1
00:00:28,067 --> 00:00:30,033
Man:
AND THERE WAS JUST...
2
00:00:30,033 --> 00:00:31,934
[ IMITATING ELECTRICAL BEEPING ]
3
00:00:31,934 --> 00:00:34,634
...OF ELECTRICAL IMPULSES.
4
00:00:34,634 --> 00:00:37,868
IT WAS ALL
SLIGHTLY UNBELIEVABLE.
5
00:00:37,868 --> 00:00:39,868
Narrator: [Reverberating]
CAN SOMEBODY GIVE ME A MIKE?
6
00:00:39,868 --> 00:00:43,634
AND WOULD SOMEBODY PLEASE
TURN OFF THE FUCKING REVERB?
7
00:00:43,634 --> 00:00:44,667
[ CLICK ]
8
00:00:44,667 --> 00:00:45,767
THANK YOU.
9
00:00:45,767 --> 00:00:47,133
[ CLEARING THROAT ]
10
00:00:47,133 --> 00:00:48,601
NARRATION -- TAKE ONE.
11
00:00:50,801 --> 00:00:52,033
[ BEEPING ]
12
00:00:52,033 --> 00:00:54,400
WHEN DID THE '60s BEGIN?
13
00:00:54,400 --> 00:00:56,634
THAT MIGHT SEEM OBVIOUS.
14
00:00:56,634 --> 00:01:02,000
EVERYONE REMEMBERS THEM
THIS WAY.
15
00:01:02,000 --> 00:01:05,000
BUT REALLY THE EARLY '60s
LOOKED LIKE THIS --
16
00:01:05,000 --> 00:01:09,000
A BLACK-AND-WHITE, PICKET-FENCE
WORLD STILL STUCK IN THE '50s.
17
00:01:10,133 --> 00:01:14,133
BUT IN 1964,
THIS MAN, KEN KESEY,
18
00:01:14,133 --> 00:01:17,167
TOOK AN LSD-FUELED BUS TRIP
ACROSS THE COUNTRY
19
00:01:17,167 --> 00:01:19,400
THAT CHANGED EVERYTHING.
20
00:01:19,400 --> 00:01:24,200
KESEY LIT THE FUSE
FOR THE EXPLOSION OF THE '60s.
21
00:01:24,200 --> 00:01:26,400
WHO WAS KEN KESEY?
22
00:01:26,400 --> 00:01:28,734
HE LOOKS INNOCENT ENOUGH,
DOESN'T HE?
23
00:01:28,734 --> 00:01:33,868
NOT LIKE THE KIND OF GUY
TO TAKE MASSIVE AMOUNTS OF LSD.
24
00:01:33,868 --> 00:01:35,834
WHILE IN COLLEGE,
KESEY MARRIED
25
00:01:35,834 --> 00:01:37,834
HIS JUNIOR-HIGH-SCHOOL
SWEETHEART, FAYE.
26
00:01:39,501 --> 00:01:42,801
AS A COLLEGE ATHLETE,
KESEY SHOWED PROMISE
27
00:01:42,801 --> 00:01:46,367
BOTH AS A FOOTBALL PLAYER
AND A WRESTLER.
28
00:01:46,367 --> 00:01:50,634
KESEY ALSO LIKED PERFORMING
AS AN ACTOR AND A VENTRILOQUIST.
29
00:01:50,634 --> 00:01:52,000
HE LOVED THE MAGIC TRICK
30
00:01:52,000 --> 00:01:54,767
OF SPEAKING
THROUGH OTHER PEOPLE.
31
00:01:54,767 --> 00:01:58,267
KEN, WHEN DID YOU DECIDE
TO BECOME A WRITER?
32
00:01:58,267 --> 00:02:00,501
Kesey: I NEVER SAID
I WANTED TO BE A WRITER.
33
00:02:00,501 --> 00:02:02,000
I'M A MAGICIAN.
34
00:02:02,000 --> 00:02:05,033
WRITING IS JUST ONE
OF THE TRICKS THAT I DO.
35
00:02:05,033 --> 00:02:08,467
AND QUITE A TRICK IT WAS.
36
00:02:08,467 --> 00:02:11,334
BY 1964, AT THE AGE OF 29,
37
00:02:11,334 --> 00:02:14,434
KESEY WAS ONE OF AMERICA'S
GREATEST WRITERS.
38
00:02:14,434 --> 00:02:16,534
HIS FIRST TWO
PUBLISHED NOVELS WERE
39
00:02:16,534 --> 00:02:18,234
"ONE FLEW OVER
THE CUCKOO'S NEST"
40
00:02:18,234 --> 00:02:21,133
AND "SOMETIMES A GREAT NOTION."
41
00:02:21,133 --> 00:02:23,300
YET, AT THE HEIGHT
OF HIS SUCCESS,
42
00:02:23,300 --> 00:02:26,767
KEN TRADED HIS TYPEWRITER
FOR A MOVIE CAMERA.
43
00:02:26,767 --> 00:02:29,667
Kesey: IF SHAKESPEARE
WERE WRITING TODAY,
44
00:02:29,667 --> 00:02:33,334
I DON'T THINK HE WOULD USE
A QUILL PEN.
45
00:02:33,334 --> 00:02:37,000
SO I STARTED GOING OUT
AND TAPING WITH TAPE RECORDERS
46
00:02:37,000 --> 00:02:40,100
AND FILMING TO SEE IF...
47
00:02:40,100 --> 00:02:43,501
PEOPLE TALKED LIKE THEY DO
IN NOVELS, AND THEY DON'T.
48
00:02:43,501 --> 00:02:45,267
Narrator:
WITH A GROUP OF FRIENDS,
49
00:02:45,267 --> 00:02:47,701
KESEY SET OUT
TO MAKE A ROAD MOVIE.
50
00:02:47,701 --> 00:02:49,601
THEIR TRIP
WOULD BECOME A LEGEND,
51
00:02:49,601 --> 00:02:52,434
BUT FEW EVER SAW THE FILM.
52
00:02:52,434 --> 00:02:55,734
THERE WERE TECHNICAL PROBLEMS.
53
00:02:55,734 --> 00:02:58,067
THEIR VOICES ARE ON AUDIO TAPE
54
00:02:58,067 --> 00:03:00,968
BUT ALMOST NEVER IN SYNC
WITH THE PICTURE.
55
00:03:00,968 --> 00:03:03,767
AGAIN, THE TRANSMISSION
OF THE '27 BUICK
56
00:03:03,767 --> 00:03:04,968
INTO SECOND GEAR
57
00:03:04,968 --> 00:03:07,033
AROUND THE CORNER
AT 34th AND DEARBORN --
58
00:03:07,033 --> 00:03:09,667
OR WAS IT CLARK?
IT WAS SOMEWHERE.
59
00:03:09,667 --> 00:03:12,133
HERE'S A SCENE
WITH NEAL CASSADY,
60
00:03:12,133 --> 00:03:14,534
THE FAMOUS SPEED-TAKING,
REAL-LIFE INSPIRATION
61
00:03:14,534 --> 00:03:17,701
FOR JACK KEROUAC'S FAMOUS NOVEL
"ON THE ROAD."
62
00:03:17,701 --> 00:03:20,100
BET HE -- UH-OH, SAY...
63
00:03:20,100 --> 00:03:24,634
FOR 40 YEARS, KESEY
AND HIS FRIENDS EDITED THE FILM,
64
00:03:24,634 --> 00:03:26,567
NEVER GETTING WHAT THEY WANTED.
65
00:03:26,567 --> 00:03:30,367
THEN IT WAS BOXED AWAY,
FORGOTTEN, COLLECTING DUST.
66
00:03:30,367 --> 00:03:32,834
NOW WE'RE GOING BACK
TO THE VAULTS,
67
00:03:32,834 --> 00:03:35,400
USING THE RARE
FILM AND AUDIO INTERVIEWS
68
00:03:35,400 --> 00:03:39,734
OF KEN AND HIS FRIENDS
TO BRING THE STORY BACK TO LIFE.
69
00:03:39,734 --> 00:03:42,133
Men:
LET'S GO, PRANKSTERS!
70
00:03:52,834 --> 00:03:55,601
UNNECESSARILY,
MR. CASSADY PROCEEDED NORTH.
71
00:03:55,601 --> 00:03:56,801
HA HA HA!
72
00:04:10,734 --> 00:04:13,033
* YEAH *
73
00:04:33,868 --> 00:04:35,934
* YEAH *
74
00:05:20,334 --> 00:05:23,000
Cassady: CAR WRECK.
CHILDREN, TO THE LEFT -- WRECK.
75
00:05:23,000 --> 00:05:26,100
IT'S A JOURNEY THROUGH LIFE,
YOU KNOW.
76
00:05:27,601 --> 00:05:30,734
Narrator: WHEN DID THE IDEA FOR
THIS TRIP FIRST OCCUR TO YOU?
77
00:05:30,734 --> 00:05:35,267
Kesey: 1963 CAME,
AND EVERYTHING CHANGED.
78
00:05:35,267 --> 00:05:40,133
WE'D GONE BACK -- ME AND GEORGE
AND FAYE -- TO NEW YORK.
79
00:05:40,133 --> 00:05:43,834
Man: NEW YORK CITY
EXTENDS ITS WELCOME.
80
00:05:43,834 --> 00:05:46,100
THE SHOPS ON THE AVENUES.
81
00:05:46,100 --> 00:05:49,033
THE NEW HOTELS.
RESTAURANTS.
82
00:05:49,033 --> 00:05:51,701
THE SIDEWALK CAFES.
83
00:05:51,701 --> 00:05:54,601
THE HIT SHOWS.
THE TINSEL OF BROADWAY.
84
00:05:58,467 --> 00:05:59,868
Kesey: WE HAD GONE BACK
85
00:05:59,868 --> 00:06:03,834
TO SEE THE OPENING OF
"CUCKOO'S NEST" ON BROADWAY,
86
00:06:03,834 --> 00:06:06,133
WITH KIRK DOUGLAS
PLAYING McMURPHY,
87
00:06:06,133 --> 00:06:07,601
AND HE WAS TERRIFIC.
88
00:06:10,100 --> 00:06:11,501
Walker: AFTER THE PLAY,
89
00:06:11,501 --> 00:06:13,200
PART OF OUR DAYTIME DIVERSION
90
00:06:13,200 --> 00:06:14,868
AS WE WERE CRUISING
AROUND THE CITY,
91
00:06:14,868 --> 00:06:17,534
WE TOOK A DRIVE OUT TO QUEENS,
92
00:06:17,534 --> 00:06:22,467
WHERE THE CONSTRUCTION WAS
GOING ON FOR THE WORLD'S FAIR.
93
00:06:22,467 --> 00:06:25,567
Man: HERE ON THIS VERY SITE
IS TO BE ERECTED --
94
00:06:25,567 --> 00:06:27,734
THEY'RE DOING IT
AT THE MOMENT --
95
00:06:27,734 --> 00:06:31,434
THE SYMBOL OF THE THEME
OF THE NEW YORK WORLD'S FAIR.
96
00:06:31,434 --> 00:06:33,367
THE UNISPHERE!
97
00:06:35,367 --> 00:06:38,667
AND BY DIALING 1964,
98
00:06:38,667 --> 00:06:43,467
I LAUNCH THE FINAL PHASE
OF THIS GREAT EFFORT.
99
00:06:49,000 --> 00:06:52,200
Walker: WE LOOKED AT IT AND
SAID, "BOY, THIS IS SPECTACULAR.
100
00:06:52,200 --> 00:06:55,300
WE'RE GONNA WANT
TO COME SEE THIS."
101
00:06:55,300 --> 00:06:58,033
Kesey: WE VOWED NEXT YEAR
WE'D GO BACK TO NEW YORK
102
00:06:58,033 --> 00:07:00,601
TO THE WORLD'S FAIR.
103
00:07:00,601 --> 00:07:04,501
ON THE WAY BACK,
I WAS DRIVING ACROSS COUNTRY
104
00:07:04,501 --> 00:07:06,567
IN A BIG OLD NICE STATION WAGON
105
00:07:06,567 --> 00:07:10,000
WITH A COUPLE OF MY BUDDIES,
NIBBLING ON CACTUS.
106
00:07:10,000 --> 00:07:12,300
Man: HERE IN THE ABC NEWSROOM
IN NEW YORK,
107
00:07:12,300 --> 00:07:13,968
WE FIRST RECEIVED A FLASH --
108
00:07:13,968 --> 00:07:17,200
Kesey: AS WE WERE DRIVING ALONG,
KENNEDY BEGAN TO BE KILLED.
109
00:07:17,200 --> 00:07:20,300
Man
AT PRESIDENT KENNEDY'S MOTORCADE
110
00:07:20,300 --> 00:07:21,767
IN DOWNTOWN DALLAS.
111
00:07:21,767 --> 00:07:24,467
THE FIRST REPORTS
SAY THAT PRESIDENT KENNEDY
112
00:07:24,467 --> 00:07:27,901
HAS BEEN SERIOUSLY WOUNDED
BY THIS SHOOTING.
113
00:07:27,901 --> 00:07:30,567
Man
THE CROWD OUTSIDE IS QUIET
114
00:07:30,567 --> 00:07:32,767
AND WAITING FOR SOME WORD
115
00:07:32,767 --> 00:07:34,367
ON THE CONDITION
OF THE PRESIDENT.
116
00:07:34,367 --> 00:07:37,534
Man
IS OFFICIALLY CONFIRMED.
117
00:07:43,300 --> 00:07:45,367
PRESIDENT KENNEDY
AND GOVERNOR JOHN CONNALLY
118
00:07:45,367 --> 00:07:47,200
HAVE BEEN CUT DOWN
BY ASSASSIN'S BULLETS
119
00:07:47,200 --> 00:07:48,968
IN DOWNTOWN DALLAS.
120
00:07:51,067 --> 00:07:53,934
Kesey: EVERYWHERE YOU WENT,
YOU LOOKED IN PEOPLE'S EYES,
121
00:07:53,934 --> 00:07:56,868
AND THEY ALL FELT
THE SAME THING.
122
00:07:56,868 --> 00:08:00,033
IT WASN'T JUST SADNESS.
123
00:08:00,033 --> 00:08:02,033
IT WAS A LOSS OF AN INNOCENCE,
124
00:08:02,033 --> 00:08:04,133
THE LOSS OF THE IDEA
125
00:08:04,133 --> 00:08:05,968
THAT ALWAYS THE GOOD
IS GOING TO PREVAIL.
126
00:08:05,968 --> 00:08:07,667
Man:
THE TRAGEDY OF THIS DAY
127
00:08:07,667 --> 00:08:11,968
IS BEYOND
ANY INSTANT COMPREHENSION.
128
00:08:11,968 --> 00:08:14,968
Kesey: THERE'S NO WAY
TO EVEN NEARLY DEPICT THE PAIN
129
00:08:14,968 --> 00:08:17,400
AND THE FEELING OF CRISIS,
130
00:08:17,400 --> 00:08:20,834
THE THING
THAT ALL OF US SORT OF FEEL
131
00:08:20,834 --> 00:08:22,200
WHEN IT'S REAL DARK.
132
00:08:22,200 --> 00:08:24,834
Man: THIS IS NOT
AN ORDINARY SATURDAY.
133
00:08:24,834 --> 00:08:27,167
THINGS HAVE CHANGED.
134
00:08:27,167 --> 00:08:31,701
Kesey: THIS WORLD THAT I WAS
PRESENTING WITH THESE WORDS,
135
00:08:31,701 --> 00:08:34,701
I BEGAN TO SUSPECT
MIGHT NOT HAVE A WHOLE LOT TO DO
136
00:08:34,701 --> 00:08:36,400
WITH THE WORLD OF THIS.
137
00:08:38,534 --> 00:08:41,701
SO, WE DECIDED TO GO TRAVEL
ACROSS THE COUNTRY --
138
00:08:41,701 --> 00:08:43,834
I LOVE TO DRIVE
ACROSS THE UNITED STATES --
139
00:08:43,834 --> 00:08:46,767
GO TO THE WORLD'S FAIR,
AND COME BACK ACROSS,
140
00:08:46,767 --> 00:08:49,334
JUST TO EXPERIENCE THE...
141
00:08:49,334 --> 00:08:53,834
THE AMERICAN LANDSCAPE
AND "HEARTSCAPE."
142
00:08:53,834 --> 00:08:57,334
WE WERE GONNA TAKE THE SAME
STATION WAGON WE CAME BACK IN,
143
00:08:57,334 --> 00:08:59,834
AND PRETTY SOON BABBS WAS HOME,
AND HE WANTED TO GO.
144
00:08:59,834 --> 00:09:01,334
Babbs: I WAS IN THE MARINE CORPS
FOR FIVE YEARS,
145
00:09:01,334 --> 00:09:03,167
FLEW HELICOPTERS IN VIETNAM,
146
00:09:03,167 --> 00:09:06,067
AND CAME OUT IN MAY OF '64.
147
00:09:06,067 --> 00:09:08,734
GOT OUT OF THE MARINE CORPS --
I HAD ENOUGH OF THAT.
148
00:09:11,501 --> 00:09:13,334
Kesey:
BABBS WAS STALKING AROUND.
149
00:09:13,334 --> 00:09:15,167
THIS IS JUST AFTER
HE GOT OUT OF THE MARINES.
150
00:09:15,167 --> 00:09:17,000
HE BEGAN TO ASSIGN NAMES
TO THEM.
151
00:09:17,000 --> 00:09:19,601
HE BECAME
"THE INTREPID TRAVELER,"
152
00:09:19,601 --> 00:09:22,133
AND THESE WERE
HIS "MERRY BAND OF PRANKSTERS."
153
00:09:22,133 --> 00:09:24,167
"SWASHBUCKLER"
BECAME MY NICKNAME.
154
00:09:24,167 --> 00:09:27,234
GRETCH HAD COME DOWN
FROM OREGON. WE'D MET HER.
155
00:09:27,234 --> 00:09:30,033
Fetchen: I WAS AN ART STUDENT
AT THE UNIVERSITY OF OREGON.
156
00:09:30,033 --> 00:09:31,801
MY INTENTION WAS TO GET A RIDE.
157
00:09:31,801 --> 00:09:33,067
I WAS GONNA WORK IN NEW YORK,
158
00:09:33,067 --> 00:09:37,033
SWIMMING AT THE WORLD'S FAIR
IN WATER BALLET,
159
00:09:37,033 --> 00:09:39,901
'CAUSE THAT'S SOMETHING
I KNEW HOW TO DO --
160
00:09:39,901 --> 00:09:41,234
THE ROCKETTES IN WATER.
161
00:09:41,234 --> 00:09:43,567
[ LAUGHING ]
162
00:09:43,567 --> 00:09:45,167
Kesey: PRETTY SOON,
HAGEN WAS THERE,
163
00:09:45,167 --> 00:09:48,934
WHO'S AN OLD FRIEND FROM OREGON,
164
00:09:48,934 --> 00:09:51,567
FRATERNITY BROTHER --
HE HAD A CAMERA.
165
00:09:51,567 --> 00:09:55,033
SANDY.
HE WAS A PHENOMENON.
166
00:09:55,033 --> 00:09:56,400
HE WAS IN THE NUTHOUSE.
167
00:09:56,400 --> 00:10:00,400
HE WAS LIKE THE ID
STRIPPED OF EVERYTHING ELSE.
168
00:10:00,400 --> 00:10:02,234
HE WAS JUST THERE.
169
00:10:02,234 --> 00:10:04,701
AT HIS WORST, HE WAS CRAZY.
170
00:10:04,701 --> 00:10:07,634
AND AT HIS BEST,
HE WAS A GENIUS.
171
00:10:08,834 --> 00:10:14,567
JANE BURTON WAS A PROFESSOR
IN PHILOSOPHY FROM STANFORD.
172
00:10:14,567 --> 00:10:17,901
SHE WAS PREGNANT,
AND SHE WAS HUNGRY ALL THE TIME.
173
00:10:17,901 --> 00:10:20,234
SO, SHE SAYS,
"WELL, I'M GENERALLY FAMISHED."
174
00:10:20,234 --> 00:10:23,601
AND SO SHE BECAME KNOWN AS
"GENERALLY FAMISHED."
175
00:10:23,601 --> 00:10:26,167
Burton: IT GOT TO BE
KIND OF A PARTY.
176
00:10:26,167 --> 00:10:27,634
IT'S HARD TO DESCRIBE IT,
177
00:10:27,634 --> 00:10:30,901
JUST A BUNCH OF LUNATICS
RUNNING AROUND ACTING IDIOTIC
178
00:10:30,901 --> 00:10:33,601
TRYING TO GET TO THE EAST COAST
SOMEHOW.
179
00:10:33,601 --> 00:10:37,033
Scott:
I MET KEN ON PERRY LANE.
180
00:10:37,033 --> 00:10:42,067
Kesey: CHLOE WAS
THE GERTRUDE STEIN OF OUR SCENE.
181
00:10:42,067 --> 00:10:45,300
Scott: I THOUGHT IT WAS
PRETTY INSANE, ACTUALLY.
182
00:10:45,300 --> 00:10:49,534
I REALLY DUG EVERYBODY
FOR DOING IT.
183
00:10:49,534 --> 00:10:51,400
Kesey:
ZONKER WAS JUST THERE.
184
00:10:51,400 --> 00:10:54,133
WE WEREN'T PLANNING TO TAKE HIM.
WE BARELY KNEW HIM.
185
00:10:54,133 --> 00:10:56,467
EVERY TIME SOMETHING
WOULD HAPPEN, HE'D FALL ASLEEP.
186
00:10:56,467 --> 00:10:58,601
AND HE HAD THIS SNORE...
187
00:10:58,601 --> 00:11:00,300
[ IMITATING LOUD SNORING ]
188
00:11:00,300 --> 00:11:01,968
Zonker:
OKAY, HERE'S STARK NAKED.
189
00:11:01,968 --> 00:11:04,467
NOW, I'M ATTRACTED TO HER.
THERE'S NO QUESTION ABOUT IT.
190
00:11:04,467 --> 00:11:07,601
BUT SHE'S JUST SO STRANGE.
191
00:11:07,601 --> 00:11:10,400
Stark: MICHAEL HAGEN INVITED ME
TO KEN'S HOUSE FOR A WEEKEND,
192
00:11:10,400 --> 00:11:12,400
AND THAT'S HOW I MET EVERYBODY.
193
00:11:12,400 --> 00:11:14,767
THERE WAS JUST A GREAT DEAL
OF GENERAL JOVIALITY
194
00:11:14,767 --> 00:11:17,300
AND TALKING AND LAUGHING
AND DANCING.
195
00:11:17,300 --> 00:11:21,200
AND EVEN THEN IT WAS LIKE
A TROUPE OF MINSTRELS AND MIMES.
196
00:11:21,200 --> 00:11:23,634
THEIR PRESENCE
WAS VERY BEAUTIFUL.
197
00:11:23,634 --> 00:11:28,300
Kesey: THE NOTION OF US BEING
WILD CRAZIES WASN'T TRUE.
198
00:11:28,300 --> 00:11:31,033
WE WEREN'T LONG-HAIRED,
AND WE WEREN'T IRRESPONSIBLE.
199
00:11:31,033 --> 00:11:32,934
THERE WAS AN AMERICAN SENSE.
200
00:11:32,934 --> 00:11:35,767
THAT'S WHY WE ALWAYS WORE
RED, WHITE, AND BLUE
201
00:11:35,767 --> 00:11:37,534
AND FLEW THE FLAG.
202
00:11:37,534 --> 00:11:39,467
IT WAS TO TRY TO COOL
THE PEOPLE OUT AND SAY,
203
00:11:39,467 --> 00:11:42,334
"THIS MAY LOOK STRANGE TO YOU,
BUT GET USED TO IT.
204
00:11:42,334 --> 00:11:45,501
IT'S AMERICAN, AND WITHOUT IT
WE'RE A DEAD NATION."
205
00:11:45,501 --> 00:11:48,434
Walker: SINCE IT TURNED OUT
THAT THERE WERE SO MANY OF US,
206
00:11:48,434 --> 00:11:49,801
FRIENDS AND EVERYTHING,
207
00:11:49,801 --> 00:11:52,000
TOO MANY OF US
TO GO IN ONE OR TWO CARS,
208
00:11:52,000 --> 00:11:54,167
WE DECIDED WE'D BUY A BUS
AND WE'D ALL TRAVEL TOGETHER.
209
00:11:54,167 --> 00:11:58,801
* PUT ON YOUR RED DRESS, BABY *
210
00:11:58,801 --> 00:12:02,968
* 'CAUSE WE GOING OUT TONIGHT *
211
00:12:02,968 --> 00:12:04,200
Kesey: WE TOOK
212
00:12:04,200 --> 00:12:07,400
A 1939 INTERNATIONAL HARVESTER'S
SCHOOL BUS.
213
00:12:09,267 --> 00:12:10,968
I GOT OUT THERE
WITH A BLINDFOLD.
214
00:12:10,968 --> 00:12:13,734
IT WAS YOUR LEFT BRAIN WORKING
215
00:12:13,734 --> 00:12:16,300
BEFORE IT EVEN KNEW
IT WAS THE LEFT BRAIN.
216
00:12:16,300 --> 00:12:20,067
* I'M PRETTY SURE NOW, BABY *
217
00:12:20,067 --> 00:12:24,534
* 'CAUSE YOU KNOW, YOU KNOW,
YOU'RE GONNA KNOCK 'EM DEAD *
218
00:12:24,534 --> 00:12:26,434
Walker: ROY WAS
THE REAL PAINTER AMONG US.
219
00:12:26,434 --> 00:12:28,000
* YEAH *
220
00:12:28,000 --> 00:12:29,734
Seburn: AT FIRST,
IT DIDN'T APPEAL TO ME AT ALL,
221
00:12:29,734 --> 00:12:32,467
BECAUSE I THOUGHT IT LOOKED
REALLY GOOD THE WAY IT WAS,
222
00:12:32,467 --> 00:12:34,267
ORANGE WITH BLACK STRIPES.
223
00:12:34,267 --> 00:12:36,467
ONCE IT WAS OBVIOUS
THAT IT WAS GONNA HAPPEN,
224
00:12:36,467 --> 00:12:37,767
I JUST WENT AHEAD.
225
00:12:37,767 --> 00:12:39,400
THE CHALLENGE WAS
TO MIX IT UP THERE
226
00:12:39,400 --> 00:12:43,033
SO IT WOULD BE
INTERESTING TO LOOK AT.
227
00:12:43,033 --> 00:12:45,834
SOMEBODY JUST TOOK AN OLD BROOM
UP ON THE TOP
228
00:12:45,834 --> 00:12:47,234
AND SPILLED SOME PAINT AROUND,
229
00:12:47,234 --> 00:12:50,801
AND, YOU KNOW, PEOPLE WALKED
AROUND WITH THEIR BARE FEET
230
00:12:50,801 --> 00:12:55,767
ON THE BUS,
LEAVING FOOTPRINTS OF PAINT.
231
00:12:55,767 --> 00:12:57,334
Stark:
FIRST IT WAS BLACK AND WHITE,
232
00:12:57,334 --> 00:12:59,601
THEN A MILLION DIFFERENT
PSYCHEDELIC COLORS,
233
00:12:59,601 --> 00:13:01,534
AND THEN IT
WOULD BE PAINTED OVER.
234
00:13:01,534 --> 00:13:05,234
I THINK THEY MUST'VE
PAINTED IT OVER 5 OR 10 TIMES.
235
00:13:07,601 --> 00:13:09,734
Walker:
AND WE DECIDED, "WELL, HEY,
IF WE'RE GONNA DO THIS BUS TRIP,
236
00:13:09,734 --> 00:13:12,367
LET'S FILM IT."
237
00:13:12,367 --> 00:13:15,601
Kesey: WE BOUGHT
REAL COLOR FILM, 16 MILLIMETER,
238
00:13:15,601 --> 00:13:20,434
AND WE'D GOTTEN SEVERAL
REAL 16-MILLIMETER CAMERAS
239
00:13:20,434 --> 00:13:23,767
AND WE DECIDED WE'RE
GONNA MAKE A FILM.
240
00:13:23,767 --> 00:13:25,701
Narrator: SO WHAT KIND OF FILM
WERE YOU MAKING?
241
00:13:25,701 --> 00:13:27,901
A FEATURE LIKE
"GONE WITH THE WIND"?
242
00:13:27,901 --> 00:13:29,734
Kesey: YEAH.
243
00:13:29,734 --> 00:13:31,934
DID ANYONE ON BOARD KNOW
HOW TO USE THE CAMERAS?
244
00:13:31,934 --> 00:13:35,067
NONE OF US KNEW HOW TO DO
ANYTHING THAT WE WERE DOING.
245
00:13:35,067 --> 00:13:38,467
* I'M PRETTY SURE YOU'RE
GONNA KNOCK 'EM DEAD *
246
00:13:38,467 --> 00:13:40,067
Man: I HEARD THE BUS WAS
CALLED "FURTHER."
247
00:13:40,067 --> 00:13:41,167
RIGHT.
248
00:13:41,167 --> 00:13:43,467
WHAT DOES
"FURTHER" MEAN?
249
00:13:43,467 --> 00:13:45,767
OH, I GET THAT QUESTION
A LOT.
250
00:13:45,767 --> 00:13:47,868
IT ALWAYS KIND OF
DISAPPOINTS ME.
251
00:13:47,868 --> 00:13:50,067
WHAT, THAT PEOPLE ASK YOU
WHAT "FURTHER" MEANS?
UH-HUH.
252
00:13:50,067 --> 00:13:51,767
WELL, I COULD LOOK IT UP
IN THE DICTIONARY
253
00:13:51,767 --> 00:13:54,033
AND TELL YOU THAT IT MEANS
FARTHER ALONG THAN THIS, BUT --
254
00:13:54,033 --> 00:13:56,167
NO, NO, NO, NO.
I'M PRETTY DISAPPOINTED
IN MYSELF.
255
00:13:56,167 --> 00:13:57,801
"FARTHER"
IS A DISTANCE.
256
00:13:57,801 --> 00:13:59,734
FURTHER IS A BUS.
257
00:13:59,734 --> 00:14:01,501
ONE IS
A PHILOSOPHICAL CONCEPT,
258
00:14:01,501 --> 00:14:03,767
THE OTHER IS
A MEASUREMENT.
259
00:14:08,367 --> 00:14:10,400
Man
WHAT DO YOU THINK, KEN?
260
00:14:10,400 --> 00:14:12,400
Kesey: WE NEEDED TO DO
SOME MODIFICATIONS.
261
00:14:12,400 --> 00:14:15,133
WE WERE AT A WELDING SHOP
THAT WAS ALSO A JUNKYARD
262
00:14:15,133 --> 00:14:18,167
AND WE SAW THIS BIG
COMMERCIAL CLOTHES DRYER
263
00:14:18,167 --> 00:14:19,567
AND IT LOOKED LIKE
A TANK TURRET,
264
00:14:19,567 --> 00:14:21,300
AND WE DECIDED
WE WANTED A TURRET ON THE TOP.
265
00:14:21,300 --> 00:14:23,133
SO WE HAD THIS WELDER GUY
266
00:14:23,133 --> 00:14:27,267
CUT A BIG HOLE
ON THE TOP OF THE BUS.
267
00:14:27,267 --> 00:14:30,367
[MOTOR WHIRS]
268
00:14:30,367 --> 00:14:31,934
I HAD A MOTORCYCLE
THAT WE TOOK ALONG,
269
00:14:31,934 --> 00:14:34,801
SO WE HAD THE PLATFORM
WELDED ON THE BACK OF IT
270
00:14:34,801 --> 00:14:37,801
THAT WE COULD CARRY THE
MOTORCYCLE AND A GENERATOR ON.
271
00:14:37,801 --> 00:14:41,567
CHUCK HAD DONATED
A 5-K.W. GAS GENERATOR.
272
00:14:45,300 --> 00:14:49,100
Narrator: KEN, WHY WAS THE IDEA
OF A ROAD TRIP SO APPEALING?
273
00:14:49,100 --> 00:14:50,934
WE WEREN'T OLD ENOUGH
TO BE BEATNIKS,
274
00:14:50,934 --> 00:14:53,033
AND WE WERE A LITTLE
TOO OLD TO BE HIPPIES.
275
00:14:53,033 --> 00:14:57,434
BUT EVERYBODY I KNEW
HAD READ "ON THE ROAD,"
276
00:14:57,434 --> 00:14:59,367
AND IT OPENED UP
THE DOORS TO US
277
00:14:59,367 --> 00:15:01,701
JUST THE SAME WAY
DRUGS DID.
278
00:15:01,701 --> 00:15:06,534
IT GAVE US A NEW WAY TO LOOK AT
AMERICA, AND IT STIRRED US UP.
279
00:15:06,534 --> 00:15:10,567
"SO, IN AMERICA,
WHEN THE SUN GOES DOWN
280
00:15:10,567 --> 00:15:12,434
"AND I SIT ON THE OLD
BROKEN-DOWN RIVER PIER
281
00:15:12,434 --> 00:15:16,300
"WATCHING THE LONG, LONG SKIES
OVER NEW JERSEY
282
00:15:16,300 --> 00:15:18,534
"AND SENSE ALL THAT RAW LAND
THAT ROLLS
283
00:15:18,534 --> 00:15:21,467
"IN ONE UNBELIEVABLE HUGE BULGE
OVER TO THE WEST COAST,
284
00:15:21,467 --> 00:15:23,567
"AND ALL THAT ROAD GOING,
285
00:15:23,567 --> 00:15:25,267
"I THINK OF DEAN MORIARTY,
286
00:15:25,267 --> 00:15:30,868
I THINK OF DEAN MORIARTY."
287
00:15:30,868 --> 00:15:32,434
* OH *
288
00:15:32,434 --> 00:15:36,033
* WELL, I'M THE TYPE OF GUY
WHO WILL NEVER SETTLE DOWN *
289
00:15:36,033 --> 00:15:40,534
* WHERE PRETTY GIRLS ARE, WELL,
YOU KNOW THAT I'M AROUND... *
290
00:15:40,534 --> 00:15:43,767
Babbs: A TWO-TONE
PINK-AND-PURPLE DODGE
291
00:15:43,767 --> 00:15:45,434
RIDING LOW ON TORTURED SHOCKS,
292
00:15:45,434 --> 00:15:48,167
SPURTING SMOKE,
RACES ACROSS THE CURB,
293
00:15:48,167 --> 00:15:51,767
OVER THE BRIDGE, AND SKIDS
TO THE PORCH, SLAMS,
294
00:15:51,767 --> 00:15:56,367
AND KESEY STANDS, HANDS ON HIPS,
WATCHING THE ARRIVAL.
295
00:15:56,367 --> 00:15:59,801
Zonker:
THE CAR MADE A RAPID APPROACH,
AND HE FIT INTO THIS PLACE.
296
00:15:59,801 --> 00:16:03,567
Man: THERE WAS 8-5
ON YOU GETTING THROUGH THERE.
297
00:16:03,567 --> 00:16:05,434
PEOPLE WERE HOLLERING,
"NOBODY COULD PARK THERE!
298
00:16:05,434 --> 00:16:06,567
"YOU CAN'T FIT IT THROUGH!
299
00:16:06,567 --> 00:16:09,767
NO, NO, COME ON, CASSADY,
COME ON, MAN."
300
00:16:09,767 --> 00:16:13,868
* WITH MY TWO FISTS OF IRON,
BUT I'M GOING NOWHERE *
301
00:16:13,868 --> 00:16:18,701
* OH, YEAH, I'M THE TYPE OF GUY
THAT LIKES TO ROAM AROUND *
302
00:16:18,701 --> 00:16:20,634
* I'M NEVER IN ONE PLACE *
303
00:16:20,634 --> 00:16:22,133
* I ROAM FROM TOWN TO TOWN *
304
00:16:22,133 --> 00:16:23,734
Kesey:
BEFORE THE SMOKE HAD CLEARED,
305
00:16:23,734 --> 00:16:26,467
THERE WAS THIS GUY WITH NO SHIRT
ON TALKING A MILE A MINUTE.
306
00:16:26,467 --> 00:16:27,701
WE ALL KNEW WHO HE WAS.
307
00:16:27,701 --> 00:16:29,200
THIS WAS DEAN MORIARTY --
WE COULDN'T BELIEVE IT --
308
00:16:29,200 --> 00:16:30,400
OUR FAMOUS DEAN MORIARTY.
309
00:16:30,400 --> 00:16:32,300
* YEAH, I'M A WANDERER *
310
00:16:32,300 --> 00:16:34,334
* YEAH, A WANDERER *
311
00:16:34,334 --> 00:16:35,801
* I ROAM AROUND, AROUND... *
312
00:16:35,801 --> 00:16:37,033
Burton:
I'D READ "ON THE ROAD,"
313
00:16:37,033 --> 00:16:39,100
SO I KNEW HE WAS SUPPOSED TO BE
DEAN MORIARTY,
314
00:16:39,100 --> 00:16:42,133
BUT I DIDN'T LIKE THAT
CHARACTER IN THE BOOK TOO MUCH,
315
00:16:42,133 --> 00:16:44,567
AND I LIKED NEAL BETTER.
316
00:16:44,567 --> 00:16:48,434
Stark: ALL OF A SUDDEN, OUT POPS
THIS MAN, ALMOST FROM NOWHERE.
317
00:16:48,434 --> 00:16:51,801
HE REMINDED ME MORE
OF AN IRISH LEPRECHAUN AT FIRST.
318
00:16:51,801 --> 00:16:54,367
WHEN HE OPENED HIS MOUTH,
HE SAID ABOUT 40 WORDS,
319
00:16:54,367 --> 00:16:55,901
AND ALL OF A SUDDEN,
320
00:16:55,901 --> 00:16:59,968
EVERYTHING IN THE UNIVERSE WAS
AND IS ALL RIGHT
321
00:16:59,968 --> 00:17:03,234
AND ALL BEAUTIFUL
AND ALL FUNNY AND MEANINGFUL,
322
00:17:03,234 --> 00:17:04,701
ALL AT THE SAME TIME.
323
00:17:04,701 --> 00:17:08,634
* YEAH, I'M THE TYPE OF GUY
THAT LIKES TO ROAM AROUND *
324
00:17:08,634 --> 00:17:10,300
* I'M NEVER IN ONE PLACE... *
325
00:17:10,300 --> 00:17:12,467
Fetchen: FOR ME, I'M WATCHING IT
ALL AND THINKING,
326
00:17:12,467 --> 00:17:15,601
"WOW, HE KIND OF
LOOKS LIKE MY DAD,
327
00:17:15,601 --> 00:17:17,567
AND MY DAD IS GONNA DRIVE
THE BUS!"
328
00:17:17,567 --> 00:17:19,701
[ LAUGHING ]
329
00:17:19,701 --> 00:17:20,901
* ...DRIVE AROUND THE WORLD *
330
00:17:20,901 --> 00:17:22,734
* 'CAUSE I'M A WANDERER *
331
00:17:22,734 --> 00:17:25,501
* YEAH, A WANDERER *
332
00:17:25,501 --> 00:17:26,934
Walker: HE CAME ALONG
KIND OF AS A FATHER FIGURE.
333
00:17:26,934 --> 00:17:28,868
SAYS, "I GOT TO TAKE CARE
OF YOU BOYS, UNDERSTAND,
334
00:17:28,868 --> 00:17:31,000
"CHANGE YOUR TIRES.
335
00:17:31,000 --> 00:17:34,400
HERE, I GOT THIS 8-TON JACK.
I GOT THIS LUG WRENCH."
336
00:17:34,400 --> 00:17:36,467
HE GOES, "YOU DON'T EVEN HAVE A
LUG WRENCH IN YOUR GODDAMN BUS."
337
00:17:36,467 --> 00:17:38,534
"HERE, LOOK, I GOT US
A COUPLE OF SPARE INNER TUBES,
338
00:17:38,534 --> 00:17:41,234
"THOSE BOOT THINGS --
YOU NEVER SAW A BOOT BEFORE,
339
00:17:41,234 --> 00:17:42,868
"PROBABLY GOES
INSIDE THE SPARE TIRE,
340
00:17:42,868 --> 00:17:44,667
AND A BIG TIRE,
WE'RE TALKING ABOUT 10..."
341
00:17:44,667 --> 00:17:47,367
Scott:
WE STARTED OUT IN LA HONDA,
342
00:17:47,367 --> 00:17:48,767
AND THERE WAS ALL THIS BIG DEAL,
343
00:17:48,767 --> 00:17:50,501
AND WE HAD BEEN
GETTING READY FOR DAYS
344
00:17:50,501 --> 00:17:53,100
AND PACKING AND FIXING,
AND FINALLY IT WAS THE MOMENT.
345
00:17:53,100 --> 00:17:54,868
WE WERE LEAVING LA HONDA,
346
00:17:54,868 --> 00:17:57,434
AND EVERYBODY GATHERED AROUND
AND WAVED US GOODBYE
347
00:17:57,434 --> 00:18:00,234
AND WE CLIMBED ON THE BUS.
348
00:18:00,234 --> 00:18:01,934
HONK THE HORN!
349
00:18:06,834 --> 00:18:10,100
AND IT STARTED OFF
AND IT WENT OUT THE GATE
350
00:18:10,100 --> 00:18:13,334
AND ACROSS THE BRIDGE
AND RAN OUT OF GAS!
351
00:18:13,334 --> 00:18:16,434
[ LAUGHING ]
352
00:18:16,434 --> 00:18:18,033
Walker: WELL, THE MOMENT
OF DEPARTURE WAS BEAUTIFUL.
353
00:18:18,033 --> 00:18:20,200
WE RAN OUT OF GAS
ON KESEY'S BRIDGE.
354
00:18:20,200 --> 00:18:24,033
WE FIGURED, AT THAT RATE,
YOU KNOW, 25 FEET AN HOUR --
355
00:18:24,033 --> 00:18:25,667
WE HAD A WEEK
TO GET TO NEW YORK.
356
00:18:25,667 --> 00:18:27,000
WE WEREN'T WORRIED.
357
00:18:27,000 --> 00:18:30,000
Burton: THIS IS TAKING
DISORGANIZATION
358
00:18:30,000 --> 00:18:32,200
TO SOME SORT OF PEAK.
359
00:18:32,200 --> 00:18:33,868
Scott:
IT WAS JUST LUDICROUS.
360
00:18:33,868 --> 00:18:35,534
AND IN SOME WAY OR ANOTHER,
THAT WAS JUST, LIKE,
361
00:18:35,534 --> 00:18:38,567
THE PERFECT OMEN
FOR THE START OF THIS TRIP.
362
00:18:38,567 --> 00:18:40,634
Cassady: I USED TO THINK
I WAS NAPOLEON, TOO.
363
00:18:40,634 --> 00:18:43,701
Kesey: WE SET OUT
JUST LIKE IN "EASY RIDER"
364
00:18:43,701 --> 00:18:46,467
OR "TRAVELS WITH CHARLEY,"
365
00:18:46,467 --> 00:18:52,133
WHERE STEINBECK SETS OUT
TO SEEK THE SOUL OF AMERICA.
366
00:18:54,868 --> 00:18:57,467
Burton: IT LOOKED LIKE
A TRAVELING PLEASURE PALACE.
367
00:18:57,467 --> 00:19:00,234
WE COULD RIDE ACROSS THE COUNTRY
IN TOTAL COMFORT.
368
00:19:00,234 --> 00:19:02,868
IT WAS BIG
AND ROOMY AND SPACIOUS --
369
00:19:02,868 --> 00:19:05,167
UNTIL WE GOT
ALL THE PEOPLE IN IT.
370
00:19:05,167 --> 00:19:06,734
THEN IT WAS CROWDED.
371
00:19:06,734 --> 00:19:10,868
IT WAS THE EXACT OPPOSITE
OF A PLEASURE PALACE.
372
00:19:10,868 --> 00:19:13,267
[ INDISTINCT SPEAKING ]
373
00:19:13,267 --> 00:19:15,267
Scott:
I WAS ON THE FIRST 24 HOURS
374
00:19:15,267 --> 00:19:17,968
THAT IT TOOK US TO GET
FROM LA HONDA TO SAN JOSE.
375
00:19:17,968 --> 00:19:20,200
I DON'T KNOW.
WHAT IS IT, 40 MILES?
376
00:19:20,200 --> 00:19:25,133
IT TOOK US 24 HOURS
TO GET TO SAN JOSE.
377
00:19:25,133 --> 00:19:27,334
Fetchen:
WE DIDN'T GET VERY FAR,
378
00:19:27,334 --> 00:19:30,567
AND MECHANICAL SPASMS
STARTED HAPPENING ON THE BUS,
379
00:19:30,567 --> 00:19:34,400
AND THE ENGINE WAS SPUTTERING,
SO WE PULLED INTO A GAS STATION.
380
00:19:37,234 --> 00:19:39,133
Babbs: SOME OLD GAS STATION MAN
TOOK A LOOK AT THAT THING,
381
00:19:39,133 --> 00:19:40,767
LOOKED AT THE ENGINE AND SAYS,
382
00:19:40,767 --> 00:19:45,167
"YOU'LL NEVER GET THAT THING
PAST OKLAHOMA."
383
00:19:45,167 --> 00:19:47,133
Zonker:
WELL, I'M SAYING TO MYSELF,
384
00:19:47,133 --> 00:19:49,501
"JESUS CHRIST,
THIS THING IS FUCKED."
385
00:19:49,501 --> 00:19:50,934
LOOK, IT'S PAINTED WEIRD,
386
00:19:50,934 --> 00:19:55,133
THE MECHANICS BEHIND IT
ARE EQUALLY AS WEIRD.
387
00:19:56,734 --> 00:19:58,467
Fetchen: WHILE EVERYBODY
WAS WORKING ON THE ENGINE,
388
00:19:58,467 --> 00:20:01,300
I WAS MESSING AROUND WITH
THE HEADSET AND WAS GOING,
389
00:20:01,300 --> 00:20:03,968
"WE'RE ON OUR WAY-AY-AY-AY...
390
00:20:03,968 --> 00:20:07,400
TO SAN JOSE-E-E-E!"
391
00:20:07,400 --> 00:20:10,167
HOW WAS YOUR STAY...
392
00:20:10,167 --> 00:20:13,834
IN SAN JOSE?!
393
00:20:13,834 --> 00:20:15,868
WHILE I WAS DOING THAT,
I HAPPENED TO TURN AROUND,
394
00:20:15,868 --> 00:20:17,667
AND I NOTICED CHLOE
LOOKING REALLY GLUM.
395
00:20:17,667 --> 00:20:19,267
I SAID, "WHAT'S WRONG?"
396
00:20:19,267 --> 00:20:23,167
AND SHE SAYS, "IF IT TAKES US
THIS LONG TO GET TO SAN JOSE,"
397
00:20:23,167 --> 00:20:27,033
SHE SAYS, "WE'LL NEVER
MAKE IT TO NEW YORK CITY!"
398
00:20:27,033 --> 00:20:30,000
SHE SAYS, "I CAN'T TAKE THIS.
THIS IS TOO CHAOTIC."
399
00:20:30,000 --> 00:20:35,033
AND THAT WAS AS FAR
AS SHE LASTED ON THE BUS.
400
00:20:35,033 --> 00:20:36,868
Scott: YEAH, I WAS
PRETTY GLAD TO GET OFF.
401
00:20:36,868 --> 00:20:41,434
I MEAN, THANK GOD I'M NOT
CROSSING THE COUNTRY IN IT.
402
00:20:41,434 --> 00:20:43,100
Narrator: AND YOU GOT BACK
ACROSS THE COUNTRY
403
00:20:43,100 --> 00:20:45,634
BY MORE CIVILIZED MEANS,
I IMAGINE?
404
00:20:45,634 --> 00:20:49,133
T.W.A.
[ LAUGHING ]
405
00:20:49,133 --> 00:20:51,801
* T.W.A.'s YOUR WAY *
406
00:20:58,133 --> 00:21:00,968
Kesey: THERE'S BEEN
A ONE-STEP REMOVAL, I THINK,
407
00:21:00,968 --> 00:21:03,000
FROM OUR CONNECTION TO LIFE.
408
00:21:03,000 --> 00:21:05,033
AND I'LL TELL YOU WHERE
YOU CAN SEE IT. GO TO L.A.
409
00:21:09,834 --> 00:21:13,100
WE CAN'T SEE ANYMORE,
WE CAN BARELY HEAR ANYMORE.
410
00:21:13,100 --> 00:21:14,701
WHEN WE LOOK,
WE'RE NOT LOOKING AT.
411
00:21:14,701 --> 00:21:16,300
WE'RE LOOKING FOR.
412
00:21:16,300 --> 00:21:18,934
I TELL YOU, HOLLYWOOD IS
AS SOULLESS AN IDEA
413
00:21:18,934 --> 00:21:20,801
OF WHAT LIFE LOOKS LIKE.
414
00:21:20,801 --> 00:21:23,067
* I'M GOING OUT WEST
WHERE I BELONG *
415
00:21:23,067 --> 00:21:25,434
WHAT COLOR IS WORLD WAR II?
416
00:21:25,434 --> 00:21:27,100
WORLD WAR I IS EVEN
A BETTER EXAMPLE.
417
00:21:27,100 --> 00:21:28,434
WHAT COLOR IS WORLD WAR I?
418
00:21:28,434 --> 00:21:29,567
IT'S BLACK AND WHITE,
419
00:21:29,567 --> 00:21:31,534
WHEREAS THE CIVIL WAR
IS IN TECHNICOLOR.
420
00:21:31,534 --> 00:21:34,100
* THEY WALK, AND I'LL WALK *
421
00:21:34,100 --> 00:21:36,801
* THEY TWIST, AND I'LL TWIST *
422
00:21:36,801 --> 00:21:40,000
WHAT HAPPENS IF ALL OF THIS
STUFF THAT'S BEING SOLD US
423
00:21:40,000 --> 00:21:42,334
HAS DAMN NEAR CLOSED THE DOOR
424
00:21:42,334 --> 00:21:45,801
ON ANY POSSIBILITY
OF OUR DOING ANYTHING NEW,
425
00:21:45,801 --> 00:21:47,234
ON OUR DOING ANYTHING
426
00:21:47,234 --> 00:21:49,300
EXCEPT TRAVELING
IN THE SAME LITTLE CIRCLE?
427
00:21:49,300 --> 00:21:53,534
AND, IF THAT IS TRUE,
HOW DO WE BREAK OUT OF IT?
428
00:21:53,534 --> 00:21:55,801
SO YOU DONATE BLOOD,
THEN THERE'S A SICK CAT,
429
00:21:55,801 --> 00:21:59,200
NOT BEING APPROVED OF AND ALL,
AS THE SON, YOU SEE, WOULD BE,
430
00:21:59,200 --> 00:22:00,801
SO YOU HAVE A MANIA...
431
00:22:00,801 --> 00:22:04,400
ALL YOU CAN DO
IS EXPERIENCE THIS THING.
432
00:22:04,400 --> 00:22:07,734
THIS, AS NEAR AS I CAN SEE,
IS WHAT'S GOING ON,
433
00:22:07,734 --> 00:22:09,234
AS NEAR AS I CAN RECORD IT.
434
00:22:09,234 --> 00:22:10,801
IT MAY NOT MAKE SENSE.
435
00:22:10,801 --> 00:22:12,300
I'M JUST TRYING
TO OPEN UP LIKE A CAMERA
436
00:22:12,300 --> 00:22:15,133
AND SEE IT CLEARLY FOR A MOMENT.
437
00:22:19,400 --> 00:22:21,000
Zonker: I REMEMBER WHEN
WE FIRST HEADED OUT OF LA,
438
00:22:21,000 --> 00:22:23,934
OUT OF KEN BABBS' PLACE,
WHERE WE SPENT A COUPLE DAYS
439
00:22:23,934 --> 00:22:28,601
PAINTING HIS SWIMMING POOL
AND SO FORTH.
440
00:22:28,601 --> 00:22:30,334
Kesey:
WHEN THE BUS HEADED OUT,
441
00:22:30,334 --> 00:22:34,033
BABBS WAS LIVING
IN SAN JUAN CAPISTRANO
442
00:22:34,033 --> 00:22:36,968
WITH HIS WIFE, ANITA,
AND HIS KIDS.
443
00:22:36,968 --> 00:22:39,601
AND WE WENT THROUGH CAPISTRANO,
444
00:22:39,601 --> 00:22:41,801
AND HE REALIZED THIS IS HIS
MERRY BAND OF PRANKSTERS
445
00:22:41,801 --> 00:22:45,400
AND HE BETTER CLIMB ABOARD.
446
00:22:45,400 --> 00:22:48,334
THE ORIGINAL PRANKSTER CREDO
447
00:22:48,334 --> 00:22:50,000
THAT STARTED
THE WHOLE PRANKSTER MOVEMENT
448
00:22:50,000 --> 00:22:51,767
WAS ONE OF --
449
00:22:51,767 --> 00:22:55,634
YOU START OFF BY SAYING,
"NEVER TRUST A PRANKSTER."
450
00:22:55,634 --> 00:23:00,467
BECAUSE NO MATTER HOW I TRY,
451
00:23:00,467 --> 00:23:04,167
I WILL EVENTUALLY...
452
00:23:04,167 --> 00:23:06,501
LIE TO YOU, EVEN THOUGH
I MAY NOT WANT TO.
453
00:23:06,501 --> 00:23:08,367
IF I SAY ONE THING TODAY...
454
00:23:08,367 --> 00:23:10,467
[ FEEDBACK ]
455
00:23:10,467 --> 00:23:12,167
Man: GO AHEAD. WOULD YOU
REPEAT THAT AGAIN?
456
00:23:12,167 --> 00:23:13,734
"AWOOOOOOO."
457
00:23:13,734 --> 00:23:16,334
[ LAUGHING ]
458
00:23:16,334 --> 00:23:17,400
VERY FUNNY.
459
00:23:28,801 --> 00:23:31,300
Kesey: WHEN WE STARTED OUT
WITH THE BUS,
460
00:23:31,300 --> 00:23:33,767
I REALIZED I WASN'T GONNA BE
ABLE TO WRITE A BOOK ABOUT THIS.
461
00:23:33,767 --> 00:23:36,267
BECAUSE YOU CAN'T.
IT'S AN EXPERIENCE.
462
00:23:41,300 --> 00:23:42,868
Kesey:
THIS WASN'T LITERATURE ANYMORE,
463
00:23:42,868 --> 00:23:45,767
THIS JUMPED OFF THE PAGES
AND ONTO THE STREETS.
464
00:23:52,434 --> 00:23:55,200
Fetchen: WE TOOK OFF,
WENT ACROSS THE DESERT,
465
00:23:55,200 --> 00:23:56,801
AND HEADED FOR ARIZONA.
466
00:24:00,501 --> 00:24:02,534
CASSADY TALKED A LOT.
467
00:24:02,534 --> 00:24:04,400
[ LAUGHING ]
468
00:24:17,067 --> 00:24:19,067
WE'D TAKE TURNS
RIDING SHOTGUN WITH HIM
469
00:24:19,067 --> 00:24:22,300
SO HE'D HAVE SOMEBODY
TO TALK TO WHILE HE WAS DRIVING.
470
00:24:29,200 --> 00:24:30,534
Burton:
HE WAS A RADIO.
471
00:24:30,534 --> 00:24:32,667
HE JUST WENT ON AND ON AND ON.
472
00:24:32,667 --> 00:24:35,534
IT WAS ALMOST IMPOSSIBLE
FOR HIM TO EVER SHUT OFF.
473
00:24:35,534 --> 00:24:37,167
HE COULDN'T HELP HIMSELF.
474
00:24:37,167 --> 00:24:39,133
IT HAD A LOT TO DO WITH SPEED.
475
00:24:42,067 --> 00:24:43,534
MAJOR PORTION,
CRITICAL POINT...
476
00:24:43,534 --> 00:24:46,067
[ SIRENS WAILING ]
477
00:24:48,634 --> 00:24:51,734
All: Shh! Shh! Shh!
478
00:24:51,734 --> 00:24:54,501
Cassady:
OKAY, SETTLE IN, SETTLE IN.
479
00:24:54,501 --> 00:24:56,467
Fetchen: ATTRACTING THE COPS,
AND HOW TO DEAL WITH
480
00:24:56,467 --> 00:24:58,167
CONCEALING THE DRUGS
THAT WE HAD,
481
00:24:58,167 --> 00:25:00,033
THAT WAS ALWAYS
A CONSIDERATION
482
00:25:00,033 --> 00:25:01,501
THROUGHOUT THE WHOLE BUS TRIP,
483
00:25:01,501 --> 00:25:03,300
BECAUSE THE COPS
WERE STOPPING US
484
00:25:03,300 --> 00:25:06,267
BECAUSE THEY'D NEVER SEEN
ANYTHING LIKE IT.
485
00:25:06,267 --> 00:25:09,067
Cassady: I WASTED YOUR TIME,
THAT'S WHY I'M NOT --
486
00:25:09,067 --> 00:25:10,634
Kesey: CASSADY WOULD ALWAYS BE
OUT THERE TALKING TO THEM,
487
00:25:10,634 --> 00:25:12,133
AND HE'D SAY, "OH, YEAH,
OFFICERS," HE'D SAY.
488
00:25:12,133 --> 00:25:13,501
"YOU CAN SEE WHAT THEY'RE LIKE
BACK THERE," HE SAID,
489
00:25:13,501 --> 00:25:15,801
"BUT I'M DOING MY BEST
TO KEEP THEM IN CONTROL."
490
00:25:15,801 --> 00:25:18,067
Cassady: WE'RE HAVING
A BRIEF EQUIPMENT...
491
00:25:18,067 --> 00:25:21,601
Fetchen:
OUR INSTANT COVER WAS ALWAYS TO
GET THE CAMERAS OUT AND RUN OUT
492
00:25:21,601 --> 00:25:23,501
AND SAY WE WERE MAKING A MOVIE.
493
00:25:23,501 --> 00:25:25,100
Cassady: WE DON'T HAVE
A CAMERA WITH ANY FILM.
494
00:25:25,100 --> 00:25:27,501
Burton: PEOPLE DIDN'T THINK
WE WERE HIPPIES
495
00:25:27,501 --> 00:25:29,100
OR THAT WE WERE DRUG FREAKS.
496
00:25:29,100 --> 00:25:30,868
THAT WOULDN'T HAVE
OCCURRED TO ANYBODY
497
00:25:30,868 --> 00:25:33,367
BECAUSE IT WASN'T
IN THE NEWS YET.
498
00:25:33,367 --> 00:25:35,467
[ ALL CHEERING ]
499
00:25:35,467 --> 00:25:37,434
Cassady: SHUT UP!
500
00:25:43,701 --> 00:25:46,701
Narrator: HOW DID YOU GET MIXED
UP WITH LSD IN THE FIRST PLACE?
501
00:25:46,701 --> 00:25:49,334
Kesey: I CAME OUT OF
THE UNIVERSITY OF OREGON
502
00:25:49,334 --> 00:25:52,033
THE PRETTIEST LITTLE BOY
YOU'VE EVER SEEN.
503
00:25:52,033 --> 00:25:55,234
I DIDN'T SMOKE.
I DIDN'T DRINK.
504
00:25:55,234 --> 00:25:59,834
I WENT TO STANFORD ON
A FORD FOUNDATION FELLOWSHIP.
505
00:25:59,834 --> 00:26:02,033
AND WHILE AT STANFORD,
506
00:26:02,033 --> 00:26:05,501
I WAS...GIVEN THE OPPORTUNITY
507
00:26:05,501 --> 00:26:08,133
TO GO TO THE STANFORD HOSPITAL
508
00:26:08,133 --> 00:26:12,167
AND TAKE PART
IN THE LSD EXPERIMENTS.
509
00:26:12,167 --> 00:26:15,200
Woman: HOW DID YOU BECOME A
VOLUNTEER FOR THESE EXPERIMENTS?
510
00:26:15,200 --> 00:26:17,634
Kesey: I, AT THE TIME,
WAS TRAINING FOR
511
00:26:17,634 --> 00:26:19,033
THE OLYMPICS TEAM
AND WAS --
512
00:26:19,033 --> 00:26:20,968
AS A WRESTLER?
YEAH, AS A WRESTLER.
513
00:26:20,968 --> 00:26:24,467
I'D NEVER BEEN DRUNK ON BEER,
LET ALONE DONE ANY DRUGS,
514
00:26:24,467 --> 00:26:27,767
BUT THIS IS
THE AMERICAN GOVERNMENT.
515
00:26:27,767 --> 00:26:32,567
THE STUDY OF LSD CONTINUES
IN LABORATORIES AND HOSPITALS
516
00:26:32,567 --> 00:26:34,100
THROUGHOUT THE UNITED STATES.
517
00:26:34,100 --> 00:26:39,033
THEY PAID US $25 A DAY
TO COME DOWN THERE
518
00:26:39,033 --> 00:26:41,400
AND THEN
THEY GAVE US STUFF.
519
00:26:41,400 --> 00:26:43,033
WHAT IS LSD?
520
00:26:43,033 --> 00:26:45,834
HOW DOES IT WORK?
WHEN DID IT ALL BEGIN?
521
00:26:45,834 --> 00:26:49,868
IT ALL BEGAN IN A LABORATORY
VERY MUCH LIKE THIS ONE.
522
00:26:49,868 --> 00:26:53,300
IN 1938, DR. ALBERT HOFFMAN
IN SWITZERLAND
523
00:26:53,300 --> 00:26:55,334
WAS LOOKING FOR NEW DRUGS
524
00:26:55,334 --> 00:26:57,601
IN THE TREATMENT
OF MIGRAINE HEADACHES.
525
00:27:11,467 --> 00:27:15,300
HE HAD BEEN STUDYING MOLD
THAT GROWS ON RYE PLANTS.
526
00:27:15,300 --> 00:27:18,400
NOW, IT TURNED OUT THAT THESE
SUBSTANCES WERE OF NO USE
527
00:27:18,400 --> 00:27:20,300
IN THE TREATMENT
OF MIGRAINE HEADACHES.
528
00:27:20,300 --> 00:27:24,200
HOWEVER, IT WAS FOUND THAT THESE
SUBSTANCES COULD PRODUCE
529
00:27:24,200 --> 00:27:26,334
A CHANGE IN MENTAL STATE
530
00:27:26,334 --> 00:27:29,734
CLOSELY RESEMBLING
SOME FORMS OF INSANITY --
531
00:27:29,734 --> 00:27:31,300
IN PARTICULAR, SCHIZOPHRENIA.
532
00:27:34,501 --> 00:27:37,234
Kesey: WHEN I WAS ASKED TO DO
THESE DRUG EXPERIMENTS,
533
00:27:37,234 --> 00:27:40,000
I THOUGHT THESE DRUGS
MIGHT GIVE US A WAY
534
00:27:40,000 --> 00:27:43,601
TO CURE INSANITY,
TO OVERCOME DEPRESSION.
535
00:27:43,601 --> 00:27:48,234
THAT WAS PART OF WHAT
WE THOUGHT WE WERE DOING.
536
00:27:48,234 --> 00:27:50,367
WHAT KIND OF PREPARATION
WERE YOU GIVEN FOR IT?
537
00:27:50,367 --> 00:27:52,267
WERE YOU GIVEN ANY?
NONE AT ALL.
538
00:27:52,267 --> 00:27:54,300
I'D READ A LITTLE PIECE
IN LIFE MAGAZINE
539
00:27:54,300 --> 00:27:56,267
ABOUT HOW THEY'D
GIVEN IT TO CATS,
540
00:27:56,267 --> 00:28:01,067
AND CATS WERE AFRAID OF MICE
ONCE THEY'D HAD LSD.
541
00:28:01,067 --> 00:28:03,267
WHAT WAS THAT VERY FIRST
TRIP LIKE, THOUGH,
542
00:28:03,267 --> 00:28:05,100
UNDER THE EXPERIMENTAL
CONDITIONS?
543
00:28:05,100 --> 00:28:08,534
IT WAS ON A WARD,
ON A NUTHOUSE WARD.
544
00:28:08,534 --> 00:28:10,234
YOU'D GO
IN A LITTLE ROOM.
545
00:28:10,234 --> 00:28:13,767
THERE'D BE A BED AND A STAND
WITH SOME WATER ON IT
546
00:28:13,767 --> 00:28:16,100
AND A TAPE RECORDER
AND NOTHING ELSE.
547
00:28:16,100 --> 00:28:17,734
THERE WAS A LITTLE
WINDOW RIGHT HERE
548
00:28:17,734 --> 00:28:19,067
WITH A WIRE THROUGH IT,
549
00:28:19,067 --> 00:28:21,367
AND YOU COULD LOOK OUT
AND SEE THE PEOPLE
550
00:28:21,367 --> 00:28:22,734
OUT IN THE OTHER ROOM.
551
00:28:22,734 --> 00:28:24,934
[ CLOCK TICKING ]
552
00:31:04,601 --> 00:31:05,901
[ KNOCK ON DOOR ]
553
00:32:23,334 --> 00:32:25,033
Kesey:
AND WHEN I CAME OUT OF IT,
554
00:32:25,033 --> 00:32:27,734
I FELT LIKE IT WAS LIKE
DISCOVERING A HOLE
555
00:32:27,734 --> 00:32:29,000
THAT WENT INTO
THE CENTER OF THE EARTH
556
00:32:29,000 --> 00:32:30,434
AND YOU COULD SEE
JEWELRY DOWN THERE
557
00:32:30,434 --> 00:32:33,667
AND YOU WANTED YOUR PEOPLE
TO GO DOWN AND ENJOY IT.
558
00:32:36,634 --> 00:32:40,033
* TRAILER FOR SALE OR RENT *
559
00:32:40,033 --> 00:32:44,767
* ROOMS TO LET 50 CENTS *
560
00:32:44,767 --> 00:32:47,601
* NO PHONE, NO POOL, NO PETS *
561
00:32:47,601 --> 00:32:51,567
* AIN'T GOT NO CIGARETTES *
562
00:32:51,567 --> 00:32:55,601
Fetchen:
CASSADY DROVE ALL NIGHT, AND
EVERYBODY SLEPT OR DIDN'T SLEEP,
563
00:32:55,601 --> 00:32:57,267
DEPENDING
ON WHAT THEY WERE DOING.
564
00:32:57,267 --> 00:33:00,434
Cassady: BUS SUPPOSED TO
HIT TO TUCSON, ARRIVED...
565
00:33:00,434 --> 00:33:03,100
OH, THERE, YOU CAN'T --
566
00:33:03,100 --> 00:33:05,868
JUST AS IT WERE --
POLICE, HOW YOU DOING?
567
00:33:05,868 --> 00:33:08,000
* KING OF THE ROAD *
568
00:33:08,000 --> 00:33:10,834
A BUNCH OF PREVIOUS PLANS '69 --
OH, ALL RIGHT, HONEST.
569
00:33:10,834 --> 00:33:12,267
ESPECIALLY SOUTH.
570
00:33:12,267 --> 00:33:13,601
Narrator: IN 1964,
571
00:33:13,601 --> 00:33:15,801
THE ULTRA-CONSERVATIVE
BARRY GOLDWATER
572
00:33:15,801 --> 00:33:18,501
WAS RUNNING FOR PRESIDENT.
573
00:33:18,501 --> 00:33:22,834
WHAT DID YOU MAKE OF KESEY'S
GOLDWATER STUNT IN PHOENIX?
574
00:33:22,834 --> 00:33:25,767
Fetchen: I WAS KIND OF PUZZLED
BY THE NEED TO GET INTO
575
00:33:25,767 --> 00:33:29,000
THE POLITICS OF BARRY GOLDWATER.
576
00:33:29,000 --> 00:33:34,400
I KIND OF THOUGHT THE WHOLE
THING WAS SORT OF RIDICULOUS.
577
00:33:34,400 --> 00:33:38,133
A VOTE FOR BARRY
IS A VOTE FOR FUN.
578
00:33:38,133 --> 00:33:40,200
Kesey: IT WAS
A TONGUE-IN-CHEEK THING.
579
00:33:40,200 --> 00:33:42,167
WE WANTED TO WAVE THE FLAG,
580
00:33:42,167 --> 00:33:45,234
BUT WAVING THE FLAG
IN DOWNTOWN PHOENIX
581
00:33:45,234 --> 00:33:46,968
KIND OF SEEMED LIKE
YOU'RE FOR GOLDWATER,
582
00:33:46,968 --> 00:33:49,400
SO WE PAINTED "A VOTE
FOR BARRY IS A VOTE FOR FUN"
583
00:33:49,400 --> 00:33:51,934
AND THEN DROVE DOWN
THE MAIN STREET OF PHOENIX.
584
00:33:51,934 --> 00:33:53,400
BACKWARDS.
585
00:34:02,067 --> 00:34:04,934
Narrator:
EVEN AS YOU WERE DRIVING THE BUS
ACROSS THE COUNTRY,
586
00:34:04,934 --> 00:34:07,767
REVIEWS WERE COMING IN
FOR "SOMETIMES A GREAT NOTION"
587
00:34:07,767 --> 00:34:09,334
AND THEY WERE PECULIAR.
588
00:34:09,334 --> 00:34:13,534
Kesey: YES. THEY DIDN'T KNOW
EXACTLY WHAT TO SAY ABOUT IT.
589
00:34:13,534 --> 00:34:15,334
"CUCKOO'S NEST" WAS
A PHENOMENON.
590
00:34:15,334 --> 00:34:18,868
IT RECEIVED NOTHING
BUT GOOD REVIEWS.
591
00:34:18,868 --> 00:34:20,133
MOST PEOPLE ARE
SURPRISED TO LEARN
592
00:34:20,133 --> 00:34:22,267
THAT YOU'D NEVER EVEN
SEEN THE MOVIE.
593
00:34:22,267 --> 00:34:24,801
YOU EVEN THREATENED
TO SUE THE PRODUCERS.
594
00:34:24,801 --> 00:34:27,801
I TOLD THESE LIARS,
"I'LL NEVER SEE THE MOVIE."
595
00:34:27,801 --> 00:34:31,400
THEY EMPHASIZED
THE MELODRAMA.
596
00:34:31,400 --> 00:34:33,501
WHO'S THE VILLAIN
IN "CUCKOO'S NEST"?
597
00:34:33,501 --> 00:34:35,434
THE NURSE.
NO.
598
00:34:35,434 --> 00:34:37,000
THE COMBINE
IS THE VILLAIN,
599
00:34:37,000 --> 00:34:40,100
AND THE BIG NURSE
IS THE MINION OF THAT,
600
00:34:40,100 --> 00:34:41,400
BUT SHE'S NOT
THE VILLAIN.
601
00:34:41,400 --> 00:34:43,934
Kesey:
"I'M MOPPING NEAR THE WARD DOOR
602
00:34:43,934 --> 00:34:46,501
"WHEN A KEY HITS IT
FROM THE OTHER SIDE
603
00:34:46,501 --> 00:34:49,167
"AND I KNOW IT'S THE BIG NURSE.
604
00:34:49,167 --> 00:34:51,234
"SHE'S CARRYING
HER WOVEN WICKER BAG,
605
00:34:51,234 --> 00:34:52,601
"FULL OF A THOUSAND PARTS
606
00:34:52,601 --> 00:34:54,901
"SHE AIMS TO USE
IN HER DUTIES TODAY --
607
00:34:54,901 --> 00:34:59,634
"WHEELS AND GEARS AND TINY
PILLS THAT GLEAM LIKE PORCELAIN,
608
00:34:59,634 --> 00:35:03,067
NEEDLES AND FORCEPS AND ROLLS
OF COPPER WIRE."
609
00:35:03,067 --> 00:35:05,634
GOOD MORNING,
MISS RATCHED.
GOOD MORNING.
610
00:35:05,634 --> 00:35:07,300
GOOD MORNING,
MISS RATCHED.
611
00:35:07,300 --> 00:35:10,234
Kesey: "THE BIG NURSE
TENDS TO GET REAL PUT OUT
612
00:35:10,234 --> 00:35:12,400
"IF SOMETHING KEEPS HER OUTFIT
613
00:35:12,400 --> 00:35:15,367
"FROM RUNNING
LIKE A PRECISION-MADE MACHINE,
614
00:35:15,367 --> 00:35:17,968
WHAT SHE CALLS 'ADJUSTED.'"
615
00:35:17,968 --> 00:35:20,400
Nurse Ratched:
MEDICATION TIME.
616
00:35:20,400 --> 00:35:22,467
"SHE WORKS WITH AN EYE
617
00:35:22,467 --> 00:35:25,334
"TO ADJUSTING
THE OUTSIDE WORLD, TOO.
618
00:35:25,334 --> 00:35:28,734
"WORKING ALONGSIDE
OTHERS LIKE HER
619
00:35:28,734 --> 00:35:31,701
WHO I CALL THE 'COMBINE.'"
620
00:35:31,701 --> 00:35:33,234
Man: CHIEF?
621
00:35:33,234 --> 00:35:36,734
WRITING THAT STORY FROM THE
POINT OF VIEW OF THAT INDIAN,
622
00:35:36,734 --> 00:35:39,634
THAT'S WHAT MAKES THAT BOOK.
623
00:35:39,634 --> 00:35:40,834
AND I DON'T KNOW ANY INDIANS.
624
00:35:40,834 --> 00:35:42,801
I DON'T KNOW WHERE
THAT INDIAN CAME FROM.
625
00:35:42,801 --> 00:35:44,567
THOSE FIRST FEW PAGES
OF "CUCKOO'S NEST"
626
00:35:44,567 --> 00:35:46,567
WERE WRITTEN ON PEYOTE.
627
00:35:46,567 --> 00:35:49,934
I'VE ALWAYS FELT HUMBLED
BY THAT CHARACTER.
628
00:35:49,934 --> 00:35:51,367
[ IMITATING WAR CRY ]
629
00:35:51,367 --> 00:35:53,801
WITHOUT THE CHARACTER
OF THAT INDIAN,
630
00:35:53,801 --> 00:35:56,234
THE BOOK IS A MELODRAMA.
631
00:35:56,234 --> 00:35:58,067
YOU KNOW, IT'S A STRAIGHT BATTLE
632
00:35:58,067 --> 00:36:02,100
BETWEEN McMURPHY
AND THE BIG NURSE.
633
00:36:02,100 --> 00:36:04,734
Narrator: ISN'T IT TRUE THAT
THE INSPIRATION FOR THE BOOK
634
00:36:04,734 --> 00:36:07,133
CAME FROM YOUR
REAL-LIFE EXPERIENCES?
635
00:36:07,133 --> 00:36:09,834
Kesey:
I GOT A JOB AT THE NUTHOUSE
636
00:36:09,834 --> 00:36:11,734
AND WORKED
FROM MIDNIGHT TO 8:00.
637
00:36:11,734 --> 00:36:14,100
MAKE NO MISTAKE ABOUT IT.
638
00:36:14,100 --> 00:36:16,634
BEING CRAZY IS PAINFUL.
639
00:36:16,634 --> 00:36:19,667
LOOKING OUT THROUGH THE LITTLE
WINDOW, THROUGH MY CRAZED EYES,
640
00:36:19,667 --> 00:36:21,734
I SAW THAT THESE PEOPLE
HAVE SOMETHING GOING,
641
00:36:21,734 --> 00:36:23,234
AND THERE'S A TRUTH TO IT.
642
00:36:23,234 --> 00:36:25,100
IT GAVE ME AN EMPATHY.
643
00:36:29,634 --> 00:36:33,534
THIS WAS, TO ME, SUPPOSED TO BE
A REVOLUTIONARY NOVEL.
644
00:36:33,534 --> 00:36:36,567
IT WASN'T FREUDIAN,
MAN AGAINST WOMAN.
645
00:36:36,567 --> 00:36:40,567
IT WAS MAN AGAINST MACHINE.
646
00:36:40,567 --> 00:36:44,501
"I TOOK A DEEP BREATH AND
BENT OVER AND TOOK THE LEVERS.
647
00:36:44,501 --> 00:36:46,234
"I HEAVED MY LEGS UNDER ME
648
00:36:46,234 --> 00:36:48,834
"AND FELT THE GRIND
OF WEIGHT AT MY FEET
649
00:36:48,834 --> 00:36:50,667
"AND HEARD THE WIRES
AND CONNECTIONS
650
00:36:50,667 --> 00:36:53,634
"TEARING OUT OF THE FLOOR.
651
00:36:53,634 --> 00:36:55,467
"I WAS ABLE
TO GET AN ARM AROUND IT
652
00:36:55,467 --> 00:36:57,200
"AND MY OTHER HAND UNDER IT
653
00:36:57,200 --> 00:36:59,701
"AND LET THE MOMENTUM
CARRY THE PANEL
654
00:36:59,701 --> 00:37:03,300
"THROUGH THE SCREEN
AND WINDOW WITH A RIPPING CRASH.
655
00:37:09,200 --> 00:37:14,701
"I PUT MY HAND ON THE SILL
AND VAULTED OVER THE PANE.
656
00:37:14,701 --> 00:37:18,067
"I RAN ACROSS THE GROUNDS.
657
00:37:18,067 --> 00:37:20,067
"I FELT LIKE I WAS FLYING.
658
00:37:20,067 --> 00:37:21,567
FREE."
659
00:37:34,267 --> 00:37:37,167
Walker: BOY, IT WAS JUST HOT
ACROSS THAT DESERT.
660
00:37:37,167 --> 00:37:40,767
AND BEING HOT AND WHAT WE'D DO,
661
00:37:40,767 --> 00:37:44,701
WE'D JUST GO LOOK
FOR A COOL PLACE.
662
00:37:44,701 --> 00:37:48,400
Cassady: MERGING TRAFFIC,
MERGING TRAFFIC.
663
00:37:48,400 --> 00:37:50,868
MERGING TRAFFIC.
664
00:37:50,868 --> 00:37:52,701
YIELD, YIELD!
665
00:37:52,701 --> 00:37:54,767
RIGHT OF WAY!
666
00:37:54,767 --> 00:37:56,634
Burton: WE'D RIDDEN ALL NIGHT
THE NIGHT BEFORE,
667
00:37:56,634 --> 00:37:58,767
AND I'D GONE TO SLEEP
IN ONE OF THE UPPER BUNKS,
668
00:37:58,767 --> 00:38:00,133
AND MY PURSE HAD SLIPPED DOWN
669
00:38:00,133 --> 00:38:02,100
BETWEEN THE BUNK
AND THE SIDE OF THE BUS
670
00:38:02,100 --> 00:38:04,300
AND GONE OUT THE OPEN WINDOW.
671
00:38:04,300 --> 00:38:06,701
IT HAD EVERYTHING IN IT.
672
00:38:06,701 --> 00:38:10,133
HERE I WAS, PREGNANT, TRAVELING
WITH A BUNCH OF MAD MEN
673
00:38:10,133 --> 00:38:13,567
AND I DIDN'T EVEN HAVE A DIME.
674
00:38:13,567 --> 00:38:17,534
Cassady:
WATERMELONS, WATERMELONS,
WATERMELONS, WATERMELONS!
675
00:38:17,534 --> 00:38:20,601
Burton:
IF I'D HAD MY MONEY, IT WOULDN'T
HAVE BOTHERED ME AT ALL,
676
00:38:20,601 --> 00:38:23,100
BECAUSE I COULD HAVE
WALKED OFF AT ANY STAGE.
677
00:38:23,100 --> 00:38:25,300
I COULD HAVE GONE TO
THE NEAREST BUS AT ANY TIME.
678
00:38:25,300 --> 00:38:28,100
NOW I WAS TRAPPED.
679
00:38:30,834 --> 00:38:33,801
Fetchen: SUDDENLY, CASSADY
DROVE RIGHT OFF THE ROAD
680
00:38:33,801 --> 00:38:36,033
AND STARTED DRIVING
TOWARDS THIS LITTLE POND
681
00:38:36,033 --> 00:38:37,901
AND GOT STUCK RIGHT IN THE SAND.
682
00:38:37,901 --> 00:38:40,100
HE DROVE IT -- "VROOM!"
683
00:38:40,100 --> 00:38:44,701
AND THERE WE WERE,
SHOCKED AS CAN BE.
684
00:38:46,501 --> 00:38:48,634
Walker:
AH, YES, STUCK.
685
00:38:48,634 --> 00:38:52,300
STUCK IN THE MUD IN ARIZONA
DESERT IN THE SUMMERTIME.
686
00:38:52,300 --> 00:38:56,200
Burton: CASSADY --
GOD, HE WAS HAVING A GOOD TIME.
687
00:38:56,200 --> 00:38:58,501
Walker: IT WAS HOT, BOY.
LET ME TELL YOU, IT WAS HOT.
688
00:38:58,501 --> 00:39:00,501
IT WAS BLAZING HOT --
THERE I AM.
689
00:39:00,501 --> 00:39:01,601
THAT'S ME, AND THERE'S KESEY
690
00:39:01,601 --> 00:39:03,267
RIGHT BEHIND ME
IN THE SUNGLASSES.
691
00:39:03,267 --> 00:39:06,501
AND WE'RE ALL LOOKING AT IT,
AND WE'RE STUCK DEEP IN THE MUD.
692
00:39:10,634 --> 00:39:13,167
Cassady: FOR NO OTHER REASON
THAN THE FACT THAT...
693
00:39:13,167 --> 00:39:14,934
IF YOU DON'T GET OUT,
GET OUT.
694
00:39:14,934 --> 00:39:16,367
HEY!
695
00:39:16,367 --> 00:39:19,501
Fetchen: KESEY HAD SENT SOMEONE
OFF ON THE MOTORCYCLE
696
00:39:19,501 --> 00:39:20,968
TO GO LOOK FOR HELP.
697
00:39:20,968 --> 00:39:23,234
AND THEN KESEY HAD
THIS BRAINSTORM THAT,
698
00:39:23,234 --> 00:39:25,400
SINCE WE WERE GONNA BE
STUCK FOR A WHILE,
699
00:39:25,400 --> 00:39:27,501
WE SHOULD TAKE LSD.
700
00:39:27,501 --> 00:39:29,567
Kesey:
SO I'M GOING TO TAKE SOME LSD.
701
00:39:29,567 --> 00:39:31,834
I WANT BABBS
TO TAKE SOME.
702
00:39:31,834 --> 00:39:33,467
CASSADY,
DO YOU WANT TO TAKE SOME?
703
00:39:33,467 --> 00:39:35,334
Cassady: I WOULD.
YES, I WOULD.
704
00:39:35,334 --> 00:39:38,267
Fetchen: THE RIDICULOUS THING
WAS THAT THE ACID
705
00:39:38,267 --> 00:39:40,601
WAS JUST MIXED
INTO A JAR OF ORANGE JUICE
706
00:39:40,601 --> 00:39:42,133
THAT WAS IN THE REFRIGERATOR.
707
00:39:42,133 --> 00:39:45,567
NOBODY HAD ANY IDEA
WHAT THE DOSAGE WAS,
708
00:39:45,567 --> 00:39:48,367
IT WAS THIS SORT OF DEAL
WHERE YOU SHOOK UP THE JAR
709
00:39:48,367 --> 00:39:51,567
AND PASSED IT
AROUND AND TOOK A SWIG.
710
00:39:51,567 --> 00:39:54,167
AS THE ACID CAME ON,
THE SETTING UP OF THE FILMING
711
00:39:54,167 --> 00:39:55,801
WAS STARTING TO HAPPEN, TOO.
712
00:39:55,801 --> 00:39:57,968
WHAT ELSE WE GOT UP THERE?
ANOTHER CAMERA, DON'T WE?
713
00:39:57,968 --> 00:40:03,234
WE'RE GOING TO TAKE
THE ARRIFLEX, TWO MAGAZINES.
714
00:40:03,234 --> 00:40:05,267
WE'RE GONNA HAVE
ONE MAGAZINE ON THE ARRIFLEX.
715
00:40:05,267 --> 00:40:09,934
WE'RE GOING TO HAVE THE OTHER
CAMERA WITH THE ZOOM LENS
716
00:40:09,934 --> 00:40:12,868
ALSO MOUNTED ON A TRIPOD.
717
00:40:12,868 --> 00:40:16,634
WE'RE GONNA RUN THE ZOOM LENS
ON THE TRIPOD.
718
00:40:16,634 --> 00:40:19,634
WAS HE FILMING THAT?
719
00:40:19,634 --> 00:40:22,267
[ ALL VOCALIZING ]
720
00:40:23,734 --> 00:40:25,334
THAT'D BE UNGODLY.
721
00:40:25,334 --> 00:40:26,701
MY MERRY BAND
OF PRANKSTERS
722
00:40:26,701 --> 00:40:28,868
WON'T BE WANDERING AROUND
IN THE DIRT.
723
00:40:28,868 --> 00:40:30,000
COME ON, COME ON.
724
00:40:30,000 --> 00:40:32,567
NO, NO,
NONE OF THIS MISERY STUFF.
725
00:40:32,567 --> 00:40:34,601
COME ON, THIS IS
THE MERRY GANG.
726
00:40:34,601 --> 00:40:36,767
KEEP IT MOVING.
727
00:40:38,434 --> 00:40:41,133
THAT'S STRETCHIN' GRETCHEN,
SHE'S MIGHTY FETCHIN'!
728
00:40:41,133 --> 00:40:45,434
ALWAYS SCRATCHING THE KITCHEN
MATCHES AND NEVER ITCHING!
729
00:40:45,434 --> 00:40:46,934
THERE SHE IS OUT THERE.
730
00:40:46,934 --> 00:40:49,734
* YOU KNOW
WHEN YOU HAVE A DREAM *
731
00:40:49,734 --> 00:40:53,834
* WHERE WHALES
CARRY YOU OUT TO SEA *
732
00:40:53,834 --> 00:40:58,634
Fetchen: ONCE I HIT THE POND,
I REALIZED I WAS REALLY HIGH.
733
00:40:58,634 --> 00:41:03,801
* THE LITTLE CREATURES
HAD THEIR LITTLE WINGS *
734
00:41:03,801 --> 00:41:07,601
THE WATER OPENED ITSELF UP TO ME
IN A NEW DIMENSION.
735
00:41:07,601 --> 00:41:09,501
THERE WAS NO MURKINESS,
736
00:41:09,501 --> 00:41:12,901
IT WAS SUPER CLEAR,
REAL CRYSTAL.
737
00:41:12,901 --> 00:41:14,567
IT WAS JUST THERE,
738
00:41:14,567 --> 00:41:18,567
FOR MYSELF AND ITSELF
TO GROOVE ON EACH OTHER.
739
00:41:18,567 --> 00:41:20,434
* IF THE BIRDS
FLY IN THE OCEAN *
740
00:41:20,434 --> 00:41:22,267
* AND THE WHALES SWIM
IN THE CLOUDS *
741
00:41:22,267 --> 00:41:24,300
IT WAS A JOY.
742
00:41:24,300 --> 00:41:26,634
Walker:
FAREWELL FOREVER, PAULA.
743
00:41:26,634 --> 00:41:29,467
AS SHE SINKS BENEATH THE DEPTHS.
744
00:41:29,467 --> 00:41:34,667
IN THE NEXT FEATURE, YOU SHALL
SEE EMERGE A SLIME QUEEN.
745
00:41:34,667 --> 00:41:38,200
THE HIGH PRIESTESS
OF PRANKSTERS.
746
00:41:38,200 --> 00:41:40,901
Fetchen:
THAT'S THE SLIME, THE ALGAE.
747
00:41:40,901 --> 00:41:42,767
IT WAS TALKING TO ME,
748
00:41:42,767 --> 00:41:48,567
IT WAS WELCOMING ME
INTO ITS REALM OF EXISTENCE.
749
00:41:48,567 --> 00:41:50,667
* WHERE THE SUNRISE SETS *
750
00:41:50,667 --> 00:41:52,634
* AND THE SUNSET RISES *
751
00:41:52,634 --> 00:41:54,501
IT WAS LIKE THE NATURE SPIRITS,
752
00:41:54,501 --> 00:41:56,701
THE STUFF IN THERE,
IT WAS SAYING,
753
00:41:56,701 --> 00:42:00,167
"FINALLY WE'RE
IN CONTACT WITH A HUMAN BEING,
754
00:42:00,167 --> 00:42:04,033
WE'VE BEEN TRYING TO GET THROUGH
TO YOU GUYS FOR A WHILE."
755
00:42:04,033 --> 00:42:06,534
THEY WERE HAPPY,
AND I WAS HAPPY.
756
00:42:06,534 --> 00:42:09,901
* WHALES WANT TO
LOVE YOUR FACE *
757
00:42:09,901 --> 00:42:13,434
* WHALES WANT TO BE
YOUR FRIEND *
758
00:42:13,434 --> 00:42:17,033
* WHALES WANT TO HUG YOU *
759
00:42:17,033 --> 00:42:20,334
Walker:
THAT'S MISS SLIME OF 1964.
760
00:42:24,167 --> 00:42:27,868
* CARRY OUR SOULS *
761
00:42:27,868 --> 00:42:33,501
* THROUGH THE CLOUDS *
762
00:42:33,501 --> 00:42:38,567
* IN THE SKY *
763
00:42:38,567 --> 00:42:41,067
[ HORSES NEIGHING ]
764
00:42:41,067 --> 00:42:42,834
THESE HORSES JUST SHOWED UP
765
00:42:42,834 --> 00:42:46,734
AND ADDED SUCH A NICE
KIND OF BACKDROP EFFECT.
766
00:42:46,734 --> 00:42:48,667
Stark:
OH, THERE ARE THE HORSES.
767
00:42:48,667 --> 00:42:51,267
IT WAS INCREDIBLY BEAUTIFUL.
768
00:42:51,267 --> 00:42:54,467
Burton: I DON'T REMEMBER
MUCH REACTION TO THESE HORSES.
769
00:42:54,467 --> 00:42:57,834
TO ME, THEY LOOKED
KIND OF OLD AND FLEA-BITTEN.
770
00:42:57,834 --> 00:43:02,868
[ DOG BARKING ]
771
00:43:02,868 --> 00:43:05,267
Kesey: I WAS THINKING ABOUT
HOW NICE IT WOULD LOOK
772
00:43:05,267 --> 00:43:08,067
TO POUR SOME OF THOSE PAINTS --
LET'S SEE WHAT THEY LOOK LIKE.
773
00:43:08,067 --> 00:43:10,534
Fetchen: AFTER WE TOOK THE ACID,
I THINK IT WAS KESEY'S IDEA,
774
00:43:10,534 --> 00:43:12,868
WE TOOK BOTTLES OF DOPE PAINT,
775
00:43:12,868 --> 00:43:15,400
WHICH ARE USED FOR
PAINTING MODEL AIRPLANES,
776
00:43:15,400 --> 00:43:17,300
AND IT'S ENAMEL-BASED PAINT,
777
00:43:17,300 --> 00:43:20,067
SO WHEN YOU PUT IT ON THE WATER,
IT FLOATS.
778
00:43:20,067 --> 00:43:22,133
I'LL NEVER DRINK
DOWNSTREAM
779
00:43:22,133 --> 00:43:25,200
FROM THE MERRY PRANKSTERS'
CAMPSITE.
780
00:43:27,100 --> 00:43:28,534
SO, WE HAD LOTS OF COLORS,
781
00:43:28,534 --> 00:43:31,234
SO WE WERE DIPPING
THE COLORS IN THERE
782
00:43:31,234 --> 00:43:33,901
AND WATCHING IT ALL MARBLEIZE.
783
00:43:33,901 --> 00:43:35,734
WE TOOK ZONKER'S WHITE T-SHIRT
784
00:43:35,734 --> 00:43:40,601
AND PUT IT IN THE WATER WITH
THE PAINT AND INVENTED TIE-DYE.
785
00:43:40,601 --> 00:43:43,300
Zonker:
GOD, I WAS PISSED.
786
00:43:43,300 --> 00:43:45,634
THEY SAID, "OH,
IT'S WATER-SOLUBLE.
787
00:43:45,634 --> 00:43:47,100
OH, DON'T WORRY ABOUT IT, MAN."
788
00:43:47,100 --> 00:43:50,167
"WORRY ABOUT WHAT? THAT'S
ONE OF MY CLEAN T-SHIRTS."
789
00:43:50,167 --> 00:43:52,901
"FUCK YOUR CLEAN T-SHIRTS,"
SOMEBODY SAID.
790
00:43:52,901 --> 00:43:55,634
GEORGE SAID, "BACK UP,"
JUST LIKE I DO.
791
00:43:55,634 --> 00:43:57,234
"SPIN AROUND."
792
00:43:57,234 --> 00:43:58,934
FUCK YOU.
793
00:43:58,934 --> 00:44:01,067
GOD, WATCH THIS THING.
794
00:44:01,067 --> 00:44:02,734
ACTUALLY, I WAS
HAVING A GOOD TIME.
795
00:44:02,734 --> 00:44:05,133
[ LAUGHS ]
796
00:44:06,701 --> 00:44:10,367
Fetchen: STARK NAKED
REALLY STARTED WIGGING OUT.
797
00:44:10,367 --> 00:44:12,968
Burton:
SHE'S DEFINITELY STONED ON ACID.
798
00:44:12,968 --> 00:44:16,267
WE PUT ALL OUR ACID IN
ONE-QUART BALL JAR OF LEMONADE
799
00:44:16,267 --> 00:44:18,834
AND I REMEMBER SEEING HER
RUN DOWN TO THE REFRIGERATOR
800
00:44:18,834 --> 00:44:21,634
AND GET IT OUT AND UPEND IT.
801
00:44:21,634 --> 00:44:24,167
Kesey: GET A PICTURE OF THAT
OVER HERE, MIKE, WITH THE...
802
00:44:24,167 --> 00:44:25,767
GET THAT.
803
00:44:25,767 --> 00:44:27,734
Walker:
KATHY WAS LOADED.
804
00:44:27,734 --> 00:44:29,701
HAGEN SAYS, "I'M GONNA MAKE
A MOVIE STAR OUT OF HER
805
00:44:29,701 --> 00:44:31,067
NO MATTER WHAT IT TAKES."
806
00:44:31,067 --> 00:44:34,901
YOU KNOW, IT'S THE PRETTY GIRL,
MOVIE-STAR TRIP.
807
00:44:34,901 --> 00:44:36,567
THE GUY WITH THE CAMERA
COMES ALONG AND SAYS,
808
00:44:36,567 --> 00:44:37,767
"HEY, PRETTY GIRL,
HOW'D YOU LIKE TO
809
00:44:37,767 --> 00:44:39,133
STAND IN FRONT OF MY CAMERA?"
810
00:44:39,133 --> 00:44:41,234
"SURE, WHY NOT?
YOU'RE GONNA MAKE ME A STAR."
811
00:44:41,234 --> 00:44:44,968
JUDY GARLAND IN THE DRUGSTORE,
WHATEVER THAT TRIP IS, YOU KNOW.
812
00:44:46,968 --> 00:44:48,501
HEY,
HERE'S THE PAINT.
813
00:44:48,501 --> 00:44:49,901
NO, NO,
TWO MORE OF THESE,
814
00:44:49,901 --> 00:44:52,534
I THINK WE'LL BE ABLE
TO START USING FILM.
815
00:44:52,534 --> 00:44:54,667
[ INDISTINCT CONVERSATIONS ]
816
00:44:54,667 --> 00:44:57,434
Kesey: THE FIRST SIGNS OF STRAIN
WERE BEGINNING TO SHOW
817
00:44:57,434 --> 00:44:59,801
ON SOME OF THE HEALTHY,
YOUNG FACES.
818
00:44:59,801 --> 00:45:02,200
AND I WAS TRYING TO KEEP
THINGS TOGETHER THERE,
819
00:45:02,200 --> 00:45:05,300
BECAUSE I COULD SUDDENLY SEE
EVERYTHING COMING TO PIECES.
820
00:45:05,300 --> 00:45:07,267
THERE WAS THIS
MAD WOMAN ON MY HANDS.
821
00:45:07,267 --> 00:45:09,434
WHAT HAVE I GOTTEN MYSELF INTO?
822
00:45:11,534 --> 00:45:13,200
Narrator:
THROUGHOUT THE BUS TRIP
823
00:45:13,200 --> 00:45:14,734
YOU SEEMED TO ENJOY THE CHAOS
824
00:45:14,734 --> 00:45:18,501
BUT, AT THE SAME TIME,
GENTLY GUIDE THE ACTION.
825
00:45:18,501 --> 00:45:22,300
Kesey: PEOPLE FELT
THAT ENLIGHTENMENT
826
00:45:22,300 --> 00:45:25,133
WAS GOING ENTIRELY
WITH THE FLOW.
827
00:45:25,133 --> 00:45:27,367
BUT THAT'S LIKE BEING
THE BALL IN A FOOTBALL GAME.
828
00:45:27,367 --> 00:45:29,801
I'D RATHER BE THE QUARTERBACK.
829
00:45:29,801 --> 00:45:31,567
I WANT TO HANDLE THE BALL.
830
00:45:31,567 --> 00:45:34,734
I DON'T WANT TO
JUST BE THROWN AROUND.
831
00:45:36,701 --> 00:45:40,501
Burton:
KEN WAS TRYING TO RUN THIS WHOLE
THING AND BE ALL PHILOSOPHICAL,
832
00:45:40,501 --> 00:45:44,501
AND HE WAS CAUGHT UP
IN A MILLION DIFFERENT TRIPS.
833
00:45:44,501 --> 00:45:47,901
Stark: * AND HOW LONG
WILL IT GO ON? *
834
00:45:47,901 --> 00:45:50,033
* HOW LONG CAN WE WAIT
FOR HELP? *
835
00:45:50,033 --> 00:45:52,000
* WHEN NO HELP
IS COMING FOR... *
836
00:45:52,000 --> 00:45:54,734
IT REMINDS ME OF MAD OPHELIA.
837
00:45:54,734 --> 00:45:57,133
I DON'T REMEMBER THIS AT ALL.
838
00:45:57,133 --> 00:46:02,167
I REMEMBER SWIMMING IN THE LAKE,
BUT NONE OF THIS.
839
00:46:02,167 --> 00:46:04,567
[ SINGING INDISTINCTLY ]
840
00:46:04,567 --> 00:46:08,234
Burton: FOR STARK, OBVIOUSLY,
IT WAS TOO MUCH TO BEAR.
841
00:46:08,234 --> 00:46:12,067
FOR GRETCH AND BABBS,
THEY FELL IN LOVE.
842
00:46:12,067 --> 00:46:13,567
WOULD YOU LIKE TO
PLAY MY FEET?
843
00:46:13,567 --> 00:46:15,901
Fetchen: STARTING THE BUS TRIP,
I WAS KESEY'S LOVER,
844
00:46:15,901 --> 00:46:18,200
BUT AFTER I MET BABBS,
845
00:46:18,200 --> 00:46:21,334
HE AND I BECAME LOVERS
AND STAYED SO.
846
00:46:21,334 --> 00:46:25,367
I WISH
I COULD ALWAYS...
847
00:46:25,367 --> 00:46:28,133
Cassady: OKAY!
848
00:46:28,133 --> 00:46:30,501
THE CAMERA'S
FUCKED UP AGAIN.
849
00:46:30,501 --> 00:46:32,601
HEY, HEY!
850
00:46:32,601 --> 00:46:33,901
Walker:
THE TRACTOR HAS INDEED ARRIVED,
851
00:46:33,901 --> 00:46:36,634
THEY'RE GOING TO PULL US OUT
OF THIS SWAMP.
852
00:46:36,634 --> 00:46:38,601
SANDY'S THERE,
SCRATCHING HIS BALLS.
853
00:46:38,601 --> 00:46:41,434
OKAY, LET'S GO!
854
00:46:41,434 --> 00:46:42,501
COME ON!
855
00:46:42,501 --> 00:46:44,400
COME ON, FASTER!
856
00:46:44,400 --> 00:46:45,834
WHOA!
857
00:46:45,834 --> 00:46:47,801
WAIT A MINUTE,
WAIT A MINUTE.
858
00:46:47,801 --> 00:46:50,100
TRY TO REVERSE THAT.
859
00:46:50,100 --> 00:46:52,634
I THINK YOU'RE PULLING
AGAINST EACH OTHER.
860
00:46:55,801 --> 00:46:59,434
WE'RE GOING!
OHH!
861
00:47:01,634 --> 00:47:03,300
KEEP HER MOVING,
KEEP HER MOVING!
862
00:47:03,300 --> 00:47:06,133
KEEP HER MOVING,
KEEP HER MOVING!
863
00:47:06,133 --> 00:47:09,901
Kesey: SHE AND BABBS HAD
DEVELOPED A GREAT AFFAIR
864
00:47:09,901 --> 00:47:12,067
SINCE ROMEO AND JULIET.
865
00:47:12,067 --> 00:47:16,567
* I GOT MY MOJO WORKING, BABE *
866
00:47:16,567 --> 00:47:20,300
* AND I'M GOING TO
TRY IT ON YOU *
867
00:47:20,300 --> 00:47:24,167
Walker:
THE LOVE RELATIONSHIPS WAS ONE
OF THE VERY OBVIOUS THINGS
868
00:47:24,167 --> 00:47:25,567
THAT WAS GOING ON.
869
00:47:25,567 --> 00:47:27,767
I MEAN, NOTHING WAS HIDDEN,
YOU KNOW?
870
00:47:27,767 --> 00:47:30,901
* AND I'M GONNA
TRY IT OUT ON YOU *
871
00:47:30,901 --> 00:47:32,367
Fetchen:
BABBS WAS REALLY WORRIED
872
00:47:32,367 --> 00:47:34,100
THAT KESEY
WOULD BE REALLY PISSED OFF,
873
00:47:34,100 --> 00:47:36,767
BECAUSE KESEY WAS SINGLE,
BECAUSE HIS WIFE WASN'T THERE,
874
00:47:36,767 --> 00:47:39,367
SO HE WAS UNATTACHED,
SEXUALLY.
875
00:47:39,367 --> 00:47:42,667
* NOW I'M GONNA TRY IT ON YOU *
876
00:47:42,667 --> 00:47:43,968
* OH YEAH *
877
00:47:43,968 --> 00:47:45,067
HE DID SULK FOR A WHILE,
878
00:47:45,067 --> 00:47:46,734
BUT HE KIND OF
WOKE UP OUT OF HIS STUPOR
879
00:47:46,734 --> 00:47:49,701
AND LOOKED OVER AND SAID,
"NOTHING LASTS."
880
00:47:49,701 --> 00:47:52,234
SO THAT BECAME ONE OF
THE PRANKSTER MOTTOS, TOO --
881
00:47:52,234 --> 00:47:55,501
"NOTHING LASTS."
882
00:47:55,501 --> 00:47:57,334
Walker: ALL THIS STUFF
THAT WE WENT THROUGH,
883
00:47:57,334 --> 00:48:00,234
ALL THESE "INTERTANGLEMENTS"
OF OUR RELATIONSHIPS,
884
00:48:00,234 --> 00:48:02,868
OUR MARRIAGES,
AND OUR LOVES AND LOVERS,
885
00:48:02,868 --> 00:48:07,200
I THINK ALL OF THIS
IS SOAP OPERA 101.
886
00:48:07,200 --> 00:48:09,634
IT'S LIKE WE'RE ALL
IN THIS CLASS TOGETHER
887
00:48:09,634 --> 00:48:15,901
AND WE WENT THROUGH IT
FOR SEVERAL WEEKS ON THE BUS.
888
00:48:15,901 --> 00:48:19,467
Fetchen: STARK NAKED NEVER
QUITE RECOVERED FROM WIKIEUP.
889
00:48:19,467 --> 00:48:21,400
ALL HER MOLECULES,
I DON'T THINK,
890
00:48:21,400 --> 00:48:23,300
CAME BACK TOGETHER.
891
00:48:23,300 --> 00:48:26,567
THEN SHE CLIMBS OUT ONTO
THE PLATFORM IN THE BACK
892
00:48:26,567 --> 00:48:29,300
AND PRETTY SOON ALL THE TRUCKERS
WERE HONKING BEHIND US --
893
00:48:29,300 --> 00:48:32,300
HONK, HONK, HONK, HONK.
894
00:48:32,300 --> 00:48:34,300
AND CASSADY COULDN'T FIGURE OUT
WHAT WAS GOING ON,
895
00:48:34,300 --> 00:48:37,334
SO SOMEBODY
LOOKED OUT THE BACK WINDOW,
896
00:48:37,334 --> 00:48:40,234
AND THERE SHE HAD TAKEN
THE BLANKET OFF HER
897
00:48:40,234 --> 00:48:43,701
AND SHE WAS JUST
STANDING OUT ON THE BACK DECK
898
00:48:43,701 --> 00:48:45,534
JUST FLAUNTING HERSELF.
899
00:48:45,534 --> 00:48:49,567
SHE HAD ALL THE SEMIS HEADING
FOR HOUSTON BACKED UP BEHIND US.
900
00:48:49,567 --> 00:48:54,934
NOBODY WANTED TO PASS US BECAUSE
THEY WERE ALL WATCHING HER.
901
00:49:02,000 --> 00:49:06,167
Stark: THAT KIND OF MADNESS IS
ONLY TERRIFYING AND MISERABLE
902
00:49:06,167 --> 00:49:07,767
TO THE PEOPLE
WHO ARE OUTSIDE OF IT.
903
00:49:07,767 --> 00:49:10,834
TO SOMEONE WHO'S INSIDE OF IT,
IT'S REALLY NOT.
904
00:49:10,834 --> 00:49:13,334
I JUST WANTED TO GO
INTO THE DARKNESS
905
00:49:13,334 --> 00:49:15,767
AND BE ALONE
WITH MY OWN THOUGHTS.
906
00:49:21,701 --> 00:49:24,434
[ FLUTE PLAYING DISCORDANTLY ]
907
00:49:32,567 --> 00:49:37,267
I THINK MY PSYCHIC VISION
IN RELATIONSHIP TO MYSELF
908
00:49:37,267 --> 00:49:40,434
WAS THAT I WAS GETTING
A LITTLE BIT HOMESICK.
909
00:49:40,434 --> 00:49:43,901
Fetchen:
THEN, NOT LONG AFTER THAT, WE
PULLED INTO LARRY McMURTRY'S,
910
00:49:43,901 --> 00:49:46,667
WHICH WAS KIND OF A NICE,
MIDDLE-CLASS,
911
00:49:46,667 --> 00:49:48,467
VERY TIDY NEIGHBORHOOD.
912
00:49:48,467 --> 00:49:51,000
Babbs: LARRY LIVES IN THIS
UPPER-UPPER-MIDDLE-CLASS
913
00:49:51,000 --> 00:49:52,734
COLLEGIATE SECTION OF TOWN,
914
00:49:52,734 --> 00:49:57,467
AND THIS ELECTRIC, MULTICOLORED
CIRCUS BUS SHOWS UP.
915
00:49:57,467 --> 00:50:00,000
Stark: LARRY APPEARED AT THE BUS
WITH A LITTLE CHILD,
916
00:50:00,000 --> 00:50:02,067
AND IT REMINDED ME
OF MY DAUGHTER.
917
00:50:02,067 --> 00:50:03,501
I JUMPED OFF THE BUS
918
00:50:03,501 --> 00:50:06,634
AND, I GUESS, MUCH TO HIS
AMAZEMENT, GRABBED THE BABY.
919
00:50:06,634 --> 00:50:08,968
Fetchen:
AND SHE OPENS HER ARMS WIDE,
920
00:50:08,968 --> 00:50:12,234
AND THE BLANKET THAT SHE HAD
WRAPPED AROUND HER DROPPED.
921
00:50:12,234 --> 00:50:15,601
Walker: AND SHE'S
STANDING THERE STARK NAKED.