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

[Audrey Horne]

love all of it-

I'm still confused on Andrew Packard though -and I think the writers were too. Hank was paid to kill him for Josie, who was working for Ekhardt, but Andrew and sister Catherine staged it so he didn't die and Andrew's been living underground for years in order to come back and make Josie work as a maid and eat breakfast with Pete? I loved Dan O'Herlihy in the role though, but some of that business would need to be cleaned up -IF he''s still going to be alive in Soap Opera 101 fashion.

I like the idea of Ben being on trial for Laura Palmer -of course it would be many episodes before any of that could even happen (one episode = one day) -Leland could be convinced he will be Ben's defense attorney despite the fact that he doesn't practice that type of law, and Ben would be adament that Leland A)is not compotent for Ben to put his life in his hands and B) Ben's on trial for the murder of Leland's own daughter! (perhaps Ben's wheels start turning that if Leland is in fact crazy enough to defend someone for killing his daughter then it will prove to the jury that Ben could not kill Laura etc) -Granted, we would never actually get to the jury.

How to keep Ben as a suspect, and is Maddy's body found?

I like the idea that Audrey is the sole person who knows Ben was in cahoots with Catherine to burn down the mill (ep.5 and in the script for early season two) and she could become the thorn in the side to Catherine, and give the two some nice opposition, and gives Audrey something mischeivious outside of being Cooper's lovesick puppydog. But yes, yes, yes -get Audrey and Pete together.

[Evenreven]

How to keep Ben as a suspect, and is Maddy's body found?

Good questions. I guess the link between Maddy and Laura as victims was so obvious that only Leland, Sarah, James and Donna could conceivably have been suspects. Cooper is slipping, but he's not stupid - I mean, Ben doesn't even know who Maddy is, does he? It wouldn't make sense. So, yeah, maybe postpone finding Maddy's body for at least a few episodes. Maybe (in my scheme of things) make it the end of episode 18 or 19, to speed up the action in the investigation towards the end of the season. The fact that her niece is missing would make Sarah more and more out of it, and Beth would show up after two or three days (meaning episode 17 or 18 at the latest) to look for Maddy. And Hawk would eventually find her, after Beth and Sarah have reported that she's missing.

I like the idea about Ben realizing there's something wrong with Leland through his actions. I think the decision to defend Ben in a murder case involving his dead daughter would tie in nicely with behaving strangely towards Sarah (that he could say "I did not kill anybody" was just a suggestion based on his behaviour in the Lodge, but something else like that would work too. Something trance-like and freaky, kinda like the second time Laura Harring says "silencio". Ray Wise is so good he could do that in his sleep). About the timeframe involved, Ben would at least need a bail hearing, so even if the trial is still months - and seasons - away, Ben and Leland (and Jerry!) could discuss the defense then. Also, Sternwood would have a reason to come back. (I love that guy, in fact I want to be exactly like Royal Dano when I'm, say, sixty. Tough, lovable and say cryptic things about Valhalla.)

What this would entail is that - if I may add your very nice suggestion about Ben realizing something is wrong with Leland to my own thoughts - several people realize who the real killer is at about the same time (and all of them too late). Ben finds out, Mike and the Log Lady (and Ronette) would need to find out (judging by FWWM, Mike already knows anyway), and Cooper would find out about it in some way, possibly just after seeing Bob by Josie's bed or being told by the waiter/Giant/Laura-in-the-dream. That would make a nice soap opera/thriller crossover touch; a mercilessly slow and grinding narrative that builds up the flood water for a possible catharsis - which won't happen thanks to the soap opera cliffhanger format.

Andrew Packard is a difficult one, for sure. It seems rather strange to be underground for YEARS. I mean, did he really have to wait that long to get back at Thomas? Seems a bit much to me. Then again, it seems this was a good opportunity to return. He would get his revenge on Thomas and Catherine had just got her hands on the Ghostwood project. But why did he let the mill be run into the ground? Because he wanted the Ghostwood project? The whole Packard business already confused the hell out of me in the first season, to be honest, and in the second it becomes even more crazy.

On the other hand, it's soap opera, I probably shouldn't be so analytical about it. Part of the reason why I love Andrew is probably that he was one of the few major surprises for me in the second season - I knew who killed Laura well before I saw episode 14 (I'd even seen FWWM) - so Andrew turning up alive was one of the best second season episode cliffhangers for me. "Everything is going exactly as planned" - that moment is proof soap opera can be great; most soaps hope (and write) in vain for a moment like that to come along, but only Dallas comes close.

I like the idea about letting Audrey scheme against Catherine a lot. That could possibly even tie in with the scenes with her and Pete.

I love this thread!

[Audrey Horne]

I'm loving this too -great ideas so far all the way.

Perhaps Audrey just hightails it from the Northern once Ben returns to live there and she fears for her life, or just can't be under the same roof -and Pete takes the poor lost youth in under his roof with all the milk and cookies she needs. Catherine wouldn't like that at all.

Catherine: Pete, your charity will go duely noted at the Pearly Gates, but I think its time for the young Miss Horne to fly back home, don't you?

Pete: Now, Cathy...

Catherine: Pete! (clears throat) Peter, I think it's best to prepare the car. Her family most certainly is worried ...sick. (eyes fixed on Audrey)

Pete: I'll ...um... I'll go warm up the truck. (shuffles off)

Catherine: (alone with Audrey) You'll have to excuse my husband, my dear. He used to bring wounded birds home when he was a child and hide them under his pillow in hopes of rehabilitation. He seems not to have outgrown the addiction.

Audrey: Hmmmm, I see.

Catherine: And it's not that I can't sympathize with your troubles -If I had a father who ...well, I think you understand ...but I really think it for the best for you to scamper off to do whatever it is you do somewhere else.

Audrey: (beat) Yeah, I think I understand.

Catherine: That's good.

Audrey: (she whispers into Catherine's ear) I understand 'Let's burn the mill. Let's do it tonight... Benjamin." I understand perfectly.

(Catherine's face has gone white)

Catherine: What do you want?

Audrey: (smiles) Nothing. Nothing at all. Just to be one big happy family -and let me sleep in til nine on Sundays. Okay? ...Cathy?

[Evenreven]

Hahahaha!! That's fantastic! Both the idea and the dialogue. All of it completely in character - impressive! I love the "Cathy" part. Fenn had already proven she could act blackmail like she was born to do it, so that would have worked brilliantly. Good work!

[Audrey Horne]

thanks -just waa thinking off the top of my head.

it could be a lot of fun though to keep Peaks going. Doing my Thanksgiving tour of duty with the family, but will come back in full force.

Catherine would be a hoot to write for.

[Audrey Horne]

evenreven, if the series actually ever ended -with everything wrapped up -I'd end it something along the lines of...

Catherine is tucked away at the Blue Pine Lodge -she wears a cast on one arm, and another on her leg. A neck brace also accompanies her. (Either from the Bank Vault explosion or the final dramatic turn we come up with where once again she has survived). She is practically immobile and can't speak. A doting Pete by her side cheerful as ever, talks of the wonderful times they will have together, he kisses her forehead and heads off to fix the trout dinner he's preparing "special" for her. "Now don't go anywhere, Cathy -I'll be right back." Catherine grimaces.

At the Double R, Big Ed finishes his meatloaf and puts the money on the counter. Norma, fixing a milkshake glances up at him as he heads for the door. He winks at her, and she smiles back, as he exits. Norma hands the milkshake off to Shelly who carries it over to the table where Major Briggs and Betty sit. "Here you go," Shelly tells them. "And two straws like you asked." "Outstanding," the major replies. The door opens and Bobby saunters into the diner, and passes Shelly, where they share a smile. He plants himself in the booth with his parents, announcing, "Here I am, what'd I miss?" Shelly arrives back behind the counter as she and Norma look at one another and begin restocking straws and napkins.

Donna is in the Hayward kitchen where she and her mother are rolling pie crust. Her father calls from the front room that she has a postcard. She enters the living room, and sits on the stairs as she reads the postcard -"Thinking of you -J." She looks at the photo of her and Laura on the stand across the room. She brings the card to her lips and smiles. "Donna," her father calls from the other room. "These pies aren't going to bake themselves." "Coming," she replies and returns to the kitchen in a perfect Norman Rockwell moment. Perhaps she spies a bird outside the kitchen window ala Blue Velvet. "Oh, a bird," Mrs. Hayward utters. "Those are supposed to be good luck."

then we return to the Great Northern for Cooper's final moments.

I'd end it at the Great Northern with Cooper FINALLY checking out and having breakfast one last time with Trudy pouring him his coffee and waiting for Harry to send him off.

Naturally, Audrey comes back one last time and sits with Cooper where he talks about the perfection of a well-made stack of pancakes. (Nothing has happened between the two in the series-except perhaps her impulsive jealous kiss in the Denise scene).

Cooper spies Harry who motions to Cooper he'll be waiting for him by the lobby. "Well, looks like it's about that time."

Audrey walks with Cooper to the lobby in one tracking shot, where I'd use some of the dialogue from Leland's wake episode. "There's one problem with you ...you're perfect." Cooper smiles at her and says, "See you later, Audrey." He picks up his suitcases with both hands and walks out. "See you later," she whispers in a hopeful tone. She's alone in the Northern as the camera pulls back with all the commotion of new visitors -one day this could all be hers, the castle up on the hill. (Ben would be reduced to being powerless in the town by this point).

Audrey's last moment would be walking over to the check-in desk where Randy is writing. She plops her elbows onto the counter and daydreams still staring at the lobby door. "Randy," she begins, "How far away is Philadelphia?" A hint of Freshly Squeezed plays while the camera pans down beside her bouncing leg where we see a giant luggage bag with saddle shoes tied to it, and sticking out of a pocket is a brochure -Welcome to Philadelphia!

Cooper meets Harry outside the Northern and they say their goodbyes. "Harry, I'm really going to miss this place." Harry just smartly replies, "It's always here whenever you want to come back." A lumber truck's horn blows on the road, and Cooper and Harry watch it pass. Lucy's voice can be heard from the dispatch in Truman's police truck -"Sheriff, Andy says there's a problem at the Milford farm -something with a cat, a hen and some paint..." Harry shrugs, and Cooper pinches Truman's nose and hops into his car. He gives Harry the thumbs up and drives away. The dance with the dream man jazzy music begins to play...

The final moment would be Cooper driving in his car talking to Diane about his course back to Philadelphia -"about twenty miles to go, Diane until I hit the lamp lighter inn ...from there I'll be heading about another five miles south...have to check out that pie, it's really something!"

Final shot would be the Twin Peaks road with the sign post -only this time Cooper's car drives out of the town, coming into the frame and passing out of it, while the shot holds a moment on the road and sign while the music continues.

[Audrey Horne]

All is well in Twin Peaks.

[Evenreven]

Nice! I like it. I'm not sure Twin Peaks should have had a proper ending, but yours would have been pretty sweet.

[Audrey Horne]

I would have liked it to go out on its own terms, but leave nothing resolved. Perhaps Cooper final battle in the lodge has happened the night before, but no problems are fully resolved. Nothing is tied up nice and neat with the townfolks -Ed and Norma will always love one another, but his loyalty to Nadine is still ever present; Shelly and Bobby are still in heat with one another, and at least now have young love on their side; Donna has her whole life ahead of her, and Laura still watches over her, she has a sense of peace for now; Audrey remains longing for Cooper, but retains her mischeivious side -is she plotting to run off to Philadelphia to get her man, or merely daydreaming; Truman remains in the town upholding the law however mundane it is; Cooper has received greater insight but his true nature dictates he leaves to solve his next adventure. It gives a sense that life is going on for all these characters, and there's always something going on in the woods.

[Audrey Horne]

how about the night before -or the adventure before, Laura ultimately helps Cooper in the lodge (Leland too). However it's resolved, Cooper shares his vision with Sarah at Laura and Leland's grave site. She has a sense of peace. Hawk is also there and comments on the Lodges and dream souls. Cooper leaves while Hawk escorts Sarah to her car, with the sense that she and Hawk share a similar insight.

During the final Great Northern scene when Audrey walks Cooper to the lobby, a phone call from an impatient Albert is waiting for Cooper at the front desk -"What are you wasting time for, there's three bodies here ...we have work to do...." can be heard on the receiver. Either that, or Gordon Cole instead of Albert, or even better, both are heard. Cooper assures them he's on his way.

[Evenreven]

I like the Sarah, Hawk and Coop idea a lot. In my sketch too Sarah has a much more prominent place than in the actual series. The spiritual part of Twin Peaks is the only thing where I think a real resolution would have been a good thing. We get a certain resolution in FWWM, but it doesn't really involve the real-life Cooper or Sarah (or Briggsy for that matter). I get the sense that while Sarah has always had contacts with the spiritual, her first real psychic visions came with the doctor and the half heart. That's where the spiritual story of Twin Peaks begins, and it's only fitting if that story ends with Sarah too.

The only real problem I see with letting Twin Peaks go back to normal, is that they now know what the evil in the woods is. It's not hyperbole that, to me, THE moment that hooked my on Twin Peaks was Harry's monologue about the "evil in those woods" that had "been there as long as anyone could remember". It was so beautiful and mysterious. This really goes to the heart of my problems with even the early parts of the second season and later the whole Lodge deal; when the evil came from a tangible place "something beautiful was lost" to use The Dave VernacularTM. And this isn't criticising Frost; it was Lynch who came up with the tangible spirits when he said "Mark, there's a giant in Cooper's room!".

Then again, an ending where all the characters are like in the pilot would be total meta-soap and wouldn't have to worry about details like having a an opening to a gateway to a place beyond life and death and good and evil, say, a mile or two away.

[Henrys Hair]

Loving these ideas. Can picture the Audrey/Coop scene in my mind like it was actually in the show.

[Audrey Horne]

The only real problem I see with letting Twin Peaks go back to normal, is that they now know what the evil in the woods is. It's not hyperbole that, to me, THE moment that hooked my on Twin Peaks was Harry's monologue about the "evil in those woods" that had "been there as long as anyone could remember".

I agree -but as normal as a town as when Truman says this statement to Cooper in episode three. The darkness shouldn't be something that is universally known throughout the town, but instead intuited. That's why I would follow your plan with nixing Leland's ep 2.09 type death, and change it to his being found dead in the wood unexplained.

I agree with keeping any supernatural elements to Twin Peaks as ambiguous. Do these things only exist in the character's mind, etc.

God, I love this thread.

[Evenreven]

Yeah, you're probably right. With a different Leland death it wouldn't be so obvious. A resolution would have to take into account Cooper's liberation from Bob, though. But if it had happened on a more symbolic level - inside the Lodge - maybe then Briggsy and, say, Mike, Sarah, Hawk, Cole and/or Truman would feel (or better, sense) the evil more than they undertand it. If so, I think I buy the premise after all.

Hey, speaking of Leland's death, I just got an idea while writing this! Maybe it's a bad one, but still...

It goes like this:
Hawk and Andy are on the lookout for Leland who has disappeared into the woods as described in my episode by episode post earlier (they get this information from either Mike or the Log Lady, who can sense Bob's presence. I like the idea of Mike and Margaret as partners in fighting crime). Then suddenly they find Leland lying face down in between the trees. He is dead. There is no obvious cause of death but he's clutching a note in his left hand where has written "fire walk with me" with his own blood. And there is an "E"* underneath his fingernail.
(*edited: seems O was taken, so Leland is an E.)
Howsaboutit?

[Audrey Horne]

heck yeah!

that's great. but I personally think the Log Lady and Mike should not have private scenes together -except perhaps the tease of them meeting one another. Their scenes should be as arriving into other's scenes, and other's point of view. Because frankly it leaves the air of mystery, and also -c'mon no one could create the dialogue those two would have in private.

Josie's fate still ends up in the doorknob, right?

I like the James angle you took with the Josie arc, but would also have him leave around the same time in keeping with the practicality of Marshall wanting to leave the series.

*still love the thread -keep it going.