Against landscapes that the artist and his father traversed, audio of the father in the Ho-Chunk language is transcribed using the International Phonetic Alphabet, which tapers off, narrowing the distance between recorder and recordings, new and traditional, memory and song.

Taking inspiration from the ideas of the architect Kengo Kuma, who suggests looking at everything as "interconnected and intertwined", the filmmaker weaves connections to the Chinookan people who inhabited the land around Portland with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole.

This film follows Sweetwater Sahme and Jordan Mercier's wanderings through each of their worlds as they wonder through and contemplate the afterlife, rebirth, and the place in-between. Spoken mostly in chinuk wawa, their stories are departures from the Chinookan origin of death myth, with its distant beginning and circular shape.

通过对年轻人的回忆，学习，传说和离开，这是一个想象中的神话，印度烟斗厂被何克人用来复活那些晕倒的人。
Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska, or the Indian Pipe Plant - used by the Ho-Chunk to revive those who have fainted.