Thursday, April 16, 2009

Judy, Judy, Judy

(NOTE: This is a revised version of an article that first appeared in Wrapped In Plastic 75)

In Fire Walk With Me, long lost FBI agent, Phillip Jeffries, says, "Well now, I'm not gonna talk about Judy. In fact, we're not gonna talk about Judy at all. We're gonna keep her out of it."

Who is this mysterious person that Jeffries mentions? Is Judy important or is she some piece of nonsensical fluff thrown into the film by David Lynch and co-writer Robert Engels? Can her identity be gleaned from clues in the film, script, or series?

The answer to the last question is: Yes. But here's the catch; Judy has a different identity depending on which version of FWWM you examine. Judy is a character (or an idea) that changed as FWWM evolved through scripting, shooting and editing.


The Judy of Twin Peaks

The most popular theory about Judy is that she represents another missing or murdered victim like Teresa Banks or Laura Palmer. She fits into a cyclical pattern suggested by the film and series – a girl (Laura, Teresa, Judy) is killed; an FBI agent (Cooper, Chet Desmond, Phillip Jeffries) is assigned to find the killer. The case is never completely solved because the agent ends up missing (or in Cooper's case, severely compromised).

Fire Walk With Me describes Phillip Jeffries as "long lost," suggesting Jeffries "disappeared" while on some assignment. The film also features the disappearance of FBI agent Chet Desmond who has been investigating the murder of Teresa Banks. We know from the series that at least part of Cooper will disappear after he solves the Laura Palmer case. (Cooper's "good self" will be trapped in the Black Lodge.) So the pattern is compelling: three agents disappear while on assignment; two obviously investigating the death of a young woman. Connect the dots and surely one can assume that the third missing agent (Jeffries) was also investigating the death of a young woman, in this case, Judy.

It's a great theory. It fits nicely with the facts established in the series and (apparently) in the film. It's a clean and precise way of tidying up an annoying loose end. And it provides more relevance for the presence of Phillip Jeffries in the story. What it does not do, however, is explain why—at two hours, eight minutes and 21 seconds into the film—an image of a monkey appears on screen and clearly says the word, "Judy." This very deliberate scene suggests something else entirely about Judy. But what?

The Judy of the Scripts

The monkey does not appear in either the pre-release or final draft of the FWWM script. However, the name, "Judy" does. In fact, the various scripts provide some tantalizing clues about who Judy could be.

In an early draft (dated July 3rd, 1991) Phillip Jeffries first appears in a Buenos Aires hotel where the head clerk hands him a note from a "young lady." Soon after, Jeffries appears in Cole's office in Philadelphia where he tells the assembled agents he's "not gonna talk about Judy." Jeffries says, "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." Then Jeffries drops a fascinating detail: "Her sister's there, too. At least part of her."

This early draft of the script provides strong evidence that Judy was a living person whose note to Jeffries compelled him to go to Philadelphia to tell Cole, "everything." (After all, "Judy is positive about this.") This script also introduces a second mysterious person to identify – Judy's sister. It is possible that this sister may be Josie Packard who "died" in the TV series but whose spirit seemed to live on in the walls (and drawers) of the Great Northern hotel. Robert Engels attempted to clarify some of these early draft mysteries in an interview that appeared in Wrapped In Plastic 58: "The thing behind Judy has to do with where David Bowie [Phillip Jeffries] came from …. He was down there [Buenos Aires], and that's where Judy is. I think Joan Chen [Josie] is there, and I think Windom Earle is there. It's this idea that there are these portals around the world, and Phillip Jeffries had one hell of a trip to Buenos Aires and back! He really doesn't want to talk about Judy because that reminds him of whatever happened to him." When asked if Josie, therefore, could be Judy's sister, Engels replied, "Yes. Yes, I think that is true."

But when Lynch and Engels revised the script for the shooting draft (dated August 8th 1991), they altered aspects of Judy's identity. In the later draft Jeffries still receives a note from the head clerk (who says a young lady left it) and Jeffries also tells Cole that "Judy is positive about this." But he makes no reference to Judy's sister. Instead, he says he "found something in Seattle at Judy's." This line now links Judy to Teresa Banks and Laura Palmer—all three women lived in Washington State. It also suggests that Judy could have had some interaction with the Lodge residents (particularly Bob) who exist in the Pacific Northwest (where they physically manifest themselves).

So we know that Judy could be related to Josie. She could be alive and in Buenos Aires—or she could be dead and from Seattle. But none of this matters because all evidence about Buenos Aires and Seattle and Josie was deleted from the final version of FWWM. All we know for certain is that Phillip Jeffries mentions Judy and 100 minutes later so does the monkey.

So we are back to the question: Who is Judy and why does the monkey say her name?

The Judy of Fire Walk With Me

David Lynch and Robert Engels originally envisioned "a whole other set of mythology" to include in FWWM. Judy and her sister were products of that mythology. But this mythology had to be abandoned when Lynch realized that the additional backstory was too burdensome for one film. As a result, he likely deleted most references to Judy during editing. But Lynch may have been stuck with one reference to Judy he could not easily remove.

Jeffries makes a dramatic entrance into Cole's office and his very first line is the one about Judy ("I'm not gonna talk about Judy"). It's a great line, wonderfully delivered by David Bowie. What's more, it establishes a detached and incoherent feel to Jeffries and it reinforces his other-worldly nature. The line is also a part of one long continuous take in which Jeffries enters the office and confronts the agents. As such, there was no way for Lynch to remove the line without disrupting Jeffries' introduction to the scene. In other words, given the construction of the scene it would have been impossible for Lynch to bring Jeffries into the office, establish his physical position in relation to the other characters, and also delete the line. To do so, Lynch would have had to re-shoot the scene, an unlikely endeavor given the time and money it would to take to re-assemble the actors and re-establish the set.

So Lynch was stuck with a line about Judy. But because the original and complex identity of Judy (Josie's sister or first murder victim) was now abandoned, Lynch had to provide a new identity for the mysterious Judy, especially since he was trying to make FWWM a stand-alone film.

And that's just what David Lynch did; he found another persona to attach to the name. That persona was Laura Palmer.

Lynch reintroduces "Judy" to the film after Laura Palmer has been killed. He deliberately places a close-up shot of a monkey uttering the word, "Judy," just before he cuts to another close-up of the dead Laura. This simple edit obviously establishes a connection between the name and the character: "Judy" is said/Laura is shown.

So, OK, if Judy is Laura, what's it all mean? I admit there is no easy – or exclusive – answer to this question. Any interpretation is subjective, any "solution" dependent upon the predilections and analytic approaches of the observer. The short and simple answer is that Laura Palmer was a convenient candidate to become "Judy." Lynch needed to provide some identity and who better than Laura?

Of course, we expect that, in Lynch's mind, there is some deeper meaning – some substantive connection – between Laura and Judy. Perhaps in a self-contained, "stand-alone" FWWM the mysterious Judy simply becomes a "code word" for Laura, a symbolic representation of the idea of Laura Palmer.

Names and identities have always been fluid concepts in Lynch's work; any study of Lost Highway or Mulholland Drive shows this to be the case. Perhaps Judy functions as a "secret name" for Laura, one that empowers her or someone else. David Lynch's lyrics to the song, "Floating," from Julee Cruise's 1990 album, Floating Into the Night, contains the intriguing lines: "When you told your secret name/ I burst in flame and burn." This line echoes Laura's comments to Donna about falling in space: "For a long time you wouldn't feel anything. Then you would burst into fire … forever." Are secret names words of power? Do they tap into an energy that is unfathomable in "reality?" Lynch's investigation into the slippery nature of names and identity hints at these provocative themes.

But let's be careful. Assigning meaning to Lynch films is always a tricky proposition and nowhere is that more true than with FWWM. The film was continually evolving through scripting, shooting and editing. The purpose of characters, scenes and dialogue changed as Lynch sought to create a consistent, cohesive work that transcended the trappings of the televised series. Lynch resisted committing to any specific backstory and was open to changing and redirecting the story material as the process continued. Robert Engels explained that the story behind FWWM was never concrete: "It was free-form – David would start to look at something and say, 'I think it is more interesting to go this way.'"

So with that in mind, Judy could be anything or anybody: A living being, an unknown victim—or Laura Palmer. Or maybe she is nothing more than the original inspiration to Robert Engels when he wrote the script: "Judy – the name is from my sister-in-law. I think that's where it came from."


37 comments:

  1. Interesting ideas, John - for whatever reason, I'd always rather assumed that Judy was someone who'd vanished but was close to Jeffries, who he'd been trying to find - the use of the first name made me conclude a personal connection.
    Then again, given David Lynch's fondness for all things to do with Oz, I'm not surprised that someone with the first name Judy is introduced into the overall story, as we already have Major Briggs's forename to complete the 'set'!
    J

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  2. John,
    Lynch has had a fascination with The Wizard of Oz for some time (We see it in Blue Velvet and, of course, Wild At Heart). And here's a strange thing: When Lynch appeared on the Tonight Show in 2001 to promote Mulholland Drive, he made sure to say "hello" to someone named "Judy" in the audience!

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  3. Judy is the Top rung of the Mike-The Arm-BOB-The Tremonds-Blue Monkey-Judy ladder. In other words: The Beings from the Black Lodge: "We're not going to talk about Judy/Nervous about meeting 'J'."

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  4. In the same vein, the synthesis I had come up with is that Laura is the earthly manifestation and Judy the Lodge version of the same spirit. Maybe this is true of everyone (they have their Lodge familiars or archetypes they are aligned with) and Laura is just the soul in conflict that Lynch is exploring in this world or maybe Laura is one of a special few who is a manifestation of some archetypes who inhabit the lodge (although I prefer the idea that she's an aspect of the same spirit rather than a spirit "trapped in an earthly body" - maybe it's a Lutheran thing).

    This works with the Oz thing (the "man behind the curtain" of the female protagonist Dorothy - whose journey, by the way, is about facing the transition to adulthood - is Judy Garland), and pulls the lodge thing closer to Coop even before he leaves for TP, and knits in with the Final shot of Laura in the film (or should I say the final shot is Judy).

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    1. The final shot according to this logic (to which I would also subscribe) would then include laura - or at least laura straight after her death, and not yet evolved to judy if one is to follow judy as a victim-compiling and thus reigning spirit theory as discussed below

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  5. Steve - interesting idea about a Lodge hierarchy. A "whole" Mike is clearly in charge of Bob at the end of FWWM. But who does Mike answer to (if anyone)? Judy could be a superior.

    Todd - I like the idea of "earthly manifestations" of spirits. It leads to all kinds of questions: Does everyone have a spirit self in the Lodge? If so, who or what are they? One would assume that Bob is Leland's spirit self, though the series is explicit that Bob was "invited in" by Leland-- implying that Bob could inhabit other weak souls. Of course, as you also say (I think), Judy and Laura could be the same spirit but with different names depending on where they are (Lodge or Earth) This gives new insight into Jeffries' line about Cooper: "Who do you think that is there?" Perhaps Cooper has a different name, too.

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  6. The Tremond Grandson clearly commands Bob to "Fell a victim" in FWWM. I see The Tremonds above Mike & Bob & The Arm in the hierarchy. Mike being "good" now that he has cut off his evil arm even though The Arm has taken on its own evil identity. Seems to me Judy is above them all and may even be one of the Blue Monkeys from OZ.

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    1. I always thought he was pointing at someone saying they "fell (became) a victim"

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  7. Steve,

    I read the Grandson's comment as less of a command and more of an observation. Bob has "fell a victim" (past tense). Teresa is dead and her garmonbozia fill the bowls on the formica table.

    That's one way to read it, anyway.

    John

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    1. The word 'fell' in the quote "fell a victim" isn't the past tense form, as in 'I fell over'. The dictionary defines 'fell' (in the second sense of the word, listed after 'the past tense of fall') as 'to cut or knock down: to fell a tree; to fell an opponent'. This employment of the word makes sense in terms of the statement 'fell a victim' (uttered as a command), while the past tense usage would have to be 'the victim fell'. Even this is awkward given the context, the proper form being 'the victim has fallen', or 'the victim has been felled'. I always assumed that the statement was intended as a reference to the logging industry in Twin Peaks and the fact that the ancient evil haunting the area (which Truman first tells Cooper about when letting him into the secret of the Bookhouse Boys) resides in the woods outside the town. The presence of two woodsmen among those meeting above the convenience store underscores this - just as trees are felled and then processed at the Packard Mill in order to help sustain the economy of the town of Twin Peaks, so the entities from the Black Lodge fell victims in order to gain sustenance in the form of the garmonbozia extracted from them. The two woodsmen are most likely the doppelgangers of two unsuspecting lumberjacks who became victims of the Black Lodge many years before the death of Laura Palmer.

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    2. The expression "fell victim" as in "she fell victim to the killer" is a familiar one. "She fell a victim to the killer" would be a little more awkward, but seems possible. It's no more awkward than commanding someone to "Fell a victim."

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    3. I've always felt like "fell a victim" is an observation that BOB fell a victim of Mike. And it's his "pain and sorrow" that fills the bowls on the formica table... notice that only MFAP touches the table top. BOB doesn't dare.... it's like MFAP is celebrating his victory over BOB.

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  8. This perfectly articulates a lot of ideas I had about who or what Judy is. Fantastic article.

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  9. In the early 2000's my sister and I posted the theory that Judy was infact a code for Laura or a seperate identity after she had died. It was met with specticism by people who thought it was more logical that Judy was Jeffries Annie. I still can't quite figure that one out.

    While Engels co-wrote FWWM, it is clear that Lynch was the man behind the wheel and I feel that no matter what Bob thought, Lynch knew that Judy was in reference to Laura.

    Lynch, contrary to popular belief, seems to want to give meaning to things he sees as being weird for weirdness sake. You can see this clearly in the original Harley Peyton script for the introduction of the Tremonds to the final Lynch directed result. Lynch took an oddity that was probably done just to be strange and gave it far reaching implications.

    It is in this episode that we learn that Leland knew BOB as a boy. It is this episode where we see the grandson who Mrs. Tremond says unhappily is studying magic. It has always been my belief that the grandson is the spirit form of Leland. When we see the mask in FWWM this is representative of BOB's possession. This connects with the monkey that appears under the mask after the grandson has lifted it once: The same monkey that says "Judy".

    I believe that the monkey was the unevolved form of what Laura's spirit was to become when she was possessed by BOB. However, by the end, she is dead and is no longer in danger of becoming BOB. This is why the monkey is now blue and free of the mask. Remember during the traffic jam scene Mike said mysteriously to Laura "the look on her face when it was opened, there was a stillness..." he followed this by saying that the thread would be torn.

    The thread he talked about was the thread from BOB possessing father to BOB possessing daughter. When Laura was dead the thread was torn. The look of stillness which Mike referenced was the look on Laura's face when the plastic was opened. Teresa certainly didn't have a look of stillness on her face!

    Judy is the spiritual name of Laura when she was reborn. This is why in the dream sequence which took place 25 years later the girl who looks like Laura says "I feel as if I know her but sometimes my arms bend back". She is now someone else and free from the pain. It is interesting to note that Laura is the only one we have seen in the Red Room who is dead and not a doppelganger.

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  10. Erin,
    Thanks for this thoughtful and substantive comment about "Judy" and Laura. You have obviously put much thought into it. I very much like your ideas about the "thread being torn," "the look on Laura's face" and the fact that the Laura of the Red Room may be a new spiritual being. All great stuff!

    I whole-heartedly agree that "Judy" is something more than a lost character from the Philip Jeffries backstory. "She" is a wonderful Lynchian concept -- a keyhole through which we can glimpse a richer, more mysterious Twin Peaks universe.

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  11. I sort of wondered if it might be a Vertigo reference. Since Madeleine Ferguson is named after Madeleine Elster and Scottie Ferguson, maybe "Judy" is a reference to Judy Barton, the true identity of Kim Novak's character who was posing as Madeleine Elster.

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    1. This idea just arrived to me too yesterday. It also led me to speculate that, had the franchise continued, Sheryl Lee could have returned - with red hair of course - as Judy, Bob's NEXT victim (after all, Jeffries has just visited a realm beyond time) - which also makes the monkey's incantation of this name an appropriate transition from Fire Walk With Me into whatever the next film would have been. If only!

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  12. Here Judy seems to be quite an enigmatic personality. A perfect thriller!

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  13. Somebody reminded me recently that Major Garland Briggs did mention the name "Judy Garland" shortly after Windom Earle tapped into his White Lodge memories near the end of the series. While it's possible the Major was simply spewing gibberish when Truman and Cooper called him by his name "Garland", it actually makes sense that the name Judy would be on the Major's mind if he had met Judy in the White Lodge and the sodium pentathol administered by Earle earlier that day was still provoking the Major to blurt out facts he had subconsciously accumulated during his visits to the White Lodge.

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  14. I'm grateful for the ideas expressed in this blogspot - it cleared up alot of questions I had about the mention of 'Judy' in FWWM. I'd just like to add the following comments regarding the issue: If you read the early FWWM script available via the Lynchnet site the impression it gives is that Cooper (having previously had a dream about events happening in the FBI office on that very day) is expecting Jeffries to talk about Judy, and Jeffries himself seems to be expecting that he'll be asked about her. The exchange goes: Jeffries - "I'm not going to talk about Judy. Keep Judy out of this." Cooper - "But..." Cole - "STAND FAST, COOP." One can't help feeling that if Cole had let Cooper finish his sentence then he would have made reference to his dream and the fact that Jeffries' refusal to talk about Judy ran counter to the events in it. (Of course this is sheer speculation but what else in Jeffries' statement could Cooper be objecting to and why?) As for Jeffries, he appears to be anticipating that he's going to be asked about Judy as soon as he enters the room (it's the first thing he says) despite the fact that it isn't even clear that anyone else there knows to whom he's referring. It seemed to me upon reading the scene that Jeffries somehow knows the content of Cooper's dream and isn't willing to play the role assigned to him by the events contained within it. It's as if he doesn't want to talk about Judy because he thinks that Cooper is actually the evil doppelganger of Cooper we see in the final episode of the series (the very next thing Jeffries says after he refuses to talk about Judy is "Who do you you think that is there?", pointing at Cooper). Jeffries is therefore unwilling to divulge any information about Judy because he thinks that Cooper is an emmisary of the Black Lodge and, having witnessed the denizens of the Black Lodge calling out for a new victim while in the room above the convenience store, he doesn't want to put Judy in any danger by talking about her in front of one of their number. Remember that according to the early script it was via something Jeffries found "in Seattle at Judy's" that he gained some kind of access to the meeting above the convenience store, suggesting that Judy had a connection (whether she knew it or not) with the world of the Black Lodge such that Jeffries has grounds for concern regarding her safety. If anyone has any thoughts about this interpretation, either positive or negative, I'd love to read them. Thanks again for the great blogspot.

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    1. Very interesting...this also seems to fit with what I've been thinking after seeing FWWM just now.
      When Annie visits Laura in her room, she tells her that the GOOD Cooper is already trapped in the lodge and that she has been with him. But given that all those events are way in the future(since Laura is clearly still alive and Dale doesn't come to Twin Peaks until after she died), doesn't this mean that Cooper is already evil all along? I guess it might have just been an oversight in the script, but I wonder...he's also already in the Black Lodge when Laura died. Now even though this might be a dream on his part, I still wonder. Just as I always wondered if Windom Earle wasn't already his evil doppelgänger outside in the woods, after his hair had turned grey(possessed by BOB?). This would explain that he wants to lure Dale in the black lodge, using Windom Earle, who might have just simply wanted revenge before.

      But if Dale is already evil since the beginning(it would explain Jeffries line about him), I don't know how to interpretate the last episode of Twin Peaks. Do we, instead of seeing the good Coop going in just witness the evil Cooper enter the Black Lodge? And when he runs into his doppelgänger, that is actually the Cooper who entered the lodge? And that what we see after Cooper enters the lodge is actually all the good Cooper, until he runs into himself, meaning that he's already trapped in there for at least a year?

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    2. Another hint to this theory(taken from a youtube video):


      "You stole the corn. I had it canned over the store!" The corn is the pain and sorrow that MIKE/MFAP felt for Laura's death. This was stolen when Dale(!) told Laura not to take the ring. Without the ring it would have been possible for BOB to possess her. Laura would not die but would be in constant torment under BOB's control.

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    3. In relation to your questions about time and the Black Lodge: David Hughes, 'The Complete David Lynch' (London: Virgin Books, 2001), contains brief descriptions of the numerous scenes that were cut from the final version of FWWM. Here's the third-last scene summarized by Hughes: "After Laura's body is found, a further scene takes place, preceded by a caption that reads 'TWO MONTHS LATER'. Annie Blackburn is rushed into the emergency room as a paramedic tells a nurse that Sherriff Truman found her at Glastonbury Grove. Meanwhile, in the Red Room, The Man From Another Place repeats his earlier words to Cooper: MFAP - 'Is it future? Or is it past? Do you know who I am? I am The Arm. And I sound like this.' The Man From Another Place puts his hand in front of his lips and makes an Indian whooping sound. Cooper (looking at the table) - 'Where is the ring?' MFAP - 'Someone else has it now.' Cooper - 'That would indicate that it's the future.' MFAP - 'The later events have never been kept a secret.' Cooper - 'Where am I? And how can I leave?' MFAP - 'You are here and there is no place to go... BUT HOME!'" The next scene shows Annie in hospital, repeating what she said to Laura in the latter's dream earlier on in the film: "I've been with Laura and Dale. The good Dale is in the Lodge, and he can't leave. Write it in your diary." The nurse slips the ring off of Annie's finger, goes into the next room, and puts it on. In the scene after that, Truman breaks down the door of the bathroom in Cooper's room in the Great Northern hotel, and finds Cooper on the floor, his head bleeding from having struck it on the mirror (which we see him do in the final episode of the series). Cooper laughs and tells Truman that hitting his head on the mirror "'struck me as funny, Harry. Do you understand me, Harry, it struck me as funny.'" When Doc Hayward tells Cooper to get back into bed, the latter says: "'But I haven't brushed my teeth yet.'" Regarding The Man From Another Place, it's interesting to note that, in the original German version of 'The Interpretation of Dreams', "Freud called the locus of the unconscious 'ein anderer Schauplatz', another scene". Jacques Lacan, 'On a Question Prior to Any Possible Treatment of Psychosis', in: 'Ecrits', trans. Bruce Fink (New York and London: W. W. Norton & Company, 2006). (The German word 'platz' can simply mean 'place'.) And Freud tells us that time doesn't exist in the unconscious: our earliest impressions remain as fresh as the day we saw/heard/felt them. The Black Lodge exists outside of time and space: its denizens enter time (i.e. reality) only once every few decades, as evidenced by MFAP's fascination with the Formica table top (Formica wasn't invented until the second decade of the 20th century). Perhaps the denizens of the Black Lodge are able to stay outside of time for so many years because BOB's murders produce a huge amount of sustenance (i.e. Garmonbozia, 'pain and sorrow'). The gathering that Agent Jeffries witnesses, where the Tremond/Chalfont kid calls for new victim, must've been arranged in order to 'fill the larder', so to speak; since if Garmonbozia was readily available, no one would care whether a can of it was stolen.

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  15. Hello there! Do you usuallyutilize online social networks?

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  16. I`m compelled to say that David Bowie as Phillip Jeffries in a hotel room of an hotel of the Avenida De Mayo avenue??? interesting... I spent a season living over there before October 1999, previously to my trip to Fort Lauderdale, FL. living on most of all of those hotels in that avenue and nope... no owls... and no residual fragments of any origin or nature in lounges, rooms or hallways-corridors...no convinience stores with a second floor for staff reunions. just kiosks with fragmented clerks. greetings from Buenos Aires. elias

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  17. P.S.: ...and by the way I meet in those days, in 1996 when I was living in those hotels of Avenida De Mayo, a girl called Jennifer, from the Vancouver area. If she is still here, still around, please tell her that she was right about the weird plants, the roses and the Litmus test. we are here all lost and long time gone. greetings again from Buenos Aires. elias

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  18. This might be old news but someone on YouTube says that Leland says (twice) that he knows BOB from "his grandfather's lake house." Who's missing from that equation? The grandmother. Mrs Tremond is Leland's grandmother and the grandson is Leland at the age he let BOB take him. When the grandson wears the mask, BOB is afoot.

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  19. I love your theory regarding the character, nicely done!

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  20. BOB travels the earth through human hosts and members of the "animal life" (owls) as stated by the deleted scene lumberjack. Spirits can also travel through power lines which also ties into the uttered words: "electricity". Judy is in Buenos Aires in South America. There are no owls there. But there are Black Capuchin monkeys. Google the face, compare it to the monkey that says "Judy". It is my belief that Judy is either Jeffries's Laura Palmer, or a lodge spirit the equivalent of BOB who travels through monkeys in South America. So yes...

    ~The monkeys are not what they seem.~

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  21. I recently had a thought about a possible identity of Judy - I wonder whether anyone else has considered a similar scenario: could Judy have initially been intended as Josie's Black Lodge doppelganger?

    To elaborate - we see Black Lodge doppelgangers refer to their other selves as familial relations (for example Laura's lodge doppelganger - although this may simply be because of the Maddy connection). From what I understand in the script, Judy was originally supposed to be Josie's identical twin sister. It is possible that Josie's spirit is in the Black Lodge because we saw her trapped in the wood at the Great Northern, and the Log Lady's husband may be trapped in the log, and could be one of the woodsman in the convenience store scene. In this scenario Judy could be the lodge doppelganger form of Josie's spirit, thus being her 'twin sister'. Also Jeffries seems to have some ability in identifying doppelgangers as he points out BOB/Cooper (dont you know who this is), so Judy might similarly be a doppelganger for Josie, also stuck in the lodge.

    I'm not sure how plausible a theory it is, but it could have been a route to linking Josie's death in the show to the Black Lodge, while also connecting it to the Jeffries storyline, and perhaps was never fleshed out due to the film not being a success.

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  23. Bob entered Cooper at a young age, or he like Laura, is a "child" of bob, since his mother new of him. He followed someone in the street because he wanted some run (to play) and blacked out, came to and the person was dead. A girl told him she lkked him and died that night (bob killed her to keep her away from him, just as Joan died by Bob to protect Cooper, his host). I also believe Cooper, not Earle, possessed by Bob killed Caroline because she loved Cooper. Earle tried to kill Cooper for his crime, but bob already had his soul, so for hurting Cooper/bob, his soul was taken as punishment.

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  24. Has anyone realized that Major Briggs says the name of Judy Garland at the end of season 2 (just after he escapes Windom Earl) I believe that Major Briggs is not himself (he has been drugged by Windom with "lopelidol" the substance that Gerard uses to "avoid" mike get into him) he is saying strange sentences about a castle and a rumanian king, really weird

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  25. Could there be a clue in the deleted scenes from FWWM that we now have? Meaning, a reference to Chet Desmond as a "little monkey" per Sherriff Cable?

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  26. Great thoughts all. Amazing that you all were so deep in this back in 2009. The new series must be driving you wild, even just 8 episodes in.

    Speaking of the new series, I would be more than a little disappointed if the name Judy isn't mentioned during this run. After episode 8 though, I have a feeling a few you in the Judy is Laura/lodge spirit camp will be vindicated by the end.

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