TELEPHONE INTERVIEW / INTERVIEW — TAPE #26, SIDE #1
Q: Mark Russell Bell
U: James Ulmer (friend in California)
V: Teptsov Oleg, (producer, St. Petersburg Festival of American Films)
N: Inna Gotman (friend in California)
B: Michael Paul Russell (my twin brother in California)
( . . . )
Q: Michael also took a fig newton from the new package I had just opened. This happened when I went to turn on the stereo tonight.
( . . . )
Q: Once you turn over your life to God, things are so much less complicated. For example, I needed to get a regular cassette transcribing machine after my problems with the ninety-minute cassettes, so I first went to Staples but a salesman told me they didn’t have any and told me to try Office Depot. That store didn’t have any either and the salesman there suggested I try Radio Shack, which also didn’t have one. I also tried Circuit City. So when I got home I called up my Dictaphone representative and — (“BUT”) the irony here is that when I’ve gone to some of these stores in the past I did see some of these machines in stock.
(TRANSCRIBER’S NOTE: A PORTION OF THIS TAPE SIDE GRADUALLY BECOMES INAUDIBLE BECAUSE OF WEAK BATTERIES.)
Q: The Dictaphone model I bought usually costs $1,000 but I was able to get a used one for $275 so Michael helped me get a high quality machine for a bargain. . . . so one of my fears came true and I taped over side A on tape #25 . . . So I’m experiencing the greatest love of all and no one believes me . . . I guess this means I won’t be getting up at 5:30 or 5:45 a.m. tomorrow because I’ve done my journal entries.
(TRANSCRIBER’S NOTE: I AM TRANSCRIBING THIS PORTION ON THE EVENING OF SATURDAY, DECEMBER 30TH, 1995 AFTER TAPING A GRAVE LINE TOUR OF HOLLYWOOD. MY PEARLCORDER BROKE LESS THAN AN HOUR BEFORE THE TOUR SO I HAD TO RUSH AND GET A NEW ONE THAT I DON’T LIKE BECAUSE YOU CAN ONLY LISTEN TO IT THROUGH AN EARPIECE. I HAVE ONLY LISTENED TO A FEW PORTIONS OF THE TOUR TAPE SIDES AND SOME OF THE CONVERSATION OF OTHER ATTENDEES SEEMS HARD TO HEAR INSIDE THE HEARSE (THIS IS THE VEHICLE USED FOR THE TOUR). WHEN I PLAYED A FEW PORTIONS BACK I HEARD A PORTION WHERE I WAS DISCUSSING THE SONGS OF ABBA WITH THE TOUR GUIDE AND SAID IN PASSING “MONEY MONEY MONEY.” UPON PLAYING IT BACK I COULD HEARD MICHAEL SINGING SIMULTANEOUSLY “MONDAY MONDAY MONDAY.” HE HAS A BETTER SINGING VOICE THAN I DO. THERE ALSO WAS AN ARRAY OF SO-CALLED ‘POLTERGEIST- PHENOMENA’ EXPERIENCED BY TOUR PARTICIPANTS. I MENTIONED TO THE TOUR GUIDE THAT MICHAEL SPEAKS ON MY TAPES AND MAYBE HE WILL REVEAL THE SECRETS BEHIND SOME OF THE MOST FAMOUS DEATHS IN HISTORY. THIS PAST WEDNESDAY, I SHOWED MY NEIGHBOR, RAVI, THE ARK AND THE DECLARATION OF INDEPENDENCE AND JOKED THAT I’D BEEN DOING A LOT OF SHOPPING LIKE THE CHARACTER PLAYED BY ALICIA SILVERSTONE IN “CLUELESS.” AS I LEARNED FROM OUR CONVERSATION, WE BOTH HAD READ AN ARTICLE IN THE LOS ANGELES TIMES THAT MORNING WITH THE HEADLINE “DEFINING AND EXPLAINING ALL THINGS SPIRITUAL” BY TIMES STAFF WRITER MARY ROURKE CONCERNING THE NEW DICTIONARY OF RELIGION. THE MOST NOTABLE PART FOR ME IS THIS LINE.)
(TRANSCRIBER’S NOTE: IN THE ARTICLE, ROURKE ALSO DESCRIBED “THE ENTRY UNDER ‘NEW AGE’ EXPLAINS THAT IT IS NOT A NEW MOVEMENT; THE TERM HAS BEEN PART OF OCCULT AND SPIRITUALIST GROUPS SINCE THE 1800S. THE POET AND MINISTER RALPH WALDO EMERSON, WHO PREACHED TRANSCENDENTALISM, IS A GRANDDADDY OF THE MOVEMENT.”)
Q: By the way, speaking of ‘greatest love of all,’ Whitney Houston is also a Leo just like President Clinton. And Michael Jackson is still in the news because of his fainting spell. And one of the accounts mentioned dehydration so I guess Michael Jackson and Bill Mc Wethy have something in common.
( . . . )
Q: It’s Saturday and I’m transcribing as usual and I went to check to see if the mail had come and I noticed that there were two neighbors parking in the guest lot and their car horn went off as they were walking away. I saw one of the two men glance (“YOU KNOW”) toward his car and to me. And I realized Michael is finding ways to let people know (“BUT”) that I’m being honest about my phenomena.
( . . . )
Q: (music can be heard in the background) While having dinner tonight I turned on my compact disc changer. I have one that takes seven discs and I set it at ‘random.’ So the song Michael chose is “Angel” from the new “Erasure” eponymous album.
(TRANSCRIBER’S NOTE: THE NEXT CONVERSATION IS WITH JAMES ULMER.)
Q: What are you doing?
U: I’m writing my own stuff at the moment but what’s up? Oh, I had a great — how was your two weeks?
U: Well, that’s good.
Q: Indescribable. You have to buy the book to read about it. I’m making Christmas cards though for all the people I’ve interviewed so far.
U: Oh, Marky, that’s great.
Q: So someday they each might be a valuable collector’s item.
U: Of course — well, they’re always valuable. (“DID MICHAEL”)
Q: What did Michael tell you happened to me while you were away?
U: We haven’t talked about it yet.
Q: He wouldn’t know where to begin because there’s just been so much.
Q: Like, for example, we went to Zen restaurant and I went across the street (“UH-HUH”) to this little antique store and I bought the original Declaration of Independence.
U: What do you mean the original?
Q: Well, the first thing Ted said when he looked at it was, “It can’t be the original.” Before I even said anything. (“YEAH”)
U: It’s not. There’s only seven copies in existence and they’re in the —
Q: I’ve done my homework. You went to Harvard. You’ll be able to tell. So what’s the main thing that happened to you in Egypt?
U: Mount Sinai. I climbed it. Bedouins. (“HMM”) I climbed it with a friend at two in the morning until seven. Red sunrise. It was extraordinary — craggy mountains and echoy wind coming through the caverns and freezing cold turning to warm daylight. And the stars and the constellations above. That was the best. But the jury was fabulous. I mean I (“THINK”) — it was a magical time except for the crappy movies which I’m writing about now.
Q: What else is new?
Q: So nothing unusual? (“I HAVE”)
U: I have a quote from Sarah. I hope she doesn’t mind. Sarah Miles. Oh, but I went to a star’s house. It was hysterical. I should write about her.
Q: But was there any supernatural phenomena?
U: Oh, for Sarah Miles all the time. Not for me in particular. Sarah very much believes in corn circles. For me, I was convinced actually —
Q: You mean crop circles?
U: Yeah. She lives by them and she showed me pictures. I really became a believer. So, through her, yes. She was, like, my medium. Unbelievable stuff. She showed me extraordinary stuff and how you can tell and how they come down. And I met two Egyptians — an actor and director, both extremely famous in Egypt — who both believe that the pyramids came down from aliens.
Q: Well, of course. I mean everyone knows that.
U: Nobody knows it.
Q: I think that they were a landing tower. (“NO”) It’s like the command central at airports.
U: Wow. It is pretty astounding.
Q: Did you hear anything about Marduk or Bel-Marduk?
U: No, I forgot to ask about that.
Q: Did you go into the pyramids again? I guess not.
U: I went at night to the light show and they had all kinds of holograms. When Sarah once was sitting in the middle of a corn circle —
Q: Crop circle.
U: — crop circle — and she went, “Ouch.” This was a couple years ago. She found that she was sitting on a perfectly-formed little pyramid two inches tall. And on the bottom was a sign that she could not make out. So she brought it to Egypt. Her big mission was to find out what that sign meant and as she and I were sitting together in the chill of the evening watching the light show, all of a sudden on one of the holograms (“THAT”) went across she saw the sign. And she said, “Oh my God.” It was part of a hieroglyph.
Q: And what did it mean?
U: I have to ask her. She was trying to interpret that as we left. (“IN FRONT OF A LAVA FLOW”)
Q: I see.
(TRANSCRIBER’S NOTE: THE FOLLOWING INTERVIEW IS WITH TEPTSOV OLEG. THERE ARE ADDITIONAL COMMENTS BY INNA GOTMAN. THEY BOTH ARE FROM RUSSIA. I BEGIN INTERVIEWING IN THE CAR ON THE WAY TO OUR DINNER ENGAGEMENT WITH MY BROTHER AND JAMES ULMER. THEY HAD SELECTED FARFALLA TRATTORIA ITALIANA RESTAURANT, WHICH IS A GOOD BUT SOMEWHAT NOISY PLACE FOR INTERVIEWING SO I SUPPOSED THIS WOULD BE THE BEST TIME FOR A TAPED DISCUSSION. INNA WAS DRIVING, OLEG WAS SITTING BESIDE HER AND I WAS SITTING IN THE BACK SEAT. AS I TURN ON THE TAPE RECORDER, WE ARE WAITING FOR MY BROTHER’S BMW TO PASS US TO FOLLOW THEM TO THE RESTAURANT.)
Q: I’m three tapes behind in my transcribing. At least three (“OH MOTHER”) so I have a lot of work to do. But my book is all about the New Age and about people’s various experiences with the unexplained.
Q: Such as angels, spirits, (“NO”) reincarnation. (“OHH”) It embraces everything.
V: Well, we’re a big fan of those things.
Q: You are?
N: We love them. (“OUTSTANDING TERRIFIC”)
Q: And recently it’s been getting into the area of serial killers but I’m not quite sure why.
N: Serial killers?
Q: No. Not here. No.
N: My English friend — (“MY FRIEND IS JULIE”) she’s having —
V: You think it’s something that can lie behind reality?
N: You’re connecting —
Q: No, it’s just that one of my recent interviews was with somebody who —
V: Oh. Oh. (“OH”)
Q: — was the unit publicist for a film about serial killers. (“UM-HUH”) I don’t know how it all works in. (“SOLID FOR FRIEND”) Except once I did see an episode of “America’s Most Wanted” about a Russian woman and the actress they used looked just like you, Inna.
N: Oh, no, there are not people like me. (“KILL” “NO”)
V: She pretended. I mean the actress. She pretended to be like Inna. (“WELL SHE”)
Q: I don’t think they’ve ever met.
N: (laughs) (“HAVE YOU”)
Q: Have you ever been in Florida?
N: No. (“NO”) Oh, yes, I’ve been.
Q: You have? Okay. (“WHOO”) So have either one of you had any strange experiences in your life? Dreams or —
N: Dreams? Maybe we did but we never found them strange.
V: My strangest experience is a film I made in Russia. And the character had a very strange experience.
N: Excuse me, boys. Could it have happened that Michael went in another direction and I’m still waiting for him?
Q: Drive on and I’ll tell you where to go.
N: Oh my Gosh.
Q: I know where we’re going.
V: I created the film and the character (“OH”) had a very strange case. The character was a designer. (“YA”) And the story (“UMM”) happened at the beginning of the century in Russia in St. Petersburg. The character created the wax dummy (“MANNE”) mannequin for a jewelry store window. And then, six years later, he met a girl. The girl was a model for a mannequin. At that time six years ago she was very poor and ill. (“ACTUALLY”) Actually, she was going (“DIE”) to die. (“SHE WHAT”) She — how do you say it correctly? She nearly died.
N: Okay, she was close to dying.
V: Close to death. (“RIGHT” “DYING”) And then six years later (“YEAH”) he met her and she refused to recognize him. (“UH-UH”) She said, “I’m not that person.” (“NO”) “I’m another person.” And at that time she was the wife of a very (“UH-HUH”) rich person. (“TURN HERE”)
Q: It sounds like “Vertigo.”
N: Now right?
Q: Left. (“I DON’T CARE”)
V: Under very strange circumstances the husband of the girl invited the artist to decorate his new house. And the artist accepted the invitation and started to work. Actually, he realized she’s sort of playing with him. (“AND SHE”) And he (“ALRIGHT”) was very persistent to know why she wouldn’t recognize him. (“SO FAR”) “Anya, why don’t you recognize me? I know who you are.” — “I’m sorry. I’m not that person.”
N: “I don’t know you.”
V: “I’m a different one.” (“RIGHT”) And through some obstacles and so on — (“SSSSSSS”) certain circumstances he was fired. (“BECAUSE”) He couldn’t handle — (“ONE”) was jealous. (“ABOUT IT” “RIGHT”)
V: Her husband noticed something strange between his wife and the artist.
Q: This is the Shakespeare Bridge we’re passing over, by the way. (“OKAY”)
N: Yeah, the Shakespeare Bridge.
V: Very interesting. (“I KNOW”)
Q: It was seen in the movie “Dead Again.”
V: Oh right. (“IT’S NOT A BRIDGE”)
N: Beautiful bridge. Which way do I go now? (“DON’T WORRY ABOUT IT —”)
Q: Straight. (“— YOU KNOW”)
V: It’s a long story to describe all the details and I’m going straight (“UM-HUH”) to the end of the story.
V: The artist at some point got a very crazy idea. And he stopped to find out something which we don’t understand for a moment. (“HMMM”) He was looking for the grave.
N: He found it.
V: He found it. The real girl died (“OF COURSE” “YES”) six years ago.
N: And this person he met was completely like her.
V: Absolutely. It was she.
N: It was she?
Q: Right. (“YEAH”)
V: And he tried to find out who she is and came to the house. The truth was that she is not a girl. She’s a dummy.
V: A wax dummy but alive (“UM-HUH”) because he created her. (“TO LOVE”) She was very well fashioned and everything. (“HER AND EVERYONE ELSE”) He created her and that’s what his intention —
N: Just the way they’re supposed to —
V: And when he revealed the secret of the mystery, the girl — not the girl but the dummy killed (“THE DUMMY”) the artist. That was the end of the story. (“SO HE”)
N: Beautiful. So the (“OKAY HERE IT IS”) creation killed the creator.
Q: Here’s the — turn right (“OKAY”) for the restaurant. (“WE’RE HERE” “DON’T STOP THE TAPE”)
N: Oh great. So it’s like —
V: A long little story.
N: — it’s a “Pygmalion” (“UH-HUH KIND OF”) mixed with Frankenstein.
V: Yeah, kind of —
Q: So (“BUT”) in terms of — but (“HAVE”) do you think that — you don’t think this is possible, do you?
(TRANSCRIBER’S NOTE: INNA PULLS UP IN FRONT OF THE RESTAURANT, WHERE JAMES IS WAITING FOR US ON THE SIDEWALK.)
U: It’s a half-hour wait so we’re going to go to the Chinese one. It’s a great restaurant.
N: She was dreaming of dim sum all day long.
U: Dim sum and more than sum.
N: (squeals) I want a dim sum too.
U: Right, so if you want to just follow us?
N: Yeah. (“OKAY”)
Q: So, again, do you think that this is possible?
Q: Explain that. Just in a few sentences.
V: Yes. I think it’s possible. (“MMMMM”) What I would say — we have two explanations. Two versions of the event. (“WHAT’S UP”) It was real (“EVENT” “NO”) and the second explanation is that it was just the artist’s dream. She was just a different person who looked very much alike. And then (“UM-HUH”) he forced her to behave this way. (“OR”) A third party — somebody else forced both of them to accept this game and play this game.
V: Some third force. I mean a super force. (“WHEN IT’S CALLED”)
Q: When there’s — a lot of these themes in your story are themes in my book as well. (“HMM”)
V: Very good to know you. (“YEAH”)
(TRANSCRIBER’S NOTE: DURING TRANSCRIBING, HERE I BEGIN USING A DICTAPHONE DICTAMITE II MICROPORTABLE RECORDER IN CONJUNCTION WITH MY DICTAPHONE VOICE PROCESSOR TRANSCRIBING MACHINE. I DO IMMEDIATELY DETECT A HIGHER QUALITY OF AUDIBILITY FOR LISTENING TO THE TAPES. I AM INTERVIEWING TEPTSOV YET OCCASIONALLY THE OTHERS JOIN IN AS WE DINE AT CHI DYNASTY RESTAURANT.)
V: . . . I’ll give you the names. (“I WANTED TO TELL” “TELL YOU WHO” “OH NO THAT’S ALRIGHT”)
Q: But what is it like in terms of religion and politics living in Russia today? (“GRABBED AT THE NET”) We hear very negative things. (“I KNOW BUT”)
V: Yes. But there are and — we have a lot of negative things that technically go on. (“WHITE KNIGHTS” “MY MOTHER” “PUT IT”)
N: . . . “White Knights” — beautiful (“BUT”) warm weather . . .
V: Actually, I am very positive —
U: I love St. Petersburg. (“JAMES”)
V: — about Russia’s future. (“JAMES IS GOING TO THE FESTIVAL”)
N: Then James is going with us to the festival.
V: Wow. (“THAT’S GREAT”)
N: (laughs) (“YOU WILL” “JUAN WOULD LIKE HIM THERE” “YOU’RE GONNA GET — YOU’RE GONNA MAKE IT — YOU’RE GONNA CUT HIM”)
V: Are you going to see Russian movies? (“I CAN SEE IT IN”)
U: The best movies (“THE FAN BOOK”) in Russia are always on the street.
B: Not this year. (“I HOPE”)
U: Not the ones in the theaters. (“NOT THIS LEVEL”)
V: And I will tell you — (“I WILL TELL ALL”) you will see the best of the bad of the St. Petersburg on the streets that time every year.
N: Oh yeah. (“YEAH” “SOME COLOR”)
V: Right now it could be a miracle you would never forget.
U: Really? That’s a good (“NOW LOOK IT UP”) sales job, I think. (“SEE BUT IT’S NOT”) Bought that line hook, line and sinker.
Q: Of course, St. Petersburg is named after St. Peter. (“YAPHET” “PRAYING FOR YOU”)
V: Not for Peter the Great. Peter the Great just named the city after St. — (“PETER” “COTTON BRA” “EXPLAIN” “MICHAEL”)
Q: That’s interesting.
U: No. (“WHAT”) Well, — (“WHAT” “THEY DON’T BRING YOUR OWN FILM”)
V: No. Actually, to describe the situation in Russia — it’s a long story. I couldn’t describe it in a few — (“MUH” “WOOD”) few — (“GOOD MORNING BABYLON”) few — (“IN”) few sentences.
Q: Is it as bad as (“WE HAVE A PROFILE” “I MEAN”) we hear? Mass (“NO IT ISN’T”) poverty? (“LEGALLY” “BAD”)
V: It’s not as bad. (“BUILD” ([PHONETIC] “BINYA” “BUT” “DON’T YOU KNOW WHO CAN” “YOU KNOW” “WHOOPI GOLDBERG”) Today’s living (“THE MIRROR” “YEAH”) compares (“OCCUPYING MY SPACE”) with (“YOU OWE”) the United States today.
N: You owe, yeah.
Q: It does? (“ONE MORE TIME” “IT’S BECAUSE”) Or does not? (“CAROLCO”)
V: A very big difference. (“NO” “NIETZSCHE” “LISTEN”) It’s — (“WHAT ARE YOU TALKING ABOUT IN LAOS” “GOLD FRINGE” “IF WE THINK YOU ARE”) it’s not good.
Q: Well, sometimes, I think that if all the big American companies and corporations each would open up one franchise or one store — because these companies have so much money — (“THAT” “YEAH”) that would really boost the economy in Russia because it would have all these new businesses and stores to provide employment and a framework with which to help their economy along. I don’t know why they haven’t done that. All these big companies. They could afford to do that even if it didn’t make them money right away.
V: ([RUSSIAN WORDS]) We are still in a process of establishing the political) system and economical structure. We are just trying to set up (“SSS” “PRINCESS”) something that’s going to work. (“NO”) Before that moment, we have very big problems with entrepreneurs from Eastern Europe, Western Europe, (“FROM”) United States (“DENVER MONEY” “ANYWAY WE HAVE THE PROPHET RAIN”) But we are in a process of structuring ourselves our country. And my guess is that in a couple of years (“I LOVE YOU”) it could be over (“WRONG” “YOU DON’T HAVE PARAMOUNT NEXT YEAR”) and this process. And then (“WE COULD” “YOU COULD RIM ME”) go ahead with (“I AM ANNA”) trade — real trade — (“THAT”)
Q: What is it like to have religious freedom back? (“KNOW YOU CAN” “WE WERE TO GO” “WE DON’T KNOW” “WE’RE STAFF YOU KNOW” “WE’RE”)
V: We’re going to have it. I mean now (“IF MARK CAN DO IT”) it’s a kind of passion (“TOWARDS”) to go to church — (“I WANT YOU TO DRINK YOUR BLOOD”) kind of passion came from one side. From another side, (“EVERYONE HERE LOOK WHAT HE GAVE US”) when their companies (“HERE” “REALLY”) find their lodging — (“GLEN I THINK ABOUT HE’S DONE” “HE’S FALLEN DOWN” “REALLY” “IT’S LEGAL THOUGH” “WELL I HAVE POOR EXPECTATIONS” “I MEAN” “MAYBE FOR MY”) now it’s kind of (“MICHAEL”) temporary space (“WE JUST” “EVERY YEAR”) and (“I DON’T CARE WHO BANGS IT” “SHE’LL BE” “BUT THEN IT REEKS OF THE VIETNAM CONFLICT” “SEX IN ME” “WHO” “POSSESSING ME” “TEAMWORK” “LOVE — ” “DO” “— THEY BELIEVE IT” “UNDER GOD” “ON GUARD” “EXCUSE ME” “NO”) they believe in God again. (“NOT REALLY” “BUT HE ASKED ME”)
Q: Even though they’re hungry. (“HE WAS LIKE”)
V: Yes. Because they’re hungry. (“HE WAKES UP IN THE MORNING” “HE WANTED TO DUMP ME”) Because they (“WELL NO”) — they think (“FLEE”) that God will (“YOU DON’T GO ANY” “NO” “ME”) give them advice — (“THAT’S NONSENSE THEY DON’T HAVE”) how to live, (“PILLOW”) understanding — (“ARE WE HAPPY”) all these obstacles (“YEAH” “I KNOW”) they have. (“BULLDOGS HONEY” “MIKE”) They go to the church and they ask God.
U: We have to have freedom. (“NO AND”)
V: I’m saying this kind of fashion — this — it’s just for the short time. It’s fashion. (“GIVE ME A KISS IF YOU CAN”) If you look deeper you see (“IS TWO THOUSAND DOLLARS ENOUGH”) the people really need hope. (“WOMAN”) They really need —
B: (to waiter) I bet it’s very good. We’ll try it. (“THAT’S FINE”)
V: — some kind of truth. With new rules. (“MICROCASSETTE” “IT’S NUMBER SEVENTY”) And the religion — who (“POVERTY”) — religion (“SELL”) could give it back. (“GET IT” “WHAT” “I SAID ‘GET IT'”) All I’m saying it’s wrong. (“IT” “YOU’RE WRONG” “YOU’RE TOO DEMANDING”) I don’t think (“VICE” “RUINED IT” “HERE WE GO AGAIN”) religion could answer their social questions.
U: He’s talking about so many things that we can’t even —
N: No, we have to ask. (“I DON’T THINK HE COULD PLAY THE ROLE” “TWO”)
V: They have problems. (“IT’S” “WELL ASK HIM”) Their needs or (“WHOM” [STRANGE INFLECTION] “THEY COULDN’T ANSWER IT” “THEY PUT THEIR HIGHEST TOWER” “TAKE THEIR SPACES” “BUT WE CAN KNOW GOD” “BUT”) religion, at least for a moment, it takes a hard time to help them. (“I LOOK IN THE POLITICAL VERY”) And they’re getting this help. (“TIME OF MY BIRTH” “BUT NOT MUCH FROM ONE BUCKET” “NO”)
( . . . )
(“OF THE TI”)
( . . . )
Q: Oleg, there’s something else I have to ask you. (“YEP” “THAT WAS YOUR FIRST MEETING” “YEP”) Is it true that St. Peter (“WAS THIS YOUR HOME” “RIGHT”) is known — is associated with (“WE JUST SOLD IT” “WINTER HOME”) ringing his bell? (“I KNOW SEAN CONNERY LIKES TO GO”) The bell of St. Peter. Do you know about that?
V: No. (“GOES VERY WELL UNDERNEATH”)
( . . . )
Q: We’re still at dinner and what’s the name of this restaurant?
B: I don’t remember.
Q: What’s the name of this restaurant? (“SHHHHHH” “PILL” “IN THE MORNING SHE WAKES UP” “I WAKE UP” “CHI DYNASTY”)
U: Chi Dynasty.
Q: So, Michael, right now if you had to say what is going on — or just how much you believe about Michael, what would you say? (“I AM BORED”)
B: I don’t know. It’s beyond understanding — comprehension. (“JUST A LITTLE BIT” “VAN GOGH”) I don’t know. (“JOHNNY” “I’M A LYRIC” “BUT HONEY” “G”) I don’t know. I don’t think it’s imaginary. (“IT’S HIM”) I think something’s really happening. (“YEAH”)
Q: Do you think the stories I tell you are true or do you think it’s a chemical imbalance?
B: I think you perceive them to be true. Whether they are or not I don’t know.
( . . . )
Q: Michael, is it possible? Could Inna be the reincarnation of both Lucrezia Borgia and Marie Antoinette as Fiona said the former and James said the latter? Is it possible? Inna, what is your response to this? (“I MEAN”)
N: My response is very clear. (“A”) Fiona sees me (“SHE WAS KIDDING”) as a person who poisons others. (“THINK ABOUT SEE HER FEAR”) As far as James is concerned, he just wants to see me beheaded. (“NO” “YOUR IDEA OF AN A VESSEL” “I’M PRAYING” “I’M TRADING”)
Q: And what do you think? (“PLEASE DON’T”)
U: Did Fiona really say that about her? I mean Inna? (“I PUT” “SIGH” “CUT DANISH”)
Q: So, Inna, who is James the reincarnation of?
U: I’d like to know myself. (“NO”)
N: A glass of water with lots of (“RIGHT”) ice and a lemon in it.
Q: No, but if you had to say somebody — (“OH MY GUN”)
N: Why not?
Q: — who would you say?
N: Why not? I don’t mind. It’s cool and soothing —
Q: Well, just say someone. Make up someone.
N: — so refreshing on a hot day. (“PEACE”)
Q: Say someone’s name. Whatever pops into your mind.
U: Maybe an animal.
N: Whatever pops into my mind. Nothing pops into my mind. (“NOTHING BUT A [PHONETIC] PISKAGE OKAY”) (“HUNCHBACK OF NOTRE DAME”)
Q: James, who do you say you’re the reincarnation of?
U: Quasimodo. (“UHH” “MASTER” “COMMUNI” “LECTOR”)
Q: Was that a real person? (“HARRY” [ROBOTIC] “AS OF MY” “THAT’S A”)
N: In Victor Hugo’s novel it is. (“THAT LOOKS LIKE A RAT”)
Q: Do you think he’s the reincarnation of Victor Hugo? (“PSST”)
N: No. Quasimodo.
Q: Is it based on a real person?
N: Of course it is.
Q: But you would know (“WRONG”) because you were Marie Antoinette. So you would know.
N: I don’t know him better than anyone else. (“CORRECT” “HELL”)
U: What do you think they contribute to this totally surreal (“NICE ACTOR”) line of questioning?
N: Very surreal situation. (“MOM” “WHERE’S MOM” “POTPOURRI”)
V: Very surreal.
Q: It’s possible.
N: Anything is possible. (“PARDON”)
U: Mike, what do you think? (“DON’T YOU FEEL GOOD”)
B: Let’s order desert.
U: What? Attila the Hun?
N: (laughs) Let’s order desert, he said. (“NOT A LOUD VOICE”) Michael, don’t cry for me, Argentina.
Q: Who’s Mike the reincarnation of? (“SAY MIKE”)
N: Michael? That is a good question. Valmont. Valmont. Michael is Valmont.
B: Valmont. (“COULD BE” “WHERE WERE YOU” “BUT”)
U: A Zulu warrior king. (“YOU’RE A GUY, INNA”)
N: Good casting (“GOOD CASTING”) for Valmont. ([CORRECT PRONUNCIATION] “VALMONT” “MIA”)
Q: That’s interesting. Do you think it’s possible?
U: I want to know (“THINK”) one thing. (“SOME DIE”) How do you know whether you’ve been reincarnated or not?
Q: You don’t know. ([OVERLAPPING] “YOU DON’T KNOW” “TROLL” “ARE YOU SURE”)
U: I can’t remember a past life. (“ARE YOU SURE”) I’m really fascinated — how do you know you are living somebody else’s future life much less your own? (“BUT YOU” “COUNTER LIFE” “WE KNOW”)
Q: Well, I do know that you do have different reincarnations.
N: How do you know it?
Q: It’s tricky, though, because you can’t remember what they are unless you’re led to the realization (“THROUGH”) by your angel or by other people. (“HE’S BECOMING SOME ACTIVIST” “EDDIE MURPHY”) Or by a hypnotherapist. When I was in my hypnotherapy session (“NOBODY”) I (“FINE”) found myself talking about people who I’d written about.
N: But it depends on the hypnotherapist, doesn’t it?
Q: Yes, it does.
N: Because a different one can lead you to a different personality. (“WELL THAT’S FUNNY”)
Q: I guess that’s possible but I have a very good one.