Twin Peaks: Fire Walk with Me (1992) - full transcript

(WOMAN SCREAMING)

WOMAN: No!

(THUD)

(SHOUTING)
Get me Agent Chester Desmond

out in Fargo, North Dakota.

(CHILDREN SCREAMING AND CRYING)

(PHONE RINGING THEN HORN HONKING)

DESMOND:
James, come over here and help out.

The phone.

Hello.

Chet, I'm calling you
from Portland, Oregon.



It's Regional Bureau
Chief Gordon Cole

calling from Portland, Oregon.

- Okay, Gordon.
- Oregon.

I got a girl that's been murdered.
Seventeen years old.

Named Teresa Banks.

Chet, I've got a surprise for you.

Something interesting I
would like to show you.

Arrangements are being made,

and I will meet you at the
private Portland airport.

Okay, Gordon.

(CHILDREN CONTINUE
SCREAMING AND CRYING)

Thanks.

- Chet, good to see you.
- Gordon.

Chet, give Sam Stanley
the glad hand.



He's come over from Spokane.

It's a pleasure. I've
heard a lot about you.

Sam's the man who cracked
the Whiteman case.

Congratulations.

I heard about that.

Chet, your surprise.

Her name is Lil.

She's my mother's sister's girl.

Federal?

Good luck, Chet.

Sam, you stick with Chet.

He's got his own MO,
modus operandi.

You fellas can reach me in
the Philadelphia offices.

I'm flying out today.

That really was something with
the dancing girl, wasn't it?

What exactly did that mean?

I'll explain it to you.

Remember Lil was
wearing a sour face.

What do you mean?

Her face had a sour look on it.

We're gonna have problems
with the local authorities.

They're not gonna be
receptive to the FBI.

Both eyes blinking means
trouble higher up,

the eyes of the local authority.

A sheriff and a deputy
would be my guess.

If you noticed, she had
one hand in her pocket,

which means they were
hiding something,

and the other hand
made into a fist,

which means they're
gonna be belligerent.

Lil was walking in place,

which means there's gonna
be a lot of legwork involved.

Cole said Lil was "his
mother's sister's girl."

Now, what's missing
in that sentence?

STANLEY: The uncle.

Not Cole's uncle, but probably the
sheriff's uncle is in federal prison.

Let me ask you something, Stanley.

Did you notice anything
about the dress?

The dress was altered to fit her.

I noticed a different colored thread
where the dress was taken in.

Gordon said you were good.

A tailored dress is
our code for drugs.

Oh.

You notice what was pinned to it?

A blue rose?

Good.

But I can't tell you about that.

You can't?

No, I can't.

Good afternoon. Federal
Bureau of Investigation.

Special Agent Chet Desmond.

I'd like to see Sheriff
Cable, please.

(CLIFF SNICKERS)

Why don't you have a seat
over there with your partner?

Go ahead, make yourself at home.

Because it's gonna be a while.

(SECRETARY LAUGHING)

(BOTH LAUGHING)

(SPEAKS INDISTINCTLY)

Why don't you have
some coffee? Go ahead.

It was fresh about two days ago.

(SECRETARY LAUGHING)

All right, I've had enough
of the waiting room now.

CLIFF: Oh, is that so?

(GROANING)

(SPEAKS INDISTINCTLY)

(CLIFF GRUNTS)

(CLIFF YELLING)

DESMOND: You can start that
fresh pot of coffee right now.

- How did you get in here?
- Federal Bureau of Investigation.

Special Agent Chet Desmond.

I'm here to investigate the
murder of Teresa Banks.

Well, little fella,

we don't need any outside
help around here.

I don't like you people sniffing
around my neck of the woods.

In fact, when the state boys called
me about a J. Edgar coming up here,

I think I said:

"So what?"

It's all right, deputy.

Sheriff Cable can
handle it from here.

Cliff.

Your behavior is not funny,

and it's wasting the time
of the federal government.

You're lucky I'm not wasting you.

Well, little fella, let
me put it this way.

The operative word here
would be "federal."

I am now ordering you to release
all pertinent information

concerning Teresa Banks, both
while living and deceased.

A basic kill.

Banks was a drifter
and nobody knew her.

Where's the body?

It's out back in our morgue.

It's 4:30. We close at 5.

We have our own clock.
We'll lock up.

You know, Agent Desmond,

I figure this whole office,
furniture included,

is worth 27,000 dollars.

DESMOND: Teresa Banks.

Teresa Banks lived at the Fat
Trout Trailer Park for a month.

We'll check that.

Yeah.

Worked as a waitress
at Hap's Diner.

Worked the night shift.

Good place for dinner when
we're through here, Sam.

Yes.

No one came to claim the body.

No known next of kin.

STANLEY: Crushed skull.

Probable cause: repeated blows
to the back of the head

by a blunt, obtuse-angled object.

I wonder where her ring is.

Personal effects include
a watch, undergarment,

pink waitress uniform.

The ring's missing.

There seems to be an
interesting contusion

under the ring finger
of the left hand.

Accidental?

Agent Desmond,

could you hold the
finger for me, please?

There's something in there.

DESMOND: What is it?

STANLEY:
It's a piece of white paper

with the letter "T" imprinted on it.
Come here, take a look.

Agent Desmond, it's
3:30 in the morning.

Where are we going to sleep?

We're not.

You and I are gonna get some food.

Ask Irene about that.

(ELECTRICITY CRACKLING)

Irene out there.

Now, Irene is her name,
and it is night.

Don't go any further with it.

There's nothing good about it.

Thank you, Jack.

How's it going with
that goddamn lamp?

Federal Bureau of Investigation,
Special Agent Chet Desmond.

I'd like to ask you a few
questions about Teresa Banks.

Jack said you knew her.

How well?

She only worked here a month.

Nice girl.

Never seemed to get
here on time, though.

You ask me, she had a
little problem with:

(SNIFFS)

Did you ever see Teresa
Banks take cocaine?

No.

Do you ever take cocaine, Irene?

No, I do not.

I never took cocaine
or any other drug.

I don't take drugs.

Nicotine's a drug.

Caffeine's a drug.

Who's the toe-head?

Those drugs are legal.

He's with me.

Is there anything you'd like to tell us
about Teresa that might help us out?

I've been thinking about that.

If you ask me,

her death was what you'd call

a freak accident.

Thanks.

Are you talking about that
little girl that got murdered?

You got something to tell us?

I know shit from Shinola.

(SPEAKS IN FRENCH)

Agent Desmond, do you think
we should question him?

What time is it, Stanley?

(GASPING)

It's late, Sam.

It's late, man.
Hey, take... I'm sorry.

It's early. It's really early.

You know, I never
told anybody this,

but once for about three days,

just before her time,

Teresa's arm went completely dead.

What do you mean?

Her left arm.

It was numb.

She said she couldn't use it.

Probably those drugs
she was taking.

I just thought I ought to tell you.

Thanks.

Are you talking about that
little girl that got murdered?

I doubt it was a drug problem.

It was probably a nerve problem.

I could recheck the
arm for injuries,

but I'd have to take the body back to
Portland to do some real nerve work.

I think that's a good idea, Sam.

Irene?

We'd like to order
some food, please.

You wanna hear about our specials?

We don't have any.

MAN: What?

What is it?

- What?
- BOTH: Nine.

MAN: Can't you read?

It's really late. Or really early.

Damn, this better be important.

DESMOND:
Federal Bureau of Investigation.

Special Agent Chet Desmond,
Agent Sam Stanley.

Sorry to disturb you, but we need to
see Teresa Banks' trailer, please.

Oh, shit.

That goddamn trailer is more popular
than Uncle's Day in a whorehouse.

You see what I mean?

It just means more
shit I gotta do now.

Damn it.

Everything's exactly
like she left it.

I haven't touched a goddamn thing.

God.

Take a look at this.

STANLEY: She's got the ring on.

I'm gonna make myself a cup
of good morning America.

Y'all want some?

Here you go, boys.

- Hey, thanks.
- CARL: Good morning America.

Thank you.

(COUGHING)

- Ahem. You weren't kidding, man.
- CARL: Heh, heh.

This stuff's got the sting
of the 48-hour blend.

Ha-ha-ha. That's right.
It's the best goddamn coffee

you're gonna get anywhere, buddy.

We sure do need a good wake-me-up,
don't we, Agent Desmond?

We need a wake-me-up,
don't we, Agent Desmond?

- Yeah, we do, Sam. Ahem.
- CARL: Ha-ha-ha.

STANLEY: Mm.

Did you know Teresa Banks?

(SHUDDERING)

You see, I've already gone places.

I...

I ju...

I just wanna stay where I am.

What the hell is that
thing doing out there?

You're not taking
that body anywhere.

We're taking the body
back to Portland.

There's not a thing
you can do about it.

Teresa Banks had a ring.

Any idea what happened to it?

We got a phone here.
That's got a little ring.

(CLIFF SNICKERING)

Take the van back to
Portland, Stanley.

I'm gonna take one more
look at the trailer park.

Agent Desmond,

one thing has been troubling
me: the blue rose.

You're going back to the trailer
park for the blue rose.

That's Deputy Cliff's trailer
right there, by that red truck.

- That's his truck too.
- DESMOND: Right.

Now, Teresa Bank's
trailer's over here.

Right where we left it.

WOMAN:
Where's my goddamn hot water?

Do you see what I mean?

Ahem. I'll be in my
trailer, if you need me.

- WOMAN: Hot water, Carl.
- CARL: I wanna get you some Valium.

Gordon, it's 10:10 a.m.
on February 16th.

I was worried about today because
of the dream I told you about.

Gordon?

Gordon?

Gordon?

Phillip, is that you?

Phillip?

GORDON: Cooper, meet the
long-lost Phillip Jeffries.

You may have heard of
him from the academy.

Well, now,

I'm not going to talk about Judy.

In fact, we're not going
to talk about Judy at all.

- We're gonna keep her out of it.
- Gordon.

I know, Coop.

Who do you think this is there?

Suffered some bumps on
the old noggin, Phil?

What the hell did he
say there, Albert?

That's Special Agent Dale Cooper.

For God's sakes, Jeffries,
where the hell have you been?

You've been gone
damn near two years.

JEFFRIES: I sure as hell
wanna tell you everything.

But I haven't got a
whole lot to go on.

(IN DISTORTED VOICE)

JEFFRIES:
Oh, believe me, I followed.

MAN FROM ANOTHER PLACE:

JEFFRIES: It was a dream.

We live inside a dream.

(IN DISTORTED VOICE)

- JEFFRIES: The ring. Ring.
- Ha-ha-ha!

JEFFRIES:
It was above a convenience store.

JEFFRIES:
Listen up, and listen carefully.

I've been to one of their meetings.

Hell, God, baby, damn, no.
I found something.

And then there they were.

(SCREAMING)

GORDON: He's gone. He's gone.

Albert, call the front desk.

I've got the front desk now.
He was never here.

And news from Deer Meadow.

Agent Chester Desmond
has disappeared.

COOPER: Gordon, what's going on?

He was here.

But where did he go?

And where is Chester Desmond?

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?

Donna.

Just a minute, Laura.

Hi.

Yeah, Mike, you're the real man.

That's right. Mike is the man.

- Mike is the man.
- Is the man.

BOBBY: Laura Palmer, see you later.

Laura.

(INAUDIBLE DIALOGUE)

DONNA: See you in a sec.

(BELL RINGING)

(DOOR OPENS)

Hey, baby.

Just kiss me.

It does matter.

We're in love.

James, you don't know what
you're talking about.

Quit trying to hold on so tight.

I'm gone.

Long gone.

Like a turkey in the corn.

You're not a turkey.

A turkey's one of the
dumbest birds on Earth.

Gobble, gobble, gobble.

Don't ever leave.

Laura, don't ever leave.

I'll never leave you.

(SPEAKS INDISTINCTLY)

Hey, where were you for the last hour?
I've been looking all over for you.

I was standing right behind you,
but you're too dumb to turn around.

If he turned around, he might
get dizzy and fall down.

Where were you?

I'm not kidding around.

Who were you with?

Get lost, Bobby.

Oh, yeah?

You'll be calling soon and
maybe I won't be around.

Come on, Bobby.

Come on.

Just a little one?

Come on.

Love you, babe.

Are you gonna see James tonight?

Why are you suddenly so interested
in who I'm going to see at night?

Nighttime is my time.

You're telling me.

That's only because you won't
let me in on any of it.

You're not gonna see
Bobby, are you?

Maybe.

My God, Laura.

Well, why not?

Because Bobby is a loser.
You said so yourself.

He's a goon.

James is the one.

He loves you with that
everlasting love.

True love.

Yes, James is very sweet.

Why don't you get out
your violin, Donna?

"Sweet"?

God, he's gorgeous.

Yes, James is very sweet

and very gorgeous.

I wonder if Mike could
ever write a poem.

(LAUGHS)

Do you think that if you
were falling in space

that you would slow down after
a while or go faster and faster?

Faster and faster.

And for a long time, you
wouldn't feel anything.

And then you'd burst into fire.

Forever.

And the angels wouldn't help you.

Because they've all gone away.

Mom?

(GROOVY JAZZ MUSIC
PLAYING ON STEREO)

(TIRES SCREECH)

(KNOCKING ON DOOR)

HAROLD: Mm-hm.

Laura.

My secret diary, there
are pages missing.

Well, who would do that?

Bob.

But Bob is not real.

There are pages torn out.
That is real, Harold.

Okay, okay, well,
maybe, maybe. Okay.

Bob is real.

He's been having me since I was 12.

And the diary was hidden too well.

There is no other person who
could've known where it was.

He comes in through
my window at night.

He's real.

He's getting to know me now.

He speaks to me.

What does Bob say?

He says he wants to be
me or he'll kill me.

- No. No.
- Yes.

Yes.

What? What? Please, what?

Fire walk

with me.

Me.

(CRYING)

Oh, the trees.

The trees.

You have to hide the diary, Harold.

You made me write it all down.

He doesn't know about you.

You'll be safe.

I'm sorry.

(CRYING)

(SOBS)

Laura.

What?

I don't know when I can come back.

Maybe never.

Laura.

Laura.

BOB:
I want to taste through your mouth.

No.

Lately, I've been filled
with the knowledge

that the killer will strike again.

But because it is just a feeling,
I am powerless to stop it.

One more thing, Albert.

When the next murder happens,

you will help me solve it.

Let's test it for the record.

Will the next victim
be a man or a woman?

A woman.

All right.

What color hair will she have?

Blond.

Tell me some other
things about her.

She's in high school.

She is sexually active.

She's using drugs.

She's crying out for help.

Well, damn, that really
narrows it down.

You're talking about half the
high school girls in America.

What's she doing right now?

She's preparing a great
abundance of food.

Okay, here's your change.
Thank you.

- Heidi's got a bloody nose.
- SHELLY: Bloody nose?

NORMA: Do you think you
could give Laura a hand

with the Meals on Wheels?

Um, I was just... I was busy.
I was doing this.

You're not that busy.

This would look nice on your wall.

BOY (WHISPERING):

- LAURA: Shelly?
- Yeah?

LAURA: Um... I can't do the
Meals on Wheels today.

I just... I just can't.

What?

(FLOORBOARD CREAKS)

(SCREAMING)

(YELLING)

(CRYING)

Oh, my God. Oh, my God.

No. No. No. No, no, no. No.

(CAR DOOR CLOSES
THEN ENGINE STARTS)

LAURA: No. No. No.

No, not him.

No. No, it's not him. It's not...

It's not... No, it's not him. No.

Laura.

(SOBBING)

Donna, are you...?

Are you my...?

Are you my best friend?

Of course.

What is it, Laura? What's wrong?

I'm your friend always.

Come on.

(DOOR OPENS)

(DOOR CLOSES)

Hi, honey.

How's Donna?

Fine.

School?

School's fine.

Sit down.

Sit down.

Are you hungry?

Not really.

Hmm.

You didn't wash your hands before
you sat down to dinner, did you?

Let me see.

Dad.

Oh, these hands are filthy.

Look.

There's dirt way under
this fingernail.

- Leland, what are you doing?
- Look at this finger.

- Leland...
- Laura did not wash her hands

before dinner.

- Oh, look at this.
- Don't.

LELAND: Oh.

Is it from a lover?

Did you get this from your lover?

They don't call them "lovers"
in high school, Leland.

Bobby didn't give you this.

How do you know that Bobby
didn't give her that?

LELAND: Did Bobby give you this?

Or is there someone new?

SARAH: Leland.

Leave her alone. Don't do that.
She doesn't like that.

How do you know what she likes?

Stop it!

Stop it!

Now, you sit down,

and we'll all have dinner.

Oh, I'll sit down.

But not a one of us is
going to start eating

until Laura washes her hands.

Wash your hands.

(LAURA CRYING)

(CRYING)

(CRYING)

What is it, Leland?

(DOOR OPENS)

Laura, honey.

I love you.

I love you so much.

Dad.

Good night, princess.

(CRYING)

(WHISPERS) Is it true?

(SNAPS)

(IN DISTORTED VOICE)

(WHOOPING)

Don't take the ring, Laura.

Don't take the ring.

My name is Annie.

I've been with Dale and Laura.

The good Dale is in the lodge,

and he can't leave.

Write it in your diary.

(GASPS)

This is where we live, Shelly!

As if I didn't know.

I'm gonna show you how to wash this
tile, and then you're gonna do it.

Come off it, Leo. I have
to get ready for work.

What did you say?

Shelly, I'm not fooling
around anymore!

- Okay.
- First thing you're gonna learn

is to have a good attitude.
That's the key!

Anybody will tell you that.

(PHONE RINGING)

Ow!

Don't even think about
going anywhere.

I'm not finished with you.

- LEO (OVER PHONE): Yeah?
- Leo, Bobby.

What are you doing calling me here?

I'm sorry. Um...

The football's empty.
I'm looking for Santa Claus.

No way. You already owe me money.

- Five thousand, to be exact.
- (MOUTHS) Five thousand?

Leo Johnson,

are you telling me
there's no Santa Claus?

(PHONE RINGING)

Yeah, Roadhouse.

Jacques, Bobby.

I need some things, man.

Heh.

How come you only call me
when you're desperate?

You desperate, baby?

Are you interested or not?

Yeah, maybe, Bobby, baby.

Maybe. Heh.

For 10 K, I have a friend
who has what you want.

Oh, his stuff is the best.

Hit me.

Two days, midnight,

at the sound of sawing wood.

(CHUCKLES)

Jacques, you crazy
fucking Canadian.

This sounds big.

(KNOCKING ON DOOR)

DONNA: Laura?

Laura?

Laura?

Where you going?

Nowhere fast.

And you're not coming.

Laura, come on.

You remember me?
I'm your best friend.

Laura...

aren't you gonna fix me a drink?

Where are the cookies?

You mean Fred and Ginger?

Dancing.

If I had a nickel for every
cigarette your mom smoked,

I'd be dead.

I'll call you tomorrow.

DONNA: Laura.

Laura.

(CAR DOOR CLOSES)

When this kind of fire starts,
it is very hard to put out.

The tender bows of
innocence burn first,

and the wind rises.

And then

all goodness is in jeopardy.

WOMAN (SINGING): Why did you go?

Why did you turn

Away from me?

When all the world

Seemed to sing

Why

Why did you yo?

Was it me?

Was it you?

Questions in a world

Of blue

How can a heart

That's filled with love

Start to cry?

When all the world

Seemed so right

How

How can love die?

Was it me?

Was it you?

Questions in a world

Of blue

When did the day

With all its light

Turn into night?

When all the world seemed to...

So you wanna fuck the
homecoming queen?

(TOMMY CHUCKLES)

BUCK:
Let's go around the world, babe.

SINGER: Why did you go?

This isn't gonna get
you to Walla Walla.

BUCK: You do go all the way,
don't you, little girl?

SINGER: Was it you?

Sooner or later.

SINGER: Questions in a world...

You willing to go all the way, huh?

You gonna do it to me?

(BUCK GRUNTS)

SINGER:
Questions in a world of blue

DONNA: Let's boogie.

What the hell are you doing?

Are you part of the deal?

No, she isn't.

(SONG ENDS)

(CROWD APPLAUDING)

What did you say your name was?

Buck. Heh.

That was really nice, Buck.

Yeah. Ha-ha-ha.

Okay, Donna.

Let's go.

(SULTRY ROCK MUSIC PLAYING)

(LAUGHS)

(MIMICS GUNSHOT)

(LAUGHING)

Yeah.

(LAUGHS THEN WHOOPS)

(LAUGHS)

RONETTE:

LAURA:

No! Donna!

Donna!

(SHOUTING INDISTINCTLY)

Get off her.

Don't ever wear my stuff! Don't
ever wear my stuff! Never!

- DONNA: I won't wear your stuff.
- Jacques, help me get her home now!

- Tommy!
- I'm not gonna wear your stuff.

LAURA: Donna, not you.

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?

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.

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)

(SNIFFING)

(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)

(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.

No, not tonight.

Just...

give me some stuff to hold
me over until tomorrow.

Why?

Why not? Where you going?

Where are you going?

I'm going home, Bobby.

You don't want me.

You just want the blow, don't you?

It's okay.

It's okay.

Bobby's got it.

(CHUCKLES)

Good night.

Good night, sweetheart.

(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?

(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)

(SCREAMING)

(LAURA & RONETTE SOBBING)

(LAURA 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.

I'm sorry.

PHILLIP: Let me in! Let me in!

(THUDDING)

LELAND: No!

Don't make me do this!

No!

(SCREAMING)

(SCREAMING IN DISTORTED VOICE)

BOTH (IN DISTORTED VOICE):

(YELLS)

Judy?