[electricity crackling]
I strange warbling music ♪
III
[man] Did you miss my voice?
I'll be darned. Fantastic.
Right. Your charactefs name is Hutch.
And you're-you're, you know, um...
you're kind of, um, a yes-man.
You're really, really good at what you do,
which is, you know, basically assassin-
shooting people
and-and getting stuff for, uh, whoevefis paying you,
and you don't mind-
you don't mind at all being ordered around.
You're very enthusiastic about obeying all rules.
And you are married to, um, uh, Jennifer,
and-bu! you don't mind other men fiddling with her,
and you're sort of dressed in, like, long underwear and-and denim.
Now, as far-as far as an accent,
you know, uh, you- I'm sure you could-
you could do a Southern accent.
There's no place that you have to be from.
You could almost make up your own American accent.
You know, it's like you're just a unique kind of guy.
Holy smokes.
[Lynch] You got plenty of energy,
you're an excellent shot,
and you get things done.
You get things done.
And, um, you and your wife, um, travel,
and you get along great, you get along great,
except, um, she sometimes gets in a bad mood,
and then you try your best to, you know, work through it,
but R might, you know, um, test your patience.
Uh, well, in the case where it really does, um,
things go badly wrong.
And she blows out, um, a fellow's windshield,
and one thing leads to another, and you both get killed.
[Lynch laughs]
It's great to talk to you, 77m,
and I look forward to working with you.
Okay. Very cool.
Take care of yourself.
Call me with any questions, okay?
Okay, man.
Okay.
Bye-bye.
III
[man] Who is Mr. Strawberry, and what did he do?
I hear the landscapes make him think of things to say.
Putting his pen to the paper,
trying to catch the fish swimming in his head.
Look at the man in the tan suit.
His teeth are never far from his pocket.
- [man] Probably a good day for... - Tuesday?
[man] Yeah, that's- all interrogation room.
- [man] Does it feel right? - Yeah, that's okay.
What do we do Wednesday?
[man] Wednesday- okay, Wednesdays kind of a hodgepodge.
Yeah, so that's where you lose the day.
Hodgepodge. Moving around. We're late.
[man] I know, but ifs- here's the good news.
- [man] It's a light hodgepodge. - Okay.
[man] And here's what goes down: Warden Murphy's office.
- [man] Warden Murphy's office. - Uh-huh.
- [man] Cooper comes in. - Uh-huh.
[man] And they have their little discussion.
- Uh-huh. - [man] And...
That's overs and close-ups
and a wide shot.
[Lynch] All right. [drumming on table]
[man] And you- did you go in there
and have a look at it?
[man] They've done a nice job.
[Lynch] I bet they have.
[man speaking indistinctly]
[indistinct chatter]
[man] David, would you like, uh...
David, what the heck are you doing here?
This is so amazing, 'cause we're making a movie here...
- I just dropped by here. - ...and you just came in.
I can't believe it. I was looking for you.
Ah, and you could- look, it's perfect.
You could direct this thing.
- Come on. - No.
- Yeah! - You're kidding me.
- Yeah, yeah, you should! - You don't have a director here?
Not really, not- you know.
So you should be the guy.
- All right. - Okay, what should we do?
What's the scene?
Well, you know, my guy, Warden Murphy.
- And I'm kind of the bad guy. - Hi, David.
- Good to see you. - Good to see you.
Thank you.
[man] Let's have everybody step out for a second,
and we'll turn the set over to David.
That's one heck of a star.
I know, thanks.
[man] Watch him, 'cause he might burn right through.
[James] It's all the jewelry that the...
[distorted speech]
It does. I'm wide.
- It threw my back out. - Yeah.
I want to move this thing more...
[man clears throat]
Ah, those- look at those damn things.
[man] Nick, do you want to just point out
that we have a gun, David, that's in the drawer here.
I just checked it. It has, uh, dummy shells in it.
Mind going and click through it, Nick? Thank you.
[James] I turned off the security camera.
- [James] What? No. Is that right? - [woman] Cameras.
Cameras, I've turned off-
I've turned off the security cameras.
I think it's on this side.
[man] Or on this side. Then we can do...
you know, where the warden will see the gun.
And he's sitting down.
How do I know you know anything about this?
[Kyle] Joe McCluskey.
[Lynch] Beautiful. That's the ticket.
- [James] Okay. - Yeah, great.
[James] In one- in one motion.
- [Lynch] Yeah. - [James] The gun and-
- Mm, yeah. - [James] Okay.
- [Kyle] Smooth and safe. - Smooth and safe.
[James] Smooth and safe.
We'll do one wide
and then start getting in close.
III
[man] As I searched for the man with the gray elevated hair,
I came across this sign.
My meta! box drove along a road
where a man held out his dirty thumb.
Not knowing what he wanted,
I stopped and asked him what he was doing.
[singer vocalizing]
[man] Friday.
[man] Fridays are Ray and Cooper pulling off into the field.
Ray goes to take a leak and shoots Cooper.
- Right. - [man] Okay.
Working him.
[Lynch] That there is so many different
plate shots, locked-off shots,
woodsmen, and then, um,
Ray gets out.
Then we need a shot moving in on Cooper,
where he opens up the glove compartment
and takes his pistol out, checks it to make sure ifs loaded.
Then we follow Cooper up behind Ray,
like, 20 feet behind him,
and, uh, he starts talking to Ray,
and Ray turns around and shoots him,
and Cooper's shooting blanks,
and then Ray shoots him, and there's a spark,
and as the gun- as it hits his gun,
it goes into his belly and comes out.
And so Cooper's down bleeding,
and then Ray comes over to finish him off,
and he's aiming the gun right at his head,
and these woodsmen come around Ray.
And Ray backs up, and, you know,
these woodsmen are going around and going around,
and he starts screaming, he stems acting very weird
because he's freaked.
This is some kind of supernormal thing,
and he's freaking out,
and a black orb starts coming out of Cooper,
and he starts changing,
and the guys are digging in the wound
and putting blood on Cooper's face,
and Coopers face is coming up
and sort of getting to be a little bit Bob-like.
Woodsmen are working on Cooper.
Woodsman are running around Ray.
Running around Ray.
Ray gets up, freaks out, and runs to his car.
We follow Ray down over to his car.
He gets in. He slams the door.
He can't really work the thing,
and he's- then he takes eff,
and we're back with Cooper.
He's laying there,
and he bolts up and...says, uh-
just has this look on his face.
Doesn't say anything.
[man] And it's possible, I think, to do that, um,
before the sun comes up.
[man] But that's a full day.
That's a full day.
- [man] Mm-hmm. - That's a full day.
[woman] Are there two or three woodsmen?
There's, like, four or six.
[Woman] Okay.
There's a lot of woodsmen out there.
- Need a lot of woodsmen. - [man] Four or six?
- Six. - [man] Six woodsmen. Okay.
[engine rumbling]
Now, you guys, milk this a little bit.
Come out there, "Hey, Ray," and stop.
You're just peeing.
- Uh-huh. - Okay?
Take your time, and milk it.
And now you got the gun on him.
- Mm-hmm. - And just blow his gut open.
Barn!
You're gonna tilt and float over him like a, you know, helicopter looking down.
And you're gonna float over him and zigzag
and kind of make it crazy and land on his head.
I'd like to establish the woodsmen coming in first
and then get into these two places here.
[man] Okay, well, let's rehearse it and see...
- Okay. - [man] ...what it looks like.
Okay, what it is, is you're just somewhere in here,
we're in a wide shot, and we do a plate.
I'm gonna position the woodsmen, like, six of them, out there,
far, near, and, you know, and then on action,
they're gonna come running in.
Some are gonna go this way. You're gonna be here.
Some are gonna come toward Coopew.
You're gonna be right with me.
Now, this is what you guys are gonna do.
You got his head here, right?
There's gonna be some kind of thing
coming out of here,
so you rub his wound, right, which is filled with blood,
and you take your blood,
and you wipe it on his face like this,
and you're working like this, and you're just working like this,
and you're working like this and working like this,
and you take his face,
and you're working like this, working like this.
Then you see this guy over there, and you lift his head up,
and you show him his head, like this.
You show him his head.
And you lift up- there's more blood,
and you put blood all over his face,
and you show him his face.
III
[man] Why is the white-haired man
kneading from the back and neck?
What did he do to make the blue-jacket man so angry?
Is this what the ocean looks like under all the water?
[Lynch] Here's the deal.
We're in (he van.
We see Chantal sitting in the driver's seat-.
We see Hutch with a high-powered rifle,
sitting on a stool, ready to shoot the warden.
[man] Right.
[Lynch] Then we see through Hutch's scope.
- [man] Yes. - [Lynch] The warden gets out.
Bam. He shoots him in the back.
- [man] Yes. - He falters. Bam.
His head blows up.
We wait.
The Rifle kid comes running out, "Daddy, Daddy, Daddy, Daddy."
And then we pack up and go home.
This is a short scene.
[man] Because of the way we're gonna shoot it,
it's pretty efficient.
[Lynch] No, 'cause I don't know how we're even gonna shoot it.
It's like, it's a short scene.
The warden drives up, and they shoot him
in the fuckin' back and head,
and the little kid runs out.
That's it. That's it.
[man] Yeah.
[engine rumbling]
- [man] This is a blast from the past. - Yeah.
[Lynch] And then we have our-our-our crane shot,
which is the lay of the land,
and we drift down to the finer black and cut inside.
We maybe make a little move like so.
[man] Right.
And now we see the two of them,
and they talk, talk, talk, talk, talk.
Here he comes.
Gun goes out. ChantaPs looking.
We got through the scope.
He gets out of the car.
Barn.
He...f-f-fumbles, crawls, bam!
Head shot. "Next stop, Wendy's."
He pulls the gun back in, closes the window,
and they drive off.
- Hey, Luke. I'm David. - [Luke] Hi, nice to meet you.
Very good to see you, Luke.
And I saw your test, and you did a fantastic job-.
- Thank you. - Very good.
So you know it's not real.
- Yes. - But it's gonna look real.
- But you've met the warden, your dad. - Yes.
And, um, it's a sad night for-for you.
You'll really be sad.
You'll really be crying out.
[Lynch] So you scream, "Daddy," before you open the door,
as if you had just seen him nut the window,
and then you open the door, and you come running out,
and you're calling, "Daddy, Daddy,"
and you get down on your knees there
and-and try to wake him up, try to wake him up,
and just keep saying, "Daddy," and-and crying,
and, uh, then if“ be over.
Okay.
- Say it again. - Okay.
[Lynch] Good deal, pal.
He's ready Io do it, I think, so get yourself all set,
and, uh, good luck to you.
It's good to see you, man.
Holy smokes.
- I know, right? - Yeah.
Ifs gonna be great. Yeah, it's gonna be great.
- Yeah. - Yeah, you're looking great.
Yeah, man. It was fun.
- Yeah. Great. - They got me in my denim for you.
Yeah, that's so good.
You're totally Hutch.
Yeah. Real good.
And how are you gonna shoot? Are you gonna do...
Do we get to separate that stuff out?
- Yes. Oh, yeah. - [Tim] Okay, great.
So we can get a conversation going.
- Oh, yeah, yeah. - Oh, cool.
Cool.
- How's it been going? - Been going good.
We're not even halfway through.
We've been shooting 60 days.
So there's, you know, a lot of stuff.
It's fucking crazy being here, you know?
Crazy.
- Good, though, right? - So much fun.
[Tim laughs] My kids are hZPPY-
They're the only people that know, kids and fam.
That's real good.
I saw you as Vincent Van Gogh, pal.
Eating the oil paints.
That was my-l was playing my dad.
- Yeah? - My dad was like that.
Uh-huh. Fantastic.
Yeah, it was-you know. I enjoyed that.
- Yeah. You did great. - Yeah.
That's good. Have you worked with Jen before?
- Jennifer? - Have I worked with Jennifer?
- No, no. - Oh, you're in for a treat.
I interviewed her, you know, for "Blue Velvet," way back when.
- [Tim] You serious? - [Lynch] Yeah, that's when we first met.
- I've been wanting to work with her. - [Tim] She's so fucking good.
- [Lynch] Fantastic. - [Tim] She's just something.
She shows it.
- Yeah, beautiful. - Yeah.
- Yeah. Yeah. - Funny one.
Good deal. You guys will have fun.
- Is this the van? - That's the van.
[man] The half-sized man seems to be angry forever.
Running wildly without an order, again and again,
§ see his hideous teeth,
dirty white pebbles on a muddy coast.
[man] Morning.
- Hearty handshake. - Hearty handshake.
- How's it going? - Great, great, yourself?
- Good. - [man] Hi.
Don.
Fantastic.
- Should we go in and do it'? - Let's make it- Let's make a movie-.
I'm not afraid of it, if that's what you're insinuating.
[laughs]
- Good-lookin' bunch of guys here. - Yeah.
Let's go have some fun.
What's gonna happen is, while he's coming back in-
while he's talking out there, um,
you're gonna hear a voice say, "Fusco."
- Hey, Fusco! - [all] Yes?
I was just coming to tell you
that the palm print off of that gun just came back.
Our old friend Ike the Spike.
Now, if you do this, "And we just got a 20."
Do your arms like that.
- [Jelani] Okay. - You're gonna do...
- [Jelani] Yeah. - Play it up nice.
- [Jelani] Okay. - Okay, great.
And we just got a 20 on him at an off-Strip motel.
Units are on their way.
[man] Ready, everybody?
[man] Let's lock it up all around.
- [man] Quiet, please. Rolling. - [man] Rolling, rolling.
- [man] Rolling. - [man clears throat]
[man] Sound is speeding.
[slate snaps]
[Lynch speaking indistinctly]
Handprints. Take it back.
Then stand there and say,
"Guess what."
And then pause.
[Jelani] Okay.
"What," they say, okay?
"I just came to tell you
that those prints they got off the gun
is our old friend Ike the Spike."
- [Lynch] And... - [Jelani] Gotcha.
- You sell it like on Broadway. - All right.
"He's out at a place in- you know, a motel."
- Right? - Yeah.
[Jelani] Our old friend Ike the Spike.
[Eric] Ike the Spike finally fucked himself?
[Jelani] And... he's in an off-Strip motel.
And get down here. Get down here.
- Yeah. - [Jelani] All right. All right.
Good.
- [Jelani] Gotcha. - Good, okay.
[David] Just in time.
Prints and DNA, please.
[Jelani] Guess what.
[David] What?
[Jelani] I was just coming to tell you
that the palm prints off that gun
just came back.
Our old friend Ike the Spike.
[Eric] Ike the Spike finally fucked himself?
And...we just got a 20 on him
at an off-Strip motel.
- [laughter] - Units are on their way.
[Larry] Let's join the fun.
[Jelani] Sounds good.
[Larry] Sarge, after you log that evidence,
let the Joneses go.
[Lynch] Okay, I think we're good.
I think we're good.
- [man] Okay? - Yeah.
[laughter]
[Lynch] All right.
[man] Do you know anyone who lives here?
This wasteland in the middle of dried leaves?
A place for junkies and addicts
and those who have no money.
Ending up in a room filled with flowers and pink candy.
[Lynch making whooshing sound]
- Okay. - [man] Would you like the actors?
And we'll just kind of see everybody in and how it's gonna look?
- I need to talk to them first. - Okay.
So someplace where we can sit and talk
and, like-and talk it all through first
and then try to make it work.
[man] Well, we can clear everybody out-
This'll be a wide shot right here,
and hold Cooper and the whole room.
And maybe it's like a stage play,
and we just do the whole fuckin' thing like this.
Come around this.
[Kyle] The angel of death is here. That's who that is.
Janey-E, you're sitting next to Sonny Jim.
[Kyle speaking indistinctly]
- Hi. How's it going? - Good. How are you?
- Good. - Hi. How are you? Jim.
Naomi. Nice to meet you.
' [Amy] Amy. - [Naomi] Hi, Amy.
[Kyle] So, now, I am getting an enema here at this point?
Yeah.
- [Kyle] It's a colonoscopy? - [Jim] You stay on your back, though.
- [Lynch laughs] - [Kyle] Okay, well, right.
The Mitchum brothers will do it.
[Kyle] Too late.
[Lynch] Holy smokes. There he is.
[Naomi] Say hello.
- [Lynch] Don. - Hello, David, how are you?
- How you doing? - Pretty good.
- Fantastic to have you parl of this. - It's great to be here.
- Fantastic. - Thank you.
Great.
Just lean up against the counter here,
or get a seat, and we'll go through all this.
Fantastic.
- Scott. - [Scott] Yes, sir.
Where is everybody else?
Okay, sq we start off
with Dougie in a coma.
He'll be laying fiat and oul like a light.
And then we see that Janey-E and Sonny Jim are here with him.
And you're Dougie's boss.
Unfortunately, we're shooting one of your last scenes first.
You just love Dougie.
Dougie has solved super problems in your place.
Uh, you don't know exactly how he did it,
but he did it.
So right now, Dougie's almost family to you
as we pick up this scene,
and you're here in the room because he's-
you heard he was in a coma, and you came right away to be with him.
When Rod and Brad show up,
first they'll come in with a big bouquet.
And that, you can help him set that up
on the- on the table over here.
Once the flowers are there,
you girls come in behind
and maybe line up behind them,
and you've got all this, you know, food,
and you're saying, "Maybe that's not such a good idea,"
and he says, "No, no, no, we're not gonna stay.
We just want to get it set up for you,
and by the way, can we get the key for the house?
Because we want to stock up your house with food."
Right now, the Mitchum brothers-
Dougie is like family to them.
You've got your dinner.
You got your 30 million bucks from the, you know, insurance,
and, uh, so everybody here is rooting for Dougie 100 percent
and happy to meet his family.
Then at a certain point,
Sonny Jim, you have to take a leak,
and you say, "Mom, I gotta pee,"
and she says, "Let's go find the little boys' room,"
and up you guys go, and you go out.
Then you come back in, Mr. Mullins,
and, um, you, um, get orders from- and you say,
"By God, you know, you came out of that thing pretty good."
And, uh, he gives you some orders to get his clothes
and get your snub-nosed .38
and, uh-and coffee and sandwiches,
and you start wolfing down some sandwiches
and have a coffee very quickly,
and in comes Sonny Jim, and you're pulling tubes out.
In comes the doctor, and she says, "What the hell are you doing?" you know?
"Hey, hold on," and then she takes your vital signs,
you're fine, and you- she's off
to get the release papers for you,
and we're out of here.
[Scott] All right. Ready, everybody.
And we'll do a first scene rehearsal.
' [man] Hey, Scott? - [Scott] Yeah?
♪ low woodwind music ♪
III