became separate realities.
They just went on from there and lived the rest of their life.
I mean, entirely different movies, but we'll never see it...
because, you know, we're kind of trapped in this one reality restriction
of just the entire tragic sequence, you know.
— That's fascinating. Yeah.
— Oh, yeah. Oh, yeah.
But then, of course, then there's my real favorite one right here...
which you really should snap up if you can.
of just the entire tragic sequence, you know.
— That's fascinating. Yeah.
— Oh, yeah. Oh, yeah.
But then, of course, then there's my real favorite one right here...
which you really should snap up if you can.
— Oh, yeah?
— Oh, yeah. Oh, yeah.
Of course, if you like that, you should really read Six Seconds in
Dallas...
'cause, you know, Six Seconds is the one that's got all the trajectories...
and the triangulation of the bullets and stuff.
— Oh, yeah?
— Oh, yeah. Oh, yeah.
Of course, if you like that, you should really read Six Seconds in
Dallas...
'cause, you know, Six Seconds is the one that's got all the trajectories...
and the triangulation of the bullets and stuff.
I really don't know too much about this. I was kind of just flipping
through.
Oh, well, it's really good. If you like that...
you should really read one of the other books around here. It might be here.
I really don't know too much about this. I was kind of just flipping
through.
Oh, well, it's really good. If you like that...
you should really read one of the other books around here. It might be here.
— Oh, really? I didn't realize that.
— Oh, yes.
This is also the book that's got the testimony of Sam Holland, you know...
the Prince of the Puff of Smoke.
Yeah, he was up there on the overpass over Dealey Plaza...
— Oh, really? I didn't realize that.
— Oh, yes.
This is also the book that's got the testimony of Sam Holland, you know...
the Prince of the Puff of Smoke.
Yeah, he was up there on the overpass over Dealey Plaza...
of all the witnesses who were never called before the Warren Commission.
You know, like Mrs. Aquilla Clemmons...
who was that maid who lived on Patton Street who saw the Tippet shooting.
of all the witnesses who were never called before the Warren Commission.
You know, like Mrs. Aquilla Clemmons...
who was that maid who lived on Patton Street who saw the Tippet shooting.
I graduated a couple of years back. Just pretty much hanging out.
— Yourself?
— Oh, yeah, you know me.
I've been, uh, keeping up with my J.F.K. Assassination theories,
you know.
— Oh, really?
— Yeah.
You know, you're reading one of the great books on the subject.
I graduated a couple of years back. Just pretty much hanging out.
— Yourself?
— Oh, yeah, you know me.
I've been, uh, keeping up with my J.F.K. Assassination theories,
you know.
— Oh, really?
— Yeah.
You know, you're reading one of the great books on the subject.
— Yeah?
— Yeah. Hey.
We had a class a couple of years ago, remember?
No, what class?
It was an anthropology class in ethnographic film.
Oh, yeah, yeah. The dancing birth scenes. Those death rituals.
— Yeah, yeah.
— I remember that.
— What have you been up to?
— Yeah?
— Yeah. Hey.
We had a class a couple of years ago, remember?
No, what class?
It was an anthropology class in ethnographic film.
Oh, yeah, yeah. The dancing birth scenes. Those death rituals.
— Yeah, yeah.
— I remember that.
— What have you been up to?
How about the next show, two hours from now.
I'll meet you there. You've been wanting to see it.
— Okay. Okay.
— Okay?
I'll meet you there. See you.
Oh, I see you're reading Rush to Judgment.
— Oh, yeah. I guess I am.
How about the next show, two hours from now.
I'll meet you there. You've been wanting to see it.
— Okay. Okay.
— Okay?
I'll meet you there. See you.
Oh, I see you're reading Rush to Judgment.
— Oh, yeah. I guess I am.
— Let's forget it. We're late.
— We've already missed it.
— Oh, no. Come on. Come on.
We can make it. There's gonna be five minutes of trailers. It'll be no
problem.
We missed the beginning. Hang it up. I'm gonna go look at some books.
— Let's forget it. We're late.
— We've already missed it.
— Oh, no. Come on. Come on.
We can make it. There's gonna be five minutes of trailers. It'll be no
problem.
We missed the beginning. Hang it up. I'm gonna go look at some books.
I just feel sorry for you.
— I'm glad they think I'm an asshole.
— I bet you are.
I don't think anyone who's ever done anything...
hasn't been considered an asshole by the general populace.
— I mean, look at Freud.
— Yeah, let's look at Freud. Man.
I just feel sorry for you.
— I'm glad they think I'm an asshole.
— I bet you are.
I don't think anyone who's ever done anything...
hasn't been considered an asshole by the general populace.
— I mean, look at Freud.
— Yeah, let's look at Freud. Man.
Oh, that's rich. That's really rich.
So what? At least what is there is based on good sources.
At least I'm not chained to this slave morality that seems to rule your
life.
Thank you very much. You know, everyone else just thinks you're an asshole.
— Great.
Oh, that's rich. That's really rich.
So what? At least what is there is based on good sources.
At least I'm not chained to this slave morality that seems to rule your
life.
Thank you very much. You know, everyone else just thinks you're an asshole.
— Great.
Great. Personal attacks now, is that it? I thought we were beyond that.
It's like you just pasted together these bits and pieces...
from your authoritative sources.
I don't know. I'm beginning to suspect maybe there's nothing really in
there.
Great. Personal attacks now, is that it? I thought we were beyond that.
It's like you just pasted together these bits and pieces...
from your authoritative sources.
I don't know. I'm beginning to suspect maybe there's nothing really in
there.
Yeah, Mr. Perfect here.
You know, that's what I hate. When you start talking like this.
It's like you're just pulling these things from the shit you read.
You haven't thought it out for yourself, no bearing on the world around us...
Yeah, Mr. Perfect here.
You know, that's what I hate. When you start talking like this.
It's like you're just pulling these things from the shit you read.
You haven't thought it out for yourself, no bearing on the world around us...
You can't see any true potential.
I think it's their potential I do see.
But it's like all these other futile causes that you fall into.
They all stem from a certain weakness.
You know, psychologically, helping everyone else out is easier.
You can't see any true potential.
I think it's their potential I do see.
But it's like all these other futile causes that you fall into.
They all stem from a certain weakness.
You know, psychologically, helping everyone else out is easier.
— I've been looking into these groups.
— That's what I'm talking about.
That's exactly what I'm talking about. See, we're conditioned to assume...
that suffering is bad.
It's not. See, when you pity someone...
— I've been looking into these groups.
— That's what I'm talking about.
That's exactly what I'm talking about. See, we're conditioned to assume...
that suffering is bad.
It's not. See, when you pity someone...
Him because it's not really gonna help him.
And you because that relationship is naturally going to involve...
that condescending element, maybe even contempt.
Granted giving the man a quarter isn't gonna change his life around.
Him because it's not really gonna help him.
And you because that relationship is naturally going to involve...
that condescending element, maybe even contempt.
Granted giving the man a quarter isn't gonna change his life around.
— Budding capitalist youth.
— Say, y'all. Y'all got some change.
— Yeah.
— Nah.
— There you go.
— Thank you.
— You want a soda?
— Yeah, I appreciate it.
You know, there's something very wrong with that.
What, that I gave the guy your Coke? The quarter?
— Budding capitalist youth.
— Say, y'all. Y'all got some change.
— Yeah.
— Nah.
— There you go.
— Thank you.
— You want a soda?
— Yeah, I appreciate it.
You know, there's something very wrong with that.
What, that I gave the guy your Coke? The quarter?
in a series originating in and repeated to infinity."
Hey, wait up.
— Hey, how's it going?
— Hi. Okay. Where have you been?
— Oh, nowhere.
— We've gotta get a move on.
— I got you something.
— What?
— Great. NutraSweet, my favorite.
in a series originating in and repeated to infinity."
Hey, wait up.
— Hey, how's it going?
— Hi. Okay. Where have you been?
— Oh, nowhere.
— We've gotta get a move on.
— I got you something.
— What?
— Great. NutraSweet, my favorite.
enter?
"Whereas he is always the last term of a preceding series.
"Even if the first term of succeeding ones each imagining himself to be
first...
"last, only and alone.
enter?
"Whereas he is always the last term of a preceding series.
"Even if the first term of succeeding ones each imagining himself to be
first...
"last, only and alone.
I didn't do anything with the bookmark.
— There wasn't one in there.
— This is when Leopold discovers...
that he's just been fucked over by his wife.
He says, "If he had smiled, why would he have smiled?
I didn't do anything with the bookmark.
— There wasn't one in there.
— This is when Leopold discovers...
that he's just been fucked over by his wife.
He says, "If he had smiled, why would he have smiled?
— Here. You read it.
— I'm not gonna read this fuckin' book.
It will make a lot more sense if you read it.
— I'm not gonna
— Hey! Goddamn!
See how easy that was?
— No problem. Now, just
— Dick.
It all makes sense if you just read this passage here.
— Here. You read it.
— I'm not gonna read this fuckin' book.
It will make a lot more sense if you read it.
— I'm not gonna
— Hey! Goddamn!
See how easy that was?
— No problem. Now, just
— Dick.
It all makes sense if you just read this passage here.
The typewriter isn't the point. The point is it symbolizes the bitch that
just fucked him over.
It symbolizes the bitch that fucked me over six months ago.
And it symbolizes the bitch that's gonna fuck you over.
The typewriter isn't the point. The point is it symbolizes the bitch that
just fucked him over.
It symbolizes the bitch that fucked me over six months ago.
And it symbolizes the bitch that's gonna fuck you over.
I been thinking about it. I don't want to throw it in.
— This is juvenile.
— Here, you shut up.
When he throws the typewriter in, read the passage that's marked in
the book.
Look, man. This is stupid. I'm not gonna throw it in, man.
I been thinking about it. I don't want to throw it in.
— This is juvenile.
— Here, you shut up.
When he throws the typewriter in, read the passage that's marked in
the book.
Look, man. This is stupid. I'm not gonna throw it in, man.
But she's not gonna fuck 'em in this tent.
— She's not gonna fuck 'em in this tent.
— She's not gonna fuck 'em in this
tent.
Throw it in.
Now the typewriter.
— Come on, man.
— I don't wanna throw the typewriter in.
But she's not gonna fuck 'em in this tent.
— She's not gonna fuck 'em in this tent.
— She's not gonna fuck 'em in this
tent.
Throw it in.
Now the typewriter.
— Come on, man.
— I don't wanna throw the typewriter in.
— First of all, give him the tent.
Now recite exactly what I told you to say and throw the tent in.
This was her tent.
— I fucked her in this tent.
— A little more feeling.
I fucked her in this tent.
She's probably gonna fuck a lot of other guys.
— First of all, give him the tent.
Now recite exactly what I told you to say and throw the tent in.
This was her tent.
— I fucked her in this tent.
— A little more feeling.
I fucked her in this tent.
She's probably gonna fuck a lot of other guys.