Drink Full and Descend: The Secrets Revealed in Part 8 and What They Mean

Kyle MacLachlan in a still from Twin Peaks. Photo: Suzanne Tenner/SHOWTIME

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Twin Peaks: The Return Parts 1 – 8.

Since the airing of Part 8, the episode has proved to be the most divisive one yet among fans, with some citing it as the most revolutionary thing to air on network television, with others dismissing it as arbitrary nonsense. For those looking to delve deeper into the mysteries and coded messages of this episode, you’ve come to the right place. Let’s take this journey together, and see if we can’t make some sense of things.

01

The episode begins where the last episode left off, with Doppelganger Cooper riding in the car with Ray Monroe driving. They dispose of a police tracking device, DoppelCoop lies and says that Darya is waiting for them, tells Ray they should go to a place called “The Farm,” and they drive off the highway to a secluded area. DoppelCoop gets out a pistol with the intention of killing Ray, but Warden Murphy, who had the pistol placed in the glove compartment as part of their deal, has double crossed him, removing the firing pin from DoppelCoop’s gun. Ray pulls out a gun of his own and shoots DoppelCoop, who falls to the ground, fatally wounded. A fog appears, and out of the darkness emerges the soot-covered woodmen we’ve seen in the South Dakota murder mystery. Some begin dancing in a manner reminiscent of the Jumping Man from Fire Walk With Me and some begin pawing at DoppelCoop, digging through his guts and smearing his face with blood. They eventually pull a tumor with BOB’s face on it out of DoppelCoop’s stomach. It’s pretty safe to say this represents BOB himself, the “inhabiting spirit,” living like a parasite within his host. I don’t think he’s a literal tumor inside his vessels, but this is how it manifests to the terrified Ray, who watches, paralyzed with fear. Eventually he summons the strength to run to his car and drive off. The fog disperses.

Ray leaves a voicemail for Philip Jeffries (or who he thinks is Philip Jeffries). His speech is slurred with fear, and I had a hard time understanding, so I took the trouble of transcribing it for anyone who might need help.

“Philip? It’s Ray. Uh… I think he’s dead. But, he’s found some kind of help, so, I’m not a hundred percent. And I, and I, uh… I saw something in Cooper. It may be the key to what this is all about. …Yeah, I told him where I’m going, so if he comes after me, I’ll get him there.”

02

We then cut to the Roadhouse, where an Emcee introduces “The” Nine Inch Nails (I’ve been a fan of them for over ten years and I’ve never heard them referred to as “THE” Nine Inch Nails, so I’m wondering if this was a mistake by the Emcee). The lyrics are from a song written back in 2016 for their album Not The Actual Events,  so it’s possible it was written for The Return, as Reznor’s involvement had been announced by then. I love his performance here, because it seems animalistic and reminds me of the Jumping Man a little bit.

As with all of the band performances so far in the show, the lyrics seem to relate to occurrences in the episode. Here they are, for reference:

You dig in places till your fingers bleed
Spread the infection, where you spill your seed
I can’t remember what she came here for
I can’t remember much of anything anymore
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
Away
Away
A little mouth opened up inside
Yeah, I was watching on the day she died
We keep licking while the skin turns black
Cut along the length, but you can’t get the feeling back
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
She’s gone, she’s gone, she’s gone away
Away
Away
Away
Away
(Are you still here?)
-Nine Inch Nails, “She’s Gone Away”

I’ll get back to these lyrics as the episode unfolds, but we’ll say for now that this is a dead on description of the relationship between Laura and BOB. Returning to the episode, we see the supposedly dead DoppelCoop suddenly sit up and open his eyes. What could this mean? DoppelCoop and BOB are now separated. Presumably, the woodsmen took him back to the Black Lodge (We’ll see later that they seem to be handlers for BOB). A few episodes back, MIKE told Cooper, “You’ve been tricked. Now one of you must die.” Does this count as a death? Does this mean we’ll see the promised return of Agent Cooper next episode? Will he finally wake up from his Dougie-induced stupor? We can only guess for now. Unfortunately, the episode cuts before we can find out more. Fortunately, we get a lot of back story in what remains of the episode. It’s just a matter of deciphering it, using knowledge gained from The Secret History of Twin Peaks, and a bit of educated guesswork.

03

July 16th, 1945. White Sands, New Mexico. 5:29 AM (MWT).

The Atomic Bomb goes off during its first test. Destroying the environment and murdering countless human beings, the A-Bomb is one of the greatest evils that men do. We travel inside the blast, going down to the atomic level and witnessing the explosion of atoms and particles. Space itself it torn open, and we see…

…a convenience store.

Yes, ladies and gentlemen, this is the famous convenience store we’ve been hearing about. It was mentioned by MIKE in the original series, and then we saw the Dugpas meeting above it in Fire Walk With Me. Now we see the exterior of it, through the newly torn rift in the dimensions. It’s teeming with the woodsmen. This tells us two things: 1) They are probably the same as the three woodsmen from Fire Walk With Me, and 2) They are probably Dugpas. Time distorts and lights flash as they move in, out, and around the convenience store.

04

We then see the Experiment, the monster from inside the glass box, floating in empty space. She vomits out a strand of what looks like creamed corn, inside which are little eggs and the tumor with BOB’s face. This seems to lend credence to the theory that the monster is BABALON, the “Mother of Abominations” which Jack Parsons wrote about. In The Secret History of Twin Peaks, Jack Parsons speaks to Douglas Milford, and mentions White Sands, Nevada, and how the Atomic Bomb tests made the area perfect for a ritual he plans to do, in which, at the behest of the Goddess BABALON, an Elemental Spirit will be summoned. Parsons calls this Ritual “The Working,” and planned to open up a “second” gate out in the desert. Where the first gate is, we aren’t told, but this Elemental could very well be BOB.

The creamed corn travels through the atomic blast and the tumor becomes a gold sphere, like the kind that emerged from Dougie. This object is directly linked with the creation of beings by the Black and White Lodges. We then overlook the same purple ocean which Cooper saw in Part 3. In the middle of it is a tall rock, atop which is a palace. We close up on a narrow window and look through it, into the palace. Inside we see a scene reminiscent of a hotel from the 1930s, which may be the same room we see the Giant and Cooper talking in at the beginning of Part 1, as we see the same gramophone sitting next to the sofa. There’s also another strange bell device, like the kind Naido threw the switch on before throwing herself into space in Part 3. A glamorously dressed woman named Senorita Dido sits on a couch, swaying to some music.

05

Quick aside on the correlations with the mythical character Dido: After being robbed of her inheritance by her brother, Dido fled to the land of King Iarbas, and asked that he grant her land to live on. He agreed to give her the amount of land that she could encircle with a piece of oxhide. So Dido cut the oxhide into fine strips, and surrounded a nearby mountain with it. There, she founded what would become the prosperous city of Carthage. So, here we can see some minor similarities, in that they both live in palatial buildings atop mountains. It’s not much, but it’s there.

The bell-device starts buzzing, and the Giant emerges from behind it. He examines it, checking the gauges on the side, and then pressed a button on it, which causes it to stop buzzing. I think of this along the lines of a phone, and the Giant basically just said, “I’ll take it in the other room.” He leaves the sitting room, goes up some stairs, and enters a theater which looks to be the same as Club Silencio (it’s the same shooting location, I believe). If you’re a fan of the Lynchverse theory, this should send chills down your spine. There’s another bell device in here. On the screen, the Giant witnesses the atomic blast, the  convenience store, and the Experiment expelling BOB. In response, he levitates and expels some golden lights from his mouth as Senorita Dido enters the room and watches on awe. A gold orb containing the soul of Laura Palmer floats down to her, and she kisses it and sends it on its way to Earth. This is a pretty clear sign that Laura was created in some way by the White Lodge in order to oppose BOB. She may have been destined to die all along, in order to enter the White Lodge and help stop him. Now, I don’t think Laura was “manufactured” like Dougie, but, rather, seeded. Laura was a real person who was born and lived and died, whereas Dougie probably sprang forth fully-formed, and disintegrated rather than dying normally as a human.

Now, back to the New Mexico desert. It’s 11 years after the atomic blast. One of the eggs released by the Experiment is now hatching. From it emerges a strange creature that is a fusion of a locust and a frog. It begins to make its way through the desert. This bug is, most likely, an embryonic BOB, searching for his first host. One resourceful Redditor made the connection between the creature and this legend from Chinook mythology, which lines up with much of the Twin Peaks mythos.

Meanwhile, two teens are walking home from a date.

06

Now, I want to address this once and for all. Despite popular theories, this cannot be Sarah and Leland Palmer, nor Margaret Lanterman, as Leland and Margaret are said to have been born, raised, and died in Twin Peaks. Leland’s whole family is from Washington state. All I can find out about Sarah’s background is that she went to college in Washington state, where she met Leland. There’s no reason for any of them to be in New Mexico at this time, and it makes even less sense that BOB would be possessing either Sarah or Margaret. It is far more likely that these are the Robertsons, who, when Leland Palmer is a child, have a summer house at Pearl Lake, and transfer the inhabiting spirit to him.

Anyway…

The girl finds a penny on the ground and gets excited because she says it’s good luck. We’ve seen quite a few coins of significance this season, and I can only guess what it could mean, if anything. It’s possibly all a coincidence. It’s worth noting, however, that the girl rubs her thumb over the image of Lincoln, and the actor who plays the main Woodsman, Robert Broski, specializes in Abraham Lincoln impersonations.

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Robert Broski, a.k.a. the Woodsman, as Abraham Lincoln.

Elsewhere in the same area, the Woodsman from the South Dakota jail cell drifts down from pure air. More appear, and they stop two cars on the highway, the sound of crackling electricity following them. What happened to the people in the first car, we don’t see. They approach the second car, and the Woodsman, unlit cigarette hanging from his lips, asks the couple, “Got a light?” This is similar to the phrase “Fire, walk with me,” as both are requests for fire. He repeats this question a few times, and time seems to slow down for the people in the car as the woman screams. Her slowed-down shriek of horror is similar to Maddy’s screams as she is being attacked by BOB in Season 2, suggesting that time distortions follow the Dugpas.

The man in the car seems hypnotized by the Woodsman, unable to move or stop from staring at him, until he manages to break the spell, and, wisely, drives out of there before the woodsmen can surround the car. They seemingly escape unscathed, as the woodsmen continue into town to fulfill their purpose. They take over a radio station, killing the only two occupants. The way the Woodsman kills the pair is similar to the old style of electric execution chairs. He grabs the top of their skull and an electric charge goes into their brain, causing it to bleed. He finishes by crushing their skulls. The Woodsman takes over the radio booth, and recites a spell over their air waves.

“This is the water

And this is the well

Drink full and descend

The horse is the white of the eyes

And dark within.”

This repeats several times, and let me come back to it in a moment. As he repeats the words, people listening to the broadcast collapse. Whether they die or simply fall unconscious, I can’t say. The girl from the date earlier, who is now home sitting in bed, goes to turn off the radio, but, seemingly hypnotized, just goes to sleep, allowing the flying frog to come in through her window and crawl down her throat, presumably to grow into the BOB-tumor inside of her. This is the story of how BOB came to our plain of existence in this era. This was the purpose the woodsmen needed to fulfill. They came to the desert to make sure BOB found a host, and, now that he has, they depart, for the time being. These creatures seem to be BOB’s caretakers in some way, as they were there when he found his first host, and they appeared when his last host died (or… nearly died). Do they answer to a higher power? Are they looking out for BOB due to the orders of the mother monster? Perhaps…

07

Now, let’s analyze some lyrics, which, as a music geek, I love to do. We’ll start with the spell the Woodsman recites. “The water” may be the inhabiting spirit, and “the well” probably means the source of the spirit, the Experiment we saw expelling the eggs from her mouth. The Woodsman gives the command to the host to swallow the frog-bug whole, so that it can take her over, and she can descend into darkness. The horse reference is harder to connect, and some theorize it has to do with the drugging of Sarah Palmer, as she is the one who saw the white horse in the original series. I am more wont to connect it to the white horse being death. The horse is white, like the pale eyes of the Doppelgangers, and it is a representation of death, so it is dark like oblivion. This part of the spell could be causing the death/unconsciousness of the non-host listeners.

Now, to the NIN song. This part, I don’t think is necessary, but fun to analyze. The act of digging in places “’til your fingers bleed” sounds a lot like hardcore drug addict behavior, which may tie in to Laura’s drug problem. The infecting and seed spilling is all about Leland and BOB’s attempt to jump from his body to Laura’s. And, of course, Laura’s gone away… or maybe the host is the one he’s talking about disappearing as BOB takes over? The mouth opening part is a nice foreshadow of the girl swallowing the frog-bug. “[T]he skin turns black” is a fairly good description of the monochrome woodsmen. The question ate the end, “are you still here?” I think is actually DoppelCoop wondering if BOB is still with him. And that’s a question we’ll all have on our minds until July 9th.

08

Well, that about sums up my analysis. What an episode that was! If you have any questions about something I missed, please post in the comments below!

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5 Final Predictions for Twin Peaks: The Return

 

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for The Secret History of Twin Peaks.

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As we prepare to delve back into the strange and wonderful world of Twin Peaks, we all have our anticipations, our hopes, and our assumptions. If you are looking for some last-minute theories to get you revved up for the premiere this Sunday, look no further. Here are my final predictions for Twin Peaks: The Return.

ED

5. Big Ed stayed with Nadine

In the recent trailer released from Showtime, Big Ed is seen, presumably at the desk of his Gas Farm, looking pretty sullen. Many fans hoped that 2017 would see Big Ed Hurley finally united with his long-time sweetheart, Norma Jennings. But from the looks of this clip, either things have gone wrong with Norma, or he has stayed in his unhappy marriage to Nadine. Alternately, he may have lost both women. When Nadine comes out of her teenage fantasy, she finally realizes that she has truly lost Ed to Norma. She may have been too heartbroken to go back to Ed, and Norma may have been too tired of Ed’s inability to leave Nadine to stay with him.

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4. There are two Dale Coopers

“My name is Annie, and I’ve been with Laura and Dale. The good Dale is in the Lodge, and he can’t leave. Write it in your diary.”

-Annie Blackburn, Fire Walk With Me

At the end of Twin Peaks Season 2, viewers discovered the worst had happened when Agent Cooper, acting a little oddly after escaping from the Black Lodge, looked into the mirror and saw BOB in the reflection. This left us with an agonizing and iconic cliffhanger, and it would be a shame to not deliver on the 26-year-old promise of seeing an “Evil Dale Cooper.” This cliffhanger was referenced again in Fire Walk With Me when Annie Blackburn, who had also been in the Black Lodge with Cooper, appears to Laura Palmer and tells her that “The good Dale is in the Lodge and he can’t leave.” While it is a confusing situation at best, it would seem to imply that Cooper has become spiritually bisected, leaving his “good” self in the Black Lodge, while his body, possessed by killer BOB, returned to Twin Peaks.

There are many possible approaches that could be taken to this situation, as some fans theorize that the body we see possessed by BOB is actually that of Cooper’s Doppelganger, and not the original Cooper we know and love. Perhaps the Good Dale has finally escaped the Black Lodge, 25 years later, and is hunting down his Doppelganger, or perhaps he still needs to be rescued. If the body is his, and not the Doppelganger’s, then it is possible he will not be able to leave the Black Lodge until his body is returned to him. Perhaps, until that time comes, he will be exploring the various dimensions of the Lodges…

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3. Return to the Roadhouse

When the official cast list for Twin Peaks: The Return was released last year, it was obvious that the new series had enough musicians to fill their 18 episodes, and then some. These musicians include previous Lynch collaborators Julee Cruise, Chrysta Bell, and Trent Reznor, as well as some surprising newcomers like Pearl Jam frontman Eddie Vedder. While it’s not clear if these musicians are simply listed as collaborators on the soundtrack, or will be making an appearance in the show, it would be a lovely treat and in keeping with the original series to include some haunting musical performances on the stage of the Roadhouse.

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2. I’m not saying it’s aliens…

I don’t think we will ever see a spaceship in Twin Peaks. I do think further discussion of Project Blue Book, and blatant addressing of the subject of aliens, is unavoidable in order to progress certain plot elements. But Twin Peaks will never be a sci-fi story. I don’t think Mark Frost or David Lynch want to do that by any means. I don’t think we will ever hear it definitively said that the owls are alien spies, or that the Dugpas are from another planet, as some have speculated. In true enigmatic form, I think it will be left up for interpretation, and implied that the Dugpas are not spirits, or Native American gods, or extraterrestrials, but something beyond our comprehension, and far more terrifying.

Blue Rose

1. The Blue Rose is code for Listening Post Alpha

More than anything else, when the photos for the Entertainment Weekly photo shoot came out earlier this year, I think I was most stunned by the appearance of a blue rose, right there on the table between Audrey and Shelly. One of the enduring mysteries of Twin Peaks is that of the Blue Rose. It only appeared in FWWM, but it made a huge impression on fans. Agent Cooper refers to Teresa Banks’ murder as “one of Gordon Cole’s Blue Rose cases,” and Agent Desmond says that he can’t talk about the Blue Rose with Agent Stanley. With no further information, fans analyzed the symbol as best they could, and came up with some interesting theories. The most popular and most believable of these theories is that the Blue Rose is code for Project Blue Book, due to 1) color association, 2) apparent ties to the government, and 3) the fact that blue roses do not exist in nature, suggesting an “otherworldly” element to them. After reading The Secret History of Twin Peaks, I am convinced more than ever that this theory is very near the mark.

While the Blue Rose itself is never mentioned in The Secret History, we are given more background on Project Blue Book’s connection with the rest of the Twin Peaks mythology. It turns out that newspaper mogul Douglas Milford was, in his younger days, an agent working on Project Blue Book under then-President Richard Nixon. He was, in a manner of speaking, one of the “men in black,” appearing to investigate UFO cases, and other bizarre phenomena for the government. After Nixon’s death, Milford was spurred to create his own successor to Project Blue Book in Twin Peaks itself, known as Listening Post Alpha (LPA). He also recruited Major Garland Briggs to help him, and this is most likely the job that prompted him to so commonly quip, “That’s classified.” Milford then dies, suspected to have been murdered by his wife, possible assassin Lana Budding. He leaves Briggs a letter, philosophizing about the nature of the strange phenomena surrounding Twin Peaks, and concluding by telling Briggs to wait until his “next control arrives.”

Briggs, now in charge of LPA, believes that Agent Cooper has been sent by Gordon Cole to be his aid in these endeavors. This raises an eyebrow. Also contained in the dossier that comprises The Secret History is a list containing the names of FBI agents Cooper, Cole, Desmond, Stanley, Rosenfield, and Jeffries. The nature of this list is never revealed, but it is clearly important. Briggs and Milford must have been working with Cole on some level, otherwise there’s no reason for him to believe that Cole would “send” anyone to Briggs.

Remember how Cooper referred to the Blue Rose cases as being Cole’s? And which agents has Cole assigned to his Blue Rose cases? Agents Cooper, Desmond, Stanley, Rosenfield, and, in all probability, Jeffries. So it isn’t that big of a leap to suspect that the Blue Rose cases are linked to LPA, if not specifically code for LPA and its interests. Adding to this connection is the discovery by one sharp-eyed fan of a blue flower prop in Major Briggs’ house. While it appears to be a tulip, and not a rose, the similarities are distinctly there.

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I could of course be wrong about all of this. After all, the owls are not what they seem, and Lynch and Frost have kept us guessing from the very beginning, and the mystery they created together has lasted 27 long years. Only time will tell what truths are to be unveiled, and what mysteries are to be left uncertain forevermore.

What do you think will happen in the new series? What’s your favorite mystery from the show or the movie? How will you be celebrating the return of Twin Peaks? Post a comment below!

The Long Lost Phillip Jeffries – Explained!

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: This article contains spoilers for Fire Walk with Me and The Secret History of Twin Peaks.

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One of the most enigmatic scenes in all of Twin Peaks is the brief but memorable appearance of the “long lost” Phillip Jeffries (played by the late great David Bowie, R.I.P.). The scene sparked so many questions with the very little it showed us, and almost none of it is explained or even referenced again in the film. It’s a bizarre aside in the larger story, but there is undoubtedly great importance to it. It features many integral characters and motifs, yet it is so hard to fit in with the rest of the movie. What is Jeffries doing in Buenos Aires? Why has he been missing? Who is Judy?  What is the relevance to the rest of the plot?

Jeffries’ appearance is one of the most hotly debated mysteries among Peaks Freaks everywhere, and, in this article, I will attempt to put the story as straight as possible for the benefit of both veteran fans, and the curious newcomer. First, we will go over the major points of interest from the main scene, then, in the end, we will construct the most coherent narrative we can from one of the most surreal moments in the film.

I’d like to cite that one of my major sources for this article is this enlightening post from the Above the Convenience Store blog, so go read it first. Also, I am drawing dialogue from The Missing Pieces, which contains an altogether different take of the Phillip Jeffries scene with bits of extra dialogue.

Phillip Jeffries appears, walking out of the elevator at and walking straight into Gordon Cole’s office. Agent Cooper spots him, along with what may be his own Doppelganger, on the security camera. He says he remembers this from a dream he had. Rushing into the office, Cooper meets up with Cole, and Albert Rosenfield, who have just come face-to-face with Jeffries, who seems anxious and confused.

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“Cooper, meet the long-lost Phillip Jeffries. You may have heard of him from the academy.”

We’ll start here, as it is the only back story we are really given to Jeffries. Given the reference to him being talked about by the academy, it’s safe to assume he’s an FBI agent, while he’s never explicitly called one. He is also associated with Dale Cooper, Gordon Cole, Albert Rosenfield, Sam Stanley, and Chester Desmond in The Secret History of Twin Peaks. He’s been with the FBI much longer than Cooper, as he was apparently being talked about at the academy while Dale was still training there.

So Jeffries has been on the case for a while. But what case?

The reference to Jeffries being “long-lost” is the most intriguing part here, and actually gives us a good idea of what has happened to him. We know of other FBI agents who have been “lost” — Desmond and Stanley are both missing by the end of the film, and Cooper can be presumed to be in a similar state in the aftermath of season 2These agents all have one thing in common: Involvement with the Black Lodge, and Gordon Cole’s “Blue Rose” cases.

The meeting "Above the Convenience Store"

“Listen to me carefully. I’ve been to one of their meetings. It was above a convenience store.”

Jeffries ignores all of the other agents’ questions and goes on a harried tangent about a “meeting” he witnessed, which we see overlapping Jeffries’ scene in Cole’s office. He says that this was a “dream” (and that we live inside a dream), and that he found something in Seattle “at Judy’s.” This “something” may be an opening to the Lodges, or it could be the secret meeting place of the Dugpa — the room above the convenience store. Or perhaps this “something” was an artifact related to the Dugpa, as he then babbles about “the ring,” before breaking down crying.

Jeffries also has some revelation or recollection about the date May, 1989, and subsequently disappears as if he was never there. What the relevance of this is is never elaborated upon, and the date is never reached during the course of the series. It was, however, important enough for it to warrant an appearance in the trailer for The Missing Pieces, and most likely has some connection to Major Briggs’ enigmatic “mayday protocols” mentioned towards the end of The Secret History of Twin Peaks. Could it be that Jeffries, Judy, and Briggs were all involved in some plot that was to take place on May 1st, “Mayday”? Are they all involved in the mayday protocols?

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“I’m not going to talk about Judy. In fact we’re not gonna talk about Judy at all. We’re gonna keep her out of it.”

Judy is one of the most talked about mysteries in the fandom, and more has been said and hypothesized about her than I can include here (a very in-depth study on the history of Judy as a character can be found here). Suffice to say, it’s probable she was Jeffries’ informant or partner, who was involved in the case with him. She’s important enough for him to tell the other agents that “Judy is positive about this,” as if her opinion holds weight with them. Albert Rosenfield even scoffs “How interesting. I thought we were going to leave her out of it,” as if he knows Judy and doesn’t approve of her in some way. This supports the possibility of Judy being Jeffries’ partner. But why is he reluctant to talk about her? Why does he want to “keep Judy out of this”? Was there some point of contention between himself, Judy, and the other agents? Did they not think he should be involved with her? Could it be that she was a person of interest in a case, and Jeffries became romantically entangled with her, in keeping with the classic film noir trope? What is she so positive about, anyway?

Evil Doppelgangers of Cooper and Leland.

 

“Who do you think this is there?”

Near the beginning of the scene, Jeffries points to Cooper and asks Cole, “Who do you think that is there?” No one has any idea what he is talking about, and Jeffries never elaborates. However, I have an idea. We might presume that for the past two years, Jeffries has been, like Cooper, lost in the Black Lodge, which as we know operates in nonlinear time. Just as young Laura was able to meet an old Cooper and transmit a message to the past through him, it is not far-fetched to believe that Jeffries, during his wanderings in the Black Lodge, came across Cooper’s Doppelganger, and now that he is out, believes that Cooper is still not who he seems. In effect, this is more or less a “foreshadow” of Cooper’s possession by BOB at the end of season 2.

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“He’s gone.”

Before anything can be done, there are electrical problems, and Jeffries vanishes. This is a pretty clear indication that the magic of the Black Lodge is at work here. He reappears at his hotel in Buenos Aires in a burst of flame, much to the shock of his bellhop. Now here, I’d like to bring up the subject of Buenos Aires and why Jeffries is there. If you watch The Missing Pieces, we find that Jeffries arrives at his hotel to receive a message from a woman, presumably Judy. This suggests that they were investigating something there together, or, that they had run away together. Possibly both. In either case, something strange is definitely happening to Jeffries, possibly as a consequence of wearing or proximity to the Owl Ring. It appears he randomly phases in and out of dimensions, possibly by way of the Black Lodge. I suggest that after disappearing in Buenos Aires, he briefly went through the Black Lodge and emerged in Philadelphia. This explains his panicked but determined demeanor: He understands that he has been given a chance to warn Cole, but also that he has little time before he phases out again. He tries to alert Cole about to the relevant points: BOB’s leaving the Black Lodge to go on a murderous rampage, the ring, and even “Evil Cooper.”

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Conclusion

Well, I want to tell you everything, but I sure don’t have a lot to go on. But I’ll do the best I can to construct the most likely narrative:

Phillip Jeffries is an FBI agent, working closely with Gordon Cole, and possibly also with Major Garland Briggs. He takes on a “Blue Rose” case, which, most likely, marks the case as involving the supernatural. In keeping with the recurring motif in Twin Peaks, we might presume there was the murder of a young woman involved. Jeffries goes to Seattle to investigate and meets Judy, who is a person of interest in the case. He and Judy become romantically entangled, to the disapproval of Jeffries’ peers. He meets her at her house, and she shows him the Owl Ring and possibly gives it to him. He sleeps over that night and (“I found something… in Seattle, at Judy’s.”) has a dream, caused by the Owl Ring. In this dream, he sees Dugpas, and follows them to a meeting in a room above a convenience store. Upon waking, he discovers that he now phases through dimensions in a burst of flame, something which he has no control over. In order to help him, he and Judy investigate the ring and the Dugpas, an investigation that takes Jeffries away from his previous assignment in Seattle, and causes him to go off the radar for two years. This leads them to Buenos Aires, where they believe there is another opening to the Black Lodge. They plan to meet up at the hotel, but when Jeffries arrives, Judy is gone, and she left a note. He then disappears from the hotel, enters the Black Lodge, and re-emerges in Philadelphia, where he attempts to warn Cole of the horrors he has discovered before disappearing again in a burst of flames and reappearing in Buenos Aires.

There are still many loose threads and exact details missing, like the involvement of Windom Earle, who was allegedly in Buenos Aires with Jeffries and Judy, and the bizarre security camera phenomenon, but I believe my proposed scenario fits in well with the overarching story and helps explain some of the non sequitors that proliferate this scene. For sure, there are still more mysteries to be uncovered, and hopefully we will learn some of the answers when Twin Peaks returns this May.

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The Mysteries of Love: The Transformative Nature of Sex in Lynchian Cinema

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Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: Contains spoilers for Eraserhead, Blue Velvet, Mulholland Drive and Inland Empire. Also, while not graphic, this article does deal with mature themes revolving around sex, so read at your own discretion.

Anyone who has seen David Lynch’s movies knows that sex has a potent presence in each one. Sometimes, it takes the form of beautiful love scenes; other times they are grotesque and debased, but they always have a purpose. Mulholland Drive, Inland Empire, and Eraserhead all use sex during vital transformative scenes, and The Diary of Laura Palmer draws a distinct line between Laura’s sexuality and BOB’s arrival. In this article, I will analyze the use of sex and sexual imagery in each of Lynch’s films, and uncover some of the secrets behind the Mysteries of Love.

Note: I will be excluding Lost Highway and Wild At Heart from this article, as those films, I feel, require very specific and individual analysis.

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One of the oldest forms of ritual is sex: In ancient Babylon, temples dedicated to the Goddess Ishtar employed “sacred prostitutes,” who were priestesses who doubled as sex workers, and often used sex as part of their religious rituals. These women would serve as representations of the Goddess when a new King was crowned, so that he might be wed to her and receive her divine blessing. Mother Goddesses, such as Ishtar/Inanna, were usually fertility Goddesses, presiding over sex and reproduction, so it only makes sense for the worship of such deities to be sexual in nature.

Aleister Crowley, who was recently mentioned in Mark Frost’s tie-in novel The Secret History of Twin Peaks, made sexuality a large part of his doctrines and rituals, in which the energy released during copulation is used to give power to whatever spell is being cast. Nontheistic Satanist Anton LaVey, founder of the Church of Satan, placed sex in high importance in his ideology. LaVey believed that discovery of one’s sexuality, and having full control over one’s sexual power and identity (whatever it may be) was the key to having agency over one’s life, and, ultimately, finding fulfillment and success. He believed that sex and ritual was one of the most powerful ways to affect an individual’s psychology and direct energy. Sex is a powerful force, easily able to raise emotional energy, which can then be utilized through ritual.

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Sex in the Lynchian Universe is used in a similar way: It commonly heralds a moment of profound transformation, where either two characters become merged, or a character moves into a strange, alternate dimension.

Throughout the first half of Mulholland Drive, it is clear that Betty and Rita are slowly merging into one being, but it is only after they make love that they become virtually indistinguishable. After they merge, Betty and Rita are able to enter the otherworldly Club Silencio and receive the answers to the mystery. In Eraserhead, a sex scene between Henry and the neighbor immediately precedes a disjointed dream sequence; a so-called “down the rabbit hole” moment. We see the couple sinking into a smoking pit of milk, and disappearing into another world. This relates to Henry’s desire for escape from the nightmare of his life.

In Inland Empire, a particularly interesting scene is the love scene between Devon Burke and Nikki Grace, wherein they begin to slip into their alternate personae, Billy and Sue. Immediately afterwards, Nikki/Sue discovers the portal into the alternate dimension. She has undergone a ritual in which she allowed her Nikki persona to be consumed by the film persona. She was transformed into Sue, through a Sex Magick with Billy (or Devon, who thought he was Billy). A recurring motif of the film is prostitution. For the most part, in Inland Empire, this motif seems to represent sexual oppression and enslavement, as there are recurring references to rape through mind control. The prostitutes appear to be under the Phantom’s control. However, I believe they also represent various parts of Nikki/Sue’s psyche, voicing her internal dialogues and performing rituals with her, as she slowly builds up the power she needs to face the Phantom. They are the oppressed parts of Nikki’s personality, which are brought together to become stronger and eventually break the bonds placed on them by the Phantom. The dancing sequences in the film conjure up images of Pagan rituals and Faerie circles. In short, they tell us that Magick is being performed.

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Sex is a centrifugal element of the film Blue Velvet, and is the catalyst for Jeffrey Beaumont’s trip down the rabbit hole. Dorothy Valens has been transformed through the sexual abuse Frank Booth has subjected her to; he “put his disease” in her, infecting her with his violent sexual obsessions. When she and Jeffrey begin a sexual relationship, she asks Jeffrey to hit her, like Frank does. She has become so used to the abuse, that she cannot enjoy sex without it. Eventually, Jeffrey breaks down, and hits her. Later, he regrets his actions, and begins to cry in guilt. He is afraid of being turned into Frank Booth, being sucked into his darkness, ending up spiritually mutated and morally weakened. He does not want to wind up using Dorothy the way that Frank does. His salvation is the love he finds with Sandy, which goes beyond the basic lust he felt for Dorothy. And in the end, it is not through Jeffrey, or her husband, that Dorothy finds healing, but through her pure love for her son.

Blue Velvet serves, perhaps, as Lynch’s ultimate parable regarding the dichotomy between sex and love, and where the two meet. There is depraved sex, and there is sacred sex. There is selfish love, and there is pure love. Lynch has said in interviews that Frank Booth is a man in love, suggesting that his desire for Dorothy is not as black-and-white as it at first seems. It isn’t just lust that compels him, but a sick kind of love – the only way Frank can perceive it.

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“Do me a favor: Stay away from Dorothy. Don’t be a good neighbor to her anymore. Or I’ll send you a love letter, straight from my heart, fucker! Do you know what a love letter is? It’s a bullet from a fucking gun, fucker! You receive a love letter from me, and you’re fucked forever! Do you understand, fuck? I’ll send you straight to hell, fucker!”

-Frank Booth, Blue Velvet

In Lynch’s other works, sex has many different meanings, sometimes within a single film. In Twin Peaks, sex is not portrayed as bad nor good, but a facet of natural human life, though the circumstances surrounding it can be beautiful, or dire. However, a darker layer of this sexuality was hinted at even from the pilot, and as the mystery was slowly unveiled in Season 2 and Fire Walk with Me, the shadow of sexuality which loomed in the background was brought forward: A sexuality that, like Frank Booth, was all about possession, violence, and power.

The two sides of Laura’s identity are, in one way, portrayed by her dualistic relationships with James and Bobby. Her love for James is more of an idealistic, innocent love, whereas her relationship with Bobby is one of manipulation. On the same side of the coin as Bobby, though much deeper and darker, is her “relationship” with BOB; a shadowy, violent figure who Laura remains sexually attracted to in spite of the risk to her sanity and life. This lust is portrayed as a base desire, animalistic, like hunger, which drives its victims to endlessly consume, or die.

A Buddhist belief says that all acts are acts of either love or fear, and all other emotions spring from one of these two. In Twin Peaks, it is again told to use that love is the ultimate salvation, as Laura’s spirit forgives Leland, her abuser and murderer, upon his death — forgiveness, being an act of love. This is in keeping with the theme set by Blue Velvet. However, things are a little shakier in Mulholland Drive, wherein love can do nothing to save our heroines, and, in fact, pushes them closer and closer to the edge. Without going too far down the rabbit hole that is Mulholland Drive, notice the extreme differences between the two sex scenes: The first, between Betty and Rita, is tender, and very loving. The second, between Diane and Camilla, which is arguably the reality of the matter, is sleazy, with a definite tension between the two women. Diane is stricken with fear of losing Camilla, and this is what ultimately orchestrates their downfall. In a way, Diane is becoming like Frank Booth, Lynch’s prime representation of the evil that can seep into a sexual relationship — the need for dominance and power, above anything else.

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Well, that was some heavy content. If you need to lighten up, here‘s a link where you can watch Kyle MacLachlan’s Saturday Night Live monologue back in 1990. Until next time, make sure those grapefruits are freshly squeezed.

Through the Darkness of Future’s Past: The Magician and the Devilish One

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Written for Twin Peaks Freaks by Eden H. Roquelaire.

Disclaimer: This article contains spoilers for Twin Peaks the series and Fire Walk With Me.

“Through the darkness of future’s past, the magician longs to see. One chants out between two worlds… Fire Walk With Me.”

Undoubtedly, one of the most fascinating arcs of Twin Peaks was the mystery of MIKE and the One-Armed Man, Philip Gerard. Unfortunately, Gerard disappears from the series after Season 2, episode 9 (“Arbitrary Law”), and his reappearance in the film Fire Walk with Me brings up more mysteries than answers.

After watching Fire Walk With Me, I think I was left with the most questions about MIKE and BOB. There were a lot of things bugging me. What were the origins of MIKE? Was he an ordinary man once, or a spirit like BOB? Was the Man from Another Place truly helping Cooper, if he was indeed the “evil” left arm? Why, indeed, was the Man From Another Place a representation of MIKE’s arm? Who is MIKE, anyway, and whose side is he on?

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Angels and Demons:

My first theory involving MIKE also involves the Angel seen at the end of Fire Walk With Me. It is an important point that angels seem to exist in the Twin Peaks universe, or else some being is using the image of an angel to appear to humans. The being that Laura sees is her angel, the one she was hoping for, and, in her perception, the angel came for her in the end. Most likely, this was an emissary from the White Lodge, taking the appearance of an angel in order to appear to Laura when it came to guide her to the next plain of existence.

So, if angels exist (to an extent) in the Twin Peaks universe, is it possible that they appear anywhere else in the series?

When I first saw Cooper’s dream sequence, where MIKE is introduced, my mind immediately drew an association between him and the Archangel Michael, based mostly just on their shared name, and their connections with Christianity. As I delved deeper, I found that this association actually makes even more sense than I initially thought, and helps to explain his relationship with BOB. Correlations can be found between MIKE and BOB, and the Archangel Michael and the Dragon of Revelations.

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MIKE is the Archangel Michael, adversary of the Devil/Dragon/Lucifer, who will strike him down during the Apocalypse. In Muslim lore, the Archangel Michael is believed to have wings the color of emerald, paralleling the stone in Owl Ring and the color of the infamous Formica table. Michael is also said to have been given dominion over the forces of nature, such as wind, snow, rain, and lightning — wind being a recurring element in David Lynch’s movies, and lightning tying in with the symbolism of the Dugpas. Michael is also an angel strongly associated with repentance, and MIKE is first presented to us as a repentant killer, desperate to atone for his crimes after seeing “the face of God.” Michael’s planetary affiliation is Mercury, the planet of alchemy and ritual magic. In Roman mythology, Mercury is the God of Magicians, which connects to the Magician who “longs to see.”

BOB is Lucifer/the Devil/the Dragon, who, with “the fury of his own momentum,” breaks away from the other Dugpas (similar to how Lucifer leaves Heaven, wanting to run his own Kingdom). Both are strongly associated with fire, death, and “the evil that men do.” When we first see BOB in Cooper’s dream, he is in the basement. This can have psychological connotations, such as representing evil’s residency in the depths of the subconscious, but it could also connect to the Devil’s place in subterranean Hell. In the battle that takes place in Revelations, Lucifer, in the form of a Dragon, battles the Archangel Michael, and is finally defeated. This conflict between the two mirrors MIKE’s need to defeat BOB.

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Another intriguing clue into the nature of this relationship is that MIKE refers to BOB as his “familiar.” This implies that, though he is “similar” to BOB, they are not equal, as BOB would seem to be his servant. A familiar, in Black Magic folklore, is a demon that takes animal form to serve a witch or warlock. This would imply that BOB was once servile to MIKE, and perhaps the other Lodge spirits, until he gained “the fury of his own momentum” and broke away.

Piecing these clues together begins to weave a convincing narrative: MIKE and BOB are spirits, possessing human forms, who work together, killing and sowing misery in order to collect garmonbozia for themselves and the other Lodge spirits. However, BOB becomes greedy, and breaks away from the rest of the spirits, stealing all the garmonbozia for himself. At some point, MIKE has a divine revelation, repents, and removes his own left arm, which severs his connection with BOB. (Perhaps this betrayal is what spurred BOB on to leave in the first place?) As part of his penance, MIKE attempts to hunt BOB down and stop him. However, here is where we reach one of many contradictions in MIKE’s character: If he is now seeking penance, and no longer wants to kill with BOB, why does he want his share of the garmonbozia, or pain and sorrow?

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It could be that, in spite of what he may wish to be, MIKE is still a Lodge spirit, and thus needs to consume garmonbozia in order to survive. Another theory is that he is still being manipulated by his evil left arm (the Man from Another Place), who is seeking his portion of pain and sorrow. The third, and, in my opinion, most depressing theory, is that MIKE is lying when he pretends to be an agent of good. He has not repented, he is still a creature of the Black Lodge in body, mind and spirit, still happy to subsist on the pain and sorrow of others. He only works with Cooper in order to find BOB faster, and claim his share.

The Magician Who Saw the Face of God:

Another point of interest: In the dream where Laura meets Cooper in the Black Lodge, she believes that he is MIKE, and, in an early draft of the script, Cooper reaffirms this, saying “Laura and I had the same dream, but in her dream, I was MIKE.” Considering the recurrence of chronological anomalies in Twin Peaks, could it be possible… that Cooper is MIKE?

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“Bob and I … when we were killing together … there
was a perfect relationship; appetite and satisfaction. A
golden circle.”

It has been noted by fans that we never see MIKE’s true face in the same way that we see BOB’s. Some have theorized that the true face of MIKE is the Man from Another Place, but I would argue that he is “the Arm,” as he says, and therefore can’t be the face as well. So… is it possible that Agent Cooper, in the future, becomes MIKE? In my article predicting the potential future of Cooper, I propose that he is destined to become a shaman, or magician, in order to defeat BOB. Following this logic, he could become the same magician from MIKE’s poem, the one who can look back “through the darkness of future’s past,” as he seems to do in Fire Walk with Me when he warns Laura not to take the ring. Cooper, like MIKE, most likely ends up killing together with BOB after his return from the Black Lodge, perhaps until he (or rather, the Good Dale) experiences the visitation from the Angel alongside Laura (this could represent “the face of God”). At this point, speculation becomes more tricky. Cooper taking off the left arm could mean a few different things, and perhaps isn’t meant to be taken literally. He may have a confrontation with the Man from Another Place (who states, “I am the arm”), which leads him to freeing himself of BOB’s influence. It may very well be that Cooper becomes trapped in a time loop, his evil Doppelganger freely killing with BOB, while the Good Dale, trapped in the Lodge, becomes a powerful magician, and uses his powers to communicate back through time to give himself vital clues about BOB’s identity, and try to save Laura Palmer.

However, this would mean that his goal is potentially impossible, as it would cause a paradox if he were to succeed in saving Laura. This could explain some of MIKE’s seemingly erratic behavior, as he is repeatedly going back to this point through time, and trying different methods, in desperation, to save Laura and help his past self stop BOB. Perhaps this is the reason for MIKE’s reference to his relationship with BOB being “a golden circle”: A direct reference to Cooper’s ring, which he gave the giant. Perhaps MIKE is telling him, “I know something about you that no one else would know.”

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“Who do you think that is there?”

It could be that, once Cooper ascends to being a shaman, he becomes an agent of the White Lodge, in other words, an angel. And an Archangel at that: He is to be their warrior, who will cast down the Devilish One. MIKE could be an honorific title bestowed upon him as an Archangel, or it could be a code name so that he can remain unrecognized by his younger self.

The Left-Hand Path:

On the general symbolism of hands and arms in the Twin Peaks mythos, there are many points to consider, some less obvious than others. There are numerous references to rings, which, of course, are worn on hands, but also have their own significance within the series. One ring, the “Owl Ring,” directly connects to the significance of arms. Before Teresa Banks died, her arm was said to have gone completely numb. It is implicated that there is a connection between this phenomena and the wearing of the Owl Ring, as Laura’s arm goes numb when she awakes with the Owl Ring in her hand. When the doorway to the Lodges are about to open, hands of the townsfolk are seen trembling violently, apparently in reaction to the celestial and/or interdimensional event. One of the earliest and most memorable references to arms is Laura’s statement, “Sometimes my arms bend back,” referring to the fact that her arms were bound behind her the night she was murdered. This has no tie-in with the mythos of Twin Peaks, but it serves as an essential clue in Cooper’s investigation, and reinforces the recurring motif of hands and arms. During the Lodge sequences, Laura is seen to make a few cryptic hand gestures. The so-called “Meanwhile” pose, which is theorized to be a version of a Tibetan Buddhist hand sign, meaning “Fear not,” and is a warning to Agent Cooper not to feel fear in the Lodge. What Laura could also be saying is that, in the meanwhile until she and Cooper meet again, he will be achieving this state of zen fearlessness. The nose tap, which probably refers either to Laura’s cocaine use, or the disclosure of a secret, or both. A nose tap often is used to indicate some kind of secret communication is taking place, and that is just what is happening when Laura makes the gesture to Cooper. Finally, there is the “snapping and pointing” gesture, which has not yet been given a satisfactory translation. It may be connected to a similar gesture Laura makes while having sex with a client in “the Pink Room,” and thus could have some sexual meaning.

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MIKE having removed his left arm is very telling, as following “the Left Hand Path” is a term for being a follower of the Devil. By cutting off his left arm, he is cutting off his connection to “the devilish one.” However, nearly all other symbolism involving hands involves the right hand. This could simply be because the majority of people, including the actors in these scenes, are right-handed, and tended naturally to use their right hand. However, I would imagine that if David Lynch wanted it to be the left hand, he would specify it, and it would have shown up as such. The use of the right hand rather than the left hand, if one wanted to ascribe meaning to it, could signify a person’s alignment to the steps of the Buddhist Noble Eightfold Path, which are Right Understanding, Right Thought, Right Speech, Right Action, Right Livelihood, Right Effort, Right Mindfulness and Right Concentration.

Hands are a significant symbol in Twin Peaks, because they represent a individual’s actions; i.e., the good or evil that one does, which is such an integral point in the narrative.

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It is my conclusion, based on this evidence, that there must be a final confrontation between MIKE and BOB, the Archangel and the Dragon. And there will be, however, not in the form that we might expect, especially with BOB’s actor, Frank Silva, having sadly passed away in 1995. How this resolution takes place is anyone’s guess, but it would be fitting if it took the form of Agent Cooper confronting his own inner Devil and casting it out. An important recurring symbol in the series is duality, and the need for balance. It is only fitting that the series should end with Agent Cooper restoring balance within his own soul, as well as the town of Twin Peaks.

“Even the ones who laugh are sometimes caught without an answer: these creatures who introduce themselves but we swear we have met them somewhere before. Yes, look in the mirror. What do you see? Is it a dream, or a nightmare? Are we being introduced against our will? Are they mirrors? I can see the smoke. I can smell the fire. The battle is drawing nigh.”

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The Mystery of the Log and Its Lady

Written by Eden H. Roquelaire for Twin Peaks Freaks.

Warning: Contains spoilers for Twin Peaks seasons 1 and 2, and the film Fire Walk With Me.

Dedicated to the memory of Catherine E. Coulson, who lent her brilliance and uniqueness to Twin Peaks, which has effected and inspired all of us fans for decades. Rest in peace.

“Welcome to Twin Peaks. My name is Margaret Lanterman. I live in Twin Peaks. I am known as the Log Lady. There is a story behind that. There are many stories in Twin Peaks – some of them are sad, some funny. Some of them are stories of madness, of violence. Some are ordinary. Yet they all have about them a sense of mystery – the mystery of life. Sometimes, the mystery of death. The mystery of the woods. The woods surrounding Twin Peaks. To introduce this story, let me just say it encompasses the all – it is beyond the “fire”, though few would know that meaning. It is a story of many, but begins with one…”

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TWIN PEAKS – ‘Log Lady’ Gallery – Shoot Date: July 26, 1990. (Photo by ABC Photo Archives/ABC via Getty Images) CATHERINE E. COULSON

Margaret Lanterman, a.k.a. the Log Lady, is one of the most iconic characters from the series, along with Dale Cooper and Laura Palmer. She was the distributor of abstract wisdom, and had a strange connection to powerful forces. Her character is of a great importance that was never fully understood. David Lynch chose her to serve as a sort of guide to take us through Twin Peaks: Why is that? How did she obtain so much knowledge about the town and the woods? In this article, we will pay tribute to the wonderful Catherine Coulson by analyzing the character she so perfectly brought to life.

I carry a log – yes. Is it funny to you? It is not to me. Behind all things are reasons. Reasons can even explain the absurd. Do we have the time to learn the reasons behind the human being’s varied behavior? I think not. Some take the time. Are they called detectives? Watch – and see what life teaches.

When we are first introduced to the Log Lady in Twin Peaks, she is presented almost as a gimmick; something to laugh at. We learn rather quickly, as Cooper does, that this is a mistake. Margaret is a keeper of knowledge, and gives the protagonists essential clues in their mission. Her primary purpose is to serve as a link between the developed town and the spirits of untouched nature. The character is played by Catherine Coulson, who, you may know, has been a close personal friend of David Lynch’s since his film school days in the 1970s. You might not know, however, that at the time Twin Peaks was first written, the concept of the Log Lady was not a new one to Lynch: As early as the 70s, he had planned to make a series called I’ll Test My Log with Every Branch of Knowledge. The character was written for Coulson, who Lynch met while working on Eraserhead.

“I had this idea during Eraserhead that I described to her and Jack (Nance) and and whoever would listen. And it was called I’ll Test My Log with Every Branch of Knowledge! It’s a half-hour television show starring Catherine as the lady with the log. Her husband has been killed in a forest fire and his ashes are on the mantelpiece, with his pipes and his sock hat. He was a woodsman. But the fireplace is completely boarded up. Because she now is very afraid of fire. And she has a small child, but she doesn’t drive, so she takes cabs. And each show would start with her making a phone call to some expert in one of the many fields of knowledge. Maybe on this particular day she calls a dentist, but she makes the appointment for her log. And the log goes in the dental chair and gets a little bib and chain and the dentist X-rays the log for cavities, goes through the whole thing, and the son is also there. Because she is teaching her son through his observations of what the log is going through. And then sometimes they go to a diner and they never get to where they’re going.”

-David Lynch (Source: Lynch On Lynch)

Right away, from this synopsis, we can see the connection between the Log Lady and obscure knowledge, told in strange ways. But what is the truth behind the Log Lady? Why does she carry a log in the first place? Why does the log seem to communicate with her? And how? And what is the point of her transmitting these obscure clues to people?

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So, let’s begin taking our closer look into Margaret, a.k.a. the Log Lady. She clearly knows more than we know:

I grew up in the woods. I understand many things because of the woods.

So right away, we get the idea that she has lived in Twin Peaks for all of her life, at least since she was a little girl. Through her extensive experience with it, she formed a sort of intimacy with the woods, and learned some of its secrets. However, she also says that there are many things she “mustn’t say,” and then directs the viewers’ attention to the fact that her fire place is boarded up, so there will never be a fire in there. Of course, fire, in Twin Peaks, is virtually synonymous with BOB. So just what did she learn from the woods? Perhaps she was privy to the comings and goings of Dugpas? Did she maybe meet BOB? We aren’t given any real evidence that she did, but her husband most likely has.

The Log Lady explains, in bits and pieces, how her husband, a logger, was killed in a fire in the woods the day after their wedding. It was “not a friendly fire.” Because of this, she has a deep fear of fire. She says that “fire is the devil, hiding like a coward in the smoke.” One night, before his death, her husband brought a jar of scorched engine oil, and told her it was “an opening to a gateway.” He may have gotten this from the woods, or he may have been taking it to the woods, instead. Either way, whatever he was doing with the oil must have been what triggered his meeting with “the devil.” Most likely, he was trying to open the gateway to the Black Lodge, for whatever reason, and seems to have succeeded. From the Lodge came BOB, who killed the logger with fire.

It may be that after his death, the Log Lady’s husband became trapped in the Black Lodge, or otherwise entered this realm in spirit form. A popular theory says that he is one of the lumberjacks seen above the convenience store in Fire Walk With Me.

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The lumberjack (played by Jurgen Prochnow) seen above the convenience store with BOB, Mrs. Chalfont, and the Man from Another Place. Is this the Log Lady’s husband?

If this is the Log Lady’s husband, it suggests some intriguing things: Firstly, it implies that he plays a larger role than we might suspect. Rather than being a hapless logger who was in the wrong place at the wrong time, he could be a wise man or even an occultist with great knowledge of the woods and the goings on therein. Most likely, his meeting with BOB was intentional. Could he have been attempting to make a pact with the Lodge beings, similar to what Windom Earle was attempting? Only, perhaps he wasn’t planning on making this pact for evil, as Earle was planning on doing. Perhaps he wanted to deal with the Lodge beings in order to learn more about them, and use that information positively.

Another common theory is that the Log Lady’s husband is inside the log that she carries. When you consider the fate Josie met at the hands of BOB, this makes a lot of sense. It seems that in Twin Peaks, wood can be used as a receptacle for spirits. Notice the name of an important patch of woods in town: Ghostwood. That about sums it up, doesn’t it? If we know that Josie was trapped in the wood of the Great Northern Hotel after being murdered by BOB, it only seems reasonable to conclude that the Log Lady’s husband could have become trapped in the wood of a nearby tree. Likely, BOB came upon him in the forest, while he was chopping wood, killed him, and perhaps trapped his spirit in one of the logs that was left behind. The Log Lady, having a deep connection to the woods, was able to sense this, and took the log with her. Through it, he is able to psychically communicate with her, providing her with crucial information, which she passes on to the appropriate source.

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Another interesting connection is between Margaret and Major Briggs. Both seem to have been abducted by aliens/angels/beings from the White Lodge, and left with interlocking symbols on their skin. This implies that Margaret, her husband (through the log), and Major Briggs are being used as agents by the White Lodge: The log (Margaret’s husband) tells Margaret to tell Briggs to deliver the message he received from the deep space monitors, which is a warning to Agent Cooper (“The owls are not what they seem”). This would make all of them agents of good, influenced and aided by the White Lodge.

As for the markings or “tattoos” left on the Log Lady and the Major, it would seem that they, too, are meant as clues, to help lead Cooper (or another agent of good) to the map within Owl Cave, and in turn give them the location of the opening to the Lodges.

An interesting point of note is Margaret’s surname: Lanterman. It sounds similar to “lantern,” implying illumination; someone who lights the way.

Margaret’s dwelling place in her cabin in the woods made her an excellent person to keep watch over anything taking place there: The actions of the Dugpas, the movements of the owls, and other strange phenomena. Perhaps she had experiences similar to Leland’s as a child, and this began her lifelong connection to the nature spirits around her. Through this, she was able to achieve her own kind of zen, and learn many secrets. However, she could not pass on all of these secrets, as not all knowledge is meant to be passed on at once. After all, a path is formed by laying one stone at a time.

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Notice the little cabin built from tooth picks by Margaret’s right hand.

Margaret seems to have been chosen by the White Lodge, through her close relationship with the woods. Both she and her husband developed a deep connection and understanding of the woods and the spirits that dwell there, and, in turn, the woods and the spirits became familiar with the two of them. Perhaps the White Lodge spirits sensed a purity of heart in Margaret and her husband, and that is why they were “chosen” to help act against BOB. Margaret understands the dangers of the owls, the power of nature, and the terror BOB’s fire. This made her a powerful agent of good for the White Lodge, and a valuable ally of Cooper’s. Her participation will be sorely missed in the new season, but her presence will continue to be felt in Twin Peaks.

“There is a sadness in this world, for we are ignorant of many things. Yes, we are ignorant of many beautiful things – things like the truth. So sadness, in our ignorance, is very real. The tears are real. What is this thing called a tear? There are even tiny ducts – tear ducts – to produce these tears should the sadness occur. Then the day when the sadness comes – then we ask: ‘Will this sadness which makes me cry – will this sadness that makes my heart cry out – will it ever end? The answer, of course, is yes. One day the sadness will end.”

-Margaret Lanterman, the Log Lady

Trapped Between Two Worlds: The Mystery of Deer Meadow

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Written by Eden H. Roquelaire for Twin Peaks Freaks.

Disclaimer: This article contains spoilers for Twin Peaks and Fire Walk With Me.

One of the main complaints any die-hard Twin Peaks fan might have against Fire Walk With Me is that much of it does not take place in our beloved town. Instead, the entire Teresa Banks investigation occurs in a strange, hostile place called Deer Meadow. Despite the pleasant and peaceful image this name might conjure up, Deer Meadow is a rather ugly place, filled with unfriendly townspeople. One could say it is the evil Doppelganger of Twin Peaks itself.

But why is Deer Meadow the way it is? In this article, I will analyze the town, its residents, and the rich symbolism that litters it, hopefully shedding some light on what is going on there.

First, let’s take a look at the diner, Hap’s. There is so much symbolism here, it’s difficult to know where to begin. Hap’s, of course, serves as the Doppelganger of the Double R Diner, making (the late) Hap and Irene potential parallels to Hank and Norma, and Jack, the man Agents Desmond and Stanley talk to, could parallel Ed.

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First notice the neon sign outside of Hap’s: It’s a clown face, which ties into the clown (or Sacred Clown) symbolism of Twin Peaks, as well as the recurring motif of electricity. One side of the clown’s face is burnt out, suggesting dualism. It also looks like tears might be falling from the clown’s face. This image reminds me of Laura, trapped in what Lynch refers to as the “suffocating rubber clown suit,” living the party girl life, acting like she’s happy, while in reality, she is being split in two, and inside she is crying.

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When the agents enter the diner, they go to the back room, where there’s an electrician working on a lamp, which is sparking dangerously. In a version of the script, Stanley asks Desmond about why there was someone working on a lamp in Hap’s Diner, and Desmond replies that it is due to faulty wiring. Of course, electricity, in the film, is connected to the Dugpas and, therefore, the Black Lodge as well. Notice also the odd, door-like recess in the wall: This implies an opening to the Lodge is present, or perhaps used to be. Sitting in the “doorway” is a man, possibly a lumberjack. He looks remarkably similar to the Jurgen Prochnow lumberjack seen above the convenience store. If this was intentional, it would imply that there is some interference here from denizens of the Black Lodge.

The agents speak to Jack, presumably the manager of Hap’s Diner (since Hap is dead, good and dead). Jack’s name tag reads, “Say Hello Goodbye, My Name is Jack.” He doesn’t seem to know much of anything about Teresa, and instead directs them to ask Irene. He warns the agents: “Now, her name is Irene, and it is night. Don’t take it any farther than that. No good will come of it.” This is, of course, a reference to the folk song, “Goodnight, Irene.” This reference also comes up in Mulholland Drive, which infamously takes place inside a dream (this is reminiscent of Philip Jeffries’ declaration that “we live inside a dream”), and features an elderly woman named Irene.

In the background, we can see some interesting decor. One item of interest is a tree stump, with two chainsaws sticking out of it (one red, one yellow). Wood and lumberjacks are two recurring motifs in Twin Peaks, especially as we are shown that spirits can reside in wood. The chainsaws suggest the act of cutting. Perhaps this is a place where spirits can cut through, into another dimension? Also, notice the big fish mounted on the wall here. It looks to be a bass, but it could be meant as a reference to Fat Trout Trailer Park. It could also be connected to Lynch’s concept of “catching the big fish,” which means (roughly) searching for profound truths or ideas. In a sense, the agents are looking to catch the big fish by looking for the answer to this intricate mystery.

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Then there’s a highly disputed scene: A middle-aged man sitting in the diner gets the agents’ attention, asking, “Are you talking about that little girl that was murdered?” When prompted, the man doesn’t have any pertinent information to offer the agents. Sitting with him is a young woman, who says something to him in what seems to be French. It’s hotly debated among fans what she says, although the most common consensus is that she is saying, “Nighttime is the right time.” This could be a prompt to her companion, telling him to wait until night for something. Whatever she means, the significance of nighttime in Twin Peaks is well-known, as all of BOB’s killings take place during the night. This could be when the Dugpa always strike. After the agents speak again with Irene, the man repeats the line: “Are you talking about that little girl that was murdered?” This could have many interpretations:

One idea is that it has to do with the murder of a “little girl” happening twice: Laura and Teresa. It could also have to do with the distortion of time associated with the Black Lodge. If there is a portal to the Black Lodge nearby, perhaps even within the diner itself, this pair could actually be Dugpas. For whatever reason, Desmond doesn’t want to interview either of them, and no one really acknowledges the French woman.

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From Hap’s Diner, let’s visit the Sheriff’s station briefly. Here we see more parallels: Deputy Cliff is a reflection of Deputy Andy, the giggling secretary is Lucy, and Sheriff Cable is Sheriff Truman. The name “Cable” could be interpreted literally as referring to an electric cable, making it another symbol of electricity. On the wall of the Sheriff’s office is a large saw: Another symbol of cutting, as in, “cutting through.”

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Next, let’s take a trip to Fat Trout Trailer Park. This is another interesting and very important place. The people here seem harassed, afraid, and disoriented, almost as if they have just woken from a long and terrible nightmare. The superintendent, Carl Rodd (Harry Dean Stanton), has most likely had his run-ins with the Black Lodge.

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Mr. Rodd is a fascinating fellow. He seems to be having strange nightmares, which might be robbing him of good sleep (needing to sleep in might be a reason he doesn’t wish to be disturbed before 9am). He appears reluctant to leave his trailer or interact with the tenants. They have left many notes on his door, but he never seems to bother reading them. He is haggard, and there is a band-aid covering some unidentified injury on his forehead. As we’ll discuss momentarily, he might know a little more than he lets on.

Then there is the woman with the ice pack, who wanders into Teresa’s trailer while the agents are investigating it. I would like to note here that in an early draft of the script, this woman was leading Deputy Cliff to where the agents were. It could be that, originally, she had the ice pack because Deputy Cliff assaulted her to get information on the agents (it’s already established that the law enforcement in Deer Meadow is not well-liked by the townsfolk; this could be why). However, it is curious that, once the scene with Deputy Cliff was removed, Lynch and Frost would choose to leave in the scene of the woman with the ice pack, with seemingly no explanation. I believe that, in this new version, it is meant to be inferred that the woman has also been having experiences with the Black Lodge, possibly even BOB himself, and this is the cause of her injuries.

After seeing her, Mr. Rodd is noticeably disturbed. His eyes tear up, and he takes a nervous drag on his cigarette. He seems to think about the electrical pole, the one with the number “6” on it, just outside the trailer. He looks at Agent Desmond, and after much fruitless stuttering, he says,

“See, I’ve already gone places. I just want to stay where I am.”

He looks to Agent Desmond as if hoping he understands his meaning. He doesn’t want to explicitly state what he means, perhaps for fear of being thought of as crazy. Some people believe he means that he has spent time in jail or prison, and doesn’t want to go back. Perhaps he fears being accused of Teresa’s murder. However, this doesn’t completely fit. Why would the woman with the ice pack generate a fear of prison in Mr. Rodd? Why the shot of the pole, traveling up towards the electrical wiring? It would make more sense if Mr. Rodd is referring to having visited the Black Lodge.

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Mr. Rodd knows that strange things are happening in the trailer park. Strange beings appearing out of nowhere and attacking residents, electrical disturbances, voices heard out of thin air, bizarre dreams haunting the people in the trailer park, normal people suddenly acting strangely, perhaps other tenants that have disappeared. However, being a very simple man, he doesn’t understand any of this. He only knows what he’s seen, but fears that he is going crazy. He doesn’t want to tell anyone, because a) they might think he’s crazy, or b) it would mean having to acknowledge what is happening, which might mean confronting it, which would cause more trouble for him. Instead, he hides in his trailer and tries to ignore the bizarre nightmares and upset tenants. He has probably accidentally stumbled into the Black Lodge at some point, either in a dream or through a portal in waking life. The experience terrified him. He’s afraid of getting trapped there; he just wants to stay where he is.

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Also in an early draft of the script, Mr. Rodd says that he was having a dream of “a joke with no punchline.” Almost immediately afterwards, Desmond and Stanley discuss Deputy Cliff and refer to him as “a clown.” This ties in with the Sacred Clown symbolism that proliferates the movie. Essentially, the symbolism says that the Dugpas are (or are related to) Native American trickster spirits which sometimes use clowning to impart important knowledge to humans, but sometimes also just cause chaos for fun. This is yet another tie between the trailer park and the Dugpas. I would also like to make a brief observation in regards to Mr. Rodd’s name, which always made me think of a conducting rod. Could be another connection to electricity in the film.

And then, of course, there are the Chalfonts. Now, the Chalfonts are, presumably, the Tremonds. They are described as being a woman and her grandson, and they once again have a French surname. As we know from Twin Peaks the series, they are not humans. They seem to be spirits from one of the Lodges, acting in a manner similar to the Man From Another Place and the Giant: Appearing to humans and giving them clues to “help” them catch BOB. (Whether or not they are truly “helping” is a tricky question we will have to save for another article.) We also see a pattern in their behavior: They occupy a space, and take the last name of the people who live there, or used to live there, causing some confusion. Before, they seemed to change reality itself, altering the interior of the home of the real Mrs. Tremond and placing a fake order to Meals on Wheels the lure Donna there. This time, they seem to have waited for the real Chalfonts to vacate their space at the trailer park, then taken their own trailer to occupy that space. These spirits seem to only appear when someone is about to die. They appear to Laura in a dream shortly before her death, then they appear to Donna before Harold Smith commits suicide, and finally they turn up in Teresa Banks’s trailer park before her death. They may simply be appearing to predict a death, as with Harold’s, or they may actually aid in facilitating it, as they seem to have a suspicious level of involvement with both Laura and Teresa around the times of their murders. Or, perhaps they are chasing BOB?

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Later, Agent Desmond returns to the trailer park to see Deputy Cliff’s trailer, suspecting the corrupt deputy of having Teresa’s ring, but instead diverts his path. While looking at the electrical pole with the number “6” on it, he hears the Indian whooping call on the wind. He turns around and sees a trailer with its lights on, and heads over. He knocks on its door, but no one answers. Underneath the trailer is a pile of dirt and Teresa Banks’s ring: The one with the green stone and the Owl Cave symbol on it. Desmond reaches for the ring, and disappears.

When Cooper visits the trailer park later, he feels compelled to walk over to an empty space. This is where Desmond disappeared; now, the trailer is gone. We learn that this space was owned by the Chalfonts, which further links the trailer park with the Black Lodge. The space left by the vacant trailer seems to be soaked with engine oil: similar to the entrance to the Black Lodge found in Glastonberry Grove. A glance at Agent Desmond’s car reveals the words “Let’s Rock” have been written in red across the windshield. Of course, these are the first words spoken to Agent Cooper by the Man From Another Place. This would seem to confirm that Desmond has disappeared into the Black Lodge.

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But why is all this happening here?

Deer Meadow is riddled with portals to the Black Lodge. There are Dugpas all over the town, mostly unnoticed by residents. However, the trailer park seems to be a hotspot for attacks, particularly near the telephone pole bearing the number “6.” It would make sense that BOB, having had a fixation on Teresa, frequented this area, probably harassing her neighbors at the trailer park.

We’ve seen how much of Deer Meadow is a parallel of the more familiar town of Twin Peaks, and there may be a deeper reason for this than we at first suspect. Deer Meadow represents the dismal bitterness and distrustful nature that Twin Peaks itself might descend into as a result of its victimization by the denizens of the Black Lodge. After many years of torment, nightmares, and living in fear, one could imagine that even a town as idyllic as Twin Peaks could become a grim place, broken by crippling fear, and sacrificing its innocence to suspicion, cruelty and criminal behavior.

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Throughout the TV series, we fear our beloved town will fall prey to its dark side: Corrupt business men, drug dealers and pimps all populate the shadows of Twin Peaks. There is a battle, both literally and figuratively, between the light and the dark. Deer Meadow is a town that has been overcome by the darkness.