Path: igor!ubvax!pyramid!decwrl!apple!well!emmanuel From: emmanuel@well.sf.ca.us (Emmanuel Goldstein) Newsgroups: alt.tv.twin-peaks,rec.arts.tv Subject: Extra scenes in European Twin Peaks Message-ID: <21176@well.sf.ca.us> Date: 15 Oct 90 06:27:17 GMT Lines: 586 Xref: igor alt.tv.twin-peaks:2983 rec.arts.tv:21918 What follows is a word-for-word transcript of the additional scenes in the European version of Twin Peaks. Some of you planning to see this version may not want to see this. Others who feel it may reveal something about the American series (which I doubt) may also wish not to see this. Therefore, here are some extra line feeds. All right, you were warned.... In the following, [] indicates scene details, such as who the camera is on at the moment, {} indicate my personal comments, and <> surrounds dialogue where the sound AND picture are identical to the American version. Now for the details: Everything is exactly the same up until the very end of the American version. This means a lot is left unresolved in the European version, such as why Big Ed stumbles before reaching Mike at the Roadhouse. Also, the mystery behind many of the characters is left hanging. Leo is only in one scene, where he recommends a particular brand of cigarettes to Shelly. The only scene Johnny Horne is in is the one where he's banging his head against the dollhouse. "Nervous about meeting J. tonight" is never resolved. The fact that Big Ed and James are related is never mentioned. We never learn why Laura had $10,000 in her safety deposit box. The ending basically looks like what I believe it to be: a patch to provide a quick finish. It's almost as if somebody said, "OK, guys, you've got 20 minutes to wrap this up." There is a notable exception to this, however. The dream sequence was obviously very well planned out and apparently was shortened for the American audience when it appeared in the second episode. Yet for some reason, the scene in episode three where Cooper is describing the dream was not altered. This gives us a good description of the dream sequence for the European version but a rather confusing one for the American version. In fact, in the European version, this is not presented as a dream at all, but rather something occuring 25 years later. In order to set the stage for this, I'll tell you the ending of the American version (the two-hour pilot) first. After the fight at the Roadhouse, Cooper and Truman follow Joey and Donna as they drive away on the motorcycle. Cooper and Truman lose them. Joey drops Donna off in the woods and she meets James who she talks with and kisses, etc. They bury the necklace. Cooper and Truman pull them over as they're returning. They are brought to the police station where James is arrested. Donna talks with her father in their car. Cooper is introduced to the donut spread, at which point he asks Truman where he can stay for a good price. Truman says he'll get him a good rate at the Great Northern. Next we switch to the jail, where Bobby and Mike do their barking routine at James. Then the sheriff visits Josie. "It must have happened right around this time yesterday," Truman says to Josie. "I'm afraid," Josie says. Then we cut to the red traffic light. Then we see Sarah in her home. Then a shot of the stairs. Then Sarah again. We see the area where James and Donna buried the necklace as an unseen figure walks up to it with a flashlight. We see Sarah gasping and rising into a sitting position. Then we see a gloved hand lifting the stone, under which the necklace is buried. Then we see Sarah screaming. Then back to the hand lifting the necklace as Sarah's screams echo and the Mark Frost/David Lynch credits appear. Now let's switch to the European version. Everything is EXACTLY the same up until the point where we see the red traffic light. As in the American version, we cut to Sarah in her home. Only this time she's smoking. We cut to the same shot of the stairs. Then back to Sarah, in the same shot that appeared after the red light in the American version. Then we go back to the stairs. In slow motion, we see Laura's door opening and a figure standing in the doorway. Very scary until you realize that this is simply a replay of Sarah opening Laura's door when she was calling her that morning. In slow motion we hear a voice: "Laura, now means now." We go back to Sarah who moves slightly. It's obvious that she's replaying the events of the day in her mind. We cut back to the stairs. We see Sarah looking over the railing and we hear, again in slow motion: "Laura, are you downstairs?" Again we cut back to Sarah. Then we see Sarah coming down the stairs in slow motion and we hear her voice in slow motion saying "Laura." We cut back to Sarah again. We cut back to the stairs and the figure of Sarah standing in Laura's doorway. Then we cut to Laura's room. Again we hear "Laura" in slow motion. The camera pans left to right, starting at Laura's empty bed. We cut back to Sarah. Then back to Laura's room. This time the camera pans right to left, stopping at the bed. It's very easy to miss, but Bob's head can be seen in the rear, next to the bed. We see Sarah gasping and rising into a sitting position (same shot used in the American version). A closer shot of Laura's bed and Bob. Then we see Sarah screaming (same shot used in the American version). Back to the shot of Laura's bed and Bob. Then back to Sarah, who screams: "Leland! I saw him!" She sobs. Now we are in Lucy's house. Lucy, dressed in an evening gown and batting a ball against a wooden paddle (the ball is attached with a rubber band) is sitting on the left. Andy, dressed in a plaid jacket, is sitting across from her on the right. He is playing the trumpet, a very poor rendition of Taps. There is a fish hanging on the center of the wall behind them. The phone rings. The ball hits Lucy in the face as Andy's notes get even more sour. LUCY: [Andy is still playing loudly] Hello? This is the Moran residence. This is Lucy. [cut to LELAND] LELAND: Lucy? LUCY! [cut to LUCY] LUCY: [to ANDY] Shh! Shhh! [bats the phone with the paddle] I'm trying to talk on the telephone! [ANDY looks annoyed, takes mouthpiece off trumpet] LELAND: Lucy, this is Leland Palmer. [cut to LELAND] I'm trying to get in touch with the sheriff, Sheriff Truman. He's not at home. Now, can you tell me where he is? [cut to LUCY] LUCY: You know, Mr. Palmer? I'm not AT the sheriff's office? And, since I'm not there, I'm over at my house? [cut to LELAND looking impatiently at the phone] And I don't have any idea where he is! LELAND: Lucy! Lis-Listen to me, please! M-My wife has just remembered. She believes that she saw the killer this morning in Laura's bedroom. [cut to LUCY] LUCY: [gasps] So! {possibly "No!" but I don't think so} How is that possible? [cut to LELAND] LELAND: I-I don't know, I don't know, but if that's what she believes, then we have to do something about it. Now she thinks that she might be able to help somebody -- draw the face of the man that she remembers. [cut to LUCY] LUCY: Actually, Deputy Tommy "The Hawk" Hill is our police sketch artist. [cut to ANDY] He's very good. And do you know what? [cut to LUCY] The pictures look JUST like the people he's drawing! [cut to LELAND] LELAND: [exasperated] Good. Uh, have Sheriff Truman then and that deputy come right over here right away. OK? LUCY: OK. You know, [cut to LUCY] I've got an idea. As soon as we hang up, I'll try the sheriff in his CAR. In his cruiser. And tell him everything you told me. [cut to LELAND] LELAND: [pause] Thank you, Lucy. [cut to LUCY] Thank you. [LUCY presses down on the switchhook (it's a regular deskphone) and touch tones a number.] LUCY: That was Mr. Palmer. [cut to ANDY, leaning forward, looking interested] He told me that he thinks his wife remembered [cut to LUCY] that this morning, possibly, when she was in her daughter's room [cut to ANDY] that she saw -- [a burst of static is heard] Hello, Sheriff? [Andy looks slightly annoyed] Isn't that [cut to LUCY] FUNNY, I had a feeling you'd be in your cruiser. [pause] Sheriff? [cut to TRUMAN, driving in his cruiser] TRUMAN: [into radio microphone] Yeah, Lucy. What is it? LUCY: Mrs. Palmer was in her [cut to LUCY] daughter's room this morning and she just remembered that -- are you sitting down? [cut to TRUMAN] TRUMAN: Uhh. [cut to LUCY] LUCY: Oh, of course you are, you're driving. She just remembered that she saw the killer -- [cut to TRUMAN] TRUMAN: You're kidding. LUCY: And they want you and Hawk to come over to their house. [cut to LUCY] She wants Hawk to make a sketch. [cut to TRUMAN] TRUMAN: I'll be right there. Ten minutes. [sound of car speeding up] [cut to LUCY] LUCY: [hangs up the phone] And just when we were getting ready for bed. [cut to ANDY] ANDY: Oh, Punky. [cut to LUCY, fiddling with the ball and paddle] [Shot of COOPER sleeping. We hear him breathing heavily and rapidly. Camera slowly moves to the telephone. It rings. COOPER jolts awake, reaches for the phone after the second ring. He coughs.] COOPER: Agent Cooper. VOICE: [deep, breathy, and drawn out] Were you sleeeeping? COOPER: Yes. Who is this? [cut to payphone, shadow of a figure to the left] VOICE: It's a straaange nnnight. There's something in the airrr. [pause] Can you feel it? [cut to COOPER] You know about Theresa [pronounced Te-RAY-sa] Banks, pretty girl they found last year. COOPER: Yes, I know about Theresa. [cut to payphone] VOICE: [slowly] I know the man who did her. [cut to COOPER] And I know about the stitches with the red thread. [cut to payphone] And there's more I think you'd enjoy hearing. I'm at the hospital now. [cut to COOPER] COOPER: I'm on my way. [hangs up] [Shot of payphone being hung up. Figure's shadow exits to the left.] [COOPER turns on the light, looks at the alarm clock, and sits up. The phone rings. COOPER picks it up after one ring.] COOPER: Agent Cooper. LUCY: Hi, Agent Cooper? It's Lucy. From work? COOPER: Lucy? Are you still at work? [cut to LUCY] LUCY: No. Andy and I are over at my place. [cut to ANDY] Andy was playing the trumpet and we were getting ready [cut to LUCY] for bed and do you know what happened? [cut to COOPER] COOPER: No. Tell me. LUCY: Well, Mrs. Palmer was in her daughter's room this morning and she remembered that she saw the killer, she thinks, and so Hawk and the sheriff [cut to LUCY] are over at the Palmers' right now making a sketch. COOPER: [excited] Lucy? [cut to COOPER] You tell the sheriff to get that sketch and meet me at the hospital. LUCY: The hospital? COOPER: Yeah. The hospital. And hurry. [hangs up, pauses, sighs, picks up recorder, and stands up] Diane. Just woken from a sound sleep at the Great Northern Hotel. It's Room 315. It's 2:24 AM. Received two phone calls, back to back. The first from a man unknown to me who had certain confidential information about the Theresa Banks murder. I'm on my way to meet him now at the hospital. At the same time, Mrs. Palmer apparently remembered or had a vision of the killer. The sheriff is on his way to her now and he'll meet me afterwards. [smiles and whispers] Diane. When two events happen simultaneously pertaining to the same object of inquiry, we must always pay STRICT attention. [clicks machine off] [Interior shot of a darkened room. A shadowy figure can be seen standing motionless.] [Shot from the room looking at an open door into the hallway of the hospital. ANDY is standing guard, in uniform. We hear occasional dripping from the room.] [Interior shot.] [Closer shot of ANDY in the doorway. TRUMAN and COOPER appear from the right.] ANDY: [whispers] He's unarmed. [interior shot] He wants to see you and he wants to see you [doorway shot] in this particular room. [TRUMAN moves into the room.] [Interior shot. The figure approaches. It's the one-armed man. {At this stage, however, we aren't supposed to know he only has one arm. This is the first time we see him and he could just be a man with a beard.}] [Doorway shot. TRUMAN and COOPER approach. COOPER reaches for the lights.] [cut to ONE-ARMED MAN] ONE-ARMED MAN: Uh, don't turn on the overheads. The fluorescents don't work. [cut to TRUMAN, COOPER] I think a transformer's bad. COOPER: [cooly] We know that. [cut to ONE-ARMED MAN] ONE-ARMED MAN: Hmm, yes. Wasn't Laura Palmer here earlier? [cut to shot of entire room, ONE-ARMED MAN on left, TRUMAN, COOPER on right. Pause.] Through the darkness of future past [cut to ONE-ARMED MAN], [Cut to TRUMAN, COOPER. They exchange glances. Cut to ONE-ARMED MAN] Weee lived among the people. [pause] My name is Mike. His name [pause] is Bob. [cut to TRUMAN, COOPER] COOPER: You were in an elevator here this afternoon at 1:30. ONE-ARMED MAN: I was looking for Bob. [cut to ONE-ARMED MAN] Heee sometimes works among the infirm, er, the injured of the species. I-I was watching, Mr. Cooper, for over a year, waiting for Bob to come out again. [pause] I've known of your interest in the results of his endeavors. [cut to TRUMAN, COOPER] [cut to ONE-ARMED MAN] ONE-ARMED MAN: I, too, have been touched by the devilish one. [points to his left shoulder] {In the American dream sequence, this bit comes earlier, before the part where he names Bob.} [cut to TRUMAN, COOPER] [cut to ONE-ARMED MAN, smiling] TRUMAN: We'd like [cut to TRUMAN, COOPER] to show you a police sketch of Bob for verification. [cut to ONE-ARMED MAN] ONE-ARMED MAN: Of course. [cut to TRUMAN, COOPER. TRUMAN takes out a sheet of paper and holds it up. It's a sketch of an older, balding man.] ONE-ARMED MAN: No. [cut to ONE-ARMED MAN, frowning] Nooo, that is not Bob. [cut to TRUMAN, COOPER. TRUMAN produces another sheet from behind the first one. It's a portrait of a younger man with long hair. {The portrait of Bob we all know.} Cut to ONE-ARMED MAN. Pause.] That's Bob. [cut to TRUMAN, COOPER] TRUMAN: [to COOPER, as dramatic music rises] That's the man Mrs. Palmer identified. COOPER: [to ONE-ARMED MAN] Where is Bob? [cut to ONE-ARMED MAN] ONE-ARMED MAN: He's here. Right here. He's downstairs in the basement. [cut to TRUMAN, COOPER. They both reach for their guns.] [cut to ONE-ARMED MAN. He smiles.] [Shot of 12 burning candles in a circle] [Wider shot. We see BOB on his knees to the left of the candles. It looks like he's arranging something. As we hear and see the door opening to the right, he moves into a crouching position. Two figures dart in through the door, guns drawn.] [Close up of BOB standing up. An ominous chord strikes.] [Shot of figures getting ready to ambush BOB.] [Cut to BOB. He smiles, reaches out graciously with his arm.] BOB: [whispers] Hello. [dramatically] Welcome to the killer's lair. [cut to figures] BOB: Come down! [cut to BOB] I won't hurt you. [cut to figures. They slowly approach coming down the stairs.] [cut to BOB] BOB: Come down! [cut to figures. COOPER, TRUMAN get nearer, their guns pointed.] [cut to BOB] BOB: Is Mike with you? [cut to COOPER, TRUMAN] TRUMAN: No. [cut to BOB] BOB: [disappointed.] Ohh. I so much wanted to sing with him again. [a ringing tone is heard {this is the same ringing tone heard in the American dream sequence as the mysterious object flies by}, BOB looks up] [pause] Heads up. [shot of entire room. BOB and candles are on the left, COOPER and TRUMAN are on the right. BOB's voice turns almost musical.] Tails up. Running to be with scalliwag. Night falls. [A third figure can be seen approaching on the right.] Proning calls. {That's the best I could make out of that phrase.} [cut to BOB pointing] [cut to COOPER, TRUMAN] TRUMAN: The letters. What were the letters gonna spell? [cut to BOB] BOB: Robert. [angelically] That's my proper name. Theresa's was with a T. [cut to COOPER, TRUMAN] COOPER: That's right. BOB: [whispers] You may think I've gone [cut to BOB] insane. [A voice begins to yell. Cut to COOPER, TRUMAN. ONE-ARMED MAN appears suddenly to the left of them pointing a gun. COOPER, TRUMAN jump] ONE-ARMED MAN: [yelling] LLLLIKE HELL! [cut to BOB, looking surprised] [cut to ONE-ARMED MAN. He fires.] [cut to BOB. He is struck by a bullet.] [cut to ONE-ARMED MAN. He fires again.] [cut to BOB. He is hit again. He falls backward onto the ground.] [cut to ONE-ARMED MAN. He starts gasping and sobbing. He sinks to the floor, his arm clutching a pole as he goes down.] ONE-ARMED MAN: You got a nickel. {uncertain on this} [He cries out in pain.] It hurts something terrible! [in agony] Well, you took your turn, Bob! [cut to shot of entire room] {unintelligible} your time! {uncertain on this} [cut to COOPER, TRUMAN. TRUMAN looks up.] [cut to BOB's body.] [cut to COOPER] [cut to candles] [cut to COOPER] COOPER: Make a wish. [cut to candles. They all go out. {Same shot used in American dream sequence.} [cut to COOPER. His face grows darker and the scene fades.] [Shot of older COOPER's face, upside down. Caption appears on the screen: "TWENTY-FIVE YEARS LATER". The camera rises above the reflection in the table to show COOPER right side up.] {Everything from this point on is identical to the American dream sequence, up until where the MIDGET says "Let's rock!" As in the American version, we cut to COOPER, then to the MIDGET sitting, then to COOPER as the ringing noise begins, then to LAURA raising her finger to her nose, then back to COOPER. What follows this is the one extra scene.} [Close up of MIDGET rubbing his hands. He stops and looks at LAURA. LAURA looks at him. The MIDGET smiles, turns to COOPER, smiles, and reaches his left hand out to LAURA. COOPER stares. Close up of the MIDGET's and LAURA's hands clasped. Shot of the entire room. The hands are released.] {At this point the strange object flies by as the dwarf starts rubbing his hands again. Everything from this point on is identical. During the second shot of LAURA whispering into COOPER's ear, the credits "Executive Producers, Mark Frost, David Lynch" appear. Then we cut to the dwarf dancing as the rest of the credits appear. He dances for longer than in the American version as there are more credits (this being the two hour episode over there). Now let's look at the scene from Episode 3 in America where Cooper is describing his dream to Harry and Lucy. "Harry, you were there. Lucy, so were you. In my dream, Sarah Palmer has a vision of her daughter's killer. Deputy Hawk sketched his picture. I got a phone call from a one-armed man named Mike. The killer's name was Bob.... They lived above a convenience store. They had a tatoo: Fire, Walk With Me. Mike couldn't stand the killing anymore, so he cut off his arm. Bob vowed to kill again, so Mike shot him.... Suddenly it was 25 years later. I was old, sitting in a red room. There was a midget in a red suit and a beautiful woman. The little man told me that my favorite gum was coming back into style and didn't his cousin look exactly like Laura Palmer, which she did.... She's filled with secrets; sometimes her arms bend back; where she's from, the birds sing a pretty song, and there's always music in the air. The midget did a dance, Laura kissed me, and she whispered the name of the killer in my ear." As you can see, this is a pretty accurate summation of the European ending. But not of the American version. Any idea why this scene was done this way? Also, remember that the European version was NOT presented as a dream. Frank Silva (who plays Bob) is listed in the credits of the pilot (both versions) as Bob AND as the On Set Dresser for the show. The On Set Dresser sets up scenery. It's interesting that that's what it looked like he was doing when we first see him in the hospital basement. Speaking of credits, there are two credits given for the American two-hour episode that were not given for the European version. One is for Maria Pulaski (Roberta Maguire) and the other is for Father Hutchings (Frank Roberts). I don't know why credit for either of these was given as neither of those characters showed up to the best of my knowledge. Another interesting point: Johnny Horne is played by Robert Davenport in both two hour versions. But at the end of Episode 3, he's listed as Robert Bauer. I hope the above information proves useful. emmanuel@well.sf.ca.us -- ------------------------------------------------------------------------------- There's no sense in being precise when | Jim Pellmann (jpellmann@rational.com) you don't even know what you're talking | RATIONAL about. --- John von Neumann | Santa Clara, California