The San Francisco Examiner from San Francisco, California • 233

PAGE 24 TELEVfSON Incident on Twin Peaks: I The Cyclist and the Cops Francisco," this episode marks the last in the season. When "The Albatross" wraps tomorrow, everybody is going home. Hiatus time. And they might not be coming back. Therein lurks the apprehension.

Karl Maiden, who plays Lieutenant Mike Stone, explains that apprehension. "Renewal is uncertain. They moved us out of the Saturday night time slot to Thursday night." He produces a mimeographed paper which statistically shows that "Streets," just the night before, aced out a movie, "The Hallelujah Trail," and Dean Martin. "If we can keep up a rating like this for the next couple of weeks, we might get picked up. But nobody knows for sure.

Not even Quinn-Martin." As for the quality of the show, Maiden insists it's tough to come up with a winner every wekk. So he figures if they can do one winner out of four, that's a good average. For TV, that's By John Stanley to check out the cyclist, and a crowd of nearby spectators scrambles and gasps, convinced the rider has done himself in. "Hey," says one, "I don't think that was supposed to be part of the scene." It's not supposed to look rigged, pal. That's why they pay the professionals Stunts Unlimited such' good bread, and why the guy on the bike, Bud Ekins, has scared the hell out of everybody, even director Robert Day, who's not even sure he remembered to yell "cut." Ekins gets up from the mess, brushes a little asphalt dust off his jacket and smiles the smile of a professional who knows he's just delivered a good take.

From the observation point, San Francsico has never looked clearer. There's some smog over in the East Bay, but the city itself is crystal clear. The kind of day you feel the full essence of San Francisco. All gleaming whiteness. There's another feeling in the air a kind of apprehension.

After nine months of work on the Quinn-Martin series "The Streets of San THE COP cramps i wheel, brushing agains the cycle running parallel to him. This second cyclist, he's a dude i the traditional black leather jacket, and he goes into a slide. It's a hairy slide because all the rider's got between him and a steep slope is a hunk of curb. But the bike goes down before the rider goes over, and all that's left is a tangle of machinery and man. A squad car, its siren proclaiming the chase and its red lights flashing inanely, is only a short distance behind when the driver hits the brake.

The car slides and for a moment, only a moment, it appears it might careen into the sprawling cyclist. But the car stops short. And then everything is stopped, and a stillness settles over the observation point of Twin Peaks. Then a new kind of hell breaks loose. A medical aide makes a run from behind the camera crew that has been filming all this action I 1 1 THE STREETS OF just enjoying the view, lie turns.

He's ready. Applying handcuffs to the motorcyclist, Douglas brings him to his feet as he recites the usual "you have the right to remain anything you say court of law an attorney will be By now he must know that cluster of dialogue by heart. "I didn't mean to hurt the kid," blurts Ekins, "he just got in the way and I shoved him. I didn't mean to kill him "Get him out of here," says Maiden. 'San Francisco is the most open-minded city in America, the most cosmopolitan' SAN FRANCISCO' dence he feels he lacked before "Streets" (Douglas' screen credits have been limited to four films, "Hail Hero," "Adam at 6 A.M.," "The Summer Tree" and "Napoleon and "Maiden has taught me that old truism about acting that discipline is the main thing.

Actors are supposed to be notorious for their lack of discipline, but in the case of Maiden he controls his performance he maintians a level of energy and never lets it rise o'r fall. Now that's what I call discipline." Douglas explains that soon he will plunge into produc- ing the film version of "One Flew Over the Cuckoo's Nest," which his father Kirk Douglas has owned the rights to for several years. "Producing and directing are among my future goals, but as I'm learning you have to hang loose and not get frustrated. I 'v already spent VA years on this project and still have a long way to carry it." Douglas turns as a door slams. The Crew is finsished packing away the equipment into the van, and the stunt men are peeling out in their dummy squad cars and motorcycles.

"Well, it's wrapped." Douglas turns for one more glimpse of the city The streets will be there in the spring, but will he? Sunday Examiner Chronicle MICHAEL DOUGLAS, Maiden's co-star, saw his day get off to a bad start. He missed his plane connection in Los Angeles and is late in reaching the location. Which" in turn has delayed the presentation of a Red Cross Certificate of Mrit to Douglas for an act of heroism: on November 21, 1972, Douglas leaped into the icy waters of the Bay fully clothed to rescue (with the help of assistant director Kenneth Swo) a stunt man who had been accidentally st ruck by a powerboat, causing severe injuries to head, chest, back and leg. The news media has gathered, -and so have Rd Cross officials. They've patiently waited Finally Douglas arrives, camera ready in gray slacks, sportcoat with blue shirt and red tie.

The usual plainclothesman's garb. Maybe a little sportier than some, but the usual. The Certificate of Merit has to be rushed a little so Douglas can meet the production Douglas, before taking his place, stands near the edge of the slope, studying the panoramic view. Perhaps this is his way of clearing his head for absolute concentration. Maybe he's 3 i r4 i it 1 .1 rt II' 7 i 1 vi i- KARL MALDENf AND -ft' 'N MICHAEL DOUGLAS vl it i i 'Vii-rnTir Bilii-'vriM r-nrfiarn" "iimrrr-i- mii'i n.

The scenes go well never more than one retake per set-up. After it's over, Douglas stands near the edge of the lookout point again, contemplating the view again. "It's been a exciting nine months. A different location every day of shooting, and in retrospect it seems like I've met thousands of people. San Francisco is the most open-minded city in America, the most cosmopolitan.

People accept you. Location shooting has its pressures there isn't that studio wall to keep out all the distractions. So you develop a sense of concentration. Keeps you in balance." Working with Karl Maiden has given Douglas the confi- S. 'V 1.