[indistinct chatter]
[Lynch] Take it away.
[man] So you're gonna take that end and retie it over here?
- Correct. - Okay, got it.
But in the meantime, I'm gonna be able to see
into that room, which is exactly what I want.
[man] All right, quiet, everybody.
- Roll sound. - Rolling, rolling.
[buzzer blares]
[Lynch] Action!
[indistinct chatter]
[man] Hey, lme? ls Kyle walking?
Why don't we go through it?
Rehearsal. Quiet.
Let's have a bell for rehearsal.
[buzzer blares]
[indistinct chatter]
[man] Gotta leave that last window clear.
[Richard] Pardon me. Pardon me.
Pard-par...
Which way to the Twin Peaks Sheriff's Office movie set?
- North. - Hmm?
North.
[man] All right, dress, set, and lighting.
[Richard] Oh, we're on the set.
[indistinct chatter]
[Scott] He's a giant, six feet.
[Sabrina] This guy is six-four.
Six-four is way too tall. Six-four, six-four.
We're going way too tall.
- Six-two? - I like this.
- Is that the same guy? - No.
Two different guys.
This guy's six-two. This OH€S six-four.
[indistinct chatter]
[Lynch] Cori?
Um, get up the, um...
shot where the woodsmen are working on Cooper
on the cold night.
- You know? - Uh-huh.
I want to see their faces.
- Are you busy? - Yeah, but I can do it.
But I just have to find the scene number, so“.
Cooper-where Cooper's working on their faces?
The one where we're outside and his face is [indistinct].
[Scott] Yeah.
[Cori] Any particular close-up or wider shot or...
[Lynch] Is that light gonna blink?
On the phone? Phil?
[Phil] We can make it blink.
[man] This we must.
[indistinct chatter]
Put it where that pad is.
[Lynch] Get that glass of coffee out of there.
Here we go.
[man] Set.
[Lynch] Just remember, when you're saying that information,
it sounds strange to you
and-but you have to tell him.
- You know what I mean? - [Robert] Yeah.
[Lynch] Okay.
[man] Sound is speeding.
What is my secretary's name, please?
- Lucy! - Lucy. Oh, thank you.
[Robert] Very good that she's talking all that way.
All she had to say was line one, but she goes on and on.
- [Lynch] Exactly right. - Very good.
[Lynch] She wants you to get the right one,
and that's the way she does it.
- [man] Mark. - [Robert] Very good.
[Lynch] Take two.
[Lynch] Action.
[Cori] Sheriff Truman?
Gordon Cole, FBI director,
is on the line.
That's the blinking one.
The one that's blinking right now.
[Robert] Hello?
It's Gordon Cole, Harry,
returning your call.
No, no, this is Sherriff, uh, Frank Truman,
uh, Harry's brother.
Where's Harry?
Harrys sick. He's in the doctor's care.
I'm sorry to hear that.
I'll give him your regards, sir.
What have you got for me, Frank?
Somethings been found.
Something Deputy Chief Hawk found.
Missing pages from a certain Laura Palmer's diary
that could indicate
two Coopers.
I don't know any more than this, but, uh...
I just thought you should know it.
Maybe it means something to you.
Thank you very much, Frank.
Although I can't comment on this information,
I want you to know that I really appreciate it.
I understand.
And all the best to you,
and all the best to Harry.
I'll give him your regards, sir.
Good-bye, Frank.
Cut it.
[man] All right, crew has the set.
We're lighting.
[man] There you are.
[woman] Yes.
[indistinct chatter]
[woman] We're just touching him up.
Thank you.
You're in. You're in.
Higher, higher, higher, higher.
[high-pitched humming]
Whatever we see over there is...
[humming continues]
[indistinct chatter]
[man] Quiet here.
All right, George, here we go.
Roll, please.
- Rolling! - Rolling, rolling.
We're rolling. Lock it up.
[buzzer blares]
[Lynch] Action.
I'm looking for Phillip Jeffries.
[machine humming]
[Lynch] Tap the stick.
[stick tapping]
Go.
[humming continues]
[indistinct chatter]
[man] Close the door, please.
[man] Oh, Lord.
- Who's that? - [woman] It's shut right now.
[Lynch] No, the Woodsman opens it and lets Cooper in.
Then the Coop-then the Woodsman closes the door.
[Scott] He's talking at the top of the stairs.
[Kyle] Yes.
[Lynch] Cooper will go in the little hallway,
and the Woodsman will stay outside.
[man] Perfect.
[woman] Michael.
[Scott] We're gonna have to do something about that.
[indistinct chatter]
Hey. Um, um, um, um.
Grip and [indistinct].
What do you need, Malone?
Boom.
Someone turn that on.
[indistinct chatter]
[soft whirring]
[man] Hey, can we get Bernie in with the clamp?
[man] Bernie?
[man] All right.
[Peter] So...
David, the basics for us to have this shot...
[whirring continues]
[indistinct chatter]
[chuckles] Sorry, no, I was just trying...
Huh?
We line up the shot, know what's deep.
The reason they're clipped up
is so we can get the shot, we know what the shot is.
'Cause we can't see through the curtain to get a frame.
So you want to set the frame?
And we can shoot this first
and then drop the curtains and blow them around.
- Oh. - Are they high enough out of the way?
Which one drives the shot?
Well, I mean, um,
you know, we could do that, if you want.
- If the curtains- - No.
Urn...
[Peter] If they're high enough up, that's okay.
If they're not high enough up, then we shoot the curtains first.
[Lynch] And then take them down.
- Come down fast and go. - They will be?
- Yes. - Okay, let's, urn...
[Peter] Let's look at it down.
Make sure that's true.
So when the curtains go away,
do you feel side curtains at all, or none?
[Lynch] No, no. You don't feel them.
Oh' guyS.
Talk to each other.
Yikes.
[Peter] Oh, the red curtains are high enough for sure.
That's kind of a surprise.
I'm-l didn't- before, they weren't.
[indistinct chatter]
Are we gonna put the chairs in?
What? No, no, no, no, no, no chairs.
-[Peter] No chairs. - [Lynch] No.
No chairs. No.
Okay, um...
- [Peter] So we frame up. - [Lynch] Can we get a camera?
[Peter] Drop the curtains.
[Lynch] Got a set going now?
[Peter] Grip department,
let's please now start working on getting the set out.
O Kay?
I see you're all doing something else.
That is, um, one of the key first steps.
[indistinct chatter]
- [woman] Going right here. - Yes.
I'll move that chair out last.
You stay where you are.
[indistinct chatter]
[Lynch] It's looking damn good, Mike.
[man] Jason. Watch your back?
[Scott] Talk about transitions.
[thud]
[machinery whirring]
[Lynch] Okay- [stammering]
Ralph. Okay, go to your right six feet.
Stop. Now come forward.
And come forward a little more.
MOPS, more, more, more, more.
Now put your left hand out.
And down.
Down.
And go to your left one foot.
Now-now pat the horse's head.
[Sabrina] Oh, here, now wait. Wait one second.
Let me record it for you.
[Lynch] Now you've got to get a little further to your left
just a couple inches.
No, no, no, no. Your hand.
Just-now...
bring your hand- yeah, we can just barely
see your hand now.
That's real good.
Pat it. That's good.
- [laughter] - [man] That's amazing.
- [Lynch] Yeah. - [Kyle] I'm usually right on.
[Lynch] Yeah, but you've got to start-
you've got to find the place to start the short one first.
[Kyle] Yeah, yeah.
- There you go. - It's gonna be on the edge.
Gonna be close.
- No... - No, it ain't gonna work.
[Kyle] Not gonna work!
[Kyle] 'Cause I'll have the jacket on.
You can-that's gonna be too long.
There we go. That's it. That's it.
Got it. It's a challenge by no mirror.
But even then...
- No. - No, this is good.
This is good. This is good. This is good. Perfect.
- [woman] Do you want a mirror? - Oh, no, no.
That's cheating.
Could take the whole day to do this.
[Lynch] I think it's gonna win.
Phew, usually I'm right on the money the first time, but...
The problem, though, of course,
have you noticed that ties get...
they get shorter.
- During the day? - During the day, yeah.
The front gets a little shorter;
the back gets a little longer.
- Oh. - I don't know why.
Let's get that apple box here for Kyle.
[Mike] Richard, you met Ruth, right?
[Ruth] Unofficially.
[Mike] Ruth De Jung, Richard Beymer.
- Hi, Ruth. - [Mike] Production designer.
Set decorator. Ben Home.
Yeah, let's do that.
'Cause you know Kyle. He'll complain.
[Sheryl] They did a very good job. They're magic workers.
[man] We want to have Kyle and Al move from.
Let's see what you look like in there.
- Okay. - [man] Okay, that's fair too.
[David speaking indistinctly]
[man] Uh, Carrie Page.
Carrie Page.
[indistinct chatter]
[Peter] Go back to the setting we had on the Cineo.
- Previous setting. - It was better.
[Lynch] Record it in and listen to it backwards
to see if there's an inflection that would change it.
You see what I mean?
Let me just record your lines...
Normal.
...like you're gonna say it to him.
You're looking at Agent Cooper.
- With no emotion. - No, no, with emotion.
You didn't do it with emotion.
And now let's try one with looking at him
and you disappear and you see him
and you say...
Hello, Agent Cooper.
[distorted] Hello, Agent Cooper.
Okay, try one more, just a little bit flatter than that.
Okay, I'm gonna record you now.
[speaking backwards]
Hello, Agent Cooper.
This will be the first line.
- [Sheryn Okay. - Okay.
We're gonna take it bit by bit.
[Lynch] Lean forward too.
[Sheryl] More than this?
I'm sorry, I can't hear you, David.
- [Lynch] Yes! - Thank you.
[Lynch] I'll get on the megaphone.
Just a sec.
[woman] So now, is Kyle saying his lines forward?
[Lynch] Forward. He says his lines forward.
[woman] But she answers him...
- [both] Backwards. - [Lynch] Okay.
[Lynch] Cori?
[Peter] Let's have everyone settling in.
All right, let's check the eye line.
[man] Uh, Peter, we're getting ready to shoot.
Really, everything looks good.
O Kay?
[Peter] David'? How's that eye line?
[man] That's good. Yes.
Let me take a look.
[Sheryl] I got it, David.
- [Lynch] Huh? - I got it.
[man] Peter, you all set?
[Lynch] Uh, Laura Palmer just looking at Agent Cooper.
[man] And roll sound.
- Rolling, rolling. - Rolling!
[phone rings]
[man] Mark.
[Lynch] Action.
[speaking backwards]
[continues speaking backwards]
[speaking backwards]
[silence]
Cut it.
That first section wasn't right, I think.
Oh, there it is. It's right there.
"I am dead."
I am dead,
yet I live.
You see me alive.
Do you recognize me?
[Lynch] Good, good, good, good, good.
[indistinct chatter]
[Lynch] Let me see the script.
Good, now watch me.
It's a hinge; this is the hinge on your thumb.
- [Lynch] Just hinge out... - [Sheryl] Okay.
[Lynch] ...and then hold that open
for quite some time
and then close it,
and then bring your hand down,
and then do "do you recognize me" backwards, right?
And do that line.
You see what I mean?
[Cori] You're gonna be saying it, unfortunately, in backwards order.
[Lynch] We're gonna play the whole thing backwards.
[shew] We're gonna-“...
[Lynch] Start at the end and go forward.
[chuckles]
[Sheryl] On top of the lines backwards?
[Lynch] Mm-hmm.
[Sheryl] Okay.
[Lynch] So-but Cori will give you each one.
[Sheryl] Oh, so am I starting with "now"?
They very, very last line?
[Cori] No, but she's standing when she says "now,"
so that's not actually in the shot.
[Lynch] You can say "now" at the beginning.
[Sheryl] Okay, and then I just go up.
[Cori] And they'll say, "When am I going?"
[Lynch] You'll start up in the air,
right as you were walking over,
and you'll sit back down, and you'll say "now."
- Okay. - [Cori] Okay?
[Cori] Just rehearse it...
A couple times?
[man] Rehearsal! Quiet.
Let's have a bell for rehearsal.
[Lynch] We can have yours written out.
[man] That will come up with a little spritz.
[Sheryl] Okay. So think ifs like...
'Cause I put my arm down on the chair...
[Sabrina] Okay.
[Lynch] From the side, you just put nose-to-nose almost.
You gotta watch that hair.
Over here with your left hand on his cheek,
left hand on his cheek-.
See the fingers on the...
Oh, no, then you cup your-
then you bring it around and cup your whispering like that,
real close to him.
Yeah, there you go. Whisper in your hand.
- [Lynch] More serious. - [Sheryl] Okay.
[Lynch] And he'll say, "Huh?"
And then you can kind of go-
then you have a second whisper,
which will be the- you know, it will be the first,
but now it's the second one.
And you're sort of playful with that.
Playful, playful, playful.
And then-and then you get real playful
and you do-you know, come over here,
and you move your hand over to his cheek,
and then this time really kiss with the lips.
Get a good kiss, but smiling before.
A nice long kiss on the lips
and come back, playful, smiling.
- [Sheryn Okay. - [Lynch] Smiling.
Yeah, smiling.
And then you smile all the way up.
And you smile down at him.
And then you-then you start going back.
[Sheryl] Okay.
[Kyle] David, the reaction, the strong reaction at the start.
[Lynch] Uh-huh.
[We] We start...
[Lynch] As soon as she shudders.
[Lynch] Action!
[gasping and shuddering]
[Lynch] It's not any good.
It's not any good.
It looks like an old folks' home elevator.
If she started over and kind of straightened out,
came coming down, tha( might help.
[man] How do we do that?
She does it.
[man] on.
She just leans to the-
leans to her left
and then she lowers her arm;
she straightens up.
If you slow your moves down...
[Sheryl] Whats wrong with it now?
It's too slow?
The whole thing looks like an elevator.
It's all the same speed and not so good.
[man] Sound is speeding.
[Lynch] Start going wild and screaming.
[gasping and screaming]
[Lynch] Action, action, action, action, action!
Oh, okay, now, you need to sit down.
You need to lose the height.
Go crazy.
- [screaming] . [Lynch] Down you go!
Down you go!
Cut it. Play that backwards.
All right, Scott, take off the...
the top pan that doesn't move up.
Just trim it, forward and back.
[Scott] It's pretty good for two seconds.
[Lynch] Yeah.
- Sheryl Lee? - [Sheryl] Yes?
Can we throw you off the top of the...
- [laughter] - [Sheryl] Well, yes,
Of course you can.
If we could reverse that, it would be beautiful.
[Sheryl] All you need is a mat, and I could just...
Blast.
Yep, she's got to be hanging.
She's got to be wriggling, hanging,
so her feet are doing strange things.
If her feet are planted on a thing,
it won't be-they won't be working right.
She's airborne.
[Scott] Did you see her feel? I know, but-
She's got be airborne.
And then she'll wriggle properly.
[Scott] Then she-then-
then we're back to a stunt rigging.
No, just hang her on a green screen.
[Scott] We...
[Sabrina] It's a stunt.
[Scott] You and I can't-
we can put her against screen, wiggling.
- [Lynch] Uh-huh. - [Scott] Standing.
[Scott] We cannot put her in the air.
And what if we grab on to her?
[laughter]
Take the front; I'll take the back.
[Scott] Yeah, I'm thinking some kind of side-to-side
in little green suits.
[Lynch] Get her a vise grip.
We got to get a big vise grip.
[Scott] All right, well, lets think it out.
'Cause that framing there, we didn't see her feet.
If we did that framing on green screen,
you would have had it.
And that's why we're not taking this for, you know,
something that works.
[Scott laughs]
Is it because of the framing, in part?
It was because she's got to really lift up and go out.
And so if she was hanging on a wire on green screen
and she wriggled...
[Scott] No question if we put her on a wire.
[Lynch] She'd enter the frame and go right up
and she's gone like Mary Poppins.
We just got to get the right umbrella.
[gasping and shuddering]
What makes me look up?
Do I see something first?
SENSE-YOU sense something,
and then it's true.
So backwards ifs- it's like this.
And then ifs sensing, and then it's gone.
Got it. So I-got it.
- Okay. - [Kyle] I follow her?
[Lynch] You sllll look at her,
but you'll, you know- you'll just be looking at her
and remembering a nice kiss and stuff.
[Kyle] Yeah. Okay.
So if you turn to her the last part of her whisper...
- [Kyle] Yeah. - [Lynch] ...and then you-
her hand follows your face around
and you do the kissing.
That's fight, like that.
And then-and now take your time smiling,
and the kiss is a tender kiss in the middle.
Smiling, smiling, and then the kiss
and then back smiling, smiling, looking at each othefs eyes.
[Sheryl] Smiling, smiling, kiss, smiling, smiling.
Uh-huh, and then, um, you stand up.
You stand up out of that,
and you stand a! look at him with a smile,
and then you turn and you start backing out.
- Yeah, okay. - Okay.
Okay. Let's give it a go.
Roll sound.
[man] Rolling, rolling.
[buzzer blares]
[Cori] Two.
[man] Sound is speeding.
[Lynch] Action!
[Lynch] Up you go, slowly.
And walk out backwards.
[Lynch] Perfect.
[Lynch] Now keep going.
Cut it.
[buzzer blares]
You did great. Fantastic.
[Sheryl speaks indistinctly]
- [Lynch] Yeah. ' [ShBFYH Now I'm gonna cry?
[David coughs]
Well, let's- lefs think about this,
and we have-we have Kyle to shoot
and Phillip Gerard.
Let's get those going right now.
[man] Yes, sir.
So as much as we need on this rig right now.
[Lynch] What do you want to do? Kyle first?
' [man] Um, hey, Peter? - [Peter] Yes?
[man] Which would you rather cover next?
Let's do Kyle first.
He's got the most things, the lines.
[Lynch] Stop and turn and face the curtains-.
Yeah.
Now you look left and right.
And the curtains disappear.
And you look deep into that darkness.
A little bit to the right of the camera.
And then you look in there,
and we get the close-up,
and then off you go to your right to the next flap.
And we cut.
Let's try one more.
Come in faster and leave faster,
because you're on a run.
You're just stopping for this one explanation.
- [man] Peter, you good? - [Peter] Good.
[man] Rolling.
[buzzer blares]
[woman] Rolling!
Action.
[speaking backwards]
[man] Good?
[Lynch] Action, Al and Kyle.
[Lynch] Cut m
You're looking around,
so you-you're sensing something as you walk in, okay?
Then you walkout. Okay, good.
[man] Everybody set? Peter, you good?
- [Peter] Good. - [man] Rolling.
[buzzer blares]
[woman] Rolling.
[man] Sound is speeding.
- Mark it. - Mark.
[Lynch] Now slowly build up and (urn in line.
Action.
[speaking backwards]
[Lynch] Keep looking around as you back out.
Look all around as you back out.
Cut it!
Real nice, Al.
Can we do just one more for frosting on the cake?
[indistinct chatter]
[man] Rolling!
[buzzer blares]
[Cori] Rolling!
[man] Sound is speeding.
- [man] Mark it. - [man] Mark.
[Lynch] Slow move in.
Cut it!