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

[Audrey Horne]

4.03 (con't)


ACT 4: Exterior of the Palmer home. Early evening. No soundtrack, only cool wind blowing. A beat. The front door opens, and Shelly emerges with the empty serving tray and lid. She slowly closes the door, running her hand along it. Takes a moment looking out towards the street. Stops, and slumps down, spent. She remains seated on the steps. Her hand rummages in her coat pocket and dislodges a pack of cigarettes. She fumbles with a lighter, finally catching the smoke on fire. It is impossible to detect what has happened within the home, but a distinct change has come about Shelly. She looks back up to the doorframe, then back out to the street. Exhales smoke. Thinking.

The Briggs' front door opens to the living room. Briggs enters wearily, heading up the stairs. "Garland? Is that you? Garland?" Cut to Betty from the kitchen's entrance, she wears an apron and holds a mixing bowl and spoon. Her brightness fades to concern. "Garland, dear. What is it?" He shakes his head, proceeding up the stairwell. She places the bowl and spoon down, moves to the banister '"I want you to sit with me, Garland. Talk with me." A beat. Silence. Uncharacteristically, she shouts, "Garland!" Betty even frightens herself. She finishes- "I require you to come and sit with me." Betty moves to the living room, knowing he will come. She sits on the sofa, fidgeting with her fingers. Sure enough, Briggs has made his way to her. Betty extends her hand, and he takes it, easing down next to her. She looks into his eyes, lovingly. "Please tell me." Briggs hesitates. She implores him with her eyes, "I'm your wife, Garland. Anything you feel, I feel." Brigg's assuredness slowly crumbles '"There are things in this world, the unexplainable the unknown, that no man or woman should have to endure" Betty studies the lines in his face, "You've disappeared before, but you found me" She kisses his cheek. He continues, trying to process. "I've slipped through the crevasses of time and space reached the corners of the universe seen the hand of God and the Devil himself unspeakable "˜Heaven and Earth, must I remember" He is sobbing down, face buried in her bosom. She soothes him, "Garland, you are the bravest man I have ever known. My knight, my love" He looks up to her, "What have I unleashed? What will I be responsible for?" A beat. "I miss my son."

Exterior of D.B.'s Apothecary. Close-up cut to Cooper's face 'relaxed in sleep. Truman stands a good distance away. The sound of a toilet flushing, water running. Ed emerges, toweling his hands ' "Nothing in there that can do any harm" Scans the area, "Nothing particularly sharp." He studies Truman, "Harry, you go get. It's been a hell of a day for both you and him. I got it covered." Truman only watches Cooper sleep. Ed has made his way to the refrigerator- extracting a chicken leg and a beer. "You wanna?" Truman shakes his head, "Nah, you're right. Can't do anything right now. My brain is fried. Head'll hit the pillow like a sack of bricks guess'll figure it out tomorrow." He watches Ed move a stuff armchair in front of an old black and white TV 'crooked antenna. Ed takes a pillow and makes a comfy dent in it like a karate chop. Truman asks if Ed will need anything else. Ed says he's already told Norma he's spending the night, and "reckon it's my turn anyway." Truman gives one last glance to the slumbering Cooper 'makes his way to the door. Ed calls back, "Harry. It wuddn't your fault. Remember that. Gerard did it to himself." Truman replies softly, "We shot that man, Ed. I shot him." Ed reminds Truman, "He woulda killed our boy, one way or another. Crazy in the head. A loner." Truman looks at Ed point blank, "And we're the only ones that know. Sometimes I ask if I can live with myself." Ed motions to Cooper, "He's alive, that's all the matters. We're all still alive. We make the most with what we're given." A beat. Truman breaks for the door, "Night, Ed."

The chime to Double R's door rings. A patron walks in, passing Donna at the counter. Kool Kat Kool begins to play on the jukebox. Donna sips her tea, reading the newspaper, poking her dinner with a fork. All traces of her trance from Jacoby's gone. Chime. The door sounds again. Shot remains on Donna, while Norma's voice cuts through, "Shelly, it's seven thirty! Three hours?! You know we're short staff" Shelly methodically travels behind the counter, slowly removing her coat and dispensing the Meals On Wheels tray- "Sorry, I lost track of time" Her response is distant and without any inflection. Donna lifts her head to follow the action. Norma is by Shelly's side, angered '"You lost track of the time? What does that even mean" She stops, observing Shelly, who's supporting herself feebly on the counter, looking like she's about to drop. "Shelly, are you all right? Shelly?" The young woman looks to Norma, confused. "Huh? I don't know. I'm not feeling really well, Norma. I think" Suddenly she falls, bringing down two glasses with her. Crash! The whole diner turns its attention to the commotion. Norma has caught Shelly, lifting her up '"Oh God, Shelly. Are you sick? Let me help you" Shelly remains disoriented, while Donna pushes water over to her. "Sick? Am I sick? Yeah, yes, I don't know. Norma I think I better lie down" Norma wipes her head with a clothe, moving her to the stool on the opposite side of the counter. "You're not feverish, do you feel dizzy?" Shelly continues to state she doesn't know- "It's like I floated out of my head or something I I" Norma looks to Donna, "She's has to lie down, go to bed or something. Maybe we should call your father." Donna informs Norma she'll drive her home, "probably just the flu." Norma thinks it's going around, "Sally called in sick earlier ugh, I hope we're all not getting it." Shelly tries to shake it off, "I'll be fine, lemme just" She falls again, with Donna and Norma catching her. "Nothing doing, Missy. Now Donna's going to drive you home and you're going right to bed. No ifs, ands, or buts." The two women walk towards the entrance with Shelly supported on their arms. They walk past the on-looking patrons and through the door. Shelly's voice continues cataloguing the preparations that need to be made for the diner's next day. Kool Kat Kool breaks.

The winds blows through the trees. Darkness. Early night. The moonlight shining through clouds.

A hand turns a knob and ignites a kerosene lantern. The slight Japanese gentlemen lifts the lantern and moves through a cabin, placing it on a wooden table next to another lantern. Catherine sits at the table, biting into a cracker, holding a glass of red wine. A pair of bifocals rest on the bridge of her nose. Before her are a large journal and a stack of notebooks. The outside of the notebook reads A17 'Amberson. She opens the book, looks it over with abject scrutiny. To herself, "All right, dearest brother. Time to indulge in your legacy to me. I couldn't save your life, but perhaps you can save mine." Cut shots of cursive writing -portals, dreams, Indian culture, prophecy Puccini's O Mio Babbino Caro blares (another strange occurrence where Badalementi has been replaced) Andrew's pages fade.

The fade transforms to the long entrance to Ben's office. The opera still sounding, lingering on the lonely hallway (perhaps occupied by Josie's ghost). A moment of lone stillness, only the opera. Audrey cautiously rounds the corner, lured by the singing. "What fresh hell is this?"

O mio babbino caro (O my dear papa)
Mi piace è bello, bello (He pleases me and is handsome, handsome)
Vo' andare in Porta Rossa (I want to go to Porta Rossa)
a comperar l'anello! (to buy the ring!)

Audrey moves to the office door, and listens. Comforted by the music. Cut shot to the interior, where the music is louder. A phonograph plays 'the needle hitting the spinning record. A hand waves gingerly through the air, conducting the music, as Audrey approaches from the distance, closing the door behind her. Ben lies on the floor, lost in a private, beautiful dream.

Sì, sì, ci voglio andare! (Yes, yes, I want to go there!)
e se l'amassi indarno, (And if my love were in vain)
andrei sul Ponte Vecchio, (I would go to Ponte Vecchio)
ma per buttarmi in Arno! (And throw myself in the Arno!)

"Daddy?" Audrey's voice is soft 'doesn't matter if she can hear him or not. She reaches him, and crouches down beside him. He notices her and smiles. She returns it. Again softly to herself, "God, I remember this when I was a kid. You used to play it for me all the time" Ben hums along to the music. She attempts to join him. "Da, da, da, da da dah" He looks to her, brings his hand behind her head and draws her bear 'foreheads touching. Audrey now sits with him, smile on her face. A beat. Knows she can't hear him. "I remember Benjamin Horne. I remember ...my birthday. It was my sixth birthday, and I remember this distinctly because you called me in here, into your office, and you lifted me on your knee" She pauses to get it just right. "'Six years old is a big girl now and it's time to start acting responsibly.' You took out this doll 'this beautiful porcelain doll,"She chuckles, while he watches her. (Whether or not Ben can understand, is not clear.) "Clementine. Clementine- she was perfect. Darling Clementine... And you said to me, "˜Now Audrey Horne, you can have Clementine, who's just a doll that every little girl plays with. She does nothing'" Audrey holds out one hand for emphasis, then extends the other, "Then you took out a this solitary crisp one dollar bill, looked at me like you meant business, "˜Or you could take this.' You folded that dollar bill, twisted it, put it behind my ear and pulled out another and told me, "˜this does everything.'" Audrey reflects on that 'lost innocence. "I never forgot that. I took that dollar and never looked back, Benjamin Horne. And I don't regret that one bit."

Mi struggo e mi tormento! (I am aching, I am tortured!)
O Dio, vorrei morir! (Oh, God, I liked to die!)
Babbo, pietà, pietà! (Father, have pity, have pity!)
Babbo, pietà, pietà! (Father, have pity, have pity!)

They sit, listening. Audrey turns to him again, patting his knee. "Daddy, I'll be leaving soon, and I don't know when I'll be back." She grips his hand. "But I promise you, I promise, I'm going to do whatever I can to get us back on our feet." Ben's body slumps, he turns away from her, resting his hand on an overturned photo frame. "Daddy, it'll be okay. It will." Audrey's attention shifts to the keepsake he is shielding. "What have you got there, huh? What are you hiding?" She reaches over him, turning the frame over. He doesn't prevent her. Looking back from the frame is Laura Palmer 'the black and white photo from the past; stern and defiant. Audrey pulls back, the phantom ghost mocking her. She looks to Ben, who is gazing at a lost love. The opera has stopped, only skipping of the finished record. "Heeeeey, Audrey!" Jerry's voice beams from the back of the office entrance. "Playing nursemaid?" Audrey picks herself up, dusting off her skirt. Moves away from Ben, who's crawling to the record player. The opera begins again. Audrey moves past Jerry, not looking at him, answering him coldly, "See ya, Uncle Jer." She stops at the door, turns once more. "You know, you two deserve one another." Left alone with his brother, Jerry shrugs.

Audrey closes the door behind her, the opera strains like a punch in the stomach. A beat. She composes herself. She moves to her hidden passage. Tugs at the release. Nothing. It's been sealed shut. She pounds at it, and departs unsuccessful.

Jerry moves closer to Ben, plops himself on top of the desk. Looks down to his brother. "What'a you got there? Ahhh, Laura Palmer. Man, what a peach. Memories like the corner of my mind, huh, Ben? Huh?" He laughs to himself. What harm can any of it do? Ben can't hear. "Brother Ben, can we just kill Audrey? Please? It would make life so much easier. Think of that wonderful money. Think of Aruba! Just one little Audrey monster gone. Can we pleeeease kill her off?" Jerry is glad he's gotten that off his chest. A confession to deaf ears. A beat. A sound from below. "Sure." Ben's voice is blunt and to the point. Jerry does a double-take. Ben can hear every single word. "Wha? How'd ya?..." Jerry's face lights up. He jumps off the desk, arms outstretched. "Bennnnnnnn!" Ben embraces him, more in control of his facilities than he had been letting on.

The dark night. A hoot from an owl. Donna stops her station wagon. Shelly fiddles with the safety belt strap. "All right, let's get you to bed. Now look, I'm pretty pregnant here, so go easy on me, kay?" Nothing. Donna studies Shelly, who is forlornly looking out the passenger window. A beat. "You're not really sick are you?" Shelly is quiet, her face away from Donna in a long two shot. "No." Donna doesn't have time for this, "You want to tell me why you're wasting my time then?" Shelly is listless, "No." Donna inserts her car key, "Well, all right then." Shelly turns to Donna, stopping the twist to turn on the engine. "Donna, can you imagine what it's like to be dead but still living?" Donna looks at her incredulous. Shelly continues, "I went over to old Mrs. Palmer's house today. I thought nothing of it. Didn't bother me, it was nothing. Just bringing her some food. Food. People have to eat." Donna just sits there listening. "She didn't answer her door, she didn't respond. And then I went in, and I thought, well gosh maybe she died or something or was hurt and nobody would know. Nobody would know anything. And I got scared. Scared for her, scared for me. Just scared." Donna asks, "Was she? Hurt, I mean?" Shelly shakes her head. "No, no she wasn't. She was fine. I found her upstairs lying on her bed. Not moving, flat on her back. Her eyes just stared up, but they were moving around like, you know. Like she was fine. I asked her if she wanted her dinner, and she does nothing. If she wants some water. And nothing. So I thought well, what am I even doing here? Why is this woman wasting my time?" Donna lets the refrain sink in, feeling guilty for accusing Shelly of the same question. "I left the dinner by the side of her bed and I said goodbye" Shelly is welling up. "And she said "˜Don't go. Please don't go.'" Donna strokes Shelly's hair in comfort. "And I sat with her, and I held her hand, and I justsat with her." Shelly wipes a tear away. Donna soothes her, "It's all right, it was a good thing what you did, really it was." Shelly continues with the tale, "And she held my hand so tight and never moved, and then later later when she finally let go, she said thank you. She said, "˜Thank you, Laura.'" Shelly is mournful, "And I just thought my god, what is happening. What is this world we live in?" Donna cradles her, holding her tightly. She can offer only an embrace, no words of wisdom, "I don't know." The owl hoots. The haunting, slow, melodic In My Other World's instrumental begins

Fading shot to Cooper's face 'serene, peaceful. Eyes closed. In deep, tranquil sleep.

Dissolve to the falls of the Great Northern.


Abrupt cut to the Great Northern hallway of the Executive Suite. A more sinister version of Freshly Squeezed lightly sounds coupled with World, as Hammett turns the corner, a briefcase in tow. Whatever he's done, wherever he's been, he's done it right. He reaches the suite's door. Reaches for the key. He stops, the door is ajar. Instinctively, like a cat, he brandishes a small revolver with silencer. And almost as immediately, a voice interrupts. "There is no need for firearms, Doyle." The voice is thickly accented, South African. Hammett lowers the gun, and pushes the door open with his foot. A small lamp is flicked on exposing the statuesque Jones in crisp white pant suit, hair slicked back. "Jonesy." Hammett closes the door, resting the revolver on the bedside table. He smiles slyly to her. She hovers by a dresser observing him. He notes the bed. On it, the bible has been opened and the two passports lie next to it. Jones chides him, "You've been a very, very bad boy, Doyle. Amberson will not approve." Hammett files the passports back into the Bible's hallowed compartment. Casually puts it back into the drawer. Everything neat and tidy. He looks at her. "Judy doesn't have to know." Jones returns the look 'a trace of exhilaration. Hammett crosses to her. A beat. He rips her jacket off revealing the camisole underneath and her bare shoulders. She lunges for him. The two together in a passionate, hungry kiss. The shot pans away to the bedside table, to Josie's prison, the drawer pull.

In My Other World continues, now with Julee Cruise's vocal. The screen fades to the night. The river flows. The night sky. Thick dark clouds roll past, the moon shining through. We're passing through, traveling away from Twin Peaks.

In my other world
There is no pain
And all my thoughts
Are clouds of happiness

A stone wall overrun with ivy. The moon dances shadows upon it. Dissolve to a large open hall of a Victorian mansion comprised of shiny mahogany wood. Cut to pristine white nurse's shoes moving swiftly across the gloss of the floors. High shot from the staircase, reveals the nurse opening the large front door and a portly gentlemen entering.

In my other world
My heart beats red
There is no gun pointed at my head

The man moves along with the nurse through the mansion, passing other nurses at attention. The man's black coat rests over a doctor's bag which he carries. Cut shot to a room with rich red curtains lining all the walls save for a mahogany door. The nurse enters, escorting the man inside. Upon closer inspection the man is played by actor Walter Olkewicz (Jacques Renault). His appearance could not be further from Jacques though; clean, precise, great care in his appearance including his Freud-like beard and moustache. He sits down before a desk, removes his hat, waiting. The nurse stands at attention by the door. A new visitor enters, another nurse, dressed entirely in white. However, her white cap is larger, more imposing. She moves in front of the portly man, and sits behind the desk, "Herr Doctor." Nurse's voice is quiet, but effective, a hint of an untraceable foreign accent. She looks up. She is played by the actress Victoria Caitlin (Blackie)- her face stark white, stained by blood red lips, her thick dark hair pulled back severely. "We welcome you back. We've awaited your return with great anticipation." Doctor answers her in a thick German accent, "I trust I do not disappoint." Nurse eyes his bag. Doctor opens it. A moment of anticipation. Doctor removes a jar filled with a yellow substance. Close-up shot on Nurse's long white fingers anxious. The jar of Garbonzozia passes from Doctor's to Nurse's. "Thank you, Herr Doctor." Doctor nods. Nurse motions to the nurse by the door. The nurse exits. Nurse rests the Garbonzozia on the desk. She opens a blotter, revealing a photograph: Audrey. "We would like to have this girl. What do you think?" Doctor muses, "I prefer a blond." Nurse snaps the blotter shut, angered. "She is exquisite!" The door opens. The nurse has returned with another. Nurse lifts herself from the desk, eyes fixed on the other. She takes the Garbonzozia delicately and crosses to the other. Nurse hands off the precious canister. "Ronnette, you must take this to Judy." Ronnette Palaski, also in a nurse's uniform, bows subserviently to Nurse. Frightened by the Doctor's gaze, she takes the Garbonzozia in white gloved hands. Ronnette moves from the room with the other nurse following her, closing the door. A beat. Nurse's eyes fix on Doctor. "South America is pleasing to you, no Herr Doctor?"

Cut shot to the open hall. POV from the top of a large imposing staircase. Ronnette dutifully crosses the hall, restrained, careful. She holds the jar of yellow with great care, traveling up the stairs, closer and closer to the viewer; surrounded by shadows, darkness 'only the yellow illuminates.

Doctor shifts his neck, "Earle has died." Nurse moves back behind the desk, "We know." He shifts his neck the other way, "Laura Hunt has died." Nurse reopens the blotter inspecting the photo of Audrey, "We know. this also." A beat. Nurse looks back up to the man, she has no need for him. "Good night, Herr Doctor." Long shot of the new red room. Doctor rises. He removes a large series of connected papers, slides it onto Nurse's desk and leaves. Nurse is alone amidst the red curtains. She studies the photos intently. Stops, and moves onto Doctor's papers. It is a series of numbers and letters, deep space readouts like Briggs has once shown to Cooper. A shadow glides slowly above her head (recalling the shadow in Cooper's original dream). In My Other World fades.

Cooper continues to sleep. Cut shot to Ed in the arm chair; he has also passed out. Flickers of the black and white television dance across his face.

Truman sits alone in his cabin- another liquor bottle and shot glass before him. Only lit from the moonlight from the window. He betrays no emotion, just silence. Close-up on his face. A trace of new music begins, slow, unidentifiable at first. Close-up cut to the lines of silver and white from the shot glass

The music continues to trickle. The darkness of Cooper's home again. Cooper continues to slumber. His breath. Lips slightly parted. The slow music now includes a sad, lonely horn 'melancholic jazz. The tune fades into focus 'Sycamore Trees from the Red Room. An otherworldly presence is in the room. Cooper's eyes flutter, but remain shut. His breathing becomes heavier. Ed rests across the room, oblivious. Cooper's chest heaves more, still gentle. The jazzy horn is joined by a shape 'with the darkness and the shadows it's impossible to ascertain its origin, but it is from behind Cooper's head, from his throat, his mouth. The shape, accompanied by the music's horn, takes shape. Takes the shape of an arm. Through trickery of shadows and light, the man crawls his way out of Cooper's body 'slithering.

Cut shot to the dark floor. A dirty boot steps, then another. Moving across the room, past the arm chair of a resting Ed. It stops on the innocent. Traveling shot up reveals BOB. Cut shot to all three in the room: BOB stands over Ed, studying him, Cooper a short distance away, still asleep. BOB stoops down, sniffs Ed. Cooper stirs. BOB straightens up, watching Cooper. He's like an animal in a foreign environment.

Cooper's eyes flutter again. The lids become more rapid. Flutter, flutter. Awake. Cooper is wide awake, but does not move. No sign of fear, intimidation, awe. Nothing. BOB looks directly at him, still standing above Ed. BOB snarls at Cooper. He makes a move to Ed, but Cooper shakes his head 'again, no fear. BOB stops, controlled. Disappointed he cannot take a victim. BOB shifts his neck. SNAP. A beat. BOB slowly crutches down onto the floor, eyes still fixed on Cooper. BOB lowers his head, again like an animal. Cooper does not move, transfixed by this being. Suddenly, BOB snaps his head back up hurling an accusation '"You! Violate The Rules!" (the sound is guttural, like a wounded growl). The words hang in the air. Cooper again slowly shakes his head with a definitive No. Cooper lifts himself up, propping himself up against the pillow, never takes his sight off of his captor. BOB has nothing but contempt, his breath heaving, sweat and hair in his face and eyes. A beat. BOB suddenly pounces to his feet again to attack Ed. SNAP! Cooper has snapped a finger, and BOB freezes, his hand in mid flight. BOB slowly lowers his arm and turns back to Cooper. Who has power seems to have shifted. BOB lowers himself again, crouching on his haunches. Cooper positions himself completely upright. He swings his legs to the side of the bed, and folds his hands in his lap. A wide shot of Cooper and BOB 'only a few yards between them. Ed sleeps. Cooper and BOB watch one another intently. The horn from Sycamore Tress continues, as the two study the other 'silence between them. FADE OUT.


CLOSING CREDITS. In My Other World commences in mid song 'Julee Crusie's high pitched voice sounds

And I can't even see your face
I've never heard your name
My heart is still and my thoughts are calm
And light has filled this space

Overhead shot of Nurse's desk. Audrey's photo, the readout and various other objects are shown. Ronnette's arms and crown of her head are shown and she bends over the table, straightening the objects, putting them away. She methodically clears off everything from the desk.

In my other world
In my other world

The Frost/Lynch logo abruptly cuts off the action accompanied by the jolt of electricity.

[Audrey Horne]

have no fear. Had to take a little break, but I have this one all drafted out and can't wait to get it up.

By the end of this episode, the whole world will be turned upside down again with characters scattering all over and the action heating up. Look for the return of Jones (remember her?), Leo's current home life, and whatever became of Hank Jennings. And finally we get to see Doctor Jacoby.

[Audrey Horne]

sorry, Peakers. Life got pretty hectic.

Won't be back to this until next week. But no fear... Cooper, Audrey, Truman and all the other crazies will be back.

[Evenreven]

Hey, take all the time you need, my friend. We've waited 16 years, we can wait another week.

[They-Shot-Waldo!]

It's a worthy wait for something of consistently good quality.

[Audrey Horne]

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.

I just purchased The Voice of Love and listened to it FOR THE FIRST TIME. I had no idea!

Wow! And it came out in 1993, and Lynch and Angelo were involved with it. I say it's fair game for me, and man, it'll provide lots of new mood and atmosphere. This is like Christmas day all over. And no doubt, "Up in Flames" should be Audrey's new theme. What a fantastic album. Thanks, even.

[Cooped]

Daft question; but i assume from these posts there some sort of ongoing fan fiction on the go? Downloadable anywhere?

[Evenreven]

It's only in this thread for the time being. I think the reposts - i.e. the updated and best versions of each episode - are somewhere around page 58. It begins at episode 15 or 2.08. The last ten pages or so are an attempt to continue from there, post-mirror smashing.

[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.

I just purchased The Voice of Love and listened to it FOR THE FIRST TIME. I had no idea!

Wow! And it came out in 1993, and Lynch and Angelo were involved with it. I say it's fair game for me, and man, it'll provide lots of new mood and atmosphere. This is like Christmas day all over. And no doubt, "Up in Flames" should be Audrey's new theme. What a fantastic album. Thanks, even.

Yess! Welcome to the fanclub!

While it's more uneven than Floating, some of the songs surpass everything on Floating, in my view. Especially "Up in Flames". I also think an instrumental version of "...Our Night" would be great in a post-FWWM Peaks, maybe even as the closing theme. It's like being taken on a mysterious journey and would be cool after a cliffhanger, I imagine. Also, I can't get the image of Johnny Horne putting on "The Voice of Love" on the RR jukebox out of my head.

[Audrey Horne]

This one is coming slowly and surely. Almost down with the third act. sorry for the delay -time has been scarce lately.

[Audrey Horne]

whew! almost done now. Just two more little scenes to get up -a short Truman one, and a whooper of a one for Cooper. Just got too tired. Will be finished by tomorrow.

it's getting pretty head trippy now, I think. hopefully, it's kind of working.

[coolspringsj]

I found myself doing a lot of gasping! Totally confused by the last part I read (guess that was the intended effect being TP and all) - Garmonbozia, previous actors of dead characters, oh my!

Can't wait until it continues....

Love your persistance on this project....keep it up, Audrey Horne!

[Audrey Horne]

thanks, cool. (I'm just gonna call you cool)


I have to tweak it a little, so you might want to review it again when I finish the last part. Just a few little changes to it. But glad you gasped, that's the intent.

[Audrey Horne]

sorry guys for the delay (what else is new, huh?) -got really tied up.

Will finish this episode tomorrow- PROMISE.

then four more, then that's it. (whew)

happy Saturday all my dear Peakers.

[Audrey Horne]

whew! done with 4.03.

sorry about the delay on that one.