Jerry Horne wrote:In the first draft script, Audrey tells Blackie the name she wants to use is Laura.
She was born subtle, that one

Wow, a script! What does it say about the Josie-Hank scene?
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Jerry Horne wrote:In the first draft script, Audrey tells Blackie the name she wants to use is Laura.
Snailhead wrote:I agree with the overall sentiment of the above post, however I am perplexed when you say that episodes 3-7 weren't "the real Twin Peaks". Twin Peaks is many things, and those episodes are foundational to its appeal.
Cipher wrote:I just completed this episode on a rewatch, which began the other day with Fire Walk With Me, the first time I've inverted the series and films' release order, and I have to agree with David Locke's comments on page one that this episode feels extraordinarily prosaic even compared to the similarly procedural episode 6. I feel a long way now from the surreal, emotional struggle that was Fire Walk With Me, and in all this stood out as the nadir of my interest in season 1, where I found episodes 4-7 to be a bit of a collective slump (with 6 being the relative standout). One Eyed Jack's has been, draped in its unsettling red curtains and filled with stilted, doll-like actors, an uncanny den of epicurean pleasure in earlier episodes, but here it's reduced to a comfortable stage for police drama -- it is simply a casino, simply a brothel. All hints of other-worldliness have disappeared. The episode is also free of the more off-beat, unpredictable dialogue that makes the series' start such a joy, though I did get a laugh out of Andy and Lucy's short-lived reconciliation. I suppose as a way of summing up my feelings, in previous episodes the elements of soap-opera pastiche seem to exist to be subverted by other bits of unpredictable humor and horror; here they're a little too earnestly embraced, or maybe lacking couterpoint. For all that happens in this episode, this is the first time the world of Twin Peaks feels dull.
I'm actually surprised by how greatly I'm looking forward to season 2, which I'm reminded is where all of the series' mythology truly creeps in, and the greater moments of dream-like terror lie. I'm curious to see how I'll feel about its weaker moments compared to episode 7.
David Locke wrote:But anyway, the single worst and most incongruous part of the episode for me is still that really cheesy, really odd Badalamenti piece during the mill fire scene; it just sounds like some super-generic, disposable 80s thriller score. Hard-driving "ominous" synth paired with a horrid-sounding drum machine. Hard to believe it's by Angelo, and hard to believe it was thought to be of a piece with the rest of the Peaks music. (Now that I think of it, there isn't all that much use of Angelo's score in this episode, is there?)
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