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[MID-TEMPO ELECTRONIC MUSIC
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PLAYING]
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>> I GUESS IT WAS ABOUT
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2 1/2 YEARS AGO.
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I WAS WALKING AROUND THE CITY,
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AND I STARTED SEEING THESE CRAZY
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FLIERS UP ON POLES EVERYWHERE.
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THE FIRST FLIER I THINK I KIND
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OF HALF-READ, AND IT JUST SEEMED
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TO BE MARKETING FOR SOME SORT OF
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INVENTION.
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I THINK IT WAS THE VITAL-ORBIT
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WAS THE FIRST ONE I SAW.
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DIDN'T EVEN PULL ONE OF THE
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LITTLE FLIERS YET.
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IT WASN'T UNTIL I WALKED AROUND
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MORE AND MORE AND STARTED
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SEEING SOME OF THE OTHER FLIERS
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THAT I REALLY STARTED WONDERING
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WHAT THE HECK THIS THING EVEN
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WAS.
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I STARTED GRABBING SOME OF THE
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LITTLE TAGS AND CALLING THE
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NUMBERS AND HEARING THE
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MESSAGES.
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>> THANK YOU FOR CALLING
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THE JEJUNE INSTITUTE,
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SAN FRANCISCO HEADQUARTERS.
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WE WOULD LIKE TO INVITE YOU TO
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A SPECIAL ORIENTATION SESSION.
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WE ARE LOCATED AT
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580 CALIFORNIA STREET,
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SUITE 1067.
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FOR THOSE DARK HORSES WITH THE
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SPIRIT TO LOOK UP AND SEE, A
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RECONDITE FAMILY AWAITS.
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>> I KIND OF DIDN'T KNOW WHAT TO
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THINK.
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I AT FIRST THOUGHT, "OKAY,
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SOMEONE'S MAKING THESE CRAZY
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ADVERTISEMENTS FOR SOMETHING
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THAT'S ALMOST TOO IMPOSSIBLE TO
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EVEN EXIST.
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AND THEY SEEM TO BE URGING ME TO
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VISIT THIS PHYSICAL PLACE."
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ONCE I GOT TO
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580 CALIFORNIA STREET, I WAS
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KIND OF INTIMIDATED A BIT BY
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BOTH THE LOCALE AND THE
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BUILDING.
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I REALIZED THIS IS DOWNTOWN
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FINANCIAL DISTRICT.
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THIS IS A HIGH-RENT DISTRICT.
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THIS IS A PLACE WHERE YOU HAVE
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BANK OF AMERICA.
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I WALKED IN AND ASKED FOR THE
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JEJUNE INSTITUTE.
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THE SECURITY GUARD SEEMED TO
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KNOW WHAT THE PLACE WAS.
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ASKED FOR MY I.D., HAD ME SIGN
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IN, GAVE ME A VISITOR BADGE, AND
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AT THAT POINT DIRECTED ME TO THE
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ELEVATORS.
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I GET OUT AND SEE THIS VERY
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NORMAL-LOOKING LOBBY.
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AND I SEE THE RECEPTIONIST
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THERE, WHO DIDN'T REALLY SEEM AT
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AT ALL LIKE ANYBODY FROM THE
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WEBSITE.
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YOU KNOW, I WASN'T REALLY SEEING
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THE NAME OF THIS COMPANY I WAS
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LOOKING FOR.
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AND THE RECEPTIONIST ASKED ME IF
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SHE COULD HELP ME.
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I SAID, "YEAH, I'M HERE FOR THE
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JEJUNE INSTITUTE."
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AND SHE HANDED ME A KEY.
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AND THAT SEEMED TO BE THAT.
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ON ONE SIDE'S A MAP.
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ON THE OTHER SIDE, THERE'S
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INSTRUCTIONS GUIDING ME THROUGH
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THE FLOOR I'M ON TO SOME
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LOCATION.
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SO, I NAVIGATED THE FLOOR BASED
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ON THE MAP AND THE INSTRUCTIONS
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AND ENDED UP AT A ROOM.
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>> GREETINGS.
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WELCOME TO
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THE JEJUNE INSTITUTE,
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SAN FRANCISCO INDUCTION CENTER.
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PLEASE ENTER THE ROOM AND CLOSE
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THE DOOR BEHIND YOU.
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NOW HAVE A SEAT IN THE LOUNGE
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CHAIR PROVIDED FOR YOU.
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IN A MOMENT, OUR ORIENTATION
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PROGRAM WILL BEGIN.
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5... 4...3... 2...AND 1.
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>> YOU NOW SIT IN A SATELLITE
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INDUCTION OFFICE OF
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THE JEJUNE INSTITUTE, LOCATED
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IN THE DEEP FORESTS OF
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SAN FRANCISCO.
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THE ROOM IN WHICH YOU ARE
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CURRENTLY LOCATED RESTS EXACTLY
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SIX FLOORS BENEATH OUR GLOBAL
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HEADQUARTERS.
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THE CALIFORNIA CENTER IS ONE OF
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MANY SUCH STATIONS SPREAD
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AROUND THE GLOBE, IN LOCATIONS
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SUCH AS OSLO, SEVILLE, ALGIERS,
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BOMBAY, QUEBEC, AND SANTIAGO.
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BUT THE ORIGINS OF
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THE JEJUNE INSTITUTE ARE RIGHT
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HERE.
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IT ALL BEGAN IN 1962, WHEN A
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SMALL GROUP OF ACADEMICS CAME
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TOGETHER AROUND A COMMON
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INTEREST IN THE ADVANCEMENT OF
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SOCIO-REENGINEERING.
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DURING THE '60s, THE SOCIETY
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WAS A CLOSELY KNIT FORUM FOR
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EXPERIMENTAL RESEARCH
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TECHNIQUES, UTILIZED TO EXPAND
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INTERPERSONAL TRUST AMONG
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FELLOW HUMAN SUBJECTS.
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DURING THE 1970s, UNDER THE
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LEADERSHIP OF LUMINARY
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METAPHYSICIST
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OCTAVIO COLEMAN, ESQUIRE, THE
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INSTITUTE GAINED A WIDE
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INFLUENCE AND PRESTIGE FOR
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WHICH IT IS NOW KNOWN.
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ALONG WITH CONTEMPORARIES
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WERNER ERHARD AND
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STEWART EMERY, COLEMAN HELPED
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SPEARHEAD THE STILL-NASCENT
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MOVEMENT OF PERSONAL GROWTH AND
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SELF-HELP.
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THE WORK THEY DID
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COLLABORATIVELY, AMID THE
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BREEDING GROUNDS OF EST,
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ECHELON, AND DIANETICS HELPED
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TO SPAWN A THOUSAND LIKE-MINDED
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PROPHETS OF POP PSYCHOLOGY.
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BUT WHAT THE JEJUNE INSTITUTE
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IS MOST CELEBRATED FOR TODAY
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ARE THE MANY ADVANCED
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TECHNOLOGICAL PRODUCTS AND
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SERVICES THEY HAVE BROUGHT TO
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THE INTERNATIONAL MARKETPLACE.
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THESE DEVELOPMENTS INCLUDE
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PoliWater, A MORE CONDENSED
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FORM OF WATER, WITH A HIGHER
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BOILING POINT, A LOWER FREEZING
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POINT, AND ASTOUNDING
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REGENERATIVE PROPERTIES UPON
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ALL ORGANIC COMPOUNDS...
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THE VITAL-ORBIT HUMAN
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FORCEFIELD -- A HYDRODYNAMIC
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CONDUCTOR BASED UPON THE
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TESLA CORE, WHICH ACTS AS AN
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EXTERNAL AMBASSADOR TO YOUR
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BODY...
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AND OUR FOREMOST PROJECT, WHICH
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WILL UTTERLY REVOLUTIONIZE THE
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WAY THAT HUMAN BEINGS INTERACT
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BOTH INTERPERSONALLY AND
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SOCIO-POLITICALLY, JEJUNE'S
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ALGORITHM -- A SMALL, MOBILE
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DEVICE ENCASING A COMPLEX
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MATHEMATICAL CODE THAT WILL
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INSTANTLY AND PERMANENTLY
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REDUCE ALL HUMAN CONFLICT,
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VIOLENCE, AND HEARTBREAK.
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PATENT PENDING.
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>> I WILL ADMIT THAT THIS WAS A
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RATHER BIZARRE EXPERIENCE, AND I
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HAD NO REAL CLUE THAT WHEN I
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WENT DOWN THERE, THIS WOULD BE
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WHAT WOULD BE THERE.
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AND THEN, ON THE TV APPEARS THIS
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RATHER STRANGE-LOOKING OLD MAN,
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WHO'S CALLING HIMSELF
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OCTAVIO COLEMAN, ESQUIRE.
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>> YOU WILL BEGIN TO NOTICE THE
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DIVINE OCCURRING ALL AROUND YOU
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IN A THOUSAND MINISCULE WAYS
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CONSTANTLY, ALL THE TIME.
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SO, WE WILL BEGIN THE INDUCTION
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PROCESS.
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>> AT ONE POINT, HE MAKES
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MENTION OF THE DESK SITTING NEXT
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TO THE CHAIR THAT I'M IN AND HOW
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I REALLY SHOULDN'T OPEN THE
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DRAWER THAT'S THERE AND TAKE
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WHAT'S INSIDE.
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AND THEN, AT THAT POINT, OF
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COURSE, I HAD TO OPEN IT AND
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LOOK IN THE DRAWER.
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AND THAT'S WHEN I, FOR THE VERY
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FIRST TIME, SAW WHAT WOULD LATER
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BE REFERRED TO AS THE
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INDUCTION CARD.
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AND IT LOOKED LIKE A CRAZY
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PERSON DESIGNED IT.
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I STARTED REALIZING IT WAS
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TELLING ME HOW TO NAVIGATE
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MYSELF OUT OF THIS BUILDING AND
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TO DO SO IN A WAY THAT EVADED
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THE SECURITY OF THE BUILDING.
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SO, I THOUGHT I'D GIVE IT A
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SHOT.
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>> YOU MAY SUDDENLY BEGIN TO
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NOTICE SMALL THINGS AROUND YOU
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YOU HAD NEVER BEFORE NOTICED.
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00:08:52,966 --> 00:08:55,068
AND THOSE MINUTE DETAILS WILL
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LEAD TO OTHER, MORE SIGNIFICANT
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00:08:57,237 --> 00:09:00,173
OBSERVATIONS AND SO ON,
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00:09:00,173 --> 00:09:03,911
AD INFINITUM, UNTIL YOUR ENTIRE
220
00:09:03,911 --> 00:09:06,847
UNIVERSE IS TRANSFORMED
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00:09:06,847 --> 00:09:09,049
FOREVER.
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>> WHAT HAPPENED NEXT IS IN
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FOLLOWING THE CARD, I END UP
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00:09:24,064 --> 00:09:25,999
GOING ON THIS VERY ECCENTRIC,
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00:09:25,999 --> 00:09:27,968
HOUR-LONG -- I GUESS YOU WOULD
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SAY LIKE A SCAVENGER-HUNT SORT
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00:09:29,937 --> 00:09:30,938
OF ADVENTURE.
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00:09:30,938 --> 00:09:32,372
THERE WERE LOTS OF UNANSWERED
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00:09:32,372 --> 00:09:34,107
QUESTIONS -- WHO'S BEHIND THIS?
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00:09:34,107 --> 00:09:35,208
WHERE IS IT LEADING?
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00:09:35,208 --> 00:09:36,744
WHAT'S THE POINT?
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00:09:36,744 --> 00:09:38,812
AND AS IT STARTED TO UNFOLD,
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MORE AND MORE THINGS KIND OF
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CAME TO LIGHT, ESPECIALLY THINGS
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LIKE NEW TERMINOLOGY.
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THE WORD "NONCHALANCE" WAS MAYBE
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BEING USED IN WAYS THAT I HADN'T
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00:09:49,056 --> 00:09:50,958
REALLY SEEN IT USED BEFORE.
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I GUESS I WAS AFRAID THAT AT
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SOME POINT I WOULD BE MARKETED
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TO.
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IT'D BE LIKE, "WELL, THANK YOU
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FOR GOING THROUGH THIS THING.
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00:09:59,700 --> 00:10:01,869
BUY REESE'S PEANUT BUTTER CUPS"
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00:10:01,869 --> 00:10:03,837
OR SOMETHING LIKE THAT, YOU
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00:10:03,837 --> 00:10:04,337
KNOW?
247
00:10:04,337 --> 00:10:06,306
BUT THAT NEVER SEEMED TO HAPPEN.
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00:10:06,306 --> 00:10:08,041
IN FACT, THE MORE I PULL ON
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00:10:08,041 --> 00:10:10,010
THREADS, THE MORE THE LINES WERE
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00:10:10,010 --> 00:10:11,845
REALLY BLURRED BETWEEN WHAT I
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00:10:11,845 --> 00:10:13,413
VIEWED AS THE INSANITY I WAS
252
00:10:13,413 --> 00:10:15,215
KIND OF EXPERIENCING AND THE
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00:10:15,215 --> 00:10:17,417
INSANITY OF THE REAL WORLD.
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00:10:17,417 --> 00:10:20,087
IN FACT, I WOULD SAY THAT A LOT
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00:10:20,087 --> 00:10:22,189
OF INSANITY YOU RUN INTO?
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00:10:22,189 --> 00:10:23,957
IT'S INSANITY, AND YOU CAN SET
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00:10:23,957 --> 00:10:24,858
IT OVER HERE.
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00:10:24,858 --> 00:10:26,326
BUT THE INSANITY THAT I WAS
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00:10:26,326 --> 00:10:27,928
GETTING EXPOSED TO SO MUCH
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00:10:27,928 --> 00:10:30,197
BLURRED THE LINES BETWEEN REAL
261
00:10:30,197 --> 00:10:32,199
INSANITY AND PERHAPS FAKE
262
00:10:32,199 --> 00:10:34,467
INSANITY THAT THERE WAS REALLY
263
00:10:34,467 --> 00:10:35,502
NO DISTINCTION.
264
00:10:35,502 --> 00:10:37,237
I THINK MY EYES REALLY WERE
265
00:10:37,237 --> 00:10:39,406
OPENING UP AND SEEING THE WORLD
266
00:10:39,406 --> 00:10:41,775
IN A DIFFERENT WAY.
267
00:10:41,775 --> 00:10:43,977
>> I FELT LIKE I FELT BEFORE
268
00:10:43,977 --> 00:10:46,379
WHEN I WAS WATCHING A MOVIE, AND
269
00:10:46,379 --> 00:10:48,816
THE MOVIE ENDED, AND I LEFT THE
270
00:10:48,816 --> 00:10:49,683
MOVIE THEATER.
271
00:10:49,917 --> 00:10:52,119
AND EVERYTHING OUTSIDE SEEMS
272
00:10:52,119 --> 00:10:54,487
BETTER THAN IT DID BEFORE THAT.
273
00:10:54,487 --> 00:10:56,056
LIKE, THE COLORS ARE BRIGHTER,
274
00:10:56,056 --> 00:10:57,257
OR THE WORLD LOOKS LIKE A
275
00:10:57,257 --> 00:10:58,391
DIFFERENT PLACE.
276
00:10:58,826 --> 00:11:00,193
AND I WANTED TO KEEP FEELING
277
00:11:00,193 --> 00:11:01,461
THAT WAY, INSTEAD OF JUST
278
00:11:01,461 --> 00:11:03,196
WALKING AROUND GOING, "WELL, I'M
279
00:11:03,196 --> 00:11:04,131
GOING TO MY JOB.
280
00:11:04,131 --> 00:11:05,833
WELL, I HAVE TO GO DO LAUNDRY."
281
00:11:05,833 --> 00:11:07,868
INSTEAD, I WAS WALKING AROUND
282
00:11:07,868 --> 00:11:09,837
AND LOOKING AT STUFF WITH A
283
00:11:09,837 --> 00:11:10,771
DIFFERENT PURPOSE.
284
00:11:10,771 --> 00:11:12,072
INSTEAD OF JUST TRYING TO GET
285
00:11:12,072 --> 00:11:13,373
FROM POINT "A" TO POINT "B," I
286
00:11:13,373 --> 00:11:16,343
WAS LOOKING FOR CLUES.
287
00:11:16,343 --> 00:11:17,544
TOWARDS THE END OF THE
288
00:11:17,544 --> 00:11:19,246
INDUCTION, ON THE CARD, YOU'RE
289
00:11:19,246 --> 00:11:20,447
INSTRUCTED TO CALL THE
290
00:11:20,447 --> 00:11:21,181
DETECTIVE.
291
00:11:21,181 --> 00:11:22,950
AND WHEN YOU CALL THE DETECTIVE,
292
00:11:22,950 --> 00:11:24,117
HE DROPS A CLUE ABOUT
293
00:11:24,117 --> 00:11:25,485
COOPER ALLEY.
294
00:11:25,485 --> 00:11:28,021
IT TURNS OUT THERE'S A SHRINE TO
295
00:11:28,021 --> 00:11:29,422
SOMEONE NAMED EVA.
296
00:11:29,422 --> 00:11:31,391
SAYS, "WE MISS YOU, EVA."
297
00:11:31,391 --> 00:11:33,460
THEN, AT THAT POINT, YOU'RE
298
00:11:33,460 --> 00:11:35,796
INSTRUCTED TO GO BACK TO THE
299
00:11:35,796 --> 00:11:38,131
BUILDING, AND YOU'RE GIVEN A KEY
300
00:11:38,131 --> 00:11:40,033
TO THIS WALL OF LOCKERS.
301
00:11:40,033 --> 00:11:41,902
THERE'S A TINY, LITTLE PEEPHOLE,
302
00:11:41,902 --> 00:11:43,503
AND INSIDE THERE ARE THESE SORT
303
00:11:43,503 --> 00:11:45,305
OF PARTIAL LETTERS AND NUMBERS
304
00:11:45,305 --> 00:11:46,506
AND THINGS LIKE THAT.
305
00:11:46,506 --> 00:11:48,375
AND THEN, AT THE VERY END OF THE
306
00:11:48,375 --> 00:11:50,043
CYCLE, IT COMES TOGETHER, AND
307
00:11:50,043 --> 00:11:51,511
IT'S THE SAME FACE THAT WAS IN
308
00:11:51,511 --> 00:11:52,279
THE ALLEY.
309
00:11:52,279 --> 00:11:54,414
ABOUT THE SAME TIME, I GOT A
310
00:11:54,414 --> 00:11:56,984
TEXT MESSAGE SAYING, "TUNE IN TO
311
00:11:56,984 --> 00:11:58,485
RADIO NONCHALANCE IN
312
00:11:58,485 --> 00:11:59,987
UPPER DOLORES PARK."
313
00:11:59,987 --> 00:12:01,955
I ACTUALLY DROVE UP HERE IN MY
314
00:12:01,955 --> 00:12:03,590
CAR BECAUSE I DIDN'T HAVE A
315
00:12:03,590 --> 00:12:04,291
RADIO.
316
00:12:04,291 --> 00:12:05,558
AND I SAT IN MY CAR FOR ABOUT A
317
00:12:05,558 --> 00:12:07,394
HALF AN HOUR LISTENING TO THIS
318
00:12:07,394 --> 00:12:08,428
STATION.
319
00:12:08,862 --> 00:12:10,898
>> OVER THE COURSE OF AN HOUR,
320
00:12:10,898 --> 00:12:12,866
THERE STRANGE NEWS FACTOIDS.
321
00:12:12,866 --> 00:12:15,002
THERE WAS AN INTERVIEW WITH THE
322
00:12:15,002 --> 00:12:16,603
PROPRIETOR OF THE WORLD'S
323
00:12:16,603 --> 00:12:17,938
SMALLEST POSTAL SERVICE.
324
00:12:18,171 --> 00:12:19,907
THERE WAS TALK OF STRANGE
325
00:12:19,907 --> 00:12:20,607
CONSPIRACY.
326
00:12:20,607 --> 00:12:22,275
THERE WAS A RANT AGAINST
327
00:12:22,275 --> 00:12:23,410
OCTAVIO COLEMAN.
328
00:12:23,410 --> 00:12:25,145
THERE WAS ALL SORTS OF FUN
329
00:12:25,145 --> 00:12:25,612
STUFF.
330
00:12:25,612 --> 00:12:27,580
IT FELT VERY MUCH LIKE LISTENING
331
00:12:27,580 --> 00:12:29,549
TO SOMEONE LIKE ART BELL ON THE
332
00:12:29,549 --> 00:12:30,217
RADIO.
333
00:12:30,217 --> 00:12:31,484
YOU CAN'T TELL IF HE'S FOR REAL
334
00:12:31,484 --> 00:12:33,253
OR NOT.
335
00:12:33,253 --> 00:12:37,290
>> AND NOW CRYPTIC RADIO BRINGS
336
00:12:37,290 --> 00:12:41,361
YOU THE SECRET OF NONCHALANCE.
337
00:12:41,361 --> 00:12:43,030
WHAT IS NONCHALANCE?
338
00:12:43,030 --> 00:12:44,564
AND WHO ARE ITS HIDDEN
339
00:12:44,564 --> 00:12:45,565
FOLLOWERS?
340
00:12:45,565 --> 00:12:47,400
THIS IS YOUR ANNOUNCER,
341
00:12:47,400 --> 00:12:49,602
COMMANDER 14, BROADCASTING FOR
342
00:12:49,602 --> 00:12:52,005
A LIMITED TIME ON THIS SPECIAL
343
00:12:52,005 --> 00:12:53,006
FREQUENCY.
344
00:12:53,006 --> 00:12:54,507
KEEP TUNED FOR VITAL
345
00:12:54,507 --> 00:12:55,608
INFORMATION.
346
00:12:55,608 --> 00:12:57,911
FOLLOW ALONG AS WE DISCLOSE A
347
00:12:57,911 --> 00:13:00,080
WORLD WHOSE SECRET PRESENCE MAY
348
00:13:00,080 --> 00:13:02,082
MEAN THE DIFFERENCE BETWEEN
349
00:13:02,082 --> 00:13:03,884
ENLIGHTENMENT AND TOTAL
350
00:13:03,884 --> 00:13:05,452
INCOMPREHENSION.
351
00:13:05,452 --> 00:13:08,088
AND JUST WHAT DO WE MEAN BY
352
00:13:08,088 --> 00:13:10,090
NONCHALANCE, ANYWAY?
353
00:13:10,090 --> 00:13:13,026
A CASUAL WAY OF SAUNTERING DOWN
354
00:13:13,026 --> 00:13:14,327
THE STREET?
355
00:13:14,327 --> 00:13:16,629
A KIND OF COOL, PERHAPS?
356
00:13:16,629 --> 00:13:19,632
YOU LIKE CARTOONS, DON'T YOU?
357
00:13:19,632 --> 00:13:21,634
OF COURSE YOU DO.
358
00:13:21,634 --> 00:13:24,304
EVERYONE LIKES CARTOONS.
359
00:13:24,304 --> 00:13:26,639
OBSERVE AS OUR ANIMATED
360
00:13:26,639 --> 00:13:29,509
PROTAGONIST STUMBLES BLINDLY
361
00:13:29,509 --> 00:13:31,678
OUT OF BED, DOWN THE STAIRS,
362
00:13:31,678 --> 00:13:33,646
AND OUT THE FRONT DOOR, ONTO A
363
00:13:33,646 --> 00:13:34,647
BUSY STREET.
364
00:13:34,647 --> 00:13:37,117
HE EASILY BUT NARROWLY DODGES
365
00:13:37,117 --> 00:13:39,252
IMPENDING DANGER, SEEMINGLY
366
00:13:39,252 --> 00:13:41,221
WITHOUT EFFORT OR AWARENESS.
367
00:13:41,221 --> 00:13:43,523
BRICKS FROM A CONSTRUCTION SITE
368
00:13:43,523 --> 00:13:45,959
ALMOST BUT DO NOT FALL ON HIM.
369
00:13:45,959 --> 00:13:48,061
AT THE LAST MINUTE, AS HE'S
370
00:13:48,061 --> 00:13:50,097
ABOUT TO STEP INTO AN OPEN
371
00:13:50,097 --> 00:13:52,199
MANHOLE IN THE STREET, HE'S
372
00:13:52,199 --> 00:13:54,267
MIRACULOUSLY SPARED THE FALL.
373
00:13:54,267 --> 00:13:56,236
AND AFTER NUMEROUS SIMILAR
374
00:13:56,236 --> 00:13:58,238
CLOSE CALLS, HIS UNCONSCIOUS
375
00:13:58,238 --> 00:14:00,173
PATH IS TURNED AROUND IN A
376
00:14:00,173 --> 00:14:01,374
REVOLVING DOOR.
377
00:14:01,374 --> 00:14:03,343
AND IN HIS OWN BUILDING, BY
378
00:14:03,343 --> 00:14:05,178
FORTUNATE COINCIDE, HE'S
379
00:14:05,178 --> 00:14:07,014
SOMEHOW RETURNED TO BED,
380
00:14:07,014 --> 00:14:08,982
UNHARMED BY THE END OF THE
381
00:14:08,982 --> 00:14:09,682
CARTOON.
382
00:14:09,682 --> 00:14:12,352
THIS ABILITY, TO BE SUPPORTED
383
00:14:12,352 --> 00:14:14,721
AND GUARDED BY EXTRAORDINARY
384
00:14:14,721 --> 00:14:16,656
GOOD LUCK, IS CALLED
385
00:14:16,656 --> 00:14:20,994
"DIVINE NONCHALANCE."
386
00:14:20,994 --> 00:14:23,363
BY DEFINITION, THE NONCHALANT
387
00:14:23,363 --> 00:14:25,698
IS WONDERFULLY SCATTERED AND
388
00:14:25,698 --> 00:14:27,734
LACKING IN ALL EXTERNAL
389
00:14:27,734 --> 00:14:29,036
DIRECTION.
390
00:14:29,036 --> 00:14:32,139
THE RIDE IS FANTASTIC, BUT THE
391
00:14:32,139 --> 00:14:37,978
DESTINATION REMAINS UNCERTAIN.
392
00:14:37,978 --> 00:14:39,579
>> YOU ARE LISTENING TO
393
00:14:39,579 --> 00:14:41,748
RADIO NONCHALANCE, DISPATCHES
394
00:14:41,748 --> 00:14:43,483
FROM ELSEWHERE.
395
00:14:43,483 --> 00:14:45,552
SUPPORT FOR THIS PROGRAM HAS
396
00:14:45,552 --> 00:14:47,220
BEEN PROVIDED BY THE
397
00:14:47,220 --> 00:14:49,389
ELSEWHERE PUBLIC WORKS AGENCY.
398
00:14:49,389 --> 00:14:53,193
NOW BACK TO OUR PROGRAM.
399
00:14:53,193 --> 00:14:55,062
>> WELL, THE EPWA's POSITION ON
400
00:14:55,062 --> 00:14:56,596
THE JEJUNE INSTITUTE IS THAT
401
00:14:56,596 --> 00:14:58,131
THEY WERE SELLING FALSE
402
00:14:58,131 --> 00:14:58,999
NONCHALANCE.
403
00:14:58,999 --> 00:15:00,667
AND WHAT THEY MEANT BY THAT, AS
404
00:15:00,667 --> 00:15:02,369
BEST AS I CAN TELL, IS THAT
405
00:15:02,369 --> 00:15:05,272
THAT CREATIVE SPARK WHICH DRIVES
406
00:15:05,272 --> 00:15:07,740
HUMANITY CANNOT BE MARKETED,
407
00:15:07,740 --> 00:15:11,344
CANNOT BE SOLD, CANNOT BE GIVEN
408
00:15:11,344 --> 00:15:13,613
TO YOU IN A BOTTLE.
409
00:15:13,613 --> 00:15:16,383
YOU EITHER HAVE THOSE MOMENTS,
410
00:15:16,383 --> 00:15:17,784
OR YOU DON'T, AND YOU CAN'T
411
00:15:17,784 --> 00:15:18,585
CONTROL IT.
412
00:15:18,585 --> 00:15:20,087
SO, ANYBODY WHO TELLS YOU
413
00:15:20,087 --> 00:15:21,388
OTHERWISE IS SELLING YOU
414
00:15:21,388 --> 00:15:22,289
SOMETHING.
415
00:15:22,289 --> 00:15:23,323
>> ATTENTION!
416
00:15:23,323 --> 00:15:25,058
THIS IS COMMANDER 14 OF
417
00:15:25,058 --> 00:15:26,193
CRYPTIC RADIO.
418
00:15:26,193 --> 00:15:28,495
NONCHALANCE IS ALL AROUND YOU.
419
00:15:28,495 --> 00:15:29,429
WAKE UP!
420
00:15:29,429 --> 00:15:31,531
IT'S LATER THAN YOU THINK.
421
00:15:31,531 --> 00:15:33,500
THE FALSE PROPHETS ARE EVEN NOW
422
00:15:33,500 --> 00:15:35,435
CONSOLIDATING THEIR FORCES, AS
423
00:15:35,435 --> 00:15:37,104
THEY DRAW UP THEIR PLANS
424
00:15:37,104 --> 00:15:38,471
AGAINST US.
425
00:15:38,471 --> 00:15:41,508
BEWARE ESPECIALLY THE ONE THE
426
00:15:41,508 --> 00:15:43,210
WORLD CALLS
427
00:15:43,210 --> 00:15:46,679
"OCTAVIO COLEMAN, ESQUIRE," FOR
428
00:15:46,679 --> 00:15:48,715
HE IS IN THE PRESENT ERA THE
429
00:15:48,715 --> 00:15:50,750
MAIN OPPONENT OF NONCHALANCE
430
00:15:50,750 --> 00:15:52,785
AND A CYNICAL AND FIENDISHLY
431
00:15:52,785 --> 00:15:55,688
INSPIRED DEVISOR OF FALSE
432
00:15:55,688 --> 00:15:56,723
NONCHALANCE.
433
00:15:57,157 --> 00:15:58,358
FOUNDER OF THE
434
00:15:58,358 --> 00:16:00,560
JEJUNE INSTITUTE, CHIEF FUNDER
435
00:16:00,560 --> 00:16:02,362
OF THE ALGORITHM, MAIN
436
00:16:02,362 --> 00:16:04,064
PERPETRATOR OF FALSE
437
00:16:04,064 --> 00:16:06,266
NONCHALANCE, CIA OPERATIVE AND
438
00:16:06,266 --> 00:16:08,235
INFORMATION, SABOTEUR AND
439
00:16:08,235 --> 00:16:09,269
PROVOCATEUR
440
00:16:09,269 --> 00:16:12,672
OCTAVIO COLEMAN, ESQUIRE, IS
441
00:16:12,672 --> 00:16:14,541
THE MAN WHO IS BEHIND ALL OF
442
00:16:14,541 --> 00:16:16,509
THE MONITORING, SUBVERSION, AND
443
00:16:16,543 --> 00:16:19,212
SUPPRESSION OF NONCHALANCE.
444
00:16:19,212 --> 00:16:20,713
DURING THE 1980s, COLEMANE.
445
00:16:20,713 --> 00:16:22,515
ILLEGALLY OBTAINED PROTECTED
446
00:16:22,515 --> 00:16:24,417
PATENTS AND LEGAL CONTROL OVER
447
00:16:24,417 --> 00:16:25,852
A SERIES OF INNOVATIVE
448
00:16:25,852 --> 00:16:26,653
PRODUCTS.
449
00:16:26,653 --> 00:16:28,388
TAKING PERSONAL CREDIT FOR
450
00:16:28,388 --> 00:16:30,257
THESE DISCOVERIES, COLEMAN AT
451
00:16:30,257 --> 00:16:31,758
THIS TIME CONSOLIDATED THE
452
00:16:31,758 --> 00:16:33,293
JEJUNE INSTITUTE AS A
453
00:16:33,293 --> 00:16:35,095
LIMITED LIABILITY CORPORATION.
454
00:16:35,328 --> 00:16:37,297
TODAY, THE INSTITUTE COMMANDS
455
00:16:37,297 --> 00:16:39,132
AN UNHEARD-OF FREEDOM FROM
456
00:16:39,132 --> 00:16:41,168
GOVERNMENTAL REGULATION OR, FOR
457
00:16:41,168 --> 00:16:43,370
THAT MATTER, ANY SUPERIOR
458
00:16:43,370 --> 00:16:44,537
AUTHORITY.
459
00:16:44,537 --> 00:16:46,539
THIS MIGHT HAVE DIRE
460
00:16:46,539 --> 00:16:49,842
CONSEQUENCES FOR ALL OPERATING
461
00:16:49,842 --> 00:16:53,446
NONCHALANCE IN THIS AREA.
462
00:16:53,680 --> 00:16:56,116
>> BASICALLY, WHAT HAD HAPPENED
463
00:16:56,116 --> 00:16:58,218
IS I'D GONE TO THE INSTITUTE,
464
00:16:58,218 --> 00:17:00,487
AND I HAD GONE THROUGH THE FIRST
465
00:17:00,487 --> 00:17:02,389
PHASE AND WAS AMAZED BY IT,
466
00:17:02,389 --> 00:17:04,457
OBVIOUSLY, JUST LIKE YOU SHOULD
467
00:17:04,457 --> 00:17:06,459
BE -- AMAZED AND CONFUSED.
468
00:17:06,693 --> 00:17:09,296
AND ONE DAY, ABOUT A WEEK LATER,
469
00:17:09,296 --> 00:17:11,498
I WAS ON MY LUNCH BREAK FROM
470
00:17:11,498 --> 00:17:13,633
WORK, AND I WALKED DOWN THE
471
00:17:13,633 --> 00:17:15,835
STREET TO PICK UP A SLICE OF
472
00:17:15,835 --> 00:17:16,636
PIZZA.
473
00:17:16,636 --> 00:17:19,239
AND WHEN I CAME BACK, THERE WERE
474
00:17:19,239 --> 00:17:21,641
THE JEJUNE INSTITUTE POSTERS ALL
475
00:17:21,641 --> 00:17:23,510
OVER THE STREET WHERE I JUST
476
00:17:23,510 --> 00:17:25,378
WAS AND ON EVERY SIGN AND ON
477
00:17:25,378 --> 00:17:26,379
EVERY WINDOW.
478
00:17:26,379 --> 00:17:28,448
AND SO, THERE HAD OBVIOUSLY BEEN
479
00:17:28,448 --> 00:17:30,317
MULTIPLE AGENTS IN THE AREA,
480
00:17:30,317 --> 00:17:31,684
FLIER-ING EVERYTHING.
481
00:17:31,684 --> 00:17:33,486
AND SO, I GOT ON MY SKATEBOARD.
482
00:17:33,486 --> 00:17:35,255
I STARTED SKATEBOARDING AROUND
483
00:17:35,255 --> 00:17:36,656
AND TRYING TO FIND WHO WAS
484
00:17:36,656 --> 00:17:38,225
PUTTING UP THESE POSTERS.
485
00:17:38,225 --> 00:17:40,227
AND THEN I DID SEE SOMEONE, AND
486
00:17:40,227 --> 00:17:42,229
I KIND OF APPROACHED HIM, AND I
487
00:17:42,229 --> 00:17:43,930
SAID -- I ASKED HIM IF HE WAS
488
00:17:43,930 --> 00:17:46,199
FOLLOWING HIS NONCHALANCE.
489
00:17:46,199 --> 00:17:48,368
SO, HE KNEW THAT OBVIOUSLY I
490
00:17:48,368 --> 00:17:50,570
KNEW, AND WE STARTED TO TALK.
491
00:17:50,570 --> 00:17:52,372
AND HE TOLD ME TO GIVE HIM HIS
492
00:17:52,372 --> 00:17:53,840
E-MAIL ADDRESS, AND THEN HE
493
00:17:53,840 --> 00:17:54,407
LEFT.
494
00:17:54,407 --> 00:17:56,209
THEY SCHEDULED ME TO COME DOWN
495
00:17:56,209 --> 00:17:58,378
AND HAVE AN APPOINTMENT WITH
496
00:17:58,378 --> 00:18:00,447
THEM IN THE OFFICES, AND I
497
00:18:00,447 --> 00:18:02,549
DIDN'T KNOW EXACTLY WHAT TO
498
00:18:02,549 --> 00:18:03,716
EXPECT.
499
00:18:03,716 --> 00:18:05,418
AND THEY TOLD ME TO DRESS
500
00:18:05,418 --> 00:18:07,320
"NICELY," WHICH OBVIOUSLY FOR ME
501
00:18:07,320 --> 00:18:09,256
CAN MEAN ALL SORTS OF DIFFERENT
502
00:18:09,256 --> 00:18:09,789
THINGS.
503
00:18:09,789 --> 00:18:11,624
THEY TOLD ME TO SHOW UP EARLY,
504
00:18:11,624 --> 00:18:13,360
AND I KNEW WHAT WAS GOING TO
505
00:18:13,360 --> 00:18:15,195
HAPPEN, THAT THERE WAS GOING TO
506
00:18:15,195 --> 00:18:16,863
BE A PROTEST, THAT I WOULD LEAD
507
00:18:16,863 --> 00:18:18,765
IT, AND THAT IT WOULD END AT THE
508
00:18:18,765 --> 00:18:20,200
LiPo LOUNGE.
509
00:18:20,200 --> 00:18:21,668
AND THEY GAVE ME A COUPLE OF
510
00:18:21,668 --> 00:18:22,602
THESE ARMBANDS.
511
00:18:22,602 --> 00:18:23,503
I PUT SOME ON.
512
00:18:23,503 --> 00:18:25,272
THEY HAND ME A BULLHORN AND TOLD
513
00:18:25,272 --> 00:18:26,739
ME, LIKE, THAT THEY'D HOPED I
514
00:18:26,739 --> 00:18:28,241
MEMORIZED ALL THE CHANTS.
515
00:18:28,241 --> 00:18:30,210
AND I'D NEVER -- THERE WAS NO
516
00:18:30,210 --> 00:18:30,777
CHANCE.
517
00:18:30,777 --> 00:18:32,779
SO, I SAID, "YES, ABSOLUTELY.
518
00:18:32,779 --> 00:18:34,281
I KNOW EVERY CHANT.
519
00:18:34,281 --> 00:18:35,915
ALL THE CHANTS I KNOW.
520
00:18:35,915 --> 00:18:37,984
I KNOW EVERY SINGLE CHANT."
521
00:18:37,984 --> 00:18:40,553
AND THEY SAID, "LET'S GO."
522
00:18:50,630 --> 00:18:51,398
HELLO!
523
00:18:51,398 --> 00:18:53,300
>> HI! NICE TO MEET YOU.
524
00:18:53,300 --> 00:18:56,536
>> HELLO!
525
00:18:56,536 --> 00:18:58,805
HOLD THE SIGNS UP HIGH IN THE
526
00:18:58,805 --> 00:18:59,506
AIR.
527
00:18:59,506 --> 00:19:02,842
I WANT TO SEE THEM.
528
00:19:02,842 --> 00:19:04,377
THERE'S SO MUCH ENERGY JUST
529
00:19:04,377 --> 00:19:05,678
COMING RIGHT THROUGH HERE.
530
00:19:05,678 --> 00:19:07,514
>> THERE'S A LOT OF ENERGY.
531
00:19:07,514 --> 00:19:08,748
>> YOU CAN FEEL IT.
532
00:19:08,748 --> 00:19:09,982
YOU CAN FEEL IT.
533
00:19:09,982 --> 00:19:11,451
FEEL THE ENERGY.
534
00:19:11,451 --> 00:19:13,586
OH, MY GOD, IT FEELS SO GOOD!
535
00:19:13,586 --> 00:19:14,954
GET UP HERE!
536
00:19:14,954 --> 00:19:17,557
GET UP HERE, YOU GUYS.
537
00:19:30,803 --> 00:19:33,640
KEEP ROCKING AND KEEP TRUCKING!
538
00:19:33,640 --> 00:19:35,041
I DIDN'T KNOW -- WHEN THEY SAID,
539
00:19:35,041 --> 00:19:36,476
LIKE, "OH, YEAH, YOU'LL LEAD
540
00:19:36,476 --> 00:19:37,844
IT," I DIDN'T KNOW, LIKE, I WAS
541
00:19:37,844 --> 00:19:39,279
PHYSICALLY GOING TO BE LIKE,
542
00:19:39,279 --> 00:19:40,647
"OH, WE'RE GOING THIS WAY NOW."
543
00:19:40,647 --> 00:19:42,382
SO, I DIDN'T KNOW EXACTLY WHERE
544
00:19:42,382 --> 00:19:43,316
WE WERE GOING.
545
00:19:43,316 --> 00:19:44,784
THERE WAS NO ROUTE ASSIGNMENT
546
00:19:44,784 --> 00:19:46,853
GIVEN TO ME, AND I DON'T LIVE IN
547
00:19:46,853 --> 00:19:47,720
CHINATOWN.
548
00:19:47,720 --> 00:19:49,656
SO, I DON'T KNOW THE BEST WAY
549
00:19:49,656 --> 00:19:50,357
THERE.
550
00:19:50,357 --> 00:19:51,958
SO, WE TOOK THE LONG ROUTE, AND,
551
00:19:51,958 --> 00:19:53,660
OF COURSE, IF YOU WERE THERE,
552
00:19:53,660 --> 00:19:54,927
YOU KNOW WHAT HAPPENED.
553
00:19:54,927 --> 00:19:56,829
I LED US RIGHT PAST THE
554
00:19:56,829 --> 00:19:59,399
JEJUNE INSTITUTE, AND OBVIOUSLY
555
00:19:59,399 --> 00:20:01,634
OCTAVIO WAS WAITING THERE FOR
556
00:20:01,634 --> 00:20:02,068
US.
557
00:20:40,673 --> 00:20:42,842
AND THEN THEY GAVE ME A
558
00:20:42,842 --> 00:20:45,445
HANDSHAKE, AND THEN I NEVER
559
00:20:45,445 --> 00:20:47,847
TALKED TO ANY OF THEM AGAIN
560
00:20:47,847 --> 00:20:50,517
AFTER THAT.
561
00:20:55,054 --> 00:20:57,123
>> YOU KNOW, EVERY DAY I WOULD
562
00:20:57,123 --> 00:20:59,058
GO TO THIS CHILDREN'S AMUSEMENT
563
00:20:59,058 --> 00:20:59,726
PARK.
564
00:20:59,726 --> 00:21:01,828
IT WAS LIKE LITERALLY A RABBIT
565
00:21:01,828 --> 00:21:03,863
HOLE THAT YOU COULD FALL DOWN
566
00:21:03,863 --> 00:21:05,732
INTO THAT LED YOU TO THESE
567
00:21:05,732 --> 00:21:07,567
DIORAMAS OR THE MAGIC KEY THAT
568
00:21:07,567 --> 00:21:09,436
YOU COULD PUT INTO A STORY BOX,
569
00:21:09,436 --> 00:21:11,037
AND THEN IT SUDDENLY WOULD BE
570
00:21:11,037 --> 00:21:13,540
TELLING YOU A FAIRY TALE.
571
00:21:13,773 --> 00:21:16,509
IT WAS FILLED WITH WONDER AND
572
00:21:16,509 --> 00:21:17,810
FILLED WITH DISCOVERY, AND I
573
00:21:17,810 --> 00:21:18,978
WANTED TO KNOW WHY IS IT
574
00:21:18,978 --> 00:21:20,880
CONTAINED INSIDE THE GATES OF
575
00:21:20,880 --> 00:21:22,048
THIS LITTLE PARK?
576
00:21:22,048 --> 00:21:24,451
AND THEN YOU GO OUT ONTO THE
577
00:21:24,451 --> 00:21:26,453
STREET, AND ALL YOU SEE IS
578
00:21:26,453 --> 00:21:28,588
WALK/DON'T WALK, NO DOGS, OR
579
00:21:28,588 --> 00:21:30,957
THIS WAY OR DO NOT ENTER AND ALL
580
00:21:30,957 --> 00:21:32,925
THESE RULES AND LINES AND
581
00:21:32,925 --> 00:21:33,760
RESTRICTIONS.
582
00:21:33,993 --> 00:21:36,396
AND I WANTED TO CRACK IT, AND I
583
00:21:36,396 --> 00:21:37,864
WANTED TO OPEN IT UP.
584
00:21:37,864 --> 00:21:39,866
AND I THINK IT WAS THIS VERY
585
00:21:39,866 --> 00:21:41,968
SUBCONSCIOUS INFLUENCE FOR ME
586
00:21:41,968 --> 00:21:44,103
THAT THERE SHOULD BE THIS KIND
587
00:21:44,103 --> 00:21:47,607
OF PLAY INFUSED INTO THE
588
00:21:47,607 --> 00:21:50,810
ARCHITECTURE OF OUR REAL WORLD.
589
00:21:50,810 --> 00:21:53,913
PEOPLE WOULD TOTALLY WILLINGLY
590
00:21:53,913 --> 00:21:56,549
ACCEPT THAT THERE WAS A
591
00:21:56,549 --> 00:21:59,652
COCA-COLA OR A McDONALD'S OR A
592
00:21:59,652 --> 00:22:01,954
KOOL CIGARETTE BILLBOARD RIGHT
593
00:22:01,954 --> 00:22:04,090
OUTSIDE THEIR HOME OR THEIR
594
00:22:04,090 --> 00:22:06,693
SCHOOLS, BUT THEY WOULD BE UPSET
595
00:22:06,693 --> 00:22:09,028
BY THE FACT THAT SOMEBODY DID A
596
00:22:09,028 --> 00:22:10,797
PIECE OF STREET ART THERE.
597
00:22:10,797 --> 00:22:12,198
AND THAT SEEMED REALLY
598
00:22:12,198 --> 00:22:14,066
BACKWARDS, AND I WAS WRITING
599
00:22:14,066 --> 00:22:16,068
ESSAYS ABOUT THIS THEORY THAT I
600
00:22:16,068 --> 00:22:18,037
CALLED "THREADS," IN WHICH ALL
601
00:22:18,037 --> 00:22:20,172
KINDS OF MEDIA COULD INTERTWINE
602
00:22:20,172 --> 00:22:22,141
WITH EACH OTHER TO TELL US A
603
00:22:22,141 --> 00:22:22,875
STORY.
604
00:22:22,875 --> 00:22:25,011
AND THAT'S REALLY THE BEGINNING
605
00:22:25,011 --> 00:22:27,447
OF WHAT DEVELOPED INTO
606
00:22:27,447 --> 00:22:28,648
NONCHALANCE.
607
00:22:28,881 --> 00:22:30,483
>> I JUST GRADUATED SCHOOL WITH
608
00:22:30,483 --> 00:22:31,851
MY DEGREE IN SOUND ARTS, AND I
609
00:22:31,851 --> 00:22:33,886
WAS DOING WORK WITH OAKLANDISH,
610
00:22:33,886 --> 00:22:35,788
BOTH DOING SOUND FOR SOME OF
611
00:22:35,788 --> 00:22:37,724
THEIR EVENTS AND JUST SELLING
612
00:22:37,757 --> 00:22:39,559
CLOTHES TO MAKE ENDS MEET.
613
00:22:39,559 --> 00:22:40,460
>> I KNEW OF JEFF.
614
00:22:40,460 --> 00:22:42,795
I DON'T THINK THAT WE HAD MET IN
615
00:22:42,795 --> 00:22:44,964
A WAY THAT EITHER OF US WOULD
616
00:22:44,964 --> 00:22:47,099
REMEMBER, BUT HE'S BEEN VERY
617
00:22:47,099 --> 00:22:49,168
INFLUENTIAL IN KIND OF THE
618
00:22:49,168 --> 00:22:51,237
GRASSROOTS ARTS COMMUNITY IN
619
00:22:51,237 --> 00:22:53,940
OAKLAND FOR QUITE SOME TIME.
620
00:22:54,173 --> 00:22:56,876
SO, I KNEW OF HIM, BUT IT REALLY
621
00:22:56,876 --> 00:22:59,011
STARTED -- I SAW A POST ON
622
00:22:59,011 --> 00:23:00,112
CRAIGSLIST.
623
00:23:00,112 --> 00:23:01,748
>> THROUGH SOMEONE AT
624
00:23:01,748 --> 00:23:03,750
OAKLANDISH, I HEARD THAT THEY
625
00:23:03,750 --> 00:23:05,918
WERE BUILDING AN AUTOMATED ROOM.
626
00:23:05,918 --> 00:23:08,054
I DID NOT KNOW WHAT THE POINT OF
627
00:23:08,054 --> 00:23:10,122
THE AUTOMATED ROOM WAS, BEYOND
628
00:23:10,122 --> 00:23:11,991
CREATE AN INTERESTING
629
00:23:11,991 --> 00:23:14,126
ENVIRONMENT FOR PLAYERS OR
630
00:23:14,126 --> 00:23:16,596
PARTICIPANTS TO ENGAGE IN ON
631
00:23:16,596 --> 00:23:17,697
SOME LEVEL.
632
00:23:17,697 --> 00:23:19,899
>> I MEAN, INITIALLY I WAS HIRED
633
00:23:19,899 --> 00:23:22,068
ON, CONTRACT FOR A SMALL PART OF
634
00:23:22,068 --> 00:23:24,070
THE JOB, AND THEN, WHEN JEFF
635
00:23:24,070 --> 00:23:26,238
ASKED ME TO COME ON FULL-TIME AS
636
00:23:26,238 --> 00:23:28,240
THE LEAD PRODUCER, I STARTED
637
00:23:28,240 --> 00:23:31,110
ASKING A COUPLE MORE QUESTIONS
638
00:23:31,110 --> 00:23:33,813
AND BEING A LITTLE NERVOUS.
639
00:23:33,813 --> 00:23:35,147
>> I GUESS YOU COULD SAY I
640
00:23:35,147 --> 00:23:36,916
LEARNED ABOUT THE PROJECT IN THE
641
00:23:36,916 --> 00:23:38,518
WAY A LOT OF PLAYERS LEARNED
642
00:23:38,518 --> 00:23:40,086
ABOUT THE PROJECT, AS THE MORE I
643
00:23:40,086 --> 00:23:41,588
BECAME INVOLVED, THE MORE
644
00:23:41,588 --> 00:23:42,622
QUESTIONS I ASKED.
645
00:23:42,622 --> 00:23:44,591
AND WHEN THOSE QUESTIONS GOT
646
00:23:44,591 --> 00:23:46,593
ANSWERED, A STORY STARTED TO
647
00:23:46,593 --> 00:23:47,159
EMERGE.
648
00:23:47,159 --> 00:23:49,295
>> WORDS LIKE "URBAN PLAYGROUND
649
00:23:49,295 --> 00:23:51,664
MOVEMENT"AND"ALTERNATE-REALITY
650
00:23:51,664 --> 00:23:57,203
GAME," AND IT WAS VERY OPAQUE.
651
00:23:57,203 --> 00:24:01,941
>> I WOULD DESCRIBE IT AS...
652
00:24:01,941 --> 00:24:04,711
A GAME THAT YOU PLAY BY GOING
653
00:24:04,711 --> 00:24:07,146
OUT INTO THE CITY AND DOING
654
00:24:07,146 --> 00:24:08,114
THINGS.
655
00:24:08,114 --> 00:24:10,950
AND AS YOU DO THAT, YOU BECOME
656
00:24:10,950 --> 00:24:13,586
PART OF A STORY THAT'S
657
00:24:13,586 --> 00:24:16,589
UNFOLDING IN THE CITY, IN THE
658
00:24:16,589 --> 00:24:19,091
REAL WORLD.
659
00:24:19,091 --> 00:24:20,927
>> WHAT WE'RE DOING WITH
660
00:24:20,927 --> 00:24:23,129
NONCHALANCE IS GIVING PEOPLE A
661
00:24:23,129 --> 00:24:24,997
MISSION AND GIVING PEOPLE
662
00:24:24,997 --> 00:24:27,734
PERMISSION TO BECOME AN AGENT
663
00:24:27,734 --> 00:24:30,269
AND TO EXPLORE THE SPACE IN A
664
00:24:30,269 --> 00:24:33,172
DIFFERENT WAY, TO GO IN AND OUT
665
00:24:33,172 --> 00:24:35,341
FROM PUBLIC AND PRIVATE SPACES
666
00:24:35,341 --> 00:24:37,309
AND TO EXPLORE AND JUST TO
667
00:24:37,309 --> 00:24:39,979
DISCOVER HIDDEN THINGS IN THEIR
668
00:24:39,979 --> 00:24:41,147
ENVIRONMENT.
669
00:24:41,147 --> 00:24:43,716
AND TO PLAY -- ULTIMATELY, TO
670
00:24:43,716 --> 00:24:46,185
BRING SPONTANEITY AND PLAY INTO
671
00:24:46,185 --> 00:24:47,587
OUR CIVIC SPACES.
672
00:24:47,587 --> 00:24:48,588
SOME PEOPLE THOUGHT IT WAS AN
673
00:24:48,588 --> 00:24:49,288
ACTUAL CULT, AND THEY WERE
674
00:24:49,288 --> 00:24:50,322
AFRAID TO GO TO THE INDUCTION
675
00:24:50,322 --> 00:24:50,923
CENTER.
676
00:24:50,923 --> 00:24:53,660
THEY THOUGHT, "OH, THESE GUYS
677
00:24:53,660 --> 00:24:55,995
ARE LIKE SCIENTOLOGISTS."
678
00:24:55,995 --> 00:24:58,831
AND FOR ME THE SIGNALS WERE OUT
679
00:24:58,831 --> 00:25:01,734
THERE THAT THIS WAS SOME KIND OF
680
00:25:01,734 --> 00:25:02,669
A GAME.
681
00:25:02,669 --> 00:25:04,871
BUT I DEFINITELY, IN THE
682
00:25:04,871 --> 00:25:07,740
BEGINNING, HAD THE INTENTION OF
683
00:25:07,740 --> 00:25:10,309
PEOPLE GOING, "WHAT THE FUCK?!
684
00:25:10,309 --> 00:25:11,310
REALLY?"
685
00:25:11,310 --> 00:25:15,114
OR TO GIVE THE NOTION THAT THIS
686
00:25:15,114 --> 00:25:17,750
WAS TOTALLY, LIKE, MARGINAL
687
00:25:17,750 --> 00:25:20,687
LUNATIC-FRINGE PEOPLE PUTTING UP
688
00:25:20,687 --> 00:25:21,688
THESE FLIERS.
689
00:25:21,688 --> 00:25:23,656
AND SO, OF COURSE, IT ATTRACTED
690
00:25:23,656 --> 00:25:25,391
SOME OF THOSE TYPES OF PEOPLE,
691
00:25:25,391 --> 00:25:27,159
AND WE DEFINITELY GOT SOME
692
00:25:27,159 --> 00:25:30,229
VOICE MAILS THAT WERE CHILLING.
693
00:25:30,229 --> 00:25:32,198
>> I lived in San Francisco for
694
00:25:32,198 --> 00:25:33,933
11 years and had to leave
695
00:25:33,933 --> 00:25:35,401
because of gang-stalking
696
00:25:35,401 --> 00:25:36,903
activities and being
697
00:25:36,903 --> 00:25:38,871
surveillanced and monitored and
698
00:25:38,871 --> 00:25:40,840
all the frequency manipulation,
699
00:25:40,840 --> 00:25:43,075
and it's a really serious thing
700
00:25:43,075 --> 00:25:44,977
to have done to somebody.
701
00:25:44,977 --> 00:25:47,179
And if you seriously want to go
702
00:25:47,179 --> 00:25:49,682
up against them, you need to get
703
00:25:49,682 --> 00:25:51,884
it better together than kind of
704
00:25:51,884 --> 00:25:53,853
these silly ramblings that
705
00:25:53,853 --> 00:25:55,154
honestly don't really make any
706
00:25:55,154 --> 00:25:55,722
sense.
707
00:25:56,656 --> 00:25:57,690
>> WOW!
708
00:25:57,690 --> 00:26:00,693
LIKE... LIKE... LIKE, LITERALLY,
709
00:26:00,693 --> 00:26:03,730
I LISTEN TO THESE MESSAGES AND
710
00:26:03,730 --> 00:26:05,832
GO COLD BECAUSE THESE PEOPLE
711
00:26:05,832 --> 00:26:07,399
WERE ENGAGING WITH THIS.
712
00:26:07,399 --> 00:26:09,836
THIS WAS THEIR REALITY TO THEM.
713
00:26:09,836 --> 00:26:11,804
AND FOR ME IT WAS THIS HUGE
714
00:26:11,804 --> 00:26:12,438
FANTASY.
715
00:26:12,438 --> 00:26:14,741
AND SO THERE WAS THIS BLURRING
716
00:26:14,741 --> 00:26:16,709
OF THE LINES BETWEEN A REAL
717
00:26:16,709 --> 00:26:18,811
FLIER AND REAL VOICE MAILS AND
718
00:26:18,811 --> 00:26:20,880
THEN THE CONTENT, WHICH TO ME
719
00:26:20,880 --> 00:26:22,982
WAS ABSURD BUT TO OTHER PEOPLE
720
00:26:22,982 --> 00:26:24,851
MAYBE WASN'T SO ABSURD.
721
00:26:24,851 --> 00:26:27,053
AND ORGANEIL'S A GREAT EXAMPLE
722
00:26:27,053 --> 00:26:27,854
OF THAT.
723
00:26:28,087 --> 00:26:31,791
>> I SAW A WAY TO PLAY THAT WAS
724
00:26:31,791 --> 00:26:35,261
ENTIRELY NEW, THAT WOULD BRING
725
00:26:35,261 --> 00:26:38,965
TOGETHER STRANGERS UNDER JOYFUL
726
00:26:38,965 --> 00:26:41,834
AND HILARIOUS CIRCUMSTANCES.
727
00:26:42,068 --> 00:26:45,071
I HAD REALIZED THAT A PLACE THAT
728
00:26:45,071 --> 00:26:47,974
HAD PREVIOUSLY BEEN MUNDANE AND
729
00:26:47,974 --> 00:26:50,977
SORT OF ENEMY TERRITORY -- I.E.,
730
00:26:50,977 --> 00:26:53,780
THE FINANCIAL DISTRICT -- HAD
731
00:26:53,780 --> 00:26:56,048
BEEN "MAGICALIZED."
732
00:26:56,048 --> 00:26:58,384
AND SO, MY HOPE WAS TO HELP A
733
00:26:58,384 --> 00:27:00,887
FEW PEOPLE SEE THAT SOMETHING
734
00:27:00,887 --> 00:27:03,222
REALLY MAGICAL AND UNEXPECTED
735
00:27:03,222 --> 00:27:05,224
COULD COME OUT OF THIS,
736
00:27:05,224 --> 00:27:06,726
SOMETHING REALLY BEAUTIFUL AND,
737
00:27:06,726 --> 00:27:08,360
YOU KNOW, LIFE-CHANGING.
738
00:27:08,360 --> 00:27:10,429
I CREATED A WEB PAGE ABOUT THE
739
00:27:10,429 --> 00:27:12,364
JEJUNE INSTITUTE AND HID IT
740
00:27:12,364 --> 00:27:14,400
INSIDE THE ORGANEIL MATERIAL.
741
00:27:14,400 --> 00:27:16,435
I SAW PEOPLE START SHOWING UP
742
00:27:16,435 --> 00:27:18,738
SUDDENLY, LIKE, TWO OR THREE OF
743
00:27:18,738 --> 00:27:20,472
THEM, WHICH DOESN'T HAPPEN.
744
00:27:20,472 --> 00:27:21,874
AND THESE PEOPLE WERE TALKING
745
00:27:21,874 --> 00:27:23,109
ABOUT THINGS THAT DIDN'T MAKE
746
00:27:23,109 --> 00:27:24,343
ANY SENSE TO ME, THAT I DIDN'T
747
00:27:24,343 --> 00:27:25,011
UNDERSTAND.
748
00:27:25,011 --> 00:27:26,846
THEY WERE CLEARLY FAMILIAR WITH
749
00:27:26,846 --> 00:27:28,147
THIS IDEA OF AN "ARG."
750
00:27:28,147 --> 00:27:30,016
AND THEM TREATING IT LIKE A GAME
751
00:27:30,016 --> 00:27:30,817
OFFENDED ME.
752
00:27:30,817 --> 00:27:33,452
>> HE DEFINITELY WAS SO DEEP
753
00:27:33,452 --> 00:27:36,322
INTO THE EXPERIENCE THAT HE
754
00:27:36,322 --> 00:27:39,391
OFTEN SPOKE OF IT IN SUCH A WAY
755
00:27:39,391 --> 00:27:42,161
THAT A PERSON WASN'T REALLY
756
00:27:42,161 --> 00:27:44,230
QUITE SURE WHERE THEY STOOD WITH
757
00:27:44,230 --> 00:27:46,298
HIM, AS FAR AS WHERE HE DREW THE
758
00:27:46,298 --> 00:27:46,966
LINE.
759
00:27:46,966 --> 00:27:48,100
>> PEOPLE WOULD SAY,
760
00:27:48,100 --> 00:27:49,836
"SOMETHING-SOMETHING GAME," AND
761
00:27:49,836 --> 00:27:51,337
ORGANEIL WOULD SAY, "YOU DON'T
762
00:27:51,337 --> 00:27:52,104
UNDERSTAND.
763
00:27:52,104 --> 00:27:53,205
THIS IS NOT A GAME!
764
00:27:53,205 --> 00:27:54,206
YOU'RE NOT TAKING THIS
765
00:27:54,206 --> 00:27:54,841
SERIOUSLY.
766
00:27:54,841 --> 00:27:55,875
YOU CLEARLY DON'T HAVE THE
767
00:27:55,875 --> 00:27:56,275
VISION.
768
00:27:56,275 --> 00:27:57,844
THIS IS NOT A GAME."
769
00:27:57,844 --> 00:28:00,146
>> HE INSISTED THAT THERE WAS
770
00:28:00,146 --> 00:28:02,381
MORE GOING ON THAT JUST SOME
771
00:28:02,381 --> 00:28:03,783
SORT OF GAME.
772
00:28:03,783 --> 00:28:06,385
WHETHER OR NOT -- I DON'T KNOW
773
00:28:06,385 --> 00:28:09,155
WHAT HE SUSPECTED, BUT I THINK
774
00:28:09,155 --> 00:28:11,557
WE JUST DISAGREED ON THAT POINT.
775
00:28:11,557 --> 00:28:13,926
>> HE THOUGHT THAT MAYBE THIS
776
00:28:13,926 --> 00:28:16,262
WAS GOING TO CHANGE THE WORLD OR
777
00:28:16,262 --> 00:28:18,530
BE AN OPPORTUNITY FOR PEOPLE TO
778
00:28:18,530 --> 00:28:20,566
REALLY COME TOGETHER AS AN
779
00:28:20,566 --> 00:28:22,902
ORGANIZATION THAT COULD UPLIFT
780
00:28:22,902 --> 00:28:24,503
THE PLANET IN SOME WAY.
781
00:28:24,503 --> 00:28:26,272
AND, YOU KNOW, I DON'T THINK
782
00:28:26,272 --> 00:28:28,207
THERE'S ANY LIMITS ON THE AMOUNT
783
00:28:28,207 --> 00:28:30,142
OF THINGS YOU COULD DO WITH THIS
784
00:28:30,142 --> 00:28:31,210
KIND OF ARTWORK.
785
00:28:31,210 --> 00:28:33,079
BUT IT WAS CERTAINLY BEYOND OUR
786
00:28:33,079 --> 00:28:33,545
SCOPE.
787
00:28:33,545 --> 00:28:36,382
THERE WAS A CERTAIN POINT WHEN I
788
00:28:36,382 --> 00:28:38,818
WAS SURPRISED TO RECEIVE AN
789
00:28:38,818 --> 00:28:41,453
E-MAIL FROM HIM SAYING, "I AM NO
790
00:28:41,453 --> 00:28:44,290
LONGER GONNA HAVE ANYTHING TO DO
791
00:28:44,290 --> 00:28:46,993
WITH THIS AND PLEASE ERASE ANY
792
00:28:46,993 --> 00:28:49,361
EVIDENCE OF MY PARTICIPATION
793
00:28:49,361 --> 00:28:50,462
WITH THIS.
794
00:28:50,462 --> 00:28:53,165
AND IN MY HEART AND MIND, THIS
795
00:28:53,165 --> 00:28:54,433
IS ALREADY DONE."
796
00:28:54,433 --> 00:28:56,936
>> I WAS ACTUALLY INJURED ON A
797
00:28:56,936 --> 00:29:03,609
COUPLE OF JEJUNE ERRANDS, TWICE.
798
00:29:03,609 --> 00:29:07,179
UNFORTUNATELY, THE SECOND TIME
799
00:29:07,179 --> 00:29:10,883
WAS THE LAST TIME I WAS OUTSIDE.
800
00:29:10,883 --> 00:29:13,152
THAT WAS IN JULY OF 2009.
801
00:29:13,152 --> 00:29:16,022
AND I WAS SO BADLY HURT THAT IT
802
00:29:16,022 --> 00:29:18,490
WASN'T SAFE TO TRANSPORT ME.
803
00:29:18,490 --> 00:29:19,959
JIGGLING WOULD CAUSE MUSCLES IN
804
00:29:19,959 --> 00:29:21,293
MY ABDOMEN TO TEAR.
805
00:29:21,293 --> 00:29:23,295
>> I HAD NEVER HEARD OF ANYTHING
806
00:29:23,295 --> 00:29:25,231
LIKE THAT HAPPENING TO ANY ONE
807
00:29:25,231 --> 00:29:27,099
OF OUR PLAYERS AND KNEW OF NO
808
00:29:27,099 --> 00:29:30,236
SITUATION OR EVENT IN WHICH
809
00:29:30,236 --> 00:29:33,973
ANYTHING ACCIDENTAL HAD HAPPENED
810
00:29:33,973 --> 00:29:35,141
AT ALL.
811
00:29:35,141 --> 00:29:37,509
AND I KIND OF CAME TO THE
812
00:29:37,509 --> 00:29:39,979
CONCLUSION THIS WAS ALL
813
00:29:39,979 --> 00:29:42,614
SOMETHING THAT HE HAD KIND OF
814
00:29:42,614 --> 00:29:44,917
CONCOCTED IN HIS MIND.
815
00:29:44,917 --> 00:29:46,518
>> I HAD NO ASSISTANCE
816
00:29:46,518 --> 00:29:47,586
WHATSOEVER.
817
00:29:47,586 --> 00:29:50,122
I WAS KIND OF TRAPPED HERE IN MY
818
00:29:50,122 --> 00:29:50,890
HOUSE.
819
00:29:50,890 --> 00:29:53,592
AND I BEGAN TO BECOME REALLY
820
00:29:53,592 --> 00:29:56,028
CONCERNED THAT, UH...
821
00:29:57,429 --> 00:29:59,966
WELL, TO BE QUITE FRANK AND
822
00:29:59,966 --> 00:30:02,168
TERRIBLY HONEST, IN THOSE
823
00:30:02,168 --> 00:30:04,603
CIRCUMSTANCES, I WAS SOMEWHAT
824
00:30:04,603 --> 00:30:05,671
PARANOID.
825
00:30:05,671 --> 00:30:08,074
AND I FELT THAT WITH SOME
826
00:30:08,074 --> 00:30:10,642
REASON THAT MY INTERACTION WITH
827
00:30:10,642 --> 00:30:12,979
THE JEJUNE INSTITUTE WAS
828
00:30:12,979 --> 00:30:15,547
POSSIBLY SPIRITUALLY HARMFUL IN
829
00:30:15,547 --> 00:30:16,582
SOME SENSE.
830
00:30:16,582 --> 00:30:18,317
AT FIRST, YOU GO IN, AND YOU'RE
831
00:30:18,317 --> 00:30:19,952
KIND OF STARRY-EYED, AND YOU
832
00:30:19,952 --> 00:30:21,087
HAVE THE EXPERIENCE.
833
00:30:21,087 --> 00:30:22,688
BUT ONCE YOU START UNDERSTANDING
834
00:30:22,688 --> 00:30:24,456
A LITTLE BIT MORE OF THE "PLOT,"
835
00:30:24,456 --> 00:30:25,624
YOU REALIZE THAT THE
836
00:30:25,624 --> 00:30:27,226
JEJUNE INSTITUTE IS THE BAD
837
00:30:27,226 --> 00:30:27,593
GUYS.
838
00:30:27,593 --> 00:30:29,361
AND SO, YOU'VE GIVEN YOUR
839
00:30:29,361 --> 00:30:31,397
PERSONAL INFORMATION TO THE BAD
840
00:30:31,397 --> 00:30:32,064
GUYS!
841
00:30:32,064 --> 00:30:34,033
AND NOT KNOWING WHO'S REALLY
842
00:30:34,033 --> 00:30:36,102
BEHIND IT OR WHAT REALLY THEIR
843
00:30:36,102 --> 00:30:37,469
GOALS ARE, YOU KNOW?
844
00:30:37,469 --> 00:30:39,471
FROM THE SINISTER NATURE OF THE
845
00:30:39,471 --> 00:30:41,307
JEJUNE INSTITUTE, IT IS NOT
846
00:30:41,307 --> 00:30:43,309
CLEAR THAT YOU'RE INVOLVED WITH
847
00:30:43,309 --> 00:30:44,643
SOMETHING AS BEAUTIFUL AS
848
00:30:44,643 --> 00:30:46,545
ELSEWHERE.
849
00:30:46,545 --> 00:30:47,613
AND SO I WANTED TO DISTANCE
850
00:30:47,613 --> 00:30:50,449
MYSELF FROM IT AT THAT POINT.
851
00:30:56,622 --> 00:30:59,658
>> COMMANDER 14 CALLING
852
00:30:59,658 --> 00:31:01,193
EVA LUCIEN.
853
00:31:01,193 --> 00:31:04,063
EVALYN, WE NEED YOU TO COME IN.
854
00:31:04,063 --> 00:31:06,298
REPEAT -- WE NEED YOU TO COME
855
00:31:06,298 --> 00:31:06,966
IN.
856
00:31:06,966 --> 00:31:08,534
WE HAVE A CHANCE OF DECODING
857
00:31:08,534 --> 00:31:10,436
THE ENCRYPTION OF THE FIRST SIX
858
00:31:10,436 --> 00:31:12,038
PHASES OF THE ALGORITHM.
859
00:31:12,038 --> 00:31:14,173
BUT DON'T GO TO THE SAFE HOUSE.
860
00:31:14,173 --> 00:31:15,674
IT'S BEEN COMPROMISED.
861
00:31:15,674 --> 00:31:17,977
COLEMAN'S GOT HIS GOONS THERE
862
00:31:17,977 --> 00:31:18,444
NOW.
863
00:31:18,444 --> 00:31:20,512
USE YOUR KEY AND FOLLOW THE
864
00:31:20,512 --> 00:31:21,313
SIGNS.
865
00:31:21,313 --> 00:31:26,252
WE NEED YOU TO COME IN.
866
00:31:26,252 --> 00:31:28,354
>> YOU ARE LISTENING TO
867
00:31:28,354 --> 00:31:31,157
RADIO NONCHALANCE -- DISPATCHES
868
00:31:31,157 --> 00:31:32,191
FROM ELSEWHERE.
869
00:31:32,191 --> 00:31:33,725
SUPPORT FOR THIS PROGRAM HAS
870
00:31:33,725 --> 00:31:35,127
BEEN PROVIDED BY THE
871
00:31:35,127 --> 00:31:38,197
ELSEWHERE PUBLIC WORKS AGENCY.
872
00:31:38,197 --> 00:31:42,168
NOW BACK TO OUR PROGRAM.
873
00:31:42,168 --> 00:31:44,003
>> MONDAY, I GOT TO WORK, AND I
874
00:31:44,003 --> 00:31:45,671
HAD AN E-MAIL SENT TO AN E-MAIL
875
00:31:45,671 --> 00:31:47,539
ADDRESS I DON'T USE A WHOLE LOT.
876
00:31:47,539 --> 00:31:48,707
AND IT WAS FROM THE
877
00:31:48,707 --> 00:31:50,442
ELSEWHERE PUBLIC WORKS AGENCY
878
00:31:50,442 --> 00:31:52,178
ASKING ME TO BE AT A CERTAIN
879
00:31:52,178 --> 00:31:53,479
INTERSECTION BY THE PAY
880
00:31:53,479 --> 00:31:55,081
PHONES -- IT WAS 24th AND
881
00:31:55,081 --> 00:31:57,216
MISSION -- AT NOON.
882
00:31:57,216 --> 00:31:59,785
SO, EVENTUALLY, I GOT A CALL ON
883
00:31:59,785 --> 00:32:02,554
MY CELLPHONE FROM COMMANDER 14,
884
00:32:02,554 --> 00:32:05,124
CHECKING AND SAYING THAT THE
885
00:32:05,124 --> 00:32:06,392
JEJUNE INSTITUTE WAS MOVING IN
886
00:32:06,392 --> 00:32:07,426
OR SOMETHING ABOUT THE
887
00:32:07,426 --> 00:32:08,427
GREEN ENERGY ARCANS.
888
00:32:08,427 --> 00:32:09,695
I DON'T REMEMBER WHAT HE SAID.
889
00:32:10,429 --> 00:32:12,398
>> The closure of a temporal
890
00:32:12,398 --> 00:32:13,799
vacuole is imminent.
891
00:32:13,799 --> 00:32:15,367
Repeat -- imminent.
892
00:32:15,367 --> 00:32:17,369
Without physical jamming to
893
00:32:17,369 --> 00:32:18,704
offset transneural
894
00:32:18,704 --> 00:32:20,572
interference, a negative
895
00:32:20,572 --> 00:32:22,774
group-cascade sequence could be
896
00:32:22,774 --> 00:32:23,775
initiated.
897
00:32:23,775 --> 00:32:26,778
Do you see 24th Street?
898
00:32:26,778 --> 00:32:27,546
>> YEAH.
899
00:32:27,546 --> 00:32:29,481
>> Cross Mission and continue
900
00:32:29,481 --> 00:32:30,349
down 24th.
901
00:32:30,349 --> 00:32:32,518
I will be making contact at
902
00:32:32,518 --> 00:32:35,054
that location in five minutes'
903
00:32:35,054 --> 00:32:35,587
time.
904
00:32:35,587 --> 00:32:38,490
When I say, "ornithopter," you
905
00:32:38,490 --> 00:32:40,326
say, "jump suit."
906
00:32:40,326 --> 00:32:41,360
Ornithopter.
907
00:32:41,360 --> 00:32:42,128
>> JUMP SUIT.
908
00:32:42,128 --> 00:32:42,761
>> Ornithopter.
909
00:32:42,761 --> 00:32:44,263
>> JUMP SUIT.
910
00:32:44,263 --> 00:32:46,132
>> Okay. Now go. Hurry!
911
00:33:16,128 --> 00:33:17,329
>> Ornithopter.
912
00:33:17,329 --> 00:33:18,364
>> JUMP SUIT.
913
00:33:18,364 --> 00:33:19,498
>> Ornithopter.
914
00:33:19,498 --> 00:33:20,199
>> JUMP SUIT.
915
00:33:20,199 --> 00:33:21,633
>> Now we can get this
916
00:33:21,633 --> 00:33:23,202
transaction rolling.
917
00:33:23,202 --> 00:33:24,870
The time is nigh.
918
00:33:24,870 --> 00:33:27,106
Now listen quickly.
919
00:33:27,106 --> 00:33:28,740
Dance.
920
00:33:28,740 --> 00:33:30,509
You heard me. Dance.
921
00:33:30,509 --> 00:33:31,643
I say dance!
922
00:33:31,643 --> 00:33:33,445
>> DANCE? OKAY.
923
00:33:33,445 --> 00:33:34,613
>> It is imperative that you now
924
00:33:34,613 --> 00:33:35,181
dance.
925
00:33:35,181 --> 00:33:35,814
I hope you dance.
926
00:33:35,814 --> 00:33:37,549
This interacting cannot happen
927
00:33:37,549 --> 00:33:38,884
without vigorous physical
928
00:33:38,884 --> 00:33:39,651
jamming.
929
00:33:39,651 --> 00:33:41,820
Now get off this phone and
930
00:33:41,820 --> 00:33:43,622
dance, motherfucker!
931
00:33:43,622 --> 00:33:45,891
>> WE NEEDED TO STOP THE ENERGY
932
00:33:45,891 --> 00:33:48,194
ATTACK BY "RIGOROUS PHYSICAL
933
00:33:48,194 --> 00:33:49,728
JAMMING," WHICH IS WHAT WE DID.
934
00:33:49,728 --> 00:33:51,463
SO, I STARTED DANCING, AND THEN
935
00:33:51,463 --> 00:33:52,731
I STARTED HEARING MUSIC.
936
00:33:52,731 --> 00:33:54,466
AND THIS GUY SHOWED UP WITH A
937
00:33:54,466 --> 00:33:55,234
BOOM BOX.
938
00:33:55,234 --> 00:33:56,768
AND HE STARTED DANCING WITH ME.
939
00:33:56,768 --> 00:33:58,470
AND THEN A SASQUATCH SHOWED UP,
940
00:33:58,470 --> 00:34:00,206
ANDSTARTED DANCING WITH US.
941
00:34:04,176 --> 00:34:05,277
>> * FREESTYLE KICKIN'
942
00:34:05,277 --> 00:34:06,312
IN THE HOUSE TONIGHT *
943
00:34:06,312 --> 00:34:07,279
* MOVE YOUR BODY
944
00:34:07,279 --> 00:34:08,380
FROM LEFT TO RIGHT *
945
00:34:08,380 --> 00:34:09,381
* TO ALL YOU FREAKS,
946
00:34:09,381 --> 00:34:12,384
DON'T STOP THE ROCK *
947
00:34:12,384 --> 00:34:13,319
* FREESTYLE KICKIN'
948
00:34:13,319 --> 00:34:14,420
IN THE HOUSE TONIGHT *
949
00:34:14,420 --> 00:34:15,321
* MOVE YOUR BODY
950
00:34:15,321 --> 00:34:16,322
FROM LEFT TO RIGHT *
951
00:34:16,322 --> 00:34:17,389
* TO ALL YOU FREAKS,
952
00:34:17,389 --> 00:34:22,261
DON'T STOP THE ROCK *
953
00:34:22,261 --> 00:34:24,230
>> AND THERE WAS A MOMENT THAT
954
00:34:24,230 --> 00:34:25,897
THE SONG ENDED, AND WE HEARD
955
00:34:25,897 --> 00:34:27,566
WHAT SOUNDED LIKE ANGELS
956
00:34:27,566 --> 00:34:29,601
SINGING, AND THE SASQUATCH GAVE
957
00:34:29,601 --> 00:34:31,603
ME THE TRANSCRIPT, WHICH THAT'S
958
00:34:31,603 --> 00:34:33,372
A VERY WEIRD THING TO SAY.
959
00:34:33,372 --> 00:34:34,873
BUT THAT HAPPENED.
960
00:34:43,782 --> 00:34:46,618
* SOMETHING'S GOT A HOLD
961
00:34:46,618 --> 00:34:48,920
ON ME *
962
00:34:48,920 --> 00:34:50,722
>> SO, WITH THE MAP THERE WAS A
963
00:34:50,722 --> 00:34:52,524
CD OF CULT MUSIC THAT HAD A LOT
964
00:34:52,524 --> 00:34:53,925
OF WEIRD STUFF FROM, LIKE,
965
00:34:53,925 --> 00:34:55,727
JONESTOWN AND THIS GROUP CALLED
966
00:34:55,727 --> 00:34:57,463
YAHAWA, FROM THE '70s AND ON.
967
00:34:57,463 --> 00:34:59,231
BUT IT ALSO HAD A HIDDEN TRACK
968
00:34:59,231 --> 00:35:00,766
ON IT, WHICH HAD A LITTLE GIRL
969
00:35:00,766 --> 00:35:02,568
NAMED EVA AND HER MOTHER TAKING
970
00:35:02,568 --> 00:35:03,635
A WALK TOWARD THE
971
00:35:03,635 --> 00:35:06,172
MISSION DISTRICT.
972
00:35:09,808 --> 00:35:10,709
>> * SOMETHING'S
973
00:35:10,709 --> 00:35:11,610
>> * SOMETHING'S
974
00:35:11,610 --> 00:35:12,544
>> * GOT A HOLD
975
00:35:12,544 --> 00:35:13,445
>> * GOT A HOLD
976
00:35:13,445 --> 00:35:14,780
>> * ON ME
977
00:35:14,780 --> 00:35:15,981
>> THIS IS ARCHIVAL BINAURAL
978
00:35:15,981 --> 00:35:17,383
FIELD RECORDING, DESIGNATION
979
00:35:17,383 --> 00:35:21,620
16-62-TC13.
980
00:35:21,620 --> 00:35:22,754
TAPE WAS ENGAGED AT
981
00:35:22,754 --> 00:35:24,423
CHULA LANE AND ABBEY STREET
982
00:35:24,423 --> 00:35:25,491
FACING SOUTHWEST.
983
00:35:25,491 --> 00:35:26,925
HEADPHONES OR OTHER STEREO
984
00:35:26,925 --> 00:35:28,794
PERSONAL-LISTENING DEVICE SHOULD
985
00:35:28,794 --> 00:35:31,230
BE USED DURING PLAYBACK.
986
00:35:33,732 --> 00:35:36,001
>> HI, EVA!
987
00:35:36,001 --> 00:35:38,437
>> HI, MOM!
988
00:35:41,607 --> 00:35:43,375
WELL, GOOD DAY TO YOU, EVA, MY
989
00:35:43,375 --> 00:35:43,775
DEAR.
990
00:35:43,775 --> 00:35:45,544
>> AND A PLEASANT AFTERNOON TO
991
00:35:45,544 --> 00:35:46,378
YOU, MADAM.
992
00:35:46,378 --> 00:35:47,379
>> HOW WAS SCHOOL TODAY?
993
00:35:47,379 --> 00:35:48,580
>> TEDIOUS, BUT I LOST ANOTHER
994
00:35:48,580 --> 00:35:49,348
TOOTH AT RECESS.
995
00:35:49,348 --> 00:35:49,781
>> REALLY?
996
00:35:49,781 --> 00:35:50,816
SHALL WE SAVE IT FOR THE
997
00:35:50,816 --> 00:35:51,483
TOOTH FAIRY?
998
00:35:51,483 --> 00:35:52,684
>> NO! HE'S SCARY!
999
00:35:52,684 --> 00:35:54,653
>> YOU'VE SEEN THE TOOTH FAIRY?
1000
00:35:54,653 --> 00:35:55,587
>> OF COURSE.
1001
00:35:55,587 --> 00:35:56,722
>> AND HE'S A MAN?
1002
00:35:56,722 --> 00:35:57,423
>> YES.
1003
00:35:57,423 --> 00:35:59,558
>> SO, DO YOU HAVE TIME FOR A
1004
00:35:59,558 --> 00:36:01,360
LITTLE WALKABOUT TODAY?
1005
00:36:01,360 --> 00:36:01,827
>> UH-HUH.
1006
00:36:01,827 --> 00:36:03,028
>> WHERE SHALL WE GO, THEN?
1007
00:36:03,028 --> 00:36:04,296
>> ELSEWHERE!
1008
00:36:04,296 --> 00:36:04,996
>> AGAIN?
1009
00:36:04,996 --> 00:36:05,764
>> YES.
1010
00:36:05,764 --> 00:36:06,598
>> OKAY.
1011
00:36:06,598 --> 00:36:07,999
>> LET'S START WALKING NORTHEAST
1012
00:36:07,999 --> 00:36:08,834
ON CHULA LANE.
1013
00:36:08,834 --> 00:36:09,635
>> OKAY.
1014
00:36:09,635 --> 00:36:11,703
>> YOU CAN SEE THE OLD CEMETERY
1015
00:36:11,703 --> 00:36:12,671
ON OUR LEFT.
1016
00:36:12,671 --> 00:36:14,773
THOUSANDS OF INDIANS WHO DIED OF
1017
00:36:14,773 --> 00:36:16,675
SPANISH DISEASES WERE BURIED
1018
00:36:16,675 --> 00:36:17,609
RIGHT HERE.
1019
00:36:17,609 --> 00:36:19,711
THEY'RE UNDERNEATH US RIGHT NOW.
1020
00:36:19,711 --> 00:36:20,412
>> OH.
1021
00:36:20,412 --> 00:36:22,448
>> SOMETIMES, IF YOU LISTEN, YOU
1022
00:36:22,448 --> 00:36:22,981
CAN HEAR THEM.
1023
00:36:22,981 --> 00:36:24,583
>> OH.
1024
00:36:24,583 --> 00:36:25,551
>> NOW GO LEFT, AND WE WALK
1025
00:36:25,551 --> 00:36:26,718
ALONG DOLORES.
1026
00:36:27,819 --> 00:36:29,588
>> YOU CAN SEE THE MISSION
1027
00:36:29,588 --> 00:36:31,557
SAN FRANCISCO DE ASIS, FOUNDED
1028
00:36:31,557 --> 00:36:33,792
ON OCTOBER 9, 1776, BY
1029
00:36:33,792 --> 00:36:36,061
FATHER FRANCISCO PAULO.
1030
00:36:36,061 --> 00:36:39,030
THAT'S REALLY THE BEGINNING OF
1031
00:36:39,030 --> 00:36:40,799
THE WHOLE CITY.
1032
00:36:40,799 --> 00:36:42,734
LET'S CROSS OVER TO THE MEDIAN.
1033
00:36:42,734 --> 00:36:44,536
>> OH, YOU MEAN BY THE PALM
1034
00:36:44,536 --> 00:36:45,003
TREES?
1035
00:36:45,003 --> 00:36:45,871
>> YEAH.
1036
00:36:45,871 --> 00:36:46,772
>> OKAY.
1037
00:36:46,772 --> 00:36:49,308
>> I WANT TO SHOW YOU SOMETHING.
1038
00:36:49,308 --> 00:36:50,609
WE USED TO FEED THE FAIRIES.
1039
00:36:50,609 --> 00:36:51,810
>> WELL, WHAT WOULD YOU FEED
1040
00:36:51,810 --> 00:36:52,411
THEM?
1041
00:36:52,411 --> 00:36:53,445
>> BERRIES, OF COURSE.
1042
00:36:54,780 --> 00:36:57,316
AND ARE THE FAIRIES STILL THERE?
1043
00:36:57,316 --> 00:36:58,584
>> THEY COME AND GO AS THEY
1044
00:36:58,584 --> 00:37:02,087
PLEASE, ELSEWHERE AND THAT.
1045
00:37:02,087 --> 00:37:03,889
I ALWAYS GET HEADACHES WHEN I
1046
00:37:03,889 --> 00:37:05,557
WALK BY THESE GREEN BOXES.
1047
00:37:05,557 --> 00:37:06,792
>> I KNOW. ME TOO.
1048
00:37:06,792 --> 00:37:10,396
LET'S WALK FASTER.
1049
00:37:10,396 --> 00:37:11,597
>> AND HERE WE ARE AT
1050
00:37:11,597 --> 00:37:12,764
COMMANDER 14's HOUSE.
1051
00:37:12,764 --> 00:37:14,533
THIS IS WHERE HE DOES THE RADIO
1052
00:37:14,533 --> 00:37:16,435
SHOW WITH KAI EPSILON.
1053
00:37:16,435 --> 00:37:18,637
DAD HELPS THEM OUT WITH THE
1054
00:37:18,637 --> 00:37:19,805
TRANSMITTER.
1055
00:37:19,805 --> 00:37:21,840
AND RIGHT NEXT DOOR IS OUR
1056
00:37:21,840 --> 00:37:22,508
HOUSE.
1057
00:37:22,508 --> 00:37:28,347
>> MM-HMM.
1058
00:37:28,347 --> 00:37:29,915
>> LET'S PLAY HOPSCOTCH.
1059
00:37:29,915 --> 00:37:31,783
>> THAT IS A VERY PECULIAR
1060
00:37:31,783 --> 00:37:32,418
BOARD.
1061
00:37:32,418 --> 00:37:33,619
>> THIS IS A GAME OF
1062
00:37:33,619 --> 00:37:35,053
INTERDIMENSIONAL HOPSCOTCH.
1063
00:37:35,053 --> 00:37:36,922
IT HELPS YOU PRACTICE HOW TO GET
1064
00:37:36,922 --> 00:37:38,056
TO ELSEWHERE.
1065
00:37:38,056 --> 00:37:39,958
>> LET'S TURN RIGHT ON ALBION SO
1066
00:37:39,958 --> 00:37:41,627
WE CAN SAY HI TO MR. BOOKS.
1067
00:37:41,627 --> 00:37:43,829
AND HERE WE ARE, OUR SECOND
1068
00:37:43,829 --> 00:37:45,497
HOME, ADOBE BOOKS.
1069
00:37:45,497 --> 00:37:47,065
AFTER YOU.
1070
00:37:50,836 --> 00:37:52,904
>> YOU NEED TO LOOK ON THE SHELF
1071
00:37:52,904 --> 00:37:54,973
FOR THE BOOK ON INTERDIMENSIONAL
1072
00:37:54,973 --> 00:37:55,774
HOPSCOTCH.
1073
00:37:55,774 --> 00:37:57,543
IT WILL TELL YOU WHAT YOU NEED
1074
00:37:57,543 --> 00:37:57,976
TO DO.
1075
00:37:57,976 --> 00:37:59,144
SEE YOU IN ELSEWHERE.
1076
00:37:59,144 --> 00:38:00,979
BYE!
1077
00:38:04,516 --> 00:38:06,785
>> MY NAME IS KELVIN WILLIAMS,
1078
00:38:06,785 --> 00:38:08,654
AND I GUESS I CAME INTO
1079
00:38:08,654 --> 00:38:09,755
ADOBE BOOKS.
1080
00:38:09,755 --> 00:38:11,457
I HAD MET THE OWNER BEFORE.
1081
00:38:11,457 --> 00:38:13,058
YOU KNOW, I'M A BOOK PERSON, A
1082
00:38:13,058 --> 00:38:13,859
LIBRARIAN.
1083
00:38:13,859 --> 00:38:15,627
WE ALL KIND OF MOVE IN THE SAME
1084
00:38:15,627 --> 00:38:16,027
CIRCLES.
1085
00:38:16,027 --> 00:38:17,796
SO, I WAS INTERESTED THAT THIS
1086
00:38:17,796 --> 00:38:19,097
BOOK ON INTERDIMENSIONAL
1087
00:38:19,097 --> 00:38:20,832
HOPSCOTCH SHOULD BE THERE, OF
1088
00:38:20,832 --> 00:38:21,533
ALL PLACES.
1089
00:38:21,767 --> 00:38:23,769
I STRUCK UP A CONVERSATION WITH
1090
00:38:23,769 --> 00:38:25,671
THE OWNER, WHO HAPPENED TO BE
1091
00:38:25,671 --> 00:38:27,506
THERE, AND I JUST ASKED HER.
1092
00:38:27,506 --> 00:38:29,408
"THIS IS KIND OF ODD THAT YOU
1093
00:38:29,408 --> 00:38:30,509
HAVE THIS HERE.
1094
00:38:30,509 --> 00:38:32,544
I DIDN'T KNOW THAT YOU HAD THESE
1095
00:38:32,544 --> 00:38:34,145
KIND OF ESOTERIC INTERESTS.
1096
00:38:34,145 --> 00:38:36,114
AS ONE ACQUAINTANCE TO ANOTHER,
1097
00:38:36,114 --> 00:38:38,083
DO YOU HAVE ANY MATERIALS THAT
1098
00:38:38,083 --> 00:38:39,885
MIGHT BE CONNECTED TO THIS?
1099
00:38:39,885 --> 00:38:41,119
DO YOU HAVE ANY...
1100
00:38:41,119 --> 00:38:43,121
CAN YOU POINT ME ANY FURTHER?"
1101
00:38:43,121 --> 00:38:44,790
AND SHE SAID, "WELL, KELVIN,
1102
00:38:44,790 --> 00:38:46,625
I'VE GOT A BOX OF MATERIALS THAT
1103
00:38:46,625 --> 00:38:48,159
WOULD PROBABLY INTEREST YOU IN
1104
00:38:48,159 --> 00:38:49,595
THE BACK OF THE STORE.
1105
00:38:49,595 --> 00:38:51,630
SOME EPHEMERA -- HANDBILLS,
1106
00:38:51,630 --> 00:38:53,131
POSTERS, AND SO ON."
1107
00:38:53,131 --> 00:38:55,467
BUT DOWN IN THE BOTTOM OF THE
1108
00:38:55,467 --> 00:38:57,703
BOX WAS THIS BOOK, WHICH TURNED
1109
00:38:57,703 --> 00:38:59,505
OUT TO BE THE DIARY OF
1110
00:38:59,505 --> 00:39:02,007
EVA LUCIEN, WHO WAS, IT SEEMED
1111
00:39:02,007 --> 00:39:04,643
TO ME, A REALLY EXTRAORDINARY
1112
00:39:04,643 --> 00:39:05,544
PERSON.
1113
00:39:05,544 --> 00:39:07,446
YOU KNOW, SHE EMBODIED A KIND OF
1114
00:39:07,446 --> 00:39:09,047
TRANSCENDENCE AND EPHEMERALITY
1115
00:39:09,047 --> 00:39:10,882
OF YOUTH AT THE SAME TIME, AND
1116
00:39:10,882 --> 00:39:12,684
THAT WAS REALLY WHAT CAUGHT ME
1117
00:39:12,684 --> 00:39:13,585
ABOUT HER.
1118
00:39:13,585 --> 00:39:15,687
I HAD NOTICED IN EVA'S DIARIES,
1119
00:39:15,687 --> 00:39:17,589
THERE WAS REFERENCES TO THE
1120
00:39:17,589 --> 00:39:19,691
S.F. SAVANTS, WHICH WAS A B-BOY
1121
00:39:19,691 --> 00:39:21,793
CREW THAT I HAD MAYBE HEARD OF
1122
00:39:21,793 --> 00:39:23,161
YEARS AND YEARS AGO.
1123
00:39:23,161 --> 00:39:24,696
BUT IT TURNS OUT THEY STILL HAD
1124
00:39:24,696 --> 00:39:25,497
A MySpace PAGE.
1125
00:39:25,497 --> 00:39:26,698
THESE PEOPLE ARE RELATIVELY
1126
00:39:26,698 --> 00:39:29,000
ACCESSIBLE, AND I WAS FORTUNATE
1127
00:39:29,000 --> 00:39:31,069
ENOUGH TO GET IN TOUCH WITH
1128
00:39:31,069 --> 00:39:32,804
DELSQUI, WHO SUGGESTED -- HE
1129
00:39:32,804 --> 00:39:34,606
DIDN'T WANT TO TALK ABOUT IT.
1130
00:39:34,606 --> 00:39:36,007
BUT HE SUGGESTED I GET IN TOUCH
1131
00:39:36,007 --> 00:39:37,609
WITH BETH AND GAVE ME AN E-MAIL
1132
00:39:37,609 --> 00:39:38,644
ADDRESS.
1133
00:39:38,644 --> 00:39:40,546
AND SO, SHE AND I CORRESPONDED
1134
00:39:40,546 --> 00:39:41,913
BY E-MAIL A LITTLE BIT.
1135
00:39:41,913 --> 00:39:43,749
I THINK SHE COULD SEE THAT I
1136
00:39:43,749 --> 00:39:45,617
UNDERSTAND EVA AS SOMEONE MORE
1137
00:39:45,617 --> 00:39:47,519
THAN JUST ANOTHER TEENAGER WHO
1138
00:39:47,519 --> 00:39:49,688
DISAPPEARS OR ANOTHER HIP FIGURE
1139
00:39:49,688 --> 00:39:51,790
OF THE SAN FRANCISCO SCENE OF A
1140
00:39:51,790 --> 00:39:53,925
CERTAIN MOMENT, BUT, RATHER, AS
1141
00:39:53,925 --> 00:39:56,161
SOMEONE WHO HAD SOMETHING MORE
1142
00:39:56,161 --> 00:39:56,995
TO SAY.
1143
00:39:56,995 --> 00:39:58,697
AND SO, I EVENTUALLY WORE HER
1144
00:39:58,697 --> 00:39:59,097
DOWN.
1145
00:39:59,097 --> 00:40:00,866
I KEPT ASKING HER, "DO YOU HAVE
1146
00:40:00,866 --> 00:40:01,667
DOCUMENTS?
1147
00:40:01,667 --> 00:40:02,968
DO YOU HAVE INFORMATION?
1148
00:40:02,968 --> 00:40:04,603
DO YOU HAVE MORE ABOUT THIS
1149
00:40:04,603 --> 00:40:05,103
PERSON?"
1150
00:40:05,103 --> 00:40:06,872
AND IT TURNS OUT SHE HAD.
1151
00:40:07,105 --> 00:40:09,775
>> EVA?
1152
00:40:09,775 --> 00:40:12,844
>> YEAH?
1153
00:40:15,614 --> 00:40:17,583
WHAT ARE YOU...
1154
00:40:17,583 --> 00:40:19,751
YOUR -- YOUR HAIR!
1155
00:40:19,751 --> 00:40:22,120
OH, NO!
1156
00:40:22,120 --> 00:40:26,658
NO-O, YOU -- OH, MY GOD!
1157
00:40:26,658 --> 00:40:28,126
>> IT'S OKAY.
1158
00:40:28,126 --> 00:40:29,060
>> ARE YOU SURE?
1159
00:40:29,060 --> 00:40:35,934
>> YEAH, IT'S TIME TO GO.
1160
00:40:35,934 --> 00:40:37,769
I FEEL LIKE I'M LOSING MY MIND.
1161
00:40:37,769 --> 00:40:39,805
LOOK AT THESE FUCKING PAGES.
1162
00:40:39,805 --> 00:40:42,273
>> JUST READ ONE.
1163
00:40:42,273 --> 00:40:44,543
>> I DON'T KNOW.
1164
00:40:44,543 --> 00:40:45,711
IT FREAKS ME OUT TO REFLECT ON
1165
00:40:45,711 --> 00:40:46,044
IT.
1166
00:40:46,044 --> 00:40:48,146
MAKES ME FEEL LIKE I SOUND
1167
00:40:48,146 --> 00:40:48,947
CRAZY.
1168
00:40:48,947 --> 00:40:51,016
>> NO. NO, NO.
1169
00:40:51,016 --> 00:40:52,217
>> YOU THINK I'M GOING CRAZY?
1170
00:40:52,217 --> 00:40:53,251
>> NO.
1171
00:40:53,251 --> 00:40:55,020
>> "UP LATE, WHEN I SHOULD BE
1172
00:40:55,020 --> 00:40:56,688
SLEEPING, CONSUMED WITH THE
1173
00:40:56,688 --> 00:40:58,557
THOUGHT THAT THE WORLD IS NOT AS
1174
00:40:58,557 --> 00:40:59,290
IT SHOULD BE.
1175
00:40:59,290 --> 00:41:01,292
WHEN I WAS YOUNGER, I BELIEVED
1176
00:41:01,292 --> 00:41:03,094
IN A GOODNESS, A KINDNESS.
1177
00:41:03,094 --> 00:41:04,195
YEAH, IT SOUNDS SAPPY, BUT,
1178
00:41:04,195 --> 00:41:05,631
REALLY, I FEEL LIKE THINGS WERE
1179
00:41:05,631 --> 00:41:06,865
A CERTAIN WAY, AND NOW THERE'S A
1180
00:41:06,865 --> 00:41:09,668
DEEP SADNESS OF PAIN.
1181
00:41:09,668 --> 00:41:11,102
WAS IT ALWAYS THERE, AND I
1182
00:41:11,102 --> 00:41:12,270
COULDN'T ACCESS IT?
1183
00:41:12,270 --> 00:41:13,872
IS THIS JUST A SYMPTOM OF
1184
00:41:13,872 --> 00:41:14,840
GROWING OLDER?
1185
00:41:14,840 --> 00:41:18,810
ONE BECOMES MORE AWARE OF HURT?
1186
00:41:18,810 --> 00:41:20,912
WERE MY PARENTS SIMPLY THAT GOOD
1187
00:41:20,912 --> 00:41:22,147
AT SHELTERING ME?
1188
00:41:22,147 --> 00:41:24,215
DAD WORKED HARD TO RAISE ME BUT
1189
00:41:24,215 --> 00:41:25,717
HOW HE SAW FIT.
1190
00:41:25,717 --> 00:41:27,052
I ADMIRED HIM SOMETIMES, BUT IT
1191
00:41:27,052 --> 00:41:27,986
PISSED ME OFF, TOO.
1192
00:41:27,986 --> 00:41:29,287
HE TOLD ME THE WORLD WAS SAFE,
1193
00:41:29,287 --> 00:41:31,823
OR AT LEAST I THOUGHT I HAD A
1194
00:41:31,823 --> 00:41:33,291
SAFE PLACE IN IT.
1195
00:41:33,291 --> 00:41:35,861
IT'S DIFFICULT TO COMPUTE WHEN
1196
00:41:35,861 --> 00:41:37,596
PEOPLE JUST VANISH.
1197
00:41:37,596 --> 00:41:40,131
HOW AM I TO MAINTAIN FAITH AND
1198
00:41:40,131 --> 00:41:42,834
EXPECTATIONS WHEN MY MOTHER'S
1199
00:41:42,834 --> 00:41:45,837
FUCKING GONE?"
1200
00:41:45,837 --> 00:41:47,639
>> I THINK EVA IN HERSELF
1201
00:41:47,639 --> 00:41:49,741
EMBODIED A CERTAIN WAY OF BEING
1202
00:41:49,741 --> 00:41:51,877
THAT SUGGESTED THE POTENTIAL FOR
1203
00:41:51,877 --> 00:41:53,845
THE WORLD TO BE TRANSFORMED.
1204
00:41:53,845 --> 00:41:56,047
SHE WAS FLIRTING ON THE EDGE OF
1205
00:41:56,047 --> 00:41:58,216
SOME INSIGHTS INTO HOW REALITY
1206
00:41:58,216 --> 00:41:58,984
WORKS.
1207
00:41:58,984 --> 00:42:00,919
YOU KNOW, SHE HAD GOT IT, AND
1208
00:42:00,919 --> 00:42:02,287
THAT BECAME EITHER AN
1209
00:42:02,287 --> 00:42:03,989
INSPIRATION OR A THREAT,
1210
00:42:03,989 --> 00:42:06,024
DEPENDING ON HOW YOU UNDERSTAND
1211
00:42:06,024 --> 00:42:08,059
IT, TO THE INSTITUTE AND THE
1212
00:42:08,059 --> 00:42:10,128
AGENCY.
1213
00:42:10,128 --> 00:42:12,998
>> WOW. HOW MANY ARE THERE?
1214
00:42:12,998 --> 00:42:13,999
>> ENOUGH.
1215
00:42:16,401 --> 00:42:17,769
>> YOU GUYS WANT TO TAKE THEM
1216
00:42:17,769 --> 00:42:18,236
TONIGHT?
1217
00:42:18,236 --> 00:42:20,639
>> I WAS GONNA SAVE THEM.
1218
00:42:20,639 --> 00:42:22,407
>> SAVE THEM FOR WHAT?
1219
00:42:22,407 --> 00:42:23,274
>> THE WEEKEND?
1220
00:42:23,274 --> 00:42:24,743
>> WHY?
1221
00:42:24,743 --> 00:42:25,711
>> YOU WANT TO DROP OUT?
1222
00:42:25,711 --> 00:42:27,312
YOU DON'T HAVE SCHOOL TOMORROW.
1223
00:42:27,312 --> 00:42:29,114
>> HEY, WHAT Y'ALL TALKING ABOUT
1224
00:42:29,114 --> 00:42:29,915
OVER HERE?
1225
00:42:29,915 --> 00:42:30,716
>> NOTHING.
1226
00:42:30,716 --> 00:42:32,183
>> OH, Y'ALL TRIPPING AGAIN?
1227
00:42:32,183 --> 00:42:32,818
>> NO!
1228
00:42:32,818 --> 00:42:34,085
>> EVA, AREN'T YOU ON PROBATION?
1229
00:42:34,085 --> 00:42:35,821
>> IT'S NOT LIKE WE'RE FUCKING
1230
00:42:35,821 --> 00:42:36,421
DOING ACID.
1231
00:42:36,421 --> 00:42:38,256
IT'S NOT EVEN REALLY FAIR.
1232
00:42:38,256 --> 00:42:39,290
>> WHAT SHIT?
1233
00:42:39,290 --> 00:42:41,026
>> NOTHING.
1234
00:42:42,060 --> 00:42:43,028
>> * FREESTYLE KICKIN'
1235
00:42:43,028 --> 00:42:44,029
IN THE HOUSE TONIGHT *
1236
00:42:44,029 --> 00:42:44,863
* MOVE YOUR BODY
1237
00:42:44,863 --> 00:42:46,164
FROM LEFT TO RIGHT *
1238
00:42:46,164 --> 00:42:47,065
* TO ALL YOU FREAKS,
1239
00:42:47,065 --> 00:42:48,433
DON'T STOP THE ROCK *
1240
00:42:48,433 --> 00:42:49,334
>> WHOO!
1241
00:42:49,334 --> 00:42:49,935
>> YES!
1242
00:42:49,935 --> 00:42:50,902
>> * FREESTYLE KICKIN'
1243
00:42:50,902 --> 00:42:51,903
IN THE HOUSE TONIGHT *
1244
00:42:51,903 --> 00:42:52,971
* MOVE YOUR BODY
1245
00:42:52,971 --> 00:42:54,139
FROM LEFT TO RIGHT *
1246
00:42:54,139 --> 00:42:55,040
* TO ALL YOU FREAKS,
1247
00:42:55,040 --> 00:42:58,409
DON'T STOP THE ROCK *
1248
00:42:58,409 --> 00:43:02,180
>> * YEAH
1249
00:43:02,180 --> 00:43:07,753
>> CHLOE... GET IT TOGETHER.
1250
00:43:09,054 --> 00:43:10,956
>> CHLOE, HOW MANY BEERS...
1251
00:43:10,956 --> 00:43:13,058
>> * I FEEL EMOTION
1252
00:43:13,058 --> 00:43:15,260
>> CHLOE, YOU'RE DRUNK.
1253
00:43:15,260 --> 00:43:16,327
I LIKE IT.
1254
00:43:16,327 --> 00:43:17,829
>> * WHAA
1255
00:43:17,829 --> 00:43:21,032
>> EVA, YOU OKAY?
1256
00:43:21,032 --> 00:43:24,202
WHAT'S GOING ON, GIRL?
1257
00:43:24,202 --> 00:43:25,837
>> FUCKIN' COPS!
1258
00:43:25,837 --> 00:43:27,172
DUDE, THE COPS ARE GOING!
1259
00:43:27,172 --> 00:43:28,406
SHIT!
1260
00:43:28,406 --> 00:43:29,340
>> LET'S GO!
1261
00:43:29,340 --> 00:43:30,141
EVA, COME ON!
1262
00:43:31,109 --> 00:43:35,914
EVA!
1263
00:43:35,914 --> 00:43:37,415
>> YOU KNOW, MAYBE THERE WAS
1264
00:43:37,415 --> 00:43:39,217
SOMETHING MORE TO THE GAMES OF
1265
00:43:39,217 --> 00:43:41,086
NONCHALANCE BESIDES SIMPLY A FUN
1266
00:43:41,086 --> 00:43:42,087
SCAVENGER HUNT.
1267
00:43:42,087 --> 00:43:43,955
RATHER, THAN MAYBE WHOEVER WAS
1268
00:43:43,955 --> 00:43:45,857
BEHIND IT WAS ACTUALLY TRYING TO
1269
00:43:45,857 --> 00:43:47,726
COMMEMORATE EVA IN SOME WAY OR
1270
00:43:47,726 --> 00:43:53,098
TRYING TO SHARE WHO SHE WAS WITH
1271
00:43:53,098 --> 00:43:54,733
PEOPLE IN SAN FRANCISCO AND
1272
00:43:54,733 --> 00:43:56,301
AROUND THE WORLD, A KIND OF, I
1273
00:43:56,301 --> 00:43:57,936
DON'T KNOW, MAYBE THE WHOLE
1274
00:43:57,936 --> 00:43:59,270
PROJECT, MAYBE THE WHOLE
1275
00:43:59,270 --> 00:44:01,139
EXPERIENCE WAS A KIND OF ELEGY
1276
00:44:01,139 --> 00:44:02,307
TO EVA AND WHAT SHE REPRESENTED.
1277
00:44:02,307 --> 00:44:04,009
YOU KNOW, THAT'S WHERE THE
1278
00:44:04,009 --> 00:44:05,443
"RECONSTRUCTING EVA" PROJECT
1279
00:44:05,443 --> 00:44:07,212
CAME OUT OF, BECAUSE I WANTED TO
1280
00:44:07,212 --> 00:44:08,847
BE ABLE TO SAY, "WELL, LOOK.
1281
00:44:08,847 --> 00:44:10,281
THERE'S THESE PEOPLE PLAYING
1282
00:44:10,281 --> 00:44:12,050
THESE GAMES, AND THERE'S A WHOLE
1283
00:44:12,050 --> 00:44:13,819
WEALTH OF INFORMATION ABOUT WHAT
1284
00:44:13,819 --> 00:44:14,920
THEY REALLY MEAN."
1285
00:44:14,920 --> 00:44:17,522
AT THE TIME, I WAS SEEING A MAN
1286
00:44:17,522 --> 00:44:20,358
WHO WAS A POLICE OFFICER, AND HE
1287
00:44:20,358 --> 00:44:22,527
QUICKLY LEARNED ABOUT MY
1288
00:44:22,527 --> 00:44:24,930
OBSESSION WITH THIS PARTICULAR
1289
00:44:24,930 --> 00:44:25,496
TOPIC.
1290
00:44:25,496 --> 00:44:27,899
AND I TWISTED HIS ARM A LITTLE
1291
00:44:27,899 --> 00:44:30,135
BIT, PROMISED SOME FAVORS IF HE
1292
00:44:30,135 --> 00:44:32,403
WOULD HELP OUT AND SEE IF THERE
1293
00:44:32,403 --> 00:44:34,372
WAS ANYTHING IN THE POLICE
1294
00:44:34,372 --> 00:44:36,842
DEPARTMENT -- ARCHIVES, STORAGE
1295
00:44:36,842 --> 00:44:38,977
ROOMS, WHATEVER -- THAT MIGHT
1296
00:44:38,977 --> 00:44:40,678
SHED LIGHT ON THIS.
1297
00:44:41,847 --> 00:44:44,149
>> MAN, YOU WERE THE LAST ONE TO
1298
00:44:44,149 --> 00:44:46,317
SEE EVA, AND WE NEED TO KNOW
1299
00:44:46,317 --> 00:44:48,820
EXACTLY WHAT HAPPENED THAT DAY.
1300
00:44:49,054 --> 00:44:51,389
ON SUNDAY, THE 16th, WHEN AND
1301
00:44:51,389 --> 00:44:53,859
WHERE DID YOU FIRST SEE EVA?
1302
00:44:53,859 --> 00:44:57,195
>> WE ALWAYS MEET AT THE GARDEN.
1303
00:44:57,195 --> 00:44:58,429
>> AND THAT'S THE PLACE YOU
1304
00:44:58,429 --> 00:44:59,831
MENTIONED BEFORE, WITH THE
1305
00:44:59,831 --> 00:45:01,132
BENCH AND THE PARKING METER.
1306
00:45:01,132 --> 00:45:03,134
IS THIS THE SPOT WHERE YOU SAID
1307
00:45:03,134 --> 00:45:06,004
NEIL, A LOCAL VAGRANT, WAS
1308
00:45:06,004 --> 00:45:07,005
SEEN?
1309
00:45:07,005 --> 00:45:07,973
>> UH, YEAH.
1310
00:45:07,973 --> 00:45:09,975
>> SO, DID HE EVER TALK TO YOU?
1311
00:45:09,975 --> 00:45:12,177
>> NO, BUT HE TALKED TO EVA.
1312
00:45:12,177 --> 00:45:13,278
>> AND WHAT DID THEY SAY TO EACH
1313
00:45:13,278 --> 00:45:13,912
OTHER?
1314
00:45:13,912 --> 00:45:14,846
>> I HAVE NO IDEA.
1315
00:45:14,846 --> 00:45:15,981
>> WHERE DID YOU SEE THEM
1316
00:45:15,981 --> 00:45:16,547
TALKING?
1317
00:45:16,547 --> 00:45:19,017
>> UP AT NEIL'S LITTLE SPOT.
1318
00:45:19,017 --> 00:45:20,485
WE CALL IT THE "NEIL ESTATE."
1319
00:45:20,485 --> 00:45:22,287
>> DID YOU SEE NEIL THERE THE
1320
00:45:22,287 --> 00:45:24,422
NIGHT THAT EVA DISAPPEARED?
1321
00:45:24,422 --> 00:45:25,924
>> NO, I DIDN'T.
1322
00:45:25,924 --> 00:45:26,958
>> DID ANYONE ELSE?
1323
00:45:26,958 --> 00:45:28,393
>> WELL, I KNOW THAT THE OTHERS
1324
00:45:28,393 --> 00:45:29,560
MIGHT HAVE SEEN HIM THAT NIGHT.
1325
00:45:29,560 --> 00:45:32,430
"PLAY TO" DID, I THINK.
1326
00:45:32,430 --> 00:45:33,498
>> PLAY TO IT IS, THEN?
1327
00:45:33,498 --> 00:45:34,299
>> YEAH.
1328
00:45:34,299 --> 00:45:36,234
>> WHAT ELSE CAN YOU TELL ME
1329
00:45:36,234 --> 00:45:38,103
ABOUT THIS NEIL CHARACTER?
1330
00:45:38,103 --> 00:45:39,971
DID YOU SEE HIM ON THE EVENING
1331
00:45:39,971 --> 00:45:40,906
IN QUESTION?
1332
00:45:40,906 --> 00:45:42,473
>> YEAH.
1333
00:45:42,473 --> 00:45:44,275
>> SO, I SEEM TO HAVE HEARD THAT
1334
00:45:44,275 --> 00:45:45,977
YOU HAD SOME INTERACTION WITH
1335
00:45:45,977 --> 00:45:47,412
HIM ON THAT NIGHT YOURSELF.
1336
00:45:47,412 --> 00:45:49,347
AM I RIGHT ABOUT THAT?
1337
00:45:49,347 --> 00:45:51,582
>> NO, I NEVER TALKED TO HIM.
1338
00:45:51,582 --> 00:45:53,251
>> TELL ME MORE ABOUT THAT
1339
00:45:53,251 --> 00:45:53,952
NIGHT.
1340
00:45:53,952 --> 00:45:55,486
DID YOU AT ANY POINT IN THE
1341
00:45:55,486 --> 00:45:57,322
EVENING SEE EVA TALK TO NEIL?
1342
00:45:57,322 --> 00:45:58,890
>> I DON'T THINK SO.
1343
00:45:58,890 --> 00:46:00,591
>> BUT YOU DID SEE HIM THAT
1344
00:46:00,591 --> 00:46:01,359
NIGHT.
1345
00:46:01,359 --> 00:46:02,393
>> YEAH, MAN.
1346
00:46:02,393 --> 00:46:04,195
HE WAS HANGING OUT AROUND THE
1347
00:46:04,195 --> 00:46:05,096
STONE WALL.
1348
00:46:05,096 --> 00:46:06,998
WE SEEN THE DUDE DIPPING AROUND
1349
00:46:06,998 --> 00:46:08,366
THAT WALL ALL THE TIME.
1350
00:46:08,366 --> 00:46:09,500
>> DIPPING AROUND?
1351
00:46:09,500 --> 00:46:11,436
>> YEAH, YOU KNOW, LOOKING DOWN,
1352
00:46:11,436 --> 00:46:13,138
POKING AROUND THE CREVICES
1353
00:46:13,138 --> 00:46:15,040
BETWEEN THE ROCKS, LOOKING BACK
1354
00:46:15,040 --> 00:46:15,640
UP AGAIN.
1355
00:46:15,640 --> 00:46:17,108
>> DOING WHAT?
1356
00:46:17,108 --> 00:46:19,044
>> DOING WHAT HE DOES.
1357
00:46:19,044 --> 00:46:20,211
BEING A WEIRDO.
1358
00:46:20,211 --> 00:46:22,113
>> SO, IT WAS JUST YOURSELF,
1359
00:46:22,113 --> 00:46:23,982
EVA, AND CHLOE AROUND THAT
1360
00:46:23,982 --> 00:46:24,515
POINT.
1361
00:46:24,515 --> 00:46:26,051
IS ANYBODY ELSE THERE?
1362
00:46:26,051 --> 00:46:27,385
NO ONE ELSE, LIKE, FOR
1363
00:46:27,385 --> 00:46:29,220
INSTANCE, THIS NEIL CHARACTER?
1364
00:46:29,220 --> 00:46:29,988
>> NO.
1365
00:46:29,988 --> 00:46:31,957
>> SO, WHAT HAPPENED NEXT?
1366
00:46:31,957 --> 00:46:34,092
>> THE POLICE WERE COMING UP THE
1367
00:46:34,092 --> 00:46:35,360
HILL, AND WE RAN.
1368
00:46:35,360 --> 00:46:37,062
BUT -- BUT WHEN I WENT AND
1369
00:46:37,062 --> 00:46:38,964
HID -- WHEN I GOT THERE, I WAS
1370
00:46:38,964 --> 00:46:40,431
HIDING, AND SHE WAS GONE.
1371
00:46:40,431 --> 00:46:41,967
CHLOE JUST KEPT RUNNING.
1372
00:46:41,967 --> 00:46:43,201
SHE JUST KEPT RUNNING.
1373
00:46:43,201 --> 00:46:44,669
AND I THOUGHT SHE WENT HOME,
1374
00:46:44,669 --> 00:46:46,304
AND I WAS, LIKE, HIDING AND
1375
00:46:46,304 --> 00:46:47,572
WHISPERING, "Eva, Eva."
1376
00:46:47,572 --> 00:46:48,974
SHE DIDN'T ANSWER.
1377
00:46:48,974 --> 00:46:50,909
I WAS THERE FOREVER, BUT THEN I
1378
00:46:50,909 --> 00:46:52,477
JUST FIGURED SHE WENT HOME.
1379
00:46:52,477 --> 00:46:55,513
SO, EVENTUALLY, I WENT HOME,
1380
00:46:55,513 --> 00:46:56,214
TOO.
1381
00:46:56,214 --> 00:46:58,416
>> DID ANYTHING ELSE HAPPEN ON
1382
00:46:58,416 --> 00:46:59,650
YOUR WAY HOME?
1383
00:46:59,650 --> 00:47:01,352
DID YOU SEE ANYONE?
1384
00:47:01,352 --> 00:47:05,090
ANYTHING UNUSUAL?
1385
00:47:05,090 --> 00:47:08,293
>> NO.
1386
00:47:08,293 --> 00:47:11,062
>> SO, THE OBVIOUS QUESTION WAS,
1387
00:47:11,062 --> 00:47:13,531
"WHAT HAPPENED TO HER, AND WHY
1388
00:47:13,531 --> 00:47:16,267
IS SHE THE POINT AT WHICH THESE
1389
00:47:16,267 --> 00:47:18,403
TWO ORGANIZATIONS KIND OF
1390
00:47:18,403 --> 00:47:20,171
CONFLICT OR MEET?"
1391
00:47:20,171 --> 00:47:22,941
HER FATHER, BLAIR LUCIEN, AS IT
1392
00:47:22,941 --> 00:47:25,210
TURNS OUT, WAS A KIND OF, I
1393
00:47:25,210 --> 00:47:26,344
DON'T KNOW,
1394
00:47:26,344 --> 00:47:28,546
SCIENTIST/MYSTICIST/INVENTOR.
1395
00:47:28,980 --> 00:47:30,515
AND HE HAD CREATED THIS THING
1396
00:47:30,515 --> 00:47:32,283
CALLED THE ALGORITHM, WHICH HE
1397
00:47:32,283 --> 00:47:34,052
THOUGHT WAS GOING TO BE A VERY
1398
00:47:34,052 --> 00:47:35,720
POWERFUL WAY OF HELPING HUMANITY
1399
00:47:35,720 --> 00:47:37,522
ASCEND TO THE NEXT LEVEL.
1400
00:47:37,956 --> 00:47:40,025
AND BLAIR LUCIEN'S A REAL
1401
00:47:40,025 --> 00:47:42,460
PERSON, AND HE HAD A REAL HOUSE,
1402
00:47:42,460 --> 00:47:44,963
IN WEST BERKELEY, IN THE '70s
1403
00:47:44,963 --> 00:47:45,730
AND '80s.
1404
00:47:45,730 --> 00:47:47,398
AND I DID A LITTLE SNOOPING
1405
00:47:47,398 --> 00:47:49,167
ABOUT HIS PROPERTY RECORDS AND
1406
00:47:49,167 --> 00:47:50,735
JUST ABOUT THE CONSTRUCTION OF
1407
00:47:50,735 --> 00:47:52,070
THE HOUSE AND THE NEIGHBORHOOD.
1408
00:47:52,070 --> 00:47:53,238
AND IT TURNS OUT THIS PARTICULAR
1409
00:47:53,238 --> 00:47:55,273
HOUSE HAS A BASEMENT, A REAL
1410
00:47:55,273 --> 00:47:57,442
UNDERGROUND BASEMENT, WHICH YOU
1411
00:47:57,442 --> 00:47:59,477
DON'T REALLY FIND IN THE BAY
1412
00:47:59,477 --> 00:48:01,479
AREA HARDLY AT ALL.
1413
00:48:01,479 --> 00:48:03,014
HERE I WAS, SPENDING A LOT OF
1414
00:48:03,014 --> 00:48:04,382
TIME, TRYING TO FIGURE OUT WHO
1415
00:48:04,382 --> 00:48:05,650
BLAIR LUCIEN WAS, WHAT'S THE
1416
00:48:05,650 --> 00:48:07,285
MEANING OF HIS SPECIAL BASEMENT?
1417
00:48:07,285 --> 00:48:09,287
HOW DO YOU INTERPRET THE FACT
1418
00:48:09,287 --> 00:48:11,222
THAT THE ALGORITHM IS CLEARLY
1419
00:48:11,222 --> 00:48:13,224
WITH THE JEJUNE INSTITUTE AND
1420
00:48:13,224 --> 00:48:15,260
THERE'S AN ARTIFACT THAT MAKES
1421
00:48:15,260 --> 00:48:17,295
IT WORK THAT IS SOMEWHERE ELSE?
1422
00:48:17,295 --> 00:48:19,330
THAT ARTIFACT BEING THE CRYSTAL
1423
00:48:19,330 --> 00:48:20,265
OSCILLATOR.
1424
00:48:20,265 --> 00:48:22,367
BY THIS POINT, I WAS REALLY AT A
1425
00:48:22,367 --> 00:48:24,235
PLACE WHERE I COULDN'T TELL
1426
00:48:24,235 --> 00:48:26,337
WHERE THE GAME ENDED AND
1427
00:48:26,337 --> 00:48:27,605
REALITY BEGAN.
1428
00:48:27,605 --> 00:48:29,640
I'M NOT PROUD OF IT, BUT I BROKE
1429
00:48:29,640 --> 00:48:31,709
INTO A FAMILY'S HOUSE, WENT INTO
1430
00:48:31,709 --> 00:48:33,011
THEIR BASEMENT.
1431
00:48:33,011 --> 00:48:34,679
AND IN THEIR BASEMENT, AS IT
1432
00:48:34,679 --> 00:48:36,681
TURNED OUT, THERE WAS THIS DOOR
1433
00:48:36,681 --> 00:48:38,683
THAT KIND OF LED OFF SOMEWHERE.
1434
00:48:38,683 --> 00:48:40,518
AND I DIDN'T PICK THE LOCK.
1435
00:48:40,518 --> 00:48:42,520
I ACTUALLY JUST KIND OF SMASHED
1436
00:48:42,520 --> 00:48:43,554
THE DOOR DOWN.
1437
00:48:44,522 --> 00:48:46,491
AND BEHIND IT WAS THIS TUNNEL.
1438
00:48:46,491 --> 00:48:48,459
THERE WAS A DROP-OFF, AND THEN
1439
00:48:48,459 --> 00:48:50,228
THERE WAS A TUNNEL FULL OF
1440
00:48:50,228 --> 00:48:50,728
WATER.
1441
00:48:50,728 --> 00:48:51,762
AND I WENT DOWN THERE, AND I
1442
00:48:51,762 --> 00:48:52,597
STARTED FOLLOWING IT.
1443
00:48:52,597 --> 00:48:54,265
I DIDN'T REALLY HAVE A
1444
00:48:54,265 --> 00:48:55,200
FLASHLIGHT.
1445
00:48:55,200 --> 00:48:57,268
I JUST USED MY CELLPHONE LIGHT.
1446
00:48:57,268 --> 00:48:59,070
AND I ENDED UP GETTING LOST.
1447
00:48:59,070 --> 00:49:01,072
I HAVE A KIND OF SEA OF MEMORIES
1448
00:49:01,072 --> 00:49:04,609
AND SOUNDS AND DARKNESS THAT WAS
1449
00:49:04,609 --> 00:49:07,778
RELIEVED BY THE PLAYERS WHO
1450
00:49:07,778 --> 00:49:09,547
FOUND ME, TO BE HONEST.
1451
00:49:09,547 --> 00:49:12,317
>> I WAS ASKED TO PARTICIPATE IN
1452
00:49:12,317 --> 00:49:14,552
A RESCUE OF KELVIN WILLIAMS.
1453
00:49:14,785 --> 00:49:17,088
HE HAD GONE MISSING FOR A LONG
1454
00:49:17,088 --> 00:49:19,290
TIME, AND HIS WEBSITE, HIS BLOG,
1455
00:49:19,290 --> 00:49:20,791
WAS TAKEN OVER BY THE
1456
00:49:20,791 --> 00:49:22,727
ELSEWHERE PUBLIC WORKS AGENCY.
1457
00:49:23,161 --> 00:49:24,629
>> "YOUR MISSION IS TO FIND AND
1458
00:49:24,629 --> 00:49:26,297
RETRIEVE KELVIN WILLIAMS AND, IF
1459
00:49:26,297 --> 00:49:27,665
POSSIBLE, RECOVER THE CRYSTAL
1460
00:49:27,665 --> 00:49:28,433
OSCILLATOR.
1461
00:49:28,433 --> 00:49:30,101
IF KELVIN WILLIAMS HAS IT IN HIS
1462
00:49:30,101 --> 00:49:31,502
POSSESSION ALREADY, HE'LL KNOW
1463
00:49:31,502 --> 00:49:33,238
WHAT TO DO WITH IT.
1464
00:49:33,238 --> 00:49:34,539
BUT, PRIMARILY, YOU NEED TO
1465
00:49:34,539 --> 00:49:35,706
HELP HIM GET OUT OF THE
1466
00:49:35,706 --> 00:49:36,474
UNDERGROUND.
1467
00:49:36,474 --> 00:49:38,676
YOU'RE HERE, AND YOU NEED TO GET
1468
00:49:38,676 --> 00:49:40,611
OVER HERE AND THEN FIND THE
1469
00:49:40,611 --> 00:49:42,347
CREEK BED AND FOLLOW IT
1470
00:49:42,347 --> 00:49:44,549
DOWNSTREAM INTO THE SUBTERRANEAN
1471
00:49:44,549 --> 00:49:45,350
LABYRINTH.
1472
00:49:45,350 --> 00:49:47,218
BE FOREWARNED -- SHIT GETS WEIRD
1473
00:49:47,218 --> 00:49:48,119
DOWN THERE.
1474
00:49:48,119 --> 00:49:49,687
GO THROUGH THE SECOND OPEN
1475
00:49:49,687 --> 00:49:51,222
PORTAL TO YOUR RIGHT.
1476
00:49:51,222 --> 00:49:53,191
IF YOU HIT 850, YOU'VE GONE TOO
1477
00:49:53,191 --> 00:49:54,392
FAR."
1478
00:49:54,392 --> 00:49:55,826
DOWN HERE.
1479
00:49:55,826 --> 00:49:57,162
>> SO, THAT'S A MAP OF
1480
00:49:57,162 --> 00:49:57,762
UNDERGROUND.
1481
00:49:57,762 --> 00:49:58,396
>> YEAH.
1482
00:49:58,396 --> 00:50:00,131
>> HOLY FUCK.
1483
00:50:00,631 --> 00:50:01,799
>> THAT WAS TERRIFYING, YEAH.
1484
00:50:01,799 --> 00:50:03,534
WE WERE ASKED TO GO DOWN INTO
1485
00:50:03,534 --> 00:50:05,236
THESE STORM DRAINS UNDER THE
1486
00:50:05,236 --> 00:50:07,338
STREETS OF BERKELEY TO RESCUE
1487
00:50:07,338 --> 00:50:08,139
KELVIN.
1488
00:50:08,139 --> 00:50:09,440
AND IT WAS VERY EARLY IN THE
1489
00:50:09,440 --> 00:50:10,208
SPRINGTIME.
1490
00:50:10,208 --> 00:50:11,576
THERE WAS STILL QUITE A BIT OF
1491
00:50:11,576 --> 00:50:12,877
WINTER RUNOFF IN THE PIPES.
1492
00:50:12,877 --> 00:50:14,479
IN ORDER TO GET TO THE TUNNELS,
1493
00:50:14,479 --> 00:50:15,880
YOU HAD TO GO ALONG THIS PARK,
1494
00:50:15,880 --> 00:50:17,248
GO DOWN INTO THIS RIVER.
1495
00:50:17,248 --> 00:50:19,884
SO, WE WERE THIS DEEP IN WATER.
1496
00:50:19,884 --> 00:50:22,753
SOAKED ALL THE WAY THROUGH RIGHT
1497
00:50:22,753 --> 00:50:24,155
FROM THE BEGINNING.
1498
00:50:24,155 --> 00:50:25,790
AND THEN, WHEN WE GOT TO THE
1499
00:50:25,790 --> 00:50:27,758
TUNNELS, THERE WAS WATER RUSHING
1500
00:50:27,758 --> 00:50:28,526
PAST US.
1501
00:50:28,526 --> 00:50:30,495
SO, SEVERAL TIMES DURING THE
1502
00:50:30,495 --> 00:50:32,597
COURSE OF THE AFTERNOON, WE HAD
1503
00:50:32,597 --> 00:50:34,632
TO HOLD ONTO THE SIDES OF THE
1504
00:50:34,632 --> 00:50:36,767
TUNNEL TO KEEP FROM SLIDING DOWN
1505
00:50:36,767 --> 00:50:38,836
INTO THE WATER, TO THE RUNOFF.
1506
00:50:38,836 --> 00:50:41,172
AND IT'S THESE OLD BRICK TUNNELS
1507
00:50:41,172 --> 00:50:42,273
AT SOME POINT.
1508
00:50:42,273 --> 00:50:44,409
SO, THERE WAS WEIRD SOUNDS BEING
1509
00:50:44,409 --> 00:50:46,344
PIPED IN FROM ALL THESE SIDE
1510
00:50:46,344 --> 00:50:48,379
TUNNELS AND STRANGE
1511
00:50:48,379 --> 00:50:49,814
NOTATIONS WRITTEN IN CHALK ON
1512
00:50:49,814 --> 00:50:50,815
ALL THE WALLS.
1513
00:50:50,815 --> 00:50:52,683
AND A LOT OF THEM SAID, LIKE,
1514
00:50:52,683 --> 00:50:53,851
"LOOK BEHIND YOU."
1515
00:50:53,851 --> 00:50:55,353
SO, WE WERE CONSTANTLY -- I
1516
00:50:55,353 --> 00:50:56,854
THINK I WAS EVEN BRINGING UP THE
1517
00:50:56,854 --> 00:50:58,189
REAR MOST OF THE TIME.
1518
00:50:58,189 --> 00:50:59,524
SO, I WAS CONSTANTLY LOOKING
1519
00:50:59,524 --> 00:51:01,459
BEHIND ME AND TRYING NOT TO SLIP
1520
00:51:01,459 --> 00:51:03,328
AND TRYING NOT TO HIT MY HEAD,
1521
00:51:03,328 --> 00:51:04,929
BECAUSE THE TUNNEL WAS 5 FOOT
1522
00:51:04,929 --> 00:51:06,364
SOMETHING OR OTHER.
1523
00:51:06,364 --> 00:51:07,898
SO, I WAS CROUCHED DOWN THE
1524
00:51:07,898 --> 00:51:09,434
WHOLE TIME, INCREDIBLY
1525
00:51:09,434 --> 00:51:10,835
COMFORTABLE OF HEARING THE
1526
00:51:10,835 --> 00:51:12,603
SOUNDS OF HOOTING OF THE JEJUNE
1527
00:51:12,603 --> 00:51:13,238
GOONS.
1528
00:51:13,238 --> 00:51:14,705
SO, I IMAGINED THOSE BLACK-CLAD
1529
00:51:14,705 --> 00:51:16,307
CREATURES COMING UP AND JUST
1530
00:51:16,307 --> 00:51:17,642
GRABBING ME FROM BEHIND THE
1531
00:51:17,642 --> 00:51:18,576
WHOLE TIME.
1532
00:51:18,576 --> 00:51:19,810
SO, IT WAS A GAME.
1533
00:51:19,810 --> 00:51:21,879
IT'S PART OF A GAME, BUT AT THAT
1534
00:51:21,879 --> 00:51:23,914
TIME, AT THAT MOMENT, IT REALLY
1535
00:51:23,914 --> 00:51:26,184
DIDN'T FEEL LIKE A GAME ANYMORE.
1536
00:51:26,184 --> 00:51:31,189
IT WAS GENUINELY SCARY, YEAH.
1537
00:51:31,189 --> 00:51:34,759
>> HOLY SHIT.
1538
00:51:36,794 --> 00:51:38,929
THAT TUNNEL WASN'T VERY FUN.
1539
00:51:41,599 --> 00:51:43,201
>> HI.
1540
00:51:43,201 --> 00:51:43,968
>> HI.
1541
00:51:45,970 --> 00:51:47,872
HOW DID -- HOW DID YOU FIND THIS
1542
00:51:47,872 --> 00:51:48,506
PLACE?
1543
00:51:48,506 --> 00:51:50,641
>> THE HOLLOWS HAD SENT US.
1544
00:51:50,641 --> 00:51:51,909
>> WHERE DID THIS TUNNEL COME
1545
00:51:51,909 --> 00:51:53,744
FROM?
1546
00:51:53,744 --> 00:51:55,546
I CAME FROM THE OTHER WAY.
1547
00:51:55,546 --> 00:52:00,518
AND THERE'S A CHAMBER AND...
1548
00:52:00,518 --> 00:52:01,652
GET ME OUT OF HERE.
1549
00:52:03,221 --> 00:52:05,556
SOMEWHERE BACK THERE...
1550
00:52:05,556 --> 00:52:06,791
>> HIDDEN?
1551
00:52:06,791 --> 00:52:08,559
>> ...THE TUNNELS GO THE OTHER
1552
00:52:08,559 --> 00:52:12,863
WAY, AND IT WAS IN A CHAMBER.
1553
00:52:12,863 --> 00:52:15,500
WANT TO SEE IT?
1554
00:52:15,500 --> 00:52:16,601
>> YEAH.
1555
00:52:16,601 --> 00:52:22,373
HEY.
1556
00:52:22,373 --> 00:52:23,508
>> MAYBE WE SHOULD WAIT TILL WE
1557
00:52:23,508 --> 00:52:23,908
GET OUT.
1558
00:52:23,908 --> 00:52:25,843
>> I DON'T KNOW...
1559
00:52:25,843 --> 00:52:26,444
>> WHOA.
1560
00:52:26,444 --> 00:52:27,745
>> ...WHAT TO MAKE OF IT, BUT
1561
00:52:27,745 --> 00:52:29,580
THAT'S IT.
1562
00:52:29,580 --> 00:52:30,915
THAT'S WHAT THEY SAID.
1563
00:52:30,915 --> 00:52:32,016
IT'S IN A CRYSTAL.
1564
00:52:32,016 --> 00:52:33,551
>> AND WITHOUT THIS, THE
1565
00:52:33,551 --> 00:52:34,752
ALGORITHM'S USELESS.
1566
00:52:34,752 --> 00:52:35,920
>> I GUESS.
1567
00:52:35,920 --> 00:52:36,787
>> ALL RIGHT.
1568
00:52:36,787 --> 00:52:38,489
LET'S FORM A LITTLE BODYGUARD
1569
00:52:38,489 --> 00:52:39,790
PARTY AROUND HIM AND THE
1570
00:52:39,790 --> 00:52:41,992
CRYSTAL.
1571
00:52:41,992 --> 00:52:43,761
>> EVERYONE UNDERSTANDS WHAT
1572
00:52:43,761 --> 00:52:44,695
SOMEWHERE IS.
1573
00:52:44,695 --> 00:52:46,764
IF I SAY "SAN FRANCISCO," MOST
1574
00:52:46,764 --> 00:52:48,866
PEOPLE KNOW WHAT I'M REFERRING
1575
00:52:48,866 --> 00:52:49,434
TO.
1576
00:52:49,434 --> 00:52:51,469
OR, AT LEAST, THEY THINK THEY
1577
00:52:51,469 --> 00:52:51,836
DO.
1578
00:52:51,836 --> 00:52:54,004
THEY HAVE AN IDEA OF HERE AND AN
1579
00:52:54,004 --> 00:52:55,306
IDEA OF THERE.
1580
00:52:55,306 --> 00:52:56,974
IN OTHER WORDS, "HERE" IS THE
1581
00:52:56,974 --> 00:52:58,976
PLACE WE ARE, AND "THERE" IS THE
1582
00:52:58,976 --> 00:53:00,345
PLACE WE ARE NOT.
1583
00:53:00,345 --> 00:53:02,046
ELSEWHERE IS A KIND OF MAGICAL
1584
00:53:02,046 --> 00:53:02,813
BETWEEN.
1585
00:53:02,813 --> 00:53:05,683
A HUMAN BEING, SOMEONE LIKE EVA,
1586
00:53:05,683 --> 00:53:08,353
WITH THE RIGHT UNDERSTANDING,
1587
00:53:08,353 --> 00:53:10,821
CAN TAKE THE SEED WITHIN THEM
1588
00:53:10,821 --> 00:53:13,057
AND BECOME A DOORWAY TO
1589
00:53:13,057 --> 00:53:14,459
ELSEWHERE.
1590
00:53:14,459 --> 00:53:16,961
I SUSPECTED THAT EVA'S DEEP
1591
00:53:16,961 --> 00:53:19,864
CAPACITIES TO USE THIS SEED TO
1592
00:53:19,864 --> 00:53:22,700
TRANSFORM OUR REALITY IN WAYS
1593
00:53:22,700 --> 00:53:25,670
THAT WE WERE UNPREPARED FOR WAS
1594
00:53:25,670 --> 00:53:28,473
THE REASON WHY SHE WAS PURSUED
1595
00:53:28,473 --> 00:53:30,875
AND ALSO THE REASON WHY SHE
1596
00:53:30,875 --> 00:53:32,042
DISAPPEARED.
1597
00:53:32,042 --> 00:53:34,345
IT WAS MY SUSPICION THAT
1598
00:53:34,345 --> 00:53:36,747
SOMEBODY BECAME AWARE OF THIS
1599
00:53:36,747 --> 00:53:39,317
GIRL'S CAPACITY TO INTRODUCE
1600
00:53:39,317 --> 00:53:41,352
UNEXPECTED NOVELTY INTO
1601
00:53:41,352 --> 00:53:43,888
SITUATIONS THAT SEEMED OTHERWISE
1602
00:53:43,888 --> 00:53:44,789
FROZEN.
1603
00:53:44,789 --> 00:53:47,425
AND I FEEL THEY WERE INTENT ON
1604
00:53:47,425 --> 00:53:49,827
CO-OPTING THESE ABILITIES FOR
1605
00:53:49,827 --> 00:53:52,563
THE SAKE OF CORPORATE, MILITARY,
1606
00:53:52,563 --> 00:53:54,532
OR CULTLIKE GOALS.
1607
00:53:54,532 --> 00:53:56,867
AND THUS, SHE HAD TO ARRANGE TO
1608
00:53:56,867 --> 00:53:59,437
PUT HERSELF IN A POSITION WHERE
1609
00:53:59,437 --> 00:54:01,606
SHE WOULD BE INACCESSIBLE TO
1610
00:54:01,606 --> 00:54:02,773
PEOPLE WHO SHE WOULD BE
1611
00:54:02,773 --> 00:54:05,343
OTHERWISE UNABLE TO EVADE AND
1612
00:54:05,343 --> 00:54:08,946
THAT SHE REMAINS, I THINK, IN A
1613
00:54:08,946 --> 00:54:12,717
SUSPENSION, A KIND OF SUSPENDED
1614
00:54:12,717 --> 00:54:15,986
PLACE, A PLACE OF SUSPENDED
1615
00:54:15,986 --> 00:54:19,390
TIME, IDENTITY, AND LOCATION, A
1616
00:54:19,390 --> 00:54:22,092
PLACE WHICH WE USE THE TERM
1617
00:54:22,092 --> 00:54:26,297
"ELSEWHERE" TO REFER TO.
1618
00:54:26,531 --> 00:54:27,965
>> SO, AS FOR -- EVEN BEFORE IT
1619
00:54:27,965 --> 00:54:29,534
STARTED, I WAS REALLY EXCITED
1620
00:54:29,534 --> 00:54:31,001
FOR IT BECAUSE IT ACTUALLY TOOK
1621
00:54:31,001 --> 00:54:32,503
PLACE IN OAKLAND INSTEAD OF
1622
00:54:32,503 --> 00:54:33,838
SAN FRANCISCO, AND I LIVE IN
1623
00:54:33,838 --> 00:54:34,639
OAKLAND.
1624
00:54:34,639 --> 00:54:36,674
AND IT'S KIND OF LIKE HOME TURF
1625
00:54:36,674 --> 00:54:37,408
FOR ME.
1626
00:54:37,408 --> 00:54:39,410
AND WHEN I FOUND OUT IT WAS AT
1627
00:54:39,410 --> 00:54:41,446
THE CHAPEL OF THE CHIMES, I WAS
1628
00:54:41,446 --> 00:54:43,514
EVEN MORE EXCITED, BECAUSE IT'S
1629
00:54:43,514 --> 00:54:45,450
THIS BEAUTIFUL -- IT'S LIKE A
1630
00:54:45,450 --> 00:54:46,851
MAUSOLEUM.
1631
00:54:47,084 --> 00:54:49,086
IT HOUSES, YOU KNOW, PROBABLY
1632
00:54:49,086 --> 00:54:51,155
LIKE THOUSANDS AND THOUSANDS OF
1633
00:54:51,155 --> 00:54:52,490
PEOPLE'S ASHES.
1634
00:54:52,490 --> 00:54:54,392
BUT ALL THE URNS ARE BOOKS.
1635
00:54:54,392 --> 00:54:56,427
SO, YOU WALK IN, AND IT'S LIKE
1636
00:54:56,427 --> 00:54:57,995
TREES AND PLANTS INSIDE.
1637
00:54:57,995 --> 00:55:00,097
THERE'S, LIKE, LITTLE CORRIDORS
1638
00:55:00,097 --> 00:55:02,032
AND LITTLE ALCOVES, AND THEY
1639
00:55:02,032 --> 00:55:04,168
EACH HAVE DIFFERENT NAMES, LIKE,
1640
00:55:04,168 --> 00:55:06,571
"CHAPEL OF SPIRITUALITY."
1641
00:55:06,571 --> 00:55:08,439
THEY ALL HAVE THESE REALLY
1642
00:55:08,439 --> 00:55:09,540
AMAZING NAMES.
1643
00:55:09,540 --> 00:55:11,642
AND IT'S ALSO RIGHT NEXT TO THE
1644
00:55:11,642 --> 00:55:13,644
MOUNTAIN VIEW CEMETERY, WHICH
1645
00:55:13,644 --> 00:55:16,080
MIGHT BE ONE OF THE OLDEST
1646
00:55:16,080 --> 00:55:19,049
CEMETERIES IN OAKLAND, AND IT'S
1647
00:55:19,049 --> 00:55:20,951
JUST REALLY BEAUTIFUL, AND I'VE
1648
00:55:20,951 --> 00:55:22,787
ALWAYS GONE THERE TO JUST HANG
1649
00:55:22,787 --> 00:55:26,691
OUT OR WRITE OR...
1650
00:55:26,691 --> 00:55:28,593
BE LIKE "EMO" OR SOMETHING BY
1651
00:55:28,593 --> 00:55:29,627
THE GRAVEYARD.
1652
00:55:29,627 --> 00:55:30,795
I DON'T KNOW.
1653
00:55:30,795 --> 00:55:32,930
WE HAD GOTTEN ASSIGNED INTO
1654
00:55:32,930 --> 00:55:34,999
GROUPS, AND EACH OF US GOT
1655
00:55:34,999 --> 00:55:36,634
MAILED A POSTCARD.
1656
00:55:36,634 --> 00:55:38,736
AND THE POSTCARD GAVE US A
1657
00:55:38,736 --> 00:55:39,737
DIRECTION.
1658
00:55:39,737 --> 00:55:42,039
AND THEN THEY GAVE US, LIKE, A
1659
00:55:42,039 --> 00:55:44,475
LINE THAT WE WERE SUPPOSED TO
1660
00:55:44,475 --> 00:55:46,176
SAY AT A CERTAIN POINT.
1661
00:55:46,176 --> 00:55:47,978
BUT IT WAS ALL REALLY VAGUE, AND
1662
00:55:47,978 --> 00:55:49,714
WE WEREN'T SURE HOW IT ALL TIED
1663
00:55:49,714 --> 00:55:50,180
TOGETHER.
1664
00:55:50,180 --> 00:55:52,550
THE MEETING SPOT WAS NOT AT THE
1665
00:55:52,550 --> 00:55:54,051
CHAPEL OF THE CHIMES.
1666
00:55:54,051 --> 00:55:56,086
IT WAS A COUPLE BLOCKS AWAY.
1667
00:55:56,086 --> 00:55:58,155
AND THE WHOLE GROUP MET UP.
1668
00:55:58,155 --> 00:55:59,824
A LOT OF US HAD NEVER MET
1669
00:55:59,824 --> 00:56:01,692
BEFORE, AND SO, IT WAS REALLY
1670
00:56:01,692 --> 00:56:03,661
COOL TO, LIKE, MEET OTHER PEOPLE
1671
00:56:03,661 --> 00:56:04,962
THAT HAD BEEN INVOLVED.
1672
00:56:04,962 --> 00:56:06,697
OR MAYBE I'D ONLY, LIKE, SEEN
1673
00:56:06,697 --> 00:56:07,565
THEM ONLINE.
1674
00:56:07,565 --> 00:56:08,733
LIKE, I HAD NO IDEA.
1675
00:56:08,733 --> 00:56:10,200
THERE WERE, LIKE, MARKINGS ON
1676
00:56:10,200 --> 00:56:11,802
THE GROUND, I THINK, THAT WE
1677
00:56:11,802 --> 00:56:13,203
FOLLOWED, AND EVENTUALLY WE
1678
00:56:13,203 --> 00:56:14,138
ENDED UP AT THE
1679
00:56:14,138 --> 00:56:15,506
CHAPEL OF THE CHIMES.
1680
00:56:15,506 --> 00:56:17,241
>> YEAH, THERE IT IS -- 4499,
1681
00:56:17,241 --> 00:56:20,077
CHAPEL OF THE CHIMES.
1682
00:56:25,916 --> 00:56:30,588
>> LET'S JUST FIND THE COMPASS.
1683
00:56:30,588 --> 00:56:32,122
>> COMPASS, COMPASS, COMPASS.
1684
00:56:32,122 --> 00:56:34,659
OH, FOUND IT!
1685
00:56:38,128 --> 00:56:40,230
NORTH -- THAT WAY.
1686
00:56:40,230 --> 00:56:42,066
ALL RIGHT. NOW WHAT?
1687
00:56:42,066 --> 00:56:44,635
>> "ASSEMBLE, THEN TAKE NOTES
1688
00:56:44,635 --> 00:56:46,904
AND EMBARK UPON COMPLETION.
1689
00:56:46,904 --> 00:56:49,574
ENTER UNDER AND THY COMING IN."
1690
00:56:49,574 --> 00:56:51,842
>> "AND THY COMING IN."
1691
00:56:51,842 --> 00:56:54,512
>> OH! OH!
1692
00:57:11,662 --> 00:57:12,296
ALL RIGHT.
1693
00:57:12,296 --> 00:57:13,964
NOW IT SAYS ONE OF YOU HAS TO
1694
00:57:13,964 --> 00:57:14,565
DIE.
1695
00:57:16,266 --> 00:57:20,004
>> "AND FIND THE PATIENCE."
1696
00:57:20,004 --> 00:57:21,572
>> "PATIENCE COURT."
1697
00:57:21,572 --> 00:57:23,974
>> "PATIENCE COURT."
1698
00:57:30,214 --> 00:57:31,949
>> THE WORD "PATIENCE" IS ON
1699
00:57:31,949 --> 00:57:34,619
THIS DOOR.
1700
00:57:34,619 --> 00:57:37,087
AND THEN "PLAY."
1701
00:57:37,087 --> 00:57:37,888
>> PLAY.
1702
00:57:37,888 --> 00:57:39,657
>> WHAT COULD THAT MEAN?
1703
00:57:39,657 --> 00:57:40,691
I DON'T UNDERSTAND.
1704
00:57:48,032 --> 00:57:50,100
>> PATIENCE...
1705
00:57:50,100 --> 00:57:51,969
PATIENCE...
1706
00:57:51,969 --> 00:57:54,905
PATIENCE.
1707
00:57:54,905 --> 00:57:56,574
YOU FOUND ME.
1708
00:57:56,574 --> 00:57:58,676
WELCOME, MY FRIENDS.
1709
00:57:58,676 --> 00:58:00,578
I KNOW YOU WERE CONCERNED ABOUT
1710
00:58:00,578 --> 00:58:02,279
ME, BUT ISN'T IT CLEAR NOW THAT
1711
00:58:02,279 --> 00:58:03,714
I'VE BEEN WHERE I WAS ALWAYS
1712
00:58:03,714 --> 00:58:04,982
MEANT TO BE?
1713
00:58:04,982 --> 00:58:06,584
AND YOU...
1714
00:58:06,584 --> 00:58:09,954
YOU'VE TRAVELED SUCH A LONG WAY
1715
00:58:09,954 --> 00:58:12,356
TO ARRIVE HERE TODAY.
1716
00:58:12,356 --> 00:58:15,059
YOU CAME TOGETHER TO MAKE THIS
1717
00:58:15,059 --> 00:58:16,026
HAPPEN.
1718
00:58:16,026 --> 00:58:18,262
I AM SO MOVED.
1719
00:58:18,262 --> 00:58:22,266
I WANT TO TAKE THIS MOMENT TO
1720
00:58:22,266 --> 00:58:26,370
FULLY TAKE IT IN, LOOK AROUND,
1721
00:58:26,370 --> 00:58:29,073
CONTEMPLATE OUR SURROUNDINGS
1722
00:58:29,073 --> 00:58:31,909
NOW -- THE STONE AND THE TILE,
1723
00:58:31,909 --> 00:58:34,144
THE LIGHT THROUGH THE STAINED
1724
00:58:34,144 --> 00:58:34,979
GLASS.
1725
00:58:34,979 --> 00:58:37,214
YOU'VE ALL ARRIVED HERE FOR A
1726
00:58:37,214 --> 00:58:38,115
REASON.
1727
00:58:38,115 --> 00:58:42,820
EACH ONE OF US PLAYED OUR PART.
1728
00:58:42,820 --> 00:58:44,088
NOW...
1729
00:58:44,088 --> 00:58:47,958
ARE WE READY TO CONTINUE OUR
1730
00:58:47,958 --> 00:58:49,326
VOYAGE?
1731
00:58:49,326 --> 00:58:51,796
ABOVE THE DOOR, DO YOU SEE
1732
00:58:51,796 --> 00:58:52,897
MASON?
1733
00:58:52,897 --> 00:58:55,633
RETRIEVE THE VASE THAT IS BY
1734
00:58:55,633 --> 00:58:57,702
MASON ABOVE THE DOOR.
1735
00:58:57,702 --> 00:58:59,303
PAIR UP WITH THE PERSON NOT
1736
00:58:59,303 --> 00:59:01,105
HOLDING A BLINDFOLD WHO IS
1737
00:59:01,105 --> 00:59:03,273
CLOSEST TO YOUR HEIGHT.
1738
00:59:03,273 --> 00:59:05,876
NOW...
1739
00:59:05,876 --> 00:59:07,678
BLINDFOLD THAT PERSON.
1740
00:59:08,713 --> 00:59:10,781
YOU'VE LOST ONE OF YOUR SENSES,
1741
00:59:10,781 --> 00:59:12,416
AND YOU'LL NEED TO REPLACE
1742
00:59:12,416 --> 00:59:13,751
THAT...
1743
00:59:13,751 --> 00:59:15,753
WITH TRUST.
1744
00:59:15,753 --> 00:59:17,922
>> I WAS AT THE FRONT OF THE
1745
00:59:17,922 --> 00:59:19,890
LINE, AND WE ALL HAD OUR
1746
00:59:19,890 --> 00:59:22,192
BLINDFOLDS ON AND HAD, LIKE, NO
1747
00:59:22,192 --> 00:59:23,961
IDEA WHAT TO EXPECT.
1748
00:59:23,961 --> 00:59:26,163
AND SUDDENLY THIS, LIKE, HAND
1749
00:59:26,163 --> 00:59:28,398
JUST REACHES OUT AND GRABS MY
1750
00:59:28,398 --> 00:59:29,133
HAND.
1751
00:59:29,133 --> 00:59:32,870
AND IT REALLY JUST KIND OF TOOK
1752
00:59:32,870 --> 00:59:34,905
MY BREATH AWAY.
1753
00:59:34,905 --> 00:59:37,107
AND DURING THE WHOLE, WHEN YOU
1754
00:59:37,107 --> 00:59:39,376
TALK ABOUT THE WHOLE EXPERIENCE,
1755
00:59:39,376 --> 00:59:41,779
YOU KNOW, WE'RE TRYING TO FIND
1756
00:59:41,779 --> 00:59:44,048
EVA AND WHAT HAPPENED TO HER, IT
1757
00:59:44,048 --> 00:59:46,250
WAS, LIKE, PHYSICALLY -- WELL,
1758
00:59:46,250 --> 00:59:48,185
IN MY MIND, IT WAS, LIKE,
1759
00:59:48,185 --> 00:59:50,320
PHYSICALLY EVA, LIKE, LEADING
1760
00:59:50,320 --> 00:59:52,289
ME, LIKE, HOLDING MY HAND.
1761
00:59:52,289 --> 00:59:54,424
AND THAT'S WHEN I KIND OF -- I
1762
00:59:54,424 --> 00:59:56,393
KIND OF LOST IT, AND I WAS,
1763
00:59:56,393 --> 00:59:58,428
LIKE, SILENTLY CRYING, LIKE,
1764
00:59:58,428 --> 01:00:00,464
UNDERNEATH MY BLINDFOLD.
1765
01:00:00,464 --> 01:00:02,466
AND THE WHOLE CONCEPT OF
1766
01:00:02,466 --> 01:00:05,035
ELSEWHERE HAS JUST BEEN REALLY
1767
01:00:05,035 --> 01:00:06,303
SPECIAL TO ME.
1768
01:00:06,303 --> 01:00:09,406
I ALWAYS FEEL LIKE THIS WORLD IS
1769
01:00:09,406 --> 01:00:12,442
MISSING SOMETHING, LIKE THERE'S
1770
01:00:12,442 --> 01:00:15,212
SOME SPARK THAT I WANT IT TO
1771
01:00:15,212 --> 01:00:16,080
HAVE.
1772
01:00:16,080 --> 01:00:17,281
THAT'S WHAT I FEEL LIKE I'M
1773
01:00:17,281 --> 01:00:18,783
CONSTANTLY SEARCHING FOR IN MY
1774
01:00:18,783 --> 01:00:22,753
EVERYDAY LIFE, AND UM...
1775
01:00:22,753 --> 01:00:24,254
THE CONCEPT OF ELSEWHERE IS,
1776
01:00:24,254 --> 01:00:25,856
LIKE, THAT'S -- THAT'S IT.
1777
01:00:25,856 --> 01:00:27,725
LIKE, THAT'S WHERE I WANT TO BE.
1778
01:00:27,725 --> 01:00:30,728
THAT'S WHERE THERE'S POSSIBILITY
1779
01:00:30,728 --> 01:00:32,329
AND IMAGINATION.
1780
01:00:33,497 --> 01:00:34,965
I'M SORRY.
1781
01:00:34,965 --> 01:00:36,934
UM...
1782
01:00:40,370 --> 01:00:42,339
WELL, LONG STORY SHORT, I GOT
1783
01:00:42,339 --> 01:00:44,374
"ELSEWHERE" TATTOOED ON MYSELF
1784
01:00:44,374 --> 01:00:46,476
AS KIND OF A LITTLE MEMENTO, BUT
1785
01:00:46,476 --> 01:00:48,412
I DON'T KNOW WHY I'M CRYING!
1786
01:00:48,412 --> 01:00:50,815
SORRY!
1787
01:00:50,815 --> 01:00:53,517
UM...
1788
01:00:53,517 --> 01:00:55,385
LIKE, MEANINGLESS COINCIDENCES
1789
01:00:55,385 --> 01:00:57,221
REALLY MEAN A LOT TO ME, AND I
1790
01:00:57,221 --> 01:00:58,756
JUST FEEL LIKE THERE'S
1791
01:00:58,756 --> 01:01:00,490
SOMETHING, THERE'S SOMETHING OUT
1792
01:01:00,490 --> 01:01:02,760
THERE GUIDING THAT.
1793
01:01:02,760 --> 01:01:04,995
THE FEELING THAT I HAD THAT DAY
1794
01:01:04,995 --> 01:01:06,764
JUST KIND OF SUMMED UP
1795
01:01:06,764 --> 01:01:08,032
EVERYTHING THAT I HAD DONE.
1796
01:01:08,032 --> 01:01:09,366
THAT FEELING THAT YOU GET WHEN
1797
01:01:09,366 --> 01:01:11,335
YOU FIND A CLUE OR SOMETHING, OR
1798
01:01:11,335 --> 01:01:13,237
YOU MAKE THE CONNECTION OF WHAT
1799
01:01:13,237 --> 01:01:15,039
YOU'RE SUPPOSED TO DO NEXT --
1800
01:01:15,039 --> 01:01:16,774
THAT, LIKE, SPLIT SECOND OF,
1801
01:01:16,774 --> 01:01:17,908
LIKE, CONNECTION.
1802
01:01:17,908 --> 01:01:19,276
LIKE, THAT'S WHEN YOU'RE
1803
01:01:19,276 --> 01:01:20,110
ELSEWHERE.
1804
01:01:20,110 --> 01:01:21,545
THAT'S WHAT'S AWESOME.
1805
01:01:21,545 --> 01:01:23,513
>> BASICALLY, A COUPLE MONTHS
1806
01:01:23,513 --> 01:01:25,816
BEFORE THE YEAR WAS OUT, WE HAD,
1807
01:01:25,816 --> 01:01:27,852
THE COMPANY -- JEFF -- HAD COME
1808
01:01:27,852 --> 01:01:29,954
TO A DECISION THAT BUDGET NEEDED
1809
01:01:29,954 --> 01:01:31,989
TO BE SEVERELY CUT FOR THE NEW
1810
01:01:31,989 --> 01:01:34,058
YEAR, AND THAT WAS SIMPLY IN THE
1811
01:01:34,058 --> 01:01:36,026
MONTHS TO SET UP AN ENDING TO
1812
01:01:36,026 --> 01:01:38,028
IT, 'CAUSE THERE WAS ALWAYS AN
1813
01:01:38,028 --> 01:01:40,064
INTENTION TO CREATE AN ENDING.
1814
01:01:40,064 --> 01:01:41,966
>> JEFF AND I TALKED, AND IT
1815
01:01:41,966 --> 01:01:43,834
STARTED SMALL, IN TERMS OF,
1816
01:01:43,834 --> 01:01:45,469
"WELL, WE CAN'T AFFORD TO.
1817
01:01:45,469 --> 01:01:47,471
WE'RE GONNA HAVE TO SET AN END
1818
01:01:47,471 --> 01:01:49,339
DATE, BECAUSE WE JUST CAN'T
1819
01:01:49,339 --> 01:01:51,208
AFFORD TO KEEP RUNNING IT."
1820
01:01:51,208 --> 01:01:53,510
>> THE WIND DOWN WAS BEGINNING
1821
01:01:53,510 --> 01:01:55,913
IN SOME WAY, SHAPE, OR FORM.
1822
01:01:55,913 --> 01:01:57,381
IT BECAME VERY REAL THAT THIS
1823
01:01:57,381 --> 01:01:59,116
WAS GOING TO HAVE AN END DATE,
1824
01:01:59,116 --> 01:02:00,951
AND THAT THAT END DATE WAS GOING
1825
01:02:00,951 --> 01:02:02,119
TO BECOME HARD SOON.
1826
01:02:02,119 --> 01:02:04,388
>> AND IT REALLY WAS JUST A CASE
1827
01:02:04,388 --> 01:02:06,190
OF THE ART WAS THE MOST
1828
01:02:06,190 --> 01:02:08,025
IMPORTANT THING, AND THE
1829
01:02:08,025 --> 01:02:10,194
BUSINESS OF IT GOT IN THE WAY.
1830
01:02:10,194 --> 01:02:11,428
>> IT WAS RIGHT AT THAT TIME
1831
01:02:11,428 --> 01:02:12,562
THAT I WAS APPROACHED BY
1832
01:02:12,562 --> 01:02:14,398
GEORDIE AITKEN, A
1833
01:02:14,398 --> 01:02:17,267
LEADERSHIP-TRAINING PERSON FOR
1834
01:02:17,267 --> 01:02:19,469
CORPORATE TEAM-BUILDING
1835
01:02:19,469 --> 01:02:21,505
EXERCISES IN CANADA.
1836
01:02:21,505 --> 01:02:24,574
AND HE WANTED TO MEET, AND WE
1837
01:02:24,574 --> 01:02:26,443
JUST GOT ALONG.
1838
01:02:26,443 --> 01:02:28,378
IT WAS, LIKE, FAST FRIENDS
1839
01:02:28,378 --> 01:02:29,479
INSTANTLY.
1840
01:02:29,914 --> 01:02:31,615
>> IT WAS, WHAT DO THEY SAY, A
1841
01:02:31,615 --> 01:02:33,483
"BROMANCE" FROM THE BEGINNING
1842
01:02:33,483 --> 01:02:36,286
AND A BEAUTIFUL ONE AT THAT.
1843
01:02:36,286 --> 01:02:38,355
NOT 'CAUSE JEFF IS BEAUTIFUL
1844
01:02:38,355 --> 01:02:39,356
PHYSICALLY.
1845
01:02:39,589 --> 01:02:40,457
I MEAN...
1846
01:02:40,457 --> 01:02:42,359
NOT THAT HE'S NOT BEAUTIFUL
1847
01:02:42,359 --> 01:02:44,428
PHYSICALLY, FOR SURE, BUT WHAT
1848
01:02:44,428 --> 01:02:46,396
I'M TRYING TO SAY IS, IT HAS
1849
01:02:46,396 --> 01:02:48,298
NOTHING TO DO WITH PHYSICAL
1850
01:02:48,298 --> 01:02:49,366
BEAUTY.
1851
01:02:49,366 --> 01:02:51,902
>> WE HAD THIS SHARED KNOWLEDGE
1852
01:02:51,902 --> 01:02:54,238
OF THE HISTORY OF THE SELF-HELP
1853
01:02:54,238 --> 01:02:56,240
MOVEMENT, AND HE HAD THIS
1854
01:02:56,240 --> 01:02:58,608
APPRECIATION FOR MY CRAFT, AND I
1855
01:02:58,608 --> 01:03:00,911
RECOGNIZED IN HIM THIS REALLY
1856
01:03:00,911 --> 01:03:02,947
CHARISMATIC, COMPELLING, AND
1857
01:03:02,947 --> 01:03:04,982
VERY SKILLED AND EXPERIENCED
1858
01:03:04,982 --> 01:03:06,483
PERSON IN THIS REALM.
1859
01:03:06,483 --> 01:03:08,285
>> I JUST DO WHAT I DO.
1860
01:03:08,285 --> 01:03:09,453
I LEAD GROUPS.
1861
01:03:09,453 --> 01:03:11,922
I'M USED TO RESISTANT PEOPLE AND
1862
01:03:11,922 --> 01:03:13,924
CYNICS, AND I'M COMFORTABLE
1863
01:03:13,924 --> 01:03:16,093
MOVING INTO FICTIONAL ROLES OR
1864
01:03:16,093 --> 01:03:17,962
DIFFERENT PERSONA IN ORDER TO
1865
01:03:17,962 --> 01:03:19,964
FACILITATE AN EXPERIENCE, 'CAUSE
1866
01:03:19,964 --> 01:03:21,631
SOMETIMES -- FOR INSTANCE, IN
1867
01:03:21,631 --> 01:03:23,600
THE NINJA-TRAINING WORK I DO, I
1868
01:03:23,600 --> 01:03:25,469
MOVE INTO THIS SORT OF SENSEI
1869
01:03:25,469 --> 01:03:27,271
ROLE, WHICH REQUIRES A KIND OF
1870
01:03:27,271 --> 01:03:29,006
DIFFERENT SLANT ON MY NORMAL
1871
01:03:29,006 --> 01:03:29,673
PERSONALITY.
1872
01:03:29,673 --> 01:03:32,609
>> WHEN PEOPLE FIRST ENTERED THE
1873
01:03:32,609 --> 01:03:35,412
INDUCTION CENTER, IT MADE THEM
1874
01:03:35,412 --> 01:03:36,446
NERVOUS.
1875
01:03:36,446 --> 01:03:39,116
IT FREAKED THEM OUT A LITTLE
1876
01:03:39,116 --> 01:03:41,585
BIT BECAUSE THEY DIDN'T KNOW
1877
01:03:41,585 --> 01:03:44,421
WHERE THE FICTION WAS AND WHERE
1878
01:03:44,421 --> 01:03:46,123
THE REALITY WAS.
1879
01:03:46,123 --> 01:03:49,026
AND THAT WAS THE TENSION THAT WE
1880
01:03:49,026 --> 01:03:51,461
THOUGHT WAS REALLY RICH, WAS
1881
01:03:51,461 --> 01:03:54,564
REALLY COMPELLING.
1882
01:03:54,564 --> 01:03:58,035
>> AND BRINGING A CLIMACTIC
1883
01:03:58,035 --> 01:04:01,605
CONCLUSION TO THE STORY THROUGH
1884
01:04:01,605 --> 01:04:05,142
OPPOSITION SEEMED ALMOST, TO
1885
01:04:05,142 --> 01:04:08,645
HIM, TRITE OR TOO PAT OR MAYBE
1886
01:04:08,645 --> 01:04:10,114
TOO EASY.
1887
01:04:10,114 --> 01:04:12,516
IT WAS JUST TOO EASY.
1888
01:04:12,516 --> 01:04:14,084
>> WHAT HAPPENS WHEN YOU GET ALL
1889
01:04:14,084 --> 01:04:15,352
THESE PEOPLE IN THE ROOM, AND
1890
01:04:15,352 --> 01:04:16,686
THEY'RE EXPECTING IT TO BE THIS
1891
01:04:16,686 --> 01:04:20,324
BIG SCIENCE-FICTION FANTASY, AND
1892
01:04:20,324 --> 01:04:23,961
YOU JUST HOLD A SEMINAR...
1893
01:04:23,961 --> 01:04:26,630
ALL DAY...
1894
01:04:26,630 --> 01:04:28,165
ALL DAY LONG.
1895
01:04:28,165 --> 01:04:30,100
>> WELL, THERE WAS SO MUCH
1896
01:04:30,100 --> 01:04:31,635
LEAD-UP TO THE SEMINAR.
1897
01:04:31,635 --> 01:04:33,370
WE WERE TO RUN A COVERT
1898
01:04:33,370 --> 01:04:35,439
OPERATION AT THE PRESCREENING,
1899
01:04:35,439 --> 01:04:36,740
AT THE HOTEL ROOM.
1900
01:04:36,740 --> 01:04:38,976
WE WERE SUPPOSED TO LOOK FOR
1901
01:04:38,976 --> 01:04:41,111
THESE LITTLE BIO-FORCE GLOBES.
1902
01:04:41,111 --> 01:04:43,313
>> EVERYONE WAS TOLD TO STEAL --
1903
01:04:43,313 --> 01:04:45,215
IT WAS CALLED A BIO-FORCE
1904
01:04:45,215 --> 01:04:47,184
GLOBE -- FROM A BOWL IN THE
1905
01:04:47,184 --> 01:04:48,118
ROOM.
1906
01:04:48,352 --> 01:04:50,754
AND IT WAS SUPPOSED TO BE THIS
1907
01:04:50,754 --> 01:04:52,722
THING THAT OPERATED THE
1908
01:04:52,722 --> 01:04:55,325
VITAL-ORBIT FORCEFIELD THAT WAS
1909
01:04:55,325 --> 01:04:57,127
GOING TO DESTROY THE
1910
01:04:57,127 --> 01:04:59,396
JEJUNE INSTITUTE ONCE AND FOR
1911
01:04:59,396 --> 01:05:01,731
ALL AND BRING THEIR "JEJUNERY"
1912
01:05:01,731 --> 01:05:02,566
TO LIGHT.
1913
01:05:03,000 --> 01:05:04,201
>> YOU KNOW, BRINGING THIS GUY
1914
01:05:04,201 --> 01:05:05,402
DOWN DIDN'T SEEM LIKE SUCH AN
1915
01:05:05,402 --> 01:05:06,070
AWFUL THING.
1916
01:05:06,070 --> 01:05:07,337
LIKE, YOU KNOW, IF WE PUT AN END
1917
01:05:07,337 --> 01:05:08,505
TO A CULT THAT'S POTENTIALLY
1918
01:05:08,505 --> 01:05:09,606
RUINING PEOPLE'S LIVES, YOU
1919
01:05:09,606 --> 01:05:10,540
KNOW, LET'S DO THAT.
1920
01:05:17,181 --> 01:05:18,048
>> HELLO.
1921
01:05:18,048 --> 01:05:18,682
>> HELLO!
1922
01:05:18,682 --> 01:05:20,184
>> HOW MAY I HELP YOU?
1923
01:05:20,184 --> 01:05:20,784
>> I'M HERE FOR THE
1924
01:05:20,784 --> 01:05:21,518
PRESCREENING.
1925
01:05:21,518 --> 01:05:23,020
>> AND YOUR NAME, PLEASE?
1926
01:05:23,020 --> 01:05:23,720
>> MARK.
1927
01:05:23,720 --> 01:05:25,122
>> MARK ELLIS?
1928
01:05:25,122 --> 01:05:26,123
>> MM-HMM.
1929
01:05:26,123 --> 01:05:27,057
>> PLUS ONE?
1930
01:05:27,057 --> 01:05:27,524
>> NO.
1931
01:05:27,524 --> 01:05:29,326
>> OKAY.
1932
01:05:29,326 --> 01:05:30,294
>> DO YOU HAVE A TWIN?
1933
01:05:30,294 --> 01:05:31,361
>> NO.
1934
01:05:31,361 --> 01:05:32,062
>> OH.
1935
01:05:32,062 --> 01:05:32,796
PLEASE HAVE A SEAT...
1936
01:05:33,563 --> 01:05:34,631
...ON THE CUSHIONED CHAIR.
1937
01:05:34,631 --> 01:05:38,168
>> ALL RIGHT.
1938
01:05:38,168 --> 01:05:38,768
>> NOW...
1939
01:05:38,768 --> 01:05:40,670
THIS IS A VERY STRAIGHTFORWARD
1940
01:05:40,670 --> 01:05:41,405
PROCESS.
1941
01:05:41,405 --> 01:05:42,239
>> MM-HMM.
1942
01:05:42,239 --> 01:05:44,108
>> I'M GOING TO ASK YOU A FEW
1943
01:05:44,108 --> 01:05:44,741
QUESTIONS.
1944
01:05:44,741 --> 01:05:46,376
WE'RE GONNA TAKE SOME READINGS.
1945
01:05:46,376 --> 01:05:47,811
AND THEN I'M GOING TO SHOW YOU A
1946
01:05:47,811 --> 01:05:48,412
VIDEO.
1947
01:05:48,412 --> 01:05:49,446
HOW DOES THAT SOUND?
1948
01:05:49,446 --> 01:05:50,447
>> SOUNDS GOOD.
1949
01:05:50,447 --> 01:05:51,181
>> ALL RIGHT.
1950
01:05:51,181 --> 01:05:52,482
THE FIRST THING WE NEED TO DO IS
1951
01:05:52,482 --> 01:05:53,317
GET YOU WIRED IN.
1952
01:05:53,317 --> 01:05:55,519
>> ALL RIGHT.
1953
01:05:55,519 --> 01:05:57,287
>> IT'S A COMPLETELY PAINLESS,
1954
01:05:57,287 --> 01:05:58,522
NONINVASIVE PROCEDURE.
1955
01:05:58,522 --> 01:06:00,757
JUST LEAN YOUR HEAD FORWARD.
1956
01:06:00,757 --> 01:06:02,492
THANK YOU.
1957
01:06:02,492 --> 01:06:03,693
ARE YOU LEFT- OR RIGHT-HANDED?
1958
01:06:03,693 --> 01:06:04,594
>> I'M RIGHT-HANDED.
1959
01:06:04,594 --> 01:06:05,529
>> I NEED YOUR LEFT INDEX
1960
01:06:05,529 --> 01:06:08,098
FINGER, PLEASE.
1961
01:06:17,241 --> 01:06:19,143
PLEASE PUT YOUR ATTENTION HERE.
1962
01:06:19,143 --> 01:06:21,578
>> MM-HMM.
1963
01:06:28,585 --> 01:06:29,819
>> WHAT'S YOUR NAME?
1964
01:06:29,819 --> 01:06:30,820
>> MARK ELLIS.
1965
01:06:30,820 --> 01:06:32,656
>> WHERE WERE YOU BORN, MARK?
1966
01:06:32,656 --> 01:06:34,824
>> IN WALNUT CREEK.
1967
01:06:34,824 --> 01:06:37,661
>> WHERE DO YOU LIVE NOW?
1968
01:06:37,661 --> 01:06:40,730
>> MARTINEZ.
1969
01:06:40,730 --> 01:06:41,765
>> HOW LONG HAVE YOU BEEN
1970
01:06:41,765 --> 01:06:42,699
PARTICIPATING WITH THE
1971
01:06:42,699 --> 01:06:43,333
INSTITUTE?
1972
01:06:43,333 --> 01:06:47,371
>> FOR ABOUT TWO YEARS.
1973
01:06:47,371 --> 01:06:49,373
>> HAVE YOU EVER EXPERIENCED A
1974
01:06:49,373 --> 01:06:50,374
LUCID DREAM?
1975
01:06:50,374 --> 01:06:51,308
>> YES.
1976
01:06:51,308 --> 01:06:52,742
>> HAVE YOU EXPERIENCED A LUCID
1977
01:06:52,742 --> 01:06:54,244
DREAM WITHIN THE PAST YEAR?
1978
01:06:54,244 --> 01:06:55,445
>> I THINK SO, YEAH.
1979
01:06:55,445 --> 01:06:57,281
>> WITHIN THE PAST SIX MONTHS?
1980
01:06:57,281 --> 01:06:59,583
>> HMM... MAYBE NOT.
1981
01:06:59,583 --> 01:07:01,618
>> ARE YOU DREAMING NOW?
1982
01:07:01,618 --> 01:07:05,755
>> I DON'T KNOW.
1983
01:07:05,755 --> 01:07:07,524
>> HAVE YOU EVER EXPERIENCED
1984
01:07:07,524 --> 01:07:08,325
DéJà VU?
1985
01:07:08,325 --> 01:07:08,725
>> YES.
1986
01:07:08,725 --> 01:07:10,227
HAVE YOU EXPERIENCED DéJà VU
1987
01:07:10,227 --> 01:07:11,295
WITHIN THE PAST YEAR?
1988
01:07:11,295 --> 01:07:11,695
>> YES.
1989
01:07:11,695 --> 01:07:13,330
>> WITHIN THE PAST SIX MONTHS?
1990
01:07:13,330 --> 01:07:13,730
>> YES.
1991
01:07:13,730 --> 01:07:14,831
>> PAST THREE MONTHS?
1992
01:07:14,831 --> 01:07:16,766
>> MAYBE.
1993
01:07:16,766 --> 01:07:17,801
>> ALL RIGHT.
1994
01:07:17,801 --> 01:07:19,769
I'M GOING TO SHOW YOU A VIDEO.
1995
01:07:19,769 --> 01:07:21,871
THERE'S NO RIGHT OR WRONG WAY TO
1996
01:07:21,871 --> 01:07:23,507
EXPERIENCE THIS VIDEO.
1997
01:07:23,507 --> 01:07:24,608
HOWEVER, IT IS EXTREMELY
1998
01:07:24,608 --> 01:07:25,775
IMPORTANT THAT YOU GIVE THE
1999
01:07:25,775 --> 01:07:27,277
VIDEO YOUR UNDIVIDED ATTENTION.
2000
01:07:27,277 --> 01:07:27,877
DO YOU UNDERSTAND?
2001
01:07:27,877 --> 01:07:31,581
>> YES.
2002
01:08:52,996 --> 01:08:54,831
IS THAT IT?
2003
01:08:54,831 --> 01:08:56,733
>> I DON'T KNOW. IS THAT IT?
2004
01:08:56,733 --> 01:08:59,503
>> I DON'T KNOW. IS THAT IT?
2005
01:09:06,710 --> 01:09:07,977
>> THAT CONCLUDES OUR
2006
01:09:07,977 --> 01:09:09,479
PRESCREENING PROCESS.
2007
01:09:09,479 --> 01:09:10,414
>> THANK YOU.
2008
01:09:10,414 --> 01:09:11,381
>> ENJOY YOUR DAY.
2009
01:09:11,381 --> 01:09:12,349
ENJOY YOUR WEEKEND.
2010
01:09:12,349 --> 01:09:12,849
>> ALL RIGHT.
2011
01:09:12,849 --> 01:09:14,584
THANK YOU VERY MUCH.
2012
01:09:14,584 --> 01:09:18,855
SO, I DID GET ONE OF THESE.
2013
01:09:24,561 --> 01:09:26,596
IT LOOKS LIKE A FLOWER BUD --
2014
01:09:26,596 --> 01:09:27,931
PRETTY COOL, THOUGH.
2015
01:09:27,931 --> 01:09:29,833
WELL, THAT'S IT.
2016
01:09:29,833 --> 01:09:31,034
I'M DONE.
2017
01:09:31,034 --> 01:09:32,436
HELLO.
2018
01:09:32,436 --> 01:09:32,969
>> HELLO.
2019
01:09:32,969 --> 01:09:33,803
>> GOOD TO SEE YOU.
2020
01:09:33,803 --> 01:09:34,838
>> YOUR NAME AGAIN, PLEASE?
2021
01:09:34,838 --> 01:09:35,472
>> MARK.
2022
01:09:35,472 --> 01:09:36,606
>> MARK. YOUR LAST NAME?
2023
01:09:36,606 --> 01:09:37,274
>> ELLIS.
2024
01:09:37,274 --> 01:09:38,575
>> MARK ELLIS?
2025
01:09:38,575 --> 01:09:39,609
DID YOU DREAM LAST NIGHT?
2026
01:09:39,609 --> 01:09:40,377
>> YES.
2027
01:09:40,377 --> 01:09:40,877
>> EXCELLENT.
2028
01:09:40,877 --> 01:09:41,878
ARE YOU READY FOR TODAY'S EVENT?
2029
01:09:41,878 --> 01:09:42,679
>> YES.
2030
01:09:42,679 --> 01:09:43,380
>> PERFECT.
2031
01:09:43,380 --> 01:09:43,947
>> WELCOME, MARK.
2032
01:09:43,947 --> 01:09:45,682
>> THANK YOU.
2033
01:09:45,682 --> 01:09:47,951
SO, THE DAY OF THE SEMINAR, A
2034
01:09:47,951 --> 01:09:50,287
LOT OF US HAD OUR BIO-FORCE
2035
01:09:50,287 --> 01:09:51,488
GLOBE THINGS.
2036
01:09:51,488 --> 01:09:53,990
>> THE EPWA WAS GOING TO GIVE US
2037
01:09:53,990 --> 01:09:56,360
THE POWER TO TAKE DOWN THE
2038
01:09:56,360 --> 01:09:57,794
JEJUNE INSTITUTE.
2039
01:09:57,794 --> 01:09:59,863
>> WE WOULD ALL DO JAZZ HANDS,
2040
01:09:59,863 --> 01:10:01,965
AND COMMANDER 14 WOULD SHOW UP.
2041
01:10:01,965 --> 01:10:03,967
MAYBE EVEN EVA WOULD SHOW UP.
2042
01:10:03,967 --> 01:10:07,637
AND HOORAY, WE'RE THE TRIUMPHANT
2043
01:10:07,637 --> 01:10:09,573
ONES, YOU KNOW?
2044
01:10:09,573 --> 01:10:12,342
GO GET DRUNK. I DON'T KNOW.
2045
01:10:58,388 --> 01:10:59,889
>> I SEE YOU.
2046
01:11:01,525 --> 01:11:03,527
I'M GLAD YOU'RE HERE.
2047
01:11:03,527 --> 01:11:06,496
I'M GLAD YOU'RE ALL HERE.
2048
01:11:06,496 --> 01:11:07,797
I'M HERE.
2049
01:11:07,797 --> 01:11:10,600
WE'RE HERE.
2050
01:11:10,600 --> 01:11:13,470
AREN'T WE?
2051
01:11:13,470 --> 01:11:16,706
WE ARE HERE.
2052
01:11:16,706 --> 01:11:21,378
I AM ANTOINE, AND WELCOME TO
2053
01:11:21,378 --> 01:11:25,749
SOCIO-REENGINEERING 2011.
2054
01:11:35,625 --> 01:11:36,926
>> WELCOME TO
2055
01:11:36,926 --> 01:11:39,463
SOCIO-REENGINEERING 2011,
2056
01:11:39,463 --> 01:11:41,030
BROUGHT TO YOU BY
2057
01:11:41,030 --> 01:11:44,468
THE JEJUNE INSTITUTE, LLC.
2058
01:11:44,468 --> 01:11:46,670
THIRTY-TWO YEARS AGO, THE VERY
2059
01:11:46,670 --> 01:11:48,605
FIRST SOCIO-REENGINEERING
2060
01:11:48,605 --> 01:11:50,139
SEMINAR TOOK PLACE AT
2061
01:11:50,139 --> 01:11:52,476
SLIDE RANCH RETREAT CENTER ON
2062
01:11:52,476 --> 01:11:54,444
THE DRAMATIC COASTLINE OF
2063
01:11:54,444 --> 01:11:55,579
MARIN COUNTY.
2064
01:11:55,579 --> 01:11:57,414
ONCE A DECADE, WE HAVE
2065
01:11:57,414 --> 01:11:59,949
CONTINUED ON IN THE TRADITION
2066
01:11:59,949 --> 01:12:01,418
ESTABLISHED AT THAT FIRST
2067
01:12:01,418 --> 01:12:02,819
MONUMENTAL EVENT.
2068
01:12:02,819 --> 01:12:04,621
TODAY, YOU ARE HERE TO
2069
01:12:04,621 --> 01:12:06,723
PARTICIPATE IN THAT LEGACY.
2070
01:12:06,956 --> 01:12:08,692
OF MANY BEAUTIFUL THINGS TO
2071
01:12:08,692 --> 01:12:10,126
EMERGE FROM THAT HISTORIC
2072
01:12:10,126 --> 01:12:11,995
WEEKEND, THERE WAS A PARTICULAR
2073
01:12:11,995 --> 01:12:13,397
UNION ESTABLISHED.
2074
01:12:13,630 --> 01:12:15,632
IT WAS THE ROMANTIC CONNECTION
2075
01:12:15,632 --> 01:12:17,567
BETWEEN INSTITUTE RESEARCHERS
2076
01:12:17,567 --> 01:12:18,702
EZRA LOGAN AND
2077
01:12:18,702 --> 01:12:20,704
MRS. TONI HAPUIS, WHICH
2078
01:12:20,704 --> 01:12:23,039
CONTINUES TO BURN BRIGHTLY TO
2079
01:12:23,039 --> 01:12:24,207
THIS DAY.
2080
01:12:24,207 --> 01:12:26,676
FROM THIS COSMIC SPARK, A CHILD
2081
01:12:26,676 --> 01:12:28,812
WAS CONCEIVED THAT WEEKEND BY
2082
01:12:28,812 --> 01:12:30,947
THE NAME OF ANTOINE LOGAN, A
2083
01:12:30,947 --> 01:12:33,149
SHINING LIGHT IN THE MOVEMENT.
2084
01:12:33,149 --> 01:12:34,951
ANTOINE BECAME A YOUNG
2085
01:12:34,951 --> 01:12:37,053
PROTéGé OF OCTAVIO COLEMAN,
2086
01:12:37,053 --> 01:12:38,922
ESQUIRE.
2087
01:12:38,922 --> 01:12:40,824
SPENDING HIS FORMATIVE YEARS
2088
01:12:40,824 --> 01:12:42,592
UNDER HIS CLOSE TUTELAGE,
2089
01:12:42,592 --> 01:12:44,093
TODAY, WE WILL HAVE THE
2090
01:12:44,093 --> 01:12:45,629
SINGULAR PLEASURE OF
2091
01:12:45,629 --> 01:12:47,597
EXPERIENCING ANTOINE LOGAN IN
2092
01:12:47,597 --> 01:12:48,498
ALL OF HIS
2093
01:12:48,498 --> 01:12:50,867
VISION, STRENGTH, AND WISDOM,
2094
01:12:50,867 --> 01:12:53,036
AS ESTABLISHED THROUGH HIS
2095
01:12:53,036 --> 01:12:55,238
CAREFUL APPLICATION OF THE
2096
01:12:55,238 --> 01:12:56,740
JEJUNE METHOD.
2097
01:12:56,740 --> 01:12:57,874
>> FEEL YOUR BODY.
2098
01:12:57,874 --> 01:12:59,809
FEEL THE GRAVITY AS IT PULLS YOU
2099
01:12:59,809 --> 01:13:01,110
TO THE GROUND.
2100
01:13:01,110 --> 01:13:03,713
WE ARE MATERIAL.
2101
01:13:03,713 --> 01:13:06,249
WE ARE FULL OF JUDGMENTS.
2102
01:13:06,249 --> 01:13:08,918
FALL IN LOVE WITH WHAT'S
2103
01:13:08,918 --> 01:13:10,253
POSSIBLE.
2104
01:13:10,253 --> 01:13:11,988
SYNTHESIS ALLOWS US TO PLOW
2105
01:13:11,988 --> 01:13:13,857
FORWARD AND TO DO THE HARD WORK
2106
01:13:13,857 --> 01:13:15,659
OF REALLY LEARNING ABOUT EACH
2107
01:13:15,659 --> 01:13:16,993
OTHER, WHICH MOVES TO A PLACE WE
2108
01:13:16,993 --> 01:13:19,729
CALL "HIGH PERFORMANCE."
2109
01:13:19,729 --> 01:13:22,265
THE LAYERS OF OUR PERSONALITY
2110
01:13:22,265 --> 01:13:23,633
ARE PREDICTABLE.
2111
01:13:23,633 --> 01:13:26,169
WE CALL IT ARMOR BECAUSE WHEN WE
2112
01:13:26,169 --> 01:13:28,705
HOLD ON TO HOW WE SEE THINGS,
2113
01:13:28,705 --> 01:13:30,840
WHEN WE HOLD TIGHT TO OUR
2114
01:13:30,840 --> 01:13:32,842
HABITUAL WORLD VIEW AND
2115
01:13:32,842 --> 01:13:35,579
OPINIONS, WE BECOME QUITE RIGID.
2116
01:13:35,579 --> 01:13:37,614
OFTEN, OUR CHARACTER ARMOR, THAT
2117
01:13:37,614 --> 01:13:39,215
HABITUAL WAY OF SEEING AND
2118
01:13:39,215 --> 01:13:41,117
OPERATING, GETS IN THE WAY OF
2119
01:13:41,117 --> 01:13:42,952
BECOMING WHO WE NEED TO BE.
2120
01:13:42,952 --> 01:13:44,854
THE WISDOM BODY SPEAKS IN THESE
2121
01:13:44,854 --> 01:13:46,723
SORTS OF GAMES, YOU KNOW?
2122
01:13:46,723 --> 01:13:47,891
>> HE HAD US DO THESE
2123
01:13:47,891 --> 01:13:49,526
DEEP-BREATHING EXERCISES AND
2124
01:13:49,526 --> 01:13:50,594
GOING, "MMM."
2125
01:13:50,594 --> 01:13:52,796
AND APPARENTLY -- I WASN'T THERE
2126
01:13:52,796 --> 01:13:54,531
TO WITNESS THIS -- BUT
2127
01:13:54,531 --> 01:13:56,566
APPARENTLY WE TOOK A BATHROOM
2128
01:13:56,566 --> 01:13:58,635
BREAK, AND HE WAS STANDING AT
2129
01:13:58,635 --> 01:14:00,837
ONE OF THE URINALS GOING, "MMM."
2130
01:14:00,837 --> 01:14:02,572
>> THERE WAS A BREAK, AND AFTER
2131
01:14:02,572 --> 01:14:04,040
HE CAME BACK FROM THE BREAK,
2132
01:14:04,040 --> 01:14:05,809
THEY WERE SETTING OUT GLASSES OF
2133
01:14:05,809 --> 01:14:06,576
HOT WATER.
2134
01:14:06,576 --> 01:14:07,544
AND WE'RE LIKE, "OH, MY GOD,
2135
01:14:07,544 --> 01:14:08,545
THIS IS LIKE WHEN THEY'RE GONNA
2136
01:14:08,545 --> 01:14:09,245
MAKE DRINK THE KOOL-AID.
2137
01:14:09,245 --> 01:14:11,080
LIKE, MAYBE THIS IS -- MAYBE
2138
01:14:11,080 --> 01:14:12,916
WE'VE BEEN, LIKE, FOOLED ALL
2139
01:14:12,916 --> 01:14:13,316
ALONG.
2140
01:14:13,316 --> 01:14:14,984
MAYBE THIS IS A CULT, AND WE'RE
2141
01:14:14,984 --> 01:14:15,952
ALL ABOUT TO DIE."
2142
01:14:15,952 --> 01:14:18,287
>> OH, SOME OF YOU BROUGHT
2143
01:14:18,287 --> 01:14:20,189
SOMETHING WITH YOU.
2144
01:14:20,189 --> 01:14:24,661
TAKE IT OUT NOW.
2145
01:14:24,661 --> 01:14:27,631
TAKE IT OUT.
2146
01:14:27,631 --> 01:14:32,268
IT'S OKAY.
2147
01:14:32,268 --> 01:14:33,737
IT'S OKAY.
2148
01:14:33,737 --> 01:14:35,639
>> HE JUST KEPT ON TRYING TO GET
2149
01:14:35,639 --> 01:14:37,073
US TO PUT THE BALLS IN THE
2150
01:14:37,073 --> 01:14:37,707
WATER.
2151
01:14:37,707 --> 01:14:39,242
HE'S LIKE, "PUT THEM IN YOUR
2152
01:14:39,242 --> 01:14:39,843
CUP."
2153
01:14:39,843 --> 01:14:41,310
AND WE'RE LIKE, "NO!"
2154
01:14:41,310 --> 01:14:43,179
'CAUSE INSIDE, WE'RE LIKE,
2155
01:14:43,179 --> 01:14:45,048
"WE'RE ON THE EPWA SIDE."
2156
01:14:45,048 --> 01:14:47,183
LIKE, WE CAN'T BETRAY THEM, YOU
2157
01:14:47,183 --> 01:14:47,851
KNOW?
2158
01:14:47,851 --> 01:14:49,919
BUT EVENTUALLY PEOPLE STARTED
2159
01:14:49,919 --> 01:14:52,021
PUTTING THE TEA IN THE WATER.
2160
01:14:52,021 --> 01:14:54,090
I PUT MINE IN AND IMMEDIATELY
2161
01:14:54,090 --> 01:14:55,191
REGRETTED IT.
2162
01:14:55,191 --> 01:14:57,126
I WAS LIKE, "GOD, I LET THEM GET
2163
01:14:57,126 --> 01:14:57,827
TO ME."
2164
01:14:57,827 --> 01:14:59,729
>> THE KEY IN THAT MOMENT WAS I
2165
01:14:59,729 --> 01:15:01,631
DIDN'T RESIST THEIR RESISTANCE.
2166
01:15:01,631 --> 01:15:04,333
MY UNFLAPPABILITY HELPED SEDUCE
2167
01:15:04,333 --> 01:15:07,136
SOME OF THE WEAKER ONES INTO
2168
01:15:07,136 --> 01:15:10,106
PUTTING THEIR ORB INTO THE TEA.
2169
01:15:10,106 --> 01:15:12,008
AND IT HELPED PROVOKE THE MORE
2170
01:15:12,008 --> 01:15:13,710
STRIDENT PARTICIPANTS INTO
2171
01:15:13,710 --> 01:15:15,344
GREATER AND GREATER LEVELS OF
2172
01:15:15,344 --> 01:15:17,080
RESISTANCE, WHICH BECAME A
2173
01:15:17,080 --> 01:15:18,882
COMEDY IN ITSELF, TO THE POINT
2174
01:15:18,882 --> 01:15:22,018
WHERE SOMEONE SAYS, "WHY SHOULD
2175
01:15:22,018 --> 01:15:23,252
WE DO IT?"
2176
01:15:23,252 --> 01:15:25,288
AND I SAY...
2177
01:15:25,288 --> 01:15:27,123
BECAUSE THAT'S HOW WE MAKE TEA.
2178
01:15:32,361 --> 01:15:34,263
AND EVERYONE GOT IT, BECAUSE THE
2179
01:15:34,263 --> 01:15:36,065
LAUGHTER RIPPLED THROUGH THE
2180
01:15:36,065 --> 01:15:36,666
ROOM.
2181
01:15:36,666 --> 01:15:38,367
AND IN THAT MOMENT, EVEN DESPITE
2182
01:15:38,367 --> 01:15:40,103
THEMSELVES, EVERYONE GOT THE
2183
01:15:40,103 --> 01:15:40,804
COMEDY.
2184
01:15:40,804 --> 01:15:41,705
I DON'T KNOW.
2185
01:15:41,705 --> 01:15:43,306
THE ABSURDIST TRUTH CUT THROUGH
2186
01:15:43,306 --> 01:15:44,908
THE LEVELS OF REALITY, AND
2187
01:15:44,908 --> 01:15:46,409
SUDDENLY THE GAME MERGED WITH
2188
01:15:46,409 --> 01:15:47,744
THE PRESENT MOMENT.
2189
01:15:47,744 --> 01:15:49,646
ALTER EGOS MERGED WITH REAL
2190
01:15:49,646 --> 01:15:51,681
IDENTITIES, AND EVERYONE HAD A
2191
01:15:51,681 --> 01:15:52,215
LAUGH.
2192
01:15:56,085 --> 01:15:58,121
AHH!
2193
01:15:58,121 --> 01:15:59,889
MMM.
2194
01:16:06,162 --> 01:16:07,731
>> * THERE'S A PARTY
2195
01:16:07,731 --> 01:16:08,364
IN THE HOUSE,
2196
01:16:08,364 --> 01:16:10,133
AND WE'LL BE ROCKING TONIGHT *
2197
01:16:10,133 --> 01:16:11,735
* SO, BRING YOUR BODY
2198
01:16:11,735 --> 01:16:12,736
WITH YOU, BABY,
2199
01:16:12,736 --> 01:16:14,804
AND I'LL MAKE YOU FEEL RIGHT *
2200
01:16:14,804 --> 01:16:16,740
* IT'S A FREAKY CELEBRATION
2201
01:16:16,740 --> 01:16:18,708
OF A NATURAL KIND *
2202
01:16:18,708 --> 01:16:19,408
* AND THE PLEASURE
2203
01:16:19,408 --> 01:16:21,044
YOU'LL EXPERIENCE
2204
01:16:21,044 --> 01:16:22,746
WILL BLOW YOUR MIND *
2205
01:16:22,746 --> 01:16:25,348
>> I PARTICIPATED IN ALL OF THE
2206
01:16:25,348 --> 01:16:28,051
DANCING AND ROLLING AROUND ON
2207
01:16:28,051 --> 01:16:30,186
THE FLOOR AND STUFF.
2208
01:16:30,186 --> 01:16:33,322
>> THERE WAS A MOMENT WHERE WE
2209
01:16:33,322 --> 01:16:36,392
HAD A VIDEO CONFERENCE WITH A
2210
01:16:36,392 --> 01:16:37,794
DOLPHIN, AND EVERYONE ACTED LIKE
2211
01:16:37,794 --> 01:16:38,895
THEY KNEW WHAT HE WAS SAYING,
2212
01:16:38,895 --> 01:16:39,963
OR AT LEAST EVERYBODY ON THE
2213
01:16:39,963 --> 01:16:42,098
JEJUNE INSTITUTE STAFF.
2214
01:16:42,098 --> 01:16:44,433
>> THE SEMINAR ENDED WITH ALL OF
2215
01:16:44,433 --> 01:16:46,435
US GETTING UNDER THREE BIG
2216
01:16:46,435 --> 01:16:48,738
PARACHUTES AND DOING ONE OF
2217
01:16:48,738 --> 01:16:51,007
THOSE GROUP EXERCISES WHERE YOU
2218
01:16:51,007 --> 01:16:52,475
BRING THE PARACHUTE UP AND LET
2219
01:16:52,475 --> 01:16:53,810
IT FALL DOWN AND BRING IT UP AND
2220
01:16:53,810 --> 01:16:54,410
LET IT FALL DOWN.
2221
01:16:54,410 --> 01:16:55,912
AND THEN YOU SORT OF GET INTO
2222
01:16:55,912 --> 01:16:57,113
THIS WOMBLIKE STATE, WHERE
2223
01:16:57,113 --> 01:16:58,081
YOU'RE LAYING DOWN.
2224
01:16:58,081 --> 01:16:59,783
AND CAROLEE WAS RIGHT NEXT TO
2225
01:16:59,783 --> 01:17:00,116
ME.
2226
01:17:00,116 --> 01:17:01,150
I FELT VERY SAFE.
2227
01:17:01,150 --> 01:17:03,186
AND RIGHT THEN, SOMEBODY FROM
2228
01:17:03,186 --> 01:17:05,088
THE JEJUNE INSTITUTE EITHER
2229
01:17:05,088 --> 01:17:07,023
MOVED A CHAIR OR JUST GOT A
2230
01:17:07,023 --> 01:17:09,158
LITTLE BIT TOO CLOSE AND KICKED
2231
01:17:09,158 --> 01:17:11,127
ME IN THE HEAD, LIKE, REALLY
2232
01:17:11,127 --> 01:17:11,995
HARD.
2233
01:17:12,929 --> 01:17:15,098
AND THAT ENDED UP BEING A PRETTY
2234
01:17:15,098 --> 01:17:17,266
GOOD WAY OF SUMMING UP MY ENTIRE
2235
01:17:17,266 --> 01:17:18,501
EXPERIENCE AT THE
2236
01:17:18,501 --> 01:17:19,969
JEJUNE INSTITUTE.
2237
01:17:19,969 --> 01:17:22,471
>> AND ALLOW YOURSELF TO STRETCH
2238
01:17:22,471 --> 01:17:25,074
AND TO TOUCH EACH OTHER AND TO
2239
01:17:25,074 --> 01:17:27,410
TOUCH THE BIOFIBER THAT'S ALL
2240
01:17:27,410 --> 01:17:30,113
AROUND YOU AND RECONNECT TO LIFE
2241
01:17:30,113 --> 01:17:32,148
AS YOU OUGHT TO LIVE IT!
2242
01:17:32,148 --> 01:17:33,950
AND BREATHE DEEP OF THE
2243
01:17:33,950 --> 01:17:36,019
SUCCULENCE OF YOUR LIFE, THIS
2244
01:17:36,019 --> 01:17:38,221
TRANSFORMED LIFE, AND MAKE YOUR
2245
01:17:38,221 --> 01:17:40,389
WAY BEYOND THE PERIMETER OF THE
2246
01:17:40,389 --> 01:17:42,091
CHUTE.
2247
01:17:42,091 --> 01:17:46,930
AHH!
2248
01:17:46,930 --> 01:17:49,365
AND JOIN US.
2249
01:17:49,365 --> 01:17:52,936
JOIN OUR PEOPLE.
2250
01:17:58,274 --> 01:18:01,477
>> SO, DO WE STILL THINK THAT
2251
01:18:01,477 --> 01:18:05,982
THIS IS JUST A GAME?
2252
01:18:07,383 --> 01:18:10,887
LET'S TALK ABOUT REALITY AND
2253
01:18:10,887 --> 01:18:12,488
ILLUSION.
2254
01:18:12,488 --> 01:18:15,458
ARE YOU PRETENDING TO BE HERE,
2255
01:18:15,458 --> 01:18:16,893
HMM?
2256
01:18:16,893 --> 01:18:19,562
I AM NOT.
2257
01:18:19,562 --> 01:18:23,332
I AM PRESENT, RIGHT HERE, RIGHT
2258
01:18:23,332 --> 01:18:26,202
NOW.
2259
01:18:26,202 --> 01:18:28,872
AND I FEEL YOUR PRESENCE, TOO,
2260
01:18:28,872 --> 01:18:30,807
ALL OF YOU.
2261
01:18:30,807 --> 01:18:34,911
PERHAPS THIS VERY MOMENT IS US
2262
01:18:34,911 --> 01:18:38,081
WAKING FROM THE DREAM,
2263
01:18:38,081 --> 01:18:41,317
COLLECTIVELY AWAKENING.
2264
01:18:41,317 --> 01:18:42,385
AHA!
2265
01:18:42,385 --> 01:18:44,320
THAT FEELS GOOD, DOESN'T IT?
2266
01:18:44,320 --> 01:18:47,824
REMEMBER THE DAY YOU WALKED INTO
2267
01:18:47,824 --> 01:18:50,126
THE INDUCTION CENTER?
2268
01:18:50,126 --> 01:18:54,563
I PROMISED YOU TWO THINGS.
2269
01:18:54,563 --> 01:18:55,598
ONE...
2270
01:18:55,598 --> 01:18:59,168
THAT YOU'D BEGIN TO NOTICE THE
2271
01:18:59,168 --> 01:19:02,571
DIVINE OCCURRING ALL AROUND YOU
2272
01:19:02,571 --> 01:19:05,975
IN A THOUSAND MINISCULE WAYS.
2273
01:19:05,975 --> 01:19:07,343
AND TWO...
2274
01:19:07,343 --> 01:19:10,847
FOR THOSE DARK HORSES WITH THE
2275
01:19:10,847 --> 01:19:14,017
SPIRIT TO LOOK UP AND SEE, A
2276
01:19:14,017 --> 01:19:19,956
RECONDITE FAMILY AWAITS.
2277
01:19:19,956 --> 01:19:22,491
LOOK AROUND YOU.
2278
01:19:22,491 --> 01:19:25,628
WE ARE THAT FAMILY.
2279
01:19:25,628 --> 01:19:27,430
AND THIS?
2280
01:19:27,430 --> 01:19:31,167
THIS IS ONLY THE BEGINNING.
2281
01:19:31,167 --> 01:19:33,102
OKAY.
2282
01:19:33,102 --> 01:19:35,905
LOCK THE DOORS AND RELEASE THE
2283
01:19:35,905 --> 01:19:38,074
POISONOUS GAS, PLEASE.
2284
01:19:38,074 --> 01:19:39,275
HUH?
2285
01:19:39,275 --> 01:19:41,044
SCARED YOU, DIDN'T I?
2286
01:19:42,912 --> 01:19:45,648
WELL, GUESS WHAT?
2287
01:19:46,582 --> 01:19:49,052
YES. THANK YOU.
2288
01:19:49,052 --> 01:19:50,954
I GET SCARED, TOO.
2289
01:19:50,954 --> 01:19:53,456
EVEN I DIDN'T KNOW WHAT WAS
2290
01:19:53,456 --> 01:19:56,159
GOING TO HAPPEN HERE TODAY.
2291
01:19:56,159 --> 01:20:01,164
I ACKNOWLEDGE HOW FAR YOU ALL
2292
01:20:01,164 --> 01:20:05,902
HAVE COME, AND I HONOR YOU.
2293
01:20:05,902 --> 01:20:08,537
EVA BLESS.
2294
01:20:08,537 --> 01:20:10,940
THANK YOU.
2295
01:20:14,077 --> 01:20:16,312
>> CAROLEE TURNS TO ME, AND SHE
2296
01:20:16,312 --> 01:20:17,546
SAYS, "WE LOST.
2297
01:20:17,546 --> 01:20:19,448
WE DID IT WRONG.
2298
01:20:19,448 --> 01:20:22,385
WE LOST. WE LOST THE GAME."
2299
01:20:22,385 --> 01:20:23,619
AND I FELT SO MUCH LIKE
2300
01:20:23,619 --> 01:20:25,588
CHARLIE BUCKET, THAT THERE WAS
2301
01:20:25,588 --> 01:20:27,523
SOMETHING THAT WE HAD -- OVER
2302
01:20:27,523 --> 01:20:29,525
THE COURSE OF THE DAY, WE WERE
2303
01:20:29,525 --> 01:20:31,460
SUPPOSED TO DO SOMETHING WITH
2304
01:20:31,460 --> 01:20:33,429
THE COINS MAYBE THAT WE DIDN'T
2305
01:20:33,429 --> 01:20:33,997
DO.
2306
01:20:33,997 --> 01:20:36,632
>> I JUST -- I FELT LIKE IT WAS
2307
01:20:36,632 --> 01:20:39,035
STOPPED SHORT, LIKE THIS
2308
01:20:39,035 --> 01:20:40,436
WONDERFUL ARC HAD JUST GONE
2309
01:20:40,436 --> 01:20:41,971
POOF! AND FALLEN INTO THE
2310
01:20:41,971 --> 01:20:42,638
GROUND.
2311
01:20:42,638 --> 01:20:46,009
I'M KIND OF ASHAMED TO ADMIT IT,
2312
01:20:46,009 --> 01:20:48,477
BUT I WENT INTO KIND OF A
2313
01:20:48,477 --> 01:20:50,679
MONTHLONG, LIKE, FUNK
2314
01:20:50,679 --> 01:20:53,382
AFTERWARDS, BECAUSE I FELT LIKE
2315
01:20:53,382 --> 01:20:55,084
I HAD BEEN DUPED.
2316
01:20:55,084 --> 01:20:56,953
>> IF WE HAD TAKEN ACTION, IT
2317
01:20:56,953 --> 01:20:58,421
WOULD BE VERY REAL, VERY WEIRD
2318
01:20:58,421 --> 01:20:59,122
ACTION.
2319
01:20:59,122 --> 01:21:00,123
I DON'T THINK ANYBODY WANTED TO
2320
01:21:00,123 --> 01:21:00,523
DO THAT.
2321
01:21:00,523 --> 01:21:02,425
EVERYBODY WANTED TO BE
2322
01:21:02,425 --> 01:21:03,426
ENTERTAINED.
2323
01:21:03,426 --> 01:21:05,161
SO, IT JUST FELT LIKE, "MAN, THE
2324
01:21:05,161 --> 01:21:06,562
BOOK WAS GOOD, BUT THE ENDING
2325
01:21:06,562 --> 01:21:07,330
WAS WEIRD."
2326
01:21:07,330 --> 01:21:08,731
YOU KNOW, THAT DOESN'T CHANGE
2327
01:21:08,731 --> 01:21:10,399
THE FACT THAT I REALLY ENJOYED
2328
01:21:10,399 --> 01:21:11,134
THE STORY.
2329
01:21:11,134 --> 01:21:12,969
>> I THINK IT'S THE ORGANEIL
2330
01:21:12,969 --> 01:21:13,469
FACTOR.
2331
01:21:13,469 --> 01:21:15,671
NOBODY WANTED TO -- WHO WANTS TO
2332
01:21:15,671 --> 01:21:17,173
ATTACK AN OLD MAN?
2333
01:21:17,173 --> 01:21:18,341
YOU KNOW?
2334
01:21:18,341 --> 01:21:20,709
HE'S AN ACTOR, YOU KNOW?
2335
01:21:20,709 --> 01:21:22,178
I'M GONNA TAKE IT THAT
2336
01:21:22,178 --> 01:21:22,979
SERIOUSLY.
2337
01:21:22,979 --> 01:21:24,647
>> I THINK IF YOU LOOKED UP
2338
01:21:24,647 --> 01:21:26,682
"JEJUNE" IN THE DICTIONARY, YOU
2339
01:21:26,682 --> 01:21:28,751
WOULD FIND THAT IT IS -- LIKE, A
2340
01:21:28,751 --> 01:21:30,753
JEJUNE ENDEAVOR IS A POINTLESS
2341
01:21:30,753 --> 01:21:31,687
ENDEAVOR THAT WILL NEVER
2342
01:21:31,687 --> 01:21:32,588
ACTUALLY GET ANYWHERE.
2343
01:21:32,588 --> 01:21:34,190
YOU KNOW?
2344
01:21:34,190 --> 01:21:37,994
I THINK MAYBE WHAT THEY REALLY
2345
01:21:37,994 --> 01:21:40,196
MISSED WAS EXACTLY WHAT WAS KIND
2346
01:21:40,196 --> 01:21:42,031
OF FULFILLED AT THE END.
2347
01:21:42,031 --> 01:21:44,700
>> I MEAN, THERE'S A MOMENT WHEN
2348
01:21:44,700 --> 01:21:47,470
WILE COYOTE RUNS OFF THAT CLIFF
2349
01:21:47,470 --> 01:21:50,339
AND WHEELS HIS LEGS FOR A MINUTE
2350
01:21:50,339 --> 01:21:52,541
AND LOOKS DOWN BEFORE HE FALLS
2351
01:21:52,541 --> 01:21:54,510
AND HAS THAT PAUSE MIDAIR,
2352
01:21:54,510 --> 01:21:56,679
SUSPENDED BY NOTHING BUT HIS OWN
2353
01:21:56,679 --> 01:21:58,747
MOMENTUM, BEFORE HE COLLAPSES.
2354
01:21:58,747 --> 01:22:00,249
AND I'M NOT SURE IN THIS MOMENT
2355
01:22:00,249 --> 01:22:01,584
WHETHER I'M REFERRING TO JEFF OR
2356
01:22:01,584 --> 01:22:03,019
TO THE PLAYERS, BUT THERE WAS
2357
01:22:03,019 --> 01:22:04,353
THAT MOMENT THROUGHOUT THAT DAY.
2358
01:22:04,353 --> 01:22:06,455
I THINK MAYBE IF YOU DON'T LOOK
2359
01:22:06,455 --> 01:22:10,626
DOWN, YOU'LL NEVER FALL.
2360
01:22:10,626 --> 01:22:14,130
>> THERE WAS THIS SENSE THAT
2361
01:22:14,130 --> 01:22:17,733
PEOPLE WERE EXPECTING THIS FINAL
2362
01:22:17,733 --> 01:22:20,569
EVENT TO PLAY OUT IN A
2363
01:22:20,569 --> 01:22:23,772
SCIENCE-FICTION AND FANTASY
2364
01:22:23,772 --> 01:22:27,276
REALM IN WHICH THERE WERE
2365
01:22:27,276 --> 01:22:31,380
SHOOTOUTS AND CHASES AND THINGS.
2366
01:22:31,380 --> 01:22:36,352
AND I THINK THERE WAS AN ELEMENT
2367
01:22:36,352 --> 01:22:40,389
OF WANTING TO PUNISH THOSE
2368
01:22:40,389 --> 01:22:45,261
PLAYERS WHO SEEMED TO BE MISSING
2369
01:22:45,261 --> 01:22:47,463
WHAT THE REAL STORY WAS, AND
2370
01:22:47,463 --> 01:22:51,434
THAT WAS ABOUT EVA.
2371
01:22:51,434 --> 01:22:54,070
>> BACK IN THE LATE 1980s, I WAS
2372
01:22:54,070 --> 01:22:55,071
A RUNAWAY.
2373
01:22:55,071 --> 01:22:57,240
I MADE MY WAY EVENTUALLY TO
2374
01:22:57,240 --> 01:22:58,474
SAN FRANCISCO.
2375
01:22:58,474 --> 01:23:01,177
AND THE COIT TOWER SEEMED TO ME
2376
01:23:01,177 --> 01:23:03,579
LIKE SOME KIND OF A SPIRITUAL
2377
01:23:03,579 --> 01:23:05,114
LIGHTNING ROD OR SOMETHING.
2378
01:23:05,114 --> 01:23:06,515
SO, I STARTED HANGING AROUND
2379
01:23:06,515 --> 01:23:07,583
THERE.
2380
01:23:07,583 --> 01:23:10,086
TO OCCUPY MYSELF, I BEGAN TO
2381
01:23:10,086 --> 01:23:12,321
MAKE LITTLE ART PROJECTS --
2382
01:23:12,321 --> 01:23:14,090
ANIMALS OR MOSAICS.
2383
01:23:14,090 --> 01:23:16,559
AND EVENTUALLY I STARTED MAKING
2384
01:23:16,559 --> 01:23:18,727
THESE LITTLE SCENES IN THE
2385
01:23:18,727 --> 01:23:21,430
CREVICES IN THE STONE WALLS.
2386
01:23:21,430 --> 01:23:24,333
ONE OF THEM WAS THIS SCENE WITH
2387
01:23:24,333 --> 01:23:27,303
A CAMP, KIND OF A HOBO TRAIN CAR
2388
01:23:27,303 --> 01:23:29,338
AND SOME STREET KIDS GATHERING
2389
01:23:29,338 --> 01:23:30,173
TOGETHER.
2390
01:23:30,173 --> 01:23:32,241
A FEW DAYS LATER, I FOUND THAT
2391
01:23:32,241 --> 01:23:34,210
SOMEONE ELSE HAD ADDED A NEW
2392
01:23:34,210 --> 01:23:36,345
SCENE, WHICH WAS THIS BEAUTIFUL
2393
01:23:36,345 --> 01:23:37,846
SCENE THAT WAS ALSO KIND OF
2394
01:23:37,846 --> 01:23:38,547
SPOOKY.
2395
01:23:38,547 --> 01:23:40,349
THERE WERE FLOWERS AND A TREE
2396
01:23:40,349 --> 01:23:42,151
AND A SHIP IN THE BACKGROUND
2397
01:23:42,151 --> 01:23:43,586
WITH SOME STRANGE KIND OF
2398
01:23:43,586 --> 01:23:46,889
PILGRIMS THERE.
2399
01:23:46,889 --> 01:23:48,624
A COUPLE OF DAYS AFTER THAT, I
2400
01:23:48,624 --> 01:23:50,326
WAS STARTING A NEW ONE, AND I
2401
01:23:50,326 --> 01:23:52,128
MADE THIS SORT OF ROOM OR STAGE
2402
01:23:52,128 --> 01:23:53,662
AND LEFT IT MOSTLY UNFINISHED.
2403
01:23:53,662 --> 01:23:56,199
THE NEXT DAY, I HID NEARBY AND
2404
01:23:56,199 --> 01:23:57,133
WATCHED.
2405
01:23:57,133 --> 01:23:59,535
THIS GIRL CAME, AND SHE ADDED A
2406
01:23:59,535 --> 01:24:01,837
LIGHT AND THE LETTERS "E" AND
2407
01:24:01,837 --> 01:24:03,672
"W" DOWN BY THE DOOR.
2408
01:24:03,672 --> 01:24:05,508
THEN, SHE PUT THESE BIRDS IN, AS
2409
01:24:05,508 --> 01:24:07,210
IF THE LIGHT WAS LIFTING THEM
2410
01:24:07,210 --> 01:24:08,811
INTO THE SKY.
2411
01:24:08,811 --> 01:24:10,346
I THINK THAT'S WHEN I FELT SAFE
2412
01:24:10,346 --> 01:24:11,514
ENOUGH, FINALLY, TO APPROACH
2413
01:24:11,514 --> 01:24:11,847
HER.
2414
01:24:11,847 --> 01:24:14,517
AND WE MET THAT DAY AND BECAME
2415
01:24:14,517 --> 01:24:15,484
FRIENDS.
2416
01:24:15,484 --> 01:24:17,720
SHE ASKED ME IF I UNDERSTOOD
2417
01:24:17,720 --> 01:24:20,156
ABOUT THE LIGHT, ABOUT THOSE
2418
01:24:20,156 --> 01:24:22,258
LETTERS, ABOUT A PLACE SHE
2419
01:24:22,258 --> 01:24:24,793
CALLED "ELSEWHERE," A WAY OF
2420
01:24:24,793 --> 01:24:27,663
BEING AND PLAYING IN THE WORLD
2421
01:24:27,663 --> 01:24:30,766
THAT SOMEHOW CHANGED EVERYTHING,
2422
01:24:30,766 --> 01:24:33,669
A GAME, SORT OF, BUT WITHOUT ANY
2423
01:24:33,669 --> 01:24:36,339
RULES, A WAY OF BEING IN THE
2424
01:24:36,339 --> 01:24:38,541
WORLD THAT WAS POWERFUL AND
2425
01:24:38,541 --> 01:24:40,309
ENCHANTED.
2426
01:24:40,309 --> 01:24:43,612
>> I MET EVA AFTER A SHOW AT THE
2427
01:24:43,612 --> 01:24:46,315
STONE ON BROADWAY, AND SHE ENDED
2428
01:24:46,315 --> 01:24:48,217
UP CRASHING AT MY PARENTS' HOUSE
2429
01:24:48,217 --> 01:24:49,918
FOR ABOUT A MONTH IN THE GARAGE.
2430
01:24:49,918 --> 01:24:52,621
AND IT WAS DURING THOSE TIMES
2431
01:24:52,621 --> 01:24:55,424
THAT SHE AND I WOULD MEDITATE.
2432
01:24:55,424 --> 01:24:57,626
IT WAS KIND OF A FORM OF
2433
01:24:57,626 --> 01:25:00,463
MEDITATION, AND SHE WOULD GUIDE
2434
01:25:00,463 --> 01:25:03,366
ME DOWN THESE PATHS TOWARDS THIS
2435
01:25:03,366 --> 01:25:05,701
PLACED CALLED "ELSEWHERE."
2436
01:25:05,701 --> 01:25:08,504
AND ELSEWHERE WAS NEITHER HERE
2437
01:25:08,504 --> 01:25:10,873
NOR THERE, AND IT WAS THIS
2438
01:25:10,873 --> 01:25:13,809
ENTIRE UNIVERSE AND THIS ENTIRE
2439
01:25:13,809 --> 01:25:16,745
TRIBE AND WITH THIS IMAGINED
2440
01:25:16,745 --> 01:25:17,846
HISTORY.
2441
01:25:17,846 --> 01:25:19,882
IT WAS VERY INTRICATE AND
2442
01:25:19,882 --> 01:25:22,351
DETAILED AND WENT BACK A LONG
2443
01:25:22,351 --> 01:25:23,386
WAY.
2444
01:25:23,386 --> 01:25:28,924
I THINK THAT, LIKE EVERY BIT OF
2445
01:25:28,924 --> 01:25:32,395
ART OR CREATIVITY THAT I PRODUCE
2446
01:25:32,395 --> 01:25:35,598
IS IN SOME WAY INSPIRED BY HER.
2447
01:25:35,598 --> 01:25:38,767
IT WAS DURING THE TIME THAT I
2448
01:25:38,767 --> 01:25:42,238
WAS IN TREATMENT THAT SHE WENT
2449
01:25:42,238 --> 01:25:45,508
MISSING, AND IT WASN'T TOTALLY
2450
01:25:45,508 --> 01:25:46,909
UNUSUAL, YOU KNOW, FOR HER TO
2451
01:25:46,909 --> 01:25:48,477
SKIP OUT FOR A LITTLE WHILE.
2452
01:25:48,477 --> 01:25:50,679
BUT THEN THERE BEGAN TO BE THESE
2453
01:25:50,679 --> 01:25:53,816
THEORIES OF EITHER AN ABDUCTION
2454
01:25:53,816 --> 01:25:56,919
OR A SUICIDE, AND I DON'T THINK
2455
01:25:56,919 --> 01:25:59,555
IT WAS SUICIDE.
2456
01:25:59,555 --> 01:26:01,023
>> YOU KNOW, THERE'S THE
2457
01:26:01,023 --> 01:26:02,591
ALGORITHM, RIGHT, THAT
2458
01:26:02,591 --> 01:26:04,327
BLAIR LUCIEN CAME UP WITH.
2459
01:26:04,327 --> 01:26:05,961
I THINK WE GOT A GLIMPSE, A
2460
01:26:05,961 --> 01:26:07,930
LITTLE GLIMPSE, OF THE ALGORITHM
2461
01:26:07,930 --> 01:26:09,732
IN ACTION IN THE SENSE THAT
2462
01:26:09,732 --> 01:26:11,600
THERE WERE MOMENTS WHERE THE
2463
01:26:11,600 --> 01:26:13,536
ORDINARY WORLD WAS TRANSFORMED
2464
01:26:13,536 --> 01:26:15,371
INTO SOMETHING DIFFERENT,
2465
01:26:15,371 --> 01:26:17,506
SOMETHING FULL OF POTENTIAL AND
2466
01:26:17,506 --> 01:26:19,608
FULL OF MYSTERY IN A WAY THAT WE
2467
01:26:19,608 --> 01:26:21,877
DON'T USUALLY EXPERIENCE.
2468
01:26:21,877 --> 01:26:23,546
>> I DON'T KNOW IF THERE IS A
2469
01:26:23,546 --> 01:26:24,347
CONCLUSION.
2470
01:26:24,347 --> 01:26:25,681
I DON'T KNOW HOW IT ENDED.
2471
01:26:25,681 --> 01:26:27,383
I NEVER LOOKED UP ON THE MESSAGE
2472
01:26:27,383 --> 01:26:28,717
BOARDS OR ANYTHING OR REALLY
2473
01:26:28,717 --> 01:26:29,985
NECESSARILY ASKED ANYONE.
2474
01:26:29,985 --> 01:26:31,887
SO, FOR ME, IT COULD STILL BE
2475
01:26:31,887 --> 01:26:32,755
HAPPENING.
2476
01:26:32,755 --> 01:26:34,757
AND I KNOW THEY CLOSED DOWN THE
2477
01:26:34,757 --> 01:26:36,525
BUILDING, BUT AS FAR AS I KNOW,
2478
01:26:36,525 --> 01:26:38,294
THE WAR IS STILL BEING WAGED ON
2479
01:26:38,294 --> 01:26:39,595
THE STREET.
2480
01:26:39,595 --> 01:26:41,364
AND THAT'S FUN.
2481
01:26:41,364 --> 01:26:44,066
IT'S FUN THAT WAY.
2482
01:26:44,066 --> 01:26:45,501
>> I DO MISS THE
2483
01:26:45,501 --> 01:26:47,570
JEJUNE INSTITUTE A LOT, AND I
2484
01:26:47,570 --> 01:26:49,705
STILL TALK TO PEOPLE ABOUT IT.
2485
01:26:49,705 --> 01:26:52,408
PEOPLE -- WELL, I HAVE A DOG,
2486
01:26:52,408 --> 01:26:54,510
AND HER NAME IS JEJUNE.
2487
01:26:54,510 --> 01:26:56,011
>> YEAH, DEFINITELY THIS IS
2488
01:26:56,011 --> 01:26:56,712
PLAYFUL.
2489
01:26:56,712 --> 01:26:58,581
THE EXPERIENCE IS A LOT OF FUN.
2490
01:26:58,581 --> 01:27:00,015
BUT I THINK THE UNDERLYING
2491
01:27:00,015 --> 01:27:01,317
MESSAGES ARE REAL.
2492
01:27:01,317 --> 01:27:02,818
SO, IN THAT RESPECT, IS IT A
2493
01:27:02,818 --> 01:27:03,486
GAME?
2494
01:27:03,486 --> 01:27:04,620
I DON'T REALLY KNOW.
2495
01:27:04,620 --> 01:27:06,322
>> IF YOU DON'T HAVE RELIGION,
2496
01:27:06,322 --> 01:27:07,923
YOU DON'T HAVE THAT BUILT-IN
2497
01:27:07,923 --> 01:27:08,824
EXPLANATION.
2498
01:27:08,824 --> 01:27:14,062
FINDING SOMETHING THAT TELLS YOU
2499
01:27:14,062 --> 01:27:15,531
THERE IS ALL OF THIS AMAZING
2500
01:27:15,531 --> 01:27:16,832
STUFF HAPPENING, AND YOU JUST
2501
01:27:16,832 --> 01:27:18,567
NEED TO KNOW HOW TO FIND IT --
2502
01:27:18,567 --> 01:27:20,035
IT IS A LITTLE BIT LIKE HAVING
2503
01:27:20,035 --> 01:27:22,405
SOMETHING TO BELIEVE IN.
2504
01:27:24,707 --> 01:27:26,675
>> TODAY, YOU'VE GLIMPSED INTO
2505
01:27:26,675 --> 01:27:28,611
THE ELSEWHERE AND FELT FOR A
2506
01:27:28,611 --> 01:27:30,513
MOMENT WHAT IT'S LIKE TO BE
2507
01:27:30,513 --> 01:27:32,348
HERE.
2508
01:27:32,348 --> 01:27:33,816
AND IT'S ONLY A SMALL TASTE OF
2509
01:27:33,816 --> 01:27:36,652
WHAT'S TO COME.151284
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