etfiction STORYBOOK



Narrative Marketing


The Graphical User Interface Opera is an online story about a story being written about a phenomenon started by a novice writer who has little luck in getting published, so he designs an app—GUIOPERA—to distribute his Emotional Techno Fiction, a brand he’s also designed to market his unique style.

The GUIOPERA is told in an online serial that runs from September 5 to December 25 each year, in which up to fifty chapters or more are written. Each chapter has three parts, each one capable of carrying a thread of the highly entertaining storyline in numerous tones and voices from the captivating and complex characters created by John Reyer Afamasaga. The connective and interactive GUIOPERA imbeds links to the hottest song hits, the leading names in entertainment, and the best known tycoons of the business world, all of them worked wonderfully into the story of our times during the *Trillion Cool* by the creative team, LMLA-ink, otherwise known as Lazoo, Metofeaz, Le Mac & Afamasaga.


ISBN: 978-0-9803486-7-5

The SystemSpectacular

September 5th-December 25th 2010

Timeline | Contents | Pilot Scenes


CHAPTER: Pilot Scene A | Pilot Scene B | 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 | 5.0 | 51 | 52 | 53 | 54 | 55 | 56 | 57 | 58 | 59 | 60 | 61 | 62 | 63 | 64 | 65 | 66 | 67 | 68 | 69 | 70 | 71 | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | XMAS


On screen, Metofeaz Litigatti looks at his Nokia. “The Tourist” appears on the enlarged screen of the Nokia 8110 Reloaded 3rd Generation model, complete with antenna. The ringtone, “Get Right Back Where We Started From” by Maxine Nightingale, brings a smile and sideways glance from John Reyer, who tries to concentrate while Metofeaz begins to fool around.

The Guy sees John Reyer’s nervous reaction as he looks at the crowds on screen that swarm the limo. The crew watches the premiere of WIPE play out in the hyper-3-grid platform. The hypothesis is what they scribe, as technologists are still yet to come up with the means by which LMLA-ink will present to the world the next level in online, in-mind, and metaphysical interaction in the name of Dimension-GAMING.

GEE-LEEZ, the link between the Triads and their Network, is an incarnation of a KUNG FU Master. The Honk Kong lawyer, head-to-toe in black CHARLEY STEVONSEN GO3 gear, salutes Bruce Lee. The background is a myriad of Tokyo’s neon lights, second only to the glow from the fans who are mesmerized by the lightning speed of GEE-LEEZ.

In London, PAGE1 looks more like Johnny Depp than the Pirate himself, as he flicks the collars of his GO3 leathers. He stands at the east end of the London Bridge. The catalyst for our story sneers, and then he smiles for the camera.

The red dot that dances at PAGE1’s feet leads us up in the Tower of London. K-MUZO, a car salesman from Kansas here on holiday with his family, has heeded the call from the Network to pick up his K-1Million and seek out and destroy a leak, which has led to disharmony in the equilibrium.

NYC. Polina Rada, a seven-year old orphan from Russia, arrives at the gala premiere of her “New American Dream.” Next to her are her newly adopted parents—John Page, an office worker, and Santina San Fe, a hairdresser—both from LA….

Another ringtone goes off. “You Don’t Have to Be a Star” by Marilyn McCoo & Billy Davis Jr. “WTF?” John Reyer types as a “Latest Upload” is completed. “Relax. The NTWK is in full swing…” The Guy types, and then he launches their attack….

The Guy Googles the three words and checks the page number equaling the third and last numbers of The Tourist’s mobile number multiplied by three. Halfway down the page, he spots the URL with the same two numbers and the sum in order imbedded. He clicks the link and finds the most repetitive message and clicks the link most visited. He spots the last part to the syntax Litigatti needs before he can do his thing.

“K-MUZO’s receptor hit it! Up the ante, ah? Send EDM to all three, yeah? Variance based on heart rate; up PAGE1’s by the difference between MUZO’s and LEE’s. Maximum Packet size equal to the minimum they can handle when they’re in the SFD….” The Guy types and then he selects Tarantino’s “Kill Bill” theme. He sees the tension on Litigatti and John Reyer’s faces as they hear the nicked tune come through the speakers. And then he sits back to watch the Whimsical One paint the picture into which he lures the other writers, while John Reyer watches the others following Metofeaz like he’s the pied piper, timing when he will step in and destroy the others with detail and instruction.



Polina’s eyes light up as the woman twirls a strand of hair, which makes John Reyer smile. But then he does what he does when he’s not interested; he looks at someone who passes by behind the woman from the legal team Polina thought would be ideal for John Reyer.

Inside the boardroom, a smile comes across Polina’s face as she listens to the concept for the scene in which she will present CHARLEY STEVONSEN’s winter range this year to the press, with John Lazoo and Genisis Jones. The launch will take place in the park where a runway is being constructed as they speak, which John Reyer points to as the feel good theme for the lavish autumn scene—the launch—begins.

As John Reyer looks around the room, he feels humbled by the talent and the committed players who sit around the table. John Lazoo and Genisis Jones, his most reliable combination; and then Polina Rada, whom he believes will embrace her new role once she gives it a chance; Le Mac and Metofeaz are back, giving him the confidence to keep the dream alive, and the story flowing. Arley Evon, Missy, and Rocol—they sometimes battle with their commitment to the cause when it comes to explaining to themselves some of the decisions John Reyer makes—are here listening to his brief on their roles nevertheless….

He is somewhat less comfortable in the new corporate surroundings to which Le Mac stressed they would have to move for the story to feel the way it needs to, but he can see the trees in the park, so he is okay for the moment as he outlines their plan….


PAGE1 sees the dot on the ground. He casts an image of his alias John Page, an operative in a black CHARLEY STEVONSEN suit, in front of him, and he hopes to high heaven PAGE1 has enough power left so the illusion will solidify for K-MUZO to take the bait and fire his last remaining bullet.

K-MUZO sees the Lazoo-like character walk into the cell, where he swears he caught a glimpse of PAGE1, the “Courier From Hell.” He steadies his weapon as the name of the character and his profile comes up on his visor: “John Page: Network Double Agent. East Affiliate 55% West Affiliate 45%....”

PAGE1 sees the window he can jump through once K-MUZO fires the shot. He sees sunshine and the tops of trees that line the edge to a meadow.

Down in the meadow, Polina Rada lives in the place she writes about in her letters to Alexvale Rokov III, as he likes to call himself.

Little Ms. Rada sees the Siberian Ranges on the horizon, where storm clouds loom. The warm sun that shines down on her will remain if she can sustain the calm she displays. A song that someone suggests comes on, and the melody is instantly ingrained as her hand finds its way across the page.

John Page brushes off the dust on his CS uniform; he stretches his neck, left and then right. K-MUZO’s last bullet had caused considerable damage, but he has still managed to make it to the window overlooking the meadow.

The song “Take A Bow” fills the air as he feels an icy chill come over him again as he realizes the significance of the LeaderLoop. “…But how was I to know which way the story’d go…The show is over, say good-bye….”

Polina turns the page in her book. The cool breeze that aids the page she turns also carries a distant thought of family she has long since forgotten. She writes a few more words to Alexvale Rokov, the little Londoner who has won her heart, and then something tells the Russian orphan of seven years to look around.

John Page holds his side; the wound is waning his strength, rendering him powerless to do a thing. The window to the meadow from this side, in the AMD, is a brick wall. His most reliable cover, the loner, or loser, was lucky to make the leap from the SFD, but for how long before the opposing script coders on opposing teams latch onto the fact and overwrite Litigatti, John Reyer, and The Guy?

The wall begins to move from bombardment in the MMD. Polina Rada lies peacefully writing a letter in her diary. John Page has two options he considers as the soundtrack for Polina’s thread confirms that he is in the AmalgaMension Dimension.

Say your lines but do you feel them
Do you mean what you say when there’s no one around [no one around]
Watching you, watching me, one lonely star
[One lonely star you don’t know who you are]

As the Pirate, he can replicate the STORY in a new GAME, dragging the cast of the one he is in into a new game they will not recognize. Or, he can stay here in the AMD as Polina’s replacement, allowing her to move on with her life in the MindMorph Dimension, where Santina waits for her.


“(REPROW), REPRO—WIPE—or, repro dub—Open Source, with modular language building blocks, allowing gamers to form teams made up of characters and writers. Aim is build the game together as a team to three levels, and then release it online, for other teams either to hack and ruin, or WIPE, (take over)….Winning team is the one who makes the most popular game…Console version is the template,” John Reyer types as Litigatti nods his head agreeing with the concept….

“We’re in.” The Guy replies, pauses, and then adds for poignancy, “Again.” The Guy then sits back and lets John Reyer on screen piece together the story The Guy has never told a soul.

John Reyer, the gifted player in NYC who goes by The Guy’s name, begins to tell the story as he taps a little slower than Litigatti, who having done his bit for now, leaves the new office in the skyscraper.

“Think Jeff Bruckheimer, Scorsese, Peter Jackson. Quentin Tarantino can bet on you, brother. Clooney can cloak the Oceans’ franchise with your work…” The Guy gives his writer with the clearest vision of what has to happen in this year’s GUIOPERA names he can aim to impress.

The Guy looks at the date—Friday August 13—as he considers John Reyer’s request for him to take a break and get healthy for September 5, and then he promises the leader that he will come down within seventy-two hours from now, and only do research between now and the start of GO3.

On another screen, Alexvale Rokov III, the English Superstar, appears on the London underground as he puts finishing touches to a new music video before he joins the crew in the US. Rocol’s response is ignored by John Reyer, as Polina looks the other way.

The twenty-six year old soap opera star, who now has an album that will hopefully launch his American career, looks rugged instead of the nice kid from down the street. His short, dark hair is part of his new look.

Polina has to leave the room as Rocol’s ringtone, “Ring Ring” by ABBA, brings back bad memories for Ms. Rada after having found out about Rocol and Alexvale’s affair.

John Reyer lets Polina go. She passes Metofeaz Litigatti coming in to take over from John Reyer, who has a meeting with Hannibal Ammer, Alexvale’s stepfather and manager, to discuss Rokov’s role in the new segment of the end-to-end saga.

Metofeaz hears Alexvale’s ringtone, “She Loves You” by The Beatles, through the speakers as next to him, Rocol flicks her long dark hair to place her phone to her ear.

Litigatti takes his seat as he sees on screen another crew of hopefuls enter into the scene via the SFD where K-MUZO makes his way down to the Tower of London.

“Let them come; let’s see what they’ve got,” The Guy pops up, and then on another screen, a new scene appears REPRO_dUB—“The EDGE of the Universe.” Litigatti is not quite sure whether the concept is a setup by The Guy since the person who directs them on this mission from Down Under does not tell even his own crew the plot, keeping them on their toes.

“Send in GEE-LEEZ from the MMD, drag the audience, set their delayed response to five seconds. Litter the Thames with their posts once GEE-LEEZ lands and starts running up the bridge and into the Tower, where K-MUZO may mistake him for the enemy….”

Litigatti quickly does what The Guy advises him to do, and then he decides to add a twist of his own.

The Guy sits back and watches the opposing crew do as he expected. Their oversized characters in poisonous colors come out of the walls and the pavement. An army of zombie-like creatures, all with maximum power, line the bridge, and then like sheep, they follow the coattails of GEE-LEEZ, who vanishes into the tower.

“THE PIRATE!” When the name flashes on screen, it makes The Guy stretch his neck, left and then to the right.

Litigatti? Or, could it be the opposition? Someone has taken the bait. The zombies now appear in both scenes, as posts from the audience float up the Thames, and litter the new scene like confetti.

“EM on EDGE,” says Litigatti, who then embeds the YouTube link to “Not Afraid.”

Metofeaz shuts his eyes for a moment as he thinks thoughts of regaining his life. He sees what he always sees, and he hears her voice giving him affirming messages. He can feel the summer breeze, scented by the lilies and lavender it bends, as they bow to allow the cool air to cover the couple in the paddock.

He opens his eyes as he heeds the brief no one knows he has returned to deliver for his freedom.

On screen, he sees the creatures, which none of his crew would conjure, scale the walls of the gray city, by climbing and using spider-like powers. He closes his eyes for a second as he seeks to maintain finesse rather than force, which he can rely on The Guy to enforce, when and if it comes to that, to tame the numerous armies that now outnumber the individual characters LMLA-ink has in the base program of its new storyline—a video game concept it scripts as a thread in the end-to-end saga.

The Guy chooses to let the whimsical one use his poise to deal with the zombie army, a guerilla outfit, militias, troupes of wannabes, and teams in dark suits in both scenes, rather than trigger one of the booby traps already in the program.

Litigatti locates the signal from John Reyer’s mobile and connects to the device using 3G for a video call. On screen, he sees a dark image, and then, as if on cue, light from the phone being taken from John Reyer’s pocket and placed in the middle of the small table where it spotlights both John Reyer and Hannibal Ammer, the insurance investigator turned stage dad.

The Guy sees GEE-LEEZ and K-MUZO battle as a unit, overcoming easily the feeble attempts of their opponents, as they make their way down the stairs of the tower and out onto the bridge.

As he watches what Litigatti does, The Guy considers stepping in, but then he trusts that one of the original members of the concept, which now gives him a cause he believes in, will do the right thing within the bigger picture, which is the one common denominator all of the crew share, regardless of how they appear to operate within each scene.

Metofeaz sees The Guy type and waits to see whether it changes the way he feels right now. He pays close attention to John Reyer and Hannibal’s mannerisms, and when he doesn’t sense any change in his own heart rate, he feels confident enough that levels have been set for the remainder of this game; he does not even consider testing his threshold as he quickly initiates a scene, by setting up a WIPE of the game where the zombies and the armies originated from and by copying the scene for them to enter into the AMD, where they will fry on entry.

“Nice,” The Guy says as he changes the resolution of the real zombie scene, causing all of them to enter into the one Litigatti set up, as they flee from GEE-LEEZ and K-MUZO’s K-1Million, which shoots flames that cover their flammable colored hides.

“Wild Card?” Litigatti sees The Guy’s suggestion, and thinks about taking one of the fan’s posts and incorporating the idea, or writing in its sender. “Hold on to it, for a tight situation,” Metofeaz responds as he sees the armies and zombies melt as The Guy’s global setting on color for the SFD and MMD, making it flammable, is then reset to “normal” as the last of the enemy’s remains are absorbed into the ground, leaving the grayscale city standing.

The Guy ponders whether Litigatti’s disposition will last the distance which spans 112 days, or 3 months, 21 days, during which time the most fanciful and fantastical writer of them all will have to keep to the script he does not even know. Any tangent Litigatti goes off on will have to be rounded off quickly so as to keep the project on track to setup the next ACT, which will eventually lead to a new perspective of the crew around 2014, following GUIOPERA VII.

Litigatti blocks the messages on the F3quenZor, which the crew has decided not to use during the next four months, as it concentrates on pushing the idea that mobile device usage warrants the data they require, and not only can but should be commoditized for many reasons, including taking control of our destiny and thinking for ourselves as a race that has evolved beyond the limitations that the past places on us as a society. He shakes his head as he counts the number of ways we are enslaved by rules created in cult-like circles by elitists hundreds, and in many cases, thousands of years ago, which hamper the evolution of thinking, thereby hindering humans from expressing humanity toward each other.

“The New OIL—that’s all it is, brother. All nodes on the Network can go now “straight,” be legitimate… we all have data….” Litigatti sees The Guy’s comment and quickly focuses his mind on scribing an upload for the record books as he responds, “…we will add value by rebuilding and strengthening the community…”

“I know what it means to us, but this is about the fans—let’s keep it light; rely on the new crude to tip the scales, ah?” The Guy feels like a hypocrite as he recalls some of his rants from last year.

“No hitting the nut, ah…” Litigatti reminds The Guy about his transmission on the F3quenzor, LMLA-ink’s name for its telepathic relay, which The Guy eventually wrote in his comments.

The Guy sees a new concept on one of the screens as the one millionth fan in the last five seconds gets through as The Tourist on Litigatti’s phone, earning the lucky fan prizes, including a place in a part of this year’s serial, of which for its upload, the fan will take a percentage of the revenue—no less than one million dollars.

Metofeaz manages a smile for the fan as he thinks about the woman whose name still flashes on his phone; he hasn’t seen her since March 2002 and wonders what she might be doing right now.

Metofeaz sits back as he tries hard to collect his thoughts to gather a coherent string of words to continue the storyline; he watches The Guy quickly penalizes and WIPE’s the new characters from the new concept when the Pirate slashes them with broken bones, and then he makes them follow him to the SFD where blood is vapor. The oxygen they require leaks from the castrated characters in the SFD as the Pirate continues to shred the party to ribbons. The Guy then sets the time bomb for the new concept without characters to explode in ten seconds. Litigatti watches the concept blow, and then the screen vanishes….

The Guy then locks down the gateways to their REPRO, allowing the thousand or so other concepts that have come online the chance to build themselves to a stage where they’re worth the trouble to WIPE, or for them to try and do the same to their game, a concept that has gone WIDE RELEASE from having reached the milestone of a daily audience of one hundred million or more downloads over a three month period, making it A grade stuff.

“We want in.” On screen, Hannibal lets John Reyer know that they would like to be involved in the new venture. John Reyer cannot help but scoff at his former adversary’s request. “Frankly, I don’t think any stakeholders would approve of you being involved. You’re here because Polina and Rokov are linked. But even that is now tainted since Alexvale lacks guidance from someone who has any standards of his own.” John Reyer takes a sip of his coffee as Hannibal, a former agent who is no longer in the loop, hears how his former network of associates views him. John Reyer continues as he lays out the criteria for being elected to the new project; one of the threads this story needs is “Minimum requirement of having a say in making the new OIL is to be a CEO of a Fortune 100 company with a clean track record or a doctorate in a field we need to research or the equivalent work experience.” John Reyer pauses as he reads what Hannibal’s thinking, and then answers the question Hannibal was about to ask. “LMLA-ink can, without prejudice, process the crude data for all approved suppliers into A grade stuff, and we’ll set up new processing plants for territories all answerable to the stakeholders…”

That was all Litigatti needed to hear; montages of her and him on holiday flash in front of his eyes —the place he has to get to—as he closes them to regain composure. He opens his eyes and selects PART 1, in which the thread is Polina’s story set inside REPRO-dUB, and he scans the page to remind himself where the story is at. Then he finds PART 2, in which Polina’s real life today is the counterbalance to the sci-fi script of the video game. Finally, he arrives in the place they are at, building an idea that can be Conceptualized, Visualized, Realized and then Capitalized upon, for the sake of all mankind, using the Internet to share the plan, which will bring sustenance and goodwill to all, today, and beyond tomorrow.

“Litigatti is back, and knowing him, he has his own agenda, which I trust considers the greater good. Question is what will happen if he feels that telling what actually happened to Polina’s parents is what’s required?” John Reyer’s question to Hannibal is like a shot of adrenaline to the heart for Metofeaz, who displays the effects of the rush he gets by stretching his neck muscles left and then right. As he hears the foil he requires to mask his motives, he sets his sights on the task that lies ahead of him.

Hannibal’s nervous twitch, which is an unwittingly crooked smile, says he’s speechless at how John Reyer openly drills him on record, being transmitted by the phone that lies on the table in front of them.

“By the way, Rokov appears in PART 1 only, and if we write him in, he gets standard upload cut as any other player would, and his album waits till after GO3, and then he can release it. Or, he can release it now, and we ignore it till it makes the charts.” Litigatti shows his approval of the plan for the person who broke Polina’s heart.
Polina appears outside the lab as Rocol continues to talk to Rokov on the screen that Litigatti now minimizes as Polina walks in the room. “Rocol, we have a session, if you don’t mind,” Metofeaz tells Rocol as he rewinds John Reyer’s last statement and turns the volume up, eventually causing Rocol to leave the room.

The Guy watches on and resists the urge to twist his leader’s statement, which makes John Reyer appear less than fit to be a part of the project to develop the new OIL, having let personal grievances of his crew, which could be managed internally, form the basis of his decision to minimize Rokov’s involvement in the story. But then when he considers the circumstances under which agent Hannibal has contacted LMLA-ink directly to have his talent Rokov placed in the GUIOPERA, John Reyer’s decision becomes the right thing to do.

The Guy looks at the cluster of names and brands for the chapter, including one of LMLA-ink’s marquee characters, Polina Rada, whose story creates both the Fabric and Protocol layer of the channel. He sees the figure in the music video paused. The character in it is poised to enjoy one of his biggest downloads for his creativity and commitment to the cause.

Next, Litigatti selects the partners for the Piping layer—brands powerful enough to quash the one-man band, but that choose to uphold the freedom of speech. In order of merit, they are Microsoft, YouTube—for the platforms that make the story possible in its interactive format—and then Samsung, which furnishes the free music download.

Lastly, the brand that is awarded the scene for its support is NIKE, whose footwear appears in the opening track to this year’s documentation of the SystemSpectacular, making up the OBPNIE Cluster, which Wiki will confirm.

Litigatti looks at the date as he clicks “Play.”

MobileAdApp OBPNE Cluster

Emotive Entitlements

YouTube: "Not Afraid" By EMINEM

Fabric Channel Partners

Intel Corporation
Microsoft Corporation

GUIOPERA III Pilot Scene B :


Down under, August 16, 2010, The Guy watches “Give It To Me,” by Madonna, featuring the producer Pharrell Williams on YouTube. The Guy’s part in LAZOO 2010 was complete. John Reyer and John James have agreed with the blessing of Polina that he, “The Guy,” will helm and lead-write the third and most spectacular GUIOPERA to date starting September 5th, aptly named “The SystemSpectacular,” starring Polina Rada….

He has found a brand new lease on life, given to him when John Reyer suggested he write Book 1 of LAZOO 2010 the Kindle Edition, reacquainting The Guy with the memory of Lotte, the muse who for him inspired all the stories, which have been confirmed as his.

The fact that someone overseas masquerades using his name doesn’t really matter to the enigmatic creative who strings everyone along so well—audience and even members of LMLA-ink.

Rifts between members of the crew were almost all resolved as Metofeaz Litigatti’s whereabouts have been confirmed and he now works on Book 2 of LAZOO 2010. Jon Le Mac still hails from South America, while John Reyer, Lazoo, and Missy still hold the fort along with Genisis, Polina and Ms. San Fé, Arley and Rocol in New York.

The Guy Googles “21 year old Hollywood actress.” At the top of Google is a fan site. The Guy clicks on the link, and in the top right-hand corner is a picture of a dark-haired female by the name of Alanna Masterson. He searches on the name and checks out her IMBD biography. Her television performances—“Grey’s Anatomy,” “Terminator: The Sarah Connor Chronicles” and “Malcolm in the Middle”—feature on her CV. Things are promising as he Googles for images of her, expecting the worst. He looks through the first page, where he cannot even find a pic larger than two hundred pixels. He squints as he clicks page two, and then page three. On page four, he lets out, “Thank God; no fucking porn.”

Windows Messenger pops up. John Reyer says, “There’s only one PAGE1!—Johnny Depp, dude…” And then the widget sinks back down into the toolbar where he looks to see whether there is any further confirmation that he is on the right track for this year’s GUIOPERA.


John Page brings the chair for the person who sometimes calls him “Dad,” depending on her mood. “Wait, Dad!” Her accent makes him think of the many faces that flash in front of his eyes from time to time. Polina Rada runs to the stereo, “Here, use the remote!” Page calls out, “It’s not real.” “Waves they’ll kill us,” she replies as she selects the same song for the umpteenth time—Mariah Carey singing “All I Want For Christmas”—to go with her first Christmas with her new mom, who watches the two carry on, and her dad, who catches her when without notice she jumps, knowing he will be there to catch her. As the Christmas carol begins, Polina stands on the chair Page has lifted her up on. Polina smiles. Then she shuts her eyes and stands on tiptoes as she aims to place the angel on the top of the tree that fills the room with a scent she will never forget.

Santina San Fé can’t stop herself from laughing as John Page has to hold the child to keep her from falling over.

“What are you trying to do by the way?” He smiles and winks at his partner, leaning on the doorframe under the mistletoe. “I’m closing my eyes to make a wish, reaching for the stars, which I will be, as a ballerina.” The child stops and opens her eyes to look at Page as if he should’ve known that by the way she casts her eyes at her toes. “Oh oh. Okay, tiptoes ballerina.” And then Polina continues, “Superstar ballerina, decorating her Christmas Tree! That’s what I’m doing!”


The clock ticks over and into December 24th, 2010. Polina Rada, the twenty-one year old author of the smash hit The SystemSpectacular,” sits on her bed. Her mind is still of the thinking that this is not real as she watches the home video of her and the only parents she can recall on their first and last Christmas as a family on her iPad, with the volume turned off so only the images flood her.

Tomorrow is the final upload of this year’s GUIOPERA, the XMAS Chapter, which The Guy has invited Lazoo, John Reyer, Le Mac, and Metofeaz to co-write with him. It is the ending she dreads but also has waited for all these years.

She remembers dinner tonight with the gang as she sees a shot of The Guy leaving work in Brisbane and heading for the airport to catch a flight to New Zealand to do something he has to do before he can deliver the ending for which everyone waits. 


The Guy looks his usual tired self as he avoids the crowds and finds a place on the train station platform where he feels inconspicuous.

The Guy looks around the woman who listens to Justin Timberlake, Timblaland and Madonna in “4 Minutes,” on her iPod. He sees the train, as he hears a LeaderLoop on the F3quenZor.

 The final upload tomorrow is heavy on his mind as he heads home to the streets where he came up, where he will witness the unveiling of his father’s headstone, a deed he has to fulfill before he joins the crew to climax this year’s GUIOPERA.

“We only got 4 minutes to save the world…” The Guy listens to the lyric, as she appears…

Emotive Entitlements

YouTube: "4 Minutes " By MADONNA
UNICEF (For Madonna)

Fabric Channel Partners

Intel Corporation
Microsoft Corporation


“The New Poet Soldier?”


Sometime in 1989….

On the streets of Hamburg, Lavenda Stevonsen passes another silver Mercedes parked along the curb.

Silvia Rada, Ms. Stevonsen’s friend, has gone into labor. Lavenda, a photographer for a travel guide magazine, is on her way to the hospital at the end of the street to be with her Russian reporter friend since Silvia’s husband, Afanasy, is in the Middle East working as cameraman for a news network.

John Reyer’s eagle eye watches Ms. Stevonsen as Hannibal Ammer arrives with coffee.

Then the two men sit inside a black Peugeot watching the photographer.

Across the street and further up, the Silver Merc in which John Reyer arrived has its back windows rolled down, an odd sight for an unattended and expensive vehicle.

Lavenda reaches for her Cannon, having decided she is far enough away from the vehicle to shoot it, something she knows she shouldn’t do, but she cannot help herself as she hears the LeaderLoop by Lee Ritenour, “Night Rhythms,” on the F3quenZor….

“To your right, five o’clock,” John Reyer tells Ammer to make him look at something behind him, as he knows what Ms. Stevonsen, up ahead, is about to do.

Hannibal Ammer, a CIA agent, turns back around to see Ms. Stevonsen stroll off just as the person he is here to follow, John Page, appears from inside the hospital Lavenda enters. “Fucking rogue,” Ammer comments as he takes a sip of his coffee. “Just playing his part,” John Reyer, a contractor, reminds the agent.

“WOW!” John Reyer pauses before he sips his coffee as the German heiress, wearing a mink stole, hurries to catch up to Page. “Insurance job? Or a stunt?” Ammer asks John about his thoughts on the heiress’ stolen jet, which, some say, John Page, also a contractor, stole and crashed in the Swiss Alps for news money. “Just Johnny, bored out of his brains. Story has it he was wearing the fur coat when he did it,” John Reyer adds to the campfire story as the couple hop into the Merc with the windows rolled down.

“The back windows are down,” says Ammer. His observation of the Mercedes John Page drives away in is met with a handshake from John Reyer. At Ammer’s right, Feeaz Fontain, who arrived in the silver Range Rover at five o’clock, appears.

“Hey, how’s it? Got some mushroom soup for ya, if you want it?” John Reyer reaches across Ammer to shake hands with Feeaz Fontain, also known as Metofeaz Litigatti or Whimsical. Feeaz laughs at the jibe about an incident from when he was a young recruit.

Feeaz is another independent contractor whom the Network has called upon to bolster the team as it gets ready to assist in one of this century’s biggest events. The Network has entrusted John Reyer to make sure all the team members are focused on their tasks and their roles.

Last to arrive on the scene is Jon Le Mac, driving an ambulance with an American woman on board who has gone into labor.

“Nothing like life to reconnect things,” says Jon Le Mac as he leans out of the ambulance window, making it look like he is trying to reverse back up the street. “It’s the beginning, a perfect beginning.” John Reyer makes it look like he’s annoyed with the ambulance driver who has come close to his vehicle.

“She’s having twins; show a bit of heart,” Le Mac calls out to Feeaz, alerting him and John Reyer of his passenger’s condition as he begins to reverse back up the street.

John Reyer, who some say is also the DJ, or Johnny, or The Guy, is not even twenty-five years of age yet, has made the step up from the Rogue Trade and into diplomatic circles after a serious of well-run projects in which he managed to make a profit, something which is frowned upon, but when he donated the proceeds to charity, it all seemed appropriate after his report to HQ. He has quit his job as a nightclub DJ somewhere down near Antarctica to take on this ten-day mission. His paycheck, funded by big business, is handsome, like he is. John Reyer thinks long and hard about his work; therefore, it always seems to go as planned when he decides it’s time to put the wheels of progress into motion.


Sometime in the early ’80s….

The streets of Newcastle, Australia, where Johnny had been training on his own, are nothing like the South American jungle floor as simulated in northern parts of Australia and Papua New Guinea where Johnny, now eighteen, and other recruits from the world over, including a marine, an agent, and an officer fresh out of their respective academies, have been dropped for a twenty-four hour test to see whether they have the mettle to hack the life they have agreed to enter.

The physical requirements Johnny has agreed to be tested for, even though his career path is in sales and marketing and business administration, he believes will make him a more viable option for more projects, if he passes the physical test.

The test’s object is to find out the reason why he is here, then to resolve what he perceives to be the issue, and finally, to deliver a report to the handler with recommendations on how to maintain the status quo. Each result is as important as the next, in assessing whether the player is capable of delivering outcomes that take into account the bigger picture, the greater good for all elements, and the players involved in a GAME.

The ultimate outcome is that, one day, he will be an influential player in a GAME that brings change for the better to the world, as is the aim of the Network he feels he was born to belong to and maybe one day even lead, as Jon Pierre did with distinction….

Johnny looks at his backpack lying on the ground, waiting for him as per his instructions, and instantly makes up his mind that he will not need the bag’s contents, which he tosses into a bush he marks by the sun shining from the east, in-between two mountains he can see through the rainforest’s edge. He decides he will hunt down the other recruits instead….

The next day, standing in front of JPS, Johnny has his backpack on his back. Feeaz Fontain, a marine, is drunk from magic mushrooms, and so are their other two companions, one of whom has a sprained ankle, which Johnny nursed and bandaged. In Johnny’s right hand are all three backpacks, and in his other hand are the other men’s documents.

“Fontain believed I was a native; the other two believed I had found a recruit for a test by the military, a recruit who had become delirious after being poisoned, and drank the antidote —The Magic Mushrooms—Fontain had taken.” Johnny gives his report.

“Have you looked at your instructions?” JPS asks Johnny, who looks at the papers he hands to JPS. “No, I haven’t.” Johnny sounds as if he wants to explain the reason why he hasn’t opened his backpack, but he decides to wait until he is asked.

“Why?” JPS asks as he glances at the documents he is handed.

“A player doesn’t need the GAME. A GAME needs the player,” Johnny looks at the ground and then at the person who supposedly told him one of the rules about the way the Network operates.

Johnny’s punishment for his performance, he feels, is that he is not given any indication of whether he has passed or he has failed. He watches as the support crew arrives and offers food and water to the other three while they ignore him.

He watches on as they are escorted down the path to the vehicles that wait for them, and then he hears JPS, “DJ,” the name of a place he had worked for, the occupation he is thinking of taking up, and in which he takes an evening course, where one of the tutors also has the same initials. “Yeah!” Johnny says to himself, as he says the name again, “DJ.”


T-Bone Walker and his back-up singers sing, “Last Clean Shirt.” The Pirate struts into the restaurant, his wicked smile lighting up the joint in an instant.

“Yeah!” he says; that he is oblivious to who might be waiting for him, or who might be watching, is the impression one gets from watching the seemingly callous person caught up in a web of secrecy.

Some people say it was cocaine
Some people say it was gin…

The lyric rightly depicts the vagabond’s plight since he believes he is homeward bound in this scene as he enters accompanied by the “One” he believes he has finally found after countless wrong ones.

Probably stoned, John Page, and Silvia Rada, who is just as merry as the man she clings to, does a twirl for him, as he holds her finger with a massive rock up in the air.

The character who in recent incarnations had somewhat digressed from his role as leader, feels comfortable as one of the foils for the plot, rather than the one who has to uphold the code’s morals.

The other character created by JPS—also known as Jon Pierre Solomon or the Poet Soldier, the teller of end-to-end saga from the 1930s to 1970s—to carry on his work was Metofeaz Litigatti.

Metofeaz Litigatti, like John Page, was a baby whose parents had been killed in the line of duty. John Page’s parents had died in a car accident sometime around the late ’40s; Metofeaz’s parents were presumed victims of a bomb blast in the early ’60s.

Metofeaz waits on the side of the street under the awning of an empty shop. He sees Page and Silvia enter into the restaurant. He waits to see whether anyone is following the careless characters.

The Guy waits until Litigatti thinks it’s clear before he lets in his pal know he’s here. “Hey, how’s it?”

“Shit!” Litigatti gets a fright as The Guy opens the door of the old shop and steps out into the daylight.

The Guy believes the two players he has cast as Page and Litigatti will do the job in this installment of the end-to-end saga, as John Reyer, a creation of his to whom he’s given his own name, pulls up in a silver Mercedes.

Inside the rental car parked across the street, Lavenda Stevonsen recalls the stories her mother told her of the Poet Soldier, an enigma as far as the Network to whom he was loyal servant was concerned, as the guy in the Silver Merc reverses back into a park.

Across the street, another two guys appear from the shadows. Their appearance on the London Street seems to coincide with the seldom seen sun.

Lavenda knows for sure that John Page, or the Pirate, is the one with Silvia, the young Russian woman she follows.

Feeaz Fontain, according to her contacts at Interpol, is the one with the smile. Tone Horror must be the one who arrived in the Merc; he is the shy one according to the FBI. The other one must be the one the Network refers to as the DJ, or Johnny—real name, John Reyer Afamasaga—who is rumored to be the new storyteller, or Poet Soldier, according to the CIA.

As Tone Horroh joins them, The Guy notices the rental car and the lens inside aimed at them. “She should be in front of the camera,” he says and then changes the subject. “Breakfast and some sense for John Page, ah?” The Guy looks at his crew, Tone Horroh, a hitman from LA, and Feeaz Fontain, already a mercenary at the ripe old age of twenty-two, and John Page who is inside the restaurant, a courier of sorts….

Lavenda watches the three figures walk past; Feeaz Fontain is as nonchalant as his profile. Tone Horroh listens with his head bowed, as the latest incarnation of the man whom Lavenda’s mother knew well is as aloof as the willow that weathers the seasons it witnesses year after year while he talks to them.

Fontain opens the door to the restaurant, as Lavenda winds down the window. “Where’s good food around here?” Lavenda, catches their attention. Fontain looks at her, and then at the guy who continues to talk while ignoring her. Fontain and the hitman from America enter into the restaurant where bluesy jazz spills out and onto the street where seeping sun thaws the night away.

“Good food for the soul in here,” the guy who writes music to relax and satisfy his creative urges says over his shoulder without looking at Lavenda.

“Cry me a river,” says Lavenda, quickly winding up the window before hopping out of the car.

“Rozelle Zofen was his true love,” the kid from nowhere says as he grabs the door before it shuts and holds it open for the spitting image of the French songstress, who is bewildered by what she just heard.

Lavenda watches as John Page and Silvia sway in each other’s arms in the middle of the restaurant to a spotless rendition of the standard, “Cry Me a River,” by Diana Krall.

Metofeaz and the hitman are seated at a table, watching the couple lost in each other.

“Predetextual, perpetual motion extends the story from the tellers and the reader’s perspective, coupled with “Intertextuality,” which nominates the reader as a co-creator of the work, amply describes where we’re at.” Lavenda hears the twenty-one year old guy’s euphemism; he expects it will bring him the respect of the seasoned player, John Page, whom he is here to straighten out.

Lavenda, a few years older, admires his optimism, born of Johnny’s explanatory style—“You are always right, and you are always wrong”—regardless of who is at fault.

The Network’s selection criteria for its leaders remain a mystery. Such is this case when it comes to the role The Poet Soldier, their Semi-System’s mentor, has seen many posers step into, only to be thrown to the wolves, or to be replaced or outclassed by another, claiming to be the real JPS.

The original Jon Poet Soldier, real name Jon Pierre Solomon, had a mix of democratic and free-rein leadership style that worked well during the height of the Cold War, with the protocols created by the agencies from which his adversaries and associates came. Soon, there will be no more enemy to oppose those who use the likes of JPS and his crew to do work deemed too risky for any government employee.

The young kid, who was located by Feeaz Fontain and Tone Horroh down in New Zealand less than seventy-two hours ago, where he was said to be hustling as a street fighter, shows no signs of his gambling addiction, or any one of the many vices attached to that persona.

Lavenda, a resourceful individual, pulls her camera from her bag. It instantly brings a reaction from Tone Horroh.

“John Reyer,” the kid announces as he places a hand in that direction to calm the camera shy hitman.

“It’s a passion of mine,” Lavenda says as she clicks. The flash catches the attention of John Page, who puts a hand up to shield the flashing light.

“Metofeaz Litigatti, found floating on the streets of Venice by Jon Pierre himself,” says the kid, moving on to explain Feeaz Fontain’s story.

“Is there anyone from a burning bush?” Lavenda cannot help herself as she manages to get a smile out of Metofeaz Litigatti.

The kid encourages her cynicism when he smiles and turns to John Page. “The Courier from Hell, or the SenFenide Dimension, or for that matter the AMD, depending on what you fear….”

John Page, a veteran in a world where the untold story is his only hope, looks at the person pointing at him. “The Courier from Hell,” he hears his tag line, and then “SFD, AMD….” The words fade and he feels the heartbeat of the woman in his arms. It’s in time with his; her breast cushions her heart from his, which begins to race, as he realizes the camera is aimed at him after thinking all this time it was aimed at Little Lazoo and Metofeaz, who are seated at the table, waiting for him to join them. And Jon Pierre Solomon is standing with Janine, who takes pictures of him and his wife to be, who cradles his neck….


Polina Rada holds back the tears as she reads the true story about her mother that she never knew. She holds the iPad to her, an unconscious response to the truth. She sits alone in her bedroom, the place she has chosen to be while she reads the copy. Her approval is required before it can become the Latest Upload in this year’s GUIOPERA.

Her iPhone alerts her that the “Emotive Entitlements” for Chapter 1 have been awarded to Apple for its commitment to design incorporating form and function that evokes emotional attachment to technology.

The music for the upload is “Love The Way You Lie” by Eminem and Rihanna, the number one song on September 5, 2010.

“This is so hard for me….I approve.” Polina sends the email to The Guy.

Emotive Entitlements

YouTube "Love The Way You Lie" By Eminem Featuring Rihanna

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Intel Corporation
Microsoft Corporation




In a year marred by Civil unrest, brought on by advocating of Civil disobedience, against a Civil Society beginning to hear a Civil Consciousness, John Page an employee of the phone company faces a major decision, which will change his life forever, whichever path the kid with a bright future chooses to take.

Most things creep up on us, others like the mini-skirt just pop up, and the pleasure we get from them nullifies the shock. And when we come to accept these things as fashion, or a statement against some sort of repression, their rebellious nature, a concept sweeping the world, more than justifies the uproar they create.

In 1965, voices, and the sound of marching feet, abroad, at war in Vietnam and back home protesting against the war, can be heard far and wide. As per the press statement by the White House or the spin from the anchorman inside your living room, or the placards and banners held in the air, so the deaf ears may hear the cry for “PEACE!”

John Page has reached the age that Jon Pierre had always said would arrive “sooner than you think.”

“We fight for Peace in someone else’s country. We riot, and protest in the name of Peace back home. What will we war in the name of, once the people catch on, ah?” The naturalized American still has a hint of his native accent, which he calls a twang. Jon Pierre Solomon muses indiscriminately about the state of the world, as John Page, throws the baseball into his mitt.

Emotive Entitlements

YouTube "Ticket To Ride" By The Beatles
The Beatles


“Watching Over Page”

The Guy watches John Page drift in and out of varying states of consciousness. He and Silvia sit across from The Guy, who has advised both Feeaz and Tone to return to their normal everyday lives while he handles the Pirate on his own.

The decision was made when Tone nearly drowned Page in the restaurant’s kitchen sink that morning. It was Horroh’s answer to bringing John Page around to some place where they could talk some sense into the drugged out character.

That was over fourteen hours ago, and The Guy has lost count of the number of bars and clubs they have visited, as he rides out a rollercoaster of emotions with both John Page and Silvia Rada.

Lavenda has been his source of conversation and sanity as he mimics whomever Page asks him to when the Pirate manages to communicate to him his request.

“Little Lazoo…” Page mutters and then his head slumps onto Silvia’s. “Ouch!” The knock made by their skulls makes The Guy wince, as Lavenda returns from the bathroom.

“Cute,” her hand reaches for her camera as she sits down to take a snapshot of the couple asleep in each other’s arms, as the DJ announces Usher.


“Fist in Air”

"...Cause baby tonight, the DJ got us falling in love again
Yeah, thank you DJ..."

Usher says.

Polina Rada, dressed in WorkCustom MAMBA LEGGERA punches the air, and her friends who dance around her do the same. And now she lassoes the ATMOS as the DJ mixes Katy Perry into Usher.

The dark-haired beauty has a priceless smile on her unblemished face, as her friends follow her actions.

"You think I'm pretty,
Without any makeup on..."

Katy Perry’s ditty gives Polina something to think about. The music, her friends, and the frenzy they whip up together, keep the dark secret everyone knows about hidden in a dusty closet of things no one talks about around Polina.

Ms. Rada chooses to forget the pain that needles her every time it dawns on her that she and Alexvale will not be getting back together this time….

The young woman ignores the idea, reminded by the woman who laughs as she drags one of the young male models onto the dance floor.

Rocol Récene makes her presence felt. Polina decides to keep her head up as she kicks to the beat. Her Trashbag Shoes make her feel somewhat bad—and rebellious—in this scene as Ke$ha says,

"...There’s a place downtown,
Where the freaks all come around..."

Polina breathes through her nostrils to calm herself. Her smile is as bright as ever, but the tears beckon her to let them go. Her friends begin to chant the lyric, and Polina has no other choice but to shout it out. She hears her trembling voice begin to break. Overcome by the events of the past few months, she bows her head for her black mane of hair to cover her face and the tears as her fist continues to punch the air…


Emotive Entitlements

YouTube "DJ Got Us Fallin' In Love" By Usher Featuring Pitbull

YouTube "Teenage Dream" By Katy Perry
Katy Perry

YouTube "Take It Off" By Ke$ha

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Intel Corporation
Microsoft Corporation

Lyrics Provider!



“A Place Downtown”

The fiery balls that orbit the forgotten planet come closer to the land made from dreamscapes, and murmurings of the unconscious ones. The kaleidoscopic view to which the SFD’s tourists and citizens are treated is heightened when the DJ announces, “Take it off. Ladies and Gentlemen, The SystemSpectacular is a fabulous blend….”

The eerie silence that follows is stirring and evocative. It builds the intensity as it reminds inhabitants and those here for a play, why this is the place to be. The bright light engulfs the planet in a flash of brilliance that whitewashes everything, then ends in an instant, leaving people reaching for each other in the dark.

Page senses he has made the cut; he can see the cull that takes place viciously in the dark as the SFD Control Unit finds deviants escaping from justice in other dimensions and slaughters them.

He treads lightly over severed limbs and rolling heads, as they begin to disappear, the body parts, bloodless from the dimension that is void of blood, turning to dust.

“Silvia.” He hears the name, but then he thinks of his cargo he has to deliver. The container has been unloaded. The truck waits for him in some warehouse he has to find before the rats and other rodents eat the produce he will deliver fresh to the markets.

He stands still with the rest of the planet, not quite sure of how his opportunity will be presented to him in this escapade. He feels the heat from bodies around him; their breathing has a calming effect, knowing they too are in the same situation, waiting for their cue for their scenes that may well intersect later since they share the same beginning in this concept, created for whatever reason in the name of a cause he believes in, no matter how it is sold to the masses.

He hears the robot like vocals. It injects adrenalin like fever into the bodies at dawn.

“There’s a place downtown,
Where the freaks all come around.
It’s a hole in the wall.
It’s a dirty free for all...”

John Page begins to step. The lights of Neon City’s Strip in the SenFenide Dimension pulse to FUNKY-SKANK from Ke$ha—Take It Off.

The Courier from Hell lassoes the ATMOS, and a million freaks that line the strip follow him….

Emotive Entitlements

YouTube "Take It Off" By Ke$ha

Lyrics Provider!



“Silvia!” The Guy calls out. His Kiwi accent makes everything sound flat, deadpan, and factual.

Standing at the end of the table is someone, whom Lavenda knows to be Afanasy.

Afanasy can be, when he chooses, quite the menacing looking character. He stands at the end of their table, where he says something in Russian to Silvia. She begins to show signs of life, as she hears the man who, along with a group of other characters, has been watching The Guy, Page, Silvia, and Lavenda for sometime now.

Silvia sits up for a moment, and then she slumps forward onto the table.

The Guy stands up. He does it slowly, lifting his arms so his jacket is open for Afanasy to see that he is armed but he has no intention of causing trouble. The Russian reaches to take The Guy’s weapon from him, showing The Guy whose patch this is.

“Leave it, and I’ll explain to you why I am here. Touch it, and I will kill you before your friends know what happened,” The Guy says in an almost courteous manner, and then he closes his jacket and smiles.

The Russian responds with a menacing smile of his own as he steps back. The Guy steps forward and uses his head to point at the next booth as the place for them to sit down.


“Expletive Narrative Accelerates”

Polina reads the copy from The Guy. She sits, as is usual when it comes to absorbing his work, alone. This time she is in Central Park, where people who recognize her, smile at her, and then they let her be.

His expletive narrative, in which he accelerates the pace of the story by jumping from decade to decade and from here to there, allows her to skim over facts and deal with the nuances which suggest she was born to be who she was.

The people around her, whom she sees as family, include Rocol, the owner of the family business in which she works, whom she cannot believe openly parades her recently uncovered affair with Polina’s childhood sweetheart and penpal from the WIPE story, Alexvale Rokov III.

John Reyer, the person she had heard was someone else, the one she mostly looked toward as a father figure following the death of John Page, was indeed someone entirely different from the man she admired. He has decided to take a few weeks off and leave the country, same as Le Mac and Lazoo and Genisis.

Metofeaz Litigatti, who can always make Polina laugh, doesn’t even try as he approaches her with what looks like food.

Metofeaz smiles at the girl they found in the orphanage at age seven, as he holds up the knapsack for her to see.

“What’s he spilled this time?” Litigatti asks about The Guy’s story as Polina flattens it in her lap, and he takes a seat next to her on the park bench.

“He has one thread this time, stringing it together across all the parts,” says Polina, managing a smile for Feeaz’s sake.

“Very good, Miss; very good.” Litigatti lets Polina know she’s on the right track, and that he is relieved that the move to let The Guy anchor the story for now will allow him to weave his magic on his own, until such time as they have shaken off any pretenders trying to shadow and wrestle the storyline from them.

“You know all this is about you, ah?” Metofeaz unravels the knapsack, and Polina nods her head as she sees the worn covers of the handbound leather books that still shine in autumn.

“The MMD, or here on earth is created.” Litigatti opens the cover to the Poet Soldier’s STORYBOOK. “The SFD, or your subconscious, has also been created,” Metofeaz continues. “But!” He puts a finger in the air as a precursor to what he says next.

“The AMD, or the place where we become congruent, is yet to be realized.”

Polina listens to the words from the man who has had a torturous journey of his own, but who is back with little signs of any resentment toward those around him who, during the struggle to bring the Network’s message to the world, endured much pain and sacrificed a lot to create the balance the story requires for it to continue….

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“Music makes the bourgeoisie and the rebel”


Polina looks at her iPod, and then at the horizon somewhere above the silver convertible’s dashboard. During the long night, she has thought of Sarah Connor and her story. The silence has been sincere to Polina and her sorry tale, but the young woman begins to feel the need for noise as she begins to anticipate the sunrise. A reflex action more than anything else finds her pressing play on her iPod for Madonna to come into the scene, with—MUSIC.

The well-rounded synthetic bass notes begin to pulse and then throb, and the dimensions react in unison as their atmospheres counter-punch the dark place with alternating flashes of colored lights.

Southwest of her are the heavens that those in the MMD look up to; the outer gases that surround the globe are lit up by a torchlike finger that scorch it as it tears a rip in it.

And in the Southwest is the SFD, where the flashing is from Neon City’s strip, where a multitude of minds mesh to create chaos and pandemonium for those who prefer it that way.

In front of her, at the end of the stretch of highway, is a line she can only just see—the Horizon to the AmalgaMension Dimension, her True North.

POLINA RADA waits for the sun to rise at the Dimension Forks. The rumble of the engine as it idles warms the lone star.

Hey, Mr. DJ
Put a record on
I wanna dance with my baby


“Rhythm perpetrates any notion that precedes it. The heart rate increases, and unless the moment is shared by someone with like biorhythms, then what they share is just the air they breathe.” The Guy looks around the table of faces, waiting for someone, with an accent different from his own, to ask a question or pose a proposition that alters the exact meaning of what he offered as his explanation for why some people click and others don’t.

Afanasy and his crew sit around the table in the club that shut some hours ago, listening to The Guy as he keeps them entertained. Asleep in the booth on the seats are John Page and Silvia Rada.

“But we love each other,” says Afanasy, the soberest one of the mob. The Guy looks at Afanasy’s lot, whom at one stage during the night, The Guy thought were truly going to deal to him.

“He loves her,” The Guy says, making a gesture at the Russians with his glass of tequila. “Serum!” The Guy shouts as the ones who try to reach for their glasses knock each other’s over in the process.

The Guy holds his glass to his mouth as he surveys Afanasy’s state over the rim of the glass. Although Afanasy is a foot soldier, The Guy has already noted his leadership potential from how Afanasy had managed to keep the rest of them at bay, when The Guy refused to give up his weapon out of principle. The Guy could not see the purpose once he had talked Afanasy around to letting him keep his protection on in the club, and if he had given up his weapon, it would’ve undermined Afanasy’s standing in his crew.

Afanasy sways while the rest of them are still. The Guy can smell Lavenda’s perfume on his hand where she touched him, when she squeezed his hand after The Guy insisted she leave the club before things got out of order.

The Guy hears murmurs from behind, but he ignores them as he takes a moment for himself and thinks about Lavenda Stevonsen, obviously sent by the Network to help him, or is she part of the Network, which he believes to be weak and without a vision?

Once The Guy is satisfied that he has what he needs from each of the people who are almost asleep around the table, he clears his mind of their messes that he has already deciphered and stored. He then looks around at the booth where Page will do the same thing to The Guy who is ready to block the Pirate’s unintentional attempt at intrusion.

In the booth, he sees two hands linked, and then he hears their voices.

Some say The Guy can read your mind, while others believe he reads the GAME, but most people still like to think of The Guy as a hustler. The truth is, only The Guy himself knows whether his game is based on a bunch of well worked moves, or on the systematic immobilization of any unit, singular or as a pack, that confronts the young operative still learning his trade.


Polina rolls over onto her side and pulls up the blankets to cover herself so only the top of her head shows.

Outside, the sun is showing, and inside the bed she is warm. She listens for the pitter-patter of her little brother’s footsteps, and then she remembers Santina and he are away.

Her dream has been disrupted, but somehow, she knows she will be able to get back to Dimension Forks tonight.

Polina rolls over and finds the spare pillow she has held onto for thirteen years when she is in need of some comfort. It trips the play button on her iPod, and Madonna’s “Music,” continues:

Music makes the people come together—Never gonna stop
Music makes the bourgeoisie and the rebel

Exasperated by what whirls inside her head, Polina is too flustered to turn the music off. She throws off the covers for some air as temperatures rise….

Emotive Entitlements

YouTube "Music" By Madonna

Fabric Channel Partners

Intel Corporation
Microsoft Corporation


“The Party Boys”


Metofeaz Litigatti and John Page line up on the icy footpath outside the New York nightclub. Litigatti elbows Page as the girl with the crucifixes and dark make-up bounces by them and up the steps. Not long after she disappears inside the club, the person they wait for appears at the top of the stairs, where he uses his head to wave them over. People whom Metofeaz and Page know comment on them getting a jump on everyone as the two climb the stairs to a new sound that John Benitez AKA DJ Jellybean spins for the first time, Madonna’s “Everybody.”


“Give it to me…”

Neon Strip in the SFD continues to jump, this time to Madonna, as Pharrell Williams appears on the horizon where the Pirate points. The crowd goes wild. As Page looks for somewhere he can find some peace and quiet, he spots an entrance that could lead to the alley; at the same time, the words to the song take the crowd to another level, yet again:

If there’s excitement
Put me in it

Madonna says as Page reaches the opening and finds it to be an entrance way into a carnival…

Give me the bass line
And start shaking…

As the gates open, Page looks over his shoulder at the fans who follow him.


The Guy looks out the car window as Afanasy turns into a street in Brixton. In the backseat, John Page and Silvia are eating, which keeps them occupied while The Guy tries to come up with an idea that will appease all parties, which now includes Afanasy, Silvia’s boyfriend.

The UB40 song “One In Ten,” about the system, plays; its bass line weaves UK Reggae into fashion while its saxophone hook floats out the window that Afanasy winds down to get a better look at a house number. The Guy looks at the surroundings as he remembers reading about the riots, the most recent one, only last year, and the one prior to that in 1981, the same year as the release of the song that plays.

“That’s it!” John Page, who can barely see the food in front of him, taps Afanasy on the shoulder. Afanasy looks at the character in the backseat through the rearview mirror, and then at the mayo Page has left on his shoulder.

The Guy begins to laugh, and then he points at the mayo and looks at Page. Page’s moustache is covered in mayo. “Table manners not applicable; we’re in a carriage,” Page keeps a straight face. Silvia has a quizzical look on her face. The Guy stops laughing out of respect for Afanasy and Silvia, who may not get Page’s dry sense of humor. “But respect for personal space is,” says Page; his comical thought-process continues out loud. “Does etiquette override mutual respect? Which I have none of for someone who deals in slavery.” Page’s tone turns from playful to sarcastic.

Afanasy definitely gets Page’s slant, but instead of letting it get to him, he finishes winding up the window and gets out of the car.

Upstairs in the South London flat, Page’s arrival makes the party pick up. The Guy looks at the time to remind himself of what he’s here to do and how much time he has to do it in. The Special AKA, The Cure, The Pretenders, take him back in time to before he became who he is now.

The Guy watches John Page, as the Pirate, live up to his crew’s label of being the “Party Boys” of the Network. The Guy sorts out who’s who, looking for Hannibal Ammer, who is Page’s superior.

Silvia Rada watches Page mingle, giving Afanasy the opportunity to talk some sense into the woman Afanasy came to London to find, and now Afanasy himself is caught in the same trap, whether or not he admits it to himself.

The Guy says no to the drugs on offer without any explanation—not that it would make any difference if he were tested, as in his everyday life he now partakes willingly in substances of all kinds as an escape from his reality. But while he’s doing hands-on work, he’ll only indulge if it means his or one of his player’s lives.

Lavenda comes to mind, but he has already told himself nothing will come of it under these circumstances. When he spots two men making out on a sofa, he immediately recognizes Ammer’s aimless look.


Under the arch on the window of SIL HOUSE cafe, Metofeaz Litigatti checks his Nokia for the chapter The Guy has just sent to Tyler for proofing; he has copied Litigatti on the email in case he is needed to write something for whatever reason.

Metofeaz finds it hard to believe that The Guy has managed to stay in character for as long as he has. He finds it even harder to believe that he has orchestrated what he has, the high point being the differentiation of the names or titles from their roles in the end-to-end saga, meaning various characters can play various roles within the story.

The Guy adds another layer to what a character is when he suggests that a character in his story can be a representation of someone whom the character, as a virtual being, is able to create on its own—normally a privilege assigned to the Author of the story. A perfect example would be if The Guy is John Reyer Afamasaga, then, the character known as John Reyer created himself when the former hitman Tone Horroh donned the Author’s name as his new identity, not knowing that one day their paths would meet when a novice writer decides to publish his work on the Internet.

Metofeaz thinks his interpretation through of the new inversion The Guy, a designer, has thrown at them, and then he thinks of his own existence and thinking, which someone might be reading this very moment, and decides to stop messing with his own mind, as across the street he can see Polina, whom he’s here to meet.

“Virtual Being” Litigatti reads the text from The Guy. Metofeaz, or Whimsical, thinks of the years he has spent in the field, and the different setups for which he and the Network have laid the foundations, each one ready to bloom when various concepts mature and it begins to dawn on him whom The Guy might actually be.

Emotive Entitlements

YouTube "Everybody" By Madonna
YouTube "Give It 2 Me" By Madonna

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“The kid from nowhere”

The last thing Polina can remember is slamming her foot on the accelerator. The same foot she now looks at as she wipes both feet on the mat at the front door of some house.

Her clothes are thick, and as she looks around at people out on the street shoveling snow, she is thankful to be well wrapped up in them.

Her attention turns to what’s behind the door where she can hear shouting and then screaming. But from the looks of the mess on the veranda, this noise may not be out of the ordinary. She looks back around at the neighborhood made up of different style houses from different eras, which include a Pink Lady from Victorian times, a brownstone from recent times, then a skyscraper with a two wheeler caravan next to it, and next to that is what looks like a dive bar from Vegas, beside an old bar from Chinatown. The front door of the last opens.

“Mrs. Rada!” She hears the name, and is somewhat relieved someone knows her, but then the “Mrs.” bit puzzles her. “Relax,” she tells herself, but it is easier said than done as she turns around.

A postman, recognizable from his cap and bag of mail, is what she sees. His devilish smile tells Polina he is someone whom she should keep clear of, but he has a letter he holds out to her.

“It’s for you, of course. That’s why I’m here…” That he feels he has to explain himself tells Polina there’s some conflict of interest about his appearance, and when the front door opens and a surly looking figure appears at the top of the steps, to whom the Postman swiftly raises his middle finger, Polina drops the letter he handed her.

When Polina looks down at the letter, it’s soaking wet from the melting snow on which it lays. As she looks up again, she catches a glimpse of the Postman as he enters the dive bar with flashing lights that say, “Dive Bar,” underlined by “VEGAS.”

Polina looks to see where the man on the doorstep has disappeared as she remembers she was on her way home from the markets. She’s not quite sure why she went there, but she can remember the sweet smell of fruit and of coffee as the traders and buyers interacted with each other in their transactions.

The door to the house, which was left to her by her mother, remains open. Inside are her daughter Silvia and Silvia’s father, whom Polina gets along with now that they are divorced.

A boarder from abroad moved in last month; he and his photographer girlfriend are good people. The guy is a writer, and like most writers, he earns very little and so he earns his keep by entertaining them with games that he calls scenarios. His latest scenario is the GUIOPERA, which he says is part of the end-to-end saga in its eleventh day, and each day is a scene. Every morning, the writer tells everyone in the house his or her roles for the day, and in the evening, he sits down at his ThinkPad and writes the day’s events on his website

Inside the house, a little boy in a black suit wanders into the living room. He carries a book on his head, which must be heavy for the little fellow since the book requires the boy to stretch both his arms to hold the book atop his head.

Polina is not quite sure whose kid he is. “The MMD needs a few words from you, Ms. Rada, so it may manipulate you for its cutesy pie parade….” The boy smiles, and then he winks at Polina, who looks around the room lined with plush couches on which the entire household sit waiting for her answer, as if she were being interviewed on some chat show.

“Hands up….” In his attempt to be the host of the lounge room show, the little boy lifts his hand up, forgetting he has the big book on his head. The book lands on the ground, and they all, except for Polina, hold their breaths as they wait for the little guy’s response.

With his hand still up in the air, the funny kid admits, “Anyways, now the whole world knows the ground is flat. Damn it! Anyways, moving right along, hands up everyone who thinks Polina is cute.” The guy and his girlfriend are the first to raise their hands, followed by Silvia, who looks at Polina sideways, and eventually Polina’s ex-husband, who nods his head as he does so.

Polina waits for a conclusion to the boy’s question, but then one-by-one, everyone gets up and leaves the room. Polina wants to ask a few questions of her own, but all that’s left is the boy’s behind as he pushes the big book along the ground out of the room and up the hallway, where everyone has disappeared to his or her own room.

She sits for a moment until she hears a door slam, and then a racket, followed by a thumping bass.

Inside the room, the little boy jumps up onto the book as he sees EMINEM in “Without Me” in the sky out the window. “The Guy,” the boy says to himself as he begins to dance on top of the book to the lyric:

This looks like a job for me
Everybody just follow me….

The boy does the Running Man to the best of his ability on top of the book. After a while, he becomes bored with his only dance move, so he stops and purposely starts laughing, as if cued to do so. And then he stops again and folds his arms and puts a hand to his mouth and does his most contemplative look in the world, as Dr. Dre takes his place on the horizon next to the Trailer Park Maestro.

When Polina opens the door, the wind blows her hair. She quickly closes the door while trying to make sense of what she’s just witnessed. The kid from nowhere was dancing on the big book suspended in space; the sky behind him was a music video.

“It’s The Guy,” Silvia’s head pops out of the room next-door. Polina can hear the same song coming from there also. Since Silvia is her daughter, Polina decides to exert parental authority and pushes open the door to the room.

Na, na-na na, na-na….

Emotive Entitlements

YouTube "Without Me" By Eminem


“Fat-to-Fact Ratio”

On the Pacific island, The Guy waits for the new arrivals to come out of the small airport’s doors. The person he waits for is here to check out reports of a scam.

News of someone running around doing his role in the Network in the U.S., Europe, and even in China irks The Guy, but it doesn’t bother him that much since The Guy is satisfied the person would not be able to apply the story—the cloaking method by the original Poet Soldier—correctly for the core characters who matter, namely Metofeaz Litigatti, The Tourist, and now John Reyer, and Jon Le Mac to respond to.

The story of an operation larger than any the Network had instigated, yielding a new star in the U.S. and orchestrated by the person now doing The Guy’s duty, doesn’t bother The Guy, as he considers the Fat-to-Fact Ratio of a campfire story.

The last time he, Le Mac, John Reyer, and Metofeaz Litigatti had seen each other was in ’93. Eight years on, and The Guy’s only involvement with the Network since, was to confirm whether something had happened, or whether someone had said something, and the odd trip around Australasia to check out mainly new business developments by new money, which the Network might be interested in backing.

This trip was a personal favor for someone, and it had all the hallmarks of his everyday character….

The money he had made over the years sitting in offshore accounts would be absorbed into his ice-cream shop franchises in the various countries he would set up; he was about to start building the first one on the Pacific island from borrowed money—less than four thousand dollars.

Less than one month later, the world is a very different place….


“Who's Who”

Metofeaz and Polina finish their edit of the copy, and then they return it to The Guy to include in the story.

“So, let me get this right.” Polina pauses, and then she has to shake her head out of sheer disbelief. “The Guy is John Reyer Afamasaga.” Litigatti nods his head.

“He comes into this Network, or whatever you guys call it. He finds you, Page, and The Tourist, who is Lavenda at that time, and then he creates new characters—John Reyer, and Jon Le Mac?”

“Yep,” Metofeaz looks at the ground. “Then,” Polina smiles, “then, John Reyer who is really Tone Horroh, along with Le Mac who is really Da Hood, create Lazoo, Genisis and….” Polina stops. She almost has to pinch herself, out of respect for The Guy’s guile.

“Hey, Mister,” Polina puts on her cutesy pie voice and face to go with it as Feeaz looks out the window at the afternoon sun. “Are you the baby from Venice?” Polina asks.

“I’m here, aren’t I? Isn’t that all that matters, miss?” Litigatti looks at the young woman who is glad to have someone she trusts near her.

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“Microsoft’s Word”

October 2001, The Guy hears the piano line to the beginning of EMINEM’s “Lose Yourself” as he waits in line at the “Arrivals” gate at Wellington Airport.

His ice cream franchise idea has melted away, and he’s back to this reality. The Network has reached out to him—this time it is a contract like the old days, five million and exit options wherever he feels necessary. The only catch is that he cannot use any of the old crew because the Network is concerned about their laziness.

The Guy is aware of the rot that has corroded structures within the Network, but he decides he will not respond directly to the call for him to tell the story so the names on a list can be erased one-by-one for their incompetence.

He thinks through his plan, which must take into consideration those close to him, and also provide an exit for himself at the end—an exit he has already set in his mind.

He decides not to respond to the request, but to transfer the funds to an account, signaling that he is giving the job some thought….

On September 11, 2010, the five million still sits in the holding account. The Guy still writes to keep the story going. John Reyer has become the leader The Guy knew he was capable of becoming. Jon Le Mac has more than fulfilled his end of the bargain, and Metofeaz Litigatti continues to be the source of strength and the counterweight the crew needs to show its subsidiaries the way back to a strong community globally.

The Guy thinks about the SystemSpectacular he and his crew, which now includes people of all races and ages, create with every word he spills and they download.

"If you had one chance…."

He hears the lyric, and then he thinks of his meager tools, which do not include firearms or code-breaking software of any sort. He is satisfied that he has done his best with the tools he’s had available to him, especially during a period when he has had to rebuild himself, after a breakdown where most of his memory had been wiped, during a cleansing process he performed on himself, without an expert. He thinks of his tools he had to use for the most complex and daunting job he has undertaken in his career; he awards the Emotive Entitlement for Chapter 7 of GUIOPERA III to the Microsoft Corporation for “Microsoft Word,” and then he clicks play….


“Its Merry Way”

Polina arrives at the markets to the feel good sound of The Emotions’ “Flowers.” Today she has a floral dress on, and as she holds out her basket, nice guys with perfect smiles step forward and fill it with flowers, lavender, and exotic fruits; she spins around, collecting the items, causing the pleats of her dress to spread like a fan until the thin flowers become an elaborate pattern that mesmerizes the audience. The beautiful young lady stops and begins to tap her toe on the spot, to the beat, and the lads orbit around her; in the next move, she waves for them to follow her. She skips through the crowd, which opens up, and the people lasso the ATMOS. The smiling faces create feelings of euphoria for the princess and her adoring fans, who feel just as special as Polina does since they are the ones who made her the favorite she is.

Brokers and buyers wave their deals, options, futures, and contracts in the air. The bullish but thoughtful girl winks at them, causing them too to lasso the air. The energy they create sends the market on its merry way for today.

“Sustenance and Good Will,” Polina mouths John James Lazoo’s sentiments, and the destiny of James Elton, Janine’s boy, is sealed in the history making feat that he too was born to share. Polina’s cheeks become a rosy red as she feels her own emotions from the role she has been gifted, and she sees indicators that this climb will be sustained. “Bless you brother,” she sings along as tears fill her eyes….


“All over the world—Destiny….”

In the MindMorph, where the mechanism that creates the morph doesn’t always have to be destructive, the groove, with which this resurgence of humanistic fundamentals as one of the cornerstones of the New Global realm will be forever linked, continues.

“Wow,” Polina says while Metofeaz just smiles as The Guy continues to provide proof of who Lazoo, Metofeaz, Le Mac & Afamasaga—LMLA-ink—really are….

“I’m of Russian heritage, and I’m the good luck charm for Capitalism as we know it, post-9/11,” Polina says with the most sincere and appreciative of looks.

Emotive Entitlements

YouTube "Lose Yourself" By Eminem

Windows 7

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“The MSG in your eye”

Polina leaves the markets feeling accomplished, like she’s achieved something today. The goal is intangible to her at this very moment, but the feeling of having given it her all in her role the guy had given her earlier that day is enough to satisfy the young woman trying to find her place in life.

As she rounds the corner, she can see the skyscraper, and then the other places that remind her of the different stages of someone’s life. As she gets closer, she feels the chill in the air, and then her goose bumps as she notices she is once again clad in winter clothes for the blizzard she now walks in. Somehow the change in climate does little to dampen her spirits as she sees an interesting sight up ahead.

The taxicab, the double-decker bus, Big Mac truck, the rental car, an ice cream van, a tow-truck with flames, and a Mercedes with its back windows down all form a ring. The guy walks in and among the vehicles as if he’s thinking of how they could best be utilized in a scene. The guy’s girlfriend takes photos of the vehicles’ occupants as Polina only now realizes. The kid from nowhere, still dressed in his black suit with his hair neatly combed by his mother, wears a bowtie, making the handsome fellow look like he just stepped out of a wedding pic where he is a page boy.

The kid has around his neck a strap for the crate of food he sells to the people in the vehicles. “Candy, health food, MSG on its own, just smear some on and you’ll always look yummy,” the whimsical sounding child says to Polina as he squirts some on an unsuspecting recipient inside a car, who hollers, “Oi! Watch what you’re doing!” To which the kid responds, “You are always right, and you are always wrong, no matter who squirts the MSG in your eye…”

“Polina.” Hearing her own voice speak her name, she turns around to see Silvia dressed identically to her. Silvia, her mother, looks like she is seven or so, the same age Polina was when she witnessed the real-life scene being reenacted in front of her in action, at Heathrow airport.

Polina remembers seeing Alexvale run to her from the taxi as the vehicles circled the parking lot. She looks to the guy, to see whether he would be so kind as to rerun the scene for her for old time’s sake. But he’s now standing with his girlfriend on the top deck of the bus, and appears to be just one of the extras in the scene.

She looks at Silvia, but her mother just turns away as if walking to her mark from where she will start the scene.

“Would you put her through the same ordeal?” Polina looks down to see the kid, who seems to be doing all the talking.

“I can play the song without the drama?” he says. Polina looks at the gray radio the kid holds in front of him.

“Or,” the little fellow reaches into his little green bag that hangs around his shoulders and produces something, “I can pretend these were never written.” In his palm are miniatures of the hand-bound leather books.

The little guy then suddenly takes off; he runs around the vehicles shouting, “Rerun; make sure you have your seatbelts on and you have clean underwear on.” He pops his head into one vehicle, and in a heartfelt voice, adds, “Make sure your hearts are pure….” And then he runs to the next and in an animated way, “If you plan on using your loin cloth as head gear, please remember g-strings do not count, as their opacity in Photoshop is virtually zero….” Then the boy is back standing next to Polina.

“Now then, Ms. Rada,” he says as he regains his breath from all the running around. He pauses and looks around to where Silvia stands waiting with an impatient look. “The real Polina Rada.” The kid looks at Silvia, who pokes her tongue out at him as if to say she doesn’t care.

“Anyways, like I was saying before I was rudely interrupted by none other than myself,” he holds the radio up toward Polina, “Ms. Rada, please press PLAY.”

I’m falling
I’m falling in love again….



The Guy waits for his brother, in a blue ford Ute, to pick him up from the airport in Brisbane.

The Guy has made the decision to cross the Tasman to implement his plan in surroundings where he is able to be anonymous, to a certain extent within the GAME he has carefully instigated.

The Guy had created a GAME, or a story, like the ones he created during the build up to the fall of the Berlin Wall and after the Gulf War.

The Guy has already set up certain people back in New Zealand whom he knows will be their usual greedy and deceitful selves. Their natural responses to The Guy’s open and trusting ways will give The Guy inroads to people in the entertainment industry in high up places, hopefully in two opposing companies, at the very least, which will give the GAME the required exposure for The Guy to tell a story that will shake up the Network, which needs leadership, following September 11th.

He hopes the simple move of declaring he has a criminal record—which only cost The Guy thirty minutes while the police checked out his record—will let certain people know he’s not here in Australia to cause any trouble.

In 2005 The Guy braces himself for a long hard road to the finish line. He counts on his most decisive move of late. Three years back, and one year after 9/11, he sent an email with the subject line: GLOBALL ATTACK. The seemingly callous move was designed to snare the attention of the CIA, whom he hopes has by now spun its web to try and catch, or test whom they think he might be.

The title of his email, GLOBALL ATTACK, was a video game concept he had designed specifically to self-destruct during a battle to control something he has ensured would not get off the ground, as he plans the ultimate idea, which will be the forerunner to the story that defines the times we live in—etfiction—Emotional Techno Fiction.


“Big Plans Break Em”

It must be that time again, Litigatti surmises, as he hears the cheers a few streets away at Times Square for the LATEST UPLOAD at 6:55 a.m.

Metofeaz watches the people in the morning check their mobile devices as he stands on the street corner where he takes some time to reacquaint himself with the streets of New York. He remains calm since The Guy has already started to spin the new web, which will hopefully see the crew and its operations through the next few years.

The faint and charming sound of “Your Body is a Wonderland,” the YouTube track for the upload, begins to spread from mobile to mobile. John Mayer’s acoustic guitar can be heard in all directions. The track reminds the Whimsical one of a wonderful time in his life.

We got the afternoon
You got this room for two

He sees an alleyway, and posters of The Guy, who continues to entertain the world in-between telling the story the nodes of F3quenZor wait for.

Metofeaz’s Nokia goes off. “The Tourist” is the message’s subject. He opens the message to see a fan who has won the competition as the twenty millionth fan to text after the upload. She’s a gorgeous girl, just like the one who walks by, and the one who smiles at him as she crosses the street. But the one who responded to his email, with the following words, remains the only one he wants.

One pair of candy lips and your bubblegum tongue. And if you want love—we’ll make it. Swimming a deep sea of blankets. Take all your big plans, and break ’em…

Polina stops when she spots Metofeaz where he said he would meet her after the upload. He stands with one foot cocked against the wall as he surveys people’s responses to the upload.

His and The Guy’s interpretation of her dreams was still hazy to Polina, but aspects of her life were beginning to cling to the characters, including the kid from nowhere.

She sees the way Litigatti stands. And it makes Polina wonder whether he reminds her more of John Page, rather than Lazoo, who is John Page’s biological brother.

Metofeaz sees Polina out of the corner of his eye, but he pretends he doesn’t notice her while he ponders the next part of the storyline in which John Page or the Pirate will probably find his way into the main thread of the story being told.

Emotive Entitlements

YouTube "Your Body Is a Wonderland " By John Mayer
John Mayer

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“Polina Rada feels the love”


Polina looks forward to the day ahead as she leaves the house and crosses the busy street where horse and cart pass by alongside limousines and travelers who, not knowing any better, lean on their staves as they take the white line in the middle of the street for the narrow path they should follow.

The skyscraper’s rotating door looks like it’s jammed—inside the rotunda are many red faces pressed up against the glass.

She thinks she can hear the traffic, but then she realizes the sound is muted. Polina looks down at the handbag she holds in front of her as a ringtone advises her of something, which her mind of minds assures her to be a formality.

The sound of hooves turns her head, and she sees the guy on horseback with his girlfriend, her arms around his waist as the horse passes by. The guy looks down at Polina and then across to the rotating door, and then he rides off.

Next comes the sound of an engine and Polina looks to see the kid from nowhere sitting on the roof of a limousine. He pretends he has reins in his hands and he rides a horse. “Horse Power. Stored beneath the hood,” says the little critter, smiling, and then he pulls back on the reins. When the vehicle doesn’t stop, the little performer gets up on the roof, and begins to tap dance. Within seconds, the limo stops in front of Polina.

The kid sees fist marks appear through the limo’s roof; he stops tap dancing and has a sorry look on his face, but not for long. Now it looks as though the boy can hear music no one else can, and he begins to do what appears to be “Greased Lightning” as Polina waits.

He suddenly stops. “Anyways.” Polina cannot help but smile, but she is cautious not to encourage the kid’s behavior since she has no idea about the reason for it.

“Anyways, the world spins on an axis, and it must be getting smelly in the rotating door.” Polina looks around the kid at the people inside the rotunda, and then she nods her head.

“I can, if I wish,” says the kid, “make the door spin. Question is….” Polina feels an uncontrollable urge to laugh. “Tut tut…” The kid begins to remind Ms. Rada of the rules, until he abruptly stamps his foot on the car roof and begins to dance once more.

He lassoes the air, but he does it with all his being as if he is conjuring something. He begins to smile when he looks up in the sky and the clouds begin to move in the clockwise direction he stirs.

Polina sees the rotating door begin to move as she hears music.

“Sing along, Polina,” the little maestro says as the song sweeps the street. “Take me back to your house….” And with that, the limo drives off and the people fall out of the rotating door, as the street goes back to normal for Polina to cross the street and enter into the skyscraper where she works for a fashion designer.


The Guy waits as his crew arrives….

He looks at John Reyer as they hear the call on the RT that Le Mac holds. Le Mac shakes hands with John James Lazoo as he enters onto the balcony, and then he hugs his brother John Page as the call comes again.

They hear the theme for this scene—“One Headlight” by the Wallflowers—as Kevin Zealand climbs the stairs to the chateaux. Zealand points to his tools in the briefcase he has.

LMLA-ink, almost in its entirety, congregates to prepare to go to war.

The only person missing is Metofeaz Litigatti, the very reason why they have come together this time. Litigatti is currently in a dungeon somewhere near here, where the last report said he would be killed within the next twelve hours if certain information wasn’t forthcoming.

“The parameter is wired, and the surveillance is pretty complete. No real blind spots since it’s the corner of a valley, with a rock face as its walls.” John Page’s confirmation of the location they will have to enter into one way or another is not the news The Guy wanted to hear.

“The military sweep of the area will happen on the hour.” Le Mac reminds them of the military’s involvement, and a possible way in, using a helicopter.

“This is our responsibility, not anyone else’s. We’ll be paying back favors for the rest of our lives if we ask for help,” The Guy reminds the crew. They will have to be self-sufficient to remain untouchable.

“We give them what they want.” Everyone looks at Page, whose suggestion it is to give the group holding Metofeaz what they want, which is him, John Page, or more precisely the Pirate.

“I’ll take him in,” offers the quiet one, with his head bowed. He will deliver John Page into the hands of the enemy. John Reyer now lifts his head and looks round at the rest of them. “I’m in,” Lazoo steps forward, followed by Zealand.

“Good. But it’s only a transaction, and no emotion. In and out. And then we work on what Litigatti has on them to get Page out,” says The Guy, resisting the temptation to join them as he reminds them of the danger they face.

“That’s providing they’re in some sort of reasonable mood today,” Le Mac is not sure their only idea will work.

“To fucking hell with reasonable,” Page smarts and then he looks for something. “I need a fucking drink,” he says, feeling edgy as he produces a pack of cigarettes.


From across the street, Lavenda Stevonsen watches two people trying to come to grips with John Page’s life. Seated inside SIL HOUSE Café under the arc are Polina and Metofeaz, whom John Reyer, Le Mac, and Lazoo have agreed should be the one to talk Polina through the story as it unfolds for her at the same time as it does for everyone in the public domain.

The life of an LMLA-ink crew-member, and anyone deems worthy to be a noted character in its Emotional Techno Fiction, is like no other public figure’s life. There is nil privacy—you read about yourself and the reasons why you are the way you are in the LATEST UPLOAD. Your secrets become a sun shower that fulfill voids in the lives of people who don’t know you, but somehow, Polina Rada feels the love from the fans who read about her show.

A little girl smiles at Polina from the next table, and then the child’s mother cradles her daughter’s head and smiles at Polina as if to apologize for her child’s behavior. “What’s her name?” Polina asks, causing Metofeaz to look around, “Genisis,” the mother smiles, as if she’s embarrassed by her admission.

“Hi, Genisis,” Polina smiles. “Hi, Ms. Polina Rada,” the child with bright blue eyes returns the compliment.

Metofeaz watches Polina; he’s already figured out her defense mechanism for coping with the facts about her parents, both biological and adopted. He waits to see what she’ll do next once the mother and her daughter, whom Polina engages in conversation, leave.

Litigatti himself has battled with what happened to Page, and to Afanasy, Polina’s real dad having being involved in both of their deaths. Metofeaz understands Polina’s current ordeal, her first being, dealing with Page’s death when she was only eight years old.

“The Guy writes about a guy whose life is on display for everyone. I’m one of the characters, right?” Polina says to Metofeaz. He smiles at her attempt to minimize the situation, but more at her ability to deny what this is really about.

“The Guy writes because that’s what he does. You’re real, and you should face the facts, so we can assess the damage.” Polina hears the advice, but looks out the window. The word “damage” echoes inside her head.

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“Beyond Appearance”

Polina exits the rotating doors and finds herself in the foyer of CHARLEY STEVONSEN (CS) HQ. The mystical brand CS was created for reasons beyond the looks and appearance of the lithe and glamorous people who enter and exit the lifts and lounge in the lavish habitat as they schmooze each other. The Guy and Lavenda Stevonsen’s on-and-off romance, which included Lavenda’s interlude with John Reyer, had to be told to acknowledge the women of the Network’s role in the end-to-end saga.

Genisis Jones’ influence on James Elton eventually brought on the kid from Wisconsin, who would become John James Lazoo, the crew’s most reliable character for centralizing the story in times when it would eventually be brought to life.

Polina’s adopted mother Santina San Fé, also an enabler for the LMLA-ink’s methods and ways, gave the organization keys to closed doors.

“SKIN” the new campaign plastered everywhere, including t-shirts worn by the models, causes the legal clerk to look at her clothes. She quickly brushes off thoughts of feeling out of place and hurries to the nearest open lift.


“Tastes Like Praise”

Metofeaz looks the other way as the rope ladder is being pulled up into the chopper. He hangs on with both arms, wondering whether he has enough strength to hold on.

The last thing he remembers was being dragged along the ground by John Reyer, with Lazoo at the front, and Kevin Zealand at the rear—from the sound of their voices—shooting their way out of the fortress where Litigatti had been tortured for what seemed like forever.

Somewhere along the way, he had heard John Page’s voice, and as usual, Page was getting himself into the shit, if the Pirate hadn’t already figured out with whom they were dealing.

Metofeaz feels hands under his arms. Then he is lifted out of the air and his body feels the support of a floor.

He tries to claw his way to the other side of the chopper, to the open door to see whether he can spot John Reyer, John James, and Kevin Zealand.

The pilot left the site the second Litigatti had hold of the ladder, leaving his rescue crew, and friends behind.

“Another medal, Litigatti, to go with the rest.” The Sergeant Major’s praise tastes as good as the blood and vomit Metofeaz swallows….



“…Now the Network is strong again. Anyone who downloads my story is an operative. Young, old, black, white, happy, sad. It’s all about security, one word—communication….” Polina looks at the phone on the table as she hears his voice. She waits to see whether The Guy will ruin a moment with something seemingly random to her, but which Lazoo, Metofeaz, Le Mac, and Afamasaga need to act upon. But there’s only one message—Communication.

Metofeaz smiles as he picks up the phone and puts it away in his pocket.

“The cloaking process may also be used to assist in the Amalgamation process.” Litigatti seizes the moment, hoping Polina will take on board a deeper message than just the aesthetics of one of LMLA-ink’s methods.

“The Battle in GUIOPERA I was actually real….” Polina muses and then she looks for service from one of the waiting staff.

Litigatti realizes she is still not quite ready to deal with the facts.

Across the street, Lavenda sees Litigatti leave SIL HOUSE. She decides to go in while Polina is still undecided about what she thinks.

Polina filters out the antagonists around her by analyzing their one-dimensional dialogue about how The Guy has ruined the story. “Cut and Paste…” and “…the same thing…”—two of their favorites.

A striking looking woman crosses the street and comes into the café. Polina is studying the work on her iPod when she hears an accent behind her; she matches it with the woman who has just entered the scene.

“The Guy has no choice….” Polina hears the comment, one of the more non-biased things that have been said about the writer. It makes Polina wonder to whom the woman is talking, so Polina casually looks around for a waiter until she sees the woman, who looks to be in her thirties, is talking on a phone.

That the woman referred to him as “The Guy,” rather than just making remarks about the only character anyone talks about the world over, makes Polina take note of the woman, her mannerisms, and what she’s wearing.

Polina sees a poster for a release date for a movie; its title makes Polina aware of what she’s involved in; the movie’s inspiration is from the same place she gets her strength. The significance of the system being erected, which takes into account everything, including the way it has to absorb the feelings of its detractors and supporters alike, now fully dawns on her. LMLA-ink’s idea is for a new system that encapsulates positive essentials of all political systems the human race has tested over the past two thousand years, amounting to what they refer to as SociaCapita, their version of humanistic capitalism.

Lavenda watches the person sitting in front of her, a child, still. She feels for Polina Rada, and she understands the weight that prohibits Polina from dealing with the issues relating to her parents.

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“Featuring Mr. Justin Timberlake, Snoop & Pharrell”

Lavenda, in a backless black dress, feels the exhilarating evening breeze on her body. Down in a valley, one surrounded by one million square lights, there’s an open doorway. The intertextual story could not be more morphed and organic, cultivating a flavor on its own, than in this scene Polina has walked into, when she got lost on one of the floors of her new workplace.

From where Polina watches the beautiful woman, she sees signs of conflict, as John Reyer pours champagne into her glass.

The magnificent scene in the small kitchen is made from an orange hue created by candlelight, citrus aroma, and duo tones of reds and yellows subdued in candlelight, perfectly wrapped in mood music that comes on when Lavenda manages to smile at the person whom the cloaking device promised her when she read the script would be John Reyer Afamasaga himself.

“Precognition be the theme of this scene.” Polina hears the suggestion but cannot attach the words to the two people she watches as she sits down on the ground against the wall, on her feet.

The slow and sweet groove, which she knows girls like her all over the world will appreciate, continues,

Am I strong enough?
To maintain this love…

Stories her mother has told Polina of the whirlwind romance she and John Page shared during their time together, its highlight being the months they shared as a family, flood the scene like the veneer that covers Lavenda Stevonsen.

In BrocoliFlower, Lavenda had fled from love when Rocol Récene her best friend had bought her way into LMLA-ink, making Lavenda feel insecure. Lavenda’s fear is based upon how Rocol takes love from others, or how she ruins it for those who have it.

The door, to what Polina now recognizes to be a movie set, opens and the guy and his girlfriend walk into the space holding hands. The couple walks through the scene as if they are welcome house-guests in Lavenda’s loft.

The guy walks up to a cupboard and opens it. He produces two glasses, and then he goes over to the table where John Reyer and Lavenda are and takes the bottle of champagne and fills his two glasses.

The door opens again, and Polina sees the kid from nowhere. Still in his black suit, this time with a fat checkered tie, the little fellow pops his head in through the gap. “Premonition is from having traveled the path before,” he says, and then he slips through the hole. The light diminishes with the closing door, and Polina can only imagine what the kid is doing, having caught a glimpse of him pretending to be a cat swatting at something in the air, as he pranced on his hind legs.

In no time at all, he appears in the lights around the table as the guy and his girlfriend take their glasses out the back door and down into the valley of one million lights.

The kid waves his hand in front of Lavenda’s face as if he tries to make her blink, and then he does the same to John Reyer. When neither of them take any notice of the kid, the kid jumps up on the table where he begins to dance.

Polina’s annoyance at the kid coming in cannot be verbalized so she grins and bears it for a while, until she feels she has to stand up, at which point she realizes she has pins and needles in her legs from the way she sits.


The writing on the wall shows Snoop Dog, Mr. Timberlake and Pharrell Williams with the Neptune Potion casting its spell on the lucky fans everywhere for LMLA-ink, in “Signs,” as The Guy and Metofeaz Litigatti, head-to-toe in black CHARLEY STEVONSEN, step. The open air above them is filled by the moon and stars.

The Guy, with his head bowed, points at the Northern Lights. Nature’s holographic light show is transposed by the faces of the fans who read the LATEST UPLOAD. And then he points to the West, and the artists they collaborate with appear there….

In the hospital for insane billionaires, who have seen the SilverSpoon Spaceship, The Guy and Litigatti step to the LA sound. The hallway shines, having been polished by members of the co-op, lining the pathway to another dimension with their worthy offerings that future artists will study, for their subliminal content that LMLA-ink enhances through the end-to-end saga.

Snoop Dog and Charlie Wilson say, “She likes my tone…” Metofeaz laughs at the jibe and lassoes the air. The Guy lets himself feel the surreal scene he’s created; he lifts his head to see the reaction from the hype, and then he nods for DJ to do his thing.

Emotive Entitlements

YouTube "Signs" By Snoop Dogg Feat. Charlie Wilson & Justin Timberlake
Snoop Dogg


“Stevie!” Polina shouts as the DJ mixes in Timberlake. Lavenda hears the name from someone who has earned the right to call her by her nickname; Polina is not aware of the privilege from being a member of the unit that the Network still relies upon to deliver the outcomes the organization uses to justify its existence.

Lavenda has her hands in the air as she shows off her moves on the dance floor along with Polina, with whom she had eventually ended up making conversation at SIL HOUSE that afternoon. “Justin Timberlake.” The two girls say his name at the same time as Polina copies Lavenda, who pokes out her butt for Polina to do the same to “Rock Your Body.”


The two women find themselves back at the place where they first decided they liked the way each other sounded, according to Polina’s assessment of how she and Stevie, a therapist from Denmark, became friends.

Lavenda checks her phone in case Metofeaz or Rocol, who are still in town, may show up. Polina does the same while she re-reads the LATEST UPLOAD—CHAPTER 8 PART 2 of the GUIOPERA, in which The Guy claims responsibility for everything that has happened in the end-to-end saga.

“Shit!” Metofeaz slams his fist on the dashboard; his reaction to what he feared would happen, as a result of the plot they have decided to go with in GO3, looks as if it has happened already.

Inside SIL HOUSE, seated across from Polina Rada is the one person who will, if she feels the need, tell Polina the actual events, regardless of the reasons as to why things happened the way they did back then—back when the Network was undergoing changes that affected its process because JPS’s successor was trying to stamp his mark on the proceedings.

Since 2001, The Guy’s method had served the Network and its nodes well, as it did in ’89, and also in ’91. But in his early days as the controller, when he was in his early to mid-twenties, The Guy, on two occasions, went in on his own to carry out his own plan, triggering a sequence of events from 1986-1989 that ended grimly.

It wasn’t from foolhardiness or the presence of an ego that the inexperienced operative had chosen to go it alone; it was due to lack of support from the older members of the crew he had inherited, which included several candidates for his position, who in the end The Guy replaced with Tone Horroh, Da Hood, and Feeaz Fontain.

“The Network doesn’t assign ranks as such. It relies on the leaders to step forward.” Lavenda knows her time is limited, as the link in her message goes to a saved search on GOOGLE, telling her Whimsical is on to her.

Polina doesn’t look at the woman although her reference to the Network shocks Polina.

Lavenda gets up from the table and pauses to look at the young woman who keeps her head bowed.

“Is it really Stevie?” Lavenda hears the question from underneath the dark hair that covers Polina’s face. Lavenda, who once used the name “The Tourist,” sees Litigatti across the street as he closes the door to the car and looks at her.

“She’s a functional human being.” Litigatti blurts out his only civil thought as Lavenda exits the door he holds open for her.

“Functional within your world,” Lavenda Stevonsen snaps, and then she walks off.

Litigatti thinks through his approach when he sits down with Polina, whom he looks at through the window from outside before he enters the café.

Polina waits for what she will be told when Metofeaz sits down at the table. She ignores the afternoon and evening with a like-minded person who just spoiled it when she sprung the topic Polina doesn’t want to think about right now—The Network.

“Lavenda Stevonsen, AKA CS, also performed dual roles as The Tourist and Janine during the transition….” Metofeaz figures only facts will do as Polina shows no sign of interest; nevertheless, he has to give the crew’s side of the story.

“She didn’t actually say anything,” Polina blames Lavenda’s abrupt exit on Metofeaz’s appearance.

Metofeaz sits back. He looks for signs of despondency which could lead to an attack on the F3qenZor from scanning nodes looking for a pin hole. But Polina’s breathing remains steady.

“Part 1 of this chapter”—Polina hears him, but cannot be bothered engaging—“the theme of the part, do you remember it?” Litigatti persists.

Polina looks out the window, the dark night blocks her from seeing anything. The lights inside show her someone who is torn between something she begins to doubt involves any ethics, and the truth about her parents, to which the only witnesses are those who were most likely involved in the story they try to make plausible.

Emotive Entitlements

YouTube "Rock Your Body" By Justin Timberlake
Justin Timberlake

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Polina wades through the paddock on which the sun shines as the music belonging to Al Jarreau makes everything seem blissful in the “Mornin'.”

Mornin’ Mr. Radio
Mornin’ little cherrio

Polina sings along as the kid from nowhere appears next to her; his hair is greased back, and he wears a medallion bigger than his head, but at least he doesn’t say a word.

Polina puts her arm around the boy’s shoulder to keep him silent as they walk through the wildflowers that tickle her legs.

The boy looks up at Polina who has a peaceful expression. He thinks about the characters about to appear in the next, perfect scene, and then he skips ahead.

Polina laughs as she waits for what the boy will do next. And then he stops and begins to dance and sings the lyric. His action brings a flock of birds that migrate south; they swoop in unison, coming close to his head, and it makes the boy close his eyes, from the wind they create as their wings flutter fluently and then they ascend leaving him be. He opens his eyes to see the birds soar as musical notes seem to float in their wake, as the song says.

He now points at the horizon, and the clouds part and the guy and his girlfriend walk across the sky.

Then the boy does a spin and points to his right, for a woman in Polina’s floral dress to dance her way into the scene where the boy dances as he waits for his partner, whom Polina recognizes to be her mother Silvia, but at about the same age as she is now.

When Polina notices people in the sky, she realizes it’s her next meeting. Rocol and a group of men in suits wait for her in the boardroom where she was meant to be….

Emotive Entitlements

YouTube "Mornin'" By Al Jarreau
Al Jarreau


“The Guy’s handiwork”

Lavenda waits outside the supermarket, the last place he was seen entering. The music she hears each time the door opens is more than likely being spun by DJ. The place is said to be the entrance way to a hospital for insane billionaires who have seen the SilverSpoon Spaceship .

Lavenda doesn’t want to enter into the place because it may lead her back to the SFD.

A car pulls up; from the driver’s body language, Lavenda can tell it’s John Reyer, and he has Ms. Dash with him. Lavenda steps back as she waits to see which character masquerades by using the author’s name in this scene.

It’s not Tone Horroh. It’s a former forensics expert for the FBI, whom the Network has called upon to go in on their behalf during a spate of serial killings that intersect the work of several minds that the Network would like to know more about.

Lavenda focuses on the music that comes on her iPod, Michael Bublé singing, “Still Haven’t Met You Yet.” Lavenda smiles at Lucy Dash who looks at her with a smirk.

Lavenda ignores the reporter as Ms. Smash & Dash tries to get close to the crew in operation “April’s Fool.” Lavenda knows the whereabouts of the bag Ms. Dash claims to own.

Lavenda relies on what The Guy told her, over twenty years ago, is his motivation for doing what he does. The arrival of the Internet had made his role easier for him to play, but it has also brought with it many posers claiming to be the Poet Soldier. Lavenda considers the possibility that the websites and, which are a part of or the Conceptualizer Network, are The Guy’s handiwork. And then she lets Bublé do his thing to help pass the time….

Lavenda watches John Reyer and Ms. Dash decide not to enter into the supermarket. Instead, they return to the car and leave.

Sarah Bramley is who they are looking for. The Guy has not given them any clues yet as to her motives, along with those of a handful of other bit players The Guy has peppered the end-to-end saga with since he took the helm.

Lavenda smiles as the next Bublé “Save the Last Dance for Me,” reminds her of the very first time she and a young Poet Soldier came face to face in Venice Beach, California in ’84….

Emotive Entitlements

YouTube "Haven't Met You Yet" By Michael Bublé
YouTube "Save The Last Dance For Me"By Michael Bublé
Michael Bublé


“Lavenda Digs Deep”

In mittens and a hat, Polina waits for the car Lavenda has promised will pick her up from the airport in Moscow.

“Hey!” Polina hears the voice behind her. It’s Lavenda. “Hi,” Polina says, and then she surveys the scenery she has almost forgotten about.

Lavenda admits to herself the great job the guys have done in ensuring Ms. Rada was given a wholesome upbringing, and an education, as Lavenda looks for a way to get close enough to one of the pillars of F3quenZor on what, up until now, has been thought of as John Reyer the character’s Semi-System.

Entities and their Shells, which were used to sugar the story for Polina as a child, Lavenda considers as one of the many treatments that have been used to cover the Network’s operations.

Lavenda reaches into her pocket. Polina waits for the woman to say something.

Lavenda does something in her pocket, and then she takes one of the ear plugs from her ear and places it toward Polina’s ear.

Polina naturally takes the earplug and places it in her ear. She hears a tune she promised herself she would not play again. “I knew your mother well.” Lavenda’s encouragement for Polina to let things flow leaves the girl with little choice but to play along.

Polina tries not to let emotion come into the scene as the two women wait for a ride. The evergreen Ms. Lavenda Stevonsen digs her hands deep into the pockets of her leather trenchcoat, as she tells herself that Silvia, Polina’s mother, would’ve done the same for her if the situation were the other way around.

Emotive Entitlements

YouTube "In Love Again" By Rogue Traders
Rogue Traders

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“Square Eyes Glum Look”

“Imagine the relative points interchanging, their universes’ rules becoming mitigating factors in what is still only conceivable from the first vantage point, ah?” The kid from nowhere is in the meeting; Polina can hear his voice, but she’s too scared to look up in case Rocol figures out she is responsible for him being here.

Rocol takes a call on her phone; she gets up to walk to the back of the room where she faces a corner. All of a sudden, Polina feels it’s okay to look up, regardless of what the kid has caused, because of whom Polina suspects Rocol might be talking to.

The boy sits cross-legged on the table at its head. He leans his elbows on his knees, cradling his chin. He looks at the well-educated bunch lining the table’s sides, and he mimics the looks on their faces until they begin to laugh.

“Proof is in the pudding; yours look like your parents conceived you on top of yours.” As the boy floats one of his icebreakers, the person at whom he aims his remark begins to laugh louder. “And yours looks like your parents were busy watching TV in the midst of baking your cake. I can tell by the square eyes and the glum look you have for a smile.”

When Polina’s tight lips, trying to hold back her laughter, part and let go of a hearty reaction of amusement, everyone stops laughing to look at her.

Polina wishes she could crawl under the boardroom table as she narrows her vision to focus on her lap. And then she hears synthesizers loud and brazen as the door opens and in walks the guy and his girlfriend.

The guy walks over to where Rocol laughs as she talks to whom Polina believes must be Alexvale. The guy takes the phone from Rocol, who then just walks back to her seat. The guy then holds the phone out toward the board members, who look toward the phone, from which is playing loud music by Van Halen.

“Might as well Jump!”

Emotive Entitlements

YouTube "Jump" By Van Halen
Van Halen



Three o’clock on Venice beach and the ATMOS is electric. The Guy who is here as a stand in DJ takes the next record as the girl with piercing blue eyes who stands next to the rig smiles at him again. He is from “The Republica of Dominica” he says and then he shuts up.

“Janine,” the girl says and The Guy has to swallow to conceal his nerves as he comes face to face with the target in many ways.

The Guy looks out at the crowd, and Janine looks there too, and then he takes another record from the stack which he hopes the girl, also with an accent doesn’t notice.

The Guy checks the vinyl for scratches and then he places the record on the turntable.

Feeaz Fontain notices The Guy is in some sort of trouble again, and then he hears the LeaderLoop by “Indeep,” for this operation which is estimated to take up till the end of the decade.

Three women appear in front of Da Hood, Tone Horroh and Feeaz Fontain who sit back as they check out the kid from nowhere here for twenty-four hours on a recruitment drive as a DJ.

Da Hood and Tone Horroh have been identified as likely candidates by Feeaz \Fontain who has struck up a friendship with The Guy, or Johnny over the last two years or so.

Their last meeting was in Sydney Australia at Kings Cross in October 1983 in which Feeaz and some muscle turned up at the right time when The Guy was in a spot of bother, of a serious nature, much less attractive than the one he finds himself in as Janine, the Poet Soldier’s Achilles’ moves in for the kill.

Emotive Entitlements

YouTube "Last Night a D.J. Saved My Life " By Indeep


“Illuminating Planet”

Polina flicks her hair, the sweat sprays everywhere. Lavenda keeps an eye on the crowd around them. The twenty thousand party goers rage to the DJ as the Madonna track takes the Euro connection live to planet.

The Video screen inter-cuts between Madonna and her troupes in the Celebration Video, and the fans in a frenzy. Polina punches the air as the song breaks down,

Come join the party – Everybody wants to party you

Polina lassoes the ATMOS, as on screen the countdown to the LATEST UPLOAD begins. The Guy clicks “Put,” and the crowd follow Ms Rada in the salute for TRUFUNK SOLDIERS everywhere happens in unison as LMLA-ink treat their fans to another offering the followers wait for.

The Russian Female DJ Lady Waks points to Ms Polina Rada who appears on screen as Lady Waks lassoes the air, as the text in which she and her audience are the stars of the SociaCapita movement that sweeps the most illuminating planet in the universe, party to a minimal but enlightened message – LOVE, TRUST, HONESTY, RESPECT…

Emotive Entitlements

YouTube "Celebration" By Madonna

YouTube "Minimal" By Lady Waks
Lady Waks

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“The Kid is Smashing”

Polina enters into the boardroom quietly. The kid watches Muse in the sky; its video “Uprising” excites him. Polina closes the door behind her as the boy nods his head to the song.

He stands at the window, which has been smashed, making it look as if someone leapt through the glass.

The boy points to people down in the park, and then someone pushes the door from behind; Polina is not sure whether to let them in as she begins to understand the message.

The kid begins to play air guitar as the lyric talks about a fat cat..

Polina cannot believe she is standing in the way of someone trying to get into the room, and she wonders what possesses her to do what she is starting to get a kick out of.

From the corner of her eye, she can see the people in the park whom the boy pointed at, even though she is looking toward where the kid is smashing his make believe guitar against the make believe TV like in the video in the sky.

She sees Rocol and someone she doesn’t recognize, and then Silvia and the postman, and suddenly, she loses all obtuse interest in blocking the door.

She reaches behind her and takes hold of the handle. Then she opens the door as if to say, “You can come in now.”

The guy pops his head in. He looks at her, and then he looks over his shoulder with a knowing look at his girlfriend who takes his hand; the pair walk over to where the kid still tries to decimate his guitar.

The guy walks up and stands behind the fellow as the boy continues what he does, and then the guy looks at Polina, who has no idea what should happen. Then he picks up the boy by the scruff of his neck and hangs him out the window.

The kid still swings his air guitar as Polina reaches for a seat somewhere in front of her, and the guy looks at the boy he holds out the window.

Polina sits up straight as the kid says, “Put me down now; the ride was great, but now it’s time to do the business.” The guy smiles as he watches the kid, and then he brings him inside and places him down on the table. The boy straightens himself out and then he looks at Polina.

“Now, Ms. Rada, it ain’t rocket science; it’s just good old fashioned physics, and we have poetic license to stem the three dimensions….”

Emotive Entitlements

YouTube "Uprising" By Muse



Lavenda watches the Poet Soldier shake hands with Da Hood, and then Tone Horroh, and then the new JPS accepts a hug from Metofeaz Litigatti. “These boys are up to any task the Network has for us,” says Metofeaz. The Guy looks at Metofeaz while choosing not to look at either person whom The Guy will have to control from now on. “Any task!” Litigatti again endorses both guys who have passed all the tests they have been put through by the governing body made up of former high-ranking government personnel and associates from other organizations with whom the Network has to work.

The Guy, even at the age of nineteen, feels as if he’s ready to tackle the role that seems all too good to be true. Fighting within the Network has catapulted The Guy into a position he thought would be at least ten years away for him. Two projects over the last twelve months have failed miserably because the person playing the role of JPS let the Network down when he enabled arms traders to create new channels of distribution in North Africa. The Network wanted a profile on the outlaws, so it sent in a JPS, The Guy, and Feeaz Fontain to build the report and bring back the data, but instead, the leader of the mission had used his Network contacts to give the arms dealers access to new markets where the traders were not intending on moving into, thus creating more problems for everyone.

The debrief, which had taken place back in New Zealand, was headed up by a former U.S. General and involved four different teams of investigators, who interviewed JPS, Feeaz, and The Guy concurrently across three countries. It became the catalyst for The Guy being cast in the current scene.

The Guy had done exactly what JPS had told him to do when he was just a boy. “Tell only the facts, and let them create their own fiction from it….”

In ’84, things were looking good, but the cost of labor and raw materials was starting to affect the bottom line, which did not consider factors people are so conscious of today. The bottom line was what The Guy surmised was the reason for the project and his being handed the human resource management of the Network’s select team of operatives, plus the targets made up of diplomats, high profile business people, and famous personalities, who together would carve out the track for the rest of the world to follow for the next few decades or so.

The Guy looks around the place while still avoiding eye contact with the new recruits. When he spots Janine, he figures, with or without the plot, she is hot. But as a young man, that’s where it ends. He does not wish to consider the possibility of immersing himself completely in the role from fear of losing sight of reality, even though The Poet Soldier had suggested, when and if he became the Storyteller, that it would be the wise thing to do for many reasons. For now, The Guy considers that rose-colored sunglasses from an emotional attachment to someone who might be playing against him would be the least wise thing in the world for him to acquire.

Quite the character, The Guy leans forward and whispers in Metofeaz’s ear. “Tell ’em to go. I’ll organize for their updates, and I will setup their relays on the F3quenZor.” The Guy, with his hands behind his back, looks around again to find Janine now has some man talking to her. “That is, if they’re capable of accessing it?” The Guy reminds Metofeaz of the most important requirement for a character in the story they are about to tell.

Metofeaz Litigatti looks at the ground as he accepts how The Guy does things. “Next time, if there’s a next time, I’ll say ‘Hi,’” The Guy tells Litigatti.

The Guy walks away from the characters who, in the end, will make up three quarters of the most successful pod in his Semi-System—LMLA-ink.

Lavenda manages to get rid of the person who tenders all sorts of proposals to her as she sees The Guy walking in her direction. She feels for the wide-eyed kid who believes he is part of an organization that will bring fairness and equality to the world. She has seen in her time many a character come and go with the same optimism that drives the talented young officer in the army of hope as it was meant to be.

The Guy shudders to think what Da Hood, who has a record the length of his arm, and Tone Horroh, who has already amassed well beyond six figures in the small money contracts he is offered for offing people, might have done if they had decided not to tolerate his act, as he now looks forward to finding out how a woman within the Network does her thing. When he looks at his watch, he is reminded of back home, and that he is to be picked up from Beverly Hills in less than twelve hours to be driven to an airbase somewhere between here and Vegas.



Polina reads the LATEST UPLOAD. Radiohead’s “High and Dry” paints a picture of how someone in the thankless role might feel when finding out his work can be swept back out to sea in the next wave of ideas that comes ashore.

She sits up in bed in the London Hotel room where she and Lavenda have ended up after spinning the bottle on a map at lunch yesterday.

Lavenda is on her morning run, which Polina has promised to join in tomorrow, just as she had promised the day before.

Today, The Guy has woken up and started his day by registering domain names:, .net, .info, and .org. “New Oil.” Polina hears the words and ponders whether the oil spill in the Gulf has triggered an episode for The Guy, or whether it has been his long-term goal to propose an alternate commodity to displace the old crude, and the spill was just the last straw.

She reads the press releases in which LMLA-ink’s members act up, talking about the GUIOPERA as an Oil Refinery for the New Oil; data is flowing through veins of networks on which we now rely for every move we make in our lives. The general consensus is: What a great idea…but how? Polina has heard a few conversations between the crew as it considered the possibility that it will be forced into unveiling the concept more than a decade before the infrastructure is in place that will enable the dreams for an environmentally kind planet.

As she hears footsteps in the hallway and anticipates who it is, Polina keeps her head bowed to cover her mischievous smile, knowing she should have joined her friend on her morning run. The door opens and Lavenda walks in.

“Follow his career and you’ll discover the cycle starting with the tearing down of the Iron Curtain, and back to where we find we want some of that voodoo that was behind the Curtain to add to this potent potion we’ve been drunk since finding out that freedom per se is just another prison. The boundaries are wider, and the jail keeper has a smile, but the fences are much higher….”

Lavenda gives Polina a taste of her reality, the thinking of a Network operative, and the specific line each character must tow to shade the story he or she covers with emotion—emotion Lavenda chooses not to indulge in right now.

Emotive Entitlements

YouTube "High & Dry" By Radiohead

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“Vision Packeted”

Polina quickly puts in her earphones and seats herself in her cubicle. Then as she feels the wind from her right side, she gets giddy with the realization that the side of the building to her right is gone.

As she looks for familiar faces in the office, she feels as if she is about to slide out of the building’s side and then her chair begins to roll.

She can see the top of the boy’s head as he walks down an aisle. As she grabs onto her desk to stop her from moving, the floor begins to tip until she can see the kid’s face.

“Relax; it’s going to be fine,” Polina hears him say in her earphones as she sees Lavenda approach from behind as the floor levels out again.

She looks around for the guy in relation to Lavenda’s appearance, and then she sees him standing where the kid was the second before. The guy looks like the kid from nowhere, but grown up. He pours people water as he walks along the aisle. Polina notices that some people empty their cups of a black gooey substance; then they hold out their cups for water from the endless bottle he has in hand.

Lavenda hands out warm wet towels, which the people use to wipe their faces and necks. Then Polina looks to her right to see that the building is nested in a garden paradise. She sees a waterfall, and then she watches diamond-like pebbles forming as they first elastically stretch while they drop down the face of the fall, and then the particles amalgamate on reaching the pond’s surface.

The kid is back. He is the first of the inquisitive ones to venture out into the newfound land. As he takes his first step, mood-altering piano music played by Eno fills Polina’s headphones. The guy appears by Polina’s side, and then he steps out into the hinterland made of messages, ideas, and pixilations of visions all packeted in new formations that nature delivers perfectly, each taking only a thought for you to summon the essence of a friend or like-minded one’s thinking that he or she would like to share with you right now.

Lavenda breezes by as she wants to catch up to the guy who holds out his hand behind him for her, and the kid dives into the pond of data which has been treated for what it can be to all mankind….

Emotive Entitlements

YouTube "Among Fields of Crystal" By Brian Eno
Brian Eno


The Guy waits for the car to pull up to the curb. Inside the motel room is Lavenda fast asleep. It’s 3:30 a.m., and John Page has something for him to see.

The Guy can hear music, and he can see two other people in the backseat. Page’s long hair covers his face as he leans over to open up the door.

The Guy leans into the car filled with smoke and PAGE1’s theme song, “Brother Bill.”

The Guy sees that the two men in the backseat have gaffer tape across their mouths, and also across their bodies and legs.

“Come in,” the character says. The young operative collects himself and looks over his shoulder where he can make out Lavenda standing in the doorway of the motel room.

The Guy looks at the Pistol on the front seat as he gets in. He recognizes the two in the backseat. JPS from the last project has a look of despair as The Guy nods his head for Page to drive.

The Guy looks out the window at Lavenda, who closes the door as she goes back inside.

The other man in the backseat was also part of the fumbling mess for which The Guy believes he should make amends.

The car rounds the corner as Page continues to chat, at which The Guy just smiles and nods.

They drive up the driveway and into a garage in the LA suburb. Inside the garage, Da Hood and Tone Horroh play table tennis while Feeaz umpires the game.

The Guy hops out of the car, as does John Page.

“Next time,” says The Guy, smiling at Da Hood and Tone Horroh, who have their usual faces on as they lay the ping-pong bats down on the table.

Metofeaz is less amicable than he was earlier in the day as he guesses that the theatrics they witness at this ungodly hour are the work of John Page, a close friend and almost brother to Metofeaz since they had grown up together, but a loose cannon nonetheless as far as Litigatti is concerned.

The Guy senses Feeaz’s apprehension over who is The Guy’s only real contact in the group; he pulls back on his exuberance for the scene as John Page, who had contacted Lavenda earlier in the evening to let her know he had a present for the new JPS, pulls one of the men out of the backseat by the hair, ensuring the man lands on the concrete floor head first.

Litigatti signs with his head for The Guy to follow him as he exits the garage. “Handle it.” Page’s mood is evident from the excitement in his voice as he rounds the car and drags the other man out of the backseat.

“Is this how we want to operate?” Outside, Litigatti is clearly annoyed at what is going down as he reminds The Guy of the consequences if his tenure as leader begins with bloodshed.


“London Buzzes”

Camden Markets in London is a mixture of flavors, smells, and different buzzes for the two girls who have made it to the break of day. Polina nudges Lavenda, who holds her arm in the ribs as another young guy who passes by looks at Lavenda. “Six versus my four toothless fairies.” Polina says as she laughs out loud as they come into range of a DJ, who is playing to the crowd of clubbers still sailing in the jet blue stream that’s made at this time of day in between heaven and club land, and who is using the voice of Sharleen Spiteri and the whole of Texas….

“…Join the Carnival of LOVE…”

“LATEST UPLOAD,” Polina hears people say around her, and Lavenda smiles as Londoners get a taste of the action.

The two women bow their heads as they giggle because people around them begin looking for two women fitting Polina and Lavenda’s descriptions. Luckily, Sunday morning at the markets is filled with gorgeous women shopping together….

Emotive Entitlements

YouTube "Carnival Girl" By Texas

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“Empire State of Mind”


Polina exits the skyscraper for the day, glad she’s out of there. She looks for the house across the street, which is filled with people walking in opposite directions without any sense of orientation about how to navigate the busy walkway around one another. The murmurs they make, excusing themselves as they bump into each other, and then turn to the side to find the same thing happening again, makes Polina anxious.

She looks to her left and sees the dive bar in Vegas, and then further down, the old bar in Chinatown. Out of habit now, Polina looks for the kid, and then he appears through the crowd, pulling the two-wheel caravan that was dumped next to the skyscraper.

Next, Polina wonders where the guy and his girlfriend might be. As she looks down the sidewalk, she notices the cracks in the pavement from where someone is sprouting. He’s an African American, as Polina can tell when he begins to rap, the music and the message—Empire State of Mind fills the street,

Yea I’m out that Brooklyn,
now I’m down in TriBeCa
right next to Deniro

Behind him, someone else sprouts up—it’s Alicia Keys; Polina looks to see where the person she realizes to be Jay-Z has gone as Alicia passes Polina by. “God bless you, chick,” the superstar says, making Polina smile with glee.

Jay-Z walks off into the crowd, which follows him in the direction he strides. Polina looks to her left again and sees Silvia and John Page as he tries talking her into entering the dive bar with him.

She looks further down the street where she sees the guy and his girlfriend. The happy couple poke each other in the stomach, making each other jerk in laughter as the sound of a ticker tape parade momentarily floods the scene, only for it to be trumped by Ms. Keys standing on top of the caravan the kid tows on his shoulder as Alicia belts out the chorus,

Let's hear it for New York, New York
Neeeew Yooorrrkkkk

“What’s the use if we can’t sing about it, ah?” The kid winks at Polina as he passes by with the load on his back.

Emotive Entitlements

YouTube "Empire State of Mind" By Jay-Z, featuring Alicia Keys
Alicia Keys


“Some people say it was cocaine….But I know the name of the person who did my brother in….”

At the age of three, Metofeaz doesn’t quite understand the words of the song as the coffin is carried to the grave of John Page.

Jon Pierre looks down at Metofeaz as they rest the coffin on top of the grave. And then the priest steps forward.

“JPS,” says little Litigatti, pulling at the seam of the Poet Soldier’s trousers. “Yeah,” Jon Pierre values the interaction with his boy who is still alive. Metofeaz pauses as he sees the Priest open up the Bible, about to speak. But it is as if the priest senses the little boy’s pressing question, which Metofeaz finally manages to come out with. “Is this a scene, JPS?”

Jon Pierre twitches from concealing what he thinks is picked up the priest. “It is the saddest of scenes for a father and a brother, Metofeaz,” the priest says in a voice Metofeaz will never forget.

Rozelle Zofen takes Lavenda’s hand as they head up the hill to where Jon Pierre, the priest, and Metofeaz can be seen.

Janine watches from a distance as Rozelle gets close to the man she is still in love with.

Three months later…

“He’s been deported, just like your old man was.” The orphanage’s headmaster tells Metofeaz what happened to his pal, who has obviously been taken away. Finally, it clicks for Metofeaz Litigatti what the word “deported” means.

Ali, a tough little girl who won’t let Metofeaz play with her long hair, is still here, however, and the new kid who reminds Metofeaz of his brother is beginning to laugh at Litigatti’s stupid faces designed to make him laugh and not cry.

“Johnny,” Litigatti says, “it’s not his name; how would you like it if I called you Mrs. Ed?” Ali Lévon, who is the kingpin in the place, reminds Metofeaz.

“Yes it is,” says the boy, making Metofeaz giggle until Ali looks at him. “It’s Mrs. Ed….”


Metofeaz Litigatti finishes the call with Le Mac, who has returned to Rio, and he dials John Reyer as he reads the LATEST UPLOAD in New York.

Rocol waltzes into SIL HOUSE with a guy from finance who has a thing for Polina, causing Litigatti to shake his head, which he changes to nodding as he hears John Reyer pick up while Rocol, uninvited, slips into the seat across from him.

Rocol snatches the Nokia from Litigatti, who just shrugs his shoulders as Rocol uses Blue Tooth to amplify the song for the upload on the SIL HOUSE SONY Sound System, so Ms. Winehouse and Jay-Z can get together in Rehab.

Somehow, Litigatti forces a smile as Ms. Récene waves for the guy from finance to leave her and Litigatti alone. The fellow looks back at Rocol as he walks away until he walks into the counter just when the drummer’s right foot begins to tap the pedal of his bass drum, and Amy says,

They try to make me go to Rehab…

Rocol begins to shake her thing, with her hands held out in front. Litigatti looks around the place.

“It’s the LATEST UPLOAD, man!” one of the fans at the table reminds him. Litigatti begins to feel the urge to perform like back in the day. But thoughts of how Polina will feel when she reads the UPLOAD, in which he will have to make vicarious and vamp vibrations with Rocol whom he used to see, makes him realize it would be too much for Polina, even though Polina would not let anyone, including herself, know of how let down she’d feel from him just having a bit of fun.

Rocol is on her feet. She shakes her black hair free and begins to do her thing to the fans’ delight.

“Travolta,” someone shouts as Jay-Z steps in,

“…Try to make me go to rehab…”

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YouTube "Rehab" By Amy Winehouse featuring Jay-Z
Amy Winehouse

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As the kid walks up the middle of the street, he looks for something. The sidewalk is lined with people of all races. “Polina,” he calls, and then he hears a thumping noise in the distance.

Polina watches him from the house where she serves dinner for Silvia and Silvia’s new beau, as she now hears the bass come closer. The people look in that direction, and then the guy and his girlfriend arrive on bicycles. The guy skids his bike, and then he rides off again, and soon he rides by doing a wheel stand, toward where everyone sees a float coming up the street.

“It’s Prince Nelson Rogers,” the kid says to crowd, “and his band, and their firebrand FUNK.”

“Ouch,” Polina says as the guy comes off his bike not far from the stage that moves down the street.

“LOL, SOS, IMF, SWF, P2P, cats and dogs, you in the last shower,” the kid laughs as he points at the guy who gets up and throws his bike on the ground. And then he and the kid begin to dance to “CONTROVERSY.”

Polina feels awkward at hearing her own voice in the scene, but she would like to try it again as she looks out the front door and sees the float parked nearby where people surround the stage as the party continues.

“Hey!” Polina looks and sees the postman. “She’s having dinner right now,” Polina tells him as he now stands on the front porch, “isn’t she, Afanasy?” Polina wants Silvia’s boyfriend’s support to ward off the postman.

Silvia stands up and wipes her hands on a tea towel, and then she walks out the door. She and the postman disappear across the street into the dive bar in Vegas.

Emotive Entitlements

YouTube "Controversy" By Prince


The Guy chooses to carry out his meetings abroad in public places where he is one of a crowd. The small Minneapolis nightclub is jammed with fans of the maestro who shows his face at the side of the stage and then disappears again as the Time led by Morris Day with Jimmy Jam and Terry Lewis on Bass remind the crowd of their brand.

“Cool, you think?” John Page pulls up next to The Guy; the woman with him is dressed in lingerie. “Wait till you get a load of Nelson Rogers, man.” Page is in high heaven as Metofeaz, Tone Horroh, and Da Hood appear out of nowhere making The Guy feel surrounded in a club that is overflowing.

“They don’t trust you.” Page’s face is so close that The Guy wonders why he doesn’t just head butt him right now for his remark. But then he considers where the loyalties of the other three currently lie.

The Guy looks around him and notices all four of them are strapped from having connections, which he doesn’t have here, so he left his piece down the alleyway behind the club where the cab dropped him off.

“Fuck you, man,” The Guy smiles, and then he adds, “But I love your dumb ass.” His reaction causes Le Mac to step forward from behind The Guy, which The Guy is aware of as he looks to his right where Tone Horroh appears to be unimpressed.

The Guy allows none of the three people any time to gauge where he’s at as he chooses to trust his instinct. He thrusts his head backwards and finds the bridge of Da Hood’s nose as his right elbow flies up and collects Tone Horroh under the jaw while his hand rips Page’s jacket open and already he has Page’s pistol in his hand.

Metofeaz acts frantically, making it look like he too was caught off guard by The Guy whom Litigatti sees vanishing through the crowd, as Page, also on the ground, holds his face after The Guy has pistol-whipped him with the weapon. When the security staff arrives, they find the gun on the ground.

Outside in the alleyway, The Guy listens to Prince as he plays on stage; he is more upset that he didn’t get to see the Artist than by the test set for him by Litigatti, who now appears at the end of the alleyway with Da Hood and Tone Horroh.

The Guy doesn’t feel like being the leader he is meant to be right now as he reaches for his revolver and spins the chamber. The spinning sound the wheel makes feels right to him as he stands up and locks the chamber in place and heads toward them.

“It wasn’t meant to happen like that, John.” Litigatti has his hands up, and Da Hood also holds his hands up, but not as high.

“Never ever fucking call me by that name.” The Guy whips Litigatti across the face. Then he cocks the weapon against Tone Horroh’s forehead.

Emotive Entitlements

YouTube "Controversy" By Prince


“In 1986, Afanasy wasn’t a part of the Network, yet The Guy chose him to go with him to persuade a prominent businessman to fund the operation. When Page found out about it, he became even more trouble. Not that Page was The Guy’s responsibility,” Lavenda explains over lunch to Polina, detailing how the rift in the Network was maintained.

“The Guy knew he had to go it alone, until such time as Da Hood and Tone Horroh were ready to step up to the major leagues. Metofeaz’s other commitments meant he could never take on the leadership role on a fulltime basis.” Lavenda offers an explanation for why the most obvious candidate for the role of JPS hadn’t been given his birthright.

Polina begins to dislike the story and how it seems that The Guy had used Silvia to get to Afanasy to keep Page in the mold he had become.

“I know what you may be thinking,” says Lavenda, but her words fall by the wayside since Polina has made up her mind for the time being.

The LATEST UPLOAD happens, and Polina ignores the alarm.

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As Polina applies her lipstick in the mirror, she notices Silvia standing at the door; the girl looks at Polina, and then the postman appears behind Silvia; his shirt is open. Silvia cradles his head as the man kisses her neck.

Polina ignores the pair as she licks her lips, and then she advises, “Don’t wait up.” Ms. Rada collects her black Oroton bag to go with her black dress as she hears Duran Duran in the air.

“No, No Notorious…”

Out on the street, the kid and cheerleaders form a huddle as Polina steps out onto the porch.

As the guy and his girlfriend walk by, he lassoes the air, and the kid stands up in the huddle.

The kid lassoes the air, and then the cheerleaders span out and do the same with their pom-poms as the neighbors come out of their houses while the guy points at the horizon for Le Bon and his soldiers to sing about it….

As Polina steps down the steps of the house, behind her she hears Silvia say, “You look like a tramp.”

Polina looks down to her left, and for a second, she feels like she has to respond, but then the boy spots Polina and waves for her to come over.

As Polina walks to where she’s invited into the old bar by the boy and the cheerleaders to watch a sneak preview of LAZOO from the night in lights above the bar, her look over her shoulder is enough to let Silvia know Polina has better things to do with her time.

Emotive Entitlements

YouTube "Notorious" By Duran Duran
Duran Duran


The Guy and Afanasy arrive in Berlin where Metofeaz is waiting for them. The Guy lives on prescription drugs; he first popped them when, as a child, he found a bottle of them that his taxi driver father had also lived on, so he could work long hours so The Guy would grow up to be a doctor.

This trip, which was only meant to be for forty-eight hours, is now in its third day, and considering the travel time back to New Zealand where he has already lost Monday, The Guy seriously starts to consider leaving his day job as a trainee studio operator for Radio New Zealand.

“Where’s Page?” Metofeaz asks, but The Guy ignores Litigatti. “This is Afanasy,” The Guy introduces their passenger, whom Litigatti looks at in the rearview mirror, and then he slams his fist on the steering wheel and bites his lip, frustrated at how things never seem to work out.

“He’s still sleeping it off.” Afanasy’s accent and quiet voice make it seem okay for the outsider to speak on this occasion, but The Guy still chooses to deal with the situation.

“Afanasy, I don’t mean to be rude, but it’s not your place to speak, okay? If that’s okay with you.” The Guy is as polite as he can be to Afanasy, who looks out the window as they pull up to a restaurant near the railway station.


Lavenda pushes the door of the Brixton flat where the party was said to be. There is no music and the place is dead silent. Her cannon hangs down her left side, while her right hand has a firm grip on the hand-gun she sometimes has to rely upon, inside the pocket of her suede jacket.

“Anyone home?” she calls out, but there is no response. The smell of burning incense mingled with cannabis and liquor fumes is all she picks up as she relaxes and lets go of her gun. She begins to use her camera out of a need to calm herself more than anything else.

Scared of what she might find, Lavenda chooses to discover the party place and the occupants sprawled out over the couches and on the floor where John Page was through her camera lens as she slowly makes her way through the flat.

Lavenda picks up bodies on a bed in between the door-frame—the door and its hinges. The light from the large window above the bodies covers his and her bare chests.

She aims at the gate mirror on the bureau dresser, which show her another angle of the two people as she clicks and winds the film capturing each step she takes.

She takes a shot of their feet, his pointing outward, hers both facing his feet, as she then snaps the clothes littering the side of the bed he is on while wanting to get a look at his face. She sees the holster for his pistol—it is empty. And then she hears a click before she has pressed the button. Lavenda, choosing not to tempt fate, slowly puts her camera down.

John Page lies on his back with one hand behind his head, with his pistol aimed at her.

The nozzle of the gun moves, and then Lavenda realizes it’s for her to move. The woman moves as she realizes how she might be seen in the eyes of the Network now, from the way Page has drawn his weapon on her.

Lavenda slowly backs up as she sees Silvia’s eyes look down at his chest where she lays her head.

“I’m here for Silvia,” Lavenda says.…

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As Polina goes to step down from the curb, she sees the street is covered with snow. The guy stands across the street. He looks sad as the kid passes by with his red sack the size of a small car dragging behind him.

She stops herself from taking the step because she swears her action will change the scene she wants to evolve into one of her most treasured memories—Christmas with the family she remembers.

“Go ahead, Ms. Rada. Mariah Carey says. ‘All I want for Christmas is….’” The kid stops to take a breather. “Well, she said ‘All any girl wants for Christmas is me,’ actually —To be precise.” And then she sees the guy, still standing alone across the street, lasso the air to give everyone the signal that it’s time to get excited about this year’s CHAPTER XMAS.

As the guy winds his hand, the sky begins to turn, and then the horizon that appeared there moves, and then it is back again. And with every turn of his hand, the dimension spins, not in a dizzying way, but in a manner that reminds Polina of being twirled round by her dad. With every spin, the memory becomes more vivid, until she can hear the chimes from her favorite Christmas carol.

“Santa’s helpers, please….” The kid snaps his fingers, and then with all his might, he heaves the large heavy sack up onto his shoulder and begins to twirl it around in the air in the same direction as the guy, to the piano line in the song.

I—I don’t want a lot for Christmas
There’s just one thing I need….

Mariah sings and Polina smiles, and then she looks over her shoulder, and there standing on the veranda of the house is John Page, Santina San Fé, and Silvia. They wave to her as she closes her eyes to savor the splendid moment. Meanwhile, the cast of millions converges on the spot outside the old bar to leave a walkway for Polina to enter into LAZOO 2010 the Kindle Edition, published in 2011….

Polina revels in the adoring smiles that line the path to the old bar in Chinatown, and then she looks up to see Lavenda standing where she thought the guy would be to escort her into the preview.

She looks around for the guy until she finds him standing back on the other side of the street from where she just came.

The confusion causes the fairytale scene to end abruptly. Polina decides to bow her head while she takes the next few steps as a different tune begins. She begins to feel the snow beneath the soles of her high heels, which now sink beneath the deepening snow. Polina looks up as Lavenda walks off; she looks around at Polina with a comforting smile that Polina needs as she notices the dimension is surrounded by an imperious presence. From the top of the wall spills barbed wire, and down on the ground are traps to escape if one were unlucky enough to have survived being shot….

Emotive Entitlements

YouTube "All I Want For Christmas Is You" By Mariah Carey
Mariah Carey


“Metofeaz Litigatti, it’s your fifth birthday today.” Metofeaz rubs his hands with glee as he sees the hallway at the other end light up with candles as a cake is brought to the table.

“I’m allowed to blow out one candle because you sneezed on all of my candles last year,” Ali reminds Metofeaz, but Metofeaz shakes his head.

The front door bursts open and a man in a gray suit enters; he has a baby in his arms.

He hands the baby to the nurse who follows the headmaster with the cake, and then he exits the scene quickly.

The nurse should have reacted in some way—at least with a bunch of questions—but instead, she holds the baby as if it were planned that way.

Metofeaz looks at Ali, who looks at the other children. Then as one, they shrug their shoulders and begin to sing “Happy Birthday to you….”


The Guy scoffs at suggestions that he needs to show more respect, resulting from his having setup the meeting in a quarter of Berlin where the businessman doesn’t feel at home.

“Fuck the location; you’ll be laughing when your cars can be made for a smidgen of what you spend now.” The Guy sits back momentarily, but then he leans forward again. “Fuck the location. Anyways, all we need from you are a few fundraisers with all the usual suspects present; we’ll take care of the rest.” Then The Guy looks at Afanasy, and then back at the businessman. “And your crew’s vote at the next OPEC summit.”

The businessman, who comes from humble beginnings, senses the urgency and seriousness in the young man’s cavalier approach. And then, one of the signs he was promised by The Guy comes on the radio in the restaurant.

“George Michael from Wham! on backing vocals.” The Guy continues his act as he stands up. Afanasy looks at the businessman as the Elton John song “Nikita,” which stayed at number one for the time The Guy said it would, plays.

Outside. The Guy feels somewhat emotional as he sees Lavenda with Silvia across the street.

“There she is mate.” The Guy feels the trip has been worth it as Afanasy appears next to him.

Lavenda looks left and then right. “Go,” she says to Silvia. Behind Silvia in the distance is the wall Lavenda cannot help but see.

The Guy watches Silvia cross the road while Afanasy is already heading toward the east.

The Guy knows it is time to return home. Across the street is Lavenda; she looks as if she could do with some company after a hectic few days.

The Guy begins to walk to the west, the same way Lavenda is heading. He steels himself to keep from looking at her, hoping she will vanish from sight.

As she sees steps to the station, Lavenda knows he will not cross the street to be with her.

The Guy stops in front of a shop where the song also plays; he looks for Lavenda’s reflection in the window. He hears an apt description of her in the lyric,

“With eyes that look like ice on fire….”

Emotive Entitlements

YouTube "Nikita" By Elton John
Elton John

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“Houston, Bono, Guns ’n Barbie and Black Monday”


Inside the old bar, Polina watches the show: Lazoo, Metofeaz, Le Mac & Afamasaga on stage.

John Reyer as a ranch hand hands a young Genisis Jones the document folded concealing the details for Bono Vox, the lead singer of U2, to sign.

Le Mac as a grip on the film crew for U2’s “Still haven’t found what I’m looking for,” points for the makeup artist to tend to Bono, as Genisis walks up to the Superstar.

The most recognized leading man of the time sees a fan in front of him, and then the makeup artist’s brush, and signs his autograph as he lifts his chin for the makeup artist to do her thing.

In the next scene, the document is presented to a stern looking man in a suit; alongside the document is proof that the fingerprints on the signed document are indeed those of the famous man.

Polina looks around the bar filled with models from work. Then she remembers she’s not in her work clothes, and they are looking at her in the same way she looks at them during the day.

Next, the kid appears on stage; he moves furniture about the stage, and when he’s done, he turns to the audience and begins to speak. The screen, descending upon the kid, hits his head, and then it crumples around his head as it continues to come down.

Polina is curious about what the boy is saying, but then the music starts. The medley begins with Whitney Houston in “I Wanna Dance with Somebody,” and ends in U2’s “Where the Streets Have No Name.”

The screen retracts back into the ceiling to reveal a white sheet covering the stage, backlit with a shadow, which can only be the kid’s, showing him playing air guitar. The character plays for a few seconds, and then it’s as if he finally realizes his actions are unaccompanied.

“Damn! Guns ’n Roses must still be asleep.” His voice breaks the silence and brings laughter from the crowd. And then he is caught by surprise as the music eventually comes —“Sweet Child O Mine”—which launches the image on the white sheet into action on his air guitar, much to the audience’s delight….

Emotive Entitlements

YouTube "I Wanna Dance with Somebody" By Whitney Houston
Whitney Houston

YouTube "Where The Streets Have No Name" By U2

YouTube "Sweet Child O' Mine " By Guns N' Roses
Guns N' Roses


“Johnny,” Metofeaz calls the baby as he crawls toward where Ali holds Barbie out in front of her for the baby to come to her.

Ali and Metofeaz celebrate the baby’s third month at the orphanage with cupcakes and homemade lemonade.

The baby’s delayed reaction to Metofeaz now brings a smile to Metofeaz’s face, but only for a fleeting moment; now it’s Ali’s turn to get her kicks out of their trick when she calls to the baby, who is already turning around to go back toward Metofeaz. “Page!” Ali squeals and the baby looks at her until Metofeaz brings out his trump card, the gun, which Metofeaz waves around, making the baby look up into the air.

“Don’t do that; it hurts his neck!” Ali, who is six years old, tells off Metofeaz.


1987 was a mixed year for the crew. The Guy couldn’t fathom the unprecedented shock of Black Monday; it was like the carpet had been yanked out from under everyone’s feet.

The meeting in Sydney with two senior figures in the Network convinces The Guy to stay committed to the cause and not to put himself on the market for any other type of work. In the U.S., Tone Horroh and Da Hood—as John Reyer and Jon Le Mac respectively, with the help of Metofeaz’s connections—were beginning to make inroads passively, using entertainment as the vehicle for providing proof of their influence to persuade people to join growing clusters who will ride the next wave in business and economic development, which included spreading the wealth by taking manufacturing offshore to places where poverty needed multinationals and their investment dollars….

The train ride north, which will bring The Guy to an airfield in New South Wales, suddenly brightens for The Guy when a woman, whom he first believes to be a nobody, sits down to his left.

She grabs his arm and then squeezes his hand, which is followed by a kiss on the cheek. The Guy notices the camera on her shoulder, and then he sits back in the seat as his arm comes up and around Lavenda.

He doesn’t look at her, and he can’t conceive her to be real—even from the smell of her perfume. He watches her reflection in the window as she begins to chat with him….

“John Page does what he wants,” Lavenda reminds The Guy. “He loves being locked up with men.” The Guy is unimpressed by the news that John Page is once again back behind bars.

Lavenda looks at The Guy. “Afanasy and Silvia are expecting by the way,” she says. The Guy has mixed feelings about the news as he considers the life ahead of the child who will be born into the trap already set by the lives both parents have made for themselves.

“I know it isn’t fair sometimes,” says Lavenda, laying her head on The Guy’s shoulder. “Are you saying they’re not deserving parents?” The Guy wants to know Lavenda’s view of justice in this case, whether she is thinking of the child or of herself….

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“So What”


As Polina hurries out the door on her way to the office, music by Miles Davis and Ronny Jordan plays in the dimension.

On the opposite side of the street is the kid. He stands in the middle of the long line of people spanning left and right for as far as Polina can see.

They appear to want to cross the street, but they wait for the kid to tell them when it is safe to do so.

“Hands up—who wants to cross the street?” he asks, and then he steps down onto the street. He throws a foot in each direction like Fred Astaire; then he jumps back up onto the curb and claps his hands.

Now the people jump to follow his moves. “Hands up—who wants to cross the street?” Polina hears the chorus and then the sound of a million feet landing on the street. “Left, right, ta da…” Polina hears herself say….

“Polina.” When she hears her name, she bites her lip, a bit nervous but also excited at the prospects of a day that has started in such a fantastical way.

“Who?” Polina hears herself ask, and then she tells herself she can do much better than that. She clears her throat and the music stops; all heads are raised toward the horizon, looking to see what will happen next. And then they hear the needle being placed down on the record, and then the guitar riff, played by black fingers on the guitar’s neck. The riff comes again; this time Coltrane and then the Maestro’s fingers play on three valves of a trumpet.

“So what?” Polina sees the kid as he jumps back down on the street to bridge the gap as Polina summons the performer within.

“Hands up—who wants Polina to cross the street?” The little fellow heaps on the pressure as he now does a Michael Jackson spin. Then he stands on the toes of his shoes. The crowd on his side of the street cheers and claps as the boy finishes with the moonwalk and then jumps back up onto the footpath.

The groove continues. Polina is aware that the longer she waits, the more difficult it will become as she now realizes there are people on her side of the street, waiting for her to cross it.

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YouTube "So What" By Ronny Jordan
Ronny Jordan

YouTube "So What" By Miles davis featuring John Coltrane
Miles davis
John Coltrane


Metofeaz’s present for his seventh birthday is the news that the person he had known as JPS was found dead two weeks ago. By now, the young guy understands the meaning of loss in so many ways. Ali stands in front of him, waiting for his response to the letter she had just read him from someone by the name of Janine.

Little Litigatti looks at John Page, who walks around the room with his gun. Metofeaz momentarily considers the possibility that he will be able to look after the two year old on the run as he plans his escape from the orphanage to go seek out who might be behind his father’s death.

“No!” Ali is in his face as she reads Litigatti’s mind.

The next day, Metofeaz’s plan to escape is forgotten when a gentleman by the name of Mr. Pierre shows up at the orphanage and signs the paperwork adopting Metofeaz, John Page, and Ali Lévon.

By evening, all three children are seated around the dinner table in their new home in Brooklyn, New York.

Ali sits at Mr. Pierre’s right and opposite her is Metofeaz. Down on the table’s other end and opposite to their new dad is John Page; he holds two knives, which Ali comments on before she gets up to correct the toddler’s table manners.

Metofeaz cannot get over how alike Mr. Pierre and JPS are, and it makes him smile at the man, and then he points at Ali and John Page for something to do, making the man smile.

“JPS.” Metofeaz realizes what he has just said, bringing a look from Ali that quickly changes to a courteous smile to adapt when Mr. Pierre says, “You can call me that if you like….”


The Guy waits for Litigatti in an Auckland café. Word that Le Mac and John Reyer will be with him makes The Guy nervous. Within the last twelve months, John Reyer and Le Mac have begun showing their ability, and above all their dependability through the honesty in their reports that the Network relies upon as it makes plans for a season of change, brought about by the changing of the guard in the east and in the west, pending, imminent, or due to trend. Most of the changes come by way of those wanting to leave a legacy they can look back on proudly, and ones wanting to exert authority in the newly acquired post.

The Guy, who was selected for his talent for spotting patterns in behavior and his ability to bring about change on his own—most importantly in chaotic and sometimes dangerous situations—dreads having to live up to the image of himself as a leader—an image the Network has used to brainwash John Reyer and Le Mac.

Word that a date has been agreed upon to celebrate what the Network views as the conquering of the Berlin Wall is merely a relief for The Guy. At times, he has felt like he is walking through a house of mirrors with a sliding floor during an earthquake, not knowing what is real from what is just a threat from the Network’s view, until such time as he had gained enough data to make his own conclusions for his crew’s safety. Up until now, Afanasy, whom The Guy had trusted blindly, had not let The Guy down—nor had Lavenda, who works under various guises but reports to people on the Network’s other side. Lavenda’s responses, and the info she passed on to The Guy, have been consistent, allowing him to plan his more decisive moves, which rarely involved anyone in his crew to be carried out. He chooses to use those close to him as sounding boards and a gauge for his performance; he leaves the heavy stuff, including a mild form of framing someone in a lesser light—unavoidable in his line of work—to contractors or to Metofeaz to organize.

The Guy sent in crew members fitting the tastes of the target, who was required to sign on a dotted line, or to influence others in the target’s circle. But never during his time as JPS has he given the order for someone to be killed; he has instead chosen to make the trip to wherever the inconsolable target was who had been told he has no choice but to tow the line, to let him know how important it was for him to put pen to paper or to bring back the result the Network requires.

The fact that John Reyer and Le Mac have successfully squeezed a number of key targets indirectly through their work in the U.S., which The Guy had planned only as a training exercise for his new crew in the Americas, meant he was now responsible for the pair and their remarkable performance in the big leagues—a performance without any blood being shed, or malice toward those whom the pair twisted around their little fingers.

The Guy watches on as Litigatti asks a question at the counter. Then John Reyer practices his accent on the waitress, who looks at both men until Le Mac walks in and all heads turn.

The Guy realizes that not only are Metofeaz, Le Mac, and John affable when they need to be, but they are also serious guys with a feel for the work they were recruited to take care of, as demonstrated by how they had pushed several industry leaders in the U.S. to start talks with manufacturers in Europe, where The Guy and his crew their had been working.

The industry leaders’ conversation focused upon possibly producing product components for a new joint venture. Japanese companies would manage the production by outsourcing labor to plants across the world.

As the three visitors approach the table, The Guy senses something wrong.Then his premonition becomes reality. “Johnny Boy.” He hears the name, but none of the three seated at the table have spoken.

He replays the words and tone until it becomes apparent who must have spoken. He realizes the person’s position must be some place behind him as Le Mac and John Reyer look there, while Litigatti bows his head, thereby admitting he knew John Page would also show his face.

“Johnny Boy.” As the Guy hears the name again, he instantly looks at John Reyer, who looks behind The Guy.

The Guy leans back on his seat, feeling the heat from not knowing that Page would be present. He looks for reasons of his own that would make John Page and his ways more acceptable to him, but the only saving grace he can find is that the character in the STORYBOOK was the son of Jon Pierre Solomon The troublesome character now shows his face as he pulls a seat from the next table and turns the chair backward before sitting down and leaning forward close to The Guy.

“Outside, you and me,” is all The Guy can think of saying as Page moves closer. Litigatti, looks behind The Guy again. “Silvia, take Page to the hotel please.” Page’s snarl is aimed at The Guy, but it ends when he looks at Metofeaz. “The Network needs to appoint its leaders better.”

As The Guy hears the comment, it calms him somewhat, reminding him of his role and the responsibility that goes with it, a responsibility he neglected the last time Page goaded him. And then as he realizes what Metofeaz said, and the flow on affects if Silvia was actually here with Page.

“You and me outside. When I win, Afanasy’ll leave Silvia alone.” Page chews gum as The Guy waits for someone to step in and shut Page up.

The Guy looks at Litigatti and then at Le Mac and John Reyer. He considers the possibility that he is being played as part of some crazy practical joke. When nothing is said, The Guy looks at Litigatti. “I win and fuckwit stays well away from her.”

Outside in the alleyway, The Guy lifts his arms as Le Mac pats him down; John Reyer does the same to John Page. Then The Guy backs up until he’s leaning against the brick wall.

“Mate, don’t fuck with me.” The Guy smiles as he remains still with his hands behind his back. He leans back on the wall while Page stretches his neck left and then right and then he begins walking toward The Guy.

Page doesn’t know what hit him, let alone how it happened, as Metofeaz, Le Mac, and John Reyer watch The Guy repeatedly pummel Page’s head and then face into the brick wall.

As he lets Page drop to the ground, The Guy then looks Litigatti in the eye. “Drop kick!” he says as he kicks Page’s head.

The Guy looks at Silvia, who holds Page’s jacket. When he holds his hand out to her, Silvia quickly runs over to take it.

The Guy takes the jacket from the stricken woman and chucks it next to Page’s body before he and Silvia walk off down the alleyway.

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“Never Never Love”


Polina finds herself sitting in the reception area of CHARLEY STEVONSEN, the place where she works.

She reads a travel magazine article about Spain; the black and white photography of the summer spot has a nostalgic feel about it. The pictures are of the sea, and in the foreground is a man in white, who looks out over the ocean. The music by Simply Red begins as Polina turns the page.

“Ms. Polina Rada,” she hears the receptionist call out, and the woman sitting next to Polina sits forward. Polina sees the woman is pregnant, and she puts a hand behind her to push herself up. Polina gets up to help the woman stand, and once the woman is on her feet, Polina recognizes her to be Silvia. Silvia walks off into the opening doors, leaving Polina speechless.

“This real revolution baby….”

Polina hears the words to “Never Never Love.” The boy sits on the countertop and sings along, as does the girl behind the desk as she answers the phone.

The sliding doors to the offices open, and the guy and his girlfriend, respectively dressed as a surgeon and a nurse, lead a procession that includes Silvia on a hospital bed; the models around the bed are dressed in ultra fitting nurse uniforms.

“Polina Rada,” she hears her name being called again. Everyone looks at Silvia’s stomach, and then they crowd around the bed as they wheel it away, looking over their shoulders back at Polina.

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YouTube "Never Never Love" By Simply Red
Simply Red


Ali Lévon sits quietly at the dinner table. The fifteen year old girl tries her best to be strong as another day has passed and Mr. Pierre has not come home. Opposite her, Metofeaz bows his head. “Let’s say grace.”

“Let’s not say grace.” Metofeaz’s eyes, which are already shut, tighten like his lips as Page’s voice comes again. “Let’s not say anything or do anything; let’s just sit here like animals….”

The nine year old, seated at his end of the table, has his feet up on the table.

Litigatti looks at Ali, and then he gets up from the table to go into the kitchen.

Page shows no sign of worry that Metofeaz might be going to find the wooden spoon.

“I’ve outlived many a wooden spoon; they’ll have to make one out of rocket ship metal to do me in….” Ali is not sure whether to respond to the boy’s comment by laughing or whether to scold him.

Metofeaz appears with a tray he places down on the table. Litigatti is lost for ideas on how he can keep the boy entertained as they wait for Mr. Pierre, who has been gone for thirteen days.

Metofeaz opens the ice-cream from his and Page’s birthday party, held the day before Mr. Pierre had told him he had to go away on a business trip for a couple of days.

Metofeaz scoops the ice-cream; then in his other hand he takes Page’s plate, with meat and vegetables on it, and tips it on the floor; next, he places the plate back on the table and dumps the ice-cream on it. Page stops smiling as Metofeaz takes another scoop, and dumps it on the plate, and then another. Once the mound is piled high, Litigatti rips open the packet of cookies and pours them on the table; then the fourteen year old’s fist begins to smash the cookies until all that are left are crumbs, which he scoops in both hands and holds above the ice-cream to watch the bits funnel through his hands as he calms himself down.

By now, Page is sitting up with his feet on the ground and his manner has changed. “Can we say grace?” The boy manages to ask as Metofeaz, standing over him, begins to cry.


Lavenda holds Silvia’s hand. Silvia waits for the news Lavenda has already guessed. Lavenda can see Afanasy out on the balcony of the villa in Spain.

Afanasy looks out over the water in Barcelona. He’s uneasy about the news, but also delighted. This could be a new beginning for him and Silvia, who is back by his side, and this time has stayed with him for six months.

When the phone rings again, it instantly makes him angry, and then sad as he looks over his shoulder at Silvia, who just looks at the phone, meaning she would like Afanasy to deal with the caller who is most likely Page.

Afanasy takes the receiver and looks at it, hoping it will stop ringing as he presses the flashing light on the phone. “Yeah?” Afanasy says.

Afanasy listens as the person goes through a series of apologies for his behavior until he sorts out his excuse for calling the fifth time today; then Page launches into a spray of abuse, ranging from racist remarks through to his real thoughts on what type of woman Silvia is, and then the cycle begins again with his useless apologies….

Lavenda has one eye on Afanasy, whose body language changes as he ends the call. Silvia continues to tell Lavenda how wonderful she feels and that this—her being pregnant—will heal all wounds, including scars from the miscarriage a year ago.

Afanasy who walks on egg shells to be around Silvia, considers taking up an offer to work on a film crew in the Middle East while things between him and Silvia are good, so she might miss him and will be back for the birth in November, if he chooses to take up the cameraman role in the Middle East.

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John Reyer opens up the door to the old bar. He thinks through what he is about to do, and he feels okay about the affirmative action he is about to take against his original order for The Guy and Litigatti to take charge of the story.

He hears music, but he tells himself, “It ain’t real” as he steps inside and closes the door.

He thinks about whether he is a figment of someone’s imagination, and whether the scene he’s in is part of Polina’s journey to the AMD since it is by no means the paradox he thought her trip might be to the place where only Ms. Rada, out of all his crew, can go.

He runs his hand along the bar without finding any dust. Then he looks at the last booth and sees the ThinkPad is switched on.

He looks for the kid, who has featured well in this part, but he doesn’t appear.

“I deserve a chance, even if it’s for Polina’s sake,” says a voice from somewhere behind the bar. Then John Reyer hears the coffee machine being operated. He looks in the mirror to see that John Page behind the bar, just as he was at the end of WIPE.


At sixteen, Metofeaz stands beside the same grave for the second time in his life. The coffin containing the body of Janine Elton is lowered into the ground, next to a grave with “John Page” on the headstone.

John Page, the eleven year old who knows nothing about his past or what they are doing here, clings to Metofeaz, the brother he knows, as the priest opens the Bible.

Ali Lévon had run away not long after they found out Mr. Pierre would not be coming back. And then Janine Elton turned up at the house, crazed and in need of psychiatric help, which Metofeaz organized when he called the hospital after Janine wouldn’t leave the couch for over a month.

Over the last couple of years, Janine had come and gone, staying for a few days and then going back to the “brothel” where she worked for a “Clown!” Or she was in the hospital, which ever suited her at the time, Metofeaz remembers.

A few days ago, the morgue had called Metofeaz to come and identify the woman’s body after Janine had overdosed on sleeping pills in the brothel.


John Page lays on the king size bed with four posts as he talks quietly but aggressively to someone on the phone. He puts the phone down as the rich girl walks back into the room. “Put the mink on,” he smiles as in one hand he twirls his pistol in the air. The blue-eyed beauty, who will inherit more money than she can count when she turns twenty-one this year, does as he says, and then she has to duck for cover from the sound of Page’s knife hitting the wall.

“Shit! Thought it was one of them Nazis,” he chuckles as he does after he does something crazy like chucking his hunting knife at the shadows on the wall while claiming they are the enemy.

John Page had met the heiress at a fundraiser organized by her father. Page, or the Pirate as he is known in the Network for hijacking operations and turning them into his mission, which in the end works well for his crew, has no other motive for being with the woman who is two years older than him, other than because she is rich.

Page began his role at the age of sixteen when Metofeaz Litigatti needed someone to infiltrate an international ring smuggling precious stones. Page had gone in as a desperate youngster looking for action, willing to carry rocks of any size and any quantity anywhere in the world.

“Come here,” says Page, looking at the woman who begins to take off her heels. “Leave ’em on.” Then she begins to take off the fur, so she is naked. “Leave that too. Just get over here….”

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John Reyer reads through the story thus far as the front door opens and Polina’s face appears through the gap. “Come in,” he calls out, and then he realizes Page may still be about.

As Polina walks down the bar, LMLA-ink’s leader looks around the place, calculating Polina’s reaction if she were to see Page again, especially at this point in the story.

He folds his arms as he assures himself he would be able to explain things if Page were still about. But as Polina sits down in the last booth, he unfolds his arms, certain there will be no sign of John Page.

Polina has an expression on her face that John Reyer cannot place—or understand. And then the young woman looks at the stage and begins to clap. Once she finishes the clapping, she looks back at him, waiting for him to say something.

John Reyer watches Polina out of the corner of his eye as he pretends to read more of the story. He sees her head move as if she is watching someone pass by. Then he decides he will be the kid from nowhere, after assuming that who Polina just saw walk by was the guy and his girlfriend.

“It’s good to see you made it across the street safely, and that you are holding up well under the pressure,” he says. Polina nods her head. “I mean, with all that’s happened with Rocol and Alexvale—and The Guy’s version of the events….”

John Reyer gets a fright when Polina slams her fist down on the table. “You protected me from the truth….” The tears begin to roll down her cheeks, causing John Reyer to look down at the ThinkPad….


At eighteen and a half, Litigatti, who has had minimal schooling, waits by the phone to see whether his U.S. Army cadetship is enough to win him a scholarship to the Academy.

When the phone rings, he counts to three before he picks it up. “Metofeaz Litigatti speaking,” he says. Then he places a hand over the receiver and smiles as he winks at John Page with a cigarette in his mouth, which Litigatti grabs off the thirteen year old, and takes a puff from for himself.

The news is not great—Page can tell from the look on his big brother’s face as he slowly puts the receiver down.

A knock at the door turns both boys’ heads, “Pretend we’re crazed lunatics, and we’re going to slice them up,”.says John Page as his eyes light up as the two boys plan their act, so that whoever is at the door will leave them alone.

But Metofeaz doesn’t feel like playing as he gets up. He points to the shotgun, and then the revolver, and lastly, the pistol for John Page to hide. “And not under the cushions,” Metofeaz says., as he spots the knives which he points to for the kid to get rid off them too…


Lavenda smiles at him as The Guy pulls out the chair to seat himself at the table. “That doesn’t feel natural,” The Guy smiles back. “How about a taste of that bubblegum tongue of yours, ah?”

Lavenda still feels butterflies when The Guy decides for whatever reason to turn it on. It may be because he feels guilty that he doesn’t show her enough attention, or it could be that he needs her as much as she needs him. But all that aside, the breaking down of the Wall, which has somehow fallen on the same day as Silvia’s going into labor, takes up both of their attentions.

“Was she induced?” The Guy asks about Silvia going into labor this morning. “No, just happened,” and then Lavenda leans forward, closing her eyes as she grabs The Guy’s head and fulfills his wish.

“WOW!” says The Guy when they eventually come up for air. “What was that for?” Despite the question, he already knows why he got to taste Lavenda’s lips again.

The Guy has called his crew from the U.S. to be present for the birth of Silvia’s baby—an act that will show the Network that both sides of it can work together, and something that impresses Lavenda.

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The Guy uploads Chapter 16 after a solid weekend of writing, during which time he’s taken the story close to where it will peak for the first time in this year’s GUIOPERA.

Apart from the satisfaction of having tailored the plot so it accommodates three threads again, The Guy is pleased that Wayne Bennett has won his seventh Australian Rugby League Grand Final as coach of the St. George Illawarra Dragons.


John Reyer reads the email to Tyler in which The Guy sends Chapter 23 for editing, his note—23 like Jordan—makes John Reyer laugh, and then he remembers Polina’s still here, and for that matter so is he, maybe as decoy, in yet another of The Guy’s trick shots, in which he slam dunks on everyone.

Polina reaches for the coffee in front of her, and John Reyer looks around the bar for Page, who must’ve made the coffee.

“Looking for something?” Polina takes a sip, and then she takes a handkerchief and dabs her eyes.

“No one,” John Reyer confirms and then he goes back to typing.

“I didn’t say ‘someone.’” Polina is agitated.

John Reyer selects the tune and then starts to clap to the drums. Polina can’t help but smile as she watches him try to make her laugh.

“What’s this?” Polina’s head begins to move to the childish arrangement, and John Reyer begins to tap on the ThinkPad. He then lifts his left arm and points to the stage for Polina to look there.

“Colorful, and energetic, ah?” Polina says as she turns to look at the stage….

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YouTube "I Woke Up Today" By Port O'Brien
Port O'Brien


Metofeaz Litigatti waits for his name to be called. John Page holds up his crossed fingers on both hands, making Metofeaz smile, and then he grabs the kid in a headlock.

“John Page,” Metofeaz hears the name as the kid wrestles his way out of his grip. Metofeaz goes quiet as the woman in a white coat with a manila folder down the hallway calls his kid brother’s name again, “John Page, please.”

Litigatti is stunned as he looks at Page, who is not aware he has been accepted into the Academy’s development plan. Metofeaz runs over the events, in which both he and Page were interviewed as the woman now stands in front of John Page.

“Please come with me, Master Page,” she says. John Page looks at Metofeaz as he gets up.

“Go for it, Pirate. Steal the show!” Metofeaz bravely encourages his kid brother as the thirteen year old is led away.

Litigatti sits quietly, waiting for someone to come and tell him he is surplus to requirements as another cadet is called up. “I woke up today!” he hears his kid brother shout out as the kid walks through sliding doors down the corridor.

Metofeaz sits up straight and folds his arms; he casts his focus straight ahead. He clears his mind and listens to himself breathe as he takes stock of the options available to him.

Someone sits down next to him; Litigatti does not bother to look at who has come into his personal space.

“We need a candidate whom we feel we can relate to.” Metofeaz knows the voice and New York accent well, having run errands for people to feed him and his siblings, who said they knew who his real father was.

As Litigatti looks down to his left, he sees rosary prayer beads in an open hand….


The Guy knocks on the door of the hotel room, and then he steps back and bows his head.

When the door opens, John Page’s black hair is like a bird’s nest. His eyes are covered in Aviators by Ray-Ban. He wears a mink coat with camp authority, and boxers, with his pistol by his side. Page smiles at The Guy, and then the German heiress appears and drapes herself around the happy looking guy.

“Sorry, no fancy dress!” Page’s smile can be deceiving as The Guy nods his head and pushes past Page, who stands his ground but lets The Guy in.

The Guy sits down on the sofa, looks at the sleeves of his three-piece tailor made suit, and laughs.

“What’s the song?” The Guy asks about the tune playing. “Some TV commercial from the future?” says Page who seems sober to The Guy. But then The Guy looks to the young woman for confirmation that what the Pirate says can be trusted.

The Guy nods his head to the catchy tune. “Colorful, ah?”

“We’re having a reunion; you’re welcome to join us,” Page announces what The Guy had heard about from Lavenda.

Ali Lévon, who is said to be in the last semester of her pregnancy, has also made the trip to Hamburg, an unlikely place for a bunch of orphans from New York to meet up after half a decade apart from each other, The Guy thinks…

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“Cross My Heart”


“Hey!” John Reyer snaps his fingers in her face, but Polina continues smiling at what she sees on stage.

Seeing movement behind the bar out of the corner of his eye, John Reyer assumes the worst—that Page has shown up in the AMD.

John Reyer finds himself in the AmalgaMension Dimension due to Polina’s right of entry into the third dimension, and his being a part of her dream.

His immediate task is to get Polina out of the scene, and ideally, he will be able to access the SFD so he and Page can communicate, hopefully with some affect on the end-to-end saga that will satisfy all.

If Polina acknowledges Page in the scene, the ramifications of creating a bridge between the dimensions, forged by Polina’s yearning to see Page again, will be irreparable.

John Reyer can hear music in the distance.

Polina continues to be mesmerized by LMLA-ink’s story as John Reyer helps her to feet. He guides her past the bar, choosing to be on her right side to ensure she does not see the figure standing behind the bar….

Outside on the street, Polina smiles to see people are once again walking on the road like at a carnival, but she wants to go back inside the bar. John Reyer points across the street at the house where she can see three people who wave to them.

John Reyer closes the door behind him, and then he looks across the street so Polina will focus on the people who wave to her, but the girl, wanting back in the bar, makes a grab for the door.

John Reyer looks up in the sky, in the MindMorph Dimension, and points to the Southern Cross, upside down from where they view the Crux. The inference he knows some will make from him pointing out an inverted formation of a sacred symbol makes him think about the amount of time and energy The Guy puts into upkeeping his formular so the work remains at the forefront of people’s interests. He uses various methods he’s used before although the work has become web based. He favors controversial subject matter that takes the storyline to places where those following will be exposed to their deepest and darkest secrets, when they can no longer navigate the seemingly dead-end that only The Guy can conceive a way to exit, and which out of desperation to stay alive, the others will write storylines that ultimately will cost them their lives.

John Reyer appreciates Metofeaz’s relaxing of his usual passion in hope that his parts will quickly string the back story together, rewarding the fans at every possible chance as The Guy plots for them an escape from a storyline in which John Reyer himself is at The Guy or The Poet Soldier’s mercy.

“Okay then; I’m going,” John looks to see where the voice is coming from. He catches a glimpse of Polina as she fades into the crowd.

John Reyer thinks of Hariss Clariss’ execution in the MMD by Lazoo in the Inaugural GUIOPERA, and in the SFD by himself in the Kindle eBook, “The Guy,” carried out to exhume the “Clown” entity completely from the story. He dares himself to think of what Page, Afanasy, Metofeaz, or The Guy would do to those who may have fallen foul of LMLA-ink and written defamatory type text about the woman who has made it to the other side of the street and now turns to wave to him.

He waves back as he wishes sweet dreams to his favorite crew-member. He then looks at the street, along which it was decided only a few buildings would be erected as places where certain events could take place.

Polina waves one more time as she enters the yard of the house where Silvia grew up.

He looks to his right and sees the shadows that the flashing lights above the dive bar in Vegas cast on the pavement; he ponders the probability that he will be able to find Page, and possibly Metofeaz, inside….


Metofeaz signs the crucifix across his chest, and then he takes the door handle to turn it.

He is happy to see John Page, but he’s not sure about the identity of the woman with Page, although Page had specified it was a family reunion. Page still has the fur on, but his pistol is tucked away somewhere.

When Page, now nineteen, puts his arms out like they are wings while he enters the hotel room, Metofeaz gets who the young woman is who smiles at him as she is dragged into the room by Page.

The last time he and Page had spent any decent time together was back down in the Pacific when they got drunk on magic mushrooms provided by The Guy during a bush test for young recruits. The limp that his little brother has is from the same test when The Guy dominated him, Page, and the best recruits the academy had sent for testing.

Metofeaz sees someone else at the door of the hotel room. It’s The Guy himself.

“May I come in?” Litigatti hears the sarcasm in his voice, but he decides not to let that get in the way of what can be a great occasion for everyone.

No sooner has The Guy taken a seat on the sofa than he announces, “John Reyer and Le Mac are here.”

The revelation brings Page into the room. John Page looks at Metofeaz as The Guy springs his own surprise on Page in particular.

“Le Mac is picking Ali up; her contractions are getting closer.” Page wants to do something, but the look from Metofeaz tells him this is not the time or place.

In Berlin, celebrations at the Wall are underway as The Guy, Metofeaz Litigatti, and John Page ensure the Network’s involvement is remembered in such a way that it reads well for fans in the end-to-end saga.

The Guy watches Litigatti closely as Metofeaz reaches down beside him and picks up his ThinkPad years before they are known. “I’ve made sure that only the purest fans, with the agility of mind, can stick with us on this one,” The Guy says to let Whimsical know how delicate the operation is, and how intricate the web is that he has spun, laying hair trigger traps for the foolhardy to snare themselves in if they try to write alongside the chosen few who possess the insight as prescribed by The Poet Soldier.


“She was a young American….” the Thin White Duke, David Bowie, sings.

Lavenda laughs at the song choice made by her friend Silvia who lies on the hospital bed waiting for the next wave of discomfort.

On TV, the November scenes from Berlin are surreal. Lavenda lets go of Silvia’s hand and reaches for a drink with a straw in it; she takes a sip and then passes it to Silvia….

From the window, Lavenda sees the scene being set up down on the Hamburg street. John Reyer is in the black Peugeot with Le Mac in the ambulance that reverses back up the street.

John Page pulls up in the silver merc and then reverses into a park as Litigatti and The Guy hop out of the silver Range Rover.

“Shit,” Lavenda warns Silvia as she gets another contraction. The scream covers what Lavenda says.

“He’s back; not with her though,” Lavenda tells Silvia, meaning Page is downstairs, but not with the rich girl who had accompanied him when he had come to visit Silvia earlier in the day, bringing with them the biggest bunch of flowers in the room.

Lavenda reaches for her camera to get shots of Page, Litigatti, and The Guy who walk toward John Reyer’s Peugeot and the ambulance with the red cross on its roof.

Down on the street, Page has a spring in his step as the F3quenZor kicks in. The sun comes out on the Hamburg Street in time with music that gets louder as Page sees Metofeaz, whom the Pirate will one day convince to work with him. It makes Page want to shoot at something, but then he remembers he is sober and straight right now, and his act won’t work in this scene.

John Reyer shakes his head at the sight of Page, a larrikin dressed like a glam rock star. The Pirate spins to Bowie before he straightens up as he walks into passersby who laugh at the crazy character.

In the rearview mirror, Litigatti and The Guy in Armani step to Ziggy Stardust. With his one working eye, John Reyer can make out a shadow in a window three stories up in the hospital on the corner.

He sees the ambulance carrying Ali Lévon disappear into the hospital’s basement driveway as someone reaches in from the driver’s window to tap him on the chin, while in the passenger’s window, Metofeaz’s face appears, “Hey, how’s it….”

Emotive Entitlements

YouTube "Young Americans" By David Bowie
David Bowie

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“Average White Band”


October 2010, Ashgrove in Brisbane, Australia…

“D-COM-O.” The Guy pronounces the new word out loud—the brand—to stand in front of the process for making the new oil. An encryption specification will have to be approved for the new file format; the software he and his partners will design and develop will generate the oil that will fuel the new economy, void of suffering from wars and disasters caused by greed. The Guy already has in his head the blueprint for the software to encrypt and then distribute any of the data required for The DataCommodity Exchange he wants to set up with the top 500 businesses interested in creating the new oil.

“DCOMO—datacommodity refinery software by John Reyer Afamasaga & Partners”—The Guy finishes playing for the morning. He uploads on the quiet the ad he produced in less than twenty minutes in which he pokes fun at haters in a hidden message, questioning either his sexual orientation, whether he is an operative, or just a cunning creative without peer.

He checks the upload, which appears under the SociaCapita or the SystemSpectacular graphic on LMLA-ink’s link’s page on; he has a laugh about the ad before the Poet Soldier gets down to the serious business of telling stories….


At a time of the day, which could be likened to dawn in MindMorph Dimension, or here on earth, John Reyer stands on the highway. The hitman, who has traded his fearsome reputation for a heart, watches Polina in the silver convertible parked in the middle of the road.

The car faces the Dimension Forks. He knows how she feels as the engine idles and her heart races; she must bring her heartbeat down to where it almost flatlines, aiding the brain in neutralizing the receptors so she may enter into the AMD as an anonymous entity to carry out her mission there.

The back wheels of the car spin. A gust of wind sweeps the valley at the edge of the forks, blowing his unruly curly black hair as the vehicle takes off.

He swallows the lump in his throat as he turns his back and begins to walk in the opposite direction toward Neon City in the SFD, knowing Polina has reached the point of no return.

He begins to stride out as he hears the rumble leading to the convertible breaking the sound barrier, and then a whiteout of heat is followed by a chilling air as the place darkens. Behind him on that horizon, a gaping hole’s torn edges glow as they flap in the tainted atmos outside of the AmalgaMension Dimension.

John Reyer keeps walking toward Neon City in hopes he will find Page before he finds his way out of the old bar in Chinatown.


“A player doesn’t need the GAME. A GAME needs the Player,” Metofeaz, remembers The Guy’s line as he gets into the Range Rover.

“A GAME needs the Player,” Page shouts out in the basement car park. His voice echoes, and then Mercedes’ door slams.

Litigatti looks at The Guy who waits for him to open his door, and the line resonates with a recollection Litigatti has from when he was only two years old. He can still see vivid images of the Vietnam War on TV. Accompanying the forgettable imagery of carnage is the persuasive sound of Jon Pierre’s voice, delivering a poignant view that endorses a cut-throat mentality soldiers must hold in the pursuit of justice, equality, and well-being for all the subjects they fight for night and day….

“A GAME is only an enshrouding concept that makes the sometimes horrific battle acceptable. You know that, ah?” The Guy casually says as he does up his seat belt.

Metofeaz looks at himself in the mirror as he checks whether the excessive smoking of late has stained his white teeth. He doesn’t feel like answering The Guy, as he wants to listen to him talk some more as he warms to the idea that The Poet Soldier really does exist.

“A Player is always the pawn, no matter how devastating his or her moves may be….” The Guy is obviously relaxed as he goes about his work of ensuring his troops’ minds are constantly fed with messages that keep them humble, but also hungry for more, as he now stops his role as advisor to find a CD he puts it into the stereo.

“Get a load of this shit man,” The Guy smiles. “Picking Up The Pieces, that’s what we’re doing,”

Metofeaz hears the smile in The Guy’s voice, and The Average White Band does as he says, as they make their way to the hospital where two women are about to give birth.

They follow John Page in the silver Mercedes with the back windows wound down. The Pirate raises a middle finger for them to remember him by….

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YouTube "Pick Up The Pieces" By Average White Band
Average White Band


Lavenda holds onto her account of The Poet Soldier. She has fond memories of Rozelle Zofen, a mother to Lavenda, reading from The POEMBOOK and telling her version of the stories that accompany each poem written while the young soldier traveled the world back around World War II to look for the nodes on the F3quenZor.

As a child, Lavenda always thought the term SystemSpectacular to be a fairground hidden away in some place that only Jon Pierre, Rozelle, and Little Lazoo could reach by walking through the paddock of lilies, lilacs, and lavender on a sunny afternoon. And on reaching the fairytale location, they would find Flower listening to the wind’s words under the willow tree, as the tree weeps words from The POEMBOOK.

The term still sounds as wonderful as it can be, supported by the goodwill the people in Berlin display during the celebrations at the Wall that used to separate the East from the West. But the road to this point behind the scenes has been anything but wonderful.

In Silvia, Lavenda sees an innocent woman caught in the crossfire, and even now as Silvia goes through one of life’s most natural processes, the event’s significance becomes a milestone in a timeline, rather than an important day in Silvia’s life.

The door opens and The Guy pops his head in. Heis dressed up for the occasion, Lavenda notices, as his way of showing how important the milestone is for the cause, as they have spun it—Silvia giving birth on the same day as the collapsing of the Berlin Wall—the crews have worked hard to assist in the facilitation of relationships that enabled the event to happen. He looks at Silvia who manages to smile for him, and then he points at the TV to gauge their interest in watching it.

When neither woman says anything, he goes over to turn the TV off. He takes his time to get a feel of how they are, and then he takes a seat in the corner.

“Afanasy won’t be here; his detail has been reassigned to another troubled spot,” he says abruptly, not knowing how else to deal with the truth that makes him feels responsible. Silvia accepts the news by waving a hand. Lavenda knows what a relief it will be for Silvia to know John Page is also about.

“The SystemSpectacular is an ideal, as we’ve seen. It gives us the hope we strive for as we evolve. Hopefully, one day we’ll be brave enough as a society actually to listen to the voice, and act upon it.” The Guy looks down at the magazine he thumbs through as he speaks.

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John Reyer hears the tune playing in the sky-blue convertible that reverses back. “Driving home for Christmas….”

“Neon City?” She says. He instantly suspects her to be from Scandinavia. She tosses her thick mane of blonde hair and smiles at him as she leans over to open up the passenger’s door. John Reyer now recognizes the kind woman who has stopped to pick him up.

As the convertible takes off, the early morning peace in which he immerses himself becomes a blue and serene scene as the horizon wipes left to right to present a cloudless day—well, maybe there is just one piping of white fluffy cloud.

He looks at the driver as the song says,

“I’m driving home for Christmas.”

The lyric sounds special as John Reyer thinks about how this year’s GUIOPERA will end for The Guy when he returns home to New Zealand to unveil his father’s headstone.

The woman in the driver’s seat, whom John Reyer believes must be Lotte, winks at him, “Hey, big shot.” Her behavior makes the hardened man feel special to have ever met her.

He has his arm out the side of the door. He feels like he can touch the wild flowers that line the side of the road that runs through paddocks of lilies, lilacs and lavender as far as the eye can see.

She points at the sky. Her gray-blue eyes sparkle with tears of joy while the ends of her hair touches the blue yonder in the wind. Up there, John Reyer catches an acrobat in an airplane when he loops as he signs off the words “LOVE, TRUST, HONESTY, RESPECT” above the two people who speed along the highway toward Neon City in the SenFenide Dimension….

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YouTube "Driving Home For Christmas" By Chris Rea
Chris Rea


Metofeaz stands back as he waits his turn to embrace Ali, who squeezes Page while bending over the hospital bed.

John Reyer hands Le Mac, in medic’s uniform, the newspaper showing the faces of people who believe they’ve found freedom; their jubilance is captured in the picture that covers the front page.

“Come here, you,” says Ali Lévon to Litigatti who leans back and opens his arms to scoop up the pregnant woman in them.

John Reyer, who doesn’t say much since he and Le Mac still feel like they’re associates—or contractors as the Network refers to the help they hire from time to time—says, “My turn.”

The comment brings a certain look from Page, and then Metofeaz, who stands up as Ali takes a look at the person who found her, an event about which she hasn’t let on to either Metofeaz or Page.

John Reyer, under instructions from The Guy, had located Ali Lévon, who had been working as a waitress in New York twelve months earlier.

He and Le Mac had been keeping tabs on Ali, with whom Le Mac had become infatuated—not that one would be able to tell.

Outside in the hallway, The Guy counts to ten as he waits outside the door. He sees Page become alarmed by something, and then he sees John Reyer stand up and walk somewhere. He knocks twice on the door before he shows his face in the glass.

The Guy steps into the room and surveys where each character stands.

Metofeaz Litigatti, the only other survivor of those lucky enough to have witnessed first hand Jon Pierre Solomon’s prowess at constructing an organic framework by which outcomes are delivered, is as pivotal a character as himself and cannot assume the duties of The Poet Soldier.

John Page was chosen by Metofeaz when a baby. Page, who had been delivered to the orphanage where Metofeaz and Ali were, at this time appears to be just another player lucky enough to be given the opportunity to make an appearance in the end-to-end saga.

John Reyer and Jon Le Mac, like born again characters once they were given their opportunity, seem like the obvious candidates to carry out the story’s next phase, in which The Guy had been thinking for some time about “The New Global Realm”—to be realized by a series of “Dreams” that, surprisingly, John Reyer has his own ideas about, and some of which appeal to The Guy.

The Guy looks at the TV, and then he walks over and turns it off.


Lavenda, with midwife training, cannot hold back the smile for even a second when she comes out into the hallway to find Page, Metofeaz, John Reyer, and The Guy, who all conveniently find a magazine when they see Lavenda and begin flicking through the pages as they too see the humor in the scene involving so-called tough guys who have thought it best to give Ali the privacy she needs. Only Le Mac, in the medic’s uniform, remains in the room from where the screaming is coming.

Lavenda goes back into the room where Silvia is, two doors down from where the boys sit outside Ali Lévon’s room.

Page watches the door to the room close. The urge to get up and go in there where Silvia is becomes too much so he announces he’s hungry. “I’m going to get food. You wanna go see if the Janine babe would like something while I’m out?”

The Guy finds Page’s thinking to be quite amusing for someone who gained high marks in his psychological test—the Network has recruited all those who jimmied the government designed test from appreciation for their ability to portray a profile that fitted within the team of recruits with whom they ran and trained. The Guy was a wild card picked up during a routine corruption sweep in which law enforcement had been exposed when it busted the unsuspecting kid delivering heroin in produce, as a part of his after school job in his parent’s island produce import business. His parents had been none the wiser for years.

The Guy thinks through what he’s about to say to the younger person—Litigatti’s brother—who looks over at him.

The Guy lowers his voice in respect for the others as he leans into the Pirate’s ear. “We tell untruths when we play a part. But when we come together to show unity and the bond a family should have, we don’t waste words that don’t exist in the story….”

The Guy then leans back and watches the flighty person who is known to explode at the drop of a hat. But Page seems to be okay in accepting The Guy’s thoughts. And The Guy goes back in as he senses an open mind from John Page.

“That’s not saying you have the right to show your face while I’m here in that room though; you understand that, ah? The Guy looks down toward the room where nurses and a doctor rush in.

Page understands The Guy’s position as he had chosen to use muscle from Russia—Afanasy—rather than source support through Metofeaz, to assist in the operation that is now over.

“You know, you’re here to think, and to influence. The likes of Afanasy do the digging. Your role is to watch and listen and to pass on the facts,” The Guy says as he now senses Page’s genuine concern about what’s happening in Silvia’s room into which more medical staff are rushing, thereby bringing concern from both John Reyer and Litigatti.

The Guy, who remains aloof in these situations, begins to show signs of nerves as he quickly says to Page, “I’ll go get food for us. If you can do it without anyone knowing, go for it.”

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“Rock Star”


The Guy has decided he’s more than capable of carrying the story down under on his own. He calculates what effect the haters, whose numbers have dwindled, and their MICER ways may have on the story, and then he considers his responsibility to future generations who will appreciate his willingness to forgive, so that the end-to-end saga can be enjoyed by everyone, including those who witnessed the Poet Soldier in person during the first decade of the Twenty-First Century as he scoped and scribed the greatest story of these times.

The Guy feels the pressure he has heaped on others in the past, including Lazoo—but they were all deemed worthy of fronting the cause. He finds reason to assume the role of Rock Star for a while, until such time as Polina’s journey transpires in the storyline.

After all these years of being behind the scenes, The Guy finally finds himself in the role his mother warned him about—the role he’s dreaded all of his life. His cover, that of loser, may have been blown already as he accepts his mantle as The Poet Soldier, who brought the end-to-end saga to all those who will come after the time when he rose from the streets and overcame all obstacles to entertain and enlighten the inhabitants of this planet called earth….


As the music changes, John Reyer finds himself standing alongside the highway again.

When the heavens open, the gray sky begins to weep crocodile tears that bounce in slow motion as they hit the ground. The splitting of the particles symbolizes the good and the bad that he separates to minimize the weight of the load he carries as his responsibility to decide which characters deserve to live, requiring him then to plead their cases in the story.

In the sky above the hills, he sees Eminem. And then the ground slides forward, catching him by surprise.

Neon City, which seemed far off in the distance, rises up on John Reyer. The Neon banners and marquees that line the strip flash at him, begging for the name up in lights to be mentioned as he hears the phrase—“OBPNIE Clustering”—one of the business concepts LMLA-ink has designed to incorporate all matter of entities into this year’s GUIOPERA.

Clothing companies, fast food, mobile, computer, and software brands can all be relied upon by the Poet Soldier to lend a hand as LMLA paints the bigger picture, using the new oil as its ink.

“I’m hungry,” John Reyer says, thinking of another dummy campaign The Guy had pitched to the Network years before The Guy—the only Poet Soldier this century—decided to show his hand in the GUIOPERA.


John Page looks at his fist mark in the smashed mirror, and then he feels something warm trickling down the inside of his arm as he lifts it up.

Silvia lays inside the operating theatre, where she fights for two lives, and Page is not allowed anywhere near her.

Metofeaz appears. His smile, resulting from Ali having successfully given birth, is quickly wiped away when he sees the pool of blood from Page’s bleeding hand. When Litigatti steps aside, he finds himself up against a wall as he checks for signs from Page that he is approachable.

“Hey, Pirate!” Metofeaz calls out, his voice echoing in the bathroom as he checks under the stall doors to see whether they are alone.

The bathroom door opens again, and John Reyer steps into the scene. Litigatti looks at him, and then Metofeaz points to the door for him to leave them alone.

“Destiny’s child’s story intersects everyone else’s, regardless.” Litigatti looks at the character, who for the second time today has spoken out of order, as John Reyer steps toward Page, who now has his pistol in hand, blood streaming down from it. Then the blood sprays over the mirror as Page flings his hand upward to claim the space around him.

John Reyer keeps an eye on the piece as it comes to rest at Page’s side again. And then he opens the towel dispenser to dismantle the roll of cloth and cut up a bandage, using his switch-blade, which he pops out from his sleeve.


The Guy watches the street as the feeling from Berlin sweeps through Germany. People smile at him and at each other as they pass him by on this monumental day. The Guy takes a moment to realize the real reward from the last three years’ hard work.

Upstairs, the soldiers, who played bit parts in the bigger picture, reel in the aftermath of the behind the scenes project that will change their lives and those connected to them forever.

For a moment, The Guy ignores new offers for him and his crew to assist in the eastern block’s elections as he tries to come up with a way to keep the crew together at least for the time being.

As a hustler, and a terrible one at that in his life back home, The Guy finds his real life as Network operative a breeze, only having to deal with professionals in their given fields of expertise and responsibility. The high powered and high profile people he deals with view him as some sort of whiz kid, who can make the impossible happen, not expecting The Guy to be normal by any stretch of the imagination, seeing him as entertaining as the feats he is able to pull off however he imagines them happening.

In his mid-twenties, The Guy understands that he and his comrades are growing up, and if he doesn’t cater for the characters’ personal development, he will lose the talent around him to other crews with leadership, a role, which the young operative realizes he is not cut out for.

He and John Reyer, and to a certain extent Metofeaz, have struck a chord with a group of like-minded individuals with whom they collaborate, in the goal they strive to achieve—“Utopia.” And now that the far left could be accommodated for in the imagined “Equilibrium”—which within its arms caters for sociopolitical, justice, and hopefully through their vision, the spiritual needs of an individual with access to all that—then Capitalism offers its subjects— free enterprise and freedom of speech in a democratic fashion.

It never dawned on The Guy that Globalization, and how it centralizes resources, would counter the end result of the picture they had painted from a very young age, even though he grew up in a welfare state with a strong union influence on government, which affects The Guy’s thinking and decision making.

Across the street, an exasperated Lavenda appears at the hospital’s front doors. She holds the back of her hand to her forehead, the most vulnerable pose possible for the woman whom The Guy imagines to be his equal.

He looks at the ground as she notices him, and then she skips through the traffic as she makes her way across the street toward The Guy while he lights up a smoke.

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The Guy is well aware of how John Reyer has had to carry the Network since Tone Horroh accepted the role of a decoy, taking the real name of the Mastermind, so The Guy may assume the role of The Poet Soldier.


Funk from where the PACIFICAN was born quakes souls and fulfills indemnity from emptiness for the inhabitants of the forgotten planet who have waited for his return.

His theme song, which rocks all corners of the dimension, spreads like the rippling bass sound that deepens crevasses and rattles foundations.

John Reyer steps down the middle of the street in Neon City, the capital of the SFD. Fans begin to flock to see the Argumentor; they appear from bars as the story’s seedier element sprouts from the cracks in the pavement as they mimic the chosen ones, like false prophets in the last days.

John Reyer’s hand points to the heavens, and then he looks around at the fans’ faces, young and old who wait for the entity to spin the events so they can become part of the story.

John Reyer thinks through what he is about to do as the music is phased out. He signals with his hand for the faithful to wait as he listens for DJ to cue his thoughts and then announce to the domain the idea to be conceptualized, visualized, realized, and then capitalized—the end result being a REPRO for the citizens of the SenFenide Dimension to assist in, thus creating a sublime experience in the subconscious layers of Polina Rada’s mind.

The exercise will hopefully assist the young entity in her mission as she travels to the AmalgaMension Dimension; her mission is to cut a path to present an attainable linear perception to amalgamation for the MMD’s inhabitants, who might be witnessing the cross dimension extravaganza that is about to explode worldwide on the Internet.

John Reyer offers a nervous smile for the fans as he continues to wait for DJ’s voice. When it is not forthcoming, he knows he has to do something. He clears his throat as he realizes that not only are all eyes on him, but now they expect him to speak to the next ACT which he has successfully begun when he dragged the audience to where he has promised the story will in earnest begin.

“We must work hard if we are to be the brain of this Universe….”
John Reyer realizes what he says out loud as the looks on people’s faces range from a knowing smile to an accepting gaze. He looks for a reason why The Poet Soldier would have him say something from the archives, which was said during a celebration party held in heady times, right after the crew had pulled off one of its most defining missions in the MMD. And then he decides to exercise his right to twist the scene as he sees fit.

Being someone who is eager to please, deep down under the hard exterior, he searches through his memory banks for a play to give something to remember to the people who have turned out in droves—before he then gives them something to think about, which will come later on.

As he thinks, he can hear murmurs in the crowd, and then a parting through the people opens up and the kid from nowhere appears.

“Give me a shot! I know what they want….” The little fellow is more verbose than ever. He’s dressed in a tuxedo with a bowtie that has flashing lights that blink as bright as the child’s eyes. “I’m keeping up with technology,” he says as he winks first with his left eye and then with his right eye, trying to follow the pattern that the lights follow on his bowtie.

The little fellow then points to the horizon, where he and his flashing lights bowtie appear, as he now gets carried away blinking randomly. The flashing lights and his skewed face, with crossed and then winking eyes, bring applause and laughter from the street.

John Reyer has a grin of his own as he becomes aware of the people who are more eager than ever to see what LMLA-ink, whose posters fill every wall on the strip, have installed for them.

John Reyer looks around the place for the guy and his girlfriend to appear. He waits as the crowd returns its attention to him as the kid walks up and stands next to him.

John Reyer notices that the little girls who now line the front of the crowd are all smiling at the little fellow next to him.

“They like my cologne,” says the kid, placing a hand over his mouth as he looks up at John, who looks down at the kid and replies, “I think you need a haircut.”

“Shhh, they might guess your age from your advice.” The kid then winks at his fans, who swing their clasped hands from side to side in front of their pretty dresses.

John Reyer forms a “T” with his hands as he signals to the crowd that he requires a time out. He then places his hands in front of him to show them he has everything under control. And then he walks off.

“Psst, get over here,” he says in a whisper with tight lips to the kid as he casually wanders off toward the alley in between the Dive Bar in Vegas, and the Old Bar in Chinatown.

Once he’s in the alley and away from the fans on the street, who look the other way when he looks at them, he shows signs of indecision about what he is to do next.

“Do you want longhand, shorthand, cursive, stickman figure with a machine gun? Because, honestly, I can’t draw to save a teaspoon of methadone at a drug addict’s convention. Or, would you prefer ‘X marks the spot,’ thumbprint, maybe a swab, or just blood…” John Reyer hears the kid signing autographs as he makes his way to the alley where John Reyer waits.

He hears a door slam down the alley, reminding him of his mission to find Page. When the door slams again, John Reyer clenches his jaw as he recalls The Guy mentioning to him one of the giveaway signs during his ordeal that he used to gauge how successful something was that he had just written. The slamming door meant that he had either touched a nerve with the haters, or he had just ruined the storyline for them.

He waits for the random conversation from the haters about how bad the work is, as a confirmation that everything is on track from LMLA-ink’s perspective, and then he remembers he’s in the SenFenide Dimension where they are heroes.

John Reyer gets an overwhelming feeling as he imagines yet again what The Poet Soldier endured so someone like him, born Tone Horroh, whose only life was that of a killer, and the crew, including Lazoo, could fulfill their potential as a unit, but more importantly, as individuals. His mind goes to Polina and how she might be faring in her role as the possible teller of a number of chapters in the end-to-end saga, in which humans may understand and accept a differing explanation other than that Heaven is a place for the select few who have lived an unblemished existence, and how obtainable, or unobtainable, the pearly gates might be.

A door slams again. John Reyer hears footsteps that end, and then he hears Page’s voice say, “My death wish is furnished with the promise of a new beginning.” John Reyer swallows to get himself in some sort of state to deal with his target.

John Reyer coughs as he clears his throat. He notices the kid out of the corner of his left eye. He is not sure whether the child, or even he, is privy to seeing a lost entity in the scene, so he looks at the kid for his reaction.

The kid, a normally jovial character, is pale white, as if he has seen a ghost. John Reyer realizes that he may not actually be in the SFD, the place where dreams are made and nightmares are a part of everyday life….


Inside the hospital room, Ali Lévon has a smile for each of her babies she holds in her arms. The mess around her is unnoticeable even to the fainthearted in the room, including Metofeaz, Le Mac (who has the biggest smile on his face), John Reyer, and Page, who cradles his bandaged hand.

In the corner, The Guy reads a magazine as he keeps a close eye on Page, whose eyeliner and make up—ala Duran Duran, The Cure, and other lookers of the renaissance—is smudged from his tantrum in the bathroom, which The Guy had walked in on toward the end.

The Guy’s training in dealing with insubordination naturally runs through his mind, and then he thinks through his sessions with the academy and other agencies’ behavioral experts, as he tries to find a way to cope, let alone deal with Page, other than the way he usually resorts to with the likes of the Pirate.

The fact that back in his life in New Zealand The Guy had gone through the same stages, dressing and acting not too dissimilar to Page when The Guy was young, gives The Guy faith that Page is going through an identity crisis. The experience of growing up, and dealing with situations that are unnatural for most people, is worsened by the fact that as an undercover operative, Page has reason to play up. But when and how he expresses all the idiosyncrasies an adolescent might need to express in an adult world still has to be tempered, since John Page was identified as being capable of handling situations that 99.99 percent of male adults over the age of twenty-nine would fine impossible to deal with, when Page was only thirteen years old, based on forecast assumptions using accelerated assimilations over periods of up to three months.


Lavenda takes a picture of Silvia as she remains in her unconscious state. Lavenda then turns her camera on the empty room, with the big bunch of flowers and the TV with the volume turned off.

Lavenda keeps clicking as she takes snapshots that will tell her how she felt at that moment—a feeling she chooses not to accept—so as she documents the moment, hopefully the process will help her to find some sense.

Lavenda scans the room and sees the baby present she brought. She holds the camera to her face in one hand as she unwraps the present, and then she steps back.

Lavenda finds baby clothes and toys she had bought for Silvia in the lens; they lay on open gift-wrap. Lavenda remembers taping together the paper with pictures of fairies and their wands the night before, while thinking about how she and Silvia will behave when they unwrap the present together….

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John Reyer looks to his right, but all he can see is rubbish that blows in the wake of the slamming door.

He looks back to where the kid seems distressed, and then he walks over to console the livewire, in case he becomes too distressed to keep the fans enthused with his off-the-cuff and slapstick act.

“I’m okay; it’s not every second that you see a ghost, and one of the person I thought I wanted to be…” the brave young fellow says as he looks down at the ground.

“Look, young man, from here on things will be better; I promise you that. Meantime, we have a job to do,” John Reyer places a hand on the kid’s shoulder and signals with his other hand to the crowd who now block the alley, who are watching and waiting for the kid and John Reyer, that everything is still on track.

He bends his knees, bringing him face to face with the kid. “We were young; we had the ideas and the gumption to go for it back then. Whatever we imagined, we did. Having that much freedom isn’t always good for you.”

John Reyer catches something in the crowd behind the kid which looks out of place, a briefcase acutely parallel to black lace-up shoes, and the neat creases of a gray suit’s trousers perfectly aligned at an equal distance, spread evenly like a military array ready to attack.

John Reyer taps the kid on the chin as he realizes the story must pick up momentum; otherwise, opposing forces could take control of the saga. “Hey, little maestro, I want you to come up with a way to blow the minds of these loyal fans.” John Reyer focuses the kid on his task, as he looks to see where Mr. Businessman is.

“I know….” The kid is sheepish. “Go on,” John Reyer encourages the kid as he sees the gray suit and briefcase move through the crowd toward the right, behind the kid’s fans.

All of a sudden, a smile comes across the kid’s face. He then jumps, like he’s playing hopscotch, and ends up facing the crowd who now are more eager than ever.

John watches the kid as he walks briskly toward the crowd, the sound of his footsteps like a metronome, as John Reyer stands up and keeps looking for Mr. Businessman whom he can no longer see.

The crowd parts for the little entertainer; then it closes behind him with the little girls following tightly behind him, watching his every move. The lights on his bowtie begin to flash, and the smiles on the fans’ faces are back.

The kid stops suddenly, and so does everyone to give him his space. He begins to tap his toe on the ground, which he points at, and then the little girls begin to do the same in their buckle up shoes, followed by the grown ups, until the sound of a million tapping toes surrounds them.

The kid now places a hand behind his ear as if he listens for something. “What am I listening for?” the kid shouts, and the crowd responds, a million voices, “What am I listening for?”

The kid points to the sky where a picture of Madonna appears, and then the sound of a stylus being placed on a spinning disc is heard, as the song he has chosen for his fans begins.

“Holiday, everyone!” The kid’s eyes sparkle as he sells it to the people, to their delight.

John Reyer forgets about Mr. Businessman for a moment as he watches the kid lead the fans down the street….

Emotive Entitlements

YouTube "Holiday" By Madonna


Even The Guy isn’t ready for what is to happen next as he slowly closes the magazine and places it down on the coffee table next to him.

John Page stands next to the bed with his pistol held to Ali Lévon’s head. The woman’s eyes are shut tight as tears roll down her cheeks. Clearly out of his mind, Page moves his gun from Ali’s head; its next resting place can only be the head of one of the babies who are asleep, but then Page places it back against the head of the person who helped raise him.

Metofeaz looks out the window as if an answer to the situation can be found there. Le Mac looks down at the ground as John Reyer watches Page.

“Put it away,” The Guy says as he stands up, trusting that somewhere inside Page’s mind he will find the sense he requires to realize his actions.

The Guy’s revolver is next to Page’s temple before anyone can think what to do next.

John Reyer is first to notice at the door someone peering through the glass. The man, in a gray suit and tie, looks at the scene in which two guns held at people’s heads almost form a triangle.

“There’s someone at the door,” John Reyer advises them.

The tap on the glass causes Page to push his gun into Ali’s head as she now begins to sob.
Le Mac raises his hands in the air as he moves forward slowly at first. “Fuck this shit!” Le Mac’s anger overrides any fear he has as he takes the baby girls from Ali, who then curls up on her side as she continues to cry.

The door’s rusty hinges scrape as the door opens and into the scene steps a mild looking person. “I hope I haven’t interrupted anything?” he says. And then as if everything is normal, he walks over to the bed, places his briefcase on it, and opens it up.

The Guy’s eyes move from Page to the papers the man lays out neatly in piles on the bed as he continues arranging the paperwork amid the tense situation.

“James or John?” the man asks as he looks at a piece of paper in front of him, and then at Page. “Oh, by the way, if you are wondering who I am, I’m Mr. Businessman.”

Litigatti remembers the way the man in the gray suit had handed over the baby to the nurse at the orphanage as Mr. Businessman leans over the bed and places the document in front of Page’s face.

Mr. Businessman then looks at Le Mac and the babies. “Which one would you say is Missy?” Mr. Businessman asks as he takes another document and shows it to Le Mac….


Lavenda sits in the corner, where she suppresses her dismay at what she sees. In all her years of working for the Network, she has not witnessed anything quite as sadistic as what she watches now.

Page has a baby in his arms as he sits next to Silvia, who is still in a coma, as Mr. Businessman takes pictures of them.

The Guy can only see Lavenda through the glass. He pushes the door open to see Mr. Businessman with a camera in his hand, and the open briefcase on the table.

The Guy recalls Jon Pierre warning Janine in Chapter 5 of the STORYBOOK that Mr. Businessman would come looking for the ones from her eggs. A chill suddenly comes over him as he realizes forces are at play that are much more powerful than those with which he’s involved.

The Guy goes over to Lavenda and leans against the wall where he can see down on the street. Lavenda lets her head rest on his hip as The Guy feels the need to hold her. He places a hand on her head and holds it to him as they watch Mr. Businessman announce, “That’ll be all for now Master Page; well done….”

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The Guy checks out on Sunday, October 17th, 2010.

Bruno Mars is at number one with “Just The Way You Are.” The Guy looks out the back window of his flat in Ashgrove and he smiles as he thinks about what Lavenda would think about this operation. He imagines that she might be watching, and reading, and it makes the toil worth every word he forces himself to write.

The Guy reads the txt msgs from Metofeaz and John Reyer, “Nice work…” “JPS, way to win!”

The Guy sits back as he imagines the headlines; he wishes not to know about the reality into which he has probably just knocked every other writing crew so he and LMLA-ink can claim their number one billing as the most outstanding, outlandish, and cutthroat storytellers on the planet right now.

The Guy finds the number one song in the world on YouTube as he swallows the sadness he feels every time he says her name, “Lavenda.”

The Guy goes back to the drawing board as he plots John Page’s redemption, which the Pirate has been granted, after a conversation with John Reyer and Metofeaz Litigatti. The plan will come to fruition during the next twenty or so chapters of GUIOPERA III 2010….

The Guy watches Bruno Mars on screen destroy an analogue tape cassette, and then the artist uses the tape to paint a picture of his muse in the video, which The Guy pauses as the data finds its way to his modem over the Internet.

The Guy presses pause for the buffer to fill, and then he clicks PLAY….

“Her lips, her lips
I could kiss them everyday….”

Emotive Entitlements

YouTube "Just The Way You Are" By Bruno Mars
Bruno Mars


“She’s so beautiful
I tell everyday….”

John Reyer looks down the strip as Bruno Mars appears on the horizon.

“Bruno Mars!” The kid shouts the name of the latest Soldier to take his place in the end-to-end saga.

The fans bow their heads in a moment of silence as they feel The Poet Soldier’s pain, from the type of song that “Just The Way You Are” is.

John Reyer steps to the side closest to the door of the Old Bar in Chinatown—a place he doesn’t want the kid to follow him into.

The kid, sensing John Reyer is about to make one of his definitive moves, turns his bowed head and winks at the leader, and then the kid nods for John Reyer to get going—he has the fans under control….

John Reyer winks back and smiles as he salutes the little maestro as the kid lifts his head and starts to punch the air with his clenched fist. The fans follow the affirmative action as John Reyer slips inside the bar.

Inside the bar, John Reyer sees what he expects; the ThinkPad is on, a tempting light that flickers in the last booth.

The gold Aztec etchings that line the mirrors on the wall have dull but authentic quality about them, unlike fool’s gold.

He walks slowly down the bar while he hovers his hand above the marble top until he comes to the back of the coffee machine, where he stops and touches the bar to see whether he can collect dust. His inspection yields nil dust, and so he looks behind the bar.

“Give me my opportunity to put things right and you won’t regret it.” He hears Page’s voice, but it’s coming from elsewhere—not from behind the bar.

He takes another few steps until he sees the figure leaning on the microphone stand on stage as James Elton, nee John James Lazoo, would.

“An award is a trophy. What we’re looking for is resolution. Seldom is an answer seen as a victory, but it is a reason to relax for the moment,” says John Reyer, reminding the Pirate of what their role is in reality.

“I can give Polina that answer.” John Page is earnest; John Reyer can tell by the way he looks down at the ground and not blatantly at the person he aims to deceive.


You can hear the Eagles playing “New Kid in Town” on the Vegas Street as the bus pulls into the front of a dive bar.

In 1991, John Page steps down the steps of the Greyhound bus. The RayBans protect his eyes from the afternoon sun, which he feels on his arms.

He flicks the packet of Marlboros free from where they are tucked at the top of his black sleeveless shirt. And then he pushes the Wayfarers back into his face before he checks his bandana as he flicks his lighter, with an eye on the cigarette’s tip.

As he exhales the toxins, he looks up at the bar; the flashing lights are minus four bulbs, but still they flash a message.

The last time John Page was here he was only sixteen.

“Genisis Jones.” He thinks of the girl from New York whom he met on that trip, which ended for Page in incarceration. Or, being court-martialed to be precise, in a facility the Network had for young recruits, following a fight with a person he thought was the “Clown.”

His latest stretch for twelve months was as an adult in a California prison for a bank job; when he was caught, he refused to rollover, giving the police nothing on the ring the Network had sent him into to see whether they were serious players or just opportunists.

Metofeaz had called for this reunion, which Ali had refused, due to what had happened in Germany only two years ago. But Litigatti had promised him that she would be here.

“Johnny come lately
The new kid in town
Everybody loves you
So don’t let them down…”

He inhales the nicotine in time with the lyric as he finds his rhythm and new inspiration for what he has promised himself is a new beginning for him….

Emotive Entitlements

YouTube "New Kid In Town" By Eagles


The mistress watches the two year old as she fascinates herself with the brick in the glass box.

Polina Rada, who had been delivered to the orphanage just after her birth in Moscow somewhere, is a favorite of the mistress, who allows the little darling to wander in and out of her office as Polina pleases.

The mistress, however, feels some guilt from having turned down many an application to adopt the beautiful baby.

“Lina, would you like to ride the swing?” The mistress stands up and points out the window. But Polina shakes her head. “No, thank you. I like the brick from the Berlin Wall,” the child says in Russian….

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“33.3 Recurring”


As John Reyer slips out the back door of the Old Bar in Chinatown, he looks to his right. The entrance to the MILL remains covered over with a façade. He then looks at the alley, and the faces and hands that claw beneath the surface, and predicts when the doors to the MILL will open up this year as he hears the Eagles from the Dive Bar in Vegas further up the alley.

Out on the strip, the party continues as fans walk to the right. No doubt, they follow the kid from nowhere.

John quickly makes his way to the top of the alley where he ducks into the Dive Bar through the back door.

Inside the office, he sees a computer; he nudges its mouse to see what’s behind the screensaver, and then he hears someone call out, “Service!”

John Reyer looks at the sleeves of his suit, and then down at himself as he steps out of the office and in behind the bar.

Metofeaz Litigatti leans against the bar; Ali Lévon plays with her hair as disco ball lights fly through the air. The Eagles on stage play “One of These Nights.”

“Serum?” John Reyer asks as he places a coaster in front of Litigatti, who helps himself to a pen from behind the bar and writes something down on the card. Litigatti then slides the card toward Ali, who reads it, then winks at him, and then sighs as she says, “Feeaz.”


John Page pushes the door to the bar open. He sees the juke box from where the sound is coming. Metofeaz leans against the bar.

“Little Bro,” Litigatti holds up a glass toward Page, who looks around the place. Metofeaz looks the same; his curly black hair is longer than usual—his smile as cunning ever.

In the bar, the women, young and old, outnumber the males, who look like the cast from The Outsiders, or Francis Ford Coppola’s Rumble Fish.

The Pirate spots The Guy in one of the booths where he reads the paper. A nod from The Poet Soldier is a good sign.

Meanwhile, Le Mac talks to a group whose Americana paraphernalia reveals they must be tourists. Le Mac raises an eyebrow to let the kid know he’s okay with the past too.

The barman looks familiar to the Pirate, but he can’t quite place his face.

Page pulls up to the bar and shows a brave face in accepting the invitation for a hug from Litigatti.

“Yeah, that’ll be one,” Page hears Metofeaz say as he hugs his brother. Page pulls out of the embrace and holds Feeaz by the shoulders as he takes a look at him. “The lines from smiling never decrease,” Page says.

Metofeaz ignores the comment as the barman places a glass on the bar next to the one Metofeaz has.

Page takes one of the glasses as he looks Metofeaz in the eye; then he downs the drink and reaches for the next one, but Litigatti stops him.

“How do you know I wasn’t reaching for the serum that time?” Page asks, and then he looks at the barman. “Two!” He holds two fingers up, and Litigatti shakes his head as he smiles, looking at the ground.


Polina rests her head on the Mistress’ desk as she watches the attractive woman at work. The Mistress writes; her hand moving across the page as it creates is obviously of interest to Polina, which the Mistress notes.

For someone so young, Polina has many visitors. They range from the therapist with her camera, to the mild looking man in the gray suit with his briefcase, and to the Philanthropist, who poses as an “ideas guy” as he calls himself; on occasion, he brings others with him to visit Polina Rada.

Once a year, a woman and her daughter, Missy, from the Americas come and spend a night at the orphanage, not that Polina would know who the people are, as the Mistress always ensures there’s no room for the visitors to create any bond Polina can remember.

Polina hears footsteps out in the corridor, and then she can smell a scent that reminds the child of a paper airplane the nice man makes for her every time he comes to visit.

Polina’s head rests on her hands as her eyes check out the Mistress’ response to whom the visitor might be. The Mistress’ eyes widen, confirming for Polina it could well be the man with the nice eyes and a smile.

The Mistress places her pen down and stands up. The orderly woman places her hands behind her back and turns to face the open door.

Polina, like a miniature version of the lady, does the same as he appears at the door.

You can tell he’s young from his energy, but wise from his mannerisms.

He goes to knock, and then he sees the Mistress and Polina standing behind the large dark wooden table. He looks around the large room with its open fireplace beneath the large painting.

Polina likes the look of the flowers he holds; they stand out from his sharp black suit, crisp white shirt, and shiny black boots.

The Mistress sees he has a brown paperback bag with him like the ones he’s brought before.

“Come in,” the Mistress says. The guy bows his head as he enters the room.

“Let me take those.” The Mistress gets up and takes the flowers the man holds out. Before she leaves the room to find a vase for the flowers, she points to a sofa at the other end of the Persian rug, next to the glass box that contains Polina’s favorite artifact.

The guy bows his head as he walks to the sofa. He seats himself in its middle, perpendicular to another sofa where Polina seats herself.

Polina sits up straight with her hands on her lap, as the Mistress does when she is around people.

The man smiles at her, and then he looks at the door. Polina looks there too. He has a look of wonderment in his eyes that says to Polina that something is about to happen.

Polina begins to smile as he begins to speak. “Can you hear that, ‘Night Rhythms’?” The guy asks Polina. The child is not sure what to say as she hears faint music in the distance and then the sound of footsteps in the hallway. Their sophisticated sound is in time with the music that grows as the person steps closer to the room.

“The F3quenZor,” the man says. The word makes sense to Polina as she turns her head to see the therapist, or her friend, as Polina likes to think of the woman now standing in the doorway.

Polina looks back at the man in his black suit, and then at her friend, who wears a dress for a special occasion.

Polina giggles as she looks at the man, and then back at the woman, thinking they go together in a picture, like the ones the woman creates with her camera in the bag she holds.

Polina’s awe of the situation is topped off when she realizes they too hear the music she hears, surrounding them, creating some sort of binding made of the melody, rhythm, and emotion the three of them feel in one of many moments that the special child will help create.

The moment is escalated beyond the child’s wildest dreams when Lavenda looks at Polina and smiles, and then she heads toward where the guy stands up for the woman heading toward her as the music is now like oxygen Polina needs….

Emotive Entitlements

YouTube "Night Rhythms" By Lee Ritenour
Lee Ritenour

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The kid from nowhere plays hopscotch in the alleyway. He stomps another creature’s face beneath the slab as it claws at the surface.

“One, two, three, you look like wees and gristle. Green with envy at me, as I hop, and I pop, and then I stomp on your…” The kid tries to think of a word that rhymes with “hop, pop, stomp,” but he becomes impatient and exclaims “FACE!” as he stomps his heel on a freak’s face.

Then the little fellow stops at the end of his imaginary hopscotch and begins to lock and pop his joints to the “Jamaica Funk,” from Chaka Khan which creates a soulful buzz in the alleyway. The kid is oblivious to those who lean out their windows to watch the child amuse himself.

The citizens of the SFD understand that the kid needs this time to recoup his powers.

Passersby at the top of the alleyway glance and then keep walking, leaving the kid to his own devices.

The kid does one of the moves he’s been practicing and then he skips and claps his hands as he sees one of the freaks beneath the walkway make an indentation in the slab.

The kid realizes one of the characters in the thread has unresolved issues. The souls beneath the ground belong to those whom the SFD Control Unit has culled from the many arrivals in the dimension.

The diligent fellow looks around for John Reyer as he continues to do his workout, telling himself he is capable of keeping the demons of the SFD at bay….

Emotive Entitlements

YouTube "Jamaica Funk" By Chaka Khan
Chaka Khan


John Page leans back on the bar as The Poet Soldier launches the new project from where he sits in the corner. The Guy nonchalantly raises a hand in the air and loops it twice as he reads the latest edition of TIME magazine for the month of February 1991.

Model Lit Chicks from the catwalk coolly enter into the dive bar. Then they find their targets, who like the scene they have agreed to be a part of under disguise.

This mission, which Page has heard will make each of the young men a millionaire—not that money matters to him—is what Page signed on for.

Page recognizes a few of the faces, which include lobbyists and their mouthpieces, some of whom stand up in the senate and swear on an oath to uphold the truth and are here to show they are serious about their support for the cause.

The mission The Guy has been gifted is said to take place in the Middle East where, unlike previous adventures where the crew are relied upon to set up a scenario, they will be required to rescue people, or the information those people have.

Page leans over the bar. “Wow, you have quite a following?” he says to the barman as he looks around the room.

The Guy talks with someone from “NASA,” whom the barman points out to Page, and then “U.S. Army,” the barman announces as a man in Groucho Marx glasses sits down in the booth to discuss with the Poet Soldier a new way to access information, which The Guy will test on the upcoming seven day excursion into Desert Storm….


Around the other children, Polina is like one of them. She participates in the games children play even when they’re not at play, using her charm to create an atmosphere the children associate with the likeable and loveable little princess whenever she’s around or when they think of her.

Polina has already learned about loss, having had friends disappear with little or no notice, a situation the orphanage deals with in diplomatic fashion when it holds a party for the child to celebrate the lucky individual having found a home.

Polina waves her flag as she blows her whistle like the other kids. The little boy who has found parents in London stands tall at the front of the hall, and now, with a baby, his new parents walk into the scene.

Polina watches the boy, victorious in how he holds his hands up in the air when he sees his new parents, and a gift the father in a pilot’s uniform has for the boy.

Polina looks around her at the children’s happy faces as they cheer louder than ever for the boy. She thinks of how solemn some of them will be when tomorrow comes and they realize that the boy is gone. And then Polina goes back to cheering for today’s winner….

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“Love’s in Need”


Saturday morning, and the weekend is here for The Guy….

John Reyer watches The Poet Soldier on screen to the music of Teddy Riley and Dr. Dre—“No Diggity” as The Guy multitasks.

He finishes CHAPTER 34, and sends it to Tyler, while he delivers a Commvault solution to the Pizza Company to go with the VMware one they are also considering.

The Guy is thinking of including the Pizza Company, a global brand he’s involved with in his day job, in the story as part of an OBPNE Cluster.

The Guy then Googles a fix for a problem that stands in the way of his keeping his promise to the Pizza Company to whom he will provide resolution to their requirements within a timeframe, and then he emails the solution to the client.

“Get a life…LOL” John Reyer laughs out loud in his txt message to The Guy.

The Guy sees the message and replies, “I’m hungry….”


The kid sees the finger marks made by the freaks beneath the slime green slabs as they push the ground that lays between them and the kid, who ignores the creatures from hell, a concept he has difficulty understanding.

He hears old skool, new jack swing from Blackstreet, and he looks to the heavens where John Reyer said Polina has gone to find out whether there is such a dimension, like the MMD where he, John Reyer, used to run with the guy, whom the kid has not seen for sometime.

The Dr. Dre influence, piano, and sparse kick drum, mixed with the swing mechanism and harmonies of the original rump shaker, Teddy Riley, brings the fans in their pretty dresses looking for the kid from nowhere.

“No Diggity! No Doubt!” The kid mouths at his fans, who wave for the kid to come out of the alley, a scary looking place for them.

The kid looks around at the creatures as more of them make their presence felt; the alley now looks like a wasteland of swelling blisters as the souls push up the ground for air.

The kid uses his fingers like pistols as he fires imaginary bullets at the ground; all the while, he wonders whether John Reyer or the guy will be around if and when the freaks find their way to the surface.

He smiles for the fans while he does a dance that will make them laugh as it becomes obvious the freaks are drawn to the funk that fills the air; he now appears at the entrance to the alley where he lassoes the atmos, and then he points to the right for his fans to follow him….

Emotive Entitlements

YouTube "No Diggity ft. Dr. Dre, Queen Pen" By Blackstreet


Page looks up at the dawn sky. He imagines a guy his age stands behind the scenery where he carefully places the stylus on the record he hears slide into a groove, and then after a few revolutions, a voice says in Blackstreet’s version of “Love’s in Need”:

Good morn, or evening friends,
Here’s your friendly announcer….

The dulcet tones in perfect harmony cause the hardened young man to think about what The Poet Soldier has told him he must do.

John Page looks at the briefcase full of unmarked ten and twenty dollar bills he now holds, even though he is regretfully surplus to requirements for the mission where the rest of the crew flew out last night.

The Pirate has had a lot of time to think about what had happened in Germany, and he no longer blames The Poet Soldier for choosing Afanasy over him, which was not the case since the Pirate was working against The Guy back then, something John Reyer had to explain to Page the young player. Also, Page’s role as a sub-plot device, a controller of sorts and not an influencer like Afanasy, meant The Pirate was overqualified for the role of “Muscle,” another explanation by John Reyer about the cause of the conflict in Hamburg.

But when it was all said and done, it was The Guy’s simple explanation for why it happened that Page relies on to get him through to a place where he can once again be trusted as a crew member, or relied upon as an associate.

“If you find yourself being forced to make a decision, then the choice is not yours.” Page thinks through the explanation as he sees an orange hue line the horizon while he comes to terms with what he did out of naivety, not trusting that the end-to-end saga was already being written, when he drew his weapon in the hospital room, forever condemning the Pirate in the eyes of everyone.

“Find yourself, get a day job, and learn about the real world,” was The Guy’s advice for Page as he handed him the briefcase holding a tenth of what the crew members heading to the war zone were getting.

I have serious news
To pass onto everybody….

YouTube "Love's In Need" By Blackstreet


The seldom seen sun appears through the tree outside Polina’s room. Pockets of snow on the leafless branches’ forks melt slowly. Polina smiles at Nature’s treats this morning, and then she hears music by Stevie Wonder.

What I want the world to know is
Love’s in need
Of a love today….

The soulful sound warms Polina’s heart, and then she becomes aware that this is the first time on her own that she’s experienced the encompassing music that she imagines even people on the other side of the world hear.

Usually, it happens when she’s around the guy, who makes her paper airplanes, and her friend Lavenda. The sonic experience ends for the three people when Polina unfolds the airplane to find a poem, which Polina then reads in English for her audience.

But today, Polina is definitely alone—not that it bothers the child who imagines she is the missing link in a fairytale being written, and that one day when the guy and Lavenda come to visit her, they will take her with them when they go to leave this place….

Emotive Entitlements

YouTube "Love's In Need Of Love Today" By Stevie Wonder
Stevie Wonder

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The kid slips through the crowd once the fans become engrossed in the frenzy he’s created.

He scans the faces until he finds a porch that he jumps up onto to look over the heads so he can see whether he can spot the guy, or John Reyer.

The kid thinks for a moment about the alley and whether he will be able to keep the creatures under control when they rise from the ground as it has become obvious the cyclic seasonal nature of the saga will once again yield conflict normally assigned to the depth of one’s mind.

The eerie feeling that passes over the kid like a huge cloud on a fine day is illustrated in the fantastical display in the sky that the boy copies with his fingers.

Acoustic strings spell luminous spheres in the sun’s rays as a puffing of white cloud passes over.

The kid looks at his fingers as he moves them like the hand in the sky, but his imitation looks like spider’s legs, while the hand in the sky looks like it belongs to a temptress. The mystical hand details an agile mind, as a synthetic chord sweeps the musical landscape.

Emotive Entitlements

YouTube “Kota” by Bonobo


“John Page,” he says as he steps forward to the desk. The wait to sign up for a meal and a bed for the night has been long. The same cretin from before, who will remain homeless at the shelter for the homeless because he won’t get in line, is standing next to Page again. “I still say there are arms of mass destruction in that briefcase you’re carrying. I say….”

Page has a smile on his face as he hands over his papers to the attractive African American woman, who lowers her glasses to the harasser on Page’s shoulder, and sassily announces to the menace, “I’ll give you mass destruction if you don’t get in line….”

Page sustains his smile as he looks at the man who, Page had earlier noticed when they were sitting on the ground outside the shelter, is wearing a new matching pair of Pierre Cardin socks.

“Thanks. He must think I’m someone I’m not,” Page feels the urge to explain to the woman who looks at his documents.

“I could do with someone who can use a computer if you’re planning on hanging around. We’ve been given one, but no one knows how to use it,” says the woman, turning to look at the machine in the corner.

“Nancy,” she says when she turns back around. “Nancy Washington.”

“I can’t promise I’ll be here for long, but if I can be of use to you, then it’s of mutual benefit.” Page can be, when he chooses, accommodating—almost to a fault at times.

“Take off the bandana,” Nancy says as she reaches for a camera so she can take a picture of the ex-convict, who was only released from prison seventy-two hours ago, during which time he paid a visit to his family in Vegas on his way to the shelter.

Page undoes the headwear and puts the red and blue cloth down on the desk. He then bows his head and places his fingers in the thick mass of black hair and does a frantic action with his hands before he flicks his head back to reveal to the lady a handsome young man.

“Mmm…” Nancy says. “Back at ya babe!” Page produces a leading man smile for the camera inside the waiting room of a homeless shelter in LA.

The Pirate’s comment brings Nancy’s head up from behind the camera; she bites her lip as Page looks down at the desk. He has a knowing smile on his face as he waits for the next question, which will most likely be about the briefcase.

“It’s locked and I don’t have the key,” Page says as he slides the case across the counter. “I’ll have to hold on to it then, while you’re here,” says Nancy, placing a hand on the case Page pushes toward her.

“No problem,” Page confirms.


Polina, at seven years of age, is the oldest child in the orphanage.

She and her friends, who range from knee high to six years old, gather around the TV. The girls pretend to be Vanessa Williams in the video showing on MTV.

The potential parents in the back of the rumpus room, from the U.S., Canada, Australia, and the U.K., talk to the Mistress as they watch the group of girls dance to “Happiness.”

Polina watches her best friend for the last few days, a blonde girl with blue eyes from Ukraine. Ms. Rada pretends she is not envious of her friend or her light complexion as the shy girl tries to keep up with the other girls.

Polina moves next to the girl who is obviously nervous since it is only her second parade. She places a hand on the girl’s back.

“You’re going to have a party soon, I know,” says Polina in Russian to offer her friend confidence while the rest of their friends sing along to the words of the song in English,

“Happiness, Happiness, Happiness….”

Emotive Entitlements

YouTube “Happiness” by Vanessa Williams
Vanessa Williams

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“Day by Day”


The kid wakes up; he looks down the alley from behind cardboard and wooden boxes down in his corner of the alley. Everything looks calm in the rays of the morning sun that create a path from his front door to the sky.

“Shakatak.” The little maestro says it to himself, but the reprise to his thought is heard around the dimension.

“Day by day…”

The Jazz Funk floats on the fresh morning breeze.

He is relieved to breathe. He brushes his bushy black hair from his face, and he places a hand through the boxes to touch the ground.

The ground looks as if it has never been disturbed; wild flowers have appeared in the cracks between the concrete slabs. Each square has chalk art that tells of an event the kid will speak to, on his new venture he designed while he rested.

The kid stands up and stretches, and then he goes back to plotting, since there is still no sign of John Reyer, or the guy.

He makes his decision to go ahead with his plan, whether or not John Reyer is able to find him once he initiates his new plan.

“Day by day…” the kid hears the voice….


Page smiles at Nancy as she has her hand on the briefcase, while Page still holds the handle.

Page carefully pulls the case toward him and flicks the latches. Nancy smiles from the surprise of seeing Page open the briefcase to which he had told her a year ago he had no key.

Nancy has become quite fond of the Pirate during their time together, he as an employee at the shelter during the day, and a confidant after dark.

Page looks at the money still neatly stacked in piles covered in plastic. He reaches around his back and produces a blade.

Nancy shakes her head when Page produces the weapon and then he does something behind the open case’s lid.

After he puts the blade away, he places four bundles of twenty dollar bills down on the table, and then another four, and then he hands one to her.

Nancy’s eyes are wide open as she looks at the money and then back at Page who closes the lid of the briefcase before bending down to pick up his backpack.

Holding the bundle he handed her to her chest, the speechless woman feels Page’s hand on her face, and then his lips on hers.

Nancy opens her eyes to see the back of the Pirate as he exits the office.

“Day by day,” Nancy calls out, as the vagabond twirls his hand in the air.

Emotive Entitlements

YouTube “Day by Day” by Shakatak with Al Jarreau


The next day, it is just as Polina had predicted: Her new best friend stands at the front of the room, her arms filled with gifts from the girl’s new family from Canada.

The little boy who arrived yesterday is next to Polina again. Polina is caught in the excitement of seeing another friend find her family, and indifference over having to face another year without hope of being wanted. Nevertheless, the positive person takes the hand of the two year old standing next to her as she hears him say the only name the boy knows, “Lina.”

Polina makes her way to the front of the room with the boy in tow, where the girl and her new family say goodbye to the departing child’s friends.

The little boy pushes his way through the other children, letting go of Polina’s hand as he then appears in front of the other children, where the young character watches the interaction between the lucky girl and her friends.

As the boy gets an idea of what’s happening, he begins to smile, and then he points to one of the unlucky ones to step forward. The girl from the Ukraine becomes annoyed with the boy’s behaviour as the child moves next to the girl and gently pushes her toward the group of other kids as he stands next to the parents.

The boy’s behavior makes Polina begin to laugh, after being on the verge of tears. “Lina!” Polina sees the boy with his hand held out to her, with his fingers beckoning her to join him.

The mistress looks at Polina, and then at the boy, as the adopted girl begins to cry. Polina wipes her eyes and puts on a smile as she walks around the group of children to where the boy now begins to laugh as he claps his hands, “Lina, Lina.”

Polina feels an air of expectation about the scene as she bends her knees to be face to face with the excited little boy.

“Let’s go and play on the swing, ah?” Polina’s eyes light up, and so do the little boy’s, as he wraps his arms around Polina’s neck.

Polina hugs the boy, and stands up, and then she quietly turns to her left and exits the room, carrying the boy without saying a word to anyone….

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The kid marvels at the transformation that has taken place in the alley as spring flowers begin to blossom. He cups flowers in his hand as he walks to the top of the alley and out onto a quiet strip.

He sees the shopping mall he ordered on his shopping list, and which John Reyer will probably baulk at.

“If you’re going to have a shot, make it your best shot.” The kid holds onto John Reyer’s advice as he tells himself to “Relax” now that he has made the decision to move forward and take control of his destiny.

The kid reaches the front door of the shopping mall where he can see the lights are on, but no one appears to be home.

He looks up at the sensor, expecting it to do its thing, but the light doesn’t come on. The kid steps back and looks down the strip to see whether anyone is watching.

The empty street beckons him to do what he has to, and then he hears the voice.

“They will follow you wherever you choose to go, but remember, they can never know when you lose your way….” The kid takes a deep breath as he steps up to the door.

He looks at the sensor as he summons his best smile, “Pretty please, sensor of sensibilities and hidden motives….”

Lights on the little black box flash and then they form a frown. The kid looks down at the ground as he considers what he can do next.


“Networking!” Litigatti smiles as he takes Page on a tour of the communications room of the Network’s Academy.

“Check this out.” Metofeaz picks up the phone and dials a number as he clicks on an icon on the computer monitor.

“Send me a telex, a fax, and then mail me,” Litigatti says to someone whom Page assesses must be overseas based on the number Litigatti dialed.

The telex printer kicks in as the fax machine begins screaming, and then the icon flashes for Litigatti to click on it.

“Viola,” he triumphantly proclaims as he reads to the person on the other end of the line the text in the monitor’s window as the telex and fax still churn their way to the end of the message Litigatti now closes down on screen.

In another room, they find people in relaxation mode. Seeing a group of males throwing darts at a picture of Litigatti smiling on the wall brings light relief to Page and Metofeaz, who haven’t seen each other in over two years.

Metofeaz places two cups on the bench next to the coffee machine, and then he inserts coins. When nothing happens, a young female recruit pulls up next to the machine and produces a screw driver, with which she quickly unscrews the cover to the coin slot.

“How many, sir?” The young woman asks with an eye on Page. “Two, one for me and one for the Pirate,” Litigatti announces as he points to Page. The whole room stops and looks to where Page bows his head. “The Pirate?” The young recruit, with her cap on back to front, is obviously beside herself as she takes her hat off and holds out her hand to the man himself.

“Pleasure’s all mine….” John Page cordially accepts the attention….

Over at the mailboxes, Page has another chuckle as he sees how someone has crossed off letters on Litigatti’s nickname on his pigeon hole and written the letter “p” in permanent marker spelling “Whimp” out of what was “Whimsical.”

Page looks around the room where he spent many hours of his adolescent years as he thinks about his next career move.



Polina appears despondent as the boy calls out her name from behind her. He is trying to push the swing where Polina sits with her head down.

Lavenda takes a picture of Polina.

Lavenda and the Mistress watch from inside the orphanage as the two year old tries his best to comfort Polina, who has been this way for two days, following the departure of another best friend.

“Her psychic abilities are optimum when she’s this way, you said?” Lavenda asks the Mistress.

“Optimum is unquantifiable in Polina’s case.” The Mistress’ response is news to Lavenda.

“I’ve seen her move other children out of harm’s way from a mere glance, taking little or no concentration,” the Mistress looks at Lavenda as they hear a knock at the door.

“Psychokinesis requires the audience and the object being manipulated to be in tune; all particles, membranes, and cells are working toward the same goal,” Lavenda and the Mistress turn their heads at the same time to see where the voice is coming from. The two women see the philanthropist standing in the doorway.

The guy can see the concerned looks on the women’s faces as he steps into the room.

He holds a green bag, whose strap he winds around his hand as he approaches the window out of which Lavenda and the Mistress are looking.

“May I?” he asks politely as he steps in between the women to look out the window.

“How heavy would you say Polina is?” The guy’s smile is as uplifting as the air of confidence he has brought with him into the difficult situation the Mistress is faced with; she can no longer justify what she now realizes to be cruelty toward Polina by keeping her here at the exclusive orphanage for gifted children for her own safety.

“No more than forty kilos,” the Mistress says as the guy lifts up the window. Lavenda looks at his profile as she reaches for her camera.

The gentry in the guy, whom the Mistress has heard conflicting reports about, is never as evident as when he is at work in making someone’s day.

Lavenda takes a snapshot of the guy as he leans out the window; he looks back at Lavenda as she catches him in his element as he now calls out to Polina.

“Ms. Rada!” Polina hears her name as the garden she sits in comes alive, the birds sing, and she feels a breeze, which normally chills her bones, flow over her.

“How strong would you say the kid is?” the guy asks each of the women.

Polina hears music in accord with the way the leaves on the ground suddenly begin to swirl mystically to the music that is getting louder.

Polina looks up at the window where she sees the guy she believes is her only real friend who will never go away, Lavenda’s boyfriend; in Polina’s dreams they are her parents. The man up in the window shows his beautiful smile as he turns his head to talk to someone.

The Mistress looks down at where the kid strains to push Polina in his attempt to cheer her up.

Lavenda places her camera in front of her as the guy turns to her.

Down on the swing, Polina hears the ditty as it begins. She feels the boy’s hands on her back; she feels his strength.

The Mistress leans out the window as she tries to get a good look at what is happening.

The moment the guy has created is not wasted as Lavenda pre-empts the guy’s gentle nature and closes her eyes. He rewards Lavenda with the softest of kisses, and then the two people look out the window, over the Mistress, whose entire body is out of the window.

“Forty-five degrees—not bad for a child of two, wouldn’t you say, ah?” The guy smiles as the Mistress looks back at him in amazement.

Polina sees the Mistress, the guy, and Lavenda at the window as she flies through the air to George Benson’s “Breezin’.”

“We’re ready; someone will be in touch,” the Mistress hears the guy say, and then her hand takes hold of something. She looks down at the brown paper bag and then at Lavenda, who has her camera to her face as she snaps shots of Polina with her hair blowing in the wake of her magical ride on the swing.

The sound of the guy’s boots fades in the distance as the song fades….

Emotive Entitlements

YouTube “Breezin’” by George Benson
George Benson

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The kid is tight-lipped about the sensor’s failure to respond to his attempts for it to let him into the mall.

He hears music, so he steps back from the door and sees a group of figures in the distance.

He shields his eyes from the sunrise as the kid takes a closer look at the mirage. It looks like a group of lovely ladies. They’re wearing orange bikinis and high heels, and they dance slowly, making their way up the strip.

There’s some lucky dude in the middle of the harem—he looks like the guy, or John Reyer, but the lucky devil’s hair is longer, and he has an eye patch, which goes well with his black suit.

The kid looks down at himself. He wonders whether one day he will get his own black Charley Stevonsen suit and black boots that go with the LMLA-ink look.

The Pirate smiles as he lassoes the ATMOS and the doors to the mall, and the buildings open up as the strip comes alive. He and his dancers step, sliding this-a-way and then that-a-way.

The kid sees his fans as they flock to where Pied Piper with an eye patch continues to stimulate the marketplace. Stalls spring up along the sidewalk. Smiling vendors hand over their goods to happy customers as the Pirate frees up reserves and sets the blood flowing through the veins of commerce again.

“New Oil,” the Pirate whispers. The message becomes the goal for all those who believe that this was meant to be: The story of a guy, who drew his captors into the trap he laid for them, so he could write the next chapter in History, making every person alive on the planet a character in History’s most memorable and magical event, made possible by the Internet.

The kid, not to be outdone by the enigmatic one who continues to make the kid’s fans’ hearts flutter, steps out onto the street, forgetting about the doors of the mall that have opened up for him….


John Page steps up the corridor to music that makes beautiful women in swimsuits and stilettos dance in bathing sunlight, in some paradise hideaway in the Hollywood hills or on the coast of Costa Rica….

Decked out in black Charley Stevonsen and black boots ala LAZOO, the Harry Houdini of the players checks for pinholes in the Network by using a scanner especially designed with satellite technology years before “wireless” became branded.

The phone company employee is here at the Silicone Valley Company to connect a new relay for the software giant.

As the Pirate finds a number of openings, he chuckles over the thought that The Guy at this very moment sits in an interview on the other side of the world where The Poet Soldier will become employed at the world’s largest computer hardware manufacturer as a customer service agent.

Page laughs at the irony since he is happy to be back in the crew. This mission is a three year project that has already been code named “Dot.COM.”

Emotive Entitlements

YouTube “Sunrise” By Simply Red
Simply Red


Polina opens her eyes. Simply Red summons another day.

“Holding back the years….”

The weary soul identifies the source of musical encouragement as coming from her alarm clock.

She wants to reject the attempts, by whoever it is, to give her hope, so she reaches for the clock’s “Off” button.

“I’ll keep holding on….”

Polina pauses in mid-thought as the words echo something the little boy had said to her the day before.

Emotive Entitlements

YouTube “Holding Back The Years” By Simply Red
Simply Red

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The kid from nowhere watches on as John Page signs autographs. “The Greatest Story Ever!” the kid hears the Pirate exclaim, stealing one of his lines. It only serves to make the kid more determined not to let the Rogue storyteller hijack the saga….

The boy looks at himself again as he wonders whose mind or minds he is in as he tries to keep his head in dealing with the Pirate, who may be an icon of sorts in another sphere, but not here.

“It’s opened up for you, young man,” the kid hears the Pirate’s mocking tone.

The kid tries to think of his reason for asking the Warmth, the overseeing force from the AmalgaMension Dimension, for a shopping mall to be created on the strip, but the reason escapes him.

The kid watches on as the Pirate turns to one side and his smile becomes maligned with a nasty expression as he says to someone, “I’ll rip your heart out, and then, I’ll kill you….”

The kid is flabbergasted as he looks to see whether the fans witnessed what he did. But all they can see is the anti-hero, who has somehow managed to find his way into the conceptualization of an idea, where a little girl waits to be freed from her fate, caused by others in the saga to which she is central as one of the pillars of the F3quenZor, which kicks in….


The Guy finds the GeoCities site and enters the chat room under the login “DJ.”

He sees “Whimsical,” “The Pirate,” “Tourist,” and then the list of random users who have logged onto the chat titled “Lonely Hearts.”

Tourist: “MMMBop…”

Whimsical: “Second Leaf of Journal…LOL x.”

The Pirate: “Variety is the spice of life…x PAGE1…LMAO.”

Tourist: “Hanson’s Home…x Page 3 looks, with maternal calling….”

DJ: “Mirror mirror on the wall, who’s the fairest of them all…See en en… x.”

The Pirate: “Camera, camera catches ’em, Sunburn from headlines too severe…needs Aloe Vera…MMMBop….”

John Page reads through the advertisement for a graphic designer for the non-profit organization down the hallway from the satellite monitoring company as he writes an email to his boss asking for some time off due to stress.

And then he searches for random images using search engines Excite and Hotbot and downloads them as his portfolio.

Emotive Entitlements

YouTube "MMMBop" By Hanson


“Lina,” the toddler has a startled look on his face as Polina passes the toddler coming out of her room.

She enters the room to find the floor littered with letters from her penpal. Some are torn and others screwed with a tiny footprint marking anger from something at the very moment when he’d stood on paper and twirled hard.

Polina is lost for words and what to do as she looks out her door to see the baby walking away up the corridor.

She kneels down and collects the letters as the thoughtful girl tries to find the cause of her little friend’s temper tantrum.

Later that afternoon, Polina is called to the mistress’ office where she is told of more bad news.

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The kid looks at the Pirate’s sneer that conveniently becomes a pleasant smile as one of the kid’s fans blushes as she holds out her autograph pad to the Pirate.

The kid summons courage. He takes a deep breath as he steps forward with his head bowed.

The Pirate takes note of the kid’s behavior as the Pirate glances at the shopping mall doors that open and close quickly, as if the place has a mind of its own, saying it’s becoming impatient for the right character to enter.

“You know opportunity only knocks once,” the Pirate, an apathetic type, says as he tries his best to sound as empathetic as possible to the kid standing in front of him.

The Pirate looks at his dancers who become concerned with the cute kid’s behavior.

“We came to see the kid, didn’t we, lovely ladies?” The Pirate uses his eyes to motivate the bikini babes to respond. “Didn’t we, girls?” The Pirate repeats himself, and then they chime in, “We came to see the kid.” The female chorus brings a smile to the kid, who has his head bowed.

The kid’s mind is blank, but for the cause of the smile he has. He’s far too nervous from the scene where he is in a High Noon style stand-off with the character they reckon was too big, too bright, and far too bashful to be named a member of LMLA-ink: John Page.

When confronted by something as overwhelming as his confrontation with the Pirate himself, the kid sees only black and white, losing all sense of color.

The kid, seldom lost for an idea, remembers John Reyer’s advice when faced with adversity—“Relax.”

The road, which has no markings to separate the left from the right, is dark. The buildings, made of mirrors that shone in the sunrise, are a reflective gray.

But the kid notices the Pirate’s boots and suit are black, although brilliantly bright against the other shades of black.

The kid relaxes and says the first thing that comes to mind, trusting that the Pirate has no say in his role.

“My name is Afanasy; I am the leader of SFD Control unit….” The kid finally gives up when he hears his voice echo like it’s only heard inside his head as he sees people laughing at him.

One of the lovely ladies bends down and touches him on both cheeks and then another crouches down and has a silly sad look on her face.

The kid can see the Pirate in the background; he has a concerned look on his face, and it makes the kid think harder, hoping for a break in the constant bombardment of information, all of it a mush for the kid.

“The nature of this GAME is like a story where the characters themselves can influence the author, changing the creator’s mind from time to time,” The Pirate says.

The kid shakes his head because he disagrees strongly with the Pirate’s thinking.

“If that were the case, then good and bad, goodness and evil, and right and wrong would be the same. Similes, metaphors, would be ineffective because everything would be mush, from the author not having a reference point to analogize to for them to make their point,” the kid hits back.

“So you say everything is either good or bad?” The Pirate asks, nodding his head since he already knows the answer.

“Yes! It’s how it’s perceived by many minds who each have an opinion of their own.” The kid feels like he’s getting somewhere with his arch nemesis, as he appears to be.

The Pirate looks at the kid and then again at the doors to the mall and the way they open and close somewhat slower than before.

The kid is stunned when the Pirate lifts his arm, and the kid hears the needle being placed on a spinning platter.

“Give me the first three colors that come to mind.” The Pirate, obviously in control, gets a feel for the dimension he’s only ever heard of.

The kid feels pressured, but he now sees his only chance to wrestle back control by playing along. He shakes off his blues to ready himself as he hears a famous riff looped, becoming a LeaderLoop in the scene he and John Page are in.

“Red for Crescent and Sickle’s bed….Ah let me think….” The kid raises an eyebrow to see what the Pirate thinks, and then he continues.

“Orange, the only hue that settles the mind in a state of peace from Capitalism having found its heart.” The kid smiles into the sky, as he places a finger in his mouth, and then he jumps up and down.

“And GREEN! For the ‘New Oil’ flowing through our veins, the commodity that will set the human race free!”

The Pirate looks around the crowd who are happy again that the kid from nowhere is back to himself.

The Pirate looks at the kid. Then he walks up to him, and crouches down.

“If I had a set of traffic lights, I would cascade them for you. But if you look into the sky, you’ll see the same thing….”

The kid’s eyes light up as he looks behind the Pirate and sees the sky above the horizon as it flashes red, orange, and then green, as Sean John Combs waxes lyrically:

Seems like yesterday
We used to rock the show
I laced the track, you locked the flow....


Metofeaz leans out of the Yellow Cab parked at the traffic lights.

In the backseat are his passengers—a sheik and a diplomat. Next to him in the front seat is an up-and-coming promoter.

The Pirate stands on the curb beneath the traffic lights, doing his best to look inconspicuous. The radio station, part of a network that this week closed a multi-million dollar advertising deal with a soft drink company, has done its bit as the fans begin to swarm to the corner.

Litigatti is nervous as he waits for the Pirate to do his thing. Metofeaz lowers his head as someone he recognizes walks by. The character’s appearance proves to be far too coincidental as Mr. Businessman now checks his watch and then approaches the vehicle.

“Are you vacant? Or is this vagrancy a vicarious volition of yours?” The man in a gray suit and a briefcase now leans on the cab door and looks into the cab.

“Oil and water, aye?” Mr. Businessman says as the DJ on the radio announces, “‘I’ll Be Missing You,’ the number one hit on the planet,” by Puff Daddy, Faith Evans, and 112.

Mr. Businessman looks at the intersection as the music fills the corner. Mr. Businessman looks to his left to see the Pirate, now a man. Johnny Page, or PAGE1, has that look in his eye as he slowly begins to lasso the air; the Pirate’s hand circling above his head seems to kick the crowd into action as its members now step onto the intersection from all corners in spite of the traffic, which grounds down to a halt as the music becomes louder.

Litigatti shrugs off any doubt the representative of the establishment tries to place in the minds of its foot soldiers, who have grown up wild and angry, and who now know no boundaries in going for what they believe is their purpose.

Mr. Businessman’s face is inside the window; his stare begins to bother the sheik. “What’s this bullshit?” the sheik asks, making Metofeaz nervier.

Metofeaz desperately points to the Pirate as he steps down onto the street. He moves slowly through the crowd.

The Pirate takes another step before he raises his hand and points to the traffic lights, as the lyric says,

Every step I take,
Every move I make,

Metofeaz waits for a moment, and then as if they had rehearsed the scene involving a Network syndicated radio show heard across the nation, Litigatti says “Red,” as the Pirate shows an index finger.

“Orange,” Litigatti continues and the sheik begins to smile as he sees the Pirate now standing still in the middle of the intersection with two fingers in the air like a peace sign, looking at them in the cab as people pass him by. The sheik’s eyes glance at the orange light.

“Green,” Metofeaz turns and looks Mr. Businessman in the eye as Page holds out three fingers.

Litigatti’s passengers begin laughing at his and his crew’s display of what they can do.

Metofeaz looks straight ahead at the Pirate. “The New American Dream is happening, like it or not,” Litigatti says as he sees the Pirate relax for a moment while the people now come to a standstill on the road….

Emotive Entitlements

YouTube “I’ll Be Missing You” by Sean John Combs AKA Puff Daddy with Faith Evans &112
Sean John Combs


Polina makes her way up the corridor; that she can hear her own footsteps is not a good sign. The walls and the floor look gray, so she moves closer to the wall. Her hand reaches out for support as she nears the Mistress’ office.

Polina already knows the news will be of concern to her as it is the only time the perfect pupil is summoned to the Mistress’ office.

When Polina enters the room, her eyes immediately go to the brick in the glass box. The artifact, for whatever reason, seems to bring Polina comfort. She notices in her peripheral vision the boy on the Persian rug, who is consumed with building blocks of varying shades of gray, as the Mistress writes something at her desk.

Polina feels for the boy as she anticipates the bad news, which was already scripted when the toddler handed them an excuse to send him away—he had given her a clue why she and her penpal from London had been paired up.

“Afanasy is being transferred,” the Mistress’ words linger and then fade as Polina’s temperature rises.

Polina’s clenched fists shake, illustrating her rage. But then she hears the boy call her name. And while she refuses to look anywhere else in the room but at the brick from the Berlin Wall, Polina thinks of the boy, and how that also enlightened and sensitive being must be feeling trapped in the shell of an infant human.

“Lina,” she hears him say a second time, and she becomes conscious that everything in the room is a darker shade of gray.

She looks at the boy, who must have already accepted his fate, as he holds up a building block to her.

The red block is more meaningful to Polina in the dull gray light in which she sees everything else. She wants to call the entity by his name, but at the moment, the Mistress seems to Polina to be an antagonist of sorts, by the way she again is the bearer of bad news, and Polina does not want to share her feelings in front of her.

The boy places the block down and it becomes gray like the rest of them. And then he tips over a structure he’s built as he looks for a particular block, which he eventually finds to his glee, as he now throws his hand around in front of him while he shows Polina an orange block in his little hand.

Polina replays the Mistress’ message about the boy leaving as she fights to hold back the tears.

“Lina, Lina….” she hears him say under his baby breath, acting older than the body he is in, while he searches for something else in his pile of building blocks.

Polina’s eyes are filled with tears as she sees the only colors in the scene while the toddler holds up an orange and then a green block. He starts clapping with the blocks, until he drops them, at which point Polina exits the room because she can no longer hold back the tears….

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“Orange, Green, Red”


The kid moves his shoulders to hip hop from the Latin branches of the Network as the Pirate continues to circulate his message, “Chaos.”

Get ready for the Saturday night…”

Ozomatli bewail while they turn it on with horns and bass line as they offer commentary on a glitch in the system for which the kid has a fix.

“The ‘New Oil,’” the kid says as he looks up at the Pirate who smiles at him, and then the kid becomes confused when Déjà vu kicks in.

The Pirate watches the doors of the mall as it seems the power has waned and now they close at such a rate that it makes the Pirate wonder whether there’s enough energy for them to open up again.

The Pirate sees the fans, the citizens of the forgotten dimension who line the street, and whom appear to have accepted his entry into the conceptualization he wasn’t sure he could enter into.

The kid decides he has the ability to win back the fans and rid the story of the Pirate, a known rogue player who now runs the show as he snaps his fingers for his bikini-clad entourage to join him in the middle of the street.

The kid turns around so he and the Pirate are both facing the fans, who begin to cheer as the lovely ladies fall into line, and then the kid lassoes the air before he begins to dance.

“Line dancing’s not my thing.” The Pirate places a hand over his mouth as he speaks to the kid who points to a spot. Then he jumps to the spot and the citizens do the same.

The kid puts his hands in the air and pretends he’s wringing something as his hips make the fans do the same.

The Pirate and his dancers look at each other and then at the fans as the many millions wring their hands above their heads to the Latin funk while their hips gyrate to the rhythm.

A huge roar goes up when the Pirate, followed by his dancers, jumps to the left.

“What’s it going to take for you to go inside the mall?” The Pirate smiles for the fans as he cuts to the chase by asking the kid for his terms. Then the Pirate sees the doors of the mall straining to open.

Emotive Entitlements

YouTube "Saturday night" By Ozomatli


John Page sees Mr. Businessman stand back up from where he was leaning on Metofeaz inside the yellow cab.

The crowd crosses in front of him and behind him as Page stands resolute in the middle of the intersection. There he coordinates a split second, perfectly timed scene in which LMLA-ink court powerbrokers to fund a project which will stem two decades.

Page sees the heads of the only audience members who matter to him in this scene—the ones in the cab’s backseat. The sheik’s head moves up and down, looking like he’s enjoying the show, as does the European ambassador.

Meeting his twin for the first time the other day has had an affect on the normally reserved Pirate, who relies on the extrovert inside to handle these types of scenarios.

“The New American Dream”—a story by John Reyer and Jon Le Mac, who found James Elton (now going by the name John James Lazoo) as they had done with Ali Lévon—sounds like the type of story in which the Pirate would like a role.

Rumors are that the LMLA-ink members had received a letter from a girl in Russia claiming to be Polina Rada. The Pirate has thought about her many times over the years, and even more so now that he has met Missy Lévon, Ali’s daughter, Polina’s twin sister, whom John Page feels responsible for still for the two siblings being apart from each other.

Word that John Reyer had managed to reason with Mr. Businessman may have some truth to it, as the slippery character, to whom the Pirate used to look up, has shown his face in broad daylight.

Page locks Mr. Businessman in his stare as he raises his hand again toward the yellow cab.

Metofeaz watches Mr. Businessman’s face as Page signals, holding up two fingers for the lights to turn orange.

“He means no harm; it’s personal but not malicious,” Metofeaz says to Mr. Businessman, who takes Page’s show to be an act of defiance.

Litigatti looks in the rearview mirror at his passengers, while keeping an eye on the Pirate, who now holds up three fingers as the lights turn green.

Page looks up at the traffic lights as he presents a third finger for the lights now to turn red....


Polina raises her head from her pillow as she thinks she hears the toddler again.

Outside in the corridor, the boy sits quietly in the dark out of reach of the light that shines down the corridor.

Beside him, he has a handkerchief, neatly folded by someone, which he picks up carefully and then places back down.

Polina accepts the news that the boy is being moved as she also feels guilty about him not finding a home.

She had come to her room after being told the news and had locked herself away from everyone, including Afanasy, who had followed her and had remained outside the door for eight hours now.

Polina thinks back to a session with Lavenda when the therapist had warned Polina that she would come across such a situation, thereby causing Polina to respond in such a manner as a reaction to the years of emotional neglect, and having to keep up a false front day after day for the sake of others.

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The kid watches as the fans go back to their lives as he waits to see how the Pirate is. When the Pirate appears to be the same, the kid tells him his conditions.

The kid points to a patch of grass, beneath a willow tree next to a brook that now runs alongside what was once the pavement, for the Pirate and the lovely ladies to sit down on.

They look across the street to where the shopping mall is now a dark place, overrun by vines and roots from a giant maple tree whose top is out of sight.

“For the remainder of the story, you must give up the nicotine, the sugar, and any other substances you rely upon to do what it is you do.” The kid is straightforward about his requirements of the Pirate, who begins to laugh.

“A social drop, or a drink in the sun is permissible, but abuse of any substance will render you surplus to requirements again….” the kid continues.

The Pirate has an amused look on his face, which changes as he searches for his response.

The Pirate points across the street, “By the looks of things, the mall is useless to me, and therefore, I don’t need you anymore. But—” The Pirate raises a hand, meaning he has an offer that can’t be refused.


John Page thinks about his conversations with John James Lazoo, about how he, James Elton, grew up in Wisconsin with Janine their mother, an experience John Page had missed out on, thanks to the person in the gray suit with a briefcase, who stares back at the Pirate as if he has cause to feel any sort of grief.

Litigatti sees the change in Page since Page caught up with his kin, and since Ali Lévon has moved on and forgiven the Pirate for what the young hustler did out of immaturity. She had also told him that the way things happened was the way things were meant to happen, only he needn’t have gotten involved when he held a gun to her head.

Page clears his head of any malice toward the person obviously nervous about what the lads are now capable of, after recent successes by both the Pirate and Whimsical. The accumulative or net effect, which will be seen in years to come from a number of high profile takeovers and mergers, the now grown up kids had facilitated in industries ranging from the finance industry to the entertainment industry, and right through to pharmaceutical business; the orphans were now highly sought after players for their ability to influence outcomes passively, if not in a glamorous fashion.

Having seen a photo of Polina Rada at the age of seven, the Pirate, a hardened man, had a tear in his eye as he imagined what the poor child must’ve been through due to no fault of her own.

The Pirate focuses on the task at hand as he hears a voice in his ear piece under his long hair, “Three seconds until the outage is reported critical, Pirate.” John Page looks at Mr. Businessman, who could have the place swarming with NYP before the Pirate can count to three, and he slowly raises his right hand toward the cab as the voice in the earpiece tells him, “Green-Green-Green for the planet….”


Polina waits for her alarm clock to come on at 5:55 a.m., a time the guy had set it to when he gave her the gift for her fifth birthday.

The noise down in the courtyard is probably officialdom as it prepares to move the boy from this orphanage to a place where no one will find the toddler.

The digital numbers change from 5:54, and the music serves to be of little comfort as Eric Clapton’s fingers pluck at the strings of his guitar and the maestro sings about his loss, a sound that fills the room. The tears Polina thought had dried up come again and they begin to flow as she hears a door downstairs slam, and then footsteps.

The adult’s steps are countered by the boy calling her name, “Lina.” She imagines the look on the brave entity’s face as he’s marched to a car door that Polina now hears being opened.

Her promise to herself—that she would never see the boy again, something she had to do for herself—is broken when Polina throws back the covers and quickly gets up to stand at the window.

She brushes away hair that is stuck to her face because of the tears, and then she opens up the window, from which many an hour has been shared by the kindred spirits looking out at the barren tree from which the swing hangs—the swing where the toddler had pushed Polina.

She sees solemn figures at work as they open the front doors of the black Mercedes.

And then she sees a small head pop up in the middle of the back window. She can tell the boy is smiling from the way he moves his head as he looks up at the window.

Would you know my name?
If I saw you in heaven….

Polina hears the lyric as the car’s reverse lights come on, and then the car reverses to where Polina can get a better look at the child, who lays his head on his clasped fingers.

Polina watches as the car pulls up to iron gates, which the guard opens.

She hesitates for a moment, but the tears that blind her eyes and soak her face tell her she has one chance to affect the baby’s life, and this is it.

She hears the name inside her head, but the mistress’ advice about speaking her mind blocks Polina from saying the boy’s name.

Polina sees the gates swing back slowly; she sees the boy in the backseat again. She hears the last chorus of the song, the meaning of which she had explained to the boy, and then she lets herself say his name, “Afanasy.”

Polina is lost for the moment after a further gush of emotion is her only reward for coming clean about her power. And then her purge is rewarded in the most amazing way imaginable as she sees Afanasy—the spirit or soul of her father, she had been told—wave to her as the car leaves the orphanage….

Emotive Entitlements

YouTube “Tears in Heaven” By Eric Clapton
Eric Clapton

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“Only Girl”


John Reyer, who is back in NYC after time on the West Coast, watches the Poet Soldier on his Nokia as The Guy finishes Chapter 43.

News that Lavenda and Polina are on their way back to the U.S. concerns him on many fronts. Firstly, that Polina will now have a skewed view of what happened, and secondly, in terms of Lavenda, he is not quite sure the person posing as the entity is qualified to be a source of truth for Polina.

He quickly sends Metofeaz another txt msg, thanking Litigatti for coming clean with Page’s upbringing as Hannibal Ammer pulls out a seat from the table.

“I always thought I knew what your price would be when the time came….” Ammer’s snarl is evident even when he’s trying to be courteous.

“Like I said, we’ll decide if your boy goes down in history, or if he’s condemned from having known someone like you,” John Reyer looks up as he ends any wishful thinking from Hannibal Ammer that Alexvale Rokov’s career is about to get a boost from Polina’s story.

John Reyer looks at Ammer, who is about to enter the story for his role in Polina’s life, “It’s my job to find the corruptible. Do you honestly think I would be so low as to be like those we hold in contempt because of the way greed dribbles down their faces? Ah?”

The doors to SIL HOUSE open, and in steps Rocol Récene. She spots John Reyer and then Hannibal, and then she reaches for her phone as she stands in the doorway.


The Pirate pushes the door open to the diner as he looks back out the front to check whether the sign in the window—“Cook Needed”—is correct.

Heads come up as the character with an eye patch does up the buttons on his suit before he looks back across the road at the shopping mall, which seems to be back in business.

“SFDC.” The letters, on the back of the guy who sits at the counter drinking coffee, must represent law enforcement of some sort. The Pirate quickly takes off the eye patch as he approaches the counter.

“Afanasy,” the guy with boyish looks says, holding out his hand as the Pirate goes to place his hands on the counter.

“PAGE1,” the Pirate confirms as he shakes Afanasy’s hand.

“I know who you are; you’ve been granted—Temporary Shape—for a period no longer than the story you’re in….”

The Pirate looks around the diner; in the corner is a computer on which RihannaVEVO broadcasts the superstar’s latest hit, “Only Girl.”

Emotive Entitlements

YouTube “Only Girl” by Rihanna


John Page looks around SIL HOUSE café, the place in TriBeCa that his little brother, only by a minute or two—James Elton—had begun to make famous in his story of an illiterate playwright who carried with him, since the age of nine, the STORYBOOK, which now has found its way to New York.

Page has reservations about the role he’s been offered in LAZOO, to play the part of The Guy in the Game, otherwise known as The Poet Soldier, because the Pirate has concerns about what The Poet Soldier will think, if and when he resurfaces.

Santina San Fé, the co-star John Reyer has cast as PAGE1’s equal, is quite the catch, Page thinks, as she walks past the window. He sits up straight as he hears her enter into the café.

The woman, who seems to the Pirate to be in her twenties, wears an “I Love NYC” T-shirt. Page ponders the reason why the blonde has a smile on her face, and then he looks down at himself and realizes that he has his arms folded and is sitting up straight, a nervous reaction of his that the FBI Agent would recognize. He tries relaxing, but it’s too late.

“Quite the icebreaker, giving your new partner a readable sign, which you don’t actually suffer from,” says Santina San Fé, a confidence player in this sort of game, which will test the Bureau-trained player.

Santina has taken unpaid leave to take up the offer from a contact of hers who knew that LMLA-ink was scouting for talent for the no-holds barred sport it was beginning to capitalize on—LMLA-ink’s end-to-end saga—which the contact had told Santina is being developed for the Internet.

Page, a quiet guy, doesn’t feel the need to respond to Ms. San Fé, as he hears cockiness in her voice but sees passion in her body language.

Page ignores the remark about one of The Guy’s mannerism as he checks himself by looking for color around the room, which he may not be able to recognize….



Polina touches the headstone with the names “Silvia & Afanasy.”

Lavenda puts her camera down as Polina looks at her.

Polina shakes her head as her mobile vibrates in her pocket, alerting her of the LATEST UPLOAD in which The Guy portraits an orphan, the last time Polina had seen the toddler, whose name she traces with her finger on the tombstone in the graveyard, location withheld.

Lavenda watches Polina as she trudges off through the gray mist to where a cab waits for them.

Lavenda reads the upload, with Emotive Entitlements awarded to Eric Clapton for his outpouring of sorrow; it brings tears to her eyes as she sees Polina now turn to look for her.

Lavenda waits for a moment, hoping Polina will allow herself to acknowledge all that has happened, and break her silence about what she’s had to endure.

But then Lavenda sees the bright smile that lights up everyone’s day through the fog. It concerns Lavenda, who holds up the cannon to her face and shoots the sight through the overcast mood of the cemetery.

“I’m hungry!” Lavenda looks from behind the lenses at Polina as she calls out to her to make her hurry; then Ms. Rada opens the cab door and hops inside the carriage….

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“Call me up if you’re a gangster…”


Afanasy watches PAGE1 appear on the other side of the counter. John Page straightens the cook’s hat as he checks his reflection in the blade of the knife he holds before him.

Afanasy looks around the diner for the patrons’ response. But they seem more excited that someone is in the kitchen than concerned by the unruly looking character’s behavior as he now stabs the knife into the countertop.

Page walks around the counter to the computer where he mutters, “Something a tad cheesy; maybe a bit of nostalgia will do the trick….”

He goes to YouTube and searches for “Steal Away.” Then he looks around at the audience members, who pretend they don’t notice him and his peculiar behavior.

Outside on the street, women—young and old, and some with their baby strollers and others carrying their young ones—walk toward the diner to the sugary sound of Robbie Dupree.

The Pirate then approaches the door; he turns the “OPEN” sign around and opens the door. He has an eye on the shopping mall as he looks for the kid.

A woman kisses him on the cheek as she breezes by, “Thank you, John!” Another bends her knees as she curtsies. “A privilege. My pleasure,” says the polite guy, bowing his head as his hand shows them the way into his kitchen….

Emotive Entitlements

YouTube “Steal Away” By Robbie Dupree
Robbie Dupree


Page watches Metofeaz Litigatti strolls by outside the window; his hair is even longer than the last time they caught up, Page remembers. Santina San Fé twirls a lock of her hair, making John Page roll his eyes. Then the staff sees Feeaz Fontain, and someone calls out, “Superstar.”

Litigatti opens the door, and then stops in the doorway, holding the door open. He bows his head as he looks at the staff behind the counter who over-act being normal as one of them, with their hands by her sides, now points the remote at the stereo.

The makings of a smile appear at the corners of the whimsical one’s mouth. His five o’clock shadow casts doubt whether the outcome will be one of glee, a grin from half-heartedness, or just a smile to wipe away whatever was going on before he entered into the scene.

Metofeaz hears the music by Marilyn McCoo & Billy Davis Jr, “You don’t have to be a star,” and he forgets for the moment the routine role he is once again relied upon to play.

John Reyer, with the help of Jon Le Mac from the west, had somehow managed to create a buzz when John Reyer and Le Mac found out about the kid from nowhere who had befriended Litigatti in Central Park. At that time, Metofeaz was working on a case as a sub-contractor for Hannibal Ammer, who was brought in by the NYPD for his psychic ability, in the hunt for a serial killer the police had managed to keep under wraps for sometime now.

The killings, in which the murderer severed his victim’s tongues and swapped them, had stopped for now.

While Litigatti was on that mission, the Network—for whatever reason—had decided to set up a mod style crew and appointed John Reyer Afamasaga AKA Tone Horroh as its leader.

The reason for the new crew was to present to other Networks, above and below the surface, a front that would attract the best of those disillusioned with the system, ensuring their skills and talents did not end up under the control of extremists.

Litigatti has doubts about John Reyer’s plan to use the Poet Soldier’s Diaries as a manifesto of sorts, creating a movement relying on passion from those who heard the story, rather than conventional espionage methods to deliver his charter.

Metofeaz is pivotal to the plan since he is one of a few who met the original Poet Soldier, Jon Pierre Solomon, but the plan is still in its early stages as the crew LMLA-ink, which stands for “Lazoo, Metofeaz, Le Mac & Afamasaga,” with Metofeaz named as a partner in the pseudo-corporation, embarks on its first production “The New American Dream.”

John Page, who has again missed the cut, has turned up after another stint in the slammer as he looks for work, and also the chance to be around friends and family he has only just found out about.

Metofeaz looks on the bright side—Johnny Page, his kid brother, is here—as he makes himself smile, as the lyric goes:

“Baby, come as you are
With just your heart
And I’ll take you in…”

Emotive Entitlements

YouTube “You Don’t Have to Be a Star” By Marilyn McCoo & Billy Davis Jr.
Marilyn McCoo & Billy Davis Jr.


Polina watches The Guy on her iPad. The montage of the last twenty-fours shows the brave soldier as he works his magic in the many roles he continues to play in the GAME.

The seemingly careless act in his day job. “He’s back where he belongs doing what only he can get away with,” says Lavenda, with a twinge of sadness in her voice as she narrates for Polina, while The Guy entices his target, a brand The Guy believes in because of the company’s leader.

The Guy looks for the right brand to promote as the flagship brand in an OBPNE Cluster, which will allow both of The Guy’s lives to come together for the first time ever in the end-to-end saga.

Then comes a shot of The Guy on someone’s mobile—he is walking down the street toward his apartment as Pink’s new top ten hit “Raise Your Glass,” begins.

“…Party crasher
Penny snatcher
Call me up if you’re a gangster…”

The Guy sits at his computer; he Googles a line in an email scam that he’s been responding to over the past week.

Lavenda gets up as The Guy downloads the naked picture from the Russian woman into a folder named, “The Tourist.”

Polina closes the browser as her friend leaves the room, and then her iPhone app flashes the LATEST UPLOAD, and Pink’s song starts again….

Emotive Entitlements

YouTube “Raise Your Glass” By Pink

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Afanasy watches the Pirate serve his customers as if he has been doing the deed all his life.

The light ambience—made up of women young and old, and their spouses and partners by their side, with their children playing—would lead one to believe the guy in the kitchen were a Restauranteur, lifestyle guru, and creator of irreplaceable memories as he points to the computer.

The screensaver subsides, and then the silken voices of Barbra Streisand and Barry Gibb lift the floating spirits of the Pirate’s guests to another level, when YouTube does as the Pirate suggests. “Guilty,” he whispers as he places another plate up onto the counter….

Outside in the alley, Afanasy stands looking into the distance as the Pirate lights up a cigarette.

“You know nothing’s going to go down until you start keeping your end of the bargain.” Afanasy now sees the smoke the Pirate blows past him.

PAGE1, a name someone had called him in one of their plans for the Pirate to turn over a new leaf in his life, comes to mind as the Pirate takes another puff; then he feels somewhat embarrassed and drops the cigarette and moves the toe of his shoe, extinguishing it.

Looking down at the coffee in his other hand, he decides not to be completely bullied by the law, so he places the cup to his lips as he keeps an eye on Afanasy.

Page swallows a mouthful and turns his gaze to where Afanasy is looking.

As they see people enter and exit the shopping mall, something in PAGE1’s mind kicks in. At first, he’s not quite sure what the thought is that makes him feel energized, but not in the usual manner, which equates to thumping in his chest, and sometimes cold sweat. Instead, the overall feeling is a judicious calm, with an inkling that the outcome will be beneficial to many, and not just the Pirate himself….

“And we’ve got nothing to be guilty of….”

PAGE1 hears the words from inside the diner. He looks at the character dressed in the uniform as he wonders what Afanasy’s vested interests are in the concept PAGE1 feels is capable of becoming a full-blown REPRO in the SFD—not that the Pirate is conscious of the process, nor the importance of the mission wrapped up in the thread he is already weaving….


“PAGE1!” The Pirate hears the name as he snaps out of the daydream he is not quite sure he’s enjoying while Metofeaz lights up a cigarette.

Metofeaz believes the Pirate should assume his own entity, and not the role of The Guy in John Reyer’s “New American Dream.”

Santina smiles as she excuses herself to go to the bathroom, and both men’s eyes dart this and that-a-way, as she leans forward, and then she sexily slides out from the table.

Page bites the bit on his left hand as Litigatti’s eyes bulge and then he crosses them. Next, he holds his breath until he gets faint, and his head starts swaying until he lets out, “Damn, that shit’s hot,” as Santina disappears behind the bathroom door….

Page sits up straight as he puts up a hand to say, “No” to Litigatti offering him a smoke.

“Afanasy,” Page looks down at the table as he says the name that Metofeaz, an edgy sort of character himself, would normally frown at because it refers to someone they’ve chosen not to mention from their past. Or, depending on the day, he could turn nasty, especially if the person who said the name knew it wasn’t what’s done around Litigatti.

“Dead and buried my friend.” Metofeaz looks out the window. Page nods his head and asks, “The orphan from Russia?” Page pauses to see Metofeaz’s response. When Litigatti continues to look away from him, Page asks, “Is there anything I can help with?”


Polina pokes her head out from the dressing room curtains at the exclusive salon. And then Lavenda’s head appears from the dressing room opposite.

The sound system of the exclusive salon on Fifth Avenue between 49th Street and 60th Street kicks in with this chapter’s theme, which The Guy has selected.

Both women frown at the same time as their heads turn to see themselves in the mirror at the end of the lingerie boutique’s corridor.

Lavenda sighs. “My favorite,” she says as she keeps the curtains tight around her face, and then she laughs as she feels risqué and places her foot out so she can see a silver high heel and then sheer black stockings in the mirror.

Not to be outdone by Lavenda, Polina lets the curtains drop and steps out into the middle of the hallway. She stands before the center of the mirror as the iPhone in her hand signals the LATEST UPLOAD….

Emotive Entitlements

YouTube “Guilty” by Barbra Streisand & Barry Gibb
Barbra Streisand
Barry Gibb

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John Reyer watches the footage from Lavenda’s Nokia of Polina, happy and carefree, dancing in the corridor of the Fifth Ave Boutique to Ke$ha.

“Got that glitter on my eyes
Stocking ripped up the side….”

The lyric goes.

John Reyer has mixed feelings about what Lavenda has done to show him—as well as Lazoo and Genisis who are onscreen from where they try to relax on holiday—that Polina will be able to handle the story being told worldwide and online about her life.

On another window on John Reyer’s ThinkPad, The Guy quickly reshapes the story as he gives orders in the lines he writes for how the plot must now be about Polina, acknowledging her grief, and also a plan for her recovery, which he, John Reyer must facilitate. And also, how he must keep eye on Litigatti for any signs of shellshock, after Metofeaz’s tremendous work in telling the back-story of John Page with such honesty, after only just returning from the dead, a death LMLA-ink faked for many a reason.

John Reyer gets over the fact that Polina dances in lingerie in front of the whole world.

He then considers how Polina will feel about what Lavenda has done; unbeknown to Polina, she is being captured on video and distributed globally by the one person in the world, whom Polina trusts at this moment….


“DJ, turn it UP….”

PAGE1 enters the club where he had waited outside for Afanasy, who asked whether he could help out with a disturbance.

The music is loud, but the place appears empty, except for a group of figures he can make out down at the dance floor’s edge.

He reaches inside his jacket, but then he remembers his weapon won’t do him much good in SenFenide Dimension, or his blade. So the Pirate squares his shoulders before he drops them to relax himself as he checks each of the figure’s stance, instantly accounting for each one’s best side, and how each one would attack, if he cannot convince the pack he means no trouble….


Metofeaz still has concerns about Page as he watches the crew play touch football Australian style on a summer’s afternoon in Central Park.

Nevertheless, the whimsical one smiles at Genisis Jones, Santina San, and Sarah Keller, a colleague of Ms. San Fé from the Bureau, as they cheer on the boys at play.

Litigatti cooks up the food for them on the grill. Next to him is Ali Lévon, whom he knows believes they should stop seeing each other, which he finds difficult since she is the only one who knows him.

He lassoes the air with the tongs for Missy, who stands on a crate. The eight year old DJ behind the turntable rig, a spitting image of Missy’s mulatto mother, mixes in another track when Lazoo touches down again, and then John James does an audacious jig for the white boy to the slow funk playing.

Ali leans over Feeaz to place a salad on the table, and then she turns back around and kisses Litigatti on the cheek. The kiss is for paying attention to her daughter, one of the reasons why she feels what she feels for him.

Metofeaz laughs as Page strikes back instantly for the opposing side, consisting of John Reyer and Le Mac, as Page sidesteps his twin, leaving Lazoo grasping thin air, and sails off down the track as his response to his brother’s try.

Metofeaz ponders Page’s plan to adopt Polina Rada, the orphan in Russia, as an alternative to John Reyer’s plan for Page to act in the one man play Lazoo is producing as James Elton’s dream, in which a convict who does not read or write comes to the Big Apple and makes it on Broadway.

Feeaz is further concerned at Page’s proposal that he will entwine a thread in the story of the Pirate saving Polina Rada, in which he repays Hannibal Ammer for a favor Page owes the now former CIA agent, who has gone private as an insurance investigator, after successfully nabbing the serial killer the NYPD had brought him in to assist in catching.

The fact that Litigatti believes the killer is still at large, and that Ammer is a conman, in the Network’s line of work, where most of the help are either high class hustlers or deranged geniuses, only furthers Metofeaz’s doubts about Page’s plan and the likelihood of a successful outcome.

Page high-fives Jack Shack, the Assistant District Attorney of New York City, and then the gray-haired Gene Reyer, the notorious Defense Lawyer pal of Jack Shack—who is a relative of Jon Le Mac’s, but no relation of John—joins in on the celebration.

On the sideline, Hannibal Ammer claps loudly, and then he places two fingers in his mouth and whistles even louder. Next to him is The Tourist, who places her fingers in her ears as she says, “Wow, that’s loud, how do you that? The Tourist, one of the most sought after players on the Network’s books, is in NYC as a researcher for Vanity Fair.

Litigatti can still smell her perfume on his shirt as he places his chin on his left shoulder. This morning when he had said goodbye to her, he had promised himself it would be for the last time.

“Mmm, that’s the scent of a bitch in heat.” Ali’s words hit Feeaz where it hurts as she catches a glance from the European bombshell.

Litigatti shakes the comment off, although it makes him feel cheap and worthless to the cause, as he sees Hariss Clariss, a Real Estate mogul, lift his champagne glass to him. Next to “Clown,” who has put up close to three million dollars to fund the “New American Dream,” is Mr. Businessman, who has swapped his gray suit for a sun hat, polar shirt, and board shorts for the day.

Litigatti shakes his head as he thinks of the mission a few years back in which The Guy earned his stripes when the reigning Poet Soldier, who has since dropped off the radar, displaced a phony JPS when The Guy, in effect, busted a black market arms dealer, whose financier was none other than the person whom Mr. Businessman shares a drink with in the summer sun.

Missy mixes in another track; the mix is perfect; she becomes so excited she loses her balance and falls off the crate.

Ali frets, but then the girl finds her feet. The mother sighs and wipes her brow with the back of her hand from relief that her daughter is okay as Metofeaz’s stare in the girl’s direction becomes less intense.

Litigatti then holds his hands up in the air and begins to move to the groove the girl has achieved.

The rest of the crew, and others with the gift who had felt the sudden influx of energy flow through the F3quenZor, stands where they were when they felt the sudden burst of energy pass through them. They look at Missy, the node that was in need of help.

Lazoo, John Reyer, Genisis, Santina San Fé, Jack Shack, Gene Reyer, Ali, The Tourist, and Hannibal stand facing the girl who is okay and begins to jump up and down as she shouts out, “Feeaz, Feeaz, I did it. Perfect BPM, and melody all catered for….”

Hariss Clariss and Mr. Businessman are on their feet as they too have felt the sudden surge.

Litigatti pretends he has nothing to do with the sudden interruption in the afternoon’s relaxation for the crew and those they court as a part of their project.

Litigatti continues to hide the fact that he had anything to do with what just happened, as the only other person in motion is PAGE1, who pulls up next to him.

“She’s a severed limb; she needs her twin.” Litigatti hears his kid brother’s advice; Page speaks from experience of having met his twin for the first time in his life….


“He’s my husband!” Polina shouts, as she dances unashamedly in the Boutique’s corridor; the Boutique has shut its doors after fans found the location, from where the footage of the world’s favorite orphan dances to Ke$ha in stilettos and French lace.

Polina ignores the txt messages arriving on her phone while Lavenda just stands with her phone in hand, looking like she checks for messages as she moves not so freely as Polina to the number 1 hit in the world.

“No chick; he’s my husband actually,” Lavenda retorts, using one of the labels used for “The Guy in the Game.”

A shop assistant brings another tray of champagne, which Polina waves out to the assistant, hurrying up the starry-eyed girl.

Polina keeps on dancing as she takes a glass and has a sip; she now decides to give in and check her messages to the music.

“You know we’re superstars
We R Who We R…”

At first Polina believes she watches a video for the song she’s dancing to; she has ignored who sent her the message. But then the frightening truth comes to bare.

The room starts spinning when she reads the txt with the video of her. “Lavenda carries a grudge. You’re the recipient of a woman scorned’s wrath….”

Polina’s vision fades as she feels her legs give way from under her….

Emotive Entitlements

YouTube “We R Who We R” By Ke$ha

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Intel Corporation
Microsoft Corporation



John Reyer calls a meeting online with The Guy and Litigatti on his ThinkPad. He then opens up the meeting, allowing it to be broadcast, as he tries to find a way to keep a handle on things.

The leader, whose only real job was as a short order cook for a few months when he was a teenager, thinks hard about how to keep under control The Guy, arguably the slickest operator since Jon Pierre Solomon himself, and then Litigatti, the wiliest of spies, if not the highest ranking operative in the world, due to the influence he has through the material Metofeaz writes for LMLA-ink.

John Reyer’s major concern is The Guy, due to rumors that he’s drifting again and that he has used his gift to yield close to a billion dollars during the last week. But John Reyer is positive that The Guy was only fooling around, and that the stuff he wrote online the night before a recent race was not broadcast live to anyone who could’ve used the information about a winning horse.

He has himself been a benefactor of The Guy’s gift back when they were young, and when it was a matter of life or death, which is the only time The Guy will allow it to happen—not that there was anything illegal about being able to predict an outcome, but when the information falls into the wrong hands, it becomes an unfair advantage.

“Shopping lists, please….” John Reyer types, and then he presses “ENTER,” and waits for responses from Litigatti in Brooklyn and The Guy down under.

“World Peace, Commoditize Data, and a woman who wants it every waking moment of the day. LOL….” Litigatti’s response puts John Reyer at ease for the moment as he waits for The Guy’s response.

“Still the same, Sir—a chick with a beaut bum, and even more beautiful brain…” The Guy’s response bothers John Reyer since it doesn’t specify two or more things, meaning he’s withholding something, and then a second message arrives.

“P.S. The DataCommodity Exchange….Blah, blah, blah….” John Reyer smiles as he responds to both writers.

“Time to lift our game….Ah?” he says bravely as the doctor comes out of the hospital room where Polina is in a critical condition….


“PAGE1!” When he calls out who he is, the music stops. Page sees the figures standing at the dance floor’s edge while a multitude of people are all sitting down on the floor, which explains why the place appeared to be empty.

He gets close to one of the figures, who reaches for something in his pocket. Page pushes the person’s shoulder, which moves because the person is going for what Page can only assume is a weapon. Then he grabs the person’s arm closest to him and spins the person in one motion ending up with person in a choker hold, as Page reaches into the jacket and finds that the person was only reaching for a mobile phone.

Outside on Neon City’s strip, it’s night time, the opposite of what it might be in the MindMorph Dimension, or in the AmalgaMension Dimension, where the creator of scenes is either busyily consumed by what it is he does, hopefully for the greater good, or where the dreamer is being dragged along by a relentless rat race that heads toward the end of another chapter in history.

The kid from nowhere is perched, hanging onto the lamppost, and using one arm as he places a finger to his lips. “Shhhh….” He hushes the crowd, shoulder-to-shoulder, down the middle of the street for as far as the eye can see.

Up in the sky, members of the crowd watch PAGE1, played by the Pirate, inside the club they’re outside.

The picture is faint since it’s still a concept that has not yet been passed for WIDE Release.

Page looks at the Nokia he pulled from the person’s pocket as another one of crew who has appeared holds hostage those seated on the dance floor pulls out his mobile to dial a number. The digits being pressed and then depressed give off sharp tones in the still of the night as the kid and the crowd wait for Page’s next move.

Out of the corner of his one working eye, the kid looks at the mall as the doors open for a white dove to fly inside. His eyes widen, causing the crowd to look up into the sky in the direction from which he now looks away but still points to so the crowd will remain focused on the scene. The crowd will judge whether the scene is worthy of becoming the next REPRO in The SFD.

Now a ringing tone comes on as the crowd sees Page twist the neck of the person he held in a choker hold. As PAGE1 yanks the person’s head one way and then twists the head back the other way, the cracking sound of bones breaking causes the kid and his fans to wince.

“Don’t fuck with me!” Page says as he lets the lifeless body drop to the ground.

“Operator; how may I help you?” The ringing stops and a sexy lady’s voice comes on as Page reaches the person making the call. He grabs the phone and shoves it into the person’s mouth, and then he hooks the person’s jaw in an upward motion using his elbow.

Next to that person who collapses, another one produces a mobile phone as Page reaches out and finds the back of the person’s head and brings it down hard on his raised knee, connecting the person’s skull and his knee cap. When he looks behind, now two others are on their mobiles….

“Excuse me; SFD to PAGE1.” The operator’s voice makes PAGE1 stop as looks down on the dance floor where he sees people’s faces lit up by the mobiles they busily operate.

The kid notices something else out of the corner of his eye. A line of couriers wheel tall objects along the footpath to outside the mall’s front door, where they stop, unload the cargo, and then leave.

The kid recognizes the boxes taller than lampposts from the logos on the side; PlayStation, X-Box, Nintendo, and V-ID-OPERA.

He sees marks and dents in the boxes’ side. And then great big holes begin to appear as they’re punched, smashed, and cut, and then out of them jump characters like he’s never seen before. They have names like PLANTOM-ZERO and HEXV’L, K-MUZO, GEE-LEEZ, L-SOMASTIC, PLAZ-MANTIC, S-O-MANTIC—names that sound like they were made up by a child on some kind of a phonetic rampage when he was grounded and sent to his room.

The kid casts an eye over the people in the crowd, who are still captivated by PAGE1 inside the club, whom they watch up in the clear blue night.

Page closes his eyes for the moment as he massages them below the bridge of his nose while the operator asks again, “Are you there, PAGE1?”

“Give me DRE, with Eminem,” he snaps out of frustration.

“You know me….”

Dr Dré’s voice comes to hype the crowd.

The kid raises a thumb toward K-MUZO across the street as he holds up the K-1MILLION toward the kid, and then the associate, another sniper, vanishes into the shopping mall.

The hip hop from Compton keeps the crowd entertained while the kid sees something down on the ground. It shines, but no one else notices it, so he jumps down from his perch to take a closer look at the glowing object.

He bends down, and upon closer inspection, he sees it’s a control. He looks around to see whether anyone is watching him as he bends down and picks up the control.

The video game’s control begins to vibrate in the kid’s hand. He wants to swap hands so it’s in his best hand, but when he does, he finds he now has two controls, one in each hand….

Emotive Entitlements

YouTube “Forgot About Dre” By Dr. Dre & Eminem
Dr. Dre


PAGE1 arrives at the destination in Kansas, a car yard, where John Reyer had told him he would find Kevin Zealand, son of Kev Zealand Sr., partner of Johnny Page, adopted son of Jon Pierre Solomon.

PAGE1 is the name the Pirate has now adopted as a favor to John Reyer, who in the end gave into Page’s request for the Pirate to string along those who might be able to guess the plot of the “New American Dream,” by creating a diversion in a new thread, in which the Pirate will also repay a favor, taking away any, no matter how little, power Hannibal may have over LMLA-ink.

Page ignores that Metofeaz strongly opposed the move, as Litigatti again suggested that the Pirate should go underground for a few years and cement a cover robust enough so he can resurface sometime in the future, refreshed and as an unidentifiable character for the Network.

It didn’t take long for word that the Pirate was on a path to a place where it was worth following him, to reach crews who find the Pirate to be some sort of saintly figure—not that the Pirate knows this, as he opts to think of himself as the antagonist in anyone else’s story.

Page hears the sound from Mexico, and then he looks to his right. He sees the grill of the Chevy convertible, and then the driver’s bandana, making Page touch his head, where he only finds hair. In the passenger seat of the vehicle, which cruises towards him slowly, is an Esai Morale look-alike.

When another cab pulls up from the opposite direction, The Tourist hops out dressed in a waitress’ uniform. She waltzes past the Pirate, who stands in front of the café. As she enters the café, she makes a grab for the Pirate’s behind. PAGE1 catches her hand while looking the other way. “I don’t know where that hand has been,” he tells the vixen, and then he lets her hand go.

The sound of Los Lonely Boy’s guitar comes closer as The Tourist now appears next to Page. He looks at her and her bust, which she pushes further out than the push up bra in which it is presented. “Any further and they’ll be in heaven, like the name of the song,” says Page, keeping a straight face as he hears the lyric,

“How far is heaven?”

“Surveillance experts. The guy in the passenger seat has a technique known as the ‘Mirror,’” says Page to let The Tourist know about the crew from south of the border. “You think you’re following him, but he’s following you….” Page again manages to keep a straight face as The Tourist blows a bubble with her gum.

Litigatti closes the cab door and taps the vehicle’s roof to thank the driver. In the distance, he sees PAGE1; next to him is The Tourist. They watch Esai with the server onboard the convertible as they cruise by to look for the owner of data they have been ordered to find. The order was received by Esai, a former drug runner, but now a born again Christian.

Metofeaz hopes to high heaven that Page does not get sidetracked by the thread, which is Le Mac and John Reyer’s problem from their pasts.

Litigatti bows his head as he hears the sound of a perfectly tuned Pontiac coming from behind him. He raises his head again to see the metallic blue carriage, with Zealand at the wheel, first zoom by and then slow down as it enters into the car yard, where he works selling cars to lovely ladies.

Speaking of which, a lovely lady now drives into the yard in a hatch back. Santina San Fé, on cue, makes her appearance….

Emotive Entitlements

YouTube “Heaven” By Los Lonely Boys
Los Lonely Boys


It has been more than a month since Afanasy had been taken away. Polina is still cautious of whom she speaks to, and everyone understands.

Polina is even more skeptical about those around her, especially the Mistress as she introduces four new girls, which Polina finds interestingly suspicious since all four girls are Polina’s age.

Lavenda’s parting words on her last visit were, “It’s going to happen for you, Lina. I promise you….”

Polina watches as each of the girls takes a seat, but before they do, each one makes a point of making eye contact with Polina. She is not quite sure whether the coincidence is nasty weird or just plain weird, and so she leaves the room to go and have a think about the odd occurrence.

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Intel Corporation
Microsoft Corporation



John Reyer opens his eyes. He sits in the corner, his ThinkPad in his lap. His legs rest on the leather recliner’s footrest.

He sees Polina in the hospital bed; she remains in a deep sleep—how he wishes to think of the current state of the person he cares about more than any other in this world since he knows what it is like to be an orphan, having been an only child to a single mother who left him for dead before he could crawl.

The Guy is the only person John Reyer has told about Polina since he has decided it would not be a great idea for the fans to learn that the star of GO3, The SystemSpectacular, is critically ill because it would affect the ebb and flow of a storyline, carefully plotted by the person from whom he now receives a message.

“Give me an uplifting track….Make it by someone we like, who fights for the cause through their work….” John Reyer smiles at the tireless TRUFUNK soldier, without whom none of this would be possible, as a way of letting him know he’s an important part of the hand that guides the world; The Guy feels inspired by the warmth from all corners—Christians, Muslims, those whose belief systems are polytheistic and monotheistic, Atheists, and we who admit in our profiles only to being Spiritual.

He sees something move over the top of his screen, but he ignores it, not wanting to get his hopes up, but then he hears a voice that comes from the movement.

“Viva La Vida, please.”

John Reyer types what he hears and clicks “Enter.”


PAGE1 turns the sign on the door so it reads “OPEN” to those who line up outside. As a Pirate, he neither expects the worst nor something to go his way. Page just thinks that today is another day in which he must get his way.

He looks jaded, if not dusty, from the night before in which he ended up killing so many people with mobile phones that now every time he passes wind or belches, he hears the sound of a ringtone.

Luckily, the gases he emits now take on the sweet qualities of the tunes from the phones he ended up taking to the recycling bin, in hopes his environmentally friendly act would compensate for his animalistic ones.

The clientele are definitely here, as usual, but they seem to ignore him as they file past.

“Oops, beg your pardon, Madame,” PAGE1 smiles as he passes an orchestra playing. The sound continues to pound from deep within his bowels, making Page step back in embarrassment, until it dawns on him that his embarrassment is unnecessary since the sound of him passing wind seems now to produce smiles on the once not-so-friendly faces of his clients.

Page looks across the street at the mall where he sees a peculiar sight. A white dove flies around inside the mall.

“Peace,” he hears himself say, and then he sees snowflakes inside the shopping complex as they fall and then they swirl.

Then the mall doors open as he feels air build up inside him. As he looks around, he sees a gorgeous looking woman about his age and smiling at him. He has to decide quickly whether to let the wind pass through him since he knows it won’t be a quiet one.

He offers her a wink to thank her for whatever it is she sees in a loser like him, and then he turns back around to catch Afanasy exiting the mall.

Afanasy, a normally cool character, looks flustered by the way he runs his hands through his curly black and shakes them, as if it will shake free whatever it is he has to hide.

“Just routine Mall Cop stuff,” says Afanasy, giving away that something’s in the works or is not quite right, as he explains himself for no reason at all.

“To be quite honest with you, all I want to do is let one go. But now you mentioned the mall—I thought you didn’t go in that place?” Page sees he’s on the front foot from Afanasy’s nervy behavior.

“You’re name’s quite cool upside down,” says Page, pointing out to the law that there’s a recipient on the end of every commandment that’s upheld or broken.

“Anyways, I got to let off some steam if you know what I mean. Do a chum a favor and keep an eye on things while I pop into the alley for moment or two….”

Page hurries as he makes his way around the corner and down the alley where he begins to curse for reasons unknown to him, but for the gut feeling he gets that Afanasy is not the enemy….


PAGE1 sits at the table as he sizes up the character in the car yard across the road, whom John Reyer had promised the Pirate is game to go on the road as PAGE1’s sidekick.

Page ignores the fact that Zealand has close ties with Ammer since he relies on John Reyer’s word rather than Metofeaz’s advice that Zealand can be bought.

He feels like listening to Metofeaz, when Zealand who looks more like Brad Pitt, than Brad himself, beams a smile at Santina while his flexes his pecs, viewable from an open shirt.

“She’s easy prey for a guy with his presence,” The Tourist says as she places a bottle of water down on the table.

“Mind you, I’d fill in if she weren’t unavailable.” The Tourist sighs as she stands close to Page who ignores her talk as he takes the bottle of water and unscrews the cap and takes a drink.


Polina wakes to a sound she imagines resonates somewhere else, hopefully in the hearts of those to whom she will show she can be the missing ingredient in their lives.

She sees her window is open, but it doesn’t bother her. She pulls the covers close as she believes today is the day Lavenda had promised her would eventually come. The day she has waited for all her life.

An orchestra articulates staccato notes that her dream ties into syncopated heartbeats flowing into each other to heal Polina’s everlasting pain.

She scrunches the covers tighter as she hears a TRUFUNK soldier sing,

“I used to roll the dice
Feel the fear in my enemies eyes…”

Down beneath the tree, John Reyer has a hand on the swing as Lazoo looks up at the window where the soul they are here to rescue soon must appear.

Le Mac’s look calms them. Metofeaz looks at the airplane he’s finished folding as Chris Martin and Cold Play’s offering fills the orphanage’s grounds, and then children’s faces appear at their windows.

LMLA-ink’s members, in black suits, now stand in formation from left to right, as Le Mac produces a bouquet of freshly picked flowers.

Inside the room with the open window, the only window where there’s not a smiling face, Polina closes her eyes tight as she prays that this is no hoax.

Beneath Polina’s window, Metofeaz Litigatti looks along the line. “This is what it’s all about, gents; hearts that hurt no longer suffer alone.” He steps forward with the dart made up of words he’s crafted in hand.

He looks at the faces of children yet to be claimed as the apple of someone’s eye, a longing he and his crew know about, as he points with his left hand up at the open window.

The children’s heads are raised in the direction where he aims, and then he throws the lifeline in his right hand at the open window.

John Reyer sees the looks of wonderment on many faces as Whimsical lets the paper dart go.

Lazoo watches the message as it soars through the air; he’s moved even more by the occasion as he thinks of the story in which his twin is on his way, in another thread, to be a part of this fantastical episode in which James Elton is privileged to be included.

Inside her bed, “Lina” hears a voice.

Her alarm clock flashes 5:55 a.m. as her heart continues to beat to the climactic orchestration that she cannot believe a maestro of such genius would allow to end in any other fashion but in a joyous moment when the opus will see its heroine earn her wings and soar beyond sorrows and heartbreak on to her destiny.

“Positivity, Prosperity, Patience.” John Reyer says his motto for this mission quietly as he sees the paper plane climb in the air.

“Love, Trust, Honesty, Respect.” Litigatti’s words are heard over the end of John Reyer’s.

And as Metofeaz signs a cross across his chest, Lazoo’s axiom for the scene “Sustenance and Good Will for all mankind” is heard. Lazoo bows his head in hopes that the deed is received by the writer of the moving letter to them pleading for LMLA-ink to help her find a family….

“Sustenance and Good Will for all mankind.” Polina’s smile becomes the greatest indicator that the day has arrived as she hears a voice say the words that came to her somehow.

She takes the covers and slowly pushes them back, thinking every move she makes has to be careful, so as not to break the momentum; her courage and belief continue to grow with every word in the air and those in the song.

“Relax,” John Reyer says to his crew as the reaction from their audience begins to overwhelm them from their excitement at the possibility that Polina’s day has finally arrived. He sees the message as it sails into Polina’s room. The well wishers in the windows above, below, and next to her bend their necks to see the paper airplane as it disappears from sight.

Polina places both feet on the floor as she runs through the events starting with when she submitted her letter via the Internet to John Reyer Afamasaga, a name the mistress says has it origins in the deep blue Pacific; Samoa, with a German influence.

Polina feels the morning air; its freshness invigorates her each day as a breeze adds to the moment. She places her feet in her slippers while still a bit hesitant about what this day has in store for her.

She allows her normally linear thought processes to waver as she thinks of associations that might be linked to this moment—and to Afanasy, Lavenda, and the guy’s visits—until their meanings become evident.

The breeze makes Polina wrap her arms around herself, and then she sees something out of the ordinary. All she can fathom is something white as the moment happens too quickly for her to sum it up in her racing thoughts.

Maybe it’s the dove from her dream, but then she recognizes the symbol. It’s one of the guy’s paper darts that he used to make for her before she became cynical, from all the waiting.

It glides through the window as if a pilot guides it to its destination. And then it orbits Polina, making her head turn as she gets excited about the message written on the airplane’s wings.

A smile appears on Polina’s lips. Conscious that one slip of the tongue could end the scene before it has begun, she bites her lip.

But then she hears the guy’s voice telling her to “Relax” so she does as she slowly plucks up her courage. When the “Uplifting” track does its thing, Polina stands to her feet.

At first, the sensation can best be described as giddy as she hears the other children in their rooms and realizes they must already know of what is happening at this very moment.

The plane’s path becomes evident when it circles Polina one more time before it comes to rest on Polina’s bed. She quickly picks the plane up; when she sees the guy’s handwriting, she holds it close to her. Then she steps forward to the open window where there surely must be a surprise bigger than she can imagine.

She savors what will be the ultimate peak to the excitement; she doesn’t look at the tree but down and around at the faces of her friends as they hang out of their windows.

She hears her name and their well wishes as she holds the airplane, and then she closes her eyes one last time before she allows herself to see what is waiting beneath the tree.

The tears of joy that Polina has never shed for herself flow instantly when she opens her eyes and sees all four of the characters from her story standing next to the swing. Their handsome smiles are perfect in every way.

Then the one she knows must be Jon Le Mac, the African American, takes a step forward. He looks at the others before he produces from behind his back a bouquet of fresh flowers, just like the ones the guy used to bring with him.

Polina’s heart races as she sees him swing his arm, and then the flowers travel upward toward her, carried by the music, the love, and the warmth that surrounds them….

“Never an honest word
But that was when I ruled the world…”

So says Coldplay….

Emotive Entitlements

YouTube “Viva La Vida” by Coldplay

“GUIOPERA III” by John Reyer Afamasaga
John Reyer Afamasaga

The developing brain of the planet has thought its first coherent thought as it evolves, like the human race itself, as it puts its best foot forward in reaching its goal of becoming a higher soul. The end-to-end saga, a body of work, an accumulative of hearts and minds, creates a consciousness gifting to the Internet; this new world’s Brain —“The New Global Realm”— its heart.

John Reyer Afamasaga
Thursday 11/11/2010

OBPNE Cluster: 0000000001.00

John Reyer Afamasaga and LMLA-ink wish to think of the following entities as the select group of Brands who were instrumental in helping with his creative process from 2006-2010 when he laid the foundation in etfiction for the GUIOPERA.

Microsoft Corporation


WARNING: CHAPTER 5.0 is "Unproofed and uncut by the knife in the hands of an editor."


“Just a Dream”


The Guy closes another window with a link to the video of Polina in the Fifth Avenue Boutique.

The Guy listens to Lazoo online as John James talks the crew through the strategy for overcoming the latest hurdle that’s appeared in front of them —the video of Polina in lingerie could tarnish her image.

“We’re not like the others, who rely on sensationalism to make headlines,” Lazoo lays down the law.

The Guy studies Lazoo’s demeanor, and notes how calm Lazoo remains about the video of Polina.

“Yes, we may dramatize situations, but there’s a story at the end of it for the fans. It’s an unfortunate scenario for Polina, but we will survive…” Lazoo looks into the web cam.

“Twist it, like it never happened!”

The Guy hears Lazoo’s order to ensure the travesty is manipulated, so those who distributed Lavenda’s message see that their careless act will now only serve to fire up LMLA-ink, spurring them on; taking their act to the next level.

Lazoo then turns to Metofeaz, “Call in a couple of favors. We’re in a killing mood,” Lazoo says as he looks around the room.

“Turn on me.” Lazoo’s temper rises as he looks John Reyer in the eye, who looks at Litigatti, and then at Le Mac.

Lazoo wants to spring on the enemy one of LMLA-ink’s tried and proven tactics in which John James Lazoo is vilified, angering the dangerous character; making him lethal as a creative, but it also keeps the role of antagonist within the fray.

The ploy was one which made the “New American Dream,” a success when Lazoo pitched himself as a racist, when he and his comrades entered through the backdoor and reversed all formula, that white America and the rest of the world had been programmed to receive.

The Guy clicks on a window with a feed to where Polina still lays in a coma, he then finds Nelly, on YouTube. And when he researches Nelly on Wiki, he finds out the Rap Superstar’s new album “Nelly 5.0” is being released today.

The Guy puts the finishing touches to the chapter, which will be released unedited, due to Tyler being unavailable.

The Guy gets ready for the last leg of the year’s most popular event, —Act III, GUIOPERA III, 2010.

“For the fans,” Le Mac says as he looks at Lazoo…


“It was only just a dream,”

The words float through the air, Afanasy hears them; as Nelly a TRUFUNK soldier, tells his angle of the story in his smash hit “Just a Dream.”

The carriage carrying an entity to the SFD is mobilized in Nelly’s reenactment, the fans watch in the sky.

The fans rub their hands with glee, as the word is; LAZOO is on his way.

PAGE1 walks along the edges of pavement as he reads for himself the news that is on every monitor on the planet.

Then the Pirate sees a woman in her late teens standing at the back of the audience. She has on a floral dress; the bouquet of colours on the young woman’s dress is the only color PAGE1 can see in the scene.

She has a quilt knapsack on her back, which she cherishes as she checks that its there as she sees the panorama in the sky.

PAGE1 looks for Afanasy in the crowd. He spots him, as Afanasy shields his eyes from the bright light in the sky.

Lavenda notices PAGE1 out of the corner of her eye, as she looks up at the sky; the bright light that circles the planet, has everyone’s attention, turning their heads turn when the fiery ball orbits the dimension.

Lavenda realizes she watches the brilliant spectacle without shielding her eyes, the same as PAGE1, who has disappeared.

Afanasy holds up three fingers in the air as he begins to count down the number of orbits the carriage will make before it lands...

LAZOO’s dream, the state in which an entity travels to places defined, or indefinable, has to intersect with POLINA’s.


PAGE1 watches the grainy footage from the web cam. The LATEST UPLOAD was twenty minutes ago.

John Page sits behind a desk inside the manager’s office of a small furniture manufacturer a couple of doors down from Zealand’s car yard.

“Yeah just loop it back here,” Page says to someone on the phone, and then he hangs up.

The manager who walks in as Page smiles at the receptionist who sits outside the manager’s office believes PAGE1 is here to install new software, as part of a directive from the company’s head office in Finland the manager was not informed of.

The manager looks at Page as Page surfs the web, and then the manager decides to check up on the computer guy who continues to flirt with his secretary.

Page looks at the manager’s hand that reaches for the phone, as Page exits a porn site.

“Just checking the install can withstand all that the World Wide Web has to offer,” Page says; not sure if the manager had seen the adult site.

“Engaged Tone, that’s weird we have multiple lines over there…” The man puts the phone down. The manager was trying to get through to the head office for confirmation that Page is who he says he is, which Page has already dealt with at the exchange, when he called in a favor from a friend at the telephone company John Solomon Page was fired from.

“How much longer are you going to be?” The manager asks Page who looks up at the man with an annoyed look.

“I was just wandering if you were hungry, that’s all…” The man says, standing back with his hands up.

Page ignores the man as Page checks his Hotmail account, and then his Yahoo one.

He responds to an email, and then he looks at his watch as he counts down to when Zealand will finish work, at which time PAGE1 will show up at the card yard and make the salesman an offer he cannot refuse…


Polina’s face shows her heart’s gratitude with the scene that exceeded all her dreams.

Polina studies the different colours in the beautiful bouquet. They give of a glow that make the tears that still stream down the orphan’s face glisten in the morning sunlight as she stands in the window looking out over the once leafless tree.

John Reyer looks back over his shoulder at Polina, as the leader of the crew lassoes the electric but peaceful atmosphere he and his gang were able to create.

Lazoo smiles as he looks over his shoulder, when they hear the sound of Nelly in the air, bringing further cheer to the children who wave goodbye to LMLA-ink as they walk towards the brick wall at the end of the garden.

Litigatti takes one last look over his shoulder at the satisfying sight of Polina in the window with her flowers and the poem, and then he looks at his pals and says to them, “God Bless,” as they exit the scene…

Polina sees the one who carries the burden of baring the name as he winds his hand in the air to bring a new tune.

The words of the new song say

“It was only just a dream…”

“Lina,” Polina hears the voice as the swing moves back and forth in the breeze, but Polina knows that this was no dream as she absorbs the joy on the other children’s faces…

Emotive Entitlements

YouTube "Just a Dream" By Nelly

Fabric Channel Partners

Intel Corporation
Microsoft Corporation

WARNING: CHAPTER 51 is "Unproofed and uncut by the knife in the hands of an editor."




TDataC – Traffic DataCommodity – Downloadable – ie. LATEST UPLOAD – Emotive Entitlements…

ODataC – Operating DataCommodity – Software, etc…End-Point-Creation – Vendor Specific

IDataC – Information DataCommodity – News, etc…Static – Device Specific

We have to reinvent the way we think about data, as it is based on principles we have inherited, and physics that were installed before us. “Inverted Relativity,” will give us End Pont Creation as opposed to replication or sending – Predetermined Lifecycles – We have the DNA mapped now! Plus for the Data to be graded it has to be the “Reason,” and not the “Means,” Blah, blah, blah… We’ve built the road, and then we put traffic on the road, now we would like to value up the traffic… Ads by Data Vendors and Value Add services will pay them… Traffic will become valuable again…

John Reyer reads through The Guy’s recommendation for the types of Commodities for The DataCommodity Exchange.

The Guy’s recommendations are based on other markets; the London Bullion, the Dojima Rice Market in Osaka which has been around since 1730, and others. And while the models for the new concept are centuries old, The Guy’s new idea, is another way for refreshing existing infrastructure, and breathing new life back into data related industries… .

Rational pricing,” John Reyer hears the words coming from the bed, and he looks up from where he waits for Polina’s recovery and sees the law graduate sitting up.

Polina’s smile supersedes what she just alluded to; the pricing formula for futures contracts for the DataCommodity, which is the next topic John Reyer and the crew think about as they research the feasibility of creating an alternative resource to oil.

The novel idea that data can be a commodity that is traded on a new exchange type futures market, presents the world with a resource that all nations from the poorest to the richest have an abundance of, giving every human on the planet access to the same opportunities regardless of race, color or creed.

John Reyer has “Faith” that The Guy and LMLA-ink will succeed as they begin to canvass the four corners of the map for like minds who believe they were born to be part of the New Global Realm.

Polina’s smile brightens up the room when onscreen she sees The Guy gift “Emotive Entitlements,” of the LATEST UPLOAD to Georgios Kyriacos Panayiotou.

Emotive Entitlements

YouTube "Faith" By George Michael
George Michael


The flawless sound of a pop by Yog; to those who think they know the 80’s icon and now Columbia Star fills the dimension as the shield of the futuristic capsule slides back slowly.

Afanasy holds his arms out to keep the citizens back, as another George Michael track continues to excite the audience who wait with bated breath for a glimpse of LAZOO.

“Here comes one for the ladies
For the ones who love me…”

The sarcastic lyric, makes everyone smile…

Afanasy looks around and the once dowdy crowd has become a sexy-lithe troupe of characters like in the video in the sky…

They dance! Funkdified, frenzied, but they still hold their poise; as they emulating silk panache pouring from LMLA-ink’s bottle, while the owner of the potion smiles with an almost post modernist cheek, as the dancers themselves laugh at the thought; that the entity they wait for is a phobic type…

“What are they mom?” Page Elton asks Janine.

“They’re Freaks,” James Elton at seven years of age says to his older brother without any conviction whatsoever, but because the lyric says so.

The mother becomes embarrassed as those on the edges of the crowd turn around to look at the mother whose boy made the remark.

Janine Elton shields her youngest boy’s ears from the barrage from the citizens and then she turns both boys around and they head for their cottage down the road.

Soon they come to farm land for as far as the eye can see. Instantly, James Elton feels free, as Page relies on his kid’s brother’s amazing imagination to entertain him and his mother.

They can hear their footsteps on the gravel at the road’s edge, where James Elton walks in front, followed by their mom, and then Page, who keeps looking over his shoulder at Neon City, from whence he can still hear the thumping bass…

“The bass, the bass, the bass. Is!” James Elton holds a finger in the air.

“What about the bass, James?” Page asks on cue, making the mother smile as she too looks forward to her a taste of her boy’s talent.”

“The bass is a pill! Drunk, dumbfounded limbs flounder from the Phat bass’ pounding, as it thumps. But then!” James pauses as he hears the sound of a bus’ engine in the distance.

Emotive Entitlements

YouTube "An Easier Affair" By George Michael
George Michael


PAGE1 looks at the stereo playing WHAM! as Zealand turns up the volume.

“Chicks love it; non-threatening,” Kev says to Page who looks at the car next to them at lights.

A man winks at Page, as George, and Andrew from back in the day Win Hearts And Minds with perfectly formulated pop that makes girls swing their hair, this way and that a way.

On Zealand’s side of the car, a beautiful babe feels the real vibe, “Your number please, before the light turns green, this could be last time we see each other in red lights. Make the most of this special occasion we’re entwined in. 555, you can fill in the rest, come on!” Zealand now beams a smile in return for digits being handed over.

Kevin steps on the accelerator leaving the other cars standing still at the lights.

Page looks in the side mirror and sees the woman’s number plate. “Could’ve gotten it for you without drawing attention to yourself,” the person who had just spent thirty minutes in an office surfing porn sites on someone else’s computer offers his advice…


“You put the boom boom into my heart...”

WHAM! is here too…

The SONY Sound System blares the infectious melody as Polina and her four friends prepare for a special event.

Polina places a finger to her lips, as one of her best friends holds up the frock that may be the one she will wear to the movie theatre.

All four girls jump for joy when Polina nods her head, and then two of the girls take each other’s hands and begin to do the wop. Polina lets her head fall back as she laughs, as the other two do the same…

Emotive Entitlements

YouTube "Wake Me Up Before You Go-Go" By Wham!

Fabric Channel Partners

Intel Corporation
Microsoft Corporation

WARNING: CHAPTER 52 is "Unproofed and uncut by the knife in the hands of an editor."


“Who Needs Enemies?”


John Reyer watches The Guy on screen as he deals with people around him, who all appear the same to him regardless of whom they are.

He senses how The Guy really feels, as The Guy responds with his stock-standard reply to those who pose as family to The Guy, the same way he does to those who he has to contend with in his daily chores in keeping up his cover.

Polina echoes sentiments the world over, in her txt message to John Reyer about the situation The Guy is stuck in, “Who Needs Enemies?”

John Reyer nods his head as he runs over the plot plan, as Polina submits her request for the Final; CHAPTER XMAS on December 25, Madonna —“Take A Bow,” for The Guy…”

“You deserve an award for the role you played…”

John Reyer listens to the track as he watches The Guy as The Guy decides for now he will not return to New Zealand for Christmas, when he writes short succinct lines in a document named “PLAN,” telling himself, “You cannot condone Evil!”

“I hate them,” The Guy says to himself as he studies where he’s at in the current chapter he writes.

The pressure of the GAME, in which everyone around The Guy have tormented The Guy for nearly ten years now, or have pretended to be something that they’re not, has finally taken its toll.

John Reyer understands The Guy’s decision to detach himself from those who were supposed to be his family, when a personal and family matter was opened up by them to the audience, for their entertainment.

John Reyer then looks at his lead writer in this GUIOPERA from a different angle for a moment.

He looks at The Guy’s predicament from an angle in which The Guy has to keep his cool in an overly hostile environment, for the sake of the cause. And it serves to calm the leader of LMLA-ink, as he knows how committed to the cause The Guy is. And that The Guy is only venting in the story he crafts for the Network, using his work as an outlet for his frustrations as he has absolutely no one he can talk to in person, in total confidence.

Or, The Guy is playing the GAME in the scene; maximizing the fact Tyler is unavailable to proof the work in these few chapters, as John Reyer recalls The Guy telling Tyler in an email that he has a plan for when Tyler would be unavailable for a few days in November to edit copy, some months ago.

John Reyer then thinks back as he remembers the ruthless person he met back in the eighties. Some of the decisions by The Guy and Litigatti made back then seemed merciless at the time but in the end they were the right ones.

John Reyer finds comfort in the idea, that The Guy’s enemies play The Guy at their own peril, and whatever The Guy is up to, John Reyer has utmost faith that The Guy remains one of the most genuine and responsible men he has ever come across.


“Madonna says take a bow…” DJ is heard the SFD over; for as far as the moon is seen.

James sits up in his bed as his mother goes to pull up the covers to tuck him in for the night.

The look on James’ face is one of relief and happiness that makes the mother teary eyed, as they hear DJ outside the window; the voice of the SenFenide, reinstated.

Janine Elton the young mother swallows the lump in her throat, as her son now looks at his brother across the room.

Page closes his eyes as he’s already snug inside his bed for the night.

“Mom?” James’ hazel eyes sparkle. Even in the lamp light that swings in the breeze, the sheer curtains part to allow into the boys’ room.

“Yes dear?” Janine senses the precious moments that escapes from her with every second that passes, as music plays which seems to be everywhere when James speaks.

Janine nods her head for her son to speak his mind, as the boy thinks through his words.

“Do you think Little Lazoo can hear her too?” James looks into his mother’s eyes for the answer when Janine finds it hard to speak…

Out on the balcony the mother stands to the edge of the moonlight that streams a path to her porch. The tears she sheds are much like her fears, plenty and near as she hears her son inside the room where the silver moon finds the luminous boy and his mind still at work, as he talks himself to sleep.

“Little Lazoo can hear the song, the songstress sings in light of a matador, a tamer of her heart of hearts desire, from his death defying feats…”

“James,” the mother thinks she should assert herself, and tell her son to go to sleep.

“Yes mom?” James replies.

“Nothing sweet heart,” is all the woman can come up with, as she’d rather hear him than not.


“One armed Rastafarian does air guitar,” Page shouts above the loud and heavy music as he puts one hand above his head and plays air guitar with the other.

Zealand throws his shoulders forward, and then he stands with his feet shoulder length apart as he says, “Babe, with big ass, right?”

Kev holds a hand out to illustrate his style and then he carries on with his charade.

“From behind and then, real strong dude pushes the stall door open and you end up down the lavatory,” and then Zealand falls back onto the couch.

“Cool, very cool. Very, very cool, indeed!” Page compliments Zealand on his efforts.

PAGE1 takes a couple of steps over towards the couch where Zealand laughs loudest at his own joke.

Page stands in front of his new partner as its PAGE1’s turn to see who is the most ridiculous of the pair.

He looks around the room as the music dies down and then he says in a thoughtful tone, “Strong dude reaches down the dunnie and saves the guy fucking his girl…”

Kevin who continues to laugh feels Page grab his hair, and then his head is yanked forward and then back sharply, until he and Page are face to face.

“You can fuck with me, but if I catch you, I will then fuck, you!” Zealand smells the cannabis the two of them were only minutes before enjoying, on Page’s breathe, as the look in Page’s eyes sends Zealand’s head spinning.


Polina reaches for the popcorn, as on the sliver screen, the next word the guy types could spell disaster. The Guy then clicks the link —“STORYBOOK.”— at

The banner which has a picture of her instantly sparks a fire inside him, as he continues to churn out the data.

The world’s Premier Real Time Entertainment Actor looks into the camera —his canvass— provided by Microsoft; its “Word,” as those who read the product feel how important each one of them are to what is happening.

The most prolific and profound provider of Emotional Techno Fiction, continues to stroke the worn keys on his keyboard as he begins to make a serious play for title of the greatest entertainer in History.

The fans never mind that the guy they feel for, may have himself designed the complex framework in which he and his audience are now intimately connected in the story which they forge together. His fans remain fascinated by how he creates emotion for them and the memories they will pass down to their grandchildren, about how one man created a moment in time from his own suffering and pain.

The tears of joy and the satisfaction of viewing live the human spirit as it rises above evil, is just one of the paybacks for the loyal fans who love the performer. His psychic feats, he sometimes rolls out day after day could suggest that some of history’s anomalies surrounding phenomenas may be explainable, by applying just an ounce of faith.

Along with “The New Global Realm,” “The Perfect Scarce Loop,” has also been created in his well timed climb from street hustler to famed author in the short space of four years.

In “The Perfect Scarce Loop” there is a join which only he knows its exact location. The beginning and the end of the end-to-end saga are not necessarily next to each other chronologically. The meeting point of when it all began, and the finale where the morsel is totally absorbed is a spot which everyone would like to find, so they can attempt to recreate his well hidden secret process, which mathematicians agree does exist extinguishing the possibility that it is a random act.

The location of the where Point A and Point B can be found maybe irrelevant as the possibility of another dimension running perpendicular; the intersection of the rings rotating in opposite directions creates synergy. The atom created then spills forth lamenting proof when thoughts and feelings happening simultaneously in many lives, minds, and pounding hearts produces the same idea, or they suggest the exact opposite in idiom, irony, and parody of the one truth.

“The Perfect Scarce Loop,” in which his audience watches him as he includes them in the lines that come naturally to the person with no formal education, who considers himself illiterate, circumnavigates reality. The guy who writes purely for the love of it places another thought in the many minds he feeds with his work.

The idea he wishes to suggest to the largest audience ever which he is not aware of, is that they themselves might be just a figment of the guy’s imagination, and together they only exist in a story, which generations to come will marvel at how it came about.

Polina feels a sense of humility as she watches the guy complete another chapter and then he edits it himself before he deems it worthy of being the LATEST UPLOAD.

The lights come on and there is not a dry eye in the place as onscreen The Guy listens to Madonna’s song “Take a Bow,” as the credits roll for The Guy in the GAME.

He GOOGLE’s the link to the song, and then he listens for the appropriate lyric to say what he feels, as he focuses on the end in 39 days time from now…

“No more masquerade…”

“The show is over say goodbye…”

Emotive Entitlements

YouTube "Take A Bow" By Madonna

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Intel Corporation
Microsoft Corporation


“A Sick Noise”


John Reyer watches The Guy on screen, as The Guy holds a knife while he painstakingly listens to MICERs he can hear in the distance.

“I’ll fucking come and kill one of you motherfuckers,” The Guy says as John Reyer hears one of the clowns make his cowardly taunts through The Guy’s monitor.

The abuse and torment continues around The Guy. Even his backyard, where he used to be able to escape the MICERs, has been invaded by the Sick Noise of their nauseating and evil heckling and hissing. They bark at The Guy at every possible chance because “Get in his face…” is the direct order for the MICERs.

“Come on; no more anger….” John Reyer smiles as The Guy tells himself to ignore what he usually classifies as cheap banter from those without a voice in the end-to-end saga.

The Guy then, in true sportsman-like fashion, claps loudly so the clowns, who continue to egg on the TRUFUNK soldier, can hear his response. He then selects a track he and his brother listened to the night before when they sat out on the back steps.

The visit from Viko, or Vic, or Vedi for Victor—The Guy’s younger brother—and Viko’s girlfriend, Suzanne, was well-timed since The Guy was almost at the end of his tether.

They drank beer and laughed covertly about The Guy’s predicament at The Guy’s expense, as usual, before they watched the Brisbane Rugby League test between Australia and New Zealand.

The night was capped of with a miraculous Victory by the New Zealanders. The win was orchestrated by Benji Marshall, who, according to Gus, Rabbits, Joey, Sterlo, and Wally the Banker of Channel Nine’s Wide World of Sports, is a —League “Maestro.” The Maori boy and his Kiwi teammates spun their magic to win the Kiwis the Four Nations Rugby League Trophy in the dying seconds of the fiercely contested match between the arch rivals.


“I’m not proud
I was wrong…”

Page says the lyric as he stands on the cottage’s veranda. The kid looks out into the yonder as he daydreams. The willow at the paddock’s end looks healthy; however, its branches still weep and the song in the air is appropriate for the quiet lad—“Lessons in Love.”

Page looks around when he hears James inside the house and Mr. Ghettis’ tractor coming down the path, between their place and the farmer’s land, which Page, James and Janine live on.

Page Elton gets excited about the day in the field, riding the red tractor, and at the opportunity to steer the tractor….


Page hands Kevin the other control.

Zealand looks at the games control; he is hesitant about the character who now has smile on his dial.

“Come on, dude; bygones be bygones. Chicks with big butts and beautiful brains, ah?”

Zealand stretches his neck left and then to the right, as Page carries on.

“Look, dude, I just need to know you’re stand up; no offense, ah?” PAGE1 registers his character—“PAGE1.”

“Truth be known, I like ’em plump too, dude.” PAGE1 takes the control he just handed to Zealand and adds Kevin’s character for him—K-MUZO.

“Come on up here.” Page holds his hand in the air for Zealand to hi-five him.

Zealand looks around the room at his TV screen and his furniture. Page, the character he’s heard is unpredictable at the best of times, is inside Zealand’s home where the Pirate had just shown his other side.

Zealand grabs the control on the couch as Page now slaps his own hand up in the air.

“Best feeling in the world; remind me not to take out a World Series with you as cheerleader….” Page’s mouth continues to be his worst enemy.


Polina’s smile becomes hard to produce as she and her new best friends leave the theatre. Polina’s appearance in the movie had triggered the attacks from the girls.

The nasty comments disguised in conversations that exclude Polina continue, “Someone’s got to want her….Only in the movies….” Polina pretends she has no idea what they talk about, and then she tries to lift their spirits.

“How about some shopping?” Ms. Rada says, as if they had not been involved in an evil act the moment before. The girls' smiles form as they see an opportunity to appear next to the star in the end-to-end saga, maybe even as named associates….

Emotive Entitlements

YouTube "Lessons In Love" By Level 42
Level 42

Fabric Channel Partners

Intel Corporation
Microsoft Corporation




Lazoo holds up a hand for them to be quiet. “Damn! It’s like ‘Nights in a London Dungeon,’ from Jon Pierre’s diaries, when the Poet Soldier escapes from custody; his letters to Janine were being intercepted by his captors, thereby creating dissent within the ranks of the facility where they were holding the suspected double agent, allowing JPS to talk his way free.

John James recalls the story that best describes for him The Guy’s act as the exposed operative an artiste performs the GUIOPERA III….

Polina, who is now back on her feet, watches the meeting in the skyscraper onscreen as she receives a text from Lavenda.

Rumors that MI5 had picked up The Guy back in 1991 on his return from the Middle East flare up again. The incident happened in London where The Guy delivered his findings from the mission to Mr. Businessman, who then leaked the location where The Guy was to be picked up, as a red herring, which The Guy had suggested to Mr. Businessman because he was confident MI5 would let him go so they could follow The Guy themselves.

The real story, of which only The Guy was aware, was that the new idea for how to share information, which now belonged to the Military, was much larger than any of the other secrets he and his crew were carrying, including the topic of his debrief about another successful mission he had just led with distinction, with zero casualties for his crew, during which not a single shot was fired at them, or by them.


“Yellow Moon…”

Neon City is alive as Janine and her boys walk down the strip hand-in-hand.

The Neville Brothers on their float, with Aaron on the mic, come toward them in waves as the place is still abuzz about LAZOO being in town.

“Ladies & Gents, word has it that the Illiterate Master is amongst us….”

James and Page look at each other, wide-eyed over the revelation from DJ that the entity is here on the forgotten planet.

“Wow,” James says as he steps out in front of his brother and mother where he does a dance and then he stops.

James points at the shopping mall, “If I were Little Lazoo, I’d say the entity is inside the mall. He’s in the TV, where he hides from the prying eyes, so he can conjure magic which we see in the sky….”

Afanasy watches the guy as he entertains his mother, brother, and the citizens. Afanasy looks at his watch to see how much time each of the Temporary Shells has left to fulfill his or her mission as James Elton points up at the object in the sky that Aaron and his brothers sing about, and the citizens raise their hands as they follow the boy’s moves, as they step this way, and then that way,

“Yellow Moon….”

“…Have you seen that Creole Woman?”

“Mom, you be the Creole Woman.” James smiles as he grabs his mother’s hand while the clarinet begins to play….


Page points at the TV now. It is the next of Kevin’s belongings they will play for.

Kevin takes a swig of Jack Daniels from the bottle. Then he swallows and nods his head.

The Pirate has already won Zealand’s car, cleaned out his bank account, and is the owner of the deed for the land on which Zealand’s house is built.

GEE-LEEZ, a player in Hong Kong, walks across the screen in WIPE. He looks real in the code—WAMX100, dotwamx—John Reyer and Litigatti say it is not open source code, but it is pliable.

Onscreen, PAGE1 points at the sky; then Techno Funk comes to bring back memories for the fans of when the crew first hit the Internet in ’07 as dumb and awkward writers trying to make people laugh.

John Page looks toward the door; then moments later, they hear footsteps followed by a knock at the door.

Zealand looks down at the controls, which is all he can manage right now. Page takes them from him, and then the Pirate slaps his new partner in the face. “Look lively; we have company….” Page says as he pauses the GAME.


The five girls walk through the shopping mall. Polina hears the Neville brothers as the snowflakes fall from the roof.

Ms. Rada smiles as she does a twirl, dreaming of the Yellow Moon.

The dove from the dream flutters above the girl, who brings good cheer to the world. Shoppers line the floors’ railings as they watch the enlightened character march to her escape, where she hopes those worthy of saving her are ready and waiting….

Emotive Entitlements

YouTube “Yellow Moon” by Neville Brothers
Neville Brothers

Fabric Channel Partners

Intel Corporation
Microsoft Corporation



John Reyer reads the txt message from Litigatti who has slipped out of town for a few days. “He’s the missing link….”

John Reyer accepts the fact that Litigatti and the person whose name he goes by—The Guy—have hijacked the story John Reyer thought was his own as they spill more details that leave fans and detractors gob-smacked and in awe of what the story being told is really about.

“I’m sorry—it had to be done….” John Reyer now reads the message from The Guy on screen.

The Guy apologizes for being the one who leaked details about the blueprint—for what is known as “the Internet” to British Intelligence—after he was involved with a close-knit ideas incubator who planted the initial concept for the military to develop.

“It was for good reason and intention….” John Reyer reads the next message from The Guy before he signs off for the day.

John Reyer receives a call from Le Mac regarding the leak, which could be the end of the road for LMLA-ink….


Not being the center of attention has its benefits, says the smile on Page Elton’s face as he turns to face the shopping mall.

He begins to time his dash for the doors of the mall that will open in “One-hundred-one, one-hundred-two….” And while James and their mother dance in the middle of the circle formed by happy citizens, Page takes his opportunity to be the real hero in this morsel of the end-to-end saga.

Afanasy watches where all the attention is focused as he sees Page making the dash, although Afanasy pretends he doesn’t see the kid, who is a blur to most; Page heads for the doors that shake a little before they begin to slide apart.

Page wishes he had his brother’s speed as he expends every last ounce of energy to reach the opening he has to be fit to enter into on many levels….


The Pirate has a hand on the door handle as he checks to see whether Zealand is ready to greet the player who will iron out the rough edges in their game.

“Jazz Funk!” Page says as he remembers something, and then he rushes to find the remote. Once he locates it, he quickly flicks through music until he finds the right track and then he is back at the door.

Page dims the lights to set the atmos, which instantly causes Kevin’s head to fall; it appears the evening’s heavy scenes, led by the Pirate, have triggered Zealand’s current drug and alcohol binge, adding fuel to his depression from losing all his possessions to PAGE1.

“Pssst,” Page tries to get Zealand’s attention to wake him up. He does for a moment, but then Kev’s head falls down again.

Page becomes anxious as he tries to think of something that will wake up his partner.

“Hey!” Page whispers, still with a hand on the door handle.

“You can have everything back; I had my fingers crossed, you know?” The Pirate holds up two fingers crossed in Zealand’s direction as he returns all his winnings to their owner. It brings Kevin’s head up for a moment, but then it slumps again.

“Okay, nominate your favorite charity if you’re going to cut off your nose to spite the face you don’t have….” Page gets louder….

Outside on the porch, Ms. San Fé can hear the familiar tune; it reminds her of another time. She steps back and looks up at the moon as the Jazz Funk arrives on cue.

She hears noises inside as she turns her head to see the shadow behind the door; she can see it is the Pirate from his hair, but then he disappears from sight again….


Polina and the four girls, selected for their promise to “Make it look good,” approach the escalator that will take them to the next level.

Streamers and confetti thrown from the floors above them continue to thicken the atmosphere.

Polina stands back to let her friends board the ride, allowing her time to wave to her fans who blow her kisses amidst well wishes, “We love you Polina….”

Polina is boarding the escalator herself when she hears a gasp from the crowd—something is happening behind her.

Well-trained and disciplined, Polina doesn’t look to see what the commotion is about, in case her response endangers the person she might single out when she acknowledges him.

Polina hears footsteps belonging to someone roughly the same weight as her, maybe more, but who is extremely fleet-footed. She examines the running style of the character coming up behind her, who is right footed but puts more weight on his favored leg due to maybe an injury of some sort to his left foot.

Polina continues to watch the fans as the sound of the footsteps changes into a thumping noise when the runner boards the escalator coming down.

Polina’s friends turn their heads to see a boy around their age as he runs past them going in the opposite direction of the escalator coming down.

Polina waves to draw the crowd’s attention to her as she sees the likely lad disappear up ahead….

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“Wills Finds Princess, Internet’s Godfather Confesses”


The Guy reads John Reyer’s face onscreen as it dawns on The Poet Soldier’s most reliable soldier that he is the Fall Guy.

The role, which John Reyer has dished out to others without thought of how it feels to be the one who has to take the flak, finally lands on his shoulders.

Litigatti’s return and The Guy’s reappearance, which began taking shape last year when the Poet Soldier forced LMLA-ink into handing over the reins completing The Guy’s reentry into the GAME, has come to its conclusion.

Jon Pierre had taught The Guy the GAME on the streets of the kid’s hometown when The Guy was only a boy, like JPS did with Metofeaz when Litigatti was a toddler. John Reyer, or Tone Horroh—to be fair to the person who has made the most of the title with which he’s cloaked himself—is untrained in the art of espionage. Only his integrity, sense of justice, and his psychic gift got the one-time hitman through to where he is today.

The Guy watches them onscreen as Lazoo stands up and calls for them to remain calm. As Polina enters into the room and takes a seat next to John Reyer, LMLA-ink tries to find a way out of the situation in which it is caught.

John Reyer Afamasaga, the leader of LMLA-ink, has been made a scapegoat by the Network when The Poet Soldier leaked classified information by suggesting John Reyer and his crew were behind the reunification of Germany in 1989. Then they were involved in hiding information about the weapons of mass destruction discovered in 1991, and to add salt to injury, the Network now suggests that John Reyer Afamasaga was the one who leaked the military’s plans for the Internet back in ’91, as a piecemeal to MI5, under instructions from the CIA, who contracted the Network’s most promising recruit on many occasions.


Page Elton continues to pump his little legs twice as hard as his racing heart, as it seems like the path to the next level will never end since the escalator keeps rolling backwards.

He sees the top of the escalator, but the boy forgets the sides of the escalator roll the same way as the floor he goes against as he makes a last ditch effort to reach the top by grabbing the sides to hoist himself forward. Needless to say, the idea ends in disaster when Page falls flat on his face.

The cheering for the girls he ran past is now background noise to the laughter coming from the crowd that applauds the clown, who burst into the scene but now lies still, too embarrassed to move as he is transported back down the escalator.

Outside, Afanasy steps to the side so he can see inside the mall to find out the reason for the noise.

He sees Page, face-down on the escalator, coming down, and he witnesses the crowd’s appreciation of Page’s antics as Polina’s friends point and laugh at the clown.

Polina steps off the escalator at the top and turns to wave at her fans one more time as the girls around her continue to laugh at Page as he reaches the bottom where he gets up, dusts himself off, and bows to the crowd, who give him another wave of appreciation.

Page learns quickly, but not from the lesson he should’ve learnt from the reaction to his falling flat on his face. He now steps onto the escalator going up; then he turns around to face the opposite direction and begins running on the spot as the escalator carries the kid to the top….


The Pirate tightens his grip on the door handle as he accepts that what normal folks call butterflies are beginning to flutter.

He takes a deep breath as he readies himself to see Santina face-to-face again; she is the only woman who has made the Pirate feel like making himself vulnerable since Silvia Rada, many years ago.

He looks at Zealand, who now begins to snore, and then he looks through the frosted glass where he can make out Ms. San Fé’s silhouette in the moonlight, as the Jazz Funk prescribed for these kinds of scenes begins to fill the air.

“Okay!” he says to himself. He can already see her eyes, in which he was lost when they sat across from each other in SIL HOUSE café in NYC.

Few things excite the Pirate, and it has been a long time since his heart raced at the prospect of finding someone he could connect with for no other reason than “just because.”

He turns the handle, and then he pulls back the door to see her standing there, more beautiful than the last time he had laid eyes on her.

The seconds that slip by, as the two people stand in the doorway glad to see each other again, only add to their undeniable chemistry, as the music envelops the mystical chemicals that procreate the magical formula.

Page, who can be a cold-blooded killer or a whimsical heartbreaker, allows himself to be carried away by the mood that makes him want to be closer to the woman, now offering a wee nervous smile, than any other being in his life.

Johnny Page responds by rolling his brown and hazel green eyes, and then he beams Ms. San Fé his best smile, warming Santina’s heart; it begins to race, and then she feels the need to do what she does next.

John remembers closing his eyes, giving up the view of her amazing eyes for the feel of her soft lips, and then the sweet taste of her tongue….


Polina walks off, dismayed at how the selection criteria for her co-stars continues to give her mean and nasty selfish characters.

Polina decides to freak them out as they catch up to her. “Can’t you see,” she says, urging the extras to wake up. “You play for a loser, who only wants to see others become what he is.” Ms. Rada, already a winner, looks for a grandstand finish in which everyone is a winner.

And then she hears more applause as she looks over her shoulder to see the kid from nowhere acting up again on the escalator.

She looks around the top floor of the complex for the store where the magic will happen as one of the girls says, “I’m hungry,” and then the others join in.

Polina looks around for somewhere to eat, but nothing catches her eye as more important matters come to mind.

“We’ll get something to eat after shopping, okay?” Then Polina sees the kid, who bows one more time, now that he has finally made it to the top floor; he then walks toward the first department store where Polina had looked.

Polina waits for the kid to enter into the store before she points in that direction for the girls to follow her.

She sees shop assistants dressed as elves who begin to put up Christmas decorations. Meanwhile, paperboys and hockers wave mobile phones as they call out the headlines:

“Diana’s Wills Finds Princess,” is one. “The Internet’s Godfather Confesses….” is another….

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Page reads the signs above the different departments inside the store where their mother never brings them from fear her boys might learn to covet what other children have.

He can see the sign saying “Electrical” in the back corner, but the “Toys” department is more inviting, and it’s on the way to where James said Little Lazoo would be waiting to assist. Assist in exactly what? That is still a mystery to Page, but the lure of an adventure is far too exciting for the normally quiet boy who flies under the radar to turn and walk away.

The sound of footsteps causes the nervous kid to jump to his right.

Hidden inside the clothing rack and surrounded by suits, Page begins to sweat as he sees the SFD Control Unit standing in front of the clothing rack.

Next, he sees walking past him the four girls and the familiar looking one who pointed at him outside the store.

Afanasy—the leader of SFDCU—stands in front of the suit rack. Page can see Afanasy’s watch as the seconds tick by. It makes the already nervous boy’s cranial quake, countering his heart that pumps a million miles per second.

Page hears one of the girls mention the “Bathroom,” which he recalls is down in the back of the store just past where the TVs are.


Metofeaz goes to return the favor as The Tourist pulls back after teasing him with the promise of the wettest kiss in the world.

Before he does, he looks to check the house, to which the door remains open after Santina and Page threw away the script on the doorsteps of Kevin Zealand’s home in Kansas.

In the backseat of the taxicab parked outside, Metofeaz breaks another promise to himself as he and The Tourist pass the time by messing around, in place of donuts and coffee.

The cab driver sneaks a peek at the bombshell who gives him a look he’ll remember for a while.

Litigatti points at the radio that plays quietly in the background, and the driver turns it up as Shania Twain wishes in “When”:

“…CNN that Elvis lives again
And that John’s back with the Beatles…”

“Make an honest woman of me, and I’ll make happy.” says The Tourist with her arm draped around his neck as Litigatti listens to the lyric. He looks at The Tourist as he tries to figure out her angle.

“You’re not jealous of a song are you?” Metofeaz smiles as he tries to worm his way out of the awkward situation with the woman he’s decided is trouble.

He feels somewhat satisfied with himself and the crew at news that Tone Horroh will make his debut in the inner sanctum, where only the truly trusted ones get to show their skills.

In the coming months, John Reyer will travel to Hong Kong—not as an enforcer, but as a normal everyday character and part of a UN team that will oversee the marketing of an upcoming event in Kyoto, Japan later in the year. There he will meet a Chinese lawyer with exceptional skills by the name of Le Bruce Gee, whom the Network has been chasing for sometime. GEE-LEEZ, the name LMLA-ink has already given the Kid from Hong Kong, is reluctant to commit his talents due to his clientele, which includes some of Asia’s leading figures in the world of organized crime, but which does not bother the Network because it has already done its homework on the lawyer, and by all accounts, he goes by the book.

“Come back to France with me; I need someone to do fliers for the tours,” The Tourist whispers in Feeaz’s ear, and then her tongue and cheek come to life for him when he feels the wet warmth of her mouth on his neck.

This time Litigatti is obliged to return the compliment with interest. He sees Rozelle Zofen’s eyes and lips in those of The Tourist; looking at the woman makes him feel woozy.

The moment is disturbed, abruptly, when he sees the figure of Kevin Zealand in the doorway of the house. The worse-for-wear looking character, whom Lazoo & Co. have code-named K-MUZO, struggles to keep himself on his feet as he now lunges forward to vomit over the veranda’s side.

The sound of spew being forcedly emitted ends the budding bliss in the car’s backseat as Shania Twain stops singing and neighbors’ lights come on.

“Psst, let’s go,” Litigatti tells the driver as he takes The Tourist’s arm from around his neck.

Emotive Entitlements

YouTube “When” By Shania Twain
Shania Twain


Polina waves one more time at the girls as they enter into their rooms. Then she closes the door quietly, so she won’t disrupt the cosmic flow.

She pushes the door until she feels the lock click. Then she turns and leans back on the door to relax.

The day had been a success even with the stress of dealing with the four girls who were more than a handful as their moods shifted from that of Cinderella’s stepsisters to Cupid’s cherubs. Sometimes their behaviors would turn in a blink of an eye, and other times, in a slow swelling wave that just kept coming until Polina would say something that would shut them up, or change their aimless attacks on her.

The guy, or The Poet Soldier, had warned Polina, his only protégée, of what would happen when the time came for her to step into her role as the third and final pillar of the F3quenzor. Polina is one of three people who exist in a time that was predicted when magic would once again be created. She is the node that would connect the Network’s communications channel, one of the apparatuses to be constructed in order to create The New Global Realm, and then with some luck, The Perfect Scarce Loop to show the ages that this planet is the center of the Universe, made possible by the human mind and heart when it overcomes the frailties of mankind.

“Thieving hands by an empty heart.” Polina can hear the Mistress’ words in her head. The once caring and nurturing woman’s tone has slowly become sterner and sterner toward Polina without any cause Ms. Rada can think of.

The knock on the door makes Polina jump, and then she hears the Mistress say, “Wash your hands; it’s dinnertime….”

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Light from the TV screen shows the kid’s face as he takes a handful of crisps and fills his hungry mouth. And when the characters on screen collapse themselves in a heap, the darkness hides his anger, or his delight.

Page sits on the floor in the Electrical Department where he finally made his way, although it took him all day. The journey from the front of the shop to the back was a mission, as Page hid from shoppers inside clothes racks and in changing rooms where he smelt all sorts of smells and watched people stuff all manner of things into unimaginable places just so they wouldn’t have to pay for them.

The game’s controls hover in mid-air as they turn by themselves to illustrate a player’s moves.

Page looks at the controls above his head and to his left, which control PAGE1’s moves on screen. The real Page, sitting with legs crossed, winks at PAGE1 as the Courier from Hell ducks for cover when a bullet from K-MUZO in the Tower of London flies toward him….

Afanasy unlocks the department store’s front door, from where he suspects the disturbance is coming, after countless reports of an unnerving energy that’s keeping many citizens in the SFD up tonight.

He thinks through the day’s events as he immediately comes up with the likely scenario that involves Janine Elton reporting her son Page missing, and the light he can see at the back of the shop where a trail of candy wrappers and open toy boxes lead.

Afanasy steps quietly because he wants to see the kid some say is just as gifted as his brother James in action.

The little fellow does kung fu like a drunken sailor in front of the TV that dwarfs him. He is flanked by the game’s controls that hover close to the ceiling as the control’s signals recreate Page’s moves on screen.

And when one of the characters on screen, whom Afanasy recognizes, comes face-to-face with a female character Afanasy also recognizes, the boy holds his hands with fingers clasped in front of his face and begins to pretend he is kissing, from the way his head moves around and around.

“Silvia,” Afanasy says, and with that, the controls fall to the ground and the image on screen zeros into a white dot in the middle of the screen.
Page’s head turns to see the law of the land, Afanasy, whom the young lad has witnessed in action during one of the SenFenide Control Unit’s famous culls, which makes the game Page plays seem like child’s play.

Page fears the worst and has to turn around to see whether the magic on the TV screen is truly gone. The fading white dot tells Page that it was just a dream, one of his daydreams, but at night.

What Afanasy said comes back to Page—a name by the sounds of it—“Silvia.”

“She loved you, but she could rely on me.” Afanasy’s admission Page associates with his last move where he wanted to do what he’d seen people do when one is a “He” and the other is a “She” and they both seem to like and hate each other at the same time, like when PAGE1 and the girl character he hadn’t come up with a name for yet, faced each other in WIPE.


Page hears Zealand in his convertible pull up in the driveway.

Page has created fine food and chilled crisp wine for this evening when the entire U.S. cast for this mission, not counting those abroad who speak in other accents, will meet for the first time to go over the script.

Litigatti has surprisingly decided to lend a hand and write the script, which gives John Page confidence from having the best in the business involved in the intricate design of the plan that must work back to front, front to back, upside down, so people in China can also read the plays whichever way they see it.

“I’m home, honey,” Page hears Zealand say, and it instantly makes him mad.

“I told you! No gayness!” Page glares at Kevin as Zealand stands with a hand on his hip in the doorway with a bunch of flowers for Kevin’s co-star Santina San Fé who is due to arrive any minute.

“Damn, that’s good!” Zealand says. “Cruise had to take out page ads in a magazine,” Zealand carries on until Page can’t keep the straight face any longer.

“Well, it’s got to be asked. You turned down the chance to have Ms. San Fé,” Zealand reminds Page.

“It’s a GAME. Anyways, the business pleasure cocktail is not worth the price,” Page says as he lifts a lid on one of the pots to check his creation….

Both guys’ heads turn as they hear a car pull up on the road, and then the Fun Lovin’ Criminals begin their part on the stereo.

“Ex wife gets transported to another dimension by the evil capitalist system,” Zealand runs over his lines.

“Don’t forget the autistic daughter with one eye and a wooden leg,” Page says as he lassoes the air with one hand while he lifts the lid to let the aroma of their creation waft through the house….

“If Barry White saved your life
Or, got you back with your ex wife…”

The lyric continues as Zealand undoes the third button on his silk shirt….

Emotive Entitlements

YouTube “Love Unlimited” by Fun Lovin’ Criminals
Fun Lovin’ Criminals


Polina stares blankly into the night from her window.

Lavenda had promised her that one day she would tell Polina about Polina’s mother and father.

The fact that both parents were mentioned without any conjecture as to their not being together, whether they were dead or alive, makes Polina feel okay about the two people who, for whatever reason, could not be with their only daughter, information that The Poet Soldier had let on. The recurring question Polina asks herself most often no longer has the effect it used to as she steels herself for the role she now believes she was born to perform.

The last couple of days had been the best time in her life, which says little about the amount of happiness Polina has enjoyed for herself and not because of someone else’s good luck.

She remains positive as she imagines the crew—the name the guy called those who come together to make special events happen for others and for members of the crew once in a while.

Finally Polina feels her eyelids become heavy as she hears someone say her mother’s name….

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Page looks over his shoulder as he trudges down the road. Afanasy had sent him home with the message that if he weren’t serious about becoming a soldier for the cause in the GAME, he’d better return to where his mother is probably worried sick about his whereabouts.

It wasn’t all that bad since he had enjoyed himself in his sleepover in the department store, eating candy and playing with the toys, and above all, he had enjoyed WIPE—the game he had created, thereby proving to himself that he too had a bit of talent just like James Elton and Little Lazoo, whom he remembers he didn’t end up finding.

Anyways, it was a grand time, and to add to his time last night, the sun now coming up marks the morning of the twins’ tenth birthday.

His gift last year, or theirs—his and James’—gift, was a brand new shiny bike. Page pretends he does not know what this year’s present is as he acts psyched up for the surprise that will make their mom happy to give her boy.

Page Elton comes to where he can see the cottage, but it looks different. The grass that was short yesterday morning has overgrown the garden. And if his eyesight serves him right, Mr. Ghettis’ tractor lays on its side.

The boy smiles, thinking this must be what his gifted brother James’ world is like; the unthinkable and the unimaginable is everywhere, even here at home.

Page gets closer, but the scenery, which looms with every step the boy takes, begins to freak the kid out as his hands now brush the long grass he bends his back to touch as he comes within a stone’s throw of the cottage.

When he reaches where the tractor lies on its side, he notices a sticky dark substance with an ugly gleam to it covering the machine’s tires.

“Eh!” someone says, making Page look. Mr. Ghettis sits on the porch in what looks like a wheelchair. His legs are covered with a gray blanket soiled from the same stuff on the tractor’s tires.

Page reaches out for the tire, which makes a creaking sound, and then it moves, almost causing Page to slip over.

Page bends his neck to get a good look at Mr. Ghettis whose gray hair is as long as the grass.

He takes a step toward the father figure to him and James, and Page realizes the worst is yet to come in the nightmarish scene where he finds himself.

Page’s instincts take over as he now sees that this scene is for real. The boy rushes toward the steps and leaps to the top one, and then he stops as he sees through the open door a wildcat that runs away. Inside, he sees their belongings are scattered on the floor, and there is no sign of James or Janine.

“Eh!” Mr. Ghettis says again. Page sees the old man’s mouth is crooked, and it appears clamped, explaining Mr. Ghettis’ previous attempts to speak.

When Page’s heart stops racing, he can hear the sound of his mother’s radio. The chance that Janine and James might be where the radio’s music is coming from is enough for Page to forget about Mr. Ghettis for the moment as he hurries inside the derelict looking cottage to find the radio.


John Page smiles because something is pleasing, and not because it’s expected of him; maybe one of the reasons why the Network overlooked the operative once touted as a candidate for the coveted but not enviable role of The Poet Soldier.

He smiles as Zealand kisses Santina on the cheek before Kevin gets up to do Karaoke; the Pirate knows how Ms. San Fé prefers to be kissed and by whom.

“Don’t expect anything in tune with the music or the universe,” Page laughs as he reaches for his beer.

He goes quiet when he feels her hand on his. He traces her hand and the line her arm creates, leading to her neck and then her ears, and eventually, he treats himself to her eyes. It requires every bit of control for him not to reach out and grab the woman and express how much she already means to him.

“I heard about what you did by not making yourself available for the Desert Storm job,” Santina says.

Page nods his head about how he booked time in the slammer, twelve months prior to a gig, making himself unavailable due to the “12 Month” rule that says any Network operative will not be selected for a government paid mission if he has been in trouble with the law in the twelve months prior to the project.

“Yeah, blah, blah, I got paid anyways,” Page says as he tries to play down a situation that singles him out, good or bad.

“You would’ve carried it out; everyone knows that.” Page listens for signs in Santina’s voice to tell him whether her statement is a compliment for his talent, or if she is not the person he thought she was.

Page thinks through the compliment and a possible double meaning, in particular if she is referring to the contract on Afanasy, which Hannibal Ammer, who enters into the bar now, had mentioned to Page for no good reason during a session at a London Strip club. This conversation took place just before Page joined a crew of amateurs trying to fund an operation from drug money and bank jobs that led to the incarceration in question.

John Page, not one to waste courtesies, stands up as Hannibal Ammer arrives at the table.

“My, my, manners have come all at once—amazing what a piece off fluff does for team morale,” Hannibal snarls as Page ignores him and smiles at Santina.

“Just going for some fresh air; somehow the air in here just got stagnant.” Page looks at Ammer with his special glare of disgust.

Page glances up on stage where Zealand still looks for a song as the person singing finishes up. Zealand holds an arm in a loop as if he has someone in a headlock, and then he hammers the imaginary head with the mic.

Page shrugs his shoulders at Zealand, trying to make him feel good about having to work with Ammer, whom everyone detests, but Mr. Businessman had specified, “No Evil Clown, no party!”

Outside in the night air Page snorts the fresh air. He sees a pack of men heading in his direction; he connects their appearance and their demeanor with Ammer inside.

Page bows his head as he sees three of them stop, and the other four keep walking toward him. Page thinks about the woman inside the bar, to whom he really has taken a shine, as three burly characters veer in his direction.

Page looks beyond them as he sees the three, who were going to form the back of the circle, begin to fall, quietly; not a sound is heard as their legs just bend way.

“Look—shit, that’s graceful.” Page’s voice is still soft from thoughts of Ms. San Fé as the three who have reached him turn to see the last of their backup as he welters when something hits him.

Page grins as the four now in front of him see their pals lying on the ground.

“I’m here, brother.” Page hears Metofeaz’s voice, and then he sees the Whimsical One’s smile even in the dark.

The four, whom Page can hear breathing, back away from Page. As they do, they leave their friends where they drop, and flee.

Page shrugs off the familiar feeling of being surrounded as he hears footsteps in every direction, from those fleeing the scene and from Litigatti’s slow steps approaching him.

Page looks around Metofeaz at the bodies that pick themselves up off the ground and scamper when Litigatti looks back over his shoulder.

Page relaxes when he leans back on a car, and so does Metofeaz as they hear a car door close, and then they see the shapely figure of The Tourist in the distance as the cab takes off.

“Hannibal says he’s found the third pillar in London, HEX V’L,” says Metofeaz, sounding like the news that could destroy the story is mere fallacy designed to mislead them.

Page nods his head as he watches The Tourist approach them.

“So you?” Page puts a fist up and knocks the air a couple of times to ask whether Litigatti and Sharon Smith from the South, who now lives in France pretending to be a singer from WWII, are involved in more than successive one night stands.

“Never mind me; if you’re going to be the one to present Polina Rada with the opportunity to be the Third Pillar, then you gots to get sickly serious about one woman, my man.”

At first, Page feels insulted, but then his face changes as he thinks of his past.

“Look here!” Page blurts, but then he bites his tongue as both men listen to the sound of The Tourist’s heels as she nears them.

“Shit. Even the sound of her heels under the silver moon makes me whole,” Litigatti says with a serous look.

“Go in there babe and sing them lungs off for me, ah?” says Litigatti. Then he grabs the voluptuous woman’s hand and snogs her before he sends her on her way by grabbing her round butt, which he slaps, making The Tourist produce a perfect blush.

Page puts a hand over his mouth to hide his amusement at the way the only real role model he’s ever had handles women.

“You know that this life is not meant for everyone, or else there’d be no mortgages, and no happy endings. We’re the ones who drink but are not allowed to get hung over,” Litigatti says as he winks and then smiles at The Tourist, who looks at him again before she vanishes into the bar.

Page understands and accepts the only life he’s ever known, but now the appearance of Santina has begun to cause conflict in the Pirate’s belief that a TRUFUNK Soldier, according to the POEMBOOK, lives only for the truth.

Page sighs as one of the few people to have known JPS offers up a contradiction of terms when Metofeaz tells him he must create a family environment in order to fulfill his potential and be the one to adopt the orphan in Russia—a contradiction because Litigatti’s actions clearly oppose the core fabric of society—its family values.

“Here,” says Metofeaz, offering Page a cigarette. Page looks around the car park before he takes one. “Last one; tomorrow it’s a new page, PAGE1!” The Pirate feels weird telling the person who just saved him from a fight that he doesn’t want to do something that he does.

“A GAME needs the player.” Now Litigatti sounds more like a contortionist than an extortionist, which is how Page feels one of the only beings he has trusted is behaving.

Page sucks harder on the cigarette than he normally does because he wants to go back inside.

Page drops the cigarette on the ground and moves his toe to put it out. He feels Litigatti’s arm around his shoulder and then he lets himself be hugged by Metofeaz before he straightens himself out and they head inside.

They enter into applause as up on stage, Zealand still looks for a song, while The Tourist’s voice, full and at perfect pitch, belts out the title of the Dixie Chicks’ “Mr. Heartache.”

“Hello,” she sings as Page spots Santina looking at the door. “A good sign,” he tells himself as Litigatti places two fingers in his mouth to whistle.

“Mr. Heartache,” says Sharon, her southern accent —rich. Litigatti looks at the table where Page is heading, and he sees Ammer, who talks on his mobile with ease, amidst the noise.

Litigatti locks the would-be controller of the Semi-System in his sights and sends him a packet he won’t be able to handle. Litigatti waits, and then he watches Ammer as he begins to massage his temples.

Page pulls the seat out from the table as he too feels the current. He breathes as he counts to himself, controlling his heart rate as Ammer reaches out in front of him.

Metofeaz now looks at the stage side on as he keeps an eye on Ammer as Litigatti loads up again, this time with a packet Hannibal will not be able to handle.

Litigatti begins to clap, and then he whistles again as he sees Zealand finally give up trying to find a song and leaves the stage before Litigatti sends Ammer, who now tries to stand, the message….

Emotive Entitlements

YouTube "Hello Mr Heartache" By The Dixie Chicks
Dixie Chicks


Polina closes the photo album of Genisis, Arley, and Missy, and the rest of her supposed new family whom Polina has been told she has met, even though she cannot recall it, as she hears a knock at the door, and then a note appears under it.

Polina puts the album to the side, as she goes to fetch the note.

“Please come to the office at once.” The note from the Mistress is not signed like most of her recent notes to Polina, which is now the Mistress’ preferred mode of communication.

Polina goes to the mirror to check her appearance, ensuring there are no signs that she had been crying, and then she heads downstairs.

Inside the office, Polina stands in front of the Mistress’ desk.

“Please sit.” Mistress’ fake smile only serves to confirm Polina’s resolve.

“If you don’t mind, Mistress, I’d rather stand. I’ve been stuck in this hell hole all my life, and another second of feeling glued to the foundations would only make me grievously ill, especially when I will be faced with your pathetic face, with that tired and apathetic look you think is nice….”

Polina runs over the dialogue in her head, and then she says, “May I stand, please; I’m always sitting down?”

As Polina looks at the bundle of letters in front of the Mistress, it dawns on her how sinister the GAME has become, since the unopened letters that Mistress now holds up toward Polina were once safely hidden in her room.

“They’re from Alexvale; you two would make a perfect item.” Mistress’ voice fades as the room darkens and the floor feels like its beginning to slide from beneath Polina’s feet

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“The Look of Love”


Page Elton stretches his arms as he wakes to another day. The radio keeps on playing Diana Krall; his hopes that his mom will return.

The calendar he marks everyday flaps in the breeze through the open front door.

Page walks through the tidy house where all their belongings are back in their rightful places.

He makes himself a cup of hot chocolate, and then he steps out onto the veranda where he waits for the mailman.

Page Elton, who will turn eleven soon, sits on the swing chair next to where Mr. Ghettis’ wheelchair remains, and then he looks for the cross where the old man is buried beneath the willow to confirm that this experience is real.

Page finishes his hot chocolate. Then he connects the trip wire of nylon string, ankle high, running across the front doorway, before he heads for the barn between the cottage and Mr. Ghettis’ house.

Inside the barn, he studies the bicycles he mounted on the walls after he polished each one, apart from the one he found in the paddock. Mr. Ghettis had not managed to impart any coherent explanation about what had happened to James and Janine before Mr. Ghettis died not long after Page’s return.

Afanasy calls in to check up on Page frequently; he has helped the handy boy to restore the red tractor to its original condition.

“The Look of Love”

Page hears the notes from one of his mother’s favorites on a current as he jumps onto the red beast.

He turns the key to start the tractor’s engine so it might extinguish the song that hurts like hell.

“You’ve got the Look of Love
It’s on your face
A look that time
Can’t erase….”


John Page sits at the computer; next to him is Santina San Fé. The cast works into the night as Litigatti drums into all the characters the essence of their lines that have to mean the same thing as what has been said in New York at this very minute.

News that John Reyer has given the go-ahead for Genisis Jones to co-star with John James Lazoo has thrown up a whole new set of variables; Page’s plot, which Litigatti is here to rewrite, has to match.

“Was it serious?” Santina’s question is nonchalant and quiet, meant for Page’s ears only as she asks about Page and Ms. Jones’ brief encounter in Vegas in 1986.

The Tourist, who was Sharon back then and also involved in the job, jumps in, “Serious?” The vamp begins to laugh, and then Litigatti winks at Hannibal as he says, “Everything we do is serious; how we say it may be marginal, but once it’s said, it’s in the mix, part of the flavor, if not the taste itself….”

Page rolls his eyes; he’s heard it all before as Metofeaz primes his, “Targets! That’s right! Never forget that we’re not the only story. There may be a story bigger, far greater, and more engrossing than ours, and we might be just the corner store in that story.”

Santina yawns as Kevin Zealand pulls up to her right.

Litigatti is still family to Page—regardless of how Page feels about Metofeaz’s tactics, which only The Guy, who has fallen off the face of the earth, could decipher and counter to produce what’s known as a WIN-WIN situation.

Page recalls the session in the London strip club when Ammer named Afanasy as an extinguishable target, and he remembers who was present. There was Ammer and Mr. Businessman, and a number of real business people. Ammer was talking with a Russian entrepreneur, and The Guy and Litigatti were chatting with Mr. Businessman.

“What’s the name of Silvia, the dancer’s friend?” Ammer asks, interrupting The Guy, Litigatti, and Mr. Businessman’s conversation, when Hannibal knew Afanasy.

Hannibal answers his phone as Litigatti pats Ammer on the back and winks at Page, who looks at Zealand as they hear Ammer tell someone on the phone, “Feeaz, Metofeaz, Whimsical’s on the case….”

Page stretches his neck as Ammer gives the code to someone on the phone for when he lists the incarnation of a character who can be bought for the sake of infiltrating another crew’s story.

“Fucking love you, man!” Litigatti grabs Ammer after he hangs up the phone by the shoulders and hugs him as a ruse for his hand to slide into Ammer’s coat and pull out Hannibal’s gun.

“Shit,” Litigatti says as he finds the weapon wasn’t clipped.

Now Feeaz looks at the ground as he holds out a hand. “Phone, motherfucker,” Metofeaz demands.

Zealand reaches for his jacket. “I’m outta here; eight o’clock at the airport,” Kevin says, and then he leans down and kisses the cheek of Santina, who squeezes Zealand’s hand.

Page starts typing as Santina takes a compact from her bag and does her make up in the small mirror.

The Tourist tops off a champagne glass, and then she holds up the bottle to see whether anyone else would like one.

Hannibal hands the phone to Metofeaz, who lets the firearm drop, and then Metofeaz uses his foot to catch the piece before it hits the ground.

Now, Litigatti stands on one leg while he balances the gun on his left foot and holds out his right hand with the mobile in it.

“Take a shot with your spare, if you dare,” says Litigatti, looking Ammer in the eye. “’Cause if I find you’ve done wrong by the crew who pays on this miss, I’ll make sure you’re decommissioned on the spot.”

Litigatti keeps Ammer frozen as Whimsical flicks the gun on his foot up into the air, while he checks the phone, catches the gun, and then uses it to back swipe Ammer across the face.

Metofeaz smiles as he looks at the phone’s dialing history to discover that Ammer had called the number he gave Hannibal earlier that night.

Now Litigatti bends down and places the piece and the mobile phone into Ammer’s pockets as the man no one trusts is curled up in a fetal position on the ground.

Kevin Zealand, who watches on from where he stands at the door ready to leave, opens the door and exits the scene.

The Tourist still has the bottle out. “Would you like one now, hon?” she asks Metofeaz who looks back up at her. “Yes, sweet; make it one of those health conscious ones, please, babe; how do you say it?”

“Spitzer,” Page says as he continues typing….

Page continues working, adding the nuances from Litigatti’s session, as Santina closes the door to her hotel room behind Metofeaz and The Tourist.

Page feels more nervous about being alone with Santina than about the alterations he makes to the story being distributed after each auto-save by Word.

He’s satisfied that the fans, who will turn up at the locations to do their bit by providing the buzz and atmosphere, will know which character to despise and which one to admire.

He stretches his neck muscles as Ms. San Fé—an FBI agent as he keeps reminding himself—sits back down next to him.

“Prove it to me that she means nothing,” Ms. San Fé says as she takes a drink of water from the bottle and then hands it to Page.

“It was nothing; she was a young recruit, and I was bad, and that was all there was to it.” Page looks at the Windows Media file of Genisis and John Lazoo in New York.

“Bad as in lousy or bad boy?” Santina pesters him for an answer, which funnily enough he enjoys because it’s an interaction between two people the Pirate thought had nothing in common.

John Page stands up and walks to the door, where he dims the lights. Then he returns and sits down.

He reaches for the mouse. As he moves it, he feels her hand on his for the second time tonight.

He relaxes as she pushes their hands, moving the cursor to where together they click the play button on Windows Media Player for the file with footage of John Lazoo and Genisis Jones in Central Park, set to music by Diana Krall.

“The Look of Love….”


Polina sees another note as it slides under the door, telling her of the next interview with another family.

Polina watches the LAZOO FILE.

In Central Park, Genisis twirls her hair when Lazoo does something silly. It makes the girl go gooey….

The computer that arrived this morning is a Godsend.

The Network Portal, which gives Polina access to all the information about her new life, and which she waits to come to her in reality, is not what she expected.

There are no reports, no laborious documentation, and no processes that she had imagined. Instead, there are stories and accounts from those who have walked the sometimes lonely path of a Network operative. Their recollections are romantic, zany, and sometimes tragic.

Polina goes to press Ctrl+Alt+Delete to lock her machine as she hears Diana Krall.

“The Look of Love…”

“Love letters straight from your heart…” Polina likes to think that the work the Network uses to distribute its plans and debrief its players worldwide are love letters from the guy to Lavenda.

Eventually, Polina manages to pry herself away from the Conceptualizer Network’s Fundamentals page to head downstairs for her next interview....

Emotive Entitlements

YouTube “The Look of Love” by Diana Krall
Diana Krall

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“Royale with Cheese”


Page opens his birthday gift. The mailman leaves the boy alone as Page Elton reads the letter from the MMD telling Page of his mother’s death.

The agony continues, but the tears dried up a long time ago for Page. He looks around the veranda of the house and decides the wheelchair will do; he takes it and smashes it on the deck, and then again, until the wheels buckle and cracks appear in the wooden floor.

The arm of the chair that has come lose is used to smash the window of his and his brother’s bedroom.

The swinging seat comes loose easily when the enraged kid decides that is his next projectile.

He stops for a moment to catch his breath after the heavy object flies through the window of his dead mother’s room.

He kicks the banister where he and his brother used to sit on either side of their mother as they counted the flowers that have blossomed. As the structure made of 2”x4” wood collapses, he jumps down from the deck to find one of the pieces.

He finds a piece he can wrap his hands around and heads into the house where he moves from room to room, destroying the remains of his sad story.

By sunset, the blood on the kid’s hands covers up the torn skin as the tears finally arrive.

He sits on the cottage steps. Behind him, the place looks as if it’s been shot up by gangsters—chunks are missing from the walls, showing the demolition job Page needed to carry out inside the home he once shared with his mother and his brother, who could also be dead.

He finally hears himself gasp for breath in-between long bouts of groaning tears and cursing. He then tells himself he has to “Harden up,” like James used to tell him right after his brother would win a fight. Or, “Shit happens,” James would tell him right after Janine would discipline them for breaking the rules.

Page Elton stands up and looks down at his clothes, covered in dirt, blood, and tears. Then he begins to feel the pain as his tears drop onto his open cuts that cover his hands….

Tonight, the moon shines in the sky, but not as brightly as the bonfires that rage. When an explosion of gas comes from the barn, Page just watches as the cottage’s thatched roof burns brighter.

Afanasy watches Page for a little while longer, and then he decides to approach the kid after having watched and studied Page’s systematic destruction of his home, even under circumstances where the child was in no frame of mind to think of the most creative way to express his anger.

Page hears him from the way Afanasy is silent—only his body blocks sound—and from Afanasy’s scent on the wind that blows, which the flames obey.

“How’s it?” Page hears Afanasy’s non-threatening voice, and then he hears paper, and Afanasy hands him something.

“I’m not hungry,” the kid says, but Afanasy still holds out the package until the boy takes it from him and unwraps the burger….


Jon Le Mac looks menacing as he leads the crew from NYC through the LA International Airport.

Lazoo looks for signs of his brother the Pirate as John Reyer shakes hands with Litigatti, who appears out of nowhere to join the line.

LMLA-ink in Black Charley Stevonsen salutes Tarantino in Chapter 61 of GO3.

And as if someone had heard the promise made when plans for the Inaugural GUIOPERA were laid, Kool & the Gang and “Jungle Boogie” from Pulp Fiction cut through the ambience of flight delays, aircrafts landing, and the sound of hostesses in high heels making their way to the nearest gate.

“Starbucks,” Lazoo says quietly. “Excuse me?” Litigatti looks like he’s ready to accost John James. “Did you just tell me to get?” Metofeaz smiles as he lassoes the air while LMLA-ink heads for the place where coffee is fountaining and energizing.

John Reyer bows his head as it dawns on him; the song from the part is actually playing on the airport’s speaker system, which makes passengers look at each for the moment, and then they get a glimpse of Litigatti. “One of four men dressed in black suits and black boots will circle his hand in the air for the GAME to begin. Just a minute or two out of your day is all it will take to become a part of history….” is what was written on the orange card that arrived in an orange envelope delivered by a nice courier, wearing an orange uniform.

Le Mac laughs as hostesses smile at him; he gets an elbow from Lazoo for his troubles as DJ now cross-fades the George Baker Selection and “Little Green Bag” from Reservoir Dogs. More hostesses cross their path, bending their knees to show their appreciation for the work they read in-between flights.

Seated in middle of the commotion, Page watches his brother and the NYC crew enter into the coffee lounge. In his lap is someone’s ThinkPad on which Page has hacked into the airport’s mainframe and now has full control of every last system run on the IBM Mainframe.

Inside Starbucks, LMLA-ink is led to the reserved table in the corner.

“Anyone hungry?” Le Mac asks as he looks at a menu. Lazoo pats his flat stomach as he says, “Genisis took care of that.” Litigatti sees something on the TV screen, and then he looks around the place. John Reyer notes Litigatti’s behavior and looks where Litigatti is looking, which is all around them. All the monitors and TV screens have Vince and Jules from Pulp Fiction in the “Royale with Cheese” scene.

Lazoo places a hand across his brow after his brother has shown his face. “No, not hungry,” Litigatti and John Reyer say at the same time, stunned from what they see.

Pulp Fiction by Quentin Tarantino “Royale with Cheese”

Silenced by what they just witnessed firsthand, Page’s appearance, at the end of the table as the monitors go back to normal, gives Lazoo a fright. “Shit, don’t do that!”

“Come on; move over. Just a parting gift,” Page tells John James as the Pirate uses his head to point out Kevin Zealand and Hannibal Ammer outside the window looking for them.

Page’s words echo in Lazoo’s ears, “Just a parting gift….” as they do in Litigatti’s, John Reyer’s, and Le Mac’s.


Polina smiles as she watches a file in The Guy’s record, which the Network has made available to her.

It shows him in a television commercial in what must be The Guy’s new life in New Zealand. He wears a gray suit, not a black one like he used to look dashing in when he would visit her.

He drives a convertible, with two girls in the backseat who laugh as the wind blows through their hair.

And then she clicks on the next record—phone calls to France in his day job for IBM, in which The Guy talks with someone about software he’s involved programming and supporting.

Polina then remembers seeing in Metofeaz’s files calls to someone with a number for a country code she did not recognize.

Polina checks Metofeaz’s files and finds the times of the calls to be immediately after or in some cases before and after The Guy’s work related calls, on an undisclosed number with only the country codes to show the match.

Polina hears the knock at the door, and then she hears “Lights out,” a new rule in the orphanage.

OBPNE Cluster: 0000000002.00

Note: Copy is unedited.

In a time when headlines fade from mind as quickly as the next one appears, LMLA-ink maximises its reach via the GUIOPERA by offering Brands an alternative medium, where the unreal and unrelated coexist in a concoction carefully designed to entertain, enlighten, and enthrall.

Theses days it’s all about the mouse/cursor being dragged to, or pointed at where the eyeball is captivated. Commitment to a brand and their support —instrumental— in creating The New Global Realm is a click.

John Reyer Afamasaga 5:55am Friday, November 26, 2010


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Page looks at himself in the mirror; his unruly hair belies his need for organization and systems that produce a desired outcome.

He looks at the crack in the right hand corner, which the silver has become crumpled, as the door to the bathroom is flung open.

In a drunken stupor, a couple fall over each other as their hands reach for the nearest stall.

John Page, now a member of the SFD Control Unit, but not just any member, is bored with his sleaze-filled world.

PAGE1 operates in both dimensions, depending on where Afanasy sends him to defuse situations.

Page listens to the pair in the stall, wishing they were good at what they do. But all he hears is overacting followed by, “Shit,” and then, “Are you okay?”

He leaves the dirty bathroom to see if everything is all right in the Dive Bar in Vegas.


“Dependability is the reason why you’re here! Take that away, and you’re a liability. And we all know what happens to liabilities….”

John Page listens to the final rev up by Litigatti before they disperse to carry out the plan, which could have as many as three or maybe four outcomes.

Page has his thumb and finger in his eye sockets; his eyes are closed as Ms. San Fé and Zealand get cozy across the table from him while The Tourist and Hannibal do the same. Page closes his eyes, not because he doesn’t want to see the pair across from him, and how they act, but because of how Metofeaz, like The Guy, has held back vital information—who will actually adopt Polina Rada?

Their roles are clearly defined relative to the last story as told by Metofeaz—with no guarantee that the real objective is the same as what he lets on.

Page thinks about John Reyer’s last offer—before he, Lazoo, and Le Mac returned to New York—for Page to play The Guy in the Game. And Page decides he’s better staying put where he is, as John Reyer’s planning and attention to detail, laid out for all to know their parts, would bore the Pirate in no time.

“Be yourselves; that’s all we can depend on….” Litigatti says, and then he hands out passports to the crew.

“K-MUZO, Ms. San Fé, PAGE1, Ammer, Alexvale’s yummy mommy….” he says as he hands The Tourist another character for her to play.


Polina returns from another interview, this time with a family from just around the corner in Moscow. They were nice enough, thinks the seven year old, but somehow the blank looks from them when Polina asked, “Do you have a computer?” turned the tone of the interview.

The Guy’s file and his new identity, which took a cluster of big names in New Zealand and internationally to create, makes interesting reading for Ms. Rada, who never thought anything of the visits from the guy and Lavenda until recently.

She reads through the list of events that took place while Louis V. Gerstner, Jr. was at the helm of IBM, in which The Guy worked unknown as a Team Leader in Big Blue’s Wellington offices in New Zealand.

One of Lou’s first moves when appointed was the de-duplication of processes that led to diminishing forests of paper, something which stuck with The Guy in his stay at IBM and beyond. While he worked hard in his day job, he also appeared in a number of television commercials, a strategy designed by the Network to give its star recruit options in business or in entertainment.

Significant changes happened while The Guy was learning his new trade at the computer giant—IBM pulled the plug on its own PC operating system OS/2 in favor of its former partner Microsoft’s Windows. AT&T bought IBM’s networking division.

Netscape was the browser of the day, on which The Guy and others setup cities online in GeoCities as they spread the word about the new economy. Things looked bright for The Guy in the world of IT, but then The Guy’s mother was diagnosed with cancer.

It was around this same time that Litigatti, who was working his new cover as a consultant setting up Cable TV infrastructure in Europe and the Middle East, contacted The Guy. As Fate would have it, The Guy’s role at IBM was programming GUI (Graphical User Interface) for IBM’s AS/400 Billing Software for Telco’s and Cable TV companies.

The Guy, a normally cool and laid back person, began suffering panic attacks; his anxiety stemmed from the thought of his former life catching up with him. When it brought on insomnia, it prompted visits to the doctor….

Polina closes the browser as she checks her calendar for her next interview with her potential new family….

OBPNE Cluster: 0000000003.00

Note: Copy is unedited.

It spread quickly like a virus; the Internet evolved as Information Technology advanced and in leaps and bounds.

I remember one of Microsoft’s aims over the years, something to the affect of “Give it a heart,” these gadgets and wires that connect us, which we use for business.

I could see Gates and company’s vision, exuding their passion for software, trying to find a way to humanize the binary code, making it accessible so it may “Change Lives.”

Google and Facebook built on one great idea like Microsoft when Bill Gates first set out have done just that.

Along with Mobile phone manufacturers, Search and Social Networking sites continue to keep the Graphical User Interfaces close to our hearts.

But back when it all began, it was like the Wild West.

John Reyer Afamasaga

British Telecom
GeoCities (Wiki)
Netscape (Wiki)
OS/2 (Wiki)
Telecom New Zealand
Windows 98 (Wiki)

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“Man’s got to do what a man’s got to do”


Sometime in the mid to late ’90s….

John Reyer, John James Lazoo, Jon Le Mac, and Metofeaz Litigatti sit in the rental car on Willis Street in Wellington, New Zealand.

They watch The Guy as he exits the building where he works part-time as a telemarketer for a political party canvassing voters prior to New Zealand’s first MMP election, a concept which gives proportional representation to all voters, including minorities, also in practice in Europe.

He looks almost normal, this person who has headed up campaigns. Litigatti plays The Guy’s last three calls on the stereo as they listen to his connotations, and then they read over the script The Guy was given by the party.

“We don’t need him,” Litigatti says as he screws up the paper with the script.

“We may not need him, but the Network needs him,” John Reyer says and Le Mac starts the car.


“It’s been a while.” PAGE1 looks into the skies as he ponders out loud when the next REPRO in The SFD will happen.

“LOVE, TRUST, HONESTY, RESPECT” have to be the moral of the story, which has to be intrinsic to the storyteller before he can make it extrinsic, inspiring others,” Afanasy says.

PAGE1 listens carefully to what the leader of the unit tells the hardened lawman who, back in MMD, had the license to do as he pleased but abused the privilege he was gifted, as the sky darkens and lights appear in the outer atmosphere of the SFD….


Ms. San Fé explains the scene at LA Airport to a room full of her colleagues. The agent on holiday has been called in to work; it was either that or her bosses were going to send in someone else.

The scene—which John Reyer had scripted months before, Metofeaz had rewritten, and finally, John Page had tweaked by adding his touch when he hacked the airport’s computer system—has brought unwanted attention.

“Data—a report outlining the hole in the wall, in the emulation session, and the way the protocols talk to each other—has been sent to Rochester. They did that themselves.” Santina puts on a brave face as she tries to explain that John Reyer, with the help of Lazoo, talked Page into detailing how he had performed the stunt.

“Also air traffic control and flight systems were not affected….”

Santina takes her seat after pleading LMLA-ink’s case.


K-MUZO listens to the meeting from Hannibal Ammer’s suite at the Four Seasons Hotel, as Ammer stands at the window looking at the building where the agent debriefs the Bureau on the debacle.

K-MUZO reaches inside his shirt and yanks something, and then he pulls out the wire, which he tosses into the middle of the room, cutting off Litigatti’s access to what’s going on.

“Nice, but is that how you really feel my friend?” Ammer commends K-MUZO for what he just did.

“It was getting ticklish to be quite honest,” the car salesman from Kansas tells the former CIA agent.

“They’re a cult, with a huge following….” On the speaker, Ms. San Fé continues to spin what LMLA-ink is. “Nothing we can do about that….” Santina continues.


Polina listens to one of The Guy’s first interviews with the Network, when The Guy was in his late teens, as he answers the question, “Who do you admire?”

“Well, let me see. Henry Kissinger, Batman—got to do something about Bruce Wayne’s cross dress though. We have this up-and-comer back home—fat guy but very passionate, fair, and intelligent—Dave Lange; his constituents are relatives of mine. And Bruce Lee. Oh, Ali! Can’t forget Cassius Clay.”

In another question, he is asked why his first vote was for The New Zealand Party, a political party headed up by New Zealand businessman Bob Jones, something he never told his mother when The Guy was a born and bred Socialist. Ironically his mother changed her allegiances to the National Party not long after The Guy returned from the Desert Storm mission, but he remained a socialist.

“Sometimes a man’s got to do what a man’s got to do,” is the cocky candidate’s response.

The New Zealand Party vote in that year’s election swung the election in favor of the social democratic party, the Labor Party.

Polina sees an email, and then another, arrive in her Hotmail inbox. She opens the first one, which tells her that an interview that was to take place with a family from London has been postponed due to flight delays.

The news dampens her spirits a little, but then she tells herself the next will lift them back up again.

The second email, from a couple in the U.S., also advises Ms. Rada, that they will be a few days late due to flight delays….

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“Altiyan Childs had a hard life; people mocked him but he rose up….”

Overseas, Litigatti laughs, and then he pats John Reyer on the back as they listen to The Poet Soldier, as JPS has decided this year’s GUIOPERA will be a worldwide celebration that includes those he’s decided shall be recognized and rewarded for their hospitality and participation in the GAME—antagonists and admirers are winners all the same.

“Somewhere in the world tonight
There’s no fighting….”

The winner of Australian X Factor 2010 Altiyan Childs sings, “Somewhere in the World.”

Polina reaches for her iPhone to find the track….


“I want to intercept it,” PAGE1 tells Afanasy, who shakes his head.

“What’s done is done. Do you think the WARMTH would allow such power?” PAGE1 listens without responding to the rhetorical question.

“So I have to go back in time?” PAGE1 asks, and again Afanasy shakes his head.

“Thought you would’ve learned that lesson from experience,” says Afanasy, looking away as the fiery ball begins its orbit.

“We were both victims—only difference is your shell is still walking around in the MMD.” Afanasy sounds almost envious.

PAGE1 watches the glow from the ball’s tail as it flames through the atmosphere. He tries to calculate in the warped and folding time of the SFD, from when and where the entities flying through the night sky came.

“Figure out whose dream it is, and then you may have a chance of stopping the nightmare….”

Afanasy’s words linger in limbo as PAGE1 gets himself ready for a cull….


“John Page, as in Page 1.” Page gives his name, and then he slides his passport over the counter at Heathrow Airport….

Outside, he waits for a ride as cab drivers overlook him for more affable looking clientele.

A dented, rust-colored Nissan taxi with Toyota hubcaps pulls up in front of him. He sees an orange turban as the driver leans over to wind down the passenger window; he has difficulty with it until he has to push the window down with his hand, causing the window to fall.

“I do know the best curry in London,” the driver says.

“The bobby on the bike has heard the horns and the abuse. He mistakes Page’s driver for a Pakistani…” Page replies.

“Yes, that will bloody do. You’ll never make it in Shakespeare, but you’re here, so we’ll just have to make do,” the driver says as he pushes the door open for Page to hop inside.

Page sits leaning inwards and away from the window that now won’t wind up as he studies the eBook WIPE by John Reyer Afamasaga for the much needed code for his time in London.

Page is here to check out the young car thief to see whether there is any truth in what Litigatti told him about the boy whom Ammer believes is the real Third Pillar of F3quenzor.

If his calculations are correct, Hannibal is on one of the planes now landing, giving Page a jump on Ammer and his story.

“What’s that?” Page asks the driver about the song on the radio.

“Altiyan Childs,” the Bollywood producer says as he turns up the volume.


Lavenda receives a txt message. She sees it’s from Polina. “Somewhere in the World…x.”

Lavenda resists the temptation to respond as she places her phone back under her pillow.

She thinks about The Guy’s decision to open up the story and incorporate everyone. It makes her smile about the careful man most people believe to be otherwise, and how he can create anything he likes using his gift, yet he chooses to use his gift to display in the most humble way possible—by playing a struggling writer who works for a yearly wage that he is capable of making in a second—the human spirit and how it triumphs over adversity.

Lavenda clicks the Real Time Entertainment link as onscreen, The Guy, or The Poet Soldier, steps into the elevator.

Lavenda hears The Poet Soldier’s footsteps in the car park as she exits the browser.

Her phone sounds the arrival of another message from Polina’s iPhone, “I’m Hungry… x.”

Lavenda places the phone under her pillow. She closes her eyes to wish The Poet Soldier luck as she hears the alert for the LATEST UPLOAD, and then Altiyan Childs….

“Somewhere in the World
Someone’s falling in love for the first time…
So take me there…”

Emotive Entitlements

YouTube “Somewhere in the World” by Altiyan Childs
Altiyan Childs

OBPNE Cluster: 0000000004.AU

The end result of any branding exercise is how you are perceived.

In times when it’s better to be infamous than forgotten, it’s a fine balancing act to be whom you set out to be.

By virtue of providing real life support in funds for food and shelter for a struggling writer in Australia, the following brands (4.AU) are recognized for their efforts in the formation of The New Global Realm.

John Reyer Afamasaga

ANZ Bank

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Microsoft Corporation



Afanasy wonders where PAGE1 is going as he walks away.

Afanasy peers through the dark—from the direction PAGE1 walks, it looks like the Pirate his number one agent now, who’s logged as ID 000555, is heading for the hills once again.

For a moment, Afanasy decides that the dependable character will take a turn before he vanishes from sight. But no, the headstrong individual has either got a bee in his bonnet, or he’s walking to some place where he will hopefully lead the citizens who become restless by the minute as they wait for the next big thing, a place that is known as REPRO in The SFD.

“You better hope they’re a heavy sleeper, or some kind of dreamer,” Afanasy calls out as he quickens his step alongside the road, and then he begins to jog to catch up with PAGE1.

PAGE1 casts an eye up into the sky and sees the orbiting ball of fire as it runs along the horizon, lighting up the ranges; behind them lay sandy shores of sprawling beaches—or so PAGE1 hopes.

PAGE1 keeps up the pace as his conscious, or his mind in the MMD’s thermometer, has now confirmed that Afanasy is someone by whom his shell in the MMD had done wrong. The awareness is from how, over time, Afanasy has given him chances. Like when PAGE1 culled a cargo that turned out to be sightseers—because of their bad taste in dreams, the young agent decided. And each time PAGE1 returns from a mission to the MMD, even Afanasy’s greeting can send the mercury beyond boiling point.

“I’m not going to cull this cargo,” PAGE1 warns his superior.

“That’s okay, but then you’ll just have to work twice as hard after they nest and reproduce.” Afanasy’s stride is as easy as PAGE1’s is almost frantic.


“Honk your horn!” Page tells the driver, and then he adds, “Please.”

“Relax.” The driver’s answer to an order puts Page on edge.

After a couple of deep breaths out the window, Page asks, “How long would it have taken going the other way?”

“They would’ve arrived already,” the Bollywood producer replies, as if he’s pleased with what’s happened, which makes Page have to look out the window and continue his deep breathing exercises.

Finally, they pull into the street where the kid and his brother live, and just as Page had feared, a black car, with a driver and Ammer in the passenger seat, pulls away from the address.

“Shit!” Page says as he grabs the orange turban from the driver’s head and holds it in front of his face.

Page holds the headwear in front of him. Now he moves it around to cover his face as he looks behind to see The Tourist in the backseat with the boy.

Page hops out of the car, and then he realizes he still has the turban in his hand, so he tosses it back into the cab through the open window.

“There’s your fare, for nothing,” Page says and then he places his hands on the door and tries to apologize. “Fuck. I’m sorry, you know. I came all this way for a reason. And to lose like that—I can’t forgive myself. It’s not you; it’s me….”

“Divinity looms large in the middle of the night and gives comfort during the day…” Page hears the words, but they’re definitely not coming from the driver who places the turban back on his head and sets it straight in the mirror. They’re coming from somewhere behind him, and they’re in a boy’s voice.

Page stands up straight and clears his throat. “Polina knows an angel from a pain…” John Page says, while looking straight ahead where he can see a boy standing on the door step in the reflection of a parked car across the narrow street. “To sustain a journey from a starting place unknown,” Page hears the driver reply, and then he sees the driver’s face when the taxi driver hops out of the cab and leans on the roof looking at Page and the figure behind him.

“To a destination to be designed, she looks for divinity in the eyes she meets and the lips that speak to her….” Page looks at the Indian driver and then he slowly turns his head to see the kid standing on top of the steps to the house in the story.


“Lay back.
Chill’d in my flow…”

Says Maxwell…

Lavenda strolls through the park; her iPod keeps her company as, in her mind’s eye, she can see the words as they propagate the Internet Scrolls, another name for this year’s installment of John Poet Soldier’s end-to-end saga—The SystemSpectacular—Humanity; she imagines how the world reads one story together, like a family, hopefully creating memories, and making new heroes who will grow up and carry on the word they were reared on, and therefore, nurtured from.

The real John’s citrus-flavored cure for aching hearts and minds eager to establish their own thinking from all around the world is the same color of autumn’s falling leaves that cover Lavenda’s feet. She kicks the leaves, and watches them fly, and somehow she finds the strength still to believe they have enough love to rekindle when he gets out.

A couple in the middle of “A little Sumthin’ Sumthin’,” selfish about their newfound love, laugh about the LATEST UPLOAD as they fall all over each other in the afternoon.

Groups of people, young at heart, and those suffering growing pains, listen to Maxwell in his fro as The Guy down under taps into the psyche of the cool ones—cool being a notion that is not confined to the famous but is freely available to anyone who is willing to heed the cause’s call for TRUFUNK soldiers, whose hearts yearn for LOVE, TRUST, HONESTY & RESPECT.

Again, he’s reached the eve of the last leg of what will now be celebrated forever as the “Months of John”—October, November, and December—from next year on, it has been decided—although it will remain more commonly known as the GUIOPERA.

The leaves fall down and cover Lavenda’s boots. She stops to let the world go by as she readies herself for the meeting in a few days time with LMLA-ink where the ending for this year’s GUIOPERA will be decided.

It will also be the first time she and Rocol Récene, who was once her best friend, will see each other face to face since Lavenda decided to go her own way, a decision Lavenda made back then because of Rocol’s unchanging ways.

“Yeah, man, ah, ha-ha…” Lavenda smiles as she hears her man’s bad boy act to Maxwell as he kicks it in his ’97 Soul classic.

“If it’s cool
We can do
A little sumthin sumthin…”

Emotive Entitlements

YouTube “Sumthin' Sumthin'” by Maxwell

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The cargo of entities speeds across the horizon; its brightness unearths the waking sun.

PAGE1 stands on the sand dunes looking out on the water; the ocean has a calming effect on him.

Afanasy keeps an eye on the cargo. “What’s this all about?” he asks.

When PAGE1 points to his right, Afanasy sees the Villa in Barcelona where he and Silvia spent a magical six months together.

Afanasy looks at the ground as John Page begins to walk toward the Villa.

“Hey!” Afanasy shouts. But Page keeps on going, pretending he doesn’t hear Afanasy….

Afanasy lets the stubborn character go as he sits down on the dunes to figure out what he’s going to have to do to keep the order in SFD, something he had promised John Reyer he would carry out until the day came when Amalgamation would take care of everything when the Dimensions would merge….


Page steps carefully so he does not disturb the cosmic flow. He places a foot on the first step as he hears the boy speak again.

“My name is Alexvale Rokov III. Those who know me well can call me Vale. I like cars and hope that the earth’s natural resources will have enough reserves so we won’t run out of gasoline for the cars.”

The Pirate hears confidence far beyond the kid’s age. Page looks up as he takes another step, and then he looks around to see whether the driver is going to follow him since Page is not sure whether he is well versed enough in etfiction to keep Alexvale talking.

When the driver signals that he’s going to stay put where he is, Page starts to think of a way to spin the scene to buy himself some time till he can refresh his memory and brush up on the original code scribed by Metofeaz, inspired by The Poet Soldier, and written mainly in the voice of Lazoo the Illiterate Poet.

John Page reaches the top step where the kid now stands to the side for Page to enter into the dark house with the dark wood interior.

A Ben Folds-like piano begins to play as Page steps into the house.

“Where are your parents, may I ask?” Page looks down at the wide-eyed boy who watches Page’s every move. Page waits to see whether the kid speaks about life as others know it.

“My brother, my mother, and my father, who is a pilot, have just stepped out for awhile. I suggested they should spend some quality time together away from me so they can console each other over how none of them will be named in the story that I am one of the stars of….”

“Alrighty then,” says Page, looking cross-eyed for a second as the kid bamboozles him.

“Off the record,” Page says, and then he calls for a time-out using his hands.

“Go ahead,” the kid says.

“Did you actually meet your parents, or did they just come and take your brother away?” Page notices there is little furniture—only a sofa in front of a giant TV—and bunk beds in the corner of the hall-sized living area.

“That’s detail. Your name, sir; I missed your name,” says the kid, changing the subject.

“PAGE1,” the Pirate says as he surveys the room for signs of new paint, or fittings—but everything looks original and a tad dusty.

“Wow, you mean the PAGE1?” the kid marvels.

“Yes, siree,” Page replies. “The one and only at your service, Master HEX-V’L.”

Page’s mobile rings. He lets it ring until the kid’s staring at him makes Page feel like he has to answer it.

“PAGE1,” says John Page, who then offers the kid a fake smile as he listens to the caller.

Page places the phone to his chest as he whispers to the kid, “It’s K-MUZO!” which makes the kid’s eyes light up. And then Page goes back to listening to his sidekick until he holds the phone out to the kid.

“Is it really K-MUZO?” the kid whispers as he smiles at the chance to speak to another character from WIPE.

Page holds the phone to his chest. “Well, it’s actually Brad Pitt.” The kid’s face changes.

“Okay, it’s K-MUZO, and he’s holding the K-1Million,” Page says, bringing the kid’s smile back.

Alexvale takes the phone and clears his throat before he holds the phone to his ear.

After a few seconds, he hands the phone back to Page.

“What did he say?” Page asks.

“He says, ‘Spin, Psych out, Hype It Up,’” HEX-V’L states.

PAGE1 looks at the ground as he mutters to himself, “Psych out anyone who is threatened by the possibility that a ‘New Oil’ is available—taking away the power—the old crude has over the world….”

Page hears car doors closing out on the street, “Where’s the back door?” he asks Alexvale, who points somewhere in the corner beyond the bunk beds.

“The cars used to explode when they ran out of fuel; then they became eagles,” PAGE1 says as he walks for the backdoor.

“Hey, that’s one of my lines,” the kid calls out to the Pirate as the front door opens and Hannibal Ammer appears.

“Hey, son.” Alexvale can hear the snarl in Hannibal’s smile.


Lavenda thinks about her and The Guy, as she puts on an old video of them together.

Their times together over the years had been limited to fleeting moments, some of them confined to two people who don’t know each other, slipping pieces of paper to each other in crowded places. At other times, they have been like enemies who know each other better than they know themselves.

Two days, or forty hours—as in “Forty Hour Famine,” an event The Guy has told people back home he is helping to organize—accounts for half of his time away, since he and Lavenda just had to see each other.

In 1988 things were as good as they get for a Network operative; the end of a year three project was in sight. All the marks were behaving as desired; recovery from Black Monday was well underway, meaning bonuses were also on the rise.

Lavenda holds the cushion as she sees Silvia and Afanasy in the video frolicking in tussock.

And then Lavenda sees her own face as The Guy turns the camera on her. “Don’t!” Lavenda threatens him with a teasing and obviously pleasing look, which causes him to put the camera aside.

She hears the rustling and the sound of the sea in the background, and then the noise from them as she hears herself say off camera, “I love you….”

Lavenda presses pause on the remote, and then she buries her face in the cushion until she can hear her muffled sounds as she tries to bury her tears.

“Okay,” Lavenda says as she sits up straight, still hugging the cushion. She begins to laugh at herself through the tears she wipes as she picks up the remote and fast-forwards the video.

She stops fast-forwarding when she sees the moon; she presses play, and then she hugs the cushion tighter than ever.

In this segment, she has the camera. Lavenda sees the real John and Afanasy on the balcony as the two men chat over a beer. And then the camera turns to find Silvia lying back on the couch facing Lavenda.

“Good night
Good night
Sweet baby…”

Lavenda also remembers turning the cam toward the stereo when Ben Folds begins singing “Lullaby.” In the background, she can see The Guy and the moon behind him as the fitting tune surrounds the two couples.

She turns the camera in Silvia’s direction, as the mother to be, which she and Afanasy had announced, looks down at her still flat tummy.

“The world has
More for you,”

Silvia sings along, and so does Lavenda, forgetting the camera can hear her….

Emotive Entitlements

YouTube “Lullaby” by Ben Folds Five
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“Advertising Space”


The real John Reyer Afamasaga, aka The Guy, or The Poet Soldier, sometimes Metofeaz, at other times Lazoo himself, and every once in awhile Le Mac—all depending upon whom the creative force is looking to set up, or whom the former operative is eyeing to expose for good reason, i.e. being weak, evil, or just plain stupid—hangs up the phone.

During the call, The Guy had admitted to his youngest brother Andre Ata Silas, a minister in Sydney, that he was hurt by how Andre had appeared to be playing games during the writing of what will appear on their dad’s headstone.

The Guy had also let his brother know how much he and Victor Tino, the second eldest brother, were looking forward to catching up this Christmas with their sister Shalleen Sulu, a TV producer; her husband Geoffrey, a TV editor; and their sons, Sano and Teddi Sebastian, who live in New Zealand.

Polina Rada smiles over the guile of the man she watches onscreen as he again destroys conflicting viewpoints about why he keeps the story to himself and about himself, refusing to name names, or include others.

Polina plays with paper in front of her as she spots Rocol entering Polina’s new office.

“Just for your information, Alexvale and I, we’re through…” Rocol says as she leans on the doorframe while looking elsewhere.

Polina widens her eyes while still looking at the paper she’s stopped shuffling.

“Uh?” Polina looks at Rocol as Ms Récene eyes up the guy from finance, which makes Rocol roll her eyes as an email from Alexvale arrives in Polina’s inbox.

Subject: “We Need To Talk.”

Polina Silvia Rada, the new head of corporate affairs, as the sign on the door says, has a mandate to expose corporate espionage within the organization, which, on paper, belongs to the person standing in the doorway.

Polina clicks “X” to dispose of Alexvale’s proposal as Rocol says, “Just thought I’d let you know,” and then she saunters off in the direction of the guy from finance.

Polina maximizes the screen with The Guy on it as he gets ready to write Part 2, following the PRELUDE she’s in.

Polina starts to feel emotional again when she sees The Guy has decided to incorporate and rewrite one of her favorite scenes from WIPE.

She smiles as she watches him Google another bad boy combo—this one includes Sir Richard Charles Nicholas Branson and Robbie, from Mr. Williams’ homage to Elvis in which everyone’s favorite clown manages to fit in Marlon Brando, and mention Lisa Marie also.

“There’s no earthly way of knowing….”

Polina begins to smile as her hand already reaches for her mouse and she weighs up the pros and cons of risking her cover by booking a trip to New Zealand this Christmas.

As Polina lands on Virgin Airlines homepage, John Reyer knocks on her door….


“Keep it COOL,” PAGE1 says as he reminds Afanasy of one of The Poet Soldier’s principles for Emotional Techno Fiction, the acronym which stands for one of COOL’s interpretations, “Confuse the Obvious whilst Obeying Lessons”—the exact opposite to KISS.

Jon Pierre Solomon used the many meanings of COOL to run rings around those he came up against. Jon Pierre was said to be the Network’s first operative worthy of note in nearly five hundred years, for recruiting TRUFUNK soldiers and teaching them the ways of a Network operative. The last noted Poet Soldier they say lived around the time of William Shakespeare.

Afanasy looks over PAGE1’s shoulder as he pushes the door to the villa open. Instantly, Afanasy can smell her perfume.

“She’s not here yet,” PAGE1 reminds Afanasy as he senses Afanasy’s anticipation, which the lawman’s discipline has held him back from all this time.

“One entity with the wrong dream inside the exact dream can kill every other dream from here on,” Afanasy says as PAGE1 now closes the door while Afanasy’s words sink in.

“I’m still not going to cull this one,” says PAGE1, not sounding convincing anymore.


PAGE1 leaps the counter, without being caught except by the security cameras. He immediately looks for a disguise as he keeps an eye out for airport security.

When the security men arrive, they scan the place looking for a male—late twenties to early thirties—who appeared possibly to have had a black wig on that he straightened when he landed on the counter’s other side.

Page had skirted the walls, taking some of the cameras out of play and also covering doorways on his way to the back of the office, where security now sees the top of a hostess’ hat in a cubicle.

Scrambling the airport’s radio telephone signal to cut off updates from the control room was an easy job for Page.

Page finishes typing “Wishing Indiscreetly Piercing Eyes.” Then he checks for the nearest printer….

Page wakes when someone sits down next to him. Heathrow Airport’s lounge is busy—far too busy for his liking right at this moment.

He sees security handcuff someone and lead him away. As he rubs the growth on his chin, he sighs with relief that the scene he saw himself in was just a dream; and now, the words he wrote remind him of her—Ms. San Fé.

Speaking of whom—she now appears, exiting one of the restaurants down on the other end. She’s all smiles as she and K-MUZO swing hands on their way to a check-in counter for their flight to Moscow.

“She’s a great actress,” Page hears someone with an Indian accent next to him say as he watches Ms. San Fé place her arm in the loop MUZO makes for her.

The driver straightens his turban; then he clears his throat and sits up straight before he proudly says, “In her sign-off, she circles the first letter of each word to spell her fear—to Wipe.”

“Shhh!” Page tells the driver. “Some lines don’t work in that accent, dude, and that was definitely one of them….”

“Ms. San Fé,” the agent says, sliding her passport over the counter as she looks at K-MUZO.

Santina smiles because she has to. Something tells her that he is here—the Pirate, the entity she has been given orders to decommission. An embargo on all contractors the intelligence agencies have used during the last decade has been enforced; hence, her invitation to play the GAME, setup by the Network itself, to flush out those it doesn’t need anymore or can do without.

John Page, Metofeaz Litigatti, and John Reyer Afamasaga are the top three names on every agent’s list. The next tier under are their recruits: John Lazoo, Jon Le Mac, Kevin Zealand—and the list also includes Polina Rada.

“So, those would be your last words, ah?” the operative from the subcontinent, Indus, asks Page.

Page ignores the question as he still holds firm to his belief that he will be the one to facilitate the connection of the F3quenzor—when he will be a part of a family unit that will provide Polina Rada with the ideal environment for the third pillar to operate her given gift.

“The kid Alexvale was pretty convincing,” the driver reminds Page as the Pirate takes the newspaper out of the driver’s hand and reads it to cover his face as Ms. San Fé and K-MUZO turn around from the check-in counter.

“Convincing means that somewhere along the line, there’s something not so credible about them. The real deal doesn’t have to try and convince you at all. But let’s stay on it to keep Ammer occupied…” Page says as he realizes the newspaper he’s reading is upside down.

Page watches the seemingly happy couple walk off to board their plane. As he looks around, he can see that it’s night time outside; the blur of day and night, the melding of seasons and years, has ceased to mess with the operative’s mind many years ago.

“Alexvale,” Page begins to say, when the driver reminds him. “HEX-V’L” now that The Guy had again failed to show up, adding fuel to rumors another Poet Soldier had been decommissioned as a part of a clean up by the Network. This situation means that all the crew has to work from during this phase of the project is the code passed on to them by The Poet Soldier, who is still alive according to Whimsical or Litigatti, and who claims the eBook WIPE is the code given to him by the reigning Poet Soldier himself.

Page watches as the driver gets up and walks for the counter, and then he gets up and has a good stretch before he heads outside. He sees the green bag the driver has left behind on the seat, and the note….

Page’s hand goes down to his side to check his green bag, containing the LMLA-ink Trilogy, or the script by The Poet Soldier reproduced by Litigatti for the crew to go by.

Yet another take on what it is that they’re doing and the relevance of the work they quote from comes to light.

The spin is just one of the many dizzying twists someone, who actually has to score in a game where the goal posts shift continuously, has to decide upon and lay down his own game, which other players will hopefully find enticing enough to make them change their goals.

Page Elton takes a moment to have a private laugh over how his brother James Elton copes, being illiterate, and then he smiles as he remembers he has Genisis to read to him—like Janine used to do.

Jet engines wind down as the aircraft ends its taxi run. But then it turns back around to begin take off.

Page looks up and sees overhead what he hears being described in a voice that is clear, “Page looks up into the night and sees that Richard Branson has sent one of his airplanes over for sound effects….” John Page listens to deafening raw noise as he senses something special about to go down.

Runway lights cascade as they light the path; then Page hears music that has the same effect as Mr. Robbie Williams pays tribute to The King. The Pirate knows one day he and the crew will redefine the meaning of “Advertising Space.”

The Pirate hears the lyric on the wings of one of capitalism’s mechanisms—Pop Culture—he, Litigatti, and The Guy were schooled to understand how it could be used to deliver desired outcomes:

“…All that’s left
Is Advertising Space…”

Page knows that for him there is no turning back; it’s the way he was programmed by Metofeaz, who was only a kid himself when Page was young. By the time the Network had recruited Page, his sense of right and wrong was purely based upon winning and losing.

Page looks around him; there’s a moment of calm among the roaring engines around him. He coughs to clear his throat as he feels obliged to say a few words.

“‘WOW! The belly of the bird covers the sky as the engines accompany the drum roll.
The best clown says…’”

He hears the automatic doors behind him as they open, and then he sees a family that must be from the East based upon the way they’re dressed. It causes him to continue—undeterred by what first impression he will give the new entrants to the West—as evidenced by how he stands talking to himself:

“A woman in garb pushes a cart with luggage through the automatic sliding doors. Behind her is a husband with their children…”

Inside, the driver smiles for the lovely lady behind the check-out counter as he slips her the money and then he slides her a piece of paper.

Ms. San Fé takes her passport from the staff at the gate while K-MUZO has already moved halfway down the corridor.

Page waves at the children who point at him as their parents lead them away. He sees himself and Polina, and hopefully, Ms. San Fé—since she is written in the script. How it will happen escapes him for now, as he warms to his role,

“Page snorts a tear for his only fear as he sniffs back the past…”

The driver turns and walks from the counter as he waits for the lovely lady to do what she’s been paid to do.

“Attention, all passengers.” The lovely lady sounds the same to everyone.

“Attention, all passengers, Ms. Santina San Fé….”

Santina hears her name. So does K-MUZO, who stops and turns around.

“…Ms. San Fé.” “Wishing Indiscreetly Piercing Eyes.” Ms. San Fé, Mr. John Page is honored to grant your wish….


As Lavenda peeps through the glass, she sees it is Tone Horroh at the door. When she opens the door, this person she has come to like over the years steps inside.

He looks at the screen with The Guy on it who writes the scene they’re in. And then Lavenda turns off the screen.

Lavenda still feels awkward about the brief try she had at seeing whether the name he goes by and his looks could somehow equate to the real thing.

“He means business,” says Tone, stating what they all know.

Mr. Horroh, as he’s still sometimes known when things get out of hand, picks up the remote and brings back the image of the person who changed his life.

When Tone’s phone rings, he looks at it and sees “LAZOO.”

“James, what’s up?” The former hitman sounds on edge from trying to come up with a way to keep his crew together in light of the pending bomb; he knows The Guy will explode in any one of the remaining chapters of this year’s GUIOPERA.

“Yeah, he’s dropping bombs alright.” Tone’s tone changes as he talks to his right hand man, James Elton, which contradicts his behavior before the phone call.

When he hangs up, Tone Horroh looks at Lavenda, waiting to see whether the person who knows The Guy better than anyone else in the world will talk to The Guy to find out at least his reason for why Afanasy’s death has become his primary focus.

Lavenda says nothing as she hears the keys on screen, which seem only to add to Tone Horroh’s woes. After a few minutes—in which Lavenda, a trained operative, and the streetwise guy, who is wealthier than most of Forbes top 100 richest men, just look at each other—Tone Horroh decides it’s time to leave.

Lavenda closes the door and leans back upon it; she tries to assess the state of the game as she runs over the story thus far and the elements of the end-to-end saga, or what The Poet Soldier refers to as “Pressure Points: places where only reality can be conceived by the audience….”

She recalls a promise The Guy made to her, “I do this so I can be a writer, so we can be with each other every moment….”

Lavenda ponders whether this is the end of his mission as she recalls his explanation for one of his methods, “In every dream or nightmare there comes a time where the reality is so close to inside the dream that you wake from it, saying, ‘Damn, it’s over,’ or ‘Thank God it was only a dream….’”

She hears The Guy on screen; the sound of his keyboard is a prelude to the backing track he’s decided on for the LATEST UPLOAD.

Then Lavenda reads through Part 3, confirming the end is nigh when she sees Tone Horroh has appeared in a scene as himself, with his own thoughts, and not The Guy’s.

She is not sure whether the whole story has been shared with Polina, who now txts her:

“I seen your daughter—boy she looks a lot like you.”

Emotive Entitlements

YouTube “Advertising Space” by Robbie Williams
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“Never ever…call me by that name.”


The Guy watches Tone Horroh, an exemplarily leader, as he sits at the head of the boardroom table.

John Reyer studies on screen the former hit man’s reaction to being stripped of the name he’s cloaked himself with for most of his adult life.

Tone Horroh’s orders on the Desert Storm mission were twofold from different sources. And he could be forgiven for being young, or still going through the transition from paid killer to Network Operative, who must uphold the law, regardless of for whom he works.

Darren La Hood, a film student whom Horroh used to bridge the gap between the street and those they needed to impress, has managed to keep his nose clean; same with James Elton who grew up behind bars.

Polina walks into the room and heads for the front room where she turns the screen on so they can see the text for themselves.

“It was bound to happen. All we can do now is play our parts,” says Ms. Rada, pausing as Rocol enters into the meeting.

“The late Rocol Récene—that has a ring to it.” Polina points to a seat for Rocol to sit.

The Guy watches the looks on their faces as Litigatti enters the boardroom.

Darren La Hood reaches for his glass of water as Tone Horroh puts on a brave face while James Elton can’t hack it. “Fuck this shit!” James says, and then he storms out, bumping Metofeaz with his shoulder.

Litigatti does what he normally does, smiling as he walks to the front of the room where he places a hand on Polina’s shoulder for her to take a seat.

“New lives for us and new beginnings. That’s all this is….” Metofeaz feels for Tone Horroh as James Elton rejoins them, somewhat calmer, but still emotional.

“No one can touch the story!” Litigatti points out a possible reason why they have been relieved of their duties.

“Seven men, their tongues cut out?” Metofeaz pauses.

He looks at Darren La Hood, and then James, and lastly at Tone Horroh.

Tone Horroh is stricken and stunned by what he hears. Litigatti has turned on him.

Horroh recalls a passage from Chapter 52 of The SystemSpectacular—which was meant to be about Polina learning the truth about her beginnings in which John Reyer, the Surrogate Author for The Guy, pities others: “John Reyer finds comfort in the idea that The Guy’s enemies play The Guy at their own peril….”

The only comfort Tone Horroh can scourge is from the fact that the chapter was “Unproofed, and uncut by the knife in the hands of an editor,” or unedited. Tone considers approaching Tyler for his help.

“Never ever…call me by that name.” The Guy whips Litigatti across the face. Then he cocks the weapon against Tone Horroh’s forehead. Tone recalls the scene from CHAPTER 17 “Controversy” PART 1….


Page sits on the balcony railing to watch the waves come in and then roll away. The carol he can hear must mean another year has come and gone again….

Somewhere in the duplicity of the SFD, The Guy—dressed for a hit in black CHARLEY STEVONSEN, a 40-caliber Glock next to his heart, and his silver revolver ready in his right boot—looks up into the clear sky and chooses a white piping of fluffy cloud to navigate his way toward his next target.

He smiles at himself through the RayBans in the rearview mirror as he steers the convertible onto the highway. The dust in the rearview mirror falls away as the woman standing on the side of the highway comes into view.

“She’s going to want to chat,” he tells himself as his foot eases off the gas and finds the brake.

As she looks at him, it seems as if her dreams have come true.

“Hey, the car’s stolen, and I’m madly in love with another woman….” His words fall flat when the woman who says her name is “Lavenda.” Her luscious way and smile coincides with the sound of music, and then the lyric,

“I’m driving home for Christmas; need to get my feet on holy ground…”

The Guy smiles and all his steely determination subsides as she slides into the front seat and up next to him.

He steps on the accelerator, pushing it as far as it can go, as he feels the engine’s force; then he lets his foot on the clutch slip off the pedal.

He lets the tail of the car do its thing until there’s enough smoke to cover the past. Lavenda looks behind them and smiles when he straightens the story up, and the car sets sail down the highway.

“Soon there’ll be a freeway….”


Page leans out the window as the cab gets itself into a jam. London’s a nice gray—the melancholic atmos receives the finishing touches with the Chris Rea track on Radio 1, “Driving Home for Christmas.”

The red tinsel shop windows and white tapestry on the hems of Santa’s helpers’ skirts set the scene. A group of helpers in white leather boots and green pom poms shake them. “We love LMLA-ink.” Everyone hears the chant as London comes alive.

John Page, with nearly half his body out the window, shouts back at the fans, “Santa’s alive!” Then he gets back in the car. “How did that sound?” he asks as he pulls the mirror in his direction.

“Stupid? If I looked stupid, then we have issues, but if it just sounded stupid, void of who delivered it, then that’s okay….” Page mutters as he looks in the mirror.

When they look up, they see the sign as the DJ on the radio gets into the scene. “Trafalgar Square is jammed. The Coca-Cola sign seems happy with the way its red syrup spills onto the WIPE emblem. The music is here, too….”

The traffic frees up, and as the rust-colored cab pulls away, the Pirate winks at their cheerleaders, their fans from London, who begin to run to keep up with the taxi as the Coke ad now shows the real Santa in red as dreamed up by the twentieth century’s biggest brand….


Darren La Hood from LA waits outside SIL HOUSE Café in New York City, out of sight from Feeaz Fontain inside the window.

He waits for Tone Horroh, an illegal immigrant from Western Samoa since back in the late ’60s when his Puerto Rican mother fled his Samoan father.

His name—Tone Horroh—was earned by the time the kid from nowhere had turned sixteen, donned by Marcellus Wallace, who found the infant on his doorstep.

Inside under the arch logo, Metofeaz Litigatti reads from the menu he knows by heart as he sees James Elton and Genisis Jones walk by.

Lavenda Stevonsen hops out of a cab across the street as Rocol Récene, Hannibal Ammer, and Alexvale Rokov III hop out of the limo parked down the street.

Polina looks at Metofeaz, who holds up a hand to let her know everything is going to be okay for Polina at least, confirmed by the txt message both of them receive from The Guy. “Shit happens….lucky you 2 r not in a Kangaroo court….God bless.”

Lavenda sees the downcast mood of those who were once celebrated heroes in the story as they enter the doors of SIL HOUSE café, which they made famous.

First they sense it, and then they hear what every other mobile phone user on the planet hears.

Phones begin to vibrate on tables, and on the streets of New York, London, Paris, Rome, and in Brisbane, Australia, where the code is being written.

Tone Horroh swallows his pride since at first he believed it would be Tyler coming to the rescue. James Elton looks straight ahead as Genisis keeps up appearances for the couple, while La Hood ignores the alert for the LATEST UPLOAD.

Polina’s smile at seeing Lavenda again is superseded by Metofeaz’s when he tells Simon behind the counter, “Turn it up! The Poet Soldier is driving home for Christmas….”

“…with a thousand memories…”

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The Guy’s response to the Facebook notification that K-MANTONIO is still alive is heard throughout the neighborhood.

John Reyer Afamasaga had all but given up hope that a TRUFUNK soldier whom The Poet Soldier had recruited during his reincarnation would decide to make contact.

Polina laughs as onscreen The Guy continues the organization’s restructure.

The Guy begins to rally his characters for a new phase in etfiction. The characters include K-MANTONIO from the AMD, Reddy Roland Ray also recruited by The Poet Soldier when R3 was only a toddler, and Reddy’s little brother Nano, with whom he will meet up this Christmas.


Lavenda watches as The Guy rounds the front of the car. He exits another dive bar and the body count continues to rise.

A man in a gray suit hands him a wad of cash, and then he shakes The Guy’s hand as another man appears, wearing a pinstripe suit, who whispers something in The Guy’s ear.

The Guy walks down the middle of the street as gangsters who have broken the code of silence lurk in the shadows. He points the Glock in one direction and uses his back-up piece to take out stool pigeons and rats to his right.

The Guy displays bat-like powers in the darkness of the criminal world, and as a soldier, he does his duty, which calls for tough measures to ensure the Network and its affiliates uphold its law. He’s in the eastern states of the U.S. to tidy up a mess that could have led to a war in the underworld. During the two day raid, he single-handedly, and without so much as a whisper, cleans up all the scum in someone else’s GAME, and then returns to nowhere.

The Guy looks relaxed as he takes the cloth, wipes the Glock, and then unscrews the silencer as he comes clean….

Page sees the dust in the distance, alerting him of company….


“Pull up alongside him,” Page tells the driver to try and catch up to the Silver Range Rover as it swerves to the right.

“Sorry, that thing has horses; this has a singer sewing motor,” says the driver, his tone the same when he is in a state of alarm as when he is singing praises.

Alexvale weaves the stolen vehicle in and out of traffic on London’s M1.

“Kid’s a show off. Bet you your favorite playmate’s melon cans that he’s heading for the school bus.…” Page shakes his head.

“…like the gap he now eyes in between the school bus and the semi-trailer. He thinks how he could never counter the drag of the games his brother played as he rolls with the swerve of the four-wheel-drive.” The words roll off PAGE1’s tongue now as they did his mind.

Page begins to see double until the driver’s voice snaps him out of it.

“Look who’s talking. I remember a time….” The driver stops when Page looks at him in such a way that he gets the message.

Inside the vehicle in question, Alexvale and his curly mop bounce as the little car thief eyes a gaping hole, the size of a mini, which will have to grow very quickly in accordance with the kid’s appetite for speed plus danger. He feels the power at the ends of his limbs, and then he zones out as he attempts the hair-raising feat, using the script to WIPE away any doubt about his ability, which the child is not aware requires drivers in the cars around him to accommodate him if he is to show that ability.

“Alexvale laughs to himself, but out loud so he can hear for himself that this is real. He laughs at the music the owner of the brand-new Range Rover listens to. The briefcase he sat on could well house a melting, smoking tape-recorder giving orders to perform a mission impossible….”

“Man, this is going to be one heck of a project,” Page exasperates as he cowers from how the kid only just slices through the hole.

Page continues to vent. “We have a twelve year old who thinks he’s Tom Cruise. His dad thinks he’s Kevin Bacon in Sleepers, and his mother, Mother Teresa played by Marilyn Monroe, played by Roseanne Barr and Courtney Love’s lovechild, a regular on Jerry Springer….”

The driver eyes the flashing blue lights in the rearview mirror, causing Page to turn to see that the fuzz has been advised of Alexvale on another of his binges.

The episodes began when Alexvale was just eleven years old, not long after he and his mute brother were dumped in Spain after Network Operatives scarped after a mission went horribly wrong. The Kid’s rampages can sometimes take as long as three days, filled with non-stop thieving of luxury cars he takes on joy rides, then returns, miraculously without a scratch, to where he picked them up. The owners will only notice a missing tank of fuel the next time they hop inside their prized possessions.


“The gift of life?” The shopkeeper gives him a puzzled look. “Do you stock the gift of life?” And then his smile appears, and the lady behind the counter begins to laugh as she remembers to whom she’s talking as The Guy rounds up the smokes on the counter he knows he has to give up.

As he exits the store, he looks left and then right, as the only thing on his mind is the work, or the end-to-end saga. He sees a woman who looks his way, and then he tells himself, “She feels sorry for you, dude. Eyes front….”

The Guy walks uphill as he ponders what Tone Horroh will do. He then tells himself Litigatti will not let him down.

And then another woman, his type, smiles at him, “You’re too weird for her, dude. She wants a mortgage, but all you want to do is holiday in the forever oasis, make love in the afternoon, and live in a cloud called love….But she does have a beaut bum….”

As he walks past the café, he waves to the crew who brew his coffee for him, and then he turns down the Mediterranean-styled alley on his way to his desk job.

The Poet Soldier hears Peter Jackson’s name as The Guy runs through the treatment he’s given this GUIOPERA, and he dreams of another fairytale ending, which includes working with one of the film industry’s maestros in a homegrown production of the end-to-end saga.

The option is the most viable one as he reads on a daily basis about how Rats become their own worst enemies when they seek to discredit those involved in what normal everyday people see as entertainment and not the hard and dangerous work that it is. The leaks, which name people for when they did what they did, was for valid and admirable reasons, and that their efforts and those who died for the cause should make headlines for selling ad space is disgraceful, The Guy tells himself.

The Guy shivers as he thinks of the sleazy types to whom the Internet has given a platform, not to be mistaken for genuine whistleblowers who act out their purposes in life, and in being so brave, save lives.

And if all The Guy’s Intel is even only 99 percent correct, he just might be able to walk away from it all with his head held high.

The Guy collects the collage of data from news stories across a number of sites whose writers and editors are not aware carry vital information for The Guy.

The Network’s codes are generated with the help of server caching, datelines, ad placements, and then seemingly random searches on Google, and the spam The Guy receives at certain times of the day.

The intelligence community by now would have figured out who’s who. The boards of the large corporations involved back in the day would have turned over, or at least the voting majority back then would no longer exist.

All this means The Guy may have written the perfect ending, in which he is just a writer and all of the above is just blah, blah, blah….And The Poet Soldier and The Hobbit Master together might be able to create some of their own magic in Windy Wellington sometime in the not too distant future….

John Reyer Afamasaga hears the sugary song in his head, the one he programmed this morning to keep his mood on an even keel as he takes another risk, one of the bigger ones he’s dared to take as word has spread that the author is on the verge of breaking up his Fab Four. Or has he already inserted an exit for Tone Horroh to find, so the hitman can keep the crew together?

He deactivates the account belonging to John Reyer Afamasaga where friends and family post nice, honest, and sometimes funny comments on their walls as he reactivates the account in Metofeaz Litigatti’s name.

The Guy looks at the Facebook app as he checks that a woman is not from Denmark and then clicks “Yes” on another profile picture on the application, “Are You Interested?” Without such social networking sites he’d have almost zero human interaction.

He waits for someone to add him as a friend, someone who plays the GAME for reasons he is unaware, which would more than likely hurt his feelings, but it is also his own doing since the GAME he designed has turned on its creator. He searches for someone he can talk to, anyone for that matter, as he tries to keep a handle on everything—The Plot, the ending, and above all the truth Polina Rada deserves to know—as the story has more or less blown up in his face, that of Metofeaz Litigatti, his Facebook profile picture….

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PAGE1 sees another car in the distance. Behind him on the balcony, Silvia dances in the most provocative way he can imagine. It’s almost like there’s a spotlight made from an energy source that surrounds her, signaling out someone else’s woman, as Silvia dances with her arms crossed in the air, making Page feel guilty from just having laid eyes on her and her moves.

“SloLove”—the name of the tune says the groove is perfect for the way Silvia works her body. On top of that, Silvia’s tan complexion and honey smile cause the Pirate to look out to sea, and then down at the crowd sprawled out over the property, blessed by the atmos, and the sun-kissed location as the sun sets.

He looks back behind him to see the German heiress behind Silvia smiling at him as she entertains her friends whom she flew in on her private jet.

Metofeaz stands behind the wealthy girl. Litigatti’s smile somehow pales in comparison to that of Silvia, who now smiles at Page, while Litigatti points down to the businessman’s daughter to whom he’s talking about help for a project Litigatti doesn’t want the Network to fork out for. PAGE1 looks away again.

Beneath the balcony and chatting with The Guy is Afanasy, Silvia’s man and a producer.

The Guy; some say is a handler, the new fixer as the young guy is known.

Decommissioning liabilities is just one of The Guy’s fortes. Planning long-term strategies and pulling off the impossible complete the candidate who is also known for his discipline on top of his hand-to-hand combat and expertise in weaponry, not to mention his base talent, perception, and psychic ability. The kid from nowhere had been deemed a master of all the aforementioned by the Network before the Samoan boy had reached the age of nineteen.

Standing in a group behind Afanasy is a screen siren Page grew up wanting. PAGE1 smiles at the famous actress, whom Litigatti is supposedly seeing. The older woman from Europe has that look in her eyes that makes Page nervous.

The black Porsche pulls up, and then out of the 911 hops Tone Horroh; his appearance makes PAGE1 even more nervy since the contractor, with whom Metofeaz had words regarding Page’s name being on the hitman’s list, looks up at him.

PAGE1 looks around for Metofeaz, and then he sees Litigatti appear down below him.

The Guy, as Metofeaz has advised everyone to refer to the new guy, shakes Tone Horroh’s hand when the LA contractor for all the big jobs on the West Coast says, “John Reyer, pleased to meet you….”

Unsubstantiated reports on how the new guy is Tone Horroh’s equivalent on the East Coast seem to need no further confirmation as the two shake hands, while Metofeaz looks on with a forced smile he lets go when he looks up at Page on the balcony….

PAGE1 looks at the two guys and wonders how two people with the same heritage stemming from an island in the Pacific with a population less than most cities in the U.S. could end up mirroring each other in the proposed “New American Dream,” Litigatti has advised Page the new guy has already written for the crew.


“Give me a pash, will ya? Make it look authentic. You know—lust, trucks, bone lasses, and suspect deviants-like…” Ammer says to the woman whose face shows her immense disgust for the person she has to touch in the pending scene.

“That won’t be necessary, sir; just your signature here, and then you can see your son….” The constable slides through the opening the clipboard with the form attached for Hannibal to sign.

“I was talking to her,” the former CIA agent says to the female officer behind the glass.

“He’d probably take one from you through the glass,” The Tourist chimes in as she brushes imaginary particles of dust from Ammer’s suit.

“In fact, he’d probably take it over that thing; what’s it called?” The Tourist pauses and then she puts a finger in her mouth. “The Interject?” The Tourist keeps a straight face.

“I think you’ll find that it’s the Internet. And yes, there are places on the Internet where virtual fantasies can be realized by all kinds.” The police officer’s accent makes what she says even more hilarious.

“Are you two finished?” Ammer looks at both women, and then he throws out his left arm to ready himself to sign his name….


Zoop, arguably the finest thief on the planet, enters into the old bar in China Town; the place is packed. Charley Stevonsen models are out in force to dispel the myth started by rumors that LMLA-ink will go into receivership any day now.

“James!” Zoop says in almost a whisper as he appears behind James Elton, the original confidence man they call Lazoo. Zoop, a kindred spirit, and just as important, a handy guy to have around, touches shoulders with James as they clasp each other’s hands.

Further down the bar, Litigatti lassoes the air, and then he makes a smile with his fingers at James. “Got yours coming, my friend,” James Elton says under his breath. Zoop watches James, and then he tells James, “Handle it or you won’t be around to enjoy the spoils….”

“Threat? Or one of The Guy’s meanderings?” asks James Elton as he looks Zoop in the eye. “Health and safety tip to be honest,” says Zoop, looking away as he spots Lavenda, who will want to know what’s going on.

Zoop nods at Litigatti to let Metofeaz know he’s only a facilitator, offering advice to James Elton, an intelligent and brave individual with a heart of gold that James and Page Elton, Janine’s boys, share. Litigatti nods back in respect of one of the original crew he and The Guy had wanted before the Network had listened to Ammer’s idea of taking in someone whose only claim to fame back then was being a hired killer, unlike the crew Litigatti and The Guy had in mind, in which disposing of deceitful characters was viewed as just one of the many skills of the Network Operative.

Lavenda spots him as Zoop retreats. Zoop is known as the Zurich Teller for his uncanny skill at handing out money to those who hire the one-time computer programmer to design master plans for distilling wealth by whatever means, not including working for it.

By the time Lavenda reaches the front door, she almost gives up on opening it to see whether he’s still outside.

She does open it, however, but in the distance, all she sees is his hand as it signs when he lassoes the atmos.

Inside, the party continues. Tone continues the act as he toasts on screen The Guy, who has just sent one of his exponents to show he’s serious. The crowd screams as Da Hood, up on the stage under the screen, lassoes the air before he points above at The Guy, as Le Mac mixes in Zoop’s theme song.

Tone hears the name, “John Reyer,” which makes him sweat, and then he feels the chill from seeing Zoop and thinking about what the Zurich Teller might do to the fortune Tone Horroh has amassed from the name.

He sees Lavenda reappear through the front door, and then he looks at Litigatti staring back at him, and he looks at the mobile phone he has in hand, with the name “Marcellus Wallace,” selected.

He thinks about pressing “OK,” until the phone vibrates, giving him a fright.

“LATEST UPLOAD!” The coined phrase is heard just beneath the music from Janet Jackson.

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“Our market is changing, brother.”


Page leans against the door of the bedroom, watching and listening to how it’s going to go down.

Metofeaz stands in the middle of the room since he does all the talking. Seated on the sides of the bed are Tone Horroh on the left, and The Guy on the right, their backs almost turned to each other, and Afanasy in the middle facing Litigatti.

“This is by no means the formation we’re going to present to the stakeholders. But now is the time to stand up and present your story so we can get an idea of who thinks they’re special enough to be the catalyst….”

Page likes the way Litigatti probes for their responses and calculates correctly that Tone Horroh will keep his mouth shut since he’s new to this sort of GAME, as will The Guy, whom Litigatti asked for as word has it that he, like Metofeaz, also was trained by Jon Pierre Solomon.

The Guy keeps quiet, but for different reasons, the most likely being, he’s already planning how Litigatti and all those around him will be kept under control. Each thought, action, and interaction The Guy accounts for in his story that he will soon unfold.

Afanasy raises his hand. “May I?” he asks.

“Go ahead,” says Litigatti, who swaps seats with Afanasy as he gets up to speak his mind.

“Human trafficking is on the rise; my aim is to stop it….”

Page looks at Afanasy and then at The Guy, who stops looking at the ground to look at Afanasy, who lays his idea on the line.

“Have you considered that Silvia is already working on the inside?” Litigatti points out. “And can you separate what emotion you may have about your cause due to your relationship with Silvia, from the detail?”

Page hears the knock on the door he leans against, and then someone tries to open it. Page turns around and holds the handle, ensuring the person won’t be able to push the door beyond the mark where he places his foot.

It’s Silvia. Page sees her eyes through the gap as he hears Afanasy telling the crew of his plan to rescue Silvia from her life as a stripper in London.

Silvia licks her lips slowly, looking like she’s ready to devour something. Page pulls himself together to ask her, “Yeah?” He can’t help but smile at her as she looks Page up and down through the space where they look at each other.

“Hannibal’s on line one,” Silvia says in her accent, and Page has to close the door immediately before things get out of hand….


“The thing about Ammer is he’s able to hang in there, like a cockroach….” Page shares his thoughts on Hannibal as Ammer hops out of the black car with Alexvale, his brother, and The Tourist.

“Now that you mention it, he does bear that resemblance,” the driver agrees with Page as they watch Ammer and his new family return from the cop station with Alexvale.

Page shakes his head, laughing, as Alexvale springs into action the minute his feet touch the pavement.

“Which one of you chaps is Mr. Hammer?” he calls out to the workmen busy refurbishing the house. They look down from the scaffolding at the cheeky boy, and then decide to play along as they all look at Alexvale’s mother.

“The one who went through my mother’s knickers’ drawer while we were out?”

The men’s laughter can be heard all the way down the street as Alexvale gets a cuddle for his trouble from his new mother, “Sharon.” The Tourist looks up at the men, “Sharon Smith!” Alexvale calls out.

“That makes me Alexvale Rokov-Smith III….”


Polina and her twin sister Missy sit in the last booth, as Tone Horroh, James Elton, and Darren La Hood—as John Reyer, John Lazoo, and Jon Le Mac—give their farewells to the last of the guests at the front door.

Behind the bar, Metofeaz pours himself a drink, his first for the night, as Rocol appears next to him.

In the next booth, Alexvale is drunk and has forgotten all he said to Polina earlier in the evening about how he’s changed; he again tries to hit on Lavenda, who first looks at him, and then when his head drops, she looks around him at Polina with a sorry look on her face.

Arley Evon, the girl’s mother, announces she’s had enough for the night as Rocol places a hand on Litigatti’s shoulder.

In another booth, Ammer talks on his phone while The Tourist is busy on Facebook.

“I’m for real; we’re taking the company over. Horroh should’ve known better. His share under John Reyer’s name plus what I own, and the majority of the board will leave any opposition with no chance. The Guy says ‘Get in behind or be pushed.’”

Litigatti watches Arley as she walks past. Rocol’s hand falls off Litigatti’s shoulder as Metofeaz points to the last booth for Tone, James, and La Hood to go to.

In the last booth, Missy makes way for Litigatti by leaving to see Lavenda in the next booth. Alexvale has fallen asleep, so Lavenda has to push his head off her shoulder.

Polina reaches for the ThinkPad and opens the lid for the light to come on as Litigatti sits down.

“Our market is changing brother,” Metofeaz says as the three dejected ones sit themselves down in the booth to face the music yet again.

“Now where have I heard that before?” asks Litigatti.

Polina, keeps her head down as she continues to type, hopefully adding sting to Litigatti’s attack on the pretenders Polina has uncovered in her role as head of corporate investigations.

Litigatti looks at Polina who says, “July 7, 2001. SESSION: 100018255 Metofeaz Litigatti walks,” to return their attention back to one of LMLA-ink’s sessions.

Onscreen, the meat of the session appears as The Guy italicizes it for the GUIOPERA:

“John Reyer thinks it through before he eventually gets it out. ‘I think sleaze is good when the environment or location dictates, or when it’s because of character trait. But when it’s because you think it’s sexy, it’s vulgar attracting unwanted attention. Our market is changing brother….’”

Tone Horroh does not know where to look.

“Exits are as follow.” Litigatti pauses, and so does Polina. “Actually, I want you to read it for yourselves, starting with you James.” Metofeaz waits. And then he smashes his fist down on the table when James hesitates….

Polina bites her lip as she feels for the players; no one had explained to her yet why they had been targeted when she was given information leading to circumstantial evidence tying the three to corporate espionage for passing on information about the story via players who were sent to infiltrate LMLA-ink.

But Polina remains firm, as she stands true to her belief that The Guy would never do anything to harm her, or to affect due process in delivering the truth.

Polina considers the possibility that Litigatti is punishing Tone, James, and La Hood for their weakness when they couldn’t back him up as writers, allowing The Guy to wrestle from them the storyline in which they all will end up with egg on their faces….

Or, another one is when The Guy and Litigatti, following 9/11, had come out of hiding to re-launch the Network, giving the intelligence community a run for its money—doing so would keep everyone on their toes, ensuring such a disaster will never happen again.

Or, the storyteller of our time is just up to one of his tricks again as he dumbfounds his critics while he pleases his loyal fans….

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“MARZ & A”

“Metofeaz, Afamasaga, Rada, Zoop & Associates”


Metofeaz looks at the flashing light on the phone and then at Page, suggesting he pick it up.

Page steps forward, bowing his head as Litigatti has told him to do when walking past The Guy or Tone Horroh.

Page picks up the phone. “Hello?” And then he listens.

“He wants to speak with you,” Page hands Tone Horroh the phone, but Metofeaz grabs it.

“You haven’t met Zoop yet,” Litigatti says into the phone, and then he holds the mouthpiece and says to Tone, “No disrespect, but there’s a process.”

Tone feels a bit embarrassed as he looks around the room. He sees The Guy looking at the ground as he nods his head at what Metofeaz just said.

ALAZ-ink was what The Guy was thinking—or if Litigatti’s younger brother were good enough, which he should be, ALZAP-ink for Afamasaga, Litigatti, Zoop, Afanasy, & Page would be the formation he would use to present the story to cloak any operation, be it large, small, corporate, government, or private.

The fact is Hannibal Ammer, their contact with the big boys at the intelligence agencies, stands in the way of what The Guy and Litigatti know will work.


“Polina Rada.” Lina says her name in the mirror on the morning of the interview with Mr. & Mrs. San Fé from America.

She sees the neat pile of letters on the bed, the ones from Alexvale in London, which include her poem, the paper dart unfolded.

She sees in the mirror that an email has arrived; she can tell it’s from the Network from the sound bite she’s linked with the sender.

She quickly rushes over and opens the email. She smiles as she reads the message....

To Doris Day, the most American of All American Girls, Lina.

Good Luck. This is it!

Polina looks at the Windows Media File—“Que Sera, Sera.”

She bites her lip from smiling, and then she places the cursor over the icon, closes her eyes, and left-clicks the mouse….


Tone Horroh reads the email outlining the liquidation period, December 26th 2010—December 31st 2010, during which time liquidators have been assigned the task of assuring the annuitant will receive an undisclosed amount.

He reads on to see the name of the organization that will continue the work for the Network.

“MARZ & A,” which stands for Metofeaz, Afamasaga, Rada, Zoop & Associates . He tells himself the names around Afamasaga’s who has decided he will have a hands-on role in the organization as of the new year, and Litigatti will end up the same as he, James Elton, Darren La Hood, Rocol Récene, Hannibal Ammer, Alexvale, and etcetera, have.

Polina knocks on the door of the boardroom. “May I?” Polina asks. Tone Horroh pulls out the chair next to him for her to sit down.

“If it’s any consolation, LAZOO 2010 Kindle eBook is the first product by MARZ & A.” Tone’s reaction can be best described as mixed as he smiles while he’s also flabbergasted by Polina, who pulls one of his most favorite moves on someone who has done him wrong, by antagonizing him with what appears to be empathy, only to rub further the person’s face in his misery.

“I think we’re extremely lucky the Network decided to change its preferred supplier of pest extermination and cleaning services. Don’t you?” Polina says as she reaches for the remote, and then she brings The Guy up on screen as he confirms the scene they’re in.

“Didn’t have to be this way, mate….” Tone sees the message in the actual copy. “Just make sure no ill feeling spills onto the streets, or else, much more than your phony names will be liquidated….You hear?”

Polina leaves him be as Tone Horroh starts to feel intimidated, something that would’ve been laughed at a few years back.

“Make sure no wipes are left in that en suite,” Polina says out loud for the staff to hear as she passes Rocol in the office.

“And all Botox bills dating back to when I say will not be paid expenses….” Ms. Rada turns to let Rocol know the end of her career is here.

Polina reaches her office and enters it, closing the door behind her. And then she has to find her water bottle to take a much needed drink.

As she runs over her lines, they all just become the mush they are, much like her stomach in knots.

She remembers the doctor’s orders regarding stress, so she finds her medication in her top drawer and quickly takes it.

She sees one of the photos on her desk, the one next to the one of John Page, Santina Fé, and her from around this time of the year, and then the one of her with John Reyer, Lazoo, Le Mac, and Metofeaz.

She manages to hold the tears at bay with help from a knock at the door.

“Come in.” Polina uses her hand to wipe her nose as the door opens and in steps Metofeaz.

“Nice touch during these difficult times. A closed door policy forces people to make a decision quick; smart.” Litigatti commends the strong woman on her role in the hostile takeover he’s come back to lead for important reasons.

Metofeaz pushes the door closed as he takes a seat in front of the desk and Polina sits down behind it.

Litigatti notices the picture of LMLA-ink with Polina because it’s been moved from where the meticulous person usually has them lined up.

“Whatever the ending shall be, I’m sure it will be for the best, and even those who will lose will realize their part in upholding the truth and giving the world an example of LOVE, TRUST, HONESTY, & RESPECT in action.”

Polina looks at the picture as she hears Litigatti. “Now’s not the time to cry. True feelings for what went down, and hopefully, how justice is served poetically will give us cause to celebrate with tears of joy.”

“Put him on,” Litigatti smiles at Polina in hopes it will perk her up as he asks her to bring up The Guy on the screen both of them can see side on.

“I saw him like this when he was young,” Litigatti tells Polina. “If he had his way, Page would still be here, and Afanasy and Silvia would still be alive.” As Metofeaz talks about The Guy, it almost seems like he dictates the words he sees on screen.

“I hope he doesn’t cut his hair.” Polina tries to make light of the situation as every word that appears on screen takes her, the audience, and the entire world one step closer to a truth no one may want to know….

“Nah; can’t be bothered with it….” The Guy gives Polina a fright when she hears him on speaker, responding to whether or not he’ll cut the locks.

And then he smiles as he types, “Relax!”

And then he looks out his window before he continues to offer his protégé much needed encouragement.

Hi, Lina; you’re good—inwardly, outwardly. And from every angle on every monitor, your heart is viewable, Lina, and the word is you’re here for good. Forever, and with a worthwhile purpose….

The Guy

“Que Sera, Sera….”

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“The Message”


Page keeps his eyes on the magazine he holds. Opposite him is Silvia, who drapes herself over Afanasy while she eyes him in the special way she does.

The German heiress is not beside Page for the moment; she’s in the toilet still from when Page had skillfully backed out of the offer to do the mile high with her in the bathroom and not the room down on the end.

The Pirate’s eyes leave the top of the Page he’s on as Silvia’s legs cross themselves in such a way that her short skirt becomes obsolete, letting him in on everything.

“Shocking, I’d say, or even cheap….” Page hears the person to whom he and everyone else onboard the jet are guests. He feels the heiress lay a hand on his shoulder, and his eyes go back onto the magazine.

“Free love,” Afanasy says as he opens his eyes from napping; his Russian accent is appropriate for the scene as Silvia runs her hands over his holster and down onto his gun. Now the German heiress sits down; she almost seems like she’s trying to imitate Silvia when she throws a leg over Page’s and then an arm Page has to lift as her hand lands on a spot on his chest where he doesn’t like to be touched.

Metofeaz, who sits on a sofa with the exotic actress as they talk with The Guy and Lavenda, glances over at Page as if to say, “Hang in there.”


“YOU CAN’T BRING A CHILD WITH YOU FOR FUCK’S SAKES!” PAGE1 screams down the phone at Hannibal over Ammer’s suggestion that HEX-V’L will accompany him to the club in SOHO at 3 a.m..

PAGE1, dressed in his leathers, now smashes the mobile phone against the club’s brick wall.

The driver, who is now dressed in his national costume, holds his hands together in prayer as he bows with a nervous smile toward the fans who wait in line for the word that all the extras and stunt fighters inside are in place, ready for Ammer and GEE-LEEZ’s arrival.

The Pirate doesn’t stop whacking the wall with the phone until all he has in his hand is the Vodafone SIM card.

“I think the phone’s got the message already, wouldn’t you say?” The Bollywood producer says to PAGE1 as the driver smiles at the fans lined up for the scene that has been delayed for over fours now due to K-MUZO in Moscow….

“Here they are,” the Bollywood producer announces to PAGE1, who has now calmed down but has a cigarette in his mouth that the woman—still standing close to him on his right, starry-eyed and gazing at him—offered to him.

“Will there be anything else today?” the sweet girl asks, and then she giggles. “Sorry, I work in a call center,” the girl adds, obviously nervous.

“That’s good; do you have an agent?” Page looks at the woman before he adds, “Sorry, I’m in show biz,” and then he storms off toward the limo arriving at the front door.

Inside the limo, Alexvale has to pull down the Elvis Presley sunglasses of his Elvis impersonator costume so he can see the fans as their hands are placed on the window.

“Play this one right, son, and it might be your full-time career,” Ammer says to HEX-V’L, whose name in studs is arced across the back of the twelve-year old kid’s uniform for the scene. Ammer has told the car thief that he is here to steal the scene.

Hannibal has his hand on the door handle as the driver rounds the front of the limo to open the door, while giving his boy his last rev up. “It’s just like an auto, son; only difference is the gas.”

As Ammer holds the handle while the driver tries to pull the door open for him, he looks Alexvale in the eye. “Only the gas now is exuberance tempered with wit, and if you don’t have that, I hope you studied TV evangelists or slept with infomercials on….”

Alexvale pushes the glasses back into place, and then he looks somewhere near where Hannibal’s face is as he replies, “I slept through Tim Robbins, Benny Hinn, and those famous words, ‘I did not have sexual relations with that woman.’”

And then he pauses before he continues, “But I did wake up when they said impeachment. Speaking of which, does that have something to do with Sharon’s figure, impeachment?”

Outside, the lawyer from Hong Kong imitates Bruce Lee, one of The Guy’s heroes, looking like The Green Hornet —GEE-LEEZ, in a chauffeur’s uniform complete with cap and a Zorro-like mask— lets the handle go as PAGE1 pulls up next to him.

“The Intelligence community has only heard Ammer’s account. And the Network, they hear us as they’ve programmed us—nothing more than bodies who enforce their will—what we say is as they’ve taught us….” PAGE1 feels some relief from hearing GEE-LEEZ’s confirmation of what he’s always feared.

“Tone Horroh has always been under Ammer’s thumb,” GEE-LEEZ says as he reaches for the door handle again and quickly adds, “Ammer came with him to Hong Kong; he, La Hood, and Janine’s boy, I organized them a meeting with clients of mine, fact!”

PAGE1 nods as he steps in front of GEE-LEEZ to open up the door for Ammer and his son….

Page hears the voice, but he cannot believe it.

“Do you require his approval?” LB Gee wants to know. “Can’t read or write,” answers Jon Le Mac. “I do the paperwork.” This brings laughter to the table, which is now alive as they touch each other’s glasses while Le Mac orders another round, saying, “This one’s on us. Make it triple.”


Metofeaz goes to open the front door to the bar. Before he even places a hand on the handle, he hears thundering blows from inside the bar that reverberate on the handle he firmly clasps and turns.

Down on the dance floor, he sees the bag swing through the air as the dust—placed on the beams for effect, not that it’s needed—falls down around James Elton, who steps left and then right again before he unleashes another bomb.

Tone Horroh sits in the last booth as on stage La Hood now steps down onto the dance floor.

Litigatti squares his shoulders as he keeps an eye on La Hood, who is moving; he sees La Hood is wearing trouser pants—no room for a shot gun there—as he checks out Horroh’s mood; the only thing Litigatti has to contend with is James not getting close enough for the brawler to touch him.

“Last day for you folks in this place is the 25th,” Litigatti calls out as he senses they’re in some kind of cordial type mood since no has said anything as yet. Metofeaz goes behind the bar where he calls out, “Last drinks!”

“Tequila!” Horroh calls out.

“Serum,” La Hood joins in. “Motherfucker’s a brand man; even branded his family,” La Hood scoffs at Litigatti.

James’ hit on the bag causes Litigatti to jump, but he doesn’t show it as he takes a bottle of Tequila and pours four glasses.

Litigatti takes the drinks over to the last booth as La Hood hops back up on stage.

Metofeaz can’t sort the bass from Lazoo’s hits on the bag as Le Mac blasts Grand Master Flash on the sound system.

John Reyer reaches for the ThinkPad as on the screen above the stage, The Guy appears.

Feeaz places the drinks down on the table, and then he has to do a double take as he sees the names on screen, “Lazoo, John Reyer, Le Mac….”

He sees John Reyer slide the ThinkPad in his direction, as Mele Mell says, “Broken glass everywhere.”

He looks up on stage where Lazoo is now leaning on the mic stand….

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The Guy knocks on the London restaurant’s door—and waits. He spots the silver Mercedes with its back windows wound down, and then a black car with two of the three letters “J-R-A” in the registration plate.

He looks for a glint from the morning sun that hopefully will reflect off the lens of her camera as the door opens and inside he can see Metofeaz and the actress, and The Guy feels like shaking his head at Litigatti for not being more discreet in a town like London.

He walks in as just one of the team, just like any of them under Litigatti’s command who takes orders from Mr. Ammer, all the while looking for opportunity along the way to set one’s self up so it’s possible to feed a family, and if by chance you are lucky enough, like Jon Pierre Solomon, one day you could retire wealthy with a death certificate so no one could bother you ever again.

The Guy can’t help smiling at how much Litigatti is a chip off the old block, even though JPS was not his biological father.

The Guy decides to let Litigatti be regarding his cavorting dangerously with someone who would bring attention; he decides to give Metofeaz something to think about to take Litigatti’s mind off things for a second.

The Guy sits down at the table where Litigatti and the actress are. He lifts the copy of The Times off the table and opens it to read.

“Page 12, “A day under the sun in the Americas,” The Guy says as if he’s reading it in the newspaper. “Leaves me thinking / Leaves me here / I’m starting to think / Talking like this / It must be working / Gone, puff, / And up / I’m also / Away….”

Litigatti hears the method for referring to Jon Pierre Solomon’s whereabouts—not that it’s an issue anymore as far as Litigatti is concerned; Jon Pierre had passed away when Metofeaz was a kid.

“And pigs fly,” is Litigatti’s response when The Guy states a page number, then verifies it by a title of the poem from the POEMBOOK located on that page, but when he quotes from the last paragraph first, it means there’s news to suggest the ending is incorrect, or the story is to be continued.

The Guy looks away as Litigatti leans forward, ready to quiz him. “What’s going on?” The Guy asks, cutting Metofeaz off as he looks down the back of the Italian restaurant at Tone Horroh, John Page, and two other men. One has gray hair and the other is an African American who reminds one of Denzel Washington.

“That’s Gene, Jack Shack’s lawyer, and the man himself.” Litigatti tells The Guy about Tone Horroh’s suggestion to sign up Mr. Shack’s Talent agency.

“Wow, a killer and a moneymaker,” The Guy smarts.

“Add kingmaker to the list,” Metofeaz tows the line Ammer has given him.

“Tell Page not to sign,” The Guy says to Metofeaz.

“What is this, a circus?” The Guy asks as Tone Horroh finally notices the person whose name he was given as his new identity by Ammer for rolling over.


Hannibal has one hand on his new son’s shoulder as his other shields HEX-V’L from fans as old as his new yummy mummy, The Tourist, who is only in her late twenties and stands on the opposite side of the street where she and Litigatti make the most of their time alone.

PAGE1 sees Litigatti out of the corner of his eye, causing Page to point to the right, for Litigatti to stay hidden and out of sight.

“Don’t send him too far; we might need something Whimsical to make this happen,” the driver offers as advice to PAGE1.

“Ladies and Gentlemen, please put your hands together for your hosts, stars of the Broadway Smash Hit The Tongue Murders, John James Lazoo & Ms. Genisis Jones….”

Page hears the host announce the feed to New York, and then he gets a call from “K-MUZO.”

“Did you know about Ammer and Horror?” Page asks.

“Sounds gay; use their real names.” PAGE1 looks at the phone with which K-MUZO won’t stop fooling around.

For the sake of the scene that includes Polina, PAGE1 decides he’ll be serious and not acknowledge K-MUZO’s attempt at humor.

“Okay.” Page takes a deep breath. “Did you know about Tone and Hannibal?”

Page realizes what he says as it’s too late.

“Sounds like an item.” Both characters say the same thing at the same time.

Litigatti shakes his head as he tries not to laugh while the crew applies its number one treatment for the antagonists.

“You know, some people who don’t know you guys would actually find that offensive,” The Tourist tells Metofeaz as she licks his ear while he makes note of another flaw in one of their ploys.

The racist and homosexual traits given to certain characters are to keep opposing crews who latch onto the antagonists in their stories. The crew controls opposing storylines by destroying their heroes. Most of the opposing crews are made up of racists—white, black, and homophobic types. The Guy had accounted for the haters when he designed the GAME.

Litigatti grabs The Tourist’s hand as the word comes that Polina is ready in the Moscow studio to enter into her “New American Dream.”

“Hop in,” Litigatti tells The Tourist as he opens the driver’s door to the limo….


When Litigatti wakes, his first action is to reach for his mobile as he checks the GUIOPERA to see whether what he’d experienced was a nightmare, or was it written, or did he act it out for someone else’s story, or is it a reality when he went to serve notice to Horroh, James, and La Hood?

He reads Part 1 in which The Guy spills just a little more of who Tone Horroh is, and then Litigatti goes back to sleep.

Later in the day, Litigatti wakes when his mobile rings with Jack Shack, the talent scout’s ringtone.

“Hey,” Litigatti says, and then he shuts his eyes tight in anticipation of another bomb….Finally he opens his eyes as Jack Shack hangs up.

He dials the number of the phonebook listing for LAZOO. When Genisis picks up, Litigatti creates a smile to talk to her. “Hey, chick, how’s it? Is the man about?”

Litigatti waits for James Elton to come to phone, and then he hears his voice.

“What?” James asks. Litigatti, out of habit, takes the phone from his ear and looks it, and then he takes a deep breath before he talks to Janine’s boy.

“There’s an exit for you and Le Mac, but Horroh has to go. We can’t leave a legacy shrouded in murder, my friend. And remember no Rats allowed.”

Litigatti doesn’t wait for Lazoo’s answer as he hangs up the phone, only for it to go off again, this time with the “LATEST UPLOAD!”

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The Guy waits inside a small room in an office just outside of Boston for the person who tells him to call him “Hannibal.”

As the door opens, the kid from nowhere sits up straight.

“So you’re here to visit family, ah?” The Guy looks at the packet of smokes that land on the table, a habit he has not yet quite got the hang of.

“You said that. I said I’m here looking for my father.” The Guy in his late teens keeps to the script Jon Pierre Solomon had him recite more times than he can recall.

“There’s a trail of bodies in your wake; are you aware of that?” The Guy hears the rhetorical question as he counts to ten in his head, and then he responds.

“That’s a hell of a way to malign visitors to your country, wouldn’t you agree? Let me see; how many tourists came into the states via New York in the last forty-eight hours and made the journey to Boston? Care to count along?”

The man looks at a folder he holds in front of him, trying to make the kid feel like he has something on him.

“Okay then, Jon Pierre Solomon; if that’s the way you want to play it, that’s fine by me.” The man’s grin is like a snarl before he picks up the pack of smokes and rips the binding and offers the kid one.

“No thanks,” the kid says, and then he stands up and leaves….

In the adjoining room, Tone Horroh sits facing the door as he waits for Ammer to return.

He looks at the speaker on which he just heard some guy in a crazy accent talk in a weird way about shit he can only imagine is another one of the police’s ways of getting him to talk.

“John Reyer Afamasaga.” Tone hears the name for the first time through the door as Ammer opens it and then says the name to someone along the hallway out of sight.

Hannibal steps into the office and throws the folder onto the table.

“By the way, that’s your new name.” Tone Horroh stretches his neck left and then to the right as Ammer tells him more about the deal he said he could put together for him after they picked him up for the murder of two, and probably more.

“We’re putting you up in a hotel, all expenses paid, for the next few days, during which time you can work on that story of yours. And as soon as we have it sounding great, we can move on to the next phase of your bright and brilliant future,” Hammer says as he looks through the folder.

Tone Horroh hasn’t said a word so far. As Ammer closes the folder and gets up to leave, he stops and turns around.

He reaches into his jacket and pulls something out and throws it to Tone.

Tone catches it and opens it; it’s Ammer’s police badge. “You can keep it; I have a stack of them,” Hannibal says.

“We’re a little more advanced than the PD, Tone….”


PAGE1 watches Polina on screen.

In front of the huge screen that Alexvale stands in front of, the twelve-year old boy is less than the size of Polina’s finger, a finger the beaming Princess now waves at the camera.

“And if Alexvale doesn’t send me flowers on Valentine’s Day, I will not call him Goldilocks anymore…” Polina says for the camera.

“Hey!” Alexvale laughs along with the audience as the frame on screen is low-cut in half and John Lazoo appears in New York.

His appearance brings a roar from the crowd as he holds his hand out to his woman who appears from backstage, creating mayhem among the women fans.


“I thought the brain drain was enough, and you and your cronies would be waiting at the docks to pick up the best ones and deport the decrepit?”

The Guy writes an email to Ammer; as he sends it off, onscreen, he sees Horroh walk down the bar to the last booth for their meeting.

Horroh, who can be commended for how he holds himself together, signs on to messenger as The Guy gets ready for what will probably be their last words, for a while at least, as Horroh has agreed to plea bargain, something no one else knows about until the “LATEST UPLOAD” makes it up onto the web.

“Are you quiet because you have more to tell, or is this remorse?” The Guy writes; then he presses “Enter.”

“I’m taking the extortion charges Ammer recommends….” Horroh’s response makes The Guy angry, but he has to remain calm to say what he’s got to say. And then he sees another response from Horroh.

“Write what you wanna write; you’ve already broken Polina’s heart….” Horroh’s next response is enough to make The Guy exit messenger….

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“The Guy”


The Guy closes the bathroom door behind him. He hears music from inside the club when someone opens the door to the corridor.

“Shit,” The Guy says as he sees it is Afanasy.

The Guy lights up a cigarette and stands in front of the door.

“John, I wanna go in there,” Afanasy says. The Guy looks at the ground as he stands his ground, and then he looks at Afanasy.

“I’m sorry. What the hell can I call you then?” Afanasy, who wants to use the bathroom, smiles, thinking John Reyer is up to one of his ploys for which he’s known.

The Guy knows he cannot let Afanasy get past him, and because the likeable person is one whom The Guy has already decided will be a crew member—regardless of what Ammer thinks of people born in the U.S.S.R.—it is all the more reason why he can’t let him pass.

“Come with me; I’ll tell you what you should call me,” The Guy puts an arm around Afanasy’s shoulder as he leads him back up the corridor.

“You shouldn’t call me anything. Do you have a name for your mind? Or, do you have a name for your heart? In fact, are you even conscious of those parts of you?” The Guy can be convincing when he has to be.

“I have a name for my gun…” Afanasy’s voice fades as they open the door to the club.

Inside the bathroom, Page places the radio on the basin, and then he turns up the teeny bopper ditty about love.

“You like?” he asks Silvia.

“It’s beautiful,” Silvia says, referring to the sentiment.

Page stands back and looks at her; her act is gone; what he now sees is the woman he wants to be with.

Page looks at the trashcan he’s placed against the door, flimsy enough for an average man to knock out of the way, if he really wanted to get in and see what’s going on.

“Afanasy?” he says, as he gets a case of guilt that he knows would end if Afanasy would come through the door.

“He’s a nice guy, but I want you…” Page hears the words he’ll probably have to take with him to his grave….


“Doo Wa Ditty.” Zapp, led by Roger Troutman, says…

“Old Skool,” Litigatti whispers, smiling to himself as he thinks about something from back in the day….

Litigatti sits up in bed as he listens to tracks on the Walkman for the project while The Tourist sleeps.

He watches the woman who won’t let him go, and for some reason, he won’t let her go either. Maybe if their reasons were the same it could mean they were meant to be, regardless of the reason.

Strands of hair that cover her lips he carefully lifts aside.

Sharon Smith, whom he met in 1986 in Vegas, opens her eyes to see it’s her man, and then she puckers her lips and closes her eyes. “I know it’s because of my homely girl ways,” she says with her eyes closed as she waits for their first kiss of the day.

Litigatti can’t help himself; the woman’s lips are as good as any other part of her anatomy. He takes off the earphones and places them beside the bed, then reaches for her….

The knock at the door makes them open their eyes. “I wish you looked like that; then only I would love you,” she says to him as they look close at each other.

“I wish you looked like that so I could get over you…” he says quickly and then he uses a spare pillow to smother her face as she begins screaming and laughing at the same time; one of the things he loves about her is her boisterousness.

The door opens and PAGE1’s head pops through the door; then Alexvale’s head pops in under PAGE1’s.

“That’s adultery; I know you’re adults, but can you at least do it somewhere else, away from me and my poor mute and now blind brother and heart-broken father.” Alexvale’s talent is obvious as the door gets pushed open by someone else.

“Ouch!” Page says, as the door opens, clipping his head as Ammer walks in. “Shouldn’t have such a big head,” Ammer tells Page.

Alexvale picks up the phones and rewinds the mini-disc, and then he begins to groove to the song.

Ammer tells everyone, “Tone’s got plans for Polina when she gets to the States.” Page looks at the ground as Litigatti’s relaxed smile becomes a reflective look and Alexvale begins to sing in a pitch perfect falsetto, oblivious that anyone’s listening.

“Say I wanna go, do what?
Do my thang
Do my thang….”

Litigatti, who was concerned about what Ammer just advised them, looks at Page, who looks at Sharon as the kid’s voice leaves them speechless.

Ammer turns his head to look over his shoulder at the boy whose moves are just as convincing as his voice from his made-for-the-camera face as the kid continues and dances with his eyes closed.


The early morning mist in New York lifts as the faithful converge on Times Square.

“Is he coming?” a young fan in earmuffs and wooly hat asks her mom.

“Baby” by Justin plays, not as loud as it will when The Guy who appears on screen uploads Chapter 76. The ruthless one is in his Sunday best, on a Saturday night where he is; tan chest, his black hair, and a smile for them if the audience is lucky enough.

The former player, who never kisses and tells and who makes more hearts flutter and more women feel faint with his work than any other man in the world, decides this time he will save his smile for Lavenda.

His lips move as his one working eye scans the page in search of an error that could jeopardize the ending to the biggest story in history, about the longest and most participated in performance ever….

The fans watch as he continues to hold it together through the storm as the members of LMLA-ink are now regarded as the former holders of the title, as the one who does it for the fans promises them that he will deliver an ending for them to repay them for their commitment to the cause.

Lavenda looks away, deciding it is easier for her since his behavior over the past week with women has worsened again. She knows that if he knew, he would drop everything to be with her; now he’s free from his former life.

She ponders for a moment whether her decision to let him go—so he can realize his potential out in the open and not under a cloak—has backfired on her. And then she holds true to the belief that two people who love each other unconditionally, even if one of them behaves in the way he does, can make it into a true reality….

Lavenda sees Polina and Missy exit the limo as fans in Times Square make way for Ms. Rada and her sister.

Word has it that Justin Bieber will make an appearance for the LATEST UPLOAD.

The girls have put aside the politics for Polina’s sake as Genisis and Arley exit a cab.

Lavenda spots Rocol as she lifts her leg and kisses the guy from Finance, and then she looks to find where the rest of the gang is.

Polina puts on a brave face as she smiles for the fans. “Lasso the atmos,” Missy whispers, making Polina frown.

“When the time is right,” Polina grabs her sister’s arm as they walk through the crowd that only looks at Polina and her sister and smiles, leaving them their space.

Polina spots him standing on his own—Alexvale.

She looks away only to see Rocol, carefree as if nothing happened. Rocol waves at Lavenda, who shrugs her shoulders with a regretful smile on her face when she looks at Polina.

Rocol laughs even in the mood of the moment as the lights on the screen dim and the crowd goes quiet, as fans who have just arrived take their places.

Polina and Missy make it to where Lavenda seems grateful to see her. Lavenda hugs Polina. Polina wraps her arms around her friend as she sees Alexvale in the distance look the other way, when the logo on screen begins to spin.

Genisis and Arley arrive and Missy gets a kiss from her mother, and then Arley reaches out for her other daughter, Polina.

The clocks on screen show the time in his birthplace, Wellington, New Zealand. And then the time in Brisbane where The PACIFICAN, now the Internet’s Brown Bomber, continues to devastate all comers with the GUIOPERA.

In the PRELUDE, he’s true to the saga and how it goes down.

In Part 1, which he has now moved to the MMD where the Truth about Polina’s birthright is about to be told, he pulls on heartstrings while he defies odds with logic of his own that he’s sold to intellectuals and laymen alike.

And in Part 2, the creative with many faces, and with twice as many facets to his GAME, lampoons as he tickles funny bones that people thought he had broken for them when the Network Operative unveiled his identity and then presented his case to New World Order with aplomb, whilst entertaining the audience that ranges from mild mannered men to monarchs.

“It has to be done,” Polina says to Lavenda. “I can’t imagine how hard it would be for him, being so shy and such a private person,” Polina adds in reference to how The Guy now has to carry everyone on his own. His shyness has been the a topic of many a conversation between her and Lavenda, who bites her lip as he does what he does, for reasons she will not share with anyone.

“Hey, how’s it?” Polina hears Metofeaz, and then she turns around to see Sharon, and she immediately looks for Arley, who has a smile for her until she sees Metofeaz and The Tourist next to Polina.

“5:55 a.m.” The clock for NYC begins to flash as Alexvale for some reason comes to mind. Polina sees everyone looking at the screen, so she sneaks a peek to see where he may be.

She can’t see him, but she can hear the song that could’ve easily been the one Page played Silvia in the bathroom in London, as she hears screams for Justin Bieber, and The Guy as he finishes the “LATEST UPLOAD.”

“For The Fans,” Polina hears the real John Reyer Afamasaga say, as he warms the hearts of his fans in a global huddle, with the help of Justin Bieber and Ludacris….

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Justin Bieber

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“John Reyer”


“Hey,” Tone Horroh pulls up next to John Reyer. “How’s it?” The Guy feels obliged to respond since he sees someone’s keen on putting together a sizable project by how all the players have been flown in to try to impress The Guy no doubt.

“Alfabet!” someone shouts out.

“Hey,” The Guy answers to someone he knows in the Wellington night spot where he was told to go earlier that day, via three different web sites, and a number of spam emails.

He shakes hands with the person who offers to buy him a drink as Metofeaz pulls up next to him.

“Who’s paying for this?” is always The Guy’s first question, which he asks as Metofeaz waves for service, while another local calls out, “Johnny Boy.”

Litigatti looks at his watch and then at the door as Tone Horroh, on the other side of The Guy, says, “Ammer.”

A number of the TV screens on the wall show The Guy in a McDonald’s commercial.

People around him cheer. The Guy looks at the door as he hears Litigatti answer him, “Ammer’s paying,” and sees Hannibal walk through the door….

“Three jobs are enough for me; I was lucky that you boys were young and you listened to me. You don’t pull off the type of jobs we did, and go in to war zones and walk away unscathed, because it’s a skill. It’s chance. Find some other crazy colored kid, and give him a shot….” The Guy says before Hannibal reaches where they are.

Ammer, a Republican, looks at The Guy. “Something tells me we need to get involved in the result,” Hannibal says as he refers to the U.S. elections in a couple of years’ time in 2000.

The Guy looks at Ammer and then he gives Hannibal a piece of his mind, “You’re fucking crazy; always have been, and always will be. The stuff in Europe was to help the process along. The U.S. IS DEMOCRACY! YOU FUCK! FUCK! With that, and you’ll be held accountable for much more….”

Three years later, The Guy recalls the meeting—one of a few over the years during which he was asked to do his stuff for Ammer, but which he had turned down on all occasions.

The Guy stands on the veranda of the house where his mother was born in Samoa. He holds the phone to his chest as on screen images of the Twin Towers being hit begin to make his head spin….

After hours of thinking over the different angles and possibilities, he pieces together a likely scenario that he simplifies for himself. “They were focused internally, the Network, and the agencies, and the enemy were able to set up easily, undetected….” Obvious when Ammer—a maverick in his younger days, but one who lacked the leadership skills and foresight to lead and keep sight of the bigger picture—came looking for him the last time.

Someone must have set for Ammer the track he blindly took, whether or not he and Horroh or any other Network Operatives ended up getting involved in the 2000 U.S. presidential election in which the electoral vote did not reflect the popular vote.

Ammer wasn’t smart enough—a safety valve thank goodness—but he and Horroh would be stupid, egotistical, and greedy enough to get involved in a career ending move. Just look at how Horroh funded his business in the “New American Dream,” with money from a suspected arms dealer and human trafficker, just to name two of the reasons why Hariss Clariss was a liability, rather than an asset.

What Ammer and Horroh didn’t realize was that Litigatti had already told The Guy earlier in the week about what they were planning, and who was footing the bill.

Ammer’s plans, in which he and Horroh couldn’t separate the “burning bush,” from the moral of the story, or the cloak from the character’s precise brief, meant The Guy was always going to reject their invitations which he knew were always for the sake of one thing, and one thing only—Money.


“It comes down to the fact that I don’t like the color red,” Ammer says to Zoop, the candidate for one of the last positions in the crew for the next while, made up of those with whom the system would not be caught in a fire, even if they were firemen.

“How ’bout Orange; that float ya boat?” Zoop, who has already decided he’s failed, tries to feel out where the person he detests is at.

“Orange is a fruit, not an emblem or a symbol. It’s citrus. Mother squirted some in my eye when I was a child. Still hate that bitch to this day.” Hannibal says as if he’s proud of himself as he reaches for his gin as Zoop looks around the room to see whether anyone heard Ammer. “Then I married one, who gave me a retard of a child; now she’s in a hospital. Orange and women, they’re sour things,” Ammer says and snarls at the same time at the waitress who brings them their drinks.

“Gotta hate who I hate. Love who I Love,” Ammer tells Zoop as Afanasy, The Guy, and Tone Horroh enter the room in the London strip club.

Ammer then leans forward and whispers in Zoop’s ear as Tone Horroh sits down next to Ammer. “Colored folk, commies, and women are only useful when they’re tagged with a price, or they have one on their heads.”

Zoop fails himself when the German born American head-butts Hannibal, knocking Ammer out cold. While Ammer lies unconscious on the ground, both Horroh and The Guy put the boot in, ensuring they won’t be having to share a drink with the person who has both young men under his control.

“You boys gotta learn to stick up for yourselves,” the well-educated Zoop from the Hamptons shakes his head. “Next time,” he says to Litigatti.

“Find a leader and I’ll fall in,” Zoop says as he looks at Afanasy….

Two hours later, the waitress advises Litigatti that the Russian Entrepreneur, who was here when Zoop arrived earlier in the evening, is back. Meanwhile, Hammer is allowed to regain consciousness.

“Later, ah?” Zoop shakes hands with Afanasy, The Guy, and then Litigatti, and makes it look like he’s in a hurry as he ignores Horroh and exits through another door as the Entrepreneur enters the room.

“Things got a bit much for him,” Litigatti says as he crouches down beside Ammer, whose first words are, “Where is he?”

Afanasy looks at the ground as the Entrepreneur reveals he has Silvia with him by swinging the dancer from behind him into the room.

And then Page appears….


“Polina’s fine.” Page listens to Ms. San Fé’s voice on the phone as he watches the doctors as they test Alexvale.

“It’s hard to create the perfect lab for this sort of test,” Page says to Santina as the doctors under Ammer’s request test Alexvale for any signs of pronounced psychic ability.

“The Guy designed a test, but he’s nowhere right now,” Page advises Santina about one of The Guy’s, or The Poet Soldier’s, or John Reyer’s concepts. “The Perfect Scarce Loop.”

Litigatti had told Page of the Art Installation, but important apparatuses were not yet mature enough to perform the trick that would have made Harry Houdini envious, Andy Warhol feel inspired, and which would’ve caused Orson Welles to make a sequel to Citizen Kane….

Page watches as the doctors give away nothing.

“Thoroughbred!” Ammer looks at Page, who just nods his head, and then Page announces he has to leave.


Polina watches The Guy on screen. All the hype and dramatization of actual events aside, he still remains the perfect artist, drawing on his experience and strength from above as he gets ready to perform the finale, in which she has to be ready to play her part when the time comes.

Litigatti watches both Polina and The Guy on screen.

Metofeaz looks at the keyboard in front of him, as he weighs up his chances against The Guy, who has already taken out his pals, which is how Jon Pierre would’ve wanted Metofeaz to see The Guy as the GUIOPERA III is within its final ten chapters.

The Guy watches Litigatti onscreen as the baby, being delivered to Jon Pierre in Venice by Zealand on a gondola, eyes the only weapon he needs.

“It’s now or never….” Polina sees John Reyer’s message to Metofeaz Litigatti, and she selects the final theme song.

“Writer or outcast?” The Guy as John Reyer asks Litigatti.

Metofeaz hears Madonna, “The show is over….”

Polina takes the picture of her and the Pirate and holds it to her, and then she reaches for the spare pillow beside her, and holds that on top of the picture frame, and as she watches the two purveyors of LOVE, TRUST, HONESTY, RESPECT get ready for the final, she has to find Tiger and also hold that for strength she’s been told she has, which is all the gifted person requires to step onto the stage made by etfiction.

The law graduate who has dabbled in poetry and written essays on law—but nothing compared to what LMLA-ink requires from its artists—listens to what John Reyer told her on one of his first visits.

“It’s how high you jump, not your height!”

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Polina watches John Reyer on screen, occupied at what the former operative now terms as his “desk job” rather than just a “day job,” as the positive person still strives for the perfect ending to this year’s GUIOPERA.

Polina can tell he’s making inroads in convincing his colleagues that the GAME is much more plausible and will be of more value to them long after he’s vanished into thin air—if they behave normally and focus on winning small victories as they would with or without him in the office—from The Guy’s energy levels.

She laughs when he sends his brother Andre a message on Facebook asking when Oprah will be in Sydney, just as he did when he wanted to know what the French President’s wife was wearing when he came across a photo of Carla Bruni in a bikini when he was writing the Kindle eBook April’s Fool.

Before John Reyer’s youngest sibling became a minister, Andre aspired to being in the world of fashion; hence, the reason why The Guy uses him as his source in such matters.

The Guy receives an email from someone on Facebook he thought he might be interested in, but when he goes to the person’s profile, he thinks, “Ouch, it’s a child,” from the looks of the person’s photos.

He shrugs off his disappointment over having wasted his time writing two emails to the person, and he clicks on the profile of one of Metofeaz Litigatti’s two Facebook friends much older than himself, thinking, “Same difference,” and he can be the young person’s friend.

Polina thinks back to the previous year’s GUIOPERA, in which she had little involvement, when LMLA-ink sent out a press release announcing the story had been hacked.

Polina switches hats as she decides she’ll play the role of student cramming for an exam, giving herself the best chance mentally for when all her training will be tested.

An offer from The Guy to join the writing team was a challenge rather than an invitation, considering whom the author is; still, Polina feels flattered since she knows the caliber of player The Guy relies on to push him in his pursuit of perfection.

Polina jots down her thoughts from the viewpoint The Guy had written everything, “Perfectionism?”

“Pathological?” she asks herself. “No,” she realizes in consideration of how the LMLA-ink Trilogy was far from perfect; then, she has to apply the theory that it was a “cloaking device.”

She thinks back to the previous chapter in which the Pirate, her pet name for Page, mentioned back in ’97 that The Guy had already designed a test to uncover the profundity of someone’s psychic ability—Parapsychology—which fits with LMLA-ink’s interest in Psychology, Freud (Psychoanalysis), and Roberto Assagioli (Psychosynthesis). Page had mentioned that it was disguised as art, fitting The Guy’s style.

She links PAGE1’s comment about the reason why the experiment couldn’t be carried out back then: “Important apparatuses not yet mature enough to perform the trick….” And then the bright student links that with what was leaked in CHAPTER 56 of this GUIOPERA, “Wills Finds Princess; Internet’s Godfather Confesses.”

The conspiracy theory now; John Reyer Afamasaga, the operative, had carefully dropped the idea for the Internet for the military to pick up on, and then he also leaked it to the intelligence community in hopes the computer-based network could one day be the canvas or platform The Guy, the Artiste, needed to create “The Perfect Scarce Loop.”

Polina watches him on screen as he Googles the ideas for the crew to look at….


“Installation art.”

“Cloaking device.”

Polina smiles as she sees “P-I-C” in the first letters of the attributes that explain the new storytelling style of etfiction for which he’s obviously been looking.

She then remembers an email to Tyler last year in which he advised Tyler that he was going to suggest something in an interview in early 2010 regarding a video game idea he has planned for 2015, for which the technology was not yet developed.


Afanasy lets Litigatti and The Guy know he’s tired, so he’ll meet up with them for the appointment with the German businessman in Berlin the day after tomorrow.

“That won’t be necessary,” Metofeaz lets Afanasy know.

The Guy coughs to let Litigatti know he already has something in place, but Litigatti continues on with his version of the plan, which Horroh pokes his head in on.

“Page will act as muscle; he’s already got the old man’s daughter eating out of his hand, ah? Haven’t you, Pirate?”

Page smiles and nods his head; the teenager on the edge of the big leagues doesn’t know what to say….

Afanasy shakes hands with The Guy, Page, and Litigatti as Tone has his back turned. Then Afanasy leaves, passing Mr. Businessman, who turns his head to look at the Russian mobster who runs protection for the mob in London.

Mr. Businessman, Ammer’s boss, sits down to talk with Hannibal, whose face looks more like a football.

The Guy standing at the bar listens as Litigatti is summoned to take a seat in the meeting with the Russian Entrepreneur, who is vying for the coveted spot of Financier for the project that will kick start the European Union, but more importantly, consolidate Germany’s strengths, which will set the example for other divided states to follow.

Ammer’s boss looks around the room containing only them and the potential investor; then, he pitches the project to the Russian businessman by boasting about the talent he has, without giving the investor any details. Mr. Businessman, whom some say is the CIA himself, can afford to do what he does.

“You boys are young; that’s the reason why you’re here! You boys are the future! You hold the future in your hands! The other reason why you’re here is you’ve been identified as those born at the same time, for the exact same reason—an event that takes place once every two thousand years give or take a few, if we’re lucky enough to catch it….”

The Guy looks at the ground, thinking this is a bit over the top. His mother had told him when he was young that he was a messenger, and The Guy believed that one day he would retire from his role, in which he has already delivered a win for the cause at the age of twenty-one, to become a teacher or a child psychologist, or to study town planning and go to Third World countries to assist in economic development.

Mr. Businessman finishes his talk, collects his briefcase, and gets up and leaves without saying another word.

On his way out, he stops in front of The Guy and says, “Listen to no one; not even me…” And then the man in the gray suit exits the scene….


“No audience! No art!” Litigatti reminds the crew of what The Guy would say as they plan Polina’s homecoming.

On screen, Tone Horroh rolls his eyes. Litigatti ignores him as Page makes sure Horroh doesn’t display any further disruptive behaviors by staring Horroh down when he waves at the sensor, dragging the camera in his direction.

Then Page goes back to listening as Litigatti stresses, “Chick shit!” And then he has a sheepish smile for The Tourist.

“Beep,” Page says as he smiles at Polina, who sits between Zealand and Ms. San Fé on screen.

In New York, Genisis, Arley, and Arley’s daughter Missy roll their eyes and call out “BOO!”

Litigatti smiles as he looks at the ground.

“Wait for it…” Arley says on screen as they wait for Litigatti to explain himself as they hear chimes for Mariah Carey’s Christmas offering….

“Well, it’s true! I love your guys’ shit!” Litigatti’s case of foot-in-mouth gets worse as the song for Polina’s homecoming comes on.


The Guy reads through the PRELUDE for this chapter as he sees that Polina, his protégée as a lawyer, has just about given him every plausible argument as he and Litigatti continue to clean up LMLA-ink, which is once again the lean mean machine it should’ve been.

Donors of blood money have been reimbursed with dividends and told to step up into the light, so they might be allowed the opportunity to invest in the new LMLA-ink.

More importantly, Lazoo, with the help of Genisis, is undergoing therapy, and Le Mac has agreed to expose everything in a “tell all” story.

When The Guy Googled ZARM c, the dummy company that The Guy put forth to scare off those he didn’t want to be involved with anymore, it brought up a murder case in which the name of the accused was ZARM and the victim was Sylvia, causing him to reverse the name to MARZ & A. The play was to devalue LMLA-ink, bringing Tone Horroh down to earth, in the purest form of online character assassination….

“Unreliable Narrator,” The Guy says to himself, referring to the plot device he’s had to use to get the story to work while he was forced to create the work online and he needed a way to re-enter the fold, a decision he made not long after 9/11.

He was on the verge of walking away from his life in reality in 2001 when, within the space of a year, his mother passed away, and then his marriage broke down.

He’d settled on a nice small idea of an ice-cream shop franchise, whose headquarters he would set up in the Caribbean, and then he would just slowly set up franchises and new companies in countries where he had bank accounts filled with funds paid to him over the years, but in 2010 would be frozen, not that it bothered him anymore.

The shy person, who used to channel his extrovert ways via others, had also considered a career as talent agent, but he found it difficult to find someone who had the complete package required to produce the type of artist he and Litigatti were used to dealing with in his other lives, in the world of entertainment as he knew it back then.

It was Litigatti who had come up with the idea for how to cope with what Ammer had over both John Reyer and Horroh, when Hannibal picked up John Reyer on his way back from North Africa and Horroh on his way back to LA after a string of hits on the East Coast.

Ammer, who fancied himself at the stage of his career that the Network referred to as The Poet Soldier, picked up The Guy, of whom Mr. Businessman had spoken highly, when The Guy told them in his report of how the leader of the mission The Guy was on facilitated criminal activity and endangered a Network Operative’s life.

The leader, who was meant to be the Poet Soldier on the mission to Africa, advised arms distributors that Litigatti, the operative, had mob connections, and could set up a different channel in the growing market back then.

Ammer thought The Guy was just an upstart, trying to find the fast track to the top. He couldn’t fathom that The Guy had instilled in him, from a very young age, values that meant The Guy could never overlook the truth in his work once he understood his role.

Mr. Businessman’s endorsement of The Guy created an interesting triangle—the overarching reason for the relationship, The Guy’s role as a potential Poet Soldier, to administer LOVE, TRUST, HONESTY, & RESPECT. Then there was Mr. Businessman, who contracted The Guy, Litigatti, and Page. And Ammer, whom the boys reported to directly, who had them where he wanted them, screwed down, controlling them with what he had on Tone Horroh, who was now operating as John Reyer.

Litigatti, who read a lot in his spare time, suggested, “Surrogate Author….”

Metofeaz’s suggestion back in 1986 was for one of the ways Page, The Guy, and he could clear their heads of the fact that they worked for Hannibal Ammer, a racist with links to Neo-Nazi groups springing up all over Europe, giving The Guy and Litigatti a mechanism to spin what the voice wanted them to say.

The Guy manipulated the suggestion to its nth degree, coming up with the simple idea that, for the sake of keeping his cover, he gave his name to Tone Horroh, earmarking the former hitman as his representative in the Americas.

It was this move by The Guy and Litigatti that tore the guts out of Ammer’s career. Hannibal never quite got over the fact that he had been out-thought by The Guy and Litigatti, and now they used the plot device in cloaking the projects that Ammer hired them to work on, often casting Ammer as a degenerate and low-life whenever the chance arose—sometimes the young guys would completely base the plot around Hannibal just so they could afflict misery on Ammer for doing what he did to them.



Session: 100021550
Approx Date: 11/12/2010
Location: The F3quenZor
Project: The F3quenZor

Story: The F3quenZor
About: The F3quenZor
ISBN: 978-0-9803486-4-4

"The F3quenZor"


The Guy, as John Reyer, goes to YouTube, where he looks for and finds the Black Eyed Peas after a notification from about the B.E.P’s new offering, “Time of My Life)” on time, as Johnny continues to demonstrate the next big thing, beyond the Internet, the communication network known as the F3quenZor.

The Real Time actor deciphers, and blows up a smear campaign by the clowns, live and online. A plot by some lowlifes—not even worth the energy to stroke their egos by typing their names into history—is dismantled, and the opposing crew systematically immobilized when John Reyer breaks their backs in full view of the audience, typing and then erasing obscenities about who the morons are, before he sends the chat to the young person whose pic is used as the bait.

He does so when he asks someone posing as a likely love interest for The Guy, where her last name came from. The poser’s last name is made up of abbreviations of just two of a million or more evil antagonists who can only imagine what it would be like to possess John Reyer Afamasaga’s GAME.

John Reyer knows who the two are, and he has been advised via the F3quenzor of the losers’ fumbling, and their woes, which The Guy creates day in and day out, and the retarded pair, who now have nil backing, even being told they cannot operate their loser game on Facebook, have to live on.

John Reyer, who stalls the story for a reason—feeling like having a bit of fun by making an example of the dumb desperate duo this afternoon—smiles as he hears Metofeaz say, “No mercy, brother…” on the F3quenZor.

The F3quenZor is the new channel The Guy predicts will replace the Internet within two millennia—just like Jon Pierre Solomon had told him of how computers and telephones would be the next big thing when Johnny was just a boy.

He hears the packet he unwraps telling him, “Polina smiles, as she says, ‘Peace.’” And then the Black Eyed Peas ask,

“Where is the love?”

It had been a good day; he had seen that Mark Zuckerberg, designer of Facebook, was donating some of his wealth to those less fortunate, just like Gates….

Emotive Entitlements

YouTube "Where Is The Love?" by The Black Eyed Peas
The Black Eyed Peas


Litigatti looks at ThinkPad as the Black Eyed Peas shout out and fans respond.

The F3quenzor had been designed like the Internet so those who need to share information for the sake of peace can do so.

Metofeaz looks at the headlines that cover the landing pages of every site, and he sees that the Internet has been hacked; the concept that was designed for the sole purpose of security now broadcasts the classified information it was created to pass on secretly.

The Guy demonstrates the F3quenzor at work as he pinpoints with accuracy what he’s not meant to know about. The information he led people to believe he was harvesting from different websites is being transferred, using the new network.

It was like The Guy did back in the late ’80s when he and Page networked three computers via a satellite, physically seeing the computers on a relay—the experiment took two hours.

The Guy told Page it could be done. “If you can see it, you can access it….” Within an hour, Page had the three computers in the same room, two of them on truncated lines talking to each other, or should we say screaming at each other via their fax modems.

Metofeaz pushes the machine away again as he gets up to go out for a walk in the fresh air….

“I had the time of my life….”

Litigatti hears the song for his part, as he closes the door….

Emotive Entitlements

YouTube "The Time" by The Black Eyed Peas
The Black Eyed Peas


Polina laughs as she watches the fans online tell one of the many pretenders who try desperately to cling to The Guy’s coat tails:

“Write your own story, lmao.” “Don’t read it then….” “John will kick your dumb arse again…LOL.”

The fans let the ones whose purpose in life for the past few years is to try and put The Guy off his GAME know that they’re wasting their time as usual.

Polina can’t wait for Chapter 79, which will coincide with Oprah’s Sydney Show on Tuesday the 14th, the day after tomorrow.

The Black Eyed Peas tell the clowns to:

“Shut Up!”

Emotive Entitlements

YouTube "Shut Up" by The Black Eyed Peas
The Black Eyed Peas

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Newcastle on a Saturday night sometime in the early ’80s—the steel town is hotter than a furnace. Johnny sees—when he comes to be eye-level in the crowd—that the girl is as stunning as her figure, as the beauty rocks out to INXS on stage, as Michael Hutchence and the Farriss Brothers do the “One Thing.”

Litigatti and a character from Sydney watch The Guy from up on a balcony.

Johnny sees up on the balcony the roadie appear next to Feeaz and the person from Sydney.

When Johnny looks to his right, another girl is with the dark-haired babe, who has let him know she’s interested by the way she smiles at him, even when her boyfriend, who is much older than her, is around; the boyfriend who now turns up with drinks for the three of them.

Johnny, who was uprooted from his life back in New Zealand less than a year ago and sent to Australia, has settled in nicely. He has a job at David Jones as a sales assistant selling chinaware to lovely ladies of all ages, and in the evenings, he trains hard and studies hard.

Emotive Entitlements

YouTube "One Thing" by INXS



Somewhere on the cusp of the 1980s and ’90s, Metofeaz looks at the orange envelope he pulls out from his green bag.

He looks down the hallway of the top floor of the Sydney high-rise. The penthouse apartment belongs to another heiress, but one who married her inheritance.

Inside the lavish pad, Rocol’s lips move as she plays advocate for her side of the Network by reciting her lines, “…The solemn but still stunning looking woman opens the door to her SydneyHarbor side home and focuses on the expansive views, as reality comes down on her all at once. Again, she swallows the shocking news.

The leather band on her left wrist is a gift from Feeaz. She looks at it as she begins to hold in the imminent flow of her emotions.

“For the cause….” Litigatti hears the words as he listens to music coming from behind the door.

“Never before have I seen you seem so blue,”

Whimsical recalls the great heroines from The Poet Soldier’s diaries: Flower, Janine, Rozelle Zofen, Lavenda Stevonsen, and The Tourist.

He swallows their sorrow as he bends down to deliver the letter to the Network Operative from the opposing faction in the Network that hunted Litigatti down in attempts to persuade Metofeaz to defect, something the Network had been trying to do to break up Jon Pierre Solomon’s influence on the work, which continues through The Guy and Litigatti.

Rocol Récene’s question to him when she found him in New Orleans, “Where were you when this came out?” referred to any one of many songs that hold special meaning for Rocol because the tunes carry her memories. Her question is her entrée, which masks her character’s yearning to find the person she fell madly in love with in her teens after a wild weekend of willful damage to lessons learnt in the character-forming years of childhood. Back then they were two teenagers with strict instructions from their handlers to find out what makes each other tick.

Johnny took the order and turned it into a double-edged sword, forgetting who gave him the order, personalizing the command so he could work it for maximum return. To Johnny back then, “What makes someone tick” is how a person works, and how that person can be made not to work, or to work for something of which the person is not aware, and made possible when Johnny could work out how he could bring on the person’s nervous tic.

The first thing a young, inexperienced, or lazy Network Operative does when he feels pressured is to spring his Keywords, which was Johnny’s undoing when straight off the cuff he said, “I’m looking for my father” when Hannibal picked him up, not weathering the storm, to see what Ammer had up his sleeve.

Rocol relied on her charms and beauty too often to achieve her goal. It was a great strategy for the immediate future, but unlike Janine, Rozelle, and Lavenda, Rocol failed to leave an open end for The Poet Soldier to append, turn, and furnish with roots to conjoining arteries for the essence to trickle out. Or, in some cases, for Emotional Techno Fiction to gush from as the end-to-end saga suddenly flips the meaning of it all, like a vessel is handled with little or no regard by a wave in a tumultuous storm.

Litigatti holds himself back from knocking on the door and personally handing the Operative her invitation in an orange envelope to play the GAME.

Jon Pierre had personally delivered all invitations to the female stars of each GAME, something The Guy thought was a bit old fashioned, but Litigatti wanted to carry on the tradition.

Inside the apartment, Rocol plays with her wristband as she thinks about calling Feeaz in LA, where he said he would be after she received the call that her husband had passed away, while she and Metofeaz were en-route to Europe.

“Never before
Have I seen you
Look so blue…”

Rocol submerses herself, as the third person present singular, in hopes she might be the third pillar of the F3quenZor; she does so by saying the lines he might hear her utter wherever he maybe,

“A ferry glides across the normally busy harbor as the orchestra behind her now transcends water, land, and matter. The harp fills the depths her pain has created, and the violin soloist pulls intently on her heart-strings as a voice is sent to comfort her once again….”

Litigatti hears the code from one of the nodes as Johnny Farnham and Human Nature, in “Everytime You Cry,” remind Feeaz Fontain of the hearts he has to entertain while he responds to the voice as he continues to bear the cross of knowing that he, Metofeaz Litigatti, is one of the three Pillars of the F3quenZor.

Litigatti sees behind the door that the F3quenZor’s picture is richer than a zillion pixels, and more defined than a thousand words. The view of Sydney Harbor is translucent as Metofeaz sees what Rocol Récene’s heart aches for,

“The people on the ferry who look up at the skyline are happy. They seem even happier to Rocol, for some of them are together. The ferry’s wake widens as the vessel moves farther away. Tonight, she feels even closer to the object of the songwriter’s empathy….”

“Every time you cry,
save up all your tears.
I will be your rainbow,
when they disappear…”

Emotive Entitlements

YouTube "Everytime You Cry" by John Farnham Feat. Human Nature
John Farnham
Human Nature



Lavenda listens as Rocol asks someone on the phone, “Where were you….?” And then the brash babe laughs out loud for the entire café to hear as Cold Chisel; another band from Rocol’s homeland is about to get airplay in the GUIOPERA III, 2010.

Polina rolls her eyes at Lavenda in reference to how Ms. Récene makes the most of her fifteen minutes, cashing in on her being mentioned, as The Guy pays tribute to Australia, timing it perfectly to meet up to as many as thirty check boxes in a list of things he has to tend to in the remaining chapters and sessions of this year’s fictitious online extravaganza….

“I’ll leave you two alone.” Polina offers Lavenda privacy for her and old bestie to catch up. But Lavenda squeezes Polina’s hand for her not to leave, which Rocol notices before she looks away.

Polina makes the offer as she sees on screen that The Guy has decided to use parts from the eBook BrocoliFlower in the Chapter. The mere thought of that story makes Polina weepy already, and she wants to find somewhere private to experience the feeling when he uploads bits of the classic into her story.

Rocol sees the passages he’s chosen for the upload; her smile fades as she quickly ends the conversation on the phone, “Have to go; I’m sorry….”

The whole café focuses on Rocol and her reaction when all talk ceases as the sound of a piano cuts through the conversations, closely followed by Jimmy, Mr. Barnes announcing that she’s,

“…Crying like choir girl…”

Lavenda reads to herself the copy she’s knows by heart, about how her best friend back then had met the kid from nowhere, long before Lavenda met Tone Horroh, whom Rocol got her hooks into when Ms. Récene arrived on the scene as a reporter, causing Lavenda to flee the scene. Lavenda used the story to justify Rocol’s behavior….

“Cold Chisel’s Choir Girl figuratively forges a moment; down through the tiny speaker comes notes written and then played to move one, even those with hardened hearts of stone. He breathes into himself the afternoon’s humidity as he watches her in the window looking back at him….”

Polina squeezes Lavenda’s hand, next to her on the seat, as inadvertently, Lavenda’s hand on the table takes Rocol’s, while the three girls, like many around the planet, read about Rocol’s weekend,

“Rocol wishes to be next to him at that moment, but she stops herself from turning around in case he may not be there when she does. He looks at her, not in the window, but at her; a woman, destined for a life already lived, a path already laid out in front of her. He now looks at her reflection and he smiles, hoping she can see the way he feels about her….”

The music—which highlighted a street scene in a steel town in NSW, Australia—continues as the tears now begin to flow,

“She’s my connection—Yeah
I’ll hold on
and never, never
never let her down….”

Polina remembers where she was when The Guy wrote the next passage that he dedicated to victims of an Australian Tragedy in Victoria in February 2009.

Lavenda looks at the Cartier watch on Rocol’s wrist as Rocol reaches out for her best friend’s other hand while the two women reminisce over real memories, including one inside the limo on Rocol’s wedding day,

“…The page boy, dressed in his little black tuxedo, says he’s ten this year. Lavenda hands him the bouquet of flowers to hold as she makes adjustments to Rocol’s fringe….”

Polina finds the moment she shares with Rocol, who over the years has displayed little or no warmth toward Polina, to be therapeutic for her since she also has suffered the same fate as Lavenda at the hands of Rocol when Alexvale fell for Ms. Récene.

“The groom’s nephew has a familiar look about him; she mentions this to the bride to be, her best friend, Rocol. He smiles and says, ‘Thanks, even though it’s flowers.’ Rocol’s wedding dress is spread out across the backseat of the limousine in which they make their way to the cathedral in Melbourne. Rocol looks at her nails and then through the partition as she asks, ‘Wonder if the driver knows where he’s going?’ Lavenda is focused on her friend’s appearance as the little boy replies, ‘He does. He’s a fantastic driver; he’s been driving me since childcare.’ Lavenda rolls her eyes as they turn the corner, and Rocol lowers her head to look out the window. Quietly she says, ‘We’re here.’ She almost sounds as if the sudden arrival were an unexpected occurrence. As the limo pulls into the curb, the page boy has his hand on the handle. He now shouts at the driver, ‘Freakin’ open the thing!’ The driver’s back moves as the boy’s handle comes up, letting him open the door and jump out of the parked vehicle….”

Rocol is overcome like never before as she publicly lets her feelings show.

Polina looks at the screen for the remainder of the part as The Guy decides to turn it on for Oprah’s audience as Rocol reaches out for Polina’s hand….

“…Rocol stares at the footpath she can see through the open door. Lavenda reaches over and pulls the door in; she does it slowly. The door gently clicks, and when Stevie pulls it all the way into the body of the car, closing it, it wakes the beautiful looking bride from her daydream. Lavenda takes her friend’s wrist and looks at her Cartier watch….”

The three women squeeze each other’s hands as they read the remaining words in the cathartic scene that he’s written pitch perfect, getting his preferred audience.

“…Rocol nods her head and says, ‘I know I’m running late.’ She presses the button to close the partition, and forces a smile, which brings an empathetic look from Lavenda. Rocol grabs Lavenda’s hand as she reaches to open the door, ‘When you give me away today….’ Lavenda has to look somewhere to hide her swelling eyes and her friend’s voice begins to waver as she continues, ‘who will take me back?’ She looks at the clasp on her friend’s wrist, and then at her friend’s face….”

“Looking like a choir girl
Crying like a refugee….”

Emotive Entitlements

YouTube "Choir Girl" by Cold Chisel
Cold Chisel



Brisbane 2010—Johnny listens to INXS and Chisel as he stitches together the last remaining pieces to the puzzle….

In 2007, just after The Guy had completed the LMLA-ink Trilogy, the Network had tipped The Guy off that Rocol Récene, a girl John met in the early ’80s in NSW, was ready to sell her story to the media.

The Guy took a year off writing to redesign the work, and to work out and then pen GUIOPERA I, followed by BrocoliFlower, to let Ms. Récene know he had her covered and would included the Rogue Operative in his new organization.

All kinds of stories were popping up on TV, and on the Internet. Unsubstantiated reports, The Guy’s name appearing in research for different stories, and various organizations commenting on The Guy, were enough to suggest he was anything from a gangster to a spy.

Everyone who knew John Reyer knew that as long as the finger wasn’t actually pointed at him, he would let sleeping dogs lie.

The Guy reads the email from Polina that just arrived thanking him for Part 2 of this Chapter, which he responds to: “Thank you. You Chicks are the most beautiful creatures, so deep, an ocean of possibilities in just one look or squeeze of your hand….blah blah blah…” he writes, and then he sends it as he offers up a quick prayer that the scene in a couple of days’ time will go off, thanking Australians for letting him do what he does in their country, which at times took its toll on those around The Guy.

He thinks back over the years about this stint in the land of Oz, and he has the work to show for his time down under, whether it looked good or bad, when he was putting it all together….

Oprah, a true Superstar in Sydney, is the catalyst. The F3quenZor, a symbol of the connection between the key players who will carry on LMLA-ink’s work, has to be set alight—just like a Christmas tree with its lights turned on—is the most important consideration for The Guy, or John Reyer, Litigatti, and Polina Rada, the three pillars of The F3quenZor, this year’s GUIOPERA, has confirmed.

And then a whole host of other minor points that range from orange envelopes to thank you’s to entities who will make up 5.AU, the second OBPNE Cluster for the country, in which The Guy does his best work….

“Competition Creates the Competitor, Creates Creativity.”

Yours Sincerely,

John Reyer Afamasaga

OBPNE Cluster: 0000000005.AU
Origin Energy

Fabric Channel Partners

Intel Corporation
Microsoft Corporation



Session: 100021551
Approx Date: 12/12/2010
Location: The F3quenZor
Project: GO3

Story: GO3
About: The Ending
ISBN: 978-0-9803486-4-4

“The Ending”


Polina looks out the window of the New York apartment as she contemplates her answer for how she would like GUIOPERA III to end.

Certain moments in her life loom large that will have an affect on her response to The Guy, who has called his team together on the F3quenZor to see how each of them would like the saga to end in ten days time.

Alexvale’s affair with Rocol makes it difficult for Polina to approve the homecoming, in which she and Alexvale are sweethearts.

Polina doesn’t want to deal with Afanasy’s death, ordered by Hannibal Ammer and carried out by Tone Horroh, which Polina had known about for most of her life, something Page told her not long before he was done away with.

Page’s death happened during a trade that went horribly wrong, when Ammer tipped off the military about The Guy, Page, Litigatti, and James Elton’s plan to storm a hideout in France where Horroh was being held by extremists asking for the Pirate in return for Horroh, who gave himself up for no good reason to his so called kidnappers.

Polina manages a smile as she looks at her iPad, which tells her that Santina and her little brother will be coming home in exactly seventy-two hours….


Across town, in the old bar in Chinatown, down in the last booth….

Metofeaz listens to music from Illicit Blade of Grass as he runs over the options available to him.

The Tourist smiles at him on messenger, “Toxic! J,” she says as the front door opens and into the bar steps Lazoo.

Litigatti looks at The ThinkPad in front of him as he selects Ms. Spears in a song that makes him feel weird; sometimes he loves it, and other times it almost makes him feel like being sick.

To Litigatti, Lazoo looks like he’s in a good frame of mind as John James rounds the bar and then calls out, “Drink?”

“Yeah, why not? A beer will be good; thanks,” Litigatti looks at the screen and then he checks out above the screen Lazoo’s body language.

Britney, up on screen as she shimmies, gets their attention as Lazoo sits the beers down on the table and then seats himself where Tone Horroh used to sit.

“The ending is an issue,” Metofeaz shares with Lazoo.

“Tell me about it; even I can read that,” Lazoo says with a straight face.

“Therapy is good for the soul, but not so good for the image,” Lazoo’s chattiness makes Metofeaz nod his head at how Lazoo can change the way someone perceives the sometimes prickly being.

Metofeaz places his hands on the machine; then he pretends to push it toward Lazoo, who laughs as he holds his beer toward Litigatti, toasting him for his humor.

“Polina’s homecoming won’t fly. Tone Horroh’s crucifixion is beginning to bring the flies….”

Metofeaz is heartened by Lazoo’s input, which he would only ever give up to Horroh, as John James continues.

“Nights in a London Dungeon. A STORYBOOK chapter to show that giving up the Internet idea to MI5 wasn’t a stunt,” Lazoo says and then he looks at the label on his beer he’s peeled off in one perfect piece.

Litigatti looks at Janine’s boy and wonders to himself what James Elton would’ve turned out like if he had an ounce of luck, and a smidgen of a chance while growing up.

Lazoo places the bottle down on the table as Litigatti brings up The Guy on screen to see what Lazoo’s reaction will be to the person who has immobilized LMLA-ink, and dismantled the crew.

“I’m sorry,” Lazoo says as he looks up at the screen.

Litigatti continues to apply the acid test to see where Lazoo is at as he brings up “Session: 100021543” onscreen, in which Lazoo and Horroh have a laugh at The Guy’s expense, the same way the two of them used to do to Metofeaz.

“…Lazoo begins to laugh, “And make everyone believe you’re the originator.” Now John Reyer catches Lazoo’s uncontrollable laughter….”


The Guy types, “No worries, just relax in the new environment dude….” as he sees there’s a real chance that Lazoo will be able to make the transition from thug to one of the greatest storytellers of his time in his upcoming projects, LAZOO 2010 the Kindle eBook, and then LAZOO II in the GUIOPERA V in 2012.

To show his appreciation for Lazoo’s attitude, he confirms the next piece in the saga will be, “Lazoo’s interlude = SB CH 6: Nights in a London Dungeon….”

Polina sighs to indicate her relief as Metofeaz nods as he agrees with Lazoo’s suggestion while The Guy says, “GAME OVER!”




“Nights in a London Dungeon”

by John Reyer Afamasaga


On a Sunday afternoon in mid-December 2010, Polina arrives at the old bar at the same time as Genisis who closes the cab door.

Both women look at the Christmas decorations in their arms and think about what they will do with them as Arley and Missy ambush the two people who feel relief that Lazoo agreed to a new partnership with The Guy and Litigatti.

Missy and Arley join arms as they engage Polina and Genisis in the biggest group hug. And then the happy women hear Mr. Bublé’s voice from inside the bar.

Lavenda appears as Rocol’s limo pulls up in front, where Lina and her girlfriend begin to scream and jump for joy as they imagine what the new crew has in mind leading up to the finale….


Jon Pierre looks down the lane as he hears the theme to this scene: a Christmas song he believes.

The Poet Soldier thinks of Janine, whom he hasn’t laid eyes on for close to a decade now; he begins to feel like he’s never even met her before.

Whimsical, who wrote the script the crew follows, promised the scene they’re in will be a breeze.

The Man has a moral obligation to share what information he has with his allies to ensure the alliance remains stronger than its enemies.

Upstairs in the offices belonging to Mr. Businessman is Little Lazoo, who is all grown up. Jon Pierre has decided to send one of his brightest prospects upstairs first to see what Mr. Businessman will tell Lazoo.

The later stages of the Great Depression have been a hard time for Network operatives. Peace time does that, and with commerce almost at a standstill, little or no motivation exists for anyone to forge ahead by means of acquiring information, pertaining to national security or business. The automobile had been designed and created, and so the only thing worth anything on the market these days is what the next big thing will be, and with Edison and Bell gone, you might as well try your hand at making up stuff.

Jon Pierre sees a light come on in a third floor bedroom in the building opposite from the doorway where he stands. It’s next to the one Lazoo is in, with its blinds closed. The red curtains blow as the shape of a lantern he sees in the window creates all sorts of images ranging from vases with Picasso flowers to hourglasses, all of which have a special meaning to him and his crew.

The Poet Soldier reaches for his green bag and opens it, keeping his eyes on the open window that the lessening light makes more inviting. He finds one of the diaries, in which he scrawls his pain of not being able to see her.

Snowflakes in London mean the temperature is perfect for the scene they’re in, but the comfort factor diminishes with each flake that falls as Jon Pierre’s view of the street is now one covered over by the falling snow.

A woman in a dress with her back exposed to the elements appears at the window. She has her head down as she looks at something in front of her.

Jon Pierre finds his pencil; then he lets his switchblade drop from up his sleeve as he quickly sharpens his instrument while watching the woman stroke her neck in the only real light now in the alley.

Upstairs in the hotel room, a woman of fortitude reads the Times, in which the writer who calls himself The Poet Soldier has published his “LATEST UPLOAD,” his way of selling his work.

From his words, she has gathered that his stories are his only outlet; the words touch her in a way she will never forget. The writer of her heart’s desire, a man who could love one woman as much he does, uploads his offerings in hopes the gods will answer his prayers as he goes from one mission to the next, wishing he will again one day meet the operative who goes by the name of Janine.

The writer now perches on his knees as he finds inspiration in the elegance and poise of the woman who fits the bill. She appears almost overcome with the grace she displays as she hides the tides of emotion that spring from something she sees, or she may even read.

In the office adjacent to the room with a view is Lazoo.

“John James, it’s been a long time coming, but Janine’s pride and joy is ready to take his place at the helm as the teller of stories that future generations will only be able to wish for as they cast longing gazes back to times when masters walked amongst everyday men....”

Lazoo looks at the ground as Mr. Businessman makes the young operative feel good about the role he sometimes wishes belonged to his enemy.

Little Lazoo, a name from love letters his mother received from a colleague she worked with a few times, looks at the file Mr. Businessman has open in front of him.

Jon Pierre, not one to trust his eyesight, bows his head as the woman up in the apartment turns to close the window. Her appearance moves his hand to write her name, “To Janine….”

The moment is short-lived, however, when she closes the curtains. Then he hears footsteps that crush snow just as his heart feels crushed when he hears the snarl.

“Page is worthless to you now that everyone knows who Little Lazoo is….”

JPS hears Ammer before Jon Pierre forces himself to look in the direction from where the vile voice is coming.


Lavenda watches from down and across the street as The Guy shakes hands with the one they call Lazoo.

The irony of the scene, in which the new kids on the block carry out the finishing touches to another mission and The Guy is now joined by Whimsical, is it’s happening on Fleet Street.

The Guy believes the debrief is going to be straightforward without any hassles, regarding having to cover up any use of unwarranted force during the project, or explain any cases of guns accidentally going off or backfiring as Tone Horroh is still in the Middle East, where he ran decoy for the crew as John Reyer, Metofeaz Litigatti, and James Elton AKA LAZOO slipped out of the war zone with twelve UN workers under their care. Each of them, with the assistance of Le Mac, took four workers each in another of The Guy’s most perfect, foolproof plans, in which some of them, including the crew, were drugged, while others were diseased with viruses The Guy had purchased in small quantities from universities, and drug companies for The Guy’s mission to lead a group of westerners out of the Middle Eastern war without a single fatality from the enemy, and only the viruses some of the workers received, to which they were given the antidote once they made it to Egypt.

The Guy receives a hug from Litigatti. Then Metofeaz and Lazoo board a cab to take them to Heathrow as The Guy looks around for his mark and the sun comes out.

The Guy scans the street for a glimmer of hope from her; maybe the sun’s kind warm rays will catch her camera lens.

He hears the music in the air as Lazoo and Litigatti poke their heads out of the windows of the cab, “The F3quenZor!” As the lads laugh, people on the street look at them, and then they look for whom the boys are calling out to.

The Guy takes a step to the side, and no one is any wiser about what the guys in the back of the cab are talking about, or whom they are shouting at.

Lavenda sees him as John Reyer as The Guy decides to play up; he looks up at the sun, and then at the shadow from a post.

Inside a parked black car, Ammer says, “Pick him up!” into a walkie talkie.

The Guy sees two plainly dressed police coming toward him on his left as a police car screeches to a halt at the other end of the street and out hop two uniformed police.

The Guy looks over his shoulder at the diner behind him; then he takes a couple of steps back into it.

Inside the busy café, he finds a seat in the middle of the room, from a desire for the scene to go down in a civil manner.

He sees the plainly dressed police casually walk by outside as the uniformed ones, who aren’t aware of the other police’s identity, stop running in front of the café.

The Guy reaches into his green bag to produce a walkie talkie on which he Morse codes “J-R-A” with the volume turned down.

Soon he sees frustrated looks on the faces of both the plainly dressed cops and the uniformed ones through the window who suddenly realize they’re looking at the same guy. And then they disperse.

The Guy sees Mr. Businessman in the window; Mr. Businessman looks somewhere up the street where he signs to someone, and then he enters into the café.

Mr. Businessman sits down as The Guy sees Ammer appear in the window, where he gives The Guy one of his looks.

“Never mind him; he’s probably looking at his own reflection,” Mr. Businessman says as The Guy hands over the walkie talkie he picked up in his luggage at the airport.

“I want you to have it,” Mr. Businessman puts a hand out.

“It’s not what I signed up for. I’m aware that not everything’s in black or white, but there are a lot easier ways of ensuring Ma and Pa and their offspring wave a certain colored flag…” The Guy says as Ammer pulls out a seat from the table.


“Thank you,” The Poet Soldier says to the guards as they let him have his diaries, while he’s led to a cell in a lock up in London.

Two guards flank the person who is said to be able to immobilize as many as eight trained officers at one time if he so wishes. Jon Pierre has his hands cuffed, but in them he holds the two hand-bound leather books, and his placid face makes one of the stories about the entity sound like it’s a myth designed by the Network to keep its poster boy and most successful operative’s name in lights.

Outside the dungeon, one officer turns to open the door, while the other looks up at the fading daylight. Jon Pierre lifts his head to see through the window in the corridor.

Jon Pierre aims for the rolled up Times in the back-pocket of the guard opening the door, and then he swings his hands around as he turns to face the dungeon door collecting the newspaper he then tucks in between the two diaries.

The officer opening the door checks his back-pocket to find the paper is gone; he thinks he must have left it back at the office.

Meanwhile, the one who was admiring the dusk gives The Poet Soldier a gentle nudge in the back to move forward into the opening cell.

The Poet Soldier enters into the familiar surroundings of four walls, their acoustics dense and dead. He refuses to turn to look at the guards who offer, “If there’s anything you want, Sir, just call out.”

Jon Pierre remains solemn as he hears the hinges on the door engage, and then the door closes, and what little light is left appears in a square less than the size of the diaries he places on the floor.


Janine opens the door to the cottage; it creaks, but that’s okay—it has four walls and a roof for her and her baby.

Mr. Ghettis, who miraculously appeared on the red tractor as Janine and James Elton (or Little Lazoo, the name she was going to call her baby) sat on the side of the road in Pleasant Prairie, Wisconsin just before the chance of snow forecasted became her and her son’s bad fortune.

Mr. Ghettis has gone to drop the tractor off in the barn, but he said he will soon be back. Janine enters into the cottage she saw from where she sat and uttered the words her mother read to her from the STORYBOOK, “…a scene in which she and her baby shared a cottage on a quarter acre, which a kindhearted widower had offered her in return for housekeeping duties and bookkeeping work….”

The young mother wants to check in her quilted knapsack whether the hand-bound leather book is still there. But having James in her arms and realizing how hungry he is again makes Janine weepy as she hears what must be the gray radio somewhere in the cottage, playing, “I’ll Be Home for Christmas.” The song reminds her of one of the many promises made to her mother by The Poet Soldier; in a melancholic yet pleasant sort of way, Janine already feels at home in the cozy cottage.

Janine finds the radio and switches it off as she hears Mr. Ghettis call out, “Anyone home?”

With Christmas looming, Janine finds the kind man’s voice to be a gift she and James will cherish forever….

After showing Janine the house and how everything works, Mr. Ghettis cuts the grateful woman off when she tries offering to cook them dinner with the meat and vegetables he’s brought back with him.

“Get settled first,” the gentlemen says, and then he finds his hat and goes to leave.

“Like I said, cleaning,” says Janine, hurrying to find ways to thank the man, “and book keeping, I can do all that….”

James, who lies on the sofa, burps, which makes his mother pause, and then she and Mr. Ghettis laugh.

“You’ve got him well trained already,” Mr. Ghettis smiles, and then he pushes his hat down on his head and leaves, closing the door behind him….

Janine wanders through the place with James in her arms.

She looks for places for the little things she has; The STORYBOOK she sets down next to her and James’ bed. Then she takes out the pictures of her mother Janine, and the one of her and Jon Pierre Solomon, the man she cannot hate because of how her mother spoke of the few times she spent with him. She walks back into the living area and places the pictures on the mantle.

After dinner, as Janine washes and cleans baby James, she hears the radio come on again.

She lays James on a towel while she goes to turn off the radio, which plays the same Christmas song that, if her memory serves her right, was the song Jon Pierre and her mother heard at the same time when both of them were in London working the same job for the Network.

She returns to find the happy baby kicking his arms and legs from the cold instead of crying. And when she bends down to pick him up, the little fellow passes wind again.

“You’re a gift,” the mother says as she holds James up in the air to look at him, and then his smile makes her want to hold her bundle of joy to her.

The radio turns itself on again; James appears almost aware of his mother’s dislike of the radio as he clings to her with his little limbs to let her know the radio is not a bad thing.

With each step Janine takes, piano music lays the path to where the hand-bound leather book waits beside the bed that, earlier in the day, Janine feared she and James would not have.

The music fills the emptiness its listeners once had as it surrounds the mother and child, blessing them in a way its singer could only have wished.

As the mother pulls back the covers, she hears in the singer’s voice what Jon Pierre must have felt, having given her beautiful mother enough through his letters to her for her to forego any meaningful relationship with any other man with whom she came in contact.

Janine puts James down, and then she turns the dial on the lantern by the bed to dim the light.

She hops into the bed and lies facing James, who smiles into the rafters as the music cascades through the secondhand memories to which Janine clings.

The baby continues on in his contented world as Janine now feels the need to capture the moment in eternity for her son when she reaches for the hand-bound leather diary, the only thing her mother left her.

Janine finds the page with The Poet Soldier’s poem to her mother that he wrote to her when he was picked up by MI5 in London.

Janine wonders whether, had he realized the woman in the third floor window was the woman he longed to see one more time, he would have written the poem she looks at?

To Janine,
This is a book
With few entries
It smells of you
Like you hold it
Is so dark I can see your eyes
And I am so hungry I taste salt
Like that of our tears.
Tidings that will never be as fair as you
John PS,
Write at daybreak therefore read at sundown

Janine finishes reading the poem in her mind. The tears of their tragic love have once again drowned her voice as she hears his wish in a London Dungeon….

“I’m dreaming tonight
Of a place I love
Even more than I usually do….”

Fabric Channel Partners

Intel Corporation
Microsoft Corporation



The Guy looks at the clock. I, it says 5:49 in Brisbane. He counts down to The Oprah Upload.

He lets Bublé play, giving the fans a scene they’ll remember as he shows he’s just a player, and a writer.

He would like to say, “Happy Birthday” to his nephew in the upload, but he has to keep 79 the way the Network has asked for it to be presented, for Australia.

He’s been embroiled in the political struggle between Capitalism and Socialism since The Poet Soldier first saved the kid from bullies.

He’s finally accepted that he was reared on Socialism and then sent out to spread Capitalism’s net, fitting the double life—the only one he’s ever known. The realization dawns on him as he looks at the work that he used to vent his frustrations as he clawed his way back into the GAME, blaming greed for what had happened on 9/11. But now that he’s created the end-to-end saga by using the Internet, the ultimate tool for Capitalism’s drive in winning hearts and minds, he can only find solace in the thought that at least Jon Pierre Solomon chose someone with a heart to do the job.

His talent for coming up with ideas, and then passing them on, and for creating structures for those ideas to come alive in, has taken many forms over the years. And always with an antagonist somewhere close by to ensure he is pushed to the limit when creating a scene, or a masterpiece that everyday people take for granted.

In 2010, nothing’s changed—no one still knows who he is, or what to believe about him.

He thinks over one of thirty or more covers he’s used since he was first picked up by the Network when he was fourteen years old, delivering produce in his after school job in a truck (Johnny’s version of James Elton’s red tractor) that he drove without even a motor vehicle license.

The quiet raid by the police, who knew exactly what they were looking for, failed to make the news, and the kid was allowed to go without a single question asked of him.

Within a year, he was living in Australia where he received certain books he had to read, and a training program in which he blitzed times set for adult operatives to pass.


Page feels loss like anyone who has known what it’s like to belong.

Silvia lies still as outside in the corridor Lavenda discusses with the doctors the final moments of Silvia’s life, which will be before they switch off the life support Silvia lives on after her second miscarriage.

The idea to give Silvia a send off with meaning was Tone Horroh’s idea, which means it was Ammer’s idea. One of Ali’s twins is used in a photo of the baby they’ve named Polina Rada; the baby is held by John Page, who sits beside Silvia, who is in a coma—a situation Page describes as “Sick,” although he does what he’s told.

“I can see your piece,” says Tone Horroh, while holding the camera. He speaks to the Pirate who looks at The Guy who just looks at the floor as Ammer walks into the room.

“She looks dead,” Ammer says about Silvia. The Guy clenches his jaw as Litigatti peers through the window.

Then Hannibal walks over to where Page sits on the side of the bed with the baby and pulls Silvia’s top down to expose her breast.

Ammer, who has his head down looking at the dying woman, gets his head pulled back as The Guy now has Ammer in a headlock. “One move and I’ll give you a panoramic view of the fucking room…” The Guy says in Ammer’s ear as he looks at Horroh who already has his gun in his hand.

The sound of Page crying into the baby he clutches can be heard as The Guy throws Ammer’s body down on the ground.

And then The Guy reaches for John Page; he holds the kid around the shoulders as he leads Page and baby Polina out of the room.


John Page watches the flight from Moscow touch down at Heathrow.

The driver in his orange turban pats Page on the back as the wheels of the aircraft skid and then they carry the passengers safely down the runway.

John Page had managed to foil Ammer’s story of how Alexvale is the third Pillar of the F3quenZor, and therefore, a vital piece to The Semi-System’s make up.

“She still hasn’t set foot in the West yet.” Page fobs off the pat on the back as he sees Ammer’s circus beginning to take shape out in the car park....


Metofeaz closes the lid to the ThinkPad as he accepts Lazoo’s handshake.

“Amazing,” Lazoo says about how Litigatti and The Guy have brought James Elton back into the fold, writing him into the latest Value Add Interlude—The STORYBOOK Chapter 6.

“Thank you,” Litigatti says, and then he points to the screen where The Guy puts the finishing touches to the “LATEST UPLOAD” after he risked losing the plot by paying tribute to Oprah Winfrey, Rupert Murdoch, and Australia in the last few uploads, and now he straightens the story up for the final leg of GO3.

“Thank him,” Litigatti says to Lazoo about The Guy, as the front door of the bar opens and Le Mac enters, bringing donuts and “Real Coffee,” he calls out, as he lets the door close behind him….

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Intel Corporation
Microsoft Corporation



Session: XMAS20101
Approx Date: 12/12/2010
Location: Multiple
Project: GO3

Story: GO3
About: F3quenZor
ISBN: 978-0-9803486-4-4


Zealand pulls up next to the Pirate who looks like he’s failed rather than succeeded.

Kevin has made it through customs without a finger laid on him—not that he’d ever be silly enough to carry anything he could not declare; it’s just that The Zurich Teller normally sets off alarm bells, not in his job, but at airports especially.

Being suspected of a hit on a Russian mobster, who turned out to be KGB, meant Page couldn’t go near Red Square. Mr. Businessman and others had done their best to keep Litigatti’s kid brother alive, but with the provision that if he ever set foot in that part of the world, he was fair game.

“Lina’s getting check-ups with the doctors and nurses; Santina’s with her,” Zealand says, and then he puts an arm around the kid who made it happen.

“Poet Soldier!” Zealand tries to perk up the kid whom he first met on the streets of Brooklyn, New York after Zealand’s family arrived from Germany when both he and the Pirate were around five years old.

“Not quite,” Page says in response to the compliment about the storyline the crew followed, which expended nearly ten million dollars of loot that Page now thinks of.

“Shit in, shit out,” Page reminds Zoop, a Robin Hood type crim, of what The Guy used to remind them of—how important it is that all resources on a project can be itemized. “Pretend we’re being audited by Deloites,” he would say.

“Break a heart and the penalty is forever. Break the law, and you’ll know about it like that!” Page, the condemned character, tells Zoop as he sees in the distance Ammer approaching.


Jon Pierre wipes his boots on the mat as he waits for the orphanage’s door to open.
It’s Christmas, and he’s been thrown out of the U.S. One of the ways the Network ensures its operatives are kept under control is by using extreme measures to keep the outlaws they employ in check.

He is here to visit a boy whom the Network has asked him to meet, to see whether he is the next one to write the script for the soldiers to follow.

The door is opened by the Mistress. A boy around five years old stands next to her.

JPS looks at the gates closing as the mistress invites him inside and out of the snow.

Inside the Mistress’ office, Jon Pierre sits down on a sofa opposite the quiet boy who waits for the man to ask him a question.

Jon Pierre looks through his diaries at the profiles ranging from Janine Elton, to Page, to Metofeaz, and then he turns over to a new leaf and writes “Afanasy” at the top of the page.

“Cat?” Jon Pierre asks Afanasy.

“Paws with claws that range from a kitten’s to cleavers a Lioness has to protect her cubs,” the boy responds and then he looks at the ground as Jon Pierre jots down the meaning of the child’s interpretation.

“Understands the range of emotions already; knows force from finesse, even at a young age….”

“Dog?” Jon Pierre studies Afanasy’s body language as he asks his next question.

“Man’s best friend. But look at him; sometimes he’s dumb; other times he’s selfish. What does that say about his pal?”

Jon Pierre nods his head as he writes down his findings; meanwhile, the Mistress comes into the room and sits down next to Afanasy.

Afanasy looks at the ground, the best place to look when he’s not being spoken to. Afanasy is getting used to the continuous testing by the grown-ups. This questioning is easier than most since the person testing him, whom he knows as The Poet Soldier, knows what he’s doing, is kind, and hasn’t asked for them to be alone in a room.

“Afanasy is a model pupil,” the Mistress says proudly, as she puts an arm around the boy, who blushes. But then the Mistress pauses as she sees something in the direction of the door.

“However,” she says, and then she calls out, “Silvia?”

Jon Pierre looks around and sees someone, in-between the door and the door frame, looking at them.

“Silvia, I want you to come in and meet Jon Pierre Solomon,” the Mistress calls out again, and then she lowers her voice.

“As I was about to say, since Silvia’s arrival, we’ve noticed a change in Afanasy’s behavior….”


“Call me Zoop,” the kid with the blond hair says to Page, and then Kevin taps Page on the chin, making Page touch his chin, allowing Zoop to steal Page’s knife from his homemade pouch.

On the steps of the brownstone, Metofeaz, barely a teenager, is wrapped up in one of Janine’s winter coats that she left behind the last time Page’s real mother, which Page is not aware of came to visit them.

Next to Feeaz, as he is known for taking everyone’s money in the games they play, is Ali Lévon, also wrapped up in one of Janine’s coats.

“You’d look better in this one,” Ali says to Metofeaz, who wears a 1920s style winter coat with a furry animal for a collar.

“I prefer Jackie O’s look; Marilyn was too LA for me,” Metofeaz says in the most convincing queer’s voice, and then he sees one of the wives from across the way as she and her husband come down the steps of their house.

“You better watch it; Mr. knows about you and his Mrs.,” Ali says to Metofeaz.

Page, dressed up in what’s meant to be a Pirate costume, sees the man and his wife walk by; Page looks up at Metofeaz, who gives Page the look not to be so obvious.

“I can’t call you a Pirate.” Page hears Kevin’s funny accent. Page, still looking at the woman in her thirties and then his older brother, asks, “Why not?”

“Because you’re wearing your mother’s black petticoat and her hat and a mask.” Zoop says to his new friend, dressed in his make believe mom’s wardrobe.

Page looks down at his outfit. Janine’s black slip, which he has over his jeans and jean jacket, comes down to his knees; he has one of her thick belts around his waist, onto which Ali sewed his knife pouch. He steps toward a parked car and looks at his reflection in the car window, he sees the fascinator on his head and the Zorro mask he got at Zoop’s birthday party a couple of weeks ago.

Page feels the slight chill in the air, and then the first snowflake lands on his nose.
Litigatti looks up at the sky as he sees that the married couple has made it down to the street’s end.

Metofeaz feels the chill as he sees the woman look back at him as they turn the corner.


The Guy hears footsteps in the orphanage’s hallway—they’re Lavenda’s. It makes him look at the brick in the glass box from one of their projects; his gift to the orphanage is Lina’s favorite thing in the world, the mistress has told him.

“Driving home for Christmas,” John Reyer’s favorite carol, plays as Ms. Stevonsen appears.

The leggy Scandinavian is her usual cool self, still mad at him after their last job, in which he played up with extras, which he can explain.

“It’s chronic, John!” The Guy hears her talk about his womanizing. “Or is it sex addiction?” Lavenda lets him have it. “Because if it is we can deal with that….”

The Guy knows that if luck would give them the break, he would not so much as think of another woman, but for now, The Guy can only make eyes at the woman to let her know a child is about to enter the scene as they hear five-year old Polina coming down the hallway.

Polina smiles as she hears John Reyer’s favorite Christmas carol; she can smell Lavenda’s perfume, and now Lavenda’s voice, “Because we can,” makes Lina smile at the prospect that her new mum and dad have decided to sign on the dotted line.

The thought makes Polina Rada begin to skip as she heads down the corridor to the Mistress’ office….

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John James Lazoo sees the view from where Tone Horroh used to sit. Zoop looks back at John James as The Guy onscreen puts on the Eagles’ Christmas carol, “Bells Will Be Ringing.”

Litigatti fetches them what Metofeaz calls “Brewskis” as he holds up the same beer The Guy drinks from on the screen above the stage, and Lazoo thinks back to his first Christmas as a member of LMLA-ink.

“The little gray radio under the tree.” Litigatti says for Lazoo what he’s thinking, letting Lazoo know that even though Horroh has been ousted, there’s no reason why those days can’t remain special for what they were. “LMLA-ink has evolved; our story is still the same; the fact that we’ve grown shows we’re a living organism,” Litigatti says as he toasts The Guy, who writes fairly much what Metofeaz just said.

Litigatti has called a meeting to finalize the remaining chapters in this year’s storyline.

He also wants to see how Lazoo responds to Jon Zoop, whom Litigatti and The Guy have decided to add to the crew to uphold the crew’s street credibility.

The fact that the Zurich’s last job was about thirteen years ago—in which he netted three hundred and fifty million dollars, about one hundred fifty million shy of his biggest payday back then, although the owners of the money still do not know about it—is irrelevant. Every time a sizable haul is made, Zoop’s name is one of the first three the authorities check.

On the other side of the coin, Zoop freelances for major corporations as an expert in identifying embezzlement, and fraud by members of the staff, which is just as costly to a brand.

When the front door opens, the boys remain relaxed, believing it will be Le Mac who enters.

However, when they see it’s Ammer and Alexvale, their postures change, and they quickly take drinks of their beers.

“No freaking way are we going to write that moronic scene.” Zoop says, his contribution surprises Metofeaz, who smiles for Ammer as he pulls up to the table.

“Someone gonna offer me and the kid from nowhere a beer?” Hannibal asks.

“No disrespect, Vale,” says Litigatti, looking at Alexvale, and then he looks at Ammer. “The kid from nowhere is copyrighted, and the Kid had a dad, not a stage mum.”

Litigatti takes his beer and has a drink before he continues. “Shit, did I just call you a girl?” he asks Ammer, looking him in the eye.

“We write it to reflect how Polina feels about what’s happened.”

Litigatti sees the writing on the screen and points to it for Ammer to read.

“No brands, and no links to music,” says Lazoo, looking at Alexvale and then at Ammer.

Lazoo takes his beer as Ammer starts walking for the door with Alexvale in tow.

“Make it morbid,” Lazoo, a one woman man, says about Polina’s arrival at Heathrow, an event that was the climax for the eBook WIPE, and which they’ve been contemplating whether they should include in GO3, in light of what Alexvale did to Polina.


Sometime in the winter of ’91, Page Elton watches the coffin containing Afanasy’s body being lowered down beside the plot where Silvia Rada lies.

To the left of the plot is Janine Elton’s final resting place next to John Page’s, and at the end is Jon Pierre Solomon’s.

Lavenda sees in her lens PAGE1—in the background is the headstone belonging to John Page; the shot would be artistic but somewhat morbid, and disrespectful.

Litigatti turns around to leave as the priest begins reading from the Bible. Lavenda captures the shot of Litigatti putting his arm around Page, or PAGE1 to turn him away from the scene….


“Would all eligible bachelors please make their way to the parking lot.” Alexvale hears the call for the losers to go to where Polina’s homecoming scene is about to start.

Alexvale, in a white suit and black shirt, ignores the way the twist was written for what was meant to be his great finale as he does the splits and then comes back up onto his feet and does a spin; then, he finishes off his Travolta moves with the fever for the cameras.

“Well done, son!” says Ammer, behind the journos from Ammer’s Drug rehab support group who now start looking at the cameras they hold to see whether they’re worth anything at the pawn shop.

“Water pistols,” one of them says.

Alexvale looks at Ammer as they hear another call on the loudspeaker.

“Would all tossers, including Low IQ & EQ, retarded, phony wannabe writers and their flaky crews—who have nothing to show for all their time spent trying to mess with The Guy, who takes everything for himself and LMLA-ink—please make their way to the car park. There you’ll meet others like yourselves waiting to make more fools of themselves….”

The brave twelve-year old takes a deep breath and sighs as he begins to walk in that direction.

Alexvale, who was identified by the Network as gifted, grits his teeth and says to Ammer, “At least I can now say I have a dad….” Alexvale looks up at Ammer as Vale leads the way.

“Well, can’t I?” Alexvale looks away again as the boy waits for the answer to what was meant to be a rhetorical question….

Ammer’s eyes are red from fury as he once again experiences humiliation in what he was led to believe was his creation….


Polina does a search on Bing for John Reyer Afamasaga as The Guy on screen searches on Google for the GUIOPERA.

“Thank you for not demeaning my part in all this…” Polina writes in an email to The Guy, who, everyone knows, has the story tied up already.

“When did you decide on the ending?” she also asks in the email.

The Guy, a quiet and cool type who never lets anyone know where the plot is really at, Googles a search for Polina to see,

“Timeline: Tutoring begins: 1970, Game begins: 1979, Time Out: 1993, Back in: 2001…2010: GAME OVER!”

Polina marvels at the ultimate storyteller’s control on the GAME, and then she receives his response to her email.

“Any day now, Lina….You’re going to bring the house down. People with Kleenex stock are laughing; those without will be crying like everyone else, chic. God bless….”

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Intel Corporation
Microsoft Corporation



Session: XMAS20102
Approx Date: 18/12/2010
Location: Multiple
Project: GO3

Story: GO3
About: F3quenZor
ISBN: 978-0-9803486-4-4


Polina watches the actor/author turned techno designer onscreen; it’s obvious he needs a new day job. With the GUIOPERA III coming to an end, and LAZOO 2010 the Kindle eBook next on his list of things to do, John Reyer Afamasaga has completed his integration of all his experience, which he cannot note on his résumé, and in doing so, now looks for a new environment where he can be himself.

The quiet, unassuming, helpful, but above all, talented manager of people, and creator/designer of systems and solutions, continues to bide his time in entry level positions until etfiction is finished as far as a Techno Concept Generator MILL is concerned, which will spawn new products when the time is right.

Polina sees that he might be serious about moving on from where he is as far as Lotte is concerned. He’s starting to chat to women more his type who might present a chance of something happening.

He’s stopped responding to online dating sites now that he has to take up his role as John Reyer, with news that Tone Horroh has been arrested for the murder of Hariss Clariss back in ’98, and also for the murder of the would-be Poet Soldier, the one involved in the North Africa mission. No one is quite sure of how it went down, with the way LMLA-ink never rolled over, leaving Ammer as the suspect for how the police came to possess footage of the gruesome killings by Horroh, who mutilated the two bodies, leaving them looking like carcasses in the wild that were torn limb from limb by animals high up in the food chain, and then left for vultures to devour their remaining flesh.

Polina looks forward to LAZOO 2010, in which John Reyer will attempt to entice Stephen King to join him and Grisham in writing GUIOPERA V in 2012. The plan is John Reyer Afamasaga will write the voice of Lazoo; Grisham will write Gene Reyer, Lazoo’s lawyer in the Tongue murders, and King will do his thing as creator of the morbid mayhem in which LMLA-ink assists NYPD in tracking down a serial killer in NYC, of whom the public are unaware.

“King, Afamasaga, and Grisham,” The Guy spells out one of the combos in the years to come, which will include the likes of J. K. Rowling, and hopefully new talent for which he is on the lookout.
Polina thinks about the “Crossover” that The Guy continues to plot, from naive novice to vilified voice of the Internet; nonetheless, he has displayed his skill on stage this time when he was forced to take up the role of leader, a role he does not feel at ease with and finds difficult when he must do what he does with his hands tied behind his back.

Polina wonders whether he will be as effective in reality, and then she thinks back to his younger days, when he had people to front for him and the budget.

Then an email from “John Reyer Afamasaga” arrives:

“You ain’t seen nothing yet….Imagine….Oops, sorry you can’t imagine what’s next. Try imagining when film first hit the cinema, and when TV arrived in your living room. I’m here to take this GAME to another level. Virtual Reality, with my Virtuoso….Who’s GAME enough to give me a shot? Step up, and shake hands; the future is ours, blah, blah, blah….”


“Later on
We’ll conspire
As we dream by the fire…
…Walking in a winter wonderland….”

Christmas Carols continue….

John Reyer’s mother notices her son’s behavior as he puts food on his plate that he doesn’t normally touch.

As usual, his little brother Vic is standing next to him, looking up at John Reyer, who is now at school.

Christmas in Petone for the Afamasagas means there’s heaps of family and food, which includes pork, food Seventh Day Adventists do not eat.

His mother feels like saying something, but she is confident her eldest son at five years of age is not dishing up the food for himself but for one of his uncles or aunts.

John Reyer lets his little brother play with his presents in the living room in front of the fireplace; it gives the younger fellow the feeling that he has twice as many gifts and keeps Vic occupied while they wait for their cousins to arrive.

Johnny, as everyone calls him, bows his head as he walks past his elders and into the kitchen where he sees his mother is busy at the oven. He has his hands ready as he hears his mother say, “Close the back door” in Samoan. Johnny left the door open for his exit from the house after he collects the plate of food from the corner of the table and darts through the open door.

His escape with the plate of food goes terribly wrong when the foot he uses to drag the door shut behind him gets stuck, unluckily sending the plate flying forward and over the steps to the ground where it smashes, scattering the food on the back lawn.

John Reyer freezes as he hears his mother’s voice from behind him….

He slowly gets up, pretending he doesn’t hear what she says, while more concerned about the evidence scattered on the lawn….

Fifteen minutes later, his story to her about the homeless man, who is sleeping in the back of an escort van in the car sales lot up on the corner of the street, earns him a scolding before his mother hands him a fresh plate of food for “Jon Pierre Solomon.”

John Reyer’s mum ends up with a smile on her face from her boy’s incredible imagination that can conjure up a “Poet Soldier” out of whom she believes to be a Maori boy who lives around the corner and whose family is not that well off.

“Mum, mum, he says I am the next Poet Soldier,” the lad says in Samoan to his mother, a registered nurse.


On September 5, 1965, two boys were born, one in Sicily, the other in New Zealand. Another pair was also born one in Russia and another in South America.

Jon Pierre had met Metofeaz Litigatti already and also Afanasy in Russia and Jon Le Mac from Brazil.

The last of the quartet he has yet to meet is Johnny Reyer Afamasaga, mostly Samoan, with just enough German blood in him to make him princely and precise in whatever he does. The kid, whose story has it that royal blood flows in his veins, and who has the looks, courage, and brains, plus a heart to match his billing, knocks on the back window of the van Jon Pierre sits inside as he tests the boy out to see whether he has the gift to entertain the world, bringing laughter and causing chaos, but in the end, creating a moment that will stand out in history.

“It’s open, Johnny,” The Poet Soldier calls out, and the door, heavy for a child, is flung back. Johnny then slides a plate of food covered in a tea towel along the metal floor of the van.

“I told my mum I’m going to be the next Poet Soldier,” Johnny says as he now puts a hand on his hip.

“And just before I forget, Le Mac’s my imaginary friend. Afanasy is Polina’s dad. And Metofeaz has to talk to the girls because I don’t like them. Well I do, but they always tell their friends after we do kissing behind the bike shed….” Johnny, who speaks no English at home and is bullied at school because he mostly speaks in Samoan to the other kids, tells Jon Pierre in near perfect English about the characters whose names Jon Pierre has only mentioned to Johnny….

Jon Pierre notices how the boy he met on Jackson Street, Petone, in Peter Jackson Town, watches his every move, and comments on his actions at the same time he tells him which one of his relatives has arrived at his home down the street based solely upon his hearing, which Jon Pierre has been advised is one of the reasons why this kid is favored to be the one to carry on The Poet Soldier’s work.

“You’ve spent a lot of time in America; you still have your fork in your right hand….Oh that’s my aunt from Porirua,” The boy’s fragmented conversation is a delight to listen to, if you know the range of his personality already, from humor to saying eloquently what will press people’s buttons when he feels like adults and children alike are not behaving how they ought to in the context of a scene he’s in.

Jon Pierre looks at the walls of the van he has to sit down in. Johnny had suggested he sleep in the van, which JPS did to see whether the child was capable of directing a story given the chance.

“What were Metofeaz and John Page like?” Johnny’s non-stop questions, as he stands outside the van while JPS sits inside its little cabin, make Jon Pierre aware of the little soldier’s highly developed leadership qualities, confirming for Jon Pierre the ranking of his four recruits….


“So this is Christmas….”

John Lennon sings as Zoop looks up at the TV in the dive bar in Chicago.

The door is flung open and the plastic bells clatter as John Page jumps through the closing door. He lands like a gymnast ending his routine, and then he shivers before he wraps his arms around himself after he’s successfully fled the snow and the wind outside.

Page walks as if, should the precious snow on him fall from his leather jacket, it would mean death.

Zoop takes a sip of his beer as he watches the madman trying to figure out what Page is up to. Page now bows his head and looks at Zoop with his dark eyes only just visible in the dim light as they peer beneath his eyebrows.

“Still in your momma’s underwear…” Zoop says as he keeps a smile hidden from Page.

The door opens again. This time the voice of the person who enters causes Page to stop the play he was building up to some funny frenzied ending in which he and his pal Kevin Zealand would end up rolling on the ground in fits.

“Fucknuckle’s here,” Zoop says loud enough so Page and Ammer, now close behind Page, can hear.

“I prefer wanker,” Ammer says as he turns into the bar, and John Page says, “I’ll be back as he heads for the bathrooms.”

As Page goes to enter the men’s room, he gets a fright when he sees appear, out of the ladies’ bathroom, Silvia….

Page returns from the bathroom and finds Zoop, while Silvia listens to Ammer about his plan for a project that is on the horizon.

Page doesn’t hear any of the plan since he can’t quite fathom the idea that Zoop and Silvia were here together before he arrived.

Silvia reaches for Page’s hand on the bar; he pulls it back to himself as he now can hear Ammer. “Okay? It’s simple; those Commie bastards need to find a new farm for their commune….”

Silvia responds to Page’s standoffish behavior by storming out of the bar, followed by Hannibal.

“Did you check the back door?” John Page is asked by the person who has already earned himself the name of the Zurich Teller in a job for which Page did time.

Page clicks that his best friend is onto him as his mind wonders how Silvia came to be in the bar….


Lazoo bows his head as the front door opens and Polina Rada appears. A mixture of reasons exist for why John James looks at the ground. The denial Horroh had managed to create as a cone silence—under which they have all lived under for years, with knowledge of who killed who, and where the money came from off which they lived, with no clear direction of where they were heading—has been lifted. This is just one of the reasons why LMLA-ink’s first star bows his head when the crew’s other big name enters. And now the crew’s members begin new lives in which they have no real idea of who each other are under guidance of The Guy, who now appears on screen.

He’s relaxed as he organizes the last days of the story for 2010. “Johnny Reyer!” Polina calls out. The Guy smiles as she pulls up to the last booth, taking the edge off the awkward moment. Lazoo moves to make way for Polina, but the once little princess tells him, “Stay there; get used to it” as she starts walking toward the stage.

She is here for a discussion of the final days of GUIOPERA III the SystemSpectacular.

Litigatti, Le Mac, and Zoop come through the front door, followed by Arley, Missy, and Genisis.

While the crew make themselves comfortable in the old bar, where Polina had suggested for them to return so they could do what they like away from the corporate offices of CS, Polina sets the mic stand so it will be at the right height when she takes her seat on the stool at stage center.

Zoop and Le Mac make their way onto the stage, where Le Mac gets in behind the rig and Zoop does the lighting for Polina’s poetry reading.

Litigatti plays on the ThinkPad with frame configurations on the screen above Polina’s head. In the frame, Polina appears on the left and The Guy on the right, and then appears one where Polina is central with The Guy in the corner.

“Shot!” The Guy types as he lets his team have a peak at a smile, while the author warms to the task of having to run the crew again in reality sometime in the near future, and so he chooses to start leading them as he would in reality from this point on.

“What about Brisbane?” Litigatti asks. Lazoo answers, “What about Brisbane—they don’t deserve anything.” Then Lazoo gets up from his seat. Lazoo’s response is largely based on having played the role of “The Guy in the GAME,” himself as the cloaking device for when they were creating the “Tongue Murders,” for his “New American Dream.”

“Anyone want a coffee?” Lazoo calls out as he heads around the bar.

“Don’t worry about Brisbane; I’ll make it up to the city and the good people of Brisbane sometime soon when this is over,” The Guy types onscreen.

“If it weren’t for the MICERs and their lowlife loser movie, it would work,” says Polina. “The Guy doesn’t know about what’s going on, so if you don’t know about it, there’s nothing you can do....Plus he, The Guy, has no one!” Polina begins to get emotional as she adds to Lazoo’s support that the story cannot include the people immediately around The Guy, whose behavior toward John Reyer has worsened in the past week.

A rare occurrence happens when they hear The Guy’s voice come through the speakers.

“It’s only because of the loser MICER crews, and plus, I’ve done the city enough of a favor penning the work here. Plus, like I said, Brissy’s going to be one of our bases soon, and then everyone will be happy. To be honest with you, if one of the MICER crews approached me, I’d probably do a deal for us—one that will give them what they want, without our appearance in their loser movie, which is where they fall over, it being totally based on me.”

“How much?” Litigatti asks.

“Enough for a couple of months for the crew in Spain to write new work and relax. And that’s just to sit down and talk, and then probably ten million dollars up front for them to use a name I approve they use, and a royalty on all derivatives that’ll feed us for a while. All together, probably fifteen million dollars up front, and ninety-seven percent of all proceeds from their work, non-negotiable unless they want to give me more for creating everything. And they can’t come near our story. I think three percent for effort is fair, don’t you?”

“We’re only talking about an outcome that could include everyone here,” Polina looks around at the crew.

Polina now holds her hand over the mic. “Correct me if I’m wrong, John Reyer, but if family members didn’t betray you by getting involved with the MICERs, would you at all be trying to find a way out for the losers?”

The Guy looks down at the keyboard as he speaks. “Point being, I now don’t want to know about it; three year ago, I might have considered a deal to save them, when we needed a bigger fan base for the cause. But now the New Global Realm is created, and DataCommodity is out there; those people who did me wrong are worthless to those whom we can influence,” The Guy calmly says as he sees Lazoo wanting to say something.

“I still say, you could’ve written it in any corner of the world,” Lazoo says, and then he looks for Genisis, talking with Arley in the next book over from the last one.

The Guy beams a genuine smile as he writes on screen. “I love Brisbane! It’s worked out perfectly for us, team. Now, what are here to do?”

The date onscreen reminds everyone that it’s only five more sleeps to the last of this year’s “LATEST UPLOADS.”

Litigatti points at Polina to start the rehearsal, as on screen John Reyer, who is back to his former self, prepares an email to his good friend and LMLA-ink’s associate editor Tyler Tichelaar.

Hi, Tyler,

Here’s a schedule for this week’s editing. I’ll be sending one more SESS today, not included in schedule....

It’s based on Aust Time, and I will most likely send the copy on the evening of the day shown. I will require these back asap please.

Needless to say my friend, this is the final stretch of an amazing team effort, notable performance by you Tyler—Your Support! Mate....And how you give me the confidence to smash this GAME....And by how you turn the work around quickly, making it the least of my worries so I can concentrate on playing my “A” GAME....

Chapter: 82
Send to Tyler: Sun 19
Upload: Mon 20

Chapter: 83
Send to Tyler: Mon 20
Upload: Tue 21

Chapter: 84
Send to Tyler:  Tue 21
Upload: Wed 22

Chapter: 85
Send to Tyler: Wed 22
Upload: Thu 23

Chapter: SESS
Send to Tyler: Thu 23
Upload: Fri 24

Chapter XMAS
Send to Tyler: N/A
Upload (unedited)

P.S. I paid $160 odd Ozzie dollars for this month’s invoice, which should take my bill down to somewhere around 700 and some sense?

John Reyer

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Microsoft Corporation


“Actor/Author Come Designer”


The rest of the crew leave after the rehearsal in which Polina clowned around, giving no indication of what she might do when the time comes.

Litigatti looks at the ThinkPad, and at Polina who has a glass of red wine in her hand as she talks with The Guy.

“Seriously though, I don’t even want to know what’s been going on.” The Guy smiles at his protégée, who offers him the options available to him about the GAME going on around him.

“You can always kill a couple of them and plead insanity, or self-defense, make headlines, and pick up book deal that way,” Lina laughs.

The Guy laughs out loud at the lawyer’s sense of humor.

The two like-minded people let off some steam about a small number of people who just couldn’t help themselves in spoiling the perfect ending The Guy had planned to include everyone.

“Wow!” Litigatti says to himself as he runs over John Reyer’s comment about not wanting to know what’s going on in the background. Metofeaz is in total awe of The Guy’s ability to construct and destruct, elevate and then destroy. He ponders whether The Poet Soldier is holding out an olive branch to the losers, or is he just circling their minds, surrounding them, clouding their judgment, playing with them while he prepares for them their final lesson.

“There’s always next year I suppose,” Litigatti says meekly as he begins to play the keyboard. The tapping sound gives The Guy a boost that LMLA-ink’s other lead writer is warming up for a grandstand finish for Ms. Rada, for her commitment to the cause….


Litigatti and The Guy have been in the GAME for roughly the same length of time, and this is their chance at the big leagues, the diplomatic scene where there’s minimal grease work, so both of them stay silent as they witness what goes down.

Outside in the Italian restaurant in London is Jack Shack, a talent agent of sorts, and his lawyer Gene Reyer. They talk with Hannibal Ammer, who’s hired the young players to stitch up loose ends for a project that will climax in Berlin about three years from now, and in which Mr. Businessman has appointed Ammer to manage the boys.

John Page’s refusal to sign with Jack Shack’s agency has earned him a dunking in the kitchen sink by Horroh who holds the kid’s head down under the water filled to the top of the large deep sink.

The Guy looks to his left as he sees Ammer lean back on his seat to see how Tone is doing, as Horroh pulls Page’s head out of the water hard and fast, throwing Page onto his back, bouncing Page’s head off the ground.

“Sole!” The Guy says to Horroh as The Guy keeps an eye on Ammer to see whether he’s looking.

“Se…Sole!” The Guy says again to Horroh who stands over Page, unconscious on the ground.

The Guy realizes Horroh isn’t Samoan; he only looks like it to The Guy and those who were told that Horroh is the same as John Reyer.

“Take him out,” The Guy says to Litigatti as The Guy still keeps an eye on Ammer.

“What did you say?” The threatening look on Horroh’s face changes when the cast iron fry pan in Afamasaga’s hand, which The Guy previously had down by his side, hits Tone hard on the side of the face.

“I was saying to Feeaz to take Page outside…” The Guy says in almost a whisper as Horroh’s eyes roll back and his legs give way, while The Guy bends his knees slightly to put the frying pan back under the bench.

“Leave him,” The Guy now says to Litigatti, bending down to tend to his kid brother, as The Guy stands back while Ammer appears in the kitchen.

“Leave it to me; I’ll take care of it. Just get me the forms,” The Guy tells Ammer as Hannibal looks at Page and Horroh coming to their senses on the ground.

Litigatti looks at The Guy who told Metofeaz to tell Page not to sign.

“That’s my boy,” Ammer says with a smile.

“I’m sorry, sir, but I am not your boy. I only report to you on this project, so please, sir, never call me your boy again.” With his shoulders back, The Guy says to Ammer, who looks away; then Ammer decides it’s better for him to go fetch the forms for Page to sign.

Things got worse between the recruits and their handler, forcing The Guy and Metofeaz to come up with an idea to enable them to hack, working with Ammer, a disgraceful excuse for a human being, and Horroh, not so potent due to his equal ranking with the boys.

The discomfort of having to play against his own teammates was already starting to take its toll on The Guy. The incident in the kitchen was just an example of what The Guy has to do in order to please everyone, including Mr. Businessman, who had told The Guy he was the new Poet Soldier, and that he had to take control of the crew in whatever way he felt was necessary. Mr. Businessman also outlined for The Guy how Ammer boasted. “I got the monkeys in a tangle—sambo is golliwog, and golliwog is sambo—now,” Ammer would say at their meetings back at the office.

The Guy holds out a hand to Horroh as Tone looks up at The Guy from the ground. Horroh grabs the hand and The Guy pulls him up to his feet.

“If you’re going to be me, you’re going to have to know what every Samoan kid knows, whether he speaks the lingo or not,” The Guy says as Horroh dusts himself off and then touches the side of his face, which has already begun to blow out.

“I guessed you weren’t Samoan when we met back in Spain. I’m Afamasaga, and that’s a big deal, as well as Savea and Tanumafili on my mother’s side.”

When you meet a Samoan, you say ‘Talofa’…” says The Guy, explaining the protocol and naming the titles in his culture, some of which one day he might have to accept for his family.

John Reyer advises Horroh of the finer details of who he’s meant to be so Ammer’s boy can do his job properly, which Hannibal hadn’t even thought about.

Metofeaz pulls Page up and leans him against the wall as John Reyer tells Horroh, “Go get the boys some beers, and I’ll tell you more stuff….”

Ammer arrives with Page’s contract—an idea by Tone Horroh that will set each one of the crew up for life, as Gene Reyer has promised them in return for their stories once they retire.

As Horroh, who is still dazed, walks out of the kitchen and into the restaurant, Afamasaga calls out to him, “Fatu! The most valued part in the makeup of a Samoan is Heart!”


Polina looks up at the grown-ups around her as they lead her through the crowd. English, even though Polina speaks it as fluently as her native tongue, is overwhelming as she hears it everywhere.

Santina had given the girl an option to pull out of the scene, a decision Ms. San Fé knows one day Ms. Rada will regret, knowing Ammer and Horroh are the architects for this outlandish display in which Ammer now tries to attach Alexvale to Polina.

Ammer’s idea that the F3quenZor’s pillars are PAGE1 (John Page), HEX-V’L (Alexvale Rokov III), and PLANTOM-ZERO (Polina Silvia Rada) was disproved when Alexvale, a gifted seer but a not-so-patient listener, failed the test.

The cloaking device Ammer is still trying to rehash is WIPE, which The Guy, The Poet Soldier, had written and then cast aside back during the Wall of Berlin operation because the technology had not been ready yet for the players to play out the story in reality. WIPE, the cloaking device, was for Page’s involvement in the “New American Dream,” and with any luck it would also be Polina’s.


Like I said, I’m a designer; and I’m also interested in structures….One of my ploys in this GUIOPERA is “The Perfect Scarce Loop,” the idea that I (A) could be writing it live in full view of everyone, creating a loop (connection) between me and my audience (B)….I’m fulfilling a fantasy/nightmare that could expose me to the entire world, who have taken to my work, for no other reason but for the fact, it is the most “REAL” experience one can have.

The Law of Relativity says it’s the relation between point A and Point B. Let’s say one of those points can alter the signal and warp the distance? Not by diversion, but by altering the node/point with the signal….I’m still trying to get my head around the idea, but if I studied it, and I bet with the help of a mentor in that field—Physics—we might be able to come up with some interesting new ideas….

Litigatti reads the email from The Guy to Tyler adding weight to the “Science Project” theory for the work, in which the Internet had to be created so the crew could pull off the trick The Guy named back in 1991, “Perfect Scarce Loop,” which can be applied as a literary device for when a story is looped across multiple dimensions, throughout a significant amount of different stories, three or more over a period of time no less than five years.

The actual test, for which the “Perfect Scarce Loop” was designed, is what The Guy is playing out now in front of the world. It defines the loop in which he writes the story for his fans, the difference in it being a scarce loop, rather than a not so scarce one, is his not knowing about the audience, or more exactly not having ever being told about how they watch him please them, which pleases the modest man who would not have applied for the role due to his shyness.

In 2001, during the setting up of a dummy product to get the attention The Guy needed—which he had people already in place to “Front it for me, ” and “Take the heat for me,” as he would say—he detailed the very event happening in an overview, the star of which would be, “The First Internet Superstar.”

The Guy had his sister, a talented singer, earmarked for the role he now plays. And anyone who knows John Reyer would confirm that if he were planning on doing the trick on his sister, it would mean that the show had to be one with a positive outcome, and also a delight to watch and participate in.

Obviously, the plan reached the wrong ears and ended up in many hands, and in the end, the person who designed it was now on the receiving end—not quite the plan he had designed, but the idea is still the same; the only difference now is the person they try to manipulate designed the idea and has been pulling the strings right from the start when Johnny Reyer as The Guy looked for a way to go back into the GAME so he could come clean about who he is, then shut the GAME down, so he can walk away as a designer/author.

And maybe, if we’re lucky enough, every year around October he can don a brave face and get behind the screen to write what his fans will always want, from him and no one else now, Emotional Techno Fiction as written by John Reyer Afamasaga in the GUIOPERA, just another one of the maestro’s brilliant ideas….

Fabric Channel Partners

Intel Corporation
Microsoft Corporation



Ashgrove in Brisbane, early in the morning when most are still sleeping, before that magical time of 5:55 a.m. sometime in mid-May 2006. John Reyer Afamasaga can only imagine what Tone Horroh and Hannibal are up to now.

“Just call me The Guy,” John Reyer would joke, back when he was involved with the crew.

“The Guy,” is the name he now has to work into existence as he looks to reclaim his identity, from fear Horroh and Ammer were involved in anything remotely to do with 9/11.

“The Guy in the GAME” is the cloaking device John Reyer had designed as a parting gift for the crew back in ’92, as one of The Poet Soldier’s most robust templates, into which almost any kid off the street could be thrown in order to go through almost any scenario. John Reyer now must cloak himself with it in order to focus on the task at hand—etfiction’s real timeline says 2010 is the year for the GAME to end.

First, John Reyer, an ideas guy, sits down to try and figure out how he’s going to put pen to paper and become an author, entitling him to freedom of speech in order to let everyone know he has nothing to do with what Ammer and Horroh might have been involved in. That was the first thought to cross his mind when he saw the Twin Towers collapse on TV, two years after Ammer asked him to help out with the project to do with the 2000 U.S. presidential elections.

Never mind the five million dollars he was offered within days of 9/11 by someone, who could have been posing for the Network, to come in and clean up. He hadn’t even picked up the list of names the voice message said were responsible for what happened, “Due to tardiness.” John Reyer hadn’t even touched the holding account with the currency in it just in case they were trying to pin something ridiculous on him. Or, were they meaning to contact Horroh, and not John Reyer?

And secondly, his only other goal, not including a personal one, was to build the Network back up to where it was before he bowed out in the early ’90s.

The WIPE he performed on himself, to clear his subconscious of things he’d had to do over the years as servant for the system, hadn’t gone quite according to plan. The one time programmer/hacker, who could enter any bank with his eyes closed in less time than it takes for a teller to count a bundle of bills, is only now learning to work a computer again.

To date, the former operative, as he now sees himself, has made a few attempts at becoming a writer, which have yielded laughable responses from those the brave person has shown his work.

Lotte Stendorf Jensen, the woman from Denmark whom John Reyer had fallen in love with in Samoa and who had returned to her homeland, called and woke The Guy up in Samoa on her birthday on 9/11. She could still provide John Reyer with enough energy for motivation through his passion for them as a couple.

Somehow, he still dreamed of them getting married, even though he had failed her, when his weakness for women again got the better of him.

As Polina reads the text onscreen, it also brings back memories for her—of when Santina would read John Reyer’s work to her.

Polina looks at the clock on her iPad; it says Ms. San Fé and her little brother will be home in just over twenty-four hours. Then she reaches for the IBM ThinkPad Litigatti has given her for writing her poetry.

“Banks hadn’t gone online back when you were young dude, like in the ’80s, or was it the ’60s….LOL…Nice way to get a confession thrown out….” Polina types into messenger and presses “Enter”; the message is Ms. Rada’s attempt to lighten things for John Reyer during what must be a hell of a time as he tries to piece everything together perfectly, with only days remaining for The Poet Soldier to ensure the GUIOPERA remains the story of our times….


“James, James.” Janine Elton checked to see if her seven-year-old man was still awake. James was comfortable in the warmth of the June night and moved his right leg to assume the recovery position correctly, his mother’s poetry a fine replacement for the hot chocolate that could not afford. Janine looked straight ahead into the rafters of her cottage with her hand-bound book….”

Horroh listens as James Elton reads from the PDF file on screen.

“Get me some water!” shouts the wealthy Hariss Clariss to Simon Campbell behind the counter of SIL HOUSE Café as he listens to words that implicate and incriminate him.

2007, and Horroh has a new investor for the role of the scariest clown in town “CLARISS,” whom Tone has managed to convince he will be able to make wealthier than he already is.

“That’s enough,” Horroh tells James as Metofeaz walks by the window.

James now closes the lid of the laptop on which he was reading the eBook John Lazoo that they found on the Internet, as Litigatti enters the café and sits down next to James, facing Horroh at the table under the arched logo.


The sound of the Rogue Traders fills the airport and surrounding districts, with the Love theme from WIPE:

“I’m Falling in Love Again….”

“Wishing Indiscreetly Piercing Eyes.” Santina says to herself the words he had broadcast over the airport speakers as she boarded the plane to Russia.

PAGE1, the man who has stepped into The Poet Soldier’s role, doesn’t care for the accolades that the Network and agencies are heaping on the crew for its work in passively getting Polina Rada; the child possesses immense ability over to the west, where the woman whose egg she came from, known only as “Janine,” originated, making Ms. Rada property of the U.S. Government.

Ms. San Fé sees Page as he and Zoop shake hands. The good friends hug each other before Zealand heads off, and then the Bollywood producer, whom Page hired as his driver, takes off the orange turban.

“This is for you, my friend; the British in me thanks you on behalf of the Commonwealth.” The Indian man hands Page the gift, which Page just looks at. “It’s actually orange,” Page says, and then he tucks it under his arm as they shake hands.

Ms. San Fé times each step she takes in case someone else might be on the horizon to thank Janine’s eldest boy for his work in ensuring Polina Rada has made it home.

Santina decides to take the long way to his side as she walks by the windows where she looks down on the car park scene where Ammer looks frustrated at how Polina has again messed up the scene. Alexvale lies flat on his face in a puddle as people on the double-decker bus laugh at how Polina moved out of the way when Alexvale jumped forward to hug her….

Ms. San Fé smiles at how Polina manages to affect the outcome easily as Polina now turns and looks up at her from nearly two hundred meters away, spotting Ms. San Fé among the many people lined up along the window.

Santina looks away, toward where she can see Mr. Businessman; she was waiting for him to appear before she went over to thank Johnny Page herself.

Page looks over his shoulder to where he can see Santina over by the window as he listens to what Mr. Businessman has to say.

“Ammer, for whatever reason, has been trying for a long time. He swapped Metofeaz’s sperm for Afanasy’s, thinking that would ensure Polina wouldn’t turn out to be who she is….” Mr. Businessman admits to Page that Janine’s egg, for which Arley was the surrogate mother, had been fertilized with sperm from a Russian and not an American.

“Well, we all know the reason why…” Page says as he accepts the handshake from Mr. Businessman who thanks Page, and then he heads off.

Ms. San Fé walks to where Page has made his way over to the window where he watches Polina botch up the scene yet again.

“She’s a chip off the old block, isn’t she?” Santina smiles as she faces Page who looks down on Polina; then a smile appears on his face.

“The Guy certainly…” Page goes on to say, but Ms. San Fé corrects him, “John Reyer….”

Before she can finish what she was saying, they hear Hannibal snarl behind them.

“You at least owe it to Alexvale….” Hannibal’s plea is that someone will talk to Polina so she will play properly and Ammer can salvage something from the project for his retirement plan.

Without even looking around at Ammer, something the crew does to people for whom they don’t intend to fulfill their promises, Page tells Ammer, “We’ll see you down there in a bit.”

Ms. San Fé, also a government employee, shrugs her shoulders at Ammer, who scratches his thinning light brown hair, and then the lanky loser turns and walks away.

“I’ve got a spare room, and it’ll be good for Polina to have a man around while she gets used to her new life….” Santina says.

Sometimes things happen that are so welcome because they are what one could only hope for—Page, who had given up dreaming a long time ago, hears what he was not brave enough to script in his treatment of the cloaking device The Poet Soldier had left in his care….

As Page and Ms. San Fé walk toward the doors to the car park, he can feel the warmth from her arm, close to his, and as she smells his scent, she remembers the night they stayed up late in Kansas as he plotted the plan that has now come to fruition.

Page is still stunned by his luck at having been invited to spend more time with the only woman who has ever caught his eye or made him feel at ease, and he cannot wait to look into her eyes again, in almost ten years.

Page feels the cold in his face; he breathes it in as he tries to find the courage to let the kid know that it’s over.

Santina lets him go as all eyes are on Page.

He enters the scene that must go off for Ammer and his faction of the Network which Page is still a part of.

Metofeaz who has already begun distancing himself from Ammer, relies on Page to keep Ammer and Horroh busy. And for Page to keep Litigatti and The Guy in the loop about what Ammer is up to, which is not an easy task; as Horroh and Ammer are also adept at drip feeding everyone with rubbish to counter leaks in the system.

Page looks around the car park. The ring of vehicles includes the red tow truck with flames, the double-decker bus with fans from all over the world, who have been promised Polina and Page will participate in the scene, and the Big Mac truck with the Network’s communication center in the trailer, filming the scene.

“Lina!” Page calls out as he stops far enough away from where Polina is to show that what will happen will be of her choice.

“Yes, PAGE1.” Polina’s voice, even though it’s soft, can be heard around the world.

“Is this how you want to start your new life?” Page asks her.

Polina looks at Alexvale. “I guess there’ll be no Valentines after all,” Ms. Rada says, and then she turns and walks away to where Page waits.

John Page feels for Alexvale, who, due to no fault of his own, finds himself on the wrong side of the storyline.

“Rokov!” Page calls out, but the kid still has his head down after his co-star, as Ammer had promised him would happen, turns to leave the scene of the crime designed by the person he now must call his father.

“Yes, PAGE1,” Rokov manages to say, despite his downcast mood.

“Come here; I’ve got something to tell you,” Page says as Polina pulls up to his side. Page places a hand on the child’s head to let her know everything is going to turn out fine.

Alexvale, who drags his feet, finally arrives in front of Page, and Page crouches down so he’s eye level with the children.

“Alexvale, this is a GAME, kid. You’re either a player or a commentator; worse still, you could be a referee in a game without rules. Remember this; know where the boundaries are, and play for the team; that way when your team wins, you don’t end up having to sign autographs….”

Alexvale, a smart boy, gets the meaning of the pep talk from his first choice of dad.

“Now, touch gloves, and go to your corners.” Page looks at Polina and then Alexvale as Lina’s smile makes Alexvale also smile as he holds out his hand for Polina to shake….


“We’re in!” Polina hears the hacker say on screen, and then he backs himself to deliver as he visualizes a diamond where Le Mac walks to first base after Jack Shack no balled him, sending Litigatti to second and Lazoo to third base.

The scoreboard says it’s the bottom of the ninth, and four runs are better than the three the opposing crew have.

“Easy does it. And onto third base, brother. Don’t have to steal a thing. I’m pointing at a place beyond these lights….” The Guy talks to his captain as John Reyer senses Janine’s boy feels like doing something on his own to save the day.

John Reyer, the big hitter, steps up to the plate as he sees the bases are loaded.

From second base, Litigatti signals to The Guy that a “sinker” or a “drop ball” is what Gene, the back stop, is calling for, and so John Reyer manages to position himself forward of the plate to meet the ball from Shack before it dies on him without Shack noticing it. He does so when The Guy pretends he’s nervous and walks around the plate, managing accidentally to walk into the back stop, Gene, and tip him over, which almost brings in the fielding team. As the umpire calls for some action, The Guy moves into the right position now, with his legs wider to give Shack the illusion he’s over the plate.

LMLA-ink needs him to hit for the team the final home run in the 2010 series as the chant goes up….

Polina shakes her head to switch the F3quenZor off for a moment as she sees her mentor has sent her an email.

“Imagine you’re Spielberg, and think of the many angles a great storyteller like him would have to consider to make the plot, or the once seemingly leaky vessel, float….”

John Reyer’s email offers Ms. Rada enough to cram the bright woman’s mind so when her stream of consciousness is unleashed, it will be thoughtful, and mindful of all that has been twisted the wrong way and then back the right way; whether or not such a place even exists in the end-to-end saga is beside the point when Polina takes the stage.

“Scorsese is a traditionalist, so rely on what you’ve been taught from those who love you….”

Lina smiles. The Guy is obviously feeling the pressure, and going through his idols and how they would handle the ending he has to come up with, to do justice to the time his readers have given him over the last four years.


John Reyer tells a Facebook friend he’s off to the drugstore for some relief from food poisoning he contracted from the pork he had for dinner last night; admittedly, he knew it was past its use by date—that’s probably the reason why he ate it—so he wouldn’t have to go to his day job today.

The Guy ends up at the Australian version of a drugstore known as the Bottlo, where he gets his favorite writing beer, Amsterdam, different from his best design beer, Heineken. That stop came after he picked up a cricket bag for his clothes for his trip to New Zealand from the Five ’n Dime, and then he called into Woolworths, where Heather asked him what the bag was for, and he said, “Ashes,” in reference to a trophy Australia and England play for in the game of cricket; the Australian team, of which John Reyer has been a long time fan, may just have turned the corner when it won the second test at the WACA in Perth over the last few days to level the series at 1-1.

Back behind the screen The Guy quickly sets up the next chapter…

Polina’s eyes begin to water from knowing what comes next as she hears the song that was playing the supermarket, when John Reyer goes to Google and finds the track on YouTube.

Polina wipes the tears from cheeks as she receives the email from John Reyer, asking whether he can write the Page and Santina scene in the next “LATEST UPLOAD” as she hears, “I Saw Mommy Kissing Santa Claus” on YouTube; the music comes through the browser with him on it, as the person some say is an arch criminal smiles for his fans…

“Hey, Lina,

I need to ask a favor, chick….Yes, or No! No problems if you say no….I understand you have your reasons….”

Polina begins to laugh as the YouTube link comes up on her iPad.

Lina’s tears continue to flow as her laughter carries on just as much at John Reyer’s ways.

“Come on already!” she shouts at the way he goes about things; his email has two paragraphs left for her to read before he actually asks the question….

“I Saw Mommy Kissing Santa Claus….”

The song that’s come up on YouTube on her iPad makes Polina jump as she finally reaches where he finishes his request.

“Anyways, Chic, I wanna write the scene where they have their first kiss….”

The spare pillow, the one Santina found Page cuddling, plus Tiger, and then the picture of the three of them, gets scooped up in one sweep of Polina’s arms as she hugs them tightly while she screams like all the other girls, young and old around the planet, as John Reyer decides he’s going to give his fans a treat in the next upload right after this one….

Polina keeps her face buried in the pillow as her iPhone begins to go off. First she hears Lavenda’s ringtone, then Missy’s, Genisis’, and then one that makes her put the pillow aside. Santina’s message lets Polina know that Ms. San Fé and Lina’s little brother are at the airport, arriving home early, and they will be able experience the next upload John has just promised the world, together as a family….

Fabric Channel Partners

Intel Corporation
Microsoft Corporation



“I saw Mommy Kissing Santa…”

Tuesday, December 21, 2010, at approximately 12:00 p.m., John Reyer returns from Ashgrove Family Practice where he saw the kind Dr. Kate because Dr. Karen has Tuesdays off. The doctor has saved The Guy from any further anguish when she gave him a medical certificate that will ensure he does not have to face his day job until next year, which will give him plenty of time over the Christmas break in New Zealand to psyche himself back into having to deal with the nastiness.

The MICERs in this leg of the GAME are by far the nastiest, cowardliest, and most inept players he has had to work among. Their rubbish ranges from racist stories to backstabbing of their own team members to snide comments aimed at The Guy, who would have taken out all of the losers already if the GAME were not set in lame office surroundings—John Reyer hadn’t quite thought about the limitations that situation would place on the Star of his show.


On the big screen at Times Square, The Cheetah Girls are singing, “I saw Mommy Kissing Santa Claus.” Everyone waits in the dark for one of the finishing touches to GUIOPERA II in December 2009.

“Lina,” the chubby cheeked, four year old says, dressed in his winter coat and hat and mittens. The handsome toddler tries to move his fingers, but his mittens are too tight, and it makes Santina laugh as her son calls for her daughter Polina to come and dance with him.

“Cute; I wanna eat him up,” Missy says to Polina as she laughs at the boy. He now begins to dance without Polina, who rolls her eyes with a smile while she moves forward to the space he’s made for himself in the crowd.

Polina then stops as she sees Horroh, Ammer, and Jack Shack approach from the edges of the crowd.

Polina looks at her sister, who looks the other way as Horroh says hello to Santina, whose smile has suddenly disappeared, replaced by a look of fear in her eyes.

Lina’s little brother has also stopped enjoying the scene, which Polina notices so she bends down to pick him up.

Horroh looks around at the crowd, oblivious that the characters in the story are standing right next to them, as John Reyer gets ready to upload another chapter, which could trigger someone to recognize them.

“We were smuggling guns, and bodies, when the election was going down,” Horroh says to Santina, who looks up at the screen.

“Tell him that,” Ms. San Fé says to Tone as the countdown to The Guy’s “LATEST UPLOAD” begins as Litigatti shows up.

“The Guy’s trying to make a new start; you boys should do the same,” says Litigatti; his joking tone relaxes everyone for the moment now that Horroh has cleared himself of what John Reyer feared, and also under the advice of Jack Shack, he has confessed to a sworn agent of the law about his involvement in arms and human trafficking, for which was blamed Harry Clarenta, whom Horroh killed in ’98, and so that case is already closed as far as the authorities are concerned.

“And you? I suppose you were printing fake driver’s licenses for the new citizens?” Santina looks at Hannibal, now a private detective who specializes in fraud, in which his main aim is to nab Zoop, whom he claims is a fake, due to Zealand doing a deal following Page’s death, which ultimately cost Ammer his job.

Metofeaz’s mood changes when he sees Horroh get close to Missy in front of Polina and Santina, not that they weren’t aware of the affair between Tone and Missy.

“You know, man, you just don’t get it, do you? I mean the bigger picture,” Metofeaz, who has also had a fling with Missy, which no one knows about, moves in between Missy and Tone as Polina lifts her brother up on her hip.

“Okay, we needs to shed some light on the situation. We’re brothers in God, and you know that, Feeaz!” says Jack Shack, the Assistant DA from Lazoo’s story, as he towers behind Horroh.

People around them look in the group’s direction as Ammer smirks at Metofeaz, who now looks up at the screen.

Jack Shack, who set himself up as the go to man for the agencies in absence of The Poet Soldier, leads Ammer and Horroh away as the roar from the crowd goes up for the LATEST UPLOAD.

Missy still looks at the ground as she pulls out something from her coat.

“Shit, Missy!” Polina says as she guesses what her sister has brought with her again.

Polina lets Santina, who reaches for the boy, have him as Metofeaz’s face takes on a guilty look.

“Promise me it will never happen again?” Polina says to the man who is the closest thing to a dad she has, about the one-time thing between him and Missy.

Litigatti is silent as Lazoo and Genisis arrive.

Polina looks at Missy for her to get rid of the picture of Page and Genisis, which Ammer had distributed after the scene at Heathrow had failed.

The picture of John Page and Genisis Jones was taken by Horroh in 1986 in Vegas, when Horroh thought he could become the Poet Soldier.

Missy—a fan of the Pirate as written by The Guy in GUIOPERA II for reasons not known to Missy—likes to see the reaction on the face of Polina, whom everyone adores, when anyone says or does anything that could ruin or tarnish LMLA-ink’s not-so-squeaky-clean image.


John Page listens to Christmas carols the way he likes them—Rock ’n Roll style. The worn out walkman, which is their favorite color orange and a hand-me-down from Litigatti, is one of the few things the millionaire has in the quilted knapsack that James Elton gave him when they met for the first time at the beginning of this project.

Johnny Cougar, who became John Cougar Mellancamp, belts out his rendition of “I Saw Mommy Kissing Santa Claus.”

The title of secret-agent crosses Page’s mind, and somehow, it fits nicely now that he has been involved in something that the person, whom some might see as hardened criminal, manages to smile about his part in bringing Polina home.

Page lies on the bed in Santina San Fé’s spare bedroom. When he sees her walk past the door he leaves ajar, he takes a deep breath to consume any thoughts he may have about the woman who works for the FBI.

The thoughts range from close encounters of the intimate kind, to meeting her in a bar in a scene where she has very little clothing on other than high heels she can wear anytime of the day regardless of what she wears. Ms San Fé wears the heels even in the shower, Page has to go into to fix the showerhead because it was only dripping drops over Ms. San Fé’s naked body he then has to use his bare hands to wipe down her entire body, slowly, because no towels were available.

The thoughts stop when he sees Polina at the door. She has her discman on, and shouts out, “What are you listening to?”

Page quickly sits up. Before it hits the ground, and without even looking at it but even giving it an extra second to fall, he catches the walkman that was sitting on his stomach under his black RUN DMC t-shirt.

“That’s cool!” Polina continues to shout, unaware of how loud she is.

Page takes the ear plugs out and signals for Lina to do the same.

Page places the walkman behind him on the bed as Polina takes a seat next to him.

“I was listening to ‘I Saw Mommy Kissing Santa Claus,’” Page says, causing a smile to appear on Polina’s face.

“I know this must be hard for you,” Page says, “expecting that Janine and John Reyer would be waiting for you.” Page looks at the ground as he figures now is a good time to deal with what Polina might be thinking.

Polina, who is happier now than she’s ever been to have a mother at least in Ms. San Fé, first shakes her head and then nods.

“No, I mean, yes. No, I mean…” Polina, a grateful person, pauses to collect her thoughts before she tries to tell Page how she feels about the amazing thing that has happened to her, which, yes, is not as perfect as she imagined, but she is more than happy.

“Lavenda and The Guy, who only on certain occasions when Lavenda was happy with him, let himself be called John Reyer,” says Polina, a perfectionist who makes sure she has who’s who correct before she carries on, “are not here, and maybe that’s a good thing. But you are.”

As Page looks at the big brown eyes looking up at him, he has to look away.

“What were you listening to?” Page asks as he swallows the lump in his throat, hoping it will do something to the tears swelling beyond his control.

“Same as you,” she replies. “‘I Saw Mommy Kissing Santa Claus”—Michael Jackson and his brother’s version.” Page is thankful when Polina stands up and leaves the room.

Litigatti’s kid brother, and the person The Guy knew would come through for the crew in the end, is still a child as he pulls up his RUN DMC t-shirt to try and dry the tears that run out of control from seeing himself in Polina twenty odds years ago….

In the kitchen of a Greenwich Village apartment that Santina used to share with Genisis and Danielle, Ms. San Fé prepares dinner, which she has decided will be their Christmas dinner due to Page having to fly out to France on Christmas day, where Ammer is negotiating with a Neo-Nazi group for the release of Tone Horroh, after the group came upon information that John Reyer or Tone Horroh were responsible for the killing of up to twelve suspected members of the SS who were waiting to stand trial for war crimes committed back in World War II.


Polina carries her five year old brother, Page Reyer San Fé, to his room after the boy has fallen asleep on the sofa following his return home from the academy where he’s spent the last four months watching and studying under the tutorship of a team of experts; The Poet Soldier as he writes The SystemSpectacular.

Polina looks at the peaceful baby, as Lina still thinks of him; he reminds her of his father, Page Elton, or John Page, whose sperm Santina used when she felt the biological clock was beginning to tick faster than usual for the career woman.

“Pay-offs, hooks, upper cuts, blah blah blah, Lina!” Santina holds a hand over her mouth to cover her smile as she watches John Reyer on screen; he speaks while thinking Polina is still at the node he can sense, one of the F3quenZor’s Pillars.

“She’s gone to put Page to bed, John!” Santina calls out. The Guy keeps typing as he says “Cool.”

“So how was it being Lavenda again?” John Reyer asks as he types what he says.

“Don’t you mean Lotte?” Santina laughs. John Reyer laughs back, “Okay, you got me, chick.” And then he manages to stop as he listens to how the experience was found by the talented agent, who had applied for more leave to do him a favor and play the role of Lavenda at the same time she played mother to her daughter Lina on what was an amazing trip for the mother and daughter to significant places from Polina’s childhood that foreshadowed the events that followed.

“Easier than being Ms. San Fé in Shack’s World Series,” Santina replies as John Reyer quickly corrects her. “Le Mac’s World Series, and if Shack don’t quickly get that, he’s going to be relegated to the dug out….”

“That reminds me,” Santina says as she reaches for her bag on the ground.

“All taken care of; Lavenda Stevonsen never had a mobile number with AT&T,” John Reyer tells her, and then she lets Santina get back to what she was saying.

“That’s pretty hard to do from down under, don’t you think?” Santina asks, referring to his plans to ensure Jack Shack let Le Mac lead on the World Series Story as mentioned in GUIOPERA II.

Santina listens as The Guy stops typing and John Reyer looks into the camera as he explains, “Ms. San Fé, Le Mac is my trump card; not even Litigatti comes close to that cat’s cool. Look how he’s handled himself, not so much as fog on a window on a winter’s morning from that player. He’s also loyal, and he hasn’t put himself in situations where he’s had to make a call. He and Horroh grew up together, and now Horroh’s yesterday, and Le Mac is tomorrow, without even getting involved in how the sun sets on his friend, Tone.”

Ms. San Fé feels cold at the mention of Horroh, with whom in a moment of weakness she ended up having a relationship, a situation John Reyer covered up for her as he unselfishly placed himself and his true love in the story of BrocoliFlower; Santina’s superiors chose to believe that story over Ammer, who let everyone know at the Bureau about Santina and Horroh, something that almost resembled an affair and lasted less than the time its takes for someone to wake up.

“B-T-W, I’m getting out soon; things gonna be passively smooth. The aggression will manifest itself in the passion of the work. Our deeds from this point on won’t need to be covered over anymore….”

Santina takes a cushion as she hears Lina walking back up the hallway and John Reyer speaks yet again.

Polina has a turned down smile as she stands in the doorway under the mistletoe. “I thought I was the special one,” she says when she catches John Reyer talking, instead of messaging or emailing someone. And then the twenty year old mommy’s girl runs over, dives onto the couch, and hugs her mother around the waist.

“Are you seeing anyone?” Santina asks as Polina gets up to put on the DVD of the scenes he’s about to write.

“Silly question; you’ve watched the dailies,” says John Reyer, being playful.

“Yeah, the ones where they got you looking like a gargoyle…” Santina smiles.

“Ha ha, that’s funny. Always wanted to be the Thinking Creature,” says John Reyer, mentioning one of the characters from Illicit Blade of Grass.

“Speaking of which, those two have set a date.” Santina confirms what John Reyer had heard from Le Mac—that Metofeaz and The Tourist are settling down, finally.

“Imagine it; little Litigattis with The Tourist’s sass.”

“A smile or shimmy?”

“Which would you prefer?” John Reyer is unaware of how he is at the moment with Santina. Meanwhile, Polina has her back turned to Santina as she holds a DVD of Page and Santina’s first kiss to herself, sighing at the thought of John Reyer and her mom….

On the widescreen TV, John Page, who wears a long sleeved t-shirt, one with the suit, shirt, and tie printed on it, wipes the dishes while Santina washes. John Page then passes them to Polina, who already knows where everything goes.

Polina looks at the silver platter Page passes to her; then she holds her finger to her lips so Page will not let Ms. San Fé know about what she’s about to do.

She turns the platter upside down, and then she takes the tea towel from Page and dries the bottom of the platter properly.

Then she places the platter on her head and holds her leg out and points a toe and takes a step, doing the same with the other leg, until she reaches the opposite end of the room as she mimics model training with the platter on her head.

“Five o’clock; the genius may take the catwalk route over Harvard,” Page mumbles like a bad ventriloquist to Ms. San Fé, who keeps facing the window to conceal her laughter where she can see the funny girl as Polina now turns to face them.

As Polina approaches them, unaware that Santina, who looks like she’s still washing the dishes, can see her in the reflection of the window, she again places her finger over her lips to keep Page quiet as she now does “The Egyptian,” sideways and forwards….

Ms San Fé pauses the DVD of them as Polina says, pulling her mother’s arm, “I knew you were watching.” Ms. San Fé giggles, “No you didn’t; you were too busy with your crush on PAGE1….” A teary eyed Santina looks at Polina as she presses play.

The two girls now see footage the three of them shot on the digi-cam; Le Mac has been edited into the DVD for them. John Reyer, on the computer screen to Polina and Santina’s right, continues to write the scene he knows by heart.

“Hard part!” Santina hears John Reyer say as all she sees is his black curly hair, which covers the computer screen as he runs his fingers through the thick maze he’s grown for this year’s disguise, like the beard he grew was a hangover from days in the field.

On the TV screen, Lina watches her image on the TV screen as she turns the camera on herself.

“Make a wish, hun,” Santina says to the seven year old girl, who smiles at herself on screen as the next Christmas carol comes on.

Lina mouths the beginning of, “I Saw Mommy Kissing Santa Claus.”

“Boo! Johnny Cougar? C’mon! Please!” Page’s voice can be heard in the background as he shows his disapproval of Jessica Simpson’s version, which Lina begins moving to as the Jazzy Swing take of the classic now becomes surround stereo on the TV screen.

From the couch, Polina looks around the room as the music surrounds them, like John Reyer says on screen.

Santina looks around the room as well to find out from where the sound that engulfs them and the scene they watch on the TV is coming from.

“Relax,” they hear John Reyer say from the computer. “It’s the F3quenZor; the world loves you, Lina.” His voice sounds as the keys he presses send spellbinding good cheer to everyone who is tuned in and onto the wavelength he’s on.

The room begins to shake as different versions of the song begin to play.

“PAGE HAS JUST INTERSECTED YOUR DREAM IN SFD, LINA! IT’S NOW A REPRO!” John Reyer shouts through the computer as he tries to keep his voice steady while he spells out for them what he writes on screen.

Santina, a brave woman, has to grab her twenty-one year old daughter by the shoulders and hold her; Polina sits still with only a hand on her mother’s leg that clenches Santina’s leg in intervals, while she looks at a spot on the floor, as the room continues to shake….

…Page closes the door to the room, hoping it will be the last question he has to answer from Polina, whom, he sees in the moonlight through the closing gap, has grabbed hold of Tiger, a good sign.

“Page!” he hears, and he looks to his right at Santina, whom he can see in the kitchen down the hallway, who stands laughing quietly at him as she swirls her red wine. The stem and the base of the glass move the same way she lets her heel swing whenever they’re sitting close to each other chatting.

John Page wonders to himself which character he now has to be as he slides a hand inside the door to turn on the light, and then he ensures that he wears a smile before he pushes back the door, as he hears Ms. San Fé whisper, “Sucker!”

“Lilies, Lilac, and Lavenda…” Lina begins her latest question, as Page takes a seat on her bed….

“… The Poet Soldier didn’t have much of an education. Yes, lilies grow on the ground and lilac on trees. I suppose the moral of the story is, if you didn’t know someone was different, would it matter?”

Santina steps to the side of the door where she’s been watching and listening to Page, giving him support as he’s already starting to spoil the little girl who has no father. She uses her sleeve to wipe her nose and a hint of tears as Page appears through the doorway.

“She’s asleep. I bored her to death; I do that to people…” Page says looking into her eyes….

Polina lies on the couch. On the floor is her iPad, on which she reads John Reyer as on the TV; the DVD still plays with the volume turned down.

She can hear the Poet Soldier on the computer strike a chord yet again with their fans as he tries, supported by well wishes from around the planet, his best to right the wrongs that mar Polina’s life.

Santina lies in her bed with her iPod, on which one of the guest readers tells her of John Reyer’s passion as he puts everything he’s built on the line for an orphan.

Santina grabs hold of her iPhone to see what he’s writing; the moonlight that shines through the window, as on the night he writes about, gives his words just that little bit of extra meaning.

Santina can tell he’s emotional as he reverts to the written word rather than the spoken.

On the couch, Polina bites her lip as John Reyer plays Michael Jackson and the Jackson Five’s take on the theme song on YouTube that the Poet Soldier has ensured will be a mainstay at this time of the year for years to come.

On the TV screen, the image is the right way up for Polina, lying on the couch, as Page walks away from the camera he places down on the computer desk.

Page walks slower than he usually does to where Polina now looks—the doorway to the living area, where Santina in the DVD stands with her wine glass.

Inside her bedroom, Santina can only imagine how Lina is feeling right now as Polina watches the DVD she only allows herself to watch once a year.

On the couch, Polina closes her eyes as she waits to hear John Page say to the only mom she has ever known,

“You’re no longer Wishing Indiscreetly with those Piercing Eyes, ah?”



“Relax —I knew what I was doing”


The eastern side of the Diner is no longer where it used to be. Litigatti still stands in the kitchen with his back to the wall where he and Ms. Smith are still holding hands as they ride out the arrival of the first REPRO in what seems like an eternity.

Metofeaz can hear voices out in the restaurant, and so far, there don’t seem to be any casualities from the sounds of things, as he feels Ms. Smith squeeze his hand.

He can hear music now; first he hears chimes and then they fade, and then he hears the type of feel good tune his clients need after the long wait.

“Did you mean what you said?” The Tourist looks at Feeaz, questioning him about what he said to her just before he grabbed her and kissed her, right before the joint started shaking….

They hear the front door open as the music gets louder. “Where’s the cook?” Metofeaz hears John Page’s voice out in the diner, as he also hears murmurs, and then shouting out on the street about the REPRO having arrived.

“Yes, I do!” Litigatti says, and then he smiles as he realizes what he just did when he asked Ms. Sharon Smith to be his one and only—his wife.

“I better get out there; you know what Page is like….” The Tourist cuts her man off mid-sentence with the wettest kiss he could imagine….

Outside in the diner, Page is already behind the counter, helping himself to coffee. “ID 000555,” Page calls out for the free coffee he makes as the front door opens and John Reyer, in black CS, steps into the scene.

“ID 000777,” John Reyer says as he pulls up to the counter. “Get me one of those.” He points to the milkshake on the menu.

“ID 000333,” says James Elton, coming through the front door with Genisis Jones in tow, whom James as Lazoo has just rescued from a commune belonging to a cult that Ms. Jones, an FBI agent, was sent to infiltrate.

Lazoo looks at John Reyer as Metofeaz comes out from the kitchen. “Get him the green tea. I’m the kid; the milkshake’s mine,” Lazoo says to Metofeaz as he winks at John Reyer, who shrugs his shoulders, and says, “Cool; Green Tea’s good.”

“ID 000999,” Le Mac says when he pops his head through the front door, and then he comes inside with Arley Evon and Missy, who looks to be around nine or ten, and they take a seat at the window.

Page picks up his coffee. As he goes to leave The Tourist, she grabs his arm, “Did you hear? You’re going to be my kid brother….” Sharon beams her excitement.

“Did I what?” Page laughs as he uses his head to point to where the window on the east side of the building used to be as the scene begins to show signs of life.

“Hey, by the way…” Page rolls his eyes, already knowing what the woman is going to say next. “I have this friend…” John Page says it for her.

“Santina! She’s gorgeous!” The Tourist calls out as the Head of SFD Control Unit PAGE1, lassoes the atmos….

“Someone’s YouTube account plays ‘Steal Away’ by Robbie Dupree on the computer in the corner. ‘Turn it up!’ Metofeaz shouts as he wipes his hand behind the counter and then makes his way around it to be with his clientele.…”


Polina waits for the piano part to begin in her favorite Christmas carol, and then she continues decorating the tree on Christmas Eve for her, her mother, and brother, who are still out shopping.

The traditional decorations have all been placed and the lights arranged. Now only a few items of sentimental value to Polina remain to be assigned their perfect spot on the spectacular looking display.

Onscreen, the Dailies show The Guy as he pulls off a De Niro like performance at his day job. Or does the GAME make John Reyer feel so ill now that he could not even see letters on the keyboard, when he made the effort to go to his day job today? Lina decides to switch off and onto the F3quenZor….

“That was some illness; wonder when they’ll find a vaccine for that one,” Polina calls out over her shoulder. The sound of John Reyer writing is faint but she can just hear it being done in time with the Christmas carol.

“Prevention rather than cure; I should have listened to my gut feeling, excuse the pun,” John Reyer says. Lina laughs while she stands on tiptoe to reach the right place to hang one of the Pirate’s hoop ear rings.

“So let me ask,” Polina says as she finds another of Page’s ornaments, his pipe, “is The Guy a poker player, or did you not know how to write?” Polina asks as the carol ends.

“Poker faces only work at the table, Lina, and my dad taught me a player bows out way before his time, while losers and gamblers write IOU’s on slips of paper that end up tied around their big toes. I had to find you and the crew; you’re all I have,” John Reyer’s reply is followed by a long silence, and then Polina turns to face the screen when she doesn’t hear the sound of him typing.

He resumes his habit as Polina spots the ideal place on the Christmas tree to put the pipe as she hears the elevator open, and Page San Fé comes running, shouting, “John Reyer’s sick, Lina; he needs us….”

“Ha ha,” Polina hears John Reyer on the computer laugh at young Page, who now turns to see The Poet Soldier onscreen as the words he writes mesmerize the child for a second, and then he begins to read them, as John Reyer decides to give the future leader a taste of Christmas magic as Santina walks into the room.

“All I want for Christmas is my two front teeth…” Page reads out loud, unaware of how the words will affect him. And then the boy places his hand over his mouth.

Santina and Polina reach for each other, the two women in hysterics as Page, whom they tease about losing his baby teeth, laughs louder than they do as John Reyer finds the link to Polina’s favorite Christmas Carol....

Polina hugs her mother as her brother joins them; the light interlude is timely as Lina thinks about her part in the finale she has yet to decide upon, as Mariah reminds everyone,

“I don’t won’t want a lot for Christmas….”


Polina opens the door to the old bar….

She hears her footsteps as she hopes that everyone will understand that she has to do this on her own.

As her iPhone goes off, she sees it’s Litigatti. “Yes?” Polina answers the phone as she nears the dance floor.

“I’m okay; I have John Reyer to cover me if I need it,” the strong woman says as she now steps up onto the stage where the mic and spotlight are already on.

She hangs up the phone as she realizes that The Guy wrote everything on his own, from memory.

And the F3quenZor is his; while the Pillars are important, it’s the fans who hold up the Network, giving him the platform—The New Global Realm—through which John Reyer Afamasaga, a flawed and sometimes frail but fearless character, cast the cornerstones, LOVE, TRUST, HONESTY, & RESPECT out into cyberspace, finding accord with people living lost, in fear and disillusioned lives, coming to terms with a post-9/11 existence, and who responded to every nuance and every “Trick,” as he would shyly pass off the secrets he wrote to his fans using the “Perfect Scarce Loop” that he had thought of many a time over the years as he worked his magic one-on-one, face-to-face with people, using the same magnetism, via modems this time, to fulfill what he, Page, and Litigatti used to laugh about when they were young.

“Imagine if you could pick up as many chicks in one go….” Litigatti would say.

“You’d have to be at a Madonna concert, with them thinking you were Madonna…” Page would add.

“Or, if you had a party line with every babe in the world on it,” John Reyer joked, and then he’d add, “Got to be something in it for them though….”

The irony is that John Reyer was only trying to get in touch with one—Lotte.

“Hey, chick, so this is it, ah?” Polina hears John Reyer on the screen above her.

Ms. Polina Rada has never had any doubts about him and his motives; he is a cut-throat creative, whom some reckon made her bond the intelligence communities who used to see each other through an Iron Curtain so Muslims can practice their beliefs in freedom, like Christians do, and those who use the Koran as a cloaking device for their evil—pro- or anti-Islam—can be weeded out and dealt with accordingly.

Polina has always known the attention and adoration she receives is for a reason. And if that reason was anything less than how much she means to each fan, then her existence would not be as real as they have made her.

Polina Rada stands next to the stool in front of the mic stand as she looks out at the old bar in Chinatown that Hariss Clariss gifted to Tone Horroh, but for which Le Mac has since taken over the deed.

The SESSIONS of LMLA-ink flood her mind, uncut, and as they actually went down.

Most of the time, The Guy had managed to write around The Morbid Mayhem, a hallmark of Ammer and Horroh’s regime; Polina knows where the blood is that won’t dry even under the coat of paint.

The front door opens; she can’t see who it is from the spotlight on her, and then she hears, “Sis, it’s me.”

James Elton now closes the door as Janine’s eldest boy, which makes him Polina’s brother, walks down the bar.

“Touch it; you won’t find any dust,” Polina calls out to Lazoo as she imagines how he hovers his hand so high above the bar, and then he comes into her view through the mirrors.

“Every fan is an operative. Not for the east or for the west. But for peace, Lina…” Lazoo says as she hears his boots, and then James Elton appears in front of her on the dance floor.

The Guy listens to James as Lazoo preempts what Polina was about to say when he walked in the door.

“I know you want to be alone, and do this without those around you because at this moment you are questioning who and what they’re about. I understand that completely…Totally….”

Lazoo turns and walks to the booth and takes a seat as Polina waits for a moment to see what he’ll do next.

He flips the lid of the ThinkPad, an original, the IBM model that is said to be the one Litigatti used to scribe the LMLA-ink Trilogy. The light shines in his face.

“The F3quenzor’s Pillars are interchangeable among Janine’s children.” Lazoo looks up at the screen at John Reyer as James hears him.

“Soon, we’ll branch out and then all of her children will have their say,” John Reyer says as Lazoo stretches his fingers.

Polina takes her bag off her shoulder and places it on the ground while she keeps an eye on James, who clenches his jaw while he hangs his head to his left as he loosens his fingers just above the keys he itches to touch.

“You’ve not experienced who you are without bars in your face or someone telling you who you can be…”

John Reyer, onscreen, continues to talk to James as Lazoo feels he has to do something in light of what has happened.

Polina reaches for the hand-bound leather book in her bag as she hears the slam of the lid on the machine, which makes her blink, and then she holds a hand to shield the spotlight as she tries to look at the booth for Lazoo.

She hears his footsteps, and then the door opens and closes.

Worldwide, fans hold their breaths for what they will remember forever as Polina looks up when she hears John Reyer say,




“When Codes go Wrong”

Session: XMAS20103
Approx Date: Christmas 2010, 1998, 2004, 2015
Location: Multiple
Project: New Beginnings

Story: GO3
About: New Beginnings
ISBN: 978-0-9803486-4-4


“You better be there, dude,” The Guy says into the camera as he waits to see whether Marshall is still on the F3quenzor.

“Phew,” John Reyer says as links to EMIMEN from the beginning of the GUIOPERA III are still in place.

“He’s online with his daughters, telling how his girls fight over who is Polina.” John Reyer gets the message from Lavenda, and then Lina, followed by Lazoo, and then Litigatti….

“I hope they share her…” John Reyer says, and then he apologizes to the fans for using the F3quenZor live. “Sorry, it had to be done.”

The slip up was to thank the artist whose “Lose Yourself” The Guy used as he re-programmed himself, the lyric of the theme to 8 Mile, if you listen closely, is almost a perfect fit for the mission that lay ahead of The Guy, a cloak device of sorts, nearly ten year ago now..

Marshall Mathers III, as EMINEM, is a perfect performer, whom the times finally caught up to after a whirlwind entry into the GAME as an angry young white kid, in the hands of one of the founding members of NWA, Dr. Dré.

John Reyer smiles as he once again takes another of Marshall’s offerings for himself, “I’m Not Afraid.” He’ll use it at the end of this, the penultimate LATEST UPLOAD for 2010….


1998, Ammer’s voice carries in the ballroom of Rozelle’s Chateau in France.

Litigatti looks down at the table to grab his wine as Ammer talks about Horroh, who has been killing every suspect of war crimes against Jews in WWII that the Network, agencies, and freelancers have been bringing in to stand trial for their evil against innocent people.

Page walks into the room. “Sorry, airlines—their punctuality and food leave a lot to be desired,” he says as he takes a seat next to Litigatti.

“Ammer’s saving his own kind from the humility, Horroh…” Page stops and then he looks around the room at Le Mac and Lazoo, whom Page winks at before he continues whispering into Metofeaz’s ear. “Horroh’s just Horroh. Perfect couple if you ask me. Zoop said so….”

“Johnny, Ammer’s a Fucknuckle, but he prefers we address him as Wanker,” Page suddenly calls out as he leans forward onto the table where John Reyer is listening in on the speaker phone.

Le Mac looks at Lazoo, who nods his head that his twin is high on something; they all see what that is when Page pulls out a small silver case and opens it up to pour cocaine onto the table; then he uses the lid to separate a line he snorts. When his head comes up, he wipes the remnants on his lip.

“Afanasy was going to defect!” Page shouts into the phone.

Litigatti now places a hand on Page’s shoulder as Lazoo gets up and walks to the seat beside Page, who throws off Metofeaz’s arm and then proceeds to cut another line, which he consumes. He has a smile on his face as he says,

“Guess who they were going to give back for Afanasy, ladies and gentlemen?”

Page talks about how Afanasy had planned to defect to the west, something the Network could organize for him, making the deal happen at a high level, in which a defector to the east was pushed at the same time.

The way Page made it sound was as if the person he were alluding to as being a traitor was slightly off the mark.

Afanasy was killed because, yes, he wanted to defect, but more importantly to Ammer, Afanasy and Polina could’ve both ended up in the west working, as a formidable father-daughter combination, both with immense ability.

“I’d to like say Merry Christmas to you guys, but I have to ask how Horroh got picked up by untrained hooligans. And secondly, why the hell are you negotiating with them? And on fucking Christmas Day!. It’s fucking Afanasy’s birthday; this is just all a bit too weird….”

On the phone, John Reyer asks the obvious questions, and then they hear him as he has to hang up. “Gotta go! Think about it please….”


December 24th 2004. John Reyer makes his way past the graphic design school in Wellington, where’s been hanging out the past nine months while waiting for when he can start implementing the story he’s just about got perfect on paper and in his head.

Well he has almost perfected Stage I of the story at least—John Lazoo, an illiterate hitman, meets Genisis Jones in New York City.

John Reyer Afamasaga had made enough of a fool of himself already for no one to take him seriously for the length of time he requires to reach Stage II in 2007, and then with help from above, the end of the Final phase in 2010.

He passes a record store where he hears RUN DMC. John raises his eyebrows at someone in the store, whom he finds it odd is in the Punk section, but then he remembers it’s Christmas and the person might be buying the CD for someone else.

John had already played along in another crew’s story, which the lead creative for; John Reyer believed was a fake. He did ads and played an extra in anything from a local TV series to Peter Jackson’s Lord of The Rings Trilogy, and now it was time to turn on the turbo engines to his “GAME,” something he has to do in the furthest possible place from home.

Prison had crossed his mind, but there would be far too many people he’s connected to in real life for him to do what he had to do, and he’d probably end up a lifer behind bars or six feet under within the first six months. And also, the type of crime he’d have to commit to get seven to ten years would mean he had no future in the Network once he got out.

“Eggs on rye bread, sliced tomato, quartered bell peppers, orange juice, coffee….” John Reyer, who gets tongue-tied, runs over his order as he strides down the street. The order is the code for whoever is waiting in the inner city to pick up on, and then he or she’ll indicate where he can pick up the news, telling him when he can begin his work in earnest.

Of late, he had started trying to move on from Lotte; he’d had one woman, a one-night stand, and a few afternoons on weed and sex. He’s choosy about whom he hooks up with, making sure there’s no possible chance of him falling for them, in case Lotte is waiting for him. He uses fantasies, telling each woman she is married and he’s her husband’s best friend, thereby ensuring the women, in his mind, will do the same to him, and also not expect anything beyond a one-time fling with him.

Much like he poisons himself with thoughts, ideas, and even food, ensure that the experience he’s going through is comparable to hell, so it will cause his creativity to rise well above his average stature and ensure he’ll never take the journey for granted, so he won’t ever have to travel the same road again.

He clears his mind as he approaches the café he was advised of last evening when the Network countered what the MICERs were saying by twisting the meaning three times clockwise and counter clockwise in spam, at various times, which in the end meant the opposite—the sum of the MICERs’ general message over a session, determined by the weather, 3x = Fine, and 2x = Raining, as of 5:55 a.m. or p.m., depending on when John Reyer is awake. The spam to be taken seriously is only spam for which he signed up, and which could be as far removed from where he handed over his details as where the spores for the common cold may have come from.

John Reyer pushes the door back as the F3quenZor comes to mind. If he could get that to work, it would make life easier since he believes he’s the one who can kick-start the final stage in man’s evolution. The Network had let him know already that prototype chips had already been inserted into a handful of operatives that the Network deem necessary to him and his GAME.

John Reyer wonders whether Litigatti and Page, whom he hasn’t heard from in a while, and upon whom Litigatti keeps fobbing off his questions about the whereabouts of the Pirate, are two of the ones who have received the chips already. And then the kid at heart tells himself his pals are like him and do not need the man-made device to scan, read, and know almost any other human being’s thoughts, different from their instant reaction—also different from what they want you to know. How does John Reyer know he doesn’t need a chip inserted? Jon Pierre Solomon told him so.

John Reyer pushes the door to the café open as he ponders how the devices could manage communications to security, by accessing the neural and nervous system, hacking them, using their networks to control, but most importantly, translate information and broadcast internally. As far as the aesthetics, which mean everything when it comes to marketing, he can imagine a bunch of ads where the concept is sold using hot guys initially to penetrate the market.

He thinks of Little Lazoo, John Lazoo’s son, when he’s in his early thirties, in a story that will override GLOBALL ATTACK, the dummy product he’s used to keep the others occupied and feuding, but which he will eventually kill off if he hasn’t already, which has seemed to do the trick in bringing the attention he needs.

“Phone: right arm across torso; touch left side face.”

“Key: Turn head right, then left, and clear throat or use eye sensor.”

John Reyer says in his head as a staff member notices The Poet Soldier nonchalantly cruise by as if he’s a loafer; he hovers his hand above the bar as he scans the place for someone with authentic Prada or Cartier while wearing ragged clothes.

He finds a table in a corner so he can see everyone and what each one is up to as he sees the staff member, who could well be a TRUFUNK Soldier, as the waitress bends down behind the counter to change the CD. John Reyer smi