[song starts at 2:25, click "READ MORE" for video]
one more thing though the inspiration behind this particular ending scene is twofold. number one: the ending of infinite jest where Don Gately wakes up on his back at dawn on the beach and the tide is way out. and number two is this kind of obscure science fiction movie from New Zealand in the 80s called the Quiet Earth where the main character delivers this truck of explosives into the radio antenna or whatever the hell is going on in that movie and wakes up after the explosion in seemingly another world with this giant ringed planet (like Saturn) setting out over the horizon where he's standing on this vast endless beach, clouds touching down, it's a great movie, find it if you can and watch it. and you can throw Shawshank Redemption in there, which ends on a beach, or even something like Lord of the Flies. So many things end on beaches. These guys here they don't actually make it, but the promise is there, they're at a bus stop or rest stop with a full tank of gas, full wallets, still riding with so much momentum that they've practically lapped themselves, so giddy they can't even hide it, so full of promise they can already see the sun setting over
Song 19: Feeding My Demons feat. Rebecca Florence
(click "read more" for vid)
[song starts at 0:46]
From the very beginning, I wanted to end this cycle with a trilogy. It's in my original outline. Once I got past song six I started to make an outline and in the end it was always a trilogy, a three part song. As you'll see it didn't exactly end that way. but it was close enough. I honestly think the less said about these the better... I'll just let these characters play it out. And let their endings kind of be their own and let their actions speak for themselves. I think they've earned it.
[song starts at 0:26]
Now when you have two angry people and their two angry ghosts surfing across space and time, laughing at the laws of the universe, deeply in love, and after your blood, you can't help but hear them I think. You better get the fuck out of town. or at least start making plans.
[song starts at 1:18]
QUESTION: What is the quickest way to get from Cleveland to Nyack? WRONG. Before you accept, realize that it is not God that works in mysterious ways, it is your fellow humans, trying every day to bring this reactionary oaf out of his hiding place. God works in rather predictable, reactionary ways, and once you realize there are enough people, god bless em, out there poking god with sticks you realize you barely have to do anything. ACCEPT. Accept a reactionary God, accept the implication of immutable space-time, accept these saints... and they ARE saints, who poke with sticks, who shout out loud, who pick up hitch hikers. Dead men can't fly planes, alternative manifestations of consciousness cant drive, but ACCEPT and it all folds, two timelines become one. Your journey has outlived its purpose now, and thank god. GET IN THE CAR
[song starts at 0:18]
and Genevieve, who has been dealing with her own ghosts, she too has realized what she has to do.
[song starts at 0:51]
so Maxwell, who at this point was convinced that the ghost that was going to encounter him would be the ghost of Genevieve, whose death he felt responsible for, was instead visited by the ghost of this antagonist John Spenser (John/Spenser), while, granted, terrifying in itself, was in essence a huge releif, because this meant, that somewhere, in one of the time lines, one of the time lines that he had access to, Genevieve was waiting for him. Now he knew what he had to do.
[song starts at 1:23]
of course when we wake up out of the blackout, it's kind of terrifying... especially if you know you fucked up and you've got a lot to repair and you don't know what you did and this process of everything falling into place and all these memories falling in to form the narrative is a terrifying process for someone who up till then had felt you were in the service of some kind of evil fuckedupness and that has been driving everything and now you are not sure about that but you still have to deal with the consequences. I'm not saying anything anyone in this room doesn't understand but waking up is itself a process and the first part of it confusing and terrifying and
[song starts at 3:11]
We have Maxwell who thinks he's alive, talking to Genevieve, who he sees as alive, but who is, in his timeline, dead. and we have Genevieve, who thinks she's dead, speaking to Maxwell, who she sees as half dead, just kind of wasting away, but who is in actuality fighting for his fucking life. And this is the delusion that love often operates under and is here as well. one of the things that kept going through my mind, as I was going through this crisis of faith, as I explained earlier, was this idea of god as not this omnisceint, omipresent, or maybe being omni-everything but the results of