[electricity crackling]
I strange warbling music ♪
III
[thunder rumbling]
[man] There are many people with me now.
They would rather be reflected.
The one-armed man walks across a patterned floor.
Soon he will be replacing the backwards-talking man,
who chose to stay at home.
[wind whooshing]
[thunder booms]
[Lynch] How did you lose your arm?
You told me once.
Wk Sixty years ago.
[Lynch] Sixty years ago. Uh-huh.
I had a very fast car,
at 16 years old.
And I was coming home
late one night in the winter.
It had thawed during the day-
[Lynch] Where-where is- what par1 of the country?
- Madison, Wisconsin. - [Lynch] Madison, Wisconsin.
- A town you know well. - [Lynch] Mm-hmm.
And, uh, it thawed during the daytime,
and the water had kind of flowed into
these little black ice rivers.
[Lynch] Mm-hmm.
And I was-it was-l was-
And at night, it got down to about 15 degrees.
And I was going way too fast.
And I hit that black ice and got sideways,
and when the tires hit the dry pavement again,
it flipped the car over.
And I was shot through the roof
and landed about 75 feet up in an elm tree.
I plopped to the ground.
No sight. Nothing.
And I'm feeling-feeling around-and it's all mushy.
And I found my cranium back here,
plopped it back down.
And then I left my body
and went up, and then I could see.
And I had-l could see thatl had landed
in the front yard of a house with a light
on the snow in the back.
And then I went up and then through the proverbial tunnel,
fought like hell to come back.
And when I came back, uh,
the light was out.
[thunder booms]
It turned out that the guy had been taking a shower
when the crash happened, and he didn't hear it.
And then he'd gone to bed.
And somehow I was able to get him
to come back out.
And he was a deputy sheriff.
And the station wagon in his driveway
had oxygen and blankets in it.
- [Lynch] Wow. - Yeah.
Lucky.
[buzzer blares]
- [Lynch] Wow, AI. - [Al chuckles]
[Lynch] And your head came off?
- [Al] Yeah. - Back-back up.
[Al] The nerves were pulled out of the spinal cord.
- [Lynch] Ohh. - [Al imitates whoosh].
- Between the C3 and C4. - Wow.
And, uh, left all that torn nerve in the spine.
- Mm-hmm. - In the spinal column.
Of course, my brain thinks that's the arm still-
[Lynch] Still the arm there, yeah.
So I had a sensation like my left arm is immersed
in a pot of boiling oil all the time.
[Lynch] Wow.
[Al] So I've learned to live with it,
but that's the one thing that I really could do without.
[Lynch] Jeez, AI. That's a story.
- [Lynch] Fantastic, man. - [Al chuckles]
[Lynch] Okay, so let's go through this thing here.
Okay, um...
Start looking there. Remember that?
♪ ambient music ♪
And then turn-turn a little bit...
III
What is "hmm"? What are you thinking about?
[man] Uh, the Great-uh- the Great Northern is, um-
it's a lot of work for us to do in two days.
They're bath full days-.
Urn, so there's not much wiggle room.
It's kind of like The Fireman's, we just have to tough it out.
You know, and shoot the stuff, I think.
[woman] Uh, I want to let you know, on Monday,
Beverly is going to come visit.
Why do we only have two days? We're on stages.
Why do-why do you-why do we have to do it in two days?
- [woman] We have- - Why?
[woman] I will tell you, in terms of Beverly,
her availability, we have her for these two days, and that's it.
Well, there's a lot of scenes without Beverly.
There's Sheriff Truman's scene.
[man] We also-we start- we could-Ben.
- Now this finishes Ben. - [woman] That finishes Ben.
[man] So we pay him more money to keep him around...
Well, I know, but the thing is, like, you know,
we-you-we're not on location,
where we have to, you know, that we aren't-
we own the stages, you know?
It just drives me nuts that we have to do it in two days.
- [woman] lt's-it's- - Somebody arbitrarily says,
- "You gotta do it in two days." - [man] No...
That fucking really pisses me off.
- [man] Okay. - [Lynch] It really does.
We were always up against the fucking-
I'm not working this way again, ever.
This is absolutely horrible.
We never get any extra shots.
We never get anytime to experiment.
We never get to, you know, go dreamy or anything.
We barely fucking make our days.
I could have spent a week in The Fireman's.
I loved that place.
And dream up all kinds of stuff.
You know, ifs just-it's sick,
this kind of fucking way to do it.
You don't get a chance to sink into anything.
- Ifs not a way to work. - [man] It gets-
And you're telling me I got two fucking days
to do all these things, that's just bang-bang-bang.
It's like a fucking machine.
[man] It gets slightly better as we go into our stage work.
[Lynch] Well, you know, maybe we won't make it in two days.
So start preparing for that.
[man] It's-and it's not a big worry,
we just have to pay Ben Home.
This is just an aid-fashioned planning
of how movies are done in Hollywood.
It's not the best way...
No-not in Hollywood.
[man] It's just-ifs just the way,
um, to do it efficient.
- [sighs] Fucking A, Qkay_ - [man] All right?
Well, what do you want me to do?
[man] Um, we're okay. We probably can do it.
If the lighting's real slow, we may just say,
“Let's come back and shoot
that scene with Ben Horne in the morning."
And the-the truth is our next day in the sheriff's office,
I think, is mellow.
It will be Friday, and-and I'm thinking
we're gonna be in good shape.
[Lynch] Well, just so you know, I have no ideas
for Sheriff Truman's office.
We're gonna have 15 people standing around,
and I don't have a fucking clue what I'm gonna do.
[man] Well, you have the weekend to think about it...
Yeah, right, I've been thinking about it for a long time,
a lot longer than the weekend.
[man laughs] Well, now, here's another thing-
is that now you're on the stage,
and you can think about it,
and you change around the order...
[indistinct chatter]
Baked into banana bread.
Ifs also infused in this potent, spreadable jam.
It's ideal for creative...
sojourns...
...of a solitary nature.
Wheels up.
Here we go.
[indistinct chatter]
You guyS...
[woman laughs softly]
Unbelievable.
You're in your office.
Well, it never looked this good before, that's for sure.
[Lynch] Let's go back here real wide, Pete,
and sell this beautiful place.
This is real good.
Okay.
Okay, now get out of here, everybody.
And, um, we'll make a rehearsal.
[man] Okay.
This is so beautiful, you guys.
It's just really good work.
- Ruthie and Flo and... - Thank you.
...the gang, it's really good.
It's unbelievably good.
Beverly?
Why don't you, you know, flip yourself in here?
And, uh, and you're gonna be-
you'll be walking in, you'll be walking in.
And you'll walk in to right about here...
[Lynch] ...and talk to Ben.
And then Jerry will come in here.
I am here, brother Ben!
[Lynch] That-that's-Come in here and just present-present it to him,
like-like you're-right there.
Sweet-
Doesn't matter what he's doing in here,
you're gonna hold it up and-and present it.
[Lynch] Okay.
Is that the new girl? Are you banging her yet?
[Richard] Oh, Jerry, Jerry.
Respect. She's a beautiful soul.
And she's married.
[Kelly] Well, that never stopped you before.
[Richard] Jerry...
And that's a throwaway. You've told him that a million times.
- [Kelly] Right. Mm-hmm. - This whole brother thing.
Just say "It never stopped you before."
Okay, then throw that away sort of.
And go back to, you know, whafs the next thing?
[Kelly] Swimming in my mind
at this time, literally, is my new
uh-uh-uh-hybrid,
indica-sativa hybrid.
It's a touch of the mythic AK-47
by way of the Amsterdam express.
It's baked into the banana bread,
and it's also infused in this potent spreadable jam,
which is ideal for-
for sojourns of a creative nature,
a-a solitary nature.
Wheels up.
[Lynch] Um, okay, that's good. That will-
I will sit with Cori, and we'll work out the front part.
- [Richard] Yeah, yeah, sure. - Used to be a phone call.
But this is the positions.
And we can show it to them for positions, and then we'll work on that when we go.
- [Richard] Yeah, yeah. - Okay, cool.
III
[indistinct chatter]
[Lynch] Yeah.
[man] All right.
[scattered laughter]
Ladies and gentlemen,
another sad day.
The great and marvelous
and stoned Jerry Horne is a wrap!
[cheers and applause]
Thank you, everybody!
[speaking indistinctly]
[Lynch speaking indistinctly]
Great pleasure. Great honor.
I have nothing to say because I'm too high.
[laughter]
- [Lynch] Good deal... - I know you all feel my heart.
- [woman] Aw. - [man] All right.
[cheers and applause]
All right, brother.
[man] Thank you all. Let's wrap it up.
What, are you still spelling this E-P-C-T?
♪ ambient music ♪
III
[various birds calling, water running]
[man] We have been here before.
Together we have passed below this bridge.
Listen to the water as it moves along its path.
How are we hearing ii so clearly?
III
What do we got?
[man] Oh, my goodness. Well, we have Audrey's house.
- Two days in Audrey's house, right? - [man] Two days in Audrey's house.
[speaking indistinctly]
- [woman] Well, first of all... - [Lynch] Mm-hmm?
[woman] ...last week of shooting.
[Lynch] Unreal.
[woman] Whoa? [clapping]
[Lynch] No, Inever thought this day would come.
Unreal.
[man] Unreal. Unreal.
Boy, we've come through a lot of good, hard work.
III
It's amazing, David.
You shot the heck out of this thing.
- [Lynch] We have. - [man] Yeah.
[Lynch] Yeah.
I don't know why, but I'm not really worried about Audrey,
the two days in Audrey's house.
[man] No, you're all right.
How much of a hellcat is she gonna be?
- [Lynch] She's a hellcat. - [man] So she's gonna get-
[Lynch] Yeah, but we'll shoot up on her,
and her penchant will go into a pillow
- or something like this. - [man] Okay. All right.
He's gonna tell her, "You can hit me as hard as you want."
And she said, "No, I can't do that. I'd kill you."
And he'd say, "No, you can-you got to hit me."
So we'll see how much we can fake it...
- [man] Okay. - ...and make it work.
[man] Um, all right.
And in your mind...
[woman] ...his coat off and crosses to the couch.
He lays his coat out over the back of the couch
and then sits down.
Audrey suddenly turns and flies at Charlie,
leaps on him and begins beating his face.
Charlie struggles to defend himself.
"How can you be like this?
I-I hate your fucking guts. I hate you.
Do you know how much I fucking hate you?"
Where's Audrey?
[Sherilyn] I'm coming. Yes?
[Lynch] You stand here by the front door,
- but face Charlie. - Okay.
Okay, and you don't have your coat on.
- But he has his coat on, okay? - Okay.
Now, lefs just run through the-
run through the lines here.
Be a little bit more like-like this.
- [woman] Oh. - Okay.
You're just gonna walk into it...
- Okay. - “Item here.
[Lynch] Why don't you walk in and turn to him like that?
You have a coat in your- in your right hand.
- You know, like, you almost... - [Sherilyn] Right.
And just look at him.
- [Sherilyn] I'm tired of wait- - Look at him for a long time.
[Sheri lyn sighs]
I'm gonna fucking kill you. Okay?
Fihefwiyn} Pm tired of waiting for the phone to ring.
We hated that piece, bu?
Oh. You have yourjacket on.
[Clark] Of course I do.
We're going out. We're going to the Roadhouse.
- Yes. - I'll need my coat.
Yes, well... [soft laugh]
You're really something, Charlie.
What the hell?
[Clark] Put your coat on, Audrey.
It's already late, and I'm so sleepy.
Let's go.
[Sherilyn] Would you just stop complaining?
What a pain in the ass you are.
Can't you just do something for someone without ruining it
by continually complaining?
R's like being with a sick dog.
Are you gonna put your coat on
or talk me to death right here on the threshold?
When Billy and I go places,
he never speaks to me like you do.
Yes, well, I am Charlie,
and he is Billy.
- And I like Billy better. - Sensational.
Now, are you going to put your coat on,
or shall we stand here all night?
Oh, God-here you go again.
You cannot stop for one fucking second...
- Audrey... - ...can you?
Audrey, seriously, in one fucking second,
I'm taking my coat off and staying in for the night.
You're the one that wanted to go to the Roadhouse, not me.
It's impossible.
I mean, I see it right before my eyes.
How have I never seen it before?
Abso-fucking-Iutely impossible.
[Clark] What is it now, Audrey?
[sherilyn] It's you.
It's you, Charlie.
Line.
[woman] I never- I just really never-
I just really never saw you before
the way I see you right now.
It's like I-Fm meeting a different person.
Who are you, Charlie?
Okay, off comes the coat.
[clears throat]
[Lynch] And you go in- you g0 in to that couch
and sit back down and lay your coat on the back of the couch.
- [man] A-okay. - And sit down.
[Sherilyn] Am I-
[Lynch] Once he-once he puts his coat down and sits down,
then you race in and attack him.
- Okay. - And then, so you go in fast.
Okay.
Go in fast.
- How... - Race toward him.
Race right toward him. Don't stop.
[Sherilyn] And then...
[Lynch] Listen, I got you here like this.
- Okay? - Okay,
- "I'm gonna fucking kill you." - Okay.
- Okay ' [whines]
- Qh_ - [both laugh]
Okay.
[Clark] Why don't I lay down and you can try it?
- [Sherilyn] Okay. - [Clark] Yeah.
Sometimes I feel like
you're-you're saying your lines
trying to get them all in before she interrupts you.
- You know? - Yeah, yeah, yeah.
So I want you to take your time with your lines.
- Okay, good, good. - And I'll t-Audrey'?
[Lynch] How could you be like this?
I hate your fucking guts.
I hate you.
Do you know how much I fucking hate you?
Okay.
I hate your fucking guts! Do you know that?
I hate your fucking guts! Do you know how much I hate you?
[Sherilyn] Do you? [cries]
Cut it.
Shemyn Fem, you (M so good.
[Sherilyn crying]
Where' s that We Sherflyn Farm?
[indistinct chatter]
Is that that little Sherilyn Fenn?
- [crying softly] - [chuckles]
- [indistinct chatter] - [Lynch] What a difference...
[laughs tearfully]
- Fantastic. Fantastic. - Okay.
- Ah. - [laughs]
- I love you. - All right.
- Okay. - Okay, good deal.
Now we're gonna do the scene out here.
' Okay - Okay?
- Okay. - You nailed that puppy.
- Okay. - So good. So good.
[Lynch] Gather around, everyone.
[scattered laughter and cheers]
Ladies and gentlemen...
[chuckling]
The beautiful and troubled
Audrey Home is a wrap!
[cheers and applause]
Oh, my God.
[cheers and applause continue
Thank you all so much.
I wish I had been here more with you, but I loved being here.
And it's just really such a blessing
that it all came back together again.
So bless you all. [chuckles]
[cheers and applause]
[Lynch speaks indistinctly]
I strange warbling music ♪
III
[man] Can you see the little man climbing the wall?
Look closely.
Do you see him?
Just because you cannot see him,
does it mean he does not exist?
III
[Lynch] Falling, falling, falling, falling, falling'
Then we're on his back. The camera's back there.
Falling, falling, falling, falling, falling.
And he's-legs are out- hands are out.
Falling, falling, falling.
- Those three things. - [man] Okay.
- [man] Those three things. - And then for the-for the, um, balcony,
he's iike this-Whoa"-
down, and he disappears behind the wall.
[man] Okay. And then, um...
when he goes into the glass box...
He's going through a tube.
- We're floating him-level. - [man] And he's like this.
And he's moving forward through the tube,
and he comes out of (he tube,
and he-whoa-up like this, his legs are back.
He's floating, floating, floating, looking around.
And then [imitates whoosh], he gets little, then disappears.
[man] Okay, now, when we're in that same kind of floating thing,
- he goes into the socket- - Into the thing.
He leans fonuard, and we lift his legs up.
And we arch-and he just go right into the socket.
- [man] You guys good so far? - [man] Yeah.
[man] All right, 'cause we talked about a couple different positions on the-
He's-he's dropping. He's floating.
- [man speaks indistinctly] - He's floating-yeah, yeah, okay.
- [man] After that. - Now the glass box.
Glass box is, um,
he-he's gonna be-we're gonna be on the back of him,
uh, as he's falling toward New York City.
Clean POV or on the back of hm.
Front of him, you know, falling.
Back-[imitates thump]
- He hits the box. - [man] Same falling shots.
Then we got a close-up of his face and-and shoulders.
[imitates thump]
And we distort that puppy, you know, later.
And-and then he just gets-
- [imitates whoosh] Disappears. - [man] Okay.
[machine whirs]
Now, one more {hing before you go meditate;.
[Lynch] Uh-huh.
- [man] The floor, the undulating floor. - [Lynch] Uh-huh.
And Phil's kind of mapped out-
This is the tank underneath the floor.
This is five-foot-six off the floor.
Are these the edges, Phil, how big the floor is between you and me?
- Yeah, that's how long the pieces are. - And they're going like this, right'?
Yes, boom, boom, boom, boom.
- And then this'll open up. - Uh-huh.
[Phil] And he'll fall into the...
' [man] Right now? ' [LYmh] He goes in.
And he's gonna go in...
[soft whistle] ...like it's deep.
Ifs only four feet deep, but Kyle will hit-his feet will hit that,
and he'll just keep going.
So it'll look like one smooth, deep in-deep-
infinity amount of water.
[man] Okay. Thank you.
[Lynch] The floor will start to open.
Now I'm doing it in slow-motion.
- [Kyle] Year; ' [LYPIChl Okay?
- [Lynch] It's gonna open pretty fast. - [Kyle] Okay.
You'll be-you'll be hanging right above the floor.
The floor will start to open.
You take-when you think it's safe to go in, you go in.
And the floor will still be opening
- when your feet are entering the water. - [Kyle] Okay.
So we'll have this-rest of this thing-
and the audience will understand, "Oh, it opened up."
- [Kyle] Okay. Okay. - "And he went in."
[Lynch] If-if, you know, to get that timing
with the undulating floor and then it opens,
- it'll never happen. - [Kyle] Got ya.
So the floor is gonna be closed.
It's gonna open.
And as soon as you see it's good to go in,
you go in, and this will still be going.
[Kyle] Okay.
III
[man] Come on this way.
Come around a little bit
in case he has to go over our back.
[man] That's good. That's probably good right there.
[man] Let's talk a little bit about, uh, the movement on the floor.
Phil, Lar, you guys come just- just one second.
- [man] Yeah. - All right, so...
- Hi, David. - Hi, Phil.
[Lynch] It's the big day.
Yeah. [chuckles]
A lot of work went into (his thing.
[Phil] Oh, my gosh. In a short period of time, too.
[man] Randommcut. How-what were you thinking?
[Lynch] It's random. And it's violent.
Wan Okay.
[Lynch] And it's-we have the close-ups to go with this.
He's looking down, and he's going like this, you know.
And then we cut down, and the floor is going up and down.
Right. Uh-huh?
And they see his feet trying to maintain.
- Right. - And that's the shot.
And then the next one is more of the same.
- Uh-huh. - And then the next one is
they split apart, down he goes.
Okay.
[man] Let's do a test of the floor before we put Ryan on it, right now.
- Just to get-yeah-the right- - Okay.
- Okay, let's do that now.
And his feet aren't motivating anything---...
- No. - The floor is independent.
The floor is motivating everything.
[man] This will be a floor test,
before you step up, Ryan, and make sure we get to the floor...
[man] Okay.
Ready, and floor!
[machine clunking]
[Lynch] Okay-
[man] Okay, cut it!
[machine clunks]
Tell-l would tell Kyle...
- [man] Mm-hmm? - ...don't anticipate anything.
Just let the floor do it. And don't move around.
- Just keep your feet in one place. - Just try and keep balance.
Trying to keep balance, but stay in one place.
- [man] Uh-huh. Okay. - [woman] Looks good!
[indistinct chatter]
[man] First of all, um,
everything's gonna be controlled by the stunt people
'cause they're gonna drop him.
He's not gonna be in the vault.
I don't agree with that at all.
- I don't agree with it. - [man] How can he go?
Because he knows how to do it.
- [man] Yeah, but he- - He's gonna take his own cue.
[man] You're gonna-he- they're holding him.
No, they're not gonna hold him.
[man] You're saying he's going to be standing on the floor...
And ifs gonna open up, and he's going in.
. [man] And he's gonna lump I"? - Yes.
[man] Well, that's a different thing.
[indistinct chatter]
- [man] Okay - Yeah.
' [We] I wear nose plugs? - Hmm'?
- [man] And I wear nose plugs? - Yep. [chuckles]
[man] Well...
Well, let's gel set to do the undulating floor now, please.
Kyle, you can get hooked up.
Coat on, hooked up.
Kyle is a magician.
The thing is four feet deep. He's gonna hit.
But he-and his legs will hit,
- But he's gonna keep going. - [woman] Yes.
[Sabrina] His whole body- he's gonna go in,
he's gonna be submersed, he knows that?
He's gonna be submerged in the water-he knows that.
- [man] All the more reason t0.. - He's going through to fall into space.
[man] Not having that harness on,
he would have bobbed up like an apple.
This is...
Fuck, sometimes you come up with good stuff.
[chuckles]
[Lynch] Because Kyle is just a magician.
[buzzer blares]
[indistinct shouting]
[man] Sound is speeding!
[indistinct shouting]
[man] And start the floor.
[machine clunking]
[Lynch] Cut m
- Cut! ' [man] Cut!
- [man] Cut! - [buzzer blares]
[LYmh] Kayle.
- Okay, step in here, champ. - Yeah.
Now, see, run it here.
Right.
See how you fell through- uh, forward there?
That was-like, it threw you off balance.
- Yeah. - That was kind of good.
Okay.
And, you know, a couple of those in there
where you-you come forward, and it throws you off.
- Okay, good. - And you look pretty nimble here.
- Yeah. - So ifs-it's like-
it-it looks like ifs-
- Not quite so. - Not so.
- Make it not quite so easy. - Mm-hmm.
Uh, but it's pretty damn good.
But a couple of those things where you-where you-
it throws you off balance.
Great. Mm-hmm.
- And then I think it will work. - Okay.
Okay, good deal.
[man] Right now, Mark, we just want to show Kyle,
uh, the center point.
Here we go, nice and slow.
One, two, three, open.
And hold. Slow, slow, slow, stop.
- Great. - Okay?
Okay. And the camera is there?
[Lynch] Cut!
I think that looks a little bit dangerous.
[woman] No, don't worry about that.
Don't worry about the two-one-five thing.
If Kayle hits his head on that corner there,
it wouldn't be pretty.
Kayle, you don't go in till you feel it's safe.
[man] Rolling!
[buzzer blares]
[woman] Rolling!
[man] Sound is speeding!
[indistinct shouting]
- [woman] No, this is... - [man] Everyone, set.
[woman] Victor 67 apple, take two.
[man] One, two, three, open!
Cut it!
[man] Cut!
[applause]
[indistinct talking]
[cheers and applause]
[buzzer blares]
[man] Let's say we got it.
[Lynch] Let's say we got it.
[man] And then, uh, let's-let's wrap it up.
Let's wrap it up.
- [Sabrina] That's-up there? - [man] Yeah.
[indistinct chatter]
[man] All right!
[man] Let's have a look.
- [man] Just-just- - Nice, yeah.
[man] It's with that they wanted to get that.
And you got it. [chuckles]
[man] And you'll get it.
♪ ambient music ♪
III
[man] It is now the end of the road.
Something has happened to me.
Has it happened to you, too?
A feeling that something has been accomplished.
[static drones]
III
The man with the gray elevated hair talks into his horn.
I wonder...
will he ever see Agent Cooper again?
Has Bob finally been destroyed?
I do not know the answers of these questions.
Do you?
[cheers and applause]
- [Sabrina] Is this on? - [crowd] Yes.
[Sabrina] Okay!
I want to thank each and even; one of you.
You guys have been incredible.
You have met every chakkenge and surpassed it.
And X cannot thank you enough for everything.
You guys are incredible.
[cheers and applause]
[speaks indistinctly]
Just say my name. [chuckles]
[Lynch] Clear the floor...
[scattered laughter]
...and make way
for this one here.
[cheers and applause]
Ladies and gentlemen,
it was bound to happen.
[scattered laughter]
Our dear
black-suited Dougie
is a wrap!
[cheers and applause]
Um, I'll try and get this out.
[clears throat] So...
I just wanted to take a moment and have all of us
acknowledge what a rare
and special treat that this has been- and I think we do-but now, as a family,
to get to come back to Twin Peaks again,
with the original creator...
[man] Yeah.
I think, uh...
besides being a dear, dear friend,
he's one of the great filmmakers of our time.
- And I think we all... - [applause]
[cheers and applause]
[Kyle] And I know-l call myself extremely fortunate to call him a friend,
but as a creative being, he is beyond compare.
And we are-all of us, and I know we all feel this,
- but I'm just saying it... - [man] Yeah!
...extreme-extremely- extremely grateful
to be able to work with him, so...
this is for you.
[cheers and applause]
[speaks indistinctly]
Thank you guys. Thank you guys.
And I think you've seen this- proof of this, uh, that Kyle
is one of our greatest actors ever.
[cheers and applause]
[Kyle] You-
[laughter]
Now, ladies and gentlemen,
uh, somewhat-
it's a sad message,
a sad "gather round,"
and also a happy "gather round."
Ladies and gentlemen...
principal photography is a wrap!
[cheers and applause]
And, ladies and gentlemen, speaking personally,
I've never gone down the road with a better bunch.
Thank you all very, very, very much.
[cheers and applause]
I love you, Kayle.
It's a great thing. Great thing.
I strange warbling music ♪
III
[Lynch] Gather round, everyone-
Ladies and gentlemen,
the not-so-real but real
Dougie Jones is a wrap!
[cheers and applause]
I want to say it's been a pleasure working with everyone here.
[scattered laughter]
Thanks for feeding me.
III
Gather round, everyone. Gather round.
Stand here, Cooper. On this side.
[indistinct chatter]
Gather round, everyone.
[man] Gather round!
[indistinct chatter]
Gather round, everyone.
[man boos softly]
[scattered hissing]
Settle down.
[scattered laughter and hissing]
[Lynch] Gather round, everyone.
[person clapping]
I hate each and every one of you.
[laughter]
- Not really. - Ladies and gentlemen.
III
[laughter]
This fine gentleman here,
Cooper Double, is a wrap!
[cheers and applause]
- Yay. . Uaughter]
[Kyle] It's been a real evil pleasure.
- [laughter] - Real evil pleasure.
I'm gonna go get cleaned up.
And what a wonderful job he did.
Aw.
[cheers and applause]
Thanks for making me look so mean.
Go jump in the shower.
- I'm gonna jump in the shower. - Okay.
Thanks, everybody.