The scene starts with the big guy closing the passenger front door of a limo. The driver is already out of the car(two men in the front of a limo again). We see one of the Castigliane brothers in the back seat, through the open window. Looks to be a lot of mist over the hills in the background.

The Castigliane brothers must have a supply of limos – this doesn’t look like the limo Adam damaged with the golf club earlier.

A blues tune starts playing when the big guy starts walking towards the house - it sounds like a vinyl record playing with some scratches. As he approaches the door he looks a little bit puzzled about how it opens. He rings the door bell and tries giving the door a push, which is open and he enters the house.
(As he approaches the glass door a member of the camera crew can be seen in the door’s reflection)

Once inside the big guy calls Adam’s name twice. We see the set of golf clubs in the frame. Adam left the club he used on the Castigliane’s limo in the bag when he came home.

A couple of camera angles when the big guy enters the house accentuate just how big he is.

Lorraine appears, wearing the paint spattered blue dress she put on when Adam came home. She looks very annoyed at the big guy being in her house and calling for Adam.

Lorraine is wearing blue nail polish. She tells the big guy to, “Get lost. Get out.” Lorraine strikes the big guy. He sidesteps her and continues calling for Adam as Lorraine goes behind him. Lorraine performs something of an acrobatic feat to launch herself up onto the big guy’s back and get one of her legs over his shoulder and continues striking him. They struggle and at this stage Gene appears and says, “I guess you don’t understand English…”
One punch from the big guy floors Gene. This is in stark contrast to the scene where Gene hit Adam for laying his hands on his wife. Here Gene is no match for the big guy. The big guy then makes a fist and punches Lorraine who falls to the floor. It looks a long way down from the big guy’s shoulders but the scene doesn’t feel as violent as it could’ve been. The blues song playing adds a humorous, almost jaunty tone to the scene. We don’t seem to dwell on the violence perpetrated on Gene and Lorraine as though that is not an important point in the scene.
The big guy straightens his jacket after Lorraine’s assault and calls for Adam again. The scene ends with him still looking into the house and cuts to a downward view of a city landscape moving fast across town. A harmonica note from the song is left briefly echoing as the camera travels over the city.

Lorraine’s actions seem quite strange – striking and then jumping on the intruder in her house. I can’t make too much of it though because what is the normal way to react when a man-mountain intrudes into your home?

EDIT:
The blues song. Bring It On Home – Willie Dixon
I never thought too much about this song before. A quick surf shows that it was a Willie Dixon song and the version in the film is a cover by Sonny Boy Williamson II. Led Zeppelin also covered it amongst others.

Lyrics (not really heard that clearly as the scene progresses. The volume of the song is partially muted whenever someone speaks in the scene. It seems to serve as background music/mood-setter only but Lynch is famously precise in his choice of music for his films so nothing should be ignored)

Baby, baby,
I'm gonna bring it on home to you
I done bought my ticket, I got my load
Conductor done hollered, "All, aboard"
Take my seat and ride way back,
and watch this train move down the track
Baby, baby,
I'm gonna bring it on home to you
I think about the good times I once have had
Soul got happy now, my heart got glad
I think about the way you love me too
You can bet your life, I'm comin home to you
I'm goin home,
I'm gonna bring it on home, now
I'm gonna bring it on home, now
I'm gonna bring it on home, now
Gonna bring it on home,
bring it on home to you

The song’s lyrics seem quite upbeat and happy – the singer is travelling by train to return home to someone they love and who also loves them This could be seen as the traveller being Diane "riding way back" (in time) on the train, which is the dream taking her back to “good times” and glad hearts?

In terms of MD we know this is Adam’s home and we know that earlier he had an angry meeting with the Castigliane brothers and smashed up their limo when he was leaving. This visit appears to be part of Adam reaping what he earlier sowed and that is what was intended to be "brought home" to him here by the big guy. He wasn’t at home so the message couldn’t be delivered.

Bringing something home can also mean making something clear – “That’s when it brought it home to me.”

In the TV pilot version of MD this scene does not have the song and plays much more sinister without it. There is instead some moody music with dramatic banging sounds playing within it. The scene is longer and feels more like the violent assault on Lorraine and Gene that it is. The TV pilot includes a shot of Lorraine lying unconscious on the floor in a similar foetal position to the corpse and other sleepers we see in the film.

somethingbad wrote:In the TV pilot version of MD this scene does not have the song and plays much more sinister without it. There is instead some moody music with dramatic banging sounds playing within it. The scene is longer and feels more like the violent assault on Lorraine and Gene that it is. The TV pilot includes a shot of Lorraine lying unconscious on the floor in a similar foetal position to the corpse and other sleepers we see in the film.

This is interesting, and not something I'd picked up on before. I rewatched the scene from the pilot and it's certainly more menacing and ominous with the different soundtrack. It's a wonderful example of how music and sound can change the entire tone of a scene. It's blackly comic in the film, but the pilot scene is much much darker.

I think I may chop out the scene and put it on Youtube to post here. If it gets yanked with a copyright claim, it gets yanked, but people who haven't seen the pilot will be interested I would hazard.

Edit:

In fact, someone has recently added the scene (amongst others) to YT already.

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"This is Adam Kesher's house." It sounds more like a question.

I always saw it this way as well. This is why I'm not completely sure it Adam's house.

This leads me to:
"It's no longer your film."
-and-
"This is Adam Kesher's house."
"Like hell!"

For anyone who's interested I'd strongly recommend the review at http://www.themodernword.com/mulholland_drive.html

The user comments there are really interesting too and a couple of people mention the biblical references in the film.

When Lorraine and Gene throw Adam out of his home (Eden) Lorraine says "Damn you" and calls Adam a "bastard". Is this the only swear word in the first part of the film? This could then tie to Lorraine saying, "Like hell it is" when the big fella asks if it is Adam's house.

One of the comments on the modern world site mentions Gene having a snake tattoo. I'll have to look again.

I corrected an error in the original post where i confused the songwriter and performer.

I also came across this info in the comments on the modern world site - a bit more duality and confused identity.

"Mr. Lynch has a lot of fun with us in this movie. For instance, many blues artists have recorded the Willie Dixon classic "Bring It On Home." The version that was used is one that promotes a chorus of "Which one?” among blues fans at the credits, though, because there were two Sonny Boy Williamsons. The one we have here is Sonny Boy Williamson II, born Aleck Miller, who acquired his stage name from a promoter who figured that, the name Sonny Boy Williamson already having a portion of fame allotted to it because of the fame of singer John Lee "Sonny Boy" Williamson, the efficient thing to do was to bill Aleck Miller as SBW rather than go to the trouble of breaking in a raw new name."

somethingbad wrote:I corrected an error in the original post where i confused the songwriter and performer.

I also came across this info in the comments on the modern world site - a bit more duality and confused identity.

"Mr. Lynch has a lot of fun with us in this movie. For instance, many blues artists have recorded the Willie Dixon classic "Bring It On Home." The version that was used is one that promotes a chorus of "Which one?” among blues fans at the credits, though, because there were two Sonny Boy Williamsons. The one we have here is Sonny Boy Williamson II, born Aleck Miller, who acquired his stage name from a promoter who figured that, the name Sonny Boy Williamson already having a portion of fame allotted to it because of the fame of singer John Lee "Sonny Boy" Williamson, the efficient thing to do was to bill Aleck Miller as SBW rather than go to the trouble of breaking in a raw new name."

I love stuff like this. Thanks for the trivia.

I'm quite sure that the choices of existing/non-original music are made for a reason. That's a cool tale.