[electricity crackling]
I strange warbling music ♪
III
[man] Why are we here?
Do ancient people live within us, or are we our own creation?
Along these rocks, a cycle of life and death
has played to an empty room.
You will be missed, dear friend.
[traffic rumbling]
S gentle atmospheric music S'
[man] The way we are gonna shoot the next few weeks.
Our character Albert is on a TV series,
and his availability is, um- is really tight.
Some of you, I'm-I'm sure,
are wondering about Miguel.
And this monkey wrench
has been thrown into our-our gears.
And I just want to tell you, though,
that Miguel is very, very important to the story.
Miguel is part of Twin Peaks and the FBI,
and it's unfortunate that he has, uh,
gotten himself into this thing.
But, um, we can f- we can solve the problem.
It just means it's-ifs gonna be tough, uh, some Saturdays
and shooting six days to make it happen.
So I'm-I'm- I'm apologizing that
I'm not gonna recast this thing,
and I want to get Miguel in the scenes that were written
and I'm- I just hope that we can rally
and make it happen in a good way.
Thank you all very, very much.
[man] Okay.
[Lynch] Igo and answer it.
Tammy.
[woman] You remember the penthouse-
[stammers] Tammy.
Tammy comes rushing in, and you're gonna-
I bring her in.
Okay, you're gonna say, "What's up, Tammy/I"
Are you gonna say something to her?
- 'Cause it's not written. - What is it, Tammy?
You remember the penthouse murders in New York City?
This was just found on one of the earliest cards.
And then they look closely at the photograph.
No, you don't say anything.
[indistinct chatter]
[Lynch] That's-that's pretty heavy.
When you think, you know, with- that's Cooper in that room.
[woman] Yeah. But it don't look anything like him.
Well...
It looks like the guy they saw in prison.
...it looks like the guy in the jail, yeah.
[Lynch] Which scene is this?
- Have we been to the prison and all that? - [woman] Oh, yeah.
- [Lynch] Miguel, how you doing? - [woman] You've been everywhere.
[Miguel] I'm doing great, David. How are you doing?
Good, Albert. Ready to rock?
- [Miguel] Let's do it, Gordon. - Okay.
[Miguel] Let's show 'em a little something.
Yeah. Damn right, pal.
Okay.
[woman] So "Mexico. Did she respond?"
Mexico. Did she respond?
[woman] And then "That doesn't sound like boyfriend talk."
I felt it when she hugged me.
But this confirms it.
[woman] What should we do?
Keep her close.
- And then "knock, knock, knock." - [knock at door]
[indistinct chatter]
[Lynch] I'm gonna say at the door- when I open the door,
H! say, "Tammy, 1 told you to come down after midnight."
[laughter]
- You are not gonna say that. - Yes, I am.
[laughter]
Okay.
[woman] You got a whole- you've got a whole new,
like, romance thing happening here.
Well, after all, you were with her in the hotel spying on a-
[man] Does she know about the French girl?
No, I try to keep everything separate.
[woman] But remember, you and Tammy,
when you were spying on Albert...
[Lynch] Yeah.
[Chrysta] I'm kind of excited, because I found this.
Yes.
[Chrysta] And I know-l know what this means at this point.
- You know what this means. - [Chrysta] Okay. Okay.
[Lynch] You know that they're gonna freak when they see this guy there.
Great. So I'm-
but I'm containing my excitement to some degree
because we're still talking about, you know, murders and devastation,
but I'm really happy that I found this.
- [Lynch] Yes. - [man] All right, quiet, everyone.
- [man] Rehearsal. - [man] Shh!
Okay, now, Tammy, you are going to be out there.
- Y9P- _ Okay-
Let's just talk through it.
You're gonna knock on the door.
[Miguel] Knock on the door.
I'm going to answer the door with a glass of wine in my hand.
[Miguel] Oh, so this is a-
this is the one where your lady friend's here?
[Lynch] No, no. That's another one.
[Miguel] You have a glass of wine in your hand.
[Lynch] I still have a glass of wine in my hand.
Okay, sorry.
[Miguel] He's in that thing.
It's like, ifs evening, and Cole's doing his thing.
[Miguel] I come in. I look around. I say.--...
[no audible dialogue]
No, no, no, not-not-not yet.
[Miguel] I donl?
- No, because I open the door. - Right.
- [Miguel] Oh, and- - [Lynch] And you're standing there.
[Lynch] And I see Laura Palmer for a second.
And then I-it goes away,
and I sort of see you.
And you look at me like I'm a little bit-
[Miguel] Like, "What's going on?" Yeah.
- [Lynch] I say, "Albert, come in." - [knock at door]
Albert.
Come in.
And, um, so then we come in to right about here.
Diane received this text on her phone at 11:13 (his morning.
"Around the dinner table, the conversation was lively."
"ls lively."
"Around the dinner table, the conversation is lively."
And that came in after Cooper escaped.
It pinged off a cell tower in Philly,
so at first, I assumed it was from one of her boyfriends.
It seems she has a stable of male suitors.
But Tammy traced this one back to a sewer in Mexico.
[Lynch] Mexico.
Did she respond?
She sent the following heavily encrypted message:
"They have Hastings.
He's going to take them to the site."
Doesn't sound like boyfriend talk.
I felt it when she hugged me.
But this confirms it.
What should we do?
Keep her close.
- Knock, knock, knock at the door. - [knock at door]
Tammy.
Come in.
Right to here.
[Lynch] Just watch this for a second, bause you got something hot.
You remember the penthouse murders in New York City?
Yes.
This was just found on one of the earliest cards.
Okay.
Good.
Okay.
You got a plan?
Yeah, you want t0- this is pretty good from here
with the door in the background. Is that-
S eerie atmospheric music S'
[inaudible conversation]
[Lynch] Bérénice is next.
- [man] Oh, sorry. Sorry. - [laughter]
Ladies and gentlemen,
the great FBI team
of Albert and Gordon
are a wrap!
[cheers and applause]
Now to the fun part.
. [laughter] - Okay.
Ladies and gentlemen...
- Hi. [laughs] . paughter]
This short little butterfly, Bérénice,
so beautiful, is a wrap!
[cheers and applause]
By golly.
[man] Thank you all.
[Lynch] Got a few hours off. We'll see you Monday.
[laughter]
[man] Great week. Let's wrap it up.
- [man] That's a wrap. - [Lynch] Okay.
[Lynch] Thank you all. Everybody, have a great weekend.
Thank you.
I low atmospheric music ♪
III
[man] What kind of people live here?
Dirty smoke from miles away.
Sucking on his plastic cup, tasting melted beans.
Billy Ding Ding bit the arm of Malone.
The story he mm after he was grown.
[man] And it takes a little- you know, a little time, 'cause our-
our set is, um-is a special thing,
and it's not like a lot of other sets.
And, um, it's very obvious
that, um-that ifs y- that it's your project
and that you're gonna do it a special way.
And people- some-some people know right away,
and they get it.
Some people, they-they know there's something different,
but it takes 'em a little while to understand exactly how-
you know, how the thing works.
It's like, you all have worked with other people,
and I never worked with anybody else,
so it's-it seems to be common sense, the way we work.
- [laughter] - We-you know? You know what I mean?
What? [laughs]
- [woman] It's different. - Yeah.
- [man] Phil Blix, good to see you. - [Josh] Good to see you. Am I Blix?
- [man] Um, you're Blix. - [Josh] Okay, I wasn't sure.
'Cause fishy. Same say fishy.
- [man] Blix. - [Lynch] Phil Blix.
[Josh] Phil Blix.
- What the heck? - [indistinct chatter]
- [Lynch] Dale. ' [Kyle] Happy Friday.
[Lynch] Happy Friday to you.
We got a three-day weekend coming up.
It's gonna kill us.
[Kyle] Gonna kill us.
- [Lynch] Billy, uh-uh- - [George] Camera guy.
- Big-big camera guy. - Yeah, yeah, Billy Ding Ding.
Yeah, bit me on the arm.
I had a green bruise.
- He bit you? - Yeah.
Just-I mean, just came in and... [groans]
- [laughter] - I'm serious.
Billy used a metal tape measure,
and he just run it right out and right into (he-
almost to the eye of the actor.
And then he'd hit the button- [mimics tape Zipping]
And he'd go, "Ding-ding."
- [laughter] - Ding-ding. Yeah.
[Lynch] And Dougie and Phil.
[Tom] Hey-
Look who's back from Benderville
with a new haircut.
[Lynch] Oh-okay.
"Look who's back from Benderville."
And then take a look-
- Look at like this? - Yeah.
- With a new- - A new haircut.
- Yeah, take your time with this. - Okay.
[Tom] Look at you.
You go drinking in a steam bath?
[stammering]
You separate a little bit.
- Oh, I go like this. - Yeah, yeah, yeah.
Look at you.
Did you go drinking in a steam bath?
And go a little bit 50/50 so we can see you.
Like that.
[Lynch] And notice his haircut, Mr. Mullins.
He's got a brand-new hairdo. He's thinner.
And he's not doing too well psychologically.
So now you can stop drinking, Dougie,
and just sit and put the cup down.
And, Phil, check Dougie out.
And then look at Mr. Mullins.
And we seem to be a}; together now.
But it's kind of strange.
[indistinct chatter]
[speaks indistinctly]
Hey. Don't tell me you're getting rid of that.
- I love that. - No.
We're not getting rid of it, but as you can see, ifs a clock.
- [man] Yeah. - But it doesn't-
- Oh, you're asking me what time it is? - Yeah.
Yeah, okay. Well, they come in in the morning.
This kind of happens in the morning. Hang on.
Hi, Tim something.
[Mike] Documentarian.
- Well, you gotta document- - Let me just see-
let me just see if I've already written something
about a time during the scene.
[Lynch] Frank!
- Pay attention, Frank. - [laughter]
Urn, when you taste that-
when you smell it, it smells kind of okay.
And when you taste it, it's a fabulous taste.
And it's mostly to Phil, you know-you know, yeah,
it really- ifs kind of incredible.
Look how things worked out
even though Dougie got your coffee.
And-and-and keep drinking. Start drinking it.
You know, like, you never finish your coffee,
but you're gonna finish this.
Yeah.
- Beautiful. - [man] All right.
[man] RehearsaPs up.
[Lynch] Don.
You can sort of take your time at the beginning.
You say-it's good you say, "Okay, let's get started,"
and get yourself seated.
And then say, "Sit down, Dougie,"
- once you get seated. - [Don] Okay.
And he doesn't sit down.
And you-then you find out he's not sitting down,
you, "Cut the shit, Dougie."
And then you see what Phil's doing and you say, "What's-
- You- - See what?
You see Phil sitting him- helping him sit down.
- [Don] Oh. - And so you look at Dougie like,
"What's the matter with this guy?"
And you kind of watch the whole thing:
Phil helping him sit, turning him right in front of you.
- [Don] Uh-huh. - It's a different Dougie.
[Lynch] His hair is different. He's thinner.
And he looks like a zombie.
He's acting like a zombie.
So it sort of worries you a little bit.
But you start the meeting.
And then as soon as he starts going, um,
this Dougie says, "He's lying."
And you look at him.
This is your top salesman he just called a liar.
And you say, "I want to see you in my office. "
[man] You're off-camera.
Um Wm: am you say?
What did you say?
Are you calling me a liar, Dougie?
Where the hell do you get off calling me-
No, no, no.
Where the hell do you get off calling me a liar?
There you go.
And you look at him.
You're-you're- pretend you're so-
Let's do it one more time. Let's do it one more time.
Okay.
Hds lying-
What did you say?
Are you calling me a liar, Dougie?
That's gotta go up a little bit.
Are you calling me a liar, Dougie?
Where the hell do you get off calling me a liar?
No. Don't underline "me."
[Tom] Where the hell do you get off calling me a liar?
[Tom] Continue.
Is that okay with you, Dougie?
[Lynch] Yeah, you're/Us!- look at him like he's-
- [Tom] Like he's a piece of shit. - [Lynch] Yeah.
- [Tom] Like he's a piece of shit. - [Lynch] Yeah. Yeah'
[Tom] Okay. Okay, let's just do it again.
- [Lynch] Okay. - [man] All right, rehearsal's up.
[Lynch] This will be-
Dougie has just sat down and-
Try it again.
Be a little bit more disgusted with this piece of shit.
"Do I have your permission, Dougie?"
Action!
What-d you saw'?
Are you calling me a liar, Dougie?
Where the hell do you get off calling me a liar?
[Don] What do you mean by that, Dougie?
♪ low woodwind music ♪
III
[man] Somewhere in between down there in one of these boxes,
some people seem to search something.
Maybe they are unsure of what they are doing;.
What is the man with the gray elevated hair holding in his hand?
[man] Give 'em a few minutes,
and then Mary can come in and get ready to shoot.
Otherwise, they'll be in there and then light,
which seems like a lot of extra-
No, I'm gonna prep this fuckin' pillow.
- That's fine. - Okay.
- Now let's talk about that for a second. - Okay.
In this shot we're doing right now,
we're not doing a composite.
It's the real thing.
Is that true or not true?
It's-it's real Mary...
- Yeah. With the right- - ...with padding here.
- Done. - But I gotta do the pillow.
- 'Cause ifs gonna be seen. - Oh, it's-
- Yeah, yeah, yeah. - See what I mean?
- It has-it has stuff on it. - It has stuff on it.
- It has stuff. It has other stuff. - It has stuff on it.
- I gotta prep the pillow. - Okay.
I low atmospheric music ♪
[man] All right.
[indistinct chatter]
[bottle spritzing]
[can hissing]
[woman] Do you want to see [indistinct] with this too,
or would you rather just-oops.
[laughter]
- [man] I got excited. - [woman] You did.
[laughter]
[indistinct chatter]
Keep-just keep 'em under the bed.
No, no, don't put 'em under the bed.
It'll putrify everything.
Okay, now, scoot down a little bit.
And just lay down. That's just about perfect.
Perfect.
Now I can use this.
[woman] Is that comfortable, Mary?
- Mm-hmm. - [woman] Okay.
- I'm fine. - [Lynch] Close your eyes a second.
Which way is Marjorie coming-
[Lynch] I'm gonna tell you.
[indistinct chatter]
This here is where Marjorie will come with the dog.
- [man] Yep. - [Lynch] From those doors back there.
Wan Okay.
- [Lynch] And come all the way toward us. - [man] Mm-hmm.
And the dog will start sniffing under (his door, 216.
[Lynch] Marjorie goes to her apartment, which is actually Ruth's bedroom,
which will be, later, her apartment.
And the police will come up here.
Marjorie will be with them,
and they'll do their thing here at the thing
and ask her about the manager and get into all that dialogue.
Then they go in search of Hank.
And they go downstairs, and Hank will be the maintenance man.
He's carrying a special little black bag,
and he's very upset with Harold
and wondering if Harold sent them.
And then he relaxes a little bit when they tell-
ask him about Chip, okay?
And then he says, "Oh, no, Chip ain't got no phone."
Then Marjorie comes down and she's got the keys.
[man] Remembers that she has the keys.
Okay, up they go again.
Down here they go.
They go in. They go into the place.
This is the living room.
And you look around.
You look-study everything.
You look around.
Then you come down here.
Then we'll just have 'em come down.
And then they'll come down,
and they'll come in
and-and they'll join and say, "Uh-oh."
And then we'll see what they see.
S quirky atmospheric music S'
III
[plastic crinkling]
III
"A two-person CID team, Constance Talbot and another worker,
take photos of the victim.
Lead detective Dave Macklay, 35, decent, enters.
Talbot, wearing gloves,
starts pulling the covers down to check on the body.
They slop, alarmed. "
And there's a photographer here taking a picture.
' Okay - Okay?
- And then Dave... - [Brent] Okay.
"Start down the hallway.
You come down the hallway,
and you stop in here
and look, and you see Talbot, right?
- Mm-hmm. - And you hold up your gloves.
And you say, "Good for you, Dave. You're behaving yourself."
- [laughs] - "Give me a hand."
- And you walk over there. - [woman] Okay.
And then you walk over there, and we're-we're rocking.
- Okeydoke. - And you do that and you look.
- Okay. - [woman] Great. Great.
- Okay, so lets rehearse that. - [Brent] Okay.
And see what we've got.
S quirky atmospheric music S'
[no audible dialogue]
III
[man] Matchsticks on a green carpet.
Fake wooden platforms for black rubber wheels.
We are now in a new place that I have never seen before.
The man with the gray elevated hair,
for once, has given up his chair.
[man] Cooper's driving down the highway,
and he's checking his watch,
and he starts to swerve
and runs off the road.
And the car rolls over,
and he gets sick and starts to vomit.
[indistinct chatter]
[woman] Is she talking to you, David?
Mm-hmm.
- [man] Yeah, she, um- - Hello.
- [laughs] - [woman] Hello.
- [man] Then there's a little- - [woman] Wait, pat his-watch the-
[doll squeaking]
- Uh-huh. - [laughter]
Pretty good.
[Mick] So she's around.
Okay. Thanks for sharing that, Mick.
[can hissing]
[man] Don't mind all this shit.
You can take me right now.
[indistinct chatter]
- So see how smooth that is? - Yeah.
You're gonna have a little drop-off.
Because I actually didn't want a bunch of [indistinct].
Okay.
I unfettered that. So you're gonna feel it crunch right there.
- Stay-stay straight. - [woman] Here you go.
When you feel that drop-off, boom...
[indistinct]
- Okay. - [indistinct]
[engine rumbling]
[Peter] We're gonna dig a hole right by those two low bushes.
Plant a crash cam.
So hopefully it'll roll right over us.
Mm-hmm.
And then the other crash cam, we're not sure yet.
Maybe below the ramp to see it in the air.
You know, we could talk about that.
Now, we talked about C camera up there,
a little more of a wide sort of- I don't know if that still works.
- Mm-hmm. - Be slow and flat, but...
We have-we have two more cameras to place.
I'd get one really tight on the car.
- You know... - Okay.
So that, you know, it's just a car.
Okay.
And so that we-
Well, I can do that from here.
- Yeah, okay. - You know.
So that when it hits the ramp, I'm just car.
And you also have me as an operator.
- Okay. . [laughter]
Gimme those wheels.
[laughter]
[man] Uh, Peter, remember, too, that the car is swerving...
[Tad] There's just a little pin that goes in that hole.
So you gotta push out on it as you lift it.
[gravel clattering]
[woman] "We hear this strange jet engine sound from the red room.
Cooper's double starts to sweat.
A terrible pain builds throughout his body.
His vision blurs.
His point of view. Looking ahead, the road goes in and out of focus.
He inadvertently starts speeding up.
The speedometer cranks up toward 100 miles per hour.
The pain worsens. The car swerves.
His POV. His vision deteriorates."
Okay, cut to what we're shooting now.
"The car shoots over rise-a rise,
catching air, and goes by us, swerving off the road, dust billowing.
- The car shoots up a small rise"... - A small ramp.
Change that to "ramp."
Ramp, rise. Well, it's meant to be a rise.
Sure. It's a rise, yeah.
"...but slows and stops before it reaches the peak.
The engine stalls, and the car slowly rolls back down,
coming to a stop near the highway."
- This car's gonna flip over... - It's gonna flip.
...and come to a stop next to the highway.
Okay, the car flips.
Ladies and gents, can everyone please come in close
so you can hear our procedures,
um, and so everybody is clear on what we're gonna do?
[Tad] Well, a little before we roll cameras,
we will get more gritty.
We'll cinch him down, do final prep, thumbs up.
Then Kyle and I will be the extractors.
We'll come up here and get behind camera
and safety camera as well.
Soon as we're clear of camera,
I'll give you the high sign.
You'll be able to go ahead and call "action."
[engine rumbling]
[indistinct chatter]
I low atmospheric music ♪
III
[man] Coming up. Are they okay to go through?
[man] Loud and clear, DKO.
[Lynch] Okay, now rock that fuckin' car.
Action.
[crashing]
- [man] Nice. - [man] Good.
[indistinct chatter]
[man] So beautiful.
So beautiful!
You Okay?
- [Mark] Yeah, I'm great. - [man] So beautiful.
The position is so beautiful.
[indistinct chatter]
- Thank you. - Really, really good.
- Congratulations. - Worth doing.
- It was for me. - How do you feel?
- I feel fantastic. - You do?
- Yeah. - You must be high as a kite.
- Absolutely. - Yeah.
- Way to go, Mark.
- Yeah. - Yeah.
- So good. - Lot of adrenaline.
You just shot up there, man.
It was incredible.
I was a little concerned about my safety.
- Is that important? - Uh-huh. Uh-huh.
[indistinct dialogue]
S quirky atmospheric music S'
III
[engine rumbling]
[forklift beeping]