Season 2, Episodes 21–22: Miss Twin Peaks / Beyond Life and Death — June 10, 1991–August 27, 1992

A bunch of posts in the past few weeks here have made reference to the
myth of the Fisher King. What is this, and where does it come from?

I'd been wondering about it since I saw it here, and have since stumbled
across another reference to it in the liner notes to a Sting album, which,
however, was not particularly informative.

(I wonder if there's a corresponding myth of the Spassky Rook...)

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

In article <1991Jun29.114829.700@mac.cc.macalstr.edu> sdbeck@mac.cc.macalstr.edu writes:
> >This begs the question: What did Teresa and Laura have in common? Besides
> >really nasty manicures?


They were both in fleshword, right?

Rocky Giovinazzo

giovin@medr0.ecs.umass.edu (Rocky J Giovinazzo) writes:

> >In article <1991Jun29.114829.700@mac.cc.macalstr.edu> sdbeck@mac.cc.macalstr.edu writes:
>> >>This begs the question: What did Teresa and Laura have in common? Besides
>> >>really nasty manicures?


> >They were both in fleshword, right?

> >Rocky Giovinazzo

I think you have got Teresa and Ronette Pulaski confused.  It was never 
mentioned that Teresa Banks appeared in Flesworld. Now with the prequel
we may actually get to see some explicit scenes like the ones described
in laura's Diary.  Particularly the party scene with Laura and Ronette.
But that is not within the last days of Laura's life, too bad.  Oh Well
I still think that the movie will take us to the edge.  Until it is
released i will be in the Shadows.

BOB, he is eager for fun
COFFEE, COFFEE, COFFEE, COFFEE, COFFEE, COFFEE, COFFEE, COFFEE, COFFEE
dtburton@ecu.uokmax.nor.edu

Article 10671 of alt.tv.twin-peaks:
From: statman@moray.ufl.edu (Chuck Kincaid)
Newsgroups: alt.tv.twin-peaks
Subject: Twin Quotes
Message-ID: <1991Apr24.022830.17895@eng.ufl.edu>
Date: 24 Apr 91 02:28:30 GMT
Sender: news@eng.ufl.edu
Organization: U. of Florida, Dept. of Statistics
Lines: 341

Hello you crazy guys and gals :-),
Here is the quote list finally.  I just got my take home exams
so I had a few other priorities. :-(   The last one is the worst one of
all, in my opinion.  :-(   
As always, if you have suggestions, criticisms, etc. please do 
not hesitate to let me know.  The e-mail address below is the correct
one.  Not the one given by the stupid news reader.  Enjoy.  :-)

charles d. kincaid
statman@stat.ufl.edu    <-------#####   Correct address
statman@sole.stat.ufl.edu    <--------######   NeXTmail if you dare 

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

# Mayor:  There's something wrong.  This isn't right.  There's something
wrong here.

--AGENT OF OZ-- 
[Cooper lies in bed in his room.  Catherine is stroking his 
head.  Andy, the Log Lady and the Man From Another Place are 
sitting around the bed.]
Cooper:Auntie Em!
Cath.:Auntie Em?  
Cooper:I must have been dreaming.  It was horrible.  We
were all on Saturday's.  Andy  you were there.  The 
Log Lady was there.  The Man From Another Place was 
there.
Cath.:Saturday's!  That is a bad dream.  
All:Ooooh.  
Announcer:Twin Peaks is back on Thursday nights.  
Coop:Diane, Thursday nights.  There's no place like home.  
  
Hawk:The man has a poor sense of recreation.  

# Lucy:Tomorrow is D-Day, Dad Day.
  
Albert:Coop, about the uniform.  
Cooper:Yes, Albert?  
Albert:Usually, replacing the quiet elegance of the dark 
suit and tie for the casual indifference of these 
muted earthtones is a form of fashion suicide.  But, 
call me crazy, on you it works.

Annie:  I lived in my head mostly.
Cooper: That's not a bad neighborhood.
Annie:  There were some pretty strange neighbors.

Judy Swain:An orphan, you know.  
Andy:Really?  What happened?  Did his parents die?  

WE:Cooper doesn't know the meaning of STALEMATE!  

# Mayor:Oh, my God, this guy is British or Bohemian or something.  He's
bound to fall for your charms.

Nadine:I think I've gone _blind_ in my left eye!  
  
Cooper:Sure fire cure for a hangover, Harry.  You take 
a glass of nearly frozen unstrained tomato juice.  
You plop a couple of oysters in there.  You drink it 
down.  Breathe deeply.  Next you take a mound, and I 
mean a mound of sweetbreads.  Sautee it in some 
chestnuts and Canadian Bacon.  Finally, biscuits, 
big biscuits, smothered in gravy.  Now here's where 
it gets tricky.  You're gonna need some anchovies.  
Harry:Excuse me. [and rushes to the bathroom]  
Cooper:That should do it.  
  
Gordon:HARRY, THE BEST CURE I EVER CAME ACROSS FOR A 
HANGOVER IS RAW MEAT, AND PLENTY OF IT.  YA BREAK AN 
EGG ON IT.  ADD IN SOME SALTED ANCHOVIES, TOBASCO 
AND WORCESTERSHIRE SAUCE. [Harry, again rushes to 
the bathroom]  IF YOU WANT WE CAN ORDER IT UP  
FOR YA.  [Cooper and Gordon smile at each other]  

Harry:What do you recommend for a hangover?  
Annie:Teetotaling and prayer.  
Cooper:Good answer.  
Harry:I'll try some coffee.  

Ben:Sometimes the urge to do bad is nearly overpowering.

# Cooper: Well, my symptoms suggest the onset of malaria, but I've
never felt better in my life.

Johnny Horne:  Oouaaaahouaaaahouoooh!   (Ed note: Sp? :-)  
  
Irene:Of all the people in the world, the best and the 
worst are drawn to a dead dog.  Most turn away. Only 
the pure of heart can feel its pain.  And somewhere 
in between the rest of us struggle.  
  
Audrey:They have women agents?  
Denise:More or less.  

Gordon:  YOU ARE WITNESSING A FRONT THREE-QUARTER VIEW OF TWO ADULTS
SHARING A TENDER MOMENT. [to Shelly] Acts like he's never seen
a kiss before.
Cooper:  Uh, Gordon.
Gordon:  TAKE ANOTHER LOOK, SONNY.  IT'S GONNA HAPPEN AGAIN.

# Cooper:  He has engaged us in subterfuge and red herring.  A fish I 
don't particular care for.

Denise:I may be wearing a dress, but I still pull my 
panties on one leg at a time, if you know what I 
mean.  
Cooper:Not really.  
  
WE:Tacit agreement is acceptable, Leo.  Your silence 
speaks volumes.  Or if not volumes, at least the 
occasional punctuated paragraph.  

# WE:Leo, it looks like you finally found your calling.
  
Audrey: I've examined his will Jerry.  If my father becomes 
incapacitated, it all goes to me when I'm old 
enough.  And I am old enough and he is 
incapacitated.  Play it my way either way or the 
only project you'll be developing is selling 
baseboard heaters at the local cash-n-carry.  
Jerry:What's happened to the man is a tragedy.  
Audrey:Yea, Jerry, it's a tragedy.  
  

Pete:Now if there's chessboards in Heaven, Jose's sittin' 
next to the Lord.  
  
Gordon:THE WORD LINKAGE REMINDS ME OF SAUSAGE.  NEVER 
CARED MUCH FOR THE LINKS, PREFERRED THE PATTIES. BUT 
BREAKFAST IS A REAL GOOD IDEA.  BONZAI.  REMEMBER 
THOSE OLD WORLD WAR II MOVIES?  BONZAAIIIII!!!!  
WE:AAAH, Damnation.  
Leo:Buuurrrrp.  
  
Dwayne:She killed him with SEX.  

# Andy:Styrofoam never dies for as long as you live.
# Lucy:It doesn't?
  
Dick: Oh she doth teach the torches to burn bright  (Andy 
sighs) It seems she hangs against the cheek of night  
+ Doc:Like a rich jewel in an ethiope's ear.  Beauty too 
rich for youth, for earth too dear.  
  
Cooper:Harry, Windom Earle's mind is like a diamond.  It's 
cold and hard and brilliant.  

WE:Once upon a time there was a place of great goodness called
the White Lodge.  Gentle fawns gamboled there amidst happy,
laughing spirits.  The sounds of innocence and joy filled the
air.  And when it rained, it rained sweet nectar that infused
one's heart with the desire to live life in truth and beauty.
Generally speaking a ghastly place, reeking in virtue's sour
smell, engorged with the whispered prayers of kneeling mothers
and mewling newborns, and fool's young and old compelled to do
good without reason.  heh, heh.
But I am happy to point out that our story does not end in
this wretched place of saccharine excess.  For there's another 
place.  Its opposite.  A place of almost unimaginable power,
chockful of dark forces and vicious secrets.  No prayers dare 
enter this frightful maw.  Spirits there care not for good 
deeds or priestly implications.  They as like to rip the flesh
from you bones as greet you with a happy good day.  And if 
harnessed, these spirits in this hidden land of unmuffled
screams of broken hearts offer up a power so vast that its
bearer might reorder the Earth itself to his liking.  Ah, this
place I speak of is known as the Black Lodge and I intend to
find it.
Rusty T:Hey man, the story's cool, but you promised me beer.
  
Dr Jacoby: What he needs right now is both your 
understanding and a Confederate victory.  

# Mayor:  You put on a dress with a slit, oh, the slit cut halfway to 
Seattle.
  
Dick:But what I'm trying to make clear is that using a 
stuffed animal to represent an endangered species as 
an ecological protest constitutes the supreme 
incongruity.  
  
Hawk:Maybe we'd better just whistle on our way past the 
graveyard.  
  
Doc H.:Is she sexually active?  
Ed:Active?  Doc, I wake up every morning feeling like I 
got hit by a timber truck.    

Mike:Do you have any idea what a combination of sexual maturity
and superhuman strength can result in.
[Whispers to Bobby]
Bobby:  WHOOAA!!

Ben:You'll have to excuse me.  The chef just tried to 
stab Jerry.  
  
Albert:Get a life, punk.  

# Pete:Audrey, there are many cures for a broken heart, but nothing
quite like a trout's leap in the moonlight.
  
Dr Jacoby:Now what she does in fact possess is a 
heightened sexual drive and a working knowledge of 
technique, anatomy and touch that few men have ever 
had the pleasure of experiencing or the skills to 
match.  
Harry:Is it hot in here?  
Cooper &
  Hawk:Yea.  

Lucy:You can't do that!  
Pete (to Coop):My students.  
Lucy:Mr Martell, Andy moved his knight without doing the 
little hook thing.  
Andy:You don't have to do the little hook thing, that's 
optional.  
Pete:Andy, uh, the knight has to do the little hook 
thing.
Andy:Every time?  
Pete:It's a privilege.  No one else gets to make that 
move.  
Andy:Ok, Mr Martell.  
Lucy:I guess some people don't know quite as much as they 
think they do.  Check!  
 
 
Pete:We forgot the weinies, all beef with the skin on 
`em.  
 
# Audrey:  I'm a virgin.
# Jack:   A what?
# Audrey:  I want you to make love with me.
# Jack:   What?  Here and now?
# Audrey:  It's your jet.
# Jack:   Thank God for that. 
 
Ben:I give you the little pine weasel found only in our 
tri-county area.  It is nearly extinct.  
Jerry:They're incredible roasted.  
  
Andy:Once stimulated the female will respond in such a 
way that the skin around her ...  Oh My God!  
  
Cooper:Great players are either far or few.  
  
Malcom:Mrs. Marsh hired him to fix the Jaguar.  
Trooper:Jaguar ... J-a-g-w ... uh, the car.  

Cooper:I've got four hungry lawmen out in the cruiser.  We need donuts.
  
Shelly (from WE's note): 
See the mountains kiss high heaven  
and the waves clasp one another.  
No sister flower would be forgiven  
if it disdained its brother.  
And the sunlight clasped the earth  
and the moonbeams kissed the sea.  
What is our sweet work worth  
if thou kiss not me?  
  
BOB:COOP, what happened to JOSIE?!  

# WE:What's the capitol of North Carolina?
# Major:Raleigh.
# WE:Fat lot of good that'll do me.

Gordon:HOLY SMOKES!  WHO IS THAT?  
Cooper:Shelly Johnson.  
[Gordon motions he didn't here]  
Cooper:SHELLY JOHNSON.  
Gordon:WHAT A BEAUTY!  KINDA REMINDS ME OF THAT STATUE, THE 
BABE WITHOUT THE ARMS.  
Cooper:Venus de Milo.  
Gordon:THE NAME WAS MILO, BUT THAT'S BESIDE THE POINT.  
THAT'S THE KIND OF GIRL THAT MAKES YOU WISH YOU 
SPOKE A LITTLE FRENCH.  'SCUSE ME COOP WHILE I TRY 
MY HAND AT A LITTLE COUNTER-ESPARANTO.  
Gordon:Good luck, Gordon.  
Gordon:HELLO.  I WAS WONDERING IF I MIGHT TROUBLE YOU FOR A 
CUP OF STRONG BLACK COFFEE AND IN THE PROCESS ENGAGE 
YOU WITH AN ANECDOTE OF NO SMALL AMUSEMENT.  THE 
NAME IS GORDON COLE AND I COULDN'T HELP BUT NOTICE 
YOU FROM THE BOOTH.  AND .. WELL, SEEING YOUR BEAUTY 
NOW I FEEL AS THOUGH MY STOMACH IS FILLED WITH A 
TEAM OF BUMBLEBEES.  
Shelly:You don't have to shout.  I can hear you.  
Gordon:I HEARD THAT.  I, I HEARD THAT.  
Shelly:Um, do you want anything besides coffee?  
Gordon:I HEARD YOU PERFECTLY!  
Shelly:And I can hear you, honest.  
Gordon:YOU DON'T UNDERSTAND.  You don't understand Miss 
Johnson.  Do you see this?  For 20 years I've been asking 
people to please speak up, but for some weird  
reason I can hear you clear as a bell.  Say 
something else.  
Shelly:Um, um, do you want pie with your coffee?  
Gordon:Good Lord, I can hear you perfectly.  This is like 
some sort of miracle.  A...a phenomenon.  
LL:What's wrong with miracles?  
Gordon:WHAT'S THAT?  
LL:This cherry pie is a miracle.  
Gordon:WOULD YOU PLEASE ASK THE LADY WITH THE LOG TO SPEAK 
UP.  
Shelly:Um, the pie, she was talking about the cherry pie.  
Gordon:I heard you again.  I heard you again.  
Shelly:Would you like some pie?  
Gordon:MASSIVE, MASSIVE QUANTITIES AND A GLASS OF WATER,   
SWEETHEART.  MY SOCKS ARE ON FIRE.  


Shelly:Do you want some more pie?  A whole pie?  
Gordon:YES I WOULD MISS JOHNSON.  AND A PIECE OF PAPER AND 
A PENCIL.  I PLAN ON WRITING AN EPIC POEM ABOUT THIS 
GORGEOUS PIE.  

Cooper:Two penguins were walking across an iceberg.  
One penguin turned to the second penguin and said, 
"You look like you're wearing a tuxedo."   
Shelly:Annie.  
Gordon:I HEARD THAT!  
Annie:Wait a minute.  I'll be right back.  [She leaves]  
Cooper:I wasn't quite finished.  
Harry:How long you been in love with her?  
Cooper:Harry, who said anything about love?  
Harry:Cooper, you just tried to tell her a joke.  
Cooper:I did?[Annie returns]
Annie:So what did the second penguin say?  
Cooper:Well, the first penguin said to the second penguin, 
"You look like you're wearing a tuxedo."  And the 
second penguin said, "Maybe I am."  
[Annie and Cooper both laugh]  
Harry:Defense rests. 

Rusty:Whoa man, I do not appreciate practical jokes.

# Lucy:  [news flash noise]  This is a Twin Peaks special announcement.
The spine-tingling, two hour season finale of Twin Peaks can
be seen ..... TA DA .... Monday June 10th.  We now return you
to our regular scheduled program.
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
Alex Yentner        /  The Cellar BBS: (215) 336-9503
1609 E. Worrell St. / Q: My girlfriend just took me to Santa Barbara,
Phila., PA  19124   /    have you ever had a 48 hour orgasm?
(215) 288-9554      / A: No, I've never even BEEN to Santa Barbara!
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-

According to Cooper's autobiography, yes...

About Ben Horne...  yeah, he did have the same mark-of-Cain wound on his
forehead that Cooper did.  But does that mean that it has to be BOB who's
moving in?

How about MIKE?

Remember, in spiritual terms Ben Horne is close to BOB's last known location--
Leland Palmer.  He's also enough of a do-gooder that he might subconsciously
consent to hunting down this evil demon.  This could make the hunt really
interesting.

Just imagine the final confrontation that would result, between the good man
gone bad and the bad man trying his best to be good.  OK, so the role of hero's
been reversed, but that's part of the interest.  Also, imagine the part Audrey
would play...

Perhaps that's it.  BOB wants Cooper locked in the rubber room (as opposed to
the red room), just as Cooper had gotten Windom sent to the mental ward years
earlier.  Divine irony, as BOB would see it...

So the commitments are close to being nailed down?  Who's under the hammer,
then?

Would James Marshall rejoin the cast?  It would be real difficult to do a 
movie about Laura Palmer without featuring the one guy she really loved...

(Coop might regain his soul...)
> >at the cost of several body parts and any possible relationship with a woman
> >ever again...

I _refuse_ to make the connection...  :)
A
A

Interesting idea -- except that you're assuming Laura has only one spirit.

Consider this.  We've known all along that Laura has a divided heart.  And,
aside from Cooper, SHE'S THE ONLY ONE IN THE LODGE WHO APPEARS IN TWO
DIFFERENT FORMS.

It could simply be that Laura Palmer was inhabited by two warring spirits.
One -- the pure, good one, native to the White Lodge -- warned Cooper in the
original dream sequence.  The other one was the corrupt one, the servant of
BOB -- the one who screamed.

And therefore the scream at the end (which I'm still not sure wasn't just a
musical effect, but what the hey) simply shows the alliance between the dark
spirits, while the good Cooper and Laura are locked away in the lodge,
possibly for another 25 years.

BTW, apropos of nothing -- what was that outfit the Lodge Maddy was wearing?
Was it Laura's dress, or was it a half-and-half costume, half dress, half
suit?  Another duality?...

In<1991Jun29.114829.700@mac.cc.macalstr.edu> sdbeck@mac.cc.macalstr.edu writes:

> >Well, if the movie will have most, some, or a lot of the current TP characters
> >it'll probably have to involve TP (the town) in some way. BUT, if it's *just*
> >TP, no Dale & Albert. So, my guess is, it'll probably have both the Teresa
> >Banks murder and Laura before she got shrink-wrapped.

Well, correct me if I'm wrong (memory's a tad sketchy from back then), but
wasn't Coop working on the Bob murders back from when TB was murdered? If
so both he and *Albert* will be in the movie, right? Also, if it deals a lot
with TB, then it's going to be half set in Twin Peaks, and half set in
The_Other_Town_With_2_Waterfalls_In_The_Outskirts_Of_Seattle ( :-) ).

> >-Dan b.
-- -- John Hawkinson jhawk@panix.com

I realize this is tangential, but since traffic is down and a number
of people seem to be interested in this, I am posting rather then e-mailing.

In article <eFiB51w163w@zitt> joe@zitt (Joe Zitt) writes:

   A bunch of posts in the past few weeks here have made reference to the
   myth of the Fisher King. What is this, and where does it come from?

   I'd been wondering about it since I saw it here, and have since stumbled
   across another reference to it in the liner notes to a Sting album, which,
   however, was not particularly informative.

   (I wonder if there's a corresponding myth of the Spassky Rook...)

No, I hadn't caught the chess allusion that your deliberate
misspelling in the subject field brings up (although, did I really
believe that there was some serious Fisher King allegory going on in
Twin Peaks I wouldn't have put it past the writers to have thought of it).

The Fisher King is a major figure in the legendry surrounding the Holy
Grail, which is (by most interpretations) the cup that Jesus used at
the Last Supper, carried into Europe by Joseph of Arimathea.  This cup
appears in a vision to King Arthur and the knights of the Round Table
and the knights decide they will go off on a quest to find the actual
Grail.  This is generally taken to be the first sign of the breakup of
the Round Table.  The full basic story can be read in Bulfinch's
Mythology (almost certainly available at your college library).  The
interesting part about the story in Bulfinch is that the Grail was
given over into a line of kings to protect it, but the requirement was
that they live lives of perfect purity.  This worked fine until one
Grail King had impure thoughts about a female pilgrim whose robe
loosened as she knelt before him.  After this he was called "Le Roi
Pescheur", or the Sinner King.  Well, in French "Pescheur" for sinner,
is very close in sound to "Pecheur" for fisherman, and so the name
eventually became the Fisher King.

There are many variants on this legend from different traditions.
The elements that have generally shown up in later allusions (T. S.
Eliot's "The Waste Land" springs to mind) center around the fact that
the Fisher King is wounded in the "thigh" (a euphemism for saying that
he's impotent) and at the same time his lands are unable to bear
fruit.  The people are starving.  Fertility can only be restored by
the arrival of a pure knight, who in different versions has different
requirements made of him, and if this knight does what he's supposed
to do, the Fisher King's wound will be healed (presumably by the
Grail) and the land will come back to life.  In the Parsifal legend,
the knight fails on his first try and has to have a number of
adventures before he can try again, but he is eventually successful.
In the Galahad legend (which is quoted in Bulfinch), the pure knight
Galahad has a fairly easy time of it, although his father Lancelot is
not able to see the Grail because of his involvement with Queen
Guenevere.

Jessica Weston wrote a book in the 1920's called "From Ritual to
Romance" in which she ties in the symbols of the Grail legend with
ancient fertility rites mentioned in Fraser's "The Golden Bough".  It
is worth reading if you're interested in the theme of restoring energy
to something that's spiritually or emotionally dying.  I do remember
reading somewhere that later scholarship has shown her theories to be
wrong, but I don't know whether this was anthropological, literary, or
mythological scholarship.  I also don't know if there is a particular
source which has succeeded it as the definitive thought-provoking book
on the Grail Legend.

I'm sure this is More Than You Ever Wanted to Know about the Fisher
King, but perhaps it will clarify the Sting reference for you.

Barb Miller

Fisher King is ALSO a new film due out in September from Terry Gilliam,
starring Robin Williams and Jeff Bridges.

-- *********************************************************************** * Danny O'Bedlam = cmcl2!panix!dfl = dfl@panix.com = Danny Lieberman * * PO Box 3131 Church St Station, New Yawk, New Yawk, 10008-3131 (usa) *

In article <BARB.91Jun30083429@chamarti.ai.mit.edu> barb@zurich.ai.mit.edu
(Barb Miller) writes:
[deletions]
> >In the Galahad legend (which is quoted in Bulfinch), the pure knight
> >Galahad has a fairly easy time of it, although his father Lancelot is
> >not able to see the Grail because of his involvement with Queen
> >Guenevere.

It seems clear to me that the writers intended a fuzzy parallel between the
Arthur, Guenevere, Lancelot triangle and the WE, Caroline, Coop triangle (I say
fuzzy because there are so many differences) and have WE repeating this
triangle and its disastrous outcome substituting Annie for Caroline. The
identification between Annie and Caroline is made explicit in the Red Room
scene. Likewise, WE stabs Coop again (perhaps this time psychicaly rather than
literally).

I'm still not sure what we are to make of Coop's wound. I guess that it isn't
the Fisher King's wound if that is supposedly in the thigh. The location
suggests Christ's spear wound on the cross. Is there a knight in the Grail
literature who suffers a similar wound that we could fit in here? Is anyone out
there (Barb?) familiar enough with Spenser's 'Fairey Queene' to confirm or deny
parallels? It seems another likely candidate.  I know there is a character
called the Red Cross Knight that figures prominently and that he is identified
with St. George the dragonslayer.  A symbolic firebreathing dragon would
certainly fit in here someplace.

Also, did anybody identify the source of WE's quote 'They are not dead...' when
he has Annie mesmerized inside the magic circle of the grove? I have the
sneaking suspicion that this has to do with Arthur. Remember that he was known
as 'The Once and Future King' and that he was to return.  Perhaps WE sees
himself as King Arthur returning as part of the end of the world (which he
explicitly mentions), or maybe he has an even more important role in mind for
himself :-)  I don't think it is on the side of God, however.

[deletions]
> >
> >I'm sure this is More Than You Ever Wanted to Know about the Fisher
> >King, but perhaps it will clarify the Sting reference for you.
> >
> >Barb Miller
> >

I was hoping someone like you would post info like this. Thanks.

-Rich Haller

In article <8825@umd5.umd.edu> jblum@umd5.umd.edu (Jon Blum) writes:
> >Perhaps that's it.  BOB wants Cooper locked in the rubber room (as opposed to
> >the red room), just as Cooper had gotten Windom sent to the mental ward years
> >earlier.  Divine irony, as BOB would see it...
> >

According to Coop's Autobiography (and TP), he thought WE had faked insanity
with the help of halperidol to draw attention away from himself as the best
candidate for Caroline's murder. My impression is the WE could have gotten
himself out any time he wanted.  He was waiting for the right moment, namely,
when the Jupiter and Saturn came together as the Major reported.  I'm not
saying that WE knew when that moment would be, but rather that he was waiting
for something and realized that it was 'happening again' and where without
knowing precisely where or when.  That he needed the map and the Major for.

However, an intriguing possibility is that WE has been under BOB's control (or
someone else with BL associations) for a long time as a result of having gotten
a little to close to the BL while he was working on Project Blue Book.  BOB or
who/whatever parked him in the loony bin until the time was right again and
summoned/reactivated him.

It is possible that BOB has similar plans for Coop, but I don't think they are
going to succeed, though the point is probably moot now unless the series, like
Coop, comes back from the dead in some form or another.

-Rich Haller

Argh!  Now that TP is off the air, I have been selected to do a week-long
survey by the Nielsen folks.  If there is a little comment box, I am going
to put something down about the relatively few number of shows that do
not insult my intelligence, with heavy emphasis on TP.

John Schultz (caffeine abuser)    "Ma'am, I am endeavoring to construct
c491153@umcvmb.bitnet             a mnemonic memory circuit using stone
c491153@umcvmb.missouri.edu       knives and bearskins." - Mr. Spock
Macintosh-free and proud of it!   Subscriber to the hacker ethic.

A couple of recent novels incorporating elements of the "Fisher King"
mythos are Tim Powers' _The Drawing of the Dark_ (1979, probably a 
hardcover edition, paperback from Del Rey) and James P. Blaylock's
_The Paper Grail_ (1991, hardcover, Ace Books).

-- Sam Hill Cabal, DS bwdavies@rodan.acs.syr.edubwdavies@sunrise.bitnet "It don't matter, Sail, ... Could be worse. The fam'ly might be donatin' the proceeds to the Cath'lic Church, or the Mormons or somethin'. One cult's the same as another." -- Lula Pace Ripley, in "Consuelo's Kiss".

Newsgroups: alt.tv.twin-peaks
Subject: plot speculations (spoilers)
Distributn: na
Organization: Academic Computing and Network Services, Evanston, Il.
Keywords: Pearl Lakes, hands, original

1) In the antepenultimate episode we see hand trembling by Pete, a pie
eater, and Cooper. That episode ends with a spotlight on Bob's hand
twisting and then emerging.  Is hand motion a sign of Bob trying to get
through?  Note that the OAM removed his arm altogether in order not to
allow such access.

2) At the end of this same scene, when Bob steps fully into the grove, I
swear I heard the words "I'm out."  Can anyone confirm this?  If it's true,
it would seem to fit with the Major's backwards speech while under WE's
drugs.  I believe some  poster transcribed his sounds (reversed) as "I'm
coming out."

3) Here's my (latest) attempt to clarify the BL/WL boundaries.  I believe
that "This is the waiting room" does in fact refer to the whole
red-curtained experience, which I agree is experienced differently by each
person who is in it.  I believe that Cooper didi not yet confront  and lose
to his shadow self in that place but only began that confrontation while
brushing his teeth (so he hasn't yet anihilated his soul through imperfect
courage as Hawk warned).  This is the beginning of a battle since up till
now Cooper has not had a one on one confrontation with a Black Lodge force.
This approach also explains why WE couldn't tkae Coopers soul--you can onle
lose it in a battle with you r own dark side; although being _willing_
torisk his soul for Annie is symbolicaly a good move.  This was probably
where he formally took up the battle for his own soul.

4) Is Bob limited to one live host at a time?  IF so  then it's possible
that one reason Laura fought Bob for so long was becasue she knew that in
order for him to leave Leland and possess her would require killing
LEland--therefore she was saving her father 's life.  (Is any of this
cleared up in the Secret Diary--I haven't read it yet).

5) Is it possible that the reason the major could transmit so many messages
is that he has been supressing a Mike/Bob-type spirit for a long time
himself?  Maybe he has found a way to master it; this may be why he lost
some control when WE shot him up with drugs.  Was the yellow drug that WE
shot into the MAjor supposed to be th same thing as the blue drug that the
OAM used (these were both haliperinal?) OR did WE's drug alter some balance
in the Major causing him to produce haliperinal on his own?

6) Don't you wish that Cooper had talked a bit more with Annie about his
investigations?  Seems lkie the girl with strange neighbors in her head
might have been able to give him some clues.  Do you suppose her suicide
attempt compares at all to Laura's allowing herself to be killed?

7) I would like to see a list of all references to Pearl Lake(s).  Seems
like a pretty improtant spot.  Offhand I recall the following: the Major
Briggs and Cooper were fishing there when the Major disappeared; Leland's
grandfather had a cabin there where Leland first met Bob; Annie used to
swim there and she and Cooper first kissed there; Catherine was saved there
after the mill fire; Andy said people need to stop sinking their beer
bottles there; Audrey and PEte went fishing there (?).  

Can someone with a map or access guide say how close this lake is to the
sycamore grove?

8) Seems like twenty years ago is a significant point in TP.  Wasn't it
also twenty years ago that Gordon lost his hearing?

9) Cooper noted that Annie was a "completely original" person.  Norma's
criteria for Miss Twin Peaks also included "originality."  Does "original "
here imply "not a duplicate" or should this be taken in some other way?

Laurel

> >In an article dtburton@ecu.uokmax.nor.edu writes:

> >I think you have got Teresa and Ronnette Pulaski confused.  It was never
> >mentioned that Teresa Banks appeared in FleshWorld.

If you think way back to the second season Coop asks Andy and Lucy to look
through all the back copies of FelshWorld and gives them a picture of Teresa
to find.....and if I'm not mistaken they do find her....

Guess BOB is just sort of a FleshWorld type of guy..

One cries out between two worlds
Fire, WALK WITH ME

Hello TP fans,
It is with sad regret and many apologies that I announce my
departure from the world of alt.tv.twin-peaks.  I have tried to update
the quotes from the last (no, no strike that) most recent showing of
twin peaks (we always have to have hope), but time is not a renewable 
resource.  I haven't even had time to read a.t.tp.  (Aagghhh!)  I can't
really explain why, suffice it to say that it involves a matter of 
great national security, a 50-gallon barrel of dill pickles, 2 meg
of main memory and a small poodle.  The rest is too horrible.  I hope
that someone will be brave enough to continue the quotes.  For 
those who have been asking for the quotes they are on the ftp site
at    audrey.sait.edu.au       .   I believe this is right.  Someone
please correct me if I am wrong.  Good luck to all of you.  Keep the
ideas flowing.

charles d. kincaid
statman@sole.stat.ufl.edu    <----######   NeXTmail

p.s.    David Lynch for Supreme Court Justice

A friend informed that someone recently posted info on getting samples from TP.
Unfortunately I seemed to have lost this message and our damn system has got
rid of the backdated list that had the posting on it.

Can anyone help?

Thanks in advances 

Dave.

In article <1991Jul1.033114.16113@casbah.acns.nwu.edu> stvan@casbah.acns.nwu.edu (Laurel Smith Stvan) writes:

> >   3) Here's my (latest) attempt to clarify the BL/WL boundaries.  I believe
> >   that "This is the waiting room" does in fact refer to the whole
> >   red-curtained experience, which I agree is experienced differently by each
> >   person who is in it.  I believe that Cooper didi not yet confront  and lose
> >   to his shadow self in that place but only began that confrontation while
> >   brushing his teeth (so he hasn't yet anihilated his soul through imperfect
> >   courage as Hawk warned).  This is the beginning of a battle since up till
> >   now Cooper has not had a one on one confrontation with a Black Lodge force.
> >   This approach also explains why WE couldn't tkae Coopers soul--you can onle
> >   lose it in a battle with you r own dark side; although being _willing_
> >   torisk his soul for Annie is symbolicaly a good move.  This was probably
> >   where he formally took up the battle for his own soul.

I was thinking about this yesterday and it occurred to me too that if
you're meeting your dark side, particularly if you ultimately have to
integrate it, it is perfectly appropriate to see that dark side within
yourself, as Cooper does when he looks into the mirror.  It gave me
pause a little to think of Leland's statement that Laura was strong
and would not let Bob in (I think those are the words), which sounds
as though she never saw Bob in herself, as Cooper is doing.  Given
that the only other person who has seen Bob in the mirror is Leland,
it certainly would appear that, once you see Bob in yourself that way,
you have no choice but to do evil.

But Leland's conscious mind suppressed the Bob in himself.  When Bob
spoke to Cooper through Leland, he said that Leland does not remember
the killing, and would only do so when Bob left him.  Bob may have
been in control precisely because Leland wouldn't allow himself to
face Bob.  Similarly, if Laura, who was clearly feeling compelled to
explore her dark side with the drugs, prostitution, etc., refused to
"allow Bob in", i.e., recognize him as a part of herself, death might
be her only escape from the inner conflict.  She would have had no
spiritual guide to show her how to deal with Bob in any different way
than she sees her father dealing with him.  Cooper, on the other hand,
might have access to other resources which could help him remain
conscious of Bob but not be overcome by him.  For instance, we don't
know what sort of spirit Annie might have brought back with her from
the Red Curtains.  The look that Harry and Doc Hayward exhanged when
Cooper first asked about her could mean "she's alive but she seems
very different, almost not herself", rather than "she's really dead
but we can't tell Cooper that."

So, in a sense, we're all now free to write our own resolutions (or
non-resolutions, if we choose) to the story lines we have been
following.  They've certainly given us plenty of good material to work
with. 

Barb Miller

In article <64909@bbn.BBN.COM>, ingria@bbn.com (Bob Ingria) writes:
> > Not just any coffee cup; it's the coffee cup that Cooper set down on
> > the table in the Waiting Room.  (I suddenly realized that Laura would
> > be right side up to Cooper.)  And her image fades in slowly.  And she
> > winks (presumably, at Cooper).

I've seen this "wink" thing claimed before.  She's just blinking her eyes,
like any normal person who isn't in freeze-frame.  Unless she winks two 
eyes at a time.
-- cdt@pdp.sw.stratus.com --If you believe that I speak for my company, OR cdt@vos.stratus.com write today for my special Investors' Packet...

In article <1991Jun29.114524.699@mac.cc.macalstr.edu>, sdbeck@mac.cc.macalstr.edu writes:
> > ABC's censors on the cherry-stem: "I got an astonishing note from one of the
> > censhoad they thought the act of twisting the chery stem was in some way a
> > reference to oral sex. I called her up and said, 'What in the world would make
> > you think that? You must have an absolutely filthy mind.

Uh huh.  I'm sure they were really fooled by his phone call.

A girl applies to a cathouse.  Asked for her qualifications, she performs an
amazing feat with her tongue.  Clearly, this was a reference to Zen Crochet.
-- cdt@pdp.sw.stratus.com --If you believe that I speak for my company, OR cdt@vos.stratus.com write today for my special Investors' Packet...

In article <8828@umd5.umd.edu>, jblum@umd5.umd.edu (Jon Blum) writes:
> > Consider this.  We've known all along that Laura has a divided heart.  And,
> > aside from Cooper, SHE'S THE ONLY ONE IN THE LODGE WHO APPEARS IN TWO
> > DIFFERENT FORMS.

No, not true.  The LMFAP appears in two forms.  I think Annie appears in two forms.  I
believe Caroline may also, but it's hard to tell.
-- cdt@pdp.sw.stratus.com --If you believe that I speak for my company, OR cdt@vos.stratus.com write today for my special Investors' Packet...

My friend's brother-in-law said that he just received a TP movie
teaser at the video store he manages.  He said that the teaser
states that the movie is due to be released on video in Sept.
It also says what we've sorta been hearing all along... Laura's death
will be 'explained'. (sic)

I haven't seen the teaser yet.  I'll give more details when I have
seen it.   Some things may be getting lost in the communications.

Teaser -> Brother-in-law (non-TPer) -> Friend (TPer) -> Me (TPer) -> Netters

One thing I don't understand is why it's not going to the theatres first.

Kevin

stvan@casbah.acns.nwu.edu (Laurel Smith Stvan) writes:
> >2) At the end of this same scene, when Bob steps fully into the grove, I
> >swear I heard the words "I'm out."  Can anyone confirm this?  If it's true,

That's what I heard too. One of the more amusing jokes.

In article <1991Jul1.033114.16113@casbah.acns.nwu.edu>,
> > stvan@casbah.acns.nwu.edu (Laurel Smith Stvan) writes:
> > 
[deletions]
> > 
> > Can someone with a map or access guide say how close this lake is to the
> > sycamore grove?
> >

According to the map on the back of the Access guide, Glastonberry Grove (which
is described as 12 fir trees, not sycamores), is close to Owl Cave and
Pearl Lakes is not far away either. Also in the general area are 'Railroad
Cemetary" where presumably Laura was killed and Blue Pine Mt., the likely
candidate for one of the two mountains in the pictograph (the other being
White Tail Mt.)

> > 8) Seems like twenty years ago is a significant point in TP.  Wasn't it
> > also twenty years ago that Gordon lost his hearing?
> >

Some people have pointed out that Jupiter and Saturn 'meet' about every 20 years.

[deletions]

> > Laurel
 
-Rich Haller

kwh+@RI.CMU.EDU (Kevin Hartmann) writes:


> >My friend's brother-in-law said that he just received a TP movie
> >teaser at the video store he manages.  He said that the teaser
> >states that the movie is due to be released on video in Sept.
> >It also says what we've sorta been hearing all along... Laura's death
> >will be 'explained'. (sic)

> >One thing I don't understand is why it's not going to the theatres first.

This information is consistent with reports that the European version
of TP will be released in the States in September.  This is not a truly
new film.

--Tony (tmurray@socrates.umd.edu)

The latest buzz in my TP viewing group is that Katherine planted the
bomb after opening the safe herself and emptying it of it's true
valuable contents.  It's still an open debate on whether she meant to
take down Pete as well as Andrew (my vote is yes, if only because of
Pete's caterwalling about Jose).  And we're all hoping that Audrey 
slipped out of her hand-cuffs to go make that phone call to the paper.

Laurie
lauriekl@microsoft.com

First off, thanks to those who sent all the positive comments on Chapter One. 
Please, feel free to send any comments, criticism (or praise).


Secondly, as it was for the first chapter, this story has (or will have)
SPOILERS for those who haven't either a) read the Twin Peaks Access Guide, or
b) seen the second season finale.


If anyone asks for it, I'll repost the first chapter for those who haven't read
it yet.



Enjoy...







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

                                ^ Twin Peaks ^
                               ^ Passion Play ^

                                  Chapter II

Andy was pretty sure that the deer's head could support one more string of
garland.  As he stood atop the small wooden stepladder, holding a short length
of twine in one hand and the end of the shining decoration in the other, he
looked at the five strings radiating from the deer's antlers and tried to
remember how much he had used decorating the conference room last Christmas.
Andy remembered that night fondly; Lucy and he had brought little Josie along
with them, and everyone kept congratulating them on what a beautiful baby she
was.  They both felt really proud that night, and they made love three times
when they got home.  And it was probably six strings of garland, not five. 
Andy placed the last string against a free space on the left antler
(making it symmetrical) and began wrapping the short length of twine around it
and the antler.  The metal hook supporting the dear creaked.

"Off-i-cer BRENNAN?!"  Oh, no.

"Hello, Poopsie."  Andy turned to face the doorway, trying to keep
his hands on his work.  Lucy stood in the doorway, lips slightly parted,
showing clenched teeth; rolled-up sheets of graph paper were crumpling in her
hand.  Andy tried to pitch his voice to sound even more innocent than it
normally did.  "I was just putting up the garland and stuff for the party for
Agent Cooper."  Lucy didn't react; she just kept looking back and forth, at him
and the table.  Andy looked at it, covered with boxes overflowing with party
hats, glass ornaments, hand-carved nativity sets, a Thanksgiving centerpiece,
a menorah and a cardboard and styrofoam Easter Bunny.  He gulped. "Is something
wrong?"

Lucy took a deep breath before speaking.  Andy tensed, as if expecting to be
hit.  "How--can--I--set--up--my--doughnuts--for--the--party, if you have all
this STUFF on the TABLE!"  

Andy took the untied garland with him as he climbed down the stepladder.  "But 
honey, I needed to look through all the boxes to find the garland to put up on
the ceiling, and since they're all stacked up in the back of the closet..."

Lucy charged past him.  "It's IN MY WAY."  She began hoisting boxes off the
table, dropping them before they touched the ground; a few of the glass
ornaments could be heard shattering.

"Lucy, I've got all the garland out, I can pack that stuff up and put it back."

"Don't bother.  I'll do it."  The menorah clanged as it bounced off the ground,
knocking three candles out of their holders.

Andy stepped towards her, not approaching too closely, and being careful not to
entangle her in the loose garland stretching from the opposite wall to his
hand.  He stopped, and looked at his feet.  "You're mad at me.  I can tell."

Lucy put down the Easter Bunny, saving it from decapitation on the edge of the
blackboard.  "Yes I am, Off-i-cer BRENNAN.  And do you know why I'm mad at you?"

Andy felt ever more dejected.  "No."

She turned to face him, clenching a swaddled-Jesus figure carved from Ponderosa
Pine in one hand.  Her words came out slowly, spaced apart from one another like
bullets shooting from a machine-gun in slow-motion; she shook the figure for
emphasis. "She started crying at three in the morning last night, and while YOU
didn't wake up, I got out of bed, PUT on my robe, went INTO the NURSERY, PICKED
UP Josie, brought her INTO the kitchen, HEATED up SOME MILK, and FED her.  And
THEN do you know what happened?"

Andy didn't look up; he was near tears.  "No."

"She THREW UP!"

Andy took the babe from her hand, and looked at it with awe.  "Josie throws up
a _lot._"

"Of course she does, she's--a--BABY."  She had spent most of her anger; her
tone was more patronizing than upset.  She took the figure back, and spoke
while looking at it, sounding sadder.  "And I had to clean her up and change
her by myself, and hold her until she stopped crying so I could put her back
to sleep.  I was up for over an hour."

Andy hugged her, rubbing her back up and down with his arms, still holding the
garland.  "Lucy, I'm sorry I didn't help you.  I didn't know, I was asleep."
He turned her face up to look at him.  "Why didn't you wake me up?"

She stamped away from him.  "I did!  I always try to wake you to take care of
the baby, but you DON'T."

Andy dropped his gaze back down to his feet.  "I'm sorry, Lucy.  I guess I'm
just a heavy sleeper."  Lucy turned back to the table, moving boxes without
causing them undue harm.  Andy stepped closer, raising the garland and swinging
over her head and out of her way.  He spoke softly.  "Besides, didn't we decide
that I would keep my job at the sheriff's department, and you stay home and
take care of the baby?"

Lucy stopped, just as she had picked up a oak-tag cutout of a tall, lanky
Pilgrim.  Muscles stretching in her back, she gave the Pilgrim's neck a slow
twist; Andy cringed at the sound of the decoration tearing.  She tossed both
pieces into a box, and swept it and the remaining decorations off the table. 
She turned to Andy, her voice dangerously calm.  "The table is CLEAR now, so I
am going to SET up the DOUGHNUTS, and then I'm taking MY daughter HOME.  Good
day, Off-i-cer BRENNAN!!"  She charged out the door, but came back, stood
before Andy and ripped the garland from his hand.  She then left amid a cloud
of floating silver shreds.

Andy stood, staring at his hand for a few moments.  Then, slowly, he wiped a
tear from his eye.  He sniffed, bent down to pick up a box and the Easter
Bunny, and left the room, narrowly avoiding being crushed by Lucy's doughnut
cart as she practically threw it through the doorway.

Out in the hall, Andy had to concentrate very hard to keep from breaking down
there and then, sniffing to keep his sinuses from dripping, and rubbing his
eyes against one of the bunny's ears to catch the few tears that leaked out. 
But then he saw Dick walk in the front door wearing the latest in Horne's Mens'
Fashions (orange sweater, pine green courduroy slacks), and he quickly
straightened.  He remembered what Hawk had told him at his bachelor party: 
"Show no fear, and no matter what may happen, you cannot be beaten."  Andy
stood straight, held his boxes proudly, and took firm strides towards Dick,
who was leaning on the edge of the secretary's window, giving his casually
charming greetings to the temporary worker sitting there.  Dick looked up, and
rose when he saw Andy approach.  His face stretched into a wide smile.

"Ah, Andrew my fine fellow, you are just the man I was looking for."

Andy strained to be polite, envisioning handcuffing Dick the the back of the
Sheriff's jeep and driving him to Seattle; he smiled.  "Hello, Richard.  How
can I be of aid to you?"

"I'm afraid, my lad, that you cannot."  His smile abruptly changed into a
slight frown, and his eyebrows dropped from the middle of his forehead to just
above his eyes.  "I'm afraid that I have some bad news for you."

Andy covered his mouth, nearly dropping the decorations.  "What is it?"

"I know that you were especially fond of David Pierre, the man who designed the
window displays at Horne's."

"You mean the man who dresses up as Santa on Christmas for all the little
children?"

"I'm afraid that's the one.  You see, Andrew..."  He wiped one small tear from
his eye.  "I'm afraid that an accident has occurred."

Andy's eyes widened.  "What happened?"

"Well... he was stringing up a giant tennis racket for our 'Sports in Spring'
promotional display, when one of the high-tension steel cables snapped and...
it was horrible!"  Dick bent over, crying; Andy felt tears forming in his
eyes as well.  Suddenly, Dick had grabbed Andy's shoulder, pulling him close. 
"And Andrew, as I was there with him at the time of the accident, he entrusted
me with something."

Andy's eyes widened, and he wiped them to see clearly.  "He did?"

"Yes, dear lad.  Before they took him away on the ambulance, he told me that he
had one last message that he wanted me to give to you."

"What was it?"

"I'm afraid that it's a secret."  Dick motioned for Andy to move closer; Andy
put down the box and the bunny and put his ear next to Dick's mouth.  Dick
cupped his hands around his mouth, so no one else could hear.  "He said..."

Andy trembled with a mixture of fear and excitement.  "What did he say?"

Dick moved even closer, whispering.  "He said... April Fool, Andrew."

Andy stood up, confused.  Dick giggled through shut lips.  Andy's brow
furrowed.  "April Fool?  I don't get it."

But by then, Dick had shifted from a stifled giggle into full rollicking
laughter, and he had a hard time keeping from falling down and rolling on the
floor.  Instead, he started staggering around, pretending he had an enormous
belly and mixing his pseudo-English accent with an imitation of David Pierre's
French-Canadian dialect.  "Ho ho ho, April Fool, eh Andrew?  Hee hee hee!"

Andy kept his fists at his sides, every muscle in his arms tense.  He picked up
the decorations quickly, and stood, shaking, as Dick nearly asphyxiated from
his constant laughter.  Dick soon caught his breath, and stood calmly.  Then he
looked up at Andy and was laughing again.  Just before Andy was ready to jump
Dick, Hawk appeared from behind both of them, holding a used diaper pinched
between two fingers.  He put his free arm on Andy's shoulder to calm him, then
let him go.  He approached Dick.  "You."

Dick stopped laughing, caught his breath and looked up at him.  "Yes?" he
giggled.

Hawk pointed at him with free hand.  "Get out."  He grabbed the collars of
Dick's sweater and undershirt, and pulled them away from his neck.  With his
other hand, he shoved the diaper down them.  Then he pointed at the door. 
"Now."

Dick stood straight, gingerly unlatched his clothing from Hawk's hand, and
nervously straightened his ensemble.  He nodded slightly.  "Gentlemen. 
Madame."  He turned and left, quietly.  Hawk went to comfort Andy, but he was
already gone.

                                     ---

In the storage room, Andy dropped the decorations in the closet, and paced back
and forth in front of it, clenching and unclenching his fists.  Then, he stood
in front of the closet, staring at the Easter Bunny sitting atop a pile of
cardboard boxes.  He pulled back, and with one punch knocked the bunny's head
off its neck; it bounced off the back wall of the closet and fell onto the
floor at Andy's feet.  Andy stood and stared at it, then picked it up and stuck
it crookedly back on its neck.  He looked at it, then turned away.  "Sorry." 
He closed the door.

                                     ---

Hawk turned off the water, took a paper towel and dried his hands on his way
out of the men's room.  Once in the Deputy's office, he threw away the towel
and sat down behind his desk, carved whole from one enormous log of Douglas
Fir.  He had barely leaned back and put his feet up on its side (where the
unfinished stump of a branch limb held them comfortably) when he caught sight
of the clock:  11:14 A.M., time for coffee.  He got up, grabbed a stack of
folders and his mug from the desk and headed for the coffee station.

Once there, he shifted the folders to under his arm to be able to carry the
coffeepot, which he took into Harry's office, where Harry sat hunched over
paperwork, his empty mug held outstretched for Hawk to fill.  Hawk frowned,
concerned to see his friend yet again in his present state.  At the noise and
aroma of coffee being poured, Harry looked up, half-dazed, from his work; first
at Hawk, then at his arm.  "It must be eleven-fifteen.  I didn't even realize
I had picked up my mug."

"No problem."  Hawk topped off Harry's mug, then sat to fill his own.  He put
the coffeepot on the floor and handed Harry the folders he had brought. 
"Here's the local crime statistics for last month."

"Thanks."  Harry inserted them into the sprawl of papers on his desk.  He took
a long sip of coffee from his mug; Hawk could see him relax slightly as he
drank, and he knew this was one of the few times that he did.  Harry looked up,
a weak smile rising under his haggard eyes.  "Not that I mind, but why do you
bring me coffee every day at eleven-fifteen?"

Hawk put on his best "Native-American" voice.  "'Through rituals and
ceremonies, one's sanity can be maintained in an insane world.'"  He allowed a
short dramatic pause before continuing.  "I read it in one of Diane's
psychology books.  I used to help her study for exams."

Harry looked down at his desk, at the statistics and charts clenched in his
other hand.  "Insane.  Yeah, that's about it."  He put down the mug.  "Hawk, I
don't think I'll want a refill."

Hawk picked up the pot, and awkwardly got out of his chair.  "Alright, Harry. 
I'll see you at the party."  He got out of the room, turning at the door to see
Harry already resuming his work.  He shut the door behind him.

                             ^ End of Part Two ^
---------------------------------------------------------------------------

More stuff later.

Chris

---------------------------------------------------------------------------
Christopher J. Foster cfoster@eagle.wesleyan.edu or cfoster@wesleyan.bitnet

"Changing _Star_Trek_ into just another action series would be like using a
 sword as a butter knife." - Me
---------------------------------------------------------------------------

My feed to the net has been down for the last 2 weeks and I have been without
the wonderful flow of ideas and info on the Peaks movie.  Please email me info
on the Peaks movie as I am very interested.  Also what has been the main 
point of conversation of late?  Do people think BOB was really in Ben
and not Leland?  Will this be uncovered by a continuation of the story?  
How many Peaks people really died in the bank during the explosion?  Was
it all just a dream?  Has BOB taken over Bob Iger?  Sure Ben is Donna's
father but will it ever surface that he was Laura's father too (I just
know he is Laura's father)?  What do you all think?

Todd

I'd have to check the precise wording, but I heard that it was a quote from
Kipling, anyway...

And no, we didn't see any scenes with James in school, but that doesn't mean
he wasn't there.  We hardly even saw sweet-and-innocent Donna there...

About why it was that after the line "when you see me again, it won't be me",
the next time we saw the LMFAP was when he said "Wrong Way":

How do we know that wasn't the doppleganger?  Did you see his eyes?  It
sounds like that would be the kind of trick the Dark Side would play.  Coop
obviously thought that that little man was the same one -- since he'd only
just left the room and gone back -- so he listened to him.  But this one
led him to the Black Lodge...

In article <1991Jun30.235346.28933@rodan.acs.syr.edu> bwdavies@rodan.acs.syr.edu writes:
 >
 >A couple of recent novels incorporating elements of the "Fisher King"
 >mythos are Tim Powers' _The Drawing of the Dark_ (1979, probably a 
 >hardcover edition, paperback from Del Rey) and James P. Blaylock's
 >_The Paper Grail_ (1991, hardcover, Ace Books).
 >
 >-- 
 >Sam Hill Cabal, DSbwdavies@rodan.acs.syr.edubwdavies@sunrise.bitnet

Hold on now!  It's no mythos, it's a realos:  Bobby Fisher really did
challenge Billie Jean King to a tennis match, way back in the '70's.

Oh, I get it...BoB-by FISHer...

jimbo

I always figured that after the original dream-sequence / MIKE-meets-BOB
scenes were written for the European extended edition, Lynch and Frost
decided to incorporate them into the script for #002.  That way all that
footage wouldn't go to waste.  It raises the question of how much of the
MIKE / BOB / Black Lodge plotline was actually thought out in advance...

Also, how could MIKE have recognized the police sketch of BOB in that scene?
They didn't make the sketch until the fourth or fifth episode.  And Sarah
Palmer hadn't even seen BOB in the pilot, which meant that it was totally
missing from the European version...  unless they added more than we thought...

No, Teresa's was a T, as they said in the second-season premiere.  Ronnette's
was a B, and Laura's was an R.  The letters "T" and "R" were shown on the
blackboard in the rock-and-bottle scene in the first season, but not explained.
Maddy got an O, and probably Donna would have gotten the E.  But then who
would get the second R?...

And as for the poem, I've only seen it as "chance".  Hmm... "one chance out
between two worlds"...  isn't that where Cooper is right now?  Between two
worlds?...

.....and if so, what's his one chance?...

me too!!! thanks so much!


Lois Therese Casaleggi         "It's a heart-breaking world if you
ltc19205@uxa.cso.uiuc.edu       want it to be, and you're the one
                                who breaks it for me."   Squeeze

If you're going to argue that the record player in the Palmer house is proof
that the dwarf is Leland, and therefore BOB... aren't you forgetting that
the Palmer house isn't the only place with music always in the air?  The
whole d*mn TOWN has music always in the bloody air!  And Leland wasn't the
only one to dance, there was Audrey too (who danced in the diner, which has
a jukebox... plenty of music there).  It seems to me that dancing is more of
a general sign of possession ("letting the spirit move you"?) than of BOB
in particular.

And as for the assertion that the Laura from the Red Room was from the Black
Lodge...  I think I might've just posted my theory that there really were
two spirits in Laura Palmer, and that the one with the dwarf could easily
have come from the White Lodge.

My reason for feeling this way?  In Twin Peaks, the evil characters have all
been completely utterly scenery-chewing slavering-fanged EEEeeevil ones, and
the dwarf and the normal-eyed Laura come nowhere near this style of acting.

:)

But they never DID explain the traffic light...  or Jacoby's glasses...

Near the end of this weeks show they showed a close up of some waterfalls and 
everyone started saying "Hey, can you hear that? It sounds like this." and 
then they started snaping their fingers and swaying.

This was great.

But what was better was when Joel began asking for some coffee, or doughnuts, 
or even some cherry pie.  Joel was distracted from his cravings with phrases 
like:

"Look, there's a Lady over there...what's she holding? Looks like a log."

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
Alex Yentner        /  The Cellar BBS: (215) 336-9503
1609 E. Worrell St. / Q: My girlfriend just took me to Santa Barbara,
Phila., PA  19124   /    have you ever had a 48 hour orgasm?
(215) 288-9554      / A: No, I've never even BEEN to Santa Barbara!
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-

I have a pet theories about TP.

(1) In the final episode, it is obvious that time is much different in the
    Lodge than the real world; it seems to be backwards and/or multiply 
    branching in the Lodge (ie. Laura's backwards snapping of fingers, 
    backwards pronounciation, Cooper's stabbing and un-stabbing, and the 
    midget's "Wow Bob Wow" *before* the coffee tricks).  Now, Laura (I think) 
    says to him, "See you in 25 years." If Cooper is 25 years old, then this 
    implies that she'll see him before he's born.  This means that his 
    possession is retroactive from the time he went into the Lodge, and 
    that he has ALWAYS been possessed by Bob.  This helps explain why Windom
    was so crazed before; he too was retroactively possessed.  

(2) Cooper's retroactive possession is further supported by the fact that he
    kept having visions of the characters in the Lodge (giant, midget).
    So did Droolcup -- when the giant appeared once, he exclaimed, "I've seen
    him before."  And Droolcup was in the Lodge also.

If the above interpretation holds, then I say that Cooper himself
was the murderer all along,  and had untold influence in Laura's 
death (Leland: "I didn't kill anyone.")

So, there you have it. Dale Cooper always was the demon.

-- Brian Ross. Diet Pepsi. 'Nuff said. bjr@aipna.ed.ac.uk

In article <8851@umd5.umd.edu>, jblum@umd5.umd.edu (Jon Blum) writes:
# But they never DID explain [...] Jacoby's glasses...

Easy... Jacoby is a psychiatrist, and examines people's personalities.
The red and green glasses are complementary colours.  He therefore examines
dual components of people's personalities: good and evil.

-- Brian Ross. Diet Pepsi. 'Nuff said. bjr@aipna.ed.ac.uk

In article <8841@umd5.umd.edu> jblum@umd5.umd.edu (Jon Blum) writes:
> >And no, we didn't see any scenes with James in school, but that doesn't mean
> >he wasn't there.  We hardly even saw sweet-and-innocent Donna there...

Uh, wait a second. I think we did see James in school, actually.
In the two-hour pilot, in the very first school scene, just before 
they announce that Laura is dead ... before the announcement is made, 
James and Donna both notice Laura's empty seat and a "meaningful look"
passes between them.
Can anyone else confirm this? I'm pretty sure ...

I found this in my AM paper today (STL Post-Dispatch).
BIGGER BUDGET SET FOR 'PEAKS' MOVIE
  Production of a "Twin Peaks" theatrical film will begin in August, says
co-excutive producer Mark Frost.  The movie, fiananced through foreign
syndication of the series, will have a bigger budget than the weekly episodes
and will shoot more on location in the Pacific Northwest, he said late last
week, adding "If the movie works, I suppose there's an opportunity to do
one every couple of years, like 'Star Trek,' if that's what we want to do."
  While co-creator David Lynch and "Peaks" head writer Bob Engels have been 
working up the movie script, Frost has been in New Orleans directing his
first theatrical feature, "Storyville," a political drama.  In addition,
Frost and Lynch have a six-episode commitment from ABC for "On The Air," a
sitcom about an early-1950's live-TV show, that will go into production
in early fall.



So the news is finally out and it is good.  I can't wait for the movie
to come out (this should give us plenty to talk about now).  
I also believe that Miguel Ferrer (Albert) will be the star of "On The 
Air."

Todd

PS Laurie thanks for the Post Card.  It was great!

In article <1991Jul2.135113@aipna.ed.ac.uk>, bjr@aipna.ed.ac.uk (Brian J Ross) writes:
|>     midget's "Wow Bob Wow" *before* the coffee tricks).  Now, Laura (I think) 
|>     says to him, "See you in 25 years." If Cooper is 25 years old, then this 
|>     implies that she'll see him before he's born.  This means that his 
|>     possession is retroactive from the time he went into the Lodge, and 
|>     that he has ALWAYS been possessed by Bob.  This helps explain why Windom
|>     was so crazed before; he too was retroactively possessed.  

But Dale isn't as young as 25, I don't think. To be honest, I can't remember.
I'll check the diary when I get home.
Flaws with you theory - if Laura was going to see DC 25 years AGO, she'd be 
about -8 as she was only about 17 when she died.
What about Cooper's dream? - he was an old man in that, and there was Laura, 
still looking 17, which she would be as she wouldn't have aged as she was dead (?!).
Jeez I wish I had the whole two series on tape.

-- ============================================================================== Hazel Sydeserff |"What sad times are these when passing Centre for Speech Technology Research | ruffians can say `Ni!' at will to 80, South Bridge, EDINBURGH EH1 1HN | old ladies." - Roger the Shrubber, MPHG

prince@tusun2.mcs.utulsa.edu (Charlie Prince) writes:

> >In article <8841@umd5.umd.edu> jblum@umd5.umd.edu (Jon Blum) writes:
>> >>And no, we didn't see any scenes with James in school, but that doesn't mean
>> >>he wasn't there.  We hardly even saw sweet-and-innocent Donna there...

> >Uh, wait a second. I think we did see James in school, actually.
> >In the two-hour pilot, in the very first school scene, just before 
> >they announce that Laura is dead ... before the announcement is made, 
> >James and Donna both notice Laura's empty seat and a "meaningful look"
> >passes between them.
> >Can anyone else confirm this? I'm pretty sure ...

Yes.  James snaps his pencil in his hand, remember?  That whole scene is
great.  The teacher's wavering voice, the principal turning off the P.A.
right before he falls to pieces ... ah, the joys of the First Episode ... :-)


===============================================================================
    :: :: :: :: ::      Synth           synth@yenta.alb.nm.us   "Come on,
 :: :: :: :: :: :: ::   (F. Oberheim)   synth@euler.unm.edu        Concord!"
-------------------------------------------------------------------------------
 Fire your boss! Get out of the rat race forever. Call 24hr msg (505) 764-0621
===============================================================================
"COOP! WE CAN'T LEAVE ALL THIS SPICE BEHIND, COOP!"

jblum@umd5.umd.edu (Jon Blum) writes:

> > But they never DID explain the traffic light...  or Jacoby's glasses...


I don't know about the trafic light, but according to the Twin Peaks Access 
Guide page 29:

        ...Aquarian "Doc" balances the right and left sides of his 
        brain by wearing rose and aqua colored glasses.

       

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
Alex Yentner        /  The Cellar BBS: (215) 336-9503
1609 E. Worrell St. / Q: My girlfriend just took me to Santa Barbara,
Phila., PA  19124   /    have you ever had a 48 hour orgasm?
(215) 288-9554      / A: No, I've never even BEEN to Santa Barbara!
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-

In article <1991Jul2.140855@aifh.ed.ac.uk>, bjr@aifh.ed.ac.uk (Brian J Ross) writes:
> > In article <8851@umd5.umd.edu>, jblum@umd5.umd.edu (Jon Blum) writes:
> > # But they never DID explain [...] Jacoby's glasses...
> > 
> > Easy... Jacoby is a psychiatrist, and examines people's personalities.
> > The red and green glasses are complementary colours.  He therefore examines
> > dual components of people's personalities: good and evil.

Green?  They're consistently blue (halfway to violet) on my set.  Wasn't this
explained in one of the books:  Jacoby wears these glasses to "balance" the
right and left sides of his brain equally?
-- cdt@pdp.sw.stratus.com --If you believe that I speak for my company, OR cdt@vos.stratus.com write today for my special Investors' Packet...

Okay, here's the first chapter of "Passion Play", followed immeidately by the
second do they'll be easy to find.


WARNING...

SPOILERS may be found here, for those who a) haven't read the Twin Peaks Access
Guide, and more importantly b) haven't seen the final episode.

ADDITIONAL WARNING...

This is a first draft.  Please note any continuity glitches so I can correct
them.






And now...

 ------------------------------------------------------------------------------
                                ^ Twin Peaks ^
                               ^ Passion Play ^

                                      by
                                 Chris Foster

                                  Chapter I

"Diane, April first, ten-sixteen a.m..  I am driving a pea-green rental car,
1990 sedan, with no air-conditioning and an A.M. radio.  If this car were a
cup of coffee, well, then it would probably be the one I drank on the plane
into Seattle.  Once again I am en route to the pleasant lumber town of Twin
Peaks.  Ah, Diane, you have got to come down here and see these trees.  Nothing
I have seen or known beats the awesome sight of Douglas Firs reaching into the
clear blue sky.  Man.  While I am recording this, I imagine you have opened
your present and seen your gift, a Canon EX-210 digital camera and playback
unit.  I'm sorry I wasn't there to present it personally, but I guess this will
have to do.  Ahem.  'Happy Birthday to you, Happy Birthday to you; Happy
Birthday, dear Diane, Happy Birthday to you.'  What can I say, sometimes the
most cliched expressions of affection are the best ones.  If you have any
trouble installing the playback unit, Denise can help; she's a mean man with a
screwdriver.  Though I know you'll have no problem.  As you have by no doubt
noticed, the camera puts pictures both on paper, and on disks, which I will be
sending to you regularly with my tapes.  Though I know that nothing can replace
actually being here, hopefully with the aid of modern technology I can bring
you closer to the experience.  While in town I shall endeavor to photograph
some of the people, places and things that, on my last visit, made memorable my
time in Twin Peaks.  Beginning with these trees."

Trees and trucks sped past Dale B. Cooper's windows as he put down his tape
recorder atop the car's dashboard and reached into the back seat, pulling out a
compact black camera.  It was an excellent match for the recorder, covered with
similar plastic, shaped by similar curves, and having a red shutter button to
match the red 'record' button on the tape machine.  Dale held both the camera
and the green steering wheel with his right hand, while opening the side window
with his left.  Then he switched hands on the wheel and twisted around under his
seat belt, holding up the camera to his face and out the window, maintaining
some control of the car.  Through the viewfinder, the trees were a digitized
blur, appearing to move somewhat slower if he aimed ahead or behind the car,
instead of straight out beside him.  He slowly looked back and forth, framing
the shot, while his Dodge Reliant swerved, bounced and careened itself down the
highway.  Dale took no notice of this until a maroon-cabbed logging truck,
apparently the size of Spokane, rushed through the viewfinder, blocking the
shot, accompanied by the menacing bellow of its airhorn.  He quickly squeezed
the trigger and returned within the car, straightening himself in his seat
as well as the car on the road, steering out of the oncoming traffic.  He
pulled out the instant picture from the camera, placing the machine on the seat
beside him.  He looked briefly at the picture, not yet developed, a shiny black
space surrounded by a white frame.  He returned his eyes to the road, closed
the window, stuck the picture on the dash and picked up his tape recorder, his
forehead slightly furrowed.

"Diane, I hope this first picture was worth it, considering the danger I faced
in taking it.  I hope, for posterity's sake, that it won't be just a
green blur, or a snapshot of the end of a logging truck; those would be bad
omens for my newfound hobby.  As I drive I note, with some discomfort, an
increase in the number of potholes in the road since my last visit two years
ago.  I guess that Washington is suffering from a lack of funds, but what state
isn't these days.  In the more immediate environment, in the region of my
bladder to be specific, the increased bumpiness of the ride means I'll need to
make a pit stop a bit earlier than expected.  I was going to wait for lunch
until I got into town, but the Lamplighter Inn is just a few miles up the road,
and an airline's idea of breakfast does not define proper nourishment in any
case.  I'll bet you though that my 1992 dollars won't buy me as much ham,
pancakes, and coffee as they did in 1990.  But what'll you do?

"Higher cost of living aside, it'll be a pleasure to return to Twin Peaks. 
I've been negligent in my correspondence with Harry, and a personal visit is
the only way to make up for that.  That I was called as a member of the
Bookhouse Boys may imply some portent to why Harry called me here, but that in
no way affects the pleasure this trip will surely bring me.  Anyway, I've
missed this place.  No other place, aside from my hometown, has felt as much
like home.  And now Gordon will stop pestering me about taking some vacation
time.  Is it just me, Diane, or does Gordon seem awfully concerned about my
well-being?  By the way, tell Albert I said thanks for the meditation book, but
I am still having trouble attaining the proper state of relaxation.  I know I
won't have that problem here."

Dale drove on in silence, taking in the majesty of the forest, keeping the car
within its lane.  The blue sky ahead of him held small white clouds, drifting
towards the horizon from the north.  He watched them.

"Diane, in the clouds above me I see a small bag of marbles, a coffee-cup saucer
and a Boston-cream-filled doughnut; two of these associations indicate I should
be ordering the Lumberjack's special when I reach the Lamplighter, instead of
my regular ham and pancakes.  

"April Fool's Day.  Today I'll see how it gets celebrated in Twin Peaks. 
Perhaps I'll even be the victim of an April Fool's prank.  Man, I remember the
worst prank I was ever the patsy for, back when I was in high school.  It was
in Civics class; Sticky Roget told me that J. Edgar Hoover was going to speak
for the whole school that afternoon.  I feigned a need to urinate, a lie I
still sometimes feel guilty about, exited the class and ran home to change.  I
returned seventeen minutes later, in my black suit and tie, to the racous
laughter of Sticky and several of his friends.  I actually cried that night.
Can you believe that?

"Which somehow reminds me -- tonight I must bring flowers to Audrey's grave."

Though looking straight out at the road, the photograph on the dash caught his
attention.  He picked up the picture and looked at it.  It was the worst of
omens; a wash of green with a Great Fir log and a truck bumper jutting out of
the left-hand side of the frame.  Cooper grimaced.

"This does not speak well of --"

Slowly, like thick oil sliding down metal, the end of the logging truck moved
off into the frame, gone.  Then, the woods seemed to slow from the image of
blurriness, collecting themselves into still-standing trees as Dale watched. 
An owl flew out from within the tree in the middle of the picture, slowly
approaching and engulfing the space of the frame.  A voice whispered: 
"....dddaaallleee...."  Dale's hand struck and broke through  the side window,
sending picture into the air and recorder skittling across the highway into a
ditch.

Slowly, shaking, Dale pulled the car into the emergency lane and turned on his
hazard lights, parking.  He got out of the car, left hand cupping his other,
bleeding, hand, and stood by the edge of the road, waiting for the traffic to
ease, so he could reclaim his belongings.


                             ^ End of part One ^

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

Next time:
Party preparedness with Andy and Lucy - One Deputy and a Baby - Truman
struggling with sheriff's duties - and Dick plays a trick

---------------------------------------------------------------------------
Christopher J. Foster cfoster@eagle.wesleyan.edu or cfoster@wesleyan.bitnet

"Changing _Star_Trek_ into just another action series would be like using a
 sword as a butter knife." - Me
---------------------------------------------------------------------------

WARNING...

SPOILERS may be found here, for those who a) haven't read the Twin Peaks Access
Guide, and more importantly b) haven't seen the final episode.

ADDITIONAL WARNING...

This is a first draft.  Please note any continuity glitches so I can correct
them.






And now...

 ------------------------------------------------------------------------------
                                ^ Twin Peaks ^
                               ^ Passion Play ^

                                  Chapter II

Andy was pretty sure that the deer's head could support one more string of
garland.  As he stood atop the small wooden stepladder, holding a short length
of twine in one hand and the end of the shining decoration in the other, he
looked at the five strings radiating from the deer's antlers and tried to
remember how much he had used decorating the conference room last Christmas.
Andy remembered that night fondly; Lucy and he had brought little Josie along
with them, and everyone kept congratulating them on what a beautiful baby she
was.  They both felt really proud that night, and they made love three times
when they got home.  And it was probably six strings of garland, not five. 
Andy placed the last string against a free space on the left antler
(making it symmetrical) and began wrapping the short length of twine around it
and the antler.  The metal hook supporting the dear creaked.

"Off-i-cer BRENNAN?!"  Oh, no.

"Hello, Poopsie."  Andy turned to face the doorway, trying to keep
his hands on his work.  Lucy stood in the doorway, lips slightly parted,
showing clenched teeth; rolled-up sheets of graph paper were crumpling in her
hand.  Andy tried to pitch his voice to sound even more innocent than it
normally did.  "I was just putting up the garland and stuff for the party for
Agent Cooper."  Lucy didn't react; she just kept looking back and forth, at him
and the table.  Andy looked at it, covered with boxes overflowing with party
hats, glass ornaments, hand-carved nativity sets, a Thanksgiving centerpiece,
a menorah and a cardboard and styrofoam Easter Bunny.  He gulped. "Is something
wrong?"

Lucy took a deep breath before speaking.  Andy tensed, as if expecting to be
hit.  "How--can--I--set--up--my--doughnuts--for--the--party, if you have all
this STUFF on the TABLE!"  

Andy took the untied garland with him as he climbed down the stepladder.  "But 
honey, I needed to look through all the boxes to find the garland to put up on
the ceiling, and since they're all stacked up in the back of the closet..."

Lucy charged past him.  "It's IN MY WAY."  She began hoisting boxes off the
table, dropping them before they touched the ground; a few of the glass
ornaments could be heard shattering.

"Lucy, I've got all the garland out, I can pack that stuff up and put it back."

"Don't bother.  I'll do it."  The menorah clanged as it bounced off the ground,
knocking three candles out of their holders.

Andy stepped towards her, not approaching too closely, and being careful not to
entangle her in the loose garland stretching from the opposite wall to his
hand.  He stopped, and looked at his feet.  "You're mad at me.  I can tell."

Lucy put down the Easter Bunny, saving it from decapitation on the edge of the
blackboard.  "Yes I am, Off-i-cer BRENNAN.  And do you know why I'm mad at you?"

Andy felt ever more dejected.  "No."

She turned to face him, clenching a swaddled-Jesus figure carved from Ponderosa
Pine in one hand.  Her words came out slowly, spaced apart from one another like
bullets shooting from a machine-gun in slow-motion; she shook the figure for
emphasis. "She started crying at three in the morning last night, and while YOU
didn't wake up, I got out of bed, PUT on my robe, went INTO the NURSERY, PICKED
UP Josie, brought her INTO the kitchen, HEATED up SOME MILK, and FED her.  And
THEN do you know what happened?"

Andy didn't look up; he was near tears.  "No."

"She THREW UP!"

Andy took the babe from her hand, and looked at it with awe.  "Josie throws up
a _lot._"

"Of course she does, she's--a--BABY."  She had spent most of her anger; her
tone was more patronizing than upset.  She took the figure back, and spoke
while looking at it, sounding sadder.  "And I had to clean her up and change
her by myself, and hold her until she stopped crying so I could put her back
to sleep.  I was up for over an hour."

Andy hugged her, rubbing her back up and down with his arms, still holding the
garland.  "Lucy, I'm sorry I didn't help you.  I didn't know, I was asleep."
He turned her face up to look at him.  "Why didn't you wake me up?"

She stamped away from him.  "I did!  I always try to wake you to take care of
the baby, but you DON'T."

Andy dropped his gaze back down to his feet.  "I'm sorry, Lucy.  I guess I'm
just a heavy sleeper."  Lucy turned back to the table, moving boxes without
causing them undue harm.  Andy stepped closer, raising the garland and swinging
over her head and out of her way.  He spoke softly.  "Besides, didn't we decide
that I would keep my job at the sheriff's department, and you stay home and
take care of the baby?"

Lucy stopped, just as she had picked up a oak-tag cutout of a tall, lanky
Pilgrim.  Muscles stretching in her back, she gave the Pilgrim's neck a slow
twist; Andy cringed at the sound of the decoration tearing.  She tossed both
pieces into a box, and swept it and the remaining decorations off the table. 
She turned to Andy, her voice dangerously calm.  "The table is CLEAR now, so I
am going to SET up the DOUGHNUTS, and then I'm taking MY daughter HOME.  Good
day, Off-i-cer BRENNAN!!"  She charged out the door, but came back, stood
before Andy and ripped the garland from his hand.  She then left amid a cloud
of floating silver shreds.

Andy stood, staring at his hand for a few moments.  Then, slowly, he wiped a
tear from his eye.  He sniffed, bent down to pick up a box and the Easter
Bunny, and left the room, narrowly avoiding being crushed by Lucy's doughnut
cart as she practically threw it through the doorway.

Out in the hall, Andy had to concentrate very hard to keep from breaking down
there and then, sniffing to keep his sinuses from dripping, and rubbing his
eyes against one of the bunny's ears to catch the few tears that leaked out. 
But then he saw Dick walk in the front door wearing the latest in Horne's Mens'
Fashions (orange sweater, pine green courduroy slacks), and he quickly
straightened.  He remembered what Hawk had told him at his bachelor party: 
"Show no fear, and no matter what may happen, you cannot be beaten."  Andy
stood straight, held his boxes proudly, and took firm strides towards Dick,
who was leaning on the edge of the secretary's window, giving his casually
charming greetings to the temporary worker sitting there.  Dick looked up, and
rose when he saw Andy approach.  His face stretched into a wide smile.

"Ah, Andrew my fine fellow, you are just the man I was looking for."

Andy strained to be polite, envisioning handcuffing Dick the the back of the
Sheriff's jeep and driving him to Seattle; he smiled.  "Hello, Richard.  How
can I be of aid to you?"

"I'm afraid, my lad, that you cannot."  His smile abruptly changed into a
slight frown, and his eyebrows dropped from the middle of his forehead to just
above his eyes.  "I'm afraid that I have some bad news for you."

Andy covered his mouth, nearly dropping the decorations.  "What is it?"

"I know that you were especially fond of David Pierre, the man who designed the
window displays at Horne's."

"You mean the man who dresses up as Santa on Christmas for all the little
children?"

"I'm afraid that's the one.  You see, Andrew..."  He wiped one small tear from
his eye.  "I'm afraid that an accident has occurred."

Andy's eyes widened.  "What happened?"

"Well... he was stringing up a giant tennis racket for our 'Sports in Spring'
promotional display, when one of the high-tension steel cables snapped and...
it was horrible!"  Dick bent over, crying; Andy felt tears forming in his
eyes as well.  Suddenly, Dick had grabbed Andy's shoulder, pulling him close. 
"And Andrew, as I was there with him at the time of the accident, he entrusted
me with something."

Andy's eyes widened, and he wiped them to see clearly.  "He did?"

"Yes, dear lad.  Before they took him away on the ambulance, he told me that he
had one last message that he wanted me to give to you."

"What was it?"

"I'm afraid that it's a secret."  Dick motioned for Andy to move closer; Andy
put down the box and the bunny and put his ear next to Dick's mouth.  Dick
cupped his hands around his mouth, so no one else could hear.  "He said..."

Andy trembled with a mixture of fear and excitement.  "What did he say?"

Dick moved even closer, whispering.  "He said... April Fool, Andrew."

Andy stood up, confused.  Dick giggled through shut lips.  Andy's brow
furrowed.  "April Fool?  I don't get it."

But by then, Dick had shifted from a stifled giggle into full rollicking
laughter, and he had a hard time keeping from falling down and rolling on the
floor.  Instead, he started staggering around, pretending he had an enormous
belly and mixing his pseudo-English accent with an imitation of David Pierre's
French-Canadian dialect.  "Ho ho ho, April Fool, eh Andrew?  Hee hee hee!"

Andy kept his fists at his sides, every muscle in his arms tense.  He picked up
the decorations quickly, and stood, shaking, as Dick nearly asphyxiated from
his constant laughter.  Dick soon caught his breath, and stood calmly.  Then he
looked up at Andy and was laughing again.  Just before Andy was ready to jump
Dick, Hawk appeared from behind both of them, holding a used diaper pinched
between two fingers.  He put his free arm on Andy's shoulder to calm him, then
let him go.  He approached Dick.  "You."

Dick stopped laughing, caught his breath and looked up at him.  "Yes?" he
giggled.

Hawk pointed at him with free hand.  "Get out."  He grabbed the collars of
Dick's sweater and undershirt, and pulled them away from his neck.  With his
other hand, he shoved the diaper down them.  Then he pointed at the door. 
"Now."

Dick stood straight, gingerly unlatched his clothing from Hawk's hand, and
nervously straightened his ensemble.  He nodded slightly.  "Gentlemen. 
Madame."  He turned and left, quietly.  Hawk went to comfort Andy, but he was
already gone.

                                     ---

In the storage room, Andy dropped the decorations in the closet, and paced back
and forth in front of it, clenching and unclenching his fists.  Then, he stood
in front of the closet, staring at the Easter Bunny sitting atop a pile of
cardboard boxes.  He pulled back, and with one punch knocked the bunny's head
off its neck; it bounced off the back wall of the closet and fell onto the
floor at Andy's feet.  Andy stood and stared at it, then picked it up and stuck
it crookedly back on its neck.  He looked at it, then turned away.  "Sorry." 
He closed the door.

                                     ---

Hawk turned off the water, took a paper towel and dried his hands on his way
out of the men's room.  Once in the Deputy's office, he threw away the towel
and sat down behind his desk, carved whole from one enormous log of Douglas
Fir.  He had barely leaned back and put his feet up on its side (where the
unfinished stump of a branch limb held them comfortably) when he caught sight
of the clock:  11:14 A.M., time for coffee.  He got up, grabbed a stack of
folders and his mug from the desk and headed for the coffee station.

Once there, he shifted the folders to under his arm to be able to carry the
coffeepot, which he took into Harry's office, where Harry sat hunched over
paperwork, his empty mug held outstretched for Hawk to fill.  Hawk frowned,
concerned to see his friend yet again in his present state.  At the noise and
aroma of coffee being poured, Harry looked up, half-dazed, from his work; first
at Hawk, then at his arm.  "It must be eleven-fifteen.  I didn't even realize
I had picked up my mug."

"No problem."  Hawk topped off Harry's mug, then sat to fill his own.  He put
the coffeepot on the floor and handed Harry the folders he had brought. 
"Here's the local crime statistics for last month."

"Thanks."  Harry inserted them into the sprawl of papers on his desk.  He took
a long sip of coffee from his mug; Hawk could see him relax slightly as he
drank, and he knew this was one of the few times that he did.  Harry looked up,
a weak smile rising under his haggard eyes.  "Not that I mind, but why do you
bring me coffee every day at eleven-fifteen?"

Hawk put on his best "Native-American" voice.  "'Through rituals and
ceremonies, one's sanity can be maintained in an insane world.'"  He allowed a
short dramatic pause before continuing.  "I read it in one of Diane's
psychology books.  I used to help her study for exams."

Harry looked down at his desk, at the statistics and charts clenched in his
other hand.  "Insane.  Yeah, that's about it."  He put down the mug.  "Hawk, I
don't think I'll want a refill."

Hawk picked up the pot, and awkwardly got out of his chair.  "Alright, Harry. 
I'll see you at the party."  He got out of the room, turning at the door to see
Harry already resuming his work.  He shut the door behind him.

                             ^ End of Part Two ^
 ------------------------------------------------------------------------------

Next time:

More stuff, later.

---------------------------------------------------------------------------
Christopher J. Foster cfoster@eagle.wesleyan.edu or cfoster@wesleyan.bitnet

"Changing _Star_Trek_ into just another action series would be like using a
 sword as a butter knife." - Me
---------------------------------------------------------------------------

Yes, please repost Chapter 1.

Your chapter 2 was a damned fine substitute for having to live without
a weekly Peaks fix.

In article <1991Jul2.135113@aipna.ed.ac.uk> bjr@aipna.ed.ac.uk (Brian J Ross) writes:

> >(2) Cooper's retroactive possession is further supported by the fact that he
> >    kept having visions of the characters in the Lodge (giant, midget).
> >    So did Droolcup -- when the giant appeared once, he exclaimed, "I've seen
> >    him before."  And Droolcup was in the Lodge also.

You're saying the Giant said, "I've seen him before," where "him" refers
to Droolcup?  Which episode was this?  I don't remember the Giant
ever talking about Droolcup.  The closest thing to this that either SDR or the 
Giant said, was "I've heard about you," referring to Coop.

Rocky Giovinazzo

In article <9107021509.AA25067@wugate.wustl.edu> FURESZ@KIDS.WUSTL.EDU 
(TODD FURESZ) writes:

> >   So the news is finally out and it is good.  I can't wait for the movie
> >   to come out (this should give us plenty to talk about now).  
> >   I also believe that Miguel Ferrer (Albert) will be the star of "On The 
> >   Air."

Ian Buchanan (Dick Tremayne) is in it too.  I can only assume Jack
Nance will probably show up too, since he's only missed out on one
David Lynch production (Elephant Man) that I know of...indeed, I
suspect that all sorts of cast members from TP will show up, along
with maddening bits of imagery that suggest connections to TP, as in
the case of "Wild at Heart" and "Blue Velvet" and hell, just about
everything by Lynch.

- Dan

--
 _______________________________________________________________________
|Dan Parmenter    |"And it would have worked too, if it hadn't been|
|dan@gnu.ai.mit.edu | for those meddling kids!"|
 -----------------------------------------------------------------------

In article <1367@tusun2.mcs.utulsa.edu> prince@tusun2.mcs.utulsa.edu (Charlie
Prince) writes:
> >In article <8841@umd5.umd.edu> jblum@umd5.umd.edu (Jon Blum) writes:
>> >>And no, we didn't see any scenes with James in school, but that doesn't mean
>> >>he wasn't there.  We hardly even saw sweet-and-innocent Donna there...
> >
> >Uh, wait a second. I think we did see James in school, actually.
> >In the two-hour pilot, in the very first school scene, just before 
> >they announce that Laura is dead ... before the announcement is made, 
> >James and Donna both notice Laura's empty seat and a "meaningful look"
> >passes between them.
> >Can anyone else confirm this? I'm pretty sure ...
> >

You are most assuredly correct. They look at the empty seat, look at each other
and Donna starts crying.

In article <2977@sumax.seattleu.edu> gkull@sumax.seattleu.edu (Greg Kull) writes:
> >The references to TP in Northern Exposure are probably a geographic abberation,
> >as TP was filmed in North Bend and NE in Roslyn, WA. These two towns are about
> >50 miles apart. Just down the road...

I disagree; there have been deliberate references -- several times,
NE's writers have been cute.  I don't think the line about the coffee
tasting like fish I saw a couple weeks ago was a coincidence -- it's a
little wink at the audience.


--
--
Joe Buck
jbuck@galileo.berkeley.edu {uunet,ucbvax}!galileo.berkeley.edu!jbuck

The references to TP in Northern Exposure are probably a geographic abberation,
as TP was filmed in North Bend and NE in Roslyn, WA. These two towns are about
50 miles apart. Just down the road...

In article <1991Jul2.154805.2385@aifh.ed.ac.uk> hazel@cstr.ed.ac.uk (Hazel
Sydeserff) writes:
> >In article <1991Jul2.135113@aipna.ed.ac.uk>, bjr@aipna.ed.ac.uk (Brian J Ross)
writes:
> >|>     midget's "Wow Bob Wow" *before* the coffee tricks).  Now, Laura (I
think) 
> >|>     says to him, "See you in 25 years." If Cooper is 25 years old, then
this 
> >|>     implies that she'll see him before he's born.  This means that his 
> >|>     possession is retroactive from the time he went into the Lodge, and 
> >|>     that he has ALWAYS been possessed by Bob.  This helps explain why
Windom
> >|>     was so crazed before; he too was retroactively possessed.  
> >
> >But Dale isn't as young as 25, I don't think. To be honest, I can't remember.
> >I'll check the diary when I get home.

Since I carry it with me at all times :-), I have the answer right now.
Dale Bartholomew Cooper was born 4/19/54.

> >Flaws with you theory - if Laura was going to see DC 25 years AGO, she'd be 
> >about -8 as she was only about 17 when she died.
> >What about Cooper's dream? - he was an old man in that, and there was Laura, 
> >still looking 17, which she would be as she wouldn't have aged as she was dead
(?!).
> >Jeez I wish I had the whole two series on tape.
> >

According to the transcript of the European ending, the caption "TWENTY-FIVE
YEARS LATER" appears before the 'Let's Rock' sequence which ends the movie. My
memory is claiming that Coop makes a statement about it being 25 years later
when he tells the gang about his dream the next day, but I don't completely
trust it. The timeline doesn't give a summary so I'll have to check it against
the tape tonight.

By the way, I have been reviewing the whole thing one episode at a time each
day for the last week with my daughter. Tonight we get 1007.  It's quite
interesting to do it that way. I don't think I could do a marathon.

One of the things that I noticed this time around was how Coop changed. In the
early episodes he was much weirder and stiffer.  More like his character in the
Autobiography.  Being in TP definitely mellows him out. He also loses a lot of
self confidence for obvious reasons.

Another thing I had forgotten was how bad the relationship between Audrey and
her father starts out. Her overtures to her father that eventually result in a
loving relationship between the two of them were initially a fake motivated by
her desire to ensnare Coop.

Finally, I had forgotten how pompous the Major was in his relationship to his
son at the beginning. One would never predict from the first season that the
Major would become such a sympathetic and important character in the second.
 
> >==============================================================================
> >Hazel Sydeserff                       |"What sad times are these when passing
> >Centre for Speech Technology Research | ruffians can say `Ni!' at will to
> >80, South Bridge, EDINBURGH EH1 1HN   | old ladies." - Roger the Shrubber,
MPHG

Guess what we got on the telly, last week, Hazel? Give you hint: "Ni! Ni!"

-Rich Haller

P.S. since birthdays came up, guess who else besides myself and HST were born
on May 13? Here are two: Joe Louis, Stevie Wonder.

In article 15549 hazel@cstr.ed.ac.uk (Hazel Sydeserff) writes:
> >But Dale isn't as young as 25, I don't think.

 I'm pretty sure Dale was born in 54. He had a birthday fairly recently, 
but I can't remember the date.
          jamii

-- -----------jamii@edsr.eds.com or ....uunet!edsr!jamii------------------ "Cotton balls. By god those things will be quiet now." Nadine, Twin Peaks

So you could see the closed-captions?  Do you remember whether, in #1002
and #2009, it was "one chance out" or "one chants out"?...

I'd guess Jones' language was Afrikaans (sp?), because she mentioned
wanting to speak to the South African consulate (in Twin Peaks?).  And
Eckhardt wanted Truman dead because he was jealous.  Seems Josie really
did care about him, and Thomas didn't like that...

brian@hplvec.LVLD.HP.COM (Brian Wood) writes:

>> > >It was just a cheap sound effect.  One dot, two dots, three dots, four dots.
>> > >(That "spells" "ETSH".)
> > 
> > 
> > That's EISH.

Wow, Brian, Wow -- "eish" is, believe it or not, the Hebrew word for "fire".

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

stvan@casbah.acns.nwu.edu (Laurel Smith Stvan) writes:

> > 6) Don't you wish that Cooper had talked a bit more with Annie about his
> > investigations?  Seems lkie the girl with strange neighbors in her head
> > might have been able to give him some clues.  Do you suppose her suicide
> > attempt compares at all to Laura's allowing herself to be killed?

Strange neighbors in her head? To what is this a reference? (Probably
something obvious that I've forgotten...)

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

In article <1991Jun30.185118.6087@ns.uoregon.edu> rhaller@phloem.uoregon.edu writes:

> >I'm still not sure what we are to make of Coop's wound. I guess
> >that it isn't the Fisher King's wound if that is supposedly in the
> >thigh. The location suggests Christ's spear wound on the cross. Is
> >there a knight in the Grail literature who suffers a similar wound
> >that we could fit in here? Is anyone out there (Barb?) familiar enough
> >with Spenser's 'Fairey Queene' to confirm or deny parallels? It seems
> >another likely candidate.

Yikes! The only thing I know about the Fairey Queene is that it is
supposedly the longest poem in the English language.  It had exited
the reading lists by the time I got to college.

If you really want to tie the Fisher King in with Cooper, I would do
it through the symbolism of the wound, rather than its actual location
on the mythical king and on Cooper.  If you think about it, as the
Fisher King is impotent physically and his lands laid waste, Cooper's
love life has been something of a waste land since Carolyn's death.
In Twin Peaks he has found Annie, who could revitalize him if she is
not destroyed. Cooper's trip to the Black Lodge (or wherever) is an
attempt to keep that relationship viable, symbolically (or actually,
depending upon your interpretation of the Black Lodge) to save Annie.
But this puts Cooper both in the role of Fisher King and Questing
Knight.  One thing that is interesting is that some versions
of the Grail legend show a deep suspicion of women as potential
obstacles to achievement of the Grail, not unlike the warnings that
were flying around the net before the last episode, saying that Annie
was distracting Cooper from his purpose, if not downright evil.

I believe this thread grew out of two things: the mention of King
Arthur in the script when Glastonbury Grove came up, and the fish in
the pickup truck that Windom Earle said would allow him to enter the
Black Lodge (or something like that).  I think the Arthurian parallel
could be taken in a number of directions by the writers, were the show
to continue, but at this point there aren't any parallels that are
clear enough to say "this is why they talked about King Arthur here".
The love triangle (followed by Lancelot's madness, as I believe
someone pointed out) seems the closest.  Comparing Cooper to a knight,
jumping back and forth between the red curtained rooms as a knight on
a chessboard, could also reinforce this, with Annie being explicitly
identified as a Queen.  The Grail connection is much fuzzier, although
I do have to admit, if the Red Curtained room is the Grail Castle,
then the Grail itself has to be that cup of coffee, which seems
entirely in keeping with the spirit of Twin Peaks.  Cooper's wound
would seem to be more a tie-in with the gunshot wound from Josie or
the wound he received from Windom Earle when Carolyn died than a
direct reference to a particular wound in myth.

Barb Miller

gkull@sumax.seattleu.edu (Greg Kull) writes:

> > The references to TP in Northern Exposure are probably a geographic abberatio
> > as TP was filmed in North Bend and NE in Roslyn, WA. These two towns are abou
> > 50 miles apart. Just down the road...


Hmmm, then if the two locales are so close, perhaps they actually DID shoot 
the same falls shown in TP.

_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
Alex Yentner        /  The Cellar BBS: (215) 336-9503
1609 E. Worrell St. / Q: My girlfriend just took me to Santa Barbara,
Phila., PA  19124   /    have you ever had a 48 hour orgasm?
(215) 288-9554      / A: No, I've never even BEEN to Santa Barbara!
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-

In article <1991Jul2.195810.2008@ns.uoregon.edu>, rhaller@phloem.uoregon.edu writes:
|> >==============================================================================
|> >Hazel Sydeserff                       |"What sad times are these when passing
|> >Centre for Speech Technology Research | ruffians can say `Ni!' at will to
|> >80, South Bridge, EDINBURGH EH1 1HN   | old ladies." - Roger the Shrubber,
|> MPHG
|> 
|> Guess what we got on the telly, last week, Hazel? Give you hint: "Ni! Ni!"

I'm 24, I'm not old!
Help help I'm being repressed!
You saw it, didn't ya? You saw 'im repressin' me?
Oops! I digress.....erm....the owls are not what they seem!?

P.S. What was all tha "Little Nicky" stuff about anyway? A herring as red as the 
one in the percolator and the 12 in Pete's truck? ;-)


Hazel (tout simple - you've seen my .sig once already today.)

In article <1991Jul2.182552.28517@risky.ecs.umass.edu>, giovin@medr4.ecs.umass.edu (Rocky J Giovinazzo) writes:
# In article <1991Jul2.135113@aipna.ed.ac.uk> bjr@aipna.ed.ac.uk (Brian J Ross) writes:
# 
# >(2) Cooper's retroactive possession is further supported by the fact that he
# >    kept having visions of the characters in the Lodge (giant, midget).
# >    So did Droolcup -- when the giant appeared once, he exclaimed, "I've seen
# >    him before."  And Droolcup was in the Lodge also.
# 
# You're saying the Giant said, "I've seen him before," where "him" refers
# to Droolcup?  Which episode was this?  I don't remember the Giant
# ever talking about Droolcup.  The closest thing to this that either SDR or 
# the 
# Giant said, was "I've heard about you," referring to Coop.

No, as far as I remember... while Cooper was in a bar, he had a vision 
with the giant. After it ended, another old man in the bar (Droolcup 
is his name???) said, "I've seen him before!"  This same old guy was the one 
who served coffee in the Lodge.


-- Brian Ross. Diet Pepsi. 'Nuff said. bjr@aipna.ed.ac.uk

In article <1367@tusun2.mcs.utulsa.edu>, prince@tusun2.mcs.utulsa.edu (Charlie Prince) writes:
> > In article <8841@umd5.umd.edu> jblum@umd5.umd.edu (Jon Blum) writes:
>> >>And no, we didn't see any scenes with James in school, but that doesn't mean
>> >>he wasn't there.  We hardly even saw sweet-and-innocent Donna there...
> > 
> > Uh, wait a second. I think we did see James in school, actually.
> > In the two-hour pilot, in the very first school scene, just before 
> > they announce that Laura is dead ... before the announcement is made, 
> > James and Donna both notice Laura's empty seat and a "meaningful look"
> > passes between them.
> > Can anyone else confirm this? I'm pretty sure ...
> > 

It's true, it's true, it's true.

--Cool Bean
-- **This is not cultural.

> >So you could see the closed-captions?  Do you remember whether, in #1002
> >and #2009, it was "one chance out" or "one chants out"?...

I'm not familiar with those specific episode numbers. I believe I have the
next-to-last episode and the finale on tape. Was it in one of those? I'd
be glad to check.

Heh. I have the Twin Peaks finale on the same tape as the Dallas finale.

Hyuck, hyuck...

Ron Morgan
osmigo@emx.utexas.edu

In article <1991Jul2.195810.2008@ns.uoregon.edu> rhaller@phloem.uoregon.edu
writes:
[deletions]
> >According to the transcript of the European ending, the caption "TWENTY-FIVE
> >YEARS LATER" appears before the 'Let's Rock' sequence which ends the movie. My
> >memory is claiming that Coop makes a statement about it being 25 years later
> >when he tells the gang about his dream the next day, but I don't completely
> >trust it. The timeline doesn't give a summary so I'll have to check it against
> >the tape tonight.
> >
[deletions]

Yup. He tells them it was 25 years later.

> >-Rich Haller
> >
> >P.S. since birthdays came up, guess who else besides myself and HST were born
> >on May 13? Here are two: Joe Louis, Stevie Wonder.
> >
 And Mary Wells...

-Rich Haller

In article <BARB.91Jul2201738@chamarti.ai.mit.edu>, barb@zurich.ai.mit.edu (Barb Miller) writes:
> > Comparing Cooper to a knight,
> > jumping back and forth between the red curtained rooms as a knight on
> > a chessboard, could also reinforce this, with Annie being explicitly
> > identified as a Queen.

Aha, now I understand Coop's "failure" that allowed BOB to overcome and enter him!
On his last move through the waiting room, he forgot to make that little hook thing
on the end!

By the way, Barb, I took your advice and looked up the Fisher King in Bulfinch.
He's really given short shrift.  Two sentences, no mention of where the wound was,
what happened to him afterwards, nothing about his lands being laid waste, etc.
But at least I figured out that he was after Joseph and before Arthur.  Thanks again.
-- cdt@pdp.sw.stratus.com --If you believe that I speak for my company, OR cdt@vos.stratus.com write today for my special Investors' Packet...

In article <1991Jul2.205142.1891@edsr.eds.com>, jamii@edsr.eds.com (Jamii K. Corley) writes:
> > "Cotton balls. By god those things will be quiet now."  Nadine, Twin Peaks

Hey, I never noticed this.  The FIRST appearance of used motor oil in TP.
-- cdt@pdp.sw.stratus.com --If you believe that I speak for my company, OR cdt@vos.stratus.com write today for my special Investors' Packet...

   bjr@aipna.ed.ac.uk (Brian J Ross) writes:
> >  giovin@medr4.ecs.umass.edu (Rocky J Giovinazzo) writes:
> ># bjr@aipna.ed.ac.uk (Brian J Ross) writes:
> ># 
> ># >(2) Cooper's retroactive possession is further supported by the fact that he
> ># >    kept having visions of the characters in the Lodge (giant, midget).
> ># >    So did Droolcup -- when the giant appeared once, he exclaimed, "I've 
> ># >    seen him before."  And Droolcup was in the Lodge also.
> ># 
> ># You're saying the Giant said, "I've seen him before," where "him" refers
> ># to Droolcup?  Which episode was this?  I don't remember the Giant
> ># ever talking about Droolcup.  The closest thing to this that either SDR or 
> ># the 
> ># Giant said, was "I've heard about you," referring to Coop.
> >
> >No, as far as I remember... while Cooper was in a bar, he had a vision 
> >with the giant. After it ended, another old man in the bar (Droolcup 
> >is his name???) said, "I've seen him before!"  This same old guy was the one 
> >who served coffee in the Lodge.

I'm going to have to check my videotapes but I'm pretty certain that
SDC only said, "I'm so sorry," to Cooper.

Rocky Giovinazzo

In article <1991Jul3.173620.7287@risky.ecs.umass.edu>, giovin@medr4.ecs.umass.edu (Rocky J Giovinazzo) writes:
> >    bjr@aipna.ed.ac.uk (Brian J Ross) writes:
>> > >  giovin@medr4.ecs.umass.edu (Rocky J Giovinazzo) writes:
>> > ># bjr@aipna.ed.ac.uk (Brian J Ross) writes:
>> > ># >    So did Droolcup -- when the giant appeared once, he exclaimed, "I've 
>> > ># >    seen him before."
>> > ># You're saying the Giant said, "I've seen him before," where "him" refers
>> > ># to Droolcup?  Which episode was this?
>> > >No, as far as I remember... while Cooper was in a bar, he had a vision 
>> > >with the giant. After it ended, another old man in the bar (Droolcup 
>> > >is his name???) said, "I've seen him before!"
> > I'm going to have to check my videotapes but I'm pretty certain that
> > SDC only said, "I'm so sorry," to Cooper.

My recollection matches yours.  However, I DO remember Senor Droolcup saying,
"I've seen him before" or "I've seen you before" in a context where it was purposely
vague if he was talking about Cooper, or about the giant which he may or may not
have seen.  Was it at the stormy gathering, where the Major brought Droolcup
in to the big "Somebody in this room killed Laura Palmer" climax?
-- cdt@pdp.sw.stratus.com --If you believe that I speak for my company, OR cdt@vos.stratus.com write today for my special Investors' Packet...

just on the side:  I just called the WYSE 800 number; while I was on hold
I got to listen to.... you guessed it:  the Twin Peaks Soundtrack

Helmut Hissen
Stanford Lin Acc Center

jamii@edsr.eds.com (Jamii K. Corley) writes:

> > In article 15549 hazel@cstr.ed.ac.uk (Hazel Sydeserff) writes:
>> > >But Dale isn't as young as 25, I don't think.
> > 
> >  I'm pretty sure Dale was born in 54. He had a birthday fairly recently, 
> > but I can't remember the date.
> >           jamii
> > 
> > -- 
> >   -----------jamii@edsr.eds.com   or ....uunet!edsr!jamii------------------
> > 
> > "Cotton balls. By god those things will be quiet now."  Nadine, Twin Peaks


Accoding to the Access Guide:

        DALE BARTHOLOMEW "Coop" COOPER -- Born April 19, 1954. 

So that would put him at about 37 yrs., 2 mos. and 14 days as of this posting 
:)


_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-
Alex Yentner        /  The Cellar BBS: (215) 336-9503
1609 E. Worrell St. / Q: My girlfriend just took me to Santa Barbara,
Phila., PA  19124   /    have you ever had a 48 hour orgasm?
(215) 288-9554      / A: No, I've never even BEEN to Santa Barbara!
_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-_-

bobp@muffn.enet.dec.com (Bob Pellegrino) writes:

> > I checked the tape very carefully.  Nobody in that vault was wearing glasses.
> > 
> > I think this was a continuity screw-up.
> > 
> > --bob pellegrino


Are you serious?  The old banker who got the glass of water for Audrey
was wearing those black glasses and he DID NOT leave the vault before
the bomb went off.  I believe he was stage right when it did... ASOF.

mlish@darkside.com

From 1965 to 1990 (TP doesn't pass from one year to the next, at season
breaks, like we did) is 25 years. That's the amount of time since WE
was loaned to the Air Force on project Blue Book until he arrives in
TP again.

In article <2977@sumax.seattleu.edu> gkull@sumax.seattleu.edu (Greg Kull) writes:
> >The references to TP in Northern Exposure are probably a geographic abberation,
> >as TP was filmed in North Bend and NE in Roslyn, WA. These two towns are about
> >50 miles apart. Just down the road...

The references to TP in Northern Exposure included music (complete with snapping
fingers), the characters saying "Hey that sounds like ...  Twin Peaks"  or
something to that effect, and subsequent references to cherry pie and hot black
coffee.  It was an INTENTIONAL aside referring to the television show of Twin
Peaks NOT " a geographic abberation".

In article <28669400.2742@ics.uci.edu> bvickers@ics.uci.edu (Brett J. Vickers) writes:
> >In episode 2009 (the Leland death episode), Coop figured out that the
> >LMFAP represented Leland who was possessed by Bob.
> >

Actually, all he said was "What did the little man do in my dream?  He
danced!" or words to that effect.  It seems his thought processes were
triggered by the waiter repeating "That gum you like is going to etc. etc.",
which reminded him of the dream and the dwarf dancing, and that reminded
him that Leland danced, and was definitely mentally unstable.  And then the
giant rewarded him with the ring.

For me the big reason why the dwarf can't be BOB was because the dwarf has
a doppelganger.  (Check the eyes).  BOB is only one being -- he doesn't have
a twin -- but he may control the others.

I think the reference to James in school was about anything _after_ the
pilot.  He was definitely there in that episode, and I think he was
in the first regular episode too...

Of course the waiter had seen him before -- if the "him" he meant was Coop.
If you missed the season premiere, Brian, that's when he Senor Droolcup (as
Albert called him) turned up.

Of course, if the "him" meant the giant...

prince@tusun2.mcs.utulsa.edu (Charlie Prince) writes:

> >In article <8841@umd5.umd.edu> jblum@umd5.umd.edu (Jon Blum) writes:
>> >>And no, we didn't see any scenes with James in school, but that doesn't mean
>> >>he wasn't there.  We hardly even saw sweet-and-innocent Donna there...

> >Uh, wait a second. I think we did see James in school, actually.
> >In the two-hour pilot, in the very first school scene, just before 
> >they announce that Laura is dead ... before the announcement is made, 
> >James and Donna both notice Laura's empty seat and a "meaningful look"
> >passes between them.
> >Can anyone else confirm this? I'm pretty sure ...

Correct you are.   COFFEE COFFEE.

Hello everyone!

I wonder if there are any fortune program that give you quotes from Twin Peaks
when you logout from your system. Otherwise I think I'll have to do one
myself. If you like the idea of a fortune program, please send me your
favourite quote, with the name of the person who said it. My email
address is: exrd@kk.ericsson.se

Please do it as soon as possible.

/Joakim Pettersson

``Welcome to amateur hour.'' --- Albert Rosenfield

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

``Space garbage to record and decode... row after row 
of gibberish.'' --- Garland Briggs

``Do I look like a bank?'' --- Leo Johnson

``What the hell are you talking about?'' --- Roger Hardy

``Trouble, Miss Horne?  You don't know what trouble is.'' --- Blackie
``Problem?  You want to know what's a problem?''--- Leo

``The word linkage reminds me of sausage.'' --- Gordon Cole

``...this sounds awful...''--- Catharine Martell

``Laura, we didn't bury you deep enough.''--- Donna Hayward
``Today I buried my husband next to my only child... Her grave
  is still so new, there's only a little bit of grass.''--- Sarah Palmer

``I couldn't promise you that I would always make sense.''--- Annie

``When have I ever been anything but a sleazy rapacious heel?''--- Ben
``Well, daddy, maybe when I was little...''--- Audrey

``I have no idea where this will lead us...'' --- Dale Cooper

``I am happy to point out that our story does not end there in this
place of saccharine excess.'' --- Wyndham Earle

``They've got a cherry pie that will kill you.'' --- Dale Cooper
``This is just not a good restaruant.'' --- Vivian Niles

   Could Mrs. Hayward's condition be the unintended side-effect of an abortion?

Hi all,
          Did we ever find out who or of what significance the owls where??

Cheers,
Carl.

Jon Blum recently wrote the following :-

> >About the question of how BOB took control of Cooper -- does anyone
> >here remember Hawk's explanation about ten episodes back?  You must
> >confront
> >your shadow-self to make it into the Place of Perfection (OK, mixing Indian
> >and Buddhist metaphors, but close enough).  Confront, not run from.  The
> >fact that Coop ran away meant that he wasn't able to face his dark half
> >(afraid of his own shadow, eh?), and therefore automatically it won.
> >
> >As BOB almost said, you can't ask for someone's soul -- you have to be
> >strong
> >enough to take it, and they have to be weak enough to let you.  Laura
> >Palmer
> >was strong.  Leland wasn't.  And apparently Dale Cooper wasn't -- at least
> >till the next season...

I don't agree about Coop's weakness. Remember the end of the episode where
Leland died (I don't know the proper numbering system) when Coop, Harry,
the Major, Hawk (and Andy?) are walking in the forest discussing what Bob
was and whether he was real or not? Well either Coop or the Major says
that it doesn't really matter, it's all about the evil men can do, i.e the
evil within ourselves. Coop HAS to be posessed by Bob in order to have the
confrontation with the evil within himself - the only place we can ever
truly battle evil (Buddhist ideas again). The only question is, does he win
or lose?

--
        Five to one baby, One in five, No-one here gets out alive.

::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
:                                   :                                          :
: Bob CHAPMAN                       :   Tel    : +44 (0)483 300 800, Ext 2309  :
: UNIVERSITY OF SURREY              :                                 or 2311  :
: Electronic and Electrical Dept.   :                                          :
: Guildford, Surrey GU2 5XH         :   e_mail : eep1bc@ee.surrey.ac.uk        :
: United Kingdom.                   :                                          :
:                                   :   "Fire, walk with me"                   :
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

joe@zitt (Joe Zitt) writes:

<Strange neighbors in her head? To what is this a reference? (Probably
<something obvious that I've forgotten...)

When Cooper and Annie are boating on Pearl Lakes, A says that she (used
to) live mostly in her head.  C says that's not such a bad neighborhood and
A says, there are some pretty strange neighbors.

A short exchange, but significant I think.

Laurel

Since people have been making so much comment on the original dream sequence, I
thought it helpful if someone posted all the elements of the sequence and Coop's
interpretation of them.

= denotes Coop's own connections
> > denotes a connection made by either myself or another netter
(?) denotes a connection that I personally find questionable or invalid.

(This includes the elements present in the ORIGINAL dream sequence, from the red
room on -the earlier bit being merely a recap of the differences in the European
version)

Cooper 25 years later > Cooper in the Black Lodge

The Red Room = The Black Lodge (?) ALSO = The drapes at Jacques' cabin.

The LMFAP > BOB (?)
 
The LMFAP, shaking in the corridor = Leland "crying" at the news of Ben's arrest
in front of some red drapes.

The statue > Venus (Laura)

The globe > Saturn (BOB)

The LMFAP rubbing his hands > the ringing sound > the trick with the coffee.

The floating shadow > never resolved

"Laura" tapping her nose = The link between Laura's cocaine addiction and the 
murder.

"That gum you like is going to come back in style" = Leland (and SDC's) "most
favourite gum in the world" ALSO > Margaret's pitch gum.

"She's my cousin, but doesn't she look almost exactly like Laura Palmer?" 
= Madeleine Ferguson.

"I feel like I know her" > Madeleine: "I didn't know Laura, but I feel like I 
did" (1005)

"Sometimes my arms bend back" = The method BOB used to tie up Laura.

"Where we're from, the birds sing a pretty song" = Waldo the Mynah Bird ALSO 
> > A possible description of the White Lodge.

"There's always music in the air" = The skipping record in Jacques' cabin ALSO
> > The records that Leland/BOB listened to.

The LMFAP dancing = Leland's dancing.

And now for some of my own, personal analysis:
Coop's dream works on at least two, and maybe three different levels. The first
two are Coop's personal interepretations, which led Coop to both Jacques' cabin
and Leland as the host of BOB. The third is the possibility that Coop may have
had some sort of precognitive dream of the Black Lodge, which just happened to
fit his intuitive interpretation. The fact that Laura had the same dream supports
this (suggesting that it was a vision rather than a mere dream stemming from Coop's
unconsious). Any resemblance to the real events was coincidental. In other words, 
Coop got lucky. 
 
Because this is a dream, however, there is a possibility that the dream 
is not meant to be a literal representation of the Black Lodge. The dream (and 
Coop's subsequent interpretation) have led many to believe that the LMFAP is 
actually BOB. I have reason to believe, however, that this is false. My evidence 
is from sources other than the original dream, as follows:

-When Laura described the dream in her diary, she referred to the LMFAP 
as a "little man" and not BOB. She would have certainly known the difference.

-When Coop is in the Black Lodge, the first LMFAP looks at him 
sympathetically and gently. When SDC appears, he is genuinely elated.

-The LMFAP had a doppelgaenger; since he is pure evil, BOB doesn't have 
one.

-The LMFAP said (to no one in particular) "Wow, BOB, wow," thus indicating
(to me, at least) that BOB and the LMFAP are separate entities.

Therefore, IMHO, the LMFAP/BOB connection is irrelevant and misleading.

Other questions about the sequences:
-Is it just me, or does the red room in the second (Black Lodge) sequence 
look BIGGER than in the original dream? It may be simply the camera angles.

-In the original sequence, isn't Coop wearing a different tie? And what 
are those metal things on his suit jacket? Medals?

Dave Platt Winnipeg, Manitoba, Canada
"Secrets are dangerous things, Audrey" -Dale Cooper

This is the second edition of the allusions list, including revisions and
Season Two

Allusions to other works within Twin Peaks Edition 2

Note: these are not meant to be read as a definite link to all these works; 
some may be coincidences. In general, most are lighthearted jabs, but some 
have real value in solving the mysteries of Twin Peaks. Actually, these are 
more likely "footnotes" rather than "allusions". (List originator and editor: 
Dave Platt, Winnipeg, Manitoba, Canada)

(Contributors: DGP; Col Needham (CN), HP 
Labs, Bristol, U.K.; Rocky J Giovinazzo (RJG), U Mass.; Jason Snell, Unversity 
Of California, San Diego(JS), Dan Parmenter (DP). Except where indicated, 
notes are made by DGP) 

SEASON ONE
(In chronological order starting with 1000):

1. The Bird:  Blue Velvet ends with a shot of a robin with a bug in its 
mouth.

2. "Twin Peaks": Supposedly a fairly obvious sexual reference, I hadn't 
heard it used before, although SPY's "Separated At Birth?" book (published 
1988) commented on the "Twin (widow's) Peaks" of Bob Eubanks and Butch 
(Eddie Munster) Patrick. As well, for a town even more obssessed with 
lumber, TP has nothing on Lumberton from Blue Velvet. Also, Blake Edward's 
1962  thriller "Experiment In Terror" features Lee Remick as a bank clerk 
terrorized by a psycho into stealing from her employers. She lives infrom 
Twin Peaks (in San Francisco) and  the psycho's name is Red Lynch!! (CN) 
Finally, Entertainment Tonight ran two separate stories on Snoqualmie, WA 
(where the TP pilot was filmed) and Twin Peaks, CA (where Lynch is 
rumoured to have some land), both of which have grisly murders in their 
past.

3. Harry S. Truman: Not just in reference to the forme U.S. president. 
The name of the man who lived near Spirit Lake under Mt. St. Helens and 
refused to move from his home despite the warning of volcanic eruption was 
named Harry Truman, as well (JS).

4. The name "Laura": In the 1944 movie Laura, a girl named Laura is 
killed, only to turn up as someone else. Also in the film, the villian's name 
is Waldo (!) Lydecker (!!), and a gun is hidden in a clock, a la the poker 
chip from One Eyed Jacks. As well, in a coincidence David Lynch would 
probably shrug off, the film starred Dana Andrews, whose initials bear a 
resemblance to TP's own Dana Ashbrook. Also, note possible connection with 
Laura Dern. 

5. Andy the crying deputy: In an (early 1990) arc of Wiseguy revolving 
around a murder in a small lumber town, the police officer that found the 
body cried upon its discovery. It was later revealed that the officer himself 
was the culprit. (This is probably not a coincidence. The plot of the TP pilot 
was well-known within TV circles. Further proof: the town's name was 
"Lynchboro"). Last thing on this: the Globe tabloid reported a week before 
2006 that Andy killed Laura and was going to murder Lucy, who was planning 
to have an abortion.

6. Leland Palmer: There are two very small (pop.30 and 25 in 1963) 
towns in Washingron State named Leland and Palmer.

7. The song Bobby (and much later James) plays on the jukebox is from 
the Lynch/Badalamenti Industrial Symphony. It's called "I'm Hurt Bad".

8. Ronette on the railroad tracks: Possible redux of Isabella 
Rosselini's nude wandering in Blue Velvet.

9.  James The Biker: In an Interview interview, James Marshall said 
that David Lynch actually told him to think of James Dean while acting.

10. Nadine's one-eye:  Numerous references, too many to list, but 
probably the one that applies here is the character on "Days Of Our Lives". 
(Actually, The character on "DOOL" is a hardened, tough male loner, but 
Nadine does exhibit some tough characteristics, don't you think?)

11. Dale Cooper: Dale's middle name is Bartholomew, marking him D.B. 
cooper, a la the famous skyjacker. Kyle MacLachlan's performance is said to 
have been inspired by Lynch himself.

12. The OAM: The most famous example of a one-armed man is, of 
course, the killer in the Fugitive. On that show, Richard Kimble's pursuant 
was named Phillip Gerard.

13. The flickering lights: Apparently an actual hospital goofup, Lynch 
liked it so much he decided to flicker the lights himself. However, the 
lights-flickering-motif was prevalent in Blue Velvet, Eraserhead, and even 
Orson Welles' Citizen Kane. 

14. The videotape: Numerous, including sex lies and videotape.

15. The reflection in Laura's eye: used on a soap opera in the summer 
of 1990, don't know which one. (This is, of course, an homage, rather than an 
influence).

16. The fallen moosehead: The first of many possible references to 
Fawlty Towers, which of course also featured a hotel with a harried owner. 
(however, DP notes that the moosehead was just discovered that way by 
Lynch, which sounds at least a little more plausible)


(From 1001) 

17. The Log Lady: According to the Rolling Stone Interview with Lynch, 
The Log Lady predates Twin Peaks; Lynch was planning an earlier series 
with Catherine Coulson starring as the Log Lady. 
 
18. "Falling"/"The Nightingale": The first of a few Julee Cruise 
numbers spliced into the action. 

(From 1002) 

19.  "Marilyn Monroe and the Kennedys": An obsession shared by 
Cooper, Lynch, and Frost, who wrote a script for Goddess, a Monroe movie 
that was to be directed by Lynch.

20.  Ben & Jerry: Twin Peak's largest food freaks share their names 
with the allPnatural icePcream merchants. 

21. OnePEyed Jack's: another crude sexual reference, fully explained  
by Bobby Peru in "Wild At Heart". Also, the Western with Marlon Brando.

22. Horne's Sonnet: Shakespeare, Sonnet No. 18

23. The Dream: Mark Frost has said that the dream imagery (including 
the owls) come from his own dreams. The tone and style, however, is pure 
Lynch. As commented in the newsgroup before, Lynch is known for his 
strange pauses and lags in action at inopportune times. this dates back to
"Eraserhead", which featured many strange, quite moments. Cooper's 
reaction shots hearken back to that film and Jack Nance's lack of emotion.

24. BOB: The name "Bob" is a source of constant commentary. Lynch is 
well known for his daily sojurns to Bob's Big Boy.The recently-published Bob 
Book characterizes "Bob" as a generally benevolent guy, although it 
acknowledges the evil BOB. Among notable BobsI A "Bob" is thanked on Julee 
Cruise's Floating Into The Night LP; There is a church of Bob, a.k.a. the 
church of the Subgenius; Drugstore Cowboy, which  stars Matt Dillon as a 
junkie named Bob, also features both Heather (Annie) Graham (as Nadine!!!!!) 
and Grace Zabriskie (as Bob's mother!!!!!!) in its cast, finally, there 
is Bob Barker, the game-show host who decided to stop dying his hair and 
letting it turn naturally white (!!!!!!!)

25. The Little Man From Another Place: In Nicholas Roeg's Don't Look 
Now, Donald Sutherland (grieving over the death of his daughter) pursues a 
malevolent dwarf in a red suit. As well, his wife is named Laura, and the 
movie's film editor, Graeme Clifford, directed an episode of TP (2005)

26. Venus and Saturn: The statue (presumably of Venus) and the model 
of Saturn in the dream sequence may refer to the myth of Saturn, who killed 
his children. However, Venus was the daughter of Jupiter, not Saturn. It has 
been suggested (by RJG) that BOB=Saturn=bad god, Leland=Jupiter=good god, 
Laura=Venus=daughter of good god. Also, BOB refers to his victim's as his 
children, therefore making  "Jupiter",the son of "Saturn" as well as the 
father of "Venus"

27. Talking backwards: apparently a talent known to Michael 
Anderson, who is also being cast as Ronnie Rocket and appears in the 
Industrial Symphony.

28. The floor in the dream sequence was seen in Eraserhead.

(From 1003)

29.  Madeleine Ferguson: A reference to Vertigo, in which (Kim Novak) 
posed as the "dead" Madeleine. As well, Jimmy Stewart's character was 
named Scottie Ferguson, giving Madeleine her surname. 

30. "Johnny foesn't know what day it is": A reference, no doubt, to the 
Who's epic "Tommy". Perhaps written in anticipation of a storyline where 
Johnny is revealed as a savant? 

31. The Bookhouse: There's a posssible connection with a native god 
named Bukwus or Bukus(RJG). If anybody has anything more to add, please 
give me a shout.

32. The dream soul: has anybody with a knowledge of Blackfoot 
culture been able to trace this legend? I'm not doubting its existence, but 
would like to know more. 

(From 1004)

33. Jacoby's sunglasses: Count Floyd on SCTV sported Ray-Ban 
Wayfarer versions of the same glasses, suitable for 3-D viewing. However,
3-D glasses are Blue-Red, while Jacoby's glasses are Red-Blue. Perhaps the
Dr. can "see deeper" into people with his glasses on.

 34. Gordon Cole: A minor character in BIlly Wilder's "Sunset 
Boulevard", one of David Lynch's all-time favourite movies. (CN and DGP)

 35. Phillip Michael Gerard: See note # 10.

36. Bob Lydecker: See note #3.

37. Waldo: See note #3. Also, The Avengers had an episode that hinged 
on a talking birds or group of talking birds.

38. Hank's Domino: I'm not sure about this one; any suggestions? 

39. Owls: The first sighting of an owl in TP was in 1004, when Donna 
and James went to where they had buried the necklace. An owl hooted above, 
startling the two. There have been brief mentions in this newsgroup of the fact
that according to Whitley Streiber's "Communion", the experience of being 
abducted by aliens (or whatever) is often erased by the "covering" memory of 
an owl.


(From 1005)

40. ITL: While Hank reunites with Norma, Shelly is watching ITL. 
Montana is attacking Chet, and Jared is tied up  with a blue sash in his 
mouth, a la Blue Velvet.

41. "The Third Man": A possible reference to the movie The Third Man, 
in which the "third man" (seen carrying off a dead body) turns out to be the 
"victim" himself, thus causing some to believe that Laura was not really 
dead, and disguised as Maddy.

42. "Into The Night": See note #18.

(From 1006)

43. Cooper's whistling: The tune Cooper blows on his whistle is
the flying saucer's tone in "Close Encounters Of The Third Kind". 
Possible foreshadowing of the alien stuff?

44. Audrey spying on Battis through the slats in the closet door: Kyle 
MacLachlan did the same thing in Blue Velvet.


45. Mr. Neff (Catherine Martell's insurance salesman): A reference to 
Walter Neff, an insurance salesman in Billy Wilder's RDouble IndemnityS. 
(CN)

46. Barney and Fred (Coop and Ed's secret IDs): 'nuff said.

47. Hester Prynn: As Blackie notes, the woman in the Scarlet Letter.

48. The cherry stem: TP writer Harley Peyton once claimed that his 
ex-girlfriend could actually do this.
 
(From 1007)

49. Queen of Diamonds: The card that triggered Raymond Shaw 
(Laurence Harvey) to kill in The Manchurian candidate. At one point, Rosie 
(Janet Leigh) wore a large version of the card at a costume party. 

50. "Such stuff as dreams are made of": More Shakespeare, but from 
where? Anyone know?

51."Who Shot Agent Cooper?" Mark Frost has been quoted as saying 
"We were poking a little bit of fun at the 'Who shot J.R.' syndrome. Of course, 
he's wearing a bulletproof vest. I wasn't trying to present a mystery."

SEASON TWO

(from 2001) 

52. The Waiter (a.k.a. Senor Droolcup): Another example of Lynch's 
tendency towards long, drawn-out, slooooow scenes. The Dell Mibbler scene 
is far more excruciating example of this, as noted ad nauseum by many 
netters. These scenes are especially agonizing at the tensest cliff-hanger 
moments,like right here.

53. The Giant: Not entirely sure. Giants are common in most 
mythologies, but does anybody know the exact source of this giant?  Lynch 
himself said that Carel Struycken was cast as the Giant just because he saw 
him one day (DP). My own theory is that since Michael Anderson, the actor 
who plays the LMFAP, was in jail for drug posession at the time of the 
filming of 2000, the Giant was cast to replace him (DGP). However, I have 
been wrong before, and may be wrong here.

54. "A man in a smiling bag": A product of Lynch's days in Philadelphia, 
where he lived near a morgue. 

55. The reporter at the site of the burnt sawmill is Mark Frost in an 
uncredited role.

56. Leland's white hair: See note #21

(From 2002)

57. When Shelly and Bobby are parked in Major Briggs' Lincoln, the 
"Audrey's Dance" music is playing. Bobby tells Shelly to change the station, 
and the music abruptly stops, switching to a blues song. A similar trick was 
used in 1001, and may be a cinematic allusion to Diva (1982), where the 
"incidental" music became part of the foreground action.

58. Major Briggs' space transmissions: A few may recall the series 
Project: UFO from the late '70s (around the time of Close Encounters), which 
I believe was based on Project Bluebook.

59. "Just You And I": an article in British GQ suggested that TP is an 
attempt to combine every TV series from the past. In that case, James' song 
near the end of the show may be an homage to Rick Nelson's songs at the end 
of the Adventures of Ozzie and Harriet. Or maybe not.

(From 2003)

60. "She's ready for her close-up now": A paraphrasing of 
Gloria Swanson's most famous lines in "Sunset Boulevard" (see note #34): 
"I'm ready for my close-up now, Mr. DeMille." (CN)

(From 2004)

61. Judge Sternwood: The character who hires Philip Marlowe in "The 
Big Sleep" is named General Sternwood (CN).

 62. Darryl Lodwick: An overzealous prosecutor in "Anatomy of A 
Murder" is named Mitchell Lodwick.

(From 2005) 

63. Mr. Racine (Leo's Lawyer): A reference to Lawrence Kasdan's "Body 
Hear" in which William Hurt plays a seedy lawyer in a movie inspired by 
"Double Indemnity" (See note #38) (CN). (Also,  Racine -in TP- is played by 
Van Dyke Parks, the avante-garde composer-arranger who worked with 
Beach Boy Brian Wilson QDGP)

(From 2006) 

64. "Getting To Know You": Rodgers and Hammerstein, from "The King 
And I" 

(From 2007)

65. "Rockin' Back Inside My Heart"/"The World Spins": See note # 18.

66. The White Horse: Death, or Heroin, for sure, but probably not Troy, 
Laura Palmer's pony. I checked this when I saw the "Next On Twin Peaks" 
scenes before 2007, and read that Troy was brown or reddish-brown.

(From 2008)

67. "Surrey With The Fringe On Top": More Rodgers and Hammerstein, 
this time from "Oklahoma!"

(From 2009)

68. "Leland, the time has come for you to seek the path.": The "clear 
light" is  constantly referred to as the first step in the ascension to a life-
after-death, and is common to many religions. However, the "void and 
cloudless sky" seems to be from the Tibetan Book Of The Dead.

69. "There's more in Heaven and Earth than are dreamt of in 
our philosphy": Hamlet (ac I:sc V, lines 166-167) in response to the discovery of his father's ghost. In 
this case, Cooper might noy be the Hamlet, but Truman is definitely the 
bewildered Horatio.

(From 2010)

70. "Waldorf Salad": This may be stretching a bit, but I honestly 
believe this is a reference (as before; see note #16) to Fawlty Towers, 
which based a whole episode on Basil not knowing what this was.

71. Mountie King: King was the name of Sergeant Preston's dog. 

72. The White Lodge: I am eternally grateful to Jerry Boyajian, who is 
not listed here as a contributor (though if he wants to be, please email me), 
for the explanation of the White Lodge. Apparently, in "The Devil's Guard" 
(a.k.a. "Ramsden"), the White Lodge is a secret order that tries to create 
good, of which the Dalai Lama is a member. (I am also grateful to Janet M. 
Swisher for printing this fact in "Twin Peaks Frequently Answered 
Questions").

(From 2011)

73. The Black Lodge/"The Dweller On The Threshold": When I first saw 
this episode, I immediately thought of the "Mirror, Mirror" episode of Star 
Trek. In keeping with the theory that TP=every bit of pop culture ever made 
(see note #59), and given Cooper's pure goodness, an "evil Cooper" sequence 
was inevitable.

74. Roger Hardy at the RR: The only purpose of this scene is, of course, 
a MOD SQUAD REUNION!!! (sort of; apparently Michael Cole wasn't available 
for Mountie King or some other such role) Not a true reference, but I wanted 
to mention it.

75. James and Evelyn Marsh: I don't know what other people on the 
network thought of this arc (most probably hated it), but I liked it, in a 
strange way.  To my mind, the sequence resembled nothing so much as a James 
Dean movie, thus bringing James' character to its logical fruition. The 
dialogue in these scenes ("It's not the bike, it's just where it can take me... 
Sometimes I just go down the highway blind"-Loved it! pure camp.) seemed 
stilted and contrived on purpose. The existentially-depressed-James may 
have gotten a little annoying, but I thought it wasn't nearly as bad as some 
people did.

76. "Now is the winter of our discontent...": The first lines from 
Shakespeare's Richard III, which certainly aptly describes Ben's situation.

(From 2012)

77. Nicky-as-the-devil: (see note #59) In this case, "The Omen."

78."O, she doth teach the torches to burn bright! It seems she..." Romeo
and Juliet, Ac I: Sc V, lines 46-49.

(From 2013)

79. The Mark: Major Briggs' tattoo resembles (as many have pointed 
out) a variation on the radiation symbol.

80. Spaceships and Owls: See note #39.

81. "The Dorritt Home For Boys": The Dickensian nature of the "Little 
Nicky" plot (Orphans, lost lineage,the revelation of hidden origins, 
misfortune and serendipity in general) naturally calls for a suitably 
Dickensian name for the orphanage. 

82. Ben's Civil War fantasy: Dr. Jacoby's explanation of Ben's delusion 
(re-enacting a failure to fight against his own inadeqacies) seems plausible, 
but why the Civil War? Ben had never before shown any sign of being a Civil 
War buff (as well, doesn't it seem especially strange that the owner of the 
*Great Northern* would identify with the South? -just kidding). However, 
one could see how Ben -a cocky, no-holds-barred maverick- could see some 
of himself in the Confederates (although not neccesarily Robert E. Lee). Of 
other interest is that immediately after Ben's fantasy ends, he is "rescued" 
by John Justice Wheeler -a possible reference to a Confederate cavalry 
general named Joseph Wheeler. As well,  Frost and Lynch's interest in the 
Civil War may  have been piqued by the PBS series.

(From 2014)

83. "Wine comes in at the mouth": Yeats, as Pete notes. Although
Pete uses it because it's the only toast he knows (other than a limerick), the 
connection with Yeats suggests Pete's possible spiritual (indeed, mystical) 
nature, which has only rarely been touched upon.

84. The Black Pawn (No.1): The chess references  brought to my mind 
not Alice In Wonderland or somesuch, but The Avengers, both for the 
chesboard opening and an episode in which people were dispatched in ways 
that were made to resemble board games, e.g. a man killed by snakebite 
after climbing a ladder- Snakes and Ladders. Actually, the giant Pawn is a 
better example of this.      
 
(From 2015)

85. The bus drivers listening to opera: A possible Ralph Kramden 
reference? I thought that this episode of TP (directed by Diane Keaton) had 
some bad lapses is TP's sensibility. There were times (the above scene and 
the deputies leaving the Marshes in strict formation) where Keaton did stuff 
purely for style. In the other episodes, the "strange" elements in scenes (the 
dwarf, the spotlights, BOB, the Giant) were "explained", not just there for 
show. Does anybody else agree?

86. Springfield: Earle's first target (to form the "C" -for "Cooper" or 
"Caroline") is Homer Simpson's hometown.

(From 2016)

87. James Justice Wheeler: See note #83.

88. "See the mountains kiss high heaven", etc.: Shelley, from "Love's 
Philosophy", Verse II. What makes me wonder is that the poem doesn't seem 
like something Coop would chose. Maybe he is more romantic than I thought, 
although my impression from both the show and the Autobiography is that 
Coop is not someone as interested in poetry (after all, he got a C from April) 
as he is in arcana and mysteries.

(From 2017)

89. Margaret's Mark: The tattoo on the Log Lady is, IMHO, the Twin 
Peaks.

90. Dr. Craig: A possible St. Elsewhere nudge?

91. Miss Twin Peaks: "On the set of the pilot, the makeup artist 
always called me Miss Twin Peaks. 'C'mere, Miss Twin Peaks!'": Sherilyn Fenn 
from "Babes In The Woods" (the "Women Of Twin Peaks" article in Rolling 
Stone, October 4, 1990).  Of course, Audrey ends up being the most reluctant 
to enter the contest.

(From 2018)

  92. Spelunking: In the obligatory TP sketch during the Kyle 
MachLachlan episode of Saturday Night Live, Coop described to Truman a 
dream in which a hairless mouse sang a songs about caves, and Coop said "Harry, 
tonight we're going to do a little spelunking." This CAN'T be a coincidence!

(From 2019)

93. The Black Pawn (No. 2) See note # 84.

(From 2020) 

94. The Dugpas: Anybody know? For sure?

95. "When Jupiter and Saturn meet, they will receive you": Most people 
now take this to be an astronomical/astrological reference, as Cooper later 
deduces.

96. "When Jupiter and Saturn meet, Oh what a crop of mummy wheat": 
Yeats who was _very_ interested in the occult, mythology, and good and 
evil. Jupiter (good), as shown before, was the son of Saturn (evil), and 
symbolizes the duel between Leland and Bob, as well as Cooper and BOB. 
another thing to note is that Yeats' "gyres" (the two spirals representing the 
two natures of mankind and nature) resemble twin peaks. Yeats' take on 
mythology  informs much of the last episode, and may explain the cyclical 
nature of life in Twin Peaks.

97. Miss Twin Peaks/The Taking Of The Queen: As a netter mentioned 
(please write with your name so you can be credited properly!) the floor at 
the roadhouse in the contest scenes resmbles a chess- or checker-board.

98. Glastonberry Grove: The coincidental name shared with the 
legendary burial place of King Arthur (sort of: It's really Glastonbury) has 
had many run off in search of possible Fisher-King connections. I wonder... 
Most have proven a little tenuous, although some connections have been 
made: Andy seems to be set up as a Parsifal archetype, Coop as Arthur, 
Annie as Guinevere, etc. My own personal knowledge of Arthurian legend only 
goes as far as the Howard Pyle illustrated children's books and "Monty 
Python and the Holy Grail", but I _do_ like the idea of the cup-of-coffee-as-
holy grail. The idea of "a chld without a father" suggests to me Donna, or 
Lucy's baby, or even Little Nicky (he has to serve *some* purpose!). If anyone 
has more to add, please enter it.

99. The circle of sycamore trees: In the Tibetan book Of The Dead, 
according to Joseph Campbell, sycamore trees are connected with the 
Egyptian (Heliopolitan?) goddess Nut. as well, the twelve-trees-twelve-
candles (twelve rooms?) connection is well noted.

100. The bank vault and Dell: See note #52.

101. Chained Audrey: Another Avengers reference? (See note #84) (It 
seems to me that Emma Peel ended up shackled to objects quite a bit.) 

102. Venus De Milo: Noth the planet/goddess (see note #26) and also 
"the gal with no arms. The name was Milo": GC in 2018. 

103. "Doppelganger": It seemed to me to be a squaredance call, sort of 
like "change partners." "Doppelgaenger" has been translated from the German 
"Doppel" -Double-"Gaenger"-Goer. This has been interpreted as meaning both a 
shape-changer or a true double -a negative image of oneself that will 
destroy its counterpart- a la antimatter. This certainly agrees with the 
"imperfect courage" that Hawk mentioned. However, I see the doppelgangers 
as being both -the Caroline-Annie-Shadow-Laura wraith could have all been 
Windom Earle, but the Shadow-Cooper (Doppelcooper?) was definitely a 
negative image of Cooper. Personally, I still think that this was the 
inevitable reference/homage/parody of "Mirror, Mirror" (See notes # 59 & 
#73).

104. When we're on the subject of classical allegories, how come 
noone (except the Toronto Globe and Mail) has mentioned "Faust"? Dale gave up 
his soul, right? For Annie, right? Sounds like a bargain with Mephistopheles to 
me.

105. "How's Annie?": The ending was, of course, guessed to a 
reasonable degree, by netter Daniel Mittleman, who should probably get 
some kind of award. 

Send contributions, suggestions, etc. either by email to 
<platt@ccu.umantioba.ca> or through the network.

Dave Platt Winnipeg, Manitoba, Canada.
"Secrets are dangerous things, Audrey" -Dale Cooper

From 1965 to 1990 (TP doesn't pass from one year to the next, at season
breaks, like we did) is 25 years. That's the amount of time since WE
was loaned to the Air Force on project Blue Book until he arrives in
TP again.

Now that the last episode of Twin Peaks has finished, I suggest that we
(i.e. the net) expand the timeline into a fairly detailed summary of each
episode.  The timeline is currently fairly detailed in certain parts, but
its fairly sketchy in others.  Alternatively, each person could select
a particular episode to transcribe fully and then publish the results on
the net (barring copyright issues).  At the end, someone can then typeset
all this, plus all the other interesting articles that have appeared
in this newsgroup, generate a PostScript file and we could all enjoy
the inaugural "USENET Twin Peaks Reference"!

So, how about it?  I'm willing to transcribe an entire episode, but I'm
not sure whether it's legal to post a transcription ... then again, if
Mozart can transcribe Allegri's Miserere from one listening I suppose
we can transcribe Twin Peaks episodes...

  Maybe it would be interesting to take a poll of all-time favorite
Twin Peaks scenes (I am not willing to tabulate, though).  I suspect
there would be a lot of votes (not mine, I prefer the Tibetan rock-
throwing ceremony) for the first dream sequence, so perhaps it should
be a list of top n.

In article <91179.105944JCT110@psuvm.psu.edu> JCT110@psuvm.psu.edu (Jim Thomas) writes:
> >OK, I confess.
> >
> >I didn't watch TP much when it was on.  Schedule conflicts, etc.  It
> >looked interesting, I watched it occasionally, but that's it.
> >
> >Please don't hurt me.
> >
> >Spurred on, in part due to the season finale, I got a friend of mine
> >to loan me his TP tapes, containing the entire run of the series.
> >I intend to watch the entire series in as compressed amount of time
> >as possible (est. 4-5 days), taping them in the process.  Perhaps
> >the experience will give me further emlightenment, or perhaps just
> >a craving for jelly donuts.

You want some coffee with those donuts?

> >
> >We shall see.
> >
> >    Jim Thomas                   Philosophically  | Has got to be
> >   Penn State Univ.              Must ipso facto  | Vis a Vis it's entity
> >                                 Half not be      | You see?


Wile E. Coyote
-- /| |\ Wile E. Coyote, Dean of the School of Hard Knocks /| |\ Acme Looniversity ,__OO|L_ O____~__} *** How `bout we end this cartoon before I hit? ***

Could someone please provide
explanation of the final episode from a psychologic
al perspective?   Especially the scene in the lodge.

                                                    Thanks,
                                                        Sean

In article <1991Jul4.192113.15619@ccu.umanitoba.ca> platt@ccu.umanitoba.ca
writes:
> >This is the second edition of the allusions list, including revisions and
> >Season Two
> >
[deletions]
> >        16. The fallen moosehead: The first of many possible references to 
> >Fawlty Towers, which of course also featured a hotel with a harried owner. 
> >(however, DP notes that the moosehead was just discovered that way by 
> >Lynch, which sounds at least a little more plausible)
> >

What moosehead? There are two deerheads, one which is on the table at the bank
when they open Laura's deposit box and one in HSTs office that later is part of
the murdered drifter tableau, but I don't recall a moosehead.

> >        82. Ben's Civil War fantasy: Dr. Jacoby's explanation of Ben's
delusion 
> >(re-enacting a failure to fight against his own inadeqacies) seems plausible, 
> >but why the Civil War? Ben had never before shown any sign of being a Civil 
> >War buff (as well, doesn't it seem especially strange that the owner of the 
> >*Great Northern* would identify with the South? -just kidding). However, 
> >one could see how Ben -a cocky, no-holds-barred maverick- could see some 
> >of himself in the Confederates (although not neccesarily Robert E. Lee). Of 
> >other interest is that immediately after Ben's fantasy ends, he is "rescued" 
> >by John Justice Wheeler -a possible reference to a Confederate cavalry 
> >general named Joseph Wheeler. As well,  Frost and Lynch's interest in the 
> >Civil War may  have been piqued by the PBS series.

I believe it was inspired by the PBS series, but a probable TP connection is
the war between Ben (the South) and Jean Renault (the North) who has taken over
OEJs.

> >
> >        87. James Justice Wheeler: See note #83.
> >

Also, as has been noted, there is a John Wheeler who was a proponent of the
multiple universes interpretation of Quantum Theory.

> >
> >        94. The Dugpas: Anybody know? For sure?

The dugpas were mentioned in the Talbot Mundy book mentioned earlier.
Also, I made a somewhat lengthy post on this based on other sources.
Briefly,there was a sect of Thibetan buddhism called Dugpas that were black
magicians. Sexual excesses and murder were two characteristics of their
practice. Their chief opponents were the sect headed by the Dalai Lama.


> >        97. Miss Twin Peaks/The Taking Of The Queen: As a netter mentioned 
> >(please write with your name so you can be credited properly!) the floor at 
> >the roadhouse in the contest scenes resmbles a chess- or checker-board.

So does the floor in the R&R. This was made particularly evident in the Diane
Keaton episode.

> >        98. Glastonberry Grove: The coincidental name shared with the 
> >legendary burial place of King Arthur (sort of: It's really Glastonbury) has 
> >had many run off in search of possible Fisher-King connections. I wonder... 
> >Most have proven a little tenuous, although some connections have been 
> >made: Andy seems to be set up as a Parsifal archetype, Coop as Arthur, 
> >Annie as Guinevere, etc. My own personal knowledge of Arthurian legend only 
> >goes as far as the Howard Pyle illustrated children's books and "Monty 
> >Python and the Holy Grail", but I _do_ like the idea of the cup-of-coffee-as-
> >holy grail. The idea of "a chld without a father" suggests to me Donna, or 
> >Lucy's baby, or even Little Nicky (he has to serve *some* purpose!). If anyone

> >has more to add, please enter it.
> >

As I noted in my previous post, a better analogy is WE::King Arthur,
Caroline/Annie::Guinevere, Coop::Sir Lancelot.  WE has made it clear that he is
a king and that he is choosing a queen. Coop, like Lancelot, committed adultery
with Caroline.  For a quick background in the whole Arthurian thingee, check
out Bullfinch's "Age of Chivalery' part of his 'Mythology'.

Also there are a tor (mountain), a cave, and a well associated with Glastonbury
and a zodiacal ring just south of it.


> >        103. "Doppelganger": It seemed to me to be a squaredance call, sort of

> >like "change partners." "Doppelgaenger" has been translated from the German 
> >"Doppel" -Double-"Gaenger"-Goer. This has been interpreted as meaning both a 
> >shape-changer or a true double -a negative image of oneself that will 
> >destroy its counterpart- a la antimatter. This certainly agrees with the 
> >"imperfect courage" that Hawk mentioned. However, I see the doppelgangers 
> >as being both -the Caroline-Annie-Shadow-Laura wraith could have all been 
> >Windom Earle, but the Shadow-Cooper (Doppelcooper?) was definitely a 
> >negative image of Cooper. Personally, I still think that this was the 
> >inevitable reference/homage/parody of "Mirror, Mirror" (See notes # 59 & 
> >#73).

One definition of DG (and the earliest on record) is 'one who has seen
himself'. Such an experience was taken as an ill omen, namely one of impending
death.

> >Send contributions, suggestions, etc. either by email to 
> ><platt@ccu.umantioba.ca> or through the network.
> >
> >Dave Platt Winnipeg, Manitoba, Canada.

-Rich Haller, Eugene, Oregon, USA

In article <i7DH52w163w@zitt> joe@zitt (Joe Zitt) writes:
> >brian@hplvec.LVLD.HP.COM (Brian Wood) writes:
> >
>>> >> >It was just a cheap sound effect.  One dot, two dots, three dots, four dots.
>>> >> >(That "spells" "ETSH".)
>> >> 
>> >> 
>> >> That's EISH.
> >
> >Wow, Brian, Wow -- "eish" is, believe it or not, the Hebrew word for "fire".
> >
> >It is happening again.      It is happening again.      It is happening again.
> >Joe Zitt ...cs.utexas.edu!kvue!zitt!joe (512)450-1916



when was this spelled out?
what was the one two therr four dots thing...?

in the season finale?

"Doctor, I don't understand...Please explain...why?!?!?!" -- any Dr.
Who Companion, quoted from Matt Waterhouse, Adric

I agree (though not with the "unintended side effect" speculation).
It was made so obvious that the audience is _supposed to think_ that
Ben is Donna's father that the big secret could well be something 
else. 
 
Of course, we'll never know, and I prefer it that way.
 
       Angus MacDonald; idddev@well.sf.ca.us
Opinions expressed in this message are solely my own.