Lost Highway (1997)

Prepare to be lured into the hauntingly enigmatic world of David Lynch's "Lost Highway," as I, Travis Dudding, guide you through the film's nightmarish landscape. This episode peels back the curtain on a marriage shrouded in secrecy and a series of videotapes that propel us into a psychological labyrinth. As we traverse the dimly lit corridors of Fred's mind, played by Bill Pullman, tensions rise with the spectral presence of a pale man, a saxophone's wail, and a Hollywood party that distorts reality.

Journey with us as the story morphs into a chilling noir, where the walls of a prison cell cannot contain the chaos of shifting identities. Our guest and I dissect the baffling transformation from Fred to a mechanic named Pete, portrayed by Balthazar Getty, whose life becomes intertwined with the seductive and treacherous Alice Wakefield, also played by Patricia Arquette. We navigate the murky depths of betrayal, violence, and the desperate search for freedom, leaving no stone unturned as we scrutinize the film's perplexing turns.

Clutch your seat as the episode crescendos into a thrilling exploration of connections and revelations. In a world where doppelgängers and alternate realities weave a complex web, we scrutinize the enigmatic intertwining of characters and the startling discovery awaiting in the desert's desolate expanse. This foray into Lynch's masterpiece is an intricate dance with the macabre and the mysterious, culminating in a frenetic chase from the authorities and a final message that will echo long after the credits roll. Join us for this audacious expedition into the heart of "Lost Highway," where the only certainty is the uncanny allure of the unknown.

Chapters

• 0:04 David Lynch's Film Lost Highway Discussion
• 11:59 Creepy Encounter at Hollywood House Party
• 17:07 Strange Hauntings and Murder Trial
• 24:00 Identity Switch and Chaotic Events
• 40:29 Suspicion, Infidelity, and a Dangerous Plan
• 47:21 "Twisted Plot and Dark Discoveries"
• 1:00:40 Mystery, Violence, and Connections

Transcript

Speaker 1: 0:04

Hello and welcome to another episode of Movies, colin. They're pretty good. I'm your host, travis Dutting, and today we are going to talk about David Lynch's 1997 film Lost Highway, one of my favorites. Let's get right into it. So we open on a shot of a presumably a car going down a dark highway really fast, but all we're seeing is the POV of the car. So we just see the headlights out ahead and the yellow lines in the center just flying at the screen. We get the opening credits, like that.

Speaker 1: 0:46

Then we cut to a shot of just like a glowing face, but glowing like from the light of a cigarette, and that's the only light and it's Bill Pullman. We see his like glow, glowing face. Then he opens the blinds because he's getting up in the morning and he's got these like blackout blinds and everything or blackout curtains, whichever. But like, as he's getting up, the intercom buzzes. So he goes to listen on the intercom, like you know, see who's there, and he's like hello. And then it's just a voice that says Dick Laurent is dead. And he's like who? Who is this? Like what's going on? And he goes to like look out the window. Of course, like the, there's no window right by the intercom. So he's got to like walk to the other side of the house and by the time he gets there there's no one there. Then we cut to him putting a saxophone in a case and or packing to go somewhere. Then his wife comes in, played by Patricia Arquette. She says like hey, you don't mind that I'm not going tonight, do you? And he's like no, like that's, you know, I don't mind. Then it's like what are you going to do anyway? Well, I'm gone. And she says oh, I'm going to read. She's like read, like read what? And it's kind of hard to like gauge the their dynamic and it kind of seems almost aggressive. But then they both laugh and he's like oh, it's nice to know I can still make you laugh. But so he's a musician, he's going to play a show and she's not going, she's going to stay home. You know, cut to the Luna lounge where Bill Pullman's character, fred, is doing the craziest sax solo that's like ever been done. It's like so unhinged, it's so like over the top. I don't know like that anyone would like it. You know, it's just, it just seems like so crazy, it just seems like too much. But hey, like the crowd's loving it and he's just like going to town on that sax. It's got like you know, applause and everything. End of the show.

Speaker 1: 3:08

He goes over to the phone to call the house and see how she's doing, probably say like hey, I'm going to be home and at this time or after I'm done or whatever, and but nobody picks up. You know, it's pretty and it shows like every house, like, or every phone in the house and just, and we're not seeing her anywhere in there. Then we see him come in, he gets home, he goes to the bedroom and she's there sleeping and he just like goes and like sees, like okay, she's there, you know, but we're not sure, like okay, does he like suspect her to not be there or what? The next morning she wakes up first and is going out to check the mail or get the newspaper and all that stuff and there's a envelope on the steps. So she grabs the envelope and takes it in and there's like no name on it, no note or anything. But there's a videotape inside and you know he sees, like he sees the envelope and he's like what's this? And she's like I don't know, it was just out there and didn't say who it's from and I'm like all right, you know, should we watch it? And so they put it in the VCR. It starts playing and it's a footage of the outside of their house.

Speaker 1: 4:25

And then it just cuts and they're like, huh, that's weird, you know, like it's just a video of our house, you know, real short, and she says maybe it was a realtor or something like that. And then they just don't, they just move on from that. So then it cuts to him laying in bed and he's just like thinking. You know, you could tell, you could see on his face that he's thinking. Then we get a flashback of him. He's playing a show and he sees his wife, renee, in the crowd leaving with some guy with like a real thin mustache, and you know they go out the exit and then he's, you know, noticing this as he's like playing up on stage. You know flashbacks over.

Speaker 1: 5:13

He's back in bed, he's just laying there. Renee comes in, she takes her robe off and she's naked and but then like goes into the bathroom, I guess, to get ready. She comes back in, gets in bed and then they, they start to have sex. It's real like I don't know there's there's there's a there's a weird tension. To begin with it almost seems like we're not, like we're doing this because we love each other, or you know, I don't know there's something there, you know. Then so we just get this like slow mo sex scene.

Speaker 1: 5:55

It ends with him like finishing way too early and then she like pats him on the back and then it like the, the camera like focuses on, like, and that happens in slow motion too, and you know he could tell that he's very upset by this and like, feels like ashamed and stuff, because he's got, you know, premature ejaculation problems and you could tell that something is up, like this is the thing that happens, you know. But it's also hard to tell if it's like you know, are they having relationship problems because of this? You know erectile dysfunction, you know premature ejaculation, whatever, or is it, you know, is he having those problems because of there's this tension and there's these other problems? So it's like you know, which came first? Well, him. But so then, like, after a little bit, and you know he's land like Kind of on his side, like looking away from her, and she's just kind of laying there.

Speaker 1: 7:18

It's hard to like read from her expression like you know what, like like this again, or like what's his deal? Like it's not that big of a deal. You know it's hard to gauge it, you know, without knowing her, you know personally. But Then he starts to, you know he rolls back over, starts to tell her about this dream that he had her and how he was in the house and he could hear her calling for him and but like he couldn't find her and he was just looking and looking and then we're seeing the dream to and then it's like it shows the fireplace and like the you know fires, like real big and stuff like almost like it's, you know, gas powered. You know it's probably because that's how the effect was, but you know flames are loud, is like making a noise and stuff. He goes into the bedroom and says that you know when you were laying in bed, but it wasn't you, it looked like you but it wasn't you. So Then after this, after he's talking about this dream, then you know she kind of leans over to like, oh, it's never mind. It's like it flashes to when he's like waking up from this dream and she's like Are you okay? And then he like turns to look at her and the face is like it's not her face, it's like some man like pale man's face, and so you like you know, jumps back and then Then her face is normal again.

Speaker 1: 8:53

So it's, you know, the next morning or another morning and there's another tape or another envelope with another tape in it still same deal, no name, no information whatsoever. Pop the tape in, starts out, the same, it's, you know, footage of the outside. And they're like, oh, it's the same tape. And then it cuts and you know Fred's like no, it's not, because now it's like showing inside the house and they're like both like on edge now, like okay, like what's going on the cameras? Like going down the hallway and it goes into their bedroom and it's them sleeping. So it's, you know, someone was in their house filming them while they slept, you know. So obviously they're freaked out, like alright, let's call the police.

Speaker 1: 9:45

Call the police, cut to two detectives there, you know, just ask them questions. They watch the tape with them and they're like they start looking around like alright, you know is there, you know, let's see the bedroom. And then they look at all the windows and stuff to see if there's like a place that you know a show signs of a break in or be like you know that could potentially be like a break in thing. So they get to the bedroom, they ask like is this the only bedroom? And like first they're like yes, like well, I have my you know recording room or whatever you know. He has like a little in home studio. So one of the bedrooms is converted into a soundproof room. Then they ask like do you have a video camera? And Renee says no, fred hates them.

Speaker 1: 10:35

And like what do you mean by that? Like you know, the detective says like what do you mean by that? Fred explains that like oh, I Like to remember things my own way. And like okay, like what does that mean? Is like not necessarily how they happened, but how I remember them. So it's interesting, it's not necessarily a red flag, but it's one of those things are like hmm, you know, I don't know, I get it, but I don't get it at the same time. But and the detectives are the same way you could tell like I look on their face like that's weird, but it's not necessarily. You know it's not a crime to think that way. But they're like alright, that's kind of weird. But then they ask like do you have an alarm system? And they say no, like we do, but we don't have it been using it because we kept getting all these like false alarms and stuff like that. It kept going off and there was no one there and they just kind of have a look like and then then they say like well, maybe you should start using it, you know, because of the situation. So the detectives say like alright, like, if anything else happens, obviously give us a call. Here's our card, you know, and then we'll try to like be keeping an eye out Nearby.

Speaker 1: 11:59

They leave cut to a this like big house party, you know, because they're in Hollywood now outright say it. But you know that's where it was filmed. So, yeah, that this big house party. There's like people you know skinny, dipping in the pool and you know rich people, all that stuff. And we also See that the guy's name is Andy and this is the thin mustache guy from the flashback that Renee like left the show early with.

Speaker 1: 12:28

So there's obviously some Tension, like you could tell that Fred's not really a fan of this guy. And you know Renee's like kinda, you could tell she's already tipsy. She's kind of like hanging off this Andy guy and he just seems like a you know the slimy dude. But you know, she's like Frank, you get me a drink, and so he goes to the bar, pounds two shots of scotch and but then, as he's about to like take Renee her drink man approaches him and he this is the pale white face man, that whose face appeared on Renee's body, like when you woke up from the dream Comes over. He says we've met before, haven't we? Is like no, I don't think so. And Really, you know, I don't think so. Where, where is it you think we've met.

Speaker 1: 13:33

And then he's like at your house, don't you remember? Is like no, you sure. Is like of course, I'm there right now. Is like what do you mean? That is like there at your house, is like that's fucking crazy man. And he's like call me, like what? And he pulls out a cell phone. You know, as you know, mid 90s, so it's, you know the big thick, you know pre Nokia. But you know, just the bottom flips down and it's got the antenna and shit. And then he says you know, dial your house. And so you know, bill Pullman or Fred puts in his number, calls and it's.

Speaker 1: 14:11

You know, this guy's voice is like I told you I was here. And he's like how do you do that and he's like Then just starts it says I, you invited me. You know, like, how'd you get in my house? Is that you invited me? And then he just starts laughing. But it's like the guy on the phone and the guy that's there at the party are both like Laughing at the same time and it's like echoing and it's like super creepy. You know, and off and the good dude looks super creepy because obviously, like you know, made him like look extra pale. He's got like shaved eyebrows and shit. You know they make his like eyes darker and his lips, you know, like kind of dark too and is like man, this guy is super creepy.

Speaker 1: 14:58

He's played by none other than you know eventual murderer of his wife, robert Blake. I mean, he, you know it's an OJ situation where he got, you know, got away with it, but you know it's just crazy, you know it, it's just weird. It's like man, that guy is really creepy. You look him up on IMDB and it's like, oh well, it's Robert Blake. That's why you know, uh, so Fred's like shucking up about this and he goes uh well, first Renee comes back and she's like hey, like I thought you were getting me a drink when I've been, and he's like hey, like, hold on one sec.

Speaker 1: 15:38

And he goes and talks to Andy, like, hey, like, who's that guy over there? You know the one, the guy in black, and he's like, oh, that's a friend of Dick Laurent's. And then you know, then you know, he kind of has like a moment of like thinking, like a remembering. He's like wait, what? Like Like Dick Laurent is dead, isn't he Cause of the? You know the voice on the intercom and like Andy's like kind of like what, no, like what, where'd you hear that? Like no, dick Laurent can't be dead. Do you know, dick? He's like, no, I don't like, I just heard that. And he's then. But he's like he's getting like kind of agitated about it. And then Fred's like picking up on this and he's just kind of also like kind of agitated just because of like the everything that's going on. And he's like, all right, you know, let's go.

Speaker 1: 16:31

And you know if Renee comes back up, like, hey, what's going on? And she's like all right, it's time to go home. So they leave in a hurry, you know they're driving home. Fred asks her like hey, how'd you meet Andy? And she said, well, he told me about a job. You know, I met him at this party, told me about a job and Fred's like, okay, like what kind of job? And she's, and she just kind of gets quiet and says I don't remember, and it's like I think you'd remember. So she's obviously like trying to keep something from him.

Speaker 1: 17:07

And they pull up to the house. Right when they pull up, fred looks up into the upper floors and there's like weird lights going off and you know, almost like someone's in there with a flashlight kind of swinging it around or like a there's like a lighthouse thing in there or something. You know, it's just, you know, super creepy. And he's like, whoa, hey, you know, you know it tells Renee like stay in the car, but doesn't tell her what's going on. He goes into the house to go check it out. Obviously no one's there, but the phone rings but only like a couple of times, like before he can pick it up and you know, then it just stops.

Speaker 1: 17:48

So then it's just, you know he goes out and Renee is like coming up to the house and he's like, hey, like I thought I told you stay in the car. And she's like but she's like you know, drunk or tipsy, and she's like, what are you talking about? Like you know, I didn't want to stay in the car, I was bored, and she's like, why'd you make me stay in there? Anyways, like I thought someone was in the house and she's like, well, why didn't you tell me that you know which was a valid point? And all he did was like yell at her to stay in the car and then run inside.

Speaker 1: 18:16

So you know, but, um, so then there's just like a couple shots of him like walking around the house, acting weird. He's like staring at himself in the mirror and he like walks, you know, into the dark hallway and then kind of disappears into the shadows. But then there's a part where you see, um, his shadow walk across the walk across, you know, go across the wall of the living room, but there's two shadows, almost like there's two people, but we don't see a second person. We don't even really see him, we just see the shadows move across the room. You know, we see him in the scenes before and after, but in this shot it's just two shadows and you know you'd assume one is his, but the other one it's not Renee's, cause she's in the bathroom getting ready for bed still, um, cause he like just walked away from her, cut to in in a morning or the morning the next morning, I don't know.

Speaker 1: 19:16

Um, that's the thing is, they don't say like, if it's consecutive days, is this like a week later? Is it a month later? We don't know. But cut to the morning, uh, fred's going outside to check the newspaper. Guess what? Another tape, another envelope and everything. He takes it inside and pops it in and he's watching it and, you know, it starts out with the outside, then it's going inside again, but then this time it gets into the bedroom and it's him with Renee's body like in half, like there's her legs and then there's intestines, and then there's, you know, the upper part of the torso, and he's just there with like blood all over him and like screaming, and he's like, oh my, you know, watching this, like oh my God, oh my God. And then, like it, you know, smash, cut to him, getting punched in the face, and the detectives from before one of them is yelling out and it's like sit down, killer, you know. And then it's him and uh, uh, you know, and the police precinct getting interrogated and he's like God, tell me I didn't kill her. And you know the, you know the detectives are upset, obviously Like man, as you would be especially if it's like hey, this, um. You get a call, you go investigate, you meet this couple and a day or a week later, uh, one of them's dead and it was the husband that killed her. You know that'd be upsetting, but it's real quick.

Speaker 1: 20:49

Uh, succession of scenes. It's like it's him and the interrogation. We hear a voiceover of the gavel and, you know, um, we find the defendant guilty and then the judge handing out the sentence. You know, uh, death row, execution by electric chair, and then it's him getting escorted into the prison, gets to the cell, gets put in there. Um, you know, I asked to put his uh, you know his handcuff behind his back. He has to put his hands through the little window and then they uncuff him and, uh, then he's just in prison now, um, and one of the guards is played by, uh, henry Rollins yeah, I'm seeing her of black flag. I gotta look that up.

Speaker 1: 21:39

So we get a bunch of scenes where he's getting flashes of, you know the tape, but it's weird because it's like it's flashbacks to her death and possibly him killing her, but it's only ever through the lens of the literal lens of the camera. It's not like it's there's no flashback, it's just him seeing the video. So it's like shit, like did he do it? You know, I don't know it's the movie doesn't want you to know.

Speaker 1: 22:08

Yet See him out in the yard, you know, just kind of walking around in the fresh air, but he's like you could tell he's not doing too good. He kind of leans up on the wall and it's kind of like ends up collapsing and stuff like that. So, like they, they come, they get them, take them to the infirmary and he says he's getting these really bad headaches and the doctor asks, uh, if he, uh, if he's been sleeping. He says I can't sleep and so he gives him a pill. Um, I don't say what it is, but he's like you'll sleep now, you know.

Speaker 1: 22:43

So he's back in his bed, he's having like flashbacks again and he could tell he's, like you know, his head's hurting again, like really bad. And he's like guard, guard, help, you know. And so the guard comes and he's like hey, like you know, it's like what do you need? Like what do you want? And he said aspirin, can you give me aspirin? And you know, guard doesn't say anything, he shuts the little window, heads back to the his desk and his partner's like what, what did he want? Or no? Uh sits down and he's like man that uh wife killer isn't looking too good, and then the partner says which one? And then they just both laugh and then the you know scene fades, um cut to a uh dream that he's having, or dream vision something. Um, oh yeah, no, cause he's awake. So he's he has this vision of a uh cabin exploding, but in reverse, so it's just like on fire, and then it kind of sucks back in to a whole cabin and um then like everything like goes blue in his cell, like almost like he's, you know, getting abducted from the ceiling and he's like looking up and and it's like everything's acting all weird.

Speaker 1: 24:00

We get the uh um the road from the credits uh, where it's just like you know, speeding down the road, just the headlights and everything. But this time it like kind of veers to the side and we see a guy in a leather jacket Um, I think he's in a leather jacket uh, standing on the side of the road and then, but that like kind of is inner cut with um, like the background changes behind him and it's he's like in a front yard um, not in the desert, like the road is, he's like in a front yard. And then there's like people behind him like screaming, like pee, pee, you know. And then you know everything's just weird. It's all like thunder and lightning and everything. And then it just cuts away and then we just see Fred screaming in pain. But it's all like you know 90s metal music video and you know his head's like going all crazy and everything.

Speaker 1: 25:04

And then, you know, cut to the next morning and there's a guard coming, he's checking all the cells and he gets to Fred's cell. He looks inside and he's like what the and you know, call someone. And then the here comes, the warden, and then he looks inside and he's like that's not Fred Madison. And he's like, nope, it is not. And I'm like who is it? Like I don't know. And then so Fred's gone and this guy from the side of the road is sitting in his cell. And so it's like, okay, like what's happening? And then we cut to like okay, like we found the guy in the system. He uh, you know, got in trouble way back for uh, uh, carjacking or something like that, but he served probation and everything. So he's like he's good to go and obviously he's not Fred Madison.

Speaker 1: 25:59

We don't know what happened. We don't want this to like become a big thing, so let's just let him go and, you know, find his family. So that you know, we see the parents come in. Uh, dad, played by Gary Busey, so that's cool, we see them take him home. Uh, as he's getting out of the car and going in the house, we see a car pull up across, you know, kind of down the street and it's two cops that are like kind of watching them because they're like, because you know they have no idea what happened. So they're like, all right, let's, let's just kind of watch and see what happens.

Speaker 1: 26:36

So get a scene of him, uh just kind of laying out in the backyard in a lounge chair. He's all like beat up and stuff which I don't know that he yeah, so I don't know like how that happened. You know they don't really show that, but he's just, you know, laying out in the backyard, like just you could tell he's just thinking like man, like what the hell happened, like what was that? And then see him in his room and some his friends burst in and like, hey, like you know what happened to you, like that's all right, just glad you're okay. You know let's go out. And so you know he goes to the living room and he says by his parents, like hey, like I'm just going to go out with these guys, and dad's like yeah, I think that'll be good for you. So you know he's happy with it.

Speaker 1: 27:28

They go to like a, like a nightclub that's, you know, attached to the bowling alley, because they walk through the bowling alley and then they go through a door and it's like I know, like bowling alleys have bars but this one has like a full on, you know, dance party in the back. So they're there, he's with this other girl that's presumably his girlfriend and they're dancing together. And she's like you know what happened to you. And he's like I don't know. And she's like you've been acting different. Like you know, even that night you were acting different. And he's like what are you talking about? So he doesn't even remember, but she was there when he, you know, disappeared or you know whatever happened. Like she was there, and says like even before that he was acting weird.

Speaker 1: 28:16

We see him go to work. He works out like a auto mechanic place called Arnie's Arnie, played by Richard Pryor, already in a wheelchair at this point, I think probably on the later end of his roles, if not his last role, I should have looked that up. But Arnie tells him like, hey, like Mr Eddie was calling asking about you and he's like oh yeah, do you know? Tell him I'm here, you know, you know, bring the car in, or whatever. So Mr Eddie comes, he's played by Robert loja, which, in one of the behind the scenes things I found out, he actually tried to get the role of Frank Booth and blue velvet and he auditioned for that and he really wanted to play him. I think when he didn't get the job, yelled at David Lynch and stuff like that and it was like you know who knows Like, and so he's like saying it's like, yeah, like. Once, you know, bill Pullman told me about lost highway and he was like there's no way I'm going to get this Like after how I acted when I didn't get blue velvet. And sure enough, he got the job because David Lynch is like, yeah, like that's the energy I want for this character. So you got it. So that's good to know about David Lynch, not like a grudge holder, by any means, it doesn't seem like.

Speaker 1: 29:44

So Mr Eddie shows up. He's like hey, like, I want you to take a ride with me. And Pete is like, hey, let me just check with my boss. And he's like, aren't, he's fine, like, don't worry about it, just like, get in the car. So you can tell he's like an intense, authoritative person but, like you know, he's nice to the people he likes and but can be very scary if you're on his bad side. So they get in the car and he's like hey, it's just making this noise. That doesn't sound right. And so they're just driving slow through a neighborhood. Pete says like all right, pull it over, but keep it running and pop the hood. So they do that, pops the hood. He, like you know, kind of adjusts a couple of nuts and he's like, all right, try that. And so they drive and he's like man, like perfect, sounds perfect. And so they have a friendly relationship, obviously, oh, and also like Pete's all beat up, like I said, and Mr Eddie's like hey, he's like someone giving you problems because I can take care of that. And he's like, no, no, it's fine. Like it's nothing like that, like, don't worry. He's like All right, you know, just let me know.

Speaker 1: 31:08

So then they're going for a drive. They're driving through, like they're driving through the hills and Hollywood area I don't know if it's Mulholland Drive, but definitely in that area and and you could see the Hollywood side of the background too. But they're driving in and someone starts like tailgating them and you know, mr Eddie's getting a little like worked up about this and he's like man, this guy better not be doing what I think he's doing. And then the guy's like just kind of getting real close and like trying to go around. But then there's, you know it's just a two lane highway, so there's no getting around if someone's coming the other way. And then the guy's like honking and stuff. And so Mr Eddie just rolls down the window and just kind of nonchalantly says like all right, just go around. Guy goes around and then the two bodyguards in the back seat put their seat belts on. Mr Eddie puts his seat belt on and tells Pete like hey, you might want to buckle up, and just floors it and starts like trying to run this guy off the road, the tailgater. And if you know, eventually they hit a turn and he gets them and he goes up onto a berm and you know the car's stuck Mr Eddie gets out of the car, breaks the window, pulls the guy out and then pulls like a you know this giant gun out and he's like, it's like don't you ever fucking tailgate?

Speaker 1: 32:40

Do you know how dangerous that is? Do you know how many fucking car legs it takes to stop going 35 miles per hour? Six car legs, you know. And it's just like screaming at this guy, you know, quoting the driver's handbook at him. And he even tells him he's like you know what you're going to do, you're going to get a driver's manual and you're going to study that shit and you're never going to fucking do this again. And the guy is just like sobbing on the side of the road while this guy is like yelling safety tips to him with a gun at his head and you know, as anyone would. And then he just goes, gets back in the car, all you know, just turns the Pete. He's like man, there's one thing I can't stand it's tailgating. You know it's just Pete's like yeah, I could see that.

Speaker 1: 33:33

So it takes Pete back to work, he's dropping him off and before Pete gets out of the car, you know he's like thanking him. He's like hey, you like porno's and Pete's like what he's like. You know, give you a boner. It's like no, not really. He's like, okay, you know her, you know, because he's about to like give him a video tape from the glovebox and it's like Pete's like I'm good, but I just like that, like phrasey, you know, it's like what's porn. You know, give you a boner, like oh, that you know. So then Mr Eddie goes on his way. We see that the cops that were, you know, watching from outside the house are across the street, at the, from the garage, and they're like look, and they're, you know, looking at Mr Eddie pulling away, and one of them says you recognize that guy. He's like yep, dick Laurent. So if you remember before, the pale guy friend of Dick Laurent's intercom, dick Laurent is dead. So it's all like connecting. But we're not, you know, we're not all the way there yet. The pieces are there but we're still missing some.

Speaker 1: 34:55

Cut to Pete at the house. He's starting to act kind of weird, just like and pretty much mirroring what Fred was doing before, where he's like kind of wandering around, kind of glazed and looking at himself in the mirror for way too long and walking in the dark and all this stuff. So it's like all right, so something, something's going on and they're connected somehow. We just don't know how. I mean, I'm going to tell you right now I still don't really know how, but it's, it's, you know it, it's all a thing. It's super confusing, but I feel like I understand it a little more each time I watch it. But I'm not all the way there yet, but I still just love this movie and just love talking about it too.

Speaker 1: 35:46

So see Pete in the car he goes to pick up Sheila, the woman he was dancing with before. It says like hey, like, you're acting different and everything he does, the like, you know the super cool guy move of just pulling up in front of the house and honking. You know she comes out and it's like hey, want to go for a ride. And you know she's just like I don't know, do I? And then he's just like come on, just get in, you know. And then they both smile and she gets in. They're driving around, he pulls over somewhere so they could start making out. Cops are tailing them, they're watching, they start making out and then they start having sex. But she does ask him like hey, like, why don't you love me or why don't you like me. And he's like what are you talking about? Like I do you know, and I guess that's good enough, and they so they go at it in the car.

Speaker 1: 36:44

After that's over, or after that scene's over, cut to Pete at work. He's under a car, you know, working on something, and there's a sax solo on the radio that we recognize as Fred's sax solo from the beginning of the movie. But it's like bothering Pete, like more than just like oh, this isn't a good song. It's like physically bothering him, like almost like it's giving him a headache, and he just like has to like get out and change the radio real quick. And then another mechanic played by Jack Nance from Eraserhead and Twin Peaks and everything he was also in Blue Velvet too he's telling him hey, like I liked, you know, I liked that, you know why'd you change it. And he's like, oh, it was just like it's giving me a headache or whatever. And then you know, he's just like a full, I liked that, you know the Jack Nance died before the movie came out.

Speaker 1: 37:42

He actually got kind of I don't think he got like murdered in LA, like by a homeless guy or something. I think he like said some remark to the guy and it ticked him off and it just escalated to where he ended up getting killed. You know, so I don't know if it's like counts as murder, but I don't know what the official charge was, but either way he got, he got killed. You know. So that crazy. But now is before the movie came out, because it said at the end of one of the documentaries and I had read the story way back but I just forgot all the details but one of the special features I was watching said, like you know, rip Jack Nance. You know, then he died in 1986.

Speaker 1: 38:32

So then, after this whole interaction, mr Eddie shows up in the other car, because he did say when he was leaving is like hey, like I'm going to bring the catty tomorrow and just get that fix. And so he comes, he drops it off, but this time he has a woman with him, the blonde woman played by Patricia Arquette. Now, you know, obviously she played like Renee, but she had very, you know, she had like black hair with bangs, you know, very pin up, goth look. And you know, now you know, it's like bleach blonde Patricia Arquette, which is like pretty that's. I think she does have like naturally blonde hair, but I don't know if, like see, this is like more yellow than usual, I guess, but you know that it could also be the lighting. But she's there, she keeps like she's making eyes or you know, not necessarily flirty, but she's definitely looking at Pete a lot. And then there's like a whole. You know she's getting out of the car in slow motion and the Lou Reed's version of this magic moment is playing and she just keeps looking at Pete and he's looking at her and he's obviously like struck by her, you know, as most people would be. And but yeah, she gets in another car and then they leave and you know the Mr Eddie's like hey, just, you know, have it, when will it be done? He's like, well, you need it today or tomorrow. And he's like tomorrow or tonight if you can do it, and he's like all right, then it's done. You know, come back today. He's like all right, just let me know. So it got to later that night All the mechanics are kind of gathered around, you know, drinking and closing up and stuff like that. End of the day.

Speaker 1: 40:29

Uh, here comes, uh, patricia Arquette again blonde Patricia Arquette and she gets out of a cab, she is walking up, um, and she's like, hey, like I was here before, um, if you saw me. And he's like, yeah, like I saw you, you know. And she says like uh, introduces her name, introduces herself, says my name is Alice Wakefield, um, and like can I, can you take me out? You do want to take me out to dinner. And he's like I don't know. Like you know, you tell, he's like hesitant, like he wants to, but he's hesitant because of her connection to a very scary man, mr Eddie. So he just says like, all right, like I don't think we should. And she's like, all right, well, do you have a phone, cause I need to call a cab so I can get home. And so she goes over the phone and he's just like looking at her and he, like you know, something comes over him. And he's like, all right, you know, I'm gonna, I'm going to do it. And he goes, grabs the phone from her and says like hey, we're not going to need that cab. And um agrees to like go to dinner with her. Um, she does like switch it up and says like all right, if you won't take me out, can I take you out to dinner, you know, um, but yep, yep, so they they go to dinner and well, no, they agree to go to dinner and then says I think she says maybe we should just skip dinner. And then so they go to a hotel or motel holiday and cops that are tailing them are, you know, followed them there and they're sitting in the car watching them go into the motel. And then, uh, uh, one of them says this fucker gets more pussy than a toilet seat. And when we get like a short little montage, I mean I don't know if it's a montage, but we get a couple of scenes of them, like go into various hotels and stuff like that. Maybe it might just be one, but it is edited like a montage. Uh, probably so the movie's not four hours long.

Speaker 1: 42:38

But then we see him at home, uh, he gets, uh the phone's ringing and he says like I'll get it and he answers it and uh, it's just like a closeup of Alice's lips just on the phone, saying like I can't come out tonight. And he's like oh, like, okay, you know he's like disappointed but understanding. And then she says like I think he suspects something and you know so you could tell he's a little nervous. And then it's just him in his room, he starts like tweaking out a little bit like like he was a little bit like Bill Pullman was before, but also just a little more intense this time, like closer to how Bill Pullman, what, or Fred, was in prison, and he's just, you know, tweaking out and he's like he just gets up, he puts his leather jacket on and he angrily rides his motorcycle and he's, you know, see him driving down the road. And then he's at, uh, the same motel again, and then, you know, the sex motel, but this time he took Sheila. So he's just like, oh, I'm so horny. And then he, you know, went and picked up his actual girlfriend to take him to the place where he cheated on her.

Speaker 1: 43:54

So, great guy, get a scene where, um, the parents come and kind of check on him. Like hey, like we just want to see, like how are you feeling? We want to. Just so you know, so you know the, you know some law enforcement called and asked to see if you want to see, if you remembered anything from that night. And he's like no, like I don't. And like what do you remember, you know? And then that's like hey, like you came home with Sheila and another man that I've never seen before. And he's like what man? And then he just like he got kind of quiet and didn't really say like who this guy was, and so it's like, oh, okay, like that's kind of weird.

Speaker 1: 44:47

But then the next scene is him at back at work and Mr Eddie comes in and he's like, hey, like you know that uh woman I was with. And he's like, uh, yeah, I think I remember you know a woman with you. He's like I love that girl with all my, with all my heart. You know, and if anything were to, if I've were to find out that anyone was making out with her, I'd shove this gun. He pulled out a gun. He's like I'd shove this gun so far up their ass that it poke out their mouth. I forget what he said like exactly, but it definitely the gun was going up the ass. It's the rest of the stuff I don't remember.

Speaker 1: 45:30

But, um, but yeah, it's like all right, he's not outright saying I know it's you, but he's like making it very clear, like, hey, I like you. So if something is going on and I hope it's not, but if something is going on then it better fucking stop now, cause once I find out for sure, then you're dead. You know what I mean. So he's like telling, basically telling him like I'm giving you the benefit for the doubt, but just so you know, if anything is, then no. So then he does what anyone would do in that situation and meets with her again right away that night. They're at the motel, they're saying like hey, like he's going to kill us. If you know, this is them, both of them talking like they're he's going to kill us. What we need to do is get some money and run away Together, you know, leave the country, whatever.

Speaker 1: 46:31

Um, I know this guy that pays girls to party with him. This is Alice saying this. I know this guy that pays girls to party with him and we could just go and rob him and we'll have enough money and we'll be done with it. Uh, he's like well, how do you know this guy? Oh, I met him at this place called moaks, which I forgot to tell you. I forgot to mention before is where Renee said she met Andy and then that's where he told her about the job that she didn't want to talk about to Fred. So um met him at this place called moaks and I was like all right. Um then says oh, he offered me a job. What was the job?

Speaker 1: 47:21

And then I don't you know, kind of it's following the same thing as before and it's like it's it's basically the same story. It's like okay, so there it's. It's not just two women that look like each other. They're, you know, either related or, in this know, the same guy, something's up, or they're the same person, you know. So then it's like, but this time she is like telling, like Alice is telling Pete like what happened with the job, like she does like actually tell them, even though she's like Koya first about it.

Speaker 1: 47:56

She's like, all right, well, I got told to go to this place and I was like waiting forever and there was like a guy with a gun watching me, you know. And then once the sun went down, then they had me go to this room and then there was like there was Mr Eddie sitting in a chair, and then we're seeing what's happening too, and one of the bodyguards just comes and like puts a gun like right to her head and um, but we're not hearing anything that they're saying, but we're not but also not seeing the mouths move. So maybe they didn't actually say anything. And she just like, oh, I know what they want me to do. And she starts taking her clothes off, she strips naked and then walks over to Mr Eddie and, you know, kind of kneels down in front of them and that was good enough for him and she got the job, whatever it was. But she's not really seeing what it was and he's like oh Pete's, like, oh, why didn't you just leave? Yeah, cause she had a fucking gun to her head, like it's not. It's like oh, yeah, yeah, uh.

Speaker 1: 49:12

But what I like about it is like I don't think David Lynch thinks like that. I think he's exposing men that think like that. As far as I can tell, it seems like too obvious that you know she's the smarter one, he's the number one, not not that it has to be like that, but it it feels like the movie is saying like that he's ridiculous for asking that, or in that tone and everything you know. So then they uh plan this heist to Rob, uh, the guy that offered her the job we don't know for sure who it is yet, but, spoiler alert, it's Andy. So um says like this is where he lives. Um, and uh, don't drive there, take the bus, because we're going to steal his car and leave.

Speaker 1: 50:15

In that, you know, um, he goes home and Sheila's there waiting for him and she, like, it's like who re? Like you're seeing someone else, aren't you? Who is she Like? And you just, you know, screaming at him, like how could you and everything and what's she has every right to do, cause he's being a dick. And, um, then, like, the dad comes out and tries to like break it up and, you know, ease the tension, like hey, why don't we just go inside and everything? Um, and she's like, don't worry, like I'll, I'll leave you and your family alone. Like, um, you know, I'm never going to talk to you guys again. And then she leaves.

Speaker 1: 50:59

Uh, pete's mom comes out and says like, uh, pete, there's someone, there's a man on the phone asking for you. He keeps calling, but he won't say who it is. And so, you know Pete, you know Pete's obviously nervous. He goes inside and uh, picks up the phone and it's Mr Eddie. Uh, being like super menacing, and he's like hey, pete, how are you, how are you doing? He's like I'm good. He's like I'm good. He's like good, I'm glad you're doing good, rude, that makes me really happy You're doing, you know, like that. And he's like hey, I want you to talk to. A friend of mine. Passes the phone over.

Speaker 1: 51:38

It's the fucking uh, it's Robert Blake, it's the, uh, pale guy, and it's like. And then he says we've met before, haven't we? And he's like what do you mean? He's like don't you remember at your house? And it's the same conversation, pretty much that you know, not the full conversation, but it's the same like setup that he had with Fred. And he's like don't you remember at your house?

Speaker 1: 52:06

But this time we know that Pete was at his house with a strange man, so which I? I think it's got to be him. And then like so they have this conversation and I think Pete's kind of putting it together, like, okay, and my dad said that there's this guy, I bet it's this guy and he's being super creepy and he's working with Mr Eddie, so shit, you know. And then we see him on the bus going to Andy's house. Um, he shows up, and then now we recognize it as Andy's house and that's where we're like okay, I mean put it together before, but it you know, now it's confirmed if he didn't put it together goes in the back door, which Alice said she was going to leave unlocked.

Speaker 1: 52:54

Um, he's supposed, uh, she's going to be upstairs with him. He'll come down and uh, pete's supposed to like bonk him on the head and then they take the money and go, um, so, sure enough he's in. He goes in the back door, um, but when he gets in there in the living room there's a projector plane and it's, you know, one of the. It's a porn film on the projected on the wall, but it's Alice, you know, and you know I think she straight up said like oh no, I didn't do anything like that to uh, to Pete before. And cause he does say like that's the first thing, like when she's like oh, like, uh, I found out about this job. And he's like, yeah, doing porn, right, cause you know, he got offered a videotape before, and it's just like no, nothing like that.

Speaker 1: 53:47

And then there she is getting railed on the projector and so, you know, he's like a little like okay, like you know, he's like struggling with this. But then footsteps are coming and here comes Andy down the stairs, so he hides behind the counter, and then Andy comes in and he like looks at the projector or the screen and like smiles, and then uh, pete pops up, uh, hits him over the head. Uh, andy goes down and hits the ground. And then here comes Alice down the stairs. She's just in a in her underwear, uh, comes out and she's like, oh good, you got him. Okay, you know it's just going about her business and starts getting dressed and everything.

Speaker 1: 54:33

Then, as she's like you know, putting her clothes back on and everything, and you know Andy's still, or Pete's still, wrestling with everything that's going on. Up pops, andy dives for Pete and Pete kind of just grabs him and throws him off to the side. And Andy just goes right into the edge of the glass coffee table and just like and is just like stuck there. And we just see him from behind at this point and he's just like you know, the edge, like the corner of the glass is just like in his forehead and he's not moving. And I kind of like are just looking at him, like waiting for him to like move or get up or anything like that, and he's not moving. And they confirm, like the, and he's like, oh my God, like we killed him. And Alice just goes you killed him.

Speaker 1: 55:32

And then just, you know, goes, goes back to grabbing money and shit. And then, as she's doing that, pete's looking around and there's a picture on the mantle or something and he like zeroes in on this picture. He goes to look a little closer and there's Andy, who they just killed, mr Eddie, who we know is also Dick Laurent, and both Alice and Renee together, so the two Patricia Arquettes together, and it's like what like is this you? And then she just comes and points at the blonde and says that's me. And then, you know, moves on.

Speaker 1: 56:23

Pete's nose starts bleeding and he starts to like have like a headache again and he's like hey, like I got to go to the bathroom. He goes up stairs and she's just like, oh, it's you know what such and such door on the left you know, wants to get upstairs. He gets up there and it's like it starts like thundering and lightning again and but then it like looks like a motel, like the inside hall of a motel, inside the upstairs hallway, because there's numbers on the doors and everything. And then he like opens the door and it's like all like red light and it's Alice having sex with somebody. Like you know, I think it's supposed to be the same, like it's supposed to be like her like doing the film from before, and she's like it's like, oh, you know, kind of like mocking him and it's like, did you want to ask me something? Did you want to ask me why? Why, you know, and then he like shuts the door and then, you know, everything's normal again, goes downstairs, walks up to her, she pulls a gun and points it at him and you know, he's like, you know, at this point he's just like not surprised by anything. And you know, you and same with us for like, oh my God, she's just gonna like kill him now. And then she, then she hands it to like, flips it around and hands it to him like put this in your pants, you know, and let's get out of here.

Speaker 1: 57:50

They take Annie's car, you know, sweet red sixties, mustang, grab that and hit the road. They're going, just like all right, where we're going, and she says we're going to the desert and like I know somebody who we can sell this shit to, and he's out in the cabin in the desert. And so they're driving and they get to this cabin, which is the cabin that we saw reverse, explode before in the vision. They pull up to it, they go up to the door or go inside, I think, and it's completely empty inside, like, oh, he's not home, I guess we'll have to wait. And so go back to the car and the. You know the car's still on, I think, but all the headlights are on for sure.

Speaker 1: 58:41

They're sitting there and Pete asks her like well, why like, why me like, why choose me? And she doesn't say, but she starts kissing them and then they start taking their clothes off and then they have sex in the dirt in front of the car, which I mean it's like very aesthetically pretty cool, but you know the practicality and you think about the mechanics of it and it's like I don't want to fucking do that. But I mean it looks cool just because it's like just the headlights on them and everything. It's very artistic. But then, like he's like start saying like I want you, like oh, because I think she says like don't what? Like don't you want me. You know what, when he, when he asked, like why choose me? And then so he's like I want you, I want you, you know, and then she stops and just like kind of gets up and, you know, pulls, pulls his face up close and what like says in his ear like you'll never have me and just like gets up, walks into the cabin naked and that's it. And he is just like laying there, kind of like, oh, like, oh my God, what just happened? He gets up, turns around, it's Bill Pullman, now it's Fred, like what? So, yeah, he gets up, it's Fred. Fred looks into the car and there's the mystery man, robert Blake, and then we hear his voice over here and then he turns and now he's up on the porch and so he just like teleported over there, is like I'm over here. And so he's there.

Speaker 1: 1:00:40

Fred gets dressed and goes up into the cabin and it's even though we saw Alice go in there, it's just Fred and the mystery man. And he's always like alright, like where's Alice? And he's like Her name is Renee, like real aggressive. If she told her, if she told you her name was Alice, she was lying, you know. It's like okay, buddy, like geez, sorry. But then, like you know, he's like says that, like really aggressively. And then he like picks up a video camcorder, is like and what? So? What the fuck is your name? And then play Fred's like shit, I'm out of here. He gets a, he gets and he's Mustang.

Speaker 1: 1:01:36

He takes off into the desert, he's flying down the road, shows up at the lost highway motel. This is the same motel from. You know the sex motel from before but we never saw like what the name was. And he's going down the hallway and it's the same hallway that Pete was envisioning when he got upstairs and Andy's house you know, we recognize it as the same hallway. Then we see that in one room it's Dick, laurent or slash Mr Eddie and Renee because she has her dark hair now having sex in the bed and Fred's like kind of listening and then he goes to his own room.

Speaker 1: 1:02:22

Then we see Fred is looking out the window and watching Renee leave. She gets in the car and drives away, goes and knocks on Dick. The Ron's room is like Renee, like that. You then Open the door, fred barges in, pulls a gun on him and shit, and then they're like wrestling a little bit. But then he takes him out to the car, throws him in the trunk and starts driving away. But as he's putting him in the trunk we see that the mystery man, even though he left him at the cabin, is in another hotel room watching out the window.

Speaker 1: 1:03:05

So it's like this guy's everywhere and Drives Laurent out into the desert, pops the trunk, laurent pops out and like tackles them and then they're wrestling for a little bit and then Fred like or I think Laurent gets like on top of Fred, fred like kind of reaches his arm out like this, and when he does that, we, you know, we see an arm. You know a hand come and put a knife in Fred's hand, slits Laurent's throat and you know. Then, you know he falls off and everything, and you know get up and there's, you know, the mystery man again, and Just like watching them there, like they're both, just like watching the ron bleed out, and Laurent's like man, like what the fuck is this about? You know, whatever you know, but he's not, doesn't seem too surprised either. And then the Mystery guy like pulls out this like pocket TV with the antenna and like hands it to Laurent and it's a.

Speaker 1: 1:04:17

Then it starts like a flashback of them at like a party where they're like, I guess, premiering the porn at Andy's house and they're all like watching it and like getting horny together in a group. And then, but what was something that's interesting is in the in the movie we see Marilyn Manson makes a cameo. He's like the, you know the dude that they're having sex with in the In the movie, and I don't think it's during this part, but there is a part where it's Marilyn Manson songs and then there's like Ramstein and like all this, like metal and goth and music, you know, because those guys kind of like to align and they sometimes intersect, but not necessarily, but it's very, you know, goth aesthetic film for sure. But then like it changes and he's like he's also like watching this on the little TV to, and then it changes to His POV looking up at the mystery man and Fred watching him die, and so then he hands the TV back and then the mystery man just like pulled out a gun and shoots the rotten the head and then so that's the end of him. He then turns and whispers something to Fred that we can't hear and then it cuts away to the cops, like all the same detectives and everything.

Speaker 1: 1:05:52

They're at Andy's house. There's Andy's body stuck in the coffee table, you know, with a with his half head. They notice the same picture that Pete had noticed before, but this time, when they're looking at it, it's only Andy, laurent and Renee, that's it. But she's with the blonde wigger. No wait, shit, I don't remember, but either way it's. You know, now it's only one, patricia Arquette. So it's like confirmed, like this is the same person, you know, that's it. And so I think it is just Renee, not with the dark hair, because the cops recognize her and say, look at this. Like no, that is. And they're like, oh shit, that's Fred Madison's wife. Like yep, like man, you know what? I think there's no such thing as a bad coincidence, you know. So they're just like, fuck, this is all connected. They're putting it together as we're putting it together. And then Then, then, and they also say right there that that Pete, pete Dayton's fingerprints are all, are all over this place. So like then, that's when he's like there's no such thing as a bad coincidence.

Speaker 1: 1:07:07

So then we see Fred pull up to his house, you know is pulling up to the house. He gets out of the car, out of Andy's car. Is he an Andy's car? I don't remember, but he gets out of the car, he goes up to the intercom, presses it and says Dick Laurent is dead. And then, as he's going back down to the car, here come the cops, you know the detectives. They pull up and they're like shit, that's him. And you know he. He sees them, they see him. He gets in the car and peels out. They're following him and then they're just like chasing him and then we see him like flying down a desert road, as it's like you know, towards the end of the day and there's like five cop cars behind him and he's just flying on the road.

Speaker 1: 1:07:56

Then it's night and then it's like basically the same scene from the beginning, the opening credits, and then it's just like flashing on him and then he starts like convulsing and stuff and like shaking again, but it flat. There's flashes of him where his it looks like his heads like expanding and like there's like prosthetics and stuff and everything and like like his heads like literally about to explode and just like swelling up, and then it, you know, just cuts and that's it and credits after that with yeah, just an insane movie like and very confusing, but like not in a bad way, in my opinion at least, like I know there's probably people that would be very frustrated with this movie, but I really like it. I think it's very good at holding your attention and all the right spots, rather than just like throwing you A bunch of shit that doesn't make sense. You know what I mean, because you could be confusing and be shitty too. But some interesting tidbits that I found out like watching special features and stuff Thing with the intercom and Dick Laurent is dead.

Speaker 1: 1:09:11

That came from David Lynch's like real life, like he lived in this house that had an intercom and one day, like the intercom buzzes, he goes to answer it and it's a voice said David, dick Laurent is dead, and he's like what? And he like goes to like, like I don't know what, dick Laurent like who's dick Laurent? And so he goes to like the window but like, like in the movie, the window wasn't right next to the intercom so he had to like go to the other side of the house and by the time he got there, the whoever said it was gone. He's like man. That's like really weird. He's like Now it's, you know, it's nothing super natural, I don't think because he said that there was another David in the neighborhood. So he thinks that maybe the person just went to the wrong house and it was someone that you know, the other David and this person knew and you know it was just a misunderstanding. But he just like really that just stuck with him and so he wanted to like incorporate that into this movie.

Speaker 1: 1:10:18

And then they're looking all over the place for houses that where they had an intercom but there was no windows like right in the front that were like convenient. So they found one that was like that went up for sale in the Hollywood Hills and kind of near Griffith Park I guess, and he ended up just buying the house and remodeling it to look like how he wanted and he's like this is gonna be perfect because we can do whatever we want With this house and make it work like the way we want to for the movie. So but yeah, that was crazy to just buy this, you know, probably even in 1997, multi million dollar house and but hey, awesome, it turned out good. And yeah, I think every time I watch it I notice like more things and how more things are connected, especially because I took notes. This time I was able to like really pick up on like how it's like, oh yeah, this conversation that the mystery man has with both Fred and Pete is exactly the same and it's like they're connected but they're not the same person because it's, oh, fred Madison's wife was murdered by Fred Madison, but Pete Dayton's prints are here, so they're not the same person, but Alice and Renee are. But it's also like, okay, when? When did everything take place. You know, that's where it gets confusing and it's like, oh, maybe you know Alice wasn't Really there, like maybe she was fake, even though they are the same person, but Is like she was murdered. But then was there to like lure Pete and I don't know. It's this Hurts my brain to think about it.

Speaker 1: 1:12:19

But yeah, super good movie, one of my favorites, I would say, like this Blue velvet and moholyn drive, or like the top three for David Lynch, for me personally, I think that's how I ranked it in the episode. You know, hopefully no one's like keeping track of that. But yeah, great movie, love it, love it, love it, love it, yeah. So yeah, that's the episode. Hope you guys enjoyed. If please watch this movie. If you haven't, like honestly, you know, get a little high, even, you know, get all introspective and shit and yeah, it's crazy. But yeah, really enjoy the movie. Do it a little more every time I watch it. And thanks for listening, thanks for watching. Please remember to like and subscribe if you're watching on YouTube rate review if you're listening, everything helps guys. And also follow the Instagram. That's where I post like what movies are coming up and everything like that. So, yeah, please follow at movies. They're pretty good with no punctuation, and see you guys next week. Thanks bye.