The second episode of the second season continues to center on the Audrey character and shows two very different sides to her character 'the impish, manipulative schemer and the scared, frightened girl. It is directed by Lynch, and once again has his magic touch, hinting at deeper, keener insight into all of his characters. In terms of plotting, this installment is crucial in setting up the Cooper/Audrey relationship and the foreshadowing of the intended Windom Earle/Cooper/Audrey triangle.
Audrey will be featured prominently in two scenes, but will continue to remain a strong presence even when not on screen.
Interestingly, in the original script, Audrey was featured in a third scene: After Cooper is briefed by Albert about the contents of Jacques Renault's stomach and Windom Earle's escape, we return to One-Eyed Jacks. It is morning, and Audrey reads the morning paper in the company of Nancy, presumeably in league with her to some degree. Audrey learns of the arson at the mill. She attempts to pick Nancy's brain about any Laura info 'she produces a torn photo from a high school yearbook of Ronette asking if Nancy knows her. However, Audrey cuts her investigation short when Battis enters the room. Audrey flees before he can detect her, telling Nancy, "maybe we can talk sometime." When Audrey escapes, Nancy lowers the paper and gives a cold look, "Anything you say, "˜Miss Horne.'" The scene is ultimately unnecessary for we already know Audrey's purpose at the brothel, and is handled more succinctly in her one on one scene with Battis later. But it is crucial in expanding on Audrey's knowledge of the mill and ties her spying on Ben and Catherine's plot from episode 1.05. Perhaps this was going to be a plot developed later on further into the second season? If it was, it's a pity it was dropped. The character of Nancy also must have been reworked since she is officially introduced into the series in the following episode, partnered with Jean Renault. Surely, Jennifer Lynch was working off these original draft notes for her work in Laura Palmer's Diary
'in it, Nancy is working at One Eyed Jack's right up until Laura's departure.
In another cut scene, Ben confers with Jerry but is constantly interrupted by a secretary attempting to get a message to Ben from Sylvia. Finally, he finds out that Audrey is missing. Again, this is redundant to a scene in which Ben phones Sheriff Truman.
The first mention of Audrey in the finished episode is in fact Ben's call to the station. Lynch films it in a way to make Ben nonchalant about the situation, and focus the severity of the case onto Agent Cooper. Truman listens to the call, and covers the receiver alerting Cooper of the information '"Audrey Horne is missing."Lynch closes in on Cooper's face, and it fades out to the episode's middle break. The importance of this placement in the story reinforces the Cooper/Audrey relationship 'and that her disappearance is most personal to his character; she is not merely just another fascinating mystery, but instead a shock to his system.
Audrey's first appearance in the final cut of the episode is her interrogation with Emory Battis. All of the Audrey/Battis scenes are first rate, and this one might be the finest. Their relationship is always presented as one of non-equals and comic relief; Audrey without a doubt is the better player between the two, and always manages to get the upper hand 'unlike her scenes with Agent Cooper or Benjamin Horne. Here, the plot uses the Audrey/Emory scene to further her investigation about Laura, and to foreshadow her dangerous predicament. In a scene of pure Lynch, Battis enjoys the comforts of One-Eyed Jack's perks 'tied up and blindfolded. His fetish goes one step forward with the inclusion of a running vacuum cleaner for added effect (let's not even analyze that one!). Audrey again shows her pluck and smarts in securing the job from one of the 52 Pickup girls '"Okay, but watch this one!"and with a tilt of her head assuages the other Pickup girl to leave her in privacy with the man. Once again, Audrey easily outwits two pawns in her game, to setup the position that she wants/needs.
Circling her prey, Audrey defiantly yanks the cord to the vacuum cleaner out of the wall and silences the room. The scene begins on a long one-shot tightening in while the action gets more and more conspiratorial. Lynch frames it that the audience is in cahoots with Audrey, and we know it will be fun, playful and bad news for Battis. Audrey takes the cord of the cleaner and brings it close to the man, wrapping it around his neck, cooing, "I brought the ice"in response to Emory's assertion that Frosty is bringing a "cold front"on. The second season has the luxury of knowing the public reaction to certain characters, and with Audrey the writers have the safety of knowing she is the fan favorite, therefore pushing the envelope with her machinations. After all, Emory is the buffoon/bad guy and Audrey Horne is our heroine.
"Hiya, Emory,"Audrey chuckles as she removes his blindfold. "Gee, it looks like you really got yourself in a fix here, huh?"Audrey is the smart, precocious little girl having fun with her sleuthing. She can treat Emory in a harsh manner because of the audience's knowledge that he is a despicable man 'or as Audrey has earlier deemed, "a little ball of sleaze." The audience is conditioned to go along on Audrey's ride and wait for the next curveball she'll throw 'the power of Audrey's character is never knowing the clever means she'll use on the situation she's in (ie. the cherry stem, the sexual pass in Emory's office). Here, instead of straightforward questions and answers, Audrey decides to tell her victim, "a nice little bedtime story!"
With a tight grip around his neck, Audrey flashes her winning smile and uses Little Red Riding Hood as a metaphor for herself '"Once upon a time there was this sweet, innocent girl named "˜Red', -that's me"Touching on themes since she's arrived at One-Eyed Jacks, Audrey no doubt conveys that is part of a fairy tale, and like we've suspected is the protagonist in the adventure. Furthering it along, she likens Battis to a "bad ole wolf,"and then tells the audience the end of the story, in which Red "kicks the crap out of the old wolf, and tells her daddy all about it 'and he goes to jail for a million years!" In traditional fairy tales, the poor ingÃ©nue is at the mercy of the terror and must depend on a prince or hunter to rescue her. Instead, Audrey puts her post modern spin on the fable, telling Battis she can accomplish this all on her own.
With the proud affirmation that the audience is fully behind the Audrey character they can continue to give her bold lines such as the gem she proclaims when Battis struggles and tells her she's insane. In what will become a semi-famous clip spread throughout commercials and interviews, Audrey laughs along with Battis and then tightens the rope proving she means business '"I'm insane? Well, I'm Audrey Horne and I GET what I want!" No mistake the writers are now having fun with their bold heroine, and no doubt there were many cheers in TV viewing land. This could well be Audrey Horne's mantra.
However, the scene takes a surprising turn. The scene is crucial for Audrey learning two pieces of information 'that Laura worked at One-Eyed Jacks and then kicked out for using drugs, and that Audrey's own father owns the brothel. Neither of these are new pieces of information for the audience, but they are for Audrey. What the scene is vital for, is the nugget of observation that Battis tells Audrey; that Laura "always got her way,"and then twists the knife, "just like you."While her captor, Battis has essentially turned the tables on the girl, holding a mirror up to her and giving her a glimpse into her possible true nature. Again, the twin element is examined. Audrey is running a parallel life to Laura, both strong, bold beautiful young women on a collision coarse with doom. Audrey is both the same and opposite to Laura. One is blond, the other brunette. One is publicly esteemed yet living a secret seedy life, while the other is publicly manipulative yet secretly an innocent. Yet both exhibit a recklessness and compulsion beyond their years. Battis' declaration hits home with Audrey, and she can only reflect on it, knowing he speaks the truth. The plot point is further driven home with Lynch's slow fade out to a commercial break, underlining its significance.
The next moment involving Audrey again does not feature her at all, but is the utmost importance to the projective narrative. Cooper has retreated to his hotel room, and dictates to Diane the events of the day. The essence of Audrey remains in the room from the camera traveling from her forgotten letter under the bed up to Cooper. He speaks of his former partner, Windom Earle's disappearance and that it is "extremely troubling."He then pauses and tells Diane that he's learned Audrey is missing. Cooper holds still on the thought, contemplating her whereabouts. It is treated differently than the normal seeking of clues 'it is more personal-
"Audrey's absence touches me in ways I could not predict. I find myself thinking not of clues or evidence, but of the content of her smile."
By now outside the series, Fenn and MacLachlan were arguably the most popular in the cast, and the Cooper/Audrey pairing was one of the most talked about, anticipated events of the series. Harley Peyton told Wrapped in Plastic, "It's what all our mail was about." Now with the public reaction to the aired first season, the writers can now venture securely into what was possibly iffy territory to the plot. Cooper, to a degree can return feelings for Audrey and it won't be reviled by the audience, but instead anticipated and a selling point.
In terms of plot, Cooper's line ties Audrey to the soon to be Windom Earle arc, and shows both have considerable weight to Cooper. Undoubtedly, Cooper's mapped out back story of losing Caroline's life to Earle is in direct relation to Audrey. He will bridge Audrey and his past again to the viewers in the installment three episodes away 'he tells Harry that the use of Audrey as bait for Cooper has jeopardized her life and that it's not the first time "someone he cares about"has been compromised by his actions. Most likely, the continued use of Cooper's past juxtaposed with Audrey was meant for thematic foreshadowing for her abduction/stalking by Windom Earle.
The original script differs slightly from what was ultimately shown-
"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."
And next he turns off the recorder and speaks to himself 'making the matter even more personal and private-
"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."
The extraneous dialogue definitely is redundant to what the viewer once suspected of Audrey, and now knows is true. But it is wonderfully written, and speaks volumes of the care given to the crafting and fleshing out of her character.
The final moment of Lynch's stellar episode involves Maddy's terrifying vision of BOB in the Hayward living room, and then is followed by Cooper's strange dream of a blurred man entering his vision. Once the man becomes clear, it is revealed to Cooper to be BOB. Here Cooper is awakened by Audrey's phone call. It is interesting that Lynch bridges Audrey stirring Cooper from the dream, and linking his relationship to her and the spiritual dream world. What also connects and confuses is the way Lynch stages Audrey's appearance. She is presented to the audience in front of the red curtains. They differ slightly from the ones used initially in Blackie's office, and now appear richer and fuller 'a perfect match to the red curtains in Cooper's dream world. Is this perhaps a subconscious clue linking Audrey to the dark mysterious world of the Red Room? Whatever the case, the imagery is striking and certainly leaves an indelible impression, and would have been ideal foreshadowing of her entering the Black Lodge with Windom Earle.
In terms of her character, Audrey is now scared and upset. Once she has connected with Cooper, she can drop her public mask of bold assertion, and be truthful with Cooper revealing her private self. "Why aren't you here,"she cries to him. The line gives way that Audrey is still the dreamer 'and in her idealized fantasy, Cooper was supposed to be "here"on cue, culminating his rescue with her ace in the hole answers to her sleuthing 'in order for him to "fall madly in love with her and lead her away.."(episode 1.04). But now Audrey is getting hit by a strong dose of reality, her script broken. Hearing Cooper's voice, Audrey can now muster up some of her playful strength. She sniffles and laughs that she saw him in his tuxedo, and he "looked like a movie star." Again, the use of Cooper as movie star reinforces that A) Audrey is still the dreamer and living the fairy tale/fantasy; and B) Twin Peaks
is a television show/fantasy that is heavily rooted in film themes and the visual image. Audrey and Cooper are idealized movie star characters themselves, and are ultimately stylized, glamorous "movie-star"actors telling a story in an old Hollywood-like fashion. In fact, Audrey's story is about to become a homage to Hitchcock's masterpiece, Notorious.
Audrey will become the Ingrid Bergman character while once again, Cooper will evoke Cary Grant; they will even be filmed in a similar manner.
The scene is once again plot convention 'still very good plot convention. Audrey inadvertently scoots around the information of her location, while Cooper is desperate to know, "Audrey, if you're in any kind of trouble.."And before she can answer, she is cut off by Blackie and her lackey, Emory Battis- "Trouble, Miss Horne? You don't know what trouble is. Not by a long shot."It is a cliffhanger of Audrey finally being discovered and now in deeper trouble than the character has ever faced before. It is pure Soap Opera, but it is what Twin Peaks
thrives on, and does it extremely well 'especially when it involves Cooper and Audrey.
There is also a change in the script in this scene and the finished one. On paper, Audrey calls Cooper telling him she knows "who it is." (obviously a tease about the murderer), and instead of crying, Audrey playfully flirts with Cooper telling him to "keep his shirt on," and that she'll be home soon. She willingly hangs up the phone. In Lynch's hands, he changes it showing Audrey more vulnerable and reaching out to Cooper.
The episode itself is uniformly excellent, and Fenn is no exception. Lynch and Fenn's pairing seem to thrive for their use in Audrey. He films her exquisitely, and also allows her to play her scenes with a continued edge 'letting long one shots reveal her character, showing all her quirks and idiosyncrasies. He even shoots another iconic image of Audrey's saddle shoes! In the scene with Battis, Fenn toys with him in a manner of making a discovery of what her power can do, and there's almost a sexual charge she finds in the act. And her moment of realization that she and Laura are similar is an example of understated acting brilliance. The last scene between MacLachlan and Fenn works completely on the basis of their powerful chemistry together 'and the two are in separate rooms. And of course, the closing image of Fenn is extraordinary. She conveys in a single look and short released breath, Audrey's character and predicament; a scared, terrified child whose active brain is still trying to process how to entangle herself from the severity at hand. A first rate performance all the way!
*A special acknowledgment and praise to my favorite Jerry Horne for supplying these screen caps. They look FENNTASTIC! I loved them all, I couldn't choose just one or two, so chose almost all of them. They're some of my favorite visuals from the show anyway, and seems like a perfect place to use them. THANKS, JERRY!!!