I had recently viewed a clip put together that featured prominent scenes in Mulholland Dr. under the subject that it was the key to understanding. I realize there are many such clips available that all make the same claim. This one in particular paid close attention to the number of times "this is the girl" is stated, and who it is stated about. It was followed up by what appears to be a broken chain which begins with "the girl is still missing". When juztaposed it gave me a senses of there being an odd man out, something incomplete or utterly absent.

Additionally, and this may have been covered before. If we are to believe that Diane represents a real person narratively speaking, she is the only one who does not have a photo resume, head shot. For which the statement "this is the girl" is of particular importance. One may suggest that, who believe is "Diane" is the odd girl out.

Could there be relevance in the address of 1216 of Havenhurst, Room 16 Park Hotel, and apts 12, 16, 17 at Sierra Bonita?

There are 3 persons/personas/characters/identities, one of which doesnt belong.

Intuition tells me it is the victim of crime.

The appearance of a corpse in a bed that looks like the victim of crime.

Girl in 12, in her first appearance as she is walking to where presumably "Betty" and "Camilla" went to investigate makes several glances off the path she is walking, with considerable concern in her expression.

Incidentally Lara Elena Harring was in "the Elian Gonzalez Story" . This film credit is mentioned in her cast bio on the Mulholland Dr. DVD.

Erskine wrote:Intuition tells me it is the victim of crime.

The appearance of a corpse in a bed that looks like the victim of crime.

Well, certainly the woman in Apartment 17 as a victim of crime is a well-regarded idea one that does not need much to support it with the mattress looking like it was the victim of a shotgun blast.

Thinking here........

1612 Havenhurst

12 and 16 Sierra Bonita

12 lists Diane Selwyn, 16 lists A. Gonzales, 17 lists LJ DeRosa

Louise: "Someone is in trouble. Who are you? What are you doing in Ruth’s apartment?"
Betty: "She’s letting me stay here. I’m her niece. My name’s Betty."
Louise: "No it's not. That’s not what she said. Someone is in trouble, something bad is happening."

Diane and blue appear together, Adam and pink appear together, and blue and pink are the colors of the pool chairs at Adams house, lets associate the other colors.

Erkskine,

You might want to check out the general MD site. There are a lot of threads about numbers and such. Keep in mind that 7 is David Lynch's favorite number with 16=1+6=7 and 17=1*7=7.

Interesting thanks for your thoughts. Just wanted to point out that

17=1*7=7 is NOT a recognised numeralogical transformation, but
16=1+6=7 IS. Adding of digits is ancient and well known, but multiplying I have never seen. I understand Lynch knows about numerological practices.

I think we're better off seeing 17 as
17=16+1

i.e. it represents something/someone added to situation represented by 16, in the same way that 2+1 = a crowd, i.e. one too many!


BTW if 16+12 = Adam + Diane then it's worth noting that
16+12 = 28 = 2+8 = 10 = 1+0 = 1 (i.e. a complete and whole unit).

(Incidentally this numeralogical transformation of adding digits yields the same result no matter what order it is performed in:
16+12 = 7+3 = 10 = 1+0 = 1)

@ Erskine:

How did you arrive at
Diane = blue
Adam = pink?

Preceeding from a theory that the actors, in and of themselves playing and representing various characters that are part of a particular story. The story which is the same but experienced differently, quite differently, and very differently so to speak. Use of color, sound, music, certain numbers, setting, even vocal accents and tonation all pointing to which "version" of the same event is being witnessed.

Unlike Pulp Fiction which announced breaks between disparate narratives. Mulholland Drive is not so much an amalgam, as it is a bleeding over of disparate narratives that elude to the same story. Aware that this is just a theory my goal recently has been to connect the dots between these disparate narratives.

Based on this theory, and using the Adam Kesher narrative we may begin to see a template. At Adams house we are witnessing a specific event that takes place between Adam and Lorraine. It is one scene where the color clues most elucidate a possible relationship between specific characters of a central story. A central story told several times, in vastly different ways. I used the color clues from the confrontation at Adams house to assign blue and pink to Diane and Adam, but it is also Lorraine and Adam, Betty and Camilla, Joe who possibly is representing two characters in the scene that plays out in Ed's office. In some cases there may be entirely different symbols assigned to the same character(s) . In Sierra Bonita we have specific numerical and spatial cues as well as color. 1612 Havenshurts, 6980 Mulholland Dr., Winkies, Pinks, and so on, each a stage telling the same story in it's own way. Further complicating this is the disparate nature of it and it's non linear style.

There are clues to these these breaks that also are revealed in subtle inconsistencies. One which is well known is Bob Brooker directing The Sylvia North Story. Inconsitincies that are really not inconsistencies but are thread(s) from a different narrative. Is Adam and Bob both the director of a film in disparate narratives? Why is there a Camilla Rhodes with black hair in the convertible scene, and a blonde Camilla Rhodes in an audition scene?

At Ryan Entertainment were there two photo resumes? We see one, then it is placed over ontop of the enevelope not revealing again after we see the initial image of a Camilla Rhodes. This is deliberately directed that way as the camera focuses on that. When the envelope is placed back on the table the flap of the envelope conceals the image as well as the angle of the camera.

Just examples of elucidations.

Some actors may play and represent a completely different character in the same narrative as well as in a different narrative. Who plays who, who represents who and what is occuring. The construct however for the tale I believe is evident in as much as it appears we have three players but what kind of three? (2 ,1) (1,1,1) (3)?

~2GAT123?

A puzzle requires objectivity. Find a corner and start piecing it together.

Hang on, if I start at a different corner it seems to be a whole other puzzle!