Through an analysis of Chris E. Vargas’s short film One for All… (2012, 7 min.) and the Reed Erickson papers, this paper explores the interwoven histories of trans medicine, psychedelics, and the use of Ketamine in the US. Navigating between fiction and nonfiction, the film mediates on Reed Erickson, a wealthy trans philanthropist who funded trans research from the 1960s to the 1980s. It imaginatively hints at Erickson’s friendship with John Lilly, and their shared interests in drug protocols and observations, psychedelic practices, and art, as well as animal communication, envisioning healing plants, exploring altered states of becoming and alleviating pain.  Erickson’s project #1300, known as “Key to the Kingdom,” through which he funded Lilly, uncovered in the trans archive includes the early history of Ketamine-related research. The analysis extends to the contemporary psychedelic revival era, recognizing the continued therapeutic and recreational use of Ketamine among trans individuals. Utilizing Davis’ concept of techgnosis and trans-writing on Ketamine I look at the technological unconscious, and the uses of myth, magic and mysticism in the film. This paper contributes to understanding the intertwined histories of psychedelic exploration, the therapeutic application of Ketamine, philosophical “knowledge by Ketamine,” psychedelic cinema, and trans history. Employing film analysis and archival research, a complex narrative about chronic post-operative pain alleviation and Ketamine consumption by trans people is revealed. One for All…  offers the potential of psychedelic cinema and philosophy as an avenue for re-exploring the origins of the pre-revival era.