WEBVTT - The Yard — E2

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<v Speaker 1>Just a heads up. This episode contains aboult language and

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<v Speaker 1>discussion of suicide, so take care while listening. When I

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<v Speaker 1>first imagined Ruby hopping trains, my idea of it was romantic.

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<v Speaker 1>She'd be sitting with her back resting at the edge

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<v Speaker 1>of an open box car door, open fields rushing by her,

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<v Speaker 1>one leg extended, smoking a cigarette. I knew that trains

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<v Speaker 1>were dangerous, but this was the image I clung to.

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<v Speaker 1>It helped me get to sleep at night. I also

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<v Speaker 1>recognized that if I was going to understand when she

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<v Speaker 1>was up against, I had to see a train yard myself.

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<v Speaker 1>That's how I ended up in Roseville, one of the

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<v Speaker 1>biggest yards on the West Coast, to see what my

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<v Speaker 1>daughter would face if she was running through the train

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<v Speaker 1>yard trying to hop a train. Sometimes, you know, a

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<v Speaker 1>train goes by and it's squealing and you hear all

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<v Speaker 1>these sounds of like chuck chuck, the clock, the clock

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<v Speaker 1>noises and stuff. But then other times, in the middle

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<v Speaker 1>of night, a car just sales by you You didn't

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<v Speaker 1>hear anything, not in a whisper. It just comes out

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<v Speaker 1>of the fog and just you're like, oh God, but

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<v Speaker 1>but the but the kids who traveled don't know this,

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<v Speaker 1>and they could be running between long corridors of trains. Absolutely, yeah, yes,

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<v Speaker 1>I've seen all kinds of people do that. I'd heard

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<v Speaker 1>Ruby might have come through Roosevelt, a railroad hub with

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<v Speaker 1>tracks that could take her over the Sierras to the

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<v Speaker 1>Midwest or north to Canada. But at first you'd have

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<v Speaker 1>to make her way through the train yard, across the

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<v Speaker 1>tracks and between the freight cars. You're in the danger zone.

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<v Speaker 1>It's basically like running across the tarmac at l a X.

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<v Speaker 1>If I were to try to walk across all these

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<v Speaker 1>tracks ahead of me, each one of them is easily

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<v Speaker 1>able to have, like a fifteen thousand ton train sixties

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<v Speaker 1>seventy eight. Although I didn't know much about trains the

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<v Speaker 1>day Ruby left, I was learning as much as I could,

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<v Speaker 1>as fast as I could. What I could learn on

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<v Speaker 1>the web would only take me so far. Like there

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<v Speaker 1>was finding out lots of people died in the train

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<v Speaker 1>yard every year. But how did that happen? If I'm

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<v Speaker 1>running across in front of a plane that's landing, Um,

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<v Speaker 1>you know, most people would think that would be crazy.

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<v Speaker 1>It would be like something you do like on an

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<v Speaker 1>insane daredevil. Bet No, one compares that to running in

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<v Speaker 1>front of a train which could be going almost the

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<v Speaker 1>same speed. I came to Roosevelt to find out what

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<v Speaker 1>Ruby could face in the yard, but it turned out

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<v Speaker 1>that this dusty little town had some surprises for me. Sure,

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<v Speaker 1>I didn't think much about trains before Ruby left, but

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<v Speaker 1>when her friends talked about riding or I imagined Ruby

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<v Speaker 1>in that box car, I felt the draw. That was

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<v Speaker 1>my naive idea about how romantic a solo journey could be.

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<v Speaker 1>But in Roseville I learned the people who ride the

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<v Speaker 1>rails and the people who work in the yard experience

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<v Speaker 1>something more visceral. Inside the yard, they go up against

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<v Speaker 1>rob power every day, and it changes how they see

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<v Speaker 1>the world. The train yard is where all of this begins,

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<v Speaker 1>the gateway to the city of the rails. For HBO's

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<v Speaker 1>the train yard is like the subway platform the bus stop.

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<v Speaker 1>They don't plan to spend a ton of time there,

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<v Speaker 1>but they do because they usually don't know when their

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<v Speaker 1>train is going to leave. So Roseville, one of the

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<v Speaker 1>biggest yards in the West, was a good place to

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<v Speaker 1>start to understand the situation Ruby face when she tried

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<v Speaker 1>to hop a train without the fifty or sixty trains

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<v Speaker 1>at a coming through Roosevelt. There was a lot of emotion,

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<v Speaker 1>a lot of things could go wrong. I needed someone

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<v Speaker 1>to guide me through this world, because while it was big,

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<v Speaker 1>noisy and obvious, it was also mysterious to outsiders. Beyond

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<v Speaker 1>that chaos, there was more than you could see at

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<v Speaker 1>a glance. I wanted to find the person who could

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<v Speaker 1>show me that, so I started calling around, trying to

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<v Speaker 1>find a yard worker or a train conductor, someone who

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<v Speaker 1>worked on the ground who could walk me through life

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<v Speaker 1>in the yard. Finally, on my tenth call, a guy

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<v Speaker 1>told me he knew someone who could talk my ear

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<v Speaker 1>off basically just because they need. That's my kind of guy.

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<v Speaker 1>My name is Robert Hudson. I'm a former switchman and

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<v Speaker 1>brakeman and conductor for the Pacific Railroad. I told Robert

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<v Speaker 1>I wanted to know what my daughter faced in the yard.

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<v Speaker 1>So on a Wednesday afternoon, he picked me up to

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<v Speaker 1>drive me around Roseville. He had a bunch of spots

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<v Speaker 1>he wanted to show me that would give me a

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<v Speaker 1>full view of the yard. And Roseville is one of

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<v Speaker 1>the weirdest towns that you see around California. Because Robert

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<v Speaker 1>is ready faced with thick sandy brown hair and blue

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<v Speaker 1>eyes that brighton when he talks about the train yard,

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<v Speaker 1>and boy can he talk. It's got five sections, and

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<v Speaker 1>if you drive through Roseville it looks like any other

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<v Speaker 1>California mountain town except for the fact that you can

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<v Speaker 1>see and hear the trains all time. You'd never suspect

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<v Speaker 1>it was part of the international economy, a hub where

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<v Speaker 1>good shipped from Asia passed through on their way to

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<v Speaker 1>places all around the US. On our way around the yard,

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<v Speaker 1>Robert showed me how much the country owes two little

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<v Speaker 1>towns like this. We're actually right next to the old

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<v Speaker 1>telegraphy office, which I don't think a lot of people

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<v Speaker 1>realize that. If you ever heard heard of Sprint UM,

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<v Speaker 1>Sprint is Southern Pacific Internal Network Telephone YEP. It was

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<v Speaker 1>origionally started as the Railroad telephones before we had radios.

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<v Speaker 1>In the seventies, the Southern Pacific Railroad laid telegraph lines

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<v Speaker 1>along its train tracks. Over the next hundred years, those

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<v Speaker 1>lines became fiber optic cables, and in two the Southern

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<v Speaker 1>Pacific began to sell its communication network as a service

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<v Speaker 1>to private customers, which later became Sprint Mobile Southern Pacific Railroad,

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<v Speaker 1>internal network telephony. All these facts about the rails that

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<v Speaker 1>came rattling out of Robert made me go, huh, really,

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<v Speaker 1>people have no idea how much the railroad effects in

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<v Speaker 1>their lives, you know, like it reaches its fingers into

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<v Speaker 1>almost everything. We get all these different cities that's sprung up,

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<v Speaker 1>just like Roseville, you know, came out of nowhere because

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<v Speaker 1>it was just a place for two railroads crossed. With

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<v Speaker 1>Robert is my guide. This place was coming alive to me.

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<v Speaker 1>There was order in this chaos. It wasn't just a

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<v Speaker 1>place where two rail tracks crossed. It was right in

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<v Speaker 1>the center of the economy. As we approach the center

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<v Speaker 1>of the yard, Robert pulls over and this is um

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<v Speaker 1>Right here is like the side of the yard, which

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<v Speaker 1>is the receiving yard that normally picks up a whole

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<v Speaker 1>bunch of cars from We're looking at the main part

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<v Speaker 1>of the yard, about fifty tracks wide, with pieces of

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<v Speaker 1>trains scattered around, a few train cars linked together, standing

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<v Speaker 1>here or there on different tracks, not going anywhere. Robert

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<v Speaker 1>points to a long cut of cars stacked high with

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<v Speaker 1>shrink wrapped packages, and then there's a whole bunch of

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<v Speaker 1>of cars that have lumber on them from you know,

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<v Speaker 1>upen Oregon in Washington, and so those are a lot

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<v Speaker 1>of those are actually probably headed down to the Bay

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<v Speaker 1>Area to get on ships and to go to China,

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<v Speaker 1>because our wood is actually going mostly to China. Right now,

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<v Speaker 1>I looked at at the United States is a number

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<v Speaker 1>one exporter of wood to China, nearly a billion tons

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<v Speaker 1>of wood a year, and each one of those cars

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<v Speaker 1>carried two hundred thousand pounds of lumber, enough to build

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<v Speaker 1>six houses per car. The memberships out to China through

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<v Speaker 1>the Port of Oakland. But the same freight trains can

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<v Speaker 1>carry anything chicken feed, meet, even air Jordan's. Some cars

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<v Speaker 1>hold finished goods destined for Walmart and Amazon warehouses. And

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<v Speaker 1>along the way a lot of those trains passed through Roseville.

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<v Speaker 1>It's one of America's main gateways for shipping. Robert told

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<v Speaker 1>me what happens when the train enters the yard, so

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<v Speaker 1>it comes in is one train shuffles up like into

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<v Speaker 1>different pieces, and it goes out the other end, and

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<v Speaker 1>it's now like a new train. It's only if it

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<v Speaker 1>actually has to get shuffled that it goes in the yard.

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<v Speaker 1>In the first place. Otherwise it would just go right

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<v Speaker 1>past the yard. But if it's you know, if it

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<v Speaker 1>has to get shuffled and it comes in on the

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<v Speaker 1>west side, say, and then they put it back together

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<v Speaker 1>and give it a new engine and it takes off

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<v Speaker 1>to the east side. This is the same basic operation

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<v Speaker 1>that's sent goods around America since we started shipping by

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<v Speaker 1>rail in the early eight hundreds. Trains enter the yard

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<v Speaker 1>carrying one set of cars and leave with another. And

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<v Speaker 1>if you're paying attention, they can tell you a lot.

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<v Speaker 1>So the fun thing about the railroad is that because

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<v Speaker 1>it's behind the scenes, uh, you have the sense of

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<v Speaker 1>like every industry, I mean, there's a there's a finger

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<v Speaker 1>on the pulse of like the nation that we have

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<v Speaker 1>that a lot of people don't. So the railroad is

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<v Speaker 1>very much like um driven by the whole economy. So

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<v Speaker 1>about a third of all of the goods in the

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<v Speaker 1>entire country that are sold in every store go through

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<v Speaker 1>the Port of Oakland or Port of l A. So

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<v Speaker 1>we move all that stuff. Those are just two ports,

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<v Speaker 1>and they receive a third of the goods that are

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<v Speaker 1>then shipped across America. And Robert said he knew when

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<v Speaker 1>the economy was getting shaky just by watching the traffic

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<v Speaker 1>in the yard, because I could tell, Like by in

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<v Speaker 1>two thousand, for example, I knew that the economy wasn't

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<v Speaker 1>doing well for sure, you know, maybe like you're in advance.

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<v Speaker 1>I mean, because there was less and less railroad cars.

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<v Speaker 1>I mean I was, I was working over time, and

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<v Speaker 1>then all of a sudden, I was barely working seven

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<v Speaker 1>hours a day and getting paid for eight. And this

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<v Speaker 1>is before the actual crash. Yeah, before the crash, by

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<v Speaker 1>at least a good eight months or something. Roseville is

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<v Speaker 1>more than it appears. This dusty old yard is an

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<v Speaker 1>international crossroads with hundreds of thousands of tons of goods

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<v Speaker 1>passing through. Sure didn't look that way, so we ignore

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<v Speaker 1>the train yards mostly, and the trains are indifferent to us.

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<v Speaker 1>They're too big, too busy to react to a little

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<v Speaker 1>human or two who might be standing in the way.

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<v Speaker 1>And taking advantage of that are thousands of hoboes looking

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<v Speaker 1>in the empty cars, hoping that and all of this

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<v Speaker 1>slamming together and breaking apart, they could slip between the shadows, quickly,

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<v Speaker 1>leap over the gaps quietly to get where they're going unscathed.

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<v Speaker 1>From my vantage point, at the end of the yard.

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<v Speaker 1>The odds of them make king It didn't look good.

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<v Speaker 1>Robert was taking me to an even scarier place, the

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<v Speaker 1>place where all the noise falls away. The hop is

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<v Speaker 1>probably the most dangerous place in the yard. Before I

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<v Speaker 1>met up with Robert and Roseville, I went online trying

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<v Speaker 1>to figure out where I should go next. To find Ruby.

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<v Speaker 1>I found maps of train routes and imagine the view

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<v Speaker 1>from a train headed over the rockies or alongside the

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<v Speaker 1>Hudson in the fall. But I also wanted some basic facts.

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<v Speaker 1>There's seven railroads with big freight yards like Roseville stashed

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<v Speaker 1>around the country. These places where the trains come together

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<v Speaker 1>and break apart are where hoboes switched from one train

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<v Speaker 1>to another, heading to where they want to go. Leaping

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<v Speaker 1>between trains is a dangerous move. About five people a

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<v Speaker 1>year die on railroad property, more than one a day.

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<v Speaker 1>To help me understand how these people died, Robert took

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<v Speaker 1>me across the yard to see the hump. So we

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<v Speaker 1>see if there's some spot, so way exactly are we yes?

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<v Speaker 1>I was gonna say, this is a spot where we're

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<v Speaker 1>on the quieter side of like the rail yard. Robert

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<v Speaker 1>points to the spot he wanted to show me, maybe

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<v Speaker 1>a hundred feet from where we're standing. It's like trains

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<v Speaker 1>would be coming from the left of me and going

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<v Speaker 1>to the right of me, and the right after you

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<v Speaker 1>know you as the hump. Then it goes into the

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<v Speaker 1>bowl to the to the right of me. It's definitely

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<v Speaker 1>like a substantial hill. I think the mountain is probably

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<v Speaker 1>twenty feet, but then below that there's a bowl that

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<v Speaker 1>actually goes down into the ground and is lower than

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<v Speaker 1>the ground level, so it might drop twenty five ft.

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<v Speaker 1>I watched as one by one, huge freight cars glide

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<v Speaker 1>across the tracks played out on the other side of

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<v Speaker 1>the hump, going maybe five miles. They appear to operate

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<v Speaker 1>on their own power, the engines pushing it up that hill,

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<v Speaker 1>and then they're just rolling off into that to that

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<v Speaker 1>bowl by gravity. It's eerie. The train cars moved silently, swiftly.

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<v Speaker 1>Unless you knew to look for them, you'd never see

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<v Speaker 1>them coming. Would we see them coming? And writers weren't

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<v Speaker 1>the only ones who are at risk on the hump.

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<v Speaker 1>The people who worked there were two. JP Right started

0:12:23.000 --> 0:12:25.160
<v Speaker 1>his life in the yard working on top of the hump,

0:12:25.280 --> 0:12:28.200
<v Speaker 1>and he knew how dangerous that work could be. How

0:12:28.280 --> 0:12:30.319
<v Speaker 1>big is the yard that you started at? Which one

0:12:30.440 --> 0:12:34.520
<v Speaker 1>was that? Oh gosh, it was Osborne Yards in Louisville, Kentucky.

0:12:34.840 --> 0:12:37.160
<v Speaker 1>I can't remember how many acres it was. The hump

0:12:37.200 --> 0:12:40.000
<v Speaker 1>is still hand operated. As cars come over the hill,

0:12:40.120 --> 0:12:42.839
<v Speaker 1>there's a human being there separating the cars by hand.

0:12:43.480 --> 0:12:45.600
<v Speaker 1>JP right used to be one of those people working

0:12:45.600 --> 0:12:48.000
<v Speaker 1>the hump, pulling the pins to separate the cars at

0:12:48.040 --> 0:12:51.280
<v Speaker 1>the knuckle before they rolled onto the tracks. As simple

0:12:51.320 --> 0:12:54.000
<v Speaker 1>as it sounds, the job can be grueling. So you

0:12:54.400 --> 0:12:57.360
<v Speaker 1>reach in maybe like half of arm lights and you

0:12:57.440 --> 0:13:00.600
<v Speaker 1>pull this thing that lift the pin up in between

0:13:00.600 --> 0:13:03.920
<v Speaker 1>the two knuckles. So you're lifting ten to twelve pounds

0:13:04.000 --> 0:13:06.839
<v Speaker 1>with one armed all night, over and over and over

0:13:06.880 --> 0:13:10.000
<v Speaker 1>and over again. The kind of the train is coming

0:13:10.040 --> 0:13:12.520
<v Speaker 1>over the hump and you're reaching your hand in there

0:13:13.040 --> 0:13:17.080
<v Speaker 1>to pull this lever. Yet that allows the car to

0:13:17.120 --> 0:13:21.120
<v Speaker 1>separate back gravity when it goes over the hump. As

0:13:21.120 --> 0:13:23.480
<v Speaker 1>the train keeps rolling new cars up to the hump,

0:13:23.600 --> 0:13:26.120
<v Speaker 1>a pin pullar has to be there at the ready,

0:13:26.400 --> 0:13:30.280
<v Speaker 1>and some trains are miles long. The plan was to

0:13:30.320 --> 0:13:33.800
<v Speaker 1>get six cards a night on a shift, so there's

0:13:33.840 --> 0:13:38.120
<v Speaker 1>two people doing it. How many nights I would walk ten, twelve,

0:13:38.240 --> 0:13:42.480
<v Speaker 1>fifteen miles a night on top the hill. I lost

0:13:42.520 --> 0:13:45.800
<v Speaker 1>forty pounds the first year I did it. It took strength,

0:13:45.920 --> 0:13:49.520
<v Speaker 1>quick reflexes, an excellent hand eye coordination, and if you

0:13:49.600 --> 0:13:53.040
<v Speaker 1>made a mistake, it was one you'd never forget. Robert

0:13:53.080 --> 0:13:56.480
<v Speaker 1>Hudson told me pin pullers had a reputation, you know,

0:13:56.559 --> 0:13:58.240
<v Speaker 1>the pin pullers, by the fact that they would lose

0:13:58.280 --> 0:14:01.040
<v Speaker 1>fingers almost inevitably. So they're like two or three fingers

0:14:01.040 --> 0:14:03.720
<v Speaker 1>on these guys, and they grabuly like pin out and

0:14:03.760 --> 0:14:06.439
<v Speaker 1>they'd separate the cars that way. But as you can imagine,

0:14:06.480 --> 0:14:09.520
<v Speaker 1>like that was very dangerous. JP told me about one

0:14:09.559 --> 0:14:12.840
<v Speaker 1>close call he had. I was reading the cars on

0:14:12.880 --> 0:14:15.280
<v Speaker 1>the track next to me, and I accidentally moved over

0:14:15.280 --> 0:14:18.000
<v Speaker 1>a little bit too far to the next track, and

0:14:18.160 --> 0:14:21.560
<v Speaker 1>UH car comes flying by, and I felt the wind

0:14:22.040 --> 0:14:24.720
<v Speaker 1>of it on my shoulder and on my head, So

0:14:24.800 --> 0:14:26.840
<v Speaker 1>I was that close and then there it went, and

0:14:26.880 --> 0:14:29.760
<v Speaker 1>I was like, fuck, I never heard coming. But JP

0:14:29.880 --> 0:14:32.440
<v Speaker 1>knew the hazards and being a pin pully was just

0:14:32.480 --> 0:14:35.240
<v Speaker 1>an entry point to something greater. He had his sight

0:14:35.280 --> 0:14:37.160
<v Speaker 1>set on the best job in the yard, being an

0:14:37.160 --> 0:14:39.720
<v Speaker 1>engineer who can pull down a hundred thousand dollars a

0:14:39.800 --> 0:14:43.440
<v Speaker 1>year with just a high school education. Besides the money,

0:14:43.720 --> 0:14:46.040
<v Speaker 1>driving the train was a huge part of the appeal.

0:14:46.440 --> 0:14:49.360
<v Speaker 1>As dangerous as they are, trains show you hidden places

0:14:49.400 --> 0:14:55.120
<v Speaker 1>in the world. As four testosterone purposes, there was nothing

0:14:55.840 --> 0:14:59.000
<v Speaker 1>better than getting up on the train on a really

0:14:59.080 --> 0:15:04.000
<v Speaker 1>nice night. You got to really good locomotives. So you're

0:15:04.000 --> 0:15:08.480
<v Speaker 1>gonna go sixty and you crack open the windows. It's

0:15:08.600 --> 0:15:12.000
<v Speaker 1>nice outside. You cracked that throttle and off you go

0:15:12.760 --> 0:15:16.240
<v Speaker 1>through the back roads of Kentucky all the way through

0:15:16.280 --> 0:15:19.960
<v Speaker 1>to Tennessee. I mean, there's an absolute allure to the

0:15:19.960 --> 0:15:21.880
<v Speaker 1>whole thing. Of course, it's almost like you're in the

0:15:21.880 --> 0:15:26.200
<v Speaker 1>wild wild West riding your big you know, four thousand horses.

0:15:26.920 --> 0:15:31.120
<v Speaker 1>When you are participating in how you feel that you

0:15:31.200 --> 0:15:36.640
<v Speaker 1>are really building the country. You're you're out there doing

0:15:36.680 --> 0:15:39.600
<v Speaker 1>something that has a long tradition. You're in one of

0:15:39.600 --> 0:15:42.240
<v Speaker 1>the oldest unions in the United States. There's all this

0:15:42.480 --> 0:15:46.560
<v Speaker 1>brotherhood's talk, and it's easily to get wrapped up into

0:15:46.600 --> 0:15:49.400
<v Speaker 1>this whole fucking cowboy movie that you're a part of

0:15:49.440 --> 0:15:54.040
<v Speaker 1>every night. It isn't just a thrill that attracts rail

0:15:54.120 --> 0:15:58.280
<v Speaker 1>workers is knowing that you're part of something bigger. Pretty

0:15:58.360 --> 0:16:00.880
<v Speaker 1>Much anything that anybody has on their body or in

0:16:00.920 --> 0:16:05.000
<v Speaker 1>their home or anything is delivered somehow on a train.

0:16:05.120 --> 0:16:07.520
<v Speaker 1>So it's a very important part of our economy. And

0:16:07.560 --> 0:16:10.880
<v Speaker 1>we're told that, you know, as part of the company jargon,

0:16:11.480 --> 0:16:15.400
<v Speaker 1>but we also know that, hey, we're proud. It's a tradition.

0:16:15.480 --> 0:16:22.520
<v Speaker 1>You're proud is a great tradition in this country. Their tradition,

0:16:22.600 --> 0:16:25.360
<v Speaker 1>JP is so proud of still uses technology that hasn't

0:16:25.400 --> 0:16:28.320
<v Speaker 1>been improved upon from more than a century. But these

0:16:28.360 --> 0:16:31.640
<v Speaker 1>simple technologies, like the hump or the high tech of

0:16:31.720 --> 0:16:34.680
<v Speaker 1>their time, they changed the world, just like the Internet

0:16:34.800 --> 0:16:38.880
<v Speaker 1>or smartphones have shaped our world today. These trains connected America,

0:16:39.120 --> 0:16:43.040
<v Speaker 1>tying individual cities together into a country. They created a network.

0:16:43.640 --> 0:16:46.240
<v Speaker 1>Historian Richard White told me how the railroads really were

0:16:46.240 --> 0:16:49.720
<v Speaker 1>the Internet of their day. Places that have been isolated

0:16:49.720 --> 0:16:51.960
<v Speaker 1>from each other. They might be thirty miles apart, but

0:16:52.000 --> 0:16:54.120
<v Speaker 1>nobody would ever see each other because it was too

0:16:54.120 --> 0:16:56.360
<v Speaker 1>hard to go down muddy roads to do it. With

0:16:56.400 --> 0:16:59.240
<v Speaker 1>the rails, those people would become neighbors. And it's not

0:16:59.320 --> 0:17:01.720
<v Speaker 1>just thirty mile So we've been hundreds of miles away,

0:17:01.880 --> 0:17:05.240
<v Speaker 1>places that would have been utterly strange would now become familiar.

0:17:07.160 --> 0:17:10.240
<v Speaker 1>That's essentially the same thing the Silicon Valley promised in

0:17:10.240 --> 0:17:13.960
<v Speaker 1>the late early twenty first century. The The argument was simply,

0:17:14.040 --> 0:17:17.600
<v Speaker 1>information could travel so quickly people would be able to

0:17:17.640 --> 0:17:19.840
<v Speaker 1>see each other, talk to each other, here each other

0:17:19.880 --> 0:17:22.800
<v Speaker 1>without filters in between them. Then, in fact, this kind

0:17:22.800 --> 0:17:27.320
<v Speaker 1>of neighborly listening community would arise from the technology itself.

0:17:28.320 --> 0:17:31.240
<v Speaker 1>The railroads brought people together, just like the Internet did,

0:17:31.440 --> 0:17:35.000
<v Speaker 1>connecting people in ways that were previously impossible, And just

0:17:35.080 --> 0:17:37.480
<v Speaker 1>like with the Internet, there was a lot of commentary

0:17:37.520 --> 0:17:41.440
<v Speaker 1>and criticism about the railroads. Phil Sexton, a local railroad

0:17:41.520 --> 0:17:44.520
<v Speaker 1>historian in Roseville, told me that when trains began to

0:17:44.560 --> 0:17:47.000
<v Speaker 1>spread in the early eighteen hundreds, they had their own

0:17:47.119 --> 0:17:50.040
<v Speaker 1>version of the y two K panic. There were actually

0:17:50.040 --> 0:17:54.399
<v Speaker 1>scientists in Europe who postulated that by moving as fast

0:17:54.440 --> 0:17:58.040
<v Speaker 1>as thirty miles an hour, you would be irrevocably damaged

0:17:58.119 --> 0:18:02.800
<v Speaker 1>due to the g forces. But damn the warnings. Americans

0:18:02.800 --> 0:18:05.080
<v Speaker 1>wanted to be on the move. Being able to travel

0:18:05.200 --> 0:18:08.640
<v Speaker 1>quickly and freely change the US from a farming country

0:18:08.680 --> 0:18:11.359
<v Speaker 1>to an industrial one. Starting with the big growth of

0:18:11.400 --> 0:18:13.720
<v Speaker 1>the cities. The people who took to the rails of

0:18:13.760 --> 0:18:16.239
<v Speaker 1>the eighties had something in common with those who are

0:18:16.240 --> 0:18:19.520
<v Speaker 1>on the rails today. They just had to go. Some

0:18:19.560 --> 0:18:21.800
<v Speaker 1>people just have itchy feet. If you remember the end

0:18:21.800 --> 0:18:24.439
<v Speaker 1>of Huck Finn, he talks about lighting out for the

0:18:24.520 --> 0:18:27.000
<v Speaker 1>territory ahead of the rest because it's just too civilized

0:18:27.040 --> 0:18:29.480
<v Speaker 1>where he is, And a lot of people felt that way,

0:18:29.480 --> 0:18:31.919
<v Speaker 1>And a lot of people wanted farm land, or they

0:18:31.960 --> 0:18:35.560
<v Speaker 1>just wanted what they felt was more freedom and kind

0:18:35.600 --> 0:18:39.400
<v Speaker 1>of breathing space. With trains, remote places whose journeys were

0:18:39.400 --> 0:18:42.679
<v Speaker 1>once too treacherous or too far, we're now within reach.

0:18:43.280 --> 0:18:45.479
<v Speaker 1>That meant that people who wanted to go could go

0:18:45.600 --> 0:18:50.720
<v Speaker 1>further and much more easily. All those dreamers and scoundrels

0:18:50.760 --> 0:18:53.440
<v Speaker 1>who wanted a new life could board a train to California,

0:18:53.800 --> 0:18:57.199
<v Speaker 1>which had a geography much different from the East. Who

0:18:57.280 --> 0:19:00.760
<v Speaker 1>could imagine seven thousand foot tall amount and being in

0:19:00.840 --> 0:19:05.600
<v Speaker 1>snow in June or July for you know, the strange

0:19:05.720 --> 0:19:08.800
<v Speaker 1>rocks that you would see of verdant, vibrant colors in

0:19:08.920 --> 0:19:12.160
<v Speaker 1>different mining areas. It's very unlike any in the eastern

0:19:12.320 --> 0:19:16.360
<v Speaker 1>United States, but it wasn't just California, it was all

0:19:16.359 --> 0:19:19.280
<v Speaker 1>the stops along the way, the three thousand mile breadth

0:19:19.359 --> 0:19:22.240
<v Speaker 1>of the country, with the tracks late east to west

0:19:22.440 --> 0:19:24.640
<v Speaker 1>along the route. Noon was different in New York than

0:19:24.640 --> 0:19:27.600
<v Speaker 1>it was in Sacramento. Trains had to stay on schedule,

0:19:27.760 --> 0:19:32.359
<v Speaker 1>schedules had to stay in sync. Robert Husson described the

0:19:32.440 --> 0:19:36.600
<v Speaker 1>railroad solution when we all used to this day time zones.

0:19:38.040 --> 0:19:40.719
<v Speaker 1>Time zones comes from the railroad, you know, we we

0:19:40.840 --> 0:19:43.640
<v Speaker 1>uh we get time zones because they had to be

0:19:44.000 --> 0:19:45.840
<v Speaker 1>on the same time when they got to the next town.

0:19:45.880 --> 0:19:48.480
<v Speaker 1>They couldn't, you know, say like, oh yeah, sorry, noon

0:19:48.600 --> 0:19:51.320
<v Speaker 1>is different here, fifteen minutes different. Something that didn't work

0:19:51.359 --> 0:19:52.639
<v Speaker 1>for them. So they had to find a way to

0:19:52.680 --> 0:19:55.000
<v Speaker 1>like have every begin on the same time zone. I

0:19:55.040 --> 0:19:58.159
<v Speaker 1>mean time zones. There's such a given in life. I

0:19:58.200 --> 0:20:01.840
<v Speaker 1>never thought that someone or some busy this invented them.

0:20:01.880 --> 0:20:03.200
<v Speaker 1>You know, it's hard to believe that there was a

0:20:03.240 --> 0:20:04.960
<v Speaker 1>time when people would just look up and be like, well,

0:20:05.000 --> 0:20:06.520
<v Speaker 1>the suns in the middle of the skuy, so it's new.

0:20:07.280 --> 0:20:09.600
<v Speaker 1>It had to be right, otherwise there was no way

0:20:09.600 --> 0:20:12.080
<v Speaker 1>to communicate. If the train was five minutes behind, then

0:20:12.080 --> 0:20:16.560
<v Speaker 1>they'd be crashing into another train. The railroads accomplished a

0:20:16.640 --> 0:20:19.920
<v Speaker 1>huge feed synchronizing the world's measurement of time from one

0:20:20.000 --> 0:20:22.280
<v Speaker 1>zone to the next. So if you're ever curious why

0:20:22.320 --> 0:20:25.040
<v Speaker 1>New York is three hours ahead of California, the answer

0:20:25.080 --> 0:20:29.200
<v Speaker 1>is railroads. Some historians say the railroads invented modern life,

0:20:29.359 --> 0:20:32.680
<v Speaker 1>and that modernity begins after a country builds his first railroad.

0:20:33.240 --> 0:20:35.920
<v Speaker 1>So many things developed by railroads hundreds of years ago

0:20:36.000 --> 0:20:39.239
<v Speaker 1>are still part of our everyday lives. Railroads gave us

0:20:39.240 --> 0:20:43.000
<v Speaker 1>cruise control and air brakes, even QR codes. The way

0:20:43.000 --> 0:20:45.640
<v Speaker 1>they synchronized time even had a role in Einstein's theory

0:20:45.640 --> 0:20:49.480
<v Speaker 1>of relativity. But really was off the clock, out in

0:20:49.520 --> 0:20:52.800
<v Speaker 1>the world, unconcerned by schedules. If I was right that

0:20:52.880 --> 0:20:55.439
<v Speaker 1>she was train hopping somewhere, it was funny to me

0:20:55.520 --> 0:20:58.040
<v Speaker 1>that young travel was rejecting modern life by hopping on

0:20:58.119 --> 0:21:00.560
<v Speaker 1>a train, the thing that created the world. They were

0:21:00.600 --> 0:21:07.320
<v Speaker 1>rejecting something primal, drew people to the rails. Otherwise they'd

0:21:07.359 --> 0:21:09.640
<v Speaker 1>take one look at the train yard and come straight home.

0:21:11.280 --> 0:21:14.359
<v Speaker 1>Had weby been through Roseville? Where had she gone? What

0:21:14.480 --> 0:21:17.880
<v Speaker 1>had she seen? I still didn't know, but I knew

0:21:17.880 --> 0:21:20.600
<v Speaker 1>it didn't really matter where she hopped out from. It

0:21:20.720 --> 0:21:25.479
<v Speaker 1>was obvious that any train yard could kill you. Did

0:21:25.600 --> 0:21:27.960
<v Speaker 1>Ruby know this when she left? Was that even a

0:21:28.040 --> 0:21:31.119
<v Speaker 1>factor in her decision? Then again, maybe all of the

0:21:31.160 --> 0:21:33.320
<v Speaker 1>reasons I was coming up with didn't matter to her.

0:21:34.200 --> 0:21:36.359
<v Speaker 1>They were a mom's reasons, and the fact that I

0:21:36.359 --> 0:21:38.480
<v Speaker 1>wanted to find a reason seemed like a very mom

0:21:38.600 --> 0:21:42.080
<v Speaker 1>thing too. That explanation could be a lot simpler than that,

0:21:42.920 --> 0:21:44.560
<v Speaker 1>if I was willing to let my mind go to

0:21:44.600 --> 0:21:46.680
<v Speaker 1>the part of the past I didn't want to revisit.

0:21:49.960 --> 0:21:52.119
<v Speaker 1>Ruby had been having a hard time before I moved

0:21:52.160 --> 0:21:55.760
<v Speaker 1>us to Oakland, and we'd almost lost her. Then I

0:21:55.880 --> 0:21:58.199
<v Speaker 1>was running off to the rails. Ruby's second attempt at

0:21:58.200 --> 0:22:19.800
<v Speaker 1>suicide m hm hm, who I I'm gonna tell the

0:22:19.840 --> 0:22:23.959
<v Speaker 1>truth about We came before she went to hop trains.

0:22:28.480 --> 0:22:32.119
<v Speaker 1>When she was fourteen years old, she tried to commit

0:22:32.160 --> 0:22:40.320
<v Speaker 1>suicide and I have a journal of that time. Oh God,

0:22:40.320 --> 0:22:51.520
<v Speaker 1>they're heavy, um, it says Ruby. Trouble here it comes.

0:22:51.520 --> 0:22:56.160
<v Speaker 1>So January, sitting in the St. John's emergency room looking

0:22:56.160 --> 0:22:59.840
<v Speaker 1>at Ruby hooked up to I V's oxygen. She's taken

0:22:59.880 --> 0:23:02.560
<v Speaker 1>a drug overdose. A number of different drugs, the names

0:23:02.600 --> 0:23:06.040
<v Speaker 1>of which are unfamiliar to people at the emergency room.

0:23:06.240 --> 0:23:09.120
<v Speaker 1>This happened four years before Ruby ran away from graduation,

0:23:09.440 --> 0:23:11.720
<v Speaker 1>and rereading it was almost more than I could bear.

0:23:12.280 --> 0:23:17.440
<v Speaker 1>After Roosevelle, I recognized the despair in those pages when

0:23:17.440 --> 0:23:20.720
<v Speaker 1>passage struck me hard. I consulted a psychiatrist while Ruby

0:23:20.800 --> 0:23:23.399
<v Speaker 1>was in the hospital. We spoke about moving forward from

0:23:23.480 --> 0:23:25.960
<v Speaker 1>this tragedy. What would be the next steps for her.

0:23:26.520 --> 0:23:28.600
<v Speaker 1>He told me she couldn't go back to high school

0:23:28.920 --> 0:23:31.760
<v Speaker 1>every day. Min's really pulled the rug out from under

0:23:31.760 --> 0:23:34.640
<v Speaker 1>me with this. He said that if I placed her

0:23:34.800 --> 0:23:38.520
<v Speaker 1>back in Malibu, she would do this again, and reminded

0:23:38.560 --> 0:23:40.880
<v Speaker 1>me that some years the goal was just to keep

0:23:40.920 --> 0:23:46.560
<v Speaker 1>her alive. That's it, just keep her breathing. That was

0:23:46.600 --> 0:23:49.359
<v Speaker 1>as much as we could hope for, not dream of

0:23:49.359 --> 0:23:52.000
<v Speaker 1>her using her gifts and art, her talent in music

0:23:52.160 --> 0:23:54.000
<v Speaker 1>to make a life that had meaning to her and

0:23:54.040 --> 0:23:57.280
<v Speaker 1>brought something to the world. Considering the hopes I had

0:23:57.320 --> 0:24:01.399
<v Speaker 1>for my daughter, this seems so meager, so base. Reading this,

0:24:01.520 --> 0:24:03.720
<v Speaker 1>I still feel the anguish that this was the goal

0:24:03.760 --> 0:24:11.119
<v Speaker 1>again some mother I turned out to be sitting on

0:24:11.160 --> 0:24:13.760
<v Speaker 1>the floor of my office with my journal scattered around me.

0:24:14.040 --> 0:24:16.199
<v Speaker 1>The person I wanted to talk to is JP. Right

0:24:16.960 --> 0:24:19.200
<v Speaker 1>since that first phone call, we talked a lot about

0:24:19.200 --> 0:24:22.040
<v Speaker 1>how much the rails could take from you physically and emotionally.

0:24:22.960 --> 0:24:25.719
<v Speaker 1>JP was a railroad engineer with the soul of a hobo.

0:24:26.240 --> 0:24:28.520
<v Speaker 1>I first found him through his songs that spoke to

0:24:28.560 --> 0:24:35.320
<v Speaker 1>modern day hobo life but not no hope been traveling

0:24:35.359 --> 0:24:40.560
<v Speaker 1>and not going to help Ball. Something about JP's music

0:24:40.600 --> 0:24:44.600
<v Speaker 1>made me think he would understand, so I called him

0:24:45.320 --> 0:24:48.640
<v Speaker 1>it's because it's so dangerous. When we were talking about

0:24:48.720 --> 0:24:51.760
<v Speaker 1>how the yard comes together, you know in the silent

0:24:52.359 --> 0:24:55.320
<v Speaker 1>hors that are sliding off the hump. A question that

0:24:55.440 --> 0:24:57.480
<v Speaker 1>was in my mind then, which I sort of suppressed,

0:24:58.240 --> 0:25:01.080
<v Speaker 1>was was this jumping to the rails that attempt to

0:25:01.080 --> 0:25:06.399
<v Speaker 1>commit suicide again? Second attempt? Oh? I mean, do you

0:25:06.480 --> 0:25:12.159
<v Speaker 1>think that is an overreaction on my part? Most of

0:25:12.160 --> 0:25:17.040
<v Speaker 1>the people that I've met that has an hardcore travelers,

0:25:17.880 --> 0:25:20.240
<v Speaker 1>they know that they're going to this place. It's almost

0:25:20.320 --> 0:25:23.680
<v Speaker 1>like the shadows within the shadow. So you know, it's

0:25:23.720 --> 0:25:30.520
<v Speaker 1>like I'm I'm so desperate uh to be gone, that

0:25:30.600 --> 0:25:33.159
<v Speaker 1>I'm going to go somewhere where I know that I

0:25:33.160 --> 0:25:36.240
<v Speaker 1>will be almost invisible to all of society. Nobody is

0:25:36.240 --> 0:25:39.600
<v Speaker 1>going to care that I'm out here. It is the darkness.

0:25:39.680 --> 0:25:42.920
<v Speaker 1>You're going head first into the darkness, and you're kind

0:25:42.920 --> 0:25:45.960
<v Speaker 1>of just leaving the whole thing up to faith. If

0:25:46.000 --> 0:25:53.080
<v Speaker 1>you really just want to kill yourself, then that's a

0:25:53.119 --> 0:25:54.800
<v Speaker 1>good place to go, if you don't want to actually

0:25:54.840 --> 0:26:00.000
<v Speaker 1>do it. I mean, in the context of the miss

0:26:00.000 --> 0:26:03.879
<v Speaker 1>a cool idea of the hero's journey, that's you're standing

0:26:04.000 --> 0:26:08.400
<v Speaker 1>at the edge of the cliff. I'm taking the risk.

0:26:08.480 --> 0:26:10.760
<v Speaker 1>I'm throwing all my cards on the table and I'm

0:26:10.840 --> 0:26:14.760
<v Speaker 1>leaving and I'm gone. Fuck it. So I mean I

0:26:14.760 --> 0:26:21.280
<v Speaker 1>could see that. Yeah, maybe leaven nothing. That's my trade.

0:26:23.040 --> 0:26:35.359
<v Speaker 1>Lonely sorrows. The story I'm gone, Lord, I'm gone. Lord,

0:26:35.400 --> 0:26:50.480
<v Speaker 1>I'm gone, Lord, I'm gone. Was shp right that walking

0:26:50.520 --> 0:26:53.240
<v Speaker 1>into the rail yard was walking head first into the darkness.

0:26:55.520 --> 0:26:57.320
<v Speaker 1>I've been on the edge of the darkness, but I

0:26:57.359 --> 0:27:00.320
<v Speaker 1>wanted to find someone to take me in. I knew

0:27:00.320 --> 0:27:03.000
<v Speaker 1>that wasn't going to be easy. The railroads will arrest

0:27:03.000 --> 0:27:05.359
<v Speaker 1>you for trespassing if they catch you, and if you

0:27:05.359 --> 0:27:08.480
<v Speaker 1>get someone to bring you inside, that person will get fired.

0:27:08.920 --> 0:27:11.679
<v Speaker 1>They could get fired for even talking to me. The

0:27:11.720 --> 0:27:13.960
<v Speaker 1>only reason j P and Robert Husson were willing to

0:27:13.960 --> 0:27:16.119
<v Speaker 1>go on the record is because they don't work for

0:27:16.160 --> 0:27:20.080
<v Speaker 1>the railroad anymore. But how I'll call anybody, And the

0:27:20.119 --> 0:27:24.000
<v Speaker 1>person I wanted to talk to was a conductor. Freight

0:27:24.000 --> 0:27:25.720
<v Speaker 1>conductors are not like the ones you see on a

0:27:25.760 --> 0:27:28.720
<v Speaker 1>passenger train, the guys who take your ticket. In the

0:27:28.760 --> 0:27:31.320
<v Speaker 1>world of freight trains, the engineer drives the train and

0:27:31.359 --> 0:27:34.199
<v Speaker 1>the conductor manages it, meaning he walks the length of

0:27:34.240 --> 0:27:36.439
<v Speaker 1>the train to check that it's in order and guides

0:27:36.480 --> 0:27:40.040
<v Speaker 1>it through the yard when it arrives. He knows the yard,

0:27:40.560 --> 0:27:43.000
<v Speaker 1>knows how it moves and it's rhythm, and he interacts

0:27:43.000 --> 0:27:45.520
<v Speaker 1>with hoboes all the time. If I could find a

0:27:45.560 --> 0:27:48.080
<v Speaker 1>conductor willing to take me into the yard, I'd know

0:27:48.119 --> 0:27:53.120
<v Speaker 1>a lot. In just a few hours, I hunted down

0:27:53.119 --> 0:27:56.239
<v Speaker 1>a copy of the conductor's union roster and called our

0:27:56.280 --> 0:27:59.320
<v Speaker 1>emailed everyone on it, and then just sort of waited

0:27:59.520 --> 0:28:05.240
<v Speaker 1>and waited, did and waited. I was amazed when conductor

0:28:05.320 --> 0:28:09.919
<v Speaker 1>Jonathan Esposito called me back and just curious, so you

0:28:09.920 --> 0:28:13.680
<v Speaker 1>you just found my name? I called. I called several people.

0:28:14.160 --> 0:28:18.080
<v Speaker 1>You're the only persons that have called has called you back. Okay,

0:28:18.400 --> 0:28:22.359
<v Speaker 1>all right. Jonathan was weary at first, of course, because

0:28:22.400 --> 0:28:24.439
<v Speaker 1>he could lose his job for talking to the media.

0:28:24.800 --> 0:28:27.480
<v Speaker 1>And I wanted something even worse than that. I wanted

0:28:27.560 --> 0:28:30.440
<v Speaker 1>him to take me trespassing to learn about life inside

0:28:30.480 --> 0:28:33.320
<v Speaker 1>the yard. So I asked it. To my surprise, he

0:28:33.440 --> 0:28:37.040
<v Speaker 1>said yes. So what I will do is I'll take

0:28:37.080 --> 0:28:40.400
<v Speaker 1>you to Roseville and then I will take you out

0:28:40.520 --> 0:28:44.440
<v Speaker 1>to either Westgate or Polk I don't I don't want

0:28:44.440 --> 0:28:45.840
<v Speaker 1>to make it. I don't want to get you in trouble.

0:28:45.880 --> 0:28:50.440
<v Speaker 1>But the other hand, I really want to do this. No,

0:28:50.560 --> 0:28:52.680
<v Speaker 1>I've already I've already said I'm gonna I don't have

0:28:52.800 --> 0:28:55.760
<v Speaker 1>a problem doing it. I was so astonished by this.

0:28:55.880 --> 0:28:58.240
<v Speaker 1>I called one of my railroad buddies, who also thought

0:28:58.320 --> 0:29:02.120
<v Speaker 1>Jonathan was nuts. Oh, I don't care how many tours

0:29:02.120 --> 0:29:04.560
<v Speaker 1>of duty he had into rack, and I don't care

0:29:04.560 --> 0:29:08.560
<v Speaker 1>how big his balls are. They will fire his ass

0:29:08.640 --> 0:29:12.360
<v Speaker 1>for behavior onbecoming an employee. It'll be very hard for

0:29:12.440 --> 0:29:16.280
<v Speaker 1>him to beat it. Even so, Jonathan kept his word.

0:29:19.160 --> 0:29:20.760
<v Speaker 1>I met up with him in front of his house

0:29:20.800 --> 0:29:24.040
<v Speaker 1>near Sacramento on a Sunday afternoon. I thought it would

0:29:24.040 --> 0:29:25.960
<v Speaker 1>be just him and me, But he had a woman

0:29:25.960 --> 0:29:35.080
<v Speaker 1>with him in his driveway. Hey, Amy, hy She was

0:29:35.160 --> 0:29:38.200
<v Speaker 1>part of the plan too. The reason he was bringing

0:29:38.240 --> 0:29:41.200
<v Speaker 1>his girlfriend Amy along was for our cover story. I'd

0:29:41.200 --> 0:29:43.240
<v Speaker 1>sit in the front and Amy be in the bath.

0:29:43.440 --> 0:29:46.440
<v Speaker 1>If anyone stopped us, he'd say it was his girlfriend's mom.

0:29:46.520 --> 0:29:51.480
<v Speaker 1>He was showing around. Thanks, Jonathan. So when we get

0:29:51.760 --> 0:29:53.600
<v Speaker 1>into the yard, do we go through a security gate?

0:29:54.360 --> 0:29:55.880
<v Speaker 1>We just go through some kind of a gate where

0:29:55.960 --> 0:29:58.680
<v Speaker 1>you have a gate. I will show you how easy

0:29:58.680 --> 0:30:05.080
<v Speaker 1>it is to to get into the yard. We set

0:30:05.160 --> 0:30:08.360
<v Speaker 1>off in Jonathan's SUV out of the subdivision where he

0:30:08.400 --> 0:30:12.440
<v Speaker 1>and Amy lived and down a big country road. We

0:30:12.600 --> 0:30:15.160
<v Speaker 1>driven half an hour when Jonathan pulled into what appeared

0:30:15.160 --> 0:30:18.080
<v Speaker 1>to be just another vacant lot. No signs announcing an

0:30:18.160 --> 0:30:22.760
<v Speaker 1>entrance are warnings to stay away from railroad property. But

0:30:22.840 --> 0:30:26.280
<v Speaker 1>all of a sudden we were inside the yard. Oh wow,

0:30:26.560 --> 0:30:32.680
<v Speaker 1>here we are Pacific Railroad rose Ville Yard. Part of

0:30:32.760 --> 0:30:40.520
<v Speaker 1>Jonathan's plan included bringing his railroad radio. He was talking

0:30:40.560 --> 0:30:42.400
<v Speaker 1>to me, but he had one ear open to hear

0:30:42.440 --> 0:30:48.560
<v Speaker 1>if the railroad was on to us. Actual. As he

0:30:48.640 --> 0:30:51.440
<v Speaker 1>drove along, Jonathan pointed out the tracks that extend from

0:30:51.440 --> 0:30:54.520
<v Speaker 1>the hump, each name for its destination. This is the

0:30:54.560 --> 0:30:58.480
<v Speaker 1>east end of the yard. Up that way is too

0:30:59.720 --> 0:31:04.840
<v Speaker 1>uh cake Falls, Dunsmere. Going that way is Sparks, and

0:31:05.080 --> 0:31:08.560
<v Speaker 1>the east. The east means the Sierra Nevada Mountain Range.

0:31:09.280 --> 0:31:12.560
<v Speaker 1>These trains claim up through remote wilderness, their own private

0:31:12.560 --> 0:31:15.920
<v Speaker 1>slices of America. It's a view almost no one in

0:31:15.960 --> 0:31:19.520
<v Speaker 1>America gets. But it comes with a cost. From what

0:31:19.640 --> 0:31:23.200
<v Speaker 1>Jonathan described, it's far from idyllic. I'm sure he's going

0:31:23.240 --> 0:31:24.520
<v Speaker 1>to be upset with me when I say that. You

0:31:24.520 --> 0:31:29.760
<v Speaker 1>don't stop now on the mountain deer everywhere here, everywhere.

0:31:31.480 --> 0:31:32.840
<v Speaker 1>You just turn the lights out and you ring the

0:31:32.840 --> 0:31:34.440
<v Speaker 1>bell and hopefully they get off the track. And nine

0:31:34.440 --> 0:31:38.000
<v Speaker 1>times out of tend they get off the track. Jonathan

0:31:38.080 --> 0:31:40.160
<v Speaker 1>had a passenger seat in the rail cab to all

0:31:40.200 --> 0:31:43.120
<v Speaker 1>the destruction created by the train, the way the train

0:31:43.200 --> 0:31:45.400
<v Speaker 1>plows through the world, and no one better get in

0:31:45.440 --> 0:31:48.480
<v Speaker 1>his way. He hasn't become hardened to that, even after

0:31:48.560 --> 0:31:56.200
<v Speaker 1>a decade in this job. I feel sorry for Awesome.

0:31:56.600 --> 0:32:01.520
<v Speaker 1>They literally follow the rail and you basically end up

0:32:01.560 --> 0:32:03.680
<v Speaker 1>chasing them down. You're like, come on, man, just just

0:32:03.720 --> 0:32:07.960
<v Speaker 1>get off, get off. But there you've got to stay

0:32:07.960 --> 0:32:18.000
<v Speaker 1>in the rail there half the sense of death is

0:32:18.040 --> 0:32:20.360
<v Speaker 1>so present that it's on the mind of everyone who

0:32:20.360 --> 0:32:24.200
<v Speaker 1>comes close to the trains. Jonathan even brought up suicide

0:32:24.560 --> 0:32:29.400
<v Speaker 1>on topic. I wasn't going to mention. So when you

0:32:29.440 --> 0:32:32.600
<v Speaker 1>talk about someone who wants to commit suicide, they just

0:32:32.600 --> 0:32:35.160
<v Speaker 1>stand there and they're looking at you, and you can

0:32:35.160 --> 0:32:38.400
<v Speaker 1>tell they're trying to time it to jump in front

0:32:38.440 --> 0:32:45.280
<v Speaker 1>of you, and most often they are successful. A few

0:32:45.320 --> 0:32:49.800
<v Speaker 1>times they're not successful. The hobos and the railroad workers

0:32:49.800 --> 0:32:52.920
<v Speaker 1>had something in common. They were outsiders who chose to

0:32:52.960 --> 0:32:55.880
<v Speaker 1>live in a world defined by these behemos, these huge

0:32:55.960 --> 0:32:59.040
<v Speaker 1>beasts that shaped our country, and up against that power

0:32:59.080 --> 0:33:03.440
<v Speaker 1>every day, death was always close at hand. If the

0:33:03.480 --> 0:33:07.160
<v Speaker 1>train is going less than ten, I'm gonna hit you

0:33:07.200 --> 0:33:11.040
<v Speaker 1>and I'm gonna drag you underneath all those locomotives and

0:33:11.120 --> 0:33:13.080
<v Speaker 1>you will You will probably die, but you are going

0:33:13.120 --> 0:33:17.160
<v Speaker 1>to feel most of it. So I mean suicide. I

0:33:17.240 --> 0:33:20.120
<v Speaker 1>attempted it, not in front of a train, a long

0:33:20.200 --> 0:33:25.040
<v Speaker 1>long time ago, over a stupid thing, and I'm glad

0:33:25.040 --> 0:33:28.280
<v Speaker 1>it didn't happen. I do understand that part. You get

0:33:28.280 --> 0:33:30.120
<v Speaker 1>to that point where you're like, there's nothing left for

0:33:30.160 --> 0:33:36.120
<v Speaker 1>me to do. But if they don't understand when they

0:33:36.160 --> 0:33:39.760
<v Speaker 1>throw themselves in front of a train, is that crew

0:33:39.840 --> 0:33:41.960
<v Speaker 1>has to see that they're going to You're gonna feel it,

0:33:42.680 --> 0:33:59.480
<v Speaker 1>you feel it. I was thinking about the possums and

0:33:59.600 --> 0:34:03.000
<v Speaker 1>I was about Ruby when I realized I knew where

0:34:03.040 --> 0:34:06.480
<v Speaker 1>we were. We were near the railroad offices where Robert

0:34:06.520 --> 0:34:09.400
<v Speaker 1>Hudson and I stood overlooking the thickest part of the yard.

0:34:10.239 --> 0:34:12.640
<v Speaker 1>Jonathan took us past a little park near the tracks

0:34:12.640 --> 0:34:14.799
<v Speaker 1>where he knew hoboes hit out waiting to hop a

0:34:14.840 --> 0:34:24.239
<v Speaker 1>train the creek. This is a place where they like

0:34:24.320 --> 0:34:26.879
<v Speaker 1>to stay. You know, cameras aren't going to see interne here,

0:34:27.080 --> 0:34:28.799
<v Speaker 1>drones aren't going to see interneth here, and you can

0:34:28.880 --> 0:34:32.759
<v Speaker 1>quickly jump onto a train. That's the party. The park

0:34:32.840 --> 0:34:35.600
<v Speaker 1>had a few trees, an old tanker car covered with graffiti,

0:34:35.680 --> 0:34:38.160
<v Speaker 1>and some drainage ditches where it would be easy to hide.

0:34:39.120 --> 0:34:41.239
<v Speaker 1>So Ruby would have launched from a place like this.

0:34:41.640 --> 0:34:43.799
<v Speaker 1>I didn't see a hole in the fence. Maybe there

0:34:43.840 --> 0:34:46.560
<v Speaker 1>was a tunnel from there to the trains. What was it?

0:34:46.800 --> 0:34:49.160
<v Speaker 1>A hunter feet It was hard for me to gauge

0:34:49.200 --> 0:34:51.600
<v Speaker 1>the distance, but whatever it was, it was too far.

0:34:52.760 --> 0:34:55.279
<v Speaker 1>There were trains moving constantly on the tracks, and at

0:34:55.400 --> 0:35:01.120
<v Speaker 1>night the yard is dark. That's at nighttime him. There's

0:35:01.120 --> 0:35:03.879
<v Speaker 1>no lights in the receding yard, and there's no big

0:35:03.960 --> 0:35:05.960
<v Speaker 1>right light on the back end. It's me with a lanner.

0:35:07.360 --> 0:35:09.600
<v Speaker 1>Jonathan told me that when the engineer is shoving his

0:35:09.640 --> 0:35:12.080
<v Speaker 1>train through the yard going backwards to the hump, he

0:35:12.120 --> 0:35:14.520
<v Speaker 1>doesn't have time to look for trespassers like that. I'm

0:35:14.520 --> 0:35:18.120
<v Speaker 1>not looking for a for a trespasser because my focus

0:35:18.200 --> 0:35:22.080
<v Speaker 1>is on the rail in front of me. Person tries

0:35:22.120 --> 0:35:24.800
<v Speaker 1>to crawl through in the twentie car of the train,

0:35:25.480 --> 0:35:27.440
<v Speaker 1>I'm not going to see that. The engineer is not

0:35:27.480 --> 0:35:31.399
<v Speaker 1>going to see it. And now this person is crossing through,

0:35:31.480 --> 0:35:37.320
<v Speaker 1>and who knows what might happen. It's pitch black, and

0:35:37.400 --> 0:35:40.440
<v Speaker 1>Jonathan is focused on his job. He's not paying attention

0:35:40.480 --> 0:35:43.880
<v Speaker 1>to anyone trying to cross the tracks. Chances are they

0:35:43.880 --> 0:35:46.680
<v Speaker 1>wouldn't see the train either until it was too late.

0:35:50.960 --> 0:35:53.359
<v Speaker 1>And while Jonathan understood getting to the point where there

0:35:53.400 --> 0:35:55.560
<v Speaker 1>is nothing left to do, he didn't want to help

0:35:55.600 --> 0:35:58.640
<v Speaker 1>anyone in their lives that way. But they might force

0:35:58.760 --> 0:36:01.319
<v Speaker 1>him to. And that's why Jonathan told me he didn't

0:36:01.400 --> 0:36:06.520
<v Speaker 1>like hobos. They don't care about us. What I mean

0:36:06.560 --> 0:36:08.800
<v Speaker 1>by us is they'll walk in front of our trains

0:36:09.000 --> 0:36:12.400
<v Speaker 1>and not think anything of it, and they'll blindly climb

0:36:12.480 --> 0:36:16.279
<v Speaker 1>through our train and the next thing you know, they're

0:36:16.320 --> 0:36:19.960
<v Speaker 1>hit by somebody. Despite what he says, when he's in

0:36:19.960 --> 0:36:23.279
<v Speaker 1>a position to help out travelers, he does. A yard

0:36:23.320 --> 0:36:25.600
<v Speaker 1>worker warned Jonathan that there were a bunch of hoboes

0:36:25.640 --> 0:36:27.799
<v Speaker 1>on his train, so he went to take a look

0:36:28.120 --> 0:36:30.560
<v Speaker 1>and brought them a case of water. I said, look,

0:36:30.600 --> 0:36:31.920
<v Speaker 1>I'm not going to get you in trouble. You just

0:36:31.920 --> 0:36:34.399
<v Speaker 1>need to be quiet, keep your head down. We're going

0:36:34.440 --> 0:36:37.120
<v Speaker 1>to Roseville. I will let you off outside of it.

0:36:37.120 --> 0:36:38.480
<v Speaker 1>I'm not gonna let you off in the yard. I

0:36:38.520 --> 0:36:40.680
<v Speaker 1>will stop short of the yard at such as heights,

0:36:40.760 --> 0:36:45.680
<v Speaker 1>and I will let you off there. I was surprised

0:36:45.680 --> 0:36:47.960
<v Speaker 1>at how moved I was by my time with Jonathan,

0:36:48.640 --> 0:36:51.200
<v Speaker 1>not just being close up with the train getting the

0:36:51.200 --> 0:36:55.000
<v Speaker 1>feel of the yard, but his emotions and his integrity.

0:36:56.360 --> 0:36:58.880
<v Speaker 1>Jonathan had seen the determination of the people in the

0:36:58.960 --> 0:37:01.360
<v Speaker 1>yard who wanted to end it all, and most of

0:37:01.400 --> 0:37:03.640
<v Speaker 1>the time, if you died there, no one would know

0:37:03.680 --> 0:37:05.960
<v Speaker 1>if you'd decided to kill yourself or if you'd just

0:37:06.080 --> 0:37:10.000
<v Speaker 1>left it all up to fate. The Ruby Ditch says

0:37:10.080 --> 0:37:13.600
<v Speaker 1>a graduation. She wanted to live. She wanted a life

0:37:13.600 --> 0:37:15.880
<v Speaker 1>that was fully under her control, where she didn't have

0:37:15.920 --> 0:37:18.640
<v Speaker 1>to answer to me or to anyone. But there's a

0:37:18.640 --> 0:37:22.040
<v Speaker 1>difference between a rebellious act and a reckless one. After

0:37:22.080 --> 0:37:24.319
<v Speaker 1>my trip to Roosevelt, I wondered where Ruby was on

0:37:24.400 --> 0:37:28.320
<v Speaker 1>that spectrum. I didn't know. I didn't know anything about

0:37:28.320 --> 0:37:34.640
<v Speaker 1>her anymore, including where she was. I was in the kitchen,

0:37:34.719 --> 0:37:37.320
<v Speaker 1>staring a big pot of soup and not yet adjusted

0:37:37.320 --> 0:37:41.560
<v Speaker 1>to cooking for one when the phone rang. When I

0:37:41.600 --> 0:37:44.040
<v Speaker 1>heard Ruby's voice, I went straight to the Ruby reporting

0:37:44.080 --> 0:37:47.480
<v Speaker 1>station I had made at my desk. She was in

0:37:47.520 --> 0:37:49.960
<v Speaker 1>a van with a bunch of musicians, traveling over the

0:37:49.960 --> 0:37:53.200
<v Speaker 1>border from California to Oregon. One of her companions in

0:37:53.239 --> 0:37:55.120
<v Speaker 1>the van knew of a place they could crash in

0:37:55.160 --> 0:37:57.880
<v Speaker 1>the San Juan Islands, and that's where they were headed

0:37:58.320 --> 0:38:00.400
<v Speaker 1>to spend a week or more writing songs. On the

0:38:00.400 --> 0:38:04.040
<v Speaker 1>porch of this old house overlooking the water, I was

0:38:04.040 --> 0:38:06.840
<v Speaker 1>shutting down notes frantically, trying to get as much information

0:38:06.880 --> 0:38:08.839
<v Speaker 1>as I could about where she was and who she

0:38:08.960 --> 0:38:11.600
<v Speaker 1>was with. I was so busy listening for clues, I

0:38:11.640 --> 0:38:13.680
<v Speaker 1>didn't think to ask her why she'd left or what

0:38:13.760 --> 0:38:17.399
<v Speaker 1>she'd been thinking. She said she was happy, happier than

0:38:17.440 --> 0:38:19.920
<v Speaker 1>she'd ever been, and she had no plans to come back.

0:38:20.480 --> 0:38:23.799
<v Speaker 1>I shouldn't worry. She was with awesome people and they

0:38:23.800 --> 0:38:26.120
<v Speaker 1>were taking good care of each other. She had to

0:38:26.120 --> 0:38:28.680
<v Speaker 1>get off the phone, though. I guess she'd said all

0:38:28.719 --> 0:38:31.000
<v Speaker 1>she wanted to say, and she was in charge of

0:38:31.000 --> 0:38:35.239
<v Speaker 1>our interactions now. But who was she with and how

0:38:35.239 --> 0:38:37.719
<v Speaker 1>could they take care of her and each other? Did

0:38:37.800 --> 0:38:41.520
<v Speaker 1>any of them have money? Could these new friends keep

0:38:41.520 --> 0:38:44.759
<v Speaker 1>her safe? Could they make her life worth living? And

0:38:44.800 --> 0:38:49.479
<v Speaker 1>what was that life like, especially for a young woman? Next,

0:38:49.520 --> 0:38:51.560
<v Speaker 1>I find people who tell me how to live life

0:38:51.560 --> 0:38:53.719
<v Speaker 1>on the rails. I wanted to come out there and

0:38:53.760 --> 0:38:55.680
<v Speaker 1>see you face to faces. I always think it's better

0:38:55.719 --> 0:38:58.640
<v Speaker 1>when you see people face to face. Oh you're gonna

0:38:58.680 --> 0:39:01.759
<v Speaker 1>see and oh, Bette, you rode freight drain. I've seen

0:39:01.800 --> 0:39:03.960
<v Speaker 1>a lot of old bats, but not too many women.

0:39:04.520 --> 0:39:07.360
<v Speaker 1>Next episode, I mean train writing legend CC Rider, a

0:39:07.440 --> 0:39:10.440
<v Speaker 1>woman who survived decades on the rails, and I tracked

0:39:10.480 --> 0:39:12.720
<v Speaker 1>down present day writers who can show me their world

0:39:13.280 --> 0:39:18.320
<v Speaker 1>there's places on train tracks that you can't go on

0:39:18.520 --> 0:39:21.719
<v Speaker 1>a regular road. You know. I think back, and I'm like,

0:39:21.920 --> 0:39:23.960
<v Speaker 1>you can't. I'll never be able to see this again.

0:39:25.000 --> 0:39:29.600
<v Speaker 1>High adventure all the time, the grittiness and just living

0:39:30.320 --> 0:39:32.839
<v Speaker 1>in the crack. She opened her mouths and I put

0:39:33.000 --> 0:39:36.839
<v Speaker 1>my fist dimmer throat, And when I was done with her,

0:39:37.480 --> 0:39:39.800
<v Speaker 1>I told her the only reason I whooped your asses

0:39:39.920 --> 0:39:42.080
<v Speaker 1>to save your life because you would not shut the

0:39:42.160 --> 0:39:47.040
<v Speaker 1>fund up. That's next week and coming up this season

0:39:47.080 --> 0:39:49.440
<v Speaker 1>on City of the Rails. And he pulls the trigger

0:39:49.520 --> 0:39:51.880
<v Speaker 1>and it just goes click click, and then he cocks

0:39:51.960 --> 0:39:54.440
<v Speaker 1>it or gets it right or whatever. And then it

0:39:54.520 --> 0:39:57.440
<v Speaker 1>turned to blah blah blah in the crew change, if

0:39:57.520 --> 0:39:59.440
<v Speaker 1>you read where you get off in the spot it

0:39:59.560 --> 0:40:04.920
<v Speaker 1>talks about. And that's was this little magical thing. New

0:40:05.040 --> 0:40:08.880
<v Speaker 1>Orleans in the wintertime is the festival of dirty kids,

0:40:09.000 --> 0:40:12.399
<v Speaker 1>the festival of traveler kids. Your daughter probably went back

0:40:12.440 --> 0:40:14.920
<v Speaker 1>and forth on this bridge, and I know she didn't

0:40:14.920 --> 0:40:18.560
<v Speaker 1>know about all this. There's no way other places that

0:40:18.760 --> 0:40:22.160
<v Speaker 1>you come from, so diversion of of what you considered

0:40:22.160 --> 0:40:27.759
<v Speaker 1>to be utopian life that you would rather exists of

0:40:27.800 --> 0:40:30.759
<v Speaker 1>friends of society, squad. I'm doing stuff like this. It's

0:40:30.840 --> 0:40:35.239
<v Speaker 1>kind of like walking into another dimension, another world. Every

0:40:35.360 --> 0:40:38.600
<v Speaker 1>day was different and never knowing what that day was

0:40:38.640 --> 0:41:04.239
<v Speaker 1>going to bring that taste, that feelings as well to

0:41:04.360 --> 0:41:12.240
<v Speaker 1>drinking Castle Mal sit on the beach and just turning

0:41:12.320 --> 0:41:17.520
<v Speaker 1>the blue came out with the brand new drug and

0:41:17.640 --> 0:41:24.400
<v Speaker 1>that sadded to pull up plug, look what You're done.

0:41:28.880 --> 0:41:31.480
<v Speaker 1>City of the Rails is hosted by Medal Morton and

0:41:31.600 --> 0:41:35.400
<v Speaker 1>developed in partnership between Flip Turn Studios and I Heart Podcasts.

0:41:35.880 --> 0:41:38.680
<v Speaker 1>At I Heart, our team is executive producer and showrunner

0:41:38.760 --> 0:41:43.320
<v Speaker 1>Julian Weller, senior producer abu Za far and producers Emily Maronoff,

0:41:43.400 --> 0:41:47.200
<v Speaker 1>Shina Ozaki, and Zoey Denkla, with production support from Marci

0:41:47.320 --> 0:41:51.959
<v Speaker 1>to Pina. Original music every episode by Aaron Kaufman. Thanks

0:41:51.960 --> 0:41:54.839
<v Speaker 1>to Scott Mishod at Flail Records for our theme music,

0:41:54.920 --> 0:41:58.680
<v Speaker 1>Wayfaring Stranger performed by his old hobo band Profane Sass,

0:41:59.440 --> 0:42:01.600
<v Speaker 1>and thanks JP Right for the use of his song

0:42:01.760 --> 0:42:05.080
<v Speaker 1>Hobo Life. Our executive producer at Flip Turn is Mark

0:42:05.160 --> 0:42:07.920
<v Speaker 1>Healey and I Heart thanks to Nikki e Tor and

0:42:08.040 --> 0:42:13.480
<v Speaker 1>Bethan Machalooso. We'll be back next week with lots of hoboes,

0:42:13.560 --> 0:42:18.080
<v Speaker 1>young and legendary on City of the Rails because and

0:42:18.440 --> 0:42:19.840
<v Speaker 1>made a lo