Original subtitles

Man: AND THERE WAS JUST...

[ IMITATING ELECTRICAL BEEPING ]

...OF ELECTRICAL IMPULSES.

IT WAS ALL SLIGHTLY UNBELIEVABLE.

Narrator: [Reverberating] CAN SOMEBODY GIVE ME A MIKE?

AND WOULD SOMEBODY PLEASE TURN OFF THE FUCKING REVERB?

[ CLICK ]

THANK YOU.

[ CLEARING THROAT ]

NARRATION -- TAKE ONE.

[ BEEPING ]

WHEN DID THE '60s BEGIN?

THAT MIGHT SEEM OBVIOUS.

EVERYONE REMEMBERS THEM THIS WAY.

BUT REALLY THE EARLY '60s LOOKED LIKE THIS --

A BLACK-AND-WHITE, PICKET-FENCE WORLD STILL STUCK IN THE '50s.

BUT IN 1964, THIS MAN, KEN KESEY,

TOOK AN LSD-FUELED BUS TRIP ACROSS THE COUNTRY

THAT CHANGED EVERYTHING.

KESEY LIT THE FUSE FOR THE EXPLOSION OF THE '60s.

WHO WAS KEN KESEY?

HE LOOKS INNOCENT ENOUGH, DOESN'T HE?

NOT LIKE THE KIND OF GUY TO TAKE MASSIVE AMOUNTS OF LSD.

WHILE IN COLLEGE, KESEY MARRIED

HIS JUNIOR-HIGH-SCHOOL SWEETHEART, FAYE.

AS A COLLEGE ATHLETE, KESEY SHOWED PROMISE

BOTH AS A FOOTBALL PLAYER AND A WRESTLER.

KESEY ALSO LIKED PERFORMING AS AN ACTOR AND A VENTRILOQUIST.

HE LOVED THE MAGIC TRICK

OF SPEAKING THROUGH OTHER PEOPLE.

KEN, WHEN DID YOU DECIDE TO BECOME A WRITER?

Kesey: I NEVER SAID I WANTED TO BE A WRITER.

I'M A MAGICIAN.

WRITING IS JUST ONE OF THE TRICKS THAT I DO.

AND QUITE A TRICK IT WAS.

BY 1964, AT THE AGE OF 29,

KESEY WAS ONE OF AMERICA'S GREATEST WRITERS.

HIS FIRST TWO PUBLISHED NOVELS WERE

"ONE FLEW OVER THE CUCKOO'S NEST"

AND "SOMETIMES A GREAT NOTION."

YET, AT THE HEIGHT OF HIS SUCCESS,

KEN TRADED HIS TYPEWRITER FOR A MOVIE CAMERA.

Kesey: IF SHAKESPEARE WERE WRITING TODAY,

I DON'T THINK HE WOULD USE A QUILL PEN.

SO I STARTED GOING OUT AND TAPING WITH TAPE RECORDERS

AND FILMING TO SEE IF...

PEOPLE TALKED LIKE THEY DO IN NOVELS, AND THEY DON'T.

Narrator: WITH A GROUP OF FRIENDS,

KESEY SET OUT TO MAKE A ROAD MOVIE.

THEIR TRIP WOULD BECOME A LEGEND,

BUT FEW EVER SAW THE FILM.

THERE WERE TECHNICAL PROBLEMS.

THEIR VOICES ARE ON AUDIO TAPE

BUT ALMOST NEVER IN SYNC WITH THE PICTURE.

AGAIN, THE TRANSMISSION OF THE '27 BUICK

INTO SECOND GEAR

AROUND THE CORNER AT 34th AND DEARBORN --

OR WAS IT CLARK? IT WAS SOMEWHERE.

HERE'S A SCENE WITH NEAL CASSADY,

THE FAMOUS SPEED-TAKING, REAL-LIFE INSPIRATION

FOR JACK KEROUAC'S FAMOUS NOVEL "ON THE ROAD."

BET HE -- UH-OH, SAY...

FOR 40 YEARS, KESEY AND HIS FRIENDS EDITED THE FILM,

NEVER GETTING WHAT THEY WANTED.

THEN IT WAS BOXED AWAY, FORGOTTEN, COLLECTING DUST.

NOW WE'RE GOING BACK TO THE VAULTS,

USING THE RARE FILM AND AUDIO INTERVIEWS

OF KEN AND HIS FRIENDS TO BRING THE STORY BACK TO LIFE.

Men: LET'S GO, PRANKSTERS!

UNNECESSARILY, MR. CASSADY PROCEEDED NORTH.

HA HA HA!

* YEAH *

* YEAH *

Cassady: CAR WRECK. CHILDREN, TO THE LEFT -- WRECK.

IT'S A JOURNEY THROUGH LIFE, YOU KNOW.

Narrator: WHEN DID THE IDEA FOR THIS TRIP FIRST OCCUR TO YOU?

Kesey: 1963 CAME, AND EVERYTHING CHANGED.

WE'D GONE BACK -- ME AND GEORGE AND FAYE -- TO NEW YORK.

Man: NEW YORK CITY EXTENDS ITS WELCOME.

THE SHOPS ON THE AVENUES.

THE NEW HOTELS. RESTAURANTS.

THE SIDEWALK CAFES.

THE HIT SHOWS. THE TINSEL OF BROADWAY.

Kesey: WE HAD GONE BACK

TO SEE THE OPENING OF "CUCKOO'S NEST" ON BROADWAY,

WITH KIRK DOUGLAS PLAYING McMURPHY,

AND HE WAS TERRIFIC.

Walker: AFTER THE PLAY,

PART OF OUR DAYTIME DIVERSION

AS WE WERE CRUISING AROUND THE CITY,

WE TOOK A DRIVE OUT TO QUEENS,

WHERE THE CONSTRUCTION WAS GOING ON FOR THE WORLD'S FAIR.

Man: HERE ON THIS VERY SITE IS TO BE ERECTED --

THEY'RE DOING IT AT THE MOMENT --

THE SYMBOL OF THE THEME OF THE NEW YORK WORLD'S FAIR.

THE UNISPHERE!

AND BY DIALING 1964,

I LAUNCH THE FINAL PHASE OF THIS GREAT EFFORT.

Walker: WE LOOKED AT IT AND SAID, "BOY, THIS IS SPECTACULAR.

WE'RE GONNA WANT TO COME SEE THIS."

Kesey: WE VOWED NEXT YEAR WE'D GO BACK TO NEW YORK

TO THE WORLD'S FAIR.

ON THE WAY BACK, I WAS DRIVING ACROSS COUNTRY

IN A BIG OLD NICE STATION WAGON

WITH A COUPLE OF MY BUDDIES, NIBBLING ON CACTUS.

Man: HERE IN THE ABC NEWSROOM IN NEW YORK,

WE FIRST RECEIVED A FLASH --

Kesey: AS WE WERE DRIVING ALONG, KENNEDY BEGAN TO BE KILLED.

Man #2: THREE SHOTS WERE FIRED AT PRESIDENT KENNEDY'S MOTORCADE

IN DOWNTOWN DALLAS.

THE FIRST REPORTS SAY THAT PRESIDENT KENNEDY

HAS BEEN SERIOUSLY WOUNDED BY THIS SHOOTING.

Man #4: THE CROWD OUTSIDE IS QUIET

AND WAITING FOR SOME WORD

ON THE CONDITION OF THE PRESIDENT.

Man #5: THE PRESIDENT'S DEATH IS OFFICIALLY CONFIRMED.

PRESIDENT KENNEDY AND GOVERNOR JOHN CONNALLY

HAVE BEEN CUT DOWN BY ASSASSIN'S BULLETS

IN DOWNTOWN DALLAS.

Kesey: EVERYWHERE YOU WENT, YOU LOOKED IN PEOPLE'S EYES,

AND THEY ALL FELT THE SAME THING.

IT WASN'T JUST SADNESS.

IT WAS A LOSS OF AN INNOCENCE,

THE LOSS OF THE IDEA

THAT ALWAYS THE GOOD IS GOING TO PREVAIL.

Man: THE TRAGEDY OF THIS DAY

IS BEYOND ANY INSTANT COMPREHENSION.

Kesey: THERE'S NO WAY TO EVEN NEARLY DEPICT THE PAIN

AND THE FEELING OF CRISIS,

THE THING THAT ALL OF US SORT OF FEEL

WHEN IT'S REAL DARK.

Man: THIS IS NOT AN ORDINARY SATURDAY.

THINGS HAVE CHANGED.

Kesey: THIS WORLD THAT I WAS PRESENTING WITH THESE WORDS,

I BEGAN TO SUSPECT MIGHT NOT HAVE A WHOLE LOT TO DO

WITH THE WORLD OF THIS.

SO, WE DECIDED TO GO TRAVEL ACROSS THE COUNTRY --

I LOVE TO DRIVE ACROSS THE UNITED STATES --

GO TO THE WORLD'S FAIR, AND COME BACK ACROSS,

JUST TO EXPERIENCE THE...

THE AMERICAN LANDSCAPE AND "HEARTSCAPE."

WE WERE GONNA TAKE THE SAME STATION WAGON WE CAME BACK IN,

AND PRETTY SOON BABBS WAS HOME, AND HE WANTED TO GO.

Babbs: I WAS IN THE MARINE CORPS FOR FIVE YEARS,

FLEW HELICOPTERS IN VIETNAM,

AND CAME OUT IN MAY OF '64.

GOT OUT OF THE MARINE CORPS -- I HAD ENOUGH OF THAT.

Kesey: BABBS WAS STALKING AROUND.

THIS IS JUST AFTER HE GOT OUT OF THE MARINES.

HE BEGAN TO ASSIGN NAMES TO THEM.

HE BECAME "THE INTREPID TRAVELER,"

AND THESE WERE HIS "MERRY BAND OF PRANKSTERS."

"SWASHBUCKLER" BECAME MY NICKNAME.

GRETCH HAD COME DOWN FROM OREGON. WE'D MET HER.

Fetchen: I WAS AN ART STUDENT AT THE UNIVERSITY OF OREGON.

MY INTENTION WAS TO GET A RIDE.

I WAS GONNA WORK IN NEW YORK,

SWIMMING AT THE WORLD'S FAIR IN WATER BALLET,

'CAUSE THAT'S SOMETHING I KNEW HOW TO DO --

THE ROCKETTES IN WATER.

[ LAUGHING ]

Kesey: PRETTY SOON, HAGEN WAS THERE,

WHO'S AN OLD FRIEND FROM OREGON,

FRATERNITY BROTHER -- HE HAD A CAMERA.

SANDY. HE WAS A PHENOMENON.

HE WAS IN THE NUTHOUSE.

HE WAS LIKE THE ID STRIPPED OF EVERYTHING ELSE.

HE WAS JUST THERE.

AT HIS WORST, HE WAS CRAZY.

AND AT HIS BEST, HE WAS A GENIUS.

JANE BURTON WAS A PROFESSOR IN PHILOSOPHY FROM STANFORD.

SHE WAS PREGNANT, AND SHE WAS HUNGRY ALL THE TIME.

SO, SHE SAYS, "WELL, I'M GENERALLY FAMISHED."

AND SO SHE BECAME KNOWN AS "GENERALLY FAMISHED."

Burton: IT GOT TO BE KIND OF A PARTY.

IT'S HARD TO DESCRIBE IT,

JUST A BUNCH OF LUNATICS RUNNING AROUND ACTING IDIOTIC

TRYING TO GET TO THE EAST COAST SOMEHOW.

Scott: I MET KEN ON PERRY LANE.

Kesey: CHLOE WAS THE GERTRUDE STEIN OF OUR SCENE.

Scott: I THOUGHT IT WAS PRETTY INSANE, ACTUALLY.

I REALLY DUG EVERYBODY FOR DOING IT.

Kesey: ZONKER WAS JUST THERE.

WE WEREN'T PLANNING TO TAKE HIM. WE BARELY KNEW HIM.

EVERY TIME SOMETHING WOULD HAPPEN, HE'D FALL ASLEEP.

AND HE HAD THIS SNORE...

[ IMITATING LOUD SNORING ]

Zonker: OKAY, HERE'S STARK NAKED.

NOW, I'M ATTRACTED TO HER. THERE'S NO QUESTION ABOUT IT.

BUT SHE'S JUST SO STRANGE.

Stark: MICHAEL HAGEN INVITED ME TO KEN'S HOUSE FOR A WEEKEND,

AND THAT'S HOW I MET EVERYBODY.

THERE WAS JUST A GREAT DEAL OF GENERAL JOVIALITY

AND TALKING AND LAUGHING AND DANCING.

AND EVEN THEN IT WAS LIKE A TROUPE OF MINSTRELS AND MIMES.

THEIR PRESENCE WAS VERY BEAUTIFUL.

Kesey: THE NOTION OF US BEING WILD CRAZIES WASN'T TRUE.

WE WEREN'T LONG-HAIRED, AND WE WEREN'T IRRESPONSIBLE.

THERE WAS AN AMERICAN SENSE.

THAT'S WHY WE ALWAYS WORE RED, WHITE, AND BLUE

AND FLEW THE FLAG.

IT WAS TO TRY TO COOL THE PEOPLE OUT AND SAY,

"THIS MAY LOOK STRANGE TO YOU, BUT GET USED TO IT.

IT'S AMERICAN, AND WITHOUT IT WE'RE A DEAD NATION."

Walker: SINCE IT TURNED OUT THAT THERE WERE SO MANY OF US,

FRIENDS AND EVERYTHING,

TOO MANY OF US TO GO IN ONE OR TWO CARS,

WE DECIDED WE'D BUY A BUS AND WE'D ALL TRAVEL TOGETHER.

* PUT ON YOUR RED DRESS, BABY *

* 'CAUSE WE GOING OUT TONIGHT *

Kesey: WE TOOK

A 1939 INTERNATIONAL HARVESTER'S SCHOOL BUS.

I GOT OUT THERE WITH A BLINDFOLD.

IT WAS YOUR LEFT BRAIN WORKING

BEFORE IT EVEN KNEW IT WAS THE LEFT BRAIN.

* I'M PRETTY SURE NOW, BABY *

* 'CAUSE YOU KNOW, YOU KNOW, YOU'RE GONNA KNOCK 'EM DEAD *

Walker: ROY WAS THE REAL PAINTER AMONG US.

* YEAH *

Seburn: AT FIRST, IT DIDN'T APPEAL TO ME AT ALL,

BECAUSE I THOUGHT IT LOOKED REALLY GOOD THE WAY IT WAS,

ORANGE WITH BLACK STRIPES.

ONCE IT WAS OBVIOUS THAT IT WAS GONNA HAPPEN,

I JUST WENT AHEAD.

THE CHALLENGE WAS TO MIX IT UP THERE

SO IT WOULD BE INTERESTING TO LOOK AT.

SOMEBODY JUST TOOK AN OLD BROOM UP ON THE TOP

AND SPILLED SOME PAINT AROUND,

AND, YOU KNOW, PEOPLE WALKED AROUND WITH THEIR BARE FEET

ON THE BUS, LEAVING FOOTPRINTS OF PAINT.

Stark: FIRST IT WAS BLACK AND WHITE,

THEN A MILLION DIFFERENT PSYCHEDELIC COLORS,

AND THEN IT WOULD BE PAINTED OVER.

I THINK THEY MUST'VE PAINTED IT OVER 5 OR 10 TIMES.

Walker: AND WE DECIDED, "WELL, HEY, IF WE'RE GONNA DO THIS BUS TRIP,

LET'S FILM IT."

Kesey: WE BOUGHT REAL COLOR FILM, 16 MILLIMETER,

AND WE'D GOTTEN SEVERAL REAL 16-MILLIMETER CAMERAS

AND WE DECIDED WE'RE GONNA MAKE A FILM.

Narrator: SO WHAT KIND OF FILM WERE YOU MAKING?

A FEATURE LIKE "GONE WITH THE WIND"?

Kesey: YEAH.

DID ANYONE ON BOARD KNOW HOW TO USE THE CAMERAS?

NONE OF US KNEW HOW TO DO ANYTHING THAT WE WERE DOING.

* I'M PRETTY SURE YOU'RE GONNA KNOCK 'EM DEAD *

Man: I HEARD THE BUS WAS CALLED "FURTHER."

RIGHT.

WHAT DOES "FURTHER" MEAN?

OH, I GET THAT QUESTION A LOT.

IT ALWAYS KIND OF DISAPPOINTS ME.

WHAT, THAT PEOPLE ASK YOU WHAT "FURTHER" MEANS? UH-HUH.

WELL, I COULD LOOK IT UP IN THE DICTIONARY

AND TELL YOU THAT IT MEANS FARTHER ALONG THAN THIS, BUT --

NO, NO, NO, NO. I'M PRETTY DISAPPOINTED IN MYSELF.

"FARTHER" IS A DISTANCE.

FURTHER IS A BUS.

ONE IS A PHILOSOPHICAL CONCEPT,

THE OTHER IS A MEASUREMENT.

Man #2: WHAT DO YOU THINK, KEN?

Kesey: WE NEEDED TO DO SOME MODIFICATIONS.

WE WERE AT A WELDING SHOP THAT WAS ALSO A JUNKYARD

AND WE SAW THIS BIG COMMERCIAL CLOTHES DRYER

AND IT LOOKED LIKE A TANK TURRET,

AND WE DECIDED WE WANTED A TURRET ON THE TOP.

SO WE HAD THIS WELDER GUY

CUT A BIG HOLE ON THE TOP OF THE BUS.

[ MOTOR WHIRS ]

I HAD A MOTORCYCLE THAT WE TOOK ALONG,

SO WE HAD THE PLATFORM WELDED ON THE BACK OF IT

THAT WE COULD CARRY THE MOTORCYCLE AND A GENERATOR ON.

CHUCK HAD DONATED A 5-K.W. GAS GENERATOR.

Narrator: KEN, WHY WAS THE IDEA OF A ROAD TRIP SO APPEALING?

WE WEREN'T OLD ENOUGH TO BE BEATNIKS,

AND WE WERE A LITTLE TOO OLD TO BE HIPPIES.

BUT EVERYBODY I KNEW HAD READ "ON THE ROAD,"

AND IT OPENED UP THE DOORS TO US

JUST THE SAME WAY DRUGS DID.

IT GAVE US A NEW WAY TO LOOK AT AMERICA, AND IT STIRRED US UP.

"SO, IN AMERICA, WHEN THE SUN GOES DOWN

"AND I SIT ON THE OLD BROKEN-DOWN RIVER PIER

"WATCHING THE LONG, LONG SKIES OVER NEW JERSEY

"AND SENSE ALL THAT RAW LAND THAT ROLLS

"IN ONE UNBELIEVABLE HUGE BULGE OVER TO THE WEST COAST,

"AND ALL THAT ROAD GOING,

"I THINK OF DEAN MORIARTY,

I THINK OF DEAN MORIARTY."

* OH *

* WELL, I'M THE TYPE OF GUY WHO WILL NEVER SETTLE DOWN *

* WHERE PRETTY GIRLS ARE, WELL, YOU KNOW THAT I'M AROUND... *

Babbs: A TWO-TONE PINK-AND-PURPLE DODGE

RIDING LOW ON TORTURED SHOCKS,

SPURTING SMOKE, RACES ACROSS THE CURB,

OVER THE BRIDGE, AND SKIDS TO THE PORCH, SLAMS,

AND KESEY STANDS, HANDS ON HIPS, WATCHING THE ARRIVAL.

Zonker: THE CAR MADE A RAPID APPROACH, AND HE FIT INTO THIS PLACE.

Man: THERE WAS 8-5 ON YOU GETTING THROUGH THERE.

PEOPLE WERE HOLLERING, "NOBODY COULD PARK THERE!

"YOU CAN'T FIT IT THROUGH!

NO, NO, COME ON, CASSADY, COME ON, MAN."

* WITH MY TWO FISTS OF IRON, BUT I'M GOING NOWHERE *

* OH, YEAH, I'M THE TYPE OF GUY THAT LIKES TO ROAM AROUND *

* I'M NEVER IN ONE PLACE *

* I ROAM FROM TOWN TO TOWN *

Kesey: BEFORE THE SMOKE HAD CLEARED,

THERE WAS THIS GUY WITH NO SHIRT ON TALKING A MILE A MINUTE.

WE ALL KNEW WHO HE WAS.

THIS WAS DEAN MORIARTY -- WE COULDN'T BELIEVE IT --

OUR FAMOUS DEAN MORIARTY.

* YEAH, I'M A WANDERER *

* YEAH, A WANDERER *

* I ROAM AROUND, AROUND... *

Burton: I'D READ "ON THE ROAD,"

SO I KNEW HE WAS SUPPOSED TO BE DEAN MORIARTY,

BUT I DIDN'T LIKE THAT CHARACTER IN THE BOOK TOO MUCH,

AND I LIKED NEAL BETTER.

Stark: ALL OF A SUDDEN, OUT POPS THIS MAN, ALMOST FROM NOWHERE.

HE REMINDED ME MORE OF AN IRISH LEPRECHAUN AT FIRST.

WHEN HE OPENED HIS MOUTH, HE SAID ABOUT 40 WORDS,

AND ALL OF A SUDDEN,

EVERYTHING IN THE UNIVERSE WAS AND IS ALL RIGHT

AND ALL BEAUTIFUL AND ALL FUNNY AND MEANINGFUL,

ALL AT THE SAME TIME.

* YEAH, I'M THE TYPE OF GUY THAT LIKES TO ROAM AROUND *

* I'M NEVER IN ONE PLACE... *

Fetchen: FOR ME, I'M WATCHING IT ALL AND THINKING,

"WOW, HE KIND OF LOOKS LIKE MY DAD,

AND MY DAD IS GONNA DRIVE THE BUS!"

[ LAUGHING ]

* ...DRIVE AROUND THE WORLD *

* 'CAUSE I'M A WANDERER *

* YEAH, A WANDERER *

Walker: HE CAME ALONG KIND OF AS A FATHER FIGURE.

SAYS, "I GOT TO TAKE CARE OF YOU BOYS, UNDERSTAND,

"CHANGE YOUR TIRES.

HERE, I GOT THIS 8-TON JACK. I GOT THIS LUG WRENCH."

HE GOES, "YOU DON'T EVEN HAVE A LUG WRENCH IN YOUR GODDAMN BUS."

"HERE, LOOK, I GOT US A COUPLE OF SPARE INNER TUBES,

"THOSE BOOT THINGS -- YOU NEVER SAW A BOOT BEFORE,

"PROBABLY GOES INSIDE THE SPARE TIRE,

AND A BIG TIRE, WE'RE TALKING ABOUT 10..."

Scott: WE STARTED OUT IN LA HONDA,

AND THERE WAS ALL THIS BIG DEAL,

AND WE HAD BEEN GETTING READY FOR DAYS

AND PACKING AND FIXING, AND FINALLY IT WAS THE MOMENT.

WE WERE LEAVING LA HONDA,

AND EVERYBODY GATHERED AROUND AND WAVED US GOODBYE

AND WE CLIMBED ON THE BUS.

HONK THE HORN!

AND IT STARTED OFF AND IT WENT OUT THE GATE

AND ACROSS THE BRIDGE AND RAN OUT OF GAS!

[ LAUGHING ]

Walker: WELL, THE MOMENT OF DEPARTURE WAS BEAUTIFUL.

WE RAN OUT OF GAS ON KESEY'S BRIDGE.

WE FIGURED, AT THAT RATE, YOU KNOW, 25 FEET AN HOUR --

WE HAD A WEEK TO GET TO NEW YORK.

WE WEREN'T WORRIED.

Burton: THIS IS TAKING DISORGANIZATION

TO SOME SORT OF PEAK.

Scott: IT WAS JUST LUDICROUS.

AND IN SOME WAY OR ANOTHER, THAT WAS JUST, LIKE,

THE PERFECT OMEN FOR THE START OF THIS TRIP.

Cassady: I USED TO THINK I WAS NAPOLEON, TOO.

Kesey: WE SET OUT JUST LIKE IN "EASY RIDER"

OR "TRAVELS WITH CHARLEY,"

WHERE STEINBECK SETS OUT TO SEEK THE SOUL OF AMERICA.

Burton: IT LOOKED LIKE A TRAVELING PLEASURE PALACE.

WE COULD RIDE ACROSS THE COUNTRY IN TOTAL COMFORT.

IT WAS BIG AND ROOMY AND SPACIOUS --

UNTIL WE GOT ALL THE PEOPLE IN IT.

THEN IT WAS CROWDED.

IT WAS THE EXACT OPPOSITE OF A PLEASURE PALACE.

[ INDISTINCT SPEAKING ]

Scott: I WAS ON THE FIRST 24 HOURS

THAT IT TOOK US TO GET FROM LA HONDA TO SAN JOSE.

I DON'T KNOW. WHAT IS IT, 40 MILES?

IT TOOK US 24 HOURS TO GET TO SAN JOSE.

Fetchen: WE DIDN'T GET VERY FAR,

AND MECHANICAL SPASMS STARTED HAPPENING ON THE BUS,

AND THE ENGINE WAS SPUTTERING, SO WE PULLED INTO A GAS STATION.

Babbs: SOME OLD GAS STATION MAN TOOK A LOOK AT THAT THING,

LOOKED AT THE ENGINE AND SAYS,

"YOU'LL NEVER GET THAT THING PAST OKLAHOMA."

Zonker: WELL, I'M SAYING TO MYSELF,

"JESUS CHRIST, THIS THING IS FUCKED."

LOOK, IT'S PAINTED WEIRD,

THE MECHANICS BEHIND IT ARE EQUALLY AS WEIRD.

Fetchen: WHILE EVERYBODY WAS WORKING ON THE ENGINE,

I WAS MESSING AROUND WITH THE HEADSET AND WAS GOING,

"WE'RE ON OUR WAY-AY-AY-AY...

TO SAN JOSE-E-E-E!"

HOW WAS YOUR STAY...

IN SAN JOSE?!

WHILE I WAS DOING THAT, I HAPPENED TO TURN AROUND,

AND I NOTICED CHLOE LOOKING REALLY GLUM.

I SAID, "WHAT'S WRONG?"

AND SHE SAYS, "IF IT TAKES US THIS LONG TO GET TO SAN JOSE,"

SHE SAYS, "WE'LL NEVER MAKE IT TO NEW YORK CITY!"

SHE SAYS, "I CAN'T TAKE THIS. THIS IS TOO CHAOTIC."

AND THAT WAS AS FAR AS SHE LASTED ON THE BUS.

Scott: YEAH, I WAS PRETTY GLAD TO GET OFF.

I MEAN, THANK GOD I'M NOT CROSSING THE COUNTRY IN IT.

Narrator: AND YOU GOT BACK ACROSS THE COUNTRY

BY MORE CIVILIZED MEANS, I IMAGINE?

T.W.A. [ LAUGHING ]

* T.W.A.'s YOUR WAY *

Kesey: THERE'S BEEN A ONE-STEP REMOVAL, I THINK,

FROM OUR CONNECTION TO LIFE.

AND I'LL TELL YOU WHERE YOU CAN SEE IT. GO TO L.A.

WE CAN'T SEE ANYMORE, WE CAN BARELY HEAR ANYMORE.

WHEN WE LOOK, WE'RE NOT LOOKING AT.

WE'RE LOOKING FOR.

I TELL YOU, HOLLYWOOD IS AS SOULLESS AN IDEA

OF WHAT LIFE LOOKS LIKE.

* I'M GOING OUT WEST WHERE I BELONG *

WHAT COLOR IS WORLD WAR II?

WORLD WAR I IS EVEN A BETTER EXAMPLE.

WHAT COLOR IS WORLD WAR I?

IT'S BLACK AND WHITE,

WHEREAS THE CIVIL WAR IS IN TECHNICOLOR.

* THEY WALK, AND I'LL WALK *

* THEY TWIST, AND I'LL TWIST *

WHAT HAPPENS IF ALL OF THIS STUFF THAT'S BEING SOLD US

HAS DAMN NEAR CLOSED THE DOOR

ON ANY POSSIBILITY OF OUR DOING ANYTHING NEW,

ON OUR DOING ANYTHING

EXCEPT TRAVELING IN THE SAME LITTLE CIRCLE?

AND, IF THAT IS TRUE, HOW DO WE BREAK OUT OF IT?

SO YOU DONATE BLOOD, THEN THERE'S A SICK CAT,

NOT BEING APPROVED OF AND ALL, AS THE SON, YOU SEE, WOULD BE,

SO YOU HAVE A MANIA...

ALL YOU CAN DO IS EXPERIENCE THIS THING.

THIS, AS NEAR AS I CAN SEE, IS WHAT'S GOING ON,

AS NEAR AS I CAN RECORD IT.

IT MAY NOT MAKE SENSE.

I'M JUST TRYING TO OPEN UP LIKE A CAMERA

AND SEE IT CLEARLY FOR A MOMENT.

Zonker: I REMEMBER WHEN WE FIRST HEADED OUT OF LA,

OUT OF KEN BABBS' PLACE, WHERE WE SPENT A COUPLE DAYS

PAINTING HIS SWIMMING POOL AND SO FORTH.

Kesey: WHEN THE BUS HEADED OUT,

BABBS WAS LIVING IN SAN JUAN CAPISTRANO

WITH HIS WIFE, ANITA, AND HIS KIDS.

AND WE WENT THROUGH CAPISTRANO,

AND HE REALIZED THIS IS HIS MERRY BAND OF PRANKSTERS

AND HE BETTER CLIMB ABOARD.

THE ORIGINAL PRANKSTER CREDO

THAT STARTED THE WHOLE PRANKSTER MOVEMENT

WAS ONE OF --

YOU START OFF BY SAYING, "NEVER TRUST A PRANKSTER."

BECAUSE NO MATTER HOW I TRY,

I WILL EVENTUALLY...

LIE TO YOU, EVEN THOUGH I MAY NOT WANT TO.

IF I SAY ONE THING TODAY...

[ FEEDBACK ]

Man: GO AHEAD. WOULD YOU REPEAT THAT AGAIN?

"AWOOOOOOO."

[ LAUGHING ]

VERY FUNNY.

Kesey: WHEN WE STARTED OUT WITH THE BUS,

I REALIZED I WASN'T GONNA BE ABLE TO WRITE A BOOK ABOUT THIS.

BECAUSE YOU CAN'T. IT'S AN EXPERIENCE.

Kesey: THIS WASN'T LITERATURE ANYMORE,

THIS JUMPED OFF THE PAGES AND ONTO THE STREETS.

Fetchen: WE TOOK OFF, WENT ACROSS THE DESERT,

AND HEADED FOR ARIZONA.

CASSADY TALKED A LOT.

[ LAUGHING ]

WE'D TAKE TURNS RIDING SHOTGUN WITH HIM

SO HE'D HAVE SOMEBODY TO TALK TO WHILE HE WAS DRIVING.

Burton: HE WAS A RADIO.

HE JUST WENT ON AND ON AND ON.

IT WAS ALMOST IMPOSSIBLE FOR HIM TO EVER SHUT OFF.

HE COULDN'T HELP HIMSELF.

IT HAD A LOT TO DO WITH SPEED.

MAJOR PORTION, CRITICAL POINT...

[ SIRENS WAILING ]

All: Shh! Shh! Shh!

Cassady: OKAY, SETTLE IN, SETTLE IN.

Fetchen: ATTRACTING THE COPS, AND HOW TO DEAL WITH

CONCEALING THE DRUGS THAT WE HAD,

THAT WAS ALWAYS A CONSIDERATION

THROUGHOUT THE WHOLE BUS TRIP,

BECAUSE THE COPS WERE STOPPING US

BECAUSE THEY'D NEVER SEEN ANYTHING LIKE IT.

Cassady: I WASTED YOUR TIME, THAT'S WHY I'M NOT --

Kesey: CASSADY WOULD ALWAYS BE OUT THERE TALKING TO THEM,

AND HE'D SAY, "OH, YEAH, OFFICERS," HE'D SAY.

"YOU CAN SEE WHAT THEY'RE LIKE BACK THERE," HE SAID,

"BUT I'M DOING MY BEST TO KEEP THEM IN CONTROL."

Cassady: WE'RE HAVING A BRIEF EQUIPMENT...

Fetchen: OUR INSTANT COVER WAS ALWAYS TO GET THE CAMERAS OUT AND RUN OUT

AND SAY WE WERE MAKING A MOVIE.

Cassady: WE DON'T HAVE A CAMERA WITH ANY FILM.

Burton: PEOPLE DIDN'T THINK WE WERE HIPPIES

OR THAT WE WERE DRUG FREAKS.

THAT WOULDN'T HAVE OCCURRED TO ANYBODY

BECAUSE IT WASN'T IN THE NEWS YET.

[ ALL CHEERING ]

Cassady: SHUT UP!

Narrator: HOW DID YOU GET MIXED UP WITH LSD IN THE FIRST PLACE?

Kesey: I CAME OUT OF THE UNIVERSITY OF OREGON

THE PRETTIEST LITTLE BOY YOU'VE EVER SEEN.

I DIDN'T SMOKE. I DIDN'T DRINK.

I WENT TO STANFORD ON A FORD FOUNDATION FELLOWSHIP.

AND WHILE AT STANFORD,

I WAS...GIVEN THE OPPORTUNITY

TO GO TO THE STANFORD HOSPITAL

AND TAKE PART IN THE LSD EXPERIMENTS.

Woman: HOW DID YOU BECOME A VOLUNTEER FOR THESE EXPERIMENTS?

Kesey: I, AT THE TIME, WAS TRAINING FOR

THE OLYMPICS TEAM AND WAS --

AS A WRESTLER? YEAH, AS A WRESTLER.

I'D NEVER BEEN DRUNK ON BEER, LET ALONE DONE ANY DRUGS,

BUT THIS IS THE AMERICAN GOVERNMENT.

THE STUDY OF LSD CONTINUES IN LABORATORIES AND HOSPITALS

THROUGHOUT THE UNITED STATES.

THEY PAID US $25 A DAY TO COME DOWN THERE

AND THEN THEY GAVE US STUFF.

WHAT IS LSD?

HOW DOES IT WORK? WHEN DID IT ALL BEGIN?

IT ALL BEGAN IN A LABORATORY VERY MUCH LIKE THIS ONE.

IN 1938, DR. ALBERT HOFFMAN IN SWITZERLAND

WAS LOOKING FOR NEW DRUGS

IN THE TREATMENT OF MIGRAINE HEADACHES.

HE HAD BEEN STUDYING MOLD THAT GROWS ON RYE PLANTS.

NOW, IT TURNED OUT THAT THESE SUBSTANCES WERE OF NO USE

IN THE TREATMENT OF MIGRAINE HEADACHES.

HOWEVER, IT WAS FOUND THAT THESE SUBSTANCES COULD PRODUCE

A CHANGE IN MENTAL STATE

CLOSELY RESEMBLING SOME FORMS OF INSANITY --

IN PARTICULAR, SCHIZOPHRENIA.

Kesey: WHEN I WAS ASKED TO DO THESE DRUG EXPERIMENTS,

I THOUGHT THESE DRUGS MIGHT GIVE US A WAY

TO CURE INSANITY, TO OVERCOME DEPRESSION.

THAT WAS PART OF WHAT WE THOUGHT WE WERE DOING.

WHAT KIND OF PREPARATION WERE YOU GIVEN FOR IT?

WERE YOU GIVEN ANY? NONE AT ALL.

I'D READ A LITTLE PIECE IN LIFE MAGAZINE

ABOUT HOW THEY'D GIVEN IT TO CATS,

AND CATS WERE AFRAID OF MICE ONCE THEY'D HAD LSD.

WHAT WAS THAT VERY FIRST TRIP LIKE, THOUGH,

UNDER THE EXPERIMENTAL CONDITIONS?

IT WAS ON A WARD, ON A NUTHOUSE WARD.

YOU'D GO IN A LITTLE ROOM.

THERE'D BE A BED AND A STAND WITH SOME WATER ON IT

AND A TAPE RECORDER AND NOTHING ELSE.

THERE WAS A LITTLE WINDOW RIGHT HERE

WITH A WIRE THROUGH IT,

AND YOU COULD LOOK OUT AND SEE THE PEOPLE

OUT IN THE OTHER ROOM.

[ CLOCK TICKING ]

[ KNOCK ON DOOR ]

Kesey: AND WHEN I CAME OUT OF IT,

I FELT LIKE IT WAS LIKE DISCOVERING A HOLE

THAT WENT INTO THE CENTER OF THE EARTH

AND YOU COULD SEE JEWELRY DOWN THERE

AND YOU WANTED YOUR PEOPLE TO GO DOWN AND ENJOY IT.

* TRAILER FOR SALE OR RENT *

* ROOMS TO LET 50 CENTS *

* NO PHONE, NO POOL, NO PETS *

* AIN'T GOT NO CIGARETTES *

Fetchen: CASSADY DROVE ALL NIGHT, AND EVERYBODY SLEPT OR DIDN'T SLEEP,

DEPENDING ON WHAT THEY WERE DOING.

Cassady: BUS SUPPOSED TO HIT TO TUCSON, ARRIVED...

OH, THERE, YOU CAN'T --

JUST AS IT WERE -- POLICE, HOW YOU DOING?

* KING OF THE ROAD *

A BUNCH OF PREVIOUS PLANS '69 -- OH, ALL RIGHT, HONEST.

ESPECIALLY SOUTH.

Narrator: IN 1964,

THE ULTRA-CONSERVATIVE BARRY GOLDWATER

WAS RUNNING FOR PRESIDENT.

WHAT DID YOU MAKE OF KESEY'S GOLDWATER STUNT IN PHOENIX?

Fetchen: I WAS KIND OF PUZZLED BY THE NEED TO GET INTO

THE POLITICS OF BARRY GOLDWATER.

I KIND OF THOUGHT THE WHOLE THING WAS SORT OF RIDICULOUS.

A VOTE FOR BARRY IS A VOTE FOR FUN.

Kesey: IT WAS A TONGUE-IN-CHEEK THING.

WE WANTED TO WAVE THE FLAG,

BUT WAVING THE FLAG IN DOWNTOWN PHOENIX

KIND OF SEEMED LIKE YOU'RE FOR GOLDWATER,

SO WE PAINTED "A VOTE FOR BARRY IS A VOTE FOR FUN"

AND THEN DROVE DOWN THE MAIN STREET OF PHOENIX.

BACKWARDS.

Narrator: EVEN AS YOU WERE DRIVING THE BUS ACROSS THE COUNTRY,

REVIEWS WERE COMING IN FOR "SOMETIMES A GREAT NOTION"

AND THEY WERE PECULIAR.

Kesey: YES. THEY DIDN'T KNOW EXACTLY WHAT TO SAY ABOUT IT.

"CUCKOO'S NEST" WAS A PHENOMENON.

IT RECEIVED NOTHING BUT GOOD REVIEWS.

MOST PEOPLE ARE SURPRISED TO LEARN

THAT YOU'D NEVER EVEN SEEN THE MOVIE.

YOU EVEN THREATENED TO SUE THE PRODUCERS.

I TOLD THESE LIARS, "I'LL NEVER SEE THE MOVIE."

THEY EMPHASIZED THE MELODRAMA.

WHO'S THE VILLAIN IN "CUCKOO'S NEST"?

THE NURSE. NO.

THE COMBINE IS THE VILLAIN,

AND THE BIG NURSE IS THE MINION OF THAT,

BUT SHE'S NOT THE VILLAIN.

Kesey: "I'M MOPPING NEAR THE WARD DOOR

"WHEN A KEY HITS IT FROM THE OTHER SIDE

"AND I KNOW IT'S THE BIG NURSE.

"SHE'S CARRYING HER WOVEN WICKER BAG,

"FULL OF A THOUSAND PARTS

"SHE AIMS TO USE IN HER DUTIES TODAY --

"WHEELS AND GEARS AND TINY PILLS THAT GLEAM LIKE PORCELAIN,

NEEDLES AND FORCEPS AND ROLLS OF COPPER WIRE."

GOOD MORNING, MISS RATCHED. GOOD MORNING.

GOOD MORNING, MISS RATCHED.

Kesey: "THE BIG NURSE TENDS TO GET REAL PUT OUT

"IF SOMETHING KEEPS HER OUTFIT

"FROM RUNNING LIKE A PRECISION-MADE MACHINE,

WHAT SHE CALLS 'ADJUSTED.'"

Nurse Ratched: MEDICATION TIME.

"SHE WORKS WITH AN EYE

"TO ADJUSTING THE OUTSIDE WORLD, TOO.

"WORKING ALONGSIDE OTHERS LIKE HER

WHO I CALL THE 'COMBINE.'"

Man: CHIEF?

WRITING THAT STORY FROM THE POINT OF VIEW OF THAT INDIAN,

THAT'S WHAT MAKES THAT BOOK.

AND I DON'T KNOW ANY INDIANS.

I DON'T KNOW WHERE THAT INDIAN CAME FROM.

THOSE FIRST FEW PAGES OF "CUCKOO'S NEST"

WERE WRITTEN ON PEYOTE.

I'VE ALWAYS FELT HUMBLED BY THAT CHARACTER.

[ IMITATING WAR CRY ]

WITHOUT THE CHARACTER OF THAT INDIAN,

THE BOOK IS A MELODRAMA.

YOU KNOW, IT'S A STRAIGHT BATTLE

BETWEEN McMURPHY AND THE BIG NURSE.

Narrator: ISN'T IT TRUE THAT THE INSPIRATION FOR THE BOOK

CAME FROM YOUR REAL-LIFE EXPERIENCES?

Kesey: I GOT A JOB AT THE NUTHOUSE

AND WORKED FROM MIDNIGHT TO 8:00.

MAKE NO MISTAKE ABOUT IT.

BEING CRAZY IS PAINFUL.

LOOKING OUT THROUGH THE LITTLE WINDOW, THROUGH MY CRAZED EYES,

I SAW THAT THESE PEOPLE HAVE SOMETHING GOING,

AND THERE'S A TRUTH TO IT.

IT GAVE ME AN EMPATHY.

THIS WAS, TO ME, SUPPOSED TO BE A REVOLUTIONARY NOVEL.

IT WASN'T FREUDIAN, MAN AGAINST WOMAN.

IT WAS MAN AGAINST MACHINE.

"I TOOK A DEEP BREATH AND BENT OVER AND TOOK THE LEVERS.

"I HEAVED MY LEGS UNDER ME

"AND FELT THE GRIND OF WEIGHT AT MY FEET

"AND HEARD THE WIRES AND CONNECTIONS

"TEARING OUT OF THE FLOOR.

"I WAS ABLE TO GET AN ARM AROUND IT

"AND MY OTHER HAND UNDER IT

"AND LET THE MOMENTUM CARRY THE PANEL

"THROUGH THE SCREEN AND WINDOW WITH A RIPPING CRASH.

"I PUT MY HAND ON THE SILL AND VAULTED OVER THE PANE.

"I RAN ACROSS THE GROUNDS.

"I FELT LIKE I WAS FLYING.

FREE."

Walker: BOY, IT WAS JUST HOT ACROSS THAT DESERT.

AND BEING HOT AND WHAT WE'D DO,

WE'D JUST GO LOOK FOR A COOL PLACE.

Cassady: MERGING TRAFFIC, MERGING TRAFFIC.

MERGING TRAFFIC.

YIELD, YIELD!

RIGHT OF WAY!

Burton: WE'D RIDDEN ALL NIGHT THE NIGHT BEFORE,

AND I'D GONE TO SLEEP IN ONE OF THE UPPER BUNKS,

AND MY PURSE HAD SLIPPED DOWN

BETWEEN THE BUNK AND THE SIDE OF THE BUS

AND GONE OUT THE OPEN WINDOW.

IT HAD EVERYTHING IN IT.

HERE I WAS, PREGNANT, TRAVELING WITH A BUNCH OF MAD MEN

AND I DIDN'T EVEN HAVE A DIME.

Cassady: WATERMELONS, WATERMELONS, WATERMELONS, WATERMELONS!

Burton: IF I'D HAD MY MONEY, IT WOULDN'T HAVE BOTHERED ME AT ALL,

BECAUSE I COULD HAVE WALKED OFF AT ANY STAGE.

I COULD HAVE GONE TO THE NEAREST BUS AT ANY TIME.

NOW I WAS TRAPPED.

Fetchen: SUDDENLY, CASSADY DROVE RIGHT OFF THE ROAD

AND STARTED DRIVING TOWARDS THIS LITTLE POND

AND GOT STUCK RIGHT IN THE SAND.

HE DROVE IT -- "VROOM!"

AND THERE WE WERE, SHOCKED AS CAN BE.

Walker: AH, YES, STUCK.

STUCK IN THE MUD IN ARIZONA DESERT IN THE SUMMERTIME.

Burton: CASSADY -- GOD, HE WAS HAVING A GOOD TIME.

Walker: IT WAS HOT, BOY. LET ME TELL YOU, IT WAS HOT.

IT WAS BLAZING HOT -- THERE I AM.

THAT'S ME, AND THERE'S KESEY

RIGHT BEHIND ME IN THE SUNGLASSES.

AND WE'RE ALL LOOKING AT IT, AND WE'RE STUCK DEEP IN THE MUD.

Cassady: FOR NO OTHER REASON THAN THE FACT THAT...

IF YOU DON'T GET OUT, GET OUT.

HEY!

Fetchen: KESEY HAD SENT SOMEONE OFF ON THE MOTORCYCLE

TO GO LOOK FOR HELP.

AND THEN KESEY HAD THIS BRAINSTORM THAT,

SINCE WE WERE GONNA BE STUCK FOR A WHILE,

WE SHOULD TAKE LSD.

Kesey: SO I'M GOING TO TAKE SOME LSD.

I WANT BABBS TO TAKE SOME.

CASSADY, DO YOU WANT TO TAKE SOME?

Cassady: I WOULD. YES, I WOULD.

Fetchen: THE RIDICULOUS THING WAS THAT THE ACID

WAS JUST MIXED INTO A JAR OF ORANGE JUICE

THAT WAS IN THE REFRIGERATOR.

NOBODY HAD ANY IDEA WHAT THE DOSAGE WAS,

IT WAS THIS SORT OF DEAL WHERE YOU SHOOK UP THE JAR

AND PASSED IT AROUND AND TOOK A SWIG.

AS THE ACID CAME ON, THE SETTING UP OF THE FILMING

WAS STARTING TO HAPPEN, TOO.

WHAT ELSE WE GOT UP THERE? ANOTHER CAMERA, DON'T WE?

WE'RE GOING TO TAKE THE ARRIFLEX, TWO MAGAZINES.

WE'RE GONNA HAVE ONE MAGAZINE ON THE ARRIFLEX.

WE'RE GOING TO HAVE THE OTHER CAMERA WITH THE ZOOM LENS

ALSO MOUNTED ON A TRIPOD.

WE'RE GONNA RUN THE ZOOM LENS ON THE TRIPOD.

WAS HE FILMING THAT?

[ ALL VOCALIZING ]

THAT'D BE UNGODLY.

MY MERRY BAND OF PRANKSTERS

WON'T BE WANDERING AROUND IN THE DIRT.

COME ON, COME ON.

NO, NO, NONE OF THIS MISERY STUFF.

COME ON, THIS IS THE MERRY GANG.

KEEP IT MOVING.

THAT'S STRETCHIN' GRETCHEN, SHE'S MIGHTY FETCHIN'!

ALWAYS SCRATCHING THE KITCHEN MATCHES AND NEVER ITCHING!

THERE SHE IS OUT THERE.

* YOU KNOW WHEN YOU HAVE A DREAM *

* WHERE WHALES CARRY YOU OUT TO SEA *

Fetchen: ONCE I HIT THE POND, I REALIZED I WAS REALLY HIGH.

* THE LITTLE CREATURES HAD THEIR LITTLE WINGS *

THE WATER OPENED ITSELF UP TO ME IN A NEW DIMENSION.

THERE WAS NO MURKINESS,

IT WAS SUPER CLEAR, REAL CRYSTAL.

IT WAS JUST THERE,

FOR MYSELF AND ITSELF TO GROOVE ON EACH OTHER.

* IF THE BIRDS FLY IN THE OCEAN *

* AND THE WHALES SWIM IN THE CLOUDS *

IT WAS A JOY.

Walker: FAREWELL FOREVER, PAULA.

AS SHE SINKS BENEATH THE DEPTHS.

IN THE NEXT FEATURE, YOU SHALL SEE EMERGE A SLIME QUEEN.

THE HIGH PRIESTESS OF PRANKSTERS.

Fetchen: THAT'S THE SLIME, THE ALGAE.

IT WAS TALKING TO ME,

IT WAS WELCOMING ME INTO ITS REALM OF EXISTENCE.

* WHERE THE SUNRISE SETS *

* AND THE SUNSET RISES *

IT WAS LIKE THE NATURE SPIRITS,

THE STUFF IN THERE, IT WAS SAYING,

"FINALLY WE'RE IN CONTACT WITH A HUMAN BEING,

WE'VE BEEN TRYING TO GET THROUGH TO YOU GUYS FOR A WHILE."

THEY WERE HAPPY, AND I WAS HAPPY.

* WHALES WANT TO LOVE YOUR FACE *

* WHALES WANT TO BE YOUR FRIEND *

* WHALES WANT TO HUG YOU *

Walker: THAT'S MISS SLIME OF 1964.

* CARRY OUR SOULS *

* THROUGH THE CLOUDS *

* IN THE SKY *

[ HORSES NEIGHING ]

THESE HORSES JUST SHOWED UP

AND ADDED SUCH A NICE KIND OF BACKDROP EFFECT.

Stark: OH, THERE ARE THE HORSES.

IT WAS INCREDIBLY BEAUTIFUL.

Burton: I DON'T REMEMBER MUCH REACTION TO THESE HORSES.

TO ME, THEY LOOKED KIND OF OLD AND FLEA-BITTEN.

[ DOG BARKING ]

Kesey: I WAS THINKING ABOUT HOW NICE IT WOULD LOOK

TO POUR SOME OF THOSE PAINTS -- LET'S SEE WHAT THEY LOOK LIKE.

Fetchen: AFTER WE TOOK THE ACID, I THINK IT WAS KESEY'S IDEA,

WE TOOK BOTTLES OF DOPE PAINT,

WHICH ARE USED FOR PAINTING MODEL AIRPLANES,

AND IT'S ENAMEL-BASED PAINT,

SO WHEN YOU PUT IT ON THE WATER, IT FLOATS.

I'LL NEVER DRINK DOWNSTREAM

FROM THE MERRY PRANKSTERS' CAMPSITE.

SO, WE HAD LOTS OF COLORS,

SO WE WERE DIPPING THE COLORS IN THERE

AND WATCHING IT ALL MARBLEIZE.

WE TOOK ZONKER'S WHITE T-SHIRT

AND PUT IT IN THE WATER WITH THE PAINT AND INVENTED TIE-DYE.

Zonker: GOD, I WAS PISSED.

THEY SAID, "OH, IT'S WATER-SOLUBLE.

OH, DON'T WORRY ABOUT IT, MAN."

"WORRY ABOUT WHAT? THAT'S ONE OF MY CLEAN T-SHIRTS."

"FUCK YOUR CLEAN T-SHIRTS," SOMEBODY SAID.

GEORGE SAID, "BACK UP," JUST LIKE I DO.

"SPIN AROUND."

FUCK YOU.

GOD, WATCH THIS THING.

ACTUALLY, I WAS HAVING A GOOD TIME.

[ LAUGHS ]

Fetchen: STARK NAKED REALLY STARTED WIGGING OUT.

Burton: SHE'S DEFINITELY STONED ON ACID.

WE PUT ALL OUR ACID IN ONE-QUART BALL JAR OF LEMONADE

AND I REMEMBER SEEING HER RUN DOWN TO THE REFRIGERATOR

AND GET IT OUT AND UPEND IT.

Kesey: GET A PICTURE OF THAT OVER HERE, MIKE, WITH THE...

GET THAT.

Walker: KATHY WAS LOADED.

HAGEN SAYS, "I'M GONNA MAKE A MOVIE STAR OUT OF HER

NO MATTER WHAT IT TAKES."

YOU KNOW, IT'S THE PRETTY GIRL, MOVIE-STAR TRIP.

THE GUY WITH THE CAMERA COMES ALONG AND SAYS,

"HEY, PRETTY GIRL, HOW'D YOU LIKE TO

STAND IN FRONT OF MY CAMERA?"

"SURE, WHY NOT? YOU'RE GONNA MAKE ME A STAR."

JUDY GARLAND IN THE DRUGSTORE, WHATEVER THAT TRIP IS, YOU KNOW.

HEY, HERE'S THE PAINT.

NO, NO, TWO MORE OF THESE,

I THINK WE'LL BE ABLE TO START USING FILM.

[ INDISTINCT CONVERSATIONS ]

Kesey: THE FIRST SIGNS OF STRAIN WERE BEGINNING TO SHOW

ON SOME OF THE HEALTHY, YOUNG FACES.

AND I WAS TRYING TO KEEP THINGS TOGETHER THERE,

BECAUSE I COULD SUDDENLY SEE EVERYTHING COMING TO PIECES.

THERE WAS THIS MAD WOMAN ON MY HANDS.

WHAT HAVE I GOTTEN MYSELF INTO?

Narrator: THROUGHOUT THE BUS TRIP

YOU SEEMED TO ENJOY THE CHAOS

BUT, AT THE SAME TIME, GENTLY GUIDE THE ACTION.

Kesey: PEOPLE FELT THAT ENLIGHTENMENT

WAS GOING ENTIRELY WITH THE FLOW.

BUT THAT'S LIKE BEING THE BALL IN A FOOTBALL GAME.

I'D RATHER BE THE QUARTERBACK.

I WANT TO HANDLE THE BALL.

I DON'T WANT TO JUST BE THROWN AROUND.

Burton: KEN WAS TRYING TO RUN THIS WHOLE THING AND BE ALL PHILOSOPHICAL,

AND HE WAS CAUGHT UP IN A MILLION DIFFERENT TRIPS.

Stark: * AND HOW LONG WILL IT GO ON? *

* HOW LONG CAN WE WAIT FOR HELP? *

* WHEN NO HELP IS COMING FOR... *

IT REMINDS ME OF MAD OPHELIA.

I DON'T REMEMBER THIS AT ALL.

I REMEMBER SWIMMING IN THE LAKE, BUT NONE OF THIS.

[ SINGING INDISTINCTLY ]

Burton: FOR STARK, OBVIOUSLY, IT WAS TOO MUCH TO BEAR.

FOR GRETCH AND BABBS, THEY FELL IN LOVE.

WOULD YOU LIKE TO PLAY MY FEET?

Fetchen: STARTING THE BUS TRIP, I WAS KESEY'S LOVER,

BUT AFTER I MET BABBS,

HE AND I BECAME LOVERS AND STAYED SO.

I WISH I COULD ALWAYS...

Cassady: OKAY!

THE CAMERA'S FUCKED UP AGAIN.

HEY, HEY!

Walker: THE TRACTOR HAS INDEED ARRIVED,

THEY'RE GOING TO PULL US OUT OF THIS SWAMP.

SANDY'S THERE, SCRATCHING HIS BALLS.

OKAY, LET'S GO!

COME ON!

COME ON, FASTER!

WHOA!

WAIT A MINUTE, WAIT A MINUTE.

TRY TO REVERSE THAT.

I THINK YOU'RE PULLING AGAINST EACH OTHER.

WE'RE GOING! OHH!

KEEP HER MOVING, KEEP HER MOVING!

KEEP HER MOVING, KEEP HER MOVING!

Kesey: SHE AND BABBS HAD DEVELOPED A GREAT AFFAIR

SINCE ROMEO AND JULIET.

* I GOT MY MOJO WORKING, BABE *

* AND I'M GOING TO TRY IT ON YOU *

Walker: THE LOVE RELATIONSHIPS WAS ONE OF THE VERY OBVIOUS THINGS

THAT WAS GOING ON.

I MEAN, NOTHING WAS HIDDEN, YOU KNOW?

* AND I'M GONNA TRY IT OUT ON YOU *

Fetchen: BABBS WAS REALLY WORRIED

THAT KESEY WOULD BE REALLY PISSED OFF,

BECAUSE KESEY WAS SINGLE, BECAUSE HIS WIFE WASN'T THERE,

SO HE WAS UNATTACHED, SEXUALLY.

* NOW I'M GONNA TRY IT ON YOU *

* OH YEAH *

HE DID SULK FOR A WHILE,

BUT HE KIND OF WOKE UP OUT OF HIS STUPOR

AND LOOKED OVER AND SAID, "NOTHING LASTS."

SO THAT BECAME ONE OF THE PRANKSTER MOTTOS, TOO --

"NOTHING LASTS."

Walker: ALL THIS STUFF THAT WE WENT THROUGH,

ALL THESE "INTERTANGLEMENTS" OF OUR RELATIONSHIPS,

OUR MARRIAGES, AND OUR LOVES AND LOVERS,

I THINK ALL OF THIS IS SOAP OPERA 101.

IT'S LIKE WE'RE ALL IN THIS CLASS TOGETHER

AND WE WENT THROUGH IT FOR SEVERAL WEEKS ON THE BUS.

Fetchen: STARK NAKED NEVER QUITE RECOVERED FROM WIKIEUP.

ALL HER MOLECULES, I DON'T THINK,

CAME BACK TOGETHER.

THEN SHE CLIMBS OUT ONTO THE PLATFORM IN THE BACK

AND PRETTY SOON ALL THE TRUCKERS WERE HONKING BEHIND US --

HONK, HONK, HONK, HONK.

AND CASSADY COULDN'T FIGURE OUT WHAT WAS GOING ON,

SO SOMEBODY LOOKED OUT THE BACK WINDOW,

AND THERE SHE HAD TAKEN THE BLANKET OFF HER

AND SHE WAS JUST STANDING OUT ON THE BACK DECK

JUST FLAUNTING HERSELF.

SHE HAD ALL THE SEMIS HEADING FOR HOUSTON BACKED UP BEHIND US.

NOBODY WANTED TO PASS US BECAUSE THEY WERE ALL WATCHING HER.

Stark: THAT KIND OF MADNESS IS ONLY TERRIFYING AND MISERABLE

TO THE PEOPLE WHO ARE OUTSIDE OF IT.

TO SOMEONE WHO'S INSIDE OF IT, IT'S REALLY NOT.

I JUST WANTED TO GO INTO THE DARKNESS

AND BE ALONE WITH MY OWN THOUGHTS.

[ FLUTE PLAYING DISCORDANTLY ]

I THINK MY PSYCHIC VISION IN RELATIONSHIP TO MYSELF

WAS THAT I WAS GETTING A LITTLE BIT HOMESICK.

Fetchen: THEN, NOT LONG AFTER THAT, WE PULLED INTO LARRY McMURTRY'S,

WHICH WAS KIND OF A NICE, MIDDLE-CLASS,

VERY TIDY NEIGHBORHOOD.

Babbs: LARRY LIVES IN THIS UPPER-UPPER-MIDDLE-CLASS

COLLEGIATE SECTION OF TOWN,

AND THIS ELECTRIC, MULTICOLORED CIRCUS BUS SHOWS UP.

Stark: LARRY APPEARED AT THE BUS WITH A LITTLE CHILD,

AND IT REMINDED ME OF MY DAUGHTER.

I JUMPED OFF THE BUS

AND, I GUESS, MUCH TO HIS AMAZEMENT, GRABBED THE BABY.

Fetchen: AND SHE OPENS HER ARMS WIDE,

AND THE BLANKET THAT SHE HAD WRAPPED AROUND HER DROPPED.

Walker: AND SHE'S STANDING THERE STARK NAKED.

I THOUGHT SHE LOOKED JUST FINE, AS A MATTER OF FACT.

I THINK IT MIGHT HAVE BEEN

A LITTLE BIT OF A PROBLEM FOR LARRY McMURTRY,

AS FAR AS HIS NEIGHBORS WERE CONCERNED.

Fetchen: THINGS JUST KIND OF CONTINUED TO GO DOWNHILL FROM THEN ON.

Stark: I GUESS I WAS GOING THROUGH A THING WITH MICHAEL HAGEN.

AND IT MIGHT HAVE BEEN HIS ATTENTION

THAT HE PAID TO OTHER WOMEN THAT DISTURBED ME.

IT MUST'VE BEEN ABOUT 2:00 OR 3:00 IN THE MORNING.

I COULDN'T SLEEP,

AND I JUST FELT LIKE KIND OF WALKING IT OFF.

I WAS IN A BAD MOOD, ACTUALLY,

AND I WENT OUT IN MY BARE FEET.

WHERE ARE YOU TAKING ME? WHERE ARE MY FRIENDS?

DO MY FRIENDS KNOW I'M HERE?

THEY HELD ME IN A CELL FOR A LITTLE WHILE,

THEN THEY HAD SOMEONE COME TO TALK TO ME.

BY THIS TIME, I WAS JUST A COMPLETE WRECK.

WHERE AM I?

Man: YOU'RE IN A HOSPITAL.

PEOPLE WERE ASKING ME A LOT OF STRANGE QUESTIONS,

AND I JUST DIDN'T ANSWER ANY OF THEM --

EXCEPT I THINK I GAVE THEM MY NAME, AND THAT WAS ALL.

NAME, RANK AND SERIAL NUMBER, SO TO SPEAK.

RIGHT AROUND HERE TO THE DESK.

YOU'RE IN A HOSPITAL.

HELLO, I'M A NURSE.

WHAT'S YOUR NAME?

Narrator: WHAT HAPPENED TO STARK NAKED?

Fetchen: ONE OF HER FRIENDS IN SAN FRANCISCO CAME OUT

AND GOT HER, AND SHE ENDED UP GOING BACK HOME WITH HIM,

AND THAT WAS AS FAR AS SHE GOT ON THE TRIP.

Cassady: HURRY UP, HURRY UP, WE'LL GET THERE IN THE NICK OF TIME.

HURRY UP, HURRY UP, HURRY UP,

WE'LL GET THERE IN THE NICK OF TIME.

Walker: WE SORT OF ABANDONED HER.

WE FIGURED ANYBODY THAT COULDN'T HOLD THEIR SHIT TOGETHER

JUST WASN'T GONNA BE ABLE TO MAKE IT.

YOU KNOW, WE HAD A TRIP TO DO, WE HAD TO KEEP MOVING.

Fetchen: AND IT ALSO MADE ME NERVOUS, THINKING,

"WHO'S GONNA BE LEFT BEHIND NEXT?

IS IT GONNA BE ME?"

Narrator: WEREN'T YOU CONCERNED THAT THIS TRIP WAS BEGINNING TO UNRAVEL?

Kesey: I'LL TELL YOU A THING THAT I LEARNED

WHILE I WAS WORKING IN THE ASYLUM

THAT I THINK IS THE MOST IMPORTANT THING

I'VE EVER LEARNED.

EVERY ONCE IN A WHILE, ALL THE POWER,

THE ATTENTION THAT YOU HAVE

COMES TO BEAR ON EXACTLY WHAT YOU'RE DOING

AND DOESN'T DECIDE WHETHER IT'S GOOD OR BAD,

JUST DECIDES THAT IT IS,

AND THE ONLY THING YOU CAN DO IS ENJOY THE RIDE.

Cassady: * HE'S COMING IN TO NEW ORLEANS *

* WHEN THE SAINTS GO MARCHING... *

* IN *

[ UPBEAT MUSIC PLAYS ]

Fetchen: WELL, CASSADY WANTED TO SHOW US NEW ORLEANS

BECAUSE HE WAS FAMILIAR WITH IT,

AND HE WAS SO EXCITED TO BE IN NEW ORLEANS.

IT WAS A BIG, BIG DEAL.

HE HAD HIS FAVORITE HAUNTS. HE WAS KIND OF A TOUR GUIDE.

WE WENT DOWN TO THE HEART OF THE JAZZ DISTRICT.

CASSADY WAS A BIG JAZZ AFICIONADO.

HE LOVED JAZZ.

Kesey: AH, THE OLD ABSINTHE BAR.

THE OLD ABSINTHE BAR.

I REMEMBER THAT I WAS THERE ONCE.

I WAS THERE ONCE.

...WARM, 11:00 IN THE MORNING ON CANAL STREET

IN NEW ORLEANS.

IT'S THIS FEELING OF EVERYTHING MOVING SLOWER AND SLOWER...

SLOWER AND SLOWER,

CAUGHT IN SOME KIND OF MOLASSES MIND WARP, WE WERE.

Zonker: THAT WAS WHERE WE STARTED TO DRINK MINT JULEPS.

I THINK WE WENT DOWN IN A BASEMENT, TOO.

Kesey: WE SAW -- SOMEBODY HAD JUST MOVED INTO THE OTHER ROOM.

THERE WAS A PIANO.

AND HE WENT IN THERE AND SAT DOWN, AND HE STARTED TO PLAY.

[ PIANO PLAYING ]

* MY BABY LEFT ME *

[ FLUTE PLAYING ]

* MY BABY LEFT ME A LONG TIME AGO *

Zonker: I KNOW KESEY WAS JUST CRAZY ABOUT HIM.

GOD, HE'D COME OVER AND HE'D SAY,

"WOW, THIS GUY IS GREAT!"

HE WANTED TO TAKE HIM WITH US OR SOMETHING LIKE THAT.

* ...WALKED OUT THE DOOR *

Kesey: AIR'S STILL THICK WITH DUST MOTES

SWIRLING AND FOLLOWING US OUT THE DOOR

AND UP AND INTO -- ONTO THE BUS, AND THERE WE WENT,

"MOONLIGHT SINATRA" BOARDING WITH US.

AND WE REALIZED WE GOT TO DIP THIS SUCKER IN THE WATER

BEFORE HE GOES OFF.

SO WE SAID, "WE'RE GONNA FIND SOME WATER," AND HE SAYS,

"GO TO LAKE PONTCHARTRAIN."

HE DIDN'T KNOW WHERE IT WAS. HE'D JUST HEARD ABOUT IT.

* LEAD *

* LEAD *

* LEAD ME ON *

* TO THE LIGHT *

Kesey: YOU REALLY LOOK AT THE '60s AND WHAT STARTED THERE.

MUSIC WAS CHANGED FOREVER.

THE FEMINIST MOVEMENT STARTED THERE,

THE CIVIL RIGHTS MOVEMENT.

WHILE WE WERE DRIVING THAT BUS ACROSS THE COUNTRY,

MARTIN LUTHER KING WAS IN SELMA.

EITHER YOU GIVE THE NEGRO HIS GOD-GIVEN RIGHT

AND HIS FREEDOM,

OR YOU FACE THE FACT

OF CONTINUAL SOCIAL DISRUPTION AND SOCIAL CHAOS.

Fetchen: YOU HAVE TO REMEMBER, THIS IS 1964,

AND IT'S RIGHT WHEN THE CIVIL RIGHTS THING

WAS IN A VERY EARLY INFANCY,

SO WHITE-ONLY, BLACK-ONLY CONSCIOUSNESS

WAS STILL REALLY PREVALENT IN THE SOUTH.

AND THE STORY ABOUT LAKE PONTCHARTRAIN WAS THAT

WE'D PULLED INTO A BLACK-ONLY AREA, THE LAKE.

OF COURSE, THE PRANKSTERS DIDN'T KNOW THAT.

THEY JUST PULLED UP TO THIS LAKE

BECAUSE THEY SAW IT AND WANTED TO GO SWIMMING.

Walker: WE GOT OUT -- I'M LOADED ON ACID, RIGHT?

OKAY, AND ALL THESE OTHER GUYS ARE LOADED ON ACID.

OKAY, HERE WE ARE.

I THINK I DON'T NOTICE THAT ANYTHING IS ODD,

EVEN AT THIS POINT.

Walker: AS WE'RE SWIMMING AROUND ON THIS HOT, HOT, HUMID

FIRST-DAY-OF-SUMMER LOUISIANA DAY,

I REMEMBER LOOKING AROUND THE SWIMMING HOLE

THAT WE'D ALL JUST PRACTICALLY RAN AND JUMPED INTO.

I THOUGHT, "GOD, THERE'S A LOT OF COLORED PEOPLE HERE,

"AND THERE'S NOT VERY MANY WHITE PEOPLE.

WELL, THERE'S ONE AND THERE'S ONE AND THERE'S ONE..."

AND I LOOKED AROUND,

AND I HAD THIS SUDDEN REALIZATION

THAT I KNEW EVERY SINGLE ONE OF THE WHITE PEOPLE

IN THAT SWIMMING HOLE.

AND THEN IT DAWNED ON ME.

"SHIT, WE JUST INTEGRATED THIS PLACE."

THEN ALL OF A SUDDEN,

THIS WAVE OF PARANOIA WENT THROUGH US ALL.

Burton: TALK ABOUT BEING IN THE WRONG PLACE AT THE WRONG TIME.

THAT'S THE KIND OF THING THAT COULD HAVE STARTED A RACE RIOT.

[ ENGINE TURNS OVER ]

Kesey: I DON'T BELIEVE A WORD WAS SAID.

WE ALL JUST GRABBED EVERYTHING, JUMPED ON THE BUS, AND LEFT.

Walker: BABBS JUST FELL DOWN IN THE YARD IN PENSACOLA, FLORIDA.

WE WENT TO THIS PLACE WHERE HIS OLD ROOMMATES

STILL LIVED IN PENSACOLA,

WHERE THEY'D BEEN MARINES TOGETHER.

Fetchen: WE ARRIVED, AND BABBS' MARINE BUDDY WAS STILL AT WORK,

AND SO KESEY HAD THE IDEA OF MAKING

A LITTLE THEATRICAL THING TO FILM.

THE SLIME QUEEN WILL LEAD THE WAY!

[ ALL SHOUTING ]

Burton: OH, THIS IS FUNNY.

I REMEMBER THIS REALLY WELL.

I CONSIDER THIS TO BE ONE OF THE MOST FUCKED-UP DAYS

ON THE WHOLE TRIP.

BEING PREGNANT, I WAS MISERABLE.

IT WAS JUST REALLY HOT,

AND THERE WAS NO REASON TO BE THERE,

AND THERE'S NOTHING TO DO, SO WE DID THIS.

I WAS TRYING TO BE COOPERATIVE,

BUT I CAN TELL YOU THAT IT REALLY HAD NOTHING GOING FOR ME.

Zonker: THIS IS SOME KIND OF ABSURD DANCE, AS I RECALL.

I ENJOYED IT.

I JUST WISH I COULD'VE PLAYED THE TROMBONE BETTER.

Burton: PLAYING THOSE INSTRUMENTS.

GOD DAMN IT.

SOMEBODY STARTS PLAYING THE SAXOPHONE FOR THE FIRST TIME.

WELL, THEY WANT IT TO SOUND LIKE JOHN COLTRANE.

WELL, THEY'RE NOT GONNA SOUND LIKE JOHN COLTRANE.

THAT'S WHAT MADE ME SO MAD.

THEY THOUGHT THEY WOULD JUST BECAUSE THEY WANTED TO.

BUT YOU DON'T. IT TAKES PRACTICE.

Kesey: HERE'S BABBS' FRIEND FROM VIETNAM WHO ROLLS IN.

AH, PLEASED TO MEET YOU, SIR.

YES, INDEED, IT'S BEEN QUITE SOME TIME.

YES, IT'S A LITTLE STRANGE SINCE THE CORPS,

DON'T YOU THINK? UH-HUH.

I'VE CHANGED MY UNIFORM SLIGHTLY.

AND THIS IS MY NEW BATTALION.

YES, QUITE.

YEAH, WE'VE GIVEN UP HELICOPTERS.

MOST OF THESE GUYS CAN ONLY FLY AT NIGHT.

SO WE'VE GIVEN UP HELICOPTERS AND WE NOW TRAVEL BY BUS.

IT'S SLOWER BUT MORE DELIBERATE.

Cassady: WE MUST PRESS ONWARD AT ALL FORWARD SPEED, FAST.

AHEAD FAST LAKE.

TENNIS ANYONE? TENNIS?

OHH!

WHERE IN THE HELL ARE WE?

Kesey: WELL, NOW, JOHN, JOHN BABBS.

JOHN BABBS BECAME KIND OF THE SEMI-QUASI NAVIGATOR,

AND BECAME KNOWN AS "SOMETIMES MISSING,"

BECAUSE ONE TIME WHEN HE WAS MAPPING US THROUGH ONE TOWN,

WE WENT THROUGH ANOTHER,

AND WHEN EVERYBODY GOT OFF THE BUS TO TAKE A LEAK

AND WENT ON AGAIN, HE WASN'T THERE,

AND NOBODY NOTICED IT TILL ABOUT 100 MILES LATER.

BUT THEN, AS WE TURNED AROUND TO GO PICK HIM UP,

HERE CAME A CAR AND HE JUMPED OUT.

HE HAD HITCHHIKED AND CAUGHT UP WITH US.

Fetchen: JOHN BABBS WAS IN THE BACKSEAT WAVING HIS ARMS LIKE THIS

AND TRYING TO GET OUR ATTENTION.

SO WE PULLED OVER AND PICKED HIM UP.

THAT'S HOW HE GOT THE NAME "SOMETIMES MISSING."

* WELL *

* YOU KNOW YOU TOOK MY HEART *

Cassady: WELCOME TO NEW JERSEY.

SPEED 50.

NEW JERSEY TURNPIKE.

* YEAH, YEAH *

Burton: IN A WAY, CASSADY SAW HIMSELF

AS A GUARDIAN OF THAT TRIP, AND HE WAS.

HE WAS DRIVING, BUT HE WAS NOT MASTERMINDING THE SITUATION.

THAT WAS KESEY'S TRIP.

[ SIREN WAILS ]

Walker: PEOPLE FOLLOWING HIM ALL THE TIME,

EGGING HIM ON TO GREATER HEIGHTS OF SELF-INDULGENCE.

AND HE ALWAYS DID IT,

HE ALWAYS TRIED TO BE MORE OF THIS HERO

THAT WAS THIS SELF-INDULGENT, "ON THE ROAD," EPIC LEGEND.

[ HORN HONKING ]

YES, SIR.

LICENSE AND REGISTRATION.

OF COURSE!

WHERE YOU HEADING?

I THINK IT'S MADISON AVENUE.

Kesey: WE ALL LEARNED A GREAT DEAL FROM NEAL CASSADY.

THIS IS A GUY THAT KNOWS WHAT HE'S DOING,

AND THIS IS HIS MEDIUM.

IT'S WORDS, IT'S CARS, AND IT'S DRUGS.

YES, SIR, AND THAT'S WHY -- BACK ON THE BUS.

EVERYBODY GET BACK ON THE BUS!

I DON'T WANT TO SEE ANYBODY OUT HERE.

WE COULD ALL DO MAKING NOISE, HITTING STICKS TOGETHER,

BUT TO BE ABLE TO USE THE MOST ADVANCED OF INSTRUMENTS,

WHICH IS OUR MIND AND OUR VOICE.

CASSADY COULD DO IT BETTER THAN ANYBODY, USING WORDS.

* LOVE POTION NUMBER 9 *

Walker: HE WAS LIKE A BUS DRIVER COMING INTO HIS LAND.

YOU KNOW, HE'D SPENT A LOT OF TIME IN THE EAST.

HE WASN'T FROM NEW YORK. HE WAS FROM DENVER.

BUT HE'D SPENT A LOT OF TIME BACK THERE,

YOU KNOW, BACK IN THE DAYS, WITH KEROUAC AND GINSBERG

AND THOSE GUYS.

AND, YOU KNOW, I THINK HE FIRST LEARNED TO DRIVE

AS A PARKING-LOT ATTENDANT IN NEW YORK, AS A MATTER OF FACT.

* I HELD MY NOSE, I CLOSED MY EYES *

* I TOOK A DRINK *

* I DIDN'T KNOW IF IT WAS DAY OR NIGHT... *

[ WHISTLE BLOWING, INDISTINCT CONVERSATIONS ]

* ...BUT WHEN I KISSED A COP DOWN AT 34th AND VINE... *

EXIT 9, EXIT 9.

* LOVE POTION NUMBER 9 *

LOVE POTION NUMBER 9.

I LOST LOVE POTION NUMBER 9.

LOOK, THERE'S THE EMPIRE STATE BUILDING, DEAD AHEAD.

SEVEN MILES, FIVE MILES --

SEVEN -- POSSIBILITY -- SEVEN MILES, EMPIRE.

MANHATTAN ON YOUR RIGHT.

Fetchen: WELL, COMING INTO NEW YORK WAS EXCITING

BECAUSE THAT WAS OUR DESTINATION.

Cassady: WELCOME TO THE BRONX.

Fetchen: I WAS THERE, THIS WAS IT.

I'D MADE IT TO NEW YORK.

Zonker: WHAT AN UNNATURAL ENVIRONMENT WHEN YOU LOOK AT NEW YORK,

WITH THE STREETS AND THE CARS.

[ COUGHS ]

* LOVE POTION NUMBER 9 *

* LOVE POTION NUMBER 9 *

Woman: WE ARE THE MERRY BAND OF PRANKSTERS.

Fetchen: WHEN WE WENT INTO NEW YORK CITY, WE WERE ALL ON TOP OF THE BUS

PLAYING INSTRUMENTS AND TOOTLING AROUND TO EVERYBODY.

IT WAS A LOT OF FUN INTERACTING WITH THE PEOPLE.

* YOU WOMEN HAVE HEARD OF JALOPIES *

* YOU'VE HEARD THE NOISE THEY MAKE *

* BUT LET ME INTRODUCE MY NEW ROCKET 88 *

* YES, IT'S GREAT, JUST WON'T WAIT *

* EVERYBODY LIKES MY ROCKET 88 *

* BABY, WE'LL RIDE IN STYLE *

* MOVIN' ALL ALONG *

Stone: YOU KNOW, I GOT ON THE BUS WHEN IT PULLED UP IN NEW YORK,

AND WE'D DRIVE ALL OVER NEW YORK.

IT SURE FELT LIKE YOU WERE IN AN AQUARIUM

ON THE OTHER SIDE OF THE GLASS.

Kesey: THE PUBLIC ALWAYS GRINNED WHEN THEY SAW THAT BUS.

IT'S LIKE KIDS WHEN THEY SEE AN EASTER EGG.

IT'S SIMPLE.

THERE IT IS. IT'S COLORED. IT'S AN EGG.

NOBODY FELT THE SLIGHTEST BIT THREATENED BY IT.

Stone: KEN REALLY BELIEVED THAT THINGS COULD BE CHANGED,

THAT CONSCIOUSNESS COULD BE CHANGED.

HE SAW HIMSELF AS A KIND OF LIBERATOR FOR THE GENERATION,

AND HE SAW THE BUS TRIP AS A KIND OF GOING TO NEW YORK,

A KIND OF, YOU KNOW, NAPOLEON GOES TO PARIS.

Kesey: THE BEST THE BUS EVER WAS WAS WHEN WE DROVE THROUGH HARLEM.

HAD ALL THESE PEOPLE

RUNNING OUT AND FOLLOWING US ALONG IN HARLEM,

ALL THESE KIDS.

Narrator: SOME TWO WEEKS LATER, THE BUS HAS SOMEHOW MANAGED

TO GET ACROSS THE COUNTRY,

AND, ONCE AGAIN, YOU ENCOUNTERED THE BUS.

Scott: YES, 1239 MADISON AVENUE

WAS WHERE THIS APARTMENT WAS THAT I KNEW ABOUT.

THE NEXT MORNING, THE PRANKSTERS SHOWED UP.

AND THEY ALL CAME IN

WITH ABOUT 500 POUNDS OF EQUIPMENT.

I MEAN, THEY JUST HAD WIRES AND CAMERAS AND LIGHTS,

AND IT WAS INSTANTLY STREWN

FROM ONE END OF THE APARTMENT TO THE OTHER.

IT LOOKED LIKE THE BUS!

IT LOOKED LIKE THE INSIDE OF THE BUS.

AND SO, THAT NIGHT, THERE WAS THIS FANTASTIC PARTY

THAT GOT SORT OF OUT OF HAND,

AND THE POOR DOORMAN KEPT COMING UP

AND SAYING EVERYBODY WAS COMPLAINING,

AND IT WENT ON AND ON AND ON AND ON.

[ INDISTINCT SINGING ]

AND EVERYONE WAS VERY EXCITED THAT KEROUAC WAS THERE,

AND HE WAS GETTING REALLY DRUNK, AND GINSBERG CAME.

Ginsberg: "I SAW THE BEST MINDS OF MY GENERATION

"DESTROYED BY MADNESS, STARVING, HYSTERICAL, NAKED,

"DRAGGING THEMSELVES THROUGH THE NEGRO STREETS AT DAWN

LOOKING FOR AN ANGRY FIX..."

Kesey: GINSBERG IS LIKE A SPONGE.

HE CAN SOP UP ALL OUR POISONS.

I BOUGHT THE RECORD "HOWL,"

AND HE WAS KIND OF LIKE A FOLK SINGER, TO ME,

MORE THAN A POET.

I KNEW THE SOUND OF HIM READING

BEFORE I READ ANY OF HIS STUFF.

Ginsberg: "...SAT UP SMOKING IN THE SUPERNATURAL DARKNESS

"OF COLD WATER FLATS

FLOATING ACROSS THE TOPS OF CITIES, CONTEMPLATING JAZZ..."

Kesey: AND WHEN WE HEADED OFF ON THE BUS,

IT WAS ONLY NATURAL THAT WE SHOULD HEAD TO NEW YORK

AND TRY TO FIND GINSBERG AND KEROUAC.

Fetchen: UNFORTUNATELY, IT WASN'T LIKE MEETING THE AUTHOR.

IT WAS MORE LIKE,

SEE IF WE CAN GET HIM TO RESPOND TO OUR ANTICS.

WHICH DIDN'T HAPPEN.

HE WAS NOT ENTHUSED WITH OUR CRAZINESS.

Burton: THE THING YOU GOT TO REALIZE ABOUT KEROUAC,

IT WAS LIKE HE WAS ALREADY SORT OF AN OLD GUY

AND KIND OF OUT OF IT.

HE WAS ALREADY CRYSTALLIZED.

HE WAS KIND OF A SAD CHARACTER.

Kesey: WE HAD BEEN ACCEPTED BY THE OLD GUNFIGHTERS.

YOU KNOW, THIS WAS THE REAL HEAVIES IN OUR MYTHOLOGIES --

KEROUAC, CASSADY, GINSBERG.

Burton: NEAL WAS MORE ON THE RIGHT TRACK

WHEN HE GOT STARTED WITH THE BEAT MOVEMENT.

Kesey: KEROUAC AND I MET HIM IN '45, SO HE WAS ONLY 20 THEN,

AND WITHIN THAT YEAR,

HE AND I HAD A ROMANCE THAT LASTED...ON AND OFF, FOR...

WELL, TILL -- AT LEAST, I THINK THE LAST TIME

WE WERE IN BED TOGETHER WAS '66,

SO THAT'S 21 YEARS.

Burton: I GOT A WHOLE THEORY ABOUT THIS MAN.

WHAT HE WAS WAS THE REAL SMART CATHOLIC BOY

WHO GOT SUCKED UP BY KEROUAC.

BUT HE WAS REAL POETIC, LIKE ALL THESE IRISH CATHOLICS ARE,

AND HE GOT IN WITH SOME POETS AND HE GOT ASPIRATIONS.

AND SOMEBODY PLANTS A LITTLE SEED OF HOW GREAT YOU COULD BE

BECAUSE YOU'RE SO GREAT, SO -- SO SEXY, SO POETIC.

HE FELL IN LOVE WITH THAT IDEA,

WHICH WAS SOMETHING HE COULDN'T POSSIBLY ACHIEVE.

SO THEN HE WAS SPLIT BETWEEN THE TWO WORLDS.

HE COULDN'T CREATE ANYTHING FOR HIMSELF.

HE COULDN'T GET IT TOGETHER WITH A LADY AND HAVE A GOOD FAMILY.

HE COULDN'T GO OFF AND BE A FAGGOT WITH GINSBERG.

HE COULDN'T BE ANYTHING.

IT'S AN EXACT MIMICRY OF GINSBERG 20 YEARS AGO.

GINSBERG USED TO BE WILD.

GINSBERG'S SO COOL NOW.

HE USED TO RUN OVER COLUMBIAN ROOFTOPS

WAVING GENITALS AND MANUSCRIPTS.

Scott: THE WHOLE POINT OF THE TRIP, SUPPOSEDLY --

AT LEAST IN THE BEGINNING --

WAS THAT EVERYONE WAS GONNA GO TO THE FAIR.

ALL THE PRANKSTERS WERE SO EXCITED.

THIS DAY, WE DROVE TO THE FAIR,

AND IT WAS LIKE THE HOTTEST 29th OF JUNE THAT EVER HAD BEEN.

Man: PRACTICALLY EVERYBODY IN THE WORLD IS COMING TO THE FAIR.

* I MADE MY RESERVATION *

* I'M LEAVING TOWN TOMORROW *

* I'LL FIND SOMEBODY NEW AND *

* THERE'LL BE NO MORE SORROW *

* THAT'S WHAT I DO EACH TIME *

* BUT I CAN'T FOLLOW THROUGH *

* I CAN'T BREAK AWAY *

* THOUGH YOU MAKE ME CRY *

* I CAN'T BREAK AWAY... *

WELCOME TO THE WORLD OF TOMORROW.

Scott: WELL, SEE, THE WHOLE IDEA --

THIS IS WHAT DROVE ME UP THE WALL --

WAS IT WAS GOING TO BE MADE INTO A MOVIE

OF EVERYBODY RUNNING ABOUT AT THE FAIR.

WELL, NOBODY KEPT TOGETHER. THERE WAS NOTHING TO FILM.

IT WAS ALL JUST SO DISPERSED.

Kesey: WE LOST SOMETIMES MISSING AGAIN. THAT'S WHAT ALWAYS HAPPENS.

Scott: KEN AND BABBS WERE SO MANIC AND SO HIGH.

THEY DRANK THIS VILE YELLOW CONCOCTION.

SWASHBUCKLER, I'LL PULL OUT MY SWORD.

Fetchen: WELL, OF COURSE, THE ONE THING I WANTED TO SEE

WAS WHERE THE WATER BALLET WAS SUPPOSED TO HAPPEN.

MY WHOLE REASON FOR GOING TO NEW YORK

WAS TO TRY TO LOCATE A JOB POSSIBILITY.

BABBS AND I SEARCHED

AND FINALLY FOUND THIS BEAUTIFUL POOL

AND FOUND OUT THEY HAD CANCELED THE WHOLE WATER BALLET.

Man: AND THESE SAME PEOPLE PROBABLY ALSO TAKE IN THE EXHIBIT

WHERE THE WIZARDRY OF MODERN CHEMISTRY

IS PRESENTED WITH ENTERTAINING SHOWMANSHIP.

* BETTER THINGS FOR BETTER LIVING THROUGH CHEMISTRY *

* FOR THE FINER WORLD WE WANT *

* BETTER THINGS FOR BETTER LIVING THROUGH CHEMISTRY *

* THAT'S THE PROMISE OF DuPont *

Fetchen: THE FAIR WAS TRIPPY AND GREAT.

WHEN YOU'RE HIGH, THE MORE VARIETY, THE BETTER.

Man: YOU ARE ABOUT TO TAKE A JOURNEY OUT OF THIS WORLD

INTO THE WORLD OF THE FUTURE.

FORGET THE WORLD AROUND YOU. FORGET THE PEOPLE AROUND YOU.

YOU ARE ENTERING FUTURAMA,

ALONE WITH YOUR OWN THOUGHTS.

Stone: THE WORLD'S FAIR WAS ON, WHICH WAS A GREAT THING.

IT WAS A VISION OF THE FUTURE OF AMERICA,

AND I -- KEN SAW IT THAT WAY.

THE IRONY IS THAT CURVED, FINNED,

CORPORATE AMERICA "TOMORROWLAND,"

AS PRESENTED AT THE 1964 WORLD'S FAIR,

WAS OVER BEFORE IT BEGAN.

'64 -- THINGS WERE CHANGING.

WE DIDN'T KNOW THAT WORLD'S FAIRS

WERE A THING OF THE PAST.

* I CAN'T BREAK AWAY *

* THOUGH YOU MAKE ME CRY *

* I CAN'T BREAK AWAY... *

Kesey: BY THEN,

THE TRIP BECAME MORE IMPORTANT THAN THE DESTINATION.

NEVER MIND WHERE WE'RE GOING,

IT DOESN'T MAKE A DIFFERENCE WHERE YOU'RE GOING.

THE WHOLE NOTION OF THE TRIP,

TAKING ACID TRIP, CAME OUT OF THAT SUMMER.

Man: THE EFFECT IS SOMEWHAT LIKE LOOKING THROUGH A MICROSCOPE.

SUDDENLY, WHEN YOU LOOK THROUGH A MICROSCOPE,

YOU DISCOVER THAT THERE'S AN INVISIBLE WORLD AROUND YOU

THAT YOU HADN'T KNOWN ABOUT BEFORE YOU DID IT.

THE SAME THING IS TRUE OF THE PSYCHEDELIC DRUG.

* TIMOTHY LEARY'S DEAD *

Narrator: AFTER THE DISAPPOINTMENT OF THE WORLD'S FAIR,

YOU HEADED TO TIMOTHY LEARY'S COMPOUND,

THE INTERNATIONAL FOUNDATION FOR INTERNAL FREEDOM.

WAS IT CALLED "IFIF"?

Fetchen: IFIF.

IT WAS LIKE A 4,000-ACRE FARM OUTSIDE OF POUGHKEEPSIE

IN MILLBROOK, NEW YORK.

Leary: WE TEACH PEOPLE HOW TO TURN ON,

OR HOW TO GO OUT OF THEIR MINDS.

BY "TURN ON," WE MEAN TUNE IN,

TO GET BEYOND YOUR ROUTINE WAYS OF THINKING

AND ACTING AND EXPERIENCING.

* TIMOTHY LEARY'S DEAD *

Fetchen: GINSBERG IS THE ONE THAT SET IT ALL UP

BECAUSE HE KNEW THOSE GUYS AT IFIF

AND HE THOUGHT IT WOULD BE A GREAT OPPORTUNITY

FOR US TO MEET EACH OTHER.

IT WAS LIKE THE WEST COAST ACIDHEADS

MEETING THE EAST COAST ACIDHEADS

AND HAVING A POWWOW.

Kesey: WE PULLED INTO THEIR SCENE, MAKING A LOT OF NOISE.

WE SET OFF THESE SMOKE GRENADES.

Cassady: SMOKE-BOMB DELIGHT.

Man: SMOKE-BOMB DELIGHT.

PRANKSTERS AT THE VERY CASTLE.

[ FANFARE PLAYS ]

AND I HAVE TO INFORM YOU, JUST WHAT'S EXACTLY GOING ON?

Kesey: WE'RE HIGH AND THEY'RE COMING DOWN, IS WHAT'S GOING ON.

* TIMOTHY LEARY *

Alpert: YOU KNOW, THAT QUIET TIME AFTER A TRIP

WHEN YOU JUST WANT TO BE VERY MELLOW,

AND UP DRIVES THE BUS WITH THESE SPEED FREAKS,

AND THEY COME TO HAVE FUN AND PLAY WITH FLUTES AND --

EVERYBODY IN THE HOUSE TOOK ONE LOOK AND FLED,

LEAVING ME TO WELCOME THEM.

[ CHUCKLES ]

* SO RAISE YOUR GLASS, WE'LL DRINK A TOAST *

* TO THE LITTLE MAN WHO SELLS YOU THRILLS ALONG THE PIER *

Kesey: THE WHOLE MILLBROOK SCENE,

IT WAS JUST THE OTHER END OF THE SAME STICK, I THINK.

WE WERE "SCUFFY" AND DIDN'T HAVE MUCH MONEY

AND PULLED INTO THIS MANSION, WHICH WAS UPPER CRUST.

WE FELT A KINSHIP TO THEM,

BUT WE COULD ALSO TELL THAT THEY WERE WISHING THAT WE'D LEAVE.

Fetchen: WHAT EVERYBODY ANTICIPATED DIDN'T TURN OUT,

IT KIND OF FIZZLED.

WE WAITED ALL DAY FOR LEARY TO SHOW UP, AND HE JUST AVOIDED US.

AND THEN HE SORT OF DISAPPEARED WITH CASSADY,

AND CASSADY WENT UPSTAIRS AND HUNG OUT WITH --

THEY DIDN'T WANT US TO GO UPSTAIRS.

ALPERT WAS VERY FRIENDLY. HE WAS THERE.

Zonker: JUST LISTENING TO ALPERT TALK, MAN,

IT SEEMED LIKE HE WAS A FUCKING CRAZY MAN.

ALL OF MY GAMES WERE, LIKE, GOING OFF INTO THE DISTANCE.

I GOT THIS TERRIBLE PANIC

BECAUSE, INDEED, I WAS GONNA CEASE TO EXIST.

AND I GOT THE PANIC, WHICH IS THE PANIC

THAT PRECEDES THE PSYCHOLOGICAL DEATH,

BECAUSE, INDEED, RICHARD ALPERT WAS DYING.

Zonker: THESE PEOPLE SCARED THE SHIT OUT OF ME, MAN.

Fetchen: THEY WERE VERY CLINICAL AND CONTROLLED,

AND WE WERE REALLY FREE-FORM.

WE WERE THE EXPLORERS, AND THEY WERE THE SCIENTISTS.

AND SO WE JUST ENTERTAINED OURSELVES AT THIS WATERFALL.

* SHAKE IT UP, BABY, NOW *

* SHAKE IT UP, BABY *

* TWIST AND SHOUT *

* COME ON AND TWIST AND SHOUT *

* COME ON, BABY, NOW *

* COME ON, BABY *

AND THAT'S WHERE KATHY VAN LEEUWEN

GOT HER NICKNAME, "SENSUOUS EXPERIENCE."

Babbs: SENSUOUS X, YES, I REMEMBER HER WELL.

HER NAME WAS IMPLIED IN HER VERY BEARING --

THAT IS TO SAY, HER BODILY EXAMPLE.

Fetchen: KATHY WAS ZONKER'S GIRLFRIEND IN COLLEGE,

AND THAT'S WHY ZONKER WENT ON THE TRIP.

* SHAKE IT UP, BABY, NOW *

Zonker: SENSUOUS. OH, MY GOD, LOOK AT HER.

OH, SHE'S SO MUCH LIKE MARILYN MONROE, RIGHT?

* COME ON, COME ON, COME ON, BABY, NOW *

* COME ON, BABY *

Zonker: NOW, I'M WONDERING, AT THIS POINT,

WHETHER MY GIRLFRIEND HAS BEEN

HAVING SEX WITH THESE PEOPLE OR NOT.

Fetchen: AND THAT'S THE POINT AT WHICH KESEY STARTED FLIRTING WITH HER,

TRYING TO GET HER ATTENTION,

AND HE DID GET HER ATTENTION.

* HAVE YOU *

* EVER HEARD THE STORY ABOUT *

* PEGGY THE PISTOL? *

Zonker: HE SAYS, "ALL MY DOPE IS YOURS," AS HE'S FUCKING MY GIRLFRIEND.

THANKS, KESEY.

I WANTED TO GET OUT OF NEW YORK AS QUICK AS POSSIBLE,

AND I WAS BASICALLY TELLING HER THAT SHE COULD GET ON THE BUS,

BUT I WAS GONE.

BUT THEN I REALIZED THAT I REALLY DIDN'T WANT TO

LEAVE HER WITH ALL THESE FUCKERS.

Fetchen: WHEN THEY WERE GETTING READY TO LEAVE TOWN, I HAD TO DECIDE,

YOU KNOW, WAS I GONNA STAY, OR WAS I GONNA GO?

AT THAT POINT, I WAS STILL PLANNING ON STAYING TO WORK.

[ Laughing ] IT DIDN'T WORK OUT THAT WAY.

I GOT SUCKED INTO THE PRANKSTER SCENE TOO MUCH, TOO HEAVILY.

SO I STAYED ON THE BUS.

Burton: I WASN'T THERE ON THE WAY BACK.

I WAS SO HAPPY TO BE OFF OF IT.

Fetchen: COMING BACK'S A WHOLE 'NOTHER TRIP.

CASSADY -- HE DIDN'T COME BACK WITH US.

Zonker: THE TRIP ACROSS WAS BASICALLY

LENGTHS OF NEAL'S DRIVING CONSCIOUSNESS,

AND THEN, ON THE WAY BACK,

SUDDENLY THE DRIVING DUTIES WERE THRUST UPON THE REST OF US.

Fetchen: EVERYBODY TOOK TURNS -- THE GUYS, ANYWAY.

THAT WAS ON THE WAY BACK.

WE JUST STARTED DRIVING THE BUS DOWN THIS ABANDONED DIRT ROAD

AND ENDED UP AT THIS INCREDIBLE LAKE,

AND THERE WAS NOBODY THERE BUT US.

WE DECIDED WE WANTED TO FIND A SPOT TO TAKE I.T.-290.

Kesey: WELL, I.T.-290 WAS FAMOUS.

THAT'S THE ROLLS-ROYCE OF PSYCHEDELICS.

Fetchen: KESEY HAD STOLEN A JAR.

HE CLAIMED IT WAS THE LAST JAR OF I.T.-290 ON THE PLANET.

AND SO HE WANTED A VERY SPECIAL PLACE

FOR EVERYBODY TO TAKE IT.

SO WE BUILT A LITTLE FIRE AND MADE A LITTLE CAMPGROUND

AND POPPED THE I.T.-290 AND HAD THE TRIP.

OH, IT WAS WONDERFUL, IT WAS EVEN BETTER THAN ACID.

IT'S A HALLUCINOGEN, BUT VERY CALM.

ACID CAN HAVE A HARD EDGE TO IT SOMETIMES,

BUT THIS IS VERY CALMING.

COLORS VERY VIVID.

IT WAS VERY COMMUNAL,

IN THAT YOU FELT CONNECTED TO EVERYBODY.

Kesey: I THOUGHT THAT THIS WAS AS AMERICAN AS YOU COULD GET,

BECAUSE WE WERE EXPLORING A NEW TERRITORY,

JUST THE SAME WAY WE WENT TO THE MOON

OR SENT LEWIS AND CLARK EXPEDITION HERE TO OREGON.

IT WAS PART OF OUR AMERICAN PERSONALITY.

YOU FIND A CAVE,

NOBODY'S BEEN IN IT, YOU GO IN IT.

YOU TRY TO GO DOWN DEEPER INTO THE OCEAN

AND UP HIGHER IN THE SKY,

AND THESE DRUGS WERE OPENING A DOOR TO NEW LANDSCAPES.

ONCE YOU'RE THROUGH THAT DOOR

AND YOU LOOK OUT INTO THIS VAST ROOM

WITH ALL THESE WINDOWS ONTO NEW VISTAS,

YOU BECOME TREMENDOUSLY EXCITED

AND WANT TO DO WHAT YOU CAN TO EXPLORE IT,

BECAUSE YOU COULD LOOK AROUND AND YOU SAW

THAT THERE WEREN'T HUMAN FOOTPRINTS

ALL OVER THIS LANDSCAPE.

* I SAW HER STANDING ON THE CORNER *

Narrator: HOW DID THE DYNAMICS ON THE BUS CHANGE

WHEN SOME OF THE WIVES JOINED THE TRIP BACK?

Walker: AT ONE POINT, IT GOT ALL COUPLES.

AT ONE POINT, THERE WERE 14 OF US ON THE BUS,

7 MEN AND 7 WOMEN.

LOTS OF THEM WERE MARRIED,

BUT NOT TO THE PERSON THAT THEY WERE COUPLING WITH.

I REMEMBER ONE MORNING, WE WOKE UP, AND EVERYBODY WAS FUCKING.

THE WHOLE BUS WAS SHAKING.

* YOU'RE THE ONE *

* YOU'RE THE ONE *

* YOU'RE THE ONE *

* YOUNG GIRL *

Zonker: IT GOT A LOT HEAVIER ON THE WAY BACK.

THAT WAS FERVOR-PITCH STUFF.

I THINK I TALKED WITH KESEY

ABOUT OUR FUCKING STRANGE SITUATION.

THE THING WAS WEIRD, MAN,

BUT YOU COULDN'T BE MAD AT HIM.

HE WAS REALLY COMPASSIONATE.

I LIKED SENSUOUS,

AND THAT WAS THE MOST DIFFICULT PART IS,

HAVING BEEN LOVERS,

NOT BEING LOVERS ANYMORE AND CONTINUING TO BE FRIENDS.

* I CAN'T GET YOU OUT OF MY MIND *

Walker: THE THING THAT CREATES PROBLEMS

IN ALL THOSE HUSBAND-AND-WIFE TRIANGLE SITUATIONS

IS EVERYBODY'S HANG-UP WITH THEIR OWN ATTACHMENT

TO SOME KIND OF BELIEF OF THE WAY IT OUGHT TO BE.

Kesey: WHEN I CAME THROUGH YELLOWSTONE PARK WITH THIS BUS,

I SAW A SIGN THAT SAID, "BEWARE OF THE BEAR,"

AND SOMETHING CLICKED WHEN I SAW THIS,

AND I THOUGHT, "THERE'S THE PROBLEM.

"THERE'S THE WHOLE HANG-UP THAT STOPS ME FROM WRITING,

"STOPS PEOPLE FROM SINGING, STOPS PEOPLE FROM LIVING.

"'BEWARE OF THE BEAR.' WHAT DID THAT USED TO MEAN?

"IT USED TO MEAN BE AWARE OF THE BEAR.

NOW IT MEANS BE SCARED OF HIM."

THIS LITTLE PIECE OF KNOWLEDGE,

YOU CAN PLUG IT INTO ANY PERSON

WHO IS NOW BEING HASSLED WITH THE WAY THE WORLD IS CHANGING.

GOLDWATER AND HIS BUNCH ARE SCARED.

THAT EXTREMISM...

IN THE DEFENSE OF LIBERTY...

IS NO VICE.

Kesey: THERE'S SOMETHING HAPPENING

THAT IS SCARING THESE PEOPLE.

WHICH MEANS THAT SOMETHING IS HAPPENING THAT'S SO NEW,

THEY'RE SCARED BEYOND ANY POWERS OF REASONING.

8, 9...

Man: 10, 9, 8, 7...

6, 5, 4, 3...

2, 1, ZERO!

THESE ARE THE STAKES --

TO MAKE A WORLD IN WHICH ALL OF GOD'S CHILDREN CAN LIVE

OR TO GO INTO THE DARK.

WE MUST EITHER LOVE EACH OTHER...

OR WE MUST DIE.

Announcer: VOTE FOR PRESIDENT JOHNSON ON NOVEMBER 3rd.

THE STAKES ARE TOO HIGH FOR YOU TO STAY HOME.

Kesey: ALL THE THEMES OF MY WORK HAVE TO DO WITH AMERICA --

TRAVELING ACROSS THIS LAND,

COMING TO THIS EDGE, AND THEN WHAT?

Man: MY MEMBRANES HAVE PASSED INTO AN OXYGENATION STATE.

Kesey: AFTER WE GOT BACK TO LA HONDA, AFTER THE BUS TRIP,

WE HAD A VERY PURPOSEFUL RITUAL

TO GET OUT FROM UNDER THIS BUS THING.

WE TOOK ALL OF OUR BUS CLOTHES

AND PUT THEM IN A PILE AND SET FIRE TO THEM,

'CAUSE I WANTED TO BE DONE WITH IT.

I WANTED TO GET BACK TO BUSINESS.

I HAD BOOKS TO WRITE AND KIDS TO RAISE.

BUT IT WOULDN'T DIE.

PEOPLE JUST KEPT COMING AROUND.

Man: LIKE LITTLE JACKRABBITS GAILY CROSSING THE PASTURE

THAT MORNING, SO...

Babbs: WHAT HAPPENED WITH US, WE WERE MAKING THAT MOVIE

AND PRETTY SOON, ON SATURDAYS, WHEN WE SHOWED IT,

PEOPLE WERE COMING TO SEE WHAT IT WAS.

Man: ...AND THE RED BARN AND THE KIDS ON THE BEACH

IN THE STREAM SAYING...

Fetchen: WE REALLY DIDN'T PROJECT IT UNTIL I'D FINISHED EDITING IT,

REEL TO REEL, IN CHRONOLOGICAL ORDER.

AND WE SHOWED IT FROM BEGINNING TO END WITHOUT STOPPING,

SO 30 HOURS STRAIGHT.

AND SO, FOR PART OF IT,

EVERYBODY SLEPT THROUGH IT, OF COURSE.

CASSADY, OF COURSE -- HE TOOK SPEED --

WAS AWAKE AND WAS THE ONE WHO ENDED UP RUNNING THE PROJECTOR

AND TALKING VERY SOFTLY --

"AND NOW WE'RE COMING TO NEW YORK."

ENJOYING EVERY SECOND OF IT.

BUT HE WAS THE ONLY ONE AWAKE.

ABSOLUTELY EVERYBODY WAS ASLEEP.

Man: HE'S OUT OF HIS NUT!

Kesey: EVERY SATURDAY, THEY'D COME AROUND MORE AND MORE,

BECAUSE WE WOULD DO THESE SATURDAY-NIGHT TRIPS.

AND FINALLY, THERE WERE JUST TOO MANY COMING AROUND.

I REALIZED, "I GOT TO GET THIS OUT OF MY HOUSE

"BECAUSE OTHERWISE, THEN I'LL BE CLEANING UP ALL WEEK LONG

FOR THE REST OF MY LIFE."

SO WE JUST SAID, "OKAY, NEXT TIME,

WE'RE GONNA DO THIS IN SANTA CRUZ AT BABBS' HOUSE."

WHICH IS REALLY THE BEGINNING OF THE ACID TESTS.

* EVERYWHERE AND ALL OF THE TIME *

* IT'S BENDING MY MIND *

AND THEN, AFTER THAT, HE SAID, "I DON'T WANT IT AT MY PLACE."

HE SAID, "OKAY, NEXT TIME, WE'LL DO IT IN SAN JOSE."

SO, EACH TIME, WE JUST SAID,

"NEXT WEEK, ON SATURDAY, IT'LL BE HAPPENING THERE."

* I'M FLYING DOWN DESERTED STREETS *

* WRAPPED IN MOTHER'S WINDING SHEETS *

* ASBESTOS BOOTS ON FLAMING FEET *

* DREAMING OF FORBIDDEN TREATS *

* WHEN UNIFORMS ON NIGHTTIME BEATS ASK ME *

WHEN WE STARTED DOING THE ACID TEST,

WE TOOK ON THE DEAD AS SORT OF OUR BACKUP BAND.

* I CAN'T COME DOWN *

* IT'S PLAIN TO SEE *

Garcia: WE'D HEARD ABOUT KESEY AND THE BUS,

THEY'D BEEN DOING OUTRAGEOUS THINGS FOR QUITE A WHILE

AND HAD A REPUTATION FOR IT.

AND -- AND FOR US, IT SEEMED LIKE A REAL INTERESTING THING

TO GO AND CHECK OUT.

* WELL, SOMEONE'S TRYING TO TELL ME WHERE IT'S AT *

AND THEY WERE OUR FIRST AND BEST AUDIENCE,

THE PRANKSTERS WERE, YOU KNOW.

THEY WERE THE FIRST ONES TO GET OFF ON US.

* LITTLE WINGS LIKE A VAMPIRE BAT *

* I FLY AWAY TO MY COLD-WATER FLAT *

* AND EAT MY WAY... *

Kesey: THEY WEREN'T JUST PLAYING WHAT WAS ON THE MUSIC SHEETS.

THEY WERE PLAYING WHAT WAS IN THE AIR.

* I CAN'T COME DOWN *

* IT'S PLAIN TO SEE *

* I CAN'T COME DOWN *

WHEN THE DEAD ARE AT THEIR BEST,

THE VIBRATIONS THAT ARE STIRRED UP BY THE AUDIENCE

IS THE MUSIC THAT THEY PLAY.

THAT MEANS THAT THE BAND HAS TO BE SUPPLE ENOUGH

TO REALLY READ THE NOTES WRITTEN ON THE WALL.

* THEY SAY I'VE BEGUN TO LOSE MY GRIP *

* MY HOLD ON REALITY'S STARTING TO SLIP *

* TELL ME TO GET OFF OF THIS TRIP *

* THEY SAY THAT IT'S LIKE A SINKING SHIP *

IT MOVED ON FROM THAT, EXPONENTIALLY,

FROM ONE PLACE TO ANOTHER PLACE.

* I CAN'T COME DOWN *

* IT'S PLAIN TO SEE *

* I CAN'T COME DOWN *

* I'VE BEEN SET FREE *

LSD IS A REALLY GROOVY WAY TO FIND OUT MORE

ABOUT THE THINGS AROUND YOU.

LSD HELPS ME UNDERSTAND THE WHOLE WORLD BETTER.

LSD HELPS YOU TO UNDERSTAND YOUR OWN MIND.

Kesey: ONCE PANDORA'S BOX IS OPEN,

YOU CAN'T REGULATE WHO GETS TO USE

THE STUFF THAT FLIES OUT OF IT.

Pres. Reagan: WELL, I'M TERRIBLY FRIGHTENED BY THE PROBLEM OF LSD.

I THINK THERE'S BEEN A GREAT DEAL OF MISINFORMATION

BY THOSE WHO SEEM TO SEE NO HARM IN IT.

BUT AS A PARENT AND AS A CITIZEN

AND CERTAINLY NOW IN THIS POSITION,

I AM GREATLY CONCERNED.

Man: A POWERFUL NEW DRUG

CAPABLE OF PRODUCING WEIRD AND DANGEROUS HALLUCINATIONS

HAD FOUND ITS WAY ONTO THE STREETS.

WE HAD TO TRY AND STOP IT.

Kesey: THE GOVERNMENT SAID, "STOP THAT EXPERIMENT.

"ALL THESE GUINEA PIGS THAT WE'VE SENT UP THERE

"INTO OUTER SPACE, BRING 'EM BACK DOWN,

"AND DON'T EVER LET 'EM GO BACK UP THERE AGAIN,

BECAUSE WE DON'T LIKE THE LOOK IN THEIR EYES."

HE'S CLEAN, JOE, EXCEPT FOR THESE.

SUGAR CUBES.

I'LL MAKE YOU BOOK HE'S BEEN DROPPING THAT ACID WE'VE BEEN HEARING ABOUT.

EVIL! EVIL, EVIL!

ALL RIGHT, COME ON, SON. SETTLE DOWN.

OH, NO, NO...

Man: HOSPITAL PEOPLE, WHETHER THEY WANT TO OR NOT,

ARE BECOMING EXPERT IN THE HANDLING

OF LSD USERS IN TROUBLE.

YOU'RE GONNA BE ALL RIGHT.

Man #2: SOME PEOPLE HAVE A BAD EXPERIENCE

THE FIRST TIME THEY TAKE THE DRUG.

OTHERS TAKE IT 30, 60, OR EVEN 100 TIMES

BEFORE THEIR BAD TRIP.

AND THE BAD TRIP -- INSTANT INSANITY.

OFTEN, A NEVER NEVER LAND OF NO RETURN.

NO, NO, GET AWAY!

Man #1: SOME OTHERS WHO TAKE LSD

WILL HAVE EVEN MORE TRAGIC FREAK-OUTS.

MANY LOSE ALL CONTACT WITH REALITY.

SOME FORGET WHAT HEIGHT MEANS

AND, IN A TURNED-ON OR EUPHORIC STATE,

STEP OR ATTEMPT TO FLY FROM CLIFFS AND HIGH WINDOWS,

WITH REAL-LIFE,

PERMANENT, NON-PSYCHEDELIC RESULTS.

OTHER TRIPPERS ATTEMPT TO MERGE THEIR BEINGS

WITH LARGE, FAST AUTOMOBILES.

AAAAH!

[ INDISTINCT CONVERSATIONS ]

Narrator: WITH ALL THE HYPE ABOUT LSD,

YOU WERE BUSTED WITH MARIJUANA?

Kesey: IT WASN'T EVEN GRASS CHARGES,

IT WAS BEING IN A PLACE WHERE MARIJUANA WAS.

Man: MR. KESEY, DO YOU FEEL YOU DID SOMETHING WRONG?

I FEEL LIKE YOU ONLY COME TO THIS MOVIE ONCE,

AND IF YOU DON'T GET SOMETHING REWARDING

OUT OF EVERY MINUTE YOU'RE SITTING THERE,

THEN YOU'RE BLOWING YOUR TICKET.

LET'S ASSUME THE WORST.

SUPPOSING THEY DO COME BACK WITH A CONVICTION,

WOULD YOU APPEAL?

WELL, IF I COULD JUST CONCEDE IN SOME WAY

AND LET THEM STICK ME IN JAIL AND DO MY TIME,

I WOULD DO IT AND SAVE THE TAXPAYERS

AND EVERYBODY ELSE A LOT OF TROUBLE.

Man: THE AIM OF THE SHERIFF AND THE PROBATION DEPARTMENT

HAS BEEN TO REHABILITATE MR. KESEY,

TO GET HIM BACK INTO WRITING,

BACK INTO THE CAREER WHERE HE SEEMS TO HAVE THE MOST TALENT.

* WALK ME OUT IN THE MORNING DEW, MY HONEY *

Kesey: IN SIX MONTHS, YOUR KIDS GROW A LOT.

THAT'S WHAT THEY TAKE AWAY FROM YOU IN JAIL.

IT'S A DRAG. I DON'T WANT TO EVER GO TO JAIL.

* YOU DIDN'T HEAR NO BABY CRY TODAY *

Reporter: ONE FLEW OUT OF A CUCKOO'S NEST TODAY --

THAT IS, IF YOU CONSIDER JAIL A CUCKOO'S NEST.

FEDERAL CHARGES WERE DROPPED, AND THE LAST OBSTACLE,

SAN FRANCISCO BAIL, WAS SET AT $3,500 PLUS PENALTIES.

KESEY WILL BE BACK IN COURT NOVEMBER 9th, HOPEFULLY.

IN THE MEANTIME, HE WILL TELL THE TEENAGE WORLD

OF THE EVILS OF DRUGS

AND PROBABLY DESCRIBE A LONG TRIP.

ARE YOU REPUDIATING LSD AND OTHER HALLUCINATORY DRUGS?

THERE'S ENOUGH LSD AROUND NOW

AND ENOUGH YOUNG KIDS AROUND

WHO ARE ABLE TO MANUFACTURE THIS

THAT IT'S IMPOSSIBLE

FOR THE POLICE TO DO ANYTHING ABOUT IT.

YOU THINK THIS NEW LAW IS TURNING THEM OFF, THEN?

I DON'T KNOW THAT YOU CAN TURN THEM OFF,

BUT I THINK YOU MAY BE ABLE TO MOVE THEM ON.

DO YOU CONSIDER YOURSELF

BECOMING ONE OF US SQUARES, PERHAPS?

GOD, I HOPE NOT. [ LAUGHS ]

Reporter: THE COMMENCEMENT EXERCISES FOR LSDU

WILL BE HELD ON MONDAY NIGHT.

THAT'S HALLOWEEN.

AND, OF COURSE, THE MAN WHO IS GOING TO BE

PASSING OUT THE DIPLOMAS IS KEN KESEY.

KEN, WHAT'S THE THEME OF THIS COMMENCEMENT EXERCISE?

TRIP OR TREAT.

WHEN I FIRST PROPOSED THE IDEA TO JERRY GARCIA,

THE LEADER OF THE GRATEFUL DEAD,

WHO'S PLAYING UP THERE NOW,

THAT IT'S TIME TO GRADUATE FROM ACID,

HE SAYS, "HALLELUJAH."

Kesey: IT WAS A TEST, AND THERE WERE PEOPLE THAT PASSED,

AND THERE WERE PEOPLE THAT DIDN'T PASS.

AND WE GAVE OUT DIPLOMAS FOR PEOPLE

THAT WE FELT LIKE REALLY HAD PASSED IT.

Reporter: ARE YOU A MEMBER OF THE GRADUATING CLASS TONIGHT?

NO, I FLUNKED THE ACID TEST.

HOW DO YOU GO ABOUT DOING THAT?

WELL, THE STIPULATIONS THAT KEN PUT UP, I DIDN'T PASS.

WE WENT WILD FOR A WHILE.

WE WENT WILD BECAUSE WE'D BEEN CAGED UP FOR 50,000 YEARS.

WE WENT WILD AND FOUND OUT

THERE WAS MORE THAN WE HAD BEEN LED TO BELIEVE.

AND NOW, UNLESS WE START FINDING THE LITTLE PIECE OF IT

THAT WE CALL THE REINS,

IT'S GONNA GET AWAY FROM US.

THIS DOESN'T NECESSARILY MEAN YOU STOP TAKING ACID,

BUT YOU STOP REPEATING THE TRIPS.

EVERY HEAD KNOWS THAT HE TAKES A DRUG

TO EVENTUALLY STOP TAKING IT,

AND I THINK THAT IT'S TIME FOR A GREAT NUMBER OF THEM TO STOP.

I BELIEVE THAT DRUGS HAVE NOW BECOME A FASHION.

Reporter: THE HAIGHT SCENE HAS CHANGED, ALL RIGHT.

THE FLOWER NOT ONLY HAS WILTED, IT'S DEAD.

* GOING TO LEAVE *

* THIS BROKEDOWN PALACE *

* ON MY HANDS AND MY KNEES *

* I WILL ROLL, ROLL, ROLL *

Man: THE HIPPIES IS OFTEN A STRANGE WORLD

IN WHICH THEY LIVE IN.

THEY TAKE MANY TRIPS.

AND THE TRIP OF A HIPPIE IS GENERALLY AN UNUSUAL ONE.

AND MARIJUANA, OF COURSE, WITH LSD,

IS BEING USED.

Kesey: ALL OF THESE DRUGS WERE BEING FED INTO THE CULTURE BY THE CIA.

THE LSD WAS NOT THE WHOLE STORY.

I DIDN'T BELIEVE IT FOR A LONG TIME WHILE ALLEN GINSBERG SAYS,

"YOU KNOW WHO WAS PAYING FOR THAT WAS THE CIA."

I SAID, "OH NO, ALLEN, YOU'RE JUST PARANOID."

BUT HE FINALLY GOT ALL THE RECORDS,

AND IT DID TURN OUT THE CIA WAS DOING THIS,

AND IT WASN'T BEING DONE TO TRY TO CURE INSANE PEOPLE,

WHICH IS WHAT WE THOUGHT.

IT WAS BEING DONE TO WEAKEN PEOPLE

AND TO BE ABLE TO PUT THEM UNDER THE CONTROL OF INTERROGATORS.

I WAS SO NAIVE.

I BELIEVED THESE DOCTORS KNEW WHAT THEY WERE DOING.

YOU KNOW, THIS IS THE AMERICAN GOVERNMENT.

HOW COULD THEY MAKE A MISTAKE?

* FARE YOU WELL *

* FARE YOU WELL *

* I LOVE YOU MORE THAN WORDS CAN TELL *

* LISTEN TO THE RIVER *

* SING SWEET SONGS TO ROCK MY SOUL *

* DOO-DOO-DOO *

* DOO-DOO-DOO-DOO *

WE FINALLY GOT OUT OF JAIL.

WE WERE PERFECTLY WILLING TO LEAVE

THAT WHOLE AREA DOWN THERE,

WHICH OFFERED EXCITEMENT BUT NO STABILITY.

[ DOGS BARKING ]

Woman: IT'S FUNNY -- IN YOUR PRANKSTER DAYS,

YOU WERE SEEN AS BEING PART OF A GROUP

THAT HAD MADE SUCH A BREAK WITH THE PAST,

AND YET HERE YOU ARE LIVING ON A FAMILY FARM,

YOU'RE, I BELIEVE, STILL MARRIED TO THE WOMAN

WHO YOU'VE BEEN MARRIED TO SINCE -- WHAT IS IT, 1956?

Kesey: LONG TIME, YEAH.

YEAH, SO, I MEAN, THERE'S BEEN THIS

INCREDIBLE CONTINUITY IN YOUR LIFE

BETWEEN PAST AND PRESENT, IN A LOT OF WAYS.

YEAH.

Kesey: MY WIFE AND I MET IN JUNIOR HIGH,

AND ALL OF OUR FAMILIES ARE STILL VERY CLOSE.

THIS SCHISM BETWEEN THIS ONE CONSCIOUSNESS

AND THIS CONSCIOUSNESS,

I BELIEVE, HAS BEEN ARBITRARILY FORCED ON US.

I'VE ALWAYS BEEN A FAIRLY RELIABLE,

"STRAIGHT UP THE MIDDLE OF THE ROAD" CITIZEN

THAT JUST HAPPENS TO BE AN ACIDHEAD.

[ SEA GULLS CRYING ]

Burton: KEN'S A BORN LEADER.

I MEAN, HE'S GOT JUST CHARISMA COMING OUT OF HIS EARS.

CASSADY WAS NOT THAT KIND OF PERSON.

HE REALLY WASN'T.

ONCE HE DIDN'T HAVE THE BUS TO DRIVE,

OR A FUNCTION, HE WAS --

HE WAS REALLY LIKE A LIABILITY.

YOU'VE HEARD THE STORIES ABOUT HIM AND ANNE MURPHY.

OH, DON'T YOU KNOW THIS? OH, GOD.

THEY WERE ON A HEAVY, SADO-MASOCHIST TRIP.

I'M REALLY OLD-FASHIONED WHEN IT COMES TO STUFF LIKE THAT.

I DON'T THINK A RELATIONSHIP IS WORTH JACK SHIT

IF YOU'RE NOT MAKING THINGS GOOD AND HAPPY.

COMPARE THIS WITH KEN AND FAYE.

THEY'VE BEEN GOOD FOR EACH OTHER.

SEE, THEY -- THEY TAKE CARE OF EACH OTHER.

THEY DON'T LET EACH OTHER JUST GO DOWNHILL

AND GET MORE AND MORE FUCKED UP.

ON THE CONTRARY, THEY TAKE GOOD CARE OF EACH OTHER.

Narrator: WERE YOU SURPRISED TO LEARN THAT CASSADY WAS FOUND DEAD

BESIDE THE RAILROAD TRACKS IN MEXICO?

Burton: WHEN HE DIED, I FELT LIKE

THAT HE'D ACCIDENTALLY KILLED HIMSELF ON PURPOSE.

I CAN PICTURE MYSELF IN HIS SHOES EXACTLY,

AND THERE'S NO PLACE ELSE TO GO, REALLY.

MIGHT AS WELL MEET THE ANGELS.

AT WHAT POINT DID YOU DECIDE TO GIVE UP

THE KIND OF PRANKSTERS LIFE?

THE STORY THAT I'VE HEARD

IS THE PRANKSTERS WENT TO WOODSTOCK.

YOU DIDN'T WANT TO GO.

AND WHEN THEY CAME BACK,

THEY CAME BACK TO A SIGN HUNG IN YOUR DRIVEWAY

THAT JUST SAID, "NO."

WELL, THERE WAS 61 PEOPLE WHEN THEY HEADED OUT TO WOODSTOCK,

AND AFTER THEY WERE GONE,

I WENT UPSTAIRS -- AND WE LIVE IN A BARN.

AT THAT TIME THERE WAS STILL HAY IN THE LOFT OF THE BARN,

AND I FOUND ONE OF THESE LITTLE HIPPIE WARRENS,

WHERE THEY DUG IN WITH THEIR RATTY OLD SLEEPING BAGS

AND THEIR COPY OF ZAP MAGAZINE.

AND STUCK RIGHT DOWN IN THE HAY BALE

WAS A CANDLE WHICH HAD BURNED RIGHT DOWN TO THE HAY

BEFORE IT'D GONE OFF,

AND I THOUGHT, "THERE'S CERTAIN THINGS

THAT TAKE PRECEDENT OVER ENLIGHTENMENT."

AND THAT'S WHEN YOU SENT EVERYBODY HOME, BASICALLY.

YEAH.

HOW MUCH WRITING HAVE YOU BEEN DOING OVER THE PAST FEW YEARS?

OH, QUITE A LOT. I WRITE ALL THE TIME.

I JUST DON'T PUBLISH THAT MUCH.

Kesey: I'VE GOT FOUR KIDS

AND THERE'S A LOT OF THE SAME ENERGY

THAT GOES INTO RAISING A FAMILY

THAT GOES INTO PUTTING A BOOK TOGETHER LIKE "NOTION."

[ GUNSHOT ]

WHICH, ONCE YOU GET A LOT OF STUFF IN THE AIR,

YOU CAN'T STOP BECAUSE YOU'LL FORGET IT.

AND THAT KIND OF CONSCIOUSNESS I HAVE NOT HAD,

AND I THINK IT'S BECAUSE...

YOU KNOW, I'M RUNNING A BIG FARM.

THAT'S WHAT OCCUPIES MY MIND.

EITHER THAT OR I FRIED MY MARBLES,

JUST LIKE EVERYBODY THINKS.

WHEN PEOPLE ASK ME WHAT I THINK MY BEST WORK IS,

I ALWAYS SAY THE BUS.

NOVELS ARE A DIME A DOZEN,

BUT THERE'S ONLY ONE BUS FURTHER.

WHAT IT MEANT

WAS THAT EVERYBODY HAD TO CONSIDER

A NEW WAY FOR THINGS TO BE.

DON'T YOU KNOW THAT WE'RE ALL ONE?

THE DEEPER I GOT INTO IT,

THE MORE I REALIZED IT WAS A DIFFERENT FORCE WORKING.

THE ONLY BIG MISTAKE WE EVER MADE, AS A FORCE,

WAS THINKING FOR A WHILE THAT WE WERE GOING TO WIN.

WE DEVELOPED VESTED INTERESTS IN THE VICTORY TO COME.

WE BEGIN TO PARCEL OFF INTO LITTLE GROUPS,

WHETHER IT'S FEMINISM OR POLITICS,

FOR MONEY, RELIGION.

WHATEVER IT IS,

EVERYBODY IS JUMPING UP AND DOWN IN FRONT OF IT

UNTIL NOBODY CAN SEE IT CLEAR ANYMORE.

NOW, IF WE'D NEVER MADE THAT MISTAKE,

WE'D BEEN WAY AHEAD,

AND THIS IS KIND OF WHY I'M RETIRING FROM THE RANKS.

SOMETHING ABOUT WHAT WE'RE DOING IS THAT WE'RE MEANT TO LOSE...

EVERY TIME.

YOU MAKE THESE FORAYS, YOU WRITE THESE BOOKS,

AND YOU PERFORM THIS MUSIC,

BUT THE BIG JUGGERNAUT OF CIVILIZATION CONTINUES,

AND YOU GET KIND OF BRUSHED TO THE SIDE.

BUT I THINK, ALL THROUGH HISTORY,

THERE'S BEEN THESE KIND OF DIVINE LOSERS

THAT JUST TAKE A DEEP BREATH AND GO AHEAD,

KNOWING THAT SOCIETY'S NOT GONNA UNDERSTAND IT,

NOT EVEN CARING, 'CAUSE THEY'RE HAVING A GOOD TIME.

* SOMETIMES THE LIGHT'S ALL SHININ' ON ME *

[ CROWD CHEERS ]

* OTHER TIMES I CAN BARELY SEE *

* LATELY IT OCCURS TO ME *

* WHAT A LONG, STRANGE TRIP IT'S BEEN *

* TRUCKIN', GOT MY CHIPS CASHED IN *

* KEEP TRUCKIN', LIKE THE DOO-DAH MAN *

* TOGETHER, MORE OR LESS IN LINE *

* JUST KEEP TRUCKIN' ON *

* ARROWS OF NEON AND FLASHING MARQUEES OUT ON MAIN STREET *

* CHICAGO, NEW YORK, DETROIT *

* AND IT'S ALL ON THE SAME STREET *

* YOUR TYPICAL CITY INVOLVED IN A TYPICAL DAYDREAM *

* HANG IT UP AND SEE WHAT TOMORROW BRINGS *

* DALLAS, GOT A SOFT MACHINE *

* HOUSTON, TOO CLOSE TO NEW ORLEANS *

* NEW YORK, GOT THE WAYS AND MEANS *

* THAT JUST WON'T LET YOU BE *

* MOST OF THE CATS THAT YOU MEET ON THE STREETS *

* SPEAK OF TRUE LOVE *

* MOST OF THE TIME THEY'RE SITTIN' AND CRYIN' AT HOME *

* ONE OF THESE DAYS THEY KNOW THEY GOTTA GET GOIN' *

* OUT OF THE DOOR AND DOWN ON THE STREET ALL ALONE *

* TRUCKIN', LIKE THE DOO-DAH MAN *

* ONCE TOLD ME YOU GOT TO PLAY YOUR HAND *

* SOMETIMES THE CARDS AIN'T WORTH A DIME *

* IF YOU DON'T LAY 'EM DOWN *

* SOMETIMES THE LIGHT'S ALL SHININ' ON ME *

* OTHER TIMES I CAN BARELY SEE *

* LATELY IT OCCURS TO ME *

* WHAT A LONG, STRANGE TRIP IT'S BEEN *

* TRUCKIN', I'M A-GOIN' HOME *

* WHOA, WHOA, BABY, BACK WHERE I BELONG *

* BACK HOME, SIT DOWN AND PATCH MY BONES *