From: UnoJ
Subject: Re: Differnces in early script...(long?)
Organization: California Institute of Technology, Pasadena
Date: Fri, 11 Sep 1992 23:45:17 GMT

For all of you who missed this, this is a reprint of
Marc Hauser's post of the original scene where David
Bowie/Phillip Jeff(e)ries shows up in Philadelphia.

In article <1992Sep5.032744.16407@news.acns.nwu.edu>
mhauser@casbah.acns.nwu.edu (Marc Hauser) writes:
>tv monitor, there is a cut to:
>EXT. BUENOS AIRES HOTEL-DAY
>PHILLIP JEFFRIES checks into the hotel.
>
>So there he is in South America, and then 
>we read, 
>BACK ON COOPER
>He runs back out the door into the hallway.  Behind him at the end of the hall
>a door opens and _Phillip Jeffries who moments ago was in Buenos
>Aires_{Italicized} enters the hallway...
>
>Obviously, this is all meant to shed a little more light on the picture, which
>MR. Lynch convinently left out of the movie.
>Jeffries moves into the room, and here is the text of what he says, that is,
>in my script, though the whole sequence is different.  I will copy it as best
>I can so you can tell the difference...
>
>JEFFRIES: I want to tell you everything, but I don't have a lot to go on.  But
>I'll tell you one thing: Judy is positive about this.
>ALBERT: How interesting.  I thought we were going to keep Judy out of this.
>JEFFRIES: Listen to me carefully.  I saw one of their meetings.  It was above
>a convenience store.  
>ALBERT: Who's meeting?  Where have you been?
>COLE: For God sakes, Jeffries, you've been gone damn near two year.s
>JEFFRIES: It was a dream.  We live insides a dream.
>ALBERT: And it's raining Post Toasties.
>JEFFRIES: NO, NO. I found something...in Seattle...at Judy's...and then,
>tthere they were.,  They sat quietly for hours.
>
>INT ROOM ABOVE THE CONVENIENCE STORE-DAY
>
>SIX PEOPLE IN A LARGE, BARREN, FILTHY ROOM.  CHEAP PLASTIC STORM WINDOWS FLAP
>IN THE COLD WIND.  I NTHE FOREGROUND THE MAN FROM ANOTHER PLACE (MIKE) AND BOB
>SIT AT A FORMICA TABLE.  BEHIND THEM ON PLASTIC TORN CHAIRS HUDDLE MRS.
>TREMOND AND HER GRANDSON.  TWO BIG WOODSMEN WITH FULL BEARDS SIT QUIETLY.
>
>{This is mostly subtitled...}
>FIRST WOODSMAN: We have descended from pure air.
>MFAP: Goin up and down.  Intercourse between the two worlds.
>BOB: LIght of new discoveries.
>MRS TREMOND: Why not be composed of materials and combinations of atoms?
>GRANDSON: This is no accident.
>MFAP: This is a formica table.  Green is its color. [He touches the table].
>FIRST WOODSMAN: Our Wold.
>{sorry, that's 'World'}
>MFAP: With chrome.  And everything will proceed cyclically.
>SECOND WOODSMAN: Boneless.
>MIKE: Yes, find the middle place.
>BOB:[screaming] I have the fury of my own momentum.
>GRANDSON: Fell a victim.
>MFAP: Fire walk with me...
>BOB: [claps his hand and a circle of fire appears in the room.]  Fire walk
>with me
>
>THE RED ROOM
>
>[Bob crawls into the Red Room and Mike starts to yell and leaps in after him.]
>
>SECOND WOODSMAN:  Thus time moves on.
>
>FBI OFFICE.
>
>JEFFRIES: I followed. [he cries]. The ring..ring...
>COLE: Albert, I'll take that second mineral water.  [AFTER HESIATAION, ALBERT
>GETS THE MESSAGE AND LEAVES THE ROOM.]  Phillip, let's calm down and get all
>of this interesting story on paper.  [COLE TRIES TO RAISE SOMEONE ON THE
>INTERCOM BUT IT DOESN'T SEEM TO HAVE ANY JUICE.]  Hello...Hellol...[HE IS
>GETTING NOTHING.  THE STATIC BEGINS TO BUILD ON THE INTERCOM.  THE WIRING ON
>THE WALL AND THE FLOURESCENT LIGHTS START TO HUM AS WELL.]
>Let me hear some good news.  My device is faulty. Where the hell is the sound
>in this thing?  Mayday...
>
>HEARING 'MAY', JEFFIRES TURNS AND STAES AT A _CALENDAR ON THE WALL_ MOVE INTO
>JEFFRIES.
>?
>JEFFRIES: MAY? 1989?  [STARING AT THE CALENDAR, IT IS 1989.]
>
>{To save space, they check the tape and see that he was there, although now he
>has disappeared...The next scence has him reappear in the hotel in Buenos
>Aires, in a hallway with terrified workers and a blackened, smoking wall.}
>

My opinion: Reading over the reaction of Jeffries: "The ring..the ring...
it seems to be safe (ha ha, yeah right) to hypothesize that the ring
of fire that appears is some kind of device/symbol that Bob and Mike
might use to shift planes of being. It also appeared in the uncut version
(from an earlier posting) after the Grandson snaps his fingers in Laura's
sleep/picture sequence. I have a feeling that the Owl Ring is connected
to this and may enable the beings from the other plane to have some
access to our own physical plane. The difficulty with this theory is 
that Bob's possession of Leland must have been temporary, and mostly
when he was in the presence of Teresa Banks. It would also mean that
the LMFAP is sort of evil; I don't think anyone in the other plane
is necessarily good. Maybe the filthy room represents the Black
Lodge where our spirits go through before gaining a higher nirvana.
And for some souls/spirits the change is exactly what they want to
avoid. In other words, they are so addicted to afflicting pain and
sorrow to others (and hence receiving the garmonbozia) that they are
quite content of sojourning in the Black Lodge ad lib.
The final scene where the LMFAP (as the arm) connects himself to
the OAM (the body) could signify several things: that the OAM really
lied to the Twin Peaks bunch and his ways are far from redempted, or
that he was sincere but in the presence of the LMFAP he is his old
self again, i.e. evil. Incidentally my conclusion would be that
the LMFAP is evil incarnate in the TP universe. He offers the ring
to LAura in the dream for example.

What still baffles me is how both agent Desmond and agent Cooper
knew where to go in the trailer park (Fat Trout). One look at
the electricity/telephone pole and off they went in the "right"
(but completely baffling for HD Stanton) direction. What did the
pole signify to them? 


   Jus' some ideas

                    UnoJ