#autistic typing

My condo living-room area, day.  ‘A.’ with daughter, ‘B.’; S. A. Jones filming/ interviewing, off camera.

KEY:  ~S=Sarah.  ~A=Woman being interviewed.  ~B=Woman’s child.

ON SCREEN TITLE:  “JH 100807.1o3.  Segs 3, 4 & 5 by S. A. Jones”

 [ ‘A.’  SITS ON A COUCH, ROCKING AND GESTURING THROUGHOUT THE INTERVIEW. ]

A:            --s’ like I didn’t have intentional speech.  It was always by accident.  Like I think it and it came out, by accident, ‘cause…   [ OVERLAP ] 

S:            And, and could you control um…

A:            I thought it was like telekinesis for the first time.  I thought something and then some sounds came out, so I was like, ‘Wow, I think something, and then it came out.’   That’s what, you know, like you think something and then it happens.  So this was like magic.  And I thought,  [ OVERLAP:  DAUGHTER MAKES SOUND, O/S. ]  ‘Like ‘maaa-gic!’   --Yeah.  Like, like, like--    [ OVERLAP, UNINTELLIGIBLE ]  Like chris-angel and such; magic--   [ OVERLAP ]

S:            --but, but part of magic is sometimes you don’t know how it happens and you can’t really control it.

A:            Yes.  So that was like not, it would not, it would not happen too often.   [  00:59  ] 

S:            So, um, what was—Was there something that helped it to start happening more often on purpose?

A:            I would read.

S:            So the reading out loud was a big help?

A:            No, reading my words was –   [ OVERLAP ]

S:            --Yeah.  Reading your own typing out loud was the big help.

A:            Yeah.  That’s why when I would—I saw Jamie  [ AT SYRACUSE INSTITUTE, 2007 ]  did that it made me remember that I did that a long time.  Yes. This be so, yeah.  [  01:30  ]  That’s why Jamie gonna be like me some day soon.

S:            And he is using um, I can’t remember—Do you remember if Jamie is using two-handed typing or one--?   [ OVERLAP ]

A:            I don’t know--    [ OVERLAP ]

S:            Yeah.  Was your t--   [  OVERLAP  ]

A:              --I just know that he—where he —us—  If he goes like where I went then he will, like he has to read his stuff now… 

S:            Mm-hm.

A:            -I think he will move.  If he goes in same direction I did, he would, like, close his eyes   [  02:05  ]    and, write the words in his head, and then read them in his head.

S:            Is that partly how you started being able to talk intentionally?

A:            Without reading my work?  Yes.  That’s what I have to write.  I forgot to tell him to write that.  Like he can’t talk um, on, by himself now?    [ OVERLAP ]

S:            Yeah.

A:            So I tell—I have to write him a letter and I tell him like, like, ‘Now you read your stuff.  Instead, close your head and in your head write it.  And when you write it in your head then you read it out loud, but in your head, like what you wrote, but in your head.    [  02:50  ]    Like in that other area so it would seem like you’re not like, like r-r-r-read-reading what you wrote but it would look like speech.  And then the next one will—he will go after that.  He will rehearse like monologues.  He’ll do monologues.  And then, dialogue-ing will take some time, but it will be in stages.’  I—I forgot to tell him that.  See?  Because he could only like, read what he writes now.  So I have to tell him that--    [ OVERLAP ]

S:            --Type in your head.     [03:26 ]

A:            Type in your head and then read it, like in your head.  It would take some time.  Like you would type out—like write the words.  But it’s easier because you don’t have to type like, the individual words, you would just like see the word pop up: ‘WHAT’ you won’t just—you wouldn’t have to type ‘W-H-A-T’.  You would just see like in your head you go, ‘WHAT’ and then you WILL see the—it, like all instantaneous like ‘W-H-A-T’.  Then you gonna see the word, it’s like, flashing, but the words look like fire because they’re like light, --‘whoosh’—that kind of--    [ OVERLAP ]

S:            Mm-hm—  [ OVERLAPING… ]     

A:            --then you say, ‘What’.     [  04:07  ]    See?  Like--     [ OVERLAP ]

S:            --Do you still do that for speech?

A:            Some-times yes, but I am proficient now.  I have integrated into myself more and into the environment more, so that autism is like, just a shadow.

S:            So when you were first, beginning to um, put the words in your head so you could read them out loud to people, to talk, um, was that in it—and I may be wrong about this.  That’s why I’m asking.  Was it in anyway like organizing the restaurant when the furniture was all moved around? --     [ OVERLAP ]

NOTE:  WE WENT TO A DELI WHERE THE SEATING WAS RE-CONFIGURED, SINCE THE LAST TIME ‘A.’ HAD BEEN THERE, A SHORT TIME BEFORE.  [ ***SEE INTERVIEW AND READ TRANSCRIPT, NOTES AND COMMENTARY AT WTjd100807a-b1o3.doc/.mov  ON THIS TUMBLR BLOG.*** ]        

A:            Yes.  You know how in the T.V. show “Monk” he has to tap the edges of everything? --   [  OVERLAP  ]

S:            Yes.

A:            I had to do the same thing.  But instead of doing it like ‘Monk’ I do it in ub, I just mentally do it, kind of.  I look and I go mentally so I’m walking through the area, the same time I’m sitting down, kind of, this be so.  This is because of um, though I like that “Monk” is out,     [  05:17  ]     if people see ‘Monk’ on T.V. more than I could just do it myself without having to worry about getting arrested…

S:            Yes.

A:            Or, taking the Dolphin away.  Ssso all these things, that’s the only reason why I do it in my head even though it does not bring the satisfaction of it all the same because I have to make it just as real as if it’s being done for real.  That’s why you have to start like visualizing a lot more um… without getting lost in the visualization as much. 

S:            And,   [ OVERLAP ]  and is there anything that is helpful for not getting lost in the visualizations?        [  06:08  ]

A:            I hit myself.

S:            And that way you go snap back to self in the room.   [  OVERLAP  ]

A:            Yeah--    [  OVERLAP  ]

S:            --or in the environment.

A:            I just, like—I have to like: 

[ ‘A.’ DEMONSTRATES: GIVES A QUICK DOUBLE SLAP TO HER HAND. ]

NOTE:  THIS IS ONE OF MANY EXAMPLES OF BEHAVIORS AND STRATEGIES USED BY 'A.' TO BE ABLE TO BE 'HIGHER FUNCTIONING' THAT I, AS A 'TYPICAL,' HAD MISTAKEN FOR 'ODD' OR 'LOW-FUNCTIONING' BEHAVIOR.  ***SEE ANOTHER GOOD EXAMPLE IN THE 'SENSORY ISSUES' VIDEO/TRANSCRIPT*** AVAILABLE ON THIS TUMBLR BLOG, WHERE 'A.' DESCRIBES TAKING FOOD OFF A PLATE, PUTTING IT ON THE TABLE, AND THEN EATING IT, BECAUSE THE PLATE HAD A DECORATION ON IT THAT MADE IT IMPOSSIBLE FOR HER TO SEE THE FOOD ON IT. --AS 'A.' ATE DIRECTLY OFF THE TABLE CLOTH I THOUGHT, 'OH, WHAT PRIMITIVE BEHAVIOR.'  IN FACT, SHE WAS MAKING IT POSSIBLE TO SEE, PICK UP, AND EAT THE FOOD.  HERE, 'A.' TALKS ABOUT HITTING/SLAPPING HERSELF, AGAIN, AN 'INAPPROPRIATE' BEHAVIOR, UNTIL SHE EXPLAINS THAT THIS KEEPS HER FROM DRIFTING 'OUT' OF HER BODY.  

THERE WERE MANY INSTANCES WHERE I WAS AMAZED TO DISCOVER THAT WHAT APPEARED TO BE 'WEIRD' BEHAVIORS AND/OR POOR COORDINATION, WERE DUE TO SENSORY CHALLENGES, AND THE NEED TO DEVELOP STRATEGIES TO GET 'GET BACK ON TRACK.'  ONCE I UNDERSTOOD WHAT WAS HAPPENING, IT SEEMED INSTEAD, TO BE QUITE REASONABLE.  IT WAS ALMOST LIKE ENCOUNTERING CUSTOMS IN A DIFFERENT CULTURE, THAT SEEM 'WEIRD' UNTIL ONE UNDERSTANDS THEIR PURPOSE AND MEANING.

A:            Um, but, like, I don’t recommend slapping your face or pulling your hair real hard because that is a 9-1-1 call for folks.  You just—I go like this:

[ ‘A.’ GESTURES WITH HAND. ]

A:            -Or I stab my fingernail into my hand or I step/slam.  I do things like—I don’t rea—It just hurts a little bit just to-- [ SMACKS HAND TWICE FOR EMPHASIS ] bring me back,    [  06:49  ]    somewhat so.  And then I coul—It’s almost like I’m, I’m going on.  I go off.  Like at one part o’ me could go on auto- pilate, see?

[‘A.’  HAS BEEN ROCKING THROUGHOUT THIS INTERVIEW. ]

S:            Would something like rocking right now help you to uh, be more in your body while talking?

A:            Yes.

S:            Yeah.  And not to—it, eh, uh—  Would rocking be something that could be helpful if you needed to do a lot of stimming to calm down?  Then rocking could help you, uh--     [  OVERLAP  ]

A:            --It helps me a lot.

S:            Yeah.

A:            I can’t not move.  Or I could lose myself.     [  07:29  ]

NOTE:  ***SEE VIDEOS/TRANSCRIPTS ABOUT 'PRE-COMMUNICATION GHOSTS' AND 'EMERGENCE OF SELF' PARTS 1 AND 2 ON THIS TUMBLR BLOG*** FOR MORE ABOUT LACK OF SENSE OF INDIVIDUAL EXISTENCE, ESPECIALLY BEFORE BEING ABLE TO SPEAK OR TYPE.

S:            Yeah.  And, and one of the things also, when you would start to, say, see a word or type a word in your mind so you could say it out loud, um, how was the sound inside your head for talking?  Was it um, too loud?  O.K.?  How was the sound of your own voice?

A:            I borrowed people’s voices in my head.

S:            How do you mean-  eh, like,  maybe your mother’s voice, or a friend’s voice, or T.V. voi--?       [ OVERLAP ]

A:            Whenever I would hear a voice…

S:            Mm-hm.

A:            I would borrow it.

S:            So when you were speaking was that the voice you were hearing in your head?  [  08:14  ]

A:            No.  Borrowed voice. 

S:            Would you use the borrowed voice for your saying things out loud?

‘B.’ IS MAKING PANTING SOUNDS, OFF SCREEN. 

A:            I always do this.  Yes.

S:            O.K.--     [ OVERLAP ]

A:            This be so.

S:            And when you’re speaking out loud, intentionally--

A:            Yes--     [ OVERLAP ]

S:            --um, does the--    [ OVERLAP ]

A:            --the sound effects, I put in sound effects     [  08:41  ]     But the sound effects I have to hear it before.  I have to hear it, and then I have to recreate it. 

S:            Is the um…

A:            That’s when I borrow people’s voices to get the sound effects.  Like the music.  Like singing.    [ OVERLAP ]    Like um,    [ OVERLAP ]

S:            But what about the—  Like the --  [ OVERLAP ]

A:            --It seems, it seems to me has brought this to you.  It seems to me; it seems to me; it seems to me; hmm. 

S:            But what about the volume of the sound when you’re speaking, from your own voice?

A:            It could change. 

S:            When you first began speaking did the volume of your own voice bother you or not?    [  09:29  ]    … Are the      [ OVERLAP ]

A:            Yes, because it was inconsistent.   –Mmm…   Sssometimes I felt it and sometimes I didn’t hear it.

S:            So it wasn’t uh— You couldn’t count on being able to hear your own voice.

A:           I felt it more than I heard it.

S:            When you say, ‘felt it’ do mean like vibration, or—

A:            Yes.  Vibration.  …Like it vibrates.  Like it moves. Like it made movement more than a sound.  …Um…

NOTE:  UNLIKE 'TYPICALS', 'A.' OFTEN USES THE WORD 'VIBRATION' INSTEAD OF THE WORD 'SOUND', AS IF 'SOUND' DOES NOT ADEQUATELY DESCRIBE WHAT SHE EXPERIENCES, SENSORILY; AS IF SHE 'FEELS' MORE THAN 'HEARS' SOUND. 

S:            Because I guess you, you know you’ve shown me many times how you could open and close your mouth with no sound …

[ ‘A.’ OPENS AND CLOSES HER MOUTH WITH NO SOUND. ]

A:            Yes.  But I still hear it.    [  10:16  ] 

S:            Yes, but—  But if you’re opening and closing your mouth what would be the signals that sound was coming out?  …Pushing or what was some of the ways you could that besides just moving your mouth, you were actually using a voice?

A:            There were no vibrations.  If when no sound comes out there’s no vibrations like when the Dolphin is mouthing or like you’s call it lip-syncing, there’s no vibrations.

S:            How could you—What did you do to help yourself make the vibrations come out at the same time? 

A:            I tried to make the sounds   [  11:02  ]    that but, but that was the; ‘Oooo-em-ss’.  Those had vibrations that rips through the air and it bounces off the walls.

S:            So—

A:            It’s like a movement, see; ‘Cawww—‘.  Mmmmmmmm…  Mmmmm… You could see it moves.  It moves and it breaks through there environment, and it bounces off the wall and it comes back to you.  So I made a sound.  See, like, you don’t see/hear that-the- I made a sound.  You, you don’t feel it?  At—  you don’t feel it as well as hear it? 

S:            Yes.

A:            You feel it.  Sssooound.  Like it’s I say it slow so you get more out because somebody said it before, they don’t feel it at all.    [  12:08  ]    Sssoooo… that’s how you had to work, um…

S:            --Because you would say, like, a vocal stimm, like the phrase; ‘over and under; over and under’—

A:            Over and under; over and under; over and under and overrr and underrrr…

NOTE:  ONE OF THE FIRST STAGES OF SPEECH, FOR 'A.', WAS REPEATING A SHORT PHRASE, 'OVER AND UNDER'.  EVEN THOUGH THE PHRASE HAD NO MEANING PER SE, JUST THE ABILITY TO BE ABLE TO SAY IT (V. LETTING OUT UNINTELLIGIBLE SOUND), WAS PROGRESS, AND 'A.' WORRIED THAT IF SHE STOPPED, SHE WOULD REGRESS.

S:            Then you able to combine everything but for intentional speech um, you couldn’t tell if what—  I guess when you doing it as a vocal stimm did it matter if sound came out or not?  …It was a stimm so did it serve a different--  [ OVERLAP ]

A:             Sometimes it was just to get —get the light, right vibrations, like getting lost in it almost.      [  12:54  ]     Sometimes it would mean something. 

‘B.’ BURPS? off screen.  ‘S.’ SAYS SOFTLY, ‘GOOD JOB,’ OFF SCREEN. 

S:            So if you got um—  So when you were trying to speak intentionally, one thing I’m hearing is that you had to in a sense type or form the words in your mind as words and then as spelling words and, see a word written in your mind so you could read it and say it out loud, and then how--    [ OVERLAP ] 

A:            --Like a comic book, see? 

S:            Yes.

A:            And it, it’s like a bubble where you’re words are written above it, see?   [ OVERLAP ]

S:            Mm-hm.

A:            Like, closed-captions, so like, closed captioned T.V., see?    [ OVERLAP ]

S:            Yes.        [ OVERLAP ]

A:            The words are right there.  If the words are—  If the sounds are too distorted—Like It distorts sometimes, depending, --Like it distorts and you don’t know what those sounds are actually—  Like what words those sounds are actually making if they’re taking too long –Or if you’re – If you’re organizing it too long, this be so.  …Then if you connect the sound    [  14:15  ]    somewhat to…

S:            --to, um, what, you connect the sound somewhat to your vocalizing?  

A:            Mmm… 

S:            Like if someone is non-verbal and they are trying to—  They can pah— Eh, um, Two things that you do as exercises for example with Dolphin, is aw, er, the movement of the mouth…

NOTE:  SEE DEMONSTRATION, BELOW.  ***NEED TO FIND/CITE EXAMPLES ON OTHER INTERVIEWS, WHICH OFFER MORE DETAILED EXPLANATIONS OF WHAT IS BEING DONE.***  

A:            Yeah…

S:            --and the thing you you call the puffing…

A:            Yes.  And she does both separately but if sh—they’ll crash land or meet in the middle eventually.

S:            And the puffing is for the vibration and sound.

A:            So she knows that she is making sound.  What she has, making the sounds.

S:            If, if um—Would it be O.K. if Dolphin came over with you and you can show us a little bit what she does with you, to practice?   [  05:19  ]

‘B.’ IS MAKING PUFFING SOUNDS, OFF SCREEN. 

A:            She’s doing it now.

S:            Yeah.  Hey Dolphin, would you be willing to show us on camera what you and mom do for practicing with talking?

‘B.’ MAKES PUFFING SOUNDS, OFF SCREEN.    

A:            She thinking and now she paused to try to say something.  She didn’t say something, so she made her face move.    [  15:45  ]

‘B.’ IS MAKES PUFFING SOUNDS, OFF SCREEN.

A:            See there?  See, she’s doing, she’s doing the…

CAMERA PANS FROM ‘A.’, LEFT, OVER TO ‘B.’, STANDING BY DOORS.  ZOOM IN TO ‘B’s.’ FACE, AS SHE ATTEMPTS MAKING SOUNDS.  

A:            Trying to make it go together.  [ TO ‘B.’: ]  Take a deep breath and push it out.  It doesn’t have to come out as lips.  Just let anything out, and we’ll accept anything that comes out, as long as you could try to make them go together.   

S:            She’s also um, Dolphin is, is really enjoying her snack plate.

A:            Yeah, she might not want to…

S:            Yeah, she’s been grabbing and snacking away.

A:            Yeah. 

S:            And enjoying all the food.  So why don’t—

CAMERA TURNS BACK TO ‘A.’ 

S:            Maybe on camera, 'J-', you could show us um, what, what are some of the mouths things that you would try to show or help Dolphin with.  What are some of the mouth movements, even if she’s not sitting next to you, can you just show us with your own mouth?   [  16:48  ]

‘A.’ TALKS ABOUT AND DEMONSTRATES, USING HER MOUTH…  

A:            Thee—I show her fir—  I show her annnd I tell her 1-2-3-4-5 to see, look with her eyes –look with your eyes.  ---- Ears.  ----  Like, em, I show her the mouth; how to move the mouth.  ----  Annnd then, you make sounds:  [ MAKES ABSTRACT, HIGH-PITCHED SOUNDS. ]    [ 17:42  ]

S:            And that’s to get in touch with the vibration. 

A:            Yeasss.  The vibration.  The ‘woof’-like sound.    [  OVERLAP  ]

S:            Is it to make any sound, but do it intentionally? 

A:            Any sound intentionally.  This I told you before.    [  OVERLAP  ]    I tell the Dolphin; control one thing, and then you could move on to another.  I told her the first exercise was: ‘1-2-3-4-5 eyes,’  --  ‘1-2-3-4-5 ears,’  --  ‘1-2-3-4-5 eyes,’ --  ‘1-2-3-4-5 ears.’

‘B.’ ENTERS SCREEN, RIGHT, GOES TO ‘A.’ WHO PULLS HER ONTO HER LAP. 

A:            ‘1-2-3-4-5 eyes;   --  1-2-3-4-5 ears’

‘B.’ GETS UP, EXITS SCREEN, RIGHT.

A:            ‘1-2-3-4-5 eyes;   --  1-2-3-4-5 ears.’    [  18:31  ]     ‘1-2-3-4-5 eyes;   --  1-2-3-4-5 ears.’  It’s like magic. 

‘B.’ BREATHES LOUDLY OFF SCREEN.  ‘S.’ TALKS TO ‘B.’ OFF SCRREN.  ‘A.’ CONTINUES TO BE ON CAMERA. 

S:            Dolphin if you sit right here, here’s the food, and you can have it here, too, if you want.  Here’s part of a cookie…

A:            Eyes, ears, see?  Don’t you see you do it, like don’t you do that ‘1-2-3-4-5 eyes…’

‘B.’ ENTERS SCREEN R. AND JOINS ‘A.’ AGAIN. 

A:            --and then, just look with your eyes, Sarah. 

S:            M’kay.

A:            And then ‘1-2-3-4-5 ears,’ now just listen.  Just… 

‘B.’ PANTS, THEN STANDS SCREEN RIGHT, AND CLAPS, OVERLAPPING… ]

A:            ‘1-2-3-4-5 eyes;   --  1-2-3-4-5 ears.’  I don’t know.  Because somebody said they couldn’t do it, really, but everything comes like, something becomes background and then something else becomes foreground.    [  19:42  ]

NOTE:  THE COUNTING EXERCISE HELPS FOCUS, SENSORILY.  'TYPICALS' ARE ABLE TO DO THIS AUTOMATICALLY, BUT AUTISTICS OFTEN DESCRIBE, FOR EXAMPLE, HOW EVERY SOUND IN THE ENVIRONMENT IS COMING IN, WITH NO ABILITY TO FOCUS --I.E., EVERYTHING IS OF EQUAL 'VALUE' OR 'WEIGHT'.

S:            We’re at, so, in other words one of the biggest problems with talking maybe, or maybe a problem, I should say challenge is that you’ve gotta do two senses at once.

A:            Yes.  But I tell the Dolphin that if she could control one sense for five seconds and then shift, consciously shift to the other one for five seconds then it’s not random.  Then it’s not like, whenever-whenever but more like when she decides. So five; 1-2-3-4-5 ears; 1-2-3-4-5 eyes; 1-2-3-4-5 ears; 1-2-3-4-5 eyes.  D’you see—     [  OVERLAP  ]      [  20:31  ]

S:            Yeah—   [  OVERLAP  ]

A:            --almost she cocks her head to listen; eyes, she looks. 

‘B.’ SNEEZES. 

S:            Bless you—

A:            She’s shifting all the time.

S:            So, but, with—with speaking you’re using ears and movement—  [  OVERLAP  ]

A:             You have to control one little part of yourself part of the time to own that part of yourself— 

S:            And what are the four--   [  OVERLAP  ]

A:            --before you could move on to another part that you need to own part of the time.  The thing is not to own all of yourself all the time, but part of yourself part of the time, and when you want to.  And to do that you have to start small.  If you try to get too big of a    [  OVERLAP:  ‘B.’ PUFFS/PANTS.  ]    project it will become too much of a mission for you to accomplish.   [  21:18  ]    So you start small. Like just, like your eyes… then your ears.  You listen now, aaand…

CAMERA IMOVES JERKILY, TAKING A WIDER SHOT, THEN FOCUSING BACK IN ON ‘A.’ IN A MEDIUM SHOT AND IN AND OUT AGAIN. 

A:            It doesn’t seem like much but it’s might be hard to—you might be surprised at how hard it is to do it when you say you gonna do it.  Do you understand?

S:            Yes—      [  OVERLAP  ]

A:            Like… like you, like if you decide that you just gonna concentrate on what you see for five seconds you might be hard—it—you, you be surprised at how hard it ac—is to do, from a lot of people.    [  22:03  ]    But if you do it like I am intentionally, consciously just going to focus on for five seconds my—what I see; then 1-2-3-4-5 sec-onds shift to what you hear, you know, like you don’t even have to count like actually you know how you say you just gonna close your eyes for fifteen minutes when you first wake-up, and it’s like early but you know that you could wake up again.  You could sleep for like fifteen seconds.  It’s like putting a snooze button on, and then when you wake-up you realize that just about five/fifteen minutes passed?  It’s like that.  You make a decision; five seconds eyes;    [  22:45  ]    five second ears.  You try to do that m’ when you try to do that you own that part of yourself for a little bit it may seem like no real big accomplishment for many people to which the scale is ingrained into them from the get-go, or, like from babyhood.  I think this may be so.  But it’s own—it’s like an accomplishment.  It’s like are-are-or you organized that part.  If you organized that part then you move on to the next part. 

S:            And then they start colliding?    [  23:19  ]   

A:            Yes--    [ OVERLAP ]

S:            Sometimes—   [ OVERLA  ]

A:            --Things start colliding.

S:            So then sometimes you can, um—  [ OVERLAP ]

A:            Sometimes Dolphin got words because sometimes movement—    [ OVERLAP ]

S:            --and sound—    [ OVERLAP ]

A:            --of her mouth and, the vibration of the mouth comes at the same time.

S:            From doing this controlled switching.

A:            Switch, switch, switch.

S:            Yeah.      [  23:46  ]     Um…  We have on this tape, because we said we were gonna spend about an hour, we have about eighteen minutes left— [ OVERLAP ]

A:            O.K.      [ OVERLAP ]

S:            Should I go on to some questions from 'Y-'?     [ OVERLAP ]

A:            Sure.     [ OVERLAP ]

S:            And that way you don’t have to type them.    [  24:03  ]       Um, I’m reading his questions, but if you need clarification or review of something just say so, um, because these are his questions.

A:            Yeah.

NOTE:  'NIGHTMARE CONDITION,' BELOW, REFERS TO SENSORY OVERLOAD.

S:            O.K.  …  [ READING: ]  ‘The nightmare condition you mentioned in the interview, do you still get into this state; yes or no?’

A:            Yes.

S:            [ READING: ]  ‘How often and for how long?’

A:            Not too often and not too long.

S:            Um, when you say, ‘not too often,’ would that mean one time a day, one time a week?  Like what kind of—I know it’s approximate but what type of intervals?  M-m… Like weekly, monthly, yearly?  …  [ OVERLAP ]

A:            Mmmm…

S:            Daily? 

A:            I can have—I don’t have an answer for that.  Just that not as often as often.  Because I could have like one week where I would have three days in the nightmare state.  Or I could have one week where I have one day of fifteen minute or fifteen second nightmare state.  But when you’re in a nightmare state fifteen seconds could s—feel like an hour.    [  25:25  ]

S:            And is an ‘all’ or ‘none’ state or does it have levels?

A:            Different levels.  Like I have built internal, like, umm… things to grab onto.

S:            When you say you ‘built internal things to grab onto,’ what does that mean?   Like—      [ OVERLAP ]

A:            Navagation clues. 

S:            Um…

A:            Like, um, Handsel and Grettle dropping breadcrumbs. 

S:            Um,   [ READING: ]   ‘Does it appear perceptually?  Is sound perceived louder or more silent in the nightmare stage?’    [  26:11  ]   

A:            Everything could happen [ UNINTELLIGIBLE ] ???  Something like no sound happening and you become like a deaf person.  Or you could, eh, become like a blind person.

S:            And can it switch to suddenly very loud?

A:            Yes.

S:            Or suddenly are all the vision comes in?

A:            All of sometimes when you didn’t have aw—like all the things would flood in where, as a young person,     [  26:39  ]    it happened more often.  It happens less often as you grew older.  …Like the doors all sss…slam open and everything comes in like a flood.  And this is like very painful and discomforting.

S:            And, um, how about tactile sensation during the nightmare?  Is it stronger, weaker, something else?

A:            Weaker, I think.  This be so.  It depends.  Everything could switch.  See now.   [ OVERLAP ]

S:            So switching is part of the problem. Nothing s—    [ OVERLAP ]

A:            And there is no pattern! 

S:            All the patterns    [ OVERLAP ]

A:            --All the patterns collide.  Everything could come in all at once, or not at all.  Vision could disappear and come full force.  Sound—  Don’t do this now.  You don’t understand when you— 

TAPE SEGMENT(S) STOP ABRUPTLY, MID-SENTENCE.

‘A.’s’ home, home-school/office area, day.  ‘A.’ w/ child ‘B.’; S. A. Jones filming/interviewing.

KEY:  ~S=Sarah, interviewer/filmer.  ~A=Woman being interviewed.  ~B=Woman’s child.

NOTE:  Interviews and B-roll are interspersed with photos [ STILLS ] of ‘B.’ as an infant through toddler age, before she was diagnosed with Rhett Syndrome. Pre-Rhetts, ‘B.’ appears ‘typical’ and especially the physical difference between ‘then’ and ‘now’ [ 2007 ] is striking.  RECENTLY, ‘B.’ HAS GONE THROUGH ANOTHER REMARKABLE PHYSICAL TRANSFORMATION, GAINING HEIGHT, MUSCLE MASS, AND WEIGHT, PERHAPS BECAUSE OF INTERVENTIONS BY ‘A.’ [ ***SEE EMAILS DESCRIBING WHAT ‘A.’ DID FOR ‘B.’  SEE  RECENT PHOTO.  ***NEED TO FIND/CITE*** ]

NOTE: If no narration is documented with still photos, there is just general background noise off camera, including a television set. Most stills are digitally photographed as well.  All stills are in color unless otherwise noted.

STILL #1/4   [  00:00-00:48  ] :  ‘‘B.’ AS AN INFANT: 

[  00:00-00:15 ]    CAMERA PUSHES IN, TO ‘B.’s’ FACE, GOES OUT OF FOCUS, HOLDS ON BLURRED IMAGE. 

[  00:16-00:33  ]    CAMERA PULLS OUT, RE-FOCUSES ON INFANT WITH HOLDING TOY TO MOUTH WITH BOTH HANDS, WITH ANOTHER TOY HANGING, ON ‘B.’s’ RIGHT.

[  00:33-00:48  ]    CAMERA CONTINUES TO PUSH IN AND OUT AND MOVE OVER IMAGE.

B:            [ OFF SCREEN / STILL #1/4 ]     [  00:03-00:13, & 00:30, & 00:36, & 00:42  ]     MAKES LOUD SOUNDS, PANTS, PAUSES, MAKES MORE LOUD SOUNDS, ETC.

[  00:48  ]    END OF STILL #1/4.

STILL #2/4   [  00:49-01:19  ] :   WIDE SHOT, ‘B.’ AGE 1?  SITTING IN SMALL PLAY STRUCTURE, SURROUNDED BY TOYS.

[  00:49-01:10  ]    CAMERA [ SOMEWHAT SHAKY ] PUSHES IN FROM WIDE SHOT TO CLOSE UP ON ‘B.’s’ LEFT HAND, BLURS.

[  01:11-01:19  ] CAMERA PULLS BACK OUT.

[  01:19  ]    END OF STILL #2/4.

STILL #3/4  [  01:20-01:54  ] :   WIDE SHOT, ‘B.’ AGE 1?  SITTING IN SMALL PLAY STRUCTURE, SURROUNDED BY TOYS, LOOKING INTO CAMERA.

[  01:20-01:44  ]    CAMERA [ SOMEWHAT SHAKY ] PUSHES IN FROM WIDE SHOT TO CLOSE UP ON ‘B.’s’ FACE, BLURS.

[  01:44-01:54  ] CAMERA PULLS BACK OUT.

S:            [ OFF SCREEN ]    Get away from me.   [ re:  DOGS ]    [  01:20  ]

B:            [ OFF SCREEN ]    PANTS, MAKES SOFT SOUNDS, THEN LOUD SOUND.  [  01:26, & 01:47  ]

[  01:54  ]    END OF STILL #3/4.

STILL #4/4   [  01:56-02:33  ] :   ‘B.’  AS INFANT  [ 9 MOS.? ], ON BLANKET, LAYING DOWN, HEAD TURNED AWAY FROM CAMERA, WITH BALL.

[  01:56-01:57  ]    CAMERA [ SOMEWHAT SHAKY ] PUSHES IN FROM MEDIUM SHOT TO CLOSE UP OF BACK OF ‘B.’s’ HEAD, BLURS.

[  01:58-02:33  ] CAMERA PULLS BACK OUT, MOVES IN AND OUT.

B:            [ OFF SCREEN ]    MAKES SOFT SOUND.   [  02:01  ]

[  02:33  ]    END OF STILL #4/4.

B-ROLL     [  02:24-    POODLE AND DACHSAUND PLAYING ON FLOOR MAT NEAR/ AROUND ‘B.’.  CAMERA GOES TO ‘B.’s’ FACE, TRACKS HER MOVEMENTS.  CAMERA BACK ON DOGS.  CAMERA PANS ROOM.

NOTE:  ‘B.’ IS WEARING A DIAPER AND A SHIRT.

B:            PANTS, USES PACIFIER.    [  02:40  ]

B:            MAKES SOUND, PANTS, MAKES SOUND.   [  02:48, & 03:38  ]

DOGS COME UP TO ‘B.’ SITTING ON FLOOR.

B:            SQUEALS.  [  03:53  ]

B:            [ OFF CAMERA ]    PANTS.    [  04:20  ]

DOGS PLAY NEAR ‘B.’ AGAIN, SITTING ON FLOOR.    [  04:24  ]

‘B.’ ROCKS, CLAPS HANDS, PANTS.    [  04:29  ]

CAMERA SHAKY.    [  04:34  ]

‘B.’ PANTS, SCOOTS FORWARD, TRIES TO STAND, MAKES SOUNDS.  [  04:38  ]   

‘B.’ STANDS UP, GOES TO WINDOW.    [  04:54  ]

B:            MAKES SOUND.    [  04:58  ]

CAMERA PANS DOWN, ACROSS TO DOGS, PLAYING, BY ‘B.’s’ FEET. [  05:02  ]

CAMERA FOLLOWS ‘B.’, WALKING AROUND.    [  05:07  ]

‘B.’ CLAPS, PANTS.    [  05:21  ]

‘B.’ PACES BACK AND FORTH, PANTS, TOUCHES PACIFIER IN HER MOUTH.

[  05:25–05:35  ]

DOGS GOING  UP TO CLOSED DOOR, MOVING AROUND, APPROACHING ‘B.’    [  05:36-05:49  ]

B:            SQUEALS, PANTS, MOVES AWAY FROM DOG, CROSSES ROOM.  [ 05:50  ]

S:            [ OFF SCREEN, IN RESPONSE TO ‘B.’ ]    What?!    [  05:56  ]  That was a loud sound.

‘B.’ TURNS, SMILES, FACES CAMERA, SITS ON COUCH.    [  05:58  ]

B:            MAKES SOUND.    [  06:07  ]

‘B.’ GETS UP, WALKS, PANTS.    [  06:20  ]

GOOD CLOSE-UP, POODLE ‘SMILING’ INTO CAMERA.    [  06:25  ]

‘B.’ WALKS TO CLOSED DOOR, BACK TO CAMERA.

S:            [ OFF SCREEN]     Dolphin, do you want to go out?

‘B.’ TURNS TOWARD CAMERA.

S:            [ OFF SCREEN]     Should we open the door for you?    [  06:56  ]

B:             PANTS, PACES BY DOOR.

S:            [ OFF SCREEN]     ‘Cause you’re standing pretty close by it. 

‘B.’ CROSSES, EXITS FRAME RIGHT.

CAMERA SHAKY, PICKS UP, TRACKS ‘B.’, FRAME LEFT.

[  07:18  ]      ‘B.’ STANDS; RUBS, LOOKS AT HANDS, CROSSES FRAME LEFT TO DESK.   

B:            MAKES SOUND.    [  07:28 ]

BRIEF SHOT OF ‘B.’ WALKING ON TIP-TOES.     [  07:31  ]  

B:            SIGHS.    [  07:42  ]

CAMERA FRAMES ‘B.’s’ UPPER BODY, STANDING BY WINDOW.    [  08:04  ]

FROM ‘B.’, CAMERA CIRCLES/PANS WALLS OF ROOM, INCLUDING 'A-B-C' AND OTHER EDUCATION POSTERS, BOOKCASE, DESK, ETC. AND COMES BACK TO ‘B.’ BY WINDOW, NEAR DOOR.     [  08:05-08:18  ]

B:            MAKES SOUND.    [  08:21  ]

S:            [ OFF CAMERA ]     [  08:23  ]      Dolphin, I’m going to go ahead and open the door.  Let’s see if—

CAMERA IS TURNED OFF/ON AGAIN?  

CAMERA PANS RIGHT, TO ‘A.’ SITTING AT DESK, AT COMPUTER.  [  08:27  ]

NOTE:  ‘A.’ IS WEARING LONG PANTS AND A SPORTS BRA.  ‘B.’ IS WEARING A DIAPER AND A SHIRT.

A:            --open the door.  [ LOOKING AT COMPUTER SCREEN, READS ALOUD: ]  ‘One room Wall-doff  [ ‘WALDORF’ ]  schoolhouse.’--  [ OVERLAP ]

B:            [ OFF SCREEN ]  --MAKES SOUND, PANTS.--    [ OVERLAP ] 

A:            That’s what we were thinking of doing, Dolphin. 

‘A.’ SCOOTS CHAIR, CAMERA RIGHT.  CAMERA REMAINS STATIONARY, FRAMING COMPUTER AND DESK

A:            [ OFF SCREEN ]      Ohhh, you guys, you opened the door.

SOUND OF DOOR SHUTTING, OFF SCREEN.

A:            [ BACK, READING ALOUD FROM COMPUTER SCREEN: ]     ‘The one room Waldorf schoolhouse. 

‘A.’ USES A ‘MOUSE’ TO CLICK ON COMPUTER SCREEN. DOGS MAKE NOISE OFF SCREEN, SCUFFLING, GROWLING.   [  09:17  ]

‘A.’ ROCKS IN CHAIR, SQUINTS AS SHE LOOKS AT COMPUTER SCREEN.

B:            [ OFF SCREEN ]      MAKES SOUND.

[  09:37  ]    ‘A.’ MOVES MOUTH SILENTLY.  THIS IS A TYPE OF MOVEMENT SHE USES IN OTHER FOOTAGE  [ *** NEED TO FIND, CITE *** ] TO PRACTICE MOUTH MOTIONS FOR SPEECH.

B:            [ OFF SCREEN ]      MAKES SOUNDS, PANTS.    [  10:01  ]

A:            All right. 

‘A.’ MAKES SOUND SEVERAL TIMES WHILE LOOKING AT COMPUTER SCREEN, SOMETHING LIKE “OHM” –OR— “OH’S” [ UNINTELLIGIBLE ] 

[  10:33-10:46  ]

A:            [ UNINTELLIGIBLE ]    [  11:02  ]   I don’t know, where I put all these forms—  [ OVERLAP ]

B:            [ OFF SCREEN ]   --MAKES LOUD SOUNDS, PANTS.--  [ OVERLAP ]

A:            --This one’s a good one.  I think.  [ READS ALOUD: ]  ‘A free website analysis for non-profits.  [ UNINTELLIGBLE ]  -–conference addresses social justice issues.’    [  11:30  ]    ‘Legacy of injustice.’ 

S:            [ OFF SCREEN ]   Now here on the computer, you’re not looking away when you’re reading out loud.  Only on the book?  [ SEE VIDEO TAPES 1007074o2 & 4o3 WHERE ‘A.’ READS ALOUD FROM THE BOOK, ‘ISLAND OF THE BLUE DOLPHINS,’ AND AFTERWARD, TALKS ABOUT HOW SHE SEES TO READ, THEN DISENGAGES VISUALLY, TO RECITE THE WORDS FROM THE TEXT, FROM MEMORY. ]   —  [ OVERLAP ]

A:            Uh-huh.

S:         [ OFF SCREEN ]   ‘Cause you can talk out loud with reading, and—  [ OVERLAP ]

B:            [ OFF SCREEN ]      --MAKES LOUD SOUND.--     [ OVERLAP ]

S:            [ OFF SCREEN ]      --with your eyes on the screen?

‘A.’ TURNS HEAD TOWARD CAMERA, THEN BACK TO COMPUTER SCREEN.

S:            [ OFF SCREEN ]    Like you can read out loud and keep looking?    

‘A.’ SQUEEZES EYES SHUT.

B:            [ OFF SCREEN ]    MAKES SOFT SOUND.    [ OVERLAP ]

A:            Yeah.  …Still switch.    [  11:59  ]

‘A.’ OPENS, SHUTS EYES, SHAKES HEAD.

B:            MAKES LOUD SOUND.     

A:            I was talking out loud?

S:            [ OFF CAMERA ]     You were reading out loud, and pretty much looking the whole time at the [ COMPUTER ] screen.         

A:            Oh.  Good.

‘A.’ SQUEEZES EYES SHUT.

S:            [ OFF CAMERA ]   Whereas with the [ HARD COPY OF THE ] book, you looked away more and said parts of the words looking away—    [ OVERLAP ]

A:            --Oh.

B:            [ OFF CAMERA ]     MAKES SOFT SOUND.

S:            [ OFF CAMERA ]    I’m just noticing—     

A:            Yeah…     

S:            [ OFF CAMERA ]     --and just sort of giving an observation.   [  12:30  ]    

A:            Dolphin wants attention—

B:            ENTERS FRAME RIGHT, APPROACHES ‘A.’, MAKES SOUND.    

A:            O.K.  Look, Dolphin.     

‘B.’ MAKES SOUNDS, WALKS AWAY, FRAME RIGHT.    [  12:43  ]

NOTE:  ‘A.’ DESCRIBES HOW LETTERS ‘MOVE’ WHEN SHE READS, BELOW:

A:            --I don’t know what does the screen, I would say bothers me more a bit than the…

 B:            [ OFF SCREEN ]     MAKES SOUND.--     [ OVERLAP ]

A:            --then the book I think.  I mean,    [  13:00  ]    all the letters move on you, anyhow…  on either,--    [ OVERLAP ]

S:            [ OFF CAMERA ]    -- Um-hm.--    [ OVERLAP ]

A:            —I believe.  This be so.  Like… 

NOTE:  THERE IS A PATTERN, ABOVE, IN ‘A.’s’ SPEECH, THAT IS INDICATIVE OF SOME AUTISTIC WRITING PATTERNS [ SEE ARTICLE I WROTE, RE: ITALIAN AUTISM GRAMMAR STUDY AND EXCERPTS FROM BOOK BY SONDRA WILLIAMS.  --SEE ARTICLE, POSTED ON THIS Tumblr BLOG, BELOW. ]

B:            [ OFF SCREEN ] PANTS,  MAKES SOUND.

A:            Not much here. 

CAMERA SHAKY.    [  13:19  ]

A:            O.K.  --and then they began to push more with talking? Uh, to—  [ OVERLAP ]

B:            [ OFF SCREEN ] --MAKES SQUEALING SOUND, PANTS.--   [ OVERLAP ]           

A:            --Don’t know…    [  13:29  ]     Koh-noh...  Koh-nah…

‘A.’ TYPES ON KEYBOARD WHILE LOOKING AT COMPUTER SCREEN.  DOES NOT LOOK AT KEYBOARD AT ALL, INITIALLY.

A:            [ CONT. ]     Koh-noh—     [ OVERLAP ]

B:            [ OFF SCREEN ]    --PANTS, MAKES SOUND, PANTS.  

‘A.’ LOOKS ALTERNATELY DOWN AT THE KEYBOARD, UP AT THE COMPUTER SCREEN AS SHE ‘TOUCH TYPES’. 

A:            Koh-noh eyes…      [  14:01  ]

B:            PANTS.--      [ OVERLAP ]

S:            [ OFF CAMERA ]   --So right there, 'J-', when you’re typing, you can check your work on the screen.  You don’t have to look at your hands.

A:            Yeah.       [ UNINTELLIGIBLE ]

B:            [ OFF/ON SCREEN ]     MAKES SOUND.

A:            That’s the convenience factor.       

B:            [ ENTERS, EXITS FRAME ]   MAKES SOUNDS.    [  14:29  ]

‘A.’ CONTINUES TO TOUCH TYPE AND LOOK AT COMPUTER SCREEN.

S:            [ OFF SCREEN ]     'J-',  when you talk out loud, even now, um—  [ OVERLAP ]

B:            [ OFF SCREEN ]    --MAKES SOUNDS.--    [ OVERLAP ]

S:            [ OFF SCREEN ]    —does it bother you at all, to hear your own voice?  Is it extra loud, or O.K.?  Or something else?   

‘A.’ RAPIDLY SHAKES HEAD BACK AND FORTH. 

NOTE: THIS IS SOMETHING ‘A.’ DOES, SHE SAYS, TO ‘CLEAR’ AND/OR ‘BREAK OUT’ OF BEING ‘STUCK.’  [ *** NEED TO FIND/CITE INTERVIEW *** ]

S:            [ OFF SCREEN ]  ‘Cause we—   [ OVERLAP ]

A:            [ UNINTELLIGIBLE ]   --uh, what?    [  15:01  ]   

B:            [ OFF SCREEN ]    MAKES SOUND.--       [ OVERLAP ]

S:            [ OFF SCREEN ]    --If you are starting, eh, to talk to me?

A:            When was— ?   I was talking to you, now?

S:            [ OFF SCREEN ]   No.  If you did it like what you just did—    [ OVERLAP ]

B:            [ OFF SCREEN ]      --MAKES SOUND.--      [ OVERLAP ]

S:            [ OFF SCREEN, CONT. ]      --you can hear your own voice? --When you’re saying something to me? 

A:            Now?  Yes.

S:            [ OFF SCREEN ]    Yes.  And, is it st— When you were younger, what was it harder to tolerate hearing your voice,  [  15:31  ]    or the same?  When you were thirteen…

B:            [ OFF SCREEN ]    --MAKES SOUND.--   [ OVERLAP ]

A:            --Well, I didn’t hear it all the time.

B:            [ OFF SCREEN ]    MAKES SOUND.--   [ OVERLAP ]

S:            [ OFF SCREEN ]     --So sometimes you would realize you were talking?   

A:            I – don’t – achhh…  [ RUBS RIGHT SIDE OF FOREHEAD WITH RIGHT HAND ]   …Um…  I’m um, I’m some…    [  16:01  ]   …sssss…  Say it again?   …The— ?

S:            [ OFF SCREEN ]    When you hear your own voice, talking now—

A:            Yes. 

S:            [ OFF SCREEN ]     Is it comfortable for you to hear your own voice now, yes or no? 

A:            Yes, now.  …Yeah.

S:            [ OFF SCREEN ]    When you were starting to talk—

A:            [ REFERRING TO DOGS IN ROOM, OFF SCREEN ]     Oh, they made a poop…   

S:            [ OFF SCREEN ]     --was it comfortable, too?    [  16:29  ]    …Yes or no?

A:            It was O.K.   Yes.   [ CAMERA SHAKY ]    Um…

CAMERA ABRUPTLY SHUTS OFF. 

CAMERA TURNS BACK ON. 

‘B.’ IS STANDING AT WINDOW.    [  16:43  ]

VERY LOUD MUSIC BY A BAND CALLED ‘THE RED HOT CHILI PEPPERS’ IS PLAYING, CONTINUOUSLY.

‘B.’ SPINS AROUND, MOVES HANDS, LEANS SIDE TO SIDE, PAUSES, STOPS.     

[  17:14  ]     ‘B.’ MOVES HANDS AND BODY, AGAIN, SPINS.

[  17:34  ]      CAMERA ZOOMS OUT TO SHOW ‘B.’ STANDING, MOVING, NEXT TO ‘A.’ SITTING, ROCKING, IN CHAIR.   CAMERA MOVES BACK TO JUST SHOW ‘B.’

A:            [ OFF SCREEN ]   MAKES HIGH PITCHED SOUNDS:  ‘Ooh—Ooh…’  [  18:08  ]    CAMERA IS VERY SHAKY, ALTERNATING BLACK TO WHITE SCREEN.

TAPE ABRUPTLY TURNS OFF, THEN CUTS TO WHITE SCREEN.    [  18:08  ] 

REMAINDER OF TAPE IS ALL B-ROLL  [  18:14-20:28  ]: 

EXTERIORS, CAMERA ZOOMING IN AND OUT, WALKING, PANNING, ETC. OF FRONT OF ‘A.’s’ HOME, HER CAR PARKED BY FRONT DOOR, THE FRONT YARD, DRIVEWAY, SIDEWALK, ETC. 

LOUD SOUND, OFF SCREEN, OF AIRCRAFT OVERHEAD.

NOTE:  ‘A.’ NO LONGER LIVES AT THIS HOUSE.  SHE MOVED IN 2010

END OF SEGMENTS 13-20:  M-T.

TRT:  20:24.

‘A.’s’ home, home-school/office area, day.  ‘A.’ w/ child ‘B.’; S. A. Jones filming/ interviewing.

KEY:  ~S=Sarah, interviewer/filmer.  ~A=Woman being interviewed.  ~B=Woman’s child.

Interviews are interspersed with photos [ STILLS ] of ‘B.’ as an infant through toddler age, before she was diagnosed with Rhetts’ Syndrome. Pre-Rhetts, ‘B.’ appears ‘typical’ and especially the physical difference between ‘then’ and ‘now’ is striking. 

UPDATE:  RECENTLY, ‘B.’ HAS GONE THROUGH ANOTHER REMARKABLE PHYSICAL TRANSFORMATION, GAINING HEIGHT, MUSCLE MASS, AND WEIGHT, PERHAPS BECAUSE OF INTERVENTIONS BY ‘A.’ [ ***SEE EMAILS RE: WHAT ‘A.’ DID FOR ‘B.’  SEE ALSO  RECENT PHOTO  *** NEED TO FIND/CITE.*** ]

NOTE: If no narration is documented with still photos, there is just general background noise off camera, including a television set. ALSO: Most stills were digitally photographed as well.  All stills are in color unless otherwise noted.

STILL #1  [  00:00-01:57  ] :  ‘A.’s’ FACE NEXT TO ‘B.’ AS AN INFANT: [ 00:00-00:25 ]    CAMERA PUSHES IN, TO ‘B.’s’ FACE, GOES OUT OF FOCUS, HOLDS ON BLURRED IMAGE. 

[  00:26-00:33  ]    CAMERA PULLS OUT, RE-FOCUSES ON MOTHER & INFANT.

[  00:33-02:14  ]    CAMERA CONTINUES TO PUSH IN AND OUT AND MOVE OVER IMAGE.

A:            [ OFF SCREEN / STILL #1 ]     [  01:03-01:28  ]    Q-tip [ DOG ], you cannot do the nasty [ MATE ] with Fifi [ DOG ] because, um, you could say she don’t want to be fathered to bastard children.  I mean, which doesn’t make sense but still, I think you not supposed to.  She [‘B.’/DOG?] don’t want you to de-flower Fifi virgin. 

[ 01:57 ]    END OF STILL #1.

STILL #2  [  02:06-04:02  ] :  ‘B.’ s FACE [ PORTRAIT ] PERHAPS AGE 1 TO 1-1/2?  [  02:19-02:29  ]    CAMERA, BLURRED ON ‘B.’s’ EYES, PULLS OUT TO FRAME HER INFANT FACE IN SHARP FOCUS.  ‘B.’s’ FACE IS ANIMATED, IN A HALF GRIN WITH EYE-BROWS RAISED.

B:            [ OFF SCREEN / STILL # 2 ]    MAKES SOUND.    [  02:28  ]

A:            [ OFF SCREEN / STILL # 2 ]    Oh, I’m petting her.

CAMERA CONTINUES TO PUSH IN AND OUT AND MOVE AROUND STILL #2.

A:            [ OFF SCREEN / STILL # 2 ]    Good girl.   [  03:02  ] 

B:            [ OFF SCREEN / STILL # 2 ]    MAKES SOUND.    [  03:24  ]

A:            [ OFF SCREEN / STILL # 2 ]    [  03:40  ]  SPEAKS SOFTLY  [ UNINTELLIGIBLE ].

            [  04:02  ]    END OF STILL #2.

‘A.’ IS ON ‘B.’s’ RIGHT, ON THE COUCH.    [  04:03-18:02  ]

NOTE:  ‘A.’ IS WEARING LONG PANTS AND A SPORTS BRA.  ‘B.’ IS WEARING A DIAPER AND SHIRT.

S:            [ OFF SCREEN ]    …you feed [??] Dolphin in one or two minutes, and when you go, I will just film, the pictures [ PHOTOS ].  So anyway, but that’s the biggest  thing we have left to 'talk' about—    [ OVERLAP ]

 B:           --PANTS.--    [ OVERLAP ]

S:            [ OFF SCREEN ]    —before I go, is 'talking'.  Heh, heh.     [ OVERLAP ]

B:            --CLAPS, PANTS.--    [ OVERLAP ]

‘A.’ FEEDS ‘B.’ WITH A SPOON.

S:            [  OFF SCREEN ]   --some of it—

A:            Maybe tomorrow?

S:            [ OFF SCREEN ]   Yeah.  And some of it we already got—  [ OVERLAP ]

B:            --MAKES SOUND.--    [ OVERLAP ]

S:            [ OFF SCREEN ]  --a lot of, because um, of things that started to come up in our conversation    [  04:29  ]    and uh, the other days because also because what you do with Dolphin is about  [ CAMERA MOVES DOWN, ‘A.’ AND ‘B.s’ FACES ARE OFF-SCREEN AND BACK UP ]  pointing and talking anyway.  It’s not just one of thing. 

A:            Yeah.  I try to do everything with her. 

S:            [ OFF SCREEN ]    Yes.  And, and so an exercise is not just about math, or just about pointing, or just about talking, it’s like you move back and forth.

NOTE:  MANY TIMES, OBSERVING HOW ‘A.’ WORKED WITH ‘B.’ VALIDATED WHAT WE HAD  TRIED AND HAD SEEN OTHER TYPICALS DOING, WHEN SUCCESSFULLY ENGAGING WITH NON-VERBAL AUTISTICS.  FOR EXAMPLE:  ‘A.’ ALMOST ALWAYS ENGAGES WITH ‘B.’, SITTING ON ‘B.’s’ RIGHT SIDE, AS WHEN DOING THE INTEGRATED TYPE OF DISCUSSION WHILE READING TO ‘B.’ ON TAPE #JD100707.3o4.  ‘A.’s’ STRATEGIES WERE MOSTLY BASED ON WHAT WORKED FOR HER, --BASED ON HER PERCEPTION OF THE ENVIRONMENT, FILTERED THROUGH HER AUTISM, AND WHAT SHE ‘FELT.’  AS TYPICALS “LOOKING IN FROM THE OUTSIDE,” STRATEGIES WE HAD DEVELOPED CAME FROM OBSERVATION; LIMITED ‘ONE-WAY’ QUESTIONING [ WE HAD TO INITIATE AND WORK WITH DIRECT ANSWERS TO DIRECT INQUIRIES.  I.E., IF WE COULD NOT THINK OF THE QUESTION BASED ON THE PERCEPTION FROM AN AUTISTIC PERSPECTIVE, WE MIGHT BE WAY OFF, EVEN MISSING THE POINT ALTOGETHER, THAT THE AUTISTIC INDIVIDUAL HAD NO MEANS TO QUALIFY OR ADD FURTHER EXPLANATION TO.] –-COMBINED WITH SCIENTIFIC STUDY AND POSTULATION.  MY SISTER, PORTIA IVERSEN, KNEW THAT RIGHT AND LEFT BRAIN HEMISPHERES PERFORM DIFFERENT FUNCTIONS.  SHE WAS THE ONE WHO THOUGHT TO TRY TO WORK ON AN AUTISTIC PERSON’S RIGHT SIDE, TO TRY TO CALM PHYSICAL ACTIVITY ON THE RIGHT SIDE INCLUDING STIMMING, AND ENGAGE THEIR LEFT BRAIN MORE.  ‘A.’ DID NOT HAVE THIS INFORMATION.  SHE JUST ‘KNEW’ THAT BEING ON ‘B.’s’ RIGHT SIDE WORKED BETTER.

I CAME FROM THE STRATEGIC PREMISE, HOW CAN I ENGAGE AND INCLUDE THE NON-VERBAL PERSON I AM WITH?  HOW CAN I MOST EFFECTIVELY AND AUTHENTICALLY ACKNOWLEDGE THEIR ‘BEING’ ON A CONSTANT BASIS WHEN I AM WITH THEM?  I DIDN’T HAVE ANY FACTUAL BASIS FOR THIS.  I JUST ‘KNEW’ OR ‘FELT’ IT WAS IMPORTANT TO ACKNOWLEDGE NON-VERBAL PEOPLE; TO ASSUME THEY ARE IN THERE SOMEWHERE.  SO IT WAS AGAIN VALIDATING WHEN ‘A.’ FREQUENTLY SPOKE ABOUT HOW IMPORTANT IT IS TO INCLUDE NON-VERBAL AUTISTICS; HOW ISOLATED SHE WAS BEFORE SHE COULD COMMUNICATE --AND IN THE PROCESS OF BECOMING AWARE OF HER INDIVIDUAL EXISTENCE, SEPARATE FROM OTHERS AT STARTING AT ABOUT AGE 9-- AND HOW IT ENCOURAGED PASSIVITY IN 'A.' AND THE FEELING OF BEING “GHOST-LIKE.”

‘A.’ DETAILS IN INTERVIEWS HOW ‘DISEMBODIED’ SHE WAS, PRE- COMMUNICATION  [ ***SEE VIDEOS AND WORD TRANSCRIPTS ON THIS TUMBLR SITE*** ] .  SHE HAD ONLY A VAGUE SENSE OF EXISTING AS A SEPARATE ENTITY, BEING AN INDIVIDUAL; AWARE THAT SHE EXISTED SINGULARLY ON A PHYSICAL, BODILY LEVEL.  ‘A.’ DESCRIBES BEING SHOCKED, SPEAKING FOR THE FIRST TIME, NOT EVEN KNOWING WHERE THE VIBRATION [ HER WORD FOR 'SOUND' ]  WAS COMING FROM.

IT WAS THEN THAT IT BEGAN TO DAWN ON ME, HOW CAN SOMEONE TYPE OR SPEAK IF THEY DO NOT EVEN KNOW THEY EXIST?  --THAT THE FIRST STEP TO BEING ABLE TO COMMUNICATE WOULD BE KNOWING THAT YOU ARE A SEPARATE BEING WITH A BODY THAT YOU CAN CONTROL.  THE IMAGE OF BEING ‘GHOST-LIKE;’ UNABLE TO EFFECT YOUR ENVIRONMENT; UNABLE TO TOUCH OR MOVE; NOT EVEN HAVING AN IDEA OF WHERE SOUND WAS EMANATING FROM –AS IN “ME,”  LET ALONE “MY” THROAT; THAT “I” HAVE FINGERS AND THAT WITH EFFORT I CAN DIRECT THEM TO MOVE, AS IN TYPING OR WRITING; IS FROM A 'TYPICAL' PERSPECTIVE, ASTONISHING. 

IT IS SUCH A BASIC STARTING POINT, IT HAD NEVER OCCURRED TO ME THAT TO LEARN TO COMMUNICATE, ONE MUST FIRST REALIZE THAT THEY EXIST AT ALL, BECAUSE WITHOUT KNOWLEDGE OF A PHYSICAL BODY, OR THE CONCEPTOF “SELF” (VS. ALL-ENCOMPASSING GROUP CONSCIOUSNESS), THERE CAN BE NO COMMUNICATION.

ONE OF THE REASONS I HAVE NOTED ‘B.’s’ SOUNDS AND MOVEMENTS THROUGHOUT THE FILMING PROCESS, IS THAT I BELIEVE SHE IS VERY MUCH ENGAGED AND PARTICIPATING WITH WHAT IS HAPPENING.  WHEN SHE LIKES WHAT IS GOING ON SHE STAYS CLOSE.  WHEN SHE GETS TIRED OR HAS A NEED [ TO EAT, TO MOVE HER BOWELS, TO NOT SIT SO LONG, TO DO SOMETHING ELSE ] SHE GETS UP AND ATTEMPTS TO LEAVE.  WHEN ‘B.’ RECOGNIZES SOMETHING, HAS A COMMENT, AND/OR AGREES OR WANTS TO EXPRESS THE WORD ‘YES,’ SHE CLAPS HER HANDS. WHEN SOMETHING BOTHERS HER, SHE OFTEN LETS OUT A SOUND LIKE A GRUNT OR A LOUD SIGH.

A:            --So she don’t get bored.

S:            [ OFF SCREEN ]    Yeah…     [  05:00  ]    But um,  …it sounds like the talking—It’s interesting because for most autistics, they start with typing and then talk, and you started with talking and then, ah, like, ‘Alone leave me,’ or… when you were nine?     [ OVERLAP ]

A:            Yeah.

 S:            [ OFF SCREEN ]    And then you did 'verbal stims' where you did a lot of repetition but wi—    [ OVERLAP ]

B:            --MAKES SOUND.--    [ OVERLAP ]

A:            It was speech, but it wasn’t communication.

NOTE:  THIS WAS VERY IMPORTANT FOR ME TO UNDERSTAND, ABOUT THE PROCESS OF LEARNING TO ‘SPEAK FOR MEANING,’ ALSO KNOWN AS ‘INTENTIONAL SPEECH.’  MANY AUTISTICS CAN VERBALIZE ARTICULATELY, BUT THEIR WORDS HAVE NO MEANING; THEY ARE NOT A DIRECT FORM OF COMMUNICATION.  AS ‘A.’ EXPLAINS IN OTHER INTERVIEWS [ *** NEED TO FIND/CITE *** ]  WHAT SHE WAS TRYING TO DO AT FIRST, WAS TO GET ANY WORD OUT –AS OPPOSED TO INDISTINCT, REPETITIVE SOUNDS.  THIS WAS ACTUALLY A STAGE OF HER LEARNING TO SPEAK FOR MEANING. 

WHEN WE HAD BEEN AT A SYMPOSIUM THE SUMMER OF 2007, IN SYRACUSE, N.Y., FOR NON-VERBAL AUTISTICS, BECAUSE OF ‘A.’s’ DETAILED EXPLANATIONS, I BEGAN TO REALIZE THAT THERE ARE MANY ‘UNINTELLIGIBLE’ STAGES OR PHASES TO GAINING INTELLIGIBLE SPEECH FOR AUTISTICS.  THIS IN TURN LED ME TO COME TO THE STUNNING REALIZATION, THAT OF THE SEVERAL HUNDRED NON-VERBAL PEOPLE ATTENDING THE SYMPOSIUM, MOST WERE IN SOME STAGE OF ATTEMPTING TO LEARN TO SPEAK FOR MEANING.

S:            [ OFF SCREEN ]    Right.  And then the communication came—  [ OVERLAP ]    [  05:29  ]

A:            --It, the communication got better after I did the typing.

S:            [ OFF SCREEN ]    Yes.  So it was like—    [ OVERLAP ]

VERY LOUD OFF SCREEN UNINTELLIGBLE SOUND FROM T.V.

S:            [ OFF SCREEN, CONT. ]    --some typing.  I mean som—a little bit of talking, intentionally [ THE THREE WORDS, ‘LEAVE ALONE ME.’ ].  A lot of talking not, not for communication per se, but just to experience—  [ OVERLAP ]

A:            --I didn’t have access to the computer like everybody does now. [ OVERLAP ] 

S:            [ OFF SCREEN ]    Yeah.--    [ OVERLAP ]

A:            --When I was younger, when I was younger computers weren’t, like,--  [ OVERLAP ]      [  05:59  ]

B:            CLAPS HANDS, PANTS, MAKES SOUNDS.--     [ OVERLAP ]

A:            --where everyone has one now.--   [  06:03  ]     [ OVERLAP ]

S:            [ OFF CAMERA ]    --Yeah, it was a rarity.--    [ OVERLAP ]               

B:            --PANTS, CLAPS.--    [ OVERLAP ]

A:            —So I would have probably done typing a lot sooner [ THAN AGE 12 ] .    

S:            [ OFF CAMERA ]   If you had started typing sooner, um, do you think you would have started talking more, um, sooner?--    [ OVERLAP ]

A:            Yeah.  Yes.

S:            [ OFF CAMERA ]      Because it sounds like you had perfect ability to talk, if it wasn’t intentional.  Like you could say words like [ THE PHRASE ] , ‘under and over,’ -‘under and over’    [  06:30  ]    perfectly, you just couldn’t have a conversation or answer a question with your voice.

A:            Yes.

S:            But your voice could make words perfectly .    

A:            Like T.V., I would watch it.  I would watch T.V. and then, you know, go ‘Yabba Dabba Do’ and all that, um…

S:            [ OFF CAMERA ]    Yeah.    

A:            —sounds on T.V. and—   [ OVERLAP ]  

B:            --CLAPS.--    [ OVERLAP ]

A:            [ CONT. ]    —‘Brady Bunch’ and uh… you know, recite all of that ‘Brady Bunch’ and like recite it.   I re-cited    [  06:59  ]    speech.   [ OVERLAP ]

B:            STANDS, IS PULLED BACK ONTO THE COUCH BY ‘A.’  [ OVERLAP ]

S:            [ OFF CAMERA ]    Did people, did people try to get you to do something different with speech?    

A:            Yea—emm… Nooo.  [ CAMERA SHAKY ]  It was like um… my mom prayed.  She said, ‘I prayed that she will talk, and, I should have been more specific because it’sss not communication—    [ OVERLAP ]

B:            GESTURES, MOTIONS WITH ARMS, HANDS; PANTS.    [ OVERLAP ]

A:            [ CONT. ]  --it’s just talking    [  07:30  ]  and it doesn’t mean anything, and, it’s repetitive.’  So, uh, uh,--      [ OVERLAP ] 

S:            [ OFF CAMERA ]    --And she didn’t know you could read and write.  Type.  Read and type.  She did not know that, at that time.--    [ OVERLAP ]

A:            --Well there was no, like, type—    [ OVERLAP ]

S:            [ OFF CAMERA ]    --No.--    [ OVERLAP ]

A:            [ CONT. ]  --typing then because there was no computers then--    [ OVERLAP ]

S:            [ OFF CAMERA ]    --Yeah.  And no typewriter.--    [ OVERLAP ]

A:            --This is nineteen-seventy-something.--       [ OVERLAP ]

S:            [ OFF CAMERA ]   --Right.--    [ OVERLAP ]

A:            The computer was only like—    [ CAMERA MOVES ]

S:            [ OFF CAMERA ]   --in a laboratory, or special university, or something.--   [ OVERLAP ]

B:            --PANTS, LEANS FORWARD, SITS BACK, SMILES.--   [ 08:00  ]    [ OVERLAP ]

A:            --Yes.  — ”   [ OVERLAP ]

S:            [ OFF CAMERA ]  --So, it was when you began typing—  [ OVERLAP ]

B:            --MAKES SOUND, PANTS, SMILES, ROCKS.--    [ OVERLAP ]

S:            [ OFF CAMERA ]    --that people knew.  They finally realized you really knew how to read and type,--     [ OVERLAP ]

A:            --Um-hm.--    [ OVERLAP ]

S:            [ OFF CAMERA ]    --and then they began to push more with talking? Uh, to—  [ OVERLAP ]

B:            --RISES, MAKES SOUND, SITS.--      [ OVERLAP ]

S:            [ OFF CAMERA ]     --talk more?  Not just to talk to repeat words?  But to talk to communicate?--    [ OVERLAP ]

A:            --Yeah.  But they’d got more with the typing. 

S:            [ OFF CAMERA ]    Yeah.

A:            So—     [ OVERLAP ]

B:            --PANTS, MOVES LEFT ARM.--     [ OVERLAP  ]

A:            --That’s where they got the more--

B:            --PANTS.--      [ OVERLAP ]

S:            [ OFF CAMERA ]  --They got the information also that you were smart—  [ OVERLAP ]     [ 08:31  ]

A:            --Yeah—    [ OVERLAP ]

S:            [ OFF CAMERA ]    --and could—    [ OVERLAP ]

A:            --O.K., that’s when they got to know—      [ OVERLAP ]

B:            --SILENTLY CLAPS.--    [ OVERLAP ]

A:            --the 'hidden' me.  Was with um,--  [ OVERLAP ]       

B:            --RISES, SITS, MOVES ARMS & HANDS.--    [ OVERLAP ]

A:            --the typing and the tests.  Which the tests I took, really I did really good tests, yeah.

S:            [ OFF CAMERA ]    So then, then maybe there were—  Do y—  Was there an idea that if you could do so good with typing with tests that maybe you could do something more specific with talking?  Or not?    [  09:00  ]

A:            Mm… after. 

S:            [ OFF CAMERA ]   Yeah. That’s what I mean. After they realized— [ OVERLAP ]

B:            --MAKES SOUND, PANTS.--    [ OVERLAP ]

S:            [ OFF CAMERA ]    --you could read and—    [ OVERLAP ]

A:            --After.  ‘Cause that’s when we started seeing doct—  I mean a therapist came to the house.  

S:            [ OFF CAMERA ]    --Mm-hm.--    [ OVERLAP ]

B:            --PANTS.--    [ OVERLAP ]

S:            [ OFF CAMERA ]    --Was that a speech therapist?

A:            I had speech, yeah.

S:            [ OFF CAMERA ]    Mm-hm.

A:            --And um,--    [ OVERLAP ]

B:            --PANTS.--    [ OVERLAP ]     

A:            --I forget.  I always had people in the house.  I got sick a lot. 

S:            [ OFF CAMERA ]    Yeah.

A:            I got sick a lot so this, I used to have a teacher visit   [  09:30  ]  the house.

S:            [ OFF CAMERA ]    Yeah.

‘A.’ WIPES ‘B.’s’ FACE, HELPS WITH HER SIPPY CUP.

S:            [ OFF CAMERA ]    About how old were you when you started—  [ OVERLAP ] 

B:            --MAKES SOUND.--   [ OVERLAP ]

S:            [ OFF CAMERA ]  --where it was specific, like an answer or a request? …Not just repeating words from T.V. land.

A:            Um, twelve or thirteen.

ODD, HIGH-PITCHED SOUND OFF CAMERA.

S:            [ OFF CAMERA ]    Yeah.    [  09:59  ]    So.  Did, would you s—  How soon would you say that intentional talking started after peo—  after you started doing intentional typing?  Was it—    [ OVERLAP ]

B:            --MAKES SOUNDS.--    [ OVERLAP ]

S:            [ OFF CAMERA ]    --um, 

A:            [ WHEN ] I could read what I wrote.  

S:            [ OFF CAMERA ]    So if you answered a question about information you could read it out loud? 

B:            ROCKS, MAKES SOFT, THEN LOUD SOUNDS.--    [ OVERLAP ]

A:            --After.  Not right away after, but after.   ‘D-O-G’ –‘dog.’ [ TYPES IN THE AIR ]  ‘D-O-G’ and then, ‘dog.’           

S:            [ OFF CAMERA ]    Mm-hm.--    [ OVERLAP ]    [  10:30  ]

A:            --So, um,     

S:            [ OFF CAMERA ]    So that was one of the ways they knew it was a good idea, maybe to help you, to talk,--   [ OVERLAP, UNINTELLIGIBLE ]  --because you could read your own writing?

A:            Yeah.  Mm--  Like uh, I had site words.

B:            CLAPS.--     [ OVERLAP ]

A:            --an’ so I had them with Dolphin.  --Mm--

S:            [ OFF CAMERA ]   Well if you could read your own words, what were the words that came out, like if, you had used the quote, ‘train wreck,’ where you would try to put    [  11:01  ]    sound, pushing out, with moving your lips and tongue correctly?

A:            I would say things like:    [ CAMERA SHAKY ]  -- [ MOVES MOUTH, SILENTLY ]

B:            CLAPS.

A:        --and it wouldn’t come out, somewhat. I don’t know why.  Um-- [ OVERLAP ]

S:            [ OFF CAMERA ]  --And could you do that with reading?—   [ OVERLAP ]

A:            --and that would come out like,  ‘Whooh!’  No, reading I could—   I don’t know why.  I just um…

S:            [ OFF CAMERA ]    Reading worked, but not just to sit and    [  11:30  ]    talk like we’re talking now.

A:            Yeah.  This—  That took work. 

S:            [ OFF CAMERA ]    And—      [ OVERLAP ]

A:            --Everything took work because after a while, I mean I could—  and then after a while I could make my point across but it wa-was like all monologue.

S:            [ OFF CAMERA ]    Mm-hm.

A:            Like:  [ UNINTELLIGIBLE SOUND ]   and I couldn’t do dialogue.  Um…  and li— I didn’t like it if someone changed the subject because I was on one—  [ GESTURES TO HER RIGHT ]  going one direction and then somebody  [  12:01  ]    else joining in would be going another direction [ GESTURES TO HER LEFT, THEN BACK AND FORTH ]  and I couldn’t switch to that direction, so I continued talking about what I was talking about— [ OVERLAP ]

 S:            [ OFF CAMERA ]    ‘Cause that would be—      [ OVERLAP ]

A:            --Like a train split.  See:  [ GESTURES TRAIN TRACKS SPLITING, USING BOTH HANDS/ARMS ]  —     [ OVERLAP ]

S:            [ OFF CAMERA ]    --Yeah.--     [ OVERLAP ]

A:            --I would --like two trains.  Like a train going this direction:  [ INDICATES HER RIGHT ]  and another train going this cord [??] :    [ INDICATES HER LEFT ]  So somebody joining the conversation  [ CAMERA SHAKY ]  pushed, pushed the talking like in another di-rection that I wasn’t ready to go to?  I had to reorganize to do that?    [  12:31  ]   Sooo-- you—

‘B.’ LOOKS AWAY WHILE TOUCHING ‘A.’s’ LEFT ARM WITH HER RIGHT HAND.  ‘A.’ PAUSES AND TURNS TO ‘B.’   ‘B.’ ‘PATS’ ‘A.’s’ LEFT ARM.

S:            [ OFF CAMERA ]    If you are talking, are you looking?

A:            No.  I mean like looking-looking, or looking just like…

S:            [ OFF CAMERA ]     Are, are your—     [ OVERLAP ]

A:            --I’m looking in my head.

S:            [ OFF CAMERA ]   Yes, but outside  [ CAMERA SHAKY ]  in the physical world?

A:            No.  I’m looking in my head.  I’m organizing in my head.  And I can’t organize where everything is supposed to be in my head if I’m   [  13:01  ]   [ CAMERA  SHAKY ]    looking at what’s going on. 

S:            [ OFF CAMERA ]     So how do you do something like read out loud with the book?  [ SEE ‘A.’ READING ALOUD IN PREVIOUS TAPE: JD1007073o4 FROM THE BOOK ‘ISLAND OF THE BLUE DOLPHIN.’ ]  --Because that’s looking.  You have to see the words in order to say them.  How do you do that?

A:            Um-- I look at the words, and then I say them.  Um,-- [ OVERLAP ]

S:            [ OFF CAMERA ]    --So like taking turns? 

A:            Yes! 

S:            [ OFF CAMERA ]    Looking, speaking; looking speaking?--  [ OVERLAP ]

A:            Um, yeah. 

S:            [ OFF CAMERA ]    How did you—    [ OVERLAP ]

A:            --I don’t     [  13:30  ]     know.  Somebody said that, that the—I forgot who said that.  I forget, um,  

 S:            [ OFF CAMERA ]    How did you look at—    [ OVERLAP ]

A:            --Somebody said that I…  um…    [ CAMERA SHAKY ]    I w’read funny.  I do.  I’m faster now.--    [ OVERLAP ]

B:            --ROCKS BACK AND FORTH.--    [ OVERLAP ]

A:            --Um, I look and   [  14:02 ]   then I read.  [ SQUEEZES EYES SHUT ]  I mean, I look and then, um,--    [ OVERLAP ]

S:            [ OFF CAMERA ]    --say the words.

A:            Yeah.  Uh…  I, I don’t, somebody said there’s a de-lay frroom when I’m looking, and then, talked and reciting.   Like there’s a delay there—    [ OVERLAP ]

S:            [ OFF CAMERA ]     So—     [ OVERLAP ]

A:            --No.  I, I, I don’t   [ CAMERA SHAKY ]  read out loud normal.  Like:   [  14:29  ]   Half the time I’m reading  [ CLOSES EYES ]  out loud they, somebody said my eyes were closed, like all the time, like blinking like, like, I don’t know.  Um…   [ OVERLAP ]

S:            [ OFF CAMERA ]        So how did you look at peoples’ faces for practicing talking?  Did you look and then practice… out loud with your voice?   Could you look at their face and—      [ OVERLAP ]

A:            --No.    

S:            [ OFF CAMERA ]       --talk at the same time?

A:            No.  I haddah hear them first.  [  14:59  ]    You have to switch.  [ OVERLAP ]  Always switch.  [ CLOSES EYES, RUBS FOREHEAD. ]  You listen, then you look, then you listen.  You can’t do both.  Uh…  you listen to what they say and then, um…   [ CAMERA SHAKEY ]  it takes a lot of ssswitching back and—    [ OVERLAP ]

NOTE:  THIS IS ONE OF THE CORNER STONES FOR ‘A.’s’ STRATEGY FOR SPEAKING OUT LOUD.  SHE HAS FOUND WAYS TO ‘SWITCH’ OFF AND ON HEARING, SEEING, AND SPEAKING.  WE DISCUSS THIS TECHNIQUE IN GREAT DETAIL, AND ‘A.’ DOES EXERCISES TO DEMONSTRATE, IN OTHER INTERVIEWS, ALREADY POSTED ON TUMBLR.  [ *** NEED TO FIND/CITE. *** ]

B:            --CLAPS HANDS SEVERAL TIMES.--      [ OVERLAP  ]

A:            --forth.--    [ 15:29  ]      [ OVERLAP ]

S:            [ OFF CAMERA ]    --So the—    [ OVERLAP ]

A:            --If you’re looking at the mouth, you… don’t hear so clear.  [ OVERLAP ]

B:            MAKES SOUNDS.  MOVES LEGS.  BUMPS OBJECT WITH FOOT.--    [ OVERLAP ]

A:            --Then you couldn’t get the movements going.  You get the movements going.

S:            [ OFF CAMERA ]    But if you look at the face, what do you look at on the face—   [ OVERLAP ]

A:            --The mouth.

S:            [ OFF CAMERA ]    What about eyes or nose or chin or anything else?

A:            They don’t do anything for me.

S:            [ OFF CAMERA ]   Mm-hm.

A:            Just the mouth.

S:            [ OFF CAMERA ]    So when, one of the things that came up that we were   [  16:00  ]    talking about, was when you were wanting some feedback from me during an interview, and I said—    [ OVERLAP ]

A:            --You didn’t move.--     [ OVERLAP ]

S:            [ OFF CAMERA ]     --I, my face was only doing small things like smiling or nodding, but if you were talking then, you couldn’t really look over and check my face.

A:            Yeah.  You, you’re always checking.  There’s always like, um, after.  You know.--  [ OVERLAP ]

S:            [ OFF CAMERA ]    --Mm-hm.--      [ OVERLAP ]

A:            --Your movement after, you know.  Or something. 

S:            [ OFF CAMERA ]   So if the camera—     [ OVERLAP ]

B:            --MAKES SOUNDS.  STARTS TO LAUGH.--    [ OVERLAP ]

S:            [ OFF CAMERA ]   --is blocking my face, and you’re trying to listen while I talk, it’s    [  16:30  ]    hard to keep checking my face to see how I am responding to you.--  [ OVERLAP ]

A:            --Yes.  Um-hm.   

S:            [ OFF CAMERA ]     How does that feel?

A:            How does what feel?

S:            [ OFF CAMERA ]     To n— to not being able to check—  [ OVERLAP ]

B:            --CLAPS HANDS.--       [ OVERLAP ]

S:            [ OFF CAMERA ]   --how I’m responding to your talking? 

A:            Oh.  Then I would ask for a response.

S:            [ OFF CAMERA ]     Yeah.

A:            Because if I’m going through all that trouble, I want you to see. 

S:            [ OFF CAMERA ]    And what are the best ways I can respond    [  16:59  ]    that um, would be the clearest communication for you? --I talk—  [ OVERLAP ]

A:            --The clearest is, you did good rhythm there.  Like your words, your lips danced then.  Or, you know—   [ OVERLAP ]

S:            [ OFF CAMERA ]     --And if can I put—     [ OVERLAP ]

A:            --you put music in your words so I, that would be my thing.  But— [ OVERLAP ]

S:            [ OFF CAMERA ]   --But if I—  But if you’re—   [ OVERLAP ]

A:            --I have to go to …mm…

S:            [ OFF CAMERA ]   --clean the house?   Heh, heh.     [  17:30  ]   

A:            Yeah.  I have to do things—   [ OVERLAP ]

S:            [ OFF CAMERA ]  --Let me just ask one last thing—   [ OVERLAP ]

A:            --gonna burn…

S:            [ OFF CAMERA ]   --if, if I’m talking,--      [ OVERLAP ]

B:            --PANTS.--      [ OVERLAP ]

S:            [ OFF CAMERA ]   --I mean if you are talking, which means I can’t talk, ah, on top of you, how can you check if I’m listening?  –good?

A:            What?

B:            CLAPS.--      [ OVERLAP ]

S:            [ OFF CAMERA ]     --If you, if you are doing the talking…

A:            Yeah.

S:            [ OFF CAMERA ]   --how can you check, while you are talking, if I am doing listening? 

B:            ROCKS.

A:            I don’t check.    [  17:59  ]   

S:            [ OFF CAMERA ]        Mm-Kay.

‘A.’ TRIES TO KISS ‘B.’s’ HEAD.

S:            [ OFF CAMERA ]   --M’Kay.

‘A.’ KISSES ‘B.’s’ HEAD. 

TAPE ABRUPTLY TURNS OFF, THEN CUTS TO STILL PHOTO.  [  18:09  ] REMAINDER OF TAPE IS ALL STILL PHOTOS, WITH CAMERA MOVING IN, OUT, AND AROUND EACH IMAGE.  AGAIN, PLEASE NOTE ALL IMAGES WERE PHOTOGRAPHED WITH A DIGITAL CAMERA AS WELL, AND ARE AVAILABLE IN .jpg FORMAT.

STILL #3  [  18:09 - 18:32  ] :   ‘B.’ AS AN INFANT:  ASLEEP IN HER CRIB.

OFF SCREEN:  SOUND OF DOGS GROWLING, PLAYING.

STILL #4  [  18:33 - 18:48  ] :   ‘B.’ AS AN INFANT:  LOOKING INTO CAMERA, RIGHT FOOT TO MOUTH, LAYING ON HER BACK.

B:            [ OFF SCREEN ]        MAKES LOUD SOUNDS.      [ OVERLAP ]  [  18:42  ]

S:            [ OFF SCREEN ]         Are the dogs going wild?

STILL #5  [  18:49 - 19:41  ] :   ‘B.’ AS AN INFANT:  LOOKING INTO CAMERA, SMILING, HOLDING ONTO TOY, SITTING IN WALKER.

B:            [ OFF SCREEN ]        PANTS.         [  18:54  ]

S:            [ OFF SCREEN TO DOGS, CAMERA SHAKY ]  Stop it. Go on! Go on!  [ 19:10 ] 

STILL #6  [  19:42 - 19:54  ] :   ‘B.’ AS A TODDLER SITTING ON THE FLOOR IN A RED DRESS WITH LOTS OF TOYS. 

STILL #7  [  19:55 - 20:31  ] :  ‘B.’ AS AN INFANT:  LOOKING INTO CAMERA, PUTTING TOY IN MOUTH.

B:            [ OFF SCREEN ]        MAKES SOUNDS, PANTS.  DOGS SCUFFLE.     

STILL #8  [  20:32 - 21:18  ] :   ‘B.’ AS AN INFANT:  LOOKING INTO CAMERA, SMILING, HANDS UP BY HER CHIN, SURROUNDED BY TOYS.

B:            [ OFF SCREEN ]        PANTS.        

STILL #9  [  21:19 - 21:49  ] :   ‘B.’ AS A TODDLER:  LOOKING INTO CAMERA, SITTING WITH TOYS.

B:            [ OFF SCREEN ]        PANTS, MAKES SOUND.         

STILL #10  [  21:50 - 21:18  ] :   ‘B.’ AS AN INFANT: SITTING IN WALKER, INTERACTING WITH COUSIN [ ‘A.’s’ NEPHEW WHO IS ALSO AUTISTIC??? ] –OTHER CHILD’S FACE IS NOT SHOWN.

STILL #11  [  22:19 - 22:48  ] :   ‘B.’ AS AN INFANT:  LOOKING INTO CAMERA, SMILING BIG WITH MOUTH OPEN.  

B:            [ OFF SCREEN ]        PANTS, MAKES SOUNDS.       

TAPE STOPS.  TRT:  22:48.

My condo lvgrm area, day.  'A.' with 'B.' (daughter); S. A. Jones filming/interviewing.

 KEY:  ~'S'=Sarah.  ~'A'=Woman being interviewed (wearing dark glasses).  ~'B'=Woman’s child.

Note:  TV sound is ‘on’, off-screen.  'A.' often requested it be turned on during our interviews.  Also, 'B.' often pants and makes sounds while we are talking.

A:            I didn’t know, it didn’t matter because nobody did it, see? 

S:            Oh-            [ OVERLAP ] 

A:            It was all special then. They put me in a  [ TYPICAL ]  classroom…   [  00:14  ]    but,

S:            --Where the kids had all these life skills?  Just automatically?    [  00:23  ] 

A:            Yeah.  Everybody knew how to tie their shoelaces. 

S:            And everybody knew how to use the toilet.

A:            Yesss.   [  00:30  ]   And that--

S:            And what would have been an issue, like if you— Of course  [  00:36  ]  you could have a parent tie your shoes in the morning and maybe not have to tie them all day, but you maybe have to go to the bathroom many times t--    [ OVERLAP ]  

A:            I would forget that.  It didn’t matter when I was in my   [ SPECIAL EDUCATION ]   classroom before but    [  00:48  ]   it mattered when I was in that   [ TYPICAL ]   classroom after, see?  It-I-  then I realized after this 'J.' entity was an oddity because she could do   [  01:00  ]   all this stuff that everybody said was smart and then at the same time she couldn’t do a lot of the stuff that only like, like    [  01:10  ]    …a retard can’t do.  So that was hard. 

S:            And—

A:            --and I couldn’t figure out why this--   [  01:21  ]    That still took longer, and so I couldn’t be in the regular-- that--  They moved my classes a lot so, but, I, so I didn’t mind as long as, um, and…     [  01:36  ]        [ OVERLAP ]

B:            [ MAKES LOUD SOUND ] 

A:            --I didn’t mind it for too long.  And that was it, see?    [  01:42  ] 

S:            But, then, with um, … was it, and, and-- So with the ah, … talking.  –When did—   [ OVERLAP ]  I’m talking about 'talking intentionally'; did that seem to come hand-in-hand with typing or w--    …’    [ OVERLAP ]

A:            Yes--  [ OVERLAP ]

S:            An-and how-- When--   did  um, like you were nine  [  02:08  ] you said a phrase.  An--   [ OVERLAP ]   when did   [ OVERLAP ]   --What?

A:            --‘cause    [ OVERLAP ]   I could read.  I could read.

 S:            --out loud?    [ OVERLAP ] 

A:            Ah yes, after I could read out loud.    [  02:19  ]   

S:            After you could type? 

A:            After this.  -No.  I could read regular books out loud.  I--  They--  I would read… mmm…   [ OVERLAP/UNINTELLIGIBLE ]    --how would, they said I could read       [ OVERLAP ]

S:            -This is when you were twelve?         [ OVERLAP ]

A:            Yeah.     [  02:35  ]      [ OVERLAP ]

S:            ‘Cause now they know you can read--   [ OVERLAP ] 

A:            Yesss.  And spell.  But the speech is not right and they couldn’t understand that then I could read out loud    [ 02:48  ]    the books.

S:            -but not do the talking like, ‘Hi, how are you?’ – ‘Give me some food.’

A:            Mmm...  no.  Yeah.  I—yeah.  That’s like conversation but I could—  [ OVERLAP ]

S:            Or asking a question or making a command--   [ OVERLAP ]    [  03:03  ]

A:              --Like ‘Dick and Jane’ and all this.  Like I can go ‘Dick and Jane’ and like the dictionary and… like go to the dictionary;    [  03:14  ]    like these words and then, like, oooh, I could--  Like, and the sounds of words I didn’t know, see?  And that’s, they would show me--    [  03:22  ]   I mean I did, I could, like s--    Before I could only repeat people’s phrases then I could repeat…   I could say the words so-     [ OVERLAP ] 

S:            And so in a way reading was an extension of repeating-  [ OVERLAP ] 

A:            Yes-

S:            -reading out loud?

A:            -yes, yes. Yeah.  But um…   [  03:46  ]    Ummm…

S:            But you couldn’t sit there and think in your head, ‘I want them to shut-up,’ and then say that?   [  03:54  ]  And then be able to say, ‘Will you guys shut-up?’ –You couldn’t do that kind of a process?  [ OVERLAP ]

A:            I don’t know why.      [  04:01  ]  

S:            Yeah.  But I mean—  But I’m just trying to understand, so you could read--   [ OVERLAP ]

A:            --I don’t know why but that is so.   [ OVERLAP ]

S:            Yeah--   [ OVERLAP/UNINTELLIGIBLE ]

A:            Yeah.    [ OVERLAP ]

S:            So, so the talking wasn’t like other peoples’ talking    [  04:10  ]

A:            Yes.  But I could um…

S:            You had the mechanics to talk--    

A:            Yeah.  [ OVERLAP ]

S:            Physically you could form speech but     [  04:18  ]    you just couldn’t do anything to make it make sense for a conversation--    [ OVERLAP ]

A:            Yeah.  But the   [  04:23  ]     books made the sense, so I started…  ehoooh… saying phrases like the books,    [  04:35  ]  like look for the phrases in the books.

S:            Like where two people are talking in the book.   [  04:40  ]  

A:            Yes.  It-- But it might go along--  Or I would pick a word.  I know the word,    [  04:45  ]    and I look for it in the dictionary.  I remember that.  I would look in —n’ the, I will look for the word, and then I would-- I see it and then I could say it.   [  04:59  ]    So I was flipping--   I was like a crazy person, see?  ‘Cause I was flipping pages looking for the words, and so I could say them.  So like a sentence would take like, like,  five minutes almost.  So...

S:            And was this still mostly happening at school?  Or were you like using a dictionary at home?    [  05:16  ]    [ OVERLAP ]

A:               -At my school, too.  But at home, no, I, at home I just relaxed, yeah.   [ OVERLAP ]   

S:            Yeah--    [ OVERLAP ]    So it sounds like in a way at home it was--  Well how did you feel about being able to rest at home?    [  05:28  ]   

A:            Good.   Um— even though I looked forward to the next day.   [  05:34  ]    But at home I practiced a lot, too, because I would read and read and I would know the phrases and I would work my mouth a lot like:  [DEMONSTRATES PRACTICING WITH HER MOUTH AND FORMING SOUNDS –med. shot], like--

S:            What gave you that idea?    [  05:47  ] 

A:            Looked –  I don’t know.  I looked in the mirror all th--  TV People.  [  05:51  ]  I couldn’t do--

S:            ‘Cause in the mirror could you see your whole face?

A:             No, just my mouth.    [  05:57  ] 

S:            Yeah.

A:            But, like, I could see the TV People really good, so I could repeat phrases from the TV people  [  06:04  ]   and if…  I would repeat… TV People phrases at times so…  Um, it t’was a long time, and it took forever.    [  06:16  ]  It was— It seemed like forever and I--      [ OVERLAP ]

S:            Would-- Did you have a speech therapist who would--?  [ OVERLAP ]

A:            Yeah.  I had Vaness— I mean [ UNINTELLIGIBLE MUMBLING ]  I am an expert at this now, so…    [  06:31  ]   

S:            Like right now Dolphin is sitting next to you.  Can you show us with her, some of the things— You show, were showing me ways you, that were, that touch on--  Oh well, maybe she is getting up.  But to touch on her face to show where her mouth is? --  I’m gonna push in with this  

CAMERA MOVES IN TO CLOSE-UP OF ‘A.’  WORKING WITH ‘B.’ ON SPEECH EXERCISE:     

A:            [ DEMONSTRATING WITH ‘B.’ USING THE LETTER ‘B’ ]  ‘B’, ‘B’, ‘B’.  Ngn, ahhh…  [ SMILING, HUGGING ‘B.’ ]  This is hard:  ‘DOL-PHIN.’ –So you go, ‘DOLPH.’  [‘B.’ IS PANTING WITH EFFORT]      [  07:07  ]    ‘DOLPHHH,’ --  ‘PHIN’.  Now to ‘DOLPHHH’ –open…   [  07:17  ]  and go ‘OHPH,’ and then you go, ‘PH-PH’. [ OVERLAP ]

B:             [ WORKS AT MAKING THE ‘PH’ SOUND. ]  

A:            The two front lips go like this: ‘PH’ and then go, ‘PHIN-PHIN’.  [  07:28  ]  Like, ‘PHHH-INNN.’  Like, ‘INNN.’    [ OVERLAPPING ]

S:            So you are moving lips and making sound and breathing out to do all these things?    [  07:38  ]     [ OVERLAPPING ]

A:            Yeah.  Sometimes it didn’t happen.   [ OVERLAPPING ]

[ MORE OVERLAPPING WHILE ‘A.’ CONTINUES TO DEMONSTRATE TECHNIQUE WITH ‘B.’ TO FORM A WORD. ]

S:            I’m going to be quiet like I did the other day when you did some work with her.    [ OVERLAPPING ]

A:            ‘DOLL-PHIN’   [  08:01  ]    [ OVERLAPPING ]

B:            [ PANTING ]       [ OVERLAPPING ]

A:            Now, ‘INNN.’   Now, now y’gotta go--  You might have to close and go ‘NNN.’  Like that.  When you grind your teeth go, ‘NNN.’    [  08:15  ]   That’s—Yeah--  You got the ‘DOLPH.’  You got to go ‘PHH’.  Now you got to    [ UNINTELLIGBLE WORD ] .  You got to grind the--  You know how you grind your teeth?  You got to do it again and grind.  

B.             [ STRAINS TO MAKE SOUND. ]

A:             --‘DOLPH’   And puff up and grind it.      [08:52  ]    But you gotta do it like fast, like fast than that, O.K.?  Now close…  Yeah, but you can’t do all that in between  [  09:06  ]  because it’s gonna take like five minutes just to say your name.  You have to do it faster.  The whole point of it is to do it fast.    [  09:16  ]  Try to push it up fast.  Be—If you drag it out it won’t have not.  Do it again.  

B.             [ LETS OUT A SOUND. ]

A:            ‘DOPHIN.’   ‘DOLL-PHIN.’    [ 09:35  ]    Grind.  Grind at the end.  D’yeah.  ‘DOLPH.’  Try push it out.  ‘NNN.’  [  09:44  ]  Now go like--  [ UNINTELLIGIABLE WORD ]  ‘DOLPHIIIN,’ – ‘NNN.’  ‘PUH.’  Just test [ COUNT SILENTLY TO ] five.  Five seconds only your mouth is existing.  You have--    [  09:59  ]  Don’t own your hands now.  Own, you got own your mouth.  Right here.  Own here.  That’s it.    [  10:08  ]   These two.  That’s all you have to move.  That’s the only thing gonna exist right now.  So, you don’t have to control all of your body all of the time.  You    [  10:19  ]    just have to control one part of your body some of the time.  And this is it, right there.   Real quick.  There.  And that’s it.   [  10:28  ]  So 1-2-3-4-5.  Try ‘n push it out, right there.    [  10:33  ]    That’s it, push it out.  … 1-2-3-4-5.     [  10:43 ]  ‘G’YAH-DAH.’  You did only one of the sounds.  Now you gotta finish out the other sound.  You have to try to put them together.  O.K.

B:            Hhhh—

A:            Now try to put them together…    [  10:56  ]    That’s it.  This is the only thing that exists right now:

EXTREME CLOSE-UP AS ‘A.’ TOUCHES ‘B.’s’ LIPS. 

A:            Just own only this part of your body right now.  Right there;  1-2-3-4-5.  Own only your mouth.     [  11:12  ]    ‘DOLPH.’  You did that, ‘DOLPH.’  Now you gotta go, the last one in ‘PHIN.’    [  11:19  ]    It’s with the last part when you grind your teeth soft like that…    O.K.  Now again. 

B:            Hhhh-   uh-hhhhh

A:            Almost--

S:            I heard that!   Ha-hah.    [  11:34  ]          [ OVERLAP ]

A:            Almost.  O.K. good, good. But now with the grind, cool.   Yeah.  O.K.  The only part of your body that exists is the mouth.    [  11:48  ]    You’re doing your hands.  I’ll do this.  Don’t use your hands because y-your hands are existing and you can’t talk with your hands.    [  11:58  ]      Now, your mouth, again.  You got your mouth. Your mouth is the only thing that exists.  It’s the only part.  So only 1-2-3- eh -4-5.  Only your mouth.  Only your mouth. 

EXTREME CLOSE-UP OF ‘B.’s’ MOUTH.

A:            -Only thing that exists.      [  12:14  ]   

B:            [ WORKS MOUTH. ]

A:            Oh-oh good.  Almost.  Almost.  … Almost.  Yeah.  Yeah.  I need more ‘smack’.  I got like that, ‘DOLPHIN.’  - ‘DOLPHIN.’  [  12:27  ]    ‘DOLPHIN.’    1-2-3-4-5.

B:            [ MOUTHS ‘DOLPHIN’ ].     [ OVERLAP ]

A:            [ WHISPERING ]  ‘DOLPHIN.’   [ OVERLAP ]  Yeah.  You did it.  N—Now next time you gotta puff air out, too.  Do it again, 1-2-3-4-5.    [  12:40  ]   

B:            [ PANTS. ]   --

[ LOTS OF OVERLAPPING WITH ‘B.’ PANTING AND ‘A.’ INSTRUCTING…]

A:            [ SOFTLY: ]  ‘DOLPHHH…’   Yeah…   Good…   

B:            [ MAKES SOUND ]

A:            Yeah.     [  12:50  ]     I know.  One more time.  I know.  One more time.  Yeh hands.   If you use your hands then you gonna forget thit’s your mouth.  Right there. Just     [  13:01  ]    use your mouth.   [ WHISPERS: ]  ‘DOLPHIN.’  [ BACK TO REGULAR VOICE: ]  1-2-3-4-5.  –Push.  Good.

B:            [ MAKES SOUND. ]        [ OVERLAP ]

A:            Good.   1-2-3-4-5.   One more time.  Only your mouth.    [  13:20  ]  …

B:            [ MAKES SOUND. ]

A:            1-2-3-4-5.  Push.  – ‘DOLPHIN.’    [  13:33  ]    N’yehah.

B:            [ MAKES SOUND. ]

A:            You got the ‘F’ sound.    [  13:44  ]      O.K.  Practice your mouth a little bit.  O.K.  Oh, no, no, no.  O.K.  O.K.    [  13:55 ]    One more time.  1-2-3-4-5.  1-2-3-4-5. ‘DOL-PHIN.’  --‘DOLL-PHIN.’  Only your mouth.  It just like it--  It’s like this:  I gotta tell you.   [  14:19  ]  You know where you want to get to.  But if you don’t know where you’re at then, how are you gonna get there?    [  14:28  ]    See?  So this is where you’re at.  Right there.  There.  There.  That’s it.  Now you are here.  Now ee from that you push it.    [  14:40  ]    You can’t push it from your head because telepathy doesn’t work so well and telekinesis doesn’t either and you can’t talk with the hands, you just have to use one part of the body  [  14:54  ]   at the time, like just here, see?  Right here.  You can’t just think the word.  You have to say the word.    [  15:03  ]    And you have to say the word not with your knee or with your hand, but with your mouth.  And your mouth is here, see?  Yeah.  That’s it.  ‘DOL-PHIN.’    [15:14]    --  ‘DOL-PHIN.’  --  ‘DOLL-PHIN.’  -- ‘DOLLL-PHIN.’  -- ‘DOL-PHIN.’    [  15:31  ]    That’s it.  It doesn’t matter if it doesn’t, if you don’t get it all the way right, but move your mouth because that’s— If you remember where your mouth is at    [  15:47  ]    like 1-2-3- your mouth.  If you know your mouth.  You just gotta remind yourself, where is your mouth, and just move it.  If you could control moving it, then after awhile   [  16:01  ]    you control moving it, then a little while later after you can-  after you can master that then you can master it after, see?    [16:12  ]    But you got to remember where your mouth is at, so, first.  Even if you don’t say it right just push your mouth    [  16:22  ]    even if it’s not the right sound.  Push your mouth one more time. 

B:            [ MAKES SOUND. ]

A:            Push your mouth.  Yeah.    [  16:33  ]    Just with your mouth.  That’s the only thing that exists.    [ ‘A.’ TOUCHES ‘B.’s’ LIPS. ]   Right there.  [  16:45  ]  I know.  Go ‘POOF.’  You don’t have to sound like me, see? – You just have to know where it’s at.    [  16:58  ]    So just make any sound or any movement because then you know where it’s at.  And if you know where it’s at then you know where point ‘A’ is.  Then you could get to point ‘B,’    [  17:12  ]    which is where we want to go eventually, see?  Now, one more you see, ‘A’ even if it’s, even if you don’t get to point ‘B.’    [ 17:23  ]    Know- knowing where point ‘A’ is.  You will get it.  Just keep with your mouth, pumping.  --  Where is your mouth?    [  17:45  ]    --  Good.  That is control.  It doesn’t seem like much, but it’s control.  When you control that, then you practice and you just l—how to  control it even for a second or even two seconds and then later on you could control it for five seconds.    [  18:18  ]    And even if it don’t move in the right direction, the next time you could move it in the right direction.  But you have to remember.  So pump.  One more pump.  Pump it--   You know you like the sound of your voice anyhow.    [  18:39  ] 

B:            [ MAKES SOUND. ]

A:            Yeah.  --  Pump it.  --  You sssseee.  – But now you got your hands on your nose. 

B:            [ MAKES SOUND. ]        [  19:04  ]

A:            O.K.  You got your mouth, too.  That’s good.  --  Pump it.  --  I know it.  Thinking about it is where you get stuck, yeah.  Pump it.  One more time. 

B:            [ MAKES SOUND. ]

A:            Anything.   [  19:25  ]    Ayyy-yah.  Hear.

B:            [ TAKES A DEEP BREATH?? ]

A:            There.  Good.

B:            [ TAKES A DEEP BREATH, AGAIN?? ]

A:            Good.  I hear that.  I could’s hear really good.  I hear that.  So you don’t have to worry about that.  Don’t bother anybody else’s expectations because they talk better.  Because they are a whole different breed of people.  [  19:54  ]    --  Sssooo you can’t judge yourself because you’re a different person.  You’re a different breed of person.  --  If you start thinking that, judging yourself in terms of them,    [   20:19  ]    then you’re just gonna get frustrated.  --  Anything you do is a step.  They’re worried, ‘cause they’re all crazy anyhow.  So, it’s not like you really have to impress much.  --  One more time.  Just one.    [  20:49  ]    I…mmm…   You’re using your eyes.  If you use your eyes you can get confused.    [ OVERLAP ]

B:            [ MAKES A SOUND. ]            [ OVERLAP ]

A:            Oh, you did it, too.    [  21:07  ]    Did you do those two together? –Yeah.  Eyes and your mouth together?  That was really good. 

B:            [ LOTS OF PANTING. ]

A:            You’re working it.  Take a break now.  Stop and push.  Take a deep breath and push.    [  21:32  ]    Yeah.  Take a deep breath and push.  O.K., you know where your mouth is.  You’re exercising it, now.   Push…  ‘EN-YAHHH.’    [  21:52  ]

B:            [ TAKES A DEEP BREATH?? ]

A:            Yeah.  –Well you know where your mouth is at, but now, push the sound out. 

B:            [ PUSHES SOUND/BREATH OUT. ]

A:            You know how you suck on that, but when you suck on it, push the sound out. --  You know that.

B:            [ PUSHES SOUND/BREATH OUT?? ]

A:            Breathe in.    [  22:38  ]   

B:            [ LOTS OF PANTING. ]

A:            Oh-it.  Wait, wait.  O.K., 1-2-3-4-5, hold your breath, push.  No.  1-2-3-4-5, hold your breath.  Push.  --  Anything.  [ ‘A.’ DOES BREATHING IN/OUT. ]  --‘POOF’ --

B:            [ PUSHES SOUND/BREATH OUT, LOUD. ]

A:            One more.    [  23:21  ]   Go ‘push’. 

B:            Eh!

A:            Good!  One more.  Push, push!  Push, push!  Puuu-sh!  Nyagh.  Push!  Ahhh-ah.  Ahhh.   Ahhh-mm.  Vocals are good, too.  [  23:48  ]    Even if you can’t pump your mouth, you try vocal, like your throat. 

B:           [ PANTING. ]

A:            Yeah.  See, you did ‘POOF.’  You did the ‘POOF.’ 

B:            [ PANTING. ]

A:            Now go, ‘AHHHH…’      [  24:06 ]  --    ‘AHHH…’  --  ‘AHH…’  -- ‘AHHHH.’ – ‘AH-YH.’    --  ‘AHH.’  --  ‘AHHH.’  --  ‘AHHH.’ 

B:            [ PANTING. ]

A:            ‘AH-AHHH-YAH.’    -- ‘AH-AH.’  -- ‘AHHHHHHH-AH.’  -- ‘AH-AHHH-AHHH.’   [  24:44  ]    ‘AHHH-AH.’   -- ‘UHH.’   -- ‘UH.’  -- ‘AAAHHH.’  -- ‘UH-UH.’  --

B:            UH!

A:            Yeah.  One more.  ‘UH!’  ---  ‘UH-UH-UH-UH-UH-UH-UH-UH-OOOH!’ -- [ MAKES A HIGH-PITCHED VOCALIZATION: ]  ‘UYEOU!’ --  ‘EHOU!’ --  ‘OOOH!’    [  25:21  ]   --

B:            Ehh-! 

A:            Yes-!  Nobody speaks that language, but go ahead.  Go.  Just do that ‘OOOH!’ – ‘OOOH!’  -- ‘UH,’ –

B:            Eh-!    [ OVERLAP ]

A:            ‘OOOH!’    ‘YAEH, Ooh.’

B:            Eh-!  [ PANTING. ]

A:            Uh-hah-hah-hah- Yeah…     [  25:49  ]    You tired, too?  We go eat now soon.  Yeah. Yeah.  When we go to bed, we go do some more.  –Where’s your knee?   [  26:17  ]  --  Kick your feet.  --  Where’s your foot?  Y’now kick your foot.  O.K.  Good.  Heh- good.  --  O.K., gimme your foot.    [  26:47  ]    Good.

B:            Eh- ooh-      [ OVERLAP ]

A:            O.K.  I’m sorry.  Does that annoy you?  [OVERLAP ]  There…

B:            [PANTING/CLASPING HANDS.]          [ OVERLAP ]

A:            Good, good.  Now push, push.  ‘HUUT!’

B:            PANTING.

A:            ‘WHOO!’      [  27:10  ]    Ohh.  --  O.K.  You tired?  O.K.  We go soon now.  We come tomorrow.  –Yeah?  Mm?  Yeah.  Mmm.  Yeah, that’s Sarah.  [  27:39  ]    O.K.  We going. 

'A.'  [ or ‘B.’?? ]  CLAPS TWO TIMES.

S:              Hey 'J.'?  J-  There’s one other--

 CLIP STOPS MID-SENTENCE AT 00:27:59.