"WELLY STORY" | etfiction | GUIOPERA | STORYBOOK | SESSIONS
GUIOPERA II
ISBN: 978-0-9803486-7-5
September 5th-December 25th 2009
Summary | Timeline | Contents | Pilot Scenes
Session: 100021175
Approx Date: 24/07/2009
Location: LMLA-ink Offices – Chinatown NYC
Project: GUIOPERA Brainstorm
Story: GUIOPERA II
About: GUIOPERA II Concept
ISBN: 978-0-9803486-4-4
Missy listens to the piano introduce the catchy limerick. Lazoo puts the remote control down on the table. He looks to where the sound comes from. The small stage is now empty, but for the rig; Le Mac’s turntables are still there.
Afamasaga lets the twenty-year old woman look at his screen as he takes a peek at the work on her machine. He nods his head as Lazoo touches his face; the Maestro feels stubble, the beginnings of a creative feast that’ll see the growth flourish into a full face of hair…
The chime signaling new mail, which appears on the screen above the stage, brings a smile to their faces. The message reads, “Jon Le Mac—How’s it?”
Missy clicks on the icon and quickly types, “’Twas good till now…LMAO!” and clicks “Send.”
Arley Evon, the name change for the woman opening the front door, is evident in her appearance. Still easily passing for someone in her late twenties, the tough persona had been replaced by an air of elegance. Today she pops in on her way to the Charley Stevonsen HQ to see her daughter who had recently moved from home and in with Polina Rada.
Afamasaga asks his team, “What would happen if the ‘amalgamated you’ went head to head with what you perceived to be the real you?”
Lazoo suggests, “You’d smash the well worn two way mirror that you and the perceived you see each other in from opposite sides.”
Missy begins to tap as she puts out her cheek to collect a kiss from her mother who slides into the last booth.
Missy stops tapping as she smiles at her mother and then asks, “AmalgaMension Dimension? Or is it in the SenFenide Dimension?
“MMD in the year 2050, halfway through the century.” Lazoo nods as he continues…
Afamasaga asks his next question. “Within what genre?”
John Reyer begins to fire the rapid questions at Lazoo who just stares blankly at a spot on the table as he rattles off the answers that Missy records.
“What’s the struggle?”
“Who’s the real antagonist, the one who fuels the feud?
“Do we play a game? Again? Or, do we focus on an individual’s plight? Again? Or, do we fight for a cause which we have no chance of winning against the system?”
“The parts of the perceived you that don’t reside within the real you will form the basis of the antagonist, which in this case will not necessarily be a physical being, or even a character. If you’re good enough, you can make the story line organic and a living thing a character,” Lazoo says as he looks Afamasaga in the eye.
John Reyer begins to wind his hand backwards, motioning Lazoo to keep going.
Lazoo keeps his eyes firmly glued on Afamasaga as he continues, “Since it’s a serial, this is already some way toward the goal; as the story is waited upon, its movement and life is in its existence.”
Afamasaga nods his head as Lazoo adds, “Question is are you good enough, brother?”
Arley leans back as Missy saves the work and asks, “Coffee?”
CHAPTER: Pilot Scences | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | An Interview with JOHN LAZOO | X-MAS
FINAL UPLOAD: CHAPTER X-MAS (Unedited)
NEXT UPLOAD: The SystemSpectacular: GUIOPERA III - September 5 2010
PART 1
September 5th 2045, New York City…
The guy, who wears Charley Stevonsen and will turn twenty-five years of age three months from now, looks across the busy street.
He looks up into the sky at the tower; somewhere up there, Little Lazoo, the magnate thirty-three years of age today, waits for him.
The beep inside his ear alerts him of an incoming call; he touches his right jaw at the joint to take it; instantly, her voice brings a smile to his face; he replies, “Madeline, I’m making money. If they wanted me killed, why waste time and effort with the niceties, ah?” He clicks his fingers twice to activate the loud speaker in his wedding band; her voice in her accent makes him feel like grabbing her, right then and there. “You’re even beginning to sound like him, ah? Ah?” She repeats the phrase and he nods. “Can’t change the course of events, unless you shock the system from within, Madeline. Can we?”
He looks up from the ground as the one they call Jon Le Mac, the only living founding member of the original LMLA-ink, steps out from a carriage onto the footpath across the street. The guards that surround the youthful octogenarian immediately spot him from across the street. The African American Tycoon says something to them, making them look the other way.
Once inside the elevator, he stretches his neck. He looks at himself in the mirrored wall and snaps his fingers twice to focus his mind. He likes how the sound inside the dead space does not linger.
“Do you know who the designer of Charley Stevonsen was?” a woman’s voice asks. The male inhales pheromones before he acknowledges to himself the presence of a female. Afanasy Alfabet looks left and sees the back of a woman’s strawberry blonde head in the mirror. He looks down at the floor and sees her arched feet in high heels. His eyes cannot help but run up her legs and around her figure, contained in the same label she questions him about.
He goes to utter an answer, “Missy Evon, Little Lazoo’s—” But before he can speak, the woman cuts him off. He attempts to give her his answer as she turns to face him, her body almost touching his, “If you think you can create on this level, you’ll fail.” He tries to answer her as the doors open and the woman he imagines to be his age steps out of the lift.
Afanasy watches her walk off into the distance as he hears his name. “Mr. Alfabet, Mr. Lazoo and Mr. Le Mac are waiting for you in the Boardroom.”
The young woman lets him know he is someone, as two women, just as presentable, each take one of the writer’s arms and lead him in the same direction as the first woman, whose name he now connects with LMLA-ink.
Without seeming uncouth, the married man lowers his arms from the clasp of the two women who escort him to his meeting. “Was that Arley Evon’s daughter, who just hopped out of the lift?” he asks. The girls just look at each other across his chest as they keep walking.
The door opens and Little Lazoo, who has inherited his father’s dark hair and edge to go with his mother’s looks and presence, stands and holds out his hand. “We’re blessed by your acceptance of our humble invitation.” The ruthless son of one of this century’s noted storytellers immediately puts Afanasy on edge with his greeting said in a tone that one of the characters would sarcastically employ.
Afanasy nods at the would be adversary and tells himself that on a level playing field, where both creatives found themselves without any hand me downs, he would put the Maestro’s son to the sword.
He pulls the seat Lazoo points to back from the table before he offers his reply. Careful not to seem discourteous, he offers a nervous smile to Little Lazoo and then acknowledges Jon Le Mac, who is sitting where he can look out at the view.
“Mr. Le Mac, I’m a great believer in your process. It’s an honor to meet you.” Le Mac holds up his hand and tells him, “There was no process. John Reyer concocted it as a subplot. A diversion that allowed him to suggest, imply, manipulate, and do just about anything he wanted to do.”
Afanasy picks up the glass of water in front of him and takes a drink. Then he looks at Lazoo. “The Sessions were real though?”
Little Lazoo clicks the remote and then walks up to the screen and touches a line “Session: 100021175. Date: 24/07/2009. Project: GUIOPERA II Concept.”
When the screen changes, the insides of the LMLA-ink offices come on. A young woman sits in the last booth. John Lazoo and John Reyer sit facing her.
As Afanasy studies the pictures on screen, he hears the woman’s voice again, “This is that Session, Mr. Alfabet…” He has to do a double take as he realizes the woman on his left is the same woman on screen thirty-six years before.
TIMBALAND from the first decade of this century pumps, “Give it to me.” The place is jumping, as Ms. Furtado confirms, “…love my ass and my abs in the video called ‘Promiscuous’…"
Afanasy looks for her blonde hair among the busy bar’s patrons. “Alfabet!” someone calls out his name. The shy guy smiles and then points to where he pretends he is heading. He turns around and there she is, Madeline Sine, standing in front of him. Her and her body. He looks her up and down as she bites her bottom lip. He puts his head forward. “Here, let me do that for you.” He has her around the waist as she starts to move her hips; she lifts her arms above her head, so his arm can collect her just above her hips, in the small of her back, bringing her as close as close can be without causing any kind of disturbance.
Madeline cradles his neck as the song fades. “I’ll be back; find a table.”
As the woman he’s known since childhood disappears to the bathrooms, he hears a voice behind him.
It was not that he had wanted to hear it, but there it was again. “She’s carbon copy of the real thing, which Genisis and the others were also.” Her husky tone disturbs his mind as it comments on Madeline who enters a door. “I’m an original created to bridge the gap, between the ‘haves and have nots.’ My mother was hooker for the crew, and I was involved in yours and Ms. Prim’s conception.” Afanasy clears his throat and looks at Missy Evon, “Where’s Lazoo?” She puts her body forward without knowing it as Afanasy spots a table that has become free. He no longer wants to be in the conversation and excuses himself. “My table’s become available; nice to see you again. I’ll see you Monday at the briefing session, ah?” Missy, dressed in a figure-hugging outfit, swings her hands in front of her, displaying for him again a profile of a well-maintained body.
As he excuses himself while passing a table, he hears Missy tell a waiter, “I’ll have that table by the table for two.” He pauses; little did he know that the woman twice his age is now right behind him. He feels her breasts pushed up against his back, and then her hand on his arm. He looks left and notices Madeline exit the bathroom. Madeline looks for him, as the woman behind him continues on with her mission, “Bet you didn’t know an antagonist could be so antagonizing? Or is this aloofness designed to frustrate opponents into fouling you?”
The quiet guy, slowly so as not to draw any attention to the drama in the middle of the restaurant, takes the woman’s hand from his shoulder and drops it. No sooner has he let the hand go than it suddenly grips his hand again. Her voice is now stern. “‘AFANASY’ all caps, a node on LAZOO’s F3quenZor, ah? Get ready to take packets; you wouldn’t shit if your life depended on it.”
Afanasy manages to free himself from her hold as Madeline spots him. He points to the table for two and walks there.
He arrives there first and pulls out Madeline’s seat for her, and then he takes his seat. Madeline asks, “Are you okay, hon?” He nods as he looks down at the table; he lifts his head to answer her as he hears Missy at the next table, “Little Lazoo will be here in about twenty minutes.”
Madeline hears the comment at the next table too and elbows Afanasy, lowering her head as she checks out Missy Evon, and in almost a whisper, Madeline says to her man, “Fancy that. That must be Missy Evon.”
Afanasy looks around to find Missy looking at him.
“Afanasy! What a coincidence.” Missy gleams a perfect smile at the couple.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Give It To Me by Timbaland
YouTube: http://www.youtube.com/watch?v=2__Qdd11rfA
Wiki: Timbaland: http://en.wikipedia.org/wiki/Timbaland
Wik: Nelly Furtado: http://en.wikipedia.org/wiki/Nelly_Furtado
A track laden with TRUFUNK emblem and soul fortifying feel seems to shine the floor Alfabet steps upon.
The studio is the size of a football field, the Pacifican clad in molded armor that gives some indication of his physique, bends his knees as he stretches to relax…
The PointSlayer checks his modulator, in case they send a welcoming party of humans only requiring “0” level to contend with their mortal combat…
Little Lazoo stands in the shadows; he likes the way AFANASY doesn’t feel he needs to hide in the shadows.
JAY-Z and TIMBALAND from the early years makes the PointBolt feel the bile his father swallowed.
When he looks up at the control room, he sees Missy and Le Mac, as AFANASY collects two hitman.
He bends his knees and slices the one in front of him, and stands to his feet, turns around, smiles at the gun pointed at him, moves ever so slightly to the right, and uses his forearm and hand to clean snap both arms of the would be assailants. The gun the hitman toted flies into the air; Afanasy catches the weapon as another gang is upon him. The Pacifican walks up to the four pretenders and places the piece to the leader’s forehead and pulls the trigger; the other three he finishes with lightning jabs in quick succession…
Alfabet remembers something someone had told when he was a boy. “Focus your mind on what it should be concerned with, consuming any chance of it being troubled with worry.” The PointSlayer, a heat seeking missile behaving being, lets the mind of the human it inhabited, or in this case the brain of the shell its Collaborative Chamber was fitted to, compute data from nerve endings and sight to let it know what to do next.
Afanasy, aware of his minimal value as co-star to Little Lazoo in a new production which has been a long time coming, ensures he lets the PointBolt know he is thorough as he makes sure none of the characters the Maverick creative sent to welcome him can be reused. As the characters lay on the ground, some with limbs decapitated, others just decommissioned by the astute yet gruesome slayer—Afanasy judges by the dialogue that spills from their mouths: “…E = mc2,”—that some were high-end models with some real investment.
He scours the ground around the bodies and parts, as he hears Little Lazoo from behind him. “There’s over a century of development there on the ground at your mercy…”
Over the speaker system, Afanasy hears Missy order, “Clean up and Salvage crew, please clear the stage of used parts.”
Afanasy looks at the two trucks that approach from opposite ends of the stadium; then he smiles up at the control box. He turns to Little Lazoo. “Learn to control that bitch of yours.”
Afanasy looks at three bodies on the ground; as he locks them in his vision, they begin to rise.
Little Lazoo looks at his profile, “You’ll piss me off if you do it to spite me.”
Over the speaker system, “Hurry, please; PointSlayer is fusing memory and program.”
Little Lazoo looks up at the box and raises his hand as he tries to talk sense into Afanasy.
The three bodies suspended in the air are directly in line with the truck that moves toward the center of the pitch.
Afanasy looks at Little Lazoo. “Watch this, and please remember, I am the Attack; you’re the Defense. Without me, there is no need for you.”
The bodies begin to move toward the oncoming truck. Afanasy looks up at the box where Le Mac is now on his feet looking down.
Afanasy now locks the rest of the bodies and raises them off the ground. He looks at Lazoo, “LAZOO was a PointSlayer; AFAMASGA, PACIFICAN was a PointSlayer; JPS was a PointBolt. You figure who is TRUFUNK here.”
Afanasy points to his left; three bodies fly toward the truck, coming from that direction; The collision causes an explosion. As he turns to his right and points in that direction, he says to Lazoo, “Never lie to me; never raise your voice without good reason and I will only demoralize you this once.”
Little Lazoo looks at Afanasy and recognizes the Samoan, which his father had often warned him about, as the other truck is hit with more bodies, declaring the audition as a massive loss for Little Lazoo’s company, morally and in cost.
Afanasy looks at the carnage. He allows himself to breathe to relax now that he has seen himself up against Little Lazoo, Missy Evon, and Jon Le Mac.
He is neither happy nor sad with the way he conducted himself, but mostly relieved at how he was able to control the action sequence and lament a long lasting result Little Lazoo will remember for some time to come.
As he leaves the floor of the playing field, he passes Missy and Jon Le Mac on their way to survey the mess close up. “Thank you for the opportunity today, Mr. Le Mac, and to you too, Miss Evon.” He smiles earnestly as he unhooks his armor.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Lobster & Shrimp by Timbaland & Jay-Z
YouTube: http://www.youtube.com/watch?v=1niTSAD8tXI
Wiki Jay-Z: http://en.wikipedia.org/wiki/Jay-Z
Little Lazoo
Under a fool moon…In the distance he sees a figure, as a melody threatens to make him remember…
Little Lazoo, a guy of average build, stands on the street; he leans against a wall with one foot cocked as if he is relaxed and wants to take a load off his right leg. He digs his hands deep into the pockets of the leather jacket, a hand me down from Metofeaz Litigatti.
He looks at the offices of LMLA-ink, a place he has not entered into since the death of his father.
On nights when he hears the voices, much louder than they intend, that support, advise and guide him, he switches from the F3quenZor to memory lane. He walks a route, which he imagines would’ve been the same one Le Mac’s guided tours traveled. He steps along New York’s streets to SIL HOUSE Café, The White Room, his mom & dad’s apartment, his birthplace, and then the offices.
One of Afamasaga’s backing tracks comes on inside his head, a Polynesian tune from The Land of the Long White Cloud, “Taking you back to memory lane….” The olive-skinned Caucasian boy with hazel green eyes smiles to himself.
Little Lazoo looks left and then right as he steps out onto the road; he sees someone down the road, a man dressed in a suit, about his height. The middle-aged man smiles as he looks up at the traffic lights. The young boy wishes the traffic lights would cascade him, but he accepts there would be no such luck for him, a cut-throat creative, who lives off his reputation—one he would trade for a heart, in a beat.
As a cab passes, he thinks he sees him behind the wheel with the rest of the crew in the carriage. He walks as the tail-lights fade and the lights change; the man in the suit walks off in the distance, and he steps onto the footpath and walks up to a window covered with old newspapers. When his phone rings, his right arm crosses his torso and finds a place on the left side of his face as the song fades. “Lazoo here.” He listens to the caller, this one a disgruntled member of a wealthy family, whom the producer had outbid for rights to their great-grandfather’s life story. He ignores accusations that he had produced the TV miniseries to ensure their father’s life story would not clash with another bio pic Little Lazoo was producing as a film. The businessman John James Jr.’s reply to the caller is short, “Wipe your backside with the cash and let me know if the green fades.” Then he clears his throat and hangs up.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Memory Lane by Adeaze
YouTube: http://www.youtube.com/watch?v=H9Yv4Q7f74g
Wiki: Adeaze: http://en.wikipedia.org/wiki/Adeaze
In 2021, the woman in her prime reaches for the phone as she looks out over the blue ocean.
Missy Evon heads LMLA-ink and the family’s investigation into the disappearance of John Reyer Afamasaga. The trail of events has led her to Samoa in the Pacific.
The call from the FBI—it too has someone on the paradise island—says what she is not yet ready to accept. “He’s gone; maybe he’s gone into one of those dimensions your kind go to…” The agent’s mocking tone makes the writer want to scream. She tosses her hair, hangs up the phone, wipes her eyes, and makes a call.
PART 2
Missy Evon
Tonight, the alluring figure looks out over the New York City skyline. She thinks via the abstractions and fuzzy detail she sees in the paintings mounted on the walls of their apartment. The collection, which Genisis passed onto Missy, she now loses herself in when things become overbearing for the one who runs the family business.
She swirls her red wine as jazz music, the skyline, and Genisis’s recollection of the times when John Lazoo seemed destined for the electric chair or lethal injection help her put her lesser troubles into perspective.
Missy, a mature woman still blossoming, blooms as she stands in front of the mirror.
Behind her, a man, almost half her age, eyes the beauty as he slowly undoes buttons on his black silk shirt, soaked with sweat from panic attacks he suffers as a result of this and that aspect he has endured from being as human as he can possibly be.
He manages a smile she knows is a brave one, purely for her sake. And when both sides of the shirt are open and she can see his ripped chest muscles, she turns and walks toward him, looking at him as she slowly waltzes behind him and takes the shirt collar in each hand and peels it from his body.
He quietly snorts whatever the evening dampness has left for his sinuses as he feels her fingertips over a particular scar she often chooses to remind him about.
As a self-mutilating act, which Missy is well aware of, the Creative who takes his style from Realism, and not the Surrealism his father was an exponent of, often goes into action sequences with hardened criminals he finds to add a realism that special effects cannot conjure in the audience’s minds. He acquired the scar she lightly runs her finger over in his last blockbuster.
“Maybe next time, you feel the cutting I feel each time I touch it.” Missy is calming to his mind, which investigates what his ears hear before he settles upon an appropriate reaction.
“I will deal with the issue just as the scar tissue can be removed to eliminate any pain you feel you have in its incision.” Little Lazoo consoles his GuidingMaster as he looks down to his left side, his jaw clenched, and reaches around with his right arm to find her hand.
PART 1
The GO2 action theme plays; the TIMBALAND platter spins as the media await the two leading men for the press conference.
Behind the door to the arena are twenty thousand or more hungry reporters. Some of them will have the opportunity to get in the cage with the two leading creatives.
The F3quenZor hums and then MISSY lets them know, “Le Mac says its Showtime! Action Sequence 00777.”
Little Lazoo in a Charley Stevonsen outfit, an original worn by his father, looks at the guy standing next to him; Afanasy Alfabet is also in the wardrobe of LMLA-ink.
The producer says to his co-star, “Imagine Keanu Reeves as you and Christian Bale as me—Neo versus the Batman—back when things were real.”
Afanasy, a normally polite and mild mannered person, replies, “Let’s just make sure we hit them before they hit us.”
As Little Lazoo peers through the door, he is quickly reminded of the reality they face—a reality of his own doing since he opened up the set of his latest production to anyone who had passed the test.
Up in the control box…
Le Mac watches the two candidates, whose test marks surpassed the 99.33% mark, seated in the front row center pitch, as the stadium darkens. Then the lights circle until they find the door, which swings open. Out into the spotlight step Lazoo Jr and Afanasy.
Both males—in their prime with acumen and the physicality to match the two soldiers who march to the funk—show no sign of nerves as Lazoo looks up at the box and points to the figure of Jon Le Mac, whose face appears on screen. Afanasy looks at the ground as Lazoo stretches. “Freaks!” Lazoo smiles as he sees Missy Evon. “We’ll send em back as spare parts, ah?” he says. Afanasy looks at the one of the soldiers seated in the front row with different colored eyes, “Fused DNA, complete with native F3quenzor addresses. Careful of what you hope for—these toys are a brand new.”
Little Lazoo senses the first question. “I’ve got this one,” he lets his partner know. Afanasy stands back as he sees the wake of the machine that has launched itself from the stands.
The hit on Little Lazoo sends him flying, making him smile.
Afanasy looks at the sleeves of his Charley Stevonsen suit.
On the ground, less than twenty meters away from where Mr. Alfabet is about to answer his first question, Lazoo’s uppercut sends the would-be’s head nodding. The son of John James chooses to stay human as the resistance of the droid on top of him grows.
Afanasy points at an almost human reporter whose neck muscles begin to turn blue and a bright yellow color as its anxiety gathers from wanting to be the first to question Afanasy.
The PACIFICAN stretches his neck as the unknown being leaps over the heads of others with valid questions. In less than five strides, the beast has scaled a distance of about thirty meters.
Afanasy holds his arms out in front of him as if he stretches them. The blue colored animal, the body of a Silverback Gorilla with an almost fully evolved human face in full flight, gets a retracting right elbow in his chest, which sends it flying. A second animal of the same make is upon the creative, who steps to the side and offers a swift right hook that sends the creature head first into the turf; the impact dents the acrylic soil made from recycled plastic.
Little Lazoo is on the receiving end of some punishment to which the look on his face says he is accustomed.
Afanasy walks over to the two creatures laying on their sides in fetal positions. He makes an incision in the back of one’s head and retrieves something covered in a blood-like substance; he shakes the excess waste from what’s in his hand; then he does the same to the next creature, rending them both decommissioned.
He says to Lazoo, “Finish him; we want the two soldiers.”
Little Lazoo stretches his neck as he stands face to face with a Terminator whose posture is still straight.
“We don’t have time to play. Finish it!” Afanasy reminds his co-star as he looks up at the box and then down at the front row where the two specimens begin to get the message.
Lazoo offers his opponent an extended leg that the machine tries to grab. Then Lazoo flicks the limb, hits the thing in the head twice, and then in the rib cage, making the droid only bend slightly.
“Timing is everything…” Afanasy looks at Lazoo who does a combination on the bigger frame.
Little Lazoo, in mid-air processing a lethal round house kick on the machine, lands on his feet to find the body, which was meant to be his, is flat on its back.
Afanasy now kicks the creature onto its back and takes something from the back of its head too…
Afanasy looks at the arms of his suit, still clean as the two characters walk from the field.
Little Lazoo, looking worse for wear, looks at the bodies being carted away and then at Alfabet. “You can’t just win, win, win. The audience wants a hero with flaws, one who rises from the ashes of his own demons…”
Missy joins them, “Winning is not always tangible, a loss can bring just as much material reward sometimes.” Alfabet smiles as he holds his hand out to shake Missy’s hand. She has a look of bewilderment on her face as she says, “We built this game on a specific formula; you can’t just come in and change that.” Missy is clearly annoyed.
Afanasy sees Madeline up in the distance; his smile widens as he chooses to ignore the two people badgering him. “Counter me. Conspire against me, your own partner and co-star. That should give you two something to satisfy your need to suffer, ah?” Alfabet says as his nostrils can smell the scent of his woman.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Lobster & Shrimp by Timbaland & Jay-Z
YouTube: http://www.youtube.com/watch?v=1niTSAD8tXI
Wiki: Jay-Z: http://en.wikipedia.org/wiki/Jay-Z
Wiki: Keanu Reeves: http://en.wikipedia.org/wiki/Keanu_Reeves
Wiki: Neo: http://en.wikipedia.org/wiki/Neo_(The_Matrix)
Wiki: Christian Bale: http://en.wikipedia.org/wiki/Christian_Bale
Wiki: Batman: http://en.wikipedia.org/wiki/Batman
The door is ajar. Jon Le Mac pushes it open, slowly. The ceiling high windows offer light way off on the other side of the large room. He walks on the marble floor to his left, believing his footsteps will awaken the bruised and battered man, whose arms lay draped over the sides of the raised bath twice as large as a king-sized bed.
He seats himself down at the table and looks at Lazoo whose head rests asleep on his own right shoulder. It reminds Le Mac of when Little Lazoo was a baby, asleep on John Lazoo’s shoulder.
As Le Mac looks around the room, he notices his friend’s son’s mess in a corner, obviously cordoned to that area by Missy, who now appears. She tip toes across the floor and takes a seat opposite the still handsome man who has a look of concern on his face.
“He has never forgotten the cause,” Missy says, her voice soft enough to blend with the dampened dullness of a dense atmos.
“Arms dealers still traffic arms, only now the goods fit in a cuticle.” Le Mac’s voice mixes with hers and her concern.
“The old men never said we would win.” Le Mac and Missy turn to see where the comment came from.
Lazoo sits upright; water flows down his shoulders, beads hang onto scars, and drip onto the floor. He shakes off his hands and holds them out for a towel. Missy grabs one from the table and walks over to him.
Madeline reads on the sofa; through the glass wall she can see Afanasy working.
Blue prism encasings, each double the size of a Rubik's Cube, line the wall he faces. In front of him are three; the trophies he collected today—one of them a forgery; the other two light up pink in their cubed Petri dishes before he turns off the enzyme wash running over the objects.
He looks at the handle-shaped life source made of bone tissue and carbon, which is used to cart the being’s head while it makes its way along the production line. He then places the real ones into the wall and places the copy onto a piece of cloth and wraps it up.
He turns around to look at Ms. Sine, who crosses her legs and smiles at him through the glass.
He turns up the volume on the wall monitor at the end of the room as he studies today’s press conference.
The two soldiers from the project were complete. Their efficiency levels topped all previous models.
He pays close attention to Little Lazoo’s response to a signal from one of the soldiers prior to striking his co-star. Afanasy selects Lazoo’s response and opens the packet to read its assembled message.
Madeline places the book down as she writes notes.
The F3quenZor waves begin to run ashore. She looks up at Afanasy who leans back on the work bench, his arms folded.
Their apartment’s integrated sound system has selected a Brian Eno track Deep Blue Day triggered by the moment the hardworking creative is having.
The ambience fills the two people…
Afanasy thinks back to when he was a little boy running along the shores of the island paradise, with the little girl, who writes and then pauses to look up at him, in tow.
He freezes the frame on a close up of John James Lazoo Jr. and drags the assembled message onto the picture of Little Lazoo. He takes the raw packet data and drags that onto the picture too.
He asks for “Undecipherable, please.” Madeline smiles at his interaction with the “FRIDGE,” the name of their Big Iron—the IBM Mainframe computer ironically smaller than a clothes iron.
The FRIDGE’s response makes the young man laugh. First, a million fragmented packets that like fairy dust make him sneeze. Then a freight train is running at him in the wall monitor; the locomotive flattens him on screen as it smashes through the apartment, and out and away over the buildings; he can see Madeline’s hair blowing as he and she are left sitting on the top of an apartment building without walls.
Afanasy clears the computer generated image from the screen. He smiles about the FRIDGE’s personality, an evolved capacity within the hardware’s virtual memory and the CPUs’ utilization patterns married to produce the computer’s instantaneous array of responses to voice commands. Afanasy had loaded his voice in a terse tone, and for a long time commanded the FRIDGE in that manner. Of late he has changed his tone; the result is always interesting to say the least.
Afanasy looks at Madeline through the glass, which has lost its tint due to the two people on opposite sides looking at each other. She asks the FRIDGE about the nutritional value of certain foods as she works on a new product line. “Maple bark, cranberry pulp and walnut kernel?”
The answer is delivered instantly in a dialogue box to her monitor, without a reaction from its impersonal but evolving collaborative chamber. Madeline smiles at Afanasy who shakes his head.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Deep Blue Day by Brian Eno
YouTube: http://www.youtube.com/watch?v=z9iOlhJfk_k
Wiki: Brian Eno: http://en.wikipedia.org/wiki/Brian_Eno
WARNING: PART 1 is, "Unproofed and uncut by the knife in the hands of an editor."
PRELUDE
Alexvale Rokov III, a young Londoner with dirty blonde hair, around eleven or twelve years of age, is quiet as the adults around the boardroom table behave like their shoe sizes.
On screen is footage of inside his bedroom the night he; HEX-V’L, Polina Rada; PLANTOM-ZERO, and John Page AKA PAGE1, came together on their Semi-System’s F3quenZor to lock down WIPE’s source code.
The taxi driver wearing the orange Turban says, “Where I come from, music is always a very good thing for carrying a flimsy story line.” He refers to the way things were done in Bollywood.
Polina smiles at Alexvale from across the table, making the boy look at Lazoo, then Jon Le Mac, and then Afamasaga, who suddenly has a blank look on his face.
Polina’s smile becomes strained on seeing a close up of John Page; his voice makes her eyes water, as he says; “Yeah, we got music.”
WIPE’s theme comes at them. The video excerpt from the Taratino project has a red filter, the same color Gene Reyer the lawyer now rising to his feet; sees as he verbally lunges at one of three opposing Litigators.
Gene Reyer represents the plaintiff; Lazoo, Metofeaz, Le Mac and Afamasaga who have agreed to sit down with the three parties they do battle with for the rights to John Reyer Afamasaga’s work.
Alexvale, just past his formidable years looks up at the attorney who successfully freed John Lazoo from the straps of an electric chair.
Gene Reyer’s stance is solid, and his glare is stealth like; as he does not flounder in his attack, as he points to his client.
“Without Mr Afamasaga and or his work, the derivatives, their proceeds and interest which he claims ownership of, would not exist.”
The grey haired Argumentor’s words mean little to the lad looking up at him, but then the serious man looks down at the boy and smiles at him, leaving a lasting memory.
Seated next to the good looking boy is Hanibal Ammer, who had become his dad.
PART 1
Gene Reyer II watches the press conference in Times Square…
Little Lazoo, jumps in the air, his round house kick leaves a Terminator flat on its back.
Gene Reyer II opens the packet of processed food and grabs a hand full and puts the lot in his mouth, and then he washes it down with purple pinky colored fizzy drink.
He squints above his glasses at the shot of Lazoo Jr, a creature who should be behind bars; as far as the Lawyer turned Talent Agent come King Maker is concerned
The already graying young man finger claps twice with his right hand, as he tugs at his left ear lobe. “Get me Le Mac. Tell him it’s imperative to his chimp’s next project’s success.”
He snaps his fingers twice and continues to watch the promo up on the big screen.
Afanasy Alfabet, a kid from a small pacific island who Gene Reyer had given a break, lifts Little Lazoo’s arm to signal their triumph.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Battle Without Honor or Humanity by Tomoyasu Hotei (Theme Song to Kill Bill: Vol. 1 by Quentin Tarantino)
YouTube: http://www.youtube.com/watch?v=XKLeCjySMi8
Wiki: Tomoyasu Hotei: http://en.wikipedia.org/wiki/Tomoyasu_Hotei
Wiki: Quentin Tarantino: http://en.wikipedia.org/wiki/Quentin_Tarantino
Maroon 5 plays on the iPod lying on the coffee table between two coffee cups and out through the sound system that hangs on the walls of the New York City apartment.
“Sunday morning, rain is falling…”
Lazoo smiles at her; she closes her eyes and then he kisses her cheek. He opens his eyes to see her profile. Beyond her perfect outline, their child plays on the floor.
“...That may be all I need. In darkness she is all I see...”
Mrs. Genisis Jones-Lazoo looks at his hazel green eyes. She turns her head to see the reason why he looks elsewhere…
“Fingers trace your every outline…”
Little Lazoo sits on the floor with his building blocks laid out in front of him. He favors the orange colored one; he begins to throw it up in the air. He hears the music, “Paint a picture with my hands. Back and forth we sway like branches in a storm…”
As if by some instinct, the infant turns his head to look up at the bay window. The orange block drops onto his woven flax matt that sits on the gleaming wooden floors. He looks at the block and picks it up to throw it again in the air; this time it lands on the wood, making a sound that seems to satisfy his young mind.
He stands up by leaning forward on his arms, and then lifting his torso and backside. Before he stands up, he looks at his parents on the sofa enjoying the winter Sunday morning.
Genisis watches the boy, who is now able to reach the bay window seat. His dad pushes the toy box forward—a place for the toddler to step up on in his attempt to climb. His hands above his head, the boy looks down at the box and then up at his father; he moves away from the box and continues to try to pull himself up with only the use of his tiny arms…
Lazoo Sr. returns to the sofa and sits back down as the boy stands in the window. With his hands, the boy traces the wind’s movements as it throws the waving branches of the tree outside….
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Sunday Morning by Maroon 5
YouTube: http://www.youtube.com/watch?v=PWsfrHvUMZM
Wiki: Maroon 5: http://en.wikipedia.org/wiki/Maroon_5
THE PROJECT
The boy stands tall, his chest out, and his shoulders back. His hair is shaved.
Today is his first birthday; next to him are other boys also turning seven years old.
Two rows up in front, he sees her shiny hair in a French plat.
Today he will also receive his name; the thought is puzzling for the boy who has never had to be called, or to answer to a thing said and therefore heard.
As he tunes out of the F3quenZor, and begins to put into practice what he and the other boys have been training to do for the past twelve months—to use their ears for communication—and not just sensing danger, or response from another being, he hears the song.
He reads the words up on the screen and tries hard to co-ordinate them with the audible.
“When you were here before, couldn’t look you in the eye. You’re just like an angel…”
The girl looks to her left, and then her nature allows her to turn her head as she hums the tune and absorbs the meaning of the words she sees him trying to understand.
“Your skin makes me cry. You float like a feather in a beautiful world. And I wish I was special. You’re so very special.”
He takes a deep breath, and from the corner of his more than 20/20 vision, he sees her smiling at him. The vocalist confirms the lines that confuse, aided by the thunderous guitar that threatens to strike as the strummer collects strings in almost one single motion, quavers isolated, and then in an ambush on his senses, the chorus flattens him and his sensibility.
“But I'm a creep; I'm a weirdo. What the hell am I doing here? I don't belong here…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Creep by Radiohead
YouTube: http://www.youtube.com/watch?v=nxpblnsJEWM
Wiki: Radiohead: http://en.wikipedia.org/wiki/Radiohead
THE GAME
PART 1
From the golden years, Ida Corr vs. Fedde Le Grand - Let Me Think About It rattles the joints of the underwater club, the Aquarium—a four-story glass building submerged in waters off the coast of Costa Rica.
Little Lazoo shouts over the hypnotic techno, “The Gene Reyer Project won’t affect this GAME in any way, shape, or form.” Afanasy listens to what Little Lazoo says. Afanasy considers the deep breath he takes immediately after he says “Promise!” as an insult.
Down on the floor, Madeline and Missy drown themselves in the sound. Afanasy watches the way Madeline moves. Little Lazoo sees the look in Afanasy’s eyes, “Hey, how does it feel to be able to choose whom you fall in love with?” Afanasy ignores the question as he waves out to Madeline who looks up at him as the way she moves her hips leaves little to his imagination of her.
Little Lazoo elbows Afanasy in the ribs as he lifts his glass of Cosha, a crystalline tropane alkaloid made from Herbivore semen and plant extract.
Afanasy looks to his right at the whale and its calf that pass by outside. The bright lights that shine on the club make their appearance from this side even more awesome as they now cast a moving shadow over the place. The light shown on the mammals’ bodies add to the spectacle as Little Lazoo redirects Afanasy’s attention to Gene Reyer II climbing the stairs to their plateau with a bevy of beautiful women in tow.
“Hey, Casey.” Little Lazoo immediately annoys his former talent scout by calling him a name he dislikes; he reminds Little Lazoo of Casey Affleck.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Let Me Think About It by Ida Corr vs. Fedde Le Grand
YouTube: http://www.youtube.com/watch?v=dCWUiBn2yXc
Wiki: Ida Corr: http://en.wikipedia.org/wiki/Ida_Corr
Wiki: Fedde le Grand: http://en.wikipedia.org/wiki/Fedde_le_Grand
Wiki: Casey Affleck: http://en.wikipedia.org/wiki/Casey_Affleck
A black finger traces lines down a map. From New York, down to Cuba and then back up to LA, and then up to Canada and back down to base 1, NYC.
The way the little notes repeat makes the woman in a short skirt move her hips. The piano player’s fingers stretch and then contract as his foot hits the pedal to sustain the note, integral to the sweet melody; it summons others with the rhythm the tune conjours in the bodies of locals and visitors to the dusty Cuban capital.
On the restaurant’s veranda their great grandsons play the way the Buena Vista Social Club’s members once played. A lookalike plays the way Chris Martin must’ve meant for the track “Clocks” to end up. The Cuban sun is hot.
Missy remembers Arley’s stories of the place Ali Lévon’s mother was born. The earthy browns of the Atmos and the people’s skin are offset by the bright colors; like their smiles she sees making Missy smile too, as they walk down the middle of the street.
“…Confusion never stops; closing walls and ticking clocks. Gonna, come back and take you home…”
“Havana, baby.” Gene Reyer II lowers his sunglasses as he turns his head toward the woman, who sashays past him, making the one holding his hand smile awkwardly. Madeline rests her head on Afanasy’s shoulder as Missy and Little Lazoo swing each other’s hand they hold.
“…Am I a part of the cure? Or am I part of the disease?..”
They are here to meet with a financier for the new GAME as Little Lazoo likes to refer to his latest and greatest production.
Up ahead, Afanasy can see Jon Le Mac point to something on the table while he’s talking with someone, under a tree, outside the restaurant where they are headed. Tables of tourists and locals playing cards, chess, checkers and doing other stuff line the street.
As they near the entrance way, Afanasy notices the figure has disappeared. Le Mac has his arms open to greet them as he moves his feet to the rhythm from the song that plays.
Afanasy lets himself be embraced by the man whom people referred to as the “Da Hood” in his younger days. Madeline smiles as Le Mac compliments her, “Lady, you’re in the mold all right, and you ain’t even blood.” He calls out to Missy, “Ain’t that true, Missy? Girl’s Genisis; ain’t she?” Little Lazoo pulls out a seat for Missy and then his own as Gene’s date seats herself down on his lap. Little Lazoo looks at Gene, and then Afanasy. “Gene, tell.” Little Lazoo pauses, “I apologize for my associate’s manners, but he never did introduce you.” The model looks at Gene, whom Lazoo Jr. has embarrased yet again. “Hey, babe, go sit down the end, will ya?” Gene Reyer asks the woman, costing him a packet every minute she is around him.
Le Mac intervenes as the lanky lass stands and walks to the opposite end of the table and seats herself down. “There’s the playing field in front of you, the biggest diamond ever.”
Little Lazoo looks at the map and then at Missy. “You think the old men could’ve pulled this one off?”
Missy’s mischevious smile is covered by a bottom lip up over her top lip as she looks at Le Mac, who confirms for him. “It’s one of you’re old man’s 4Si’s; John Reyer thought to be too risky with the borders and the way things were back then.”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Clocks by Cold play, featuring the Buena Vista Social Club
YouTube: http://www.youtube.com/watch?v=onpJ6fLBif8
Wiki: Chris Martin: http://en.wikipedia.org/wiki/Chris_Martin
Wiki: Buena Vista Social Club: http://en.wikipedia.org/wiki/Buena_Vista_Social_Club
“I used to rule the world. Seas would rise when I gave the word. Now in the morning I sweep alone, sweep the streets I used to own.”
The wet pavement glistens. The footprint leaves an imprint that quickly covers over and shines again in the street light; Gene Reyer II walks the street to his home.
A song to which his father used to drink his scotch plays on the F3quenZor.
A stracata section vamps his long ago memory; his soul remembers…
“…I used to roll the dice, feel the fear in my enemies eyes…”
As he climbs the steps to his building, he thinks of his biological mother, Rocol, whose egg he is from. And then he remembers the smell of his father Rokov, the name people called him, but not to his face.
On reaching the door, he stretches his neck left, and then to the right, and then he swallows and looks into the red light for the door to open.
He walks to the lift. His footsteps echo; as he can hear his pulse, he counts before he realizes he does not need to; the elevator arrives and he steps in.
The lift is an original OTIS elevator from the 1930s with cast iron Art décor doors that now open as he steps into the foyer of the home his father built all those years ago.
A portrait of Gene Reyer painted not long after winning the Tongue Murder trial by way of acquittal, looms large in the bright hall with marble floors.
He pours a whiskey from the crystal decanter on the table beneath the portrait and steps back to see the man his father named him after. He toasts, “Here’s to you and to the system we fight to stay incorruptible, ah?”
Soon he is seated and looking up at candidates on the wall who will make up one of the three teams for the GAME.
He accesses SEARCH and requests an archive he uses to trace the origins of a profile, whose birthday is the same as his, and Afanasy’s for that matter, and sees afamasaga.net as the source of the information back in 2027.
He selects “TODAY” and enters his password. Then he sees a young man at dinner with his family of two boys and a wife; the woman and boys’ images are blurred out.
He goes back to the archive and selects another from the Registar view as the phone rings…
He looks at the phone he holds in his hand as the voice continues.
He places the antique piece back on its body; a gift from Polina Rada to his father, which once belonged to Rozelle Zofen.
Everytime he speaks to his namesake’s grandchildren, his dislike of Little Lazoo and what Lazoo Sr did to the man who saved the illiterate’s life increases.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Viva la Vidaby Cold Play
YouTube: http://www.youtube.com/watch?v=dvgZkm1xWPE
Wiki: Cold Pay: http://en.wikipedia.org/wiki/Coldplay
PRELUDE
“When I was just a little girl, I asked my mother, what will I be? Will I be pretty? Will I be rich? Here's what she said to me…”
Doris Day asks the question every little girl asks…
Jon Le Mac points to an area for the caterers to place their equipment.
Missy dances to the Doris Day song, as the phone in her mother’s hand rings. “Ali.” Le Mac looks over as Metofeaz, Lazoo and John Reyer arrive with boxes of gifts.
Le Mac points to the table in front of the stage for them to leave the presents, as Ali passes him the phone. “It’s Polina, isn’t it, Mom?” Missy says knowingly as she twirls, holding the ends of her frock. She almost falls over; as she loses her footing, Le Mac drops a shoulder. As he looks into the sky, his right arm catches the girl, who looks around to see whether anyone noticed as she continues to dance, this time with a cautious left foot forward, followed by a dragging right one, and so on.
“Who would you like to sit next to?” Le Mac asks into the phone as he looks at the garden transforming by the second.
John Reyer is standing behind him, chewing on a strawberry from a container Lazoo holds out. Metofeaz takes a strawberry for himself as Le Mac declares, “Gene Reyer.”
John Reyer swallows, and laughs, “He ain’t even on the guest list.” Lazoo looks around the garden, tightlipped, as the look in his eyes suggests he has something to say. “And, I suppose, she wants Clariss as the Clown?” John James hands Le Mac the container of fruit as Metofeaz takes another one.
John Reyer continues, “The Mistress has to keep her word; Santina would not have done the deal if Polina were going to work in the field. She’s a child, and that’s what she’s going to be if we go ahead.”
Metofeaz nods his head as the African looks into the container he holds. “You freaks have license over your own; us normal folk have prison to look forward to.”
Lazoo looks at Le Mac as he says, “Mr. Reyer doesn’t get to walk. Bottom of the ninth! It’s strike two; bases are loaded; he’s on three. Looks like we’re pitching for a strike out, but—we let the batter bunt a lob, take him out on his way home, as he slides in.
John Reyer looks at the Maestro as he laments for the crew, “No Foul!”
“Que sera, sera. Whatever will be, will be. The future's not ours to see…”
PART 1
The Man Who Knew Too Much
“Que sera, sera. Whatever will be, will be…”
In the park domed in for comfort and high altitude, Madeline points to where the children are to stand as they wait for the birthday girl.
“When I grew up and fell in love, I asked my sweetheart what lies ahead…”
Missy and Polina Rada walk toward them in the distance. Holding Polina’s hand is a spitting image of the famous woman dressed in black—a habit of hers since the passing of her daughter’s father.
Afanasy with a baseball in hand and Little Lazoo with a catcher’s mitt talk under a tree as Le Mac sits at the head of the long table.
Up on screen, an Alfred Hitchcock classic plays in the playful atmos of a seven-year old’s birthday party.
“…Will we have rainbows, Day after day. Here's what my sweetheart said…”
“Rokov reckons he can muster up a team of halfwits,” Little Lazoo says as Polina nears them. On hearing the name, Ms. Rada turns toward where Madeline and the children wait.
Little Lazoo calls out, “Polina, I knew you were there. I was just playing with ya. Come give brother-in-law love.”
Missy turns her head over her shoulder; her face looks annoyed with its screwed nose and tight lips.
Afanasy watches how Lazoo shrugs his shoulders and laughs at his disrespectful behavior as the hurt woman walks away with her daughter.
On screen, the assassination of Bernard in the movie goes down. Little Lazoo looks at Afanasy who watches the scene. “I can find a pitcher with Jack Shack’s arm,” Alfabet says as he studies the seam of the baseball.
“Gene Reyer show pony; can’t happen again.” Little Lazoo punches the mitt with his right hand.
Afanasy looks at something in the distance. “Not quite sure what happened, but decommissioning in daylight’s not my type of thing.”
Little Lazoo looks and sees Gene Reyer II with two women on either side of him approach. “Gene Reyer tipped the police off. Then went worldwide of the back my father’s life.”
“Que sera, sera, whatever will be, will be. The future's not ours to see. Que sera, sera.”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Que Sera, Sera” by Doris Day
YouTube: http://www.youtube.com/watch?v=xZbKHDPPrrc
Wiki: Doris Day: http://en.wikipedia.org/wiki/Doris_Day
Wiki: “Que Sera, Sera” by Doris Day: http://en.wikipedia.org/wiki/Que_Sera,_Sera_(Whatever_Will_Be,_Will_Be)
Wiki: Alfred Hitchcock: http://en.wikipedia.org/wiki/Alfred_Hitchcock
Wiki: The Man Who Knew Too Much (1956 film): http://en.wikipedia.org/wiki/The_Man_Who_Knew_Too_Much_(1956_film)
Stevie Wonder says, “People keep on learning. Soldiers keep warring…”
Afanasy studies the soldier’s cool; as the opponent lunges forward, the soldier moves his head, making the opponent reach for his arm.
“Step to the left softly, flat as possible, but on your toes,” Afanasy advises the recruit as foil for his head movement. “And relax your shoulders; give the head movement meaning, making the opponent believe you. Your eyes are still, transfixing your opponent.”
Madeline records the soldier’s brain waves and puts “FAIL” next to his profile.
Afanasy points to a young woman, a weaponry expert, to step forward. He then points to a male from the other bunch and throws him a rifle from the table. Alfabet takes a sword; he studies until he chooses a dagger he suddenly hurls at the young woman, who turns in a spin as she collects the flying knife. She completes the spin with her hands by her side.
“…Teachers keep on teaching. Preachers keep on preaching…”
Afanasy looks to his right; the blade is lodged in the neck of the young guy who looks at the rifle in his hands, blood from his bent neck drips onto his weapon.
Afanasy looks at the young woman, with an education, and then at Madeline, who nods her head as she smiles. Afanasy points to the left, for the women to step there.
The music fades and Afanasy’s footsteps come to the fore. His brain is in motion; therefore, his facial expressions are bland, but ready with a smile if someone interrupts his planning process. And if called upon, he may explode with an obscenity, or politely answer you, if he feels your intervening is a must.
Little Lazoo and Missy seated in the director’s chairs watch Mr. Alfabet. “Give me a shaving of its handle.” He instructs the Doctor to take a scrape of the Terminator’s Life Source; the physician has removed the knife from its neck.
He now has a real smile as he approaches Little Lazoo and Missy.
“Arnold Schwarzenegger would’ve loved the fact that he spawned a race…” Little Lazoo looks for something to say as his partner approaches them.
“Without Sarah Connor’s egg, we wouldn’t have T-X as stuntmen, and stand-ins.”
Missy looks up at Afanasy who stands before them looking down at them.
Alfabet looks up at the screen, “Terminators, Silverbacks, and Rats will make up the teams. A smattering of brains, some bravado from thrill-seekers willing to pay to play.” Afanasy advises his crew of the characters and cast that will make their new GAME.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Higher Ground by Stevie Wonder
YouTube: http://www.youtube.com/watch?v=4wZ3ZG_Wams
Wiki: Stevie Wonder: http://en.wikipedia.org/wiki/Stevie_Wonder
Wiki: Arnold Schwarzenegger: http://en.wikipedia.org/wiki/Arnold_Schwarzenegger
Wiki: The Terminator: http://en.wikipedia.org/wiki/The_Terminator
The Strokes tell in “Reptilia” just one of the many minds that ruled the thinking of LMLA-ink. “He seemed impressed by the way you came in.” "Tell us a story —I know you're not boring."
Gene Reyer II bends his knees to study the heap that lays outdoors under a tree in Central Park.
He uses the package to nudge the pile, making it move. “I need a short stop. I have freaks stealing bases.”
A hand in cut-off mittens reaches out from beneath the wet blankets. Gene Reyer hands it a hip flask, and then a man, resembling Al Pacino, appears from beneath the covers.
He sits up, and as if he were waiting for him, the RAT looks at the Talent Scout with a knowing look, his wise eyes turned down at their ends, and the corners of his lips follow suit. “The old men never hit home runs, that would be too easy. What makes you think Little Lazoo is going to do any different, ah?”
“You're no longer laughing. I'm not drowning fast enough.”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Reptilia by The Strokes
YouTube: http://www.youtube.com/watch?v=LFSYf-sgBIw
Wiki: The Strokes: http://en.wikipedia.org/wiki/The_Strokes
Wiki: Al Pacino: http://en.wikipedia.org/wiki/Al_Pacino
LOSE YOURSELF
(Featuring Marshall Mathers)
PART 1
Little Lazoo opens the door and peers through the hole. The support group is strong tonight. It was his turn to lead tonight’s discussion, so he is late in hopes another will take his place.
He steps through the door. The open door lets in an icy draft onto the backs of the group, causing a few of them to turn around. “Here he is,” a CO2 emission addict says, drawing attention to the group’s celebrity.
He lifts his hand as if to palm off the attention, and the other members let him off the hook.
“Cause you’re so fucked up, we’ll let you off, Lazoo,” says the junkie he sits down next to; then he holds out his hand to Lazoo Jr. and whispers, “You got some of that green; you know I’m good for it.”
Little Lazoo touches the left side of his face, using his right hand, as he smiles at the junkie. “You know, I’ll come looking for this one of these days, don’t you?” Then Lazoo Jr. says something to his right where no one sits, and then he turns back to the RAT, who holds out his frostbitten fingers in fingerless woolen gloves for Little Lazoo to swipe his wrist with his.
A flat liner Researcher with suicidal tendencies has nominated himself to take Little Lazoo’s spot. The twenty something med student shares his experience…
“May I have your attention, please?” A white man’s voice is heard through a megaphone.
Little Lazoo stands at the front of the room now; he looks down to his right at the container of red strawberries on the table. Behind him, a wall of imagery, from days gone by, blurred—the focus on the son of Lazoo.
The voice asks again, as the creative sorts through the strawberries, “May I have your attention, please? Will the real Slim Shady please stand up?”
Little Lazoo points at the screen as EMINEM asks one last time, “I repeat, will the real Slim Shady please stand up?”
The RAT in the back row looks around at the vacant seats; the rest of the group is gone.
“We’re going to have a problem…”
DR DRE’s Bass urges the shady character to look at himself. Little Lazoo takes a strawberry from the container on the table; he looks at the genetically modified ripe red fruit, and then he puts the orgasmic object in his mouth as the pale poet begins.
“…Y'all act like you never seen a white person before…”
“The Bambino fouled more home runs than your average.” Little Lazoo looks at the stereo-typical manifestation of the great writer, whom the sorry figure sitting alone in the back claims was his father—Metofeaz Litigatti.
The normally unruly MICER, about sixty years of age, squirms his way into a hibernation pose. His legs are lifted off the ground, his knees tucked into his body, and his arms held up close, protecting his rib cage, as well as his wrinkled face, as he cowers at the thought of what Little Lazoo was about to do to him.
“Here, have the cash back.” The RAT squeals as he holds out a wrist, and then he realizes he puts forward the wrong one, and swaps wrists quickly as Lazoo turns up the volume…
“I'm Slim Shady; yes I'm the real Shady; all you other Slim Shady’s are just imitating…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: The Real Slim Shady by Eminem
YouTube: http://www.youtube.com/watch?v=99HdRxlJzV4
Wiki: Eminem: http://en.wikipedia.org/wiki/Eminem
“Two Trailer Park Girls go around the outside…” The bass hits him in the mo, which the guy in the back seat has in his mouth. Little Lazoo turns to their passenger in the back. “Speaking of, where’s Miss?” Lazoo’s hair blows as he waits for an answer…
The top down, the Blue Black BMW convertible runs on pure Hydrogen; it roars around bends as Afanasy in black Ray-Ban’s looks in rearview mirror. Gene Reyer II’s arms hold onto the body of the extra long, low-lying sleek machine with lines the wind skims like a breeze. Little Lazoo lets his head fall back as his laugh makes Gene Reyer II feel as sick as the way Alfabet puts the limited edition i7 into another bend, crossing magnetic rails other vehicles travel on, narrowly clearing oncoming carriages and traffic that seem static in comparison to the way he makes this machine fly…
“…Guess who’s back? Guess who’s back? Guess who’s back?”
“Afanasy will pitch to the networks tomorrow morning. I want to see those kids in front row seats.” Little Lazoo talks out loud; the wind from Afanasy letting off steam causes him to use his phone to talk to the Umpire sitting in the back.
Gene Reyer II shakes his head. “No freaking way will they be seen to be associating with you after what you did to their Pappe’s story.”
Afanasy reaches a long straight and calls on the FRIDGE by yelling at it, “Remove Speed Limit; give me reserves for disposal and switch to combustion NOW!”
The tires on the vehicle deflate as the synthetic material expands laterally to give Afanasy instant slicks.
Little Lazoo tightens his seatbelt as Gene closes his eyes tight. “Tell the cretins, I’ll delay my own Dad’s bio pic by one week and use their story as a lead up. Afanasy will add it to the list.”
The BMW, already moving at unimaginable speeds, appears to warp to the naked eye as a speed camera catches a blur of the black blue machine.
On screen, in the passenger’s side of the windscreen, EMINEM and DR DRE’s heads nod to the music.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Without Me by Eminem
YouTube: http://www.youtube.com/watch?v=keU5TQ7nkuM
Wiki: Dr Dre: http://en.wikipedia.org/wiki/Dr._Dre
The darkness is still; the silence is eerie…
On YouTube, inside bedrooms, living rooms, eyes are glued to screens on walls, tables, and on mobile phones…
The piano part to the anthem “Lose Yourself” plays, and then the guitar gives the song’s introduction its suspense; the chord differs a ninth, and as the momentum gathers, EMINEM narrates the way he, James Elton, John Lazoo and many other Americans felt back before the New Global Realm came to order.
“Look, if you had one shot, or one opportunity, to seize everything you ever wanted—one moment. Would you capture it or just let it slip?
Afanasy walks in the dark. He points to the screen; the stadium spot-lights sweep the floor; on screen, one of the Maestros talks of his ordeal.
“…It don't matter; he's dope. He knows that, but he's broke. He's so stagnant that he knows when he goes back to his mobile home…”
Little Lazoo clenches his left fist as his grip on Missy’s hand tightens. Shots of his father on an opposite screen bring cheers from the full house as the son fights to hold back tears in the dark he cannot contain.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Lose Yourself by Eminem
YouTube: http://www.youtube.com/watch?v=xFYQQPAOz7Y
Wiki: 8 Mile: http://en.wikipedia.org/wiki/8_Mile_(film)
PART 1
“One-four-three, one-four-four…” Afanasy counts as he presses the floor, the exercise reminds him how human he is, and the work that has to be done, in order to make some kind of ground, in any game he plays in this day he is beginning.
The creative looks at his well-defined and cut-up body in the mirror and then at his woman, still asleep. He rounds their bed and seats himself down on her side of the bed. She lies facing where he lay. The side of her face is covered, so he pulls back the hair and leans over to kiss her gently on the cheek. He reaches over for the pillow as Madeline’s hand reaches out, and he puts the pillow where her hand finds it.
Afanasy tiptoes out of the room and summons news. “Reuters, FOX, the TIMES, Yahoo, GOOGLE events of Teutonic proportions affecting major moves on all exchanges, please.”
The image of Gene Reyer II on screen causes him to stop. His left arm across himself finds the joint on the right side of his face.
“Are you watching this?” he asks as he calls out to the FRIDGE. “Casey Rokov’s cache, history to all talent databases, cross reference with profiles from afamasaga.net born 12252020. Then run it against ones who haven’t reported for yearly scans for the last seven years. Then run that against the decommissioned file…”
Violins upon violins; strings begin to fill the room. The Verve breathe for his mind, “’Cause it's a bittersweet symphony this life…”
Afanasy heeds the request to enter password for Tier Access to kick off the search. He looks into a beam that comes from the wall.
“The footage is restricted to LMLA-ink or offspring,” he reminds Little Lazoo. “Or, an employee for the registrar, which we’ll cross.” Afanasy calls out to the FRIDGE, “Last filter, afanasaga.net employees, and contractors from 2027.” Afanasy considers the possibility that the damning footage Gene Reyer II and Gene Reyer, John James Lazoo Sr.’s notorious Lawyer’s great-grandchildren have released to the media was supplied by a disgruntled employee, possibly someone hired when Missy won the contract in 2027 to profile subjects of the PROJECT which was closed down by authorities…
Madeline, sleepy-eyed, appears. Afanasy has already showered and has toothbrush in mouth. “I have to tend to something, sweet.” She kisses him on the cheek as he notices another news item.
“Cuban Police reported higher than usual activity in the division’s Inhabitation Zone…” Images of people, all ages and races, are running from behind cover. Some are stunned by the police, while others seem to gain speed as they reach the water and continue running into the sea….
Madeline gives a command, “Record and find source…” The FRIDGE responds, “Denied.” She looks at Afanasy, who shrugs his shoulders as he wipes his mouth and gives his woman a peck on her full lips.
He looks into her eyes and then around the room as if he can see the sound that surrounds them…
”…yeah. No change. I can't change. I can't change. I can't change…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Bittersweet Symphony by The Verve
YouTube: http://www.youtube.com/watch?v=Zx3m4e45bTo
Wiki: The Verve: http://en.wikipedia.org/wiki/The_Verve
Little Lazoo stops counting the push-ups when he reaches “one-hundred and forty…” He increases the tempo, as he believes the dreaming from his sleep needs a sieve before he has coffee, so only the nuggets are left for him to melt, mould, and cast in a story he may write today.
Lazoo Jr. looks at the picture of him and his dad on the dresser. He looks at his muscular body in the mirror and is annoyed that his right shoulder muscle is still not in the right place.
He looks at Missy still fast asleep as he touches the right side of his face and whispers, “Breakfast, flowers, and massage for Missy.” He turns toward the mirror and finds a picture of Missy, Genisis, and him. He picks it up as he says, “Flowers are for chicks; breakfast and Columbian coffee for boys…”
“Mr. Alfabet would like to interrupt current call,” the operator says as Little Lazoo works on his surprise for Missy.
The notification immediately puts the kid on edge. “Just do it!” he snaps as he steps into NIKE’s and bends down to lace them up. The outburst makes Missy lift her head from the pillow.
“Fuck!” Little Lazoo exasperates himself as he storms out of the room.
In the living area, Le Mac is already up on one wall, as Little Lazoo watches the news item on another screen with Afanasy in his ear.
“I gave up my access for this very reason.” Le Mac’s voice is pensive.
Little Lazoo sees the back of his father on the news footage and switches it off.
He hears leaking in the F3quenZor, from Afanasy. The music calms him down.
“…but I'm here in my mold. I am here with my mold. But I'm a million different people from one day to the next…”
Camera crews line the pavement. Little Lazoo steps down the middle of the cordoned off street with Afanasy on his shoulder. Mr. Alfabet checks the sleeves of his Giorgio Armani suit as he stretches his arms and points to a billboard. “CHARLEY STEVONSEN, and then GIORGIO ARMANI. Little Lazoo points to the billboard down the end of the street: The Verve, in the mold; a Generation X product steps along a similar street.
“…It’s just sex and violence, melody and silence…”
The sound is crystal and equalized. The fans who line the street scream, “LAZOO!” Lazoo Jr. snorts the atmos as Afanasy smiles and touches hands with people.
Inside the elevator, the million dollar smiles are replaced with concerned looks as Afanasy requests, “Zoom in on T-X-F777-0X, fucking now!” The FRIDGE comes back with an image of a puppy dog as the news item from Cuba is scanned. The young female soldier appears on the wall to Afanasy’s left; bodies lay around her as she waits to be inhabited…
Little Lazoo is uneasy for whatever reason, and he ignores the footage as he looks up into the ceiling of the cave they ride in…
The lift door opens and they both see the back of Gene Reyer II. Both men look at each other and make some sort of unspoken pact as they stretch their necks and step out onto the slippery floors of a hallway in a hospital for insane billionaires who have seen the silver-spoon spaceship.
Guards immediately surround the two, and they put out their wrists for scanning. Lazoo puts out his wrist as he jokes, “If there’s any problem, it’s not our fault; my father couldn’t read or write…” The guard laugs at Lazoo Jr. “No problems, Mr. Lazoo; when’s the picture coming out?” “Premieres Christmas Eve, here.” Lazoo takes the African-American man’s wrist. “You have a family?” The guard quickly produces pictures on his smart phone. “Wow, they’re beautiful, my friend,” Lazoo Jr. places his wrist down on the man’s darker skin. “There you go—tickets to the premiere; just say Afanasy and Little Lazoo said so.” The guard thanks Little Lazoo and shakes Afanasy’s hand. “Thank you, and a pleasure to meet you, sir, and you too, Mr. Alfabet.”
Outside of the operating theatre Little Lazoo hands Gene Reyer II a coffee and then one to Afanasy. “He couldn’t have accessed the footage; he ain’t blood. That right, Afanasy?” Little Lazoo looks to Afanasy who looks through the glass at the RAT being operated on after an unsuccessful suicide attempt that morning.
Gene Reyer looks around Little Lazoo standing in between them, “I found four profiles, Afanasy. Three still in circulation, one decommissoned just recently.”
Afanasy takes a sip of his brew, “I want a shaving of his handle,” he says as he makes eye contact with the patient on the operating table, whose beady eyes dart from his to Little Lazoo’s and then Gene Reyer’s.
Gene Reyer II looks through the glass. “What makes you think he has one? Even if he did, he’s federal property; you can’t get one.”
Little Lazoo looks down at his coffee….
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA
YouTube: http://www.youtube.com/watch?v=Zx3m4e45bTo
Wiki: The Verve: http://en.wikipedia.org/wiki/The_Verve
PART 1
Madeline places her hands on his work bench and looks along the wall lined with cubes that house the life source, or “handles” as Afanasy, so detached, refers to the nerve center and life giving object of what is commonly referred to as a clone.
Her request to access the news item’s source information is again denied, so she studies the images from the network, by zooming in on the noticeable figure of the T-X waiting in the zone.
The angles at which the footage is shot are a giveaway; the below broadcast quality of the footage does not fluctuate and settles on a viewable quality within an imaginable count by an editor. The shake of the camera, originally held at medium height, suddenly becomes mounted and steady at various degrees from the object in the center of most frames; it does not focus on—The T-X.
“Handles Collected list,” Madeline asks for from the FRIDGE as she zooms in on the lean figure of the young woman recruit.
“Handles reconditioned and re-designated,” is her next command.
On screen, a random shell falls onto the recruit, and then the woman pushes it away as the footage switches to a shot of police with stun guns shooting randomly. More bodies fall around the T-X as it pretends to be stunned, so as not to alert the police.
A linked file, “Forgeries,” appears on screen, and Madeline pauses the news item…
From behind his black sunglasses, Afanasy watches Little Lazoo as he eats tofu salad. He sees Missy’s mannerisms, and he runs them over his recollection of Lazoo’s and what he’d seen of John Reyer’s on footage, to ease his curiosity of how she fitted into the bigger picture.
Madeline looks down at her husband’s plate and then at him, as if to remind him to stop his behavior which makes everyone uneasy. Afanasy looks at his Nutmeat burger, and then at Madeline’s rice salad, “Missy, so Ali, Feeaz, and John Page all grew up in the same orphanage, ah?”
Missy stirs her salad around her plate. “Ali was dumped there after a few other places; John Page was born there, and Feeaz; no one’s quite sure. Projects started up in each decade since the fifties, 20/20 was the most successful, depending on your opinion of them…”
Afanasy now just lets his head hang as he computes Missy’s response.
He slides his hand under the table and gently squeezes Madeline’s leg to let her know he is sorry for the way he is.
Missy leans back on the glass door as her eyes adjust to the dim light.
Her focus naturally sets on the last booth as she accepts the musky smell of the offices.
As she takes a step down toward the bar, she feels a will, placed like a hand in the middle of her back, gently pushing her toward the place where this new magic was first conjured.
Years of watching Lazoo and Afamasaga make their entrance causes her hand to hover above the bar top as if it feels a magnetic force while she slowly walks the length of the bar. She almost expects to see behind it Ali, calling out “Coffee?”
She looks left and sees the gold Aztec etchings on the mirrors. Then she looks down on the table in the last booth, the original machine, on which Metofeaz tapped, and then Afamasaga, and when things were good, and there was little at stake, John Reyer would slide the ThinkPad in front of her and tell her, “Every thought, Missy! In the end; it’s how it’s said.” And she would eagerly play until all curiosity was fulfilled when he paraphrased in his voice, and through any one of the many characters, her many questions.
She feels someone else’s presence as she slides into the booth.
“The footage from Cuba was processed in LA.” Le Mac’s voice doesn’t frighten the woman, who opens the lid to the machine and presses “POWER.”
Behind the rig on stage, Le Mac stands in his customary position. His arms folded as he looks down at the turntables.
“Police rounded up twenty shells, the cartels probably five, seven max,” Le Mac says as he reaches for the headphones.
“The agencies have three, one of them a PointSlayer; the other two they’re not sure if they’ll Freak in full when I spoke with Jack,” Le Mac continues as he selects music.
PART 1
At the break of day, Little Lazoo looks out over Central Park; the chilling wind washes over him, on his bare shoulders, chest and down his back, right through his spine—it shocks his system.
He looks over his shoulder at their bed; he accepts Missy’s absence as inevitable.
The Networks releases the footage, implying John James Lazoo was present when the heinous act occurred of cutting out one man’s tongue and replacing it with another’s, only a day after they signed the agreement to release his father’s biographical film.
In the foreground, two high black stacks of old school speakers hum on either side of the stage where he stands. Behind him as his only prop—the New York skyline at around 5:55 a.m.
He turns around and falls forward onto his hands as he begins his day by pushing his body up from the ground in an attempt to harden his frame, galvanizing it against whatever the day ahead throws at him…
As he gets up, he finds himself puffing, so he promises to rid himself of his tobacco habit. His left thumb feels the indent in his chest, created by muscle on either side, as he selects a backing track.
“No one knows”—Queens of the Stone Age; Dave Grohl, with sticks in both hands, laments rhythm and controlled aggression for Little Lazoo as he dictates terms in the following passage…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: No One Knows by Queens of the Stone Age
YouTube: http://www.youtube.com/watch?v=YnyRUzgqj7k
Wiki: Dave Grohl: http://en.wikipedia.org/wiki/Dave_Grohl
Wiki: http://en.wikipedia.org/wiki/Queens_of_the_Stone_Age
Gene Reyer II pushes forward food at which the RAT looks down. “So, you were born in Nevada?” Gene Reyer’s first question.
The RAT looks at the food, and then he notices Little Lazoo and Afanasy through the glass as they exit the lift and shake hands with the guards.
The old man reaches for the food, and Gene Reyer hands him utensils.
The door opens and Little Lazoo immediately makes the detainee feel like he is suddenly imprisoned; his arms wrap themselves around his body, and then as an uncontrolled nervous reaction, his arms fence the food on the table as he begins to mutter in a low murmur without punctuation, “Was born in Nevada nineteen ninety-five, one year after Mr. Litigatti disappeared. My father is Metofeaz; sleeps under a tree like he did…” The clear glass, through which the RAT could see the guards, darkens as Little Lazoo closes the door behind him.
Afanasy does his best to intimidate by walking behind the RAT and looking down on him at the back of his head.
The man, dressed in a see-through straightjacket through which body hair and fat begin to suffocate and sweat beads appear, begins to shake. As Afanasy slams the head he looks at down on the table, hair falls to the side. Alfabet looks at Gene Reyer. “One way or another, I want to know.” He takes his hand off the back of the head and walks around the table.
Lazoo sits down next to the man with his face in his food as Afanasy seats himself across from the person who begins to cry.
Lazoo reaches for the crying man; he begins to rub the man’s back as he asks, “Where were you born?” There’s no answer, only sobbing. Lazoo’s hand moves up the man’s back; it caresses his neck. The man now turns his head toward Lazoo.
The man’s eyes are filled with tears. Blood and food cover his face in no apparent design as this time Lazoo’s voice softens. “Where were you born?”
The man shivers as he whispers, “Was born in Nevada nineteen ninety-five…” He doesn’t get to finish his answer as Lazoo Jr. collects a handful of hair and rams the head he holds repeatedly into the table until blood splatters on Gene Reyer II, who has to put his hands up. “For fucks sakes, enough already…”
Inside the elevator, coming down to the ground, Little Lazoo questions the RAT’s responses. “It’s memorized.”
Afanasy checks the sleeves of his suit, and looks down himself for any sign he was in the room they just left. “Nervous reaction; when did Litigatti disappear?” “Ten years after,” Lazoo answers as he does the same in the mirror.
Afanasy dials his phone by touching his face. “Missy, was the Nevada project still running in ninety-five?”
Little Lazoo answers him, “It was moved and closed by then.”
Afanasy begins to talk to Little Lazoo and Missy on the phone. “When did collaborative chambers and handles integrate for convergence?”
Missy’s image now appears on the mirror in front of which Little Lazoo stands. “Hey, babe.” Little Lazoo kisses space as Afanasy waits for an answer.
Le Mac appears on screen as he slides into the booth where Missy sits. “When handles were designed.” Le Mac’s logical and simple reply satisfies Afanasy’s curiosity.
PART 1
“Flashing lights. Flashing lights…” the woman’s electronically made sensual words repeat as he sees Missy’s body with only a thin sheet covering the places he wants to go.
Up on screen, a femme fatale in Kanye West’s world kicks dust in some secluded location as her body, covered only for the imagination’s sake, almost shakes as she limbers up to the trunk of the car in which her latest victim waits for his final breath of air.
“She don't believe in shootin' stars, but she believe in shoes & cars. Wood floors in the new apartment…”
Missy knows what her man wants, so she arcs her back as he places his mouth over as many pores as he can, and licks the skin that tastes like candy to him.
“…Straight from the page of your favorite author…”
Little Lazoo lets her fingers clasp his as he opens his eyes to see her above him. Her slow movements are meaningful to the eye, and full of feeling throughout his body…
Her head lays sideways, eyes closed as he lies on top of her. Their synergy is measured in sweat where their bodies meet.
Lazoo’s heart begins to race as Missy meets his ferocious tempo with bucking backward thrusts.
Up on screen, the woman with spade in hand pierces skin, penetrates flesh, and only stops digging at the body in the trunk when she hits bone, which she breaks when she hears the crunching. The feeling resonates through the handle of the weapon she pulls from the deep wound, and again, she plunges the steel plate covered in red blood into the dark place…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Flashing Lights by Kanye West
YouTube: http://www.youtube.com/watch?v=mEccxPPwXmI
Wiki: Kanye West: http://en.wikipedia.org/wiki/Kanye_West
“… Bad boy, REMIX…” “ROXANNE, ROXANNE…” A DJ scratches the rhythm into existence on a bed where these words are sung “…Roxanne, you don’t have to wear that dress tonight…”
On screen, The MOGUL tweeks knobs with cigar in hand as PRAS waxes lyrically a text to the Exclusive star’s wailing of Ghetto Sadness.
Genisis Jones’ head rests on John Lazoo’s shoulder. A crowd surrounds them on the dancefloor; side on, they snap fingers as they lean forward together in the unforgettable scene—Lost Chapter “ROXANNE” in the upcoming pic.
The actress’ tears are real, Madeline realizes as Afanasy’s hand finds her leg. The frame by frame ordeal of checking scenes for improvements is an ardous task, which tonight is not so laborious with the scene at hand.
Madeline’s head falls to the right side as Afanasy’s fingers find their way up her leg and beyond.
Madeline’s hand across his chest, which begins to rise, finds his shirt buttons as he now drags her body across him. She lets herself be swept away, and as she lifts a leg to straddle him, she commands, “Replay, repeat, and shut up!”
He tears the clothing apart; the white t-shirt is ripped down the front, and her body is set free, no underwear to impede him, as she now pulls the front of his shirt apart—buttons popping, as the scene again begins on screen…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Roxanne (Remix) by Sting, Puff Daddy.
YouTube: http://www.youtube.com/watch?v=L5oHK4pSt48
Wiki: Sting (The Exclusive Star): http://en.wikipedia.org/wiki/Sting_(musician)
Wiki: Sean John Combs (The MOGUL): http://en.wikipedia.org/wiki/Sean_Combs
Wiki: Pras: http://en.wikipedia.org/wiki/Pras
Wiki: The Fugees: http://en.wikipedia.org/wiki/Fugees
The stadium drummer sitting behind his kit nods his head as he lets the groove grow; snare, and double kick, and then snare…The Robert Plant look-alike leans on his mic stand as Jimmy Page’s bowed head gives little away that he’s the one leading the way.
The orchestra, which faces the steps of the courthouse, follows the lead guitarist’s musing…
The stadium LMLA-ink converted into a studio is transformed into the outside of the NYC Courthouse…
The conductor’s arms fly and then they contract as his fingers begin to flutter…
Little Lazoo uses the build up to “Kashmir” to accentuate the feeling his old man felt on the day the verdict was handed down.
Little Lazoo calls, “And action!” The actor bows his head as he is hit by a flying object. The wound opens up again; the bleeding is profuse; the actor’s white shirt is red within seconds. “Cut.”
“Cruise!” Little Lazoo calls the actor who plays his father by his nickname for him. The actor turns around; he is in agony. The stress on the A-list actor’s face is evident as he opens his eyes, which were a moment before shut tight to absorb the pain. “We’re doing it again, till you are one with the pain. Lazoo did not respond or react to any of the elements of his environment.”
The actor clenches his fists as he lets the white shirt, half-soaked in his blood, peel from his body as someone sponges his body down while someone else works on the wound in the back of his head…
Afanasy stands behind the leading actor as a wardrobe assistant threads the superstar’s arm through the CHARLEY STEVONSEN jacket.
Little Lazoo is curious as to what his co-producer is doing around the acting talent, and he approaches them.
“We’ll clear the set; do close-ups on you. Focus on pleasing him; that’ll shut him up.” Afanasy calmly offers the unhappy star a way to finish the scene for which Little Lazoo has ordered over ten takes, all requiring the actor to be hit in the back of the head.
Little Lazoo catches the end of Afanasy’s advice, immediately turns around, and calls out to everyone, “Lock down; MICERs go eat…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Kashmir by Led Zeppelin
YouTube: http://www.youtube.com/watch?v=73dvrir5kig
Wiki: Led Zeppelin: http://en.wikipedia.org/wiki/Led_Zeppelin
Wiki: Jimmy Page: http://en.wikipedia.org/wiki/Jimmy_Page
Wiki: Robert Plant: http://en.wikipedia.org/wiki/Robert_Plant
Wiki: Tom Cruise: http://en.wikipedia.org/wiki/Tom_Cruise
(Dedicated to, and inspired by Lizé)
PART 1
Acoustic strings spell luminous spheres in the afternoon sun as a puffing of white cloud passes over. Like a temptress and her hands, a synthetic chord sweeps the musical landscape, as KATO, the Bonobo offering, becomes ingrained…
On the dirt sidewalk of Pleasant Prairie—a vantage point from which a figure is seen…
Inside wire fencing, a lad around the age of twelve checks inside his little green bag…
The boy, with curly black hair, stands on the edge of a farm field, in Wisconsin somewhere, in a Life Form Reproduction (LFR) on the SenFenide Dimension (SFD).
In the distance, a red tractor ploughs the Wisconsin dirt. The dust, often referred to as clogging John Lazoo’s ears, forms clouds that puff, and then they lay to rest in the wake of the heavy machinery James Elton, a kid of about eight or nine years, controls like a farmhand of twenty harvests…
As the tractor nears, the boy standing at the edge of the field holds out a hand…
James Elton sees the boy older than he is, standing at the end of a row. He believes he is the boy from his vision.
The sun sparkles in his hazel eyes as his hand that seemed to say “halt” now begins to wave.
The F3quenZor hums as James pulls the steering wheel to his right; the humming grows warmer and louder as he passes the boy. A tune, which he imagines the boy with brown skin can also hear, begins to come to him. The simple melody is joined by other sounds that answer the musical question, as James Elton looks over his shoulder at the boy whose name becomes apparent. Janine’s boy now looks down at the trailer and sees Mr. Ghetti is asleep; he touches the orange cloth on his head as he looks back, but the boy is gone.
Afanasy steps backward slowly as the tractor rounds the mark the driver has set. He takes another step in the same direction as the humming resonates; it confirms for him the boy who sits on top of the tractor is whom he thinks he is.
As his foot steps from the field, he hears the kaleidoscopic arrangement he knows the kid disappearing in the distance can also hear, to pronounce a magic moment in their lives they will remember till the end of this story, and the next, and of all the sagas that unfold neatly in their wake.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Kato by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
Missy places her hands down by her side; as if conceding, she brushes her hair back as Le Mac grabs the woman’s hand and holds it tight in both his hands.
Side by side up on screen is the passage John Reyer wrote, and next to it, her version. Le Mac is philosophical. “When you’re influenced by something, it’s difficult not to sound similar, or be different.”
Missy feels the pressure they are under and defends her attempt to rewrite some of the unreleased material. “He would’ve been proud that I did everyting possible to win.”
“You’re TRUFUNK, a soldier, and like all the great writers out there who grew up only knowing etfiction and the way it came about, regardless whether it was crap.” Missy smiles. “Even said himself.” Le Mac continues, “It’s the story behind the story, ‘The Guy in the game’; everything was plotted, and then played out like his life was on the line at every turn.”
“When you met him, was he already writing?” Missy refers to John Reyer’s method where even though the plan was elaborate, and the execution was meticulous, ninety-nine percent of the work was done in his head.
“We were in a much different game back then, and nothing could be written down; that’s where he got his ability to plan in his head.” Le Mac reminds Missy of the difference between LMLA-ink and other creative teams.
An incarnation, TRUFUNK, and a soldier of little fortune, watches the dailies that follow the interview with John Lazoo’s son and Afanasy Alfabet.
The Operatic accompaniment that follows, the Peter Gabriel and Kate Bush duet, tells the moral of the story in a song. “Don’t give up!”
A disciple, nearly fifty years after John Lazoo was first published on the Internet at www.etfiction.com as a free eBook, opens the French doors leading to the small balcony.
“…I am a man whose dreams have all deserted. I've changed my face. I've changed my name. But no-one wants you when you lose…”
The message echoes in the courtyard of the apartment block he looks over. Other artists, who have just witnessed a prelude to the epic, appear on their perches. Their doors opening sets free the message, “…please don’t give up…” “Going to stand on that bridge…” “…Whatever come, and whatever may go…” “Bad rivers flowing…”
The Greenwich Village scene is alive, and thrives in the atmos…
PART 3
Kate Bush plays on screen “Babooshka.” A montage of her, Genisis, Arley, Kate Moss, and then inserts from the original movie…
Madeline and Missy listen to Rocol’s daughter, Récene, who presents CHARLEY STEVONSEN’s Catalogue for the Bio Pic.
Models lined up on the catwalk check their nails as they wait for the verdict.
Missy looks at Little Lazoo who talks with Afanasy center stage. Behind them, the logo in the Eurostile font flashes in-between frames of more names with distinct faces…
“Browns, earth greens, black, white; that’s it. Nothing else, Récene! No fucking fluro, no pastel, no pink. And F-forty-eight orange backs on white canvass. Oh, and grey! That’s it. If I see anything else, I’ll fucking rip it down myself,” Little Lazoo says, giving his feedback.
Afanasy watches his face change from giving an order back to discussing details of a scene for which they’ve been trying to find a meaning.
“So we’re saying that if James Elton stopped the tractor when he saw Afanasy, things would’ve turned out differently?” Little Lazoo asks.
“Not entirely. How’s about if Afanasy didn’t start waving, James would’ve believed he meant for him to stop the tractor, and then things may have taken a different turn. And not necessarily for the best.” Afanasy replies and then he notices Madeline’s cue for them to leave.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: (1) Don't Give Up by Peter Gabriel & Kate Bush (2) Babooshka by Kate Bush
YouTube: (1) http://www.youtube.com/watch?v=uiCRZLr9oRw
YouTube: (2) http://www.youtube.com/watch?v=ot3cVY1JESQ
Wiki: Peter Gabriel: http://en.wikipedia.org/wiki/Peter_Gabriel
Wiki: Kate Bush: http://en.wikipedia.org/wiki/Kate_Bush
Wiki: Kate Moss: http://en.wikipedia.org/wiki/Kate_Moss
Da Hood leans, on this side, and then on his other side, the one he favors…
The young man, who belongs to a statistical grouping he has so far avoided becoming, walks alone down the dark alley.
He replays in his head exactly what he is going to do to the Islander if he finds Horroh is wired.
Lights from the basketball court cast the wire design on the road.
He hears horns, and then the wah wah guitar from New Funky Nation by the Boo-Yaa T.R.I.B.E. before he sees imposing figures of Sons of Samoa that line the sidewalk to the place where he agreed to meet.
“This rhyme is mine, and I lived it to give it, so that the New Funky Nation can get with it. Understand the plan, that’s program for all Nations to slam this jam, one nation under a groove…”
CHAPTER 12
PART 1
Gene Reyer II watches on as old friends catch up…
Le Mac’s “family day,” as he likes to call it, is a picnic in the domed quarter of Central Park.
His security and their families, the production crew and their families, Network executives and their partners, ad agency partners and so on…
Afanasy is introduced to Le Mac’s head of security, “Malo uso.” The Pacifican clenches hands with someone he feels he already knows as they touch shoulders. Fluent in his native tongue, Afanasy makes the young man feel welcome as he advises him in Samoan that Le Mac is lucky to have a man with such a noble heritage working for him. The man’s young daughter appears around the man’s legs. “Daddy, it’s Afanasy.” “Yes darling…”
Little Lazoo and Missy arrive as the man’s son comes running. “Daddy, it’s Reddy Roland Ray,” a name Little Lazoo inherited, when as a toddler he played the character his dad had created for him.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “New Funky Nation” by the Boo-Yaa T.R.I.B.E
YouTube: http://www.youtube.com/watch?v=me4RVKCrd6Y
Wiki: Boo-Yaa T.R.I.B.E: http://en.wikipedia.org/wiki/Boo-Yaa_T.R.I.B.E.
Wiki: Samoa: http://en.wikipedia.org/wiki/Samoa
PART 2
The MindMorph Dimension
“In the middle, Lizé.” Madeline requests that the lifelike manequin with porcelain skin, and baby-breath hold the flowers in the middle of her lap.
The artist, is not happy with the way the model’s arms are too straight, so she walks over to the pet, a six foot robot, with an angel’s face and a perfect body, and bends its arm at the elbow joint.
“We do nails, and hair tomorrow, ah?” Madeline reminds her gal pal of their appointment at the beauty parlor, and then she retreats to collect her pallet of paint and her brushes behind the canvas as she settles down to pass the afternoon at her favorite pastime.
Through the glass wall, Afanasy is in a different world as he listens to 2Pac while he works…
Up on screen, Roger Troutman vocoder; “California Love” signs ontop of a Bomb beat, and then DR DRE intro’s the Prolific Poet Tupac Shakur AKA: Makaveli—2Pac’s voice from SenFenide Dimension, “…Famous ’cause we program worldwide…”
“TRUFUNK,” Afanasy says to himself as he looks at the handle on the bench. The inscription T-X-F777-0X on the life source remains as he opens a test cube and fits the object fifteen centimeters in length into its cradle.
He closes the cube as he thinks of life back when people of his color, or non-white, were looked upon as outsiders, requiring some sort of special trick or talent to be admired or to be allowed to rub shoulders with those who were deemed the majority, as they were called back then, when his kin and kind were named the minorities or ethnics.
He thinks of LMLA-ink, Lazoo growing up behind bars and under the influence of the Aryan Brotherhood, Metofeaz and his Italianan heritage, Le Mac an African displaced in Compton, and Afamasaga a Samoan boy raised to remember and observe the Sabbath, as adhered to in Judaism, chased by skinheads through the nieghborhood where he grew up, a daily nightmare. He finds it hard to comprehend the way things were, the clashing of backgrounds from which these four characters came.
Origin and environment aside, their values: Lazoo and Afamasaga’s Socialist beliefs, romanticize Marxism, uphold figures like Chairman Mao and Castro—Afamasaga’s endeavor to create Utopia, even amongst the chaos they did their business in pre-21st Century. Mix this in with Jon Le Mac’s entrepreneural and Metofeaz’s Bohemianism, all of them reactions to their natural habitats from individuals who knew they were chosen to break molds, destruct and reconstruct formula in a world and society Capitalism had taken hold of and force fed, making obese dumb subjects, who followed commands sent in slogans, captions, and images that made nervous systems twitch, and fingers itch, as they reached for their plastic credit cards and charge accounts—the MindMorph Dimension.
Afanasy looks down at the petrie dish; the liquid turns pink, and then the bone tissue dissolves, leaving only carbon fiber.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “California Love” by 2Pac
YouTube: http://www.youtube.com/watch?v=FWOsbGP5Ox4
Wiki: Marxism: http://en.wikipedia.org/wiki/Marxism
Wiki: Karl Marx: http://en.wikipedia.org/wiki/Karl_Marx
Wiki: Mao Zedong: http://en.wikipedia.org/wiki/Mao_Zedong
Wiki: Fidel Castro: http://en.wikipedia.org/wiki/Fidel_Castro
Wiki: Skinhead: http://en.wikipedia.org/wiki/Skinhead
Wiki: Utopia: http://en.wikipedia.org/wiki/Utopia
Wiki: Socialism: http://en.wikipedia.org/wiki/Socialism
Wiki: Judaism: http://en.wikipedia.org/wiki/Judaism
Wiki: Capitalism: http://en.wikipedia.org/wiki/Capitalism
Wiki: Aryan Brotherhood: http://en.wikipedia.org/wiki/Aryan_Brotherhood
Wiki: Bohemianism: http://en.wikipedia.org/wiki/Bohemianism
Wiki: Compton: http://en.wikipedia.org/wiki/Compton,_California
PART 3
The late night air is damp, but fresh. Little Lazoo smiles at something inside the shop window. On screen, a picture of Genisis the day her mum and dad came to see her, just after Lazoo became New York City’s most wanted man having made the front pages of the morning paper.
He tries to catch the address of the Web site, where a pirate has posted the picture he has never seen before, so he can get a copy of the file for himself. A passing carriage honks its horn; the quietness is broken, making him turn away from the window and continue on with his ritual…
Little Lazoo leans against the wall, his foot cocked against the wall. He lights a cigarette and blows smoke into the air.
On his F3quenZor: 2Pac—Thugz Mansion, “…Niggaz ain't gotta get all dressed up and be Hollywood…”
The phone rings as the acoustic guitar accompaniment sends tingles up his spine. Missy’s voice is a welcome sound, “You okay, baby?”
Little Lazoo nods his head, as if she can see him, as he looks at the offices across the street, and then his head naturally bows itself as it hangs.
He flicks the cigarette; it lands on the street, bringing an alert from the edge of the gutter. He ignores the notice for the fine he has just incurred for littering as he thinks of Missy’s news that Afanasy and Madeline applied for a birth license today.
He recalls his earliest memory of his mother’s voice, “Little Lazoo’s human, John!” He cannot for the life of him hear, or remember, his dad’s response as Tupac Shakur translates a thug’s feelings for money.
“…A place to spend my quiet nights, time to unwind. So much pressure in this life of mine, I cry at times…”
Little Lazoo swallows the lump in his throat as he digs his hands deep into the pockets of the leather jacket.
“…I once contemplated suicide, and woulda tried. But when I held that 9, all I could see was my momma's eyes…”
The name of the Pirate who posted the picture of Genisis with IP Address somewhere in Greenwich Village comes to mind, as Makaveli voices his thougts.
“…No one knows my struggle…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Thugz Mansion” by 2Pac Feat Nas
YouTube: http://www.youtube.com/watch?v=e3IpUxa6uHs
Wiki: Tupac Shakur: http://en.wikipedia.org/wiki/Tupac_Shakur
Wiki: http://en.wikipedia.org/wiki/Nas
PART 1
The next day…
Little Lazoo knocks on the door; he looks around the hallway of the Greenwich apartment building. Pot plants litter the floor; the walls are painted orange….Inside, he can hear 50 and the GAME.
The door opens; a young man who smiles wears a black t-shirt with LMLA-ink across his chest.
“Hate it or love it, the underdog's on top. And I'm gonna shine homie until my heart stop…”
The incarnation pokes his head out into the hallway; he looks right, and then left, and then he looks Little Lazoo up and down, as the GAME says, “Go 'head envy me. I'm raps MVP. And I ain't goin' nowhere so you can get to know me…”
Little Lazoo steps into the room as the guy steps back and to the side.
“TRUFUNK?” Little Lazoo asks when he sees the poster of John Reyer on the wall, from an etfiction splash page around the time GUIOPERA II was written. He sees another poster, one of Metofeaz complete with the scar, and one of Le Mac…
“Put Compton on my back when you was in need of soldiers. At my last show I threw away my NWA gold and had the whole crowd yellin’ ‘Free Yayo!’”…
Down on the street, Gene Reyer II watches the entrance to the apartment building as the RAT finishes his hotdog and reaches for the one Gene studies and then passes it to his associate, who has regained his appetite. “Meat’s like air; gotta have it,” says the junkie as he chews on the fast food.
Little Lazoo appears in the entrance. Next to him is a guy whom neither the Umpire nor the RAT have seen before.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Hate It Or Love It” The Game - Hate It Or Love It (feat. 50 Cent)
YouTube: http://www.youtube.com/watch?v=9HtN5yf8_DI
Wiki: 50 Cent: http://en.wikipedia.org/wiki/50_Cent
Wiki: The Game: http://en.wikipedia.org/wiki/The_Game_(rapper)
PART 2
“No pictures of the Illiterate?” Lazoo Jr. questions the devoted fan of what would’ve been, without John Lazoo Sr., just a gimmick, without a product, as the two round the corner and see the gleaming window of SIL HOUSE café.
Little Lazoo stops as his right hand reaches for the left side of his face. “Simon, I want the window seat.” He hangs up as the young author looks at the ground, silent. “Where did you get the picture of Genisis?” Little Lazoo asks the question; the reason why he found the pirate.
Little Lazoo sees there’s more to the young man’s silence than has been traced or found, and he is now facing the possibility of handing over his credits in copyright holding, which would’ve matured within five years.
“Don’t worry about the credits; it’s how you got the picture, Genisis had diamonds given to her by my father. She wore them that evening when she went out for dinner with her parents, not during the day when the media were there.” When there’s no answer, Little Lazoo elbows the guy before he walks off down the street…
Inside SIL HOUSE under the arced logo, Little Lazoo signs an autograph as Simon Campbell calls out to Jimmy Afra’s son. “Afra, get me two long blacks, and breakfasts…”
Michael Haze, who still insists on being called his male name, even after all these years as a woman, does his best masculine voice. “Pass the salt, Simon, and pepper me with the shaker; while you’re at it, call me Michael.” Michelle Haze puts her hand on the hand of Simon, the man she married after her first husband Jimmy Afra passed away.
Little Lazoo laughs as he watches the pirate who is still quiet but obviously in awe of the characters with whom he mixes in the exclusive hangout.
PRELUDE
NOTORIOUS STORYTELLER
NO! NO! NOTORIOUS, DURAN DURAN, Simon, Nick, and John, warn…
John Reyer slides a passport forward. In the booth’s reflection, he sees sniffer dogs.
Further back down the line, the African makes faces with his nostrils at the animals who take a break from roaming up and down the line of passengers.
Down at the end, the Vietnam Veteran looks up at the TV screen where a news story is playing about an airplane found abandoned in the Swiss Alps. The young looking fifty-something turns his lips down at the corners that he touches.
The Italian, who is French today, and some woman, whom he latched onto during the night in Amsterdam, exchange saliva as they wait.
Up ahead, the Nightclub DJ from Wellington, New Zealand is cleared, and he walks through the gate…
On the tarmac, “Landing is not my strong point, sorry!” Afamasaga answers the two senior members of the team on being questioned about the stolen and then ditched airplane he had taken for a joyride. “But I’m getting there, promise…” The young operative assures his more experienced comrades…
PART 3
Little Lazoo watches the Pirate read through one of the many ideas John Reyer and Lazoo considered as back story to just one of the many characters in the end to end saga.
“Bet you never heard of that one, ah?” Lazoo Jr. puts his hand out for the Pirate’s smart phone so he can logoff the secure server.
“So, let me get this straight. He was acting the two bit hustler, petty criminal alcoholic DJ while he really was a contractor for crime families, and involved in espionage, after coming to the attention of a handler at a young age for his intuitive behavior?” The young guy takes a sip of his coffee.
Simon smiles. “The most amazing cover.”
Little Lazoo puts his hand up. “It’s the way he blew it though, when he wanted to become an author, after waiting for almost a decade for his next assignment.”
“They let him walk. Guy’s trustworthy as hell—one of the few double agents who could manage power and keep the peace, by what he passed onto both sides,” Michelle reminds them.
“By 2009, he had finished relaying all he had in the Trilogy, POEMBOOK, STORYBOOK, and GUIOPERA I, which everyone thought was a load of rubbish. And he spun it as a style —etfiction!” Little Lazoo proudly chimes in, with an index finger in the air for exclamation.
The Pirate collects from the middle of the table his pair of Sennheiser headphones, an original like John Reyer wore. “I’m outta here; let me know what else you want leaked. The price is double since you’re using it as marketing. And talk to your lawyers about my feeds, ah?”
Little Lazoo looks up at the unsuspecting small time crim. “I’ll triple the fee, if you can spread something for me; tell you next time, ah?”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Notorious by Duran Duran
YouTube: http://www.youtube.com/watch?v=ytWIZHxolI0
Wiki: DURAN DURAN: http://en.wikipedia.org/wiki/Duran_Duran
PART 1
Little Lazoo calls out, “Give me John Page, Johnny Depp.” His voice echoes in the stadia, in which he, Le Mac, Afanasy and Missy study the Pirate on screen.
Inside his small apartment, the part-time DJ and struggling author is busy working on a story, which has grown legs since he came face-to-face with someone who had met Metofeaz Litigatti and John Reyer. Something, which at first thought, was inconceivable since the womanizing one disappeared, sometime around 2004, within one day after an altercation with John Lazoo and Jon Le Mac. All this, according to the documentary he watched, in which Rocol smugly accepted responsibility for the whimsical character’s suggested misfortune …
“Depp would love this guy, and he would play him in all the dimensions…” Little Lazoo is excited at the possibility of having found someone who could carry a GAME.
The last real GAME lasted seven days, the one before that twenty-eight. Not since the Guy in the GAME had one lasted so long, been so engrossing, or so life changing.
“Get Depp to approve CGI, and Robo to mix it,” Le Mac suggests.
“Monitor only.” Missy calls out for the image on screen to be shot looking through a computer monitor only.
“Add scratches, ala Guy in the Game.” Her smile becomes a grin as up in the box, the effects crew applies the treatment.
“Date stamp Saturday 26 ‘O’ ’9’,” Afanasy advises Missy as he listens to the F3quenZor for more detail.
“Pulse is steady. Left pupil dilates like its ordinary event. Chest muscles react. The voodoo script works, but he knows the code.” Afanasy looks at Lazoo as he continues his assessment. “Hit deep in the Talus; measure neurons from pain…”
“Hey, it’s the Pirate of Greenwich Village.” The voice disrupts the buzz building from watching the writer on screen play the keys, reminiscent of days long gone.
Little Lazoo sees, on the opposite screen, Gene Reyer II and his fuckwit friend, whose trench coat drags along the turf that he and his father had worked hard to own…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Johnny Depp: http://en.wikipedia.org/wiki/Johnny_Depp
PART 2
“No doubt he can carry it off. Just the “TRUFUNK” aspect alone makes him a natural target.” Little Lazoo says his piece at the production meeting…
Afanasy isn’t completely sold on setting up a GAME in the old style. “History has shown it only worked once. Reason being, the Guy in the GAME was totally alone on his own. He was either psychic, or he was being tipped off so discreetly that still to this day we believe he himself orchestrated the whole thing using some sort of network he was a part of before they isolated him; hence, the operative theory and so on.”
Missy selects time stamped screens and then cascades them to look at. “We’ve got T-X in police custody. The Networks want an exclusive interview with her.”
“Is she with entity?” Gene Reyer II asks.
“There’s a problem; tests that Five-O carried out suggest the life source she’s carrying is not her’s.” Madeline puts forward a piece as she selects a screen and maximizes it.
“I’ll handle that one,” Afanasy quickly intervenes. “But back to the Pirate. If we’re going to move forward with him, we have to bring him in to the bigger game.”
Le Mac, down at the end of the table, studies the screens and selects a recent news item. “If we are going to put him up, we want to know he’s 100% flesh, bone and blood, and not some gif.”
PART 3
Afanasy wanders through the crowd assembled outside SIL HOUSE café on Sunday morning. “I want all the kiosks both side of the street, and Billboards.” He requests control of all screens and terminals on the street.
Madeline beckons to two girls and their little brother to come to the front of the group, who will be the first wave of extras that pass by when the Pirate arrives for his meeting with LMLA-ink. “Laughing, girls mocking; boys like you hate the guy okay.”
Missy waves to someone. “Have the girl in blue say something to her boyfriend.” The young woman grabs her boyfriend’s arm. “Like, ‘He’s gay’?” Missy laughs, “Wow, a natural,” and then she rolls her eyes as the couple from Suburbia fall into the background.
“How the hell did he handle it?” Madeline asks a rhetorical question of Missy. “Lotte or his mission, one of the two got him through…”
“You’re in an LMLA-ink scene written by Metofeaz, narrated by the Maestro, directed by Le Mac, and in John Reyer’s voice; what song do you want to step to?” Around the corner, Little Lazoo asks the Pirate who dons Ray-Ban sunglasses to match his newly gifted Charcoal CHARLEY STEVONSEN suit and flat-heeled snakeskin cowboy boots…
Chimes cascade. The sun’s twinkling; like a waterfall of light, rays splash as they reflect off the shop windows.
The haunting arrangement, the introduction to an eighties classic, “This is the Day” by The The, sneaks up on the scene.
The camera-man on the arm of a crane, his hat turned back, looks down into his camera, and then he holds up a thumb to signal to Afanasy, who stands in the center of the street, that things are perfect.
The drum machine—a metronome for all who hear the charming tune grow. And now the melody, in the accordion line, makes the hairs on everyone’s back stand, as Little Lazoo and the guy, whom everyone waits to see whether he has that factor, appear.
Lazoo steps, to his left the incarnation TRUFUNK, staunch and steadfast in the belief that ideals are the goals of man evolved, and not the failed dreams of the few who repel mainstream manifestos written for money, by those whom money controls.
“Well... you didn't wake up this morning because you didn't go to bed…”
The Pirate looks to his right, at the son of the man who paved the way for true freedom of speech, and therefore created a platform of expression unadulterated and free of fallacy, a formula that once infected creative offerings deemed worthy to WIPEWORLDWIDE or of mass distribution on a global scale.
Afanasy points to the Billboard down the end of the street. PAGE1 smiles as he looks up at London Tower. Mr. Alfabet then turns to his right. The Billboard above him flashes. John Lazoo is followed by Metofeaz, Le Mac, and John Reyer. The crowd converges on the street, children running from the end where the Billboard changes to images of Polina Rada in the SystemSpectacular GUIOPERA III 2010.
The Pirate turns his shoulders to avoid collision with the couple crossing his path; the girl with bleach blonde hair says to the abusive looking boyfriend to whom she clings, “I think he’s gay; no need to worry; you’re a real man…” The Pirate feels like the words were meant for him as a group of women in matching t-shirts howl with laughter. The author looks around to see at whom they are laughing.
“It’s all about you now, John Reyer.” Little Lazoo smiles out of the corner of his face as he nicknames the Pirate who squares his shoulders…
“All the money in the world couldn't bring back those days…”
Afanasy, his head bowed, lifts both his arms as if he lifts the air. A hundred or more extras behind him now pass him by standing in the middle street, filled with a carnival atmos.
The unforgettable chorus arrives as the Pirate is now less than twenty meters from where Afanasy feels the force of the crowd begin to project on the guy who has just signed his life away…
“THIS IS THE DAY—Your life will surely change. THIS IS THE DAY—Your life will surely change…”
“You could've done anything—if you'd wanted. And all your friends and family think that you're lucky…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “This Is the Day” by The The
YouTube: http://www.youtube.com/watch?v=phWv7l8Lm_A
Wiki: The The: http://en.wikipedia.org/wiki/The_The
(Featuring BONO VOX and U2)
PRELUDE
1986
“Get his autograph.” The DJ, here in Vegas on a fleeting visit, looks at the African who pulls rank on the youngest member of the crew.
Genisis Jones, a young fan from New York, and complete stranger to the Samoan boy from New Zealand, holds her album under her arm as BONO VOX signals that conditions are ideal to do the next scene to U2’s music video “Still Haven’t Found What I’m Looking For,” and then he tips his cowboy hat and swaps it for his record that Genisis hands him.
John Reyer places the pad the African gives him in the girl’s hand behind her back. Her fingers clasp the pad as she takes her album from the lead singer of one of the greatest rock bands in the history of the world.
She then places the pad in his hand on top of an album another fan tries to hand the famous guy. The good voice signs and hands the notepad back and takes his hat.
The lead singer sees the person standing behind the blonde girl; he stares for a second as if he has seen the face somewhere before.
John Reyer looks to the lead singer’s left as if he were looking beyond the embodiment of a consciousness that he knows one day will materialize.
Bono looks where the guy wearing a cowboy hat, checkered shirt, and moustache looks.
The girl places the notepad behind her back, and John Reyer retrieves the autograph…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: I Still Haven't Found What I'm Looking For by U2
YouTube: http://www.youtube.com/watch?v=2fBj2wsimvQ
Wiki: Bono: http://en.wikipedia.org/wiki/Bono
PART 1
Missy watches him; the screen lights up his face.
“Have you come here for forgiveness? Have you come to raise the dead? Have you come here to play Jesus? To the lepers in your head...”
Seated in the last booth, the Pirate taps as the collaborative rendition of “One” by Mary and U2 makes Missy remember times when she was under the wing of the figure who reminds her of the person displaying the unmistakable qualities of a TRUFUNKSOLDIER in his passionate plea to mankind’s better side.
Mary J. Blige climaxes the soulful number, using the ends of her vocal capacity in the simple yet profound chorus, “One love! One blood! One life!”
Missy notices the Pirate’s eyes contradict his motives as he lets his soul bleed on screen like they did…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “One” by Mary.J.Blige.& U2
YouTube: http://www.youtube.com/watch?v=be0j4PbrQOI
Wiki: Mary J. Blige: http://en.wikipedia.org/wiki/Mary_J._Blige
PART 2
For a second, Little Lazoo considers danger as he sums up the situation.
The door has opened, and standing in the doorway is a figure he presumes is the person he came to see in the dark.
“Come in.” The Pirate reassures Lazoo he’s at the right place.
“Why the darkness?” Lazoo asks as his sight adjusts for the courtyard lights to show him where to step.
“It’s natural,” the voice replies as Little Lazoo bends his knees and places a hand where he sees a chair.
“Show me what you got,” says Lazoo, asking to see the Pirate’s inventory.
The quiet guy walks over to his old school machine, complete with tower box, mouse, qwerty keyboard, and black tube monitor. He pulls off the black cloth that covers the screen, and under the cloak, the original WIPE screensaver appears. Doves fly, then data flows into a funnel until the Siberian landscape rises from behind the Thames River to dwarf the London Bridge and towers.
“Come on already,” Little Lazoo calls out as the Pirate seems mesmerized by the eagles that soar and then dive in the dramatic scene.
He nudges the mouse and the imagery disappears. “Was the DJ working for the east or west?” the Pirate asks.
“Where’s ones of Genisis pre ’97?” Lazoo Jr. ignores the question as the Pirate selects a directory titled “Danielle.”
“I get the feeling he believed the equilibrium could be better maintained if Capitalism took heed of some of Socialism’s fundamentals,” the Pirate says out-loud; then he leans on the desk as he presses a key.
Little Lazoo looks up at the author who looks at the files being copied to folder “LAZOOII.”
“It’s all about money, the love of it, wanting the stuff. Then losing it, the way the mill makes it, east/west, right/left, capitalist/socialist. Marx wrote how the machine was going to take it away from man—Was still about money.” Little Lazoo feels agitated from being dragged into a conversation about his thoughts.
PART 3
“Don't move. Don't talk out of time. Don't think. Don't worry. Everything's just fine. Just fine…”
NYC. Mr. Pink’s place. The bass rumbles from a trip hop remix of U2. The ocean of heads on the floor below bob, up and down, then down and up, as the bodies bounce. “Yeah!” Little Lazoo smiles as he holds his arms out; his ripped chest muscles show through the unbuttoned shirt.
“…Don't check. Just balance on the fence. Don't answer. Don't ask. Don't try and make sense…”
“Wow, I wanna be the edge,” Afanasy jokes. Relaxed, he bobs like a tru-homie to the Edge on screen, without an axe in hand, as the guitar hero has two models lick both sides of his face in NUMB.
The Pirate looks down on the dance floor as two hookers brush passed him on their way to meet Gene Reyer II, who is making his way up the stairs.
“CASEY!” Little Lazoo yells; Gene Reyer smiles and then he begins to laugh as a waitress pulls up with a tray of candy, drinks, and more candy.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “NUMB” by U2
YouTube: http://www.youtube.com/watch?v=hWHwI-Hvpzo
Wiki: U2: http://en.wikipedia.org/wiki/U2
PART 1
The Pirate watches as a group of tourists pretend they don’t notice him as he leans against the tree. “Afanasy’s” the young guy, says to the RAT, sitting up. The bottle of Mexican Tequila in his hand moves, and then it’s swiftly lifted and stood upright.
“How can you tell?” the RAT asks after he wipes his mouth and holds the bottle up to the young man.
“They have specific instructions on what not to say, and they focus on their own missions.”
The RAT holds his hand out as the Pirate wipes the lip of the bottle, takes a swig, licks his lips and places the bottle in the hand held out.
“Lazoo’s are retarded, like the real MICERs were; no mission—just get in ya face morons,” the Pirate advises as four small groups of middle-aged people walk by within earshot of the guy they look at.
PART 2
“Take the picture from Tourist phone 1; use RAT’s mic track. Mix to Pirate’s mic track as he says, ‘like the real MICER’s were’. And use Captain Sensible—Wot, with shots of MICERs. Intercut with music video.
“Place fastfood ad #001-1 top of screen in position 1,” Madeline adds.
Afanasy looks at Little Lazoo, who nods his head to approve, and then “Check first whether they agree with the exclusive.” Lazoo Jr. advises they should check with the fastfood company whether they’re okay to be in the latest upload of the Pirate of Greenwich Village’s txtOPERA, which will carry only one news item: the exclusive interview with the latest Terminator to be captured by the police in their crackdown on unauthorized clones.
Missy is already on the phone. The picture of the Giant Corporation’s CEO on the golf green comes up on screen.
Little Lazoo says, “Hey, Mac, we’re carrying a network exclusive in today’s txtOPERA. A clone got picked up down in Cuba; we’ve got a three-minute jump on the rest. Your target: MICERs of all ages. You get pole position; only you and the news item. I’ll do you usual rates for prime time and spot.”
“Yeah? Why not,” the healthy looking man says as he tees off. “Oh, by the way, my daughter wants to meet the Pirate,” he adds as he boards his golf cart.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “WOT” by Captain Sensible
YouTube: http://www.youtube.com/watch?v=_pqC563bX_w
Wiki: Captain Sensible: http://en.wikipedia.org/wiki/Captain_Sensible
PART 3
Gene Reyer II reads the whacky news item on screen about the meaning of the word MICER, pronounced Micker, which stands for Morons, Idiots, Clowns, Extras and Retards—another term coined by John Reyer, this one in his story “Guy in the GAME,” as he waits for the T-X to be brought into the room.
As he waits, he flicks through archives relating to the series dedicated to LMLA-ink, aptly named “Terms & Conditions.” He reads WIPEWORLDWIDE, and then TRUFUNK.
After reading the clips, he wonders how one person was able to incorporate so much meaning into what he did as a hobby, and then have the know-how and savvy to turn it into a marketable commodity which overshadowed other concepts by companies and corporations with big budgets, teams of experienced professionals, and not to mention the circumstances in which the guy had to create the work.
Even after considering the exposure as a major factor for his dominance, he still had to come up with the goods to keep the audience wanting more.
The door opens and a smartly dressed woman in her twenties walks in. Gene Reyer watches the woman’s eyes quickly scan the room and then settle on the screen.
“TRUFUNK,” she says as he sits up and pulls his jacket together.
PART 1
Afanasy selects a close-up shot of the T-X and zooms in on her face as Gene Reyer asks, “What does it feel like to have the feelings of a human, but not the heart of one?”
“Very nice, Gene,” Madeline says, as she relays his next question. “Ask at what age she was released into the population.”
Missy leans over toward Le Mac. “The Pirate has reservations about sex with her.”
Le Mac looks over at the young man seated opposite him, watching the live interview on screen.
“I would too.” Le Mac smiles as he stands up and motions for the Pirate to follow him as he leaves the boardroom.
Outside in the foyer of LMLA-ink HQ, Le Mac signals to his security guards that he will be all right as he leaves the skyscraper’s front doors and walks down the street with the latest sensation from LMLA-ink, an incarnation of Lazoo, Metofeaz, himself and John Reyer Afamasaga…
PART 2
Le Mac stands behind the bar. He passes the young guy a beer and places a shot glass of tequila in front of him.
On screen are pictures of Genisis, Arley, Santina San Fe and Rocol.
“T-X is a machine, John, but totally flexible, if you get my meaning. Genisis, Rozelle, Santina, Lavenda were Lotte, but totally themselves as we moved through life and met wonderful women, all of them different, and all themselves in the present…”
The young guy downs the tequila and wipes his lips with the back of his hand as he reaches into his pocket and produces a pack of cigarettes.
“You’re going to have to give that shit away,” Le Mac says. “Blood tests and psyche tests by all agencies,” Le Mac continues…
PART 3
Guy in the GAME an etfiction txtOPERA by The PIRATE
30th September 2009
(LATEST UPLOAD)
The middle-aged bloke wearing glasses, whom they used to talk, says, in the way they do, “You’re Dead, Fred” as he passes by the Guy to speak to the person who sits behind him.
The guy with a Chinese last name whispers as he passes by, “Asshole.”
The Guy in the GAME counts the two things said as unforgivable, and makes mental note never to make eye contact or start a conversation with these two MICERs.
Missy reads through the copy again that, after alterations, the PIRATE wants to submit.
“That’s better; no defamation due to no names; no lawsuits due to no brands.”
And then she slides the machine back in front of him. “Send it to Tyler, and tell him his txtOPERA is going well and the Arabic Translation is perfect now; we’ve had it go through three different and independent houses for review.”
The PIRATE maximizes the screen: “The GUY in the GAME.” A movie LMLA-ink produced and directed in 2015.
On screen, a scene where the Guy sits thinking. Seemingly randomly, people pass by. He seems bored as he plans the next words he will only utter in his story.
“The MICER’s—a lot of them look alike?” the Pirate observes.
Missy smiles as she responds. “During the game, there were teams of random wannabe controllers, all small time. Each of these lowlives, casting a MICER of his or her own to be a LAZOO, METOFEAZ, AFANASY, or GENISIS, etc. Such were the egos of the small time wannabes the Guy in the GAME presented with a once in a lifetime opportunity. Of course, no one recognized their crap, and so they made an excellent back-drop, semi-organized, but not coherent enough to convey anything meaningful. And in the end, the Guy walks away leaving them as he found them.
The Pirate sits back with his arms on the back of the booth. He zooms in on Brad Pitt commenting on the Guy, “We’re friends.”
He flicks to a comment by Steven Spielberg: “You don’t know what he’ll do next, but it’ll work.”
Peter Jackson: “John’s John.”
Jerry Bruckheimer: “He knows what he’s talking about.”
Russell Crowe: “Ladies and Gents, well what can I say?”
Clooney: “We think we know what we’re doing…”
JK Rowling: “He’s who he is.”
Will Smith: “Hey, I wanna meet this guy.”
Tarantino says: “Shoot what this Guy writes.” “I’ve found my writer.”
Oprah to her audience: “Girls, if he’s not the…”
Katy Perry: “…I kissed a girl, and I liked it…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: " I kissed a girl" by Katy Perry
YouTube: http://www.youtube.com/watch?v=3fBdgZUtpBg&feature=PlayList&p=1AE5384D84C2DCD3&index=0
Wiki: Brad Pitt: http://en.wikipedia.org/wiki/Brad_Pitt
Wiki: Steven Spielberg: http://en.wikipedia.org/wiki/Steven_Spielberg
Wiki: Peter Jackson: http://en.wikipedia.org/wiki/Peter_Jackson
Wiki: Jerry Bruckheimer: http://en.wikipedia.org/wiki/Jerry_Bruckheimer
Wiki: Russell Crowe: http://en.wikipedia.org/wiki/Russell_Crowe
Wiki: George Clooney: http://en.wikipedia.org/wiki/George_Clooney
Wiki: Will Smith: http://en.wikipedia.org/wiki/Will_Smith
Wiki: Quentin Tarantino: http://en.wikipedia.org/wiki/Quentin_Tarantino
Wiki: Oprah Winfrey: http://en.wikipedia.org/wiki/Oprah_Winfrey
Wiki: Katy Perry: http://en.wikipedia.org/wiki/Katy_Perry
WARNING: Session is, "Unproofed and uncut by the knife in the hands of an editor."
Session: 100021181
Approx Date: 03/10/2009
Location: LMLA-ink Offices – Chinatown NYC
Project: GUIOPERA II
Story: Guy in the GAME
About: Guy in the GAME
…Brad Pitt commenting on the Guy, “We’re friends.”
He flicks to a comment by Steven Spielberg: “You don’t know what he’ll do next, but it’ll work.”
Peter Jackson: “John’s John.”
Jerry Bruckheimer: “He knows what he’s talking about.”
Russell Crowe: “Ladies and Gents, well what can I say?”
Clooney: “We think we know what we’re doing…”
JK Rowling: “He’s who he is.”
Will Smith: “Hey, I wanna meet this guy.”
Tarantino says: “Shoot what this Guy writes.” “I’ve found my writer.”
Oprah to her audience: “Girls, if he’s not the…”
“Oh my…” Rocol cannot believe what she reads on screen.
“Where’s he going?” The three lawyers ask where John Reyer is going as the front door slams.
Missy selects another file sent to them by Tyler R. Tichelaar —the Guy in GAME’s editor, and also John Reyer’s mentor; an author, Ph.D., professional book reviewer and editor from Michigan.
“A twin, supposedly went missing in 1986, last spotted in Vegas.” Rocol looks down at the front of her dress she straightens, as she offers a possible explanation for look a like on screen —the Guy in the GAME a loser somewhere down under, who had published his version of John Lazoo in 2006.
“And you’re lawyer did nothing?” The woman lawyer asks Rocol about their previous legal advisors response to the news she has just been told.
“Lazoo and Afamasaga wouldn’t allow it, one of the reasons why Le Mac walked out.”
Missy continues to watch the way the Guy onscreen, in character gets angry as the Moron Retard next to him, makes a point of mentioning the name of a MICER the Guy had withheld in what he wrote yesterday for fairness sakes. Someone in the background says, “Racist!” And then the MICER, who works closely with the Guy, looks at him and asks where the person with the Chinese last name sits, when he already knew the answer. The loser movie scene designed to try and make the Guy paranoid, by pinpointing a name from what the Guy had written and no one had seen. Instead it makes the Guy angry as MICERs try to insinuate he is a Racist by highlighting a scene in the writing where the Guy finally writes about what’s been happening to him every minute, of everyday for the past seven years. The inclusion of the fact that the person, who called the Guy an “Asshole” as he walked by, has a Chinese last name was to show the abuse the Guy suffered continuously came from every race. It’s a given the bloke with glasses, a manager, who said “You’re Dead Fred” was Caucasian.
See: GUIOPERA II – Chapter 17, Part 3
“This is dangerous Rocol.” A middle aged lawyer warns her. “It’s obvious the Guy is not a loser. He wouldn’t have been able to fool them into thinking he was playing along, and then suddenly spring this when he had gained the support he has.” The third lawyer adds.
Missy maximizes another screen; images of the Guy at his father’s funeral.
The front door opens and its Lazoo, Missy quickly exits out of all the evidence on screen.
The Maestro sees figures he assumes to be of antagonists seated in the last booth. “The Guy wins because he’s cool. And he defies the law of averages.” Lazoo calls out. His voice echoes around the bar rather than resonate with the gathering down the end, making the lawyers uneasy.
“You know how he defies that law?” Lazoo walks behind the bar, “because he had the mean before he began writing his list or as he would put it “data set.””
“We’re publishing him in the GUIOPERA Rocol!” Lazoo looks down at them from the bar. “Anyone for a drink? Get it ya selves, ah? Hey in fact, while you’re at it, get the fuck out of my offices now”…
John Reyer walks through the front door; his head is bowed making no eye contact with the lawyers in a hurry to exit LMLA-ink’s offices who then pause, “Rocol will let you know our thoughts about this.” One lawyer tries to sound earnest, but Afamasaga ignores them as he walks away…
Rocol dials her cell phone as John Reyer sits down. Lazoo has a grin on his face as Missy has disconnected her machine, from screen above the stage, and now has the ThinkPad in her lap.
John Reyer dials a number on his cell phone and then he places it down on the table. The ringing ends, “Le Mac, here.”
“You see the saved version from the Guy last night?” John Reyer asks Jon Le Mac in South America.
“Yep.” Le Mac’s voice has an emphatic ring about it.
Missy puts her machine back up on the table and slides it in front Afamasaga, who like Lazoo rarely, takes any notice of the cruel manipulation going on down under. But in recent times have begun to show their support by incorporating the event into their work. The Guy in the GAME is a concept identical to Lazoo’s one man play in 1997 based on one of John Reyer’s ideas he said was based in the SenFenide Dimension.
On screen the Guy has a look of relief, as his head drops after reading an email from Tyler, in which the editor talks of the “Magic Trick.”
“…I think you forgot to insert the wiki web links at the end for all the celebrities. I thought that section was perfect--I can totally see each of them saying exactly what you wrote, especially Will Smith…”
“Where we at with the Pirate?” Afamasaga asks Missy.
“Hold up with T-X in Federal custody.” Rocol answers.
“Do we keep going with Operative slant as diversion? Or do blow the lid on the big game?” John Reyer waits for an answer.
“Le Mac, you’re the one there. What do we do?” Afamasaga looks at Rocol.
“Sex, Pirate versus T-X” Rocol checks her nails and then she checks John Reyer out as she looks at the screen in which the Guy in the GAME has head phones on as he readies himself to write another day…”
“You! Your Sex is on FIRE!” Kings of Leon, in and amongst the rage…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: "Sex On Fire" by Kings Of Leon
YouTube: http://www.youtube.com/watch?v=HHhhcKxflMY
Wiki: Kings Of Leon: http://en.wikipedia.org/wiki/Kings_of_Leon
PART 1
Bonobo and the acoustic guitar in “KOTA” is the first thing he hears on the F3quenZor as his senses come to him.
The Pirate lies on his back. He opens his eyes and the anesthetic fights back; he tries to lift his head, but his neck muscles disallow him as the bile in his stomach begins to creep up inside him. Now the feeling of wanting to vomit takes over.
His right wrist throbs, and he looks and sees no sign of the bar codes that now can be scanned.
The same throbbing is present on the right side of his face; he reaches for it with his left hand, which feels normal.
“Operator, may I have your Network access code please.” The voice is coming from somewhere in the back of his head. He shuts his eyes tight in an attempt to make the operator’s voice go away.
“Finger clap two times with either hand,” a voice advises him, making his head turn.
Afanasy leans against the wall as two doctors watch from outside the room.
“Snap.” And then, “Snap.” Nothing happens as the voice continues “…your Network access code please.”
“Snap. Snap.” Afanasy snaps his fingers twice to show the Pirate how to disengage the network using his newly inserted phone…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Kota” by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
PART 2
“Timbaland, where, where’s Missy at?” Jay-Z asks the CASIO Maestro…
In CHARLEY STEVONSEN, AFANSY steps to the action theme with LAZOO on his right shoulder and the PIRATE on his left.
“John!” All three soldiers look up at the box where they point as the truck smashes through the wall of the set. Iron beams bend, concrete blocks explode, sparks from the debris stick to the runaway MACK that drags along the ground and then flies in the dark…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Lobster & Shrimp” by Timbaland & Jay-Z
YouTube: http://www.youtube.com/watch?v=1niTSAD8tXI
Wiki: Timbaland: http://en.wikipedia.org/wiki/Timbaland
Wiki Jay-Z: http://en.wikipedia.org/wiki/Jay-Z
PART 3
Jon Le Mac, the other founding member of the legally incorporated company, waits alone in the boardroom of the tower. One eye is on the screen; the T-X waits in a holding cell, refurbished to the Pirate’s specification—the Guy in the GAMES’ lounge room. The other eye is on the New York skyline he and his former cohorts had used so many times to cast the audience’s mind to times when Genisis and Lazoo were in desperate need of each other during trials and tribulations which in the end only served to strengthen their resolve, and ultimately, forge the undercurrent which attracted and keeps the die hard ones glued to the Graphical User Interface pages of their otherwise chaotic and sometimes gruesome style.
Le Mac thinks of John Reyer and is mystified at how his friend’s forward planning had accounted for everything. “Hood, exit strategy with golden parachute when the heat comes upon us; take the blood money. You go into exile till we establish in mainstream…” one young delinquent says to the other, years before they learned the “The pen is mightier than the sword.” And how they would catch the wave that would change the face of fiction, the Internet—taking LMLA-ink, a pseudo-corporation, from the streets to Storytellers of Notoriety.
He skims over footage focusing on the soundtrack as he looks for the appropriate song as backdrop to the pending romance between the Pirate and the T-X for whom no one has come up with a name.
He keeps coming back to the original Love theme, “The Look of Love.” First Burt Bacharach, then Diana Krall, and then Dusty Springfield.
He places his hand over the remote he prefers to the virtual means available to him as the door opens and Missy and Little Lazoo enter.
Missy immediately takes over the screen by pressing her index finger in two different joints, using her thumb to bring up the Pirate’s latest upload to his txtOPERA to be distributed in two hours in conjunction with his first face to face meeting with T-X.
The meeting has been marketed and dubbed as “Her final request,” in which the machine, condemed to be decommissioned, has requested to meet the man of the hour, the Pirate of Greenwich Village.
“Give me Gene on screen 3.” Afanasy and Madeline enter as Little Lazoo asks to see a feed of Gene Reyer II, whom the Networks have agreed will front the “T-X Story.”
“Umpire, you’re looking too wired. Stick to caffeine, buddy,” Lazoo snaps at Gene on screen.
“Coffee, Charley—all cocoa,” comes the reply.
Afanasy shakes his head, but he manages a smile as Lazoo barks out the orders. “The original Love theme, with Burt, Dusty, and then Ms. Krall. Publish YouTube links that come up top 3 on GOOGLE, and Wiki everyone…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “The Look of Love”
YouTube: Dusty Springfield: http://www.youtube.com/watch?v=a28kY1-s-Vc
YouTube: Diana Krall: http://www.youtube.com/watch?v=QNp79hF-xZw
Wiki: Burt Bacharach: http://en.wikipedia.org/wiki/Burt_Bacharach
Wiki: Dusty Springfield: http://en.wikipedia.org/wiki/Dusty_Springfield
Wiki: Diana Krall: http://en.wikipedia.org/wiki/Diana_Krall
Wiki: The Look of Love: http://en.wikipedia.org/wiki/The_Look_of_Love_(1967_song)
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Guy in the GAME an etfiction txtOPERA by The PIRATE
June 2009
(LATEST UPLOAD)
The Guy, on his routine morning visit to Supermarket walks through the car park. He is passed feeling sorry for himself. He has also come to accept he will never have just one life to live as he makes his way through the day in which he is a clerk and by night — the creator of John Lazoo, etfiction, and the GUIOPERA.
He thinks back to days when both his lives were fast paced and dangerous, and then he squints at the sun, and is thankful for the way he can walk without having to look over his shoulder. Then a MICER appears. This one is on their own, and is probably looking for a collision point in their paths, where something random is said, or an elbow is held out, followed by “I’m sorry on behalf of all the MICER’s in the world…”
The Guy gets closer, and realizes the MICER is in fact a woman, he believes to be in her mid twenties. “Hey!” The Guy shouts out. The extremely attractive woman pauses, and has a look on her face which almost says, “Who me?” “Where did you come from?” The Guy unashamedly asks the one he already thinks is beautiful.
The Pirate waits for the door to open. He knocks once more; a light tap with the back of his hand, and the barrier slides to his right.
“Wow.” Is what comes to mind when he first sees the orange sheet that covers the cream colored sofa with floral arrangement. He sees T-X sitting on it, waiting for him to appear.
In the square mirror above her head, he sees his txtOPERA. The words, backwards, he wonders whether this could’ve been one of the ways the Guy’s network had deciphered the Trilogy and accompanying texts, when he was planning his escape from one of his former lives.
“How you doing?” The T-X asks, as she brushes her thick light brown hair back, and lifts her head, so he can see her serene sincere eyes.
The lead in notes of Diana Krall’s “The Look of Love,” instantly make him emotional, as he looks down at a woman looking at him.
On screen his txtOPERA is imposed on images of Genisis and Lazoo, which fade and is replaced by a shot of T-X being stunned by police and then apprehended to sound from the interview, “Do you have any final request, T-X?”
Two logos —MICROSOFT and GOOGLE share the prime real estate, as the YouTube link flashes in the middle of the screen for fans to touch.
He sees his delayed movements on screen as he seats himself down on sofa next to her, as she crosses her legs to face him…
“The Look, of Love is in your eyes; a look your smile can’t disguise…”
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
Guy in the GAME an etfiction txtOPERA by The PIRATE
1986
(LATEST UPLOAD)
Genisis Jones looks around and there is no one behind her. Bono walks to where Adam Clayton, the Edge, and the spunky drummer wait.
Off in the distance someone, a ranch hand; by the looks of his dress, keeps looking around at her. Next to him an African looking man with his head bowed, who said “Get his autograph.” The European looking guy must’ve been the one on her left smiling at her. And the older one of the group, is the one who walked towards where Bono walked before he went to where the rest of the band wait.
“Do your own dirty work next time.” The DJ is unhappy how he was put on the spot, by the African and Vietnam vet, expecting him to deliver with an unknown subject. “No need to get nasty, PAGE1 could’ve already done the work.” “Snap, snap” The Veteran clicks his fingers twice to show how easy it couldve been otherwise…
“He’s stolen the show, said what one know one else would dare utter out of fear.” Missy says out loud for Le Mac, Little Lazoo, Afanasy, Madeline, and Gene Reyer II to hear.
“Depends if they come calling, or the hype is enough to romantize the cold war and reinstate quasi order, as was the case back when.” Gene Reyer II puts a gold pen in his mouth, the artifact gets everyone’s attention.
“The reason why he vanished, they must’ve come calling and he couldn’t do it.” Madeline’s view point gets a nod from Little Lazoo.
On the next screen, the insides of the holding cell, T-X, has her head on the Pirate’s shoulder.
“If they did, they’d know where to find him.”
Gene Reyer’s comment makes Afanasy stretch his neck.
“As publisher we’re as resposible, with or without freedom of speech.” Afanasy lets everyone know his stance.
Little Lazoo sits up, and then he stands up. “Print it, or twist it. First climax is in six chapters. Another twist now will work, but the contrived nature of the move will be felt. He signed up, and this is what he signed up for.”
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
“So you’re willing to go through with this theory, one you picked up in a café? Gene Reyer II asks the Pirate who is trying to think.
Diana Krall plays on the sound system, while a backing track for the session he just witnessed is coming through the TV. “A decision is a junction point of streams…” Afanasy reaffirms how important the decision he makes is to all outcomes in which he is a character. And then Lazoo, or Afamasaga —one of the two? Reminds him, “The upload date stamps the “Magic Trick” as a real event, —all of this and his own thoughts, coming at him on the F3quenZor.
He exhales slowly, and for a moment he only can think of the process of letting air flow from his body. And then humming from T-X; who has taken to “The Look of Love,” he can hear as she reaches for his hand.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: "The Look of Love" by Diana Krall
YouTube:: http://www.youtube.com/watch?v=QNp79hF-xZw
Wiki: Diana Krall: http://en.wikipedia.org/wiki/Diana_Krall
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
One staccato chord, and-pause, and then another staccato chord… The door slides left. T-X’s eyes go there, and then, “ooohhh, oohh oh yeah…” Beyoncé moans.
In walks a Robot, her jawline bolt shows as she lifts her nose in the air.
Then Missy enters the holding cell, with Lillies in hand.
The bass and kick drums, come out of the foundations of the building. T-X places a hand across her abdomin where she can feel the resonating notes.
Missy places the flowers down on the table, for T-X to look at the arrangement.
“…Ooh ooh, Dance with me…” Destiny’s Child begins to groove on the sound system.
Madeline steps into the frame with two dresses from CHARLEY STEVONSEN —one in each hand, she smiles at T-X.
Madeline looks at an outfit, and then she places the other outfit against Lizé. The robot looks at T-X, as she points to the outfit against her, and then the other one.
Madeline rolls her eyes, “Freaks.”
“…dance with me, your watching me…” Missy mouths the words to the song as she puts a hip into Madeline.
Madeline responds, by tossing both garments in the air, for her Robot gal pal to catch the floating articles before they drop in the atmos…
T-X runs the back of her hand against the fabric, and then she does the same to other dress. She then bends down to smell the flowers, as the music continues…
“Dance with me…” Destiny’s Child.
“Loves” The PIRATE
“X”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Dance with me” by Destiny’s Child
YouTube: http://www.youtube.com/watch?v=besC0OpnSOs
Wiki: Destiny’s Child: http://en.wikipedia.org/wiki/Destiny's_Child
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
The spotlight finds Afanasy, and then he points at the Billboard.
Times Square is dead quiet as the crowd wait for the Midnight upload.
A close up of Afansy Alfabet, his profile as he looks up at the sign, and then kick and snare start the process…
In his room, The Pirate, headphones protect his hearing from his environment; does his final checks on the links…
Dissolves to “…rain man is back with lil Ms. Sunshine. Rihanna where you at?” Jay-Z introduces Good girl gone bad Ms Rihanna.
“You had my heart, and we'll never be world apart. Maybe in magazines but you'll still be my star…”
A sheet of sparks rains down in front of the giant billboard, as the screen is split into three vertical rectangles. In the first; The Pirate types, the second has Rihanna, and the third; the Pirate and T-X…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Umbrella” by Rihanna
YouTube: http://www.youtube.com/watch?v=T79dkJBCHyM
Wiki: Rhianna: http://en.wikipedia.org/wiki/Rihanna
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
Guy in the GAME an etfiction txtOPERA by The PIRATE
6th October 2009
(LATEST UPLOAD)
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor.” The Guy pastes the warning into Adobe Dreamweaver. The tally of his editing bill from Tyler for the month has exceeded $110.00, so he will proof the copy himself before he uploads the story to www.guiopera.com.
Lazoo watches on-screen as the Guy's text spans the page, and waits for John Reyer’s reaction. Missy checks links to YouTube for the Operatic accompaniment.
“Once we have “gor” GUIOPERA MUSIKA will be a real distribution network, where Artists get paid and advertisers get maximum ROI,” John Reyer advises of his GUIOPERA-Render, a Mobile Reader, as Lazoo waits for his response about the Guy’s work. “A defensive play today, he’s setting up for another knockout combination, eventuating in looping right hand that’ll floor us, yet again. Just you wait.” Afamasaga says to Lazoo who sits back in his seat.”
The Pirate ends the passage by saving his work like a pianist plays the final note of a concerto.
He looks around at T-X, who watches LAZOO’s dailies.
Beyoncé Knowles is being interviewed about her account of a time when the world was one; under a spell, unknowingly and unwittingly cast by the Guy in the GAME.
“Yes! so crazy right now. Most incredibly. It's your girl b. It's your boy young
History in the makin..” Jay-Z confirms the Guy in the GAME is the shit.
“I look and stare so deep in your eyes. I touch on you more and more every time.
When you leave I'm beggin you not to go…” B.
-
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Crazy in Love” by Beyoncé Knowles
YouTube: http://www.youtube.com/watch?v=0i38JRTyMik
Wiki: Beyoncé Knowles: http://en.wikipedia.org/wiki/Beyonc%C3%A9_Knowles
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Guy in the GAME an etfiction txtOPERA by The PIRATE
June 2009
(LATEST UPLOAD)
The Guy could slam the cell phone down on the coffee table if it would end the call telling him, back in New Zealand, his Dad is laid up in hospital, in critical condition. “FUCK!” His youngest brother bears the brunt of his anger…
The Guy’s sister’s house in New Zealand is almost empty. Church members, family members, and friends have all but finished paying their last respects to the guy in the coffin. The Guy looks down on the box he stands next to, and tries telling himself this is just part of the GAME, and any second now someone will walk through the door announcing “GAME OVER!”…
The Guy seated in the front row of the church; he and his mum and dad had attended when he was a boy —the same church he farewelled his mother eight years and three months ago, responds to his name being called to say his piece in his father’s farewell…
The Pirate holds T-X’s hand tight as the Guy steps up to the microphone.
“Tap, tap.” The Guy hits the microphone twice, the thud is what he needs to hear, as he says out loud, “Testing, testing…”
PART 2
“She shows signs of amalgamation; she’s taking to congruent treatment.” Madeline advises as she zooms in on the Pirate’s reaction to the Guy’s speech at his father’s funeral.
The Pirate’s hand squeezes the top of her hand, and then T-X’s hand twists to clasp his hand.
Within the motion, she rests her head on his shoulder; her body weight is transferred to the right side of her body which his now slumped on left side of the Pirate’s body.
“Body’s responses to pressure, this one “squeezing of hand” in a caring way are unconscious now.” Madeline continues.
“Doesn’t hurt, that earliest memories are caring and intimate.” Afanasy comments on T-X’s response to having “Virtual Motor Memory” contained in Synovial fluid of most joints activated in each independent nerve center.
Little Lazoo watches the couple on screen, and then he places a hand over his forehead as he tries to contemplate all possible outcomes, to the scenario he did not imagine would happen, when he first spotted the picture of Genisis posted by the Pirate.
On screen, the Pirate touches T-X on the face, making her respond in the same manner…
PART 3
The RAT takes a look at the kiosk screen, and then the Billboard.
“5 Days till Termination” his eyes narrow as a picture of the Pirate flashes on both screens.
“He’s a fake, delusional and self serving,” The RAT says to a businessman waiting in line to use the public screen, the RAT covers with his coat as if it can contain the phenomenon that has caught imaginations of the poor, the rich, young and old alike.
“Come on!” the guy in the grey suit says as the unmistakable Seattle strumming promises Curt Cobain, and the way, he, reeks. “…Load up on guns and bring your friends…”
TRUFUNK and grungy in their dingy video clip, Nirvana muster soldiers before time, “…She's over-bored and self-assured…”
Afanasy in Neo like fashion flanked and followed by a horde of fans with their “Curt Cobain” T-shirts, march through Times Square.
On screen T-X and her linage —from the original Cyborg to the Androids, and now her. As deadly as her predecessors, but a less abrasive model with bone-carbon endoskeleton and human Deoxyribonucleic acid, releasing germination code and information, her departmentalized limb and nervous system responsive motors have begun to use as reactors rather than her native centralized human identifying system.
T-X deflects the knife in Afanasy’s audition. Then her and the Pirate in a tender moment…
“It’s one guy on his own! You stupid people” The RAT shouts at the top of lungs as he sinks to his knees as Afanasy’s mob pass by.
Afanasy looks down at the sorry figure in a heap; his trench coat covers him, and therefore his master, who is probably some low-life wannabe with a little money.
Afanasy Alfabet, the Masterful Creative looks up at the screen he points to as Nirvana unleash.
“…A mulatto, an albino. A mosquito, my libido. Yeah, hey, yay…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=dXO3OMGKPpw
Wiki: Curt Cobain: http://en.wikipedia.org/wiki/Kurt_Cobain
Wiki: Nirvana: http://en.wikipedia.org/wiki/Nirvana_(band)
Wiki: T-X: http://en.wikipedia.org/wiki/T-X
Wiki: Neo: http://en.wikipedia.org/wiki/Neo_(The_Matrix)
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“Place them to the right of the camera.” Afanasy thinks about where the flowers the assistant is moving should go. “Behind, please” Afanasy looks for somewhere not in the camera sight, in the meeting to be telecast. “Further right, almost requiring her peripheral.” Alfabet settles on a place where T-X’s eye movement is noticeable when the Terminator looks at the flowers.
“She’ll scan them?” Madeline reminds her husband.
“Uh, uh, bet ya anything, she’ll see them.” Afanasy’s passion for the experiment is obvious.
“Wow it’s the garden of Eden.” Jon Le Mac enters the room, his sarcasm is infectious.
“Poor girl wont know whether it’s creation day or the funeral home,” Missy joins in as Afanasy’s forced a smile quickly becomes an expressionless stare when he sees footage of the Police escort making its way down the street towards LMLA-ink HQ, on screen, and on every Network channel Le Mac changes to.
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
“The handcuffs are a bit much, she’ll eat them before she breaks them.” The Pirate looks out the window. He sees motor cycles of the police escort, which he shakes his head at as he talks to the crew on the monitor, “Man, nostolga is one thing, obliterating fond memories is another.”
Seated solemly next to him is T-X in a white dress, she studies the handcuffs around her wrists, “Women are born with these, ah?”
“Gagged, also. Coloured and black people, weren’t allowed in the same areas as white people. Like women, only got to vote in the 20th century.” The Pirate says his lines looking at T-X’s hand he holds.
“See it wasn’t that bad, was it?” Afanasy appears on the monitor.
“Hey Afanasy.” T-X says, bringing a surprised look from the Pirate.
“Two hand claps, like this,” Afanasy snaps his fingers…
And Rihanna says, “Please don’t stop the music, please don’t stop the music…”
The limousine pulls up to the curb, faces and hands with white palms wipe on the tinted window —people wanting to catch a glimpse of the Pirate, and T-X.
“Damn this is ideal.” The Pirate looks at T-X who checks her cuffs, “is this famous?” she asks. The Pirate pushes the door back, “They’re famous, fame’s a noun.”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Don't Stop The Music” by Rihanna
YouTube: http://www.youtube.com/watch?v=xsRWpK4pf90
Wiki: Rihanna: http://en.wikipedia.org/wiki/Rihanna
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
A drummer exclaims, with sticks on the skin, just before the Thin White duke proclaims, “Fame, makes a man take things over. Fame, lets him loose, hard to swallow…”
Little Lazoo takes a drag on the cigarette, and then he blows out the smoke. The stream flows from his lips, as a cloud covers his face.
“…Fame, puts you there where things are hollow. Fame…”
On screen David Bowie a chameleon shakes, as he sheds one skin, incorporating eras.
Gene Reyer II passes Little Lazoo a glass, Little Lazoo uses the back of his hand to push the glass aside as he reaches for the bottle instead.
“Don’t fucking look at me, you fucking retard,” Little Lazoo tells the RAT seated across from him, whose beady eyes dart, and then they rest on a spot down on the floor.
Gene Reyer brings up a screen with Pirate and T-X exiting the limo, police surround them as they push through the fans.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Fame” by David Bowie
YouTube: http://www.youtube.com/watch?v=qpOlaLTXP4E
Wiki: David Bowie: http://en.wikipedia.org/wiki/David_Bowie
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“Mommy is T-X going to die?” Polina Rada cradles her daughter’s head as they sit on the sofa watching the latest news.
“Can LMLA-ink cast the female Terminator a life line, as they did with Polina Rada in the New American dream?” The Network anchor throws to a reporter down on the street… Polina changes the channel as her little girl looks up at her.
On screen a scene from the SystemSpectacular GUIOPERA III in 2010, in which Polina Rada as a Russian orphan writes her famous letter to John Reyer Afamasaga to the music of David Bowie in Everyone says hi.
“Said you'd took a big trip. They said you moved away. Happened oh so quietly, they say…”
The Mistress lowers her spectacles to look at the model student in the class of orphans. Today’s assignment is writing an application letter to “The New American Dream.”
Dear Mr. John Reyer Afamasaga,
My name is Polina Rada…
“Mommy, who’s that girl?” The apple of Polina’s eyes asks about the young actress who plays the little Russian orphan in the SystemSpectacular.
“An actress, darling.” Ms Rada replies, as her phone rings…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Everyone says hi” by David Bowie
YouTube: http://www.youtube.com/watch?v=4AUtgVaWOb4
Wiki: David Bowie: http://en.wikipedia.org/wiki/David_Bowie
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
PART 2
Afanasy points to a box up in the stadium stands, and the lights scan the crowd —a fullhouse for a scene from LAZOO, in which David Bowie in Robo, CGI and his music are acknowledged as having a huge influence on the Maestro.
The crowd erupts as the Thin White Duke struts down the runway to Young Americans.
In the control box Le Mac looks down to the place Afanasy points to, “The guy is mecurial.” He says as he keeps one eye on the monitor with a feed from the holding cell.
Missy smiles as the feed is placed on the big screen…
The footage of the Pirate and T-X brings a roar from the crowd as Ziggy Stardust launches into a set.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=VNw1ZPzqP9Q
Wiki: David Bowie: http://en.wikipedia.org/wiki/David_Bowie
Wiki: CGI (Computer-generated imagery): http://en.wikipedia.org/wiki/Computer-generated_imagery
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
PART 3
Polina smiles at the pretty woman seated on the sofa. Music from the David Bowie concert plays in the background, noise from the crowd make her, T-X and the Pirate look at the TV screen, where T-X sees a shot of her and the Pirate on screen in the Stadium.
“I’m not sure what you thought would happen to you when you agreed to play the game.” Polina says as she looks at the woman who waits for her decommissioning, little over a day from now.
T-X looks at the Pirate who looks away from her.
“It’s the nature of the GAME. Someone has to die, someone has to suffer. The MICERs in the original game feasted on a character’s misfortune, satisfying their inability to bring the Guy down.” The Pirate switches the TV off.
“You know a lot about the Guy in the GAME.” Polina compliments the Pirate.
“Could she walk away?” The Pirate looks at the girl next to him as he puts his arm around her and pulls her close.
“Afanasy won’t allow it. He lives off his reputation.” Polina advises him.
“Little Lazoo will try and twist it, but for the story’s sake. You just have to hope you end up on the right side of the twist.” Polina continues.
“What about Missy or Le Mac? The Pirate tries not to sound desperate, as he sits back letting T-X’s head rest onto his chest.
“My Sister is LMLA-ink through and through. Le Mac like John Reyer expects strong characters to come forward on their own.”
The Pirate looks at the famous woman who LMLA-ink had brought to the world, while he waits for her to say something else, as Polina Rada now a middle aged woman touches T-X’s hand as she ends her visit.
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
The scratched screen scar his words, and then he stops and selects KATO on his Microsoft WINDOWS MEDIA PLAYER…
The Pirate contemplates his next upload as Bonobo creep into his room.
The acoustic guitar and then the sweeping strings push their way through membrane to the epicenter of his thinking, producing fever, that sweat morsels of meaning as he prepares to excite and push his audience to the edge of their seats.
The ingrained melody brings memories to muscles, he flexes as he taps lettered keys. He looks left and sees Metofeaz Litigatti up on the wall, and to his right is a poster of John Reyer with his black Sennheiser headphones on, listening to sound on sound, and messages from his F3quenZor…
”Did you reduce her to tears?” ”Are you going reduce her to tears?” He runs through a conversation between two Morons at work. His only concern is for the girl he waits for… …. A random MICER passes by looking at their wrist, while another one to his left places something in the rubbish bin. He finally hears the heels of her boots as she nears his side
.
PART 2
Little Lazoo reads through the Pirate’s txtOpera for today.
Polina Rada, has made an unannounced visit to LMLA-ink HQ.
Afanasy and Madeline as famous and successful as they are, are in awe of LMLA-ink’s Premiere character as she offers water to her daughter seated next to her.
The little girl takes a drink and then she beckons her mother’s ear.
“Yes that is Afanasy, same name as mommy’s guide in the SystemSpectacular.” The mother confirms for the little girl who giggles as she shies from Afanasy’s greeting.
“Little Ms Rada are you going to be as great as your mommy?”
“Can’t print that, it acknowledges certain MICERs.” Little Lazoo annouces.
“It’s just one scene depicting the Guy’s view of the hell he was stuck in. The movie throughs a blanket over all the Retards, and tells only the Guy’s story, which is the only POV worth anything having created what he did.” Afanasy adds.
“It shows who the real master mind was, and how he controled the GAME, whether he was aware of it or not” Le Mac sits forward.
Missy who had been there is quiet…
PART 3
T-X watches the news.
Flashes on the bottom of the screen notify her of the Pirate’s txtOPERA upload at the top of the hour.
Bonobo plays on YouTube, and KATO is all around her as she thinks of what he might upload.
On another channel, an interview with an “Executioner” —the first to decommission one of her kind, back in the “Dirty Thirties” when both businesses and the underworld harbored T-X’s to their dirty work.
“We siphoned the life out that can, seizures just like human; should’ve seen the readings on the monitor,” The middle aged family man smiles for the camera.
On a smaller screen the Pirate waits for a moment before he completes the sentence he is in.
On another screen Little Lazoo edits the screenplay for LAZOO, while Missy approves locations for the scene he changes.
Outside the window, Afanasy stands looking in on her, as the documentary on TV shows the open chest of a Terminator during the autopsy that follows the execution.
Afanasy watches the images on screen, making T-X look there. The Pirate looking directly into the camera, finds her looking into his eyes.
The sound of the sliding door churns the sensory unit in the machine as Afanasy steps into the holding cell.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
Wiki: Microsoft: http://en.wikipedia.org/wiki/Microsoft
Wiki: Windows Media Player: http://en.wikipedia.org/wiki/Windows_Media_Player
Wiki: YouTube: http://en.wikipedia.org/wiki/YouTube
Wiki: Sennheiser: http://en.wikipedia.org/wiki/Sennheiser
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Guy in the GAME an etfiction txtOPERA by The PIRATE
October 13th 2009
(LATEST UPLOAD)
”Did you reduce her to tears?” The Random comments from the Retarded had ceased to aggravate the Guy. ”Are you going reduce her to tears?” He runs through a conversation between two Morons at work. His only concern is for the girl he waits for. She appears, instantly bringing a genuine smile to his face, as he quickly rids himself of thoughts of how and when he will kill the two MICERs for their online bullying of the woman who he cannot help but be there for, making her an accomplice in his master plan. A random MICER passes by, looking at their wrist, while another one to his left places something in the rubbish bin. He finally hears the heels of her boots as she nears his side
That evening her car pulls up in his backyard, he is busy cooking the only food both of them eat, without thinking of calories, or the work they must do to burn them. He is conscious that since she agreed to come see him, he has always been at the top of the stairs to greet her with a “Cuddle,” when she arrives in the “Little Green Bubble Car.” The lid on the vegetables rattles as the pot boils, the place is not spick and span as he knows she would prefer, but it’s the only place in the world, where she is relaxed and is able to escape from the turmoil she was born into, and therefore has inherited.
Much later that evening… “I could fall asleep, right here,” she says as they lay on the couch, with her head rested on his chest…
T-X touches the screen on which she can see him, as the Pirate continues to tell his account of the Guy in the Game, who has now found a new reason for living.
The Pirate selects Sheryl Crow as the Operatic accompaniment for the upload he composes in TRUFUNK style.
“She was born in November 1963, the day Aldous Huxley died…” Sheryl Crow sings.
The Pirate GOOGLE’s the author, and selects his WIKI. He clicks on a link: Mysticism taking him to, ultimate reality, divinity, spiritual truth…
Something inside T-X begins to make her feel nasally as she reads the meanings of what he believes in, talks only to her about, and lives by, like the Guy he writes about.
Her arms wrap themselves around her body as he would, as the Pirate’s words spell emotion, no longer technically fictionalized, but classically real, making the Scarce Loop she and the Pirate are a part of; Surreal to readers now and forever.
He adds a full stop, and saves the work.
T-X closes her eyes, as she bows her head.
Sheryl Crow brings the woman alone in her holding cell to tears…
“…So run baby run baby run baby run. Baby run…”
PART 2
The Pirate feels the way the woman sings about “Baby.”
“…So run baby run baby run baby run. Baby run…”
Metofeaz looks down on the soldier hold up in a bedroom, slaying demons for them, unleashing the truth behind the smile, the Pirate never does, as he had so freely given away.
T-X’s finger covers her face as she again touches the screen in her holding cell.
The Pirate looks up at John Reyer, the man who preserved his father’s work.
On another screen Little Lazoo and his script; superimposed on himself, and Missy Evon.
Afanasy is interviewed on a talk show, his smile angers the Pirate.
The Guy contemplates his options, taking into account only — his future and the girl’s heart. The day job has become a living nightmare. The only thing keeping him from raging an all out attack on line, is his proffessionalism, as he thinks of his dream job as a responsible and therefore successful CEO of his small home businness after being bought out by some large corporation. Unlike some of the egotiscal so called leaders of the companies he had worked for in past three years who had overlooked their responsibilty of protecting their organisation’s credibilty by what they chose to involve the company in
A message arrives as he begins the next paragraph. Tthe girl txt’s to tell him of how she’s feeling this morning, making the Guy feel needed. He quickly txt’s her back assuring her he is there for her.
“T-X, the Pirate…” On the F3quenZor; Lazoo, or is it John Reyer?Uurges the Guy to focus…
PART 3
Little Lazoo covers his face, as water runs down his hands. He again dips his hands into the water and cups more of it and scoops it up to wash his gaunt looking face.
The chaos in the background is kept at bay by the hot water he bathes in, as he looks at the picture of his mother maximized on screen. The other smaller screens across the bottom show the Pirate, T-X and then the production crew hard at work on LAZOO.
“Little Lazoo will be human,” he hears his mother’s words making the man ponder the alternative to his mother’s promise.
On the marble floor he sees a packet of cigarettes and he wants to reach for it.
T-X reaches for the screen, her resemblance of the Girl from the Guy in the Game is uncanny as he watches the Pirate GOOGLE a topic —one of the ones he rarely allows himself to think of, as a producer of mainstream entertainment.
His mind goes back to his mother’s words as he looks at one of his many scars he has earned as a human.
Afanasy appears on a new screen, as he’s being interviewed about the new collaboration between the two independents.
Alfabet’s charm is so natural, for someone reared in the controlled environment of an experiment —the 20/20 Project.
Lazoo is envious of how his co-producer is himself, as he again looks at the cigarettes lying on the floor —one of his many humanizing traits, as on screen Afanasy’s smile stretches itself across his face when the interviewer asks the next question.
“Your involvement with Terminators over the years makes you an expert on both legislation, and existence of our humanoid friends. Will the day come when they are treated as equals? Or like Robots at the very least?”
Lazoo counts the pause Afanasy takes before he responds, the same amount of time it takes the Pirate to scan the WIKI, and select keywords John Reyer would’ve insisted be left in place where Metofeaz Litigatti wanted them to be, amongst Lazoo’s dialogue, and according to Le Mac’s direction.
Sheryl Crow’s video with its citrus flavored filter fills the screen,
T-X arms wrap around her body; her fingers touch her soft skin as she hangs her head.
“…So run baby run baby run baby run. Baby run…”
Little Lazoo swallows the lump in his throat.
Afanasy looks at the camera as a close up of T-X shows her head move from emotion she now suffers from.
The Pirate clicks “UPLOAD”
Little Lazoo’s hands WIPE the water from his face, as the music comes again…
“…She's searching through the stations, for an unfamiliar song. And she's pictures all the places where she knows she still belongs. And she smiles the secret smile, because she knows exactly how to carry on…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=-JoXkVN6xYs
Wiki: Sheryl Crow: http://en.wikipedia.org/wiki/Sheryl_Crow
Wiki: Aldous Huxley: http://en.wikipedia.org/wiki/Aldous_Huxley
Wiki: Mysticism: http://en.wikipedia.org/wiki/Mysticism
Wiki: WIKI: http://en.wikipedia.org/wiki/Wiki
Wiki: GOOGLE: http://en.wikipedia.org/wiki/Google
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
6:00 PM Friday 13th October 2045…
“Yes.” The Pirate answers a question from T-X on screen, as news breaks on another screen.
“Turn it off,” The Pirate asks T-X to avoid the news of Gene Reyer II’s application for Stay of Execution being denied, on the grounds that she is still considered a clone, one produced outside of the ethic’s committee’s domain.
The Pirate turns the volume down as the reporter outside the court house places the mic in Afanasy Alfabet’s face. Footage of his courtroom testimony as an expert show video of T-X’s eye movement looking at the strategically placed flowers.
“For humans it’s a travesty of justice, for clones…” The creative pauses as he looks the reporter in the eye.
The woman in the navy blue two piece suit looks around Afanasy, her hand then quickly does a loop in the air, and a camera appears behind her.
“I guess they have to make a new word for the inhumane way we treat beings who cannot donate their blood…” Afanasy finishes what he has to say, and then he politely brushes the mic from his face.
The reporter immediately places it in front of Gene Reyer.
“Will there be enough time before the 6:00am decommissioning tomorrow morning to make another application, Mr Reyer?”
“What for?” Gene Reyer looks down at the ground. Now he looks into the camera “The legislation was passed in war time, we’re in peaceful times. It has no relevance to our current situation. And T-X is victim of the outdated system we still live in.
The Pirate looks at the clock as seconds pass.
On screen he sees T-X’s face; alone in her holding cell.
Her serene and sincere eyes have become so familiar to him. He sees them, whenever he is not doing something to make her smile during a time, in which, whatever humanness has grown inside her can cling to.
He foregoes a backing track, as he can almost feel her finger tip on screen, on his lips as he breaks free from his brief, as he gives an account of the time he has spent with her
My finger tips will trace their movements in memory of her, upon skin, so soft; that my hands need not touch skin again….
The knock at the door makes the writer pause, the ducts holding back his feelings; he can feel in his cheeks as he inhales air, to keep the tears from coming…
PART 2
2:00 AM Saturday 14th October 2045…
Little Lazoo is in shock, as he stands with his back against the wall, his right foot cocked, as takes a deep drag of the cigarette he now hates.
On screen in Times Square a news flash replaces the expected txtOPERA upload.
The reporter’s voice from Greenwich Village drops in and out of his hearing as he tries to apprehend the news of the Pirate’s death.
“In a bizarre turn of events, it is alleged that T-X escaped from her holding cell tonight. She then she assumed the body of a male Terminator and has killed the Pirate…”
Little Lazoo’s phone rings, “Are you seeing this?” Madeline’s voice wavers, as the other line beeps. He selects conference as another beep sounds, and then a third one he also accepts.
“Damn, it’s GAME OVER,” Le Mac shouts down the line.
A reporter has spotted him and is running in his direction, as he recognizes Missy’s sobbing, “Babe, it’s an error, maybe he touched a nerve.” Little Lazoo braces himself for the media who have recognized who he is.
“Where’s fucking Afanasy,” Little Lazoo smiles to cover his anxiety from the mob that ascend upon him, less than twenty feet from where he stands with his back is against the wall.
“He’s bent in two, vomiting.” He hears Madeline’s voice above Missy’s crying and Le Mac’s.
Another beep sounds, “Yeah?” Little Lazoo recognizes the number, it’s Gene Reyer II.
He answers the first question as another is fired at him. He becomes aware of the cigarette he holds, and puts it behind his back, as he sees himself up on screen, next to images of the Pirate, and now Metofeaz Litigatti’s son’s body in bag, being carried down the steps of the apartment building.
PART 3
6:00 AM Saturday 14th October 2045…
Bouquets of flowers line the pavement.
The rising sun, behind New York City dares to light the night in which darkness has sealed a memory, by shielding the Times Square Screen from the imminent daylight.
On screen the Pirate, and then the female Terminator who he dedicated his last upload to appears.
Afanasy, too shaken from the Pirate’s death stands in the crowd, next to him Madeline.
Little Lazoo’s arm around Missy cannot stop her tears as the countdown to his final upload begins.
“Five, four, three, two, one…”
The crowd around Lazoo and company stays silent as a picture of the Pirate, with Metofeaz Litigatti in the background is shown.
Slowly, the image fades onto a blank page, and then the sound of his keyboard is heard, followed closely by his last words…
My finger tips will trace their movements in memory of her, upon skin, so soft; that my hands need not touch skin again. She possesses me to be all that I can be, from having watched her try to be as human as possible. An endeavour I question, when I think of how I have been treated by things in skins, with blood rushing to and from places making those creatures do things that make me feel, quite ill.
And for what? Is what I ask, as I see her, stayed in captivity from having felt love, for once.
And when life ceases to creep up on T-X, in the morning, I hope she will remember her reason for being.
To be continued...
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Through the window, the RAT is being interviewed in his hospital bed.
“RAT RISKED HIS LIFE…” Is the angle the Networks have chosen to run with.
Afanasy steps to the side as the media mob now leave the RAT’s beside in a flurry, just as they had arrived.
The door swings one last time as the last of them leave. Afanasy looks in through the window, only to come face to face with the same reporter who had stuck a mic in his face outside the courtroom less than twenty-fours ago.
The woman with striking eyes smiles at Afanasy, as he tries to look around her at the patient he is eager to spend time with in private.
When Afanasy continues to ignore the reporter, she pulls the door back, making Afanasy feel exposed by the way the barrier through which he peered has now opened.
“How did the RAT survive a Terminator attack?” She asks.
Afanasy shrugs his shoulders, “The Pirate and RAT were acquaintances?” Afanasy says as he can now see the RAT, as the woman steps back.
“Maybe the RAT was there to do the job, Terminator turns up. RAT gets swept aside. Collects few bruises in the process?”
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
Missy sorts through the Pirate’s files on his machine…
Another wave of emoion comes over her as she finds pictures him and T-X, in the same folder as pictures of the Guy and Girl in the GAME.
She opens copy from his txtOPERA, and clicks the YouTube link for the GUIOPERA MUSIKA, Operatic accompaniment —Gibberish by Ryan Leslie.
The Pirate’s knuckles hit his screen as he nails a point he had been trying to make. And then the unreleased footage catches him with a smile, as he say’s something that is censorded “Sorry, gonna have to make you BEEP cry…” Behind the relaxed persona is the poster of Metofeaz on the wall.
Missy begins to read through an incomplete upload by the Pirate, as the phone rings.
“Hey Maddy,” Madline on the other end of the line is silent.
Missy quickly opens a link for Madeline, whose face appears on screen when she accepts the connection…
Guy & Girl in the GAME by the Pirate
The Girl turns the flash off, on her camera, and hands it to the Guy, who looks up at her and then the moon as he lies on the grass. The Girl sits forward on a window ledge, leaning on her bare legs, with her feet arched.
The Guy takes the shot knowing in his mind it will be perfect. She listens to his suggestion; that she put her right shoulder forward, angling, and broadening her shoulders all at once. She senses his honesty, free of motive…
“I see your body lighting up in the moonlight. As a ghost story you jump in the moonlight…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Gibberish” by Ryan Leslie
YouTube: http://www.youtube.com/watch?v=DzqszD1i29s
Wiki: http://en.wikipedia.org/wiki/Ryan_Leslie
WARNING: Part is, "Unproofed and uncut by knife in the hands of an editor."
“In death, we relinquish responsibility for someone who we barely knew who has passed on while in partnership with us.” Little Lazoo wonders about the line in the crucial scene from LAZOO, where his father talks about Gene Reyer not long after the lawyer’s death.
He edits the line “In death we must relinquish responsibility for those who have passed on.” The fact that Lazoo, or none of LMLA-ink for that matter attended the lawyer’s funeral doesn’t bother Little Lazoo, as he writes a scene in which John Lazoo rehearses his speech on the way to the service.
Just like he does, on his way to the Pirate’s funeral service.
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“Yeah!” The RAT’s response is the same for this reporter’s question as it was for the last reporter’s question…
Afanasy notes how the Reporters are happy to write the RAT’s answer for any question they dare to ask.
“Shall I ask him if Little Lazoo had the Pirate killed for leaking the damaging footage a day after the BIO PIC was announced?” The lady reporter is back, her question is loud enough to turn a few heads of the other reporters, but no one latches on to her train of thought.
Afanasy takes a phone call as the reporter watches him.
“I’ve got that rude chick reporter in my face, Madeline.” Afanasy tells his woman on the phone his current predicament.
“Madeline says to tell you we can get you an exclusive with T-X.” Afanasy notices the other reporters in the hospital room all turn around.
Little Lazoo looks out the window of the Limosine as they wait for Jon Le Mac.
Missy begins to read another chapter of the Pirate’s first novela —the Guy & Girl in the GAME— incomplete, but enough to publish on the back of the demand, the writer had generated before his sudden death.
“We’ll publish it as an eBook, donate proceeds.” Little Lazoo’s words get carried out the window he winds down as he begins to become wrestless. “You like that?” He waits for some sort of reaction from Missy who ignores him.
Jon Le Mac appears from his brown stone and sees Little Lazoo peering out the window of the Limo and looks down at the steps.
Inside the carriage on their way to the funeral service, little is said. The silence is indicative of how each person feels about the state of affairs.
“Everyone’s busy, damn, can I get a human?” Little Lazoo calls another number, as Le Mac looks at Missy.
“Is it worth releasing?” Le Mac asks about the Pirate’s unfinished work.
“Definitely, but does it serve its purpose?” Missy’s head is still bowed.
“And that is?” Little Lazoo interupts.
“It was a labor of love, publishing on the back of his death, would turn him in his grave.” Missy looks out the window, and then at Jon Le Mac.
Mourners lined behind barriers are alerted by the media of Little Lazoo’s arrival and they begin to swarm in the direction of the Limo pulling up.
Afanasy and Madeline touch down on the pavement from their carriage and the crowd now like a wave of water suddenly turns in that direction.
Little Lazoo’s dependency on the device he reaches for in his leather jacket begins to aggravate him, more so than any other mechanism set up to stir the darkness within the creative.
The street lights change from orange to red, and the traffic slows down to a halt.
The static on the F3quenZor increases.
He thinks back a few hours to the Pirate’s funeral as he looks across the street at the offices.
Down the street a figure lingers.
For the past ten minutes, the person, who he cannot be bothered identifying looks in shop windows, Lazoo notices.
Afanasy watches the many stories and coverage of the funeral in the department store window.
Afanasy watches an item in which the Pirate taps, headphones protecting his mind from the elements.
Afanasy then glances sideways down the street, at the dejected person who leans against a wall looking at a place he so desperately wants to enter into.
The noise from the character in the distance is fuzz on the F3quenZor, as Afanasy picks up the tune the Pirate writes to.
A temptress’ hands weave their magic in the neon glow of manmade light that surrounds him, leaving colored streams in their wake. The sweeping synthetic orchestration moves the traffic, as the lights turn from red to green. The street moves to Bonobo.
Afanasy thinks of the dimensions, and their purpose as created by the old men. In particular, the SenFenide Dimension, where his namesake dwelled in BrocoliFlower, the STORYBOOK, and in the SystemSpectacular.
He ponders and plots a way to get Little Lazoo, a man who has forgotten that he is the creator, and not the created to utilize the framework designed as vehicles for the writer to carry the story, and its readers across boundaries, both are conscious of.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: Kato by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Afanasy feels the Rhythm and blues as he listens to another Ryan Leslie influenced track, Good Lovin. The prevailing synth bass line, over mature melody —sensible pop— a signature.
At the head of the boardroom table, Little Lazoo waits for everyone’s attention.
Afanasy touches the headphones on his head.
Madeline studies her nails
Missy maximizes a page of the Guy & Girl on screen.
Le Mac looks out the window at the view…
“What an inheritance, ah?” Little Lazoo looks around the room, his smile undermines how he feels; his patience running thin, from his crew’s behaviour towards him.
“Let’s G-O Guy and Girl.” Missy suggests they make a GUIOPERA of the Pirate’s novella she has already adapted to the Graphical User Interface format.
“It’s a MobileAdApp, not Mills and Boon!” Snaps Lazoo.
Afanasy, still under the headphones nods his head, “massive idea,” he shouts.
Le Mac presses keys on the tabletop to maximize a news item.
On screen, is Afanasy’s favorite reporter.
“Only days after the death of the Pirate, T-X, the Terminator who the New York writer dedicated his final upload to, is alleged to have slain guards at a Los Angeles freight company and then detonated explosives causing millions of dollars damage, at the secure compound.”
On a smaller screen, the decommissioning of the male terminator charged with the Pirate’s murder is re-run…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Good Lovin” by Slim (112) Feat Fabolous & Ryan Leslie
YouTube: http://www.youtube.com/watch?v=Hk1fz_f_yys
Wiki: Slim (112): http://en.wikipedia.org/wiki/Slim_(112)
Wiki: Fabolous: http://en.wikipedia.org/wiki/Fabolous
Wiki: Ryan Leslie: http://en.wikipedia.org/wiki/Ryan_Leslie
Wiki: Mills & Boon: http://en.wikipedia.org/wiki/Mills_&_Boon
WARNING: Session is, "Unproofed and uncut by the knife in the hands of an editor."
Session: 100021182
Approx Date: 23/10/2009
Location: LMLA-ink Offices – Chinatown NYC
Project: GUIOPERA II
Story: GUIOPERA II
About: Post Pirate
On screen…
“You’re good man!”
The Guy in the Game talks to someone he trusts on the phone at his day job.
He hangs up, and looks at the clock. The time down under is 4:30pm on a Friday arvo.
He looks around the office, the murmurs are distant. He can no longer hear the retarded fuzz, let alone fathom its meaning.
Inside LMLA-ink offices, John Reyer looks up at the screen, on which the Guy continues to sustain his magnetism…
Lazoo, behind the turntables lets go the backing track, the same one the Guy used that morning. The prevailing synth bass line, over mature melody, shakes the stage he stands on.
“Give Luxottica a plug?” Missy is excited at the Guy’s relief from finding out a mistake he made has been fixed by the person he talked to.
“Pay to play Missy,” Afamasaga reminds her.
The backing track makes Lazoo nod his head, the Ryan Leslie offering suits his demeanor, as the phone rings and it’s Genisis.
The front door opens, and in steps Rocol, instantly, the atmos changes.
Afamasaga heads for the last booth, Missy minimizes the browser, as the music ends.
The sound of Rocol’s heels on the wooden floor creates a bed of some sorts for her words.
“Thought you lot weren’t into the manipulation?” as she rounds the bar.
Behind the bar the businesswoman looks for something to take the edge of proceedings, “Tequila, or champagne?” She calls out.
Missy continues to watch, on the screen of her machine. Afamasaga moves the mouse on his machine, and then he calls out, “coffee please, Rocol.”
“Legal’s advice is; we cut ties with the Guy.” Rocol seats herself down, even Lazoo looks at a screen.
“What?” Rocol asks Afamasaga who looks at her. “He’s gone and published a bio, using your name.” Rocol continues.
“I know.” John Reyer responds as Missy brings up on the screen above the stage an email the Guy sent Tyler that day.
Everything is a bit hectic at the moment, with work, the writing and making a go of a new life —Post Trilogy, and so on… Now have to write real stories that will entertain people, within the framework created when Metofeaz was lead writer, and then developed upon by John Reyer using the Dimensions – AMD, SFD, MMD…
Which is also a factor which put a strain on LMLA-ink’s relationship – Le Mac, a film student always wanted to develop mainstream concepts, which he is very capable of. Metofeaz relied on his poetic prowess to code delicate moments in the dangerous world they operated in. Afamasaga tried to incorporate all aspects, with Lazoo’s loyalty to him and the work, in mind…
In GO2, Little Lazoo is influenced by Le Mac, and relies on his own ability, choosing to discard the framework. Afanasy and the Pirate are exponents of etfiction, and for the most part TRUFUNK, especially the Pirate who has been killed off.
Re. Bio, I’ve uploaded it as is, choosing to keep it real – what I say seems too perfect when edited, so I published raw…
At the moment finances are tight, so I have to write unedited…
But we will do the XMAS Interview with John Lazoo together…
Thanks for letting me rave…
“Tell legal, practice client confidentiality, and shut the fuck up,” Lazoo says and then he gets up and leaves.
Rocol studies her coffee for something to do, as Afamasaga holds his phone in one hand while looking at Rocol. Next his phone rings, he looks at the number, his own, “Sorry Rocol, important call.”
Rocol recognizes her queue to leave and gets up, “He’s crazy.”
Missy looks down at her machine.
Rocol closes the front door behind her, and John Reyer ends the call.
“OK! Do we continue with the Pirate’s memory? Or, do we blow the lid on the big GAME?” John Reyer asks out loud as the front door opens and Lazoo reappears.
Lazoo hovers his hand over the bar as he re-enters, “T-X has made it to Base 1 in LA. Le Mac’s done an amazing job of concealing the Big GAME. Afanasy’s slight of hand, swapping handles is quite remarkable.” The ideas guy slips back into the booth as Missy maximizes a screen.
John Reyer smiles and then he pauses, “Do we include reference to John le Carré’s Bio being the template for my Bio?”
“Only if Little Lazoo allows Guy & Girl to go ahead.” Missy says as she watches the Guy up on screen.
The Guy moves his computer from his sleeping quarters to the spare room of his small flat, just like he wrote in an email to Girl earlier that afternoon, making her feel special.
Missy brings up the email.
Guy smiles, desired affect/response received, achieved – Girl says: “How cute”…
Operatic accompaniment GUIOPERA MUSIKA: “Good Lovin” by Slim (112) Feat Fabolous & Ryan Leslie
YouTube: http://www.youtube.com/watch?v=Hk1fz_f_yys
Wiki: Slim (112): http://en.wikipedia.org/wiki/Slim_(112)
Wiki: Fabolous: http://en.wikipedia.org/wiki/Fabolous
Wiki: Ryan Leslie: http://en.wikipedia.org/wiki/Ryan_Leslie
Wiki: John le Carré: http://en.wikipedia.org/wiki/John_le_Carr%C3%A9
John le Carré Author Bio: http://www.johnlecarre.com/biography.html
John Reyer Afamasaga’s Author Bio: http://johnreyerafamasaga.com/
Missy pushes play, and, ZAPP! Doo Wa Ditty!
The voices behind the vocoder slide, this way, and then, that a way.
Down on the turf, AFANASY ALFABET in CHARLEY STEVONSEN steps, and then he points at the screen.
The Pirate in happier times, as a boy with his father Metofeaz.
The press conference is full of women reporters.
Alfabet points to another screen, pictures of Arley Evon.
The reception from the packed house makes Missy smile. The producer writer rolls her eyes as the creative bends down to take a bunch of flowers from a little girl who runs to meet him, and then he walks to edge of the crowd and gives the roses to one of the women in the front row, holding their hands out for the token.
“Doo Wa Ditty.”
Afanasy listens to the F3quenZor. He recognises the warm buzz, as he recalls the first time he heard etfiction stories down on the beach, in the evening when he was about the same age as the Pirate, on his seventh birthday, on screen.
Alfabet has to focus on the stage he heads for, as his head begins to pound from the feedback created by the loop on the F3quenZor.
The audience is whipped into a frenzy as another picture of the Pirate and T-X appears on screen…
The music dies down, and the lights go out.
Pictures of the Pirate and T-X, Metofeaz and a young boy clinging to his father’s leg, and then one with both parents —Arley, Metofeaz and Pirate on his bike, on screen.
Afanasy, a mild mannered character in public, stands under the spotlight. The Orator clears his throught, as he begins to speak in the only place outside the company of his family and a few friends, where he is at home —Center Stage.
Little Lazoo looks down from the box, the launch of the new GUIOPERA —Guy & Girl, is a success.
Onstage, Afanasy carefully introduces the concept as a legacy started by Metofeaz Litigatti himself, handed to his son the Pirate, and now the latest GUIOPERA
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: "Doo Wa Ditty" by ZAPP
YouTube: http://www.youtube.com/watch?v=Qey9jk5wc3M
Wiki: ZAPP: http://en.wikipedia.org/wiki/Zapp_(band)
PART 3
Missy and Madeline wait in the crowd as the 4:00pm weekday upload is introduced.
On stage under the screen, Afanasy dons earphones to an iPod.
Afanasy struggles as he endures listening to the sound of his own voice narrate the new GUIOPERA Guy & Girl, and then he points to the screen.
Five seconds of footage of the MobileAdApp production crew, hard at work – a team of writers, fifty or more who work on anyone of the ten GUIOPERA, and thirty txtOPERA in publication.
The etfiction logo flashes, followed by GUIOPERA, txtOPERA, and MobileAdApp (X) emblems, and then the Little Lazoo & Co Productions splash page, ending in “LAZOO —X-MAS”
GUIOPERA – Guy & Girl
Chapter 1
PART 1
“It’s a beautiful tune.” The Girl’s voice comes into being, and his doubt fades, changing the ATMOS.
The Guy watches her use another browser, one he doesn’t use himself.
Boards of Canada’s Dayvan Cowboy, fills the buffer, until there is enough of the mesmerizing composition for YouTube to stream the data.
The Electronica interpretation of space using guitar sound assimilates for the Guy & Girl their different origins in place and time…
PART 2
…He is relieved that there is vegetarian food for the Girl to enjoy, as he takes a piece of Tandori chicken from the small gas cooker.
A friend of the Guy invited him to her fortieth birthday picnic and unlike previous times, he accepted the invitation, and also showed up.
He feels the Girl’s elbow touch his and it settles him.
The Guy’s friend an Indian woman tells the Girl, “This is the first time he has come...”
The Guy smiles as he looks around the table. The Indian woman’s husband a Zimbabwean and his friend smile at him. The Indian woman’s son reminds the Guy of another boy from his past life. Her sister and her husband, a character, tells the Guy, that he too is a writer, and he has been working on his book for seven years. The guy nods his head as he thinks of something encouraging he, a struggling writer himself can offer the Indian man…
The Guy notices the time on a wrist and sees that it is past three-thirty; the time he and the Girl had planned to leave, so they could spend time alone at his place before she had to be some place else.
Against his better judgment, he announces, “we have to go.”
PART 3
The Guy steers the Little Green Bubble Car around a bend.
His one working eye sees the road as his mind’s eye is pleased by the picture of him, the woman who sits in the passenger seat; together in a car, traveling somewhere, on a vacation, sharing everything their time together can create.
“See if the Settlement Rd way is quicker than the way we came, babe.” The Girl runs an eye over the routes and reports, “It is actually.”
“The cake feeding finale was quite the spectacle, wasn’t it?” The Girl thinks back to the picnic and how after the birthday cake was cut, the Birthday girl took pieces from the cake in her hand and hand fed it to the guests standing around the table.
The Guy smiles as he turns into Settlement Rd…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: "Dayvan Cowboy" By Boards of Canada
YouTube: http://www.youtube.com/watch?v=lrBZeWjGjl8
Wiki: Boards of Canada: http://en.wikipedia.org/wiki/Boards_of_Canada
Wiki: Web Browser: http://en.wikipedia.org/wiki/Web_browser
Wiki: YouTube: http://en.wikipedia.org/wiki/YouTube
Wiki: iPod: http://en.wikipedia.org/wiki/IPod
Wiki: Vegetarianism: http://en.wikipedia.org/wiki/Vegetarianism
Wiki: Tandoori chicken: http://en.wikipedia.org/wiki/Tandoori_chicken
Wiki: Birthday: http://en.wikipedia.org/wiki/Birthday
Wiki: India: http://en.wikipedia.org/wiki/India
Wiki: Zimbabwe:http://en.wikipedia.org/wiki/Zimbabwe
Wiki: Writer: http://en.wikipedia.org/wiki/Writer
Wiki: Cake: http://en.wikipedia.org/wiki/Cake
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Audioslave, Show Me How to Live, blares…
Afanasy looks at his arm, his sleeve flaps in the wind Little Lazoo creates.
In black wraparound Ray-Ban’s, Little Lazoo. His right arm rests on the wheel of the 1970 Dodge Challenger, his left arm hangs down the door, his foot is flat to the floor.
Route 66 flies by the two producers, like Kowalski flies towards the Bulldozer barricade at the end of the cult classic Vanishing Point.
“We can pull out now, I’ll write it off as an experimental expense.” Afanasy offers a Little Lazoo an exit.
“You won’t pull out; you’ll just come in a different way, and take the spoils for you and your woman. Since when have you not finished a story? That’s why I hired you brother.” Little Lazoo’s smile and tone makes his partner nervous.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Show Me How to Live” by Audioslave
YouTube: http://www.youtube.com/watch?v=MfMtivHV47A
Wiki: Audioslave: http://en.wikipedia.org/wiki/Audioslave
Wiki: Ray-Ban: http://en.wikipedia.org/wiki/Ray-Ban
Wiki: Dodge Challenger: http://en.wikipedia.org/wiki/Dodge_Challenger
Wiki: Route 66: http://en.wikipedia.org/wiki/U.S._Route_66
Wiki: Vanishing Point: http://en.wikipedia.org/wiki/Vanishing_Point_(1971_film)
Wiki: Exit: http://en.wikipedia.org/wiki/Exit
PART 2
“I’m okay, a bit jaded but okay.” The packed meeting room, listen to T-X as Madeline talks to the fugitive.
Missy makes eye contact with a writer who is busy taking notes, and the writer stops typing on her tailored QWERTY keyboard, wider than her lap and folds it up and puts it away in a small purse.
“Will you come in alone, or are you waiting to be brought in?” There’s silence and then sounds of the woman crying, as Madeline asks the important question.
“I am registered,” There’s a pause, followed by sniffing. “And I am doing what,” A deep breathe, and then T-X exhales as she manages to complete her statement, “I was commissioned to do.”
PART 3
Inside a dusty roadside diner…
Little Lazoo looks out the window, when a waitress brings beers to their table.
Afanasy offers the woman a courteous “Thank you,” and then he signs the receipt.
On the jukebox, the sound bite offers authenticity to the next song. The Phonograph’s arm swings across the vinly, and abruptly stops at the record’s edge. The lowering movement is precisely, how T. A. Edison had designed motion to move in unsion in his 1880 Patent.
The head bobbing guitar brings the Red Hot Chili Peppers into play.
Lazoo looks at his arm, as the cut contornist with surfer tendincies, Mr Anthony Kiedis reminds him.
“Scar tissue that I wished you saw.”
Afanasy sees the interview with T-X on screen, as the lyric goes.
“Sarcastic mister know it all…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Scar Tissue” by Red Hot Chili Peppers
YouTube: http://www.youtube.com/watch?v=D4l79C9BmiE&feature=PlayList&p=CCCB48C5454F8814&playnext=1&playnext_from=PL&index=31
Wiki: Anthony_Kiedis: http://en.wikipedia.org/wiki/Anthony_Kiedis
Wiki: QWERTY: http://en.wikipedia.org/wiki/QWERTY
Wiki: Jukebox http://en.wikipedia.org/wiki/Jukebox
Wiki: Phonograph: http://en.wikipedia.org/wiki/Phonograph
Wiki: Thomas Edison: http://en.wikipedia.org/wiki/Thomas_Edison
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
GUIOPERA Guy & Girl
As the Guy waits for the Girl to show up, so they can complete one of their small projects, he considers logistics, legalities and loyalties of how the entertainment industry, amongst several; could, maybe, approach him and negotiate a deal, or many deals for his work.
He hopes he has proven himself as an entity who can satisfy Branding, and then Distribution of Marketing and Online products for all companies, artists, and beliefs. Which at a glance appears a bad idea in itself, as the old adage, “You can't be everything to everyone …” comes to mind.
But then he thinks of the models behind his biggest idea yet, the GUIOPERA —TV, and then GOOGLE.
The F3quenZor stops playing music for moment as John Reyer comes on “Relax! You’ve got it under control. Hand made, the Mad MobileAdApp, the precursor to MobileAdApp (X), at home, in your bedroom, brother!”
“Yeah, man! Branding comes first —who wants to be associated with a Loser Product, ah? Ah?” He confirms the order priorities for his vehicle.
“Readership takes care of Distribution!” Afamasaga carries on…
The Guy thinks of his next backing track, as John Reyer tells him again, “Relax, man. Just Relax…”
The Guy thinks he hears the Little Green Bubble Car, bringing the Girl down the dirt driveway…
PART 2
“…Miss You…” Oooh ooh…
The Rolling Stones prop up the British invasion of American mainstream, sounding more US, than the Republicans themselves…
Mick Jagger struts as he is instructed to, in accordance with the formular back then, “I’ve been walking Central Park…” Keith Richards snarls before his guitar sound defines sex, drugs, and Rock “n” Roll. Bill Wyman’s octaves run up and down the neck of his axe, ontop of the quiet drummer, who hangs back like black dude, as the rhythm guitarist atones for all their mistakes…
Afanasy watches the ten minutes of the compiled work.
Little Lazoo has his head in his hands. The director only ever watches his work in entirety for the first time at its Premier, relying on Missy and Le Mac’s opinion, and now Afanasy’s.
“It’s dark enough,” Le Mac comments.
“I like it,” Missy adds.
When Afanasy doesn’t comment, Little Lazoo stands up and walks to where the producer stands with his arms folded watching the work on screen.
Afanasy stands his ground as he can feel Little Lazoo’s breathe on his face.
“Got to give that habit away, if you want stand that close to me.” Afanasy responds, then he turns his back on the worked up man in his face.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Miss you” by Rolling Stones
YouTube: http://www.youtube.com/watch?v=ZNMxHGheWH0
Wiki: The Rolling Stones: http://en.wikipedia.org/wiki/The_Rolling_Stones
Wiki: British Invasion: http://en.wikipedia.org/wiki/British_Invasion
Wiki: Mainstream: http://en.wikipedia.org/wiki/Mainstream
Wiki: Central Park: http://en.wikipedia.org/wiki/Central_Park
Wiki: Mick Jagger: http://en.wikipedia.org/wiki/Mick_Jagger
Wiki: Keith Richards: http://en.wikipedia.org/wiki/Keith_Richards
Wiki: Bill Wyman: http://en.wikipedia.org/wiki/Bill_Wyman
Wiki: Sex, drugs, and Rock “n” Roll: http://en.wikipedia.org/wiki/Social_effects_of_rock_music
Wiki: Guitar: http://en.wikipedia.org/wiki/Guitar
Wiki: TV: http://en.wikipedia.org/wiki/Television
PART 3
“The quick brown fox jumps over the lazy dog. The lazy dog jumps the quick brown fox.” Afanasy reads the script, and then the gates open.
A guy who resembles a WWE.Inc employee scans his ID card. Then the burly character points to the place for him to look as his eye is scanned. Now his wrist, and finnally he blows into the sensor.
“Go through Sir.” The guard bows his head as he shows the Hollywood producer the way in.
The long corridor ahead of him is quiet, the symetry of the space iether side of the wide black mark that runs along the shinny floor to it’s end, makes sense to the tireless worker, as he steps alone.
The F3quenzor plays John Ledgend… “I used to love you… PDA…”
“Get me blue prints of the HIB, California.” Afanasy calls upon the FRIDGE to provide him with plans for the place John Reyer referred to as the “Hospital for insane billionaires who have seen the silver-spoon spaceship.”
The doors open and the sterile scenery with mellow music he wished would last forever, is replaced with fountaining lavishness, epitomised by the Howard Huges Spring, a water fall, that reaches up into the sky. The perspective, looking up, is the only one available making the feature, as grand as any of the wonders of the ancient world.
A mermaid surfaces and dives into the pool in syncopated fashion, splashing water, he feels on his face as its tail vanishes.
He thinks he hears John Reyer coming through, as the FRIDGE advises him, “Layout is, Obscene wealth facing west, moderates facing east.”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “I Used To Love You” & “PDA” by John Legend
YouTube: http://www.youtube.com/watch?v=aoKP7TVmyug
YouTube: http://www.youtube.com/watch?v=M4R_oswROic
Wiki: John Ledgend: http://en.wikipedia.org/wiki/John_Legend
Wiki: The quick brown fox: http://en.wikipedia.org/wiki/The_quick_brown_fox_jumps_over_the_lazy_dog
Wiki: WWE: http://en.wikipedia.org/wiki/World_Wrestling_Entertainment
Wiki: Hollywood: http://en.wikipedia.org/wiki/Hollywood,_Los_Angeles,_California
Wiki: Howard Huges: http://en.wikipedia.org/wiki/Howard_Hughes
Wiki: Billionaire: : http://en.wikipedia.org/wiki/Billionaire
Wiki: Wealth: http://en.wikipedia.org/wiki/Wealth
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
T-X waits in the shadows…
She watches the RAT across the street.
Beneath the blown street lamp, the RAT stands waiting for something to happen.
T-X thinks of how easily she could terminate the cancerous cell as she hears footsteps, and then Gene Reyer II suddenly stops a few meters on the other side of the RAT as he talks to someone on the phone.
“RAT’s no liability. Yes he’s nasty, but in a fetish sort of way.” Gene Reyer turns to face the character he talks of, as further up; a carriage turns into the quiet street, and slowly makes its way towards them.
“For the last time, Afanasy! TELL ME WHAT YOU THINK!”
Little Lazoo’s eyes are red, —flamed with fury.
Afanasy stands face to face with the son of the man, who they both labor over his memory.
“Like you, I ain’t going to compromise my process!” Afanasy uncharacteristically raises his voice.
Clenched jaws, and fists, illustrate testosterone that runs wild during their interactions, as the moment looms, when the curtain falls upon the work that goes on behind the scenes of a masterpiece in the making.
Little Lazoo takes Afanasy’s outburst personally and turns to a seat of the theatre Afanasy views another compiled portion of LAZOO in, and rips it from the floor. He keeps on venting till all seats in the front rows are dismantled and lay scattered about the room.
Afanasy with his hands behind his back turns to face the screen, on which Little Lazoo’s father, circles four bodies that lay on a concrete floor of an incomplete skyscraper.
He narrates the scene himself, as someone who is lost and looking for their purpose.
“The four bodies that crawled, collapsed, then sprawled on their stomachs moaned, then groaned, then spat blood on each other. All four must have wanted this, just like wealthy clients enjoying their just desserts after their dinner.”
PART 3
GUIOPERA – Guy & Girl
PART 1
The Guy replies to a txt from the Girl, telling him, she is on her way.
He considers a fantastical solution and ending to the problematic situation Afanasy and Little Lazoo face; trying to work together to complete LAZOO, WIN the GAME, and most importantly —fit into etfiction’s end-to-end saga.
He chews a piece of gum to hide the taste of cigarette when the Girl kisses him again, hopefully sometime soon…
Today, pressures; as his family faces another crisis in the death of a much loved uncle. Yesterday afternoon, the Girl found out that a friend of her’s had died. The disaster in Samoa that happened weeks ago, he has been too frightened of to even read about…
He completes the upload, almost an hour late for homeward bound New Yorker’s to read, as he tells himself to practice what he preaches, “Relax.”
The F3quenZor is quiet for the moment, until he thinks of his commitment to the cause and then John Reyer’s much needed support arrives, his voice…
PART 2
At the Gym, he sits looking at himself in the mirror, dumbbells lay on the floor either side of him. His right shoulder muscle still does not completely cover the area, under which bone grinds on bone each time he tries to build the muscle up, —a catch 22,— similar to the predicament he’s caught up in, as writer whose meant to be the laughing stock of the world. And as long as he keeps on producing enough of a story from the uncoof eBooks he churns out, combined with his non-existent life he lives in his “Real Life Reality Show” maybe one day, he’ll find a job as writer of some sorts. But definitely not the one he dreams of as gifted designer and creative slash producer extraordinaire, to whom Hollywood, and many other industries come to for ideas, products, methods and new stories for the New Global Realm, which his Network has toiled tirelessly for a millennium to setup.
Thoughts of the girl at the memorial for her friend run through his head as he contemplates how he will tell her about what he sees and hears.
A promo flashes up on the screen “65 days till 2010” and he stretches his neck, even that sends pain signals to his brain, he nullifies like many other messages his nervous system processes from other parts of his body…
PART 3
Later that evening the Girl cries down the phone, as she tells him “…just five minutes…it’s not natural…I need to curl up next to you…”
Then she becomes conscious of the Guy’s situation as well, giving him his queue…
Today, he smiles at the way Mr Sarcastic —Afanasy Alfabet— As the Quick Brown Fox steps down the corridors of the HIB.
The Guy smiles as he recalls the Girl’s txt from the previous evening, in which she called him “John Reyer Afamasaga.”
“…thank you for loving me…”
He txts her back “thank you for letting me love you. X,”
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“You cannot catch him out.” Le Mac is cautious of how he puts his opinion forward.
“Get me another MICER phone!” Little Lazoo demands another view of his co-producer on the street.
“He’ll take it to the SenFenide, if you’re not careful.” Missy warns the angry man, of what Afanasy is capable of doing, if he’s pushed.
On screen Afanasy waits for a carriage to pass as he stands on the side of the road, in a forgotten part of LA.
Across the street are shops that used to sell merchandise, now, derelict and abandoned.
In the middle, a doorway, he focuses on, as he feels another camera hit him.
“He lives in the AMD, and operates in all three Dimensions as if he’s a native of each one.” Missy advises Little Lazoo of how the character he tries to control is the end result of John Reyer’s idea of Roberto Assagioli’s Psychosynthesis’ Transmutation process.
“Afanasy has access to the AmalgaMension Dimension.” Missy elaborates further, giving insight to the real prize Metofeaz, John Reyer, Lazoo, PAGE1, the Pirate, and now the Guy all played for —a place for those who have found self and entity in all environments to amalgamate Id, ego, and super-ego, resulting in congruency.
A dozen or more images from phones cascade on screen.
Little Lazoo quickly rearranges them. He then minimizes them, so he can see the satellite picture of Afanasy, who in the meantime has disappeared.
“Where did he go?” Little Lazoo scratches his head as he toggles between screens looking for a shot of the elusive character.
Little Lazoo scans the area using feeds from multiple satellite providers again. And again he comes up empty handed.
Finally he comes back to the original shot of the seedy side of town; a doorway to an empty shop, the sign in the window says, “Human Indigo Books”
The glare becomes a smile, as the son of John James Lazoo looks at the secondhand book store on screen.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Psychosynthesis: http://en.wikipedia.org/wiki/Psychosynthesis
Wiki: Roberto Assagioli: http://en.wikipedia.org/wiki/Roberto_Assagioli
Wiki: Transmutation: http://en.wikipedia.org/wiki/Transmutation
Wiki: Congruence: http://en.wikipedia.org/wiki/Congruence
Wiki: Indigo: http://en.wikipedia.org/wiki/Indigo
Wiki: Human: http://en.wikipedia.org/wiki/Human
“Uh! I'm a nice dude, with some nice dreams:” Pharrell Williams.
The guard opens the gates, and Afanasy steps through the beams as the F3quenZor plays Snoop’s Drop It Like It's Hot.
“I'm a gangsta, but y'all knew that… “ Afanasy listens to The Neptunes’ tom-tom drums as he steps along the corridor.
“…I cut so much you thought I was a DJ…”
“Circulate, and anticipate! Think like Jerry Bruckheimer would about serious subject matter that has to be packaged in celluloid for the masses to consume…” John Reyer cuts in as one etfiction’s most trusted exponents, nears the sliding doors.
“Latest news on TX, please” Afanasy requests an update on the Terminator.
“Hi honey,” Madeline’s voice comes on. “Heya, how’s it?” Afanasy finds a reason to smile, as Madeline personally updates him on current affairs.
“Unconfirmed reports place T-X at Nevada Desert, at the old Inhabitation Zone, yesterday morning.” Afanasy nods his head as she continues, “The RAT was picked up by Five-O in Vegas at noon but was released not long after.”
The sliding doors open for Afanasy Alfabet…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Drop It Like It's Hot” by Snoop Dog
YouTube: http://www.youtube.com/watch?v=2GYSei66Rh4
Wiki: Snoop Dogg: http://en.wikipedia.org/wiki/Snoop_Dogg
Wiki: Pharrell Williams: http://en.wikipedia.org/wiki/Pharrell_Williams
Wiki: Record producer: http://en.wikipedia.org/wiki/Record_producer
Wiki: The Neptunes: http://en.wikipedia.org/wiki/The_Neptunes
Wiki: Gangsta: http://en.wikipedia.org/wiki/Gangsta
Wiki: DJ: http://en.wikipedia.org/wiki/Disc_jockey
Wiki: Jerry Bruckheimer: http://en.wikipedia.org/wiki/Jerry_Bruckheimer
Wiki: Film producer: http://en.wikipedia.org/wiki/Film_producer
PART 3
Techno is solidified by a kick drum that hits the spot, and now a bass line, and then the Laidback lyric…
“If you’re gonna ride, don’t ride the white horse…”
“…If you wanna ride, ride white pony…”
The lines malign this storyline with memories from discarded chapters. Their omission from the end-to-end saga, some say, was the real reason why Le Mac left the fold, to pursue his own fortune.
The Wonderland Avenue remix of the story, via the 80’s club land classic Ride the White Horse.
Afanasy stands at Dimension Forks.
His stance is firm, and grounded. He neither leans, to the east he faces, nor to the west to where he points.
On the top of the ridge the lone figure stands.
The POINTSLAYER checks his power, “ZERO MODULATION” he orders and the energy gage that scales his arm rises to MAXIMUM.
The SenFenide Dimension, named after its original controller SENFEN, is overcast, even in the twilight, its smog dim the hues of its many moons.
Afanasy Alfabet awaits POINTBOLTS from the SFD, one in particular, and hopefully other entities with unfinished business, which can be settled across the line he steps, out of and away from reality.
The many screens that litter the landscape are scratched, their ailing tubes, and fading light remind Afanasy of the Pirate’s, and the Guy’s monitors, devices setup to manufacture hardship.
SOHO in the SFD is like the ones from the MindMorph Dimension, only this SOHO is framed by a director’s hand, stained by Blade Runner, and having dreamed he was the real life Neo.
Disfigured bodies of soldiers of warfare, science, and fortune spill out onto the street. A few of them recognize the POINTSLAYER, one or two of them want to have a go, and Afanasy looks down at the ground, waiting for their footwork to happen, “He’s make believe.” One of the leaders calls out to the flighty ones, giving them an excuse to walk away from the entity.
A meteorite passes through O'Justin Theredore, a name John Reyer gave the now depleted ozone layer in his POEMBOOK, as a rotting corpse drags itself along the ground.
The rumble from the flaming mass as it penetrates the remaining layers; the Major Gases is followed by the ground shaking as the meteorite crashes into the forgotten planet.
For a moment, there is chaos, as the grid shuts down and then it reboots itself…
Inside a bar, the Laid Back groove continues, sampled, for Monifah, “Touch it!”
Afanasy enters the seedy environment.
Waitresses looking like Britney move this way, and then they slide that a way. Their gold apple bottom hot pants shake. The toes of their silver high heels tap the spot.
Afanasy continues to step, on his own, his eyes remain focused on the prize.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “White Horse” by Laid Back
YouTube: http://www.youtube.com/watch?v=I8j2ej5jqQw
YouTube: http://www.youtube.com/watch?v=gLhCSh3ogmU
YouTube: http://www.youtube.com/watch?v=_lgD17xAO1A
Wiki: Laid Back http://en.wikipedia.org/wiki/Laid_Back
Wiki: Modulation: http://en.wikipedia.org/wiki/Modulation
Wiki: Saga: http://en.wikipedia.org/wiki/Saga
Wiki: Wonderland Avenue: http://en.wikipedia.org/wiki/Wonderland_Avenue
Wiki: Soho: http://en.wikipedia.org/wiki/SoHo
Wiki: Meteorite: http://en.wikipedia.org/wiki/Meteorite
Wiki: Ozone layer: http://en.wikipedia.org/wiki/Ozone_layer
Wiki: Earth’s atmosphere: http://en.wikipedia.org/wiki/Earth's_atmosphere
Wiki: Monifah: http://en.wikipedia.org/wiki/Monifah
Wiki: Britney Spears: http://en.wikipedia.org/wiki/Britney_Spears
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
GUIOPERA – Guy & Girl
PART 1
The Guy completes the Latest upload in which he tries to explain of the work, on behalf of John Reyer, Metofeaz, the Pirate, and co.
His only reference being the interviews in which LMLA-ink reveals their influences, namely Roberto Assagioli and his Psychosynthesis.
He looks around the spare room of is apartment, and wonders what time the Girl is coming around, and when he will tidy the place up.
He tries telling himself his decision to pass up her invitation for dinner last night was the right one.
It had been a hard week, for both of them. But as of last night, it had ended well.
Over a couple of red wines, across from the river, the Girl who was now a single woman, had shown him her first full time employment contract, which he quickly read through and offered a few points for her to ask her employer.
He smiles as he types his recollection; her asking him if her dress was appropriate for work. “Do you think this is too low cut?”
He looks her in the eyes, as they shy away, her bashful behaviour at this very moment, even more becoming, as he sorts through his reply, which cannot hide his natural response to her and her charms.
“You can pull it off.” He leans forward, so their heads almost touch. Her eyes now behind her hair hanging down, as she puts her head forward to hear more.
He looks at her dress, as he says, “All a woman wants is a few glances from a few men, and for the man she loves to adore her.”
The Girl says something to compliment him on his response, and it makes him laugh…
PART 2
He chooses the Laid back groove to create TRUFUNK feel just like Metofeaz did.
The best sounding video he can find has a Britney Spears video to Monifah’s Touch it.
“Do you really want to touch it?” And Britney tosses her hair.
The date, October 31st 2009 makes him nervous. The FINAL CLIMAX for GO2, GUIOPERA II, 2009 —December 25,— Looms large.
The interview with John Lazoo, which Tyler Tichelaar, the American Author who has a profile on Amazon.com has agreed to, is a concern to the Guy.
He thinks of a recent incident involving Amazon’s baby, Kindle, and the way when he GOOGLE’s “John Reyer Afamasaga” an image of Tyler comes up as “John Reyer”
The Guy’s creative imagination begins to run, wild. It doesn’t help he is in the middle of transitioning the GO2 story line from the MMD to the SFD for the Showdown between Afanasy and Little Lazoo.
The darkness of the forgotten planet he submerged himself in 72 hours ago, a wonder he didn’t show side effects of the trip to the Dream Dimension at his day job yesterday.
The Girl comes to mind, and he suspects she has something to do with his calm approach to the Business end of his latest twist, one in which he turns the gun on himself.
“John Reyer’s Genius: Jerry Bruckheimer.” He considers John Reyer’s reaction to the stunt.
The Guy continues his online attack.
Unproofed, and uncut by knife in the hands of an editor.
Nailing his storyline, the only one that matters…
“Do you really want to mess with me tonight?”
PS: Britney, I gets TOXIC wit ya L8r, ah?
PART 3
The Guy mulls over another list of names, Eastwood, Denzel Washington, Travolta, Scorsese, Bruce Willis, Adam Sandler, Jamie Foxx, a dead ringer for Le Mac, or Eddie Murphy. The list continues, Colin Farrell, Mark Wahlberg, Vince Vaughan who the Guy swore he spoke to on the phone while working for an internet company that had since failed, and gone under. He remembers talking with Ray Romano too, and how Ray’s story of why he was in financial difficulty had something to do with an ex-wife, who had maxed his credit card, and now his gaming account was a mess. And Will Ferrell, who was polite. Brad Pitt who was also polite, however, in character —a scheming shyster trying to open multiple gaming accounts. Jennifer Lopez was dignified, and Queen Latifah was really convincing trying to find out when her pair of sneakers she ordered online were going to arrive. “Where you at?” The Queen asks. “Australia down under” the guy puts on his best white man’s voice, “Mmm, figures,” Ms Latifah concludes.
And Michael McDonald the freaky lanky looking dude from MADtv, the one who the guy advised he should find a job in the circus, before he did, as he was more of a clown.
And of course there was Scarlett Johansson. The two times he can recall were, first as a chick in New York, who was having problems using her account to transfer monies. And the second time, as a random babe, calling from a sports bar. On both occasions the Guy let himself go, and pretended he was in some scene with the siren.
He looks at the time, and still there had been no response from the girl, as to what time she would be coming over to hang out with him.
He GOOGLE’s John Malkovich’s image, and then he GOOGLE’s Tyler Tichelaar’s, he thinks about what Lazoo and John Reyer had been discussing; that John M would like to play Tyler, if things went ahead. The Guy wonders if Malkovich’s evil mastermind persona had already begun to influence his view of his editor, mentor and good friend from the United States of America.
Still there is no txt from the Girl…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Touch it.” by Monifah
YouTube: YouTube: http://www.youtube.com/watch?v=_lgD17xAO1A
Wiki: Monifah: http://en.wikipedia.org/wiki/Monifah
Wiki: Britney Spears: http://en.wikipedia.org/wiki/Britney_Spears
Wiki: Clint Eastwood: http://en.wikipedia.org/wiki/Clint_Eastwood
Wiki: Denzel Washington: http://en.wikipedia.org/wiki/Denzel_Washington
Wiki: John Travolta: http://en.wikipedia.org/wiki/John_Travolta
Wiki: Martin Scorsese: http://en.wikipedia.org/wiki/Martin_Scorsese
Wiki: Bruce Willis http://en.wikipedia.org/wiki/Bruce_Willis
Wiki: Adam Sandler: http://en.wikipedia.org/wiki/Adam_Sandler
Wiki: Jamie Foxx: http://en.wikipedia.org/wiki/Jamie_Foxx
Wiki: Dead Ringer: http://en.wikipedia.org/wiki/Dead_Ringer
Wiki: Eddie Murphy: http://en.wikipedia.org/wiki/Eddie_Murphy
Wiki: Colin Farrell: http://en.wikipedia.org/wiki/Colin_Farrell
Wiki: Mark Wahlberg: http://en.wikipedia.org/wiki/Mark_Wahlberg
Wiki: Vince Vaughn: http://en.wikipedia.org/wiki/Vince_Vaughn
Wiki: Ray Romano: http://en.wikipedia.org/wiki/Ray_Romano
Wiki: Will Ferrell: http://en.wikipedia.org/wiki/Will_Ferrell
Wiki: Jennifer Lopez: http://en.wikipedia.org/wiki/Jennifer_Lopez
Wiki: Queen Latifah: http://en.wikipedia.org/wiki/Queen_Latifah
Wiki: MADtv: http://en.wikipedia.org/wiki/MADtv
Wiki: Michael McDonald: http://en.wikipedia.org/wiki/Michael_McDonald_(actor)
Wiki: Scarlett Johansson: http://en.wikipedia.org/wiki/Scarlett_Johansson
Wiki: John Malkovich: http://en.wikipedia.org/wiki/John_Malkovich
Wiki: Persona: http://en.wikipedia.org/wiki/Persona
Wiki: Mastermind: http://en.wikipedia.org/wiki/Mastermind
Note from John Reyer Afamasaga: The proceeding Part was uploaded remotely, by someone with the same intentions as a Pirate. At this time, the Part remains published while investigations are being carried out to locate the source. LMLA-ink apologizes if any of the names mentioned in the part, feel hard done by.
An accompanying Press Statement is being written to compliment this malicious and careless act.
PRESS RELEASE:
GUIOPERA Format susceptible to hacker writers, stunt writers, Hijackers and Pirates
LMLA-ink Stuntmen Metofeaz Litigatti and Jon Le Mac close to collapsing house of cards!
PART 2
Missy reads emails from the Guy to the Girl, to the team of writers.
In the background, Old-school soul from the nineties, the kind favored by Metofeaz plays.
Sumthin, Sumthin…
Maxwell, from behind the afro says, “Even though she pays me no attention, all I wanna show is my affection, loose myself inside her ebony. But she ain’t even checking me…”
Pictures of the Girl, snapped by the Guy…
“…Here’s another one. By this time he’s totally lost it…”
John, Metofeaz, Lazoo, Afanasy, PAGE1, Le Mac… I freakin forget who I’ve been and everyone I’ve said “Yes” to over the years… Only their threats of what will happen, if I don’t deliver, I remember… And the Prize at the end of the GAME, I can still remember the zeros on the end of that number…
Is going crazy, Much?
John xox
A newsflash across the bottom of the screen catches Missy’s attention.
The music is cut, and the item is maximized.
The RAT strapped to the bench and covered over with laser proof shielding wrestles violently with the unknown entity, inside the cell.
Next to him a government agent, on another bench, also strapped in for safety as the exorcism of sorts, or hopefully the transference of the entity in the RAT to the agent, takes place.
After years of experimentation with various techniques by which an entity could be transferred from one shell to another, the “strap em and leave em” technique designed during the 20/20 project still seems to be the simplest way to move the unknown quantity from one shell to another, within a controlled environment.
The RAT’s body flops, maybe signaling the entity has left. A thin vapor, a gas which causes the body to convulse when housing an entity, clears, as the chamber is filled with sleeping gas to rest the human, while checks are carried out.
The agent, with the right blood type, and inserted suppressors for known genes, entities retract from, or move on from, flinches once, and then his eyes bulge, as the calming gas is shot into his chamber…
Missy dials the phone, “write from that perspective, the Guy’s lost it. Loves the Girl, but is too crazy for her.” Missy’s instructions to the writers leaving the meeting room, is met with looks of confusion.
“Uh? But they want each other? And he’s just working his cover, isn’t he?” The same writer, who questions everything, and writes her notes during briefing sessions, questions Missy, who is obviously more concerned about the news item.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Sumthin' Sumthin'” by Maxwell
YouTube: http://www.youtube.com/watch?v=isDf3dQyNx4
Wiki: Maxwell: http://en.wikipedia.org/wiki/Maxwell_(musician)
The morning briefing session, one of three that happen during the day towards the end of a production is mundane.
Little Lazoo’s list of things that have to be dealt with is long.
Mid way through the usually hour long ordeal, Afanasy picks up his head phones and leaves the room.
“Where are you going?” Little Lazoo calls out.
“Somewhere where it makes sense.” Afanasy does not look around.
Le Mac gets up, and puts a hand out to calm the room and follows him.
“I don’t think you’ll be able to gain back his respect,” Madeline offers Little Lazoo her opinion, who is about to explode when Missy stares him down.
Outside in the foyer the lift doors open as Le Mac catches up with Afanasy.
“We’re almost there brother. Just a few more weeks and it’s all done. I’ll pay your estimated bonus based on opening week.” Le Mac promises the uninterested person.
“I came on board as a believer, and that monster has just about made me a doubter.” Afanasy looks at Le Mac.
“Yeah, I played along for a while there, but to find out, you and him operate purely for profit, without consideration of etfiction’s foundations, is not the dream I had.” The disillusioned man expresses himself.
Le Mac steps into the elevator, after Afanasy, “I told you from the beginning, there was no process.” Le Mac reminds him.
“A leading character, no matter how twisted they are, must have aspirations, the audience recognizes.” Afanasy reminds Le Mac of the important things John Reyer founded his process on.
Le Mac is quiet as the lift drops to the ground. The door opens and Afanasy steps out of the cabin. His parting comment causes Le Mac to think long and hard about the state of affairs at LMLA-ink.
“But there is such a thing as TRUFUNK!”
Link: etfiction Foundations: http://etfiction.com/afamasaga/index.html# etf_foundations
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Guy & Girl
Part 1
“See you around 6? Xx” The txt message finally arrives, as the Guy writes a part in which he pitches himself as someone deemed not worthy of the Girl.
Lyrics and Music by Maxwell help express his sentiment, “Even though she pays me no attention, all I wanna show is my affection, loose myself inside her ebony. But she ain’t even checking me…”
The Girl tells him in another txt, how she is spring cleaning; ridding her room of the cold winter she has been through in her life over the past few years.
The thought warms the Guy’s heart, as the sun shines down on him, and he feels it for once. The mellow feel of R&B he listens to further confirm the completeness of what they feel for each, even though they are seen to be just friends…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Sumthin' Sumthin'” by Maxwell
YouTube: http://www.youtube.com/watch?v=isDf3dQyNx4
Wiki: Maxwell: http://en.wikipedia.org/wiki/Maxwell_(musician)
PART 2
The Girl kisses him two times on the cheek, as he watches the Tofu curry simmer. The way she looks at this moment, is the same as in the pictures of her this afternoon, in which she laughs.
He wants to kiss her lips, but he refrains from staining the scene even Le Mac could not have sequenced in the way it flows.
Metofeaz’s influence has never been stronger in the Guy, as he recalls earlier that day, at a sidewalk cafe, them two sharing Sticky Date Pudding on a Sunday afternoon in Brisbane’s West End.
PART 3
Delicately poised, the story transcends time and reality, and propagates possibilities of a new medium for Advertising and Marketing —GUIOPERA—, never before experienced in the MindMorph Dimension. One in which all that is usually determined by a company board, and then implemented by a team of highly skilled professionals, is being created single handed by one human.
The Guy smiles, as they do, at the thought of having a budget and a team of writers who work for him. He then thinks that he will probably still want to do things on the cheap to give him his edge.
He focuses on his promise of a vehicle that travels at the speed of light, thus blurring conventionality, while still formulating ideas in the minds of the masses to sell product, and give birth to a new breed of marketer, one who is unpredictable, but still reliable in the eyes of investors, advertisers, and those who live on his mind’s work.
The Girl, going through difficult times comes to mind, and it makes him feel responsible and needed.
He checks his email, and then GOOGLE for any changes in search results as he decides on his next move, in a month’s time.
PART 2
Afanasy’s footsteps sound louder as he walks the corridors of the Hospital for Insane Billionaires.
The sliding doors slide, and then the Howard Hughes waterfall splashes H2O on his face, he touches.
The sign post pointing east and west begins to spin. The whirl of the spinning signs become louder, and louder as he decides which way he is to step, to satisfy his creativity.
WARNING: Session is, "Unproofed and uncut by the knife in the hands of an editor."
Session: 100021183
Approx Date: 06/11/2009
Location: LMLA-ink Offices – Chinatown NYC
Project: GUIOPERA II
Story: GUIOPERA II
About: The State of Affairs
“How are things looking back there?” Le Mac’s voice is evidence that his lifestyle is free of the entrapments they face in the here and now, John Reyer notes as he considers his options, while Missy talks with his lieutenant.
“More to the point, have we sorted out how we going to handle the Guy,” Le Mac asks about tricky situation they are faced with.
John Reyer brings up pictures of Denzel, Jamie Fox, Will Smith, and Eddie Murphy on screen.
“Tyler wants either Edward Norton, or James Van Der Beek to play him.” Missy changes subjects.
“Le Mac, we’re busy. Teleconference in a week’s time, ah? Love you bro!” Afamasaga talks over the top of Missy and then he ends the Skype Call.
Missy watches the Guy click the link to Variety’s breaking news about “The Tourist.”
“I bet he’s gutted that Tom Cruise and Charlize Theron walked away from it,” Missy believes.
“Angelina and Depp are just as authentic. Jolie’s, a real strong chick, and Johnny —as TRUFUNK as they come.” John Reyer tells Missy.
The front door slams, sounding Lazoo’s arrival.
“Three coffees, please,” Afamasaga calls out, sensing the stress in his ideas guy this morning, and immediately gives him a medial task to disrupt his stressing train of thought.
The only sound that comes from the illiterate, are his footsteps as he rounds the bar and does what he’s told.
That sound is soon replaced by the coffee machine fittings being pushed hard into their place and soon three coffees are brought to the table.
“Little Lazoo needs his arse kicked,” John James says of his son in the GUIOPERA.
The door opens, and it’s Rocol.
“Go make Rocol a coffee,” John Reyer says, and Missy gets up. “You do it, please mate.” Afamasaga looks at Lazoo and Missy sits back down.
“The IP address for the Guy is in Brisbane Australia, dynamic but that’s where its coming from.” Rocol says as she tosses her hair.
“We have a static on a firewall, from where he’s accessed his YAHOO site from his day job as a lowly paid clerk. But uploads come from the dynamic IP, after hours.”
“Cool no problems; we let the GUY take it to the end, ah?” Afamasaga’s remark is met with a look of astonishment from Rocol.
“Let Afanasy go to the SFD. T-X steals a base, setting it up for LAZOO II GO5 in 2012. And let Le Mac deal with the loose ends, ah?”
Afamasaga looks up at the screen as the GUY selects the GO2 Action theme by Timbaland and Jay-Z….
“Yo Timbland, where Missy at?” Jay-Z says.
“Right here…” Timbaland’s response, as she brings coffee to smooth things over.
“I’m the king; I could never be the clone…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Lobster & Shrimp” by Timbaland & Jay-Z
YouTube: http://www.youtube.com/watch?v=1niTSAD8tXI
Wiki: Timbaland: http://en.wikipedia.org/wiki/Timbaland
Wiki Jay-Z: http://en.wikipedia.org/wiki/Jay-Z
Wiki: Denzel Washington: http://en.wikipedia.org/wiki/Denzel_Washington
Wiki: Jamie Foxx: http://en.wikipedia.org/wiki/Jamie_Foxx
Wiki: Will Smith: http://en.wikipedia.org/wiki/Will_Smith
Wiki: Eddie Murphy: http://en.wikipedia.org/wiki/Eddie_Murphy
Wiki: Edward Norton: http://en.wikipedia.org/wiki/Edward_Norton
Wiki: James Van Der Beek: http://en.wikipedia.org/wiki/James_Van_Der_Beek
Wiki: Variety (magazine): http://en.wikipedia.org/wiki/Variety_(magazine)
Link: http://www.variety.com/article/VR1118010885.html?categoryid=13&cs=1
Wiki: Tom Cruise: http://en.wikipedia.org/wiki/Tom_Cruise
Wiki: Charlize Theron: http://en.wikipedia.org/wiki/Charlize_Theron
Wiki: Angelina Jolie: http://en.wikipedia.org/wiki/Angelina_Jolie
Wiki: Johnny Depp: http://en.wikipedia.org/wiki/Johnny_Depp
Wiki: Brisbane: http://en.wikipedia.org/wiki/Brisbane
Wiki: IP address: http://en.wikipedia.org/wiki/IP_address
Wiki: Functional illiteracy: http://en.wikipedia.org/wiki/Functional_illiteracy
PART 3
The Guy thinks to the end of the chapter, and his options seem to sit within a small window of opportunity. An opening, or, a gap in a defensive line, he often likens the unfamiliar occurrence to.
He is trying to think his way out of the unthinkable reality John Reyer, Le Mac, or John James Lazoo; in this case Afanasy and Little Lazoo have dumped him in, to work a way out of the heap of insinuations that create implications, making the task an almost undeliverable project.
The spec of light, way off in the distance becomes brighter as the action theme fades and Bonobo with KOTA comes to take him away to where he and the Girl stand alone — at the edge of the MindMorph Dimension. The kindred spirits; two souls with like minds, hold on to rudiments of a truth, the TRUFUNK soldier thinks of as he tells himself he must finish the story.
He hears Afanasy footsteps, as he can feel the Girl’s hand clasp his.
“…to the end, ah?” John Reyer’s voice on the F3quenZor, is the only other embryonic matter from the etfiction’s stories, the Standalone Creative requires for him to forge his name, in books of history.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Kota” by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
Wiki: Standalone: http://en.wikipedia.org/wiki/Standalone
Wiki: Creativity: http://en.wikipedia.org/wiki/Creativity
Wiki: Dimension: http://en.wikipedia.org/wiki/Dimension
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“LAZOO will clean up,” Le Mac tells Little Lazoo, as John Lazoo’s son paces the room.
Images of his father, and Genisis, are cast upon the creative as he passes through them, again.
“He can’t hijack this one, with his moralistic ranting!” Little Lazoo says, as he looks out the window, over the city.
“He’s already made a statement by walking out on you. It’s whether that affects the project in such a way, it can be felt when it’s compiled?” Le Mac is careful of how he words his thought.
“Nah!” Little Lazoo now searches for something in his pockets, and produces cigarettes. He lights one and looks at it. “Cancer’s far more cunning than lust. The latter, you can taste before you kill yourself with it, ah?”
As the alarms sensing the lit cigarette go off, Le Mac notices a news item on screen and points to it.
“As predicted, the unlikely partnership of Afanasy Alfabet and snuff-type producer Little Lazoo is over before their first project, LMLA-ink’s Bio Pic of John Lazoo was delivered. Sources say it was due to Afanasy’s refusal to work within Lazoo’s rigid regime. Missy Evon of LMLA-ink maintains, that Afanasy’s work is complete, and that it was always known to them, that he would leave to start work on a new project when he did.”
The Guy says goodbye to the Girl, and he immediately swings thought into action, of how he will seamlessly envelop what he has leant from his ordeal, —his battle with depression,— in their interactions, sessions and relationship.
Midway through designing a graphic, of them two for an etfiction eBook A Young Idealist, A TRUFUNK Soldier…, which they will write together sometime soon, he remembers to count the loose change in the dish; hopefully it will amount to a sum, affording a coffee, or two.
The Guy decides on a concept that will hopefully bring his and the Girl’s world’s together.
Her world, one in which she fights to make sense of all that has happened to her of late. The death of two friends, her parents parting ways after twenty-three years of marriage, and her struggle to see who she really is (Self) after suffering mental abuse in varying forms for many years.
His, a universe in which nature’s systems are the only constants he can rely upon. One which he has confirmed is neither fare, nor is it forgiving. Significant point of interest to the Guy being that, Man’s greed has definitely evolved, but his sense of responsibility, and conscious have been dulled, and hardened respectively by materialism’s undying thirst, as it promotes the killing of Salt of Earth.
“Irony in the making”, he tells himself, if the GUIOPERA ever gets of the ground. The potential Money Making Machine, it’s creator a Socialist at heart. His motivation for creating the BLOCKBUSTER Advertising Application, was purely a structural mechanism to aide his writing.
The TRUFUNK emblem waves in his mind, as he tells himself, “There’s a place for heart in Capitalism’s Metallic Robotic and Functional body.”
A contradiction of sorts, as he acknowledges the dysfunctional place he has come from and his goal of making it in Capitalism’s World which is based on rigid Functionalism enforced by its many institutions.
Afanasy slips into the alleyway, as the TRANSMUTION track, 6 Days by ALEXEL begins to play, making the way darker than before.
The doorway he looks for, is hidden somewhere amongst odd shaped entrance ways. Some are perpendicular, others are at odds with him, as they lean in and away from the old London like street, littered with rotting corpses. “The foulest stench is in the air. The funk of forty thousand years” Afanasy hears the lyric interlaced with a unique musics from France —ALEXEL.
The narrow and seedy walkway is paved with cobblestones he sees faces of souls in, in and amongst limbs, attached, and detached. Their yellowing pale faces screaming at him from under the road he walks, their voices only heard as he steps on them. Their high pitched squealing is bearable; in and amongst the pollution of the SFD, where every unheard of possibility exists.
The Mill’s doorway is said to be stained by the blood of those characters who had bared their souls, the inexperienced writer with only passion had hacked to death. Some say that Lazoo’s arrival at the birthplace of etfiction’s cast spelled doom for all other characters, the moment his name was mentioned.
Up ahead a soldier with his book writes under a street lamp.
Afanasy steps into a doorway as the character senses him, making him look for the sound of his dusty boots on the street…
Hours later, a figure appears at the end of the street. He holds a briefcase, and after surveying his surroundings, he bravely walks down the middle of the street, triggering frightening sounds as he makes his way to the only street lamp that works on the desolate lane.
“The Mill doors swing both ways, for those on their way in and those being carried away to oblivion.” The business man says, as the writer’s head is still bowed over the book he writes.
Afanasy sees another meteorite flaming through the atmos; as the ALEXEL riff runs through the infectious track, swaying the mind of the writer to interlace this and that reality, bringing in all entities who hear 6 Days on this F3qenZor.
The businessman looks up just before the rock hits the Dimension. The planet shakes as if its core will explode, causing the man in the suit to loose his footing.
The writer beneath the lamp that fades, and then after a few flickers comes back on, continues to write as if nothing had happened.
As the businessman had suggested, the sky high doors swing open.
The writer quickly places his book in the knapsack on his back.
A stretcher with bodies piled on top of each other is carried out.
“An antagonist, a melancholic Galah like MICER, and a bunch of mediocre stunt doubles,” The writer quickly sums up the dead.
“I was here first,” says the writer. “I’ll pay you an advance of more than…”
While the businessman and the writer bicker over who will take the place of the deceased, Afanasy slips across the lane and in through the closing doors.
Once inside he pulls the doors shut, his appearance is noticed by both men, “Sir, I’d make a great writer with overwhelming hardship.” “Dear Sir, I am the most forthright citizen on this dimension.”
Afanasy’s only reply is, “Sorry chaps, we’re all full up now,” as he shuts the door…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “6 Days” by ALEXEL
Link: http://www.alexel.org/mp3/6days/mp3player.html
Website: http://www.alexel.org/
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
The Guy uploads his latest, so late, creating hope in the minds of those who wish he’d just curl up and die, rendering the second GUIOPERA incomplete, and an utter waste of time, which is what the Guy hopes has happened to other stories that rely upon him and his story.
“Nicely done,” John Reyer, and then Lazoo congratulate him over the F3quenZor.
“Let Grandiose delusions lead the way,” They both say, as the Guy wonders to himself if the latest GUIOPERA feature —rePRESS will work, in which a news item is worked into the story, like a Product Placement —rePLACE,. See: Session 100021183
He throws a shoulder forward, and then another, and then he smiles as he dares himself to believe, he would have any influence whatsoever over a flim project getting of the ground, as he pulls his mind back in to deal with the job at hand.
Having taken the story back to the MILL, a factory like place where he created the characters, from Jon Alabet right through to John Reyer, the Guy is careful not to sidetrack himself with details that do not matter to the audience.
He recalls the very night, Lazoo first came calling for his place in the end-to-end saga…
Inside the MILL, posters of James Dean, Marlon Brando, Sidney Poitier, Humphrey Bogart, Marilyn Munroe, and Elvis Presley hang as templates.
In a huddle, Jon Alfabet the sportsman talks to Showan Sail the Tycoon and Gene Reyer, the Lawyer.
John Reyer Afamasaga sits in front of an old computer listening to what’s going on.
Afanasy notices a group of guys dressed in Armani suits, the three of them eyeing Jon Alfabet, and his crew’s spot; close to where John Reyer taps on the keyboard.
An older man, of the same color, and disposition as John Reyer sits in the corner. Dignified looking, in his church suit, the Samoan man reads one of the many books that line the walls in that corner of the building.
Occasionally he rises to his feet and walks to somewhere near the hard working writer, and then he stops before he is close enough for him and his son to see each other. He then begins to talk to his son in his native tongue. “Faamolemole! O Le Atua e silafia mea uma…” He pleads with his boy, as the Guy continues to write…
In front of where the man stands urging his son to listen, the ground is littered with cigarettes, some burn, while others are extinguished. The man begins to step on the burning ones. He becomes agitated when they continue to burn, and so he begins to stomp on the deadly objects. Soon his trouser leg is on fire, making John Reyer look around at him. The glance from his son extinguishes the fire, and the man slowly walks back to the corner.
A vinyl record spins, as a stylus is lifted off its stand, so the Diamond Head can be moved to a place it can be dropped onto the black platter that rotates at exactly 33 revolutions per minute.
The sound of a woman’s heels is heard, and all heads turn to where the identifiable sound emanates.
On screen the work can be read
In the late 1950’s Elvis Presley the Soldier listens to O Sole Mio…
Elvis’s rendition of the concept, It's Now or Never accompanies the beauty as she enters the scene, making John Reyer sit back for a moment as she places a hand on his shoulder.
“It’s now or never, come hold me tight. Kiss me my darling…”
The woman waits for him, for a moment, but then she steps back, and walks away. John Reyer stands up, but by the time he saves his work and turns off his computer, the woman is nowhere to be seen. So he sits himself back down in front of his machine.
“You ain’t nothing but a houndog…”
Elvis continues.
Afanasy steps out from the shadows as other characters converge on the party beginning to happen. Jon Zoop, John Page, Arley Evon, the Tourist and more appear.
“Well they said, you was high class…”
The youngest looking one of the three in Armani suits begins to shake his leg, just like Elvis on the Ed Sullivan show.
John Reyer turns around to watch the young Guy showing off.
Afanasy takes a drink from one of the waitresses as James Elton from Wisconsin shakes off his shackles, and becomes John James Lazoo from NYC…
Beneath one spotlight LAZOO waits for the next hit, as another spotlight finds AFANASY as he steps. The aloof character points to a screen and the KING in Black & White talks of an ordeal.
The beginning of Jailhouse Rock makes LAZOO do what ELVIS and only a few others since have managed to do —mesmerize the world, on their own, using nothing else but their God given gifts.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “'O sole mio” by Luciano Pavarotti
YouTube: http://www.youtube.com/watch?v=d_mLFHLSULw
Operatic accompaniment GUIOPERA MUSIKA: “It's Now or Never” by Elvis Presley
YouTube: http://www.youtube.com/watch?v=lnm0dLThp9c
Operatic accompaniment GUIOPERA MUSIKA: “Hound Dog” by Elvis Presley
YouTube: http://www.youtube.com/watch?v=FJsQSb9RFo0
Operatic accompaniment GUIOPERA MUSIKA: “Jailhouse Rock” by Elvis Presley
YouTube: http://www.youtube.com/watch?v=tpzV_0l5ILI
Wiki: Luciano Pavarotti: http://en.wikipedia.org/wiki/Luciano_Pavarotti
Wiki: Elvis Presley: http://en.wikipedia.org/wiki/Elvis_Presley
Wiki: James Dean: http://en.wikipedia.org/wiki/James_Dean
Wiki: Marlon Brando: http://en.wikipedia.org/wiki/Marlon_Brando
Wiki: Sidney Poitier: http://en.wikipedia.org/wiki/Sidney_Poitier
Wiki: Humphrey Bogart: http://en.wikipedia.org/wiki/Humphrey_Bogart
Wiki: Marilyn Monroe: http://en.wikipedia.org/wiki/Marilyn_Monroe
Wiki: The Ed Sullivan Show: http://en.wikipedia.org/wiki/The_Ed_Sullivan_Show
Wiki: Armani: http://en.wikipedia.org/wiki/Armani
PART 3
Little Lazoo watches the young boy lead his older brothers in I Got The Feelin in the shop window. The Artist’s mesmerizing moves, caught on grainy footage, years before he pioneered and took the art of Music Video to another level.
“This Is It!” someone shouts out at him from a passing carriage. The message echoes, making Little Lazoo look over his shoulder.
The F3quenZor hums and then it connects to nodes on the Semi-System.
He feels chills up his spine, even in the cool of the wee hours, as he sees a figure down the alleyway he passes. He stops as the dancer in the distance reaches for the sky, as if his body is a conduit for inspiration. The performer lets his foot slide; the sound it makes darkens the surrounding area, as steam begins to fill the scene from vents that line the alleyway.
Little Lazoo looks down the lane, the entrance ways and their facades begin to change; from his time to eras gone by.
At the opposite end, the lean figure’s select and meaningful movements are accentuated by sound effects.
The seemingly elusive character brims his white Fedora hat, and then it magically rolls down his arm, letting it almost drop, before he collects the article, and flings it down the alleyway.
As the hat flies towards Little Lazoo, the Jackson effect begins to take affect. Gangsta looking dancers appear, as does a panther, with more smoke adding to the mysterious ATMOS.
Only the shuffling and footsteps of the supporting cast’s movements as they assemble around the luminous figure are heard. And as they take their places behind him, MJ shouts to the heavens.
Little Lazoo’s hair blows, in the wind that carries the Maestro’s call into the night sky, as his hat continues on its flight path.
The kick drum, and then the snare, for four bars, is followed by the wandering bass line signaling the timeless wonder of Michael Jackson in Billie Jean…
Little Lazoo steps slowly into the alleyway as if a voice, one that is distant but more knowing than those on his F3quenZor, call out to him from somewhere down the grim and dismal place.
The performer and his dancers are gone. The cobblestones that pave the lane, light up in his wake —they zigzag across the way and then rush of into the dark.
When Little Lazoo's foot touches a cobblestone, demon’s faces appear and yell obscenities, in tongues unheard of in the MindMorph dimension, where he comes from. The evil on their faces that fight to free themselves from the ground is heightened by the scratching sounds their clawing makes against the road he wants walk on.
The hat in his hand is crumpled as Little Lazoo clenches his fist.
He takes a few more steps, until the shrieking is unbearable. He looks around at where he came from and the New York alleyway is no longer the place where he is.
The screaming faces and their fighting limbs have elasticized. Their fighting to free themselves stretches the ground that traps them. Some of them, rising so their bodies are now well above the road, they once hid beneath.
Little Lazoo is surrounded by the ghoulish figures, he has to fight.
He is now too scared to even look at the deafening noise above him, and then something that covers the sky flies overhead.
Within seconds the unidentifiable object crashing somewhere —shakes the ground as if he stood atop a cardboard box.
He falls over and onto one of the grabbing demons; he rolls to his right, only to have another one grab his neck.
He gasps for air, that isn’t there for him.
His stomach muscles contract, and then his chest expands, as his tongue is stretched out to find oxygen he needs. He feels the vein in his forehead, and the ones in his temple fill with blood that colors his face.
In the air, the baseline from “Thriller” circulates.
Another clawing appendage takes hold of one leg, and then another has his other leg, as he begins to taste blood from his innards as his organs begin to show signs of shutting down.
A blow to the abdomen from another demon immediately sends blood to his lungs acting like a vacuum, for anything that it can have.
The last thing John Lazoo’s son remembers before his eyes roll back into his skull is Vincent Price’s haunting laugh…
“The Mill doors swing both ways, for those on their way in and those being carried away to oblivion.”
The words seem like words in a dream, as Little Lazoo opens his eyes.
Keeping his body still, his eyes look around as far they can see.
His ears and brain come together to let him know that somewhere above his head is where the voice is coming from.
In between conscious states Little Lazoo manages to roll over onto his side so he can see with his eyes the place where he his laid up.
He hears hinges rarely used grind as rust crumbles and falls to the ground, as the sky-high doors open.
“An antagonist, a melancholic Galah like MICER, and a bunch of mediocre stunt doubles,” A hapless man with pen in hand says, as bodies are carried out and away from the doors.
The footsteps from behind him are quick, and then they step over him.
Little Lazoo recognizes the way the figure leans as he heads for the closing doors.
Little Lazoo tries calling out, but his aching body reminds him it is not possible as he inhales the pungent air.
His hand that reaches out in place of a voice falls to the ground as the familiar figure disappears behind the closing doors….
Little Lazoo touches his face; he can feel a full beard, almost.
He presses his cheek in one place and then in another area, as he looks to place a call with the operator, but there is no connection, not even a signal.
He now tries using his left arm, to reach across his torso and touch his jaw line on the right side of his face…
The blistering sun has dried the mud he lays in.
Vultures stalk any sign of life in the alleyway which has widened, after meteorites decimated buildings.
The doorway he sits in provides shade.
A Vulture comes looking to see if the body in the doorway has any life left in it.
Little Lazoo’s half open eye, can see how he will have the bird for much needed food. But then he decides, he’ll let the Vulture know he’s aware of its intentions, and the beaten and hungry man, turns over, making the Vulture retreat to find dead carcass…
“Pagans, heathens, philistines, we’re, all tarred with the same brush.” Gene Reyer II’s voice is noticeable.
His words and what he means are not so clear, as Little Lazoo comes into the milieu, one created by the man speaking, hopefully swaying Little Lazoo’s vote his way as he waits for the doors of the MILL to swing open.
“Get down, get down…” the trumpet line that follows is also the last of the Kool & Gang Track Little Lazoo hears, as his mind plays tricks on him.
“I do believe Marcellus, my husband, your boss; told you to take me out and do whatever I wanted…”
Little Lazoo hears the Saloon Piano in the middle eight bars of Chuck Berry’s You Never Can Tell, as placed by Quentin Taratino in his film Pulp Fiction.
The scene is gently mixed in with other bits and pieces his unconscious mind finds a common denominator for, in the moving lens that is his mind’s eye at this, a tumultuous and sullenly noisy time in the SenFenide Dimension…
Gene Reye II hears word that a cargo shipment of entities is due to arrive from the AMD.
Word has it; some of the shipment will end up behind the doors of the factory they wait outside.
“Might be shite from the MMD, labeled the real McCoy!” The RAT elbows Gene Reyer II.
Now and then the unsavory character notices out the corner of his eye, Little Lazoo coming to, and turns and gives the man on the ground a swift kick in the guts.
“Uh?” The RAT taunts Little Lazoo as he makes the most of the situation and continues kicking Little Lazoo for good measure, until the man curled up in the fetal position passes out again, at which point Gene Reyer reminds him, “If he knows about this, he’ll kill you, you know?”
The RAT pauses, as he takes a breathe, “Yeah, I know.” And then he continues to put the boot in…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “I Got The Feeling” by Jackson 5
YouTube: http://www.youtube.com/watch?v=_ks1ReegnQw
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Billy Jean” by Michael Jackson
YouTube: http://www.youtube.com/watch?v=_fHoDWc22B0
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Thriller” by Michael Jackson
YouTube: http://www.youtube.com/watch?v=1kNP3jogfek
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Jungle Boogie” by Kool & the Gang
YouTube: http://www.youtube.com/watch?v=yq0KMvYZeic
YouTube: http://www.youtube.com/watch?v=dl9IoIY7ghY
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: You Never Can Tell by Chuck Berry
YouTube: http://www.youtube.com/watch?v=Ik-RsDGPI5Y
Wiki: The Jackson 5: http://en.wikipedia.org/wiki/The_Jackson_5
Wiki: This is it: http://en.wikipedia.org/wiki/Michael_Jackson%27s_This_Is_It
Wiki: Music Video: http://en.wikipedia.org/wiki/Music_video
Wiki: Fedora: http://en.wikipedia.org/wiki/Fedora
Wiki: Maestro: http://en.wikipedia.org/wiki/Maestro
Wiki: Michael Jackson: http://en.wikipedia.org/wiki/Michael_Jackson
Wiki: Demons: http://en.wikipedia.org/wiki/Demon
Wiki: Vincent Price: http://en.wikipedia.org/wiki/Vincent_Price
Wiki: Antagonist: http://en.wikipedia.org/wiki/Antagonist
Wiki: Vulture: http://en.wikipedia.org/wiki/Vulture
Wiki: Kool & the Gang: http://en.wikipedia.org/wiki/Kool_&_the_Gang
Wiki: Paganism, Heathen: http://en.wikipedia.org/wiki/Paganism
Wiki: Philistines: http://en.wikipedia.org/wiki/Philistines
Wiki: Pulp Fiction: http://en.wikipedia.org/wiki/Pulp_Fiction_(film)
Wiki: Chuck Berry: http://en.wikipedia.org/wiki/Chuck_Berry
Wiki: Quentin Taratino: http://en.wikipedia.org/wiki/Quentin_Tarantino
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
In every fantasy, there’s an edge to the path which its characters enjoying the limelight steer clear of in case of having to suffer that unforgettable feeling of falling away from the plateau of heightened experience and into an abyss, not known for its warm experiences.
Cajun music of the New Orleans Mardi Gra rages from stage to the street, and from body to body feeling good from its spiritual feeling.
Metofeaz Litigatti notices John Reyer’s reaction from having exchanged glances with the woman waiting for her friend to return. “TRUFUNK as an ant with a brain, ah?”
John Reyer is quiet, as he glances over his shoulder and down the dark alleyway which changes from dark to worse. The entity renown for its spectacular display of courage runs from shell to shell.
“Freaks.” Le Mac manages a smile as he watches Lazoo, with Genisis on his lap, Metofeaz, and John Reyer keep their cool exteriors as the episode takes place in public.
Lazoo’s manner is aggressive and Genisis holds his shoulders in a way a couple embrace as he looks down the alleyway.
“Afanasy will not forget his mission.” John Reyer reminds Lazoo, as the man just cleared of the murders of seven men sees something that almost makes him gag.
“Little Lazoo will be human, John!” Genisis holds her man by the shoulders taking all of her strength to control him, as the entity enters him, colliding with LAZOO, making John James shake, as he witnesses something else down the dark lane.
“Rocol is pivotal to the plot,” John Reyer calls out to Metofeaz as he walks towards the two women at the edge of the carnival…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
Wiki: Cajun music http://en.wikipedia.org/wiki/Cajun_music
Wiki: New Orleans: http://en.wikipedia.org/wiki/New_Orleans
Wiki: Mardi Gras: http://en.wikipedia.org/wiki/Mardi_Gras
Wiki: Alley: http://en.wikipedia.org/wiki/Alley
The Guy thinks of the Girl.
The very thought of her gives him a far greater feeling of peace, purity and beauty than he can create in his endeavor to paint love for him, her and their audience.
Their friendship is real, but now feelings that come from seeing life in her eyes when she’s smiling, he hangs onto as he recalls the story he began a long time ago, with Lazoo and Genisis’s love as a the saga’s most recognizable thread.
Having met her and having moved on from the past, using her help, he is careful not to put pressure on the Girl, as she frees herself of her past.
An image of her in his mind, where her sometimes unruly hair is dragged across her face as she shakes her head in disbelief of how happy she can be, the Guy loves to recall.
He sees spam advising him “Someone’s Interested In You!” And he wants to click on the link so the Girl feels comfortable to receive the endless attention she gets from being both stunning, smart and then also unbelievably charming.
He is overcome with emotion as he writes about his true feelings for the Girl, and then the F3quenZor, hums, and then it ahs.
“Back into it mate,” John Reyer chooses an ocker accent to remind the Guy of his responsibility, at this point in time.
The Guy, having again inserted their reality into the GUIOPERA, thinks of what the Girl continues to remind him “It’s not FICTION!” He runs over his explanation to her that his work is Literature’s equivalent of Reality TV, and that the term REALITY LITERATURE is another Post Modernist device that can be added to etfiction, the GUIOPERA and the other products under development as we speak.
“Open Sesame!” Afanasy says to the Soldiers who carry the bodies.
The arms that swing down the side of the stretcher are limp, as the doors to the MILL swing outward.
The alleyway is crammed; with entities that mingle with locals.
Dressed in Black CHARLEY STEVONSEN the lone Creative steps in and out of the crowd, as if he is looking for someone.
He studies the profile of the woman, who’s face he holds in his hand, and it reminds him of someone.
Afanasy thinks for a moment, and then he lets her go.
The woman lets her head fall, as AFANASY continues to search for one character, maybe two, maximum three he can save from the alleyway, depending on when the doors will open again..
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Brisbane’s Fortitude Valley is jam packed, with normal everyday humans letting off steam on a Saturday night.
On the F3quenZor, the Guy hears the track he wrote to before he left his small flat in Ashgrove, “Love, Sex, Magic.” The bass line mixes nicely with thoughts and pictures of the Girl, he sees so clearly in his mind now.
But for now the Guy steps, “In Character.” John Reyer says, as the can of V Energy he just downed, begins to make him feel the part, as he warms to the role “Hype it on your own! Alone!” Lazoo says as he passes the cat at RGs. The Guy pats the Valley stalwart on the shoulder, as John Reyer would.
The traffic lights pretend to change. The Guy dressed in the black suit; his younger brother the Chaplain in Sydney gave him at their father’s funeral, thinks of the whimsical one, and what he would do. He checks the sleeves of the suit, as the lights change, and he steps out onto the street. “Heel-toe. Heel-toe. Toe the line to heel to a hind.” Metofeaz tells the Kick arse Creative as he nears the Press Club, as the Timberlake and Clara combo continues to drive the scene.
Inside his favorite new place, it is quiet. The DJ, the reason why the Guy likes his new haunt is at the bar, as mood music creates ATMOS, before time.
The NIKE emblem across the subtle but stylistic cross fader’s chest, further confirms for the Guy, that this DJ is someone who will be in the scene he is here to act out.
Upstairs in the smoking area, which feels more like an opium den from a Chinese art house film, the guy does what he knows he shouldn’t as he contemplates how on earth he is going to prove to himself, that he still has the goods.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=_bzReaE95WA
Wiki: Ciara: http://en.wikipedia.org/wiki/Ciara
Wiki: Justin Timberlake: http://en.wikipedia.org/wiki/Justin_Timberlake
Wiki: NIKE: http://en.wikipedia.org/wiki/Nike,_Inc.
Wiki: V Energy: http://en.wikipedia.org/wiki/V_(drink)
Wiki: Fortitude Valley: http://en.wikipedia.org/wiki/Fortitude_Valley,_Queensland
Wiki: Chaplain: http://en.wikipedia.org/wiki/Chaplain
Little Lazoo takes the Tequila, and downs the serum.
The RAT, laughs, “That’s the boy!”
Gene Reyer nods as he lifts his glass to Lazoo, “It’s good for you.”
Little Lazoo looks out on the alleyway; the crowd thrives as the funk is belted out by a DJ.
He takes the glass, the RAT pours him and throws back another one and then he uses the back of his hand to WIPE his mouth, “Yeah!” he says as he feels the beard on his face.
“We let him come to us,” The RAT stands at the railing looking down on the street.
“He’s not that predictable,” Lazoo is passive.
“But then again, the plan never changes. The way he meanders, taking in all possibilities, gives hope to all kinds of potholes in the road, he could fall into.” Lazoo drinks another one, “but does he?” Is Lazoo’s assessment of Afanasy.
Little Lazoo touches the side of his leg, from inside the pocket he produces the Fedora hat, he had managed to hold onto during his dreaded ordeal. The artifact is crumpled and stained with blood.
The RAT notices Lazoo has the hat in his hand, and instantly causes the crooked character concern. He scratches feverishly at his face, like a Rodent, as if it will calm his annoyance of Lazoo and the appearance of the object Little Lazoo is now cleaning.
With each stroke that dusts off dirt, Lazoo’s memory banks begin to flood with images. Some of them are real, and other’s he ponders their relevance.
The decrepit looking shell that now stands side on from being nervous at Little Lazoo’s changing behavior rubs his neck as he looks to Gene Reyer II for an explanation to Little Lazoo’s game he begins to play.
“The mind has a mind of its own,” Gene Reyer says.
“It’s unconscious. The old men referred to it as the SenFenide Dimension.” Little Lazoo nods his head, as he holds the hat out in front of his face, and then he looks at the RAT, as another image flashes before his eyes.
This one, someone in tattered clothing, with his fingerless glove holding the back of his head, pushing Little Lazoo’s head down into one of the holes in the alleyway. The demons beneath the surface begin to attack his head like a school of piranha.
Little Lazoo runs his finger on the brim of the hat, as he controls his breathing beneath the surface, to hide what begins to boil inside him.
PART 3
Monday morning, around 5:55am…
The Guy types away on his machine behind the scratched screen as the Girl showers….
The musics from home, is compliments of boys from his hood in Wellington, New Zealand —WELLI,— the place he left in May 2005.
It is smooth soul delivered in robust dub by Fat Freddy’s Drop, in “Hope.”
On the back steps looking out over the lawn, the Guy and Girl have coffee as the moment continues.
“It’s a TRUFUNK anthem,” The Guy says about Roachford’s This Generation, while the vocalist sings what he harbors deep inside; pain from not having realized his potential for his father to witness, before he passed away in June 2009.
.”..Cause this generation, is gonna walk with their heads held high. I know this generation is gonna, bring tears to the old man's eyes…”
The next morning, after the Guy assesses his dire financial situation, he decides he will have to leave the place where he began the saga in May 2006, and move to another location in Brisbane.
The mounting pressure from having to co-ordinate his passion, and real life, in which the Girl has become an important part of, he breathes in. And then he focuses on the motivation it gives him. The anxiety, he uses to help conjure his twisted plots in the saga, he exhales as he makes a mental list of the things he has to do to ensure his head remains above water, till such time a life line is thrown to him.
He thinks back to this morning, and wonders whether the service station attendant at the BP Servo had given him an extra fiver or not?
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Hope” by Fat Freddy's Drop
YouTube: http://www.youtube.com/watch?v=k-trAzH7Nzs
Wiki: Fat Freddy's Drop: http://en.wikipedia.org/wiki/Fat_Freddy's_Drop
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “This Generation” by Roachford
YouTube: http://www.youtube.com/watch?v=NE65fj_85Nk
Wiki: Roachford: http://en.wikipedia.org/wiki/Andrew_Roachford
Wiki: Wellington: http://en.wikipedia.org/wiki/Wellington
Wiki: May 2005: http://en.wikipedia.org/wiki/May_2005
Wiki: May 2006: http://en.wikipedia.org/wiki/May_2006
Wiki: June 2009: http://en.wikipedia.org/wiki/June_2009
Wiki: BP: http://en.wikipedia.org/wiki/BP
Wiki: Generation: http://en.wikipedia.org/wiki/Generation
Wiki: Hope: http://en.wikipedia.org/wiki/Hope
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Le Mac looks at the handcuffs on his wrists.
The hand that lowers his head, as he is pushed into the Police carriage is not as gentle as they had promised him.
He catches a glimpse of the news item on the screen, as passers by recognize who he is.
Inside the carriage the news item continues, “LMLA-ink’s only known surviving founding member Jon “Da Hood” Le Mac was today arrested by Police on charges of extortion, entity trafficking, and the harboring of clones to name a few…”
“Long lags, made easy, that’s our business Jonnny Hood, just give the word, and you’ll earn ya self a ticket…” Le Mac remains quiet as the voices of the investigators seated facing him begin.
“Get me Jack Shack,” Is Le Mac’s response, to the barrage of bad dialogue.
“I’m here,” A voice comes from the monitor.
“That’s where your problem begins,” the bad cop show continues.
Le Mac tries to relax as he wishes for a moment, he had access to the Freak’s Semi-System phone line, the F3quenZor.
On the monitor, a video of James Elton in prison uniform, and then he is stripped naked and strapped to a bench.
Next, bodies of the seven men in a morgue, and then a glass container with a tongue floating in liquid. “The New American Dream, ah? More like a nightmare.” The cop is at him.
The footage continues, body bags being carried from Rozelle Zofen’s Chateaux in France, “Collaborative Chambers missing, all miraculously John Doe’s with their prints melted, dental work unrecognizable.” The cop had obviously done his homework.
Le Mac shrugs his shoulders, as he takes the water being handed to him.
“Janine was let go into the community, with the hope she and her child would never come in contact with the controller of the Semi-System.” Jack Shack’s voice is a welcome reprieve for Le Mac.
“Obviously it wasn’t to be the case.” The prosecutor who tried John Lazoo in the Tongue murder case continues.
“So what do you want from me?” Le Mac is still unsure of how he is to behave in the scene.
“Afanasy Alfabet, houses the entity which we believe controls the Semi-System right now.” The same one that lived in John Page, known as PAGE1, also tagged the PACIFICAN and AFANSY.”
“What about LAZOO, AFAMASAGA, METOFEAZ, GENISIS, POLINA, MISSY and the rest of the Freaks?” Le Mac asks.
“They remained housed, or have left the dimension when their shell passed, and we can track their whereabouts. It’s the illusive AFANASY we want. We have a shell we believe that can contain the entity.”
“And T-X?” Le Mac accounts for all his charges.
Their smiles fade into looks of contempt as the investigators exit the carriage, leaving Jon Le Mac to think long and hard about the state of affairs.
He thinks back to when the story he is in, was written.
Images of the Guy writing what he and the Freaks had been told by a voice to tell in the end-to-end saga fill his normally clear head.
“It appears to be the end of the road for the mercurial Jon Le Mac and his crew, LMLA-ink. Federal Agents comb the offices of the one time street thug, who made it big, when John James Lazoo came to notoriety after seven men were gruesomely murdered back in 1997…”
He turns up the volume by maximizing a news item about him and the company he had been entrusted to lead into an era of profitability and prosperity, to be achieved in a law abiding manner, completing the Vision he and John Reyer visualized back when they ran together as small time street hustlers, who wanted it all.
Le Mac looks around empty carriage, as it waits for its next pick up.
More news items on screen…
“It seems that everything the Creative Crew that once ruled the ONLINE, touch, now turns to dust. Police are looking for Afanasy Alfabet in connection with the death of the Pirate of Greenwich Village …”
Le Mac tries calling Missy’s number on the carriage’s communication pod. The disconnected signal makes him open his eyes wide.
He pulls from his pocket his smart phone which he searches.
He finds a location he brings up on the carriage’s monitor.
“Human Indigo Books” the coordinates of the location, where Afanasy was last seen resembles an IP Address. He GOOGLE’s “coordinates 13.24.33.1”
He tries dialing Little Lazoo, and then Afanasy, but to no avail.
On screen, images of the Pirate and T-X, Metofeaz Litigatti, John Reyer Afamasaga, and then the Guy & Girl from their secret site fade in and out, as the ingrained track comes at him.
Action Sequencing —etfiction’s devices begin to come to life, in Reality Literature.
BONOBO’s KOTA starts to sweep the canvassed landscape.
A willow tree in a field, a tractor in the afternoon sun ploughs its way to the end of a row.
Whimsical and meaningful, the Guy begins to flow as if he was the one, who was chosen to bring the saga to one of its many endings…
A temptress’s hands wave in the Wisconsin dust. James Elton with his orange turban waves at the boy with brown skin who stands at the end of the row…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Kato” by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
PART 2
The Guy’s mind is too absorbed by a job vacancy advertised at his day job, to write this morning.
Securing more affordable accommodation close to where he works is also a nagging thought.
After sending the Girl a txt message wishing her a great time, for the weekend away with her work, he quickly uploads three paragraphs of the GUIOPERA and then he goes back to thinking about how he will be successful in taking hold of the possible Lifeline that has appeared —a Team leader role within a large project at a government department.
He makes sure that he will make it to work on time for the Sales Meeting this morning, as he admits to himself that sometimes he can forgive, a concept —Forgiveness— he doesn’t normally want to understand, accept, or do, due to its holier than holy connotations.
The Guy quickly surmises a number of reasons as to how the story line has reached the crossroad it has, with Le Mac the only non entity member of LMLA-ink now having to save the day. He considers the probability that this is the end of the road for AFANASY. And that the real Voice may have to take a shell in which it will live in reality.
He waits for a moment for John Reyer, Lazoo, Metofeaz, or someone to help him out with a clue of some sort. When there is no reply to his question, he saves the work, as he feels the hum of the F3quenZor, in his body, warming his shoulders, chest and abdomen, giving him a feeling in his gut —a positive one— as BONOBO give him KATO from their TRIP HOP Album; ANIMAL MAGIC, to help him on his way…
Friday night’s rest came and went. Three weeks of headlines, miscellaneous data, random comments, spam, and search engine movements have all fallen into place. The end result for the Guy, are few lines of the story. It consists of a paragraph of Metofeaz’s prose, a snippet of Lazoo, and a comment from John Reyer, he now has to write into the GUIOPERA.
The silence from the F3quenZor is unnerving as the scale of the task at hand becomes obvious to the novice.
The Guy lets his mind loose; the parameters, stipulated by a reality in which the GUIOPERA is real product…
He looks around the spare room of his apartment and imagines it to be the nerve centre of the operation, buzzing with creativity and people who know what they’re doing.
He sees himself at the front of the room conducting a production meeting as Executive producer of the world’s latest and greatest media product, with Franchises in Europe, US, and China.
“Variety’s piece on Oprah’s move,” he calls out.
“Missy and Madeline in hiding, item comes up on RSS,” A woman with coffee in one hand and phone in the other hand shouts out how the press statement will be written into the storyline.
“Stephen King and Steven Spielberg Dreamwork’s collaboration?” The Guy looks at former Hollywood publicist for his opinion.
“The Guy’s Delusions of grandeur,” The middle aged man mutters.
“Very nice,” The Guy says as he reaches for a coffee…
The Guy drifts in and out of reality. Thoughts of the Girl prevail as he begins to tune his mind for the finale and all the devices he will have to set off at specific times to make the theatrical experience real in the Virtual Online Spectacular, which is to CLIMAX on December 25th 2009, if he is lucky, again.
The interview with John Lazoo himself, which is to be released in the week leading up the X-MAS chapter, has become a vital piece in GO2’s plot.
He considers Lazoo’s answers and nuances; the illiterate must suggest and strategically place in the minds of the audience in the in-depth interview, which will hopefully restore some sort of humanness back into the end-to-end saga, having painted Little Lazoo as a monster without a conscience in GO2.
The two remaining press releases which will either ruin the plot, or further confuse reader’s in the distant future of who the Guy actually was, are another issue the Guy must contend with and quickly decide on their content before he can move forward with actual task of writing the next five chapters of GO2.
And then the job he wants and a place to live. The Guy takes a moment to breathe as he hears John Reyer.
“Thin threads, cling to the line. That line is direct, to the end…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Kato” by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
Link: http://www.variety.com/article/VR1118011627.html?categoryid=1237&cs=1
Wiki: Oprah Winfrey: http://en.wikipedia.org/wiki/Oprah_Winfrey
Link: http://www.variety.com/article/VR1118011629.html?categoryid=1236&cs=1
Wiki: Steven Spielberg: http://en.wikipedia.org/wiki/Steven_Spielberg
Wiki: Stephen King: http://en.wikipedia.org/wiki/Stephen_King
PART 3
In the SenFenide Dimension you recognize people and places by the way they make you feel and according to your senses’ recall…
Little Lazoo stands up.
Instantly the RAT as if he was told, sits himself down.
Gene Reyer notices the change in Lazoo’s temperament and casts a knowing look at his adversary.
Little Lazoo is careful not to alarm the two misfits, of his strength he is regaining.
He looks down on the crowd, as it opens up down the far end of the alleyway.
Someone dressed in black appears, the character is alone, even though he is surrounded by the frenzied crowd.
Out from the doorways, other characters appear and fall in behind the colorful but calm man who stops every so often and studies someone in the crowd as if he is looking for a special character.
Little Lazoo looks left, another Guy also in a Black suit has materialized. The sliver serpent choker around his neck, under the open white shirt looks familiar. The rugged looking character moves in amongst the shadows.
He glances up at the balcony, Little Lazoo is not sure if the knowing figure was looking up at him. The incident makes Little Lazoo nervous.
The Guy smiles at someone, a Girl appears. Little Lazoo can only see the woman’s profile, but her figure and the Guy’s reaction are enough to let him know she is both captivating and stunning.
He looks to his right and the man in the middle of the street has a gang of street wise hustlers behind him.
The Guy’s smile is bright, and then it fades as he looks over the Girl’s shoulder at the scene brewing in the middle of the crowded lane…
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Jon Le Mac feels the ground beneath him as he steps out of the carriage and onto the turf.
Los Angeles at ground level, looking along the wide dusty road and not up at the Palm trees brings the tycoon down to earth.
He reaches into his pocket with his left hand for something; he keeps hidden in his clenched fist.
“I used to ask you, ‘How many marbles we got, Le Mac?’ You would reply, ‘One.’ And then I would say to you, ‘Okay, how many do we want?’
He hears John Reyer’s words to him back in 2020.
“They’re Little Lazoo’s…” John Reyer tells him at the end of “BrocoliFlower.”
Le Mac opens his hand and there they are, the marbles, he had neglected to hand on to the son of the man who had risked his life to bring to the world a story which sets the time of its telling apart from other times in history.
“You are still this man’s keeper,” John Reyer had urged him.
Le Mac looks across the street at the second hand book store. The sign in the window lay crooked, probably that way from the last tremor felt in these shaky parts.
The call to Missy returns the same disconnected signal. The normally rational character begins to question his sanity, as a carriage passes by, and child’s arm pointing at him, he thinks for a moment is a weapon. His right hand already reaching for his suit jacket, he begins to shake as if to rid it of something nasty.
Two hours in the LA heat made up of UV Rays, smog, and more fumes from cars, has the dapper looking Le Mac looking jaded, and more like a homeless person.
No one had gone into the place where AFANASY was last seen entering. Occasionally he swears he sees people inside the empty shop.
The umpteenth Taxi carriage stops in front him, and he opens the door to get inside for some shelter from the heat in the air conditioned cabin, until the vehicle is summoned to its next pick up.
The Guy plans the next two days, in which he will write the lead up to the conclusion to this year’s GUIOPERA.
This list of objectives becomes entwined with considerations of Hollywood formula and the Synopsis which he is yet to craft.
A black man has to carry the story succinctly to its moral end —something which a “Will Smith” could easily do. But the Guy does not want to rely on such a ploy, and asks himself more questions, that create more doubt about the plot and if it has any substance to speak of, and LMLA-ink and its dynamics.
“Le Mac, the black guy, gets the blame for LMLA-ink’s demise?” John Reyer would ask.
“Fact is, Le Mac didn’t do what he was asked to do…” The Guy answers.
“Let’s go to the Gym,” he reminds himself as he lets the plot simmer some more until his return….
“Who’s the real antagonist, the one who fuels the feud?
The questions mount up as does the anxiety. The quick and light cardio session only serves to stave the mound of pressure the Guy finds himself under.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Will Smith: http://en.wikipedia.org/wiki/Will_Smith
PART 3
Afanasy looks up at the figure leaning over the balcony, the son of a POINTSLAYER notices him.
Afanasy looks back at the doors of the MILL, which have closed for the time being.
He looks right and sees him for the first time, the Guy, the one who defied all odds, to bring him, John Reyer, Lazoo, and all the other characters to life, back in the MMD.
His presence in the SFD, Afanasy questions for a moment.
The Guy’s smile is brilliant; the Girl who he is engrossed in has a familiar look about her. It’s as if the woman has seen a ghost, one she he has longed to be with.
Her arms are wrapped tightly around his neck with her eyes shut tightly; show how much she savors their reunion.
Little Lazoo sees the couple lost in each other. He looks to where the man in the middle is looking back up at him.
Gene Reyer notices the disturbance, and stands to see for himself its cause.
Soon the RAT is also at the banister looking down on the two people who have found each other.
“Your father and the Argumentor were conspirators,” Gene Reyer II’s comment about John Lazoo’s involvement in his own manipulation by Gene Reyer, his lawyer in the Tongue Murder case, makes Little Lazoo anxious.
“Where’s that Tequila?” Little Lazoo brushes the idea aside without upsetting Gene.
The RAT retreats to the table and soon presents Lazoo with a glass of his wish.
“The Bio Pic cannot be released,” Gene Reyer II realizes their time in the sub terrain of their conscious states is limited, and begins to lament his point.
“‘The Unequivocal’, will take its place” Gene Reyer II advises Little Lazoo that the Biographical Film of the life and times of Gene Reyer the legal Eagle will take the place of Little Lazoo’s labor of love.
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
The hue cast by the setting sun is orange…
It brings back so many memories for Le Mac, none of them he wants to remember.
Sitting on the warm pavement, hugging his knees close, he begins to rock back and forth.
Still not a single soul had entered into “Human Indigo Books.”
Beside him in the crack of the pavement seven marbles lined up. Each time he looks down at them, their shininess begins to cloud, as John Reyer’s words fade in and out of his hearing.
The non believer begins to doubt his reasons for his skepticism, deeply rooted in his Survival skills having been born into poverty.
Le Mac thinks about James Elton’s resilience, and how the boy who was tortured from a young age, was still able to embrace new thinking once he became LAZOO.
He ponders possibilities if he too, had allowed himself to be taken by John Reyer’s vision of a new world, in which each individual was a cornerstone for the New Global Realm, which to the entrepreneur, now seated on the sidewalk, sounded like a great money making idea…
He remembers the Pirate, and then the Guy back in 2009 writing the story, after John Reyer had done the unthinkable and handed over the reins to someone who had never met face to face, trusting a nobody to deliver the second GUIOPERA, which at that stage was a great idea with huge potential.
Another reason why Le Mac had chosen to keep well clear of Afamasaga’s on a wing and a prayer way doing business.
All this and more amounted to Le Mac’s neglect of his close friend’s last request…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Orange (colour): http://en.wikipedia.org/wiki/Orange_(colour)
Wiki: Marbles (toy): http://en.wikipedia.org/wiki/Marble_(toy)
Wiki: Marble (disambiguation): http://en.wikipedia.org/wiki/Marble_(disambiguation)
The sounds of Sunday morning blend in with the Guy’s thinking, as he trims the edges off the once ragged plot —rejuvenating the storyline with realism by way of Le Mac’s ponderings on the sidewalk.
He is relieved that LMLA-ink is not a celluloid thin group of narcissists, solely concerned with being immortalized in the proverbial can, so to speak.
The scene in the SFD in which all the key players in GO2 have turned up in, is delicately poised to deliver both Action, plus Emotion.
Now his mind turns to the job application he must construct over the next few days, in order to keep a roof over his head.
He bravely says to himself, “this is the last day of all known habits,” As he readies his mind to detoxify his system, sometime soon….
The next morning he is at the Gym at 5:30am…
The endorphins give him his edginess but in a healthy manner.
His CV is back from the editor, who mistook the meaning of what he had written. So the Guy goes with his original copy, and once again he does not require the services of an editor.
Then his mind goes back to the latest upload in which LMLA-ink play tag, their version involves an entity jumping from one shell to another. The scene took place in New Orleans in late 1997 during BrocoliFlower.
The Guy a huge fan of John Reyer’s free eBooks (http://etfiction.com) wanders if he had gotten the essence of the scene in which Lazoo sees the future when the illusive entity inhabits him.
He tries his tried and proven method of stimulation, and it leaves a dull haze over his brain, the back of his head begins to throb, confirming physical exertion is the proffered way to achieve a perfect state to write the ending to GUIOPERA II 2009.
He thinks of the Girl, and a project she wants to start.
He reworks his CV and then sets the due date for it to be ready.
Tuesday 24th November 2009, this time next month he would’ve already known the ending to this saga.
He wishes he could talk to someone about the stuff he is faced with, but then it will bring up the past, a place he’d rather leave buried.
Also, it would take a very special person, who could handle his past.
He remembers what Lazoo said to him, “On your own!”
John Reyer didn’t really make a big deal about whether he was to bring another character into the end-to-end saga, or not.
One thing was for sure, if there was an addition to the cast, it couldn’t possibly happen between now and Christmas day. Or could it?
Naturally he would assume the Author’s name, and claim responsibility for all the work, and no one would know any better.
“Let’s get happy man,” The Guy says out loud to himself as he finds a track that makes him feel whole, as he makes up his mind he will go it alone from now on as John Reyer Afamasaga…
John Reyer looks out of the window at the view he’d seen many times behind the shell he beings to feel comfortable in.
Ashgrove in Brisbane Australia was a long way from New York, and the meager belongings on which the Shell had survived was quite an awakening for the Author.
7:34, is time to leave the flat, to catch a bus to the place where he will work for the best part of the day and then return to this place.
Having to inhabit a shell is part of his role as the controller of his Semi-System in this dimension.
AFAMASAGA’s first day inside the character he Lazoo, Missy, and the world had come to know as the Guy, or the Pirate, amongst many other covers, was an eye opener for the entity.
Without protection, or any kind of support, the Guy lives in real life with people around him who all dream of being in his position, and so make life difficult for the Guy.
Lize the Girl, the Guy had met in the car park next to where he works is an original, in the same way, Genisis was to Lazoo.
John Reyer had met many characters recruited by members of his network over the years, but the Girl who the Guy had signed up, was a mould from which other characters could be founded —a Model, if you would like.
Their first meeting was under the guise of the Guy and Girl, and since they hadn’t seen each other for a few days, it was as meaningful, and as special for the Guy, which John Reyer was uncomfortable with at first, until he reminded himself of a quality, or state great characters have or can be —vulnerable.
This morning he skips the Latest Upload, and takes a deep breathe as readies himself for another day as the Guy.
He wanders if there is any truth in what Lize had told him last night, “I want to write…” another sign that the Guy had picked a winner when he chose the Girl from Brisbane with a University Degree.
John Reyer quickly puts together a Covering Letter for the CV the Guy had written for the new job he wanted.
This morning at the gym, the Guy said hello to someone who knew Jack the little boy next door from the eBook story Feeaz Fontain (2010), most likely, it was Jack’s mother.
During the five-thirty am session John Reyer managed to get through the Guy’s two kilometer run but not the bike ride that followed, let alone the weight session that followed the ride. He promises himself he will do the full routine this evening after he checks out the spare room in a share house close to where he works.
John Reyer dons the Guy’s Sennheiser earphones, LMLA-ink’s brand of choice for headphones.
Stereo MC’s “Connected” the MC says, “Gonna get myself connected… Gonna do it again!”
And then John Reyer remembers he’s now the Guy, the centre of attention, the star of the one man show. He finds it hard to comprehend having hid behind Lazoo for such a long time.
He looks around the apartment for what he can sell to get some cash. The ROLAND BOSS BR 900 Digital recorder looks in good order, same with the Røde NT1-A mic, which he’ll pass of as a “Studio Vocal Mic, which makes a “VOICE”” is how he’ll describe the microphone.
He wonders if today’s appointment to look at a new place to live will be as fruitless as last evenings.
Then tells himself, “Secretly you’ve wanted this all your life, ah?” He nods his head regardless of what he really feels, and tells himself, “Soldier up bro, for another day in MindMorph Dimension’s greatest show ever – The Guy In the GAME!
An email from InternetDJ.com advising of Groove Amada’s new offering “I Wont Kneel” from their latest album “Black Light,” is in keeping with the theme. The easy going melody with synth line on the off-count is nice.
He selects Sonny J from Liverpool, who advises members of their network —the New Global Realm, — and all TRUFUNK soldiers, fans and followers of the Guy, “Can’t Stop Moving…”
The day had been a productive one. His CV for the role he wanted had been sent. He had been to see a share house in Toowong, which was situated less than a ten minute walk from where he worked.
“Hi I’m tidy and relaxed, and I am looking for a place to live in Toowong.”
Please let me know if you are interested in meeting me.
Regards,
John Reyer”
John Reyer signs off the note for a room on a rental site, and looks forward to the last day of the working week.
Friday night is here, and the end of another working week.
John Reyer sits at the computer with a glass of merlot, not out of a bottle but from a cardboard box.
For now he finds the Guy’s reality to be more of an adventure, than the daily struggle the shell had faced before he had inhabited the Guy.
Having met the Girl for a second time today, at lunchtime, he continues to focus on the romantic notion that a diehard fan, the Guy, is actually living out Lazoo’s ordeal when he and Genisis were going through tough times in the original story.
Maybe not with a murder charge for the gruesome and morbid slaying of seven humans hanging over them, but the divide between the two people, which had come about due to the GAME, and pressure from all quarters for moral and selfish reasons, created the same barriers which kept two people who wanted to be together from doing so.
A quick glance at the clock, tells him the time, and also the date.
Lazoo will end up having to do the interview with Tyler in the end, now that he was here as the Guy.
As the controller of the Semi-System and inherently the F3quenZor, it was difficult to hear the communication being the hub of all the transmission. The Guy’s node was definitely a clear point of delivery when he was merely a single entity without transmission tasks, but with two entities at the node, he could only behave as a gateway with little more than authentication capabilities, and the broadcast of his own true feelings about scenarios the nodes of his Semi-System were involved in, as is the case for most of the time —the different scenarios he knew about, instinctively.
The storyline beckons his attention, as the fifty hours and fifty five minutes till Monday morning at 5:55 am tick by.
All the tricks in his little green bag have been used, in bringing the end-to-end saga to this point.
The GUIOPERA II’s final month has all but arrived, and now he has come forward in the sneakiest manner.
John Reyer ask himself what Lazoo asked him at the beginning of this story, “Question is are you good enough, brother?”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Connected” by Stereo MC's
YouTube: http://www.youtube.com/watch?v=TiYbGsnzG_s&feature=PlayList&p=5D42D55619AFFFB6&playnext=1&playnext_from=PL&index=23
Wiki: Stereo MCs: http://en.wikipedia.org/wiki/Stereo_MCs
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “I Won't Kneel” by Groove Armada
YouTube: http://www.youtube.com/watch?v=qZquYCDJWlA
Wiki: http://en.wikipedia.org/wiki/Groove_Armada
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=W9e_4A7EKoA
Wiki: Sonny J: http://en.wikipedia.org/wiki/Sonny_J
Link: etfiction: http://etfiction.com
Wiki: CV: http://en.wikipedia.org/wiki/CV
Wiki: Model: http://en.wikipedia.org/wiki/Model
Wiki: Vulnerability: http://en.wikipedia.org/wiki/Vulnerability
Wiki: Sennheiser: http://en.wikipedia.org/wiki/Sennheiser
Wiki: Roland Corporation: http://en.wikipedia.org/wiki/Roland_Corporation
Wiki: Røde Microphones: http://en.wikipedia.org/wiki/R%C3%B8de_Microphones
Being locked in their embrace was like rising together, to the surface of a deep blue sea. The rapid rise is intense, as their lungs hold on for air, they see above them.
“…I hope she will remember her reason for being…” Fragments of memory, bolstered by their sensory recollections of each other’s bodies rush through the Thalamus lines and to the Cerebral cortex of their brains to heighten experience, and expose awareness like the air they breathe as they surface, side by side.
Afanasy sees in the skies, a cluster of debris disperse from their gravitational formation as they enter the SFD’s atmosphere. The shower of burning debris light the landscape brighter than repeated flashes of Staccato lightning.
Little Lazoo remembers stories of the InterDimensional battles his father had told him. Bits and pieces of the end-to-saga, which he had forgotten about, come to him. The last time he read the work was when he was about nine years old, the same age James Elton an illiterate, was when he was dragged away from his mother Janine.
“The AMD, the AmalgaMension Dimension, is where we’re heading.” He says to her, as she looks down at where their bodies meet.
He lifts her face up so he can see her eyes, by gently touching her chin.
Little Lazoo looks down on the two people, he feels the hat he holds onto, and another image flashes before his eyes. The look of arrogance is gone, replaced by one of confusion that now becomes one of anger, as his body almost lunges on its own at the RAT who is smarting from thinking Little Lazoo is still lost.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Memory: http://en.wikipedia.org/wiki/Memory
Wiki: Thalamus: http://en.wikipedia.org/wiki/Thalamus
Wiki: Cerebral cortex: http://en.wikipedia.org/wiki/Cerebral_cortex
Wiki: Brain: http://en.wikipedia.org/wiki/Brain
Wiki: Experience: http://en.wikipedia.org/wiki/Experience
Wiki: Awareness: http://en.wikipedia.org/wiki/Awareness
Wiki: Staccato lightning: http://en.wikipedia.org/wiki/Lightning#Staccato_lightning
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“Man! It’s Da Hood, himself…” The voices drift in and out of Le Mac’s radar, as he lays on his back staring into space.
“Where did you hear that?” Le Mac questions the young gang bangers that stand over him, looking down on the apathetic body.
“Le Mac, on his back, ah?” Their weapons flung about the place disturb his view of the sky, which he should be able to see stars in.
He looks up at the group of four lost young men and applies his formula, accounting for their futures. One of them will succeed if any of them make it beyond the age of twenty one. Two of them will die in a drug or gun related incident, and two of the young men will definitely end up doing time.
“Lazoo wouldn’t come to save your black ass, would he now?” He drifts back out of the standoff as the Hispanic looking one taunts him about his association with James Elton, raised by the Aryan Brotherhood.
The metal they wave about as they discuss Le Mac’s choice of company and his credentials catch lights of passing vehicles. The shinning, almost like the light that comes from when one is discharged, Le Mac notices as he continues to lie there looking up at the black sky.
“LMLA-ink changed the face of entertainment, by introducing the story of stories near the beginning of the Millennium,” An African American says.
Le Mac drifts off into the past, to a place not far from where he lies….
Alfario Da Hood and Tone Horroh round the corner; Da Hood dismantles the piece and heaves the parts of the weapon into the air. The metal landing in the distance makes Horroh nervous, “That non biodegradable shit comes back years from now to bury your ass.” Da Hood looks at him, “Go like this,” he points to splattered blood across his friend’s forehead….
PART 2
The Guy’s subtle way of implying something, or shading a name, in various light to bring out a desired affect, was one of the many reason’s why John Reyer had agreed to let him lead the way.
Today’s risky move of including an energy giant, not always seen in positive light, but in Chapter 39 - Part 3 of GUIOPERA II, the Guy had given the brand, an opportunity to introduce itself as a new entity, to a new generation living on Hope of a better world.
Sunday morning and the last day of the weekend, which was not as productive as he had wished it would be; John Reyer assesses his output for the weekend.
Lize had shown up just after midnight for a coffee on her way home. The interlude had served little to explain to him, his confusion surrounding the Guy & Girl’s relationship.
He checks his phone for messages and finds one sent at three am:
I have taken for myself the title —luckiest man alive— to have the most beautiful girl in the world wake me up in the middle of the nite to let me know she loves me. Sticky date in westend on a lazy sunday afternoon is next. Sleep beautifully knowing i will love you forever…. Xx.
“Best friends, ah?” He had said to the Girl, and “I have to love me,” was Lize’s reply.
John Reyer looks at the time and then lists what he has to do today. Gym, advise landlord that he’s moving out, arrange with new landlord time to drop of deposit, and meet Lize for Sticky Date Pudding in Westend sometime around three.
John Reyer has a conversation with John the Landlord who emigrated from Serbia, about moving out of the apartment, and into cheaper accommodation, which he had already found; a place with three blokes, in large five bedroom house complete with a swimming pool.
During the ten minute chat John Reyer tries telling the landlord, the Guy cannot afford the rent, due to a few months of frivolous living beyond his means. In the end kind hearted landlord advises John Reyer that as long as rent is paid on the next pay day, he’ll give the Guy time to catch up on arrears.
John Reyer considers the offer, as well as the landlord’s advice to find someone to move in to share the rent. He also thinks about finding someone to take over the contract which ends in May 2010, which the landlord had reluctantly suggested as a last resort.
“You have to stay till May until your contract expires. I don’t want this to go to the solicitors, John.” The landlord’s words, especially the term “Contract” rings in John Reyer’s ears.
He makes a mental list of things he wants to use Lize as a sounding board for as he looks around the place he already is becoming attached to.
A txt from Lize, suggesting they meet at South Bank instead of Westend is met with an enthusiastic response from John Reyer.
“Meet at the Ferris wheel at 3sh ah?”
One of the Guy’s habits begins to play havoc on John Reyer’s sense of responsibility. His smoking is not only making him feel physically ill each time he does it, but as a figure who people notice in his everyday life, it is not a good look. The other one, is the Guy’s crossing the road wherever, and whenever he wants to, a most irresponsible act in the face of who maybe watching, children especially…
Around three o’clock…
As she walks down the footpath, heads turn for various reasons. She brushes her thick hair from her face, to see people on the pavement looking away as she meets their glances, with her self conscious reaction.
“Lize M,” John Reyer says to himself as he waves out to her…
Upstairs at the Plough Inn in a corner their conversation ranges from the numerous men that hound the Girl, to where the Guy is going to live…
After a drink, they decide coffee is in order and they make their way to a café overlooking the Brisbane River.
“In the past people have mistaken what I do for using them.” John Reyer explains his way of trying to help people.
Lize nods her head as he touches on a subject she is wary of.
“When do you want your first brief?” “Around the time, I move back home.” Lize responds.
“It’s going to be cathartic, therapeutic and not a chore, Lize. I give you the storyline, and when you feel like it, you write the part. Like writing a diary, a part can be done in minutes. Let the story permeate and when the time is right, it will come…”
Home safe and sound
John reads the txt from Lize, as he thinks back over the afternoon and then the evening.
The story and ending to GO2 comes to mind, along with the interview with Lazoo.
He slows his heart rate down as he focuses on the color orange, while listening to his breathing only, till he can hear Lazoo’s pattern of the F3quenZor.
“Be straight with Tyler, no theatrics, I’ll set it up, you just ‘Talk Loadish, and then everyone takes home a story.’ Be yourself!”
He lets his brain’s waves fill the F3quenzor, as he feels his heart beat begin to rise again.
“Good luck! Little Lazoo, Le Mac and Missy need you. Afanasy is there to support you brother,” are John Reyer’s last words to John James Lazoo who must represent the crew for a Press Release Interview which its success, this year’s GUIOPERA relies upon.
PART 3
One of the falling objects hits the surface, and a million objects seen in the SFD’s atmosphere flee along the ground.
They inhabit dead bodies and then flee from them as the spirits seek souls to have.
In the middle of the alley way Afanasy senses the arrival as the dancers around him begin to congregate in the way their limbs respond to the rhythm in the same way.
Eager for the dance to happen, their eyes gleam with intensity from their bodies filling with the energy.
On the edge of the lane, two people still caught up in the moment...
“Once every two Millenniums the path to the AMD opens up at the Dimension forks.” He says as she raises her head to look into his eyes.
Her eyes are filled with tears, she now feels running down her cheeks. He touches her face where a tear streams, and looks at the evidence on his finger.
He senses there is more to the tears than them seeing each other again.
He looks up at the balcony, and sees Little Lazoo, Gene Reyer, and then the RAT as they begin to rally for the imminent showdown he had dreaded.
“We can forget about the past. There’s every chance we can make it back to the MMD, together. But we must leave now, the shipment from the AMD means the forks will open up soon.” His voice is calm, but its message for her is confusing, since her mission is here in the SFD.
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“We’ll let it roll if you remember us, ah? Old man?” One of the Gang Bangers looks at him down the nozzle of his piece, as he turns the firearm feeling which angle suits him.
Le Mac’s hand covers the marbles that move as he rolls his hand forward, and then backwards, making the young guys on edge look down at where they see a flat hand on the pavement.
A carriage passes by, a Christmas tune escapes from the open window, “I’m driving home for Christmas…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=bnvHbBK9J_8
Wiki: http://en.wikipedia.org/wiki/Chris_Rea
Wednesday evening, John Reyer accounts for the day’s events…
It began with an interview for the job in Data#3’s Managed Services team, as Team Leader of the desktop support team at Queensland Health, which was a relaxed affair between him, his new manager, and the Service Delivery Manager who he will report to if he was successful.
Reactions from colleagues around him lead him to believe that maybe the Guy wasn’t doing as bad as appearances had led him think. Or, was it the neck-tie and the monkey suit that were responsible for the light hearted remarks which he responded to with a bashful smile.
The list of things to do, to keep everyone happy, and create a smooth transition to the new role, if it happens is piling up. On top of that the interview with John Lazoo, and its meaning is beginning to fill the F3quenZor.
A quick look at HP OpenView, the Service Desk management system, he will use in his new role, brings some relief and a well needed diversion from the creative pains he agonizes over.
Next morning before the sun, and before the F3quenZor, he boots up the machine, which will need replacing sometime soon.
The email from the Girl is carefully written. In the note, the strong woman confirms her individuality and also makes the Guy feel needed, without making the busy person feel cramped.
John Reyer sips coffee as he decides to skip the Gym this morning and take an early bus to work for a second day in a row.
Friday afternoon…
The sun shines down on him as he flips the lid off the well earned beer. On the balcony at Ingram Micro, John Reyer assesses the week while the Christmas party warms up.
He is relieved at how he handled the news that he was unsuccessful for the Team Leader role. And he is pleased with how the Guy had at least made an attempt, to show himself and everyone that he was willing to get involved…
“Load Windows 7” onto the Toshiba NB200 —Mini Notebook,— he had won at the Ingram Micro party last night, he tells himself.
The F3quenZor hums and then he hears the distinct pitch from one of the nodes. The interview with Lazoo is today’s and tomorrow’s task.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Hewlett-Packard (HP): http://en.wikipedia.org/wiki/Hewlett-Packard
Wiki: HP OpenView: http://en.wikipedia.org/wiki/HP_OpenView
Wiki: Ingram Micro: http://en.wikipedia.org/wiki/Ingram_Micro
Wiki: Windows 7: http://en.wikipedia.org/wiki/Windows_7
Wiki: Toshiba: http://en.wikipedia.org/wiki/Toshiba
Wiki: Task: http://en.wikipedia.org/wiki/Task
Little Lazoo notices the chugging rhythm from TIMBALAND’s brain, as Jay-Z’s “…TIMBALAND, where Missy at?” Makes Little Lazoo want to do more than just stretch his neck left, and then right.
Gene Reyer II’s back as he heads down the stairs and into the sea of bodies is one of the targets Little Lazoo sees.
The RAT looks at him, and Little Lazoo looks at the ground, “Come on,” Lazoo points to the stairs.
Little Lazoo’s anger; in the way he scrunches the hat in his tightly clenched fist.
Afanasy touches the sleeve of his suit, making sure his energy levels remain at ZERO for the time being as he watches Little Lazoo make his way down to the ground.
A glance to his left and he hears a different song coming from where the Guy staring back at him, holds the Girl in his arms, the look is synonymous with vengeance.
Afanasy begins to feel the Guy’s intent, —the ferociousness in the Guy’s eyes. Afanasy begins to question John Reyer’s sense of Justice; about to be unveiled in the ensuing scene.
The ingrained melody and action theme fuse as the undermined and often maligned storyline’s thread’s become one in the nightmarish setting.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Lobster & Shrimp” by Timbaland & Jay-Z
YouTube: http://www.youtube.com/watch?v=1niTSAD8tXI
Wiki: Timbaland: http://en.wikipedia.org/wiki/Timbaland
Wiki Jay-Z: http://en.wikipedia.org/wiki/Jay-Z
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Kota” by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
The murky edges of the scene become clear, as he wants to see more.
A young boy of about seven or eight years of hard life, looks clean and like any other kid of his age.
He pulls the starched collars of his white shirt together and smiles while he looks up at his mother, who hands over the little money they have; placing the ironed notes into the plate being passed along the row.
The boy looks down at his clasped hands and then he straightens his arms.
His mother notices his actions as he looks along his arms aimed at the ground.
Her hand that touches his arm is warm, making him fold his arms, as the choir begins the Sunday service. Their blue robes with yellow sashes sway, this way and then that a way.
Gospel music fills the church, where many people come to escape, and seek refuge from the hardships of life in South Los Angeles…
“The Wealth of Riches.” Was the theme of the minister’s sermon today.
As the boy stands at the top of the steps watching the congregation mingle, he notices a shinny black car cruise by slowly.
Young men a few years older than he is hang out the window, their colors and labels on show for everyone to see.
The preacher’s message becomes a Paradox to the young boy looking for role models.
The little boy notices another young boy see the gleaming vehicle, and then the other kid’s father quickly puts an arm around the kid, cradling the boys head, shielding the fortunate lad’s view of the Gang bangers.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Stomp” by Kirk Franklin - (with God's Property)
YouTube: http://www.youtube.com/watch?v=kC8DmUDB_HM&feature=related
Wiki: Kirk Franklin: http://en.wikipedia.org/wiki/Kirk_Franklin
Wiki: Gospel music: http://en.wikipedia.org/wiki/Gospel_music
Wiki: Wealth: http://en.wikipedia.org/wiki/Wealth
Wiki: Paradox: http://en.wikipedia.org/wiki/Paradox
Wiki: Church: http://en.wikipedia.org/wiki/Church_(building)
Wiki: Religion: http://en.wikipedia.org/wiki/Religion
Wiki: Gang: http://en.wikipedia.org/wiki/Gang
Tone Horroh keeps his head bowed, as the shadow cast by the person they call Da Hood pulls the chair back from the table.
Feeaz Fontain’s insistence to write everything he thinks of down on paper is shameless, even in the environment they are in.
Da Hood pulls at the LAKERS top he sports, fanning his wired body, while he studies the unlikely appearance of the two Guy’s in cheap dark suits, who he is here to meet.
Both shaded in color, the one scrawling looks European, and his habit is beginning to make the African nervous.
“What’s he writing about?” Da Hood asks anyone including the two man mountains covered in traditional Samoan tattoo —Pe'a,— who stand against the wall of the small office.
“He’s writing about us. You, me, the world we live in.” The one doing all the talking has an accent. His approach is direct as he stares him down without arousing an argument.
“What do you want with me?” Da Hood becomes edgy, at not being able to piece together the puzzle that began earlier that day when he read an advertisement on the bulletin board at the film school, looking for a “Director with a Voice.”
“There’s the American dream, well worn, having been dreamt by every man and his dog. And then there’s the New American Dream.” Horroh’s tone is both instructive, and calming, somewhat soothing to the young African American’s curiosity.
There is silence in the room.
“Are you OK, Afamasaga?” one of the burly characters against the wall asks the islander as he massages his temples.
“OK.” He says as he reaches for the floor and produces a knapsack which he places on the table, and then he waves for two men standing, to leave the room.
He opens the knapsack spreading the sack cloth across the table. A bundle wrapped in old fabric sits in the middle of articles that seem at odds with each other to Da Hood.
A switch blade, seven marbles, postcards tied in red ribbon, two orange envelopes, candy wrappers, and a broken bone.
Feeaz Fontain stops writing and sits back, placing the pen on the cloth.
Tone Horroh carefully pulls back the fabric which covers the bundle, for them to see a Hand bound Leather book.
The light above their heads begins to swing, gently in a breezy current that arrives to cool proceedings.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Los Angeles Lakers: http://en.wikipedia.org/wiki/Los_Angeles_Lakers
Wiki: American Dream: http://en.wikipedia.org/wiki/American_Dream
Wiki: Accent: http://en.wikipedia.org/wiki/Accent_(sociolinguistics)
Wiki: Tattoo: http://en.wikipedia.org/wiki/Tattoo
"Watch him..."
They say that only a “Smooth Criminal” could’ve talked his way out of the mix concocted, when for whatever reason the traps were laid by the Whimsical one when he scribed what could’ve been the books of code – LMLA-ink’s Trilogy. Or, an Argumentor so skilled, he created the truth and the lies for both sides to argue.
Frenzied bodies —desperate dancers, randomly grab at frightened members of the crowd,— as they feel the life being sucked out of them as an entity flees to find another shell.
The agitation made of fear and excitement; exhilaration of being inhabited by a spirit searching for the vehicle that will carry them back to the AmalgaMension Dimension is electrifying, filling unfulfilled bodies crammed into the indescribable space.
Gene Reyer II reaches the third step from the bottom and is hit by an entity, the inhabitation is brief, and it does not deter him from telling his side of the story as he points to the buildings behind him to his right.
Gene Reyer II looking more like the lawyer his father named him after casts a knowing look across the lane at a Guy, who knows the time had finally arrived for all truths to be broadcast.
His grip on the Girl he holds loosens as a panoramic view of the Pirate at his computer appears where Gene Reyer II points.
Little Lazoo looks up at the picture, as he pushes the RAT in the back, who has stopped to see the revelation on the wall.
The Pirate views footage of John James Lazoo as a hustler and hitman. He edits pictures of Genisis Jones. And then he opens a window in which Lazoo, alone, stands overlooking the corpses of seven men of different ethnicities.
“Means nothing,” Little Lazoo’s face comes close to Gene Reyer II’s face as brushes by him, nudging him out of the way in his haste to get down onto the lane.
The Girl looks up at the Guy who has gone quiet as the footage shows him uploading files to a publishing company for his reward.
Afanasy feels the control he was gifted when he was summoned to co create a segment of the saga; begin to slip from his grip.
His name sake, a mysterious character in the STORYBOOK, BrocoliFlower, and Polina Rada’s twin who lived only in the SenFenide Dimension in the SystemSpectacular would not have been found dead in a scene where he has to explain his actions.
Little Lazoo’s shoulders are no longer drooped, nor is he indecisive on how he will escape the forgotten place, as he feels the sensation his father must’ve felt many times, having been a medium of choice for the hungry entities that hunt in the dimly lit lane.
But now Little Lazoo begins to doubt the balancing mechanism known as the equilibrium, inside all systems, as he suddenly becomes aware that he is stepping onto the alleyway of demons, again.
His left foot touches the once wayward surface, and he clenches his fists. The hat is missing, and he turns to look where the article is.
On the steps the RAT studies the crumpled hat, and then he brushes it a couple of times and places the item Little Lazoo needs on his head. He pulls the sides of the hat down over his forgotten face, and a dirty smile made of rotten teeth is all Little Lazoo can see.
The demonic figures that stretched from the ground have risen and now stand tall and surround Little Lazoo.
His brain feels like it is beginning to cave in, and the plane on which he, the man in the middle, the Guy he wants to get to, Gene Reyer II and the RAT exist on begins to rotate. He feels as if he is the unenviable Black Sun, which the evil that surrounds him begins to orbit, slowly at first, and then in a teasing manner, the spinning is accelerated.
The figures that dance around him begin to reach for him as the ones beneath the ground did.
A drifter, by nature, like the force he feels enter his body, and then he fights hard to control his breathing, to allow his body to assimilate an entity’s supernatural powers, before he repels the unknown quantity into the void. A mediocre Guy undergoes an inhabitation, as he watches the way Little Lazoo’s body can barely control its entity as the dark brooding character begins to hiss as his eyes redden; his rage from having seen one side of the story…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Smooth Criminal” by Michael Jackson
YouTube: http://www.youtube.com/watch?v=ex30DYwQlHU
Wiki: Michael Jackson: http://en.wikipedia.org/wiki/Michael_Jackson
Link: LMLA-ink Trilogy: http://etfiction.com/
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Le Mac bends his neck to see the shop across the road.
The morning sun reflects off the window making the dirty glass golden.
From his left he hears footsteps in the distance, and then from his right he hears more.
The ones from his right belong to a runner, and they close in on him quickly.
Very soon, the walkway is full people who stride over him, and around him. Every so often someone will accidentally kick him, or shout at him, “Get up you bum!”
Looking up, he sees normal everyday people, looking mighty as they pass over him —driven, as they walk to some place they have to be, or want to be.
He allows himself to flinch as someone steps on his hand that covers Little Lazoo’s marbles.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Homelessness: http://en.wikipedia.org/wiki/Homelessness
Le Mac pushes his doubt to the back of his mind for now, as he looks at what is meant to be the missing pieces to the puzzle.
Metofeaz keeps his eyes on the bundle John Reyer unwraps.
The homeless man leaning back against the tree takes a long swig from the bottle, as Afamasaga holds the article up for Le Mac to see.
He weighs the book in one hand and then in the other. “This is the STORYBOOK, alright.”
Afamasaga looks up at the other two. “Ah, Le Mac? Uh? Metofeaz?” He says their names, and then he looks at both men, waiting for their responses.
He brushes snow from a spot where he places the knapsack down and opens that.
He carefully places the second Hand bound Leather book down next to the first one, and then he produces an orange candy wrapper and a plastic bag filled with dirt to complete picture.
Le Mac looks at the pile of junk and then he tries to hide his amusement, by taking the bottle Metofeaz holds out to him, and puts the vessel to his lips.
Metofeaz reaches behind his back and produces a cassette player, as the afternoon shadows that would exist if the sky were clear become long.
John Reyer stands up to get warm, and Le Mac takes a seat next to Metofeaz whose hand makes a rummaging sound somewhere behind him and produces a tape cassette, which he holds up to the fading light, then he pokes a finger in the hole and winds the ribbon tight.
“So he’s the kid from yesterday, ah?” Afamasaga reaches for the bottle Metofeaz has just emptied, and now the homeless man reaches behind and produces another one.
“The preppy looking kid, with dental work?” Is Le Mac’s assessment of the kid they wait for.
“You said that,” Metofeaz replies as he reaches up for the bottle that has barely reached John Reyer’s lips.
John Reyer ignores Metofeaz’s reaching hand and takes a decent drink, and then he wipes his lips. “Wisconsin, you said he was from, ah?”
“That’s where he said the dirt was from. Jimmy Afra, Haze know him as Lazoo.” Metofeaz finally gets the bottle.
“And he doesn’t read an iota?” Le Mac nods his head, as it’s his turn to reach for the drink.
Metofeaz presses the “Play” button for the Eagles to surround the merry men with the season’s greetings, “Bells will be ringing, the sad, sad news. Oh, what a Christmas to have the blues, my baby’s gone, I have no friends…”
As the carol’s message hits home, they see someone in the distance.
“That’s him.” Metofeaz confirms.
John Reyer thinks for a moment then he waves out the person to come over.
Lazoo pauses as he recalls one of the other two’s remark from yesterday.
As he begins to walk away, he hears, “You didn’t kill, old man Mr Ghettis.”
The words rebound one by one from they were sent and back to where they came, like feedback through a speaker system and a microphone.
“Kill.” “You didn’t.” “Kill you.” “Mr Ghettis…” The reverberation becomes greater than the words themselves.
Lazoo stops dead in his tracks.
His clenched jaw tightens as he looks down to his left.
He looks back over his shoulder at his footprints in the snow, and then along the ground to the foot of the tree, where the man who called out to him stands with his arms folded…
Le Mac looks at the person walking towards them, and then up at John Reyer Afamasaga.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Bells will be ringing” by Eagles (Song Unavailable)
Wiki: Eagles: http://en.wikipedia.org/wiki/Eagles
Afanasy holds onto his left forearm to control the power he requires as Little Lazoo fights to free himself from something no one else can see.
Afanasy senses Little Lazoo’s wrath aimed at the Guy, who stretches his neck left and then to the right, feeling somewhat responsible for the mere mortal, Afanasy moves in.
The dancers and the danced are in the midst of their devilish routine, as the lone creative responsible for the scene, slowly bows his head as he lifts his arms upwards.
Gene Reyer II, with a sword in hand takes a swing at Little Lazoo’s head from behind.
Natural instincts come into play, as Lazoo’s son bends his neck to the left lowering his head for the swinging weapon to clear.
Gene Reyer II steps around the character he is here to confront, and then eliminate.
“That was your one free shot,” Little Lazoo smiles at him.
As Afanasy’s arms reach up into the Dimension, the bodies that surround them lean left and right of an opening through which he steps.
His presence in the middle of the alleyway draws all attention to him as he points to the eastern horizon. The brilliant flash of lighting that whitewashes the Dimension is followed by a gradient of orange and red, as Gene Reyer II, the RAT and Little Lazoo appear in the skies.
The Guy swallows; as he consumes the footage of the three he sees across the lane plotting to lure the entity within the Pirate.
“He’s qualified,” Gene Reyer II points to the RAT. “Government approved,” the decrepit sod nods, “Well what are we waiting for?” Little Lazoo toasts his conspirators.
Little Lazoo hears his own voice, and it makes him shake his head violently in disbelief, as he looks at the man in the middle now facing him.
He senses something behind him, and without a doubt, he swings into action.
He collects the RAT lunging at him from the steps by the throat, and swings him around, for Gene Reyer’s sword to cleanly cut the rodent in two.
Lazoo throws the head he holds down, as the RAT’s face swallows itself, and the hat he thought he needed. The ground opens up where the body lays flat and begins to bubble as it boils itself in a brew of dirty clothes, bones, and flesh, the stench is foul, but there is little time think, as he sees the steel head his way again.
This time he bends his body to avoid the cutter, and then he steps forward taking hold of his father’s nemesis by the arm that wields the weapon.
“I hate being so close you,” Little Lazoo smiles as he holds the evil character in a friendly pose, and then he head buts him, once, twice, and then he looks into the liar’s eyes, as uses an arm as leverage to snap the arm that holds the sword.
“AAARRGGGH!” Gene Reyer’s scream is heard through out the Dimension.
Little Lazoo reaches behind him to catch the sword that has come loose with his left hand, as lets the body clinging to him stand on his own.
He swings the weapon horizontally to execute the last of his demons.
The Guy kisses the Girl’s hand as he lets it go, stepping out of the shadows as he heads into the center of the lane.
Gene Reye’s body is already half eaten by rodents and hyenas, as Little Lazoo wields the sword spelling “X” in the air, making dancers flee.
Afanasy stands in between Little Lazoo and a Guy with no credentials in the subject of combat.
“I can answer for myself,” he says as he walks past Afanasy.
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Jon Le Mac looks out over the city of Rio de Janeiro.
The silk seas white ends roll into the shore, people from all parts of the world line the beach on a perfect Sunday afternoon.
He looks around the penthouse that sits on the top level of the Hotel; just one in a chain of five start resorts throughout the Americas they own and operate.
The plush setting satisfies his materialism, and the knowledge that everything is proper, from the staff to the books satisfy his sense order.
The southerly blows a cool breeze into the room gently hugging his body as it passes through the lavish surroundings.
He thinks of the latest GUIOPERA upload, in which he is laid up on the sidewalk in the year 2045, and he again looks around to see what he has made for himself.
He remembers the last time John Reyer went overseas leaving Lazoo alone in New York.
He recalls what had happened when Afamasaga went to China in July 1997 to setup the China Dream, a spin off, of the New American Dream.
John Reyer looks tired on the web cam; Le Mac makes his mind up as he dials the number.
“Hey.” His response belies what Le Mac knows about his friend.
“How you holding up, down there?” Le Mac sees the aloof Guy he knows well nod his head as he buys time.
“Hard going,” The voice comes clean about the reality he is stuck in, the difficulties the Guy faces in many senses.
“You were meant to shut that fool down and come back to the world. What happened?” Le Mac gets straight to the point.
Le Mac watches John Reyer get up from the machine and disappear.
Soon he is back seated at the machine.
“Are you there?” He says into the mic.
“Yeah I’m here. Where you at?” Le Mac takes a sip of his drink and smiles at the scenery.
“I called to see if you know how John James is doing?”
“All the bad influence is gone now.” John Reyer’s voice is pensive.
Le Mac is quiet.
“Hey I see you nodding.” John Reyer’s smile comes through the speaker.
“He’s there because he’s the real deal. Not because he brought us all this.” John Reyer continues as Le Mac switches off the web cam and heads inside.
“Do you really think that I would do that to his kid?” Le Mac asks about how things appear in the GUIOPERA right now.
“One day when we’re there, I guess we’ll find out, ah?”
Le Mac runs over John Reyer’s last words as he hears a click, and then a disengaged signal on the speaker he stares at.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Rio de Janeiro: http://en.wikipedia.org/wiki/Rio_de_Janeiro
Wiki: Webcam: http://en.wikipedia.org/wiki/Webcam
A boy who was discovered at a very young age on the sidewalk looks at where he is as he prepares himself for the final leg of the race that began on his birthday back in September, his first one without both his parents, not that the annual event meant much to him anyway.
Known for his fondness of heartache and his capacity for enduring torment, sometimes he is deemed a narcissist, for creating all characters in his story as versions of himself —contradicting his shyness.
The only minds he does not read, and words he does not study for lies, belong to those who he wishes were a part of his non existent life.
The future he sometimes sees, when he is not so busy focused on the end-to-end saga, are filled with events that affect everyday people in the littlest of ways.
He runs back over the GUIOPERA II storyline, which now suggests he and his crew have links to elements much more than he would be able explain if any of the unsubstantiated claims about him and his associates were ever to be backed up by witnesses.
He considers that members of the Network he was drafted into before the age of seven, are not as stoic as he is. But then he tells himself the Semi-System made up of normal everyday people like Prime Ministers, Janitors, Movie executives, office clerks, Crime bosses, CEO’s and Judges to name a few, some of them, or most of the ones who could claim they did business with him, have passed on, or they value their positions too much to get involved in his mix.
“I ain’t gonna talk.” He says out loud as he calculates the hours his father had spent agonizing over the truth that hung over his head like a dark cloud.
He accounts for his mother’s endless need to occupy herself with her work, and to care for other’s, because her first born was already lost to her…
John Reyer nails the Guy in an excerpt from an eBook, he will write with Lize…
He thinks back to his conversation with Le Mac, and begins to question whether he had left Le Mac out of the picture as a main character for too long. Then he remembers the lost eBook, the Space Cadet version of Le Mac’s story, and is satisfied that Le Mac had to serve his time for the absurd notion that he had a Space Ship, and for suggesting the Hospital for Insane Billionaires, to name a couple.
But now, Le Mac a half decent guy, who had to use the telephone like everyone else, had the opportunity to change the course of his story.
He hears nagging on the F3quenZor from certain quarters concerned with the lack of intimacy in the dying chapters of this year’s GUIOPERA, and then he carefully tweaks the chapters to allow T-X, Missy, Madeline and Genisis Jones to come into their own.
The GUIOPERA II Action theme stems scenes, while it rids this one of any extras.
The Guy steps, a woman holds her hand out for his jacket, the Pacifican looking figure pulls the lapels of the suit together, making the woman step back.
The Guy does a loop in the air with his hand, and the TIMBALAND sample loops again, and again in his head, as the sight of Little Lazoo taking the moral high ground makes the Guy smile in disgust, “I made you, you fuck!”
Little Lazoo touches his head as the confusion continues, he looks at the man in the middle who seems to be in control.
The Guy catches the sword thrown to him and as he studies the weapon’s shinning edges, he nonchalantly steps to the side to avoid a careless swing from Little Lazoo, who looks around for where the Guy has suddenly disappeared to.
“Little Lazoo! That was your one free shot!” The Guy a little louder than a whisper says in Little Lazoo’s left ear, and when the disoriented character looks to his left. The Guy is in his other ear, “Hear me? Your one free shot, that was it.”
The Guy steps back as Little Lazoo spins around.
“Go like this.” The Guy signals Little Lazoo to touch his ear, at which point he finds blood on his hand.
On the tip of the sword put forward to Little Lazoo is the tip of his ear lobe, carefully balanced, “Might you be looking for this?”
Little Lazoo again touches his ear, “The sign of blood is questionable Little Lazoo, since we’re in the SFD, and not the MMD.” The Guy continuities to pepper Little Lazoo’s brain.
Little Lazoo appears as if he hears the Guy’s voice coming from many directions, or does he turn his head to hear other voices, and not just the Guy’s.
On the edge of the lane a woman begins to question her presence in the scene. Images flicker on the many screens that make the female mind take note. Signs of intimacy laced with intense feelings come at her and then they fade away.
A sudden stream of consciousness floods the Girl’s open mind as she for a moment relaxes from focusing on her state of mind, one that allows her to continue her stay in this Dimension.
T-X finds herself massaging her temples as her eyes adjust to the faint light of the place the shell has brought her to.
“If you’re not really here…” The Sam Sparro lyric leaves her, and as she pries further she uncovers other bits and pieces of her fragmented memory, “…Then the stars don’t really matter…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Lobster & Shrimp” by Timbaland & Jay-Z
YouTube: http://www.youtube.com/watch?v=1niTSAD8tXI
Wiki: Timbaland: http://en.wikipedia.org/wiki/Timbaland
Wiki Jay-Z: http://en.wikipedia.org/wiki/Jay-Z
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Black and Gold” by Sam Sparro
YouTube: http://www.youtube.com/watch?v=eHuebHTD-lY
Wiki: Sam Sparro: http://en.wikipedia.org/wiki/Sam_Sparro
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Stream of consciousness: http://en.wikipedia.org/wiki/Stream_of_consciousness_(psychology)
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
The consignment note said she was “fine, with rough edges.”
Afanasy takes a deep breathe, and pulls back the sheet to uncover the latest model of Terminator – T-X (X).
On the bench is the body of a woman, dressed in the standard white federal property garb. Her long hair is held under a hair net, and her dark eyes stare straight into yonder.
“Comes complete with Suppressors?” Le Mac smiles.
Afanasy picks up the machine’s wrist as he feels for a pulse. He ignores Le Mac’s question whether the humanoid is equipped to attract and house entities, and then he shrugs his shoulders for something to say…
“Just T-X.” Is Afanasy’s short and abrupt response to Le Mac’s list of names for the clone they will commission to collect four entities and house them in the one shell.
“Does Little Lazoo know about her?” Le Mac studies the Terminator’s inventory on screen; a list of components categorized by “Organic” and “Synthetic.”
“A stunt woman, and stand in, that escapes during production, causing a massive manhunt.” Afanasy assures Le Mac that everything is under control.
The Shell twitches as the word “Manhunt,” seems to trigger some reaction in the woman’s body.
Eventually Afanasy’s impolite behavior works, and Le Mac is left standing against the wall with his arms folded, as the creative who LMLA-ink had spent good money to secure his services is away in his own world protected by his Sennheiser headphones.
“We’ll talk again sometime soon, when you’re a bit more chit chatty ah?” Le Mac pokes his head back through the door before he disappears.
Afanasy stares at the body in front of him, till the light on the floor cast by the open door is gone.
The inventory list is long, and the components and their registered trademarks are an eye sore for Afanasy, and so he turns the monitor off.
No sooner had he switched the screen off, the beep inside his ear alerts him of an incoming call; he touches his right jaw at the joint to take it; instantly, her voice brings a smile to his face.
“And so I thought that I would surprise you…” He hears Madeline’s voice in his ear, as he feels the effect of the sound of her footsteps coming through the door —the warm feeling grows outwardly from the center of his body.
The couple, who had been together since the time their memories began, stand next to each other. Both are quiet as they watch T-X slowly come to life, a process that can sometimes take up to a week, or even longer. Or, it can be as quick as finger clap, for a machine or clone to be ready and fit to kill.
T-X moves her head as she scans the space, her sensory unit detects two figures unarmed but both house at least one entity each. The distinct orange of the source can be invigorating for the human or organic parts of a humanoid’s senses.
“We would find each other no matter what.” Madeline listens to Afanasy as he promises her, that if their entities were to find new shells, they would somehow find each other in the end.
Madeline had not really given the idea much thought, but as T-X a character, whose purpose was to take coveted entities, looks at her and then at Afanasy with a blank look, like that of a pet animal, Madeline begins to feel the realism of the new project, her husband had signed up to deliver.
Madeline lets her head rest on his shoulder as he thinks about a list of what T-X might like to have in her memory banks…
T-X watches the way people in the café click their phones. She smiles as people outside SIL HOUSE café on the street rush for the nearest kiosk. The Pirate’s latest upload has just happened, she hears one of her favorite tunes “Holiday” by Madonna, as Simon brings up the txtOPERA “LATEST UPLOAD” on screen.
“The Persona” that’s the word she looks for as the waiter approaches her table beneath the arc. The persona she would put forward during the subsequent interaction from having entered into the diner made famous by John Lazoo, and then by sitting down beneath the arc of the SIL HOUSE café logo, where the illiterate poet tormented many educated people in his play about a boy who was stolen from his mother at the age of nine, by people who wished little James Elton never existed. All this was part of the persona’s back story. If asked about how she created this persona, T-X would not be able to tell you how the persona ended up having these recollections, but she had them.
“No name.” T-X smiles as the waiter waits for one.
She waits at the popular tourist destination, killing time till her flight down to Cuba.
Sensations almost too wonderful for words float about the headspace she is in, as she catches a glimpse of the Pirate in an ad, at the same time she sees Metofeaz Litigatti’s smile in a framed poster to the left of the large screen. The combination go together well with the soundtrack from the movie, Illicit Blade of Grass —S’ Wonderful by Diana Krall.
T-X is lost in a picture of John Lazoo laughing as he looks at Genisis Jones, around the time they first met, as she hears a commotion, she ignores.
Then the front door of the café opens, and her sensor lets her know three distinct bodies have entered the room. She ignores the data, as she wishes to focus on the image of love portrayed by the enigmatic but true to history magic Lazoo and Ms Jones created, captured in the photo signed by both subjects.
Diana Krall continues her assault on the female senses in “I Remember You,” as one of the voices behind her says something that makes her want to look at the person who made the all knowing claim.
“They say two people destined to be together, can seal their destiny when they see that picture.”
Just below the picture T-X sees three men, one of them is familiar to her, and on closer inspection, the one who made the statement and who looks out the window, is none other than the Pirate of Greenwich Village himself.
“Little Lazoo lives under that cloud.” The one T-X thinks she recognizes from some place but is not quite sure where, points to Little Lazoo with a menu, as the Pirate catches T-X looking at him in the mirror.
Little Lazoo notices the moment between the Pirate and the woman in the mirror, and mouths “Do we know her?” referring to the exceptionally attractive woman in the mirror.
“Stunt woman.” Afanasy says as he immediately changes the subject by waving for some service.
T-X’s memory bank recoils, causing her to cough. Her reaction after she has calmed herself is to touch the back of her neck, which makes Afanasy nervous, something that T-X picks up on and it makes her curious as she notices his response in the mirror.
By now Little Lazoo’s fascination with the woman at the next table is obvious. His eyes trace the timeline depicted by the many pictures of Genisis and Lazoo on the wall, and each time he recalls a special moment which his mother had told him of, he glances at the woman, as if her presence adds meaning to his account of the event.
By now T-X’s database has updated her on his accomplishments as a noted producer and action hero. For a moment the human shell and the entities incarnation’s that dwell in the flesh of those who she accommodates allows her to enjoy his attention.
T-X hears a ringing sound in her ears, and then the high pitched frequency modulates into a hum, a few tones lower than the flatlined tone on an electrocardiogram.
“Relax.” The voice says as if it knows the situation she is in.
“John Reyer intervened when the Guy got too cocky,” The Pirate’s comment prompted by an item on one of the few Fan Fiction writers recognized by LMLA-ink in the end, appears on screen.
T-X feels another wave of exhilaration from the connection between her and the Pirate come over her, as a picture of the Girl now a successful writer in her own right appears on screen.
LMLA-ink and John Reyer Afamasaga Acknowledge: “Holiday” by Madonna
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=Rnroc2iac0E
Wiki: Madonna: http://en.wikipedia.org/wiki/Madonna_(entertainer)
LMLA-ink and John Reyer Afamasaga Acknowledge: S' Wonderful by Diana Krall (With Claus Ogerman)
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=6mM2HkNE1nA
Wiki: Diana Krall: http://en.wikipedia.org/wiki/Diana_Krall
Wiki: Claus Ogerman: http://en.wikipedia.org/wiki/Claus_Ogerman
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki:Persona: http://en.wikipedia.org/wiki/Persona
Wiki: Flatline: http://en.wikipedia.org/wiki/Flatline
Wiki: Relaxation technique: http://en.wikipedia.org/wiki/Relaxation_technique
Wiki: Holiday: http://en.wikipedia.org/wiki/Holiday
T-X recognizes the reaction from the man in middle as she now begins to rub the back of her neck. In another flash of staccato lightening, the place where she rubs appears in the southern skies, behind her, at which the character who remains calm in the midst of some mayhem cannot help but look.
“T-X-F777-0X” shines beneath inflamed skin; her registered handle. A quick verification scan of her database shows another handle, “ERROR” flashes, the issue date, and then a deactivation date of a handle belonging to a male terminator.
Little Lazoo sees something else in the skies, as he staggers to regain his balance having again missed the Guy with another wayward swing.
Seven faint lights appear in the heavens and then they fade, as the Guy steps in and connects with a blow to Little Lazoo’s jaw, using the handle of his sword.
“JUST END IT!” is Little Lazoo’s cry, as the Guy steps to his right and this time he lets his right arm holding the sword drop and uses his left hand to backhand the tortured figure. The blow sends Little Lazoo flying, ending up on his back on the steps.
“AFANASY!” T-X’s voice carries, not that she shouts out the name.
The skies fill with white light, drowning the darkness for a few moments.
T-X sees the Pirate as he walks to where Little Lazoo’s body lays limp, only the almost dead man’s head moves as he tries to see what is happening.
The name he just heard makes the Pirate look at the figure in the middle of the lane, who now begins to move his body as he limbers up to a spot not far from where Little Lazoo’s body lands after being hurled through the air.
The last thing Little Lazoo remembers this time, are the seven lights in the sky that fade as he passes out again…
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
His will is all he has, as Le Mac staggers on the road. Cars miss him, as he clutches at his stomach; the gunshot wound bleeds profusely.
He manages to look down at his other hand. He opens his palm, and straining his eyes in the dark, “One, two, three, four…” And then headlights blind his view of the marbles he tries to count. The wind from the swerving bus is enough to blow the frail man to the ground. Only courage, allows him to roll out of the way of a vintage Hummer, like the one he owns.
The darkened shop fronts he looks at from the ground confuses him as to which shop is “Human Indigo Books.”
He summons the last of his strength so he can stand, as the medium strip only a few feet away seems like yards and yards to the ailing figure in the dark.
Images of his past begin to attack his mind, and now he gasps “God! Help me!”
A forerunner to all events is the story being told, in which he is central.
A truck speeds past and pushes him over the medium strip and into the side of a carriage heading in the opposite direction. The collision is enough to send his body into overdrive, causing the much needed adrenalin rush.
He supposes in his desperation as he looks at the marbles in his hand that he is victim of an Unreliable narrator, the fall guy, at the whim of one of Litigatti’s or even his trusted friend John Reyer’s recants.
He reassures himself that he had warned John Reyer of trusting the Guy with the storyline as he sees the sign in the window. The letters H-I-B are highlighted for him, as he hears sirens in the distance.
He straightens his arm and he looks at his target, as he sees the flashing lights of an Ambulance in the shop window…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Unreliable narrator: http://en.wikipedia.org/wiki/Unreliable_narrator
The machinery in her winds into motion, and then her sensor kicks in, the limited display she has come to realize tells her that, “GENE REYER II – TALENT AGENT, PROFESSION: LAWYER…” makes his way down the corridor.
The sliding door sounds his entrance into the cold room with white walls, ceiling, and thin grey carpet made of recycled acrylic,
The mousy character, by nature, color, and statue pulls out a seat on the opposite side of the square table.
“I hope you trip up here was comfortable,” He clicks his gold pen as he opens to a blank page in his leather satchel.
Somewhere between her sensor’s dissemination of his tone, and body language, aided by her developing instinct, T-X chooses to stare back at him in response.
The interview for the Networks will be a laborious event. The post arrest ones with unregistered clones always are. A government marketing tool, or propaganda focused on the interviewer loading the hour long affair, with statements aimed at scaring any tax paying citizen watching, from ever having contact with a humanoid, registered, or not.
T-X looks at the dark screen on the wall, she wants to turn it on, but her system won’t even allow her to do the simple operation.
“What’s my capacity?”
Gene Reyer II keeps writing as he mutters, “The standard Federal level for an unregistered pick up.”
“So you’re my lawyer and prosecutor, ah?” T-X begins to show signs of frustration, probably attributed to an entity that has inhabited her.
Gene Reyer stops writing, and puts down the gold pen. He snaps his fingers twice, and with his left hand he tugs at his left ear lobe. He follows this with, “Gene Reyer.”
He looks at T-X as he requests the caller to call him on his smart phone.
He reaches for his pocket as the phone rings. “Yeah, we know that. But what says she wasn’t withholding more than the one you exhumed…”
Gene Reyer hangs up the phone. “They’re not aware that a mutant can hold more than one of the evil ones.”
The nick name for her kind “Mutant” rings loud in her ears.
“We’re done for now, see you tomorrow for the real thing.” Gene Reyer closes his book and exits the holding cell.
Two people, both with distinct elements walk down the hallway, she recognizes the male one’s voice.
It makes her lightly pull at a strand of hair and as the door slides open, she tucks the loose end behind her ear.
On seeing him in person a second time, his boyish charm begins to work the moment he looks down and into her brown eyes.
The woman with GUY JOHN LITIGATTI AKA: PIRATE. CONVICTED: PETTY CRIMINAL is MISSY EVON – WRITER. PROFESSION: UNKNOWN. LINKS: LMLA-INK.
“Circumstantial evidence, but a circumstance none the less, like one, under which we meet.” Not known for verbalizing his thoughts, the introduction by the Pirate is noticed by the flirtatious Missy, who paws the muscular man’s shoulder. His reaction is to touch her hand for a moment too long and then remove it from his shoulder. Their interaction, giving someone who had just met the two to think that there was more to their relationship than that of writer and his editor.
T-X watches the way Missy’s body turned into the Pirate who sits looking back at T-X with open body language, turns with every moment his hands make.
He goes through bursts of enthusiasm as he talks of the Guy & the Girl. And then with trepidation he’ll recall the Guy’s, Metofeaz, and to some extent John Reyer’s plight from having to perform their craft for money in a capitalist society, that kept their creativity capped, due to its audience’s formularized perceptions of the conceivable, summed up as the “Marketable.”
“With Irascible Trepidation the TRUFUNK soldiers sold their souls for pennies and not gold it was worth,”
Missy notices the line between the two people’s eyes, and every so often she’ll comment on something on the screen, that would hopeful break the connection running through their eyes, and deep into their bodies.
Eventually Missy gets up, figuring this will interrupt their meeting of minds.
The woman who looks to be in her late twenties begins to think out loud of how the baron room should look. “A light green, and flowers…”
T-X glances up at her, and then the Pirate gets up and walks over to where the woman continues to forecast the décor of T-X’s holding cell.
T-X tunes out as the two people stand ever so close to each other in the corner.
He says something and then she nods her head. Within a few minutes, Missy walks over to the table.
“I’ll see you tomorrow after the interview, we’ll do make overs for you and this place, which must be hell to be hold up in, ah honey?” And with that the sassiness in Arley Evon’s daughter comes out as she clicks her fingers for the doors to slide open, for her to make her exit.
No sooner had the door shut, and Pirate exhales in relief.
T-X’s gaze remains the same, as the character lets his shoulders drop.
“You and Little Lazoo’s woman, dangerous liaisons,” T-X lets her thoughts be known, not all of it in consideration of morals.
“How about a leg up, ah?” The Pirate admits. His words sound more remorseful more than an excuse.
“If the truth be known…” The Pirate tries to explain, but T-X places a finger to her lips. “Shhh…”
He touches the tip of her finger, as she is already surrendering. He reaches for the console at the table’s edge and slides his finger down the metallic strip, and the lights react with a moments delay.
He sees his reflection in her eyes fade as he feels her lips with his for the first time.
His sense of control melts away as her mouth opens for him to find her tongue with his. The energy from tasting her causes him to slowly rise to his feet.
Scared that he may loose contact with her, he cradles her face as he moves himself around the table.
Once aligned, standing body to body, his mouth slides down from her mouth and to her neck, where he sucks deep but gently on her soft skin.
She gasps silently, as he takes another slow and tender suck of her…
Her eyes open, before her systems say anything. On screen a replay of her.
A net is cast over her, and then she is surrounded by Police.
She recalls the associated trauma of their stun guns shorting her system as they open fire on her.
The blue light from the news item is the only cover for their bodies on top of the table.
She looks at his back on which half of her body lays over, as her sensor tells her someone has entered the corridor leading to her cell.
He moves as if he too has sensed the intrusion, as she relays what she sees on her display.
“Little Lazoo, he’s carrying something.”
The Pirate sits up, and looks for his clothes, which he finds as the door slides open.
The normally distant character, smiles as he holds up for everyone to see, three coffees.
“I thought a bit of the morning brew, would be good for us.”
The Pirate, with his clothes in his lap, takes one. As does T-X, as she zips up the front of her prison uniform.
The three of them sit comfortably in what most people who had not spent time together as a trio would deem to be uncomfortable silence.
Little Lazoo’s slurping sounds brings to mind a scene from the Bio Pic, which the Pirate was fortunate enough to see just the other day at the production meeting. The Pirate takes a gulp of his coffee and then he places his cup on the table, and puts on his long shorts under the table.
T-X watches the expressions on Little Lazoo’s face change from being happy he is amongst people who have something to offer him and his company, to doubting whether the people he is happy to see are trustworthy; the nuances are noticeable in how long before a forced smile appears on his face after he glances at one of them.
The Pirate is fully dressed, and his hand that conveniently brushes her thigh, is followed by his excuse for why he has to leave, “txtOPERA, must go. You kids be comfortable in the blissful silence, ah?”
The door closes, and Little Lazoo looks at the screen, “Do you want this crap?”
T-X’s response is the same as it is for everyone she despises, a blank stare in between their darting eyes.
“Do you believe you could become the shell that an entity once inhabited?” Little Lazoo’s fake smile is replaced by an almost earnest look…
The Guy feels a powerful presence in the alleyway, as he looks down on Little Lazoo, whose eyes roll back into his skull.
The name he heard begins to make sense to him, as he looks around for the Girl.
He cannot see her anywhere, but then he thinks he sees her further up the lane, as he hears a creaking sound.
Afanasy looks up the lane, as the doors to the MILL begin to open.
A thunderous sound of a million windows breaking deafens them, as the surrounding heavens become a kaleidoscope cauldron, dominated by a polygon formation of seven brilliant lights.
Little Lazoo’s body begins to convulse, as the Guy hears the Girl’s voice repeat what he had told her, “…the path to the AMD…the Dimension forks…”
“Play God, stay here and die again, like a slave,” Afanasy is swift, as he collects the Pirate by the throat and slams him to the ground that shakes.
“I told what I was gifted.” The Pirate looks up at the POINTSLAYER’s eyes that shine like black pearls.
The lights in the sky begin to move as if under the spell of a temptress’s hands. A synthetic chord sweeps them across the Dimension.
The Pirate hears the ingrained melody, as he can see Little Lazoo’s body begin to rise off the ground.
They hear the creaking sound of the MILL doors opening as the rare occasion continues, it makes Afanasy look there for a moment, enough time for the Pirate to pry his way out of Afanasy’s deadly lock.
The Pirate rolls left, and in a windmill action he sweeps the back of Afanasy’s knees with his right foot.
Ironically the last two characters standing in the alleyway find themselves on their backs, and as the music becomes louder; from their lying positions, they flip their bodies forward onto to their feet….
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
Le Mac lies on the anti gravity stretcher, his relief shows on his face as the medic’s summary of his condition is “Stable.”
He lets his head fall to his right to see the gutted shop front, which had exploded like a bomb had hit it, when in fact, in desperation, he had thrown the seven marbles at the window. Some might say it was an act of faith, which he himself for the sake of an interview on a certain type of talk show would admit to. But when the embers die, and the wind has blown the ashes away, the skeptic will probably remain pragmatic.
A passerby watches a news item, the sound carries, “Afanasy Alfabet fights for his life in hospital after being found close to death, in what sources say was a suicide attempt, by the one time pin up boy. An overdose of EE-000-G, the gas for exhuming an entity…”
Reality hits Le Mac, as he is pushed into the Ambulance, top of mind is the Premiere for the BIO pic; only a matter of days away…
He places his hand over the top of her hand, he already holds, as the limo dips down into the car park beneath the building where her holding cell is located.
The Pirate sees the last of the camera flashes through the glass, and sighs, and then he inhales deep for courage as darkness covers them.
Inside the elevator, he switches off the news showing the final interview they return from.
The elevator door opens and they step out, leaving the guards behind. The door shuts, and his pent up anger moves through his body like hot lava, to his limbs.
He pulls her arm, the force swings T-X around in the narrow hallway, she lands against the wall. Her arms splay, leaving her exposed. An arm slides around the small of her back, holding her to him, making the woman feel like nothing can pry them apart.
While he desperately brushes hair from her face, he smothers her with deep kisses in places his lips find skin. Her lips find his in their frantic fight to have as much of each in the little time the have left together…
Her head rests on his shoulder. The arm around her is not enough for him, so he reaches around and brings her closer to him, as they sit on the ground in the corridor with their backs against the wall.
“You okay?” He asks, as he inhales deep, the smell of her hair.
He looks down on her and he sees the way her head moves from his chest and the heart inside it.
He feels something, as he hears sounds of her crying. The tears that run from her eyes and on to his body, he can only wish he could dry, as his feelings become all too much to contain.
In midst of emotion, he hears her, but the words do not register, yet her voice is clear and he can feel their meaning,. And as she gets up and enters into her cell his head slumps from the weight on his mind; he must at least share with her, —the truth— the human in her deserves to know.
The cell transformed for theatrical purposes, is of little comfort to him, reminding the Pirate of who he was now in business with, and what he was turning into each time he uttered a word, which now belonged to Little Lazoo and his company.
He becomes aware of the seconds that run from them, as she crosses the room to smell the flowers, and then pour them a drink of water.
She selects Diana Krall, and slides the light fader to dim. The way things felt when the original text was gifted on the internet coming flooding back to him, the intense feelings deepen as she moves in closer.
“The Look of Love is in your eyes…” He sees her, as he never seen her before. Her finger touches his lips, letting him know, he does not need to say a word…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: "The Look of Love" by Diana Krall
YouTube:: http://www.youtube.com/watch?v=QNp79hF-xZw
Wiki: Diana Krall: http://en.wikipedia.org/wiki/Diana_Krall
A woman in a white flowing dress waves to him, the breeze carries her beauty…
The ingrained melody floats around them as the doors to the MILL continue to open for whom the path to an end is clear.
Little Lazoo’s body lowers onto the ground, the Guy keeps one eye on him, as he has another on Afanasy who slowly steps to his right, as the Guy steps in the opposite direction.
Beads of sweat form on Afanasy’s brow, as he senses his end; from having forsaken his duty by entering into the MindMorph Dimension in search of a join in the perfect scarce loop, of the end to end saga.
Afanasy hears her call out his name to come to her, and the pain of having known the entity in a human shell with bleeding heart, becomes unbearable.
The Pirate, is unsure whether the shell of the Guy he inhabits, is aware of life in the SFD, and its long periods of drought, followed by extreme pleasure and lust that turns to dust, as he is totally devoted to the entrapment Afanasy the controller of the forgotten dimension has lured him into.
Outside the opening doors, the Girl begins to become anxious. She does not believe the Dimension forks is a doorway to an old building, but something tells her the doors that have opened wide, will lead her there,
She watches the two men circle each other, as time is almost forgotten, but a nagging feeling beckons her to enter into the place.
Afanasy, an unknown quantity even to Madeline, whom he had spent his entire life with in MMD with, is still even though he moves.
The Guy, who wears his heart on his sleeve, is ferocious even when he takes a single step.
She hears footsteps from inside the building, a dozen or more entities in unknown male and female shells, dressed in black suits walk towards her. She stands still as they walk around her and down towards the Guy, and Afanasy.
The Pirate feel’s the Guy’s aching body, as he musters every ounce of courage, to help him to the end. The awareness of pain coincides with the doors to the MILL having opened wide. A bolt of lightning hits the spot where he aims to place his foot, and then the patch explodes into flames.
He looks from there to Afanasy, whose expressions change from delight, at having caught the mortal’s attention, to a regretful look overlaid with desperation when he sees the collectors surround Little Lazoo’s body.
Afanasy feels the power drain, as the entities form a barrier around the body of Little Lazoo.
The Guy lunges forward with a swinging arm, which Afanasy takes and snaps. The Guy clutches at the redundant limb that dangles, as the POINTSLAYER back hands him, cutting him cleanly on the face.
Afanasy watches him stagger, blindly stumbling to find his footing.
Little Lazoo’s body again rises off the ground, and Afanasy torches the circle he and the Guy remain in.
The flames rise well above their heads, engulfing the Guy deeper in this dimension. He sees the woman, look back at him and then at the doors that begin to close again.
The entities that carry Little Lazoo’s body begin to move towards the entrance way.
“What’s stopping you, from an end, ah?” The flames appear to lick Afanasy, as he again backhands the Guy, throwing him to the ground.
The Guy suddenly realizes his reward if he beats the controller of the SenFenide Dimension. He sees the backs of the collectors as he lays face down on the ground.
The breeze in which the woman in the long white flowing dress waits begins to gather. The unidentifiable, but luminous figure looks up at the dimension as the collectors with a body come closer to her.
The Guy reaches for the ground in front of him, as he feels his head being yanked backwards.
Afanasy crouches beside the character who changed the plot, as the writer fights pain to remain conscious.
The woman looks at the body being carried past her, “Little Lazoo, will be human,” says a voice inside her.
She looks down the lane, and the two figures that continue to torture each other, send different messages, that hold her from following the collectors who have entered behind the closing doors.
“We would find each other…” The words begin to stir her, as the wind blows her hair across her face, inhibiting her view of him.
She looks up at the sky, as orange dust begins to swirl in the air.
The Guy sees her one more time, as he hears these last words, “…And when life ceases…”
His eye sight fails him as he hears her voice, “…I hope she will remember her reason for being…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Kota” by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
Mr Bublé surrounds the blissful setting, “I’m dreaming tonight, of a place I love, even more than I usually do…”
The phone rings, as he watches her explain the origins of the decoration, she then tip toes to reach its rightful place on the tree that reaches to the ceiling.
She stops, and places a hand on her hip, “are you going to get that?”
John James Lazoo’s dreamy gaze, melts her, even after all these years.
He reaches for the phone and picks it up, and places the receiver on the table.
“…I promise, you. I’ll be home for Christmas…”
Genisis shifts her weight from one leg to the other, and swaps hips with her hand, as she mouths, “You shouldn’t.”
“Why?” Lazoo says out loud for all who can hear.
Genisis’s smile becomes a grin, which turns into a fit of laughter she hugs herself to conceal as she begins to jump up and down so she may absorb her reaction to the way Lazoo, makes faces mimicking the caller.
As she calms herself down and heads to pick up the phone, Lazoo reaches for it.
“Hi, but I’m sorry we’re in the middle of a séance right now. Michael Bublé is helping us contact all Rudolph Valentino’s excommunicated widows with one leg…”
He then holds the phone to his chest, and smiles as Genisis again breaks down, this time she takes a cushion, and hits him with it and then she holds it to her face, as Lazoo continues on the phone…
“Add me to the list, even though I got three,” Le Mac’s voice, in the ear piece, makes Lazoo smile before he cracks up laughing too.
Genisis places the cushion down on the couch, and puts her head to the receiver.
“It’s Da Hood from Rio,” Lazoo says as he holds her head and kisses her on her forehead.
“We want the penthouse in Rio for two weeks in June,” Genisis calls out as she walks back to the tree, “And we love you,” she adds as she takes another decoration.
Lazoo listens as Le Mac gives his thoughts on the list of questions that Tyler will ask in the interview tomorrow.
Lazoo is careful that he isn’t dishonest, but is also truthful, “He’s been calling all day, Tyler has.” Lazoo doesn’t let on that each time the phone has rung; a rare occasion in their home, he has done as he did with this call.
The boyish charm of Lazoo extends itself to many facets of his behaviour, which includes a sense of truth that is literal.
He listens on the phone, until the event, not affected by the caller becomes a bore for him. His mind begins to drift, and only by looking at Genisis can he retain any coherent thought of his immediate surroundings,
He sees Genisis reach for a branch on the tree, her appearance coincides with the way the Christmas carol’s message makes him aware of his surroundings, and his luck having met her.
Le Mac mentions his name, and Lazoo takes a deep, as Genisis holds up a star to him, her explanation is faint, as he hears the hum, which seems to harmonize with the fading melody.
He lets Le Mac finish his sentence, and then he abruptly announces, “Logon”
Genisis looks at him, “Are you sure?”
The sight of him behind the scratched screen makes Lazoo wince, from having known the feeling of being totally isolated, and out there without any backup to rely upon.
Genisis is seated in front of the machine, ready to read what he has written for them today.
“You watching?” He asks Le Mac, “Always,” Le Mac’s reply, makes him feel he is part of a real family, as Genisis begins to read, John Reyer’s latest upload.
Circumstantial evidence, circumstantial thinking that meanders, as it checks itself, before in a circumstantial voice, it implies.
Whether or not, Little Lazoo murdered the Pirate, or had the Pirate killed for whatever reason? His existence is circumstantial, reliant on whether his father murdered seven men in cold blood.
His father’s murder charge, is also circumstantial, hanging on a thread, as to whether the one man play John James Lazoo performed in 1997 just prior to his being accused of the Tongue Murders, is the story in which I write this upload.
When did Afanasy swap T-X’s handle for an unregistered male terminator’s handle, and then swap them back around? Irrelevant!
As I write this upload, I trust that he will do the right thing in the upcoming interview.
Lazoo looks down to his left as Genisis looks at him with an empathetic look for his pain.
He looks at the receiver and then he gently places it back on the phone.
He reaches over for the list of questions on the table.
He walks over to the machine and looks at his friend on screen, who puts on a brave face as he tries to do what Tyler is meant to do.
He hugs Genisis and nestles his face in her neck and hair, as hears bells chime.
“…Bells will be ringing / this sad, sad, sad news / oh what a Christmas / to have the blues…”
Lazoo reaches over for the mouse, and shuts the machine down, as his other hand screws up the sheet of paper with the interview questions…
“…My baby's gone / I have no friends / to wish me greetings / once again…”
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “I’ll be home for Christmas” by Michael Bublé
YouTube: http://www.youtube.com/watch?v=OsVv_O4_kSE
Wiki: Michael Bublé: http://en.wikipedia.org/wiki/Michael_Bubl%C3%A9
WARNING: Chapter is, "Unproofed and uncut by knife in the hands of an editor."
PART 1
“All I want for Christmas…”
The Mariah Carey carol makes the fans scream, as Polina Rada and her daughter step out of the limo and onto the snow covered pavement.
The Superstar waves at the crowd, as she looks up at the Marquee —JOHN LAZOO by LMLA-ink.
“Mommy, will T-X be here?” Polina looks at the girl, and then someone places a mic in her face, “It’s an honor to be associated with this extraordinary story, and John Reyer, Lazoo and Le Mac.” Polina answers the media, as another limo pulls up behind her.
“Cruise!” The media now nearly break the barriers, as they push forward to talk to the star of tonight’s premiere. Little Lazoo’s nick name for the megastar who plays his dad had stuck.
“This is unbelievable,” He lets out, as his perfect smile conceals his nervousness. He waves to the fans, with one eye on the name up in lights.
Inside the theater, who’s who that top the lists, which determine the way the world works, take their seats, as they touch cheeks, shake hands, and pat each other’s backs; once, and then twice, until everyone is satisfied, they had acknowledged anyone, who is someone…
Little Lazoo’s head moves to his left to hear something someone seated next to him says. To his right is Missy Evon, and then Jon Le Mac.
Their faces are lit up by the images on screen of Lazoo during the trial.
Next to Le Mac is the lead actor, who touches the back of his head as on screen a drop of blood runs down the stiff collar of his white shirt. The actor’s partner squeezes his hand, which Polina Rada next to her notices, and then her daughter whispers, “Does it still hurt him mommy?”
Polina had requested for the two seats next to her daughter to be reserved, which now and again the girl looks at.
Little Lazoo looks to his left, and then back up at the screen.
From behind, he looks to be fine. Maybe the uncertainty of how the film will be received causes him to interact with those around him. He touches the left side of his face with his right arm, and by habit he places a hand over his ear to shield sound.
On screen, is the beginning of James Elton’s nightmare as he turns the red tractor around in the paddock.
Imposed on Janine’s little boy, is an image of a man walking through the grass.
Little Lazoo’s head drops forward, Missy notices the sudden change, and looks at Le Mac who leans forward to see if he is alright.
The producer holds his head in his hands as he hears the ingrained melody in his head and in his ears.
On screen the man has a bag of dust; he empties as he continues to walk through the grass.
The orange dust swirls as it flies in the air, behind JOHN LAZOO.
The actor puts his arm around his partner’s shoulder as she nestles her head into his chest.
“Afanasy,” Polina swallows a lump in her throat as she tells her daughter, who looks at the two empty seats. The girl instantly smiles when she sees Afanasy, as a boy standing at the edge of the paddock.
The sun sparkles in his hazel eyes as his hand that seemed to say “halt” now begins to wave.
JOHN LAZOO sees the willow tree at the end of the paddock he remembers well from having tilled the dirt he leaves in his wake.
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=pA8UHeoYHQM
Wiki: Mariah Carey: http://en.wikipedia.org/wiki/Mariah_Carey
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA: “Kota” by Bonobo
YouTube: http://www.youtube.com/watch?v=lTrzTk7vXM0
Wiki: Bonobo: http://en.wikipedia.org/wiki/Bonobo_(musician)
“Afanasy Alfabet Co producer of JOHN LAZOO, which premiered last evening, passed away at around midnight…”
The head lines ring in his ears as Little Lazoo’s fists show their outline in his leather jacket. He nearly slips over on the wet pavement as he turns a corner, on his ritual.
Christmas lights and neon lights mingle, as their meaning becomes clear to him. The sound of his heel hitting the pavement punctuates contradicting statements, from people, and from music he passes, as he walks his route aimlessly…
The marketing coup he could only have dreamed in a nightmare had happened, and now the flood gates would open up at the box office for the Biopic, but Little Lazoo is far from happy. Or, maybe this is his reaction to a job well done?
His head hurts from the beep, as he takes the call.
“Hey thanks for everything.” Gene Reyer’s grandkids thank him for the tribute to their pappy, which topped TV ratings in the week leading up to the premiere of JOHN LAZOO. Somehow there was no mention of Gene Reyer II, who died only days before the WIPEWORLDWIDE launch of the miniseries.
He hangs up and tries to take some comfort, in knowing someone was pleased with how things had turned out…
He finds himself with his right foot cocked against the wall, with his fists still clenched in his pockets, looking at a place he remembers.
A vintage car passes, it reminds him of them.
He thinks back to Christmas day 2020, sitting on the porch of Rocol’s mansion waiting for his father and John Reyer to return from uploading CHAPTER XMAS of GUIOPERA XIII “The FINAL.”
A carriage passes, and the same Christmas carol from Part 3 of that year’s GUIOPERA escapes from it.
Little Lazoo lets his foot drop to the ground. He walks to the middle of the street. The carriage stops. Someone steps out of the carriage, Little Lazoo cannot quite make out the person’s face, but he is not threatening.
Little Lazoo waits for the man to say something, but he is silent.
The tune coming from the carriage fills the scene with a warm feeling.
Little Lazoo blinks, as the man’s shoulder moves, signaling he is about to reach somewhere. Little Lazoo’s hand is already moving from his pocket and around to his back.
A horn blast from behind causes Little Lazoo to leap for the pavement, as the car swerves the other way.
He looks to where man is still standing in the middle of the road, with his hand pointing to the offices.
Little Lazoo looks at the offices, and then he looks back as the man, who gets back into the carriage, and then drives off…
He stands with his back against the glass door, having entered into the place where the GUIOPERA began.
The bar top still shines. Missy ensures the place is well maintained.
He steps forward, counting the steps to the bar. His hand rises just above the surface, so it can feel the marble’s coldness. He walks slowly as he sees himself in the mirrors above the booths; their gold etchings are deep, and dusted.
The last booth is well worn, the velvet cushions are frayed with years of use, but they are not tattered. And as he slides himself behind the machine, the original IBM ThinkPad’s, power light turns itself on.
Life in the SenFenide Dimension has its up and downs.
There bad days, good ones, and days when no one seems to care about the inhabitants of the forgotten dimension.
They say when the writer or the director of events is happy, it rains, or the sun may shine, or it may even snow.
However, whatever the conditions are, they could change in an instant, or within a finger clap…
Today is a perfect day in which a silver car with its top down speeds along a country road. The woman’s hair in the passenger seat flies freely in the open fresh air.
The driver’s profile is not obvious but his smile shows he is content as he slides a disc into the CD player.
In the back seat, there lies a little green bag, which appears to belong to a child and not the two occupants of the car that moves onto a magical ending for this story, and the next, and of all the sagas that unfold in its wake.
He smiles at her as he clasps her hand tightly, and then he wants to see her smile, that he imagines.
He hears the tune he had tortured himself, listening to for years he had spent alone, waiting for her.
“I’m driving home for Christmas…” The song goes as she slides in to be close to him, bringing his arm around her…
LMLA-ink and John Reyer Afamasaga Acknowledge:
Operatic accompaniment GUIOPERA MUSIKA:
YouTube: http://www.youtube.com/watch?v=THcbQyFtCqg
Wiki: Chris Rea: http://en.wikipedia.org/wiki/Chris_Rea
To be Continued...
CHAPTER: Pilot Scences | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29 | 30 | 31 | 32 | 33 | 34 | 35 | 36 | 37 | 38 | 39 | 40 | 41 | 42 | 43 | 44 | 45 | 46 | 47 | 48 | 49 | 50 | An Interview with JOHN LAZOO | X-MAS
LMLA-ink and John Reyer Afamasaga Acknowledge:
Wiki: Wikipedia: http://en.wikipedia.org/wiki/Main_Page
Wiki: Jimmy Wales: http://en.wikipedia.org/wiki/Jimmy_Wales
Wiki: YouTube: http://en.wikipedia.org/wiki/YouTube
Wiki: Microsoft Word: http://en.wikipedia.org/wiki/Microsoft_Word
Wiki: Adobe Dreamweaver: http://en.wikipedia.org/wiki/Adobe_Dreamweaver
"WELLY STORY" | About Us | etfiction | GUIOPERA | STORYBOOK | SESSIONS | Facebook (Contact Us)