Phyllis fierro birthdate
[All] The dream he had that night
2023.11.17 08:28 kaleviko [All] The dream he had that night
In P2, befuddled William Hastings, arrested for the murder of Ruth Davenport, assured his wife Phyllis he hadn't even been to Ruth's apartment.
An earlier conclusion is that Officer Douglas who had the apartment key from Ruth's neighbor Marjorie Green was the same manufactured Dougie who in P3 was in bed with a lady friend Jade in Rancho Rosa, Las Vegas, wearing the green ring. Ruth's apartment would have suddenly shifted and turned into the abandoned house, with the poor Officer about to find some hard truths how expandable he was in his new story. As for Jade, she was likely Ruth's bloody Mary plant in need of watering, duly heading for the shower after she got paid, the change suggested by another nude turning into a raging plant in the Black Lodge in P2 (see here, contains non-frontal nudity).
Next to the bed, there was a wooden cabinet that had lost its middle drawer, like raspfan has pointed out. Details like that tend to become useful once you find the angle how to make sense of them.
Diane with, uh, a bush.
In the finale, Cooper and Diane went to a motel somewhere far away. We got the first hint this scene would be something interesting to think about because as she sat quietly in the car, waiting for Cooper to get the key, her head was made to resemble a thick, round bush in front of the building, thus associating her with a plant. Furthermore, her hair was screaming red.
Once they got in, Diane briefly turned the lights on, but Cooper asked her to turn them off again. While the lights were on, we got a good look at the room's entrance.
Next morning Diane was gone, and Cooper woke up alone in the bed. She looked around. We got a slow pan across the room.
The rotating lamp ...
Something to pay attention to was that the heavy floor lamp at the entrance had been rotated about 90 degrees. Now, if we did the same to the next furniture, a small desk, it would resemble the cabinet lacking a drawer in the Rancho Rosa house.
... and the rotating desk.
A further hint in this dream of time and space came in the curiosly old Ford 300 that Cooper and Diane were riding in the finale. The model was released in 1963 and only produced that year. This may have been about Hastings's formidable height that was 6'3, as seen in his operator license in the opening episode, right above his birthdate and below "CLASS 1", the class of one just like the Ford.
Class of one, '63.
Another kind of 1963 Ford was Donovan's Reef, a film by John Ford, starring his regular John Wayne who was the same height 6'4 as Matthew Lillard playing Hastings, an inch more than on the license (their reported heights vary a bit depending on the source). As a side note, Lynch himself made a marvellous John Ford impersonation in Steven Spielberg's The Fabelmans.
Something to keep in mind is that the story quite likely had at least two William Hastings. In the opening episode, one was wearing a dark blue sweater while the other had a dark grey one. The one swearing he had only been to Ruth's apartment in a dream was the latter.
We probably got here answers to two questions, keeping the relentless twists coming in true fantasy style.
First, this would have been how "bloody Mary" got into Ruth's apartment, entering the place as the red-headed Diane before jumping to another story and turning there into Ruth's houseplant (sic!) and then further to Jade.
Second, the stern Cooper look-alike man accompanying Diane in the motel would have been the same William Hastings whom Detective Macklay interviewed in the opening episode, the scene in the finale being the dream he remembered about himself in Ruth's apartment that now showed up as a motel room. As it appears, this Hastings was actually Phillip Jeffries.
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Hastings: "I wasn't there, but I h ... I had a dream that night that ... that I was in her apartment."His wife was quick to confirm that it was more than a dream.
Phyllis: "You were there. Your fingerprints are there."This was left at that. Enough noise was made about Hastings having yet not having been to Ruth's apartment to suspect that we'd be getting back to that dream, one way or the other. As usual, the dots connecting relevant scenes appear to be barely visible.
Hastings: "No, I sw... I swear to you, I wasn't there. I swear to you, it was a dream!"
An earlier conclusion is that Officer Douglas who had the apartment key from Ruth's neighbor Marjorie Green was the same manufactured Dougie who in P3 was in bed with a lady friend Jade in Rancho Rosa, Las Vegas, wearing the green ring. Ruth's apartment would have suddenly shifted and turned into the abandoned house, with the poor Officer about to find some hard truths how expandable he was in his new story. As for Jade, she was likely Ruth's bloody Mary plant in need of watering, duly heading for the shower after she got paid, the change suggested by another nude turning into a raging plant in the Black Lodge in P2 (see here, contains non-frontal nudity).
Next to the bed, there was a wooden cabinet that had lost its middle drawer, like raspfan has pointed out. Details like that tend to become useful once you find the angle how to make sense of them.
Diane with, uh, a bush.
In the finale, Cooper and Diane went to a motel somewhere far away. We got the first hint this scene would be something interesting to think about because as she sat quietly in the car, waiting for Cooper to get the key, her head was made to resemble a thick, round bush in front of the building, thus associating her with a plant. Furthermore, her hair was screaming red.
Once they got in, Diane briefly turned the lights on, but Cooper asked her to turn them off again. While the lights were on, we got a good look at the room's entrance.
Next morning Diane was gone, and Cooper woke up alone in the bed. She looked around. We got a slow pan across the room.
The rotating lamp ...
Something to pay attention to was that the heavy floor lamp at the entrance had been rotated about 90 degrees. Now, if we did the same to the next furniture, a small desk, it would resemble the cabinet lacking a drawer in the Rancho Rosa house.
... and the rotating desk.
A further hint in this dream of time and space came in the curiosly old Ford 300 that Cooper and Diane were riding in the finale. The model was released in 1963 and only produced that year. This may have been about Hastings's formidable height that was 6'3, as seen in his operator license in the opening episode, right above his birthdate and below "CLASS 1", the class of one just like the Ford.
Class of one, '63.
Another kind of 1963 Ford was Donovan's Reef, a film by John Ford, starring his regular John Wayne who was the same height 6'4 as Matthew Lillard playing Hastings, an inch more than on the license (their reported heights vary a bit depending on the source). As a side note, Lynch himself made a marvellous John Ford impersonation in Steven Spielberg's The Fabelmans.
Something to keep in mind is that the story quite likely had at least two William Hastings. In the opening episode, one was wearing a dark blue sweater while the other had a dark grey one. The one swearing he had only been to Ruth's apartment in a dream was the latter.
We probably got here answers to two questions, keeping the relentless twists coming in true fantasy style.
First, this would have been how "bloody Mary" got into Ruth's apartment, entering the place as the red-headed Diane before jumping to another story and turning there into Ruth's houseplant (sic!) and then further to Jade.
Second, the stern Cooper look-alike man accompanying Diane in the motel would have been the same William Hastings whom Detective Macklay interviewed in the opening episode, the scene in the finale being the dream he remembered about himself in Ruth's apartment that now showed up as a motel room. As it appears, this Hastings was actually Phillip Jeffries.
2023.11.08 21:48 bloodczyk Okay... This is a LONG shot...
 | This bracelet was in the jewelry we are preparing for an estate sale. The family says it does not belong to them (the names and dates are of no relevance to them). It could have potentially been lost at the recently closed (2022) Open Hearth restaurant on Wade Hampton. We would love to be able to return this potentially sentimental item to its owner but more likely it would be to a relative of the original owners as the earliest date (we assume birthdate) on the bracelet is 3/11/1948 with the most recent being 10/30/1961. submitted by bloodczyk to greenville [link] [comments] There are 7 profiles (4 girls, 3 boys). Some are double names and some have a numeric suffix after their name. I am not sure if I want to share all of the identifying information for privacy sake, but then also... who would want someone's random bracelet with names and dates on them? So maybe I will edit this to have all of the information, but for now, I won't put it all out here. I tried googling the names and corresponding birthdates, but only came across 1 and a half leads. Will continue with trying there, too. But in the meantime... Do you know anyone with relation to these folks? Are they your aunts/uncles/parents/grandparents? Barbara / Betsy / Sidney / Taylor / Sara / Phyllis / Alvin (ALLLLLVIINNNNNNN!!!!! I couldn't resist) https://preview.redd.it/qnbdo4w5s6zb1.jpg?width=4032&format=pjpg&auto=webp&s=853d869e29baaaa4344da1823b0a129522927670 https://preview.redd.it/eyu8d4w5s6zb1.jpg?width=4032&format=pjpg&auto=webp&s=3771a600ab45fcf1b27d5bfbd5f42810c68b6c50 |
2021.07.16 23:25 LouMing Find Laura: Part 1N
 | PART 1N submitted by LouMing to u/LouMing [link] [comments] Something to Do with Your Heritage Cut to: Deputy Chief Hawk coming around a corner at the Twin Peak Sheriff’s office carrying two cardboard evidence boxes, each marked with a large, red “X.” And here we go again. Time and time again. We may be reminded of the big, black metal “X” at the top of the glass box and in its base structure in New York, the two coffees with “Z” on them, the two boxes of shovels: The Threshold. 7, Z, and X are interrelated here both visually and contexturally via these boxes, the glass box, the coffee cups, and their persistent appearance in Threshold scenes. Hawk brings the two boxes into a conference room and places them on the table. Lucy and Deputy Andy join him in the conference room Hawk: She said something is missing and it has to do with Agent Dale Cooper.Like Marjorie’s inability to give the two cops a straight answer outside Ruth Davenport’s apartment in Buckhorn, Andy and Lucy’s pronouncements seem manufactured to delay the task at hand, to distract the investigation. Along with some exposition regarding Agent Cooper’s history and how long he’s been gone, we learn about the existence of their son Wally Brando (who shares a birthday with actor Marlon Brando). But it’s late and there are files they will need from the basement, so as with Tracy in New York, Hawk will come back tomorrow with coffee (and doughnuts). A fly on the table. And that damn fly is back. That one flying over Lucy’s head at the conclusion of her scene with the insurance agent. And not just momentarily here. As the fly continues to walk around the conference table, he seems to be intentionally made part of the scene. Interesting to note that Lucy has been in the position of the guard at the Threshold twice now. She successfully turned the insurance man away, but here now she must acquiesce to Deputy Chief Hawk. Hastings’s interrogation Establishing shot: Buckhorn police station. Cut to: Bill Hastings alone in an interrogation room. He is distressed, clutching at his head. Don Harrison, State Police from Rapid City is introduced to Detective Mackley by the slim, bald Police Chief Mike Boyd. Mackley reveals that he’s known Hastings since high school. Harrison says that Hastings might be willing to tell Mackley more since they have a history together. This is a nice echo of the Log Lady telling Hawk he has to find what’s missing and how he will find it has something to do with his heritage. Their shared history since high school is Mackley’s cultural heritage. Mackley enters the interrogation room and sits across from Bill Hastings. Hastings truly does not know why he’s there. This is not a psychotic criminal, this is the high school principal. He asks why he’s there but Mackley has some questions first. Hastings claims not to know Ruth beyond knowing she’s a librarian. He doesn’t know where she lives and says has never been to that apartment building. But the questioning reveals an unaccounted-for period of time after a school faculty meeting and this void seems to suddenly turn something in Hastings. There’s something missing. He then seems to remember that he gave his assistant Betty a ride. “Something wrong with her...car. Something wrong.” Like with Marjorie’s not knowing her address, and seemingly forgetting why the police were called, Bill Hastings is remembering something from a dream, but he is also beginning to realize it may be something more. Also Marjorie said on the phone to the police that there was “something wrong” and later, in the Red Room, Phillip Gerard will make the same exclamation. She had also said that Ruth was missing for three days and Hastings gives an accounting for his last “three or four days” to Det. Mackley, which consists of his past three days and that he was “home all day today.” As I wrote last time: This [collapse of parallel timelines] creates a single consciousness from the many “unofficial versions” as they suddenly [merge]. The awareness of one consciousness suddenly existing in a reality formerly occupied by another. A version of reality they only experienced, if ever, in a dream.The bizarre configuration of Ruth’s head with Major Briggs’s too-young body in Ruth’s apartment either triggers, or is, such a collapse. It is the introduction of a troubling abstraction from the original Twin Peaks: the discovery of the body of Laura Palmer. The Many are becoming the One and the Primal Scenes are beginning to assert themselves. As Ruth’s alleged murderer, Hastings thematically occupies the role of Leland nicely. And his seeming innocence peeling away to an apparent guilt illustrates the Leland/BOB dichotomy, and by extension the CoopeBOB dichotomy. Also, according to their IDs, Cooper and Hastings share the same birthday. Shared birthdates. In Laura’s subconscious the creation of Agent Cooper was the creation of a replacement father figure, one that would protect, not abuse her. But she has only one template for a father and, damaged as she was, her subconscious hero was ultimately “possessed by BOB” and raped both Audrey and Diane just as Leland/BOB had raped Laura. Audrey and Diane are two characters in Twin Peaks that represent Laura herself. Laura’s consciousness has a role in this subconscious world, but does not control it. The subconscious is working through abstracted “dreams” to heal Laura’s consciousness, to create a scenario where she can face the hidden thing. And this late-blooming state of consciousness is part of how this plan is to be carried out. Mackley reveals the murder of Ruth Davenport and the presence of Hastings’s fingerprints at the murder scene. Hastings’s response of “What? What?” will be echoed by Audrey when her reality suddenly collapses in an even more violent way. Hastings is walked to his jail cell by Det. Mackley, and as he’s placed in the first cell on the left, he asks for his wife, Phyllis. Searching Hastings’ House Cut to: the two police cars have returned to the front of Hasting home. This return visit, and the fact that they have a warrant and can now enter the home freely, confirms its structure as, once again, the Threshold. https://preview.redd.it/6ggmz8k16nb71.jpg?width=1371&format=pjpg&auto=webp&s=d8436d8c2d7e8be6126c4677eef649ca450de9db Here we get a better look at Kafka’s picture through the window as the police approach the front door and knock. The detectives get the keys to Bill Hastings’s car from his wife Phyllis while the cops enter the home to search it. https://preview.redd.it/3psiz8w56nb71.jpg?width=1540&format=pjpg&auto=webp&s=7d18378f5c04582ab0989bc8406667c934aac0fe Det. Mackley and Harrison pop the trunk as they begin to search the car. There’s a fishing rod, tackle box, and ice chest. A reverse “Tarantino shot” from inside the trunk shows Mackley leaning in as his flashlight blinks on and off. “Flashlight’s broke,” he says. Harrison removes the ice chest and the flashing light lands on a chunk of flesh-and-fingernail staining the trunk carpet. “Woof!” says Mackley. As the body/head at Ruth’s apartment abstracted the discovery of Laura’s body, here we’re going to see a flashback to Agent Cooper’s examination of the body of Laura Palmer. https://preview.redd.it/cd3k0p486nb71.jpg?width=1158&format=pjpg&auto=webp&s=a8465d3ab95df1e3eddf90b7f31b56adb7425b29 The blinking of the flashlight over this chunk of flesh is an abstracted reduction of the morgue scene beneath the blinking fluorescent light bulbs of the examination room in the Pilot episode. The discovery of the flesh under an ice chest with fishing rods points back to how Laura’s body was discovered by Pete Martell when he was going fishing. This examination from the Pilot episode is when Cooper finds the letter under Laura’s left ring finger. The idea of a Blue Rose Case will not be introduced until Fire Walk With Me, but we know now that the letter under the fingernail proves that Laura’s murder is a Blue Rose Case. It is also the very first time the flashing light/electricity motif is used in the original series, now echoed with the faulty flashlight here and resonating throughout Twin Peaks. There’s an idea I want to explore later in regards to the original scene from the original series’ pilot. The attendant’s apology for the flashing fluorescent lights and his attributing the cause to a bad transformer has larger implications to me in dissecting season 3. I think the interaction between Agent Cooper and the attendant hinted at a concept that came to the fore with Fire Walk With Me, Laura as not just a possibly unreliable “narrator,” but as a bad transformer whose trauma created a psychosis where, as witnessed in Fire Walk With Me, her internal interpretation of her external existence was sad, bizarre, and insane. Fade in to: ??????? (the Fireman) watches as the Victrola plays the sound twice then stops. End Part One. Part 1 Wrap-up Here are the recurring motifs we’ve accumulated in the first hour of Twin Peaks Season 3: The Meeting of the Mind The Threshold The Missing Thing The Split The letter Z and its variants, The number 7 and The letter X The Black Dot and its variant, The Hole The One leading to the Many and its inverse, The Many leading to the One The Mother The Fly The Cowgirl position Male/Female blending The Arched Alcove The Awful Smell Gold 911/119 Codes/keys/coordinates 3-Day Gap ochre/pale green color scheme The Upraised Palm The Missing Head Ubiquitous Telephones Mise en scene commenting visually on the plot Parallel Timelines/Potentialities As Lynch has said “If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.” So we’re off to a good start here. Postscript In closing I’d like to present some Log Lady introduction quotes, written by David Lynch for the original series rebroadcast, for context: To introduce this story, let me just say it encompasses the all – it is beyond the "fire," though few would know that meaning. It is a story of many, but begins with one – and I knew her. The one leading to the many is Laura Palmer. Laura is the one. As above, so below. The human being finds himself, or herself, in the middle. There is as much space outside the human, proportionately, as inside. Stars, moons, and planets remind us of protons, neutrons, and electrons. Is there a bigger being walking with all the stars within? Does our thinking affect what goes on outside us, and what goes on inside us? I think it does. Is life like a game of chess? Are our present moves important for future success? I think so. We paint our future with every present brush stroke. Painting. Colors. Shapes. Textures. Composition. Repetition of shapes. Contrast. There are clues everywhere, all around us. But the puzzle maker is clever. The clues, although surrounding us, are somehow mistaken for something else. And the something else, the wrong interpretation of the clues, we call our world. Phew It’s taken me 14 installments written in as many weeks to cover all of Part One, and as much as I love the challenge of a weekly deadline, I’m going to take a break and then come back at a less exacting pace. If you have read this far, please do me a favor and upvote this one post for me. I know when I read stuff in Reddit, I don’t upvote all the time, but I want to get an unofficial headcount of how many people are tuning in. I know it’s somewhere between 15 and 55! Thanks for reading! Lou Ming Next: Sidebar A: Fire Walk With Me or go to the Find Laura Index *** If you like what you’ve read and would like to support my writing, you can tip me here. Thanks! Lou Ming |
2021.01.07 19:39 templederr Ralph Macchio, 59, recalls the day he met wife Phyllis Fierro, 60
 | submitted by templederr to trendandstyle [link] [comments] |
2020.09.20 09:16 miki0sheikh Ups and Downs in the Life of Phyllis Fierro
Phyllis Fierro is an American nurse practitioner. She is well-known as the wife of Ralph George Macchio Jr., who is a famous Hollywood actor and producer for decades. Ralph Macchio was born in Huntington in 1961, whereas Phyllis Fierro was born in the United States of America in 1960. No information is available about her early life, parents, or siblings. Ralph Macchio was merely in his teenage when Phyllis got his introduction by his Grandmother. Their first meeting turned into a long-lasting friendship bond, and they became best friends.
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