At this point the image switches and I watch Phil Anselmo, the lead singer of Pantera, as a professional skater in an old 90s style skate video—in the footage, he is skating the exact same spot in the village. He is doing manuals on the stone bench and kick flipping out. As Phil was in his prime, he is physically powerful, wiry, and his skating reflects this—it's snappy, full-blooded, dynamic. But limited (these tricks are now normal).
I glance at the bench, it's still the same grey granite color and has the same uneven sides with a glassy marbled top (the top was great for skating); but there are three lines, columns, rows of bench now—one attached to the next, each higher than the previous, arranged like steps (though in some views it seems one step is barely any higher than the previous). The bench has stretched too, it's no longer the length of the Tokyo bench (enough room for two or three), it stretches almost the length of the florist's to the baker's.
I'm going back to set up for a run at the bench. I'm past the florist's, and my ex-colleague Matsuo (from waking life) is with me. He was an architecture graduate (but never practiced and wasn't particularly savvy) and I begin to complain about the architectural style of the bench to him. I complain about its tacky modern minimalism - like corporate building design - its ugly on economic purpose; and look about for a comparison. I see the store (what used to be Somerfield in the village) and it has huge windows like the palace at Versailles (not a feature of the real store). The windows aren't genuine works of art like the palace at Versailles, but modern imitations/interpretations—something the first modernists in the 20s or 30s might have done. Looking again they look like imitations of the imitations—I see the detail in the semi-circular tops of the window are just painted on the glass instead of being real lead or metal work. But still, at least an effort at some pretense of art has been made and I point it out to nodding Matsuo; Look at that, you see the difference, it's Neo-, Neo-?, Neo-Deco. Matsuo seems to understand what I'm driving at.
I'm making another run at the bench, but this time it isn't clear that it's me—I see the image in third person, and don't feel as connected as before. Me/the skater is exceptionally good, very very good—I/they can do anything. I carve a bench long back-smith, backside flip out, then begin doing a series of PJ Lad style flat tricks. Ollies are popping very high, and right at the end, by the baker's, I nollie a cone.
I'm thinking about how to email some wine. I see the wine in a cylindrical container and know this is the sample from the bottle; I want to send this. But can't quite figure out how to email it (the physical wine). I try an email and the wine is attached as a series of jpegs, perhaps 6, but I'm convinced something is not right. It troubles me.
It's the sequel to Twin Peaks, Anthony Hopkins stars as the special agent (perhaps Dale Cooper). This sequel is certainly a DTV thing, and the whole idea of a sequel and being DTV leaves me skeptical of the quality and sure it'll be a joke. But it's earnestly good in the way some DTV and sympathetic sequels or spin-offs can be.
I can't be sure of the order of events, but the following took place in the show:
1) Laura Palmer last moments sequence in animation. It was perhaps more like a bargain basement rotoscoping effect, but I saw this whole section as though it were a computer animation. Laura was slightly different - but recognizably Laura - her look seemed tuned for the Japanese audience—she looked like women do in Anime.
It must be the moments leading to her death, she is coming on to someone (falsely, it's just her job as a prostitute) and I see her framed, bust up, in a purple dress talking in a smokey voice. The words are lost on me in waking, but I'm sure she was taunting. Then she was bragging—that she'd had sex 15 times in one session, from one man (whether this was the killer, I can't recall).
She is then having sex, she's on the bottom, and I see the killer for the first time, from Laura's perspective below. Again, it's like an Anime shot, very stylized; the killer is a blond male with a strong jaw line and distant, mad blue eyes. His hair is short. He grins madly and cuts Laura on the left cheek. It may have just been with his sharp finger nail.
2) Dale Cooper in the car park. Dale meets up with the civil servant he knew from the first Twin Peaks (no such character in original real series). The civil servant is dirty and Dale knew it, perhaps Dale had found him out and sent him down in the conclusion to the first Twin Peaks. So now, Dale can trust him in a way—he knows what he is, and that he's been marked by it. The civil servant may in fact be the mayor.
He is pleading with Dale to get in his car and go with him somewhere: trust me, trust me, etc. Though Dale is untrusting, he eventually relents and agrees to drive to where the mayor wants him to go. They walk to Dale's car, get in, and at this moment two henchmen types get in Dale's car. The mayor steals out. It must have been revenge!
The mayor walks over to his large executive sedan, an american car, and gets in the driver's side. He starts the engine and slowly drives out of the car park.
3) Dale in his colleague's bedroom. Dale (Hopkins) is with his old Police buddy continuing the search. His old friend thinks it's a pointless, or damaging/dangerous, case and is trying to convince Dale there's nothing in it. But Dale is driven by something his buddy can't understand. Dale continues trying to crack the case.
He is carefully cutting some flowers and leaves from green ground. The flowers and leaves are tiny, and Dale is being very careful using specialist sowing clippers. The clippings are evidence and this is the reason Dale is taking them.
Suddenly, the meadow from which Dale was extracting little flowers and leaves is his buddy's bedroom duvet. His aged buddy and his buddy's wife are in bed, and Dale is on it, in their bedroom. Dale is still clipping the four leaved clover away from its stem very carefully, while the couple look on from the head of the bed. I'm impressed at the four leaved clover. The wife is initially cross that Dale is here doing work; but Dale charms her as he always has in his wounded single male way. She falls for it, as she always has, in her caring passive lover/mother way.
I see the wife's old grey face, her eyebrows in particular—they are very thin and have been trimmed/manicured. It's slightly alarming, but not sinister or scary. The woman's features, too, are thin—bird like or almost ratty, but dignified. Perhaps a little witch-like.
4) Dale in his apartment. My denim folder from my old work is half stuck through Dale's letterbox (from the inside), there's something above it, maybe an A4 yellow legal pad, also clamped in the jaws of the letterbox. Not clamped in the letterbox, but rested on the platform the denim folder and legal pad make, is a small object—perhaps a black case, like a ring case or cigarette case.
Dale's friend is with him in his apartment. He's again remonstrating with Dale. Dale hasn't noticed the black case, he walks past it several times. His buddy, however, does. He takes it, trying to pass it to Dale.
The wine is still playing on my mind. I see a sequence of 90s music and images. The last of which is three Sony televisions on a chrome stand with black plastic bits on it in the middle of a red desert. The tvs are arranged in vertical, spiraling order—like a DNA helix. The main chrome support is a straight bar, vertical but angled. Off it, short storks come out which hold a tv - the stork into the side of the tv - and the tvs are not directly above one another but staggered about the main bar. I see the arrangement, as though it were a shot in a 90s tv ad, from below: the lowest (nearest) tv is huge and the furthest tiny—there must be some kind of fish-eye or special perspective lens on the camera. It's very dramatic and self-important (c.f., it's an ad) at any rate.
I wake.
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