How did I get in my house?
How did I get in my bed?
Life is full of mysteries, Donna.
Were you mad at me for wearing something of yours?
I don't want you to wear my stuff.
I do love you, Laura.
I love you, Donna.
[DONNA CRYING]
But I don't want you to be like me.
Why do you do it?
[INAUDIBLE DIALOGUE]
Excuse me, honey.
We're late to meet Mom for breakfast.
I'll catch you later.
- Bye-bye, Donna. - Bye.
Dad, is the engine on fire?
It smells like something's burning.
[HORN HONKING]
- Something is burning! - It's the engine.
You stole the corn!
I had it canned over the store!
And, miss, the look on her face
when it was opened. There was a stillness.
[BARKS]
PHILLIP: Like the Formica tabletop.
The thread will be torn, Mr. Palmer.
Come on!
The thread will be torn!
[HORN HONKING AND ENGINE REVVING]
- It's him! It's your father! - Aah!
Stop it!
What was that all about?
[TIRES SCREECH]
Mister, mister, don't do that to your engine.
You ought to take it easy, mister.
You're going to burn your engine out.
What the hell was all that about?
Why doesn't somebody do something about this?
A man comes out of the blue like that,
starts screaming at you like a crazy person
and harassing my daughter.
- You all right, honey? - Dad, are you all right?
Mm.
Teresa Banks?
What can I do for you?
Oh, Teresa.
I really like your picture.
You wanna party?
Well, that sounds like fun.
Where did you see my picture?
In Flesh World.
Okay.
Come to the Red Diamond City Motel.
I'm coming from Twin Peaks.
Okay, if you're coming from Twin Peaks,
it's just your side of Red Diamond City.
- Ah. You'll be there? - I'll be here.
What room?
Room 123.
As in ready, set, go?
Right, as in ready, set, go.
Oh, baby. Heh.
Okay.
Mm.
LELAND: Teresa Banks.
You look just like my Laura.
So when's the next business trip, big boy?
Soon.
And next time, let's party with those girlfriends you told me about.
- Huh? - Sure.
I can arrange that.
What are you doing?
Who am I?
I don't know.
That's right.
LAURA: Dad?
- Dad? - Aah.
Who was that?
He looked familiar. Have I met him?
No, honey, you haven't met him. Have you met him?
No.
Let's go get your mother.
No, no, just sit here for a moment.
Oh, my God.
I mean, a man comes out of the blue like that.
What's the world coming to?
[INAUDIBLE DIALOGUE]
[GASPS]
- Hey, handsome. - Hi.
- What's wrong? - Nothing.
I chickened out.
- The guy split. - He split?
Got the money.
Looks like it's just us girls.
[PHONE RINGING]
Hello, Roadhouse.
Jacques. It's Teresa.
Hey, Teresa. Heh.
- How you doing, eh? - I'm okay.
Let me ask you a question.
What does Ronette's father look like?
Short guy, heavyset, balding.
Why? What are you up to?
And what does Laura Palmer's father look like?
Very handsome, wavy black hair. He's like a movie star.
Well, I got J.B.'d by this guy up your way, and I had a thought about it,
but, uh, no, this guy was a big guy, about 6'4",
nose broken, like he was a boxer.
Oh, well. Okay, Jacques. Thanks a lot.
Yeah.
Hello?
Hey, handsome.
It's your little party girl.
Are you sure you're okay?
LELAND: Yes.
Ah.
Dad?
Yes.
Did you come home during the day last week?
No.
Leave us alone!
Goddamn it, get back to your work!
I thought I saw you.
Oh, God. You know,
I did stop home on Friday, come to think of it.
I had this severe headache, and I was in the neighborhood,
so I darted in and out of the house
to get some aspirin.
Where were you, Laura?
I didn't see you.
Um…
I was just down the street.
Yeah.
[ENGINE STARTS]
[INAUDIBLE DIALOGUE]
The same ring.
Who are you?
Who are you really?
[SCREAMS]
[GRUNTING]
[SNORTING]
[BELL RINGING]
Hey.
I'm nearly out.
It's taken care of, babe. You and I are going to make a big score tonight.
What is that?
This should tide you over.
Bobby.
Thanks.
A big score?
Maybe our biggest.
Don't tell Mike. This is just between you and me.
Tonight, meet me two doors down from your place at 11.
JACQUES: Midnight.
Near the sound of sawing wood.
[GIGGLING]
Do you love me, Laura?
- Bobby? Watch. - Huh?
Okay, watch.
- Ha-ha-ha. - That's good, Laura.
That's really good. You're a great dancer.
[BOTH LAUGHING]
[BOBBY MIMICS TRAIN CHUGGING]
Whoo!
[BOBBY COUGHS]
Ooh. Whoa.
Come on, knock it off.
Knock it the fuck off.
[LAURA LAUGHING]
- Give me the fucking… - Okay, okay.
[LAURA LAUGHING]
Give me the fucking bottle. Shh.
[LAUGHING]
Bubby? I mean, Bobby?
I found a little pinecone. Ha-ha-ha.
Shut up. Shut up. Shut up.
- Bobby, I found some dirt. - Shut up. Shut up.
[LAURA LAUGHING]
Shut up.
LAURA: I found some dirt. BOBBY: Here he comes.
Here he comes.
Come on.
Who sent you?
Jacques.
That's right.
- Oh. - Wow.
Like that, little girl? Huh?
What?
[LAURA SCREAMING]
[GUNSHOT]
LAURA: Oh, my God!
[LAURA GASPING]
Oh, my God. Bobby, what did you do?
I shot him. Oh, my God.
I shot him. Fuck.
Get over here and help me!
Come here!
Fuck.
[LAUGHING]
BOBBY: Shut the fuck up. This isn't funny, Laura.
This is not fucking funny.
Now, help me bury him.
Shit.
Bobby, you killed Mike.
This isn't fucking Mike!
Is this Mike?
Bobby, do you realize what you did?
You killed Mike.
Shut up.
[LAUGHS]
Bobby.
[LAUGHING]
Bobby, you killed Mike.
Shut the fuck up!
Shut the…
Come on, let's get the fuck out of here.
Come on.
[LAUGHING]
BOBBY: Fuck. Let's get the fuck out of here.
Let's get the fuck out of here.
- Come on. - Look at that.
BOBBY: Come on. Get…
Come on. Let's get the fuck out.
Come on.
[ENGINE STOPS]
[HORN HONKING]
Where were you last night?
I thought we were supposed to get together.
[SIGHS]
You're on something again, huh?
James…
So when will I get to see you?
[DOOR SQUEAKS]
I got to go.
[ENGINE STARTS]
Ooh. You see what we can do?
No.
- Ooh. - No.
Ooh.
I want to taste through your mouth.
No.
Laura!
Now I can't find my blue sweater. Did you take it again?
- Mom. - What?
What are you wearing?
Oh, no. Oh, no. Oh, no.
Mom.
- Oh, no. - Mom.
Oh, no.
- Mom. - It's happening again.
- No, it's… - It's happening again.
- No. No, it's not. Just sit down. - It's happening again.
[SNORTING]
[PHONE RINGING]
Hello?
Laura, you didn't come to see me yesterday.
I couldn't. It was Johnny Horne's birthday.
I promised I'd be with him.
I told you not to call me here.
Well, you know, a little trouble with your parents, uh,
is the least of your worries,
and it's certainly something that I'm willing to put up with.
I'm not.
Did you make me a tape?
I already made you two tapes.
Laura, you're going to have to deal with all of this.
I'm dealing with it, doc.
Bigtime.
Maybe I'll make you a tape tomorrow.
Good night.
Laura?
Send me a kiss.
[FAN WHIRRING]
[BOB GRUNTING]
[LAURA GASPING]
Who are you?
Who are you? Who are you?
[MOANING]
Who are you?
[MOANING]
[BOB GRUNTING]
[SCREAMING]
Laura, honey?
I really would like to talk to you.
SARAH: Laura, sweetheart.
- Laura… - No, no, no.
Laura, honey?
Sweetheart?
Laura, is something wrong this morning?
[WHISPERS] Stay away from me.
I hate asparagus.
Sure you do. It's good for you.
Where's Dad?
Ben asked him to stay late to help plan for the Norwegians.
If it's okay with you, I think I'm gonna go to Bobby's and do my homework.
It's a school night.
Back by 9.
Okay.
Bye, Mom.
Bye.
These are the two olive trees and the two candlesticks
standing before the God of Earth.
If any man will hurt them, fire proceedeth out of their mouth…"
- Hi, Mrs. Briggs. - Hello, Laura.
Bobby's in the basement.
- Right where he belongs, right? - Yeah.
- Laura? - Yeah.
What's up, Bobby?
Bad news, kid.
It was baby laxative.
What was?
The stuff from last night.
Baby laxative?
- We can't snort baby laxative. - Shh.
No shit.
I killed a guy for baby laxative.
What is the world coming to
when you kill a guy for baby laxative?
Don't get funny on me again.
- I'm not. - Shh.
- Bobby, I gotta get some more. - Shh.
I mean it. I'm out.
- I'm out. - Yeah.
Okay, okay.
I gotta get that 10,000 back too.
Sure, but I can't get it until school is out tomorrow.
Shh.
Let's ditch this place and party.
Not tonight.
Just get me some to hold me over until tomorrow.
Why?
Why not? Where are you going?
Where are you going?
I'm going home, Bobby.
To my bed.
To my nice warm bed.
We can… We can do it right here.
Bobby.
You don't want me.
You want the blow, don't you?
It's okay.
Bobby's got it.
[SNORTING]
[LAUGHING]
My little round friends too.
Thanks, Bobby.
"And the angel thrust in his sickle into the earth,
and gathered the vine of the earth and cast it into the great winepress…"
"And the winepress was trodden without the city…"
Night, Laura.
"…even unto the horse bridles, by the space of a thousand
and six hundred furlongs,
great and marvelous,
and seven angels…" Robert, put out the cigarette.
"And I saw as it were a sea of glass mingled with fire,
and them that had gotten the victory over the beast
and over his image and over his mark
and over the number of his name,
stand on the sea of glass, having the harps of God."
Good night.
Good night, sweetheart.
[SNORTING]
[PHONE RINGING]
Hello.
James.
Yeah, okay.
Oh, James,
I do love you, but…
Okay.
I'll meet you in 15…
I'll meet you in 15 minutes.
Okay?
I'll meet you in 15 minutes.
God, why did I say that?
Fifteen minutes?
Well, Agent Desmond wanted to check out the trailer court one more time.
He asked me to drive the van with the body back to Portland, which I did.
It was 105 miles.
Anything else?
Did Gordon show you a woman named Lil?
Stanley, I'm up to speed.
Agent Desmond never did explain to me what the Blue Rose meant.
Neither will I.
Well, all right.
You know, I really did like Agent Desmond. He had his own MO.
Oh, I cracked the Whitman case with a machine like this.
- Stanley, I heard about it. - They never would've found
the splinters without a machine like this. Wanna know why?
- No one else had a machine like this. - Tell me about the letters.
Oh. Well, look in here.
Right there.
Agent Desmond and I found that under Teresa Banks' ring fingernail.
No one found the ring?
No, sir, we did not.
CARL: That's her trailer over there, and I never touched a goddamn thing.
Agent Chet Desmond come by a second time
and asked to see Deputy Cliff Howard's trailer over here,
which I showed him.
Then I went back to my trailer, and after that, never saw him again.
Thank you, Carl.
- Sorry to wake you. - It's all right.
I was having a bad dream, anyway.
That's not the way out to Deputy Cliff's trailer, I told you.
I'm not going to Deputy Cliff's trailer.
Well, where the hell are you going?
COOPER: I'm going over here.
What's over there?
Goddamn, these people are confusing.
What are you looking for?
What was here, Mr. Rodd?
Well, a trailer was here. What the hell do you think?
Can you tell me whose trailer it was and who stayed in it?
An old woman and her grandson.
Can you tell me what their names were?
Chalfont.
As a matter of fact,
Chalfont was the name of the people that rented this space before.
Two Chalfonts.
Weird, huh?
Is that Agent Desmond's vehicle?
Yep. Sure is.
COOPER: Diane, it's 4:20 p. m.
I'm standing here at Wind River, near the location
where the body of Teresa Banks was found.
Diane, this case gives me a strange feeling.
Not only has Special Agent Chester Desmond disappeared without a trace,
but this is one of Cole's blue rose cases.
The clues that were found by Special Agent Desmond and Agent Stanley
have led to dead ends.
The letter that was extracted from beneath the fingernail of Teresa Banks
gives me the feeling that the killer will strike again.
But like the song goes, who knows where or when?
Fire…
…walk…
…with me.
Fire…
…walk…
…with me.
Go in the house.
[TIRES SCREECH]
What the hell is wrong with you?
That's right.
There's no place left to go, is there, James?
What the hell is that supposed to mean?
You know it and I know it.
What's wrong with us?
I mean, we have everything.
Everything but everything.
Laura.
"Laura."
You always hurt the ones you love.
You mean the ones you pity.
Say whatever you want.
I know you love me.
And I love you.
I do love you, James.
Let's get lost together.
Shit.
What?
He might try to kill you.
Laura.
[SCREAMS]
JAMES: What's wrong?
What?
If he finds out.
Laura, what's the matter?
Bobby killed a guy.
What are you talking about?
Bobby didn't kill anybody.
Do you want to see?
See what?
Right.
Open your eyes, James.
You don't even know me.
There are things about me…
Even Donna doesn't know me.
Your Laura disappeared.
It's just me now.
Laura.
What about this, James?
I think you want to take me home now.
- Laura! - Don't!
Come on.
[CRYING]
Just don't!
I love you, James!
[ENGINE REVVING]
You're right on time, baby.
[SULTRY ROCK MUSIC PLAYING]
Don't.
Jacques.
Don't.
Don't tie me up tonight, goddamn it!
- Stop it. LAURA: Don't!
[LAURA SCREAMS]
RONETTE: Laura!
LAURA: Don't tie me up! RONETTE: Laura!
Don't!
[GRUNTING]
Leo, will you untie me?
Leo, will you please untie me?
Shut up!
[ENGINE STARTS]
Oh, my God. Oh, my God!
[SCREAMING]
[LOG LADY SOBBING]
[LAURA SCREAMING IN THE DISTANCE]
[LAURA & RONNETTE SOBBING]
[LAURA & RONNETTE SCREAMING]
Daddy!
Bob?
[ALL SCREAMING]
[SCREAMING CONTINUES]
[SOBBING]
[WHISPERS] Are you gonna kill me?
Father…
…if I die now,
will you please see me?
[SCREAMING]
[YELLS]
LELAND: Your diary.
I always thought you knew it was me.
Don't look at me.
I never knew you knew it was me.
I want you.
I'm so dirty.
I'm not ready.
I'm sorry.
PHILLIP: Let me in! Let me in!
[THUDDING]
LELAND: No!
Don't make me do this!
No!
[SCREAMING]
[DISTORTED SCREAMING]
BOTH [IN DISTORTED VOICE]:
[YELLS]
Judy?
As the night wind blows,
the boughs move to and fro.
The rustling,
the magic rustling that brings on the dark dream.
The dream of suffering and pain.
Pain for the victim.
Pain for the inflictor of pain.
A circle of pain.
A circle of suffering.
Woe to the ones who behold the pale horse.
My name is Margaret Lanterman
I live in Twin Peaks
I am known as the log lady
There is a story behind that.
There are many stories in Twin Peaks.
Some of them are sad. Some funny.
Some are stories of madness. Of Violence.
Some are ordinary.
Yet they all have about them a sense of mystery.
The mystery of life.
Sometimes, the mystery of death.
The mystery of the woods.
The woods surrounding Twin Peaks.
Let me just say that it encompasses the all.
It is beyond the fire.
Though few would know that meaning.
It is a story of many.
But it begins with one.
And I knew her.
The one leading to the many is Laura Palmer.
Laura is the one.
[MANIACAL LAUGHTER]
Cooper.
Annie.
Where am I? And how can I leave?
[LODGE MUSIC PLAYS]
Where is the ring?
Annie?
Annie.
- What happened? - I don't know.
Sheriff Truman just brought her in from Glastonbury Grove.
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.
LOG LADY: And now, an ending.
Where there was once one, there are now two.
Or were there always two?
What is a reflection?
A chance to see two?
When there are chances for reflections,
there can always be two or more.
Only when we are everywhere will there be just one
It has been a pleasure speaking to you.
DOC HAYWARD: There he is.
Coop?
I wasn't sleeping.
Annie, how's Annie?
She's gonna be just fine.
She's over at the hospital.
I need to brush my teeth.
Sure. Come on.
I'll help you up.
Take her easy now.
I need to brush my teeth.
Good idea.
Coop?
Coop, are you okay?
Coop?
How is Annie? How's Annie?
How's Annie?
How's Annie? How's Annie?
How's Annie?
[KNOCKING] Cooper, are you all right?
Coop? Coop, are you all right?
Cooper?
Coop?
Cooper?
I slipped and hit my head on the mirror.
The glass broke when my head struck it.
It struck me as funny, Harry.
Do you understand me?
It struck me as funny.
DOC HAYWARD: You're going right back to bed.
But I haven't brushed my teeth yet.