Tricia Brock

worthit · Post by **worthit** » Sun Dec 09, 2007 7:41 am

On the documentary on the gold box, they say that they had trouble finding another plot after resolving the Laura Palmer murder. The first episode after Leland's death was imo crucial to make the show survive. Episode 17 should have been the opening of a new plot line and the writers should have poured their hearts and souls into that single episode. Instead they handed the job over to someone named Tricia Brock. I checked www.imdb.com and all she had done prior to that was to produce a movie in 1980. Anyone know why this was done? Better yet...anyone know who Tricia Brock is? Why did she get the full responsibility to make sure the show could continue after resolving the Laura Palmer murder? She had never written anything before that in her life. Seems kinda strange to me.

Christian1989 · Post by **Christian1989** » Sun Dec 09, 2007 8:55 am

The episode was written by Tricia Brock, but Tina Rathborne directed it. Before Rathborne directed episode 4 of TP and Zelly and Me, a film which Lynch was an actor. However, I don't know why they chose Tricia Brock as a writer for both episode 17 and 22.

amonitrate · Post by **amonitrate** » Sun Dec 09, 2007 1:48 pm

My only idea would be that this was the time when Frost especially was distracted from the show (and of course Lynch was too) because he seemed to be the practical, hands-on show runner. Maybe he didn't realize at the time the urgency. The special on the Gold Set is really interesting - at one point he says he regrets not amping up the Earle plot much earlier, before Leland's death, so that mystery was already in place after the central question was answered. My guess is he didn't quite get that they didn't have any wiggle room. Maybe he thought they'd have more time to ease into a new plotline.

Audrey Horne · Post by **Audrey Horne** » Sun Dec 09, 2007 4:12 pm

woah, this doesn't mean the Brock came up with the idea of the episode. She merely wrote it. The plots and outlines are already decided on. She was given the guidelines of what had to happen in the episode she was assigned.

Post by **Ross** » Sun Dec 09, 2007 4:28 pm

Audrey Horne wrote:woah, this doesn't mean the Brock came up with the idea of the episode. She merely wrote it. The plots and outlines are already decided on. She was given the guidelines of what had to happen in the episode she was assigned.

Exactly- plus Frost has stated that he personally worked on EVERY script written for the show- credited or not.

worthit · Post by **worthit** » Sun Dec 09, 2007 4:55 pm

Well that explains a lot. It probably wasn't like they left it all up to Tricia to come up with a plotline that could match the Laura Palmer story. I would have felt sorry for poor Tricia to come up with something like that. Especially since this was her very first writing experience.

Tricia is a woman right? Not a man...?

Post by **Brad D** » Sun Dec 09, 2007 5:53 pm

if frost looked at every script i cant believe he let the travesty happen that was 16-23. seriously, whoever thought up evelyn marsh should be beat with a hose.

Post by **Ross** » Sun Dec 09, 2007 6:38 pm

Brad D wrote:if frost looked at every script i cant believe he let the travesty happen that was 16-23. seriously, whoever thought up evelyn marsh should be beat with a hose.

Frost supposedly polished every script, and was in complete control of all the major (and probably minor) storylines.

Evenreven · Post by **Evenreven** » Mon Dec 10, 2007 4:16 am

Another thing: I have no idea what was in Tricia Brock's resume besides the sole film credit, but episode 17 is very well written. Cooper's monologue in the beginning is actually much more subtle than the "where is Bob now" cliffhanger of episode 16. Her episode 23 is good too. It's pretty easy to see that the plotting is the main problem. Leland is dead, thus we don't see Sarah again (until she makes an unscripted appearance); the murder is solved, thus Donna has nothing to do; the mystery is over, thus a new mystery is introduced without explanation, etc.

I think it's interesting to note that Mark Frost has only two measly co-writing credit after episode 16. I'm not sure what it means, but it's interesting. Did he work full-time as executive producer when Lynch was absent, or is it true (like Peyton said) that he began planning Storyville at this point?

Evenreven · Post by **Evenreven** » Mon Dec 10, 2007 4:24 am

Also, I think Tricia Brock's script is even better in some aspects than what was actually filmed:

COOPER
Major this is a fascinating concept. The other side of love is not hate - but fear?

MAJOR BRIGGS
Absolutely. And fear is the absence of love.

COOPER
For yourself as well.

MAJOR BRIGGS
All perceptions or conditions must begin with the self.

They put their marshmallows over the fire.

COOPER
So when I let fear into my life, I'm not loving myself.

MAJOR BRIGGS
You are in direct contradiction to a state of loving acceptance; incapable of it. Direct denial.

COOPER
Major Briggs, if I may ask a personal question ... do you love yourself?

MAJOR BRIGGS
Very much.

Cooper's fascinated. He rotates his marshmallow in the fire.

COOPER
Then it stands to reason that Leland Palmer didn't.

MAJOR BRIGGS
One could draw that conclusion. There are powerful forces of evil in the world. It is some men's fate to confront great darkness. We each choose how to react. If the choice is fear, then we become vulnerable to darkness.

Cooper looks around, at the literal darkness surrounding him.

COOPER
Tomorrow I face my own demons, Major Briggs. But, thanks to you, I believe I will do so without fear. I carefully considered my actions before proceeding. I went forward. I must accept the consequences.

MAJOR BRIGGS
You can do no more.

An owl hoots somewhere in the woods. They look for it. A reflective pause.

COOPER
Major, I think about "Bob." If he truly exists.

MAJOR BRIGGS
I have pondered the some question continuously since this horror was revealed to us.

COOPER
I try to imagine him, "it", out there somewhere, lurking. Searching for prey. Terrible.

MAJOR BRIGGS
Yes. But remember, we have a choice; to think about it in that way, to fear it, imparts power to evil. There are ways to resist. You, Sir, are blessed with certain gifts. In this respect you are not alone. Have you ever heard of the White Lodge?

marchug · Post by **marchug** » Mon Dec 10, 2007 10:54 pm

wow.
i really like that....

worthit · Post by **worthit** » Tue Dec 11, 2007 11:07 am

I didn't mean that Tricia did a bad job. I quite like the episode actually. I was just wondering if all the main writers on the show left it all up to someone who had never written anything to come up with a plot line that could match the Laura Palmer story they had just closed. But it seems that they had already a pretty clear outline of where the show was going to go, so I guess Tricia was just "filling in the blanks".

Evenreven · Post by **Evenreven** » Tue Dec 11, 2007 4:50 pm

I didn't mean to imply that you implied such a thing. I was just pointing out that the writing is good, and a lot stronger than, say, Barry Pullman's or Scott Frost's writing. Episode 23 - also written by Brock - is actually the strongest in the 15-24 run, in my opinion. Which, considering her seeming lack of experience, I found interesting.

guest315 · Post by **guest315** » Wed Dec 12, 2007 12:10 pm

Audrey Horne · Post by **Audrey Horne** » Wed Dec 12, 2007 12:43 pm

I remember my sitting down in math class on a Monday and one of my firends saying the episode was all fluff and there's nothing left to it. I actually got angry and told him, he'll see. But looking back, it really is just a cooldown episode. However, it's in a medium that doesn't need a cooldown. That's what the viewers have the week inbetween for.

But Brock's dialogue is pretty good. "What are you supposed to be, a lounge lizard or something?" Now if someone can explain what the hell Audrey is supposed to be taking inventory on in that scene, I'd be thankful. First she has a basket of scarfs, then random boxes -I half expected her to be sheepherding goats next.

And Donna's position at the post funeral bugs the hell out of me. She's talking to Ed, and glances over at the Milfords bickering, and she's seen getting food next to them, and cuts back to talking to Ed. I guess the weird thing isn't that she can move so quickly, but that she's attempting to fool people into thinking she actually eats food.