WEBVTT - Episode 11: THE PASSAGE OF FRANK LLOYD WRIGHT

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<v Speaker 1>Hm, I am the fairy man.

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<v Speaker 2>The human spirit is my business. Their madness, their passion,

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<v Speaker 2>the wonderful and monstrous ways they burn out their brief candle.

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<v Speaker 3>I regret to tell you that very many American lives

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<v Speaker 3>in love.

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<v Speaker 4>Was heard to shut from the car. He's dead.

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<v Speaker 1>Whether he rebird to president.

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<v Speaker 2>Or four hours, people must get up and google identification.

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<v Speaker 2>I am here in the in between, to collect their

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<v Speaker 2>spirits and carry them to what comes next. This road

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<v Speaker 2>is not on any map. It spans the thresholds between

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<v Speaker 2>their most forbidden desires and their greatest fear.

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<v Speaker 1>All I ask for.

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<v Speaker 2>In payment is a tale and accounting of their lives

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<v Speaker 2>and the great temporary that is the land we're living.

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<v Speaker 2>These are their stories. This is.

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<v Speaker 5>The passage.

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<v Speaker 2>I'm making a pit stop today, checking in a particular passenger. A.

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<v Speaker 6>Yeah.

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<v Speaker 2>I do not normally allow my passengers such liberties, but

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<v Speaker 2>for this soul, I've made an exception. It is August.

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<v Speaker 2>It is always August in this place, this place, in

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<v Speaker 2>the in between balance and form and function, and haunted

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<v Speaker 2>by bloody tragedy, the largest single incident of mass murder

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<v Speaker 2>in Wisconsin's history. This place which is not as it appears.

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<v Speaker 2>This place which is and is not spring green, where

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<v Speaker 2>the lines between the brilliant mind that builds it and

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<v Speaker 2>the rest of time and space blurred. The same mind

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<v Speaker 2>which had a hand in the design of the whole

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<v Speaker 2>of the twentieth century. Frank Lloyd Wright a towering figure

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<v Speaker 2>in his field, incredibly prolific in his lifetime. His designs

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<v Speaker 2>will prove to echo through their work for thousands of

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<v Speaker 2>years to come, and his visions represent the first truly

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<v Speaker 2>American architecture. He saw the world shifting. He was an

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<v Speaker 2>architect of that shift. He envisioned an America where mankind

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<v Speaker 2>lived in harmony with the land, where the home was

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<v Speaker 2>the center of life and a hearth the center of home.

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<v Speaker 2>There was a personal cost, however, as he left his

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<v Speaker 2>life in April of nineteen fifty nine, he believed his

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<v Speaker 2>work unfinished. There are no corporeal tools in the Bardo,

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<v Speaker 2>so he worked with all of the material left him

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<v Speaker 2>his own life. And what a construction he has made

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<v Speaker 2>here in the in between. But only he will be

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<v Speaker 2>able to tell us when he's done building. Hello, Frank,

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<v Speaker 2>it's time.

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<v Speaker 4>I didn't see you coming.

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<v Speaker 2>Yeah, it's time to get up, Frank.

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<v Speaker 4>I no longer have a body. How do I get up?

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<v Speaker 4>If I don't have a body? Am I a reflection?

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<v Speaker 4>Peras only a shadow?

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<v Speaker 2>Well, your consciousness is all you need. Focus, recall, movement.

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<v Speaker 2>What do you see?

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<v Speaker 4>I see grass on the hill, grass and summer thistle

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<v Speaker 4>bowing to the wind waves of it. An ocean of

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<v Speaker 4>green rushing away from me.

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<v Speaker 2>Yeah, that's good, Frank, this.

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<v Speaker 4>Is spring green. I'd know this slope of Wisconsin hillside anywhere.

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<v Speaker 4>I know it as well as my hands know my

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<v Speaker 4>own face in the dark.

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<v Speaker 2>Why have you taken me here? Spirit?

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<v Speaker 7>The soul knows where it needs to go to heal itself.

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<v Speaker 7>Heal the soul, that's absurd. I didn't need any healing

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<v Speaker 7>in life, and I certainly don't require any healing and death.

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<v Speaker 2>But you do. Come on, Frank. Our memories the mother

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<v Speaker 2>of all wisdom. You can access your own memories and

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<v Speaker 2>the memories of others here. These impressions all connect here,

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<v Speaker 2>every memory of every living thing.

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<v Speaker 4>So what do I do?

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<v Speaker 2>Speak the truth, Frank, as you see it, and we

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<v Speaker 2>will be on our way. Speak.

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<v Speaker 4>I stand alone in a verdant field. I know this

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<v Speaker 4>to be my family land, But there are none of

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<v Speaker 4>the structures I'd known in life. No Unitarian chapel, no

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<v Speaker 4>twin windmills nicknamed Romeo and Juliet, no country school. I

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<v Speaker 4>am surveying the slopes for any sign of civilization. When

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<v Speaker 4>a man in a black suit appears before me, his

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<v Speaker 4>face is gray and unyielding in his january.

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<v Speaker 8>Your mother send you to work on this farm every summer,

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<v Speaker 8>and every returner did as aft as the day.

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<v Speaker 2>You were born.

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<v Speaker 4>My uncle, James Lloyd Jones, long since dead. I haven't

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<v Speaker 4>seen James in over forty years, but here he is

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<v Speaker 4>just as menacing as I'd remembered him as a child.

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<v Speaker 4>I tried to run away from him, to escape his farm,

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<v Speaker 4>but was found quickly and dragged back screaming. I learned

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<v Speaker 4>two things during those interminable summers of work and prayer

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<v Speaker 4>at Aldebaran Farm. Firstly, that I hated physical labor and

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<v Speaker 4>took it as a sign that I was created for

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<v Speaker 4>loftier things than plows and take shit. The second, and

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<v Speaker 4>more profound lesson that I took from the slopes of

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<v Speaker 4>Spring Green was that America was made for the horizon.

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<v Speaker 4>It was made from movement with the land forward forward Wisconsin, Forward,

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<v Speaker 4>America across the prairie to become the prairie, within the mountains,

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<v Speaker 4>to become the mountains. Forward into the forest to become

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<v Speaker 4>the trees. A manifest expansion. Forward across the globe America

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<v Speaker 4>dessert buildings that reflected this movement, and I was destined

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<v Speaker 4>by God to create them.

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<v Speaker 8>You you are shame on this family might leave this place,

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<v Speaker 8>but you'll never leave. That.

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<v Speaker 4>Is that your own morality speaking or did you borrow

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<v Speaker 4>your thoughts from the town paper again?

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<v Speaker 2>Here's a morality lesson for you, boy.

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<v Speaker 8>We came there from Smarting Dome, the black spotted whales.

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<v Speaker 9>Called that's by hostile or outsiders because.

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<v Speaker 8>Of its religious unorthodoxy, called that really because of its

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<v Speaker 8>religious purity. Honest, godly people civilized this land, Frank, and

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<v Speaker 8>you you gave it back to the devil when you

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<v Speaker 8>stole that man's wife and.

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<v Speaker 1>Brought it here.

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<v Speaker 4>I'm bored of this, James.

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<v Speaker 8>Do you know why you always returned to your mother's

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<v Speaker 8>soft boy? Because you're always looking for a short You're

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<v Speaker 8>probably looking for one right.

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<v Speaker 1>Now, James, face.

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<v Speaker 4>Rigulous, grotesquely, his eyes rolling back, he opens his mouth

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<v Speaker 4>to speak. A dark room of spiders rushing forward between

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<v Speaker 4>his strained lips. He falls to his knees, his body

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<v Speaker 4>engulfed by a thousand of racknets. He's squirming and choking

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<v Speaker 4>on their selven legs. The black soil is beginning to

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<v Speaker 4>quake and froth and open up beneath him. Swallowing his

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<v Speaker 4>gray friend, he struggles to climb out of the hole.

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<v Speaker 2>No, no, no, He.

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<v Speaker 4>Points towards the horizon, and a great white complex materializes,

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<v Speaker 4>as though he's summoned it. It's the Chicago World's Fair Pavilion,

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<v Speaker 4>exactly as it stood in eighteen ninety three. A pathway

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<v Speaker 4>toward the white complex then opening in the grass before me,

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<v Speaker 4>and a crow lands on the root ahead.

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<v Speaker 2>I will leave James to follow it. I will not

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<v Speaker 2>look back. What do you remember about the fair, Frank?

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<v Speaker 4>That was the year that I left the firm of

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<v Speaker 4>Adler and Sullivan and struck out on my own.

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<v Speaker 2>Yeah, yeah, yeah, What do you remember seeing at the pavilion?

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<v Speaker 4>The fair celebrated the four hundredth anniversary of the landing

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<v Speaker 4>of Christopher Columbus in the Americas. Disappointing gowdy architecture, monstrous

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<v Speaker 4>Greek revival buildings, painted ivory, the old ideas of Europe,

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<v Speaker 4>regurgitated by New York architects who came to the Chicago

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<v Speaker 4>swamp land to have their boots lit by their Midwestern colleagues.

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<v Speaker 2>You're editorializing, Frank, What did you see there?

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<v Speaker 4>I remember Frederick law ownsteads beautiful glass boats in the

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<v Speaker 4>man made lagoon, and here one arrives on the placid

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<v Speaker 4>water suddenly before us? Shall we board?

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<v Speaker 9>After?

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<v Speaker 2>You continue?

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<v Speaker 9>There?

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<v Speaker 4>Ahead of us wooded island located in the center of

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<v Speaker 4>the water forward to Hodin, meaning Phoenix's Palace. It was

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<v Speaker 4>a recreation of a temple that combined several centuries of

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<v Speaker 4>Japanese architecture and history into a tea garden and three

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<v Speaker 4>single story buildings that moved horizontally with the island from

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<v Speaker 4>east to west, forward with the island to become the island.

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<v Speaker 4>It commanded the eye with the subtle beauty. It vibrated

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<v Speaker 4>with life in the foreground against the hulking white giants

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<v Speaker 4>on the parallel shore. My hands itch for a pencil

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<v Speaker 4>and drafting table.

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<v Speaker 2>Your hands itched for a pencil, and they found one.

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<v Speaker 2>You found a shortcut. What are you suggesting here?

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<v Speaker 1>Spirit?

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<v Speaker 2>You know precisely what I'm saying.

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<v Speaker 4>Old didn't confirmed ideas I'd already had. They were my

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<v Speaker 4>own ideas. If they were not, then it was providence

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<v Speaker 4>that I should make them known to the world.

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<v Speaker 2>This is a story of theft. You can leave when

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<v Speaker 2>you can see who did the stealing.

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<v Speaker 4>I refuse to dignify that with a response.

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<v Speaker 2>You are the progeny of devoted unitarians. Tell me, Frank,

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<v Speaker 2>what is the seventh commandment?

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<v Speaker 4>The shot not commit adultery? Oh the Phoenix temple, it's

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<v Speaker 4>caught fire and now was gone the mirage. I'm back

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<v Speaker 4>in the field with an accusing spirit.

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<v Speaker 2>These are your belongings, Frank, not mine. What was her name?

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<v Speaker 4>Her name was Mama. I met Maema when she and

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<v Speaker 4>her husband, Edward Cheney, were clients of mine. I was

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<v Speaker 4>commissioned to build them a house in Oak Park, near

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<v Speaker 4>the home that I shared with Kitty and our six children.

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<v Speaker 4>The affair didn't happen immediately. By the time Maema and

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<v Speaker 4>I were discovered, I was already determined to release myself.

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<v Speaker 4>I'd found my soul's match in Maema, my intellectual equal,

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<v Speaker 4>and there was no staying with Kitty and the children.

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<v Speaker 2>After that.

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<v Speaker 4>Consolagration of body and spirit, every time I returned to

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<v Speaker 4>the house in Oak Park, who felt like enslavement, to

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<v Speaker 4>endure an early and unfit marriage, the monotony of domestic

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<v Speaker 4>life and needful mouths of children, the unpaid debts mounting.

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<v Speaker 4>Maema and I agreed that the falsehood it took to

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<v Speaker 4>continue our respective marriages was greater than the sin of

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<v Speaker 4>living an authentic truth. I built Taliassen form Mema. It

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<v Speaker 4>was to be our home and safe haven and spring

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<v Speaker 4>green away from scavenging, report of a place where I

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<v Speaker 4>could work and Mama could continue translating the works of

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<v Speaker 4>ellen Key while we waited for our divorces to shake out.

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<v Speaker 4>I wish to return to Talias in spirit, to Meema.

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<v Speaker 4>The pond below Tallyassen shimmers and warps like a desert mirage.

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<v Speaker 4>And there it is. It's there, it's real, We're here.

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<v Speaker 2>It's nice asant it And now.

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<v Speaker 4>Is that not Mema but a small figure sprinting towards

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<v Speaker 4>us from the courtyard, past the stone walled garden, bursting

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<v Speaker 4>with flowers, tolder than she. There's a ringing in my ear,

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<v Speaker 4>growing more intense. He approaches. It's Martha Cheney, Mama's daughter.

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<v Speaker 4>I know her distinctive page boy hair cut well, her

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<v Speaker 4>sapphire ring, her white summer dress flashing in the sun.

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<v Speaker 4>Martha Cheney eternally eighty years old. This isn't my memory.

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<v Speaker 5>Spirit.

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<v Speaker 2>Yeah, there is no U frank, no point where you

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<v Speaker 2>end and this begins. No single horizon line, no individual timeline.

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<v Speaker 2>This is all you, converging, intersecting all sight, sounds, memories

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<v Speaker 2>and fantasies, all simultaneously, statuette scan fluid. You can access

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<v Speaker 2>every memory in this plane, not just your own. This

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<v Speaker 2>memory belongs to the land. It is carved into the

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<v Speaker 2>shining brow of the hill itself, and everything you see

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<v Speaker 2>is your reflection, including her.

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<v Speaker 3>And perhaps she's here to guide me back to Meema,

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<v Speaker 3>who's inevitably punched over a book somewhere, or drinked on

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<v Speaker 3>a duck chair in a elegant way, Mark.

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<v Speaker 2>Bright, Young Martha.

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<v Speaker 4>She's spirit. Why is she running with her arms out

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<v Speaker 4>like that? She's not running towards me. She looks to

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<v Speaker 4>be running away from something. She's mouthing words, but I

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<v Speaker 4>can't make out any sound. My ears are completely wiped

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<v Speaker 4>out by high pitched ringing Spirit. I can't hear over it.

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<v Speaker 2>She said, my feet spirit. I can't touch her.

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<v Speaker 4>My hands go right through her. The tidy page boy

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<v Speaker 4>haircut is unzipping itself.

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<v Speaker 5>Ah h.

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<v Speaker 4>I cannot see her murder, only her small body unraveling

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<v Speaker 4>before me. The blows keep coming from Martha's phantom assassin

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<v Speaker 4>was two three in quick succession. She is looking at me,

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<v Speaker 4>her skull belching blood, red rosettes blooming on her white dress.

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<v Speaker 4>One two free the feld sapling Martha eternally eight gone

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<v Speaker 4>in one two free. A girl is a gash, a

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<v Speaker 4>red plot of the earth. The ringing is gone. But

0:20:24.240 --> 0:20:29.760
<v Speaker 4>I hear the clandestine kiss of a match and gasoline

0:20:29.880 --> 0:20:36.000
<v Speaker 4>outside of the house. I hear the immediate and elemental

0:20:36.200 --> 0:20:44.240
<v Speaker 4>fear of trapped men howling. I. I can't Spirit, it's

0:20:44.320 --> 0:20:49.760
<v Speaker 4>too much, I can't continue take my sight.

0:20:49.880 --> 0:20:50.240
<v Speaker 9>Spirit.

0:20:50.640 --> 0:20:54.680
<v Speaker 2>Let's go a little further this time, Frank, please no.

0:20:57.359 --> 0:20:58.920
<v Speaker 5>He's here now.

0:21:00.440 --> 0:21:06.320
<v Speaker 4>Starched, white servant's jacket, now splatted with blood and blackened

0:21:06.480 --> 0:21:11.800
<v Speaker 4>with soot. In his hands, a hatchet and empty can

0:21:11.840 --> 0:21:20.639
<v Speaker 4>of Ghastly, it's Carleton, Jillian Carlton, the murderer, and I

0:21:20.840 --> 0:21:25.480
<v Speaker 4>come here to visit my angels, and instead I'm haunted

0:21:25.560 --> 0:21:27.080
<v Speaker 4>by my demons.

0:21:27.400 --> 0:21:28.320
<v Speaker 2>Have courage.

0:21:28.960 --> 0:21:32.840
<v Speaker 4>What more do you want a me demon, You're not

0:21:33.000 --> 0:21:35.119
<v Speaker 4>already taking everything from me?

0:21:36.200 --> 0:21:47.800
<v Speaker 9>Just one thing? I want what ma'am wanted?

0:21:48.080 --> 0:21:53.320
<v Speaker 6>Luncheon served on the private patty hole overlooking the pond.

0:21:54.440 --> 0:21:58.240
<v Speaker 6>She wanted a great many things for herself. She wanted

0:21:58.240 --> 0:22:01.640
<v Speaker 6>a man who wouldn't limit her into elligence. She coveted

0:22:01.720 --> 0:22:08.200
<v Speaker 6>another's husband, and coveting is a secret signal for the selfish.

0:22:08.400 --> 0:22:12.600
<v Speaker 6>She loved a linen chemise because it is simple. She

0:22:12.880 --> 0:22:17.240
<v Speaker 6>loved the Swedish language because it is not. The workmen

0:22:17.560 --> 0:22:20.280
<v Speaker 6>would be eating near the kitchen in the east wind,

0:22:21.000 --> 0:22:25.280
<v Speaker 6>after drafting houses and mending fences. The workmen wanted to

0:22:25.280 --> 0:22:29.000
<v Speaker 6>be praised for their discipline. The workmen wanted to be

0:22:29.040 --> 0:22:33.520
<v Speaker 6>praised for their industry and their humble beginnings. The workmen

0:22:33.640 --> 0:22:37.880
<v Speaker 6>wanted to be praised by a man who was praised

0:22:38.080 --> 0:22:44.560
<v Speaker 6>among men. Everyone kills something. As a man of ideas,

0:22:45.040 --> 0:22:50.920
<v Speaker 6>you just kill slower. A spirit called to me from

0:22:50.960 --> 0:22:56.000
<v Speaker 6>the trees, a whisper in the wind. The spirit revealed

0:22:56.000 --> 0:23:01.520
<v Speaker 6>to me that the house and the people were filled

0:23:01.560 --> 0:23:06.680
<v Speaker 6>with evil. The spirit told me that the cheers were

0:23:06.720 --> 0:23:11.160
<v Speaker 6>stuffed with human hair. The spirit he grows from the cellar,

0:23:11.880 --> 0:23:15.200
<v Speaker 6>and he grows from these shadows and the spirit he

0:23:15.760 --> 0:23:19.679
<v Speaker 6>paints in Cherokee red. The spirit demands to be seen

0:23:20.040 --> 0:23:24.959
<v Speaker 6>as you are seen, equal in beauty and in cruelty.

0:23:25.480 --> 0:23:30.840
<v Speaker 6>A revolutionary design executed without regard for the human costs

0:23:30.960 --> 0:23:32.720
<v Speaker 6>or the laws of physics.

0:23:33.359 --> 0:23:35.120
<v Speaker 9>The spirit demands to.

0:23:35.080 --> 0:23:40.080
<v Speaker 6>Be compensated for the affordances made for progress, for civilizations

0:23:40.160 --> 0:23:42.560
<v Speaker 6>gallop over people and nature.

0:23:45.080 --> 0:23:49.200
<v Speaker 10>The spirit he told me to collect for the lash

0:23:49.320 --> 0:23:52.879
<v Speaker 10>and the cotton, and the coffee, and the sugar, and

0:23:52.920 --> 0:23:56.119
<v Speaker 10>the blankets covered in your diseases.

0:23:56.600 --> 0:24:00.639
<v Speaker 6>To collect on the commission of suffering, for the blankets

0:24:00.680 --> 0:24:07.640
<v Speaker 6>keeping you warm and free from consequences. The spirit tolt

0:24:07.680 --> 0:24:12.239
<v Speaker 6>me to affect the tools of equilibrium, the ass and

0:24:12.320 --> 0:24:17.879
<v Speaker 6>the fuel, to move with the stealth of opportunity, with

0:24:17.960 --> 0:24:23.520
<v Speaker 6>the instincts of the pioneer, to burn all useless brush

0:24:24.040 --> 0:24:26.280
<v Speaker 6>on the warmstead.

0:24:26.320 --> 0:24:29.320
<v Speaker 9>To make the land and those on the land.

0:24:29.520 --> 0:24:35.640
<v Speaker 6>Servile, to call it holiness, to call it the manion.

0:24:37.480 --> 0:24:49.200
<v Speaker 6>The spirit told me to collect now or never. Man

0:24:49.800 --> 0:24:54.000
<v Speaker 6>with her hair pinned and a chinyong, the same beautiful

0:24:54.040 --> 0:24:58.439
<v Speaker 6>head that laid on your pillow, revealed its secrets to

0:24:58.520 --> 0:25:01.600
<v Speaker 6>me with the singles strike of my hatchet.

0:25:02.920 --> 0:25:05.720
<v Speaker 9>Her son was not challenge all.

0:25:05.920 --> 0:25:10.360
<v Speaker 6>The Martha saw it coming, a frightened bird flying into

0:25:10.400 --> 0:25:16.720
<v Speaker 6>the expos guy. I culled them all and stained my

0:25:16.920 --> 0:25:23.960
<v Speaker 6>crisp white coat. I harvested them first, and then went

0:25:24.040 --> 0:25:26.040
<v Speaker 6>to serve the workmen their soap.

0:25:27.680 --> 0:25:28.760
<v Speaker 9>They did not.

0:25:28.440 --> 0:25:33.560
<v Speaker 6>Notice the blood on my hands, only the little felling debules.

0:25:35.240 --> 0:25:39.560
<v Speaker 6>They did not notice me, except when I was the

0:25:39.600 --> 0:25:43.000
<v Speaker 6>black bastard who refused to saddle a white mas's horse.

0:25:44.760 --> 0:25:48.280
<v Speaker 6>They did not notice me or my wife, who made

0:25:48.280 --> 0:25:52.840
<v Speaker 6>the soup serf to them with bloodied hands. They did

0:25:52.880 --> 0:25:56.879
<v Speaker 6>not notice the river of gasoline suddenly onto the dining

0:25:56.960 --> 0:26:02.000
<v Speaker 6>room table, and the orange gown flames twirling at their feet.

0:26:03.480 --> 0:26:06.919
<v Speaker 6>They did not notice my blade waiting for them on

0:26:06.960 --> 0:26:11.200
<v Speaker 6>the other side of that locked door, breaking their bodies

0:26:11.240 --> 0:26:15.440
<v Speaker 6>into a course of screams, a courus of witnessing crows

0:26:15.480 --> 0:26:20.560
<v Speaker 6>and agony, flecks of wet brains scattered like the petals

0:26:20.560 --> 0:26:25.520
<v Speaker 6>of a cherry blossoming grain, a ritual transfiguration of.

0:26:25.520 --> 0:26:27.840
<v Speaker 9>God made flesh.

0:26:28.080 --> 0:26:34.159
<v Speaker 6>With each rise and fall of the hatchet, to hear

0:26:34.400 --> 0:26:40.120
<v Speaker 6>the pleas and squeals of grown men rusting like figs,

0:26:41.520 --> 0:26:45.200
<v Speaker 6>like the big bastards that they were like you are

0:26:46.119 --> 0:26:51.000
<v Speaker 6>the pig bastard who stole what wasn't hysterotic. I am

0:26:51.040 --> 0:26:54.359
<v Speaker 6>speaking to you and through you. Now I say onto you,

0:26:54.920 --> 0:26:57.439
<v Speaker 6>it is easier for a camel to go through the

0:26:57.440 --> 0:26:59.440
<v Speaker 6>eye of a needle than for a rich.

0:26:59.320 --> 0:27:07.360
<v Speaker 9>Man to enter the Kingdom of God. I enjoyed it.

0:27:08.800 --> 0:27:15.600
<v Speaker 9>I enjoyed it. Even the little girl. Her screams.

0:27:16.960 --> 0:27:22.120
<v Speaker 6>Her screams were as white as the driven snow. Her

0:27:22.320 --> 0:27:27.760
<v Speaker 6>screams were spring lilies in the mouth of an avenging dog.

0:27:35.960 --> 0:27:37.280
<v Speaker 4>What does he want?

0:27:39.960 --> 0:27:41.399
<v Speaker 9>I only want to be seen.

0:27:47.280 --> 0:27:49.160
<v Speaker 1>You shown me this spirit.

0:27:49.760 --> 0:27:54.119
<v Speaker 2>Tell me now you design the scene, Frank, this is

0:27:54.240 --> 0:27:58.080
<v Speaker 2>your point of view, and you will be condemned to

0:27:58.240 --> 0:28:01.800
<v Speaker 2>witness these projections again and again till you learn.

0:28:02.600 --> 0:28:05.320
<v Speaker 4>What is there to possibly learn about the murder of

0:28:05.359 --> 0:28:10.159
<v Speaker 4>the woman I loved? Surely I'm not responsible for the

0:28:10.200 --> 0:28:14.960
<v Speaker 4>actions of that mad man. I look upon these ruins,

0:28:15.600 --> 0:28:18.639
<v Speaker 4>the gaping black hole left by the fire, and the

0:28:18.680 --> 0:28:23.720
<v Speaker 4>beautiful hillside is no less empty, charred and ugly in

0:28:23.800 --> 0:28:27.719
<v Speaker 4>my own soul, What am I to take away?

0:28:28.000 --> 0:28:28.040
<v Speaker 6>What?

0:28:28.440 --> 0:28:28.760
<v Speaker 11>Hmm?

0:28:29.720 --> 0:28:34.199
<v Speaker 4>Something of madness? What? But it is my fault? In

0:28:34.280 --> 0:28:38.600
<v Speaker 4>what universe is that possible. Maybe my lesson is an

0:28:38.920 --> 0:28:44.040
<v Speaker 4>destruction rather than creation, and madness is some kind of genius?

0:28:45.080 --> 0:28:50.120
<v Speaker 4>Would that do? Who's allowed to be a genius? Who's

0:28:50.160 --> 0:28:54.800
<v Speaker 4>allowed to steal from another his land, his art, his wife,

0:28:55.440 --> 0:28:59.240
<v Speaker 4>his dignity, his comfort? Who is a madman in a

0:29:00.080 --> 0:29:03.520
<v Speaker 4>said country? Nothing about an affair so evil that it

0:29:03.560 --> 0:29:06.760
<v Speaker 4>should condemn anyone to witness this horror for an eternity.

0:29:07.960 --> 0:29:11.000
<v Speaker 4>Nothing I have stolen justifies this?

0:29:14.320 --> 0:29:14.520
<v Speaker 9>Then?

0:29:14.880 --> 0:29:18.560
<v Speaker 2>Why do you find yourself here again and again and

0:29:18.600 --> 0:29:22.840
<v Speaker 2>again and again and again. Your soul understands what it

0:29:22.920 --> 0:29:28.520
<v Speaker 2>needs to learn from this tribulation. You have designed and

0:29:28.640 --> 0:29:33.959
<v Speaker 2>built this purgatory for yourself. It's it's gorgeous, A frame

0:29:34.960 --> 0:29:40.200
<v Speaker 2>constructed of hope, yes, but a foundation of fear. What

0:29:40.320 --> 0:29:40.960
<v Speaker 2>do you fear?

0:29:45.240 --> 0:29:50.840
<v Speaker 11>I buried maybe with my old hands. I wrapped her

0:29:50.880 --> 0:29:56.920
<v Speaker 11>body in flowers. I thought I had paid my portion

0:29:57.080 --> 0:30:00.880
<v Speaker 11>of Greece? How do I I still deserve?

0:30:01.040 --> 0:30:04.040
<v Speaker 2>What makes you so sure you do deserve this?

0:30:05.840 --> 0:30:10.240
<v Speaker 4>I should have been there, I could have stopped it. Yes,

0:30:10.280 --> 0:30:15.200
<v Speaker 4>that's it. I became complacent. A man should protect the

0:30:15.280 --> 0:30:18.800
<v Speaker 4>relationships he builds. Yes, that's it. That's his blessing and

0:30:18.840 --> 0:30:26.200
<v Speaker 4>his curse. Yes, I get it. It's it's my fault. Satisfied,

0:30:26.360 --> 0:30:36.040
<v Speaker 4>Now you satisfied, it's my fault. I need to lie down.

0:30:40.320 --> 0:30:47.400
<v Speaker 2>A gosh, It's time to get up, Frank. Start your

0:30:47.440 --> 0:30:53.640
<v Speaker 2>story again, and this time tell yourself the truth.

0:30:55.400 --> 0:30:59.800
<v Speaker 4>I no longer have a body and I get up?

0:31:00.120 --> 0:31:02.360
<v Speaker 2>Do I? How do I move?

0:31:02.480 --> 0:31:04.920
<v Speaker 4>If I don't have a body?

0:31:06.680 --> 0:31:11.680
<v Speaker 2>Your consciousness is all you need? Focus? Recall movement? What easy.

0:31:14.480 --> 0:31:16.720
<v Speaker 4>I can recall movement?

0:31:19.600 --> 0:31:20.400
<v Speaker 2>What do I see?

0:31:20.440 --> 0:31:23.760
<v Speaker 4>I see grass on the hill, grass, and some the

0:31:23.840 --> 0:31:28.240
<v Speaker 4>distle bowing to the wind waves of it, the ocean

0:31:28.360 --> 0:31:33.600
<v Speaker 4>of green rushing away from me. Yes, yes, yes, I

0:31:33.760 --> 0:31:37.000
<v Speaker 4>stand alone in a verdant field. I know all this.

0:31:38.760 --> 0:31:42.440
<v Speaker 4>I know this to be my family land. But there

0:31:42.560 --> 0:31:45.200
<v Speaker 4>are none of the structures I must leave.

0:31:45.320 --> 0:31:51.240
<v Speaker 2>Frank now stranded in this matrix of wood and stone

0:31:51.480 --> 0:31:57.840
<v Speaker 2>and prism, glass and remorse, or the lines between his

0:31:58.200 --> 0:32:06.920
<v Speaker 2>mind and the universe or blurred. Frank is lost inside

0:32:06.920 --> 0:32:10.680
<v Speaker 2>of his own ego, tumbling through a vortex of questions.

0:32:11.320 --> 0:32:15.400
<v Speaker 2>What do you owe those around you? From who you

0:32:15.480 --> 0:32:21.560
<v Speaker 2>take and borrow and steal? What amount of yourself, your success,

0:32:21.680 --> 0:32:26.280
<v Speaker 2>your life do you owe them in return? How long

0:32:26.440 --> 0:32:31.640
<v Speaker 2>must you punish yourselves for your own transgressions. Frank will

0:32:31.680 --> 0:32:34.840
<v Speaker 2>be the great designer of his own punishment, for many

0:32:34.920 --> 0:32:37.960
<v Speaker 2>loops to come before he's able to break the bonds

0:32:38.040 --> 0:32:43.600
<v Speaker 2>he has fabricated, reliving the horrors of his life, an

0:32:43.640 --> 0:32:47.400
<v Speaker 2>echo of trauma folding in on itself again and again.

0:32:48.040 --> 0:32:51.520
<v Speaker 2>But there is no greater destroyer of ego than grief.

0:32:52.240 --> 0:32:57.040
<v Speaker 2>He will discover the truth eventually, even if he re

0:32:57.240 --> 0:33:02.160
<v Speaker 2>envisions this place a billion times, and only then will

0:33:02.200 --> 0:33:07.680
<v Speaker 2>he complete his passage. Well, I have faith in him.

0:33:08.080 --> 0:33:11.600
<v Speaker 2>He is, after all, one the hell of an architect.

0:33:19.880 --> 0:33:22.600
<v Speaker 2>The Passage stars Dan Fogler as the Ferryman.

0:33:23.040 --> 0:33:26.640
<v Speaker 4>This episode features Michael Cook as Frank Lloyd Wright, also

0:33:26.720 --> 0:33:29.480
<v Speaker 4>featuring Kevin Hines as Julian Carlton.

0:33:30.040 --> 0:33:31.520
<v Speaker 5>Written by Christinel Casciba.

0:33:32.440 --> 0:33:37.120
<v Speaker 2>Our executive producers are Nicholas Dakowski, Matthew Frederick, and Alexander Williams.

0:33:37.280 --> 0:33:39.640
<v Speaker 5>First Assistant director, script's supervisor and.

0:33:39.640 --> 0:33:41.360
<v Speaker 2>Production coordinator Sarah Klein.

0:33:41.880 --> 0:33:44.040
<v Speaker 4>Music by Ben Lovett, additional music.

0:33:43.840 --> 0:33:48.360
<v Speaker 2>By Alexander Rodriguez. Casting by Sunday Bowling, Kennedy and Meg Mormon.

0:33:48.760 --> 0:33:50.880
<v Speaker 5>Editing and sound designed by Dan Bush.

0:33:51.000 --> 0:33:54.640
<v Speaker 8>Dialogue editing and sound mixing by Juan Campos, additional sound

0:33:54.720 --> 0:33:55.880
<v Speaker 8>editing by Racket Sound.

0:33:56.600 --> 0:33:59.880
<v Speaker 2>Our supervising producer is Josh Thane. Created by Dan Bush

0:33:59.880 --> 0:34:03.000
<v Speaker 2>and Nicholas Takowski. Produced by Dan Bush. The Passage is

0:34:03.000 --> 0:34:05.640
<v Speaker 2>a production of iHeartRadio and Cycopia Pictures