The Cowboys riddle. Perhaps we can safely call it a riddle. The consensus is that the Cowboy is seen "two" more times. Often the third, or fourth appearance if you count them all is as he passes by in the background of the dinner party scene. Assuming that he is actually seen two more times as is the consensus then can we assume Adam did bad? If that is correct then what would be the action or lack of action that would result in a bad outcome, warranting a second appearance of the Cowboy?

We believe Adam is following orders, and doing "good" when he chooses to say "this is the girl" when a blonde actress named Camilla Rhodes auditions by singing "I've Told every Little Star". The actress is the same actress in the head shot that he objected to at the board meeting. His objection is noteworthy as it would appear he knows "that girl" as he exclaims is not in his film. Why the objection and refusal to accept and cast her?

Now I am aware of the theory that the Cowboy scene is the moral dilemma that Diane must consider. If it is not, and there is no real indication that it is more true than any other theory then what is the moral imperative Adam would have faced and the consequences of his choices and actions? We are naturally inclined to believe the "good" life meant morally good, we don't really see an Adam who is embracing a "bad" life. He is kind to his assistant, the valet, and he is the one cheated on by Lorraine, he also has a good relationship with Cookie, and is not adverse to mixing it with dregs so to speak.

This "good" life he doesn't care about just may be "The Good Life". The Cowboys arrival is announced by flashes of electricity, this often accompanies those entities that feed off of pain and sorrow, Wyndom Earle knows them as the Dugpa in Twin Peaks, and they are always up to no good. BOB wanted to be Laura. What fate befalls Diane? For her pain and sorrow, Adam and Camilla reap "The Good Life"?

Consider this, the Cowboys riddle is not an indication of the moral choice per outcome. Telling Adam what he must do, then following up with the riddle, one more time for "good", two more times for "bad". Taken like this one may see the price paid for selling out, betraying ones own principals. This resonates as David Lynch stands on principal.

I did put forward my ideas about this over a year ago, but as you are new I'll just briefly say what I think that scene with the cowboy is about: I think that Adam is being prepared for a court appearance in which he is expected to implicate a female defendant with the phrase:"This is the girl".
(He must come across as a credible witness, a respectable member of his golf club. This is indicated by the abstract image of him carrying a golf club early in the film.)
The cowboy is playing the role of the defence lawyer cross examining Adam, so that Adam gives the correct answers (and subsequently appears to be a credible witness).
The key question is: "How many drivers does a buggy have?"
Adam answers "one". But the question is a trick question. If the question was how many drivers does a limo have, the answer should be one. But it is a buggy, which is what a golf cart is called. In this case, a driver is a type of golf club. So the buggy will have several drivers.
Notice that the cowboy does not say either "correct" or "wrong" when Adam replies. But moves on and just says "Well lets say I'm the driver..." etc just as a lawyer cross examining a witness would not tell the witness whether they were right or wrong.
I think that the cowboy is someone high up such as the DA or assistant DA. This is because of his threat: If you see me once more, you've done good, two more times is bad. I take this to mean that if Adam does what he is supposed to (in court), that will be the last time that he sees the cowboy and he will be given immunity from prosecution, otherwise he will be seeing the cowboy again and this time it will be him (Adam) that is in the dock. Of course, he does say "This is the girl." at the appropriate moment and he is no longer at risk of being prosecuted himself.
He does seem to refer to this later, when he says, "I could have bought that judge a Rolls Royce".

I will use "drivers" to denote front seat occupants.

The limo that carried the dark haired woman at the opening credits had two drivers and the limo that later carries Diane had two drivers, the car that drives past 1612 Havenhurst and the one parked outside Sierra Bonita also have two drivers.

A front seat occupant is not necessarily a driver. A limo only requires one driver/chauffeur. Either the occupant in the front passenger seat is a passenger... or the vehicle represents something else, such as plane (which may have a co-pilot).
Why a limo should require two men in the front is a mystery to me. But I think that both scenes are dreams (or abstract representations) so we can expect some weird stuff.

I can agree with that. Adds to the mystique for certain as the secret agent types do wit the sunglasses, expressionless that appear at 1612 and Sierra Bonita. I have the weekend to myself so I have a few viewings planned, inviting a friend over who has never seen it, as my girlfriend has yet to also. Particularly for the the purpose of getting initial impressions, this movie is very special because for the ones that are moved by it our impressions have changed. I can barely recall my initial impression and I have only been studying the film for a month, and many here have been looking at it sideways, front ways inside out since it was released. I find that level of interest impressive.

I am watching it now as I type this. One thing that is sticking out like a sore thumb to me is the second car. It is a classic red sports car. The theories that center around the key players all being ghosts is gnawing at me here, themes of dead mans curve, an accident on Mulholland Dr. that may have happened twice, once in the past, then present/future what have you. Anyway, even if there is some basis for the "ghost" "everyone is dead" type theories I would still be left wondering if there was ever two victims, of either sort, accident or foul play. We have a blonde starlet framed by the old couple, in ghostly apparition, then in the end we have the two women like ghostly apparitions, as if one was already dead and the other just joined her. But who, and how? I had this idea of a stolen identity where one was a star and the other wanted to be like her, either by accident or foul play the one who is envied is removed, the other tries to take her place, tries to become her. Audition for her parts, her roles, assumes her name. Anyway, back to the film.

The Mulholland Drive screenplay (the original pilot) the last part of Adam and The Cowboys conversation reads, as follows:

Adam: So, this is the last time I see you then unless I do bad ?

Cowboy: No, this one doesn't count. It's part of the original one. So then... until we meet again.

Very helpful indeed. I know Lynchs personal philosophy jives very well with the concept of making choices of which repercussions cannot be understated. The thin line on the Adam dilemma would be karmic in nature. The Adam I see in the feature Mulholland Dr. does not at all look like someone who is embracing a "bad" life, he is principaled when he insists on not casting Camilla Rhodes, and this "good life" he doesn't care about may be the one of riches, wealth, women. I mean, when we meet him he is married, he turns down Cynthia's offer to stay with her. Now just going by what we see on the surface we may surmise his decision though good for the powers that be was the morally wrong choice, regardless this choice may take him to "the good life" at the expense of someone else. Diane? Perhaps she was more deserving but not what the powers that be wanted, her decent set in motion by Adams caving in made complete by jealousy, rage, murder and suicide. Like I said, assuming this if taking the story at face value.

With the extra line from the pilot CJ, how do you think it changes or validates Adams dilemma?

That is a really tough question, but I see the answer's in Adam's behavior also. I believe Adam represents a man who would not compromise his art and his vision of the film he is directing and it shows when he clearly does not want to cast Camilla Rhodes for this film. He has attempted to defy the C.B. and stand his ground. So I believe Adam is standing for and representing a morally good character. And when we take into account the meeting with the Cowboy, and by reading the extra line into it, this can also be a possible indication showing Adam's concern, literally, wanting to know precisely if it will determine whether or not he has done "good" or "bad". He cares and I believe he did not want to be a device in Diane's spiral downward, the short answer could be: Adam wanted to do good and his decision was partially responsible for Diane's demise. I believe it shows it was not intended. Yet the Camilla who we see at the dinner party seems like the definition of a device. And I see Adam suffering consequences of his own, although Adam was not a sell-out and did not do this deliberately to Diane for riches and power or for his personal gain, I think the dinner party scene shows us some of what Adam has lost by his choices. To me he seems to have an air of formality around him and is unlike his former self. But deep down he is still real and it can be believed he is redeemable. What is the loss or consequence? Did you notice this? When Diane and Camilla walk up by the pool side and Adam says his toast "Here's to love" Diane also says "Here's to love". Camilla clicks her glass also along with them but never says that. She never says she loves. I also do not think Adam loves her (Camilla) and will eventually learn to reject such women. There is a moral lesson and I understand the looks between Adam and Diane/Betty at the audition to be that of a stronger more real love along with undertones of regret of what might have been. What are your thoughts? I should also mention although it seems by Adam going along with choosing Camilla Rhodes makes the assumption he in fact did become a sell-out but the circumstances surrounding him indicate less of a choice. A true sell out would not care or concern themselves much more then what they could gain and at not be concerned about at whose expense and in Adam's case this was not indicative to the dilemma. He was shown all he could lose and ironically that maybe the lesson of loss and part of riddle(?)

I'm right along there with your assessment. Particularly with what you took away from the dinner scene, pool side. Some have noted that Coco outside and at the dinner tables appears to have some scorn in her expression directed at Camilla and some sympathy directed at Diane. Adams "attitude" at this point is in stark contrast to how we came to know him, as you have pointed out. Camilla's behavior is the most garish and obviously narcissistic. Some viewers have an opposite appraisal I have noticed, where they view Diane's behavior, especially in what we believe is flashbacks post Club Silencio. If taken to be a representation of Dianes true self at that particular point in time, her behavior does not give the impression of narcissism, she may be delusional at this point but her appearance and demeanor is not someone who's ego is self inflated, quite the opposite.

Your observation about the toast fits well with the glance that is exchanged after her audition, Adam facial expression speak volumes, where Bettys eyes are full of love, Adams as well but there is a hint of regret, or anxiety, you can see his mouth quiver the slightest which indicates some recognition of the emotion shared between Betty and Adam as they make eye contact. We have all experienced this before, the look of knowing exchanged between people. If there is recognition in Adams eyes, it has to come from one or a combination of three sources. Adam knows/knew someone who looks/looked like Betty and there was possibly a relationship, Adam knows Betty and is enamored by seeing her again, Adam has never seen this person before and is enamored by her.

Now as you have pointed out the pilot script reveals a little more than what David Lynch deemed necessary for the film, notwithstanding what needed to be cut for the sake of time. Mulholland Dr. will always be problematic for the very reason that the pilot is the basis of the feature film. A pilot is usually a grand introduction with the setting, themes and central characters making their introductions. In some ways you can make the argument that no matter what, Mulholland Dr. is just very sloppy, of course I do not share that opinion because even if the original project aired and was continued we know from David Lynch, as we did with Twin Peaks, that you can't really predict where things are going. From what I have read David Lynch freely admits Mulholland Dr. is far better as is than what the pilot and series would have become. However, character development is very intense and it is reasonable to attempt to predict where a character like Adam Kesher may have come from, where he's been, and what he's doing, because David Lynch knew because the pilot reveals as much.

I have attempted to be as objective as possible and I believe there is enough there for us to piece the general story together. Many theories, and I respect and appreciate all of them have been highly subjective. Projecting our personal ideas onto the characters, this is unnecessary for the most part because David Lynch crafts his characters with much cunning. Minor subtleties revealing so much about the people we are watching, David Lynch is minimalist in this fashion.

Following along with your assessment CJ I can see a plausible narrative that isn't needlessly complicated. That is not to say there isn't any loose threads, as we know there is, and because of the "pilot" situation they may remain forever loose. Additionally, even with a film like this we still tend to analyze within a paradigm. My latest attempt to rework what we take for granted as centered around the opening limo scene, Camilla says "what are you doing? WE DON'T STOP HERE" with particular emphasis and concern on the second, the emotion is specific and not in the inquisitive tone we here Diane speak. The possibility being that Diane is actually lured to that exact spot and killed, this is what paves the way for Camilla to be cast, it is quite possible that Adam and Diane did share something and this feeds his reluctance to cast Camilla, this also could be reinforced by the exchange of looks between Adam and Betty. What would proceed from such a course of action would be Camilla's nightmare, there are some theories that touch upon this possibility. It does have it's problems but the one good piece of evidence is Club Silencio, during, and after with emphasis of Rita being alone after Betty vanishes followed up by Aunt Ruth. Who I believe is really Camilla Rhodes.

Just a observation of The Cowboy. If I were to take the liberty of associating this character with that of The Giant in Twin Peaks we may arrive at the conclusion that The Cowboy is relatively neutral, The Giant although wanting to help Agent Cooper could not actually participate or influence outcomes. The lore surrounding The Black Lodge validates this as it's understood that they cannot affect the physical plain directly but can employ the physical inhabitants and possess them, but this is frowned upon as BOB's activities were. So, my observation was this, The Cowboy thanks Adam for coming up from that nice hotel downtown, paraphrasing here, his tone is definitely sarcastic and condescending, though it is obscured by his gentle albeit unsettling demeanor and choice of words, and lack of profane language. If The Cowboy is similar in nature to The Giant then it's possible he is a devils advocate, in which in Adams case his very appearance and suggestion is anathema to goodness. In a nutshell, The Cowboy is not good.

The other interpretation of The Cowboy would be the more mundane, and he is just a creepy, very convincing agent of the Castigliane Brothers. Who could give a crap about Adam's life and where it goes.

Quick thought. Let's pretend the corral is Eden, and Adam is Adam, is The Cowboy God, or The Devil? and where is Eve? :) Just having a lil fun with this thought.

Real quick, I think The Cowboy is good. His colors are red and white. And the goldish yellow big plaid coat. But there is no black. So unless Lynch has him desguised big time, The Cowboy comes from the white lodge of Lynch mythology.

But this discussion can really almost go either way, I just wanted to add my vote.