Reading Neil Burger's Divergent Through Deep Green Resistance

Reading Neil Burger's Divergent Through 

Deep Green Resistance

First Scene in Divergent Displaying Acting Credits

This is Lake Michigan in the future all dried up.Rotting, rusty hulks of huge ships are stranded on what was once a 
mighty lake.

There is no voice over telling us what happened only the beginning music of Philip Glass I think, as the shot goes over the fence and floats towards Chicago's buildings, people walking in their different color faction clothes as Beatrice tells us there has been a war and their city is divided into separate factions.

For anyone who has seen Lake Michigan this is imagining the future time in the novel/movie to us.

But it is also revealing the recent past to us.

THE ARAL SEA

A sea once so huge all of Ireland could have fit into it.
A Sea of 1000 islands.
Beautiful, rich with fish and sea animals
Ruined by USSR dams blocking the water for industrial use.

1000 Islands between New York and Ontario - Resorts and homes for wild animals and people
A Comparable body of water.

The ARAL Sea
In 44 years less than 10% is left.It is saline.All life is gone or dying

Aral Sea with crumbling buildings looking like Chicago in
Divergent 


Around the Aral Sea now is a Desert.The camels like it.


See it to the East of the Caspian Sea

Chicago in Divergent
Crumbling buildings in disrepair


I would say that this is one of the most profound scenes in any film in decades.Time is twisted so that the future is past and the past is future. Time as a continuum, conceptualized as linear, progressive has been spiraled into a
 Mobius Strip destroying all conventions of 
TIME. 
 Reality has been confabulated by the Imaginary.
Simulated Reality is Reality and Reality is Simulated.
The REAL is coming from the future and the past.
This is the message of the book Deep Green Resistance. We are all fixated on our favorite tragedies, fragmented, divided by our emotions, our ideologies, our political beliefs.
This is the way they want it so they can continue to plunder the planet until ...
!THERE IS NOTHING LEFT!

This is VIOLENCE and it will not be stopped without force.It never has and it never will - Frederick Douglass

Our worst enemy is our neo-liberal ideology

DIVERGENT Movie: Reading FOUR Through NIETZSCHE

Only one time in the movie do we see Four's entire tattoo.

We see it in the scene directly following the one where Four takes Tris into his own Fearscape and Tris sees Four's deepest fear, being beaten with a leather belt and buckle by his father Marcus starting in childhood.

Usually Four stands and calms his breathing and heart rate. (This is standard technique for "flooding" developed by Edna Foa.) Tris however grabs Marcus's belt, punches Marcus and Four protects her from Marcus, thus initiating a new response in Four.

In these two images we have the complete history of Four/Tobias's childhood, in reverse sequence for the viewer.

The Tattoo

The tattoo is a record of his beatings. On a child's skin, a leather belt is going to leave terrible welts, cuts and permanent scars. Not like Patsy's beatings in 12 Years a Slave nor like this slave:

A horrifying explicit vision of Nietzsche's Torturous Inscription of  the Body

But you get the idea. To a child it is a terrible thing to endure beatings that leave permanent markings. 

Down the center of Four's back on his spinal cord are the five faction symbols. 

So with this piece of dialogue we know that every time Tobias displayed curiosity - forbidden in Abnegation - which is linked to intelligence, or bravery, honesty, happiness or kindness Marcus forbid it. And he not only forbid it - the way Beatrice was forbidden - but he was also punished unmercifully for being a curious, kind, intelligent, honest, brave and happy child until he learned never to show any of those feelings. Ever. 

The tattoo clearly shows the lash marks probably covering some scars. It clearly shows all five of the factions, desires, attributes, a well rounded person who was emotionally mature might have. 

But exposing the tattoo reveals both shame and desire.

In revealing what he has concealed to Tris in his Fearscape and on his back he is confessing shame and opening himself to vulnerability. (Badiou:In Praise of Love)

Tris carefully runs her fingers and hand down Four's back touching him tenderly and admiringly
And Four is being touched tenderly for the very first time in his life. He does not wear his tattoo openly nor share it with anyone as he is a very private person.
"Not approachable."

This is an explicit Inscription of the Body - Mind always included in this concept - that Nietzsche details for us in The Genealogy of Morals. 

Four has turned his torture into body art. He has carved the memory of it onto his back to be there forever. 

All you have to do  is look at the lashes as they curve around his arms, neck and rib cage, how the belt falls on his shoulder blades and back to understand this. He never wants to forget it. He never wants to forgive. He always wants to remember the terrified child he was. 

Is this why he keeps going back into his Fearscape? Has it become erotic for him? 

Actually in terms of Behavior Therapy Four chooses flooding - implosion - to confront his fears (Edna Foa). With flooding it is necessary to re-experience the "flooding" on a semi regular basis to keep the fear manageable. It doesn't go away forever. 

Spontaneous recovery is a fact of psychological learning theory.

BTW this works really well to desensitize your dog to thunder and Fourth of July explosions. Tape similar sounds, go to confined room with your dog, play the tape very low (read a book or something) until your dog ignores it. Every time you do  it increase the noise a little bit. Until you can play it as loud as possible and your dog ignores it. You will have to do it semi regularly to condition your dog as Four is conditioning himself.

Back to Four and Nietzsche and The Inscription of the Body/Mind

Four's body/mind is inscripted by Dauntless when we meet him. He is carefully gendered masculine: he walks forcefully into every scene or exits purposefully. All his movements are deliberate. His dialogue is all truth. No extraneous small talk. He exhibits a frightening awareness of being a killer when he acts in that capacity. He is deadly.

Nietzsche on The Inscription of the Body which also includes the Mind.

192 How does one create a memory for the human animal?

192-193 ....there is perhaps nothing more terrible in man's earliest history than his mnemotechnics. "A thing is branded on the memory to make it stay there; only what goes on  hurting will stick"...It is the past - the longest, deepest, hardest of pasts - that seems to surge up....Whenever man has thought it necessary to create a memory for himself, his effort has been attended with torture, blood, sacrifice. ....sacrifice...repulsive mutilations...the cruelest rituals in every religious cult....all these have their origin in that instinct which divined pain to be the the strongest aid to mnemonics.

Nietzsche says more and he says pages about punishment. Festinger's work has showed that the stronger the initiation procedures, the more adherence to the group. Is this the rule for punitive families also?

Engraving your back is not  pleasurable. And culturally now, tattooing has become a wide practice. These people are engraving their body/minds. This is a surface Inscription of the Body. Ask anyone who wants to tell you why they have this one, where they got it, how they chose it, what it means, when they got it, who was the artist who did it. Each one is a MEMORY.

Going through a reading of Badiou it is only Love that opens him to vulnerability. 

DIVERGENT REVIEW: Marcus Deconstructed by Vanessa Taylor's Screenplay in 4 Sentences

Vanessa Taylor - Screenplay for Divergent

Marcus Eaton

Our first look at Marcus is as the camera pans over in the beginning with Beatrice's voiceover with a slight lisp. He is sitting in the central governmental position next to Andrew.

He first speaks at the Choosing Ceremony:

After today you will no longer be dependents but full-fledged members of our society.

We see his tightened lips as Caleb chooses Erudite and Andrew's astonished and disbelieving face.

Marcus in Four's Fearscape with Tris

Marcus: Tobias! I'm trying to help you.To make you better. (In other words I'm beating you for your own good.)
______________________________________________________________________________

We next see him when Tris does, after Tobias has been taken from her, and after Natalie has been shot and killed. She enters the place Natalie told her her father was. Inside is her father, Caleb, Marcus, et al.

Your mother?

Tris tells her father that her mother saved her and they hold each other and cry.

Marcus: (immediately while they are consoling each other) We need to leave here. Are there soldiers outside?

Tris: No, it's clear (looking at him with contempt and distaste).

Caleb: (comes up to her) I should have listened to you. I didn't know what was going on. Why are Dauntless fighting?

Tris: They don't know what they're doing. They're under simulation. I need to wake them up. I have to get into Dauntless.

Marcus: It's a fortress in there. Not gonna happen.

Tris: I can get us in.

Marcus at the Choosing Ceremony speaks in what linguistics calls "performative speech." He has a beautiful seductive voice. Persuasive. 

In the above sequence Marcus is attempting to dominate the group and especially Tris. She is a girl, approximately the same age as his son Tobias and he is not taking orders. He thinks. But this is the power of the screenplay. In four speaking lines Vanessa Taylor has given us the character of Marcus, his essence. His desire to control and dominate presented in language. There is no legislation that will protect you from this. It is a form of speech you will have to recognize and assert yourself in response. There will be consequences usually.

We need to leave here. This is a super ego communication. A parent to child communication. It's purpose is to dominate. 

It's a fortress in there. Not gonna happen. (Marcus immediately shoots down Tris's I need to get into Dauntless and wake them.

I can get us in. Tris asserts herself, takes command, leads the group and Marcus is forced to follow.

In the psychoanalytic transference we see all that we need to know of Tobias's childhood with this man. Any idea of his own, any assertion, any creativity, any solutions, etc ALL were shot down, DOMINATED by Marcus. And Tobias was beaten unmercifully for any disobedience, verbal or active. Passive endurance was his defense. 

You will see this in the supermarket every day if you wake up, listen and see. 

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Inside Dauntless Tris sees Peter who knows where the Control Room of Simulations is. She has to shoot him to prove to him she is serious.

Marcus: Did you really have to shoot him? (menacing and contemptuous, disgusted)

Tris: Every minute we waste an Abnegation dies and a Dauntless becomes a murderer. 

Here he is trying to induce guilt in a former Abnegation member but Tris isn't buying it.Marcus is still trying to dominate and now with guilt.

_______________________________________________________________________________

Ready to Shoot Train Run

Marcus is too out of shape to run and grab onto the train, pull himself up. He shouts.

Marcus: Tobias! (asking for help;remaining in the city is death for him,)

Four/Tobias is conflicted. He wants to leave him there but also feels he should rescue him from death so he does. 

Vanessa Taylor's screenplay is ADULT. It is asking and demanding you to attend to what is said, what is meant by what is said. It is clear that Vanessa Taylor knows exactly what she is saying, what it means and what it does. It appears Taylor has read Foucault and/or knows his work. This is an intelligent screenplay not often seen (Dark Knight Rises an Exception also) in a movie intended for commercial consumption. Neil Burger has created a film that is art as well as commercial.

People know what they say.

They even frequently know why they say what they say.

But what they don't know is what they say does. - Michel Foucault

Review DIVERGENT: Deconstruction of the Script by Vanessa Taylor

Vanessa Taylor

Evan Daugherty

Disclosure: I was sent a bootlegged copy of Snow White and the Huntsman of Daugherty's sold script and it is so awful I was embarrassed for him to have written it while I was reading it. Even with Hossein Amini's doctoring of it, it was still filled with cringe worthy lines kept from the original. So I attribute the beauty of the writing in the Divergent script to Vanessa Taylor. It is intelligent, brilliantly so. 

As Foucault says, "When the writing is elegant it means that what is said is important."


Universal and Rupert fired him. (A blessing.)Five writers worked on Snow White. Rupert saved that film, made it beautiful. So much for Daugherty.

Aphoristic:Nietzsche's writing is almost completely aphoristic. It is musical and slips through your critical consciousness. The reader has no defenses. Nietzsche the great rhetorician of his time knew this full well. Ayn Rand, his disciple all her life followed his advice. Stephenie Meyer did, aware or not.

Your writing must be even more so than what you are writing about. - Nietzsche

Divergent is pared down, minimalist, no fluff. So is Dauntless.

Beatrice feels everyone is afraid to volunteer to be First Jumper. So she says, "Me."
And this is the pairing of brave/selflessness that Four will say to her later. She chooses here to be selfless which is also to be brave. And she chooses instead of holding back as she has done so far being last down the stairs, up the ladder, on the train, and jumping across the abyss. Now she will be first.

All of this is conveyed in the images and the one word "ME."

Here's Four as we first see and hear him: 

Our first look here at Four reveals his open and rather surprised face. He has witnessed a 

gift from the sky, from the Heavens miraculously appearing in the net. Like a Silkie from 

the deep. Or Dante's Beatrice: a gift from the Heavens, a Blessing.


Four: What,you were pushed?(quietly)

Beatrice: No. (all breathlessly happy)Thank 

you. (as he helps her down)

Four: What's your name?

Beatrice: B......stuttering

Four: Is it a hard one? 

Beatrice: nodding yes embarrassed

Four: You can pick a new one. But make it good. You only get to  pick once.(emphasis on 

choosing with no reversal)

Beatrice: stuttering saying Tris. My name is Tris.

Four: First jumper - Tris! Welcome to Dauntless.

So quick. The contained surprise that the first 

jumper is a girl, from Abnegation, who 

appears elated rather than frightened by her 

ordeal so far. Four is open faced, nice, 

assertive and non-threatening, non-aggressive. 

The ideal  presentation of the Butlerian 

masculine social construction of gender is performed.

Four has a beautiful face, intelligent and sensitive and sexy. But he is matter-of-fact all 

business here, gently and firmly. No provocation, just a short intimate moment.


People say that the first minutes of any encounter encompass the whole relationship in 

miniature. - ALEX by Pierre Lemaitre (p. 339)


There is quite a bit of subtext in this short and vivid scene:

1. He underestimates her sort of by alluding to the fact he thinks she was pushed.

2. He intuits her dissatisfaction with Beatrice and suggests it is possible for her to change 

her name, become a different person, become Other. He offers her a way to change her 

name with the limiting factor that it is a one shot choice with no return.

4. His welcome is warm and accepting. This is unlike Eric's immediate dislike of her (his 

frozen face) when she volunteers to be first.

5. Through Lacan, Tris rhymes with Chris, short for Christina her first friend. 


Here is Four's account of that first meeting with Beatrice/Tris in Allegiant:

When her body first hit the net, all I registered was a gray blur. I pulled her across it 

and her hand was small, but warm, and then she stood before me, short and thin and 

plain and in all ways unremarkable--except that she had jumped first. The Stiff had 

jumped first.

Even I didn't jump first.

Her eyes were so stern, so insistent.

Beautiful. (Allegiant p. 491)

_________________________________________

Here is Tris's account just before she dies.

I choke on a sob as the image of Tobias comes into my mind, of how dark and how still his eyes were, how strong and warm his hand was, when we first stood face to face. (Allegiant p. 475)

____________________________________________

Bataille in his The Eye: Her: Which part of me did you fall in love with first? Him: Your eyes of course.

All this in 9 short sentences and the images. Now that is a screenplay folks. 

Four introduces himself to the group as their instructor and says: My name is Four.

Christina: Like the number four.
Four: Exactly like the number four.
Christina: Were one, two and three taken? 
Four: What is your name?
Christina: Christina.
Four: (stepping closer to her face, half smiling)
Four: Well Christina, the first lesson you will learn from me is to keep your mouth shut,  if you want to survive here. Do you understand?
Christina: (nodding yes) 
Four: Good. (stepping back from her)

I will interject here to make a point Baudrillard makes on seduction and provocation. Christina is provocative not seductive. Tris is seductive.

All this is said firmly, assertively, non-threatening in a way that projects that he means what he says. Four's truth - not his candor - is frightening to Christina, the others and establishes Four's character.The difference between truth and candor (ventilating) is revealed for those who want to make this connection.

The Dauntless training here is immediately demonstrated as serious. We are not going to be your friends. It is not "training lite, decaffeinated training" as Zizek might say. 

Four has been written to be performed as the new masculine. He has established a distance between his students and himself. This intensifies the transference and transgression. And the sexual eroticism.

The trainers have no intention to be buddy buddy friendly with the initiates.And this is 

appropriate in a military paradigm.

In Roth's book his relationship with them is all muddied up. Vanessa Taylor has skimmed off the fluff to reveal the essence. And this is what is contributing to the Desire of the YA female/male viewers.The character Four's Excess is perceived as Desire, reading through Lacan and Zizek. The fantasy always present in Desire evaporates when listening to his interviews. Theo James is not Four. In the case of Twilight and Rob Pattinson it did not vanish but leaked across boundaries of screen and real life.


Neil Burger's direction - in screenplay? - will have Four walk into almost every scene. His is a distinct, purposive, masculine walk that is immediately sexy and seductive rather than provocative.If he is in the scene already his face responds to the context of it.His Inscription of the Body is the new masculine: fit, sexy, sensitive, intelligent, and competent in what he has chosen to do. His flipping with the knives is masculine, the way he stands in the train when he lectures them. All on purpose.

The faces: This is the influence of Passolini on Burger. The use of the face to convey emotion, thinking, hidden feelings, vulnerability, etc. Not the way Francis Lawrence used Rob Pattinson's face as porno in Water For Elephants. This is not to say Four's face is not sexy. It is, but there is more to the image than just beauty. And Burger's use of Tris's face is incredible. That young woman has so many different faces. Her face of repose in Abnegation is completely different from her face in repose in Dauntless. The close close-ups reveal her emotions when she doesn't look pretty or beautiful but very messed up. Shai performs Tris as a girl who grew up never having looked at her face in a mirror. Shai is fearless when looking in the lens of the camera.Rob Pattinson always knows how he looks when he looks in the lens as he was a model. Now he can't unknow it. And then there are those times he doesn't give a shit. 


Primitive cultures felt that mirrors were destructive. One should know their face from the way they respond to people and the way people respond to them. 


Theo James knows and early on in the film - it was shot in sequence - I felt uncomfortableness when the camera closed in on him. Especially when he runs at the head of the initiates and is called over and says, 

"What've you got?" and we are shown the Factionless. It is quick and emphasizes his expressed masculinity - the way Four runs -  as well as showing us the Factionless in a group that appears somewhat menacing. Is it because they were once initiates who were dropped into Factionless status? The question hovers silently.

I am not finished deconstructing this script but this will do for now.

DIVERGENT: Reading Jeanine's Strategy and Tris's Radical Otherness Through Zizek

"Abnegation if left unchecked, will destroy the faction system"

Jeanine is absolutely correct in knowing that Abnegation will eventually ruin the peace based on the  faction system as it is, patterned closely on the Quakers and on Gandhi's method of Satyagraha that brought down the United Kingdom, and disrupted the Indian Caste system, where people were born into a caste (determining their entire lives) with never any chance of change. But what did the Quakers do? 

They began the resistance to slavery in 1760 in Virginia. They were active in the Resistance Movement against the Viet Nam War. Quakers believe in carrying their ideals and beliefs into action. They are not Sunday Christians. The Quakers initiated the abolition movement, destroyed slavery and the wealthy plantation system that depended on enslaved labor. It took about 100 years.The Quakers also fomented the resistance and end to the Viet Nam War. Does anyone think Abnegation cannot do this to the faction system?

Abnegation is obstructing Jeanine's plans to introduce materialism and prosperity, i.e. capitalism. They will not be complicit in fostering "capitalism" which will be less regulated, or unregulated by any moral codes of behavior.

The movie reveals many things to us without comment. We see some older people in Abnegation as the crowds move in the streets toward the Initiation Ceremony, but few if any in Dauntless. We also see older people in Amity. We slowly learn that the factionless mainly come from failed initiates, especially Dauntless. Dauntless is itself increasing the population of the factionless, increasing the problem of homeless hoards. Dauntless thus creates the factionless that they must protect the city against. Dauntless creates its own reason for being. This information comes to us in a purely visual form with the announcement of being chosen, some information that requires us to connect some dots. 

It is apparent that at one time Dauntless - and the other factions - were created by some spontaneous and authentic feelings. The factions as we see them 100 years after have become institutionalized. The factions have entered the Order of Production, ensuring irreversibility, metastasizing. What might have transpired is being changed into an Event by Jeanine.

This is what Edward Snowden warned about the NSA mass collection of information. He did not say that it was being misused BUT that at any time the administration of NSA changed, with those coming to leadership positions there, this could easily happen. That different people could decide to use the information in a different way that would compromise citizens and reveal their personal lives to their detriment.

Divergent gives us this moment in time where institutionalized factions - and we are most familiar with Dauntless - have metastasized into a totalitarian mini state and formed an alliance with Erudite.

As Baudrillard tells us through Nietzsche, when the Symbolic Order moves into the Order of Production it becomes IRREVERSIBLE. It metastasizes. This is what we see with Dauntless. New Rules. Roth's book makes this clear in Four's complaining to Tris, but if we can read through Baudrillard we need no explanation as to what's going on here. The Order has changed in Dauntless and in Erudite. Science and technology are on their way to endless complication. The Foucauldian Grid of power/knowledge is now visible.

Tris is a true revolutionary. Katniss is a figurehead and those using her are violently fighting the government. So why is Tris this radical figure? An imaginary figure Jeanine has had nightmares about is now present in her reality. 

Tris is exemplifying Zizek's prescription for breaking the system. One embraces the idealistic pronouncements and works to make them surface, to become reality, to truly be what they are. 

Dauntless Manifesto

• We believe in ordinary acts of bravery, 
• And in the courage that drives one person to stand up for another.
• Dauntless never give up.

So here we have the ideology. You know like our own freedom, equality and justice for all.  Zizek will say to over-identify with the ideology to force it to be what it says it is or disintegrate. Tris has over-identified and continues to push it.

HOW?

First she believes it. (Roth's book pushes this point over and over. To make sure we get it.) The movie shows us Tris's face as Max gives the Manifesto in an address to the new initiates and they are lifted and carried in a ritual of solidarity. An act now empty of meaning but an act of propaganda for the initiates who are seduced. Then she begins to participate in the reality of the training which has little to do with the ideology and a lot to do with obedience and "never giving up."

Discipline and Punish - Michel Foucault

Clearly only an Abnegation born and transferring to Dauntless is innocent enough to take this to their hearts. This is why they are a danger to Erudite. Tris  believes in the ideology of Dauntless that does not exist in the example of the leaders. Is this familiar to the reader?

This is what forces Tris to expose herself by becoming a PARRHESIASTES. This is the kind of behavior to expect from Abnegation. It is the kind of behavior to expect from the Quaker community, the Society of Friends. It was the kind of behavior that Gandhi displayed to bring down the United Kingdom. "That little man in the loincloth," as Churchill called him. So Jeanine is correct to fear it. Abnegation will eventually ruin her plans, obstruct them for sure. 

Jeanine opts for our present government's preference: PRE-EMPTIVE THREAT. That is, like the movie Minority Report, stop the projected violence before it happens, while it is just a small weed to be rooted out, as Mao says of capitalism. This is what our police and law enforcement are doing today. We are under surveillance to make sure we do not plan to do anything in the future that the government might object to. 

Jeanine is very modern. She is taking precautions and she is correct in doing so from her perspective.

REVIEW: Reading DIVERGENT Through Ang Lee's LUST,CAUTION

Trailer for Ang Lee's Lust,Caution. The scenes I am referring to are the clips with the diamond ring and his throwing himself into his car.

For Lee, an astute observer of the warping power of sexual desire and repression (not just in "Brokeback Mountain," but also in films as disparate as "The Ice Storm," "The Wedding Banquet" and "Sense and Sensibility"), the allure of "Lust, Caution" lies in the irreducible mystery of its love story, which culminates in a seemingly rash and irrational act. "It's complex and hard to pin down," he said. "Maybe it can't be pinned down." LINK

This pivotal scene takes place when the two lovers are in the jeweler's shop viewing the large pink diamond he has bought for her which they see set for the first time. He does not want to see the ring, but only to see it on her hand. She puts it on and leans into him whispering/saying:

"Go. Now."

He is uncomprehending so she repeats it:

"Go. Now." 

He gets it, runs down the stairs, across the street sliding on his stomach into the back seat of his car which roars away.He escapes the assassins clustered around the jewelers waiting for his exit to kill him.

Since the entire movie has been about her playing a part to seduce him (he is a collaborator with the occupying Japanese in the 1940's in Shanghai) in order to assassinate him, this turn around has been the subject of much lit crit and has confounded all interpretations. WHY DOES SHE DO IT? Ang Lee has said he had great anxiety about this scene and trusted the actors to convey it intuitively and accurately, which they did. This is Eileen Chang's novel who was considered the cruelest writer writing in Chinese.

He will order the round up of her and her partisan group, have them lined up, shot and dumped in a large trench for a grave that is in front of them.

_______________________________________________________________________________

I think Neil Burger has replied to Ang Lee in the pivotal scene in Divergent:

Pivotal Scene to Wake Four Up

Tris enters the control room to stop the simulation program, sees Four connected to a drip, releases him only to have him come at her to kill her. A violent physical fight begins and then Tris gets a hold of her gun on the floor, saying,

Stop! 

and holding it on Four. He stops and freezes. He has no fear of being shot.  But she can't kill him and we know that.

His second greatest fear is killing an innocent whom he must look away from to perform the ordered killing. Tris has been in his fearscape and knows this. She turns her gun on herself, pointing it at her forehead and Four leaps to grab the gun, to take control. She is bloody, crying his name to wake him up from the simulation serum saying, "It's OK, it's OK, I love you, it's OK. Four it's me, Four wake up, wake up. Now he is close to her and in control so she can touch him, touch his lips, his mouth, his face, his skin while she is saying his name to wake him up. He turns his head away as he cocks the gun and she pulls his face back saying, "Look at me, look at me. It's me, it's me." And then he begins to wake up and says, "Tris?" And Tris smiles and says, "It's OK, I love you."

Then she says softly and carefully:

GO.

And he turns on a dime and mows down the ones with guns behind him and becomes a killing machine while Tris goes after Jeanine to stop her. When it is over both will have to run because the leadership of Dauntless is coming after them. So they hop the train with Caleb, Peter, some other Abnegation members including Marcus.

In Lust,Caution why does Wang warn Yee? Why does she save him? I think Burger is saying it is love, just as Tris is saying, 

"I love you enough to die for you. I cannot kill you. Wake up."

And the enigmatic word GO links these two films with love.