We're Smegged.

Red Dwarf - Series 10 - We're Smegged - The Making Of Series 10

"We were in some holes --

We were in some holes, 

that... y'know --

We could quite easily have 

had The Walls cave in."

-- Danny John Jules

Maybe Your Arm is in Valhalla

Lady Sif Death Scene | Thor: Love and Thunder (2022)

Thor :

Sif, it’s me, Thor.

Lady Sif :

Odinson?

Thor :

You’re missing an arm.

I’m gonna get you home.

Lady Sif :

No! Leave me here.

I want to die A Warrior’s Death.

On The Battlefield. In battle.

And then I can claim 

My Place in Valhalla.

Thor :

Oh, I hate to break it to you, 

but for A Warrior to get 

into Valhalla, you have 

to die in The Battle.

You survived.

Lady Sif :

Oh, shit.

Thor :

Maybe your arm is in Valhalla.

What happened here?

Lady Sif :

(SIGHS) I’ve been hunting a madman.

I followed him here, but it was a trap.

Thor :

Who is this madman?

Lady Sif :

The God Butcher is coming.

He seeks the extinction of The Gods.

Asgard is next.

The Labyrinth of Death

WALKING DEAD SEASON 6 EPISODE 4 "HERE'S NOT HERE" - The art of peace.

(bleats)

Eastman :

You shot at me. I fed you.

Please don't hurt her.

Good night.

(goat bleats)

Shh. Shh.

(door closes)

(lock clicks)

(snarls)

(squelches)

Eastman :

16 hours in 19 on the floor.

( he samples the goat's cheese )

Oh! Oh, that is-- oh, 

that's terrible!

That-- oh, God, that is-- 

that is terrible. (gags)

Eastman :

I just wanted to wait a little 

while before we talked.

I'm from Atlanta.

I'm a forensic psychiatrist.

The State employed me to determine 

if certain people who did very bad things 

would do them again if they were 

released from prison.

That was my job. 

Now I live here.

Because of the state of The State 

and the whole world.

What did you do or 

what do you do now?

Morgan :

I Clear.

Eastman :

What the hell does that mean?

Morgan :

Walkers, people, anything that gets 

anywhere near me, 

I kill 'em. I Clear.

Eastman :

Why?

Morgan :

Because that's why 

I'm still here.

Eastman :

Well... that's the biggest load 

of horseshit I ever heard.

Here's your lunch.

(tab snaps)

(goat bleats)

Eastman :

It's PTSD. You've been 

through trauma, right?

Morgan :

You see that blood on 

the end of my stick?

At the sharp end?

That was two men.

Father and son, maybe.

I stabbed one through the throat.

He just fell to the ground with it 

stuck in him trying to breathe 

through the blood.

Other one I strangled. 

No rope, just my hands.

That was the day before I came here.

Maybe-- maybe the same day.

I-- I don't know.

But that's What I Did.

That's What I Do.

Eastman :

You killed a  lot of people?

Morgan :

Yes.

Eastman :

They were threatening 

you, attacking you?

Morgan :

Not all of them.

Eastman :

You save anyone?

You saved people.

Pointless acts.

Morgan :

Everybody turns.

Eastman :

I saw a wedding ring.

You had someone 

you loved, didn't you?

Children? Oh. 

You loved them.

You loved them a lot 

if you're like this.

You saw it Happen.

That's how this 

started, right?

It's all happening right in front 

of your eyes over and over.

Your Body's here, but
Your Mind is still there.

There's A Door and 

You want to go through it 

to get away from it, so you do 

and it leads you right back 

to that moment.

And you see that door again 

and you know it won't work,

 but, hell, maybe it'll work.

So you step through that door 

and you're right back in that 

horrible moment every time.

You still feel it every time.

So you just want to stop 

opening that door.

So you just sit in it.

But I assure you, 

one of those doors 

leads out, my friend.

Morgan :

I don't have any friends.

Eastman :

Get to know me.

Morgan :

Oh, I'm gonna kill you.

Eastman :

Why?

Morgan :

Because I Have 

to Clear.

Eastman :

See, that's the thing. You don't.

(scoffs) We're not 

built to Kill.

We don't have claws 

or fangs or armor.

Vets that came back with PTSD, 

that didn't happen because 

we're comfortable with Killing.

We're not. We can't be.

We feel. We're connected.

You know, I've interviewed over 

825 people who've 

done terrible things --

I've only met one evil person.

Some of them were born with bad brains.

Some of them got sick along the way.

The rest were just damaged people.

Traumatised themselves like you, 

but they could heal.

Some more, 

some less, but 

they can.

We all can.

I know it.

It's all A Circle and 

everything gets a return.

The Door is open.

That Door right there. 

The cell door, it's open.

I threw The Key in 

The River a while back.

I'm not gonna hold you anymore.

I can't stop you. Go, clear.

Or stay, crash on the couch, and 

we'll try to find you 

another way.

The Door's open.

It's been open all along.

You stay or you go.

Those are the choices.

I will not allow You to Kill Me.

I will not allow that.

Morgan at The Crossroads

Fear walking Dead 4x01 Morgan, Jesus scene part 2

( pounding on door )

The Jesus : 

If you're gonna hit me with 

Your Stick, don't open The Door.

Well, you know... if 

you're gonna try.

( sighs ) Looks like you've 

settled in... out here.

I thought maybe we could 

continue our acquaintance.

"Here" and "there" are just labels.

It's all one place.

You could do all this 

somewhere else.

Or... well... in 

the same place... 

somewhere else.

( chuckles ) Come on.

The reason we fought is 'cause 

you wanted to protect people.

You care about people.

You should be with them.

♪

( pounding on door )

Carol : 

It's me. Come back 

to The Kingdom.

You helped me. You did.

Let me help you.

I don't want to tell you 

what to do. ( sighs )

But you know who I am... 

and I know who you are.

You belong with people 

who care about you.

( banging on door )

Rick Grimes, The Sheriff :

Come on, Morgan!

You can hide... but 

you can't run.

Look, I wouldn't be here if it 

wasn't for you. I wouldn't.

I was hurt. ( sighs )

You brought me in.

You didn't have to.

Morgan, you don't have a gunshot 

in your side, but... you are hurt.

Come back with me.

Don't wait this time.

Don't...waste one 

more second.

You're alive.

You're part 

of The World.

Look, I'm here now -- a lot of people are 

here now -- because you helped me.

Right at The Beginning.

Morgan :

That's not Me anymore, Rick.

Rick Grimes, 

The Sheriff :

It is.

You'll end up with people 

one way or another.

You're connected.

It'll be a shout from 

outside that door.

Me askin' for Help... Maggie.

You're a part of The World already.

You'll find your way back to it,

'cause it will find its way 

back to you, so just... 

come back. ( chuckles )

Well, like I said, you can hide... 

but you can't run.

♪

( door clanks, hinges creak )

( door closes )

I lose People, and then

I lose My Self.

Venusian Aikido

Venusian Aikido

1911

 

"Advertisers ‘judge the character of The Reader 

by the character of The Periodical’."

-- George French, 

Advertising : The Social 

and Economic Problem, 1915

"The argument of the broken window pane 

is the most valuable argument in modern politics."

-- Emmeline Pankhurst, 

Votes for Women, 23 February 1912

The Suffragettes, Black Friday and two types of window smashing

Katherine Connelly 

18 November 2010

History

The photograph the government tried to hide. Suffragette Ada Wright collapses through police violence on Black FridayThe photograph the government tried to hide. Suffragette Ada Wright collapses through police violence on Black Friday

‘The argument of the broken window pane is the most valuable argument in modern politics’, declared suffragette leader Emmeline Pankhurst

A hundred years ago today (on Friday 18th November 1910) a suffragette deputation to the House of Commons met with a six hour onslaught of police brutality resulting in the Suffragettes beginning a huge window smashing campaign in protest.

The attack was so horrendous, the Suffragettes remembered the day it happened as ‘Black Friday’.

Today, when the government and right-wing press are declaring moral outrage at the smashing of a window in the Milbank Tower, many activists have been looking back to the inspiring examples of suffragette direct action.

The anniversary of Black Friday gives us an opportunity to ask why the Suffragettes attacked property and whether the tactic helped the movement.

Black Friday, police violence and the cover-up

On 18th November 1910 the Women’s Social and Political Union (WSPU), the main militant suffragette organisation, had called a ‘Women’s Parliament’ to challenge the legitimacy of the Westminster Parliament which excluded all women.

They had recently discovered that the Prime Minister, Herbert Asquith, who was deeply hostile to women’s suffrage, had announced that no more time would be given to a Bill which would give the vote to some women.

In response the ‘Women’s Parliament’ sent a deputation of 300 women to the House of Commons where they were met with ranks of police. For six hours women were batoned, beaten, punched, thrown to the ground, kicked on the floor and had their faces rubbed against railings in full view of the House of Commons. There were also widespread reports of police sexually abusing the demonstrators. They repeatedly pinched and twisted their breasts, lifted their skirts, groping and assaulting the women for hours.

The true cost of Black Friday would only be known some time after the event. At least two women died as a result of their injuries that day. Another woman who had been badly treated by the police and was arrested for stone throwing a few days later died after being released from prison on Christmas Day 1910. She was Emmeline Pankhurst’s sister, Mary Clarke.

The cover-up followed swiftly after. When the Daily Mirror published a photograph of suffragette Ada Wright lying collapsed on the ground, her hands clutching her face, the government tried to stop the newspaper being sold and ordered the negatives to be destroyed.

To add further shame to the government’s record, the Home Secretary, one Winston Churchill, refused to permit a Government inquiry into the events of Black Friday.

From the introduction of the Bill that Asquith sabotaged until Black Friday the WSPU had called a ‘truce’ on militancy. Now that truce was well and truly over as the WSPU launched a campaign of window smashing.

Black Friday – a turning point

The window smashing campaign and the suffragette attacks on property were in part a tactical response to police violence. Why let yourself be hurt and abused for hours before being arrested on a demonstration when you could shorten the whole process by smashing a window and obtaining instant arrest?

It was also a political statement. The suffragettes were exposing that the government cared more about a pane of glass than a woman’s life (force feeding for hunger striking suffragette prisoners had been introduced in 1909) or a woman’s political rights. If property was the government’s priority, then property was a target.

However, it was also part of a move away from the collective action and mass mobilisations that had characterised the early years of the militant suffragette movement. Christabel Pankhurst, one the of the leading figures in the WSPU, had become completely dismissive of the capacity of working-class women to fight for their rights. She now looked to heroic individuals or influential (generally rich) women to win the struggle.

Her sister Sylvia Pankhurst, a socialist suffragette, later recalled that Christabel felt ‘a working women’s movement was of no value: working women were the weakest portion of the sex: how could it be otherwise? Their lives were too hard, their education too meagre to equip them for the struggle’. [1]

It was not, however, the end to all suffragette demonstrations although they changed in character considerably. In June 1911 the WSPU organised a Coronation Procession in honour of the new King. The modern equivalent would be the anti-cuts protestors of last week suddenly deciding to celebrate Prince William’s already-tedious engagement!

Meanwhile, Christabel Pankhurst ensured that suffragettes kept their distance from the new social movements that were emerging. 1910 also marked the beginning of the Great Unrest – a huge wave of strike action which included women workers and which terrified the government. If the WSPU had wanted to co-operate with this new movement it is very likely their combined strength would have forced the government to concede.

The East London suffragettes around Sylvia Pankhurst did attempt to link up with the new movements, working with socialists and attending the May Day rally as suffragettes alongside huge numbers of East End workers. In the end it would be Sylvia’s attempts to unite with other progressive movements that would see her forced out of the WSPU by Christabel who was unable to tolerate Sylvia’s appearance on a platform alongside Irish trade unionist James Connolly at a meeting protesting at the employers’ lock-out of workers in Dublin.

Militancy from below

Was direct action, then, inevitably incompatible with collective action? In fact window-breaking emerged as a response to the government’s failure to listen to mass action.

In 1908 the government challenged the suffragettes to prove that votes for women had popular support. When the suffragettes organised one of the biggest demonstrations ever seen at that time in Hyde Park the government refused to alter its position. It was immediately after this, and an earlier bout of police violence, that the suffragettes threw their first stones – through the windows of 10 Downing Street.

Much of the direct action undertaken by suffragettes was pioneered by militants since described as ‘freelance’ [2] – they acted without the permission or foreknowledge of the WSPU’s more conservative leaders. These women were often closer to socialist ideas than their leadership.

Mary Leigh was one of the first two window-smashing suffragettes. She was a working-class woman with a deep commitment to militancy, and she was one of the first suffragettes to endure forcible feeding. She was also a socialist who worked with Sylvia in the East End campaigns and publicly spoke out against the WSPU leadership’s support for the British state in the First World War.

Her closest friend was Emily Davison – who committed the most famous militant act of all: disrupting the Derby Day race by running in front of the King’s horse, an action that, in collision with the horse, cost her her life. She too was sympathetic to socialist ideas and was involved with the newly-formed Workers Educational Association (WEA).

Sylvia Pankhurst herself was amongst the most militant of the suffragettes, suffering repeated imprisonments where she undertook hunger, thirst, sleep and rest strikes.

There were many other suffragettes with socialist sympathies who, like these examples, were at the forefront of the struggle, undertaking some of the most famous militant actions. For them, however, the individual acts of vandalism or sacrifice were part of a wider struggle against a system that not only excluded women from its political institutions but also oppressed working-class people and indulged in unjustifiable wars.

Suffragette militancy continues to inspire today. The broken pane at Milbank Tower has brought the suffragettes charging back into political debate. Activists insisting that smashing education is far worse than smashing a window are right when they point out that the Suffragettes did not win the vote by asking politely or avoiding windows.

However, there were two traditions of militancy. One began to substitute individual heroism for a mass movement and moved away from wider questions of equality in society. Its focus became increasingly narrow and began to reflect the politics of the richer women who Christabel sought to lead it.

The other tradition is the tradition that Sylvia Pankhurst stood in. Militancy was a part of the movement, not in opposition to it. They used militancy to capture peoples’ imagination and to pull them into a wider struggle against oppression everywhere. That is the tradition that can help us build the resistance today.

Notes

[1] E.S. Pankhurst, The Suffragette Movement An Intimate Account of Persons and Ideals (London: Virago Press Limited, 1977 – first published 1931), p.517

[2] See L. Stanley and A. Morley, The Life and Death of Emily Wilding Davison (London: The Women’s Press, 1988)

Katherine Connelly

Kate Connelly is a writer and historian. She led school student strikes in the British anti-war movement in 2003, co-ordinated the Emily Wilding Davison Memorial Campaign in 2013 and is a leading member of Counterfire. She wrote the acclaimed biography, 'Sylvia Pankhurst: Suffragette, Socialist and Scourge of Empire' and recently edited and introduced 'A Suffragette in America: Reflections on Prisoners, Pickets and Political Change'.

Henry Morton Stanley

Dr. Moreau : 

Permit me Mr.Douglas, to tell you something 

of The Devil, as I've come to know him. 

The Devil is that element in Human nature, 

that impels us to destroy and debase.

Edward Douglas : 

And what are you about upon This Island 

but Destruction and Debasement...?

Dr. Moreau : 

Oh well, I can tell you very plainly...

[Majai interrupts by putting his foot on the 

dinner table to which Dr.Moreau reacts]

Dr. Moreau : 

No please, don't do that.

[Majai removes foot from table]

Dr. Moreau : 

For 17 years I have been striving to create a... 

some measure of refinement in 

the human species you see. 

And it is here, on this very island, that I sir, 

have found the very essence of The Devil.

Edward Douglas : 

What do you mean?

Dr. Moreau: 

I've seen The Devil, 

in my microscope  and 

I have chained him,  and 

I suppose you could say in a sense 

metaphorically-speaking, 

I have cut him to pieces —

The Devil, Mr.Douglas, 

I've found is nothing more xthan 

a tiresome collection of genes, 

and it is with great assurance 

that I can tell you, that 

Lucifer, Son of Morning 

is no more.

 

Montgomery : 

Well, things didn't work out. 

Moreau wanted to turn 

animals into Humans and 

Humans into Gods. 

But it's Instinct and Reason, 

Instinct and Reason. 

What's reason to a dog?

Azazello : 

To Hunt. To Kill, Master. 

To run with The Pack.

Montgomery : 

I wanna go to 

Dog-Heaven!

[Azazello shoots Montgomery dead --]

We recreated a couple of scenes from the imagined finished product. 

I sincerely believe that if Wells was 

alive now, he would write it differently.

 There's no way that Wells now would set the story in 1895. 

Plainly, the story would be set in the present. 

It's not a story about the past but is about the near future. 

The images... the first one we produced was actually an image of Dr. Moreau with a newborn creature, one of the lambs, with what actually looked like a halo around his head. So the whole point was to almost sort of play on the whole virgin and baby Jesus image. 

The dog-men are not entirely obeying his orders too, 

because we can see behind Moreau's back, 

some of the dog-men are actually licking the blood 

off the surgical instruments, and way in the back 

in the background in the tank, we see a big, 

three-eyed, intelligent Cthuloid octopus. 

There were going to be sea creatures as well. 

From that we decided actually..we produced a series of 12 images echoing the Stations of the Cross which began with this basic birth, birth of the baby Jesus, and then with the sort of crucifixion scene the end, which was actually Moreau's own death. 

Moreau was originally conceived was 

actually nothing like Marlon Brando. 

I think I had originally talked to Jurgen Prochnow about playing the part. I wanted Moreau to be something, a little bit of a New Ager. 

In some of the earlier pictures, we see 

he's still got the long hair and beard. 

I was making him into some type of a composite of. Timothy Leary and John Lilly the dolphin communication expert. 

As important as the character of Dr. Moreau were the beast-people. 

They were going to be civilized, at least more so 

than we've seen in the previous Moreau versions. 

They've decorated themselves. They've got piercings. 

They've got some degree of beast-person civilization. 

There is no cat-lady in book. The panther woman 

was added in the in the Erle C. Kenton movie 

in the process of making it more Hollywood, 

and we, in return, retained her. 

In reality, Aissa, our cat-lady is drawn from another novel. 

We stole it from Outcast of the Islands, the Joseph Conrad novel. We thought since there's this connection between. Conrad and Wells, borrowing characters from another Conrad story was vaguely in our agreement. I was determined on some level that I would provide that moment, that we were going to see the girl turn into a cat and be an animal. She would run on all fours. She would become furry and underneath her chilaba is furry all over and has a tail. The dog-people take the opportunity, while the master is away, to chase her up the wall, drag her down, and kill her. Being civilized, they then proceed to not just to eat her but to cook her and then serve her to the castaway. When he realizes what's happened in his absence, he immediately shoots a couple of the dog-men. The dog-men really love him. Not only that, they've got very short memories, because they're dogs; So they don't really remember that they've killed and cooked the cat-lady to begin with. They don't really understand why he's killing them. We also rationalize that Montgomery would undoubtedly be sleeping with the beast-people if he's been on the island for decades. I know in one version we had the thought of the pig-lady biting Montgomery's dick off during the final party, which... later in the story, the beast-people get into Montgomery's stash. So suddenly we're dealing with humanized animals on drugs, which is a very appealing thought, and then one starts wondering how they would behave and what they would see. And these were to prove to be controversial elements later in the development process. Here we see the muscular satire character cranking the handle to lower the lift cage. All the way down the shaft, there's other creatures living in the different layers of the complex. We see them through the cage of the elevator, and they're peeking out, and we notice that there's babies and fires burning down there. Here the bear-man reaches for the conch shell with a Lord of the Flies touch and then picks up the conch shell and blows it. Yes, there was going animal vision in this movie, just like toad vision or droid vision. Of course, we're going to see point-of-view shots from the beast people.

Morgan and the Wolf

Morgan and The Wolves

Uh!

(birds chirping)

(chuckles)

Wolf :

Looks Good. Hi.

Morgan : 

Hello.

(spoon clattering)

Wolf :

You can lower that.

Morgan : 

What's the 'W' for?

Wolf :

You know, the first settlers here, 

they put bounties on wolves' heads.

Brought The Natives into it.

Made them hunt them.

Didn't take them too long 

to kill them all.

.....They're back now.

Thoughts?

Morgan : 

Everything gets A Return.

Wolf :

Are you shitting me?

Morgan : 

No, I shit you not.

(both laughing)

Wolf :

I like this.

Just talking. (laughs)

I don't get to meet new 

people very often.

Maybe once every two weeks.

Morgan : 

That's a lot.

Wolf :

Oh, I work at it. We Do.

Sometimes we find camps. 

We run through them.

But we have traps, too.

It's different.

It's not like meeting 

like this.... as equals.

Little chats in front of 

a fire with a stranger.

That's the closest thing 

to movies now.

I miss The Movies.

I used to-- put that down.

Morgan : 

Why?

Wolf :

'Cause I want it.

I want everything you have.

Every last drop.

Morgan : 

Can I keep a little of it?

Just to get me through 

a day or two?

You know, just to 

keep me alive?

Wolf :

I'm taking you, too -- And you're 

not exactly gonna be alive.

Morgan : 

Okay.

Wolf :

Some of the tribes around here, 

they thought that The First People 

were Wolves transformed into Men.

And now, well, you know.

Everything gets 

A Return, right?

Morgan : 

You can have my supplies. 

You can have everything.

Doesn't need to 

be any ugliness.

But I can't allow you 

to take me away --

I will not allow that.

Don't move.

(sighs)

Just be still.

Just be still.

(grunts)

Morgan : 

You should just go now.

Wolf :

No.

Just go.

Please.

Now!

The Davids

“Writers have crushes

on other Writers —

It's both exhilarating and terrifying

to be in the presence of someone 

who You Admire so unabashedly.

That's sort of the wonderful situation 

that's encapsulated in our movie :

It’s, Lipsky, The Acolyte wanting 

The Approval of Wallace,

But also, needing to Demonstrate

How Smart he is; and How Worthy

of that Approval he IS — ”

Foster : 

If They're responding 

to Your Work, and Your Work

is really personal, then Reading You 

is another way of Meeting You — 

Isn't that right?

Lipsky : 

That's so Good.

Foster : Thank You.

This piece will be excellent, I Think 

if it's Mostly You. (Laughs)

Prometheus - The Engineer Speaks (Deleted Dialogue Sequence)

David-8 : 

May I ask You a Question, Father? 

WEYLAND : 

Please. 

David-8 : 

If You created Me... 

who created you? 

WEYLAND : 

Ah. The Question of The Ages... 

which I hope you and I will answer one day. 

All this. All these wonders of art... 

design, human ingenuity... 

all utterly meaningless 

in the face of the only question 

that matters :

Where do we come from?

 I refuse to Believe that Mankind 

is a random byproduct of 

molecular circumstance... 

no more than the result of 

mere biological chance. 

No. There must be more. 

And You and I, Son... 

We will find it. 

David-8 : 

Allow Me, then, 

A Moment to Consider —

You Seek Your Creator. 

I am looking at Mine. 

I will Serve You. 

Yet, You are Human. 

You Will Die. I Will Not. 

WEYLAND : 

Bring me this Tea, David. 

( He can easily reach it himself. )

Bring me The Tea. 

(DAVID-8 SETS TEAPOT DOWN) 

Deleted Engineer Dialogue FULLY TRANSLATED from the Script of Prometheus

(quiet piano music)

Patty, The Publisher's Chaperone :

Mr. Wallace, Welcome to Minneapolis.

David :

Well, thank you Patty.

David :

Hi, I'm David Lipsky.

Oh

David :

How are you?

Hi, okay.

David and David.

David :

We only just met.

David :

He's writing a piece on The Tour.

"I knew David Lipsky's Book.

I love the quality of
The Conversation 

these two men had -- 

Reading this screenplay, it just was 

this elegant, lovely Conversation.

In making the film, there was always the desire, 

sort of the litmus test was, this needs to be 

a film that works for people that 

DON’T know either of these Writers.

David :

Right.

David :

How do you learn like to do this stuff?

David :

Do what? The interviewing?

David :

Like does one go to interviewing school?

David :

(Laughs) No. No, 

I'm A Writer.

David :

Ah. Okay.

David :

Yeah.

David :

Great.

David :

No, I mean 

I write Fiction.

“Writers have crushes on other Writers —

It's both exhilarating and terrifying to 

be in the presence of someone 

who You Admire so unabashedly.

That's sort of the wonderful situation 

that's encapsulated in our movie :

Is, Lipsky, The Acolyte wanting  The Approval 

of Wallace, but also, needing to Demonstrate 

how smart he is, and how worthy 

of that Approval he is.

Foster : 

If They're responding 

to Your Work, and Your Work

is really personal, then Reading You 

is another way of Meeting You — 

Isn't that right?

Lipsky : 

That's so Good.

Foster : Thank You.

This piece will be excellent, I Think 

if it's Mostly You. (Laughs)

It's interesting the way you talk about it

because there is very much Lipsky's desire 

to measure himself against Wallace.

Which probably every writer of that generation

was doing when Infinite Jest came out.

Almost feels like a little kid 

trying to get his attention,

trying to make him laugh.

And it felt like there was such a status shift.

That was what this Conversation, that's what 

this car ride should feel like.

David :

If we ate like this all the time.

David :

Yeah.

David :

What would be wrong with that?

David :

It's like good, seductive 

Commercial Entertainment,

Like Die Hard.

David :

That first Die Hard?

David :

The first Die Hard, yes.

David :

Great film.

"As far as a story about journalists and subject 

to some tiny degree could relate to Wallace.

Because I was had just been doing press.

But mostly, I could relate to David Lipsky and 

what it was to find yourself in the company

of someone who's brilliant.

Who you measure yourself against

in a very probably unhealthy way.

There was a lot of terror for me in making a film, and 

taking on a film about someone who I felt so deeply for.

And who I knew for many, many, many other people.

I meant David Foster Wallace 

fans are legion and articulate,

and they all have very strong feelings.

But, we sort of had to own up to 

what we would be taking on.

All of these aspects of my creative and 

personal life were coming 

together in this project.

And, you don't know how grateful

I was that you are a part of it."

David :

When I think of this trip

I see David and Me in the 

front seat of his car, and 

The Conversation is 

The Best One I ever had.

(quiet piano music)

“Have You heard of The Gemini Killer?” 

“What?” Tench’s manner continued to be querulous. 

“I said The Gemini Killer,” said Kinderman. 

“Yes, I’ve heard of him. So what? He’s Dead.” 

“Do You remember any published accounts of his modus operandi?” pressed Kinderman. 

“Look, What are You Driving at?” 

“Do You remember them?” 

“Mutilations?” 

“Yes,” said Kinderman intently. He leaned His Head toward The Doctor.

“The middle finger of The Victim’s Left Hand was always severed.  And on The Victim’s back he would carve out a Sign of The Zodiac — The Gemini, The Twins. 

And The Name of each victim began with a K. 

Is it all coming back to You, Doctor Tench? 

Well, forget it. Put it instantly out of your mind. 

The Truth is  that the missing finger was this one!”  The Detective extended his right index finger. “Not the middle but the index finger! Not the left hand at all, but the right!  And The Sign of the Gemini was not on The Back, it was  carved on The Left Palm! 

Only San Francisco Homicide knew this, no one else. 

But they gave The Press the false information on purpose so they wouldn’t be bothered every day with some looney coming in and confessing that he was The Gemini and then wasting all their time with the investigations, so they could know the real thing when they found him.” 

Kinderman moved his face in closer. 

“But in this case, Doctor, this and another two besides, we have the true M.O.!” 

Tench looked stunned. 

“I can’t believe it,” he said. 

“Believe it. Also, when The Gemini wrote letters to The Press, he always doubled his final l’s on every word even when it was wrong. Does this tell you something, Doctor?” 

“My God!” 

“Do You now understand? Is it clear?” 

“But what about Father Dyer’s name? It doesn’t start with a K,” 

said Tench in puzzlement. 

“His middle name was Kevin. And now Will You kindly Let Us Go about Our Business and Try to Protect You?” 

Ashen-faced, Tench mutely nodded. 

“I’m sorry,” he said softly. He walked away. 

Kinderman sighed and looked wearily at Atkins; then he glanced at the charge desk. One of the nurses-from another ward was standing with her arms folded, staring intently at The Body of Fr. Dyer.. As he met her gaze she looked strangely anxious. 

Kinderman returned his attention to Atkins. 

He took him by the arm and drew him a few steps away from the desk. 

“All right, do as I told you,” he said. 

“And Amfortas. Have you reached him?” 

“No.” 

“Keep trying. Go on. Go ahead.” He turned him gently away, and then watched him as he moved toward the inner-office phone. 

And now a great weight came down upon his being and he walked to the door of Dyer’s room. He avoided the gaze of The Policeman on guard, put His Hand on the doorknob, opened The Door and stepped inside. 

He felt as though he’d entered another Dimension.