Parallels Between Two Worlds: Watch The Glass Box And Purple Room Scenes Side By Side (Video)

“He’s not here. No one is here.”

Those are Tracey Barberato’s exact words to Sam Colby while Dale Cooper is floating inside the glass box in the other room. Sam’s reply: “Really?”

Misha Melikov has done the lord’s work by syncing footage from Twin Peaks Parts 1, 2 & 3 of Dale Cooper leaving the Red Room, appearing in New York City and visiting a purple universe with the final moments of the Sam (Ben Rosenfield) and Tracey (Madeline Zima) storyline. By synchronizing these scenes, Misha reveals some striking similarities “between two worlds.”

Some observations:

  • 6:58 – The pounding sound starts when Sam and Tracey start having intercourse (between two worlds?).
  • 7:50 – Both Naido (Nae Yuuki) and Sam tell the other person to be quiet.
  • 8:33 – The creature and Cooper’s stuttering movements are quite similar.
  • 8:38 – The creature breaks through the glass as Cooper gets a shock from box 15.
  • 8:45 – Naido mimics the creature’s head attack and we hear the same cutting sounds.

Did you spot any other correlations?

The creature appears in New York City just a few minutes after Dale Cooper disappears. Is American Girl’s (Phoebe Augustine) aggressive “mother” hot on the heels of Coop? Is there a parallel world where real world actions get mirrored? Is the eyeless Naido the magician who longs to see? And why wasn’t Cooper caught on camera?

Done some intense sleuthing and are you on to something big? Shoot Welcome to Twin Peaks a message, or join the forum discussion.

UPDATE: Here’s another side-by-side comparison courtesy of Indenhurst.

Pieter Dom

Written by Pieter Dom

Founder and curator of Welcome to Twin Peaks since 2011. Bobsessed since March 1991.

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  1. Slightly offtopic:
    I have a feeling, that Sam – like his predecessor – was chosen not in order to maintain the camera surveillance of the glas box. He was rather used as a bait for the ghost. Remember Jack Parsons, mentioned in “The Secret History of Twin Peaks”, who – like Crowley – was about to summon ghosts via tantric sexual acts. Here the ghost came exactly in the moment Sam and Tracey begun to make out.

  2. In the Occulture Podcast on TwinPeaks, OccultFan (‘ello~) goes in to esoteric meanings of Twin Peaks.

    One phrase not mentioned can be witnessed in this clip above at 2:51 when the mauve coloration is breached like amniotic after NON-EXISTENCE (da’ath, it would seem)… Levenda (mentioned below) names a character in his The Lovecraft Code after the mauve zone, indeed) ~

    so see the link directly below;

    http://dannycarey.org/library/

    Look there for a few books to see the connection to why Parsons is mentioned in Secret History, what Babalon Working was;

    and finally took to the Tool song by Danny Carey regarding this very topic (in Enochian the title is, that is the language of the Angels vis a vis Elizabethan Court Magician John Dee – meaning ‘The Voice of God’ – ‘Faaip De Oiad’ – this all connects – songmeanings the lyrics if you will, and see just where that panic’d voice came from (hint – 1 . 1 . 9)

    and yes no moon, yes it is not other planets, they are other planets, they are not other galaxies, they are other dimensions, and all of this is laid bare in Twin Peaks, Tool, and Occult Fan on Occulture.

    Also do note electricity is a medium – and do note that we are seeing the ‘vincula’ or the ‘how everything is connected’ which is a hermetic axiom a la Kybalion and really any magic that is real… but more on that later… notice DoppleCooper puking up ‘something bad in that car’… the focus on both time (synchronicity and higher forces (as Levenda calls them ‘Sinister Forces’ [a series in which he speaks of Twin Peaks at length, esp book III]), as well as Vincula or Guanxi (of a sort!) but don’t forget this is basically higher dimensional physics (that unknown billionaires get up to in the reals)…

    Look up Christopher Loring Knowles pieces on his Secret Sun Blog about The Nine. You’ll start to see the Dark Side of the Moon.

    Shut your eyes and you’ll burst in to flames.
    xoxo :3
    – Occult Fan

    https://www.occulturepodcast.com/twinpeaks

  3. Do excuse my typo (and sloppy parentheses use) but this is the point I am trying to get across with the planets/planets section of my comments above.

    They are not other galaxies
    They are other dimensions
    They are not other planets
    They are other planes

    Also great to see others are hip to what is going on… Cheers to Alex V above :3

  4. Alex – GREAT point about the Crowley sex magic thing. There is SO much going on here, I can’t believe how much I miss!

  5. okay so maybe this is far out, but! If we look at another part of mikes poem, he says:
    “I too have been touched by the devilish one.
    Tattoo on the left shoulder…”

    HE ADMITTED TO COOPER AND TRUMAN THAT HIS TATTOO SAID MOM! Omfg the “mom” in the purple room is “the devilish one” then??

      • exactly! but does that mean that there is a whole other demon other that bob, mike (and the inhabitants of the black lodge ofc.) that we haven’t been told about until now?? or is mom and bob the same thing?

        • I think the creature that appeared in the glass box is Mom. Notice that it appears to have female breasts.

          Some stuff I talk about in my study of the Missing Pieces from Fire Walk With Me on my website:

          During the “convenience store” scene, the Little Man From Another Place says “Going up and down. Intercourse between the two worlds.” This sounds symbolic of sex. Are the two worlds the same two worlds referred to in the “Fire Walk With Me” poem (“once chance out between two worlds”)? Some versions of the One-Armed Man’s poem substitute “chants” for “chance”. Maybe “chant” could be interpreted as the methodical moans of people engaging in sexual intercourse? So, Sam and Tracey’s “chant” brought “Mom” briefly to Earth?

          And since Twin Peaks is all about dualism, the One-Armed Man’s poem could be both about “chance” and “chants”. Again, in the Missing Pieces, Phillip Jefferies checks in at the front desk of his Buenos Aires hotel and asks, “Do you have a Miss Judy staying here by any chance?” and he is handed a note left for him by “la señorita”. Notice the word “chance”. Could the mysterious Judy be “Mom”?!

  6. Nothing to add other than something I just noticed The shots of Cooper standing in that concrete looking alcove while he stares out at the vast ocean reminds me of Lynch’s Dune where a similar scene occurs. Paul and Duke Leto stare at the rolling waves, taking it in for the last time before they depart for Arrakis.

    The sleeper has awakened.

  7. Maybe it’s been already pointed out by someone else but I wanted to note how the arcuate forms of this Purple/Lavender Room reminds of the internal forms of the glass box.
    It’s possible that the glass box was fashioned to resemble this room and to resonate directly with that space

      • Except that I think (hope) Lynch’s mind lives in an area (much like the black lodge) between meaning and chaos. Just when you see the creature in the box, it kills you. Is his work unreal partially just to remind him and us it isn’t real? The whole process of making this show is unreal, why should the product be less so? I appreciate anyone who brings the unreality of what we are supposed to be transfixed by into sharp relief.

        • the very definition of surealisem is unreal realism
          you get what you didn’t expect to get
          i beez whats i beez and dats all dats i beez

    • Couldn’t agree more at this point! While i love diving into the David Lynch world, and i’ve spent months and months and years really deeply involved in his mysteries, trying to put every single piece together, tear it apart, find a new angle, a new meaning and do it all over again and again…

      ….and some of the points made here are really interesting. But, ….but, yes, as Carlos said, and you really put it best in these few words. It’s unnecessary and at this point also way too early and …damn i don’t know, yeah, i ‘ll just repeat myself once more, as in, Carlos put it best!

      Just one more thing, about this synching up….I highly doubt David Lynch works that way. I mean, as in, you have to use your laptop and an editing software in order to figure out what it all means.
      I really don’t think, that’s how he wants us to see his art. At least that’s what i always got from his art itself and him talking about it. It’s the complete opposite, as in, if you need to go to such lengths in order to find out whatever, you didn’t get it in the first place.
      I don’t want to be rude, or put someone’s ideas and effort down, i just really think it’s the wrong way to go about it.
      And if you really take this synch thing absolutely serious, then, why didn’t Sam and Tracy see the super bright white light, when they entered the glass box room? ’cause that extremely bright flash of white light happens exactly as they come back into the room. And they show no sign as to noticing anything.
      Also, there is something about “synching up” two sources…you wouldn’t believe as to how perfect two completely different things can synch up in mind blowing unity. Music and words, music and film, and well, film and film obviously. To the point where you’d bet your left arm, insisting that “This has to be on purpose! It just has to be!” Nope, it’s merely a wonderful coincidence….

      Sorry for taking away from the fun, I’ll shut up now and can’t wait for episode no.5, which should be online in like 3 hours….

  8. There’s definitely parallels that can be drawn between the boxes, the apparitions, and Cooper’s association within both scenes, as well as other aspects of sounds & movements displayed. And perhaps that’s more of what this side-by-side illustrates. However, like others (and meaning no disrespect), I don’t find it necessary towards the understanding of what’s occurring throughout or between either scene. The mystery, the gaps, these associations are fulfilled through Lynch’s storytelling.

  9. The repeating of the Sam and Rachel scene signifies that the two take place at the same time. Nothing wrong with seeing exactly how it plays out. I always thought The Arm was Mike’s missing arm. “I am The Arm an I sound like this Wowomomowowo”. The evolution of The Arm was the tree. Nice catch with the “mom” tattoo. Mike said “something is wrong”. The Tree/Arm said “my doppelgänger”. The dark “doppelganger” Tree/Arm attacks Dale just as he is about to leave. Which would have forced Dark Dale to return. The glass box traps Dale and the Dark Tree/Arm seems to pursue. The figure in the glass box has a similar head as The Tree/Arm. The Arm/Tree attacks Sam and Rachel thinking maybe they are Dale and Naido. Or maybe it’s just a mean bitch. The glass box is possibly creating, opening, sustaining or is the purple room. These places are dream like. They exits somewhere between the physical world and the subconscious. A lot of this stuff is very Jungian archetypal. The dream stuff can’t exist without the physical world. It feeds off of it. It wants its Garmonbozia.

  10. Great ideas all, I agree with plastikanimal that Dark Arm is in pursuit of Cooper; the Head we recognize. But I’d also suggest that the body is a decapitated female body, like the missing body of Ruth Davenport.

  11. You didn’t mention that the limbo area is shaped exactly like the New York box, which you can see when he gets on top of it.

    It didn’t look expressly purple to me. I hate that fans started calling the black lodge the red room because it’s more than one room and Lynch gave it a name. So, I hope no one’s name for this limbo area catches on until a character actually references it.

  12. MOM is definitely the one Evil Cooper is trying to find and you don’t want to know what is it. Just simply connecting the letters gave me lot of to think about it…

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