Waking Life Script with Revisions

by Richard Linklater

Table of Contents (based on Waking Life DVD scene chapters)

1. Dream is Destiny 1 2. Anchors Aweigh 1 . Life Lessons 2 !. Alienation 2 ". Death and Reality 1 #. $ree Will and %hysics 2 &. 'he Aging %arado( 2 ). *oise + Silence 2 ,. What-s the Story. 2 1/. Dreams 1 11. 'he 0oly 1oment 2 Read my tho2ghts and share yo2r own 12. Society 3s a $ra2d 1 1 . Dreamers 1 1!. Ants 1 1". We Are the A2thors 2 1#. 1eet 4o2rself 1 1&. %erformance 1 1). 'rapped in a Dream 1 1,. Wake 5p6 1 2/. 7nd 'itles (not included here)

Waking Life: Chapter 1 - Dream is Destiny

8'wo kids 99 a girl and a boy 99 playing a game of :frog:; 5m< pick a color. =l2e. =9L9597. %ick a n2mber. 7ight. 1< 2< < !< "< #< &< ). %ick one more n2mber. 1".

1< 2< < !< "< #< &< )< ,< 1/< 11< 12< 1 < 1!< 1". %ick another n2mber. Si(. >kay. :Dream is destiny.: ??? 8'he 'osca 'ango orchestra is rehearsing in a ho2se; Rock o2t. Rock and roll. @o strings. =egin. Sara< will yo2 try that< the thing yo2 asked me abo2t. 4eah. Will yo2 try it a little more s2bd2ed. >kay. Aibrato. B2st try it and see what yo2 think. =2t what 3 want 9 3 mean< 3 want it to so2nd rich and maybe almost a little wavy d2e to being slightly o2t of t2ne. Do yo2 want it< 2m 9 3 think it sho2ld be slightly detached. 'hat-s what 3 was wondering. 4eah< yeah< yo2 got it. >kay< pick 2p to 2/< please. 7rik< this is a pick2p to 2/. >kay. 1< 2< .

Waking Life: Chapter !"eigh

- !nchors

81ain character walks thro2gh the airport and telephones his friend 9 22.// 1. 'here-s a girl there< and he sees her.;

0ey man< it-s me. 5m< 3 C2st got back into town. 3 tho2ght maybe 3 co2ld b2m a ride off yo2 or something< b2t that-s cool. 3 co2ld probably C2st take a cab< something like that. 5m 99 4eah< 3 g2ess 3-ll hang o2t with yo2 later< something like that. ??? 8A boat car drives 2p in front of the airport; Ahoy there matey6 4o2 in for the long ha2l. 4o2 need a little hitch in yo2r get9along< a little lift on down the line. >h< 2m< yeah< act2ally< 3 was waiting for a cab or something< b2t if yo2 want to ... All right. Don-t miss the boat. 80e gets in.; 0ey< thanks. *ot a problem. Anchors aweigh6 So what do yo2 think of my little vessel. She-s what we call :see9worthy.: S9797. See with yo2r eyes. 3 feel like my transport sho2ld be an e(tension of my personality. Aoila. And this. 'his is like my little window to the world< and every min2te it-s a different show. *ow< 3 may not 2nderstand it. 3 may not even necessarily agree with it. =2t 3-ll tell yo2 what< 3 accept it and C2st sort of glide along. 4o2 want to keep things on an even keel 3 g2ess is what 3-m saying. 4o2 want to go with the flow. 'he sea ref2ses no river. 'he idea is to remain in a state of constant depart2re while always arriving. Saves on introd2ctions and good9byes. 'he ride does not reD2ire an e(planation. B2st occ2pants. 'hat-s where yo2 g2ys come in. 3t-s like yo2 come onto this planet with a crayon bo(. *ow< yo2 may get the )9pack< yo2 may get the 1#9 pack. =2t it-s all in what yo2 do with the crayons< the colors that yo2-re given. And don-t worry abo2t drawing within the lines or coloring o2tside the lines. 3 say color o2tside the lines. 4o2 know what 3 mean. Eolor right off the page. Don-t bo( me in. We-re in motion to the ocean. We are not landlocked< 3-ll tell ya that. So where do yo2 want o2t. 5h< who< me. Am 3 first. 5m< 3 don-t know. Really< anywhere is fine. Well< C2st 99 C2st give me an address or something< okay. 5h 99 8'he g2y sitting ne(t to him in the back seat speaks 2p; 'ell yo2 what< go 2p three more streets< take a right< go two more blocks< drop this g2y off on the ne(t corner. Where-s that. Well 3 don-t know either< b2t it-s somewhere< and it-s going to determine the co2rse of the rest of yo2r life. All ashore that-s going ashore. 0a ha ha ha ha. 'oot< toot. ???

81ain character gets o2t< sees a note on the gro2nd< it says look to yo2r right< and he does and gets hit by a car. 0e wakes 2p and gains colo2r< dresses< eats. @oes to class. %hilosophy professor is lect2ring.;

Waking Life: Chapter # - Life Lessons

8%hilosophy professor Robert Solomon< at the 5niversity of 'e(as at A2stin; 'he reason why 3 ref2se to take e(istentialism as C2st another $rench fashion or historical c2riosity is that 3 think it has something very important to offer 2s for the new cent2ry. 3-m afraid we-re losing the real virt2es of living life passionately< sense of taking responsibility for who yo2 are< the ability to make something of yo2rself and feeling good abo2t life. 7(istentialism is often disc2ssed as if it-s a philosophy of despair. =2t 3 think the tr2th is C2st the opposite. Sartre once interviewed said he never really felt a day of despair in his life. =2t one thing that comes o2t from reading these g2ys is not a sense of ang2ish abo2t life so m2ch as a real kind of e(2berance of feeling on top of it. 3t-s like yo2r life is yo2rs to create. 3-ve read the postmodernists with some interest< even admiration. =2t when 3 read them< 3 always have this awf2l nagging feeling that something absol2tely essential is getting left o2t. 'he more that yo2 talk abo2t a person as a social constr2ction or as a confl2ence of forces or as fragmented or marginaliFed< what yo2 do is yo2 open 2p a whole new world of e(c2ses. And when Sartre talks abo2t responsibility< he-s not talking abo2t something abstract. 0e-s not talking abo2t the kind of self or so2l that theologians wo2ld arg2e abo2t. 3t-s something very concrete. 3t-s yo2 and me talking. 1aking decisions. Doing things and taking the conseD2ences. 3t might be tr2e that there are si( billion people in the world and co2nting. *evertheless< what yo2 do makes a difference. 3t makes a difference< first of all< in material terms. 1akes a difference to other people and it sets an e(ample. 3n short< 3 think the message here is that we sho2ld never simply write o2rselves off and see o2rselves as the victim of vario2s forces. 3t-s always o2r decision who we are. ??? 8A blonde woman is talking in a ho2se 9 Gim GriFan< screenwriter; Ereation seems to come o2t of imperfection. 3t seems to come o2t of a striving and a fr2stration. And this is where 3 think lang2age came from. 3 mean< it came from o2r desire to transcend o2r isolation and have some sort of connection with one another. And it had to be easy when it was C2st simple s2rvival. Like< yo2 know< :water.: We came 2p with a so2nd for that. >r :Saber9toothed tiger right behind yo2.: We came 2p with a so2nd for that. =2t when it gets really interesting< 3 think< is when we 2se that same system of symbols to comm2nicate all the abstract and intangible things that we-re e(periencing. What is< like< fr2stration. >r what is anger or love. When 3 say :love<: the so2nd comes o2t of my mo2th and it hits the other person-s ear< travels thro2gh this =yFantine cond2it in their brain< yo2 know< thro2gh their memories of love or lack of love< and they register what 3-m saying and they say yes< they 2nderstand. =2t how do 3 know they 2nderstand. =eca2se words are inert. 'hey-re C2st symbols. 'hey-re dead< yo2 know. And so m2ch of o2r e(perience is intangible. So m2ch of

what we perceive cannot be e(pressed. 3t-s 2nspeakable. And yet< yo2 know< when we comm2nicate with one another< and we feel that we-ve connected< and we think that we-re 2nderstood< 3 think we have a feeling of almost spirit2al comm2nion. And that feeling might be transient< b2t 3 think it-s what we live for. ??? 8A very intense man is talking in front of a fish tank< gest2ring wildly 9 7amonn 0ealy< Ehemistry professor at 5niversity of 'e(as at A2stin; 3f we-re looking at the highlights of h2man development< yo2 have to look at the evol2tion of the organism and then at the development of its interaction with the environment. 7vol2tion of the organism will begin with the evol2tion of life perceived thro2gh the hominid coming to the evol2tion of mankind. *eanderthal and Ero91agnon man. *ow< interestingly< what yo2-re looking at here are three stringsH biological< anthropological 99 development of the cities 99 and c2lt2ral< which is h2man e(pression. *ow< what yo2-ve seen here is the evol2tion of pop2lations< not so m2ch the evol2tion of individ2als. And in addition< if yo2 look at the time scales that are involved here 99 two billion years for life< si( million years for the hominid< 1//</// years for mankind as we know it 99 yo2-re beginning to see the telescoping nat2re of the evol2tionary paradigm. And then when yo2 get to agric2lt2ral< when yo2 get to scientific revol2tion and ind2strial revol2tion< yo2-re looking at 1/</// years< !// years< 1"/ years. 5o2-re seeing a f2rther telescoping of this evol2tionary time. What that means is that as we go thro2gh the new evol2tion< it-s gonna telescope to the point we sho2ld be able to see it manifest itself within o2r lifetime< within this generation. 'he new evol2tion stems from information< and it stems from two types of informationH digital and analog. 'he digital is artificial intelligence. 'he analog res2lts from molec2lar biology< the cloning of the organism. And yo2 knit the two together with ne2robiology. =efore on the old evol2tionary paradigm< one wo2ld die and the other wo2ld grow and dominate. =2t 2nder the new paradigm< they wo2ld e(ist as a m2t2ally s2pportive< noncompetitive gro2ping. >kay< independent from the e(ternal. And what is interesting here is that evol2tion now becomes an individ2ally centered process< emanating from the needs and desires of the individ2al< and not an e(ternal process< a passive process where the individ2al is C2st at the whim of the collective. So< yo2 prod2ce a neo9 h2man< okay< with a new individ2ality and a new conscio2sness. =2t that-s only the beginning of the evol2tionary cycle beca2se as the ne(t cycle proceeds< the inp2t is now this new intelligence. As intelligence piles on intelligence< as ability piles on ability< the speed changes. 5ntil what. 5ntil we reach a crescendo in a way co2ld be imagined as an enormo2s instantaneo2s f2lfillment of h2man. h2man and neo9h2man potential. 3t co2ld be something totally different. 3t co2ld be the amplification of the individ2al< the m2ltiplication of individ2al e(istences. %arallel e(istences now with the individ2al no longer restricted by time and space. And the manifestations of this neo9h2man9type evol2tion< manifestations co2ld be dramatically co2nter9int2itive. 'hat-s the interesting part. 'he old evol2tion is cold. 3t-s sterile. 3t-s efficient< okay. And its manifestations of those social adaptations. We-re talking abo2t parasitism< dominance< morality< okay. 5h< war< predation< these wo2ld be s2bCect to de9

emphasis. 'hese will be s2bCect to de9evol2tion. 'he new evol2tionary paradigm will give 2s the h2man traits of tr2th< of loyalty< of C2stice< of freedom. 'hese will be the manifestations of the new evol2tion. And that is what we wo2ld hope to see from this. 'hat wo2ld be nice. ???

Waking Life: Chapter $ - !lienation

8'he main character enters a ho2se. *e(t< we see him taking off his shoes< laying down< and picking 2p a book< yet the pages appear to be blank. 0e looks at his alarm clock< and the n2mbers do not foc2s< b2t rather dance aro2nd. 0e lays back and we seem to hear the wind< as if we-re near the ocean< after which the main character floats off his bed and thro2gh the roof< proceeding to fly over the b2rbs. We ne(t seem to move from the sky to the gro2nd ...; III 81ain character walking down the street with a man who is holding a can of gasoline 9 B.E. Shakespeare.;. A self9destr2ctive man feels completely alienated< 2tterly alone. 0e-s an o2tsider to the h2man comm2nity. 0e thinks to himself< :3 m2st be insane.: What he fails to realiFe is that society has< C2st as he does< a vested interest in considerable losses and catastrophes. 'hese wars< famines< floods and D2akes meet well9defined needs. 1an wants chaos. 3n fact< he-s gotta have it. Depression< strife< riots< m2rder< all this dread. We-re irresistibly drawn to that almost orgiastic state created o2t of death and destr2ction. 3t-s in all of 2s. We revel in it. S2re< the media tries to p2t a sad face on these things< painting them 2p as great h2man tragedies. =2t we all know the f2nction of the media has never been to eliminate the evils of the world< no. 'heir Cob is to pers2ade 2s to accept those evils and get 2sed to living with them. 'he powers that be want 2s to be passive observers. 0ey< yo2 got a match. And they haven-t given 2s any other options o2tside the occasional< p2rely symbolic< participatory act of voting. 4o2 want the p2ppet on the right or the p2ppet on the left. 3 feel that the time has come to proCect my own inadeD2acies and dissatisfactions into the sociopolitical and scientific schemes< let my own lack of a voice be heard. 80e po2rs gasoline all over himself and lights himself on fire.;

Waking Life: Chapter % - Death and &eality

8A co2ple are in bed talking 99 B2lie Delpy and 7than 0awke; 3 keep thinking abo2t something yo2 said. Something 3 said.

4eah. Abo2t how yo2 often feel like yo2-re observing yo2r life from the perspective of an old woman abo2t to die. 4o2 remember that. 4eah. 3 still feel that way sometimes. Like 3-m looking back on my life. Like my waking life is her memories. 7(actly. 3 heard that 'im Leary said as he was dying that he was looking forward to the moment when his body was dead b2t his brain was still alive. 4o2 know they say that there-s still si( to twelve min2tes of brain activity after everything else is sh2tdown. And a second of dream conscio2sness< right< well< that-s infinitely longer than a waking second. 4o2 know what 3-m saying. >h< yeah< definitely. $or e(ample< 3 wake 2p and it is 1/H12< and then 3 go back to sleep and 3 have those long< intricate< bea2tif2l dreams that seem to last for ho2rs< and then 3 wake 2p and it-s ... 1/H1 . 4eah< e(actly. So then si( to twelve min2tes of brain activity< 3 mean< that co2ld be yo2r whole life. 3 mean< yo2 are that woman looking back over everything. >kay< so what if 3 am. 'hen what wo2ld yo2 be in all that. Whatever 3 am right now. 3 mean< yeah< maybe 3 only e(ist in yo2r mind. 3-m still C2st as real as anything else. 4eah. 3-ve been thinking also abo2t something yo2 said. What-s that. B2st abo2t reincarnation and where all the new so2ls come from over time. 7verybody always say that they-ve been the reincarnation of Eleopatra or Ale(ander the @reat. 3 always want to tell them they were probably some d2mb f2ck like everybody else. 3 mean< it-s impossible. 'hink abo2t it. 'he world pop2lation has do2bled in the past !/ years< right. So if yo2 really believe in that ego thing of one eternal so2l< then yo2 have only "/J chance of yo2r so2l being over !/. And for it to be over 1"/ years old< then it-s only one o2t of si(. Right< so what are yo2 saying. 'hat reincarnation doesn-t e(ist< or that we-re all yo2ng so2ls like where half of 2s are first ro2nd h2mans. *o< no. What 3-m trying to say is that somehow 3 believe reincarnation is C2st a 9 a poetic e(pression of what collective memory really is. 'here was this article by this biochemist that 3 read not long ago< and he was talking abo2t how when a member of o2r species is born< it has a billion years of memory to draw on. And this is where we inherit o2r instincts. 3 like that. 3t-s like there-s this whole telepathic thing going on that we-re all a part of< whether we-re conscio2s of it or not. 'hat wo2ld e(plain why there are all these< yo2 know< seemingly spontaneo2s< worldwide< innovative leaps in science< in the arts. 4o2 know< like the same res2lts poppin- 2p everywhere independent of each other. Some g2y on a comp2ter< he fig2res something o2t< and then almost sim2ltaneo2sly a b2nch of other people all over the world fig2re o2t the same thing. 'hey did this st2dy. 'hey isolated a gro2p of people over time< and they monitored their abilities at crossword p2FFles< right< in relation to the general pop2lation.

And they secretly gave them a day9old crossword< one that had already been answered by tho2sands of other people< right. And their scores went 2p dramatically< like 2/ percent. So it-s like once the answers are o2t there< people can pick 2p on -em. 3t-s like we-re all telepathically sharing o2r e(periences. ??? 8@2y with red face is in Cail.; 3-ll get yo2 motherf2ckers if it-s the last thing 3 do. >h< yo2-re going to pay for what yo2 did to me. $or every second 3 spend in this hellhole< 3-ll see yo2 spend a year in living hell6 >h< yo2 f2cks are going to beg me to let yo2 die. *o< no< not yet. 3 want yo2 cocks2ckers to s2ffer. >h< 3-ll fi( yo2r f2ckin- asses all right. 1aybe a long needle in yo2r eardr2m. A hot cigar in yo2r eye. *othin- fancy. Some molten lead 2p the ass. >oh6 >r< better still< some of that old Apache shit. E2t yo2r eyelids off. 4eah. 3-ll C2st listen to yo2 f2cks screamin-. >h< what sweet m2sic that-ll be. 4eah< 3-ll do it in a hospital. With doctors and n2rses so yo2 pricks don-t die on me too D2ick. 4o2 know the best part. 'he best part is yo2 dick9smokin- faggots will have yo2r eyelids c2t off< so yo2-ll have to watch me do it to yo2< yeah. 4o2-ll see me bring that cigar closer and closer to yo2r wide9open eyeball till yo2-re almost o2t of yo2r mind. =2t not D2ite -ca2se 3 want it to last a long< long time. 02h. 3 want yo2 to know that it-s me< that 3-m the one who is doing it to yo2. 1e6 And that sissy psychiatrist. What 2nmitigated ignorance6 'hat old dr2nken fart of a C2dge6 What a pompo2s ass6 B2dge not lest ye be C2dged6 All of yo2 p2kes are gonna die the day 3 get o2t of this shithole6 3 g2arantee yo2-ll regret the day yo2 ever met me6 ???

Waking Life: Chapter ' - (ree Will and )hysics

8%hilosopher professor talking in his office 9 5niversity of 'e(asH A2stin philosophy professor David Sosa; 3n a way< in o2r contemporary world view< it-s easy to think that science has come to take the place of @od. =2t some philosophical problems remain as tro2bling as ever. 'ake the problem of free will. 'his problem has been aro2nd for a long time< since before Aristotle in "/ =.E. St. A2g2stine< St. 'homas AD2inas< these g2ys all worried abo2t how we can be free if @od already knows in advance everything yo2-re gonna do. *owadays we know that the world operates according to some f2ndamental physical laws< and these laws govern the behavior of every obCect in the world. *ow< these laws< beca2se they-re so tr2stworthy< they enable incredible technological achievements. =2t look at yo2rself. We-re C2st physical systems too< right. We-re C2st comple( arrangements of carbon molec2les. We-re mostly water< and o2r behavior isn-t gonna be an e(ception to these basic physical laws. So it starts to look like whether its @od setting things 2p in advance and knowing everything yo2-re gonna do or whether it-s these basic physical laws governing everything< there-s not a lot of room left for freedom.

So now yo2 might be tempted to C2st ignore the D2estion< ignore the mystery of free will. Say :>h< well< it-s C2st an historical anecdote. 3t-s sophomoric. 3t-s a D2estion with no answer. B2st forget abo2t it.: =2t the D2estion keeps staring yo2 right in the face. 4o2 think abo2t individ2ality for e(ample< who yo2 are. Who yo2 are is mostly a matter of the free choices that yo2 make. >r take responsibility. 4o2 can only be held responsible< yo2 can only be fo2nd g2ilty< or yo2 can only be admired or respected for things yo2 did of yo2r own free will. So the D2estion keeps coming back< and we don-t really have a sol2tion to it. 3t starts to look like all o2r decisions are really C2st a charade. 'hink abo2t how it happens. 'here-s some electrical activity in yo2r brain. 4o2r ne2rons fire. 'hey send a signal down into yo2r nervo2s system. 3t passes along down into yo2r m2scle fibers. 'hey twitch. 4o2 might< say< reach o2t yo2r arm. 3t looks like it-s a free action on yo2r part< b2t every one of those 9 every part of that process is act2ally governed by physical law< chemical laws< electrical laws< and so on. So now it C2st looks like the big bang set 2p the initial conditions< and the whole rest of h2man history< and even before< is really C2st the playing o2t of s2batomic particles according to these basic f2ndamental physical laws. We think we-re special. We think we have some kind of special dignity< b2t that now comes 2nder threat. 3 mean< that-s really challenged by this pict2re. So yo2 might be saying< :Well< wait a min2te. What abo2t D2ant2m mechanics. 3 know eno2gh contemporary physical theory to know it-s not really like that. 3t-s really a probabilistic theory. 'here-s room. 3t-s loose. 3t-s not deterministic.: And that-s going to enable 2s to 2nderstand free will. =2t if yo2 look at the details< it-s not really going to help beca2se what happens is yo2 have some very small D2ant2m particles< and their behavior is apparently a bit random. 'hey swerve. 'heir behavior is abs2rd in the sense that its 2npredictable and we can-t 2nderstand it based on anything that came before. 3t C2st does something o2t of the bl2e< according to a probabilistic framework. =2t is that going to help with freedom. 3 mean< sho2ld o2r freedom be C2st a matter of probabilities< C2st some random swerving in a chaotic system. 'hat starts to seem like it-s worse. 3-d rather be a gear in a big deterministic physical machine than C2st some random swerving. So we can-t C2st ignore the problem. We have to find room in o2r contemporary world view for persons with all that that entailsK not C2st bodies< b2t persons. And that means trying to solve the problem of freedom< finding room for choice and responsibility< and trying to 2nderstand individ2ality. ??? 8@2y with a b2llhorn is driving thro2gh the city streets yelling 9 Libertarian talk show host Ale( Bones; 4o2 can-t fight city hall< death and ta(es. Don-t talk abo2t politics or religion. 'his is all the eD2ivalent of enemy propaganda rolling across the picket line. :Lay down< @.3. Lay down< @.3.: We saw it all thro2gh the 2/th Eent2ry. And now in the 21st Eent2ry< it-s time to stand 2p and realiFe that we sho2ld not allow o2rselves to be crammed into this rat maFe. We sho2ld not s2bmit to deh2maniFation. 3 don-t know abo2t yo2< b2t 3-m concerned with what-s happening in this world. 3-m concerned with the str2ct2re. 3-m concerned with the systems of

control< those that control my life and those that seek to control it even more6 3 want freedom6 'hat-s what 3 want6 And that-s what yo2 sho2ld want6 3t-s 2p to each and every one of 2s to t2rn loose and show them the greed< the hatred< the envy< and yes< the insec2rities beca2se that is the central mode of control 9 make 2s feel pathetic< small so we-ll willingly give 2p o2r sovereignty< o2r liberty< o2r destiny. We have got to realiFe that we-re being conditioned on a mass scale. Start challenging this corporate slave state6 'he 21st Eent2ry is going to be a new cent2ry< not the cent2ry of slavery< not the cent2ry of lies and iss2es of no significance and classism and statism and all the rest of the modes of control6 3t-s going to be the age of h2mankind standing 2p for something p2re and something right6 What a b2nch of garbage 9 liberal Democrat< conservative Rep2blican. 3t-s all there to control yo2. 'wo sides of the same coin. 'wo management teams bidding for control6 'he E.7.>. Cob of Slavery< 3ncorporated6 'he tr2th is o2t there in front of yo2< b2t they lay o2t this b2ffet of lies. 3-m sick of it< and 3-m not going to take a bite o2t of it6 Do yo2 got me. Resistance is not f2tile. We-re gonna win this thing. 02mankind is too good6 We-re not a b2nch of 2nderachievers6 We-re gonna stand 2p and we-re gonna be h2man beings6 We-re gonna get fired 2p abo2t the real things< the things that matterH creativity and the dynamic h2man spirit that ref2ses to s2bmit6 Well that-s it6 'hat-s all 3 got to say6 3t-s in yo2r co2rt. ??? 8>ld man sitting at a table. >tto 0ofmann.; 'he D2est is to be liberated from the negative< which is really o2r own will to nothingness. And once having said yes to the instant< the affirmation is contagio2s. 3t b2rsts into a chain of affirmations that knows no limit. 'o say yes to one instant is to say yes to all of e(istence. ??? 8African9American writer Aklil2 @ebrewold; 'he main character is what 3 call :the mind:. 3ts mastery< its capacity to represent. 'hro2gho2t history< attempts have been made to contain those e(periences which happen at the end of the limit where the mind is v2lnerable. =2t 3 think we are in a very significant moment in history. 'hose moments< those what yo2 might call liminal< limit< frontier< edge Fone e(periences are act2ally now becoming the norm. 'hese m2ltiplicities and distinctions and differences that have given great diffic2lty to the old mind are act2ally thro2gh entering into their very essence< tasting and feeling their 2niD2eness. >ne might make a breakthro2gh to that common something that holds them together. And so the main character is< to this new mind< greater< greater mind. A mind that yet is to be. And when we are obvio2sly entered into that mode< yo2 can see a radical s2bCectivity< radical att2nement to individ2ality< 2niD2eness to that which the mind is< opens itself to a vast obCectivity. So the story is the story of the cosmos now. 'he moment is not C2st a passing empty nothing< yet 9 and this is the way in which these secret passages happen 9 yes< it-s empty with s2ch f2llness that the great moment< the great life of the 2niverse< is p2lsating in

it. And each one< each obCect< each place< each act leaves a mark. And that story is sing2lar. =2t< in fact< it-s story after story. ???

Waking Life: Chapter * - The !ging )arado+

8'wo women are having l2nch 9 7nglish professor Lisa 1oore and a2thor Earole Dawson; 'ime C2st dissolves into D2ick9moving particles that are swirling away. 7ither 3-m moving fast or time is. *ever both sim2ltaneo2sly. 3t-s s2ch a strange parado(. 3 mean< while< technically< 3-m closer to the end of my life than 3-ve ever been< 3 act2ally feel more than ever that 3 have all the time in the world. When 3 was yo2nger< there was a desperation< a desire for certainty< like there was an end to the path< and 3 had to get there. 3 know what yo2 mean< beca2se 3 can remember thinking< :>h< someday< like in my mid9 thirties maybe< everything-s going to C2st somehow gel and settle< C2st end.: 3t was like there was this platea2< and it was waiting for me< and 3 was climbing 2p it< and when 3 got to the top< all growth and change wo2ld stop. 7ven e(hilaration. =2t that hasn-t happened like that< thank goodness. 3 think that what we don-t take into acco2nt when we-re yo2ng is o2r endless c2riosity. 'hat-s what-s so great abo2t being h2man. 4eah< yeah. Well do yo2 know that thing =enedict Anderson says abo2t identity. *o. Well< he-s talking abo2t like< say< a baby pict2re. So yo2 pick 2p this pict2re< this two9 dimensional image< and yo2 say< :'hat-s me.: Well< to connect this baby in this weird little image with yo2rself living and breathing in the present< yo2 have to make 2p a story like< :'his was me when 3 was a year old< and then later 3 had long hair< and then we moved to Riverdale< and now here 3 am.: So it takes a story that-s act2ally a fiction to make yo2 and the baby in the pict2re identical to create yo2r identity. And the f2nny thing is< o2r cells are completely regenerating every seven years. We-ve already become completely different people several times over< and yet we always remain D2intessentially o2rselves. 0mm.

Waking Life: Chapter , - -oise and .ilence

8'here-s a chimp sitting ne(t to a proCector. 'he words :*>3S7 A*D S3L7*E7: are written onto the screen and the chimp begins lect2ring. Aoice of Steve $itch.;

>2r critiD2e began as all critiD2es beginH with do2bt. Do2bt became o2r narrative. >2rs was a D2est for a new story< o2r own. And we grasped toward this new history driven by the s2spicion that ordinary lang2age co2ldn-t tell it. >2r past appeared froFen in the distance< and o2r every gest2re and accent signified the negation of the old world and the reach for a new one. 'he way we lived created a new sit2ation< one of e(2berance and friendship< that of a s2bversive microsociety< in the heart of a society which ignored it. Art was not the goal b2t the occasion and the method for locating o2r specific rhythm and b2ried possibilities of o2r time. 'he discovery of a tr2e comm2nication was what it was abo2t< or at least the D2est for s2ch a comm2nication. 'he advent2re of finding it and losing it. We the 2nappeased< the 2naccepting contin2ed looking< filling in the silences with o2r own wishes< fears and fantasies. Driven forward by the fact that no matter how empty the world seemed< no matter how degraded and 2sed 2p the world appeared to 2s< we knew that anything was still possible. And< given the right circ2mstances< a new world was C2st as likely as an old one. 8'he lect2ring chimp eats his notes and :'> =7@3* A@A3* ... $R>1 '07 =7@3**3*@: is placed on the screen. A yo2ng male-s face is flashed on the screen< and the proCector r2ns o2t of film.; ??? 81ain character sitting with a man in a barLresta2rant. 5niversity of 'e(as at A2stin philosophy professor Lo2is 1ackey.; 'here are two kinds of s2fferers in this worldH those who s2ffer from a lack of life and those who s2ffer from an overab2ndance of life. 3-ve always fo2nd myself in the second category. When yo2 come to think of it< almost all h2man behavior and activity is not essentially any different from animal behavior. 'he most advanced technologies and craftsmanship bring 2s< at best< 2p to the s2per9chimpanFee level. Act2ally< the gap between< say< %lato or *ietFsche and the average h2man is greater than the gap between that chimpanFee and the average h2man. 'he realm of the real spirit< the tr2e artist< the saint< the philosopher< is rarely achieved. Why so few. Why is world history and evol2tion not stories of progress b2t rather this endless and f2tile addition of Feroes. *o greater val2es have developed. 0ell< the @reeks </// years ago were C2st as advanced as we are. So what are these barriers that keep people from reaching anywhere near their real potential. 'he answer to that can be fo2nd in another D2estion< and that-s thisH Which is the most 2niversal h2man characteristic 9 fear or laFiness. ???

Waking Life: Chapter / - What0s the .tory1

8A boy and girl are sitting in a coffee shop< possibly at a bookstore like =orders or =arnes + *oble< or more likely a bar. Ale( *i(on and Aiolet *ichols< respectively.; What are yo2 writing. A novel.

What-s the story. 'here-s no story. 3t-s C2st ... people< gest2res< moments< bits of rapt2re< fleeting emotions. 3n short< the greatest stories ever told. Are yo2 in the story. 3 don-t think so. =2t then< 3-m kind of reading it and then writing it. ??? 8A g2y in a bar< actor Steven %rince< talking with a bartender< Gen Webster.; 3t was in the middle of the desert< in the middle of nowhere< b2t on the way to Aegas< so< yo2 know< every once in a while a car wo2ld p2ll in< get gas. 3t was the last gas stop before Aegas. >ffice had the chair< had a cash register< and that was all the room there was in that office. 3 was asleep< and 3 heard a noise. 4o2 know< C2st like in my mind. So 3 got 2p< and 3 walked o2t< and 3 stood on the c2rb of where the gas station ends< yo2 know< the driveway there. 3-m r2bbing the sand o2t of my eyes< trying to see what-s going on< and way down at the very end of the gas station they had tire racks. Ehains aro2nd them< yo2 know. And 3 see there-s an 7conoline van down there. And there-s a g2y with his '9shirt off< and he-s packing his 7conoline van with all these tires. 0e-s got the last two tires in his hands< p2shes them into the thing< and then 3< of co2rse< 3 go< :0ey< yo26: 'his g2y t2rns aro2nd< he-s got no shirt on< he-s sweating< he-s b2ilt like a brick shitho2se< p2lls o2t a knife< it-s 12 inches long< and then starts r2nning at me as fast as he can< going AAAAAAA00000. 3-m still ... :'his is wrong.: 3 walked in< st2ck my hand behind the cash register where the owner kept a .!1 revolver< p2ll it o2t< cocked the trigger< and C2st as 3 t2rned aro2nd< he was comin- thro2gh the door. And 3 co2ld see his eyes. 3-ll never forget this g2y-s eyes. And he C2st had bad tho2ghts abo2t me in his eyes. And 3 fired a ro2nd< and it hit him. =oom. Right in the chest. =ang. 0e went 9 as fast as he was coming in the door< he went o2t the door. Went right 2p between the two p2mps< ethyl and reg2lar. And he m2st-ve been on dr2gs< on speed or something< yo2 know< beca2se he stood 2p and he still had the knife< and the blood was C2st all over his chest< and he stood 2p and he went like that< C2st moved a little like that. And 3 was pretty m2ch in shock< so 3 C2st held the trigger back and fanned the hammer. 3t-s one of these old9time ... %oom< %oom< %oom< %oom< %oom6 And 3 blew him o2t of the gas station. And ever since then< 3 always carry this. 80e p2lls o2t a revolver.; 3 hear that. A well9armed pop2lace is the best defense against tyranny. 3-ll drink to that. And yo2 know< 3 haven-t fired this for s2ch a long time< 3 don-t even know if it-ll work. Why don-t yo2 p2ll the trigger and find o2t. 80e shoots the bartender in the chest. 'he bartender gets 2p< grabs the g2n hidden behind the co2nter< and shoots the other g2y in the head. =oth fall dead. %2ddles of blood form and red flows down the screen.;

??? 81ain character wakes 2p< washes his face< grabs the phone< and dials.; 0ey man. 3 g2ess yo2 already took off or something. =2t< 2h< remind me to tell yo2 abo2t this dream 3 had last night -ca2se there-s some really f2nny st2ff in it. All right< man. 5h< 3 g2ess 3-ll catch yo2 later. >kay. 81ain character grabs the remote and begins changing the channels on 'A.; ... bareback riding. Eopenhagen William and his horse Same Deal. ... for a hat band. Sew it into the inside of the ... $or 3 do not await the f2t2re< anticipating salvation< absol2tion< not even enlightenment thro2gh process. 3< 3 s2bscribe to the premise that this ... this flawed perfection is s2fficient and complete in every single ineffable moment. 'he =londe =ee< the $irefly< %raying 1antis ... ... l2natic macaroni m2nchkin with my googat ... ... venerable tradition of sorcerers< shamans and other visionaries who have developed and perfected the art of dream travel< the so9called l2cid dream state where by conscio2sly controlling yo2r dreams< yo2-re able to discover things beyond yo2r capacity to apprehend in yo2r awake state. ... series< winning back9to9back ... ... why don-t yo2 tell 2s abo2t what $eli( is doing ... ... a single ego is an abs2rdly narrow vantage from which to view this ... this e(perience. And where most consider their individ2al relationship to the 2niverse< 3 contemplate relationships ... of my vario2s selves to one another. While most people with mobility problems are having tro2ble C2st getting aro2nd< at age ,2< Boy E2llison-s o2t seeing the world. *ow 3-m free to see the world. ???

Waking Life: Chapter 12 - Dreams

81ain character walks into a white b2ilding 9 with stained glass windows 9 and approaches a man sitting in a chair.; 0ey< how-s it going.

4o2 know< they say that dreams are real only as long as they last. Eo2ldn-t yo2 say the same thing abo2t life. See< there-s a lot of 2s that are o2t there that are mapping the mind9body relationship< of dreams. We-re called the oneirona2ts. We-re the e(plorers of the dream9world. Really< it-s C2st abo2t the two opposing states of conscio2sness which don-t really oppose< at all. See< in the waking world< the ne2ral system inhibits the activation of the vividness of memories. And this makes evol2tionary sense. See yo2-d be maladapted for the percept2al image of a predator to be mistaken for the memory of one< and vice9versa. 3f the memory of a predator conC2red 2p a percept2al image< we wo2ld be r2nning off to the bathroom every time we had a scary tho2ght. So yo2 have these serotonic ne2rons that inhibit hall2cinations that they themselves are inhibited d2ring R71 sleep. See this allows dreams to appear real< while preventing competition from other percept2al processes. 'his is why dreams are mistaken for reality. 'o the f2nctional system of ne2ral activity that creates o2r world< there is no difference between dreaming a perception and an action< and act2ally the waking perception and action. ??? 8A g2y is playing a 2kelele.; 3 had a friend once who told me that the worst mistake that yo2 can make is to think yo2 are alive< when yo2-re really asleep in life-s waiting room. 'he trick is to combine yo2r waking rational abilities with the infinite possibilities of yo2r dreams. -Ea2se if yo2 can do that yo2 can do anything. Did yo2 ever have a Cob that yo2 hated. Worked really hard at. A long< hard day at work< finally yo2 get to go home< get in bed< close yo2r eyes< and immediately yo2 wake 2p and realiFe that the whole day at work had been a dream. 3t-s bad eno2gh that yo2 sell yo2r waking life for ... for minim2m wage< b2t now they get yo2r dreams for free. ??? 81ain character sees a friend sitting down in a chair.; 0ey man< what are yo2 doing here. 3 fancy myself the social l2bricator of the dream world< helping people become l2cid a little easier. 4o2 know< c2t all that fear and an(iety st2ff and C2st rock and roll. =y becoming l2cid yo2 mean C2st knowing that yo2-re dreaming< right. 4eah. And then yo2 can control it. 'hey-re more realistic and less biFarre than non9l2cid dreams. 4o2 know< 3 C2st woke from a dream. 3t wasn-t a typical dream. 3t seemed more like 3-d walked into an alternate 2niverse or something. 42p< it-s real. 3 mean< technically it-s a phenomenon of sleep< b2t yo2 can have so m2ch damn f2n in yo2r dreams. And of co2rse everyone knows f2n r2les. 4eah. So what was going on in yo2r dream.

>h< a lot of people< a lot of talking. 4o2 know< some of it was kind of abs2rdist< like from a strange movie or something. 1ostly it was C2st people going off abo2t whatever< really intensely. 3 woke 2p wondering where did all this st2ff come from. 4o2 can control that yo2 know. Do yo2 have these dreams all the time. 0ell< yeah. 3-m always going to make the best of it. =2t the trick is< yo2 got to realiFe that yo2-re dreaming in the first place. 4o2 got to be able to recogniFe it. 4o2 got to be able to ask yo2rself< :0ey man< is this a dream.: See< most people never ask themselves that when they-re awake< or especially when they-re asleep. Seems like everyone-s sleep9walking thro2gh their waking state< or wake9walking thro2gh their dreams. 7ither way< they-re not going to get m2ch o2t of it. 'he thing that snapped me into realiFing 3 was dreaming was< 2h< was my digital clock. 3 co2ldn-t really read it. 3t was like the circ2itry was all screwed 2p or something. 4eah< that-s real common. And small printed material is pretty to2gh too. Aery 2nstable. Another good tip9off is trying to adC2st light levels. 4o2 can-t really do that. 3f yo2 see a light switch nearby< t2rn it on and off and see if it works. 'hat-s one of the few things yo2 can-t do in a l2cid dream. What the hell. 3 can fly aro2nd< have an interesting conversation with Albert SchweitFer. 3 can e(plore all these new dimensions of reality< not to mention 3 can have any kind of se( 3 want< which is way cool. So 3 can-t adC2st light levels. So what. =2t that-s like one of the things that yo2 do to test if yo2-re dreaming or not< right. 4eah< like 3 said< yo2 can totally train yo2rself to recogniFe it. 3 mean C2st hit a light switch every now and then. 3f the lights are on< and yo2 can-t t2rn them off< then most likely yo2-re dreaming. And then yo2 can get down to b2siness. And believe me< it-s 2nlimited. 0ey< yo2 know what 3-ve been working on lately. What-s that. >h man< it-s way ambitio2s< b2t 3-m getting better at it. 4o2-re going to dig this. 'hree9si(ty vision< man. 3 can see in all directions. %retty cool< h2h. 4eah< man. Well< 3 got to go man. >kay< later man. S2per prof2ndo on the early eve of yo2r day. What-s that mean. Well< yo2 know< 3-ve never fig2red it o2t. 1aybe yo2 can. 'his g2y always whispers it in my ear. Lo2is. 0e-s a reocc2rring dream character. 81ain character t2rns the light switch on and off as he-s leaving 9 ! and a half times 9 and the light stays on. >ther g2y shr2gs his sho2lders. 1ain character begins and contin2es floating thro2gh to the ne(t part.;

Waking Life: Chapter 11 - The 3oly 4oment

8We enter a movie theatre where< on the screen< we see a film of two men who are talking with one another. 'he first speaker is filmmaker Eaveh Mahedi 9 to the right in the image below 9 and the second is poet David Bewell.; '07 0>L4 1>17*' Einema< in its essence< is< well it-s abo2t an introd2ction to reality< which is that< like< reality is act2ally reprod2ced. And for him< it might so2nd like a storytelling medi2m< really. And he feels like< 2m ... like ... like ... like literat2re is better for telling a story. 4o2 know< and if yo2 tell a story or even like a Coke< like yo2 know :'his g2y walks into a bar and< yo2 know< he sees a dwarf.: 'hat works really well beca2se yo2-re imagining this g2y and this dwarf in the bar and there-s this kind of imaginative aspect to it. =2t in film< yo2 don-t have that beca2se yo2 act2ally are filming a specific g2y< in a specific bar< with a specific dwarf< of a specific height< who looks a certain way< right. So like< 2m< for =aFin< what the ontology of film has to do is it has to deal with< yo2 know< with what photography also has an ontology of< e(cept that it adds this dimension of time to it< and this greater realism. And so< like< it-s abo2t that g2y< at that moment< in that space. And< yo2 know< =aFin is like a Ehristian< so he< like< believes that< yo2 know< @od obvio2sly ended 2p like< everything ... he believes< for him reality and @od are the same. 4o2 know< like ... and so what film is act2ally capt2ring is like @od incarnate< creating. And this very moment< @od is manifesting as this. And what the film wo2ld capt2re if it was filming 2s right now wo2ld be like @od as this table< and @od as yo2< and @od as me< and @od looking the way we look right now< and saying and thinking what we-re thinking right now< beca2se we are all @od manifest in that sense. So film is act2ally like a record of @od< or of the face of @od< or of the ever9changing face of @od. 4o2 have a mosD2ito. Do yo2 want me to get it for yo2. 4o2 got it. 3 got it. 4eah< yo2 got it. And like the whole 0ollywood thing is C2st taking film and trying to make it like the storytelling medi2m where yo2 take these books or stories< and then yo2 like< yo2 know< and then yo2 have the script< and yo2 try to find a person who sort of fits the thing. =2t it-s ridic2lo2s< beca2se it-s not< it sho2ldn-t be based on the script. 3t sho2ld be based on the person< yo2 know< or the thing. And in that sense< they are almost right to have this whole star system< beca2se then it-s abo2t that person< yo2 know< instead of< like< the story. 'r2ffa2t always said the best films aren-t made ... the films ... 'he best scripts don-t make the best films< beca2se they have that kind of literary narrative thing that yo2-re sort of a slave to. 'he best films are the ones that aren-t tied to that slavishly. So 3 don-t know. 'he whole narrative thing seems to me like< 2m ... >bvio2sly< there-s narrativity to cinema -ca2se it-s in time< C2st the way there-s narrativity to m2sic. =2t< yo2 know< yo2 don-t first think of the story of the song< and then make the song. 3t has to come o2t of that moment. And that-s what film

has. 3t-s C2st that moment< which is holy. 4o2 know< like this moment< it-s holy. =2t we walk aro2nd like it-s not holy. We walk aro2nd like there-s some holy moments and there are all the other moments that are not holy< right< b2t this moment is holy< right. And if film can let 2s see that< like frame it so that we see< like< :Ah< this moment. 0oly.: And it-s like :0oly< holy< holy: moment by moment. =2t< like< who can live that way. Who can go< like< :Wow< holy:. =eca2se if 3 were to look at yo2 and C2st really let yo2 be holy< 3 don-t know< 3 wo2ld< like< stop talking. Well< yo2-d be in the moment< 3 mean .... 4eah 'he moment is holy. 4eah< b2t 3-d be open. And then 3-d look in yo2r eyes< and 3-d cry< and 3-d like feel all this st2ff and that-s like not polite. 3 mean it wo2ld make yo2 feel 2ncomfortable. Well yo2 co2ld la2gh too. 3 mean< why wo2ld yo2 cry. Well< -ca2se ... 3 don-t know. $or me< 3 tend to cry. 5h9h2h. Well ... 3s< is f2ll ... Well< let-s do it right now. Let-s have a holy moment. >kay. 8Long moments pass with them staring at each other; 7verything is layers< isn-t it. 4eah. 3 mean< there-s the holy moment and then there-s the awareness of trying to have the holy moment< in the same way that the film is the act2al moment really happening< b2t then the character pretending to be in a different reality. And it-s all these layers. And< 2h< 3 was in and o2t of the holy moment looking at yo2. Ean-t be in a holy ... 4o2-re 2niD2e that way< Eaveh. 'hat-s one of the reasons 3 enCoy yo2. 4o2 can ... bring me into that. 8'hey t2rn into clo2d people looking at each other; ???

Waking Life: Chapter 1 - .ociety 5s a (ra6d

8$o2r g2ys are walking down the street. 'hey take t2rns talking; 3f the world that we are forced to accept is false and nothing is tr2e< then everything is possible.

>n the way to discovering what we love< we will find everything we hate< everything that blocks o2r path of what we desire. 'he comfort will never be comfortable for those who seek what is not on the market. A systematic D2estioning of the idea of happiness. We-ll c2t the vocal chords of every empowered speaker. We-ll yank the social symbols thro2gh the looking glass We-ll deval2e society-s c2rrency. 'o confront the familiar. Society is a fra2d so complete and venal that it demands to be destroyed beyond the power of memory to recall its e(istence. Where there is fire< we will carry gasoline. 'o interr2pt the contin22m of everyday e(perience and all the normal e(pectations that go with it. 'o live as if something act2ally depended on one-s actions. 'o r2pt2re the spell of the ideology of the commodified cons2mer society so that o2r repressed desires of a more a2thentic nat2re can come forward. 'o demonstrate the contrast between what life presently is and what it co2ld be. 'o immerse o2rselves in the oblivion of actions and know we-re making it happen. 'here will be an intensity never before known in everyday life to e(change love and hate< life and death< terror and redemption< rep2lsions and attractions. An affirmation of freedom so reckless and 2nD2alified< that it amo2nts to a total denial of every kind of restraint and limitation. ??? 8'he same fo2r g2ys see an old man 2p on a telephone pole.; 0ey< old man< what yo2 doin- 2p there. Well< 3-m not s2re. 4o2 need any help getting down< sir. *o< don-t think so. St2pid bastard. *o worse than 2s. 0e-s all action and no theory. We-re all theory and no action.

??? 8'he same fo2r g2ys see an old man sitting at a bench; Why so gl2m< 1r. Debord. What was missing was felt irretrievable. 'he e(treme 2ncertainties of s2bsisting witho2t working made e(cesses necessary and breaks definitive. 'o D2ote StevensonH :S2icide carried off many. Drink and the devil took care of the rest.: ???

Waking Life: Chapter 1# - Dreamers

81ain character is walking along railroad tracks< beside a train. A g2y C2mps o2t of the train with a :$ree Radio: t9shirt on; 0ey. 0ey. 4o2 a dreamer. 4eah. 0aven-t seen too many aro2nd lately. 'hings have been to2gh lately for dreamers. 'hey say dreaming-s dead< that no one does it anymore. 3t-s not dead< it-s C2st been forgotten. Removed from o2r lang2age. *o one teaches it so no one knows it e(ists. 'he dreamer is banished to obsc2rity. Well 3-m trying to change all that< and 3 hope yo2 are too. =y dreaming every day. Dreaming with o2r hands and dreaming with o2r minds. >2r planet is facing the greatest problems it-s ever faced. 7ver. So whatever yo2 do< don-t be bored. 'his is absol2tely the most e(citing time we co2ld have possibly hoped to be alive. And things are C2st starting. ??? 81ain character is walking with a thin looking boy< who grad2ally t2rns into something else as he talks.; A tho2sand years is b2t an instant. 'here-s nothing new< nothing different. 'he same pattern over and over. 'he same clo2ds< the same m2sic< the same insight 3 felt an ho2r or an eternity ago. 'here-s nothing here for me now< nothing at all. *ow 3 remember. 'his happened to me before. 'his is why 3 left. 4o2 have beg2n to find yo2r answers. Altho2gh it will seem diffic2lt< the rewards will be great. 7(ercise yo2r h2man mind as f2lly as possible< knowing it is only an e(ercise. =2ild bea2tif2l artifacts< solve problems< e(plore the secrets of the physical 2niverse< savor the inp2t from all the senses< feel the Coy and sorrow< the la2ghter< the empathy< compassion and tote the emotional memory in yo2r travel bag. 3 remember where 3 came from and how 3 became a h2man< why 3 h2ng aro2nd< and now my final depart2re is sched2led. 'his way o2t. 7scaping velocity. *ot C2st eternity< b2t infinity. ???

Waking Life: Chapter 1$ - !nts

81ain is character coming o2t of a s2bway and b2mps into a girl.; 7(c2se me. 7(c2se me. 0ey. Eo2ld we do that again. 3 know we haven-t met< b2t 3 don-t want to be an ant< yo2 know. 3 mean< it-s like we go thro2gh life with o2r antennas bo2ncing off one another< contin2o2sly on ant a2to9pilot with nothing really h2man reD2ired of 2s. Stop. @o. Walk here. Drive there. All action basically for s2rvival. All comm2nication simply to keep this ant colony b2FFing along in an efficient polite manner. :0ere-s yo2r change.: :%aper or plastic.: :Eredit or debit.: :4o2 want ketch2p with that.: 3 don-t want a straw< 3 want real h2man moments. 3 want to see yo2. 3 want yo2 to see me. 3 don-t want to give that 2p. 3 don-t want to be an ant< yo2 know. 4eah. 4eah< no. 3 don-t want to be an ant either. 0eh. 4eah< thanks for kind of Costling me there. 3-ve been kind of on Fombie a2to9pilot lately< 3 don-t feel like an ant in my head< b2t 3 g2ess 3 probably look like one. 3t-s kind of like D.0. Lawrence had this idea of two people meeting on a road. And instead of C2st passing and glancing away< they decide to accept what he calls :the confrontation between their so2ls.: 3t-s like< 2m< freeing the brave reckless gods within 2s all. 'hen it-s like we have met. 8'hey shake hands; ??? 8Same two people talking in a room.; So 3-m doing this proCect< and 3-m hoping that yo2-ll be interested in doing it. 3t-s a soap opera< and< so< the characters are the fantasy lives or the alter egos< of the performers who are in it. So< pretty m2ch C2st fig2re o2t something that yo2-ve always wanted to do< or a life yo2-ve always wanted to lead< or occ2pation or something like that. And we write that in< and then we also have yo2r life intersect with other people-s in the soap opera in some typical soap opera fashion. And then 3 also want to show it in a live ven2e and have the actors present so that once the episode is screened< then the a2dience can direct the actors for s2bseD2ent episodes with men2s or something. So it has a lot to do with choices and honoring people-s ability to say what it is that they wanna see< and also cons2merism and art and commodity< and if yo2 don-t like what yo2 got< then yo2 can send it back< or yo2 get what yo2 pay for< or C2st participating< C2st really making choices. So< yo2 wanna do it. 5h< yeah< yeah< that so2nds really cool. 3-d love to be in it< b2t< 2m ... 5h< 3 kind of gotta ask yo2 a D2estion first tho2gh. 3 don-t really know how to say it< b2t< 2m< 2h< what-s it like to be a character in a dream. -Ea2se< 2h< 3-m not awake right now. And 3 haven-t even worn a watch since< like< fo2rth grade. 3 think this is the same watch too. 5m< 2h< yeah< 3 don-t even know if yo2-re able to answer that D2estion< b2t 3-m C2st trying to get like a sense of where 3 am and what-s going on.

So what abo2t yo2. What-s yo2r name. What-s yo2r address. What are yo2 doing. NLa2ghO 3< 3< yo2 know< 3 can-t really remember right now. 3 can-t really< 3 can-t really recall that. =2t that-s beside the point< whether or not 3 can dredge 2p this information abo2t< yo2 know< my address< or< yo2 know< my mom-s maiden name< or whatnot. 3-ve got the benefit in this reality< if yo2 wanna call that< of a consistent perspective. What is yo2r consistent perspective. 3t-s mostly C2st me dealing with a lot of people who are e(posing me to information and ideas that seem vag2ely familiar< b2t< at the same time< it-s all very alien to me. 3-m not in an obCective< rational world. Like 3-ve been flying aro2nd. 5h ... 3 don-t know. 3t-s weird too beca2se it-s not like a fi(ed state< it-s more like this whole spectr2m of awareness. Like the l2cidity wavers. Like< right now< 3 know that 3-m dreaming< right. We-re< like< even talking abo2t it. 'his is the most in myself and in my tho2ghts that 3-ve been so far. 3-m talking abo2t being in a dream. =2t< 3-m beginning to think that it-s something that 3 don-t really have any precedent for. 3t-s< it-s totally 2niD2e. 'he< the D2ality of< of the environment and the information that 3-m receiving. Like yo2r soap opera for e(ample. 'hat-s a really cool idea. 3 didn-t come 2p with that. 3t-s like something o2tside of myself< like something transmitted to me e(ternally. 3 don-t know what this is. We seem to think we-re so limited by the world and the confines< b2t we-re really C2st creating them. 4o2 keep trying to fig2re it o2t< b2t it seems like now that yo2 know that what yo2-re doing is dreaming< yo2 can do whatever yo2 want to. 4o2-re dreaming< b2t yo2-re awake. 4o2 have< 2m< so many options< and that-s what life is abo2t. Well< 3 2nderstand what yo2-re saying. 3t-s 2p to me. 3-m the dreamer. 3t-s weird< like< so m2ch of the information that these people have been like imparting to me. 3 don-t know. 3t-s got this< like< really heavy connotation to it. Well< how do yo2 feel. Well< well< sometimes 3 feel kind of isolated< b2t most of the time 3 feel really connected< really< like< engaged in this active process. Which is kind of weird beca2se most of the time 3-ve C2st been really passive and not really responding< e(cept for now< 3 g2ess. 3-m C2st kind of letting the information wash over me. 3t-s not necessarily passive to not respond verbally. We-re comm2nicating on< on so many levels sim2ltaneo2sly. %erhaps yo2-re< yo2-re perceiving directly. 1ost of the people that 3-ve been enco2ntering< and most of the things that 3 wo2ld want to say< it-s like they kind of say it for me< and almost like at my c2e. 3t-s< it-s like complete 2nto itself. 3t-s not like 3-m having a bad dream< it-s a great dream. =2t ... it-s so 2nlike any other dream 3-ve ever had before. 3t-s like the dream. 3t-s like 3-m being prepared for something. ???

Waking Life: Chapter 1% - We !re the !6thors

8'he main character is now on a s2bway< and from his body lang2age< it seems he-s e(pected it to stop before it has.; III 8We see a bridge from afar< and move to it. *ow on the bridge< we see a shining light< from which a craFy looking g2y with a big afro appears. 'his is poet 'imothy :Speed: Levitch.; :>n this bridge<: Lorca warns< :life is not a dream. =eware. And beware. And beware.: And so many think beca2se 'hen happened< *ow isn-t. =2t didn-t 3 mention the ongoing :wow: is happening right now. We are all co9 a2thors of this dancing e(2berance where even o2r inabilities are having a roast. We are the a2thors of o2rselves< co9a2thoring a gigantic Dostoevsky novel< starring clowns. 'his entire thing we-re involved with called the world< is an opport2nity to e(hibit how e(citing alienation can be. Life is a matter of a miracle that is collected over time by moments< flabbergasted to be in each other-s presence. 'he world is an e(am to see if we can rise into direct e(perience. >2r eyesight is here as a test to see if we can see beyond it. 1atter is here as a test for o2r c2riosity. Do2bt is here as an e(am for o2r vitality. 'homas 1ann wrote that he wo2ld rather participate in life than write 1// stories. @iacometti was once r2n down by a car< and he recalled falling into a l2cid faint< a s2dden e(hilaration< as he realiFed that at last something was happening to him. An ass2mption develops that yo2 cannot 2nderstand life and live life sim2ltaneo2sly. 3 do not agree entirely. Which is to say 3 do not e(actly disagree. 3 wo2ld say that life 2nderstood is life lived. =2t the parado(es b2g me< and 3 can learn to love and make love to the parado(es that b2g me. And on really romantic evenings of self< 3 go salsa dancing with my conf2sion. =efore yo2 drift off< don-t forget. Which is to say< remember. =eca2se remembering is so m2ch more a psychotic activity than forgetting. Lorca< in that same poem said that the ig2ana will bite those who do not dream. And as one realiFes that one is a dream fig2re in another person-s dream< that is self awareness. 8'he #/-s9like stars twinkle aro2nd his head< and he wanders off in an ecstatic trance.; ???

Waking Life: Chapter 1' - 4eet 7o6rself

81ain character with man walking on street covered by a red fog; 4o2 haven-t met yo2rself yet. =2t the advantage to meeting others in the meantime is that one of them may present yo2 to yo2rself. 7(amine the nat2re of everything yo2 observe. $or instance< yo2 might find yo2rself walking thro2gh a dream parking lot. And yes< those are dream feet inside of yo2r dream shoes. %art of yo2r dream self. And so< the person that yo2 appear to be in the dream cannot be who yo2 really are. 'his is an image< a mental model. ??? 81ain character meets the same girl he saw in the beginning when he was on the phone. N3n fact< this is not the same individ2al.O; Do yo2 remember me.

*o. *o< 3 don-t think so. At the station. 4o2 were on the pay phone and yo2 looked at me ... a few times. 3 remember that< b2t 3 don-t remember that being yo2. Are yo2 s2re. Well< maybe not. 3 was sitting down and yo2 were looking at me. 80e m2mbles as she draws close ... and he wakes 2p.; 80e looks over at his alarm clock< the n2mbers flow< and he realiFes that ... he-s ... still ... asleep.; 81ain character is watching 'A< switching channels; 1y little friend< dream no more. 3t-s really here. 3t-s called 7fferdent %l2s. 3n hell< yo2 sink to the level of yo2r lack of love. 3n heaven yo2 rise to the level of yo2r f2llness of love. 4o2 see ... 02rry 2p6 Eome on6 @et in the car6 Let-s go. Allegedly< the story goes like this. =illy Wilder r2ns into Lo2is 1alle< this is in the late "/-s< early #/-s. And Lo2is 1alle had C2st made his most e(pensive film< which has cost 2 1L2 million dollars. And =illy Wilder asks him what the film is abo2t. And Lo2is 1alle says :Well< it-s sort of a dream within a dream.: And =illy Wilder says :4o2 C2st lost 2 1L2 million dollars.: ... 3 feel a little more apprehensive abo2t this one than 3 did abo2t ... 8@obbledygook.; Down thro2gh the cent2ries< the notion that life is wrapped in a dream has been a pervasive theme of philosophers and poets. So doesn-t it make sense that death too wo2ld be wrapped in dream. 'hat after death< yo2r conscio2s life wo2ld contin2e in what might be called a dream body. 3t wo2ld be the same dream body yo2 e(perience in yo2r everyday dream life. 7(cept that in the post9mortal state< yo2 co2ld never again wake 2p< *ever again ret2rn to yo2r physical body. ??? 81ain character is walking into a convenience store. A man is walking o2t.; As the pattern gets more intricate and s2btle< being swept along is no longer eno2gh. ???

81ain character goes into the convenience store. 'he clerk is the same g2y who drove the boat car; What-s the word< t2rd. 0ey< do yo2 also drive a< a< boat car. A what. Like< yo2 gave me a ride in a car that was also a boat. *o< man< 3 don-t have a :boat car:. 3 don-t know what yo2-re talking abo2t. 1an< this m2st be like parallel 2niverse night. 4o2 know that cat that was C2st in here< who C2st ran o2t the door. Well< he comes 2p to the co2nter< yo2 know< and 3 say< :What-s the word< t2rd.: and he lays down this b2rrito and he kind of looks at me< kind of stares at me< and then he says< :3 have b2t recently ret2rned from the valley of the shadow of death. 3 am rapt2ro2sly breathing in all the odors and essences of life. 3-ve been to the brink of total oblivion. 3 remember and ferment a desire to remember everything.: So< what-d yo2 say to that. Well< 3 mean< what co2ld 3 say. 3 said :3f yo2-re going to microwave that b2rrito< 3 want yo2 to poke holes in the plastic wrapping beca2se they e(plode< and 3-m tired of cleaning 2p yo2r little b2rrito doings. 4o2 dig me. -Ea2se the Calapenos dry 2p. 'hey-re like little wheels. ??? 81ain character sitting in a resta2rant with an older lady.; When it was over< all 3 co2ld think abo2t was how this entire notion of oneself< what we are< is< is< C2st this logical str2ct2re< a place to momentarily ho2se all the abstractions. 3t was a time to become conscio2s< to give form and coherence to the mystery< and 3 had been a part of that. 3t was a gift. Life was raging all aro2nd me< and every moment was magical. 3 loved all the people< dealing with all the contradictory imp2lses. 'hat-s what 3 love the most 99 connecting with the people. Looking back< that-s all that really mattered. 8Sitting in a park< a woman approaches him< showing him a drawn pict2re of himself.; ???

Waking Life: Chapter 1* - )erformance

81ain character is walking< with a craggy wall of rock behind him< when a man passes in the opposite direction.; Gierkegaard-s last words were< :Sweep me 2p.: 8Eharacter enters a cl2b< where the gro2p from the beginning is playing< and a n2mber of co2ples are dancing. 0e sits and watches< before getting 2p and walking into the ne(t scene.;

???

Waking Life: Chapter 1, - Trapped in a Dream

8A g2y is playing a pinball machine< seemingly the same g2y who rode with him in the back of the boat car. 'his part is played by Richard Linklater< aka< the director.; 0ey< man. 0ey. Weren-t yo2 in a boat car. 4o2 know< the g2y< the g2y with the hat. 0e gave me a ride in his car< or boat thing< and yo2 were in the back seat with me. 3 mean< 3-m not saying that yo2 don-t know what yo2-re talking abo2t< b2t 3 don-t know what yo2-re talking abo2t. *o< yo2 see< yo2 g2ys let me off at this really specific spot that yo2 gave him directions to let me off at< 3 get o2t< and end 2p getting hit by a car< b2t then< 3 C2st woke 2p beca2se 3 was dreaming< and later than that< 3 fo2nd o2t that 3 was still dreaming< dreaming that 3-d woken 2p. >h yeah< those are called false awakenings. 3 2sed to have those all the time. 4eah< b2t 3-m still in it now. 3< 3 can-t get o2t of it. 3t-s been going on forever< 3 keep waking 2p< b2t< b2t 3-m C2st waking 2p into another dream. 3-m starting to get creeped o2t< too. Like 3-m talking to dead people. 'his woman on 'A-s telling me abo2t how death is this dreamtime that e(ists o2tside of life. 3 mean< 8desperate sigh; 3-m starting to think that 3-m dead. 3-m gonna tell yo2 abo2t a dream 3 once had. 3 know that-s< when someone says that< then 2s2ally yo2-re in for a very boring ne(t few min2tes< and yo2 might be< b2t it so2nds like< yo2 know< what else are yo2 going to do< right. Anyway< 3 read this essay by %hilip G. Dick. What< yo2 read it in yo2r dream. *o< no. 3 read it before the dream. 3t was the preamble to the dream. 3t was abo2t that book< 2m Flow My Tears the Policeman Said. 4o2 know that one. 5h< yeah yeah< he won an award for that one. Right< right. 'hat-s the one he wrote really fast. 3t C2st like flowed right o2t of him. 0e felt he was sort of channeling it< or something. =2t anyway< abo2t fo2r years after it was p2blished< he was at this party< and he met this woman who had the same name as the woman character in the book. And she had a boyfriend with the same name as the boyfriend character in the book< and she was having an affair with this g2y< the chief of police< and he had the same name as the chief of police in his book. So she-s telling him all of this st2ff from her life< and

everything she-s saying is right o2t of his book. So that-s totally freaking him o2t< b2t< what can he do. And then shortly after that< he was going to mail a letter< and he saw this kind of< 2m< yo2 know< dangero2s< shady looking g2y standing by his car< b2t instead of avoiding him< which he says he wo2ld have 2s2ally done< he C2st walked right 2p to him and said< :Ean 3 help yo2.: And the g2y said< :4eah. 3< 3 ran o2t of gas.: So he p2lls o2t his wallet< and he hands him some money< which he says he never wo2ld have done< and then he gets home and thinks< wait a second< this g2y< yo2 know< he can-t get to a gas station< he-s o2t of gas. So he gets back in his car< he goes and finds the g2y< takes him to the gas station< and as he-s p2lling 2p at the gas station< he realiFes< :0ey< this is in my book too. 'his e(act station< this e(act g2y. 7verything.: So this whole episode is kind of creepy< right. And he-s telling his priest abo2t it< yo2 know< describing how he wrote this book< and then fo2r years later all these things happened to him. And as he-s telling it to him< the priest says< :'hat-s the =ook of Acts. 4o2-re describing the =ook of Acts.: And he-s like< :3-ve never read the =ook of Acts.: So he< yo2 know< goes home and reads the =ook of Acts< and it-s like 2ncanny. 7ven the characters- names are the same as in the =ible. And the =ook of Acts takes place in "/ A.D.< when it was written< s2pposedly. So %hilip G. Dick had this theory that time was an ill2sion and that we were all act2ally in "/ A.D.< and the reason he had written this book was that he had somehow momentarily p2nct2red thro2gh this ill2sion< this veil of time< and what he had seen there was what was going on in the =ook of Acts. And he was really into @nosticism< and this idea that this demi2rge< or demon< had created this ill2sion of time to make 2s forget that Ehrist was abo2t to ret2rn< and the kingdom of @od was abo2t to arrive. And that we-re all in "/ A.D.< and there-s someone trying to make 2s forget that @od is imminent. And that-s what time is. 'hat-s what all of history is. 3t-s C2st this kind of contin2o2s< yo2 know< daydream< or distraction. And so 3 read that< and 3 was like< well that-s weird. And than that night 3 had a dream and there was this g2y in the dream who was s2pposed to be a psychic. =2t 3 was skeptical. 3 was like< yo2 know< he-s not really a psychic< yo2 know 3-m thinking to myself. And then s2ddenly 3 start floating< like levitating< 2p to the ceiling. And as 3 almost go thro2gh the roof< 3-m like< :>kay< 1r. %sychic. 3 believe yo2. 4o2-re a psychic. %2t me down please.: And 3 float down< and as my feet to2ch the gro2nd< the psychic t2rns into this woman in a green dress. And this woman is Lady @regory. *ow Lady @regory was 4eats- patron< this< yo2 know< 3rish person. And tho2gh 3-d never seen her image< 3 was C2st s2re that this was the face of Lady @regory. So we-re walking along< and Lady @regory t2rns to me and says< :Let me e(plain to yo2 the nat2re of the 2niverse. *ow %hilip G. Dick is right abo2t time< b2t he-s wrong that it-s "/ A.D. Act2ally< there-s only one instant< and it-s right now< and it-s eternity. And it-s an instant in which @od is posing a D2estion< and that D2estion is basically< -Do yo2 want to< yo2 know< be one with eternity. Do yo2 want to be in heaven.- And we-re all saying< -*o thank yo2. *ot C2st yet.And so time is act2ally C2st this constant saying -*o- to @od-s invitation. 3 mean that-s what time is. 3 mean< and it-s no more "/ A.D. than it-s two tho2sand and one. And there-s C2st this one instant< and that-s what we-re always in.:

And then she tells me that act2ally this is the narrative of everyone-s life. 'hat< yo2 know< behind the phenomenal difference< there is b2t one story< and that-s the story of moving from the :no: to the :yes.: All of life is like< :*o thank yo2. *o thank yo2. *o thank yo2.: then 2ltimately it-s< :4es< 3 give in. 4es< 3 accept. 4es< 3 embrace.: 3 mean< that-s the Co2rney. 3 mean< everyone gets to the :yes: in the end< right. Right. So we contin2e walking< and my dog r2ns over to me. And so 3-m petting him< really happy to see him< yo2 know< he-s been dead for years. So 3-m petting him and 3 realiFe there-s this kind of gross ooFing st2ff coming o2t of his stomach. And 3 look over at Lady @regory< and she sort of co2ghs. She-s like Nco2ghO Nco2ghO :>h< e(c2se me.: And there-s vomit< like dribbling down her chin< and it smells really bad. And 3 think< :Well< wait a second< that-s not C2st the smell of vomit<: which is< doesn-t smell very good< :that-s the smell of like dead person vomit.: 4o2 know< so it-s like do2bly fo2l. And then 3 realiFe 3-m act2ally in the land of the dead< and everyone aro2nd me is dead. 1y dog had been dead for over ten years< Lady @regory had been dead a lot longer than that. When 3 finally woke 2p< 3 was like< whoa< that wasn-t a dream< that was a visitation to this real place< the land of the dead. So what happened. 3 mean how did yo2 finally get o2t of it. >h man. 3t was C2st like one of those like life altering e(periences. 3 mean 3 co2ld never really look at the world the same way again< after that. 4eah< b2t 3 mean like how did yo2< how did yo2 finally get o2t of the dream. See< that-s my problem. 3-m like trapped. 3 keep< 3 keep thinking that 3-m waking 2p< b2t 3-m still in a dream. 3t seems like it-s going on forever. 3 can-t get o2t of it< and 3 want to wake 2p for real. 0ow do yo2 really wake 2p. 3 don-t know< 3 don-t know. 3-m not very good at that anymore. =2t< 2m< if that-s what yo2-re thinking< 3 mean yo2< yo2 probably sho2ld. 3 mean< yo2 know if yo2 can wake 2p< yo2 sho2ld< beca2se yo2 know someday< yo2 know< yo2 won-t be able to. So C2st< 2m ... =2t it-s easy. 4o2 know. B2st< C2st wake 2p.

Waking Life: Chapter 1/ - Wake 8p9

8'he main character wakes 2p< is seen walking down a co2ple streets< e(D2isite piano m2sic is playing< he walks towards a ho2se< checks the door< walks to the driveway where a car is parked. 0e looks 2p at the sky and starts to float 2pwards< tries to grab onto the car door handle< misses twice< keeps floating 2p and floats away to nothing.;

Waking Life: Chapter 2 - :nd Titles

8Eredits appear and m2sic contin2es. 3t-s worth sitting thro2gh to the end not only for the m2sic< b2t also for a glimpse back at the animation styles from the film.;