"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Part 4

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"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Twin Peaks: Part 4 "...Brings Back Some Memories"


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.


- It's nighttime now in Vegas, and the staff of the Silver Mustang look on in horror as Dale/Dougie keeps shouting "Hello!" and winning jackpot after jackpot. The main man in charge, Burns, asks how many and the female staff member with the bucket answers 29 mega jackpots. "I'm dead," the man states.

Cooper is obviously very lucky, thanks to the Red Room influence. It's curious why, exactly, and how fire is involved with it. Why would the Lodge take such a keen interest in Dale Cooper making a fortune for Dougie Jones' family? Sure, they might be setting everything up like a row of dominoes but it's all very odd...too cheery for them. Or is this all more of Billy's secret wish fulfillment inside of his fantasy world?

It's certainly not Burns wish, since he knows this could end things for him. It does, and it also helps to introduce the Mitchum Brothers into the story whom turn so amusing and helpful we guiltily forget how horrifying they began.

Burns is an interesting name, especially in this casino/hotel and how we suspect that Billy burned down his family's motel.



- The slot addict lady goes up to Cooper/Dougie, calling him Mr. Jackpots and asking which one. He points one out, she goes and wins and then thanks him in joy as Dale/Dougie smiles at her in happiness.

We discussed earlier how the name Jack seems to hold special significance to Billy. We've theorized it was a name he associated with an idealized fantasy version of his father, before he discovered the horrifying truth that it was really his own grandfather. Inside of his dream, we suspect Billy adopted the role of that fantasy father figure, Jack Wheeler, to take his mother's virginity so it wouldn't have to be her own father, and yet Ben hearing the ringing sound at the Great Northern, as that event was all playing out, we suspect rang in the truth, that it was really him. We also have One-Eyed Jack's, Ben's brothel/casino where he once almost forced himself on Audrey, as simultaneously Cooper was shot in his room at the Great Northern, as if the event had psychically effected him. Then we have Bobby's land of make-believe with his own dad, a place he named Jack Rabbit's Palace. And we have the Jack Rabbit statue in Odessa, never shown, but importantly named Jack Ben Rabbit. Now we have the slot addict woman naming Cooper "Mr. Jackpot" as Dale helps her win money and she thanks him and Cooper looks at her with the love and affection a child would show to their mother. This is his mother, though, a fragment of her. We suspect it is an illustration of her greed again and how she might have used her son to ensure material comfort from their father. Audrey tying herself to a bank before the conception of her son, and her substitute, Teresa Banks, help reveal this. Of course, there were probably deeper motivations for his mother's dependence on their father, but Billy can't help see past the money aspect of that, something which emerges in various characters/relationships, like the Lady slot addict here and even Janey-E Jones later. Billy harbours deep resentment that his mother chose wealth over their emotional safety, possibly even resenting the fact that his name can be shortened to Bill, another association with money.

Burns grabs his neck, showing how he's afraid he's going to lose his neck over this debacle. It can tie to Naido/Betty motioning the cutting of her own neck and how that is equated with loss of life.


- A man named Bill Shaker, from Allied Chemicals, and his partner come over as Bill recognizes Cooper as Dougie. Bill seems to be the one who teaches Dale to identify as Dougie Jones now, as Dale/Dougie keeps repeating things. Bill is impressed with the way "Dougie" looks saying he looks like a million bucks. Coop/Dougie wants what Bill is eating. Bill won't share it, explaining he's hungry and hasn't eaten since breakfast at home. Coop/Dougie becomes transfixed on the word home. Bill doesn't get it but his partner believes Dale/Dougie wants to go home. She asks where his home is. "Where home?" Coop/Dougie asks, and Bill answers "Lancelot Court." It has a red door and is near Merlin's Market. The woman knows something must have happened. Bill says there are cabs outside and Coop/Dougie walks off. The woman wonders if he's okay and Bill hopes he's okay.

Another Bill. There are quite a few popping up in The Return despite the fact that Dr. William Hayward was our only major Bill in the original series. This Bill helps put Dale on track, giving him the information of his name and where he lives, which helps him get by. His girlfriend/wife on the other hand is more interested in Cooper's mental state, acting motherly and showing perhaps how women are more attuned to that, and how American Girl might have been the same, kind to Billy because she sensed something was wrong, but it helped lead to his interest in her in the wrong way.

Bill Shaker says that Coop/Dougie looks like a million bucks. He's being equated with money again. Bucks, we theorized often before, are HORNEd animals often associated with Billy, whom as Hastings lives in BUCKhorn. Both Bills and Bucks mean money.

Coop/Dougie wanting what Bill is eating isn't a good sign, since it looks like a hot dog or something and this series is obviously trying to tie in the less savory characters with a penchant for bad/fast/frozen food: Chad with his microwaveable dinners, Carrie Page with the same, Hutch and Chantal.

Cooper becomes transfixed on the word home. Home is such a very large theme in the Return and it began in FWWM and The Missing Pieces. We never supposedly see Cooper's home though. This episode will give an address for it, we think, but we've never actually been there. Most of the time we see him, he is at hotels/motels, the most significant of which is The Great Northern. We suspect that this is because it truly was his home, or rather he, as Billy, lived at the Red Diamond, or whatever truly the Dutchman's was. The original script to the original finale even had Dale flipping between being a boy and an adult and encountering his father running a seedy motel, which eventually led to the Great Northern. In the Missing Pieces, the Arm laughed at Dale's question of where he was and how he could leave, by telling him there was no place left to go but home. That was supposed to eventually be followed by the reveal of what happened after Mr. C hit his head in the mirror at the Great Northern. In some vague way, Mr. C seemed to understand the joke, stating that hitting his head and the mirror breaking struck him as funny. However, we argue he is the "Black Lodge" aspect of Billy and more aware of how home is a truly horrible place to be. Meanwhile, Cooper, as the "White Lodge" aspect, may idealize it to an unreal proportion, or be willing to forgive that horror and remember only the good things he longs for of it, especially now that he is reverted to a childlike/innocent state.

The woman, playing mother again, realizes he wants to go home and Cooper asks "Where home?" obviously because he can't remember in all senses of the word. He might long for it, and his mother, but he's forgotten what it was truly like, divided as he is. The fact that Dougie Jones, created from Mr. C, chose not to linger at home might also betray how he too was closer to the negative associations of the word.

Bill reveals that Dougie lives at Lancelot Court near Merlin's Market. We've got a general Arthurian theme now picking up where Glastonbury Grove left off. For this theory, we've forged a connection to Glastonbury Grove being symbolic of the conception/birthing area of a mother, now we have Dougie, a form of Cooper/Billy, residing in Lancelot Court. An interesting note we've made before, but Venus, the statue in the Red Room, has her own weird connection to Arthurian Legend. It actually crisscrosses with the original Sleeping Beauty legend which will be enacted by Audrey and Mr. C. In the story of Zellandine and Troylus, Venus infact is the one whom saves Zellandine when she is cursed to prick herself on a piece of flax and fall asleep. It is also Venus whom urges Troylus, the maiden's love, to have sex with her while she's still asleep. This causes Zellandine to become pregnant. She gives birth while asleep and her son awakens her by sucking out the flax from her finger when attempting to nurse. The name of the child was Benuic and he is a ancestor of the father of Sir Lancelot. So Venus isn't just connected to the myth of a woman whom lay with her father and gave birth to a son after turning into a tree, but the story of King Arthur and Lancelot too!

Since cabs are mentioned in this scene, we'll point out an interesting thing we learned yesterday. The scene where Audrey is introduced looks similar to the start scene in Hitchcock's Stranger's on a Train where Bruno is introduced stepping out of a cab in a pair of saddle shoes. The cab company there is called Diamond, which we can connect to Audrey, the Queen of Diamonds and wealth herself.


- The Silver Mustang staff members notice Coop/Dougie leaving. Warrick rushes and stops him from going, bringing him to Burns office, whom is obviously still worried about the repercussions of this man winning so big. Warrick sits him down, motioning that he's nuts. Burns brings out a huge bag and asks if he was going to leave without his winnings. Burns asks if they can do anything to help. Coop/Dougie says "Call for help," Burns asks who to call and Coop/Dougie repeats who, looking at a conglomerate of red dice on Burns desk. Burns asks if he'd like a room, companionship etc...and for him to think of them as his home away from home. "Home," Coop/Dougie repeats as he stares at the red dice. Burns asks where he lives and Coop/Dougie turns his focus back to the man saying Lancelot Court and cab ride, as per Bill's info. Burns says no cab rides and asks his name. Dale/Dougie points to himself and says "Dougie Jones". Burns orders a limo and Warrick calls it in for him. Burns pushes the bag at Mr. Jackpots. Coop/Dougie goes to take it but Burns stands and leans ominously forward, actions that Coop/Dougie mirrors. Burns asks him to promise to come and try his luck with them again soon, day or night. "Or night," Coop/Dougie repeats and then looks at the security camera on the ceiling. "That's right," Burns says, "We're watching you, Mr...Jones."

Burns is still holding onto his neck, afraid of losing it.

Howard Hughes is the photograph on the wall, which makes sense, giving his connection to Vegas. Kalfka being on Hastings and Cole's walls is more harder to explain. Unless there is a thread being made of Billy Hastings habit of transforming himself, like Gregor Samsa, but into FBI Agents like Cooper and not vermin. Interestingly, Kalfka was, himself, an insurance executive, as Dougie Jones is. We theorize that Billy transformed himself into what appeared to be an everyday average man to help conceal the fact that he was a murderer. This also adds another nice detail to Cole having a photograph of an explosion on one wall and Kalfka on the other: Billy equates his birth to something destructive and he sought to dream himself as something, someone, else to counter it, in this case FBI men. It also goes with Laura's whisper that she can see what's beneath that FBI suit.

Cooper is transfixed by a large conglomeration of red dice sitting on Burns' desk throughout the scene. Why? Red die feature on the cover to David Lynch's Crazy Clown Time. So does a blackened finger, but not the spiritual one, the middle finger instead. It also has something about a motel scribbled on the hand as well. The motel thing is interesting. We might be able to connect it to Teresa, whom lived and worked at the Red City Motel and was holding ice at some point = Red (d)Ice. It could also be Red Die, like 123 "as in Ready (red die) set go!" which also has to do with Teresa. That's interesting since we believe Teresa is a substitution/representation of Billy's mother and the Red Diamond/Dutchman's was his real home. With all of the discussion of home, that might be in Dale/Dougie/Billy's mind and so he centers on the red dice. Is home being separated from where he "lives" in this moment as Coop stops looking at the red rice he was hypnotized when he said "Home." He gives Lancelot Court as the name, repeating what a Bill told him.

Burns ominous warning that they are watching Coop/Dougie, along with some doubt cast on the name Jones, could be the truth intervening inside of Billy's dream, his possibly valid paranoia that the police are watching him and his realization that "Jones," a very commonplace name to give him the appearance of your commonplace man, is just an act/ruse.



- The limo driver takes Coop/Dougie to Lancelot Court, frustrated that his passenger only remembers the red door and not an address, because it's hard to see the color at night. Finally the driver sees it. He stops and helps Coop/Dougie, still clutching the bag with his earnings, out of the car. Coop/Dougie stands staring at the door and the driver waits with him. An owl flies by overhead. The driver comments how they spook him.

Now we're in Lancelot Court which can be connected to Glastonbury Grove. Red usually indicates a dream element we theorized, whereas the blue more indicated the truth. Dougie Jones and his family is a dream. The whole thing with the driver having trouble seeing the red door at night recalls, "Through the darkness of future past the Magician longs to see." Not saying the driver is the Magician but it illustrates how darkness is hard to see through. We theorize that the darkness which haunted the real Magician, Billy, was a spiritual/emotional state which he longed to navigate through. He turned to fire, destruction to help with that, which was a mistake.

Interestingly, the address to the Jones family abode is 25140, which numerology wise can come out as bead. That recalls the golden seed that Dougie came from.

At one point, when Coop/Dougie says "Red Door" the driver corrects him and says that they passed a black one. William Hastings' door was black.

When the driver stops in front of the house with the red door, we can see the house across the street's door is black, just as we pointed out Billy's is. This creates a nice mirroring, Billy having created a false image to trick the world and Dougie being made to trick the Black Lodge.

The limo is white in between the red and black doors, creating a red/white/black pattern, like the Red Room sometimes looks.

An owl appears importantly over Coop/Dougie and the house. This whole theory speculates that the owls were really the Hornes. This could intimate how this "home" will come to symbolize a dream for Billy, one where he can become the husband/child of a more idealized version of his mother.


- Suddenly Janey-E Jones appears in the doorway, saying her husband's name and asking, "Is that you?" The driver backs off to the side, sensing her anger. She storms out and slaps the man she believes to be her husband, asking where he's been. The driver explains that he was alone at the Silver Mustang and he was asked to bring him home. The driver then leaves, still sensing her ire. Janey-E reveals that Dougie was gone 3 days without a word. He missed work and his son Sonny Jim's birthday. She orders him to "Get inside" and then pushes him all the way in.

It's almost like the owl summoned Janey-E's appearance. That's just what we believe it did, because we see Janey-E as the perfected version of Audrey inside of Billy's mind. She's his mother and his wife, she always knows what to do, tries to take care of him and together they can live behind that red door in an imagined/idealized version of "home." We see Audrey Horne, Teresa Banks and Janey-E Jones as all being different representations of Billy's mom. They all have eleven letters to their names too, six letters to the first name, five to the last. And that could help explain Janey-E's rather peculiar first name: it needed to fit. It might also hold the missing "E" when BOB was apparently spelling his name out backwards under his victims' nails but he never reached R and the E was missing. Two interesting anagrams can also be formed if we fool around with the name Audrey Jones. We can get "Judys are one" or "Ones are Judy." That goes rather nicely with the idea that Bill is killing women he essentially views as the same individual.

Regardless of that, the casting of Naomi Watts as Janey-E couldn't be more perfect for this theory. Her previous most associated role with Lynch was her presence in Mullholland Drive...playing a role which was originally supposed to be Audrey Horne! Then that role was split into two characters whom were the same, a fantasy version and the reality, the fantasy called Betty and the reality named Diane. Here we have in another character the same name but the opposite. The reality is Betty while the fantasy is Diane.

Janey-E is another blonde substitute for a dark haired woman.

Dougie was missing 3 days, just like Carrie Page won't have been at Judy's for 3 days too. Is she carrying on the mantle of the symbolism for the "act" one puts on to detract detection?

We first hear of another (there are several) of the central other little boys that inhabit The Return: Sonny Jim. This is easily another representation of the young Billy and whom will also be able to live within a perfected dream of the family when Part 18 rolls around. Sonny can indicate this is Billy's aspect as a son. Sonny is often used by an older person to a younger, like a GRANDFATHER to a GRANDSON, which ominously hints at how that particular relationship plagues Billy.

- The house bearing all the signs still of Sonny Jim's birthday party, Janey-E pushes Dougie into a chair and demands to know where he's been etc...She angrily grabs the bag and is surprised by the money in it. She becomes angry that her husband might have gotten it at the Silver Mustang and if he hit the Jackpot. Dale/Dougie points to himself and says, "Mr. Jackpots." At the thought he won it now, though, Janey-E softens and says they could use it to pay "them" back. She calls it the most wonderful horrible day of her life, "Day of my life" Dale/Dougie repeats. Janey-E seems much more softer now, attentive to Dougie and saying she'll fix him a sandwich and get him a piece of Sonny Jim's birthday cake because they saved it. She says she's glad that he's home and kisses his forehead. "Home," Coop/Dougie repeats when he's alone.

Many balloons are all around, including red ones. We last saw a red balloon behind the addict mother. Red balloons will be in the background as Coop/Dougie becomes fascinated by the cowboy statue. Dr. Amp, during one of his tirades, mentions a red balloon. In the original series, a deflated/popped balloon was seen before the awakened Leo Johnson went after his wife Shelly. He was in a childlike state going after the woman whom had also played the role of his mother. Red balloons are then associated with childhood.

If we look at this scene, on one hand it's beautiful because Janey-E and the family can now pay off their debts. And yet it emphasizes how, inside of Billy's mind, he equates money/wealth/materialism/comfort with what a mother truly wants. All of Janey-E's righteous rage disappears at the sight of that money and she forgives the man she has every right to be angry with just because he brought home a bag of cash. She begins catering to him, but this man did miss Sonny Jim's birthday partly because he was frolicking with a hooker. He never even tried to beg MIKE/Phillip to let him out of the Lodge to see his family again. But Janey-E forgets about her son's emotional state, thinking of paying off debt etc... instead, as if that will make it okay for him. Billy very much associates this reasoning with his mother, whom chose to stay with their father for what he believes to be materialistic reasons. We can tie this equally as much to Audrey trying herself to a BANK before her conception of her son or her status as the Queen of Diamonds not Hearts. Likewise, Teresa Banks, her substitute, was solely interested in money and not in helping her friend, Laura, out.

Then we have too, Janey-E's declaration that this is the most wonderful...horrible day of her life. It's her son's BIRTHday, the evidence is all around her of that fact, but a bag full of money becomes the most wonderful day to her? That's sad...which can be betrayed in Coop/Dougie's repetition of "of my life" because that was how Billy felt too: that his mother loved the money more than him. He was both wonderful and horrible to her for she used him to get money from their father but the reason he existed was painful. Is this

Sonny Jim's birthday? If it is, Coop/Dougie getting out of the Lodge on the same day, gives another resonance to the fact and his words "of my life."

We went into it briefly in the original series and FWWM how we initially saw Ben kissing the top of Audrey's head before he stalled her relationship with Jack by sending her to Seattle on Horne family business. We then discussed how Leland kissing Laura's forehead, and being emotional and frazzled as he did it, might have further hinted that he was never the abuser but was forced to adopt the role that belonged to his boss Ben. Now we have a character we argue is a representation of Audrey, Billy's mother, kissing Coop/Dougie's (avatars for Billy himself) forehead as the man is reduced to a childlike state. The thread is obviously there for this theory. Coop/Dougie then repeats the words "home" in a way that stands out without really betraying much emotion. Home is a conflicted notion for William Billy Hastings, a place he can equally long for or dread in terror.


- Gordon talks to Bill Kennedy, Denise Bryson, now Chief of Staff's assistant. Cole asks how Martha is and if she ever fixed that thing with Paul. Bill says yes and that Paul is now in the North Pole. "Well there you go," Gordon says, slapping his shoulder. Bill tells him to take a seat.

Another Bill. This one played by Richard Chamberlain. Bill...Richard. His last name is supposedly Kennedy too. Twin Peaks began as a story of Marilyn Monroe and her involvement with the Kennedys. That was a topic even Dale Cooper expressed his curiosity about. Ben Horne even discussed the Kennedy brothers with Audrey.

Bill here keeps with the theme of secretaries, and the underlying current of Betty's importance to the story.

Audrey will reference a Paul to threaten Charlie with. It's not the same one likely, but since she's looking for Billy, the coincidence should be noted.

There are 3 Pauls we can think of in The Return, making his name almost as recurring as Bill or more accurately slightly behind the name Jack. Paul means small, and that is another word for little. The theme of Audrey being the little girl who lived down the lane is prominent to this theory as well as Billy being her son. That would make him the LITTLE boy who lived down the lane.

We honestly don't quite know what the deal is with Martha and Paul and the North Pole. Is Martha Bill's daughter, wife or love interest? Was Paul causing her trouble so his being sent to the North Pole meant he's been put on ice in one way or another?

Gordon Cole overuses the name Bill throughout their brief screentime together.



- Cole waits for a few seconds, noticing a bouquet of roses and lillies beside him on a chair.

Hmmm...so someone has sent Denise flowers, roses and lilies to be exact. We see Billy's mom being a rose to him. We also can link this to William Hayward, whom tried to make a red rose appear in the Missing Pieces and whom often had lilies in his house. That connects Denise to two Bills in a way, Kennedy and Hayward, which isn't a great sign to be honest and the next scene increases our concern.

Cole also looks oddly discomfited by the bouquet.


- Denise comes in and Cole informs her that they've got Cooper and he's in a federal prison in South Dakota and Denise grabs her chair for support, in supposed shock. Cole says they are going out to see him in the morning. Denise says she heard, to which Gordon shows obvious shock. She says Preston is going too and conveys dismay and suspicion over Gordon's actions. Cole reminds Denise of her confused and wild days and how he stood up for her when the other agents began to ridicule her, telling them to "Fix their hearts or die." Bryson expresses gratitude. Cole reinforces his belief in Preston. Bryson says she is speaking more as a woman than the Chief of Staff of the Federal Bureau of Investigation. Denise states how beautiful Tammy is and Cole says there is room for more than just one beautiful woman on the team. Denise is flattered and admits she can't usually speak like this, needing balls of steel, plus she has to deal with the hormones, which Cole doesn't want to hear about. Denise states that she trusts Gordon and knows he's on the trail of something big. She asks if Albert is coming and Cole confirms it. They say their goodbyes and Bill shows Cole out.

Now Denise gives an exaggerated reaction to hearing that Gordon's news has to do with Dale Cooper, like it's the first time she heard it. And yet she smugly reveals she knows Gordon is taking Tammy Preston with him. Ummm...so that act of being overwhelmed at the news about Cooper has got to be bull crap. But how did Denise know? She never answers. Here's a thought, what if Mr. C told her and the flowers are from him? Afterall, Mr. C seemed to know exactly what was going on when he was in prison and oftentimes out of it too. We previously saw a connection between Denise and the Billys, why not Mr. C too, whom will be seen with his info later in this same episode? It would make sense, Denis/Denise and Cooper having had a close friendship, and especially with other hints in this scene.

Denise casting aspirations on Cole's choice of bringing Tammy isn't exactly respectful nor do we believe it's for the reasons she claims. It's also hypocritical because she oggled Audrey Horne, getting all giddy/lascivious over the question about her age. Denise then also places emphasis on Tammy's looks. It's obvious this has nothing to do with the fact that she thinks Gordon will act irresponsibly and stems more from jealousy. But why? Unless she doesn't want Tammy around Mr. C. She secretly knows she can't trust him and would rather the beautiful FBI Agent not be there. We also have Billy's own troubled creation of Tammy Preston as motivation. Billy's a misogynist at heart and he was forced into creating a female FBI avatar in response to his being threatened by several women (Betty/American Girl/Her mom). Denise's feelings for Preston could be partially twisted by this also, accounting for the hostility towards a person she should empathize with.

Denise's gushing over the whole Federal Bureau of Investigation just feels...wrong. It seems more like someone pretending to be an agent would do then a person whom actually was one, no matter how much they loved their job This is probably still just Billy's little playacting of the FBI.

Denise knows that Cole is on the trail of something big. Have to still wonder if she has her own inside info from Mr. C himself.

Why did she know Tammy was coming but not Albert? Was her focus solely on Tammy or was Mr. C taunting her with the woman to breed pain and sorrow another reason for Denise's obsession?

Great blades of BOB! Why does Denise fan herself after Gordon leaves? Is she overheated because she was lying and in a tense situation? It certainly connects her to Mr. C/BOB even on a shallow level, but the other earlier questions didn't help either.


- At the Sheriff station, Lucy obsesses over the thermostat as she talks to Frank Truman on the phone. She thinks he's by a stream until he walks through the door, holding up his phone, and she turns to find him there. Screaming, Lucy falls over in the chair. Andy comes rushing out realizing that Frank was talking to her on the cell again. Frank explains he lost service in the parking lot and couldn't stay there all night. Lucy is confounded how it is possible.

Well that's obviously a fake photo of her, Andy and Wally on her desk. An inexplicably fake photo. That's probably hinting at the falseness of it all, Billy having not experienced a good relationship with his own parents.

Lucy's wearing her own necklace. Lucy is mother to a son, connecting her to Audrey.

This deals with the thermostat and temperature, reminding us of the earlier scene of Denise fanning herself, as if overheated. BOB caused things to become hot, his being fire. The ringing sound in The Great Northern is also emanating from a closet in the basement furnace room. Lucy references prisoners in this scene and their relation to the thermostat and temperature. Some interesting connections in relation to this theory.

Lucy's inability to reconcile with cell phones can betray how Billy once held a problem with modernization, having lived in a motel and then with his grandmother. We suspect that was why everything was old fashioned in the original Twin Peaks. Now, however, we see him having adapted, his exposure to the high school students at the school where he worked informing him and having experienced more on his own, apart from his family. Another instance is how an inexperienced teenaged Billy might have imagined his policemen not taking precautions, like wearing gloves at a crime scene, but here Macklay made it a point to show he was wearing his more than 20 years later. Or how unprofessional the Sheriff Station seemed but in the next scene we'll see how it's trying to be a lot more efficient.


- Frank walks in to a room at the station where several people, including 3 unfamiliar cops, are working and taking reports and monitoring. They tell him it's been quiet. Maggie goes on to give the terrible news that a boy named Dennis Craig OD'd at school and Andy took the case, speaking with the parents. "Little Denny Craig," Truman says. Maggie explains how, when the bell rang, he never got up from his desk. Frank asks where Hawk is and is told the conference room.

As we mentioned, after the last scene, this is almost hitting us over the head with how modern everything is now, the nice little Sheriff Station having a lot more officers with the regular equipment we didn't see before. It also implies that there is a heck of a lot more crime in Twin Peaks.

Andy taking the case of a teen whom died and then talking to the parents either shows how much of a good police officer he's become since he broke down over a naked girl being found wrapped in plastic on the beach or how desensitized he's become. Since he's allowed to enter the Fireman's, we'll go with the former.

Little Denny Craig. Well we got the word little in there again. We also have that this boy shared Dale Cooper's initials. So when the bell rang he never left his desk. That bell ringing, and the ring and constant phone calls (mostly involving Dale/Mr. C), and him never answering its call essentially resonate. The bell can mean either a change of class or hometime. So Denny Craig couldn't/wouldn't go home, a theme here with how Dale forces Laura to return home but never goes to his real home himself. The image of Denny Craig staying at his desk also contrasts nicely with Lynch's slow and lingering shot of Laura leaving hers and then it being empty. Interesting too how this boy gets a name but the boy Richard Horne kills is never given his own. We also have the fact that the drugs have infiltrated the Twin Peaks schools. Is this in any way linked to whatever illegal thing Betty was helping Hastings with before she found out about one that was even more disturbing?

This boy dying at school, and his connection to the emphasis placed on Laura at her own desk in school, might further illustrate how Billy murdered American Girl when they both attended school together. They both virtually were destroyed during their time at school but in different meanings.


- Frank meets with Bobby Briggs, now a Deputy, in the hall and tells him there's been another OD, little Denny Craig. He hasn't seen the autopsy but suspects its Chinese designer drugs. He asks Bobby if he saw anything on his camera, but Bobby just lists wildlife. He states if they were coming in from Canada he would have seen it, covering every trail. Known trail, Frank corrects. Then Bobby goes off to take a leak, arranging to meet in the conference room after.

Bobby apparently broke free from the Hornes at some point and became a man of the law instead. Was it after the death of his father? This can illustrate the alternate path Billy could have taken after his mother's death, if he chose to help others heal instead of spreading his own pain. It also hints at the general lawlessness of the Hornes.

The drugs being Chinese designer could link to Josie.

In Part 2, we theorized how Shelly, in The Return, can directly mirror Sarah/American Girl's mom and we also see in this episode direct correlations between Bobby and Leland/American Girl's Dad. For instance, Shelley, we theorized, was targeted and distracted by Red as an illustration on how Billy had/was planning to keep American Girl's mother from finding out his involvement in her daughter's death. Now Bobby, whom was supposed to be keeping an eye on the drug trafficking, seems oblivious to Red also. The guy is romancing his ex wife and getting drugs into town so Bobby's son-in-law can use them and give to Bobby and Shelly's daughter, but neither of Becky (Blue eyed and blonde like Laura)'s parents seem aware of the true danger their daughter is in or the threat of Red! Just as American Girl's parents were oblivious to the threat of Billy's interest in their daughter.

Bobby needing to go to the station's washroom is foreshadowing the diary pages being hidden there later. Hawk will later suspect that Leland placed them there, which makes no sense, but helps tie Bobby and Leland to the same area, just as we suspect they are the same essence in The Return. It's also foreshadowing Dale/Dougie needing to urinate coming up, something he did twice in the OG.


- Andy tries to explain cell phones to Lucy and expresses frustration how she's so good at her job but can't understand this one thing. He then goes off to join the meeting with Hawk.

We're working on Lucy's victory in Part 17, and more elaboration on how Billy fears a woman/mother might lead to his destruction.


- The obnoxious Deputy Chad Broxford joins Hawk and Truman in the conference room, as Hawk explains to Frank about Margaret's message about there being something missing and they'll find it involving something with his heritage. Andy enters too, followed by Lucy. Chad thought Margaret wasn't even allowed in the building, but Andy and Lucy are defensive and state it had to do with the gum she chewed. Andy says she gets messages from her log and Chad is rudely dismissive. Frank dismisses Chad.

Chad will turn out to be working with Richard Horne. Does he fear Margaret and her log knowing that? More hidden hints how Billy fears a woman knowing his guilt?

- Bobby comes into the room and, seeing Laura's prom photo standing amidst her case files and evidence, becomes overwhelmed and begins to cry. "Laura Palmer. Man...brings back some memories," he states then apologizes, finally asking what it's all about.

Two major things about this scene, besides the thin line it walks between parody and sincerity: Bobby obviously loved Laura, despite Cooper's words to him and, as we said earlier, Bobby is really echoing Leland here, whom similarly broke down into tears whenever Laura was shown/remembered. Bobby now is Leland/American Girl's dad, Billy still having difficulty separating individuals and, it being his dream, not really needing to; Bobby can become Leland if he darn well needs him to!


- Frank explains it has to do with a message Margaret had for Hawk about Cooper. Bobby reveals, to Hawk's shock, according to his mom, Cooper was the last person to see his father alive before he died. He'd visited the house to talk to Major Briggs then supposedly left town. Nobody saw Coop after that and the Major died in a fire at his station the next day. They question if Bobby knew what it was about but says he doesn't, only to get fixated on Laura's photo again.

This was clearly Mr. C. The intimation is that he killed the Major in a fire, just like BOB is and how Billy, we suspect, killed his parents. The real question is, though, were Mr. C and Briggs talking about Laura and that is why Bobby looks to her photo? Is Judy still the real name of American Girl? It looks very plausible that Mr. C and Dale Cooper might have had the same mission all along: to take care of "Judy" in each of their ways, but which equals the same thing. Or is it more indication that Cooper/Billy killed Laura? Does this meeting secretly have anything to do with Sarah/something contacting the Major on the OG finale? Was there something to the message he understood?


- Deputy Jesse Holcomb announces a Wally Brando is there and Andy and Lucy rush out to see their son. Frank tells Jesse who he is and Jesse's says Wally wants to pay his respect to him too. Less then thrilled, Frank leaves the conference room, passing Bobby whom is still emotional over Laura's photograph.

Ahh...Wally Brando. A perfect example of how someone can live out an act to escape facing their own identity or lack of one.

Bobby is still heartbroken/overwhelmed by the photo of Laura.


- Andy and Lucy are standing with their son Wally, by his motorcycle. He's obviously mimicking the man he has the name and birthday of. He heard Harry, his godfather, is sick and he wants to pay his respect and wish him a speedy recovery. He gives a speech and then gives his parents permission to do what they like with his old bedroom, it having been a grave concern to them. He gives another speech about where he's been and having made fond memories of his time in Twin Peaks, as a young boy. "My shadow is always with me," he says, giving all of the directions then, ahead, behind, left and right, except on cloudy days or at night. Frank tells him may the road rise up to meet his wheels, obviously in a hurry to leave. Wally tells him that his own dharma is the road and that his dharma is, stretching out his hands. Frank leaves Andy and Lucy and Wally, shaking his head on the way back to the station.

From poor little Denny Craig and Andy having to talk to their parents, we now meet his and Lucy's own son and while his parents love him it's obvious the poor kid probably heard once too often how he was born on Brando's birthday. He's imitating him. That's it. There can't be two Brandos but just as the Log Lady said sometimes we don't want to be ourselves and so we adopt alien behaviors to make it easier, that's what's happening here. What happened to Wally exactly, besides another identity being invoked to him often, we can't say. But it helps illustrate how Billy pushes his family's identities onto others and also how he has become other identities inside of his dreamworld to deal with his trauma. His own self image is poor or undeveloped.

Frank obviously is aware there is something wrong with the affectation of Wally and he's uncomfortable being around it. Having lost his own son, he might also be less joyful with the delusion.

Wally's discussion about his bedroom, and the use of the word "grave", might be indicating Laura/American Girl's bedroom, the same one we believe she was murdered in at the hands of Billy, not her father. Lynch will focus on the window of that bedroom in a later episode. Wally allowing his parents to change his might indicate American Girl's mom kept the room like her daughter (when she'd been alive) had left it, but by going back to it she might remember something about her daughter's murder, something that might implicate Billy...like something missing. Which actually might connect to Margaret's hint that something is missing.

Wally's talk about his shadow always being with him deals directly with how the same is true for Cooper. He is his shadow, as Andy himself will see in his vision at the Fireman's.


- In the daytime, in Las Vegas, an owl flies over the Jones' house.

Owls are night creatures, this is highly important. Obviously the owls and the Hornes are connected to the Joneses. As we stated earlier, we see Janey-E as a more idealized version of Audrey and Sonny Jim as just another Billy.

The shadow on the house shadows Wally's earlier talk of shadows.


- Coop/Dougie sits on the bed, looking like he has to pee, and staring at Dougie's green suit. MIKE/Phillip, in the Red Room, has his hand up as if he's feeling the air in the Red Room. Cooper suddenly turns to look at the side of the Jones' bedroom. Suddenly he sees MIKE/Phillip imposed over it. MIKE/Phillip knows Coop/Dougie can see him. "You were tricked," he informs. MIKE/Phillip then holds up the gold seed before saying that now one of them must die, meaning Cooper or Mr. C.

To go with Laura's whisper about Cooper's dark suit, a whisper which indicated that he used it to appear good when he wasn't, we also have Mr. C's edgy and dirty set of clothes and now Dougie's bright and somewhat tacky ensemble. These three suits tie in with the distinct characters of each men, One giving an air of righteousness, the other one of dangerous threat and the other perhaps trying to fit in or stand out. They each are composites of Billy's character or what he shows to different people and with Dougie he just wants them basically to think everything is okay and the worst of his sins is that he's a bad dresser.

It's clear that Cooper, whom was shown to treat his FBI suit lovingly in "Slaves and Masters" isn't too fussy on Dougie's fashion sense.

What is MIKE/Phillip trying to do exactly? Communicate most likely. Is he using his hand like an antenna of some sort, trying to catch a wave?

Coop/Dougie seeing the Red Room imposed on the Jones bedroom echoes two other instances of imposition. Sarah's face will be imposed over the Jumping Man and Phillip Jeffries will be imposed over the wall in Room #8 at the Dutchman's, as he talks to Mr. C. This lends an air of doubt. To impose something on something is essentially forced. We're supposed to take all this as real...but is it?

MIKE/Phillip seems to appear around the chair. Chairs play a noteworthy role in The Return. Andy and Lucy argue over which chair they should get supposedly for the study they are turning Wally's room into, while Major Briggs hid something important in his own chair. Here MIKE/Phillip discusses Dale being tricked. We earlier surmised Denise grabbing the chair after hearing about Cooper was an act, basically a trick. The gold seed MIKE/Phillip is holding is what is left of the tulpa, the trick he's referencing, and it was planted on the chair when Dougie returned to that form. The aforementioned scene between Lucy and Andy, with the chair, also involves Lucy tricking Andy by getting the chair he wants. Although he could have tricked her by using reverse psychology. Is there some hidden meaning/connection then between chairs and tricks?

There's a scarf or something slung over the chair similar to how one was placed over the Palmer chair when Maddy was killed. That was a trick, the dreamer framing his victim's father.

So the trick Mr. C performed was exchanging himself for Dougie so Dougie took his place in the Red Room and Cooper took Dougie's place in Vegas. Now either Dale or Mr. C must die. Why would one of them have to die? Or is it because they both are technically the same person, as opposed to a tulpa, and two of them running about in the same world is a bad thing? Is dying the only way to get them back to the Red Room and how does the Owl Cave Ring fit in with this?


- Janey-E walks in and the Red Room fades. She voices shock that Dougie isn't dressed. She notices him doing the pee pee dance and gets upset but leads him to the bathroom saying, "Listen, Mr. Dreamweaver, you go potty and then let's get you dressed fast." "You're worse than Sonny Jim," she then tells him. Coop/Dougie pees, the experience seeming new to him.

Just like Bobby, Dale has to pee, but that's nothing new for his character. Having to be led there like a child is, however, and Janey-E is once again playing mother to him, helping Billy live out a fantasy where he can be both husband and child to his mother. His wife comparing him to her son further collaborates this.

Mr. Dreamweaver? That seems pretty conclusive that this is Dale's, or whomever he truly is, dream. His coworker will also reference him being off in dreamland again in Part 5.

Dale/Dougie pees like he's horrified by it but relieved. He's very childlike harbouring back to what we theorized that, basically to be good again, Billy would need to revert back to a childlike state.


- Coming out of the stall, Coop/Dougie sees his reflection in the mirror and walks towards it, holding out his hand until it touches the glass and goes no further, yet with him still staring even afterward.

It's a eerie scene and we can remember the last scene of the OG finale was Mr. C looking in a bathroom mirror too and then smashing his/BOB's reflection. Coop/Dougie doesn't seem to recognize himself which fits nicely with this theory's claim that he's really Billy. When Billy Hastings was being questioned at the police station, he repeatedly looked at the 2 way police mirror, where he would have known he was being watched, but would have only seen himself in the mirror. Later in The Return, Mr. C will look at himself in a mirror and even later Audrey will be taken from the Roadhouse to a white space where she's looking frightened into a mirror too. Billy/Cooper is then linked to Audrey in this way. Of course we theorize that Charlie is another form of Billy, one whom mirrors his father in how he gaslights and keeps Audrey isolated, and in Part 16 we speculate that the mirror Audrey is really holding is Charlie/Billy himself. She went to the Roadhouse and she did infact find Billy, only he revealed himself to her as what he essentially was: a mirror. Actually, whatever she wanted him to be, that was Billy, and fragmented several times to be that purpose to the dream too, and that is why there are several Bills and versions of himself. Psychopaths use a term called mirroring to help them manipulate and get by and in the form of Dale/Dougie we see that illustrated often in The Return. It's a trick that even Audrey, his mother, used, as evidenced in how she got her father to give her a job in "The One-Armed Man" and it was explained very well by Catherine in "Variations on Relations," while talking about Josie Packard: "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." While discussing the original series, we were led to the conclusion that Josie might have represented both Billy and his mother in some strange way. The mirrors now with the two Coopers and Audrey hint that possibility too. With this in mind we can return to the moment of Billy's interrogation in Buckhorn. He was aware that on the other side of that mirror he was being watched and judged, and so at one point he even turned and smiled, not paying attention to his image but rather the opinion of whomever was watching him at that moment. That was what Billy was, almost like that two way mirror. He offered those looking at it a view of themselves projected back, while on the dark side of it his true character stayed hidden.

Billy being a mirror also makes for an interesting possibility for Leland's having seen his reflection as being BOB, or rather reinforces our previous one: Billy projected this version of his own father on to this other father. In FWWM the scene of BOB/Leland drugging Sarah taking place in front of a mirror takes on that connotation too, the owl (Horne) lamp offering illumination beside it. BOB/Leland placing the mirror before Laura is the same: Billy being the mirror and purposely forcing the Palmers to reflect the things he wants them to, rather than a reality. This is opposed to Laura seeing her reflection in the Roadhouse doors, earlier, and suddenly seeming to remember who she is.

The belief that Billy mirrors back what others expect or want brings a wonderful possibility for the backward speech in the Red Room/Lodges. Those other than Billy himself (Cooper) struggle to speak normally for they are reflected in the mirror of Billy's mind and that would make their words reversed. Fighting to be understood, or to find their true selves, the words are reversed down forward, fighting against the mirror that longs to make everything backwards. That also helps explain why Cooper doesn't suffer that particular problem, being that mirror himself.

Another thing worth mentioning is that, when Dale rescued Audrey from her father's whorehouse, Titian's "Venus with a Mirror" was seen hanging on the wall. That echoes Audrey's last scene with Charlie and it should also be noted that in that artwork it is Cupid, Venus' son, whom holds the mirror for his mother to look into, just as it seems plausible Charlie turned into the mirror, and thus Billy inside of this portion of Billy's dream, to offer his mother a mirror to look into as well. We assumed that Audrey didn't find her Billy when she went to the Roadhouse, but she did, he just wasn't what she or us expected because he lacked a clear self image himself.

This scene of Dale/Dougie seeing his reflection, only to realize it's himself, could also wonderfully convey how, while Dale sees his doppleganger as separate, it is also just himself.


- Janey-E dresses Dale/Dougie in the bright suit and notices he lost weight. The black suit fit perfectly, she comments, and says she'll get it washed and maybe get him another one. She leaves him to do the tie, never any good at it herself. On the way to make breakfast, she calls for Sonny Jim.

Janey-E still playing mommy/wife. The suits, both Dougie's and Dale's, are being mentioned in comparison now too.

Can't remember anything super tie related in the series besides Ben Horne's interesting collection. If Janey-E represents the daughter he abused, she might be repelled at touching a tie or her ties to her father (family ties).


- Sonny Jim comes out and faces his "father". They stare at each other. Coop/Dougie touches his stomach with his right hand and Sonny Jim smiles. Coop/Dougie mirrors the smile, atrociously, and then the thumbs up gesture the boy gives too. He then turns around to mimick (monkey) even the direction. Janey-E calls Sonny Jim downstairs.

Why does Coop/Dougie touch his stomach when he sees Sonny Jim? Is this a link to appetite or nausea? We're arguing that Sonny Jim is another young representation of Billy. He could either be hungry for that younger self, or feel sick at remembering it. His hunger was also satisfied the night before with his son's birthday cake, in a dream which deals with the cycle of father's abusing their sons that would be a nauseating thought.

Coming after the scene in the bathroom with the mirror, this scene perfectly shows how Coop/Dougie mirrors people. This again is a metaphor for how Billy survived in society by mirroring the behavior of the normal people he saw.


- As Janey-E makes breakfast to David Brubeck's "Take 5," Coop/Dougie goes to the breakfast table, the tie over his head, and Sonny Jim watches his cluelessness in amusement. Meanwhile, Janey-E doesn't notice it at all. The boy helps his "father" sit and have his breakfast. Janey-E eventually gives her "husband" his coffee which Coop/Dougie greedily accepts but spits out, finally earning Janey-E's full attention. "Hi," he tells her.

Hmmm...with the inclusion of "Take 5" here, as Janey-E fixes breakfast for her husband and son, we are reexamining the number 5, especially after Part 3 and the emphasis on how Coop/Dougie needed to change a $5 bill and then used it first on a game called Five and Sparklers (Sparkle will be the name of the drug in Twin Peaks) and the fact that Dr. Amp was spraypainting 5 shovels gold, a shovel in an old family video representing how Ben's father passed on the cycle of abuse to him. Plus we have Richard Horne's big entrance in Part 5. We previously theorized that the Lois Duffy case, happening in 1975 was simultaneous with Billy's mom having abused him, which would have made Billy 2. But maybe the year isn't so important as the 5 in it. Maybe it was in room #7, when Billy was 5, that his mom first abused him, the reason why Cooper needs to check into room #7 when having sex with Diane in Part 18, evoking memories of his mother, to transform into Richard. The Take 5 playing here, Janey-E's back turned for a lot of the scene so she can't see her "sons"...maybe it's a disturbing hint that her inspiration, Billy's mom, took her son when he was 5, which goes along with Laura's statement in FWWM: "He's been having me since I was 12."

Janey-E is pretty oblivious in this scene to what's going on, she even brings two things to the table without noticing her "husband's" tie over his head. She also fails to notice what the father and son are doing, which could tie into how we suspect that Billy was also abused by his father/grandfather. Or maybe Billy's mom, as abused and tormented as she was too, turned a willing back to it. Maybe in her broken mind her own abuse of Billy was viewed as "comfort".

For Sonny Jim's sake here, though, Coop/Dougie isn't a threat and he finds him entertaining.

Two interesting design touches for this scene include the "I Love Mom" mug and the owl cookie jar. If this is Billy living inside of a Oedipus fantasy these two items are ideal. We've already seen Audrey as one of the owls, and how the Glastonbury Grove in Ghostwood was perhaps designed to resemble the birthing area of Billy's mom. Now we have that Coop/Dougie and Sonny Jim, avatars for Billy, can both have their hands in a cookie jar of an owl.

Janey-E grabs an apple. According to Mr. C's arrest report his employer lives at 1000 Appleton st. Does Mr. C see his mother as ultimately calling the shots?

While her place is set at the table, we never actually see Janey-E eat. Inside Billy's mind, the mother might feed her family but be feeding off of them in return.


- In Buckhorn, Constance shows the Chief and Macklay how she got a hit on the male body found in Ruth's bed's prints, but the Military has blocked it.

This is because of it being Major Briggs. We clearly saw the military's interference whenever Major Briggs was involved. Have to wonder if Bobby went the way of the police force and not the military because he saw them as not being as corrupted or he resented the military covering up anything about his dad. Billy probably resented not knowing the truth about his own father.


- In another area of South Dakota, Cole, Rosenfield and Preston arrive, being driven to the Federal Prison by other FBI agents. On the drive, Cole expresses disappointment about not being anywhere near Mount Rushmore. Albert brought a photo of it for him. Cole states, "There they are, Albert: faces of stone." Gordon notices that Tammy, in the front seat, doesn't seem well, Albert explains she gets carsick. Cole thinks he said Cossacks causing Albert to scream "CARSICK" and scare the driver. Tammy motions the driver on and Cole just assumes Albert is in a bad mood.

Okay, so if the photographs, not the items, were the clues that the congressman had left in his garden to find the real killer, in Gordon Cole's very first scene, we can perhaps take this photo of Mount Rushmore to be in the same vein. And if we do, honestly, we can connect it to one person: William Hastings. Mount Rushmore was pictured on his South Dakota Driver's licence, as it is on all licenses there, but not in the same spot. On Hastings' they appeared in such a way he almost became one of them. And, in just a little bit, we'll see the information listed on Hastings' licence appear on Mr. C's arrest report. If we tie that to the Kafka photograph being seen in Cole's office directly after the "congressman's dilemma" and how a photo of Kafka similarly appeared in Hastings' house, Cole's scenes have twice pointed us in the direction of William Billy Hastings. This is Lynch's way of trying to tell us Laura/American Girl's real killer, but in the same sly manner as the congressman, his dedication of never outright identifying the killer still in effect, although Leland Palmer was framed, just like the congressman was.

Tammy's carsickness might be linked to her invention dealing with Betty and whatever Billy did to her. In Part 1, it was stated he drove her home, when something was wrong with her car. Then a lump of flesh was found in the trunk of the car he took her home in. That could be the reason for Tammy Preston's car related nausea. We'll also find out that Tammy is wearing a wire, and we know that Mr. C had Jack wire Betty's car to explode.

The Return may not have answered everyone's questions, but it did help explain Albert's bad mood: dealing with Gordon Cole for so long. Of course, it could actually be the other way around and Lynch, as Gordon Cole is essentially punishing Albert Rosenfield for delivering that whole, "Maybe, that's all BOB is: the evil that men do," line which so many grasp on to, making them unwilling to look for alternate solutions to the question of who killed Laura Palmer.


- At Yankton Federal Prison, Warden Murphy and his associate explain how they found Mr. C after he drove his car off the road and had thrown up some kind of poison. It's being analyzed and has sent a highway patrolman to the hospital. Cole and Albert share a concerned/confused look at that.

That patrolman was just one of our many Bills. This, minus the name, is being mentioned before we see another one of the Bills, the most important one's, information mixed in with Dale's.

Does the info about the toxic barf indicate a Blue Rose case this early? Is that the reason for the look between Gordon and Albert?


- The FBI agents are shown what they found in Mr. C's trunk: cocaine, a machine gun, a dog's leg. Albert makes a joke about cheese and crackers and Gordon apologizes for him.

The items seem somewhat akin to the physical items found in connection to the congressman's case. Supposedly they found those in his car. Likewise the lump of flesh was located in Billy's trunk too.

Albert's joke about the cheese and crackers outright connects to the little boy seen eating crackers across from the building where Cooper materialized in Rancho Rosa. Crackers is a euphemism for crazy and Albert will eventually find euphemisms for William Hastings' mental state.


- They light up an image on a monitor showing Mr. C's mugshot and arrest information. "That's your man, right?" Inspector Randy Hollister asks. "Holy Jumpin George," Cole mutters. "Let's go talk to him," he adds and they leave as the scene ends off on Mr. C's mugshot.

This is possibly one of the most integral shots in all of Twin Peaks. Gordon Cole, played by one half of the series' founders, is even present for the special occasion. "That's your man, right?" Hollinger asks, and it is, well a part of Cooper being his doppleganger, but what's really strange is that another man's information is inexplicably mixed up with Mr. C/Dale Cooper's information. That person is William Hastings, a man imprisoned in another South Dakota prison. We have Hastings birthdate as well as his birthplace, Buckhorn South Dakota listed. His hair color might also appear. Now in South Dakota officers fill out the reports but get information from the arrested, so someone might argue that Mr. C was being cheeky and giving Hastings' info. But why they'd not see his hair color was black doesn't make any sense. Others have argued that it was just the prop department being lazy etc...but neither that, nor Mr. C intentionally giving Hastings' information, explains why Mr. C's height, in the mug shot, is 6"3, which is William Hastings' height! Infact, the written part lists 6", keeping more with Mr. C/Cooper's actual height. Why is the photograph telling us that Mr. C is Hastings height??? That means that the clues linking Hastings to Mr. C are a mixture of written AND visual. And that visual would have taken a bit more work than laziness would suggest. Then we have the fact that Mr. C is inexplicably naked in his mug shot. Even if he'd been to the hospital you'd think he'd be in a gown. Unless, this all goes back to what Laura whispered to him: "Don't assume (that) nobody can spot your dark suit off but me." All of the suits of the fragmented Dale are off, now he's exposed and leaking into William Hastings!

Cole using the word "Jumping" invokes both the grandson jumping around the Red Diamond motel parking lot and the Jumping Man. It also reminds us how the Jumping Man was flashed when Jeffries asked, "Who do you think that is there?" about Dale.

Mr. C and William Hastings' identities bleeding into each other also happens to take place in an episode where 2 other Bills appeared, and a Billy was referenced but not by name. That's four, or five if we count Billy, the dreamer, as someone separate, Hastings not being a wholly accurate depiction of the reality.


- In a room where they are separated from "Cooper" by a wall of glass and wire, Gordon questions Mr. C, Warden Murphy and Hollinger not in the room. Mr. C fakeily gives a thumbs up and Cole nods. Mr. C states, "It's yrev, very good to see you again, old friend." Cole repeats the sentiment. Mr. C remarks how he hasn't seen Gordon in a long time and his boss agrees. Mr. C states he's missed their times together and Cole agrees, asking where he's been. Mr. C answers that he's been working undercover with Phillip Jeffries, resulting in a visible reaction from Albert. Cole is surprised and Mr. C says he needs to be debriefed by him and to tell him the whole story, all of its twists and turns, which he was going to do when he was running late and "his car veered over across the road" and he had his accident. Cole explains that's how and why they found him. Mr. C then repeats the same thing almost verbatim but alters it when it comes to having veered over across the road, changing it to: "veered over off the road". "I've left messages," Mr. C states centering in on Albert. When Gordon asks what messages, Mr. C answers, while looking at Albert, "Messages so Phillip knows it's safe." Albert looks sad and guilty, something Cole instantly picks up on.

Mr. C being behind glass now echoes Hastings again, his having been watched at the Buckhorn police station during his interrogation. It fits in nicely with the glass box in NYC.

Mr. C giving the forced thumbs up also perfectly parallels what we previously saw played out with "Papa" Cooper/Dougie and his "progeny". Neither of them are good at perfectly mimicking normal actions at this time.

The first very in Mr. C's playacting of politeness is backwards, like the Lodge influence. We previously theorized that the backwards speech has to do with how Billy mirrors people and a mirror reverses things. It also links Mr. C to the Addict mom and her 1-1-9 shout and Audrey's Dance playing in reverse at the end of Part 16.

The doppleganger seems to be trying to imitate pleasantries.

It's a bit of a shock to hear that Mr. C has been working with Jeffries when Phillip seemed to hate him in FWWM. Albert's reaction is disturbing too, you just know he goofed up and Mr. C is trying to guilt trip him. What the heck went on with Phillip Jeffries and Mr. C exactly? We've never completely gotten hold of that one. We often wonder if Mr. C tulpad him like Diane and himself. That seemed to be his major go-to for difficult situations afterall.

We've seen this scene several times and just thought that Mr. C's repeating the lines about his accident was the normal doubling thing. This time we noticed his odd choice of first claiming his car "veered over across the road" and then later "veered over off the road." Did he repeat himself to change that one bit? Why? When we heard it, all we could think of, for some reason, was the little girl who lived down the lane. It also invokes the little boy whom is going across the road with his mother in Part 6. Did Mr. C's original wording bother him so much he repeated the whole sentence?

- Mr. C wants to know when they are getting him out of the prison. Cole counters that the authority have enough evidence to hold him, Mr. C states he will, of course be exonerated in courts of law. Cole tells him to rest assured that they are going to bring him back home for their talk. "I've never really left home, Gordon," Mr. C replies. Gordon says he'll see him soon and Mr. C gives another thumbs up. Cole returns it and they put the shield back down. The FBI agents share worried looks.

Mr. C knows he doesn't have to stay here, he planned it all out as we know from that dog leg. His impatience about getting out is an act...what doesn't seem like one is his declaration that he has never really left home. This out of the blue remark, the way he says it, and the reaction he had when he was threatened on returning to the Lodge showcase in a disarming way how horrible the notion of home is to this monster. Even though he trapped a part of himself there for 25 years, he felt like he never really left it. That is, not only because Dale Cooper is actually him, but also the fact that Billy Hastings has never really managed to escape his own home. Even though it was destroyed, its memory still haunts him, the abuse he suffered there, the loneliness, fear and hopelessness. That was where he died in a way, just like the boy crossing the street.

Gordon Cole looks affected by his words and his returning the thumbs up sign this time could be construed as an act of pity even, or encouragement, not just trying to appease a friend he no longer trusts.

When the shield falls again, we leave off with Mr. C frozen giving that false thumbs up symbol and its creepy as anything.


- Murphy says they can hold him for 2 more days before pressing charges. Cole suggests they give him his private phone call which he wants to hear about.

Mr. C has a complicated relationships with phones we should mention. His call with Phillip Jeffries whom wasn't Phillip Jeffries. His 1 allowed prison call. Then there's his phone call in room #8 at the Dutchman's. We can understand Cole's interest.


- Tammy, Albert and Gordon talk outside in the evening. Tammy knows Mr. C lied about heading to Philadelphia and states how people became sick after being in contact with him. She knows Albert is unwell too but he says he's okay. She asks about Phillip Jeffries and is given a very brief description. Gordon puts up his hearing aid and points out Tammy is wearing a wire. Annoyed, she reminds him he asked her to. Cole instructs her to wait in the restaurant until he and Albert are done. Watching her sashay over to the building makes Albert feel better.

Here's the reference of Tammy being wired, just like Betty's car and how she was carsick earlier, Betty possibly losing a chunk of flesh during her own ride with Billy. Interesting if Billy echoes several characteristics of the victims in the FBI agents he invents for himself. That could deal further with his inability to define himself. It also would be interesting since we believe he projects what he does know about himself, or doesn't want to face, on his victims. An exchange maybe?

Tammy's being sent to a restaurant to wait, could be a nod to the theme of hungers.

Albert seems more perverted here than Gordon. Denise should have given him the hard time instead.


- Cole mentions Albert's reaction to what "Cooper" said. An apologetic Albert explains how he authorized Jeffries to give Dale some information. Cole expresses shock about Coop and Jeffries involvement, the latter having been off the radar for years. Albert explains it was years ago and he thought Cooper was in trouble, Jeffries saying it was urgent. Albert didn't talk to Coop. The information was about a Columbia informant whom then turned up dead a week later. Cole seems disappointed. After a long pause, Gordon mentions he doesn't like what he saw of Cooper today. They both agree Something's wrong but it's not because of the accident.

This is still perplexing with the Cooper and Jeffries relationship. Cole introduced them in FWWM, so it has to be after Mr. C was let out to play. Albert supposedly not seeing the person he was talking to makes things further slippery. There's still a large chance Mr. C was operating with a Jeffries tulpa. But...why wouldn't Mr. C phone up Albert for the info himself? What was the deal with the dead informant? And, this happening in Columbia, is there any relation to Jack Wheeler's murdered partner in Brazil? Also, if Jeffries was tulpad how can we be sure which one Coop met in Part 17?

"Something wrong" is a common statement for Twin Peaks...likely because something is very wrong with Billy.


- Albert moves his shoes on the concrete and the result is Gordon hearing it so loudly it causes him pain.

Shoes are a common thread to Twin Peaks. Does this instance pertain to MIKE/Phillip whom sells shoes for a living and also commented that something was wrong in a previous episode? MIKE/Phillip brings Cooper to see Jeffries. Now we're wondering though...was it the right one?


- Cole says "Cooper" didn't greet him properly and Albert agrees. Though he hates to admit it, Cole concedes he doesn't understand the situation. Upon questioning, Albert understands the situation as a Blue Rose. "It doesn't get any bluer," Gordon Cole states.

The backwards very is being referenced, a sign of the Lodge and of great interest to the Blue Rose taskforce. Their realization/admission that this is a Blue Rose case goes perfectly with the blue tint to the whole scene.

- Cole states that before he does anything else they need one person to look at Cooper. He asks if Albert knows where she lives. "I know where she drinks," Albert replies.

Diane is being introduced subtly here, a substitute for Betty. Cole turning to her to check out "Cooper" for herself, probably to see if she could notice anything wrong about him they didn't, also should recall how Ray stated that Betty, being Hastings' secretary, would know what he did.


- Nice segway to the Roadhouse, where Au Revoir Simone perform "Lark".

Some interesting lyrics to this song and its relation to this theory too.

"So
So long
So long ago
There wasn't anyone out there I thought I needed to know
But no more
When I find the day leave my mind in the evening just as the day before..."

Before Billy met American Girl, he wasn't interested in people. With her his interest was sparked in the worst way.

"I saw the window was open
The cool air
I don't know what you saw there
Don't know what you saw in me
Sometimes I want to be enough for you
Don't ask
Know that it's understood
There's not enough of me..."

We theorize that Billy gained entrance to American Girl's bedroom through her window. He doesn't know what she saw there or in him, intimating the imago of the father which inhabits him and he sees as making him hurt women like his mother. This also deals still with Billy's lack of self image.

"I saw that something was broken
I've crossed the line
I'll point you to a better time
A safer place to be
Sometimes I want to be enough for you
Don't ask
Know that it's done no good..."

Billy broke American Girl essentially. He crossed the line into wilful murder. Some part wishes he wouldn't have and had kept her safe, represented by Cooper's efforts to save Laura. But nothing he has ever done has ever done any good.