CCLAON

CCLAON An absurdist text of a psycho osmosis film.

WRITTEN BY PEREIRA IRVING PAUL

“It’s not how but what it ends.”

We are comprehensible only to a select few because in every generation there are only certain chromosomes that will make it into today’s light age.”

1 The film started with a glimpse of the painting.

A quick cut then it was gone. Back to black. But that shot alone pressurized the head as if the light of the painting, or it’s shape and essence, was an energy invading the windows to the soul. And it enters and it corrupts. It was enough to imprint something. It was enough to seed and get away with it.

From the black screen came the screaming again. It is unusual to find it familiar, to think of it as a recurrence because the film had only just started but such is the case. We all have seen the film before, even if we haven’t. It was made by one of our kind. Some of our kind even, but that is enough to make it ‘for all of our kind.’

It was a collective endeavor whether we wanted to or not. It was the sin of mankind herself and she as we pay for our cosmic mistakes, becomes our ever mistress.

You see, the film was in our heads all this while, since man began.

We had set the stage, signed the contracts long before earth was separated from sky and water.

There was blood long before there was word.

Just that beginning.

That awful sound (screaming, not the word) We stopped. Paused the film more like it for we cannot truly stop the film. Its reel goes on like time and rivers, like the march of obsidian death. Towards abysmal sea. It takes us along, sweeps us down it’s ovexed deterioration and ensures no abortion.

This is not like some horror serial chain film. A tease, an entertainment (oh watch it and you die prank). Groups have died. Masses of suicidal. We buried them ourselves, consoled their children and yet we find ourselves returning to the film again, to replay it’s menace and virus, to make it occur again as if without choice or hope, just to understand, just to know it’s name so we can exorcize it. What did we endeavor to achieve watching that cursed thing? Why didn’t we just STOP? The film was the earliest sign. Part of something significantly larger. More convexed.

We had to get past that no matter what the cost (our lives, minds, loved ones, reality) the white noise enters the screens (the screaming has stopped) some of us are already sick and the priests are doing their rituals to ‘contain the corax’ as they are wont to do. If you do not know what we mean then you are not from this place and time. IN fact, you cannot be from this time because all of us are technically without bodies, with only minds intact. And you are using your eyes to consume this matter. You have eyes, we only see with the inner eye…

We watch again the static and out of it comes the face. The first face. The bride.

‘Oh god, oh sweetness.’ Some of the crew is left. They remember. Just parts of the film (they watch now and recollect as their memories seemed to have been erased since their ‘return from the vanishing point.’ They recognize the first face, the actress. Their hearts well up with tears and they see with their inner eye her outer beauty (for the sake of the narration and belief, let us give them all back our eyes To make things plausible since we need to believe in order to see.)

They’re on the screen she is so bountiful and full breasted and virginal. This was only the starting of the film. The staring of it into our black souls, the audience. A projection of negative life essence into living eyes as screen devours viewers and the viewers devour the light in front of them.

EXT. She is running on the shore for her photo shoot (her husband is already drowned off camera and she is unaware of it.)

(The film takes them one by one but they only know what is around them in the script. They are therefore kept in the dark with regards the reality and not the plot – which ultimately intertwines mid way through the film) She spins barefoot on the sand (only later, we cut her legs with the broken bottles hidden in the sand and withdraw the paramedics) *cue love theme. She is so happy still (unaware of the floating body nearby with only half a tuxedo on.) no blood found, no water in the lungs. Bleeding form the anus, raped by the film.

So happy now ( happy, happy foolish bitch, soon you will weep) The crew watches with us and they already know her ending. It is some of the few things they cannot forget despite the drugs and brainwashing.

(What some of them feared to mention throughout the investigation is the director’s shadow company CCLAON and that it was a company in a different sense of the word. )

2 “it came to us for something, but because, of how scarred our memories had become, we had forgotten what that thing was. It was only in the later years of the sickness, did we begin to remember, and by that time, the timing was simply right. Everything else has gone wrong”

“the notion that surface expressions are reflections of deeper analogies first came to light when the ever firstful came to be the last of its kind.”

xxxx Together, we slept and together we dreamed.

It was the sound designer of the film who entered astral-­‐scape first and found himself in the temple room (the set-­‐designer was lost to the film and no one else could verify the occult design of the temple room. ) it was a sparse room, a red canopy, air-­‐conditioned. A table with a black box (known as the speaker) aside from the sense-­‐surround speakers hung at the point of the 4 directions on the ceiling. The microphone there was armed (uni-­‐directional) and the processor (hidden) was set to ½ step echo. Sound designer began to make vocal sounds (not words) but frequencies to be recorded, played back and looped into the system.

This was the key aspect of the film soundtrack. Organic human noises manipulated by machines with an intent set by the zeitgeist of the film, the shadow company known as CCLAON. ooOoo -­‐ mmMmmm –errRRrrrRrr – UuuuUuuuu echo. Echo. Feedback. Loop. Echo. Microphone. Amplify.

Earth tones wall. Red light. (a wall of noise) Another man appeared in the temple and approved of the pulsating bass generated by the echo system.

Somehow, the sound designer could go to an adjacent room, inside of which was black and stored some other archaic machine…

The atmosphere itself was spacious and it was the space of black that did it. It seemed to expand and minds could be assimilated into its living field. The voice vibration unlocked the secrets of the room and it breathed. There are no signs of recordings or transfers to an alternate device that could be used later to support the film.

When we all woke, we gathered the data and cross-­‐referenced the dreams. Some of us did not dream but slept through a certain density a certified darkness. We were no less afraid then when the ‘return of the cast and crew’ was taking shape, right after the damned film was processed.

We are in the warehouse where it all began, where the audition innocently took place. Now we cannot leave. We had time stamped in, checked into the unending as they say, then time no longer worked for us and the unending started.

We’re two and a half minutes into the film.

The screen unto which we are projecting the final product is trembling as if it was cold or perhaps sick. Yes, the tech people believe that the projector itself can

be diseased because it is beaming the actual film. That living nightmare.

Somehow no one wanted to give it it’s actual name , so we just named it FILM C. The production company is CCLAON, as mentioned. No human named it. It was conceived and named long ago by it’s patron consciousness. Then it started hiring, calling upon the cast and crew one by one, through circumstances, and visions, a sequences of events, accidents, threats and hypnotism (somewhere there is a portrait of a code named JOHN. It is believed that he is the logistics behind the hiring though we cannot be sure of it now.

The major players of the film.; the director. Executive producer. Leading man and woman were possessed. This was to make sure that the right souls were involved because souls were the only price, is the only prized possession of any kind of zeitgeist class spirit.

3. “Concentrating on Symbiosis admission is one way to disrupt the distribution.”. “herehnheight translates that the division of the onixian will develop a severe trisection to dispute the inevitable formulation: is a false statement.”

Death of the masses after watching the film was only one small part of the effects. The majority of the complication relates to the disappearances.

Children were taken first. Then the young girls (believed to be stored for pregnation. Followed by their mothers and finally fathers (merely toys to be destroyed). The elderly were mostly spared (unless death took them, which was most of the time) At some stage we had returned to the same place where the husband drowned.

That same river that took him was soggy and muddy. Not enough to drown anyone now. The broken trees were inside the river, like an epitaph or some kind of replicable object of desire. By then, the bride had shaved her head and saved her hair in a plastic bag, which she carried about around her shoulders. We had ripped most of her wedding gown off, not just to partake in group sex but also to bandage the wounded from the constant fleeing through the sharp toothed dense jungle that occluded the island where we filmed.

There was a city there once but the essence of the film that had been projected before our time had stripped the urban jungle down. It was believed that the city showed the film in the square, squarely against the backdrop of their super scrapers as a kind of art act. The digital movie light ate into the heart of the beating city and took away it’s pacer.

So we were tasked to film in the memoriam of the place, guessing that it would make the production much easier since that which will traverse in future has been traversed before and so in-­cyclical, can be repeated.

You know what we mean. It was done before so it can be done again, easily.

Some of the crew, digging through the soil to deepen the tripods found bones snapped off at unusual angles. Some of the other cameramen saw visions: the density of the film had done it they said. The heaviness of the scene was tangible and it ripped these bones apart. The burial patterns were distinctly inhuman (it was much much later when the monsters started revealing themselves in the film without our knowledge or know as from outside the script, invoked by the ghost of the film itself).

It was suspected that characters from the ancient film had detached from their realms and entered this realm to perform the re-­‐ ceremonies. Tp partake again in the act. It would most likely be that no one was left alive to bury the dead and so such an operation needed to be done. From film to life to film again in one unusual process.

FILM INSERT:

extract of the invading film with sounds originally recorded during the CCLAON condition or also known as possession by the shadow of cclaon. Sources indicate the figure in the film could be that of the executive producer trying to make some kind of confession before he was taken on the second thursday into filming. Original voice recording was not found and identity not wholly confirmed.

“it is here that we built the grim tower.”

4

The mother (bride) and child (woman) remain of the cast. The soundman, 2 cameramen and I remain of the crew. Sometimes we forget not all of us returned from FILM C. From that other universe. yet we also feel that more of us had returned than expected but our therapists insist it’s an illusion stemming from the trauma.

No one truly believes our story.

Everyone knew we had vanished. The pop media had reported. The newsroom had reported. Newspapers printed our faces. They twisted the come back story.

They couldn’t talk of the fantastic because the grey and black and white of the media demanded it’s stories not be so colorful. “we do not want the mysteries to scare the people.’

It was the people who scared the mysteries away we say. But no one believes us.

I still go by the BDSM club and stand outside the door on rainy nights and think of the night the bride had returned after the 2 years we vanished from this reality.

I still go by the tunnel where I had returned in a seven-­‐car pile up on the anniversary night of our disappearance. It wasn’t raining at all. They just found my body breathing in the crushed car. No one claimed me to be there before the accident. No one was left alive to witness my appearance anyway. It was a given mystery. The impact impregnated the reality air and I was given birth (returned)

I still wonder how I had impregnated the bride, how she had given birth to the child and how the child had come to join us even before she was conceived. She is the biggest mystery of the whole FILM C episode. Not even our ‘extraction from reality’ is as strange as the concept of the pre-­‐existing child that existed post-­‐trauma. “was it the machine that generated the ghost?” the director had asked us that, on one of the nights a drift, days just after we buried the husband actor (he who drowned) no one could truly answer. Not because it didn’t make sense to us, but because we each had a variant theory on where the ghost had come from.

My theory is that it follows the film in each of its incarnations in each reality destined to have it’s concept realized regardless of the degree of advancement in film technology. The ghost exists independently from technology. I strongly believe that it is the ghost that designed the technology in the first place and had subsequently programmed the tech to express the illusionary prospect that the ghost is part of it’s infrastructure. Like the child masquerading as the mother or a bride.

5 “see? The promises made never came true…”

They said ten years passed between our disappearance and our return. To us of course, it was only the scheduled 2 weeks of shooting on location. Now, these few of us left, we live a life in post-­‐film-­‐c, knowing our existence to be unnatural. Where we live now is unnatural. This is not our destined destiny. This is not our earth.

We’re ghosts in our own bodies. The six of us.

We last met close to three months back. Not all of us. The child wasn’t present (hospitalized for an unknown sickness which came back with her from the film trip* note: no one knows how she returned to this reality* end note).

The bride, was in the asylum for another episodic multiple personality breakdown.

It was just me, the soundman and the two camera men. The male species of the I film, smoking and eradicating ourselves in a black room We traded new found secrets. As it was revealed to us over the course of our existence post film. We remember things again, of that two weeks (ten years) , although slowly and in fragments.

We shared our dreams. Of those people we did not recognize, of those feelings that were not ours for sure, but was for us to understand and feel.

There were those sounds, never to be exorcized from our heads. From these sounds came these ideas and throughout time, we tried to reason with the madness that’s our lot. a. we remember different parts of the film. For me, it was mostly the monuments… b. certain colors were robbed from our minds, yet these are colors we cannot explain for they do not exist here in the place we return to. These colors, belong to the world, the film, to that locale. c. The logic of cclaon is octurnal in nature. d. Sometimes I think we returned as malignancies to this day and age. We are the bringers of some kind of end. As cclaon philosophy attests: It’s not how but what, ends. e. We are not afraid of things from this earth but things from that earth. “we should continue to screen and watch the film, to dissect it’s properties.”

We tried to gather the survivors in one screening room, but the child screams when she sees us, especially the second cameraman. He could not intervene but had to simply film the whole sequence as the child was ravaged….

The ‘non-­‐intrusive’ clause of the film contract destroyed most of our morals and our minds most of all. Was there another way out of it? Another way, through the whole thing?

Of course not.

It would ‘ve shifted if there was. the film wouldn’t be made if there was a way out.

“Some worlds would still be around…” (we would still be ok and not without our families (thus realities) in the film, the sky was broken up into pieces. The truth is, in that world, that was the true nature of the heavens.

Broken realities slowly colliding with each other trying not to confuse the gasses of existence.

Our cameras could not take the optical illusions in that world and they malfunctioned ‘to work according to the laws of cclaon’

There are no footage to reveal the true nature of the skies in that other space.

Technology mutated. (somewhere in me, I believe I have mentioned this and even tried to explain this before, in the film report, but the words, they kept on changing to work against us, to question our systems of thought , to challenge our sanity.

No one believed us. That much I know I have said before….

6#/\________________________”to forget what has gone on before to go off correctly.”

In tangent realization, we packed up our things to eradicate to the black mountain. The equipment now was crucial. Film, camera, mic stands, lighting.

Especially lighting since most of everything done in the next future will be done without the sun.

You see, the parts of us broken inside, is between two aspects of our lives. Before the film and after the film. In between, the echo chamber suggests things.

We must make the anti-­film. Comprising the abstracted weapons of reality.

Our vocabularies are stolen and some words don’t exist anymore in our heads.

We cannot say which words were stolen form us because they are gone. You understand?

We cannot speak of that which is not existing in concept or reality “I listen and the world disappears. Which world was listening that made US disappear?”

We’re smoking in the black room contemplating such things (the black room is part of the warehouse is part of the film set is part of the portal). The cigarettes burn backwards but we are breathing normally. A trick of the mind and we’re amused by this. Hidden in the room, no one else sees our mirages. Expectedly, we do not choke on the smoke (it has no where to go except back into our bodies and out into faces) “I miss the bride.”

“I miss the child.”

One of us has pictures of the drowned husband but something is happening to the picture. His face is interlacing with ours. One at a time. It scares us but also sets us free.

“I think we died there, but the film sent us back here to live. We’re alive and dead at the same time.”

It’s a sound quantum mystery. It is worthy of this confusion. The soundman has this machine set up that’s hooked to a bigger machine and we’re reissuing the soundtrack, re playing the score of Film C in a feedback loop and we’re getting new and mixed messages. The audio sector of the film, back masked, reveals other serious undertones and the sound it makes triggers off other memories.

Like the star ship that came out of the light in the city we filmed at.

It was night as we don’t remember day but that night there was a sun within the blackness. It rose for us and out of the light something unidentified emerged.

Some unknown technology appeared. It made us believe in what we saw… “ok yes, we must make the anti-­film.”

But we could not leave the black room. (Were we still in the ship now without realizing it? Has it made us think we had returned to our realities? I think we are beginning to not know which world we are in.

“roll tape. Action.”

Somebody is shooting us, we look around, the studio lamps are on the three of us and some kind of phantom director is voicing commands, telling us what to do.

The second cameraman is already naked and burning holes in his thigh with his cigarette, and he isn’t screaming…. “ I did not write this into the film.” I said. “what film? The anti-­‐film cannot have a script.”

The cameraman is screaming now, yet it’s like acting, a practice for the real thing even though we can smell burnt flesh. “but it can have an original recording….”

7 something of that world came back with us but it was because we didn’t want to return and so brought back what we didn’t want to leave.

Deep down inside, the annihilation was necessary We’re three and a half minutes into the film.

We’re running down a corridor. Edits flash moments of the bride as an old woman sitting along the walls consuming her roots.

The camera man is running backwards filming us forward and there is the husband and the bride and the child. A holy family running from the darkness (a dog chasing its tail). Yet they are known to have smiles on their faces as if in a carnival.

The husband is calling out for a light switch. Something tells us they’re delirious (and it’s because of the roots they’ve consumed in a short scene before. A birthday surprise (the wife is 38 years old.)

We’re five minutes into the film.

The child is grown up and the mother is younger (the child reverses the ages).

They are sticking pictures of the dad / husband onto a flimsy board. It’s like in a school hall way and it’s someone’s project to present the family of treasures. The thing is the rest of the school has burned down.

The project is for the killed kids. Something for them to remember the connection to family. The child in the film could sense the gathering of child spirits around her as she put up the board (they all want their daddies and mommies to come back for them as their flesh cook) The mother is crying (she is recalling her bald days after the drowning and the part where we, the crew did not go ahead with burning up her hair because no paramedic was on standby) The mother and child are running through the burnt hallways laughing.

Ghost children are chasing after them. They are not laughing.

The remaining crew is in the black room still. I’m done with wrapping up the holes in the thigh of the camera man. He is smoking his cigarette now instead of twisting it into his flesh. His eyes show a faraway glance. The soundman is listening to voices he recorded and he believes them to be his children. A multitude of them layered and back masked and heightened and toned. He recalls varying women who had given birth within 9 minutes of conception in different rooms. He is a brothel owner in these memories. He is also a handmaiden. “part of the anti-­film is to use children as the innocence weapon. Their lullaby voices will drive the demons out of the ground of the city we’re in. that way we can walk further without the threat of sickness.”

The other camera man is vomiting now into a pail. Inside the pail he finds small toys and wonders if they were there before or he had thrown them up because of indigestion.

No one is sure if it’s night or day outside but I sense the wife lurking beyond the walls looking for her child, our child.

I cannot recall making love to the woman. I only recall trying to cut out the rape scene to no avail.

The cameramen that filmed the gang rape never returned with us. The city then wanted them, for their eyes were keen and their angles obtuse and brutal sex films were all the rage.

8

macro filming of us sweating we’re 5.6 minutes into the film.

From our necks, back (trickling down burnt tanned skin) sometimes we caught tears coming out and that were the better shots we needed tears especially ones that came from remembering terrible moments from Film C the pure anguish, that was the power, coupled with the innocents weapon of the children (where were they now?)

the conspiracy is well versed. Whoever received us upon our return, though we returned in diverse ways, were waiting for us.

The conspiracy is as such.

The planet we filmed in was a replica of earth. When we were sent back to our earth, it was another replica we were sent to.

Agents from the earth where film c was filmed returned with us and pretended to be the authorities receiving us.

That was why we never found our original family and friends. They claimed we were 10 years g one, but we know it was only 2 weeks.

We are therefore on a false earth and must escape. Our weapon is the anti-­‐film.

Projecting the anti-­‐film unto this society will expose the agents. it is my suspicion that this civilization is a clone. Everyone will cease to exist when they see the true anti-­‐film.

This must me done.

Macro filming of us salivating. The wet tongue lashing out at the world. “we must find the child and the wife.” “get them out of their pre-­‐established prisons. The wife isn’t mad, the asylum is a prison. The child isn’t sick, the hospital is a prison.” “how did we escape then?” “we have not escaped. This black room is our prison.” “yet we still have our camera’s and sound equipment and our minds. Surely we can use these to escape.”

The black room. It’s the black room that escapes us first. We are in actuality holding the room hostage within us. We must escape our own bodies.

Death? Suicide?

No. we have to transcend those…make the sounds first. We only got our voices and the effects processor in the sound equipment. Use that to find the last sound planet earth made. Use that to make the sound of genesis. Then we have the full circle of creation in our hands. With that tool, we can defeat death. And go beyond such a thing.

We can find our door out.

We go together to rewire and produce the guttural tongue. We spoke the ancient noises and ran it through echo processing to multiply it’s resonance.

Our hair stood on ends when the right effect was made and we set it to tape for playback.

We macro shot our eyes, deep windows into the worlds we knew then reversed the light of the camera future and projected it out onto the eastern wall.

With our minds is in unison, our hearts devoured the confines.

The black room started to dissolve….

(9) the woman, the wife, was in a tight white dress, sitting on the bed in the dark.

Somehow, um hand was clenched between her thighs and I withdrew it apologizing for possible catching a glimpse between her legs. I saw that her inner thigh was bruised, as if damaged by injection marks.

Without words I had asked her why she had slept with him.

She said one must sleep with a hairy man if one must sleep with John.

That was the first time I heard his name. and she showed me a picture, but it was of a man with much body hair….

She reappeared to me standing by the side of the bed as if returning from somewhere and her dress had elongated into a kind of simple white dinner / nightie. She was another woman, physically but the same in spirit…

She said we had forgotten to feed the dog and I saw the animal eating bread and b utter but it was not a dog. The absence of us , perhaps arranging to see to the funeral of the husband, had turned the pet into a creature.

She told me she had blister in her mouth…

We led the elderly women through the warehouse from the great metallic elevator. This is industrial world but the warehouse stored crafts of the pottery kind, colored and artistic. Somehow each artifact had a kind of power related to nature (flora energy in floral décor etc) and this world, is not the one we come from. Located on another level, it is as if we departed from one reality (ground floor) and entered the higher realms. I had the feeling that the place was owned by someone powerful but hidden.

10 the black room melts away around us and our hearts are palpitating. Somehow we felt we were geared for this, as if our internal organs had changed throughout the procession of the film.

The black room is vanquished and with it a freedom is inherent in the destruction. We see beyond the walls now and we are exposed to the elements of this city which is not our earth. We are free to roam but something inside cautions us. Something inside is ‘responding’ to an otherworld signal.

It is the dead of our crew and our cast. Their phantoms raised their signals in unison (perhaps having known that we are now free from the blockage of the room while needing to make contact with ‘the others that live on the other side.

We broke out into a sweat and with our equipment, left the safety zone of the black warehouse and entered the streets….

At first it was hard to recognize it (had we been inside, away for so long?)

There seemed to be less streetlamps than remembered and a lot more blocks of black concrete buildings with no lights. Those that had lights on usually had an empty window or someone at the window looking out at the sky or down at us without words or noises. We felt we were being watched. There were the usual dogs in some lost distance, heard but not seen. Assuming it was late, we moved through the main streets and saw fogged up vehicles go past humming its deep throat engines and white smoke coughing out of frozen tail pipes. Red lights blinked, turning signals cam eon and off, none of them were taxis.

Something dense was in the air and it was descending upon us. There were no street names.

Forever? Hours? We lined the streets looking for what we didn’t know. I felt things moving above us, like bats or other, I knew they were living things, just too hard to catch. They moved silently like the figures in the windows, past the frames of reality.

In the distance we saw it.

The truck. It’s engine was running and both side doors were ajar. It had nothing upon its 14 foot back, as if it was space for our equipment. Something red was glowing at the front of the truck and it wasn’t headlights. In my head I saw the same truck half submerged in water with komodo dragons swimming around it…. “this is it, this is the way out.” “we have it in our heads, we have it in our minds.” “come on don’t question the authorities, ride.”

We ascended.

10.1 its an altered narrative. The child is standing near a flag pole. Upon the half mast flies the flag of a dead hero. At the foot of the post is a dead woman. The child is not affected. It appears that he had his feelings removed. He is there waiting bythe corpse for some kind of black vehicle to come by.

He started isnging to himself. IN the dark of the night. his eyes strained in the blackness. Strained to see the outlines of the pyramid sin the distance. He closed his eyes then, he felt that it would be a better way to connect.

He didn’t want or need toe scape anyplace just to move forward into another space. So he connected and he was there.

The inside of the room was like a beehive Black tar paint moved and was alive There was a vague light in the distance and he saw a tall beastly figure move It had white fur It made noises as if it was a bear. “are you my father?” the child asked. the bear growled.

The first vision that came into the boys mind was a naked woman, it was the same dead woman only younger and much alive She carried a black vase on her head The woman looked at him as said, “areyou my mother.” “yes.” The boy replied and outstretched his hands.

The woman handed over the vase to him and he gazed into the top of it and smelt the waters It was clean and fresh and secret. He drank from it to cleanse his soul She came closer to him, knelt down and put her head against his chest. She listened closely to his heart beat.

The rhythm itself reminded her of a sacred time inside the womb of the great planet she is from.

“I love you” said the boy.

The woman just smiled and moved her listening tohis stomach. In it she heard the worlds turn. “you are special. One day you will find yourself far into the future, where you will awake on a bed made for kings. You will be on the sea shore and a monkey will wake you up. Ther monkey will have a blue tail and it would appear or seem to be that the monkey is sitting in another dimension but is in the same space as you. It is hard to understand thisnow but you will understand it later.” “what do I do there at the beach?”

you will sleep and awake sleep and awake until a time when a dog will also wake you up. Now the monkey and the dog will be making noise with each other and thatis because the dog belongs to a man who would have just appeared onteh shores. He does not belong to your world but he needs help from your world and you will be the boy who will help hi,” “what do I do with the man? Is he my father?” “no you are his father and you will show him the way around your world because the two of you will be the only two humans left on earth. Then the cclaon of light and the cclaon of the dark will come into your quarters and there will be a clash of the cclaons. One of you will have to choose a side.” “a dark or the light? Which will I choose?” but she did not answer.

She got off her knees. Before her skin was green and now it was yellow. She walked backwards. The vase was still in his hands then around him he saw the world slowly burning form the ground up.

He poured the water onto the earth and the waters quenched the earth. So much water came out (it was as if the vase was never ending) that the boy had begun to create the rivers then the streams then the pools then the oceans.

The waters rose past his ankles and his feet and knees then finally half his body was submerged in the water.

He bent down slightly and drank form the black waters swirling around him and in his mind opened up another vision.

Her saw the second deluge following a bright purple star I the star had nine figures and there was a woman there even though it was not the same woman as he had spoken to just moments before.

He knew this group to be of his kind that they were helping him and was going to help him when the time comes.

The deluge that went ahead of the star now was finding its way to a white building where inside were white men and a girl.

It was then that he fell in love for the very first time and the thoughts of the dead woman by the flag pole vanished.

The girl he saw was a light being not unlike him but she was purer in a sense, and from a world he knew was too strong for him to live in. but somehow he knew that she was going to be in a third world where he would interface with her. Somewhere in the future they would meet and he knew she belonged to the group of ten.

She tried to see her eyes to feel her soul but the vision was quickly fading.

Morning was coming. The waters around him was receding and a light was going to be shone into his world at that moment but without a moments doubt, he said in his heart, “I will be with you again.” And vowed to know her name when the time came.

11

the man who would later identify himself as JOHN stood in our headlights, the red light of the sign of the truck glaring at him. His hands honored us like a blessing, his eyes shone a deathly white. Bubbles round his mouth he tried to speak to us but speech made it incomprehensible.

We used our minds to talk and imagery from the film. Identification completed.

He is the dead husband.

Or at least, the body of the dead husband with another entity within it. There is a pool of murky water where he stands, another sign of the old drowning now back from the cclaon world to make contact.

The engine of the truck died. We started filming the man in the headlights and continued to telepathic He had come to warn us.

“FILM C has entered the rays. It is coming. There will be men building up the towers to receive it. The counter agent is the anti film which you are taking too long to make. I am here to speed up the process….

We were to stare at the red sign. It is one of the signs of cclaon of the light to counter cclaon of the darkness.

So we gathered around the front of the truck, John refused to sit. We set up the shots in such a way that both his profiles were caught in real time as our shadows and bodies moved in and out of the frame. “it is to suggest that we fade

in and out of reference but determines we are still relevant. We understood this and continued to follow the instructions of John of the light.

No morning would come, that much we were certain. And no speech was made because the sound equipment could not process this language of ours. We were speaking cclaon, even at this early stage.,,, In one of the next scenes, the truck was systematically dismantled. The tire was burned alive and tossed mightily into the sky. The shot followed the burning tire as it burst against the black wall of the nameless building.

This act was to attract the rioters.

We are seven minutes into the film.

The husband (in the early hours of the honeymoon) is holed up in the motel room with the wife. They are making love because outside the streets are up in violence. The dictatorship of the country they were in had fallen. There was looting, magic and anger in the air. The couple somehow felt it was their responsibility. They married at the right conjecture of the planets.

Their love was the revolution. That was the actual footage of the film.

Their love was supposed to change everything. It was supposed to re-­‐enact the creation of Eden in the suburbia of a disturbed world.

They were adam and eve but God was another entity.

That was the mistake.

We had invoked using the wrong words of power….

The wrong sounds had come out of their bodies , naked in the bed.

No one anticipated the rioters…

12– SALVO THIRTEEN SECOND VISION The girl is in a room with a large wall turned into a two way mirror.

There are white bears around her, three asleep one sitting up It had just woken up.

The girl is trying to get the bear to awaken more.

She is after all, the daughter of the wife of the dead husband.

There are photographic equipment set up but none of us are there. It is a different crew responsible. A different documentary. This is not film c.

Yet I am there, an observer to the scene unfolding.

The girl, the child, she’s about 22 now. Taking on the beauty of her mother.

Something indecent stirs in my groin and I remember correctly that I am not to think such thoughts because I had given up such indecency since the return from the other earth. (had I impregnated the child or the wife?) something disturbs me.

The girl is coaxing the bear to be more alive. The room is cold. I think its the coldness that keeps the bear drowsy or perhaps, the nameless men who are watching her somehow from the other side of the mirror, has drugged the bears.

It seem vitally important for her to set up the positions of the bears on the floor.

To move its paw and arms in such a way as to mimic some physiology that’s important to the documentary.

This is not part of film c but her role in it has some distinct qualities and associations.

In a thirteen second vision I had seen an outtake of film c.

I had seen the girl (then as young as seven) trying to re-­‐arrange the bodies of the crew t hat were struck down by the towers of cclaon.

This was days before the final bombing.

When the cast had to play the role of the crew, to film their own escape.

Where was I at that time I cannot tell.

Perhaps I had already been taken on board for the returning.

Perhaps I had my memories erased and I was there, re-­‐scripting the scenes to fit the deeper demands of Cclaon.

Perhaps everything was really life itself and now this is just a dream, dreaming of what had happened.

I cannot say anymore.

I cannot feel anymore.

I do not trust my groin anymore. It wants only to spread the seed of cclaon.

The camera man woke me from my reverie.

John was gone.

We must tear down the set and move on to the forest. John said the Angel of cclaon is arriving there and we must meet it with the eye of the cameras…”

I had to agree with them for the logistics were crucial.

Something reverberates inside me, a premonition of meeting the angel.

“It was the child from the film that saw the CCLAON angel. he just closed his eye and the world of the film vanished. the work changes. the presence become deeper than the dream it created. the angel said nothing but showed the child a doorway….”

We left the blank streets without warning. and were not distracted even when we heard the loudness of the bears....

12a THE THING FROM THE FOREST CCLAON CITY “This is where it will happen.”

The two camera men, john and I walked past the main shoreline and reached the canal that divided us from the forest. The fencing on the other side was torn and broken down as if something had escaped from the forest and not into it (based on the forward collapse of the fence)

“this is where the cclaon of the dark will confront the cclaon of the light after all of mankind has vanished saved the man with the dog and the monkey who are positioned on the bed….) deep inside I know it to be true and I also know that this will not happen for a while more at least 2 months….

“how do we stop it?” john said we don’t. we just change its course.

“with the anti-­‐film?” “no. with the child.”

13 john left us to our devices. We would gather again soon, just take off in the direction of the hospital. for the child is sick in the body and the wife is sick in the mind but the sickness is really a projection form the men who have them, who are the men who want to bring the death of film c into this universe. Go and wage the war you were fictionalized to live.”

From somewhere in our memories we recalled the tire of the truck bursting into flames but it is not so for the said truck with the red sign/ The red sign is the fixes of the immobile making it the premium mobile.

We ride again in the existential truck that crosses space / time.

The truck that comes from another narrative.

We ride on in radio static.

If this was the world as it belongs to, there would be a cage wit h a bird in it. The bird is the signaler, just as the bear was the dreamer and the husband was the drowner and in his lungs the wife kept the fish.

We slept We awoke The truck drove us We used our minds to navigate This is not a real world We are dead We are sleeping.

We are seven minutes and forty five seconds into the film.

The bride and groom waits outside the A&E. They kiss. In their costumes. To deflect the tragedies going on inside.

A bride is on the gurney, bleeding. Emergency.

The husband is erratic.

In a police station, a dark man is interrogated for attacking the bride.

He said, “we were lovers, then she came along…”

The mother of the bleeding bride is on the phone dialing to catch her younger son.

The younger son is in a brothel screwing an under aged girl.

There is a crime wave resurging.

We are nine minutes into the film.

The bride dies.

We awake.

We were asleep.

We are passing gas stations. The camera man is charging up the lost battery to the sound module.

The sound man is trying to light his cigarette in the wind.

I wondered where the script had gone so wrong.

No one was supposed to die.

It was supposed to be a celebration of love but the audience (world) demands chaos.

The challenges were uncalled for, un scripted.

They just arrived from that other place like a vengeful spirit

OFF DOOR CCLAON CEMETERY 14

The dark man isin the interrogation room laughing into the two way mirror. His laughing is psychotic, focused on a point he sees in the mirror (he is standing close to the glass his hands and feet chained. He has not confessed anything else other than his deep affection for the grieving husband.

His laughter is focused, psychotic.

On the other end of the glass, the bear’s mouth is open like the laughing man but it is yawning.

The girl is crying because the other bears are asleep and she can’t wake them up just yet to console her.

She must make do with the half awake bear.

The air conditioning is cold in the rooms.

In the truck, we await our destinies.

Behind us in the skies there’s a kind of fire groveling behind black space and thick dense fog clouds, hiding its true identity of the fire. (The fires’ true origin) and it chases us But we are not ‘stepping on it’ as it is wont to say.

The hospital, if far away, yet to be We were not aware of the brides’ death Not aware of the other bride kissing the husband in the A & E waiting room.

Not aware of how everything is connected in threes and that the third bride is the wife, the actress, the one sick in the head waiting in the interrogation room.

She is quietly laughing to her self in bemusement because she had dreamt of sleepy bears….

The men in the other room are monitoring but they cannot decipher the contents in her head. Deep inside, she believes in keeping the information on the bear’s, secret. It is something that would return to help her later on the cycle of cclaon.

Without anyone’s knowledge, not even the weeping girl sitting across the two way mirror, the bear began it’s pattern of growling which only the wife understood, because she was the wolf….

The sounds of the bear made the visions in her head and in her heart she began the howling.

The girl in the room stirred and scared.

Two animals in the head talking, exchanging CODES. The truck stalled next to blossoming trees.

Camera 2 entered the engine to witness the wires.

A panic rose in camera one and with cigarettes he started burning things in the air which we did not see. I was concerned for his mind. In the note pad I noted down a new wave direction for the anti-­film.

We were to film the child (if her health was intact) on stage in a play. The backdrop had to be most colorful. This is to offset the darkness of the way of night cclaon. I spoke this idea to camera 1 and he stopped his burning ritual.

Something resonated in him and it was alright.

We were not sure how long the engine would take. On our left was a cemetery… “it’s a diversion’ camera 2 said as he exited the engine space. “This thing is stalled not form the inside, but from the outside.” “some one is responsible?” “no, something. An event.”

We turned to see the cemetery again, it was inside, deeper field, we had to investigate. The event birthed and died there, it had four legs.

We took our knives and search lights. The mosquito netting that hid our faces saved it.. our rough boots made the way through dense earth. In our hearts we said the prayer of the wolf…

Our lights went out someway into the burial grounds.

We hunted, we were sure that there was some kind of gateway available. A shortcut perhaps, to the hospitals.

We moved on, then found the plastic life sized deer. An orange deer placed there by some giant child perhaps. There was a painted eye on canvas as the background and bricks formed a squared enclosure around the sacred space. We were certain that whatever was buried there did not belong to this earth, it belonged with our earth. An exiled human perhaps, one that had come before us to lead us via afterlife. There was no point in digging up the skeletal. We had to invite its spirit to join us to make the return trip, after we’ve secured the wife, the child, and have begun to end the shooting of film d, the anti-­‐film.

We took footage of the cemetery, this particular one with the white bricks and the strange imagery. Was something in the fake deer alive? Was it a conduit or a vessel?

Camera one suggested we carry the thing back to the truck, to see if the truck accepted it. “that way we can know if it was meant to be with us.” We agreed but couldn’t get the deer moving because it was secured to the space.

We left not entirely disheartened. Having it on film was good enough and I believe that that was the plan.

THE ICE CREAM THAT ALTERED DESTINY THE JUDGE -­‐ ”there are no signs, no symmetry, no resolution when one fate contacts another.” - CCLAON Belief.

15

We’re eight minutes into the film.

The child and the single mother wants ice cream. They both have their heads shaved in memory of their dead husband-­‐dad. The child’s head has scares but nothing suggests it’s the mother who made it.

They are in a carnival setting.

As they walk past the clowns and silly music, there glimpses a bald tarot card reader. Everything feels hypnagogic hall of twisted mirror haze.

He is not busy but he is studying the body shapes of the child and the wife. He calculates their destinies and something is triggered off ‘deep well’ inside him. So strongly that some of the electro game machines around him stop working electromagnetically. His bird of fortune stir crazies.

He places a ‘ I will return’ sign and shortcuts left through the backwaters to the ice cream man of the future.

A vista of opportunities opens up.

“Dohad,” he says, “The cclaon woman I was dreaming about? She is here with the child.”

The turk agrees after sending out his psych ghosts to verify the claim of the tarot man.

At this juncture, the strange conditions must be apprehended. This is before the girl and the wife was taken into the hospital. This is the film, before they were even lost and before they were returned. So understand. What is seen is not scripted but has happened in some kind of formal reality that is relative only to film c and its attending realities. This has nothing to do with the moment of the truck. Likewise, the bears do exist in this continuum, in the crazy circus. They are dancing bears that will follow us back to the current reality…..

This is eight minutes and thirty three seconds into the film.

The girl and the mother arrive at the dessert world and Dohad hands them the ice cream cones, permeating with the milk of the star goddess. It drips a strange silver.

The conversations are lost in the general noise of the carnival. Just agreements, the exchange of metals (coins) half smiles, knowledge of mourning.

First few licks and the drugs already take hold. The space diversion elements enter the bloodstream and the daughter is already giggling.

Destinies are altered and will be revealed in the end parts.

Somehow the mother grows long hair in the span of minutes though no one entirely observes this. Dohad grows bigger, like a giant in the eyes of the child She is not giggling now but looks upon the Turk as if he was a figure of authority.

He hands over the child a blessing. She understands the words though the language is one she has never hears.

Her mother stars crying.

The child reminisces, “this is the fate of billions.” She looks around the carnival and she realizes for the very first time that these are dead souls needing the noise and the craziness of the lights to bring them a certain pulse. “where does the dullness come from?” “years of crawling on their bellies eating the dust.” “but we belong to a different sphere of tingling sensations.” “its the fairy ride, the fairy ride.” there is some kind of hypnotic music in the air and its crackles the world.

A vertigo takes over The Dohad (Turkish word for ombudsman or ‘medicine merchant’) takes the wife by the hand and leads her through the maze of puzzles, a multi level mythical generating center while the daughter is safely left behind in the hands of the Tarot reader whose name is called John The Judge of the multiples.

FAIRYTALE OBSCURITY CCLAON CREATION MYTH 16 “Once It is alive, we cannot retract it’s ‘one-­‐fullness” beginning at two ends of the scale, there is ‘that which is borne’ and that which is giving birth’ the cclaon is a window of opportunity, the opportunity is sought by the existence spirit itself. The originals are extraterrestrial. The shapes and spirit of the cclaon is the un worshipped dreams of the travelers in interstellar space.

Distributing their mind junk into the black hole of their collective

unconsciousness. Inside the black hole the living energy consumes. Exit the black hole.

We’re nine minutes into the film.

A cacophony of police cruisers. Agents from unknown division the carnival is a burnt down mess. The mother and child are nowhere to be found. The bird of fortune is dead. The ice cream trolley is melted down. Their owners no where to be found.

The black smoke does not cease to be, and its obscuring the entire vision of the film. Flashing lights, firemen, but something about the scene…the people are not chocking on the smoke, just obscured like dark oil on the lenses, we cannot see what goes on, just movement then clarity shots of the dead bird etc to establish what has been established. The music is haunting, a slow diversion, a denouncement , the missing in action, the action is missing, snippets of conversation. “this is where we lost the woman.”

“I think the child is responsible.” “the fire started in the puzzle house.”

We lost some crew that night shooting the post-­‐fire scene, as if the story had decided to take the production people too instead of just the 2 actresses (wife and child) We were uneasy, those of us who were left and yet we already knew the score.

The film had us hostage.

Who could we report to? We just listened to our guts and move don to the next scene. By then the script was changing itself. Some other hand was rewriting it and my mind complied. The director by then (the tenth minute into the film sequence) was running his cclaon fever. He despised clothes and worked without them.

His mind was unraveling Our editor was re-­‐editing the footage so far, and from the looks of it, each of us appeared to have a different version of the film on script. What the editor followed was rewritten by the hand that wrote the script for the director in a different direction. This was to modify the process reflexively The film was one thing after shooting Then another thing during edit And another thing with added sound.

The sound was the chief transformer of the whole process Through the sounds the film became more and more alive and that in turned influenced the shooting script and la of our minds together Even the location , its atmosphere, the reality we were in was reforming The evolution was / is interconnected (the wife that goes missing in the film, goes missing in real life) the impersonation is completed. Cclaon has her.

SHOCKING GANG ENTERS PORTAL TO FIGHT IN UNIVERSE C FORBIDDEN INVOCATIONS 17 we see through the streets as if through a grey-­‐scale night vision. We’ve set up the night filming on the back of the truck and circled into what looked like a container hub. The red light sign of the truck, plus a broken faced ceramic figure of a dog had led us here (according to the premonitions and declarations of John of the multiples) In this hub stood monoliths of rectangular metal locked doors and semi-­‐refugees in hidden spaces, seen only via passing by of the truck.

We slowed down. The monoliths triggered in me memories of the megaliths. We were in the right space but the wrong time.

Camera man one told us that he felt the mother letters were near. The mother letters were given to us eleven minutes into the film. It was like a funeral in the make shift house of the bride and groom, post husband death. We were contemplating on the disappearance of the woman and her on stage mother was there. From her black box came the velveteen drawstring bag and from it came the letters. They were written in the teen days of the mother prophesying the transfiguration of the woman who was to be her daughter that would rightfully disappear.

The set of letters had a resonance to them that guaranteed some kind of shift if opened in the right space and the right time. Now felt like it.

We circled down the rows of dirty white containers, the type used for shipping.

There was one with doors open and inside it stacked neatly were letters. “do they have it so easily for us?” camera man 2 said. “like a set up?” “upon the path of least resistance is the way in” “or out”

we got off the truck {stalled) to inspect the contents of the great box.

Carefully leafing through the histories, arranged by eras. We took to the stack that came from the future.

On one particular dismembered letter were the names of the half dozen cast and crew missing, the secondary vanishers as I called them because they were not the main line. The letter heading noted that they had turned into what cclaon depicts as ‘the shocking gang.’ “look” I said pointing out several red lines, “ universe C as being read now at this moonlit hour, is undergoing the final invasion.” “hey, intruders.”

We turned to see a large man who was hungering for something. His skin and clothes were grey “a woman had come through here who said a group of three would come through here going through the letters. Where are the sea foods?” we didn’t understand. “the crab. She had brought the wrong crab. We need the one with two red lines and one long red line. We cannot eat them like this.” He gestured to the fire in the metal barrel used to burn hell money way back where a few others were gathered for some kind of event. Were they squatters, we did not know but some of them were well dressed. “we have no crabs” I told him, “I think you got the wrong team.” “but we had the right woman until she had to move on in search of her child.”

It sounded like our woman so we questioned him more about it and also asked him to take us to his group so we can witness the crabs they could not eat.

Immediately camera man two recognized the burning bin. “it’s a receptacle and a projector.” He explained, “burn a letter in it and we see its occurrence visionary.”

The vibrations from the broke faced dog escalated and set in our heads the idea that we will find a map through the events that happened to the wife in the period of her vanishing, we would see what was what and understand.

We counted and prepared the right amount of letters to burn.

• • • 18

BRIDAL DECELERATION AND MIND CONTROL NOXIOU WEDDING DINNER OMEN

There was a set of wedding invites. There was a strategy document on the counter attack in universe c. there was a psychiatric evaluation sheet and classified documents with the stamp of an unknown government agency. We arranged the letters in such a way where it formed a rightful link so we could comprehend the ascension and direction of the narrative at hand. There were instances of adhesives on the enveloped to be burnt and that would create the noxious needed to bring us into the visionary state of witnessing.

We raised the fire higher with our minds using forbidden invocations….

We stood around the burning bin with our eyes rolled up into our heads.

We set up the cams around us and filmed the whole fiasco.

The bright fire blinded all of us first (and as our visions were lost, so were our bodies in turn)

EXT: NIGHT There is nothing but a dirt road There is nothing on the road except the black car And the car is on fire Wild lands spread across all horizons The fire is intense but appears to be burning in slow motion / there is no smoke, not that we can see / The burning car in black deserted street, a dealer is killed inside because he too held on to the film. He feigned distribution. We approached the vehicle like inspectors, somehow we were all suited up for the biohazard that was occurring Full body protection space gas man in machine We were not there to put out any fire (we had no controllers) We approached the vehicle from all sectors and watched the charred body move Its white eyes glaring out at us, its mouth moving in tandem with the forbidden invocations we repeated just before re-­‐entry into this situation. It spelled out warning it spelled out transversion The stench of the flesh on fire gagged us and stung our eyes (alien osmosis through the suits like a living intruder) It attacked us inside the suit. Blinded us. Took over our minds.

AND In THAT blindness we saw again:

EXT: DAY The dealer is crossing the park towards the overcrowded tent.

A wedding is in motion. We have to follow him.

HAZMAT vans and TRUCKS WITH RED SIGNS wait outside in the carpark.

The general noise in the air is that of retching.

Panic.

Something within the event has happened.

We spread out to investigate (we are still in HAZMAT suits) medivac and paramedic ambulances arrive like a parade Behold police cruisers I follow the lead of the dealer, he is dazed and holding on to a silver disc (the film) stumbling into the reception area and into the dining area by the pool.

Officials are fishing out guests from the pool (dead) I recognize the screaming nature of the bride, she is somewhere, not being consoled but threatened, chained up like an animal.

We’re 12 minutes into the film.

She is in her black bra.

She has no hair. Her face is one of obsession and possession (taken over by the dark of cclaon) three offices are holding her down, she is hissing at them “I will destroy the light of cclaon, I will destroy the love of the land.”

She is repeating this as one by one her guests die from seizures and poisoning.

The husband is nowhere to be found not even in the pool.

Something has gone wrong in the continuum of the film. “we’ve entered the wrong edit of the movie.” Came the distorted signal voice in my HAZMAT suit. “what is this? Where are we?”

“Edit B. -­‐ Wedding dinner bio hazard wife” She is suspected and held under asylum ransom for antidote. “she who has set the poison will not produce the cure.”

“Can toxic break down the formulae? Come out with something?” “it is not fated for it to be so.”

“The baby was not the first of its kind” /Outside the world disappears/ JUMP:CUT EXT:NIGHT The TV Towers. “we saw the possessed men and their machines building the towers through the night. Cclaon was gaining entry into this world. The film would be broadcast here soon enough and that is the end of it.”

“Possess my soul, you are equal to thunder.”

19 ALCHEMY OF HEROES USING CCLAON FIRE “WE HAVE TO FIND THE SUPRUS 3” CCLAON TRINITY MODAL

The authority has locked down the wedding space and the bodies and the survivors have been carried off in black and white vans. We stood around the dried up pool (water drained for toxicology testing) camera one and two and I had the unified feeling that somewhere in this whole event, a child had been borne. “its on the other side of the edit. In the post-­‐world of film c.” how can we confirm this.

We stalked the ground.

“no the grounds is not the object of investigation. It’s the poison. The poison is the key. Death is the door.”

The guard is already blind and deaf It is true. We made sure he was safe so we could enter The one watching us would only watch the dark Let us enter.

We stripped form our suits and penetrated the deep of the pool. Upon barefoot contact we already felt the poison seep into our entrance at the foot of our own mountains. Osmosis travel magic.

Our fingers traced the tiles The layer of liquid left was enough We laced our eyes and ears so that we may see and hear the intentions and narratives of the other side, of edit B. We go blind a third time.

One narration jumps into the another. We must not lose sight of the gold / goal We are chasing the wife through the maze of edits The edits are variations of the electronic realities Of the vivid astral planes We do not control this but we control our directions We hunt with cclaon for cclaon We’re 13 minutes into the film We’re confronted by an inexplicable scene. The three of us are facing the three of us but in a heightened, higher self state.

We are seeing our own fire elemental spirit forms around a purple fire. “it is like the container hub where we are all around the burning bin” “maybe the burning bin people had done something to the fire hence developing this imagery this vision.” “they are controlling us now?” “no, this is still part of the pact / part of the procedure of the investigations.”

This is the alchemy. Our states higher than our dreaming selves are preparing for the re-­‐entry into higher reality to demand a counter effect to dispel the dark cclaon.

This is the suprus III We established contact. The three entities of the fire acknowledged us.

They gave us the commands the way forward. “thrust into the parallel of this film. It has already devoured the energy worlds of cclaon earth one and two. Yours is the third and final rock. With it the solar cosmosis of your galaxy will be black holed. Reality to drain into the days before

the great night of the first explosion. The big bang wasn’t the creation myth, it was a separation myth your universe is part of a greater reality. The big bang separated you from it.

Cclaon of the dark wants the universe to remain in the dark Cclaon of the light looks to unison.

The age of the greater universe is upon us What we fight for is not for universe c or a or b It is for universe omni.

They thus gave us additional keys to the mystery doors.

A fistful of coins A deck of cards Jewels from a fourth endangered world. “behold the fifth and sixth horsemen.”

20 WE ARE UNABLE TO COMPREHEND THIS SITUATION There is lightning snaking across the absolute sky There is re division, a storm of movement The earth is on fire but there is no heat only natural colors stripped off their palette, on a psychedelic wash in dreamscape.

There is strength and absolution There are countless horsemen with faceless armor There are flags of unknown governments flying high Clash of iron and steel and spirit and wine We are snaking through the clouds of space storms as light, as points of power Diverting through electromagnetic mess Moving faster than light, cloning ourselves, multiplying thought and action and further

The figures on the hell bound horses are archetypes Living towers of power moving through de-­‐volution principles or archeon and archangelic shells We’re seven hundred minutes into the film and we cannot comprehend this situation.

Apocalypse.

No gnashing of teeth, no burning warehouses, the whores are free and naked, they are the maidens of the evolution, they are feeding the heroes milk form heaven.

SECOND ARRIVAL OF JOHN

Behold the CCLAON angel breaking the eleventh seal.

There upon the rock by the glaciers by the endless violent ocean stands the multiple man JOHN. The sky is an electric blue and still full of strength and vigor The thunder of the archetypes is distant but resonant still Millions of discs of silver fall from the sky like meteor showers “FILM C is entering your atmosphere” warned John Cclaon.”

Kids are starting to watch this shit and they’re going out there hunting for wives and children.

Not for procreation but recreation. And they have knives. “we cannot access the original reality.” Cam 2 reported. We were connected telepathically but disconnecting realism. The stature of John of the Multiples was overwhelming our collective senses. We remembered storms but it’s not as if they were happening then or now.

The child led us to this part of her mind. her mother was certain it did not belong to her memory it had nothing to do with the film, everyone agreed this was going to happen post-film-c...

we put on our HAZMAT suits again because something in the distance was mimicking pyramids. One grew on top of the other, molding in thin air from the dust particles into harsh Egyptian shapes it was emitting light that was unusual. We watched / we floated now, the earth beneath us was gone, everything in light around was red, approaching mars like, red sand dust storms, glowing pyramids on the horizon / the figure, the messiah,

the John was no longer on the rock and the air we breathed was not from this earth and it enlivened us it made our bodies of light shimmer we were moved closer to the bright burning center of the vision before us, a drug haze, a fantastic light in the heart of that flare came again the cclaon fire and the figure, a different figure now appeared he had the falcons head but was too elongated and thin and occult to be that of Horus of Egypt . it’s cloak was from a future we did not recognize this was a parallel, a version of the original the bird is simply consciousness the cclaon bird (perhaps the ghost bird of the fortune teller) perhaps it is the fortune teller himself from the carnival that led the wife and child to the ice cream that altered destiny and perhaps this was the destiny spoken or replicated about true magick revealing itself a cinema world.

21 MYSTERY TEXT UN DECIPHERED The pyramidial moves closer (or do we move closer to the pyramidial) “we are advancing deeper into the mystery.” “we are escaping the invasion of the film.” “bid our bodies goodbye” the burning bin will be toppled I think, we will lose contact with the false earth.

And this here, it is not false too?

A lot more real, a deeper real than the ghost land we traveled in We have become the truck No we have become the red sign on the truck A signal.

Frequency.

A wall appears on the periphery and against it is an insectoid creature It is hiding from something beyond the wall but it is not afraid The thing it is hiding from is the thing afraid Deep inside we felt the burning bin tumble and a fire went out in that world Over run by the kids who watched the film IN THE WEST YOU DON’T KNOW WHAT YOU’RE PRAYING FOR We felt the release. We feel the freedom from the anxiety of the body The insectoid is no more there and in place of the wall is a door or rather a door has appeared upon the wall ( I am thinking that the insectoid has become the door but no one agrees.

We enter the mainframe of the entrance /exit and it is a gamble but we have to do it for the sake of the anti-­‐film-­‐d which is now being made only in our heads combined because in this astral universe, the equipment of visions is consciousness, the agni fire, the third eye.

We have entered the book we are 36 chapters into the narrative twenty something minutes into the film The wife is in her cell. She is flipping a book but everyone else that looks into the metal padded cell sees her flipping an imaginary book. Her daughter is talking to her in her head. The mother knows the daughter is sick in body and is in a hospital far from her. The mother knows she is not sick in the head and that by flipping through the book she will find the words that will liberate her from this destiny Outside the minutes of the film, we are trying hard to penetrate into the enclosure of the film (that is from outside reality of the astral to the inside reality of the movie that is stored in the cosmic records.

We are attempting an operation whose name escapes me ( I remembered a mortal man once who had walked through a wall and it was filmed on television) we are doing the similar thing but the wall is a separation energy band between one world and the next We are trying to transcend as well as involve our spirits, form one plane into another and this requires static and dynamic focus.

Push it through, push against the tide of illusion and diversion The dark cclaon wants us stopped The light of cclaon promises salvation from the inevitable static that is our lot Turn on the engines of our monad.

22 AND THERE I SAW A VISION AND THE VISION WAS NOT MINE We have returned to the burning car in the wasteland. The dealer’s body is no onger inside, it is suspended above the fire watching into it, calculating something as it shifts in his mind. Streams of light extends from his heart and his third eye and we deliberately connect with it We all float together in the flotsam He begins detailing: the wife has generated the nucleus and the structural damage to the un-­‐world.

This un-­‐world will be inherently haunting in your blood because we all come from the major chain of archetypes that is traced beyond this narration We are not victims of the un world but its creators We are the new team X. In the sky a bright light appears like a rotating disc, a wheel In our heads we envisioned satellite images that had picked up wheel scattered across a tuned down, upside down world In that skies were the wheels also but made of aether and not rock or tree The wheels gathered nearly closely to each other so it mimicked some kind of internal machine gears of ever changing world To gaze upon the many turnings is to gaze also inwards to the many shifting of man and sub man and post-­‐man and other man.

We were raised up. The burning car was our merkaba The great wheel of light above was our merrhaba (mother ship) We entered simultaneously into her bosom.

The mother energy in the hub of the ship was immense. From our bellies (diamond chakra) were umbilical cords of optics streaming data and cclaon linguistics. It snaked out from us and vanished around corners of foreign walls.

It returned to us like lava holograms acting as tracers in the night world Laser beamed into our bodies of flight and its vibrations seemed to be rid of our disbeliefs.

The black walls throbbed and pulsed and appeared to us like hive surfaces.

There were many corridors expanding outwards like a labyrinth

Our eyes searched in all directions and mine locked on a doorway with the appearance of the white bear It stood on its hind legs. It looked old and empowered. Its fur stood on ends and in its eyes were the soul of the girl who had become a woman whom I recognized.

I asked if she was ok, the white bear came closer, agreeing, sentimental. The sound that came out from its mouth was not animalistic or human.

It was symphonic, altruistic, futuristic.

The bear was animatronics with a human soul.

It computed our probabilities that we were alive and verified so, only that we had to leave our bodies behind “bodies are always failing on us” it finally said, “ but we should not fail the power that is inside our bodies” more bears appeared from the other corridors they spoke in unison, “where are the three gifts of the suprus III?” we each held on to one of the gifts. I handed over the bag of jewels. Camera one handed over the bag of coins and camera two handed over the deck of cards each to their own respective bear sin their respective corridors. “follow us respectively.” They suggested. And like hypnotism we complied.

23 BLIND SIDE 1 this is the visions as followed by camera one.

He has become atlas carrying the world He is in a tunnel and above him is the surging world, eliminating angel of cclaon , streaking through a city of filth and cash He escapes deeper into the tunnel to find the light that will serve as his exit He finds the chair and the dolls Immediately he senses the child to be there. He calls out her name She loves along the walls though unseen Her hair is long and black she is in her blue dress she is singing in the dark A slow churning song He is afraid she is afraid but the third thing that is with them is the most afraid

She is singing to lure it out He is there holding a sonic weapon When the thing comes out he has to shoot it He feels the city burn inside out He carries the weight of the world above His flashback is resolute memory He is in childhood, and the ship he is on as they took him from one port to another The girl is on the ship She sits at their play table with the other chairs and the dolls She stares into his eyes and as a child he becomes a child but sees his world when is an older man in a time when the world he is in has supposed to be ended He is a ghost The girl is signing the childhood song The thing is coming out from the shadows He aims his weapon.

He is desperate, the thing is desperate but the girl, it is the girl who is the most secure.

She attacks them both, to destroy one but to devour the camera man one because that is how they contracted their fates to be He will live on in her extraterrestrial gut He will be a voice in her head She will be his cclaon daughter (they are in the field, post film. She and him, not eaten into each other, there is tranquility by the trees of life and they watch the skies which are safe and blue now and without starships from a black universe. ) will you miss the war? He asked her I will miss the book She stayed quiet for a while. ‘I will miss the compound’ That’s where they tortured you the most Yeas, and there is where things are most real , when it was most red in the mind

The most pain you mean No, the most red. Pain isn’t real at all. pain is just the hurt the organism feels when imbedded with a cclaon consciousness But you are not cclaon You are. But I love you and so I will feel your pain I will not be real to you anymore, after the fire in the sky goes away Then it would’ve been the most beautiful memory never lived The bear is now following camera man one through the dark tunnel The man will reach the underground river and there, the ferryman will request the coins from the bear The bear will board the boat but the man will simply watch the boat depart The bear will not bid farewell but the man knows that the bear will be returning safely home.

24BLIND SIDE 2 I want to understand cclaon, camera man two told the bear They were under a makeshift refugee shelter Around them leprosy and disorganization was in order The world had collapsed after viewing the film This is a reality none of them belonged to but was super sanctioned to experience, to understand The bear spoke with its eyes Open your deck of cards and see what the six cards mean A The men with the government flag depicting a mythical creature is the spirit of an age that will destroy the tradition of the day Here the parade tragics on and the weak men who will flagellate themselves before unrighteous beings will be slaved further The men who carry the scepter will be feeding on the animals for life

That is unless the signal is broken by: B The man with the empty cup who seats before the blacked out prostitute She is overweight but not pregnant but there is a deep bruise inside her soul The man who has an empty cup cannot bear to see this whore like this because she reminds him of his mother He is hiding something from her inside of a brown bag In the bag is the directions to be taken by the sleeping men who congregate around her These activities must happen during the deepest of the sleep cycles because the place to be journeyed to would be the farthest yet undertaken by anyone of such meaning and insolence There is a small fallen statue behind the man. That statue is the king of the world now made insignificant by the events of film c C The have hanged the gods in the square The bear and the man who holds camera two is transported to the asylum hall of the wife The wife is not there but the judges are A man in a military helmet is being tried for treason and sabotage The was actually sent to defend the cinemas to prevent the screening of the film in universe G The film influenced him to the degree that he would go on to seal in the occupants of the jaded cinema and to set them on fire There is an umbrella the man holds It is a final minute deportation, a reason to call upon even stranger gods but the strangest of gods have no ears They only have eyes that see into 2 realities at once and in none of the realities is this man ever alive The execution of the gods and the military man will be carried on accordingly

D The beast is hereby being subdued. Form this the great strength rises

The hunter stabs the animal.

The animal in its dying throes whispers something into the hunters ears It says, “the woman with the sword will bring justice to the secret that is hidden in the hours of the destruction of universe H . she will see only the silver reflection in the steel eye and not the countless slaves being tried for treason in the days ahead.

The hunter is as muscular as the beast and together they bleed into one The beast is the hunter and the hunter is the beast The fifth answer: There is a clown in a broken tree He holds onto a stick but no one can be sure if the stick had once been used as a flag bearer Perhaps the clown has used the stick as a weapon and is now expressing sits power over the beaten Perhaps the joke of the universe is not yet to be disclosed because ultimately there is only one thing on the mind of the clown A beautiful woman disguised as a man who will sneak up upon an unsuspecting villager and pretends to kill him (when she actually is eyeing the death of the armed guard whom is about the behead the villager)

Here, the truth reveals the discrepancy between the authority and the lay man Film c will reverse the polarities The meek will be the true advanced killers in society for the strong must be melted down and bent to the rule of the next forecast 6 hours left.

The book falls out of the hands of the wife in the instigation room Part of the chains around her ankle breaks free from some unknown force

The woman with the sword appears on her throne and dethrones the captive of the woman The procession becomes dangerously clear The flag bearer was the diversion

The man with the empty cup is digesting the liquid of the gods that will awaken the whore The military man who had slept with the whore was infected by the trap that would be his downfall. Their orgasm exposed his threat and sabotage This led to the true believers who holds the dagger of reality and used it to kill the beat of illusion The jester is set free and color returns to the fictional world where The whore enters the encampment disguised as a nurse and kills the doctor high on his horse The book falls. The woman, the wife is released form the prisons.

The escape is premature but still a necessary escape.

Level 3 is left to denouement

25BLINDSIDE 3 jewels are but dust under my feet. The bear says I scatter the stones on the dirt of the earth , inside I already sense the escape of the wife, the departure of the first bear in exchange for the life of the first camera man (the bear had sacrificed its life to protect the camera man from his proposed death later on the continuum he is now a safe and free man.

The card reader or rather the deck had revealed some of the other mysteries of the whore and the escape of the wife.

I scatter the stones on the filthy ground The bear agrees with me.

The girl made me, helped me weep. Through those tears I now see with new eyes and I see your paths ahead. The bear seemed melancholy and wide awake Smoke was coming out of its nostrils The jewels will recalibrate your team.

There are 15 stones here scattered. They sink into the filth and dirt of the earth false

And grow out of earth true.

You will leave this spaceship with your crew And you will find a way in to earth true. You have to find wife true. She will lead you to the child true.

The white bear began urinating on the jewels that sunk into the earth, its piss shining golden and I knew at once our hidden powers would be activated…..

He earth steamed, smoke rose in the heart of the star ship, it fogged out our lives and from the three distinct directions of the corridors the fog engulfed and it stung our eyes and in the blindness. We saw again for the fourth time.

26 Black hole in film

AND THERE THE VISION SAW ME BUT MINE EYES WAS LOST We are in a prequel to the film.

There are the statues of the twenty of us.

We are in a room with white boxes Some boxes have more statues than others. Some boxes have nothing Each box is one world, one earth We are distributed across the multi verse A woman is the room with us, not the wife, not the mother, she is an unknown contribution to the narrative Her hair has been cut short by the monks who server her Her father is a cook but what he cooks isn’t allowed. His eyes are yellow, something in his gut moves. I’m not sure if he’s human. I’m not sure if what he cooks isn’t human. He just stands there with swollen eyes She is holding a list in one hand, and on it are not our names. They are blank but somehow I feel that our names have not been filled in yet and it shall be There are two monks with her in the room and they appear to be lining up to enter some place (perhaps to receive the names) Her right hand which is free has a large mystical symbol resonating like a shield

It is difficult to decipher it but I think she is signaling to one of us as we watch them in the room They too are slaves to cclaon dark. This much I feel.

They each will be branded with numbers and lines It is like the clothes we wear now with our barcodes, that’s how we are being tracked.

Behold We are into the twenty seventh minute of the film.

A man with the large rimmed hat is holding up his skirt while pouring out water from an occult flask with impossible handles There is a man holding his hands together washing them as the water runs through his fingers The man with the hat is the tarot reader He now has long hair and a beard The man who is washing his hands is the dead husband,….

A priest looks on.

He is looking straight at us. We are aware that our statues have moved. We are still in the room somehow I don’t know what ritual this is but its not what we were expecting.

Something grows in the heart of the room.

We’re twenty nine minutes into the film.

A hole is burnt in the middle of the screen and it is spreading Little sounds of shouting come from the blackness of the hole The water being poured does not seem to be ending.

The tarot man is chanting something. His beard and hair makes him look like a wizard He is protecting the dead husband from something No. no. the camera two man tells me He is baptizing the dead man because the dead man has turned from death into life “and the other men in the line? Where are we all going?”

we are leaving the ship. Though we were once blind now we shall see. This isi the docking bay. We have landed back into a state. We can continue our guard our progress and movement.

The dead husband joins us, he wants to save his wife.

Do we know where the wife is?

The targetter will bring us there. He will meet us on the other side of the bridge.

It is the man who holds the sonic weapon.

Sound will take us there We shall yield to its promise Enough said, the lien is getting shorter We greet the husband but he vaguely recognizes us…

27 THE TARGETTER There is a warehouse that processes the presents. Thousands of individually wrapped gifts. Birthdays, ceremonies, weddings. We exited the dark room into this hall of presents. What were missing were balloons.

Near a stack of red boxes stood the short figure of the targetter He appears to have burst out of a giant heart. “this situation is dire. My fathers have sent me to you to lead you through the battle fields outside.

The kids who’ve watched the films, have now taken only children hostage. These presents all never reached the young ones. All the parents are nullified Camera man two starts to break down “I CAN’T FUCKING STAND THIS! I CAN’T DEAL WITH THIS ABSURDITY! I CAN’T!”

we know how it feels. Nothing feels or seems as it seems. All we know is we have to move on with the targetter. It knows how to move among this mess.

Which universe is this?

Universe C This is where the root of the film is.

Yes. Do you have the anti film?

Its in our heads.

We need to fin a projection then the wife which will lead us to the child then reunited we can overcome the situation error Other military men appeared form behind unwrapped presents. They were armed with unusual black weapons. Mostly sonic in nature.

I spoke to the commanding officer. “the trick is” he explained” is to let the kids outside think they can survive a shot to the head. If we pull the trigger and they do not flinch, even if we miss the shot and they do not dodge, it shows they are ready to die, that way we can take them in for believing in suicide.

Once they believe they can kill themselves, the institute will open up to them and take them in whole.

We will have enough kids to keep the institute pleased. then we can bring the other children to safety.

It is good enough. Lets get this happening.

28 TEN SACRED MYSTERY GATES OF CCLAON

GATE A BELIEVER. Men and women gather around pools. In the pools float the baby clothes. The men must fish out the clothes using swords. The women must breast feed the men. Together they must recite the poems to the star children. They

must learn to speak the language of light of the old fire. They must make contact with what they once believe but did not believe anymore once they were adults.

They had to be children again in order to meet heaven.

GATE B STAR Under the black sky the adults must lie down without any clothes on. They must begin counting the stars. The men begin counting from the left of their partners.

The women begin on the right.

With each star they must name at eats one boys name and one girls name that they love. They must not stop naming them until all the stars have been counted.

GATE C

Subtitles.

Translations must be secured throughput the film. The audience is divided into four groups. Group one will decipher the images based on the collective memory of the primal ancestors that is using only fire and stone The other must decipher the film using only plants minerals and herbs. Each object of nature having properties that must match the description of what as happening on screen The third group must only be humming music with no particular language The last group must decipher using only silence and feeling not visions and words and anything with form.

GATE D

Death / door Funerary text must be memorized and recounted at the point of birth and violence. In the war zones the military leaders must be aware in the field of the on set of the angels of death. They must recite the books of death appropriately and according to the degree of power accorded with each confrontation.

GATE E Poisoning.

The concentration of negative powers must be focused into the poison taken by mankind herself in the wake of film c. there is no stopping the poison cults from entering the states and leading the hungry to their deaths. Food is ingested and so is the killing thing.

Only a 33.3% need to die this way (that was the number taken during the guests and the wedding omen) the wife was held for ransom but not anymore.

A similar event will occur but no one has the right to stop the onslaught.

This is the sacrifice of cclaon light.

GATE F Fire We began with the burning of the theaters then the burning car then the burning humans and the burning flags Fire is the end all of start all We have to surrender to the invention we created.

We must die at the life the fire brings This is inevitable. The cclaon fire is the only thing that will guarantee us the transmutation of the futures.

FATE G War of the cclaon. Here is not the space or time to discuss the war that will begin and end at the shore with the man, the dog and the monkey.

GATE H There is a diamond light beyond the windows The light calls to us and we are lulled by its gentle pull We wish for rest in the hours of such trauma Through our eyes the rays of the film enter and something is seeded which never goes away Deep inside we are changed and we when we leave no one will recognize us much anymore.

GATE I Without bodies we are unrestrained We now move faster than light We now multiply using only thought We are immortal and can be in more than one place Film C doesn’t end us badly

Film C expands us GATE J The John Of The multiples appear before us.

In one swift move of his arm of the law he removes our enemies He makes way the wasteland and paves a way for us towards our eternal mother At the end of the highway we can stop running For there we will meet a weak but free mother and wife She is still so beautiful and bountiful Immediately she recognizes me I have written her into the safety of my arms I have forgotten how much I love her And here I love her even more

29 THE BOMBING OF CCLAON CITY Recover Recuperate Count our losses.

We stood there looking at each other. Her hair hadn’t grown much, and her soul in her eyes, so deep so bruised, so dark.

There’s a deep loss inside her. So vast that it’s still. Without a need to even expand anymore “how did you find us?” I asked her.

We’re all the same once we’ve been in the same shoot. We breathe each other’s air, we know each heartbeat each life.”

She spoke this with a certain sureness.

She moved as she spoke as if stepping forth a little into each horizon before stopping and reiterating something.

When that BDSM club found the extra coffin. With me inside. Do you think they knew how much their world would change?” she didn’t sound sad or weak saying it. She sounded curious.

I think no one knew how much would be altered upon our return. “was our return worth it?” “we don’t quite know that ending yet” come with us then to find that ending.

You know it would be long before we reach it.

Yes, but at least let us find our child.

She paused at that statement for she hadn’t truly realized. That her husband was with us too, somewhere, but that she and I, we were the actual lovers, united in this catastrophe

The husband appears. His stomach is gutted open. He stares at the wife and she stares back but they do not recognize each other.

Then I realize what this all is.

He is the bringer of the situation.

Havening been dead he shall know what death may come. He points to the skies.

Black ships are approaching over a different colored horizon When the wife escaped cclaon chased her When we escaped cclaon caught our signals and approached us to this point But the deus Ex machina intervenes.

Where cclaon dark goes, cclaon light is nearby The jewels in the sacred piss of the white bear has brought the bombers to life.

The intervention is underway now, here, forever

30 ARGUMENTATION WITH THE BREAST MASTER ABOUT PORTAL SIX

Its inconsistent.

We’re thirty three minutes into the film.

Is the film necessary now? We cannot define it.

Whether or not it is played out till the end, the bombing of the cclaon city was not part of the operation drive We filmed film c there and now with it destroyed there is no real basis of a city to connect to anytime someone watches the film.

We are thus connecting only with a memory and not the real thing It’s the real thing that makes the film so deadly.

That was the basis of the plan.

Whatever it was in film c, must remain in film c. the actuality of the events or persons involved in the film once destroyed or removed will have no significant impact upon the organix life and infection of the film itself Film D is really Film DEATH. Space and time and people must be ended.

That was why they wanted to keep the actress and the child in hospitals.

It was to keep them alive so the film would be alive. And that which is alive can multiply.

The breast master (john in feminine exposition) argued that portal six (death row) must now be opened so that we can lead the wife and the child through its doors.

“I will not lead them to their deaths. We’ve come this far, we can find an alternative” “really? What plan have you?” “it goes beyond this narrative. We just have to find the child first.”

I’ve set portal siz to open, we have not much time, at least kill the NO! do you not listen? We find the child, to hell with your portal six!” “your mistake is graven.” “it is the right way. Life not death. Death only to the dark.” “don’t be a child.”

I slapped the breast master.

31 SOMETIMES THE CHILD NEEDS TO DREAM OF INCUBATION

In the sick room, the men in white are distressed They have heard of the escape of the mother And no mother who has a child missing will stop until she has found that child And in order to move the child from this reality to the next the child has to be conscious But the child now sleeps and the child now dreams In the dream the child hears her mother sing of white bears and jewels The song keeps her deeper into the sleep Even before the sleep the free mother had made contact with the child Entering her state of mind to produce the results of the bed time song To sleep to enter astral world, to prepare for the exit from the sick room to make the men in white panic The mother coaxes the child Breathe deep and natural Feel my warmth in your legs moving up your spine into your heart Feel your heart open and feel a light opening up in your heart Feel that light expanding then leaving your heart To enter your lungs Breathe deep and gentle Let the light gently move up your throat and into your face It move sup into your mind and there another eye in your mind slowly awakens Awaken only this eye and the rest of you stay deep into your sleep Keep your eye open for you will see a vision soon and that vision will make the most powerful child in the multiverse…

Stay with me as I shall stay with you Cerate with me as I shall cerate with you

Destroy with me as is shall destroy with you You are my heart beat as I am your heartbeat Sleep dream big dream deep I am coming for you And you will be coming for the world

32 THE MERGING OF TEAM X

The wife stands before the husband and tells him his need to move on.

Though he had asked for a boon from the tarot man he had no right to return from the dead Perhaps he needed to say his true farewell and perhaps to apologize, for his true heart was with the after world and not with her She understood. She touched his face and his flesh dissolve under the heat of her super nova love Dead men should stay with the dead she told him and his tears wet the earth and the spots turned into flowers of red Now go.

He departed gracefully.

With her left hand she led him away to the light and with her right hand she led an envoy from the light into this world I did not expect it.

The shocking gang enters. The director. The lost soundman. The set designer.

The painter. The electrician. They had been waiting in their appropriate time zones for the mother leader to call their secret names.

Their entries were a godsend.

Now there were nine of us.

The child would make us 10.

We will be the completed team x.

We brought an end to what appeared to be a great film.

It is not true We seek the truth in this. (the men and woman came together from various angles. All in their bodies of light for truly they did not have bodies anymore. It was simply an easier way to see each other this world is only a shell but we are souls rich in its core we makeup the world and so we are united.

We called upon the red sign of the truck to formulate our MERTABA This is the war chariot.

In the heart of it sat the mother who then directed the cosmic vehicle to the place where the sacred child was kept.

33

ENTRY OF CCLAON CONSCIOUSNESS INTO THE THIRD EYE OF THE CHILD My love My child Open up your inner eyes We are 33 minutes and 44 seconds into the film.

Do you remember this scene?

We are in the big wheel. We are high above the city. Do you remember the lights my love?

Do you see the pyramids?

That is your home.

Do you see the bright black star? That is your father, and he is with me now and with all your uncles, remember the uncles? Who helped us do that scene in the playground, on the swing? They are with me now and all of us are coming to find you. Reach out to me my sweet Think of the bird, the fire bird, you know how much you love the fire bird? Now think of it in your mind, that’s a good girl, think of the bird of fire, the tarot man’s fortune bird remember that when we had the ice cream? Yes, now watch the bird spread its wings, spread it bright and wide in your mind can you do that?

That’s very good Now my lovely, tell the bird to leave your head And to fly to us.

Let it fly to us and it promises to come back to you and we will follow it back and we will find you and we will all be together again. No more man in white shall hurt you. Can you do that?

Tell the bird to fly to us The bird knows how to find us Find us so we can find you That my sweet girl That’s my good girl Mommy’s coming Daddy’s coming Team x is coming.

34THE THING WE COULDN’T TRUST FEEDING OFF THE GRIME OF INNOCENCE

TRANSFORMATION OF THE CHILD AFTER COSMIC POISONING

A man of monstrosity Who loves little young girls His hands are soiled His face a mess of distortion His tongue blue

The men in white make way for him as he penetrates the room in his wild suit His hair is a tangle of dead snakes He approaches the child in the bed Her little pink dress soft and inviting He wants to slowly touch the child Then he realizes her skin turning green….

35 WATER SPIRIT OF THE SECOND DELUGE In the great distance the inevitable tide turns and the inevitable water rises With the speed of the MERTABA the earth shatters Realities dissipate The mother is anxious for she knows something terrible is happening in the room where the child lays In the time of the coffin she recalls the words drilled into her mind by the ordeal in the other world of film c Something in her connects her to the mystery of the panic she feels now But she understands. Water is the transmitter of energy In her head she brigs up the great tsunami as she remembers it She sends the violence skywards directing it to the child whose third eye is still open, whose dreams are now turning into poison at the request of the father (to fight the perversity of monsters one must become that which monsters fear) the father touches the other’s temple of the heart and with the mental tsunami and the memory of poison in the swimming pool a directive is initiated.

36 The eyes of the child opens just as the monster decides to climb onto the bed Something akin to vomit exits the child’s mouth and nose And deep in the child’s belly beneath the sweet candy floss dress A terrible sound TURNS. A sound of something organic ripping apart Of something wet twisting in something slimy For a moment the monster of a man is not aware of what a bursting intestine is supposed to feel like Then the pain hits him in all aspect of consciousness And the spirit of the child enters the mind of the man And the child inside the man’s head is not a child anymore But something far more vicious far more sinister and far more terrifying than the oldest terror The man tries to scream But he cannot scream He tries to pass out But he cannot pass out And the only song the child is making now is “My mommy is coming to get you.”

37 SIGNS OF THE PROJECTION. SYNCING CONSCIOUSNESS WITH THE HYPNOTA OF LIGHT CCLAON

We’re 38 minutes into the film.

Thereis a hiwte house. A double storey. The walls are not painted yet and its been many decades since the holes in the wall had been plastered The dust on the floor is not as thick as one would assume Someone has lived here before in the past And someone will live here again in the future Nothing moves now

We just see the inside of the house The sparse furniture The fire place with its fresh fire burning A song is coming from upstairs We go up the stairs Along the wall are pictures of white bears and men who stand on rocks and large open spaces and a burning car in a deserted street On the second level there is a large orange fake deer and what looks like a sand box but without any sand in it.

In one of the rooms we pass inside its dark and there is only a red light glowing a red sign slowly blinking on and off We go past the room and we hear the water is running It is day light. Sun is keeping the space lighted and warm We hear the bath running Then we hear the small laughter of a girl And we hear a small laughter of a woman.

We do not enter the room Instead we enter into the study And there in the desk we see a man hunched over a computer keyboard and he is typing furiously and he is watching the white screen with his words appearing in black.

He is recounting some things from his past which he needs to exorcize He is reporting something’s that had happened because at some stage some world is going to need to know.

He keeps on typing but he is not anxious. He knows the end is coming soon.

We leave the room.

There is a sound coming form one of the back rooms We hear voices, then music and noise and static. Something flickers in one of the dark rooms We wait outside and peer in just enough to know just enough to see that a film is being projected onto a screen The film has no people in it

Just colors and abstract shapes moving in the dark A flash here a little light there a shadow here, a flicker there, and nothing more.

But there’s something peaceful and powerful about the film. What’s more powerful is the deep sounds coming form the screen.

It sounds like a mantra though the words are unknown.

The sound itself is deeply moving to the point where new visions keep arising in the mind if one listens hard enough to see We see with our ears and our hearts understands the language of the sounds of noise and silence.

The pople manning the projector is checking in the film They seem to be pleased with whatever’s happening.

Somewhere down the hall way we hear the laughter of a young child And the voice of a woman And everything feels alright in the house that has not been painted for decades.

38 VISITATION WITH THE DREAM GOD OF CCLAON

We’re in the last two minutes of the film.

The walls of the white room is torn down There is black soot on the ceilings Around the floor scatters the shells of the men in white Somewhere against the wall a grotesque figure is bloated and lifeless, his eyes wide open and seething and impotent.

The hospital did not survive the interception of Team X. No one on the other side of the game did.

It is not that they have been killed It just appears that way.

In the worlds of cclaon, there is no true death.

Energies just return to their shadows or their lights There is no end.

This is just a suspended battle.

The battle continues but not here and not now.

For now it is understood that the child is with the mother The film crew of film c is down to 10 And that is enough to see through to the next phase The true film has not been stopped yet But the X is now in the way.

Film X shall be the final chapter.

39 We’re thirty nine minutes and thirty seconds into the film.

Everyone in the white house is asleep.

But their minds roam.

Domes and pyramids open and close Lights move in and out There are white bears in the hall of the hives They are talking all at once and they make music The girl is running a round and laughing There is a television set somewhere in the hall The screen is tuned into a green light Something flickers in it Something comes into focus There is a man in the television He is painting a large canvas He is dressed in black and he has long hair and along beard He is painting a tarot card There is a wheel turning slowly and majestically There are satellites beaming a film into the heavens There is a man with an arrow in his back, his skin is ashen

There are large unfathomable creatures on the old earth and they are dead or dying There is a red planet in the sky nothing we have seen before.

The tarot man stops painting, he turns and walks towards the the screen of the television He speaks out directly from it to the eyes of the director and I, the screen writer.

He says “ I believe in the cycle.”

True there is a man being painted and he is on a unicycle.

40 THE CYCLE OF CCLAON BEGINS AND ENDS

“we are unfortunate to be half formed. This is the final minute of the film yet we’re not developed to the point of true absolution.

There is yet a long way more before the rest is truly here. The rest of the deep and the mighty.

This earth ony has her memories left. What you are living in are her memories.

And as you remember, memories will fade.

Everything you know to be safe now will be taken away by the onward march of time You must move if you are to mean anything to the next world and the next and the next For do not be mistaken.

The end of one world does not signify the end of all Each world will feel a loss that is why every world feels something absent It is the absence of their brother worlds and sister worlds What man seeks are the lost worlds, not the world he is separated from He seeks the world that was before He seeks the world that is to come

The seeking can only be done in a world that is already here This world is the stage There is nothing to treasure here It is only a platform do you understand?

A platform to be in the true worlds There are certain pains that afflict us from one generation to the next So much so that we are addicted to these pains We use them as a crutch Without these pains we say, we cannot progress we cannot grow We are a world obsessed with suffering and yet Suffering is not obsessed with us.

The vulture watches The vulture knows when our time is up and deep inside we know that too But we are not afraid because we will repeat it all again and again We live in the wheel and we call it the wheel of life the wheel of time but truly we are only going around in circles.

There is nothing new here What is ay many have said before But we are convinced that this is the way and this is the truth and this is the life It is not needed.

There is death hiding behind our thrones but with our scepter we can drive it back to its abode which is the abode of the limit.

Death needs an end to always be viable. To be relevant. We need a beginning, of anything, to keep being alive. To be life.

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