Jack Heart: Tookie Memorial Post, Sirius Calling I

This heart tumult is my signal
to you igniting in the tomb.
So don’t fuss with the shroud
And the graveyard dust.
Those get ripped open and washed away
In the music of our final meeting.
And don’t look for me in human shape,
I am inside your looking. No room
For form with love this strong.

– Excerpt from No Room For Form by Rumi

Special Thanks to Samantha S. & An Nwn

Tookie died today, he was very sick and in a lot of pain, so perhaps it’s for the best for him, not for me though. Yes I love the proverbial Her, I wouldn’t be here if I didn’t, but there are a lot of issues she chooses to leave unresolved. I never loved anything like I loved that little pink cat; with him there were no issues.

All he ever wanted was for me to be happy. He was full of mirth, bobbing his head up and down like a lizard as he pulled tissues from the dispenser, batted my pens and cigarette lighters into places where I couldn’t reach them; or he acrobatically surfed the walls of my apartment – a pink blur with piercing green eyes daring me to try and catch him.

Other times he would sit for hours on top of the computer tower and watch me type. He hated when I left his sight, and would be waiting in the foyer like a dog when I came home.

He could open French doors as easily as any human, and when I locked my ex-wife’s cat, a nuisance but Tookie loved him, in the bedroom Tookie would stoically get up when he caterwauled, scamper to the door in his dainty cat trot and jump up grabbing the handle with his paws till the door swung open. He would then come back to his sentinel post watching me.

Sometimes he would leap seemingly impossible distances from his perch onto my shoulder, careful not to scratch me and frantically lick and nuzzle my face.

He had many endearing habits that said he was more human than animal, but perhaps the most striking – and I keep very late hours – when I finally did go to bed, he was always sleeping under his blanket in his chair abutting my bed, he would get up, walk over my chest and lick my face, then he would go back to his chair and get under his blanket and go back to sleep. He did this every night no matter what time till his final two days when he turned yellow and died…

He was my only companion in a very dark place. Devils are elusive, when you hunt them, you must meet them on their own terms or you will never meet them at all.

Although I don’t like it, I did not come here to terminate anything, some of those who really know me have likened me to Harrison Ford in Blade Runner, even sent me the movie. What I can identify with in that movie is the beating he takes to get the job done.

These supernatural entities which rationalism, the lie of all lies, conditions you to dismiss as superstition are in fact the only real thing you have left. There is a reason The Lord of the Rings makes for far better reading than academic history books.

If you think differently, then I dare say you are not thinking yet at all. You may be one yourself.

If you are still sentient in the aftermath of this transhuman plague that has afflicted Man, chances are more than good you are; but until you throw off the shackles of Aristotelian abstractions, you are of no use to anyone, most of all yourself. You will never reach what they call a Flow State and see things as they really are.

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They have been our collaborators, our enemies and our target audience since the very beginning. I am in contact with many of them, some by phone, some by internet correspondence and others like Her and her own are part of my life and always have been.

Those that are part of my life will never admit what they are because I have chosen to be an Outsider. I came for her, and they will not give her up. She is the battery that powers their universe. But unfortunately for them, she is also the other half of my soul…

Nevertheless, some of them love me and others hate me. The ones that hate me, because of the rules of sympathetic Magick, must form a bond with me to do me harm. Because they are virtually immortal and can alter “reality” to suit their whims, they think nothing of spending years gaining my confidence, sending piles of love letters and showering me with gifts through the mail, playing at being the adoring damsel in distress.

Back in eighty-nine, I saw and participated in things that sensuously verify everything I just told you; but because my father always taught me to believe nothing of what I hear and only half of what I see, I chose not to believe that half of my life till she woke me up. I was an easy victim, but Tookie always knew who they were.

There was one in particular from a well-known Texas family affiliated with the Hunts of H.L. Hunt; the guy who bankrolled the Kennedy assassination in Texas.

She had been calling me every other day and talking for hours for four or five years, which was kind of strange because she didn’t really read what I wrote outside of our pieces on Twin Peaks; for those she sent me both of Frost’s books, first editions, along with a lot of other things in the mail. Of course, because she is attractive and fifteen years younger than me, I did nothing to discourage her and would entertain all her various neuroses with whatever empathy I am capable of.

Tookie would invariably interrupt our phone conversations with his antics, which would grow more and more frantic as the conversation progressed. Because we would burn out the batteries on my cell phone, I always took her calls on my house phone and consequently, out of habit, it is of course cordless, at the kitchen table where the phone is based.

Tookie would jump up on the kitchen table caterwauling, he would then proceed to bat anything made of paper off the table, jump onto the window sill and noisily bat around the blinds, and then up to the top of the cabinet where I keep my important papers and folders and send those to the floor too.

He did not do that with anyone else, including Orage, with whom I also engaged in lengthy conversations. I would narrate to her as we talked what he was doing, jokingly telling her he hated when I talked to her; and she always laughed and said he was “not just a cat…”

When she wasn’t talking about her prolific assortment of psychosomatic pains and complaining about the noise being made by various construction projects being financed by the Hunts who were renovating the resort community she lives in, she liked to talk about politics. She was slightly to the right of Tomás de Torquemada and hated everyone and everything that was not as lily White as herself, except seemingly me and her step-brother, who is Mexican.

Although she was a strong supporter of VT and the plight of Syria, that was only when she had control of some of the content through certain writers who were completely under her spell. When VT’s Senior Editor Gordon Duff dismissed her proxy writer and came out in favor of Hillary Clinton in the 2016 election, singling Texas out as a particularly vile and uneducated voting bloc, I believe he called them a bunch of field hands who know nothing about unions, she fumed.

Her hatred of Hillary Clinton seemed to grow by the day; and she went to stay in Houston in the high rise apartment of a particularly wealthy branch of her family. One of her relatives, her uncle maybe, kept juicing her in what I know now was an ostensibly teasing directive that she would have to kill Hillary.

She told me that she had a dream where Hillary was dressed in a red robe and was the leader of Satanic Coven. I already knew she is extremely clairvoyant; in fact these other entities that I have mentioned – and these are two extremely powerful ones that have been known as Goddesses to some and Demons to others – professed to fear her. Since they often lied, or at least at the time I thought they did, I paid it little mind.

She told me something had to be done about Hillary; and the very next day, Hillary fainted dead away in front of the world’s media. By Election Day when Hillary broke with a big lead early, I already knew what would be the outcome. Some say the Russians, others the Jews, interfered with that election; but no one, no matter how hard they look, will ever find any proof that any human being interfered, because it was her Magick that put Donald Trump in office…

There has never been an artist of David Lynch’s caliber. For those who know what he’s saying with his art, he makes Leonardo da Vinci look like a child scribbling with their crayons. He was born to write the epithet for the Human Race as we know it. Orage and I are just doing the forensics, and that is what he did with his magnum opus Twin Peaks 2017.

In episode eight, the world has already ended with the first nuclear detonation in the New Mexico desert, but due to Quantum Immortality, its consciousness does not die with it. God-like beings intervene and pack that consciousness into a golden ball to continue an unfinished drama that must now be played out in a two-dimensional projection.

After lovingly fondling the ball and kissing it, the mother Goddess “lets it go and it floats up to be sucked in the flared end of a golden trombone-like contraption that rotates at the top of the great domed ceiling. It passes through the trombone and out the narrow end to be deposited into the screen, which now shows a picture of the earth. The globule flattens out when it hits the screen, then becomes part of the picture as it’s heading towards America.” (1)

August 6, 1956 under a full Moon in the New Mexico desert, a repulsive thing that looks like a cross between a frog and a flying cockroach hatches from an egg and begins crawling across the sand. Two teenagers flirt in front of a country store, as Woodsmen, the filthy agents of the Black Lodge, materialize in mid-air and float down into the empty scrubland somewhere outside of town. On a dark desert road, a man driving with his wife in the passenger seat sees the headlights of a car stopped up ahead. When they get up to the light, they see it is surrounded by dirty, unkempt men who block their way.

A man who looks like a disheveled Abraham Lincoln, rolled in soot, approaches the driver’s window and in a metallic, other-worldly voice says repeatedly “got a light, got a light….” Lights flash and electrical static crackles, as time seems to be running like an old silent movie. The man is frozen in the Woodsman’s spell and can’t speak to reply, but his wife shrieks in distorted screams that break the spell enough to stimulate the man to speed off, nearly running over a Woodsman in front of the car. (2)

The boy walks the girl to her house. They kiss tentatively and say goodnight. She goes inside retiring to her room. Dirty Abe Lincoln, unable to find a light in the desert sees the KPJK radio station in the distance. As he approaches it, KPJK plays a promo of My Prayer released only the month before by the Platters.

“When the twilight is gone and no songbirds are singing
When the twilight is gone you come into my heart
And here in my heart you will stay while I pray
My prayer is to linger with you
At the end of the day in a dream that’s divine
My prayer is a rapture in blue
With the world far away and your lips close to mine
Tonight while our hearts are aglow
Oh tell me the words that I’m longing to know
My prayer and the answer you give
May they still be the same for as long as we live
That you’ll always be there at the end of my prayer”

People in a nearby town listen, including a mechanic, a waitress at Pop’s Diner and the young girl now alone in her room. Dirty Abe Lincoln makes his way through the front door of KPJK. He asks the mesmerized receptionist for a light before crushing her skull like a grapefruit with one hand. He sees the Disk Jockey unaware of him in the next room and makes his way in, croaking “got a light, got a light.” He grabs the DJ by the top of the head and preempts My Prayer gouging the needle along the forty-five record. He then commences broadcasting his own prayer. “This is the water, and this is the well. Drink full, and descend. The horse is the white of the eyes, and dark within…” (3)

Unlit cigarette dangling from his mouth and potent Black Magick in his words, Dirty Abe Lincoln recites the verse as a verbal loop over and over again, casting a spell of sleep upon the mechanic and waitress, who faint dead away. The young girl falls asleep on her bed. The cockroach frog has come in out of the desert and takes flight, alighting on her window. It crawls inside her room and then, as Dirty Abe Lincoln continues to recite his “Jornada del Muerto”* Address on the radio, the repugnant creature crawls through the girl’s open mouth and lodges itself inside of her. Dirty Abe Lincoln culminates the spell by squashing the DJ’s head, as the girl continues in restless sleep, no longer alone in her room. She is also a Dreamer, but all her dreams are nightmares. (4)

In Twin Peaks 2017’s own doctrine of Original Sin, the collective consciousness of the human race has been infected since the beginning. Deputy Director Cole explains to the other FBI agents in the beginning of the final two episodes.

“For twenty-five years I’ve kept something from you Albert. Before he disappeared, Major Briggs shared with me and Cooper his discovery of an entity, an extreme negative force, called in olden times Jowday. Over time, it became Judy. Major Briggs, Cooper and I put together a plan that could lead us to Judy, and then something happened to Major Briggs and something happened to Cooper. Phillip Jeffries, who doesn’t really exist anymore, at least not in a normal sense, told me a long time ago he was on to this entity and he disappeared. Now the last thing Cooper told me was, “if I disappear like the others, do everything you can to find me. I’m trying to kill two birds with one stone.” (5)

Twin Peaks 2017 opens with a conversation between Agent Cooper (A.C.), now twenty-five years older, and a tall gaunt man very similar to the “Giant” from the Red Room in early Twin Peaks, but now calling himself the Firemen. They are in a room furnished from the early twentieth century, and the scene is filmed in black and white.

In the distorted vocals requiring subtitles that are characteristic of the disincarnate beings of Twin Peaks, the Fireman says “Agent Cooper, listen…to the sounds.” They both look at an old gramophone emitting a clicking noise, then back at each other, and the Fireman continues; “It is in…our house now.” A.C. looks at him, saying in clear English “It is.” The Fireman answers “it cannot…be said aloud now. Remember 430, Richard…and Linda, two birds…with one stone.” A.C. nods and resolutely says “I understand…” (6)

“Is it the story of the little girl who lived down the lane” will be repeated again by a creature that calls itself Evolution of the Arm and acts as the narrative’s overlord, right before Cooper the god is reunited with Diane the goddess in the concluding episode.” (7) It has been asked before by the Dreamer herself, Audrey Horne, in episode thirteen of Twin Peaks 2017 when she questions Charlie, who is the embodiment of the artificial intelligence overseeing her artificial realty.

It’s not. Twin Peaks the microcosm, is a stage for the much greater drama between A.C. and Diane, the male and female archetypes that embody the macrocosm. They must secure the passage of ascension for all the other souls that are their aggregate.

Like the lead mountaineer who must scale a vertical mountain wall without the assistance of overhead ropes, in order for the worthy to reach Golden Roofed Hall of the Righteous, which is the final prophecy of the Völuspá and the Crown of God in the Sepher Yetzirah, Gimil must first be crossed alone by the archetypes.

“Gimil is the path that crosses the abyss or the Wasteland of Wagner and can only be crossed in ascension by God and Goddess together.” (8)

https://www.spectacularmountains.com/windsor-mountain-with-castle-peak/

After Evolution of the Arm, A.C. meets Laura Palmer’s father beyond the curtains of another room. He, as the host for Bob, repeatedly raped her through adolescence, finally murdering her. He tells A.C. to find her, who then exits the Red Room through a portal into a night shrouded Glastonbury Grove under the Sycamore trees.

There Diane is waiting for him, and they ask each other “is it really you?” They both answer in the affirmative, and the scene then switches. It is daylight and they are in an old Chevy driving down a deserted desert road following the AT&T long lines of the the American Telephone and Telegraph Company, a division of Bell Telephone.

Diane turns to A.C. and says “are you sure you want to do this? You don’t know what it’s going to be like once we…”

He answers “I know that. We’re at that point now. I can feel it. Look, almost exactly four hundred and thirty miles.” He pulls over and stops the car saying “exactly four hundred and thirty miles.” She grabs his hand and says “just think about it Cooper.”

He gets out and looks at the power lines, the sound of electricity crackles through them. He looks at his watch and goes back to the car and gets in, saying “this is the place alright. Kiss me. Once we cross, it could all be different.” She looks scared but she kisses him and says “let’s go.”

He puts the car in gear and, as they drive, the power lines hiss and crackle loudly illuminating the inside of the car; and it suddenly becomes night.

They drive silently through the night till they come upon a small roadside motel devoid of cars. A.C. goes inside to check them in, and Diane sees herself staring at her from behind a stanchion in front of the motel. When he comes back, they go inside and begin to make love; the background music is ominous, and Diane is visibly filled with fear. My Prayer by the Platters begins to play and their love-making builds to its lyrics, with Diane crying in terror and moaning with pleasure at the same time. It reaches its orgasmic crescendo with the end of the song.

“May they still be the same for as long as we live
That you’ll always be there at the end of my prayer”

At the moment of climax, she covers his eyes in anticipation of what W.B. Yeats called the “murder”, and what Lynch gives his audience a preview of in episode one with the murder of Tracy and Sam, when their love-making triggers the trap Duncan Todd had laid for A.C. (9)

Rosarium Philosophorum or the Royal Art, which is the act Diane and A.C. are performing, must end in the death of the participants; the King and the Queen. Deviations, substitutions, clones and Tulpas just will not do. That is why when they meet in Glastonbury Grove, they assure each other that it is really them. Like all acts of creation, it begins in annihilation of what came before it, which is why Diane is so fearful.

“In one of the woodcuttings in Le Songe de Poliphile, the lovers are hacked to pieces and their severed limbs fed to the beasts of the forest; in others, the severed limbs are steeped in a vat filled with the amniotic fluid of the wind. The Royal Art is not for squeamish peasants and must be carried out with the conviction of a king and a queen…” (10)

When Cooper awakens in the motel room, it is morning. Diane is no longer there, and he is no longer Agent Cooper. There is a note on the table next to the bed for him. “Dear Richard. When you read this I’ll be gone. Please don’t try to find me, I don’t recognize you anymore. Whatever it was we had together is over. Linda.”

He says to himself “Richard, Linda!” when he steps from the room he is in a modern hotel, liberally planted with palm trees and professionally landscaped. His car is brand new, and when he makes a right turn out of the parking lot, we see he is in Odessa, population 99,940.

“Odessa is a city in western Texas. Downtown, Jack Ben Rabbit is an 8-foot-tall statue of a jackrabbit. Another 37 Jamboree Jackrabbits dot the city.”(11)

He comes to a diner with a sign out front that says “Eat at Judy’s” and pulls in. Inside there is a waitress, a cook, a very old couple and three armed Texas yahoos. He asks the waitress if another waitress works there and she tells him yes but this is her third day off. When she leaves his table, she is accosted by the three yahoos and loudly objects. He tells them to leave her alone, and they swagger over to his table, and one of them draws his gun.

Demonstrating the same super human speed and strength as his doppelgänger, he disarms them, incapacitating two of them, and getting the drop on the third. He puts their guns in the deep fryer and gets the address of the other waitress. Before leaving the seven of them slack-jawed and stunned, he tells the waitress “it’s okay, I’m with the FBI…” (12)

The address, 1516, takes him to a rundown house in a seedy part of town. In front of the house is a pole with a transformer, and below it the number 324810 over a larger 6.

In the movie prequel to Twin Peaks; Twin Peaks Firewalk With Me, which takes place before Agent Cooper is assigned to the murder of Laura Palmer, Agent Chet Desmond had been investigating the murder of Teresa Banks who was also killed by Laura’s father. An old woman using the name of Chalfont, but later in the Twin Peaks series called Mrs. Tremond, had been living in the Fat Trout Trailer Park with her grandson.

Agent Desmond found Teresa Bank’s missing ring beneath the Chalfont’s trailer, but when he stooped to pick it up, he vanished. Right before Desmond picked the ring up, he’d been examining a pole in front of the trailer with a transformer on it. He had examined the same pole and transformer in his initial visit to the Fat Trout Trailer Park. Both times he said nothing, but it’s obvious that he sees something important. “On the pole is the number 324810 over a larger 6.” (13)

Firewalk With Me covers the weeks leading up to Laura Palmer’s murder. She is alive in the movie. Agent Cooper’s assignment in the movie is to find out what happened to Agent Desmond, but by the time he gets to the Fat Trout Trailer Park to investigate his disappearance, the Chalfonts and their trailer are also gone.

He goes up to the door and knocks loudly, announcing that he’s the FBI when, from behind the closed door, she asks who it is. Laura Palmer, twenty-five years older, answers breathlessly saying “did you find him.” He looks at her quizzically saying “Laura?” She questions “you didn’t find him?” He repeats louder “Laura?” She tells him “you got the wrong house mister.” He answers “you’re saying you’re not Laura Palmer?” Confused she answers “Laura who? No I’m not her. No.” He asks “what’s your name?” Grudgingly she says “Carrie Page.” (14)

He plies her with reminders of another life in Twin Peaks, and when he tells her Sarah Palmer was her mother, a hint of recognition crosses her face. She perplexedly asks him what’s going on, and he tells her it’s difficult to explain; he wants her to come with him to Twin Peaks. She explains that she needs to get out of town anyway, and going with the FBI might be her safest way out. She tells him to come in while she gets her things and, when he does, he sees why she has to get out of town. There’s a dead man in an easy chair with a hole in middle of his forehead and his brains all over the wall…

They drive straight through, only stopping for gas. When they reach what should be the home of Sarah Palmer, it’s late at night. They both get out and tentatively go to the door. He knocks, and a woman he does not recognize answers the door. He identifies himself as an FBI agent and asks for Sarah Palmer. She tells him there’s no one there by that name and she doesn’t know anybody with that name. He asks her who she bought the house from and, after consulting with her husband who is somewhere in the house and can neither be seen nor heard by the audience, she answers “Chalfont, Mrs. Chalfont.” When he asks her what her name is, she tells him “Alice, Alice Tremond…” (15)

They walk away perplexed and step into the street. He pauses in the street as if he has just thought of something, and turns to Laura asking her what year they are in. Somewhere in the wind, as if paraphrasing Jimi Hendrix in The Wind Cries Mary, a voice can be heard crying Laura. She lets out a primordial shriek that echoes through the darkness, blowing out the electricity in the house, which suddenly goes dark. Thus ends the new Greatest Story Ever Told…

When A.C. awakens and finds himself as Richard in Odessa, Texas, the city of Jackrabbits, it is an allusion to both the finality of Rosarium Philosophorum and Jackrabbits Palace, where the portals open up in Twin Peaks.

Odessa’s population 99,940 is a number made up by Lynch and Frost. The population of Odessa is well over a hundred thousand and has been for quite some time. The 999 is 666 reversed, just like when the drug-addled mother mutters 119 in reference to America’s great staged terrorist event 911, in an earlier episode when a bomb is planted in A.C.’s car by the agents of Duncan Todd. Todd in turn is an agent of paperclip Nazis based in Argentina. That’s why the forces aligned against A.C. are seemingly being directed from a black box in Buenos Aires.

That the evil alternative universe of Judy is based in Texas should be a given for any ethical human being, especially Americans. As a Texas Ranger states about Texas in a recent commercial for television’s Investigative Discovery Channel: “Hell is a local call from here.”

It is a place where punks swagger around packing pistols with the blessings of the law; and murder is as cavalier as the corpse on Carrie Page’s couch. It is where the last decent man to occupy the White House was gunned down on a city street by Texas oil barons led by H.L. Hunt.

It is the home of John Hagee and the Christian apostasy of Zionism, which exhorts Anglo Saxons to murder the world in the name of a savage tribe of nomads from Russia impersonating the “Jews” from a bible of their own invention. If Nietzsche is right and God is dead, they killed him in Texas…

Mark Frost, whose job is to take what Lynch gives him and embellish a story around it, writes in The Final Dossier the addendum to The Secret History of Twin Peaks that Joudy, Judy’s original name “is the name of an ancient entity in Sumerian. (This dates back to at least 3000 B.C.)

The name was used to describe a species of wandering demon – also generically known as utukku – that “had escaped from the underworld” and roamed freely throughout the earth, where they feasted on human flesh and, allegedly, ripped the souls from their victims which provided even more meaningful nourishment. They particularly thrived while feeding – and I quote – “on human suffering.” 16

Frost then goes on to say that if a male and the female utukku should ever mate, it would resultantly end the world, mistakenly interjecting Rosarium Philosophorum into an already confused narrative of “distorted facts,” to borrow a term from Bob Dylan’s Idiot Wind.

The utukku or udug as they were known by the Sumerians are the most ambiguous of all the Sumerian entities, some good, some bad. Most scholars feel they should be classified as Daemons not Demons, much like the Djinn. None have the power to destroy the world.

Among the Sumerian pantheon, only Chaoskampf Tiamat can do that, because as Tiamat she created it by mixing salt and fresh water. Frost is Grasshopper to Lynch’s Master, and what he says must be taken, to borrow a pun from Tiamat, with a grain of salt…

In all truth, Frost’s books must be viewed as Twin Peaks’ version of apocrypha. If it was not overseen by Lynch, it’s not canonical, which is why episodes eight to twenty-one in season two must also be taken with a grain of salt. Twin Peaks’ Fire Walk With Me is the closest Lynch has ever come to an explanation. The movie was released about a year after season 2 ended, and Frost did not work with him in its making. Unfortunately, over half the movie was edited out of the finished version, and rights to Twin Peaks Fire Walk With Me are, maybe not so coincidentally, now owned by a company named MK 2…

In Twin Peaks: The Missing Pieces, a compilation of the over three hours that were cut out of the movie, Agent Jefferies, investigating an international criminal consortium which appears to revolve around a woman named Judy, inquires about her in a hotel in Buenos Aires and is given a letter by the desk clerk. The clerk tells him that the young lady left it for him.

He gets in the elevator at the hotel and, when he gets out, he is in the Philadelphia headquarters of the FBI. He has been missing for two years, but he is seemingly unaware of that as he tries to explain to Agent Cole and Agent Rosenfield whom he knows and Agent Cooper whom he is just meeting what he has seen.

Agent Jefferies has been riding the wave where Time does not exist; and his memories, although bordering on omniscience, are confused. The first thing he says is “I’m not going to talk about Judy. Keep Judy out of this.” Then deeply disturbed, he points at Cooper. “Who do you think that is there?” Cole and Rosenfield try to calm him, seemingly contradicting himself he then tells them “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.” (17)

Rosen sarcastically reminds him that he wasn’t going to talk about Judy and Jeffries says “Listen to me carefully. I saw one of their meetings. It was above a convenience store.”

Rosen asks him, what meeting and where has he been.

Raising his voice Cole tells him “FOR GOD SAKES, JEFFRIES, YOU’VE BEEN GONE FOR DAMN NEAR TWO YEARS.”

Jeffries tells him “It was a dream. (Takes Albert [Rosenfield] by the arm) We live inside a dream.” When Rosen scoffs, Jeffries says “NO, NO.  I found something… in Seattle at Judy’s… And then, there they were…” (18)

The scene switches from Cole’s plush high-rise office. According to the script, there are “SIX PEOPLE in a large, barren, filthy room. Cheap plastic storm windows flap in the cold wind. In the foreground the Man From Another Place (Mike) [the dwarf who will become Evolution of the Arm in Twin Peaks 2017] 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.” (19)

In a garbled voice requiring subtitles, as they all do, one says “We have descended from pure air. The dwarf says “Going up and down. Intercourse between the two worlds.” Bob, enthralled by all the pain and suffering he is inflicting, grins “Light of new discoveries.” Mrs. Tremond looking stern and flanked by her contingent of woodsmen asks “Why not be composed of materials and combinations of atoms?” And her grandson says: “This is no accident.” From across the room, as he pats the table, the dwarf leers: “This is a formica table. Green is its color…” (20)

Later in the movie, about a week before Laura Palmer is murdered, Mrs. Tremond and her grandson appear like surreal apparitions in front of the Double R Diner and give the mesmerized Laura a painting of the room above the convenience store. Later Mrs. Tremond appears in Laura’s dream inside the room in the picture and beckons Laura to come through an open door.

https://twitter.com/rinaldozoontjes/status/765915885211119617

In the second episode of the second season, Donna Hayward, Laura Palmer’s best friend and deeply involved in the investigation of her murder, is doing volunteer work for a Meals on Wheels charity that Laura also did work for, when she delivers food to Mrs. Tremond, who is bedridden.

Her grandson is there dressed in his magician’s suit and causes the creamed corn in Mrs. Tremond’s tray to disappear and reappear in his hands. Tremond explains that he is studying magic, but without prepping; as it occurred, it is an impossible feat and deeply unnerves Donna.

When she goes back there with Agent Cooper in the ninth episode of the second season, days later in the storyline, a completely different woman, who never heard of Tremond lives there. But she gives Donna a letter that is addressed to her that she says appeared in her mail. It contains a crucial missing page from Laura Palmer’s secret dairy.

In Twin Peaks 2017, electricity crackles and jumps across overhead wires as Agent Cooper’s Doppelgänger drives on a dark and empty country road. In the middle of nowhere, he comes upon the well-lit convenience store, and a Woodsman steps out from the pumps to meet him. They walk silently together up the stairs on the side of the building and disappear into a portal when they reach the top. They reappear in another dilapidated building. The Doppelgänger addresses another Woodsman seated in front of what looks like a 1940s-style transmitter “I’m looking for Phillip Jeffries.” (21)

The Woodsman throws a switch, and there is crackling electricity and a whirring mechanical sound as everything vibrates. When it stops, another Woodsman leads the Doppelgänger across a dark corridor. When they come to a stairway, they go up, and the Doppelgänger goes through a door that leads to the courtyard of a single-story motel, where a couple of Woodsmen stand around in the shadows. The Doppelgänger crosses the courtyard to room eight, the only room with a light, and finds that it’s locked. A woman approaches him and speaking in the distorted voice of the interdimensional entities says “I’ll unlock the door for you.” (22)

When she does, the Doppelgänger gains entrance to what is at first an empty room but gradually a Glocke with a spout, like the golden one at the top of the vaulted ceiling over the Giant and the Matron in episode eight, appears. This is Jeffries – or what’s left of him. The Doppelgänger presses as to why Jeffries wants him killed, and Jeffries tells him “we used to talk.” To which the Doppelgänger replies “yes we did; 1989 you showed up at FBI headquarters in Philadelphia and said you’d met Judy.” (23)

Jeffries says “so you are Cooper.” The Doppelgänger asks: “Phillip, why didn’t you want to talk about Judy? Who is Judy? Does Judy want something from me?” Jeffries replies “why don’t you ask Judy yourself. Let me write it down for you.” Steam from the spout of the Jeffries Glocke transmits something, which The Doppelgänger writes down (coordinates). When the Doppelgänger persists in asking who Judy is, Jeffries tells him “you’ve already met Judy.” (24)

It was she who unlocked the door for him; Jeffries has been in her service for over twenty-five years, since the time he disappeared for good. The Glocke he is in belongs to the Bormann faction of the Nazis, who took it with them when they relocated to South America at the close of WW II. Judy, their ally, is a Skinwalker. There is no need to rely on barely understood translations, if at all, of Sumerian cuneiform to understand her and her kind.

She can walk the earth in the skin of animals and those she possesses like the others or, as the most powerful of them, she can take any form she likes using in her own words “materials and combinations of atoms…”

She is Mrs. Tremont and Mrs. Chalfont. She is the completely different woman that Donna Hayward found when she went back to the Tremont residence with Agent Cooper. And she is Alice Tremont. Her alliance with the Bormann faction of National Socialist traitors allows her, using their Glocke, to generate a world where her and her kind’s unspeakable appetites will be catered too, as will her human partners’ insatiable appetite for the material.

I am not a big fan of Hollywood and, outside of certain westerns, Billy Jack when I was a kid, To Kill a Mockingbird, Network and some of John Carpenter’s movies, I have little use for it. I’ve gone years without ever even turning a TV set on, and seldom do now, unless it’s to watch the Investigative Discovery Channel when I go to bed.

I had seen Twin Peaks & the X Files in ninety-two and ninety-three, and I was struck by the strangeness inside that watching Twin Peaks evoked, but I had other things to do back then than watch television. The name David Lynch only really became significant to me when I researched my first big internet piece back in 2011, the one that got Scot Wolter his job and Meredith Fowke calling me on the phone: The Cross, the Rabbi and the Skinwalker.

It begins with a place in Utah dubbed the Skinwalker Ranch that was the scene of extensive paranormal phenomenon in the mid-nineties that ran the gamut from UFO’s and poltergeist activity, to bigfoots, disembodied voices and shadow people. The story included a Dire wolf that tried to drag away a calf in spite of taking 5 bullets from a rancher’s guns – a figure in the darkness with a three-foot wide spread between its glowing yellow eyes that left a Velociraptor claw print on the ground before it disappeared after being shot at.

Intelligently controlled floating globules of light regularly roamed the ranch, harassing cattle and incinerating dogs. Twenty-four cattle either disappeared or were mutilated. It was covered by the Las Vegas Mercury News.

It was the biggest story in the UFO community at the time, maybe in its history.

The ranch was purchased by Las Vegas billionaire Robert Bigelow, founder of the National Institute of Discovery Science, and in all likelihood was Lynch’s inspiration for his Duncan Todd character. He moved in a paramilitary force; his own writer George Knapp has the odious distinction of having introduced Bob Lazar and Area 51 to the world, and sealed it off to anyone but his own personnel, which included a staff of elaborately equipped scientists.

When the UFO community balked, he simply bought MUFON. No one but Bigelow and his synarchic overlords really know what went on there, but George Knapp of course wrote a book, Hunt For The Skinwalker.

The Ute Indians knew all about the place, and were forbidden by tribal law to set foot on the land. They blamed the Navajo for setting it loose on them with their curses. The Navajo, whose history goes back to before Sumer, call it “yee nadlooshii,” which means to walk or travel like an animal.

Skinwalker manifestations are known to end in possession, incestuous murder, necrophilia and cannibalism. No one talks about it openly, because it is always there; and to acknowledge it gives it a foothold. It is a shape-shifter that can take any form it wishes. It can be a disembodied intelligence or generated through a Medicine Man who has mastered Black Magick and, according to tribal lore, must be killed.

Lynch’s name kept coming up in the treads I was examining about Skinwalkers, trying to get beyond what Knapp had put out. People who were knowledgeable in the esoteric lore of the southwest’s Native Americans darkly alluded to Lynch and his Twin Peaks series being a docudrama about the Skinwalker phenomenon.

Lynch’s tale takes place in Washington State and Oregon, but Native Americans of the Pacific Northwest can be linked by both the Athabaskan language and through the presence of Haplo-Group X in their mitochondrial DNA to the Navajo of America’s southwest, which they are. Because of the occult forces which, even by then, I knew were driving my own work, I took notice of the name David Lynch…

Ref.: Crow Canyon Petroglyphs

Lynch does not depict the spiral portals that are the trademark of pictographs found in the southwest until the ninth episode of Twin Peaks 2017. What he does do, almost from the moment Laura Palmer’s dead body washes up on the beach to start the nineties, is give an account of a malevolent intelligence, with all its accompanying psychic phenomenon, whose appetites for incest, rape and murder are well-documented in Native American folklore.

Depending on the circumstances, in Babylonian and Sumerian lore, the utukku or udug can be the equivalent of the guardian angel or the demon from the movie the Exorcist. The same entity can and does often fulfill both roles. “This shifting quality of the udug demon and its inherent malleable quality arise, in part from the flexibility of the term itself; as udug may refer to one demon or a group of demons, when the udug appears as an individual demon, it is a study in generic description, a template for the perfectly average demon.” (25)

“There are few descriptions of the udug demon, and no pictorial references to it on either seal impressions or statuary.” There is an ancient Babylonian incantation that describes the udug as “the one who, from the very beginning, was not called a name… The one who never appeared with a form…” (26)

As Mrs. Tremont’s grandson said “this is no accident.” The one armed man, when asked who BOB is in the early episodes answers, “he is Bob, eager for fun. He wears a smile. Everybody run. Do you understand the parasite? It attaches itself to a life form and feeds. Bob requires a human host. He feeds on fear and the pleasures. They are his children.” (27)

The conversation in the room above the convenience store in Firewalk with Me is probably the best information available to the human race as to the origins and motives of these strange and ominous beings that have been a threat to life since the days of the Anunnaki.

When the Woodsman says “We have descended from pure air. And the dwarf answers “Going up and down. Intercourse between the two worlds.” Clearly these are not the Judeo-Christian conception of demons. They don’t come from a lower world. They come from a higher purer world. As the grinning BOB says, they have come here for the “Light of new discoveries.” And just like humans, when they have discovered something new, they indiscriminately exploit it.

It was Mark Frost, back in October of 2016 in The Secret History of Twin Peaks, who first broached the fact that they are from Sīrius, without ever even saying Sīrius. At the exact same time, we were publishing Lucifer in the Temple of the Dog parts 1 and 2.

There we tell you, and them, exactly how, when and why they are here; but being blunt has gotten us censored even more than we were before publishing that piece. They don’t like criticism and have an aversion to the truth, or for that matter even mentioning Sīrius…

In a fictitious interview in Frost’s book, Jack Parsons talks about calling forth the fearsome “messengers of the gods” in a place called “Jornada del Muerto” or “Journey of the Dead Man…” Parsons says it is said the Tall Nordics, synonymous with the Giant in seasons one and two and the Fireman in season three, “have always been here. Supposedly they come from the Dog Star.” When the interviewer asks him what the Dog Star is, Parsons only says “Serious.” When the interviewer says “Yes, I’m serious” Parsons just laughs at him… (28)

In interviews after the showing of the first episode of Twin Peaks 2017, Madeline Zima, the actress who played Tracy and was brutally murdered in the first episode with Sam, talked about taking a role where she would be dying naked while in the act of copulation, the privilege of working with David Lynch; and how he would discuss nothing about the movie with any of the actors on the set, like it was a national security issue. In fact, she describes auditioning for her part: “I got the script pages hand-delivered to me, which I had to give back. It was like being a CIA agent, it was awesome. You get these clandestine materials, review them, and return them back to your contact in this amount of time.” (29)

The issues dealt with in Twin Peaks go far beyond national security and to the best of my knowledge, we are the only ones who have ever openly discussed them. No one is allowed to say Sīrius. Frost couldn’t even say it in his book. But Lynch did put it out there a few times, cryptically of course.

In the first episode, the body of a forty-something man is found by the police in an apartment in Buckthorn North Dakota. His head is missing, and in its place is the head of the woman who lived there; Ruth Davenport. The police arrest her married boy friend, William Hastings, for the crime; and later it will be found that the body is Major Briggs, although he should be in his seventies.

As it turned out in later episodes, when he was debriefed by the FBI, Hastings, a school principal, also ran a blog about alternate dimensions. After finding his way in one, he and his secretary Ruth Davenport had dealings with Major Briggs. The dealings ended badly.

According to Hastings, “We gave him the numbers and he started to float up and he said some words ‘Cooper…Cooper’ right before his head disappeared. It was like something no one has ever seen before. I’ve never seen anything like it. I’ve never read anything like it. You don’t know, you weren’t there. He …it was beautiful and then Ruth was dead. It was so terrible. I had to hold her. And then I woke up, and I was – I was in my home. I was in my home.” The FBI agent asks him “did the Major kill Ruth?” He answers “no there was so many people there…” (30)

But in the opening episode, right after finding the mutilated bodies, the police go to Hastings’ house and, while searching the trunk of his car, under a cooler they find what looks to be an internal organ, and Detective Dave Macklay simply remarks “woof.” (31)

Macklay, just by the condition of the murder scene and his discovery of the treat in the trunk of the car, is saying Sīrius. He’s an insider; later his investigation will be usurped by a liaison officer from the military who answers to a Commanding Officer who in turn answers to someone, unseen, on the phone. He is along with the FBI when they take Hastings back to the coordinates of the portal he went through, and sitting right next to him in the car when his head is imploded by a Woodsman, invisible to Macklay because he can move between time.

Dr. Amp harangues the powers that be with his pirate broadcasts that seem to threaten an attack by some unseen and overwhelming force. Before assuring them:

“We’re coming for you. Yeah, we’re coming for you!” He begins his broadcast: “Its seven o’clock, do you know where your freedom is? Coming to you live and electrified from studio A, high atop the escarpments on Whitetail Peak, the roof, ruff ruff, of the American Hindu Kush.” (32)

Again the dog bark is used as a euphemism for Sīrius, which Dr. Amp is identifying as the authority from whence he speaks, and perhaps the authority from whence Lynch is speaking too.

When the FBI is shown the contents of the Doppelgänger’s car at the prison the Doppelgänger is being held in after crashing it, there is, as would be expected, a kilo of cocaine, a machine gun and without any explanation, a dog’s leg. The only remark made is by Agent Rosen who quips “what no cheese and crackers?” (33)

Later the Doppelgänger arranges a meeting with the warden by telling the guard that he needed to talk to him about a strawberry. When they meet, the warden pulls a gun on him, and the Doppelgänger speaks menacingly “the dog leg. That dog had four legs. One you found in my trunk. The others went out with the information you’re thinking about right now to people you don’t want coming around here if anything bad happens to me.” (34)

The warden puts the gun away and asks “how do I know you know anything about …this” – afraid to even mention the word. The Doppelgänger, his tone becoming even more menacing, responds “Joe McCluskey.” He then tells the warden he wants a car for himself and Ray Monroe with “a friend in the glove compartment” to be ready at 1:00 a.m. that night, “and if your mind should wander to a place where I might not make it out of here alive, remember the dog legs. I’m not interested in you. You’ll never see me again, and no one will ever hear anything more about Joe McCluskey or your late Mr. Strawberry.” (35)

With Diane’s recalcitrance and the scene in front of the motel where she is staring at herself, Lynch has left the outcome of a contest of wills between two equally matched beings unresolved. It cannot be predicted, but when Laura Palmer lets out her primordial scream at the end of the series, blowing the lights out on Judy and pulling the plug on the Black Lodge, A.C. has clearly succeeded in killing at least one bird. But Sīrius is calling…

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Citations

* On page 255 of The Secret History of Twin Peaks, a book written by Mark Frost explaining some of the esoteric themes of the series and released in 2016, exactly twenty-five years later as promised back in June of ninety-one, Jack Parsons, Aleister Crowley’s protégé and the founder of Jet Propulsions Laboratories and by proxy NASA, says he performed a Crowley ritual contacting the “messengers of the gods” out by White Sands, New Mexico, where the atomic bomb was tested, in a place called Jornada del Muerto. “It means Journey of the Dead Man…”