Deleted Scenes – Script to Screen Part 2

Scene 39: Shot of Twin Peaks sign.

MISSING CAPTION:

TWIN PEAKS ONE YEAR LATER

EXACTLY SEVEN DAYS BEFORE THE MURDER OF LAURA PALMER

[Ed. The script calls for on-screen captions at the beginning of each of the days. In the UK, the film was advertised as “Twin Peaks: Fire Walk with Me, Teresa Banks and the Last Seven Days of Laura Palmer”. Note that in the film, Scenes 39 and 40 like 37 and 38 come after Scene 56.]

Scene 40: Shot of Laura Palmer walking down the sidewalk.

Scenes 41-54: FBI headquarters, Philadelphia.

(Cooper tells Gordon it is 10:10 on February 15th and he is worried about today from his dream, as in the movie.)

(Cooper does the first round with the surveillance camera, as in the movie. But only the first at this point.)

DELETED Scene:

Buenos Aires hotel. Nice sunny day. The city in all its glory.

On screen it reads:

BUENOS AIRES

Phillip Jeffries checks into the hotel.

HEAD CLERK:

Here’s your key, Mr. Jeffries. I hope you enjoy your stay here at the Palm Deluxe.

(grabs a note)

This is for you. The joven … ah … young lady … she left it.

Rings the bell. A bellhop appears. Young, sweating, and eager.

Jeffries hands him the key.

BELLHOP:

612 — very nice.

He picks up Jeffries’ bag and heads for the elevator.

END OF DELETED Scene

(Back at FBI headquarters, Cooper does second round:)

Cooper stares at the monitor which still shows an empty hallway.

Cooper runs back out the door into the hallway. Behind him at the end of the hall a door opens and Phillip Jefferies who moments ago was in Buenos Aires enters the hallway headed towards Cooper, but Cooper doesn’t see him because he is staring intently into the camera as he has done twice before.

Cooper races into the room and stares into the monitor. This time Cooper is amazed to see himself staring into the camera, and behind him is Phillip Jeffries coming towards him and the camera. On the screen Jeffries walks past Cooper.

COOPER (shouting):

Gordon!

Cooper runs into Gordon’s office.

JEFFRIES/FBI OFFICE SCENE

[Ed. While the script calls for Jeffries’ dialogue to precede the convenience store scene, in the movie the two are intercut. Also, an interesting side-note on the Jefferies character is that in a press release for FWWM from the Twin Peaks Press, Bowie mentions that for his character, Lynch had given him a Frida Kahlo belt buckle which he liked so much that he kept after he was done filming. I’ve tried to grab a screenshot of this however, I am convinced that he isn’t wearing it in the scene. Most interesting is that this would tie back to Lynch’s fascination with Mexican artist Frida Kahlo. For in his film, Wild at Heart Lynch modeled Isabella Rosellini’s character, Perdita, to look like Frida Kahlo. ]

As Cooper gets to Gordon’s office, Albert and Cole are standing there staring bug eyed at Phillip Jeffries.

COLE:

PHILLIP!

Albert stands up.

ALBERT:

PHILLIP!

Jeffries moves into the room. Cooper steps into the office.

COOPER:

Phillip?

COLE:

COOPER, MEET THE LONG LOST PHILLIP JEFFRIES. YOU MAY HAVE HEARD OF HIM AT THE ACADEMY.

Jeffries stares at the threesome.

JEFFRIES:

I’m not going to talk about Judy. Keep Judy out of this.

COOPER:

But …

Cole calms Cooper.

COLE:

STAND FAST, COOP.

JEFFRIES (pointing at Cooper):

Who do you think that is there?

ALBERT (trying to calm Jeffries):

Suffered some bumps on the old noggin’, eh, Phil?

COLE:

WHAT THE HELL DID HE SAY?

(pointing at Cooper) THAT’S SPECIAL AGENT DALE COOPER.

(focusing on Jeffries)

ARE YOU OKAY, JEFFRIES? WHERE THE HELL HAVE YOU BEEN?

JEFFRIES:

I want to tell you everything, but I don’t have a lot to go on. But I’ll tell you one thing: Judy is positive about this.

ALBERT:

How interesting. I thought we were going to keep Judy out of this.

Jeffries stumbles to a chair.

JEFFRIES:

Listen to me carefully. I saw one of their meetings. It was above a convenience store.

ALBERT:

Whose meeting? Where have you been?

COLE:

FOR GOD SAKES, JEFFRIES, YOU’VE BEEN GONE DAMN NEAR TWO YEARS.

JEFFRIES:

It was a dream.

(takes Albert by the arm)

We live inside a dream.

ALBERT:

And it’s raining Post Toasties.

JEFFRIES (shouting):

NO. NO. I found something … in Seattle at Judy’s … And then, there they were …

Albert is about to say something, but is stopped by Cole’s gentle pressure on his arm.

JEFFRIES:

They sat quietly for hours.

Cut to the room above the convenience store.

Six people in a large, barren, filthy room. Cheap plastic storm windows flap in the cold wind. In the foreground the Man from Another Place (Mike) and BOB sit at a formica table. Behind them on plastic torn chairs huddle Mrs. Tremond and her grandson. Two big woodsmen with full beards sit quietly.

FIRST WOODSMAN (subtitled):

We have descended from pure air.

MAN FROM ANOTHER PLACE (subtitled):

Going up and down. Intercourse between the two worlds.

BOB (subtitled):

Light of new discoveries.

MRS. TREMOND (subtitled):

Why not be composed of materials and combinations of atoms?

MRS. TREMOND’S GRANDSON (subtitled):

This is no accident.

MAN FROM ANOTHER PLACE (subtitled):

This is a formica table. Green is its color.

He touches the table.

FIRST WOODSMAN (subtitled):

Our world.

MAN FROM ANOTHER PLACE (subtitled):

With chrome. And everything will proceed cyclically.

SECOND WOODSMAN (subtitled):

Boneless.

MIKE [sic] (subtitled):

Yes, find the middle place.

Bob begins to scream with anger.

BOB (subtitled):

I HAVE THE FURY OF MY OWN MOMENTUM.

TREMOND’S GRANDSON [sic] (subtitled):

Fell a victim.

The Man From Another Place raises his hand.

MAN FROM ANOTHER PLACE (subtitled):

Fire Walk With Me.

Bob claps his hand and a circle of fire appears in the room.

BOB (subtitled):

Fire Walk With Me.

THROUGH THE CIRCLE

We see the RED ROOM.

Bob crawls into the Red Room and Mike [sic] starts to yell and leaps in after him.

SECOND WOODSMAN (subtitled):

Thus time moves on.

[Ed. Note: There is no mention in the script of the masked man jumping around, that Mrs. Tremond’s grandson has a mask, or the monkey face. There is also no mention of the additonal lines “Garmonbozia” or “Electricity”. If you look real closely, you can see Calvin Lockhart sitting to the left of Mrs. Tremond. Calvin is best known for his role as Reggie in Wild at Heart. He is credited in this film as the Electrician which is fitting as it is the close up on his mouth that says the words “E-lec-tri-ci-ty.”]

Cut back to the FBI office.

JEFFRIES:

I followed.

Jeffries begins to cry quietly at his table.

JEFFRIES (to himself):

The ring … ring …

DELETED Dialogue:

COLE (hinting):

ALBERT, I’LL TAKE THAT SECOND MINERAL WATER.

After a hesitation, Albert gets the “message” and discreetly leaves the room.

COLE:

PHILLIP, LET’S CALM DOWN AND GET ALL OF THIS INTERESTING STORY ON PAPER.

Cole tries to raise someone on the intercom but it doesn’t seem to have any juice.

COLE (into the speaker):

HELLO … HELLO

He is getting nothing. The static begins to build on the intercom. The wiring in the wall and the fluorescent lights start to hum as well.

COLE:

LET ME HEAR SOME GOOD NEWS. MY DEVICE IS FAULTY. WHERE THE HELL IS THE SOUND IN THIS THING?

(pounds on the intercom)

MAYDAY …

Hearing “May,” Jeffries turns and stares at a calendar on the wall.

Move into Jeffries.

JEFFRIES:

May? 1989?

Closeup of Jeffries staring at the calendar. It is 1989.

Cooper looks out of the room to see if anyone is coming to help Cole who is still trying to get the intercom to work. The static grows even louder.

COLE:

WHAT … AM I ALONE?

Cole turns back to Jeffries. BUT THERE IS NO ONE THERE. JEFFRIES IS GONE. Papers from Cole’s desk are now sticking to Jeffries’ chair.

END OF DELETED Dialogue

COLE:

HE’S GONE.

COOPER (coming back into the room):

What?

COLE:

ALBERT, COME BACK HERE. HE’S GONE. CALL THE FRONT DESK.

ALBERT (on the phone): I’ve got the front desk right now. He never was here. No record of him entering the building … and the doctors should be here any minute.

[Ed. In the movie, Albert says here: “News flash from Deer Meadow. Agent Chester Desmond has disappeared.]

COLE (frustration building):

GREAT. I, MYSELF, AM GOING TO BE READY FOR THEM.

COOPER:

What’s going on?

ALBERT:

rushes back into the room.

DELETED Dialogue:

COLE:

QUICKLY MEN … WORD ASSOCIATION, COOP. WHAT ARE YOU THINKING ABOUT RIGHT NOW?

COOPER:

Teresa Banks.

COLE:

ALBERT?

ALBERT:

Tylenol.

COLE (to Cooper):

WHY ARE YOU THINKING ABOUT TERESA BANKS, COOP?

COOPER:

It was a year ago today that Teresa Banks was killed. I’m wondering if the murderer will ever kill again.

COLE:

ALBERT, WHY TYLENOL?

ALBERT:

No offense, sir, but after a day with you it is mandatory.

END OF DELETED Dialogue

END OF JEFFRIES/FBI OFFICE SCENE

DELETED Scene:

Scene 55: Buenos Aires hotel corridor.

Jeffries is suddenly standing in the second story hallway of the Buenos Aires Palm Deluxe Hotel. The wall behind him is seared black and smoking. A terrified maid is whimpering and scampering away from Jeffries trying to stave away an epileptic fit. She is looking at him like he is the devil personified.

The bellhop had run further away, but has turned back to see Jeffries reappear. He is afraid to come any closer.

JEFFRIES (to Bellhop):

Hey … hey …

BELLHOP (half crying):

Oh, Mr. Jeffries. De shit it come out of my ass! Santa Maria, where did you go?

They stare at each other as the blackened wall continues to smoke.

END OF DELETED Scene

[Ed. Everything from Scenes 41-55 have been confirmed to have been shot and then some. Source: Ron Garcia, Michael Anderson. Note the original cut of the Convenience Store Scene was originally 20 minutes long as Lynch had filmed a lot more footage that strayed off the original script. Michael Anderson had mentioned to me that the film version “doesn’t even come close to capturing all of the events that were filmed that day.” It was even rumored that an additional scene was filmed with Phillip Jefferies, however, according to Ron Garcia, the Buenos Aires scenes were the only Phillip Jeffries scenes that were cut.]

 

 

Scene 56: Surveillance room. Cooper and Cole sit in front of the monitor. Cooper plays back the surveillance tape. It shows Jeffries coming up behind Cooper as in the movie.

Scene 57: Laura walking down the sidewalk.

MISSING CAPTION:

THURSDAY – SEVEN DAYS BEFORE

(Laura stops at Donna’s house and picks up Donna, as in the movie.)

Scene 58: Laura and Donna walking down the sidewalk.

DELETED Dialogue:

LAURA:

If I am going to get through math today, you’re going to have to bring me up to speed quick.

DONNA:

You didn’t do your homework?

LAURA:

Noooo …

DONNA (a pal):

Okay, this test is going to be about the theorems I told you about last week. You remember the …

LAURA:

Don’t tell me now. Tell me right before the test. I won’t be able to remember long enough.

DONNA:

You graduating this year will be proof that miracles happen.

LAURA:

Thanks.

Laura tweaks Donna’s cheek.

DONNA:

James called me last night looking for you.

LAURA:

When?

DONNA:

The usual, 9:15.

LAURA:

He probably wanted to drive over.

DONNA:

Were you with Bobby? Or are you two still fighting?

LAURA:

No, and yes. I don’t know what I’m going to do about Bobby. I know he is seeing someone else and that’s okay with me, and he thinks I’m seeing someone else and that’s not okay with him.

DONNA:

Are you going to tell him about that “someone else”?

LAURA:

I don’t know what to do.

DONNA:

You know what your problem is?

(smiles)

You’re just too adorable …

LAURA (smiles back):

You know, I think you’re right. I’m just too adorable.

Donna grabs her and shakes her shoulders.

DONNA (sing-song):

Laura Palmer, you’re just too adorable.

LAURA (joining her, laughing):

I’m just too adorable. I’m just too adorable.

They continue up the sidewalk laughing.

END OF DELETED Dialogue

[Ed. Bobby and Mike do not encounter them on the sidewalk in the script, as they do in the movie.]

DELETED Scene:

Scene 60: Twin Peaks High School

As Laura and Donna walk in, five of their admirers watch Laura and Donna with love and worship. They sing a kind of pining but cool CHANT with knees bent and arms outstretched.

ADMIRERS:

Laura … Donna … Laura … Donna …

They continue down the hall. A cool Mike Nelson snaps his fingers a la Bobby for Donna to come to him. Without missing a beat, Donna changes directions. Mike has to hustle to catch up with her.

MIKE (putting his arm around Donna):

That’s why you need a real man, babe, you’re too tough to handle.

DONNA:

And you’re the real man?

END OF DELETED Scene

ALTERNATE Scene:

[Ed. This scene remains a mystery since portions of it were reworked for Laura and Donna’s intro scene. To be honest, I can see why the “Admirers Chant” portion was cut as it comes across pretty silly.]

Scene 61: Outside the girls’ bathroom.

James Hurley moves up behind Laura and pushes close to her.

LAURA:

James …

JAMES:

Laura, I’ll meet you at 2:30 after phys. ed.

LAURA:

Okay.

James smiles and walks off. Laura enter the girls’ room.

END OF ALTERNATE Scene

Scene 62: Laura snorting coke in girls’ room (as in the movie).

[Ed. In the movie, Scene 63 appears after we see Laura and James meet in Scene 64 and after seeing the clock showing 2:30.]

Scene 63: Bobby saunters into school–late as usual, kisses the glass case with Laura’s picture (as in the movie).

Scenes 64-65: Laura and James in custodian’s room.

Clock shows 2:30.

DELETED Dialogue:

JAMES:

Laura, do you love me?

LAURA:

Yes, I love you. I’ve told you, but it doesn’t really matter.

JAMES:

Why? It does.

LAURA:

No, it doesn’t … just kiss me.

JAMES:

It does matter.

END OF DELETED Dialogue

JAMES:

We’re in love.

(Rest of the scene, including “gobble, gobble” line, is as in the movie.)

Scene 66: Laura and Bobby outside the high school (as in the movie).

[Ed. No mention in the script of Bobby’s dance and strange-moving students seen in the movie.]

Scene 67: Laura and Donna talking in living room of Hayward house.

DELETED Dialogue:

Laura and Donna are laying down, eating nuts, not speaking.

Eileen Hayward rolls through the living room in her wheelchair and makes a quick check of the nut supply.

LAURA:

Hi, E.H.

EILEEN (with a nod to Laura):

L.P.

(to Donna): D.H.

DONNA:

Mom H.

Eileen motors out.

END OF DELETED Dialogue

(Rest of the scene, including discussion of Bobby, James, and Mike, is as in the movie, except:)

DONNA:

Do you think that if you were falling in space, you would slow down after a while, or go faster and faster?

LAURA:

Faster and Faster. For a long time you wouldn’t feel anything. Then you would burst into fire … forever …

EXTRA DIALOGUE (in movie, but not in script):

LAURA (continued):

… and the angels wouldn’t help you, ’cause they’ve all gone away.

END OF EXTRA DIALOGUE

Scenes 68-71: Laura comes home, goes to her bedroom.

MISSING ACTION:

She goes to her “public” diary which she keeps on her desk. Opens it to page one, takes out a packet full of cocaine. Like a pro she takes out a “cocaine gadget” from her purse and takes a snort. Then another. Big sigh of relief.

END OF MISSING ACTION

(Rest of the scene, including getting “secret” diary and finding pages missing, is as in the movie.)

DELETED Scene

 

 

Scene 72: Palmer house entrance.

Laura runs down the steps nearly colliding with her mom, Sarah Palmer, coming down with a load of groceries. A cigarette in her mouth.

SARAH:

Laura, honey …

(smoke getting into her tearing eyes)

Cigarette … cigarette …

Laura takes it out of her mouth.

LAURA:

Can I take the car?

SARAH:

Sure honey, what’s the hurry?

LAURA:

I forgot my books at school.

Laura runs from the house.

SARAH:

Laura.

LAURA:

What?

Laura looks back to see her mom dangling the car keys in front of her. Laura comes back to get the keys, still holding the burning cigarette. Sarah sternly takes the cigarette from Laura’s hand. As they make the exchange:

SARAH:

You’ll never be a smoker if you don’t start. I mean it.

Takes a drag. With barely a nod, Laura is gone.

END OF DELETED Scene

[Ed. Confirmed to have been shot. Source: Grace Zabriskie.]

Scene 73: Laura speeds through Lotown in her mom’s ’56 Roadmaster Buick.

Scenes 74-75: Laura in Harold Smith’s apartment.

(The dialogue for the first part is as in the movie.)

She allows the feeling of Bob to come over her and she begin to scream. Harold steps back, but Laura grabs him. We see his face and a horrifying expression on hers.

LAURA:

FIRE WALK WITH ME.

[Ed. Script does not mention closeup of Laura’s face, all in white, with black teeth, as seen in the movie.]

She buries herself on his shoulder.

LAURA (whispers): The trees … the trees …

They break.

LAURA:

You have to hide the diary, Harold. You made me write it all down. He doesn’t know about you. You’ll be safe.

DELETED Dialogue:

She stares at Harold. Her eyes widen, terrified with suspicion.

LAURA:

You’re not Bob, are you, Harold? If you are, you can kill me right now. Kill me right now, if you are.

HAROLD:

Laura, no. I’m not. I’m not Bob.

(begins to shake and cry)

Poor Laura. I wish I could help you.

He holds her.

LAURA:

I hate him, I hate it. Sometimes I love it. But now I’m afraid. I am so afraid.

HAROLD:

But you’re strong Laura … so much stronger than I …How can I help you? I can’t. I can’t even go outside.

END OF DELETED Dialogue

(Rest of the scene is as in the movie, as she leaves and says she doesn’t know when she can come back, maybe never.)

DELETED Scenes:

Scenes 76-77: In the car outside Harold’s apartment.

Laura goes out to the car.

Laura starts the car and takes a snort of cocaine.

Laura pulls out onto the highway. We stay with her watching her face–struggling with the prospects of the terrifying future.

[Ed. Unconfirmed whether this was shot, however, it is very likely as they shot scenes of Laura pulling up to Harold’s house in her car. Note that for Twin Peaks: Fire Walk With Me, they used both a different exterior as well as a different interior for Harold Smith’s house than they used in the TV Series. The original Harold Smith exteriors and interiors were shot in California.]

Scene 78: Palmer dining room

Laura rushes in to find her mom setting the table. Sarah stops and stares at Laura.

SARAH:

You lied to me about those school books. I found them upstairs on your bed.

LAURA (suspicion and paranoia):

What were you doing in my room?

SARAH:

I was looking for that blue sweater that you borrowed which I found balled up in the bottom of your closet. Now why did you lie to me? Where did you go?

LAURA:

I had to see Bobby. I know you really don’t like Bobby, but there was a problem and I didn’t think you would understand.

SARAH:

Oh, honey, you don’t have to lie to me. Ever. You can tell me anything. I’ll understand.

LAURA:

I’m sorry, Mom.

SARAH:

Now hurry, dinner’s almost ready. Your father says he’s starving.

[Ed. Confirmed to have been shot. Source: Grace Zabriskie.]

Scene 79: Palmer dining room

Laura is already at the table. Sarah puts the rest of the dinner on the table and sits down just as Leland enters from the kitchen. He is pretending he is a giant. Using a voice like a giant.

LELAND (big giant voice):

Hello, Laura. Hello, Sarah. Where’s my axe?

(singing) “I’m hungry.”

SARAH:

Oh, Leland.

LAURA (embarrassed):

Dad.

LELAND (suddenly speaking Norwegian):

Hyggelig ĺ mřte dem. Jeg Heter Leland Palmer.

Translation is: How are you? My name is Leland Palmer.

Laura and Sarah stare at him.

LELAND:

The Norwegians are coming next week and I want you to learn to say what I just learned in Norwegian. So you can talk to them. I want you to learn to say, “Hello, my name is Leland Palmer.”

LAURA:

But my name isn’t Leland Palmer.

SARAH:

Neither is mine. And can’t we talk about something serious for a change?

LELAND:

This is serious. Mr. Benjamin Horne’s got a delegation of Norwegians coming in next week and I want both of you to learn to introduce yourself. Sarah, you first.

Leland repeats his phrase for Sarah’s benefit.

LELAND:

Hyggelig ĺ mřte dem. Jeg Heter Leland Palmer.

Sarah stumbles through it.

SARAH:

Hyggelig ĺ mřte dem. Jeg Heter Sarah Palmer.

Leland repeats his phrase back to her. Extends his hand in a friendly handshake.

LELAND:

Good. We’ll practice some more. Laura, now you try it.

Laughingly, Laura does the same thing.

LAURA:

Hyggelig ĺ mřte dem. Jeg Heter Laura Palmer.

After Laura is done.

LELAND:

All together now …

Leland extends a hand to each of them. An air of insanity seems to come over the Palmer dining room as they all begin to laugh hysterically and talk in broken Norwegian.

[Ed. Confirmed to have been shot. Source: Grace Zabriskie, Photographic. Note that Grace Zabriskie describes this scene as the laughter starting to be warm and gradually builds into a scene of complete over the top hysteria. In speaking with Grace, she has told me that of all the scenes that she filmed for Twin Peaks, this was her most treasured and she hopes to be able to see this scene someday. Also to note, the phrase “Hyggelig ĺ mřte dem” is more precicely translated as “nice to meet you” rather than “how are you” as noted in the script.]

Scene 80: Laura’s room.

The clock reads: 11:30. Laura’s hands open the window and release the screen. Laura silently sneaks out the window and down the side of her house.

Scene 81: Side of the highway.

A big semi comes to a stop at a wide spot in the road. Laura climbs into the truck.

Scene 82: Inside the truck.

The trucker smiles. Eager.

TRUCKER:

Friend of Leo’s, right? Partyland?

Laura begins to unbutton her blouse. Turns and sneaks a toot of cocaine.

TRUCKER (catching her):

Wait a minute, Leo says this is my party.

Laura puts her hand between his legs.

LAURA:

If you can fuck and drive, the party starts right now.

Momentarily taken aback, the trucker stares at her. Laura takes his hand and puts it on the gear shift.

LAURA:

You shift that one. This one’s mine.

She climbs over on top of him.

Scene 83: Truck exterior.

The stack blows. The truck rolls away onto the road. We watch it as it moans into the distance–the sound slowly diminishing and fading. Natures’ nighttime sounds take over. Finally, we hear the HOOTING OF AN OWL.

END OF DELETED Scenes

[Ed. Confirmed to have been filmed. Source: Sheryl Lee. Note: The scenes with Laura and the Trucker were filmed in California in Franklin Canyon right next to the area where Leland walks into the entrance to the Red Room. Also note that the script does not include the Scene with Laura in her room, and the fan turning, as seen in the movie.]

Scenes 84-85: FBI office, Philadelphia.

DELETED Dialogue:

Albert and Cooper.

ALBERT:

Cooper, the ooze of mumbo jumbo is rising up above our heads. Do you honestly think Cole’s practice of word association works?

COOPER:

The very fact that we are talking about word association means we are in a space that was opened up by our practice of word association. The world is a hologram, Albert.

ALBERT:

Yes, it’s a great big psychedelic circus ride, isn’t it, Cooper?

COOPER:

Albert.

ALBERT:

You said “Teresa Banks,” so you think something is going on somewhere in the world right now that is connected with her murder?

COOPER:

Yes. Either right now or right when I thought it. The name and memory of Teresa Banks is haunting me.

END OF DELETED Dialogue

COOPER:

Lately I have been filled with a knowingness that the murderer will strike again. Because it is only a feeling, I am powerless to stop it. And another thing, Albert, when the next murder happens, you will help me solve it.

(Rest of the Scene, with Cooper describing victim, and that she is “preparing a great abundance of food”, is as in the movie.)

Scenes 86-89: Double R Diner.

MISSING CAPTION:

FRIDAY – SIX DAYS BEFORE

(Scene begins as in the movie, with Norma asking Shelly to help Laura with the Meals on Wheels.)

With a little squeeze of the hand and a gentle shove, Norma moves Shelly towards Laura who is at the end of the counter.

MISSING ACTION:

The door opens to the diner and Ed and Nadine Hurley come in. Nadine stops when she sees Norma.

NADINE:

I changed my mind, I don’t want any coffee, Eddie.

Nadine goes out. As she walks past Ed, he looks at Norma and makes a “what can I do?” gesture.

ED:

Sorry, Norma.

Ed goes out.

END OF MISSING ACTION

(Rest of the scene with Laura getting picture from Mrs. Tremond and her grandson and running off, are as in the movie.)

ALTERNATE LINE:

GRANDSON:

He’s looking for a book with pages torn out. He’s walking towards the hiding place. He’s moving under the fan now.

[Ed. Scenes with Ed and Nadine were confirmed to have been filmed. Source: Everett McGill. Also note, there is no mention in the script of “the man behind the mask” as in the movie. This and the missing description of the masks in the convenience store indicate that the mask was added on the spot during filming.]

DELETED Dialogue:

Shelly goes back inside to Norma.

SHELLY:

Laura just took off. She asked me to do the run today. Should I do it?

NORMA:

What’s wrong with Laura? Yeah, sure, take a look around.

There’s no one here anyway.

SHELLY:

You’re right. There’s no one here.

NORMA:

There’s no one here.

SHELLY:

Norma, are you alright?

Norma just turns away and picks up some dirty dishes.

NORMA:

Come back as soon as you can.

SHELLY:

If Leo comes here, he won’t believe that I am out doing the Meals on Wheels.

NORMA:

Don’t worry, Shelly, I’ll handle Leo.

Shelly leaves the diner.

In the empty diner, Norma walks over and sits in a booth. She studies the empty diner. After a while, the cook, Toad, calls from the kitchen. A distant forlorn call.

TOAD:

Kind of quiet.

Closeup on Norma, as she starts to cry.

END OF DELETED Dialogue

[Ed. It is assumed that this scene was most likely filmed completely and just severely cut down in the final version of the film.]

Scenes 90-93: Laura comes home, walks through house, sees Bob, and runs from the house, all as in the movie.

[Ed. Note: For Fire Walk With Me, they used a different house for the exteriors of the Palmer home. The house they used for the exterior is actually the same house they used in both Fire Walk With Me and the TV Series for the interior shots. I can’t help but wonder if maybe they decided to go with the other exterior if only for the noticeable electrical wiring displayed prominently outside of what could be Laura’s window.]

Scenes 94-95: Laura runs from the house, falls to her knees in neighbor’s yard.

(Beginning of the scene, with Leland leaving the house and Laura frantically whispering “It can’t be him” is as in the movie.)

DELETED Scenes:

Laura is coming apart, sobbing. Behind her, on the sidewalk, a neighbor has noticed her.

WOMAN:

Laura …

A closer look reveals how upset Laura is.

WOMAN:

What … Laura, are you all right?

Laura turns away so the woman can’t see her crying. The woman takes a couple of steps off the sidewalk onto the grass.

LAURA (trying to hold it together):

I … lost my necklace … it must have fallen.

Laura mimes that she has found her gold half-heart necklace. She pretends to be clasping her gold half-heart necklace which was already around her neck.

LAURA (clumsily):

Oh, here it is.

Woman moves back to the sidewalk.

WOMAN:

Well, I’m glad you found it, darling.

Slowly, Laura stands and moves away–leaving Mrs. Tremond’s picture on the grass under the tree.

[Ed. Confirmed to have been filmed. Source: Anthony Anderson. On set photos above by Anthony Anderson.]

Scene 96: Laura stands in front of her house. Terrified.

Scene 97: House interior. No Bob. She listens to the house … stands in the entrance way.

Scene 98: Living room. Laura listens. Hears nothing.

Scene 99: Stairs and hallway. She stops and stares at the fan and then slowly makes her way up the stairs towards her room.

Scene 100: Laura’s room. No Bob in her room. The dresser is back in its place. Laura races out.

Scene 101: Laura races down the sidewalk.

END OF DELETED Scenes

[Ed. Confirmed to have been filmed. Source: Anthony Anderson. According to Anthony, there were many takes of Laura running out of the house and screaming.]

Part 3

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