[electricity crackling]
I strange warbling music ♪
III
[debris clattering]
[thunder rumbling]
[man] What happens in the desert
before everything turns back to sand?
Why do the machines never stop...
...constantly pumping their black wetness from the ground?
I find metal structures blocking the wind.
Dirty children's feet scratch at the clothes.
A child's play toy in the middle of the brush.
Inside, the man with the gray elevated hair
tells the people what to do.
The brown-haired woman is next to him again.
What does she do?
Never knowing where I should get eff.
I see fire in front of houses where no one lives.
Do you ask me anything?
Are we there yet?
- [man] Do you want a pen? - This is the middle of the road.
So here's the house--the hero house.
About the time Jade is here, this car is here.
They pass us.
They continue on, fight?
[man] Mm-hmm.
[Lynch] We stay with the red car.
It comes up right opposite the house,
a time bit more like fight about here.
[man] So he's on the curb in front of the little boy.
[woman] He's in the middle of the street.
- He's in the middle of the street. - Stopped, okay.
Stopped in the middle of the street. There's no one in this neighborhood.
And he talks to Jake.
[man] Uh-huh.
And he's, you know, saying, "I see Dougiek car
over here on this side," right?
And, "I think I saw Mo people, but I'm not sure. "
And, you know, then he gets out of the car,
stops, he opens up the door right here.
- He walks over... - [man] Oh, okay.
...and puts it underneath there and goes back in the car
and takes off.
He crosses the whole street.
[man] And then--
But Tuesday we're shooting the red car coming around, stopping.
- And then we're gonna cut in. - [man] And shoot his dialogue.
While we're shooting that--
while we are shooting that,
it would be very easy to just stay right there, wide,
from that point of view and have Jake come out
and put the thing under the car
and get back in the car
[man] Okay, I won't oppose that.
But it's a distraction, and--
It's not a distraction.
Okay, I'll tell you what a distraction is.
Is set the whole fucking thing up a second time.
That's a distraction.
- This doesn't cost anything. - [man] That's what I'm saying, too.
[Lynch] This doesn't cost anything.
We're right there.
Play the whole thing iii} he drives eff.
[man] Yes, sir.
Whatever order you want, we're into that whole thing with the--
We can do the drive-by, 'cause those are separate lights
- and different, you know, times. - It's its own thing.
It's its own thing. So let's do that. And then the little boy, we want sun.
And we'll do him when ii gets a little warmer and sunnier.
[man] Good. You know, he's in a T-shirt and, like, Iittlejammie pants.
[Lynch] Yeah, we don't want to run him out right now.
- [man] Fuck. - [Lynch] Do we?
- [man] No, we'll kill him. - [Lynch] Yeah.
The little guy'll freeze before he gets to the sidewalk.
[man] He doesn't have a lot of meat on him.
- No. So little. - [laughter]
[man] Um, so where do you see the camera--
I see the camera right in Dougie's--
You know, in Jade's place.
Oh, okay.
Right here.
- [man] Okay. - Right by this car.
- That's what they're looking at. - Yeah, okay.
And so we're on that side of the car.
They drive by, and they stop.
And they take off, and then the punks come,
and they look at the car.
Remember when you went--
yesterday you went out to see what's under the car?
- Yeah. - Now we're gonna shoot you--
You open up the door, right?
Okay.
And then you come out, you close the door, and then you look over at the car,
and you go across the front yard, down the curb.
You look both ways to make sure no cars are coming,
and then you go across here, and you go over to the back of the car,
right underneath the license plate here.
- Yeah. - And you look underneath there.
- Like you did yesterday. - Uh-huh.
And then when you get there and you look underneath,
then you see the thing with a little red light going,
and you reach out to touch it, okay?
Just then this car is coming up, right?
And it's pulling right in here by the curb.
And these guys are getting out of the car, right?
And we need--behind this guy here,
just as they/re coming in, we could be directly behind 'em.
And he picks up this rock, and he throws it.
We want to get that thing from this side.
And he throws it. "Get the fuck out of here. "
This is in the big foreground.
And Sawyer goes back.
Little teeny kid walking back there by the stuff I
and then we cut in on Sawyer.
You'll be looking at the mark.
And then you'll--
It's like you're gonna hear a--
You won't hear a big bang, but pretend you hear a huge bang, okay?
And you: eyes go, "Whoa!"
And then you start running home, you know?
And I'll tell you when to run.
[indistinct radio chatter]
[metallic creaking]
[heavy clattering]
[indistinct chatter]
- I'm breaking. - [woman] Yeah.
[metallic grinding]
[Lynch] All of a sudden, kabooey! You know, it goes.
This is about a few seconds after that, okay'?
You see your friends down-.
You know they're cooked.
And so I'll say, "Action,"
and then you take that--
You watched-you see this thing, and you look at each other,
You don't have to be real fast, but you just--
It's pretty fast.
And then it's, "Let's go."
[woman] Hang on. We need the shoes.
[man] Action.
[man] Okay. Jay, back up!
Okay, gas! Let it--
[gas hissing]
[car horn honking]
[indistinct speech]
[honking continues]
I low atmospheric music ♪
III
[man] Two men disappear in a room.
One of them has no hair,
is nearly half-sized of the other.
The man with the gray elevated hair comes.
It looks like he's looking what's going on,
drawing some things on a paper, running behind the small one.
- [woman] Morning. - Morning. How's it going?
[woman] Good.
- Christophe. - Christophe.
[indistinct chatter]
[laughter]
- Hello, sir. - Ike, how you doing today?
- Excellent. How are you? - Great. Great.
I'm gonna draw you guys a picture here.
You're gonna hide behind here.
You're gonna start right here, Ike.
- Okay. - And...
Ike, you're gonna come very fast.
So, when he starts coming around here, Lorraine“.
- Mm-hmm. - ...you bolt for here.
But you figure you--you tricked her.
So, as soon as she starts going that way,
let her go a little bit, and then come around and get her
and stab her here and then drive her back.
Okay. Okay'-
And you're gonna see a woman standing here in the door.
And she's gonna be wide-eyed and filled with fear.
And she's gonna start to run this way.
- And we'll just hear you killing her. - Okay.
Then you're gonna come back out.
And right in here, you're gonna look down
and see that your ice pick is bent and ruined.
And you're gonna be very upset.
You're gonna stop and look at this
and be filled with horror at this thing.
And then, you know, take off and go around this corner.
Okay.
[vacuum cleaner whirring]
[man clears throat]
All the way here when you get her.
But like she said, she's not a dainty flower.
- Yeah. - So go ahead, and when you come in--
Like, if I'm her and I got this hand out--
Go ahead and slap that out of the way and just--
Right, yeah! And then just-"Aah!" Yeah, exactly.
- Just drive-- - Just drive it in.
- That move. - Keep it there.
When you come around, it should just be one continuous--
like you'rejust running right through her.
- Let's do that one more time. - Exactly.
So if I come around the corner--"No!"
You just--"Aah!"
Yeah, yeah.
[Lynch] You don't know what's going on.
But there was a cut-off scream and a loud falling sound.
Something falling and hitting the--
a thud way outside by reception.
That's all. It just got your attention.
Now, listen and see what you hear after that.
But it's got your attention,
but you don't know if it's serious or not right now.
It just got your attention.
S quirky woodwind music S'
III
You stab her up in the top first, right?
- And you push her back. - [Christophe] Yep.
And then stab her again there.
But, you know, like, just kind of work your way around, but don't--
Just, you know, like--
- [Christophe] Yeah, it'll be random. - As you're stabbing--
- Random. - Yeah.
And get in there and drive the pick in.
[Lynch] We got to get in there.
[man] We do, 'cause we're gonna make that more violent.
Oh, well, this, like, you know, um,
a kindergarten killing.
- [laughter] - So, um...
- [man] So let's get in there and-- - It's at the sandlot.
[LS/mm] George?
[George] Yeah?
We need to get in very close,
very close, abstract.
Okay, we'll talk to P.D. about the shadow.
I can get right in there.
No, but not necessarily with the Steadicam.
Just something in there--
- handheld or even-- - Sure.
So any angle where we don't see ourselves, see our shadow.
- Okay, great. - But get in there quick now.
We got to blast the shit out of this thing.
- [George] All right, where's Pete? - [Lynch] I don't know.
[George] Well, get him.
And, Ike, way back and down.
Drag that fucking thing in there, man.
- Okay. - [man] Can we--
Get in there. We got to get in tight and abstract.
Just whipping through the frame with the hand.
Okay.
[man] So this shot should be focusing or--
- His hand's gonna come through and stab. - [man] On the stab.
- And his face. - It's all about the stab.
Okay, I'm gonna talk him through it. It's gonna be just like this.
Come here. Come here.
That's great. I need that shot like that. That's beautiful.
And remember, when you stab, raise your arm
up above your head and slam that thing in there.
Fewer stabs, but still go fast.
But arc your hand way back and slam that thing in there.
[engine rumbling]
[indistinct chatter]
[Lynch laughs]
Fantastic.
What's on your mind today?
Oh, but, yeah, that's the--that's--
that's the, um, Mullins who runs Lucky 7 Insurance.
And he's in the room.
And he's the guy that just gave you
he check for 30 miilion bucks.
Battling Bud--that was his boxing title when he was a boxer.
Oh, yeah, because Anthony
and the guy he's working for
are big competitors of yours.
And you don't know that, but...
they said that your place
was burned down by arson.
So you've had it in for Lucky 7 Insurance.
And now it's all the reverse.
So you love Battling Bud, you know, Mullins.
And you, um, uh...
are, you know, way against Anthony,
and now you just love Dougie.
You guys are 'm the clear. You get the money.
Yeah, Brad comes down to breakfast.
And he's had a dream.
And the dream, you know, is like a dream that you remember part of it.
And then a little bit later maybe you remember a little bit more.
And a little bit later you remember a lot more.
And that's when it's-- just the eleventh hour,
you remember what this dream was,
and then you talk to your brother, you know,
'Rod, you know, if he has what I think he has,
what was in the dream in that box, we can't kill him. "
And you're just going crazy, because you realize that--
it's so serious to you.
And you get all worked up, and you try--
And then he says, "Well, go see what's in (he box, then,"
'cause you whisper in his ear what it is.
No, no, no, no, no, no dream sequence.
Yeah, because you wake up filled with anger,
because in the first part of the dream, all you--
and it's just amplified by the dream-- all you want to see is blood.
You just want to get this guy dead.
He's ruined a bunch of stuff that you guys were working on,
and you would kike to see him dead.
That's the way you come to breakfast, with that thing on your mind.
Yeah, but that's not really anything to do with the brothers.
That's something that Dougie-- you know, sorry--
Cooper sees.
And he works those machines.
It's a magical thing.
Yeah.
And then the reason you go visit--
Now, he's like family now to you guys.
And you?! do anything for him, you know?
He's changed everything.
Bless your heart there, Jim. Have a great day.
Talk to you soon.
Okay, bye-DY'?-
[woman] Thank you.
I don't know how to hang up.
- I got it. - Okay.
S droning atmospheric music S'
III
Can there be three detectives rather than two?
[man] Of course there can.
I want to hire that big guy with that laugh.
[woman] Scene 255 is the first one.
And, okay, wait a minute.
Now, that-his nickname is Smiley,
but he's the brother of one of them.
Show me {he pictures of the two detectives.
- [Smiley laughs] - Okay, hold on. Let me gel them.
He's an idiot savant.
He's like Sherlock Holmes.
But he's slow in pretty much every other area.
Maybe they're all brothers.
TheyYe all named Buscoiusco.
[laughter]
[fingers tapping rapidly]
[woman] No first names?
- Um... - [woman] Smiley Fusco.
- Or just" - Smiley. Urn...
[woman] I think we have a name for him.
Okay, and we have a name for him, probably.
[woman] Well, we have Hague as his last name.
We don't have a Fusco as his last name.
- Do we have a first name for Hague? - [woman] Yeah.
What's his name'? What's his first name?
[woman] Well, but we can't use that for Fusco,
unless his last name is gonna be Hague.
Can--can we--can we--
How many Fuscos are there in the world?
I doubt if there's gonna be one anywhere.
- Okay? . [Woman] Qkay_
What I mean is what's his first name?
[woman] I know what you mean.
Okay, then say that will be his name.
If his name was, like, Tim, it'll be Tim Fusco.
- Okay? . [laughter]
[woman] You're driving me crazy.
It's not gonna be that.
- Yes, it is. - [woman laughs]
And if that doesn't fly, we'll get another name for him.
It could be T-- Okay, their first initial-.
T. Fuses.
And then D. Fusco and Smiley Fusco.
[woman laughing]
Oh, God.
Okay. All right.
[sighs]
- All right, T. and D. - Smiley and the D.T.s.
[woman laughs]
[laughter]
[woman] I don't think that--
[laughter]
Okay.
Smiley and the D.T.s.
I will make sure that that's cleared.
[Lynch] We have a desk sergeant, too, right?
[woman] We have a desk sergeant, yes. You want to see his picture?
- Is he a Fusco? - [Lynch] Mm-hmm.
Mm-mm. [laughs]
- He's a half-brother. - [laughter]
Hey, Fuses'.!
[Lynch] And we have a subsequent call from the other, uh, room.
"Hey, Fusco!" And they all turn.
[laughter]
[woman] You crack me up.
We got to write that down, though. I don't want to forget that.
[woman laughs] I don't think we're going to.
- Okay, maybe-you'd be surprised. - [woman] But I'll write it right here.
"Hey, Fusco."
[man speaks indistinctly]
S droning atmospheric music S'
III
[man] The cars move like ants along an asphalt trail...
“transporting their owners without disturbing their hair.
Only the man with the gray elevated hair can save them.
S quirky woodwind music S'
[indistinct chatter]
[laughter]
[Lynch] Shots. Shah-fucking shots.
- Debbie, wait till night. - [laughter]
We'll be done at three o'clock in the afternoon.
[man] So that's Monday.
Tuesday, Santinds Restaurant.
The greatest speech--
the greatest speech anybody's ever heard
is Martin Luther King on that, you know...
[man] Yeah, unbelievable.
- ...pond there. - [man] Unbelievable.
And I've heard stories, you know, like, I talked to--
It's just like music, you know?
It's just--it just flows.
It flows.
And ifs, like, staggering. It's cosmic.
And there was-- what they said was there was this--
He started off rough.
And he wasn't-he wasn't the first or second or even third speaker--
I've heard this.
Martin Luther King had gone down in the big, you know, picture,
'cause he was nonviolent and for peace and all that.
There was a lot of radicals and a lot of people saying,
you know, "We got to get this thing done, and your way isn't working.
We're not laying down." [coughs]
So he wasn't the first one or the second, I don't think.
And he kind of started off slow.
But there's this woman behind him,
and she was going like, "Tell it like it is-.
Amen, amen," you know.
- Mm-hmm. - "Hallelujah," you know, like this?
And just, you know, kicking him.
You know, just like--
And he just caught it.
And so I really would like to know who that was
and who was that person who was right with him, right with him.
[man] I've heard this speech not so long ago,
and I remember that voice.
She says, "Tell it, Martin."
Yeah. Exactly.
- [man] So I can hear it on the audio. - It sort of makes me cry.
- I mean, it's just incredible. - [man] Yeah, yeah, yeah, yeah.
When you--you know, if you have your deep, spiritual connection,
you know there are many ways that people get--
Clued in. Yeah.
[man] They get channeled in sometimes, and it just gets in it.
So beautiful. Man, oh, man.
[man] Okay. Um...
- Santinds. - Yeah.
[Lynch] I don't know why we're shooting Santinois
at the very beginning...
"with the cherry pie and ail that.
I'm gonna have to talk-- have a heart-to-heart
with the Mitchum Brothers and jack them up.
[man] You are.
There's a bunch of reasons why we're doing it this way.
None of them are good.
I mean, good in--
First of all, you're telling me now, car wash cloudy,
Mitchum Brothers out of sequence,
casino, two shots, and establishing shot,
and we're spending the entire afternoon.
Okay, so what else you got?
[laughter]
- [woman] We'll have a fun day. - [man] Thanks for the vote of confidence.
- [Robert] David. - [Lynch] Robert.
[laughs dopily] How are you?
You guys are looking so sharp. Jim.
- How are you? - Pleasure to meet you.
- I've never met you before. - No, no, no.
- Only on the phone. - Yes. Yes.
We're gonna sit back here and talk.
- Great. - Okay.
[Jim] Where would you like to sit, sir?
[Lynch] These guys sit back in the back there.
[Robert laughing evilly]
Okay, first I want to apologize
because...
for scheduling and financial reasons--
I'm sure you've been through this before--
were shooting out of sequence.
And (his scene here is way late
in your relationship with Dougie.
Up until the scene before this,
you've hated this guys guts
and he's been nothing but a pain in the ass.
And now it's a completely different story.
And a bunch of things have come clear.
And this guy, to you, is solid gold.
You couldn't be happier
to sit with this guy.
He's a strange one,
but you've taken him as one of your own, which is pretty rare.
And you just love this guy.
And you've just received a $30 million check
and seen the thing kind of came clear.
And so its a beautiful evening here at the restaurant.
And this is also...
You guys, like, tomorrow is one of the earliest scenes
where you're very tough and mean.
And this one is more-- you're still the same characters,
but a little bit, you know, of warmth is coming through.
- And... - A little bit or a lot?
Well, you know, ifs just like we'll see how each line, you know, goes.
But it's--you're really, you know, you're really liking this guy.
- [Jim] Okay. - [Lynch] And you're getting ideas
because you find out his kid doesn't have a gym set, right?
And so you're thinking of things to give this guy
for what he did for you.
And so your hearts open,
and you're gonna be sending cars and, you know, stuff,
and pretty much whatever this guy wants from now on,
he's gonna get.
[Roben] You just gave me an idea. Do you think maybe--
we were talking about orphanage was the first thing that hit us
when we were talking today about maybe a moment
where we were separated from each other for a short while,
which was a nightmare for both of us.
- Uh-huh. - or...
We always have to be with each other.
- We have to fight for each other. - Right.
But could we have-- we could have had different--
a different father or a different mother.
- No, you-- - We absolutely had the same parents?
You are brothers. You are brothers.
Mother and father, just orphans.
Yeah. Brothers.
You're brothers, and you've been together--
You've been-maybe you've been separated for, you know,
like, if you want to put that in your head.
But not for so long. But not to torment.
And when you get back together, it was, like, just beautiful,
because it's just you two against the world.
Exactly.
And by sticking together
and, you know, staying equal,
involved with everything 50/50
and you know, going for it
and focused as brothers to get what you need to get,
um, it's money in the bank.
[Jim] Very excited.
Super-duper, YOU 9W5-
- I'll go shave this. - That's great. Okay. Okay.
You want to do that, and then we'll do a rehearsal.
[Jim] Whatever you'd like.
- Get all cleaned up. - Whichever works best for you.
They're still working here. You got time, yeah.
I eerie humming and warbling ♪
III