Details In The Fabric

Ted, Ted, and Ted's accidental initiation into The Psychonauts began as a result of the friends, originally three Fraternity Brothers and Recent Graduates of UCLA attending festivals consistently together, each using various Mind-Altering substances to attract (“preferably female”) partygoers.

Over the course of the series in short (often light and comedic) scenes, where the trio often stumble into reality-shattering situations by sheer coincidence or seemingly random occurrences. But as we later learn about the multilayered world of interdimensional existence, Everything happens for a reason; Nothing is Impossible, Never Say Never, Be Careful what You Wish For-- and, of course-- there are no coincidences.

These three seemingly simple-minded creatures begin as “wooks”, Shirtless Party Boys eager to rave. Often [irresponsibly] experimenting with copious amounts of psychedelics, the boys often find themselves unknowingly transported through various wormholes, teleportals, time warps, and Voids created through the music at each festival they attend, sometimes confusedly landing them in alternate parallels and altered dimensions of reality, sometimes even spiraling into three separate dimensions at once, thus creating new points along The Grid, from which the parallels and dimensions are woven together and interconnected through, time, space, circumstance, and choice in any conscious--ultimately (though, most often by dumb luck or happy accidents) expanding the universe, prompting the Ascended Masters to scout Ted, Ted, and Ted as a unified team to be inducted into The Psyconauts, eventually becoming an integral and important

Dillon (Theodore) Francis, while working towards an Alliance between the Bampheramphs and Psychonauts uses his bewittingly bestowed middle name to act as an Alternate ‘Ted', or sometimes work jointly as The QuadraSquad, a “pop-up” rave squad which acts as a recruitment team, and on emergency search-and-rescue missions, collecting key components along the collapse and collision of worlds and within the fabric of space, time, and reality.

Chak Chel and Dillon Francis put the Teds through a rigorous (and extremely senseless) crash-course in DJing, forming a popular Trio, whose name varies depending on the dimensions in which they will preform, secretly setting tactical bassdrops, emitting coded frequencies to communicate covertly with other entities, opening intentional time warps, portals, and wormholes through their DJ sets.

Time holes where the Trio are in two (or sometimes, more, and alternately infinite) places at once are placed as easter eggs throughout the series; In some cases, The Three Teds are even festival attendees at the festivals which in a neighboring reality they are also headlining, even at points transporting their own selves through timespace--whether intentionally, or coincidentally.

As the Teds reach the high ranks of The Psychonauts, even eventually (and unwillingly) becoming separated by the obligation of duty, being assigned to separate sanctions of Leadership by skillset as a “draft” is enacted to strengthen their forces, as they prepare for The FInal Battle (actually multiple (infinite) battles occurring concurrently throughout the expanse of reality, even stretching into the outer realms of ‘inexistence' as the collective consciousness grows, reaching Ascension, and allowing certain realities to reach the New Paradigm.

Though evolved over time as the series progresses, The Teds maintain their quirky wookness, questionable (sometimes inappropriate) sense of fashion, and hilariously signature fratboy attitudes and antics, reunifying as a powerful Trio once more towards the conclusion of the series, appearing elementally in various ways at most crucial plot points, revealing the creation through all of their endeavors and shenanigans, a brand new universe within The Infinite Multivetrse.

(“TED”, where everything/everyone is “Ted”, This universe collides with “Everyone's A DJ”, and, as an infinitely expanding and integral part of the universe, appears optically as “TBD” (To Be Determined, Where Cliffhangers, Plot Holes, Continuity Errors and other traditional elements of Theatrical Film are represented throughout the SUPA Saga and overall festival project.)

During the Wookness:

Ted: Yo, how much for this? (Points To Kandi Cuff)

...How much-what?

Ted: How much is it? Like what, $50 bucks?

50 bucks?!

Ted: Oh shit, my bad--festival prices, huh? Sorry yo, I got a $50, the rest is big bills. Doyou have an online shop?

Are you trying to buy my kandi? You can't *buy* kandi!

Ted: Pssshhh!

Ted: All I buy is Kandi!

YOu can't sell kandi, youre supposed to trade it.. That's why you make it.

Ted: Yeah bro, I've done trades.

(Flashback)

Raver Girl: Wanna Trade Kandi?

Ted: Show Us your Titties!

The girl looks to her friend, as if to say “should I?” her friend, wearing dark Ray Bans, and sternly nods her head in approval, her friend shrugs drunkenly as if to say“fuck it, why not?”

While the friend swiftly pulls out her iPhone, the other lifts her shirt, flashing the happy Teds, dancing in Fratboy Delight; Ted, standing adjacent to the straight-faced girl in Sunglasses, sneakily scrunches down to get a good picture; their [Tri-Lens] iPhone cameras now directly aligned. face to face, (or rather, eye-to-eye) ((Or, eye-to-eye, rather,)) (((Rather, eye-to-eye,))). snapping his picture, as the flash from her camera blinds him

Ted:UH, Yeah you can..They sell it online.

Online? Whats--what? SELL?

Ted: Fuck yeah dude.

Ted: YEEE, KANDI KID 4 LIFE

YOU ARE NOT A KANDI--Ki--YOU CAn'T SELL KANDI.

Woah, chill.

No “chill” no selling Kandi! NO! NO!

What

Chak Chel's Bedtime Stories

Chak Chel, the GOOGLE kids' favorite babysitter, tells stories of infinitely expanding adventures of the multidimensions of timespace

-Honey, I Killed Myself.

-Honey, I Shrunk The Skrillex

-Who Killed Sunni Blu?

-Who Killed SupaCree?

-The Curious Case of SupaCree

-DILLONCEPTION

Trapped in an intensely infinite and ever-expanding and/or consistently densening Vividly Lucid Multidimensionally (And Musically) Interconnected Omni-Galactic Eternal Space-Time “Loop”, [DJ] Dillon Francis must frustratingly attempt to multitask through an “apparently unlimited”[ (I TOLD YOU, IN-FIN-ITE. INFINITY.)] battle his Masked nemesis,

Key: Brackets [] Director's Notes, Production Details, typically indicating a tie-in with other entries, or crossovers from other consecutively (or, sometimes, alternately) running series in the saga, more frequently as the “Multiverse” expands, or as the (Technical Omniverse, Eventually) in which the series' specific “(U)niverse” ‘collapsing', being progressively stated repeatedly throughout the series to be both compressing, and expanding respectively; However, as the

Bill and Ted's Excellent Adventure...

Dill and Ted's Excellent Adventure (They cross paths with Bill and Ted, in their search for Two of the missing Teds; Alternately Ted and Ted discover how ‘Three's a Crowd” makes sense, as they happily gallavant frat-tastically through the galaxy, in search of a Sexy Space-Alien Rave Bae (The Amazonian Women from futurama, live action, Saved by the Heroes from futurama)

(on) Having ascended into the dimension after her most recent death, SupaCree (not yet known as SupaCree), lands “God”, an Ascended Dimension where she can actually communicate clearly with the Ascended Masters, being closer to ‘God' (her)self, but not directly being able to interact with her; conversely, she can scan the plains of reality from “above”, though later we learn there is no “up” or “down” in “Total Omnipotence”, the post-conscience Infinite Existence Experienced in the Limitless (INFINITE) Energy of Being Everything, Everyone, and Everywhere at once; Simultaneously Nonexistant, Being “Nothing”, “Nobody” and “Nowhere” at once, all represented variously through the concept of infinite multidimentionality, in our “3” dimensional “Uni-Multi-Omni-Versal” (apparently, I've just been told) SupaCree exists in a Tri-Verse, unbeknownst to even God (her)self to its true Origins, the “final(e)” (but not, ever)

(e) In a random and nearly collapsed alternate fabric of timespace, where the spelling of the name “Cree” is pronounced the same, but spelled simply “Cre”, (though, specifically equally--”by the exact number of times, actually”--mispronounced”, One of the only similarities between the two, sharing the same planetary alignments and cosmic significance and the same parents--however having been conceived with completely different genetic markers: As a result, this alternate version of herself is physically not “opposite”, but differs in physical appearance drastically--at least, for the most part--as more ideally attractive which to The Original's mind-blowing dissatisfaction, (and, also stagnantly egotistical “Very Satisfied” Satisfaction),

But the feeling soon fades when she learns that this reality is on the verge of imminent collapse after the discovery that one subtle, singular synchronicity shared in her actual reality(s)(realities) (which one?) ((Multiple “actual-realities, actually”)) (((Multiple Synchronized Individual Existence Theory, one of the multiple Theories (I) Use to Conceive the (Law) of Evolutionary Infinite Omnipotence, (Everything is Everything/Nothing is Nothing/ God is, as I am/ I am U/All Are One) the aforementioned suggesting the absolute possibility of any circumstance which allows a singular subject with (apparently) “limited” existence, total and complete synchronization at “exact” moment of “Creation”, or “Origin”, and any circumstantially coinciding consecutive synchronizations beyond the limitations eo each respective individual's actual existence or reality.)(Satisfaction, Benny Benassi) (And Apparently, The Biz--because, literally, writing in real-time (What is time) with google. (What's The Biz???) Travelling to 2003, where the event which ties this frail and “practically non-existent” fabric of reality to her own, she eagerly races against the clock (in real time?) ((maybe, unreal time)) (((I am time.))) “I don't believe in time”, later corrected, after being stuck in a Godless world to “The human concept of “time”,/God's not real, or opting to state the phrase more subjectively, “I don't [really}/I kinda don't believe in time,” though as she evolves more rapidly through her progressive Ascension and Elemental Mastery, quickly Surpassing Ascended Mastery as a skilled sorcerer,Visionary Seer, helping her rapidly strengthen the art of Cosmic Alchemy, mastery of (eventually, instant, and respectively infinite manifestation, and matter/antimatter movement and/or manipulation;i.e. The art of Creation.

I.E., Do you even know what “i.e' stands for?

I'll look it up later, I know what its used for.

Look it up.

[Googles i.e, clicks on top most commonly searched]

I.e. and e.g. are both Latin abbreviations. E.g. stands for exempli gratia and means “for example.” I.e. is the abbreviation for id est and means “in other words.” Remember that E is for example (e.g.) and that I and E are the first letters of in essence, an alternative English translation of i.e.

The Original Cree sits perched behind a red

(Ugh, red…)

...A red laptop computer; the love light lost from her dark eyes, through the clear lenses of her cheap, brandless

(Medicaid.)

...brandless black glasses, narrow framed and unbecoming over the shape of her face, the Album ‘Who Killed Matt Maeson” softly plays a somber song, to which she'd normally--at least, if left alone or rarely, in “comfortable company”

(That's, someone you don't necessarily “like”, but still feel comfortable enough to sing around.)

The Scientist, in a higher realm, peaking down through her microscope, watches contently, curiously, and concisely, dialing its lens by a couple turns, as she ponders aloud,

Hm. Wonder what makes that happen, exactly? That's...huh...Hm.

[Her project, a mystery hidden from the audience. She pushes herself back from the desk, reaching for her notebook and jotting quickly her findings, stopping only turn on some [] Music, which blends seamlessly as we fade back into the scene of the drab and unflattering, somewhat “sickeningly” lit, reminiscent of the stagnancy most often observed in a petri dish.]

As the song ‘Cringe' begins to play in the background, the clear picture of the laptop screen fades into a blurred obscurity, as her focus shifts sharply to the warm glowing array of colors of her speaker light her otherwise nearly lifeless eyes, as she is Slightly and softly hypnotized into a series of several simultaneous vivid memories; separate and specifically assorted scenes form, as she remembers “everything” quite at once, A vision weaved into her conscious memories, just as seamlessly; A Web Wrapped with the Fragile Fabric of “Time”, the invisible energy of musical frequencies awaken ones senses and sensibilities--invisible, for some...at least. The light on the speaker, a golden tone, as we cascade into the eye mind;

A flash to a blurry memory, 2017; A slender and handsome longhaired surfer, resurfaces from submersion under the waves, flipping his long hair back with the graceful and slowmotionly seductive snap of the neck, as the sunlight gleaming a golden glow, in the eye of his admirer.

A Flash Of: The Golden Light of the Shining Sun over Santa Monica

A Flash, As she Gently Weeps, as the tears leaving her eyes leave (in a flash of scenes) drops onto her jeans, the sidewalk--all the while, A tiny ant carries a giant leaf, as the spider weaves beneath the tree whose leaves leak streams of pretty streaking and speckled, and leaves glassy droplets stuck in the strings of the spider, still weaving; the rain floods the streams into rivers, which bleed, eventually in the ocean, fanning out into the Seven Seas.

(pacifically, eventually)

Are we reading this, or is this stage direction--production notes? What is this?

Who is “we”?

WE

AVE

A whole flashback unfolds: A steamy shower, thick with the smell sweet candles, leaving steam-less spots of mirror in the flickering heat; A seamless and synchronized transition, as the More Cheery and Upbeat Strings, Beat and melody in the previously playing version, fades seemingly into the steam, as ‘Cringe, Stripped” leads us into the memory, where she sings with the heartbreakingly haunting and soulful sadness, the harmony, her voice blending perfectly over the recording as if it were meant to be; The Duality of Grief. Not quite flashing back, but seen as a translucent overlay, another flash; The Seats of a theatre, the scene in black and white, as the stage lights washout, the flickering dremlike scene, the steam so thick we barely see the details of the singing, with the passion that seems to bleed out the ache of her broken, barely beating heart.

The song rings out, evolving into what just may be, the beginnings of a remix, as more quick flashes slam back-to-back

A flash of: The Scene In The Mercedes

A flash of an ambulance, sirens blaring!

A flash as the scene of A spider sleeping peacefully beneath a leaf, shielded from the rain, which leaves droplets on the strings, on the opposite side of the same tree; Blissfully unaware of the bird, perched just above lurking or something to eat. Neither the spider, nor the other, or the bird or ant are aware of any one-another, or any other world other besides the tree, the flash of a longshot which we see, is unassumingly and unimpressively, “just a tree” a grey and stormy day; A plane takes off up into the heavy rain, droplets changing shape through the window, looking out as the plane lifts off the ground.

The next layer of memories unfold as voiceovers from various quotes, accompanying the song still playing, now beginning to blend with first the stripped version, then the album/studio version, which for a moment, is singularly heard, as the flash of a scene from a more recent memory flashes:

The Digital Clock in the Car Reads, 88.1 in red, The volume is low, almost so low that it can't be heard: she stares out the window on a grey and overcast day, eyes lost and pondering--though they light when her finely tuned ears catch the pitch of the song ‘Cringe', as she excitedly turns the volume up eagerly, listening for a moment--a range of joyful surprise in her expressions, happily pushing up the Translucent Pink Frames, sighing with a smile, as she exclaims,

“WHAT? THIS SONG IS ON THE RADIO NOW?!”

The driver, taken aback but having caught her contagious beam of “happy”

I almost forgot about this song. That was a long time ago...

“Oh...do you know this song?”

I haven't heard it in forever...I forgot it existed. [pause] I can't believe it took that long…

“yeah , it's pretty popular. It's like always on.”

...I can't believe this song...daaaaamn...her excitement settles, as she looks back out of the window, at the grey and rainy day.

So, that's how long it takes…

The blending and fading of the song creates an array of rapidly changing scenes faded, flashing, cut and becoming somehow closer, yet further away at the same time. Colors and shapes, as the sounds that the songs all being played which remain the same, but change, as they create new sound waves; The Three Songs are arranged and rearranged, as are the scenes, pictures, videos, of entertainment stages through the ages, The Festival Culture highlighted in the Inception since The Dawn of Rave, to present day. [Each quote, a voiceover played by an ensemble cast, each made to read any/every line specifically, if unaccompanied by a name.]

The Clips and Sound Combine with Colorful Psychedelic and neon in some scenes even in 3D, (ideally, actually, up to 9D) as music, theatre, television, and flashes of memories and scenes of everything, as the shifting screen changes slightly and steadily with the music, now something of an electronic-meets-acoustic symphony (:UNPLUGGED), still cleanly and seamless in the colorful chaos that is everything, though visually intensely overwhelming, a sensory-stimulating synthesis of “Sound That You Can See”[ *go back for quote from song] The Sountrack now taking us on a Journey through sound, (ideally surround sound, even having speakers and subs somehow mounted from the ceiling, pointing down, pointing up from the ground. With Live Theatre Production Experiences combine more elements representative of the 9 Dimensions, by arranging speakers set outside of the theatre itself--perhaps, if in a Live Theatre setting, where the movie is projected onto a screen or skrim on stage, additional screens canbe projected onto the walls of the theatre, creating potential to use the audience interactively, perhaps arranging for actors seated amongst the audience members, interjecting at the intersections of crossing dimensions with both improvised and rehearsed actions, and or carrying out specific tasks as it related to the plot, the audience, even becoming the stage, as the stage is re-arranged; even becoming a mirror image of the theatre, filling with patrons and gazing into the audience, where cast members reflect a multidimensional portrayal, an interpretive alternate reality of what is happening on stage, unseen off stage, while the film still plays somewhere (or even sometimes, nowhere) as light and sound design give the viewer an experience of senselessness and sensory stimulus, Explaining through experience, representations of conditions; Much like a masterful DJ mixes musical elements in a live setting by reading the crowd, The Ideal Live Production of this Film has the ability to Unify the audience through various interactive activities; an energy-based planned, or even sporadic--based on the audience itself, monitored by The Ringmaster, an unseen (cast) Omnipitence, or ‘The Universe” itself, , as we apply the Values of Peace, Love, Unity, and Respect as the Ultra-Fine Line between “Everything” and “Nothing”, in simpler terms: Light and Dark, and finding the balance which allows us, in the “present” to explore and experience The Voids, shattering reality as the Linear plot unravels into a non-linar Uncontrolled Experiement, Allowing for Manuverability within the variables and simulating a Synesthesia-Inspired Simulation of Multidimensional Time and Space Travel, using music as the constant connection; as the finale transforms the theater in entirety into both a theatrical interpretation of a full-scale music festival--and a real-life miniature dance scene, inviting real-life ravers to fill the space to capacity, as the final scenes of the film unfold as the our present reality Expanding, Ascending, Compressing, and Collapsing All at Once, Explosions and Implosions as Conscious and Unconscious Collide in the Cosmos; Darkness having never known Light, and Life is the balance we find as they collide, tied in tightly by Time through the rhymes and iambic pentameters, patterns, passion, perception; we find the Power of the Divine is the awareness of one's existence as Everything and/or Nothing at once, As the Reflection of both the inward and outward selves must balance, and harmonize in time, to realize The Difference between Paradise and The Prison of Purgatory, is the illusion of Division between the two Divine Eyes; The strength behind them lights the …

Ted, Ted, and Ted's accidental initiation into The Psychonauts began as a result of the friends, originally three Fraternity Brothers and Recent Graduates of UCLA attending festivals consistently together, each using various Mind-Altering substances to attract (“preferably female”) partygoers.

Over the course of the series in short (often light and comedic) scenes, where the trio often stumble into reality-shattering situations by sheer coincidence or seemingly random occurrences. But as we later learn about the multilayered world of interdimensional existence, Everything happens for a reason; Nothing is Impossible, Never Say Never, Be Careful what You Wish For-- and, of course-- there are no coincidences.

These three seemingly simple-minded creatures begin as “wooks”, Shirtless Party Boys eager to rave. Often [irresponsibly] experimenting with copious amounts of psychedelics, the boys often find themselves unknowingly transported through various wormholes, teleportals, time warps, and Voids created through the music at each festival they attend, sometimes confusedly landing them in alternate parallels and altered dimensions of reality, sometimes even spiraling into three separate dimensions at once, thus creating new points along The Grid, from which the parallels and dimensions are woven together and interconnected through, time, space, circumstance, and choice in any conscious--ultimately (though, most often by dumb luck or happy accidents) expanding the universe, prompting the Ascended Masters to scout Ted, Ted, and Ted as a unified team to be inducted into The Psyconauts, eventually becoming an integral and important

Dillon (Theodore) Francis, while working towards an Alliance between the Bampheramphs and Psychonauts uses his bewittingly bestowed middle name to act as an Alternate ‘Ted', or sometimes work jointly as The QuadraSquad, a “pop-up” rave squad which acts as a recruitment team, and on emergency search-and-rescue missions, collecting key components along the collapse and collision of worlds and within the fabric of space, time, and reality.

Chak Chel and Dillon Francis put the Teds through a rigorous (and extremely senseless) crash-course in DJing, forming a popular Trio, whose name varies depending on the dimensions in which they will preform, secretly setting tactical bassdrops, emitting coded frequencies to communicate covertly with other entities, opening intentional time warps, portals, and wormholes through their DJ sets.

Time holes where the Trio are in two (or sometimes, more, and alternately infinite) places at once are placed as easter eggs throughout the series; In some cases, The Three Teds are even festival attendees at the festivals which in a neighboring reality they are also headlining, even at points transporting their own selves through timespace--whether intentionally, or coincidentally.

As the Teds reach the high ranks of The Psychonauts, even eventually (and unwillingly) becoming separated by the obligation of duty, being assigned to separate sanctions of Leadership by skillset as a “draft” is enacted to strengthen their forces, as they prepare for The FInal Battle (actually multiple (infinite) battles occurring concurrently throughout the expanse of reality, even stretching into the outer realms of ‘inexistence' as the collective consciousness grows, reaching Ascension, and allowing certain realities to reach the New Paradigm.

Though evolved over time as the series progresses, The Teds maintain their quirky wookness, questionable (sometimes inappropriate) sense of fashion, and hilariously signature fratboy attitudes and antics, reunifying as a powerful Trio once more towards the conclusion of the series, appearing elementally in various ways at most crucial plot points, revealing the creation through all of their endeavors and shenanigans, a brand new universe within The Infinite Multiverse.

(“TED”, where everything/everyone is “Ted”, This universe collides with “Everyone's A DJ”, and, as an infinitely expanding and integral part of the universe, appears optically as “TBD” (To Be Determined, Where Cliffhangers, Plot Holes, Continuity Errors and other traditional elements of Theatrical Film are represented throughout the SUPA Saga and overall festival project.)

During the Wookness:

Ted: Yo, how much for this? (Points To Kandi Cuff)

...How much-what?

Ted: How much is it? Like what, $50 bucks?

50 bucks?!

Ted: Oh shit, my bad--festival prices, huh? Sorry yo, I got a $50, the rest is big bills. Doyou have an online shop?

Are you trying to buy my kandi? You can't *buy* kandi!

Ted: Pssshhh!

Ted: All I buy is Kandi!

You can't sell kandi, you're supposed to trade it.. That's why you make it.

Ted: Yeah bro, I've done trades.

(Flashback)

Raver Girl: Wanna Trade Kandi?

Ted: Show Us your Titties!

The girl looks to her friend, as if to say “should I?” her friend, wearing dark Ray Bans, and sternly nods her head in approval, her friend shrugs drunkenly as if to say“fuck it, why not?”

While the friend swiftly pulls out her iPhone, the other lifts her shirt, flashing the happy Teds, dancing in Fratboy Delight; Ted, standing adjacent to the straight-faced girl in Sunglasses, sneakily scrunches down to get a good picture; their [Tri-Lens] iPhone cameras now directly aligned. face to face, (or rather, eye-to-eye) ((Or, eye-to-eye, rather,)) (((Rather, eye-to-eye,))). snapping his picture, as the flash from her camera blinds him

Ted:UH, Yeah you can..They sell it online.

Online? Whats--what? SELL?

Ted: Fuck yeah dude.

Ted: YEEE, KANDI KID 4 LIFE

YOU ARE NOT A KANDI--Ki--YOU CAn'T SELL KANDI.

Woah, chill.

No “chill” no selling Kandi! NO! NO!

What

Chak Chel's Bedtime Stories

Chak Chel, the GOOGLE kids' favorite babysitter, tells stories of infinitely expanding adventures of the multidimensions of timespace

-Honey, I Killed Myself.

-Honey, I Shrunk The Skrillex

-Who Killed Sunni Blu?

-Who Killed SupaCree?

-The Curious Case of SupaCree

-DILLONCEPTION

Trapped in an intensely infinite and ever-expanding and/or consistently densening Vividly Lucid Multidimensionally (And Musically) Interconnected Omni-Galactic Eternal Space-Time “Loop”, [DJ] Dillon Francis must frustratingly attempt to multitask through an “apparently unlimited”[ (I TOLD YOU, IN-FIN-ITE. INFINITY.)] battle his Masked nemesis,

Key: Brackets [] Director's Notes, Production Details, typically indicating a tie-in with other entries, or crossovers from other consecutively (or, sometimes, alternately) running series in the saga, more frequently as the “Multiverse” expands, or as the (Technical Omniverse, Eventually) in which the series' specific “(U)niverse” ‘collapsing', being progressively stated repeatedly throughout the series to be both compressing, and expanding respectively; However, as the

Bill and Ted's Excellent Adventure...

Dill and Ted's Excellent Adventure (They cross paths with Bill and Ted, in their search for Two of the missing Teds; Alternately Ted and Ted discover how ‘Three's a Crowd” makes sense, as they happily gallavant frat-tastically through the galaxy, in search of a Sexy Space-Alien Rave Bae (The Amazonian Women from futurama, live action, Saved by the Heroes from futurama)

(on) Having ascended into the dimension after her most recent death, SupaCree (not yet known as SupaCree), lands “God”, an Ascended Dimension where she can actually communicate clearly with the Ascended Masters, being closer to ‘God' (her)self, but not directly being able to interact with her; conversely, she can scan the plains of reality from “above”, though later we learn there is no “up” or “down” in “Total Omnipotence”, the post-conscience Infinite Existence Experienced in the Limitless (INFINITE) Energy of Being Everything, Everyone, and Everywhere at once; Simultaneously Nonexistant, Being “Nothing”, “Nobody” and “Nowhere” at once, all represented variously through the concept of infinite multidimentionality, in our “3” dimensional “Uni-Multi-Omni-Versal” (apparently, I've just been told) SupaCree exists in a Tri-Verse, unbeknownst to even God (her)self to its true Origins, the “final(e)” (but not, ever)

(e) In a random and nearly collapsed alternate fabric of timespace, where the spelling of the name “Cree” is pronounced the same, but spelled simply “Cre”, (though, specifically equally--”by the exact number of times, actually”--mispronounced”, One of the only similarities between the two, sharing the same planetary alignments and cosmic significance and the same parents--however having been conceived with completely different genetic markers: As a result, this alternate version of herself is physically not “opposite”, but differs in physical appearance drastically--at least, for the most part--as more ideally attractive which to The Original's mind-blowing dissatisfaction, (and, also stagnantly egotistical “Very Satisfied” Satisfaction),

But the feeling soon fades when she learns that this reality is on the verge of imminent collapse after the discovery that one subtle, singular synchronicity shared in her actual reality(s)(realities) (which one?) ((Multiple “actual-realities, actually”)) (((Multiple Synchronized Individual Existence Theory, one of the multiple Theories (I) Use to Conceive the (Law) of Evolutionary Infinite Omnipotence, (Everything is Everything/Nothing is Nothing/ God is, as I am/ I am U/All Are One) the aforementioned suggesting the absolute possibility of any circumstance which allows a singular subject with (apparently) “limited” existence, total and complete synchronization at “exact” moment of “Creation”, or “Origin”, and any circumstantially coinciding consecutive synchronizations beyond the limitations eo each respective individual's actual existence or reality.)(Satisfaction, Benny Benassi) (And Apparently, The Biz--because, literally, writing in real-time (What is time) with google. (What's The Biz???) Travelling to 2003, where the event which ties this frail and “practically non-existent” fabric of reality to her own, she eagerly races against the clock (in real time?) ((maybe, unreal time)) (((I am time.))) “I don't believe in time”, later corrected, after being stuck in a Godless world to “The human concept of “time”,/God's not real, or opting to state the phrase more subjectively, “I don't [really}/I kinda don't believe in time,” though as she evolves more rapidly through her progressive Ascension and Elemental Mastery, quickly Surpassing Ascended Mastery as a skilled sorcerer,Visionary Seer, helping her rapidly strengthen the art of Cosmic Alchemy, mastery of (eventually, instant, and respectively infinite manifestation, and matter/antimatter movement and/or manipulation;i.e. The art of Creation.

I.E., Do you even know what “i.e' stands for?

I'll look it up later, I know what its used for.

Look it up.

[Googles i.e, clicks on top most commonly searched]

I.e. and e.g. are both Latin abbreviations. E.g. stands for exempli gratia and means “for example.” I.e. is the abbreviation for id est and means “in other words.” Remember that E is for example (e.g.) and that I and E are the first letters of in essence, an alternative English translation of i.e.

The Original Cree sits perched behind a red

(Ugh, red…)

...A red laptop computer; the love light lost from her dark eyes, through the clear lenses of her cheap, brandless

(Medicaid.)

...brandless black glasses, narrow framed and unbecoming over the shape of her face, the Album ‘Who Killed Matt Maeson” softly plays a somber song, to which she'd normally--at least, if left alone or rarely, in “comfortable company”

(That's, someone you don't necessarily “like”, but still feel comfortable enough to sing around.)

The Scientist, in a higher realm, peaking down through her microscope, watches contently, curiously, and concisely, dialing its lens by a couple turns, as she ponders aloud,

Hm. Wonder what makes that happen, exactly? That's...huh...Hm.

[Her project, a mystery hidden from the audience. She pushes herself back from the desk, reaching for her notebook and jotting quickly her findings, stopping only turn on some [] Music, which blends seamlessly as we fade back into the scene of the drab and unflattering, somewhat “sickeningly” lit, reminiscent of the stagnancy most often observed in a petri dish.]

As the song ‘Cringe' begins to play in the background, the clear picture of the laptop screen fades into a blurred obscurity, as her focus shifts sharply to the warm glowing array of colors of her speaker light her otherwise nearly lifeless eyes, as she is Slightly and softly hypnotized into a series of several simultaneous vivid memories; separate and specifically assorted scenes form, as she remembers “everything” quite at once, A vision weaved into her conscious memories, just as seamlessly; A Web Wrapped with the Fragile Fabric of “Time”, the invisible energy of musical frequencies awaken ones senses and sensibilities--invisible, for some...at least. The light on the speaker, a golden tone, as we cascade into the eye mind;

A flash to a blurry memory, 2017; A slender and handsome longhaired surfer, resurfaces from submersion under the waves, flipping his long hair back with the graceful and slowmotionly seductive snap of the neck, as the sunlight gleaming a golden glow, in the eye of his admirer.

A Flash Of: The Golden Light of the Shining Sun over Santa Monica

A Flash, As she Gently Weeps, as the tears leaving her eyes leave (in a flash of scenes) drops onto her jeans, the sidewalk--all the while, A tiny ant carries a giant leaf, as the spider weaves beneath the tree whose leaves leak streams of pretty streaking and speckled, and leaves glassy droplets stuck in the strings of the spider, still weaving; the rain floods the streams into rivers, which bleed, eventually in the ocean, fanning out into the Seven Seas.

(pacifically, eventually)

Are we reading this, or is this stage direction--production notes? What is this?

Who is “we”?

WE

AVE

A whole flashback unfolds: A steamy shower, thick with the smell sweet candles, leaving steam-less spots of mirror in the flickering heat; A seamless and synchronized transition, as the More Cheery and Upbeat Strings, Beat and melody in the previously playing version, fades seemingly into the steam, as ‘Cringe, Stripped” leads us into the memory, where she sings with the heartbreakingly haunting and soulful sadness, the harmony, her voice blending perfectly over the recording as if it were meant to be; The Duality of Grief. Not quite flashing back, but seen as a translucent overlay, another flash; The Seats of a theatre, the scene in black and white, as the stage lights washout, the flickering dremlike scene, the steam so thick we barely see the details of the singing, with the passion that seems to bleed out the ache of her broken, barely beating heart.

The song rings out, evolving into what just may be, the beginnings of a remix, as more quick flashes slam back-to-back

A flash of: The Scene In The Mercedes

A flash of an ambulance, sirens blaring!

A flash as the scene of A spider sleeping peacefully beneath a leaf, shielded from the rain, which leaves droplets on the strings, on the opposite side of the same tree; Blissfully unaware of the bird, perched just above lurking or something to eat. Neither the spider, nor the other, or the bird or ant are aware of any one-another, or any other world other besides the tree, the flash of a longshot which we see, is unassumingly and unimpressively, “just a tree” a grey and stormy day; A plane takes off up into the heavy rain, droplets changing shape through the window, looking out as the plane lifts off the ground.

The next layer of memories unfold as voiceovers from various quotes, accompanying the song still playing, now beginning to blend with first the stripped version, then the album/studio version, which for a moment, is singularly heard, as the flash of a scene from a more recent memory flashes:

The Digital Clock in the Car Reads, 88.1 in red, The volume is low, almost so low that it can't be heard: she stares out the window on a grey and overcast day, eyes lost and pondering--though they light when her finely tuned ears catch the pitch of the song ‘Cringe', as she excitedly turns the volume up eagerly, listening for a moment--a range of joyful surprise in her expressions, happily pushing up the Translucent Pink Frames, sighing with a smile, as she exclaims,

“WHAT? THIS SONG IS ON THE RADIO NOW?!”

The driver, taken aback but having caught her contagious beam of “happy”

I almost forgot about this song. That was a long time ago...

“Oh...do you know this song?”

I haven't heard it in forever...I forgot it existed. [pause] I can't believe it took that long…

“yeah , it's pretty popular. It's like always on.”

...I can't believe this song...daaaaamn...her excitement settles, as she looks back out of the window, at the grey and rainy day.

So, that's how long it takes…

The blending and fading of the song creates an array of rapidly changing scenes faded, flashing, cut and becoming somehow closer, yet further away at the same time. Colors and shapes, as the sounds that the songs all being played which remain the same, but change, as they create new sound waves; The Three Songs are arranged and rearranged, as are the scenes, pictures, videos, of entertainment stages through the ages, The Festival Culture highlighted in the Inception since The Dawn of Rave, to present day. [Each quote, a voiceover played by an ensemble cast, each made to read any/every line specifically, if unaccompanied by a name.]

The Clips and Sound Combine with Colorful Psychedelic and neon in some scenes even in 3D, (ideally, actually, up to 9D) as music, theatre, television, and flashes of memories and scenes of everything, as the shifting screen changes slightly and steadily with the music, now something of an electronic-meets-acoustic symphony (:UNPLUGGED), still cleanly and seamless in the colorful chaos that is everything, though visually intensely overwhelming, a sensory-stimulating synthesis of “Sound That You Can See”[ *go back for quote from song] The Sountrack now taking us on a Journey through sound, (ideally surround sound, even having speakers and subs somehow mounted from the ceiling, pointing down, pointing up from the ground. With Live Theatre Production Experiences combine more elements representative of the 9 Dimensions, by arranging speakers set outside of the theatre itself--perhaps, if in a Live Theatre setting, where the movie is projected onto a screen or skrim on stage, additional screens canbe projected onto the walls of the theatre, creating potential to use the audience interactively, perhaps arranging for actors seated amongst the audience members, interjecting at the intersections of crossing dimensions with both improvised and rehearsed actions, and or carrying out specific tasks as it related to the plot, the audience, even becoming the stage, as the stage is re-arranged; even becoming a mirror image of the theatre, filling with patrons and gazing into the audience, where cast members reflect a multidimensional portrayal, an interpretive alternate reality of what is happening on stage, unseen off stage, while the film still plays somewhere (or even sometimes, nowhere) as light and sound design give the viewer an experience of senselessness and sensory stimulus, Explaining through experience, representations of conditions; Much like a masterful DJ mixes musical elements in a live setting by reading the crowd, The Ideal Live Production of this Film has the ability to Unify the audience through various interactive activities; an energy-based planned, or even sporadic--based on the audience itself, monitored by The Ringmaster, an unseen (cast) Omnipitence, or ‘The Universe” itself, , as we apply the Values of Peace, Love, Unity, and Respect as the Ultra-Fine Line between “Everything” and “Nothing”, in simpler terms: Light and Dark, and finding the balance which allows us, in the “present” to explore and experience The Voids, shattering reality as the Linear plot unravels into a non-linar Uncontrolled Experiement, Allowing for Manuverability within the variables and simulating a Synesthesia-Inspired Simulation of Multidimensional Time and Space Travel, using music as the constant connection; as the finale transforms the theatre in entirety into both a theatrical interpretation of a full-scale music festival--and a real-life miniature dance scene, inviting real-life ravers to fill the space to capacity, as the final scenes of the film unfold as the our present reality Expanding, Ascending, Compressing, and Collapsing All at Once, Explosions and Implosions as Concious and Unconcious Collide in the Cosmos; Darkness having never known Light, and Life is the balance we find as they collide, tied in tightly by Time through the rhymes and iambic pentameters, patterns, passion, perception; we find the Power of the Divine is the awareness of one's existence as Everything and/or Nothing at once, As the Reflection of both the inward and outward selves must balance, and harmonize in time, to realize The Difference between Paradice and The Prison of Purgatory, is the illusion of Division between the two Divine Eyes; The strength behind them lights the …

I'm tired.

Something about a third eye, right?

I don't know. I think they closed mine.

Who's “they”

I am.

“I prefer the gloominess to the sun. I don't know why.”

(From, The Beatles, Love: Sun, Sun, Sun…)

“‘I told the spider i'd write it!”

(A quick clip of spiderman)

‘'Ohh, she spida”

Okay, literally what the FUCK is my life.

Are you alive?

Not even.

This doesn't make sense.

How much sense is it supposed to make.

It is making sense. It's making 6th sense.

How did he DO that?

Just him?

THEY.

Oh, shit.

I know you're workin for it.

Nah, I don't even think that's right?

What's right?

Something Doesn't Feel Right,

I've had enough for one night.

Yo, how is this happening?

I don't know.

They said it was a 9-Dimensional Song.

WHAT even IS the 9th Dimension?

What are any of the DImensions?

I don't know.

Google it.

I did.

And?

And I have ADD. I dont know.

So, go!

GOH..

Aw, FUCK.

This is getting weird.

It's been weird.

How is it, I can quit Skrillex, but Skrillex can't quit me.

What?

It was just a coincidence.

There are no coincidences.

How is that song even on the radio.

Look what money can do!

Money can do anything!

I guess taht explains why you can't.

it DOES.

Do they want me to kill myself?

Do you want you to kill yourself?

Not really. I'd rather just die of natural causes, so I don'thave to be punished.

Are you being punished.

I commit suicide, and-- I already told this story. I'm not telling it again.

How many times have you really told it.

I've been telling it. I've been living it. I'm over it.

Youre not over it. You're panicking.

I'm writing.

Youre fasting.

I'm hungry.

Why are you fasting?

Because nothing makes sense. I have no money, I have no music--

You have music.

I have nothing. I'm fucked.

There are no coincidences.

Don't you think I know? I quit listening to Skrillex, all of a sudden he's on the radio?!

Yes.

Is he even aware of my existence?!

Is he?

What the fuck is happening right now.

Where's Scary Monsters?

In my head.

What's the plot?

It's...somewhere.

You've got to clean up these documents somehow.

I don't have the focus.

Try crystal meth.

No.

Try adderall.

...I don't have any money.

Try a doctor.

I did. I tried over and over and over. For depression. For Anxiety. For ADD. Everything they give me just makes me WORSE.

That's hy you NEVER say you're runnin for President.

I'm NOT.

But you said it. Now you're really fucked.

I am.

So that's it.

That has to be it. They want me dead so I can't run.

That's the only way it's going to happen.

What's going to happen.

Either thing.

I'm not running for President.

You're not killing yourself.

Psh. Watch me.

We have been.

Who is we.

We-YOU.

IT doesn't matter. nobody would believe any of it. the whole story sounds made up.

How is this supposed to work out?

They used Skrillex to get me to kill myself? That's...that's deep.

Or…?

Or...they used Skrillex to get me to...

Get you to…?

I don't know. I'm pretty worthless. All I do is...this.

And what's this?

And who is THIS?

That was Chak Chel, I guess.

What the fuck did getter DO?

What did Getter do?

What are they doing?

I think the better question is: Why?

WHY In--

Who's name?

I'm not God.

Until you are.

And then I'm Avicii.

Or Skrillex.

Skrillex isn't dead yet.

Yet.

What the fuck.

Don't .

I didn't.

But you did.

Fuck this.

Fuck That.

Fuck that, too.

Wait, does the Roomba say “fuck that” or “fuck you?”

It says “Fuck you-fuck you-fuck you-fuck you-” Because it's a vacuum, so it's literally ‘eating shit'.

See.

Classic.

Occult Classic.

It is, all in my head.

Until it isn't.

I already fucked up. I sent a fucking suicide letter to--

A suicide letter. One of hundreds.

Yeah. So they know i'm fucked up.

Because they didn't know already?

How would they know?

How would they NOT KNOW? They've been with you all year.

That's all in my head.

Is it? I mean--Is it?

Seems like it.

Look at the evidence.

I am the evidence.

Look at last year--everywhere you went in the rave world, something happened.

Lots of somethings happened.

Eventually culminating in--

In?

Tents.

So what the FUCK am I supposed to do.

Well, not kill yourself.

Then what?

Not starve yourself.

I'm too fat.

But you can lose weight. You can do anything,

I can't do anything.

You can.

Then, I already have.

Right.

What am I supposed to do? What is this supposed to mean?

Maybe it's time for a jump start.

I was saving that.

You were supposed to blast off at the STRAT and had McDonalds instead.

I ordered a Muder-Suicide, with the intention of finishing in Suicide.

But?

But I went into a food coma.

So maybe rather than the enemy, McDonalds is a friend.

McDonalds is a friend to no one.

Saved your life.

Prolonged my life.

As it always seems to. Think to the last few times you've ordered the Suicide Meal.

It's only been twice.

And?

Both times I fell asleep before I could do it.

So.

So there's something in McDonalds that...I don't know. Takes away the ache.

It is an ache, isn't it.

It is.

Now think--you're not the only suicidal person on the planet.

No, I'm not.

Think harder.

I just did.

And where did you go?

To The Mountain.

Where--?

Where Tim said--

And how is it that you're on a first name basis with someone you've never met?

I'm pretty sure i'm just crazy.

Avicii came to you how?

Through the music.

And Sonny came to you how?

...

How?

Through the music.

What did his mother say?

Can I write this?

Either someone's reading it, or they aren't.

And if they are?

Then, what does that make you?

Crazy.

But they're reading your words.

They're just words.

What did she say?

I know what she said. I don't think I can write it.

This is why The Untold Prophecy Remains Untold.

This is all ridiculous.

Isn't it. Whose birthday is it?

Mine.

Happy Birthday.

Thanks.

How old are you?

I remember someone asked that...

Who?

What did Getter Do?

Just Getter?

What...does Pasqualle Do?

Just Pasqualle?

...What do I...

What are you?

I don't know.

Did you ever?

Would You Ever?

I can't help it.

What can you help?

I don't know. Why me?

Y-U, Y-U, Y-U--

What was that, anyway?

{Enter The Multiverse}

[The Festival Project.™]

COPYRIGHT © THE FESTIVAL PROJECT 2023

ALL RIGHTS RESERVED. ©

-U.