[electricity crackling]
I strange warbling music ♪
III
[man] Orange goblins along the road.
Someone goes by slowly.
Cotton baits drifting in the sky.
Somewhere inside the darkened room is something of a friend.
My feet are again full of sod.
[Lynch] Herels the thing. Most all, so far, has been kind of-
Most ail-So here's the thing.
It's been-This is now natural-
Strange-like.
It can be strange-Herds the thing.
But a lot of things can go into deep shadow.
What you don't see sometimes is the most, you know,
and, you know, a bunch of fantastic imaginations thinking.
Sometimes is the most, you know-
And in some ways, the less we see of the room-
selected things we should see very beautifully.
But a lot of things can go into deep shadow.
What you don't see sometimes is the most, you know,
a bunch of fantastic imaginations thinking.
[woman] It's a piece of cake.
Now, second word.
Uh...
Rom-room-more-.
Second-Uh...
Second word-
rom...asic_.
Rom-sick-a.
Rom-a-
Kiss.
Rom-a-kiss?
[man] Where does the Fireman come from?
- Around the side. - [man] Okay.
And he'll push a button on there.
Then he's gonna look to Senorita Dido,
and he got to go back out.
[indistinct chatter]
[recorded speech oddly reverberating]
- Yeah, right. I'd rather- - You're good. Okay, yeah.
And then see how it sounds and adjust it accordingly, so...
Nemerive...
may-aye.
. Okay- . Okay-
[recorded speech oddly reverberating]
- Very well. - [laughs]
- Close, huh? - Yeah.
Yeah.
[Lynch] Well, how is Sefiorita Dido going?
[man] Coming in the door right this moment.
- Really? - Yeah.
- You're kidding me. - [man] Look who's here-.
[man] They're right here.
[man] Oh, here they are.
[woman] Wow.
Wow, there she is.
[man] Oh, fantastic.
- Okay. - [woman] Okay. Corning in.
[woman] You had a morning.
Yeah, it was fun.
- Fun? - Good fun.
[woman] Well, that's her.
[indistinct chatter]
- [Lynch] Sefiorita Dido. - [woman] Sefiorita Dido.
- Thank you. - How you doing? I'm David.
- I'm Joy. So nice to meet you. - Good to see you, Joy.
Fantastic.
III
Okay, so here.
Okay, Timmy. Thank you.
- You want it? - Thanks.
[man clears throat] So...
- [indistinct chatter] - Good.
If you hold your hands like this,
just to sort of, you know, like, to you-
- You got your shawl. - [woman] Uh-huh.
And just take little steps-little steps
and son? of like, you know, do a little bit of a bounce
Going across.
Lime steps.
- Can you do that? - Okay. Yeah.
- Okay. Just little tiny steps. - Okay.
And so you just sort of-ifs just-
You're just like a little cherub just going across-.
- Okay. - Okay, great.
Take your time...
[no audible dialogue]
[low tone droning, deep creaking]
[laughten indistinct chatter]
- [Lynch] She goes to her place. - [woman] Yeah.
And she's looking up at the Fireman.
And her arms go up, and she brings in a golden sphere.
And she takes it, she closes her eyes, and she kisses it.
[woman] She reaches for a golden- or her orb, right?
- Uh-huh, the orb. - [woman] Reaches for orb, kisses it.
And she kisses it.
And then she, you know,
lifts it up out of frame,
like that.
[indistinct chatter]
I low atmospheric music ♪
III
[vacuum whirring]
[rubber glove squeaking]
[man] Well, we have our work cut out for us.
[Lynch] No, we got too much stuff to do tomorrow-huge amount.
Huge amount of stuff to do tomorrow.
Do you know that it's almost 4:30?
I can't-l-you know...
- You can't control the, uh... - The thing.
...the Earth moving around the Sun. I know.
[Lynch] I don't like it any better than you do.
I think I'm gonna take those wires down.
- [man] That go across? - Yeah. They're sagging, and they don't-
they don't-they don't show up- they're not powerful enough.
I'll just add 'em in later.
We'll see.
[indistinct chatter]
- [Lynch] Jake. - [man] You made it.
How you doing, man?
- Oh, ifs so good to meet you. - Give me a hug.
Good to see you, Jake. Fantastic.
- [laughter] - I'm finally here, eh?
Finally, finally here.
Incredible.
- So good to meet you. - Good deal, Jake.
Good for you, buddy.
And you come right in about in here.
And-and then you close your eyes,
and you just kiss it and give it so much love.
- And then you smile and let it out. - Okay.
It'll go right up to the center,
and then it'll go through,
and you'll see a tube go to the movie, and then it'll enter the film.
Okay.
And then you can just turn back and watch it.
Okay.
[no audible dialogue]
I low atmospheric music ♪
III
[man] Someone in pink plays with a metal beast.
The black-faced Cooper sits in a chair.
Are the trees speaking something which he can hear?
[woman] Just in time.
[man] They're on their way.
[Lynch] Here we go.
That's what?
[Florencia] That's for the phone to light up.
Okay. What do we pull on?
I think this-this one.
- They should make a thing that lays down. - [woman] Right.
So it-you know, it just-
[woman] Or itjusl comes up from your desk.
- Yeah. - [woman] And then it goes back down.
You could build that in. You got time.
- [woman] Oh, yeah, here comes the man. - [Florencia] Here comes Phil.
Oh, here. Want me to do that for you, sir?
[Lynch] Hey, Phil. Teach me.
- Were you playing with my gag? - I'm sorry, bud.
This cable right here. And we'll move this bag off, and we just-
[motor whirs]
Isn't that sweet?
[Lynch] Then I want to have smoke in here.
- [woman] Okay, smoke. - [Lynch] Smoke. Definitely.
Okay, and-
And so in the phone call- there's a phone call first
- to get his Skype handle. - [Robert] Yeah.
And then you'll explain to him that, you know,
"No, it's Frank."
And "I'm sitting in for Harry," and how is Harry?
He's-you know, he's, um...
Well, we'll figure it out.
It's Gordon Cole, Harry.
Returning your call.
[Robert] No, no, this is Sheriff Frank Truman, Harrys brother.
Where's Harry?
[Robert] Harry's sick.
He's in the doctor's ca re-.
I'm sorry to hear that.
[Robert] I?! fer him know.
[Lynch] What have you got for me, Frank?
The woodsmen are gonna go to work
on Cooper's double's dead body.
The orb goes up into the middle of the room and hovers, okay?
It's round. It's black.
It's like a tar ball, okay?
Inside there we see Bob. And also I want to have carbons touching.
[imitates explosion] The brightest fucking light.
Pinpoint inside were.
And then the black, you can sort of see through.
It's transparent in the center.
You can son of see Bob in there, okay?
Then Bob lifts up a little bit and slams down on Cooper.
He's got to call out-
before that, he says, "Are you Freddie?
Bob stops bugging Cooper, floats up,
and goes catching my death bag to Freddie
and attacks Freddie.
Boom, Freddie goes down.
Then these arms come out of the ball-.
These arms start slamming Freddie down on the ground.
We splash in blood.
We hit, hi!' hit.
Then it's gonna get real dark.
All the lights are gonna go off. And there's gonna be pops of lightning.
And a lot of pops of lightning as he's slamming Freddie.
And then the green glove is gonna catch the light,
and Freddie's gonna- Coopefis gonna be yelling in the dark.
And Freddie's gonna go, boom, and send Bob across the room.
Then Bob's-Freddie's gonna try to get up,
and Bob's gonna fly back and knock him back down again
and beat the shit out of him.
Then Freddie's gonna crack him again.
And Bob's gonna distort in the room.
Then Freddie's gonna get up.
And this time when he comes, he's gonna go, barn!
And that fucking things gonna fly.
Then he's gonna attack him again.
He's gonna boom! Now he gets him down there.
And they go, boom! And goes through the floor.
[imitates hissing] Fire comes up.
And the lights are popping electricity, you know, like lightning.
And then Bob floats up.
The lights start coming up a little bit.
And Bob is smoking in the middle of the room.
Just... [imitates hissing]
Pouring black smoke out of this thing.
And Freddie's gonna do the last fixing-boom!
And he's gonna go ail in pieces and fly out of the room.
And then it may rain black rain for a little bit.
[coughs] And thafll be the end of that sequence.
[man] Okay, now, I have questions about this.
[Lynch] Uh-huh. What?
we got any...
Like a dozen eggs
and some creamed corn?
Come on in here. Don't spill anything.
[man] Nope.
[eggshells crunching]
- [Lynch] We don't want- - [man] No shells?
- No shells. - Okay.
- [man] Oh, yeah, yeah. - [Lynch] That's beautiful, you guys.
That's real nice stuff. We might-we might-we might be okay.
- [man] Getting close? - [Lynch] Yeah.
- [man] You need me to bring anything? - [Lynch] Black tempera and a brush.
[man] How much more do you want in there?
[Lynch] We'll-we'll spritz it.
- [man] Here. - [man] Yeah.
[Lynch] Aaron, so great working with you, buddy.
[man] Thank you, buddy.
[Robert] I know Naido.
- I know those two guys are in the jail. - Mm-hmm.
[Robert] What do I make of this?
He gives me the thumbs-up, but-
[Lynch] You-you-you- what you make of it is,
“How come they're coming up from down there?”
[Robert] Okay, so I'm not sure of anything going on there,
and then there is some effect.
[Lynch] Your attention will be drawn to that body.
[Robert] Okay, and this is befuddlement or quite-
A little bit befuddlement.
You've never seen anything like this before.
[Robert] Nothing like this. And I don't know why those guys are there.
- And he just runs out and all of that. - And he just-yeah.
[Robert] We take it all in stride.
Take it in stride, yeah.
[Robert] But not so sure about any of it.
Exactly right.
- Exactly right. Exactly right. - Okay. Very good.
- And much, much, much more water. - [man] Okay.
S quirky music S'
III
[Lynch] Hovering above the green chair, which would be right there.
- And, um, just talk you through it, okay? - Okay.
And you're just-you don't know- have a fucking clue what's going on.
- Kind of like in real life. - In real life.
- Yeah, yeah. - Yeah.
It's like a realistic picture.
No, I mean, even in the scene, I have no idea what the fuck we're doing.
No, no, okay, yeah.
- Yeah, so we'll just- - We'll just play-
- Play the reality. - Play it for real.
Okay.
[Kyle] I stopped asking questions-
Long, yeah.
Okay.
Mr. Freddie. There's Mr. Freddie.
- How you doing, bud? - [Jake] I'm good. How are you?
Great.
[woman] How about you and I clean this off?
- [man] Yeah, so I don't know what- - [woman] Just add that line.
[Lynch] So you're gonna punch, break the hole,
and then leap back because the flames gonna shoot out of there.
[Jake] Nice.
And then when the flame goes away,
you'll go fon/vard and punch the orb again.
And then the thing will be smoking and float up.
And then you, one more, and you'll break it all apart.
- Shh! . Okay'
- Quiet, everyone. - Nice and quiet.
- Yep. - Right.
[British accent] Are you Freddie?
[Western accent] That's right.
[British accent] Freddie.
Are you Freddie?
[Western accent] That's right.
- And this right here's my destiny. - [chuckles]
[Lynch] Okay, now do a Spanish one,
and you do a Russian one.
Okay.
[Spanish accent] Are you Freddie?
[Russian accent] Da.
[Spanish accent] Freddie.
Freddie.
[Russian accent] This right here is my destiny.
- [laughter] - [Lynch] Okay.
- That's good. Now let's go back to the- - [woman] Can we do the real one now?
- [Kyle] The real one. - [laughter]
N-n-now you're gonna shoot the top of his head off.
Lower-that's right.
Just like that.
Okay, hold her strong.
Aim it right there.
Are you ready?
Here we go.
_ Barn! ' [gunshot]
[inaudible dialogue]
Now, slowly, slowly look at the body on the floor.
Yeah.
And lower it down like so, and you just hold it like that.
Okay, now, slowly lower that dawn.
It's more like wide-eyed- wide-eyed shock.
Oh, what did I do? Look at what I did.
Oh, my God, it's-okay.
What was that?
Take a step forward.
Take a step-
[Robert] Agent Cooper said don't touch the body.
That is Agent Cooper.
[Robert] No, it isn't.
[Lynch] Turn back there, Hawk, and look at that body.
Then back to the Sheriff.
"What the heck is going on here?"
And then slow back to the body.
Well, we have to have Andy run out.
- [man] Yeah. - And-
- [man] How far do you- - [woman] With James and Naido?
I want to press forward as far as we can get.
As far as we can get.
Not like say we're gonna just do this,
because then we'll be caught on day four or whatever-
we'll have billions of things to do.
We just keep going fon/vard. We just keep going forward.
[woman] So then it would be smart to have him there
so he can help plan for everything.
[Lynch] Okay, I know, but it's, like, so ridiculous.
He doesn't need a stunt guy.
[coughs] It'll slow things down, I'm telling you.
M! stow things down.
I want to get in there with the little camera
and wiggle that fucking thing around and just keep slamming Freddie.
We whip in blood every time we can.
We slam some more.
[man] All right, let's not have him tomorrow, then.
She doesn't have to try to get away from them.
But she's just pulling toward Cooper.
And then when she gets the satisfaction of feeling his hand,
then-then she lowers-then she lowers it,
and you guys move back, and we stop.
[Lynch] We got James and Freddie in the background.
So I think what you need to do is step forward.
- And we'll go fon/vard, you know, there. - [Kyle] To match that.
No, just to kind of get them off to the side
so it's like, you know, this way it's just you two.
And then you step fom/ard to her-Diane.
You know, 'cause ifs a bit of a thing for you.
"Oh, so that's who you were all the- back in the mansion room."
You know?
But she'll confirm that it's you and her, you know, when she-
- you know, when you kiss. - [Kyle] Yep.
And so you're, "Diane," you know, and it's like-
Because you guys, you know, were, you know,
a hell of a team for all those-
And then it's been gone now for 25 years.
Completely gone.
And you've been off somewhere else.
She's been off somewhere else.
And now it's-you're there, you know?
- Right here in this sheriff's office. - [Kyle] Right.
And play that so beautiful.
And then you kiss her,
and it's a good, deep kiss.
And not too long.
But just good. Really good.
And then when you come away, come away slowly.
And you're-like kind of a dream.
And you're just saying that.
Look at him. Cooper.
The one and only.
It's-ifs like you guys got together way back when,
and you had to do it in such a way that no one else knew.
Not even Gordon.
Maybe.
- [Kyle laughs] - Maybe.
- [Laura] He had a feeling. - Okay.
'Cause there's-Who can you trust?
You can-you probably figure you can trust Gordon and Albert,
but not for sure, 'cause I didn't tell Albert.
- I did not tell Albert. - [Kyle] Ah.
[Lynch] Okay, so- and I had to apologize to him.
You look up at the clock.
At 2253.
Two, five, three.
- What does that add up to? - Ten.
That's-what is that?
Completion.
Number of completion. Way to go.
- I work for David Lynch. - Yeah, okay.
- [laughter] - So you-
- Okay, so- - [Kyle] Let me check my notes.
Yeah. [laughs]
So then you get him to look up there.
And you see it.
Okay, then that's a time- That's-that's holding.
It's holding. An opening is holding for you fight now.
[Kyle] Okay.
You got the key. The opening is there.
And ifs getting-it's coming, you know, closer and closer.
And that tone is coming that they heard in the Great Northern...
Yep.
...in the boiler room and all this kind of stuff.
And it's coming here in the sheriff's station.
And the opening is there, ready for you.
And you take her hand, and you sort of-both sort of-
Take each othefis hand.
You take each other's hand, and you address the group.
Yeah. And then you say that thing.
And then you both sort of sense this thing.
And you say, "Gordon."
- [Kyle] "Gordon," yeah. - [Lynch] And I say "Coop."
And it goes black.
♪ eerie music A'
III
[thunder booms]
[man] Scattered broccoli on a shag carpet floor.
Upside-down mushrooms spitting evermore.
III
[Lynch] I want to talk to you about the radio station.
[Peter] Yes.
- Ruth is here. - Yes.
Scott is here, Sabrina's here, Chris is here, lme's here.
Jasonian's here.
The whole gang is here, and especially Cori-she needs to know.
[Scott] I'm here.
- [laughter] - And R. Scott.
[Peter] What do you want to talk about?
[Lynch] We have-you have the questions.
- Well, the floor. - Ah.
[Peter] Now, if we get back from the front...
Mm-hmm.
Okay, here's the deal.
- This is a set on a sound stage. - Right.
Okay.
Originally, this was going to be kind of a poor man's set.
I was gonna {each Ruth a lesson
on how to do it cheap.
Now it's turned into $500,000, you know, radio station
almost we could broadcast from it.
[laughter]
[woman] He's making up numbers, R. Scott. You don't need to publish that.
- [Lynch] Okay. - [woman] Not true.
So what is gonna happen is,
we are going to set up a shot for him exiting.
Exiting.
He's gonna come out the front door
and walk past the camera into the desert.
We're gonna blow some smoke- I mean, some dust-
and be as wide as we can to see the sidewalk in front of that.
No desert.
We're not gonna come back and build a desert in the foreground.
We're gonna be as wide as we can,
and inside-you know, it's night outside.
So, if we see out a window, it's just pitch-black.
Pitch-black.
And then we have- the receptionist gets killed.
And then we go in and we do (he radio announcing-
He's gonna scratch that thing off the turntable.
Um, hold the man's head with the left hand,
talk into the microphone.
And we got a wild wall on the other side so we can shoot him there.
And then he pops that man's head and leaves.
Goes out the front, the rest is history.
I jaunty woodwind music ♪
III
It's looking good. Let's leave it alone right now.
- [man] Yeah? - Yeah.
- Pete? - [Pete] Yeah?
Can I speak with you a moment?
I grew up in the '50s
in a desert
south of Boise, Idaho.
- It's fucking pitch-black. - Okay.
This would be-You barely see it.
Do you want to see it?
- I don't want to see much. - Okay.
Just dark as hell and mood-and scar-
You see inside, but these windows are dim. Everything was dim.
It's like giant stars in the sky, but dark.
- Everything is dark. - Okay.
And you son of see the dust, but it's not, like, cheerful.
It's not lit up outside.
It's, like-it's real dark.
And when we see it in the distance, it would be all black
and, you know, just see a silhouette of the building.
- Okay. All right. - And the dust.
- [woman] That's pretty cool. - [can hissing]
- [man] You can come way out. - [indistinct chatter]
[sandpaper scratching]
[man] Thank you, guys. Let's get ready for rehearsal.
Get settled in for rehearsal when this ladder comes out.
[man] Got a light?
[Lynch] And when you do come in, you'll be coming this way.
Watch me.
You come around, and you'll see him coming around.
And you start coming toward him.
But you're so afraid.
And you got to feel that pain there,
you know, when he's holding you right here,
as soon as he touches your head.
And you got to be more vocal and more crazed.
And you got to be more mesmerized.
And be drawn over there.
Make a big deal of it.
As soon as he touches your head, you feel his pain.
- Okay. - And he'll reach out,
and he'll take you like this, and he'll push you down.
And he'll push you down right there.
[imitates pop] And he'll pop your head right like that.
Then he's gonna look up, and you come in here,
and you come in here,
and this man's turning, and he's afraid.
He's, like, mesmerized.
You grab him by the head, okay?
- Left hand here-right hand on her- - Left hand-left hand-
- Yep, left hand on him. - Got it.
And you survey this whole situation, and you see this turntable.
It's gonna be going around and around, round, round, okay?
You take this arm here, and you scratch it off like that.
Violent.
And then you take the- you survey a little bit more.
You take this microphone up like this.
You're holding his head the whole time.
And you start talking.
You start taiking, holding this DJs head.
He isn't gonna give you any trouble.
If he gives you any trouble, you squeeze it harder, okay?
Mm-hmm.
And then you're just-then the rest of the scene, you're talking here like this.
And then at the end, which we'll shoot now,
- you'll walk out of the place. - Okay.
- You'll pop his head at the end. - Okay.
You'll push him down.
You'll just hold him and push him down in his chair
and pop his head with your left hand.
- Then you'll come out and- - After my speech.
- After your talk, yeah. - Talk, okay.
[odd creaking]
♪ Eerie woodwind music A'
III