This chapter discusses the character Dene Oxedene – a kid who lives with his mother Norma and uncle Lucas. Lucas loves to make films, or at least “think of them in his head”. His most recent one talks about a dystopian future in which humans are merged with an alien technology which we think we created ourselves. Eventually a half-breed so to speak decides to revolt against the technology and tries to restore humanity back to the stone-age natural state. But in the end, “the alien colonisers win of course” (31). This “movie” seems eerily parallel to what European settlers as well as early Americans did to Native Americans. The following night, Dene and Lucas discuss about making a film about documenting stories of Native Americans who moved to Oakland. They wanted to film it on a camera with a pistol grip – an interesting symbol seeing that the night after, Lucas dies in the Hospital due to liver-failure caused by drinking. It almost implies that Tommy Orange is playing with the word “shot” or “shooting” a film. In addition, Dene’s “tag” is “lens” – another connection to the camera and the film. When he pitches the project however, he is almost wait-listed by the only Native guy on the board, who “doesn’t even think he is Native”. He also meets this guy named Rob who mentions the quote “There is no There There”. Whilst Rob intends the quote to suggest that no one comes from Oakland, Dene interprets the quote differently. He says that if the quote was put into context, it would refer to Gertrude Stein’s book Everybody’s Autobiography – specifically that her neighbourhood was changing so much that “the there of her childhood, the there there, was gone, there was no there there anymore.” (38 – 39). Dene also talks about the quote’s significance to him personally – that the there there refers to the time when the Natives still had their ancestral lands, their rituals, their culture and language, and that that there there was no more – that the there there for Native Americans no longer existed – that there was no there there. And when the news of Lucas’s death reached Dene, he took the camera and bolted out the door, leaving Norma to cry at home. He later reflects on that decision, saying “how wrong it’d been that he left, like it was his loss alone.”(44) – once again questioning the morality of his character.