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

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

Postby They-Shot-Waldo! » Mon Jul 06, 2009 7:51 pm

Ever ponder of another Lynch alumini playing Doctor Lydecker? I personally think John Hurt could brilliantly do a bearded mute oddball as Lydecker seems to be here, somewhat like his brief role in Indiana Jones and the Kingdom of the Crystal Skull. ;) (Though as much as we might miss that brilliant voice, unless he speaks at some point). Maybe Hurt's a too busy actor to commit to a TV schedule, but I'm sure he would have been willing to appear for an episode or two. And though the bit part may seem unconventional for a big name, I'm sure like nearly everyone else whose worked with Lynch he would appreciate the challenge.

And could Cooper and Milford (Rosselini) share a scene as a callback to Blue Velvet? I'm sure one of the writers would try a sneaky reference similiar to how we have Audrey staring through a peephole like Jeffrey in the closet.
-- Gerry

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

Postby Audrey Horne » Thu Jul 30, 2009 1:10 pm

EPISODE 4.04 con't

ACT 3: Smoke travels out of a chimney. Exterior shot of a cabin- not seen since the third season. Patches of melting snow, clumps of dried leaves. Twack. Twack. Wood being chopped. "Boy?... Boy?!"A harsh voice calls. Leo bends up from the wood block, lowers the axe to his side, and looks to the cabin. "Boy!... get your hide in here." Leo dangles the axe, and then expertly hurls it into the block. Leans down and picks up the fresh kindling.

Interior of the cabin. Close-up on the front door as Leo's boot knocks it open. He moves about the room to wood stove- drops the bundle before it. Coughing and wheezing behind him. "I want my lunch. I don't want waiting." Leo begins to slice through a loaf of bread. More coughing. "Damn near cut my toe of the side of the bed, you'll need to mend it." Close-up on a callused, worn big toe, next to a rusty bed rail. "Come on, come on, boy." A balled up rag hits Leo's back; he flinches slightly while continuing to fix a sandwich. "Molasses is what you shoulda been named" More coughing. "Never worth a damn. The worthless are wrapped in a sack and dropped to the river's bottom when they're born 'levels out the weak don't make me wish you were in that bundle" A groan while the voice lifts himself up. Leo turns, and walks slowly to the cot. Propped up is Butler- a shell of his former self. Looks smaller, not imposing, much smaller in stature, and very, very sick. Leo lays the plate on Butler's lap- helps the man grasp the sandwich. "Yeah good." Leo moves away seeking a wet cloth. Butler continues to eat, coughing in between each bite. "That woman pay you today? Let's see it." Leo daps at Butler's head, wiping away traces of sweat. Butler sways his head, more of a nuisance- "Come on, come on. Hand it over." Leo digs into his pocket producing crumpled up bills. Butler's withered, shaking hand clutches the money, counting it and sliding it under the sheet. "Good, good you're a good boy." A beat. Butler spits out a portion of the sandwich onto the plate, "Uck no, no. Get my spirits." Leo takes the plate and moves away. Butler lets out a pained yell, lifting himself into a seated position. "Leo, Leo what man must endure they think they've got me think they can cheat me early" Leo returns with a shot glass and whiskey. Butler takes both, swigging from the bottle, "We'll show "˜em, won't we?" Another cough. Pours a shot into the glass. "Leo the end of the world is coming." Leo looks at the man expressionless. Shelly's theme (Ghostwood) instrumental rises

The office door to Catherine's office at Ghostwood has been border up with yellow police tape. Caterers along with police officers pass in front of it. Pulling back denotes the traffic for the night's festivities. Her office sits nestled at alongside of the top of the landing of the ornate staircase. The chandelier looms high above while workers move up and down. Sheriff Powell and another office moves down the stairs in wide shot 'with Givens nipping at their heels. "Postpone your investigation/ I won't have this turn into a madhouse/ it isn't a crime scene!"

Exterior shot of Powell and his officer exiting into a grand, opulent garden. Givens is desperate about "keeping the matter hushed this is completely out of character for Mrs. Martell I don't like it, don't like it one bit." Yards away, focus switches to Bobby; glancing over his shoulder at the commotion; perched on a balustrade giving another inhale to his cigarette. His attention drifts. Notices a man dressed in gray, sunglasses mask his eyes. His arms neatly placed in front of him, and leaning against the cool, shadowy brick wall. Sign behind the man- BOILER ROOM/ AUTHORIZED. A tennis ball rolls to his dangling feet. "I'm frightfully sorry!" Shrubbery, hedges, grotesque lawn ornaments and a striking pair of bare legs. Moving up the form, a beautiful woman wears a stark white tennis outfit, her racquet sashays by her side- dabs her sweat with a small white towel. "I feel such a goose. Much too chilly for this." Bobby smiles at the woman; must be foreign, with an English accent. "Yeah, not really the season you're not from around here." Jones, with the right amount of the coquette- "Gracious, no. I've only been visiting my uncle . He belongs to the club. Thought I could manage up a partner, but no go, I'm afraid. Tell me do you play?" Bobby eyes the racquet, and her ample physique, "Nah, not really my scene." Jones laughs- the consummate assassin, "Your scene? No, I'm sure it isn't. I'm sure your into something thoroughly more American." Bobby likes her innuendo; like her. Ask her how long she is in town for, "I could show you all we have to offer." Jones laughs, her eyes dart expertly to the grey suit. From a distance, Jones and Bobby flirt on the balustrade, while another grey suit exits the BOILER ROOM door and walks in unison with his partner.

Sound of a cough. Shiny wooden floor, a black heeled shoe gently, impatiently bobs 'shot pans up to Audrey's crossed legs. She's seated in a swivel chair, slowly moving back and forth. Albert crosses in front of her, coughing again into a handkerchief. Hammett is sprawled out on his hotel bed playing and folding a Great Northern hospitality pamphlet. Albert is reassessing the information while pacing, "If I'm on the same page with you, and feel free to jump in any time and correct me if I'm wrong- A) you went to South America even before Jeffries was on the trail. B) Andrew Packard's involvement with Amberson has been going on for at least fifty years. C) Judy is acquiring the Ghostwood land as a link between it and Manderley." (The first mention of codename Manderley) Hammett nods, eyes fixed on the paper creation. Albert moves to Audrey's side, "You've been in hiding an awful long time, Doyle. Why the need to show your face now?" Hammett doesn't answer. Audrey pipes in, "It would collaborate with that Hunt business." She fills in Hammett, "One of Amberson's men knew I'd be here and offered up a phony negotiation on selling this place, really for the benefit of my uncle. It was all a ruse- she was pumping us for what I knew on Jeffries" Albert gives a stern eye to Audrey, quieting her; she's offered up too much information. Hammett turns on his side, "That was no ruse, the Ambersons want this land also, and all substantial around it. Then they can carry out their work as easily as they please" Audrey is vocal again, "We know about the Grove, but nobody even knows where Manderley is, or if it is! Earle could have flown or walked all the way down to South America for all we know!" Albert hushes the little one again, telling her to "listen to the man." Hammett likes Audrey's tenacity. He smoothly tells them he has been inching his way into the "Amberson Society, and have their full confidence." He calmly tells them Catherine Martell is holding vital information about Manderley's whereabouts "for the highest bidder for its key."

Albert is uneasy, not sure if he can trust Hammett. "Besides this is all hearsay. Horne comes routinely once a year on the privilege to see her family" Hammett interjects, "No, she comes here once a year to routinely check up on Former Agent Dale B. Cooper. Don't play coy with me, I remember how Gordon operates." Audrey is defensive, "Agent Cooper found me after the Grove, after I got away from Earle by the river, before" Albert is protective and guarded, "Dale Cooper is retired and this has nothing to do with any of this. Hospitality, plain and simple. He still has a place in Gordon's heart, in all of ours." Hammett shrugs, returning to his folding of the pamphlet, "Not a concern." He suggests Audrey and Albert join him in meeting Catherine tonight at the Ghostwood celebration. The union of the two might "tip the scale"before anything happens to her. "She's in a much more precarious situation than she realizes." Hammett sits up on the bed, looking to Audrey, "Fix yourself up nice. Catherine likes you. You're the ace in the hole." He hands her the pamphlet which has been made into a beautiful origami bird." Audrey looks wearily to Albert, who nods. She departs, quietly closing the door behind her. Albert folds his arms, "What's your real intention with Cooper?" Hammett stands before Albert, "I know he's not the casual cause you've painted him as. I know he's not off the radar"

In the suite hallway, Audrey listens at the door. "Ronette Palaski has been wiped out; Jeffries is a preverbal ghost; Earle is dead; no one knows where Laura Hunt has gone. You might think he's safe buried up here, but Amberson will be coming for him" This news alerts Audrey immediately. "It's only a matter of time before he's taken too" Audrey fumbles with the chain link around her neck, and produces and thumbs the ring. A ding behind her. She spins quickly 'at the length of the hallway, the Japanese Gentleman enters the elevator. He bows slightly to her, and the doors close. (It has come full circle since her last encounter with the man in the first season 'but she does not recall where she has seen him before). She moves away from the door with urgency.

"You've come to warn us?" Albert is losing his mask of calmness. "My one and only priority is to that girl. I don't want you or anyone else getting into her head." Albert cannot contain his cough. Hammett is light, "Take care of yourself, Rosenfield. Statistics show the common cold kills more people." His levity breaks, revealing Audrey is also his priority and understands. "After tonight, do whatever it takes to get her out and far away from here. She must never come back. Change her name, her identity, everything. Or she'll never be safe. None of us know how much danger she is really in." Albert adds, "And Cooper?" Hammett is forlorn, "Cooper, as far as I can see, has already been lost."

Exterior of the Double R Diner. High School Blues sounds. A cry of play from a wild little boy. Inside, Little Andy Brennan is running back and forth with a toy airplane held high in his hand. He passes the uncaring middle-aged truckers at the counter who nonchalantly eat their meals. Little Andy flies by Andy and Lucy in a booth, still screaming at the top of his lungs. Lucy doesn't understand where her headache is coming from, "but I have a feeling it will last all night now that you're working late at Ghostwood Country Club." Andy nibbles on his sandwich, and winces again at Little Andy's screams. "You shouldn't give him all that sugar, Lucy. It makes him squirrely. All hopped up." Lucy doesn't want a lecture on parenting skills. Norma arrives from the kitchen to the counter, hanging up her apron. Little Andy runs past again and to the chime of the door. "Hey now, little man!" Big Ed has entered, and scooped up the boy, placing him on his shoulders. "Uncle Ed, this is my plane! MyplaneMyplaneMyplane!" Ed thinks the plane is "a beaut." Whatever Ed does, he has a way with the little tyke silencing him, sitting him on the counter top next to Heidi. "Andrew, I want you to behave yourself like all good pilots, and if you are very, very good you can help Heidi." Heidi is between giddy and befuddled 'she holds up a quarter, "I am counting the change." Little Andy and Heidi are now completing the monetary task together 'who is leading is unclear. Lucy mouths an appreciative "Thank you"to Ed.

Norma gives Ed a peck from over the counter, asking how his night was. Seems concerned that he looks tired. Ed informs her, "Darling, you're not getting off the hook that easy. I promised you dancin' tonight, and dancin' is what you're getting. So dust off them shoes." Norma squeezes his arm, then volleys "How you boys handling D.B.?" Ed thinks the situation is under control and he seems normal again. Norma, as politely as possible dictates, "you can't keep putting a band-aid on this mess. D.B.'s not well, Ed. You know that. He's sick in the head. Eventually he's going to cause harm to himself 'or worse, one of us." Ed doesn't know what to do, "These episodes don't come frequently" Norma interjects, "But they come frequently enough. You and Harry can't keep constant watch over him. He needs to go somewhere safe, under supervised care." She has a truthful afterthought, "I just don't trust him." Norma and Ed turn to Lucy and Andy in the booth. Though they can't hear, it is like they are part of the conversation and understand as well. Ed complains that his head hurts, "Real bad. And my guts are eating away at me. Coop's a good friend, this place means the world to him." Norma squeezes his hand, "Sometimes that's not enough. And this is not really his home. He's always been looking from the outside in. He isn't one of us, never was." Ed sits in silence; Lucy and Andy sit in silence, staring at the other. Norma moves away, "I'll go find you some aspirin." High School Swing has grown darker, and taken on a twisted form of Laura's Dark Boogie.

Exterior of Lydecker's and the deserted storefront. Dusk has fallen.

Truman drives in his truck wanting to hurry back to Twin Peaks, a sense that something is wrong.

Traveling shot of an ornate vanity mirror. Reflected in it, is an elaborate bedroom filled with deep violet and blue satins and velvets. Pasqualini enters draping a black evening gown over her arm. Still reflected in the mirror, she lays the garment on her bed, and moves out of view. Tighter shot to the vanity. On its top is Donna's ledger. She has not returned the lost object. Pasqualini enters frame again, lifts a brush and begins to stroke her hair. Panning away there is a picture frame of Pasqualini and Eileen Hayward, depicting warmth and friendship between the two.

In Butler's Best, Lana removes a vase of artificial flowers from a table, cleaning up. Heads to the counter, when a car screeches to a halt outside. From the window, Audrey Horne slams the door shut and hurries next door. Lana lets out a chuckle, alerting Nadine at the register. "What is so funny?" Lana hums to herself, teasing, "D.B.'s got a visitor." Nadine runs to the window, prying. "Well, what on earth? No. Nooooo. It's past store hours, that's all there is to it. No no no." Lana can barely contain herself until Nadine has flung the bakery's door open and departed. Alone, Lana bursts out laughing. She begins counting money, and pockets a five dollar bill for herself.

"Kin I help you, Missy?" Audrey turns from D.B.'s darkened shop to find Nadine before her, arms crossed. Audrey is more put off that Cooper is not at home than this bizarre woman with a patch on her eye and wearing a candy striper's outfit. "Yeah, I need to reach Dale Cooper right away. Do you know where he is?" Nadine is stern, "Well, I know he's not at home, so you're going to have to get." Audrey is adamant, "Do you know where he is, or when he will be back?" Nadine won't offer an inch, "Maybe he's gone away. Maybe he went on a vacation." A beat. Audrey is growing tired of this woman but glances at Butler's Best and deduces this is Cooper's neighbor. "Away? No. Listen, I need to find him right away, it's very im-por-tant. Do you understand?" Nadine face is hard, "I understand, girly. What is someone sick or something?" Audrey glances back inside the apothecary, "Yes, something like that." A beat. "I know who you are. You was that girl in the papers a few years ago, causing D.B all that trouble. Well, you ain't no good to be around here. You're bad medicine for that man." Audrey fumbles into her purse, taking out a note pad and pen. Nadine yelps, "That's illegal solitication!" Audrey turns from the window, approaching slowly to Nadine. Who the hell is this woman? Audrey locks eyes with her, and instead of anger 'only a connection. "Please. I need your help. If you see him, if you talk with him tell him to meet me tonight at Ghostwood." Audrey puts a hand on the woman's shoulder, lowering her head and meeting Nadine. Softly, "Can you do that for me? Please." A beat. Nadine is actually crying, trembling. A sense of great loss. Another beat. Nadine looks to Audrey and nods. Audrey cradles Nadine, allowing her to sob against her chest.

Laura's Dark Boogie grows even murkier, darker. "Double wadder." Lydecker's voice is thick and garbled.

Cooper sits opposite the decrypted man at the formica table. Times has lost all meaning. Cooper's hands rest on each knee, studying the doctor. One of Lydecker's eyes is a filmed over grey that roams about, rolling into the top of his head. "Double waaaaader." Cooper looks to the rusted sink. "Water? Would you like a glass of water?" Lydecker's hand feels the table, points to the sink. Cooper stands. "Thisssss is a for mica ta ble." Cooper nods. Walks to the sink. Opens the cabinet above and takes a glass. Uses his shirt to wipe the rim. "Would you like some water?" The sound of a dog barking furiously in the street. Lydecker looks to the window, nodding with each bark. The barking stops. Cooper turns the faucet. Water flows cleanly, then turns murky and finally sludge. The pipe vibrates. Cooper turns the tap off. Looks to Lydecker, who is still looking towards the boarded up window. Cooper tries the tap again. The pipe vibrates, with sludge popping out, cleaning itself. Finally, clear water. He fills the glass, walks to the formica table. Places the glass before Lydecker. Lydecker examines the glass like it is from another world. His face moves close to it, but does not touch it. More barking. Cooper looks to the window. Then back to Lydecker. Lydecker himself is barking at the foreign glass. Cooper jumps in surprise. Lifts the glass away. The barking stops. He returns it to the sink. "Thiiiiiiis isssss a for Mica table." Lydecker's hands traces the top of the table. Cooper sits opposite him again, watching the hands glide. "Yes it is. It is a formica table." Lydecker stops. Cooper has invaded him. Points a finger, "DOUBLE WADDER!" Cooper understands, "Double walker? What is a double walker?" Lydecker moans, "We lived above a convenience store we live above catch you with my death bag" Barking. This time from inside the building, from behind the door. Cooper is startled. He rises, watching Lydecker watch him. Moves to the door. Growling behind it. Focus on the door knob. Should he open it? Panting. Cooper looks to the corner of the sullied room. A large black dog sits on its haunches. Lydecker stomps his walking stick. Laughs amidst a coughing fit. "Wow, Bob, wow!" Cooper opens the door. The dog is obedient, lifting itself from its haunches and trotting out the door. Cooper closes the door, unaffected. He sits back across from Lydecker. A beat. Lydecker makes a circle with his fingers of his right hand. "With this ring a golden circle." Agitated, he shouts to the ceiling, "Mike! Can you hear me?!" Cooper looks skyward as well 'is he expecting an answer? Lydecker looks at Cooper, one eye trying to steady itself. Murmurs, "Double wadder. I promise we will kill again." A beat. Lydecker begins barking at Cooper (echoing Mike and Bobby's howls at James in the first season). The barking becomes too intense. Cooper shuts his eyes tightly. Blackness. The barking stops. Cooper opens his eyes. The room appears darker. Drip. Drip. Drip. The faucet is leaking normal water. Cooper rubs his throat. Fixates on Lydecker. The doctor seems like his previous self. However, he does not move. Does not seem to even breathe. "Doctor? Doctor Lydecker?" Cooper moves to the other side of the formica table. Puts a finger to the doctor's neck, feeling for a pulse. Nothing. The man is dead, his eyes still wide open, mouth slightly agape. A beat. Cooper is serene. He closes Lydecker's eyes. Wide shot of the withered room. The formica table. Lydecker's body seated upright. The walking cane lying on the floor. Cooper standing, and processing. Laura's Dark Boogie fades.

ACT 4: Through a clearing of tree branches, gold lights sparkle in the night, coming into focus of the entrance of Ghostwood in the distance. A full parking lot, and well dressed guests filing through up the stone walkway and through the ornate large double doors. An upbeat tempo of Into the Night hums mingling with the mirth of the guests. Panning shot along the road to a van. In the driver's seat, one of Amberson's Grey Suits sits 'always wearing the sunglasses. Tight shot on an earring being fastened. In the passenger seat, Jones scrutinizes her appearance in the visor's mirror. She wears a sleek black evening dress, her hair impeccably slicked back. A slurred groan in the back of the van. Jones and the Sunglassed Suit turn. Another Gray Suit applies a shot to their patient: A young woman in nurse's uniform with similar features and stature to Audrey's. The waif is groggy and unconcerned. Jones reaches out and takes her hand, caresses it. "For the greater good. Remember time is fleeting. We thank you." She adds a phrase in a foreign tongue 'the origin not known. Jones pushes a garment to the Suit, and opens the van's door '"Put her in this. I'll meet you on the other side."

The chandelier looms in the great hall of Ghostwood. The floor is in giant black and white squares like a chessboard. The large gathering move about, some traveling up and down the majestic staircase. Into the Night becomes more up-tempo, celebratory. Through the large crowd, an orchestra plays, all tuxedoed. Caught fleetingly is Julee Crusie's visage- also in a tuxedo, androgynous. She evokes a post modern Marlane Dietrich.

In a new swarm of guests, Norma and Shelly enter arm in arm, giggling to one another. Both dressed their best. Shelly leans in, "Some spread!" Norma looks skyward at the spectacle, "Maybe this is what heaven's like, Shelly."Shelly pats her upswept hair, "I feel like everyone's looking at me like I forgot to put on my clothes"Norma advises Shelly to get some confidence. Shelly supports this idea, "after one or two glasses of that bubbly." Shelly scans the crowd. "I hope Charlie's not too late." Ed sidles up behind them, "Which one of you is Cinderella? Cause I've got a glass slipper I'd like to try." He escorts them both into the crowd.

Through a sea of partiers, Bobby watches Shelly. A smile on his face. He holds a tray of champagne flutes. Jerry Horne's hand reaches in front of him, taking two of them. He passes one to his brother. Ben and Jerry loom over Bobby, both dressed in tuxedos. Jerry pats Bobby's back, and downs his before taking another. "Tell you what, kiddo. Keep them coming and coming fast. You do that and we'll get along just fine." Ben seems more focused on studying his shiny shoes and doing a controlled two step. (perhaps a public outing was not for the best). Jerry nudges Ben, "How much you think something like this would set Catherine back? Whaddya say when the time is right for relief, we do it on her topiaries out back?" Jerry wonders why his brother won't loosen up. He then scans again, "Wonder where the queen ghoul is anyway?" He pats Ben on the back, winks at Bobby and asks about the young women, "Who do you think is ripe for the taking?" Bobby shrugs, his attention stops on the striking woman entering and passing them by. Jones continues on without an acknowledgment. Jerry nods in approval of the beauty, then stops. He can't seem to remember where he places her from. (Eckhardt was a long time ago). The music continues and the party grows.

Moonlight shines through the window of DB's shop door. The handle jiggles. Cooper enters warily- a long day. He removes the flannel coat. A noise alerts him. Through the darkened back hallway, Truman flicks on a light. He holds a beer. "Harry?" Truman swigs, studies his friend. "Hope you don't mind, helped myself." Truman moves closer. The tension from the previous day is still thick. "Been out?" Cooper nods, "Long day." Truman idles by the countertop, leafs through invoices. Stops, and picks up the lone tape recorder, chuckles to himself. Cooper moves to the refrigerator ' "Hungry?" Truman is stoic '"Man's gotta eat." Cooper approaches, slowly takes Diane out of Truman's hand. A beat. Both stare at the other. Truman breaks the silence, softly '"What the hell became of you?" Tap. Tap. Tap. The moment is broken 'the men turn to the shop's door. Nadine can be seen through it 'her face deeply serious, imploring them to let her in.

Nightlife in Twin Peaks hums 'suggesting a culmination of many sinister elements coming together. Ed's Gas Farm is dark. Across the road, the Hurley residence has a solitary light glowing. Donna's stationwagon pulls in front of it. In the vehicle, Donna contemplates- James' silhouette in profile sits in the window frame. She takes a moment and exits the wagon. In long shot, we watch Donna amble to the porch- in her hand, a brown paper bag. Knocks on the door. A beat. James answers.
Studies her. Both move inside. The front door closes, and cast upon it are two shadows- one shorter than the other. They undoubtedly belong to Mrs. Tremont and her grandson.

The current of the river flows. Tree branches. An owl watches. Near the Ghostwood tennis courts, the boiler room door. Sounds of music and laughter from the hall. Hammett exits the machinery room. He is dressed in a tuxedo, hair slicked back, dashing. Proceeds to the party.

Hammett enters the hallway, immersed into the crowd. Passes Shelly, Norma and Ed; moves past Ben and Jerry surrounded by Icelandic investors; squeezes between Givens and Molly. Finally, he clears his way through the room to a bar. Leaning against it, lowball glass in hand, is Albert. Albert is also dressed in a tuxedo- and actually pulls it off quite nicely. Hammett smiles, and Albert returns it. Signals to the bartender, then quips, "Two chimps must be feeling pretty naked right about now." Hammett furrows his brow. Albert clarifies, tugging at his lapel. "Monkey suits." The bartender hands a drink to Hammett. Albert clarifies again regarding the drink- "Old fashion. ..just like mother used to make." The two scan the room commenting on its opulence and the turnout. Albert says he's been here for twenty minutes and no sign of Catherine. Hammett takes a sip, "Where's the kid?" Albert taps his nose, "Powdering the old schnauze." Albert continues to talk about Catherine and if she'll talk with Audrey 'while Hammett's attention drifts to Jones on the other side of the hall. They make eye contact. She nods to him. Everything is in place.

Shelly finishes her second glass of champagne, and concludes to Ed, "Think I've been stood up." Ed guesses Charlie has police business and is just running late. Shelly shrugs, "Story of my life." Norma chuckles, her expression changes. Through the entrance, Pasqualini arrives 'stunningly alluring and mysterious. Two handsome middle-aged Icelanders on both of her arms. "Shelly, it's a party. Mingle. I'm going to dance with my husband." Ed hands his drink to Shelly, and escorts Norma away. Shelly turns and finds herself face to face with Jerry. He gives her a lecherous toothy grin, clinking glasses. "Now what's your name, little philly?"Shelly frowns and turns away.

Another establishing shot of Ghostwood exterior. A brief passage of time.

Albert turns to his right, where Hammett strangely has vanished. Turns to his left, finding Ben Horne grinning at him 'he nibbles a canapé. Ben advises, "The wicked flee where no man persueth" Albert counters serenely, "But the righteous are bold as a lion." Ben smiles, liking the man, "Now we're getting down to brass tacks." Albert's attention shifts across the hall 'through the front doors Cooper and Truman arrive. They wear suit jackets, doing their best to blend in. Albert notes; a quick smirk but also the sense that something is about to go down.

Norma finishes a conversation with another female partier, turns with her drink in hand and comes face to face with Pasqualini. The foreign woman looks her over, commenting that Norma is a "rare rose amongst the weeds." Norma thinks Ghostwood is odd to exist in Twin Peaks, and Pasqualini likens it to nouveau riche, "It's a façade and will not last few things ever do."

Ben continues to nibble, looks over to Albert whose attention is on the new visitors. Truman nods to the old friend, "Albert." He motions for two drinks. Cooper warily watches, hesitant. A beat. Albert breaks the ice, extends his hand. "You two are a sight for sore eyes." Cooper does not shake. Truman breaks, and returns Albert's offer. Albert pulls him into a bear hug, patting him, "Harry, you two bit mountain man, you!" Cooper scans the hall. Albert jokes that it's good to see them both partaking in the festivities, "I imagine you both out building forts in the woods finding your inner child." Truman inquires how long he'll be in Twin Peaks. "The kid junior has a few more details to wrap up at the hotel with the old man here,"Albert nudges Ben, "And we're back to Philly tomorrow night." Ben sniffs the air as if something foul had intruded, "The end is nigh. I SAY THE END IS NIGH! The time for repentance has past." Albert, nor Truman, know how to respond. Cooper however remains fixated on Ben's gaze. Ben moves on, swallowed up into the party. Truman volleys to Albert, "Well, don't be a stranger." Albert and Truman talk of the pharmacy, their lives etc. But their voices become distant to Cooper as his sight moves to the grand staircase

Julee Crusie's ambiguous singer voice intrudes.

Don't let yourself be hurt this time
Don't let yourself be hurt this time

Through the crowd of dancers, all swaying slowly, Audrey appears. She walks down each step confidently. She's dressed in a black strapless evening dress, her hair up in a sophisticated twist. Sparkles from diamond earrings and necklace shimmer. She is the picture of a woman, no longer the impish child. Cooper smiles to himself.

Then I saw your face
Then I saw your smile

Audrey lifts her head up from putting something into her clutch purse. Smiles at the party. Makes her way to the bottom of the staircase. Her face lights up

The sky is still blue
The clouds come and go

Hammett reaches out and takes her hand, draws her in, and slowly dances. The crowd covers them up from Cooper's view.

Yet something is different
Are we falling in love?

Donna and James sit in the darkened Hurley house. Moonlight bathing their faces. His hand tentatively reaches out, and she guides it to her pregnant stomach.Her eyes search his. Longing.

Shelly looks into the night. Thumbs the champagne flute. She is standing by the balustrade overlooking the grounds.

Audrey rests her head on Hammett's shoulder, letting the music sink in.

Don't let yourself be
Hurt this time
Don't let yourself be
Hurt this time

Softly to him, contemplative- "Where have you been all this time?" He continues to sway with her. "The far corners of the universe. It's a glorious place out there, Audrey."

Donna kisses James tenderly. And he responds back.

Then your kiss so soft
Then your touch so warm

A figure's form enters behind Shelly. She senses it. Cross focus to reveal Bobby. She knows it's him. Turns to face him. A shared union. (Audrey's voice, "It makes me uncomfortable like I'm spinning out of control") Shelly turns her back to Bobby. He moves her hair to the side and holds her close. His lips grazing the nape of her neck. (Audrey's voice, "A fire deep down inside me")

The stars still
Shine bright
The mountains still right
Yet something is different
Are we falling in love?

Donna and James continue the rhythmic kiss; Shelly's hand clasps Bobby's. In the hall, Norma and Ed move together as one while Pasqualini notes their love. Truman, Albert and Ben's heads sway in unison 'each with a pint of beer. Cooper moves along a corridor and into a darkened room, passing Jones. She spies Hammett and Audrey, checks her watch and steals away.

Are we falling in love?

James lips move back to Donna's stomach. She closes her eyes. Audrey disengages from Hammett, awkwardly moves away, afraid something is stirred in her. Bobby looks into Shelly's eyes and pulls away, knows it is wrong. She watches him walk off into the night- Falling fades out, replaced by more jovial music. The dream is over.

Hammett moves about the room, scans for Audrey. Turns and bumps into Ben Horne. Moves along to Albert. Albert thinks they've wasted their time, no sign of Catherine. Hammett thinks, "It hasn't been a complete waste." Comments to Ben that he has a "lovely daughter." Ben shrugs it off.

Shelly interrupts Ed and Norma, confiding that she isn't feeling very well. Norma senses something is wrong, "I'll get your coat."

Bobby moves along the shrubbery, runs into the two men in black, who are supporting the drugged out waif now dressed in similar fashion to Audrey. "Hey, man! Watch out. Some party, huh? She looks pretty messed up. Is she okay?" Jones is revealed behind him. Bobby smiles, Jones gives a nod then punches him out cold. The other takes out a gun with a silencer and points. Jones interrupts '"No. Leave him for the moment. Get her in place. We only have a few minutes." They step over Bobby's body.

Cooper stands in front of a window pane in a darkened work room. Moonlight shining in, the music faintly heard. A door creaks open. "Hello, Agent Cooper." Turns to find Audrey. She closes the door. Moves slowly toward him. Audrey's Prayer emerges softly. "There's not much time and I needed to talk to you alone." Cooper does not talk, positions himself behind a work desk 'scattered blueprints, colored pencils, scissors "I'm leaving Twin Peaks tomorrow and and I'm not coming back ever." Audrey moves in closer. "I think I think you should come with me. You're in terrible danger. I can't explain it but there are people who are after you and you're not safe here." Cooper toys, "Let them come then." Audrey implores him, but he insists this is his home now. She moves to the window, looking out, contemplating. "Agent Cooper, I I can't thank you enough for what you've done for me. I owe you everything I have in this life. I don't understand where we've been" Cooper listens intently; his POV focuses on an Xacto knife's glint. Its blade deadly. "or what we've survived, but you risked your life for me, your soul. How can a girl not feel indebted?" Audrey stares out the window, cross fades behind her reveals Cooper is no longer there, but instead BOB.

Norma, Ed and Shelly exit the building, passing Hammett. He checks his watch again, and taps it. Jones and the men drag the waif into the alcove to the boiler room.

Audrey continues on in her sad reverie BOB moves closer to her with the knife hidden. "I guess I really messed up your life, Agent Cooper. And if there's anything I can do to make it right, anything at all" It is now Cooper that touches her shoulder. She buries her face into his chest, "Please come with me please" BOB now embraces her, smells her hair.

Jones opens the door to the boiler room, it's empty save for a note on the ground. She picks it up. Five minutes early. Got you! Love, Doyle. Jones acknowledges the reference from the bank that killed Andrew. Stiffens. Checks her watch. Eyes widen. Realizes her fatal mistake. BOOM! A giant blast goes off.

Audrey's startled head bolts up. Cooper moves back (BOB is gone)- drops the knife. White light explodes in the window.

The guests scatter, running for the exit. Ben is hysterical, with Jerry in tow. Truman and Albert usher people out. Smoke fills the room, and the whole estate is on fire. Audrey makes her way along the railing of the staircase, Cooper not with her. Hammett runs to her helping her out of the building, just as the giant chandlier crashes. Albert and Truman continue to force people out; Truman shouts to Albert '"The whole damn place is going up! Where's Cooper?!!"

Exterior shot of Ghostwood engulfed in flames. Loud cries of commotion and chaos.

A quiet shot recalling the beginning of the episode. Leo walks alone down a road. Fire engine sirens can be heard. He pauses. Something big has happened. The sirens fade. Footsteps. Another person on the road traveling in the opposite direction. Leo stands still as Cooper passes him walking in the opposite direction. He does not make eye contact. A beat. He is swallowed up in the night. Leo continues on his path. Two ghost walkers.


God, I love this music. Isn't it too dreamy?
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Re: Let's talk changes: how would you change the second seas

Postby Colonel Cooper » Tue Jan 03, 2012 12:19 am

It seems like I've spent a huge portion of the last month gradually working through this monster thread - 75 bloody pages of it!! - the amount of work put into this by Audrey Horne and Evenreven along with the additional input of They-Shot-Waldo! and Amonitrate is just phenomenal. Kudos to all involved. As I've mentioned in the 'All Things Audrey' thread, I generally don't have a great deal of love for the latter half of the second season, not just because the ongoing Cooper/Audrey storyline was excised, but the introduction of piss-poor characters when there were already enough being under-used and developed, and storylines that ran roughshod over everything previously built-up eg: Civil War Ben - so this thread has read like a breath of fresh air.

Going over every episode would take forever, but some of my personal highlights are as follows.

Audrey bringing Cooper breakfast in 2:13 and laying out her drug chain theory was wonderful, with her kissing him in front of Denise just like in the actual 2:12 (Cooper and Audrey's final scene together, can you believe that!).

2:14 Audrey 'So we make a pretty good team, huh'
Cooper 'Audrey, there is no "we"'

Catherine as Mrs. Barnsworth.

Audrey's confrontation with Ben. Having Ben uses Sylvia's deleted scene of blaming Johnny's situation on Audrey was a stroke of bloody genius by whoever thought of it. Ratchet's up the hatred between the two and forces Audrey out of the Great Northern.

3:01 Oh god, why didn't they have Audrey interact with Pete and Catherine? So obvious in hindsight, but their scenes here are stunning.

Peter Perkins/Windom - foreshadowing. Should've done this in the actual show, as well.

Albert 'Coop, you get one day to be off your game, and this is it.'

The Hayward sisters discussion about BOB.

3:02 Pete and Audrey fishing.

Pete, Audrey and Cooper.

Eckhardt as a force to be reckoned with. In the actual show his appearances were a let-down after all the build-up.

3:03 Cooper and Ben conversation at breakfast.

Audrey and Peter Perkins at the Double R.

Cooper, Johnny Horne, and Dr. Jacoby - and ice cream.

3:04 Leland's funeral. Ben watching Cooper and Audrey from his car.

3:07 This whole episode was just crazy.

Catherine and Audrey conversation. Catherine 'If you tell my husband any of this, I'll have you killed, do you understand?'

Cooper still has Audrey's One-Eyed Jack's note in his briefcase. Later puts it in his pajama top pocket.

Cooper getting new batteries. Whoever wrote this must've been consuming something bloody strange!!

3:08 Cooper and Audrey before the Milford Wedding. Audrey 'Maybe you should put on that tuxedo, you look good in that.' Cooper 'It has a hole in it.'

Ben watching Cooper and Audrey (again).

The tape from Windom to Cooper containing a recording of Cooper's penguin joke to Caroline. In the actual show his telling of the joke to Annie was one of the absolute low points for me, but having him tell it to Caroline is a work of genius. Quite possibly the high point, for me, of this whole re-imagining.

3:09 Ben and Cooper conversation. Ben 'If I find her up in that room ' in your room'

Audrey entering the Miss Twin Peaks contest past the cut-off point at the library - comedy gold.

Ben and Butler conversation. Ben 'Let's have him stuffed and mounted. For Audrey. Then she can look at him all day.'

3:10 Day of nature and enlighenment for Cooper and Audrey - great scene in the Double R. Even better fishing scene. Best of all was the Bookhouse scene.

Shelly's Easter Sunday with the Briggs'. Bobby 'Dad can cook?' Betty 'The Major is an excellent gourmet I hope.' The Major in a flowered apron!

Albert and Lucy.

3:11 Cooper and Audrey asleep, both fully clothed. You mean they didn't?

Pete and Catherine. Pete 'Burning rubber and getting the hell out of here!!!'

3:12 Jerry playing Darts blind-folded in Ben's office.

Audrey substituting Lana's speech for one of her own, after spying on Lana and her father earlier.

3:13 Earle and Audrey. Earle 'Everything looks very, very right. You look very much like a queen.' - Gulp!

Lana's performance at the Miss Twin Peaks contest.

Mike Nelson beating the crap out of James Hurley - where the hell did this come from?

'Truman's eyes have moved from Audrey to Cooper. He has a faint smile, fully understanding the significance of Earle's target. He murmurs to his friend, "How long have you been in love with her?"' - How it should've happened, with the appropriate, yet gut-wrenching, ending to:

3:14 Cooper 'How's Audrey...'

Of course, there was much, much more, but you get the general idea - a brilliant re-imagining.
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Re: Let's talk changes: how would you change the second seas

Postby Audrey Horne » Tue Jan 03, 2012 5:34 pm

Oh, God bless you. Can't believe you went through the whole thread. It was so much fun to do. It's funny to see how brief they started out and then sprawling by the end (sometimes a little too much).

Some of the stuff you cited, I don't even remember. I could go back and read this like watching a new episode.
God, I love this music. Isn't it too dreamy?
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Re: Let's talk changes: how would you change the second seas

Postby Rory » Tue Aug 28, 2012 6:36 am

I literally joined up with this forum to write this post.

Thank you so much to Audrey Horne and Evenreven for compiling and rewriting season 2. It was clearly a labour of love and I loved reading it so much and found it so fulfilling - I think I'll start referring it it as canon :)

I realize it's about 3 years later, but Audrey, do you ever think you'll finish up those last 3 episodes ever? Or at least give us an idea about where you were headed with it?
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Re: Let's talk changes: how would you change the second seas

Postby Audrey Horne » Tue Aug 28, 2012 6:18 pm

oh, wow! thanks.

we pounded this out in a few months -I definitely was a little obsessive. At the time, I knew the real seasons backwards and forwards, and knew how almost everything could fall into place. But now it seems so foggy. What was so much fun was not writing what you would want to happen, but try to get into the mind of production of how they would make it go.

Looking back though, I think we should have stuck with a full second season, not because it would be better, but because it would be realistic to what the network greenlit. And probably cut a few scenes here and there -especially in the last few episodes (i think I fantarded a little too many extra Audrey scenes).

The fourth season -or the What Would Happen After Cooper Leaves the Blacklodge- was tough! But I really enjoyed it initially. And I really liked the first full episode of resetting the whole show. I'll reread it -and try to remember what the arc was for the full seven. (damn whoever suggested seven instead of three or four).

I knew I was going to use everything Engels, Peyton and Frost have talked about. Truman driving backwards into the Lodge, Creamed Corn planet and everything -but continue to keep the zip and fun of small town life. But I know -even with the help of Truman, Major Briggs etc, Cooper's journey was going to be on his own- going through the house of dopplegangers, the red room. Something about Laura and Leland at Happs diner. A major character was going to be killed off in episode five. Audrey and Catherine would have teamed up- they were both going to be hiding in the cabin in the woods (eventually burying a body).

I knew I wanted the last episode to begin surprisingly out of Twin Peaks -in Philadephia. Cole would be approached by some other agency (with the call letters of ABC) -I pictured Diane Ladd in a power suit -telling him he's through- essentially ABC canceling the show. In the aftermath of Cooper finding himself again, and Audrey/Catherine defeating the new guy (forgot his name)- the epilogue was just the town life. Ben, Jerry and Johnny were going to have pancakes in the Double R, Bobby was at Briggs cabin, Shelly is content. I knew I wanted a Hayward scene similar to the end of Blue Velvet -Donna spying on a bird? Truman was going to send Cooper away (who would always be hunted) -Cooper (with a sleeping Audrey in the backseat) would say he"ll "go north." The last image I had was always going to be Cooper driving out of Twin Peaks past the signpost.
God, I love this music. Isn't it too dreamy?
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Re: Let's talk changes: how would you change the second seas

Postby Rory » Sat Sep 01, 2012 12:20 pm

Hey, sorry for the late response!

I kinda think of your second two and third as the same season broken up... kinda like how they do it with The Walking Dead or Breaking Bad. Also, I really like your fantarding Audrey scenes, but that's because I love her too, haha
I'm just struck by how much better it is; Leland's escape, Denise's involvement has more meaning, his funeral (I'm shocked they never did anything with that), Windom's introduction etc. I think your magnum opus of it all is Episode 3.07 - it is SO good!

I would really love to hear more about your season four - especially Catherine and Audrey team up, Truman/Sid, Will Donna ever get Laura's note? Ben's comeuppance... and so much more
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Re: Let's talk changes: how would you change the second seas

Postby Navona » Mon Oct 14, 2013 3:12 pm

Can't tell you how much I have enjoyed your alternate world of TWIN PEAKS. It is giving me closure after the utterly un-satisfying Season 2 ending of the show. Any plans AUDREY HORNE to finish up? I need some resolution to Miss Horne and Agent Cooper.
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Re: Let's talk changes: how would you change the second seas

Postby Audrey Horne » Tue Oct 15, 2013 7:22 pm

Oh, wow. It's been so long, and glancing at it, it seems the format has been screwed up probably from changing the site to a different server. But I do remember loving this so much. I'll try to do a cleanup soon, and sure why not... Try to do an ending. One bit that is hard is knowing so much more now what the writers hoped and the direction if the show did continue on. And so much of this was trying to figure out not what we'd want to happen, but what the creators would do. The leap forward would happen, but I keep hearing that first Cooper's fate would be resolved first and then the leap forward.

Reading through some of this season post the real series, I'd forgotten so much of it, and it was kind of fun, like watching a brand new episode.
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Re: Let's talk changes: how would you change the second seas

Postby dugpa » Sun Nov 03, 2013 11:07 pm


I was able to write a script to do a lot of the cleanup. Surprised I didn't notice it when I initially did the upgrade. Let me know if you see any pages that require additional cleanup.
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Re: Let's talk changes: how would you change the second seas

Postby Audrey Horne » Tue Nov 05, 2013 8:27 am

perfect! -now I won't lose my mind trying to decipher this. looks good.
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Re: Let's talk changes: how would you change the second seas

Postby Neosmith » Sun Dec 22, 2013 12:04 am

Confession 1: I love rewriting Television Shows. I constantly make up my own fictional episode guides for shows I like.

Sometimes, it's to improve them, sometimes to imagine how differently it would look, had it possessed a different structure (60 mins. vs. 45) or a different episode count (13 vs. 22). Sometimes, it is to provide a different episode order that would improve the overall viewing experience. The last one is something that I managed to execute while watching Lost, Fringe and Terminator with my parents. They were grateful, as I would avoid filler episodes or improved the flow of a season by switching up some episodes here and there.

Confession 2: I love the second season of Twin Peaks and I think it is overall better than the first, despite its fallow period episodes (mostly signified by the atrocious James Hurley noir stuff).

Season 1 was a promising beginning, but to me it always came off somewhat too scattered and unsure of itself. I know that sounds incredible, but I stand by it. I feel that the writers really didn't know where they were going with anything and kept experimenting with the general direction of the series as they were making it.

Season 2, on the other hand, even in its worst and most juvenile episodes, still feels more mature and focused.

The writers by that point had a pretty good grip on their characters. But moreover, Peaks had really embraced the otherworldly and the mythological. From the first episode of the second season, the series made no more pretenses about being grounded in reality and now would regularly feature a deeper emphasis on dreams, visions and the mystical side of things.

But more than that, Season 2 had a plan. It had to resolve Laura Palmer and then move on to new things.

Whether that was forced on them by the network or not, it gave the show a drive and purpose that it was previously lacking. All that combined made for a terrific opening ten hours. But after that things didn't go as well - Lynch left for a while to do a movie and Kyle McLachlan put the kibosh on the Cooper/Audrey romance.

And Season 2 had to deal with a major problem that Season 1 never did - it had to provide 22 hours of content.

Anyone who does serials on network TV will tell you that such a large volume of episodes will lead to a decline in quality sooner or later. Plots have to be dragged out, wheels must be spun. New incident needs to be developed on the fly to fill up the space.

So, if I were to rewrite Season 2, the first thing I'd change is the episode count. My S2 is 13 episodes long, but around 15 hours long, since the premiere and finale would be double-length. The first 7 episodes would remain the same as in the canonical S2. They'd end with the death of Maddy Ferguson. But the remaining six would be quite different. Leland/Bob would not be convicted just two episodes after the killer's reveal.

Instead, the entire back half of the season would play out with the audience's knowledge that Leland is the killer. The episodes would play up the suspense every time Leland shared screentime with another character as the audience would now know more than the main characters. The season would end with the resolution of the Leland/Bob plot and a cliffhanger introducing Windom Earle. These are the broad strokes of course - I don't think I can come up with all the specifics.

Ben Horne would be falsely convicted and his case would go to trial. James Hurley'd continue trying to find out who killed Laura, which would lead him to cross paths with Leland/Bob and meet a grisly end. The Josie/Thomas Eckhardt stuff would make its way into the story a lot earlier.

Anyway, that's my take. I always felt they wasted a lot of potential by rushing through the Leland conviction. The series had a really different vibe now that you knew Leland was the killer, when nobody else did. That could've lasted at least 4 episodes longer than it did.
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Re: Let's talk changes: how would you change the second seas

Postby Gabriel » Mon Dec 30, 2013 5:41 am

I'd have made season two a twelve-parter and, obviously not revealed Laura's killer. Imagining a seven-season/12eps per season run, I'd have revealed Laura's killer in the Maddy scene as the climax of season five, meaning Leland is the killer throughout season six. Cooper in the Black Lodge would have been the plot of the final season, drawing the whole series to a close.

Season two would have been the Thomas Eckhardt season and also dealt with Josie's relationship with Laura, as implied in the diary. Josie's sister Judy could also have been introduced.

Season three would have been the Windom Earle season as Cooper and the team strive and ultimately succeed in preventing him entering the Black Lodge.

Season two, unlike season one is too cluttered. There's at least three seasons worth of material in it and most of it could have been streamlined to tie back to Laura's murder. And quite why James Hurley steps into a Zalman King-style 1980s erotic thriller in the middle of the season, I'll never know.

I think the show suffered, in a way, from having a 'name' creator team. Such shows always rely heavily on a strong showrunner who can tell the creators to step back if they interfere too much. Having Lynch show up to direct an episode, throw out the script and do his own thing, leading to weeks of rewrites on subsequent episodes is wildly impractical.

I love season two for its crazy randomness, but, equally, I wanted more Twin Peaks and the oft-discussed lack of discipline at showrunner level is what alienated both the cast and audiences, yet is part of the fun of the show.

Difficult... but I'd happily favour a ten-part Netflix third season! ;)

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