Introducing information one character doesn’t know.
forwards with character’s deprived or provided with information ***,
forwards with audience deprived or provided info :()
Palmer’s body is on the examining table covered in plastic wrap. Harry to the right (Camera’s eye perspective) of her torso and Cooper to the left, an attendant in scrubs standing at her feet looking at the ceiling as the fluorescents flicker. The table examining lamp stays illuminated.
Attendant:
I have to apologize ***again for the fluorescents. I think it’s a faulty transformer.
Cooper: (examining her left hand’s fingernails with pocket magnifying glass)
Oh it’s quite alright. (moves lamp closer)
Agent Cooper we did scrap those nails when we brought her in.
Here it is. There it is. Oh my God here it is.
(to attendant, head turned away from the camera :() information withheld from audience :() )
Would you leave us please...
(Cooper’s expression communicates exceeding polite discomfort which the Attendant interprets as...)
(***, Attendant waits satisfied, thinking he’s addressed Cooper’s request. ***, Attendant hasn’t understood)
(Tone and behavior synonymous with his business he asks again in the same polite cadence)
Would you leave us alone please.
Find something to grab onto this with.
(retrieves tweezers. presses into her nail. pulls out tiny particle.)
Diane. I’m in the Twin Peaks County morgue with the body of victim whats her name
Palmer. I got her at the autopsy ward. It’s the same thing. I told you we’d see this again.
Ring finger. Under the nail.
Let’s see what he left us.
(places object on pane of plastic, holds up to the light with pocket magnifying glass)
***. :() Diane give this to Albert and his team. Don’t go to Sam.
Albert seems to have this a little more on the ball. We need to bag and tag this.
(&we’re focused primarily on his idioms, the phraseology we as an audience need to stay connected to if we’re going to follow this Hamlet’s ghost (re: conflicted protagonist with important information) through the unbelievable story he’s going to tell us. We get Cooper’s private language because he’s letting us and the Sherif in on the way he speaks in a hurry about something he dearly cares about to someone he trusts completely (Diane). The information about what’s going on in the room is pretty fairly distributed between characters and spectators. We’re comfortable to keep moving).
OK Cooper you’re gonna let me in (commanding) on whatever the hell is going on here (asking)?
Sherif we got a lot to talk about.