More Haikus on You-Know-What

two things we can do
blow stuff up; buy people off
neither is birthpang


make more enemies
than we kill; kill far more than
just our enemies

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The Network that Used to Show Music Videos Meets the Family that Used to be Righteous

It’s been almost a week since I was fired off this show. Now I think I can begin to talk about it.
It’s a pilot reality show called “Bustin’ a Move.” It is about teenage sex and these teenagers’ families. The show is not really called that, but we’ll call it that to protect the guilty. All proper names have been changed, and certainly not all are guilty.

So local sound guy “David” refers me to them. He’ll be on it, and they need more ENG (Electronic News Gathering) sound people, meaning sound people that go all over town with a camera person shooting verite style. David tells me we’ll get X amount of money for a 10 hour day, which sounds like a pretty good day rate.

The production coordinator with “Bustin,’” “Melanie” tells me on the phone, the next day, that all the local crew, including David, have agreed to work for X for a 12 hour day. I think about that and say I want to talk to David. I call him and leave a message. I’m on a different job that day working on a audio for a focus group consisting of middle school teachers. I’m kind of busy, and I want to get the matter of “Bustin’” settled. I don’t hear from David before Melanie calls me back. She says I could have a higher rate if I want it, but that if I do, I’ll have to keep it confidential because everyone else has agreed to work for X for 12 hours instead of 10.

So I think about this while I’m on the phone and working on another job, and I say “Okay, I’ll do it.” Because X is still kind of decent for 12 hours, though it is less than X for 10 hours plus two-hours overtime. But I’ve done it before. Others have to. So I agree to that.

That night, David leaves me a message. “I don’t know,” he says, “X for 12 sounds low. I’d negotiate that. Just tell them what your 10-hour rate would be plus overtime for 2 more hours.”

The next day I can’t get David or Melanie on the phone, and then the day after that is the day I start work.

I get on set and there’s “Nate,” another sound guy. So it’s myself, David, and Nate doing sound. Nate is a tall, large, overbearing guy from New York who was glad when his wife got a high paying job down here because the city will, in his words, “knock the snot out of you.” I had worked with him only one other day, nearly two years ago. That day had been doing a reality show for the same network at a local computer game company that makes this game. Nate had his own fairly good equipment while I was using gear from the company in Raleigh that had hired both of us. The gear I had was kind of lame gear. So Nate said that, if I didn’t mind, he would take the lead as #1 sound guy, and I would be #2. “Not that big a deal to me,” he said. “I don’t play politics. It’s just, get the audio and go home, you know?” I agreed to that because the pay was the same, and I did indeed have second class audio gear. So Nate connected to the cameraman they had brought from LA, and I connected to the local cameraman. Then we went out for shooting in the corridors and conference rooms of the company.

We soon discovered that the LA cameraman was actually pretty green and had been brought as #2 camera, while our local guy was #1 camera. Since I was connected to the local guy I ended up being #1 sound guy that day anyway. This meant Nate had a lot of time in the holding room where the producer was always on the phone producing. The times I was in there, the producer asked us other crewmembers to be quiet. Well, apparently, during a time when I was out shooting and Nate was in there, Nate started talking on his cell phone to arrange his daughter’s 4th birthday party. He was talking loudly next to the producer. The producer did not say anything to him, but he asked the local company that had hired us not to send Nate back on any more days. So that was the last I saw of him. Nate never knew why he got no more days on that show.

So when I see Nate on “Bustin,’” we talk about that job we had done together. “Did you get any more days out of that?” Nate said. I said I got a few. Nate said. “Must have been because of my gear. They didn’t want to pay for my gear. That’s why they didn’t hire me back.” I shrugged and said I guessed so.

Then I said, “Let me ask you a personal question. Did you agree to work 12 hours for a 10 hour rate?”

Nate leaned down close to me. “You’ve worked with me before. What do you think?”

So I go to Melanie who is hanging around near the entrance to the sound stage where they will do some of the shooting. I say to her in a low voice, “You said all the local crew agreed to work a 12 hour day for a 10 hour rate, but apparently that’s not the case.”

She said, “Huh?”

I repeat. She gets flustered. “Can we talk about this later?” Suddenly she’s busy and has to go away.

We three audio guys coordinate the frequencies of the 8 wireless systems we will be using. Nate and I will be working in the same locations. We will be micing up to 4 people, and he and I each will be receiving the same four frequencies. We will each be sending two tracks, via two more wireless systems apeice, to our respective cameras. Cameramen will have to be listening to make sure audio was coming to them properly.

The wireless receivers can scan frequencies in their ranges, and we find several big blocks of occupied bands. These look like television stations. It is hard to work around them, but we manage to do this.

We have a large production meeting with everyone present. They say we’ll be going to a family’s house and we will have to be very careful. “We’ll be shuttling people to the bathroom at McDonald’s” they say. Now do you, reader, think that, if you need to go to the bathroom in a situation like this, that there will be someone waiting to take you to McDonald’s and bring you back in time to get your work done? Yeah. Like everyone agreed to work a 12 hour day for a 10 hour rate.

In that meeting, one of the big-shot producers asks us audio guys to hide the microphones. Don’t leave them exposed at the top of shirts. Okay. Will do.

We crowd into a van and go to an ice cream shop to shoot the first scene. In the first scene there are just two “talent” members, a 15-year-old boy and girl who are having sex with each other. As soon as our van arrives the crew is pulling cameras off the back, getting ready to shoot. Nate suggests I wire the talent and he will pass out the Comtek wireless headsets which will enable the producers to hear the audio. The director, “Peyton,” tells me to follow him and he will take me to the talent to wire them.

The boy, “Jack,” is wearing a long T-shirt untucked. This is an easy mic hiding job. Now for the girl, “Jill.” She is wearing a halter top, very low-cut and also high-cut to show bare midriff. This is a hard micing job. But they’ve told us to hide the mics and I know they want me to move fast, so I start my little routine. I explain to Jill that I’ll need to put a mic right behind the center of her top. I don’t say that this is between her boobs, but this is what I mean. That is a good space to hid a mic. It sounds pretty decent, and it is not sandwiched between layers of clothes that rub together noisily.

She says that’s okay. I ask her to help pull the connector end of the mic wire down into her shirt. I tape the microphone inside the halter top and am glad to see that the top has two layers of thin material so that little bumps from the mic and tape, affixed to the inner layer, do not show on the outer layer. I ask her to now run the mic wire just inside the bottom of her bra. Then I say I’m going to clip the transmitter pack to the back of her bra.

While I’m doing this, several male and female producers are sitting around. This is all happening inside the ice cream shop, near the front window to the sidewalk. One female producer speaks up, “Maybe Jack can help with that,” referring to the transmitter pack clipping task.

So I tell Jack what to do. This takes extra time. He’s cool with it so he clips it there, but it sticks above the back of her top. Okay, now to plan B. I take an ace bandage and safety pins from my waist pouch. I ask Jill to hold her top up a little while I run the bandage around the narrowest part of her waist, and pull it pretty tight. She asks if it will make her look fat, and someone tells her it will be hidden fine behind her top.

Nate comes in as I’m leaning over behind Jill trying to safety pin the bandage. He says, “They sent me in to make sure everything’s okay.” I say, “I guess it’s okay, I’m just doing this here.” He holds the bandage in place while I pin it.

“You cool?” he says. I say I am. “I’m walking away,” he says.

Then I’m done and I walk away and on my way out, Peyton holds out his fist offering the “Wonder Twin Powers” shake. I fist-bump his.

We do the scene and everything goes fine. Mics sound good and stay hidden. No transmitter pack comes falling out of anyone’s clothes. The teenagers have a frank discussion about the sex they are having together. They are definitely getting it on big time.

When it’s over, Nate says to me, “They [the producers] were really worried about you micing her. I think it’s because you were doing it near the window.”

I had not thought of that. But I am always having to mic people in the worst places -- on sidewalks, in hotel lobbies, anywhere. Nobody ever thinks about it in advance. Nobody ever tells the “talent” to wear clothing that is easy to hide a mic in, or that doesn’t make much noise on body mics. Nobody ever makes provision for a “safe place” to mic someone. I tell Nate, “They took me to talent to wire them, and that’s where they were.”

“I know,” he said. “These guys are really edgy. I told them that that was the only way to mic someone like that. I wouldn’t roll over on you. I’m too old school for that.”

We go to the next location, the house where Jack’s family lives. We will be shooting their family dinner. Jack, Mom, Dad, and little brother “John” will need to be miced. Jack still his his mic on from the ice cream shop scene.

Lighting the inside of the house takes some time, so I stand around in the cul-de-sac in front of the house, awaiting instructions, afraid at this point to do anything I was not told to do.

They send John out to me to be miced. I mic him there in the cul-de-sac. Then they send Dad out. I get as far as having him untuck his shirt, and then I realize that here I am doing it again, putting a mic on someone in plain view of the world. Just then Nate walks by and says, “Take that somewhere else, you don’t want that happening again.”

So I suggest to Dad that we go someplace more secluded. He says it doesn’t matter -- one of his neighbors is a doctor. Then he says, “My gay neighbor may want to watch.” But I insist so we go down to a walkway beside his house among some bushes, and I finish micing him there. Now, only Mom remains, and I hear that she’s taking a nap and that when she wakes up, “she’ll be in a better mood,” whatever that means.

I go back to hanging around in the cul-de-sac. Nate comes out and tells me, “Don’t worry about this now, but they told me that I should always be the one to put mics on people from now on. Don’t worry about it. Right now, they need you to run an interview inside.”

I go in and use Nate’s audio equipment where he’s already set it up. We are interviewing John in his room, and there is not room behind the drum set for Nate, which is why they’ve brought me in to do this.

We do that interview. I leave the room carrying Nate’s audio gear out to the living room where it seems it will be safe. On the way I see Nate wiring Mom in the kitchen. I almost go in and see if he needs anything, and then figure I should not do that.

With the family all miced now, Peyton sets camera positions and tells me to go partway up the stairs where I’ll be out of sight. Nate is somewhere else, but as the dinner is getting underway, they send him up to sit below me on the stairs. So now the family is in the dining room, cameras are on them, and Nate and I are sitting on the darkened stairs unable to see a thing, just listening and hoping our audio is getting out to the cameras okay.

Without being able to see what’s going on, we can’t tell if someone gets up to leave the table. So if someone goes into the kitchen to start rattling tin foil, we don’t know to turn their mic down until all that noise has already gotten mixed on top of the other voices; then we don’t know when to turn the mic back up again when they reenter the dining room. So Nate and I leave all the mics up all the time and keep rolling our eyes at each other.

The family passed food around. Mom says, “Hey, I made this chicken, can’t I have a piece?”

They talk about what they did all day. Jack’s teacher lost an essay he had written so he had to re-write it in half an hour. Dad is worried that the essay is no good, having been written in that short a time. Jack assures him it was okay. Dad talks about the Arizona trip coming up, and the whole family is excited about that. Mom says, “Does anyone want to know what I did today?”

She tells about how they had a talk, at school, about what is appropriate clothing to wear, about not wearing low cut tops, bare midriffs. “We talked about temptation,” she says. “And we had a little fashion show illustrating what not to wear.”

I had heard somewhere that she teaches at a Christian school.

So here we are on this job about teenage sex. We have just shot a scene with Jill wearing a low-cut top with bare midriff that the mother had just taught her own students not to wear. Someone, somewhere, is upset about the way I hid a mic on Jill, but they had no problem putting her on camera dressed like that. And, this teenage sex, the teenagers doing it, and Jack’s family are being exploited for the world to see on this popular TV network.

Sitting in the dark with all our mics turned up, Nate and I have little to do. Nate gets out his iPhone, and I have a flashback to the show two years ago when Nate was not hired again because he was talking on his cell phone.

He starts typing on his iPhone.

I think that something is wrong about this family mealtime, and it’s not just the cameras and microphones. It’s that the classic family roles have been turned upside down.

I mean, in the normal classic view of family, it’s the parents who are permitted to have sex, not the kids. The parents raise the kids, the kids look up to them, and when the time is right, the kids go out and get married and then have their own sex.

Here’s Mom trying to uphold her moral stance criticizing low-cut tops. But we all know who’s getting his hands into those tops.

Here’s Dad, mellow, self-assured. Dad and Mom don’t seem the type to be having much sex any more, but I could be wrong about this. They are harried by the demands of raising a family, being responsible. They are overweight. It is probably safe to say that Dad, like men men, could fantasize about having some hot young thing to get busy with. But we all know who does have it going on with a hot young thing.

It’s like Mom and Dad are wasting their breath. They can try to have traditional family dinner all they want to. But dessert has already been eaten, and that dessert, my friends, is pie.

Nate holds his iPhone up to me. He has written a long message to me on it. It says, “Mom’s mic is not hidden well. They told me to hurry and she said I could not touch her skin. This show is getting really weird early.”

We finish at the house. Nate will stay with one cameraman to do more interviews with the family. I will go with another to shoot Jack having coffee with three teenage girls, none of them Jill.

I see, when Jack gets with those girls, how easy he is to talk to. He listens well. He’s confident. He’s the kind of guy any parent would be proud to raise, and I’m sure he’s very satisfying and emotionally attuned to his partner.

The girls dig him. One asks, “Was there anyone between your first and Jill?” He says, “Let’s just say, I had a busy summer.”

I’m not too worried about Jack. He needs to stay careful, and I think he will. He’s a likeable, natural-acting person. And the girls are likeable too. None of them are virgins either. One talks about how her Dad accused her of having sex one time because he had found tissues next to the bed. No, that was because she had a cold. But her mom was correct when she suspected her of having sex because of stains on the sheets.

Another said that she was looking for something in her house recently. “You can’t be looking for your virginity,” her mom said to her. “You already lost that.”

We finish there, and the crew sits around eating some wraps that had been purchased at the restaurant next door. I wonder if I’ll be on the job any more. I am supposed to have the next day, Saturday, off and then work Sunday and Monday.

I get released at 11pm. It has only been an eleven hour day. I call Svetx and tell her about it and say I should not be surprised if I get a call the next day releasing me from the show. It kind of feels like that is unlikely though.

The next morning, the phone rings. I let it take a message. Then I check it. They are letting me go. It’s Melanie leaving the message. “Something happened with the family. I don’t know exactly what, but the producers thought it would be best, given the sensitive situation here, if you don’t come back and work for us. In any other situation, we’d be happy to hire you back . . .”

The thing about that is, I was wiring Jill when they complained. She is not in the family.

I talk to Nate on the phone. I say I guess I’ll be careful to wire people outside of public view next time. The thing is, there never is a safe place for that. Nate says, “No no, dude, you’re overthinking it. Just let it go. Move on.” I talk to David, and he says it has not put him in any difficult situation, which is good.

Now it’s been a week. They’re gone. I’ll never know exactly what the problem was.

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An Overview of the Future

Texas. "Big deal," you say.


Land of oil and tycoons thereof. A Gulf Coast of refineries. These images are stolen from Google Maps, but since this blog is hosted on Google anyway, is it not infringement to post them here?


I learned about this from a press release here. I've been following this company's progress on this matter for a year now, but I have not known how they would do it. Turns out, in this case at least, they are using regular saltwater ponds instead of the fancy, and not necessarily expensive from what I can see, vertical plastic containers that I admire so much in this posting about a different company's efforts.


Lots of folks are understandably doubtful about the economic feasibility of this. Some look skeptically on companies that repeatedly put out press releases and don't have anything really going on. Well now, at least we can say, this company that has been repeatedly putting out press releases does have something going on. And I didn't even know about this farm until today. I had known about their experimental facility in Opelika, Alabama, and the large commercial facility to be built in Coolidge, Arizona. And I am somewhat disturbed to see that this farm uses the open pond process that was rejected as unfeasible by the U.S. Government's Aquatic Species Program (summary downloadable as a 3MB PDF).


Well, I guess we will find out within a year or two whether it is feasible, thanks in large part to this company's efforts. Maybe they'll show us it doesn't work. Or maybe they'll make mistakes that others can learn from. Or maybe it will work and we'll wish we'd bought the stock now.


Ah, can you smell it? On a hog farm video shoot where we were all overwhelmed by that telltale smell of hell on earth, a veterinarian there said "That's the smell of money." I hope the world comes to know a new smell of money. If growing algae one way or another does work, I think it will be the best form of alternative energy. The general line on algae farming is that you can grow 20 thousand gallons of vegetable oil from it per acre per year, making it far better than palm trees which grow maybe 700 gallons per acre per year, or land crops which grow maybe 30 gallons per acre per year. Growing our own oil for transportation use would be carbon neutral and would relieve us from converting all our vehicles to electric power. It is said that even hydrogen fuel cells are a less efficient way to carry around energy than petroleum.

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Iraq War Haiku on "Progress"

Buy off enemies
We "couldn't coddle" after
Invasion made them

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Our First Sighting of an Algae Farm

I’ve been waiting a long time for this. While I’ve been following the progress of a few companies exploring the process of algae farming to produce fuel oil, the apparent leader (not the company in the video) in getting into commercial algae oil production has, so far, not revealed how they will do it. Whatever method they are using, they have announced plans to build an algae farm in Coolidge, AZ which will produce 30 million gallons of algae oil per year. Maybe they will do something like what is shown in this video. I hope, whatever they do, that it is wise and sustainable. We need this algae oil, so we don’t have to devote crop land to growing fuel, don’t have to keep fighting wars in the Middle East, don’t have to build a whole bunch of nuclear power plants with no plans for the waste material.

Meanwhile, let’s keep a watch on the company in the video too. Really, it doesn’t matter who does it as long as somebody out there demonstrates that money can be made by growing algae crude oil.

Ironically, this war thatRupert Murdoch said would lower oil prices, that Alan Greenspan has said is largely about oil, has raised oil prices and spurred interest in alternative energy which could possibly spell the end of the domination of energy markets by the traditional oil companies. On the other hand, Shell and Chevron are starting experimental algae farms. Shell's open air pond experiment will take two years to show its results. I have a feeling they're behind already.

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An Open Letter to The Atlantic Paranormal Society (T.A.P.S.) aka Ghost Hunters

First of all, nobody includes “The” in their acronym. The Society for the Prevention of Cruelty to Animals is not T.S.P.C.A. The Future Farmers of America is not T.F.F.A. Do you expect libraries and video stores to keep your "The" in the proper place? Not a chance. They don't have a "The" section. They will be calling you Atlantic Paranormal Society comma The, and that's just lame. You don't want to your archived research to spend eternity with its heading all jacked around like that. I know you can't just take the "T" off, 'cause then you'd be A.P.S. I suggest going French: Société Paranormal Atlantique or S.P.A. Everyone likes a spa. People can relate to that.

Secondly, what is with you guys always shaking hands and doing the “Wonder Twin Powers” fist bump? No wonder you keep picking up electromagnetic signals on your tricorders or whatever. Any excuse you have -- meeting someone new, meeting someone you already know, reaching an agreement, starting something, wrapping things up -- one of you holds out a fist and waits for another to fist-bump it, or swings arm in a huge sweep like an airplane coming out of a holding pattern and lining up . . . Touchdown! You shake manly hands, the Earth is moved, and radiation is released for your equipment to pick up later.

And how un-scientific can you get? You hear something and the first thing you do is start yammering about what you heard, “I heard something . . . did you hear that? I distinctly heard two words, ‘Mommy mommy. . . ’”

Well, shut the fuck up and you might hear more. That’s the first rule in any audio work. Keep the crew quiet. Even if something goes wrong. Even if you’re just out to record tire skids, and the car careens out of control and smashes into a wall or falls off the dock, keep your trap shut and keep the microphones trained on it and keep recording. There’s plenty of time for EMT work later.

You need to bring more rigor to your work. What you should do is record everything on timecode devices. The infrared recorders, audio recorders, electromagnetic fluctuation (EMF) recorders should all be synchronized with timecode so that, for instance, if anything happens in the audio, you can check the electromagnetic recorders to see if there was a fluctuation there at the same time. And you need a lot more of those devices, too. You need several infrared and EMF recorders in every room so that if you see a signal on one, you might be able to corroborrate it with a signal on another device. In the case of infrared recorders, you would have multiple angles on the same “vision.”

And I don’t buy this hearing a noise in the kitchen, running in there, and looking at the ice maker and in cabinets frantically. Your running in there may have scared the spirit away. Just let all the devices record what they can, and check the cabinets and ice maker the next day.

If you do hear something with your naked ear, don’t start flapping your own jaw about it. Instead, have everyone outfitted with a device that displays the synchronized timecode, and a log sheet. If they hear or see something, have them write down what happened and the timecode at which it happened. Then you can talk about it later all you want, and compare your notes with readings on the devices.

I would say to just set up the equipment and leave the premises altogether and let the equipment handle everything. But friend Svetx has pointed out that this may not be a good idea. She says the presence of you hunters may be necessary to provoke, or inspire, the ghosts. They may be trying to communicate, and if you are not there, they may not have a reason to.

However, friend Svetx says, talking to the ghosts is like doing oral history. You don’t want your own voice to fill up the recording. You want to hear your subject. So, hush. Just say one thing to prod the ghost, to get him started. Then let him carry it as far as he can. This is another thing we do in video production. Don’t let your voice step on your subjects’. So, if you stage a seance or whatever, be sparing with your words. Say something, then wait for long periods. Leave the ghost plenty of time to speak uninterrupted.

Friend Svetx raised another issue about your questioning of spirits. During one question and answer session in the house suspected to be haunted by Sharon Tate and Jay Sebring, the spirit kept flashing the EMF device twice for "Yes" (once was for "No"). But all of your questions could have had "Yes" answers. After you asked the spirit if it was Jay Sebring, you should have asked if it were Ozzie Osbourne. That would let you know if the ghost was paying attention.

It is interesting to note that some things that were heard on your own ghost hunting microphones were not heard on the video production microphones. And once, there was a sound that was heard twice on your mics, but just once on the video production mics. Hmm.

I realized what may cause this. There are some mics that actually receive electromagnetic radiation and translate it into sound. These mics have circuitry that is poorly shielded and acts as an antenna. In some cases, actually, they are very good mics, but are older models from the days when there were fewer E&M signals flying around and shielding was not needed. In other cases, they may just be cheap mics.

One example of this occurs when micing someone who has a cell phone on. When that cell phone sends an E&M signal to the tower, it makes a chirping noise on the mic. Neon lights are also a problem around such mics.

But one company, a very reliable brand that is not necessarily the very best but is still very good, does make its mics well shielded against E&M radiation.

So maybe the video production company was using these mics that are well shielded against radiation. This is very likely. And maybe your mics were the sort that do pick up E&M radiation. They look kind of cheap, actually. They’re just those little mics that come with those little iPods or flash memory recorders you’re using, right? Those mics probably suck, which is to say, among other deficiencies, they are not shielded against E&M radiation. So when sounds were “heard” on your mics but not the video production mics, maybe it was really E&M radiation they were “hearing.”

If this is what was happening, then this takes us down an interesting path of thought. The sounds picked up by your mics did sound like human voices. Sure, animals sometimes sound like humans. Cats or ferrets or whatever. But remember, cats and ferrets would have been heard by the video company mics. The fact that these sounds were not means, by my logic at least, that the sounds were E&M radiation. So that means there is E&M radiation out there that “sounds” like human voices.

We would not be talking about radio waves here. While radio transmits sound as E&M radiation, the radio wave is not merely an E&M version of a sound wave with a corresponding frequency and amplitude. Instead, the radio wave replicates a sound wave using certain processes of amplitude modulation or frequency modulation. A radio wave needs to be interpreted by the proper receiver to be turned back into sound. The unshielded microphone is not doing this -- it is simply receiving an E&M wave and sending the analogous signals through the audio cables to the recorder, which obediantly puts them into the recording.

What wavelength of E&M radiation would produce a human voice frequency? Let’s look at the frequency of 440 Hz, which is A above middle C, or the pitch to which orchestras usually tune. A human can sing this, so it’s definitely in human voice range. The type of E&M radiation that has this frequency has a wavelength of about a thousand kilometers. Compare this to visible light, which has wavelengths measured in millionths of a meter. Radio waves have wavelengths of about one kilometer. These wavelengths are obtained from Wikipedia.

In the folktales, there often is talk of ghosts being related to “energy” and electricity and magnetism (though perhaps the tellers and seers of ghosts use these terms very loosely). So I say okay, what if there are ghosts then? What if they do live in weird E&M-only world? Your “research” says that ghosts can sometimes be sensed as heat and coolness, that they can show up on your infrared sensors. This means they manifest in the infrared spectrum, just below that of light. They are not always seen, so they do not always manifest in the visible light spectrum. But now perhaps you can say that they “speak” in the realm of E&M radiation called, not coincidentally, “Human voice frequencies.”

Your E&M “voice” recording of the agitated woman ghost who is suspected to be Sharon Tate is chilling. Have you tried comparing your “voice” recording with recordings made of the real Sharon Tate? She was an actress. Recordings do exist. I can not bear to think that there is a Sharon Tate ghost continually experiencing the agitation she felt before her murder. Don’t you want to do something for her?

Design a device that translates your voice back into E&M radiation of analogous frequencies, and speak to her that way. Tell her it’s over. Show her the way. Tell her life was just a bad dream, and she can wake up now to her eternal sleep.

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