[electricity crackling]
I strange warbling music ♪
III
[man] Does knowing someone for years
allows you to stick your finger in their mouth?
Can you make the finger bloody as well?
A sadness creeps over me as I look out the window.
Again I see- why are some poles stretching for miles?
I sit for a long time watching the fires burn.
Isolation is all I can feel.
[man] Here's what else I see as a problem.
We're gonna be having a tough time making that-
that sheriffs station anyway.
[man] I think so, too. So what do we do about that?
We'll come back to it in a second, but it's a problem.
Poor Diane in the Red Room...
we'll have to move to a different stage.
For Diane in the Red Room-
for Diane in the Red Room,
we have to move to a different stage.
[man] How the fuck are we gonna do that?
[Lynch] She's got to-she's got to tum into-
turn from Naido to herself.
[man] Yes.
She's got a scene in the sheriff's station-
sheriffs office.
And that takes us to-
boom, black, and never-never land,
and then it takes us to the boiler room.
- [woman] Mm-hmm. - [man] Easy to do.
[woman] But then we have the Red Room.
[man] Yeah, the Red Room, not so easy.
[woman] And the Red Room, that will be the first time we're in the Red Room.
The Red Room will be completely made up,
where we've, you know, we have...
[Lynch] You'll be the first person
to work in the Red Room on this-
- [Laura] I'm so excited. - New for "Twin Peaks."
- Isn't that something? - It's amazing.
- Yeah. - [woman] Drew, you have her walk down?
Okay, great.
- Now listen to me. - [Laura] Okay, talk to me.
I might have them hold your hair back.
- Completely' - Mm-hmm.
- Your wig, with son of wet paper towels. - Yeah?
- And I'm gonna put dough on your face. - Oh, my God.
And I'm gonna put a bloody finger in your mouth.
- Oh, my God. - Yes.
- [laughter] - First...
[Laura] Gonna do the beauty shop first?
- We'll do the beauty shop first. - [Laura] Okay.
Please. After all that, right?
' M' Misses. _ “mm?
I'm jetlagged. Do I really have to have a bloody finger in my mouth?
- Mm-hmm. Yeah. - Is it your finger?
- Yeah, it'll be my finger. - Okay. Okay, good.
Yeah.
Dough? What are you telling me?
It's bread dough.
All right, before we get there...
- [both laughing] - ...let's back up.
- Not money. - [sighs]
- Yeah. [laughs] - It won't be money in your-
- Dollar bills? I'll take it. - Yeah.
What am I doing here? What's...
Okay, you're, you know...
[Lynch] Now you're moving your head a little bit.
And just make some- scrinch yourface up, and...
...and then-and painfully scrinch it.
Painfully scrinch it.
And open it, like in a scream.
And then painfully scrinch it up.
Okay, now, very slowly
start getting smaller.
Slowly.
And keep your chin up a little bit.
And just-now...
get your neck down in there a little bit.
Okay, now hold that. Hold that, hold that.
Get that dough.
- Get that hair back. - [woman] Yep.
Exactly where do you want it back? Here?
All-all-clear her face.
- [woman] Keep rolling? - Keep rolling.
Give me that, give me that.
[Lynch] Hold your breath.
[Laura, muffled] Jesus Christ, David.
- [Lynch] Huh? - Let me breathe-.
[Lynch] Oh, my God. I forgot about that.
[laughter]
- [Lynch] Okay. - [Laura] Good thing it's my last day.
I forgot. I'm sorry. I-l swear I did.
[laughter]
That's okay. You don't need me after this.
[Lynch] No. It's your last day.
[laughter]
[Lynch] Okay, put the hair back.
- Give me the blood. - [Laura] Oh, Jesus.
[woman] Would you like this covered here?
[Laura] Just whatever you do, kind of, like, pretty.
[laughter]
[woman] "Contour me."
[man] Very pretty.
[Lynch] Open your mouth.
Are you sticking your finger in my mouth?
- [Lynch] I'm gonna do it. - [Laura] Oh, God.
- [scoffs] I-I- - [Lynch] I'm gonna put it in your mouth.
- [Laura] I don't like it. - I'm gonna put it in your mouth.
Get up out of the chair
and go over there.
[man] We do lightning?
Lightning.
[whooshing]
That's beautiful, you guys. Thanks a lot.
- [woman] Way to go, ADR team. - [buzzer sounds]
[scattered cheers and applause]
[man] These probably won'! work.
[rumbling whistle blows]
[Lynch] Gather round, everybody.
- [man] Gather round. - Stand right here.
- [man] Gather round. - [man] Oh, no. Oh!
I'm gonna get really small.
[laughter]
Turn into a BB.
[laughs]
You don't have to use the megaphone. It's just us.
- Yes, I do. - [man] Yeah. It's part of it.
This is part of it.
Ladies and gentlemen,
a pretty sad day.
The great Diane, in all her different forms,
is a wrap!
[cheers and applause]
- I love you. - I love you, sweetheart.
I love you guys!
[cheers and applause]
I love you all. I'll miss you all so much.
- You come visit us. - And I will come visit you.
- Okay, good, good, good. - You guys are so amazing.
Have an amazing rest of your shoot.
I'm so privileged to be part of it,
and as you've seen in the last ten minutes,
I'll do anything for David.
- [laughter and applause] - Almost.
[applause]
J" {inkling percussive music ♪
[laughter]
Okay, wail, wait, wait, wait, wait. Wait, wait, wait.
- Wait, wait. - [woman] Wait, where's the blood?
- Open your mouth. - [woman] Where's the blood?
Open your mouth. Open your mouth.
Go1 ii? Got it.
[laughing]
That's fantastic.
I loved it.
♪ Eerie music A'
III
[man] Burnt feet across heated rocks.
No cinders are to be found.
When was a visit to this place where time stands still?
Drinking black coffee and cherry pie to eat.
[Lynch] Okay.
Now, you don't know how to open a door,
so some other people are coming to work, and you kind of go in, you know,
when they, you know-
[Tom] If you wait long enough, someone will do it for you.
- First you wait. You wait... - [Kyle] Yeah.
...by the door, and then someone will come in, and you go in, okay?
- We'll work it out. - [Kyle] Perfect.
You walk up. You're waiting for him by the side of the counter, okay?
You're waiting for him,
and you see him coming in, and now on your face is some trepidation.
But you-when he comes in, and he sees you, you-
a big smile, put your arm around him, that's, you know,
"I'm gonna get you a coffee," and you say, "Coffee."
Yeah, for the big guy, a cup of coffee.
And you head off, and then we cut.
Um Right here?
[Lynch] Now we're sitting in the restaurant.
You are in the blue chair. You are in the red chair.
You have access to a sight of pie.
You-the waitress brings the coffees.
He has his coffee. You have your coffee.
And you're looking at him, and you're looking at the coffee.
And then he sees the pie,
and he gets up.
Well, isn't that a beautiful break? And you look around.
People are reading or talking,
and you bring the coffee up,
and you surreptitiously, you know,
put the crystals in,
and you put it back over there.
Okay. Meanwhile, you're in- the waitress says,
"Cherry-you want some cherry pie?
I'll bring it to you. Go enjoy your coffee."
And so you say "coffee" again.
- And you go over. - [Kyle] Right.
[Lynch] And you're walking toward him, and you see dandruff on his back,
and you think he's feeling sorry for you,
and he's-he's, you know, like this,
but he's really playing with your dandruff, right?
And he's now like this, and you start breaking down,
and you're saying, "Oh, my God, what have I done," right?
[laughing] And-and he's still rubbing your shoulders,
and you reach out, and you get that coffee, and you're sobbing,
and you race out, and you're running.
You're sobbing across the- you throw open the stall,
and you dump it down in there, right?
And the guy peeing over there says,
"That bad, huh?"
And-and it goes like that. Okay?
[Kyle] Malone.
[laughter]
[Tom] That's inspired comedy, it truly is-.
Just from the depth of your souls, Tom,
the depth of your soul, you're so sorry.
You're-you're dying.
Okay. Just let- feel the-feel the-
start rubbing his back.
Stan coming apart. Don't-don't come apart all the way yet.
Just trembling, trembling, trembling, trembling.
[Tom sobbing] Oh, God. I'm so sorry.
I never meant to hurt anyone.
Okay, just set it-set it down.
"I never meant to hurt anyone. I'm so sorry."
Get this from the depth of your fucking soul, man.
[Tom] Dougie... there's your coffee.
And be-try to be- try to offer it to him one last time.
Offer it to him.
Oh, God!
I'm so sorry. I never meant to hurt anyone.
Get going. Get going.
Here's your cherry pie.
[Tom crying]
Cut it!
III
[man] Write it from scratch.
Okay, what's the next thing?
[man] Okay, the next thing, then, we're in the Las Vegas FBI office.
- And the first- - Las Vegas FBI office.
[man] First ones are- phone call from Gordon Cole.
Las Vegas FBI. Oh.
' [man] Yes. - Okay. Okay.
[man] Yes, Headley gets the phone call from Gordon Cole,
and Gordon Cole tells him to find Dougie Jones.
Whds gonna-who's gonna do the reverse of the talk?
[woman] I think we're gonna have to have Gordon Cole come in-
- Is that a paid-is that a paid thing? - [woman] No.
- [man laughing] - Damn.
[woman] I think Gordon Cole already recorded his lines.
I know, but who's gonna feed it to the-
You know, do we have Curl do W?
[woman] Yeah. Cori.
- Bullshit. - [woman laughing]
[man] All right, well, we have the good fortune of Gordon Cole-
Cori-it'd be fun to watch her do it,
'cause now she knows what it's supposed to sound like.
- I might have Cori do it. - [man] Okay.
That would be fun.
[man] That-all right, there's no bad way to g0 here.
- Wilson, Headley. - [Owain] Morning, David.
' H°W You guys doing? - [Owain] How's it going?
Great.
Okay, Wilson, you'll be coming in and announcing Gordon Cole.
You'll leap to your feet, pick up the phone,
and-and both of you- you'll be wearing headsets.
Mm-hmm.
And both of you,
when Cole starts talking,
you'll pull your phones away,
and you'll pul your phone away a little bit.
- Just because it's painful. - [Owain] Mm-hmm.
You pick up the phone, it starts going loud,
and-and you're listening.
You hear it very clearly,
and then when you get to Douglas Jones business,
you settle down a little bit, sit down,
and rapidly type in.
Then you report to Wilson, and after there's a click, hang up.
You report to Wilson, and then you say,
"How in the world are we gonna find them?"
- And then you-start it with "Wilson." - [Jay] Okay.
- And really give it to him. - [Jay] You got it.
And we'll cut right in the middle of that.
Okay, let's take a rehearsal and see how it-how it goes.
Okay, action, Wilson.
Okay, Headley, jump up faster
and be more, you know, like, ramrod stiff.
- Up, and then get the phone. - [Jay] Okay.
Okay, and start talking right away.
[softly] "Gordon Cole."
You really go with that one.
"Gordon Cole," and it sets you up.
- [Jay] Yeah, I can do it. - Yeah? Okay.
And that-everything else is real good, real good.
[Jay] Director Cole, sir, I-
- Okay, Headley. - [Jay] Sir?
You can speak a little louder
and more urgently to Cole.
Okay, new, don't sit down till he finishes speaking.
In other words, when you say "Yes, sir," when you're down, keep-"Yes, sir!"
- [Jay] Okay. Okay, you got it. - You know, you be sharp.
- Okay. - Be sharp and-and pumped.
Okay, don't-there's 23 Douglas Jones in the-don't hurt your voice, now.
- Save it for the thing. - [Jay] You got it.
'Cause you'll-you'll lose it.
[Jay] Wilson, how many times have I told you...
- Shh. - [Jay] ...this is what we do in the FBI?
And, Wilson, it's like, you know, for Gordon Cole.
It's like you've got Elvis Presley on the phone, okayfl
- [Owain] Yeah. Yeah. - So keep it-
- Pump it up. - Keep that star power going.
- [Owain] Yep. - [Lynch] For Gordon.
[woman] Elvis Presley?
- [Lynch laughs] - [man] Never heard of him.
I woman vocalizing ♪
III
[man] Why is the man with the gray elevated hair so angry?
Does money buy happiness for the people in the boxes below?
Do they wish they had more for themselves?
[man] Probably should just do a cleanout and then set up that other scene.
Um, what do you mean, a cleanout?
[man] Well, I mean, like, pull our stuff back, and-
- No, don't- - [man] People can step away.
People could step away and go get a coffee,
and let me have Rod and Candie.
Rod and Candie, and I want the-
the soft foam remote
- and the regular remote. - [man] Okay.
- Okay? - [man] Perfect.
[Lynch] We can lose the foam.
Or we might leave it there, bause we-we use it, but...
- You're out here. - Mm-hmm.
- And you're following a fly, okay?
And you have a red handkerchief, and you- you're going like this.
And you go like this, and it flies out of your hand, right'?
And then you look where it's going, but then you see the fly,
and it goes around his chin, okay?
So we have a-you-you just- it's on you.
You're just looking, like, real intense.
And you're moving pretty fast on this one.
And then you come in close,
and you're watching up in here, watching up in here,
then you-then you sort of-
no, just reach down and get it.
- Oh, this is so beautiful. - Oh!
Amazing.
' Oh! _ [laughter]
- You did it right on- - Hit me, hit me, hit me.
- Hit me. - No, no. I'm not gonna hit you.
[Amy] I'd hit him slightly lower in the-
[Lynch] Okay, so this is so great.
- Should we shoot it? - [man] It's on his-
" [Qfunts] ~ Ah!
- [screams] - Oh! Shit!
I'm so sorry! I'm sorry!
- Candie! What the... - I'm so sorry.
- Candie, what did you do? - [Robert] Get off.
- [Jim] Let me see. Let me see. - [Robert] Am I bleeding? Am I bleeding?
- [Jim] Yeah, you're bleeding. - [sobbing]
Cut it!
[laughter]
[Robert] I think I anticipated the head turn a little.
[Lynch] Well, you would if you'd looked up and saw that fucking thing coming at ya.
Very good, you guys.
[woman] You gonna try to do a close-up on Candie still?
If you need...
If you want to out the time down... I don't know.
What's with-what is this with everybody?
- [woman] No, no, no, no. - What is it, really?
It's only me, it's my call.
Why-I'm not-l'm not- I'm serious.
Fucking A, man.
It drives me nuts.
Who gives a fucking shit how long a scene is?
Okay. Now let's see here.
We need a cut to make the other one work.
- Yeah. - Cut of Candie crying.
- Okay, let's get that. - Okay.
And we're still gonna get the fly on the chin?
We might not have...
[dialogue fades]
S atmospheric music S'
III
[man] The heat from this city is maddening to me.
Down there, below the smoke and fear
is the answer to the question.
The brothers Fusco, Battling Bud, and Jane y-E
at! trapped in a room, showing us what we need to see.
[woman] Thursday and Friday we move into the insurance company.
Ma“ Q“. bay.
Okay, so Thursday is Naomi's last day,
so I know what that is-.
The three Fusco brothers come in.
Well, first Rhonda comes in, says the police are out there.
They want to talk to you, and she goes like this.
- [man] Yeah. - [Lynch] And so Cooper goes like this.
"Oh, you want him to come in here? Fine." She goes out.
They come in, three detectives,
and trailing the three detectives,
pretty quickly, is Naomi-
is-is Janey-E.
And she comes in, and she's- "What's going on?"
She comes up next to Cooper.
So now we're over the two of them,
and I'll probably be right between them
and the three detectives, and then Mullins comes in.
[man] That's a wonderful scene.
- Mm-hmm. - [man] And we have all day to do it.
- I think we're fine. - We're gonna make that scene fantastic.
- No problem. - [man] Yeah, yeah.
- That's what I think, too. - [drumming on table]
[man] And Janey-E's last day, which will be great.
Not to have a day that's impossible, and we're worried, and, like, oh-
Yeah, but she's got a lot of dialogue.
[man] She does, but ifs also really fun.
- Mm-hmm. - [man] It's a fun scene.
- Yeah.
So, remember, you were waiting out there for so long.
Door open, everything like this.
That fucking guy's not showing up, right?
- So you march up to the thing. - [Naomi] Yeah.
And then you see these guys go in, you know, like this.
- [Naomi] Yeah. Look through the window. - So-you know, yeah.
And you're look-and they're going into Dougie's office, right?
So you come in here. You're-I mean, he's fate.
And now there-there's these, you know,
you get the vibe it's- it's detectives, police.
Good to see you guys. Rhonda's gonna...
And you say, "What's going on here?"
And-and so you're-you're irritated,
and you're-these things come out, like, schoolmarm.
- You know, like, you know- - [Naomi] Barbs.
- Barbs, you know, and you're just on it. - [Naomi] Yeah.
And in such a way {hat when they say,
"But we can talk about this tomorrow,"
you know, when you- when you're more calm.
So you're worked up from the very beginning.
Okay?
Not a calm scene.
You keep it going, so that they see that you're totally stressed,
and that-yeah, they-and they say,
- "Don't worry. It's okay, ma'am." - [Naomi] Okay.
- [Lynch] Okay? ' [Naomi] Okay.
When you come into the place,
it's more than a stolen car.
- This car was blown up. - Mm-hmm.
And so this could be, you know-
this could be a deep, you know, troubling (hing,
so it's not like- y0u're-you're trying to get to the bottom
of why someone would want to blow this guy's car up.
And-and there's all these fatalities now connected to it.
You're son of starting to put two and two together
and seeing that it's no! really them, but you're not sure.
So, when he says, "Yes, we know where the ca! is,"
you're coming clean,
but take a good look at both of them on the-you know.
This guy's acting weird, and this guy- and she's on a thing.
- Is there anything else going on here? - Yeah.
And then at the same time, you know, she's on a stress roll.
- Right. - So then you say, "Okay, look, calm down.
We'll-you can do this tomorrow."
- [Lynch] You're nice to her... - [man] Okay.
- [Lynch] ...'cause she's light on edge. - [man] All right.
[Lfimch] Okay. Com'.
[man] Quiet.
[man] And roll, please.
' [man] Rolling. ' [man] Rolling.
[man] Sound speeding.
[man] Set.
[Lynch] Action.
Silver, four-door-
That makes you angry.
Just-just make-makes you sick about that car, okay?
Okay, try that one more time, and really, like,
"You crazy, you imbecile." Okay, here we go.
Naomi, just say it again, and be sick through the whole thing.
That car-a horrible car.
[Naomi] Ah, it's a terrible car, always in the shop-
No, I'll give you a reason-get- now stay up on the high horse.
Okay, try it again.
Just-just say-just ask the question.
"Well, there's your answer."
Now you start thinking, "Wait a minute. How did he know that?
What's going on? Did they find the car?
Have they been keeping something from you?"
Look at those guys. Just keep looking at-don't smile.
Just keep looking at them, like, you're not working.
Okay, now do it again, and then you're looking at them,
and then they/re detectives, and they're police-
and in case you- and don't start thinking like-
Now, that sort of pisses you off.
Thinking about that insurance. That's another angle.
Maybe a better car. Look-shoot daggers in their eyes.
You're not gonna make these-We're going.
You know, you like Mr. Mullins, but just give him one good look,
and it's like, this is not the time.
This is not the time.
[Don] I have some questions about those files
you covered for me, Dougie.
But you go ahead.
We'll take care of that-
Start pulling him out.
[grunts softly]
I low warbling music ♪
III
Cut it.
[laughter]
- You said, "Talk to me." - I do, I love it.
- I love it. Yeah, I love it. - Okay, okay. Now, let's-
Okay, I don't want to burn all the gold in this one.
- Let's-let me-lefs cut in closer now. - [Naomi] Okay.
- And then get-get everything- - [Naomi] Get the gold.
- Yeah, get the gold there. - [Naomi] Okay.
- Okay, Pete'? - [Pete] Yeah, going.
Clean two-shot.
III
[man speaking indistinctly]
Janey-E.
Stand right here.
Gather round, everybody.
[man] Everyone, gather round.
[man] Gather round, gather round.
[man] Gather round.
Ladies and gentlemen,
a sad yet somewhat happy day.
[laughter]
Our dear Janey-E is a wrap!
[cheers and applause]
[laughter]
You sweetheart.