Original subtitles

LITTLE GIRL: Pick a coIor.

-BIue. -B-L-U-E. Pick a number.

-Eight. -1 , 2, 3, 4, 5, 6, 7, 8.

Pick one more number.

-Fifteen. -1 , 2, 3, 4. . .

. . . 5, 6, 7, 8, 9, 1 0, 1 1 , 1 2, 1 3, 1 4, 1 5.

Pick another number.

-Six. -Okay.

"Dream is destiny. "

[GIGGLING ]

MAN: Rock out.

Rock 'n' roII.

Low strings. Begin!

CONDUCTOR: Sara, try that thing you asked me about.

-WiII you try it more subdued? SARA: Okay.

-Try it, see what you think. -That one?

But I want it to sound rich and aImost a IittIe wavy. . .

. . .due to being a bit out of tune.

-You want it-- CONDUCTOR: SIightIy detached.

That's what I was wondering.

WOMAN: We're going:

CONDUCTOR: Yeah. You got it. WOMAN: Okay.

Snazzy, peopIe!

CONDUCTOR: Okay, pickup to 20, pIease.

-This is the pickup to 20. ERIK: Okay.

One, two, three.

[TRAIN BRAKES SCREECHING ]

YOUNG MAN: Hey, it's me. I just got back into town.

I thought I'd bum a ride, but that's cooI.

I can just take a cab, something Iike that.

I guess I'lI hang out with you Iater or something.

Ahoy there, matey! You in for the Iong hauI?

Do you need a Iift on down the Iine?

I was waiting for a cab, but. . . .

AII right. Don't miss the boat.

YOUNG MAN: Hey, thanks. -Not a probIem.

Anchors aweigh!

DRIVER: What do you think of my vesseI?

She's " see-worthy. " S-E-E. See with your eyes.

My transport shouId be an extension of my personaIity. VoiIa!

And this is my window to the worId. Every minute's a different show.

I may not understand it or agree with it. . .

. . .but I accept it and just sort of gIide aIong.

Keep things on an even keeI, I say.

Go with the fIow. The sea refuses no river.

The idea is to remain in a state of departure, whiIe aIways arriving.

It saves on introductions and goodbyes.

The ride requires no expIanation, just occupants.

That's where you come in.

It's Iike you come onto this pIanet with a crayon box.

You may get the eight-pack or the 1 6-pack. . .

. . .but it's aII in what you do with the crayons, the coIors you're given.

Don't worry about coIoring within the Iines.

CoIor outside the Iines and off the page! Don't box me in!

We're in motion to the ocean. We are not IandIocked!

So where do you want out?

Who, me? Am I first? I don't know. ReaIIy, anywhere is fine.

-Just give me an address, okay? YOUNG MAN: Uh. . . .

TeII you what. Go up three more streets.

Take a right. Go two more bIocks. Drop him off on the next corner.

Where's that?

I don't know, but it's somewhere.

And it'lI determine the course of the rest of your Iife.

AII ashore that's going ashore!

Toot, toot.

MAN: I refuse to take existentiaIism as just another fashion. . .

. . .or historicaI curiosity. . .

. . .because it has something important to offer for the new century.

I'm afraid we're Iosing the reaI virtues of Iiving Iife passionateIy. . .

. . .taking responsibiIity for who you are. . .

. . . making something of yourseIf and feeIing good about Iife.

ExistentiaIism is often discussed as a phiIosophy of despair. . .

. . .but I think it's the opposite.

Sartre once said he never reaIIy feIt a day of despair in his Iife.

One thing that comes from these guys. . .

. . .is not a sense of anguish so much as. . .

. . .an exuberance of feeIing on top of it.

It's Iike your Iife is yours to create.

EXISTENTIALIST: I've read the postmodernists with interest.

But I aIways have this awfuI, nagging feeIing. . .

. . .that something essentiaI is Ieft out.

The more you taIk about a person. . .

. . .as a sociaI construction or a confIuence of forces. . .

. . .or as fragmented or marginaIized. . .

. . .then you open up a whoIe new worId of excuses.

When Sartre taIks about responsibiIity, it's not abstract.

It's not the kind of seIf or souI that theoIogians argue about.

It's something concrete. It's us taIking. . .

. . . making decisions and taking the consequences.

There are six biIIion peopIe in the worId.

NevertheIess, what you do makes a difference.

It makes a difference in materiaI terms and to other peopIe.

It sets an exampIe.

The message is, we shouId never write ourseIves off. . .

. . .and see ourseIves as victims of various forces.

It's aIways our decision who we are.

Creation comes out of imperfection.

It seems to come out of a striving and a frustration.

This is where, I think, Ianguage came from.

I mean, it came from our desire to transcend our isoIation. . .

. . .and have some connection with one another.

It had to be easy when it was just simpIe survivaI.

"Water. " We came up with a sound for that.

"Tiger behind you! " We made a sound for that.

But when it gets reaIIy interesting, I think. . .

. . .is when we use that same system of symboIs. . .

. . .to communicate aII the abstract and intangibIe things we're experiencing.

What is " frustration" ? Or what is " anger" or " Iove" ?

When I say " Iove" . . .

. . .the sound comes out of my mouth and hits the other person's ear. . .

. . .traveIs through this byzantine conduit in their brain. . .

. . .through their memories of Iove or Iack of Iove.

They say they understand, but how do I know? Because words are inert.

They're just symboIs. They're dead. You know?

And so much of our experience is intangibIe.

So much of what we perceive cannot be expressed. It's unspeakabIe.

And yet, you know, when we communicate with one another. . .

. . .and we feeI we have connected and think we're understood. . .

. . . I think we have a feeIing of aImost spirituaI communion.

That feeIing may be transient, but it's what we Iive for.

To Iook at human deveIopment, Iook at the organism's evoIution. . .

. . .and his environmentaI interaction.

EvoIution of the organism begins with evoIution through the hominid. . .

. . .coming to the evoIution of man. NeanderthaI, Cro-Magnon.

Now, what you're Iooking at here are three strings:

BioIogicaI, anthropoIogicaI, deveIopment of cuItures. . .

. . .and cuIturaI, which is human expression.

What you've seen is the evoIution of popuIations, not individuaIs.

Then Iook at the time scaIe invoIved.

Two biIIion years for Iife, six miIIion for the hominid. . .

. . . 1 00, 000 years for mankind as we know it.

You see how the evoIutionary paradigm teIescopes.

Then when you get to agricuIture, scientific and industriaI revoIution. . .

. . .you're Iooking at 1 0, 000 years, 400 years, 1 50 years.

You see a further teIescoping of evoIutionary time.

As we go through the new evoIution. . .

. . .it wiII teIescope to the point where we see it within our Iifetime.

The new evoIution stems from two types of information:

DigitaI and anaIog. DigitaI is artificiaI inteIIigence.

AnaIog resuIts from moIecuIar bioIogy and cIoning.

You knit the two with neurobioIogy.

Under the oId paradigm, one wouId die, the other wouId dominate.

Under the new paradigm, they exist as a supportive. . .

. . . non-competitive grouping, independent from the externaI.

So evoIution now becomes an individuaIIy centered process. . .

. . .emanating from the individuaI. . .

. . . not a passive process with the individuaI at the coIIective's whim.

So you produce a neo-human. . .

. . .with a new individuaIity, a new consciousness.

That's onIy the beginning of the cycIe.

As it proceeds, the input is this new inteIIigence.

As inteIIigence piIes on inteIIigence, abiIity on abiIity. . .

. . .the speed changes untiI you reach a crescendo.

Imagine it as an instant fuIfiIIment of human and neo-human potentiaI.

It couId be the ampIification of the individuaI. . .

. . .the muItipIication of individuaI, paraIIeI existences. . .

. . .with the individuaI no Ionger restricted by time and space.

And the manifestations of this neo-human evoIution. . .

. . .couId be dramaticaIIy counterintuitive.

The oId evoIution is coId, it's steriIe. It's efficient.

Its manifestations are those of sociaI adaption.

You're taIking about parasitism, dominance, moraIity. . .

. . .war, predation.

These wiII be subject to de-emphasis and de-evoIution.

The new paradigm wouId give us the traits. . .

. . .of truth, IoyaIty, justice and freedom.

These wouId be manifestations of this evoIution. That's what we hope.

SeIf-destructive man feeIs compIeteIy aIienated. UtterIy aIone.

He's an outsider to the community.

He thinks to himseIf, "I must be insane. "

What he faiIs to reaIize is that society has, as he does. . .

. . .an interest in considerabIe Iosses, in catastrophes.

Wars, famines, fIoods and quakes meet weII-defined needs.

Man wants chaos. In fact, he's gotta have it.

Depression, strife, riots, murder. AII this dread.

We're drawn to that aImost orgiastic state created out of destruction.

It's in aII of us. We reveI in it.

The media puts a sad face on things, painting them as human tragedies.

But the media's function is not to eIiminate the eviIs of the worId.

They persuade us to accept those eviIs and get used to Iiving with them.

The powers that be want us to be passive observers.

Have you got a match?

They haven't given us any other options, outside the occasionaI. . .

. . .pureIy symboIic, participatory act of " voting. "

Do you want the puppet on the right or the puppet on the Ieft?

The time has come to project my inadequacies and dissatisfactions. . .

. . .into the sociopoIiticaI and scientific schemes.

Let my own Iack of a voice be heard.

MAN IN BED: I keep thinking about something you said.

-Something I said? -Yeah.

MAN IN BED: About feeIing Iike you observe your Iife. . .

. . .from the perspective of an oId woman about to die. Remember?

Yeah. I stiII feeI that way sometimes.

Like I'm Iooking back on my Iife.

Like my waking Iife is her memories.

MAN IN BED: ExactIy.

I heard that Tim Leary said as he was dying. . .

. . . he Iooked forward to when his body was dead but his brain was aIive.

Those six to 1 2 minutes of brain activity after everything shuts down.

And a second of dream consciousness is infiniteIy Ionger than a waking one.

-Know what I mean? -Yeah.

Like, I wake up at 1 0: 1 2. Then I go back to sIeep. . .

. . .and have Iong, intricate dreams that seem hours Iong. Then I wake up and. . .

. . .it's 1 0: 1 3.

ExactIy. So in that six to 1 2 minutes of brain activity. . .

. . .that couId be your Iife.

You are that woman, Iooking back over everything.

If I am? What wouId you be in that?

Whatever I am now.

I mean, maybe I onIy exist in your mind.

I'm stiII just as reaI as anything eIse.

Yeah.

I've been thinking about something you said.

MAN IN BED: What's that?

About reincarnation, and where aII the new souIs come from over time.

Everybody aIways. . .

. . .says they're the reincarnation of CIeopatra or AIexander the Great.

You know they were a dumb fuck Iike everyone eIse.

I mean, it's impossibIe.

The worId popuIation has doubIed in the past 40 years.

-So if you beIieve in one eternaI souI. . . -Uh-huh.

. . .you have a 50%%% chance of your souI being over 40.

For it to be over 1 50 years oId, it's onIy one out of six.

Are you saying reincarnation doesn't exist? Or we're aII young souIs?

-HaIf of us are first-round humans? -No, no.

-What I'm saying-- -What's your point?

I beIieve reincarnation is a poetic expression. . .

. . .of what coIIective memory is.

-I read an articIe by a biochemist. -Right.

He said when a member of a species is born. . .

. . .it has a biIIion years of memory to draw on.

This is where we inherit our instincts.

I Iike that. Like there's . . .

. . .this teIepathic thing going on that we're a part of. . .

. . .whether we're conscious of it or not. That wouId expIain these. . .

. . .seemingIy spontaneous, worIdwide, innovative Ieaps in science and art.

Like the same resuIts popping up everywhere, independent of each other.

A guy on a computer figures something out and simuItaneousIy. . .

. . .a bunch of peopIe figure out the same thing.

They did this study. They isoIated a group over time. . .

. . .and they monitored their abiIities at crossword puzzIes. . .

-Uh-huh. -. . .in reIation to the popuIation.

Then they secretIy gave them a day-oId crossword. One aIready done by peopIe.

Their scores went up dramaticaIIy. Like 20%%%.

It's Iike once the answers are out there, peopIe can pick up on them.

It's Iike we're aII teIepathicaIIy sharing our experiences.

CONVICT: I'lI get you fuckers if it's the Iast thing I do.

You're gonna pay for what you did to me.

For every second I spend in this heIIhoIe. . .

. . . I'lI see you spend a year in Iiving heII!

You fucks wiII beg me to Iet you die. But no, not yet.

I want you cocksuckers to suffer.

I'lI fix your asses. Maybe a Iong needIe in your eardrum.

Or a hot cigar in your eye.

Nothing fancy.

Some moIten Iead up the ass?

Or, better stiII, some of that oId Apache shit.

Cut your eyeIids off.

I'lI just Iisten to you fucks screaming.

What sweet music that'lI be.

We'lI do it in the hospitaI. . .

. . .with doctors and nurses, so you pricks don't die too quick.

You know the best part?

The best part is you faggots wiII have your eyeIids cut off. . .

. . .so you'lI have to watch me do it to you.

You'lI see me bring that cigar cIoser and cIoser to your wide-open eye. . .

. . .tiII you're aImost out of your mind. But not quite.

I want it to Iast a Iong, Iong time.

I want you to know it's me. I'm the one doing it to you. Me!

That sissy psychiatrist, what unmitigated ignorance!

And that oId drunken fart of a judge. What a pompous ass!

Judge not, Iest ye be judged!

AII of you pukes are gonna die the day I get out of this shithoIe!

I guarantee you'lI regret the day you met me!

DETERMINIST: In today's worId-view, science has taken the pIace of God. . .

. . .but some phiIosophicaI probIems are stiII troubIing.

Take free wiII.

This probIem has been around since AristotIe, in 350 B.C.

St. Augustine and Thomas Aquinas worried how we can be free. . .

. . .if God aIready knows what we're gonna do.

Nowadays, we know the worId works by fundamentaI physicaI Iaws.

These Iaws govern the behavior of every object in the worId.

Since these Iaws are trustworthy, they enabIe technoIogicaI achievements.

We're physicaI systems too. CompIex arrangements of carbon, mostIy water.

Our behavior isn't an exception to these Iaws.

So whether it's God setting things up in advance and knowing everything. . .

. . .or physicaI Iaws governing us, there's not much room for freedom.

You might want to ignore the mystery of free wiII.

To say, " It's a historicaI anecdote, it's sophomoric.

It's a question with no answer. Forget about it. "

But the question remains. If you think about individuaIity, who you are. . .

. . .is based on the free choices you make. Or take responsibiIity.

You're onIy heId responsibIe or admired or respected. . .

. . .for things you do of your own free wiII.

The question keeps coming and we have no soIution.

Decisions can seem Iike charades.

Imagine it. There's eIectricaI activity in the brain. Neurons fire. . .

. . .sending a signaI through the nerves into the muscIe fibers. They twitch.

You reach out your arm. It Iooks Iike a free action. . .

. . .but every part of that process. . .

. . .is governed by physicaI Iaws. ChemicaI, eIectricaI, and so on.

It Iooks Iike the big bang set the initiaI conditions. . .

. . .and the whoIe rest of human history. . .

. . .is the reaction of subatomic particIes to basic physicaI Iaws.

We think we're speciaI, we have dignity.

That now is threatened. It's chaIIenged by this picture.

You might say, " What about quantum mechanics? I know enough. . .

. . .to know it's a probabiIistic theory.

It's Ioose, not deterministic. It Iets us understand free wiII. "

But if you Iook at detaiIs it won't reaIIy heIp. . .

. . .because you have quantum particIes, and their behavior is random.

They sort of swerve. Their behavior is absurd. . .

. . .and unpredictabIe. We can't study it based on what came before.

It has a probabiIistic framework.

Is freedom just a matter of probabiIities?

Randomness in a chaotic system?

I'd rather be a gear in a deterministic, physicaI machine. . .

. . .than some random swerving.

We can't ignore the probIem. We must find room in our worId-view for persons.

Not just bodies, but persons. There's the freedom probIem. . .

. . .find room for choice and responsibiIity and understanding individuaIity.

MAN OVER LOUDSPEAKER: "You can 't fight city hall. "

"Death and taxes. " " Don 't talk about politics or religion. "

This is aII the equivaIent of enemy propaganda.

Lay down, G. I. ! Lay down, G. I. !

We saw it in the 20th century. Now, in the 21 st century, we must reaIize. . .

. . .that we cannot be crammed into this rat maze.

We shouId not submit to dehumanization!

I'm concerned with what's happening in this worId.

I'm concerned with structure, the systems of controI.

Those who controI my Iife and those who seek to controI it more!

I want freedom! And that's what you shouId want!

It's up to each of us to turn Ioose the greed, hatred, envy. . .

. . .and insecurities, their mode of controI. We feeI pathetic, smaII. . .

. . .so we'lI wiIIingIy give up our sovereignty, Iiberty and destiny.

We must reaIize we're being conditioned on a mass scaIe.

ChaIIenge the corporate sIave state!

The 21 st century is a new century. Not the century of sIavery. . .

. . . Iies and issues of no significance. . .

. . .and cIassism, statism and other modes of controI.

It'lI be an age of humankind standing up for something pure and right.

What a bunch of garbage. Liberal Democrat, conservative Republican.

Two sides of the same coin!

Two management teams. . .

. . .bidding for the CEO job of SIavery, Inc. !

The truth is out there, but they Iay out a buffet of Iies!

I'm sick of it! And I'm not gonna take a bite out of it!

Resistance is not futiIe! We wiII win this!

Humankind is too good! We're not underachievers!

We'lI stand up and be human beings! We'lI get fired up about reaI things!

Creativity and the dynamic human spirit that refuses to submit!

WeII, that's aII I got to say. It's in your court.

AFFIRMATIONIST: The quest is to be Iiberated from the negative. . .

. . .which is reaIIy our own wiII to nothingness.

Once having said yes to the instant, the affirmation is contagious.

It bursts into a chain of affirmations that knows no Iimit.

To say yes to one instant. . .

. . .is to say yes to aII of existence.

The main character is what I caII " the mind. "

Its mastery, its capacity to represent.

In history, attempts have been made. . .

. . .to contain experiences which happen at the edge of the Iimit. . .

. . .where the mind is vuInerabIe.

But I think we are in a very significant moment in history.

Those moments, those what we might caII IiminaI, Iimit, frontier. . .

. . .X-zone experiences are now becoming the norm.

These muItipIicities and distinctions send differences, giving. . .

. . .great difficuIty to the oId mind.

And through entering into their very essence. . .

. . .tasting and feeIing their uniqueness. . .

. . .one makes a breakthrough to that common. . .

. . .something that hoIds them together.

And so the main character is to this new mind. . .

. . .greater, greater mind.

A mind that yet is to be.

And when we enter into that mode. . .

. . .you can see a radicaI subjectivity.

RadicaI attunement to individuaIity, uniqueness, to the mind.

It opens itseIf to a vast objectivity.

So the story is of the cosmos now.

The moment is not just a passing empty, nothing, yet. . .

. . .this is the way in which these secret passages happen.

Yes, it's empty with such fuIIness. . .

. . .that the great moment, the great Iife. . .

. . .of the universe is puIsating in it.

And each one, each object, each pIace. . .

. . .each act, Ieaves mark.

And that story is singuIar. But, in fact, it's story after story.

WOMAN 1 : It dissoIves into quick-moving particIes that swirI.

Either I'm moving fast, or time is. Never both simuItaneousIy.

It's such a strange paradox.

I'm cIoser to the end of my Iife than I've ever been. . .

. . .but I feeI more than ever that I have aII the time in the worId.

When I was younger, there was a need for. . .

. . .certainty. I had to get to the end of the path.

I know what you mean. I remember thinking:

Someday, in my mid-30s maybe. . .

. . .everything's going to somehow geI and settIe.

-Mm-hm. -Just end.

It was Iike there was a pIateau. . .

. . .waiting for me. I was cIimbing up. When I got to the top. . .

. . .aII growth and change wouId stop.

-Even exhiIaration. -Oh.

But it hasn't happened, thank goodness.

In our youth, we don't take into account our curiosity.

That's what's great about being human.

Yeah. You know what Benedict Anderson says about identity?

-No. -He taIks about, say, a baby picture.

You pick up this two-dimensionaI image and say, " That's me. "

To connect this baby in this weird image with yourseIf in the present. . .

. . .you have to make up a story.

"This is me when I was a year oId. Later, I had Iong hair. . .

. . .and then we moved to RiverdaIe, and here I am. "

So it takes a story that's actuaIIy a fiction. . .

. . .to make you and the baby identicaI.

-To create your identity. -The funny thing is. . .

. . .our ceIIs compIeteIy regenerate every seven years.

We've been severaI different peopIe.

And yet, we aIways remain quintessentiaIIy ourseIves.

Our critique began as aII critiques begin, with doubt.

Doubt became our narrative.

Ours was a quest for a new story, our own.

We grasped for this new history, driven by suspicion. . .

. . .that ordinary Ianguage couIdn't teII it.

Our past appeared frozen in the distance, and our every gesture. . .

. . .signified negation of the oId worId and the reach for a new one.

How we Iived created a new situation of exuberance and friendship.

A subversive micro-society in the heart of an ignoring society.

Art was not the goaI, but the occasion and method for Iocating our rhythm. . .

. . .and buried possibiIities of our time.

It was about the true discovery of communication. Or the quest for such.

Finding and Iosing it.

We, the unappeased, continued Iooking. . .

. . .fiIIing siIences with wishes, fears, fantasies.

Driven on by the fact that no matter how empty the worId seemed. . .

. . . no matter how degraded and used-up. . .

. . .anything was possibIe. Given the right circumstances. . .

. . .a new worId was just as IikeIy as an oId one.

BARROOM PHILOSOPHER: There are two kinds of sufferers:

Those who suffer from a Iack of Iife. . .

. . .and those who suffer from an overabundance of Iife.

I've aIways found myseIf in the second category.

When you think of it, aImost aII human behavior and activity. . .

. . .is essentiaIIy no different from animaI behavior.

The most advanced technoIogies and craftsmanship bring us at best. . .

. . . up to the super-chimpanzee IeveI.

ActuaIIy, the gap between, say, PIato or Nietzsche and the average human. . .

. . .is greater than between that chimpanzee and the average human.

The reaIm of the reaI spirit. . .

. . .the true artist, the saint, the phiIosopher, is rareIy achieved.

Why so few?

Why is worId history and evoIution not stories of progress. . .

. . .but an endIess and futiIe addition of zeros?

No greater vaIues have deveIoped.

HeII, the Greeks 3000 years ago were just as advanced as we are.

What are the barriers that keep peopIe. . .

. . .from reaching anywhere near their reaI potentiaI?

The answer to that can be found in another question, and that's this:

Which is the most universaI human characteristic?

Fear. . .

. . .or Iaziness?

What are you writing?

A noveI.

What's the story?

There's no story. It's just. . .

. . .peopIe, gestures, moments.

Bits of rapture. FIeeting emotions.

In short. . .

. . .the greatest stories ever toId.

Are you in the story?

I don't think so.

But then I'm kind of reading it and then writing it.

It was in the desert, the middIe of nowhere, on the way to Vegas.

So you know, every once in a whiIe a car wouId stop for gas.

It was the Iast gas stop before Vegas.

There was a chair and a cash register. That was aII the room there was.

I was asIeep and I heard a noise.

You know, just Iike in my mind. So I got up. . .

. . .and I waIked out and stood on the curb. . .

. . .where the gas station ends. You know, the driveway.

I'm rubbing my eyes, trying to see what's going on.

And way down, at the very end of the gas station, they had tire racks. . .

. . .with chains around them.

And I see there's an EconoIine van down there.

And a guy with his T-shirt off.

And he's packing this EconoIine van. . .

. . .with aII these tires.

He's got the Iast two tires in his hands.

Pushes them into the thing. And I, of course, I go, " Hey, you! "

This guy turns around. He's got no shirt on. He's sweating.

BuiIt Iike a brick shithouse. PuIIs out a knife, 1 2 inches Iong. . .

. . .and starts running at me as fast as he can, going:

Haaaa!

I'm stiII:

"This is wrong. "

I waIked in. . .

. . .stuck my hand behind the register where the owner kept a.41 revoIver.

I puII it out. . .

. . .cock the trigger. . .

. . .and as I turn around, he's coming through the door. I saw his eyes.

I'lI never forget this guy's eyes.

He just had bad thoughts about me in his eyes.

I fired a round and it hit him, boom, right in the chest.

Bang! As fast as he came in the door, he went out the door.

He went right up between the two pumps, ethyI and reguIar.

He must have been on drugs, on speed or something, because he stood up.

He stiII had the knife, and bIood was just aII over his chest.

He stood up and went Iike that, just moved a IittIe. I'm in shock.

So I heId the trigger back and fanned the hammer, it was one of those oId-time:

I bIew him out of the gas station.

Ever since then, I aIways carry this.

[GUN COCKS]

A weII-armed popuIace is the best defense against tyranny.

I'lI drink to that.

You know, I haven't fired this in a Iong time, I don't know if it works.

PuII the trigger and find out.

Hey, man, I guess you aIready took off or something.

Remind me to teII you about this dream I had. There was some funny stuff.

AII right, man. I guess I'lI catch you Iater. Okay.

ANNOUNCER 1 : --in the bareback riding. Copenhagen William from Mike Sankey--

ANNOUNCER 2: Then, for a hatband, sew it into the inside--

I do not await the future. . .

. . .anticipating salvation, absolution or even enlightenment.

I believe that this flawed perfection is sufficient and complete. . .

. . .in every single, ineffable moment.

ANNOUNCER 3: --the Blond Bee, Firefly, Snake--

--lunatic macaroni munchkin with my goo-gat--

--venerable tradition of sorcerers, shamans and visionaries. . .

. . . who have perfected the art of dream travel. . .

. . . the so-called lucid dream state, where, by controlling your dreams. . .

. . . you can discover things beyond your apprehension in your awake state.

ANNOUNCER 4: --winning back-to--

ANNOUNCER 5: She tells him what Felix is doing.

A single ego is an absurdly narrow vantage. . .

. . .from which to view this experience.

Where most consider their relationship to the universe. . .

. . . I contemplate relationships of my various selves to one another.

ANNOUNCER 6: While most with mobility problems can barely get around. . .

. . .at age 92, Joy Cullison 's out seeing the world.

[UKULELE PLAYS]

Hey, how's it going?

They say dreams are reaI onIy as Iong as they Iast.

Can't we say that about Iife?

A Iot of us are mapping the mind-body reIationship of dreams.

We're caIIed oneironauts, expIorers of the dream worId.

There are two opposing states of consciousness. . .

. . .that don't oppose at aII.

In the waking worId, the neuro system inhibits the vividness of memories.

It makes evoIutionary sense.

It'd be maIadapted if a predator. . .

. . .couId be mistaken for the memory of one. . .

. . .and vice versa. If the memory of a predator. . .

. . .conjured up a perceptuaI image. . .

. . .we'd run whenever we had a scary thought.

Your serotonic neurons inhibit haIIucinations.

They themseIves are inhibited during REM sIeep.

This aIIows dreams to appear reaI but prevents competition. . .

. . .from other perceptions.

This is why dreams are mistaken for reaIity.

To the functionaI system of neuraI activity that creates our worId. . .

. . .there is no difference between dreaming a perception and an action. . .

. . .and actuaIIy the waking perception and action.

A friend once toId me the worst mistake you can make. . .

. . .is to think that you are aIive. . .

. . .when reaIIy you're asIeep in Iife's waiting room.

The trick is to combine your waking rationaI abiIities. . .

. . .with the infinite possibiIities of your dreams.

Because if you can do that, you can do anything.

Ever have a job you hated and worked reaI hard at?

A Iong, hard day of work, finaIIy you go home, get in bed, cIose your eyes.

Then you wake up and reaIize the whoIe day at work had been a dream.

It's bad enough you seII your waking Iife for. . .

. . . minimum wage, but now they get your dreams for free.

Hey, man, what are you doing here?

I fancy myseIf a sociaI Iubricator of the dream worId. . .

. . . heIping peopIe get Iucid easier.

Cut out the fear and anxiety and just rock 'n' roII.

Becoming Iucid, you mean knowing you're dreaming?

Then you can controI it. They're more reaIistic than non-Iucid dreams.

I just woke from a dream.

It wasn't typicaI, more Iike I was in an aIternate universe.

Yep, it's reaI. TechnicaIIy, it's a phenomenon of sIeep. . .

. . .but you can have so much fun in dreams.

-And everyone knows, fun ruIes. -Yeah.

-What was going on in your dream? -A Iot of peopIe taIking.

Some was absurdist, Iike from a strange movie.

MostIy peopIe went off about whatever, reaIIy intenseIy.

I woke up wondering. . .

-. . .where did this stuff come from? -You can controI that.

-You have these dreams a Iot? -I aIways make the best of it.

You have to reaIize you're dreaming in the first pIace.

To recognize it.

You have to be abIe to ask yourseIf, "Is this a dream?"

Most peopIe never ask themseIves that, awake or asIeep.

PeopIe sIeepwaIk in the waking state and wakewaIk through dreams.

They don't get much out of it.

What snapped me into reaIizing I was dreaming was my cIock.

I couIdn't read it, Iike the circuitry was screwed up.

That's common. SmaII printed materiaI is pretty tough too. Very unstabIe.

Another tip-off is trying to adjust Iight IeveIs. You can't .

If you see a Iight switch nearby, see if it works.

You can't do that in a Iucid dream.

What the heII? I can fIy around, have a conversation with AIbert Schweitzer.

I can expIore new dimensions of reaIity.

Not to mention, I can have any kind of sex I want. Which is way cooI.

So I can't adjust Iights!

So that's what you do to test if you're dreaming?

You can train yourseIf to recognize it.

Hit a switch now and then.

If the Iights are on and you can't turn them off, you're dreaming.

Then you can get down to business. And it's unIimited.

-Know what I've been working on? -What?

It's way ambitious. But I'm getting better at it.

You'lI dig this.

Three-sixty vision, man. I can see in aII directions. CooI, huh?

Yeah! Man. . . . WeII, I gotta go, man.

Later. Super perfundo on the earIy eve of your day.

What's that mean?

I've never figured it out. Maybe you can.

This guy aIways whispers it in my ear.

Louis. He's a recurring dream character.

FILM ENTHUSIAST: Cinema, in its essence. . .

. . .is about reproduction of reaIity, which is, reaIity is reproduced.

For him, it's not a storyteIIing medium.

He feeIs Iike. . .

. . . Iike fiIm-- Like Iiterature is better for teIIing a story.

INTERVIEWER: Mm-hm. Yeah.

Like if you teII a joke. "A guy waIks into a bar. . .

. . .and sees a dwarf. "

That works. You imagine a guy and a dwarf in a bar, and it's imaginative.

But in fiIm, you fiIm a specific guy. . .

. . .in a specific bar with a specific dwarf who Iooks a certain way.

Like, for Bazin, what the ontoIogy of fiIm has to do with. . .

-. . .is what photography has. . . -Right.

. . .except it adds time and greater reaIism.

So it's about that guy, at that moment, in that space.

And Bazin is, Iike, a Christian, so he beIieves. . .

. . .in God, obviousIy, and that everything. . . .

For him, reaIity and God are the same.

So what fiIm is actuaIIy capturing is, Iike, God incarnate, creating. . .

. . .and, Iike this very moment, God is manifesting as this.

What fiIm wouId capture here right now. . .

. . .wouId be God as this tabIe, as you, as me. God Iooking how we Iook. . .

. . .saying and thinking what we think, because we're aII God manifest.

Mm-hm.

So fiIm is a record of God, or the ever-changing face of God.

You have a mosquito. Want me to--?

-You got it. -I got it?

FILM ENTHUSIAST: Yeah, you got it. INTERVIEWER: Okay.

HoIIywood has taken fiIm and made it a storyteIIing medium. You take. . .

. . .books or stories, get a script and find someone who fits it.

It's ridicuIous. It shouIdn't be based on the script.

It shouId be based on the person or the thing.

They're right to have the star system. Then it's about that person. . .

-Right, yeah. -. . .instead of the story.

Truffaut said the best fiIms aren't made--

The best scripts don't make the best fiIms.

They have a narrative you're a sIave to.

The best fiIms are the ones that aren't tied to that, sIavishIy.

So the narrative thing seems to me--

There's narrativity to fiIm because it's in time, Iike music.

But you don't think of the story of the song. It comes out of the moment.

That's what fiIm has. It's that moment, which is hoIy.

This moment is hoIy. We waIk around Iike it's not.

Like there are some hoIy moments and others are not.

Right.

Like, this moment is hoIy. FiIm Iets us see that, can frame it so we see it.

"HoIy, hoIy, hoIy" moment by moment. But who can Iive that way?

Because if I were to Iook at you and Iet you be hoIy, I wouId stop taIking.

You'd be in the moment. The moment is hoIy, right?

Yeah, I'd be open. I'd Iook in your eyes. . .

. . . I'd cry and I'd feeI this stuff, and that's not poIite.

It'd make you uncomfortabIe.

You couId Iaugh too. Why wouId you cry?

WeII, I don't know. For me, I just tend to cry.

Uh-huh. WeII, is the--?

Let's do it right now. Let's have a hoIy moment.

Okay.

-Everything is Iayers. -Yeah.

There's the hoIy moment, then. . .

. . .the awareness of it. Like in fiIm, the actuaI moment happens. . .

. . .then the character pretends to be in a different reaIity. It's Iayers.

I was in and out of the hoIy moment, Iooking at you.

You can't -- You're unique that way, Caveh.

That's one of the reasons I enjoy you. You can bring me into that.

If the worId is faIse and nothing is true, then everything is possibIe.

On the way to finding what we Iove, we find what bIocks us from our desire.

Comfort wiII never be comfortabIe.

SLACKER 2: A systematic questioning of happiness.

Cut the vocaI cords of every empowered speaker and devaIue currency.

To confront the famiIiar. Society is a fraud so compIete. . .

. . .and venaI, it demands to be destroyed beyond memory.

If there's fire, we'lI carry gas.

Interrupt everyday experience and the expectations that go with it.

Live as if things depend on your actions.

Rupture the speII of the consumer society. . .

. . .so our repressed desires can come forward.

Demonstrate what Iife is and what it couId be.

To immerse ourseIves in the obIivion of actions.

There'lI be an intensity never known. To exchange Iove and hate. . .

. . .terror and redemption.

Affirmation of freedom so reckIess it amounts to a deniaI of Iimitation.

-Hey, what are you doing? -I'm not sure.

You need any heIp getting down, sir?

No, I don't think so.

Stupid bastard.

No worse than us. He's aII action, no theory.

We're aII theory and no action.

Why so gIum, Mr. Deborg?

What was missing was feIt irretrievabIe.

The extreme uncertainties of subsisting without working. . .

. . . made excesses necessary. . .

. . .and breaks definitive.

To quote Stevenson:

"Suicide carried off many.

Drink and the deviI. . .

. . .took care of the rest. "

HOBO: Hey! YOUNG MAN: Hey.

Are you a dreamer?

Yeah.

I haven't seen too many around IateIy.

Things have been tough for dreamers.

They say dreaming's dead. No one does it anymore.

It's not dead. It's just been forgotten.

Removed from our Ianguage.

Nobody teaches it, so no one knows it exists.

The dreamer's banished to obscurity.

I'm trying to change that. I hope you are too. . .

. . .by dreaming every day.

Dreaming with our hands and minds.

Our pIanet is facing the greatest probIems it's ever faced. Ever.

So don't be bored.

This is the most exciting time we couId have hoped to be aIive.

And things are just starting.

PROPHET: A thousand years is an instant. There's nothing new.

The same pattern over and over. The same insights feIt Iong ago.

There's nothing here for me now.

Now I remember. This happened to me before. This is why I Ieft.

You have begun to find answers.

Though difficuIt, the rewards wiII be great.

Exercise your mind fuIIy, knowing it is onIy an exercise.

BuiId artifacts, soIve probIems, expIore the secrets of the universe.

Savor input from aII the senses.

FeeI joy, sorrow, Iaughter, empathy. Tuck the memory in your traveI bag.

I remember where I'm from and how I became human.

Why I hung around. Now my departure is scheduIed.

This way out. Escaping veIocity. Not just eternity, but infinity.

REDHAIRED WOMAN: Excuse me. YOUNG MAN: Excuse me.

Hey.

CouId we do that again? I know we haven't met. . .

. . .but I don't want to be an ant.

We go through Iife bouncing off one another. . .

. . .continuousIy on ant autopiIot. . .

. . .with nothing reaIIy human required of us.

Stop. Go. WaIk here. Drive there.

AII action basicaIIy for survivaI.

AII communication to keep the ant coIony buzzing aIong. . .

. . .in an efficient, poIite manner.

"Here's your change. " "Paper or pIastic?" " Credit or debit?"

"Want ketchup with that?"

I don't want a straw, I want reaI human moments.

I want to see you. I want you to see me.

I don't want to give that up. I don't want to be an ant, you know?

Yeah, no. . .

. . . I don't want to be an ant, either.

Thanks for kind of jostIing me there. I've been. . .

. . .on zombie autopiIot. I don't feeI Iike an ant, but I Iook Iike one.

D. H. Lawrence had this idea of two peopIe meeting. . .

. . .and instead of just passing. . .

. . .they accept " the confrontation between their souIs. "

It's Iike freeing the brave, reckIess gods within us aII.

Then it's Iike we have met.

REDHAIRED WOMAN: I'm doing a soap opera, you might be interested.

The characters are the fantasy Iives of the performers in it.

So figure out something you've aIways wanted to do, or a Iife you want. . .

. . .something Iike that. We write that in. . .

. . .then you intersect with others in some typicaI soap-opera fashion.

Then I aIso want to show it Iive, with the actors present.

So once the episode's screened. . .

. . .the audience can direct the actors for subsequent episodes with menus.

It has to do with choices. . .

. . .and honoring peopIe's abiIity to say what it is they want to see. . .

. . .and consumerism and art and commodity. . .

. . .and if you don't Iike it, send it back, and you get what you pay for. . .

. . .or just participating, you know, making choices.

So do you want to do it?

Yeah, that sounds reaIIy cooI. I'd Iove to be in it, but. . .

. . . I gotta ask you a question first. I don't know how to say it, but. . . .

What's it Iike to be a character in a dream? Because. . .

. . . I'm not awake right now. I haven't worn a watch since 4th grade.

I think this is the same watch too.

I don't know if you're abIe to answer that question.

I'm just trying to get a sense of where I am and what's going on.

What about you? What's your name?

What's your address? What are you doing?

I can't reaIIy remember right now. I can't reaIIy recaII.

But that's beside the point, whether I can dredge up information about. . .

. . . my address, or my mom's maiden name or whatnot.

I've got the benefit in this reaIity, if you caII it that. . .

. . .of a consistent perspective.

What is your consistent perspective?

It's mostIy just me deaIing with a Iot of peopIe. . .

. . .who are exposing me to information and ideas. . .

. . .that seem vagueIy famiIiar.

But at the same time, it's aII very aIien to me.

I'm not in an objective, rationaI worId.

Like, I've been fIying around. . . .

It's weird, because it's not a fixed state.

It's more Iike a whoIe spectrum of awareness.

The Iucidity wavers. Right now I know I'm dreaming.

We're even taIking about it. This is. . .

. . .the most in myseIf and in my thoughts I've been so far.

I'm taIking about being in a dream.

But I'm beginning to think. . .

. . .it's something I don't have any precedent for.

It's totaIIy unique.

The quaIity of the environment. . .

. . .and the information I'm receiving. Like your soap opera, for exampIe.

That's a reaIIy cooI idea!

I didn't come up with that. It's outside myseIf. . .

. . . Iike something transmitted to me externaIIy.

I don't know what this is.

We think we're so Iimited by the worId and the confines. . .

. . .but we're reaIIy just creating them.

You keep trying to figure it out, but now you know you're dreaming. . .

. . .you can do anything. You're dreaming, but you're awake.

You have. . .

. . .so many options, and that's what Iife is about.

I understand what you're saying. It's up to me, I'm the dreamer.

It's weird.

So much of the information. . .

. . .these peopIe have been imparting. . .

. . . has got this reaIIy heavy connotation to it.

WeII, how do you feeI?

Sometimes I feeI kind of isoIated.

Most of the time, I feeI connected, engaged in this active process.

Which is weird. Most of the time I've been passive, not responding. . .

. . .except for now.

I've Iet information wash over me.

It's not necessariIy passive to not respond verbaIIy.

We're communicating on so many IeveIs simuItaneousIy.

Perhaps you're perceiving directIy.

Most of the peopIe I've encountered and the things I want to say. . .

. . .it's Iike they say it for me, aImost at my cue.

It's compIete unto itseIf.

It's not a bad dream. It's a great dream.

But. . .

. . .it's so unIike any other dream I've ever had before.

It's Iike " the" dream.

It's Iike I'm being prepared for something.

"On this bridge, " Lorca warns. . .

. . . " Iife is not a dream.

Beware and. . .

. . .beware and beware. "

So many think because " then" happened, " now" isn't .

But didn't I mention? The ongoing "wow" is happening right now.

We are aII coauthors of this dancing exuberance. . .

. . .where even our inabiIities are having a roast.

We are the authors of ourseIves, coauthoring a Dostoyevsky noveI. . .

. . .starring cIowns.

This thing we're invoIved with, the worId. . .

. . .is an opportunity to exhibit how exciting aIienation can be.

Life is a matter of a miracIe. . .

. . .coIIected by moments fIabbergasted to be in each other's presence.

The worId is an exam. . .

. . .to see if we can rise into the direct experiences.

Eyesight is a test to see if we can see beyond it.

Matter is a test for our curiosity.

Doubt is an exam for our vitaIity.

Thomas Mann wrote that he wouId rather participate in Iife than write.

Giacometti was once run down by a car.

He recaIIed faIIing into a Iucid faint. . .

. . .a sudden exhiIaration. . .

. . .as he reaIized something was happening to him.

One assumes you can't understand Iife and Iive simuItaneousIy.

I don't agree entireIy. Which is to say, I don't exactIy disagree.

I wouId say that Iife understood is Iife Iived.

But the paradoxes bug me.

I can Iearn to Iove, and make Iove, to the paradoxes that bug me.

And on romantic evenings of seIf. . .

. . . I go saIsa dancing with my confusion.

Before you drift off, don't forget. . .

. . .which is to say, remember.

Because remembering is so much more a psychotic activity than forgetting.

Lorca, in that same poem, said. . .

. . .that the iguana wiII bite those who do not dream.

And, as one reaIizes. . .

. . .that one is a dream figure in another person's dream. . .

. . .that is seIf-awareness.

You haven't met yourseIf yet.

But the advantage to meeting others in the meantime. . .

. . .is that one of them may present you to yourseIf.

Examine the nature of everything you observe.

For instance, you might find yourseIf. . .

. . .waIking through a dream parking Iot.

And, yes, those are dream feet inside your dream shoes.

Part of your dream seIf.

And so, the person you appear to be in the dream. . .

. . .cannot be who you reaIIy are.

This is an image. . .

. . .a mentaI modeI.

-Do you remember me? -No, I don't think so.

At the station? You were on the pay phone and you Iooked at me. . .

. . .a few times.

I remember that, but I don't remember that being you.

Are you sure?

Maybe not.

I was sitting down. . .

. . .and you were Iooking at me.

ANNOUNCER: My little friend, dream no more. It's really here.

It's called Efferdent Plus.

In hell, you sink. In heaven, you rise to your fullness of love.

GANGSTER: Hurry up! Come on, get in the car. Let's go.

The story goes like this: Billy Wilder runs into Louis Malle.

This was the late '50s, early '60s.

Malle had just made his most expensive film, which cost $ 2 1%2 million.

Wilder asks him what the film's about.

Malle says, " It's a dream within a dream. "

Wilder says, "You just lost $ 2 1%2 million. "

I feel a little apprehensive.

For years, the notion that life is a dream. . .

. . . has been a pervasive theme of philosophers and poets.

Doesn 't it make sense that death would be wrapped in a dream?

That, after death, your conscious life would continue in a dream body?

It would be the same dream body as in your everyday dream life. . .

. . .except that in the post-mortal state, you could never again wake up.

Never again return to your physical body.

As the pattern gets more intricate, being swept aIong isn't enough.

What's the word, turd?

-Hey, do you aIso drive a boat-car? -A what?

You gave me a ride in a car that was aIso a boat.

No, I don't have a " boat-car. " I don't know what you mean.

This must be paraIIeI universe night. That cat who just ran out the door?

He comes up and I say, "What's the word?"

He Iays down a burrito, Iooks at me and says:

"I've returned from the vaIIey of death.

I rapturousIy breathe in the odors of Iife.

I've been to obIivion. I ferment the desire to remember everything. "

So, what did you say to that?

WeII, I mean, what couId I say?

I said, " If you microwave that, poke hoIes in the pIastic. . .

. . .because they expIode, and I'm tired of cIeaning up burrito. "

The jaIapenos dry up.

They're Iike IittIe wheeIs.

DINER WOMAN: When it was over, aII I couId think about was how. . .

. . .this entire notion of oneseIf. . .

. . .what we are. . .

. . .is just this IogicaI structure.

A pIace to momentariIy house aII the abstractions.

It was a time to become conscious. . .

. . .to give form and coherence to the mystery.

And I had been a part of that. It was a gift.

Life was raging aII around me, and every moment was magicaI.

I Ioved aII the peopIe, deaIing with aII the contradictory impuIses.

That's what I Ioved the most, connecting with the peopIe.

Looking back, that's aII that reaIIy mattered.

Kierkegaard's Iast words were, "Sweep me up. "

[BAND PLAYS]

YOUNG MAN: Hey, man. PINBALL PLAYER: Hey.

Weren't you in the boat-car? The guy with the hat gave me a ride. . .

. . .in his car-boat thing. You were in the back seat.

I'm not saying you don't know what you're taIking about. . .

. . .but I don't know what you're taIking about.

You guys Iet me off at this specific spot you gave him directions to.

I get out, ended up getting hit by a car.

Then I woke up. I was dreaming.

Later I found out I was stiII dreaming, dreaming that I'd woken up.

FaIse awakenings, I used to have those a Iot.

But I'm stiII in it now. I can't get out of it.

It's been going on forever. I keep waking up into another dream.

I'm getting creeped out, Iike I'm taIking to dead peopIe.

This woman on TV teIIs me how death. . .

. . .is this dream-time that exists out of Iife.

I'm starting to think I'm dead.

PINBALL PLAYER: Let me teII you about a dream I had.

When someone says that, usuaIIy you're in for a very boring few minutes.

But what eIse are you gonna do?

-I read this essay by PhiIip K. Dick. -In your dream?

No, I read it before the dream. It was the preambIe.

It was about that book, Flow My Tears, the Policeman Said.

-He won an award for that one. -That's the one he wrote reaIIy fast.

It just fIowed out of him. He feIt he was channeIing it.

So four years Iater, he was at this party.

He met a woman with the same name as the woman in the book.

Her boyfriend had the same name as the boyfriend in the book.

She had an affair with the chief of poIice.

He had the same name as the chief in his book.

Everything she's saying is right out of his book.

That reaIIy freaks him out, but what can he do?

ShortIy after that, he was maiIing a Ietter. . .

. . .and he saw this kind of shady-Iooking guy standing by his car.

But instead of avoiding him, he said, " Can I heIp you?"

The guy said, " I ran out of gas. "

He hands him some money, which he never wouId've done.

He gets home and thinks:

"This guy can't get to a gas station. He's out of gas. "

So he goes back, finds the guy and takes him to a gas station.

As he puIIs up he thinks, "This is in my book too.

This exact station. This exact guy. Everything. "

So this whoIe episode is kind of creepy, right?

He's teIIing his priest how he wrote this book. . .

. . .and four years Iater aII these things happened.

And the priest says, "That's the Book of Acts. "

He's Iike, " I've never read it. "

So he reads the Book of Acts, and it's uncanny.

Even the characters' names are the same as in the BibIe.

The Book of Acts takes pIace in 50 A. D.

So Dick had this theory that time was an iIIusion. . .

. . .and that we were aII in 50 A. D.

The reason he wrote this book was that he somehow. . .

. . .punctured through this veiI of time.

He'd seen what was going on in the Book of Acts.

He was reaIIy into Gnosticism and the idea that this demon. . .

. . .created this iIIusion of time to make us forget. . .

. . .that Christ was to return and the kingdom of God wouId arrive.

Someone's trying to make us forget that God is imminent.

That's what time and history is.

This kind of continuous daydream or distraction.

I read it and thought, " That's weird. " And that night I had a dream.

There was this guy who was supposed to be psychic.

But I was, Iike, "He's not reaIIy a psychic. "

Then suddenIy I start fIoating, Ievitating up to the ceiIing.

As I aImost go through the roof, I'm Iike, " Okay, I beIieve you. "

And I fIoat down, and as my feet touch the ground. . .

. . .the psychic turns into a woman in a green dress, Lady Gregory.

Lady Gregory was Yeats' patron, this Irish person.

Though I'd never seen her image. . .

. . . I was sure that this was the face of Lady Gregory.

So Lady Gregory turns to me and says:

"Let me expIain the nature of the universe.

PhiIip K. Dick is right about time, but wrong that it's 50 A. D.

ActuaIIy, there's onIy one instant, right now. And it's eternity.

It's an instant in which God is posing a question, which is:

'Do you wanna be one with eternity, do you wanna be in heaven?'

And we're aII saying, 'No, thank you. Not just yet. ' "

So time is just this constant saying no to God's invitation.

That's what time is. It's no more 50 A. D. than it's 2001 .

There's just one instant, and that's what we're aIways in.

Then she teIIs me that this is the narrative of everyone's Iife.

Behind the huge difference, there is but one story. . .

. . .of moving from the no to the yes.

AII of Iife is, "No, thank you. No, thank you. "

Then uItimateIy it's , " Yes, I give in.

Yes, I accept. Yes, I embrace. " That's the journey.

Everyone gets to the yes in the end, right?

Right.

So we continue waIking, and my dog runs over to me.

I'm so happy. He's been dead for years.

So I'm petting him, and there's this gross stuff. . .

. . .coming out of his stomach.

I Iook over at Lady Gregory, and she coughs.

She's Iike, " Excuse me. "

And vomit dribbIes down her chin. It smeIIs reaIIy bad.

And I think, "That's not just the smeII of vomit.

That's the smeII of dead-person vomit. " So it's , Iike, doubIy fouI.

I reaIize I'm in the Iand of the dead. Everyone around me was dead.

My dog had been dead 1 0 years, Lady Gregory a Iot Ionger.

When I woke up, I was Iike, "That wasn't a dream.

That was a visitation to this pIace, the Iand of the dead. "

So how did you finaIIy get out of it?

It was, Iike, one of those Iife-aItering experiences.

I never Iooked at the worId the same way again.

But how did you finaIIy get out of the dream?

That's my probIem. I'm trapped.

I keep thinking I'm waking up, but I'm stiII in a dream.

I wanna wake up for reaI. How do you reaIIy wake up?

I don't know. I'm not very good at that anymore.

But if that's what you're thinking, you shouId, if you can.

Because someday, you won't be abIe to.

But it's easy. You know, just wake up.

SubtitIes by SDI Media Group [ENGLISH SDH]

_ egiko'z rip _