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00:00:00 [Music]
00:00:27 It gleams every night,
00:00:29 cram-scene tape phosphorescing in the dark woods.
00:00:33 It guards between human intellect and the sentience of nature.
00:00:53 Consider your feelings for a lone hawk soaring in the sky.
00:00:57 Now consider it mantling over a little rabbit
00:01:01 and the squawk, squawk, squawk of dying life.
00:01:08 The cram-scene tape flaps between these two images,
00:01:13 between the religious feeling of the soaring hawk
00:01:17 and the frozen moment when we see what's on its talons.
00:01:22 Consider the fern that covers the surface of the water,
00:01:27 spreading to make a feast of the light,
00:01:31 and everything below is held in darkness, starving slow.
00:01:38 Between the survival of the fern
00:01:41 and the deaths of the darkened plants and fish,
00:01:45 that is where we put a barrier to mark evidence of a crime.
00:01:50 This tape we put up, it's a strange legality,
00:01:55 a symbol of our exclusively human concerns.
00:02:00 Cut through it, come into an extra-human reality.
00:02:07 [Music]
00:02:30 What's the first macabre thing you remember?
00:02:36 I remember being a kid, four, maybe five,
00:02:40 waking up to discover a streak of dry blood on my pillow
00:02:44 and wondering, from my ears, from my nose, from my eyes.
00:02:52 Blood from the eyes, that's rich,
00:02:56 like a detail from one of your stories.
00:02:59 I don't remember that. You're coming awake, bleeding.
00:03:04 Probably it was a dream,
00:03:06 crows attacking fairies, tumbling bloody in the sky.
00:03:09 I used to dream like that all the time.
00:03:12 So vivid there'd be remnant outside my head,
00:03:15 a stain upon my pillow.
00:03:19 [Music]
00:03:45 [Music]
00:04:06 I've been teaching my course on the contemporary novel for years.
00:04:10 Then two years ago, I started a night class on romantic poetry,
00:04:14 emphasis on the metaphysical, Coleridge, Baudelaire, Poe.
00:04:20 Are you still religious?
00:04:23 Not like we were before.
00:04:25 Of course not.
00:04:27 We should go in. It'll be dark soon.
00:04:32 You worried about snakes?
00:04:34 You are too, don't lie.
00:04:37 There's some DVDs in the cabin, horror movies.
00:04:40 Any bad ones?
00:04:43 [Music]
00:05:13 [Music]
00:05:15 All horror movies are about prying into private places,
00:05:19 and the discoveries are like long falls through the dark.
00:05:23 You have a story, your character Lizzie,
00:05:27 searching through a family member's private things.
00:05:31 Yes, Lizzie.
00:05:35 She pays a secret visit to her stepbrother's closet
00:05:38 and falls through a trap door.
00:05:42 The fall of Lizzie. Is it far?
00:05:44 A long tumble through the dark.
00:05:46 Into a basement?
00:05:48 More like a realm beneath the house.
00:05:51 Oh, I like that.
00:05:53 There's a troll down there, and Lizzie's hurt her ankle from the fall.
00:05:58 She's defenseless, therefore, pray?
00:06:02 The troll tells her there are special laws.
00:06:05 If she obeys these laws, her ankle will heal,
00:06:09 and a stream of blood at her feet will rise into a ladder,
00:06:11 which, rung over rung, she can climb all the way up to the trap door.
00:06:16 What are the special laws?
00:06:19 The most special law is this, no snooping.
00:06:23 But of course the troll lays it out in a biblically formal way.
00:06:26 Thou shalt not cast eyes in unwelcome places,
00:06:30 neither shall you open cabinetry, or peek through curtains.
00:06:35 That sort of thing.
00:06:38 Lizzie can't resist a secret visit to a closet, or a quick peek into cabinetry.
00:06:42 No, she can't.
00:06:44 I'm trying to imagine the mind that rejoices in these stories.
00:06:48 I don't rejoice in them.
00:06:50 Do you always write anonymously?
00:06:52 I really don't want the attention. Not for this kind of work.
00:06:56 What does body horror mean?
00:06:59 Blood spray.
00:07:01 Do all your stories spray blood?
00:07:03 Like a car wash.
00:07:06 Is it ritualistic? For revenge?
00:07:10 These aren't literary stories. The draw is mutilation.
00:07:14 You must know what that is, otherwise you wouldn't be so successful at it.
00:07:18 Mutilation is like a search.
00:07:22 It turns a character's insides into outsides.
00:07:28 Hidden things now seen.
00:07:30 Roughly exposed.
00:07:35 The reader's desire to see private parts,
00:07:37 and knowing that it's not alright to want that.
00:07:40 An appealing sense of shame.
00:07:44 Like something from the dark recesses of Puritanism.
00:07:48 Shame and rage.
00:07:51 A reliable business model.
00:07:54 [Screaming]
00:07:57 [Screaming]
00:07:59 [Screaming]
00:08:03 [Motor]
00:08:06 [Music]
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00:08:28 [Music]
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00:08:44 [Music]
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00:08:56 [Music]
00:09:00 [Music]
00:09:04 [Music]
00:09:09 [Music]
00:09:12 Jory, I called to you,
00:09:16 to make sense of what happened.
00:09:20 You didn't answer.
00:09:23 [Music]
00:09:27 It's taken me a long time.
00:09:29 I'm sorry.
00:09:31 But now I have a plan.
00:09:34 A way for us to move past our troubles.
00:09:38 Into a future tense of joy.
00:09:41 [Music]
00:09:45 [Music]
00:09:49 [Music]
00:09:53 You bring me all the way out here to a place that seems...
00:09:58 Prehistoric.
00:10:01 To tell me about future joy.
00:10:06 I reveal everything soon.
00:10:09 But first, let me catch up with you.
00:10:13 I didn't realize how much I'd ache to see you.
00:10:17 [Music]
00:10:21 [Music]
00:10:25 [Music]
00:10:29 [Music]
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00:10:53 [Music]
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00:11:02 [Music]
00:11:05 [Music]
00:11:09 Not the intent of suicide.
00:11:15 An image of floating just below the surface of the water.
00:11:22 Pale as stone.
00:11:25 Empty.
00:11:27 Trailed by fish and birds.
00:11:32 No.
00:11:33 The ideation of suicide.
00:11:38 To imagine the migraine of consciousness.
00:11:42 Over and done.
00:11:45 What can water really do?
00:11:50 [Music]
00:11:54 [Music]
00:11:56 I remember a dark time.
00:12:00 We were children under pressure.
00:12:02 Sworn to stay quiet.
00:12:05 We disappeared all evidence of the thing we did.
00:12:09 But the secret...
00:12:11 The secret hollowed us out.
00:12:14 [Music]
00:12:18 [Music]
00:12:20 [Music]
00:12:26 Hey!
00:12:28 [Music]
00:12:31 [Music]
00:12:35 [Music]
00:12:39 [Music]
00:12:43 [Music]
00:12:47 [Music]
00:12:51 [Music]
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00:12:59 [Music]
00:13:03 [Music]
00:13:07 [Music]
00:13:11 [Music]
00:13:15 We were sold.
00:13:18 Not sold.
00:13:25 Whatever ceremonial name you want to put to it, we were sold.
00:13:29 And him that bought us is an old half-wit in the mistaken light between competence and desire.
00:13:35 An inheritance of goat-naught automobiles he can't put to profit.
00:13:41 The light of the ceremony?
00:13:44 The light they say binds us to him?
00:13:47 It's the light of absence.
00:13:50 The light of isolation.
00:13:52 Our toil.
00:13:55 Binding light.
00:13:57 Bride light.
00:14:00 Indentured light.
00:14:03 Light upon sweat.
00:14:06 Light upon blood.
00:14:08 Light of a raw life.
00:14:11 The light of a belt around our necks.
00:14:14 Light decaying into light.
00:14:16 And the light of our own darkness.
00:14:20 Receiving.
00:14:23 [Music]
00:14:26 [Music]
00:14:30 [Music]
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00:14:46 [Music]
00:14:51 [Music]
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00:15:02 [Music]
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00:15:14 [Music]
00:15:19 [Music]
00:15:22 [Music]
00:15:26 [Music]
00:15:30 A fall on an axe will create a specific wound.
00:15:36 We have to mimic that wound.
00:15:38 You said we'd hide the body.
00:15:40 Hide it perfectly.
00:15:42 Anything hidden can one day appear again.
00:15:44 We'll be ready no matter what.
00:15:48 Come on, let's give it a try.
00:15:50 No.
00:15:55 Slowly.
00:15:58 We have to practice precision.
00:16:00 Like this.
00:16:02 Chop.
00:16:04 Chop.
00:16:06 Chop.
00:16:08 Chop.
00:16:10 Chop.
00:16:12 Chop.
00:16:14 Chop.
00:16:16 Chop.
00:16:17 Chop.
00:16:19 Chop.
00:16:21 Chop.
00:16:23 Chop.
00:16:25 Chop.
00:16:27 Chop.
00:16:29 Chop.
00:16:31 Chop.
00:16:33 Chop.
00:16:35 Chop.
00:16:37 Chop.
00:16:39 Chop.
00:16:41 Chop.
00:16:43 Chop.
00:16:46 Must you?
00:16:48 Quit throwing rocks at my head!
00:17:02 God, y'all!
00:17:04 Back the fuck off or I'll swirl through your husband.
00:17:14 Or I'll kill your husband and your daughter.
00:17:15 I'll slip both your throats to rags!
00:17:18 Remember, my knife knows the way home, bitches.
00:17:32 Yes.
00:17:33 Yes.
00:17:35 Yes.
00:17:37 Yes.
00:17:39 Yes.
00:17:41 Yes.
00:17:43 Yes.
00:17:45 Yes.
00:17:47 Yes.
00:17:49 Yes.
00:17:51 Yes.
00:17:53 Yes.
00:17:55 Yes.
00:17:57 Yes.
00:17:59 Yes.
00:18:02 I love you.
00:18:03 I will.
00:18:06 Goodbye.
00:18:08 They're fine?
00:18:12 Yes, they're fine.
00:18:13 The odds of that crazy girl coming back after we...
00:18:18 I know.
00:18:19 'Cause she even has a sense to find her way out of those woods is...
00:18:22 I know. I'm all good.
00:18:25 How much did you tell your husband?
00:18:29 I don't know.
00:18:30 Who roams a house looking like a wolf?
00:18:40 It's so odd.
00:18:42 What about the person in the truck?
00:18:44 Clearly not very brave.
00:18:46 Listen, I was thinking...
00:18:48 I think we should stay and finish our vacation.
00:18:51 I don't think she'll be back.
00:18:53 What's wrong?
00:18:56 What's wrong?
00:18:57 You mentioned an event that would move us past our troubles...
00:19:03 so that we can focus on a future tense of joy.
00:19:07 You don't think I orchestrated that break-in, do you?
00:19:24 Maybe it's too late for us to be normal with one another.
00:19:27 Don't say that.
00:19:30 I've ached for so long.
00:19:33 Let's try, please.
00:19:35 Someone's here.
00:19:40 The park rangers?
00:19:42 We hope.
00:19:44 We searched the woods where she fled, but no luck.
00:19:54 She probably made her way to the fringe.
00:19:56 The fringe?
00:19:58 Yeah, it's what we call a little ad-hoc community between here and town.
00:20:01 A camp of young adults who found themselves out of place...
00:20:04 now living in the woods by choice.
00:20:07 Are they violent?
00:20:09 Not normally, but sometimes they're our drifters.
00:20:12 You're going to thoroughly check this place out, yes?
00:20:16 Now that you have the description of the one who attacked us.
00:20:19 I'm on my way there now with the park rangers.
00:20:22 I just stopped by to tell you that the woods near your cabin are clear.
00:20:25 You're not a park ranger?
00:20:27 I'm a volunteer.
00:20:29 That's rich. You look like a ranger out of central casting.
00:20:33 I know these woods pretty well, I guess.
00:20:36 What do you do?
00:20:38 I'm a pastor at a congregationalist church in town.
00:20:41 No fooling?
00:20:44 No fooling.
00:20:46 I never would have figured that.
00:20:48 Well, thanks.
00:20:51 Maybe.
00:20:52 How is it that this fringe community is tolerated by the parks department?
00:20:56 Not tolerated, exactly.
00:20:58 I sort of liaison between the two.
00:21:01 Do you have a card or something?
00:21:04 I don't mean to be impolite, but if you're not a park ranger,
00:21:07 then we ought to have some record of who we're speaking to about our case.
00:21:10 Case? We weren't robbed, exactly.
00:21:13 But you clearly saw the knife.
00:21:15 I don't have a card, I'm sorry.
00:21:18 My name is Jack Weems.
00:21:20 I'm known around the lake.
00:21:21 It's easy to check up on me.
00:21:23 Parson Weems?
00:21:25 Sorry.
00:21:27 It's fine. I've heard 'em all.
00:21:29 Believe me, I cannot tell a lie.
00:21:32 Can we go with you to see the fringe?
00:21:35 Not a good idea.
00:21:37 But I can circle back after my look around if you want me to.
00:21:41 That'd be nice, thank you.
00:21:45 [Music]
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00:22:13 [Music]
00:22:17 (eerie music)
00:22:19 (eerie music)
00:22:23 (eerie music)
00:22:25 (ominous music)
00:22:28 (ominous music)
00:22:30 (ominous music)
00:22:33 (ominous music)
00:22:36 (ominous music)
00:22:38 (ominous music)
00:22:41 (alarm ringing)
00:22:52 (alarm ringing)
00:22:59 (alarm ringing)
00:23:07 (alarm ringing)
00:23:10 (ominous music)
00:23:15 (ominous music)
00:23:30 (ominous music)
00:23:33 ♪ Priestly, prissy, Pastor Jack ♪
00:23:45 ♪ Puts the girls of the orphanage on their back ♪
00:23:52 (ominous music)
00:23:55 (ominous music)
00:23:58 ♪ Animals of the sun will tear the world apart ♪
00:24:04 ♪ Lighten their eyes and cleanse with blood ♪
00:24:09 ♪ Serpent senses gaze, you're frozen and amazed ♪
00:24:13 ♪ You lose your life and all you understood ♪
00:24:17 ♪ The game is faced to rot ♪
00:24:19 ♪ You're here and then you're not ♪
00:24:21 ♪ The only thing worth living is a thought ♪
00:24:26 ♪ Rapture, rapture ♪
00:24:30 ♪ Rapture, rapture ♪
00:24:35 ♪ The only thing worth living is a thought ♪
00:24:39 (ominous music)
00:24:42 (ominous music)
00:24:46 (gunshots)
00:24:48 (gunshots)
00:24:50 (ominous music)
00:24:57 (ominous music)
00:25:00 (ominous music)
00:25:03 (ominous music)
00:25:05 (ominous music)
00:25:08 (ominous music)
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00:25:14 (ominous music)
00:25:16 (ominous music)
00:25:19 (ominous music)
00:25:34 (ominous music)
00:25:36 - Giant salvinia.
00:25:54 The ferns you see here are choking the lake.
00:25:58 Biological control through the use of salvinia weevils
00:26:01 is the best management option.
00:26:04 The weevils devour that the lake may become clear.
00:26:06 Looks chaotic, doesn't it?
00:26:09 - Looks like renewal.
00:26:12 This place is magical.
00:26:25 - Yes.
00:26:27 - It's as though there's a separation.
00:26:31 This natural place and the place of ambition.
00:26:34 Place of concrete skin.
00:26:38 - There's encroachment.
00:26:39 This place needs preserving.
00:26:41 - At your church, do you say God's plan?
00:26:47 - Yes.
00:26:48 - Is that accurate?
00:26:50 - It's helpful.
00:26:50 Saying plan presents a sense of authority in the unknown.
00:26:55 What word would you use?
00:26:58 - Spectacle.
00:27:00 God's spectacle.
00:27:02 God's spectacle which includes individual damage.
00:27:07 - And individual grace?
00:27:10 - Can it be included in this talk of spectacle and grace,
00:27:18 the prospect of a double?
00:27:20 That each of us has a double.
00:27:22 A double that prepares us for survival?
00:27:27 - A representation of ourselves?
00:27:29 - Imagine I have a double.
00:27:32 Someone who struggles but also sets the stage
00:27:36 for me to live more wisely.
00:27:38 - Are you talking about Caden?
00:27:43 - We've been separated for a long time.
00:27:46 The lake is our union.
00:27:49 Although it sounds magical,
00:27:52 I believe I have a way forward for us.
00:27:56 - A path you didn't know about before.
00:27:58 - Take the idea of heaven and God's plan for destination.
00:28:04 Imagine not a plan but a spectacle.
00:28:07 Everything happening simultaneously.
00:28:10 Instead of toil and reward being one thing
00:28:13 followed by another, life and life after,
00:28:17 imagine toil and reward at once,
00:28:20 experience between doubles.
00:28:24 One struggle prepares the other's survival.
00:28:27 They're at the same pace.
00:28:29 - It's interesting.
00:28:34 - So no, not a pathway, an event.
00:28:44 An event of grace where the doubles meet and are made equal.
00:28:50 (dramatic music)
00:28:53 - What type of event is that?
00:29:01 - Something extreme.
00:29:02 (dramatic music)
00:29:05 (dramatic music)
00:29:08 (dramatic music)
00:29:10 (dramatic music)
00:29:13, (dramatic music)
00:29:18 (dramatic music)
00:29:21 - It's you.
00:29:45 Like it or not, you can hear me.
00:29:49 We are a closed community dedicated to God.
00:30:14 Silence and obedience are expected.
00:30:17 Husband guards us and guides us.
00:30:21 His eyes and punishment are swift.
00:30:24 Ours too, Kaden.
00:30:33 Our punishment is swift.
00:30:36 (dramatic music)
00:30:38 Lizzie was alone in the forest.
00:31:04 A sour spell had taken over her.
00:31:06 She struggled up a hill the way a newborn calf
00:31:10 struggles to his feet.
00:31:12 She wobbled in and out of the black shadows
00:31:23 cast by the cypresses.
00:31:25 Were there crows?
00:31:28 Yes, shiny and loud.
00:31:32 (dramatic music)
00:31:34 Lizzie was on the lookout for a circle of stones,
00:31:37 a healing place that was assembled on the hill
00:31:39 hundreds of years ago.
00:31:41 The spell made her ears hurt and her stomach turn.
00:31:46 She looked forward to laying down in the circle of stones,
00:31:56 covering herself over with ferns and dirt.
00:32:00 The stones would dissipate the spell, or so she hoped.
00:32:05 Lizzie moved from tree to tree,
00:32:10 handling each one for support.
00:32:12 She was losing all her strength.
00:32:15 All at once, the insects all went dumb.
00:32:19 The crows were high up in the quiet.
00:32:23 Lizzie felt herself watched.
00:32:26 Did a black cat walk by?
00:32:30 Yes, delicate and precise.
00:32:33 Lizzie felt thoroughly searched,
00:32:38 and then she saw a hunter standing on the side of the hill
00:32:42 watching her.
00:32:43 The hunter was a woman with a striking face
00:32:47 and powerful eyes.
00:32:49 Lizzie thought she was probably a goddess,
00:32:52 there to guide her or else murder her,
00:32:55 possibly do both.
00:32:58 (eerie music)
00:33:00 - Why are you here?
00:33:14 - I wanna change my life.
00:33:17 - What is wrong with it?
00:33:20 - I've been a terrible person.
00:33:27 I'm in so much pain.
00:33:28 I need to think about my life and find a new way to be.
00:33:35 - What if the change is death?
00:33:40 Don't you think it's possible that you deserve to die?
00:33:45 - I prefer to live.
00:33:49 There's a way to live and be changed, I want that.
00:33:56 - What will you do?
00:33:57 - Anything.
00:34:01 Do you have the authority to help me?
00:34:11 - Yes.
00:34:16 An exchange is necessary.
00:34:20 You must bring me to an exchange.
00:34:26 Then you will have the opportunity to reform.
00:34:30 - Two.
00:34:32 - All right.
00:34:42 I'll bring you two.
00:34:45 (eerie music)
00:34:49 (eerie music)
00:34:52 (eerie music)
00:34:54 (eerie music)
00:34:57 (eerie music)
00:35:09 (eerie music)
00:35:12 (eerie music)
00:35:15 (eerie music)
00:35:18 (eerie music)
00:35:20 (eerie music)
00:35:23 (eerie music)
00:35:26 (eerie music)
00:35:29 (eerie music)
00:35:32 (eerie music)
00:35:34 (eerie music)
00:35:37 (eerie music)
00:35:39 (eerie music)
00:36:02 (eerie music)
00:36:04 - I had a moment of recognition.
00:36:27 Like a face that appears suddenly at the window.
00:36:32 First, it's a surprise.
00:36:34 Then you know.
00:36:36 - Sounds profound.
00:36:40 - I found a way for Caden and me
00:36:54 to let the pain of our past stay in the past.
00:36:57 (eerie music)
00:37:00 Not a denial.
00:37:02 We understand we can't possibly make each other
00:37:06 feel what the gap of years was like for each other.
00:37:10 Her time staying solitary
00:37:12 and me trying to make a life for myself.
00:37:15 Right now there is a void between us.
00:37:19 A history of absence and the pain of absence.
00:37:23 What might help is the shock.
00:37:26 What might help is the shock of the new.
00:37:29 (eerie music)
00:37:32 - Shock of the new?
00:37:33 - The idea is to create a new beginning.
00:37:36 It must be a profound experience.
00:37:40 Something that regenerates our relationship,
00:37:45 allows us to reshape our understanding of one another.
00:37:49 (eerie music)
00:37:52 - What is this shocking experience?
00:37:55 - It has to do with that thief.
00:37:57 (eerie music)
00:38:01 (eerie music)
00:38:23 (eerie music)
00:38:25 (eerie music)
00:38:28 (eerie music)
00:38:33 (keyboard clicking)
00:38:54 (eerie music)
00:38:58 (eerie music)
00:39:01 (eerie music)
00:39:04 (door creaking)
00:39:12 (eerie music)
00:39:29 (eerie music)
00:39:32 (eerie music)
00:39:51 (eerie music)
00:39:53 (eerie music)
00:40:03 (eerie music)
00:40:06 (eerie music)
00:40:33 (eerie music)
00:40:35 (keyboard clicking)
00:41:00 (eerie music)
00:41:03 (eerie music)
00:41:06 (eerie music)
00:41:18 (keyboard clicking)
00:41:25 (eerie music)
00:41:28 (eerie music)
00:41:30 (eerie music)
00:41:51 (grunting)
00:41:55 (grunting)
00:41:58 (gunshot)
00:42:00 (eerie music)
00:42:10 (camera clicking)
00:42:28 (camera clicking)
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00:42:57 (eerie music)
00:42:59 (eerie music)
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00:46:50 (eerie music)
00:46:52 (camera clicking)
00:46:55 (eerie music)
00:46:58 (crickets chirping)
00:47:01 (film reel clicking)
00:47:11 (somber music)
00:47:20 (somber music)
00:47:23 - There is an old story about snakes
00:47:34 saving their hearts in humans.
00:47:36 Cold-blooded snakes can live for a time without their hearts,
00:47:41 gaining warmth instead by gliding their bodies
00:47:47 across sunlit grass and stone.
00:47:50 (somber music)
00:47:52 To protect their hearts from trample or combat,
00:48:03 snakes often hide their hearts in stronger vessels.
00:48:07 There are people so cut off from their own memories,
00:48:15 their hearts grow cold.
00:48:19 No disguise can truly hide them.
00:48:21 No matter their appointments or how they surround themselves,
00:48:26 they are deeply alone.
00:48:27 Snakes seek out such people to hide their hearts in.
00:48:36 People who don't know their own heart won't notice.
00:48:43 They also carry a snake heart.
00:48:45 (somber music)
00:48:48 There are stories of people that died
00:48:52 from terrible loneliness.
00:48:53 As many as 20 snake hearts have been found
00:48:58 in a lonely person that died.
00:48:59 And sometimes people die when snakes
00:49:04 come to retreat their heart.
00:49:06 They see snakes approaching and misunderstand the situation.
00:49:14 If the snake is cut in two by a worried host,
00:49:18 there is a heart within that person that dies.
00:49:22 If a snake strikes a person,
00:49:27 the poison that goes in the veins
00:49:30 will affect the hidden heart.
00:49:32 I'll tell you about axes and dirt.
00:49:38 There are people that bury their axes
00:49:41 but never forget them.
00:49:44 There are people who bury their axes
00:49:47 and uncover them every night just to hold them in secret.
00:49:52 There are people who bury axes
00:49:56 who'll tell you to your face
00:49:58 they never carried an axe in all their life.
00:50:01 Snakes are careful of their bellies in dirt
00:50:11 where axes are hidden.
00:50:13 They know they have to put their hearts somewhere safe.
00:50:17 They can sense those people cut off from their own memories.
00:50:24 People with buried hearts.
00:50:26 Such obstinate sadness is the perfect hiding place.
00:50:32 Word travels fast when there is a suitable host
00:50:42 for the snakes to save their hearts.
00:50:45 But there is always a risk.
00:50:51 A person burdened by too many snake hearts
00:50:55 will find oneself standing at the edge of a cliff
00:50:58 or deep water and look into it,
00:51:01 search it with a bloody weight of desire.
00:51:05 Desire that drenches the world in a cold chill.
00:51:11 How can we watch out for such people?
00:51:14 (dramatic music)
00:51:17 (wind blowing)
00:51:20 (dramatic music)
00:51:23 (dramatic music)
00:51:26 (wind blowing)
00:51:53 ♪ Priestly prissy ♪
00:51:57 ♪ Pastor Jack ♪
00:52:00 ♪ Puts the girls of the orphanage ♪
00:52:04 ♪ On their back ♪
00:52:06 (dramatic music)
00:52:09 (wind blowing)
00:52:21 (dramatic music)
00:52:24 (wind blowing)
00:52:27 (dramatic music)
00:52:29 (wind blowing)
00:52:32 (dramatic music)
00:52:35 (wind blowing)
00:52:37 (dramatic music)
00:52:40 (wind blowing)
00:52:43 (dramatic music)
00:52:45 (wind blowing)
00:52:48 (dramatic music)
00:52:51 (wind blowing)
00:52:53 (dramatic music)
00:52:56 (wind blowing)
00:52:59 (dramatic music)
00:53:01 (dramatic music)
00:53:04 (wind blowing)
00:53:22 - I believe there are doubles
00:53:28 and we are each other's double.
00:53:30 (wind blowing)
00:53:32 Not an exact likeness.
00:53:34 Doubling is one of nature's irregular patterns.
00:53:38 It's a way of expressing personal satisfaction
00:53:42 and personal crisis.
00:53:45 Perhaps one struggle sets the stage
00:53:50 to live more wisely,
00:53:51 even prosperously.
00:53:54 I think that's the case with you and me.
00:53:58 (wind blowing)
00:54:00 You're alone, working anonymously.
00:54:03 I have my students and my family.
00:54:08 I think what happened to you with old Carl
00:54:11 and how he fixed old Carl,
00:54:15 I think it resulted in an imbalance.
00:54:20 (dramatic music)
00:54:24 (wind blowing)
00:54:26 (dramatic music)
00:54:29 (dramatic music)
00:54:58 It's you.
00:54:59 You can hear me, like it or not.
00:55:04 (dramatic music)
00:55:08 I had a concoction of grass and flowers.
00:55:28 (dramatic music)
00:55:31 It didn't make me whole,
00:55:34 but maybe it'll strike your fancy.
00:55:37 I'm not as wretched as you think.
00:55:43 I have human qualities.
00:55:47 When I was little,
00:55:52 I drew little forest creatures wearing human clothes,
00:55:57 Victorian dresses and waistcoats,
00:56:00 moist eyes looking out at you.
00:56:02 They weren't very good,
00:56:05 and I think most of them I traced out of some book.
00:56:08 But I could sort of see in them
00:56:14 what my mind intended them to be.
00:56:16 Portrait after portrait,
00:56:22 adding up to a little society.
00:56:26 I'd spread them out and feel fellowship.
00:56:28 (dramatic music)
00:56:33 (rain falling)
00:56:41 (dramatic music)
00:56:54 Heaven allows individual damage.
00:56:57 A double can absorb some of that damage.
00:57:02 (dramatic music)
00:57:05 (rain falling)
00:57:07 (dramatic music)
00:57:10 (rain falling)
00:57:14 (dramatic music)
00:57:16 (rain falling)
00:57:19 (dramatic music)
00:57:26 (rain falling)
00:57:38 (dramatic music)
00:57:43 (rain falling)
00:57:46 You feel her.
00:58:04 - Who?
00:58:07 - The hunter.
00:58:08 (dramatic music)
00:58:10 She's close.
00:58:15 - Where?
00:58:18 (dramatic music)
00:58:21 - Behind those trees,
00:58:24 chewing on a dead doe.
00:58:25 She wouldn't want you to see her like this.
00:58:30 Wait till after she's fed.
00:58:32 She's better after having blood.
00:58:35 (dramatic music)
00:58:37 (rain falling)
00:58:40 I thought we'd find a lovely experience
00:58:47 out here by this remote lake.
00:58:49 I knew about that fringe group that lives in the woods
00:58:54 and how they take the liberties with the rental cabins.
00:58:57 The darkness that marks us
00:59:05 is self-similar to the darkness that marked the thief.
00:59:08 She stands before a mirror
00:59:11 and sees an image that's evolving.
00:59:13 The image supersedes the host.
00:59:18 And soon,
00:59:21 she'll be brand new,
00:59:25 like a snake shedding its skin.
00:59:29 We're drawn back.
00:59:33 Forever back
00:59:34 into our sin against old Carl.
00:59:37 Chop.
00:59:41 Chop.
00:59:43 Chop.
00:59:45 (dramatic music)
00:59:50 (film reel rolling)
00:59:53 It is the absence of meaning in what you live
01:00:10 at the moment you are living it,
01:00:14 which multiplies the possibilities of your imagination.
01:00:17 (dramatic music)
01:00:20 I grew up in the country.
01:00:29 I grew up in the city.
01:00:32 Probably the things I had were nicer than the things you had.
01:00:37 Probably.
01:00:39 Were you happy?
01:00:41 I had thought life isn't worth living.
01:00:48 But it is worth thinking about.
01:00:49 (dramatic music)
01:01:14 I remember when I was small.
01:01:16 I was once held down by several older boys.
01:01:21 That set me off to a bad start.
01:01:25 That's horrible.
01:01:27 I'd like you to consider
01:01:34 how you might go on thinking about your life,
01:01:36 even after you lose your life.
01:01:40 (dramatic music)
01:01:44 Think about what everlasting means.
01:01:47 (film reel rolling)
01:02:10 (dramatic music)
01:02:13 (film reel rolling)
01:02:16 (dramatic music)
01:02:19 (clock ticking)
01:02:29 (film reel rolling)
01:02:44 (dramatic music)
01:02:47 I was daydreaming.
01:03:02 Where did you take me?
01:03:04 To see the hunter?
01:03:06 She's ready for us now.
01:03:11 (clock ticking)
01:03:13 Where are you going?
01:03:14 I'm leaving.
01:03:16 No, there's momentum for us now.
01:03:21 I don't want you coming around the cabin.
01:03:24 Leave us alone.
01:03:26 I don't need to go to your cabin to find you.
01:03:28 I'll alert the rangers.
01:03:31 We're tethered now.
01:03:34 And you don't need to be afraid.
01:03:37 Let events run their course.
01:03:38 (dramatic music)
01:03:41 (woman screaming)
01:04:05 (dramatic music)
01:04:08 (film reel rolling)
01:04:11 (dramatic music)
01:04:31 (film reel rolling)
01:04:34 (woman breathing heavily)
01:04:48 - John.
01:04:55 John.
01:04:57 John.
01:05:00 (crickets chirping)
01:05:03 (dramatic music)
01:05:09 - Heaven allows individual damage.
01:05:14 A double can absorb some of that damage.
01:05:16 A double prepares us for survival.
01:05:20 I thought a thief might provide us to suffer the new.
01:05:24 We'd have a new challenge to unite us.
01:05:29 A shared experience that would allow us to begin again.
01:05:32 - Hey, you!
01:05:34 - Moving forward, that would be the story we would tell.
01:05:39 How we chased a thief that trespassed against us.
01:05:46 Ran her deep into the forest and gone.
01:05:49 This story would supplant the story of old Carl.
01:05:57 Narrative is everything.
01:06:00 Story puts all our experiences
01:06:02 and all our dreams into balance.
01:06:04 But our doubling now involves uncertainty.
01:06:07 Someone messed up the narrative.
01:06:13 A player has gone rogue.
01:06:16 She's using us as her double.
01:06:19 Preparing her own survival at our expense.
01:06:23 An elaborate double cross.
01:06:28 Something in the woods gives her power to pull it off.
01:06:30 (dramatic music)
01:06:36 (thunder rumbling)
01:06:39 (eerie music)
01:06:42 (eerie music)
01:06:44 (eerie music)
01:06:47 (eerie music)
01:06:50 (eerie music)
01:06:52 (eerie music)
01:07:01 (eerie music)
01:07:06 (eerie music)
01:07:17 (eerie music)
01:07:19 (eerie music)
01:07:43 (eerie music)
01:07:46 (eerie music)
01:07:56 (eerie music)
01:08:06 (eerie music)
01:08:08 (eerie music)
01:08:27 (eerie music)
01:08:30 (eerie music)
01:08:43 (eerie music)
01:08:45 (eerie music)
01:09:04 (eerie music)
01:09:12 (eerie music)
01:09:15 (eerie music)
01:09:25 (eerie music)
01:09:35 (eerie music)
01:10:03 (eerie music)
01:10:05 - A person cannot know whether the next moment
01:10:08 will be not like any other moment,
01:10:11 but one that will change their life,
01:10:13 or end their life.
01:10:16 A deer in the woods goes about its business
01:10:21 knowing only by instinct what sort of creature it is.
01:10:24 The one who draws her bow,
01:10:27 that is the one who knows what the next moment will be.
01:10:31 She will line up her arrow and change time
01:10:34 for what is standing in her sight.
01:10:36 Do you understand?
01:10:39 Who am I to you?
01:10:43 - You are the hunter.
01:10:48 - Do I have the power to change your life?
01:10:53 - Oh yes.
01:10:57 (eerie music)
01:10:59 - Do you see before you a better life?
01:11:06 - I do.
01:11:08 - Do you take it upon yourself to afford that better life?
01:11:13 - I do.
01:11:15 - One world falls away, another is taking shape.
01:11:21 (eerie music)
01:11:25 (dramatic music)
01:11:27 (dramatic music)
01:11:30 (dramatic music)
01:11:33 (dramatic music)
01:11:36 (dramatic music)
01:11:38 (dramatic music)
01:11:41 (dramatic music)
01:11:44 (dramatic music)
01:11:47 (dramatic music)
01:11:49 (eerie music)
01:12:16 (dramatic music)
01:12:18 (dramatic music)
01:12:22 (eerie music)
01:12:24 (dramatic music)
01:12:27 (eerie music)
01:12:55 (eerie music)
01:12:57 (eerie music)
01:13:09 (eerie music)
01:13:11 (woman screaming)
01:13:31 (gunshots firing)
01:13:34 (eerie music)
01:13:36 (crickets chirping)
01:13:43 (eerie music)
01:14:03 (crickets chirping)
01:14:06 (gunshot firing)
01:14:14 (eerie music)
01:14:17 (eerie music)
01:14:20 (eerie music)
01:14:22 (eerie music)
01:14:25 (eerie music)
01:14:28 (eerie music)
01:14:43 (eerie music)
01:14:45 - When the ordeal ends, who's there?
01:14:59 Nobody's there.
01:15:01 That's what Lizzie believed.
01:15:04 She began walking in the direction of never coming back.
01:15:11 What was the meaning of the thing that happened?
01:15:13 The thing that had been like a tornado in her life?
01:15:17 It's something that will always follow
01:15:21 and the howling of its anger behind her
01:15:25 is something she will have to relish as she moves forward,
01:15:28 aiming so earnestly for a future tense of joy.
01:15:34 (eerie music)
01:15:38 (eerie music)
01:15:41 (crickets chirping)
01:15:45 - Nice work getting your degree, Angela.
01:16:05 (crickets chirping)
01:16:08 Surprised you stayed around here, though.
01:16:10 (crickets chirping)
01:16:14 - I'm exactly where I need to be.
01:16:20 (eerie music)
01:16:32 (eerie music)
01:16:34 (eerie music)
01:16:49 (eerie music)
01:17:17 (eerie music)
01:17:20 (eerie music)
01:17:34 (eerie music)
01:17:37 (eerie music)
01:17:48 (eerie music)
01:18:00 (eerie music)
01:18:03 (eerie music)
01:18:29 (eerie music)
01:18:33 (eerie music)
01:18:36 (eerie music)
01:18:39 (eerie music)
01:18:42 (bells jingling)
01:18:45 [BLANK_AUDIO]