Audrey 'episode four
Ah, the funeral episode. Not to sound like a broken record, but another perfectly flawless episode (with the possible exception of some of the early nineties fashion faux pas by the extras 'the woman with the pony tail slow dancing, grimacing and shrugging at Leland bugs me). The Audrey character continues to blossom and is becoming more and more one of the strongest of the characters, and one we are slowly beginning to feel empathy towards.
has perhaps the best dream quality to it in world of television. No where is that stronger than the opening shot. The titles open to the beautiful strains of Badalamenti, and we are treated to the turbulent Great Northern waterfall, which fades wonderfully into Audrey's face, lost in her own dream. She appreciates and is part of the same score and imagery the viewer sees, and she shares it with us. It is here that we get another moment when Audrey is alone in her private thoughts, not performing a role; her mask gone. This is an event that will continue to present it self throughout the series 'the private Audrey vs. the public Audrey (a good example is in the second season premiere when she literally lowers a mask when she has dodged her father at One-Eyed Jacks.) The dream doesn't last long for Audrey, for she clearly has a mission. Most likely calculated, she has been waiting for Agent Dale Cooper, and is certainly hoping he will notice her. She reveals a smile, and we get a sense that she is getting a charge out of seeing him. But we now have knowledge that it isn't a game for her, like the Norwegians, but instead a real longing for; in short a crush.
The dreamlike reverie of Audrey here is also interesting since we have only just ended the last episode with Cooper definitely having his own dream.
The Cooper/Audrey breakfast scene is their second in the series, and continues to have the same playful tone. In fact, we've come to expect it, almost becoming a ritual for the kickoff of a Twin Peaks episode. Dressed in ripe red with a plunging neckline, Fenn once again evokes what director Tina Rathborn describes as "very mysterious and powerful in a kind of Marilyn Monroe sort of way." Twin Peaks in itself is not only a straightforward linear story, but also a visceral attack on the senses through imagery and music, saluting and using classic cinematic icons. In this sense, the reference to Marilyn Monroe isn't surprising. After all, Cooper himself will be describes by another character as looking like Cary Grant, and upon meeting Dr. Jacoby, he mistakes Dale for Gary Cooper. So while we can enjoy the characters for what they are, we can also bask in the throwback of using old Hollywood glamour. Essentially, Cooper and Audrey in the real world is probably, um, not such a good idea 'but here it is fantasy, and are both throwbacks to controlled glamor close-ups of movie stars. They exist as cinematic creatures.
But in the narrative, the scene is useful in furthering the Audrey infatuation, Cooper's detective skills, and sets up the perfume counter/One-Eyed Jack's arc to the show.
While we already are aware that Audrey is capable of great manipulation, we know Cooper is better, and her defenses are down. While coyly declaring she's "in a hurry,"when pressed by Cooper she can only shrug with no follow-up. He sets a trap for her instantly by effortless complimenting her perfume, and she falls hook, line and sinker, not even questioning why she would have to write her name down for him. She merely blindly does it. This eagerness is fun to watch in someone who has mostly been always in control. When Audrey catches on to Cooper's trick, she's still under his spell, and finally must come clean 'and there's no pretense or hidden agenda for her: She wanted to help him, "for Laura."
Here we touch on another aspect of twins and mirroring in Twin Peaks
. Audrey tells Cooper that although she wasn't friends with Laura, she "understood her better than the rest." Audrey's tone is matter of fact with the agent, no flirtations or her usual armor. We continue to touch base that Audrey is possibly running the same course as the phantom Laura Palmer, has a type of insight that this other girl has. (Battis will hauntingly point this similarity out to Audrey later) 'While not friends, Audrey and Laura are connected beyond Audrey's control.
Next, we come to Cooper pressing Audrey on the identity of One-Eyed Jacks. She blushes when she tells him, "Men go there women work there." One Eyed Jacks is much more crucial to the Audrey character than the Cooper character and is represents the bridge of innocence and purity that we begin to suspect in Audrey with the seedy underworld of sex, violence and darkness. It can also easily represent a teenage girl's journey from girl into woman. (Audrey will essentially be metaphorically raped at One Eyed Jacks, penetrated by a needle 'but certainly that plot point wasn't even thought out by the time the current episode was written). But more importantly, Cooper helps the audience in furthering identifying with Audrey and separating her from the eccentric characters 'he informs her that her handwriting indicates a "romantic nature,"and even more boldly, "a heart that yearns." In that sentence alone, Audrey has now been elevated for the audience beyond the seemingly sexually aggressive minx to that of a romantic dreamer. Cooper is our trusted hero, and he speaks the truth. We as an audience will accept this. But he also tells Audrey to "be careful"of this trait. A warning, a danger now awaits Audrey, and we expect it and are now concerned for her. The moment of empathy is capped off by her honest reply of thanking Cooper for taking the time to talk to her. There is still the sense of sadness, and that no one gives her the honest attention that he has. The dreamlike quality, coupled with the romantic quality of her nature sets up a semi-fairy tale like aspect to the Audrey character that will continue.
Audrey's next scene is the reveal of another one of her most famous activities; the secret passageway. Slipping into the passageway, the audience is now fully onboard as seeing events through Audrey's eyes 'as the series progresses, we usually learn events the same time she does. Transference has happened. We now no longer observe the Audrey character but are essentially in her shoes. While still a suspect to the murder mystery, we still feel Audrey is on some path here, and believe anything she learns she'll share with Cooper.
The funeral scene provides a clear cut strong path for the Audrey character. It encapsulates her intended journey for the character 'her longing for Cooper which represents escape and knowledge to a world outside her own, and also her true sense of self. This is provided through the reverend's eulogy of Laura. We see clear shots while he speaks of the towns folks. Connecting a shot of the newly introduced Maddy to Audrey we hear, "most of all, Laura was impatient. Impatient for her life to begin" The camera lingers on Audrey contemplating its meaning and finding a fleeting moment of happiness in Cooper's returned gaze. The words continue ' "and catch up to her dreams and ambitions." The point is more than clearly made. Audrey is smart enough and yet impulsive and reckless enough to follow Laura's path.
All in all, the episode is a great one for Fenn, and is successful in making the audience begin to care for Audrey. It is also successful in making them root for her pursuit of Cooper. From Rathborne's notes ' "we all believed that Coop was going to have an affair with her, showing her in all her glory and then seeing him come down for breakfast seemed to be emotional right." Clearly, the agenda is there then for it not merely to be a plot point for an unrequited crush, but a clear strong bridge between the two characters