[electricity crackling]
I strange warbling music ♪
III
[man] I have been traveling for 70 days now...
...searching for the man with the gray elevated hair.
Never staying in one piece for more than one day.
A woman is angry with a man in a sleeveless suit.
She tells him of her grief.
Again, he speaks words that I do not understand.
Does he want her to say the things she says?
[Sherilyn] So what does she say?
Okay.
[whispering indistinctly]
- Okay. - Mm-hmm.
[whispering] Not at the top-the top- not at the top...
[whispering indistinctly]
Oh, you'll be-you can start that.
You'll start by demanding that.
- And then just-okay. - Yeah.
And then get-come over.
Okay.
Okay, Iefs try one more.
[exhales deeply]
And it might be- instead of relaxing there,
- why don't you stand, like, right here? - Okay.
And just right in the middle. And just present yourself to him,
and-and demand that thing at the beginning.
So what did she-
And you have your coat in your left hand.
- Mm-hmm. Yeah. - Okay.
- I put it on. - She put it on.
- Did you put it on? - Yeah.
- No, we-when, in the other scene? - Yeah.
- This is a different time. - Okay.
- Completely different time. - Great.
So what did she say?
[Clark] Audrey...we've been over this.
Just tell me.
[Clark] Audrey. Stop it.
Are you ready to go?
[sighs]
I feel like I'm somewhere else.
Have you ever felt that way? Have you ever had that feeling, Charlie?
Look right at him when you say those things.
- Just look right at him. - I feel like I'm somewhere else.
Have you ever had that feeling, Charlie?
[Clark] No.
Somewhere else.
And I feel like I'm someone else.
Have you ever had that feeling, Charlie?
[Clark] No.
I always feel like myself.
And it may not always be the best feeling.
Well, I'm not sure who I am, but I'm not me.
[Clark] This is Existentialism 101.
Oh, fuck you. I'm serious.
Who am I supposed to tr-what is it?
- [woman] "Who can I trust"- - Who can I trust but myself?
And I don't even know myself, so what am I supposed to do?
[Clark] You're supposed to go to the Roadhouse
and see if Billy is there.
I guess.
Is it far?
[Clark] Come on, Audrey, you know where it is.
If I didn't know better, I would swear you were on drugs.
I'm fine, but I'm not on drugs.
Where is it?
[Clark] I'm gonna take you there.
You gonna stop playing games, or do I have to end your story too?
Now...
[whispering indistinctly]
What story is that, Charlie?
Is that the story of the little girl who lived down the lane?
Is it?
[sighs]
[Lynch] Just lose that pillow. It's nothing but a pain.
[sighs]
[Clark] You're the one that wanted to go.
Now you're looking like you want to stay.
It's a conundrum.
I want to go, and I want to stay. I want both things.
Which will it be, Charlie?
Which would you be?
Charlie, help me decide.
It's like Ghostwood here.
Okay, good.
Good.
Over her too, Charlie.
Close-up, close-up.
I spare instrumental music ♪
III
[man] High above the water, we can see the reflections.
A funny {Effie man dressed like an eff comes into view.
He has eaten the medicine that he made himself.
Why was he not more careful?
[engine rumbling]
[indistinct chatter]
[man] Love your work, Mr. Lynch.
[man] So what's gonna be our first shot, David?
Is this the vantage that you like?
Yeah, we could run either one.
We got to get both of 'em, so we might- take your pick.
- [man] Okay, so we have- - [Lynch] Pete...
what do you want to shoot first,
him appearing or the-or the scene down-
[Pete] I feel like shooting him appearing, yeah.
[Lynch] Huh? Okay, we can do that.
Lay down in a prone position,
and get your binoculars out.
First look at something.
[laughter]
- [man] Okay. - You're a good man.
[man] Well, you make it a lot of fun.
[woman] "He stops short when he sees something in the distance.
It's a truck with its lights
shining up the mountain to a rock formation.
He sees two figures climbing.
He sees one figure climb up to the rock formation top
- and then through"- - Yeah.
- We're gonna reenact the whole scene. - Right.
- [Lynch] So that's what he's gonna see. - [woman] Yes.
- Bad binoculars! - [Lynch] And then he sees him get fried?
He'll bang his things on the ground and say a few words.
- And then that'll be the end. - "Jerry falls to his knees and covers..."
- David Patrick Kelly. How you doing, man? - Sir. How are you, maestro?
- Good to see you. - Good to see you, bud.
- Let me see you. - Thanks for having me back.
- You look really great, really great. - Looking exactly the same, I think.
Yeah. Fantastic.
[Lynch] Last time we saw you,
you were in some kind of trouble in the woods.
New, it's been-some time has passed,
and you're still out, out and about.
- Mm-hmm. - And who knows how far you've gone?
You'll be doing your walking like that
and come up over a little hill,
and you'll come along, and you'll reach your mark,
and you'll stop, seeing something.
'(edit be seeing, um, a truck
and this rock iii up
and this sight here.
You'll see this.
When you come along and stop,
you look, and it's like, you haven't seen people for a long time.
[Kelly] Okay.
And maybe you go, "What? People?"
You say, "P-people?
- - [Kelly] Qkal.
And then you take your binoculars,
and you see him, okay?
[Kelly] Bad, bad!
[Lynch] Beat them into the ground.
Bad! Bad, bad binoculars!
- [Lynch] No, just "bad binoculars." - Bad!
- [Lynch] "Bad binoculars." - Bad, bad binoculars!
Bad binoculars! Bad!
[Lynch] That's enough. That's enough.
- [Lynch] That's enough right there. - Okay, okay.
- [Lynch] Scold them. - Should I do anything to them? Should I-
[Lynch] Huh?
[Kelly] Should I spit at them? Should I...
[Spits]
[breathing shakily]
Bad, bad, bad binoculars! Oh...
[Lynch] Make sure you say "binoculars."
Bad binoculars!
[Lynch] Good, good.
Okay, good. You've got it.
Bad binoculars.
Oh, God.
Okay. 0K3)'-
I eerie clicking music ♪
III
Hey. We need more scotch. Do you know anybody?
[man] Thanks, R. Scott, for helping out.
[speaking backwards]
[man] Looks great, man.
- [man] Over here, sweetheart. - [man] What do you need? Nothing.
[speaking backwards]
All right, let me-here, let me land it. I'll land it for you.
III
[man] Endless buckets of energy along an iron rail.
The strangeness continues to grow...
...all for the good of those involved.
Order must be restored to a chaotic situation.
A small piece of flesh looks ripped from her face,
but why can she not see?
[Lynch] Will you clear the mom, then?
- [man] Yes. - Please.
More and more people in these rehearsals.
- You're not supposed to be here either. - [man] Me'?
- No, you're not. - [man] All right.
[Lynch] Okay, it's- okay, just start that again, Hawk.
- Um, it's "No, it's not about the bunny." - [Michael] Yeah.
And then the question. Do a pause.
- "Is it about the bunny?" - [Michael] Is it about the bunny?
That's real-almost to yourself.
- Very quiet. - [Michael] Okay.
Okay, try it again.
"What's missing," say.
[Michael] What-what is it? What's missing?
[Lynch] "What's missing?" Just "What's missing?"
- [Michael] What's missing? - [Lynch] "What's missing?"
You're-what is it?
[Michael] What's missing?
[Lynch] "What's missing?"
[Michael] What's missing?
[Lynch] Good. Okay.
Okay, let's try one more from the top.
I cued you a little bit early, but it worked out pretty good.
Let me bring Pete in.
Pete is coming in.
[man] I'm going out.
- [door closes] - [Lynch] Hey. Fantastic.
You can be in on these things,
but all these other fucking people- it's a tender fucking thing.
So this is what we've collected.
This is the side of our building.
The printers screwed up.
That color is- don't judge it by that color.
But this is where we are.
This is all getting- uh, gonna be concrete.
It's getting done now,
but this is our current state.
Nice.
- Cool. - Beautiful.
[woman] Cool, cool.
Can you make, um, a bloody slit
underneath the stitches?
Yeah. I mean, we can put- we can put some gel blood in-
But make a little indentation for it so 'rt sits in there? Make it kind of-
Yeah. I mean, it would sit-'cause there is a trench in there already, so I could-
- Uh-huh. - These are the trenches.
These are the trenches, so I would sew it up, and then, you know, when-
[Lynch] Sew it up on top of the bloody thing?
[man] I'll probably do it in reverse, because the blood-
- the blood's kind of like the after part. - [Lynch] Mm-hmm.
[man] Um, but I can definitely put some, like, red color,
like a dark bloodred color, in that...
[Lynch] Mm-hmm.
[man] munderneath and then sew it up.
[Debbie] From when we first see her
to when she's laying on the ground,
is she clean?
- Is she dirty'? - [Lynch] She's clean as a whistle.
- [Debbie] Clean as a whistle. - [Lynch] Yeah.
Uh, does she have lipstick on?
- [Lynch] No. - Nothing.
[Lynch] She has exactly what she would-
If she has lipstick on,
it would be from, you know, when we saw her in the mansion room.
[Debbie] Okay, okay.
[Candy] That was really nice.
- [Lynch] Fantastic. - [Candy] I think I'm gonna order-oh.
- Fantastic. - We're being filmed.
- That's okay. - Is that okay?
Jason's a good guy. Yeah, he's doing behind the scenes.
Yeah, I want to get one of your albums.
- Fantastic. - Yeah.
That's beautiful.
Then we see, down the hall,
Doris is coming...
like a locomotive.
And you come, you know, not, like, rapidly.
You know, you got to save some- some dignity.
And you just come and meet her at the doorway.
- [Robert] Here? - Right there.
[Robert] I hear her coming. I'm starting from over there.
- Right. - [Robert] We hear her.
Rife-she's making a- she's already accusing me of something-.
- Exactly. - [Robert] I get to the door.
We turn around, and-
[Lynch] And listen to her a little bit in the doorway.
- Righto. - [Lynch] And then work her up the hall.
[Robert] Bobby.
We've got another apparent, uh, OD-
little Denny Craig, uh, although I haven! seen the autopsy report.
I guess it was, uh, Chinese designer drugs again.
Anything on your surveillance cameras?
Elk, deer, raccoon, squirrels, and a bear.
If they're bringing them in from Canada in our area,
I've got every trail covered.
We-we would've seen 'em.
All known trails.
[Lynch] Okay, I'll tell you what. Reverse those things.
"We would've seen them. I got every trail covered."
[Dana] If they're bringing down from Canada, we would've seen 'em.
I've got every trail covered.
Every known trail.
Right.
Frank, I got to take a leak so bad, my back teeth are floatin'.
- Meet you in the conference room. - Okay, okay.
[Lynch] I need some gasoline and olive oil.
[man] I can certainly work on the smoothness of the shell...
- [Lynch] Yeah, just- - [man] ...s0 we get a good shape.
It's a-it's an okay shape now,
and you had it very close.
Just kind of...
- [man] And then we'll- - ...sm0oth, smooth that puppy.
- [man] And then we'll talk about- - It is activating a little bit.
[man] It is, yeah.
Do we have many paper towels and some Handi Wipes?
Here are the wet ones.
Oh, good.
[man] Pardon me.
[whistling]
[Lynch] I'd like to know what they talked about.
Do you know what they talked about?
You know, ifs like, it comes to you. You want to know.
- Very good. - But he doesn't know.
So this leads to, of course,
going to see Widow Briggs.
Yes. Righto.
Did he have something to do with her?
- Did he have a romance with her? - Yes. Oh, yes.
- [Lynch] He had a romance. They were- - [Robert] Aha.
[Robert] That's what I'm- that's what I'm just fathoming.
That's what you're picking up on, exactly.
- Aha. - Yeah.
Okay, and his dad died in a fire.
- And saw... - Major Garland Briggs.
- Yeah.
And you-you-you probably met Major Briggs.
- Okay. - And Harry definitely did.
- Sure. - And Cooper did.
- And, you know, uh... - Yes.
You know, there's a bunch of things coming-
So there's a lot of- there's a lot of spokes from that hub.
From this thing right here, a lot of spokes.
[indistinct chatter]
And Margaret says, "Did you find something?"
No, now it's-she's gonna say,
"You found something, didn't you?
What did you find, Hawk?"
[Michael] Just like you said.
Just like-just-just like-
just like you said.
I'm sorry, I-l should have...
I should have let you know.
"My log is afraid of fire.
There's fire where you are going."
[Michael] Okay, Margaret.
- Um, just make a pause. - [Michael] Yeah.
And her log-"Okay, Margaret."
[Michael] Okay, Margaret.
"Good night, Hawk."
[Michael] Thank you, Margaret.
"Good night, Margaret."
[Michael] Yeah. Good night, Margaret.
"Thank you, Margaret. Good night, Margaret."
[Michael] Thank you. Thank you, Margaret.
Good night, Margaret.
- And then hang up. - [Michael] Yeah.
- Eugean? - [Eusean] Hi.
[Lynch] You got some photos?
[Eugeafl] So...
...this is the building,
and every time it cuts out is another addition,
so they added on, they got bigger,
they added on, they got bigger, so they just kept adding on.
And then they had the- I think this was the hotel,
the school, the hospital, and then like I say,
where you were in the pecking order was where you lived.
- [Lynch] Uh-huh. - [Eugean] And on the out-
[Lynch] Look at the mill pond. Look at all that lumber waiting...
And that's where-when we shot all that
last time, 25 years ago,
we got to see them- and they brought out an old stand log.
It was about five feet or-
maybe five feet in diameter.
- Mm-hmm. - And they-first they bring it up a ramp,
and it comes up, and it kind of goes down,
and then they take a giant circular saw. [imitating saw slicing]
Cut off about 20 feet.
Then the log goes over here.
This woman, uh, touches the log with a stick
- and writes something on her pad. - Mm-hmm.
And then, like, a- they've heard rne say this a million times,
but she's the highest-paid one in the bunch.
- Oh, wow. - She knows exactly how many board feet,
what kind of wood cuts they're gonna make,
everything, and she keeps track of it.
Then it rolls down a ramp,
and the sawyer, in, like, a phone booth with levers,
grabs on to that thing with a big, you know, uh, hydraulics
and brings it down into a- like a railroad track kind of thing,
and he slams it into this huge band saw.
The band saws about a quarter inch thick.
It goes up beyond where you can see into the ceiling,
comes around below where you can see in the floor,
comes around, and the band saw doesn't even jiggle
when that giant log hits it.
- Wow. - The log is butter to it.
[imitates saw slicing] Turns it.
And pretty soon, it's in lumber, and it goes, and some lumber,
these guys take it and send it in this chute.
Some guys take it and send it in this stuff and this stuff,
and they know where it goes.
It's incredible.
Eugean, thank you for sharing these things.
Yeah, you're welcome.
And thanks for- and thank everybody at DirtFish.
- Oh, yeah. - I think we just shot our last shot here.
- Think so? - Yeah.
- Oh, good. - It's really sad for us.
- Yeah? - Yeah.
- Kind of coming back a few years later? - Oh. man.
This is a great, great, great sheriff's station,
and, uh, we had a real good time here.
- Yeah. - So thank everybody.
- It was fun having you guys come out. - Fantastic.
[Eugean] So where do you call home?
[Lynch] Los Angeles, California.
- [Eugean] Oh, okay, - [Lynch] Yeah.
[Eugean] Boy, you've seen a lot of changes there, haven't you?
[Lynch] Well, yeah. Yeah.
A lot of it's the same.
S strange grating music S'
III
[faint laughter]
[indistinct chatter]
You could do it-does that door open?
Tell me when you're rolling.
[man] Okay.
[Sniffs]
Twin Peaks.
[chuckles]
[man] Some guy here wanted to say hi.
- [woman] Oh, man. - [man] Jeez.
- [woman] Oh, jeez. - Jay, how you doing, bud?
- [woman] Not looking so good. - [Jay] I've been better.
[laughter]
But, you know, I'm ready.
[woman] Wow. Well, you're not quite ready.
- [woman] We still have more to do, but... - Yeah. True. I'm getting ready.
[woman] I hope you already ate breakfast.
[woman] Did you eat breakfast already?
[Jay] Uh... I'll just drink the rest of it.
- [David chuckles] - [woman] Yeah, there you go.
That's good. Yeah, yeah.
[Jay] All right. All right.
- [Lynch] Chad, how you doing, buddy? - [John] Good to see you, sir.
[Lynch] Andy and Lucy.
- Hi. - [Lynch] Hi.
We're not dressed yet.
You're not dressed? Okay, great.
- Good to see you. - Good to see you.
- Hello. - Hello.
Chad, you're down here.
- You're there on that cot. - [John] Number ten.
[Lynch] Number ten.
You sit right at the end.
Yeah, right there. That's your spot.
- [John] I love it. Couldn't be happier. - Okay, good.
- [Lynch] I'm gonna close you in. - [John] Thank you.
[Lynch] They just found you in the woods, right?
- Mm-hmm. - And they brought you here, and...
I-|-|...afraid or...
You're just- you're-you're slightly uneasy.
- Uneasy. - Just a little bit.
Not much. Andy's taking care of you.
You feel-you feel-you feel okay.
But just a little bit of noise,
- a little bit of little sounds. - Okay.
And-and a little bit of moving about,
and then when they leave you here, you feel the bed.
You feel where you are.
You-you just kind of touch around
and sort of feel things,
and-and then just make little tiny noises
and stretch your neck out.
When you stretch your neck out like an insect,
it looks really good.
I picture sort of like a praying mantis.
[woman speaking Japanese]
- [Nae chattering oddly] - Yeah.
Uh-huh. Yeah.
[Nae chattering oddly]
Yeah.
[woman] She's good.
- Hi. - Hi.
[man] Wild wall out.
- [man] It's out. - [man] It's a shortcut.
- [Lynch] Okay, Jay. - [man] I'll be damned. Okay.
Nae will be making little noises.
- Okay. - Try to mimic those.
- Okay. All right. - Okay'?
So you listen in and try to-and get-
- You know, in your drunken state... - Uh-huh.
- ...you just repeat what you hear. - Uh-huh.
So, um, just-
and it's real drunk repeat.
It's not really articulated so much.
- Uh-huh. - It's, like, slurred and drunk.
- Yeah. - Okay, cool.
- I'll do that. - Okay.
[Lynch] Do you have your lines, Chad?
[John] You idiot!
You come around here. You've come around here.
[John] You're no kind of cop, Andy!
No kind of cop at all!
[Jay mumbling] No kind of cop at all.
[John] Shut up.
[Jay] Shut up.
And you go down there and- and chew him out.
Go down to him. Look in that-at his cell.
Look at him.
[Lynch] And say, "You're a very bad policeman, Chad.
You give good policemen a bad name."
[woman] "You're a bad- very bad person, Chad."
[Lynch] "You're a very bad person, Chad."
You're a very bad person, Chad.
You give policemen a bad-
[Lynch] "Good policemen a bad name."
You give good policemen a bad name.
[Jay mumbling] Good policemen a bad name.
[Lynch] Okay, and then you come up here, Andy,
and you're beaming with pride
that Andy's, you know, standing up for himself.
Yeah. Okay, and you come up, and then you take Lucy, and you-
YOU-you-you-
on your way out, you make sure Naidds okay.
You can go out this way,
and just watch Naido all the way.
Okay. Okay, good.
Okay, good.
All right.
♪ Discordant notes S'
III
[Lynch] Come up here.
[sneezes]
- Stay right here. - Okay.
- Gather round, everybody. - Uh-oh.
- [all] Oh! - Uh-oh.
[man] Gather, gather.
Come on, Hawk. Come on, Bobby.
[man] No!
[Lynch] We're all family here.
[man] Oh, I hoped we wouldn't do this.
I don't want to do it either, believe me.
Gather round, everybody.
[man] Gather, gather.
Ladies and gentlemen,
three of our dearest friends,
Lucy, Hawk, and Bobby,
are a wrap!
[cheers and applause]
[cheers and whistles]
- Thank you, Lucy. - Thank you so much.
- Thank you, Bobby. - Oh, no, I'll kiss you.
- [laughter] - Thank you. I love you, man.
- There's nobody like you, pal. - Bless you.
It's an honor to be a part of your artistic process. It really is.
- [Lynch] Bless you, Michael. - [man] Hear, hear.
And all you guys, you're the best.
'Yes! spay'!
Now I got to go-l got to go home,
and my only audience is my seven-year-old grandson
- and my chickens, so... - [laughter]
And when we take our land back, I'm gonna make sure
that each one of you get a green card.
- [laughter] - Yeah.
- Thank you, Michael. - Thank you.
S eerie warbiing tones S'
III