Rev May 20, 2018.
Note: This is Part 2 of 4 part treatment of Twin Peaks: The Return (2017).
At the beginning of Twin Peaks: The Return we get the first return, but how and why it is a return, or, rather, how much of the entity known as Dale Cooper is making the return, is something of a question (there being an inference that Lynch believes in several-soul theory). In episode 3, we rejoin Dale Cooper having been rattled out of the Red Curtained Place by the Oracle tree, and he is vibrating, descending, crashing through the atmosphere of space
There is no question, relative to consciousness, that we are in a dream state, but as I indicated earlier, we were pushed out of the mirroring dynamic of the drama, the twinspace of the twinpeaksness of this doppel space, into another doppel part of the universe in which Ambients preside, and, beyond them, even, Sentients.
and just to remind you where we are, vis a vis the head on your shoulders, with which you are reading this: Ambients exist in circulations of fears or whatever around the cingulate and are manifest in visualizations on film of any shot where there is a circle of people or objects surrounding one, or spinning around one, as part of a horror, ambients might speak to dizziness, or to claustrophobic, the brain spins out to them in states of higher concern, it is the fear of ambient hauntings that makes “circling the wagons” a circling, the circle must be closed against danger from the outside. The Ambient zone is a zone of heightened fear, taking the form it does because of that. Then, beyond them, in the area of the brain way out at the edge of the temporal lobe, say, where tinnitus occurs (but actual tinnitus becomes intolerable when it circles back in), Sentients are the visualizations in film and inside the head of imagined terrors coming in at you in abstract, nonfigurative, usually invisible form, often in the form of slashes or serpentine entities, to attack you from far out. It is a zone of very high, almost alarmed, emergency, a fearful tension characterized by a spinning, often dangerous.
I only developed my vocabulary to include Ambients and Sentients because they were required to explain other classes of visualized images in horror movies. In, for example, Wolfguy (1975, Japan), there is a very succinct example, as a man is running from a Sentient curse, he thinks an invisible tiger is whirring at him, to claw him to death, then, at first, to stop him, the cars come at him in a circle, so this is Ambience, to get him to stop
but they fail, so the invisible tiger, the manifestation of a curse, and mainly rendered by noise, not this graphic
comes in out of nowhere visible and slashes him to death (which is exactly what the sentients in Twin Peaks did the love-makers in NYC early on, and to Hastings in the police car in episode 11 later, an invisible buzzsawing of their bodies and heads)
These are very common horror visualization modes, and maybe I delayed writing on Twin Peaks: The Return until after I had gained better insight into these peripheral classes of visual hauntings. So, at present, my guess is Dale Cooper is descending in a whoosh-like straight on falling-into-a-dream sequence, but it might be that he is floating out in the borderland between Ambient and Sentient space (indicated by his shaking). But then we get an interesting, and to me maybe a nonsequitur, later included clarification shot, because it might’ve been asked, where is he?, so Lynch decides to partly materialize the outer membrane of, say, the Ambient zone of the atmosphere lying outside dream, and entry into that atmosphere from beyond is figured out by a puff of smoke as if a kind of egg breaking through a wall of one zone to the other (this might relate to a similar shot, said by some to be a birthing, in the vision in the theater in episode 8)
and this I locate horizontal to the lattice-whoosh (third and fourth levels) of hypnagogy, as Cooper spins in from a violently shaking Sentient, tearing-apart space, into a calmer Ambient space, lying outside the main precincts of dream imagining, but at the level of breaking into the whoosh down to nightmare
and then we see that we cross over a vacant empty and purple ocean. It is not unlike the oceans in Tarkovsky’s Solaris, simple ambient entities, not really oceans, but oceans made use of to rationalize for a moment a boundary in the passages of dream space
but then he sees something, a floating castle, a Magrittean idea, and it is a typical remote island castle, with many sources in horror, except that this one is floating over the weird inland or Ambient zone sea
in this, the sea is the “floor” of the Ambient space, just above full on REM dream space, while the castle floats at the lattice level above it, just hanging there (as lattice-like forms will)
there is also a psychopomp present, to show him the way through. She warns him, there are dangers about, be quiet. She is blind, or rather, patches of skin have grown over her eyes, she is also Asian, this might speak both to the special combination of the unseen and the dream nature of the experience of the Ambient zone as a space
normally, in this sort of haunted house encounter, a chandelier might be expected to be the major lattice form; but in this particular house, it is a very large plug-in outlet or apparatus in the far wall (this also has roots in horror, as in The Day Mars Invaded Earth (1965) it is the intercom that becomes the main utilty of the room; and in numerous other examples, such as The Amityville Horror (2005) remake, it is the air ducts, the duct was even instrumentalized in Still/Born (2018), recently showing on Shudder
this is familiar, then
but it would appear that while it is there, and fritzes, not even this works without some other kind of power being required, so the psychopomp is also, as it were, the electrician of the device, because she has to crawl up on top of the floating castle, which now looks more like the Nautilis in 20,000 Leagues Under the Sea
then there is a belllike form, meaning what I cannot say
she hugs it
this causes her to float away (as if her sacrifice fixes the problem)
allowing a cloud of the Admiral to pass over the station
then, back in the station, where Cooper is, there is now another woman, or maybe the same woman, only represented as just a sliver of consciousness more awake than in her former state, she tells him it is time
he then is zapped through the two prong outlets of the outlet
in a truly Magrittean moment, not unlike the locomotive coming through the fireplace
but in reverse
leaving his shoes, and maybe his grounding in one being, behind, by mistake
causing him, in the logic of a twin universe, to split again, this time in causing Mr C to get sick in his car, and lose some control over his being
and then by finding a place to put the other half of him split in the transmission by depositing it in a lookalike guy in Las Vegas called Dougie Jones
the fun part about the Las Vegas Dougie Jones scenario is that this transmission interrupts him in his normal life, a total loser, gambling and whoring his life away, and up to his neck in debt to organized crime, he is caught at the end of an assignation with a lovely prostitute in Las Vegas. She then goes back to shower, a classic trope in which people washing themselves take the eye off the ball of life around them
so at the same moment the red curtain and a kind of oozing sets up Mr C up in the Dakotas
and Dougie Jones waiting out in the outer room in this vacant show house. This show is excellent weaving of the curtain trope into the Venetian blind shadiness trope, as well as the carpet and empty house trope, as well as something going on out in the house when the woman is preoccupied taking a shower trope, all vacant crawlspace zones of modern life (there is a good Adrienne Barbeau movie, Open House (1987), in which she plays a realtor who does all her assignating in vacant show homes too)
and like Mr C he throws up, as if the soul in this universe is partly a matter of intestinal fortitude
then that Dougie Jones as was ends up back up in the Red Curtained Chamber
to be informed that he was not a real thing but manufactured for a purpose, a tulpa, that is, in the Lynch language, and he in this form is liquidated
while back down below a semblance of Dale Cooper, the new Dougie Jones, autistically limited, comes out of the socket into the empty room, to take on a new half life in Las Vegas (then the complication being that he is stuck in so many messed up situations) (this is also a funny commentary on how most people just “satisfice” their way through lives, they only need a bit of an explanation for the unexplainable, for them to just shrug and move on, this Dougie has just barely enough to function, but he does). His being dressed in his old clothes is a confusing point, as is the fact that, she finds out, he has a key to his hotel room at Twin Peaks in his coat pocket, reminding us that he is half of Dale Cooper, the inversion of Mr. C though) (she later mails it, waking up the investigation in Twin Peaks from another direction).
There is also a woman across the way, in another underused house, so like in the remake of Fright Night and the Paranormal Activity movies, Lynch working well with the horrors implicit in the cookie-cut tract housing that has spread across America in the past 20 years, all of which has become a trope, who seems to sense a problem. This woman might be the receiver of the sending of Dale Cooper, the opposite of the woman up in the floating castle who let him know it was time to go through the plug, up in the Ambient zone, but somewhat derelict in her duty, she calls out, not paying attention at all to her son, while she is drunk, “119,” mysteriously (it might be 911 backwards, it might split to 10, the perfect number which 253 adds up to; in any case, she is a kind of minor messenger of some sort), but this sort of circumstantiating of scenes with mis en scene donuts that make them all seem fuller is pretty much Lynch’s forte
It can be fairly said, in criticism, it is an odd way to depict the reentry of a soul back into life, in a kind of reincarnation, but one gone wrong. Belief in reincarnation is so similar in many ways to Christian belief in the afterlife, but, then, in keeping with pressure from secularization and egotism as well as fear of death, it offers some consolation to the dying that they will continue to live on in some form in this zone of life, that it hardly needs much nudging for the viewer to simply accept this as a zigzag conceptualization of the process of reincarnation, and move on (like Dougie, we satisfice too, and I have worked through the text in this spirit). The soul of Dale Cooper was stuck up in the Red Curtained Chamber, he was knocked out of it by the Oracle tree, then whooshed down through the atmospheric border to the shaking Sentient zone, then fell into the calmer nightsky over a sea in the Ambient zone, and there in a floating castle, representing an abstraction of a fixating image as one might find at the lattice stage of hypnagogy, usually represented by a chandelier, here by a kind of floating Nautilus of a knockdown sort, he is engaged by psychopomps, typical Lynch figures, guides of the soul, then the custodian of that place, if she did not have to die, had to give some of herself back, to complete the transaction, leaving him depleted, to go through a large magic plug in the wall of that chamber; but then in his passage through the red curtains that separate the Ambient world from the adjunct spaces of hypnagogy, somehow there is a dysfunction, to split him into one half as Mr C, and the other half as an autistic Dougie Jones. It is complicated, but, basically, just as the “God” of the red curtained place told the returned Dougie Jones, he was never real, he was a tulpa, a manufactured being, who simply held part of a soul they were trading with, and so it can be said Dale Cooper in this form will have to trade his way through the confusions of his double predicament to get back to one piece and become, voila, Dale Cooper (which won’t happen, alas, until episode 16, and we are on 3—and certainly it was expected by most viewers, myself included, that Lynch would make the return of Cooper happen fast, then we would spend the rest of the series with him back in action as might happen easily on a soap opera seeking out the final conclusion of the crime he was investigating; but, no, only at about week eight did I realize this entire season is about and to be taken up by The Return in all its zigs and zags. It is an odd decision, almost like Lynch was sitting in a council of Nicea and just decided he was more interested in trying to figure out how the heck to plausibly without too much of a jump, and in a transitional nature which did not violate the nature of life, bring Dale Cooper back from the Red Curtained Chamber into this world. As a result, the series feels more like a theological dissertation on the cosmology of the Twin Peaks universe, than the action series many might have expected). But though I was nonplussed, I did not mind. And one of the major reasons was that the half or quarter of Dale Cooper who has returned to earth in the body of Dougie Jones turns out to be one of the most interesting and endearing characters on TV in recent years.
And, then, there is another rhyme between the intuitive dynamics of Twin Peaks, and what is going on elsewhere. Hawk has enlisted the whole staff in going through the cold case files looking for something missing. At one point, Lucy suggests it’s the missing Easter bunny, but Hawk decides, no it is not the Easter bunny
but, humorously, it is a visual not unlike, in form and color, the Easter bunny, that makes plausible Dougie Jones reentry into life on a sort of new footing, that is, dressed up, thinner, but entirely autistic, so he has to have some strengths, and it is that he suddenly sees, in his state of hypnosis, or sleepwalking hypnagogy, a form form in the air over the slot machines, leading him to go to that machine and pull the lever
what the form is, is partly inspired by all the flashing symbols of the slot machines themselves, which, like that, can put one into a dreamy state, but at the same time, close up it is apparent that the sign is in fact a symbol sent into his vigilogogic, that is, waking but kind of sleepwalking state, of the Red Curtained Chamber, that is, it is a triangular section of the red curtain, then a portion of the zig zag floor, and then the entire thing encircled by a mandorla of visionary light. It is a classic glass onion formation, a pure all but alchemical symbol, but he is seeing it as if the spin off flash effect of being unable to deal with all the slot machines
it forms then, too, like a crenellation pattern in the eye, like something you might see in a silent migraine, but for him it is all good, it leads him on a magic primrose path from machine to machine, winning over and over and over again, 32 times!
even better, a homeless woman, who the staff has decided is harmless, and lets play, sees what is going on and tries to exploit him, he is so guileless he has no problem, so she plays and wins too, totally changing her life (his lack of guile allows all other persons to project their feelings on to him, and he just saying enough to relate but not more to get himself into trouble is a very funny commentary on the nature of communication in relationships in today’s internet world). The scene is so deliriously funny in a good-hearted way, it is quite surprising, and a real entrée into life again, but as a different Dougie Jones, an impersonator, but whom everyone lets play along because he is such a nice guy. He, in fact, is given all his winnings and returns home, but only because he remembers a phrase “red door”, that is, it is still the sign, the autism is still operative, and so he is deposited into his new life.
while Naomi Watts, playing his wife, still living reactively as the aggrieved wife in his old life, is ready to rip him a new one, she then opens the bag, to realize, eureka, we are suddenly in a new life, she even says this is one of the happiest days of her life
I suppose to make this all seem more plausible, and to bring the goal posts of reality a bit closer together, to play in a more 2D zone (which means much of the fill-in of the genre elements of scenes acts as Beglaubungsapparats, that is, plausibility enhancing devices, in Lynch’s universe), some other identity switchings were tossed in anecdotally to portray a world that Dougie has returned to with issues of identity on all levels, everyone changed, so Duchovny as a trans person who suspects that Cole is interested in Tammy, Cole retorts, I’m old school
Lucy unable to get over the miracle of cell phones
and then their son’s mock millennial new sincerity homage to Brando by way of wishing the sheriff well for whatever, but my dharma is the road
It has to be conceded, some incidental TV moments were tossed in, for comedy, to fill things out, just like in the TV series. But the mainstream of the story is now that Dougie is part of Dale Cooper in the world, struggling to find his way, and Mr C is in the world, trying to find his way to the coordinates, to avoid being taken out. Now and then, as when Dougie wakes up having to pee, but unsure how to pee, which is how autistic he is, he sees the One Armed Man again, telling him, one of you must die, we made a mistake
the appearance, a larger dissolve of the red curtain over the carpeted floor, evoking the double world he lives in
And, because of the doubling, just as quickly as we move forward with the Dougie Jones side of the plot, we also move ahead with the Mr. C part of the plot, so we are following as if two different characters, but, somehow, they are halves of the same being, Dale Cooper, trying to get back into balance in this world, but now being split between these two manifestations of himself. Thus, this is an all but baroque spin in on the Twin Peaks doppelganger plot, and very much in a Glass Onion-descended, bookended, twinfire world, which I, as an identical twin, know well of. At one point, after Cole et al visit the body, and find out that it is the body of the Admiral, and how can that possibly be? they also have to go to Buckhorn state prison to interview a man who has come up as Dale Cooper with his ID, it is Mr. C, but is not him. Out in the parking lot, Cole asked Albert, what do you think? and Albert says, blue roses, to which Cole replies, it doesn’t get any bluer.
A pause here. In this context, blue roses means a case that is unsolvable, or way out of the norm, and might even involve something occult or paranormal (they have a task force for cases like this, and later induct both Tammy and Diane). But, in the culture at large, blue roses is the nickname that the gentleman caller had devised for the lead character of Tennessee William’s The Glass Menagerie, he did not understand the word pleurisy in high school, so in humor called her blue roses, as if to accentuate her oddness, her specialness, her unique personality. In that regard, it is said that the term blue roses is reinforced in the symbology of the play by the fact that she likes glass unicorns, and it certainly is odd that I write this note only a bit after having dealt with the extent to which Barb in Bob Clark’s Black Christmas (1974) was also a unicorn, and had collected for herself a glass menagerie. How does this relate? Twin Peaks’ original problem, as I construe it (without, for now, going back into it) was that under the spell of its two peaks, everyone in town bifurcated into a Jekyll-Hyde state where they were basically both themselves as Dr Jekyll, and then also (if taken over by Bob) their Hyde state. That, at least, is my reading. What this means is that, not unlike in a movie like The Crazies, the entire town had come under the spell of a strange contagion or pollution. Psychologically, the altered state whereby one is caught in the web of someone’s unwanted attention because you look exactly like someone else, or remind them of someone else, these situations often leading to stalking, or, in the case of Dracula with Lucy, death, I call twinfire. Recently, in the movie The Dark Mirror (1944), I saw that by its cinematography and the level of complexity at which it laid out the devices of the playing out of the mystery of the twinness of Olivia de Havilland as twins, as it relates to whodunit and a murder, that the entire movie was shot in a zone descendant from the glass onion binary device of twinfire. Thus, the movie as a whole operated in a facsimile of straight or full mainstream whoosh effect, but in a more controlled, bifurcated, symbolic adjunct zone, a world, that is, entirely mirrored on itself, a simple kaleidoscope world, a world of twinfire. In that movie, while the plot was supported for its solution by the superstition that envy among twins can get so harsh because there is no alibi in terms of looks or whatever to excuse oneself from the realization that he did not want you, in, for example, matters of love, it made that plausible by shooting down other “superstitions” about twins: that, for example, one sucked the life out of the other, or that, because they both shared intelligence, and intelligence is given to one entity, they each have a half of intelligence, and both twins, then, are somewhat dim. It was amusing, to hear these twin superstitions raised, and shot down, but then some not. But the movie depended entirely on this back and forth, indeed, the main conceit was that neither twin could be arrested for murder because a witness could not tell them apart in a police line up! The entire movie, then, took place in a twinned universe. But, my point is, Twin Peaks is the ultimate expression of the twin universe view of the self, it takes place, in its entirety, in the zone of twinfire (as one commentator rightly points out, twinfire, or he says the influence of evil Bob, also encompasses, not just Jekyll-Hyde stuff, but personal dissociation, getting stuck in a rut, harboring resentments that gets you stuck being someone else, all good points relative to other minor characters in Twin Peaks). Hypnagogically, this would seem to limit me to a particular point of departure for every foray in the movie, as I mapped out in my piece on The Dark Mirrror (1944), that place is located as follows
I know that it is almost fantastical of me to suggest that Lynch drew his ultimate prototype inspiration from the simple film noirs of the 40s, where they made use of simple bifurcate devices to represent reality as a split bookended place, a twinfire zone, but I think there is something to this (another movie of the time that is also reminiscent, since it involves a man knocked into an evil twin self by a bomb during the Blitz of London is The Brighton Strangler (1945)). Everything in The Return is about parsing the one side of something, compared to the other side of the same thing. So, it IS a twinfire universe (by the way, in my more retrogressive politically correct moods I abhor all this bookend formalism as a strategy propagated by singletons to create a world they can egotistically control things, as bookending themselves formalistically makes them feel more grounded and feet-on-the-ground, arms-akimbo-out, wagons-circled, janiform-protected in the world. And, in this context, I find it all, and it’s coopting of the reality of twins as a metaphor to work out personal ego problems, more or less the entertainment equivalent of minstrel shows, and entirely stereotypical, as I do not believe the Jekyll-Hyde mythos–I let it pass in this case, since it is stretched imaginatively to a crazy idea of an entire universe and cosmology built on the idea–no wonder I felt right at home).
In any case, things now continue on. And in so far as in the middle episodes it was like we were switching from Mr C to Dougie Jones, and back and forth, it seemed to me that this was the logic we were playing with.
but this also means, after the cosmology (though it will show up again big time in episode 8), that the filter as it were of the entire drama as it works to translate Sentient and Ambient pushes of energy through the twinfire world into conscious life, and full living, is the Twinfire formation I did not devise until this past month, and then that “bounces” as it were, as hypnagogic states will, to its vigilogogic counterpart, and, up there, as happens when dreamers awake, the kaleidoforms of the twinfire pair splits into Dougie Jones on the right, and Mr C on the left. And because Cole and Albert do not understand the dynamics behind all this, that the big wide world and all its badness by Sentient and Ambient forces has come tearing through reality to rip up a lot of people in the effort to reincarnate a person missing for 25 years, they fail to also see that “blue roses” as it filters through the idea of the unicorn as a rare and special being also speaks to both Mr C., who is actually weak, and Dougie Jones, who appears weak, but turns out to be strong. So, the pleasant contradictions of lives built on dreams.
As the life around Dougie Jones, too, is expanded, so that it feels real, and he has enough space to by his actions influence something of it, Lynch fills things in with vigilogogic counterparts of dream guides or psychopomps, figures that, just like in Mulholland Drive (2001), lead one on your way, along the path that he must be going. And it is in the complications of the Dougie Jones plot that we first see and hear from Candie, one of the Mitchum brothers’ gofers, and, seemingly, always-around presences, like in an entourage. In her zonked out manner she is the perfect expression of Dougie-Jonesness rampant in the culture, her performance (Amy Shiels) is one of the very best of the series (in the middle), we will see more of it
but back in the bifurcate lives we are leading, Mr C is still making use of his “knowledge” to move through reality. He seems to cause a blackout, and undertake a jail break, simply by saying, “the cow jumps over the moon” into a phone (I would say that he is not operating by intuition, or magic, but by script, that is, his mind has been scaled back to simple scripts, and he is operating on them, but for a time it works)
but by far in this twin universe, the most enchanting is Dougie Jones travelling through the world. He stands under a statue of a pioneer pointing up out front of his office building because it is shaped like the sign over the slot machines at the casino, it reminds him of a code that is in his mind that has come down to him from the One-Armed man in the Red Curtained chamber. He also does not understand the concept of time, or moving on, because he waits at the statue for hours, involved in his little things, until someone rescues him, it is intriguing
Then, in one of the very best sequences in the movie, he comes home, scolded by the wife for being late, but then he has to do some paperwork. But he is autistic, and does not understand insurance company paper work at all. But, then, he blinks, and notices something. He sees a pattern. Seeing a pattern in things is called apophenia, or, in the parlance, connecting the dots. Used to be news would be made when dots were connected in a way that had some semblance of investigative truth, that is, after the fact, knowledge was learned and established in one’s head based on books by experts or articles by reporters who’d done extensive fact-checking, which therefore had some semblance of truth, thus one got educated. By contrast, today conspiracy theories devised by hyper but troll minds who connected the dots willy nilly by free association with regard for fact, have been put in the place of fact, and even feed news, but, then, even mainstream serious journalism today is often spinning the story before they report the story, meaning that dot-connecting is cart before the horse today. Everyone is connecting dots all the time, without any regard for checked facts, creating a mental breakdown in the regime of knowledge versus ignorance in our world. So Dougie Jones’ autism, and I use the term not in reference to an actual brain disorder, but to simply indicate a limited capacity at mindreading, and in connecting the dots (ignoring for the moment the hyper form of Asperger’s et al in The Rain Man etc). So, he looks at the paperwork, just going through the motions, because his wife says he has to do the work or he’ll get fired, he is not actually doing anything, but, then, he does something, he notices something, perhaps it reminds him of the slot machines
he then gets another dissolving message from the One-Armed man in the Red Curtained chamber, making a kind of hand sign (the pointing of the statue)
and as the zig zag of the floor runs out, again, able to be seen from this side of rationality as an optical disturbance like crennellations linked to a silent migraine
it transfers as a system of symbolism to the paper work, which is all a blur to him. The One-Armed man is telling him, wake up, he looks at the paperwork, and begins, holding his pencil like a first grader, with a backwards fist, making cave drawings on the sheets of paper!
It looks to me like a series of black dots, scribbled in hard, one in the upper part of the sheet, one in the lower, then connected by children’s drawings of stairs and two or three ladders, leading down the page
Things then break off for a few other genre scenes, but, then, when the evil cousin of Ray, part of the gang, kills a kid on the road, it seems that the other zone comes into it again as from his corpse rises up a yellow wedge not unlike the yellow glowing wedge that supported the sighting of the symbol over the slot machines.
Then Lynch seems to be making a point that this happens by way of some numerology
and that the forms of the world seem to also correspond to some script or code communicated from the other place, and not unlike the forms that Dougie has scribbled onto the insurance forms
Now, once again, in the twinned universe of formalism, someone has insights of a certain formation, it makes sense, or rather, those limited scripts are validated as real if they reflect other forces coming for or against him, in the same form. So it is somewhat humorous, and lovely, symbolically, or in a dreamy way, that when the mysterious man in Vegas orders a hit on Dougie Jones, thinking him the old Dougie Jones and not the new Dougie Jones, they hire the dwarf, Ike the Spike, certainly one of the most interesting anecdotal characters in the whole series, and after he gets slipped his “business” under the door of a motel room, eight by ten pictures of his victims, drinking too, so in a state of mind perhaps equivalent to that of Dougie, it is revealed that he acts upon paper much in the same way as Dougie does his paperwork, he has a ritual to “fix” the image of his victim in his mind, so that he does not make a mistake. He takes a knife and stabs at the picture at all the seven points of recognition, which make a face a face, this is quite funny, as it almost mimics Dougie’s paperwork the night before
but then in one of the series’ best very scenes, which transforms how the world sees Dougie, Dougie turns in his work to the boss, Mullins, a great performance by veteran actor Don Murray, who was in Busstop (1956), and at first he is like, what is this shit?, all this scribbling, I am not happy with your work of late
but then, something happens, something remarkable happens. Because Dougie, following a code sent him from the other place, simply did the same pattern on every form, suddenly, the boss’s eyes are drawn to the same point on each form, and he realizes, there is repetition here, there is fraud going on here, he is shocked, his eyes, by this intuition, are opened
this shot makes clear that he thinks Dougie has made that black mark next to the name on the form to indicate that it is a repeat of another name, and fraud
so even though this Dougie is so formally impaired that he cannot figure out what Mullins is trying to do when he tries to shake his hand, all he can do is mimic him, because that is all he can do, stuck in the bookend twinfire world, like a parody of the sequitur twin, he is now the hero, for having uncovered rampant fraud in the company
then, once again, spinning off a circumstantial zone that is being remade around his intuitive way of living, Watts gives the men giving Dougie the shakedown a hard talking to, “we are living in dark times”, she says, they can’t deny it, but nor can they say no to being given half of what they want, but it is $25K in cash, they take it, so that is funny
then Ike the Spike lives up to his own autistic world view by following his MO to the tee by rushing into an office all but unseen, because of his height, knocking his victim to the ground, then spiking her in the throat, also “funny” in the sense that he is living life in a very narrow little path of functionality, in his particular Umwelt, as I call it, borrowing from Uexhull (even better comment that it happens in all those carpeted nondescript offices that people work in)
Back in Twins Peaks, the intuition clicks in even better, and more. Hawk had previously been told that something is missing in the files, and that it has to do with something in his own background, that is, his being a Native American. So, he has been mulling it over. But, and this is exactly how the Greeks decided what an oracle meant after it had said something, when, at first, they could not figure it out, they waited a few days for something to come up, for them to say, that’s it, and he is in the men’s room, and then sees some dropped changed, he picks it up, and it is an Indian Head nickel with a buffalo on the back
This particular type of nickel was very popular in my childhood years, when I collected coins, so I know, we saw them a lot. The last one was minted in 1939, twenty five years before my collecting days as a child, but they were still pretty frequently encountered
These days, they are extremely rare, you hardly ever see them let alone get them in your change anymore. So, picking up a nickel from the floor, and it being an Indian Head, that would spark something in Hawk, hey, that has something to do with my heritage. Then, immediately after that, one two, as bread-crumbing in a pattern is also something that not only people in fear or love do to lead them in or out of trouble, he, having bent down to pick up the nickel, seeing what it is, now glances over at the back door of the stall, and IT TOO is about something having to do with his legacy!
Once is just chance, twice, now, that is something. So, he decides, right away, acting on the intuition, something is in the stall door
He goes gets stuff, is he just wasting his time? to pull it apart
and in it he finds four missing pages from Laura Palmer’s diary, of some signifcance, but, the thing is, THESE were the things missing from the files, and he got to them, exactly as the log lady said, by way of a path having something to do with his background, however mundane a form the path took–so, another incredible moment of the series pushing intuitive wisdom against the exploitational rationalization of the world, parallel but superior even to Dougie’s operation of autistic-signalled-scripts of an intuitive sort.
And what the papers say is that someone, Annie, went to that place, the Lodge, which they did not know before, and, two, the one who came out of (the lodge?) is the bad Cooper, not the real Cooper
now, after a few more ins and outs of plot, the Feds, back in the Mr. C part of the story in Buckhorn, come out to examine the body, and it is the wrong age, so both the officer who came and the one back in Washington, playing up to conspiracy theory, know something occult is up. But, the important point in terms of the expansion of the symbolic topography if you will of the series is that as she is giving the report of the findings, we see for the first time one of the strange, homeless men, all blackened out, who passes her in the hall. This shot means that he appears as if in a state of hypnagogy, she momentarily lapses into the lattice stage, obsessed with the mystery, unclear if he is in her head, or real.
To then swing round and confirm that the body is not the body it should be, or that the Dale Cooper by his fingerprints held in prison is not Dale Cooper, they have to double swing back through a few scenes to recruit Diane to come back and confront Dale Cooper and she instantaneously knows that, it isn’t time passing, it isn’t that he’s changed, or his looks have changed, that is not the same man, it isn’t, existentially, Dale Cooper, so we are getting somewhere
Switching then back to the Dougie Jones side of things, the next time that the other side breaks in to guide Dougie in his autism is during Ike the Spike’s assassination attempt, when the oracle tree, basically, a brain on a tree, tells him what to do, to break his hands, and he does
the presence of the oracle of the Red Curtain Chamber seems to give him supernatural strength, to fend him off, such a strange shot
meanwhile back in Twin Peaks, secretary and owner of the hotel, I otherwise dismiss this whole subplot, hear a whirring around the lamp in the corner, and in the Ambient or maybe even Sentient space. This by itself could simply mean that in so far as some things are rising up and coming back, and the case is coming back to life, that the whirring Sentient forces of the woods have been awakened too, and are beginning to hum
Back with Mr. C, he arranges the whole escape, Ray comes with him, but when, he now knowing where the coordinates are, they go there, Ray turns on him, and shoots him
and then Ray witnesses, with wtf astonishment, that Mr C was, in fact, not entirely an unattended mortal, but some sort of tulpa or in-between being with a higher world having a vested interest in him and looked after by a whole tribe of henchmen from that world, the sooty-covered homeless men who now converge like professional mourners on the body (and they are, indeed, linked to death), out of the darkness (so very much, in terms of hypnagogy, or Ray thinking he is dreaming, hag attack or shadow people that one sees in the entoptic zone)
and as they do, it is almost like that magic surgery by hand alone done occultly in the Philippines where by pressing in on his stomach they can remove from him an evil presence in him
and it turns out that that presence is the Evil Bob blob that has been motoring him ever since he split off as a bad side of Dale Cooper 25 years ago. So we see, fantastically, the Bob blob rise up like a tumor out of his body, upper left
Ray is thrilled at having killed him
but suddenly the series breaks, and, midepisode, we get a nine minute set by the Nine inch Nails, who like a death song at a funeral, announces that by this breakup of Mr C with his Bob bad energy, some sort of break up has occurred in the universe, the dissertation upon which is now the subject of the infamous or famous Episode Eight, where we are now
to be continued.