[electricity crackling]
I strange warbling music ♪
III
[man] I was sen! to locate the man
with the gray elevated hair.
I traveled very far and for many months.
[thunder rumbling]
Plants grew like hairstyles on the dried skin.
I saw many landscapes on my journey.
I saw black cables on long poles over the ground,
always further to the point where nothing ends,
Someone goes by slowly.
[engine rumbling]
I wondered what he's doing
with all the people who are with him.
They are speaking strange sentences
and using strange equipment.
We've got a horrible brick wall. It's too small.
[m an] Floating over white boxes,
following my gray shadow against the measured fines,
I wonder to myself,
"Are there still places
where no footprints can be found?“
[wind whistling]
S atmospheric music S'
III
[rain pattering]
[Lynch] That is Special Agent Dale Cooper, man.
We could get a fire in the fireplace.
- Yeah, have a seat. - That's awesome.
[man] Sheryfs right here, David.
[Kyle] We need some stockings hung by that fire.
[indistinct conversation]
Close the door or get in.
[man] She's coming in right now.
Oh, look at you.
Wow, that's incredible. That's incredible.
[Kyle] Right? Doesn't she look just--
Sit down. What is this?
Your apple, lemon, ginger juice.
Oh, my God. That's incredible.
- Laura Palmer in the flesh. - Have a seat. Wow.
- [Kyle] Here she is. - But by God.
- [Sheryl] Look at you. - [Kyle] You do look exactly the same.
Okay, so this is a picture
of moments before you meet...
Special Agent Dale Cooper in the woods.
Moments, moments, moments before.
You're stoned.
You're crying-you've been crying.
You're very upset.
That's how you're going through the woods.
And you'll be going along.
There's a--there's a path that you'll take.
You'll--you'll appear,
you'll appear, you know, and you'll be going along.
You'll step over this log,
and you'll come around,
and you'll be at the bottom of an incline,
and you'll look up, and you'll see
Special Agent Dale Cooper up above.
And you'll--you'll say, you know,
"Who are you?"
And you'll do your dialogue there.
And then you say you saw him in a dream,
and then right after that,
you'll put your hand out,
and you'll--you'll climb up and take it,
and you'll look at him in the eye,
and--and you'll say, "Where are we going?"
And he'll say, "We're going home."
And you'll go out.
[Sheryl] I mean, he's not dressed like most people I meet in the woods.
[Lynch] No.
No, he's, um, Special A--
dressed like an FBI agent.
[Sheryl] Yeah.
Yeah, but you--you-- when you see him...
at first, it's like, "Who are you?"
And then all this stuff comes back,
and there's a connection, you know?
There's a connection between the two of you.
And you've seen him in a dream.
So... and it's like--
and not only have you seen him before,
but you have seen him
and have gotten the feeling that he's trustworthy.
[Sheryl] Mm-hmm
[Lynch] So it's not a frightening thing anymore.
Just when you first see him, you knew,
and then it a}! kind of starts coming back.
It's a feeling that's much better than going up“
suddenly it's much better than going up
with Jacques and Leo.
And it sort of interrupts all that,
and you wonder, what is this all about?
And you ask him, "Where are we going?"
And he says, "We're going home,"
and it gives you a strange feeling,
a very strange feeling as you go out.
S dark atmospheric music S'
III
[man] I see the spine of a sleeping dragon.
Can you see it?
Something is moving in the forest.
Underneath, people stand rigid like trees.
The nervous man with the silver face is running and falling
out of the dark into the green.
- Jerry Horne. - [Kelly] Of all people.
- Of all people to see. - How you doing, man?
- How are ya? - Really good.
- Oh, fantastic. - It's great to see you, buddy.
You look better than ever.
Same to you, same to you.
I look exactly the same, don't I?
- Exactly the same. - [laughter]
- Really wonderful to be here. - Great.
Yeah. Yeah, fantastic.
You want to walk and talk for a little bit?
- Yeah, let's go. - Okay, let's walk and talk-.
[Kelly] I'll never forget that thing you told Harry Dean
when we were doing "Wild at Heart."
[Lynch] What's! I tell him?
Well, he was gonna die, and you told him about the book...
- "Autobiography of a Yogi." - [Lynch] Uh-huh.
And about the saints leaving their bodies
- and stuff like that. - [Lynch] Uh-huh.
So, uh, you got one for me for this, coming through here?
- [Lynch] Okay, this is-- - He's lost.
- He's looking for his place. - He's looking for the answer.
- Okay. - And it's out there somewhere.
And you got to move fom/ard and get it.
- [Kelly] Okay. - [Lynch] You just got to find it.
You gut t0 move forward to find the answer.
- [Kelly] All right. - So you're looking out there.
You don't care about anything else,
and you're high-stepping through the grass,
moving forward, moving fomard-.
[Kelly] Okay.
Relentlessly moving fonuard.
All right.
[Lynch] Is that tight enough?
[Kelly] You can't fool me!
I've been here before!
[Lynch] It's kind of like a plaster,
and it's called Fix-Ii-All or Fixall.
The bag, I think, comes in 20-pound bags,
and it's green and yellow, I think, the bag is.
And you mix it with water, and it sets up in about 20 minutes.
And we need two bags of that so we have enough to do the job.
[bird cawing]
[man] "As the men get light there, Andy turns.
His face shows a shocked disbelief.
There, lying on the mossy floor, is a nude woman.
Andy makes his way to her.
The others, now seeing, move around her.
Sheriff Truman reaches to see if there is a pulse.
Andy touches the woman's hand.
The hand moves, and the woman takes Andy's hand in hers.
'She's alive,' Truman says."
[Lynch] Andy's gonna come around,
and he's gonna touch your shoulder,
and you kind of start coming to life,
and you put out your lefl hand, just along the moss,
and he'll--you'll just kind of--
it'll be down here, and you're just gonna push it out.
And he'll take your hand like this,
and he'll roll you over
to take a look at your face,
and he'll see your face,
and when he's-- when he starts rolling you over,
you make like your neck is very long, like a little animal,
and you raise your head up,
and you try to see him, but you're blind.
You try to see him, and you start talking mechanical.
You make little noises.
[Nae chattering oddly]
[Lynch] That's right.
[chattering continues]
[Lynch] Try to see him with a long neck.
And you're just talking away.
You could just say many things.
[Nae chattering oddly]
- [Lynch] Here is the tree, right? - [man] Mm-hmm.
Here's Naido.
Here's Andy.
Here's Bobby.
Here's Hawk.
Here's Sheriff Truman.
[no audible dialogue]
S fight music S'
III
You're gonna think she's alive,
and then he's gonna start talking,
and she's gonna start coming up like a little animal,
moving about, talking.
And Andy and her will have a thing,
and then a funnel is gonna appear in the air,
and it's gonna be just a whip--
like a giant tunnel,
and it's gonna make a gigantic noise.
You guys are gonna be in a shot
where you just sort of get burned om by lightning,
as you're mesmerized by this thing,
and Bobby's gonna do
a yellow mouth scream by the sycamore tree,
and Andy's gonna stand
and let go of Naidds hand,
and he's gonna disappear.
[man] All right, let's pack it up. We're gonna move to--
[woman over radio] Guys, we're on the move.
[man over radio] On the move.
One more time through.
- When they're hiking through? - Uh-huh.
[Lynch] This is like this.
It's like, this one is» you're up like this.
- [Kelly] Right. - [Lynch] No service.
- Okay. - And then you go down.
And just-you got a--
you got a thing, and that's the close-up.
- Okay. - And then we're wide on you.
And you scream up to the sky, you know, out that way,
to the top of that mountain.
"You can't fool me.
- I've been here before." - Okay.
[Kelly] You can'! fool me!
I've been here before!
What's the thing?
- Huh? - What's the thing?
- "You can't fool me"? - No-.
- What's the thing? - You said...
We look on this, no service, and there's a thing.
Urn, anger.
- Okay. - Anger.
Now face away from me.
Look out that way.
[woman] All right.
[man] Okay, here we go, Johnny--
FXeXaK-ilixail.
[Lynch] Oh, fuck me, man.
[woman] They said they only had tiny little boxes of Fixaii,
so they got this.
Is that the same?
Fuck!
Is that the same?
- [man] Plaster of Paris. - [woman] Uh-uh.
Plaster of Paris? Bullshit.
Okay, mix it up.
Mix it on the thin side first, Phil...
And then bring the bucket with the liquid stuff up here.
[Phil] Yes, sir.
[indistinct conversation]
[man] Okay.
S fight music S'
III
Want an Irish song, or you want a--
- I would like a little Irish song. - Old English folk song?
- Irish song. - Okay.
I'm part English, too.
Are you part English, too?
I am not, but I know some English people I like.
[strumming]
Let's see now.
♪ If you be the lass a'
♪ Of Aughrim A'
IAsHakeitA'
♪ You mean to be a'
♪ Tell me ♪
♪ The first token a'
I That passed between you and me a'
S Don't you remember S'
S That night on yon green hm S'
S When we were together S'
J" Fm sorry now to fen' ♪
♪ Oh, the rain it falls I
A' On my heavy locks A'
S The dew, it wets my skin S'
I My babe lies cold ♪
S Within my arms S'
♪ And none will let me in ♪
III
♪ if you be the lass a'
♪ Of Aughrim A'
IAsHakeitA'
♪ You mean to be a'
♪ Tell me ♪
♪ The first token a'
S That passed between you and me S'
III
That's it.
[woman] Beautiful.
- Beautiful. - [laughing]
- Beautiful, beautiful. - You know what that's from?
- James Joyce, "The Dead." - Oh.
It's the story that-- you know, they filmed it,
and it's where he's showing--
'Cause he was a tenor, and he played guitar.
Uh-huh.
And he put that in there to show how music can cause trouble.
Yeah. Beautiful.
That's really beautiful.
- Thank you kindly. - Yeah.
[thunder rumbling]
I unsettling music ♪
III
[faint droning]
[man] Further against the direction of the water,
bright light shines on the face of a young woman.
Her mother twists herself inside the bottle,
smashing her face into the carpet.
Talking quietly in the comer, he tells her of the plan.
Does the man with the gray elevated hair belong to her?
Mm, animals-animals eating each other.
Mm-hmm. And that's what you're watching.
Yeah, it's my kind of stuff.
[Grace] Is that why it's to the very end?
ls ma! good?
[Lynch] Mm-hmm.
[Grace] And if later! think I should have...
[Lynch] And you can ask me questions.
[Grace] Good God.
[Lynch] But I have an idea for another scene...
- [Grace] Okay. - ...that we could shoot.
And you might think it's, you know...
ifs pretty strange.
You sense it's in God's hands.
And you might, you know, you might make a noise,
like, "Fuck," you know, like, you notice you're out of stuff.
Yeah.
[Lynch] And then you'll get up, and you'll go in the other room.
We'll stay there.
And you'll go in--you'll go over here.
You're rustling through some empty bottles.
- Mm-hmm. - And drink that, but it's not enough.
- Mm. - And then you'll leave the room,
and next thing you know, you're on your way to the bar.
Okay.
The third thing is...
the last thing.
You're on your hands and knees.
You're at the picture of Laura Palmer.
And ifs on the rug' You're on your hands and knees.
And you're sort of screaming at it,
and you hit it with the bottle and break it.
Okay. 0K3)'-
Okay.
Those three things.
Okay.
Okay. I love you so much.
[smooches]
We could set up now for the first one.
- We're very close. - Okay.
[Lynch] I think you would sit on the couch when you think
- and watch TV. - [Grace] Yeah. Yeah.
- [Lynch] And drink. - [Grace] Yeah.
[Lynch] It's not, like, completely relaxed.
[Grace] RighL
[Lynch] It's not, like, tense.
Ifs something kind of setfled in,
but thinking. thinking...
and watching and Making and drinking.
So it's not--
- It's somewhere in between. - [Grace] Mm-hmm.
- [Lynch] Okay? - [Grace] Yeah.
III
[water flowing]
[birds calling]
[Lynch] And you're pretty much fed up.
And...
you love this guy, Billy,
who's missing,
and you need his help.
You want his help.
It's the least he can fucking do, right?
And...
he's not really helping you, you know?
He's like, you know, making excuses, and he hasn't called Tina,
and so you'rejust, like, pissed off.
- And I don't trust him, really. - No.
And do I love him?
You, um...
- Just from, like-- - You do, in a way. Yeah.
But not in love. You know, so it's like--
- Yeah. No, no. - Yeah, yeah, yeah. Okay.
'Cause it's written-- mm, mm, mm.
- Is it that all the time? - What do you mean?
- What do you mean all the time? - Well, she's just--
- Yeah, giving him the business. - Just giving him the business.
She's giving him the business tonight.
Like I gave you the business.
- Mm-hmm. Exactly. - [laughing]
I know where you wrote it from, you brat.
[chuckles]
- Okay. - Yeah.
She's kind of a child-woman, don't you think?
- A child... - A woman.
- Like, it swaps around. - Yeah, yeah.
Like, "I needed your help." "Well, fuck you, I didn't get your help."
- Yeah, yeah. Exactly, yeah. - "Why didn't you?"
- "Oh, fuck you." - Yeah, exactly, exactly.
[laughing] Okay.
You're exactly right.
Smoke a cigarette.
And then when you--
when you had this thing,
your dream about Billy...
- Right - That's important, you know?
To paint a picture,
how he was bleeding from the nose and the mouth.
And it really freaked you out.
And that sometimes dreams are, you know--
They're true, yeah.
Yeah. And you're worried about him, you know?
You're worried about him.
But ifs not remembering that dream in that moment.
- Can I have one, please? - Oh, sure.
It was fueled, right, by this whole day, like we said.
Mm-hmm. Yeah, the dream's been with you.
- Right. Like, that's why we have to go. - That's why you got to go. Right.
It would be one thing without the dream,
but it's doubled, a double whammy.
Okay.
And you really can't stand him, you know, being, like, you know, sleepy,
and, you know-- and not, you know, rallying.
And it's manipulative to bring up, you know, what she brings up.
- Yep, yep- - You know? You got to do the papers.
- Yeah. - "That's it. Great.
I got my way. Fuck you. Good, we're going."
Mm-hmm.
I don't think that-will these--
Yeah, I won't ask you. You won't tell me.
The papers are like, you know--
could be a divorce or something like that.
Yeah.
And, you know, it's like...
And your friend Paul is a dead man.
- Kick his ass, yeah. - Yeah.
And...
like that.
- Okay. - You got it.
You got it perfect.
Just the nosebleed--
that really freaked you, you know, when they talk about that,
'cause in the dream, it was like, "Whoa."
Gushing from his mouth and nose, you know?
And you got really worried. You...
So that's like, okay, I got...
Yeah, so I'll do that. That's what I will do.
And then...
Okay. Just take a little time with that maybe.
Or just the way you say it, you know?
Just the way, in your mind, you picture it.
I saw him. He's bleeding, you know?
- Yes, exactly. - And I got to get out of here.
And you fucking won't help me.
Yeah, exactly.
♪ Discordant music A'
III
[woman vocalizing]
[man] Nothing stands in the way of the curious few now.
I feel, in the end, everything looks the same.
III
Why is the headless body sleeping on the table?
Are these the last thoughts of a freestanding mind?
[indistinct conversation]
Okay, this is gonna be done in pieces.
I got to work things out with Laura and Kyle,
but we can go shoot Kyle waking up.
- [man] You want to look at the room? - I've seen the room.
- [man] Oh, you did? - In my mind's eye, yeah.
- [man] I hope it matches. - It does.
It matches perfectly.
He's gonna be laying on his side, son of sleeping.
He's gonna roll over and look up at the ceiling.
He's gonna look around and not see Diane.
He's gonna call out. No answer.
He's gonna sit up, discover the note on the bedside table
and read it and think about it,
and then we cut.
[Lynch] Okay, let me rehearse with Kay/e,
and then we'll shoot this.
Okay, so Kyle has come in,
and you're over there where the note is, Kayle.
- [Kyle] Yeah. - Was.
[Kyle] I come in at--
We're over her when she comes in.
And we're over Kyle
when she comes in.
- Let's say you walk in... - Yeah.
And...
- Kayle, you come to right about here. - Mm-hmm.
And you come in, Tidbit, behind.
- [Laura] Okay. - And you close the door.
- Mm-hmm. - And before you even close the door,
you turn on the light.
- [Laura] This one or this one? - That one, the switch.
[Laura] Oh, the switch.
[Lynch] And since she turns off the light,
she comes over,
and we may just follow her--
you know, we mightjust come across with her.
And--or, yeah, we come across with her
into a tight two shot.
Okay, then we're right in here.
Get close.
And you come in, and you say, "Diane."
Right.
And then you put your hand on her waist.
And then you lean in to each other and kiss.
And you kiss hot. Okay.
[Laura laughing]
It's very strange, isn't it?
Just think "Blue Velvet," 25 years later.
And ifs a very strange scene.
- [Laura] Very. - Yeah.
- Oh, my God! - I know.
- [slowly] Oh, my 60¢ - [laughter]
- [Kyle] Get weird! - Okay, that's good.
"Isabella, what are you doing here?"
[laughter]
Okay, so then...
The next thing would be
Kayle leaning against the headboard,
sitting up.
- [Kyle] Mm-hmm. - No shin.
Tidbit writing "Dale Cooper"...
...up your back.
Just your back.
Kissing.
Then...
...Kayle's right hand
on a bare breast.
Kissing.
And Tidbit pulls away.
And you see those black and white fingernails
going up Kayle's shoulders
to his neck and his head
and working his head as you guys are going.
Just sari of working his head with the fingernails and fingers.
And you're just letting her do this.
And even though it's a little strange, it's in rhythm with you guys.
And then you see Tidbifs head go back,
and you're crying.
And that's the end.
♪ Eerie tones A'
III