Mulholland Dr.

A possible reconstruction of Diane's true story

Introduction.

Sylvia West movieposter

Imagine I hold a present still wrapped up in paper with a label "This is the picture". Unfortunately it drops to the floor and falls apart in many pieces. Then an invisible David Lynch deforms all pieces except two of them, in less than a wink of an eye. The result of his transformation is that the pieces no longer match properly; no matter what kind of 'locomotion' I apply. My best effort to reconstructing the picture resulted into a beautiful yet imperfect picture, which I preserved in a box for about ten years. Then I read about a pipedream construction related to that 'old' picture. So, I shuffled of the dust of my own reconstruction and started analyzing each detail of all pieces again with fresh ideas. The pipedream construction was based on one unchanged piece only, but my gut-level feeling told me that two pieces did actually match and could provide crucial information about the rest of the picture. So, I slid into Dale Cooper's shoes and investigated what kind of hidden rule or logic had have transformed the original pieces? After a few weeks, on a glorious day I jumped out of the bath and shouted "Eureka", while I was running naked through my domicile.

Then I woke up, because my neighbour knocked at my door. As I opened the door he asked "Are you okay?" ...

What's wrong with the traditional dream-reality interpretation?




Seven basic assumptions.

  1. Diane is an untrustworthy narrator, and it's from her point of view 'we' experience her story, which means that all events depicted from Diane's memory are doubtful.
  2. Everything in Diane's dream relates to an untold truth, and never depicts any reality.
  3. There are two exceptions:
    • The encounter with the visitor (neighbour at Sierra Bonita), and
    • The decaying corpse depicted in Diane's nightmare.
  4. Each detail, each word, each sound, during this encounter depicts reality.
  5. All emotions in Diane's story (both the unreal parts and the real part) are true.
  6. The Cowboy, The Bum, The Creepy Old Couple and Club Silencio personify Diane's mental phenomena, like fear, conscience and awareness. These phenomena interfere with both dream and memory.
  7. Lynch 'skews' a hidden truth in his story in 'mind-bending' patterns in two distinct ways:
    • In the dream Diane re-experiences real life emotions and events through different dreamed up personages in re-arranged circumstances. Dream-Adam is the most prominent example.
    • In her memories Diane magnifies the love aspect to 'almost' unbelievable proportions, and the lover consequently appears in disguise, as a beautiful brunette, dressed in dream-like coutures.

These 7 assumptions form my glue to fix this broken picture. Sorry, for the cracks, they remain visible, but it is the best I can do. But keep in mind that Leonard Cohen once so poetically and profoundly expressed: "There is a crack in everything. That's how the light gets in."



Diane's mental condition.

In Lost Highway an 'unknown and unseen visitor' spoke these famous words through the intercom of Fred's house: "Dick Laurent is dead". In INLAND EMPIRE there is this New Neighbor, aka Visitor#1, who more or less intruded Nikki's life and mentioned a "brutal fvcking murder". Another visitor (Visitor#2 in house 1358) reminded about that 'unpaid bill'. In MD also a neighbor intruded the story, or, you could say, interrupted Diane's dream. Though this visitor never insinuated any murder, she reminded Diane about two detectives, that were still looking for her. In the aforementioned Lynch's movies visitors provided vital information and therefore maximum attention is needed when a visitor intrudes the story. Each move the visitor made or each word she pronounced could point to a direction of solving the mystery. The way Diane rises from her bed and drags herself to the door, the box and some unidentified kitchen tool laying on the middle of the floor of her apartment, the apathetic starring at the blue key sitting in her morning robe all day long, and above all the neighbour's words : "Where have you been? Come on, Diane, it's been three weeks.", altogether suggests Diane is suffering from a depression. The fact that Diane did not put the luxurious shiny polished piano-ashtray and that unknown kitchen-tool in the neighbor's box suggests Diane is either a dishonest or a forgetful person. The neighbor explicitly mentioned her lamp was part of the package. The fact that the neighbour told Diane "By the way, those two detectives came by again looking for you." indicates, to say the least, that Diane is hiding from something. Is she afraid of the consequences of some heinous deed? Diane's open door unraveled the mystery of the 'pointing' bird of paradise. Diane lived one apartment prior to number 17, so this must be apartment #16. As soon as the neighbor left, Diane tried to revive her fantasy (dream). "Camilla, you've come back" but her mind seemed not willing to replace reality with this illusion or delusion this time. Mind the shift in time and space as Diane stood at her kitchen sink. Doesn't this suggest her mind (remember I experience everything from her point of view) sometimes seem to skip a few instances, unaware of occurrences here and now? The reason why Diane prefers fantasy over reality can have multiple answers. She is all alone, she is hiding and suppressing an inconvenient truth, and she misses a beloved one dearly. In stead of continuing her fantasy Diane realizes she has to face reality, and her mood changed from excitement into disappointment and even disgust.



The Vertigo connection

Why does Diane's mind depict her real life lover almost as a complementary version of how she really must have been looking like, or opposite her own appearance? The mental condition of the protagonist, Scottie, aka Johnny, in Hitchcock's Vertigo shows much resemblance with Diane's psyche, especially when he resided in an asylum. Scottie's story began with the deadly fall of a policeman, while Scottie, a detective, hung at the edge of a roof. He suffers from fear of height, acrophobia. After he more or less recovered Scottie got involved in the life of a mysterious blonde, sculptured in Pygmalion disguise. He relives a story several times and each time it leads him and the blonde to the bell-tower of San Juan Batista, where their final steps spiral around the center of a traumatic event. His fear restricts him to fully witness some dreadful tragedy in his life. At the end Scottie finally managed to overcome this fear, but the price he paid is enormous. A dark nun frightened the blonde, who again falls to death in front of Scottie's eyes. Scottie remained motionless at the edge of the roof, starring in the abyss, while the nun chimed the tower-bells. Diane's mind contrived a mental journey in two partitions, of which part one started as a dream situated halfway downhill with a car-accident on Mulholland Dr., where a brunette came to light out of fire and smoke, suffering from amnesia, as if representing a tabula rasa, like raw piece of marble. Betty gave her a name, took her by the hand and lead her through the streets of the underworld in a detective-like story, in search of the identity of the mysterious brunette. The full circular path Betty and Rita traveled in the West Courtyard of Sierra Bonita seems a representation of Scottie's ascend in the bell-tower of San Juan Batista. Step by step Diane's mind approached her most dreadful memory of a moment in her life, represented by Betty's and Rita's horrific discovery of the decaying female corpse, which was located in apartment #17. Back in Ruth's apartment Rita cut her hair, and started wearing a blonde wig. The Pygmalion sculpture had found its perfect completion, and Betty's surrender to her ideal lover was accomplished. Their physical 'conjuct' so shortly after the encounter with the corpse posed death and love in a dense, poetic and metaphysical context. But the haircut also related to grief and sorrow, of course. It even depicted literally the urge of the criminal to identify with its victim. Note: the corpse was credited as 'the blonde on bed'. They fell asleep, and as Rita whispered "silencio" Diane's dream neared its final stages. Club Silencio not only symbolized that Diane's dream was just an illusion, but it also broke the 4th wall in this respect that it showed the audience the true nature of this movie, of all movies in general, it is all just an illusion. The blue box magically appeared in Betty's purse. Betty and Rita returned to Ruth's apartment, where Betty vanished into nothingness and Rita wearing the blonde wig got caught in the dark mysterious emptiness of the blue box. This completed Rita's journey that echoed Eurydice's path in the underworld lead by Orpheus. The true face of the beloved one had to remain unseen, but it was Diane's curious mind that could not resist the temptation of having a quick glance, as did Orpheus when he looked back, ruining the goal of his mission. However, Lynch did not stop here ... Diane's mental journey continues as a semi-fantasy, alias distorted memory. Triggered by a telephone connection the story's complementary part starts again in a car on Mulholland Dr. "We don't stop here." The chauffeur's hand (without a gun this time) grabs the front seat as he turns his face to Diane and speaks: "A surprise." Camilla arrived from behind the trees. Dressed in all black with a sliver of red the lovely couple climb the shortcut hand in hand, until they finally find themselves among Hollywood's stars at Adam's dinner-party. Here the illusion finally and for good, literally falls to pieces by the interrupting memory of Betty, the waitress in Winkies, who wipes away the debris of broken dishes and cups ...

A quick overview of the similarities between Vertigo and Mulholland Dr. :



Who is she?

Rita/Camilla - Laura Harring
Blond Camilla - Melissa George
Laney - Rena Riffel
Lorraine - Lori Heuring


Why are there four versions of the lover?

According to my first basic assumption Diane is an untrustworthy narrator, in other words she is a liar. The reason why she lies to herself and why she renders a consequent illusional world, was hinted by the visitor, Gonzalez, who said that two detectives were still looking for her. The kitchen-sink scene also suggested that Diane rather lived her fantasy than permitting herself to face the truth. "You've come back" did not refer to any real Camilla, on the contrary it depicted another idle attempt to revive her dream version of the lover in disguise. Did Diane suffer from 'pseudologica phantastica' ? Diane's mind is so forcefully oppressing an illusional world, because she wants "To get rid of this god-awful feeling." This feeling relates to both guilt and fear. Her fear must've been close to unbearable as it seemed the cause of Dan's death behind Winkies, which is an echo of Diane's real life experience when she faced the decaying corpse in apartment #17. Diane's mental journey started as an exciting mysterious quest, but gradually it progressed into a horrific nightmare. Step by step her mind set course to the crime scene, "So... you came to see if he's out there.". Betty and Rita sneaked into apartment #17 to see if "she" was in there, but who were they looking for? What Diane's mind depicted was a memory of a dreadful real life moment, facing a decaying corpse, which belonged to L J DeRosa, artist's last-name Rhodes. Diane's dream provided the suppressed and breathtaking answer to the question:

"What is the real identity behind Diane's phantom lover?"

"I hope that I never see that face ever... outside of the dream."


In the dream Diane portrays DeRosa initially as Laney outside Pinky's, a bruised blonde in accompany of Joe and his partner Bill, as they approach Joe's blue van. Diane must have labeled her former lover as a dirty whore. The bruises are the silent reminder of Diane's assault on DeRosa when she 'caught DeRosa and some unknown man in the act' in the bedroom of #17. That man happened to be a director called Adam. Diane's dream deformed this heartbroken event via the persona of dream-Adam, who found his wife, Lorraine, in bed with the poolman, Gene. Lorraine on her turn not only resembles the corpse's hair-color, hair-length and shape of face, but also the all black colored underwear and the blue-grayish color of her nighty, and the white plastic bracelet, refer to the dead blonde in bed, and they give reasons to believe she was also reflects aspects of the identity of the real person behind Diane's phantom lovers. The assault between dream-Adam and Lorraine got interfered by Gene and reflected the real life event between Diane and DeRosa when DeRosa's bedroom-guy obstructed Diane's rage against DeRosa (Rhodes).
Diane's revengeful wish-fulfillment was represented in the sequence, in which the 'goon', Kenny, intruded dream-Adam's house to find out 'Adam Kesher' was not there, whereas he coincidentally found Lorraine and her lover at home. She climbed the giant's back and tried to punch him out of her home. One blow with his fist was enough to 'floor' poor Lorraine, after he already knocked down Gene, the poolman. Also according the dream-logic this scene was derived from Joe's real life hit in DeRosa's apartment #17. Finding dream-Adam not at home referred to Diane, who was hiding in apartment #16 at the time Joe was committing his crime. This was also suggested by the camera position, at the moment Gonzalez, the neighbour from #12 returned home and shortly glanced at #16, insinuating as if she saw something suspicious in apartment #16? So it may not come as a surprise that the next dream-sequence showed 'Adam Kesher' hiding in room #16 of the Park Hotel.

Lynch not only presented the whole picture of Mulholland Dr.'s scattered in pieces, but also the identity of Diane's lover was spread over several personages. Fortunately there is one prominent moment, that catches attention. At 'Adam's dinner-party both blonde Camilla and brunette Camilla were framed in one shot, when the exhibitionistical kiss could not miss Diane's tearful eyes. A lipstick trace on blonde Camilla mouth emphasized the importance of this moment, as she disappeared behind the back-wall, where The Cowboy crossed her path and left the party. It's the third time Diane must have seen The Cowboy. Initially through dream-Adam's eyes, when The Cowboy announced his re-appearance. His first re-entree was at the door of Diane's bedroom, when she woke up, and now he made his second re-encounter during Diane's 'distorted' recollection of the dinner-party. Does The Cowboy (conscience) indicate that Diane (again) is not behaving according his expectations, despite his warning at the corral? Diane consequently is lying to herself. Phantom blonde Camilla does not exist. Phantom brunette Camilla does not exist either. Whereas an amalgam version of both of them would compose an image resembling Lorraine. The Judas' kiss not only represented Diane's feelings of betrayal, but also suggested that Diane's mind divided (wigged/decomposed?) the true guise of her lover into multiple Dionysian manifestations, reflecting DeRosa's 'decomposed' body. This duality can also be recognized in the combination of the sleeping Betty/Diane on one side of the bed and its counterpart, Rita at the other side of the bed. Another double two-faced narrative unity consisted of Laney and Lorraine on one hand and on the other hand the blonde and brunette Camilla/Rita contrived its complementary composition. All of them spiral around the true identity of the lover, the decaying corpse of L J DeRosa.



Diane's false memories

Diane at the dinner-party.

One specific girl was the cause of all of dream-Adam's troubles, which brought him shortage of money, evicting problems in #16 of the Park Hotel, and even the danger of the shut-down of his whole project. The Cowboy (conscience) intervened to prevent dream-Adam from ruining his career completely. Betty auditioned bravely for dream-Bob Rooker's project, and exposed her acting talents so convincingly well, that no director could possibly have neglected her. Betty's path crossed dream-Adam for just an instance, when they made first eye-contact. A moment of strong emotional resemblance, for they both must have felt 'victimized' by the influence of one particular girl.

How does this dream-sequence relate to Diane's hidden truth? Diane blames forces and circumstances beyond her influence of not getting the lead in the Sylvia North Story. DeRosa, alias Rhodes got that part, because she seduced an influential guy called Luigi. Diane was being neglected completely and it was the beginning of the end of her relationship with DeRosa.



Diane and Joe at Winkie's

The only false element in Diane's memory of the arrangement with Joe, is the photo, which pictured a brunette resembling the phantom lover, Camilla Rhodes. Important to notice is that (for the sake of ambiguity?) the first name on the resume was not shown.
Joe takes the blue key out of his left shirt-pocket and holds it between his fingers in precisely the opposite way Rita held her blue key, upside down and left turned right. Criminal and victim connected by one blue object. But the victim's true identity remains hidden in Diane's mind, and the dialogue does not unravel where Joe will place the key. His cigarette butts will provide the answer. Joe bursted out into laughter at Diane's question "What's it open?". While holding the blue key Joe's laughter fades into the dark alley, where we encounter (again) the personification of 'Dan's god-awful feeling' ... "Are you sure you want this?"



Diane on the couch with Camilla

Diane, stop!
I've tried to tell you this before.
It's him, isn't it?



Diane at the set with Adam and Camilla

I'm not trying to show you how to do the scene, but just... watch me and I think you'll understand what I'm getting at.
Don't sit so rigid, just... just relax.
Now, the two of you are alone and it's real comfortable.
Like you've known each other forever.
Even if you don't say anything, it's real comfortable.
Hank, can you just clear the set?
There's too many people around here.
- Let's get this worked out.
- Clear the set!
Everyone have a cup of coffee.
- Everyone, please!
- Can Diane stay?
Yeah, sure, Diane can stay.
Hank, let Diane stay!
Diane!
Now, when she starts to cry, don't pull her towards you.
Let her fall into you.
Just let her fall.
And when you kiss her...
it's just a continuation of that move.
There's no break.
Kill the lights!



Diane and Camilla at the door of apartment #16

Don't be mad.
Don't make it be like this.
Oh, sure, you want me to make this easy for you.
No fvcking way!
It's not gonna be!
It's not easy for me!

- Diane!


Consequently Diane's mind falsely depicted the lover as the beautiful brunette. Though there are more reasons to believe her memories are untrustworthy, they do portray intense and genuine emotions related to feelings of betrayal and anger, maybe even revengeful evilness grew in Diane's mind, because the sorrowful end of this love-affair left her all alone. In combination with her failed acting-career, this culminated to force Diane in taking extreme measures. The fact that Diane owned a gun also point to that direction.




Dream Logic

reading (guessing) the dream

Anything but random images filled Diane's dreaming mind when she was asleep in her bedroom of apartment #16 at Sierra Bonita, West Courtyard. Somehow these dream sequences reflect Diane's real life experiences. Now, let's assume Diane's dream consisted of two distinct types of sequences.
a) Diane's real life experiences were projected onto different characters and were situated in altered settings, albeit related to the genuine emotions and mood.
b) Diane's wishes, manifested under the same conditions as a).

The main part of the dream concerns 'dream-Adam', Rita and Betty. The term 'dream-Adam' is used to emphasize the difference between the 'Adam' in Diane's memory of the dinner-party and the character named Adam, who is dreamed up by Diane. Notice that even the name Adam was never mentioned at that party. All Diane's memory revealed was: "It is him, isn't it?" So 'Adam' and dream-Adam are two completely different 'characters'. Can we be sure that the 'Adam' at the party was even a director? Anyway, dream-Adam personifies specifically Diane's disappointments and Diane projected her real life experiences onto him in altered settings, and through his eyes Diane relives (casts) her sad emotions.
Rita's survival from the accident on MD refers to Diane's wish-fulfillment of starting the love-affair all over again. Suffering from amnesia Rita was the ideal partner Betty could've met, a girl without a past, full of mysterious and physical attraction. During her downhill travel Rita crossed Franklin Ave as a blue van passed by and illuminated her pale white face. In the real world there is a mysterious club 'just down the way of this street' called "The Magic Castle", a nightclub for magicians and magic enthusiasts, as well as the clubhouse for the Academy of Magical Arts. It bills itself as "the most unusual private club in the world." It could have been Diane's/Lynch's source of inspiration for the dream version of Club Silencio, and it might refer to the origin of Rita's money and blue key. Rita's all black dress, purse and shoes lie on the bedroom floor at the same position as where later on Rita herself will disappear in the blue box, that will roll over the floor. Betty first saw Rita as a shimmering rippled image through the shower-screen. Betty's bags miraculously have transfered from Havenhurst's courtyard into the apartment. Havenhurst #1612 sublimated the importance of the numbers 12 and 16 related to Diane and her visitor, her former roommate. In the dream Diane depicted the apartment list of Sierra Bonita falsely. Can we do that in a dream? Anyway Diane did. Also the emergency number written on the fire truck read 119 in stead of 911.

According the assumption of a general rule related between the story's reality/logic and Diane's dream, the true list most likely must have been:



This means that Diane Selwyn shared apartment #16, but because of financial problems, which were caused by Diane, both Gonzalez and Diane needed to move out. Gonzalez moved to #12 and for the time being Diane stayed in #16, but the moment neared that she would get evicted.

Aunt Ruth seemed always connected with trunks, departing, returning and forgetting or overlooking something. The cab driver's effort needed to get one of 'her' trunks, which passed the hiding Rita by a few inches, in the yellow cab, renders many suitable associations, but in combination with a 'lost girl', and a box with a key, it suggests something very close to the 'eye'. Another red-haired woman resembling Aunt Ruth departed with bags in a cab at the moment Betty and Rita neared the discovery of the decaying corps. At the end of Diane's dream Aunt Ruth inspected the bedroom. Did she hear the sound of a rolling box on the floor? Again she seemed to miss the true cause by an inch and left. All's save and okay ... ?

The phone chain connection starts at the 'back of some man's head'. A ringing phone and the established connection is a recurring phenomenon in Lynch's movies. 'Does it ring a bell?' It suggests some internal wired communication is being triggered. Does Diane's subconscious (in the back of her head) reveal the notion of a 'girl still missing', which will guide the dream unwillingly to a horrible hidden truth?

Dan, Herb and The Bum. It's a reflection of a reflection of a ... Two detectives were looking for Diane. Betty and Rita are on a quest to find out Rita's identity. Dan and Herb investigate Dan's fear at a table in Winkie's, the same way Betty and Rita discussed Rita's identity. Adding up these two, makes it less than a wild guess, that Diane's dream progressed in the direction of the cause of Diane's own fear. The fear of the discovery of her lover's true identity: DeRosa's corpse in apartment #17.

The Creepy Old Couple. They are present at Betty's happiest moments, at the jitterbug contest and at her first arrival in the city, where "dreams make stars and stars make dreams" (ref. IE). The weird laughter of the old couple sitting in the cab did not predict a comfortable stay. A blue van ahead of them also seemed to function as a bad omen.

The Bum in the dead end behind Winkie's 'inspected' the blue box, but either did not seem genuinely interested or was unable to open it. So he put it in a brown paper bag, and dropped it to the floor. The 'stay-tab' of a beverage can (opening mechanism) lies next to the box in the brown bag, where two tiny creatures got released to some unknown destination. Does this miniature guise suggest, that Diane's fear and shame is still of bearable measures? The preceding scene presented Joe showing Diane the blue key as he bursted out in laughter to Diane's 'foolish' question "What's it open?"

Finally the tiny old couple crawled under Diane's door and grew to dreadful overpowering magnitude reproducing Joe's laughter in diabolic high pitched insane alarms, enforcing the end of Diane's real life nightmare.

Coco Lenoix (nut) interacted with Betty as a friendly, emphatic, supportive old lady, in the occupation of a concierge at Havenhurst, which contrasted 'Adam's mother, Coco, at the dinner-party, where she acted as an annoyed and curious person. Probably the man, that figured as the hotel-keeper/employee in the Park Hotel, alias 'Cookie' was the real sympathetic and soft-hearted landlord/concierge of Sierra Bonita's. In the dream he also represented the steward/host of Club (Emcee) Silencio.

The inspection of Rita's purse did not reveal any identity, albeit money and a blue key. The history of the money together with Rita's looks and clothing style give ground to a wide range of speculations. Was she a call-girl (phone-chain connection)? Was she a prostitute with acting aspiration, who even shared the sheets with the jet-set of Hollywood? The key transitioned the story to Laney in accompany with Joe and Bill. Laney's left upper arm was bruised.

This is your purse.
Your name must be in your purse.
You wanna know, don't you?
- Yes, but...
Open it.

...

- Sure you don't want anything?
Not here. Thanks.
- A drink or something?
No. Thanks, though.
I'll take a cigarette, if you have one.
- Yeah, just reach inside my shirt pocket there.
- Any new girls on the street lately?
No.
I haven't seen any.
- A brunette? Maybe a little beat-up?
No.
- Keep your eyes open for me, okay?
Sure.
- You bet you will.

...

That money... you don't know where it came from?


Joe and Bill were very supportive to escort Laney, a bruised blonde prostitute, on her way to the back of the blue van. Laney got herself carried away passively and submissively to get (being) laid in the blue van. Joe's questions about the 'new brunette' reveals the true nature of the brunette lover. The brunette is a non-existing person, a phantom lover, that plays such an important role in Diane's current real life situation, that it even affected the tiniest details in her dream. Again the blue key and the money seem to refer to prostitution and a bluish location.
Was Laney's bruised arm the reminder of Diane's injuries as a result of the intervening man during her assault with her cheating lover in apartment #17?
Another delicate detail in this dream sequence reveals the source of both the blue key and the cigarettes. Joe's left shirt-pocket. Joe smokes his tan filtered cigarettes as far as the tobacco allows him, leaving extremely short cig butts. The ashtray near the red lampshade in one of the apartments of Sierra Bonita's, showed exactly 4 of these kinds of butts and 4 of a different length. It indicates beyond any doubt that Joe had been there, which unravels the mystery of the blue key on Diane's coffee table. Joe left it there, and the blue key opened both #16 and #17. It was Joe's 'skeleton key', his pass key, probably a copy he once made and altered it to facilitate his burglarious activities and other seedy business. Maybe Joe was a failed actor himself, who once lived at Sierra Bonita's?

Rita and Betty get a little acquainted, and Betty's "I couldn't afford a place like this in a million years." in combination with "You don't have to sleep on that couch." represents Diane's real life situation at Sierra Bonita, where she needed to share apartment #16 with Gonzalez.

Dream-Adam at Ryan Entertainment relates to Diane's increasing knowledge about the ins and outs of the hidden machinery of the movie industry. It gave her a bad taste in her mouth and she could not stand that talent and artistic freedom was inferior to other 'qualities' like seduction, money or power. Precisely the opposite of an open-minded evaluation depicted this Mafioso arrangement. Dream-Adam's "There's six of the top actresses that want this thing." makes "This is the girl", the blonde Camilla, the notorious and mysterious number 7.
Dream-Adam's rage got him to smash the windshield of Castiliani's car into pieces with a golf-club. Was is it a 7-iron? Does this relate to any revengeful moment in Diane's real life?

Mr Roque, the man behind or between the red curtains, is asked to 'shut everything down'. The next dream-sequence shows Joe committing a three-fold murder, whereas he had the intension of killing Ed and robbing his black book, and leaving the crime scene after he arranged it as if Ed had committed suicide. The silencer on the gun wouldn't make sense and must have slipped his mind obviously. This hilarious sequence reveals more than one would expect.

The suicide arrangement is crucial, but also the noise of the screaming fat lady, which alarmed the vacuum cleaner guy at the end of the corridor. Though Joe's plan fell to pieces he sticked to his suicide arrangement. He shut down the vacuum machine, which triggered the alarm. Joe's maneuver sucked in every detail, but the absurd moments in Lynch stories provide vital information. This dream sequence seems to reflect the real life event of the crime executed in apartment #17. Gonzalez, who lives in #12, Diane's former roommate, must have been alarmed by the noise, while Joe was shooting DeRosa in #17. She left her apartment to have a quick look and to checked if everything was alright. Probably Joe managed to get control just in time, meaning the noise dropped silent, and the neighbor returned home to #12. On her way back, she passed Diane's apartment (#16) and glanced for an instance into that direction. Was she at home and hiding? Notice that even the locations in Diane's dream of Joe's murders mirror the numbers 12, 16 and 17, two adjacent offices and an alarmed person at the end of the corridor. Also notice that the adjacent office was stuffed with boxes, just like Diane's apartment.

If the murders in both dream and MD's reality could be joined into one summation then there are two dead women and two dead men, and in that respect it creates a delicate symmetry with the real life notorious Four On The Floor murder case, aka The Wonderland Murders, in which John Holmes (Joe?) played such a prominent role.

Dream-Adam repeats Cynthia's words "They fired everyone. Who fired everyone?" as he rides in his cabriolet on his way home. Having no money, no work dream-Adam seemed to have lost all faith and says "I'm going home." However, at home he found his wife, Lorraine, sleeping with the poolman. This time he 'casted' his revenge on his wife's jewelry box, which he polluted with pink paint, while his wife got into her all black underwear and her blueish nighty, before she tried to stop him violently. Gene the poolman, Lorraine's lover, intervened and threw him out of his own house. The whole scenery echoed the way Diane felt when she caught DeRosa (the real Rhodes) in bed with some film business guy, as a way of working her way up to stardom. Diane became aware she'd shared her own precious jewelries with a shameless whore. Did Diane loose all faith and decided to go home, back to Deep River Ontario, Canada? Is this also one of the reasons why she packed with boxes in apartment #16?

Betty and Rita hide the purse in Aunt Ruth hat box, and like two detective they started an investigation to find out Rita's true identity. At Winkie's Betty inquired the police about the accident on Mulholland Dr. Officer Baker of the traffic department confirmed there was an accident. As Betty and Rita enjoy their coffee, the name tag on the waitress uniform reveals the first sign of the identity's true origin.

A limo stopped in front of dream-Adam's house. Kenny, a goon, a bully, a thug was hired to take some 'serious measures' against dream-Adam. He hit upon Lorraine and her poolman, Gene. First he knocked out Gene with one punch, and then he floored Lorraine (for good?).
Diane's dreaming mind rendered variations on the echo of the real crime in apartment #17, where hitman Joe finished his job.

While Kenny 'terminated' Lorraine, dream-Adam hided in room #16 of the Park Hotel. Cookie came at the door to inform him about his financial situation and about two men of the bank, who were looking for him. He also told him that 'they' knew where dream-Adam was hiding.

In the dream Diane transformed her own apartment to room #16 of the Park Hotel. At the time Joe committed the crime against DeRosa (artist's name Rhodes) in apartment #17 Diane was hiding in #16. Her financial problems must have caused the landlord of Sierra Bonita's to tell Diane would get evicted if she would not pay the rent immediately.

Dream-Adam calls Cynthia, who confirmed that he was broke. She offered him a place to sleep, but he declined. Did Diane in real life have a friend offering help? Cynthia's name refers to one of the names of Artemis, the goddess of the moon (known to the Romans as Diana), which suggests this dream-figure does not relate to any real life person, but to Diane's own wishful thinking/dreaming. Anyway Cynthia mysteriously seemed to have had contact with a guy called the cowboy. There was no sign of him before, and yet he seemed to know all the details of dream-Adam's personal life. Cynthia recommended dream-Adam to meet this cowboy. The meeting place was already predetermined at the corral, somewhere uphill, away from the underworldly city-life. A crackling light-bulb announced the arrival of the cowboy, who greeted dream-Adam with a "howdy" and "a beautiful evening". Is it after midnight? A reference to "Midnight Cowboy", a movie, that spirals around suppressed homosexuality. Did Diane struggle with her homosexuality, or did it harm her career? The cowboy's moral lessons are clear enough. Instant success is the result of common expectations, satisfying the needs of others. "This is the girl" pleases the producers, so that's what dream-Adam had to 'choose'. Go to work and do what's expected. Success guaranteed. Betty stood face to face, eye to eye with dream-Adam at the moment he was making 'his choice'.
In Diane's reality things turned quite a different direction. She loathed the idea that her lover offered the film-business more than her acting skills. Was Diane's disappointment for not getting the lead so overwhelming that she abandoned the project? Her recollection of the dinner-party did not acknowledge this idea, but no-one seemed to remember Diane played a part in any of Rhodes' movies neither.
The ironic bottom-line suggests, that at the very end Diane herself walked the street for money to raise enough for hiring a hit-man.
Betty and Rita studied the city-map of LA and found their 'destination', Sierra Bonita, the location, where the dream evolved from a dream into a nightmare, the location, where the dream meets reality for just a small instance, albeit with devastating impact.
Louise Bonner knocked at the door and intruded their peaceful togetherness. Her words reflected some hidden truth more accurately than one could've imagined.

Someone is in trouble!
Who are you?
What are you doing in Ruth's apartment?
She's letting me stay here.
I'm her niece. My name's Betty.
No, it's not!
That's not what she said.
Someone is in trouble!
Something bad is happening!
I'm sorry, but I don't know who you are and...
Louise?
What are you doing, Louise?
I've been trying to get hold of you since 3 o'clock this afternoon.
That one is in my room and she won't leave!
I want you to get her out.
I want you to get her out now.
This is Louise Bonner.
I'm sure she meant well.
Louise, this is Betty, this is Ruth's niece.
I was on my way over here to see Betty. Betty is a young actress.
I was delivering some faxed pages of a scene for a big audition tomorrow.
- Well, here they are, honey.
- Thank you.
Come along now, Louise.
I'll take you home.
I'm sorry.
It happens sometimes. Come on.


Louise Bonner intruded Diane's dream, as an unwelcome visitor, who came knocking at the door, with talks the dreamer rather not would have heard. Louise hit the nail right on several times. It seemed that the visitor broke through the layer of the story/dream and exposed knowledge related to Diane's hidden truth. There was indeed someone in trouble. Diane herself, and also DeRosa, who was being added to Joe's death-list (black book?). Betty was not her name. Diane stayed illegally in apartment #16, ready to leave, getting evicted soon. Did Joe finish his job in apartment #17 at 3 o'clock? Does "I want you to get her out now" echo Diane's words, which were addressed to Joe when she changed her plan? Was she afraid the original plan of a simulated suicide scenario would fail, because of details of the crime scene and the discovery of DeRosa's body would point to her direction? So, did Diane invent an alternative plan to get rid of the corpse by means of a huge trunk, that both Diane and Joe loaded into a blue van, to dump it somewhere in the dirt and in the bush near Mulholland Dr?




............... The Apartment ...............

Diane Selwyn set foot on Los Angeles ground with the intension to earn a living in the movie-business. She was a talented dancer and inherited some money from her deceased aunt, she settled in Sierra Bonita to share apartment #16 with a girl named Gonzalez. In the beginning they slept apart, one in the bedroom and one on the couch, but gradually they started sharing the same sheets. She auditioned for many roles, but remained unsuccessful, which forced her to find a job as a waitress in Winkies. Diane fell in love with the girl next-door, who also strived for an acting-career. She lived in #17 and her real name was L J DeRosa, artist-name .... Rhodes (her first name remains unknown). She managed to get some roles in several movies, not only by her acting talent but also by seduction and charms. Diane envied her, and her love gradually changed into a kind of obsession.

At Winkies she met Joe, who was a regular customer at one of her tables. She found out that he worked in the 'acting-business' (prostitution, call girls). He told her that she could make good money with her looks and he would help her to get started. Diane always dreamed about the luxurious life, so one day she no longer could resist the temptable offer and she agreed to give it a try.
Diane traveled a road laid with misery and disappointments, which culminated when she caught DeRosa and a director in bed in apartment #17. Diane was furious and she assaulted DeRosa, but the director intervened and Diane backed down. DeRosa's affair progressed to serious proportions and she was offered the opportunity to live with that director. Diane fell one more time for DeRosa's charms as she persuaded Diane to visit the director's dinner party, where she would meet 'the rich and famous of Hollywood'. This party turned out to be Diane's must humiliated experience ever. She felt betrayed, rejected, used. Something inside her snapped, and she asked Joe if he could help her with a 'dish served cold' (revenge). Joe named his price and Diane sold all her valuables, stole from her roommate, forsook her part of the rent, and finally raised enough to make the deal. The financial problems Diane had caused, forced her and her roommate, Gonzalez, to leave #16. Gonzalez moved to #12, whereas for the time being Diane stayed illegally in #16, ready to leave at any moment.

Joe and Diane sneaked into #17 and went into DeRosa's bedroom. Diane exposed her 'acting' skills, and Joe smoked a four cigarettes in bed. His cig butts and DeRosa's both filled the mosaic ashtray near the red lampshade. Then DeRosa caught them in the act. Diane run to her own apartment and Joe killed DeRosa as cold blooded as depicted in Ed's office. He arranged all details suggesting DeRosa had committed suicide. He dressed her into a nighty and he laid her onto the bed in a position suitable in such circumstances.
Joe left the key on Diane's coffee table and left. Diane locked herself in for days, and didn't know what to do next. Leave? All day long she could stare at that blue key in complete state of apathy. She knew that some day the police would knock on her door. One night, in a sleepless moment, she sneaked into #17 to see Joe's result. The corpse was decaying and exuded a horrible smell. The sight of her rotting lover was too much to handle. After Diane received a phone-call from the LAPD about a 'missing girl', she really freaked out and she changed her plan. She decided to get rid of that corpse, so she contacted Joe once more. Joe arrived in his blue van and the two began to load boxes and trunks into the blue van. One of them was extremely heavy ...
However Diane seemed unable to move on and all her days brought, were blue tomorrows, staring at a blue key hour after hour, memories were nightmares and nightmares were memories. Then one morning Gonzalez came at the door to collect her dishes, lamp and ashtray. Well, you know the rest of the story ...