Fire Walk with Me — August 28, 1992–December 31, 1992

In article <1992Sep11.143041.17937@bmerh85.bnr.ca>, scarlett@bnr.ca
(Michael Dorotich) wrote:
> > 
> > If Leland is the real-world human posessed by the Black Lodge Bob and 
> > Phillip Gerard (that is the one-armed man's name) is the real-world human
> > once posessed by LMFAP, then who the hell is Mike and what does he look
> > like? Is it possible that Mike is LMFAP's name?  (It is, at any rate, the
> > actor's name. He is sometimes called Little Mike.)

Not quite. The MFAP says he is the  arm, The OAM's (Mike) arm by all
appearances. Here's some stuff from the Timeline. People who want to
hypothesize would do well to ftp it from audrey and use grep or whatever to
check their ideas out. Best to have a set of tapes as well as the timeline
is  very condensed; (no criticism intended; it is great to have it). This
is from episode 2006 if you have tapes.

M: My name is Mike.
C: What are you?
M: I am...an inhabiting spirit.
C: Who is Phillip Gerard?
M: He is host to me.

This immediately follows, by the way

C: You spoke to me in my dream...about BOB.
M: Mmm. He...was...my familiar.
C: Where does BOB come from?
M: That...cannot be revealed.

-Rich Haller

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In article <9209110347.AA02428@cs.utexas.edu>,
STDN%MARIST.bitnet@YaleVM.YCC.Yale.Edu (Dan Newcombe) wrote:
> > 2) Who is Judy?

I'm not going to talk about Judy. Let's keep Judy out of this.

-Rich Haller

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So Laura doesn't give in to Bob, ends up dead, her spirit goes to the white
lodge, she becomes an angel and appears to Sailor and tells him not to leave
Lula, and then goes to the wonderful land of Oz?  no?  Oh well...
---Sean

-- Your car runs on the blood of 100,000 Iraqi dead, and the tears of their mourners. No Blood For Votes!

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Regarding the numbers on the pole
24810
  6
and the previous post on how you can add them to get two 6s but not three 6s.
Here's another 6.

Take 2 and double it, you get 4.
Take 4 and double it, you get 8.
Take 8 and double it, and you should get 16.
But you actually have 10 which is 6 less than 16.
Hence the missing 6.

Wanna

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In TP Jerrard is one of the names of the OAM.
In Fugitive Jerrard is the police Lt. in search
of Kimball.  Did the Jerrards have the same first
names too?

In the Fugitive Jerrard chased Kimball who chased
the OAM.  I'm not sure whether the Fugitive's OAM
was ever given a name.




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>> >>1) Just where does the special European ending start on the movie
>> >>   and what is different?

> >It starts at the scene where Sarah Palmer, half-asleep, has a vision of
> >BOB in her daughter's room.  Everything after that is new/different,
> >though large chunks of it were adapted for Cooper's first-season dream
> >sequence.  The original pilot ended with Sarah instead seeing a vision
> >of a gloved hand taking the necklace that Donna and James buried.

     Actually, Sarah DOES have the same vision of Bob in Laura's
     room in the ABC pilot -- we just didn't see it.  A later
     episode (1004, I think) has Andy sketching Bob from Sarah's
     descriptions of a man she saw in Laura's room in her vision
     from the pilot.  
     Sarah's vision in the American version is simply intercut with
     Jacoby's hand taking the necklace...  but they're not connected
     on any level higher than editing.

>> >>2) Who is Judy?

> >Good question.  Dialogue from the extended version of the David Bowie
> >scene implied that she is someone working with the FBI on the Blue Rose
> >cases -- about the beings from the Lodges.

     Vely intelesting...  Can't wait to find out more.

>> >>3) How is it that Dale is able to talk to Laura (i.e. Don't take the
>> >>   Ring) and stuff like that, and how does he get to the curtain place
>> >>   so easy, like at the end.

> >Because this is Dale after the end of the series, when he is "trapped
> >in the Lodge and can't leave".  Time flows strangely in the Lodge --
> >backwards, in a sense.

     Do we know that for sure?  I guess we do, but if he's trapped in
     the lodge, why is he able to - seemingly - move so freely and
     communicate with Laura in dreams, etc... if he's a prisoner,
     wouldn't his actions be more ... limited?

>> >>4) I am assuming that the chick at the end in the black dress standing
>> >>   by Coop is the same chick from the end of the pilot where the LMfAP
>> >>   says "She looks a lot like Laura..."  Then why is she so happy at
>> >>   the angel.

> >That WAS Laura, or more accurately her spirit.

     That was the Laura we saw in the final episode - it's the same
     dress, isn't it...

>> >>5) Everyone seems to say that the ring symbolizes "You're next"  Then
>> >>   howcome when the OAM drives up screaming, he holds up his hand with
>> >>   the ring on it?

> >Because he's from the Lodge, and they control the ring.  It's theirs.
> >Why shouldn't he wear it?

     I don't think that's the significance of the ring.  Remember that
     the Log Lady and Major Briggs both had those symbols TATOOED on
     them when they were kidnapped...  and we know that they're
     operating with a much greater understanding of the Lodges than
     anyone this side of Agent Jeffries (that we know of)...

     Briggs is clearly a candidate for entry into the White Lodge (and
     the only one we know of too), so I think that ring comes from the
     White Lodge.  The tatoo and the ring both serve the same function:
     to protect the wearer from posession by BOB or his buddies.  
     When Laura put the ring on, she was saved from possession - and
     Leland/BOB had no choice but to kill her.
     Teresa Banks is shown with the ring as well... somehow, she came
     into possession of the ring, and Bob/Leland couldn't possess
     her either (if that was ever his intent... to stop her blackmailing
     him...?) - so she's dead.  
     What about the tatoo on the One-Armed-Man's missing arm - he talks
     about the mark in 1002, in the dream - and says he "took off the
     arm."  Is this the same tatoo as Briggs and Margaret have - the
     same symbol on the ring?  Or something else?  (We don't really 
     believe it said "MOM" do we?)

     Incidentally, the LMFAP CAN'T BE MIKE, because Gerard "took off the
     arm," severed it.  And we SAW him still possessed by Mike.  That's
     a contradiction, if the LMFAP himself is Mike.  I think we haven't
     seen the OAM's "true face" yet...

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Many people have been asking for a summary of the shooting script,
so I have extracted all the entries in the timeline that correspond to the
shooting script of the movie, dated Aug 8, 1991.  Some scenes are transcribed.
Note that many scenes were cut and some rearranged in the final product.
The scenes in the script are in chronological order here.  A complete timeline
should be ready within a couple of weeks.

ed

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


#Jan 1988
#   -- Teresa moves into the Canyon Trailer Park (Teresa's file, FWWM)
#   -- Teresa rents a trailer from Mrs. Simmons (Rodd to Desmond and Stanley,
#      FWWM)
#   -- Teresa and another girl come looking for work at Hap's.  There's only
#      one opening so Teresa takes it.  Irene nevers sees the friend again.
#      (Irene to Desmond and Stanley, FWWM)

#   "just before [Teresa's] time" (Irene to Desmond and Stanley, FWWM)
#   -- Teresa's left arm goes dead for three days

#Feb [Fire Walk With Me (movie) - 8/28/92
#     Written by David Lynch and Bob Engels
#     Directed by David Lynch]

#   -- Teresa Banks' body, wrapped in plastic, floats through Hells Canyon,
#      drifting along in Wind River

#   -- Gordon's office in Portland.  He calls for Agent Chester Desmond.
#   -- Fargo, North Dakota.  Desmond and another agent are in the middle of
#      busting some prostitutes.  Desmond's car phone rings and Cole tells
#      him he's needed out west.
#   -- Airport outside of Portland.  Desmond arrives.  In the security lounge,
#      Cole introduces him to Sam Stanley.  Lil walks in, wearing a red wig,
#      and does a dance.  She makes a sour face, walks in place, puts one
#      hand in her pocket, and makes a fist with the other while blinking
#      both eyes.  Cole says it's her mother's sister girl and holds four
#      fingers in front of his eyes.  Cole will be heading back to Philadelphia
#      today.
#   -- On the highway, Desmond explains Lil's dance to Stanley.  The sour face
#      means they're gonna have problems with the local authorities.  Both
#      eyes blinking means there's going to be trouble higher up - Desmond
#      guesses a sheriff and a deputy.  The one hand in her pocket means they
#      are hiding something and the other hand made into a fist means they are
#      going to be belligerent.  Walking in place means there's going to be a
#      lot of legwork.  Desmond figures Cole saying "mother's sister's girl"
#      means the sheriff's uncle is in federal prison.  The red wig means
#      they are headed into a dangerous situation.  Stanley noticed that the
#      dress was altered.  Desmond explains it means drugs.  There was a
#      blue rose pinned to her dress but Desmond won't explain what it
#      means.  Stanley asks about Cole's tie but Desmond says it's just Cole's
#      bad taste.

#   4:30 pm (Cable to Desmond)
#   -- Desmond and Stanley arrive at the sheriff's station in Deer Meadow.
#      The deputy, Cliff Howard, and the secretary try to get them to wait
#      around for a long time but Desmond pinches Cliff's nose and walks into
#      the sheriff's office.  Desmond demands all pertinent information
#      regarding Teresa Banks from a belligerent Sheriff Cable.  On his way
#      out, Desmond notices a framed newspaper clipping on the wall.  It
#      reads "Cable Bends Steel" and there is a picture of Cable bending
#      a steel bar into a U shape.
#   -- As Desmond and Stanley walk to the adjoining morgue, they see a pile
#      of steel bars.  Stanley figures the entire office, furniture included,
#      is worth $27,000.
#   -- At the morgue, Desmond reads Teresa's file.  She worked the night shift
#      at Hap's Truck Stop.  No one came to claim the body and no next of kin.
#      Stanley pulls out a special machine, then into his recorder, he reports
#      a crushed skull, probable cause repeated blows to the back of the head.
#      They notice that her ring is missing and Desmond doesn't find it in the
#      personal effects.  Stanley finds something under Teresa's ring finger.
#      It's the letter T.

#   3:33 am (clock on wall)
#   -- Stanley zips up Teresa in a body bag
#   -- Stanley and Desmond head out to Hap's Diner.  There in the manager's
#      office, they question the manager Jack.  Someone is working in the room
#      on a light that keeps buzzing and shorting.  He doesn't know what he's
#      doing so he pokes at the wiring.
#   -- At the counter, they question Jack's wife Irene.  Irene pours them some
#      coffee and Stanley cases the restaurant.  She says that Teresa worked
#      for a month, could never get to work on time and had a problem with
#      cocaine.  Irene never actually saw her use it, though.
#Old guy: {gets Desmond's attention}  You talking about that little
#  girl that was murdered?
#Desmond: You have something to tell us?
#OG: yeah.
#D: What?
#OG: I can tell shit from shinola.  Gets me a long way down the road.

#   Dawn
#   -- Desmond and Stanley arrive at Canyon Trailer Court and wake up Carl
#      Rodd (he has a sign on his door, "Do not disturn before 9 a.m... ever").
#      Rodd is louder than Cole.  Desmond and Stanley look around Teresa's
#      trailer.  They find no ring.  Stanley writes into a notebook, muttering,
#      "$5600."  Desmond notices a picture hanging on the wall.  Under a
#      magnifying glass, he sees Teresa's wearing a ring in it.
#   -- After Rodd brings them some coffee, Cliff pokes his head into the
#      trailer.  He says that he lives there also and was at a party the night
#      Teresa died.
#Desmond:  Did you know Teresa Banks?
#Cliff:  Got a couple of cups of coffee at Hap's from her.  That's it.
#  By the way where do you get off questioning a lawman?  I could ask
#  you the same question.
#D:  No you couldn't.
#   -- Cliff heads off to work.  Desmond bends down and finds a Titleist
#      golf ball under the trailer.

#   Midday
#   -- At the Sheriff's station, Cable won't let the FBI take the body.
#      Cable challenges Desmond to a discussion.  Desmond kicks his ass.
#   -- Stanley gets in the crime van with Teresa's body, on his way to Portland

#   Day
#   -- Desmond is back at the trailer park.  Carl points out which trailer
#      is Cliff's, then goes back into his own.  Desmond walks around Cliff's
#      trailer, then gets a strange feeling.  He looks past Teresa's trailer
#      to the edge of the park where he sees a hand appear in the window
#      of a trailer.  The hand disappears.  Desmond walks over to the trailer
#      and sees a mound of dirt with a small indentation at the top.  Teresa's
#      ring is in it.  He reaches out to touch it and disappears.

#(Thursday) (Cooper to Diane, FWWM)

#   Day
#   -- Philadelphia.
#Cole:  EVERY SYLLABLE OF EVERY WORD IS THE SOUND OF TWO HANDS
#  CLAPPING.  IS THAT WHAT YOU SAID, ALBERT?
#Albert:  Six to eight hands clapping.  I was referring to the
#  possibility of a little silence.
#{The phone rings, Cole answers}
#   -- Cooper is in Diane's office, trying to figure out what she changed.
#      He's got it.  She moved the clock 12 inches to the left.  Now she
#      has to clean the coffee cup.  He goes over to Cole and Albert.
#      Cole tells him that Desmond has disappeared.

#   Day
#   -- Stanley's apartment in Spokane.  There are adding machines on
#      workbenches everywhere.  He shows Cooper his special machine then
#      the letter he found under Teresa's fingernail.

#   4:20 pm (Cooper to Diane)
#   -- Rodd points the way to Cliff's trailer but Cooper picks up the same
#      vibe that struck Desmond and walks in the opposite direction.
#      He finds tire tracks where a trailer used to be.
#Cooper:  Can you tell me who's trailer it was... and who stayed in
#  the trailer?
#Carl:  An old woman and her grandson.
#Cooper:  Can you tell me what their names were?
#Carl: Chalfont.  Weird.  Chalfont was the name of the folks that
#  rented the space before they did.  Two Chalfonts.
#      Cooper feels something and stands.  He sees a car under a tree and
#      close to the tracks.  It's Desmond's.
#Cooper:  {into recorder}  Diane, it's 4:20 in the afternoon.  I am
#  standing here at Wind River where they found the body of Teresa
#  Banks.  Diane, this case has got a strange feeling for me.  Not
#  only has Agent Chester Desmond disappeared but this is one of
#  Cole's Blue Rose cases.  The clues that were found by Agent
#  Desmond and Agent Stanley have led to dead ends.  The letter
#  below the fingernail gives me the feeling that the killer will
#  strike again.  But like the song says, "...who knows where or
#  when."

#16 Feb 1989 (Thursday) ("seven days before")

#   Morning
#   -- In Twin Peaks, Laura walks outside her house.

#   10:10 am (Cooper to Cole [Cooper incorrectly says it is the 15th])
#   -- In Philadelphia, Cooper tells Cole that he is worried about today
#      from a dream he told him about.  He then looks at the calendar and
#      checks his watch.  He walks from the room into the hallway and looks
#      into the lens of the surveillance camera.  He runs into to the
#      surveillance room and sees an empty hallway on the monitor.
#   -- In Buenos Aires, Phillip Jeffries checks into a hotel, The Palm Deluxe.
#      The bellhop picks up Jeffries' bag and they head up to his room, 612.
#   -- Cooper runs back to the hall, then back to the surveillance room.
#      The monitor shows an empty hallway.  He runs back into the hallway.
#      Behind him, at the end of the hall, a door opens and Phillip
#      Jeffries enters the hallway, headed towards Cooper, who doesn't see
#      him because he is staring intently into the camera.  Cooper runs
#      back to the surveillance room and sees on the monitor himself staring
#      into the camera, then Phillip Jeffries walking past him towards the
#      camera.
#   -- Gordon calls Cooper to his office.  Albert and Cole are staring
#      bug-eyed at Jeffries.
#Cole:  PHILLIP!
#Albert:  {stands up}  Phillip!
#{Jeffries moves into the room, Cooper steps in}
#Cooper:  Phillip?
#Cole:  COOPER, MEET THE LONG LOST PHILLIP JEFFRIES.  YOU MAY HAVE
#  HEARD OF HIM AT THE ACADEMY.
#Jeffries:  I'm not going to talk about Judy.  Keep Judy out of this.
#Cooper:  But...
#Cole:  STAND FAST, COOP.
#J:  {pointing at Cooper}  Who do you think that is there?
#A:  Suffered some bumps on the old noggin', eh, Phil?
#Cole:  WHAT THE HELL DID HE SAY?  {pointing at Cooper}  THAT'S
#  SPECIAL AGENT DALE COOPER.  {focusing on Jeffries}  ARE YOU
#  OKAY, JEFFRIES?  WHERE THE HELL HAVE YOU BEEN?
#J:  I want to tell you everything, but I don't have a lot to go on.
#  But I'll tell you one thing: Judy is positive about this.
#A:  How interesting.  I thought we were going to keep Judy out
#  of this.
#J:  {sits down}  Listen to me carefully.  I saw one of their
#  meetings.  It was above a convenience store.
#A:  Who's meeting?  Where have you been?
#Cole:  FOR GOD'S SAKE, JEFFRIES, YOU'BE BEEN GONE DAMN NEAR TWO YEARS.
#J:  It was a dream.  {takes Albert's arm}  We live inside a dream.
#A:  And it's raining Post Toasties.
#J:  NO, NO.  I found something... in Seattle at Judy's... And then,
#  there they were...  {Albert's about to say something, but Cole
#  stops him}  They say quietly for hours.
#      Flashback:
#Six people in a large, barren, filthy room.  Cheap plastic storm
#windows flap in the cold win.  The Man From Another Place (Mike)
#and BOB sit at a formica table.  Behind them on plastic torn chairs
#huddle Mrs. Tremond and her grandson.  Two big woodsmen with full
#beards sit quietly.  [Dialogue is subtitled]
#First woodsman:  We have descended from pure air.
#MFAP:  Going up and down.  Intercourse between the two worlds.
#BOB:  Light of new discoveries.
#Mrs. Tremond:  Why not be composed of materials and combinations
#  of atoms?
#Grandson:  This is no accident.
#MFAP:  This is a formica table.  Green is its color.  {touches table}
#FW:  Our world.
#MFAP:  With chrome.  And everything will proceed cyclically.
#Second Woodsman:  Boneless.
#Mike:  Yes, find the middle place.
#BOB:  {screams with anger}  I HAVE THE FURY OF MY OWN MOMENTUM.
#G:  Fell a victim.
#MFAP:  {raises hand}  Fire Walk With Me.
#BOB:  {claps his hand, circle of fire appears in room}
#  Fire Walk With Me.
#{Through the circle is the red room.  BOB crawls in, Mike yells
#and leaps in after him.}
#SW:  Thus time moves on.
#      Back in the FBI office:
#J:  I followed.  {begins to cry, to himself:}  The ring... ring...
#Cole:  {hinting}  ALBERT, I'LL TAKE THAT SECOND MINERAL WATER.
#  { Albert gets the message and leaves discreetly}  PHILLIP, LET'S
#  CALM DOWN AND GET ALL OF THIS INTERESTING STORY ON PAPER.  {into
#  intercom}  HELLO... HELLO.  {nothing but static, the wiring and
#  fluorescent lights start to hum}  LET ME HEAR SOME GOOD NEWS.  MY
#  DEVICE IS FAULTY.  WHERE THE HELL IS THE SOUND IN THIS THING?
#  {pounds intercom}  MAYDAY...
#J:  {hearing "may," turns to look at the calendar}  May?  1989?
#{Calendar shows 1989.  Cooper looks out of the room to see if anyone
#  is coming to help Cole.  Static grows louder.}
#Cole:  WHAT... AM I ALONE?  {Cole turns back to Jeffries, who has
#  disappeared.  Papers from Cole's desk are sticking to Jeffries'
#  chair.}  HE'S GONE.
#Cooper: {back into the room}  What?
#Cole:  ALBERT, COME BACK HERE.  HE'S GONE.  CALL THE FRONT DESK.
#A: {on phone}  I've got the front desk right now.  He never
#  was here.  No record of him entering the building... and the
#  doctors should be here any minute.
#Cole:  GREAT.  I, MYSELF, AM GOING TO BE READY FOR THEM.
#Cooper:  What's going on?
#{Albert rushes back into room}
#Cole:  QUICKLY MEN... WORD ASSOCIATION, COOP.  WHAT ARE YOU THINKING
#  ABOUT RIGHT NOW?
#Cooper:  Teresa Banks.
#Cole:  Albert?
#A:  Tylenol.
#Cole:  WHY ARE YOU THINKING ABOUT TERESA BANKS, COOP?
#Cooper:  It was a year ago today that Teresa Banks was killed.  I'm
#  wondering if the murderer will ever kill again.
#Cole:  ALBERT, WHY TYLENOL?
#A:  No offense, sir, but after a day with you it is mandatory.
#   -- Back in Buenos Aires, Jeffries is standing in the hallway of the hotel.
#      The wall behind him is seared black and smoking.  A maid whimpers,
#      trying to stave away an epileptic fit.  The bellhop turns back to see
#      Jeffries.
#J:  {to Bellhop}  Hey... hey...
#Bellhop:  {half crying}  Oh, Mr. Jeffries.  De shit it come out of
#my ass!  Santa Maria, where did you go?
#   -- Cooper plays back the surveillance camera tape for Cole.
#   Cooper:  He was here.
#   -- Donna joins Laura in walking to school.  They talk about math, James
#      calling Donna last night, Laura knowing Bobby seeing someone else,
#      and Bobby being pissed because he think's Laura's seeing someone else.
#   -- Donna runs into Mike at school
#   -- James and Laura agree to meet at 2:30
#   -- Laura ducks into the bathroom to do a quick hit of cocaine.
#      Schoolbell rings.
#   -- Bobby's late to school again.  He kisses the trophy case with Laura's
#      picture in it.

#   2:30 pm (clock on wall)
#   -- James and Laura meet in the custodian's room.  She says she loves him
#      but it doesn't matter.  They make love on the floor.

#   End of school (bell ringing)
#   -- Bobby's pissed at Laura since he couldn't find her for the last hour

#   After school
#   -- Donna and Laura are eating nuts at Donna's.  Eileen rolls in to check
#      on the nuts and motors out.  They talk about James, Bobby, and Mike.
#      D:  Do you think that if you were falling in space you would slow
#  down after a while or go faster and faster?
#L:  Faster and faster.  For a long time you wouldn't feel anything.
#  Then you would burst into fire... forever.
#   -- Laura returns home.  No one else is home.  She goes to her room,
#      lights up a cigarette, takes the cocaine out of her public diary
#      and takes a snort.  She gets out her private diary from behind the
#      dresser, ready to write in it, when she notices pages are missing.
#      She panics, taking it and running from the room.  Down the stairs,
#      she nearly collides with her mother, arms full of groceries.  She
#      asks to use the car and Sarah reminds her she'll never be a smoker
#      if she doesn't start.
#   -- Laura arrives at Harold's.
#L:  My secret diary.  There are pages missing.
#H:  Who would do that?
#L:  Bob.
#H:  But Bob isn't real.
#L:  The pages are gone.  That's real.
#H:  Maybe.
#L:  Bob is real. He's been having me since I was 12.  {Harold is
#  stunned}  The diary was hidden too well.  He's the only one who
#  could know where it was.  He's getting to know me, now.  _He's
#  real._  He speaks to me.
#H:  What does Bob say?
#L:  {whispering}  He wants to be me... or he will kill me.
#H:  No... No...
#L:  {strangely}  Oh, yes... yes...  {starts toward Harold}
#H:  What?  Please.
#L:  {Feeling of Bob comes over her.  She screams.  Harold steps
#  back.  Laura grabs him.}  FIRE WALK WITH ME.  {buries her face
#  in his shoulder, whispers}  The trees... the trees...  {they
#  break}  You have to hide the diary, Harold.  You made me write
#  it all down.  He doesn't know about you.  You'll be safe.  {stares
#  at him, eyes wide, suspicious}  You're not Bob are you, Harold?
#  If you are, you can kill me right now.  Kill me right now,
#  if you are.
#H:  Laura, no.  I'm not.  I'm not Bob.  {begins to shake and cry}
#  Poor Laura.  I wish I could help you.  {holds her}
#L:  I hate him, I hate it.  Sometimes I love it.  But now I'm
#  afraid.  I am so afraid.
#H:  But you're strong Laura... so much stronger than I... How can
#  I help you?  I can't.  I can't even go outside.  {Laura touches
#  his cheek}  What about James?  Can't James help you?  You two
#  are so in love.
#L:  {flat}  He's in love with a girl who's dead.  {hands him the
#  diary}  It _is_ dangerous for you to have it.  I'm sorry.
#H:  I'm so sorry, Laura.
#L:  {kisses him passionately}  I don't know when I can come back.
#  Maybe never.  {She leaves, out to the car, starts the car and takes
#  a snort of cocaine}

#   Night
#   -- Laura returns home to her mother setting the table.
#   -- Sarah puts the rest of the dinner at the table.  Laura is already
#      seated.  Leland enters, pretending he is a giant.  He says the
#      Norwegians are coming next week and teaches the two a little
#      Norwegian.

#  11:30 pm (clock)
#  -- Laura sneaks out of the house
#  -- A big semi comes to a stop on the highway.  Laura gets in.  She snorts
#     some cocaine then gets on top of him.  An owl hoots.

#17 Feb (Friday)

#   Day
#   -- Cooper tells Albert he feels the murderer will strike again.  He
#      predicts the victim to be a blonde woman in high school, sexually
#      active, on drugs, and crying out for help.  He says she is preparing
#      a great abundance of food at this moment.
#   -- Nadine and Ed enter the RR for coffee while Norma sends Shelly to
#      go help Laura take the Meals on Wheels meals to the car.  As Laura
#      puts the dinners into the back of the car, she sees Mrs. Tremond and
#      her grandson in the parking lot waving for her to come over.  Laura
#      walks over, and Mrs. Tremond holds out a framed picture.
#T:  This would look nice on your wall.
#{Laura takes the picture.  It's of a room with flowered wallpaper
#  and a dark doorway in its corner}
#G:  He's looking for a book with pages torn out.  He's walking
#  towards the hiding place.  He's moving under the fan right now.
#      Laura sees Shelly coming out of the RR with another load of meals.
#      She turns back to see the Tremonds walking away, unrealistically far,
#      then tells Shelly she can't do Meals on Wheels today.  Shelly goes
#      in to tell Norma she will be doing today's run.  Norma says okay, then
#      begins to cry.
#   -- Laura runs home, holding the picture.  She enters her house, moving
#      slowly, when she gets to her room, she sees Bob standing in her room,
#      having pulled out the dresser.  He smiles at her and she bolts from
#      the room.  She runs across two front yards to a big tree, crying, and
#      watches as Leland walks out of the house, into his car and drive off.
#      L:  What?  It can't be... It can't be him... no... no...
#      A woman walks over to see if she is okay.  Laura goes back into the
#      house, slowly.  Nothing.  She runs to Donna's.  They talk about
#      being friends while Doc tries to make a rose appear out of a
#      magician's handkerchief.  The trick had worked at Sparkwood and 21.
#      Eileen brings in muffins for the girls.  Leland calls for Laura.

#   Night
#   -- Laura arrives home for dinner.  Leland points out that Laura hasn't
#      washed her hands yet and looks at her fingernails, particularly at her
#      ring finger.  Leland badgers her about the half-heart necklace she
#      is wearing until Laura gets up to wash her hands.

#   10:35 pm (clock)
#   -- Leland and Sarah get ready for bed, when Leland begins to cry.  He
#      can't remember the last time he told Laura he loves her, so he goes
#      to do that.  Laura is frozen with a tear in her eye.  After he leaves,
#      she remembers she left the picture on the neighbor's lawn so she goes
#      and gets it, and puts it on her wall.
#   -- Laura dreams.
#{Mrs. Tremond's picture.  Into the picture and through the doorway.
#There's another room.  Mrs. Tremond is standing there, beckoning
#us towards her and through another doorway.  Through the second
#doorway.  Another room.  Mrs. Tremond's grandson is standing there,
#holding his hands above him.  Into the space above his hands.
#Ring of fire.  Into the ring of fire.  Red room.  MFAP walks into
#the red room to a table.  A ring is there.  Cooper enters.
#MFAP:  {to Cooper}  Is it future?  Or is it past?  Do you know who
#  I am?  I am The Arm.  And I sound like this...  {Puts his hands
#  in front of his lips and makes the Indian whooping sound, picks
#  up the ring.  It's Teresa's.  The symbols on it are identical to
#  those at Owl cave.}
#Cooper:  {to camera}  Don't take the ring... Laura, don't take the
#  ring.
#{MFAP moves the ring towards us.}
#{Laura is half awakened, tries to move her left arm, but it's
#  asleep.  She moves it with her right arm.  Sounds like someone's
#  calling her name.  She turns to her right to see Annie Blackburn
#  in bed with her, blood around her mouth.
#Annie:  My name is Annie:  I've been with Laura and Dale.  The good
#  Dale is in the lodge and he can't leave.  Write it in your diary.
#{Sarah calls Laura, distant, mournful.  Laura looks at the door,
#  then at her bed.  Annie's gone.  In her hand is Teresa's ring.
#  She screams.  She gets up, goes to the door, opens it.  Dark on
#  the other side.  She looks back at the picture and sees herself in
#  the doorway looking back into the darkened rooms where Mrs.
#  Tremond and her grandson were.  Laura in the picture turns around
#  and looks down at her room, sees herself asleep.}
#{Laura wakes from the dream, looks at the picture.  Nothing.
#  Her hand.  No ring.  She throws away the picture then does some
#  cocaine.}

#18 Feb (Saturday)

#   Morning
#   -- James comes over to Laura's wondering where she was last night.
#      Leland comes out and James leaves.  Leland asks who he was.
#   -- Laura on the stairs, fan turning slowly.  Bob talks to her.  Sarah's
#      looking for a sweatshirt that Laura points out she is wearing.

#   Day
#   -- Leo shows Shelly how to scrub the floor.  He hits her and the phone
#      rings.
#L:  {on phone}  What are you doing calling me here?...
#  No way, you already owe me money...  Five thousand to be exact.
#  {looks over to see if Shelly heard}
#S:  {silently mouthing to herself}  Five thousand???
#   -- At the RR, Bobby gets off the phone with Leo, then calls Jacques,
#      who says he has a friend who has what Bobby wants.  Bobby writes some
#      stuff down on a napkin.

#   Night
#   -- Donna arrives at Laura's just as she is getting ready to leave.
#      Laura leaves in her mother's car.  Donna gets in hers and follows.
#      At the first stop sign, Laura takes a hit of cocaine.  Laura arrives
#      at the Roadhouse.  At the entrance, she meets the Log Lady who looks
#      like she was waiting.
#  LL:  When this kind of fire starts, it is very hard to put out.
#  {Touches her.  Laura moves in behind it.}
#L:  {whispers}  Margaret?
#LL:  The tender bows of innocence burn first and the wind rises -
#  then all goodness is in jeopardy.
#   -- Inside the Roadhouse, a singer sings on stage.  Laura makes eye contact
#      with Jacques behind the bar.  Laura sits.  Jacques nods to a couple
#      of bikers who come over to her with drinks.  One slides her a fifty
#      with some cocaine.  They talk rough about getting it on when Donna
#      comes over to the table, wanting to get in on the action.  At first,
#      Laura says no, but sees that Donna is serious and lets her join them.
#   -- Tommy's driving, sitting next to a case of beer.  Laura and Donna
#      sandwich  Buck in the back.  Laura hides a hit of cocaine from Donna.
#      They start to party when Buck does an Indian whoop.  Laura flashbacks
#      to the MFAP yodelling.  Donna starts to make out with Buck.
#   -- Laura, Donna, Buck, and Tommy arrive at a border truck stop.  Laura
#      does a hit, Donna refuses when Buck offers.  Tommy pisses.
#   -- Inside the truck stop, the bartender presses a release underneath the
#      counter that allows Laura and her friends to pass through a door
#      marked, "Partyland."  They meet Jacques.  Buck drops a red depth
#      charge in Donna's drink.  A heavy metal band plays on stage.
#      Laura's topless, dancing with Buck and another friend.  Later,
#      Donna's stoned, dancing with Tommy.  She sees Laura's blouse and
#      ties it around her waist.  Ronette's here too.  She mentions it's
#      been a year since Teresa was killed and that she was gonna get rich
#      blackmailing somebody.  Jacques mentions that she even called him
#      asking what Laura's father looked like.  Laura starts to get it on
#      with Buck when she hears BOB, "See what we can do to Donna?"  Laura
#      screams at Jacques to get Donna out and at Donna to never ever wear
#      her clothes.

#19 Feb (Sunday)

#   Late morning
#   -- Church lets out
#   -- Nadine shows Ed how to skin a deer
#   -- Truman tells Josie they should go public and why he doesn't like
#      fish eyes
#   -- The OAM in a motel room, in a deep sweat, kneels in front of a circle
#      of twelve lit candles, fighting for air and struggling to hear
#      something
#   -- At the Hayward's, Donna tells Laura she can't remember last night
#   -- Leland flashbacks to Laura and Ronette sitting on a bed
#   -- Leland and Laura leave to meet Sarah for breakfast
#   -- Leland stops at a red light at Sparkwood and 21, a logging truck
#      in front of them.  Laura smells something burning.  A car that was
#      tailing them races around the logging truck and comes back around,
#      stopping on Leland's side.  It's the OAM.  Leland starts to rev
#      the engine while staying on the brakes.
#OAM:  You stole the corn.  I had it canned above the store.
#  {Leland panics, the car slowly screeches towards the logging truck}
#  {shouting to Laura}  Miss, the look on her face when it was
#  opened.  There was a closeness.  Like the formica table top.
#  {the car smokes, making horrendous sounds, barely able to hear OAM}
#  The thread will be torn, Mr. Palmer, the thread will be torn.
#  {Leland turns to Laura, he's sweating profusely.  The OAM holds
#  up his hand with a ring on the little finger.  Leland starts
#  blowing the horn.}  It's him.  It's your father.  {Laura can't
#  make him out with the noise}
#      The light turns green and Gerard takes off.  Leland drives into a
#      service station.
#   -- Leland flashes back to himself answering Teresa's ad in Fleshworld
#      and their meeting in room 123 of the Blue Diamond City Motel.
#   -- Leland upset that someone would accost them like that out of the blue
#   -- Leland flashes back to himself arriving at the Blue Diamond and
#      seeing Laura and Ronette on the bed.  He is about to leave but
#      Teresa catches him.  He tosses her some money and takes off.
#   -- Laura asks Leland if he came home last week during the day
#   -- Leland's flashback.  He gets a call at work from Teresa.
#   -- Leland and Laura arrive at the RR

#   8:00 pm (clock)
#   -- Laura flashbacks.  She remembers the ring the OAM had, and the one
#      the MFAP had.  It's the same.  Then she remembers being at the Blue
#      Diamond with Ronette and Teresa walking saying the guy had split.
#      She sees Teresa is wearing this same ring.  Then:
#      Laura:  {to herself}  The same ring...
#BOB:  That's not important.  I will tell you what is important.
#  The fan will soon be starting.
#L:  Who are you?  Who are you REALLY?
#B:  I am the One who wants to breathe thru your nose and taste
#  thru your mouth.
#   -- Leland flashbacks to him crushing Teresa's skull

#21 Feb (Tuesday)

#   Morning
#   -- Laura eats her breakfast.  Leland reminds her it's Johnny Horne's
#      birthday.
#   -- In her room, Laura does her last line of cocaine - her packet is empty.

#   Day
#   -- Laura tells Bobby at school she needs more and they agree to meet at 11
#   -- Laura runs into James and they agree to meet later in the afternoon
#   -- Johnny's birthday at Ben's office.  Ben tries to blow up a large
#      rubber Indian.  Johnny steps in his cake.  Leland looks at Laura's
#      picture on Ben's desk.  Sylvia asks why there are no pictures of
#      her, Johnny or Audrey there.  Jerry and Leland talk about the French.
#      Jerry mentions that they love the trees more than anything.  Leland
#      mentions that Sarah's cousin is French and can't stop talking about
#      the trees around here.
#   -- At the sheriff's station, Hawk reports to Truman that Joey just
#      called.  Bernie left Canada an hour ago.  They and Andy prepare to set
#      a trap for him.
#   -- Laura arrives quietly at Ben's after Johnny's party.  He gives her
#      some cocaine.  She says she'll do more than kiss him for it.

#   10:59 pm (clock)
#   -- Bobby roars through the night, radio blasting
#   -- Laura sneaks out of the house and meets Laura two front yards away.
#      They toot up while he drives.
#   -- Pete pulls into Big Ed's Gas Farm for some gas.  Ed fills it up and
#      wipes the windshield.  There's a spot on the inside so Ed hands Pete
#      a rag.
# Pete:  {as he cleans}  Even this heavy work beats being at home with
#  the ball and chain.
#Ed:  Brother, I hear you talkin'.
#   -- Bobby and Laura in the woods.  They toot up and wait.  Deputy Cliff
#      Howard shows up, saying Jacques sent him.  He pulls out a large
#      bag of cocaine.  Laura grabs it out his hand.  Cliff takes out his
#      gun and Bobby shoots him.  Three times.  An owl hoots.
#   -- Laura at home, on the stairs.
#BOB:  _I_ want to kill thru you.
#Laura:  {stops cold on the stairs, lookin up at the fan}  No.
#B:  I want you to kill _for me_.
#L:  No.  Never.  You'll have to kill me.
#B:  I want you to kill _for me_.

22 Feb (Wednesday)

#   Day
#   -- At school, Bobby shows Laura the $10,000 they were going to use to
#      pay for the drugs th night before.  He gives it to her, she's to put
#      it in her safety deposit box.
#   -- Out in the woods, Bobby discovers the coke is baby laxative

#   Night
#   -- Laura in her room tooting up.  Jacoby calls.  She says she has already
#      made two tapes.
#   -- Leland gives Sarah a glass of milk.  After she finishes it, he walks
#      into the hallway and hits the fan switch.  Laura freezes.  Sarah
#      nods, sees the white horse and falls asleep.  Laura, on her bed,
#      pressed up against the headboard, sees BOB appear in the window and
#      enter the room.  He moves on top of her, hand between her legs.
#      She fights, holding his face, trying to see it.  BOB becomes Leland.
#      She passes out.

23 Feb (Thursday)

#   Morning
#   -- Laura gets ready for school.  She tells Leland to stay away from her.
#      He knows she knows and he knows what he has to do.
#   -- She goes to school.  The day is a blur.

    Early evening
#   -- Sarah and Laura at dinner.  Laura says she hates asparagus.  Sarah
#      says Ben asked Leland to stay late to plan for the Norwegians.
#   -- Laura arrives at Bobby's.  Bobby tells her it was baby laxative.
#      She says she's out and Bobby gives her some.  She leaves.
#   -- Lucy over the intercom tells Truman that Josie called thinking she
#      heard a prowler

#   9:30 pm (clock)
#   -- Laura says goodnight to her mother, then does three lines of coke in
#      her room
#   -- James calls [Albert confirmed, however, that the one call Laura
#       received was placed from Ben's office, 2009], she says they'll meet
#       in 15 minutes.  She does another line of cocaine then swallows some
#       pills.
#   -- Laura sneaks out of her house. (James to Cooper, 1001) She sees
#      Leland come home and hides.  Leland gets out of the car and looks
#      right where Laura is hiding.  She can't tell if she's spotted.
#      Leland goes inside.  James arrives and she gets on his bike as Leland
#      watches out the front window.

#   Night
#   -- James and Laura stop at a clearing in the woods.  They talk bitterly
#      about love.  Laura mentions Bobby killed someone and that even Donna
#      doesn't know her.
#   -- Laura jumps off James' bike at Sparkwood and 21, cries, "James, I love
#      you," and runs off (James to Cooper, 1001)
#   -- At Jacques',  everyone is high.  Laura is tied up, though she's
#      screaming against it tonight.  Ronette is also tied up.  Waldo pecks
#      at her, and Leo puts a OEJ chip in her mouth and says, "Bite the
#      bullet, baby."  Leland appears at the window, unseen.  Leo wants some
#      of Laura and Jacques wants some of the bourbon, but Leo holds the
#      bottle tight.  Jacques decks Leo, grabs the bottle and heads outside.
#      Leland trips, grabs the bottle and knocks it over Jacques' head.
#      Leo hears the crash and comes outside to see Jacques bleeding.
#      [Jacques thinks Leo hit him, Jacques to Cooper, 1007]  Leo
#      panics and takes off for his corvette.  Leland goes inside.  His
#      smiling eyes are on Laura as he rapes Ronette.  Laura is hysterical.
#   -- At her cabin, the Log Lady listens, her tattoo burning beet red
#   -- Leo marches the two tied up girls through the woods.
#   -- Out of breath, the OAM arrives at the cabin, too late.  He can hear
#      screams.  OAM:  Bob, I can hear you singing.
#   -- At the train car.
#{Leland hauls the two girls inside and shuts the door.  Completely
#  quiet.  BOB and Leland going in and out like breathing.  Girls
#  shuddering as he circles them.  He ties Laura up with the twine,
#  bending the arms back.}
#Laura:  {whispers}  Are you going to kill me?
#   -- Gerard tearing through the woods
#   -- Train car.
#{Leland hoists Laura up so that she hovers facing the floor a foot
#  off it.  He places a mirror directly under her face.  In the mirror,
#  Laura sees herself turn into BOB.  Leland screams.
#Leland:  DON'T MAKE ME DO IT.
#Laura:  NO, YOU HAVE TO KILL ME.
#Leland:  I always thought you knew it was me.
#Laura:  {to BOB in the mirror}  NO!  YOU CAN'T HAVE ME.  {to Leland}
#  KILL ME.
#Gerard: {arrives outside, bangs on the door} LET ME IN.  LET ME IN.
#  {Ronette pushes it open a little with her feet, Gerard reaches up
#  to help her when she flies over his head, having been hit.
#  Ronette hits the ground, head bent back at an odd angle.  Gerard
#  listens to the sounds.  Laura screaming.  Knife entering flesh.
#  BOB screaming.  Bloody knife through air.  Leland screaming.
#  Gerard leans in, takes a look, steps back laughing, yells at BOB}
#  THAT'S HIS OWN DAUGHTER YOU'RE KILLING.  {Laughs, runs away.
#  Leland stumbles out, with Laura wrapped in plastic.  His shirt is
#  puffed out, a bloody towel inside.
#   -- Leland lowers Laura into the river
#   -- Leland at Glastonberry Grove.  He pulls the diary pages out of his
#      pocket and drops them and the towel.  He enters the circle beyond
#      the curtains.  Gerard is just leaving the other side of the room.
#      Leland walks through the red room down a corridor into the red room
#      again.  Gerard and the MFAP are sitting side by side in a chair
#      facing him.  Leland stops and divides.  One half becomes BOB,
#      the other floats up abd becomes Leland, transparent.  BOB reaches
#      up and grabs Leland's wound, healing it.  Gerard and the MFAP in
#      unison [subtitled]:  BOB, you're not going home without me.  I want
#      my garmonbozia.

#   Dawn
#   -- At high tide, Laura's body floats up to and bumps against logs

    "Two months later"
#   -- Annie is brought on a stretcher to the hospital emergency ward
#   -- The red room.
#{MFAP stands with Cooper}
#MFAP:  Is it future?  Or is it past?  Do you know who I am?
#  I am The Arm.  And I sound like this...  {Indian whooping noise}
#Cooper:  {looking at table}  Where is the ring?
#MFAP:  Someone else has it now.
#Cooper:  That would indicate that it's the future.
#MFAP:  The later events have never been kept a secret.
#Cooper:  Where am I?  _And how can I leave?_
#MFAP:  You are here and there is no place to go...
#  {shouts}  BUT HOME!  {laughs uncontrollably}
#   -- Nurse attends to Annie.
#Annie:  My name is Annie.  I've been with Laura and Dale.  The good
#  Dale is in the lodge and he can't leave.  Write it in your diary.
#      The nurse slides the ring off of Annie's finger.  She goes to another
#      room and puts it on.
#   -- Truman and Doc tend to Cooper, who says he slipped and hit his head on
#      the mirror and that it struck him as funny.
#   -- Laura is sitting on Cooper's lap in the red room
-- /\__Edwin Nomura -- enomura@ucsd.edu__________.:___________.____________/\ / \\ .:. . : . : / \\ / \\\ : .:: : : Fire walk with me :.. : . : / \\\ / \\\\..::..:::.:::::.:.:.....:::::...::..:...:::::.:.:::::.:....::.../ \\\\

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In article <1992Sep11.161208.1193@msus1.msus.edu> (Jeff Kunzelman) writes:

> >Hey whats this about A HyperCard TP stack? Where can I get it?
> >
> >Jeff
> >

There's a couple of them that i know of.  The first is known simply as
the "Twin Peaks Stack" or somesuch.  It is about 5 Meg of TP sounds from the
first season, and really damn cool, IMNSHO.  The other one is called "The
Twin Peaks Bedside Companion."  I've had it for a while, but haven't pawed
through it too much.  Currently i have both, but i don't know of a good
way to post these suckers or anything, and i know nothing about FTP.

Not Peaks oriented beyond this point....
I also have a really cool stack of images and sounds taken from H.P. 
Lovecraft's Cthulhu mythos, if anyone's interested.
-------------------
Matt Maxwell
mmaxwell@ucsd.edu

"He took personality tests
 and stapled them to his lower lip" -- Stan Ridgway


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   Mea culpa!  In referring to a scene I inadvertently called the 1st Season
   Premiere the Euroversion and visa versa.  Accept my apologies.

  Perhaps this was mentioned last year, but it is news to me.  A very
  interesting visual has been spotted in identical (or very similar) scenes
  from both the Euroversion and the TP TV premiere.

  This is not really a spoiler, but if you haven't seen any TP and you don't
  want to hear about a little Bob sighting, then read no further.

  In the EUROVERSION, Sarah Palmer is sitting on a chair
  or couch and has a vision/remembrance of Laura's bedroom.  She sees Bob
  at the foot of Laura's bed.  Then the camera shows her on the couch again
  (I think she screams).  Look on the wall right behind her.  It's on the
  right side of your TV screen.  It's a mirror, right?  Look closely.  Now
  rewind tape & look again.  It's okay if you wish to freeze-frame it.  WoW.

  The same image appears in the TV PREMIERE: immediately after Sarah's vision
  of the gloved hand picking up the necklace, which I believe is in the last
  few minutes of the episode.
  I must give credit to Ken Brown, who noticed this while viewing the Euro-
  version.  Later, we checked the pilot episode to verify.

> > ****
> > Also, I wish I hadn't ignored the Euroversion until now.  It's more than
> > just a different ending.  There are lots of clues which are alluded to in
> > FWWM, not to mention a wonderful scene with Andy & Lucy getting ready for bed
> > 
 Jim
    S P O I L E R -- if you want to be surprised by what you see,
     don't read this.

      What you're looking at is the lower right portion of the mirror/
picture frame that's on the wall behind Sarah Palmer.  It's BoB's head,
and it moves...
Jim Lester  (an employee)               Citicorp slash TTI
90405  (310)450-9111, x2209             lester@soldev.tti.com
 "Thunder is good, thunder is impressive,
  but it is lightning that does the work."  - M. Twain

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In article <18pdb6INNpde@agate.berkeley.edu>, sally@anableps.berkeley.edu
(S. A. Wilson) wrote:
> > 
> > 
> > 
> > Since I am using a Mac SE, and only possess a 1200 baud modem, I have
> > to use the campus computers to download and then transfer the material
> > over to disks. Now, I was able to do this with all the Mac sound files,
> > but I ran into problems when trying to do the same with the Mac Hypercard
> > stuff. I downloaded to the campus Mac but then could not transfer it over
> > to a disk since the file was too big...Now can anyone help me, give me
> > some pointers as how to get the file....Upon downloading it I checked it
> > out and it I am hooked I need it to add to my Peaks collection.
> > 
> > Sorry for my ignorance, but can someone help me out....
> > 
> > And what of this new Hypercard TP Trivia thing?
> > 
> > 
> > Sally--Sigh, can't find anyone to go see TP, so I am stuck at only
> > seeing it once--A. Wilson
> > 
> > 
> > 
> > -- 
> > That the play is the tragedy, "Man,"  \\\\\Sally A. Wilson
> >   And its hero, the Conqueror Worm.    \\\\\sally@mica.berkeley.edu
> > ("The Conqueror Worm"\\\\\
> > from Egar Allan Poe's _Ligeia_) \\\\\Spud Peel


Hey whats this about A HyperCard TP stack? Where can I get it?

Jeff

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In article <10340073@hplvec.LVLD.HP.COM>, brian@hplvec.LVLD.HP.COM (Brian Wood) writes:
> > There was a positive review, SIGHT UNSEEN, by the reviewer in The
> > Denver Post (Howie Movshowitz).  He based his review on the reviews
> > at Cannes, no less.  He gave it 3 1/2 out of 4 stars.  It's a strange
> > and wonderful world we live in.
> > 
> > Brian WOOD (need I say more?)
> > 
> > "I've got blue roses for a blue lady"  - Help me...what song is this from?
> > 
It's from an old song in the 30s or 40s. Lyric goes "Give me some
red roses for a blue lady." That's all I can remember.

Lou


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     First of all lemme clear this up:  I lived in Germany (AFN network) and
only got to see the first season on tape (I have them all on tape) and when I
got here, they were already showing the last 6 episodes. (have those on tape
too).. I just saw FWWM.  here are some questions:

When did Ronnette have the train flashbacks?

How closely did the film relate what had been revealed in the show?  (for
instance, I didn't see any reference except for the bird itself about Laura's
"Bite the bullet, baby," biting of the One Eyed Jack's poker chip)

Who the hell were those people in the black lodge?  (the old woman and the boy
with the mask)

NR

--
ntraven@wuntvor.norman.ok.us (The Night Raven)
The Eternal Apprentice BBS, Norman, OK -- +1 405 325 9607

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In article <1992Sep10.162031.17073@cco.caltech.edu> UnoJ writes:
> >In article <carl-090992175400@mac7.gsfc.nasa.gov> carl@class.gsfc.nasa.gov
> >(Carl F. Hostetter) writes:
>> >>Correct me if I'm wrong (it's the end of a long day, and I've only seen the
>> >>movie once), but didn't the deputy deliver the drugs in a football? And
>> >>weren't Mike and Bob teammates? Maybe that added to Laura's drug-induced
>> >>confusion.
>> >>
> >
> >You're wrong, the drugs were in a plain white pack. Just after pulling the pack
> >out and waiting for Laura to approach him, the "courier" draws the gun.
> >
> >By the way, I am not so sure that it is the same deputy as in Deer Meadow. How
> >are we so sure about that? I tried to look at the credits but I only could find
> >one for deputy Cliff but none for the courier. Then again, they were flashing
> >by quite fast.

Of course it was deputy Cliff of Deer Meadow. (Laura thought of him beeing
Mike "Snake" Nelson, 'coz they went through some drug deals with Mike & Bobby.
MIKE & BOB....NOT! Remember Bobby Briggs whispering to Laura while handing
over a lill' pack of coke: "Tonight we do a big score. Don't tell Mike!")

Don't forget Lil, the red Lady: She had a hand in her pocket, danced while
blinking both eyes.
Eyes blinking means they're going to have trouble from higher up (Chet figures
out a sheriff and a deputy). The hand in her pocket means they are hiding
something. 
She had a dress on, which has been altered. This means DRUGS...


I saw FWWM three times now, but I didn't get all of what Laura said to James
at school (love scene). Was it partly "Lodge-Speak"?

"Maybe, Bobbybaby"Robert Michl

(rmichl@iiic.ethz.ch)

*****************************************************************
->My mother's name is Margaret (like the log Lady)
->We call Dad Carl (that was Fat Trout Trailer Park Guard)
->He's a Twin
->My brother's called Dennis (remember Denise Bryson?)
->We're Twins
->I'm BOB
->and my sister - guess what ? - Laura!
Well, the last names have been changed to protect the innocent...
*****************************************************************

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     Who exactly is Harold?  Is he the fellow that Laura gives her diary to in
FWWM?  I would have assumed it was Jacobi (who I also missed in the film)

     I would have most liked to've seen Jacobi, Ben, Catherine, Pete, and
Josie, but we can't have everything can we?  (and the scene with David Bowie
was incredible)

NR

--
ntraven@wuntvor.norman.ok.us (The Night Raven)
The Eternal Apprentice BBS, Norman, OK -- +1 405 325 9607

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In article <1992Sep10.015816.20162@ucsu.Colorado.EDU> shallenb@spot.Colorado.EDU (Nualle") writes:
> >He [J"urgen Prochnow] was the man with the very long beard in the room 
> >with Bob, the Tremonts/Chalfonts, the LMFAP, and some others.  
> >He was in the title sequence either because he's a big enough name in H-wood 
> >to warrant it (likely) or because he originally had a larger role than 
> >survived in the US release (would non-US viewers please comment?).
> >My guess is the former... he has worked with Lynch before (Dune) and prob-
> >ably did this cameo as a favor.

We've seen the same versions of "^Twin Peaks^ Fire Walk With Me" over 
here. (I think only in Cannes it was a bit longer).
Prochnow played the Log Lady's husband, I guess, and only for a second or
two (Beard, woolcap, rising and letting down his left arm strangely).

BTW, I'm positively surprised of Angelo Badalamentis Vocals in the sound-
track ("A Real Indication", "The Black Dog Runs At Night")...

Robert Michl

(rmichl@iiic.ethz.ch)

*****************************************************************
->My mother's name is Margaret (like the log Lady)
->We call Dad Carl (that was Fat Trout Trailer Park Guard)
->He's a Twin
->My brother's called Dennis (remember Denise Bryson?)
->We're Twins
->I'm BOB
->and my sister - guess what ? - Laura!
Well, the last names have been changed to protect the innocent...
*****************************************************************


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Okay, re-listening to the TP:FWWM soundtrack last night I paid
more attention to the songs. And while listening to "Black Dog
Runs at Night," I could swear that I heard a "squeaking," or
"squealling" nose which cropped up occasionally; to me it sounded
as if it were from an animal, a pig, which I doubt, or could it
be from some type of primate? Wasn't it mentioned in this group
that the first time we see a flash of the primate that it was
when this song was played in the background, when the Cream
Corn Kid was doing his dance?

Sally--


-- That the play is the tragedy, "Man," \\\\\ Sally A. Wilson And its hero, the Conqueror Worm. \\\\\ sally@mica.berkeley.edu ("The Conqueror Worm" \\\\\ from Egar Allan Poe's _Ligeia_) \\\\\ Spud Peel

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> >
> >M: My name is Mike.
> >C: What are you?
> >M: I am...an inhabiting spirit.
> >C: Who is Phillip Gerard?
> >M: He is host to me.
> >
> >This immediately follows, by the way
> >
> >C: You spoke to me in my dream...about BOB.
> >M: Mmm. He...was...my familiar.
> >C: Where does BOB come from?
> >M: That...cannot be revealed.
> >
> >-Rich Haller

 Does this nean that Bob was once Mike's host? (He was my familiar).
 This could explain why Bob only fears Mike, why the little grandson points
 to him in the movie and says "Fell a victim" and why Bob says in the cut
 portions of the script "I have the fury of my own momemtum" - him
 falling faster and faster through space like Donna and Laura was talking
 about in the movie. So would that mean Mike "pulled the plug" on Bob at
 one time and when he went to the lodge, Mike kept him in his spirit form
 still using him to kill through but Bob on his own this time?

 -=*George*=-





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For all of you who missed this, this is a reprint of
Marc Hauser's post of the original scene where David
Bowie/Phillip Jeff(e)ries shows up in Philadelphia.

In article <1992Sep5.032744.16407@news.acns.nwu.edu>
mhauser@casbah.acns.nwu.edu (Marc Hauser) writes:
> >tv monitor, there is a cut to:
> >EXT. BUENOS AIRES HOTEL-DAY
> >PHILLIP JEFFRIES checks into the hotel.
> >
> >So there he is in South America, and then 
> >we read, 
> >BACK ON COOPER
> >He runs back out the door into the hallway.  Behind him at the end of the hall
> >a door opens and _Phillip Jeffries who moments ago was in Buenos
> >Aires_{Italicized} enters the hallway...
> >
> >Obviously, this is all meant to shed a little more light on the picture, which
> >MR. Lynch convinently left out of the movie.
> >Jeffries moves into the room, and here is the text of what he says, that is,
> >in my script, though the whole sequence is different.  I will copy it as best
> >I can so you can tell the difference...
> >
> >JEFFRIES: I want to tell you everything, but I don't have a lot to go on.  But
> >I'll tell you one thing: Judy is positive about this.
> >ALBERT: How interesting.  I thought we were going to keep Judy out of this.
> >JEFFRIES: Listen to me carefully.  I saw one of their meetings.  It was above
> >a convenience store.  
> >ALBERT: Who's meeting?  Where have you been?
> >COLE: For God sakes, Jeffries, you've been gone damn near two year.s
> >JEFFRIES: It was a dream.  We live insides a dream.
> >ALBERT: And it's raining Post Toasties.
> >JEFFRIES: NO, NO. I found something...in Seattle...at Judy's...and then,
> >tthere they were.,  They sat quietly for hours.
> >
> >INT ROOM ABOVE THE CONVENIENCE STORE-DAY
> >
> >SIX PEOPLE IN A LARGE, BARREN, FILTHY ROOM.  CHEAP PLASTIC STORM WINDOWS FLAP
> >IN THE COLD WIND.  I NTHE FOREGROUND THE MAN FROM ANOTHER PLACE (MIKE) AND BOB
> >SIT AT A FORMICA TABLE.  BEHIND THEM ON PLASTIC TORN CHAIRS HUDDLE MRS.
> >TREMOND AND HER GRANDSON.  TWO BIG WOODSMEN WITH FULL BEARDS SIT QUIETLY.
> >
> >{This is mostly subtitled...}
> >FIRST WOODSMAN: We have descended from pure air.
> >MFAP: Goin up and down.  Intercourse between the two worlds.
> >BOB: LIght of new discoveries.
> >MRS TREMOND: Why not be composed of materials and combinations of atoms?
> >GRANDSON: This is no accident.
> >MFAP: This is a formica table.  Green is its color. [He touches the table].
> >FIRST WOODSMAN: Our Wold.
> >{sorry, that's 'World'}
> >MFAP: With chrome.  And everything will proceed cyclically.
> >SECOND WOODSMAN: Boneless.
> >MIKE: Yes, find the middle place.
> >BOB:[screaming] I have the fury of my own momentum.
> >GRANDSON: Fell a victim.
> >MFAP: Fire walk with me...
> >BOB: [claps his hand and a circle of fire appears in the room.]  Fire walk
> >with me
> >
> >THE RED ROOM
> >
> >[Bob crawls into the Red Room and Mike starts to yell and leaps in after him.]
> >
> >SECOND WOODSMAN:  Thus time moves on.
> >
> >FBI OFFICE.
> >
> >JEFFRIES: I followed. [he cries]. The ring..ring...
> >COLE: Albert, I'll take that second mineral water.  [AFTER HESIATAION, ALBERT
> >GETS THE MESSAGE AND LEAVES THE ROOM.]  Phillip, let's calm down and get all
> >of this interesting story on paper.  [COLE TRIES TO RAISE SOMEONE ON THE
> >INTERCOM BUT IT DOESN'T SEEM TO HAVE ANY JUICE.]  Hello...Hellol...[HE IS
> >GETTING NOTHING.  THE STATIC BEGINS TO BUILD ON THE INTERCOM.  THE WIRING ON
> >THE WALL AND THE FLOURESCENT LIGHTS START TO HUM AS WELL.]
> >Let me hear some good news.  My device is faulty. Where the hell is the sound
> >in this thing?  Mayday...
> >
> >HEARING 'MAY', JEFFIRES TURNS AND STAES AT A _CALENDAR ON THE WALL_ MOVE INTO
> >JEFFRIES.
> >?
> >JEFFRIES: MAY? 1989?  [STARING AT THE CALENDAR, IT IS 1989.]
> >
> >{To save space, they check the tape and see that he was there, although now he
> >has disappeared...The next scence has him reappear in the hotel in Buenos
> >Aires, in a hallway with terrified workers and a blackened, smoking wall.}
> >

My opinion: Reading over the reaction of Jeffries: "The ring..the ring...
it seems to be safe (ha ha, yeah right) to hypothesize that the ring
of fire that appears is some kind of device/symbol that Bob and Mike
might use to shift planes of being. It also appeared in the uncut version
(from an earlier posting) after the Grandson snaps his fingers in Laura's
sleep/picture sequence. I have a feeling that the Owl Ring is connected
to this and may enable the beings from the other plane to have some
access to our own physical plane. The difficulty with this theory is 
that Bob's possession of Leland must have been temporary, and mostly
when he was in the presence of Teresa Banks. It would also mean that
the LMFAP is sort of evil; I don't think anyone in the other plane
is necessarily good. Maybe the filthy room represents the Black
Lodge where our spirits go through before gaining a higher nirvana.
And for some souls/spirits the change is exactly what they want to
avoid. In other words, they are so addicted to afflicting pain and
sorrow to others (and hence receiving the garmonbozia) that they are
quite content of sojourning in the Black Lodge ad lib.
The final scene where the LMFAP (as the arm) connects himself to
the OAM (the body) could signify several things: that the OAM really
lied to the Twin Peaks bunch and his ways are far from redempted, or
that he was sincere but in the presence of the LMFAP he is his old
self again, i.e. evil. Incidentally my conclusion would be that
the LMFAP is evil incarnate in the TP universe. He offers the ring
to LAura in the dream for example.

What still baffles me is how both agent Desmond and agent Cooper
knew where to go in the trailer park (Fat Trout). One look at
the electricity/telephone pole and off they went in the "right"
(but completely baffling for HD Stanton) direction. What did the
pole signify to them? 


   Jus' some ideas

                    UnoJ




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sally@anableps.berkeley.edu (S. A. Wilson) writes:

> > 
> > 
> > I still think that the "owl ring" is some form of "marriage bond" between
> > the wearer and the giver, and that it is connected to the Black Lodge, thus
> > it is a symbol of the wearer having sold his/her soul to the Lodge, the
> > "forces of Darkness." Now, when the wearer is eventually ritualistically
> > murdered BOB places the ring in the circle as a form of sealing the pact.
> > Now, if I remember correctly, Leland (under the possession of BOB) was
> > angered at Laura's half locket, the heart which to me symbolizes a form
> > of "pure love." Now, Laura wearing this symbol as opposed to a symbol of
> > her giving herself to the Black Lodge angers BOB. When he ritualistically
> > murders her he sacrifices the half heart, yet being a symbol of "pure love,"
> > there is no pact with the darker forces. BOB and the Black Lodge inhabitants
> > lose out. Wasn't "love" one of the forces which open the gateways to the
> > Lodges, to the White Lodge?
> > 
> > 
> > Sally--
> > -- 
> > That the play is the tragedy, "Man,"  \\\\\Sally A. Wilson
> >   And its hero, the Conqueror Worm.    \\\\\sally@mica.berkeley.edu
> > ("The Conqueror Worm"\\\\\
> > from Egar Allan Poe's _Ligeia_) \\\\\Spud Peel

Then how do you explain Laura going to the white lodge as soon as she put 
the ring on?

 /-------------------------------------------------------------------------\
| It's all a game...                                                        |
|                        Gregory C. Salmieri                                |
|                                                       ...It's all the same|
 \-------------------------------------------------------------------------/

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My roommate and I were playing on the new sounds program he got 
for his Mac, recording things, playing them backwards, and then
recording us saying the backwards stuff and playing that backwards.
You all know what I'm talking about.
Anyhow, we found out what garmonbozia is. Press "n" now if you don't
want to find out...































okay...When we played "Garmonbozia" backward, we got the following:

             "I is Windom Earle."

Try it yourselves. We repeated the process, with both Garmonbozia
and "I is Windom Earle". They're the reverses (Dopplegangers?)
of each other. Okay boys & girls... debate this away....:-)
                                        George...
"I'd better put temptation out of your reach!"
                                       -Leia Organa

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In article <1992Sep11.223230.27286@neptune.inf.ethz.ch> rmichl@iiic.ethz.ch
(Robert Michl) writes:
> >I saw FWWM three times now, but I didn't get all of what Laura said to James
> >at school (love scene). Was it partly "Lodge-Speak"?
> >
> >"Maybe, Bobbybaby"Robert Michl
> >
> >(rmichl@iiic.ethz.ch)

There is another instance, and thanks for reminding me
of the other one, where it appears that Laura is speaking
as if dazed (Lodge-speak?): in the woods with James
again, right after they dismount from the bike, she
says something that sounds like "Ishmet" and James
says "What?" then Laura blinks and is back in our
world again. People with a script should be able to
answer this for us quite easily I hope....


     UnoJ



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Question about the various rings....

Now, since there are "good" and "evil" versions of Coop, Laura, etc.,
could there not be also "good" and "evil" version of objects, such
as the ring. Thereby, it would explain why Laura was told not to
put on the ring, yet offered a ring. There are different rings floating
about: on of these rings is some bond between the werarer and the
Black Lodge, another is a gift of protection from the White Lodge?

The ring we see under the trail that Desmond finds definitely has
the owl symbol from Owl Cave, but did anyone notice if the other
rings had the same symbol--that is if there were more than one ring?

Sally--


-- That the play is the tragedy, "Man," \\\\\ Sally A. Wilson And its hero, the Conqueror Worm. \\\\\ sally@mica.berkeley.edu ("The Conqueror Worm" \\\\\ from Egar Allan Poe's _Ligeia_) \\\\\ Spud Peel

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Hi,

I just saw the movie last week and I was surprised that Donna seemed to know
everything about Laura. I remember in the TV show, she didn't.

According to the diary, Laura tried never to tell anything to Donna...

[Please mail your responses as I usually don't read this group.]
Ulrich Gall, Seebrooksberg 2, W-2300 Klausdorf, Germany
Tel.: +49-431-790292, EMail: ulrich@galki.toppoint.de

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In article <rhaller-090992125112@rhaller.cc.uoregon.edu> rhaller@oregon.uoregon.edu (Rich Haller) writes:
|In article <1992Sep06.050016.21050@microsoft.com>, t-markla@microsoft.com
|(Mark Lambert) wrote:

<stuff deleted>

|> This may be a bit contrived, but the telegraph pole bears the numbers 12480
|> and 6. If you sum the digits of 12480 you get 15, sum those and get 6. So 
|> that's two sixes. I looked hard for another, but couldn't see one. 666 is 
|> probably too traditional for Lynch anyway.
|
|Probably, but I suspect the 6 on the pole is an intentional reference to
|666.
|
|-Rich

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Gee, And I thought the number was 90210

--

===============================================================================
"Diane..as we know from experiments  | I do not have insomnia! I just forget 
conducted on GI's during the Korean  |             to sleep.
War, sleep deprivation is a one way  | Matt Frazer, mfrazer@skidmore.edu
ticket to temporary psychosis, and   | 5 Stevens Way Durham NH 03824
I'm working on a three day jag."     | Skidmore College Saratoga Springs 
-FBI Special Agent Dale Cooper       |          New York 12866
===============================================================================
                              Be Seeing You!
===============================================================================


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salmieri@whitebase.ukp.com (Gregory Salmieri) writes:

> > I agree wit all the above ideas except the first one, that was creamed corn. 
> > As far as the second idea: The ring transports you to the black lodge, thus 
> > the qwl cave symbols. The symbols were a map to the lodg, Andy figured that 
> > out.                                                     ^^^^^^^^^^^^^^^
                                                  I believe Windom Earle       
     First Knew This
There was a scene in one oof the episodes with Windom on the laptop
yelling that the cave painting was not onlty an invitation it was also
a map, a map to the black lodge, nasty rasping laughter, leo screaming
and twitching etc.....

--
===============================================================================
"Diane..as we know from experiments  | I do not have insomnia! I just forget 
conducted on GI's during the Korean  |             to sleep.
War, sleep deprivation is a one way  | Matt Frazer, mfrazer@skidmore.edu
ticket to temporary psychosis, and   | 5 Stevens Way Durham NH 03824
I'm working on a three day jag."     | Skidmore College Saratoga Springs 
-FBI Special Agent Dale Cooper       |          New York 12866
===============================================================================
                              Be Seeing You!
===============================================================================


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In article <1992Sep7.030855.22250@cs.mun.ca> georgen@pooky.cs.mun.ca (George Noel) writes:
|>|
|>|
|>|>>   It seemed as if Cooper kept going back and forth between the area
|>|>>the camera was surveying and the TV monitor for no good reason right
|>|>>before Bowie showed up.  Did I miss something?
|>|
|>|>i think he sensed time slowing down, as someone else mentioned.  so much
|>|>that he went to the display room first, saw nothing.  went to the
|>|>display room a second time, saw his arm in the door.  and then went
|>|>to the display room a third time, and saw himself stuck there in
|>|>time as jeffries walked by, unhindered by time.  just a guess?
|>
|>The second time I went to the movie, I watched *VERY* closely for this,
|>and saw no arm in the door.  Besides, even if we did see an arm, wouldn't
|>we be tying that scene in with the one armed man?
|
| Nope it is definately there.. everytime Coop looks at the monitor time
| is getting slower and slower until Jeffries arrives and it is so slow Coop
| can still see himself standing by the camera with Jeffries walking behind
| him. The first 3 times we seen nothing in the hallway when Coop looks at
| the monitor, Coop at monitor, you can see his hand for a second going in
| the door, Coop at monitor, you can see Cooper walking in the door and then
| finally Coop still at the camera.

Nope.  Definately *NOT* there.  I went back for vieewing #3 and #4, still
looking for it.  *NO* arm in the camera's view.  All we see is an empty
hallway on the monitor, until the third and final time.

|>|He already had a dream about this.  That's why he was so concerned when
|>|he went up to Lynches character and said "It's 10:02 already".  He
|>|was expecting this to happen.
|>
|>ObDirectQuoteFromFilm:  "Gordon, it's 10:10 February 16th."
|>
|>|I think..
|>|


-- ---------------------------+- If we took the bones out, it wouldn't -- jsnyder@ccwf.cc.utexas.edu | be crunchy, would it? - MPFC ---------------------------+ That is your reciept for your husband, and this is my reciept for your reciept. - Brazil

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In article <wiljo.715810920@kiel.UUCP> wiljo@kiel.uucp (Wiljo Heinen) writes:
|jsnell@ocf.berkeley.edu (Jason Snell) writes:
|
|>In article <Iebumjy00WBME1vCAt@andrew.cmu.edu> Jeremy Matthew Toeman <jt3h+@andrew.cmu.edu> writes:
|>>This is actually a list of questions I have, but will spoil a few things..

|>>
|
|>>7] How did both Chris Isaak and then Coop know which trailer to approach?
|>>And what was the significance of the place being rented by the same guy
|>>twice? (and what was that person's name?)
|
|>I think they followed a line from a telephone pole over to the trailer.
|>And I think the significance of the name was that the person who rented
|>the space (Mrs. Tremond and her grandson, the Creamed Corn Kid) just used
|>the old name. In other words, it was just a fake name, because it was really
|>Mrs. Tremond.
|
|As I see it, there's a little more to it (though, I don't know _what_):
|
|In the movie, _as well as in the series_, "Mrs.Tremond" and her "Grandson"
|simple use the name of the previous (resp. current) owner of their 
|living place.
|
|"Mrs.Tremond" isn't her real name: In the series, we see, that she just
|uses this name (or is assumed by Donna to have that name), while residing
|in the Tremond's home.
|
|So again, there's just a parallelity to the series, Mrs.T simply uses
|the name of the previous owner.

Agreed.  In the credits (she is the first one listed) the characters name
is listed as "Mrs. Chalfont (Tremond)"

I don't recall the actress' name...maybe Fay something?  Ah, go check the
cast list on audrey...

-- ---------------------------+- If we took the bones out, it wouldn't -- jsnyder@ccwf.cc.utexas.edu | be crunchy, would it? - MPFC ---------------------------+ That is your reciept for your husband, and this is my reciept for your reciept. - Brazil

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Hello?  Someone should brush up on their French.  Hello?

Try...    Tres= very
          Mond= world

Hello?  nice try but what is the significance.

Matt.

Lynch, you crazy black dog, ha.

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Hello?   the missing six.

try a pattern..  2,4,__,8,10
gee what number is missing?


(hint:it comes after 5)

Matt

Lynch, you are such a numerologist.


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SINCE WHEN DID THIS BECOME A POLITICAL CHANNEL, GET OFF OF THE IRAQI
PAST, GET OVER IT, AND DO SOMETHING MORE INTERESTING, LIKE WRITE ABOUT TP.


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Hello?  your family is rather exceptional in that all of the names are
from tp,  then again, any soapopera has all of those names.
bob, how rare a name.
dennis/denise, now that's so foreign.

guess what my name's David lynch and my mom is Laura Palmer.
and call it a coincidence or just plain fate but my brother's name is
Harry S. Truman.














Just playin with ya.


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Hi,
I have a slightly dumb question..
How do you use the twin-peaks ftp site???
I see people mentioning it all the time and I assume there is a lot of
neat stuff in there?
Can someone tell me how to access it? I have never ftp'd before.
(obviously) 
:)

Also, I am currently re-watching the 1st and 2nd season on tape since
I saw the movie last weekend, but I haven't gotten to Annie yet. I
don't remember why she ends up being so special. Is it because she is
a way to "get" to Dale, or is she more involved in the whole lodge
thing? I vaugely remember Dale running into a "bad" Annie in the final
episode when he was in the lodge looking for her. Why was she there? (
I know that Windom Earle took her there, but is there another reason?)

That's all my questions for now.
I just love reading everyone's theories!
THIS IS SO NEAT!!
:)
Susan

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In article <1992Sep11.042920.6214@cs.mun.ca>, georgen@pooky.cs.mun.ca (George Noel) writes:
|> In article <37896@sdcc12.ucsd.edu> enomura@sdcc13.ucsd.edu (Eddie the 'ead) writes:
|> >In article <1992Sep10.162031.17073@cco.caltech.edu> UnoJ writes:
|> >>By the way, I am not so sure that it is the same deputy as in Deer Meadow. How
|> >>are we so sure about that? I tried to look at the credits but I only could find
|> >
|> >It is clearly the same person.  Besides, the shooting script so says that
|> >we are to recognize him as Deputy Cliff.
|> >
|> >ed
|> >
|> In the series, there are drugs planted in Cooper's car which later turns out
|> to be baby laxative. They find baby laxative at Dead Dog Farm in the sink
|> and supposedly in a cut scene from the movie, Bobby and Laura are supposed
|> to find out the drugs they got from Deputy Cliff were baby laxative. How
|> are these events related? Were the sherriff and deputy in Deer Meadow
|> connected to Jean Reneault like the Candian Mounty was and involved with the
|> drug trafficing? Who was the "uncle" that Agent Desmond mentioned that was
|> in Federal Prison (said it was the sherrif's Uncle.) Was that what they were
|> hiding? That they were a part of a drug ring or were they hiding something
|> about the Theresa Banks murder? What was the purpose of the baby laxative? So
|> they could get the money and keep the drugs? And why did Deputy Cliff try
|> to kill Bobby? From instructions from Jacques?
|> 
|> -=*George*=-
|> 
|> 
I think they were definitely involved in the drug ring, not the Teresa Banks
murder.  It seems like a more likely reason for their hostile (but hysterically
funny) attitude towards Desmond and Stanley and the FBI in general.  Also, it
would be the kind of thing that a stupid small town sherriff would get involved 
with, given the high amount of drug smuggling from Cananda.

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I just got issue #1 of "Captain Harlock: Fall of the Empire."  Anyway, it
has a Robotech serial called "Firewalkers" running in the back of the book.  
A Veritech fighter in it has various sayings related to fire painted on it, 
like "Burn baby burn" and, surprisingly, it has "Fire walk with me" painted on
the cockpit.  I was pretty surprised to see it there.

BCNU

--
John Sommerville (jes2x@Virginia.Edu)     "I'll see you in the trees..."

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In article <BuFyz2.Dsq@acsu.buffalo.edu> v113np2v@ubvmsd.cc.buffalo.edu (George
D Emmons) writes:
> >My roommate and I were playing on the new sounds program he got 
> >for his Mac, recording things, playing them backwards, and then
> >recording us saying the backwards stuff and playing that backwards.
> >You all know what I'm talking about.
> >Anyhow, we found out what garmonbozia is. Press "n" now if you don't
> >want to find out...
> >okay...When we played "Garmonbozia" backward, we got the following:
> >
> >             "I is Windom Earle."
> >
> >Try it yourselves. We repeated the process, with both Garmonbozia
> >and "I is Windom Earle". They're the reverses (Dopplegangers?)
> >of each other. Okay boys & girls... debate this away....:-)
> >                                        George...
> >"I'd better put temptation out of your reach!"
> >                                       -Leia Organa
> >
When I saw the title of the posting I was rather skeptical
whether it contained any useful info. The spolier warning was
intriguing, so down I plunged. Now I can see how you could get
some of the reverse lettering, but how does the "g" become the 
"..rle" when reversed is hard to understand.
In any case I thought that the "pain and suffering" explanation
from the subtitles fit well enough. And in most theories so far
it is an integral part in explaining the mission if you will
from the Black Lodge dwellers. 
It would surprise me if Windom Earle had such influence on Black
Lodgers that they would be referring to him (even if reversed) in
their quest for the pain and suffering from possessed souls. WE
seemed more like a nasty gremlin bent on destrucion to me. But his
quest was the arrival at the Black Lodge, so he did not seem to
have a tight grip on it like Mike or Bob for example.
If this is not a hoax posting I'll be delighted to read any 
coherent theories.


    UnoJ



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In article <1992Sep11.234517.8448@cco.caltech.edu> UnoJ writes:
> >For all of you who missed this, this is a reprint of
> >Marc Hauser's post of the original scene where David
> >Bowie/Phillip Jeff(e)ries shows up in Philadelphia.
> >
> >In article <1992Sep5.032744.16407@news.acns.nwu.edu>
> >mhauser@casbah.acns.nwu.edu (Marc Hauser) writes:
>> >>tv monitor, there is a cut to:
>> >>EXT. BUENOS AIRES HOTEL-DAY
>> >>PHILLIP JEFFRIES checks into the hotel.
>> >>
>> >>So there he is in South America, and then 
>> >>we read, 
>> >>BACK ON COOPER
>> >>He runs back out the door into the hallway.  Behind him at the end of the
hall
>> >>a door opens and _Phillip Jeffries who moments ago was in Buenos
>> >>Aires_{Italicized} enters the hallway...
>> >>
>> >>Obviously, this is all meant to shed a little more light on the picture,
which
>> >>MR. Lynch convinently left out of the movie.
>> >>Jeffries moves into the room, and here is the text of what he says, that is,
>> >>in my script, though the whole sequence is different.  I will copy it as best
>> >>I can so you can tell the difference...
>> >>
>> >>JEFFRIES: I want to tell you everything, but I don't have a lot to go on. 
But
>> >>I'll tell you one thing: Judy is positive about this.
>> >>ALBERT: How interesting.  I thought we were going to keep Judy out of this.
>> >>JEFFRIES: Listen to me carefully.  I saw one of their meetings.  It was above
>> >>a convenience store.  
>> >>ALBERT: Who's meeting?  Where have you been?
>> >>COLE: For God sakes, Jeffries, you've been gone damn near two year.s
>> >>JEFFRIES: It was a dream.  We live insides a dream.
>> >>ALBERT: And it's raining Post Toasties.
>> >>JEFFRIES: NO, NO. I found something...in Seattle...at Judy's...and then,
>> >>tthere they were.,  They sat quietly for hours.
>> >>
>> >>INT ROOM ABOVE THE CONVENIENCE STORE-DAY
>> >>
>> >>SIX PEOPLE IN A LARGE, BARREN, FILTHY ROOM.  CHEAP PLASTIC STORM WINDOWS FLAP
>> >>IN THE COLD WIND.  I NTHE FOREGROUND THE MAN FROM ANOTHER PLACE (MIKE) AND
BOB
>> >>SIT AT A FORMICA TABLE.  BEHIND THEM ON PLASTIC TORN CHAIRS HUDDLE MRS.
>> >>TREMOND AND HER GRANDSON.  TWO BIG WOODSMEN WITH FULL BEARDS SIT QUIETLY.
>> >>
>> >>{This is mostly subtitled...}
>> >>FIRST WOODSMAN: We have descended from pure air.
>> >>MFAP: Goin up and down.  Intercourse between the two worlds.
>> >>BOB: LIght of new discoveries.
>> >>MRS TREMOND: Why not be composed of materials and combinations of atoms?
>> >>GRANDSON: This is no accident.
>> >>MFAP: This is a formica table.  Green is its color. [He touches the table].
>> >>FIRST WOODSMAN: Our Wold.
>> >>{sorry, that's 'World'}
>> >>MFAP: With chrome.  And everything will proceed cyclically.
>> >>SECOND WOODSMAN: Boneless.
>> >>MIKE: Yes, find the middle place.
>> >>BOB:[screaming] I have the fury of my own momentum.
>> >>GRANDSON: Fell a victim.
>> >>MFAP: Fire walk with me...
>> >>BOB: [claps his hand and a circle of fire appears in the room.]  Fire walk
>> >>with me
>> >>
>> >>THE RED ROOM
>> >>
>> >>[Bob crawls into the Red Room and Mike starts to yell and leaps in after
him.]
>> >>
>> >>SECOND WOODSMAN:  Thus time moves on.
>> >>
>> >>FBI OFFICE.
>> >>
>> >>JEFFRIES: I followed. [he cries]. The ring..ring...
>> >>COLE: Albert, I'll take that second mineral water.  [AFTER HESIATAION, ALBERT
>> >>GETS THE MESSAGE AND LEAVES THE ROOM.]  Phillip, let's calm down and get all
>> >>of this interesting story on paper.  [COLE TRIES TO RAISE SOMEONE ON THE
>> >>INTERCOM BUT IT DOESN'T SEEM TO HAVE ANY JUICE.]  Hello...Hellol...[HE IS
>> >>GETTING NOTHING.  THE STATIC BEGINS TO BUILD ON THE INTERCOM.  THE WIRING ON
>> >>THE WALL AND THE FLOURESCENT LIGHTS START TO HUM AS WELL.]
>> >>Let me hear some good news.  My device is faulty. Where the hell is the sound
>> >>in this thing?  Mayday...
>> >>
>> >>HEARING 'MAY', JEFFIRES TURNS AND STAES AT A _CALENDAR ON THE WALL_ MOVE INTO
>> >>JEFFRIES.
>> >>?
>> >>JEFFRIES: MAY? 1989?  [STARING AT THE CALENDAR, IT IS 1989.]
>> >>
>> >>{To save space, they check the tape and see that he was there, although now
he
>> >>has disappeared...The next scence has him reappear in the hotel in Buenos
>> >>Aires, in a hallway with terrified workers and a blackened, smoking wall.}
>> >>
> >
> >My opinion: Reading over the reaction of Jeffries: "The ring..the ring...
> >it seems to be safe (ha ha, yeah right) to hypothesize that the ring
> >of fire that appears is some kind of device/symbol that Bob and Mike
> >might use to shift planes of being. It also appeared in the uncut version
> >(from an earlier posting) after the Grandson snaps his fingers in Laura's
> >sleep/picture sequence. I have a feeling that the Owl Ring is connected
> >to this and may enable the beings from the other plane to have some
> >access to our own physical plane. The difficulty with this theory is 
> >that Bob's possession of Leland must have been temporary, and mostly
> >when he was in the presence of Teresa Banks. It would also mean that
> >the LMFAP is sort of evil; I don't think anyone in the other plane
> >is necessarily good. Maybe the filthy room represents the Black
> >Lodge where our spirits go through before gaining a higher nirvana.
> >And for some souls/spirits the change is exactly what they want to
> >avoid. In other words, they are so addicted to afflicting pain and
> >sorrow to others (and hence receiving the garmonbozia) that they are
> >quite content of sojourning in the Black Lodge ad lib.
> >The final scene where the LMFAP (as the arm) connects himself to
> >the OAM (the body) could signify several things: that the OAM really
> >lied to the Twin Peaks bunch and his ways are far from redempted, or
> >that he was sincere but in the presence of the LMFAP he is his old
> >self again, i.e. evil. Incidentally my conclusion would be that
> >the LMFAP is evil incarnate in the TP universe. He offers the ring
> >to LAura in the dream for example.
> >
> >What still baffles me is how both agent Desmond and agent Cooper
> >knew where to go in the trailer park (Fat Trout). One look at
> >the electricity/telephone pole and off they went in the "right"
> >(but completely baffling for HD Stanton) direction. What did the
> >pole signify to them? 
> >
> >
> >   Jus' some ideas
> >
> >                    UnoJ
> >
> >
SPeaking of the trailer park does anyone remember whether there
were any wires (electric or telephonic) leading to the trailer
where agent Desmond found the ring? If this turns out to be true,
both agents Desmond and Cooper knew a lot more about the workings
of Lodge electricity than they ever let on......


   UnoJ

 


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Allright...here goes.

I want to get another tattoo. For long while, I've been thinking about

getting something Twin Peaks-esque.

Finally it hit me... the perfect tattoo...

I want to get the pertoglyph on Theresa Banks's ring!

Even better... *ahem* my name is Mike, so I'm going to get it on my shoulder!

I now have two problems:

1) I can't remember which shoulder he had it on

2) I don't have a good clear picture of the ring. Since tattoos are permanent,
I need someting with the picture shown as clearly as possible, and since I plan
on getting to background in there too, I need the picture in COLOUR.

Does anyone out there have a picture of the petroglyph they could send me, 
or does anyone know where I can find the picture? Also, for those of you in 
rec.arts.bodyart, is it possible to get a deep emerald green tattoo dye?


Thanks!

Mike
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
 Ever see a mouse panic when it grasps the full implications of its place 
on the food chain?
-Jim Kasprzak
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

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In article <1992Sep13.123559.7497@ac.dal.ca>, 01sybok@ac.dal.ca writes:
> > Allright...here goes.
> > 
> > I now have two problems:
> > 
> > 1) I can't remember which shoulder he had it on
                                     ^^

Oops... I fofgot. For thise of you who don't know... "He" is The One Armed Man
;-)

Mike
             

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In article <1992Sep13.125744.7500@ac.dal.ca>, 01sybok@ac.dal.ca wrote:
> > 
> > In article <1992Sep13.123559.7497@ac.dal.ca>, 01sybok@ac.dal.ca writes:
>> > > Allright...here goes.
>> > > 
>> > > I now have two problems:
>> > > 
>> > > 1) I can't remember which shoulder he had it on
> >                                      ^^
> > 
> > Oops... I fofgot. For thise of you who don't know... "He" is The One Armed Man
> > ;-)
> > 
> > Mike

Correct, hence the left shoulder. The OAM had "Fire Walk With Me", not the
petroglyph, but  what the hell, it's your arm, Mike.

-Rich Haller

P.S. I thought Bobbie shot you. Guess you have wonderful powers of
recovery.       

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In article <1992Sep13.044542.26109@cco.caltech.edu>, UnoJ writes...
> >It would surprise me if Windom Earle had such influence on Black
> >Lodgers that they would be referring to him (even if reversed) in
> >their quest for the pain and suffering from possessed souls. WE
> >seemed more like a nasty gremlin bent on destrucion to me. But his
> >quest was the arrival at the Black Lodge, so he did not seem to
> >have a tight grip on it like Mike or Bob for example.
> >If this is not a hoax posting I'll be delighted to read any 
> >coherent theories.
 It wasn't a hoax posting...in fact, I've been thinking about it all
day. Think: 
      1) Who was the only person/parts of a person who said the
word?
      2) When did the OAM leave? (Right before WE showed up in town)
      3) It's been speculated that time moves in reverse in the 
lodges, right?
      4) The OAM is pissed at BOB for something...

    Now, say this happened:

        When BOB takes WE's soul in 2022, he split it into two 
parts: a malevolent side and a benevolent (or at least self-
serving and not totally evil) side. The "face of God"?-
BOB in the lodge? Now, the self-serving side becomes the OAM.
The malevolent side becomes the LMFAP. Let's move backwards from
the end of the show. WE/OAM can't meet up with WE(moving forward in
time), so he hangs out in the lodge and waits until Windom's 
somewhere else in the country. He comes out of the lodge to assist
Coop in catching BOB out of revenge for splitting his soul. He
keeps an eye on things when Coop gets there (The elevator in 1000)
to make sure it is his former partner (The only person that can help
him now, because he's the only person WE knows that hasn't been in 
the Lodges and is pure enough to go toe-to-toe with BOB to save
not only himself and Annie, but Windom as well. Then, he tries to
get back to his whole self after BOB kills Laura (I want back all
of Windom Earle, the two halves say in unison). BOB doesn't. He
just gives them some pain & suffering, the things that WE fed on 
in life. OAM/WE goes back to the world to try to f*ck up BOB's 
plot to be Laura out of spite. He then (In the meeting...didn't
it look likethe LMFAP (The malevolent side of Earle)was looking
at the "Garmonbozia" with relish at the thought of having it?)
tries to "Can it up" (Make himself whole again) at one of their 
meetings. This may have involved actually getting the WE of that
time to the lodge to help patch things up (Thus Windom's 
disappearance and subsequent messed-up mental state in _My Life,
My Tapes_) no dice. What happens with Windom? Maybe he gets saved
in the finale of the story, maybe he's trapped like that forever.
However, having Coop trying to save the soul of WE would be a great
addition to the story. 
                                     Just a thought...
                                         George...
"Would you like some coffee?"

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In article <1992Sep11.042920.6214@cs.mun.ca>, georgen@pooky.cs.mun.ca
(George Noel) wrote:
> > 
> > In article <37896@sdcc12.ucsd.edu> enomura@sdcc13.ucsd.edu (Eddie the 'ead) writes:
> > In the series, there are drugs planted in Cooper's car which later turns out
> > to be baby laxative. 

Nope, it's coke. I think it does test out to be the same coke (due to
traces of contaminents, I suppose) that they find traces of at DDF as you
mention below.

> >They find baby laxative at Dead Dog Farm in the sink

They find coke on the table there and also baby laxative, though the latter
may indeed have been in the sink. I haven't checked the tape.

> > What was the purpose of the baby laxative? So
> > they could get the money and keep the drugs? And why did Deputy Cliff try
> > to kill Bobby? From instructions from Jacques?

Probably just a ripoff, not a murder. He pulls the gun, but we don't know
whether he was going to kill Bobby, maybe just demand the money. Bobby
kills him before he can fire a shot.  By the way, since it was baby
laxative, there were no drugs to keep.

-Rich Haller

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In article <18rlhkINN6v4@agate.berkeley.edu>, sally@anableps.berkeley.edu
(S. A. Wilson) wrote:
> > 
> > 
> > 
> > Question about the various rings....
> > 
> > Now, since there are "good" and "evil" versions of Coop, Laura, etc.,
> > could there not be also "good" and "evil" version of objects, such
> > as the ring. Thereby, it would explain why Laura was told not to
> > put on the ring, yet offered a ring. There are different rings floating
> > about: on of these rings is some bond between the werarer and the
> > Black Lodge, another is a gift of protection from the White Lodge?

Another explanation is that the ring was good and it was the 'bad' Cooper
in her dream telling her not to take it.  It might be argued that it has to
be the good Coop because that is the one in the lodge, but don't forget
that Leland/BOB enter the lodge at the end of FWWM, so Coop/BOB could also.
 That said, I'm not as happy with this theory as I would like to be.

> > The ring we see under the trail that Desmond finds definitely has
> > the owl symbol from Owl Cave, but did anyone notice if the other
> > rings had the same symbol--that is if there were more than one ring?

At my third viewing, I tried to look very carefully at the rings. Mainly, I
concentrated on whether they all had green stones.  The answer is yes, and
I am pretty sure they also all had the owl cave symbol.

Also, the comments of MFAP to Coop at the end of the shooting script (they 
don't appear in the movie) indicate there is only one ring. See below:
#Cooper:  {looking at table}  Where is the ring?
#MFAP:  Someone else has it now.
#Cooper:  That would indicate that it's the future.
#MFAP:  The later events have never been kept a secret.

Now take a look at what follows immediately (at least in the post).
Annie's is a different ring. It is the one that his mother gave Coop and it
is a plain gold band, not one with a green stone.  So we have at least two
different rings, Coops and the one we first see on TB's finger in the
picture but we later see in the dream sequence on the table that Coop
refers to.

#Cooper:  Where am I?  _And how can I leave?_
#MFAP:  You are here and there is no place to go...
#  {shouts}  BUT HOME!  {laughs uncontrollably}
#   -- Nurse attends to Annie.
#Annie:  My name is Annie.  I've been with Laura and Dale.  The good
#  Dale is in the lodge and he can't leave.  Write it in your diary.
#      The nurse slides the ring off of Annie's finger.  She goes to
another
#      room and puts it on.
#   -- Truman and Doc tend to Cooper, who says he slipped and hit his head
on
#      the mirror and that it struck him as funny.
#   -- Laura is sitting on Cooper's lap in the red room

-Rich Haller

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[I'm leaving all this stuff in as spoiler hider]
In article <1992Sep11.220533.9751@ttinews.tti.com>, lester@soldev.tti.com
(jim) wrote:
> > 
> >    Mea culpa!  In referring to a scene I inadvertently called the 1st Season
> >    Premiere the Euroversion and visa versa.  Accept my apologies.
> > 
> >   Perhaps this was mentioned last year, but it is news to me.  A very
> >   interesting visual has been spotted in identical (or very similar) scenes
> >   from both the Euroversion and the TP TV premiere.
> > 
> >   This is not really a spoiler, but if you haven't seen any TP and you don't
> >   want to hear about a little Bob sighting, then read no further.
> > 
> >   In the EUROVERSION, Sarah Palmer is sitting on a chair
> >   or couch and has a vision/remembrance of Laura's bedroom.  She sees Bob
> >   at the foot of Laura's bed.  Then the camera shows her on the couch again
> >   (I think she screams).  Look on the wall right behind her.  It's on the
> >   right side of your TV screen.  It's a mirror, right?  Look closely.  Now
> >   rewind tape & look again.  It's okay if you wish to freeze-frame it.  WoW.
> > 
> >   The same image appears in the TV PREMIERE: immediately after Sarah's vision
> >   of the gloved hand picking up the necklace, which I believe is in the last
> >   few minutes of the episode.
> >   I must give credit to Ken Brown, who noticed this while viewing the Euro-
> >   version.  Later, we checked the pilot episode to verify.
> > 
>> > > ****
>> > > Also, I wish I hadn't ignored the Euroversion until now.  It's more than
>> > > just a different ending.  There are lots of clues which are alluded to in
>> > > FWWM, not to mention a wonderful scene with Andy & Lucy getting ready for bed
>> > > 
> >  Jim
> >     S P O I L E R -- if you want to be surprised by what you see,
> >      don't read this.
> > 
> >       What you're looking at is the lower right portion of the mirror/
> > picture frame that's on the wall behind Sarah Palmer.  It's BoB's head,
> > and it moves...
> > Jim Lester

You are so right, Jim. I haven't seen it myself. I couldn't make it out in
my copy of the pilot. It appears to be off screen. However, BOB himself,
confirms that this happened in an interview in Film Threat (see my separate
post).  Turns out it was an accident, but when they noticed it, they
decided to keep it. He was there in his role as set dresser/prop man
handing Grace Zabriskie cigarettes broken off at the right length for each
retake of the scene.  This is typical Lynch--going with what happens. If it
had been too obvious, I imagine they would have done something about it,
but under the circumstances, BOB quotes Lynch as saying "We couldn't have
planned this better."

By the way, the interview is really good. There is an annecdote about how
Frank Silva (BOB) agreed to play BOB for SAG minimum at a bachelor party. 
I won't spoil it for you.

-Rich Haller

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In article <1992Sep11.234436.15806@cs.mun.ca>, georgen@pooky.cs.mun.ca
(George Noel) wrote:
>> > >C: You spoke to me in my dream...about BOB.
>> > >M: Mmm. He...was...my familiar.
>> > >C: Where does BOB come from?
>> > >M: That...cannot be revealed.
>> > >
>> > >-Rich Haller
> > 
> >  Does this nean that Bob was once Mike's host? (He was my familiar).

No. A familiar is a spirit (usually in the guise of an animal) that acts as
a servent for a witch or warlock (magician).  BOB works for Mike. He is
more like a slave than anything else.

> >  This could explain why Bob only fears Mike, why the little grandson points
> >  to him in the movie and says "Fell a victim" and why Bob says in the cut

Yes. Mike is the boss. Though he also says "we were once partners", it is
clear that he was the one calling the shots. Sort of like George
Steinbrenner and the Yankee partners :-)

> >  portions of the script "I have the fury of my own momemtum" - him
> >  falling faster and faster through space like Donna and Laura was talking

Interesting point. Another thing to ponder is it's possible relation to the
doctrine of karma.  Karma can be thought of as spiritual momentum.

-Rich Haller

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In article <1992Sep11.041514.6097@cs.mun.ca>, georgen@pooky.cs.mun.ca
(George Noel) wrote:
> >  spirits that control the earth live in these places gives better evidence
> >  that they are spirits and not aliens. Another thing, at first when I saw
> >  the triple triangle symbol flying through space in the series and then
> >  bursting into flames, I thought it represented a radiation symbol - relating
> >  to aliens but after seeing the movie and someone pointing out the symbol
> >  looks like an angel, I think that is what it represents - remember Donna

That was me who pointed it out.  I like your pointing out the possible
relationship to Laura's remark about bursting into flames and no angels to
help you.

> >  and Laura in the movie discussing what would happen if you kept falling in
> >  space - would you slow down eventually or speed up and Laura said you would
> >  speed up until you burst into flames and there won't be any angels around
> >  to help you.
> > 
> >   Speaking of the symbols.. Brigg's tatoo represents an Angel lets say,
> >   Margaret's looks like Twin Mountains, mirror images of themselves - Brigg's
> >   representing the heavens, Margret's the earth and possibly Bob/Mike's
> >   tatoo representing hell?

Margaret's tatoo probably is a reference to the lodges (as well as a ref to
TP itself). As you point out, they are mirror images of each other.

There are few things of which I am confident, but one of them is that Major
Briggs is definitely good and works for the White Lodge (so I'm probably,
wrong, right?). B y the way, it would appear that his relationship is
similar to Lelands in that his memories of his deeds are blocked.  (This
raises the question of whether there is something like BOB that takes over
the Major at times, but is 'good'. So far we haven't been given any
evidence of this, but remember it was only one episode before the solution
that we actually see BOB's face over Leland's.)

I find it hard not to believe that Margaret isn't at least neutral, if not
good. Her message that there are owls at the roadhouse was correct as far
as it went, but a message like 'Maddy is in danger' would have been a whole
lot more helpful--at least to Maddy.  I can't see Margaret as bad, but I
can see her as essentially neutral, pehaps that's why her tatoo has both
lodges.

-Rich Haller

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In article <18tj4fINNlsk@bigboote.WPI.EDU>, mking@lizardo.WPI.EDU (Matthew
Alexander King) wrote:
> > 
> > 
> > 
> > Hello?  Someone should brush up on their French.  Hello?
> > 
> > Try...    Tres= very
> >           Mond= world
> > 
> > Hello?  nice try but what is the significance.

Well, very also means 'true' or 'genuine' as in 'the very cross', but what
I really had in mind was
      tre=three
     mond=world(s)

Or maybe the third world in a different sense than commonly used today.

Closer to latin, I guess, though it works pretty well in Italian  or
Spanish I think. Not as well in French (trois), though maybe if you look
far enough back.

What would the three worlds be?  How about heaven, earth, and hell.
The poem speaks of two worlds, and in the shooting script there is the
following (which didn't make it to the US version, at least we can't make
it out if it is).

#First woodsman:  We have descended from pure air.
#MFAP:  Going up and down.  Intercourse between the two worlds.
                                                        
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
#BOB:  Light of new discoveries.
#Mrs. Tremond:  Why not be composed of materials and combinations
#  of atoms?
#Grandson:  This is no accident.
#MFAP:  This is a formica table.  Green is its color.  {touches table}
#FW:  Our world.
#MFAP:  With chrome.  And everything will proceed cyclically.
#Second Woodsman:  Boneless.
#Mike:  Yes, find the middle place.
  ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
The last is very buddhist/daoist.

I've got an idea about Chalfont as well, but I'm going to do a little more
research first this time  :-)

 -Rich Haller

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Some person, to whom I am deeply grateful, mentioned that a magazine called
'Film Threat' had an article on FWWM. I finally ran down a copy.  It is
GREAT!  There are 15 pages of material including photos and interviews with
BOB, MFAP, and the Log Lady.  There are quotes in the main articles and the
interviews that shed light on the development of both FWWM and TP.

They hadn't seen the film yet, so don't review it, but the article is
wildly positive for the most part. I'm looking forward to their review,
though it could be negative. The mag is pretty critical.  My guess is that
they are trying to make up all by themselves for all the bullshit
propoganda disguised as reviews that so-called critics put out to please
the studios.  They call themselves 'The Other Move Magazine.'

Anyway, I highly recommend this ($3.95US). It's worth the trouble to find
it.
As a last resort, try calling their circulation king [sic], Rich Convertito
at (310)858-7100, ext. 168. He should know if there is a place near you
that carries it or how you can order it.  Very funny mag in general. I'm
going to subscribe.

-Rich Haller

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In article <rhaller-130992102212@rhaller.cc.uoregon.edu>
rhaller@oregon.uoregon.edu (Rich Haller) writes:
> >Another explanation is that the ring was good and it was the 'bad' Cooper
> >in her dream telling her not to take it.  It might be argued that it has to
> >be the good Coop because that is the one in the lodge, but don't forget
> >that Leland/BOB enter the lodge at the end of FWWM, so Coop/BOB could also.
> > That said, I'm not as happy with this theory as I would like to be.
> >
> >At my third viewing, I tried to look very carefully at the rings. Mainly, I
> >concentrated on whether they all had green stones.  The answer is yes, and
> >I am pretty sure they also all had the owl cave symbol.
> >
> >Also, the comments of MFAP to Coop at the end of the shooting script (they 
> >don't appear in the movie) indicate there is only one ring. See below:
> >#Cooper:  {looking at table}  Where is the ring?
> >#MFAP:  Someone else has it now.
> >#Cooper:  That would indicate that it's the future.
> >#MFAP:  The later events have never been kept a secret.
> >
> >Now take a look at what follows immediately (at least in the post).
> >Annie's is a different ring. It is the one that his mother gave Coop and it
> >is a plain gold band, not one with a green stone.  So we have at least two
> >different rings, Coops and the one we first see on TB's finger in the
> >picture but we later see in the dream sequence on the table that Coop
> >refers to.

Well, interesting consolidation of ring references. I still like the
idea that the ring with the owl symbol is the link between the Lodge
(either the room above the conveneince store, the red room or the room
in Laura's painting/dream sequence) and our own physical world. Not
a transportation device, but a link. It enables restricted intercourse
between the worlds, although to what extent it might be volontary I am
not sure about.

> >
> >#Cooper:  Where am I?  _And how can I leave?_
> >#MFAP:  You are here and there is no place to go...
> >#  {shouts}  BUT HOME!  {laughs uncontrollably}
> >#   -- Nurse attends to Annie.
> >#Annie:  My name is Annie.  I've been with Laura and Dale.  The good
> >#  Dale is in the lodge and he can't leave.  Write it in your diary.
> >#      The nurse slides the ring off of Annie's finger.  She goes to
> >another
> >#      room and puts it on.
> >#   -- Truman and Doc tend to Cooper, who says he slipped and hit his head
> >on
> >#      the mirror and that it struck him as funny.
> >#   -- Laura is sitting on Cooper's lap in the red room

TB had the ring; unfortunately we don't know how far she was involved
with Leland as Bob. From the movie it appears that she did end up
blackmailing Leland and thus was murdered by him. At the time of her
death though the ring is nowhere to be found and agent Desmond may
have sniffed something fishy. He finds it and probably disappears
because of it. Next the ring is in the LMFAP's hands, he seems to offer
it to Laura. Cooper, right next to him, warns her not to take it.
The Lodge-Coop in the red room of _Fire Walk With Me_ gave me the
impression of being good, so I am assuming that his intentions were
sincere towards warning Laura. The ring next surfaces in the OAM little
finger....and then he tosses it (we never really see him throw it, but
I believe it's safe to infer that he did) to Laura in the train car
scene. Laura puts it on and reappears next to Coop while the ethereal
_The Voice of Love_ is playing in the background.
I think that Lynch is taking the symbolism of the Owl ring, the fire
ring and of "fire walk with me" and rolling it all into one big 
complex glob. The fire ring appears in the European version and 
hidden in the movie. As I pointed out before, it may signify a gateway
to the Lodges: Bob built the candle ring in the basement of the European
version, maybe to try to escape from being hunt down. He did not possess
the ring and had to resort to that. There may be a ring of fire
constantly burning in the Lodge, hence the mysterious comings and goings
of the old lady and her grandson. That would give real significance
to "Fire Walk With Me": fire as a means of transportation.
Very puzzling is the dichotomy shown towards the ring by two of
the actors who are supposedly helping Laura: Coop warns her not to
take it (perhaps he thinks that she is not ready for it yet) but
the OAM tosses it to her and off she goes on her raod to salvation.

> >
> >-Rich Haller
> >
On an unrelated note, one of the most annoying continuity faults
was that the OAM obviously knew that Bob resided in Leland. In the
series though he wasted everyone's time by having every resident
brought before him one by one. Fainting right when Ben showed up
was a cheap touch, too.


         UnoJ




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In article <6321@transfer.stratus.com> cdt@sw.stratus.com (C. D. Tavares) writes:
> >In article <1992Sep4.133213.8665@vax.oxford.ac.uk>, thchemb4@vax.oxford.ac.uk writes:
>> >> ...C4 will rerun the Prisoner on wednesday evenings at 11.15pm
>> >> beginning sept. 23rd.
>> >> Apparently this is almost exactly 25 years after the first UK screening.
 
>> >> Spookey eh?

> >No.  What would REALLY be spooky is if Angelo Muscat started talking backwards.
> >-- 
> >
> >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...

So THAT'S where the Village really is -- it's all part of the Lodge in Twin
Peaks...  after all, that seemed to be in several different places as well.

Or maybe it's just the same group of aliens running them both.  :-)

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In article <BuFnGw.8w5@acsu.buffalo.edu> v075q5fr@ubvmsb.cc.buffalo.edu (Scott J Gorcey) writes:

>>> >>>1) Just where does the special European ending start on the movie
>>> >>>   and what is different?

>> >>It starts at the scene where Sarah Palmer, half-asleep, has a vision of
>> >>BOB in her daughter's room.  Everything after that is new/different,

> >     Actually, Sarah DOES have the same vision of Bob in Laura's
> >     room in the ABC pilot -- we just didn't see it.  A later
> >     episode (1004, I think) has Andy sketching Bob from Sarah's
> >     descriptions of a man she saw in Laura's room in her vision
> >     from the pilot.  

No, that sketch came from Sarah's vision in the first one-hour episode,
when she saw Donna with Laura's face and BOB crouching at the foot of
Laura's bed.

>>> >>>5) Everyone seems to say that the ring symbolizes "You're next"  Then
>>> >>>   howcome when the OAM drives up screaming, he holds up his hand with
>>> >>>   the ring on it?

>> >>Because he's from the Lodge, and they control the ring.  It's theirs.
>> >>Why shouldn't he wear it?

> >     Teresa Banks is shown with the ring as well... somehow, she came
> >     into possession of the ring, and Bob/Leland couldn't possess
> >     her either (if that was ever his intent... to stop her blackmailing
> >     him...?) - so she's dead.  

Here's an idea.  Maybe wearing the ring symbolizes giving your soul over,
not to BOB, but to MIKE / God.  Teresa wore the ring -- she couldn't
be taken over.  In fact, she even had one dead arm, like MIKE does.  Then
Laura wore the ring -- and was saved.  On the street, Philip Gerard wore the
ring, and he was the vessel for MIKE, warning Laura.

One question -- was he wearing the ring in the "garmonbozia" scene at
the end?  If not, then that would explain his strange actions after he
gave the ring to Laura -- he was re-united with his "dark side" (the
Arm), and hence ignored Ronnette (at least on camera) and ate with BOB.
Maybe without the ring, he couldn't remember that Leland was BOB, and that
explains why he didn't track him down in the series.

Just thoughts...


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OK, so here's the deal on the deputy at Deer Meadow, Cliff Howard, the
one later shot dead by Bobby Briggs.

He lives at the same trailer park as Teresa, which suggests (this being
TP) a connection.

How's this for simplicity?

He's a drug dealer on the side.  He was Teresa's connection for coke, and
he is also connected to Jacques.

This would explain the Red Lady's message to Chet Desmond -- trouble with
the local authorities, from the top down, involving drugs.  Cable and his
deputies were dealing on the side, and they didn't want the Federales to
uncover too much investigating the death of one of their customers.

Sound good?  Ah, if they'd only made a separate movie about this investigation
just to uncover what was going on in Deer Meadow...

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In article <1992Sep13.045152.26267@cco.caltech.edu> UnoJ writes:
> >SPeaking of the trailer park does anyone remember whether there
> >were any wires (electric or telephonic) leading to the trailer
> >where agent Desmond found the ring? If this turns out to be true,
> >both agents Desmond and Cooper knew a lot more about the workings
> >of Lodge electricity than they ever let on......

Just saw it last night, and while I'm not sure which wires go to the
Chalfont trailer, there were two things of note:

1) The shot of Desmond crouching by the trailers is a lot darker than
the rest of the scene up to that point.  Like it was shot much later in
the day.  Not sure why.

On the other hand...

2) The first detail they pick up in Teresa Banks' trailer is a close-up
of an electric outlet.

Hmm?...

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In article <rhaller-130992102212@rhaller.cc.uoregon.edu> rhaller@oregon.uoregon.edu (Rich Haller) writes:
> >Another explanation is that the ring was good and it was the 'bad' Cooper
> >in her dream telling her not to take it.  It might be argued that it has to
> >be the good Coop because that is the one in the lodge, but don't forget
> >that Leland/BOB enter the lodge at the end of FWWM, so Coop/BOB could also.
> > That said, I'm not as happy with this theory as I would like to be.

Another idea.  Taking the ring seems to mean that you are marked for the
end of your life.  Maybe immediately, like for Chet Desmond, or maybe not,
like Teresa, but the end is inevitable.  You're giving your soul over to
the spirits of the Lodges (maybe MIKE himself), and your mortal term is at
an end.

The movie is about Laura Palmer facing up to her life, coming to terms with
it, and finally bringing it to a conclusion with her soul at peace.  However,
at this point she hasn't reached that state of inner peace, and so she is
not ready yet to face BOB and die with her mind intact.  Coop knows she's
not ready to die.  She doesn't want to die.  By telling her not to take
the ring, Cooper is telling her to LIVE, to face the love for James that
she's running away from, and not to give up hope.

It is only at the finale, when her role in this world has come to an end,
that it is time to take the ring.

Kind of existential, but it seems to hang together.

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In article <BuJ0sE.9q1@acsu.buffalo.edu> v113np2v@ubvmsb.cc.buffalo.edu (George
D Emmons) writes:

> >        When BOB takes WE's soul in 2022, he split it into two 
> >parts: a malevolent side and a benevolent (or at least self-
> >serving and not totally evil) side. The "face of God"?-
> >BOB in the lodge? Now, the self-serving side becomes the OAM.
> >The malevolent side becomes the LMFAP. Let's move backwards from
> >the end of the show. WE/OAM can't meet up with WE(moving forward in
> >time), so he hangs out in the lodge and waits until Windom's 
> >somewhere else in the country. He comes out of the lodge to assist
> >Coop in catching BOB out of revenge for splitting his soul. He
> >keeps an eye on things when Coop gets there (The elevator in 1000)
> >to make sure it is his former partner (The only person that can help
> >him now, because he's the only person WE knows that hasn't been in 
> >the Lodges and is pure enough to go toe-to-toe with BOB to save
> >not only himself and Annie, but Windom as well. Then, he tries to
> >get back to his whole self after BOB kills Laura (I want back all
> >of Windom Earle, the two halves say in unison). BOB doesn't. He
> >just gives them some pain & suffering, the things that WE fed on 
> >in life. OAM/WE goes back to the world to try to f*ck up BOB's 
> >plot to be Laura out of spite. He then (In the meeting...didn't
> >it look likethe LMFAP (The malevolent side of Earle)was looking
> >at the "Garmonbozia" with relish at the thought of having it?)
> >tries to "Can it up" (Make himself whole again) at one of their 
> >meetings. This may have involved actually getting the WE of that
> >time to the lodge to help patch things up (Thus Windom's 
> >disappearance and subsequent messed-up mental state in _My Life,
> >My Tapes_) no dice. What happens with Windom? Maybe he gets saved
> >in the finale of the story, maybe he's trapped like that forever.
> >However, having Coop trying to save the soul of WE would be a great
> >addition to the story. 
> >                                     Just a thought...
> >                                         George...
> >"Would you like some coffee?"
> >

George, I'm impressed. There is something that doesn't quite jive
with me though. Remember the detail that time may flow backwards in 
the Lodge, but it flows forward in our world. Even the souls/spirits
who inhabit the lodge are at time's mercy depending on where they are.
This was proven by me by the grandson who speaks in plain English
when he warns Laura about the "man behind the mask". We had no
previous knowledge of their presence in the lodge, otherwise this
point would have been sealed by the old woman's discourse with
Donna in the Tremond house. Therefore, how do you reconcile the fact
that WE soul may have been split in the last episode but in our
time he had gone psycho a long time ago? As you pointed out it is
referred to in Coop's tapes. On one plane the OAM and the LMFAP
were "split" from WE, but WE should have been normal until then.
How do you explain the OAM's confession that Bob _was_ his familiar?
If our future is the Lodge's past, it means that Bob was Mike's
familiar before he was split as part of WE, yet you assert that
this cannot be possible since Mike did not exist before then.
There are two books by Dan Simmons, _Hyperion_ and _The Fall of
Hyperion_ (yes, shades of Keats), where time arrows going into
opposite directions have a part in the story.


       UnoJ
 

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Thanks to all of you who replyed about the ftp. 
I have another question in reference to the magazine Film Threat and
its Twin Peaks articles. Living in the silly little town that I do,
no single book store, video store or magazine place carries the
magazine and most haven't heard of it!
So, I was wondering if any of you super people who happened to be
fortunate enough to get this magazine would be willing to post some of
the more interesting articles???
I would love to read them!
Thanks

Susan

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I just got "Floating Into The Night" today... Not to bad.. It does have 
"The Nightingale", "Falling" and "Into The Night" which were all on the 
TP Soundtrack but...
I always read the cover jackets closely... and what would you know.. 
guess who's got Credit Thanks?
"Bob".
Freaky if you ask me.. but then again.. there could be many Bob's out 
there... but wouldn't they put in their last name? :o)

 Dis claimer - not mine. :o) tbuzzeo@ersys.edmonton.ab.ca

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Okay, a line in FWWM that has everybody mystified, including me, is
Jacques in the Pink Room saying "I am the Great Went" and "I am as blank as
a fart". I've been re-watching the series in my spare time, and have an
interesting find:

Second season, third or fourth episode, when Norma announces that
the mysterious food critic is coming to Twin peaks. No one knows who this
critic is or even what they look like. The name of the critic? M.T. Wents.
So, when Jacques says "I am the Great Went", I think that maybe his fart
reference meant empty, as in M.T. So this means.....what? That Jacques 
moonlighted as a food critic?
Who knows? But it seems to fit, at least to me it does. ANy comments?
All are appreciated, especially if you have some idea as to why this might 
have occured to Lynch to bring up. (Maybe it has something to do with the
splitting that goes on in TP, the doppleganger effect. Everyone in the series
seems to have a physical or spiritual double: maybe this is Jacques'?)

-Jeff Somers
Not Ken West
:s

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wwc@cbnewsi.cb.att.com (wanna.w.chin) writes:

> > Regarding the numbers on the pole
> > 24810
> >   6
> > and the previous post on how you can add them to get two 6s but not three 6s.
> > Here's another 6.
> > 
> > Take 2 and double it, you get 4.
> > Take 4 and double it, you get 8.
> > Take 8 and double it, and you should get 16.
> > But you actually have 10 which is 6 less than 16.
> > Hence the missing 6.
> > 
> > Wanna

Look at the pole again.  There is a number preceding the 2 that looks like an
8.  There also appears to be a number after the 0.  The whole number looks like
824810?.


--
Bert Medley              !
bert@medley.ssdl.com     !

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Ciao, or in Lodge Speak Oaic--


Can anyone do a posting connecting the the songs from the TP:FWWM
soundtrack with their location in and significance to the movie.

Thanks--


-- That the play is the tragedy, "Man," \\\\\ Sally A. Wilson And its hero, the Conqueror Worm. \\\\\ sally@mica.berkeley.edu ("The Conqueror Worm" \\\\\ from Egar Allan Poe's _Ligeia_) \\\\\ Spud Peel

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In article <rhaller-130992102212@rhaller.cc.uoregon.edu> rhaller@oregon.uoregon.edu (Rich Haller) writes:
*   (S. A. Wilson) wrote:
*   > 
*   > Question about the various rings....
*   > 
*   > Now, since there are "good" and "evil" versions of Coop, Laura, etc.,
*   > could there not be also "good" and "evil" version of objects, such
*   > as the ring. Thereby, it would explain why Laura was told not to
*   > put on the ring, yet offered a ring. There are different rings floating
*   > about: on of these rings is some bond between the werarer and the
*   > Black Lodge, another is a gift of protection from the White Lodge?
*
*   Another explanation is that the ring was good and it was the 'bad' Cooper
*  in her dream telling her not to take it.  It might be argued that it has to
*   be the good Coop because that is the one in the lodge, but don't forget
*   that Leland/BOB enter the lodge at the end of FWWM, so Coop/BOB could also.
*    That said, I'm not as happy with this theory as I would like to be.

Well, one possibility is that it is not time for her to accept the
ring yet.  I don't remember the chronology well enough to know just
exactly what all happens to her after that warning not to take the
ring, but possibly she has to fall "faster and faster" than she's
doing now in order to acquire enough knowledge, or precipitate enough
events, or come into contact with enough people, so that everything
that needs to happen does happen before she is killed.

Another possibility to think about is that this ring could be like the
ring in Wagner's opera cycle, which confers both great power and great
loss upon its owner (in the opera, the owner of the ring becomes lord
of all the world, but this ring can only be forged by someone willing to
renounce all love [this person turns out to be a dwarf, BTW].  Because
the ring is stolen from its first owner, a curse is put upon it that
anyone who owns it will become so possessed emotionally by the riches
that the ring brings that it will bring no joy, only death).  It may
have been that Laura didn't yet need the ring's power (had the angel
disappeared yet?) and Cooper was trying to warn her against its
negative side.

The ring in Tolkien's _The Lord of the Rings_ is another example of a
very powerful ring that also has its very dark side.  In both Wagner
and Tolkien, the ring has the power to posses its possessor, taking
that person away from humanity and into a prison of one's own desire
for the ring, the soul trapped inside the boundaries of that golden
circle.  But rather than the ring, Laura's emblem was the broken-heart
necklace, with James holding the other half, so she was not closed off
from others in the way that she would be if she possessed the ring.
Presumably once she developed a concrete fear that her connection with
James would prove fatal to him, she felt that the power of his love to
save her would not stand up to Bob's power to destroy her, so she
decided to keep her rendezvous with darkness.

Both ring and necklace are left behind after their owners are killed,
although finding the ring seems to zap one into another realm, whereas
finding the necklace seems to correspond to discovering aspects of the
dark side of Laura that may be buried by grieving friends, dug up by a
probing psychiatrist, or simply sensed in a vision by Laura's mother.
Perhaps the "pure" half of her heart had been entrusted to James, and
the "dark" half was what was sacrificed by Bob in the train car.  Even
if she did accept the ring in the train car (and I only remember
seeing it thrown in at her, not whether she actually accepted it),
perhaps it could not encircle her entire heart, only the dark half.

Barb Miller

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Yeah the soundtrack is very important.  Listening to the songs before I
the movie was of great benefit because i could make connections, "The Pink
Room" is played in the bar scene, "Black Dog Runs At Night" is played when 
the kid is running in circle, "Questions in a world of blue" is played when
Laura goes to bar and Donna watches her cry, and the most intriguing of all
iss "Moving Through Time" played when Laura is walking to school close to her 
death day, you know when she is sleeping/crying through class.

Wasnt absolutely sure of the rest but I will be sure to watch/listen at my
next viewing.

Matt


Lynchie my boy, we truly have to talk, gimme a ring ( ha ha )

P.S.  Will someone please try and find out when the song "Sycamore Trees" 
is played during movie, oh and also check for what Laura was listening to
while doing coke, you know when see turns the radio on, thanks.



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I just saw FWWM for the second time [no mean feat here in Houston TX as only 
2 theatres now carry it.] and realized that Annie said something verrrry
interesting -"The good Dale is trapped in the Lodge." - not Black Lodge,
not Good Lodge, nor waiting room - ,but "the Lodge".  Suppose there is one
and only one lodge??????


--
Bert Medley              !
bert@medley.ssdl.com     !

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Has anyone thought of putting together a FAQ file of some
sort for this group?

Perhaps some kind of synopsis of the generally accepted meanings,
threads, etc...

I have seen the movie and watched most of the episodes, however
it is a little hard to pick up in the middle of these discussions.


Just a thought,
Pat

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In article <BARB.92Sep13223047@chamarti.ai.mit.edu> barb@zurich.ai.mit.edu
(Barb Miller) writes:

<lots of interesting ring speculations deleted>

> >if she did accept the ring in the train car (and I only remember
> >seeing it thrown in at her, not whether she actually accepted it),
> >perhaps it could not encircle her entire heart, only the dark half.
> >
> >Barb Miller
> >
I like your theories, although they seemed a little too
speculative to me. For some arcane reason I think that
Lynch's truth is out there for some of us to tie it into
a GUT (Grand Unified Theory; shades of a.tv.t-p's past);
the problem is that there are just so many details to tie
together, and not all of them seem to be congruous...
Anyway, what I noticed about the ring in the train car
sequence:
The angel appears (probably because of Ronette's prayers)
and loosens her bonds. Ronette opens the door, LeBob sees
her and beats her to a bloody pulp before tossing her out.
While the door is open, we see the ring rolling on the floor
of the train car (we never actually see the OAM throw it in).
LeBob closes the door, the OAM looks at Ronette and simply
(coward!) walks away. In the train car interior, Laura puts
on the ring; LeBob beats her to death and wraps her in the
infamous plastic. The rest is history :-)
Did they ever discover a ring on LP? 


   UnoJ




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In <Sep.13.20.27.58.1992.29730@andromeda.rutgers.edu> kwest@andromeda.rutgers.edu (Kenneth C West) writes:


> >Second season, third or fourth episode, when Norma announces that
> >the mysterious food critic is coming to Twin peaks. No one knows who this
> >critic is or even what they look like. The name of the critic? M.T. Wents.
> >So, when Jacques says "I am the Great Went", I think that maybe his fart
> >reference meant empty, as in M.T. So this means.....what? That Jacques 
> >moonlighted as a food critic?

Except that we know that M.T. Wents (Wentz?) is Norma's mother.
Still, that doesn't necessarily preclude your theory (but it punches
a nice hole in it).

--
John Hawkinson
jhawk@panix.com

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I've noticed that the "Pink Room" music (DL's personal contribution to the
soundtrack) is also used in Jaques's cabin (the group grope scene prior to
Jaques stepping out).  Seems like another continuity problem here - in the
series, Julie's "All through the Night" is playing over and over again
when the cabin is found (LMFAP: "And there's music in the air").  Unless
Leyland put in on before the run for terror to the railroad car.      

Ned


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Anyone notice that, in the shot where Leyland is scurrying away from
Theresa in the motel parking lot (after seeing L & R in the motel
room), while Tresmond petit-fils is hopping around with the
mask on the left side of the screen, a trailer is shown parked
on the right side?  Is it possible that the gang set up the
Tresmond trailer at the motel in anticipation of fresh garb?

Ned

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In article <190v4kINNi6h@bigboote.WPI.EDU> mking@wpi.WPI.EDU (Matthew Alexander King) writes:
> >the movie was of great benefit because i could make connections, "The Pink
> >Room" is played in the bar scene,

The piece played in the second half of the pink room scene is
repeated when Laura and Ronette put on lipstick at Jacques' cabin.

> >"Black Dog Runs At Night" is played when 
> >the kid is running in circle,

We hear a bit of this when Laura opens her hand in the dream to find her ring.
Also a bit when Laura first sees Tremond/Chalfont and the grandson outside
the RR.

> >and the most intriguing of all
> >iss "Moving Through Time" played when Laura is walking to school close to her 
> >death day, you know when she is sleeping/crying through class.

No, Moving Through Time is played when she is at Bobby's after her last day
of school.  The scenes that depict her school day is a blur is accompanied
with Birds in Hell.  Yeah, I know, maybe they messed up on the titles?
Moving in Time continues as Laura toots up in her room and James calls her up.
L: I'll meet you in 15 minutes.

The Twin Peaks theme played when we first get to Twin Peaks, obviously.

The Voice of Love is heard three times.  The first is right after when Laura
delivers the line "and the angels wouldn't help because they've all gone
away."  We hear just a bit.  The second time is after she looks at her painting
with the angel after Leland has told her he loves her.  Just a bit again.
The third is at the end, in its entirety.

The FWWM theme is heard at the beginning during the credits, again during
Jeffries' flashback scene and again when Leland is walking away from the
motel, after Pierre does his dance accompanied with Black Dog Runs at Night.

The Pine Float plays when Donna arrives at Laura's as Laura is ready to go out.
D: Where're you going?
L: Nowhere fast, and you're not coming.

The Laura Palmer Theme plays a couple of times.  It plays when Laura toots up
out of the plastic bag in her diary.  It is the same music as the Love Theme
on the TP soundtrack, which plays when Leland tells Laura he loves her.
The Laura Palmer Theme also plays when Laura and James talk in the woods.

Sycamore Trees is listed in the end credits but I don't know where it is so I
assume that the bit of music that plays when Le-BOB enters the red room at the
end is credited as Sycamore Trees.

A Real Indication plays before and after Bobby talks to Laura about where
she was after school.  Also when Laura gets her secret diary out (about to
write in it but she finds pages torn out).

Don't Do Anything I Wouldn't Do plays when Stanley and Desmond are at Hap's.

Best Friends is played when Laura and Donna talk after the Pink Room scene.
Also when Laura arrives at Donna's after having seen BOB in her room.

Girl Talk plays when Donna and Laura are lying on their backs at Donna's
and talking about James.

We hear snipets of Bookhouse Boys when we first see Cooper and later when Bobby
walks into school late.

There's a bit of music from very late in the series, 2020 or 2021, that can be
heard in one of the transition shots of the mountains.

There's an annoying sound/music made by hitting all the 12th fret harmonics
on a guitar from 6th string to 1st string, or something like that (I think
we first hear it in the series when Donna walks into the sheriff's station
smoking and in Laura's sunglasses and Lucy goes, "Donna?" that plays
when Laura says, "You killed Mike."

The end credits list some stuff not on the soundtrack.  I assume Double R
Swing is what is playing in the RR scene.  There was also Deer Meadow Shuffle.

There seems to a Laura and James theme, don't know what it's called or if it's
in the end credits that plays twice - once when Laura and James meet in the
janitor's room and once again when James and Laura stop in the clearing in the
woods to talk and Laura gives him the finger, etc.  I really like this and wish
it was on the soundtrack.

Cherubini's Requiem in C Minor plays during Laura's death and over the end
credits.  I am having a hard time finding this on CD.

ed

-- /\__Edwin Nomura -- enomura@ucsd.edu__________.:___________.____________/\ / \\ .:. . : . : / \\ / \\\ : .:: : : Fire walk with me :.. : . : / \\\ / \\\\..::..:::.:::::.:.:.....:::::...::..:...:::::.:.:::::.:....::.../ \\\\

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In article <38033@sdcc12.ucsd.edu> enomura@sdcc13.ucsd.edu (Eddie the 'ead) writes:

> >Sycamore Trees is listed in the end credits but I don't know where it is so I
> >assume that the bit of music that plays when Le-BOB enters the red room at the
> >end is credited as Sycamore Trees.

That is correct. Nice touch, IMO. I think it's an instrumental version.

/Ola

--
Ola Torstensson, dat91oto@ludat.lth.se
No part of this article (including this .sig) should be taken seriously.

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Hi,

I don't really read this group and I hope this is not a FAQ:

My girl friend would like to actually UNDERSTAND what goes on in Twin Peaks. I
know that's probably impossible and not really the idea of TP, but still -
there must be a little more sense in it than we get from watching a terribly
translated version of TP on TV ( Just imagine: TP in German...)

Does anyone have a list of all TP publications? Is there a book that really
helps understanding the story? Maybe one that goes along really close to the
TV series?

Does anyone have the scripts for TP?

Please send mail since won't be here for a few days, so I might miss a couple
days of news.

Thank you so much,


Ulrich
Ulrich Gall, Seebrooksberg 2, W-2300 Klausdorf, Germany
Tel.: +49-431-790292, EMail: ulrich@galki.toppoint.de


Ulrich Gall, Seebrooksberg 2, W-2300 Klausdorf, Germany
Tel.: +49-431-790292, EMail: ulrich@galki.toppoint.de

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Hi,

I just saw the movie last week and I was surprised that Donna seemed to know
everything about Laura. I remember in the TV show, she didn't.

According to the diary, Laura tried never to tell anything to Donna...

[Please mail your responses as I usually don't read this group.]
Ulrich Gall, Seebrooksberg 2, W-2300 Klausdorf, Germany
Tel.: +49-431-790292, EMail: ulrich@galki.toppoint.de


Ulrich Gall, Seebrooksberg 2, W-2300 Klausdorf, Germany
Tel.: +49-431-790292, EMail: ulrich@galki.toppoint.de

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In article <rhaller-130992095912@rhaller.cc.uoregon.edu>, rhaller@oregon.uoregon.edu (Rich Haller) writes:
> > In article <1992Sep13.125744.7500@ac.dal.ca>, 01sybok@ac.dal.ca wrote:
>> >> 
>> >> In article <1992Sep13.123559.7497@ac.dal.ca>, 01sybok@ac.dal.ca writes:
>>> >> > Allright...here goes.

> > Correct, hence the left shoulder. The OAM had "Fire Walk With Me", not the
> > petroglyph, but  what the hell, it's your arm, Mike.
> > 
> > -Rich Haller
> > 
> > P.S. I thought Bobbie shot you. Guess you have wonderful powers of
> > recovery.       



Hey, you know what they say....

"Mike IS the man!"
Mike(you've no idea how long I've been waiting for that opening! ;-)

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In article <rhaller-130992103824@rhaller.cc.uoregon.edu>, rhaller@oregon.uoregon.edu (Rich Haller) writes:
> > [I'm leaving all this stuff in as spoiler hider]
> > In article <1992Sep11.220533.9751@ttinews.tti.com>, lester@soldev.tti.com

> > 
> > You are so right, Jim. I haven't seen it myself. I couldn't make it out in
> > my copy of the pilot. It appears to be off screen. However, BOB himself,
> > confirms that this happened in an interview in Film Threat (see my separate
> > post).  Turns out it was an accident, but when they noticed it, they
> > decided to keep it. He was there in his role as set dresser/prop man
> > handing Grace Zabriskie cigarettes broken off at the right length for each
> > retake of the scene.  This is typical Lynch--going with what happens. If it
> > had been too obvious, I imagine they would have done something about it,
> > but under the circumstances, BOB quotes Lynch as saying "We couldn't have
> > planned this better."
> > 
Felix Silva seems a bit clumsy for a set dresser, dosen't he? I mean, he 
got caught in the scene with the candles, and in the shot with Sarah.....
Seems kind of weird.

Later!
Mike (maybe it's just me)

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At the end of FWWM, there is a very beautiful Requiem meshed
with the very iconic events on the screen.  Could someone planning
on seeeing the film again get the name of the piece off the credits
(I am pretty sure it said Requiem in ___ by _______) and more importantly
the name of the composer.

Since I am unable to read this wonderful (and thought provoking) news
group, please send information to me at sauda@maine.maine.edu.  Thanks.

OB TP Content:  Loved the movie.  Unfortunately it probably won't
convert the uninitiated into TP fans.  It does however increase
the old TP fans thirst for more movies/or shows!  I have started
watching tapes of the old TV series after seeing the movie and notice
many different nuances.  Lynch studied prior to making the movie.

Michael Sauda

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I haven't figured out what the blue rose is yet.  Maybe i'm naive, maybe
not.  Desmond goes back to find the blue rose, finds the ring and disappears.
Is the blue rose the ring?  If so, then how did Cole know about it?

How did Desmond deduce, from looking at the deputy's trailer and Teresa's
trailer that the Tresmond trailer should be his next step?  Why did he look
for the ring under it?  Why would the deputy remove it from Teresa's dead
finger?  Did he _place_ it under the trailer?

Just questions, if you've already figured these out let me know...


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wanna.w.chin writes:


> >   Regarding the numbers on the pole
> >   24810
> >
> >   Take 2 and double it, you get 4.
> >   Take 4 and double it, you get 8.
> >   Take 8 and double it, and you should get 16.
> >   But you actually have 10 ...
> >
> >   Wanna

Hexadecimal 10 == Decimal 16

so in hex:

   Take 2 and double it, you get 4.
   Take 4 and double it, you get 8.
   Take 8 and double it, you get 10.

Kevin




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In article <1992Sep14.033515.6596@cco.caltech.edu>, UnoJ wrote:
> > 
> > In article <BARB.92Sep13223047@chamarti.ai.mit.edu> barb@zurich.ai.mit.edu
> > (Barb Miller) writes:
> > 
> > <lots of interesting ring speculations deleted>
> > 
>> > >if she did accept the ring in the train car (and I only remember
>> > >seeing it thrown in at her, not whether she actually accepted it),
>> > >perhaps it could not encircle her entire heart, only the dark half.
>> > >
>> > >Barb Miller
>> > >
> > I like your theories, although they seemed a little too
> > speculative to me. For some arcane reason I think that
> > Lynch's truth is out there for some of us to tie it into
> > a GUT (Grand Unified Theory; shades of a.tv.t-p's past);
> > the problem is that there are just so many details to tie
> > together, and not all of them seem to be congruous...

I agree. I think we can come close to something, but not something that
explains everything. Why?  Because Lynch is not hung up on being totally
consistent. It is his style to go with accidents  (they always happen
during filming) if they strike him the right way.  (By the way, it may be
the case that the world isn't totally consistent anyway.)

> > Anyway, what I noticed about the ring in the train car
> > sequence:
> > The angel appears (probably because of Ronette's prayers)
> > and loosens her bonds. Ronette opens the door, LeBob sees
> > her and beats her to a bloody pulp before tossing her out.
> > While the door is open, we see the ring rolling on the floor
> > of the train car (we never actually see the OAM throw it in).
> > LeBob closes the door, the OAM looks at Ronette and simply
> > (coward!) walks away. In the train car interior, Laura puts

Not a coward. He has done what he came for, delivered the ring. He can't
prevent Laura's murder, only help save her soul.  He _is_ strangely
indifferent to Ronette, but as we know, she does survive and Leland does
not injure her further. Perhaps OAM knows that too :-)

> > on the ring; LeBob beats her to death and wraps her in the

Correct. Someone asked if she put it on.  We do see her put it on.

> > infamous plastic. The rest is history :-)
> > Did they ever discover a ring on LP? 

No. Neither a ring or evidence of one like in the case of TB. ( Since she
had it on only for a few moments, there wouldn't be time for a ring
'shadow' to develop).    I'll bet the ring goes with you when you travel,
even if your dead body remains behind.

There was, of course, the infamous letter under the ring finger nail.  It
was the split heart necklace that they found in a little mound next to the
body.

-Rich

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Since we seem to be in agreement that time is running backwards in the lodges, does it make sense to anyone else that Mike might become evil?  I mean, the thing about Mike cutting off his arm might happen in the future in Twin Peaks, and from that point on, Mike would have two arms and be evil.  If you follow my reasoning (and few people do) the future in TP would be the past in the lodge (. . . the darkness of futurepast. . . ).

Internet address: Floyd@ufcc.ufl.edu
Bitnet address  : Floyd@ufcc
All opinions expressed are my own or mine.

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In article <BuKoKE.KA5@scd.hp.com>, dianem@boi.hp.com (Diane Mathews) writes...
> >I haven't figured out what the blue rose is yet.  Maybe i'm naive, maybe
> >not.  Desmond goes back to find the blue rose, finds the ring and disappears.
> >Is the blue rose the ring?  If so, then how did Cole know about it?

     No.  Desmond didn't return to the trailer park alone "for" the
     Blue Rose - i.e., to find one.  Blue Rose refers to a TYPE of
     case, not an objective.
     Whatever the flower symbolism is of a Blue Rose, the name probably
     originated from Project Bluebook, of which Cole was probably a high
     ranking member - so were Major Briggs and Windom Earle.
     When Bluebook folded, finding that UFOs were hoaxes, Cole, Briggs
     and Earle continued to investigate happenings in the American
     Northwest, looking not to space, but to the forests, the ground,
     etc.  The mythology of the local native people seemed to be
     real, alive, active, and killing some people.
     Cole may be the leader of this covert group of american intelligence
     officers/agencies - and his classification for these type of cases,
     kept in the STRICTEST secret (so strict he only communicates these
     cases to his pool of agents in elaborate code), is "Blue Rose."

> >How did Desmond deduce, from looking at the deputy's trailer and Teresa's
> >trailer that the Tresmond [sic] trailer should be his next step?  Why did he look
> >for the ring under it?  Why would the deputy remove it from Teresa's dead
> >finger?  Did he _place_ it under the trailer?

     Desmond didn't follow a straight line of deduction from Deputy
     Howard's trailer to Teresa's to the Chalfont (Tremond) trailer
     to oblivion (or wherever).
     He had already been to Teresa's trailer.  The park manager
     pointed out that another lawman - Deputy Howard - lived in this
     park.  Desmond remembered Cole's code: drugs.  Teresa was on
     cocaine; Howard was dealing it.
     A vibe - not any of this - led him to walk toward the Chalfont
     trailer -- a feeling.  He bends down and sees the mound of dirt
     with the ring.
     Deputy Howard didn't move the ring, or touch it in any way: he
     would probably have disappeared with it if he had.
     Leland/BOB left the ring there in the mound of dirt after he 
     murdered Teresa, in the same way he left the necklace and
     paper with "Fire, Walk with Me" on the mound of dirt in the
     train car after killing Laura.
     Desmond touched the ring and vanished.  (To be seen again,
     presumably).

> >Just questions...

     Just answers...

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     Everybody in Twin Peaks has a double.
     Whether its a physical double - such as Leland/BOB, Senor Droolcup/
     The Giant, or Laura/Maddy - or a spiritual/mental double, such
     as Donna, the innocent and Donna, the bitch; Nadine the bitch,
     Nadine the teenager; Josie the sweet, Josie the vicious; etc.

     Twin Peaks is playing, sometimes elaborately, sometimes for fun,
     with the concepts of duality - from different halves of a
     character's personality, to bumps on the head, etc; sometimes
     for serious: dopplegangers, possessions, harbinger/visitations,
     etc.

     The Great Went/Muffin exchange between Jaques and Laura is clearly
     meant to be more of this; a reference to sexual role playing they
     have had fun with in the past.  

     Personally, I wouldn't give it any more weight than that: it affirms
     Peaks' obsession with duality, it's funny.  It's over.

     Scott

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In article <BARB.92Sep13223047@chamarti.ai.mit.edu>, barb@zurich.ai.mit.edu
(Barb Miller) wrote:
[spoilers ahead] 


[spoilers ahead] 



[spoilers ahead] 




> > 
> > In article <rhaller-130992102212@rhaller.cc.uoregon.edu> rhaller@oregon.uoregon.edu (Rich Haller) writes:
> > *   Another explanation is that the ring was good and it was the 'bad' Cooper
> > *  in her dream telling her not to take it.  It might be argued that it has to
> > *   be the good Coop because that is the one in the lodge, but don't forget
> > *   that Leland/BOB enter the lodge at the end of FWWM, so Coop/BOB could also.
> > *    That said, I'm not as happy with this theory as I would like to be.
> > 
> > Well, one possibility is that it is not time for her to accept the
> > ring yet.  I don't remember the chronology well enough to know just
> > exactly what all happens to her after that warning not to take the
> > ring, but possibly she has to fall "faster and faster" than she's
> > doing now in order to acquire enough knowledge, or precipitate enough
> > events, or come into contact with enough people, so that everything
> > that needs to happen does happen before she is killed.
[deletions]

I like this a whole lot better than my bad Coop explanation:
Coop warns her because the time isn't right for her to take the ring.

Maybe the ring really was there, not just dreamed, but disappears because,
being warned, she fails to put it on within some critical time limit, or it
is withdrawn because of the warning.
Interestingly, the ring arrives after Annie leaves:
#       Annie:  My name is Annie:  I've been with Laura and Dale.  The good
#         Dale is in the lodge and he can't leave.  Write it in your diary.
#       {Sarah calls Laura, distant, mournful.  Laura looks at the door,
#         then at her bed.  Annie's gone.  In her hand is Teresa's ring.

This is echoed later in a scene in the shooting script where a nurse takes
the ring off Annie's finger:

#   -- Nurse attends to Annie.
#       Annie:  My name is Annie.  I've been with Laura and Dale.  The good
#         Dale is in the lodge and he can't leave.  Write it in your diary.
#      The nurse slides the ring off of Annie's finger.  She goes to
another
#      room and puts it on.

> > Both ring and necklace are left behind after their owners are killed,

I don't think the necklace is magical, just symbolic. Also, I don't think
the ring is left behind.  It goes to the lodge from whence it is sent out
again.

-Rich Haller

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This makes as much sense as anything else I've read about Jacques calling 
himself the "Great Went".

Here goes..........

Is David Lynch by any chance a "Cheers" fan?  Could this be some off the 
wall tribute to George Wendt of that particular series?  After all, the
actor who portrays Jacques is portly like George Wendt.

Please no flames.  This isn't any more of a reach than some things I've
been reading here.  And, yes, I saw the movie.  I don't know if I liked
it or not.

Geoff

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In article <BARB.92Sep13223047@chamarti.ai.mit.edu>, barb@zurich.ai.mit.edu
(Barb Miller) wrote:
[spoilers ahead]



[spoilers ahead]



[spoilers ahead]



[spoilers ahead]




[deletions]
> > Presumably once she developed a concrete fear that her connection with
> > James would prove fatal to him, she felt that the power of his love to
> > save her would not stand up to Bob's power to destroy her, so she
> > decided to keep her rendezvous with darkness.

I think you may be right about this. The shooting script is much more
obvious about BOB's involvment in the Donna incident:

#      asking what Laura's father looked like.  Laura starts to get it on
#      with Buck when she hears BOB, "See what we can do to Donna?"  Laura
#      screams at Jacques to get Donna out and at Donna to never ever wear
#      her clothes.

There isn't a similar reference in the section of the posted summary where
she leaves James at Sparkwood and 21, but my memory is at one point in
their little scene she seems to have a vision (presumably of BOB).  By now
she is convinced that  the only way she will escape BOB is by dying and
that otherwise, she will corrupt both Donna and James, like she did Bobby.
Ultimately involving them with BOB.
 
In the Harold incident, she specifically states that she believes he is
safe from BOB, though she later states it is dangerous for him to take the
diary.

-Rich

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THE FOLLOWING ARE MY "CONCLUSIONS TO DATE".  THEY ARE FAR FROM SET IN STONE.
I HAVE GATHERED THESE CONCLUSIONS OVER TIME BASED ON THE MOVIE/SHOW/AND
THE USERS OF THIS BOARD.
 
I think Catherine put the fish in the percolator as a prank for Pete/Josie.
 
I thought The white horse meant someone drugged, not death.  I since have
been set straight, referring to a Lynch interview, that it is a pooka,
signifying death.
 
I think Jacques told Cooper what he actually BELIEVED happened that night
at the lodge.  He and Leo argued so much, and there was So MUCH coke.  I
don't see a continuity error here.  Jacques thought Leo hit him, but
actually, BOB did.  It verifies this in the shooting script.
 
The mask that the "child" wears is an owl mask.  It has no eye holes. It
seems to be reinforced by the quote "The magician longs to see". The
"child/grandson" of "Mrs. Tresmond" (she user the name of the previous
dweller of her current residence) is her familiar.  He is a monkey. Using
these two thing, we might conclude that the familiars are the eyes of the
magicians in the real world.  [They live in the dream world.] At one point,
the monkey actually says a word, "Judy".
 
That was Annie in bed with Laura.  (Some have said it looked like Ronette).
Laura needs to write the things Annie tells her in the diary so that when
Cooper reads the diary, he can help himself and Annie.  (Maybe even prevent
Annie from ending up in the lodge, which he fails at in a big way).
 
It seems that whomever puts on the ring, dies.  There also has to be a
correlation between the ring and Laura's necklace.  Both ended up over a
pile of dirt.  I have no theories on this for TWO reasons. 1) Maddy's
death had no pile of dirt or personal article. 2) One of the scripts for
FWWM originally had a golfball on the pile of dirt and not the owl-ring.
There are 5 rings mentioned in total.  They are Donna's engagement ring,
the owl-ring, windom Earl's snake ring, Cooper's Gold Ring, and Audrey had
a ring of some kind.  If we take the part of Cooper's Bio that talks about
his mother and the gold ring into account, it seems that the ring grants
safety, or in the case of death, safe passage from BOB.  If this is true,
Mike in a way DID say Laura when he tosses the ring into the train car.
 
What happens if BOB does manage to spell out his entire name under
fingernails?  (He is spelling ROBERT, his proper name... per the
Euro-flick).  Does the placing of the "T" under Theresa Banks' fingernail
signify the END of a cycle and the "R" under Laura's fingernail signify a
new cycle beginning?
 
Mike can not PHYSICALLY stop Bob.
 
If we take what Mike tells Cooper literally, Bob was the first person
posessed.  He was a veterinarian and had some sort of run in with the OWL,
Mike's familiar.  Now Bob the vet and BOB are one and the same.  If this is
the case, it is because the vet (Bob) had no ring to protect him from BOB.
 
That was the shadow self of Leland in the lodge.  Shadow Leland says he
didn't kill Laura, which we know to be true.  The real but posessed Leland
did it.
 
Time runs backwards in the lodge (futures past).  Cooper's gunshot wound
reappears and Annie ends up in bed with Laura "before" she enters the
lodge. Cooper helps Laura in the lodge after she dies.
 
There is a theory going around that Cooper is caught in a time loop and
that the TV series references to a ring, refer to this unbroken circle of
time.  If we look at the time loop as a cirlce, starting where Cooper
enters the Black Lodge, the circumference is 25 years. If Cooper was indeed
caught in a time loop, this would explain why so many of his dreams are
accurate, he's lived them before. If the time loop theory is correct, that
could not have been the good Annie that came back out with Cooper,
otherwise she wouldn't be able to go backwards in time (in the lodge) and
end up in bed with Laura at the beginning of the loop.  This is also
reinforced by the fact that Laura told Cooper she would see him again in 25
years, indicating the length of the time loop.
 
In the last episode of the TV show, there should be up to 2 dopplegangers
of Laura (one is Maddy).  This makes it SLIGHTLY easier to follow Cooper's
path through the Lodge(s).
 
I whole heartily agree with the addiction theme (that SOME of the "aliens"
are addicted to pain in suffering like Laura is addicted to cocaine).
Remember that the old lady said to Donna, "I didn't order creamed corn,
take it away".  A reference to the fact that she did not partake in the
substance.
 
Jefferies (Bowie) was definitely in "Time phase" (something to do with the
time loop).  He witnessed a meeting of the "aliens" but escaped before he
could be imprisoned in wood.  This seems to relate to the "thread" that is
hinted at by the "aliens" in the speech:
 
OAM yelled to Laura when Leland was reving the engine, honking the horn and
screaming:
:You stole the corn!  I had it canned... over the store!
:And Miss, the look on her face when it was opened.
:There was a stillness.
:Like the formica table top.
:The thread will be torn, Mr. Palmer!
:The thread will be torn!
:It's him! It's your father!!
 
Additionally, one of the FWWM scripts had two scenes in it before and after
Jefferies appeared.  The first is of Jefferies in another country (Buenos
Aries) in a hotel.  The after one is of Jefferies re-appearing in the
hotel.  In the explanation to Cole, Jefferies recalls the meeting.  The 
"aliens" talk about being being between the two worlds and of being a
lost soul.  Could this meeting place actually be limbo?   Jefferies also
says that "he found something at Judy's, then he was at the meeting."  This
leads us to believe that Jefferies disappeared the same way Desomd did and
is telling us where he and Desond dissappeared to.  They picked up what
was on the mound of dirt (a ring?) and ended up at the Meeting Place.
Jeffries was physically teleported to the bureau's office.  I think
that Jefferies (of the future, or of the lodge) possessed his own body in
the real world, in order to talk with Gordon. 
 
"Don't you know who he is?"  Jefferies says looking at Cooper.  Jefferies
of the future/lodge knows that Cooper will become BOB.
 
If we continue with the time loop theory, the loop needs to be interupted
to stop the events. If somehow this time, the loop was broken (your guess
here), time is now set straight. In which case Laura finally goes to the
white lodge (after all these loops) and this time the real Annie escapes
from the lodge instead of the evil one.  Now Cooper would be lost in time,
just like Jefferies.
 
I believe that the picture in Laura's room, the meeting room where we saw
all the "aliens", and the room above the convenience store are all the same
room.
 
Dead Dog Farm had a formica table, where cocaine was cut.  The meeting
included Hank, Jean Renault, The Canadian Mounty, and Norma's Mom's new 
husband (I forget his name).  The "aliens" had a formica table where they
had canned corn and the phrase "Black Dog Runs at Night" is still
unexplained.  Coincidence?
 
Wood is the aliens method of containment/imprisonment.
 
Now ...  Here's the best "chain of command" theory I have come up with: (I
am not buying the two Mike (one good/one doppleganger theory)
 
I think Bob, Mike's familiar (owl) turned on Mike.  This is when Mike
realized the errors of his ways and cut off his arm (LMFAP).  The happened
long before Teressa Banks' murder. He physically cut off his arm as a so he
could be sure that he would never revert back to his old ways.  See, LMFAP
seems to possess ARMS (probably the dominant one). Arms go dead, remember?
So, LMFAP can no longer control any of Mike's actions, Mike has no arm
LMFAP can possess.  LMFAP need not possess Bob's arm, Bob already does
dirty work for him.  LMFAP is the one with the addiction. I don't know
whether the LMFAP PHYSICALLY possesses the arm of his minions to insure
their obedience, but this could be true as well. * THE kink in this theory
and most others (including the time loop theory) is WHY was Mike there when
Bob gave the garbonzia to LMFAP? Was he watching LMFAP partake and wishing
he could help?  Or was he waiting for his portion?  (Even at the start of
the time loop theory, Mike already had only one arm)
 
There is also a question on how Desmond knew which trailer to look at. He
was looking at photos on the side of the refrigerator.  I thought one had
that 6 pole in it.  Then, Desmond followed that cable from the pole to the
trailer.
 
My guess is that a Blue Rose case means that the Bureau keeps no offical 
files on the case, that's why Albert was asked to leave the room when
Jefferies materialized.
 

-- Adam Goldberg ! Ask me how IOWA STATE UNIVERSITY is goldberg@iastate.edu ! censoring my usenet access!! ..!uunet!iastate.edu!goldberg ! >>I don't need a BIG BROTHER!!<<

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In article <38033@sdcc12.ucsd.edu>, enomura@sdcc13.ucsd.edu (Eddie the
'ead) wrote:
> > Sycamore Trees is listed in the end credits but I don't know where it is so I
> > assume that the bit of music that plays when Le-BOB enters the red room at the
> > end is credited as Sycamore Trees.

That's my memory too. Not much of it, but I think that is what it is. 
Alternatively, the credits may be in error as reflects the version released
in the US.

Great job summarizing the soundtrack bits!  Putting it in the FFWM
timeline?

Unlike many (dare I say most?) movies where the dialog delivers all the
information, FWWM (and TP) make use of both the visual element (e.g., using
a high camera angel to represent the presence of an unseen angel) and the
musical (plus some special sound effects like the whoop and the crackle) . 
A simple transcription of the dialog for FWWM will be missing some
important clues.

-Rich Haller

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In article <1992Sep14.083301.28295@lth.se>, dat91oto@ludat.lth.se (Ola
Torstensson) wrote:
> > 
> > In article <38033@sdcc12.ucsd.edu> enomura@sdcc13.ucsd.edu (Eddie the 'ead) writes:
> > 
>> > >Sycamore Trees is listed in the end credits but I don't know where it is so I
>> > >assume that the bit of music that plays when Le-BOB enters the red room at the
>> > >end is credited as Sycamore Trees.
> > 
> > That is correct. Nice touch, IMO. I think it's an instrumental version.
> > 
> > /Ola

Anyone else notice that the sycamore trees are taller in FWWM than in the
final episode of TP?  Maybe time _does_ run backward in the lodge and some
of it leaks out :-)

-Rich

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Just a quick little question.  If everyone has a double in "twin" peaks,
then who is the Log Ladies, perhaps the log or what?

Matt

Davey baby, I think you're a hOWL, your humor is not missed, hope mine 
isn't, sorry about spoilers, hope no hARM done, gee these jokes are
corny, creamed that is....


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In article <190v4kINNi6h@bigboote.WPI.EDU> mking@wpi.WPI.EDU (Matthew Alexander King) writes:
> >P.S.  Will someone please try and find out when the song "Sycamore Trees" 
> >is played during movie, oh and also check for what Laura was listening to
> >while doing coke, you know when see turns the radio on, thanks.

You hear a couple of bars of "Sycamore Trees" without vocals as Leland
enters the Lodge -- through the sycamore trees at Glastonberry Grove,
natch.  And the radio is playing "A Real Indication", the Badalamenti
rap / jazz fusion number.  (Interesting lyrics to that one -- something
about electricity, no?)

Incidentally, they've been using an instrumental version of "Questions In
A World Of Blue" as an incidental piece from the second season premiere
on.  It's featured in the scene where Audrey lies on the bed in One-Eyed
Jacks trying to talk to Cooper, and the opening of #2010, and later it's
one of Coop and Annie's themes.

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In article <BuKoKE.KA5@scd.hp.com>, dianem@boi.hp.com (Diane Mathews)
wrote:
> > 
> > I haven't figured out what the blue rose is yet.  Maybe i'm naive, maybe
> > not.  Desmond goes back to find the blue rose, finds the ring and disappears.
> > Is the blue rose the ring?  If so, then how did Cole know about it?
> > 
> > How did Desmond deduce, from looking at the deputy's trailer and Teresa's
> > trailer that the Tresmond trailer should be his next step?  Why did he look

It's Tremond. Hope I didn't confuse you with my posting about the name.

> > for the ring under it?

The script posting says he 'has a feeling' and sees a hand in the window of
the trailer. I looked very carefully and don't see any hand.  The best
answer is 'intuition'.

> >Why would the deputy remove it from Teresa's dead
> > finger?

We don't know he did. That was sort of the implication of Desmond's
question of the sheriff, but it still isn't clear what the true
significance of the ring is and her involvment with it.

> >  Did he _place_ it under the trailer?

Very unlikely, I would say.

-Rich

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In article <1992Sep14.033515.6596@cco.caltech.edu> UnoJ writes:
> >LeBob closes the door, the OAM looks at Ronette and simply
> >(coward!) walks away.

It interests me that people are building whole conspiracy theories about
MIKE being evil on the fact that we didn't see him check to see if
Ronnette was OK.  How do we know that he didn't, offscreen?  After all, 
a large chunk of things we saw in the series never happened on-screen
in the movie either.

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In the holding cell under the Sheriff's Station, Leland confesses to the
killings.  Well, I guess Bob confesses, sorry.  He says "he likes
knives"..."just like what happened to you in Pittsburg, Coop!"

Bob knows what happened to Cooper in Pittsburg.  Uh, does anyone want to
venture an explanation for this?

The Pittsburg incident, of course, is referred to by Gordon Cole when he
drops by to see how Cooper is after he had been shot.  Remember the "You
remind me today of a small Mexican Chiuaua (sp?)"  Well, the only thing
for certain which I gleened from this meeting is that Cole DOES know of
the Lodges etc and thus we have support for the Theory of the Blue Rose
Cases.  Cooper says "I was wounded in Pittsburg, thats the only
similarity" [with the events here in Twin Peaks].  Is Cooper just being
cautious here, by not admitting that he suspects more and more that Twin
Peaks is in fact intimately connected to the Blue Rose Cases?

So, how does Bob know what happened to Cooper?  And I won't buy into any
of that talk of - well, since Bob is from the Lodge (B/W) he can travel
in time or whatever so he just sort of filled himself in on Cooper's
story for the hell of it!  Why not something along the lines that Bob
has been aware of Cooper for a longer time than his work in Twin Peaks?
Oh hell, what does everyone think?  This just lurched at me as I watched
this episode earlier today.

Peter
"hopelessly fighting the devil futility" - R.Smith
d

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rhaller@oregon.uoregon.edu (Rich Haller) writes:

> > In article <1992Sep11.050008.6474@ttinews.tti.com>, lester@soldev.tti.com
> > (jim) wrote:
>> > > 
>> > > Tremond=Tree mound
>> > > 
> > 
> > Nope, try French:
> > 
> > Tres=Three
> > Mond=World
> > 
> > -Rich Haller

And french was used in TP: HS's note.

 /-------------------------------------------------------------------------\
| It's all a game...                                                        |
|                        Gregory C. Salmieri                                |
|                                                       ...It's all the same|
 \-------------------------------------------------------------------------/

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OK, so the movie's been out for a couple of weeks, and everyone's put in
their two cents' worth on what was right/wrong.  Lots of little carps and
kvetches.  Things that were left out, things that should have been cut.
Now it's time to ask all the wannabe-Lynches out there:

What would you have done differently?

We all know how much was left on the cutting-room floor for this movie.
What scenes would you rather have seen, and what do you think should still
have been cut?  Are there any extra scenes that weren't in the script
that you would have liked to have seen?

Bear in mind the fact that the movie was already damn long at 2:10, and
that for anything you add you'll probably have to cut something.

My personal ideas aren't that complicated.  First up, I would DEFINITELY
have put in one shot of Leland shoving the R under Laura's fingernail.
Otherwise the T under Teresa's makes no sense whatsoever in the context
of the movie.

Second, the entire half-hour before Laura appears would be cut TO THE BONE.
The number of scenes could be counted on one hand.  The TV smashed -- Teresa
floating down the river -- Desmond and Stanley do the autopsy and find the
T -- Coop says he feels the killer will strike again -- BANG into the Twin
Peaks title sequence.  Keep the movie focused on what it's about: Laura
Palmer.  None of this confusion about Cliff Howard.  And no Philip 
Jeffries scene.  Maybe splice a couple of shots from the Gathering of Owls
in the convenience store into Laura's dream, to explain "garmonbozia", but
that's it.  All that stuff involving the FBI investigation really belonged
in a completely separate movie.  In fact, I'd love to see it explored to
that depth.  Just not here.

As for additions, I'd add a Meals On Wheels run, simply to introduce Harold
Smith and the Tremonds.  Otherwise they seem to just come out of nowhere.
At the end, I'd put in at least one scene to make it clear that Laura knows
she is going to die -- maybe she writes that last diary entry and mails it
to Harold.  Make the thematic shape of the movie clearer that way.

The end result -- a slimmer, more focused film that could almost stand on
its own.  Anyone else want to come forward with their "improvements" to
FWWM?

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In article <18rlhkINN6v4@agate.berkeley.edu>, sally@anableps.berkeley.edu (S. A. Wilson) writes:
> > 
> > 
> > Question about the various rings....
> > 
> > Now, since there are "good" and "evil" versions of Coop, Laura, etc.,
> > could there not be also "good" and "evil" version of objects, such
> > as the ring. Thereby, it would explain why Laura was told not to
> > put on the ring, yet offered a ring. There are different rings floating
> > about: on of these rings is some bond between the werarer and the
> > Black Lodge, another is a gift of protection from the White Lodge?
> > 
> > The ring we see under the trail that Desmond finds definitely has
> > the owl symbol from Owl Cave, but did anyone notice if the other
> > rings had the same symbol--that is if there were more than one ring?
> > 
> > Sally--


I've wondered if it depends on how one wears the ring?  Remember when Windham
Earle goes into Owl Cave and sees "the symbols" at the end of rod projecting
out of the wall, then looks up at the cave ceiling and sees "the symbol
inverted" (he then turns the rod so that symbol is inverted too).

Maybe if you put the ring on and the symbol is right-side up, it protects you,
but if it is upside down it dooms you.

Otherwise, I can't explain why Coop warns Laura not to take the ring, but
ultimately the ring seems to protect her soul (unless that was the evil Cooper,
but I don't buy that).

Holly Kruse
hckrus01@ulkyvx.louisville.edu

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In article <15416@umd5.umd.edu> jblum@hamlet.umd.edu (Hi ho -- Kermit the Frog here...) writes:
   In article <6321@transfer.stratus.com> cdt@sw.stratus.com (C. D. Tavares) writes:
   >In article <1992Sep4.133213.8665@vax.oxford.ac.uk>, thchemb4@vax.oxford.ac.uk writes:
   >> ...C4 will rerun the Prisoner on wednesday evenings at 11.15pm
   >> beginning sept. 23rd.
   >> Apparently this is almost exactly 25 years after the first UK screening.

   >> Spookey eh?

   >No.  What would REALLY be spooky is if Angelo Muscat started talking backwards.

   So THAT'S where the Village really is -- it's all part of the Lodge in Twin
   Peaks...  after all, that seemed to be in several different places as well.

So that's why there are simians at the end of ``Fall Out'' and ``Twin
Peaks: Fire Walk with Me''...

   Or maybe it's just the same group of aliens running them both.  :-)

Observing the Prime Directive, obviously, since they never actively
help No. 6/Cooper...

-30-
Bob

...one chants out between two worlds:
   Rover, walk with me...

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In article <Sep.13.20.27.58.1992.29730@andromeda.rutgers.edu> kwest@andromeda.rutgers.edu (Kenneth C West) writes:

   Okay, a line in FWWM that has everybody mystified, including me, is
   Jacques in the Pink Room saying "I am the Great Went" and "I am as blank as
   a fart". I've been re-watching the series in my spare time, and have an
   interesting find:

   Second season, third or fourth episode, when Norma announces that
   the mysterious food critic is coming to Twin peaks. No one knows who this
   critic is or even what they look like. The name of the critic? M.T. Wents.
   So, when Jacques says "I am the Great Went", I think that maybe his fart
   reference meant empty, as in M.T.

No.  Remember, Jacques puts his hand to his head in the shape of a gun
and then ``fires'', but still stays alive; hence, the ``blank'' part.
But how is a fart blank?


     So this means.....what? That Jacques 
   moonlighted as a food critic?

But we find out who the critic is: Norma's mother, so if there's any
reference from the Great Went to M.T. Wentz, it's a meta-joke by
Lynch, et al., not one by Jacques.

-30-
Bob

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In article <BuKw6E.FzF@acsu.buffalo.edu> v075q5fr@ubvmsb.cc.buffalo.edu (Scott J Gorcey) writes:
   In article <BuKoKE.KA5@scd.hp.com>, dianem@boi.hp.com (Diane Mathews) writes...
   >I haven't figured out what the blue rose is yet.  Maybe i'm naive, maybe
   >not.  Desmond goes back to find the blue rose, finds the ring and disappears.
   >Is the blue rose the ring?  If so, then how did Cole know about it?

No.  Desmond didn't return to the trailer park alone "for" the
Blue Rose - i.e., to find one.  Blue Rose refers to a TYPE of
case, not an objective.

Well, while he obviously could be wrong, when Chester tells Sam he is
going to search Teresa's trailer again, Sam says: ``You're going back
for the Blue Rose'' and Chester doesn't contradict him.  So Chester
may have been going back to retrieve something...

-30-
Bob

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In article <15437@umd5.umd.edu> jblum@hamlet.umd.edu (Hi ho -- Kermit the Frog here...) writes:
   In article <1992Sep14.033515.6596@cco.caltech.edu> UnoJ writes:
   >LeBob closes the door, the OAM looks at Ronette and simply
   >(coward!) walks away.

   It interests me that people are building whole conspiracy theories about
   MIKE being evil on the fact that we didn't see him check to see if
   Ronnette was OK.

It isn't just that.  It's also that he doesn't do anything to try to
save Laura, once he determines that she is being killed.  And, in the
lodge, he demands his share of garmonbozia.  These don't seem to be
the acts of an unambiguously good guy.  Also, I raised a point that
had always troubled me from the series: that when Mike described ``the
pleasures'', he licks his lips in a lascivious manner, which is hardly
what you'd expect of a reformed inhabiting spirit but which is
consistent with him being a decoy, giving Cooper just enough rope to
hang himself.

-30-
Bob

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There is some haunting violin music used when Desmond is in the trailer
and the old lady with the ice bag walks in. I don't think that is on
the soundtrack CD.
I noticed some music that sounded like music being played backwards. I
am not sure if it is the bits from Black Dog that someone mentioned.
The CD notes say that Lynch plays the percussion on the Pink Room, but
not the drums. I wonder if he just basically hits some cymbals.
I really like the way the jazz music plays throughout the Deer Meadow
scenes. Different from the tv series. And I was hoping the CD notes would
have more interesting notes/pictures....too bad
-- Robert Chao Oakland, California

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