecl@quads.uchicago.edu (elizabeth e. leclair) writes:
[stuff deleted; hopefully not to deleterious effect, unless I'm delirious.]

|>   I don't think this gives good parallels to TP; if it does, things
|>  certainly don't look good for Coop!  WE may be a nut, but he's no
|>  equal to Mr. Reaper himself.  Let's hope Pete pulls that stalemate...

Ahem. That's Mr. Grimm - he is a reaper. (The salmon mousse.)
BTW, let's not discuss whether he is any relation to the Brothers Grimm,
that's a dead subject as far as I'm concerned. It would be a fatal error
not to sist and decease with any discussion of it.

p.s. - why do they call them "the Brothers" Grimm, when they were quite
clearly honkies? After all, no self-respecting Brother would be caught dead
writing tales about fairies... {a :-) here, for you grumpy people}

*--Ernst W. Mayer - GSRA, Aerospace Engineering/Applied Mathematics-----------*
|                   The University of Michigan, Ann Arbor.                    |
|  Internet: ewm@caen.engin.umich.edu, ewm@math.lsa.umich.edu                 |
|  FishNet : salmon.swim.upstream@spawning.time  :-o ? ;->...:-) !            |
|                                                                             |
*"Jack Kevorkian is a friend of mine...and you're no Jack Kevorkian"-Nietzsche*

In article <083XSAG@cs.swarthmore.edu>, pouncy@campus.swarthmore.edu writes:
|> Did anyone see Bergman's Seventh Seal?  Is this the one where
|> the protagonist plays chess with death?  Since death has never
|> lost (we all die), Bergman's set up is a bit like Coop vs. WE
|> (`I've never beaten WE').   If I remember this movie properly,
|> the protagonist (a knight (?)), escapes death, or there is some
|> sort of surprise, or double reverse at the end.

The whole scenario is taken from an (apocryphal, perhaps) quote of
Boris Spassky's when, shortly after achieving grand master status
in what was, at that time, record time, he is quoted as saying about
Yankinon Mymete, the great grandmaster from Bratislava, who was
the only man Spassky had never mated (czech-mated, that is):
`I've never beaten Mymete'.

Maybe that's why Spassky always seemed so uptight... 



*--Ernst W. Mayer - GSRA, Aerospace Engineering/Applied Mathematics-*
|                   The University of Michigan, Ann Arbor.          |
|  Internet: ewm@caen.engin.umich.edu, ewm@math.lsa.umich.edu       |
|  FishNet : salmon.swim.upstream@spawning.time  :-o ? ;->...:-) !  |
|                                                                   |
*----"There can be only one!" - Bobby "The Kurgin" Fischer----------*

In article <153300003@inmet>, davidb@inmet.inmet.com writes:
> >
> >/* Written  9:50 am  Feb  6, 1991 by rjohnson@vela.acs.oakland.edu */
> >
>> >>I think I would be concerned with trying not to pee my pants than I
>> >>would being Modesty Blaise.
> >
> >Another Modesty Blaise fan!!! Yeah!!!
>> >>me, too!! I thought I was the only person in northern california
>> >>who admired her. I thought I saw several new titles the last
>> >>time I was in a bookstore. I'd presumed O'Donnell had quit
>> >>writing them. So, when next I get the pittance the government
>> >>pays me for the invaluable work I do for it, perhaps I'll
>> >>indulge myself. The last NEW one I remember reading was
>> >>The Impossible Virgin. 

Rosi

ROSIMCG@OAVAX,CSUCHICO.EDU

In article <153300003@inmet>, davidb@inmet.inmet.com writes:
|> 
|> /* Written  9:50 am  Feb  6, 1991 by rjohnson@vela.acs.oakland.edu */
|> 
|> >I think I would be concerned with trying not to pee my pants than I
|> >would being Modesty Blaise.
|> 
|> Another Modesty Blaise fan!!! Yeah!!!

Those form-fitting, polka-dotted jumpsuits of hers really make my Willie
stand up and take notice, nyuk, nyuk. Netters, please spare the R o d ...

*--Ernst W. Mayer - GSRA, Aerospace Engineering/Applied Mathematics-*
|                   The University of Michigan, Ann Arbor.          |
|  Internet: ewm@caen.engin.umich.edu, ewm@math.lsa.umich.edu       |
|  FishNet : salmon.swim.upstream@spawning.time  :-o ? ;->...:-) !  |
|                                                                   |
*----"Nuns - no sense of humor" - P. J. Paul II --------------------*

In article <10340005@hplvec.LVLD.HP.COM>, collier@hplvec.LVLD.HP.COM
(Mark Collier) writes:
|> / dvb@emisle.uucp (David Van Beveren) / 10:28 pm  Feb 11, 1991 /
|> 
|> > 3. WE is a masochist. How will this figure? How do I know? - When he gave
|> >  the collar to Leo-Stein (I love it!) he took it off of HIMSELF!
|> 
|> Okay, I can't stand it any longer. Everyone else out there seems to like and
|> understand Windom Earle's use of the name "Leo-Stein" to refer to
Leo. I don't
|> get it. Please explain. What is the significance of this name?

My poor, confused fellow, let me try to clarify this once and for all:
as most netters probably read in GMPID's press statement of 1/26/91
(which was transcribed and posted to this electronic newsgroup by several
of the subscribers,) General Mills, under license of Lynch/Frost Productions,
Incorporated (hereafter referred to as LFPI,) is adding a new breakfast
cereal to its BooBerry/Count Chocula/FrankenBerry line, based on the
Leo Johnson character from the television show, Twin Peaks. Specifically,
the Leo Johnson character after he begins his recovery from "Drool Mode"
(hereafter referred to as DM,) loosely based on Mary Shelley's novel,
"Frankenstein" (not to be confused with Frank N. Furter - different show,
different newsgroup.) Two possible names for the product were proposed by
GM's New Product Development Staff (hereafter referred to as GMNPDS) -
FrankenLeo and LeoStein (not, repeat, NOT hyphenated.) A polling of a 
random market segment of hyperactive children showed a slight preference
for the latter name, which hence will be used. Look for LeoStein,
initially to be offered with a free snap-together droolcup, in stores
everywhere by mid-april.
                          
Sincerely, Earvin W. Moyers
           General Mills, Public Inquiries Department

In <3956@ryn.mro4.dec.com> boyajian@ruby.dec.com (Cisco's Buddy) writes:

> >In article <779@ark.UUCP>, peiges@ark.UUCP (Bert Soto) writes...
> >
> >} Who is this David Warner character and what has he been in that so 
> >} excites you?  Just curious.
> >
> >He's an excellent actor who does a *great* job of playing bad guys. As I've
> >posted before, his most notable role is perhaps that of Jack the Ripper in
> >the film TIME AFTER TIME.

Also a wonderful villain in TIME BANDITS, though his job in TIME AFTER TIME
has always impressed me the most.  He also did a very good Bob Crachet in
the Clive Donner/George C. Scott version of A CHRISTMAS CAROL.

                           "What's with your friend?"
                                                     "He's a white man who
                                                      thinks he's James
                                                      Brown."
---
                                        Moriarty, aka Jeff Meyer
INTERNET:     moriarty@tc.fluke.COM
Manual UUCP:  {uw-beaver, sun, microsoft, hplsla, uiucuxc}!fluke!moriarty
CREDO:        You gotta be Cruel to be Kind...
<*> DISCLAIMER: Do what you want with me, but leave my employers alone! <*>

jms@vanth.UUCP (Jim Shaffer) writes:

> > "A little pine weasel is about to become a household word."
> > 
> > Now what the heck is THAT about?!  Don't we have quite enough sub-plots
> > going right now?

Apparrotly, the weasely Horne brothers, having blown the mill deal, are 
pining for the fjords.

(*ducking*)

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

Ok, who do we write/call to get it back?  
Does anybody have ABC's address?  Who's in charge of scheduling?

> >sniff<
bring back Twin Peaks!

- Olivia