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Acronyms & Common Terms
TP = Twin Peaks (1989-1991)
TPTR = Twin Peaks The Return (2017)
FWWM = Fire Walk With Me (1992)
RRL = The Red Room Dream Layer
TVL = The Version Layer
MPL = Missing Page Layer
TFM = The Fireman’s Mansion
Twin Peaks = The entire franchise
INTRO6
Part 6: Scene 1
(0:00:00-0:1:43) Local (4:49:15-4:50:58) Global Time
1m43s
PN: Intro Credits
A15
Part 6: Scene 2
The Version Layer: Las Vegas, NV | Twin Peaks, WA
The Red Room Layer
(0:1:43-0:18:34) Local (4:50:58-5:07:49) Global Time
16m51s
PN: White Lodge Plan
Cooper is right where we left him, standing outside the business park. He is still staring at the cowboy statue with his case files. His right-hand fishes for his left hand up his left sleeve.
The security guard tells him there’s no loitering. He asks where Cooper lives.
Cooper says, “Home.”
The guard asks him if he’s been taking any drugs or medication.
Cooper gives him enough details to get him home (“Lancelot” and “Red Door”). The security guard is moved to help him. A short time later, the guard and his partner walk Cooper up the steps to his home.
Janey-E comes out, shocked to see her husband being led home by men with badges. But, she is grateful for his safe return when she learns what’s happened.
The guard tells her that Cooper is disoriented.
Janey-E says, “That’s on a good day.” She thanks them and welcomes them in, but they refuse.
As they leave, Cooper touches the guard’s badge and says, “Badge.”
The cop smiles and says, “He likes my badge.”
As Janey-E shuts the door, the cop sees an envelope on the stoop and hands it to her before leaving.
Janey-E asks Cooper if he’s eaten, then goes to make him a sandwich.
While they both sit eating at the table, she says that tomorrow she’s taking him to see Dr. Ben.
She picks up the envelope and notes there is nothing written on it.
She tells him that he needs to go upstairs and says goodnight to Sonny Jim, who’s been waiting for him. She urges him upstairs by touching his elbow and verbally guiding him a few times, but he finally makes it upstairs, going first into the bathroom.
Sonny Jim is reading in his room, which is dark except for an LED reading light. His bedroom is decorated in a Wild West motif. An old alarm clock, some paintings on the wall, and western curtains all create a welcoming and nostalgic environment.
Sonny Jim motions twice for his father to sit down on the bed with him, which Cooper does while eating his potato chips.
Cooper offers a chip to Sonny Jim, who declines and says he has already brushed his teeth. Cooper sets a single chip on the bed.
Sonny Jim asks if he can leave his cowboy light on. He wants his Dad to stay with him until he falls asleep. Cooper repeats, “Ah-sleep.”
Sonny Jim turns off his reading light, lies down, then claps, and his cowboy light turns on. This catches Cooper’s attention.
He puts down the bag of chips and claps the light off.
The two get into a clapping battle, turning the light on and off. Sonny Jim giggles and twice calls Cooper “Dad.”
Seconds later, Janey-E opens the envelope and yells at Cooper, “Get down here, right now. Right now!”
Sonny Jim protests that his Dad will stay with him, and Janey-E yells back, “Not tonight, he isn’t! Mommy will be up soon, honey!”
Sonny Jim lies down, defeated.
When Cooper comes downstairs, Janey-E takes him by the nape of the neck, like a dog. Then, she leads him to sit down at the dining room table.
She says he’s in the dog house because he didn’t call and set up a time to pay “them” off. She shows him the picture in the envelope, an image of Dougie and Jade walking out of a suburban home.
Cooper sees Jade, says her name, smiles, then says, “Jade give two rides.”
Janey-E watches him with disgust and says, “I’ll bet she did!”
The phone rings, and she asks if he will answer, “Maybe it’s Jade calling!” Cooper repeats Jade’s name, and Janey-E grows more disgusted, saying, “Oh my God, Dougie! We are not done with this!”
She answers the phone and motions for him to keep silent, asking who it is calling.
Cooper puts his index finger up and places it on her lips. She smacks it away in anger, saying into the phone, “He’s indisposed.” She asks how much he owes them. She tells them she’s just finding out about this right now. She asks how he’s supposed to get that; who can get that kind of money?
She asks, “And what if he doesn’t have it? What are you gonna do then, break his legs? Think about it. It’s hard enough to get that kind of money, let alone with broken legs.”
She tells them not to dare go to his office, that she’ll “Meet them tomorrow in the park at the corner of Guinevere and Merlin, by the mall.” She’ll be the one carrying the red purse at “Noon Thirty tomorrow.”
Janey-E hangs the phone up and says, “What a mess you’ve made of our lives, Dougie!”
She asks out loud what she’s going to do with him. She was going to take him to see Dr. Ben tomorrow during his lunch hour but now has to meet his friends at 12:30.
Angry and exhausted, she asks him where his car and wallet are.
She points at the case files and says, “And if that’s work then you better get started right away! The last thing we need is you losing your job, Dougie!”
She tells Cooper that tomorrow is a big day. She softens enough in her anger to call him sweetheart and kiss him before she leaves to put on her best impression of a mother with it altogether in front of her son.
Prompted by her kiss, Cooper looks up to the ceiling like a baby in the crib. Janey-E retreats upstairs to tend to Sonny Jim.
He leans forward and touches the 7 logos on the cover of the entire case file. An electric hum grows.
We cut to the swinging traffic light at Sparkwood and 21, changing which grows in electric hum and starts to crackle.
Cut to the Red Room, where Philip is walking around, feeling the air.
Cut to the Jones kitchen table again, where Cooper has a case file opened on the table and is staring at the page.
He looks at the fireplace, and the Red Room grows superimposed. Philip circles his arms backward, begging Cooper, “You have to wake up. Wake up. Don’t die! Don’t die! Don’t die!”
The Red Room and Philip disappear, and Cooper stares again at the case file.
Smooth Jazz starts playing.
A small bright light appears on the paper. Cooper puts his pencil on the dot and starts making marks, looking around the table.
In a trance, he grabs another file. He sees two bright dots, like laser pointers. He holds his pencil, draws a straight line down the page, and then circles something. He moves the pencil up the page and draws a ladder with stairs next to them.
Cooper makes a mark next to Anthony Sinclair’s name. Then he grabs another case file and opens it. He sees another dot and makes a mark next to the terms of the Investigating Officers “Det. Loomis & Det. Stockton.”
Cooper draws a ladder in the middle of the page. Then he draws a set of stairs above it with a curvy line connecting the detectives’ names.
Cooper comes home safely, but not without turbulence. Strangers are inspired to help him.
We see security guards several times in TPTR. For example, consider how stoic the guard in Part One was when Sam met Tracey in the lobby of the Glass Box complex. Would that guard have helped Dougie Jones in this situation? Would he have brought him home?
The concept of Home is strong in TPTR. One could posit that the idea of Home is the McGuffin being chased here.
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