Notes on Twin Peaks: The Return, Part 5

  • Night-time, Las Vegas. A light picks out the RR initials on another sign for the Rancho Rosa housing development. Rancho Rosa is also the name of the production company responsible for producing the new Twin Peaks (‘A Rancho Rosa Partnership Production’) and was even used as a shooting title for the series. In the literal light of this focus on the R.R. initials, perhaps it’s no coincidence that this episode sees the return of the R.R. Diner. There the R.R. stood for railroad, which we also catch a glimpse of during this episode.
  • This emphasis on the R.R. initials reminds me of the mystery of the recurring L.L. initials in Superman media (Lana Lang, Lois Lane, Lex Luthor, etc). Rumour has it that Superman co-creator Joe Shuster had a girlfriend with those initials. That, or it was just a simple accident of alliteration that later Superman writers continued to build upon. In Adventures of Superman #646 (2005), writer Greg Rucka revealed that the Kryptonian equivalent of L.L. resembles the infinity symbol, suggesting the initials are an infinitely recurring pattern. That’s not an explanation, but perhaps we should take it as a warning not to expect one!
  • Of course, Superman’s pal Jimmy Olsen doesn’t have the L.L. initials – but his full name (James Bartholomew Olsen) does contain two Ls. So perhaps the R.R. doesn’t only refer to initials…? It’s worth remembering that the last time Twin Peaks obsessed over letters in this way was when typed letters were being inserted into the nailbeds of Leland/BOB’s victims. ‘BOB’ is short for ‘Robert’, a name containing two Rs. Leland told Cooper that he remembered from his childhood a ‘Robertson’ who resembled the BOB in the wanted poster, and Cooper concluded that this was the name the letters were meant to spell.
  • Another name containing two Rs is Richard. In part 1 the Giant (Carl Struycken) said this name to Cooper, and in part 5 we’re introduced to Richard Horne (Eamon Farren). It’s now widely suspected that Richard is the son of Audrey Horne (Sherilyn Fenn) and the ‘bad’ Cooper, the Cooper who is aligned with BOB. If that’s true then Richard is, in a sense, the son of Bob – Robert’s son. Robertson!

 

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  • The two hitmen hired to take out ‘Dougie’ in part 3 contact Lorraine (Tammie Baird), who is sitting in an office somewhere freaking out over the fact that they have so far failed in their mission. I’m assuming that Lorraine is an employee of Mr. C and that Mr. C wants the other Cooper dead. But we all know the danger of making assumptions, especially when it comes to Twin Peaks!
  • Twin Peaks has always had a soft spot for antiquated technology so naturally Lorraine uses a Blackberry to relay a message to a room that’s later revealed to be in Buenos Aires, Argentina. There we see a small black box with two blinking red lights. Piecing together the deleted scenes from FWWM, we know that FBI Special Agent Phillip Jeffries disappeared from a hotel in Buenos Aires in 1987. He reappeared in the FBI’s Philadelphia office in 1989, appearing confused at the passage of time. After a confusing rant about ‘Judy’ (will we ever learn who she is/was?) and the spirit world, Jeffries disappeared from the office and apparently travelled back in time to Buenos Aires, causing the bellhop who had just witnessed his disappearance and subsequent reappearance to shit his pants. Any mention of Buenos Aires in The Return thus suggests a connection to Agent Jeffries. But what does the black box signify? It’s even more mysterious than the glass box in New York, since The Secret History of Twin Peaks at least gave a clue as to what to expect there. Maybe the box is Agent Jeffries! Seriously, it wouldn’t be the weirdest thing to happen to that character, let alone the show.
  • Constance Talbot (Jane Adams) treats us to some gallows humour as she explains what she discovered during the autopsy on the headless John Doe found in Ruth Davenport’s bed. Her most intriguing discovery is a ring, found inside the late John Doe’s stomach: ‘To Dougie with love – Janey-E’.

 

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  • So: how did Dougie Jones’s wedding ring end up inside the stomach of the late John Doe, who is (barring any unforeseen twists) confirmed in this episode to be Major Briggs? I don’t have any major theories at the moment, if you’ll pardon the pun. I’d like to have a little more information before I go donning my tinfoil hat. Still, it’s worth pointing out that rings/circles have long held a special significance in Twin Peaks lore and that the internet is awash with articles on the topic.
  • For now, here are a few things to think about. Dougie was wearing the owl cave ring from FWWM when we first saw him. How did he come by it? In FWWM, the Arm (Michael J. Anderson) tried to get Laura to take the ring. She later got it from Mike (Al Strobel). We saw Mike take the owl cave ring back from Dougie, who Mike didn’t seem to recognise. Did Dougie take it from the Arm? Did the Arm not bother telling Mike? In FWWM the owl cave ring appeared to offer some form of spiritual, if not physical protection from BOB. What sort of game might the Lodge spirits be playing…?
  • Back in season two the Giant took Agent Cooper’s own ring from him and returned it to him after he determined the identity of Laura Palmer’s killer. Did something like this happen to Dougie? Does the fact that his wedding ring’s inside the Major signal that something went wrong? Alternatively, is it a sign that something went right? Was there an exchange of rings?
  • Finally, what were the circumstances of Major Briggs’s death, assuming the corpse really is the Major’s? It seems an ignoble fate for a beloved character, and not a terribly respectful way of paying tribute to the actor, the late Don S. Davis. This leads me to wonder whether the Major’s violent, gory end will turn out to have been an act of heroic sacrifice, as many now read Laura Palmer’s physically gruesome if spiritually divine fate at the end of FWWM. As we saw in part 3, the Major’s fate, like Laura’s, transcends death. Like Laura, the Major is dead… And yet he lives.
  • C can pinpoint with uncanny accuracy the precise moment when the guard will come to serve him his meal. That’s another small detail we’d associate with Coop – his precision. Also, quite possibly, his appetite.

 

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  • C walks over to the mirror in his cell and stares into the abyss. The abyss stares back at him, as the image of the late Frank Silva as BOB is superimposed over Mr. C’s face in a subtle and intensely disturbing effect. ‘You’re still with me,’ says Mr. C. ‘That’s good.’
  • What can now be said with certainty is that Mr. C isn’t simply BOB wearing Agent Cooper’s face. This means that Mr. C may be a lot closer to the Agent Cooper we know and love than we would perhaps wish to acknowledge. Also, it suggests that Leland Palmer’s actions in the original series – the crimes of rape, murder and incest that he committed – cannot be entirely explained away as demonic possession, that they cannot be entirely blamed on BOB.
  • ‘Mike is “The Man”!’ Little did those kids in FWWM know how true those words would one day be. Mike Nelson (Gary Hershberger) brings job applicant Steven Burnett (Caleb Landry Jones) into his office, just to tell the young whippersnapper to get his act together. After he leaves, Mike sighs and says ‘What an asshole!’ This is funny, because Mike’s defining trait way back in the series’ pilot episode was that he, himself, was an asshole. He did grow up a lot over the course of the series, but it seems he has still retained a certain asshole-ish-ness within his own personality.

 

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  • Frank Truman (Robert Forster) is talking to Harry on the phone. It’s confirmed that Harry is sick and is having some tests done – presumably a nod to actor Michael Ontkean’s own ill health which, as far as we know, prevented him from participating in the new series.
  • Coop sheds a tear whilst watching Sonny Jim (Pierce Gagnon), Dougie’s son, fidgeting in his car seat. This moment is accompanied by a rare new piece of music by Angelo Badalamenti. This moment is, as Janey-E (Naomi Watts) remarks, as ‘weird as shit’. It feels significant, poignant – but why? Why has this affected Coop more than anything else he has encountered since leaving the Red Room?
  • Cooper is fascinated by the statue that stands outside Dougie’s place of work. The statue appears to depict a cowboy, possibly a lawman, aiming his pistol. The original Twin Peaks quoted almost every conceivable genre in US popular culture, including the western, so it shouldn’t come as a surprise to see its iconography quoted here.
  • A bunch of people seem to think the statue depicts, or is meant to invoke, David Bowie and/or his character, Agent Jeffries. There’s certainly something Bowiesque about the stance of this, at first glance, slender figure. That resemblance is, however, purely down to the camera angle. That’s not to say that Lynch didn’t mean to invoke Bowie, or that you shouldn’t read Bowie into it. I simply mean that one shouldn’t assume a straight line can be drawn between Bowie and the statue. Any resemblance to persons living or dead may be entirely coincidental.

 

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  • Another theory regarding the statue is that it might remind Cooper of Jimmy Stewart’s pose on the film poster for The FBI Story (dir. Mervyn LeRoy, 1959). According to Scott Frost’s The Autobiography of FBI Special Agent Dale Cooper (1991), the young Dale Cooper kept a copy of the poster above his bed. Again, it’s one of those synchronicities, those meaningful coincidences that the original Twin Peaks taught viewers to appreciate.
  • Since we don’t really know who the statue is supposed to depict, we’re only able to focus on what it appears to depict, and the memories, ideas and feelings it evokes in us (and, we imagine, Agent Cooper). So what we have here is the heroic image of a lawman standing his ground in the face of invisible foes. In short: a reflection of Cooper’s former self. It’s another piece of the puzzle, one that makes this Cooper painfully aware that ‘something is missing’.
  • ‘What I want and what I need are two different things, Audrey.’ Where Mr. C is defined entirely in terms of his ‘wants’ (‘I don’t need I want’), the big old baby Coop wearing Dougie’s suit is defined in terms of his ‘needs’. He really is just like a baby: in the way he sucks on that coffee cup, repeats what others say (‘damn good joe!’), acts out needing to go potty, and in how he doesn’t appear to comprehend his co-worker’s sexual advances. This Cooper is a babe in the woods. What will he be when he finally returns to them?

 

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  • Coop gets to have Frank’s coffee. We’re told that Frank (Bob Stephenson) never drinks his coffee. Maybe Frank doesn’t even like coffee, and only drinks it for appearances’ sake? But, thanks to Cooper, Frank winds up drinking a green tea latte – and it’s clear from the expression on his face that he is delighted with it. Many years ago, Agent Cooper gave his friend Harry this sterling piece of advice: ‘everyday, once a day, give yourself a present. Don’t plan it. Don’t wait for it. Just let it happen.’ It’s clear from the expression on his face that this is Frank’s present, and it’s great to see that Cooper is still able to spread that kind of joy in the world. Where Mr. C leaves death, destruction and chaos in his wake, Baby Coop – or ‘Mr. Jackpots’ – brings good fortune to everyone he meets.
  • Dougie has been working for a company called Lucky 7 Insurance. Twin Peaks Sheriff Station was visited in part 1 by a man from an insurance company. Coincidence?
  • A mysterious green light flickers across the face of Anthony Sinclair (Tom Sizemore), after which Coop pipes up to say ‘he’s lying’. What was this green light? Does it represent something similar to the miniature Red Rooms that appeared over the slot machines in the casino? Does it signify something supernatural?
  • Green is a colour charged with significance in Twin Peaks. It’s the colour associated with the woods surrounding Twin Peaks, as well as the colour of the gem embedded in the owl cave ring. It’s also the colour of the formica table belonging to the Arm/The Man From Another Place (‘Green is its colour’). It’s the colour of money (and there’s a lot of money in Twin Peaks, not to mention a lot of money surrounding Mr. Jackpots). And let’s not forget Frank’s green tea latte! In terms of colour symbolism, green represents ‘life, renewal, nature, and energy, is associated with meanings of growth, harmony, freshness, safety, fertility, and environment. Green is also traditionally associated with money, finances, banking, ambition, greed, [and] jealousy’ – so it’s not all positive. All of these different meanings chime with the continuing (mis)adventures of Mr. Jackpots – even jealousy, if one of Dougie’s colleagues should ever catch wind of the fact that Rhonda (Elena Satine) has a thing for Dougie.
  • It could be that the flickering green light is simply a creative visual depiction of Coop’s famously uncanny powers of intuition. Those powers date back to a dream Cooper had sometime circa 1986, following which he ‘subconsciously gained knowledge of a deductive technique involving mind-body coordination operating hand-in-hand with the deepest level of intuition’. Visually locating Coop’s powers of intuition outside of him could also be a creative way of depicting his current state of self-alienation. But there still remains that possibility that his powers have a supernatural origin and explanation. As ever in Twin Peaks, it’s impossible to say where supernatural influence ends and human agency begins.

 

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  • Dougie’s boss, Bushnell Mullins (Don Murray), is dwarfed by a poster from his former boxing career as Bushnell “Battling” Bud Mullins. It might not turn out to mean much, but it reminded me of the framed portraits of Kafka and Howard Hughes in earlier episodes. Is “Battling” Bud the man to get our fallen hero back into training? Is he the man to lead Cooper into a Rocky-style training montage transformation, returning our hero to some semblance of his former self?
  • “Battling” Bud may have already initiated that transformation, return, or whatever term might later prove appropriate, albeit unintentionally. Three things he says grab Baby Cooper’s attention: ‘agent’, ‘game’, ‘case files’. The significance of ‘agent’ and ‘case files’ requires no explanation. ‘Game’, however, is a less obvious term. It’s a word that’s been used before in this series, by Mr. C (‘The game begins’). And there have seen a lot of games played across Twin Peaks as a whole, most notably in casinos like the Silver Mustang and One-Eyed Jack’s. Playing cards were an important part of the iconography of One Eyed Jack’s, and they also featured in Windom Earle’s plotting around the Miss Twin Peaks contest. Windom Earle (Kenneth Welsh) also initiated a life-and-death battle of wits via a chess game with Agent Cooper that claimed the lives of several pawns. Earle was, according to Lynch, Mark Frost’s invention, intended to be the Moriarty to Agent Cooper’s Sherlock Holmes (just as Sheriff Truman saw himself as Cooper’s ‘Dr. Watson’). Thinking of the Holmes connection calls to mind a particularly famous quote, synonymous with Holmes: ‘the game’s afoot!’ The game is indeed afoot. But what’s the nature of this game…?

 

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  • At the Silver Mustang Casino we’re introduced to the Brothers Mitchum: Rodney (Robert Knepper), who calls to mind Blue Velvet’s Frank Booth in his anger and violence, and Bradley (Jim Belushi), whose brooding menace and quiet threat reminds me of Luigi Castigliani, Angelo Badalamenti’s character in Mulholland Drive. Are they Vegas’s answer to Ben and Jerry Horne?
  • Who are Mandie (Andrea Leal), Candie (Amy Shiels) and Sandie (Giselle DaMier)? Do they work at the casino? I’ve seen some comparisons drawn between them and the equally unusually-attired girls who work at One-Eyed Jack’s. There may be something in that. It may also be significant that there’s three of them. Three, after all, is the magic number when it comes to playing the slot machines. In that case, do these three girls supposed to signify a jackpot? Are they the Mitchum brothers’ concubines? Are they even real, ‘or is this just some strange and twisted dream?’ No one seems to notice them, nor does the shockingly brutal violence on display in this scene seem to bother them. Is it just that they’re used to it? Or are they literally inhuman – spooky beings from another dimension, like the blackened figure seen sitting a few cells down from Bill Hastings in parts 1 and 2?
  • Some guys go to steal Dougie’s car, only to get blown up by the car bomb left behind by the hitmen. Two or three of them may have been killed in the blast. Will Dougie be presumed dead as a result of this?
  • Jade mails Dale’s Great Northern Hotel room key, which one suspects will cause quite a stir when it finally arrives in Twin Peaks. Will Audrey be the one to discover it? And will she alert the authorities…?
  • Becky Burnett (Amanda Seyfried) arrives at the RR Diner with a delivery of bread from the local bakery where she works (‘Sweet Loaf’). She’s married to Steve, who we saw earlier at Mike’s car dealership. It seems she’s married young, just like her mom, Shelly (Mädchen Amick) – and just like Norma (Peggy Lipton). ‘We both know that tune, don’t we?’ Shelly and Norma’s accusatory gaze unsettles Steve, as well it should.

 

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  • The parking lot scene calls to mind Bobby and Shelly’s departure from the diner in the pilot. Steve is no Bobby Briggs (Dana Ashbrook), however. What he is, is fascinating to watch. It’s a very physical performance from Caleb Landry Jones, who really does look every inch the drug addict in this episode. It’s genuinely shocking to think they could be married.
  • Instead of a slug from a hip flask in honour of happy hour in France, Becky does some hard drugs with her husband before they take off from the parking lot. What comes next, with the Paris Sisters’ ‘I Love How You Love Me’ playing on the soundtrack, has been for many viewers the stand-out moment in this episode. The camera is trained on Becky’s face throughout. This magic moment is hers, and hers alone.

 

 

  • A lot of comparisons have been drawn between Becky and Laura. Becky certainly reminded me of Laura during certain moments in this episode. I found Becky’s grin, during the ‘I Love How You Love Me’ sequence, more than a little unsettling. It reminded me of the rictus grin on Laura’s face in one of FWWM’s deleted scenes. I’ve since found out that some other viewers made the same connection. Becky’s relationship with Steve also reminds me of Laura’s relationship with Bobby. It seems that she does genuinely love him. She also comes across as being amused by and bored of him. There’s a real mix of emotions on display during their short scene together, and I think they’re very close to the range of emotions that Laura felt for Bobby.

 

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  • Having been struck off from the medical profession (a detail revealed in Mark Frost’s Secret History of Twin Peaks), the former Dr. Jacoby (Russ Tamblyn) has become the local radio ‘shock jock’/YouTube personality ‘Dr. Amp’. And the old hippy is taking no prisoners: ‘The fucks are at it again! The same vast global corporate conspiracy!’
  • Jerry Horne (David Patrick Kelly) is so much more recognisable now we can see him in close-up. I’m loving his transformation into an old pot-smoking hippy. How well does he know Jacoby? They know each other at least in passing, as Jacoby treated Jerry’s nephew and his brother, Ben (Richard Beymer). And Jacoby would surely have at least a personal, if not professional interest in Jerry’s cannabis business…
  • This episode also provides us with our first glimpse of Nadine Hurley (Wendy Robie) in 25 years. Nadine has an office now, filled with drapes and a book of samples. The last time we saw Nadine she was confused and frightened, having just got over the amnesia that followed her attempted suicide at the end of season one. It’s heart-warming to see that, after all she has been through, she seems to have come out of it okay and done something with her life. It’s great to see her looking happy.

 

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  • Nadine was, for many years, one of Jacoby’s patients. We’ll have to wait and see whether or not Nadine and Jerry were highlighted here for a reason. Wouldn’t it be interesting if the three of them were working together?
  • And now we reach the moment of truth, regarding the good doctor’s golden shovels. It turns out Jacoby is flogging his ‘gold shit-digging shovels’ for $29.99. Wait, was that it? Was it all just a huckster’s money-making scheme? Have we been literally watching paint dry just for this?! Have we just been trolled? Okay, maybe I’m grasping here out of desperation, but I can’t quite shake the feeling that there’s more to this than meets the eye. Jacoby’s line, ‘shovel your way out of the shit, into the truth’, strikes a strangely topical note in our current cultural climate – which, okay, might be accidental. But Twin Peaks has always been about making the mundane sacred, typically through food (cherry pie, coffee, creamed corn) and whatever small, beautiful things or moments life throws our way: those daily presents we give ourselves, the spectacle of ducks on the lake, and everything to do with fishing, from the leap of a trout in the moonlight to the gift of a green butt skunk. So perhaps there’s more to Jacoby’s world of cosmic flashlights and shit-digging shovels than we, or even Jacoby, realise. Certainly, that shot of Jacoby posing with a shovel as he turns on an electrical supply is mighty strange. The sound of crackling electricity is something that has come to be closely associated with Twin Peaks’ spirit world. Sure, Jacoby might just have made them to make a fast buck, but these tools might yet serve an as yet unforeseen purpose.
  • We next meet Colonel Davis, played by Ernie Hudson – Ghostbusters’ Winston Zeddemore! It seems appropriate to have a Ghostbuster involved in all this. The spirit world of Ghostbusters is, like Twin Peaks’, entrenched in the banal materialism of the mundane everyday world. When you get right down to it, a marshmallow man heralding the apocalypse is no more ridiculous than creamed corn signifying ‘pain and sorrow’. In Ghostbusters and Twin Peaks the spirit world is real, physical, material, tangible and steeped in electricity.
  • This scene basically confirms that the John Doe in Buckhorn is Major Briggs. It has his fingerprints, and we’re told that it’s the sixteenth time they’ve been found. (I’m assuming they don’t mean that this is the sixteenth corpse with his fingerprints, but hey, with all these doppelgangers running around who knows?)
  • We next cut to the roadhouse, where every episode has so far ended. That it doesn’t end here is a refreshing double bluff, suggesting that we shouldn’t expect the rest of the series to follow what has been the pattern so far.
  • The band performing in the roadhouse is Trouble, one of whose members is Riley Lynch, son of David. The track is ‘Snake Eyes’. It is dark and sexy and dangerous, especially when you factor in Alex Zhang Hungtai’s sax appeal.

 

 

  • This brings us to Richard Horne. A lot of people have been comparing Richard to Frank Booth from Blue Velvet. It’s a fair comparison, but as this is Twin Peaks I think it needs to be stressed that the character he most resembles is BOB. BOB is the only character in Twin Peaks to date who has been depicted speaking that way (in print at least, in Jennifer Lynch’s The Secret Diary of Laura Palmer) and moving that way. This is why I’m inclined to believe the theory I noted earlier, that Richard is, most likely, the son of Audrey and Mr. C.

 

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  • Since Mr. C left Twin Peaks shortly after breaking free of the Black Lodge and razing Major Briggs’s station to the ground (I’m assuming that was his work, though the Major might have done it himself, for reasons), that does suggest the possibility that Audrey may have been raped. She must have spent a good deal of time in hospital recovering from the bank explosion she was caught up in. If Mr. C remained in Twin Peaks for only a matter of days, and not weeks, then I struggle to see how Richard could’ve been conceived consensually. This, I’m afraid to say, is definitely a direction the show could, conceivably, go. And I really hope that it isn’t the case, because I really do think it would be crossing a line.
  • We see Deputy Chad Broxford (John Pirruccello) accept a bribe from Richard. Chad really is an asshole. I’m going to hazard a guess and say that he transferred from the nearby town of Deer Meadow at some point. All of Deer Meadow’s cops are like Chad.
  • Eagle-eyed viewers may have noticed that Richard passed Chad the bribe in a packet of Morley cigarettes. Morley is a fictional brand of cigarette that’s been featured in countless US films and television programmes over the past half-century. Its first appearance may have been in Alfred Hitchcock’s Psycho (1960). It appeared in several episodes of The Twilight Zone, between 1961-1964, and it was the brand favoured by The X-Files’ Cigarette Smoking Man (William B. Davis). So wait, does that mean The X-Files takes place in the same universe as Twin Peaks? Venture down that rabbit hole and you’ll discover many more doppelgangers, as The X-Files starred many former Twin Peaks’ alumni – David Duchovny, Don Davis, Richard Beymer, Michael Horse and more.
  • It’s nice that we finally get to share a quiet moment with Agent Tamara Preston (Chrysta Bell). Cole says she’s ‘got the stuff’, but until now the stuff has consisted solely of looking spooky and swinging her hips in a way that cannot be comfortable but which appears to please the old men ogling her behind in part 4.

 

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  • In this scene we get to see Agent Preston in Agent Scully mode. She’s looking at a picture of the young Agent Cooper, and she appears to be having a hard time reconciling it with the mugshot of Mr. C (which eerily echoes the wanted poster of BOB drawn by Deputy Andy Brennan 25 years earlier). Following that, she makes a big discovery: the fingerprint on Mr. C’s left ring finger is a mirror image reflection of Agent Cooper’s.
  • Meanwhile, Mr. C is about to have that private phone call Gordon Cole’s been wanting to hear all about. Looking directly into the CCTV camera, C asks: ‘Should I call Mr. Strawberry?’ Warden Murphy (James Morrison) looks terrified in response to this. It could conceivably be that he’s unsettled by the weirdness of Mr. C’s statement, but I’m not so sure. It really seemed to strike a chord with him, as if he knew who this ‘Mr. Strawberry’ was and that he was bad news. ‘No,’ concludes Mr. C. ‘I don’t think he’s taking calls.’
  • The phone number Mr. C enters is incredibly long and seems to be responsible for triggering the security system’s temporary insanity. I can’t help wondering if the numbers he entered are in any way related to the numbers that have been flagged throughout the show so far. I know that the numbers are understood to be geographical co-ordinates – but perhaps, taken together, they double as an unearthly phone number. This is just wild speculation on my part, based on the fact that there has been an interesting and consistent focus on strings of numbers.

 

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  • C’s message (to who/what?) is a line taken from the nursery rhyme ‘Hi Diddle Diddle’: ‘The cow jumped over the moon’. That immediately calls to mind the line that follows it – ‘the little dog laughed to see such fun’. In the previous scene with Mr. C there was a flashback to the final episode of season two, showing BOB and Mr. C laughing like hyenas. Big dog, little dog. BOB was closely associated with the owls during the original series, but beyond that there’s also been a more nebulous association with dogs and predatory animals. Worth noting here is a deleted scene from FWWM, in which another Lodge spirit, ‘The Electrician’ (Calvin Lockhart), intones ‘animal life’. Wood, electricity and animal life are the mediums through which the Lodge spirits travel and reside.
  • Except for the line about the dog I think it would be a mistake to look for a direct one-to-one correspondence between the episode and every line of the rhyme. But Becky totally is the dish that ran away with the spoon. Sorry Steve, but you’re a spoon.
  • We see the black box again, and it’s here that we learn that the box is located somewhere in Buenos Aires, Argentina, Agent Jeffries’ former stomping-ground. Was Mr. C calling the black box? Was that line from the nursery rhyme what caused it to implode, if that’s the correct verb for what the black box does next? (I’m not sure there is a verb that adequately describes it.)
  • Instead of returning to the roadhouse we end on Baby Coop looking forlorn as he pats the shoes of the statue, his melancholy underlined by the haunting melody of Johnny Jewel’s ‘Windswept’.

 

 

 

 

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