The idea of this tape is to expose the interlocking psychology of the "master-slave" relationship; the one that is in a position of power, therefore is dominant in the relationship with the one that is persecuted, therefore is in a subordinate position. The rules were set and the performance stops when the woman may not perform any more. She is blindfolded, loaded with luggage and she has to follow the orders that are executed by a man who is constantly directing her. However, he is present only via his speech. The basic pattern of the performance derives from the attitudes and norms of military institutions and from the refugees phenomena that is caused globally by numerous regional wars. Performance was set in the room with the large video projection of the rail tracks that were shot from the moving train. The rule was that she had to move out from the projected image in the case that she appeared on the field of the screening. The viewer gets the information on the activity in the room via the sound. The rail tracks video is a meditative element that counterparts the terrorizing event of the performance. The landscape on the videotape is anonymous; so to say, it might be anybodies landscape from everywhere. The video opens up the information censorship of mass media and the issue of personal experience in the crisis management. 2000. Norway. 120' Performers; Laurent Amprimoz, Duba Sambolec