armsholdair

In response to: https://filmdaze.net/lets-rock-the-dialectic-of-the-sublime-in-twin-peaks/


Discourse on Twin Peaks is becoming hopelessly stagnant, as dead in the water, as the poor victims of BOB. A place David Lynch intended for there to be "room enough to dream" is becoming hopelessly boxed in, borders enforced to see it solely about Laura Palmer's abuse at the hands of her father, thus using it as the common place condemnation of the patriarchy. Lynch typically eschewed including politics in his work. Ideas were what mattered to him.

Long past the need to make everything about my sex, I've exonerated Leland Palmer and subsequently found an interpretation of Twin Peaks that answers far more questions than when I entertained any possibility of his guilt.

While you claim Ben became better than Leland, I believe he was always far worse and bore many of the sins placed on Leland Palmer inside of the dream of Twin Peaks. Ben (BOB) really abused Audrey (Judy), which resulted in a child, Billy (the grandson). That child was in turn abused by both his grandfather and mother, but while he hated the former, his feelings were more complicated for the latter, whom he equally loved. Accidentally causing the fire at the motel where they lived (Do you want to play with fire, little boy?), Billy moved in with his great grandmother above a convenience store where she had previously raised her two sons. When she died, 12 year old Billy was sent to live with his strict born-again uncle, Jerry (MIKE), which echos the fate of Berthe in Madame Bovary, a book the grandson was seen holding in a promotional image, as fire flared from out of it.

The mentally unwell Billy soon became obsessed with a high school classmate (American Girl), whom reminded him of his mother's good aspects. When she "betrayed/failed" him, he killed her, however, seeing inside of her (falsely) his mother's dark side. To escape his guilt, he fashioned the world of Twin Peaks, wherein he projected his family's traumas on to his victim's family instead.

Meanwhile, his family was spared (the Convenience Store becoming Hornes Dept Store and the seedy motel becoming the Great Northern). Billy dreamt himself as the noble Dale Cooper, whom played detective, essentially discovering why he had killed the poor girl, while still distancing himself from the guilt. He also could play protector to his mother, from a chaste distance, keeping her safe while trying to redeem his family by sacrificing another. In his feelings for his mother, love and hate, the two Lodges are born, as is his conflicting desire to both save and destroy, condemn and adore her.

By the end of the series, as he has avoided detection as "Laura's" killer, Billy has gone from a disturbed boy to an outright sociopathic killer, represented by the good Dale being trapped and the bad Dale coming out, with BOB (the imago) fully in tow. Billy has become a serial killer.

Season 3, 25 years later, Billy finds himself in danger of discovery again, his assistant Betty|Naido, contacting his victim's mom about his having killed her daughter and framed the husband|father. Now he frantically scrambles to dig himself out of the dirt as the memory of his victim has been resurrected, resurrecting his dream world as well, so he can avoid punishment and detection, just as he did through it the first time around.

FWWM sits between both series as an intermission, wherein Billy once more projects his family trauma on to his victim's family. It also conveys the now trapped vestiges of his humanity's regret that he went down a path he can no longer go back from.

In the modern push to focus on FWWM, to the exclusion of everything else, the series as a whole suffers. For instance, you focus on the "Questions in a World of Blue" scene while ignoring the musical performances in the Return, although you began the article with them.

It was at the Roadhouse where 25 years earlier, Cooper paused to watch Audrey on stage talking about saving that which you love. And it will be in that same Roadhouse where Audrey will find her missing lover Billy, although not in a way she understood or was even recognized by the audience. He was the mirror she was holding, mirroring another trait of the mentally disturbed, and one we witnessed Dougie|Dale managing to survive by doing.

All of the songs performed and used throughout the Return deal with this reading of Twin Peaks as being about the man who killed Laura Palmer.

Part 1's "American Woman" is the song that drives Mr. C, because just as Laura was really American Girl, Betty|Naido is the American Woman that Billy must stop now.

Part 2's "Shadow" is self explanatory, given Coop's shadow self.

In the OG, Coop's father figure enemy sent items from the dead woman they both loved, ending in Jackson "Mississippi". Jack was a code word (One Eyed Jack's) seemingly for the identity of Billy's father (Ben). In Part 17, Ben receives a call from a WILLIAMS from another place called JackSON.

"Lark" makes reference to an open window. BOB gained access to Laura through her bedroom window. Billy likely got to American Girl through her own.

The band Trouble plays Snake Eyes as Audrey's son Richard is introduced. From her father's casino/brothel, Audrey phoned Dale and said she was in trouble, a common euphemism for pregnancy.

"Tarifa" references the number 7. In motel room #7, Cooper engages in an act which will turn him into Richard. Tarifa also references "Send in the owl" when the only owls seen in Twin Peaks were Great HORNEd owls. The lyric, "Tell me I'm not a child" harkens back to Richard killing the child as he riled over Red treating him like a kid.

"Sleepwalk" plays as someone asks the recurring question of has anyone seen Billy?

Lynch wanted something ugly and aggressive by the NIN. "Threnody to the Victims of Hiroshima" evokes how the innocent are often hurt by bombs, the word bomb synonymous with secrets. "My Prayer" precedes the girl's impregnation with the frog moth with itself. This, and many other events, echo Audrey's conception, in a comatose state, of her own son, after a bomb went off at the Twin Peaks bank. Audrey said a prayer once to Cooper, it has its own theme.

"A Violent yet Flammable World" dreams of a place calling someone, "It's a whisper, It is always just a dream." Laura continually whispers something that distresses the dreamer.

"No Stars" foreshadows Dale's attempt to "save" Laura: "My dream is to go to that place, You know the one where it all began."

Dougie|Dale is entranced by the "Heartbreaking" song a pianist is playing as a mother comes up and thanks him for repairing her relationship with her son, before they go off arm in arm together.

"Just You and I" is sung to a crying and ultimately unavailable woman. Before it was sung while one woman (Maddy) was confused with another (Laura).

"Wild West" reveals "There's a world where...All that you lost, you get back." In Billy's dream world this is true.

"Sharp Dressed Man" plays, invoking Dale's FBI suit, which Richard mentioned. Laura's whisper to Dale is "Don't assume (that) nobody can spot your dark suit off but me." In the mug shot on his arrest report, containing William Hastings info, Mr. C was naked.

Ruby, a word associated with a pair of slippers intended to take the wearer home, waits for someone whom hasn't shown up. Eventually she crawls to "Axolotol" a song named after a highly inbred species locked in a juvenile state.

"Out of Sand" confesses "I stare at my reflection to the bone, Blurred eyes look back at me, Full of blame and sympathy
So, so close, Right roads not taken, the future's forsaken...Now it's gone, gone, And I am who I am, Who I was I will never come again, Running out of sand," as Audrey finally makes it to the Roadhouse, where Cooper, the good Cooper, last stared at her.

"Audrey's Dance" plays as she takes to the floor for everyone to admire, but as a fight breaks out over another woman (sharing the name of the woman whom asked whom the dreamer was) she runs to Charlie begging for him to get her out of there. Acquiescing, the dreamworld disappears and Charlie reveals himself as Billy, the mirror Audrey stares into in horror. When Dale went to save Audrey from Jack's, Titian's Venus with a Mirror was shown. The painting depicts Venus looking into the mirror her son, Cupid, is holding for her. It can also be seen in Psycho, as Norman discusses his relationship with his mom.

The episode ends with "Audrey's Dance" playing in reverse, as if in a mirror. Now the Lodgespeak makes sense: those on the edge of the dream are aware of Billy reflecting them and attempt to find their own voice.

"The World Spins" is resurrected along with Laura. Her bloodcurdling scream indicates that Dale trying to save her accomplished nothing good.

Dale engages in uncomfortable sex with Diane in motel room #7 and "My Prayer" plays again, recalling the girl's impregnation by and with the frogmoth. At the end of this, Dale will become Richard, his own son with Audrey.

All of these connect to Billy, the real killer at the heart of Twin Peaks. And there we find a paradox. You claim that "those with evil souls have no place in the land of the sublime," and yet the music of Twin Peaks, if it is sublime, is mostly related to Billy and the Hornes.

"Questions in a World of Blue" even seems more about Billy's longing for his mother, or his victim, both interchangeable inside of his mind, than about Laura herself. The lyrics seem a sad response to "My Prayer" especially with the lyrics from that song claiming, "At the end of the day in a dream that's divine, My prayer is a rapture in blue."

You claim that Leland Palmer never experienced a moment of the sublime. Even at his death, during a scene where Lynch explained to actor Ray Wise it would be a beautiful thing which redeemed his character, you seem to delight in your belief he died before it could be achieved.

But if you were truly looking at the series as a whole, and more objectively and free of prejudice, you would see that Leland was given his own sublime moment accompanied by music. And if you claim Laura's chronologically is the first, his would naturally be the second and even more important.

For what else is the scene where Leland starts playing the song Pennsylvania 6-5000 and dances with Laura's portrait? But even this is tainted with the pall of Billy and his family: Pennsylvania 6-5000 is named after the famous phone (often called a Horn) number of a famous hotel. The song derived its title because of the amount of musicians who played there, making it similar to the Roadhouse.

Except here, now, Leland, wounded, reaches his own sublime moment as he offers his blood (and perhaps Sarah's) to his daughter, falling to his knees in the pose of contrition. Now, both father and daughter achieve a momentary reprieve from the horrible spell of the dreamer and what better way to represent this then the fact that the music breaks free from Billy's influence and becomes Laura's own beautiful theme.

Leland holding Laura's photo, his forehead pressed to it, evokes the scene from FWWM when he kissed her forehead when he told her that he loved her. This scene too then led to another musical clue, one which goes unnoticed by those quick to condemn Leland. After her father has left the bedroom, Laura turns to the painting of the angel on her wall and asks it if it is true, presumably that her father has been the one abusing her. She becomes entranced by the angel then, focusing on its wings. And as she does, Lynch plays the faintest chords of Angelo Badalamenti's "The Voice of Love".

When she believes it is true her father has been hurting her, the angel disappears. However, at the end, as she sits inside of the Red Room, the angel returns. Once again, Lynch focuses on her wings but now he has "The Voice of Love" outright playing. And as Laura sees the angel, she falls into tears that are joyous and also convey a certain amount of what looks like relief. Why shouldn't they? The angel shows to her finally that, no, Leland hadn't hurt her. He did infact love her, just as he told her before the song was first heard. This is the moment that Laura is obviously referring to when she told Lynch in Between Two Worlds, "And then there was a time when I cried because I was so happy, because I saw what it was. And it was so beautiful. I was awake."

Laura thus becomes free from the dreamer's attempt to place his own family's trauma on to her.

You reference the scene where Margaret approaches Laura outside of the Roadhouse, basically equating the fire inside of her with a forest fire, but once again this can be connected far more with the Hornes. In the Pilot, Ben's first scene involves him spitting into the fire, while Audrey is seen smoking at her locker, an ashtray hidden inside warning of forest fires. Ghostwood, the forest that surrounds Twin Peaks, infact belongs to the Hornes. The desecration of it can easily be equated with Benjamin's desecration of his daughter, just as surely as the scene of Ben's father passing him the shovel to continue the hole where their home is to be built corresponds with Ben's abuse by his own father.

None of this fits the Palmers.

Leland, as Ben's lawyer, actually more equates to the woodsmen that enable BOB. And yet he is also connected to the Giant|Fireman, I believe, one of the most pure characters in the series. In a deleted FWWM scene, Leland pretends to be not only a woodsman, complete with axe, but one whom is equally a giant. The chase Funko for Twin Peaks was actually the Giant in Leland's box. There is a huge possibility that the Giant|Fireman represents an amalgamation of both Leland and his grandfather, both of them unfairly blamed inside of Billy's dream as abusers, or toxic masculine patriarchs as you might say.

But Leland is tied to the sublime Fireman, whom only tried to help. The connection becomes explicit as the Fireman and Senorita Dido, Leland and Sarah respectively, both send the Laura orb out into the world. And how the "home" of the Fireman's in the mystical land of Dale's Twin Peaks, becomes the actual Palmer household in the far more ordinary dream of Richard. And this too, as well as both aliases of the grandson having infiltrated the Palmer household, give deeper meaning to the Fireman's words, "It is in our house now."

Billy has repeatedly placed the horrors that belong to him into his victim's family's house. And he has thoroughly destroyed them in the process, the lights all going out, indicating that the resurrected memory of the daughter has possibly gotten her own mother killed, the reason for Carrie|Laura's horror whenever her mother is mentioned.

Dark Space Low plays over the credits, one of the most darkest, saddest songs of the series, and Laura continues to whisper to Cooper. Unfortunately, he will never allow himself to understand what she is telling him, choosing to blame others instead, just like he blamed Leland (Laura's whisper blaming him was suspiciously not in Lodgespeak) or even Carrie|Laura, herself. This is the truth behind the elderly waiter's words to Dale Cooper at the Roadhouse. He was sorry that he could take neither blame nor responsibility for what he had done and whom he had become. Just like Carrie|Laura asking Richard|Dale upon meeting him, "Did you find him?" Only, as he continued to focus on her instead, leading her to confront him with the wholly accurate statement, "You got the wrong house, mister."

Cooper always did, something he would have known if he had truly stopped to listen to the music.

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Part 7 "There's a Body All Right"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


- Out in the middle of the woods, Jerry Horne looks confused and anxious. He calls Ben, whom at the Great Northern, knows it's his brother calling but receives no answer to his repeated "Jerry". Finally Jerry speaks, saying someone stole his car. Ben, in confusion, repeats it, and Jerry says his brother is saying the same thing. Jerry says he's high and he doesn't know where he is.

And so we begin Jerry Horne's spiritual odyssey, following his exposure to Amp's nightly broadcasts of enlightenment. It will directly follow MIKE's own spiritual journey, linking the characters. Jerry begins his by realizing he is lost in the woods, looking at them as if he doesn't recognize them. This fits in with our belief that Ben Horne's abuse of his daughter, Audrey, was manifested as the Ghostwood project inside of Billy's dream, Audrey being the woods themselves. Jerry was directly involved with the project, being Ben's legman so to speak. He was most often sent away from the Great Northern and Twin Peaks, helping to communicate with investors, but leaving the main work to his brother. We believe this portrayed, to Billy, how his uncle was most often distracted or sent away from the place where his father/grandfather, mother and himself lived so the uncle would not discover that Ben was abusing his own daughter. Jerry, more or less, couldn't see the forest for the trees. Right now, however, he is realizing something is wrong. He looks at the woods as if seeing them for the first time. This is the uncle's first step in realization, beginning to see things finally for what they are. However, he still depends on his brother, turning to him in an attempt to help him out of the confusion.

The woods in Twin Peaks have always seemed to belong to Ben Horne, more or less, Ghostwood having been his pet project before Catherine got hold of it, although woods shouldn't belong to really anyone...like his daughter should never have been viewed as a possession either. Now we have Ben's brother having a moment in his "brother's" woods. This can directly invoke Robert Frost's poem "Stopping by Woods on a Snowy Evening." That poem begins with the line, "Whose woods these are I think I know," as a man stops by those woods on his way elsewhere. The poem ends with the famous line, "And miles to go before I sleep." That line will be quoted by the woman honking her car HORN(E) in Part 11, the one trying to get the visibly ill girl home to see the uncle she had not seen in a while: "Her uncle is joining us. She hasn't seen him in a very long while. We're late! We've got miles to go! Please, we have to get home! She's sick!" That sick neice was another representation of Billy's mom (Audrey) and the uncle his own uncle too (Jerry). This scene, Jerry's whole plot in The Return, connects to that scene. Billy understands on some level that if his uncle, whom experienced a spiritual rebirth, had seen what was happening to the neice (Billy's mom) he could have helped her and them all. Unfortunately, just like the problem with the traffic blocking the sick girl and the woman in the car, Ben's enablers, themselves, connected to cars, Billy's mother was not saved by the uncle.

Jerry is still wearing his and Ben's mother's hat.

Hmm..this business of stolen cars is interesting. This episode will also feature the plot of the farmer's truck having been stolen and the cops questioning "Dougie" about his stolen car. We equated those whom enabled Ben's abuse of Audrey as beings woodsmen, most of whom were connected to vehicles (Leo and his Corvette, Leland and his convertible, Emory and his collection of car models). Now, before he escapes the woods and Ben's control, we reckon, Jerry's car has been stolen. Is Jerry refusing to be his brother's enabler? We also saw the various Coopers as being Billy's favorite vehicles inside of his dream, as maybe evidenced by the attention to Dougie's license plate in the last episode and Hastings driver's license being the first we saw of his character. We theorized, on the other hand, Laura was the door which took him to the dream of Twin Peaks. However, by the end of Part 17/18 there are indications that BOB/Billy managed to possess Laura Palmer instead, infact switching his main vehicle. Could she be another stolen car to go along with the others? Billy switching his avatar inside of the dream or acquiring another one, just as Mr. C switched his Mercedes for the Lincoln in Part 2?


- At the Sheriff's Department, Hawk shows Frank the three pages of the diary he found. He's sure that these are what Margaret wanted him to find and states that there were 4 in total, so one is still missing. One is about Laura's dream of Annie from FWWM and what Annie told Laura to write down about the good Dale being stuck in the Lodge. When Frank asks Hawk how the pages came to be in the bathroom stall door, Hawk shows him a page where Laura is upset and says she knows it isn't BOB and knows who it is. Hawk believes it was Leland whom hid the pages, possibly when they brought him in for Jacques' murder and he was afraid of them finding them when he was frisked. Frank reaffirms that Dale came to town after Laura's death and Laura never knew him, and the words came from Annie in a dream. Hawk goes through the message, that the good Dale was in the Lodge and couldn't leave, but says that Harry and Doc Hayward took Dale to the Great Northern when he came out of the Lodge with Annie. Hawk reasons that whatever came out with Annie mustn't have been the good Cooper. Frank asks who else saw him that day, since he left shortly after that. Hawk replies Doc Hayward and he's not sure who else. Frank says they should report this to Harry.

Hawk states one of the pages is still missing. There is an indication that the missing page might turn out to be Carrie Page. This can even make wonderful sense if we look at the pages here and the belief this theory holds that, by the end of Billy's reworking of his dream to help deal with the new threat of his discovery, thanks to Betty and American Girl, he has it so BOB possesses Laura Palmer and Sarah is murdered. One found diary page, afterall, deals with Dale's identity and a dream. The next, not read on screen, has Laura stating she didn't need a mask on Halloween. Then we end off with her freaking over who BOB really is. If the pages were going in chronological order the missing PAGE would tell you who BOB really is. In this case, thanks to Billy's manipulations...BOB is really Laura Palmer and we find this out thanks to Carrie Page.

There it is pointed out again how the pages, linked to Laura's inner thoughts, were found inside of a door, going along perfectly with our view that Laura Palmer is the door that lead to Twin Peaks. Weren't the pages in the first stall door too? Laura is the ONE, door number one.

Unfortunately, while the door connection is great for this theory the whole secret diary pages themselves are hard to reconcile with the timeline other than through dream logic and fantasy manipulation on the dreamer's part, just like the introduction of the secret diary in the first place. Laura had already given the diary to Harold Smith before she had the dream with Annie or discovered who BOB's host was and there is no indication whatsoever she went to Harold's house on every whim to go and scribble stuff down in it.

Hawk's reasoning that Leland hid those pages makes absolutely no sense too. Why would he have still have had the diary pages on him days after Laura's murder? And the thought that he put them in the stall door when he was brought in for Jacques' murder because he was afraid they would frisk him...Really? Aren't they supposed to frisk a suspect before they are arrested? And why, when the cells are equipped with toilets, would they allow a suspected criminal use their washroom? Nope. That's silly. What might not be so silly is if there is a reason why we're supposed to remember two characters and their relation to each other to connect those dots. Lynch is bringing both Leland and Jacques to our attention. This is what's important because we should remember that connection later on in the episode. But whereas this is used by fans to possibly further condemn Leland Palmer we believe the truth will turn out to actually be the opposite: Leland's memory is being invoked because he's on the verge of being further cleared. We just have to remember this, have knowledge of the Between Two World Palmer interview, and pay attention to names, those of characters and actors.

Who hid the pages? We still believe it was Billy through one of the Coopers, them having access to this washroom and their memory invoked by the two images of the Native Americans that Hawk saw, plus Mr. C having smashed his head infamously in a different washroom. The intriguing possibility is that this might all just be a part of Mr. C's plan still and that he and Dale, split as they were, were both working towards the same end goal: BOB possessing Laura. Afterall, what if Mr. C switching cars held a major clue before his trying to avoid being sent back to the Lodge? What if this was all about Billy trying to avoid being sent to prison, just like he avoided prison the first go around for Twin Peaks, when he had killed American Girl? So this has always been about this, about digging himself out of the mess, and inside of the dream it involved switching it so Laura became BOB's vehicle, which would involve her killing Sarah, representing how Billy murdered American Girl's mom to prevent her identifying him as her daughter's killer? This brings more hidden meaning to Coop using the ladies room and Laura's diary being in the men's room stall's door: Billy/BOB (male) was going to hide behind Laura (a woman). It also gives other meaning to "It is in our house now" and the grandson's names living in Laura's house.

Annie is never once stated to be Dale Cooper's girlfriend. More evidence that Billy found that whole "plot" inside of his dream just a necessary evil in order to protect Audrey Horne and once again get where he needed. Afterall, we argue that Billy's true love was his mother and all other women eventually disappointed him compared to her. Annie was disposable.

It's pointed out that Dale was taken directly to the Great Northern and that Doc Hayward was with him. We've always had issue that a supposedly sick man was taken to his hotel room instead of the hospital. But that might just deal with how the Great Northern masked the Red Diamond/Dutchman's, Billy's real childhood family home and how this revolved around the trauma Billy suffered there. We also think William Hayward is covertly important, being the only character bearing the "Billy" name in the OG series. It's being pointed out that Hawk doesn't know who else...the answer is Audrey Horne did. The bad Dale saw Audrey and it was all thanks to a "Billy's" maneuvering.


- Frank tries to tell Harry about Cooper but hears bad news from his brother, presumably about his health, and so postpones it, telling Harry simply to do him a favor and beat this thing instead.

Poor Harry. Could his bad health mirror in any way, though, how the dream Billy had of a better father was also always dying on him in face of the truth?


- The truck Billy was using when he hit the child is now at a Farmer's place. Andy is interrogating the Farmer who seems to be very nervous and wants him to leave. Andy wants to know if it wasn't him driving, then who was it? The farmer says he will tell him the whole story somewhere but not here. He insists Andy has got to get out of there and Andy says he'll meet him at the logging road above Sparkwood and 21. The farmer asks if that's by Jones' and Andy says just past Jones', by the creek. The farmer looks at his watch, nervously, and says he'll meet him in two hours, at 4:30. He then pleads with Andy to go and when he does, the farmer goes into his house, closing the door behind him.

The second stolen vehicle in this episode, to go with what we previously discussed.

Ummm...why isn't the truck being impounded by the police as being part of a crime? Wasn't that the reason why Shelly couldn't sell Leo's transport, because it had been involved in a crime? Did the farmer also drive it back to his place? How did it get here. It doesn't look like the place Richard left it.

So this is one of the main possibilities for Audrey Horne's mysterious Billy inside of many viewers head. And we aren't going to argue with that because it makes sense. Afterall, later, Audrey's storyline will involve how Billy's truck was stolen by a Chuck, and then Charlie learns something unbelievable he refuses to tell her, which sounds awfully close to Richard, her son, stealing this unnamed guy's truck. But that is the thing...we see everyone has carrying a piece of the dreamer, whom we argue is Billy, so they ALL are Billy including this guy.

Why is the Farmer so nervous? He looks like he wants Andy out of there for the Cop's sake as much as his own. If the Farmer wants to meet in two hours, at 4:30, then that places this at 2:30...which is close to 2:53...time and time again. That fact plus the heavy electrical sound when we see the open door later (doors being linked to where the dream might take Billy) make us believe that this Farmer is going somewhere or someone is coming to see him, Lodge/dreamer related. We mean, it could be Richard he's scared of but the certain little touches are too odd to indicate someone as simple as Richard, whom we are shown outright punishing Miriam for talking to the police. Why save us from seeing Richard punish this man then? Unless, that isn't exactly it.

Story being referenced connects to Billy creating these numerous stories in "Twin Peaks" connecting this dude to Billy.

Hmm...Andy wanting to meet the Farmer at the logging road above Sparkwood and 21 is interesting. After the scene where Cooper longingly touched the number 7, which we believe Billy associates with his mother, it showed the lights at Sparkwood and 21, which we then connected to the hit and run boy and his mother, whom we saw as symbolic of Billy and his mother again, and the boy's death illustrative of Billy's innocence/goodness being killed off because Billy believed it would be easier for him to survive that way. Now that area of Sparkwood and 21 is going referenced alongside a logging road, logging involving cutting down trees and hurting woods. We see trees as symbolic of people in Twin Peaks and Ghostwood forest as representing Audrey, it's desecration being linked to her abuse. Since this meeting between Andy and the Farmer involves the death of a boy we see as Billy's innocence, does that connect to his destruction being akin to that of the abuse his mother suffered? Billy being the son of her abuser, that makes sense. To top off all of these possibilities we have the name Jones' used, connecting it directly back to the scene where Janey-E Jones kissed "Dougie Jones" in a motherly fashion.

The time is directly pointed out to us, by a Billy candidate, and how close it is to 2:53, 23 minutes away. An arranged meeting is supposed to happen at 4:30, which involves Richard Horne having killed the boy. In Part 18, Dale Cooper will travel 430 miles, only to eventually become a Richard.

The door is closed. It will be open when we see it next. Doors are important, from the red door of the Jones' to Laura being what we see as the door to Twin Peaks.


- Frank talks to Doc Hayward over the phone, whom asks about Harry. Frank says he's under the weather and then asks if he can talk to the Doc over Skype and gets his handle. The two start chatting "face to face".

Behind Frank there are statues of corn, an owl and a buck. We constantly state the owls are really the Hornes, Billy is often represented as a buck and the corn is the pain and sorrow Billy feels over his unnatural birth. It's called garmonbozia, which is a nod to Greek mythology and the food of the Greek gods. The Hornes are Twin Peaks version of such, living up on the bluff of White Tails (another buck reference) Falls as if it were Olympus. This is the first time we see Frank's office and surroundings. Oddly before we saw him using Hawk's office when Doris barged in on him. Lynch seemed to be purposely waiting for this office, with those items to be shown, for the moment Frank (and us viewers) first hear about Mr. C and Audrey.

Will Hayward mentioning he gave a diagnosis in a chair should be mentioned because we previously wondered if chairs were connected to tricks in any way. Will once also performed a trick with a red rose...or he tried. Was the eczema he diagnosed the Sparkle rash?

Have to point out for the umpteenth time this guy is the only Bill in the original series. Don't trust him.

Interesting how the Skype thing starts with Hayward starting out as a blue square. Mr. Todd received a red square, apparantly Mr. C showing his displeasure and ordering Lorraine to be killed and replaced with Ike. We wondered if red meant something illusory and blue something more true.


- Frank asks if Will Hayward remembers what happened the night Harry called him in to examine Cooper at the Great Northern. Will claims he can't remember what he had for breakfast, but he remembers that. He says Coop was acting strange. He took him to the hospital and had him checked out while he made the rounds. About an hour later, he caught him sneaking out of intensive care, fully dressed. He turned and looked at Will with that strange face again. The Doc called out but Cooper turned and walked away. Frank asks what he was doing in intensive care. Hayward replies he thought he might have been checking in on Audrey Horne after that terrible business at the bank and her being in a coma. Suddenly, Frank switches the conversation, asking about the fishing where Hayward is. The Doc makes a joke about catching two brown trout in his pajamas two days ago and then, when asked, goes on to describe the breakfast he had with them. The two men say goodbye to each other, Hayward hoping whatever this is about works out all right. Frank looks contemplative after the video call ends.

Remember how Will Hayward says he can't remember what he had for breakfast this morning because he'll end the conversation by describing what he had for breakfast two days ago. Suspicious.

So this is when Richard Horne was conceived. We even wondered if Mr. C intentionally smashed his head on the Great Northern bathroom mirror so he had a reason to be brought to the hospital to see Audrey, what he wanted not needed. And remember how the only Billy in the series at the time is now stated to have brought him here, so it would be Mr. C and a Billy in conjunction that necessitated it. Mr. C essentially played out the original legend of Sleeping Beauty, Zellandine and Troylus, here with Audrey, the girl sleeping while he had sex with her and conceived a child, one he eventually becomes at the end of The Return. We believe this showed Billy's feelings that he had violated his own mother with his conception, being the incarnation of their father's rape of her and her abuse. And yet, Mr. C taking her in a coma is so very different than BOB's usual MO and what happened with Laura or Diane, and even Maddy and Darya, where their fear was desired. This was almost gentle for both Mr. C and BOB because Audrey couldn't respond in a way we'd expect them to usually want. Infact, with what they did with Audrey it couldn't be frightening for her or painful, seeing as though she would have been being monitored and any stress might have alerted the doctors. Mr. C's "visit" to Audrey was not normal in any way and should be given more attention. Most likely, Billy did not want to harm this adored version of his mother, but wished to keep her safe instead. It is even possible that it was during this encounter he locked her away safely inside of her own dreamworld, one where he could protect her further, even if it only enacted what their father did to her with his own isolation and gaslighting. Which reminds us, Audrey was sleeping during the act, putting her on level with the dreamer. They are equal, the dreamer and this woman. Why? Because she is the dreamer's mother and he loved her above all. This was partly all done for and because of her afterall. For "The Condemned Woman" we mentioned Robert's Desnos' poem "I Have Dreamed of You so Much" having been the original choice of poem. That would have perfectly captured Billy's tormented feelings for a woman he can never be with and whose dream self might be preferred. And we once again reference the last part of the poem, "I have dreamed of you so much, have walked so much, talked so much, slept so much with your phantom, that perhaps the only thing left for me is to become a phantom among phantoms, a shadow a hundred times more shadow than the shadow the moves and goes on moving, brightly, over the sundial of your life."

Audrey being hooked up to the monitors, electricity, when this happens brings another factor to this along with the coma/dreaming, what with electricity and the Lodge spirits. Then the son she conceived whilst sleeping and "plugged in" gets electrocuted and disappears, only for the father, or part of him, to pass by the transmission towers and then become the son eventually.


Why is it a point to mention that "Cooper" was fully dressed after his visit to Audrey? Did he visit her in his dark suit? Mr. C didn't seem to share Dale's fashion sense, nor did Dougie. If it was the dark suit, does it tie into Laura's whisper he used it to hide the truth? Is it more indication that, just like Charlie, Mr. C was also hiding the truth from Audrey?

Did Mr. C take the Owl Cave ring from Annie during this time too? If he did, it also emphasizes how disposable she was in a way to Billy's dream, just like Hawk just referring to her as some woman, and that Billy's queen whom he had protected against Windom was truly Audrey Horne the whole time.

Okay, so Frank's reaction to what Will told him about "Cooper" visiting Audrey is more potential evidence for the "Judy is Audrey" side of this theory. We mean, Hayward has just mentioned another person that Dale Cooper interacted with after leaving the Lodge and does Frank Truman ask about it, like why an FBI man like Cooper would be visiting a high school girl? No. He quickly and inexplicably changes the subject! If that doesn't fall into the "we aren't going to talk about Judy" category we don't know what does. And nobody else will talk about Audrey too, other than Richard, her son. So that makes a Bill, as in William Hayward, and a Richard, but no one else, not even Ben or Sylvia, her parents. You think they might, but no. People don't want to talk about Audrey, they want to leave her out of it, just like she was also left completely out of FWWM.

Okay and now we also have the insinuation that William Hayward is suspect because he can perfectly describe his breakfast from 2 days ago, complete to the Huckleberry Jam, when he said he couldn't remember his breakfast that morning. Something isn't right with this guy, as hinted with by his name.



- At the station in Buckhorn, Lieutenant Knox arrives and wants to see the prints that Macklay lifted, assuming they came from a crime scene. She's shocked when Macklay tells her they were lifted from a body. At the morgue, Knox is shown the body and asks where the rest of it is. Macklay motions they don't know. She asks the age of the body and expresses shock that he was in his 40s and died only 5 or 6 days ago. She won't tell Macklay who the body belongs to and goes into the hallway to phone Colonel Davis, telling him it isn't just a body this time but him. Davis knows he has to call the FBI now. Knox informs him about the body missing the head and being the wrong age. Davis expresses doubt but Knox verifies it, as a dark figure begins to come down the hallway, causing an electrical hum. Davis tells her to stay there and he will get back to her but needs to make that call, as Knox notices the woodsman nearing. She ends the call, Davis starts his, and she tells Macklay and Constance that the case soon won't be theirs.

Should mention this whole head being missing from the Major is kind of odd because Matt Lillard (William Hastings) and George Griffith (Ray Munroe) appeared in a film called "From the Head" together, a film David Lynch saw and liked.

So is the Major a time traveller too? Only he went from 1989 to whenever The Return takes place.

We should have mentioned it earlier but Colonel Davis' name is most likely a nod to Don S Davis whom played Major Briggs. We should have mentioned it because it is most likely relevant to another character whom we suspect is a nod to a certain actor, a character whom will make his reappearance at the end of this episode.

So Garland was at several crime scenes as he was time traveling to here and now when he finally died? Are we understanding this part of the story any better? What crime scenes was he at, Mr. C's? The ones that Billy committed maybe?

The dark figure is a woodsman, one of BOB's helpers. He causes a loud electrical sound, going with the electricity theme. Did a woodsman visit the farmer? Or was that still a transformation and Billy/dream related?

Soon the FBI are coming to Buckhorn...and Billy.


- Back in his office in Philadelphia, Gordon Cole is whistling in his chair as we see the photo of an ear of corn on his wall and the one of the bomb explosion behind him. Albert comes in and describes how badly his encounter with Diane went and how she knew it was about Cooper and told him, "No fucking way." Albert went home dripping wet and almost catching pneumonia. Cole knows they need Diane to speak to "Cooper" and Albert states it's Gordon's turn. He agrees to go with his boss after he makes the man say please.

We have a photo of corn (as in garmonbozia or the corn - possibly diseased - on Hawk's map) and a bomb appearing on the very episode that offers up the possibility, that turns out to be true: that Mr. C took advantage of Audrey Horne, when she was in a coma, following a bomb ecplosion, leading to the conception of her son Richard. And to top it off, Cole is whistling "Engel" by Rammstein, a whistle that was done by a band member named RICHARD. This is hitting us with the conception of that particular character and remember how Dale Cooper becomes Richard by series end. The bomb explosion leading to BOB's arrival on earth and the impregnation of the New Mexico Girl by the frog moth will all echo Audrey conceiving her son. We've already theorized that incest is being compared to a perversion/desecration of nature in the series, like Ben's father passing him the shovel so the Great Northern can be built on the bluff. We'll see the actually untarnished bluff of White Tail Falls when Ben's son, Johnny, collides with a photograph of it in Part 9, which leaves behind a hole on the wall. A bomb is also a euphemism for a horrible and unwanted discovery...like if you were to discover that your grandfather was also your father. The corn, when creamed, is pain and sorrow and sustenance for the Lodge spirits. We believe it represents Billy's own tormented feelings about his birth. He was his mother's pain and sorrow incarnate, a living personification of her abuse by her own family. He too might imagine that family feasting on it, blaming them for his existence and relishing his pain, except for maybe his grandmother. On Hawk's map the black corn was described as, "It's fertility...But it's-it's black, diseased or unnatural. Death." Billy associates both the corn and the bomb with his conception and birth, as well as his mother's eventual death. We also have what the photos are essentially of, the corn being phallic and the bomb leaving behind a hole, like the ones Ben and his father dug. Like the creamed corn, both mother and father's sexuality combined, the corn and the hole can represent something similar. On the other hand, it could also mean "corn hole" the term for anal sex and what Richard threatens to do to his own uncle, bringing the imagery once again to Richard Horne. Where did Richard pick this threat up? It's likely that, he, just another form of Billy, was abused by his father/grandfather (Ben) and so he threatens to hurt as he has been hurt. And remember too, the photo on the other wall is of Franz Kafka, the same one seen hanging in Billy Hastings' house, bringing Richard back to Billy.

Can an ear of corn also indicate that Billy heard bad things happening between his grandfather/father and mother and wishes he hadn't, reasons for Cooper being angry about hearing the Norwegians (whom were involved with Ghostwood) at the Great Northern and Gordon Cole's difficulty in hearing at all, which might all be in his head since he heard Shelly perfectly.

It is possible that Cole is whistling "Engel" by Rammstein, which depicts the narrator not wanting to be an angel because, as opposed to Laura, Billy did not want to become an angel, but chose to hurt instead. Infact, the only way that Billy might have been able to get his fictionalized version of his victim, American Girl, to become like him was through trickery, in both cases having the righteous seeming Cooper lead her astray when he told her not to take the ring and by physically leading her out into the woods in Part 17/18 where she was vulnerable to BOB.


- At Diane's place a younger man let's Cole and Albert in and then bids adieu to Diane, whom comes out dressed in a robe. Diane is hostile and Gordon tells her Dale is in a Federal prison in South Dakota. She fixes them damn good coffee and they tell her something is wrong with Cooper and they need someone who knows him well to talk to him and then report back to them. Cole tells her it's important and involves something she knows about. She repeats Federal prison, South Dakota.

Diane having chosen a younger man to have sex with might once again be influenced by Billy's mother having targeted him sexually and his confusion, once again, between those women he is attracted to and his mom.

Diane is still the cover for Betty inside of Billy's fantasy, and a tulpa at that. So we have a mixture of illusion, projection and truths all mixed into one when it comes to any Diane we meet.

Cole makes it a point to call Cooper Diane's boss, just like Hastings was Betty's.

- On a private jet heading back to South Dakota, Diane is still hostile and Tammy shows Cole and Albert the difference in fingerprints of Dale from 25 years ago to his latest arrest. Albert realizes they were reversed to make them similar. Cole uses the "yrev" Mr. C greeted him with. Tammy asks what it means. Cole praises Tammy and tells her to hold out her hands and flip them over (palms down). He says a word for each of Mr. C's initial 10 word greeting to match each finger, hinting that the spiritual mound/finger had "very" backwards. As Diane listens in, they show Tammy the last known photo of Cooper outside of his house in Rio. By the time it checked out, it belonged to some girl from Ipanema.

The windows seem to disappear at times on the plane in the shot of it flying. What that means, don't know, but it has to do with windows so it gets mentioned.

Tammy's hands are placed so the palms are ignored. When trying to find the secret of Twin Peaks, we essentially have to do the same to the Palmers.

So the ring finger is being described here with the spirit, tying the Owl Cave ring to it. Later we will see that whatever is possessing Sarah Palmer has a swollen and darkened spiritual finger. Mr. C reversed the word very on the spiritual finger. We still suggest the backward angle helps hint that Billy, the dreamer, is a mirror, unclear in his own personality but mirroring what people wish to see, or what he wants to see them as, back at them.

The last photo of Mr. C is really of Al Capone's home in Florida which gives this more of a dreamcast, along with the girl from Ipanema, obviously the song, having bought it afterwards.

- At Yankton Prison, Diane insists she talk to Cooper for only 10 minutes and alone. She braces herself and talks to him in the same room Cole and company did before. Mr. C says he knew it was going to be her and it's good to see her. Diane wants to know when that was. Mr. C asks if she's upset, Diane asks what he thinks, Mr. C believes she's upset. Diane asks again when the last time they met was. Mr. C answers at her house. She says that's right. When asked if he remembers that night, he replies he always remembers that night. She concurs and asks "Who are you?" He replies he doesn't know what she means. She demands he look at her and when he does, she becomes upset and puts down the curtain.

Diane, or rather her tulpa, doesn't seem to know who Mr. C is and that can go right to the "real" Diane too, whom might not know who Dale Cooper is when it comes down to it, with her feeling his face in Part 18, like Naido/Betty, her true self we argue, does. She wants to know who he is in the same way that Laura did with BOB. Her confusion can be compared with Ray's lack of confusion close to his death, where he seems to know exactly who Mr. C is. We, of course, say he is really Billy, the dreamer, the same answer for Laura's question, aimed at her ceiling.


- Diane and the FBI walk out of the prison, with Cole thanking Murphy and instructing him to keep Mr. C until he hears from them.

Does Murphy disregard this instruction or follow it, considering that Ray was a paid FBI informant?


- An upset Diane tells Gordon that it isn't the Dale Cooper she knew and it isn't just the passing of time. She says something is missing and points to her heart. She breaks down and clasps onto Cole who doesn't hold her back. He asks if he needs to know about the last time she saw Cooper and she says she'll tell him someday before toasting to the FBI and drinking the small bottle of booze Albert gave her on the plane.

This is Dale supposedly without his heart and yet, we once again state his treatment of Audrey was not necessarily cruel, but something different, which warrants notice.

Gordon seems to sense there is something wrong about this Diane. He doesn't seem to want to hold her as if it freaks him out, even when he tries. What she's accusing "Cooper" of he seems to sense from her too...which adds a nice little complimentary angle to the possibility that Betty was hiding something also, or wasn't as outright innocent as she showed herself to be to others, putting her on level with Billy, albeit to a lesser degree. Tulpas we believe, afterall, represent those people whom put on a false show to fool others.


- Put back in his cell, Mr. C tells a guard to tell Murphy he has a message for him and wishes to speak to him in his office. When the guard balks, he tells him to tell the warden it's about a strawberry.

More about this Mr. Strawberry...who is that exactly?

Interesting how Mr. C steps back into the shadows/darkness after the conversation with the guard has ended, considering he was termed as a "shadow self"


- At the logging road, Andy waits in vain for the Farmer, his patrol car's door open. There's a flash back to the Farmer's where we see his front door open now too and hear the electrical buzzing. Andy looks at his expensive watch and sees it's 5 after 5. He goes back to his car, giving up.

Hmm...Andy's door being open as he waits, which reflects the Farmer's own open door, is interesting. It's probably just so he can hear the police radio but it's too big to just be coincidence either, doors being important to Twin Peaks.

The electric buzzing at the Farmer's could indicate that a woodsman is nearby, like when Knox was talking to Davis. Or is it closer to Billy, and how an electrical sound was coming from Billy Hastings' head? Or Cooper traveling through the #3 socket. Maybe the Farmer is Billy, one of his many avatars, and he left the building/dream so to speak.

Where did Andy get such an expensive watch? And why is the month listed as 10? We think that Lucy will mention them not being good at time later, but is this also a hint, 10 being the number of completion and this instant of it being connected to the Farmer, whom is in some way connected to Billy and electricity?


- Warden Murphy waits as 2 guards bring in Mr. C and he tells them to sit him down and leave. They are left alone, without the security camera and with the Warden holding a gun. Mr. C reminds him of the dog leg they found on him, telling Murphy it had 4 legs, one was in his trunk and the others went to people whom he doesn't want coming around, if something bad should happen to him. and it has to deal with what he is thinking about right now. Murphy asks how he knows about this. Mr. C answers Joe McCluskey and the warden sits down. Mr. C wants a car and a friend in the glove compartment and to leave at 1 am. He won't do anything to Murphy because he's not interested in him and nobody will hear about Joe McCluskey or "your late Mr. Strawberry" again. The Warden seemingly concedes.

Dogs are in connection to whatever is going on with Murphy...A connection between dogs and the grandson, Cooper, Hastings and even Ben Horne has already been established in various ways, from the song "Black Dog Runs at Night" accompanying the grandson, to Cooper being called a chihuahua, or the wolf knocker on Hastings door or Ben being called a dog by Catherine.

What is the info that the Warden is thinking about with Mr. Strawberry? Honestly we don't have a clue still. A Joe McCluskey being the reason that Mr. C knows of it doesn't help much either, other than both Murphy and McCluskey are Irish names and McCluskey comes from County Derry and there are a few odd Stephen King's "It" coincidences in The Return: A Bill(y) being involved with a Audrey, Audrey close to Audra, a Beverly, whom is married to a Tom, being attracted to a Ben and all the red balloons. But we really have nothing concrete. The stairs, the way Murphy rubbed his mouth and that a "Joe" brought the shovels to Dr. Amp, plus the fact Murphy has a son, seem to link to our belief that Billy was possibly abused by his father/grandfather. But it's not concrete and with Mr. Strawberry being called "late" it seems probable he's dead. Of course, reddit user Kaleviko (whom is awesome at noticing tiny details and we wish to thank for pointing out so much things over there) that Lynch made it a point, when Janey-E is showing the photos the money lenders took of Dougie and Jade, to show how "You're late" is mispelt to "your late" on the back of the one Janey-E is holding up for "Dougie" to see. He reasoned it was hinting that Mr. C really meant to say to Murphy, "You're late, Mr Strawberry." It is more likely that Murphy murdered this Mr. Strawberry and that's why he wasn't taking calls and also why he's late. But it could also less likely be that Mr. C is insinuating that Murphy was at some time Mr. Strawberry, but he isn't any more. Maybe Murphy's son was molested and Murphy murdered the molester. That would keep with the general theme. Another odd thing to mention, because it happens in the same episode, is the Farmer being late for his meeting with Andy. We don't know what the heck he's a farmer of anyway...he might be a strawberry farmer.

Mr. C remembers Ray is here, and with the premeditated dog's leg, it suddenly becomes evident he planned all this to get the coordinates Ray has...from the "unseen" secretary Betty. Once again, though she remains not directly introduced to us and seemingly unimportant, she has driven a lot of Mr. C's narrative so far, as well as the FBI's AND the introduction of Diane into the proceedings, whom we argue is her counterpart in Billy's fantasy. We maintain that Betty is incredibly important to this Return to Twin Peaks because she threatened the dreamer's freedom and safety, just like it had been threatened when he first created Twin Peaks, and so he needed to return to that dreamworld to help deal and sort it out.



- Outside of the Lucky 7, Janey-E waits, as Coop/Dougie remains scribbling at his desk and Tony pesters him about what he and Bushnell talked about. The secretary comes in and tells "Dougie" that police are waiting to talk to him and Tony bids a hasty retreat. As they begin questioning him about his car, Janey-E bursts in taking over. They fall under the assumption "Dougie" is saying it was stolen and Janey-E says it has been missing for a few days. Bushnell has entered the office and listens in. Janey-E describes the car in negative terms, calling it terrible and previously owned. She lectures them briefly. Eventually, Mullins steps in asking if they found the car. They admit they did and it was involved in an explosion tied to car thieves. Janey-E says there you go. She then says they have to go home because their son, whom is being looked after, is waiting for supper. The police say they need to fill out forms, but says they can do it later. They leave and Mullins says he was going to ask about the paperwork "Dougie" did but he can do that later too.

We go straight from the Murphy and Mr. C scene to a scene where the cowboy statue is shown, taking aim. Now, this could actually strengthen the belief that Murphy's situation involves his son's molestation. We believe the cowboy represents how Billy imagined his own father to be a cowboy whom would one day appear to rescue him. The question is, did Warden Murphy play the role of cowboy and saved his son, or did Mr. C play the role of cowboy and save Murphy's son from him?

Hmmm...Janey-E, just like Andy, has a car door open, this time the passenger side. That can drain the battery so these two instances seem intentional. Are we supposed to be thinking of car doors, a linking of how we saw Cooper as Billy's main vehicle inside of his dream and Laura as the door to the dream? Is it hinting again that he's planning to switch? Or are we to link this scene to Andy waiting for the Farmer who never showed up, like Janey-E is waiting for Coop/Dougie, whom isn't either, a visual suggestion that the Farmer and Cooper are the same, Billy, we presume.

Seeing Dougie's secretary, we forgot to mention how her flirting with her "boss" could be another reflection of the whole Hastings/Betty affair.

There are 3 detectives, all Fuscos, keeping with the theme of three, most prominently displayed in the 3 Coopers.

During the conversation with the cops, Dale/Dougie seems most interested in the police themselves and the badge, both linked to his lawman status, we assume. Less easy to explain would seem to be his fascination with T Fusco's tie. Until it's noted that it has diamonds on it. The first initial of this detective's name brings us back to Teresa with a T, whom lived and worked out of the Red Diamond City Motel. We believe she was, of course, Billy's substitute incarnation for his mom, the one whom died in her place in his dream. Audrey was the Queen of Diamonds, both at One-Eyed Jack's and to Windom Earle, whom seemed to want to take her as his Queen until Annie was named the Queen at the Miss Twin Peaks contest. Coop/Billy is drawn to the Queen of Diamonds.

And this is the third time (to go with the three detectives) that a stolen vehicle comes into play in this episode. We began with Jerry's, continued to the Farmer's truck and now have this, with Dougie's stolen and exploded car. That explosion bit conjures up memories of Betty again and how she'll be stated to have died when her own car went kablam. However, this is also working out to be a nice foreshadowing to the piece of this theory which suspects that Billy will switch it inside of his dream so Laura really was possessed by BOB, keeping him free from imprisonment again. That switches up "vehicles" as BOB likes to refer to his hosts. Laura herself will become a stolen car and it will cause what seems like an explosion of sorts when the lights seem to burst out at the end of Part 18.

Sonny Jim is referenced and pay close attention to what is said about him: "Now, if you don't mind, our son's home alone waiting for his supper, and in case you think we're neglecting him, he's being watched by our neighbor as a favor, and we'd like to go. We were supposed to be home by now" That whole situation is going to be replayed and we will see the emotionally painful ramifications later in this episode with Beverly and someone whom has become like a child almost to her too, one whom has been kept waiting, reinforcing how Billy viewed his mother as both mother and wife, but neither entirely successful.

- Walking out of the building, Janey-E talks of the insurance on the cars and lectures her husband about his gambling and how they need the money for Sonny Jim and the future, when Ike suddenly appears. Coop/Dougie restrains him, and sees the Arm telling him to twist Ike's hand off. He and Janey-E manage to scare off Ike whom goes running. Janey-E embraces her vacant "husband". Later, police and reporters talk to the Joneses and passerbys whom gush over "Dougie's" bravery. There's a spotlight on a chunk of flesh left on the gun Ike left behind.

More illustration on how Billy associated his mother, despite her earlier words to the police, as being overly concerned with material comfort and money. Even after paying back the money lenders, they'd still have like $400,000, so why isn't that enough for her?

Leaving the building, Coop/Dougie becomes entranced by a white Phalaenopsis Orchid...otherwise known as a MOTH orchid. Infact, phalaenopsis is greek for "moth appearance." So we essentially have the frog moth hinted at before it's appearance in the next episode. This is great also because Harold Smith raised orchids and Harold and the grandson were linked, the grandson first shown living next door to him and both stating, "je une ame solitaire". We also believe that the mask the grandson wears is of the frog moth, and we believe the frog moth impregnating the girl represents how Audrey conceived her son whilst also unconscious and without consent. The frog moth impregnates the girl with itself just as Richard will have seemingly impregnated Audrey with himself when we consider the fact that Cooper, a part of the father, becomes Richard by the end of the series. We believe the grandson is a younger form of Billy and he sees his conception as having violated his mother as well. We also think one of the childish scribbles on "Dougie's" homework kind of looked like the orchid, and all of this still brings Lynch's "The Grandmother" to mind, which also featured plants.

Janey-E using the word future invokes the Magician/Fire poem. She wants to save the money for the future but we believe that Billy's mom had no future with her son, his having burned down the motel where they lived. This will, once again, be echoed in the upcoming scene between Beverly and Tom.

Coop/Dougie seems to instinctively take over, sensing the danger to Janey-E and himself in the form of Ike. Janey-E being representative of Audrey, and Billy's dream partially existing to protect his mom, this comes naturally.

The Arm urges Cooper to twist the man's hand off and we previously wondered if it, being representative of Billy's uncle and this diminutive killer being representative of Billy's homicidal urges, it was trying to show how the Uncle had wished the good aspect of his nephew would have made it impossible for his evil side to hurt others by this act of mutilation that mirrored his own inside of the dream.

With Janey-E's sudden praise and reliance on her "husband", Billy might believe that if he had been physically strong enough to protect his mother from the father/grandfather, she would have shown him more constant affection, care and respect.

The broadcasted accounts of "Dougie Jones'" bravery further displays Billy's narcissism.

The chunk of flesh on the gun, and how it is spotlighted, might be intended to make us remember the chunk of flesh found in Billy Hastings' trunk. We, of course, believe it belonged to Betty and hinted at her being Billy's true murder victim instead of Ruth.


- Night at the Great Northern, and Beverly talks to Ben, showing him a humming that began sometime last week but is louder now. They try to pinpoint it's location in her office, next to his, but can't find it. On their way to another spot, she says this might he of interest and throws Cooper's old room key, which finally showed up in the mail, at Ben. He states it's an old one, them having switched to cards 20 years ago. He reads that it's for room 315 and remembers that's the room where Special Agent Cooper was shot. Bev asks who Cooper was and Ben explains he was FBI, investigating the murder of Laura Palmer. She asks who Laura Palmer is and Ben states that's a long story. They smile at each other and Ben tells her to have maintenance check out the humming and intimates it's late and she should go home. She begins to get ready and he intimates she should call him Ben. She tells him "Goodnight Ben," before she leaves and he calls her Beverly. After she's gone he looks contemplative and stares at the keyring/key before returning to his office. The camera focuses on the first area where they stood to hear the humming, where a lamp stands.

We're honestly not too clear about the timeline, but it isn't too unreasonable to believe that the humming at the Great Northern began around the conjunction and Dale's exit from the Lodge. Now it has most likely gotten louder because the key that Dale had on him, the one to room 315, has returned. But, if we think of that ringing sound we'll remember the specific moment when Ben Horne heard it inside of his hotel, one he seems to have forgotten about. It was when he was calling out to his daughter, Audrey, when he had fallen to a squat on the stairs (he used to have stairs) in his office. She was rushing off to give her virginity to Jack and he didn't want her to go and the sound startled him, coming from behind him in the direction of the fireplace. Now it's back again and it has to do with Dale Cooper and his room key. Only now his room will be in a basement closet in the furnace room...We believe that is because both closets and basements are places most often associated with dark family secrets, and the furnace room, most often associated with fire and BOB which were both connected to abuse in the series, and they are all really the same and all have to do with Cooper...for he really masks Billy. Audrey didn't lose her virginity to the too-good-to-be-true dream man Jack...she lost it to Ben Horne, her father and Billy, the grandson, was the result. That's the most family oriented and worst secrets one could harbor.

That it's Ben Horne and his assistant whom are trying to locate this sound dealing with what we perceive to be the Horne family tragedy echoes Billy's own relationship with his secretary Betty, whom also discovered her boss's own dirty little secret.

The sound itself seemed linked to MIKE, whom we believe represents Billy's uncle. He'll be waiting inside of the basement closet, ready to recite the Magician/Fire poem to Coop when he enters it. He'll also be there to guide him to the Dutchman's. Both likely deal with the fact that they provide shards of Billy's painful past, his being the Magician whom longed to see through the darkness of a childhood, shrouded in abuse, and whom chose to play with fire, burning down the motel (the true self of the Great Northern) where his family lived.

Interestingly, as Gisela Fleischer pointed out in an article at 25YL, on the opposite side of the wall, where Beverly first believes the sound is coming from the loudest, a photo of White Tail Falls hangs, similar to the one that Johnny will run into and cause to fall off. This goes back to the purity of the land and then it's desecration, which clearly is illustrative of the unnatural harm of incest. This further links the humming sound to the theory that this is all about the creation of Billy and how, his being the result of a father raping his own daughter, tormented the child and had devastating results not only for his own family but for others as well, as is evidenced by the mention of Laura Palmer (the American Girl) here.

Cooper is associated with the investigation of Laura's murder. That he masks the killer makes this whole work ultimately David Lynch's own complex variation on Sophocles Oedipus Rex, where a man investigates a murder, never realizing he is the killer, whom was sexually/emotionally involved with his mother as well. This further drives home the Greek mythology aspects of Twin Peaks.

Why does Ben first mention that Cooper was shot in that room, we wonder? He doesn't mention that Dale solved Laura's murder first, or how he had saved Audrey (she's left out of it again) he brings attention to the shooting instead. That makes logical sense. We theorized that the shooting of Dale Cooper was really in direct relation to Audrey being in sexual danger by her father at One-Eyed Jack's. Billy, whom understood what that moment truly meant at Jack's, reeled and the repercussion of it for Cooper, his avatar, having failed inside of the dream in avoiding something so close to reality was the dream spinning more into the fantasy to adapt and fix things. Now Ben is directly associating that event with the returned key, and thereby the humming sound as well.

Ben's attraction to a much younger woman is accentuated in this scene, possibly hinting at his feelings for his daughter, whom Beverly resembles. Of course, we reasoned that Billy's dream partly tried to redeem his grandfather/father to further distance Billy's dream "reality" from the truth, so Ben behaves himself here...and yet encouraging the use of their first names undermines that supposed redemption. The cheetah could not change his spots, as also indicated by the spotted cat statue seen in Ben's office. Interestingly, Diane wore a spotted cat print in this episode too.

The way Ben is holding 315's key makes it look very much like a ring or circle, like the Owl Cave Ring or Cooper's or MIKE's relationship with BOB.


- Beverly returns home and meets a nurse, Marge, leaving, whom reports it's been a rough day and how Bev's husband was given extra pain medication and hasn't eaten because he was waiting. She also tells Beverly that her husband has been missing her.

Marge comes from the word Margaret. The nurse is also wearing glasses like Margaret Lanterman. We previously mentioned how we see the woman in the car with the sick girl as being a form of Margaret. We now believe this nurse is another. Maggie at the police station might as well be too, since she pointed out that Doris' behavior stemmed from the pain she suffered over the loss of her son. So now we find this Marge looking after Beverly's sick husband, complimentary to the woman in the car with the sick niece. We thus see Tom has another form of Billy.

It is mentioned repeatedly that Tom hasn't had his dinner, and has been waiting, directly connecting him to Sonny Jim, whom Janey-E had stated, "our son's home alone waiting for his supper." That Tom has been missing Beverly recalls Janey-E's defensive remark, "and in case you think we're neglecting him, he's being watched by our neighbor as a favor." Meanwhile, Beverly being late, goes perfectly with Janey-E's statement, "We were supposed to be home by now"


- Her husband Tom is sitting in a wheelchair in front of an older model of TV. She apologizes for being late and asks if he's hungry. He states he heard her driving up. She's persistent about dinner while he is insistent on knowing why she was late. "Are you hungry?" she asks him, "Not really," he replies. Bev snaps at Tom, at first saying she knows he's sick and suffering and then claiming she's lucky to have the job, for the money, and finally snapping at him not to fuck it up.

Tom sitting in front of a TV, and not a new flat screen model either, makes us think of this theory's belief that Billy was alternately neglected and abused and so he sought refuge in stories (books, TV and movies) to escape, eventually turning to the ones inside of his mind instead.

Tom is obviously very sick and disabled. His situation actually recalls how Carrie Page's house looks like she might have been caring for someone similarly disabled. The dead man perhaps?

Beverly's husband further accentuates the similarity of Janey-E Jones saying they were late going home and fixing Sonny Jim supper, since he repeatedly questions where his wife was and why she was late.

While Tom's attention is on where his wife was, Beverly's focus is on food and feeding him instead, as if by feeding him she can make everything better, ignoring the fact he is in emotional pain because he missed her. This shows a contrast in their priorities and further highlights how Billy believes his mother's interests were more in physical comfort and wellbeing than emotional health. Billy still sees his mother as having sold them both to their father for material comfort. Beverly goes from understanding her husband's pain to becoming defensive, once again focusing on the money, to then outright blaming him and warning him not to fuck it up. Meanwhile, it is obvious that Tom is sick. The increased pain meds isn't a good sign. He probably knows he might not have long left. His thoughts are probably not on money but rather spending what time he has left with the woman he loves.

It's eerie but a part of this scene echoes the dinner scene between Laura and BOB/Leland, but it can go right over the viewers head, as it did with us. Beverly is focused on food, just as BOB was, that always being his interest. Meanwhile, like Laura, Tom is in too much emotional torment to bother with such trivial things as appetite. Infact, Beverly and Tom here echo directly two bits of dialogue from the scene in FWWM. The question of "Are you hungry?" and the response "Not really." It is easy then to see that Beverly, a substitute for Billy's mom in this case, is like BOB, her focus on appetite. This can lead us to the belief that Billy saw his mom as possibly possessed by their father at times, his interests etc...and she passed that aspect on to him in his own vulnerability (sickness). We can also then see that Laura, as Carrie Page possessed by BOB, was in the same situation as Beverly at the end, with her own disabled husband perhaps. Of course, being BOB she might have disposed of him, having no need for morals or the like, but meant for us to recall this scene in retrospect.

And on this note of remembering the dinner table scene in FWWM, and how it might have truly been more accurately occurring between Billy and his mom, and the earlier invocation by Hawk of Leland and Jacques, we're leading into a scene which, whether modern Twin Peaks thought would like it or not, might actually be the further absolution of Leland Palmer...


- At the Roadhouse, the janitor sweeps the floor to Green Onions as Jean Michel stands behind the bar. He gets a call about a John whom requested two blondes but refuses to pay because he apparently found out they were underage. Jean Michel states they had IDs and that his family has owned the Roadhouse for 57 years and he's not about to lose it for a couple of straight A 15 year olds. He owes him for two, he restates.

For his interview in Between Two Worlds, Leland Palmer admitted to having had relationships with girls younger than his daughter. Yet, he still denied doing the things he was accused of, which we take to mean abusing Laura, killing her and Teresa and raping and almost killing Ronette (btw his having not killed Ronette, Billy's real victim, but rather only Billy's dream substitutes, might further indicate Leland was innocent). In The Missing Pieces, Teresa's call to Jacques, where she found out the chicken John was Laura's dad, involved her cover story that a John had found out she was underage and didn't like it. Now we have the lookalike of Jacques Renault receiving a call about another John having found out the two girls sent to him were underage and his not liking it. We believe this completely is supposed to be linked to Leland's words in his Between Two Worlds interview, as well as to back up Richard Horne's insinuation that Charlotte and her friend were pretending to be older than they were. Leland Palmer, or American Girl's dad, did go to prostitutes, some of which were 15, and thus younger than his daughter, but he wasn't aware of it. It was consensual, if not legal. Leland just was given his get out of jail free pass which leads in perfectly to the next scene...


- At Yankton Mr. C and Ray Monroe walk out of their cells and then drive out of the prison in a beige rental. Warden Murphy watches them go.

And now we finally see Ray Monroe again and he's getting to walk out of his jail cell free. This is Ray, whom shares Leland's actor's first name, just like Colonel Davis shared Major Briggs actor's last name. This is the visual exoneration of Leland Palmer. Finding out later that Ray was only in there because he was acting undercover for Cole lends a whole other aspect to things. Leland was, afterall, always Lynch's scapegoat so he needn't answer the question of who killed Laura before he was ready and compromise his artistic integrity. This is his secret way of clearing Leland and thanking Ray Wise for doing all he asked of him, on blind faith, even though it made him uncomfortable, while other actors balked, thinking they understood the characters more than Lynch did. And not only this, Ray gets to be the person whom confronts Mr. C by telling him he knows who he really is, something Diane didn't even know. Good job Ray Wise! Your belief in Leland's innocence came through, it just was done in a clever and subtle way for only the Wise-est to see.

Murphy watching them go still teases something extra behind that Strawberry story.


- Meanwhile, back in Twin Peaks, at the Double R, as Sleep Walk plays, a young man named Bing runs in asking if anybody has seen Billy. He is told no and then runs off as the diner carries on with business.

Is this about the Farmer? That would seem the most likely, seeing as though he didn't show up for his meeting with Andy and his fate was in question since he was nervous and might have upset Richard Horne. And yet it is never stated for sure that it is...and it might not even matter since we argue that every Billy is Billy and several other non-Billys too. Why...infact everyone is Billy, a shard of him!

Sleep Walk is a great song to use here, when Bing introduces the grand mystery of Billy for us all. Billy is the dreamer, he technically sleep walks amongst all the people Bing is asking the question of. And yet, they might not realize it or who the heck he even is! The question might also be impossible to answer when Billy is a mirror showing others what they or he wants to see and not the real him. The question is HAS anybody seen Billy? The real Billy?

Sleep Walk also featured in the film Sleepwalkers, in which Madchen Amick, who plays Shelly in this scene, starred in. That film showed the incestuous love between a mother and son whom feed on the death of young women to survive and keep their relationship alive.

The continuity errors, as well as Bing showing up as having already been in the diner, lead to the possibility that two realities are at work here. That goes with our theory that Billy's dream split into two possibilities, one where Laura died and another where she became BOB, as easily as coffee goes with pie.

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Part 5 "Case Files"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


- In Rancho Rosa, Gene talks to his boss, Lorraine, and informs her Dougie's car's still parked there and he must be inside. Lorraine is upset, wondering if he's trying to get her killed since the job was supposed to be done yesterday. After the call ends, the hitmen decide she's a worrier. Meanwhile, Lorraine contacts someone entitled ARGENT, which ends up looking like a black box in Buenos Aires.

The light seems focused on the family of father, mother and daughter on the Rancho Rosa billboard. Does this invoke the Palmers/American Girl's family? Perhaps helping to point out how the mother and son squatting in the empty house are very different from this model family?

Lorraine has every right to worry seeing as though her ineptitude will end up getting her killed. She's not alone though. Duncan Todd and Roger will be punished too.

The lights being on mentioned can foreshadow the lights going out at the very end of The Return.

So Lorraine contacts something in Buenos Aires which immediately brings Phillip Jeffries to mind. It's a black box in a gold bowl. Is it a singing bowl? The ringing sound in the Great Northern, which seems connected to MIKE/Phillip, also can sound like a singing bowl. Our question, as weird as it seems is...is this box a tulpa for Jeffries? Later on we'll see it turn to a gold bumpy rock that seems connected to the beads that create tulpas. Is it a tulpa for something not completely human? That would sound like Jeffries. In any case, Mr. C will also contact this same device. We should mention that it also seems to have a lit light bulb over it, tied to light and electricity.

- At the Buckhorn morgue, Constance gives Macklay and Harrison the lowdown on Major Briggs' corpse, wisecracking throughout. Cause of death was decapitation. He hadn't eaten food for days although she found something in his stomach: a wedding band. It is inscribed with the words: To Dougie, with love, Janey-E.

Did the Major abstain from eating when faced with the horrible hungers of the Lodge spirits?

Why does the Major have Dougie's wedding band in his stomach? Was an exchange made of sorts, which explains why Dougie was wearing the Owl Cave ring? Later it will be intimated that the wedding band in the Major's stomach was placed there to lead the FBI to Janey-E, Diane's supposed sister. There might be deeper symbolism to all of this, perhaps another connection to the Owl Cave ring meaning a marriage of sorts inside of Billy's dream. Outside of the dream, we still have the situation of the Major and Ruth being murdered and in the same bed together. Did this echo Billy's feelings of having been betrayed somehow? We previously discussed Major Briggs' disciplinarian attitude being similar to Billy's strict uncle. Ruth was also seen as a substitute for Betty, but one containing aspects he associated with his mother, her even having the same lamp Audrey does. Is there still something between the Owl Cave Ring, it belonging to MIKE/Phillip, the Lodge spirit representing Billy's uncle, and Audrey Horne? Did Billy's uncle offer his neice (Billy's mom) a ring and Billy viewed this as a betrayal? Was Betty unfaithful too?


- In his prison cell, on the other end of South Dakota, Mr. C lies calmly on his cot. He perfectly predicts that food is coming. He takes the food but then goes over to the sink to wash his hands. He looks into the mirror and remembers laughing with BOB in the Red Room and smashing his head on the mirror at the hotel. His reflection morphs into BOB's now and he states, "You're still with me. That's good."

Mr. C being aware that food is coming illustrates our previous suspicion that he was the one whom told Denise that Gordon was bringing Tammy to South Dakota. It goes along with Cooper's own previous "psychic" abilities, but betrays also that Billy is essentially writing this. Of course he'd know what was going to happen next!

The act of Mr. C going to wash his hands in the sink, in relation to food, directly calls to mind BOB/Leland harassing Laura to wash her own hands before supper. It goes along with the doppleganger having said he was going to brush his teeth...but that time he didn't, making a joke of squeezing the toothpaste out instead. This hygienic ritual he's keeping though...um...did Billy's dad press this idea into him, the very reason his image forced on Leland ordered Laura to do it too?

To go with Part 4's scene of Dale staring into the mirror, now we have Mr. C doing it. For the previous scene, we theorized that Billy himself is a mirror, reflecting what he thinks others want him to be, or what he wants someone to be, back at them. That brings a deeper meaning to the image of Josie staring into a mirror being the very first character introduction made in Twin Peaks. Catherine Martel basically summed up Josie as a mirror herself: "...she must have learned the lesson that she could survive by being what other people wanted to see, by showing them that." What we didn't realize was that the dreamer, Billy, was being introduced at the same moment, his appearing as the mirror Josie was staring into. Mr. C sees the reflection of BOB - the imago of Billy's father, for that is what he thinks his evil side is - now totally in tune with his evil father. We see several scenes of the simpatico relationship between BOB and Mr. C and Mr. C's pleasure that BOB is still with him.

Mr. C morphing into BOB is distinct from Leland, giving further implication that BOB and Mr. C's relationship is different. Of course, we suspect that is because BOB always belonged to Cooper/Billy and not Leland. Leland's "possession" was a case of his forcing what he wanted to see on someone else. Billy/Cooper is BOB.

The mirror theme connects Twin Peaks to another work: Lewis Carroll's "Through the Looking Glass." While everyone knows about Alice going through a mirror, and then discovering that she might have dreamt it all, a lesser aspect of it is Tweedledee and Tweedledum's questioning to Alice, when she finds the Red King sleeping, how she can be sure it isn't his dream and he's the one dreaming her? They confront her with the threat of his waking by saying, “You’d be nowhere. Why, you’re only a sort of thing in his dream!” and “If that there King was to wake, you’d go out — bang! — just like a candle!” which seems like the ending of Part 18, the lights blowing out and all. We theorize that Twin Peaks is the Red King's (Billy) dream and not Alice's (Laura). The looking glass, or mirror, is his mind, his being and to put it in line with Carroll's famous story, "Alice" climbed into it, not the other way around.

Thinking about Mr. C smashing his head in the OG finale, why did he do that exactly? A possibility just came to us, in light of The Return, maybe he wanted to be taken to the hospital. Maybe he wanted to get the Owl Cave ring back, or more possibly go and see Audrey. We had theorized that Dale's dismissal of Audrey was Billy's way of keeping her safe from the Windom threat. Maybe since it had been solved, and the decoy Annie was safely put out of the way and his more honest self unleashed, he was finally ready to take what he wanted.


- In Twin Peaks, Mike Nelson, apparently now in charge of a car lot, calls a young man into his office in order to criticize his resume and improperly filled form. He tells him he wanted to see him to tell him he'd never hire him, or recommend anyone hire him, after his lack of respect etc...He then calls the young man an asshole after he's stormed out.

The young man is the Steven that is married to Shelly and Bobby's daughter and whom everyone is supposed to like. His last name is interestingly Burnett and Mike obviously doesn't seem to like him, proving Renee wrong. He lectures Steven, but we're torn about how Lynch intended this scene, as opposed to understanding the Major Briggs and Bobby dynamic. On one hand, Steven is obviously irresponsible and dealing with drugs and various other issues, making Mike's lecture warranted. And yet, his words aren't buffered by the love and wisdom the Major conveyed, and Mike's office is also a mess! He's not exactly one to talk about form and respectability.

We can take a definite hint, according to this theory, that it does represent once again how Billy felt about his relationship with his strict uncle. He might have always felt lectured and criticized, nothing ever good enough, which might have been a valid critique from the uncle, aware of Billy's darkness as we are. The theory that Mike here reflects Billy's uncle is further strengthened by our belief that Steven is in effect Gersten Hayward's son. Mike dated Gersten's sister, Donna, and if they had married he would have been Gersten's brother-in-law, making him Steven's uncle by marriage. We also theorize that MIKE/Philip is a representation of Billy's uncle so this similarly named character slips into the role of uncle nicely.

Mike runs a car dealership. We have previously explored the relationship between BOB, Billy's father (Ben), and how his enablers etc... were connected to cars.

Steven comes in wearing a suit here and later will be seen wearing plaid, reminiscent of Dale Cooper's wardrobe switch in Season 2. Steven being a very strong and fairer representation of Billy, this connection becomes strengthened.


- Frank Truman sits in Hawks office, talking to Harry on the phone. Lucy tells him his wife Doris is here and Frank ends the call with his brother as his wife comes in. Doris unleashes her anger at her husband and a list of complaints that he calmly tries to deal with only for her to still wind up calling him impossible.

It's hard not seeing Harry. He's almost become the Diane this season. We previously speculated that Harry represented the father Billy wanted to have. Perhaps his being absent now reflects how that idealized/imaginary father was truly absent from Billy's life too.

Doris is meant to show how someone whom acts out is usually suffering inside, which is probably illustrating, not only the younger version of Billy, but his mother too.

Frank trying to help can also indicate how people, like Billy's uncle, did try to help but he was ultimately unreceptive, focused on his own pain instead of anybody else's.

The bit about Doris' father's car is odd when we just talked about Billy's dad's enablers being connected to cars. We've also wondered about Billy and his mom having been in a car crash, or his father having potentially been murdered by Billy's mom. Given what happens to Dougie's car later...well, this should also be noted.


- The Joneses leave their house, as Sonny Jim sits in the car, and by the door Janey-E fixes Dale/Dougie's tie and talks about the $425000 and how they can finally pay off his $50k debt. As Janey-E talks, Coop/Dougie stares at the sad face of Sonny Jim and becomes sad too. Janey-E notices this and tells him to stop acting weird. Realizing his car isn't there, she says she'll take him to work, although she wonders where his car is.

So...Janey-E lied? She ties ties well enough.

Janey-E's focus is still on the money and not necessarily her son, whom seems very sad as he sits in the backseat of her vehicle. More indication that Billy's mom was overly concerned with money than her own son's wellbeing.

Cooper/Dougie, on the other hand, seems genuinely moved by the boy's sorrow, showing empathy instead of mirroring. This is understandable, of course, both Sonny Jim and Cooper avatars for Billy inside of his dream. He understands his pain.


- Cue Rancho Rosa and how the hitmen drive by to see Dougie's car still parked and intact. They drive off and another car appears, also checking out the car, to steal. They drive off too.

Here's that car, a literal "death trap", we just mentioned while discussing the Trumans scene.

The car belonging to the thieves is black. That's appropriate is all we'll say.


- Outside of her husband's work place, Janey-E suspects "Dougie" is having one of his episodes. She urges him out of the car and off to work, driving away as Coop/Dougie walks aimlessly forward.

So people accepting Coop/Dougie's behavior is explained by his having episodes. That, in turn, is explained as being caused by a car accident he suffered, threading through that theme of car's being dangerous to one's general health. Hmmm...did Mr. C need to be driving when he was going to be returned to the Lodge because of this accident Dougie had? Was that how he was introduced into existence, so to mirror it, Mr. C had to go through the same thing? Was Billy in an accident with his family, ala Little Nicky, and it changed him too?

Since work is how Dougie makes their dough, we'll assume Janey-E's urge for him to go there continues her preoccupation with material comforts/status.


- Coop/Dougie becomes entranced by a statue of a cowboy. He follows the gun it's pointing into a building, which fortunately happens to be Dougie Jones' place of work.

And just as we had talked about Harry, and how he might represent the father Billy wished he had, now we see Dale/Dougie's attraction to a cowboy statue that was made to look like David Lynch's father. And we've got red balloons like childhood in the background. Now Dale/Dougie's surrogate daddy leads him where he needs to go.


- In the main lobby, Coop/Dougie stands looking around until one of Dougie's coworkers, Phil, comes along, his hands filled with coffee and tea. "Off in dreamland again, huh, Dougie?" he asks. He then tells him that a staff meeting starts in 3 minutes. Aware that the man has coffee, Coop/Dougie follows him into an elevator where they head to the 7th floor.

We love Phil. Possibly one half of our's favorite new character in The Return. He's helpful, kind and patient.

To go with Janey-E calling "Dougie" the dreamweaver last episode, now Phil says he's in dreamland again, as if it is a common occurrence. This lends strongly to the insinuation that Cooper masks our dreamer, not Laura.

3 minutes to go with the 3 days that both Dougie and Carrie Page were missing.

7th floor. Room #7 where Mr. C met with Chantal and where Dale will have sex with Diane before he changes into Richard. We wondered if it was in room #7 where Billy's mother first abused him.


- Dale/Dougie reaches for a coffee, but Phil apologizes he didn't get a coffee for him, unsure if he'd be there. He relents and gives him Frank's, whom never has his anyway, deciding to give him the extra green tea he bought instead. Phil watches in shock as his co-worker downs it but then happily says that it's, "Damn good." In the main lobby to Lucky 7 Insurance, Phil usher's Coop/Dougie forward before he steals the coffee of two people talking there.

Cooper still loves coffee. Until he becomes Richard in Part 18, that is. Cooper is also leading things to perfect outcomes in Vegas, as set up even here by stealing Frank's drink. Obviously Billy is painting it so that his good side can do no wrong wherever he goes and helps heal things...which actually all crumbles by The Return's end. Possibly this stems from how creating Dale helped Billy through his fears about being arrested for American Girl's death. It was a temporary fix however.

#7 referenced again. And the big reveal that Dougie is an insurance agent. That's a huge theme in this series, from the insurance on the mill and Catherine, to Sam Stanley acting like an insurance man tabulating everything, now we have Dale actually living out the life of one. We suspect this deals with Billy's trauma at having caused the fire at the Dutchman's which killed his mother and possibly his father/grandfather. Now he can symbolically clear that from being arson and help lift some of his guilt.

Franz Kafka was also an insurance man. He, of course, dealt in surreal topics such as an infamous transformation.

This place being called the Lucky 7 and our previous speculation about the possibility that it was in room #7 at the family motel where Billy's mom first abused him, leads, unfortunately, to a different possible connotation to the word "lucky".

The receptionist is a blonde.


- Several workers file into the meeting room. One, a man named Anthony Sinclair, tells Dougie he covered for him and he owes him. He comments on "Dougie's" weight loss.

Anthony Sinclair is obviously sleazy. The question is were he and Dougie friends? Most likely if he's covering for him. Was Dougie in on the fraud then? Does that explain how Dale is aware that Sinclair is lying?


- A man named Darren asks a brunette named Rhonda if she got his note. She says no and says for him to tell it to his wife.

This could be a fragment of the married Hastings' affair with his coworker Betty coming out.

Rhonda can't be turning Darren down due to morals, seeing as though she later makes a pass at what she takes to be the married Dougie Jones.

Miriam will send a letter to the Sheriff which gets intercepted. Linda writes Richard her own letter.


- Frank notices that Phil gave Dougie his coffee. Phil apologizes and offers him the tea. Frank, at first, refuses then accepts. He obviously enjoys it.

More illustration how Billy is really heaping up his wish fulfillment fantasy that he makes everything better for mostly everyone.

Frank looks like Jacques Renault.


- Bushnell Mullins, the bossman, finishes what he was doing off to the side and starts the meeting. He tells Coop/Dougie to sit and to cut the shit when he doesn't. Phil, being the genuine sweetie he is, helps Coop/Dougie sit. Tony starts off, listing the number of claims and which to pay off. He mentions a Littlefield and Bushnell states he thought that was arson. Anthony pushes that no it wasn't and they have to pay. Coop/Dougie sees a light flashing over Anthony's face and states, "He's lying," which causes Tony to bristle and confront him. Bushnell requests "Dougie" see him afterwards. Tony still claims Littlefield is legit.

Big theme here for the Vegas story: what is and isn't arson. As we said before, this likely revolves around Billy's guilt over having burned down the Red Diamond/Dutchman's.

Littlefield. Hmmm...Audrey is the Little Girl who Lived Down the Lane and her son would be the Little Boy. If Billy had burned down his parents motel and they cleared it away, it would leave a field, if it was the same place that is the Dutchman's. Is this a secret hint that Billy intentionally burned down the motel?

The light helps Dale/Dougie see the truth. Light offers illumination. The Palmers had an owl lamp. The incest belonged with the Great (Northern) HORNEd owls not them.


- In Mullins office, the boss asks Coop/Dougie where he got the stones to call his best Agent a liar? Coop/Dougie fixates on the word Agent. Mullins says it isn't a game, Dale/Dougie repeating the word game. Bushnell gives him case files to look over, calling it the homework game since he missed so much "school." Dougie's future at the company depends on how he handles it, the bossman warns.

After they bring Coop/Dougie in, Mullins assistant and Phil have trouble with the door and closing it. Not much, but we're theorizing Laura is the door to Twin Peaks so door incidents are noteworthy.

Cooper longs to be an agent again. Billy similarly enjoys pretending to be what is his opposite.

We previously commented that Billy's grandfather made his mother play games she didn't want to and she then made him play them too.


- In the hallway, Coop/Dougie is doing the pee pee dance again. Rhonda assumes the men's room is locked and hurries him away to the ladies room. She says she might let him kiss her now, but then seeing his need let's him in. She stands outside on guard as she hears him groaning in relief.

Behind Dale/Dougie the word "Fire" is seen.

The receptionist is now a brunette? This is the reversal of Cole's secretary being replaced by a blonde in FWWM. We suspect Billy replaces his brunette victims with blondes inside of his fantasy to avoid the truth. Now that his fantasy is threatened, the illusion might be slipping occassionally.

Coop/Dougie using the ladies room can be more indication that the ladies in his dream are still just Billy, a guy, underneath it all.

Rhonda liking "Dougie" now is more wish fulfillment by Billy. What a ladies man!


- At the Silver Mustang, Burns is punished by Rodney and Bradley Mitchum, the owners, whom suspect he was in leagues with the man whom won $425000. As three identically dressed blondes watch by the wall, Rodney beats poor Burns while Bradley orders him to leave town as he is being dragged away. They place Warrick in his job instead and instruct, if Cooper ever goes there again, to tell them.

The Mitchum Brothers, whom run the casino/motel The Silver Mustang, are obviously representations of Ben and Jerry, Billy's dad and uncle, whom ran the Great Northern and One-Eyed Jack's. Why bother making another two brothers? Ben bought Laura a horse too, so there is that obvious connection.

Now Billy, as Dale, can save them from the blame of the hotel/motel burning and help alleviate his own guilt in the process. Frankly, however, it's hard for us to like the Mitchums with how brutally they are portrayed here.

The blondes are Candie, Mandie and Sandie. Candie is the most prominent and was seen walking through a door, which deserves a mention to this theory, doors being integral. The women are personal assistants to the Mitchums, which connects them to Betty, Billy's assistant. The fact that they are separate women whom all dress and look smiliar emphasises how Billy sees women as the same and finds it difficult to distinguish them, especially those whom remind him of his mother. Their names all sounding similar can also suggest Billy was confusing the names Audrey and Judy.

3 girls, 3 Coopers, 3 days.


- At Rancho Rosa, the Addict's son forgoes his crackers and sneaks by her to go take a closer look at the item placed under Dougie's car. Looking both way's across the street, he examines it until the black car pulls up and scares him over to the side. He watches as they hotwire it, only for the car to explode. The surviving members of the gang drive off and the boy returns to the house across the street, where he watches in excitement from the window the fire and death across the street. Meanwhile, his mother wakes up.

The boy still eating crackers reminds us of Albert's comment about them when Mr. C's arrest report bore Hastings' info and his euphemisms for Hastings' weak sanity.

His mom still has the fallen red balloon by her. We also see a stairwell now which was often focused on in the Palmer house. We suspect American Girl's mom climbed those stairs and really found her daughter dead in her bedroom, not it just empty. There is also a stairway in the Convenience Store which helps lead to the Dutchman's. A stairway also played an important role to Lynch's short "The Grandmother" which obviously influenced Twin Peaks. We suspect that Billy's grandmother's had a stairway. Gersten and Steven, whom we argue are mother and son, are also seen standing on a staircase together.

This boy wears a large red 1.

He looks both ways before crossing the street. This is in stark contrast with the boy Richard kills, whom doesn't carefully cross the street, even though he has his mother with him. This boy doesn't have his mom present, but remains careful. He gets to live. Obviously, Billy associates being careful with being allowed to live and being careless resulting in destruction. This goes with Carrie Page's words in Part 18 again about keeping a clean house.

Question, does the boy know that the men might die by starting the car but stays quiet?

The car explodes, just like Betty's, completing the similarity between William giving her a ride home, as Jade similarly gave Dougie a ride too. Only Coop/Dougie avoids death.

Part of the wreck, the licences plate, ends up on the boy's "home".

The boy runs back and wakes his mom up. Does she have the Sparkle rash?

The boy is obviously attracted to the fire...just like Billy. Once again, this boy lives and the other boy, the one whom seemed innocent, dies. Ominous music accompanies this one's fascination. This boy, Billy, wants to play with BOB.

The fire is reflected over the boy in the window. Billy IS the fire.

The boy looking through the window harkens back to how we believe Billy entered American Girl's room through her window.


- At a carwash in Vegas, an attendant asks Jade if she has a John in Washington. He hands her the 315 Great Northern room key Dale dropped while she was giving him a ride. "Dougie," Jade remembers, flipping it over to see that she can drop it in the mailbox and it will be returned for free. She heads over to a nearby one and drops it in.

And right after we are reminded of Jade giving Coop/Dougie a ride, and how it resembled Hastings/Betty, down to an exploding car, we see Jade herself and the key Dale dropped.

A key holds the truth in "Mulholland Drive" and this one is no different.

The key inexplicably reads, "CLEAN PLACE REASONABLY PRICED" which are the exact words Dale used for both Diane and Harry when he was describing what he was looking for in a lodging. That heavily implies that this has to be a dream and his at that!

And we now have the key heading its way back to the Great Northern and Ben Horne. This is all significant because we believe that the Great Northern is, or masks, Dale/Billy's true home and Ben is really his father/grandfather. Beverly will get that key and the ringing noise that started up again after Dale left the Lodge will get louder. She will give it to Ben, whom will give it to Frank, after they discuss his grandson, Richard, and the boy he killed. Then Frank will give it to Dale, whom knows somehow he has it, and it will lead Dale to that basement closet in the furnace room. The secret weaved through this whole story is that Dale/Billy never left home and he can't escape the truth that haunts him and partially led to the monster he became: he is his grandfather's son.

The attendant wipes Jade's car off with both red and blue towels. This invokes both the lie and truth of the Great Northern. There was a hotel but it was truly a crummy motel, not a grand hotel. Interesting thing about the word motel: it comes from the combination of the words motorist and hotel. A motel was designed for travelers with automobiles. That adds a different layer to the car theme and how it pertains to Ben's enablers/woodsmen.

- At the Double R, Norma watches from a table, doing books, as Becky, Shelly's daughter comes in delivering bread and then hits up Shelly for money, claiming Steven's looking for work. Reluctant at first, Shelly caves in and gives her money. Watching her daughter through a window, Shelly is joined by Norma, whom says it's the third time in 2 weeks. She says to help Becky now since it will be harder later.

Shelly obviously is having a hard time helping her daughter. Bobby has the same problem. This echoes how American Girl's parents also failed her in certain ways, like, perhaps, not paying attention when they needed to. It will be harder to help Becky later for we theorize, no matter what Mark Frost thinks, that Steven actually killed her, just like Billy did with the American Girl.


- Steven asks how much money, finding out it's $72. He says he's good for paying it back and then drives away, noticing that they are being watched.

72 is another denomination of 3/6.

Norma and Shelly watch the couple through a window and Steven notices it, parking out of eyesight. There's a window again, just as we believe that Billy used to watch American Girl through. In this form of Steven, he doesn't like being watched in return, however. Shelly, now a representation of American Girl's mom, is the one now watching her daughter's killer through a window.


- Steven wants Becky to kiss him, which she does. He says he saved some drugs for her and she expresses dismay that he used so much. He said he needed it for his job interview. He lies and says he got great feedback. He sweet talks her and she takes the drugs. Driving away, the camera focuses on Becky looking up and getting high.

Steven is a glimpse at a certain aspect of Billy. He's a young man with troubles and we believe many of these might stem from his relationship with Gersten, whom we suspect will be his mother. Right now, though, we'll focus on his relationship with Becky. We have a feeling that this might be the relationship Billy imagines could have occurred between the American Girl and himself if she'd actually "loved the way that he loved her". The thing is though...we suspect that, just like with Steven and Becky, even if Billy had gotten his dream girl, it all would have fallen apart and he would have destroyed her just the same, but in another way. Billy lacked the self awareness to face himself and his problems and heal. He tried to escape in several different ways and punish others and make them feel his pain. He thought American Girl could save him but she couldn't. He needed to save himself. This is illustrated in how Cooper focuses on saving Laura, and taking her home, instead of trying to face his true self and acknowledge what/where his home truly was. Basically, like a child, Steven cannot take care of himself, but that is what he and Billy basically are, adults perpetually stuck in a childhood stage.


- At the end of work, Coop/Dougie rides down the elevator, not facing the doors. Phil helps him out of the way as people push past him. Dougie returns to the cowboy statue instead of going home.

Dale/Dougie not facing the elevator doors is interesting to this theory, which sees Laura as the door to Twin Peaks, and Billy trying to turn his back on it to imagine he had never killed American Girl and risked detection/punishment. Is that what he's illustrating now?

Coop/Dougie going to the statue of the cowboy, and not the Joneses home, reinforces the belief that this represented the father that Billy wished he had had, in the same way that later, as Cooper's time with the Jones family reaches its end, Sonny Jim will plead that HE is his father, not willing to accept the truth.

Is he looking at the statue's legs? This is probably not it, but maybe some part remembers how Billy was waiting for his fabled father to use those legs to come back and save him before he discovered his own sad truth: his father had always been there.


- At the Sheriff Station, Andy and Hawk are still going through Laura's case file. Andy asks if Hawk has found anything to do with Indians because he hasn't. No, Hawk answers.

Their still keeping at it. Does this scene following a cowboy particularly have to do with that? Johnny Horne, Ben's son and Audrey's brother, just like Billy, used to pretend to be an "Indian". Cowboys and Indians are closely associated.


- 7:00 and on White Tail Peak, Dr. Amp asks if we know where our freedom is. He broadcasts what we assume is his usual tirade against the vast global conspiracy, as Jerry Horne and Nadine Hurley watch. He says you can't see it without a cosmic flashlight and he has one. It's beam penetrates the rock and flips it over and exposes them wriggling and squirming and going back to the cover of darkness they crave. Dr. Amp threatens they are coming for them as Jerry smokes some pot. Dr. Amp goes on about the food and land being poisoned and causing many health and mental problems. Dr. Amp quotes "If I had hammer," and then shows he has one. He uses it to hit one of the gold shovels. "You must see, hear, understand and act," he states. He then plays an ad for the golden shovel too, urging the viewers to shovel themselves out of the s**t and into the truth and buy his golden shovel, two coats guaranteed. "Dig yourself out of the s**t $29.99!"

We've got another #7 being pointed out.

Dr. Amp starts this by asking if his viewers know where their freedom is. Okay, that's interesting. Because, on one hand, we see Amp's lectures, his cries to shovel themselves out of the s**t to be about how Billy should have dug himself out of his trauma, uncovered himself and been a much better person. On the other hand, we see the whole command to "Dig yourself out" to perfectly go along with the theory that, in The Return, Billy's close to being discovered as the killer he is and he must try to dig himself out of the mess so he doesn't wind up in prison or dead. Amp questioning where the listener's freedom is encapsulates Billy's concern over that very thing.

Apparently Amp believes a conspiracy is going on. There is actually. And a lot of it revolves around Billy, his tortured childhood, dangerous teenage years and outright evil adulthood, as well as the identity of his father.

So we have Jerry and Nadine listening. Through Nadine, Lynch outright depicts how listening to Amp has made her a better person, one willing to let Ed go if it makes him happy. Jerry, in a less blunt way, also shows us the same thing. He's cultivating drugs and lost in the woods, only to break free of them. Frankly, it looks just played for laughs, but it's actually extremely important to the underlying story and the secret at the heart of Twin Peaks: that it was really Audrey Horne (Billy's mom) whom was abused by her father, Ben (Billy's grandfather/father). Jerry's battle with his foot, his breaking free from the woods and his admitting responsibility after not seeing something properly regarding his nephew all portrays how Billy's uncle was able to break free from his brother's control and finally realize that something very wrong was/had happened inside of his family. We have to ask ourselves WHY Lynch knew it was important to have Jerry be one out of the many characters to receive enlightenment. Why? Because part of the whole series revolves around it. This spiritual journey, ending in his shedding of clothes, mimics the spirit MIKE, whom symbolically represents Jerry, Billy's uncle. The mention of needing the flashlight to see them to flip over the rock, can even remind us of the rock which Richard dies on and which his father sent him to be destroyed on, as Jerry watches from a distance.

We have to mention how we did get mixed up with Dr. Amp's cosmic flashlight. It's of a bird, but not distinctly of an owl. We got mixed up with something Amp is wearing, mistaking it for horns. A flashlight did play a part in Horne history however, a girl bearing the initials L.D. dancing with one in Ben and Jerry's first bedroom.

Amp referencing them going back to the cover of darkness they crave invokes both the "through the darkness of future past" as well as Cooper's dark FBI suit that Laura whispered to him. We suspect the dark suit was used to cover the evil that he was, an evil that was named Billy.

The light revealing truths goes with how Dale/Dougie sees light flashes, like the one on Tony, that help him. It also goes with our theory that that owl lamp in the Palmers bedroom was trying to indicate the truth that it was the Hornes where the incest happened.

Amp references cooking, and Jerry does the same, leading into Amp's rant about the food being poisoned and outright letting the viewer know, along with the various characters whom indulge in certain appetites, that fast/frozen/junk food is generally equated with evil in The Return. We have this blatantly displayed in the characters of Chad, Chantal and Hutch, and hinted at in Cooper and Carrie, the latter having both a dead man and frozen food trays all over the house where she's been laying low for 3 days. This also goes with Norma's later dialogue about the goodness of her products. Appetites and hungers always played a large role in Twin Peaks, though, through the Lodge spirits/Hornes and Coop. Coming up, Mr. C will take control over the monitoring system at Yankton and replace one monitor with a cooking show.

The other thing Mr. C shows on the monitor is what appears to be a cobbler/shoemakers workshop, which fits in with Dr. Amp bringing out a hammer now. What does he do with that hammer? He hits one of his golden shovels with it. We've previously pointed out that Jack Wheeler quoted Ben's father's quote about a hammer. And how that same father was seen passing on the shovel at the Great Northern's groundbreaking to his elder son Ben, which we saw as being symbolic of his passing on the cycle of abuse as well as equating that abuse with the corruption/breaking of nature. And previously we saw a flashlight, like the one a young woman danced with in the Horne brothers bedroom. Everything is secretly revealing to us that the Hornes are at the center of this "conspiracy" at the core of Twin Peaks.

Infact, Amp's words, "You must see, hear, understand and act," can be a cry for Jerry, Billy's uncle, to see what was going on between his brother and his neice and put a stop to it. Unfortunately, the message reached the uncle too late to do any good.

On the flipside, as we were saying earlier, the words can now go to Billy, whom can take them to mean he has to get himself out of the mess with Betty and American Girl's mom. This goes in nicely with Dr. Amp's commercial, which, while trying to imply Billy needed to have sorted out his troubles and save himself on his own, other than looking for outward "salvation", like from American Girl (what we were discussing earlier with Steven and Becky), actually appears to Billy more like motivation to try to solve the problem of being identified as a serial killer, a problem which likely revolves around silencing Betty and American Girl's mom.

The two coats seems to fit in to Audrey's search for Billy, both Charlie and her needing their coats when they looked for him. It could also go with Carrie Page grabbing hers before going to Twin Peaks. She had previously also asked Richard/Coop if he'd found a "him" which we suspect meant Billy. The going from 2 to 1 coats though...does that implicate that Billy had dug himself out and had no more need for the shovel and its coats once he reached Twin Peaks? Or maybe the one coat (Carrie) represented a substitution which wasn't as good as finding Billy (Audrey and Charlie).

Dr Amp confuses us, just like Mike. We know David said something positive about him speaking the truth, but he's commercializing and putting a $29.99 price tag on the truth and salvation! Plus the shovel isn't even gold, it's spray painted! That helps us fall back easily into this also dealing with Billy's not so noble purpose of digging himself out of trouble. Plus, if you invert the three 9s you get the number of the beast that Briggs was reading about killing two witnesses whom testified of it during a Missing Piece, plus the three sightings of the 6 utility pole, as well as 3 sixes being above the COOPER/COOPER/COOPER owl message that Briggs delivered to Dale.


- At the Pentagon, Arlington, Va, Lieutenant Cynthia Knox informs her superior, Colonel Davis that there has been another Database hit on Major Briggs prints, making it 16. Davis doubts that it's real, but orders her to go to Buckhorn, South Dakota to check it out. It won't be real, he states, but if it is they have to contact the FBI.

We've always been confused by the Briggs story. So do the 16 hits mean that multiple bodies were found or that this is the first legitimate one? We're going to have to pay closer attention to it this time around.

Meanwhile, another female officer of some kind being in charge once more emphasizes how women are threatening to bring Billy to justice and it permeates his dream.


- In Twin Peaks, the band Trouble plays at the Roadhouse. A young, defiant looking man sits smoking under the No Smoking sign. Hello Richard Horne, Ladies and Gentlemen! A Roadhouse employee comes and tells him to stop smoking. "Make me," Richard says. Chad comes along and says he can help. What he really does is ask for a cigarette and Richard gives him the full pack, complete with a bribe inside to leave him be.

Ah...Richard. He plays a pretty large part in The Return but what often goes unnoticed is how Cooper, his dad (we're not bothering to say it isn't, since we see the doppleganger as being Coop too) will wind up with his name at the end of things. We meet him alone and smoking, staring at the cigarette, and obviously not caring about following any rules. The women ahead of him are obviously aware of him too. He looks like Jerry a little and smokes like Audrey. There isn't much Cooper in him, but since we're theorizing he's the result of incest it makes sense he primarily screams HORNE.

The band Trouble playing during Richard's first scene, recalls how Audrey, at her father's brothel and having been propositioned by him there too, had this conversation with Dale, over the phone:
Cooper: Audrey, if you're in any kind of trouble...
Audrey: I am in trouble, but I'm gonna come home now.
Trouble was once a euphemism for being pregnant. The hidden truth is that Audrey WAS in trouble, by her father.

As Steven represented a somewhat less harsh depiction of Billy as a loser whom winds up falling into violence etc...Richard is a harsher depiction of Billy's dark side.

Having Richard smoke, links him to fire, like BOB. It also reminds us of how, in Ben's first scene, he was seen spitting into a fire, and in Audrey's second she was smoking at her locker, with a Smokey the bear ashtray warning of fires seen hidden inside of it.

This is one of the Roadhouse scenes that connects to the series in a larger more involved way, as opposed to some of the isolated and seemingly random encounters that sometimes end certain episodes. The Richard and Chad connection is established with the bribe. That will be elaborated on later.

The pack of cigarettes is Morley, a common Hollywood prop brand. Now, what's interesting about that is how the first known appearance of it occurred in a little film called "Psycho." It can be seen after Dr. Richman has spelled out Norman Bates psychosis and his troubled relationship with his mother. Now that's what we've been saying about Billy and his own mom, two other motel dwellers, and we even mentioned how the painting "Venus with a Mirror," seen when Dale went to rescue Audrey from One-Eyed Jack's, can be seen in "Psycho" also, as Norman explains to the woman he's attracted to the complicated relationship he has with his mom. In "Psycho" the painting is seen beneath a taxidermy of an owl. Now, Morley being used here might just be a coincidence, many films/shows using it after "Psycho" but added to it is something that can't be unintentional. The crest on Morley is usually of a lion and unicorn; this crest is of two lions, with a third, smaller one in the middle. That's the Dutch coat of arms. The DUTCHman's. Audrey had her COAT when she went to look for Billy at the Roadhouse. The ARM will ask Dale if it is the story of the Little Girl who Lived Down the Lane, which Audrey said was her story. Her son, little boy, is smoking (fire) a pack of that cigarettes at the Roadhouse, doing it when he isn't supposed to be. Richard is Billy, or rather Audrey's son, is the underlying secret.

Morley, like it's use in "Psycho," used to have a horse on the pack. That can fit with the general theme of horses in Twin Peaks.

Lynch having the Dutchman's evoked on Richard's pack of cigarettes, and shooting it with Chad's hands holding it aligns perfectly with his shot of Jade holding the Great Northern key. Both motel/hotels are the same.


- The lights start flashing. One of the girls in the booth before his, whom have been noticing Richard, asks if he has a light. He tells her to come here. She sits next to him and he grabs her forcefully, asking for her name. It's Charlotte. He asks if she wants to fuck him. Her friend tries to intervene. Little fucking smoking babies he calls them. It makes him laugh, he says, and he'll laugh while he fucks her.

Lights flashing were usually an indication of BOB. When Richard is about to harrass a girl sexually, the lights start flashing.

Funny, but it was the blonde whom seemed to be noticing Richard more than her brunette friend. But it's the brunette whom approaches him.

Her asking for a light instantly recalls the woodsmen asking, "Got a light?" while Richard asking what her name is does the same with the title to Part 18 "What is your name?" That title comes from Cooper/Richard asking what the name of the woman whom owns the Palmer house is, discovering it is Alice Tremond. Tremond is the name of the grandson. Richard Horne is the grandson of Ben Horne, whom we believe was also his father. The girl's name is Charlotte, which is actually the feminine equivalent of Audrey's husband's name, Charlie. It means free man.

Richard's derision and calling Charlotte and her friend "little f***ng babies," makes us remember how Jean Michel, the bartender, will get a phone call informing him a John found out two of the prostitutes sent to him were underage. Which reminds us of how Leland, in the Between Two Worlds interview, admitted to seeing girls younger than his daughte, yet still claimed his innocence about what they'd said he'd done. This scene, and the Jean Michel one, indicates that underage girls were being passed off as of-age sex workers, which could heavily suggest that Leland was innocent and unaware that the prostitutes he went to weren't of age.

In the background, we can see a woman whispering to another one, just like Laura whispered to Dale. Makes sense. Part of her whisper indicated he was Richard Horne.

Richard promises to laugh while he f***s Charlotte but we don't know if he does it. What we find interesting, while examining things through this theory, is how different Richard is from Dougie Jones. One was a tulpa of Mr. C, but, though he was immoral, he was nowhere close to what we see of Richard. Sure Richard is a doppleganger's son, but why, if Dougie, a copy, isn't that horrible, should Richard be? We think that the doppleganger bit is an excuse. He wasn't born evil but things happened that made him choose to be. The problem/blame is still his, but it's not as cut and dried as his father was evil so he inherited it. We suspect the seed lay with his relationship to his family, something Ben tries to hide from Truman when he comes to discuss Richard's latest crime, hoping that the lawman won't delve too deeply into shameful family tragedies and horrors.

In Part 18, Dale/Richard imitates some of Richard's postures here. He'll save a woman from being harrassed too, inverting his actions here.


- At her desk, Tammy stares at Coop and Mr. C's photos. She then compares the new prints on her computer with an older ones. Something surprises her.

Tammy seems enchanted by Dale and less so by Mr. C. More wish fulfillment by Billy? Hidden narcissism?

She's finding out his prints are reversed, as per the Lodge influence. We've theorized that stems from Billy's role as mirror.


- In Yankton, Mr. C is given a telephone to make his one "private" phone call. He thanks the Warden, whom then goes into another room to monitor it. Mr. C looks up towards the ceiling. In the monitor room, Warden asks if they're recording. Yes, recording everything, he is told.

Hmmm...we see the warden going up a flight of stairs. Since we discussed stairs and their connection to Billy, that's interesting.

We theorized, after thinking about the ring in FWWM, Laura was looking to her ceiling and the greater implication was she was asking who the dreamer really was. Now Mr. C is looking in the same direction, at Murphy and the other men watching him. Billy, too, is watching over everything.


- Addressing the ceiling, where the camera is, Mr. C states now that everyone is here, he will make his call. He makes a show of it, aware he is being watched. "Now who should I call? Should I call, Mr. Strawberry?" he asks. "What the hell," the warden says, obviously distressed. "No, I don't think I'll call Mr. Strawberry. I don't think he's making calls," Mr. C states as if looking directly at Murphy, whom rubs his mouth.

Mr. C once more seems omniscient. Is it his deeper oneship with Billy, the dreamer?

Who is Mr. Strawberry? He obviously scares Warden Murphy. We wondered previously in "Wounds and Scars" if there was any connection to Mr. Pinkle and how that name can be translated to mean penis, and how him forcing Richard Tremayne to kiss a weasel, a phallic animal, was suggestive. At the time we wondered if it had anything to do with this Mr. Strawberry and the secret Mr. C knows about him. We thought the warden might have been molesting his son, but have since wondered if it involves some other secret or his having murdered someone whom had hurt his son in a similar way. But the stairs have us looking again to see if Murphy might still be guilty. We're still not sure. More contemplation is needed.

Why does Warden Murphy rub his mouth when Mr. C says that Mr. Strawberry isn't taking calls? That Strawberry isn't might indicate he's dead, but Murphy wiping his mouth just as much might indicate his mouth would have been used to answer the call. It's also making us think of how Mr. C rubbed Jack the mechanic's mouth. We theorized Jack could be the name of the "daydream" Billy had of his dad, before he learned the truth. But we also theorized the truth behind that daydream, his real father, could have abused him with his mouth. Or the Warden might just be left with a bad taste of guilt in his mouth. Warden Murphy rubbing his mouth is filled with different possibilities.


- Mr. C then states he knows who to call and after quickly typing in many numbers the lights and the monitors go wonky inside of the prison. "What the hell," Murphy asks again. "The cow jumped over the moon," he says shortly after, and everything instantly returns to normal when he ends the call. The warden wonders what this guy just did. Mr. C continues to stare at the camera.

Light flashing is typical of BOB.

Mr. C being connected to Billy, the dreamer, and his own connection to the electricity behind dreams, can make him easily manipulate the electronics.

Interesting choice of two of the monitors showing a man working on making/fixing shoes in a workshop and a cooking show. Shoes have some deep meaning we haven't exactly pinpointed (Audrey's in the Pilot echoing the Red Room color scheme, MIKE/Phillip selling his circle brand shoes, Cooper losing his as he was sucked into the socket). Appetite/hunger is also a central theme.

Mr. C saying "the cow jumped over the moon," can tie to how the book Laura is seen carrying in FWWM has an illustration of this rhyme, minus that important cow (unless the pig looking thing is meant to be a cow), on the inside cover. It also links to the moon, although the symbol Mr. C is looking for is under the moon not over it. It can also link to Audrey's "The little girl who lived down the lane," too, which is also inspired by a child's nursery rhyme.

Mr. C staring at the camera reminds us also of Coop staring at one in FWWM.


- In Buenos Aires, Argentina, we see the black box device again, in its gold bowl. This time we see it's lying in a dirty, dark room with that single lightbulb. It blinks red twice and turns into a gold bumpy seed/rock.

Since the last scene reminded us of Dale staring at the security camera in FWWM, is this, plus the location, more indication that the box is connected to Phillip Jeffries.

It turns into a bumpy looking version of the gold seed. Is that what happens when you tulpa someone whom isn't exactly human anymore?


- Coop/Dougie is still at the cowboy statue lovingly caressing its shoes. A cop tells him there's no loitering and then walks away as Dale/Dougie continues to stare at the footwear.

There's those shoes again! As well as what we believe is Billy's old love and devotion for the imaginary father he invented. Are shoes looked at as more positively spiritual than cars?

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Part 3 "Call for Help"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


- We pick up on Cooper right where we left him: falling through space.

We touched on this previously. Dale Cooper is in infact living what Donna questioned Laura about in FWWM: "Do you think that if you were falling in space, that you would slow down after a while or go faster and faster?" And he is suffering what Laura answered, "Faster and faster." We might not see him burst into flames but we think it will be inferred by what Dale will soon discover/see.

Billy obviously lived what he projected onto Laura. Her words were how he felt about his own abuse by his mother and potentially grandfather/father. It makes logical sense that we now see his avatar suffering it, revealing how that situation belonged to him and not Laura.


- Suddenly see see what looks like a purple water with something bubbling up in it. Cooper falls through it, only to land on a concrete like structure which appears to be on another purple sea. Cooper goes up to the tall wall like edge and looks at the sea which surrounds him.

So this place is covered by this purple water all throughout then, because as he's breaking through the atmosphere, or whatever, it looks like Dale's going through water, only to end up dry again and in air before he hits the concrete building, with its solitary opening.

Can't help but think of the start of Mr. Bean everytime Dale falls/lands.

The structure looks similar to the skyscraper in NYC that Dale just visited. We can see a parallel being formed then. We're about to theorize that this structure hides the images of Billy's true victims and not the substitutions, like Laura, he created for them inside of his dream world. We previously theorized that the NYC building houses the glass box, which represented Billy's psyche. Thinking of the box now, it seemed empty, just like Billy's soul. What one would see when looking at the box is a reflection of themselves, very much like the two sided mirror in the police station where Billy was questioned. That reflected quality will be discussed deeper later on, how it helped Billy, whom was empty, not willing to face his past and self inside, and aided his survival without detection for so long. Now we're interested in how the Arm's doppleganger, after his revelation that the Red Room and everything was non-exist-ent, has seemed to send Dale first to the glass box and now here to the mansion room. Was it making a point by trying to show Cooper things inside of the dream which are closer to reality? Hastings psyche and now where he's hidden away the memory of his victims?

This will be the same area/land where the Fireman lives, as we will see in Part 8. We've theorized that the Fireman's is a version of the Palmers' place, or rather Billy's first victim's house. It makes sense he would then keep his victims close to the area and yet separate, all of his murders done to partly relive that first one and yet not wanting the family to know the truth about their daughter.

The purple sea is possibly related to the idea of the mauve zone, a subject which interested Mark Frost. This allows us to broach a very interesting concept within this theory and the idea that Billy is our dreamer, whom masks himself as Cooper inside of the dream. Coop is often linked to David Lynch. In The Return, we see some definite links between William Hastings, with his love of alternate realities/aliens/sci-fi with Mark Frost. Together, we believe, they create the true answer to the question "Who Killed Laura Palmer?" and that works on a meta level just as well, Lynch and Frost having killed Laura in the first place by creating her together to solely be a murdered girl.


- The only way in to the building is a large window which acts as a door. Cooper enters through the window and then closes it behind him.

Through a window was how BOB would visit Laura. She said that to Harold even in FWWM, "He comes in through my window at night." Now Cooper is seen entering through one. We have a clear connection then to BOB and Coop, without the doppleganger even. We theorize that this was how Billy got in to American Girl's bedroom and possibly his other victims as well. That is why Billy now creates a place where he stores the memories of those victims and they can only be gotten to through a window.

Inside of the room, the sound that sounded from Hastings' head, as he stroked it in the cell can be heard, once again indicating that all of this is happening inside of there.


- Cooper finds a dark haired woman, dressed in red, and staring in the direction of a fire burning inside of a fireplace, as she sits on a large couch before it. Her eyes are sewn shut. She tries to communicate with Dale but her words aren't anything we can understand and the screen keeps glitching and jutting as Cooper and she try to communicate. Dale wants to know where they are. When she feels Cooper's face it gets less glitchy but then it returns to it. A banging happens and the woman, Naido, motions Dale to be quiet.

So first off we are going to mention that fire because this is the bursting into fire part of Laura's speech and how it relates to having seen Coop falling faster and faster through space. It isn't a literal sort of bursting into fire, as we'll see Mr. C do, but it effectively shows one always burning inside of Billy's thoughts and how he condemns his victims to stay there staring at it, almost their only source of entertainment.

The room itself will be seen later, with Phillip Jeffries inside of room #8 at the Dutchman's. That raises an interesting possibility that, while Billy keeps the memory of his victims here, the Dutchman's is used to trap the FBI Agents whom were different avatars for himself too. The Dutchman's is close/identical to Billy's old home, while the victims are trapped in something like his first one's home.

And now we finally meet Betty. Only here she is presented to us as Naido, whose name is almost an anagram for Diane, if you were to spell it backwards, subtract the e and place an o at the start again. But we're believing that Betty is whom this character really is, Billy having harmed her and her being relegated to the mansion room because of it. Naido's actress, Nae Yuuki previously acted with Laura Dern, Diane's actress, in Lynch's own Inland Empire. That keeps with how we believe that Lynch was adamant that Pamela Gidley, a former costar of Sherilyn Fenn's, was to play Teresa Banks, whom we suspect is Audrey's substitute. Phoebe Augustine and Sheryl Lee were also both up to play Laura and we believe that Laura substituted American Girl.

Naido/Betty's eyes are supposedly sewn shut. This could definitely deal with her not knowing what Billy truly was and how he wishes she had never found out. She doesn't know who Dale is here, relying on her hands in a way which will be conjured later when Diane, her dreamworld substitute, feels Cooper's face as they have sex. Here, it is indicated that Naido may not recognize Dale as the dreamer/Billy because of her blindness.

Cooper asks where they are but not who Naido is. Does he know her? Or is this another indication that his thoughts are preoccupied on himself and getting "out."

The glitching links to several other cases of glitching in the series. Does that indicate time loops or the dream factor or something else entirely?

The banging sound at the door will be revealed to be American Girl's mother. We suspect that it indicates how she will soon go after Billy for the murder of her daughter and how the threat looms heavily inside of Billy's mind. Since two of Betty's avatars wrote letters, it is possible Betty even wrote American Girl's mother a letter about her daughter's death and Billy's responsibility. But why then is Naido, whom we argue is really Betty, protecting the man we believe hurt her? Well, we've just speculated that Betty might not know this is Billy's avatar she is with. We've also previously speculated that she might have partially helped her boss in some of his less than legal actions. She might still be performing that action here. Since this is all being filtered through Billy's mind, it's also important to realize that even his victims are warped by how Billy sees them, illustrated by how we theorize Laura went from sacred to profane, a source of light to dark, inside of his mind. Billy might perceive all of his victims as "loving" him, just as he might imagine they enjoy being kept prisoners inside of the mansion room, the complete opposite of the truth. Only if they retain their autonomy, as Laura did by not following the instruction to not take the ring, can they rebel against him.


- Dale gets distracted by an electrical socket box, bearing the number 15, that is emanating an electrical noise. He walks towards it, feeling disoriented, but Naido stops him, placing herself between Cooper and the socket. She makes a motion, slicing her neck and then pulls him away, although he still seems hypnotized by the socket. Naido takes him to a ladder and they climb up and out of the room through a hatch door.

The electrical noise that emerges sounds like the Arm's and Waiter's whooping sound.

The plug box has the number 15 on it. We theorize that Betty is Billy's 15th kill or attempted one. Further theorizing leads us to believe that, if Cooper had gone through this plug, he might have somehow wound up in the part of Billy's dream that dealt with his relationship to Betty's dreamworld substitute, Ruth...whom lost her head. That explains the motion that Betty gives of the head being cut off/death. At the same time, Hastings will soon lose part of his own head, the top of it, so it could also align with that.

Naido/Betty leads Cooper to a ladder, taking him away from the 15 socket he's still attracted to and the still present pounding on the door. She takes him up a ladder. Dougie/Cooper will scribble ladders on the insurance homework he's left in charge of. Billy likely used a ladder to gain entrance to his victims' rooms through the windows.


- The hatch leads to the top of what looks like an opaque (steel?) box floating in space. There is a dome shaped item on top of it and Naido tries to communicate with Cooper again, whom fails to understand. She pulls a lever on the dome and appears to be electrocuted, falling from off the box and into space. Cooper watches, alone, until the giant head of Major Briggs goes floating by, saying "Blue rose." Cooper then climbs back down the ladder into the mansion room.

This box is as closed off and impenetrable as the box in NYC is transparent and empty, maybe indicating that Billy has protected his relationship to his victims very well.

When Naido seemingly gets electrocuted, the glitches stop and the coloring/lighting appears more normal than before and less purple. The glitches also stop. Was Naido or the machine responsible for them?

Her electrocution can imitate and compliment Richard Horne's own electrocution in Part 16, watched over by Mr. C, quite nicely which only makes sense in a complicated manner: Betty is Naido whom will become Diane whom will become Linda, whom is just still Betty. Meanwhile, Dale here, whom also watches her electrocution, will become a Richard whom receives that farewell letter from Linda. Dale is Richard whom is still just Richard Horne, whom is really just Billy. Both Billy and Betty were represented in the doomed Sam and Tracey, whom both had their heads brutally mutilated by the Experiment Model. Richard and Betty then also suffer similar electrocutions. While it is often argued that Richard doesn't survive, there's a small chance he was sent somewhere else, ala Phillip Jeffries. Maybe he was waiting in Odessa for Dale Cooper to finally become him, another purpose of those tricky coordinates. Betty/Naido meanwhile falls off here and ends up in Twin Peaks, to the other coordinates.

Major Briggs just happening to float by is another thread/reminder of the headless Ruth Davenport and William Hastings storyline. His saying Blue Rose indicates his involvement in the cases, and Project Blue Book, but also seems pertinent given the fact that we believe this giant black box houses Hastings' memories of his victims, whom are blue roses to him, what he believes to be unnatural replicas of his mother, the original (red) rose. The last thing that Hastings remembers Major Briggs saying, before he lost his head, was Cooper's name. This moment now connects to that one.


- Back in the mansion room, Dale discovers that the socket now has a 3 on it. A blue rose sits on a table as another woman wearing red sits and stairs at the fire in the fireplace. She turns around and we see she looks exactly like Ronette Pulaski. She looks at her watch and the 3 socket starts making that electrical sound like the Arm. Cooper becomes transfixed by the socket.

The plug now bearing a 3, we speculate indicates we are now in the presence of William "Billy" Hastings' third victim. #1 and #2 we suspect were his father/grandfather and mother, when he burned the motel down. Although there is the possibility his mother killed their father and the other number here belongs to Billy's grandmother or someone else he might have unintentionally killed. American Girl was his first intentional murder, however.

The blue rose present indicates that this is a murder Billy committed in some way honoring his mother. Naido/Betty might not have been deemed worthy of one because her death was viewed as an unwanted necessity when she threatened him. David Lynch referred to Audrey Horne as the "flower of Twin Peaks."

Lynch seems to be directing this moment as a big reveal. Infact, it would even seem probable we were led to think this might be Audrey Horne sitting here, wearing red and having short dark hair. Cooper seems to sense it is important that this is Ronette he has found.

The character is credited as American Girl, not Ronette Pulaski, though, and that is odd because she is a woman and not a girl. However, Billy murdered her when she was a girl, perpetually placing her in that stage inside of his mind, even if he ages them within it. Which leads to the possibility that Billy misguidedly believes he is protecting/saving his victims and allows them the chance to age within his mind. Richard/Dale will likewise call the middle aged Carrie Page/Laura a girl. Audrey referred to herself as a girl in her own story, even though she too was no longer a teenager.

So we have American Girl in one room and we theorize that Betty/Naido, the American Woman, was kept in the other.

Very large possibility that American Girl is Judy. We've argued that is Audrey's real name but perhaps Billy's first victim shared his mother's name or the names sharing several letters confused him: aUDreY jUDY. It seems evident that, inside of his dream, Billy masked his first victim behind "Laura" which was strongly informed by the old movie of the same name. But her true name very well might have been Judy, and why it haunts the narrative. Judy was also the name of Lynch's girlfriend during the Kennedy assassination and Twin Peaks began as an exploration of Marilyn Monroe and her involvement with the Kennedy brothers. If Lynch saw Cooper as similar to himself, and Billy is really Cooper, Lynch might have cleverly given the name for Billy's first "girlfriend" as that of his own in relation to the Kennedys: Judy. Her name now being lost illustrates how serial killers fail to see their victims as real people, often forgetting their names. Laura Palmer said in her Between 2 Worlds interview she met many people with no names. If Billy killed as many as 9 people in between 3 - 15 that would account for the nameless people she encounters.

Now might be a good time to mention Cooper's name is inspired by infamous hijacker and ransomer D.B. Cooper, which in itself was an alias. The perfect inspiration for the dreamer to hide himself behind: we aren't meant to discover his true identity.

American Girl is aware of the importance of 2:53.

Cooper is still drawn to the plug and how it will take him away from the room. Electricity accompanies it. Dale Cooper described dreams basically in electrical terms to Harry and Lucy.


- Mr. C drives down the South Dakota highway in the scene Dale previously saw through the Red Room curtains. His clock reads 2:53 and he is visibly not feeling well. His cigarette lighter etc...is giving off the electrical sound.

The prospect of returning to the Lodge apparently physically makes Mr. C sick, something Dale, whom never discusses his home, does not experience. We theorize once again that the dopplegangers are infact more honest in a way. Mr. C is aware of the negative feelings his "home" invokes and it sickens and frightens him.

The lighter giving off the electricity connects to BOB being synonymous with fire as well as the woodsmen asking "Got a light?"


- Back in the Mansion Room, American Girl rises to her feet almost weakly. Dale is still focused on the socket, which attempts to suck him in. "When you get there, you will already be there," American Girl informs. The socket still wants to zap Dale in. Mr. C is speeding down the highway still suffering.

American Girl's words indicate that he will already be there when he exchanges places with his doppleganger, or Mr. C's tulpa in this case. However, on another level, it implies that the other Coops are still just Cooper.


- Back in the mansion room, the pounding back on the door, American Girl warns, "You'd better hurry, my mother is coming." As she watches, Dale is pulled in through the socket, his body giving off smoke. His shoes drop off.

The knocking sound demanding entrance is revealed to be American Girl's mother. This clearly involves Billy aware he is about to be hounded by his first intentional victim's mother, when she begins to suspect him in some way relating to Betty. With Sarah's bloodthirsty/odd behavior, mothers come to adorn a sinister air in The Return, revealing how the dreamer harbours a fear of them.

American Girl warning Dale of her mother, frankly sounds like a teenage girl telling her secret lover to beat it if he had sneaked into her bedroom. That's what we theorize Billy did, but it wasn't something the real American Girl probably encouraged or wanted. But, then again, this is Billy's fantasy so everything is corrupted by his delusional thinking, except for the instances of truth that always try to intercede...like the mother banging on the door.

Smoke is linked to fire and Dale is giving off smoke now.

Dale's shoes falling off are significant since Audrey's shoes were focused on when we first met her. MIKE/Phillip also makes a living selling shoes, circle brand to be exact. Why does Dale lose his shoes? Because of the rubber that doesn't carry electricity? Because he's going in sole-less? To help invoke Audrey? So MIKE/Phillip can try to sell him a new pair?


- A very ill Mr. C speeds down the road until he turns the car over, coming finally to a stop. Close to vomiting, Mr. C holds a hand over his mouth, looking at the time and the lighter in fear. He looks through the windshield and sees the red curtains of the Red Room.

The fear and horror, the pure physical revulsion that Mr. C feels over the prospect of going home is clearly conveyed. Home is not a pleasant place to him, and his being closer to the true character of Billy, and with what we've already discussed about Billy's home life, we can understand why.


- At Rancho Rosa, in a deserted house for sale, the tulpa Dougie Jones, just finished up with his rented lover Jade. Dougie's left arm is going numb and he's wearing the Owl Cave ring. Jade goes off to wash up.

And now we have a home that belongs to no one but where Dougie has escaped his own homelife to carry on a paid for affair...only he's soon going to be pulled back to his real home too and be just as sick of it as Mr.C, even if he's blocked what home exactly is from his mind.

Jade is a shade of green, like the ring.

Dougie's arm going numb with the Owl Cave Ring still links it to MIKE/Phillp whom has no left arm.

Important to note about Dougie, he's a bad husband and obviously indulges in several vices...and yet he doesn't seem all that horrible, not on the level of Mr. C. His sins are more like what's presented with the addict mother squatting in the house across the street. But Dougie doesn't seem like a rapist or a killer...and yet he came from Mr. C, not supposedly Cooper. But...if he isn't a complete monster, then why would Richard Horne be? Sure the doppleganger was his father, but if Dougie can be a copy of Mr. C and not wholly unholy...shouldn't we examine Richard a little more closely and wonder if something else is responsible for his horrible behavior and that maybe Billy has shielded that from himself once again inside of his dream? We never see Richard interact with either his grandfather or mother afterall.


- Dougie starts becoming sick, just as Mr. C is. He crawls to the bathroom but finding the door locked returns to the other room. The sockets make an electrical noise. The Red curtains of the Red Room appear and Dougie brings up on the carpet, a mixture of blood, corn and black oil. A zap and he's gone startling Jade.

The light on the floor look like prison bars. The Red Room can become a prison. Hastings is currently inside of a prison and we argue, as the dreamer, this whole Return to Twin Peaks revolves around the threat of his real identity going there.

Going home, without even realizing what is happening, causes the tulpa to become so sick he vomits up garmonbozia (pain and sorrow) plus the oil that symbolizes the Lodge and BOB, as well as blood.


- Mr. C sees the curtains and Dougie sitting in the Red Room chair behind them. He looks at the watch in his Lincoln. Suddenly he begins to violently vomit up creamed corn, black oil and blood. Afterwards he passes out.

Once again, this is how horrible and painful going "home" is to Mr. C. It actually makes him become so sick he vomits up a substance so foul it can make others whom smell it sick too. Billy's trauma becomes evident, inside of his dream, by having the worst of himself shown to be vulnerable by the threat/memory of home. This makes perfect logical sense when we realize what home is to Billy. First off, he is his mother's pain and sorrow incarnate, the proof and reminder of her constant abuse by her father. He became the embodiment of the torment of the person he loved most in the world, as well as his own grandfather's son. Then, on top of that, he was most likely abused by that mother too. She carried on the cycle with him, creating a torturous conflict created inside of him between love and fear/hate. Billy might have also been abused by his own father/grandfather as well and had to live with the realization that his mother chose their material comfort over their emotional wellbeing.


- Inside of the Red Room, Dougie, in the chair, finds MIKE/Phillip stating at him. "I feel funny," he tells him, then asks what's happening. "Someone manufactured you...for a purpose but I thinks that's been fulfilled," MIKE/Phillip answers. Dougie's left hand begins to shrink and the ring falls off. Then his head disappears and we see black smoke. A little golden ball comes out of the smoke and his clothes collapse. A thing like a rock/egg is seen with black smoke. It turns into something alive and barfing and MIKE/Phillip shields his eyes. Suddenly the black thing shrinks and is seen with the gold ball. Zap, smoke and all that remains is a tiny gold ball/bead/seed on the chair. Mike picks up the ring and the bead and places the ring back on the gold/black pedestal.

Dougie was infact manufactured for a purpose: to save Mr. C from having to go back to the Lodge. Similarly, Billy manufacturered his own "tulpa" false image, to keep himself out of his own prison and from similarly facing his past. If others believed that the respectable William Hastings was just your average sort of man, battling the commonplace vices, they need never suspect he was actually committing the worst sins imaginable.

Dougie contains both good (gold) and bad (black), complimenting the pools outside of the White and Black Lodges. It also echoes the pedestal where the ring sits. This is probably the essence of things: that each soul contains the chance for great good or horrible evil and we must find balance and acceptance of the fact. It also goes along with how we believe Billy once saw Laura as good but then transformed her into something evil.

MIKE/Phillip shields himself from seeing Dougie's darkness, that seems to be barfing. We view MIKE/Phillip as a representation of Billy's uncle/Jerry. Does this mean that the uncle had forsaken evil when he was redeemed or does it betray how he wasn't willing/able to see the sickness inside of his own family? The sick girl that is being taken to see her uncle is also vomiting, as did the Experiment when it birthed BOB.

Does MIKE/Phillip pick up the dark stone/thing when he picks up the ring or did it disappear?



- Back at the Rancho Rosa, Cooper is expelled from the socket in black smoke. He lies on his back by Dougie's barf. Jade walks in shocked, thinking he's Dougie. She asks where he got the haircut and suit. She then smells the barf and asks if he's sick, saying they need to get out of the house. Outside she becomes impatient with Coop/Dougie when he's unresponsive and without his shoes. She goes back inside to get them and even has to put them on for him. Asking if he has his keys, she finds the key to Dale's room at the Great Northern inside of his pocket instead. She expresses displeasure that she needs to give him 2 rides.

Once again, the light shining on the socket and ground looks like prison bars, linking this to William Hastings and the theme of imprisonment.

Cooper has a hole in his sock, which betrays that the perfect Cooper isn't so perfect afterall.

The barf makes her disgusted, but it doesn't have the same effect on Jade that Mr. C's does on the State Trooper. Of course, his name is Billy so...

This house doesn't belong to Dougie. That's interesting to note in a series that becomes preoccupied with the notion of home. Dougie just got sent home while at a place which wasn't his home at all.

Jade becomes like Dougie's mother, and Dougie becomes very much like a child, when she is forced to dress him. This whole version of Dougie, Billy's idealized self (Dale Cooper), going to this state could be implying that Billy is so far gone 25 years after American Girl's murder, he'd have to revert to a child-at-the-learning-stage to change who he is.

And back to the subject of homes, we find that Dale Cooper carried his key to his room at the Great Northern with him all of those years inside of the Red Room. It was presumably even inside of his pocket during FWWM and when the Arm told him there was nowhere left to go but home. The Great Northern IS in fact his home. Just as he exists as the idealized version of Billy, it existed as the idealized version of the motel where he lived with his father/grandfather and mother. Inside of his dream, and masked efficiently, Billy had reimagined his childhood living situation.

Lynch shows that Cooper stayed inside room 315, which we can now easily tie to the 3 and 15 we saw on the sockets in the mansion room, incase it was forgotten .

Jade mentioning two rides points out the sexual euphemism. That can easily connect to Billy Hastings saying he gave Betty a ride home.

- Pulling out, they pass one of the hitmen hired to kill Cooper. He contacts his accomplice, a few roads away and states how, seeing Dougie's car, their target may or may not be with Jade, whom just left.

We assume these are the precautions Mr. C took for when Coop left the Lodge, unless Phillip Jeffries is responsible for a few of them, seeing as though he wanted Ray to kill Mr. C. Mr. C probably would kill Dale himself, but he knows that would kill himself, just as Lois Duffy killing Lois Duffy eventually led to her own downfall. Some other less personal assasination needs to take place.


- Jade explains to Coop/Dougie how he should contact AAA. Coop/Dougie meanwhile stays more focused on the road sign which says Sycamore. He repeats Jade's statement about giving two rides.

Sycamores encircle the gateway at Glastonbury Grove. Hastings and Ruth similarly encountered Major Briggs at 2240 Sycamore.

Back to the Jade giving Dougie two rides bit. We theorized the entrance at Glastonbury Grove resembled the anatomy of a woman giving birth, which all started with a "ride". Did the sycamore make Dale's mind realize a sexual connection to the place? His words will also help remind us of Hastings and Betty and allow us to form another connection between them and Dale with what happens in the next sequence.


- Coop/Dougie reaches into his pocket and gets the Great Northern key only to drop it at a speed bump. This causes the 2nd hitman to think Jade is driving alone and Dougie is still inside of the house. Gene, the other hitman, states he will load up the car. See you at Mikey's the 2nd hitman says.

Coop/Dougie now is getting out the key but drops it. This serves as a fortunate event since it prevents his death.

Was he getting out the keys to the Great Northern in part because of the sycamore/Glastonbury connection and the previously discussed sexual connection? Does he recall his mother initiating him into that world?

Have to wonder if he consciously dropped the keys or not, he gives up on retrieving them pretty fast. However, without them he'll spend the next episode sadly repeating home.

So Dougie's car is about to be wired with a bomb as Jade, his mercenary mistress, gives him a ride somewhere. That flat out parallels Billy giving Betty a ride, because there was a problem with her car, and then her car being wired to explode several days later.

In the Return, it appears that you can trace everything to Betty in the same fashion you can tie most of the series events to the Hornes. They are the keys not dissimilar to the one that Coop/Dougie dropped.


- Across the street from Jade and Dougie's love nest, a little boy watches as Gene goes to wire the bomb to Dougie's car. The boy's mother shouts 1-1-9 repeatedly. She then takes some prescription medicine with some bourbon as her son eats some crackers on the couch. The mother then sits and smokes.

We see the neglected boy through the blinds; it gives the effect of bars again. He's interested in what Gene is doing, but his addict mother is more concerned. She's calling out the emergency number but in reverse, just as the Lodge spirits are apt to and as Audrey's Dance will play in reverse in Part 16. The mother is surrounded by different vices, none of which are illegal. Of interest is the Pavillion playing cards we discussed earlier, a Toys R Us brand, this kind the red counterpart of Mr. C's. She also has a diaper/safety pin open which might have been used to create the scratches on Mr. C's own card. She has a bottle of Evan WILLIAMS bourbon she pours and then seems to intentionally place it so we can see the brand. This is once again pushing the name William in our faces. A red balloon lies on the floor behind her. There will be red balloons at Sonny Jim's Birthday party as well as red balloons as Coop/Dougie looks at a cowboy statue. A red deflated/burst balloon was seen at the Johnson family household in the OG series, when Leo had turned into Shelly's husband/son. Perhaps that last one is closest to what we see here, the balloon not up as in the other examples.

Is the mother calling for help for Dougie's car, Cooper being in danger or Mr. C, whom help will soon arrive for? Or is it all 3? We can easily see this as an abstraction for Billy's mom, a single mother with problems herself. To go with our previous discussion about Dougie's vices, the addict mother apparently shares the fact that they are harmful but not as destructive as Mr. C's sins.

And here we have her son, whom seems as neglected as the boy Richard hits and kills seems adored. The boy has a red 1 on his shirt that stands out. This seems to be suggesting, despite Margaret's words being construed that Laura is the One (as in the most central), that this boy somehow is instead. And yet, we've theorized that red can mean deception inside of Twin Peaks (when it isn't trying to remind us of Audrey Horne, associated with the color). But there is a greater clue to be had with that red #1. It isn't the last time we'll see it. In Part 9, Chantal will be seen wearing the First Marine Division, an insignia given to the Marines of WWII and which is a blue diamond, with white stars in it and a red number 1 at the center, just like the addict mother's son. She wears this patch on her left arm, the side we saw as possibly being connected to the truth, and which connects to MIKE/Phillip. The Red Diamond was where Teresa Banks, Audrey's substitute worked and lived, but it was called the Blue Diamond in the script. Either Lynch had a problem with the Almond company, or, associating blue more with the truth, he knew Teresa's motel would need to be associated with Red. But in Part 9 we will see a red 1, like this boy is wearing, inside of a blue diamond, diamonds associated with Audrey Horne. Chantal was in room #7 at the Buckhorn motel, that number matching the one where Dale has sex with Diane, most probably seeing her as his mother. So in this admittedly complicated way, we can link this boy to Chantal, another mother figure for Billy. The boy here, a representation of Billy once again, was inside of the blue diamond, just like Billy was inside of his mother. Stars are occassionally mentioned in Twin Peaks too. "No Stars", a song linking a lover and dream to stars and then the desolation of them being gone - no stars - springs to mind. The song is often taken to mean Laura and Cooper, since it follows Margaret's talk about Laura being the one, and yet the song itself could easily go for Billy and his mother.

The lamp, an item which offers illumination, is missing the top half of its head. That can be linked to the corpses of Sam and Tracey we'll see in this episode and it can strongly be linked to William Hastings, whom dies similarly.

The boy eats crackers. Right before we see Mr. C's arrest report with Hastings info mixed in, Albert makes a crack about "Cooper" not having cheese and CRACKERS with him when he was arrested. It is Albert also whom will enjoy making euphemisms about Hastings lack of sanity. Crackers is slang for an insane individual.


- Highway Patrol Officers find Mr. C's crashed car. One of them, named Billy, becomes sick when he gets too close to Mr. C. The other officer helps him draw back and calls for assistance.

A BILLY approaches the passed out Mr. C, makes contact with him, smells the vomit and then similarly becomes sick. The other patrolman doesn't and neither did Jade. This Billy was also driving the car, just like Billy drove Betty home.


- At the Twin Peaks Sheriff Station Hawk becomes exasperated as Andy and Lucy try to figure out what is missing about the Laura Palmer case and Lucy eventually becomes convinced it's the chocolate bunny she ate because she had gas.

This is primarily played for laughs but there are interesting things to be gleaned from it. Hawk denying and then wondering if it is about the bunny echoes Bobby shouting at Laura that the man he killed in FWWM wasn't Mike, only to ask if it was Mike.

Despite Hawk's belief and Lucy's relief it isn't about the bunnies, they do play a curious role in Twin Peaks, at least in regards to this theory.

Cooper saw a rabbit when he first came to Twin Peaks, telling Harry about it and labeling it a cottontail. He was mistaken and Harry told him it was a snowshoe.

A few episodes later, on Ben Horne's desk, we saw a photograph of Laura and Audrey dressed as the proverbial snow bunnies, with Audrey even making bunny ears behind Laura's head. Only it was Audrey herself whom was dressed in the colors of the Red Room. She was the real bunny in question.

In FWWM, Will Hayward had a statue of a rabbit by his fireplace. BOB and abuse were synonymous with fire and we are theorizing that Billy, any Billy, was synonymous with the dreamer Billy Hastings.

In The Return, the Twin Peaks sheriff crew will find Naido/Betty at a place Major Briggs leads them too, his son, Bobby, saying,“I know exactly where Jack Rabbit’s Palace is. My dad, when I was a little kid, he took me to this place, near where his station used to be. It was our make-believe world, you know, where we made up stories. I was the one who named it ‘Jack Rabbit’s Palace.’"

And, at the end of The Return, Dale will find himself in Odessa, which just happens to be, although it's never mentioned, the home of the largest Jack Rabbit statue called Jack BEN Rabbit, after it's founder John BEN Shepherd.

So you can say...it might have been about the bunnies afterall.

Should note too that Lucy was pregnant with her son when she had gas and ate the bunny, another thread of mothers and sons.

- Out in the woods, Dr. Amp/Jacoby spray paints shovels gold with the help of a self constructed device.

This is just another wonderful moment for this theory. Here we have Amp/Jacoby involved in making shovels all nice and shiny and he's rigged a contraption made out of what appears to be bicycle tires to do it. In "Masked Ball" we saw Ben's father passing a super shiny shovel on to him during the groundbreaking ceremony of the Great Northern. And in Part 12 he reminisces about the second hand cycle his father gave to him too. Now, in this scene, we have Amp incorporating both objects which we believe the passing/giving of represented the father passing the cycle of abuse on to his son. Later on, Amp will also have a flashlight, shaped like a Great Horned Owl. Not only do we believe that the owls are the Hornes, Ben and Jerry once happily recalled their first bedroom where a girl named Louise Dombrowski (same initials as Lois Duffy) danced for them with a flashlight. Amp will also go on about a hammer and Jack Wheeler once remarked, while wearing the Red Room color scheme, how Audrey's grandfather once told him, "If you're gonna bring a hammer, you better bring nails." He was referencing it in a way that dealt with sex, making us wonder what grandpa Horne's relationship with the young Wheeler was. Later on in this episode, it's stated that a congressman planted clues in his garden to implicate the guilty. Frankly it's looking like Amp, who lives in the woods, is laying his own clues to show where the true cycle of abuse lay, and it wasn't the Palmers. Honestly, his having been both Johnny and Ben's therapist, this makes perfect sense.


- Jade drives Coop/Dougie to the Silver Mustang Casino. She gives him some money to call for help and tells him to go out now, which reminds Dale of Laura/Carrie's same words. He goes out and Jade drives off. Coop/Dougie gets trapped momentarily in the casino doors.

Ah...the Silver Mustang Casino. There's that horse theme again. We've gone through before how we suspect that Billy stole something of American Girl's after he killed her and it might have had something to do with a horse, the reason Lynch had Laura inexplicably state she used to love horses in her interview. This casino fits in perfectly with that idea...for if Billy took a trophy it was essentially a gamble. He was risking someone realizing it was gone and then finding it on him and connecting him to her murder...like American Girl's mother. Or Betty. So now we have a casino named after a horse, reminding Billy of the gamble he made and which is now troubling him.

The building (really the Commerce Casino) looks horseshoe shaped and has a horseshoe logo. Carrie Page wears a horseshoe necklace but it is inverted from the Silver Mustang logo. An upward pointing horseshoe symbolizes the collection of good luck. A downward pointing one shows the bestowing of it.

We have that this is a casino and a hotel. The only casino we knew in the original Twin Peaks was One-Eyed Jack's, owned by Ben Horne and frequented by both him and his brother, Jerry. We also have the fact that they also ran a hotel. The owners of the Silver Mustang are the Mitchum Brothers whom echo Ben and Jerry (Billy's father and uncle). Later on this whole scenario leads to Coop/Dougie clearing the Mitchums of arson which we suspect really is just Billy's way of clearing himself of having set his father's motel on fire and killing the man and his own mother too.

Cooper going out and immediately getting trapped in the doors is comedic but can connect to him remembering Laura/Carrie having told him to go out and how Laura is the door to Twin Peaks Billy has virtually become stuck in.


- Cooper shows a guard his $5 and says "Call for help" to which the guard replies, "In the back, Jack." He also points him to where he can change the bill. The money changer gives Coop/Dougie a cup of change for his $5 bill.

We got the name Jack occurring again. We theorized that Billy, who Cooper truly is, created John "Jack" Justice Wheeler after Dale became too "good" to even flirt with his attraction to Audrey Horne. In the guise of Jack, a name Billy had imagined perhaps for the father he imagined, Billy romanced his mother, Audrey, until the threat of Windom Earle had passed. Now Cooper's being called Jack, even if in passing, is important.

The concept of Cooper being made to change a bill is interesting since we theorize he's Bill-y, whom has changed himself into others, particularly Cooper, inside of his dreamworld.

The bars on the money changing place look like a prison again. Cooper looks like he's behind bars as he stands in the casino. The threat of going to prison haunts Billy in The Return, one of its main hidden motivators. A stolen horse trophy might land him there. Likewise, Billy associates his mother having cared more about the material comforts their father's motel offered, so she chose it over freedom, making it feel like a prison to him.

The fact that it is emphasized that a bill is being changed to play a game fits in nicely with this theory. Twin Peaks is a game for Billy, one created to deal with how he escaped being identified at American Girl's murderer. Inside of his game he changed into Cooper. Likewise, Billy changed himself, his public behavior, in order to not be discovered. Another interesting aspect is how at One-Eyed Jack's, Ben Horne, after unsuccessfully propositioning his daughter, states, "Next time, we will play a different game. I'll make the rules. You'll like it. Fun game. Everybody wins." Most abusers trick their child victims into believing it's only a game they are playing and this is how the abuse starts. In Part 6, we'll see a little boy playing a game with his mother that proves to be dangerous when the boy stops in the road and is hit and killed by Richard Horne. This we suspect is simply analogous to how Billy views his dark side killing what remained of his innocence. We believe that Billy's mother played "games" with him too, leading to the darkness inside of him, one Billy fostered to grow. This further deepens how Coop/Dougie answers that the game necessary for the change of bill is "Call for help." Billy was calling for help but nobody heard or listened. The game the young boy playing then, which leads to his spiritual death, can be considered a call for help. As evidenced by Annie Blackburn, another fragment of Billy, we are made aware that he was, at some point, highly suicidal. Infact, Laura Palmer's death wish was most likely Billy's own, just another aspect he projected on to her. Laura becomes a version of his victim created by Billy and so hopelessly as much a portrait in ways of Billy himself.

When Coop/Dougie leaves, the woman whom changed the bill for him looks concerned, holding her hand over her heart, as Laura did at the end of FWWM, even if it is the right one not left.


- Coop/Dougie stumbles into the casino slot machine area and watches a man win and shout "Hello". He sees an image of the Red Room with what appears to be fire above a slot machine and goes to it. "Hello," Coop/Dougie cries and he wins the jackpot. When a man says he broke it, Coop/Dougie moves on to the next machine he sees with the fiery Red Room above it.

This is how Coop/Dougie survives in this state of confusion/powerlessness: by noting then imitating the behavior of those he sees around him. It is essentially how Billy survived too, enabling him to continue his killings and avoid detection. If he acted like normal people, or repeated what they did, they would assume he was like them, even projecting themselves on to him at times, letting him get by.

That fire with the Red Room inside of it creates a nice image: The Red Room represents in part Billy's home and we believe he set fire to it, intentionally or not. Now he's seeing it at the Mitchums, whom are accused of setting fire to their own hotel, and whom we compared to Billy's father and uncle.

The first machine Billy plays has a diamond on it. Audrey was the Queen of Diamonds, her substitute Teresa worked at the Red Diamond motel and Ben was once compared to ice by his daughter, ice is slang for diamonds. Audrey and Teresa were seen holding ice.

Besides the ice, it also has the word bill all over it, just like Billy Hastings. We can see how Billy associates the dream of wealth and comfort at a cost, just as his mother was willing to pay/risk: their sanity for their material welfare. It also asks the question, if this machine accepts bills, why did Coop/Dougie then need to get his own bill changed? Possibly for the illustration/clue provided of a bill being changed?

The game is called Five & Sparklers. Sparkle is the name of the drug running rampant in Twin Peaks.



- At another machine, a frazzled old woman notices Dale/Dougie in annoyance. He caresses the coin and puts it in and wins again. A staff member comes up to him and says he's won 2 mega jackpots for a total of 24800. She goes to get him a bigger cup. Coop/Dougie points to a machine beside the old woman and she gets angry at him. He then walks away. The old woman gives a finger to the security camera. The woman returns with a bucket and the old woman tells her that the nutcake left and the staff member rushes off to find him.

The old woman, we'll much later learn, is a mother whom is able to get her life on track and reunite with her son, thanks to "Mr. Jackpots" as she calls him. Here we find her as being as neglectful and selfish as the addict mother we saw earlier. A theme of mothers and their children, particularly mothers/sons is woven throughout The Return. In some cases the mother placing her interest in self/materialism is clearly emphasized. Obviously, Billy associates this with his own mother and so it recurs. In this case, with this woman, his avatar is able to save/redeem this wayward mother just as he tried to redeem his father, in the guise of Jack Wheeler helping Ben Horne.

Jackpot is used in connection to Coop/Dougie, the name Jack specifically referenced within it. We discussed earlier Jack Wheeler's role in the original series and Billy's dream. We also have talked about how the name Jack seems to be associated in Billy's mind with some idealized idea of his daddy which masked the truth: Jack Wheeler whom slept with Audrey and was a candidate for being the father of her son before we found out the truth, Jack Rabbit's Palace being where Bobby played make-believe with his own father, One-Eyed Jack's being the place where Ben tried to sleep with Audrey.

Interestingly the term jackpot "was originally used in a form of poker, where the pool or pot accumulated until a player could open the bidding with two jacks or better." Two Jacks. Twin Jacks.


- Coop/Dougie sees several more fiery Red Rooms and wins again, causing the old woman to play the one he pointed out to her. She wins and is ecstatically thankful.

The game the old woman plays and wins is called American Slots. More ties to American Woman, this one offering the possibility that it references Billy's mother whom was the American WOMAN just as his high school interest was the American GIRL.


- In Philadelphia, at FBI headquarters, Albert Rosenfield explains to Gordon Cole a case where a congressman accused of murdering his wife claims he is innocent but can't reveal the real killer because it would breach National security. He's placed several items in his garden to help lead them to the killer. "The congressman's dilemma" Cole remarks.

This could very well apply to the dilemma David Lynch worked himself into when developing Twin Peaks. He wanted it to be about Who Killed Laura Palmer. It wasn't just a question. The show was about her actual killer. However, to reveal who that was, Dale Cooper/Billy Hastings, would destroy the series itself because it would solve the mystery and end Coop/Billy's story! The fanbase would also probably be unwilling to accept it. So Lynch found a way to secretly reveal the killer and the different reasons for it without outright revealing it. For example, in Dr Amp's scenes, you can find items hinting at Ben Horne's childhood and relationship with his father, hinting at the fact that he was abused by his dad. Or, in a scene, soon coming up, you can find a throwback to Billy Hastings that coincides/leads to his connection with Cooper.

The items left in the garden include a blonde lying breasts down among jewels as she wear little more than heels, a pair of pliers, a photo of a redhead and blonde in bikinis, a weird photo of a boy in a sailor uniform, a machine gun and beans. The photos don't have evidence tags. The evidence tags, meanwhile, states that the items, at least the pliers, were found in a car...is it the pictures then that were in the garden? The photo of the boy looks unreal/altered, just like the Brennan family photo at Lucy's workstation. Are the beans Great Northern?


- Cole instructs a young female agent, named Tammy Preston, to stay and show what she found in New York. It's the building with Sam and Tracey. She shows photos of it and the mutilated corpses of the lovers. NYPD doesn't have a clue what went on here nor do they know the owner of the building. There were 24/7 guards which they can no longer find, only Sam Colby and Tracey Barberato's bodies. 100s of digital files recording the glass box were confiscated but only a few blurred images moving were found until a shot of the Experiment Model, on the night they were killed. It disappeared as soon as it moved. No DNA etc... was found on the bodies, they were clean.

A fact of great significance here. We theorize that Billy creates a Blue Rose FBI Agent to accompany the deaths he had a hand in or otherwise played some traumatic role in his formation as a monster. Phillip Jeffries deals with how his childhood/innocent self died at the hands of his mother when she began abusing him. Albert Rosenfield involved the death of his father/grandfather, but since Billy didn't care about that particular loss, Albert was the only Blue Rose Agent not to disappear until Tammy's introduction. Chet dealt with the death of Billy's mother, camouflaged as Teresa Banks, while Dale Cooper was involved in how Billy processed American Girl's death. It led to his evolution into a serial killer, where he no longer was traumatized/affected by death and so the good Dale was locked away and the bad one set free. Now, when Betty has been potentially and messily killed, taking the form of Ruth, Billy is concerned with his freedom again. The good Dale is set free and Tammy Preston invented. But notice how Tammy is the first female agent to be inducted into the Blue Rose task force. That is because this death directly involves Billy's possible downfall at the hands of three women: Betty, Anerican Girl's mom and the "ghost" of American Girl herself. The created FBI reflects this fact, needing to be a woman to counter/reflect/deal with it.

The building in NYC seems to have more windows, though still darkened, near ground level.

Sam and Tracey are bloody (digital) messes that are missing the tops of their heads. This will link to William Hastings' own supposed death and the lamp which appeared by the addict mother's son. It also easily recalls what Red will warn Richard in Part 6, after he's questioned if Richard had dealing drugs for him under control: "Just remember this, kid...I will saw your head open and eat your brains if you f*ck me over." Billy obviously was not in control of his own situation with Betty, we reckon, when she found out about Billy's real work which began with American Girl. This also perfectly unites Billy/Betty, Sam/Tracey and Richard and Miriam. During Red's conversation with Richard he mentions to Richard Horne that he can pick up the rest of the sparkle (drugs) at someone called Mary Ann's, to which Richard seems shocked that Red knows that name and the area. Mary Ann is awful close to Miriam and that would help explain how Miriam Flynn is making extra money. Her witnessing the death of the little boy because of Richard sours their relationship, however, which could have led to Red sawing off their heads and eating both of their brains. Only Miriam gets beaten close to death by Richard first and Richard dies/disappears at the manipulation of his father. But this links Miriam/Richard to Tracey/Sam, both couples involved with having seen something they shouldn't have and being destroyed because of it, just as we speculate happened with Betty/Billy.

Tammy describes, "The bodies were violently mutilated, but no prints, no DNA, no fibers. Completely clean. Nothing." This goes along with our theory that Billy usually was very methodical in his "work". However, when Billy killed American Girl it was sloppy because it was his first intentional kill and he's aware that could lead to trouble if someone looks closer. The word clean and the whole situation can be summed up in Carrie Page's words in Part 18. "Odessa. I tried to keep a clean house...keep everything organized. It's a long way. In those days...I was too young
to know any better." Leo Johnson also had an obsession with cleaness, like in FWWM when he is showing Shelly how to keep a clean house.


- Cole's assistant notifies him that Cooper's on the phone. Gordon and Albert are shocked. They and Tammy rush into Cole's office to pick up the call. Cole asks if whomever he is speaking to is sure it's Cooper and then hears that he's in trouble. He informs them they're heading out there immediately to question Cooper at 9. Cole announces they are all heading to the Black Hills of South Dakota. The absurd mystery of the strange forces of existence. Albert says to Tammy, adding how about a truckload of valium.

The camera stays on the door as Cole, Albert and Preston enter.

There is a photograph of an atomic blast on Cole's office wall. In Cole's Portland, Oregon office he had a contrastingly peaceful photo of a lake in the woods. Now, with the increasingly dark and disturbing theme of The Return, we have a photo of destruction. A bomb is also euphemism for a devastating truth, which may be fuelling this whole tale: Billy finding out that he is his own grandfather's son, the incestuous abuse in his family, Betty discovering who/what Billy really was. American Girl's mother finding out who really killed her daughter. Abuse is also repeatedly linked to the destruction of nature: Ben's groundbreaking of the Great Northern symbolic for the abuse he suffered by his father, Ghostwood representative of his abuse of Audrey.

And here is one of the hidden clues we were discussing earlier that it is up to us to discover. As Gordon learns that Cooper is being held in a prison in South Dakota, Tammy listens with a photograph of Franz Kafka seen behind her. That should immediately remind us of Billy Hastings, also in a prison in South Dakota. And this thread will directly be followed up when the three FBI agents go see "Coop" in his South Dakota prison and Hastings info is seen in the arrest report, although nobody comments on it.

"The absurd mystery of the strange forces of existence." Well, Albert, the sad fact is that your creator is an insane, psychotic man named Billy and you are all his form of escape and entertainment. You might really need that valium.


- At the Roadhouse, the Cactus Blossoms perform "Mississippi".

Now this is a confusing but amusing song to end off on. A song called Mississippi would seem to have little bearing on the series...except for this theory where we already discussed something which could prove relevant. In the OG episode "Slaves and Masters" we were outright confused why Windom Earle was sending Caroline's wedding items to circle the state of Arkansas. That was until we discovered that the state had a few interesting things, like a Gum Woods, Caroline, Pulaski and Williams townships. It also has Little Rock. The state below it is also Louisiana, where Phillip Jeffries supposedly came from. And another state beside it just happens to be Mississippi. Infact, there is a Mississippi County in Arkansas...and there is also an unincorporated community in Mississippi called Pulaski. An unincorporated community is one which has not been recognized. Um..we saw the woman we recognized as Ronette Pulaski here listed as American Girl...and we're theorizing she's failing to be recognized as the true "Laura Palmer". We've theorized she might be Judy. Pulaski is a Polish name and there was a famous Judith of Poland, whose grandmother was also a Judith.

Some of the lyrics to Mississippi also seem relevant to the plot:

"My angel sings down to me, She's somewhere on the shore waiting for me
With her wet hair and sandy gown"

Laura's corpse on the beach springs to mind, and the angels in FWWM. Interestingly, it was Pheobe Augustine whom had Lynch introduce the angels into the plot. The angels were hers.

"You look different from way down here
Like a circus mirror I see flashes, of you on the surface."

If Billy reimagined his first victim into Laura she sure would look different. Laura referenced the circus in her Between 2 Worlds interview: "Many things happened. Many things all at once, like a circus with dark creatures at night with flickering lights..."

Another relevant Mississippi fact: a famous wrestler born there, at a height of 8 feet 2 inches and whom went by the name Paul Bunyan, was a man named Max PALMER. We've already seen Leland as both Giant and Woodsman in this theory. Paul Bunyan was the name of a famous giant woodsman.

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Part 1 "My Log Has a Message for You"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


- Part 1 begins with a swirling shot of the Red Room's chevron floor and then a focus on its red curtains.

The peaks of the floor pattern seem to be emphasized with all the swirling, dizzy motion. For the second season finale, we discussed how the red curtains could represent the female anatomy of a woman giving birth.


- We go to the scene during the original finale of Laura flicking/snapping her fingers at Dale Cooper and then telling him that she will see him again in 25 years. She then makes the symbol with her hands after telling him "Meanwhile".

The Laura's flicking/snapping fingers is something we've never found an interpretation that completely satisfies us. We've thought it's connected to the snapping of fingers that the grandson did and his intimation that sometimes things could happen "just like this". We thought that might have to do with how BOB can quickly go in and out of controlling his host. Laura does it in a different manner, however, which we believed might have indicated that she'd escaped BOB's control and retained her autonomy.

However, for this theory, and according to PopApostle, the snapping of fingers can be associated with the sign language for dog. We looked into that a little and discovered something relevant. We've, previously, connected Billy/Cooper/grandson with dogs. Cooper wanted to buy "Dead Dog Farm" and once reminded Gordon of a small Mexican chihuahua. The grandson was accompanied by the song "Black Dog Runs at Night". And Billy, whom we believe to be behind both of those characters, is in this way linked to dogs, as well. He'll also be shown with his own unique link to a dog: a wolf door knocker. So Billy is linked to dogs. Billy is also linked to bucks, as illustrated during our past analysis of the series. In FWWM, Laura clicked/snapped her fingers to order BUCK under the table. Here now she is also flicking/snapping at Dale for some reason. That's another thing: dog obedience trainers will often make some sound of their fingers to help train dogs. Is this motion actually Laura establishing her control/power over Cooper/Billy? Could she be motioning Dale to sit and stay? Is it hinting that Billy's victim actually possesses control over him, as opposed to how he killed her to exert his own control over her? We will theorize that The Return is actually about William "Billy" Hastings downfall and how his dreamworld is effected by it, causing him to scramble to "fix" things. This starting scene then can very well be hinting that Billy's victim knows she can lead to his destruction and that, no matter what her killer thinks, she still possesses the power to destroy him, even though she is dead.

We believe that Laura gives the sign of a tree, so greatly connected to the sycamores at Glastonbury Grove, where Cooper entered the Red Room, and we'll also find one at the portal to the Fireman's Home, which we'll find out in Part 8 is Laura's home too. Laura can either be signaling that the good Dale will be stuck in the Red Room for 25 years or that she will be hanging out with her "father" over at his place. Maybe it's both.

Have to also point out that we also connected trees to people in the land of Twin Peaks, especially Ghostwood (where Glastonbury Grove is) with Audrey, Billy's mom.

We'll also point out that dogs are very fond of trees. Sorry. But it's true.


- The series' segway to the credits begins with a shot of fog/mist over trees, what appears to be the mill and then finally, Twin Peaks High School.

That montage featuring the high school is a VERY important addition to this theory. We have a shot of its empty hallway, the girl, whom found out of Laura's murder, running and then Laura's photo in the trophy case. Now we argue, that Billy first met American Girl when they both went to the same high school together and that he killed her during that time too. For the return to Twin Peaks to center on the school seems incredibly significant. We also stated that we saw the introduction of Chet (an earlier FBI avatar for Billy) occurring with a group of traumatized grade school children, representing how Chet and Teresa (a substitution for Billy's mom) signified how Billy associated that stage in his life, and his mother's physical death, with his childhood self. Meanwhile, Cooper's involvement with Laura's death involved teens because Billy was a teenager when he killed American Girl. Lynch is giving a nod to this fact in the credits, before he acknowledges that this is mostly a tale focusing on adults, Billy now an adult himself. However, he is still an adult very much haunted by a childhood self he can't escape, as this series will very well display, and one stuck in his teenage years too, having become a high school principal.


- We focus on Laura Palmer's photo in the trophy case until the title card appears over her image and the famous theme starts playing.

Another wonderful aspect when viewed through this theory. We believe that Billy killed American Girl and that he might have taken a trophy after doing so. We think her mother (Sarah in the dream) might hold some knowledge about that but overlooked it. American Girl was also, herself, a trophy to Billy.

We've also reasoned that Laura was the doorway to Twin Peaks for Billy, and that this is truly what Margaret meant when she said Laura was the One: she was the door that led to Twin Peaks. Without Billy's creation of Laura, brought about by his first act of wilful murder, there would be no Twin Peaks. Having her image be what accompanies that title card appearing, for the first time in so many years, hammers this home.

- The scene shifts to what will serve as the primary motif for the credits in all other episodes: a shot that pans over the bluff of White Tail Falls and has an ariel view of it which leads to the violently blowing curtains and the swirling chevron floor.

That shot of the bluff is outright connected to the Great Northern Hotel, home of the Hornes and Cooper's too during his stay in Twin Peaks. This theory revolves around the belief that the Hornes are infact Billy's family, and that Cooper is his main avatar inside his dreamworld. White Tail Falls was also the center of the original series start credits, however, this time, we seem to be swiftly pulled down them, taken by the current, as opposed to the more peaceful credits we previously knew. That's perfect for The Return however. This is a series, afterall, about Billy's potential downfall. Why not echo that with a display of that "fall"? One we end off with the Red Room seemingly in disarray, this too intimating that Billy has lost control.


- Our first scene is in black and white, where we find the man we know as the Giant, soon to be called the Fireman, sitting and talking with Cooper, whom is sitting in another chair across from him. He tells Cooper to listen to the sounds on an old grammaphone; they sound like a weird clicking/scratchy sound. "It is in our house now," the Fireman states. "It is," Coop either asks or replies. "It all cannot be said aloud now," the Fireman says before adding, "Remember 430, Richard and, Linda, Two birds with one stone." "I understand," says Dale. "You are far away," the Fireman counters and then Cooper flickers out.

Okay, so it is very important for this scene to remember how we see the Giant/Fireman as Leland, Senorita Dido as Sarah and the Laura orb as, no surprise here, Laura. We also see them all as Billy's avatars/substitutions/representations of American Girl's family. They are all one and the same, just on different levels of "reality" to Billy. We can even outright discern, by the end of The Return, how they are in fact the same. For, in Part 17, Cooper tries to get Laura "home" by taking her to the Fireman's. Then, in Part 18, he tries to take Laura home by dragging her to the Palmer house. Why? Because it really makes no difference when they are in fact the same place, only one is more fantasy based and the other more based in reality. The reason for that is in itself simple: when Billy killed American Girl, he created a dreamworld more influenced by the fantastic to help escape that fact, and so Laura could be conceived as some otherworldly entity and he could take her to her otherworldly home. However, if Billy hadn't killed American Girl, his own fantasy world might have been less tinged with the fantastical elements, maybe having come to terms with the harsh realities of his own life instead of needing to force them on others. So we must understand that the Palmer house and the Fireman's are the same place, just viewed through different perspectives. This can also be hinted at when Mr. C entered the Fireman's and saw an image projected of the Palmer place there.

So seeing the house as the same place provides interesting clarity for the Fireman's words here. First, though, we have to tie it in to him telling Coop to listen to the sounds, since both are related. Whatever is heard on that gramophone, we reason, is the same thing that the Fireman is revealing has entered his house. What are the sounds? We are going to theorize that they are the sounds of an insect. Actually, we're going to theorize it is the sound of the frogmoth, whom we also believe symbolizes Billy. Afterall, the grandson wears a mask of it, and we have outright stated before we believe that the New Mexico girl's impregnation by the frogmoth directly is meant to be connected to Audrey Horne's conception of her son. So, the sound indicates Billy/grandson and the Fireman is telling Dale that it is in "our" house now, as in the Palmers. This receives further evidence when Richard/Cooper and Carrie/Laura go to what should be the Palmer house and find that a Tremond is currently living there, having bought it from a Chalfont; both names Cooper should recognize as belonging to the grandson he had heard about but never met face to face.

The next bit of vague information equally relates to this theory that Billy himself has infiltrated the Palmer/Fireman's home. Why? Well, the Fireman says, "it all cannot be said aloud now." What is he exactly referring to? Well, first off, if we study it, we note he uses the word "aloud" which means "with the speaking voice in a way that can be clearly heard." That is the opposite of a whisper. So, we can hazard a pretty reasonable guess that this might be directly related to whatever Laura/Carrie is whispering to Cooper in the Red Room. We wholeheartedly believe she is saying, "Don't assume (that) nobody can spot your dark suit off but me," insinuating that she knows who/what Dale really is and someone else does too. We're trying this all to the Palmers now...so we're almost positive that this falls in to our belief that Sarah, Billy's victim's mother, knew something that could incriminate him. This whole sequence will directly fit into Part 17/18. We're going to go off on what Major Briggs' Bible Reading in a missing piece led us to believe: that Billy would kill/try to kill the two women he believed had found out he was a murderer and whom were going to blow the whistle on him. Those two women, we reckoned, were his assistant Betty and his first victim's mother. Okay, so this scene is a bit of spolierage, telling us the ending in effect: that Billy, just like he did when he killed American Girl, managed to gain entry into the his victim's house for a second time and killed her mother too. Pretty grim stuff. It might also be too unsettling for Billy, whom accidentally having caused his own mother's death, might not want to acknowledge he took the life of another mother too...but it sets up perfectly the ending of The Return and that horrible scream from Laura/Carrie. Afterall, we reason that inside of his fantasy, Billy had Cooper "save" her only for her to become BOB (really just Billy haunted/possessed by the image of his father) and go "home" to kill her mother. Her equally being Billy now, seeing as though she is BOB, brings whole different layers to her traumatized scream. Laura remembers killing her mother, but on a deeper level, Billy remembers killing his mother too. In any case, "it cannot be said aloud now" is the truth about Dale Cooper himself or rather that William "Billy" Hastings is a serial killer whom started by killing "Laura".

The Fireman tells Cooper to remember three things that come into play in Part 18: 430/the distance to travel, Richard and Linda/whom he and Diane will become and two birds with one stone/how by taking Laura home he somehow thought he'd defeat Judy. The question is, though, is he telling Dale to remember these occurrences when he encounters them/to fulfill them or is he asking if he remembers having done them all before? We have to be honest, we think there is something more to 430 then we can say. Maybe we'll figure out what that is or how Coop knows it when we finally reach it in Part 18. Richard and Linda is a bit more clear cut: Cooper becomes Richard and Diane becomes Linda. That one's a little more obvious for our theory: Cooper is brought to a stage closer to Billy's truth, that he is Audrey's son, and Diane holds a clue that she is Billy's secretary. What's the clue? It's in the name itself. You see, Linda means pretty in spanish. Superfluously, Ray calls Hastings "unseen" secretary attractive; to be more precise, he uses one word to describe her: pretty. As for this "two birds with one stone" line, we guess, we can now say that Billy killed two women from the same family, and he also killed American Girl and Betty too. What the stone is we might have to contemplate.

The Fireman's response that Cooper is far away, despite his claim that he understands, could be that the Fireman is aware he is not close to understanding things at all.


- In the woods, a truck pulls up, delivering a shipment to Doctor Jacoby, whom now appears to live off the beaten path. When the driver, Joe, asks if Amp/Jacoby needs his help, the Doc tells him that he prefers to work alone.

We've got the woods. Is this Ghostwood or somewhere else?

What Amp is receiving is a order of shovels he will paint gold and then sell under the suggestion the purchaser dig themselves out. We specifically saw Ben Horne's father pass on a super shiny shovel to his son, during the Great Northern groundbreaking ceremony. We speculate that this was symbolising that Ben had been abused by his father, whom passed the role of abuser on to him when he abused his own daughter, Audrey. Each act of abuse was equated with a similar abuse of nature: the building of the Great Northern with the senior Horne abusing Ben and the Ghostwood Development project equated to Ben's abuse of Audrey.

Interesting how the Doc says he wants to work alone, after receiving his box. It can indicate the belief that only a person has the power to dig their self out of their own problems, advice Billy should follow. This statement also goes into the next scene where Sam is shown watching over the glass box, a task he is similarly instructed to do alone.

Hmmm...Dig yourself out will become Dr. Amp's catchphrase while pedaling his (fake) golden shovels. And we're about to examine The Return as falling exactly into that motto. For if we believe that the original series was all about Who Killed Laura Palmer, not a question mind you but it actually having all been about who killed Laura Palmer, then this is all about that same person still fighting being identified for that crime, as well as several others, 25 years later. For we reckon, Billy goofed up now and needs to...ahem...DIG HIMSELF OUT! It's framed as a positive slogan, but the connotations are actually disturbing. Just as Mr. C and Dale are presented as one being evil and the other one being good and yet, we'll examine how their goal ended up being the same: to silence those whom could harm them Naido|Betty/Sarah. And while we've broached the subject of Cooper being fragmented, we should also mention how The Return is meant to be one long whole, but is divided into parts...very much like Cooper/Billy is in the series itself.

Interesting to note, Amp/Jacoby has an old TV set on his property. A nod to how Billy used to watch TV all the time and how this is all a TV show inside of his mind?


- The narrative now goes to New York City where, amongst the different skyscrapers, we see one that stands out surrounded by them for its darkness, it containing very few windows, and those it does have, being closed/sealed off.

We just saw Amp/Jacoby with his shovels, which invoked the memory of Ben and his father with their own shovel. Now this sequence calls to mind something else to do with Ben. After Laura's murder was supposedly solved, and Ben lost almost everything, he started to try to "dig himself" out, as it were, even involving Jacoby eventually. We theorized this was Billy's way of trying to redeem his father/grandfather inside of his dream. In "The Black Widow," in an attempt to create resonance and clarity, Ben constructed a tower in his office, describing it as such: "You're standing in front of a mammoth skyscraper. A leviathan that rips a hole in the clouds. Now, what's the first question that comes to your mind? The first question that you ask yourself is, 'What's on the top floor?' 'Who's up there in the penthouse,
and why?' Now, that's who I am. Yeah, of course I am."

Now we have a different skyscraper, more modest in scale, and a long way off from Twin Peaks. However, we see this as being directly related to Ben's...it's his son's,! And it is now Billy, or rather a version of his psyche, that dwells in the penthouse there. If viewed this way, it suddenly also makes sense why this structure has no windows: seeing as though Billy gains access to his victims through their windows, he similarly protects himself by not allowing them. It also prevents people from seeing in to his mind.

- There appears to be one window/opening in the building afterall. It's in a glass box and a young man sits on a couch constantly watching over it, until he needs to change the memory card in one of the many cameras filming it. He catalogs the card and then resumes watching it.

The window is reminiscent of the gramophone's hole in it's own way. This might draw a connection between the gramophone's sound and this box, which we believe represents Billy's psyche. Both are holes and Lynch pointed out that what was important about the Trinity testing was how it left a hole.

Sam's watch on the box can mainly be described as robotic and routine. We believe this represents how Billy's own careful watch of his behavior is methodical, an act of self preservation so he can continue to indulge his hobby of killing innocents while being undetected. It also links to Carrie/Laura's words in Part 18, how she tried to run a clean house in Odessa, but in Twin Peaks(?) she was too young to know any better. Twin Peaks detailed in secret how Billy had killed American Girl and gotten away with it, even though he had done it sloppily. We are now a long way away from Twin Peaks however, and Billy has learned how to survive by being very strict in his behavior/ritual.

Cameras are aimed at the box. Later we will see a camera aimed at William Hastings as he sits behind a wall of glass.

Sam grabs a ladder to change the card, conjuring to mind the different ladders/steps in the series. Dougie/Coop will draw ladders on his insurance homework.


- A delivery is made to the building, a young woman named Tracey, whom has brought Sam two coffees, hoping to join him. She can't, however, a guard watching over them as surely as Sam kept watch over the box. When Sam catches Tracey trying to look as he enters the numbers to return to the room, he labels her a bad girl, to which she replies, "Try me." Sam goes back into the room where he drinks his coffee and resumes his watch of the box.

The set up is almost like a prison. A guard is there watching over Sam inside of his own box. Obviously, Billy is well guarded.

The relationship between Sam and Tracey is clearly flirtatious and we can draw this as a direct reflection of Billy's relationship with his assistant Betty. Tracey is curious and wants entrance to Sam/the room. Betty likely grew curious about her boss/lover also.

Tracey bringing the two coffees, and seeing something she shouldn't and paying for it, will be echoed in Miriam, holding her own two cups of coffee and witnessing Richard's hit and run of the small boy.

Sam's words, "Bad girl, Tracey," show Billy's own opinion/disappointment of Betty and women.

We had something to mention about the Zs and periods on the coffee but it took us so long to get here, it's gone now. Maybe we'll remember when the coffee company shows up later. It might just be, though, that Betty brought about Billy's potential ending.


- Back in Twin Peaks, Ben and his own assistant, Beverly, discuss a prominent guest whom was displeased because there was supposedly a skunk near her room. Jerry interrupts the discussion and when Beverly leaves, asks Ben if he's sleeping with her yet. Ben acts outraged and defensive. They discuss Jerry's foray into selling marijuana and how it's increased their revenue. The scene ends with Ben asking if Jerry is wearing their mother's hat.

The guest in question is a Mrs. Houseman from New York. The last scene took place in New York. We also have the fact that the word HOUSE is found in the guest's name and the question of "home" has played a strong role since our discussion of the Missing Pieces. We argued that the Great Northern, or the Red Diamond/Dutchman's which it masked, was Cooper/Billy's real home.

Besides from Dr Amp, whose own scene involved a tool we know is associated with Benjamin Horne, the first main character in Twin Peaks we see after all of these years is Ben Horne and the first place is the Great Northern. That underlines how important the Hornes, and this place, are to this story and hints how the secret truth is that they were the dreamer's family and this was his home, both gussied up in his fantasy.

Ben's Bankers lamp is clearly visible on his desk; during FWWM we pointed out the strangeness that it's lookalike was in the Palmer dining room. And now why on earth, when it's a nice sunny day outside, is every lamp in Ben Horne's office on? That's a waste of electricity and harmful to the environment. Ben's also back to smoking cigars, showing his whole "redemption" act was always built on a weak foundation or was even forced upon him.

He's apparently trying to stay away from the married and vulnerable Beverly but Jerry knows his brother better than that and that it's only a matter of time before he falls, which he will when he asks her out after a taxing call from Sylvia. Jerry, Billy's uncle and the closer truth behind MIKE, would have similarly known what his brother was doing to Audrey, Jerry's niece, if he had been allowed to stay around long enough without Ben's sending him away. It's also possible the truth was so horrifying he never contemplated his own brother capable of doing something like it.

There is a reference to Beverly being the "new girl" recalling how Ben and Jerry would try out the new girls at One-Eyed Jack's. Only Jerry now corrects himself and calls Beverly a woman. Interesting to note the parallels between Billy finding a new assistant for his father/grandfather within his dream and how that echoes his relationship with his own, Betty. Both women's names begin with BE and end in a Y.

Ben recognizes that Jerry is wearing their mother's hat. By the end of the series, Jerry will not be wearing his mother's hat. He won't be wearing anything at all after he blindly seems to accept responsibility for his nephew's destruction at the hand of the father (Mr. C)! A big theme in FWWM was wearing clothing and picking up traits of the owner. Does Jerry wearing the mother's cap and then discarding it similarly symbolize how his and Ben's mother might have suspected her husband was abusing Ben, but did nothing, or perhaps was wholly blind to it? Jerry breaks free from that when he accepts culpability for not seeing things properly, however, hence the bad binoculars.


- At the Twin Peaks Sheriff Station, Lucy talks with an Insurance agent whom wishes to speak to a Sheriff Truman, but both are confused since there are 2 Sheriff Trumans now and the agent never says which he wishes to see, the sick one or the fishing one.

Obvious confusion of identity on display as well as doubling. We also have insurance being threaded in to the narrative again. We previously argued that insurance continually appears because Billy burned down his father/grandfather's motel, killing Ben and Audrey, and the question of if it was intentional (arson) or unintentional (an accident) haunts him.

There is a very fakey photo of Andy, Lucy and Wally behind Lucy, showing, nevertheless, that Lucy is a mother. Lucy is also wearing an owl necklace and playing cards at her desk. Owls are associated with the Hornes and Audrey Horne was Billy's mom. Audrey was also seen wearing a playing card. Both of these link mother Lucy to mother Audrey.


- A long scene depicts Mr. C driving at night to Buella's as a slowed remix of the song American Woman by Muddy Magnolias plays.

Hmmm...that song. It's basically a feminstic anthem and will reoccur when Diane's tulpa has been instructed, by Mr. C, to go kill Gordon. Now, Jerry previously pointed out that you don't call a woman like Beverly a girl, you call her a woman and now we have the song American Woman playing, which to a killer like Billy is probably misogynistic fuel. We used to think that the song tied in to Audrey, and that could still be possible. However, now we have two other compelling options within the framework of this theory and the belief that The Return is about Billy's perspective downfall and discovery.

The first is that Betty/Naido is the "American Woman". We see Billy having hidden her beneath the facade of Ruth/Diane, just as he hid American Girl beneath "Laura" all of those years ago. This is plausible when we believe that American Girl sits in a room with the number 3 and that Naido/Betty sits in a room (possibly the same room at a different time and place) with a number 15. American Girl to American Woman.

Or, the second, American Woman could be American Girl's mother. She's an equal threat to Billy and also linked to American Girl.

Both make sense since both threaten Billy's freedom and we believe that this whole series is about silencing those threats and the possibility that this is the end of both Billy and his fantasies.


- Mr. C arrives at a run down shack. As he approaches it he is confronted by a guard he easily takes out.

Have to tie this guard to the one seen in the NYC penthouse with Sam, the one which will soon be missing.


- Mr. C enters the shack and sits across from a man named Otis. The guard takes a second crack at Mr. C but he knocks him out. Mr. C asks a woman named Buella for two people called Ray and Darya. He also warns her to put someone better on her door. Mr. C, Ray and Darya leave.

Mr. C sitting across from Otis could echo Cooper sitting across from the Fireman.

There are red playing cards on the table next to Mr. C.

Darya's color scheme, pink and black, mirrors Audrey's when we first met her in the Pilot. Her name also shares a few of the same letter, along with Ray's.

Ray Wise is the name of the actor who played Leland and we suspect that Ray Monroe is in fact a nod to Wise, whom doesn't appear much in The Return at all.

Mr. C's warning to Buella about the guard may directly tie to what we are about to see happening in NYC with that glass box.

Mr. C seems strangely humorless considering he was so seriously amused by the whole "How's Annie?" question. Does it reveal how much he secretly hated her/himself, since we argued she was just another aspect of Billy.


- Another night of Sam watching the glass box, only when Tracey comes this night, the guard is mysteriously gone. Sam checks the washroom for him, but it's empty. Tracey persuades Sam to let her finally into the room and he agrees, while voicing how he's not sure how she'll get out if the guard comes back.

So the guard is now absent. This easily reflects that Billy had let his guard down when it came to Betty. Does this have anything to do with Mr. C similarly taking out the guard at Buella's? Or was that instead a commentary on how Billy had let his guard down in regards to Betty, as illustrated in the NYC events?

Sam checking out the washroom recalls how the last time we saw Mr. C he was in the Great Northern's washroom.

Tracey gains access to the room with the glass box, showing how Billy's perfect little routine and watch over himself was compromised.


- Tracey sees the glass box and asks about it. Sam's not sure what it is and only accepted the job to help with school. The place belongs to a mysterious billionaire and he's supposed to watch the box incase anything appears inside of it. The guy before him saw something, but wouldn't or couldn't say what, since they aren't supposed to talk about it. Tracey asks if it's a science experiment and Sam concedes he guesses she could say that.

Right off the bat, Sam's presence there connects to school (college), linking this to Hastings and Betty, whom worked at a school (high school). We previously connected Tracey to Miriam Flynn, who herself was a nursery school teacher.

Hastings enacting this watch probably helps him survive his own role at school, where he continually might see women he is attracted to.

Is a billionaire mentioned connected to the very rich Ben? He's most probably not the billionaire but we can make a connection.

Have to wonder what was seen in the box before. It didn't kill the guy. If sex conjures the thing, was he masturbating? The guy not being able to tell Sam what it was strikes up memories of Chet not telling another Sam what the blue rose meant. Do box watchers equate in any way to FBI Blue Rose agents?

Does Tracey calling it an "Experiment" instigate where it derives its name from?


- Sam and Tracey sit down facing the glass box. Sam asks Tracey if she wants to make out. She does and the two begin to have sex. Something, credited as the Experiment Model, suddenly appears in the box and Sam and Tracey realize it is there. The Experiment Model crashes through the glass box and kills Sam and Tracey.

Whatever is happening seems connected to sex. It also will equally prove to be connected to Dale Cooper and his release from the Red Room, as we'll see later on in Part 2. This whole thing might as well also parallel Cooper and Diane's Pearblossom sex in Part 18, which holds its own magical powers .

We reason that sex inside of Billy's mind is hopelessly entwined with his mother, whom forced his initiation into that particular realm. Billy's relationship with Betty, being sexual as revealed through Sam and Tracey's attraction, probably conjured memories/fear of his mother within him.

A deeper look into Billy's relationship with Betty can actually be fully formed, however, by looking at several different dynamics all at once: Sam/Tracey, Richard/Miriam and Dale(Richard)/Diane(Linda).

Sam and Tracey display a physical attraction which leads to an intimacy between Billy and his assistant. This intimacy in return leads to Tracey, whom wasn't supposed to be there but brought coffee as a pretense to get into the room, seeing something she shouldn't and dying because of it. How does this "something" relate to Betty with Billy in this instance? We believe she discovered that Billy had killed American Girl.

Richard and Miriam hint at something conspiratory happening between Billy and Betty that wasn't entirely on the up and up. Afterall, Miriam has an overabundance of funds that her salary can't explain and she seems to be a little too familiar with the low life Richard Horne. Miriam, holding two cups of coffee, sees Richard hit and kill a small boy. He then tries to kill her to silence her, but not before she wrote a letter to the police. In this scenario, we suspect that Miriam discovered that Billy was not whom he pretended to be but had in fact killed that innocent aspect of himself when he was only a child, another aspect of Billy Betty discovered.

Now the relationship between Dale and Diane helps showcase the professional aspect between Betty and Billy. Afterall, when we knew Diane she was only ever Coop's secretary. A romantic relationship between them both only appears now, after Billy's own involvement with his own secretary we speculate. Okay, so Diane saw something wrong with Coop after he had kissed her, a smile intimated was BOB. He then raped her and brought her to a gas station, which obviously seems to be the Convenience Store. Diane isn't necessarily killed, but turned into a tulpa while her "true" self is supposedly hidden in Naido, which we contest and believe to be the opposite actually. But...anyway...We've already explained how we see tulpas as more representing Billy's feelings over individuals he saw as dishonest or two faced, those hiding something. If Betty was involved in illegal activity with Billy this could easily explain why some form of Betty was shown to have a tulpa. Betty betraying Billy and learning his secret about American Girl could also involve him seeing her as worthy of possessing a tulpa. So technically, this ultimately involves the working relationship between Billy and Betty. Diane being taken to the Convenience Store where BOB and MIKE lived while they were killing together, symbolizes how poor Betty discovered her boss' true work: being a serial killer.

However, Dale and Diane don't just stay these identities. After the bit of sex, which mirrors Sam and Tracey, in a world where Laura Palmer doesn't die, they become two different people: Richard and Linda. Now Linda writes Richard her own goodbye letter stating essentially how she is leaving him because she no longer recognizes him.

This pretty well follows the Billy/Betty story that is integral to the plot and yet sucessfully hidden behind Billy/Ruth, once again to help shield Billy from truths he'd rather not think about: Betty found out that the man she was involved with wasn't the person she thought he was and it got her written out of the story in one way or another. We can also thread the women together in a vague way: Tracey brought two coffees, Miriam bought two coffees and then wrote a letter, Diane/Linda wrote a letter too.

Okay, but now, with Sam and Tracey, what's also up with them seeing the Experiment Model? Well we drew a connection between the monster and Billy's mother. We also believe that this indicates that Billy somehow slipped up and made Betty aware that he had once killed American Girl. Maybe Betty reminded him of her. We argue that all of his victims remind him of his mother (Audrey) and yet there was probably something very special about American Girl to him, something he genuinely held real feelings for, or the shadow of them. Perhaps, Betty stirred those same feelings/remembrances inside of him, confusing him...so the memory of American Girl, shown as the Experiment Model (a smaller scaled mirror of his mother: the Experiment) appears and Billy made Betty aware of her with some slip up. Notice how Sam points out something happening in the box to Tracey. The Experiment Model appearing however ends up destroying both Sam and Tracey, in the same way to how Billy Hastings will also be killed. This basically shows how, by Billy letting his guard down and letting someone in, he winded up getting them both destroyed.


- We now go to Buckhorn, South Dakota.

We've mentioned several times how Billy Hastings lives in Buckhorn. We've theorized Billy is truly a HORNE and how he is often represented by HORNED animals, like Bucks: BUCK-HORNE.


- Down a long apartment hallway, a woman walks her chihuahua. Suddenly the dog, Armstrong, goes towards one of the doors and the woman notices a bad smell. She starts knocking frantically on the door and calling for someone named Ruth.

The fire hose and extinguisher are clearly marked, making us aware of fire, a common theme in the series linked to abuse/BOB.

The dog is a chihuahua, a dog Cole once infamously compared Dale Cooper to. Now it is the dog alerting its owner to the putrid smell in Ruth's apartment. We see Ruth as a substitution for a murdered/wounded Betty inside of Billy's dream, one still mixed in with his beloved/feared mother, and so a chihuahua (Cooper) pointing her out is marvelous.

There is a red EXIT sign and that, plus the hallway, reminds us of Dale standing in the FBI headquarters hall in FWWM, only with a green EXIT sign that time.

The dog being called Armstrong...is that any connection to the ARM?


- The woman, Marjorie Green, rushes to her own apartment and calls the police, informing them that her neighbor Ruth hasn't been seen for 3 days and how her dog alerted her that her apartment is smelling. She can't remember the address.

This is all rather comedic and Marjorie is a blast. Any symbolism to her name being Green? Probably, but not sure what.

- As she waits for the police to arrive, Lynch centers on the hallway and Ruth's door.

That stands only to reason: If Laura was the door that opened us to Twin Peaks, we think this might be hinting that Ruth is the door for our journey returning to it. But, just as Laura was really American Girl mixed with characteristics of Billy's mom, we suspect that Ruth is just Betty tainted with the same issues.


- The police arrive and Marjorie greets them, still forgetting what the addresses are. When they get to Ruth's door it is locked. Marjorie tells them Barney has the key, but he's in the hospital, and not the regular kind. The police report they need a locksmith for 1349 Arrowhead where they have a possible 10-54. Marjorie informs them that a Ruth Davenport lives in the apartment and she remembered that Barney's brother might have the key, she doesn't know him, but Hank, the maintenance guy does. She doesn't know where Hank is but she saw him out back a little while ago.

The stairs Marjorie goes down to greet the police are reddish. The gate is green. The exit door in the building is green, the sign is red...is this trying to tell us something?

We're not only focusing on doors but keys now too. It is pointed out that the man who has the keys here is possibly unwell mentally. Later on we focus on Cooper's key and the Great Northern. We suspect him, masking Billy, is also mentally unwell.

Ruth lives at 1349 Arrowhead. In pythagorean numerology that would be pretty close to "Judy" actually only the 9 would need to be a 7. But...ummm...that would make "Audr" which is darn close to starting to spell out Audrey. Marjorie even repeats the number when she gets confused. The two missing letters would be EY. Ruth, herself, is missing an EY(e).

Arrowhead...well Ghostwood had great importance to the indigenous people in the area, and Owl Cave had several maps potentially drawn by early tribes living there. We suspect the Hornes are the owls...

The cops call in a 10-54 which is a possible dead body. Funny thing is, it can also mean a hit and run, which is what Richard Horne will do with the boy playing with his mother. We argue that the boy playing dangerously in the street with his mom represents Billy with his own mom again. And since we also believe that Ruth is just Billy mashing up Betty with his mom this is significant.

Ruth's apartment is 216.


- The cops find Hank, whom seems nervous that they want him for some crime involving a Harvey. They say they just want the key from Barney's brother, whom turns out to be called Chip. Marjorie comes out revealing she has a key by asking if Ruth is out of town she's supposed to water her plants.

More comedy. Come to think of it, Barney and Chip are brothers, which might reflect Ben and Jerry. And Barney has the key for Ruth's apartment, which we just theorized Billy is confusing Ruth with his mom.


- The cops enter Ruth's apartment and find her dead and missing an eye in her bed, the covers pulled up to her neck.

Very important: Lamps offer illumination and Ruth has the same lamp that Audrey will have in the house where she lives with Charlie.

Ruth is missing her right eye. We've delved into how missing eyes might reflect how it would be better to lose an eye than to stumble and how Billy wishes his mother would have gouged out her own eye before looking at him sexually. This might also deal with Betty having seen something she hadn't. Not so coincidentally, Miriam's own right eye is bruised or missing after Richard's attack. Naido (Betty's true face) will also have her eyes shut. There is a definite theme of women whom saw something they shouldn't and the repercussions.

And, as mentioned before, the letters missing from 1349, which would help it spell Audrey, are EY(e).

Ruth's hair is red. Darya's hair is red. Sarah's hair is red. One of the models watching Audrey walk down the catwalk in practice for the Great Northern fashion show was a red head. Once again, Billy seems to be hiding his victims beneath substitutes that possess a lighter shade of hair than the dark haired beautifies he fancies. In this case, we believe Betty is hidden behind a Red Head, Ruth, and a white head, Diane, who eventually is revealed to also be a red head. Go figure.


- Hank contacts Harvey upset and still believing he sent the cops his way. He has something he seemingly got off the property, but claims it is only his and Chip's since Harvey opted out.

Not sure this has anything to do with anything, but the cops will call Ben on behest of Jerry in Part 16.


- Detective Dave Macklay comes to Ruth's apartment where coroner, Constance Talbot, is working. They roll back the bedsheet to discover that the body beneath the covers isn't Ruth's but a naked man's.

Dave shows he is wearing gloves, as opposed to the police handling the discovery of Laura's body. Apparently, Billy learned how real policemen work in the interim period.

That body belongs to Major Briggs, the same guy whom was reading the biblical passage about the Beast and how he'd kill the two people testifying against him. That would indicate that Billy killed Betty to silence her, which might reflect on Ruth's murder here too.

We've previously drawn a possible connection from Major Briggs to Billy's uncle and wondered if some relationship between Billy's mother and uncle made him upset/jealous. If Ruth is partly Audrey, and now Briggs/the Uncle is hiding under her covers, that might similarly indicate something like that.

Ruth, a woman's, head being perched on a male body which was hidden, illustrates how this is all a male dreamer, whom can hide himself beneath the female characters inside of his dream.


- A sick and dying Margaret calls Hawk and gives him a message from the Log that something is missing regarding Cooper and Hawk will find it regarding something to do with his heritage.

It's nice to see that Margaret and the log are still together. She's talking about the diary pages but...with how odd those pages are to this narrative, we're not sure how good or bad the Log's message is this time.


- Back in Buckhorn, at the local police Department, Constance checks out the prints she found at Ruth's apartment only to discover they belong to her kid's high school principal: William Hastings.

We've been talking about him for so long, now we finally receive our introductory introduction to the man himself...Billy. The dreamer. And if there's any doubt about that, look at the information on his driver's license and where he just happens to live: Elm street. Ummm...that's pretty interesting. The number also numerology wise can equal DCI...that might be Dale Cooper I. Or maybe not. Either way, if you're looking at that license, pay attention, you'll see some of Hastings info again on Mr. C/Cooper's arrest report!


- Macklay goes to the Hastings' house and arrests William Hastings, whom tells his wife Phyllis that he didn't do anything wrong and instructs her to call his lawyer, George, while she frets over them having been going to have company over for supper.

The knocker to Billy Hastings' place is of a wolf to go with the whole dog motif and to help indicate this guy is your typical wolf in sheep's clothing. It's also on his DOOR. Hastings seems like a nice guy, with a nice wife, but it's all about to fall apart and he's all a little too put on to seem exactly genuine anyway.

His wife looks kind of like Laura, her coloring identical...but we'll find out that William doesn't love her. This all goes along with what we've said: Billy doesn't like them lighter colored! It's dark beauties, like his mother, that he is attracted to, the reason Lois Duffy, the first blue rose, translates to "beautiful/superior dark one".

Since we mentioned Audrey at the fashion show, we might as well point out that one of the models she was instructing was played by a model/beauty contestant and Phyllis' actress was a celebrity debutante.

Phyllis' obsession over supper with the Morgans reminds us of Mr. C's texts about conversation around the table being lively.

As Billy Hastings is being taken away, a picture of Franz Kafka is seen on the wall of his house. Kafka, of course, wrote Metamorphosis, the story about one man's transformation into an insect. Billy transformed himself into Cooper within his dream.


- Hawk has brought some boxes to the sheriff station conference room. He requests that Andy and Lucy bring out the other files of the Laura Palmer case as they search for what's missing about Cooper. Andy and Lucy meanwhile obsess over Cooper having gone missing and his lack of contact with them following their son, Wally's, birth.

Lucy and Andy's son, one in a vast number of sons and boys seen in The Return, has issues similar to Billy's we believe...as in he pretends to be something he isn't.


- Hastings sits alone inside of the Buckhorn interrogation room. A glass of water sits beside him. Mackay, a police chief and another detective watch Hastings through the glass window. The detective, Harrison, believes that Macklay should question him because they are fishing buddies and he's known him since high school.

Billy sits holding his head. That's something he does a lot...but seeing as though this, all of the series, is happening inside of there, it must feel pretty heavy and crowded. As Lynch said about the character called Billy, the one whom frequented his art, he has "mental problems" and "a lot of different friends within him."

Billy holding his head is similar to how another William, Doc Hayward, held his own head after he thought he'd killed Ben. Ben will also hold his head after his phone call with Sylvia.

The glass of water by his side conjures thoughts of Audrey asking for a glass of water while she was at the bank, before the explosion that eventually led to her pregnancy, and before that even her hearing the guard declare, "It's a boy." We believe this is Audrey's boy, the Billy she spends much of her screentime looking for: her own son as well as her lover.

We don't see it, per se, but there would be a mirror in with Hastings, calling to mind how Cooper's doppleganger was seen at the end of the original series and Missing Pieces having smashed a mirror at the Great Northern. Mr. C will also look into a mirror, in The Return, as will Dale and Audrey.

As the police watch Hastings, on the other side of that mirror, Billy is seen behind the glass, a camera aimed at him, similar to the way the cameras were aimed at the glass box in NYC.

Macklay and Billy are fishing partners. The original series began with Pete going off to fish, when he saw Laura's body. In this series, Pete will actually get to fish. Macklay and Bill also went to high school together. This fact is made a point of. This resonates with how we believe that the original series took place during Billy's high school years, when he knew and killed American Girl. It's important to have Bill questioned by someone he went to high school with, although the actors actually have an age gap.


- Macklay enters and questions Hastings, who wants to know what's going on. Macklay asks if Bill knew Ruth Davenport and Hastings knows she's the librarian but says he didn't really know her. He also denies being at her apartment.

Macklay makes it a point to ask Billy if he got coffee, but he replies he's fine with the water, thus drawing attention to the water close to him and the connection we found to Audrey, the last time we saw her. It also links to the whole water quote recited by the woodsman in Part 8.

We learn that Ruth was a librarian. Audrey, whom will share Ruth's lamp, met Windom Earle in the library. The photo of Teresa Banks with the ring was taken by Lynch outside of a library. What more perfect mistress for Billy to concoct for himself than a librarian? Afterall, he is the maker of stories inside of his head, why shouldn't his lover, and another mixed up idea of his mother, be a librarian, those whom care for books and their stories? It's perfect! Remember too how in FWWM two stories by Williams were seen with Laura or how, the year FWWM was released, David Lynch did an artwork entitled, "Billy finds a book".

Billy is very nervous and seems to be lying throughout the discussion but note how he never asks for his lawyer while discussing Ruth. He's nervous but not wholly guilty, if that makes any sense.


- The police chief returns saying to Harrison that they almost have the warrant, but the Judge is up the mountain. As they watch Hastings say he's been mostly at school for the last 3-4 days, the Chief states that he's their high school principal, to which they both look like this is all a shocking disappointment.

Can't emphasize enough Billy Hastings' link to high school, which we previously stated Twin Peaks and Laura's case revolved around because that was when/where Billy knew the real Laura, American Girl. It's very possible, he is so in love with that time and crime that he longed to stay there to relive it, choosing to become a high school principal.

- Hastings tries to account for Thursday and Friday, claiming there was a meeting on Thursday and he had supper with Phylis on Friday. When asked about the meeting, Bill claims it was about curriculum and staff evaluation. He looks upset by what Macklay might be writing. When Macklay notices a long lapse in the time it took for Hastings to leave the meeting and get home, he inquires about it. We see what he's been jotting down now, and it's Hastings' priors etc...Bill now remembers, looking distraught, that he gave his assistant Betty a ride home, something wrong with her car. He looks disturbed at the mirror. Now Hastings asks if he could speak with his lawyer, George. When Macklay asks if there's anything else Hastings would like to tell him before the lawyer gets involved, Bill stays silent. Instead he asks what's going on. Macklay finally tells him Ruth was murdered and his prints were found all over her apartment.

The focus now is not on Ruth. That much is clear and so very important. Instead we delve into Billy's work environment...which inevitably involves Betty. Betty is finally about to be brought into things and that is when Billy Hastings begins to really fall apart.

Before Betty is mentioned, Lynch gets a clear shot of what Macklay has been scribbling down, what made Hastings curious/nervous. It's basically what Hastings has been answering but also includes Hastings' priors, which only include the misdemeanors of jaywalking and speeding. That's the thing though...when someone is linked to a crime, or a suspicious event, it causes people to look into their past to see what else they can dig up. If Billy had hurt Betty, and his relation to her was mentioned, it would cause the authorities to look into his past. Worse, to Billy, it might make American Girl's mom remember him and anything she might have forgotten about in connection to her own daughter's murder. That will be a constant concern for the dreamer throughout The Return and one of his driving forces.

Here's where things get really interesting...Billy suddenly remembers what he was doing during the time lapse. "Yeah...Yeah, now I remember. I gave...my assistant, Betty, a ride home. Something wrong with her...car, something wrong..." He's obviously distressed now more than he was before, but the conversation isn't about Ruth it's about Betty. And if there was something wrong with Betty's car on Thursday night, well, there's going to be something really wrong with it when it blows up in a few days, what with her supposedly inside of it. But that's inside of Billy's dream workings. We suspect what's really freaking the guy out so badly now is that in reality he killed, or tried to kill, Betty on Thursday night, not Ruth. It is now, afterall, that Bill asks to speak to his lawyer and seems like he finally thinks he might be in trouble about something...

Now comes the guilt. And it doesn't concern Ruth, whom we've seen having been decapitated, but Betty whom we supposedly will never see at all. Only we believe that we do. We believe if you follow that clues, you can identify her as Naido, but, just like a good magic trick, you have to keep your eyes focused on her not where you're attention is being misdirected to. See, there are two narratives at work Ruth and Betty. The dreamer wants us to becomes so fixated on the flashier Ruth Davenport tale, with its multiplied majors, alternate dimensions and floating heads that we forget Billy's words and reaction here. But if we're keeping our own head, we're supposed to stay focused on Betty's more mundane tale that seemed to involve a staff meeting and a broken car.

Something being wrong with Betty's car adds another interesting level to things. For the Twin Peaks that came before The Return, we explored how vehicles were connected to BOB's hosts, and how the woodsmen, enablers to BOB/Ben were also associated with cars. Now we have Betty's car not working right and we've already wondered if she too was a conspirator or enabler to Billy. The car not working could indicate she was turning on him and refusing to help him any longer, just like Miriam with Richard. This could also be tied to the faculty evaluation of the meeting.

Billy refuses to speak anymore until his lawyer is involved, only pleading to be told what's going on, and this refusal to answer questions once again centers on what he knows about Betty, not what he was saying about Ruth.

Ruth being a mashup in Billy's mind between Betty and his mom also makes an interesting image of his fingerprints being inside of her apartment as Billy being within her womb.


- Suddenly Macklay is instructed to show Hastings to his new room, where he can talk to his lawyer. The new room turns out to be a prison cell. Bill asks to speak to Phyllis and Macklay says he'll see what he can do.

Billy's new room is a cell. The last time we saw Dale's doppleganger he was in his own room at the Great Northern, and Dale still has the key to that room. Dale was inside of his own cell/room when he was stuck inside of the Red Room for over 20 years. The question of home will reoccur in the series often.


- Macklay and Harrison get the warrant and go to Hastings house to search it. Phyllis voices displeasure over the inconvenience, still concerned with the thwarted dinner. They ask her for the keys to Hastings car, a Volvo. She gives them to the cops. Macklay's broken flashlight turns on and off as they search the trunk of the car. When they lift the fishing cooler out, they find a lump of flesh, to which Macklay says, "Woof."

We still see that picture of Kafka on the Hastings' wall.

A question of Hastings' keys occurs and Cooper's own key to his room at the Great Northern will play a strong role throughout this season.

Macklay's flashlight is blinking, just like the overhead light did as Dale was similarly looking for evidence about Laura's murder, creating another parallel between the Ruth and Laura cases, and Dale and Hastings. Only, notice how they find the lump of flesh in the trunk of Hastings' car, the same one he drove Betty home in. Ruth was either killed at 2240 Sycamore or at her apartment, Betty was the one in Bill's car. And yet that connection will be looked over in favor of Ruth...Something is wrong here.

The lump being found under Hastings' fishing equipment both links to Macklay being his fishing buddy as well as Pete fishing when he discovered Laura's corpse.

We end the scene on a woof, keeping with the whole dog thing.


- The Fireman sits listening to his gramophone, which elicits the "sounds" plus a deep electrical hum as the credits roll.

The sound is the frogmoth we are presuming. The grandson wears a mask of the frogmoth. Bill has a photograph of the man whom once wrote a story of a man turning into an insect on his wall. The gramophone makes the noise here, as well, that seems to emanate from Hastings' head at the start of the next episode. That same deep electrical hum will also greet Cooper when he enters, through the window, the mansion room with Naido...whom we still say is just really Betty!

This is all directly tied to William "Billy" Hastings. We have the gramophone, with its hole, like the Trinity test created, as well as the ones dug by Ben and his father. Billy is both men's grandson. The hole is emitting sounds that can be linked to the grandson/Billy. He is our dreamer and all of the clues are there, but the audience finds it hard to dig deeper than the narrative he is weaving. That's just what he wants though; a magician depends on the audience accepting what they see instead of trying to find the trick. Or maybe, in this case, they simply believe that the trick was that there was never a BOB but it was always Leland abusing Laura the whole time, just another trick that the Magician longed to pull off and did. For the original Twin Peaks was about Billy having committed a murder and his desire to escape it...and this is it all happening again, as the Giant might say. In the Return, he's just committed another impulsive kill and he is scrambling to try to avoid detection/punishment, only this time, he's allowed us to see his true identity: William "Billy" Hastings. Now he'll have to "free" Dale Cooper from his own prison, as he scrambles to dig himself out, hoping to accomplish what he did that first time for a second. And there we have another essense of the name Twin Peaks.

Now it is up to us viewers to dig deep, past the crust to the mantle to find the truth to the secret at the core of Twin Peaks.

Now...Let's Rock!

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Fire Walk With Me, Part Three "Pink Room to Red"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


- At the Johnson household, Leo is teaching Shelly how to clean the tiles, imploring her "This is where we live, Shelly."

Kind of reminds us how in Part 18, Carrie/Laura says, "Odessa. I tried to keep a clean house...keep everything organized. It's a long way. In those days...I was too young
to know any better." That, we speculate, is really Billy's own concerns/thoughts about his current life and first crime: after killing American Girl, which was sloppily done, he taught himself how to be more careful. Is Leo's obsession with cleaning his house somehow related?


- Bobby phones, looking for drugs from Leo. He says he's looking for Santa Claus. When Leo shuts him down, Bobby says, "Leo Johnson, are you telling me there's no Santa Claus?" The character of John "Jack" Justice Wheeler was also compared to Santa Claus and we theorized that it was also because he similarly was just fantasy. So, yes, Bobby, we're telling you there is no Santa Claus.


- Bobby turns to Jacques whom sets him up with a friend "at the sound of sawing wood".

There is the theme of wood and tools again.


- Donna comes to the Palmer house and finds Laura ready to go out, without her. Sarah and Leland are off dancing. Laura ditches Donna to go to the Roadhouse.


- Walking towards the Roadhouse, a mostly white, but partly black dog runs by.

Gotta keep with the dog references. It might not mean anything, but then again....


- The Log Lady stops Laura right before the doors of the Roadhouse. She places a hand to her forehead and says "When this kind of fire starts, it is very hard to put out. The tender boughs of innocence burn first, and the wind rises, and then all goodness is in jeopardy." She takes Laura's right hand (does she have her touch the log?) and Laura stares at it then holds it to her heart.

Margaret's obviously talking about the BOB influence in Laura. She's intimating that it's hard to put out and seems to be indicating that it might be best for Laura to accept death rather than become BOB's host and lose all of her innocence.

Now, this could very well pertain to different things. It could be the threat of evil that had been growing in Billy and his having projected that on to Laura. It could also be any belief that Billy might hold towards his mother and how he projects it on to his victims. He wishes she could have "saved" herself from becoming like her father, before she hurt him in the same way. Projecting his mother on to his victims, he could thus see his act of killing them as "saving" them from becoming the negative "Judy" whom hurt him so badly. Many killers are under the delusion that they are saving their victims when they kill them. Billy might believe the same thing and this is why Laura's murder becomes reimagined as something good and heroic inside of his dream.

It's interesting that this is her right hand that Margaret held, the same one Leland held. Is this connected to that hand shaking in fear during the OG series and the Return, and how BOB seemed connected to it somehow? Laura also holds it to her heart, just as she did when Leland held it.


- Laura sees her reflection in the Roadhouse door and seems startled, as if seeing herself and remembering who she is. She now seems to lose the attitude she was giving Donna, returning to a vulnerable state.

Reflection plays a key role in the series and BOB's presence. Laura most likely is coming back to her senses and realizing she is still herself. That this happens in a door reflection, further strengthens the belief that Laura is truly the door herself. Can't remember if we mentioned this before, but in the second last episode for the OG series, Dale said, "Now, an object, such as a door, normally exists at a point
in time and space." In Part 10, Margaret specifically says to Hawk "Watch and listen to the dream of time and space," which directly echoes Dale's words from over two decades before. She ends the conversation by telling Hawk, "Laura is the one. You know the one." Once again, we believe she was trying to state how Laura was their DOOR to this particular dream: their world. Margaret was also tasked, in the original finale, with bringing the oil considered a gateway to the sheriff station. She seems connected to identifying doors. This makes Margaret having just spoken to Laura, and Laura seeing herself reflected in the door, even more imbued with meaning.


- As Laura enters the Roadhouse, Julee Cruise sings "Questions in a World of Blue." She moves to a table, where she sits alone and begins to cry. Eventually she notices that Donna has followed her and that Jacques wants to send two Johns her way, which she agrees to.

Funny thing about the song "Questions in a World of Blue,"...it almost sounds, lyrically, like the flip side to the song "My Prayer" which precedes the New Mexico girl's impregnation by the frog moth and accompanies Diane and Dale's motel room sex at the Pearblossom...both of which we think involve Audrey Horne in one way or another.

"My Prayer" afterall states, "My prayer is a rapture in blue." But while that song is hopeful, the lover present, "Questions in a World of Blue" seems to involve the lover's absense, or when the prayer has gone unanswered.

So...is Laura's grief her own still or a manifestation of Billy's? For it can be strongly inferred that Laura is crying over being abused...and yet the song playing is about lost love. Those two things would not apply to Laura, but Billy, we theorize, was in love with his abuser, the same person he accidentally killed, leaving him alone in a world of blue.


- Laura seems more confrontational with the two men whom come over, not exactly in the mood for them, until Donna comes over and she becomes more willing, in an attempt to scare her off. She kisses one of the men and learns his name is Buck, while Donna kisses the other one, whose name is Tommy.

We've been saying all along that Billy is often represented by a Buck...


- The four head up to Canada and a bar called the Power and the Glory, where they go to a place known as the Pink Room. Jacques is there and Donna becomes drugged.

There's a cowboy motif to the adult club. We already theorized that Billy wanted to picture his father, before he knew the horrible truth, to be some kind of cowboy: Harry S Truman, Jack Wheeler, the statue Dougie stares at. Is there any connection to this clearly sexualized sin den and that notion? Any hint of the corruption lying at the truth? Which, by the way, we won't be getting too much into analyzing the escapades during this scene, only those things of importance.


- After some general debauchery, Ronette comes walking towards Laura and they talk about the last time they saw each other and what else they did together. They talk about Teresa. Donna, meanwhile, picks up the piece of clothing Laura discarded. Jacques joins Laura and Ronette and they discuss Teresa's death, how she was going to get rich, blackmailing some guy. Jacques mentions she phoned asking about their father, which obviously troubles Laura. Talk is made about Laura and Ronette going to Jacques' cabin soon. Sitting at a table, Laura motions Buck down and he orally pleases both her and Ronette, under the table, until Ronette spots Donna being groped by Tommy and points it out to Laura. Laura rushes to rescue her drugged friend.

A bit to discuss here. The light that appears before Ronette's appearance stands out. It's electrical and tinted blue, as opposed to the red lights all around. We suspect this means, once again, that Ronette is the reality here. She was Billy's American Girl and true victim. The blueish tint to the light, connects to the blue of the tv static that appears and seems to imply the dreamer (Billy's) presence. Does the color blue reveal a truth then? Is this also what the blue dye put in Ronette's IV meant? She was the true Laura. Think of Mulholland Drive where Betty and Rita appear to both be fragments of Diane's consciousness, and when they finally open the blue box, Betty (the shell) holding it and Rita (the soul) the one with the key, they become whole.

That an emphasis is placed on what Laura and Ronette did "together" also seems to secretly indicate they are the same persom.

Donna wearing Laura's clothes and getting with Tommy also deals with what we've been discussing throughout about Billy forcing characters to adorn the roles that belong to others inside of his dream. Donna did this in the 2nd season opener.

Lynch has the music obscure the voices, as Jacques relates to her and Ronette about Teresa's interest in their dads, shortly before her death and while she had planned on blackmailing someone. This makes it close to Laura discovering the "truth" but also aids in her not wanting to hear it. We believe that it's the same with Laura/Carrie's whisper to Dale inside of the Red Room. It comes out veiled, a hint about him not being as good as his suit would suggest, and how others will spot that too; he might not understand it completely, but he still senses it isn't good. And so, it not being something he wants to accept, he is the real reason that she is exiled from the Red Room.

Laura and Ronette now escape into sex with Buck, whom goes under the table to please both women. Billy is connected to male HORNEd animals, and it can't be a coincidence that this BUCK is pleasing the two women we secretly believe are really the same person. That he's doing it with his mouth could indicate Billy being the storyteller, (re)creating both women in his dream. Mr. C fools around with the mouth of a mechanic called Jack, and we suspect this might similarly indicate how Billy was often told stories about his father "Jack" before he found out who that really was.

Laura sees Donna acting like her and doesn't want that. She rushes to rescue her, and this generally goes with the theme of people acting/becoming other people inside of Billy's mind. It also shows that, unlike Billy, Laura truly does not wish for others to hurt like she does, nor does she want to project herself on to them either.


- The next morning, at the Haywards, the girls sit on the couch. Donna has vague memories of the night before and how Laura was angry at her for wearing something of hers and Laura angrily states she doesn't want her wearing her stuff. She melts, however, when Donna says she loves her. Laura says she loves Donna too, but she doesn't want her to be like her.

More elaboration on what we just discussed, the strong theme of others being forced to "wear" something that isn't theirs within Billy's fantasy and how Laura does not want that, making her diametrically different than him.


- Donna asks why she does it and Leland walks in having a flashback of Ronette and Laura in a motel room. He interrupts the girls and takes Laura away to meet Sarah, who is waiting for breakfast.

This is obviously implying that Laura acts the way she does because of the abuse she's suffered. But we still believe that the underlying theme is that this really didn't belong to Laura but to Billy's mother instead: just like Donna was wearing Laura's clothing, Laura is now being forced to wear Billy's mom's trauma. The family name itself gives this aspect of them away: the Palmers. A Palmer is old slang for someone whom hid a card, coin etc...inside of their palm during something like a card game or magic trick.


- Leland and Laura drive to have breakfast with Sarah when suddenly MIKE/Phillip appears, driving behind them, the whooping cry that the Arm gave sounding out. Leland/BOB looks behind him as if he hears it too. MIKE/Phillip begins to weave in and out.

Interesting how MIKE first appears going under a railroad bridge, just like the one that Ronette crossed over, helping to lead to Cooper's involvement in the case. Is this another subtle reference that this is really about Ronette/American Girl?

The bridge has the numbers 12 6 on it. 6 is the number on the utility pole and seems connected to the grandson and the boy hit and killed by Richard Horne. 12 is 6 doubled. When the "Tremonds" saw Laura outside the railway crossing sign there was another sign that said 30. There's a line of numbers all relating to 3 to the grandson.

MIKE/Phillip's driving skills resemble BOB/Leland's own during his "Drive with a Dead Girl."


- Suddenly, as they near an intersection, Laura notices a distinct smell and asks if something is burning.

BOB is apparently reacting to MIKE's presence as surely as his host Leland responds to his forcing him to do things he doesn't want, the smell of scorched engine oil present.


- Behind a logging truck, BOB/Leland and MIKE/Phillip get stopped, as an old man with a walker and a woman cross ahead of them. Mike/Phillip or BOB/Leland honks the horn furiously. Suddenly MIKE/Phillip peels off to the side, going ahead. Passing the two people crossing the street, the old man stumbles, and MIKE/Phillip turns so he is facing the Palmers convertible.

Okay...so A LOT to unpack here, in regard to this theory. You see, this isn't the last time we'll see this particular intersection. It's the same one where Richard Horne will hit and kill the small boy, the one whom is playing with his mother...which we believe merely represents how an older Billy killed all the good within himself when he turned into a serial killer. What's interesting too, is the man and woman now crossing it here...what is their relationship to each other? Honestly, we couldn't find out. But if they turned out to be father and daughter that would be amazing! Because then we would have the father/daughter leading to the mother/son on the same street, which would capture what we're saying that Ben abused Audrey and then Audrey abused her son Billy in return. That this would all be happening as MIKE/Phillip pursues, and somebody honks a horn(e), just like the honking lady with the niece she was trying to get to see the uncle in Part 11 did, during another stopped line of traffic, would be further mindblowing! Because we previously likened Carl to Jerry, the uncle, and he's present when the boy dies at this same intersection in Part 6.

And all this as a logging truck is shown, the trees cut and lying on its back. Did they happen to come from Ghostwood, which we said the destruction of which was symbolic for Ben's abuse of Audrey?

This also happens to be where Gersten Hayward's apartment is, and we heavily believe that Gersten and Steven's whole relationship seems to be an incestuous one between mother and son, which accurately helps portray Billy's own troubled relationship and feelings for his mother. Gersten lives in room 208...we previously theorized that room #8 at the Dutchman's was where Billy's mother first abused him.

And, to top it all off, there's an inexplicable shot of this same intersection in season two's "Dispute Between Two Brothers" right before Cooper gives Audrey the kiss off, and seems to try to supress his wanting her.


- Laura now exclaims that something is burning, as Leland looks upset, his foot going on and off the pedal, as he states, that it's the engine.

BOB uses his host basically like a car. What he is doing to Leland is wearing out the engine, as the host tries to fight but has no control over the "driver".


- MIKE/Phillip now starts to shout at BOB/Leland, whom looks at him angrily, "You stole the corn, I had it canned, over the store."

Many see this as having to do with Teresa. You know, maybe it does, in the way that Billy doesn't want to face his pain and sorrow over his mother's death, so he constantly tries to find, and then contradictoryly destroy her, in other women. But we're going to suggest it actually has to do with Laura's death in particular here. She was offered the ring two nights ago, but took the painting off her wall. The next night she slept at Donna's. By now, MIKE has realized Laura is no longer receptive to taking the ring...all thanks to Cooper's influence and presence in the dream, something new to the past. In this way, the pain and sorrow created by Laura's death, something believed to be canned and permanent, was stolen.


- BOB/Leland starts honking the horn(e) now, still a possibility that it was MIKE/Phillip before though.


- MIKE/Phillip turns his attention to Laura now, whom notices how her "father" seems to hate this supposed stranger, and he says, "Miss the look on her face when it was opened, there was a stillness," *A black dog is shown barking* Laura looks distracted, "like the formica table top."

This is more indication that MIKE/Phillip is referring to Laura's corpse/corn than Teresa. When Will Hayward "opened" the plastic there was a look of stillness/peace on Laura's face. Stillness is not a word we associate with the expression on Teresa's face.

That dog popping up has always confused us. Now, however, under the view of this theory, we can connect it to Billy and how this represents a warning of threat, which MIKE now presents. He is trying to undo his actions of preventing Laura from taking the ring.


- MIKE/Phillip turns his attention back to BOB/Leland, saying, "The thread will be torn Mr. Palmer," another shot of the black dog barking* as BOB/Leland looks upset, screaming for the logging truck to move. "The thread will be torn," MIKE/Phillip continues.

This could refer to the story thread of BOB possessing father and moving on to the daughter. Or it might refer to the cord that BOB said he would pull to force Leland into remembering all he did while possessing him.

The dog still represents Billy's perception of a threat to where he intends his dream to veer off to.


- More horn honking and Laura looks like she has a headache. "It's him! It's your father," MIKE/Phillip screams, while showing the Owl Cave ring on his pinky to her. BOB/Leland shouts over the words, Laura screams to "Stop it." The logging truck moves ahead, MIKE/Phillip drives off and BOB/Leland pulls into the nearest parking lot, which is Mo's Motor.

Pretty clear cut. MIKE/Phillip is trying to show Laura who BOB is hiding in, possibly forcing BOB's hand in killing her. Maybe she would have realized this if she had the ring by now. BOB doesn't want her to realize this because she hasn't let him in yet. Laura doesn't want to hear it, just like Dale is equally unreceptive to her whisper in The Return.

Interesting side theory here about MIKE's motivations in all this. Maybe it betrays how Billy always thought his uncle thought he was bad, just as Ben Horne similarly describes Richard. The uncle was secretly hoping that Billy would live up to his poor expectations of him.


- As soon as Leland pulls into Mo's Motor, a mechanic warns, "Mister, mister, don't do that to your engine. You ought to take it easy, mister. You're going to burn your engine out."

Obviously allegorical to how BOB is wearing out his host, by forcing him to do things he doesn't want to, and creating holes in his consciousness. The large TREAT HIM RIGHT sign can further imply this, BOB equally abusing his host as much as his victims, which harkens back to the Log Lady's words "pain for the victim, pain for the inflicter of pain".


- Leland starts imploring to the mechanics, "Why doesn't somebody do something about this? A man comes out of the blue like that, starts screaming at you like a crazy person and harassing my daughter." He then turns to Laura asking if she's all right. Frightened, she asks if he is, and he turns to face the wheel, obviously far from it.

Leland's words are obviously how his subconscious self is feeling. Nobody is helping his daughter when BOB, another man from out of the blue (Billy), controls him to harm her.


- We now go to one of these moments when BOB took control of Leland. Having found Teresa's photo in Fleshworld, he went to her because, as he said, "Teresa Banks. You look just like my Laura."

Often this is perceived as proof that Leland was attracted to Laura, BOB/Leland's involvement with the prostitute taken solely as Leland's doing. We believe that Leland did go to prostitutes, his involvement with Ben Horne would make this more than likely, as well as his strained relationship with Sarah. However we still contend that the interest in Teresa was still BOB and BOB's alone. While around Teresa, Leland is still more acting like the BOB controlled version. Plus, people forget that BOB fed on fear and PLEASURES. David Lynch was in the room when this dialogue from MIKE occurred. So deriving pleasure from any possible source would fit in with BOB's appetite and he would be drawn to those whom looked like Laura, seeing how obsessed with her he was.

And here is the other thing...if BOB/Leland's dalliance with Teresa is used for proof of Leland's deviant interest in Laura, why then is Ben's interest in Laura, a girl very much like his own daughter, not met with the same speculation? To be honest, Teresa Banks looks far more like Sherilyn Fenn than Sheryl Lee, the features more old Hollywood and almost cat like. Lynch was also insistent that Pamela Gidley, a long time friend and past costar of Fenn's, play Teresa, accommodating her juggling this role with another although it added to the budget. We suspect it was because he saw Teresa as being the substitute Billy would create for his mother, just as American Girl's was Laura. Both Sheryl Lee and Pheobe Augustine were up for the role of Laura. Similarly, we believe the past co-stars of Nae Yuuki and Laura Dern were playing Betty and her substitution.

We speculate that this all still masks how Ben was abusing Audrey, Billy simply transplanting it onto another family, and just as Windom Earle inverted the owl cave symbol to reveal the map, we'll find the true meaning behind Teresa and Laura's connection to their murderer if we do the same: Teresa wasn't murdered due in part to her resemblance to Laura...Laura was killed due to her resemblance to Teresa! Or rather, American Girl was killed because of her resemblance to Billy's mom.


- At the Red Diamond City Motel, BOB/Leland has sex with Teresa, with BOB/Leland making arrangements to meet up with Teresa's friends.

Hmm...there's that diamond again, most commonly associated with the Queen of Diamonds herself: Audrey Horne. Interesting difference from script to screen was how the motel name was changed from Blue Diamond to Red. Once again, it is possible that Red is symbolic for something inside of the dream, while Blue is symbolic for something that leads out of it. Lynch might have changed the name for this very reason.

- Suddenly BOB/Leland places a hand over Teresa's eyes. "What are you doing?" she asks. "Who am I?" he counters. "I don't know," Teresa answers. "That's right," BOB/Leland replies, pleased, until he hears Laura saying "Dad," and turns his head as if hearing her, in the past from the future.

A few things to discuss with this. Most fans argue that Leland was in control of the abuse because, in the train car, he will say, "Your diary...I always thought you knew it was me." This kind of contradicts that, though. Obviously, some prostitute from another city would be unfamiliar with him. So it must be related to BOB somehow...but if this was just Leland, why would he be happy pretending Teresa is Laura and gloating how she doesn't know it's him abusing her, if he always thought Laura knew it was him? Which also negates them having worked on the creation of BOB in some joint effort. So it would make more sense if BOB was real, and this is him gloating that Laura can tell who he is but Teresa can't...only...that doesn't make sense either since in the train car, BOB similarly states he never knew Laura knew it was him, as the diary showed, so that's why he wants her.

Umm...so what exactly is going on here?

We suspect that actually it still doesn't have anything to do with Laura or Leland. Not really. It has more to do with Billy and his mother.

This scene actually directly ties in to Dale and Diane having sex at the Pearblossom. For it is while Diane is on top of him, that she also starts feeling his face, trying to cover it, to hide his eyes. And it is in this scene that we believe Dale/Billy is picturing/remembering/reliving his abuse by his mother, when she would cover his face so HE would not see her as she hurt him. A similar scene plays out in The Grandmother, wherein the mother begins to molest her son, but covers her own face, while doing so. That scene with Dale and Diane occurs in a cheap motel, like the Red Diamond, with Dale on the bottom. It will also be in a cheap motel where Mr. C, kills Darya, after showing her the symbol on the Ace of Spades card...he will murder her in the dominant position, on top, just like BOB/Leland is seen in this scene with Teresa. And so, we argue, no matter how crazy it might sound, that this actually has to do more with Billy and his mother...his living out some fantasy with his mother, in the guise of BOB, where he forces her to be the one on the bottom not knowing whom he is...similar in a way to how Audrey is left confused and in the dark about Billy/Richard/Dale/Charlie in The Return.

That Leland turns his head automatically, as he hears Laura, further hints that this is still all unfolding after the OG series ending, Billy creating it inside of his head. That explains how the past can so easily intrude into the future here, because, while it might be nonlinear in the dream, its creation within Billy's mind is linear.


- Leland comes out of a blank expression to Laura's frantic state. She wants to know who that was, he looked familiar and she's confused if she had met him.

Did Laura in some way recognize him as the Arm?

Leland says she hadn't meet him and then asks if she's met him, which is somewhat comical and hopeful, because he seems aware then that he doesn't know whom Laura has met and it might help explain the mess if she did.

Laura says she hasn't met him and Leland just wants to go meet Sarah. Laura persuades him to stay, however, and he does, seemingly overwhelmed and frightened himself. "I mean, a man comes out of the blue like that," he states again. "What's the world coming to?"

Once again, that's his life, basically: BOB (Billy) coming out of the blue and having him do things he didn't want to and couldn't remember.


- We cut to another instance of when BOB took control of him, going to the Red Diamond to meet up with Teresa and her girlfriends.

This illustrates again how BOB feeds on pleasure, not interested even in just Teresa, one girl, but needing more, three.


- However, BOB/Leland sees Ronette and Laura in the room and freaks out.

Lynch cuts to a shot of Leland parked at Mo's Motor, looking as if he's starting to remember this incident, which BOB obviously hid from his consciousness.


- BOB/Leland backs into Teresa, whom is holding an ice tray.

Audrey was seen holding a ice bucket full of ice in her father's brothel in "Coma". Teresa uses the Red Diamond like a brothel, and we wonder if her father runs it.


- Leland pulls her over to the side and hands her money, claiming he chickened out. Then he walks away.

Interesting how a bicycle is seen in the area BOB/Leland takes Teresa to...it recalls the speech Ben Horne gave about the second hand cycle his father gave him. This isn't green, but Teresa's ring is.

The money passing hands also goes with what we said about Billy negatively associating his mother with money. We theorize that Ben gave Audrey material comforts to allow him to keep abusing her. Ben's father giving him the bike might have been in the same vein.


- Teresa watches BOB/Leland walking away as she walks towards the room with Ronette and Laura, her wheels obviously turning.

Interesting how both BOB/Leland and Teresa are shown looking back over their shoulders.


- BOB/Leland keeps walking away (although he came from the other direction) and suddenly the grandson emerges in the hedges, close to another door of the motel. He begins to hop around in a circle. BOB/Leland looks back again and shows no interest/attention in the boy, as he leaves entirely. The boy continues to jump for a few seconds until he fades away.

So the grandson, whom we argue is Billy, is still wearing the mask he seemed to put on during the meeting. He's also jumping now, like a rabbit or a frog, conjuring up the frogmoth. He's in close proximity to Teresa, and that trailer off to the side will also have something peculiar about it. Meanwhile the Red Diamond looks over everything, still conjuring thoughts of Audrey, the Queen of Diamonds, ever since she wore that card as her father propositioned her, and she discovered he was the owner of One-Eyed Jack's...kind of like how BOB/Leland just saw Laura in the prostitute room, and Teresa suspects her John is a friend's father. And Audrey wore a white mask of a cat, so her own father wouldn't realize it was her...and now the grandson wears his white mask and hops around, as the song "Black DOG Runs at Night" plays...and this all is happening at a motel, where Teresa seems to live, just like the Great Northern Hotel is home to the Hornes.

And these flashbacks are all shown as BOB/Leland sits near the intersection where Richard Horne will hit and kill the small boy, whom had been playing with his mother...and the #6 utility pole will appear during that scene, just as it led Chet to the grandson's trailer at the park where Teresa lived. And Laura and Leland end up seeming inconsequential to it all, merely masking something that seems more easily connected to the Horne family.


- Once again, it seems as if the flashbacks are intersecting with the present scenes. For as the boy fades from the past, BOB seems to take over Leland in the present, making him forget what he seemed on the edge of remembering. The change is obvious, and as if to emphasize it, BOB/Leland touches his neck, as if he's just adorned his own mask or piece of clothing, the wearing a face element coming into effect again.


- Laura asks if he's okay, and seems to notice the change too. She's unnerved and then confrontational, asking her "father" if he came home during the day last week. BOB/Leland replies no and then shouts and swears for the mechanics, whom were no longer paying the father and daughter any attention, to leave them alone.

This can't be the same person we saw previously. Leland was begging for the help of the men in protecting his daughter and answering what had just happened. This guy is now demanding for the mechanics ignore what's going on. That's too abrupt and too big a change, with nothing happening on the outside, only in memories and thoughts. A man just came out of the blue again to harass Leland's daughter


- Laura confronts him, and he finally "remembers" he was there to get something for a headache. He questions where she was, and she diplomatically replies down the street. They pull out then to meet Sarah.

Still a huge difference in the way Wise acts Leland from BOB possessing Leland. This one's all smooth, underlying threat.


- Laura sits in her bedroom remembering the different times she saw the ring: MIKE, the Arm and Teresa. For the last two, it looks like it is, at some point, directly over the right eye. This, by the way, is the eye that Jacoby wears the red lens of his glasses over. Does the ring help the wearer to see the truth (blue) better.


- Laura realizes it's the same ring and the flashing light of BOB begins, as if to dissuade her thoughts. Laura demands, "Who are you? Who are you really?"

The light, this time, seems to come from the ceiling of her bedroom, an almost godlike view and Lynch avoids actually having BOB speak...so is this BOB...or could we go out on a limb, since this involves the ring and possibly seeing what truly lies behind the dream, and surmise that Laura is actually talking to Billy...the dreamer? For that's who is even behind BOB/Leland. Is Laura smarter than suspected because she, a creation of the dreamer, is seeing her creator himself?


- Cut to BOB/Leland pacing the Palmer living room. He is remembering Teresa's death.

Now this is the ONLY time that a fire is seen hosted at the Palmers...that is extremely odd if BOB was really living there...and this fire only appears as he is remembering murdering Teresa. Remember we speculate that Billy actually killed his mother in a fire and Teresa, a substitute for him mom, helps in allowing him to deny this. We can then possibly link this fire and Teresa, and the fires seen for Audrey, Sylvia, American Girl and Naido/Betty.


- We revisit the TV shown at the beginning, the blue static, a whooping sound heard, then bounce back to BOB/Leland stopping his pacing as it fully goes to the Flashback of Teresa's murder.


- We see the TV set again and hear the whooping noise, seeing it suddenly stopped as BOB/Leland smashes the set.

The electricity represents the underlying thread that this is a dream, Billy's dream, partially influenced by his addiction to entertainment. Yet, here, within the dream, it is being linked to the whooping sound, that accompanied MIKE, the Arm and also the waiter/Giant from the OG series. We theorize that the curious woman whom was at Teresa's trailer was trying to transport through the electricity of the TV set, as Phillip Jeffries did to enter the FBI Headquarters, to save Teresa but was prevented when the TV was smashed. It would explain the damage she had incurred. It would also translate, outside of the dream, to Margaret's role in trying to help Laura and the woman in the car's attempt to get the sick niece to her uncle. This really just indicates that someone, whom all three women represent, tried to help Billy's mother and yet similarly failed. Perhaps her failure ended the real dream of a better life, Billy held.


- Teresa is seen tied and in her waitress uniform inside of a trailer we never saw.

That explains the missing TV set at Teresa's trailer in the Fat Trout.

- BOB/Leland violently strikes her with the pipe, killing her.

Okay. A lot of things that are important here. Teresa has been tied. She's in another trailer...this is the trailer of the grandmother and grandson. That is why Chet was led there...only according to shooting information it wasn't the trailer at the Fat Trout trailer Park where the murder scene was filmed...it seems more likely it was in that trailer we saw as the grandson hopped around at the Red Diamond motel. Other information shows that Teresa was supposed to be killed in her room at the Red Diamond motel before Lynch decided to move it to the Tremond's trailer...and wherever it was, the Red Diamond or Fat Trout, it is listed as being the Tremonds trailer.

So that makes it seem likely they were the ones whom tied her up...which also seems likely then that they were the "THEY" in the "They had me kill that girl Teresa," Leland was referencing as he was dying. Which seems to indicate that he was telling the truth and FWWM wasn't intended by Lynch to discredit Leland Palmer but to confirm what he said. It also seems to suggest she wasn't just murdered because she was blackmailing him. Afterall, the Tremonds help in Laura's death for whatever motivation they have. But what is exactly going on? Why does there seem to be two events going on at once? One where Teresa was staying at the Red Diamond and murdered there and the other where it was at the Fat Trout where she was staying? What if Billy is further distancing Teresa's death from his mother's and he "reimagines" it occurring nowhere near the Red Diamond/Dutchman's but at a trailer park instead...and this was the reason for the two light switches seen beside the curious woman whom visited Teresa's trailer at the Fat Trout?


- The next day, Laura gets out her not secret diary and snorts some coke from her safety deposit key.

This was supposed to happen on Johnny Horne's birthday, which was also to include the only mention of Audrey (We're not gonna talk about Judy, we're going to leave her out of it) and appearance of the Hornes until Richard Beymer didn't want to do it. But we'll focus on the fact now that this is Laura with a key to the bank, when Thomas Eckhardt's key to the bank helped lead to Audrey becoming pregnant with her son. We think Johnny, whom is Audrey's brother, stuck in a childhood state, might be another representation of Billy, whom was also his mother's brother.


- Laura walks through the school, where she approaches Bobby for more drugs. He gives her some to help tide her over, but says they will make a big score that night.

Nothing much to point out here but the fact that Laura is carrying a copy of William Saroyan's "The Human Comedy." That's another example of another book that seems unlikely for a 1980s teenager to read in high school, but another story written by a "Billy" to go along with "The Rose and the Ring". This one is about a 14 year old boy growing up during WWII, hardly connected to a 17 year old girl. We suspect, however, Billy first saw American Girl at school, when he was 14...and both stories written by Williams, Laura has in direct relation to school. In 1992, the same year that FWWM was released, David Lynch released a piece of art entitled, "Billy finds a book." Several times, Lynch featured this Billy in his art. We believe this Billy finding his book was another piece in the Twin Peaks puzzle. Twin Peaks might have been the book he found.


- Bobby and Laura get high as they wait for Jacques' connection, who turns out to be Deputy Cliff from Deer Meadow. When Cliff draws a gun, however, Bobby shoots him. A distraught, yet still high, Bobby first tries to bury Cliff then gets out of there with the laughing and very high Laura in tow.

Here's another instance when the JL scribed diary gets contradicted. Bobby's murder of Cliff is nowhere near her account of Bobby killing a guy.

The odd thing about this scene is Laura's insistence, out of nowhere, that Bobby shot and killed Mike. Why did she confuse Cliff and Mike? And why does Bobby even begin to think it is Mike? More misplaced identities? Foreshadowing that when Laura wears the Owl Cave ring she will pledge herself to MIKE and so BOB killing her is partly him killing MIKE? What does it mean?


- James comes to the Palmer house and speaks to Laura while on his motorcycle in front of it. He can tell that she's back on drugs, while Laura seems nervous, BOB/Leland appearing and watching from the front doorstep.

Okay, so this is the thing...why, if BOB/Leland is this possessive and watching over Laura and her interactions, WHY was she allowed to partake in so many social activities to begin with, ones that didn't involve him or her staying close to home? Meals on Wheels, tutoring Johnny Horne, tutoring Josie Packard...the whole town knew and loved Laura but that makes no sense with what we see here or how abusers usually operate. They isolate their victims and keep them close to home...just like Audrey Horne was kept sheltered at the Great Northern. SHE was the one with no boyfriends we knew of, and Ben seemed threatening towards any men that were interested in her. Why, we saw Laura freely able to walk to school with Donna, but Audrey was chauffeured their in her father's limo. The abuse narrative fits the Hornes, on the Palmers it still feels out of place.


- Laura snorts more cocaine as BOB/Leland brings Sarah drugged milk, which she hesitates in finishing until he urges her to. BOB/Leland then goes and turns on the ceiling fan, as Laura looks like she knows what's coming.

Sarah definitely suspects something but takes the drugged milk.

The ceiling fan...what does it exactly mean? Well, here it could help clear some of the smell of scorched engine oil. The Return will offer a different option, however, since, from the ground, looking up into Laura's bedroom, one can see the fan when her door is open. Billy being her "fan" might have waited to crawl into her bedroom when he couldn't see the fan.

We could say that fans sound like wings, but owls fly silently.


- Sarah sees the white horse in her bedroom then becomes unconscious.

The horse usually foretells death, Sarah seeing it before Maddie's death. We theorize that Dale seeing it in a vision in the Red Room foretells the death of Billy's dream of Twin Peaks, perhaps of Billy too. This most likely links to Laura's death, since we also hear Sarah calling for Laura. But there are some other strange occurrences with horses, Laura's words that she used to love them in the Palmer family interview, the one outside of Judy's, or Carrie Page's statue of one, or her horseshoe necklace. There still may be the option that Billy took a trophy of a horse from American Girl, and that ties in to Sarah constantly seeing both a horse, BOB in Laura's bedroom and the necklace being stolen.

Another thing that stood out in this sequence was how bright that owl lamp is. Owls, we reckon, stand for the Hornes, and it's what this theory takes its name from. Lights offer illumination. The Palmers dining room has a lamp similar to Ben's banker's lamp. But getting back to that owl lamp...in The Return, Dr Amp has a flashlight he calls a cosmic one, and which he says this about: "We're sinking down deep in the mud, and the f***s are at it again! The same, vast, global corporate conspiracy! Different day. You can't see it without a cosmic flashlight. Guess what? I got one. Oh, yeah. And its beam, it penetrates the igneous rock of ignorance." Guess what that flashlight is shaped like? An owl. And Amp also sells a golden shovel...we saw Ben and his father groundbreaking the Great Northern with their own super shiny shovel. So the truth, Dr. Amp suggests, seems linked to items we believe deal with the Hornes. Even the rock mentioned, can coincide with Richard Horne meeting his demise on a giant rock, he ignorantly followed his father's advice and went up on.


- Laura waits in bed, the lightning/electricity of BOB starts, Laura gets hot and bothered, BOB crawls in through the window and begins to have sex with her. Laura asks him who he is throughout it, until she finally sees Leland and screams in horror.

We have the light flashing and BOB entering through the window, both things we saw actually connected to Coop. When Leland went to identify Laura's body, the light wasn't flickering. When Cooper examined her, it was. That bit about the light not flickering when Leland identified his daughter's body is odd when comparing it to this scene where Laura is trying to identify who BOB is and it's Leland...more indication this is happening AFTER Billy framed American Girl's dad for her murder? Cooper will also be seen entering the mansion room through its window.

How much of this is consensual or not is actually up for debate. Laura does seem genuinely drawn to it...which could be how Billy felt with his mother. She only becomes outright horrified when she sees it's her father, something Billy similarly faces over his feelings for his mother, not willing to acknowledge them. If Laura was falling for BOB, though, that goes out the window he crawled in through when she sees Leland.

The question of who is BOB once again seems directly related to Mr. C's question of who is Judy.


- The Palmers have breakfast the next morning and Laura seems traumatized, while Leland seems concerned for her but oblivious to the previous night's events. We kind of think if he was aware of it, he'd be more worried/defensive. When Laura flees to her bedroom, Leland follows, urging Sarah to stay at the table where she smokes. In Laura's bedroom, Leland asks her if anything is wrong and she just gets her books for school, before telling him to stay away from her. Leland looks confused by this until she's gone and BOB takes over him, looking upset and like he knows he has to act fast.

Once again, if Leland remembered BOB possessing him, we find it hard to believe he'd be so bold or stupid to walk into the same room his daughter screamed into his face after seeing him.

Laura also doesn't seem to particularly believe in BOB anymore, she just thinks it's Leland.


- While sadly walking to school, Laura looks to the overhead wires, and flashes of the tv static/electricity can be seen. Billy the dreamer's presence. We can think of Richard being electrocuted, or Cooper crossing past the wires in Part 18.


- At school, Laura is devastated but time moves on/and strangely and nobody notices her pain, leading up to a shot of her empty desk, which will remain empty in the Pilot.

Come on...This is pushing it a bit. James, Donna or the teacher would have noticed Laura's pain and done something. You can't get us to believe those characters would have just ignored it. Possibly the unpopular Billy is projecting this, having felt nobody noticed a pain he desperately kept to himself.

Ahem...Audrey isn't at school. But we're still leaving "Judy" out of it so that makes sense.

- Laura goes to Bobby's and wants more drugs, while he seems more focused on sex. He demands to know where she's going, and she says, "I'm going home, Bobby," in complete sadness over what that means now. Bobby realizes she doesn't love him, but is only after the drugs. He still gives it to her, obviously loving and caring for her greatly.

And herein falls one of the greatest themes in Twin Peaks that goes both realized and unrealized: how a home can become a tree of sores.

But...there are still some problems with applying this theme to Laura.

Not only was she not kept isolated in that tree of sores, as questioned earlier, neither did she try to run away from it. There is no way that she could have blocked out all of the anger and resentment she would have harbored for her parents. Even if we suppose she blocked BOB's identity, which we don't, there would have been the negative emotions felt for her parents seething beneath the surface, like how they didn't know some strange man was abusing her in her bedroom at night. With those feelings, she would have run away. That's another thing, the depiction throughout this film, and the series, that Laura could juggle all of this stuff is incredible...not to mention impossible. She went to the Roadhouse, a well frequented place by EVERYONE in Twin Peaks and no one caught her prostituting herself. What's the likelihood in that? That's the thing...most abuse workers run away from home and then become fully involved in the sex business, sex no longer meaning anything to them...but they do it as a way so they do not to have to go home. Laura's story is all off...she's selling herself while she's still at home, and there is no indication that she's ever tried to run away, even though she's 17 years old.

Now Audrey on the other hand...It is canonically shown that Audrey Horne has complicated feelings for her parents and a LOT of anger directed towards her father. It is also stated in canon that she has frequently run away from home, even though she supposedly is a spoiled little rich girl whom had everything she could ever want. Why would she run away? But it was stated she had, by Ben to Cooper infact: "Well, like I told you, Audrey's gone missing before on a semi-regular basis." That bit of dialogue is in the show, what he's referencing was a cut scene though, one where Ben implored Harry to keep Audrey's disappearance quiet, saying "Audrey has a penchant for the dramatic. The unexplained disappearance, is, after all, a part of her repetoire." Why was Audrey running away and why did Ben want it kept quiet? Even when talking to Donna in the high school bathroom, she centered on the hope that Cooper would take her away and when Donna made a joke about her joining the circus she focused less on the cruelty of the implication and more on the escape it would offer.

And then we have Special Agent Dale Cooper himself. A man we've never supposedly seen the actual house of and yet whom sees preoccupied in returning Laura Palmer to her own, be it the Fireman's or the house in Twin Peaks. And yet his doppleganger confesses, "I've never really left home, Gordon." That same shadow self, plus his tulpa, both vomit up violently a combination of creamed corn and oil, so toxic it puts a SOUTH DAKOTA state trooper named BILLY in the hospital, on the threat of going home (the Red Room). And then, when Dale Cooper emerges from the Red Room, we discover that he always had his room key to the Great Northern hidden inside of his dark suit's pocket.

No. Neither he nor Mr. C ever left home, we suspect, because both of them are actually Billy, and no matter how hard he tried, he never escaped the place where he lived with his mother (Audrey) and his grandfather/father (Ben). It didn't matter what he called it, The Great Northern, The Red Diamond, the Dutchman's...he was always there, always abused, always tormented, always suffering. And so he learned to project that on to others, like he does with Laura, or make his victims feel his pain, like American Girl instead.

That, unlike Laura whom never seemed to try to physically leave, was how he tried to escape it. Maybe by even trying to physically destroy the place, a fact he can't even accept so he finds ways to exonerate himself inside of his fantasy world, or pretend it still exists.

But Laura...none of these belong to her. Because this isn't really her story. This was the one that Cooper/Billy tried to push on her. Just like when he tried to take away her control by telling her not to take the ring, and which she regains when she doesn't listen to him. Even years later, when he tries for a second time to steal her autonomy, it will still be Laura whom reminds Richard/Cooper/Billy that he needs to face his own demons instead of pushing them off onto others: "Did you find him?...You didn't find him...You got the wrong house, mister."


- Laura says goodnight to Sarah, more or less as Sarah described it in the Pilot.


- In her bedroom, still high, Laura tries to put on the finishing touches for her arranged meeting at Jacques' cabin. She receives a call from James, whom wants to meet up with her, and she tells him in 15 minutes, which she regrets after hanging up.

Laura is having trouble putting on her stockings throughout this scene. They aren't shoes, but related to them and feet, and so we can probably be ridiculous and suggest that the stockings don't fit...just like this whole narrative for her. If the stockings don't fit, don't wear 'em.


- When she gets off the bed, Laura goes and looks to the angel portrait. In shock and sadness, she watches as it disappears.

Okay, so obviously Laura is feeling doomed about now. She also seems to believe that it is just Leland abusing her at this stage and that BOB isn't real. So with this in mind, she probably assumes she's already "corrupted" and that's the worst of it. Narrative wise, for Billy's dream, this means she's vulnerable for possession by BOB because she no longer believes in him. And BOB is real within the construct of Billy's dream. Outside of it, he is an imago and the way Billy sought to frame an innocent man for his own crime, but within it, right now, he is what Laura told Harold he was. So she's in danger, the reason why the angel disappears...

But is that the only reason it does?

The last time she focused on it, the first we saw of the painting infact, it was when she asked if it was true that her father was the one hurting her. We think that the painting being shown here again is indicating that Laura is not right when she believes her father is guilty. It's essentially a version of the hot and cold game. Laura asked if it was true, now, when she believes it is, the angel vanishes. She's wrong, in other words and the angel is trying to let her know.


- Laura sneaks out of the house, hoping on to the back of James' motorcycle, but BOB/Leland is watching.

This is where it's illustrated again that heightened, exagerated level of menace that loses a certain realistic quality. It's over the top and more like a melodrama, and yet, if the last part of Mulholland Drive, before the ending, is any indication, David Lynch understood what was realistic and was not. BOB/Leland doesn't seem real. It seems more imposed. That's still because we argue this is Billy's "story" his construct and his brain isn't entirely a rational, unbroken thing. He's making it like a grotesque fairy tale.



- James and Laura stop the motorcycle at some point and start to talk, where Laura is just as erratic as Hurley stated in the Pilot. When James asks, "What the hell is wrong with you?" she replies, "That's right. There's no place left to go, is there, James?" She obviously feels already damned without threat of being possessed by BOB, more indication she possibly believes she's only making him up. She alternately mocks James and loves him. At one point she says "He might try to kill you,' probably meaning BOB/Leland and then she looks into the woods and she screams.

Big point here: we found out from The Return that, at least in one reality, Laura was screaming at Dale Cooper...and since we've always said he masks Billy, the inventor of BOB, well, that makes sense.


- Laura tells James, "You don't even know me. There are things about me...Even Donna doesn't know me. Your Laura disappeared. It's just me now."

Laura feels divided. That, once again, is practically what we said Billy did after murdering American Girl, and why Cooper is too pure and perfect. Her disappearing also reflects the angel having disappeared in the painting possibly. This talk where she suggests she is someone other than Laura can also help make sense of why Phillip Jeffries tells Coop, in Part 17, he'll take him to Judy and instead brings him here, to this moment. Laura's not seeing herself as herself now, and could represent the mixup Billy has in his mind concerning his victims and his mother. Laura will soon also run into the woods of Twin Peaks, which we theorize Billy sees as his mother. Cooper approaching Laura THERE and trying to take her to "safety", then takes on new chilling meaning when we contemplate the theory that Billy partially sees himself as saving his victims.

Also, in the series, Audrey told Jack, "I don't think anybody really knows me," which mirror Laura's words here.


- Laura wants James to take her home but she hops off at the intersection at Sparkwood and 21 (21 being related to 3, keeping with the 3s connected to the grandson), seemingly heartbroken. She screams out that she loves him before running into the woods.

Laura screaming out her love for James feels like an act of defiance. Billy also probably took American Girl's involvement with another man as an act of disobedience.

As mentioned before, the woods are most likely Ghostwood, a representation of Audrey and her abuse at Ben's hands.


- Laura meets up with Jacques, Leo and Ronette and they go to the cabin, where a fire burns brightly as they engage in drugs and sex.

Fire, of course, is synonymous with BOB and abuse in the series. We also link it to destruction by Billy's hands.


- Ronette and Laura put on lipstick, Laura passing the same lipstick and mirror for Ronette to use.

More hints that these two girls are the same person in actuality. Any connection to Teresa's and what was used to write on Chet's car's windshield?


- Laura is tied up against her will, BOB/Leland peers in through the window and then disposes of Jacques, which freaks Leo out and he runs off. BOB/Leland comes in terrifying Laura, as they scream in each other's faces, BOB/Leland in joyful fury, Laura in fear.


-Waldo's cage is seen in the background as BOB/Leland and Laura scream. This is possibly an illustration to how BOB intends to "cage" her as his new host, just as he has done with Leland, some part of the host aware of the possession but trapped within their own body.


- MIKE/Phillip rushes through the woods but arrives at the cabin too late. BOB/Leland is bustling Laura and Ronette to the train car.

As BOB/Leland and the girls head through the woods, Laura is on BOB/Leland's right and Ronette to his left. If we're going by Jacoby's glasses, that would make Laura the red, potentially false, and Ronette the blue, and most likely real.

BOB/Leland looks like a full out devil/maniac, more exaggeration that makes this come off as fantasy.

Laura heartbreakingly calls out "daddy".


- The moon is full in the sky. The moon seemed to accompany Judy and the symbol Mr. C sought.


- At the train car, BOB/Leland circles the girls, whom are back to back, as we flip between seeing both Ray Wise and Frank Silva. BOB/Leland reties Laura's arms, making sure they are tight, and Laura asks if he's going to kill her.

Laura and Ronette being placed back to back is another indication they are the same person, Ronette hidden behind Laura's back. Obviously, the worst thing Laura is expecting here is death. She doesn't seem to remember the fact that BOB wanted to be her, most likely because she no longer believes in him.


- As Ronette prays to God, BOB/Leland puts a mirror in front of Laura. The reflection passes from Leland to Laura and when Laura looks at herself she becomes BOB.

Great how when Ronette is praying "Father...if I die now," which includes a father, like Leland, and when she reaches the "will you please see me?" Laura sees herself become BOB. She's back to seeing BOB as being real. Great too how the mirror/reflection is passed on from Leland to Laura and how that echoes, in part, the earlier scene in the cabin where Laura passed the mirror to Ronette.


- Laura screams in horror, the possibilty of her becoming BOB frightening her more than dying did. A flash of the tv electrical static then the Arm laughing appears.

Clearly, Laura hadn't been expecting this because she believed BOB wasn't real. The flash of tv static electricity once again seems connected to Billy and his role as the dreamer. The Arm laughing could be because Laura's reaction shows that she would rather die than be BOB. This is likely what the Arm desires, be it because he'd rather Laura not be BOB or because he wants the garmonbozia her death brings.


- The electricity lightning starts full force.


- We hear page ripping sounds and see the pages of the diary. BOB/Leland says, "Your diary," but we believe it is only Leland here whom says after, "I always thought you knew it was me."

This is the single line most believers of Leland's culpability cling to. And yet it makes perfect logical sense with the series' portrayal of Leland's "possession". While it was something he was mainly unconscious of, there was always the indication that he was aware of it on a subconscious level, but was helpless to do anything about it. Leland's death scene, where he discussed his relation to the Lodge spirits and how they wanted Laura made it seem that he was conversing with them, just as BOB's cruel joke, when he smashed Maddie's head into the Missoula, Montana picture, did: "Leland says you're going back to Missoula, Montana!" It was akin to a person caged conversing with their jailers: you can talk with them but you still have no control. We just suspect he always thought she knew it was his BODY, as in he was BOB's host. And he couldn't say that it wasn't. That would truly make no sense inside of the dream. It was him. BOB had used him as his vehicle.

It's very likely that Leland had always hoped his daughter thought it was him too, so that way BOB wouldn't want her. He understood what it was like to be a puppet for BOB, and wished for her to not have to face that.

Also, it wouldn't be much of a threat, Laura becoming BOB, if you didn't see the pain and horror he caused his host too.


- Laura now sees BOB on the other side, whispering to her, "I never knew you knew it was me. I want you."

Just as the diary showed Leland that his daughter didn't know he was host to BOB, the diary proved to BOB that Laura saw him, which massively stroked his ego and made him want her even more.

In another fashion, Billy could have thought that American Girl SAW him which made him want her too.


- Ronette says that she's dirty and not ready and Laura seems to feel and emphasize with her words, while looking like she would prefer to die now than what BOB has in store for her.


- As Ronette continues to say she isn't ready, an expression crosses Laura's face like she senses something is happening. Shortly after, Ronette sees an angel in the train car, one which frees her hands. We'll find out it did the same for Laura too.

Interesting fact here: the angels in Twin Peaks FWWM are all thanks to Pheobe Augustine. She had reservations about making a film this dark and she wanted an angel and so Lynch, somewhat crankily, said he'd give her an angel. Only then he threaded it through to Laura...but it started with Ronette...they belonged to her...which indicates again that Ronette is the true Laura, the one Billy has hidden and then saved inside of his dream...kind of like what he did with Audrey and Betty too.


- MIKE/Phillip arrives at the train car and pounds on the closed doors to be let in. And if the angel hadn't freed Ronette's hands, it's unlikely he could have opened the door. BOB/Leland notices what Ronette is up to and goes to beat her over the head. While he's pushing her out, however, MIKE/Phillip apparently uses the moment to throw in the Owl Cave ring. And while BOB/Leland's back is turned, Laura, whose hands were also obviously freed by the angel, takes advantage of the opportunity.


- Laura wears the Owl Cave ring and holds it up for BOB/Leland to see as he cries "No! Don't make me do this! No!"

Strange shot of Laura's hand holding up the ring, for you can see its shadow on the wall, but there appears to be a hole of light in it. Does this indicate Laura's shadow self? The one that is terrified of Cooper? It's important to note that MIKE/Phillp, even though he threw it in, still refrains from telling Laura what to do, letting her decide for herself instead of controlling her, like what Dale or BOB did. By wearing it she defies the dreamer essentially, thinking for herself.

What does the Owl Cave Ring do exactly? Dream narrative wise, we suspect it still suggests the wearer is pledged somehow to MIKE and not BOB, making them an inelligible host for possession. This could explain the whole "Bobby, you killed Mike" business, for now we see BOB killing MIKE, as in his potential host.

On the real world level however we believe it helps the wearer gain a knowledge and step out from the dream and its false influence. Wearing it, Laura could, on some level, know this is a dream and she refuses to play a role in it anymore. She might realize that, though she is being murdered, it wasn't BOB/Leland whom did it, but rather Dale Cooper/Billy. Kind of like how Ray went to the Dutchman's but knows it isn't real, just as he knows whom Mr. C really is after wearing it. This might be the reason for the hole in the shadow, we see here.

Interesting to note how Laura takes the ring freely and puts it on herself, while Ray was TOLD to put it on Mr. C, Mr. C tells Ray to put it on and Cooper put it on Mr. C. This further proves how it was her choice and not coercion.

BOB/Leland's cry of "Don't make me do this!" is tricky because both are being forced to do something they don't want to: BOB killing the host he really wanted, and Leland killing the daughter he really loved.


- As Laura is murdered, there are the same flashes of lightning, electricity/static, heralding both BOB and Billy we suspect. Plus we see the Arm laughing again, although he also looks somewhat upset. That's probably because this is both something he wants and yet bothers him too.


- Laura is depicted as being stabbed, but what was the bloody hammer seen at her murder site in the Pilot? Actually, that murder weapon would have gone with a quote Ben's father, the man we suspect molested him, said: "if you're gonna bring a hammer, you better bring nails." If this is Billy imagining all of this for his dream, for the first time, did he retcon that fact himself? Why was Cole reading How to Work with Tools and Wood, afterall, when Dale came to tell him about his dream, and Jeffries dropped in to say they all lived inside of one? Maybe Billy tried to obfuscate certain things while inventing this part...maybe the hammer reminded him too much about his great-grandfather/grandfather but Cole, whom was said to remember earlier versions, in Part 17, remembered the "official" hammer bit too.


- There's a specific shot of BOB/Leland tearing off the half heart necklace and holding it up. Does this further give credence to the belief that this might all revolve around Billy having become jealous after seeing American Girl with a gifted piece of jewelry and how he killed her in jealousy, or how he took something of hers as a trophy too and if her mother could only just remember it, like the scene with the locket at the dinner table or Jacoby stealing it in the Pilot, Billy would be discovered as the real killer?


- BOB/Leland holds up the plastic to wrap Laura in, as we see it through the viewpoint of her eyes, which seemed to have been open after her death. Meanwhile, a laughing MIKE/Phillip leaves the train car.



- BOB/Leland carries, with no problem, Laura's dead and wrapped in plastic body, out of the train car. He checks on Ronette, kicking her over, but just leaves her.

You can see that BOB/Leland's shirt is covered in blood, right around the site of Cooper's wound in the OG finale. It's from the wound BOB gave his host to write "Fire walk with me" in his blood at the murder site. The bloody towel, labelled a nasty piece of work, is there too.


- A shot of the sycamore trees and the gateway at Glastonbury Grove.


- BOB/Leland pushes Laura into the river.

Now how, if Leland sustained a wound that big, could he have carried a body that far without weakening or hurting himself into unconsciousness like Dale in Pittsburgh? It's either thanks to BOB or a big Fat Trout lie.


- BOB now walks his host right to Glastonbury Grove and the entrance to the Lodge, still without any sign of fatigue. There a shot of the oil pool and a shot of one of the trees, with a strange bit of blue on it. Leland's face now appears as Laura's did at Harold's place, echoing the oil pool, as he is shown screaming in what looks like fear and pain.

This could be BOB using his host's fear over what he was just forced into doing to open the Lodge, since the Black Lodge opens to fear. That's the most likely. Of course, given how a part of Billy was also probably scared after killing American Girl, and like BOB, he would rather have "possessed" her, it might be BOB/Billy's too.


- The curtains appear and BOB/Leland enter to find MIKE/Phillip and the Arm waiting for him.

Very interesting how BOB enters through a different angle than Cooper. It's interesting too how MIKE/Phillip is sitting in the chair that the Arm usually occupies. Are they still, in essence, the same individual?


- As BOB/Leland does a strange movement, like falling forward and sweeping motion, we see MIKE/Phillip and the Arm watching, eventually looking upward. The next shot shows Leland floating next to BOB.

We suspect this weird motion represented BOB stepping out of his host, like a pair of pants. As Leland rises (full of holes?), MIKE/Phillip and the Arm look at Leland in pity more than reproach as he hangs there like the puppet he was.


- MIKE/Phillip stares, in hatred, at BOB, whom glares at him in furious hatred in return, as the Arm comes and touches MIKE/Phillip's shoulder. "BOB, I want all my garmonbozia" they demand in unison, and we find out that garmonbozia is in fact pain and sorrow.

We theorize that MIKE and BOB mutually hate one another at this point because MIKE prevented BOB from being Laura, and MIKE remembers how he stole that pain and sorrow in the first place...by stealing her death with Cooper's advice for her not to take the ring.

Garmonbozia is a word which seems inspired by Ambrosia, the food of the gods. The gods were an incestuous bunch, whom lived on a cloud covered mountain called Olympus. The Hornes lived on a bluff over White Tails falls that created its own mist. In the credits, at the start of The Return, we fall into that mist, which leads to a shot of the Red Room curtains flapping violently and the room itself spinning out of control.


- BOB heals Leland's wound, looking at his host in revulsion and throwing the blood to the Red Room floor. There is a closeup of the Arm with the lightning flashes. The blood disappears off the floor and next we see the Arm eating the creamed corn.


Honestly, we take Leland's wound being healed, not only as an explanation of why he didn't need to visit the hospital, but as another instance of Leland being absolved of Laura's death. It never belonged to him, neither those words of "fire walk with me" by the killer, and so BOB isn't just healing it he is ERASING it, because it never happened. The flashing light, we still tie to BOB/Billy, but in this instance we connect it to moving forward in time also, to where we left Dale trapped in the Red Room at the end of the 2nd season. The blood disappearing further indicates this shift in time. The Arm enjoys the returned corn because...well...you know, maybe he's part a bastard. Maybe Billy believes his uncle, whom this being partially represents, just enjoys his pain and sorrow or Ben/BOB's. Afterall, Jerry loved his brother but still competed with him. Maybe this still being just Billy...well, that just means he just thrives off of it too.

- We cut to a large closeup shot of the monkey, surrounded by dark and cast in blue, without the mask now. It whispers the name Judy and it cuts to the famous scene of the plastic being unwrapped and the reveal of Laura's dead body.

The monkey, like the next shot of Laura's corpse, is shaded blue. That links the two. It also looks like the monkey is introducing us to Judy, the big "unveiling" in a way.

Several different ways to work with all of this, which is within the dream and outside of it, and both intersecting.

We've already posited that Billy sees everyone whom isn't his mother, and that includes himself, as a monkey, falling back to Ben telling Audrey, as she sat before the fire in a red dress, "Audrey. The most intelligent face I've seen all day. You make the rest of us look like primates." And so this shot of a blue monkey, going to Laura's blue corpse is telling us that she is just another primate to him too, one Billy had no use for, either because she wasn't his mother, or he wished to "save" her. So she is Judy. This goes with him seeing all of his victims as Judys and monkeys, which explains why there are several good candidates for Judy seen in The Return: Sarah, Laura, Naido, Lois. They all are Judys to our Billy, it's just there is the original, his mother(as represented by the Experiment), and inferior simulations, American Girl, Betty (Experiment model). This also explains Naido making monkey noises.

There is something else about the name Judy though...it also could be the name of Billy's real first victim "American Girl". Perhaps she shared his mother's name or the names sharing several letters confused him: aUDreY jUDY. It seems evident that, inside of his dream, Billy masked his victim behind "Laura" which was strongly informed by the old movie of the same name. But her true name very well might have been Judy, and why it haunts the narrative. Judy was also the name of Lynch's girlfriend during the Kennedy assassination and Twin Peaks began as an exploration of Marilyn Monroe and her involvement with the Kennedy brothers. If Lynch saw Cooper as similar to himself, and Billy is really Cooper, Lynch might have cleverly given the name for Billy's first "girlfriend" as that of his own in relation to the Kennedys: Judy.

Since we're looking at all sides of this theory, we'll now examine a few other options.

And these could be what is represented within the dream and its story.

We have that the monkey was seen behind the grandson's mask, and small children are sometimes referred to as monkeys.

Or maybe it has nothing to do so much with the grandson, but rather the mask itself. In The Return, when Mr. C goes above the convenience store, in Part 15, he encounters the jumping man, whom has Sarah's face imposed over his own, which resembles the mask strongly. We believe that Billy is imposing himself and his family on the Palmers (Sarah possessed by her dead daughter's spirit, which could also be seen as Judy, Billy imposing his mother on them both as we... yeah, it's all complicated and confusing) so maybe the monkey was just Leland. A monkey can be slang for a puppet too...just like BOB used Leland as, and which seemed illustrated inside of the Red Room at the end. And we also just argued that MIKE/Arm and BOB returned to the time when Dale was trapped inside of the Lodge, which would have meant a time when Leland was dead. That could help explain the blue color. The monkey saying the word "Judy" might also indicate that Leland, now removed from the dream, is aware of the real reason why his daughter died: because she reminded the killer/dreamer of this Judy. That would make sense. And it would also still fit how Billy sees everyone whom isn't his mother as monkeys, expendable and worthless, able to be used, just as he framed American Girl's dad for her murder.

Or, perhaps this representation of American Girl's father saying "Judy" is in essence him whispering the REAL name of his daughter, aware that it wasn't "Laura" at all. This adds extra depth to it and actually fits in nicely with the missing piece where the Palmers introduce themselves in Norwegian, saying their names, and then breaking into laughter, like it's a joke. What if those were NOT their names at all? What if Billy doesn't even remember his victims names, like many serial killers don't? What if that was why Laura, in the Between Two Worlds interview, said she met many people with no names: his victims (3-15) were all robbed of their real names inside of Billy's dream.

Seeing the monkey as Leland actually brings an added level to this sequence now too, for we see both Leland and Laura, our two main characters in the film, and how they are both now dead, just as we left them in the series.

Why, maybe this was even what MIKE/Phillip meant when he said that the thread would be torn. Maybe it was the thread of the mask. That would make this series of shots all involve what MIKE/Phillip was shouting about during the traffic scene: the corn (created by Laura's death), the thread (Leland being forced to wear the mask) and the look of stillness on her face when it was opened (Laura's face being revealed).

-For that's what we see now, as Dr. WILL Hayward opens the plastic and reveals Laura's still and peaceful face, dramatically different from Teresa's. Lynch uses an extended shot of this iconic image before going to the next scene.

Laura's eyes here are now closed, as opposed to when we saw her die in the train car.


- We travel through the Red Room, going to the spot, it seems, where Dale stepped through the curtains and where BOB and MIKE disappeared during the convenience store meeting. Here we find Laura siting in the chair Cooper usually does, while Cooper stands to her left, his arm on her shoulder and smiling down on her. Laura appears to be looking for some comfort in Cooper's grinning face, but finds none, turning away, looking inconsolable. Suddenly she jolts as a spotlight finds her and the light most usually associated with BOB begins to flash. However, Laura looks, not to see BOB there, but rather an angel coming through the darkness, Lynch focusing on its hands and wings. Laura looks stunned and it cuts to a shot of Cooper still looking at her and not the angel. Neither does he have any sign of the spotlight or flashing light which now seems reserved for only Laura Palmer. The hand and wing of the angel still focused on, as the Voice of Love plays, Laura begins to smile and laugh in a joy that seems synonymous with relief, tears falling down her face as the angel becomes more clear and folds its hands together in prayer. Laura now joyfully laughs outright, in joy, in relief, in humor(?). The camera goes to a shot of Laura still laughing and smiling in the chair, Cooper, now also looking in the same direction, still standing beside her. Lynch imposes the angel to the left of the screen, beside Laura and Dale. Cooper goes back to looking at Laura as she continues her moment of relieved joy, her left hand eventually going to her heart. Lynch freezes the image, accompanies it with a sound of transition and ends the film on Laura's beautiful and happy face, cast in shades of blue and white.


This has to be the moment Laura was referring to in her "Between Two Worlds" interview when she said: "And then there was a time when I cried because I was so happy, because I saw what it was. And it was so beautiful. I was awake."

What is she seeing though that makes it so beautiful? We seriously doubt it's because she'd just been brutally murdered by her own father because he was afraid people would find out he'd been abusing her for years and she'd finally put a stop to it. That seems ridiculous honestly. But what if it's the opposite? What if she's seeing now that her father hadn't been molesting her for years? What if she was finding out that, infact, he would never willingly hurt her because he loved her? Afterall, this appears to be the same angel she'd asked if it was true that her father was hurting her. The same angel that disappeared when she believed that he was. And just like in the scene where Laura turned to it, after Leland had held her hand and told her that he loved her, Lynch chooses to focus on its wings as the same song plays, more loudly and unmistakable. This is the angel showing to Laura that, no, it wasn't true: Her father never abused her. He loved her without anything resembling sexual desire. What she just experienced would likely seem like a bad joke then, or something she could laugh off in relief. Laura holds her left hand, the one BOB, in the guise of her father, tried to make her feel was dirty, to her heart. She wore the ring on the spiritual finger on the same hand. The angel is imposed to her left, and we're still wondering if that side holds truth in Twin Peaks, just like the color blue.

And the truth is, what we just saw, doesn't belong to her, and her parents, despite neglecting her sometimes to focus on their own problems, loved her.

It is something the man who forced this all on her cannot claim. The same man standing beside her now, masked behind the law man's dark suit.

Billy's parents hurt him, hurt him very badly, and it is what he cannot face and why he turns it on to innocent people like "Laura". There is a definite question of if Dale Cooper can see the angel. He doesn't turn to look when it comes, nor does he stay looking at it after he's turned in that direction. The angel isn't for him anyway. When he sat in Laura's place, in the OG finale, he received fire instead.

No, the angel doesn't belong to Dale Cooper. The story of trauma and abuse that we just saw does.

And so it is fitting that the film ends with both the dream (Laura) and the dreamer (Cooper/Billy), both being the largest motivators of Twin Peaks and the central figures within it to Billy Hastings. One is the door, the other is the one he walked through it as. Perhaps a fact strengthened by the Missing Pieces...which we will next try to fit into this very same theory.

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Fire Walk With Me, Part One "Deer Meadow"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


The film begins with electricity shown up close, a blueish spackling, while jazzy music plays and the credits roll. As we get farther away, we can clearly see that it is the static on a TV set. Eventually the TV is violently struck with a pipe and we see a man's figure block the destroyed set from view as we hear a woman crying, "No," before she is then presumably struck too.

This starting shot usually only gets talked about in a meta way where it is speculated that it is David Lynch's cheeky way of saying that they are no longer dealing with TV but a movie. We don't think it gets explored enough within the context of the story of Twin Peaks itself. We will relate is to this theory in particular where it serves several roles. First, we have the chance that this electricity/static is showing to us that it is all a dream. Remember specifically how Dale described dreams: "Acetylcholine neurons fire high-voltage impulses into the forebrain. These impulses become pictures, the pictures become dreams. But no one knows why we choose these particular pictures." He basically related dreams with electricity. So that might be the key to figuring out the way electricity suits the story, including the flashing light seen throughout the series. It is all a dream, something Phillip Jeffries, whom seems to use electricity to travel, will explicitly tell Gordon and the gang that they are living inside of.

So the TV helps indicate that. It also further strengthens the belief that William "Billy" Hastings watched too much TV when he was younger and this helped influence his dream. Infact, when that TV is struck, it could indicate that he shifted his entertainment from the TV set to that which he created inside of his mind instead. If we're talking about "deaths" afterall, the TV dies before either Teresa or Laura. It's also very interesting to note that the TV is actually killed before Teresa in this very scene, which we will get into later.


- We immediately go to Teresa's body floating in daylight down the river. Had she been floating all night or did BOB/Leland kill her during the day? Why did nobody see it then? Is there some significance that Teresa's body was moving while Laura's was found beached?


- The first Twin Peaks character we actually see the face of is Gordon Cole. He's asking a secretary to get him in touch with Agent Chester Desmond, who is in North Dakota, which echoes Billy living in South Dakota.

Now pay attention to the secretary, she's a brunette...later on, Cole'll have a different one, blonde. This is giving away what Billy does in effect: he takes a brunette (like his mom) victim and replaces her inside of his dream with a blonde to help protect him from the truth.


- When we see Chester Desmond, he is helping to arrest what appears to be two prostitutes and a school bus driver, as a group of traumatized children look on from inside of the bus.

Now, we're going to get a little bit into what we think the deal with the FBI Blue Rose Agents really mean to Billy. We believe that one is/was created to go along with every major death (literal or figurative) he feels he was in some way responsible for, and which effected him on some level. They were always being upgraded to some extent.

The list goes as follows:

Phillip Jeffries he associates with the death of himself, as well as the image he had of his mother. This occurred the first time his mother abused him, back in 1975 when he was only two. He lived at the Red Diamond City Motel/Dutchman's, but in the dream it was reworked to be the motel in Olympia, Washington. In actuality, it happened in the very same room where Mr. C talks to Phillip Jeffries, this fact so very important but lost on Mr. C. That is why the apparatus that Jeffries has become, and the room he is in, seem to be imposed inside of the motel room while we still see the room itself. It also could be why Jeffries tells Mr. C he already met Judy. It reflects Billy's first foray into fantasy to help escape his trauma. Phillip was linked to the Lois Duffy tulpa murder, Lois we reason is another representation for Billy's mother, Audrey. Jeffries subsequently disappeared after this event, maybe after finding the ring. This really happens, we theorize, because Billy suffers another death he was responsible for which needed him to create a new agent. It's possible Jeffries' tulpa was the black box in Argentina.

Albert Rosenfield was the next. Albert was linked to the death of Billy's father, possibly in the motel fire that also killed his mom. Frankly, Billy wasn't too upset at this one, since he hated his father and probably wanted him dead. This explains why Albert was the only Agent who didn't disappear. It also can go along with how the painting of Danae (Perseus' conception) leads Dale to a dead end while rescuing Audrey at One-Eyed Jack's. Perseus killed his own father. Perhaps the dead end represented how Billy felt no remorse for killing his father and so Albert never really went anywhere for that fact. He also doesn't have a tulpa or doppleganger.

Chester Desmond, whom we just met, is the next one inducted. See that bus of screaming children with the act of prostitution they have been exposed to screaming in trauma? Notice how this is how we first meet Chet? Well this is a pretty good indication of how Billy felt during his childhood, and a fair hint that we are supposed to associate Desmond with Billy's childhood/school age trauma. Desmond will investigate Teresa Banks' death, whom we believe is a substitute for Billy's mom, Audrey Horne. This takes place in Deer Meadow, Washington. Chet disappears after he finds the ring. He doesn't seem to have a tulpa, nor does he encounter his doppleganger. Chet is also balanced to a degree, as displayed by the trick played on Sam.

The next FBI man is Special Agent Dale Cooper, whom is not properly balanced at all. He is too idealized, too perfect and we reckon that this is because he is associated with Billy having killed American Girl and promptly trying to act good to either shield himself from being discovered and/or repent from it. Cooper is sent to investigate Laura Palmer's murder in Twin Peaks, Washinton. Not only will Dale disappear, his doppleganger comes out in his place, and this doppleganger even gets a tulpa on tulpa, we mean on top of it all. We theorize Cooper's disappearance aligns with Billy's full descent into evil, when he failed in facing/acknowledging his darkness and it won out.

The last inductee to the Blue Rose force (not counting Tulpa Diane) is Tammy Preston. She is involved with investigating the murder of Ruth Davenport in Buckhorn, South Dakota. This, we believe, represents how Billy killed his assistant Betty, substituted with both Ruth and Diane inside of Billy's dream. It also goes hand in hand with the downfall of the killer and how he is technically brought down by two women: Betty and the mother of his first intentional victim, American Girl. To coincide with this fact, Billy purposely creates a woman FBI Agent to mimic how his end of being a serial killer (depicted by the destruction of Mr. C and BOB) was thanks to women. Tammy neither disappears nor gains a tulpa. This could go along with the theory that Albert, associated with his father's death, also did not disappear. Tammy involved with the destruction of that aspect of himself haunted/possessed by his father, Billy feels no need to have her vanish or doubled in any way.


- Okay, so Chet is introduced to us with screaming children and prostitution. This is because Billy associated this time of his life with being young and exposed to his mother's sexual activity, which both traumatized and involved him. He saw his mother as his father/grandfather's prostitute. Notice too how it involves a bus driver when there was a clear link established between BOB/Billy's father and vehicles, his woodsmen often associated with them in some way.


- Chet Desmond is helping to handcuff the women's hands behind their backs, which helps to illustrate how, with his mother's death, he no longer had to worry about her touching him, which could also return to the Venus sculptures without arms in the Red Room. The screaming children, however, still show how the damage is already done to the child.


- One of the Prostitutes is played by an Audra Cooper...is that coincidental or not?


- The car phone rings and the horn honks, both of which could indicate the RING or the HORNES or might just be Cole calling.


- Over the car phone, Cole informs Chet that he's in Oregon and that there is a case involving a dead 17 year old girl named Teresa Banks. Audrey was last seen in a bank explosion. Money generally plays a role in Twin Peaks. Both bills and bucks are kept in banks.


- As Cole says he has something interesting to show him, a different assistant is seen leaving Cole's office, this one a blonde now.

Once again, we have the illustration of a substitution being made, this case in particular a brunette for a blonde, which is what Billy does with his victims. He wants to distance them from his mom.


- Now might also be a good time to mention how John Thorne's Dreams of Deer Meadow theory wasn't proven wrong by The Return. In actuality, it was strengthened, it only was in a different direction than presumed. This wasn't about Cooper restructuring his failure concerning solving Teresa's murder as a dream, one featuring an alter ego. This was the dreamer, working through different stages of his trauma/deaths and gradually evolving into his perfected dream self: Dale Cooper.


- Chet lands at the airport, where Cole introduces him to Agent Sam Stanley, telling him to give him the glad hand.

This all happens at an airport. We can tie this perhaps to the airport where Audrey said goodbye to Jack by offering herself to him. Ben Horne was seen shaking hands when Cooper first met him, an act which made him refer to him as "the glad handing dandy."


- So the surprise is a strange woman in red, named Lil, dancing around for Chet.

This betrays how the whole of Twin Peaks contains clues within what we're seeing, but they might not be exactly what we are seeing. Her name Lil either indicates "little", which could harken to Teresa, as well as Audrey, being called a little girl. It might also refer to the fact that Billy was just a little boy when he lost his mother, which Teresa's death symbolizes. Lillies were often seen on the table at William Hayward's place too. Lilies mean rebirth.


- In the car, driving to Deer Meadow, Sam needs clarification over what Lil was all about and Chet explains. He begins by saying that Lil was wearing a sour face, but Sam asks what that means, and Chet clarifies it further, "Her face had a sour look on it "

Through Sam's confusion, it brings attention that Chet essentially said WEARING a face, which is what BOB/the dreamer is basically doing with Leland: he's wearing Leland's face when he is committing his horrors. The dreamer likewise wears several faces throughout the dream, Cooper's in particular.


- The sour face meant the local authorities won't be helpful. Eyes blinking meant trouble higher up, the eyes of the local authority, sheriff and deputy probably. One hand in pocket meant they are hiding something, the other in a fist meant belligerence. Walking in place involved legwork. Lil being Gordon's "mother's sister's girl meant that the uncle, missing from the statement, was in federal prison, not Cole's uncle but probably the sheriff's.

We suspect that Billy's uncle, an authoritarian presence in his life, is Jerry Horne, whom is revisualized/represented by the Lodge spirit MIKE/Phillip Gerard.

The tailored dress meant drugs. A blue rose was pinned to it, but Chet can't tell Sam about that. After The Return, we'll know that that is because it means the case involves a mysterious/unnatural element that can't really be explained and which the certain task force is set to crack. Unfortunately, it is also dangerous, so Chet could equally be trying to protect Sam.


- This is still all about giving hints that certain clues in the series have another meaning.

The blue rose cases, we suspect deal with the deaths that Billy has experienced in his life, most of them tied back, in some way, to his mother, the original rose. The state of them being blue indicates the death state, but it becomes something beautiful, though unnatural, just as Billy viewed his mother. Compare this to the black corn on Hawk's map which Hawk describes as fertility, diseased or unnatural, death. This could be Billy's negative view of his mother or of himself even. The blue roses are treated with wonder, the black corn with fear. Yet BOTH are described as unnatural. Perchance this is somewhat akin to the White and Black Lodges, and how we posited they also represented conflicting feelings Billy held about his mother. We can also attribute it to how he viewed himself as inferior, his birth a horrible thing his mother had to deal with.


- Chet and Sam finally arrive at Deer Meadow and maybe, before we find them trying to deal with those pesky local authorities, we should talk a little about that name. See Leland translates into meadow. And we've already pointed out how Billy seemed to be connected to a buck...which is a male deer. So we have the name of this place, presumably meaning deers in meadow. For this one we say one deer...Billy. Possessing Leland, through BOB...making Leland a Deer Meadow.


- Inside of the office, we find Chet looking like he's been waiting for a long time. Meanwhile, behind him, Sam seems to be talking to himself as he looks around the office, another one featuring buck art/photographs. The secretary and the deputy aren't friendly but laugh at how long they've been keeping the men waiting. Finally, Chet says, "All right, I've had enough of the waiting room now."

That line, and one Sam says in The Missing Pieces, which we will also get into later, can go back to the idea that Chet is a draft of Cooper. Once again, John Thorne theorized that this could indicate Dale being stuck in the Red Room. That is incredibly valid now, because what if this is still, despite being a prequel, only just a sequel? That Billy is formulating this past history from a point of somewhere later in time, one where he is incorporating things that happened to him and revising them to fit his dream.


- Chet grabs Deputy Cliff's nose and hurts it, putting him temporarily out of commission as the deputy deals with the pain. We'll mention any connections during this research, not that they always mean something, but the grandson's mask has a long nose, as does the Jumping Man, and Richard Tremayne's nose was hurt by the weasel at the Stop Ghostwood Fashion Show.


- After telling the secretary to make a fresh pot of coffee, Chet heads in to see the Sheriff. Kind of need to point out now how everything looks so vintage...like how old is the typewriter the secretary uses? That will kind of stand out all throughout the film. We still suggest that this is influenced by the grandson having watched older programs on TV, as well as the belief he lived with his grandmother, whom rarely upgraded her own decor. It left Billy seeing things through an old fashioned frame, one which was decidedly absent from the then modern influences, such as rock bands like Bon Jovi or Poison, singers like Madonna, fashion trends like hair bands, or shoulder pads, big hairdos things like that.


- Chet meets Sheriff Cable. Cable is a word that directly deals with electricity, being wires and conductors.


- The two confront each other, and Chet eventually is able to pressure Cable into letting him see Teresa's body, by intimidating him with the word federal, a vague reference to his uncle in prison. Here forms another elaboration to the belief that Chet is an earlier draft of Billy's dream persona. For, in The Return, Mr. C uses almost the same exact tactic against Warden Murphy that Chet uses here against Cable. Mr. C references the mysterious Mr. Strawberry, while Chet references the uncle in federal prison. It's the same thing, used for the same purpose but while this is good, Mr. C's is bad.

The uncle being hinted at, once again invokes Billy's uncle and the fear Billy felt for him.


- All of Teresa's belongings are handed to Chet in a box, hinting at the imagery that boxes represent a person's life, later carried through in The Return, as we believe that the glass box in NYC represents Billy's psyche.


- Cable lists Teresa's death as a basic kill. She was a drifter and nobody knew her.

Cooper and Chet state that Teresa had no family and nobody claimed Teresa's body. She had no family? Really? Do the FBI even investigate that here? We argue that Cooper/Billy/grandson was her family, or rather that of the woman she really stood in for inside of his dream: his mother.


- Outside of the building where Teresa's body is being stored, we find out that Sam was silently calculating the worth of the office and all of its furnishings, which he tells Chet was $27000.

This seems superfluous, an odd character quirk? However, we reason that, since this part of Billy's dream skirts around what happened to his mother, and that she truly died, not by BOB/Leland's hand, but when her son Billy played with fire and burnt down the motel where they lived, it really is the impression Billy was left with of the insurance investigators assessing the damage to the Red Diamond/Dutchman's. Insurance seems to pop up often throughout Twin Peaks, culminating in Coop/Dougie's role as an insurance investigator whom clears the Mitchums of having set fire to their own hotel.


- Chet and Sam study Teresa's body and we can instantly make a few observations. First of which Teresa seems to be wearing a garbage bag.

Okay. This involves several different things. Billy could view this substitute of his mother as "trash" or what others saw her as, in stark contrast to the beloved Laura. It's also dark and opaque, in contrast with both the plastic she and Laura were originally wrapped in. Laura's sheet at the morgue, is white by comparison and a little bit see through. We also have the Lodges invoked once again Black = Teresa, White = Laura. Billy's portrait of Laura is far kinder than his one of Teresa being a blackmailer, not caring about Laura's potential trouble but seeing only her own financial gain. This could once again fall under any resentment Billy held against his mother for staying around their father for material comfort. It also can betray that he thought she had exposed him to the continued abuse of that grandfather/father for her own comfort.

Teresa's eyes and mouth are opened, as opposed to Laura's look of stillness in death: eyes and mouth closed. Does this indicate she was open to fear and to BOB at the time of her death? Is there some link to the mouth that frightens Billy? The faces of those getting closer to the Black Lodge, afterall flash into looking like the oil pool gateway, white with black lips/mouth, and if they are allowed entrance like Laura/Leland, we reason their mouths are red like the curtains? Does it link to Mr. C playing with Jack's mouth in The Return before killing him? Was Billy abused by the mouth? Of further interest, Lynch specifically designed Teresa's mouth to look that way.


- Chet states that Teresa lived at the Fat Trout Trailer Park for a month. Several questions will arise from that...like when did she move from the Red Diamond to it? Was she hiding from BOB/Leland? Also why is there some confusion from shooting schedules of WHERE Teresa was murdered? We'll get into all of that later.


- Teresa was a waitress, just like Annie. Waitresses serve food, interesting to connect to the Lodge spirits emphasis on food and appetite, and how Teresa is our first known victim of BOB/Leland's.


- Teresa's waitress uniform is listed as her only belongings...was she found wearing them? Does that make her different from Laura and Maddie, whom were found naked and wrapped in plastic?


- Sam notices her ring missing, the dirt gives it away. Is that dirt? Is it smoke/ash? It sort of looks like the woodsmen's general dirtiness...but how did Teresa get so dirty? Or is this more indication of the fire we believe really killed Billy's mom?


- Sam notices something under the ring finger, via his machine's help, they find out it is the letter T. Does Sam's machine connect in any way to the use of machines and the apparatus that Phillp Jeffries turns into/hides inside? Anyway the letter is a T, which goes along with the first letter of her name. It is also the last letter in BOB's full name, which he'll seemingly be spelling backwards. This backwards forwards business goes along with the Lodgespeak infact. It can also go with the time shifts and loops/travel in the series, of our belief that Billy, in the future/present/is looking back on his past.


- Chet and Sam visit Haps, where a man named Jack is fooling around with the electricity and tells them to ask the waitress named Irene about Teresa.

Jack is somewhat reminiscent of the mechanic Jack that Mr. C enlists to sabotage Betty's car and hide his own, supposedly the same one that Richard/Coop is seen driving at the end of Part 18. Jack is a recurrent name in Twin Peaks, usually, we argue connected to how Billy views his father/wished he had been or betrays the truth of whom he was. We have One-Eyed Jack's (Ben Horne's brothel where he once accosted his daughter, Audrey, and where she was subsequently held captive), John "Jack" Justice Wheeler (the man who took Audrey's virginity), Jack Rabbit's Palace (the place Bobby and his father used to go and make up stories).

Jack here is accompanied by flashing electricity, often associated with BOB and a woodsman like figure resting off to the side.


- Deer Meadow generally presents itself as a shadow self of the idealized Twin Peaks. We saw it in the unfriendly sheriff station, and now we see it in the drab restaurant Hap's, which has no specials, serves probably mediocre coffee and is hosted by a cranky waitress with none of the glamorous and social graces of the staff at the Double R.


- Irene states that Teresa only worked there a month, never seemed to be on time and was suspected to be on drugs.

The "Never seemed to get here on time, though" can interestingly be tied to Teresa having been "late". She was the late Teresa Banks. Probably just like Billy's mom.


- Another really interesting thing is what Irene soon comments after Chet inquires if there's anything she wants to tell them that might help them out: "I've been thinking about that. If you ask me, her death was what you'd call a freak accident."

Now Teresa was hit by a blunt-obtuse item, on the back of the head, as Sam surmised, wrapped in plastic and then shipped on down Wind River...how could any of that be an accident? Unless, Irene isn't talking about Teresa, she's really discussing Billy's mother's death, the one Billy is using Teresa's to mask. This is one of those instances inside of Billy's dream, just like the appearance of Maddie - the mask/substitute of his victim/Laura showing up with a hair color closer to the real victim Ronette/American Girl - where the truth is inevitably leaking in. Irene is now voicing what truly killed Billy's mom/Audrey: a freak accident involving fire.

That she confides this, after Chet had asked if there was any way she could help them out, also seems to indicate that this is like Coop/Dougie clearing the Mitchum bros: Billy's subconscious is trying to tell him that the fire was an accident and he needn't have blamed or punished himself for it.


- As if to build on the truth leaking into the fiction, an older man, whom has been sitting at the counter with a younger french girl, now pipes up and asks, "Are you talking about that little girl that got murdered?" When Chet inquires if he has something to tell them, the man only replies, "I know shit from Shinola."

Okay, so Audrey referenced her own story, in The Return, as being that of "The Little Girl Who Lived Down the Lane." So the man's words connect Teresa to her. We also have his seemingly useless statement regarding being able to tell shit from a boot polish. But what if this is another betrayal of what the dream is hiding for Billy? The man is vaguely inferring that Teresa was shit compared to the real version of Billy's mom. He's also using a footwear reference to do it, shoes threaded throughout the series as being important. Audrey's first appearances centered on her shoes infact, which echoed the Red Room color scheme. Little known fact, but Shinola didn't just come in black, it was available in several different colors, red and white being two of them.


- When Sam asks if they should question him, Chet plays a rather meanspirited joke on his companion: he asks Sam, whom has been obsessed with the time, what time it is, causing the man to flip over his cup, as he looks at his watch, dousing himself with the coffee.

This serves two functions. First it prevents them from actually questioning the old guy, whom might now the difference between Teresa and Billy's mom, and secondly it betrays that Chet is not the perfect Dale Cooper. This is a man whom as his darker impulses and can give in to them, not unlike Richard/Coop at the end. But he is just as much a man whom regrets his action, apologizing to Sam afterwards and seemingly upset with himself.

An earlier version of Billy's dream self, Chet was better for his mistake, more aligned with this part of his life when Billy was responsible for the accidental death of his mother, but not the intentional one of American Girl. This was the path he should have stayed more on, instead of becoming the idealized Dale Cooper.


- Irene returns and mentions something she hadn't before: 3 (notice the number) days before her death, Teresa's left arm went dead. She couldn't use it.

This obviously correlates in a way to MIKE and how he severed his arm, making it dead to him. The Owl Cave ring Teresa wore on her left arm, and that ring and arm are closely associated to MIKE and the arm.


- The old man pops up again, asking the same question, if they are talking about the little girl who got murdered. Is this the truth still pressing in on the dream, and does this connect Audrey to the ring which caused the arm to go numb? It does have the Owl Cave symbol afterall, and we argue that the owls are the Hornes. We're curious if Billy's mother's uncle gave her a ring, and it incited feelings of jealousy etc...in either Billy or his father, that ripples throughout the dream, and might have led to the events where Billy accidentally burned down the motel. Just like Laura's divided heart necklace, jewelry seems to elicit feelings of jealousy and possessiveness inside of Billy's dream.


- Chet and Sam pay a visit to the Fat Trout Trailer Park. Just like Deer Meadow, note the name. A fat trout is a big fish. A fish story is usually an exagerated story deemed so outrageous it can't be true. It's also usually called a fish story for they started as a fisherman claiming to have caught a really big fish or a big fish that got away. There was even an instance of this shown in the original series, when Pete bemoaned the fact that his taxidermied fish was smaller than when he had caught it. So this place being called Fat Trout raises some questions about how real any of it is and further makes where Teresa's death took place even more confusing.


- The place is run by a cranky man named Carl Rodd. Now rods can also deal with electricity, causing a safe pathway for excess electricity to be grounded so it doesn't cause harm. This is an interesting choice of names for him, and we'll delve into the possibility for that later, right now, though, it's either too early or too late and Chet and Sam have gotten him up before the demanded time.


- When the FBI requests to see the trailer, Carl comments "that trailer is more popular than Uncle's Day in a whorehouse."

Jerry Horne was himself, Audrey's very own uncle at her father's whorehouse, One-Eyed Jack's. He, infact, unintentionally prevented her father from hurting her in the second season opener. A trailer park is also like a hotel/motel and yet different. Possibly, if this is all an earlier draft for Billy, Carl represents Billy's uncle. Perhaps Teresa being here and not at the Red Diamond is some fish story wherein Billy imagined his uncle having safely got his mother away from their father, and to his own transient lodgings. Afterall, in the Return, an upset woman is frantically trying to get a sick niece to her uncle. The name rod, providing safe passage/attraction of electricity to prevent harm, then takes on a different meaning. Perhaps, in reality, Billy's mother looked forward to her uncle's visits because then her father would leave her alone, frightened his brother would find out and stop the abuse, which echoes BOB's fear of MIKE.


- Having shown Chet and Sam to Teresa's trailer, Carl states he never touched anything. More indication that Billy's mother's uncle never harmed her.


- The trailer looks average, but two things are realized: the electrical socket is missing a piece, and there is no damaged tv seen, like was shown at the start.


- Chet shows Sam a photograph that Teresa had of herself wearing the green Owl Cave ring, the symbol that Windom inverted seen on it. Interesting to point out, Lynch took this photo himself, outside of a library. Audrey was approached by Windom at a library, Ruth Davenport worked in one. Billy loves stories, probably why his dream mistress was a librarian.

The ring is green, like the formica table, but more along the lines of Ben Horne's BANKerS lamp. Those lamps were made that color because the shade was assumed to be soothing and to reduce the eye strain created from early electric lights.


- Chet seems hypnotized by Teresa's eyes and her mouth, the latter closed now and not open like at the morgue. Does this scene indicate Billy's fascination with his mother/victims? Are we supposed to notice Teresa's eyes and mouth and compare them to those of her corpse?


- Carl brings Sam and Chet some coffee, wherein the FBI agents generally indicate it's bad and Carl seems to think it's good. At one point, Sam states, "We sure do need a good wake-me-up, don't we, Agent Desmond?" He then repeats it, it having been taken as rhetorical by Chet, or gone unnoticed.

This could likely be more indication that Chet, this time, is masking Billy, what with him being an earlier incarnation of Cooper. This is perhaps telling Billy he needs to wake up instead of retreating to this fantasy, where he can never heal or face what he's done.


- Suddenly, a woman appears, peeking into the trailer. She's about as dirty looking as Teresa's body was, and as the woodsmen are too. Her right eye is wounded. Chet asks if she knew Teresa Banks, but she seems frightened and leaves. After she is gone, Chet notices that Carl has an odd expression on his face and it cuts to a shot of a utility pole outside, bearing the #6, as we hear the whooping sound we first and last saw the elderly waiter make in the original finale. Carl now remarks out of the blue, "You see, I've already gone places. I...I ju...I just wanna stay where I am."

Is her appearance now linked to the way Irene's statement about the accident seemed to instigate the old man mentioning the little girl being murdered? Does Sam's comment about a wake me up serve for its catalyst? Does Carl's reaction similarly come about from Chet asking the woman if she knew Teresa Banks, just as he asked the older man if he had something to tell them?

We believe that this wounded curious woman is the equivalent of the Log Lady and the honking horn woman from the Return. That might sound strange, but it goes as follows, the Log Lady warned Laura about the fire started inside of her. This woman here, we will theorize tried to save Teresa, and might have been inside of the TV (forces inside of Billy's dream, traveling through electricity), giving off the alarm sound whooping, when it was struck. Her damaged eye might coincide with the broken TV and/or the damaged socket. Meanwhile, the woman stuck in the traffic jam, in Part 11, was desperately trying to get the niece, whom we believe represented Audrey Horne, to see the Uncle...

Whom we believe was really Jerry Horne...

All as she honked her own horn(e).

Earlier we even suggested a link between Carl and Jerry.

After, the strange woman's appearance, another connection can also be made between Carl and Jerry. Carl specifically tells Chet, for no explained reason, that he's done a lot of traveling and just wants to stay where he is. Now, throughout the preceding series, we already talked about how Jerry's movements were controlled by his brother, Ben. We further threaded this in advance to the fact that, in The Return, Jerry's foot states it isn't his foot, and there is an establishing sequence when he regains control over it. We theorized this illustrated Jerry breaking free from Ben's control, just as MIKE cut off his arm to break free from BOB. We also further theorized that Ben purposely kept his brother away to obscure what he was doing to Audrey. If Jerry had known, he would have saved her, especially with the hint that he had received some sort of spiritual enlightenment.

Add to this, the honking woman claimed that the niece hadn't seen the uncle in ages, and Carl's words make an odd sort of sense, if he is linked to Billy's mother's uncle. He's backing up the speculation that Ben was in control of Jerry's motions, but Jerry grew tired of it, wishing to stay in place. This might have led to the discovery of what his brother was doing to the poor niece...but by then it was too late to do anything, just like Jerry witnessing his nephew's demise on the rock, through the wrong end of the binoculars: he didn't see things clearly to do any good.

We can tie this to the #6 utility pole outside, that directs Chet to the grandmother and grandson's trailer. It was also at the site where Richard Horne struck and killed the young boy playing with his mother, miles from where it was last seen, but with Carl present as well. We theorize Richard killing the boy indicates Billy killing the good in himself. Billy is intruding into the dream perhaps when we see the pole.

Must also mention how there are two sets of light switches when the woman enters. Does this indicate two places maybe? Perhaps the overlapping and confusion over the site of Teresa's death, which we will later discuss? Something very odd is going on, and it may have to do with the ways Billy tries to shield himself.


- Chet and Sam return to the Deer Meadow sheriff station, where motions have been made to take the body to Portland, where Sam will investigate why the arm went numb. Cable balks but Chet states that there's nothing he can do about it. When he questions Cable about the missing ring, Cable just mentions that their phone has a little ring.

Now he's obviously being snarky, but there has been a reoccurring theme about phones ringing. Audrey interrupted Cooper's dream about BOB/the owls when she phoned him from One-Eyed Jack's, a phone call went unanswered at the end of "The Path to the Black Lodge," a phone call interrupts Mr. C's discussion with Jeffries about Judy and at Carrie Page's place she leaves without answering the phone. The song Leland was first seen compulsively dancing to, Pennsylvania 65000, also contained a phone ringing, which made sense since it was the phone number of a famous HOTEL in New York.


- Chet tells Sam to take the body ahead to Portland but he's going back to the trailer park. Sam guesses that he's going back for the Blue Rose.


- At the dusky trailer park, Carl points out Deputy Cliff's trailer and truck to Chet before one of the park residents bugs Carl about water. That deserves a mention, seeing as though water puts out fire. Carl is apparently connected to it, but doesn't always come through, possibly how Billy's uncle was too.



- Chet is drawn to the #6 utility pole, where the whooping sound is heard. He follows it to a trailer. The lights are on, but nobody answers his knocking. Looking under the trailer, which was supposedly not connected to Teresa's, Chet finds the missing ring on a mound of dirt, very similar to how Laura's necklace was placed on its own mound of earth at her murder site. When Desmond squats to pick it up, the image freezes, and we have no idea what happened after that.

Desmond was able to do here what Cooper wasn't able to in a way. He looked past what he saw and was led by what he sensed to what he was looking for. Now, the #6 pole leads him there, straight to the ring and the grandson, and some sort of connection is being formed between that boy and the truth behind Twin Peaks. He is here, afterall, with Teresa's murder, and this was the first one, the one that even helped lead Cooper to Twin Peaks, with Ronette's strong accompaniment. It was at the site of the young boy's death by Richard Horne and it will be at Carrie Page's house, when she will ask Coop/Richard, "Did you find him? You didn't find him?" The person most people were trying to find in The Return was Billy. We suggest that the pole helps lead to Billy...whom is the grandson.

Now Chet has found him.

And the ring.

Does the ring help lead to Billy, the dreamer, too, we wonder? Is that what Laura discovered? Ray, too whom said he knew who Mr. C was? Does MIKE, whom also had a spiritual clarity, help lead the wearers to peek past the dream?

And does the ring, now being placed on the mound of dirt, in any way have to do with the dirt that Ben Horne and his father both helped dig for the creation of the Great Northern? Dirt was also referenced by BOB/Leland to help intimidate Laura at the dinner table and in connection to where the letters spelling BOB are placed, on the finger of the spiritual mound.


- To go with all the RINGing, we go to Philadelphia, showing the liberty bell.

Did Chet gain some sort of liberty from the dream?


- Cooper now enters the film, right as Chet leaves it, and his first shot depicts him walking through a door. Very significant here. See, we've theorized previously that, when they talk about Laura being the one, they really mean she's the door that led to Twin Peaks. You know, what's behind door #1? That will be elaborated on even more, but that is what we think she truly is. So, that we have the main avatar for our dreamer now seen walking through one, and into the story, is wonderful.


- Gordon has the copy of the wood and tool book on his desk. We previously got into that for Jack's quote from Ben's father and discussed the connection between the woods/trees a number of different times.


- Cooper squats by the desk, telling Gordon that it is 10:10 pm, February 16th, and he was worried about today because of the dream he had told him about. He never really mentions what the dream was about, but we can kind of gather it had something to do with what's about to happen.


- It immediately cuts to a scene of Cooper standing in the hallway and constantly looking into a surveillance camera there while running back to look at the security footage. An elevator, marked 7, opens and soon out steps Phillp Jeffries. Meanwhile, Cooper sees his image still out in the hallway, staring back at him, as Jeffries walks past him.

The exit sign behind Dale is green, like the ring. Does that further indicate that the wearer exits the dream? Is that a closet to Dale's right? In Part 17, his room key opens a closet door in the basement of the Great Northern. Cooper standing in the hallway can also elicit memories of the Red Room halls. And if we're getting silly Monty Hall from that gameshow we just mentioned with the door #1. That Cooper's still standing in the hallway might just further indicate himself as hiding the dreamer, Dale having described dreams as electricity, like was seen in the static on the tv at the film's beginning, and him being portrayed as manipulating the dream to be there, two places at once.

The #7 on the elevator follows #6. Jeffries wears a cross like the curious woman at Teresa's trailer.


- Cooper goes running for Cole, shouting his name as Jeffries continues walking towards the man too. We see his red shoes, which can remind us of Audrey's pair of red heels, Janey-E Jones' shoes, the woman at the Vegas police station, Dorothy Gayle and Bowie's own Let's Dance song. When Cooper says Jeffries name, he seems to weaken. We argue that Dale, being the dreamer as well as a not entirely positive force within the dream, effects him deeply.


- From a distance, and as Albert Rosenfield looks on, Cole introduces Jeffries to Dale Cooper as the long lost Phillip Jeffries, but Jeffries still seems wary of Dale, suddenly seeming to get somewhat angry and defensive and saying "Well, now, I'm not going to talk about Judy. In fact, we're not going to talk about Judy at all. We're gonna keep her out of it."

This was many a Peaks fan's first introduction to the mysterious Judy. She seemingly comes out of nowhere, only for us to learn that we aren't even going to talk about her. Talk about a tease.

There is more to go on about her for the Missing Pieces, but we'll get to those after. Now, all we know is that Jeffries seems to connect her with Cooper and not in a pleasant way.


Is he protective?

Since we already suggested that there are several Judys, this could be tricky finding out whom he is talking about. Afterall we linked Judy to the Experiment and Experiment Model from The Return: the original and one made in its image. We've speculated this as being Billy's mom (Audrey) and then the women Billy murders, whom remind him of her. We also speculated it could infact be the real Laura, American Girl.

It being Audrey would make sense because we last saw her life in danger when she was in the bank when it exploded, and then, in The Return, people seemed like they didn't want to talk about her, but to keep her out of it instead. Case in point, how Doc Hayward, briefly mentioned "Cooper" going in to see her at the hospital, but then instantly changing the subject. Or how Ben and Sylvia both mention Richard but not his mother, as in at all! And even this film and the shooting script...Audrey is absent entirely, minus one mention in the script! That would certainly link her to Judy and how they were going to leave her out of it.

But it could be the girl that Billy first murdered, the one that led to the others, and it would be nice to give American Girl a name. Jeffries also helps Cooper locate a Judy in Part 17, whom turns out to be Laura.

Whichever it is, Jeffries has reservations about Coop's relationship with her and both of those seem possible.


- Cooper seems upset by Phillip's words and turns to Cole, whom says, "I know Coop." So was this part of Cooper's dream?


- "Who do you think this is there?" Phillip asks, while pointing directly at Cooper. In the original finale, the Arm similarly pointed at him when he said, "Wrong way". The grandson will also point at BOB when he says, "Fell a victim." The question is why is Jeffries pointing at Coop? There are indications that Jeffries is from another time...is he pointing at Cooper because he knows the doppleganger came out and he thinks this is him? Or does he know Cooper might give Laura the wrong advice about the ring, now that he's in the Red Room, where time isn't linear? Or maybe it's simply because he's aware that Cooper masks the dreamer. Afterall, if Jeffries disappeared like Chet, he might have come into contact with the ring, which allowed him to peek behind the curtain...he will be the first character to outright state that they all live inside of a dream.


- At the same time Jeffries asks the question about Dale, Lynch starts to overlap a meeting happening above the fabled convenience store, beginning with electricity and the image of a jumping man, dressed in a suit of red and whose face is similar to the mask of the frogmoth that the grandson wears, only his possesses a mouth.

Lynch told the actor playing the Jumping Man that he was portraying a living talisman. The fact of this, along with the electrical static, leads to the strong implication that Cooper masks the dreamer and Jeffries realizes this. Afterall, a talisman wards off evil and possesses magical abilities...and we've reasoned that the Magician is our dreamer, making a world where he tries to ward off the evil that happened to his family and himself, by projecting it on to others. Plus, we've gone into electricity and dreams before.

We also need to once again point out that this is occurring above the convenience store, which we equate as being a true representation of Horne's Department Store, just as the Red Diamond/Dutchman's is the true self of the Great Northern.


- Jeffries dialogue goes in and out, often seeming messed up and out of order, but during it, the main thing to note is probably the revelation, "It was a dream...we live inside of a dream." This is our first major reveal that this is infact all a dream. Dream references permeated the series, but while it was suggested the Lodge forces operated through dreams sometimes, it was never outright said that the characters themselves were inside of a dream.


- During the Lodge meeting that Jeffries saw, but we did not (did he travel via electricity, as he seemed to during his trip there?) we see the Arm and BOB (who seems upset) sitting at a table. They are surrounded by four bowls of varying sizes, two white, two silver, of creamed corn. The Grandmother and grandson are by a couch, the grandson slouched over, as if dead or sleeping. Two woodsmen are also present, along with a character called the Electrician. The Arm calls the corn garmonbozia, and this is the first time it's been seen since the grandson's appearance and the first time it's received an alternate name.

The Arm points out the formica table they are sitting at and how it is green. That is the same color as the ring and the Bankers lamp. The boy points to BOB and says "Fell a victim". The Arm laughs "With this ring, I thee wed," making it seem like a joke. BOB claps his hands, the Jumping Man stops moving and hops backwards onto his black, smoking crate, as the grandson's foot jumps at the same time. The Arm seems startled by BOB's action. We see the Red Room, and now the grandson wears a mask that resembles the Jumping Man and frogmoth, except without mouth, and with a twig on its forehead. He lifts it and we see the grandson. He lifts it again, and we see the monkey.

Electricity is imposed throughout this whole sequence.

We're not sure what it all means, but we somehow think it is from the future, after Mr. C has gotten out of the Lodge. Why do we think that? Well, because the Missing Pieces seem to indicate it all has something to do with Mr. C getting out, Dale being in, and BOB possibly wanting another chance to be Laura. BOB clapped his hands, stopping the Jumping Man from moving. We think the grandson wearing the mask again has to deal with Leland's unconscious possession, BOB using his face for a mask and going back to the whole line about Chet saying "wearing a sour face." BOB/the dreamer has gone back to wearing Leland's face. With Mr. C this was unnecessary: the host being fully aware of the possession and BOB actually belonging to him since Cooper was a stand in for BOB's creator, the dreamer, the whole time. The monkey peeking out from beneath it falls back to what Ben Horne said about Audrey: she made everyone else look like a primate. Billy felt this way about his victims and also about himself too. Laura and Naido will similarly be linked to monkeys.

BOB and MIKE enter the Red Room and we believe that is where they find Cooper, whom will tell Laura not to take the ring.

Can we connect the bowls of corn to people then? The chrome for Billy's mother and father? The white ones for Laura and either Maddie, Annie or Leland? What does fell a victim mean, Cooper or Annie?


- Phillip Jeffries disappears screaming, in flashes of electricity. Cole announces he's gone and we see the empty chair. Albert calls the front desk to find out that they say he was never there, and on top of all this, Agent Chester Desmond is gone. Cooper's confused and asks Cole what's going on?

It is insinuated that Jeffries was kicked out through the electricity, just as he had arrived. This sudden time limit of his appearance, we will suggest later on down the line, is what Cooper experiences in Part 17 when he goes back in time to "save" Laura.


- Cole and Cooper watch the surveillance footage to find the impossible image of Jeffries walking past Dale in the hallway. They know he was there then, but still don't know what happened to Chet.


- Cooper goes to Deer Meadow to investigate Chet's disappearance and Carl points out Teresa's trailer to him, restating he didn't touch anything. He states that Chet came back for a second time to see Cliff's trailer and then he never saw him again. Cooper politely says thank you and apologizes for having awakened him. Carl says it's okay because he was having a bad dream anyway.

Cooper is once again his cheerful, friendly self and Carl's confession that he interrupted his bad dream might indicate how Dale was also used to help the dreamer better his own bad dream.


- Cooper goes in an entirely different direction, just as Chet did, finding the now empty place where the grandson and grandmother's trailer used to be. Cooper asks whom the trailer belonged to, and Carl tells him an old woman and her grandson. They were called Chalfont, just like the people whom previously rented the space.

Okay, so we have the grandson and grandmother from the original series, living at the same park as Teresa. And they have taken the name of the people whom were there beforehand, just like when they used the name Tremond.

Let's look at their names a little. Tremond is closest to Tremont which means three mountains. There was two mountains in Twin Peaks. Judi was also the name of the mountain Noah's Ark came to rest on. Chalfont, on the other hand, means "calf spring". A young of the large deer species used to be called a calf. These names will also turn up in Part 18, at the Palmer house...which we believe could go hand in hand with the Fireman's claim that "it is in our house now." The mountains go easily with Twin Peaks, with Judy added, and the spring could be the oil spring by the opening to Glastonbury Grove. Calf could indicate the grandson. The fact that they always adopt the names of the people from before hints at them being at the start of things, or before anything else.

- It is integral to this theory that it be realized that Cooper, while knowing of the mysterious grandson and his grandmother, is always too late to meet them. Then their names, when he's expecting some sort of victory in Part 18, seem to appear to taunt him instead. We believe it is because these are the two people he should be looking for, the grandson in particular...because it is him. It is Billy. However, to meet them would be a momentous event that might force Billy to wake up...then Cooper would have found Billy afterall, the magician, as well as his true self.


- Cooper goes to Chet's abandoned car, which seems to have "Let's Rock" written in lipstick...is that to evoke Teresa's...Laura's...Ronette's...all three? We also have it written on a car, cars being pivotal to Twin Peaks in an undercurrent way. Let's rock is what the Arm said to Dale in his dream from Episode 2. Diane's tulpa also said it in The Return, after being offered an official position in the investigation into the strange Hastings/Ruth/Briggs case. Was Chet similarly inducted? Did he know this all had to do with Billy too? A large rock was also where Richard Horne was electrocuted, in contrast to the large log where Laura's body was beached. We might be able to tie a thread then. The Arm says those words to Cooper, presumably close to when Laura whispers to him, something that hints that he's Billy. Chet found the ring under the grandson's trailer and knew it was about Billy. Diane was let in on a case that circled around Billy...and Richard Horne, a very close avatar for Billy was electrified on top of a rock, possibly making him closer to Billy, as the dreamer. The words are written on glass, which reflects and which mirrors, like the one Mr. C smashed his head into.


- At Wind River, Cooper dictates to the still unseen Diane how the case gives him a strange feeling. All the leads are dead but, thanks to the letter under the nail, he has a feeling that the killer will strike again, but like the song says, who knows where or when.

That Cooper is using a love song, we assume Rodgers' and Hammerstein's "Where or When" to talk about a killer showing up again is creepy when you stop and think of it. The lyrics make it even creepier when we suggest that BOB represents Billy's perception of his father and Cooper Billy's dream self, and our belief that BOB has always belonged to Dale and not Leland.

Some of the lyrics also strongly resonate with this theory and how we believe Billy is reliving events:

"It seems we stood and talked like this before.
We looked at each other in the same way then,
But I can't remember where or when.

The clothes you're wearing are the clothes you wore.
The smile you are smiling you were smiling then,
But I can't remember where or when.

Some things that happen for the first time
Seem to be happening again.

And so, it seems that we have met before
And laughed before and loved before,
But who knows where or when?

When you're awake, the things you think
Come from the dreams you dream.
Thought has wings
And lots of things
Are seldom what they seem.

Sometimes you think you've lived before
All that you live today.
Things you do
Come back to you
As though they knew the way.
Oh, the tricks your mind can play!

It seems we stood and talked like this before.
We looked at each other in the same way then,
But I can't remember where or when.

The clothes you're wearing are the clothes you wore.
The smile you are smiling you were smiling then,
But I can't remember where or when.

Some things that happen for the first time
Seem to be happening again.

And so, it seems that we have met before
And laughed before and loved before,
But who knows where or when?"

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Episode 28 "Miss Twin Peaks"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


- For the penultimate episode of the Original series, the Log Lady discusses trees, her Log, her husband as well as fire.


"A log is a portion of a tree. At the end of a crosscut log -- many of you know this -- there are rings."

Rings being mentioned is significant, since circles and rings repeat within the show.

"Each ring represents one year in the life of the tree. How long it takes to a grow a tree."

She is talking about the age of a tree here and how long it takes to grow one. If we can possibly connect that to the previous episode, which we believed hinted at the conception and birth of Billy, and the talk of trees as representing people, we can get a sense that she's referring to the age of Billy, perhaps, and also of his mother.

She points out that the fireplace is boarded up, and that there will never be a fire there. Could be a reference to BOB/Ben or of the abuse likened to it or even the connection to Billy, whom played with fire and how it burned down his home and family.

She also points out that her husband's ashes are in a jar on her mantle. Now why would she even keep them there? Still contemplating if her husband worked for the "fire" as in he was a woodsman, one of Ben's helpers. She also mentions, soon after, that her log has stopped growing, but it is aware. Is the log her husband?

Interesting how Margaret state,"My log hears things I cannot hear. But my log tells me about the sounds, about the new words." What does she mean? Are the sounds the same as the ones the Fireman showed to Dale in The Return. What are the new words anyway?


- Alone with Major Briggs, Leo manages to reach a key. The key doesn't fit his own lock, so Leo let's a disoriented Briggs go with the instruction to "Save Shelly".

Did Earle purposely leave that particular key there, assuming that, even if he reached it, Leo wouldn't let the father of the man having an affair with his wife go? Is that how incapable of understanding love Windom is, and how appreciative of it Leo has become? Leo stares at Shelly's photo.


- Earle returns and expresses disappointment in Leo's actions. He intends to play a game with Leo instead of punishing him, but that is just as bad.


- What's really interesting is how Windom's face, during this scene, is how Laura and Leland's momentarily look in FWWM, when Laura tells Harold "Fire Walk With Me" after talking about BOB and when BOB uses his host's fear to open the door at Glastonbury Grove to enter the Red Room. Now those two were more stylized, with Lynch's special touch, but we think they were meant to be the same, with one major difference. Their faces were greyish/white, like the sycamores/ring around the oil pool, black lips like oil and very red mouth inside, like the curtains. This could have indicated that they were both opened, like the Lodge, and that BOB wanted to enter them. Now Windom's face is white/light grey, but his mouth is all black. Does that indicate that BOB had no desire to use him?

And how could that pertain to this specific theory? Well, we reckon that Billy had a purpose for Laura (he was in possessive love with American Girl and wanted to be with her) and Leland (he needed to impose a lie on someone to help make everyone not realize he was the real killer) but Windom...there was no real use for him. Remember too, he might truly be an earlier template for BOB, a representation of Billy's dad, and there was no use for that anymore.

He also doesn't really care for another father figure, just as he didn't care for the real one either. When going through One-Eyed Jack's, searching for Audrey, going down the corridor with Titian's painting of Danae, Coop declared it a dead end. The photo represented Danae being impregnated by Zeus, with a son destined to kill her father. In Billy's case, we reason Zeus and the father were one and the same...and neither mattered to him. Albert even specifically referred to Windom as Zeus. We also will later equate Albert's induction into the Blue Rose task force as having been directly linked to Billy's dad. Besides Gordon, whom accompanied Phillip Jeffries on the first Blue Rose case, Albert is the only FBI Agent whom didn't disappear. We believe the Agents each correspond to a traumatic/life changing death for Billy. Except Albert...well he got Billy's father, a death that barely affected Billy. Plus he might have started to see his dad as BOB a little at that stage, and considered him alive. So, in any case, Windom isn't useful to Billy. So there is little use in going inside him.


- Norma is back and making pies for the Miss Twin Peaks pageant.

She tells Annie and Shelly, "This is the biggest day of the year for us. And we have to have somebody up there who really deserves this title. Especially this year."

Annie asks, "You mean Laura Palmer?"

And Norma replies, "It would be a good day for healing."

Shelly responds, "I think we need more than a day."

For us, Laura being mentioned here is extremely relevant. They are saying that the Miss Twin Peaks contest should heal the town, and yet we believe this is one of the strongest catalysts for spreading the pain and sorrow Laura's death meant. For it will help lead to her killer, whom wasn't truly punished or caught, trapping the last vestiges of morality inside of his darkness, allowing him to become not just the murderer of one young girl but many.

And it is ironic that Annie, mentions Laura, because she is essentially next in line and going to symbolize his becoming a serial killer. Frankly, she's even dating the guy who killed Laura. Sure, he might seem all nice and wonderful, as Dale Cooper, but that's what many people often say about monsters...they seemed so nice. This fact, makes a bloody Annie appearing in Laura's bed, warning that the good Dale is stuck in the Lodge, make all the more sense. There lies the first woman he intentionally killed, and there will be the one after her.


- Shelly and Annie want to know who Norma is voting for and joke about her splitting her vote. Seeing as though Cooper splits in the finale, we wonder if this is a sly little wink to that.


- The next sequence finds Audrey Horne, sitting by the fire, in her father's office, and wearing a red dress, which instantly reminded us of the Red Room and our theorizing during the last episode that the curtains were symbolic for the birth of her son. Now she's sitting, staring at the fire and she's also barefoot, the initial shot of the scene infact. The first few scenes of Audrey in the Pilot centered on her shoes, which we compared to the colors of the Red Room itself. And now, for some reason, she's barefoot. Does this have any connection to Laura/Carrie's whisper about spotting Cooper's dark suit off? Is seeing Audrey by the fire a big clue?

Coincidentally, or not, the first time we saw Ben, he was spitting into a fire in this same fireplace.


- Ben comes in, his hands loaded with books. Audrey was seen in a library a few episodes back. The Hornes have been surrounded by books lately, and given the fact that we believe Billy, the child of Audrey and Ben, lives through/loves stories, this seems very fitting indeed.


- Ohhhh....important line here. Ben sees his daughter sitting by the fire in her red (curtain) dress and exclaims, "Audrey. The most intelligent face that I've seen all day.
You make the rest of us look like primates."

Now in FWWM, we see the grandson (Billy to us) adorn his mask of the frogmoth. When he lifts it once, we see a monkey hiding beneath it. Later, after Laura has been killed, and before we actually see a shot of Will Hayward unwrapping the plastic to reveal her peaceful blue face, we also see a monkey shaded the same color blue, whom whispers "Judy", as if introducing Laura's corpse. Now, in The Return, Naido/Betty also makes sounds like a monkey. We believe this supposedly inconsequential line from Ben Horne, is what is at the heart of this monkey business.

In this way, Billy and his father are in agreement: Audrey makes everyone else look like a monkey, the girls that remind him of her and even Billy himself.


- Audrey asks Ben about the books and he explains they are all of the world's enlightening literature. He states, "Somewhere in here are the answers that I seek. And I intend to read them
from cover to cover, until I find..." Unfortunately, he says it like a man who probably doesn't even know what he's looking for. He's trying to be good, but like he confessed to Jack, he doesn't know how. It isn't natural for him and Billy is merely imposing it on him even now.


- Ben sits directly in front of the fire, Audrey off to its side.


- Ben notices Audrey is distracted (was she looking out the window like Cooper?) and that she is missing Jack. He says, Jack is a man of his word, so he will be back, and yet we know he won't. Like Windom, Billy had no further use for him, and besides, he probably always hoped that the father he heard about would come back someday too...until he found out that his father had never really left and he had been calling him grandpa the whole time.


- Audrey relays what she found out during her trip to Seattle. Supposedly the Packards are using Twin Peaks Savings and Loans to funnel cash into Ghostwood Development, but the bank is keeping a low profile because they don't want bad publicity.

So this, in fact, leads up to Audrey chaining herself to the vault door, which leads to a myriad of similarities to the flashbacks shown in Part 8 involving BOB and the Experiment, plus the New Mexico Girl and the frogmoth. Plus we have it being in a Bank, as in Teresa Banks. Audrey locked away in a Bank(s).


- Ben brings up the subject of Miss Twin Peaks again and how Audrey should enter. She obviously doesn't want to do it, and yet Ben keeps pressuring her, saying it's to stop Ghostwood's destruction, and obviously, at some point she concedes...which goes along with our hypothesis that the incest that haunts the series truly happened between them. Unfortunately, Ben Horne, we believe, forced Audrey to do far worse things than enter a beauty pageant.


- At one point, Audrey has her hands placed together in front of her and resembles the stance of Ronette and Laura's Angels. This also goes hand in hand with Windom calling the 3 original targets angels and our belief that Audrey was still supposed to be the chosen one before Coop/Billy invented a decoy.


- Have to comment on how the direction often frames the shot so we are watching Ben and Audrey through the open office door. What is that precisely getting at? That in Billy's fantasy they leave the door open when they are together, when in reality it was most likely shut for privacy and so nobody knew what Ben was doing to her?


- Andy is continually staring at the petroglyph. Meanwhile, the station is on the lookout for the missing Briggs, and Cooper just sort of carelessly let's it drop to Harry that he saw BOB when Josie died and he believes it was fear that killed her, and her fear attracted BOB, allowing him to slip in and feed from her.

Dale specifically says Josie was trembling like an animal, recalling the shaking hands. It also recalls a missing piece where the Lodge spirits say "animal life". We once again also have the statement that BOB feeds on fear. So does he also feed on pain and sorrow? Is that included? Or was that something different from his usual sustenance? How was it stolen then?


- When Harry guesses a connection between BOB and the Black Lodge, Cooper tells him, "I think that the Black Lodge is what you have referred to in the past as 'the evil in these woods.'"

Last episode, we theorized that this was an allegory for Billy himself. Ghostwood is a representation of his mother, Audrey, and him being her child, he was literally in the woods for 9 months. He was the evil in the woods. As the imaginer of BOB, he is also BOB, making that assessment true too. We also reason that both Lodges represent his feelings for his mother/life divided into positive and negative, and this makes the Black Lodge a permanent residence for his fear and hatred, it forever residing in the woods and in connection with his mother. Add to that the Red Room, we believe, is partly a gateway to Billy's own psyche and all of this is actually very valid, just not the literal way Cooper and Harry are guessing.


- What's upsetting is how Cooper states that they need to get to the Black Lodge before Windom. "There's a source of great power there, Harry," he states. "Far beyond our ability to comprehend."

He doesn't say anything about the destructive capability of the Lodge and how horrible it is, but seems more curious. Now this is all about Billy's descent into pure evil we theorize. That is the power that is really being referenced. And that is probably beyond Harry and Cooper's ability to comprehend, seeing as though they are characters inside of his mind, and Dale, his main avatar, doesn't want to face his true self.


- Listening in, Windom is excited to learn that fear, his favorite emotional state, is the dark forces' bread and butter.

So this still raises the question over why creamed corn is pain and sorrow. Can it be all negative emotions? But then why make it seem exclusively two things at the end of FWWM, when the series often told us BOB lived on fear and pleasure?


- Windom references his excitement when he severed Caroline's aorta, revealing that he did kill her.


- Windom expresses his regret to Leo that he's leaving, because he grew fond of him. He refers to him at the end like a dog, something we already linked to Coop/Billy and Ben.


- He's rigged a contraption so that Leo has to hold a string in his teeth so a cage full of poisonous spiders won't descend on him. This illustrates that Windom was speaking the truth about his own penchant for creating fear.


- At the Roadhouse, a leering Mr. Pinkle (remember his name can mean penis/sausage in German, and sometimes rectum too) is instructing the contestants on how to perform their choreography, which seems lewd more than classy.

Now Pinkle gives these instructions, "Now, turn around and bend forward like a sapling. A sapling in the wind."

This is disturbing when viewed through this theory and brings more credence to the belief that Billy was also abused by the father/grandfather. Afterall, we've been saying the the woods represent Audrey, and the trees by extension. Now we have a sapling, a young tree mentioned, and how it is told to bend in the wind, the wind and fans strong motifs in the series. This could go for the young Audrey with Ben and her son Richard/Cooper/Billy too, their being trees in the same forest (think Gersten/Steven).

Even one girl asks: "What exactly are we celebrating with us all bending over like this?"

Pinkle then snaps, " Don't ever question the vision of your choreographer! You are but a petal on my rose."

There is the rose motif as well. Billy was a petal on the rose of his mother.

We should mention that this all pertains to a dance, also, one being taught/performed at the Roadhouse, the same place where Audrey will be instructed to perform her own dance for the audience.


- Audrey is missing from the dance rehearsal but we just read the script and, actually, not only was she supposed to be there, it was to HER that Pinkle said that bit about the rose, after she had been the one to ask what was with all the bending. Pinkle was actually supposed to take her aside and seem like he was singling her out from the rest and making a move on her. That she isn't there now at all seems weird. She won't even be doing it during the actual performance...she's separate which only brings more attention to her and seems like she's excluded for a reason. Now Fenn probably just didn't want to do it, but it fits in perfectly with the theory and that Billy is partly sheltering her, just as he he will do in the form of the father-like Charlie.


- Dwayne, Norma and Richard are standing watching the rehearsal, trying to figure out what they should be considering when choosing Miss Twin Peaks. Very interesting how Richard, whom shares a name with Audrey's future son, remarks that breeding should be placed highly.


- Okay, so, to go along with the earlier choreography routine, and the uncomfortable implications, now, as a Richard is standing there, we have a man moving a buck decoration to the stage, where a doe one is already placed. The issue here, though, is that he honestly appears to look like he is sodomizing it. Seriously. There's no real reason to carry it that way...unless it's supposed to look dubious. And this is all as he passes by Richard Tremayne, whom was also a part of the whole kiss the weasel thing, and spit and swallow thing too, both hosted at the Great Northern.

In The Return, Richard Horne will invade his grandmother's home and hurl insults at her and his uncle, all while threatening to "cornhole" Johnny, a reference about sodomy and one which involves corn (related to garmonbozia?). Why does he do this? What's the source of his rage and this particular threat when we saw him accosting a young woman earlier. Later on, his grandfather, Ben will field Frank Truman's reports about Richard's other actions, in a "that boy was never right" fashion, and we buy it, knowing he is the son of a doppleganger. And yet Ben also indicates his grandson's actions repeatedly progressed, which implies he wasn't wholly evil at one point.

We suggest that what lies hidden beneath this is the subtly hinted at possiblity that Ben Horne is partly responsible for his grandson's behavior, something he doesn't wish to admit to. Consider too, this whole conversation leads to his telling Beverly about his father buying him that second hand CYCLE. Ben also tried to reason away Richard's horrific acts by being that he didn't have a father but...if Ben was truly a changed man, wouldn't he have been a good influence and father figure for the boy? Not if he is the source of the corruption and disease to begin with, we argue.


- Lana seduces Richard in a storage room that looks more like a closet. A closet in the basement of the Great Northern indicated that the Horne family held it's own dark secrets and that Dale Cooper, whom would become a Richard, the same name as Ben Horne's grandson, was one of them.


- Dale dictates to Diane about his meditation instead of sleep. Does this connect to his dopple stating, after freshly leaving the Lodge, that he wasn't sleeping? He talks a bit about the petroglyph, Earle and the Lodges before gushing to her about Annie, how she's like a child (similar to him in ways, and how we argue Billy is stuck partially in a juvenile state, as represented by the grandson). Now, why, if Dale is involved with Diane, would he be telling her all about this other woman he was involved with? That would border on Narcissistic behavior, although seeing as though we believe he's involved with himself (Annie) that may infact be true. But, we reason more it's because Billy hasn't fully formed his idea of Diane yet, why she is left unseen and just presents as a recorder. It is only later, after having met and become involved with his own assistant, Betty, that Billy Hastings can form some substitute/representation of her inside of his dream.


- A knock at the door, proves to be Annie herself. She's paid him a visit because she's worried about her speech, which she informs him must center around saving local forests. She makes a reference about campfires, which links to the theme of fire in the woods, as well as the secret Smokey the Bear ashtray Audrey had hidden away in her locker at school, along with her red heels.

Cooper theorizes, "If the Ghostwood development cost thousands of lives, do you think it would have a chance of going forward?

Annie counters, "Well, trees aren't the same
as people. But they are alive."

Okay so clearly here the forests/trees are being equated to people, strengthening the viewpoint that Ghostwood could mean Audrey, and that the displayed destruction of nature we see throughout the series directly displays abuse of a certain kind ie: Ben's father passing the shovel to him at the Great Northern groundbreaking.

More analogy follows:

Cooper: Your forest is beautiful and peaceful.

Billy sees his mother's as being a haunted place "Ghostwood". It is his as well, and he is ignoring that Annie has shown signs of similar torment, because he denies it in himself.

Annie: Part of it's been damaged. I've tried to replant, but nothing's taken root. Every forest has its shadow.

Direct shadow mention here, which can easily be foreshadowing Cooper's doppleganger.


- Annie's next line also adds more to the theory that she is just an extension of Dale Cooper and the dreamer, more than being her own person, "I can see half my life's history in your face, and I'm not sure that I want to."


- They end up making love in Cooper's hotel bed, but we equate this more to an act of masturbation than anything else, the signs all shown that Annie is essentially Dale Cooper on a deeper level. Must mention that this occurs with Cooper on top, which doesn't seem his natural position, The Return having shown him twice on the bottom. Mr. C was the one whom appeared to like the dominant position, but that was when he killed Darya, in another motel. When he was with Chantal, he was sitting.


- Nadine shows Ed, Nadine, Jacoby and Mike her slides regarding winning, including all of her trophies. She talks about how happy she is, and everything, and yet, when Ed says he's marrying Norma, she squeezes Mike's hand in anger and seems generally to be hiding how she really feels.

Another good indication that, despite his cheery air, Cooper might be hiding, supressing/repressing his true feelings, just as Billy does regarding his own horrific past and his feelings for his mother.


- Hawk finds Briggs stumbling around the woods and still out to lunch. Briggs asks, "Which way to the castle?" which could refer to the business at hands, regarding Kings and Queens and the Black Lodge or even be about Jack Rabbit's Palace, a place in the woods where he played and made up stories with Bobby. Or maybe they are all the same, given that specific naming for the Palace, and how we argue the Black Lodge is connected to the Great Northern and the troubling undercurrent and theme that the horrifying fact about Billy's true paternity is what is partly influencing all of this.


- Garland is brought back to the station where Cooper is told he has been shot through with haloperidol, the same drug Phillip Gerard used to keep MIKE at bay.


- Now, Earle used the drug to help Briggs be more honest with him, so we're paying strict attention to what he is mumbling.

When questioned about his name, he calls it an odd name and references Judy Garland. Was Billy influenced by Garland when naming him, and her connection to the Wizard of Oz, a huge influence on Lynch too?

When asked if Earle did this to him, Garland replies, "It was God, I suppose." Technically, that ain't too far off. Billy plays writer inside of his dream, so he's in a way saying that Billy did this to him.

He says he was taken to the woods, which is truthful. He also adds that they were lovely and dark and that the King of Romania was unable to attend. Those are all technically true too. We saw no King of Romania there.


- Cooper tells Harry they don't have much time because the entrance to the Black Lodge won't be there for long.

This goes for Billy most likely too. He was created at a specific point in time and would not exist if things hadn't been just the way that lead to it. We might even be able to apply that to Laura Palmer herself and why things drastically change if she doesn't die. If Billy hadn't killed American Girl, there would be no Laura Palmer, at least not the one we knew her, and his dream would have altered to suit that.


- Andy asks if it has anything to do with the 4H club. On the surface it doesn't, but if Laura's love of horses was something taken from American Girl, she could have been involved in it. Billy might have been too, or should have been and actually paid attention, since the club tries to shape youths into helpful parts of the community.


- Pete and Andrew, meanwhile, try to deal with their own puzzle, albeit this one in a cheating fashion. They have Eckhardt's box in a vice and are trying to squeeze it open.

This could still imply that Billy was lazy and didn't want to do the shadow work to understand himself and become a better person.


- This take becomes even more relevant when Catherine remarks, "I can't take any more of this. Boxes inside boxes." The glass box in NYC, the one that Sam keeps a careful watch over, we argue is Billy Hastings' psyche. When Cooper exits the Lodge and falls into it, it soon after becomes a box upon box upon box that he further falls into, leading up to his visit to the mansion room. We theorize that, when things get tough, Billy doesn't face them, or wake up, but simply falls into another dream: boxes inside boxes.


- Interesting how the box is resistant to the vice when Peter names it "Cram Jack all-duty vise." There's "Jack" a name and we wonder if it holds any connection to Billy's imagining/perception of his father, and whom he had once hoped he might be.


- Andrew has had enough and shoots the box, displaying Billy's choice of violence over work even more fully.


- The box is now opened and a safety deposit key is inside, one we all know will lead to the bank that Audrey was earlier talking about. This also still is a precursor to the box and key in Mulholland Drive.


- Andrew and Catherine, despite being brother and sister, don't trust each other, just like Billy and his mother, and so the key is placed in the cake saver.

Now why they still think this can be anything good is beyond us.


- Donna comes down the stairs in her Miss Twin Peaks fashion and her parents are waiting. They compliment her, but Donna is more looking for the truth. When she presses them, Eileen warns, "Donna, I understand your feeling. But there are some things you just have to trust. You're young and you don't know all the limitations."

Why are the Haywards being so secretive with Donna? She's already suspecting something with Ben and she's angry at them, why not say what happened and go forward? Unless, this is still Billy making his own story, which involves the rape of a daughter by her own father, and so that is secretly informing things and making it all seem darker and more ominous. Afterall, this does involve a Will. Infact, after watching most of the whole OG series again, he's the only derivative of a Billy that we've seen throughout it.


- This episode contains a strong emphasis on fathers, which holds special significance since it is occurring after the previous episode, which we theorized danced around the subject of Billy's conception.


- Cooper deduces that what Andy mistook for the 4h club is in fact a conjunction between Jupiter and Saturn. He explains, "Well, historically, Harry, when Jupiter and Saturn are conjunct, there are enormous shifts in power and fortune. Jupiter being expansive in its influence, Saturn, contractive. Conjunction suggests a state of intensification, concentration. What this indicates to me is the potential for explosive change, good and bad.

Incredibly important when viewing this under the light that Dale's repressed urges are going to be set free, while his lighter ones are caged, the opposite of what he has been doing. This, of course, is equal to how his true self, Billy, is going to let his own darker impulses overshadow the light, and decide to further what he started by killing American Girl, repeating the act over and over again, in an effort to further not deal in a healthy fashion with what happened to him.

- They soon discover the conjunction is set to occur from January to June, all around when Laura was murdered and Coop came to town.

- Briggs soon pipes up with, "Protect the Queen" and "Fear and love open the doors."

He's probably just referring to Miss Twin Peaks, but we'd also wonder if he still is referring to Audrey too, Billy's goal partly being to keep his mother safe.


- Cooper reasons that two Lodges, two doors, fear opens one, the Black, and love the other, the White. When Harry asks what that means, Cooper replies, "I don't know exactly. It just came to me."

It came to him because he masks the dreamer and so he subconsciously realizes that this has to do with Billy's conflicting feelings, particularly in regards to his mother/home.


- Briggs comments "How does the Queen..." which is from Hamlet.

The character we saw most quoting Shakespeare was Ben Horne. Meanwhile, Hamlet involves the potentially Oedipal feelings a son possesses for his mother. We've also got the relationship between that mother and the uncle, which the son is jealous of, and creates a note of interest when we realize that FWWM involves a ring given by an uncle figure (MIKE) to those Billy sees as being similar to his mother. It all started with Teresa whom we outright suggest is a substitute for Audrey/Billy's mom. Does that indicate anything occurring between the uncle and niece, even in a protective way?

Furthermore, this is Briggs saying it, whom created Jack Rabbit's Palace with his son. We've theorized Jack as being linked with his father in Billy's mind. So a palace would indicate that he was the King. That would make Billy's mother the Queen. Audrey is still the true Queen. That Annie becomes her instead just reinforces the belief that Billy forces other women to become his mother.


- Coop and Harry realize that whomever wins Miss Twin Peaks is in trouble.


- They knock over the Bonsai and finally discover it isn't from Josie but Windom, realizing they have been helping him all the time.


- Andy is trying to tell them all something, but nobody is listening.


- We cut to the contest, and see the women all performing the dance routine. All except Audrey. But what is so goosebump inducing to this theory, once again, is how this sequence, though seemingly unimportant, now becomes something to blow the mind. The women parade around the stage with plastic umbrellas, as they wear similarly plastic coats...that's too reminiscent of Laura Palmer.

Norma said they should be doing this all to help heal the community, and yet they are prancing around the stage invoking in the most morbid way the memory of the victim?

Why?

Because this is the dream of the man who killed her and it is celebrating how he's about to make a HABIT out of it, and whom better to do it with next than the ex nun.

Meanwhile, his mother, the true queen, is kept safely out of it, just like the true Judy that she is. Audrey doesn't have the umbrella. Audrey does not wear the plastic. Billy has protected his Queen and she shall not be harmed.

Probably partly because he already burned her in a fire, not the water, and he cannot accept that.

And this is the true horrific meaning behind Miss Twin Peaks, how it all involves a group of dead women. One of the reasons why the whole thing changes when the first one doesn't die.

And whom better to host our little Miss Twin Peaks than WILLIAM Hayward, bearer of the same first name and initials as WILLIAM "Billy" Hastings, our dreamer and the evil bastard of a serial killer himself.


- Mr. Pinkle makes a pass at the Log Lady.


- Bobby approaches Windom, dressed up as the Log Lady, and Windom introduces him to the fake log personally. Guess what's mainly interesting about this is how Bobby asks "So, what, did you bring your whole family?" before the act. With Billy's family being what it was, that is a sore spot.


- Harry and Coop make it to the Pageant, Cooper stating the winner should have 24 hour guard and house security. At this stage he still doesn't seem concerned that Annie might be the one to win.


- Earlier, in the scene in Ben's office, Horne implored Audrey to, "Make the speech. Stop Ghostwood. And take us to a better day."

Now Audrey is doing just that, even though she was excluded from the dance and we never see her talent.

"There is only one way to save a forest, an idea, or anything of value," she says. "And that is by refusing to stand by and watch it die. There is a law of nature, which is more fundamental to life than the laws of man. And when something you care about
is in danger, you must fight to save it or lose it forever."

Her words take on deeper meaning if what we have theorized is true, that she was Ghostwood and this is all about her: Billy's tormented relationship with his mother and how he yearns to both protect and destroy her.

It also takes on greater significance and becomes more profound when we see Cooper stop and stare at her as she makes her speech. He is Billy, he loves her, and yet he has separated himself from her to keep her safe. That is how he is fighting to save her...to protect her even from finding out what he is. Just like we see Charlie not sharing the news he heard about Billy with her.


- Donna watches as Audrey and Ben share a sweet moment after Audrey has given her speech. Donna then confronts Benjamin about what went on between him and her mother. He wants for them to all sit down and talk about it. Eventually Donna deduces the obvious: he is her father. She runs away in disgust.

Billy has placed this on Donna here, potentially because of her coming into contact with the grandson, his childhood self. And yet she gets off pretty lucky. She's getting a sanitized Ben Horne. The real deal was even worse, believe it or not, and the truth about his illegitimate child truly devastating: Ben fathered his own grandson, the one Donna herself met.


- Cooper looks on as Annie gives her speech, all happy and seemingly having forgotten that whoever wins this thing is in BIG trouble.

Her speech mentions the dead living on in the earth basically (it's kind of condescending actually), but is very complimentary to this theory for that fact and the statement, "For the Indians love the earth as a newborn loves its mother's heartbeat."

We have been saying that Billy equates his mother to Ghostwood, and this imagery of a child loving their mother's heartbeat fits it wonderfully.

She also adds, "Maybe saving a forest starts with preserving some of the feelings
that die inside us every day. Those parts of ourselves that we deny. For if we cannot respect that interior land, then neither can we respect the land we walk."

Boom. Another bit of dialogue backing what we've been claiming: That Billy has essentially compromised his strength and goodness by denying certain aspects and feelings he has inside of himself. This we have witnessed through Dale Cooper, especially in how he became too good following Leland's death and the supposed "solution" of Laura's murder. It is all leading up to his meeting the parts of himself that he has denied and he has created the proverbial monster.


- Here's the other storyline revolving around a baby's father: Lucy has made her decision and she wants Andy to be her baby's daddy. Richard seems barely upset, and we might be able to link that to how Billy, himself, shows no interest in being a daddy either.

However, this clearly keeps that thread going, the question of paternity, and that directly is at the heart of the tragedy of the Horne family.


- Annie wins and finally Cooper looks concerned, but, at this stage, it might be too obvious if he didn't.


- While mostly everyone seems happy, Dwayne gives the most funny, truthful observation about the whole thing: "This is an outrage. She's been living in this town
about 15 minutes."


- Windom Earle strikes, as the lights go out and seem to strobe, ala BOB. All heck breaks loose, Will leads Annie backstage and then almost seems to abandon her, which allows Earle to grab her.


- Nadine gets beaned with a sandbag, which, considering this is all a dream, may fit oddly in with Mr. Sandman somehow. That's pathetic but we're going anywhere this theory will lead us. It also helps to "wake" her up.


- Windom claims he will help Annie and here's the odd thing, given that we think Dale is really a serial killer purposely wanting her destruction, it doesn't really matter who she goes with at this point.


- Cooper finally is freaking out about Annie, Harry is trying to console him that they will find her and Andy is finally able to tell them both what he figured out: the petroglyph is a map.

You bet it is, Andy. It's a map leading to Cooper/Billy's birth/rebirth. Infact, just like Donna had been looking at last episode, that petroglyph might partially be William Hastings birth certificate.

"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Episode 26 "Variations on Relations"


The theory: Twin Peaks is the dream of William "Billy" Hastings, a serial killer. The result of his mother's abuse, at the hands of her father, Billy was abused by her in turn, keeping the cycle going. Playing with fire, as abused/neglected/antisocial children are prone to, he accidentally burned down the motel where he lived with his mother and grandfather/father, killing them. He was sent to live with his grandmother/great-grandmother, until she died too. Billy then went to live with his strict, born again uncle. In high school, Billy became obsessed with a schoolmate, the American Girl. He murdered her, the first in a string of victims, all similar in the way that they reminded him of his mother. To deal with his past and what he'd become, he constructed the world of Twin Peaks, allowing him to also "protect" and honor his mother, the woman he both loved and feared. Inside of the dream, Billy's family was represented by both the Hornes and the Lodge Spirits, while Billy's main avatar was our hero Dale Cooper. Inside of his dream, Billy sought to project his tragedy and sins onto his victim's family instead, which worked for a while. However, if the OG is a representation of how Billy got away with murder, the Return is how he was eventually discovered by the mother of his first victim, an act precipitated by his involvement with Betty, his final victim.


A longer essay on the theory: https://armsholdair.dreamwidth.org/7192.html


WARNING: A knowledge of the whole Twin Peaks series is needed for this, fittingly from A to Z and Z back to A.


- The Log Lady discusses pie in her intro. She then seems to become obsessed with Norma and her pies, which frankly, is leading us into very odd speculation about what the heck she's really talking about.

We might just have dirty minds, but we're discussing a lot of things here that are getting questionable lately. So maybe we should also point out now that Dale Cooper has a large appetite for pie too, particularly cherry, something his actor even joked about, while having complained about the Audrey/Cooper storyline.

Anyway, we can probably link Billy's own appetites to Dale's.

We can also link Margaret's confession, "Sometimes I get angry and do things I'm not proud of," also to Billy.

We're unsure of what her claim that she loves pie with coffee. She seems to mean something, but we're not quite grasping it.


- The Twin Peaks Law Crew return to Owl Cave only to find the full petroglyph revealed on the wall and that Windom Earle has been there.


- Dale references getting Briggs on the horn, and there we have a phone call being linked to the word Horn(e) again.


- Dale also wants Andy to draw a large scale rendering of the petroglyph. Looking somewhat frightened and sad, Dale stares at the petroglyph as it goes to Windom Earle discussing the White Lodge.

We suspect it's because, as Billy, he secretly understands what it all means beneath his consciousness.


- Windom describes the White Lodge as follows: "Once upon a time, there was a place of great goodness called the White Lodge. Gentle fawns gamboled there
amidst happy, laughing spirits. The sounds of innocence and joy filled the air. And when it rained, it rained sweet nectar that infused one's heart with a desire to live life
in truth and beauty. Generally speaking, a ghastly place, reeking of virtue's sour smell."

We have fawns, baby deers/bucks mentioned, like good old Billy Hastings of Buckhorn(e). Moreover a fawn is, generally speaking, a deer in its first year. Cole and Jeffries visited Lois Duffy at an Olympia motel in 1975, which would have made Billy 2 at the time. We theorize that that was the age that Billy's mother began to abuse him. In his stage as a fawn, Billy was untouched.


- The next way that Windom describes the White Lodge is also especially relevant to this theory:

"Engorged with the whispered prayers of kneeling mothers, mewling newborns, and fools, young and old, compelled to do good without reason."

Ahem, we have a mother's prayer mentioned and newborns: Billy and his mother. Audrey saying a prayer to Dale Cooper, the song "My Prayer" being used for the conception of the New Mexico Girl with the Frogmoth, and then later as Dale and Diane had sex in a motel room, and he seemed to picture her as someone else, and she hid his face or didn't want him to see her...which echoed BOB/Leland and Teresa in FWWM. "Bury Me Not," the only song Audrey had been serenaded with's, full lyrics also contained a reference to a mother's prayers.

As we theorized previously, the White Lodge represents Billy's love for his mother.



- Windom then describes the Black Lodge: "For there's another place. Its opposite. A place of almost unimaginable power, chock-full of dark forces and vicious secrets."

The Black Lodge is filled with Billy's hatred/fear towards his mother and family. This is why it is also a place of secrets. He has locked away the horror of what his family did to one another, and everything that happened, inside of the Black Lodge.

"No prayers dare enter this frightful maw."

We can associate this with Billy having silenced his mother's prayers there, or that this is the side of her that would not say one for him.

"And if harnessed, these spirits in this hidden land of unmuffled screams and broken hearts..."

This is where Billy screams, his heart broken, as well as that of his mother and the people Billy has also hurt to try to silence his pain.

"...will offer up a power so vast that its bearer might reorder the earth itself to his liking. Now, this place I speak of is known as the Black Lodge."

Well, this is likely true for Billy, since he reorders his dreamworld to his liking. It also betrays the complete narcissism of those with psychopathic tendencies: they falsely believe that they control the world through the act of killing, and that they regain their control.


- The poor listening man Windom coerced into coming to the cabin, on the promise of beer and a party, asks, "I mean, White Lodge, Black Lodge? I mean, what's the big deal?"

The big deal is that they are not, as is surmised, an actual version of Heaven and hell, but are a very personal interpretation of both to Billy Hastings. In one he has all of his love for his mother stored away, while in the other he has hidden away his hatred and fear.


- Pete is still mooning over Josie as he examines the chess board, probably thinking of what Coop's next move should be. He's paraphrasing a famous tree poem. Josie is now wood.


- Catherine wants his help on opening the large black box that Thomas Eckhardt left to her. The box is just like the Owl Cave petroglyph and the bafflement over why Cooper thinks it can be anything good when it deals with tattoos that are associated with BOB. Catherine knows that Eckhardt hated her brother, so how can the box lead to anything good?


- Note how both the petroglyph and the box are connected to father figures: BOB with the "they are his children" and Thomas with his uncomfortable relationship with Josie.


- Pete figures out that it's a puzzle box.

It's actually reminiscent of the blue box that Rita has in Mulholland Drive, and might be the template for it. We should pay attention to this for that reason and how Betty and Rita receive the key to open their blue box from the Club Silencio, possibly after the Magician has stared at Betty and made her shake.

Mulholland Drive was meant to be a story about Audrey. We can link Eckhardt's box to what specifically happens to Audrey at the bank, which we know leads to her conception of Richard and echoes strongly the Trinity event and BOB coming to Earth.


- Pete references having seen a puzzle box before, in relation to twins and a monkey which is worth mentioning: "I saw one of these at a crafts emporium on Guam. I was there taking a little R and R
with the Doolittle twins. Heh. There was a monkey show you wouldn't believe, and Dale Doolittle...Now, he was the larger of the two... Come to think of it, for twins,
they weren't all that much alike."

He's referring to the twins having acted like monkeys, we suppose, in a derogatory way. That will be repeated in a few episodes. We should note how it involves dissimilar twins too.


- Bobby tries to convince Shelly to enter Miss Twin Peaks, by saying beautiful people succeed and honestly his statement regarding it is very strange: "When's the last time you saw a beautiful blond go to the electric chair?"

His girlfriend, a blonde, just died...why is he even equating them with being killers? There are female killers, but men are more often serial killers...just like we believe Billy is becoming. We are also suspecting he masks his brunette victims as blondes inside of his fantasy world, when he actually doesn't like blondes, the reason Hastings married Phyllis, a blonde, he has no real interest in. Phyllis is played by Cornelia Guest, herself, having won several Debutante awards and known as the first "celebutante". The blonde that Audrey was instructing to walk down the catwalk was also a beauty contestant. Bobby's words are just strange here...betraying a certain misogyny and contempt for blondes. Is there a reason why Billy masks his victims with blondes, a secret derision?

The electric chair, itself, probably really concerns Billy.


- Lana is not just interested in entering the contest, she wants her new fiance, Dwayne, to rig it for her. Lana started out seeming possibly innocent, but she's dissolved into being a manipulative gold digger, just like Dwayne had suspected. Now he's just too blindly in love to see it. Perhaps, another resentment Billy holds against his mother, or women in general.


- Cooper goes to the Double R and asks Annie out on a date, saying it's a nature study. We've already established how Billy acquaints the act of abuse with the destruction/negative impact on nature, so this is very interesting.


- Cooper is still too much publicly broadcasting his feelings for Annie. It seems too odd for him, not to mention that Windom is still on the loose and a threat. It's too showy. So...is it a show? A monkey show?


- Cooper overhears Shelly quoting, "What is all this sweet work worth, if thou kiss not me?" from the poem Windom sent the "angels" and Cooper instantly recognizes it, requesting Shelly bring him her segment of the poem.


- As Cooper goes to leave, upset about the poem, Annie reaffirms their date and he just keeps it! We mean, he just found out that Windom is targeting Peaks girls, in a very personal manner, and he isn't more concerned about keeping Annie safe?!? Something is seriously wrong with Cooper's relationship/actions towards this vulnerable women and we strongly suggest that it isn't because he's so very much in love with her.


- Back at the station, emphasis is placed on the poem being torn into thirds and sent to 3 girls. Any connection to Trinity?


- Harry asks Dale what is so important about the poem. Dale states that he sent it to Caroline: "See the mountains kiss high heaven And the waves clasp one another No sister-flower would be forgiven If it disdained its brother." There's that sister/brother thing, like Billy and his mother/sister.


- Dale hopes it's just a taunt and Earle's way of insinuating himself into innocent lives. So why the heck is he still not worried and more covert in his relationship with Annie?


- Hawk brings in Donna's piece of the poem but states Audrey is in Seattle. Btw, Judy was said to have a place in Seattle.


- Cooper suspects the handwriting as belonging to Leo and asks for his arrest report. Harry asks him what's going on and he replies, he's putting the pieces together...kind of like Eckhardt's puzzle box, the one which reminded Pete of the monkey show with the twins.


- Briggs sits in the conference room, correcting Andy on his rendering of the Petroglyph. He thinks he's seen it before, but doesn't know where.


- Cooper talks with Garland, saying how they are investigating separate cases but how they all, he believes, are actually connected: Leo's disappearance, Windom's appearance and the Owl Cave petroglyph. That's 3 cases, the number 3 again. Trinity. The three Coopers in the Return...

Dale refers to them as complimentary verses of the same song he can't hear but feels.

Is that "The Sycamore Trees" or "My Prayer" we wonder.


- Coop wants information on Project Blue Book, but Briggs has moral issues with divulging confidential information. He asks if it will prevent the loss of future lives.

Cooper says most assuredly.

This is horribly sad in a way because Briggs is actually being set up to cost future lives. For we speculate that this is all leading up to the good Dale being overwhelmed by his darkness, which is really Billy giving himself over to his own horrific impulses. Think too, how it is Billy Hastings, in The Return, whom gives Briggs the coordinates that make his head float as he repeats Cooper's name. Or how Briggs' head will float through space above the mansion room where we believe that Billy keeps the memories of his real victims safely hidden. "Blue Rose," Garland will mutter as he passes by, and we believe that is still just another code for what Billy Hastings calls his victims, all of them women whom remind him unnaturally of his mother.


- When asked where he's seen the petroglyph before, Briggs says he's dreamed it or seen it somewhere before. BOB visits people in dreams. This is all Billy's dream.


- Then we see a hooded figure walking in front of a white background. Through him we see the petroglyph then an owl and fire...and this is certainly not good within the mythos of both Twin Peaks and Billy's own dream.


- Coop checks Leo's handwriting against the poem and deduces that it was in fact written by Leo. But the most integral thing about this event is how he centers on the word "No sister-flower" while doing so. This is Audrey! Audrey is Cooper/Billy's sister-flower (born of the same father) and the dream and his mind/heart is still hammering this home to him! Audrey was also called, by Lynch, the flower of Twin Peaks.


- Delightful how this show, even the latter end of the loathed 2nd season begins to become RICH-er when viewed through this theory. Because from this last scene we go directly to Richard Tremayne, of Horne's fashion, whom is the name bearer of the name of Mr. C and Audrey's son, the same name Cooper will adorn by series ending. He's playing with his bandaged/white nose and this draws direct attention to it, recalling the long white proboscis of the mask that the grandson was seen wearing, as well as the Jumping Man and the frogmoth.


- Whom should this Richard be looking for, directly approaching Benjamin Horne to inquire about her whereabouts? Well, Miss Audrey Horne herself!


- Ben informs him, just as Dale had been informed, that Audrey is in Seattle but the concierge will help him for the wine tasting event Dick is going to host.


- Dick goes to leave and Ben calls him back, Richard telling him his name. We have to point out once more that Tremayne means "surrounded by stone" just as we suspect that Billy used Twin Peaks to protect his own secrets, just as Laura supposedly did too. Mountains are stone/rock.


- It is stated again that Richard works in Men's Fashion, recalling Dale's dark suit and Laura/Carrie's ominous whisper about others being able to spot him without it.


- Ben makes it a point to ask about his nose, which seeing as though Dick wasn't mentioning it, shows that either Ben is trying to be more caring, or it means something else to Billy and his dream, an interesting possibility because of any connection to the grandson's mask.


- Dick tells him to think nothing of it, but after Ben says they will pay for medical expenses Dick presses for worker's compensation too, which he receives.

Okay, so we already thought that the whole business of Mr. Pinkle pressing Richard to kiss the weasel at the fashion show for Stop Ghostwood was odd. Weasels are phallic and we questioned Pinkle's name, comparing it to the mysterious late Mr. Strawberry, whom belonged to Warden Murphy in The Return. We also discovered that the word "pinkel" in German can mean penis and refers to a sausage too, which did nothing to calm our suspicions. Richard is the name of Ben Horne's grandson. And a Richard was forced to do something he didn't want to at Ben Horne's fashion show.


- Richard then tells Ben he will alert his attorney, indicating he was planning something monetary.

This can also link to how we theorize Audrey accepted some sort of material/monetary exchange for not accusing her father of abusing her.


- As Ben watches Richard leave, he comments, "Sometimes the urge to do bad is nearly overpowering."

He's obviously thinking bad thoughts about Richard and wants to act of them. We suspect that Billy still is just forcing his father/grandfather to be a better person, but it is neither natural or true.


- Ben pulls out a carrot and eats it, again with the phallic imagery, and now's the time to mention how his tie looks like it has a fire, offset with the color green, and a skyscraper/tower in the middle.


- Windom has placed the unsuspecting metalhead inside of a large chess piece and now prepares to kill him. He wants Leo to fetch him the arrows (remember Johnny Horne in the previous episode) but Leo is reluctant, only doing it after he's electrocuted. And so we have another illustration of Leo's redemption and how some of the representations for darknesses inside Billy's soul still fight against senseless murders. They possess strength and self knowledge we argue. Dale Cooper, whom has separated himself and ignored his own darkness, is vulnerable and weak.


- Windom says the metalhead is soon going to answer of what awaits on the other side. This thought plagued Billy, after his mother died.


- Ben addresses the Miss Twin Peaks committee, urging them to change the theme to "how to save our forests." Great addition to this theory. For now we have the father/grandfather we believe Billy is trying to "re-form" now wanting to make Miss Twin Peaks be about saving the forest/trees, when we theorize that the original Ghostwood Development project was really an allegory for his abuse of Audrey.

That Miss Twin Peaks should be made about the secret that haunts the dreamer's life, and we still believe it was Audrey whom should have won it - Annie merely being the decoy to help save her - is poignant in an unexplainable way. Billy's fantasy revolves around his mother. She is Miss Twin Peaks and Twin Peaks to him.


- On his way out, Ben talks to Bobby about picking up his dry cleaning. Ahem, fashion and cleaning both involved in relation to Benjamin Horne. With what we have been theorizing, a wonderful little moment.


- Ben shares an uncomfortable but silent reaction with Donna, whom is sitting with Bobby and Shelly. She will turn out to be this guy's daughter afterall, another truth Billy projected onto another person so it needn't have to be his.


- Bobby talks to Mike alone, confused about his sudden interest in "fossils". Mike explains it involves sexual maturity and strength, then whispers something to Bobby that makes him understand.

The emphasis on sex with an older woman, whom overpowers him, directly connects to the relationship Billy had with his mother. Recall how Coop is shown having sex in the submissive pose in The Return.


- Harry goes to talk with Catherine, wanting to know about Josie "What made her do the things she did? What was she after?"

This is Billy's secret longing to understand his mother's own motivations and actions, besides being partly about Billy himself.

That Harry is willing to find out about Josie and understand why she did what she did, extending some level of compassion, that Dale seemed to not want Harry to possess, having believed that once Harry saw Josie was a hardened criminal it would lessen his sorrow for her. That Harry is still trying to comprehend shows an awareness that is commendable and displays what sort of person Billy imagined his father would be. Unfortunately, Billy does not possess this level of wanting to understand or compassion towards himself, something that leads to his self-destruction.


- Wow! And now comes a bit of dialogue we forgot all about when we first began considering this theory and which sounds directly tailored for it, given evidence that this might infact be the truth behind Twin Peaks. Trying to explain Josie, Catherine remarks, "I think that early in her life, she must have learned the lesson that she could survive by being what other people wanted to see, by showing them that. And whatever was left of her private self, she may never have shown to anyone."

That is EXACTLY what we think Billy has done. Abused and tormented, haunted and frightened, Billy tried to preserve himself, and his horrible secrets, by becoming what others wanted him to be. Then later, when he became a cold blooded killer, that too he kept hidden in the same way. In both cases, his wounded/sad/frightened self and his dangerous/evil/murderous self, he kept hidden, never shown to anyone, the former unknown to his victims.


- Josie's first scene happened in front of a mirror, the term for what Catherine is describing actually called mirroring. Coop/Dougie displays this perfectly well in The Return, as well, how he is able to survive by mimicking those around him until they project what they wish to see (which a lot of times involves themselves) back on him. Audrey's last scene occurred in front of a mirror too, where she had been holding Charlie, before he got her out of the Roadhouse, turning into a mirror in the process. Charlie was just Billy too, we reason.


- Harry replies, "So all the stories, the lies were...?" to which Catherine answers, "Well, who knows? They may not have seemed untrue to her. What she needed to believe was always shifting to suit the moment."

This too is Billy. We see his lies, "stories", appear in Twin Peaks, and have been discussing/analyzing them all here, as we will continue to do. The stories shift, change as his belief of what he needs to do to survive alters too.


- Catherine then confesses, "In spite of all the things she tried to do to me and my family, I find it curiously hard to hate her for it.

Harry, obviously still in love with Josie states, "Well, she was... She was so very beautiful."

So we have it shifting back now to how Billy probably feels about his mom. How he can't hate her, despite what she did to him...and how she was so beautiful, his desire overtaking him, perhaps like the scene beforehand with Nadine and Mike.

So maybe...in some strange way, Josie was an amalgamation of both Audrey and Cooper/Billy inside of his dream. Maybe that too is why the whole series' character intros began with her image in the mirror, and why the dogs on her lamp were together and then apart, later, in the episode where she died, featuring another scene of her looking in the mirror: bookends.


- Catherine now asks for Harry's help in deciphering Eckhardt's puzzle box, saying it might have to do with Josie.

Once again, this box will greatly effect Audrey Horne and help bring about the birth of her son Richard, a direct representation for Billy. As theorized above, Josie seems to contain a strong fusion of Billy and his mother.


- While Harry and Catherine are discussing this, Pete comes in saying, "Wowee Bob!" about the Miss Twin Peaks contestants. In the OG finale, the arm says "Wow BOB wow", now we have Pete foreshadowing it and talking about Miss Twin Peaks as the box is being examined. Hmmm...


- Pete drops the box and opens it, revealing another box inside. Kind of like that glass box Cooper ends up inside of in NYC. Diane Selwyn's identity was connected to the blue box. Is Billy's connected to both of these?


- Cooper and Annie are on a boat near the spot Maddie and James said goodbye to one another. It's also close to the gazebo where Maddy was dressed as Laura.


- Annie states "I always felt closer to nature
than I did to people," keeping with the nature theme woven subtly throughout the series, ever since Ghostwood and Cooper's obsession with the trees.

- And next another wonderful bit of dialogue, forgotten about, but magnificent to this theory.

Annie reveals, "I never had many friends. Norma was always Miss Popularity. She was always moving toward the world. And I was always moving away from it. Lived in my head, mostly." Cooper comments, "That's not a bad neighborhood." to which Annie replies, "There's some pretty strange
neighbors."

Bingo! We have more indication that Annie is partly Billy too, which also makes her Dale. Afterall, we've been theorizing, that this is all inside Billy's head; The dreamworld he created to escape his reality...his stories and his friends.

It also goes directly to what we mentioned earlier, or we hope we mentioned earlier, how David Lynch repeatedly used a Billy in his art whom had "mental problems" and "a lot of different friends within him." Many of those pieces of art were disturbing and involved violence.


- Cooper broaches the subject of boyfriends, to which Annie indicates that there was one in high school (Billy becomes a high school principal), senior year (we theorize American Girl was murdered in her senior year) and it was why she slit her wrists, but she doesn't want to talk about it.

This is still Billy. Only it was really American Girl not a boy. Killing her has also led him to where he is right here and now, where he can decide to either become even more self destructive, destroy others or choose to acknowledge everything that happened, find/face himself and heal.


- That concept goes further into what she says next, "I wanna come back to the world. I was so frightened for so long...Hiding from your fear doesn't make your fear go away. Makes it stronger. So I had to face it. I had to face myself. And I had to do it here. Where everything went so wrong."

Maybe this aspect of himself is something the darkness in Billy equally wishes to destroy, because it speaks the truth to him, but he is against it. Cooper will also have to face himself and it will destroy both himself and Annie, when he chooses not to confront his fear but run/hide instead.

And that fear presents itself openly as Laura Palmer's murder, a murder he thought he solved, but whom the victim and the accused seem to indicate he never really did for HE was the real killer.

That, in effect, goes back to the belief that what Annie is talking about, the love in high school and her self destructive urge, is secretly about the same subject.


- Cooper now equates whatever happened to her being similar to the dark tunnel he faced (Caroline's death) and we see the thread that Cooper and Annie are the same individual reinforced as well as the connection to lost loves, if we consider Annie's boyfriend, Caroline and Billy's own American Girl/mother being all the same or viewed as almost the same within his broken mind.


- Annie says she's trying to trust her instincts and they are saying to trust Dale. They kiss, as Dale smiles...But should she trust him?

Honestly, he's taken her out publicly, is kissing her out in the open, strolling past park gazebos, hand in hand, all while a homicidal maniac, whom has it in for him, is on the loose, and, in fact, even watching them now!

This leads us to question if Dale is intentionally trying to get her killed! Being Billy, we think that he is. And so Dale's sudden out of character smiley, happy-in-love attitude comes off as suddenly menacing...

In fact, it becomes essentially what Catherine was discussing earlier in regards to Josie: an act serial killer's adopt of false charm intended to gain their victim's trust so they can then kill them. That is what Billy Hastings does we suspect...and we highly feel that, whether he knows it or not, the "good" Dale is just as guilty of it here.


- At the Great Northern, Richard hosts the wine tasting event. There isn't too much to comment on, other than a reference to noses again, and how the whole thing still seems kind of...dubious. Maybe we've seen too many sex comedies/Russ Meyer films, but all of the talk about spitting and swallowing seems questionable.


- At the Double R, Gordon is trying to impress Shelly. What interests us is the first line we hear from a story he's in the process of telling: "So he came slowly out of the shadows, leaving the dead girl behind." Shadow...shadow self...dead girl. A bit of foreSHADOWING about Dale Cooper?


- Annie and Cooper join them, and Gordon orders 3 pies each. We have the number 3 again...as in Trinity. As in BOB being puked down to Earth.


- When Bobby walks in on Gordon about to kiss Shelly, he asks what's going on and Cole refers to it as "two adults sharing a tender moment."

Have to wonder if this was another dig at MacLachlan's reluctance for Cooper to become involved with Audrey. David Lynch, his boss and friend, is outright calling Shelly an adult, even though she is younger than Audrey.


- Bobby's jealousy can outright represent Billy's own possessiveness over American Girl.


- Back to the wine tasting contest and things are getting worse with the oral innuendo. We have Lucy saying it tastes "woody", Lana claiming it tastes like banana, and Andy saying chocolate. Which, by the way, pinkel in German can also mean rectum. :/


- Dick suggests they swallow now, stating, "What other wonder invites taste buds toward pleasure?"


- Lucy spits hers in Dick's face, because she's angry at him and pregnant.


- Have to point out, this is all happening within the Great Northern and how Audrey is well known for her trick with the cherry stem, despite her claim of being a virgin.


- In another area of the Great Northern, we see a fire blazing in the darkened room as Cooper states at it. Okay...so another incredibly important scene we have here...because who should happen to come and sit in the chair beside him, both men soon staring into the fire?

None other than John "Jack" Justice Wheeler.

This is so important because we theorize that Jack is Cooper/Billy, as well as being the father that Billy always imagined himself having. Maybe picture a mixture of Harry, Cooper, Billy, Johnny and, unfortunately, Ben and you get the picture.

And what should Cooper be drinking for this integral meeting? Why a glass of milk! Just like a kid. And what is he drinking it from? A measuring glass featuring a cowboy riding a horse and the words, "In the West". Now Sonny Jim had a room filled with cowboy memorabilia, a room that looked like it almost belonged more in Charlie and Audrey's house. And Coop/Dougie was entranced by a statue of a cowboy (made in the image of David Lynch's father) as red balloons symbolizing childhood were seen in the background.

So here, we theorize, Coop/Billy is about to have a conversation with Jack/Billy, wherein they both discuss love, and wherein Billy can also interact with, not only himself, but the daddy he always wished he had!

Have to mention how that glass Dale has involves measuring HEIGHT and how, in The Return, a HEIGHT measuring chart gives away his connection to William "Billy" Hastings. Billy also was stated to have jumped a 6 foot high fence, Cooper's listed HEIGHT. And now, here sits Dale, sipping from a measuring glass, which has no good reason to be used at the Great Northern, as he shoots the breeze with a character played by a man named Billy.


- Why the room is darkened seems peculiar. It emphasizes the fire more and casts everything in a red, fiery gaze, which is appropriate to Jack's conversation starter.


- Jack starts things off by saying love is hell, which is probably more Billy's own thoughts on the subject.


- Cooper says that love is a ladder to Heaven. In the previous ep, Audrey was on a ladder. Significantly, she, Billy's mother, his one true love, is dead and thus in Heaven to go along with Eales previous discussion to the metalhead about where we go when we die.


- What follows is a discussion between both men, where they discuss the pros and cons of love, Cooper being cheerily optimistic and Jack being more downbeat/realistic. He even says at one point, "Self-discipline and love? There's a bad match," which outright criticizes Cooper's response to Audrey. Infact, as both men talk, Dale never learns that the stranger he is talking to is in love with Audrey Horne, giving off the air that it is important he DOESN'T realize it, because it should be left unspoken. What would his reaction have been any way, we wonder? Jealousy like Bobby? A break in his cheery facade?

We also have to ponder...if Jack is talking about Audrey, and Cooper doesn't realize it, but it means *something* to him given the past history between Dale and Audrey, could that mean that Jack is the man that Annie had been talking about? In symmetry, does Jack not realize Cooper is talking about *his* past love Annie? Interesting to wonder.


- Cooper confesses that it feels like someone took a crowbar to his own heart, but it was locked away long enough. Other aspects have also been locked away, including his and Billy's feeling for Audrey Horne, the avatar and the dreamer respectively. They are about to be unleashed soon however.


- Both men toast each other, from their respective CHAIRS, reaching across to clink their GLASSES in front of the FIRE. Chairs, glass and fire have a way of seeming important in Twin Peaks.


- A bellman (ring), whom has the same name as the propmaster whose letter was at the Haywards, brings a telegram to Jack, the contents of which disturb him. He'll be checking out, he announces, and Dale and he wish one another good luck.

They are the same person, so it's unnecessary. Although their luck isn't great, Billy (themselves) being their mutual downfall.


- Dale is left alone, with his cowboy measuring glass filled with milk, staring into the fire, darkness all around him.


- The Haywards, well just Will, Eileen and Donna, share an uncomfortable supper, one where Will seems intent on hiding Eileen's connection to Ben with lies and Eileen doesn't so much as seem to want to lie as she does want to avoid answering things. Donna mentions the roses sent and how roses are romantic.

Audrey is the flower of Twin Peaks.
Blue roses are in honor of her.
Billy's feelings for her are romantic.


- During the meal, Eileen twice asks for peas. Now, if we reason that Billy is substituting his being Ben's child, with Donna having to carry that burden, can we possibly, and admittedly ridiculously, argue that the peas are substituting the creamed corn here?


- Earle left the giant chess piece with the dead man inside at the gazebo we saw earlier. Now this is where Dale knows he took Annie and yet he doesn't seem concerned in the least, all as he's rambling about how dangerous Windom is and then precautions everyone to stand back as he cleverly opens the piece at a distance?

Dale's actions are still betraying how he secretly doesn't care for Annie Blackburn's wellbeing and might even intentionally want her harmed, which is EXACTLY what Billy is longing for, and why he created her. She is the real pawn, not the guy in the giant chess piece.