Let's talk changes: how would you change the second season?

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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

I really am liking the time warp -not just because it's a way of justifying the aging actors- but because I feel it would be building on what Lynch brought to the table with FWWM.

He's got time moving back and then forward and then possible a place where time doesn't exist. And here, it's feeling like it's keeping in the tone of a Lynch/Frost plan all along -even if they were making it up as they go along.

It's past, future and present.

It's reset to February 24th (going back), yet it's obviously the future. And yet it still retains the present structure- (3.14 ends on a Thursday and 4.01 resumes on a Friday)
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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

waldo, are you kidding? :D

your idea about Cooper and BOB is something I immediately jumped on. Put it right in my geeky notes and using it all the way as the main means. I love it.

And the jump forward is not something I ever would imagine or want to see because it seems so gimmicky, but I'm just following the possible logic of production and Frost's comments. And that it would have been awhile before the new season came out, their only doing a mini-series like the first season, and Lynch and Frost kind of want to clean the slate to a degree and have a whole new canvas to paint on.

And it frigging gets Audrey to a more respectable age for Cooper. :wink:
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Re: Let's talk changes: how would you change the second season?

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Not only that, it makes Audrey's age much closer to Fenn's. Having an actress who was already too old play a teenager who doesn't age was jarring enough on the actual show.
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Re: Let's talk changes: how would you change the second season?

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funny, when I first saw the pilot when it aired, I kept wondering where that woman from the publicity shots with Cooper was. I assumed she must be another agent that works with him. It wasn't until the first episode where Fenn appears with the longer hair, that I realized- "ohhhhhhh!"

And the age thing never bothered me in terms of her being in high school. Where Donna's was about more reality, Audrey's was more stylized- and it was about tone and homages (like their bathroom scene is Nancy Drew meets Double Indemnity)- and that's why Cooper and her age never bothered me, because it wasn't about reality. It was fantasty- style and chemistry in a post-modern noir style, with a lovely innocence and charm about it. If it was more realistic, then yes it would be creepy.

Okay, enough of that. Onto the drafting.

I'm also hoping to get Lucy into the mix a little. I like her getting right into the mix of things and not just be a cutesy one-liner. Also, more Bookhouse Boys. And I really want Joey Paulson back somehow.
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Re: Let's talk changes: how would you change the second season?

Post by They-Shot-Waldo! »

In the style of my season-long reviews, here's my look at the first two episodes of the new season...

4. 01
- Brilliantly disorientating opening. We're in the shattered Cooper's mind, staring into the shattered glass. A brilliant analogy demonstrating the rules of the show are completely turning (clockwise) on their head.
- Catherine doomed like Josie staring in the mirror? (Doomed like Cooper staring into the broken one?).
- Bringing in music from 'Fire Walk With Me'. Sweet.
- 'Something is off'. Most definitely. A complete abscence of any sense of urgency after major stuff went down in the
previous episode. Very weird, and I'm not sure in an entirely healthy way if you were a devoted viewer thus far, but definitely intriguing.
- Callback to the pilot with Bobby. Very good.
- Eileen WALKING! Between that and Norma's haircut we're subtly introduced to the notion time has most definitely passed. Very interesting. Everything seems to be rather trivial events such far, but it's such a jolt to the viewer they have to keep going.
- Sheryl Lee is back as a Laura... the calender... are we back in some bizarre version of the past?!
- The sex might be hard to get away with on network TV... sure Lynch could pull it off cleverly mind.
- Cooper content as a member of the town's society. But where is Bob? Does he even exist in this new reality? A complete abscence of any sense of menace manages to keep the tension up!
- The constant use of 'D.B' is certainly new. 'Dale Bartolomew' or hypothetically 'Dale Bob' signifying this is a new individual
perhaps?
- Eileen revealling remarkable tenacity she never had before. Donna pregnant?! Yikes.
- Lucy's found a suitable protogee. As a big Lucy fan, I like her already.
- Shelley with new Sheriff.... Bobby with new Laura.... Ack! Too much!
- So Bobby and the new Laura aren't well aquainted, (beyond the physical sense). Does he recongnize her similiarity to Laura Palmer? Does she realise it?
- Who is Laura Hunt?!! This is crazy. Vaguely tied in with Eckhart. Buenos Airies... Judy... should we expect Phillip Jeffries?
- The use of the Falling theme is very appropriate. Cooper, Truman and Sid being so warm with each other is the only thing that feels true so far.
- Seems to be tied up with financial matters with Catherine, yeah perhaps is intrigued by the mystical nature of Glastonbury Grove? This Laura Hunt character is going to drive me nuts isn't she?
- James now brain-damaged? Was Mike Nelson ever caught for putting him in that state? I always thought it'd be a cool twist to have the Billy Zane biker character find James after finding out his uncle told Hayward about James.
- "We can't go back, not now." - Good foreshadowing.
- Albert have a tendacy for making the moves on Audrey?!! Love the cool, FBI-ized Audrey mind.
- "That time of year already"... ? Audrey have a tendacy to call 'round this time of year?
- Nice move around of Ben's madness in this continuity. So Audrey in the FBI but still part of the family business?
- .... Amberson....
- Again, Laura part of the business part and now aware of the "classified" FBI work related to Audrey? Just how far did it go beyond getting abducted by Window Earle anyway?
- Why would Albert sit in on a business deal?
- Audrey... experimented on after the previous episode? How could Cooper like Cole and Rosenfield do that?
- Laura DOES know Jeffries!
- Fascinating Cooper still thinks of Harry calling him through the bathroom door. Perhaps in some ways, he's still trapped in that moment, when he first realised Bob was inside him.
- Laura Hunt is actually driving me insane as to how she knows stuff, who's she's working for, why she looks like Laura Palmer and it goes unnoticed, and generally where this is going. It's almost like a viewer took a break for a few seasons and then came back.
- Truman and Hawk protecting Cooper, does he realise this? Is this under orders from Cole? Nice little dialogue between Hawk and Shelley.
- Truman not impressed with his replacement! Love it. (WHY was Truman replaced?).
- So Nadine finally got one-up on Norma making better pies. VERY good. And Leo's now her slave? I daresay to suggest in more ways then one but that's just DAMN creepy.
- Is Harriet doing her own 'Twin Peaks'? Absoloutly. Love. Her. Great work.
- Very chilling exchange between Donna and Hayward.
- Would I be right in saying you get the sense the innocent friendship between Audrey and Cooper never progressed any further since the previous episode? That the circumstances between then and now have stopped this? Well done, if my thinking is right.
- Brilliantly oddball bonding between Albert and Bobby. The abscene of Julee Cruise symbolizes there's a great big gaping hole in the lives of these characters in this world. Something missing.
- Very Sixth Sense, but it's a stunner to realise Pete's gone.
- WHAT A TRIP!!!!!! Laura Hunt spilced away forever by some undefined means at Glastonbury Grove, and the Log Lady did it?!! Acting for Truman and co., or has her own agenda? Was Laura Hunt the first person to try and intrude on proceedings at the Grove since the previous episode?

4. 02
- Nice open, and tie to the cliffhanger payoff we never got. It's interesting to note how the new sheriff is barely respected (or even here, acknowledged) by the townsfolk.
- Funny, but disturbing in a sense Sarah and Beth are trapped in their own deluded little world with newspaper relics.
- I wonder does Audrey deliberately hold room 315?
- So Audrey was checking up on Cooper, as part of their assignment by COle? Was Cooper aware of this? (How DID Audrey manage to qualify to be a Fed?). Why suddenly notice this about Cooper now? Has it been a change over time...
- Nadine trying to flirt with Cooper, creepy and quite funny. It's interesting how much of these new interactions and new character dynmatics can be both funny and disturbing to some degree!
- How aware is Cooper that he needs to be saved by Harry and crew?
- An introduction of the anti-Cooper I daresay? Again, the "Amberson" mention and ties to Laura Hunt are intriguing.
- The great Lucille-Lucy rivalry returns!
- So Judy, is an Robert Engels speculated, Josie's sister? It's fascinating see how you cross both of the business and 'mystical' plots, considering this group represented by Amberson is clearly invested in both parts of the town.
- Giovanni Millford is Isabella Rosellini right? :)
- "Lacy MacBeth!" Laughed out loud at that. :D
- You write such an incredible Gordon Cole, seriously.
- 'Agent' Hunt? Somehow I missed she was a rival Fed... but one trying to buy Catherine's land?
- Interesting Cooper has fallen out with Albert and Cole.
- Incredible that Earle is somehow still breathing.
- Truman feeling the need to be parental to Cooper is a strange character development.
- Is James capable of percieving higher beings and affairs?
- Nice callback to the pilot, a meeting of people's attention is diverted to Audrey away from the speaker.
- Jesus, what could Audrey have done to the townspeople to merit this treatment from kindly Norma?
- Josie's spirit lives! Creepy.
- I clearly haven't watched 'Fire Walk With Me' in a while. The yellow stuff is creamed corn.
- Again, we return to a picture of a similar Laura.
- I'm HUGELY fascinated as to what's going on with Cooper. It's almost like Truman and Briggs knew he was going to meet Earle's ghost.
- It's brilliant all these callbacks to FWWM. 'The good Dale...', etc. How long was this going with Bobby and Donna?
- Would have loved to have seen Lynch pulling off a Bowie cameo, but it's very appropriate. Very inventive use of the sequence, particularly with the song.

Overall, a bold experiement thus far. Is it something I would have liked to have seen? Probably not. (And props to Audrey for admitting that herself). But it's interesting in this alternate reality could Frost and the writers found themselves written into a corner having been picked up for seven more episodes, and decided to not top themselves by resolving the cliffhangers - but then build on 'Fire Walk With Me' such as with the use of music, and different aspects introduced in it like Jeffries and the ring. If anything, the general plots of the series were getting too typical of the genre, such as Windom Earle as a super-villain - and perhaps this would have gotten even worse having a standard 'Let's go into the Black Lodge and save Coop!' story.

I imagine it would have been controversial, as your average punter clearly didn't appreciate what Lynch was trying to do with 'Fire Walk With Me'. (And not many saw it). I like what you're doing, but it's not hard to understand that maybe mainstream critics and a good chunk of the fanbase might have thought Lynch has lost his mind with this direction. You could almost have something like the actors speaking out in disapproval, or an unnamed production staff member saying to the press: 'Practically everyone was uneasy about the direction David and Mark wanted to go. Some of the main actors were even saying it was very unfair to the long-term viewers who had stuck with us.'

But the controversey could perhaps cause a ratings spike unmatched since Laura's killer was revealed, (because by then everyone in the last few months would have heard of the cliffhanger with Cooper-as-Bob and wondered where it might go).

All fancy thinking... but who knows? You've created a remarkable tone of sadness and hopelessness about these characters, that the great big gaping hole in Cooper's soul symbolic of how the sense of community in the town is just not the same with the arrival of Ghostwood. Everything has practically stagnated into an overly-comfortable sense of mundane normality, (with Cooper's sense of self almost crippled by it), no obvious murder mysteries or crazed Feds shaking up proceedings. Where will this go? Does Audrey getting the ring suggest a change in fortunes? Will Cooper get his fire back to solve the mystery of what Amberson is exactly after? Will things ever be the same? While before the re-write was a nice little exercise, and I was generally comfortable with where it might go, I have absoloutly no idea what's going to happen. And as I said, can only be a good thing. The show needs that serious unpredictability. :D

(It'd be cool to have 4.03 open with Audrey back to her similiar demenour like 1.02 and greeting Cooper at breakfast in DB's, and she shows him her new ring, "Do you like my ring?", and this re-awakens Cooper's curious nature).
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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

Waldo, that's awesome! thank you so much.

Just reading the beginning of it makes my stomach do a flip-flop, like I'm going to be graded at school or something.

At work now, so not much time. But again you've provided me with the best crib/cheat sheet for questions and answers. -and honestly, I don't know what will really happen. But working on the next episode to be lighter to a degree -and getting these guys back to their fun selves.
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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

Some comments on your comments because frankly, it's helping me process this craziness and hopefully point out what needs to corrected or sharpened-

- Brilliantly disorientating opening. We're in the shattered Cooper's mind, staring into the shattered glass. A brilliant analogy demonstrating the rules of the show are completely turning (clockwise) on their head.
- Catherine doomed like Josie staring in the mirror? (Doomed like Cooper staring into the broken one?).


Yes, all right! Wanted to kick it off by starting where the finale cliffhanger left off, but then shatter it. Cooper's understanding of the narrative, along with the viewer, is now broken and has to be pieced together. And in keeping with Lynch's broken television from the opening of FWWM.

I like characters delving into the mirror, reflecting literally and figuratively at their inner selves, the duality. I think it has only been used in the series when a turn of events is about to happen- (Josie in the pilot; Audrey at OEJ; Cooper as BOB- Audrey and Donna's tete "˜e tete in the bathroom doesn't count because there's two of them- and still tried to keep that in the third season continuation. Catherine inspecting herself indicates that she could be doomed, marked by Josie, or ready to face her past in the destruction of Josie 'does she know she's on borrowed time?

- Bringing in music from 'Fire Walk With Me'. Sweet.

Right, FWWM has been established in this fictional timeline, and why not use that in the music library for the score.

- 'Something is off'. Most definitely. A complete abscence of any sense of urgency after major stuff went down in the previous episode. Very weird, and I'm not sure in an entirely healthy way if you were a devoted viewer thus far, but definitely intriguing.

Just like in 2.01 when the giant and the elderly waiter kept coming back halting the action and answers, driving the audience crazy, I think Lynch would work organically and not want a straightforward answer to the ending of 3.14 (do we need to see Hayward and Truman tending to Cooper in the bathroom?) I'm sure I would be screaming at my screen right now that they seemingly cut to the next day!

- Callback to the pilot with Bobby. Very good.

It's Lynch. And he works with scenes like music and a score, repeating moments. I think I like it as long as it's not just last film-making (or writing on my part)

- Eileen WALKING! Between that and Norma's haircut we're subtly introduced to the notion time has most definitely passed. Very interesting. Everything seems to be rather trivial events such far, but it's such a jolt to the viewer they have to keep going.

I like this whole montage set to Real Indication and that it is all essentially the mundane, trivial aspects to the town's day, but the viewer is trying to catch up and their brain is getting scrambled.

- Sheryl Lee is back as a Laura... the calender... are we back in some bizarre version of the past?!

Lee back and the calendar is the punch-line accompanied by "of a laugh coming on." I guess it would be the way of underlining, "Nope, you're not crazy, things aren't the same anymore."

- The sex might be hard to get away with on network TV... sure Lynch could pull it off cleverly mind.

Yeah, it would be great if it could be done in a clean way to get past the censors but the astute viewer can read between the lines and get how raunchy it really is without it being shown 'such as the fade out close-up of just a smiling Laura with Bobby not in the frame- most likely down, down below.

- Cooper content as a member of the town's society. But where is Bob? Does he even exist in this new reality? A complete abscence of any sense of menace manages to keep the tension up!
- The constant use of 'D.B' is certainly new. 'Dale Bartolomew' or hypothetically 'Dale Bob' signifying this is a new individual perhaps?


Man, I never even made the connection that D + B equals Cooper + BOB! But yeah, not knowing what the hero of Cooper knows or doesn't know is meant to keep it tense and not cut to the chase 'is he dangerous? And our hero now wears plaid and is passive?! Hopefully, it would be more suspenseful and effective than when he started wearing plaid in the actual series. I like it that is adds to the theatricality of the characters essentially changing costumes and to a degree rolls. (Like Donna in the second season premiere)

- Eileen revealling remarkable tenacity she never had before. Donna pregnant?! Yikes.

Again, I guess it's the shock value/jolt of the most benign person in the series now the most assertive. And Donna's reveal is just hitting the viewer over the head that this is now no way the next day in Twin Peaks.

- Lucy's found a suitable protogee. As a big Lucy fan, I like her already.

Molly is a second rate Lucy all the way, a carbon copy whom I'm sure will never be used except to represent a new order in town, but one that changes and stays the same. But in terms of story, there is only ONE Lucy. I'd be screaming at my screen, "Get off the show, you hack! Lucy belongs behind that receptionist desk!!" (kind of like I did with Annie and John Justice Wheeler back in the day)

- Shelley with new Sheriff.... Bobby with new Laura.... Ack! Too much!

Yep, plot device 'all the pairings are broken up. But surprisingly, Shelly I think is happy and has found a decent guy. It seems over the years, she wound up quite all right! Good for her.

- So Bobby and the new Laura aren't well aquainted, (beyond the physical sense). Does he recongnize her similiarity to Laura Palmer? Does she realise it?

I don't think he does recognize her, or if he or anyone does, there is a block in acknowledging it. And I think that's kind of neat 'and would polarize the viewers. Lee is an actress and she's wearing a red wig, so therefore there is a comment on theatricality- she's not Laura Palmer, she's Laura Hunt. And I would have no character recall her as such, playing it completely that she's a different person. I think this would add to the mood of having our balance thrown off.

- Who is Laura Hunt?!! This is crazy. Vaguely tied in with Eckhart. Buenos Airies... Judy... should we expect Phillip Jeffries?

It is nuts, and I don't think we'll ever get an answer. She's a plot device to set in motion the ideas and mysteries Lynch was working on in FWWM (Judy/the ring/Jeffries). And I think it's Lynch's little "up yours"to having to answer WKLP. He was forced to answer Laura's mystery, but this time he's not going to with Laura Hunt.

- The use of the Falling theme is very appropriate. Cooper, Truman and Sid being so warm with each other is the only thing that feels true so far.

Excellent, this is what I was after. There is still compassion, and especially a very strong friendship and bond between Cooper and Truman no matter what happens. The world might be upside down, but all will be okay. I think their relationship is very pure and sweet.

- Seems to be tied up with financial matters with Catherine, yeah perhaps is intrigued by the mystical nature of Glastonbury Grove? This Laura Hunt character is going to drive me nuts isn't she?

I think I was still working out the kinks, just knew in the structure that there had to be this scene. Once it gets more concrete and defined in my mind, I'll probably go back and rework in more clues relevant to the eventual mystery.

- James now brain-damaged? Was Mike Nelson ever caught for putting him in that state? I always thought it'd be a cool twist to have the Billy Zane biker character find James after finding out his uncle told Hayward about James.

I think Marshall is not on the show in the same reoccurring fashion. He's been sort of black-listed ever since bailing at the end of the second season. So maybe it's sort of subconscious machinations on the writers' part, or maybe Marshall is excited about playing a challenging part now. But he does kind of mirror the Johnny part now, doesn't he? I'm pretty sure Mike was arrested for his hot-headedness, I'm sure Bobby will mention it along the way. I don't know if they would still use him on the show 'he wasn't exactly one of the marquee players. It would be cool to have Zane's character come back, but I tried to keep the series as something that would be bound to production and not a perfect novel. So there are things that didn't quite work out, or characters that weren't always home runs. And Zane was kind of a hip, hot young star at the time and probably was more interested in doing a few episodes of the hot, new show. So, I don't think he's coming back, but the Curious Man will and will probably reference him.

- "We can't go back, not now." - Good foreshadowing.

Yeah, if there's one thing you can't destroy, it's Invitation to Love. I guess that show will never go off the air, just get worse and worse.

- Albert have a tendacy for making the moves on Audrey?!! Love the cool, FBI-ized Audrey mind.
- "That time of year already"... ? Audrey have a tendacy to call 'round this time of year?


I don't think Albert has any intentions on Audrey. It was more about the cinematic mood- slick, jazzy, smart 'so it's almost like Rosenfield/Miguel's comment on a kiss in traditionally what should happen in this scene. But Audrey breaks the scene, not allowing the original narrative to be disrupted- her heart belongs to Cooper. A little wink that Audrey is still going after what she wants and is not settling.

- Nice move around of Ben's madness in this continuity. So Audrey in the FBI but still part of the family business?

I might make it a little clearer in a rewrite at some point in the episode. Audrey is not in the FBI, she's not an agent. But she is now being kept by Cole's division and under their care. She's essentially become part of the Blue Rose Cases, and Albert is essentially working as her ward. We're not supposed to know at this stage what she's gone through only that she was ushered out of Twin Peaks. She inadvertently is tied to the Horne business because Ben had named her the beneficiary of his half of the hotel, and Sylvia died in the explosion.

- .... Amberson....

A McGuffin. A code word? I do know it is a reference to an Orson Wells film.

- Again, Laura part of the business part and now aware of the "classified" FBI work related to Audrey? Just how far did it go beyond getting abducted by Window Earle anyway?
- Why would Albert sit in on a business deal?


Yeah, why is Albert there? Unless this pretense of a simple business deal is for something bigger and this two opposing forces are just being pleasant. Amberson wants that land, and the land of Ghostwood. Audrey essentially just holds the deed.

- Audrey... experimented on after the previous episode? How could Cooper like Cole and Rosenfield do that?

"Experiment"is Laura Hunt's word. So far we've learned Audrey did not wake up immediately after the Lodge, and she was taken away from Twin Peaks (ironically her wish/dream coming true in an unfortunate way). I don't think Cooper had a say in it, or it lead to his falling out with the bureau. And I think Cole and to a degree Albert like Audrey fine, but she has important information locked inside her. Jeffries and Desmond (if there was a Desmond) never came back, but they do have Horne to try to get answers. And Hunt could also want these answers. Audrey is a pawn/rag doll to unlock a Blue Rose mystery.

- Laura DOES know Jeffries!

Heck yeah, or at least about him, and that Audrey and Albert aren't fooling her.

- Fascinating Cooper still thinks of Harry calling him through the bathroom door. Perhaps in some ways, he's still trapped in that moment, when he first realised Bob was inside him.

Yes, exactly. Like a frozen moment in time. I think we'll see this repeated in upcoming episodes. Truman is like an anchor holding Cooper from the brink of what Leland went through.

- Laura Hunt is actually driving me insane as to how she knows stuff, who's she's working for, why she looks like Laura Palmer and it goes unnoticed, and generally where this is going. It's almost like a viewer took a break for a few seasons and then came back.

Good, the plan worked!

- Truman and Hawk protecting Cooper, does he realise this? Is this under orders from Cole? Nice little dialogue between Hawk and Shelley.
- Truman not impressed with his replacement! Love it. (WHY was Truman replaced?).


We're going to get into this in the next episode. But there are at least three different factions doing their own investigations- The FBI, Amberson's Men, and the Bookhouse Boys, and each have different motivations of different proportions. And Cooper is smart enough to know certain things are happening, but he's dealing with something very monumental that none of these groups could even grasp. And I love that Truman isn't perfect and his pride is hurt with his replacement.

- So Nadine finally got one-up on Norma making better pies. VERY good. And Leo's now her slave? I daresay to suggest in more ways then one but that's just DAMN creepy.

I love that Nadine has finally harnessed her pent-up energy for something productive, and I think this angle makes sense. She didn't crumble, and now she's besting her rival Norma. But she's still a hopeless romantic, and that is always tragic to me. But I don't think she sees Leo anything other than a mule 'oh God, let's hope so. Yeah, that would be creepy.

- Is Harriet doing her own 'Twin Peaks'? Absoloutly. Love. Her. Great work.

Harriet rules! I don't think she can ever be a character in the show, because she's above it all. She's the ultimate seer, the puppet master pulling the strings. Sadly, I think that's her last appearance, but at least she went out on an ultimate high note. I loved writing her. Probably my favorite.

- Very chilling exchange between Donna and Hayward.

Ohhhh, Donna finally gets a little dig at the perfect Doc Hayward. I'm surprised she didn't give him a heart attack and then dance on his grave. Donna is mean and hard and I really like it. It's not a slam on Boyle at all- the fact that she's fat and eating in every scene. (although maybe it is Lynch and Frost's concern about her chainsmoking and only eating lettuce and water in real life) But Donna is the golden girl whose life didn't work out like it was supposed to. She played by the rules and life betrayed her. That happens all the time. But I think things are going to turn out all right for her in the end, even her love for James, Laura and her family.

- Would I be right in saying you get the sense the innocent friendship between Audrey and Cooper never progressed any further since the previous episode? That the circumstances between then and now have stopped this? Well done, if my thinking is right.

Yep, that's my intention. Cooper and Audrey have been interrupted and frozen in time. While I love the sexual tension between them, I think the friendship is more important. I love that she still calls him Agent Cooper (and not D.B., Cooper, or any other variations, he's still her ideal). I imagined that she is allowed to come back to Twin Peaks once a year or so, and their meetings are done like regimented clockwork, like going to visit a prisoner in jail. And Cooper, similar to his relationship with Truman, depends on these meetings. I like how this turned out, and the tone.

- Brilliantly oddball bonding between Albert and Bobby. The abscene of Julee Cruise symbolizes there's a great big gaping hole in the lives of these characters in this world. Something missing.

Cool, I didn't pick up on Cruise missing to represent the void. I love that! Great point!!! Guess she can't come back now, unless it's in the finale when order is hopefully restored. And I really like Albert whenever he can give wisdom and show compassion. The pairing of him and a lost Bobby brought a tear to my eye when creating it.

- Very Sixth Sense, but it's a stunner to realise Pete's gone.

Ah, shit! It is like The Sixth Sense. Dammit, Dammit, Dammit! Oh well, at least in this reimagining, we could point out that that flick didn't come out for another six or so years (1993 versus 1999)- we'll say M. Knight ripped off Peaks 'that hack! I do like though that Peaks got dark and said no one is safe and Pete bit the dust in the bank. But don't worry, Jack Nance is still on our screens lighting it up. I love Pete.

- WHAT A TRIP!!!!!! Laura Hunt spilced away forever by some undefined means at Glastonbury Grove, and the Log Lady did it?!! Acting for Truman and co., or has her own agenda? Was Laura Hunt the first person to try and intrude on proceedings at the Grove since the previous episode?

Yeah, I loved that. This big mystery woman causing all these problems is then wiped out, meaningless. And that it happens to poor Sheryl Lee again! But she goes out in great, horrific style. And it pretty much says to all trying to mess with the woods and it's mysteries that it will eat you and spit you out. LOL ' I don't think the Log Lady did it, I think that force is much more powerful. But she has sight, and she seems satisfied that man/machine has not disrupted nature.
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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

- Nice open, and tie to the cliffhanger payoff we never got. It's interesting to note how the new sheriff is barely respected (or even here, acknowledged) by the townsfolk.
- Funny, but disturbing in a sense Sarah and Beth are trapped in their own deluded little world with newspaper relics.


It's hard to put in new characters in a world I love so much, but I feel badly for the young, earnest Sheriff. And I like the sad melody of Don't Do Anything set to newspaper clippings. And I like figuring out way of dispensing the information/answers from the last season cliffhanger in different ways. I think this could be a cool way of doing it, and would love to see some series do it. I wonder if the Sheriff and Andy even saw Beth in the kitchen, or is she a figment of Sarah's unraveling mind. Sarah's life is sad, heartbreaking, and frankly, something I think is very true in real life. I feel for her, but I'm glad she isn't running some shop like Nadine. It's tragic and devastating, and not an easy out.

- I wonder does Audrey deliberately hold room 315?

I think so. Hell, she's even wearing her own variation on Cooper's black suits. I think she's in some form of arrested development. Audrey's great, but she's not completely of sane mind- still a dreamer with unrealistic expectations. And now with barricading her doorway, filled with paranoia.

- So Audrey was checking up on Cooper, as part of their assignment by COle? Was Cooper aware of this? (How DID Audrey manage to qualify to be a Fed?). Why suddenly notice this about Cooper now? Has it been a change over time...

I think their meetings are authorized based on some sort of agreement. Whether or not she's telling Albert everything is still to be discovered. I personally think her loyalty is always going to be to Cooper. And remember we didn't see what Cooper and Audrey talked about at the lake. And Audrey's not a fed, just dressing in the fantasy of one 'she's still kept on a leash. I might clarify in this scene, but in the previous episode the impression should be made that she is- but she is a part of Cole's team more or less. She's what? Twenty four now. Still too young. But she's bright and quick and is probably picking up things adeptly.

- Nadine trying to flirt with Cooper, creepy and quite funny. It's interesting how much of these new interactions and new character dynmatics can be both funny and disturbing to some degree!

Yeah, I love Nadine's crush on Cooper. Completely out of left field. But Nadine is a romantic and Cooper is her neighbor, and she gets delusions of grandeur. Maybe he opened a door for her once and the fantasy snowballed. Call it a hunch, but I don't think this "romance"will end well. And creepy to say the least. Some people don't like the character of Nadine, but I love whenever she gets a scene.

- How aware is Cooper that he needs to be saved by Harry and crew?

Honestly, I don't know. I think Cooper knows to a degree that people are looking out for him, but they can't possibly understand what has really happened. Remember in this reworking, Leland as BOB was never public knowledge, and Truman was still grappling with Cooper's unorthodox thinking.

- An introduction of the anti-Cooper I daresay? Again, the "Amberson" mention and ties to Laura Hunt are intriguing.

A more cynical Cooper has come to town, mirroring the pilot.

- The great Lucille-Lucy rivalry returns!

I love the Lucille/Lucy war going on over the past two seasons. Lucille is another mirror name, and I love that they battle it out over the reception desk. Is their power struggle any different than Ben and Catherine's fight over land? Just a smaller scale.

- So Judy, is an Robert Engels speculated, Josie's sister? It's fascinating see how you cross both of the business and 'mystical' plots, considering this group represented by Amberson is clearly invested in both parts of the town.

Yeah, hopefully it will all come together to a degree.

- Giovanni Millford is Isabella Rosellini right?

Ideally, it is. Wait, it's all a reimagining. So, yes it is. Just like Laura Dern played Eve. Rosellini finally consents to do a guest starring gig. And I can see it happening with recalling in interviews, "This was actually the original character that was recast as Josie, but Isabella finally came on board, so we wrote her in."

- You write such an incredible Gordon Cole, seriously.

I laugh that Cole has mother problems. And I love that Audrey's name is Sassy to him. I can completely picture it. Although I'm sure this would be another example of critics stating that Lynch is misogynistic to his female characters. So it seems authentic.

- Interesting Cooper has fallen out with Albert and Cole.

I know it's sad. But hopefully it just adds tension and cheers when Cooper gets back on the case. I think Cole and Albert are simply protecting Cooper from their point of view.

- Incredible that Earle is somehow still breathing.

Yeah, but not for long, huh?

- Truman feeling the need to be parental to Cooper is a strange character development.

Yeah, the roles have been reversed to a degree. And we'll see in the next episode, Truman's protection is actually doing more harm than good.

- Is James capable of percieving higher beings and affairs?

I think so. Or at least his state has allowed him to tap into something that someone with normal functions would be clouded. I think he's similar to Johnny. James is pure of heart (though rather dull)- and one of his last missions was the Josie stakeout, so it's a message stuck in his brain.

- Nice callback to the pilot, a meeting of people's attention is diverted to Audrey away from the speaker.
- Jesus, what could Audrey have done to the townspeople to merit this treatment from kindly Norma?

Yes! Glad that came across. Audrey's machinations return, and here she is simply observing and no trickery. Just trying to gain access to the world she was pushing away. And I was hoping that Norma wouldn't be perceived as mean, or the bad guy, and that Audrey really must have screwed up to be treated this way. Most likely, Audrey spoke out after the fallout of the abduction, Miss Twin Peaks or smeared the town in something that went quite public that was seen as a betrayal to the community. Whatever it is, it's come back to bite her in the ass, and she's not wanted. Ironically, Rosselini's character is lecturing the importance of women sticking together.

- Josie's spirit lives! Creepy.


Yeah, don't forget she's a Ghost in Wood. And Catherine isn't getting off scott free from sending Josie to her doom. But I think that Josie is in the Northern might be one of the reasons Amberson wants that land. And remember, evenreven had Josie tell us "there is beer in the refridge." What the hell?!

- I clearly haven't watched 'Fire Walk With Me' in a while. The yellow stuff is creamed corn.

Yeah. Yum, huh? Hope Andy has some mouthwash.

- Again, we return to a picture of a similar Laura.

Trying my best to keep familiar themes. The Sheriff investigating this one is just another example of him too many seasons behind.

- I'm HUGELY fascinated as to what's going on with Cooper. It's almost like Truman and Briggs knew he was going to meet Earle's ghost.

I never thought of this, but it's a great point. I don't think Truman did this. He merely had to make sure Cooper was being babysat and protected. But Briggs? Hmmmm. Remember we still don't know what the hell happened to Briggs when he went to the White Lodge.

- It's brilliant all these callbacks to FWWM. 'The good Dale...', etc. How long was this going with Bobby and Donna?

I know! Stop bitching, Donna! And read that damn message!!! And how long between her and Bobby? Well, I guess how many days she's been pregnant. I imagine both had too much beer at the Roadhouse, and commiserating in their paths of life

- Would have loved to have seen Lynch pulling off a Bowie cameo, but it's very appropriate. Very inventive use of the sequence, particularly with the song.

I loved this. Could picture every frame of it. And I like that it is essentially a dream- and entered in that state. And I like that Catherine and Audrey might have something going that no one knows about- it's all stemming back from the conversation in 3.07. Hopefully it pays off that is satisfying. I know what I want to happen. I've completely forgotten that Audrey and Catherine never had a scene in the real series.
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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

working on it now.

but I'm also trying to come up with a checklist of any type of theme/event/detail that I should keep in mind... if there's anything that I've forgotten, let me know- especially concerning FWWM, and perceived rules of The Red Room.

-1.05 Log Lady's, "Shut your eyes, and you'll burst into flames."
- her husband was a fire fighter, something re: "That was right after the wedding, wasn't it, Margaret?"
- electricity
-Leland and the summer house at Pearl Lake, abused sexually as a child?
-Briggs' readout to Cooper in 2.02 (COOPER/COOPER/COOPER)
-The Roadhouse/Red Room/Pink Room -use of Julee Cruise's singinig
-Where did Briggs go when he was abducted?
-The Tremonds in general and their use in "helping"
-"How's Audrey?" repeated
-Truman's "evil in these woods" to Cooper in 1.03
-Briggs' vision to Bobby in the diner 2.01
-does it work best to never mention Chet Desmond again? Keeping with the ambiguity that there might never have been a Chet Desmond and it was an extension of Cooper's dream? Could it work in die-hard viewer's speculation that the "dream" part to FWWM is actually the continuation from 3.14? And Cooper is dreaming/recalling this part after Miss Twin Peaks and The Lodge?
-Cooper's ideal/regrets/hopes for the future in 2.01 -cracking the Limburgh case, make love to a beautiful woman he has great affection for, most importantly travel to Tibet.
-creamed corn/pain and suffering
-Josie's "there is beer in the refrige/can't leave"
-Cooper's second dream (3.07) -"I've gone North." batteries, "Do you like my ring/A Golden Circle."

anything you remember keep adding...
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Re: Let's talk changes: how would you change the second season?

Post by Evenreven »

Great posts. I love the idea of this being season 11 or whathaveyou, with the viewers having fun trying to catch up.

One idea: Julee Cruise sings "Up in Flames" at one point during this season. That song IS post-FWWM Twin Peaks to me. It starts with a scary alarm-like sound and the bass from "Freshly Squeezed", (what could be better?); it's familiar as Twin Peaks, but something is very wrong. And the lyrics fit everything and nothing: "You should have shot me baby, my life is done / You should have shot me baby, shot me with a gun" and "I fell for you baby, like a bomb / Now my love's gone up in flames". For me, "Up in Flames" is the ideal Audrey theme for a post-FWWM TP continuation.
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Re: Let's talk changes: how would you change the second season?

Post by They-Shot-Waldo! »

Audrey Horne wrote:does it work best to never mention Chet Desmond again? Keeping with the ambiguity that there might never have been a Chet Desmond and it was an extension of Cooper's dream? Could it work in die-hard viewer's speculation that the "dream" part to FWWM is actually the continuation from 3.14? And Cooper is dreaming/recalling this part after Miss Twin Peaks and The Lodge?
That last idea just fascinates me. Remember, the last scene in the shooting script begins with the bloodied Cooper opening his eyes on the bathroom floor if I remember correctly... like he wakes up. Perhaps horrified that Bob was inside him, he initially recast a more ideal, heroic figure in the Deer Meadow sequence in Desmond? (So Cooper can take the blame off himself for not capturing Bob\Leland earlier). The maddened Cooper then continues in his own mind to essentially re-write his role before he came to Twin Peaks: He recognised strange Lodge-happenings like Jeffries in Philadelphia, he sensed Laura was in danger, then trying to warn Laura of her death ("Don't take the ring."). The constant reminders Laura is about to die or doomed, to perhaps convince himself Laura could not have been saved in any way. Cooper then of course comforts her spirit in the Black Lodge - almost to try and justify to himself why his good self is trapped there. Very Mulholland Drive-esque, (as in the first three quarters of that film).

Perhaps a spin-off book after the series concludes ('Blue Rose Cases: Declassified') reveals for the diehards that Cole hushed up Desmond's involvement in Deer Meadow after his disappearance, and this involved hynotizing Sam Stanley that Cooper helped with the investigation - and including Cooper falsifying notes to Diane. (Hence, the account in My Life, My Tapes book). ...you know, if we ever pool our resources together, and make a site someday - we could have a great time falsifying these little DVD extras like articles, pages from spin-off books and such. :D

There's not necessarily a need to explore Desmond in this continuity.
Last edited by They-Shot-Waldo! on Sat Sep 20, 2008 11:33 am, edited 1 time in total.
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Re: Let's talk changes: how would you change the second season?

Post by They-Shot-Waldo! »

Audrey Horne wrote:-1.05 Log Lady's, "Shut your eyes, and you'll burst into flames."
- her husband was a fire fighter, something re: "That was right after the wedding, wasn't it, Margaret?"
- electricity
-Leland and the summer house at Pearl Lake, abused sexually as a child?
-Briggs' readout to Cooper in 2.02 (COOPER/COOPER/COOPER)
-The Roadhouse/Red Room/Pink Room -use of Julee Cruise's singinig
-Where did Briggs go when he was abducted?
-The Tremonds in general and their use in "helping"
-"How's Audrey?" repeated
-Truman's "evil in these woods" to Cooper in 1.03
-Briggs' vision to Bobby in the diner 2.01
-does it work best to never mention Chet Desmond again? Keeping with the ambiguity that there might never have been a Chet Desmond and it was an extension of Cooper's dream? Could it work in die-hard viewer's speculation that the "dream" part to FWWM is actually the continuation from 3.14? And Cooper is dreaming/recalling this part after Miss Twin Peaks and The Lodge?
-Cooper's ideal/regrets/hopes for the future in 2.01 -cracking the Limburgh case, make love to a beautiful woman he has great affection for, most importantly travel to Tibet.
-creamed corn/pain and suffering
-Josie's "there is beer in the refrige/can't leave"
-Cooper's second dream (3.07) -"I've gone North." batteries, "Do you like my ring/A Golden Circle."
- The Giant only ever appearing in relation to Cooper, to deliver him messages. (Never seen in Jeffries vision of the convenience store or Laura's multiple Lodge-related experiences in FWWM).
- Mrs. Tremond's son wears the mask in relation to Bob. (Telling Laura about him finding the hiding place or Leland at the motel).
- 'the black dog runs at night' song with Leland at the motel, and a black dog seen barking intercut with Leland sweating in FWWM.
- The various right hands shaking, Bob's right arm at Glastonbury Grove, Mike's left arm, the dwarf = The Arm, Theresa's right arm going "completely numb"
- The conveniance store where the dwarf offers Bob the ring. Bob Lydecker's vetenarian practice is beside a conveniance store. The string that bound Laura was bought there. Lydecker's considered Gerrard's best friend. Gerrard (as Mike) and Bob (the demon) went "killing together".
- Bob. Bobby Briggs. Bob Lydecker. Phillip Michael Gerrard. Mike. (The dwarf is also played by Michael J. Anderson, Lynch refers to the actor as "Little Mike".). Mike Nelson.
- Elements of the future and past crossing over. Cooper knew the killer would strike again. Cooper described the girl who would be murdered. Cooper appears to Laura in the Red Room before she's died... but after the "good Dale" is trapped in Black Lodge in 3.14. Jeffries says to Cooper "Who do you suppose that is there?", but Cooper has not encountered Bob yet or been possesed by him.
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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

all right! you guys rule. That Julee Cruise song is in! No question about it now.

And thanks, I need as much reminders and checklists for FWWM as possible.

And I think you guys get that I don't mean a checklist in order to explain all those events- just that they are things established in Lynch and Frost's mind -how and if they choose to explain or just reference/recall them is to be determined I guess.

I have to clear my brain and try to remember if the first season and up to Leland's reveal was as unanswered as much as the story I've presented is. We're so conditioned as uberfans in knowing what happens, that I forget the excitement of those first seven months when the pilot aired up to 2.07 of just asking questions and rewinding those videotapes. Even in our reworking of the Earle plot in the third season, I think we've kept the essence and fun of the early ambiguity.

Working on the first act now -I think it's all taking place at night on Saturday night. I like when the episodes would do that.
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Re: Let's talk changes: how would you change the second season?

Post by They-Shot-Waldo! »

Audrey Horne wrote:Working on the first act now -I think it's all taking place at night on Saturday night. I like when the episodes would do that.
You might kinda like the next chapter of Stone By Stone then, which is moving along swimingly. :D I should really stop teasing.
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Re: Let's talk changes: how would you change the second season?

Post by Audrey Horne »

Image
EPISODE 4.03

ACT 1: Dark. The slow melody of Under the Sycamore Trees begins with no lyrics. Dark green. A spot of water hits the shape. Then another and another. The dark green is a leaf, a wild plant in the night. Rain becomes harder, full downpour. Trees sway in the wind, rain pelting them. A cabin with a lone light in the window. Inside, Truman sits alone. A bottle of whiskey and empty shot glass on a table. He plays with the glass, tipping it over, contemplating. Half smile to himself. Moves from the table and to his kitchen area. Opens the refrigerator. Shot of the fridge's interior. On the top shelf, surrounded by beer cans and a glass container of milk, sits a turkey sandwich fully prepared. Inviting. Perched on top of it, a folded letter marked TRUMAN. Truman leaves the sandwich and reaches for a beer instead. Begins to close the fridge. Stops, and takes the note, opening it: Remember to eat and take care of yourself first. I'll be in touch. 'S. Truman pops the lid to the beer and takes a swig. Crumbles up the letter and tosses it aside. Returns to the table. Watches the rain come down, deep in thought. The One-Armed Man's voice- "Do you know who that is there?" A phantom voice. Josie's voice, "Now he'll kill us both." Followed by Truman's own ghost, "Let him try." The repeat of the One-Armed Man '"Do you know who that is there?" The shot travels from Truman's blank face to the overturned shot glass on the wooden table.

Close-up on wood grain. Pull back reveals the door knob to a dresser. Wide shot of a hotel suite in the Great Northern. Eckhardt's old suite. Doyle Hammett sits in bed, still dressed in his grey suit. Scattered across his bed are the contents to Laura Hunt's briefcase, papers, files etc. He smokes a cigarette, carefully scrutinizing every piece of information. Close-up on the night stand, Josie's final resting place. Hammett ashes into an ash tray resting on top of the stand. His hand moves to the knob and pulls it open. Stops. Closes it. Repeats the action. Pulls out a Bible from the drawer. Tosses it aside, and produces another one. This version has its pages hollowed out, creating a perfect hiding place. From a file, Hammett retrieves two blue passports. Flicks one open, inspecting it. The identity is not shown to the viewer. He gently places both into the empty Bible. Secures the false book back into Josie's drawer, slams it shut. Wide shot of Hammett on the bed, continuing on with his smoke. He crosses his legs and folds his arms behind his head.

Cut shot to the tranquil blue light of the night through windows. Shadows and light. Slow panning shot travels along Cooper's sleeping body. Under the Sycamore's saxophone sounds. Cooper doesn't stir.

The rain falls. Two double doors open. Sheriff Powell and three officers are framed in Ghostwood's entrance hall 'the stormy night behind them. Overhead shot of Ghostwood's hall. A round room with a checkerboard floor and a chandelier hanging, with two ornate red carpeted staircases leading to the same landing. Lingering on the overhead shot, two of the officers travel up either side of the stairs, while Powell and another cross the lobby.

Cut returns to Cooper's slumber. Camera stopping on his sleeping face, dreaming. Void of emotion.

The dark room of Catherine's office. A police officer crosses to her desk. On top of it, a file marked Hunt, L. Sycamore Trees melody fades.

"It's really coming down, isn't it?" Shelly Johnson can be seen in a window holding a phone, pacing her kitchen. She also smokes a cigarette. Cut to the interior of the Johnson kitchen. Behind Shelly, the glow of a television from the Living Room. Mark Frost's reporter can be heard, obviously the late news. "no, I have all the storm windows installed. After the flooding last year, I just don't know what else to do." A beat. Shelly listening to the caller. "Nah, I gotta do an early shift tomorrow. Norma's trying out some new recipes yeah, I think it bothers her but you can't tell her anything, you know." Listens. "Well, then you'll just have to pray twice as much for me. I promise, church next week." On the television, Frost's reporter cuts to stock footage of Ghostwood "Monday marks the fifth anniversary of Twin Peaks Ghostwood Country Club, and in celebration" This reminds Shelly, and she becomes excited. "We're still on for Monday, right? Charlie promised me on that one. It'll be fun, real glamorous and stuff, you know. We can be like a couple of debutants or something 'we'll work that room. Don't laugh. Oh hey, what happened to you today? Norma and I went to that foreign woman's talk, speech, whatever" Shelly takes another drag on the cigarette. On the television, Catherine Martell walks Frost down the elaborate staircase of Ghostwood pointing out various paintings on the wall. "I don't know, a lot of women in history and changing the world and stuff like that. She's beautiful and uses a lot of big words, I'll give her that but she's she's just not one of us, you know what I mean. I mean, I think she thinks she's above it all. Ohhhhh, wait! This is good, guess who showed up? Audrey Horne is back in town."A beat of listening. "Don't know. She just walked right in like she owned the whole place. The nerve of that girl. No, and a good thing I didn't. I would have given her a piece of my mind, tell her exactly what I think of her" Suddenly, a gust of wind blows the front door opens. Shelly jumps. The door swings back and forth. "Damn! Um, Betty I have to go no, I'm all right. Talk to you tomorrow, okay? yeah love you too." Shelly slowly puts the phone down on the receiver. Crosses to the door. Frost's voice is still heard on the television, "With every town luminary, it is expected to be the event of the season" Shelly peeks outside, griping the door handle. Cautious. In a whisper, "Leo?" Shakes it off, and closes the door, bolting each and every lock.

In the Briggs' living room, Betty hangs up the phone. Sits there quietly. The sound of rain. A beat. Major Briggs can be seen crossing the hall with a glass. He is dressed in blue pajamas similar to Cooper's. Betty catches sight of him, and jumps. "Garland? Garland, you gave me fright. What are you doing up? I thought you were tired?" Briggs looks to her, his face puzzled. "I wanted some water. Water." Betty tightens her bathrobe, moving to her husband. She feels his forehead, "Did you have a bad dream?" Briggs sips. "No. I had a dream, but it wasn't particularly stirring or unpleasant." Betty holds the glass for him, "Was it Bobby again?" The Major moves from her and travels up the stairs, no response. Betty, left holding the glass of water calls up to him, "Garland?! Garland, was it about Bobby again? Garland?" No response. Betty leaves it be, and returns to the couch. Her attention to the rain falling outside.

"Ever since I was a little girl, I imagined myself in a sort of castle..." On the television, Catherine moves along with Frost's reporter amongst the Ghostwood grounds. She is majestically made up, like royalty. "What girl doesn't at one time want to be a fairy princess where magic can happen? Ghostwood is my dream, and I share that with the town that has been dear to my heart, the Packard's hearts" Cut to Bobby's face in the Hayward living room. He looks dazed, the flickering screen shining light on his lost face. Finally, "She's a phony. She's nothing but a phony. She's not real, man. None of it is real. Like Halloween or those messed-up displays at Christmas time, it's all fake. Cardboard and plastic. Smoke and mirrors, you know what I'm saying? Life is a big fake and a cheat. That's the ultimate answer." Bobby waits for a response. Nothing. Looks to his side. Donna is sleeping soundly. The sofa cushion nestled under her head. Bobby sits in his loneliness. A beat. Lifts himself up, and takes an afghan and lies it across Donna's body. A beautiful sleeping child. Still seeing her innocence, Bobby lowers himself, crawls along the floor, to her face. He gently kisses her forehead, "Sleep tight, Donna." Next to the couch's arm, a portrait of the Hayward family in a picture frame. (Production still from 3.13 of all three daughters, Will and Eileen). Bobby rolls over to his side on the carpet, holding onto the family photograph, tapping the glass, each family member. He tosses it aside. The television light still dancing in the room. Laid beside him is Donna's accounting ledger. Bobby glides a finger across its cover, closes his eyes. Quiet and stillness.

Tap. Tap. Tap. In the window pain and through the blinds of D.B.'s Apothecary, a silhouette. Consistent rattling on the door. "Mr. Cooper? Mr. Cooper?" The owner's voice is high and squeaky. Cooper groggily moves to the caller, but hesitates before opening it. "What do you want?" A soft, pleading voice on the other side, "Mr. Cooper, it's me. Lucy. Please open the door, it's raining cats. Cats and dogs, Mr. Cooper. Pretty please?" Cooper frowns, unsure of this call. Unbolts the latch. Lucy unfolds her pink umbrella with poka dots. Shaking off the rain water. "Oooohhh, it's nasty out there." Cooper helps her remove the raincoat, while she tousles her hair. "Lucy, what is it? Are you all right? Is it Andy? Or Andy?" Lucy shakes her head, "Noooo, I needed to see you. Woah, it's dark in here." Cooper switches on a dim overhead light. She smiles meekly at him, "Hello, Mr. Cooper. Sorry to call on you so late, I'm really sorry" Cooper interjects, asking her to get to the point. "Okay, okay. I was working the shift like I do every Saturday up at the department. The Sheriff's department? And they didn't put me behind the desk today because Molly said she wanted me on the Blackball project which nobody will touch with a ten foot pole, but it should probably be called the red tape box, since it's all what my uncle Teddy would call bureaucratic red tape" Cooper asks her again to get to the point. "Okay, okay so they had me in conference room B going through all this stuff and I think they forgot I was even there." Big breath, "Soooooo, before I left I could hear Sheriff Powell talking to this guy I never saw or heard before, who sounded like he was in trouble, but I could tell he wasn't 'his voice was real smooth like, like when Andy tells me he's taking out the trash but I know he hasn't, he's fibbing" Cooper puts his hands on her shoulders, "Lucy. Please." Lucy catches her breath again. Looks to Cooper, "Can I trust you, Mr. Cooper?" She pauses, then makes the Bookhouse Boys signal with her fingers. Cooper returns the signal with a smile, "Always, Lucy." Her demeanor changes, complete seriousness. "I think this man is after you. He didn't say it, but I felt it. You know when you feel something? He's one of those people" She mouths the word in a whisper, "Amberson." The ambiguity hangs in the air. Cooper thinking. Lucy mentions that the man said he's looking for some woman, "And a ring. Although he tried to play it off that he wasn't. The ring I mean, not the woman. He doesn't care about this woman, he cares about this ring. Do you have a ring, Mr. Cooper?" A beat. Cooper helps Lucy back on with her raincoat; he's ending this meeting. Lucy is still processing, unaware that she is being led out. "I came right here, I haven't told Sheriff Truman or even Andy yet. Or Hawk, or Big Ed, or anyone! But you know we have your back, or this won't be like last time maybe you should come home with me and stay with me and Andy" Cooper leans into her, "Lucy. Thank you for this. You've done really well." Lucy is still concerned, opening her umbrella, "I have?" Cooper nods, "Yes." He begins to close the door on her. She stands there, mouth open, "Are you sure you don't want to come with me? It will be safer" Cooper tells her good night and shuts the door, relocking it. The silhouette of Lucy stands there for a moment, wondering if she should knock again, not let him be by himself. A beat. She moves from the door, umbrella lifted. Alone, Cooper scans the room. To himself, "A golden circle." Moves across the open area past many pharmaceuticals towards his bunk bed. Next to the bed, a closet door. Cooper opens it. He pushes aside several articles of clothing. In the back, hangs a black suit. His armor. A hint of Rockin' Back Inside My Heart's long loop sounds. Cooper smiles. About to take a journey.

The ringing of a telephone. Catherine is propped up by many pillows. A mask of night cream on her face. Eyes still closed, her hand reaches for the receiver. "Do you know it is the middle of the night?" She listens to the voice on the other end. Slowly her eyes open, troubled. "You let them in? When?" Catherine is now upright, intently following the information. "I see. Missing? Did you confirm that I met with her?" Catherine's mind is racing, but she remains calm. "No, it's all right. I imagine they'll be here" The sound of a police siren, and a knocking of a door. Catherine mutters to herself, "Sooner than later." She hangs up the phone. Methodically takes the bed sheet and begins to wipe the cream off her face. If she's going to be arrested, she will at least look her best.

Through the front door window, Powell stands in the rain. Can see Catherine's feet coming down the stairs. She opens the door dignified. "Good evening, Sheriff."Powell holds his hat in his hands politely, "Mrs. Martell, I'm sorry for disturbing you this late" Catherine moves away, leaving him in the doorway, her voice calling back- "I'll make us some tea." Powell injects, "Actually, we'll be needing you to come down to the station. The station, um, ma' am." Catherine stops, turns to face him. "Do you have tea at this station?" Powell thinks, then nods. Catherine moves past him onto the porch into the rain, "Well, all right then." Two police officers hold a coat over her head as she leads the way.

A slippered foot steps onto the carpet. Picks up a crayon, then another. Norma Jennings in a powdered blue bathrobe, organizes her living room; cleaning up James' mess. Moves to the window, watching the rain. A beat. Something catches her eye. From her POV, a lone figure, slightly huddled approaches the closed Gas Farm. "Ed?" She cries louder, "ED!" The figure is now opening Cooper's pickup truck in need of repair from the accident. Ed, in only his pajama bottoms is at the window. Norma looks to him, "Someone's robbing you." Ed squints, trying to make out the form. "Honey, call the police." Ed rushes to put on a coat, while Norma darts for the phone. Ed has now opened the door, can see the identity. "D.B.? What is he doing?" Ed calls back to Norma, "Wait, wait, wait. It's okay. Put it down." Norma has stopped, joining Ed by the open door. "Ed? What is it? What's going on?" Ed, more to himself, "It's Cooper. It's only Cooper." Norma holds onto Ed tightly, both watching the pickup travel off into the void of rain and darkness. She whispers softly, "Ed, I'm afraid."

The return of Rockin's long loop. The same refrain from Cooper's second dream. The windshield wipers move back and forth keeping the beat to the music. Water splashing away, revealing wide strips of blank road. Cooper's head moves to the rhythm, back and forth. Back and forth. Again and again. "I'll go north." Rockin' keeps looping.

ACT 2: Daybreak. Sun light shining through patches of trees. A broken, dented in fender, the taillight still on- starting to dim. Cooper grimaces, squints his eyes. Lets out a groan- "Ugh." He's laid out across the front seats, the stick shift poking into his leg. Eases himself up, begins to mumble '"Diane, it's I don't know what time it is"Looks around, "Morning. Definitely morning. I dreamt I was robbing a bank or some enormous heist like that Steven McQueen movie, you ever see that one? Like the windmills of your mind" He tries to hum the tune, but it escapes him. "Whatever the cause, I knew I had to get out, stole a car to get me to nowhere and fast" Cooper looks around, sees he is in fact in a vehicle. "well, how about that." He scoots across to the driver's door, pushing it open. Outside the pickup, Cooper swings his legs back and forth. He is still dressed in his flannels and plaids, not the black suit. "Diane, my legs feel like eighty eight sharp needles have been repeatedly jabbed into them, like tiny, tiny pins pins and needles. Is that where that comes from?" He feels the back of his head, "My brain feels like it has been soaking in the type of concoction you would find bobbing for apples, my brain being several of those apples" He scans the area. "Where am I? Diane, it appears I am not where I ought to be, open road road to nowhere when traveling, take a nap, I mean map. Mom always said when lost, turn around and start again. Let's give that the old college try." Cooper looks to his hand, realizes nothing is in it. He turns to look amongst the seats, the floor, anywhere. "Diane?" His cassette recorder is not with him, no Diane. Cooper sighs, squeezes his legs, attempting to get the circulation back. Closes the door, and positions himself to drive. Turns the ignition. The battery is dead. "Drat."

"And he just took the truck?" Close-up on a coffee pitcher pouring coffee. Norma slides the filled cup to the portly bearded man at the counter. Answering Shelly's question, "And he just took the truck, right in the middle of the night." Shelly pours sugar into a glass container, "What did Ed do?" Norma shrugs, moving on to opening another sugar holder. "What could he do? It was after all D.B.'s truck." Shelly pours, nodding. "Weird." Norma gives one nod back, "Weird."Seated in front of them, the Log Lady sits. Out of her waffles, she has placed them upright forming a house with strawberries as a smokestack. She is attempting to carve a door with her butter knife. Shelly and Norma fix their attention on the patron. Norma narrows her eyes, "Margaret, if your mother were alive, I'm sure she would tell you not to play with your food." The Log Lady glances up, eyes peering over her glasses. Rolls her eyes at Norma, and returns to her sculpture. Norma pivots back to Shelly, telling her in a hushed tone that Ed went right to Truman this morning, "and they'll figure it out." Shelly sighs, "Must be hard. For Harry, I mean. Having to worry about someone like that, it's almost like having a child." The Log Lady is listening more than she appears, noting the event that has occurred. Norma focuses her attention on a list, scanning over the To Dos. Shelly is still lost on Cooper, "You think he's sick or something? You know in here?" Shelly taps her head. Norma shrugs, instead lays out the list. "We've still got Meals on Wheels, and Sally's sick." Shelly looks the list over. "If Sunday's slow, I'll do it... yeah, sure." Norma smiles, leaving for the kitchen. Shelly calls after her, "How hard can it be?" Turns back to the counter. The Log Lady has successful made a door in one of the waffles, and pushes it back and forth with her fork, looking for Shelly's approval. Shelly grits her teeth.

Betty Briggs opens a door. Before her are Ed and Truman. "Oh, good morning, boys. I wasn't expecting you. Are you joining us for church?" Truman looks to Ed, who does the talking, "No Ma'am. We're actually here" Major Briggs cuts him off, "To collect me." Briggs confidentially strides down the stairs, dressed in uniform. A heavy coat folded under his arm. Betty is alarmed, "Garland?" She can sense some urgency in the air. "Would you would you fellas like me to make you some coffee to take on the road?" Ed points a thumb behind his back, "Already in the truck."Briggs pushes forward, "Music to my ears." He stops, turns and kisses Betty on the cheek. "I'll be home for dinner." The trio leaves. Left behind, Betty adjusts her gloves, her Sunday best. "Garland? be careful." She doesn't seem to know what to do with herself, which way to turn.

Sound of a truck door slamming. Briggs sits between Ed and Truman. "Gentlemen, do we know where we're going?" Ed and Truman are silent. Briggs sips on a Styrofoam cup, "We'll proceed north then." Truman starts the truck.

Dance of the Dream Man begins. Panning shot of the falls of the Great Northern. In the Timbre Room, more elderly patrons lift their coffee mugs in unison, take a gulp, place their mugs down, and then each lift a fork and knife and a bite of their respective breakfasts. Trudy stands in the middle of this strange robotic occurrence, looking to see if anyone needs a refill. Grimaces and shrugs to another off screen. Trudy moves to the coffee station sidling up to Audrey. Audrey looks refreshed and softer, having ditched the black suit for a dark green cashmere sweater, skirt and hair down. However, she is dissatisfied with the patrons- "Trudy, this place is beginning to resemble a mortuary." Her friend agrees, and passes through to the kitchen. A beat. Through the entrance, Hammett enters radiant, smooth cool. Positions himself at a table in the corner and turns over an empty coffee mug, unfolding a newspaper. Audrey takes a moment, studying the handsome stranger. He looks up to her, meets her eyes, raising the mug. Audrey self consciously salutes him back, taking him in. A small beat. Hammett continues to hold the cup, with Audrey realizing he wants service. She comes to her senses, and hurries for the coffee pitcher racing to his side, "Sorry, I was in outer space." She fills the mug. Hammett watches her hand, a charm dangling on her bracelet. He reaches up and steadies it, "How was the trip?" Audrey pauses, filling his hold on the tiny trinket. "My what?" He lets go, "Outer space." She gives him a polite smile, awkward; changes the subject. "Traveling through? Stormy night, huh?" Hammett keeps his eyes fixated on her. "Audrey Horne?" She smiles back, "As charged! I'm sorry, do I know you?" Hammett tastes the coffee, "Mmmm, it's good. Very good. Good as Philly's." Audrey flinches, "What?" Hammett is casual, relaxed. "I've been to Philadelphia myself. It's a long way. I close my eyes and I can picture it 'little sad girl on a bench behind a fence reading her books. What was your favorite? Wuthering Heights? Great Expectations?" Audrey pulls back. "What are you? Spying on me? You're one of them, aren't you?" He remains cool, detached, seductive, "I'm a friend. Why don't you sit down and talk with me. I don't see Papa Cole or Uncle Rosenfield. When the cat's away" His leg pushes out a chair, catching her off guard. "AND AWAY WE GOOOOOO!" Audrey along with the other patrons turn to the lobby. A glimpse of Benjamin Horne can be seen, pushing himself in a wheelchair, pushing through a sea of young female workers. He wears an aviator's cap and goggles, holds a cane and waves it in the air. Jerry chases after him. "WE'RE FLYING!! UP, UP AND AWAY!" More screams from the terrified girls, followed by crashing and shattering noises. Audrey places the coffee pitcher down, leaving Hammett, rushing to the commotion. Through the entranceway, Audrey darts to the side as Ben and the apparatus comes hurling into the dining hall. "I AM A FREEDOM FIGHTER FOR DEMOCRACY!" Jerry tries to keep up, preventing Ben from crashing into a table, "Gang way, loon on deck! May Day, folks! May Day!"But it's too late. CRASH!! Ben has collided with an entire table of the elderly. He's part of an overturned mess, the wheelchair on its side, a wheel spinning round and round. Two of the elderly women find themselves entangled on the floor, picking themselves up with Jerry's help. "Okay, okay. Scene's over, sorry about that everyone" Ben is laughing with delight, licking maple syrup from his fingertips. "I'VE BEEN SHOT, JER! SHOT DOWN BEHIND ENEMY LINES." Audrey helps with dusting him and the patrons off, "Daddy! Jerry, what are you doing?" Jerry feigns laughter, "Just having an off-day. We all have a little innocent fun now and then." He hisses under his breath to his niece, "Help me get this bastard out of here and strapped to a bed." Audrey steadies the wheelchair as Jerry hoists Ben back into it. "Atta boy, Ben. We're going to stick you in a closet and lock the door, how's that sound?" Audrey reassures the patrons, the commotion. Jerry apologizes to the disturbed table, offering to pay for the meal and the dry cleaning. Audrey remembers the stranger, turns to the table. He's gone. Scans the open entrance, seeing only the cleanup crew kneeling over shards of broken vases. No trace of the man.

Tap, tap, tap. Catherine drums her fingers along the table top. Pull back exposing that she is locked in a detaining room 'cold, gray-green plastic and brick surround her. A beat. A bolt is heard, unfastening. Andy Brennan enters, arms folded behind his back, inching against the wall's side. Catherine looks him up and down, a smirk. Sheriff Powell is framed in the open hallway. "Mrs. Martell?" Catherine flips her coat's collar up, she still wears the nightgown underneath 'stripped of her dignity. "Sheriff, I thought it was customary for the condemned to be granted a last request. I have after all been tried, prosecuted and found guilty without defense perhaps a shower before I'm led to the gallows." Powell doesn't have time for the dramatic; he sits himself opposite her. "Mrs. Martell, no one charging you with anything 'what we have is a missing person" He slides Laura Hunt's photo over to her. "Her meeting with you was the last recorded appearance" Catherine rolls her eyes. Powell continues on, opening a folder, Catherine's day planner. "You want to tell me what you two talked about?" Silence. "Three million dollar deal? A contract?" Catherine offers nothing. "Now Mrs. Martel, there's nothing odd, peculiar about any of this. Interested in selling what is rightfully yours is none of my business" He removes another photo from the file. "But this well, this is" Catherine inspects the photo- Laura Hunt and Andrew Packard pose in front of a striped banner, a committee panel. She hasn't seen this before. "Peculiar." Powell also pulls out a flight ticket. "Found your name on a ticket, Mrs. Martell. You planning on a trip somewhere? Somewhere south?" Catherine has also never seen the ticket, but betrays no semblance of being set-up. Powell reads from a letter- "Sister, I've found what I'm looking for. Hunt and Ambrose will send for you 'do not disappoint. 'A" Catherine looks to the letter. "This is a forgery" "A is Andrew Packard, "˜Sister' that's you" Catherine returns an icy glare. "Sheriff Truman" Powell corrects her with his name; she doesn't correct herself. "Andrew Packard is dead. I can assure you that. Boating accident. Most tragic." She regains composure. "And my family owns a small villa in Buenos Aries. Lovely. A haven. I am entitled to a vacation from time to time." Powell leans in asking if Catherine is keeping something from him, "If you're in any danger" She pauses, calculating that Hammett is setting her up. She whispers, "Sheriff, I hesitate to tell you this because I wanted to protect the woman but she confided in me. For our business prospects, we did not see eye to eye, but as women" Catherine pauses for dramatic effect. "Ms. Hunt was troubled. No, that's not right. Scared. Scared to death. Said this man from her past 'maybe it was her husband, I don't know thought this man was going to inflict harm upon her. She was desperate, don't you see? Didn't know what to do. Where to go. Naturally, I told her to go to the police" A beat. Powell reflects that he may be helping the wrong person. He stammers, "This man, did she say anything else about him? What he looked like, where he's from?" Catherine knows he can't hold her for any longer, she rises. "No. Only that he is extremely dangerous volatile." Catherine stands in front of Andy, "I'd like this one to drive me home now." She looks over her shoulder to Powell, "Naturally, I'll forfeit the air line ticket, but when you're finished diddling through my personals, return them to where they were found." She confidently strides out of the holding pen. Andy looks to the sheriff. Powell waves him off, remains seated, thinking. New Shoes slowly rises

Close-up on a hand-stitched wall-hanging: Bless This Mess. Donna passes in front of it- already dressed smartly and ready for the day. She holds a coffee mug, and dips a tea bag in it. Moves to the counter in the Hayward Kitchen, leaning against it, watching the visitor. Bobby's voice murmurs, as Donna's eyes gloss over. "Nothing, nothing, nothing" Bobby is seated at the kitchen table, chugging a cup of coffee, a large white cereal bowl in front of him, cigarette tucked behind his ear; he is reading the Sunday paper, or more aptly, quickly turning and scanning the pages- "Boring, boring, boring." He looks to Donna '"Nothing happens in this town, man." A beat. Donna's mind is elsewhere- "How long ago did Laura die?" Bobby furrows his brow 'where did this come from? "I dunno. Like a million years ago. It's water under the bridge, baby. Like the moon landing or the dinosaurs. Why?" Donna clearly wants him to leave. "You going to try working today?" Bobby smiles, "Sunday reprieve. Working the double tomorrow. Thought maybe you and I could try something domestic. Join the glad handys down at the Presbyterian clam bake." Donna moves to him, taking the cereal bowl out from under him- "I've got appointments." Bobby is left holding the spoon to his mouth 'a trickle of milk falling, "Today?!" Clunk. She has tossed the bowl into the sink, turning back to him, "Bobby it's time for you to leave." He lifts himself up, and move slowly to her. Two shot between them- face to face. His breath close to her. Says nothing. His hand reaches out and feels her pregnant stomach. Donna's eyes do not falter 'fixed on him. "Remove your hand." He does. Still a stand-off. A long beat. Finally, Donna. "Now." Bobby blinks. He leaves the two shot. His voice can be heard, "I feel sorry for you, Hayward." Slow pull in to Donna's face, watching him leave. She takes the tea bag out of the mug. Shot of the counter. The soggy tea bag lays. She presses a fork down onto it 'forcing all the liquid out. More pressure is applied and the wet tea leaves ooze out. New Shoes fades.

Passing shots of trees and sunlight in the gray sky. Their reflections shining off the wind shield of Truman's pick-up. Ed, Briggs and Truman continue their journey. Ed and Truman remain stoic, while Briggs occasionally looks to either man. "Edward, how is your wife?" A pause. Ed replies, "Fine, I reckon." Briggs takes another moment, "And your business?" A pause. Ed replies, "I reckon that's hanging in there too." Briggs takes another moment, "And your health?" A pause. Ed replies, "Well, I figure my ticker's got some more mileage in it." A beat of satisfaction from Briggs. "That's good. A strong heart is our only preparation." He squints ahead, "Harry, Mr. Cooper has indeed gone this route. Continue on." Truman glances at the Major, doesn't question, eyes back on the road. Briggs sips again from the Styrofoam cup- "The clearest way into the universe is through a forest wilderness." Another sip. "John Muir." Ed studies the man, not sure if he truly has his wits with him. "Gentlemen, it is my belief and also my concern, that our Mr. Cooper is not long for this world. We should proceed with the utmost caution." POV from the windshield, long strip of road. Briggs' again offers insight, "We should find his transport after the bend." Sure enough, the road bends, and in the distance, Cooper's vehicle parked by the roadside. Truman and Ed look to the Major in slight disbelief. "Naturally, he won't be here. He'll have already left." The truck slows down besides Cooper's- revealing it has been deserted. Truman parks the truck in front of the abandoned one. The three men shuffle out, with Ed and Truman investigating; Briggs isn't interested but instead is moving towards a dirt path along the side of the road. Truman turns from Cooper's driver's seat, looking to Ed '"No sign of him. Key's still in the ignition" He is cut off by Briggs, "Harry, Edward" Briggs points to the path, leading up a winding wooded hill. "I think it is apparent where he has gone. You realize where we are, don't you?" Truman lets the information sink in, and then realization. His POV zeros in on the trail; he lets out a breath of worried frustration. "Yeah." The shot pulls in to the path, fading to more trees, darkness

Cooper's black boot stomps through leaves, little traces of snow and mud. He carries a walking stick. He looks up to the majestic trees, then scans the area. Notes a large rock, a marker of some sort. He moves past it. He has reached a small clearing, with more rock formations. Cooper breathes in deeply. His attention narrows in on three large white rocks stacked together like a crude pyramid 'another crude marker. Cooper bends before it, glides his hand on the earth. He rises, spreading his feet apart for leverage, takes the walking stick and begins to dig.

New Shoes returns. The front door to the Blue Pine Lodge is opened. Andy politely escorts Catherine inside. She fusses with her hair, removes her coat, tired after a long night. "Would you care for some coffee, something to eat perhaps?" Andy shakes his head, "No, ma'am. Thank you, very kind of you. But Sheriff Powell gave me very spec-if-ic orders to remain in the squad car out front. Out front of your home. Out there. With Sal." Through the open door, a squad car can be seen. Sal, another officer, waits, bending down and tying his shoe lace. "and to let you remain in your privacy until he can put a figure on what's going on and all. Or a finger on what's going on" Catherine taps his shoulder in feigned compassion, "Yes, yes, by all means. But if you need anything, I insist you don't hesitate" Andy asks, "Hesitate?" Catherine is already moving to the stairs, "Yes, if you become thirsty, or must heed the call of nature, I prefer it to be down properly and not in my shrubbery." Andy squints, needing clarification '"Call of nature?" Catherine has tried to be delicate '"If you need relief, use the facilities, not my yard. Civilty." Ohhh, Andy gets it. Slightly embarrassed, "Oh, don't you worry about that. On the force we're taught discipline. Complete discipline." Catherine turns back, facing him '"I see. Like a canine. House broken." Andy smiles, nodding, then catches himself, regaining an ounce of dignity '"I'll be outside, Mrs. Martell." She grits her teeth in a forced smile, and proceeds back upstairs. The door closes. Catherine stops. Turns to make sure he has left, then hurries back down to the main floor. She hurries to a desk drawer, and removes a series of papers. Next, runs to a closet and produces a small filled bag, takes another sweater hanging in the closet and stuffs it in the bag. It covers a small revolver. She places a winter hat on her head, and wraps a scarf around her neck, and lifts two heavy boots. She sits down at the dining table, scribbling a note, and more writing on a paper. She has successfully put the boots on, and looks over the work on the table. Satisfied, she quickly puts on the large winter coat and moves even quicker to the back of the home. A shot reveals the dining room table with the papers, with Catherine in the distance, slipping out the back door with her survival bag. The camera shot travels in closer to the papers- TRANSFER OF OWNERSHIP: GHOSTWOOD. The bottom contains Catherine's signature. A small piece of paper sits on top of it ' "Judy, it's yours." The New Shoes theme fades.

ACT 3: Two blue heeled shoes step on a brick landing. Travel up past two shapely legs, juxtaposed next to stacked newspapers, weathered and worn, wet and mildewed. Shelly Johnson holds a covered metal tray, standing on the Palmer home's front porch. Many old newspapers line either side of the front door. Shelly looks uncomfortable. She rings the bell. Waiting. Nothing. She rings it again. "Ridiculous." She taps on the entrance, "Helloooo? Anyone home? Mrs. Palmer, I've brought you your lunch." An aside under her breath, "And you are definitely out to lunch yourself." She tried it again, ringing and tapping, "Hellooooo! Double R calling. We don't have all day, you know." To herself, "Great, Shelly. Perfect. You're talking to a door." She attempts the handle. The door opens. She shrugs to herself. Cut to the Palmer foyer 'it is still lined with old newspapers 'covering almost every wall and floor surface. "Hello, Mrs. Palmer? It's Shelly Johnson with, um, food." Shelly scans the mess. "Wow." She looks down the hallway. Nothing. "Mrs. Palmer?" A strange undistinguishable cry can be heard. Shelly's attention is shifted to the staircase. "Hello?" The ceiling fan spins. A look of dread, confusion on Shelly's face. A shot of the Meals on Wheels tray being placed on the newspaper lined floor. A shot of Shelly's foot stepping onto the first step of the stairwell. She begins upstairs into the void. "Mrs. Palmer?" Donna's voiceover, "And it's like I'm getting further and further away from myself, like I'm sinking into nothing"

Close-up on an eye with a red filter on it. Another rapid cut to another eye with a green filter on it. The eye blinks. Cut shot to Dr. Lawrence Jacoby in an armchair listening. "Does that make any sense, Dr. Jacoby? Or am I just going crazy?" Donna is reclined in a black leather couch, her gaze looking up to the ceiling, arms folded over her pregnant stomach. Jacoby ventures, "We all feel that way from time to time, it's human nature" Donna talks over him, "I find myself dreaming a lot. I mean, everyone dreams, I know that. But I'm remembering my dreams, and I find myself dreaming of Laura more than ever. And I ask myself, where did it all go wrong? Did it all start with Laura?" Jacoby leans in, interested, "Ahhh, Laura Palmer." Donna continues to ramble, getting more and more worked up. "I'm not going to blame all my problems on Laura, but she certainly did a number on us all, and I'm sorry but after that time, well things definitely started to change, and I think what would happen if we could just go back. Yeah, just go back and take like an eraser to the whole thing, you know like on a chalk board. Wipe it clean and start over again" Jacoby reminds her that life is about learning from our mistakes, owning our choices. Donna continues to talk over him, "You know, I found myself asking today how long has it been since she died 'it feels like a million years ago and at the same time like it was yesterday. Like time stopped, and her death trapped me. Why me? You remember Ronette Palaski?" Jacoby at first does not, then is reminded. "Well, God, she got the brunt of it and she wised up. Got the hell out of here. If she could do it, why couldn't I? I mean, I look at myself in the mirror, and I ask myself, I honestly ask myself, I really want to bring a child into this world?" Jacoby is beginning to get fed up, "Donna, I've told you life is a process, and we have choices. You've talked yourself in circles throughout this entire process" Donna turns her head sharply, "Doctor, you are required to listen to me." Jacoby nods, it's her dime. She turns her head back to the ceiling and begins to get more worked up, "Harriet can go skipping off and the world is her oyster, and I'm the one who has to stay" Jacoby seems like he is nodding off. He casually takes a set of head phones and places them over his ears. Kool Kat Kool emanates inside his head, while he continues to nod and make notes on a pad. Donna is in her own world, small tears appearing '"It's like I've lost the best part of my self, my soul. And I hate it, Doctor Jacoby. I hate what I've become. It's like my heart is black, and I can't save it. And I feel like what kind of mother will I be?" Her eyes flutter softly. She closes them tightly 'lots of emotional pain. A beat. The eyes open. Slowly and methodically '"I've been with Laura and Dale. The good Dale is in the lodge and can't leave. Write it in your diary." The camera moves away from her as she repeats the refrain. Jacoby taps his foot to his inner rhythm, unable to hear.

Grey sky. A dark blue Cadillac pulls to the side of the road. Panning shot to the right revealing a dark patch of woods. A beat. Huffing and puffing can be heard. Catherine pushes a tree branch out of the way, awkwardly dragging her belongings behind her. She places her hands on her thighs, hunched over, drawing in a breath. Composes herself, making her way to the car. POV from Catherine- the passenger door is open exposing the slight Asian Gentlemen behind the wheel. He bows his head to her in recognition. Catherine throws the bag into the seat, and slides in, slamming the door shut. "Drive! Just drive!" The Cadillac peels away down the road.

Overhead shot of the woods. Dissolve to Truman, Briggs and Ed trekking through, traveling up an incline. Truman stops at a semi-fork in the path. Briggs catches up to him, nudging him towards the left path '"Certainly you must remember." Briggs continues to the left, leaving Truman with his thoughts. Truman is faced with returning to someplace he has visited before, one which he dreads. Ed has brought up the rear to this party, catching his wind. He looks to Truman with concern '"We ain't going to find anything up there that we don't already know about, Harry." Truman mumbles to himself, "It's been three damn years. What the hell is Coop doing? How'd he know about this? This was supposed to protect him." Ed concludes that "D.B.'s got more wits about him than he lets on. He keeps the cards close to the vest." Briggs, several yards away, turns back to the men- "Imagination is more important than knowledge, gentlemen. Knowledge is limited." He turns back and continues up the route- "Imagination encircles the world." Truman and Ed follow.

Cooper continues to diligently work at his task. He hums merrily the melody to "I'm Young and Healthy." Before him, small mounds of dirt that he has piled around the area of the three rock marker. He keeps on digging with the stick, scooping up dirt with his bare hands. His method is crude without a shovel, but over time, he'll be successful. With the next amount of dirt, Cooper gently places it next to him, and makes a neat mound 'close-up on the pile. It resembles the one BOB/Leland had created after killing Laura Palmer. Cooper resumes humming cheerfully.

His humming moves to the Great Northern Falls. Inside, the lobby is filled only with a few elderly remnants. Audrey's fingers twist and pull on a phone cord. Travel shot upwards to expose her behind the concierge desk, her other hand guarding the receiver- "You sound awful. Maybe it's just a twenty four hour thing. yeah, I changed the flight and it shouldn't be a problem" A bellhop appears before her, lifting the lid to a silver tray. She nods, pointing upward, responding in a sotto voice '"That's great. 2.14. Rosenfield." She paces back and forth, attention back to the phone. "Albert, you can't travel like this. You can't. And I've been thinking, I'm going to try to talk to Catherine again 'what could it hurt" Next to Audrey, the pretty blond attendant reaches in front of her, moving papers, trying to resume her duties. "I just think maybe I can get some answers from her if... I don't know, I spoke to her directly Albert?..." Sounds from the other end are not pleasant. Audrey grimaces. "Oh, no. Do you have your bucket?" The pretty blond attendant moves a ledger past Audrey. Audrey nuzzles the phone, while Albert's sick heaves are muffled. More sotto voice from Audrey to the blond, "You. Hey, let me see that for a sec." The blond is firm in her reply, "My name is Susan." Audrey tugs at the ledger, taking it. "Congratulations." Audrey continues to listen to Albert, but has opened the ledger and is scanning it. Meanwhile, the blond's attention moves to the tall form appearing in front of her. The blond smiles cordially, extending a pen to the form, whose back is only exposed to the viewer. POV from Audrey 'the ledger is a list of guest names. She is searching for the man from breakfast. Her finger is used as guide 'Murphy, Alexander, Wilkenson Cooper. She stops at this one. Cooper. Obviously, an alias. Her finger glides to the right. Booked in the Executive Suite. Albert's voice can be heard on the other end. Audrey's returns her attention back to him. "No, no. I won't do anything without you. I know, I know." Audrey's voice continues reassuring Albert. The blond retrieves the pen from the guest, "And welcome to Twin Peaks, Miss Jones." The form nods, and turns walking away from the desk, from the blond and Audrey, and towards the camera. It is the statuesque, imposing Jones, Eckhardt's henchmen. She walks closer and closer with great confidence 'until she completely engulfs the view. Black.

Black pulls away exposing the bottom of two wing-tipped shoes. Jerry's legs crossed, extended and laid out on Ben's desk. He is reclined in a chair flipping through a series of papers. "Late late overdrawn ahhh, terminated. That's just perfect." The lamp next to him flickers. A surge in the power. Jerry notes it, files through the papers to the electric bill. He spreads it out on the desk 'NOTICE written on the header. His fingers begin to fold the sheet creating a paper airplane. Cut to Ben across the room 'he is moving all the furniture into a corner. Chairs and desk drawers stacked on top of one another. Jerry fixes his attention- "Brother Ben, I'd like to say my curiosity is piqued with this new design sense of yours but quite frankly, everyday you just keep providing one fascinating surprise after another that it has just become, well, pedestrian." He flings the airplane. The paper aircraft zooms over Ben's head and into the window's curtains. Ben hurls around, lifting his arms over his head and cowering- perhaps thinking he is under attack from an unseen enemy. He scoops down finding the airplane. His eyes light up 'he's found a treasure. He unfolds it, smoothes it, placing it in one of the balanced removed drawers. The lamp flickers again 'Jerry taps it and the light resumes. Jerry sighs to himself. He takes the pile of bills and pushed the entire content to the left of the desk, pushing them far enough to fall entirely into the trashcan. Jerry's attention moves to the shoebox nestled under the lamp. His POV reveals Ben's army of metallic Civil War soldiers. His POV shifts back to Ben and his feng shui sculpture; then towards the office doors 'the wheelchair used earlier rests alongside Catherine's cannon. Everything indicates a dead end for Jerry. A hint of anger. He takes the box of soldiers and shoves it into the trash with the bills. His hands rub his temples. A beat. Jerry looks down at the desk- a brochure catches his eye. Bright blue skies, crystal blue water and perfectly combed beaches 'Aruba. A smile forms. A pipe dream or a possible reality. Something he has thought about before. He rises, walks through the mess of overturned everything on the floor, finding his way to Ben 'the brochure neatly rolled in his palm. "Hey ya, Buck Rogers. That's a neat little rocket ship ya got there." Jerry inspects the tower of furniture. Ben turns up his hearing aid, and basks in glory of his latest project. Jerry seductively whispers into the earpiece. "A real cool ride that can take you over the moon, Benji. And you know what I got here, huh?" Ben, childlike, is interested. "I got us the possibility to go to the moon, to heaven. Would you like to go to the moon?" Jerry unfolds the brochure and leans it on top of the structure. The warm inviting beach displayed like a star on top of a Christmas tree. "A five million dollar ticket to the stars" Ben's hand reaches up to it. "and just one little ungrateful astronaut doesn't want us to go." Ben's happiness fades with this news. Jerry hugs Ben, still whispering '"No, no. Buckle up, Buckeroo. We're going to make her go away." His hand takes his, lifting them both towards the brochure ornament. "Audrey can't keep us from the stars no one can."Up in Flames creepy instrumental begins 'the shot moves in closer and closer on the photo's bright sun

The bright sun transformed to the sunlight peeked through the slotted blinds in Powell's office. "Your sister?" Powell lets the question dangle in the air. Hammet casually sits opposite in the sheriff's domain. He's not been deterred by any of the interrogation. Powell moves back and forth, trying to keep everything together, trying to get to the bottom of a mystery that he's not entirely sure even exists. "You're telling me- you're going to sit there and tell me, that, that this Hunt character is your sister now? I got Catherine telling me I'm dealing with some abusive fanatic, I got you telling me two, three different things" He throws the signed document this way, "I got this. Some Judy, who I don't even know who the hell is. And I don't even know if there is a damn Laura Hunt! Are you trying to make a fool out of me?" A beat. Hammett lights a cigarette; Powell begins to stop him but holds back. "I should have clarified earlier, Sheriff. It was all a misunderstanding. Laura has a flare for the dramatic. I guess Catherine really set her off" Hammett inspects Catherine's signature on the deed 'looks authentic. Powell rubs his head, exasperated- "And she called you last night?" Hammett takes a drag '"Ever hear of Deer Meadow? Yeah, a real hell hole. Called me from some motel, the Dew Drop Inn- originality, huh?" Powell knows things aren't adding up- "But her car? Her clothes?" Hammett dismisses it all '"Sheriff, between you and me, Laura is high-strung, emotional not entirely all there in the upstairs if you follow my meaning. Said she met a "˜friend' and got a little friendly next thing she knew, next thing she knew, she's waking up in some "˜friend's' bed." He looks again to the deed '"But this will make her real happy. In fact, I will have her personally come and thank you for all the work and concern. I think frankly, she'll be embarrassed by the whole thing." Hammett smiles to the sheriff. A beat. Powell has a bead of sweat running down his face. He studies the stranger. Nothing is adding up, but he can't put his finger on any of it. Bzzzzz. The intercom. Powell receives it. "Yeah? Put him through" Powell eyes Hammett, waiting for the call. "Andy? Wait when? Gone?" Hammett takes another drag. No problem he can't get out of. Powell hangs up the private phone call. Hammett is nonchalant, "Problem Sheriff?" Up in Flames' instrumental continues.

The trees blow in the wind. Panning shot down to the wooded clearing at the top of a mountain. Cooper sits on the ground, dirtied. More mounds around him, and little impact made on the apparent grave he's digging. He attempted to use the walking stick again 'but his energy is spent. He laughs to himself and flings the tool away. Runs his hands through the dirt, lifting close to his face 'it slips through his fingers. More disturbed laughter. Madness. Sets of legs enter the frame. Brigg's voice sounds clearly, "Mr. Cooper?" Cooper's eyes fix in front of him, not turning to face the trio behind him. "Dale. It's time to go home now. You can't help the man." Cooper squints, looking up. Briggs, Truman and Ed look down on him 'beams of sunlight in between each man. Cooper continues to laugh. "Major." Briggs squats down next to Cooper, "Now Mr. Cooper, it's time to retire." Truman and Ed look to the mounds of dirt; Truman keeping his anger at bay. Briggs continues to speak to Cooper with great care and tenderness. "Come along. There's nothing to be found here. Gerard has passed." He takes the agent's hand, but Cooper pulls back. Cooper touches the grave, softly begins to channel '"Through the darkness of future past, the magician longs to see" Truman turns his back, kicks at the ground, "Let it go, Coop!" Cooper doesn't hear, keeps going- "One chants out between two worlds. We lived above a convenience store a golden circle" Cooper begins to laugh again. Truman, moved to the opposite side of the clearing, barks back '"Who?! What the hell are you talking about?!" Briggs signals to Truman to remain calm, but Truman dismisses it, "No, no. You want to keep talking and doing all this to us, Coop! This, this, all THIS has to stop. You know what I've done for you?! What we've all done for you?!!" Cooper continues to channel another, moves his hands back into the grave '"He cut the arm right off" Truman moves back to the group, pushing Ed and Briggs out of the way, halting Cooper by the hands '"LET IT BE!!! He's dead! Leave it alone!!" A beat. Cooper stops, his hands held by Truman's. Quiet. A smirk appears. Cooper slowly giggles, while Truman watches in disbelief. "Harry, you know what you've done? Hmmmm? You've killed Mike." Cooper's chuckling doesn't stop, only grows louder. "You killed Mike, Harry. Killed Mike." The veins in Truman's forehead throb, his anger reaching a fever pitch. "Harry killed Mike!" Instantly, Truman snaps. He lounges reaching for Cooper's throat, trying to stop the voice. Ed and Briggs' voice in the background '"Harry! No! Stop!" Rapid cut shots between Truman's face and Coopers; Truman like a killer, and Cooper continuing to smile maniacally, eyes lifeless. Shots of Truman's hands tight around Cooper's throat, with Cooper's hands at bay, not putting up a struggle '"Killed Mike" Briggs and Ed's hands on Truman's arms and back, trying to tear him away. Truman is possessed in his rage- "I did everything for you! Everything damn thing you've touched, you've ruined!!! Job, my life! Josie!!!" Briggs and Ed's words are distant 'only Truman and Cooper are connected. Truman's focus bent entirely on driving the life out of Cooper, and Cooper serene, locked in his friend's eyes. A choked whisper from Cooper, "You can do it, Harry. It's so easy" Cooper's taunt pushes Truman further, but then a wave of realization comes over him 'this man before him is not Cooper. Cooper's eyes change slightly, more compassionate '"Please." Truman stops the pressure. Ed and Briggs' voices can be heard again. Truman and his grip are pulled from Cooper. The two separated. Cooper gulps for air, clutching at his throat, while Truman is bundled over catching his own breathe. Instinctively, he hurls another remark '"You're not worth it!" Ed keeps Truman at bay, while Briggs holds Cooper near his lap- "It's all right, Dale. Everything will be all right." Cooper's eyes dart about his surroundings 'scared, confused, terrified at what he's become. Truman's words repeat in the background '"Not worth it. He's not worth it." Cooper continues to register all of this, inhaling more air. His eyes the old Cooper. Up in Flames drifts away and the scene fades out.
Last edited by Audrey Horne on Sun Nov 02, 2008 2:37 pm, edited 16 times in total.
God, I love this music. Isn't it too dreamy?
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