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 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…”

CATHERINE E. COULSON

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.

teresa_murder1

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.

Sacred Clown Time

Written by Eden H Roquelaire for Twin Peaks Freaks.

DISCLAIMER: Spoilers for Twin Peaks within the article.

"Trickster Parade" by Kelly Moore

“Trickster Parade” by Kelly Moore

The words of the Heyoka are like a lightning bolt which can pierce the heart, for the Heyoka’s words can have a “sharp edge.”

– Wambli Sina Win

Every Twin Peaks fan is familiar with the Native American imagery that appears throughout the series, but it turns out that the tribal influence may go deeper than just inspiring the look of the show: In fact, it may be the source for the central story-line.

The Black Lodge and the Dugpas.

Sacred Clowns are often depicted as painted in black and white.

Sacred Clowns are often depicted as painted in black and white, like the carpet on the floor of the Black Lodge.

There are many correlations between the Dugpas and the beings known as the Heyoka, or Sacred Clowns of Native American culture, that suggest they may have been the source of inspiration for the Black Lodge’s denizens. Some connections include their backwards-speak and use of cryptic words:

Heyókȟa are thought of as being backwards-forwards, upside-down, or contrary in nature. It was manifest by doing things backwards or unconventionally — riding a horse backwards, wearing clothes inside-out, or speaking in a backwards language. For example, if food were scarce, a heyókȟa would sit around and complain about how full he was; during a baking hot heat wave a heyókȟa would shiver with cold and put on gloves and cover himself with a thick blanket.

(Source: Wikipedia – Heyoka)

The Heyoka never tell you something straight out; they make you use your own mental power to learn the meaning behind the words. They use a lack of logic to mock the conventions of our world, and challenge the minds of their disciples. It is interesting to note that the main source of our information on the Dugpas and the Black Lodge is Deputy Tommy “Hawk” Hill, a Native American of an unspecified tribe (it is implied that he may be Blackfoot). This again suggests that they have an origin in Native American lore. Plus, we have seen the Man From Another Place make what is referred to as an “Indian whooping call.” Also take a look at this image of a Heyoka Medicine Man:

“Stanley Good Voice Elk, a heyoka, burns sage to ritually purify his surroundings. In Oglala spirituality, heyokas are recipients of sacred visions who employ clownish speech and behavior to provoke spiritual awareness and “keep balance,” says Good Voice Elk. Through his mask, he channels the power of an inherited spirit, which transforms him into Spider Respects Nothing.” —National Geographic

“Stanley Good Voice Elk, a heyoka, burns sage to ritually purify his surroundings. In Oglala spirituality, heyokas are recipients of sacred visions who employ clownish speech and behavior to provoke spiritual awareness and “keep balance,” says Good Voice Elk. Through his mask, he channels the power of an inherited spirit, which transforms him into Spider Respects Nothing.” —National Geographic

Does it look familiar?

The Jumping Man, seen in Fire Walk With Me.

The Jumping Man, seen in Fire Walk With Me.

That is the so-called “Jumping Man,” who appears in Fire Walk With Me, most notably dancing at the meeting above the convenience store. He carries a stick, perhaps a dowsing rod, and hops around. He is speculated to be a magician or priest. Perhaps he is a Heyoka?

Various Native American tribes have versions of these beings: the Cherokee have the Boogers, the Zuni have the Ne’wekwe, and the Lakota call them the Heyoka.

“The Spirit of perversity and chaos, considered both as a divine entity in its own right, and the effects of that spirit upon humans. The entity is double-faced, showing joy on one side and grief on the other. He is said to be the source of meteors, and in other ways exhibits most of the characteristic heyoka attributes. Mortals who dream of Wakinyan often become heyokas.”

(Source: Obsidian’s Lair “A Lakota Pantheon“)

A person who becomes a Heyoka is one who is inspired by a visit from a Wakinyan or Thunderbird, a powerful spiritual being who is always cloaked in storm clouds. The Thunderbird usually appears to them in a dream, which is considered to be a communication from the Wakan Tanka, the Great Spirit (or Great Mystery) of the Lakota.

The Sacred Clowns are known to do bizarre things that are contrary to our logic, including speak and walking backwards, saying the opposite of what they mean, wearing cold weather clothes in hot climates, laughing when sad, and crying when happy. They are said to be able to interpret dreams. They also have a connection to celestial bodies and electricity, as they are associated with lightning, and the legendary Thunderbird.

“The heyoka were different in three primary ways from the other sorts of clowns. They were truly unpredictable, and could do the unexpected or tasteless even during the most solemn of occasions. Moreso than other clowns, they really seemed to be insane. Also, they were thought to be more inspired by trans-human supernatural forces (as individuals driven by spirits rather than group conventions), and to have a closer link to wakan or power than other clowns. Not surprisingly, these unique differences were seen as the result of their having visions of Thunderbird, a unique and transforming experience.”

Steve Mizrach, Thunderbird and Trickster

The rites of sacred clowning are also practiced in Tibetan Buddhism, which, as we know, has a powerful influence on Coop. A clown in Tibetan Buddhism would be to do absurd things – wear shoes on one’s head, call a stone soft, wear rags to meet a prince and expensive clothes to meet a pauper. The method behind this is to teach disciples of Buddhism to think outside the bonds of the reality we are familiar with, to consider less orthodox explanations, and encourage a sense of wonder and curiosity. When one assumes they know everything there is to know, then the mind is not open to learn.

The Laughing Buddha

The Laughing Buddha

“The clown does not fit in, indeed refuses to fit into, the patterns and constructions of the conventional world, representing some other order of being. The clown gets everything wrong: dress, decorum, logic, speech, gestures, and movements; yet in this wrongness is a rightness of another sort. Out of this foolishness rises another level of wisdom.”

(Source: The Laughing Buddha: Zen and the Comic Spirit by Conrad Hyers

In its own way, David Lynch’s work itself does this, by way of his absurdist humor, which sometimes occurs at the most inappropriate of times. It makes us laugh amidst the horror and tragedy going on around us. This act of unsettling our minds and giving rise to doubt causes us to reconsider what we believe is happening, and what it means. In a sense, it forces us to search for new meaning in the familiar.

Let us consider also some of David Lynch’s music. Here’s the cover for his album The Big Dream:

David Lynch's "The Big Dream"

David Lynch’s “The Big Dream”

It’s a man being struck by a lightning bolt, and of course, the title of the album is “The Big Dream.” This implies it is a dream of some importance, perhaps a “divine revelation” of sorts. Could this cover be a representation of a revelation from the Thunderbird, in the form of a dream?

Now you might be saying, “But the Dugpas aren’t good beings; they aren’t teachers or benefactors to humanity.” I would argue that the Dugpas are neither good nor bad; some go rogue, as BOB did, but the Man From Another Place has been shown helping Cooper, as has the Giant. I would say that this is because they had a common interest, and therefore could be compelled to help Cooper. BOB is the only one, I would venture to say, who evokes evil. The others who dwell in the Lodge are amoral, and only act in their own self-interest. This in and of itself ties in with the sporadic nature of the Sacred Clown teachers, who work with opposites and contrast. Both the Dugpas and Sacred Clowns fit into the Trickster category of deities and spirits, along with characters such as Loki, Anansi, Crow, and Prometheus. Often these beings are shown as acting dangerously and amorally, but sometimes these actions also benefit humans, as shown in the tale of Prometheus stealing fire. Other times, the character may start out doing more harmless fun, but eventually graduate to all-out chaos and evil, such as Loki and his plot to murder the light god Balder. Trickster spirits are never easy to pin down; as soon as you think you have them figured out, they change their nature.

That brings us to another David Lynch album, “Crazy Clown Time”:

David Lynch's "Crazy Clown Time"

David Lynch’s “Crazy Clown Time”

The lyrics to this song portray an animalistic party, full of drinking, spitting and stripping. This ties into our second definition of clowns in Lynchian symbolism. It is important to note that David Lynch has connected his Clown symbolism with base and degrading behavior, rather than the “Sacred Clown” archetype, which is about spiritual evolution. Lynch talks about how negative behavior, such as irresponsible drinking, drugs and partying, throws the soul off-balance and causes spiritual disintegration: Deep down, you become depressed and angry, though you continue to suppress these feelings with the negative actions that are causing them in the first place. It is a vicious cycle, or, as Lynch calls it, a “Suffocating Rubber Clown Suit.”

“I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It’ssuffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom.”

(Source: The Utne Reader, “Deep Thoughts by David Lynch“)

A good example of Lynch’s use of this negative clown archetype would be its association with Jacques Renault and Leo Johnson, two of the most notorious party people in Twin Peaks:

Leo isn't clowning around... well, maybe a little, actually.

Leo isn’t clowning around… well, maybe a little, actually.

The clown painting found in Jacques Renault's apartment.

The clown painting found in Jacques Renault’s apartment.

And this symbolism isn’t limited to Twin Peaks. Remember Ben singing about the Candy Colored Clown in Frank Booth’s favorite song?

Dean Stockwell ("Ben") sings Roy Orbison's "In Dreams" to Frank Booth in Blue Velvet

Dean Stockwell (“Ben”) sings Roy Orbison’s “In Dreams” to Frank Booth in Blue Velvet

And the way Frank paints his lips when he listens to the same song later?

Frank Booth

Frank Booth smears his lips with red lipstick while listening to a song about a “candy colored clown”

These characters are both associated with drugs, violence, and all-around debased behavior, just as Jacques and Leo are. This is their “Suffocating Rubber Clown Suit of Negativity” that they bury themselves in rather than facing their demons and evolving as people.

Both Frank and Killer BOB are used in their respective stories as representations of “the evil that men do,” as Jeffrey asks Sandy in a philosophical moment, “Why are there people like Frank in the world?” Sandy tells him that love and light is the only thing that can and will destroy the darkness in the hearts of humanity. In this way, we can associate the characters of Frank and BOB with each other, and thus connect the clown imagery this way. BOB is also always depicted as smiling and laughing, and is described as “eager for fun” in this poem:

He is BOB, eager for fun. He wears a smile, everybody run!”

-MIKE the One-Armed Man

Of course, BOB’s idea of fun is one of evil and debauchery, spreading the suffocating negativity everywhere he goes.

So it’s inarguable that Lynch has used this negative clown symbol before, but does that invalidate the possibility that he has also used the Sacred Clown symbol? I will leave conclusions up to you, but I personally think that the evidence points to uses of both meanings. After all, Lynch has a well-known infatuation with duality and double-edged meanings, and the connections between the Dugpas and the Sacred Clowns are notable enough not to be ignored. Take another look at the scene “Above the Convenience Store”:

The meeting "Above the Convenience Store"

The meeting “Above the Convenience Store”

Definitely looks like it could be the Black Lodge’s idea of a party, where they gather to feed on the Garmonbozia that BOB has collected. There is the Jumping Man in the corner, who, as we discussed, may be a Heyoka. Perhaps he is leading the feeding ceremony. BOB is sitting at the table, throwing his head back in uproarious laughter.

As a final point, let us discuss the Greek God Dionysus. He is the God of wine, revelry, feasting, ecstasy, and is the all-around life of the party. He and his parties are dual-natured: They can bring about both horrible violence and beautiful knowledge. Many of the parties end with his followers, the Bacchantes, ripping apart uninitiated passersby, as was the case with Orpheus. However, this was also a cult of the secrets of the Earth, where one could learn Nature Magick and arcane wisdom. There was obvious risk in being involved in this cult, but there were benefits that could make those risks justifiable. Similarly, Cooper is taking a sizable risk in entering the Black Lodge; however, if he succeeds, the benefits could be worth it. If he loses, he will be ripped apart, spiritually.

Trickster Spirits are beings of both chaos and wisdom: There are some things that you can only learn from these beings, and yet to learn from them takes tremendous risk. However, it is often in our times of darkness, strife, and chaos that we have our revelations, and realize important things about ourselves. It is through trial that we evolve, and through constant questioning that we learn. The Sacred Clowns and Tricksters of various cultures embody that chaotic path to wisdom.