Dreams of Deer Meadow (Or, Keith is On Topic!!!)
Keith Gow
Their August issue delivers an incredible article on FWWM in honour of
its tenth anniversary. The essays contention? The entire Deer Meadow
prologue is Dale Cooper's dream.
While FWWM is often regarded as a continuation of Lynch's work in Blue
Velvet and obviously the TP series, WiPs contention is that it is also
a precursor to Lost Highway and Mullholland Drive. That Chester
Desmond is, in fact, an alter ego of Dale Cooper. Just as Bill Pullman
and Balthazar Getty play the "same character" in LH and Naomi Watts
plays two roles in MD.
The clues are all in the film. But WiP has gone further to look at a
draft of the FWWM script the precedes the shooting draft we are all
familiar with. In this draft, Cooper is the one who investigates
Teresa Banks' murder with Sam Stanley. Most of the script is the same,
except for the dream-like details Lynch inserts - the repeated
dialogue, the mysterious women in the trailer park, the continuing
allusions to dreams and Rodd's line about "I've already been places".
WiP's contention is that these repeated lines indicate Cooper is
revisiting the crime scene in his dream, with Desmond standing in for
him. Perhaps Cooper thinks another person might have better luck.
Notice that we never see Desmond disappear - the screen fades to
black. This then continues into another part of the dream.
The Philip Jeffries sequence is dream like. Things happen in that
scene that do not really fit with what comes later. If Albert had
really seen Agent Jeffries disappear, would he be the same cynic in
the series? Would he doubt Cooper's visions?
The Jeffries sequence not only plays like a dream, Jeffries references
it as a dream, recognises that there is something "wrong" with Cooper
(it's not really him, but a dream him) and the sequence even alludes
to Laura's dream later in the film. As Laura looks back on herself
from the painting, Cooper looks on himself in the monitors at FBI HQ
in Philadelphia.
Originally the Jeffries sequence was part of the main film narrative,
but when Lynch decided to go for the "dream" idea, it was move back
into the prologue.
The last section of the dream is Cooper returning to Deer Meadow to
investigate Desmond's disappearance. The two Chalfonts and their
trailer have gone. Where "Desmond" found the ring (the thing Cooper
never found, so he continues to search for it in his dreams), there is
nothing.
All Cooper does find is the words "Let's Rock" - a small part of his
dream from the series. An indication of what is to come.
We do see the real Cooper and the real Albert in the film, but only
briefly inside the main narrative when Cooper says he imagines Laura
preparing a great abundance of food. But the dream has ended with his
recording to Diane and the cut to the Twin Peaks sign is us moving
into the real world.
The WiP article is much more detailed and certainly more solid than
the brief outline I've given here. If you've read a myriad of essays
on TP, I suggest you grab this one. It sheds new light on an old
mystery and perhaps make FWWM more fascinating than it ever was
before.
I know I won't be able to look at it in the same way again.
-- Keith Gow --
"Sir, you have a problem with your brain being missing."
- Zoe, "The Train Job", Firefly
Trichome
that, with the early script, many of the regulars here would have picked
up on the significance, and come to that conclusion. One idea which
carried some favor here or in a.m.d-l, was that Deer Meadows represented
a greyed-out, depleted version of the town and inhabitants of Twin
Peaks. If only we had known how true that was!
Another theory I had already seen, and supported, was that Dale and
Jeffries' segment in Philadelpiha played as well or better, as a dream
of Dale's, not an actual event. The point about Albert not having
reacted to Jeffries' magic, when Albert did later get to TP, is well
taken.
But I have two serious bones to pick with WIP, and so my first letter
to them is in the early stages of composition. The authors of the
feature article gave up too easily on the symbolism built into the Owl
Cave ring and the blue rose. Laura's half of FWWM contains vital
further information about the rose(s); and the latter episodes of the
series dealt with the ring.
I've given variants of my speeches on the ring and the rose before,
but I hope to have a thorough and readable presentation shortly.
Perhaps I should pre-post here and in a.m.d-l, and solicit feedback?
I have to read it again, and take some notes.
Trichome
In article <3dab5e44...@News.CIS.DFN.DE>,
kw...@vicnet.net.au (Keith Gow) wrote:
--
Scripts and other texts available on request: Grandmother, EM,
Eraserhead FAQ, Dune, WaH; TP:episode guide, timeline, allusions,
movie references, symbols in TP, Log Lady intros, Laura's Secret Diary,
Cooper's autobiography, my more insightful posts in Google; On the Air,
LH, MD pilot... & etcetera, and etcetera.
Joshua Zyber
news:3dab5e44...@News.CIS.DFN.DE...
> Our good friends at "Wrapped in Plastic" magazine have done it again.
> Their August issue delivers an incredible article on FWWM in honour of
> its tenth anniversary. The essays contention? The entire Deer Meadow
> prologue is Dale Cooper's dream.
And did they credit any of us here with coming up with variations on
this little theory some months back?
As a matter of fact, I'm pretty sure I had an email conversation with
John Thorne about it.
- Josh
Keith Gow
<jzy...@SPAM-SPAM-GO-AWAY.mindspring.com> waxed lyrical:
>"Keith Gow" <kw...@vicnet.net.au> wrote in message
>news:3dab5e44...@News.CIS.DFN.DE...
>> Our good friends at "Wrapped in Plastic" magazine have done it again.
>> Their August issue delivers an incredible article on FWWM in honour of
>> its tenth anniversary. The essays contention? The entire Deer Meadow
>> prologue is Dale Cooper's dream.
>
>And did they credit any of us here with coming up with variations on
>this little theory some months back?
>
Uh, no. Still, the article says things better than ATTP did back then.
;-)
>As a matter of fact, I'm pretty sure I had an email conversation with
>John Thorne about it.
>
Well you better take this up with him...
Keith Gow
waxed lyrical:
> I would concur, this was a fine piece of investigation. I'm sure
>that, with the early script, many of the regulars here would have picked
>up on the significance, and come to that conclusion.
Quite possibly. It's nice to see it all layed out so well for us to
devour fully formed.
>One idea which
>carried some favor here or in a.m.d-l, was that Deer Meadows represented
>a greyed-out, depleted version of the town and inhabitants of Twin
>Peaks. If only we had known how true that was!
>
In a way, yes.
> Another theory I had already seen, and supported, was that Dale and
>Jeffries' segment in Philadelpiha played as well or better, as a dream
>of Dale's, not an actual event. The point about Albert not having
>reacted to Jeffries' magic, when Albert did later get to TP, is well
>taken.
>
Definitely. It has given me a way to approach FWWM with a fresh eye
for the first time in a long while.
> But I have two serious bones to pick with WIP, and so my first letter
>to them is in the early stages of composition. The authors of the
>feature article gave up too easily on the symbolism built into the Owl
>Cave ring and the blue rose. Laura's half of FWWM contains vital
>further information about the rose(s); and the latter episodes of the
>series dealt with the ring.
>
I'll be interested in hearing your thoughts and I suspect John Thorne
will be, too.
> I've given variants of my speeches on the ring and the rose before,
>but I hope to have a thorough and readable presentation shortly.
>
Well, in light of the new article, your speeches will read differently
anyway.
> Perhaps I should pre-post here and in a.m.d-l, and solicit feedback?
>
> I have to read it again, and take some notes.
>
Good idea :-)
James
think their idea that this whole prologue to Fire Walk With Me is
a dream is true. Does the inclusion of two old women (one demanding
hot
water) make it a dream? Or the appearance of Lil? The thing is that
this part of the film IS connected to later parts. Witness the filming
of electricity
lines in the Jeffries FBI scene. Then later as Laura Palmer is
breaking down
after she realises that her father is raping her at night the same
kind of brisk moving shot of phone/electrical lines occurs. So is this
another dream then? Is Laura's whole story a dream?
It all seems a bit too simple for my liking.
Its like when at school a child writes a story and has to end the
assignment, so running out of time they write, "And it was all a
dream"
at the end. Has anyone else had a teacher telling them that this is
a shite way to end a story when they were a little kiddie-wink?
I know I have.
I don't think Lynch would have risked such a telling-off from an angry
teacher.
What about his Mum? Wasn't she basically an English teacher? Is anyone
here aware of how evasive he is about his mother as if he is a bit
scared of her? Whereas he talks about his Dad in a broad affectionate
fashion he skirts
over the story of his Mum. This is interesting. You could just as
easily
knock out a whole thesis arguing that the old woman demanding hot
water is
a representation of Lynch's Mum.
I can't agreee that the whole Deer Meadow section is simply a DREAM.
No way.
What about the scene above the convenience store then? What is that? A
dream
or a glimpse of some barren space that does actually exist? It looks
like a REAL place to me. We need to embark on a discussion of the
nature of
reality, right?
James.
The log
CD<>DC
Chester Desmond<>Dale Cooper
Peace,
The log- Jesus didn't know He was Jesus until He'd been chained to the radiator
for some time
Reznik
Keith Gow wrote:
> Our good friends at "Wrapped in Plastic" magazine have done it again.
> Their August issue delivers an incredible article on FWWM in honour of
> its tenth anniversary. The essays contention? The entire Deer Meadow
> prologue is Dale Cooper's dream.
<snipped>
While I do agree with the theory, I mean, most of us have already
thought about it and elaborated on it long before said article appeared.
Josh, I know for one, and others as well.
Not only Desmond being the anti-Coop, but Deer Meadow being the anti-TP.
I would have to file it under one of Lynch's 'mistakes' that ends up
making things more meaningful.
I'm not sure where I read it (one of the thousands of tidbits of TP
information I absorbed through osmosis, I think) but Kyle MacLachlan
didn't want the role, and had to be talked into just the short role he
had, IIRC.
As such, Lynch rewrote it with Chet Desmond, etc.
Can anyone back me up on this?
--
Reznik the Great and Powerful
(pay no attention to that man behind the curtain)
"In the beginning the Universe was created.
This has made a lot of people very angry
and been widely regarded as a bad move."
-= Douglas Adams =-
Trichome
row...@aol.comPLICATE (The log) wrote:
> To sound like a Californian surfer, Dude, this is the best thing ever.
>
> CD<>DC
> Chester Desmond<>Dale Cooper
< Ches·ter Pronunciation Key (chstr)
<
< A city of southeast Pennsylvania on the Delaware River, an industrial
< suburb of Philadelphia. Established as Upland, it was the site of
< William Penn's first landing in America (1682) and is the oldest city
< in the state.
The Quaker connection matches with the naming of the Chalfonts,
Chalfont St. Gyles being the parish from which the Quakers left England,
Chalfont, PA being near to Chester, PA. Tremond is a very old name for
the tri- Mount(ain)s upon which Boston was settled. "Palmer" was the
name given visitors to the Holy Land who brought back palm fronds from
their pilgrimages.
See the religious seekers? (as Dale himself was a would-be Buddhist.)
> DESMOND m English, Irish
> Pronounced: DEZ-mund
> From a surname which was derived from Gaelic Deas-Mhumhan
> meaning "from south Munster". Munster is a province in Ireland
> which was once an ancient Irish kingdom.
I'm not moved at the moment to search through hundreds of years of
Irish history.
Proper placenames, denoting religious pilgrims.
Though it doesn't help, "-Dale" is a valley, and "Cooper" is the
name given in old English as a maker of barrels, one who bends wood into
rounded forms.
Trichome
Scribbler
> name given in old English as a maker of barrels, one who bends wood into
> rounded forms.
And "Cable Bends Steel."
Joshua Zyber
news:3DAC48EF...@netscape.net...
> I would have to file it under one of Lynch's 'mistakes' that ends up
> making things more meaningful.
> I'm not sure where I read it (one of the thousands of tidbits of TP
> information I absorbed through osmosis, I think) but Kyle MacLachlan
> didn't want the role, and had to be talked into just the short role he
> had, IIRC.
> As such, Lynch rewrote it with Chet Desmond, etc.
> Can anyone back me up on this?
Yup, that's right.
- Josh
Keith Gow
waxed lyrical:
>The WiP article is much more detailed and certainly more solid than
>the brief outline I've given here. If you've read a myriad of essays
>on TP, I suggest you grab this one. It sheds new light on an old
>mystery and perhaps make FWWM more fascinating than it ever was
>before.
Okay, I detest replying to myself, but I know of nowhere else to put
this.
If you haven't read the "Wrapped in Plastic" article, by the magazine
and read it. Trust me, you won't be disappointed.
I thought I capture enough of its basic premise in my original post,
but upon rereading it I don't think it really does the essay justice.
-- Keith Gow --
Kellerman: "Fun is my god, Frank. I worship fun. I live
for fun. When I die, I hope I'm having fun."
- Homicide: Life on the Street
Keith Gow
waxed lyrical:
>Although finding this latest issue of WIP very interesting I don't
>think their idea that this whole prologue to Fire Walk With Me is
>a dream is true. Does the inclusion of two old women (one demanding
>hot
>water) make it a dream? Or the appearance of Lil?
It's not one thing or another, it's the collection of things. It's the
sheer number of differences.
I can't do the article justice here without reproducing it fully and I
won't do that.
>The thing is that
>this part of the film IS connected to later parts. Witness the filming
>of electricity
>lines in the Jeffries FBI scene. Then later as Laura Palmer is
>breaking down
>after she realises that her father is raping her at night the same
>kind of brisk moving shot of phone/electrical lines occurs. So is this
>another dream then? Is Laura's whole story a dream?
>
Always and forever Twin Peaks' "dream state" impinged on "reality".
And vice versa. Cooper dreams of the Red Room/Black Lodge in Episode 2
and then physically enters it in the finale. Same thing here.
Laura dreamed of Cooper before she died. Why is this electricity stuff
so hard to get past?
>It all seems a bit too simple for my liking.
>
Simple? Have you read the article?
>Its like when at school a child writes a story and has to end the
>assignment, so running out of time they write, "And it was all a
>dream"
>at the end. Has anyone else had a teacher telling them that this is
>a shite way to end a story when they were a little kiddie-wink?
>I know I have.
>
But it's not "all a dream". It's a dream "revision" of Cooper's actual
trip to Deer Meadow.
If you really think "and it was all a dream" is *always* a terrible
ending, then you can't have enjoyed The Wizard of Oz or Mulholland
Drive much.
(99% of the time I'd agree with you. But Lynch has a history of
telling stories that are non-linear dreamscapes. Perhaps the Deer
Meadow prologue-as-dream is not as accomplished as MD, but it's a damn
good start.)
>I can't agreee that the whole Deer Meadow section is simply a DREAM.
>No way.
It's not simply a dream. But it's not all reality either.
>What about the scene above the convenience store then? What is that? A
>dream
>or a glimpse of some barren space that does actually exist? It looks
>like a REAL place to me. We need to embark on a discussion of the
>nature of
>reality, right?
Well, if you want. Or, if you've seen the series, it could very well
be both things.
Keith Gow
waxed lyrical:
>
>
>Keith Gow wrote:
>> Our good friends at "Wrapped in Plastic" magazine have done it again.
>> Their August issue delivers an incredible article on FWWM in honour of
>> its tenth anniversary. The essays contention? The entire Deer Meadow
>> prologue is Dale Cooper's dream.
><snipped>
>
>While I do agree with the theory, I mean, most of us have already
>thought about it and elaborated on it long before said article appeared.
>Josh, I know for one, and others as well.
>Not only Desmond being the anti-Coop, but Deer Meadow being the anti-TP.
>
Yes, but the analysis is more complex than that. You cannot rely on my
summary to grasp the full depth of the WiP article.
DM being the anti-TP isn't really even part of the analysis. For me
that's just contrast to make us take notice. They use icons and flip
them on their head. The waitress in the diner isn't just the
anti-Norma but the anti-every waitress you've ever seen in a 50s-style
diner.
>I would have to file it under one of Lynch's 'mistakes' that ends up
>making things more meaningful.
Read the article, I implore you.
>I'm not sure where I read it (one of the thousands of tidbits of TP
>information I absorbed through osmosis, I think) but Kyle MacLachlan
>didn't want the role, and had to be talked into just the short role he
>had, IIRC.
>As such, Lynch rewrote it with Chet Desmond, etc.
>Can anyone back me up on this?
Yes. And the article gets into this. Put simply, in one draft it is
Dale Cooper and in the shooting draft it is Chester Desmond. The
changes are mostly superficial, yet it's instructive to note where the
changes take place - not in character (as you'd expect) but in context
and setting.
The film makes the Deer Meadow sequence much more dream-like than the
original version that just had Dale Cooper coming to town. The Agent
Jeffries scene is almost certainly a dream in this context - how else
do you reconcile everything that happens in that scene?
Again, I don't expect to be able to change your mind. The article is
ten pages long! And if you've ever read Wrapped in Plastic, you'll
know how much they fit onto a page - that's pretty damn in depth.
I was under the belief that Chester replaced Cooper. The article now
makes me believe that Chester *is* Cooper, in his dream, revisiting
Deer Meadow to try to solve a case that he couldn't when he really
visited there. The Blue Rose did not appear in the Cooper investigates
draft. Now it appears as a dream-like image that equates with the
ring, the piece of evidence Cooper was never able to find.
Keith Gow
lyrical:
>To sound like a Californian surfer, Dude, this is the best thing ever.
>
>CD<>DC
>Chester Desmond<>Dale Cooper
Wow. I'm even more convinced :-)
Eugeni Sánchez
this?
Also, I was rewatching the whole scene after reading these posts, and
noticed, during the 'electricity' scene in Deer Meadow's café, one of the
bearded lodgers is present. Or at least, some fake-bearded guy looking
extremely like the ones living above the convenience store.
--
-E
"El sueño de la razón produce monstruos."
"Keith Gow" <kw...@vicnet.net.au> wrote in message
news:3dab5e44...@News.CIS.DFN.DE...
Reznik
Keith Gow wrote:
> On Tue, 15 Oct 2002 12:57:19 -0400, Reznik <rezn...@netscape.net>
> waxed lyrical:
>
> Again, I don't expect to be able to change your mind. The article is
> ten pages long! And if you've ever read Wrapped in Plastic, you'll
> know how much they fit onto a page - that's pretty damn in depth.
You don't have to change my mind, I already agree. ;)
It sounds great, and I'd love to read it. I just meant that it wasn;t a
*new* idea.
> I was under the belief that Chester replaced Cooper. The article now
> makes me believe that Chester *is* Cooper, in his dream, revisiting
> Deer Meadow to try to solve a case that he couldn't when he really
> visited there. The Blue Rose did not appear in the Cooper investigates
> draft. Now it appears as a dream-like image that equates with the
> ring, the piece of evidence Cooper was never able to find.
Well, that is what I meant about it being one of Lynch's 'mistakes'.
There have been probably hundreds of them. From the creation of BOB, and
Maddy, to how he shot most of the sequences. Rarely are the script,
shooting script, and final product similar in any way.
To me, that's what makes Lynch such a genius.
So much of his work is intuitive and improvisational that it's not by
accident, but he truly works by using his own vision.
The best way to understand it, is by looking into other visions.
Cooper/Desmond much like Madison/Dayton... finding the ring/reality like
opening the blue box.
"Brilliant, just brilliant. I have no idea what's going on"
The log
>>Chester Desmond<>Dale Cooper
>
>Wow. I'm even more convinced :-)
I came up with that one ages ago!
Keith Gow
lyrical:
>>>CD<>DC
>>>Chester Desmond<>Dale Cooper
>>
>>Wow. I'm even more convinced :-)
>
>I came up with that one ages ago!
Still, it's the force of all the evidence for me. That alone wouldn't
have convinced me of diddly squat before reading the article.
Afterwards, it's the capper.
Keith Gow
<eugeni.do...@wanadoo.dot.es> waxed lyrical:
>How does Deer Meadow's deputy visit to TP later in the movie fit in all of
>this?
>
Obviously he really exists. As does Sam, Rodd, Albert, Gordon, Teresa
all of whom fall into the dreamscape prologue.
Why exactly the deputy has to go to TP for a drug deal is another
question.
Keith Gow
waxed lyrical:
>
>
>Keith Gow wrote:
>> On Tue, 15 Oct 2002 12:57:19 -0400, Reznik <rezn...@netscape.net>
>> waxed lyrical:
>>
>> Again, I don't expect to be able to change your mind. The article is
>> ten pages long! And if you've ever read Wrapped in Plastic, you'll
>> know how much they fit onto a page - that's pretty damn in depth.
>
>You don't have to change my mind, I already agree. ;)
>It sounds great, and I'd love to read it. I just meant that it wasn;t a
>*new* idea.
>
I just think the whole thing makes the prologue seem extremely fresh.
To me, at least.
>> I was under the belief that Chester replaced Cooper. The article now
>> makes me believe that Chester *is* Cooper, in his dream, revisiting
>> Deer Meadow to try to solve a case that he couldn't when he really
>> visited there. The Blue Rose did not appear in the Cooper investigates
>> draft. Now it appears as a dream-like image that equates with the
>> ring, the piece of evidence Cooper was never able to find.
>
>Well, that is what I meant about it being one of Lynch's 'mistakes'.
>There have been probably hundreds of them. From the creation of BOB, and
>Maddy, to how he shot most of the sequences. Rarely are the script,
>shooting script, and final product similar in any way.
>To me, that's what makes Lynch such a genius.
>So much of his work is intuitive and improvisational that it's not by
>accident, but he truly works by using his own vision.
Agreed. But also there is a lot of logic at play. It's certainly not
weirdness for weirdness' sake.
>The best way to understand it, is by looking into other visions.
>Cooper/Desmond much like Madison/Dayton... finding the ring/reality like
> opening the blue box.
>
Exactly!
>"Brilliant, just brilliant. I have no idea what's going on"
Thank you, Homer Simpson!
Reznik
Keith Gow wrote:
> On Wed, 16 Oct 2002 12:41:57 -0400, Reznik <rezn...@netscape.net>
> waxed lyrical:
>
>>Well, that is what I meant about it being one of Lynch's 'mistakes'.
>>There have been probably hundreds of them. From the creation of BOB, and
>>Maddy, to how he shot most of the sequences. Rarely are the script,
>>shooting script, and final product similar in any way.
>>To me, that's what makes Lynch such a genius.
>>So much of his work is intuitive and improvisational that it's not by
>>accident, but he truly works by using his own vision.
>
>
> Agreed. But also there is a lot of logic at play. It's certainly not
> weirdness for weirdness' sake.
I think that if anyone here *ever* thought that anything Lynch did was
weird for weird's sake... they'd shouldn't be here.
Did that make sense?
Probably not, but you know what I mean
>>"Brilliant, just brilliant. I have no idea what's going on"
>
>
> Thank you, Homer Simpson!
You're welcome.
I'm not quite prolific enough with Buffy quotes, so it'll have to do for
now. ;)
Joshua Zyber
> Why exactly the deputy has to go to TP for a drug deal is another
> question.
Because he's not trying to bust the kids; he's actually dealing drugs on
the side. But being a police officer it's not a good idea to do so in
your own town.
- Josh
Joshua Zyber
> I think that if anyone here *ever* thought that anything Lynch did was
> weird for weird's sake... they'd shouldn't be here.
Well, there's Wild at Heart.
- Josh
Keith Gow
waxed lyrical:
>
>
>Keith Gow wrote:
>> On Wed, 16 Oct 2002 12:41:57 -0400, Reznik <rezn...@netscape.net>
>> waxed lyrical:
>>
>>>Well, that is what I meant about it being one of Lynch's 'mistakes'.
>>>There have been probably hundreds of them. From the creation of BOB, and
>>>Maddy, to how he shot most of the sequences. Rarely are the script,
>>>shooting script, and final product similar in any way.
>>>To me, that's what makes Lynch such a genius.
>>>So much of his work is intuitive and improvisational that it's not by
>>>accident, but he truly works by using his own vision.
>>
>>
>> Agreed. But also there is a lot of logic at play. It's certainly not
>> weirdness for weirdness' sake.
>
>I think that if anyone here *ever* thought that anything Lynch did was
>weird for weird's sake... they'd shouldn't be here.
>Did that make sense?
>Probably not, but you know what I mean
>
Perfect sense.
>>>"Brilliant, just brilliant. I have no idea what's going on"
>>
>>
>> Thank you, Homer Simpson!
>
>You're welcome.
>I'm not quite prolific enough with Buffy quotes, so it'll have to do for
>now. ;)
As with The Simpsons, there is a Buffy quote for everything, although
this is the closest I come to a David Lynch reference...
Anya: "Their presence in our dimension creates a
kind of localized temporal disturbance."
Buffy: "That's why time want all David Lynch?"
Anya: "Right. Human perception is based on
linear chronology."
- Dead Things
Actually, that's perfect for our discussion :-)
Keith Gow
<jzy...@SPAM-SPAM-GO-AWAY.mindspring.com> waxed lyrical:
>"Reznik" <rezn...@netscape.net> wrote in message
And Dune.
Keith Gow
<jzy...@SPAM-SPAM-GO-AWAY.mindspring.com> waxed lyrical:
>"Keith Gow" <kw...@vicnet.net.au> wrote in message
I knew he was dealing, but going across the state to sell drugs...
it's a bit of a coincidence, don't you think?
Of course, Bobby had to kill someone and he was the most expendable
person in the film.
Reznik
Keith Gow wrote:
> On Thu, 17 Oct 2002 18:47:17 -0400, "Joshua Zyber"
> <jzy...@SPAM-SPAM-GO-AWAY.mindspring.com> waxed lyrical:
>
>
>>"Reznik" <rezn...@netscape.net> wrote in message
>>news:3DAE5551...@netscape.net...
>>
>>>I think that if anyone here *ever* thought that anything Lynch did was
>>>weird for weird's sake... they'd shouldn't be here.
>>
>>Well, there's Wild at Heart.
>>
>
>
> And Dune.
I personally don't think WAH was weird enough.
And as for Dune... well, that's another story then, isn't it? ;)
And I still like it :)
Joshua Zyber
> >Because he's not trying to bust the kids; he's actually dealing drugs
on
> >the side. But being a police officer it's not a good idea to do so in
> >your own town.
>
> I knew he was dealing, but going across the state to sell drugs...
> it's a bit of a coincidence, don't you think?
>
> Of course, Bobby had to kill someone and he was the most expendable
> person in the film.
Not if he's in the same drug ring as Leo.
- Josh
Rexmundi
> How does Deer Meadow's deputy visit to TP later in the movie fit in all of
> this?
>
> Also, I was rewatching the whole scene after reading these posts, and
> noticed, during the 'electricity' scene in Deer Meadow's café, one of the
> bearded lodgers is present. Or at least, some fake-bearded guy looking
> extremely like the ones living above the convenience store.
>
I noticed that too, but I can't even tell if thats an actual person in
the corner. It certainly looks like it.
Rex