"Do your palms ever itch?" All things Audrey

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Re: "Do your palms ever itch?" All things Audrey

Postby Colonel Cooper » Fri Nov 25, 2011 8:04 am

Okay, one last try, because I feel like I'm hitting my head against a brick wall here. Simply put, I try and remain on topic, and considering that this topic is 'All things Audrey' - then I'm mainly going to be talking about Audrey, Audrey and Cooper, How the second season fell apart for me because of Audrey's story seperation from Cooper, How Wheeler is a complete and utter abomination etc. Do you follow this progression? There are many elements of Twin Peaks that I love, but I won't talk about them on this thread - because this thread is 'All things Audrey.' :!: :!:

*goes to find brick wall*
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Re: "Do your palms ever itch?" All things Audrey

Postby blair » Fri Nov 25, 2011 8:13 am

okay I'm sorry...I just would like to discuss with you about that, but okay, I will edit my last long post for to avoid futur disagreement and leave this thread, sorry again Colonel Cooper.
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Re: "Do your palms ever itch?" All things Audrey

Postby Fire » Fri Nov 25, 2011 11:15 am

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Re: "Do your palms ever itch?" All things Audrey

Postby Colonel Cooper » Sat Nov 26, 2011 11:30 pm

While we all wait patiently for Audrey Horne's analysis of episode 02.05 - here's some of the analysis episode 02.04:

Audrey Horne wrote:Renault displays the image of Audrey on the videotape, gagged and bound. Fenn's Audrey stares directly into the camera lens, penetrating briefly through it. It's interesting to note that Audrey has been established as running a semi-parallel life as Laura, while also maintaining the flip side to Laura's identity. She has already told Cooper, "We weren't friends, but I understood her better than the rest."And two episodes ago, Emory Battis chillingly hits home the doomed message to the girl, "Laura always got her way just like you."And the use of Audrey's visage on the television screen recalls the same image of Laura Palmer from the picnic video. In that medium, Laura Palmer practically breaks through the screen challenging the voyeur. Here too, Audrey challenges her captives, and possibly her father. Both victims, both defiant. Note also, juxtaposed to the television set on Ben's desk, a framed photo of Audrey (a production still from the pilot episode) has now been established. Is this another example of Audrey mirroring Laura Palmer? Until now, Laura Palmer's homecoming photo has been an iconic staple for Twin Peaks representing Laura's phantom presence permeating all aspects. Laura's photo is kind, innocent, benign, yet it masked the duality of her core. Audrey's photo is also all this and it is used against the more sinister image of a teenager girl being drugged and abused. Two different impressions of the same character side by side.

Renault instructs Horne, "One more thing I want this man"Agent Cooper's image is revealed in tuxedo. Here, the soap opera plot continues to put Cooper in danger along with Audrey. And Horne will be an accomplice to it 'strengthening the triangle. As a plot device, Cooper and Audrey both in harm's way makes the most sense as the series' two beloved characters, and it is effective in continuing to branch out and away from the central whodunit mystery of Laura Palmer.

Michael Parks and Richard Beymer are both highly enjoyable playing their verbal dance, both retaining the outward appearance of gentlemen. Beymer's Horne insists, "This was supposed to be an equitable exchange."When left alone with his back against the wall, an enraged Ben is left with only one option '"Find Agent Cooper for me, it's urgent."The man he had tried to keep away from his daughter, his property, must now be his only hope.

"You were right."Cooper studies Audrey quietly. Shows no sign of emotion. "Damn me, but you were right."Ben circles behind Cooper watching him watch Audrey. Cooper stays fixated on Audrey's image, not Ben, asking why the sheriff has not been alerted. "They'll kill her normal channels won't bring my daughter back to me alive."Next Ben uses what he suspects of Cooper's weakness to seal the deal, quietly hissing in Cooper's ear, "You and Audrey have a special relationship."By now, with the summer hiatus and the safe knowledge that MacLachlan and Fenn's characters were fan favorites and their romantic yearnings were embraced. No doubt a line like this reinforces the two's connection and heightened anticipation needed for a serial. Horne, now plotting against Cooper baits him with the request to deliver the ransom of $125,000- "But I must ask you, will you take it there?"

The triangle, the most successful structure needed for any drama, is now fully intact. Cooper is connected to Audrey, Ben is connected to Audrey, and now Cooper and Ben are connected. This firmly sets up a fascinating power struggle.


The videotape is another example of a wasted opportunity due to the ditching of the Audrey/Cooper arc and the weakening of Audrey's attitude towards her father. What if Audrey, for some inexplicable reason, had watched the tape beyond the point where's she's shown bound and gagged, to the point where Cooper is shown playing blackjack at One-Eyed Jack's. You would've thought she could connect the dots and realise her father requested Cooper deliver the ransom money due to Renault's insistence and that he fully expected Cooper to die at the hands of Renault. Another future bargaining chip should she need it, but then again did she ever do anything with her knowledge of the Ben/Catherine 'let's burn the mill' conversation? I don't honestly remember :?
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Re: "Do your palms ever itch?" All things Audrey

Postby Audrey Horne » Sun Nov 27, 2011 12:05 pm

AUDREY: episode 2.05

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Since it's been so long (too long) since I've explored this topic, and in trying to find my voice again in my jumbled writing, this episode provides the perfect opportunity to experiment and get up to speed.

Audrey is barely featured and utters only one line '"Heard my prayers." However, despite this, much of the installment revolves around her with Cooper crossing the border and rescuing her from her captors.

What is interesting is we can take the time and look back at themes that have been developed and reinforced culminating with her being saved.

I choose to look at this episode of Twin Peaks as strengthening arch types and paying homage to Hitchcock's Notorious as well as fairy tales and even Shakespeare.

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In the 1946 film Notorious, Ingrid Bergman's Alicia is a carefree "party girl"whose scientist father is under indictment for aiding the Nazi regime with the development of a new bomb. Alicia declares she is only interested in "good times"and only needs the friendship of a drink; she secretly harbors great patriotism and love for America and scorn for her father. With this knowledge, the FBI courts her to infiltrate a possible Nazi safe house in Brazil owned by one of her former "playmates"Sebastian (wonderful Claude Rains). Convincing her to go through with the dangerous plot is Cary Grant's Devlin, a dashing, calm and collective yet emotionally detached FBI agent. Alicia's yearning for his love and approval to see her as more than a spoiled, selfish woman, coupled with her primary compassion for humanity, puts Alicia thoroughly in danger.

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The similarities are obvious between Notorious and this arc to Twin Peaks, right down to the names of its leads 'Alicia/Audrey and Devlin/Dale. Mark Frost, Harley Peyton and Robert Engles have talked before about their love and influences of an auteur like Alfred Hitchcock 'as well as Howard Hawks and Preston Sturges among others. (The inclusion of Madeleine Ferguson into the series 'a hybrid name of Vertigo's two central characters- is the most obvious example.)

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And Notorious itself is steeped in a world that examines human nature and one's duality- a notorious bad girl publicly who harbors more courageousness and moral obligations than her seemingly virtuous contemporaries. Hitchcock uses a basic blue print of fairy tales to examine this, as does Twin Peaks- the girl journeying into the forest of darkness with the dream that a young prince's love will one day be enough. I'll examine both by going through the Peaks narrative.

Episode 2.05 opens with Cooper finally finding Audrey's note under his bed. It is a wonderful moment. Cooper's quirky charm and glee, coupled with the snappy music of Dance with the Dream man give it life and a jolt with the expectation that an exciting adventure is underway. If we look at it in basic terms, the knight/prince (Cooper) has solved the riddle to the castle of the captive princess (Audrey). Cooper couples the tangible note (I've gone North. Jack may have the answer. Love, Audrey) with the ethereal. "The Giant was right, I did forget something." Here Audrey's breadcrumbs are intertwined with the Magician's (The Giant) celestial clue.

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It recalls the surreal moment when Audrey prays to Cooper as it is cut between Cooper's slumber and the Giant's warning, "You forgot something." That moment presented a disrupt in reality 'is Cooper dreaming of Audrey or vise verse? Are dreams telepathy? Lynch wisely chose to intermingle the two scenes suggesting Audrey is linked to Cooper and the Twin Peaks world beyond the tangible world plane. With Audrey's safety not a concern in the outcome of the Laura Palmer case, it seems the Giant's statement carries importance.

I've established Cooper as a knight. A knight and an Agent seem plausible in this world. Audrey is an obvious version of a captive princess. I think it's also reasonable that if Twin Peaks is the kingdom than the Great Northern is its castle. It sits high on a mountain top looking down upon the town. Benjamin Horne fits all the principles of The King. He "owns half the town." He has all the power and makes the rules. He has an oblivious queen (Sylvia) and a Confidant Adviser (Leland). A court jester in Brother Jerry. And a potential damaged Hamlet heir to the throne (Johnny Horne). Through the dark forest and in another world, we have the lair or fortress of One Eyed Jacks. Here a witch (Blackie) holds the princess. The King needs the Knight to reestablish order. The Knight/Prince working independently of the King's motives, solves his own quest riddles, along with the help of his trusty Man-in Arms (Truman) and the Knights of the Roundtable (The Bookhouse Boys). "I know where Audrey is."

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Audrey as princess is an apt metaphor, yet it doesn't diminish her as simply Damsel in Distress, or the Object that Must be Rescued. (In movie terms, said character is usually referred to as The Girl.) Audrey's own journey has been established. Many fairy tales, once the surface has been scratched, move beyond a basic parable for children. Audrey has referred to herself as Little Red Riding Hood. Riding Hood can easily be seen about the rite of womanhood: a virgin traveling into the forest encounters the wolf who means to eat her. The red cape can be viewed as the hymen and the wolf as dangerous man (But that sounds like another entry for another topic!). In other entries, I've explored Audrey has yearned to enter the adult world. Her early posturing has masked innocence. Her exposure to a world beyond the easy chess board of her village has been met with stark darkness and nightmares. Her potential rape and corruption comes in the form of a needle used for heroin. In this episode, it culminates that the princess has been damaged yet retains her virtue. That she in dressed in soft pink and clutches to a heart-shaped pillow reinforces her fight to remain virginal for the Prince/Knight.

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Notorious too uses the same devices. Alicia's bad girl public image only leads her potential rescuers to dismiss her need for help. Her alcoholic past is used by Sebastian and his mother as a means to thwart any suspicion that she is being slowly and systematically poisoned. Like Audrey's discovery by Blackie, Sebastian's findings that he has a Mata Hari in his den are grounds to do away with her by poison. Devlin's intuitions are also independent of the normal FBI channels, and he steps outside his jurisdiction to retrieve Alicia. He must put aside his conflicts of Alicia's past, and trust his instincts that she is in mortal danger and worth saving.

Notorious' climax takes place with Devlin entering the Lair/Fortress and finding Alicia confined to a bed, incapacitated. With danger all around them, Devlin hovers over the drugged and struggling Alicia and chides his misgivings and professes his love. He lifts her up and carries her out, navigating the dangers of the lair to safety. Cooper too will do as much. Infiltrating the Lair (One Eyed Jacks), he leans over the drugged Audrey. When the Witch's goon (Nancy) states the situation, "Is not my idea you're nothing but meat on a hook to these people,"an unusually shaken Cooper barks "Shut up." The implication being that his compassion for Audrey is greater than Policeman and Victim.

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Presented in a two shot of both actors, Audrey and Cooper are shown in the same position as Alicia and Devlin. But also it evokes images from countless fairy tales. Prince Charming awakening Snow White from her slumber comes to mind. In this instance, the Witch has substituted a poisoned apple with a hypodermic syringe.

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Cooper softly tells Audrey, "I'm going to take you out of here." Slipping in and out of a haze (or a dream or nightmare), Audrey is able to see the Knight and know she is safe. Her statement is solely, "My prayers." Since entering the adult world, Audrey has prayed for her Special Agent to show her the path, and despite the ordeal, she continued to pray. She held onto the heart-shaped pillow of innocence by her side and didn't succumb. The person she once told Donna "might be the man of my dreams"has emerged from dreams and prayers and led her out of the Dark Forest. The Witch has been defeated. The Princess has been saved by the Knight. However, the Wolf of Jean Renault still looms.

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This is an interesting episode to explore the motifs brought in before. One Eyed Jacks does hold a dark and mysterious other world 'sort of a tangible Red Room 'with its red curtains and labyrinth passages of corridors. Audrey did mention telling Emory a bed time story casting herself as its star, "Red." Audrey working outfit selected by Blackie differs from the other girls. Hers is distinctly virginal and childlike with its billowing white and soft pinks. It recalls Snow White and Alice in Wonderland. She's even attended to by a Grim-like hunchback. That she seems to be in an enchanted sleep waiting for the Prince is a form of innocent protection too.

This episode ends with Audrey finally being taken out of One Eyed Jacks and back to Twin Peaks. And that is a thrilling prospect. Audrey spent the first season investigating, gathering her info, mainly in hopes that the FBI man will lead her to "a life full of mystery and international intrigue." She was a dreamer. Now her investigation led her to a world of deeper corruption and experiencing things she never thought possible. While she encountered the Wolf and Witch in Jean Renault and Blackie, there are bigger monsters out there. She has to return to the Castle of the Great Northern to face the real Big Bad Wolf in her father, Benjamin Horne- previously he had threatened to "Huff and puff and blow your house down!" She returns to the real world with greater insight. Her father in no longer a vile man, but a complete monster. Even her relationship with Special Agent Dale Cooper will have to change. While her virtue has stayed intact, her innocence has been lost to a degree.

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*While we know now how the series progresses (or crumples), it's interesting to see how rife with possibilities there were for Audrey. The triangle between Cooper, Audrey and Ben is at its peak, and the power struggle between father and daughter will soon be reversed. Audrey knows about One Eyed Jacks' ownership, about Laura, and about Ben and Catherine's plot to take down the mill. She is holding all the cards. Also, this episode would have seemed even more brilliant if behind the scene politics hadn't deterred the Cooper/Audrey relationship. Twin Peaks had so many instances of mirroring, duality 'well, twinning, that it seemed there would have been endless comparisons how Cooper saves Audrey from One Eyed Jacks and then must save her from the otherworldly Red Room. The two being different and the same. Oh, well.

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Last edited by Audrey Horne on Sun Nov 27, 2011 4:59 pm, edited 5 times in total.
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Re: "Do your palms ever itch?" All things Audrey

Postby Colonel Cooper » Sun Nov 27, 2011 12:44 pm

Audrey Horne- thank you. Your best work to date, and in an episode where Audrey says little and does less! I'll be re-reading this a few times in the next couple of days, before I work up a worthwhile reply, the intial reaction, though, is of astonishment.
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Re: "Do your palms ever itch?" All things Audrey

Postby Audrey Horne » Sun Nov 27, 2011 2:16 pm

thanks, Colonel Cooper. (loooove that name)

I really am not a writer at all, and my thoughts gets so disjointed- so it's really me just rambling on to I kinda, sorta, maybe get to the point I initially thought about.

I came to this board with a love of Twin Peaks, and a need to talk about it since it originally existed in a world without a vast internet family. My memory of Peaks when it was thriving and alive and kicking strong were the talks about Cooper and Audrey and people exited for the next episode to see them again. I loved the mystery and the whodunit aspect, but those two provided the spark/icing on the cake to really make it something of a homerun.

And with the internet and the Wrapped in Plastic issues, it seemed predominantly emersed in What is the Black Lodge, what Fire Walk With Me means etc. And yes those are all valid. But I always took it like I would observe an artist with a painting. It is what it is visually, and it comes from an intuitive feel that it is right. No answer will be determined. Personally, I've never had any attachment to the Laura Palmer character except as this fantasticly cool McGuffin/plot device to hold a mirror up to the characters that are alive. So that might be where my detachment comes from delving into indepth discussions about what the ring, black lodge etc mean.

But Audrey fascinated me. And I guess this stemmed out of need to discuss it beyond, "wow, I love when she dances in the diner," or "that cherry stem scene was smoking hot."

It was fun to go back into these writeups after so long. Since my last installment, a lot has changed from my Twin Peaks perspective. It's was strange and weird to write this one at first, before getting into it. You see, I know Sherilyn now. I was fortunate to meet her a few years ago, and then through the fests and other events get to know her. Hell, I've driven her around and have text messages and have her on speed dial! She's wonderful, kind, caring, and fun. But it just made this entry writing different. A surreal moment.
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Re: "Do your palms ever itch?" All things Audrey

Postby entropy » Mon Nov 28, 2011 9:35 am

@Audrey Horne

Wow, this is just amazing. Great job! I really can't put off seeing Notorious any longer now. I had no idea that one of my favorite scenes was an homage to it.

Just have a quick thought based on some of the stuff you had mentioned about the fairy tale influence (apologies if this was mentioned before). If you step it back just a little bit more to Sleeping Beauty, it seems to kinda mesh with what we've been learning about Audrey up to this point in the show. The whole rescue element is the same, and the pricking-her-finger-on-a-spinning-wheel incident gels nicely with the heroin needle, but there's some interesting back story. The princess herself is gifted with beauty, wit, and music (dreamy jazz, anyone?) by her faerie godmothers - three elements that are strongly reflected in Audrey's character. In Audrey, we have our princess who appears to be preternaturally "gifted." Also, in the fairy tale, the original curse by the evil faerie has the princess die from the finger prick; however, it's partially reversed by a good faerie who just has her fall asleep for 100 years. As an analogy, Cooper's message from the Giant saves Audrey from her death sentence.

Obviously, this is a stretch and much if not all of this is simply coincidence. I'm sure that Lynch didn't have these similarities in mind when developing Audrey's character. But I thought the parallels were kind of interesting, given the growing implication of Audrey's supernatural abilities and the interest of the Giant (and probably the Lodge, by extension) in her well-being.
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Re: "Do your palms ever itch?" All things Audrey

Postby Audrey Horne » Mon Nov 28, 2011 6:56 pm

wow, that's a great point about Sleeping Beauty.

I wasn't really comparing and contrasting the Peaks arc with a specific fairy tale, just pointing out that has a fairy tale feel to it- the hunchback, the Red Riding Hood bed time story to Battis, Ben's "I will huff and puff and blow your house down."

I just used the Snow White image because it's become one of the most iconic in film history, and Peak's Audrey and Cooper look like a dark, post modern version of Snow White and Prince Charming.

okay, off to look up Sleeping Beauty.

*and this was fun - I'll make sure I do the next entry within the next two weeks. Any thoughts throw them my way.
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Audrey's 'change'....

Postby christined » Tue Nov 29, 2011 2:48 pm

[quote="jos4"]Audrey is soooo lovely! :P

I've been in love with her since she said something like "Sometimes I get so flushed, it's interesting. Do your palms ever itch?" in the first epsiodes :lol:

It's a shame that Audrey got worse as a character in the latter epsiodes, when Cooper told her he didn't want her.
She was such a powerful character, but completely lost her way once Laura's killer got revealed.

IMHO, other interesting characters such as Ben Horne or Josie Packard also behaved "weirdly" in the latter episodes. :?:[/quo
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Re: "Do your palms ever itch?" All things Audrey

Postby Colonel Cooper » Wed Nov 30, 2011 4:43 pm

Still processing Audrey Horne's 02.05 analysis, but I've been going through the original scripts to find evidence that, to Cooper, Audrey's disappearance/kidnap is personal despite what he said to Harry, I noticed the final scene to 02.02:

The phone RINGS. Cooper turns on a bedside light, answers it.

COOPER (sleepy) Agent Cooper.
AUDREY I know who it is.
COOPER (alert) Audrey. Where are you?
AUDREY Helping you. Just like I said.
COOPER This is not the time or place for schoolgirl games. I want you to come home.
AUDREY (with affection) Keep your shirt on. I'll be back before you know it. Wait'll you hear what I found out.
COOPER Audrey, if you're in any kind of trouble...
AUDREY Trouble? Never. (a teasing hint) You look real cute in your tuxedo. Like a movie star.

With that she hangs up.

COOPER Audrey? Audrey?

CUT TO ONE-EYED JACKS - NIGHT

Audrey sets down the receiver. She turns, reacts. BLACKIE and Emory Battis stand before her.

BLACKIE Trouble, Miss Horne? You don't know trouble. Not by half.

Audrey looks left and right. No exit. Trapped.


I must admit, I prefer this scene as written here, to how it was eventually filmed, with Audrey upset and crying. It would also explain the next episode's scene between Cooper and Ben, where Cooper doesn't seem overly concerned about her phone call!! :?

later edit: Some good stuff edited out of that episode, including Pete punching Albert, and yet James' bloody song was an addition!! WTF :(
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Re: "Do your palms ever itch?" All things Audrey

Postby entropy » Wed Nov 30, 2011 7:00 pm

I must say I do like the original script, if only because I can totally picture the scene in my head and Fenn just adorably crushing those lines. :D

That said, they probably needed to change it to set up the confrontation with Ben Horne. Audrey's upset but "coming home now" phone call would lead Coop to suspect it has something to do with her strained relationship with Ben, building on what he already knows. The confrontation seems to be initiated by Coop's belief that she ran away because of her father. Ben's nonchalant attitude about her "frequent" disappearances sets Coop off (in his own sort of professional way), helping to build the Coop/Audrey/Ben triangle and confirming to the viewers that Coop's affection is genuine. A cute and flirty call, while no doubt awesome to watch (or imagine), doesn't give Cooper a reason to call Ben out.
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Re: "Do your palms ever itch?" All things Audrey

Postby Colonel Cooper » Thu Dec 01, 2011 9:47 am

Fair enough, I can see that they needed to have an edge to the Coop/Ben scene in the next episode, but there were 2 other deleted scenes, in this episode that showed that Coop was already exasperated at Ben's apparent nonchalance.

1- SHERIFF'S STATION - DAY Harry escorts Ben out of his office.
BEN 'I'd appreciate it if you would keep this quiet, Harry.'
TRUMAN 'I'll do what I can. But...'
BEN 'Audrey has a penchant for the dramatic. The unexplained disappearance, is, after all, a part of her repetoire. And with Laura's killer in custody, well, you understand. No need to panic.'

Harry knows different. But Ben's attitude irks him just the same.

TRUMAN 'I understand, Ben. We'll be in touch.'

Ben exits. Harry turns to find Cooper in the office doorway, watching with evident concern.


In the end they just went with the phone call to Harry and the close-up on Coop, but this scene would've shown that Ben and Coop saw Audrey's disappearance in much different ways.

2- START CLOSE on Audrey's note to Agent Cooper, still hidden on the floor beneath his bed...

COOPER 'Diane, I received bad news today. Windom Earle has vanished. Audrey Home is missing. There is of course no connection, except for the simple fact that my former partner's disappearance seems to matter less to me than that of a troublesome high school girl. (beat) Mr. Home is convinced she has run away and will return. I wish I shared his confidence. Though not his callous indifference. (beat) An all-points bulletin, routine checks of the train car and Jacques' cabin have revealed nothing. Not a trace of her.'

Cooper shuts off the recorder. As if to wonder. Then he starts it again. Speaks more softly:

COOPER 'Audrey's absence touches me in ways I did not predict. I find myself thinking not of clues or evidence, but of the content of her smile. The way it gives the lie to her delinquent posing, the hardened exterior which I suspect is more a matter of self-preservation than a heart that is cold. Audrey's heart is warm.'

Cooper flicks off the recorder.


In the end this was cut way down as well, but it shows that Coop doesn't think much of Ben's attitude, and that he and Harry are already taking her disappearance very seriously, even linking it to Laura's death.

I suppose what irks me the most is not the fact that the final scene in this episode had its emphasis vastly changed, but the fact that next episodes Coop/Ben scene wasn't also changed to counter it. (As it is it plays out virtually as it was written). You would've thought that a tearful Audrey saying dialogue like 'Why aren't you here?' and 'Yes, I am in trouble, but I'm coming home now' would concern Coop more than it appears to.
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Re: "Do your palms ever itch?" All things Audrey

Postby Audrey Horne » Thu Dec 01, 2011 3:42 pm

perhaps the ending was changed because David was filming it. He does have a tendency to work more on the spur of the moment and organically.
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Re: "Do your palms ever itch?" All things Audrey

Postby Colonel Cooper » Sat Dec 03, 2011 2:10 pm

Which is why inconsistencies can slip in.

But, then again, where's the fun, if everything is cut and dried :P

By the way

Audrey Horne wrote:I really am not a writer at all


Your doing yourself a huge disservice.
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