Part 12 - Let's rock (SPOILERS)

[Novalis]

The bug crawled into sarah palmer mouth.

The bug is not laura or bob. Its the jumping man from fwwm above convieniece store. The guy with the mask with long nose. Look at the nose of the bug !!! Also chalfonts grandson has a small mask with a long nose too.

Sarah has always been possessed

I am not yet 100% certain it is Sarah, but it appears increasingly likely to me. I agree on the bug representing the Jumping Man, as a matter of fact, they play the very music sequence from FWWM of the Jumping Man when Sarah is at the cash register. As they said, "listen to the sounds".

Imagine being in Laura's shoes if Sarah was indeed possessed, growing up with such Leland and Sarah.

That music was used quite early on in FWWM, when Chet and Sam are examining Teresa Banks's corpse...so it isn't strictly jumping man music, although it was used for that too, later in the film.

Indeed. If I recall correctly that music -- I call it the 'string scrapes' for want of a better term -- reaches its first crescendo just as Teresa Bank's fingernail is lifted. Such powerful sound design I've yet to hear reproduced in any film, and part of why FWWM remains for me one of Lynch's best.

When we see the jumping man, the title theme from FWWM resumes (Badalamenti's Theme From Twin Peaks: Fire Walk With Me). I always found that interesting. It's as if the film nearly broke through the strain or weight of the sublimity it was trying to depict. This is one of the reasons I actually prefer the final edit of the Jefferies scene, despite losing so much content. If that content could have been kept, but in the same style of superimposition, and with the title music, it may have pleased everyone. Certainly me.

[boske]

Another powerful and eerie sound motif from FWWM is when Leland is entering the lodge, it serves as a bridge between Dark Mood Woods and The Red Room, and then again back to Dark Mood Woods, it is on the Twin Peaks Season 2 soundtrack interestingly.

[ravingnightmare]

Just a quick thought about Ben Horne: Did anyone else find his bike story a bit touching?

Not even a single bit. That memory of his came out of nowhere and out of context prior to his convo with the sherieff.

It wasn't out of context. He told Truman that Richard had never had a father. He then thought of a particularly meaningful memory of his own father, and seemed to be realizing just how lucky he was, and how different an outcome he could have had. As has been suggested by others, this also colors the scene of the warden's son running out to his dead father.

Who in their sane mind reminisce a fucking bike when a sherieff just told you that your grandson has committed manslaughter on a kid?? Yeah that's pretty out of context as you can get.

[Mr. Reindeer]

Back on premiere night, I reflected on the irony that, while DKL's films are often presented from a perspective of childlike wonderment (and he himself, with his "art life" mentality, is in many ways a big man-child), children have been remarkably absent in his work after his first two major short films, The Alphabet and The Grandmother (both of which starred children!). I presented the following list:

The kid who sells Henry's head to the pencil factory (oh, and the Baby of course) in Eraserhead, Bytes's messenger boy in The Elephant Man, Alia in Dune, the child who finds Mr. Beaumont after his heart attack in Blue Velvet, Pace in Wild at Heart, Pierre Tremond (and, in non-DKL-directed episodes, Little Nicky Needleman) in TP, "Smithy's son" at the end of INLAND EMPIRE. I'm sure I'm leaving out some minor ones (the kid Rose sees playing near the sprinkler in The Straight Story) and maybe some more major ones as well. But this list shows that kids, after DKL's strictly-arthouse short film period, have acted more as symbols/talismans/plot devices than characters to be explored.

So how does TP:TR change this? Well, in the past two hours (especially Part 11), we've seen (comparatively) a LOT of kids, but the characterizations are consistent with DKL's typical approach to children (most are such quick sketches of a character that they don't even receive names in the credits). So far in TP:TR, we have Sonny Jim (who barely speaks, and whose name -- with its allusion to Edward Albee -- calls the character's very existence into question), the 1-1-9 woman's boy, the hit-and-run boy; then, all in Part 11, we got the kids who find Miriam (one is Mark Frost's son), Ralph (the kid who fires the gun), and the "sick girl"; and in Part 12, we see the Warden's son.

Almost as a rule (Sonny Jim -- at least as of now -- is the sole exception), children have appeared in the context of tragedy and violence. What are we to make of this? Is it just to show the corruption of innocence in a world gone wrong, or is there more to it? And what of the fact that all the children we've seen have been male, with the exception of the surreal zombie-like "sick girl"?

Also, (Breaking Bad spoiler follows):

Spoiler:

The scene with the Warden's son reminded me of Brock seeing his mother shot and killed on their own doorstep.

[h2nho]

Almost as a rule (Sonny Jim -- at least as of now -- is the sole exception), children have appeared in the context of tragedy and violence. What are we to make of this? Is it just to show the corruption of innocence in a world gone wrong, or is there more to it? And what of the fact that all the children we've seen have been male, with the exception of the surreal zombie-like "sick girl"?

I would argue that the '50s girl presented in Part 8 was a very real exploration of childlike love and innocence trampled out of the male gaze.

[Mr. Reindeer]

Almost as a rule (Sonny Jim -- at least as of now -- is the sole exception), children have appeared in the context of tragedy and violence. What are we to make of this? Is it just to show the corruption of innocence in a world gone wrong, or is there more to it? And what of the fact that all the children we've seen have been male, with the exception of the surreal zombie-like "sick girl"?

I would argue that the '50s girl presented in Part 8 was a very real exploration of childlike love and innocence trampled out of the male gaze.

I consciously left the '50s kids out because they seem to be teenagers (the actor was 14 during shooting). If we include them in the analysis, it seems like a slippery slope to including all the high school kids from the original run and it becomes a very different conversation, so I was confining the list to pre-adolescents.

[Audrey Horne]

Here’s my literal interpretation of the Audrey scene. As Willa Cather told a journalist who asked her what “Death of the Archbishop” was about, “If I could tell you that I wouldn’t have had to write the damn novel!” this scene looses just about everything when interpreted in this way, at least to me. But I do feel Lynch uses concrete ideas as his inspiration. Mostly this is an exercise in showing the folks who don’t enjoy this scene or this series another way that some folks are looking at the thing. Whether this turns out to be the “correct” interpretation or not is irrelevant to the process of engaging with the art.

Open scene: (I’ve heavily edited the conversation for length)

We see Audrey standing before Charlie, who is sitting behind a desk nearly overflowing with paperwork. Besides papers and incidental office supplies the desk has on it: a Rolodex, a telephone, an hourglass, a crystal ball (an approximation), balance calibration weights spread about the desk, a statue of a black dog.

Dr. Amp: “The ninth level of hell will welcome you!”

“I’m tired of waiting for the phone to ring.”
(Audrey is getting no incoming information)

Charlie: “Stay here and get a good sleep.” . . . “Why you put me down for doing my allotted duty in life? (Sleep Audrey, sleep. This is my job, to keep you asleep).

Audrey: “Why don’t you ask your crystal ball where the fuck Billy is”?
Charlie: “Come on Audrey, you know I don’t have a crystal ball.” (points at his crystal ball)

Charlie: “I’ve been good to you, you always say it.”
Audrey (angrily): “What, I gotta thank you every hour on the hour, get on my knees and adore you”? (as young Audrey did figuratively with Cooper, and there is an hourglass on the desk).

“Look Charlie . . . you have no balls, that’s why I’m in love with Billy. That’s why I’m fucking Billy! I saw Billy in my dream last night, and he was bleeding from the nose and mouth! And dreams sometimes hearken a truth.” (Who is fucking Audrey? Who is bleeding? Well, Cooper was bleeding from the forehead down the nose and mouth just before he raped Audrey)

“Now I gotta go, Charlie, I asked for your company, your protection.” (She can’t go anywhere without Charlie, after all he is part of her).
“And Tina, I gotta find Tina, She was the last person to see Billy.” (Tina is Diane)

“You were supposed to CALL her, but you never did.” (A very specific line reading, indicating Audrey is not able to use the phone).

Charlie: “Don’t be sore at me Audrey, you know I just want the best for you.” (Calling Tina is not in Audrey’s best interest).

Audrey then threatens to bring Paul into the situation to clear up “fishy” contracts. (Paul has the power to change the dynamic of the Audrey/Charlie relationship, the bluff seems to work on Charlie).

Charlie: “OK Audrey, I’ll go with you (Audrey puts on coat) . . .where are we going?” (Charlie seems more concerned with keeping Audrey asleep and following their contract than in any of her desires)

Threatened with having to leave with Audrey, Charlie decides to call Tina.

Charlie: “Let me call her now, OK? I know I’ll tell her I’m alone. Let’s see if she knows anything. If her husbands there she won’t be able to talk.” (If Diane is near “Chuck” she can’t talk).

Audrey: “Chuck is certifiable, so we can’t count on shit from him.” (Chuck is Mr. C.)

Charlie “Chuck told you Tina was the last person to see Billy?”
Audrey: “Yeah.” (Otherwise how would Audrey know about Diane?)

Charlie: “Billy came out of his house and saw Chuck driving off with his truck.” (Yep, Chuck stole Billy’s truck and a whole lot more).

Audrey: “So, what happened then?”
Charlie: “Well, [the sheriff] called Billy, and I GUESS Billy got his truck back and they dropped all charges.” (Chuck got away Scott-free).

(This information really throws Audrey for a loop).

Charlie calls Tina, and is quite concerned with her admission (or denial) about being the last to see Billy. The one clue we have to the conversation is “How did you find . . . “ before he is cut off by Tina. “Oh my goodness” and “Unbelievable what you’re telling me,” round out the shocking news from Tina. (Tina lets Charlie know that Mr C. was the one who impregnated Audrey, not Cooper).

Just to be clear, I do not think Charlie actually calls the Diane out in the real world, but rather we're watching Audrey access and process knowledge she already possesses, or is currently learning about.

Flame away, ha ha.

I've been away, traveling most of the week... But just think your whole post should be reviewed, again and again! As I think this scene will be revisited for years down the line. As with most of Lynch's work, I don't think we're ever going to get a full explaination but with the rest of the installments it will make this confused, frustrating scene make more fascinating sense.

When and IF we see Audrey with Charlie again, I will be paying strong attention to the surrounding details... If they are in public, do people not have cell phones, is everything somewhat antiquated? Does she only interact with Charlie? I'm very much of the thought this world is similar to Cooper's first red room scene in the first season... How Cooper accesses his subconscious... Before Lynch was kinda forced to defined it as the Black Lodge through Episode 29's script. Charlie works both as Audrey's brain, logical, rational side, and as a spiritual Giant, Little Man From Another Place. (I believe Lynch feels we all have this potential in us, to access answers in altered states.)

Sabrina Sutherland when asked if Billy is the same Billy mentioned at the diner, she paused and then answered YES. When followed up with the question, oh so that is the guy we saw talking to Andy, she then replied with a poker faced, "I can't answer that right now." This gives your theory that Billy is Cooper more weight, and I believe the Billy uttered by Audrey and the random townsperson is Cooper. (Not that I fully expect it ever to be explained or spelled out to us.)

Charlie is Audrey, Billy and Chuck are Cooper and Mr. C. Billy is not going to be able to help Audrey this time, she has to learn patience and listen to her logical side and wake up/ get out on her own from this nightmare/coma/Circle of Hell.

[Audrey Horne]

Not even a single bit. That memory of his came out of nowhere and out of context prior to his convo with the sherieff.

It wasn't out of context. He told Truman that Richard had never had a father. He then thought of a particularly meaningful memory of his own father, and seemed to be realizing just how lucky he was, and how different an outcome he could have had. As has been suggested by others, this also colors the scene of the warden's son running out to his dead father.

Who in their sane mind reminisce a fucking bike when a sherieff just told you that your grandson has committed manslaughter on a kid?? Yeah that's pretty out of context as you can get.

Just like when Sylvia called him screaming about Richard and needing money, Ben retreats to a safe place. All these events are things he can no longer control, he's losing power in his life faster and faster. He's seeking comfort in his warm blanket. His lust for Beverly and childhood memory of a loved object are safe havens from a wicked world.

[Ragnell]

It wasn't out of context. He told Truman that Richard had never had a father. He then thought of a particularly meaningful memory of his own father, and seemed to be realizing just how lucky he was, and how different an outcome he could have had. As has been suggested by others, this also colors the scene of the warden's son running out to his dead father.

Who in their sane mind reminisce a fucking bike when a sherieff just told you that your grandson has committed manslaughter on a kid?? Yeah that's pretty out of context as you can get.

Just like when Sylvia called him screaming about Richard and needing money, Ben retreats to a safe place. All these events are things he can no longer control, he's losing power in his life faster and faster. He's seeking comfort in his warm blanket. His lust for Beverly and childhood memory of a loved object are safe havens from a wicked world.

Ben is never seen outside of the Great Northern. He's managed to become a better person, but has to spend time in a safe, controlled place to do it. To avoid all the darkness in Twin Peaks. I theorized after Part 10 that Ben was now completely useless to his family but... I'm not sure, thinking on that. His family is now outside the hotel. But, so far the Great Northern which used to be a big location for shady deals, supernatural events like Josie's death and Cooper's dreams, a place frequented by BOB...etc... It's pretty much down to a mysterious, and actually inviting hum and a little office sexual tension. It's entirely possible that Ben has created a safe place in Twin Peaks while darkness floods the rest of town.

It'll be interesting to see when the two Coopers come to town, and which one goes to the Great Northern. There's been some fan theory that there's a White Lodge entrance under the falls or some significance to Room 315, and if that's anywhere close to true the idea that Ben is sitting in the Great Northern, having changed it into a place of light and a safe haven for innocence and love so that he can stay on the straight and narrow himself, may be pretty important and explain why we spend so much time with him and Beverly.

[kafa81]

Here’s my literal interpretation of the Audrey scene. As Willa Cather told a journalist who asked her what “Death of the Archbishop” was about, “If I could tell you that I wouldn’t have had to write the damn novel!” this scene looses just about everything when interpreted in this way, at least to me. But I do feel Lynch uses concrete ideas as his inspiration. Mostly this is an exercise in showing the folks who don’t enjoy this scene or this series another way that some folks are looking at the thing. Whether this turns out to be the “correct” interpretation or not is irrelevant to the process of engaging with the art.

Open scene: (I’ve heavily edited the conversation for length)

We see Audrey standing before Charlie, who is sitting behind a desk nearly overflowing with paperwork. Besides papers and incidental office supplies the desk has on it: a Rolodex, a telephone, an hourglass, a crystal ball (an approximation), balance calibration weights spread about the desk, a statue of a black dog.

Dr. Amp: “The ninth level of hell will welcome you!”

“I’m tired of waiting for the phone to ring.”
(Audrey is getting no incoming information)

Charlie: “Stay here and get a good sleep.” . . . “Why you put me down for doing my allotted duty in life? (Sleep Audrey, sleep. This is my job, to keep you asleep).

Audrey: “Why don’t you ask your crystal ball where the fuck Billy is”?
Charlie: “Come on Audrey, you know I don’t have a crystal ball.” (points at his crystal ball)

Charlie: “I’ve been good to you, you always say it.”
Audrey (angrily): “What, I gotta thank you every hour on the hour, get on my knees and adore you”? (as young Audrey did figuratively with Cooper, and there is an hourglass on the desk).

“Look Charlie . . . you have no balls, that’s why I’m in love with Billy. That’s why I’m fucking Billy! I saw Billy in my dream last night, and he was bleeding from the nose and mouth! And dreams sometimes hearken a truth.” (Who is fucking Audrey? Who is bleeding? Well, Cooper was bleeding from the forehead down the nose and mouth just before he raped Audrey)

“Now I gotta go, Charlie, I asked for your company, your protection.” (She can’t go anywhere without Charlie, after all he is part of her).
“And Tina, I gotta find Tina, She was the last person to see Billy.” (Tina is Diane)

“You were supposed to CALL her, but you never did.” (A very specific line reading, indicating Audrey is not able to use the phone).

Charlie: “Don’t be sore at me Audrey, you know I just want the best for you.” (Calling Tina is not in Audrey’s best interest).

Audrey then threatens to bring Paul into the situation to clear up “fishy” contracts. (Paul has the power to change the dynamic of the Audrey/Charlie relationship, the bluff seems to work on Charlie).

Charlie: “OK Audrey, I’ll go with you (Audrey puts on coat) . . .where are we going?” (Charlie seems more concerned with keeping Audrey asleep and following their contract than in any of her desires)

Threatened with having to leave with Audrey, Charlie decides to call Tina.

Charlie: “Let me call her now, OK? I know I’ll tell her I’m alone. Let’s see if she knows anything. If her husbands there she won’t be able to talk.” (If Diane is near “Chuck” she can’t talk).

Audrey: “Chuck is certifiable, so we can’t count on shit from him.” (Chuck is Mr. C.)

Charlie “Chuck told you Tina was the last person to see Billy?”
Audrey: “Yeah.” (Otherwise how would Audrey know about Diane?)

Charlie: “Billy came out of his house and saw Chuck driving off with his truck.” (Yep, Chuck stole Billy’s truck and a whole lot more).

Audrey: “So, what happened then?”
Charlie: “Well, [the sheriff] called Billy, and I GUESS Billy got his truck back and they dropped all charges.” (Chuck got away Scott-free).

(This information really throws Audrey for a loop).

Charlie calls Tina, and is quite concerned with her admission (or denial) about being the last to see Billy. The one clue we have to the conversation is “How did you find . . . “ before he is cut off by Tina. “Oh my goodness” and “Unbelievable what you’re telling me,” round out the shocking news from Tina. (Tina lets Charlie know that Mr C. was the one who impregnated Audrey, not Cooper).

Just to be clear, I do not think Charlie actually calls the Diane out in the real world, but rather we're watching Audrey access and process knowledge she already possesses, or is currently learning about.

Flame away, ha ha.

I've been away, traveling most of the week... But just think your whole post should be reviewed, again and again! As I think this scene will be revisited for years down the line. As with most of Lynch's work, I don't think we're ever going to get a full explaination but with the rest of the installments it will make this confused, frustrating scene make more fascinating sense.

When and IF we see Audrey with Charlie again, I will be paying strong attention to the surrounding details... If they are in public, do people not have cell phones, is everything somewhat antiquated? Does she only interact with Charlie? I'm very much of the thought this world is similar to Cooper's first red room scene in the first season... How Cooper accesses his subconscious... Before Lynch was kinda forced to defined it as the Black Lodge through Episode 29's script. Charlie works both as Audrey's brain, logical, rational side, and as a spiritual Giant, Little Man From Another Place. (I believe Lynch feels we all have this potential in us, to access answers in altered states.)

Sabrina Sutherland when asked if Billy is the same Billy mentioned at the diner, she paused and then answered YES. When followed up with the question, oh so that is the guy we saw talking to Andy, she then replied with a poker faced, "I can't answer that right now." This gives your theory that Billy is Cooper more weight, and I believe the Billy uttered by Audrey and the random townsperson is Cooper. (Not that I fully expect it ever to be explained or spelled out to us.)

Charlie is Audrey, Billy and Chuck are Cooper and Mr. C. Billy is not going to be able to help Audrey this time, she has to learn patience and listen to her logical side and wake up/ get out on her own from this nightmare/coma/Circle of Hell.

So this is our Winkies scene...or Mystery Man scene? Sounds plausible

[Mr. Reindeer]

Who in their sane mind reminisce a fucking bike when a sherieff just told you that your grandson has committed manslaughter on a kid?? Yeah that's pretty out of context as you can get.

Almost as absurd as reminiscing about a childhood crush dancing on a hook rug with a flashlight, while you're in jail on murder charges!

[Major Briggs]

Here’s my literal interpretation of the Audrey scene. As Willa Cather told a journalist who asked her what “Death of the Archbishop” was about, “If I could tell you that I wouldn’t have had to write the damn novel!” this scene looses just about everything when interpreted in this way, at least to me. But I do feel Lynch uses concrete ideas as his inspiration. Mostly this is an exercise in showing the folks who don’t enjoy this scene or this series another way that some folks are looking at the thing. Whether this turns out to be the “correct” interpretation or not is irrelevant to the process of engaging with the art.

Open scene: (I’ve heavily edited the conversation for length)

We see Audrey standing before Charlie, who is sitting behind a desk nearly overflowing with paperwork. Besides papers and incidental office supplies the desk has on it: a Rolodex, a telephone, an hourglass, a crystal ball (an approximation), balance calibration weights spread about the desk, a statue of a black dog.

Dr. Amp: “The ninth level of hell will welcome you!”

“I’m tired of waiting for the phone to ring.”
(Audrey is getting no incoming information)

Charlie: “Stay here and get a good sleep.” . . . “Why you put me down for doing my allotted duty in life? (Sleep Audrey, sleep. This is my job, to keep you asleep).

Audrey: “Why don’t you ask your crystal ball where the fuck Billy is”?
Charlie: “Come on Audrey, you know I don’t have a crystal ball.” (points at his crystal ball)

Charlie: “I’ve been good to you, you always say it.”
Audrey (angrily): “What, I gotta thank you every hour on the hour, get on my knees and adore you”? (as young Audrey did figuratively with Cooper, and there is an hourglass on the desk).

“Look Charlie . . . you have no balls, that’s why I’m in love with Billy. That’s why I’m fucking Billy! I saw Billy in my dream last night, and he was bleeding from the nose and mouth! And dreams sometimes hearken a truth.” (Who is fucking Audrey? Who is bleeding? Well, Cooper was bleeding from the forehead down the nose and mouth just before he raped Audrey)

“Now I gotta go, Charlie, I asked for your company, your protection.” (She can’t go anywhere without Charlie, after all he is part of her).
“And Tina, I gotta find Tina, She was the last person to see Billy.” (Tina is Diane)

“You were supposed to CALL her, but you never did.” (A very specific line reading, indicating Audrey is not able to use the phone).

Charlie: “Don’t be sore at me Audrey, you know I just want the best for you.” (Calling Tina is not in Audrey’s best interest).

Audrey then threatens to bring Paul into the situation to clear up “fishy” contracts. (Paul has the power to change the dynamic of the Audrey/Charlie relationship, the bluff seems to work on Charlie).

Charlie: “OK Audrey, I’ll go with you (Audrey puts on coat) . . .where are we going?” (Charlie seems more concerned with keeping Audrey asleep and following their contract than in any of her desires)

Threatened with having to leave with Audrey, Charlie decides to call Tina.

Charlie: “Let me call her now, OK? I know I’ll tell her I’m alone. Let’s see if she knows anything. If her husbands there she won’t be able to talk.” (If Diane is near “Chuck” she can’t talk).

Audrey: “Chuck is certifiable, so we can’t count on shit from him.” (Chuck is Mr. C.)

Charlie “Chuck told you Tina was the last person to see Billy?”
Audrey: “Yeah.” (Otherwise how would Audrey know about Diane?)

Charlie: “Billy came out of his house and saw Chuck driving off with his truck.” (Yep, Chuck stole Billy’s truck and a whole lot more).

Audrey: “So, what happened then?”
Charlie: “Well, [the sheriff] called Billy, and I GUESS Billy got his truck back and they dropped all charges.” (Chuck got away Scott-free).

(This information really throws Audrey for a loop).

Charlie calls Tina, and is quite concerned with her admission (or denial) about being the last to see Billy. The one clue we have to the conversation is “How did you find . . . “ before he is cut off by Tina. “Oh my goodness” and “Unbelievable what you’re telling me,” round out the shocking news from Tina. (Tina lets Charlie know that Mr C. was the one who impregnated Audrey, not Cooper).

Just to be clear, I do not think Charlie actually calls the Diane out in the real world, but rather we're watching Audrey access and process knowledge she already possesses, or is currently learning about.

Flame away, ha ha.

I've been away, traveling most of the week... But just think your whole post should be reviewed, again and again! As I think this scene will be revisited for years down the line. As with most of Lynch's work, I don't think we're ever going to get a full explaination but with the rest of the installments it will make this confused, frustrating scene make more fascinating sense.

When and IF we see Audrey with Charlie again, I will be paying strong attention to the surrounding details... If they are in public, do people not have cell phones, is everything somewhat antiquated? Does she only interact with Charlie? I'm very much of the thought this world is similar to Cooper's first red room scene in the first season... How Cooper accesses his subconscious... Before Lynch was kinda forced to defined it as the Black Lodge through Episode 29's script. Charlie works both as Audrey's brain, logical, rational side, and as a spiritual Giant, Little Man From Another Place. (I believe Lynch feels we all have this potential in us, to access answers in altered states.)

Sabrina Sutherland when asked if Billy is the same Billy mentioned at the diner, she paused and then answered YES. When followed up with the question, oh so that is the guy we saw talking to Andy, she then replied with a poker faced, "I can't answer that right now." This gives your theory that Billy is Cooper more weight, and I believe the Billy uttered by Audrey and the random townsperson is Cooper. (Not that I fully expect it ever to be explained or spelled out to us.)

Charlie is Audrey, Billy and Chuck are Cooper and Mr. C. Billy is not going to be able to help Audrey this time, she has to learn patience and listen to her logical side and wake up/ get out on her own from this nightmare/coma/Circle of Hell.

*facepalm*

[pixletwin]

Who in their sane mind reminisce a fucking bike when a sherieff just told you that your grandson has committed manslaughter on a kid?? Yeah that's pretty out of context as you can get.

Almost as absurd as reminiscing about a childhood crush dancing on a hook rug with a flashlight, while you're in jail on murder charges!

Absurd and definitely one of my favorite scenes from the original series.

[Audrey Horne]

It definitely could be the Winkees scene. Also noted in the meticulously dressed set in Charlie's study, office... There are light bulbs on the mantle... Who leaves light bulbs dead or spare lying around? If Charlie has money or the two are living securely in wealth, why is the room so untidy? Sure there are light bulbs lit in their sockets, but there are two bulbs lying dormant behind her... Possibly waiting for one's AHA! moment. So many books, papers, scribbling all around her... Answers within reach, yet still far if she can't move.

Whether or not Albert set Diane up with the coordinates, I think we are definitely set up for the last third to converge on all our players coming to Twin Peaks. The men coming uttered by Sarah could mean all these forces coming. Now how Dougie realizes this is a head scratcher. I think after Wedny's, the hit men are on their way to the Joneses. But they will probably meet their end when confronted by Cooper/Dougie. His fullest wake up moment to date will happen during their potential grisly battle... And give him a need to travel the yellow brick road back to Oz. Mr. C will also find out what he WANTS, not need, is in Peaks as well. (I fully expect him to be in Cooper's black suit, and more Cooper than actual Cooper.). Throw in the Bookhouse Boys journey to Jackrabbit Slims, Sarah's vibrations, Audrey's fever, lost Laura, Richard's father... Well, I think we're in for a wild ride. Now who the hell is Linda?!!!

[boske]

Of all the people who tried to take out Dougie in Vegas (both the original and Dale), how many have met Mr C in person or know how he looks like? Do you not think Chantal and Hutch would be surprised when they see Dougie, I mean he is almost identical to their boss?!