World of Blue - Archived Forum 2007-2022

Thanks for the kind words folks. I will go on record saying that it is a shame that the show was not picked up for a 3rd season. I liked the combo of John Justice Wheeler and Audrey. I can never get enough Billy Zane, I think its cause he was so great in the movie Demon Knight.

Audrey! youre such a tease!(but still one of my favortie threads)

SECOND SEASON, EPISODE FOUR



The fourth installment of the second season provides the character of Audrey with only one seen in which she is featured. However, her presence is a force to comment upon throughout the entire episode.

Arguably, Audrey's abduction, along with Leland's confession of Jaques Renault's murder and Donna's investigation into the mysterious Harold Smith, is taking over the driving action of the series while the Laura Palmer solution has been put on the back burner. However, as we will find out soon, everything ties back to the theme of Laura and her identity.

This episode is continuing to strengthen the triangle between Audrey, Agent Cooper and Benjamin Horne. Where last episode Ben warns Cooper to beware of his daughter's mischievous ways, he now must enlist Cooper is rescuing her. Jean Renault visits with Horne under the implication that One-Eyed Jacks is mismanaged. "Are my premiums about to be raised?"



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

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

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



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

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


Fenn's appearance in the episode is quite effective. Emory Battis drags her into Blackie's office to an awaiting Jean Renault. "Right this way. Come on, dreamboat. Daddy's waiting." The sight of Audrey is drastic. She can barely hold herself up, and is badly bruised on her face.



Todd Holland, who directed this episode, recalled to Mark Altman in his book, Twin Peaks, Behind the Scenes:

"In the scene where Sherilyn Fenn is supposed to be drugged with heroin while she's being held for ransom, I wanted her to look pretty beaten up. She wanted to look a little better. I told her "˜No, you're America's Sweetheart, you're America's favorite character' and finally she said "˜alright, alright.' She's one of my favorite characters because you thought she was such a big slut and she's probably the most moralistic person in Twin Peaks and that's all tremendous fun. The ones like her father feign morality and are incredibly treacherous, but they carry on a good business front."

Holland hits the nail on the head in regards to the peeling of the onion of Audrey; the "bad girl"who really isn't all that bad.



Here, the "bad girl"is condescendingly called a "dreamboat,"and that "Daddy"is waiting. I've talked before about Audrey being the dreamer, and Battis' line subtly reaffirms it. In fact, Audrey's point of view in this scene takes in Renault and the red drapes in a haze. It's impossible to separate the red drapes that continue to surround Audrey from the red drapes of Cooper's dream and Laura's resting place. Again, Battis' sexual use of the term "Daddy"strengthens Audrey's id, and the need to seek attention from her father. In two episodes from now, she'll call out from her nightmare, "Can you see me, Daddy? Can you catch me?" And in one episode after that, the parallels between Audrey/Ben and Laura/Leland will become all the more horrifying.







The scene is effective in the literal use. Audrey is in life-threatening danger, and Jean Renault is an adversary that Audrey cannot wiggle away from 'unlike the ease she has with every other antagonist up to this point. Audrey has been stripped of her power, her strength. When Renault shoots and kills Emory Battis in cold blood, Audrey is reduced to her purest form, all pretense gone; she is a scared, innocent weeping child. Renault's action following the shooting can only be describes as sadistic. He soothes the child, tenderly stroking her hair, cooing to her, "No, no. Shhhh." He cradles her, violating her further. I've talked before that Audrey's entrance to One-Eyed Jacks is treated like a dark fairy tale. And it continues in this manner, where Jean Renault truly is the big bad wolf.

We can also look at the subtext to Audrey's journey into One-Eyed Jacks. I have noted that it represents the adult world. And where Audrey has only flirted with using hints and traces of red (the high heels from her locker, a plunging sweater to flirt with Cooper, even the cherry stem) here she is engulfed in the world of red, a world of adult danger and mystery. By now, any astute viewer must suspect that character of Audrey is by nature actually an innocent, a virgin. And Laura Palmer's character has been revealed to be somewhat of a fallen innocent, one that fell into darkness and was raped and brutalized before her death. Audrey now is being metaphorically raped by the penetration of the heroin needle. She has been thrust into the adult world.





Another interesting detail of note 'resting on Blackie's desk is a gold cherub angel. Angel's won't come into play in the story until Fire Walk With Me, but it fits with the theory of intended parallel lives between Audrey and Laura, especially if Audrey had wound up in the Black Lodge amongst the red drapes (the most likely scenario before MacLachlans' behind the scenes protestation of this storyline).

A great episode for the character of Audrey.

Another fantastic entry Audrey! This could be my favorite thread here! Please don't make us wait too long for the next one

It's back on!

As with all the entries in this thread, I love your insights. I hadn't seen the Holland quote before - it confirms that he knew better than most of the crew what the show was about from his first day. I watched this episode again recently, and the creepiness of Jean Renault comforting Audrey after shooting Batis caught me off guard - on what must be tenth viewing. It's incredible - just watching it feels like being trapped.

thanks, guys. No problem -I'll get the next one up as soon as I find the screen grabs to go along with them -if only I knew of a way...

I rewatched this episode as well. I mean, I have seen most of the first half of the series probably at least a hundred times, not counting the numerous moments of "Oh, we have to rewatch that Audrey scene again!" while it was airing back in 1990. And I agree, I think it's a really good episode. Ray Wise provides one of his best moments in the opening (which I personally find much stronger than the tidied up solution in the cell in 2.09); the introduction of Royal Dano's Judge Sternwell; and the tense tout rope between Ben and Cooper. But I have to go with the lasting image of Audrey immobile, with a dead Emory Battis on the floor, and Jean Renault embracing her. Fenn doesn't have much to do, but she is really, really quite good in it. I think I've noted it before, but it might be because of her age in real life, she is always given meaty scenes to play along side the adult characters -the more seasoned actors, and she holds her own.

It's also a shame that -and maybe it's because of the aborted Cooper/Audrey arc -that she does not play a more immediate role in Jean Renault's demise. She does set in motion the saving of Cooper from Renault's plot by stealing the photos, but it would have given the previous connection more weight and satisfaction if she was involved with his death, and not just Cooper.

lovely, lovely, lovely! what a pleasure to read after a long day in the lab. didnt fenn have pneumonia or something similar at this time during shooting, hence the small amount of screen time? she does a convincingly good job of acting doped up, still she manages to look ELEGANTLY wasted and heartbreakingly lovely at the same time. and then just heartbreaking as she cries on jean's shoulder. one things thats always bothered me tho, ONLY $125,000 for audrey? i know that may have seemed like that was more money at the time(tho its not really that long ago ), but come on, a quarter of a million? such a pittance for ms. horne! thanks again audrey! youre the best!

She did have pneumonia. I think I brought that up in the last episode review.

Although, the scripts seem to still be intact with no trace of her scenes altered. Meaning, her drugged state was not as a means to cover for her illness. I have some copies of shooting scripts, and it looks like Fenn's call-time was very early in the morning before other scenes were shot- with the characters of Nancy, Battis, Blackie and Renault called in to accomodate.

From Twin Peaks, Behind the Scenes:

"It looked like it could give us some really serious problems," recalls Harley Peyton. "It turned out all right. She was tremendous and recovered rather quickly and came back sooner than she had to. We had different directors shooting each day and two directors shooting in a single day and, in fact, got all of her scenes done."

I still remember Mary Hart on Entertainment Tonight announcing it before the season premiere with the tease, "Will Audrey Horne be leaving Twin Peaks?"

And actually the price of the ransom one could argue is irrelevant. It seems the plot is to kill both Cooper and Audrey. Unless Renault's plan is to eliminate Blackie and return Audrey and continue to be a new business partner with Horne. But of course, he tells Blackie, "We can't let the girl live now" and is in the process of fixing Audrey a fatal dose.

ahh, youre right. i thought i had read about the pneumonia a long while ago, but im probably just remembering your last post. i can see how the money didnt really matter in the transaction, as jean's real reason for the blackmail is to get cooper and take over one-eyed jacks, and overdose audrey. but irrelevant? from jean's point of view, sure, but blackie and battis were still in on the scheme at this point, so they would most probably be after the money as well, but really the figure only matters to ben. it just doesnt seem congruent with his wealth is all. then again, im probably just projecting onto the situation. as in, she's worth so much more!!! what can i say? she was my first crush on an actress or celebrity. she had me at "freshly squeezed" when i was just ten and a half years old. i guess some part of me will always hold onto that . hence, my interest in your thread.

Yeah, "irrelevant" is definitely the wrong word. I just meant the figure is merely a plot detail, and the writers were more concerned with setting up Cooper and Audrey in danger than the mechanics of Blackie and co.'s motivation. The ransom could have been for One Trillion dollars and it would still set the story in motion. Actually, I had to rewatch and note how much the ransom was, whereas I can always remember that Tajamora offers Ben five million for Ghostwood.

But I agree, the sum should have been bumped up to something like 500 thousand. And what about Sylvia Horne? Granted, she doesn't have to be included here, but at least a mention that she's out of town or Ben is purposely not telling her. The story is strong enough, but this little detail bothers me.

And bear no shame in your first crush. Who would be better? I stand by the opinion that Audrey Horne, along with Cooper, is one of the finest creations in the medium. But I do feel both characters -along with almost all of Peaks characters- get incredibly dumbed down and tarnished in the later episodes and lose a lot of their power. However, over time those initial scenes prevail and leave a lasting impression on pop culture (The diner dance; smoking in a closet; tying the cherry stem).

I'm excited about the next episode because I have such fond memories of it, and anxiously waiting for Saturday night to come.

Audrey,

This post reminds me of why I put up a message board in the first place. Bravo! Keep it up!

-B

Audrey, this is the best thread right after the second season one! This begs to go in any future Wrapped In Plastic revival, your level of love, knowledge, appreciation and insight to the show is just amazing. Feel free to put up any rare Fenn pictures in the interim!

is sylvia in any episodes aside from the pilot, ep. 2, and the finale?

My stats remembering might be a bit off, but I'm pretty sure that is correct.

Her voice is heard in episode three arguing with Ben while Audrey spies on Jacoby and Johnny.

And of course, the edited scene from 1.06 with the tussle between Audrey, Johnny, Jacoby -"You pushed Johnny down the stairs."

It's a shame we lost her in the series. Not that she needed to be a main character, but having her icy, indifferent pressence would have added more tension I believe- especially when you contrast Donna and Audrey, with Donna's wholesome Doc Hayward and Eileen.

here ya go, Waldo. This is from People's 50 Most Beautiful People... I'll start scanning some more of my old stuff from storage. I have some pretty good articles and clippings.