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"The Owls Are Not What They Seem" A Twin Peaks Rewatch with the Theory in Mind: Episode 27 "The Path to the Black Lodge"
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 talks about clues and puzzles:
"There are clues everywhere, all around us. But the puzzle maker is clever. The clues, although surrounding us, are somehow mistaken for something else. And the something else, the wrong interpretation of the clues, we call our world."
She is referencing Billy's dream itself, which holds many clues to unravelling it. However, Billy is clever and, though he has placed the clues all throughout Twin Peaks they may never be understood because they are mistaken for something else. It is like BOB himself. People assume, like Albert said, he is the evil that men do, when, infact, he is a representation of Billy's vision of his father, and how he framed an innocent man for the murder, he, himself committed. The words possession and imposed are related.
But all of Twin Peaks is created from such things, abstractions of ideas Billy has, of events that happened, feelings he felt, people he knew, all twisted into something else, projected, masked, misrepresented, substituted. That, has the Log Lady says is "our world" meaning the world of Twin Peaks.
"Our world is a magical smoke screen. How should we interpret the happy song of the meadowlark or the robust flavor of a wild strawberry?"
Twin Peaks is a smokescreen meant to protect Billy from reality, his past and himself. And even something like the happy song of the meadowlark, or the flavor of a strawberry, may mean something very different in reality.
BTW Sylvia Horne outright has a puzzle on her table when her grandson Richard comes to visit her in The Return and there is a fire in the fireplace.
- As the chess piece is removed from the gazebo, one of the victim's friends is interviewed and we learn that the man in the giant pawn was called Rusty and was a musician, heading to Knife River with his band. So that is interesting because rust can occur to nails over time, and coincidentally those were a topic mentioned two episodes ago, when Ben's father was mentioned. Cooper also referenced a song in just the last episode, and how he felt like the cases being studied all related to one another.
- On the topic of relations, Rusty hated his parents and lived with his uncle, in Moses River, but was trying to move out and go to LA.
Billy, we suspect, also lived with parents whom he had issues with and then lived with his uncle, following a short time spent with his grandmother/great grandmother.
- Cooper deduces that Windom is now playing off of the board, which means that the chess game is over, we guess. Since Dale wasn't playing it though, that was Pete, it hardly seems to matter much to the story...which brings up the realization that Dale was in effect having a substitute playing for him, which keeps with Billy's propensity to substitute as well. It also goes well with the theory that Dale has adopted a substitute Queen in Annie.
- The next morning, Lucy says that someone she's never seen before is with Hawk, but he looks really sad, so Hawk is fixing him breakfast. We guess it's Rusty's friend and we guess this goes with the theme of food and appetite.
- Lucy wants to know what Andy thinks about saving the planet, because she's entering the Miss Twin Peaks pageant, and let's him know that tomorrow is D-Day, where she chooses a father for her baby.
The thread of the environment has once again been woven through with the concept of parents, in particular, fathers.
- Andy doesn't know much, other than that people had better stop throwing beer cans into Pearl Lakes and styrofoam never dies.
That last one shocks Lucy. Pearl Lakes being mentioned is interesting, seeing as though that was where Leland said he had met BOB, before he realized it was in a dream.
- Jack is preparing to leave the Great Northern, and is looking for Audrey, whom isn't back yet.
- Meanwhile, Will Hayward is giving Ben Horne a physical inside of Ben's office. Major TP Will/Bill here sharing a scene with Ben.
- Ben makes a joke about the insurance companies sending him so many forms he could get a heart attack from lifting them.
There's the ever current theme of insurance again, one which runs through this series but could go unnoticed. We speculate that Billy associates insurance with Ben/his father, in a way, since the motel where they all lived burned down, causing Ben and Audrey's deaths and leaving Billy with a memory of insurance investigators and agents.
- Will says Ben's fine and he should concern himself more with what is in his heart.
Ben counters that he only wants to do the right thing.
Will applauds Ben's desire to do the right thing, and here's the really interesting part, though, he flat out tells him, "But goodness in you is...It's like a time bomb. There's nothing good about ruined lives."
Given how we know that a bomb led to Audrey's pregnancy and it also led to the Experiment barfing down both BOB and the eggs to Earth, Will's words here are so relevant and connected to this theory, and those events, it's enough to give goosebumps. It seems that Billy can't help but see his father as destructive to those around him, whether he's trying to redeem him or not. Seeing as though this involves him having fathered a child, it might betray the fact that Billy realizes nothing can make what he did right...not even placing it onto another person.
- Despite the warning, Ben is intent on following through with letting Donna know he is her father and making things "right" indicating that, though Billy is seemingly in control here, his father is still fighting against the lack of control he has within his revisionist history.
- Will and Jack seem to know each other already, just as Jack says he knows Donna, though we never saw any scene between them. Will also calls Jack "John" here, showing once again that the man shares the name of Ben Horne's son and Audrey's brother.
- Will warns Ben to be careful before he goes, Billy's instruction, through his namesake, to his father.
- Jack tells Ben he's been looking for Audrey because he has to go. Ben says he can phone her when he gets wherever he's going. Jack states that a friend, more than a friend, a partner of his has been murdered.
What does that mean exactly? You'd usually say that someone whom was a business partner was actually more than that, they were a friend. Is this indicating that his partner was a lover? It's just kind of curious. Why were they murdered anyway and what were they doing, more environmental work?
- Up in the attic, a fan going loudly, Donna looks over her birth records and notes how her father's name is not listed. Oddly enough, her mother's maiden name is also listed as Eileen Hayward...is she related to Will? The doctor who delivered her is a R. Robinson...Robert? Richard? As she continues to look through the items, she finds photographs of Eileen and Will, plus Ben Horne with them, Ben giving them bunny ears.
Okay, so the fan itself was a popular fixture in the Palmer house. It was what BOB/Leland would turn on before "visiting" Laura. That it is shown now, as Donna is investigating her paternity, scream at us another more accurate connection between Ben and the tragic tale of incest woven through Billy's narrative for the Palmers. Ben giving those rabbit ears seems inconsequential, but we can still link that to Audrey giving the same rabbit ears to Laura in the photograph where she was the one wearing the Red Room colors not Laura. Both girls were proverbial snow bunnies in the photo. It sounds crazy, but Lucy wondered if it was all about the bunnies, and there might still be some clues that it was, especially remembering that large Jack Rabbit statue in Odessa called "Jack Ben Rabbit" for it's founder "John Ben Shepperd. Since Donna's segment here is finding out hints that Ben is her father, and this episode swirls around weird events involving Audrey giving her virginity to a man called John "Jack" we have to pay attention to everything...
And that fan during this scene is still pretty overwhelming.
- In one of the photos of Eileen and Ben, Ben is holding a lit sparkler that looks like fire.
- Audrey returns to the Great Northern and is met by Hawk, whom has been sitting in a chair reading a book about owls in the lobby. He says that Agent Cooper wants to see her, and she tries to put it off until the afternoon, until Hawk says it's important and she eventually goes with him.
Gotta love owls, Cooper and Audrey all being involved in the same scene.
- Ben and Jack sit on the stairs, talking. Since this is steps, another motif which play heavily in Twin Peaks, it deserves a fair bit of attention.
- Ben is worried about the Stop Ghostwood campaign. Jack is worried about his friend being dead, claiming he was a brave man. He has to take his place. Ben realizes that it's something to do with the rainforest and that Jack isn't coming back.
We saw over at PopApostle them wondering if Ben had anything to do with the murder of the man. That is an interesting possibility, especially seeing as though Jack never really seems to give the name of who was murdered, where or why and yet Ben connects it to the "rainforest business" for some reason. They suspected he might have done it to keep Jack away from Audrey, and that would fit nicely into this theory. Another possibility is that Billy, aware that Mr. C is soon going to take over inside of his fantasy, no longer needs Jack. This is complimentary to the fact that it was while talking and toasting with Cooper, both in front of the fire, that Jack received notice that his friend had been murdered.
Hmmm...we can posit, because of the fire, both the influence of Cooper/Billy and BOB/Ben working to get Jack away. This can rather nicely go with Mr. C being possessed by BOB at the end and them working together.
- Ben is worried that he won't be able to complete the Stop Ghostwood campaign because he is weak.
Remember that Jack is here to help him clean up his act. It's the way Billy works it within his dream to also help reform his father/grandfather. And yet, despite Jack's reassurance that Ben Horne isn't weak, that is exactly what he is. Just like when he caves in and asks Beverly on a date in The Return, following an argument with his wife, Ben will regain Ghostwood and then sell it again for destruction, just as brother Jerry suspected in both cases he would succumb to his baser instincts. And that was Billy's father also. He might have occassionally tried to stop abusing his daughter/family, but he was always weak and would do it again. David Lynch said that FWWM was about "the loneliness, shame, guilt, confusion, and devastation of the victim of incest. It also dealt with the torment of the father - the war within him." Within our theory, we state that it is perfectly reasonable for Lynch to say that that was what FWWM was about because it is also equally about how Billy had transplanted the abuse that had occurred between his father/grandfather and mother/sister on to Leland and Laura inside of the dream, which is what FWWM is. It even offers to us the first major statement that Twin Peaks is all a dream too "We live inside of a dream." So, with this in mind, we reason that the "war in him" Lynch was referring to truly belonged to Ben Horne, and it is moments like this, and when Ben asks Beverly out, that it becomes more honestly conveyed then the sometimes heightened dramatic quality that BOB himself lends to things.
- Jack wants Ben to tell Audrey something, but then just gives him a letter he wrote to give to her. Now, Jack probably stops himself, knowing the confession is too intimate. However, Billy would also feel uncomfortable having his father relay anything intimate to Audrey, the act once more hitting too close to home for him.
- We next see a chewed up styrofoam cup, holding 3 writing utensils. We have 3 again, plus the fact that we're focusing on styrofoam after having heard it never went away. We can also mix that in weirdly with the theme of appetite throughout the series. How...we're not sure, but there's got to be some imagery in there for eating something that never goes away!
- Briggs has been at the station, studying the petroglyph and trying to discover the symbols. He's also been perusing Project Blue Book and Windom's relationship with it. Just like Hank, he was supposedly the best and brightest among them and then fell. Supposedly, it was only when he began looking to the woods in Twin Peaks that he became obsessive, overzealous, secretive, possessive and finally violent.
We've already theorized that Ghostwood's desecration represents Ben's abuse of Audrey and how Windom is partly a reimagined Ben/father inside of Billy's mind. Now Briggs is using very specific words when it comes to Windom's relationship to Ghostwood, all being easily synonymous with the perpetrator of incestuous sexual abuse. Remember Audrey's words in Part 13, as she suffers Charlie's own manipulative behavior: "It's like Ghostwood here."
- He shows an old tape of Windom discussing Dugpas, evil sorcerers, and where he goes on about evil for evil's sake and how it can bring about power. The place of that power is known by many names, chief among them The Black Lodge.
We reason that as really being the place where Billy's own darkness and urge to hurt those whom have never wronged him is emanating from, a place linked to the dark feelings he has for his mother.
- Cooper now states that he had believed this was all about himself, but now he knows that Windom was working towards something else: getting to the Black Lodge.
Actually, in some way, both are probably connected, since Billy's battle inside is directly following a path leading to Billy's darkness winning over his lightness, which is what the Black Lodge represents.
This is all very convenient though, storywise, that Dale would be in the vicinity that Windom would be centering in on, all because a young girl had been murdered? And he'd be forced to stay there because of that business at One-Eyed Jack's and Jean Renault? Earle's goals of tormenting Dale and getting to the Lodge could seriously overlap like that? It has to be artificially constructed, and now this switch helps to accommodate things. Or for Billy, it's just like Catherine said about Josie: "What she needed to believe was always shifting to suit the moment."
Dale also remarks about Earle, "He has engaged us in subterfuge and red herring. A fish I don't particularly care for."
With Billy's mind, it is the same for his dream. And we still argue that Laura herself was perhaps the largest red herring within the whole framework of his dream.
- Coop guesses that the petroglyph and the Black Lodge are connected, which they are.
- The Major goes out to the woods for a stretch and Harry tells him not to forget the breadcrumbs. This is an obvious Hansel and Gretel reference, when fairy tales are now also being woven into the narrative. That particular one involves a brother and sister lost in the woods, whom risk getting eaten, which could directly relate to Billy and his mother/sister being fed off of by their father, the Ghostwood Project being equal to Ben's abuse of his family still at work. In The Return, we will also see Gersten and Steven lost in a different way in those same woods, and we still suggest that they represent Billy and his mother too.
- Windom gloats in his cabin in the woods, he also pushes the chess pieces off from the board, the game he was playing with Dale being abandoned, perhaps after hearing Cooper's realization that it wasn't about that. And it never was. The true chess game is the one he, Billy, is playing against himself.
- A customer at the Double R's right hand begins to shake violently as they eat pie. The first person we saw whose hand trembled violently was actually Harold Smith when he realized, in fear, he had left the safety of his house in an attempt to get back Laura's diary. This shaking hand will happen to several people throughout the episode and even occur in The Return when Gordon's hand shakes and he exclaims, "Cat on a hot tin roof!" That is the episode where William Hastings dies and the conversation that follows Cole's shaking hand actually revolves around Hastings and Ruth. It was also a mask of a cat that Audrey Horne was wearing when her father propositioned her at One-Eyed Jack's, Jack being the name of the man currently in love with Audrey and whom she will supposedly give her virginity to by the episode's ending. Audrey also shook the hand of her father two episodes back. We suggest that there is a connection between all of these things, as well as the Black Lodge and BOB.
- Shelly and Bobby sit at a table, as Shelly reads her speech about saving the trees, which is still, we argue, Billy's secret way of discussing his mother and his own abuse.
- Bobby apologizes to Shelly about neglecting her. "I got busy with Mr. Horne. I started wearing suits, okay, and suddenly I'm walking around like I'm more important
than everybody else."
Notice how he points out Ben Horne and how his behavior involved the man and also how his suit made him feel better than everyone else. This directly reflects how Ben Horne's influence was negative in nature and how the suit also made him assume that he was better, just as Laura/Carrie's whisper in the Red Room implies Dale presumes his FBI suit gives him an air of moral superiority, or that he is lawful, as contrasted even by Mr. C's attire. However, Bobby rejects both the Hornes and the suit, and in The Return we will see that he's traded everything in for a Twin Peaks law uniform, and is better for it. Although, the presence of Chad in the same uniform helps us remember that a suit does not make the man.
- The subtitles said that that was Norma calling Shelly to the phone, but that did NOT sound like Norma. Where is she anyway?
- At the Roadhouse, Dwaynd and Lana talk about the judges for Miss Twin Peaks: presumably him, Norma and Dick Tremayne. Now how Norma or Dwayne can be judges with people they love competing is a mystery. Even Dick has the potential mother of his baby in there...sounds suspect. Plus, why does Dwayne make it a point to mention that Tremayne is the THIRD judge. Is that another sly Trinity connection, one involving a Richard?
- It appears that Lana will only marry (sleep) with Dwayne if she wins. She's manipulative and still interested in what she gets more than receives. Still, perhaps, a negative viewpoint Billy harbours about his mother.
- At the station (the same room where Leland died?), Cooper questions Shelly, Audrey and Donna about the poems they received and any weird strangers they might have met. Interesting to notice how Audrey and Dale are sitting opposite, facing each other, kind of like their cards.
- Each of the women tell Dale about their encounters with the disguised Windom, Audrey particularly stating: "You know, there was a funny old guy at the library. He asked me to read the poem to him." So she directly mentions the library, beloved place of Billy's equally beloved stories, and how Earle had her read the poem, the same one Dale sent to Caroline and contained the phrase "sister-flower".
- Cooper makes it a point to mention, "all three," just like Trinity again.
- Shelly recognizes Leo's handwriting suddenly. Why didn't she recognize it before, we now wonder? But, then again, didn't Windom partially help Leo with it, because Leo couldn't fully do it by himself?
- Cooper warns the "angels": "I want each of you to check in with the sheriff twice a day. Nine o'clock in the morning, 9:00 at night. I want your parents to know your whereabouts at all times. You walk to school, you drive to work, make sure that you do not do so alone. Please believe me
when I tell you to be very careful. You're in danger."
So why does he leave Annie Blackburn so vulnerable and unprotected? He's not concerned about her welfare in the slightest. Probably because...he's not concerned about her welfare in the slightest.
- Leo sees Shelly's photo hanging up as one of Earle's prospective Queens and he tries to attack Windom, whom has been berating her. Leo confesses he loves Shelly.
This honestly mimics the dynamic Billy had with his grandfather/father and mother. Though he held angry and violent feelings for his mother, he was protective, loving towards her when it came to the father whom abused them both. You can see the same dynamic at work in Part 10, between Richard/Sylvia/Johnny. This is still also indicative that Leo, whom in part represents darker aspects of Billy, still balks against senseless killing, the sort Earle, and later Billy, commits.
- Having stolen the remote Windom uses to zap him, Leo only ends up electrocuting himself. This could display how when we wish to hurt someone, even to defend someone we love, like Billy is doing with his mother's memory, it only becomes self destructive in its own way.
- Windom chides, "Poor Leo...We are all love's fools, more or less. But you will learn, as I have, the value of hate."
Windom is an earlier abstraction of Billy's father, before the more brutal BOB, but he still is Billy's idea of his father, making these words his own. That is what he is working up to by this season's end: trapping away his goodness and love and setting free his hate.
- Audrey returns to the Great Northern, narrowly missing Jack but coming across Pete, whom looks rather happy to see her. Does she remind him of Josie?
- Ben sits alone, looking seriously conflicted in his office.
- Audrey goes to her father's office and they warmly greet each other with a father-daughter kiss, Billy obviously having repaired their relationship inside of his dream, from when it was even presented first inside it. Afterall, when we met Audrey, she was sabotaging Ben's business, now she is helping him with it. Of course, when we first met her, Ben was working to destroy Ghostwood, now he is working to save the trees.
- Audrey specifically mentions Cooper to her father, saying she was late because he needed to see her. When a concerned Ben asks why, she tells him "Some creep sent me a poem."
This scene is another containing Audrey, Cooper and the owls, this time in the form of Ben, their father. Audrey also mentions it was because some creep sent her a poem, the poem which contained the telling line "sister-flower" about her true relationship with Dale, with the addition of the romantic nature he intended when he sent the poem to Caroline, another substitute for her. The creep in question was a substitute for Ben, echoing back to the intended triangle that Ben/Audrey/Dale formed during the storyline when Audrey was held prisoner at One-Eyed Jack's. This is the triangle that forever haunts Billy, for it was his own, one tormented by incest and abuse but also a sort of poisoned and yet genuine love.
We also might be suddenly reminded of the poem MIKE often recited, as well, the one about the Magician and fire.
- Despite his seemingly being changed, Ben selfishly ignores what Audrey is trying to talk to him about, Jack's whereabouts, because he is more centered on her entering Miss Twin Peaks as a platform to talk about the Stop Ghostwood campaign. This betrays further how Billy cannot fully escape the truth in his dreamworld, Ben not being able to place his own desires as secondary, or to deny them altogether, just as Billy's father should have done. Ben knows about what happened with Jack, he knows about the letter, but he only gives it to Audrey after she keeps pressing him about it.
- Ben also states how Jack went to Brazil over some tragedy. Now he knows it was a murder, but doesn't mention it. Also we have Brazil mentioned here when in FWWM we will meet Phillip Jeffries whom is also in a South American city. Any connection?
- Audrey takes the letter and leaves, rushing out to see Jack at the airport before he leaves. Ben seems reluctant for her to go, wanting to discuss Miss Twin Peaks, but Audrey promises when she gets back.
Okay. So Audrey is rushing out the door, and we'll find out later that it almost exclusively has to do with losing/giving her virginity to Jack, as her father, Ben, walks after her, going to the steps we already mentioned play a recurrent role in Twin Peaks. He calls out her name repeatedly. After she's gone, he sighs, falling into a squat on those same steps and looking defeated for some unknown reason. It directly resembles the same scene a few episodes back, when, while discussing the secret that he is Donna's father, Eileen, the mother of his child, wheeled away from him, as he knelt by the fire, similarly defeated.
Now, the sound that usually accompanies Cooper's dreams, begins to play, behind Ben, in the direction of that same fireplace, and Ben turns around startled.
That sound, a strange ringing, will haunt the Great Northern, culminating in The Return, when Cooper's returned key for Room 315 makes it louder, and Dale later uses that same key, not to open his old room, no, but instead a closet door in the basement boiler room, both closets and basements synonymous with the places family's figuratively hide their dark secrets. And when he opens that door, Cooper will encounter Mike once more, whom repeats the Fire poem to him, before taking him to the Convenience Store first and then onwards to the Dutchman's...which we argue is the true self of the Great Northern.
And it began here, in this moment.
Not when Josie Packard died, not even when Cooper was shot by her, but when Audrey Horne has rushed off to have sex for the supposed first time.
With a man mentored by her father.
Whom has her brother's name.
As well as that of the brothel that her father owns and where she was once held captive.
The same name as a large rabbit in Odessa that also has the middle name Ben.
And there is the secret that Billy is trying to supress, and why Ben looks to the fireplace, fire synonymous with abuse and BOB, as the truth rings out...
That it wasn't Jack whom took his daughter's virginity...it was him.
Nor was it Jack, whom is just another substitute, idea or dreamself inside of Billy's mind, or even Mr. C, whom fathered Audrey Horne's child. It was Ben Horne. Her own father, in an act of unnatural lust and abuse. Making her son her own brother, just like the poem that likened love to nature itself had said.
- In the Great Northern lobby, Pete is staring at the fireplace there intimating that he sees Josie's face, which is just spooky when we previously wondered if Josie was some amalgamation of both son and mother (Billy/Cooper and Audrey).
- Audrey runs out. After deciding Randy (should mention now that the Great Northern's concierge is called Randy, as in sexually aroused, which is similar to horny) isn't of any use, she asks Pete if he has a car.
- Pete says he has a truck that runs like a dream, which is significant since this is all a dream and now Billy might be working on some subterfuge or whatnot to try to mask the true identity of his father. Audrey rushes Pete out, hoping to catch up to Jack.
- Cooper understands that the petroglyph symbols suggest a time but doesn't know for what. He speculates it could be a signpost or invitation, or both.
Invitations were important to BOB, whom apparently needed one to possess a target.
- Cooper becomes distracted and walk to the window. He confesses to Harry that he's thinking of Annie.
Now BOB used to "visit" Laura by crawling through her bedroom window. This will also be how Coop enters the mansion room where he meets Naido (15) and American Girl (3). Now we've previously speculated that BOB was really just Billy, whom murdered American Girl when he snuck in through her bedroom window. We also speculate that the mansion room will come to host all of Billy's poor victims, from American Girl (the third person he killed) to Betty/Naido (his last victim at number 15). That also echoes Coop's hotel room at the Great Northern: 3-15. We speculate his father (Ben) and mother (Audrey) were in rooms number 1 & 2 in the mansion room.
But Cooper having this compulsive urge to look out the window, while thinking of Annie, is actually the opposite of what it is presented as. It's not the sweet call of love, we reason, but rather Billy's urge to kill and take another victim, this time the dispensable Annie.
- Going back to look out the window, Coop's hand begins to shake again. Once again, this action seems to be centering around the storyline and events featuring Jack and Audrey, which also are happening in alignment with the Saturn/Jupiter conjunction which relates to the Lodge. We theorize that, just as Cooper figured out the Leo/Windom/Petroglyph cases were all related, so are Audrey Horne's sex life and the Black Lodge.
- Out in the woods, the Major touches a tree and then the tattoo behind his ear, which is of a nuclear warning. These two are linked, what with Trinity and the general way Billy equates abuse with the destruction/contamination of nature.
- Windom approaches Briggs, while dressed up as a white and black horse, pretty significant when we consider that oft seen white horse that haunts the series and seems connected with death, and both of the Lodges.
He's singing "Home on the Range" which is incredibly significant to our belief that Billy views his feelings for his mother/home as the White and Black Lodges. He also specifically mentions deer and antelope, which are all horned animals and can be called bucks, as we feel Billy is often represented as.
We also just found out a male rabbit is a buck too.
- Windom shoots Briggs with something that knocks him out and then kidnaps him. Briggs has a habit of being taken by unfriendly forces, most often connected to Billy's perception of his father.
- Cooper visits Annie at the Double R, where they briefly discuss her entering the Miss Twin Peaks contest, his cases, but more or less talk about how they feel about one another, and how they can't stop thinking about each other.
Annie states she's been seeing Dale's face in fried eggs all morning.
That might connect to the eggs that the Experiment barfs down to Earth alongside BOB.
It's obvious that Annie and Dale are the same person, both aspects of Billy's perception of the good inside himself, maybe. Why, at one point one of them even comments, "We're very much alike." They follow it up with these reflections and we won't bother with whom says what because they are the same so it barely even matters really.
"It helps."
"We think too much."
"What we observe is not nature itself, but nature exposed to our method of questioning."
For that last part, a quote from Heisenberg, what heralded the Experiment and BOB, was known as the Heisenberg Trinity. But what is more important about the quote is how it relates to Twin Peaks. It's exactly what we've been saying and had even finished mentioning earlier: Twin Peaks is Billy's perceptions of things. They are not even probably wholly accurate for that fact, filtered through his broken and dangerous mind. Nature is reflected through his opinions/thoughts on it and so he likens abuse to the destruction of nature, it's perversion, or his birth as something akin to a bomb exploding.
- Cooper suggests they go dancing, Annie says she doesn't know how and he says that he'll teach her. Dancing has been connected to Audrey. It was also connected to Leland, but we still suspect that this was forced on him.
- What is also interesting about this sequence between Cooper and Annie is the general unsettling atmosphere, despite it seeming to be romantic or sweet. There is an ominous noise on the soundtrack which occurs steadily throughout it, the camera keeps zooming away, and when it cuts back to a closer shot of them kissing, even this is disrupted when plates crash and break as if in a bad omen, another shot focusing on the dripping liquid. This, like the shaking hands and Ben's sudden turn to the noise at the fireplace, are not included in the script. They give the episode a darkness however, the sense that something bad is about to happen.
- Audrey stops Jack at the airport and they exchange a sort of old Hollywood goodbye, complete with confessions of love. What's not so old Hollywood is Audrey's declaration of being a virgin and how she wants Jack to make love to her, which he presumably does. So this does seem to have wholly centered on that one aspect, Audrey losing her virginity, and we can deduce the implication that this is a driving force of the puzzle that the Log Lady was talking about. But why does Audrey's virginity matter? Her sexuality? Simple. Because she is the dreamer's mother and the man whom truly claimed her sexuality, her father, haunted both her and the child she conceived of him. Here now, in his dream, the dreamer wishes to give his mother the romantic movie style "first time" he wishes she could have had.
Unfortunately...it is not the truth.
- We can see this as Pete watches the two, teary eyed...until his hand starts shaking too, in that frightening way. It is then that he looks at the jet Audrey and Jack disappeared into with a sort of horror written across his expressive face.
- At the cabin, Windom has Garland tied up to a giant target. Leo's still reluctantly helping him, but it's clear he doesn't want to, and this is the father of Bobby, the boy Leo hates, so that is saying something.
- Windom, we think according to the next ep, pumps Garland full of the same drug that Phillip used to suppress MIKE, which acts as a truth serum here. Not quite sure how that works...maybe because MIKE was really Billy's uncle and never inhabited some guy called Phillip Gerard?
- When Earle asks Briggs what he fears most in the world, Garland answers, "The possibility that love is not enough."
Unfortunately, he is right here, or, at least in Billy's world. The love Billy felt for his mother, and for anything else, will not be able to overpower his fear and hatred. Dale Cooper, his main avatar, will fall, love unable to save him.
- Garland reveals he first saw the petroglyph in dreams after he was abducted while night fishing with Cooper. He also reveals that the petroglyph reveals that when Jupiter and Saturn meet, they will receive you, presumably the Lodge spirits/Red Room.
- The Major then begins to talk backwards, saying "That gum you like is going to come back in style."
Now that was said to Leland shortly before BOB left/killed him and he died. Briggs is now saying it to Windom, whom will shortly be destroyed by BOB too. Um...so can we construe that the Arm saying it to Dale, 25 years later, also meant his own defeat/freedom from BOB?
- Catherine shows the puzzle box from Eckhardt to her brother, as Andrew explains to her how nicely Ghostwood is coming along, Ben having gotten rid of every hurdle himself. They both agree Ben Horne is his own worst enemy.
That they are discussing this while examining the box, a puzzle like the Log Lady discussed, can imply a connection between both. And remember how this box will lead to the bomb which explodes at the bank, placing Audrey in a coma and leading to her conception of Richard.
- Andrew guesses that the next box opens by placing the date of when it arrived into it. Frankly, it seems to echo the petroglyph. They are both puzzles, appearing simultaneously, needing to be solved, both containing symbols that seem mysterious and astrology related.
- The male Packard, however, doesn't want to spend any more energy on solving riddles or puzzles, he just smashes it with a rolling pin.
What is revealed, is a small, silver box, which isn't too different from the one that poses such a big mystery in Mulholland Drive, and appears to be representative of Diane's psyche.
So, now, if we take this box as being instrumental to Audrey conceiving her son within Billy's dream, can we also glean that Andrew's opening it in such a violent and lazy fashion betrays the fact that Billy, himself, is lazy and violent in regards to his own psyche and development. He doesn't want to put the work in to it to become a good person, or to heal himself, he'd rather be destructive to others instead of facing it and understanding himself.
- At the Roadhouse, preparations continue for Miss Twin Peaks. Annie waits for Cooper whom arrives and makes her come on to the dance floor, despite her hesitancy and confession that she is not prepared.
Gotta point out that this is the same Roadhouse, the same floor, where Audrey will similarly go to dance on, although her dance is performed alone.
- Dale leads, telling Annie, "Just think of it as a walking embrace, all right? Two people stepping as one would step."
So we have another clue that Annie and Dale are in fact the same person.
- Annie picks it up, stating, "It's genetic memory. Mom and Dad danced the lindy."
She doesn't particularly look old enough for her parents to have done anything of the sort, neither did Vivian seem like that type of woman. But it is interesting she's mentioning a mother and father, when we speculate this episode revolves around Billy's and how badly it haunts him.
- Annie gives a big speech about how she wants to be physical with Dale (at least we think that's what she's getting at) but for most of it she doesn't even look at him, but at the stage where Dwayne Milford is standing, which is peculiar.
- Changing her mind from earlier, Annie says she will compete in the contest afterall. "There's worse places to start
than Miss Twin Peaks. It's like a fairy tale," she claims.
And Dale says, "And you're the queen."
We're back to fairy tale imagery again, but what nobody realizes it that we're actually leading up to Sleeping Beauty, as performed by Audrey and Mr. C.
We're also continuing on with Cooper being supposedly ignorant about the danger he's putting Annie in. He could possibly just be being naive we could argue...
Until the next scene which makes that reasoning hard to swallow.
- As Annie and Cooper are about to kiss, everything goes dark except for Cooper and the stage, where the Giant is now seen, frantically waving his arms about and silently screaming, "No!"
This couldn't be more easily understood than a child's See Spot Run book. The Giant is letting Cooper know that in no way, shape or form should Annie enter the contest.
- Okay, so now, seemingly inexplicably we go back to the airport where Pete has fallen asleep and it's dark. He seems to think Audrey might have left with Jack, but then finds her standing on the runway.
Audrey bemoans, "What a gyp. Finally meet the man of my dreams, next thing I know, he's on a plane to Brazil."
So Jack is the man of her dreams, just as Billy intended, fashioning him inside of a dream for his mother.
- Duscussing whether he'll be back or not (he isn't) Audrey says he also promised to take her fishing but never did. When Pete asks fishing?, Audrey says, "Pearl Lake or something."
Pete now takes Audrey there, claiming, "Audrey, there are many cures for a broken heart, but nothing quite like a trout's leap in the moonlight."
Hmmm...
Didn't Briggs make it a point to say he saw the petroglyph after night fishing with Cooper?
And, well, the first time we met Pete, he was going fishing. That was when he saw Laura's dead body.
And Pearl Lakes is the place where Leland says he first met BOB...
And moonlight...well Judy was associated with the moon around Blue Pine Mountain, close to Pearl Lakes.
So...we're theorizing that the Giant's warning and Annie and Cooper, since this leads to the Black Lodge and Mr. C/BOB's exit, are related to this scene of Audrey afterall.
You see it all involves Audrey's virginity/pregnancy...which is really about the birth of BOB and Judy in a roundabout, horrifying way, them being Billy's perception of his parents, and, in that way, being himself as well.
- Meanwhile, back on Windom's "range", Leo is screaming in a sort of horror and Earle's figured out that the petroglyph is a clock, an invitation and map all at the same time (trinity), one leading right to the Black Lodge.
- Interesting how Windom sings, "When Jupiter and Saturn meet Oh, what a crop of mummy wheat." He's referring to Egyptian mummy. Now we already pointed out the book about Joseph lying on Ben's desk, as he was arrested. Now that story involved Egypt and how Joseph was sold there, eventually providing "corn" during a famine he'd foretold through God's wisdom. Now Windom's adding mummy to wheat, which was what the corn really was in biblical times. You can change that to mean "Mommy's wheat" or "Mommy's corn" biblically speaking.
Corn was the manifestation of pain and sorrow, something we already theorized was Billy's pain and sorrow and his mother's pain and sorrow for that was what he was born of: being the product of her rape by her own father.
We strongly believe that this is what this is all circling around, in a fantasy setting. The sad truth being softly whispered and silently informing everything in a dream.
- Suddenly, we're back at the Roadhouse, Cooper's vision ends and he blatantly ignores it! Proceeding to kiss Annie! It's not like he didn't kiss her before...so what's happening? It's simple. He's purposely not listening to the Giant. He wants Annie to be kidnapped and hurt. He wants to go to the Lodge. He's Billy and Billy is calling the shots, secretly wanting all of this to happen because, as we reasoned before, he's lazy and weak and doesn't want to truly be good. That might not even be in his nature.
- On stage, Dwayne senses something isn't right. He says, "There's something wrong. This isn't right. There's something wrong here" as we lead into a series of different shots around the town of Twin Peaks itself, many of it vacant and eerie.
The Roadhouse...
A string of lights above the street...
The Double R...
The Twin Peaks High school...
A hall and window inside of the Great Northern...
A phone RINGS at the empty sheriff station, and it recalls the phone call Mr. C answers whilst talking to Jeffries about Judy and the unanswered call at Carrie Page's house...
The Owl Cave Map...
Then the trees...
And finally Glastonbury Grove.
From between the 12 sycamores, we see a spotlight appear and a right hand emerge from the darkness, feeling around and trembling like the hands seen throughout this episode. Suddenly BOB appears and holds the hand to his heart, incredibly similar to how Laura holds her right one to her heart too, after Leland's told her he loves her, or her left one to her heart at the end of FWWM. The camera pans to the pool of oil in the middle of the ring of trees, circled with white/light gray and we see the red curtains reflected in the oil's surface.
Now the path to the Black Lodge is opening, as Jupiter and Saturn meet, so BOB is allowed exit perhaps. But what if it also connects directly to the events that involved Audrey? What if it correlates, as we have reasoned, to her sexuality and the conception of her son? Ben hearing that ringing sound, separate from the trembling hands, is connected to the conjunction and yet drastically different, distinguished from the others. It also directly pertains to Cooper in The Return. BOB's exit, his existence, is linked somehow to Audrey, Ben and Dale.
Now think of Ben's earlier question, after he'd been watching the clip of his family.
"Do you think the furniture in this room is adequately arranged? I have been toying with the notion that if one could find the perfect arrangement of all objects in any particular space, it could create a resonance the benefits from which to the individual dwelling in that space could be, uh...could be extensive, could be far-reaching, far-reaching."
Then, in the next episode,when Ben had seemed to achieve it with his "skyscraper" he said: balance, distance, symmetry, that that was what it involved.
What if, inside of Billy's mind, he was able to achieve what his father had been doing. He placed himself and his mother at a DISTANCE, created a SYMMETRY in their new found relationships, and then BALANCED them both inside of his dream. Then suddenly, he tried to reimagine a different loss of innocence for his mother and he believed he had succeeded, allowing for a "resonance the benefits from which to the individual dwelling in that space could be, uh...could be extensive, could be far-reaching, far-reaching."
To Billy, that would be, the destruction of his perceived "weakness" and the becoming of his darker self, one unencumbered by the pain and liabilities he perceives.
BOB is allowed to be set free. Mr. C is allowed his birth, Billy gets his own skyscraper in NYC.
But this is all still stemming from the sad truth that Billy's mother was raped by her own father and Billy was born from it too.
We've theorized that Ghostwood Forest and it's desecration is Audrey Horne. Now take a look at Glastonbury Grove and the gateway to the Red Room/Black Lodge...the pool of oil, the circle of trees, the red curtains that open and are reflected in the oil pool so very much like a hole...so very much like a vagina...so very much like the way Billy entered the world.
Very much how we see BOB coming out now, or Cooper's doppleganger later.
Harry talked about the evil in the woods. What was never realized was that Audrey Horne IS those woods. And for several months she carried a child within her, a child she had conceived with her father Ben Horne. Billy, the dreamer and all the pain that he brought into the world, is the evil in the woods (Audrey).
This is all about his conception, all about his birth and the pain caused both before and after it.
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 talks about clues and puzzles:
"There are clues everywhere, all around us. But the puzzle maker is clever. The clues, although surrounding us, are somehow mistaken for something else. And the something else, the wrong interpretation of the clues, we call our world."
She is referencing Billy's dream itself, which holds many clues to unravelling it. However, Billy is clever and, though he has placed the clues all throughout Twin Peaks they may never be understood because they are mistaken for something else. It is like BOB himself. People assume, like Albert said, he is the evil that men do, when, infact, he is a representation of Billy's vision of his father, and how he framed an innocent man for the murder, he, himself committed. The words possession and imposed are related.
But all of Twin Peaks is created from such things, abstractions of ideas Billy has, of events that happened, feelings he felt, people he knew, all twisted into something else, projected, masked, misrepresented, substituted. That, has the Log Lady says is "our world" meaning the world of Twin Peaks.
"Our world is a magical smoke screen. How should we interpret the happy song of the meadowlark or the robust flavor of a wild strawberry?"
Twin Peaks is a smokescreen meant to protect Billy from reality, his past and himself. And even something like the happy song of the meadowlark, or the flavor of a strawberry, may mean something very different in reality.
BTW Sylvia Horne outright has a puzzle on her table when her grandson Richard comes to visit her in The Return and there is a fire in the fireplace.
- As the chess piece is removed from the gazebo, one of the victim's friends is interviewed and we learn that the man in the giant pawn was called Rusty and was a musician, heading to Knife River with his band. So that is interesting because rust can occur to nails over time, and coincidentally those were a topic mentioned two episodes ago, when Ben's father was mentioned. Cooper also referenced a song in just the last episode, and how he felt like the cases being studied all related to one another.
- On the topic of relations, Rusty hated his parents and lived with his uncle, in Moses River, but was trying to move out and go to LA.
Billy, we suspect, also lived with parents whom he had issues with and then lived with his uncle, following a short time spent with his grandmother/great grandmother.
- Cooper deduces that Windom is now playing off of the board, which means that the chess game is over, we guess. Since Dale wasn't playing it though, that was Pete, it hardly seems to matter much to the story...which brings up the realization that Dale was in effect having a substitute playing for him, which keeps with Billy's propensity to substitute as well. It also goes well with the theory that Dale has adopted a substitute Queen in Annie.
- The next morning, Lucy says that someone she's never seen before is with Hawk, but he looks really sad, so Hawk is fixing him breakfast. We guess it's Rusty's friend and we guess this goes with the theme of food and appetite.
- Lucy wants to know what Andy thinks about saving the planet, because she's entering the Miss Twin Peaks pageant, and let's him know that tomorrow is D-Day, where she chooses a father for her baby.
The thread of the environment has once again been woven through with the concept of parents, in particular, fathers.
- Andy doesn't know much, other than that people had better stop throwing beer cans into Pearl Lakes and styrofoam never dies.
That last one shocks Lucy. Pearl Lakes being mentioned is interesting, seeing as though that was where Leland said he had met BOB, before he realized it was in a dream.
- Jack is preparing to leave the Great Northern, and is looking for Audrey, whom isn't back yet.
- Meanwhile, Will Hayward is giving Ben Horne a physical inside of Ben's office. Major TP Will/Bill here sharing a scene with Ben.
- Ben makes a joke about the insurance companies sending him so many forms he could get a heart attack from lifting them.
There's the ever current theme of insurance again, one which runs through this series but could go unnoticed. We speculate that Billy associates insurance with Ben/his father, in a way, since the motel where they all lived burned down, causing Ben and Audrey's deaths and leaving Billy with a memory of insurance investigators and agents.
- Will says Ben's fine and he should concern himself more with what is in his heart.
Ben counters that he only wants to do the right thing.
Will applauds Ben's desire to do the right thing, and here's the really interesting part, though, he flat out tells him, "But goodness in you is...It's like a time bomb. There's nothing good about ruined lives."
Given how we know that a bomb led to Audrey's pregnancy and it also led to the Experiment barfing down both BOB and the eggs to Earth, Will's words here are so relevant and connected to this theory, and those events, it's enough to give goosebumps. It seems that Billy can't help but see his father as destructive to those around him, whether he's trying to redeem him or not. Seeing as though this involves him having fathered a child, it might betray the fact that Billy realizes nothing can make what he did right...not even placing it onto another person.
- Despite the warning, Ben is intent on following through with letting Donna know he is her father and making things "right" indicating that, though Billy is seemingly in control here, his father is still fighting against the lack of control he has within his revisionist history.
- Will and Jack seem to know each other already, just as Jack says he knows Donna, though we never saw any scene between them. Will also calls Jack "John" here, showing once again that the man shares the name of Ben Horne's son and Audrey's brother.
- Will warns Ben to be careful before he goes, Billy's instruction, through his namesake, to his father.
- Jack tells Ben he's been looking for Audrey because he has to go. Ben says he can phone her when he gets wherever he's going. Jack states that a friend, more than a friend, a partner of his has been murdered.
What does that mean exactly? You'd usually say that someone whom was a business partner was actually more than that, they were a friend. Is this indicating that his partner was a lover? It's just kind of curious. Why were they murdered anyway and what were they doing, more environmental work?
- Up in the attic, a fan going loudly, Donna looks over her birth records and notes how her father's name is not listed. Oddly enough, her mother's maiden name is also listed as Eileen Hayward...is she related to Will? The doctor who delivered her is a R. Robinson...Robert? Richard? As she continues to look through the items, she finds photographs of Eileen and Will, plus Ben Horne with them, Ben giving them bunny ears.
Okay, so the fan itself was a popular fixture in the Palmer house. It was what BOB/Leland would turn on before "visiting" Laura. That it is shown now, as Donna is investigating her paternity, scream at us another more accurate connection between Ben and the tragic tale of incest woven through Billy's narrative for the Palmers. Ben giving those rabbit ears seems inconsequential, but we can still link that to Audrey giving the same rabbit ears to Laura in the photograph where she was the one wearing the Red Room colors not Laura. Both girls were proverbial snow bunnies in the photo. It sounds crazy, but Lucy wondered if it was all about the bunnies, and there might still be some clues that it was, especially remembering that large Jack Rabbit statue in Odessa called "Jack Ben Rabbit" for it's founder "John Ben Shepperd. Since Donna's segment here is finding out hints that Ben is her father, and this episode swirls around weird events involving Audrey giving her virginity to a man called John "Jack" we have to pay attention to everything...
And that fan during this scene is still pretty overwhelming.
- In one of the photos of Eileen and Ben, Ben is holding a lit sparkler that looks like fire.
- Audrey returns to the Great Northern and is met by Hawk, whom has been sitting in a chair reading a book about owls in the lobby. He says that Agent Cooper wants to see her, and she tries to put it off until the afternoon, until Hawk says it's important and she eventually goes with him.
Gotta love owls, Cooper and Audrey all being involved in the same scene.
- Ben and Jack sit on the stairs, talking. Since this is steps, another motif which play heavily in Twin Peaks, it deserves a fair bit of attention.
- Ben is worried about the Stop Ghostwood campaign. Jack is worried about his friend being dead, claiming he was a brave man. He has to take his place. Ben realizes that it's something to do with the rainforest and that Jack isn't coming back.
We saw over at PopApostle them wondering if Ben had anything to do with the murder of the man. That is an interesting possibility, especially seeing as though Jack never really seems to give the name of who was murdered, where or why and yet Ben connects it to the "rainforest business" for some reason. They suspected he might have done it to keep Jack away from Audrey, and that would fit nicely into this theory. Another possibility is that Billy, aware that Mr. C is soon going to take over inside of his fantasy, no longer needs Jack. This is complimentary to the fact that it was while talking and toasting with Cooper, both in front of the fire, that Jack received notice that his friend had been murdered.
Hmmm...we can posit, because of the fire, both the influence of Cooper/Billy and BOB/Ben working to get Jack away. This can rather nicely go with Mr. C being possessed by BOB at the end and them working together.
- Ben is worried that he won't be able to complete the Stop Ghostwood campaign because he is weak.
Remember that Jack is here to help him clean up his act. It's the way Billy works it within his dream to also help reform his father/grandfather. And yet, despite Jack's reassurance that Ben Horne isn't weak, that is exactly what he is. Just like when he caves in and asks Beverly on a date in The Return, following an argument with his wife, Ben will regain Ghostwood and then sell it again for destruction, just as brother Jerry suspected in both cases he would succumb to his baser instincts. And that was Billy's father also. He might have occassionally tried to stop abusing his daughter/family, but he was always weak and would do it again. David Lynch said that FWWM was about "the loneliness, shame, guilt, confusion, and devastation of the victim of incest. It also dealt with the torment of the father - the war within him." Within our theory, we state that it is perfectly reasonable for Lynch to say that that was what FWWM was about because it is also equally about how Billy had transplanted the abuse that had occurred between his father/grandfather and mother/sister on to Leland and Laura inside of the dream, which is what FWWM is. It even offers to us the first major statement that Twin Peaks is all a dream too "We live inside of a dream." So, with this in mind, we reason that the "war in him" Lynch was referring to truly belonged to Ben Horne, and it is moments like this, and when Ben asks Beverly out, that it becomes more honestly conveyed then the sometimes heightened dramatic quality that BOB himself lends to things.
- Jack wants Ben to tell Audrey something, but then just gives him a letter he wrote to give to her. Now, Jack probably stops himself, knowing the confession is too intimate. However, Billy would also feel uncomfortable having his father relay anything intimate to Audrey, the act once more hitting too close to home for him.
- We next see a chewed up styrofoam cup, holding 3 writing utensils. We have 3 again, plus the fact that we're focusing on styrofoam after having heard it never went away. We can also mix that in weirdly with the theme of appetite throughout the series. How...we're not sure, but there's got to be some imagery in there for eating something that never goes away!
- Briggs has been at the station, studying the petroglyph and trying to discover the symbols. He's also been perusing Project Blue Book and Windom's relationship with it. Just like Hank, he was supposedly the best and brightest among them and then fell. Supposedly, it was only when he began looking to the woods in Twin Peaks that he became obsessive, overzealous, secretive, possessive and finally violent.
We've already theorized that Ghostwood's desecration represents Ben's abuse of Audrey and how Windom is partly a reimagined Ben/father inside of Billy's mind. Now Briggs is using very specific words when it comes to Windom's relationship to Ghostwood, all being easily synonymous with the perpetrator of incestuous sexual abuse. Remember Audrey's words in Part 13, as she suffers Charlie's own manipulative behavior: "It's like Ghostwood here."
- He shows an old tape of Windom discussing Dugpas, evil sorcerers, and where he goes on about evil for evil's sake and how it can bring about power. The place of that power is known by many names, chief among them The Black Lodge.
We reason that as really being the place where Billy's own darkness and urge to hurt those whom have never wronged him is emanating from, a place linked to the dark feelings he has for his mother.
- Cooper now states that he had believed this was all about himself, but now he knows that Windom was working towards something else: getting to the Black Lodge.
Actually, in some way, both are probably connected, since Billy's battle inside is directly following a path leading to Billy's darkness winning over his lightness, which is what the Black Lodge represents.
This is all very convenient though, storywise, that Dale would be in the vicinity that Windom would be centering in on, all because a young girl had been murdered? And he'd be forced to stay there because of that business at One-Eyed Jack's and Jean Renault? Earle's goals of tormenting Dale and getting to the Lodge could seriously overlap like that? It has to be artificially constructed, and now this switch helps to accommodate things. Or for Billy, it's just like Catherine said about Josie: "What she needed to believe was always shifting to suit the moment."
Dale also remarks about Earle, "He has engaged us in subterfuge and red herring. A fish I don't particularly care for."
With Billy's mind, it is the same for his dream. And we still argue that Laura herself was perhaps the largest red herring within the whole framework of his dream.
- Coop guesses that the petroglyph and the Black Lodge are connected, which they are.
- The Major goes out to the woods for a stretch and Harry tells him not to forget the breadcrumbs. This is an obvious Hansel and Gretel reference, when fairy tales are now also being woven into the narrative. That particular one involves a brother and sister lost in the woods, whom risk getting eaten, which could directly relate to Billy and his mother/sister being fed off of by their father, the Ghostwood Project being equal to Ben's abuse of his family still at work. In The Return, we will also see Gersten and Steven lost in a different way in those same woods, and we still suggest that they represent Billy and his mother too.
- Windom gloats in his cabin in the woods, he also pushes the chess pieces off from the board, the game he was playing with Dale being abandoned, perhaps after hearing Cooper's realization that it wasn't about that. And it never was. The true chess game is the one he, Billy, is playing against himself.
- A customer at the Double R's right hand begins to shake violently as they eat pie. The first person we saw whose hand trembled violently was actually Harold Smith when he realized, in fear, he had left the safety of his house in an attempt to get back Laura's diary. This shaking hand will happen to several people throughout the episode and even occur in The Return when Gordon's hand shakes and he exclaims, "Cat on a hot tin roof!" That is the episode where William Hastings dies and the conversation that follows Cole's shaking hand actually revolves around Hastings and Ruth. It was also a mask of a cat that Audrey Horne was wearing when her father propositioned her at One-Eyed Jack's, Jack being the name of the man currently in love with Audrey and whom she will supposedly give her virginity to by the episode's ending. Audrey also shook the hand of her father two episodes back. We suggest that there is a connection between all of these things, as well as the Black Lodge and BOB.
- Shelly and Bobby sit at a table, as Shelly reads her speech about saving the trees, which is still, we argue, Billy's secret way of discussing his mother and his own abuse.
- Bobby apologizes to Shelly about neglecting her. "I got busy with Mr. Horne. I started wearing suits, okay, and suddenly I'm walking around like I'm more important
than everybody else."
Notice how he points out Ben Horne and how his behavior involved the man and also how his suit made him feel better than everyone else. This directly reflects how Ben Horne's influence was negative in nature and how the suit also made him assume that he was better, just as Laura/Carrie's whisper in the Red Room implies Dale presumes his FBI suit gives him an air of moral superiority, or that he is lawful, as contrasted even by Mr. C's attire. However, Bobby rejects both the Hornes and the suit, and in The Return we will see that he's traded everything in for a Twin Peaks law uniform, and is better for it. Although, the presence of Chad in the same uniform helps us remember that a suit does not make the man.
- The subtitles said that that was Norma calling Shelly to the phone, but that did NOT sound like Norma. Where is she anyway?
- At the Roadhouse, Dwaynd and Lana talk about the judges for Miss Twin Peaks: presumably him, Norma and Dick Tremayne. Now how Norma or Dwayne can be judges with people they love competing is a mystery. Even Dick has the potential mother of his baby in there...sounds suspect. Plus, why does Dwayne make it a point to mention that Tremayne is the THIRD judge. Is that another sly Trinity connection, one involving a Richard?
- It appears that Lana will only marry (sleep) with Dwayne if she wins. She's manipulative and still interested in what she gets more than receives. Still, perhaps, a negative viewpoint Billy harbours about his mother.
- At the station (the same room where Leland died?), Cooper questions Shelly, Audrey and Donna about the poems they received and any weird strangers they might have met. Interesting to notice how Audrey and Dale are sitting opposite, facing each other, kind of like their cards.
- Each of the women tell Dale about their encounters with the disguised Windom, Audrey particularly stating: "You know, there was a funny old guy at the library. He asked me to read the poem to him." So she directly mentions the library, beloved place of Billy's equally beloved stories, and how Earle had her read the poem, the same one Dale sent to Caroline and contained the phrase "sister-flower".
- Cooper makes it a point to mention, "all three," just like Trinity again.
- Shelly recognizes Leo's handwriting suddenly. Why didn't she recognize it before, we now wonder? But, then again, didn't Windom partially help Leo with it, because Leo couldn't fully do it by himself?
- Cooper warns the "angels": "I want each of you to check in with the sheriff twice a day. Nine o'clock in the morning, 9:00 at night. I want your parents to know your whereabouts at all times. You walk to school, you drive to work, make sure that you do not do so alone. Please believe me
when I tell you to be very careful. You're in danger."
So why does he leave Annie Blackburn so vulnerable and unprotected? He's not concerned about her welfare in the slightest. Probably because...he's not concerned about her welfare in the slightest.
- Leo sees Shelly's photo hanging up as one of Earle's prospective Queens and he tries to attack Windom, whom has been berating her. Leo confesses he loves Shelly.
This honestly mimics the dynamic Billy had with his grandfather/father and mother. Though he held angry and violent feelings for his mother, he was protective, loving towards her when it came to the father whom abused them both. You can see the same dynamic at work in Part 10, between Richard/Sylvia/Johnny. This is still also indicative that Leo, whom in part represents darker aspects of Billy, still balks against senseless killing, the sort Earle, and later Billy, commits.
- Having stolen the remote Windom uses to zap him, Leo only ends up electrocuting himself. This could display how when we wish to hurt someone, even to defend someone we love, like Billy is doing with his mother's memory, it only becomes self destructive in its own way.
- Windom chides, "Poor Leo...We are all love's fools, more or less. But you will learn, as I have, the value of hate."
Windom is an earlier abstraction of Billy's father, before the more brutal BOB, but he still is Billy's idea of his father, making these words his own. That is what he is working up to by this season's end: trapping away his goodness and love and setting free his hate.
- Audrey returns to the Great Northern, narrowly missing Jack but coming across Pete, whom looks rather happy to see her. Does she remind him of Josie?
- Ben sits alone, looking seriously conflicted in his office.
- Audrey goes to her father's office and they warmly greet each other with a father-daughter kiss, Billy obviously having repaired their relationship inside of his dream, from when it was even presented first inside it. Afterall, when we met Audrey, she was sabotaging Ben's business, now she is helping him with it. Of course, when we first met her, Ben was working to destroy Ghostwood, now he is working to save the trees.
- Audrey specifically mentions Cooper to her father, saying she was late because he needed to see her. When a concerned Ben asks why, she tells him "Some creep sent me a poem."
This scene is another containing Audrey, Cooper and the owls, this time in the form of Ben, their father. Audrey also mentions it was because some creep sent her a poem, the poem which contained the telling line "sister-flower" about her true relationship with Dale, with the addition of the romantic nature he intended when he sent the poem to Caroline, another substitute for her. The creep in question was a substitute for Ben, echoing back to the intended triangle that Ben/Audrey/Dale formed during the storyline when Audrey was held prisoner at One-Eyed Jack's. This is the triangle that forever haunts Billy, for it was his own, one tormented by incest and abuse but also a sort of poisoned and yet genuine love.
We also might be suddenly reminded of the poem MIKE often recited, as well, the one about the Magician and fire.
- Despite his seemingly being changed, Ben selfishly ignores what Audrey is trying to talk to him about, Jack's whereabouts, because he is more centered on her entering Miss Twin Peaks as a platform to talk about the Stop Ghostwood campaign. This betrays further how Billy cannot fully escape the truth in his dreamworld, Ben not being able to place his own desires as secondary, or to deny them altogether, just as Billy's father should have done. Ben knows about what happened with Jack, he knows about the letter, but he only gives it to Audrey after she keeps pressing him about it.
- Ben also states how Jack went to Brazil over some tragedy. Now he knows it was a murder, but doesn't mention it. Also we have Brazil mentioned here when in FWWM we will meet Phillip Jeffries whom is also in a South American city. Any connection?
- Audrey takes the letter and leaves, rushing out to see Jack at the airport before he leaves. Ben seems reluctant for her to go, wanting to discuss Miss Twin Peaks, but Audrey promises when she gets back.
Okay. So Audrey is rushing out the door, and we'll find out later that it almost exclusively has to do with losing/giving her virginity to Jack, as her father, Ben, walks after her, going to the steps we already mentioned play a recurrent role in Twin Peaks. He calls out her name repeatedly. After she's gone, he sighs, falling into a squat on those same steps and looking defeated for some unknown reason. It directly resembles the same scene a few episodes back, when, while discussing the secret that he is Donna's father, Eileen, the mother of his child, wheeled away from him, as he knelt by the fire, similarly defeated.
Now, the sound that usually accompanies Cooper's dreams, begins to play, behind Ben, in the direction of that same fireplace, and Ben turns around startled.
That sound, a strange ringing, will haunt the Great Northern, culminating in The Return, when Cooper's returned key for Room 315 makes it louder, and Dale later uses that same key, not to open his old room, no, but instead a closet door in the basement boiler room, both closets and basements synonymous with the places family's figuratively hide their dark secrets. And when he opens that door, Cooper will encounter Mike once more, whom repeats the Fire poem to him, before taking him to the Convenience Store first and then onwards to the Dutchman's...which we argue is the true self of the Great Northern.
And it began here, in this moment.
Not when Josie Packard died, not even when Cooper was shot by her, but when Audrey Horne has rushed off to have sex for the supposed first time.
With a man mentored by her father.
Whom has her brother's name.
As well as that of the brothel that her father owns and where she was once held captive.
The same name as a large rabbit in Odessa that also has the middle name Ben.
And there is the secret that Billy is trying to supress, and why Ben looks to the fireplace, fire synonymous with abuse and BOB, as the truth rings out...
That it wasn't Jack whom took his daughter's virginity...it was him.
Nor was it Jack, whom is just another substitute, idea or dreamself inside of Billy's mind, or even Mr. C, whom fathered Audrey Horne's child. It was Ben Horne. Her own father, in an act of unnatural lust and abuse. Making her son her own brother, just like the poem that likened love to nature itself had said.
- In the Great Northern lobby, Pete is staring at the fireplace there intimating that he sees Josie's face, which is just spooky when we previously wondered if Josie was some amalgamation of both son and mother (Billy/Cooper and Audrey).
- Audrey runs out. After deciding Randy (should mention now that the Great Northern's concierge is called Randy, as in sexually aroused, which is similar to horny) isn't of any use, she asks Pete if he has a car.
- Pete says he has a truck that runs like a dream, which is significant since this is all a dream and now Billy might be working on some subterfuge or whatnot to try to mask the true identity of his father. Audrey rushes Pete out, hoping to catch up to Jack.
- Cooper understands that the petroglyph symbols suggest a time but doesn't know for what. He speculates it could be a signpost or invitation, or both.
Invitations were important to BOB, whom apparently needed one to possess a target.
- Cooper becomes distracted and walk to the window. He confesses to Harry that he's thinking of Annie.
Now BOB used to "visit" Laura by crawling through her bedroom window. This will also be how Coop enters the mansion room where he meets Naido (15) and American Girl (3). Now we've previously speculated that BOB was really just Billy, whom murdered American Girl when he snuck in through her bedroom window. We also speculate that the mansion room will come to host all of Billy's poor victims, from American Girl (the third person he killed) to Betty/Naido (his last victim at number 15). That also echoes Coop's hotel room at the Great Northern: 3-15. We speculate his father (Ben) and mother (Audrey) were in rooms number 1 & 2 in the mansion room.
But Cooper having this compulsive urge to look out the window, while thinking of Annie, is actually the opposite of what it is presented as. It's not the sweet call of love, we reason, but rather Billy's urge to kill and take another victim, this time the dispensable Annie.
- Going back to look out the window, Coop's hand begins to shake again. Once again, this action seems to be centering around the storyline and events featuring Jack and Audrey, which also are happening in alignment with the Saturn/Jupiter conjunction which relates to the Lodge. We theorize that, just as Cooper figured out the Leo/Windom/Petroglyph cases were all related, so are Audrey Horne's sex life and the Black Lodge.
- Out in the woods, the Major touches a tree and then the tattoo behind his ear, which is of a nuclear warning. These two are linked, what with Trinity and the general way Billy equates abuse with the destruction/contamination of nature.
- Windom approaches Briggs, while dressed up as a white and black horse, pretty significant when we consider that oft seen white horse that haunts the series and seems connected with death, and both of the Lodges.
He's singing "Home on the Range" which is incredibly significant to our belief that Billy views his feelings for his mother/home as the White and Black Lodges. He also specifically mentions deer and antelope, which are all horned animals and can be called bucks, as we feel Billy is often represented as.
We also just found out a male rabbit is a buck too.
- Windom shoots Briggs with something that knocks him out and then kidnaps him. Briggs has a habit of being taken by unfriendly forces, most often connected to Billy's perception of his father.
- Cooper visits Annie at the Double R, where they briefly discuss her entering the Miss Twin Peaks contest, his cases, but more or less talk about how they feel about one another, and how they can't stop thinking about each other.
Annie states she's been seeing Dale's face in fried eggs all morning.
That might connect to the eggs that the Experiment barfs down to Earth alongside BOB.
It's obvious that Annie and Dale are the same person, both aspects of Billy's perception of the good inside himself, maybe. Why, at one point one of them even comments, "We're very much alike." They follow it up with these reflections and we won't bother with whom says what because they are the same so it barely even matters really.
"It helps."
"We think too much."
"What we observe is not nature itself, but nature exposed to our method of questioning."
For that last part, a quote from Heisenberg, what heralded the Experiment and BOB, was known as the Heisenberg Trinity. But what is more important about the quote is how it relates to Twin Peaks. It's exactly what we've been saying and had even finished mentioning earlier: Twin Peaks is Billy's perceptions of things. They are not even probably wholly accurate for that fact, filtered through his broken and dangerous mind. Nature is reflected through his opinions/thoughts on it and so he likens abuse to the destruction of nature, it's perversion, or his birth as something akin to a bomb exploding.
- Cooper suggests they go dancing, Annie says she doesn't know how and he says that he'll teach her. Dancing has been connected to Audrey. It was also connected to Leland, but we still suspect that this was forced on him.
- What is also interesting about this sequence between Cooper and Annie is the general unsettling atmosphere, despite it seeming to be romantic or sweet. There is an ominous noise on the soundtrack which occurs steadily throughout it, the camera keeps zooming away, and when it cuts back to a closer shot of them kissing, even this is disrupted when plates crash and break as if in a bad omen, another shot focusing on the dripping liquid. This, like the shaking hands and Ben's sudden turn to the noise at the fireplace, are not included in the script. They give the episode a darkness however, the sense that something bad is about to happen.
- Audrey stops Jack at the airport and they exchange a sort of old Hollywood goodbye, complete with confessions of love. What's not so old Hollywood is Audrey's declaration of being a virgin and how she wants Jack to make love to her, which he presumably does. So this does seem to have wholly centered on that one aspect, Audrey losing her virginity, and we can deduce the implication that this is a driving force of the puzzle that the Log Lady was talking about. But why does Audrey's virginity matter? Her sexuality? Simple. Because she is the dreamer's mother and the man whom truly claimed her sexuality, her father, haunted both her and the child she conceived of him. Here now, in his dream, the dreamer wishes to give his mother the romantic movie style "first time" he wishes she could have had.
Unfortunately...it is not the truth.
- We can see this as Pete watches the two, teary eyed...until his hand starts shaking too, in that frightening way. It is then that he looks at the jet Audrey and Jack disappeared into with a sort of horror written across his expressive face.
- At the cabin, Windom has Garland tied up to a giant target. Leo's still reluctantly helping him, but it's clear he doesn't want to, and this is the father of Bobby, the boy Leo hates, so that is saying something.
- Windom, we think according to the next ep, pumps Garland full of the same drug that Phillip used to suppress MIKE, which acts as a truth serum here. Not quite sure how that works...maybe because MIKE was really Billy's uncle and never inhabited some guy called Phillip Gerard?
- When Earle asks Briggs what he fears most in the world, Garland answers, "The possibility that love is not enough."
Unfortunately, he is right here, or, at least in Billy's world. The love Billy felt for his mother, and for anything else, will not be able to overpower his fear and hatred. Dale Cooper, his main avatar, will fall, love unable to save him.
- Garland reveals he first saw the petroglyph in dreams after he was abducted while night fishing with Cooper. He also reveals that the petroglyph reveals that when Jupiter and Saturn meet, they will receive you, presumably the Lodge spirits/Red Room.
- The Major then begins to talk backwards, saying "That gum you like is going to come back in style."
Now that was said to Leland shortly before BOB left/killed him and he died. Briggs is now saying it to Windom, whom will shortly be destroyed by BOB too. Um...so can we construe that the Arm saying it to Dale, 25 years later, also meant his own defeat/freedom from BOB?
- Catherine shows the puzzle box from Eckhardt to her brother, as Andrew explains to her how nicely Ghostwood is coming along, Ben having gotten rid of every hurdle himself. They both agree Ben Horne is his own worst enemy.
That they are discussing this while examining the box, a puzzle like the Log Lady discussed, can imply a connection between both. And remember how this box will lead to the bomb which explodes at the bank, placing Audrey in a coma and leading to her conception of Richard.
- Andrew guesses that the next box opens by placing the date of when it arrived into it. Frankly, it seems to echo the petroglyph. They are both puzzles, appearing simultaneously, needing to be solved, both containing symbols that seem mysterious and astrology related.
- The male Packard, however, doesn't want to spend any more energy on solving riddles or puzzles, he just smashes it with a rolling pin.
What is revealed, is a small, silver box, which isn't too different from the one that poses such a big mystery in Mulholland Drive, and appears to be representative of Diane's psyche.
So, now, if we take this box as being instrumental to Audrey conceiving her son within Billy's dream, can we also glean that Andrew's opening it in such a violent and lazy fashion betrays the fact that Billy, himself, is lazy and violent in regards to his own psyche and development. He doesn't want to put the work in to it to become a good person, or to heal himself, he'd rather be destructive to others instead of facing it and understanding himself.
- At the Roadhouse, preparations continue for Miss Twin Peaks. Annie waits for Cooper whom arrives and makes her come on to the dance floor, despite her hesitancy and confession that she is not prepared.
Gotta point out that this is the same Roadhouse, the same floor, where Audrey will similarly go to dance on, although her dance is performed alone.
- Dale leads, telling Annie, "Just think of it as a walking embrace, all right? Two people stepping as one would step."
So we have another clue that Annie and Dale are in fact the same person.
- Annie picks it up, stating, "It's genetic memory. Mom and Dad danced the lindy."
She doesn't particularly look old enough for her parents to have done anything of the sort, neither did Vivian seem like that type of woman. But it is interesting she's mentioning a mother and father, when we speculate this episode revolves around Billy's and how badly it haunts him.
- Annie gives a big speech about how she wants to be physical with Dale (at least we think that's what she's getting at) but for most of it she doesn't even look at him, but at the stage where Dwayne Milford is standing, which is peculiar.
- Changing her mind from earlier, Annie says she will compete in the contest afterall. "There's worse places to start
than Miss Twin Peaks. It's like a fairy tale," she claims.
And Dale says, "And you're the queen."
We're back to fairy tale imagery again, but what nobody realizes it that we're actually leading up to Sleeping Beauty, as performed by Audrey and Mr. C.
We're also continuing on with Cooper being supposedly ignorant about the danger he's putting Annie in. He could possibly just be being naive we could argue...
Until the next scene which makes that reasoning hard to swallow.
- As Annie and Cooper are about to kiss, everything goes dark except for Cooper and the stage, where the Giant is now seen, frantically waving his arms about and silently screaming, "No!"
This couldn't be more easily understood than a child's See Spot Run book. The Giant is letting Cooper know that in no way, shape or form should Annie enter the contest.
- Okay, so now, seemingly inexplicably we go back to the airport where Pete has fallen asleep and it's dark. He seems to think Audrey might have left with Jack, but then finds her standing on the runway.
Audrey bemoans, "What a gyp. Finally meet the man of my dreams, next thing I know, he's on a plane to Brazil."
So Jack is the man of her dreams, just as Billy intended, fashioning him inside of a dream for his mother.
- Duscussing whether he'll be back or not (he isn't) Audrey says he also promised to take her fishing but never did. When Pete asks fishing?, Audrey says, "Pearl Lake or something."
Pete now takes Audrey there, claiming, "Audrey, there are many cures for a broken heart, but nothing quite like a trout's leap in the moonlight."
Hmmm...
Didn't Briggs make it a point to say he saw the petroglyph after night fishing with Cooper?
And, well, the first time we met Pete, he was going fishing. That was when he saw Laura's dead body.
And Pearl Lakes is the place where Leland says he first met BOB...
And moonlight...well Judy was associated with the moon around Blue Pine Mountain, close to Pearl Lakes.
So...we're theorizing that the Giant's warning and Annie and Cooper, since this leads to the Black Lodge and Mr. C/BOB's exit, are related to this scene of Audrey afterall.
You see it all involves Audrey's virginity/pregnancy...which is really about the birth of BOB and Judy in a roundabout, horrifying way, them being Billy's perception of his parents, and, in that way, being himself as well.
- Meanwhile, back on Windom's "range", Leo is screaming in a sort of horror and Earle's figured out that the petroglyph is a clock, an invitation and map all at the same time (trinity), one leading right to the Black Lodge.
- Interesting how Windom sings, "When Jupiter and Saturn meet Oh, what a crop of mummy wheat." He's referring to Egyptian mummy. Now we already pointed out the book about Joseph lying on Ben's desk, as he was arrested. Now that story involved Egypt and how Joseph was sold there, eventually providing "corn" during a famine he'd foretold through God's wisdom. Now Windom's adding mummy to wheat, which was what the corn really was in biblical times. You can change that to mean "Mommy's wheat" or "Mommy's corn" biblically speaking.
Corn was the manifestation of pain and sorrow, something we already theorized was Billy's pain and sorrow and his mother's pain and sorrow for that was what he was born of: being the product of her rape by her own father.
We strongly believe that this is what this is all circling around, in a fantasy setting. The sad truth being softly whispered and silently informing everything in a dream.
- Suddenly, we're back at the Roadhouse, Cooper's vision ends and he blatantly ignores it! Proceeding to kiss Annie! It's not like he didn't kiss her before...so what's happening? It's simple. He's purposely not listening to the Giant. He wants Annie to be kidnapped and hurt. He wants to go to the Lodge. He's Billy and Billy is calling the shots, secretly wanting all of this to happen because, as we reasoned before, he's lazy and weak and doesn't want to truly be good. That might not even be in his nature.
- On stage, Dwayne senses something isn't right. He says, "There's something wrong. This isn't right. There's something wrong here" as we lead into a series of different shots around the town of Twin Peaks itself, many of it vacant and eerie.
The Roadhouse...
A string of lights above the street...
The Double R...
The Twin Peaks High school...
A hall and window inside of the Great Northern...
A phone RINGS at the empty sheriff station, and it recalls the phone call Mr. C answers whilst talking to Jeffries about Judy and the unanswered call at Carrie Page's house...
The Owl Cave Map...
Then the trees...
And finally Glastonbury Grove.
From between the 12 sycamores, we see a spotlight appear and a right hand emerge from the darkness, feeling around and trembling like the hands seen throughout this episode. Suddenly BOB appears and holds the hand to his heart, incredibly similar to how Laura holds her right one to her heart too, after Leland's told her he loves her, or her left one to her heart at the end of FWWM. The camera pans to the pool of oil in the middle of the ring of trees, circled with white/light gray and we see the red curtains reflected in the oil's surface.
Now the path to the Black Lodge is opening, as Jupiter and Saturn meet, so BOB is allowed exit perhaps. But what if it also connects directly to the events that involved Audrey? What if it correlates, as we have reasoned, to her sexuality and the conception of her son? Ben hearing that ringing sound, separate from the trembling hands, is connected to the conjunction and yet drastically different, distinguished from the others. It also directly pertains to Cooper in The Return. BOB's exit, his existence, is linked somehow to Audrey, Ben and Dale.
Now think of Ben's earlier question, after he'd been watching the clip of his family.
"Do you think the furniture in this room is adequately arranged? I have been toying with the notion that if one could find the perfect arrangement of all objects in any particular space, it could create a resonance the benefits from which to the individual dwelling in that space could be, uh...could be extensive, could be far-reaching, far-reaching."
Then, in the next episode,when Ben had seemed to achieve it with his "skyscraper" he said: balance, distance, symmetry, that that was what it involved.
What if, inside of Billy's mind, he was able to achieve what his father had been doing. He placed himself and his mother at a DISTANCE, created a SYMMETRY in their new found relationships, and then BALANCED them both inside of his dream. Then suddenly, he tried to reimagine a different loss of innocence for his mother and he believed he had succeeded, allowing for a "resonance the benefits from which to the individual dwelling in that space could be, uh...could be extensive, could be far-reaching, far-reaching."
To Billy, that would be, the destruction of his perceived "weakness" and the becoming of his darker self, one unencumbered by the pain and liabilities he perceives.
BOB is allowed to be set free. Mr. C is allowed his birth, Billy gets his own skyscraper in NYC.
But this is all still stemming from the sad truth that Billy's mother was raped by her own father and Billy was born from it too.
We've theorized that Ghostwood Forest and it's desecration is Audrey Horne. Now take a look at Glastonbury Grove and the gateway to the Red Room/Black Lodge...the pool of oil, the circle of trees, the red curtains that open and are reflected in the oil pool so very much like a hole...so very much like a vagina...so very much like the way Billy entered the world.
Very much how we see BOB coming out now, or Cooper's doppleganger later.
Harry talked about the evil in the woods. What was never realized was that Audrey Horne IS those woods. And for several months she carried a child within her, a child she had conceived with her father Ben Horne. Billy, the dreamer and all the pain that he brought into the world, is the evil in the woods (Audrey).
This is all about his conception, all about his birth and the pain caused both before and after it.
