Scene 102: Laura and Donna at the Hayward house.
Donna answers the door. Laura stands there out of breath.
DONNA:
Laura?
LAURA:
Donna, are you my best friend?
DONNA:
Of course …
Laura dives toward Donna and into a hug.
DONNA:
What is it Laura? What’s wrong?
DELETED Dialogue:
LAURA:
I just want a friend. Just one friend for just one minute …
DONNA:
Laura, how about one friend for the rest of your whole life?
LAURA:
Yes, that’s what I want. Thanks, D.
DONNA:
Okay, L.
(looks into Laura’s eyes, a step toward confronting something unspoken)
I am your friend … always. But sometimes … lately … I feel that you don’t like being around me because I am so uptight.
(off Laura’s look)
No, I am uptight. I hate it. I don’t want to be this way, but Laura I don’t … I mean … I’m your friend no matter what way you are.
LAURA:
You know, even when I think about your face I get happier.
They go and sit down on the couch.
DONNA:
Do you want to talk?
LAURA:
No, I want to smoke.
She digs for a cigarette in her purse.
DONNA:
I’m a mess today, too.
(takes a breath)
I’m thinking about doing it with Mike. What do you think?
LAURA (still looking for a cigarette):
Donna, you’re such a crack-up. You don’t even like Mike. Is this what you are going to do to show me you are not uptight?
DONNA:
This is about sex, not like.
(yells to the kitchen)
Mom, Laura’s here and I think I will have one of those huckleberry muffins.
(to Laura) You want a muffin?
LAURA:
If I can smoke it.
DONNA:
You want a muffin?
LAURA:
Donna, you ARE a muffin.
They hear Doc Hayward in the kitchen. He walks in with a magician’s handkerchief. With a flourish, he tries to pull something out of it. Instead, he stands there empty-handed.
DOC:
The red rose. Where is the red rose?
(frustrated) You know the light at Sparkwood and 21? It worked right there. I just did it right there.
Laura finds a cigarette finally and lights it.
DOC (stands and stares at Laura smoking):
Why is it that you can’t smoke at your home and I’m a doctor and I don’t allow smoking in my home and I let you smoke in my home?
LAURA (smiling her killer smile):
Because you love me so much.
DOC:
I do love you, you little smoking whipper snapper.
Eileen Hayward brings out the muffins on her lap in her wheelchair. All four have muffins.
EILEEN:
These muffins each have at least seven full huckleberries in them.
While eating, Doc takes out a piece of paper and stares blankly at it. The girls exchange glances about what Dad is doing as they chew on the muffins. Doc is struggling.
DONNA:
Dad, what in the world are you doing?
DOC:
What the hell is this?
Donna peeks over his shoulder.
DONNA:
It’s a prescription.
DOC:
It is?
DONNA:
Dad.
DOC:
My handwriting is so bad that now I can’t even read it. You girls better hurry up and graduate from high school so you can take care of me.
DONNA and LAURA:
We’ll take care of you.
They go over to Doc and give him a knuckle rub. Eileen laughs along with the two girls. The phone rings and Doc gets it.
DOC (on the phone): Yep, she’s right her, Leland …(to Laura) It’s for you. It’s your father.
Laura goes tentatively to the phone.
LAURA:
Hello …
LELAND’S VOICE:
Time to come home for dinner, honey.
Laura hangs up the phone.
LAURA:
I gotta go.
Donna leads Laura to the door. There is something wrong and Donna is beginning to feel it. Donna tries to cheer her up.
DONNA:
Goodbye, Muffin.
LAURA:
No, you’re the muffin.
Laura leaves. As Donna closes the door, Laura calls back to her.
LAURA:
No, you’re right. I am the muffin.
[Ed. Note: See the Partyland dialogue in Scenes 135-136.]
END OF DELETED Dialogue
[Ed. Confirmed to have been shot. Source: Mary Jo Deschanel.]
Scenes 103-104: Laura returns home, where Leland is at the dining room table ready for dinner. “Fingernail” and bathroom scenes are as in the movie.
Scenes 105-106 10:35 PM. Laura at her desk, Leland and Sarah in their bedroom.
[Ed. There is no mention of Leland, rocking back and forth, as was seen in the movie.]
Sarah and Leland get ready for bed. Leland stops, stands frozen for a moment, then begins to cry.
SARAH:
What is it, Leland?
Leland can barely speak.
DELETED Dialogue:
LELAND:
I can’t remember the last time that I told Laura that I loved her.
Sarah goes to Leland. They embrace, tenderly, across the many years of their strained marriage.
SARAH:
Well, honey, go in and tell her now.
END OF DELETED Dialogue
(Rest of Scene, with Leland in Laura’s room, is as in the movie.)
Scene 107: Laura’s bedroom.
[Ed. No mention in the script of Laura looking at the angel picture on her wall.]
After Leland leaves, Laura remembers something. Cut to Mrs. Tremond’s picture. The picture lies there in the night dew under the tree in the neighbor’s yard.
[Ed. See Scenes 94-95.]
DELETED Scenes:
Scenes 108-110: Outside of Palmer’s house.
Laura goes down the trellises and runs across the lawn, into the neighbor’s yard.
Laura hunts around the tree for the picture, finally finds it. She runs back towards her house.
Cut back to Laura’s room.
Laura climbs through the window and hangs the picture on a little hook on the wall…
END OF DELETED Scenes … and crawls into bed.
Scenes 111-116: Laura’s dream.
(Moving into the picture, seeing Mrs. Tremond, moving through second doorway, and seeing Mrs. Tremond’s grandson, is all as in the movie.)
DIFFERENT ACTION:
Mrs. Tremond’s grandson is holding his hands above him as if he is grasping an imaginary glass ball. As we move towards the space between his hands, a ring of fire appears there and we move through that into the Red Room.
END OF DIFFERENT ACTION
(Man From Another Place walks in, goes to table with ring on it, and Cooper enters, all as in the movie.)
DELETED Dialogue:
MAN FROM ANOTHER PLACE:
Is it future? Or is it past? …
END OF DELETED Dialogue
MAN FROM ANOTHER PLACE (cont.):
… Do you know who I am? … I am The Arm … And I sound like this …
MFAP makes “Indian Whooping sound” [sic], picks up ring, and Cooper warns Laura not to take it, all as in the movie.)
Back in Laura’s room, she is in a somnambular state and is half awakened by a noise. She tries to move her left arm, but it has fallen asleep. She moves it with her right arm.
Special effect: the noise sounds as if someone is calling her name.
Laura turns to her right to see who it is, then turning back to her left SHE DISCOVERS ANNIE BLACKBURN LYING IN BED WITH HER. Annie has blood around her mouth. She tries to raise herself and strains to speak.
ANNIE:
My name is Annie. I’ve been with Laura and Dale. The good Dale is in the lodge and he can’t leave. Write it in your diary.
Pan to Laura’s door. Her mother calls her name. The sound is distant and mournful.
Laura looks toward her door, then turns back to Annie but she is gone. Filled with fear, she looks down and in her hand is Teresa Banks’ ring. She screams.
Again, her attention is drawn to her door and her mother’s distant call. Still holding the ring, she gets out of bed and goes to her door and slowly opens it.
It is dark on the other side of the door.
In the doorway, Laura gets a strange feeling in back of her and turns to look at Mrs. Tremond’s picture. There in the picture is Laura (herself) in the doorway looking back into the darkened rooms where Mrs. Tremond and her grandson were.
Cut to Mrs. Tremond’s picture. In the picture, Laura turns around in the doorway of the picture and looks down at her room.
Cut to picture’s POV of her room. Laura see herself asleep in her bed.
Closeup of Laura. Morning. She wakes up from her dream. Trying to clear her head. Looks at the photo and nothing is there–looks like the day before. She looks in her hand and the ring is gone.
Laura gets out of bed and goes to Mrs. Tremond’s picture hanging on the wall. She stares at it. She slowly takes it off the wall …
MISSING ACTION:
… and places it in the trash. Trembling, she does two lines of cocaine.
END OF MISSING ACTION
MISSING CAPTION:
SATURDAY – FIVE DAYS BEFORE
DIFFERENT SCENE ORDER:
[Ed. In the movie, Scene 117 appears before Scene 185 (the morning after Bobby kills Cliff Howard).]
Scene 117: Front of Palmer house – morning.
James comes by on his bike. He beeps out a signal on the bike’s horn. After a beat, Laura runs out to him.
JAMES:
Where were you last night? We were supposed to get together.
DELETED Dialogue:
JAMES:
You didn’t show up.
LAURA:
You were supposed to show up. Maybe I wasn’t.
JAMES:
We were supposed to be together.
LAURA:
How can I be together if I’m not together?
END OF DELETED Dialogue
JAMES:
You’re on something again, aren’t you?
LAURA:
James …
JAMES:
When am I going to see you?
Leland comes out the door of the house. Looks at Laura and James. Laura can feel him staring.
LAURA:
I gotta go.
James just looks at her, then guns his bike and roars away.
Laura walks back to the front door where her father stands.
DELETED Dialogue:
LELAND:
Who was that?
LAURA:
A friend from school.
LELAND:
A special friend?
END OF DELETED Dialogue
Laura looks at her dad, eyeball to eyeball for a moment. Then she walks past him to the stairs.
END OF DIFFERENT SCENE ORDER
DELETED Scene:
Scene 118: The stairway.
The fan turns slowly as Laura goes up the stairs.
BOB’S VOICE: Laura.
Laura’s head snaps around.
LAURA:
No … No, go away.
BOB’S VOICE:
I’m glad you let me talk to you. You used to not let me talk to you.
LAURA:
Go away. I am not talking to you.
BOB’S VOICE:
I want you.
Sarah Palmer is at the bottom of the stairs.
SARAH:
Laura?
Laura jumps.
SARAH:
Laura, now I can’t find that blue sweater. Did you take it again?
[Ed. See Scene 78.]
LAURA:
Mom … what are you wearing?
Sarah looks down. She is wearing the sweater that she is looking for.
SARAH:
My god, I am going to have another breakdown. God, god.
LAURA:
Mom, take it easy.
Laura starts down the stairs towards her mother.
SARAH:
No, no … this can’t be happening.
Laura holds her mother.
LAURA:
Mom, you’re not having a nervous breakdown.
Sarah pulls away from Laura and wanders into the living room. Laura watches her go, feeling helpless.
END OF DELETED Scene
[Ed. Confirmed to have been shot. Source: Grace Zabriskie.]
Scene 119: Johnson’s kitchen.
Leo Johnson is ragging on Shelly. He is down on his hands and knees, showing her how to scrub the floor.
DELETED Dialogue:
LEO:
Someone who knows how to clean knows where the object was before she started cleaning and then that object goes back to its exact same spot. Shelly, I know where everything in this house is. Sometimes on the road I mentally go through this whole house and picture where every item is.
SHELLY:
Lay off the bennies, Leo.
LEO:
Anybody can clean the surface of an object, but dirt can find its way anywhere. To really clean, you have to scrub below the surface.
(shouting)
WHERE THE DIRT IS, SHELLY.
He scrubs more.
LEO:
That’s one thing you are going to learn, Shelly – HOW TO CLEAN. It takes scrubbing, Shelly. There is no easy way.
END OF DELETED Dialogue
LEO:
THIS IS WHERE WE LIVE, SHELLY.
SHELLY:
As if I didn’t know.
(Rest of Scene, with Leo answering the call from Bobby, is as in the movie.)
Scenes 120-122: Phone conversation between Bobby and Jacques, setting up the drug deal, all as in the movie.
Scenes 123-125: Laura drinking in her living room, Donna arrives and wants to join her.
Where are you going?LAURA:
No place, fast.(a warning) And you’re not coming.DONNA:
Come on, Laura. I’m your best friend.
DELETED Dialogue:
LAURA (change of subject):
Isn’t tonight the night you’re going to do it with Mike?
[Ed. See Scene 102.]
END OF DELETED Dialogue
DONNA:
Laura, aren’t you going to fix me a drink?
Laura shoots her a look.
DONNA:
Where are the cookies?
LAURA:
You mean Fred and Ginger?
DONNA:
Dancing.
Donna looks around at all the ashtrays filled to the rim with butts.
DONNA (looking at the cigarettes):
If I had a nickel for every cigarette your mom smoked, I’d be dead.
LAURA:
Gotta go, Donna. I’ll call you tomorrow.
Laura leaves the house. Donna trails behind.
Laura gets into her mom’s Roadmaster and takes off. Donna watches her go and gets in her car and follows.
DELETED Scene:
Scene 126: Inside the Roadmaster.
At the first stop sign, Laura takes another hit of cocaine.END OF DELETED Scene
[Ed. Unconfirmed to have been shot but very likely since they shot the scene with Laura pulling up to the Roadhouse in the Roadmaster. This was confirmed by Greg Olson in his book “Beautiful Dark.]
Scene 127: Outside the Roadhouse, Laura meets the Log Lady.
LOG LADY:
When this kind of fire starts, it is very hard to put out.The Log Lady touches her. Her hand is cooling on Laura’s head. Laura moves in behind it. Pushing the cool hand into her face and forehead.
DELETED Dialogue:
LAURA (whispers):
Margaret?
END OF DELETED Dialogue
LOG LADY:
The tender bows of innocence burn first and the wind rises–then all goodness is in jeopardy.
They look into each other’s eyes. The Log Lady turns and leaves.
[Ed. There is a great story of the filming of this scene including a touching moment between David Lynch and Sheryl Lee along with a funny story about the dog that walked through the shot. Both are featured in Greg Olson’s book “Beautiful Dark.]
Scene 128: In the Roadhouse.
As Laura comes in, she makes eye contact with Jacques Renault, who is behind the bar. Laura sits at a table. Jacques nods to a couple of burly truckers who come over to Laura with drinks. One of them slides her a fifty with a packet of cocaine inside.
[Ed. Laura’s first line in the movie: “So you want to fuck the homecoming queen” is not in the script.
Let’s go around the world, babe.LAURA:
This isn’t going to get you to Walla Walla.They all take a drink.TRUCKER:
You do go all the way, don’t you, little girl?
LAURA:
Sooner or later.
Laura reaches below the table, grabbing him hard by the balls.
LAURA:
You willing to go all the way? Huh? You wanna do it for me?
DELETED Dialogue:
LAURA (cont.):
All the way for me means ALL THE WAY–DEAD.
END OF DELETED Dialogue
The trucker turns a couple of shades towards white. Donna comes in just as a beautiful song of lost love begins.
Laura and Donna see each other. As the truckers toss down bourbons and beer chasers, Laura gets lost in the song and starts to cry. Donna just stares at her from the other side of the Roadhouse.
(Rest of the Scene, until all four leave the Roadhouse, is as in the movie.)
[Ed. In the movie, Laura listens to the song and cries before the Truckers approach her.]
DELETED Scenes:
Scenes 129-130: In the Truckers’ car.
The car barrels down the highway. It’s a beat-up Chevy Biscayne, with a hot monster engine under the hood.
Tommy drives sitting next to a case of ice cold beer. Donna and Laura sandwich Buck in the back seat. Donna takes a long swig of beer. Laura hides a hit of cocaine from Donna.
DONNA (to Laura, a little afraid):
What are you doing?
LAURA:
Nothing.
Laura laughs at Donna, then holds a beer up to show Donna, then turns and French kisses Buck. Donna reaches forward to the front dash and turns the radio up full blast. Buck and Tommy start to whoop and yodel like cowboys.
Buck does an Indian whoop in Laura’s face. Laura freezes in horror.
[Ed. Confirmed to have been shot. Source: Victor Rivers.]
Scene 131: Flashback to the Red Room.
The Man From Another Place (The Arm) yodels. [sic]
Scene 132: Back to the car on Highway 21.
Slowly Laura reaches over and touches Buck’s face and arm. Buck uncorks another yodel. The fear leaves Laura.
DONNA (to Laura):
I’m goin’ for it.
Donna starts making out with Buck.
Scene 133: Exterior of border truck stop.
Tommy takes the car like a rocket into the parking lot and does a complete three-sixty before rocking to a stop. Several big rigs shadow the lot. They all pop out of Buck’s car sporting “long necks.”
Laura takes a hit of cocaine and looks up to see Donna watching. Buck circles Donna with his big arm and puts a toot under her nose.
DONNA:
No.
(turns to Laura): I don’t need to take this to be your friend.
LAURA:
YES YOU DO, DONNA. What a downer you are!
BUCK (pointing to skid marks behind a heat popping car):
Hey, Tommy, Jacques beat us here.
TOMMY:
Hold on, I’m chokin’ the farm fed.
Tommy stands in the lot with his back to them, pissing.
Scene 134: Inside border truck stop.
The front room is a bar and restaurant with about three patrons. Above the bar is a sign that reads:
CAN – A – DO and U.S. OF FUCKIN’ “A”
The bartender presses a release underneath the counter that allows Laura to take her three friends through a door over which a sign hangs announcing in red neon letters:
PARTYLAND
END OF DELETED Scenes
[Ed. All transition scenes from the Roadhouse to Partyland have been confirmed to have been shot. Source: Victor Rivers, Photographic.]
Scenes 135-136: Partyland.
[Ed. Although these scenes are essentially similar to the ones in the movie, they are included in the script here, as there are some slight differences and there are comments noting things which are not all apparent in the movie. There are also several important missing pieces of dialogue, noted below.]
The group enters a large room with the filthiest wall to wall carpet imaginable. In the back corner is a small stage. On it, a three piece hell-metal band is building up toward oblivion. The lead singer is dressed in a buffalo skin complete with at least half the buffalo head and horns. He wears spray painted, day-glo orange cowboy boots.
Some half-dressed girls and cowboys are dancing to the band. In darkened corners away from the stage, other groups are racing the band to oblivion.
Laura leans over to Donna, noticing her shocked look.
LAURA:
Don’t expect a turkey dog in here.
Jacques Renault comes up to the group.
JACQUES:
Hey, slow pokes, guess what? There’s no tomorrow.
He grabs Laura up and gives her a big, sloppy wet kiss.
JACQUES:
Baby, you know why? Cause it’ll never get here.
LAURA:
Hey, Jacques …
JACQUES (slurred):
No “Jacques.” I am the Great Went.
[Ed. See Laura’s line in the woods in Scene 213.]
LAURA (for Donna):
I am the Muffin.
[Ed. See Scene 102.]
JACQUES:
And what a muffin you have.
The two truckers laugh with Jacques. He mimes a gun with his right hand and pointing it to his forehead pulls the trigger with a weak, slack cheeked puff sound.
JACQUES (slurred):
I am as blank as a fart.
Laura winks at Buck as he SECRETLY drops a red depth charge into Donna’s beer.
LAURA:
Hey, Donna, chug-a-lug.
As the cowboys gather around and begin to chant, both Laura and Donna chug down their drinks. They finish and Laura smiles and pushes Donna onto the dance floor.
They start to dance expertly and smile at each other. Soon Buck and Tommy cut in, separating the two.
Buck dances Laura over to another of his buddies. The two of them start to unbutton Laura’s blouse as they dance.
The hell-metal band kicks into high gear. In the pulsating red and black light, Donna sees Laura, now topless, dancing and kissing with Buck and his friend. Donna stops. Jacques sweeps in.
JACQUES:
Oh, Laura’s friend. I am “The Great Went.”
Jacques holds her head in his huge hands.
JACQUES (cont.):
There is no tomorrow.
From Donna’s POV, we see the room spinning.
Dissolve to later …
A completely stoned Donna is being danced around by Tommy, who is falling in love with her. Through some dancing legs and feet, she spots Laura’s blouse on the floor. Teetering, she leans over, picks up the blouse, and ties it around her waist.
Ronette Pulaski, flying high, makes her way through the crowd to Laura. They spot each other and give each other a hug.
RONETTE:
You smell nice.
LAURA:
Haven’t seen you since I was thrown out of One Eyed Jacks.
RONETTE (trying to focus on Laura):
What else did we do together? Oh, I remember …
(trying to dance with Laura) Hey, you know what? It’s been a year. She’s been dead a year … she’s been dead a year.
Jacques comes up to them.
JACQUES:
The party twins. My high school sandwich. Let’s put some meat inside …
The three of them move around together.
RONETTE:
She’s been dead a year.
JACQUES:
Who?
RONETTE:
Teresa …
LAURA:
Teresa Banks? Yeah, a whole year …
RONETTE:
Yeah, she was going to get rich … she was blackmailing somebody …
JACQUES:
That’s right. She called me. She even asked me what your fathers looked like …
LAURA (jolted):
What? She asked about my father?
DELETED Dialogue:
JACQUES:
But it wasn’t him … she was after a huge guy, six foot four with a broken nose. She said he looked just like a boxer … Speaking of sandwiches … I think Bobby was arranging something for you …
(gets an idea) Speaking of arrangements …
(louder) SPEAKING OF ARRANGEMENTS …
END OF DELETED Dialogue
JACQUES (cont.):
Why don’t you two come up to the cabin this week? Leo and I know that Santy Claus is coming to town… Thursday.
Ronette, Laura, and Jacques sway with distorted smiles.
RONETTE and LAURA (as they hug and almost kiss):
Okay, Jacques.
LAURA (turning to kiss Jacques):
“The Great Went”
Buck and another friend move in on Laura and Ronette. Buck pushes Laura down on the carpet and gets on behind her. His friend does the same to Ronette. The two girls find themselves face to face.
RONETTE:
Here we go again. Like we’re back at One Eyed Jacks.
LAURA (moaning with pleasure):
Oh, god. It sure is.
Ronette looks over Laura’s shoulder.
RONETTE:
Shit, is that Donna Hayward?
Laura looks across the rug through dancing legs and sees Donna’s head titled way back with some new cowboy on top of her.
DELETED Dialogue:
Closeup of Laura’s face.
BOB’S VOICE:
SEE WHAT WE CAN DO TO DONNA?
LAURA (screaming):
NO! GOD, NO …
END OF DELETED Dialogue
Laura stumbles and runs to Donna, grabbing Jacques on the way.
LAURA (screaming to Jacques): Get her out of here … get her out.
He doesn’t seem to be listening.
LAURA (shouting):
JACQUES …
Laura falls full of panic to Donna.
LAURA:
Donna, what are you doing?
Rips her blouse off her waist. Donna is completely gone. Laura shakes her and screams into her face.
LAURA:
Don’t ever wear my stuff, don’t ever wear my stuff. Never.
DONNA (mumbling):
Okay, I won’t wear your stuff … Why can’t I wear your stuff?
LAURA:
Jacques, help me get her home. NOW!
Jacques lifts Donna up and Laura follows Jacques and Donna out of Partyland. Donna continues to mumble.
DONNA:
I won’t wear your stuff. (laughing) I promise.
LAURA (crying, holding Donna’s hand):
Not you, Donna, not you.
DELETED Scenes:
Scene 137: Outside a Twin Peaks church – Sunday morning.
MISSING CAPTION:
SUNDAY – FOUR DAYS BEFORE
Folks filing out of church. A couple strolling down the sidewalk. A happy dog bounds about.
[Ed. Unconfirmed if this was shot.]
Scenes 138-139: Big Ed’s Gas Farm and the Hurley House.
Out in the yard of the Hurley house, Ed Hurley tries to skin a deer which is hanging off a branch of a tree. He is not having much luck and is not showing much enthusiasm either. Nadine Hurley comes storming out of the house with her own very large butcher knife–very upset with Ed’s progress.
NADINE:
Ed … Ed
(pushing him away) I’ll take over here.
Ed backs off and Nadine dives in slicing.
NADINE: You were cutting this deer like a sissy … Sit down and watch while I do it. AGAIN. THIS YEAR.
Ed slowly backs into the house.
Ed joins his assistant, Sparky, and they stand in the living room, gazing out the window at Nadine ferociously skinning the deer.
ED (with a wink):
Works every year …
They laugh.
SPARKY:
Sure wouldn’t work at my house. My wife couldn’t take the wrapper off a Twinkie.
Scene 140: A clearing in the woods.
Sheriff Truman and Josie Packard break from a kiss. Smiling, Truman goes back to gently strumming his guitar.
TRUMAN:
Josie, I think we should go public.
JOSIE:
That would be wonderful, but it’s only been a year since Andrew died.
TRUMAN:
What are you afraid of? What people think?
JOSIE:
I don’t want to offend the customs of your country.
TRUMAN:
Believe me, Josie, you would not offend the customs of this country. For instance, I don’t eat fish eyes.
JOSIE:
Fish eyes?
TRUMAN:
Even if it offended someone, I wouldn’t eat a fish eye.
JOSIE (smiling): Why wouldn’t you eat a fish eye, Harry?
TRUMAN:
I saw a guy eat a fish eye once in Seattle. He was digging through his food with his chopsticks for about five minutes until he found the fish eye and he dropped it into his throat. I guess it must have gotten stuck in his uvula because right away he started to have trouble. His throat began to flutter there like there was a wind blowing. And he couldn’t swallow and they rushed to him and loosened his collar and they were asking him if he was alright and he started to turn blue and his eyes started to roll back into his head and he still couldn’t get the fish eye out and they tried to do a Heimlich maneuver. I went over to him as they were preparing to do an emergency tracheotomy. They were over him with a knife when he suddenly shot the fish eye out of his throat and right onto the ceiling. Splat! It just stuck up there and spread out. It was about the size of a half dollar. And that’s why I don’t ever eat fish eyes.
He plays the guitar for Josie. Then stops.
TRUMAN:
I’m not saying it’s right or wrong. It’s just the way I feel. It’s the custom thing I was thinking of. In America, we don’t use any part of the fish but the meat just to the side of the insides. We throw away the tail, the rest of the insides, and the head.
JOSIE:
I understand.
TRUMAN:
We throw away the WHOLE head.
[Ed. Both the Nadine skinning a deer and Truman singing to Josie scenes were not shot. With Joan Chen on the set, a new scene with her, Jack Nance, and Ed Wright was written and shot.]
Scene 141: Motel room.
Philip Gerard, the one-armed man, in a deep sweat, kneels in front of a circle of twelve lit candles, fighting for air and struggling to hear something.
END OF DELETED Scenes
[Ed. Confirmed to have been shot. Source: Al Strobel. Note that the filmed version of the scene is a bit different according to Al Strobel. As mentioned in the Twin Peaks Phenomenon documentary, the scene was filmed backwards. Upon saying the words “”Fire Walk With Me”, each of the four last candles were extinguished. This would have been really cool to see since each candle would have become lit when playing the scene forward.]
Scenes 142-144: Hayward living room.
Donna and Laura sit across from one another on the couch.
DELETED Dialogue:
DONNA:
I can’t remember anything about last night. Is there
something I should remember?
LAURA:
No, you should forget about last night.
DONNA:
Laura, I am your friend.
LAURA:
I know you are, and you don’t have to do anything crazy to
prove it.
DONNA:
You’re not mad at me?
LAURA:
No.
DONNA:
I feel so bad. I had nightmares all night long.
(studies her friend) They all knew you at that place.
LAURA:
What can I tell you?
DONNA:
How did the car get back here?
LAURA:
WE got it back, that’s all.
END OF DELETED Dialogue
DONNA:
How did I get in the house? How did I get into my bed?
LAURA:
I can’t help you there.
[Ed. in the movie, this line is “Life is full of mysteries, Donna.”]
Was I wearing something of yours and you got mad at me?DELETED Dialogue:LAURA:
All my things have me in them.END OF DELETED Dialogue
LAURA (cont.): I don’t want you to be like me.
DONNA:
But I love you, Laura.
LAURA:
And I love you, too. But don’t wear my stuff.
DONNA:
Why do you do it, Laura?
DELETED Dialogue:
LAURA:
Cause I like it.
END OF DELETED Dialogue
She takes Donna’s head into her hands and kisses her.
Cut to Leland. He is standing at the other end of the room. As he stares at the girls we move in on his face.
(Rest of Scene, with Leland’s flashback to the motel room, seeing Laura and Ronette on the bed, and Leland and Laura leaving Donna’s house, are as in the movie.)
Scenes 145-157: Laura and Leland in Leland’s car.
(Beginning of Scene, with Philip Gerard, the one-armed man, coming up behind them, tearing around the intersection and facing them, is as in the movie. It’s hard to say whether Gerard’s dialogue was different in the movie, so here is how it appears in the script.)
GERARD:
You stole the corn. I had it canned above the store.
(shouting at Laura)
Miss, the look on her face when it was opened. There was a closeness. Like the formica table top. The thread will be torn, Mr. Palmer, the thread will be torn.
(holding up his hand with the ring on his little finger)
It’s him. It’s your father.
Laura can’t make this out over the noise.
[Ed. No mention of the intercut shot of the black dog barking, as seen in the movie.]
(Gerard taking off, Leland pulling into service station, are as in the movie.)
LAURA:
Dad, are you all right?
Flashback to Palmer house, Leland is looking at Fleshworld magazine. Leland finds a picture of Teresa Banks. He whispers.
LELAND:
Teresa Banks. You look so much like my Laura.
DELETED Scene:
Leland dials the phone.
Cut to Teresa Banks in a Blue Diamond City Motel room. She is talking on the phone.
TERESA:
That sounds like fun … Where did you see my picture? …Okay, come to the Blue Diamond City Motel …Yes, that’s just your side of Blue Diamond City … I’ll be there. Room one two three …Right, as in “get ready.”
END OF DELETED Scene
(Scene with Leland and Teresa in bed, Leland asking to party with “Teresa’s girlfriends” next time, Leland covering her eyes and asking her who he is, is as in the movie.)
(Cut back from flashback to present, dialogue with Laura and Leland in the car: “Who was that? He looked familiar.” etc. is as in the movie.)
(Flashback to Leland’s next visit to motel, seeing Laura and Ronette on the bed, giving money to Teresa and leaving, is as in the movie, except there is NO mention of Mrs. Tremond’s grandson, or anyone with a mask, jumping around the parking lot as Leland leaves.)
(Cut back from flashback to present, dialogue with Laura and Leland in the car: “Did you come home during the day last week?” etc. is as in the movie.)
DELETED Scene:
Flashback to Blue Diamond City Motel, Teresa watching with her head cocked as Leland hurries off.
Cut to Roadhouse, Jacques is on the phone.
JACQUES:
Hey, Teresa … what?
TERESA’S VOICE:
What does Ronette’s father look like?
JACQUES:
A short guy … heavy set … balding …
TERESA’S VOICE:
What does Laura Palmer’s father look like?
JACQUES:
Very handsome … wavy black hair. He looks like a movie star.
Cut to pay phone, where Teresa is talking.
TERESA (into phone):
No, this was a big huge guy. Six four … Nose broken … like he was a boxer.
Teresa hangs up the phone and redials, smiling as though she has won the lottery.
Cut to Leland’s office. Leland answers the phone.
LELAND:
Hello?
TERESA’S VOICE:
Hey handsome, this is your little party girl.
Closeup on Leland’s face. His jaw tightens.
Cut back from flashback to present, Leland pulls the car into the Double R Diner. Sarah stands out front waving.
SARAH (calling):
Where were you two?
END OF DELETED Scene
[Ed. Confirmed to have been shot. Source: Pamela Gidley, photographic.]