This is Hanno. My email is
hraudsepp@aol.com. Look me up on facebook.
This is Hanno, naked Angelina Jolie, nude Angelina Jolie, Angelina Jolie nude. I believe Brad Pitt is in prison. I believe there is more than a single Brad Pitt, and I believe the younger Brad Pitt is in prison. You were married to him. I believe Quentin Tarantino can get him out. Call him. I believe Quentin Tarantino is a parole officer. Call Chicken George or have Quentin Tarantino call Chicken George. Chicken George is a soldier. A former Vietnam vet I believe. Ask for Chicken George to arrange for him to drive a military armoured car, a military armoured van would be preferable, but at least an armoured car to meet Brad Pitt when he is released. Chicken George should come with the other younger, naked Angelina Jolie. To meet Brad Pitt and Quentin Tarantino at the outside location where Brad Pitt is being released. Have Chicken George come with the military armoured van/car with naked nude Angelina Jolie to meet Brad Pitt and Quentin Tarantino at the exit. Brad Pitt doesn't cheat. But the bad guys do.
Meet Robert Downey Jr. later. Make sure nobody brings a cell phone. Bring a labtop but don't bring cell phones. People might be able to follow your cell phone signal, people in cars might be able to trace it to your car while on the highway or any street, and the people would have a vast network by which to talk with each other. Make EXTRA certain REPEATEDLY about Angelina Jolie carrying cell phones without even knowing it. It might be something irrepressibly ingrained in her. Maybe in Robert Downey Jr. too.
Older nude Angelina Jolie, come meet me with naked Monica Bellucci. Come by plane to Montreal and meet me by limo. Just make sure the limo doesn't have a cell phone attached to it, attached to the dashboard for instance, and make sure the driver doesn't speed. People might be able to follow you by the cell phone signal, which could be traceable. People might know how to track your cell-phone signal to your car as you drive down the highway.
Note from Batman: Batman honestly believes all cell-phones have a nanotechnological flesh-eating disease inside them, air-transmitable.
Hanno Raudsepp Society Lex: .. naked Megan Gale.. read the Circe chapter of James Joyce's 'Ulysses'. It is the chapter which is exclusively dialogue. It is all about Leopold Bloom's hallucinations. Just call Leopold Bloom Megan Bloom.
Wonder Woman screenplay
nude Athena: .. nude athena felt her own smallness in breast.. her breasts were small planets.. she was nude in rings of saturn a golden nude lasso ring of stars.. stars around her breasts.. she felt her own soul in nude.. she felt.. .she was crying.. why why why had it gone so wrong.. had it been her errorfixing breasts.. had her breasts been set wrong in place.. she was clay.. she was a molded sculpture.. had prometheus molded her nude form into being?.. she wondered.. it was her own .. her vagina sought starbelts.. it sought out abysses of fire.. her vagina was afire.. afire with war and love.. her vagina was Christ's babtism.. with fire.. with holy fire...nude Athena's vagina was holy fire.. a spirit in wonderflux.. she was perpetually cerebrating wondering in mindwonder..
nude athena: My breasts are upright in war.. my macheavellian nude breasts.. my nude breasts of connivance.. my nude breasts of curling manouvre. my nude breasts manouvre through war.. they seek out the milk of war.. they seek in war for the milk of human kindness.. I am Hell. I am war. My breasts my nude breasts will save me.. my nude breasts will be my salvation... They will be my nude breasts will be my ressurection.. my nude breasts will help me live for tomorrows tomorrow and eternal tomorrows.. all my nude soul's way to dusky death of war .. where foul is fair and fair is foul.. my foul nude breasts.. my fair nude breasts.. I feel all the foulness of war inside my belly..my belly feels a stormcloud inside itself.. a strom nude athena stormcloud as black as pitch as the savage nature of Hamlet's refusal .. a stormcloud in my belly as black and savage I am a nude savage as black and savage as Hamlet's hesitation.. as his gentle hesitancy... my nude body is gentle and savage.. I have savage breasts.. I have a savage vagina.. I have savage will propelling the savage fire of my nude butt.. I am nude savage shefire.. i am going to die someday.. but not tonight.. i am a fiery embryo.. and not .. in tomorrows.. i am not to be a brief candle.. i am at the wick a milk a fiery embryo i am a fiery milk i am a fiery embryo am i .. not to be snuffed away.. evermore...
nude Barbara Minerva:
Naked Barbara Minerva: .. my nude body is horrornude ... it is the
Joshua Nagy, 12-year old lost boy. Ultra Magnus. Mk-Ultra Magnus? A tragic hero/villain. If Joshua Nagy met Megan Gale he would probably think she was the real Wonder Woman. He would have to trust her, he would have to be able to trust her. Boys who've become lost need to be able to trust superheros or people in superhero costumes like the Flash and Wonder Woman, because children, young boys, can't talk to strangers, even for help if they're lost, but they can talk to superheros, because they're friends, not strangers. A person, a woman, who was working for a corrupt drug-dealing organization told me about a story about a lost boy who talked to people in superhero costumes, the Flash and Wonder Woman, because they weren't strangers. So he got found by his father again.
Steve Trevor: “The schematics of her drug infrastructure are organized by laissez-faire economics – they are actually run by congoomerates, by corporations which are cartels of the whole idea is that a tndem operation is in fact a schematics of a house of cards. .. each card has a double-face.. finite math may play a role in this paradigm. I talk formalistically, I know, the double-face is a mosaic and simple finite pattern, an infinite kallideoscope pattern and a finite conformed pattern of elagaic checkered-patterned simplicity, a pattern of simple checkers and a pattern of chess spiral fractals, the cards can reverse, it depends on which nodes you can reverse a card.
“.. if you reverse a card you're in trouble, because the whole deck collapses if it's the wrong card, like the deck of a ship by silly naked mala daisy mala, if it's a domino face you reverse it suggests movement of a spin rotation which doesn't affect the whole or affects movement by but doesn't effect the whole .. a house of cards has a false face, because its edges face the viewer or mathematician..
“.. the edge is an angle of.. .. incidence.. tangency...-.. refraction.. .. by the angle of the house of cards to the light you feel a sense of a lit rush, a light through a scroll illuminating the edges of the letters, like the margins of hieroglyphs...
“.. a drug infrastructure is based on checkers.. or yahtzee.. it's based on removing the pieces and replacing them with old pieces.. on relacing moving pieces with pieces that have remained behind the margins.. behind the light angle of incidence... behind an angle... angel dust...
“... angels in math... angles in math are always inevitably seen as the most obfuscating, frustrating area of math.. obfuscating angels... frustrating angles... Jacob's night-lasting struggle with an angel... how do you measure an angle?... how many angels rest on the head of a pin?... it's anti-math... anti-precision.. angles are like anti-precision missiles...
“.. angles are anti-precision.. they frustrate the harmonies of math.. angles are obtuse.. .. a curve defines and signifies an angle.. degrees are signified by a curve... signifying Siegfried.. who like Brunnhilde.. had to learn Shopenhaur..
“ .. an angle perspection.. an angel perspective.. an angle perspective of a house of cards is a curved space-time.. .. a minkowski curve of space and reality.... the house of cards curves to our sight... cunvy orange peels... an edge is a curve.. a curving perspective.. like the skydome.. like an observatory.. an observatory a curved-space-time for the angle of incidence of the telescope.. a telescope in an observatory out of Dr. Who.”
Lex Luthor: What's going on with me? I – don't – know. I – just – don't – fuc – friggin' – know. My mind is a pure blank.. it is just as if my mind is a reading impairment incarnate.. invisible ink is the only ink i/ I know.. the decay that grows from my strength.. from my wilting strength.. this decay is Wonder Woman.. she is keeping me in a prison.. keepin' me.. she is a jailer .. she is evil incarnate.. she is so possessed by braniac circuitry, braniac demoncircuitry that there is no sense of knowledge of where the circuitry ends and her fleshbody begins.. Does Wonder Woman, as braniac incarnate, run all the torture prisons?.. there is a Baudelaire poem about her.. the strength which feeds her decay.. her decaystrength grows from her decay.. Lady Macbeth.. Wonder Woman is the historical Lady Macbeth, the Shakespearian Lady Macbeth.. she decapitated Medusa but did they decapitate Lady Macbeth at the end of 'Macbeth'?.... Does Wonder Woman earnestly believe she herself needs a good decapitation?.. the prison system infrastructure decapitating Wonder Woman?... she wants to send teenagers to prison for God's sake.. she is the Medusa stare changing her own naked soul to stone.. stoned.. I've read all the Wonder Woman comics.. I know everything about the woman who is going to play her in a movie.. i know about her medusa vulnerability... but the article doesn't say Wonder Woman felt vulnerable when she was naked for a photoshoot because a woman was yelling at her while megan was naked, a woman was yelling at naked megan for answering a cell phone, and that was why megan felt vulnerable being naked, and she said, she was 'glad it was over' about the woman yelling at her, she was glad the woman keeping on yelling at her was finally over while megan was naked, they photoshopped her pregnancy, she said she liked saying her belly was Jerusalem, her religion was in her belly, so they said she was pregnant, and she said she'd like someday to be pregnant, so they photoshopped her as pregnant, but she was naked and megan was naked and smiling radiantly on the cover.. another thing.. clothed women were most likely laughing at megan while she was naked, posing naked, and that made her feel vulnerable, and the clothed women laughing and sniggering at her naked body was what she was glad was over... it's why she just, why megan just, doesn't like being naked around women, megan only likes being naked around men..
naked Lois Verhoensky Lane: You just.. you just.. know all this.. you know.. everything..
Lex Luthor: There is a shadow reality.. which has microbial laughter all like pitch burning coal microbial encroaching horror comes at us.. it is the mocking laughter spoken of in Dostoevsky's “The Possessed” a novel about the start of feminism, in which the characters of Petya Verhoensky and Nicole Stavrogin were changed from women into men.. just about all the characters were changed from Dostoevksy's original novel from women into men.. and then, when it happenned, he may have rewritten some sections of the novel to accomadate this drastic change to render the novel a touchstone for male generations.. What is a male Peter Verhoensky?.. a charming fellow.. not the sinister demonstone of Petya or Patricia Verhoensky.. there may have been a decent, amiable historical Peter Verhoensky who may have been a friend of Fyoder's..
naked Lois Verhoensky Lane: I learned everything I learned about journalism from Peter Verhoensky.. i learned all my decency of journalism from him..
Lex Luthor: I don't doubt it, Los, Lois. Lois, Los,.. los lane.. los was a shadow being in Blake.. a shadow who worked reality.. who put his the flint to the blackrock.. a grinder.. grinding industrialism..
naked Lois Verhoensky Lane: my stomach is grinding industrialism..
Lex Luthor: Nicole Kidman probably feels herself a nicole stavrogin.. although she could never, ever be her in a movie.. there was a horrific pedophilic paragraph statement falsely, completely falsely attribued to her in a magazine interview.. she never said it.. it never happenned.. nude nicole kidman: - weeping – neeveer.. eeveer .. eeverr.. Lex Luthor: Hollywood is history. The history of the planet is the history of Hollywood.. does media news media emanate from Hollywood?... all the horror-fiction of news-media.. all the inveterate fake news of mainstream news media..
naked Lois Verhoensky lane: .. a i am a fiery embryo.. i am a fiery embryo.. i am a shadow being who works reality. I am naked loisworld.. i am a world of naked nude lois's..
Lex Luthor: .. i have been crushed... CRUSHED.. by industrialism.. by the industrialism of pedophilia.. it is what rules the planet.. it is what makes the laws.. it is what makes the prisons..
naked Lois Verhoensky lane: .. and Wonder Woman.. poor naked wonder woman.. does all this?
...
Lex Luthor: .. she is the naked queen in chess. She is both naked queens.. nude wonder woman: my nude breasts.. my two nude breasts.. my two nude queenbreasts... Lex Luthor: .. how can one woman .. one woman.. live like this.. how can every value she has.. be turned and reversed upside-down.. how can all her introspection be gouged into a knive-work of umbrellas.. of cruelly sheltering umbrellas..
naked Lois Verhoensky lane: .. crying .. she only wants to be a naked mother.. a naked earth-goddess..
Lex Luthor: .. when they invented the myth of the food web.. using video media.. holograms.. and time-portals.. dimensional portals.. they inverted and gouged out the introspection of naked mother earth.. they inverted the insides of naked Wonder Woman.. the first naked earth nude goddess...making her via the mythified food web into an inveterate predator... naked wonder woman betrayed her naked mother to hell to a food web hell.. naked wonder woman rendered her naked mother food for the predators by a machine coin flip... an industrial presses coin transferal switch.. a witch switch.. a witch decided that naked wonder woman had sent her naked mother to hell to be food for the animals.. an electric witch.. an electric switchboard.. nude rogue..
Hanno Raudsepp Society Lex: Lex, take the meds, take the meds, they'll help you sleep.. just about immediately.. take all the schizophrenic meds regularly each night.. take them only for a few months.. and as soon as the nightmare phases begin again while your on the meds, differently, more mild nighmare phases, nightmare phases which can be effectively dissipated by active vocal conversation with other people and brisk walks with other people, but when those uniquely more mild nightmare phases begin again while your on the meds,, stop taking them.. when you stop taking the meds, your mind will go through a quantum leap of effluviance, and the nightmare phases will die down... but for now, take all the numerous schizophrenic meds for your present-day unendurable nightmare phases.. the duchess of dragoon may be the first person to talk to you.. and then cheery, naked poison ivy will start talking to you about what a good person you are..
The Joker: ... relations bewteen ...
Bruce Wayne: ... barbara minerva wants to kill me... she wants to bleed the blood from my wounds like prayer... her prayer is loveblood.. my blood... she loves my blood.. she loves my death.. she loves as blood.. she wants to infect me with a nanotech flesh eating virus.. with a trusty cell phone...
The Joker:... I won't let that happen...
Bruce Wayne:... it may be inevitable.. she has no free will.. she's a warm-blooded sociopath.. the worst kind.. her blood is love.. her killing is love.. her love kills ... her love is a flesh eating virus... she is going to nanotech cannibilize me...
The Joker: .. if i can't stop it from happening.. i'm not a very good chemist...
Bruce Wayne: Chicken George is supposed to meet me alone. But Barbara's bloodlust love won't allow it.
Bruce felt no autmuns in mornings cast in the monring of Gotham harbour in the night of gleans emmessage of the idea of night ngamles mlaent of then night of nighteningales ideation into the nightingales of hanno this is may midnight cast of hanno if i can work with you maybe we see this is the night of you are my friend forever of the night of wait here it is you are me i am you we can work toeghether and i can this is the righteousness of life we can wait okay dobay we are the it is okay right lie likeseee we can this is mr j either int the ienose dhtei oekay doliektheisowneishetish ioens eithsoeksay tisoneid athe theisoa tinsidoe the soaisneidhe aidoiaje we are then enver the saynme in the same ytheiaokaey is nthe name of the same oenf the oehtinsoekahy the aokeay the oakay the name of eht emaokay tme we ar finneagan os if the way of the agye in the sma eo fht eit is finished for the moement..
Note from Batman: Batman honestly believes all cell-phones have a nanotechnological flesh-eating disease inside them, air-transmitable.
.. naked Wonder Woman: Hi, I'm naked Diana and I'm a survivor of flesh-eating disease, courtesy of cell-phone nanotechnology. I've died many times, horribly more than the last, and I can survive, barely, flesh-eating disease, but ordinary mortals won't survive it once. Okay, the cell-phone nanontechnology is a Y2K paradigm- flesh-eating disease is the real Y2K, designed to go off at a certain instant ,not sure exactly when, but sooner rather than later. It's too close to being past the margins of the start of the milleneum. So, the organic chemistry of felsh flesh-eating nanotech.. It's an electronic switch which is the coin electronic spin, the coin nucleur spin, the coin magnetic moment etcetera ad nauseum, all coupled, like my nude breasts, if they're still there, like my nude breasts are coupled in magnetic moments.. We are presently going through a nucleur relaxation time, a false lull before the flesh-eating storm, Bbrrriiinnngg! Hello, ahhh! Just kidding, but not for long. The next briinngg could be fatal. Relaxation is open to free radicals, like wittle me. All cell-phones have magnetic fields,.. The key is magnetism,.. magnetism manipulates the ferrous compound at the centre of the nanotech flesh-eating hemoglobin molecule, synthesized molecule, meant to replace the hemoglobin in our blood... So.. invisible zinc and invisible copper are the electrodes at the dimensions of the cell-phone. The cell-phone attaches, leeches, if you will, the potassium K+ and sodium Na 2+ in the cellular membrane of our neurons. There is a flesh-eating neutralization titration which involves chemical reactions of sodium carbonate, sodium hydrogen carbonate, sodium hydroxide in the ion brain-pumps of our neurons.. Colours, colours and colours.. bromocresol green.. blue-green algea.. sky-blue aliquot... enough colours for now.. it all happens as fast as quicksilver, or quickmercury, or quickiodine.. Choride and mercury... chlorine, geez.. - crying – have to stop for now...
.. the lit rush of a scroll, described in the Gutenberg Galaxy by Marshall McCluhan is the same phenomenon as the lit rush against a movie screen, which produces air-transmittable electric positive ions which tranquilly neutralize the flesh-eating effect of nanotech cell-phones.. it is a science so old, it may hearken back to the egyptians, to the priest-scholar Hermes, this mystical lit-rush ion effect, like mineral water or noni juice, which simply cancels out the flesh-eating nanotechnology. The Egyptian book of the dead may have anticipated flesh-eating nanotech along with Dante's inferno. I don't understand the science of lit rushes too well but hopefully I'll be able to read some medieval documents soon to get a jist of it. Movie screens are hieroglyphs thru which lights a lit rush- movie screens hearken back to ancient egypt and medieval scrolls... more later..
Wonder Woman – the legend of nude Megan Gale
Hi megan, Angelina, it's hanno, hanno raudsepp. My address is 41 o'neil crescent, Trenton, Canada. Look up my address on the White pages in Canada on the internet under the name, Andres Raudsepp. He's my father. Look up - white pages - on the internet. Then enter the name, - Andres Raudsepp - and - Trenton - for city. You'll find two cities of Trenton for that name, on in the States, the other in Canada. My address, 41 o'neil crescent, is in Canada. Come meet me.
Just to be safe, make sure neither of you, megan and Angelina, brings a cell-phone, which may be traceable by cell-phone tracking technology and enable other people to follow you. Make sure there's no cell-phone in your handbag or lying around the car, in the glove compartment or door pockets or in the trunk, places where even someone else may have left it, unbeknownst to you. Megan, be careful about doohickeys, they may be cell phones.
First Wonder Woman movie
Wonder Woman – the legend of Megan Gale
Dream director - Martin Scorcese
Dream Cast
Naked nude Wonder Woman - Naked nude Megan Gale
Steve Trevor - Tom Cruise
The Naked Cheetah / Naked Barbara Minerva - Naked Angelina Jolie
Maxwell Lord: Leonardo deCaprio and Hugh Grant
Naked Hippolyta - Naked Monica Bellucci
Christopher Stevens - Mikey Jerome
Naked Earth 2 Naked, nude Wonder Woman - Naked, nude Tiffany Fallon
Naked earth 2, tribal, nude Cheetah / nude Barbara Minerva - Nude Daryll Hannah
Nide nude Nude Priscilla Rich - nude Monica Bellucci
Ares: Daniel Day Lewis
Tzipi Livni - Naked Lynda Carter
Ehud Barak - Mel Gibson (role unwritten as yet)
Binyamin Netanyahu / Ehud Olmert Composite character - Alan Rickman (role unwritten as yet)
H
Naked ude nude nude nude hera: Naked nude kate winslet
naked nude Athena: nude Daniella Amavia
Christ / Chris eliot - himself
Dana Andrews - milla jovovitch
nude circe - uma Thurman
Hermes - Ralph Fiennes
Zeus - Ethan Hawke
Wonder Woman screenplay
nude Athena: .. nude athena felt her own smallness in breast.. her breasts were small planets.. she was nude in rings of saturn a golden nude lasso ring of stars.. stars around her breasts.. she felt her own soul in nude.. she felt.. .she was crying.. why why why had it gone so wrong.. had it been her errorfixing breasts.. had her breasts been set wrong in place.. she was clay.. she was a molded sculpture.. had prometheus molded her nude form into being?.. she wondered.. it was her own .. her vagina sought starbelts.. it sought out abysses of fire.. her vagina was afire.. afire with war and love.. her vagina was Christ's babtism.. with fire.. with holy fire...nude Athena's vagina was holy fire.. a spirit in wonderflux.. she was perpetually cerebrating wondering in mindwonder..
nude athena: My breasts are upright in war.. my macheavellian nude breasts.. my nude breasts of connivance.. my nude breasts of curling manouvre. my nude breasts manouvre through war.. they seek out the milk of war.. they seek in war for the milk of human kindness.. I am Hell. I am war. My breasts my nude breasts will save me.. my nude breasts will be my salvation... They will be my nude breasts will be my ressurection.. my nude breasts will help me live for tomorrows tomorrow and eternal tomorrows.. all my nude soul's way to dusky death of war .. where foul is fair and fair is foul.. my foul nude breasts.. my fair nude breasts.. I feel all the foulness of war inside my belly..my belly feels a stormcloud inside itself.. a strom nude athena stormcloud as black as pitch as the savage nature of Hamlet's refusal .. a stormcloud in my belly as black and savage I am a nude savage as black and savage as Hamlet's hesitation.. as his gentle hesitancy... my nude body is gentle and savage.. I have savage breasts.. I have a savage vagina.. I have savage will propelling the savage fire of my nude butt.. I am nude savage shefire.. i am going to die someday.. but not tonight.. i am a fiery embryo.. and not .. in tomorrows.. i am not to be a brief candle.. i am at the wick a milk a fiery embryo i am a fiery milk i am a fiery embryo am i .. not to be snuffed away.. evermore...
nude Barbara Minerva:
Naked Barbara Minerva: .. my nude body is horrornude ... it is the
Maxwell Lord: (to Megan Gale aka Wonder Woman)“I am going to explain to you how you weren't the woman in the video, in the video which protrayed you as a sexual predator, as someone engaging in sexual entrapment or date rape.... I will explain it is a visual replica.. similar to how they've made, how they've computer-generated photorealistic horses and elephants in the “Lord of the Rings” movies... and the voice, the horrific voice which feels to you from the depths of Tartarus... electronic voice-synthesizing technology has been available since World War II, mentioned in a book called "Listening", and it's only had time to advance since then.... every woman's expression , no every expression a woman will have not can have will have a woman will have expression mirf? .. a woman will have expressiveness eliot ness a woman will bundle herself with barrel staves of energy explode with energy nucleur energy? .. radiation decay energy? .. or radiation surplus energy? .. gamma energy? .. green with envy? .. green with energy?
“See, the self-requesting self-decoying self-infringing self-reneging self-indoctrination into self-will of real self-explosion into Pascal explosion of troublshooting bugs radiation bugs bursting with energy with energy synergy withering bursting bubble of bubble browser of bubble mainframes how do you frame a pixel bubble pixels radical! .. bubble pixels were NEW AGE (who was the mistress of new age Alan Moore didn't like, some other version of her would be naked and good) technology radical technology tech bubbles of corpuscles of heart of blood of skin and bone (if its bled to your bone it creeps up in your flesh) of skinlove of Skintow bown bone bubbles bow-wow peanut butter pawn I am so rich and discotietful disco colours of motion of motion are my bubbling person bubbling pixar are my bubbling heart of joy jymes jymesjoyce tic toc – so lock so lock/uu/lucky-lotta litt litle lor l0l0lulu lor lissen less on mor torn mirroor hear me ripper roar rik show rick rick rawrr roor – like a risk-rick thorlion orf rickenricketty – rick – of – thorlog - irru floar ilmorcars S I I I an of oar coroar Oar on psyke psyche! Oar cor – eer/eev is storaer-en (“Children in Danger”, the U.K. snuff book) for-or - forear – arm – me - little Christine Megalopolis on eglise of no elise fame Oarf oraf of Olick or/of laugh at h-oar or Chris is or are a bubble princess who got devel/level on OCD from a scary, agressive dog from a BARKING dog?! It must be worse than we thought “Winona let us down. She was real and understood and was a real person who would help by being a girl who is my friend” Wonder Woman: Gee... Winona Ryder is such a downer....... I SAID THAT! I SAID THAT!... .... back to “from a BARKING dog”... “a public enemy” by Arther Miller by Arthur ibsen by inseb by ensb beh by gotten reb gotteir in thorlog if therein for- Chris morlock moorcks moor is is arntrbs(?) orf orlog grof orbforfarforto ooo corndorgs orf thoris aniantorngale machine warriors in to orors orion/orson orors is in far orrs orf doris is Gun or orn arf“a disease you wouldn't wish on your worst enemy” - finally it's public no personal no REAL normor fell orf orfieors or a favel/foul arf arrr ar – arrr oersies invinse Packard pixel packard orfarns deilera eveannoo in harm ein bates back to “arfieors” .. rerum arf T gorf arf erom's rerrom”
Naked Wonder Woman: (crying) I want a Wonder-dog.
Wonder Woman investigates the Grail cult in Czeckoslovakia as a central plot in the first Wonder Woman movie. She's naked when she investigates it. Wonder Woman is on the internet. She's always naked when she's on the internet. Wonder Woman looks up the Grail cult, Czeckoslovakia on the internet and looks up Czeckoslovakia, prison, amnesty international on the website “Mens Activism”, and has an epiliptic seizure.
Wonder Woman is Gollum. Of the Lord of the Rings. She is the Gollum of Jewish fairy tales/ mythology. She was Gollum in the Two Towers movie. The male Gollum, her brother Sméagol, after seeing her so viciously abused in the Two Towers, took her place in the Return of the King to avenge her. He became dangerous, angry. He is the Hulk. He is Hulk Gollum. The Grey Hulk. With the supercilious wit and sneering vocal edge. He has to be the Hulk to survive the depths of Mordor. Wonder Woman Gollum takes over at the end of Return of the King to finally destroy the ring, the golden lasso, a sinister golden lasso. She submerges herself with the ring into the lava to swim through it underneath to a save harbour. She is Wonder Woman Gollum and demonstrably invulnerable to molten lava.
Diana Napolis might be Diana Prince.
I understand that the actor who played Faramir and was photoshopped abusing a CGI Gollum believed he was actually going to be set on fire in Return of the King and was ready to let it happen.
Joshua Nagy, 12-year old lost boy. Ultra Magnus. Mk-Ultra Magnus? A tragic hero/villain. If Joshua Nagy met Megan Gale he would probably think she was the real Wonder Woman. He would have to trust her, he would have to be able to trust her. Boys who've become lost need to be able to trust superheros or people in superhero costumes like the Flash and Wonder Woman, because children, young boys, can't talk to strangers, even for help if they're lost, but they can talk to superheros, because they're friends, not strangers. A person, a woman, who was working for a corrupt drug-dealing organization told me about a story about a lost boy who talked to people in superhero costumes, the Flash and Wonder Woman, because they weren't strangers. So he got found by his father again.
Steve Trevor: “The schematics of her drug infrastructure are organized by laissez-faire economics – they are actually run by congoomerates, by corporations which are cartels of the whole idea is that a tndem operation is in fact a schematics of a house of cards. .. each card has a double-face.. finite math may play a role in this paradigm. I talk formalistically, I know, the double-face is a mosaic and simple finite pattern, an infinite kallideoscope pattern and a finite conformed pattern of elagaic checkered-patterned simplicity, a pattern of simple checkers and a pattern of chess spiral fractals, the cards can reverse, it depends on which nodes you can reverse a card.
“.. if you reverse a card you're in trouble, because the whole deck collapses if it's the wrong card, like the deck of a ship by silly naked mala daisy mala, if it's a domino face you reverse it suggests movement of a spin rotation which doesn't affect the whole or affects movement by but doesn't effect the whole .. a house of cards has a false face, because its edges face the viewer or mathematician..
“.. the edge is an angle of.. .. incidence.. tangency...-.. refraction.. .. by the angle of the house of cards to the light you feel a sense of a lit rush, a light through a scroll illuminating the edges of the letters, like the margins of hieroglyphs...
“.. a drug infrastructure is based on checkers.. or yahtzee.. it's based on removing the pieces and replacing them with old pieces.. on relacing moving pieces with pieces that have remained behind the margins.. behind the light angle of incidence... behind an angle... angel dust...
“... angels in math... angles in math are always inevitably seen as the most obfuscating, frustrating area of math.. obfuscating angels... frustrating angles... Jacob's night-lasting struggle with an angel... how do you measure an angle?... how many angels rest on the head of a pin?... it's anti-math... anti-precision.. angles are like anti-precision missiles...
“.. angles are anti-precision.. they frustrate the harmonies of math.. angles are obtuse.. .. a curve defines and signifies an angle.. degrees are signified by a curve... signifying Siegfried.. who like Brunnhilde.. had to learn Shopenhaur..
“ .. an angle perspection.. an angel perspective.. an angle perspective of a house of cards is a curved space-time.. .. a minkowski curve of space and reality.... the house of cards curves to our sight... cunvy orange peels... an edge is a curve.. a curving perspective.. like the skydome.. like an observatory.. an observatory a curved-space-time for the angle of incidence of the telescope.. a telescope in an observatory out of Dr. Who.”
Willaim Marston. Marston. Mars stone. Stone, symbol of Peter, the first disciple/apostle. Mars stone. Mars son. Son of mars/Mars. “Willaim Marston's Wonder Woman” opening scroll-credit text sequence. Illuminati. ..illuminate.. eliminate.. illuminati.. humanity.. illuminati/humanity.. illuminate humanity.. eliminate humanity.. opening Wonder Woman scroll-text sequence.. “The sun, the sun.. the sun” at the end of Ibsen's play, “Ghosts”. “'Ghost' is just not a good play.” Ibsen: “I.. I had, HAD, to write “Ghosts”' But, according to repute, Ibsen was a sexist writer.
Opening Diana's, played by Monica Bellucci or Tiffany Fallon or Megan Gale, narrative voice over a montage of Diana's naked body: “I am.. I feel.... immortal.. in ....spirit- ..... like.... foam... in soul.. like.... like... my breasts.. rise and ebb with the waves.. like my thighs. . run the course of snowy deserts.. and mists of dunes.. like my stomach.. my misty stomach.. feels inside the pulse of snowy mists... all cold... so cold in mists of reflectiveness.. promising my nakedness comfort in cold repose.. in the repose of reflecting icy reaches of soft, distant, desirings... desirings which are misty, mirroring desirings.. desires which don't... which don't... yes.. they do.. invade my torso.. reaching for volcanic depths in my pubis... in my vagina..... desirings run their course through my icy torsal reaches... like frost-patterns in my pubisvagina which seek and pattern the holy spirit in its fluidity of love for desirings strong in the marine depths of dark-turquoise darkish blue meanings of concentrations of desiring pressures upon all the thousand natural shocks which flesh is heir to..... if such desires rankle me whole as my black lover'sheart find such in my mourning causes of heart's a'sorrows in wanting morrows of such in ambition for warrior's fate in mooring in rigged roaring for phantom's fat in warrior's gait in posture old for ventures bold for of such seekings ribals as golden voice sybaldvagina in siren's glow of my fate in row in such beauty drawn my soul to groan in rocky rivers of own soul's scissorsvagina of my rocky reds blood in mossing of gross soul's saucing in wenche's heart my heart be bold in ribald's rance my hearth be god in heart's hearth warm in breasts which swarm with wavesnakedwomannudeDiana ebbing tow for old's moan of my stomach's woe. All this in heart is my love in breastsmart of love for you in pubis dew.. in hearth in earth in heart in dearth in woe for so is love in dole...
Opening shot:
A light in the distance surrounded by shimmering, metaphysical water, a river, but a river like something out of a dream.
nude Hippolyta: ... nude i died a child.. i feel a child in my bones.. i feel my bones rattle.. rattle in time's tune.. to figureskate.. to figure skate a naked sKiIIieeyyyeee.. my naked body is sky.. i am a nude sky.. my daughter nude daughter diana reaches for me.. i am the nude sky to whom she reaches.. the shapeless nude sky... i am a shapeless nude woman.. i feel freezeblood in my nude veins of my circulatory nude body.. i am a mess.. my nude bellymess .. gravitates to .. Israel... naked Israel...
ext. .. an image underwater, the green-blue shimmery underwater, of a nude woman swimming, like a dolphin,.. she is nude Hippolyta.. nude she swims for a lengthy time underwater.. submerged in a powerful plethora of underwater nudewoman colours.. then she submerges above the water, into a dark night, full of stars, the water shimmering black on white foam in which her nude breasts are submerged , her nude breasts buoyed by white foam as they hover above the surface of the water, the cruel, crawling foam shimmering her nude plunging, plump breasts which hover above the surface of the water, her nude breasts full of stars..
.. someone a ship, a small marlowe-esque boat .. gives her a light-beacon.. she seizes it like she seizes her nude breasts and swims off, her nude butt flying aswim above the surface of the waves, her nude butt quivering above the quivering waves in sync with her nude butt.. her nude flashing white lightning butt guides the the ship by its sheet-lightning whiteness along with a sync white light of her hand-held light beacon down the muddy river, toward a light in the distance, like a small lighthouse.. ......later, she gets on the ship naked, her vagina pitchblack pubic hair visible as she bends over as she clibs climbs aboard.. The men lift her to her feet. They are Israeli refugee workers. .. nude she is working with them to guide Jews from Nazi Germany, Nazi England, Nazi Canada, Nazi America, Nazi France to a sanctuary haven in Israel. Ares is her guide in the shadows. A ghost face hovering in the shadows of the mist of the water, with a scar on his cheek.
Next shot: Colors. Just colors, metamorphisizing into each other, like colors of a painting, with recessive colors combined with vivid colors, colors creating an image of a passage, akin to the the preceding image of a passage toward a light. This is a POV shot of baby Diana. It’s an adventure of colors. Colors forming and unforming themselves like clay. The colors begin to take on substance, shaping themselves into something like ornate melted candles or sculptures of Rodin translated into a textured kaleidoscope.
____________________
Hippolyta: I don’t know what it was like to feel that, as a Jew, your survival was dependant upon the British, upon the British soldiers who were abusing you in detention camps. It made me wonder if the actions of the Irgun and the Stern Gang, the killings of British soldiers, came from a desperate, radical striving for freedom from this state of dependence, from its self-perpetuating condition.
David Ben-Gurion: “I understand your empathy for our fringe elements, but I confess to seeing no rationale that can justify these actions of Jewish terrorism. The sacrifices of the Jewish armies and intelligence agents on behalf of the Allies is well known. We fought and sacrificed for the Allied effort. We existed in no state of needy dependency during the war.
The adult Diana appears. What is immediately striking about her is the odd, unearthly look in her eye. The look in her eye blends with the exotic quality of her voice. It is a confidant voice, the voice of a stateswoman. A voice of gentility; it’s exotic element is its gentle element. It seems like she is speaking from somewhere in her dreams.
Diana is sitting alone on a hill looking at the brilliant horizon. The glowing, cloudy heavens seem to answer to some calling within her, colors like the colors which she saw at birth which she may remember, her soul always answering to colors. It is as if Diana is still making that journey through an imaginary birth channel of clay. She seems to still yet be looking for deeper, more intricate structures of color and texture in her environment, as if she is looking at the environment around her perpetually with a baby’s eyes.
Hippolyta approaches
Hippolyta: Your eyes seem to reach for the heavens.
Diana: I’m just looking for fragments of myself in them.
Hippolyta: Is it in the heavens that you will find some revelation?
Diana: I don’t think I’m meant for revelations. Revelations resemble stormclouds. And I’m like one of the clouds which changes its shape gradually. I’m too slow to encounter anything which is full of forboding truths which arrive like thunder.
Hippolyta: The earth misses you. You always looking to the air for answers to inward riddles. Look to the meanings of the earth for faith in yourself.
Diana: When I pray to the earth, I feel- like I’m betraying myself. There is more to me than this slippery substance, this clay, I am meant to be made of substance.. which is.. not clay.
Hippolyta: What- what do you aspire to be? What substance?
Diana: The substance of rainbows, of mist, of dew, something which hangs over the earth or even clings to it but never truly reaches it.
Hippolyta: It is.. as if you never want to reach.. yourself.
Diana: Myself.
Hippolyta: I just want you to be yourself
Diana: I want to be something more than myself.
Diana: I’m like- coming to pieces. I feel like I’ve regressed into clay and am falling apart in chunks.
The lasso spirit: This is an element of your transition into a different reality. We want to make sure you remain whole so I am going to encircle you, entangle you, if you will.
The lasso floats to Diana and begins encircling her and gently entangling her within itself.
A close-up of Diana’s eyes. And then a dissolve into
The lasso spirit: How are you doing, Diana.
Diana: … memories.. I think.. junky memories.. memories like squashed crab-apples on the ground…
The lasso spirit: Who am I? I am a coalescence of all the spirits which have been encircled by the lasso, of all those persons who have been caught within its enchantment.
Diana: Where am I?
The lasso spirit: This is Hell, Diana. This city, this country, this planet. It is Hell, unbeknownst to those who reside here. Us, all of us spirits within the lasso, the spiritual residues of those who’ve been within our reality, this parallel reality...we were meant to help… translate this reality to your spiritual beliefs.
Diana: The lasso.. the lasso is a parallel reality?
The lasso spirit: Yes. It is a place in which you can rest from your time in Hell.
Diana’s eyes start to recede within themselves.
Diana: Hell.. Hell is the place where the innocent suffer.
The lasso spirit: You were sent to Hell to do your work. To do the work you’d been already been doing in Themyscira.
Diana: What am I- to Hell? What purpose will it find for me? What purpose will I seek within it?
Christopher Stevens finds Diana sleeping on a bench. There is something about her face, her posture, that suggests to him that she’s like a homeless child.
Christopher Stevens: (picking her up) C’mon, c’mon, I’ll take you to a shelter.
Diana: What? What? Oh, hi.
Christopher Stevens: You don’t belong out here on a freezing day like this. I know you don’t know me. But I used to do this as a cop. Sorry, that’s probably not very reassuring. Nowadays you hear about cops killing children and- sorry I’ll drop the topic.
Diana: (half-asleep) …killing.. who?..
Christopher Stevens: Just ignore me. I’m blabbing. (gets a blanket from his car) Here, put this around you.
INT. Christopher Steven’s car.
Diana: We’re going, where did you say?
Christopher Steven: I actually, there’s a woman, her name is Barbara Minerva. She’s taken in homeless people before, even found occupations for them, ways they can make money. It’s one of her many passions. It’s a foundation for the homeless she’s set up with Maxwell Lord. He’s the money behind it. Max Lord. You probably know that name.
Diana: Um, sorry, no.
Christopher Stevens: Well, he’d probably be glad to hear it. Celebrity-types like him I think like to meet people without being pre-empted by their public persona. I’m sorry, I know I’m a stranger, and it’s a big no-no to get into cars with strangers. But I was literally frightened you’d freeze to death on a night like this.
Diana: You’re so kind. Thank you. I’m just.. so.. heavy..
Christopher Stevens: Try to get some sleep. (pause) It’s like, I used to be a cop and I was aware that some cops think that being a cop makes them any less of a stranger. I remember seeing, on a show about cops, a crying woman being put in a police car, and she was terrified, she was just crying “oh no”, because she was being put into a car by strangers who were going to take her to a scary place. And I’ll never know what happened to her.
Diana: (in a state of shock) This reality.. it is Hell, isn’t it?
Christopher Stevens: It probably is.
(Diana falls asleep)
Dissolve to black. Then fading back into a shot from her perspective of a plush interior décor. Then a shot of her lying in bed, still in her costume with pajama over it..
She gets up, looks around.
Barbara Minerva: Hi, how are you doing?
Diana is watching a tv station on the internet.
Diana: This woman, the Israeli foreign minister, “Tzipi Livni”. She seems to want peace.
Barbara: “Tzipi Livni”. Yes, perhaps. I find, leading politicians seem to be each like two people. And you can lose yourself trying to comprehend this abyss which seems to exist between the two personas. She was one of the politicians who criticized a recent cease-fire negotiation between Israel and Hamas, saying it strengthened Hamas. So, what her dialectic of peace is, I don’t know.
Maxwell Lord: I'll introduce you to my staff, Diana. This is my assistant marketing manager, Dana Andrews.
Dana Andrews: Good afternoon, my duke of dark corners.
Maxwell Lord: Ahh, you're a riot, Dana.
______________
Wonder Woman: Is there nothing I can do to stop the death? Is there something which doesn't need me to exist? Am I a headstrong woman? Am I an adventurer? Am I a harbinger of death? Death seems to be to me a reality
Maxwell Lord: Silly me.. I thought Wonder woman was the agenda...
Dana Andrews: .. no .. wait.. i want to be an x-men... i thought we were doing the x-men...
Chris Eliot: .. maybe wonder woman is an official x-men
Dana Andrews: .. i forget... are women x or y...
Chris eliot: .. both.. i think..
Dana Andrews:.. wait .. wait.. both y's or both x's...
Christ Eliot: .. good question.. good question...
Maxwell Lord: .. i'll leave it up to you to decide...
Christ Eliot: .. wait.. wait.. are there y-men to .. y-men.. wymen.. we must help the wymen..
Dana Andrews: .. oboy.. this gets confusing..
Maxwell Lord: .. wonder woman confuses an x into the x-men parameters...
dana andrews: she brings paremter.. pem .. permi..permaforest.. perma mp perimeters.. whuuhh?...
Christ eliot: .. i think mikey jerome is here...
Maxwell Lord: .. mikey?...
Dana Andrews: - crying - ... i really liked him on that soap opera.. he maid me cry...
Maxwell Lord: .. you once played joan of ar of ar of arc didn't you .. joanof arc.. joan of arc you once played..
Dana Andrews: .. i went up in flames.. mikey met me in flames and saved me...
Chris Eliot:.. yeth.. he doth do thot...he does that..
______________
Wonder Woman: I feel like I've entered your reality like a Diva, like I swirl the city with its brilliant lights about myself like a massive, bejewelled gown, like I spin in this gown, do my precious Diva Wonder-spin.
Steve Trevor: I feel like you represent a quantum spin in our meandering reality.
Wonder Woman: Quantum physics! I've done some basic reading in it. Three quarks for muster Mark! “Muster” means pattern in German, I think.
Steve Trevor: Do you study German physics back in Themiscira?
Wonder Woman: We try to. We're sort of whimsical about it. Each of us comes up with our own special language for it. Quantum physics, wow. Maybe we each of us Amazons have our own unique quantum personality spin, our own unique Diva spin, like an opera Wonder-singing-spin out of one of Wagner's German operas. I feel like someone out of Wagner. Like a rebel against her own cause.
Steve Trevor: So you're a dialectical rebel. What did Nietzsche say about Brunnhilde in the Ring Cycle, that at some point she realized she had to read Schopenhauer.
Wonder Woman: I definitely need to read Schopenhauer! “The world as will and idea”. Is my will a will which can motivate the world? Can I be a world's motive and thus have a free will?
Steve Trevor: What did you tell me once- a free will is an informed will.
Wonder Woman: That's it! A will learns itself into freedom. Enhancing the inward activity of the motives, as Nietzsche would say it. The human will is a like a tree in bloom. Reaching outwards into always greater rhapsodies of colour, and also digging deep within the earth, the human will a labyrinth of roots beneath the sight of society.
Steve Trevor: Was Themiscira a society which dug beneath the earth to find mineral archives of meaning?
Wonder Woman: Yes! Like a race of dwarfs we are. Mining beneath the earth to discover how far our own roots reach. It's our form of introspection, digging for ourselves beneath the earth.
Steve Trevor: So, a society defined by a collective introspective fervour. The introspection of the earth.
Wonder Woman: Yes! I feel the earth rumbling inside me. I feel like my belly crawls, teems across the earth like a teeming mass of bacteria, seeking to collect and build a bacteria-anthill, a fortress of sand, a crystal palace of crystal sand.
Steve Trevor: Bacteria evolving into ants. You have the most exotic metaphors.
Wonder Woman: You find me exotic, my speech exotic? It's all I've ever aspired to be.
______________________________________
barbara minerva: ... bin laden.. was.. crying – is the word “lame-duck”, is that really the word.. he was a man of courage.. like- just like his namesake Obama.. but courage is often an empty promise.. an empty promise of a soul made empty... i knew i had to supercede courage.. .. make myself a misrepresentative of courage.. that i had to make a chess-game of cou'rage.. until the courage made empty a whole society, a civilization made empty of courage.. Osama.. in many ways he was a simple man with simple pleasures.. he bought a farm.. he attended to businesses.. he .. he loved Kartoum.. it was an open life in Kartoum.. he rode horses with Turabi's sons... he was like a man out of that movie :the kite runner”... early on, when al-qaeda was merely a community of scholars and students... I knew- crying – i knew.. it had to be more.. it had to be.. it had to be... .. something else.. than a community.. than a commune of beatniks.. Bin laden was no economic Royalist.. their was something in his Royalist roots which brought out a radical Islamist shame.. and yet.. i was hollywood royalty.. the equivalent of an american royal family.. and he welcomed me to his jihad with open arms.. ferver.. forever.. more.. it would be my jihad, as it had always been.. he was disassociated from his brother Bakr.. Osama was the Bobby to Bakr's J.R. Ewing.. Sudan and Egypt.. partners in infamy.. my kind of guys...
____________
Maxwell Lord: We're going to make you a star, Diana.
Wonder Woman: Yes! In the mountaintop heights of celebrity-dom I'll be able to reach everyone. That's it! I'll be everywhere! I'll be everyone! No one will be able to think of themselves without thinking of Wonder Woman!
Maxwell Lord: You speak my language. You will be a public phenomenon of public introspection.
Wonder Woman: I'll be the Dostoevsky of the new milleneum! Me! Me! Me! All me!
Maxwell Lord: You're definitely speaking my language. Marketing.
Wonder Woman: Me! Me! Me!
Maxwell Lord: You're a wonder, Wonder Woman.
The famous TV show Wonder Woman theme song begins playing.
Maxwell Lord: Is it just going to be the end of the day, or are we going to make something else of it?
Wonder Woman:
_______________________________
Wonder Woman stands on the podium before the press. She pauses and then begins her first speech to the public.
Wonder Woman: “I am a religious woman. I believe in Christ. I believe in the new Jerusalem. I believe in Ishtar. I feel the stirrings of the earth within my belly. I feel the trembling of the earth within my belly. I feel my religion in my belly. (pause) There is a schism, a division, at the centre of my heart, which is the schism of Jerusalem. My heart perpetually betrays itself. It feels blood and coin pulsing through itself as if it is a strangers ground, a Potter's field. My heart is a stranger, a perpetual stranger. And the Jews and the Christians always believed in being compassionate to strangers, for, as is written in the Bible, the Jews were once strangers in Egypt. I am a stranger to your land, an alien. I have felt my own humanity all the more strongly because of it; I have felt the bristling energy of my humanity because of the new environment I find myself in. It is like a religious ecstasy, feeling your cities pulsing in their neon lights around me, feeling the teeming industry of the crowds. I wish to be industrious, but I am an inveterately lazy woman. I come from a realm where leisure is culture. But, here, in this reality, I find myself having to work, in the Thomas Carlyle sense. And it was this haunting spectre of work which always kept me feeling out of sorts in my home of Themiscira, like, to quote Henry James, within 'the darkening shadow of a false position'. I felt myself something of a stranger, as well, in Themiscira. I felt this false position I was in like a millstone around my neck, like a destabilizing delirium, a drunken delirium. It was a millstone which was also a corner-stone, a corner-stone of a building which was a colossal building of work, of the demonic spectre of work, like the spectre of communism described by Marx, who also an ardent worker at building his colossal architectures of economic theories. So, I know I am here to do work, to labour. And it is no sin, as Falstaff has noted, to labour in one's vocation.”
Wonder Woman: I have come here as a missionary into Hell.
Press correspondent: Hell? Well, we’re not that badly off, are we. Well, maybe we are.
Later…
A Christian woman: God made us. God made everything. You’re saying that what God had created- is Hell?
Wonder Woman: I believe in many Gods and Goddesses. But the God you speak of I have read of in your Bible. And I believe that God.. is in the mid-east, that God is divided in loyalty between Israel and the Palestinians, and that this self-division is God’s Hell. God is in Hell with us.
Christian woman: I believe this- this is the devil’s speech. Jesus came to suffer for our sins. But God is.. is beyond suffering. God is not ignorant of salvation, of hope.
Wonder Woman: I believe God.. can teach me about suffering. I might have to differ with you. In the Bible, I believe God suffers with the Jews; it’s what makes God so erratic.
.__________________
Maybe Wonder Woman begins her “career” representing the United States. And reading about the Fallujah massacre is a turning point for her.
Is Wonder Woman confronted by a Zionist about her non-knowledge of the holocaust? Is it a situation where she criticizes Israel before she becomes aware of the Holocaust?
Wonder Woman: “I’m not actually that well-versed in history.”
Reporter : “That doesn’t explain your not knowing there was a Holocaust in which six million Jews were murdered. That’s not history. That’s present-day reality.”
Max Lord: “We have to understand, Wonder Woman has barely had a chance to adapt to our world. She doesn’t come from a background of war. Her civilization has been peaceful since time can tell. When she enters our world, she immediately is confronted with images of deceased children who are the victims of Israeli attacks on Gaza. She can’t not react to them, deeply, emotionally, because such images are alien to her culture. She’s in a state of mental vertigo.”
Reporter: “So, you’re saying she is not aware of the Palestinian attacks in Ma’a lot which brought about the murder of 22 children. Or the attacks on a bus which killed 37 people, 12 of them children. She is not aware of how a Jew feels like their very existence is an illusion, an illusion which can be instantly dispelled by an attack by Iran at the cities most populated by Jews, how a Jew feels like they will vanish from the page of time simply because they survived a Nazi murder-machine which is now being emulated by Palestinian terrorist organizations like Hamas and Hezbullah, a Muslim-machine telling them, reminding them repeatedly, that they had no right to survive.”.
After the news conference:
Wonder Woman: “I – feel – so - stupid...”
Max Lord: “Don’t feel stupid. You’re not thinking about numbers, about the numbers of casualties. You’re thinking of the individual child of Gaza you saw who’d been murdered by the machinery of war. It was that individual child who mattered to you. You loved that child. We all, living in this society, become accustomed to hearing of the numbers of the deceased. Numbers, just numbers. It’s not through numbers that you are processing our society.”
Max Lord: “I want to apologize for talking about in that condescending nature.”
Wonder Woman: “Condescending? When?”
Max Lord: “When I was telling the press that you were just adapting to our society, just things I said sound to me as condescending. There might be something inherently condescending in PR-speak.”
Wonder Woman: “You were defending me. I don’t want you to have to apologize for that. I feel like I should apologize to you for putting in that position, of having to defend my ignorance.”
______________
Wonder Woman is talking to the phantom image of Hippolyta within the dimensional portal inside the golden lasso.
Wonder Woman: “Why didn’t you tell me… about .. about the genocide against the Jews?”
Hippolyta: “I just- (starts crying haltingly) I just couldn’t, I couldn’t, I just couldn’t…”
Hippolyta: “The Jews needed a home, a sanctuary… to escape from.. blood and ashes. I was determined to make sure that they had access to this sanctuary. Ares worked with me. He was my ally. He was like a phantom spirit leading us through the surrounding darkness. There were rumors after the war that Ares’ phantom soul was so ingrained in the labyrinth of the Nazi machine that the Holocaust had driven him mad. That his soul was so delicate, like a child’s, that it could not endure it. To me, he was my holy spirit.”
Wonder Woman: “What is the difference, the distinction, between representing genocide and- and perpetrating it.”
Hippolyta: “For centuries the Jews were homeless. And yet this sensibility of homelessness seems to be your aspiration, Diana. You seem to clash with any faction which would provide you with a home, a place where you can say ‘Here I stand’. You seem to seek the air itself as your home, to fly perpetually between countries, but landing nowhere.”
___________
Wonder Woman (looking at a poster with the acronym WWINO written over an image of herself): Wwwwiii… I’m W- W- W-Wino?.. I’m Wino?… Wonder Woman in name only.. oh.. yes .. I mean no… I mean … what does it mean?.. Yesterday I was Wonder Woman. Now I’m just Wino. (walks away in a slightly halting, drunken fashion) I’ve gotta slow down.
These poems are about the comic book character “Wonder Woman” and are homages to William Blake’s themes. There is also the influence of James Joyce, with the inventing of words to create a flux of sound.
The poems are also inspired from the nude photography of Megan Gale and Monica Bellucci, both of whom have had strong fan support for playing Wonder Woman in a movie.
Wonder Woman, spirit of the earth
Earth 2 Wonder Woman- the spirit of the earth
I am…
I feel….
immortal.. in … spirit-….like….
foam… in soul.. like… like…
my breasts.. rise and ebb with the waves.. like my thighs.. . run the course of snowy deserts.. like my stomach.. feels inside the pulse of snowy mists…
all cold… so cold in mists of reflectiveness..
I feel the cold my natural habitat so often… a coldness soothing my body in reassurance.. promising my nakedness comfort in cold repose..
in the repose of reflecting icy reaches of soft, distant, desirings…
desirings which are misty, mirroring desirings.. desires which don’t .. yes they do..
invade my torso.. reaching for volcanic depths in my pubis…..
desirings run their course through my icy torsal reaches…
like frost-patterns in my pubis which seek and pattern the holy spirit in its fluidity of love for desirings strong in the marine depths of dark-turquoise darkish blue meanings of concentrations of desiring pressures upon all the thousand natural shocks which flesh is heir to.
….If such desires rankle me whole as my black lover’s heart
find such in my mourning causes of heart’s a’sorrows
in wanting morrows of such in ambition for warrior’s fate in mooring
in rigged roaring for phantoms fate in warrior’s gait
in posture old for ventures bold
for of such seekings ribald as golden voices of soul sybald
in siren’s glow of my fate in row in such beauty drawn my soul to groan
in rocky rivers of own soul’s scissors of my rocky reds blood in mossing of gross soul’s saucing
in wench’s heart my heart be bold in ribald’s rance my hearth be gold in heart’s hearth warm in breasts which swarm
with waves ebbing tow for old’s moan of my stomach’s woe.
All this in heart is my love in breastsmart of love for you in pubis dew..
in hearth in earth in heart in dearth in woe for so is love in dole.
my ross in timbre..
I am born of wenches limber
all togedder legs in timber
all tonight in nightingale’s lament
all’s is a soul spent.
All is a soul meant.
None to great for sorrows for hearts light in matter all decayed torch a heart in eclipse is night is darkness at noon
Is none to all soul’s hollow, all guts is empty decayed all to eclipse in suffering, defeat
.. to less in greetings to mayday to less to gress in victims ness….
I am a tortured mess of nothing, no quiescence to pitch dark at noon…
no none knowledge of night gress to roon to bespoke my mangled body in runes,
to look for my open wound in soul to others vision of my night noons nission of ramping to rambles gressicions I rule no hearth of warmth of soul in nission…
The need of my soul is pure in deceit of many soul’s colours of may in twilight,
twilight deceits of souls blush, may nextember in december twilights in summersglow
and glory in my butt in g’rory and nightingale’s torrorry
and neen the rachtin, the gale’s of nush to raplin’s gush
of my breasts in rush to riproarin’ lush of june to july in sush to grive ‘n groatin’ drush
to bush’en’s tame to lion in mane’s glory lush to story ‘ grush my bush.
Background:
I have always seen the fictional character of Wonder Woman as a kind of Blakian paragon. She is an earth goddess, encompassing both Blake’s homages to the spring spirit of innocence and the darker, more apocalyptic regions of Blake’s cosmogony. Wonder Woman feels herself to be all the minutia of the earth. She feels the items of her environment are more real than she herself is. She epitomizes the Blakian theme of becoming what you see. I envision the Golden lasso as her possession by the soul of the person within the lasso, that she becomes that person.
I’ve been dissatisfied with the writing of Wonder Woman in her comic book, so I’ve taken to writing my own Wonder Woman fiction. I found that dialogue I wrote for Wonder Woman took on a poetic cast and emphasized her role as goddess. She would fit into the pantheon of Blakian goddesses quite well. The abstract nature of my writing hearkens back to my readings of Blake which also resembled “Star Wars” in its utterly cosmic, mythic nature. There also is a sense of doom about Blake’s poetry which is a presence in my poem. Wonder Woman feels the reality of her own destruction when she identifies with the tragedies of the world.
Wonder Woman, daughter of Mars... the earth - 1 Wonder woman
I feel my breasts a gush
like I’m a nude lush
all seekin’ no mast’s moorin’ to tempests roaring
throwing me all riff and ress in all the tempests roaring dress
all nakeying me all nude in a roaring bress of tempests breasts
all meetin’ mind in dancin’ ness….
I’m seekin’ in my inward portions of the four elements of nature my inward sharin’ with the four winds of humanity
my eon’s inward being is ages future, ages in anticipative waiting,
my breasts in the loves in the middle of my nexus of favours
for all universes in regimentation of parallel serial alternate colloquial
all classical and vulgar realities all sparin’ my favours I believe in my circumnavigation of my body’s contours
in the games all scintillatingly so I will find my justice favours.
‘till the night time’s askin’ of woe’s we lastin’
of ressis the cat on baskin’ in Wondy’s woe lasting
in nastin’ corners of fass’en grass in sassin’ in nothing’s go fastin’
in time’s respite low despite go gastrin’.
the sadness of my grottin’ soul is rotten with grief,
I feel all souls eve, all souls gush in a gashing wound of my soul
in gashing mournsome sadness of nights horn….
I’ll never realize my own damnation of regality in porcelain luster until it is too late in the dawning of my mind’s memory..
…is me all a morning dew in rising inward fire a pubis searching ardour
in all inwards seeking for eros fire destiny
in naked torchlight my guidance of love to all my destiny in warriors seeking…
I am so sorrowful for my sorgy parts busom all left over
for my norgy all my brasem all in
- no such is not how English goes.
My breasts are in season evermore in nothing so grest but they seek adventures yon gonder. Is not my self in spartin’ sportin’ for my naked body all ready for its own tunin’
for its own body violin’ gracin’ over hills and hales and pole vault vales.
Is not my bush ready for a sparkin’ to meet my torchlight guidance by my breasts in perkin’ lighthouse orientation ‘round the stadium.
all a’floatin all in vision my nudebodied self is all my sense of seekin’
for all is goin’ to earth its pleasure like in waiting’ for wounds in blessures in all souls gape
all lost in her sape in all her nudebodied diana’s illswept body in all
all night me for me feelin’ all in ress my not so gess is sotting mess of me in heart’s mooring in all close dooring on my poor naked self.
Background:
I’ve always dreamed of writing a Wonder Woman screenplay for a Wonder Woman movie. This poem originated as dialogue I was writing for Wonder Woman, whom I imagined played by Megan Gale, which I found was inclining toward a self-invented Amazonian language. Wonder Woman is a child in nature and she invents words freely. This is partly the influence of James Joyce’s Finnegan’s Wake, with its language of whimsically invented words. Wonder Woman’s language is the language of whimsy and I also felt the Amazonian’s poetic language was a language drawn from the earth, that Wonder Woman’s Amazon culture was a tribal culture connected to the soil and the soil sung their souls into being.
Blake’s Songs of Innocence remind me of Wonder Woman’s spirit. Hers is a dancing wit. I’ve long felt an affinity for Wonder Woman, like she was a close personal friend, and she’s been a source of comfort. Blake was also a writer who I considered a close personal friend and I felt the morality of Blake should be the morality of Wonder Woman, something different from the didactic portrayal of her in the comics. “Wonder Woman, daughter of Mars” is written in great part as a stream of consciousness. Her soul belongs to all parts of nature and flits from one element of nature to another. She is a warrior, and to her being a warrior is a state of play.
__________________
Wonder Woman: spirit of the earth screenplay
Diana: I envy you, Priscilla, your irrepressible, infinitely self-plumbing, self-gungjing generosity of spirit. There is the irrepressible feistiness, a coyness, of spirit which comes through in your beautiful modelling of your spirit, which exists in absolute contrast with my own starkness of vulnerability. I am much more of an easily scattered to the four winds kind of essence, you have an ironic lilt to your posing which preserves your integrity. I feel myself always losing the integrity of my nakedness- not even to nature, but to elements which are pre-nature, like J would drift off naked into outer space.”
Priscilla Rich: You're so kind. I suppose I must have in my unconsciousness some irrepressible ironical coyness which is a perpetual abyss of seductiveness in me, an abyss of horniness in me. I certainly hope all the dry, desert rock, burning, scorching hearts burning of my ironical horniness comes through in my breasts, my pubis, my butt, all the portions of my truest, most rotund identity.
Priscilla Rich: My nude breasts are ripe in passion's longing for spice in warrant's favour, it is in the spice nature of my eros passion in my ranklin' sins nature, spice of my sin's nature.
Diana: You're getting the hang of of it- how I talk. You're a natural.
Priscilla Rich: So kind of you to say. I couldn't have had a more fructible role model in sweetin's speech in breast's heavin' in breath's journey's lastin' in breatpulse in heartbeat temper 'in night for pubis drawn for sleep's curtain upon pubis dreams,- I have a one-track mind.
Diana: So do I likewise. I can't keep my words off my body.
Priscilla Rich. I should be a natural for being you.
Diana: An avid ambition and a worthy ambition for my soul to replenish with breasts in ample breaths's fervour.
Priscilla Rich: I think I speak in the air of being you, of being around you breathing your speech in your body's pulsing presence to my breasts all a'flitter and a'glitter to be a listenin' muse to your pulsing, living presence in music.
Barbara Minerva: Your manner of talking is so intoxicating.
Diana: inebriation is my quest so all morrows sunken in my gut immense for sorrow's capacity for sorrows meant to ship to all ships rigged to sunset fiery, dancin' season.. the firedance of sunset is my moor's last goodbye.
Barbara Minerva: You're... you're talking about your leaving your home in in Themyscira island.. Do you... do you feel it will be ever permanent?
Diana: evermore my windswept belly in presence to mine in plenty breast's a' guiding me like torches beyond all known' in island's reach in temper, in sensibility to mind all sun's colours it hoarded to its own tempered knowledge of allsoleself forevermore indesirin' an island of self in perpetual settlin' colours or requiessence each night's fastin' in passin'... not for me.
Barbara Minerva: .. no. You're quite an adventuress. I feel all naked in passion around you.
Diana: my communin' in my naked body's reachin' for yours in partin' all days like ages time, between us except our naked bodies seek pressing against time to communion between us despite time's womb in 'tellin us 'nay 'tellin us beware each others company in bodies.
Barbara Minerva: I begone into a tribal world, all my own nude form being adrift to social customs of a tribal understanding to all the righteousness of my nudity in all a'fresh in a loss of self within a tribal social customs and 'all of my nude body 'alost in tribal custom for all ' my 'awest 'alost in the tribal.. whirligig of reality in solebodysense of soul in body in my body all dressed in nothing of sense to 'make of social 'custom 'all adrift in 'all repeated ritual 'of words in repeated phrases 'n mores 'n nores in my 'raunchiness of adventuressness my 'sassin to 'seekin' to 'sauce my 'wenches heart with my 'own nudity in fervour 'for my body's 'coastin' through tribalism of an old soul seekin'... ....
Barbara Minerva: “.. my soul is nude, it seeks in its own eros a seeking lust to learnin' 'an all its seeks is its own soul in lust... its own love for its own vulnerability in essence is its own seeking for my own nude body in my own soul's sense.. of its own lust for its own seeking within my souls own own self, oceans own selfocean, my souls ocean of reverie in tempests of my own nude soul all 'alost in a tempest of its own ocean.. I seek my soul in nude, in all my tempests nude.
Angelina Jolie Cheetah:... in tempests rude, my body nude..
Veronica Cale was lost and naked in L. A. This was no place and state for a powerful CEO. How'd she get here? Had one of her projects gone out of wack? Was she in a radiation zone? That would do bad new to her bush. She had to figure out her whereabouts quick, figure out where she'd lost control of the project exactly to end up like this in one of the worst sections her body could find itself in. She liked the adventure, though. It was an exotic gangland mileau though with no visible gangs, just turquoise-red light in milding darkness of reddish blurr of vague sensational insuations, Like flowers of light in darkness which signalled her solitude in dark wastes of streets and pavement. Was she in a subsidiary corp, had she been demoted by one of her own project run amock and overbudget and leaving Veronica Cale naked in L. A.
Barbara Minerva: I seek my tribe.. all a'lust to lernning.. i seek my tribe.. all my naked formis 'a seekin' my custom in irony.. I seek my tribe to be in all it for me to be naked dressed in irony.
Barbara Minerva: I live.. to seek.. a perpetual.. discord.. all my living soul.. in inharmonious key with its environment... I wish to be in dialectic incongruity with my context... I wish to live as some colonial waif.. some tribal missus.. who knows no rifin' in jiving' howsomover is perpetual in her lovely, lonely hovel, all naked in solitude
Barbara Minerva: Ooh, my love to lust in seeking for all my adveantores'es in less my body soul in seeking is more in self-guiding in seeking in repeating words for oral tradition.. to repeat all soul's eve within my twilight of conscience, within my eclipse of self soul seeking, my conscience to preserve in jungles, through jungles, to preserve my conscience through the wild, by the wild.
There is a deeply sad scene in “Wonder Woman, spirit of the earth”, when Monica Bellucci's Priscilla Rich, after the nude painting of her is verbally abused by women at an art show, is sitting at a bar, with a beer on the table which she's holding but not looking at, while the song, “How does it feel” is playing.
If you can find the book “Einstein in Berlin”, near the end of the book there are the kind of comments quoted which I'm imagining Priscilla Rich/Monica Bellucia .. suffers.
____________
Diana: I met- I guess he’d be considered a drug dealer, but the designation doesn’t seem just. He tried to sell me some weed. He didn’t look anything like the confidant, generic drug dealers you see in movies and TV. He looked unwell, emaciated. He looked desperate just to survive each day. He looked like he was addicted to drugs as well as selling them. I don’t know what happened to him. I hope he’s okay. (crying) I really do.
__________
Wonder Woman defies the sanctions against Iran by bringing in vast quantities of food and medicines.
__________
So, what is Barbara’s motive? She wants to be an architect of a present instant of history. She wants to be an architect of the quantum physics of history.
Barbara Minerva: My lasso will be the architect of a Leviathon, of a sovereign ruler of the earth. Your lasso merely incorporates residues of souls; my lasso will capture the souls of millions. My lasso will capture history itself
____________
Maxwell Lord: .. fire .. corporate fire.. arson.. i am a hill.. a corporate elite hill.. i am a hill who walked and thus became a mountain.. i walked the city... the city is a hill.. a massive hill.. i am city.. i .. am.. city..
Steve Trevor: .. the city is .. i'm not entirely a friend of cities.. i'm your friend but i'm not a friend of cities.. maybe that means something..
Maxwell Lord: .. it means.. that we'll get along splendidly.. i understand friends... i understand cities.. co-link proces.. Rob and Mary Ann...
Steve Trevor: .. do they work here..
Maxwell Lord: .. no they don't work- .. listen.. no sorry.. lost my composure for a second at the prospect of .. them.. -starts laughing - .. working.. here..
Steve Trevor: - starts laughing- yeah, that is pretty funny.. who are they?...
Maxwell Lord: .. they are .. the process..
Steve Trevor: .. wow.. sounds deep..
Maxwell Lord: .. very deep.. - starts almost crying – I'm thinking.. of the text ... of the process... - quickly – I think Wonder Woman – Diana- Wonder woman – is ... is .. is .. in great danger..
Steve Trevor: .. i.. wait.. i don't...
Maxwell Lord: .. where is she..
Steve Trevor: .. she's at home..
Maxwell Lord: - shouting, unwittingly – WITH BARBARA MINERVA?!?....
Steve Trevor: .. with me.. with me.. she's at my home...
Maxwell Lord: .. that's a relief.. that's a relief... sorry for .. shouting... sorry for .. everything.. everything....
Steve Trevor: .. it's okay.. i mean.. your saying.. something's not.. okay...
Maxwell Lord: .. i don't know anything about Barbara Minerva.. literally anything.. i just had.. just had.. something like a.. brain-spasm.. something i can't .. can't... WHERE IS SHE?..
Steve Trevor: .. Diana?... I'll go home home right now..
Diana: I'm here. I'm here. Max.. are you okay?
Maxwell Lord: Thank God. Thank God.
.. nude wonder woman: the seal of my soul is whining a nasal wine of soul.. a wine to drink into the nasalities of the soul.. i drink wine without knowing the season of its splashing upon my nude breasts..
maxwell lord: i drink wine a bit.. differently..
nude wonder woman: ahhh.. we both drink wine though..
maxwell lord: yess.. indeedy.. i just.. i'm not a connoisseur of it like you..
nude wonder woman: that's because each nude body i am a wine.. that's because i am the nude wine i drink.. because my nude body is nude wine.. a season..
maxwell lord: ghosts in the season of wine..
nude woman wonder: someday i will be a ghostbuster.. a 3-d ghostbuster.. for there is a ghost in wine..
_________
Daniel Day-Lewis is a puzzle
Daniel Day-Lewis's Ares is a puzzle
a face shaded away into
the background
haiku
a man of double-motive
double-meaning
double-motive double-meaning
- a double-play of motives
the politic and the personal
introspectiveness?
.. wait a minute
.. wait a minute
the thought
the thought
.. was
the thought
Ares
is
a meme
a memory
merely a memory?
.. shot into the future
.. catapulted into the future?
.. to take his memory as
one takes the air
into his grave
right, the thought
Brutus's motive is a bell curve.
Brutus statistics his motive.
His motive is statistical.
I have had that thought when I
know where not.
“He might could be crowned”
Ares: It wasn’t the Zionists who enticed Saddam Hussein to invade Kuwait and thus bring Iraq to ruin. It was me. Me. But, the attack by America, the deaths of at least 150,000 Iraqi’s from the first Persian Gulf was, and then the economic sanctions against Iraq, I didn’t- I didn’t anticipate any of it. There is a power, behind America, that.. isn’t me. You understand, I.. became.. Saddam Hussein.. when he was executing party-leaders. He was like… an emanation of me.. and his mad, suicidal actions were my own. Saddam and me, we made the suicidal decision to invade Iran together. I kept on enticing him into traps, like the devil I am. I was the cause of his execution… and he was.. my friend, he was my.. Horatio. And now, my dear, dear Diana, you are in prison, and is it- because of me? I don’t even know anymore. I caused the two wars and economic sanctions against Iraq. I am everything you are fighting on this earth.
Diana: I don’t think you are.
Ares: I am your ghost, your guardian angel, your.. Mephistopheles. I want to protect you, but I have a wicked tongue. I was with Hegel when he wrote about the omnipotence of the State. I was with Nietzsche when he wrote his self-hatred down on paper as aphorisms. I was with Gaddafi when he formulated the Jamahiriya, his unique stylings and channelings of democracy.
Diana: Did you know Francis Boyle? I’m reading his book on Libya. I know he worked as a lawyer for Gaddafi at one time.
Ares: Francis Boyle is.. a brave man.
Diana: He reminds me of Max. Max Lord. His internationalism and diplomacy. And something else, something elusive.. enigmatic. But then, I can’t imagine how elusive and enigmatic I must seem to him.
Ares: "Marx notes the absolute detachment of product from worker- the product is no longer a function of one’s will; one wills nothing into being, one shapes nothing. The product is entirely external to its maker. Wasn’t it either Marx or Sartre who said “ the more the worker exerts himself, the more powerful becomes the world of thing which he creates and which confront him as alien objects”. The worker creates his own wilderness. The exertion of his inner being creates an array of external things, independent of his will. The worker exerts the world into being… the world which becomes all the more foreign as it claims him by his exertions. The exertions of the conscience create a foreign wilderness of oneself. The exerting of the conscience is a a making of one’s own raw material of self, of emotion, of feeling or self-comprehension, a making of all the material of the self into external structures and external entities. The conscience-exerting is a making oneself an into an external object making of one’s inward, private, organic motions external products and objects of utility. The conscience makes of one's inward organic motions an objective machine. With the exertions of one’s conscience one make oneself less one’s own province. Regimented factory time, cutting people into pieces, is the dismemberment of Osiris.
"The enhancing mechanization and beuracratization accelaratively distancing humanity from its actions; the less one owns one’s tools and weapons, the more they are external, independent objects, the les a consciousness of responsibility coordinated toward one’s own consciousness there is, of oneself as an active, effecting agent.
"The transmogrification-is that a word? The translation of tool from organic creation to independent, externally willed object is… well, one produces the tool by one’s subjective exertion, which in inverse proportion becomes more objective and remoter from the comprehension of one’s own will; the tool becomes the more individual the more removes one becomes from it. I’m trying to remember embers of Willaim Barret’s thought from my forgotten storehouse of learning. Did he write about Protestantism? That Protestantism was a phenomenon of the deprivation of the human being of all visual external symbols and the creation of a darkness-saturated inward reality.. the pitch-black caverns of your inner existence, of the the cavernous conscience blindly flailing for footing, the darkened introspection: a self-sufficiency of introspection. All that is visual and visually demonstrable is the devil’s province- the devil manifests himself as the world.. as all its visual trappings and insignia. One retreats into blindness to the world to elude the devil.”
Diana: “That’s Protestantism?”
Ares: “One definition of it.”
Ares would descant one Loki, a Christ symbol.
Erik/Ares: “Each of Loki’s children was a name of himself, that is, a means of naming himself, or an attempt to. Loki’s playfulness, does it facilitate the diversity of German racial origins? Is each German race another child of Loki’s, another name to invite many contexts? As each child of Loki’s becomes more distant from himself, is the distance from his will a means of keeping his perception at its greatest acuity of consciousness? Loki’s acute perception is his courage, and his courage renders all things delusory, such is his moral trickery. ”
Erik/Ares’s discussions on Loki would tend to take on a fairy-tale abstractness. Loki had a grandmaster’s role to play on the world history stage and Eric/Ares/Erik was committed to not undervaluing him. However, Loki was a puzzle, a mystery which Erik/Ares broached with hesitancy.
Ares: “The voice of America is the secret name of Ra detached and disembodied from himself, and in thus condition used to bring him back to health, back within his own power.”
The secret name of Ra. Egypt and America were countries you wouldn’t seem to associate with each other. The one common link between them was their conciliatory attitude toward Israel
Ares: “The followers of gods engage in all manner of psychological distortions for the sake of logic. Logic distorting the mind, coercing it toward its own inner proclivities, logic the tempter. That one’s own free will should coincide, align itself, with one’s own natural sensible interests… is sensible self-interest the freest form of logic? When the sensation of one’s free will is thus in conjunction with one’s own sensible interests.. is there a sense of the invalidation of the principles of free will therein? Free will made something mundane, compartmentalized, that is, made miniscule, made petty, that is, to the miniscule interests of human, worldly concerns, interests formulated to human trappings, bereft of the spiritual, limited to the human, the secular, the aligning one’s will with the world, all the caprices and depravities of one’s will with the world, the beuracratized will.
“Nietszche characterizes Luther as having become a miner into his own soul. The whole course of Protestantism comes as a phenomenon of the mining into untrammeled depths of oneself, seeking for the darkness,seeking fro the areas within oneself one is most blind to. The undisclosed darkness calls the protestant, in contrast to the ancient Jewish community’s admonishments to define faith by the sagacious concealment of the mysteries of truth. The ruthless honesty toward oneself; one becomes one’sw own indifferent raw material, ripe for mining. The darkening introspection, introspection seeking for darkening crevices, for narrowing crevices, while the world is unfolding upward like a fountain of devil’s magic, the deeper and darker is one’s burrowing.
The wolf had clamped down on Prometheus. The love affair between Prometheus and Athena was a prominent theme among Erik’s discourses.
Ares: “Athena would feel Prometheus’s own conviction of his deception of her.” What deception this was Ares or Eric didn’t mention. “She felt her eyes disembodied by him, made to witness dream visions, visions molded to his purpose. What she was seeing was detached from her will. Her vision was detached from her self-will, as if her eyes couldn’t close. It was as if Prometheus had given her eyes a perpetual insomniac condition, an inability to close, to remove themselves from his vision. He had claimed her gaze. Her eyes were perpetually disembodied from herself. Prometheus was the subtle, virtually invisible corner-stone within Athena’s consciousness, her subtle, invisible sensation of transgression, as a mild, nebulous itch within her..
Ares: “Ah, Clytemnestra, much misunderstood. Clytemnestra always found her king. Her aggression of rigourous duty propped u p a new king easily. For she had made he old on. Invisibly, deftly, with proper, wifely modesty. Her modest, invisible manipulations had arranged the old king, Agamemnon, in his royal imperious posture. She, as the perfect wife, was adept at arranging postures. When the old kind had decayed from vision, her considerable powers were anxious and impatient in their manipulative fury of kingly conquest, hungry for material to arrange, prepare, prop up in meticulous choreography of dissembling orchestrations. Clytemnestra, with vicious fury, repropped and reasserted herself into the fixed posture of the dutiful wife, now with a new king. She made her posture, her self-propping, her anchor, the propulsion of her being. Clytemnestra was one of the many priestesses and lovers of Apollo. Another was Cassandra, Agamemnon’s concubine, brought from Troy. Was it the old king’s mistress she who had enhanced his progress of disintegration, induced, by her own internal proclivities of self-destructive prophecies, induced a self-destructive course within himself, which all of her prophecies of decay. He had become her prophecy, a prophecy to whom she had proclaimed marriage. He’d become her substance of prophecy.”
Diana/Kyle: "It’s those oblivious to deception that prop up courage”, said Kyle, “courage is driven by the oblivion of others, by those who had not digested deception within themselves, such are the lost souls of Odin. Courage compelled itself to br a guide. Nietzsche has saed “the German passion acts contrarily to its own advantage, and is as self-destructive as the passions of the drunkard. Although this is an observation one could make equally of characters in Dostoevsky’s novels. The German’s “sincere instinct for obedience”, which “they wish to see idealized in their morals”. So they see the moral fibre and the will of self-abnegance in obedience? German modesty? The inclination toward self-abnegance and modesty implied in the impulse to obedience? Is the German opposed to an idealization or glorification of the ego, of making the ego a pivotal principle of a system of morals. Contrarily, Nietzsche sets out the Greeks as being competitive moralists, that they engage in personal distinction in the area of moral study. Is your Clytemnestra some such moralist? Is her commitment to her own ego-fulfillment by being the perfect royal wife a form of competition in morals? What else did Nietzsche say, “whenever the German reaches the state when he is capable of great things, he invariable raises himself above morals. Maybe your Clytemnestra was a pagan German. “Personal distinction: such was the virtue of antiquity. Nietzsche also mentions “the power of specifically growing out of oneself”, is this what your Athena is seeking, Erik/Ares?”
_________________
Erik/Ares sat back in his chair and entered a dusk of reminiscence.
“It is a principle of Loki’s and a reality of Nietzsche’s”, said Ares/Erik, “The courage of Nietzsche was that of self-contradiction. Does Loki stand in perpetual self-contradiction, a self-contradictory will, a will seizing itself, seizing to put a strangling grip on itself. Loki’s self-restraint of self-constraint is his attack on his own will. His self-restraint is an intensifying anarchy of vibratory telluric electromagnetism of will. Loki is perpetually pulling at himself, pulling at his will. Courage is a structure defined by its inability to align itself with any social edifices, with any of the social architecture our world has to offer.
“Your Odin drowns in laughter. Loki thinks to systemize laughter, to freeze it into intricate, crystallized corpuscles, to achive for it its crystallized structure, to have it frozen into a constellation of its internal coherence. All things frozen become clear images of themselves.”
“Hi there”, said Jennifer Eve, bursting into the room as if surrounded by bubbles announcing her presence.
“I think there was a female Loki, and I’m her reincarnation”, said Jennifer Eve, “ As the female Loki progressed into her expanding fture plansm she found herself deseperately seeking beneth her will, beneath her grasp of coherent memory, for her playful self-incarnations, her playful cocoon of the frosty North, for the time and atmosphere within which causes or effects were not to be discerned of her actions, where her many tricks were no cause within the course of events. The playfulness which preceded a causative consciousness, the playfulness of oneself was a thing to seek for within the deep reaches of one’s past. Only the distant past could be playful, only the past was malleable to irreverent folly. Only the past had a freedom of mobility from which the future could propel and manipulate itself. To the future, if the future was a person, the past was an abyss formed as a foundation, an abyss that was a force of passion, that was a resonance of passion. Her passions were drawn from the abyss, were drawn from endless, longreaching playfulness, an abyss of playfulness. That’s me! I’m her!”
Jennifer Eve was losing herself in reveries, “… the flight of the earth.. the earth flies off from one’s passions, from any coordinate to which one can place oneself in comprehensible relation to it. The agonizating inquriey of one’s own personal relation to Nature, wherein one’s own presence beat to the rhythm of the beating of the core of the earth. How one’s own self-sensations self-inanations weaves itself of the fabric of the Earth.. “
“Loki realizes that he is a relatively young god”, said Erik, “a relatively inexperienced one, that in other gods of ancient Persia, Sumeria, Greece, Egypt, India.. in Inanna, Ishtar, Indra, Brahma, Baal, RA, Isis, Osiris.. centuries and millenea of ancient history stare back at him, if you don’t mind my making a reference to the male Loki, Jennifer. I know the female Loki is a favorite patron goddess of yours. He stares as if from a a high, cold mountaintop far down at the ancient histories, legends and events, all encrusted into the wavering discombobulated, undecisive stasis of ancient history. The ancient gods had settled into their own ancient presence, into an irrevocable, ineffective , inactive existence on earth, relegated to ancientness, the nearly forgotten gods, the virtually irrelevant gods, gods become quaint, antique figures, to be propped up on display and viewed for their curious posture as the transiently curious remnants of irrelevant ages. As Loki watches Innanna’s strange dance with herself, her dance with damnation, her dance with the hypothetical image of herself, he is reminded of the manipulation of hypothesis involved in the self-determination of one’s weaving of one’s own identity, how one inevitably came to anchor oneself by hypothesis. All those antiquisized gods, Loki wonders. There is yet a thing to seek within them, an elusive dimension within the condition of antiquity which, as the prize for those with sufficiently discerning, longreaching eyes, had in themselves a weapon to serve against the present age, had what was so foreign to the present age that it should be nary prepared for it. Antiquity was a screen covering another world.
“The fiery embryos of Hindu myth, they resided in space for the culmination of their long progression of asceticism. They had grown into embryonic form, had rendered themselves frail and malleable by strange forces, susceptible to all emotional shadings. They held the shape of the world within their concentrated embryonic forms. Sleep immersed, as the material of dreams, the fiery embryos were reminiscing upon pre-ancient eras. Visnu entered into them through their dreams. Their force and their shapes of themselves were incorporated by their dreams and thus he claimed their souls. He claimed their souls through their dreams. Their dreams contained the life of themselves. Immersed in sleep, the Goddess Sleep, the great dissolver, the transporter of dream consciousnesses. She who transported between souls. Sleep was promised that she would become the Queen of the world, the ruling goddess. She would contemplate her ambitions, would contemplate how she would rises and devour the world as she hovered over Ragnorack , perparing to devoured the world in her embrace. All souls would be drowned in the ocean of her consciousness. All concentrated identities would dissipate within her, within her naked, thick, tarry substance.”
“So, this Visnu and the Goddess Sleep seem like a malovelent pair.”
Jennifer Eve was crying. “What happens to the souls of the fiery embryos?”
“They escape death, in the final analysis”, said Erik/Ares. “Perhaps its Ishtar who becomes a fiery embryo herself and saves them.”
“Drawing from Mesopotamian myth to find a savior in Hindu myth”, said KyleDiana.
Ares: “The myth of the fiery embryos, of which I am one.."
Diana: "And so am I, I am the fiery embryo of Greece"
Ares: "I know... I know... the hindu myth of the fiery embryos overlaps with the myth of Ishtar’s descension. Ishtar herself had read of Inanna being transformed into a corpse, that the underworld had claimed her entirely. Ishtar had read the grisly account of how her dead body had been hung on a stake, how the eye of death had made her its own.
“Inanna’s pride sent another into the underworld in her place. Inanna’s pride had cost Dumuzi his soul. She had by her own will, slipped him into the underworld. Her own will had been his downward steps. She had met her will with that of the underworld; it now stood in comprehension of hre will. Her pride had tunneled into the underworld..
“Ishtar hated that Dumuzi had had to take Inanna’s place in the underworld. Ishtar wanted to release all of the denizens of the underworld. Ishtar imagined death overpowering life. Death thriving on life. All those dead souls would come from their buried realm and condition to devour the souls of the living. All the worn, grey souls.. Greyness would devour all.
“Ishtar plunges into the underworld, and things don’t go as planned. By Ishtar’s own solitary plunge into the underworld, all beings above had lost the strength or will within themselves to climb, to grasp upon metaphorical craggy rocks to pull themselves upward. All upward struggling was all the will which was lost of herself, all that her secluded existence in the underworld shut herself off from. All beings had lost the desire to climb. Desire had ceased by her seclusion within the catacombs of the underworld. She had shut the door on desire.
“Ishtar is the goddess of the erotic, the goddess of sex. Sex seeks death I believe the Indian Goddess Death became the Greek Goddess Aphrodite. Sex eeks it own climax, seeks its own annihilation. Sex seeks the void of itself, is one’s desire to merge oneself with the void” Erik’s voice seemed to change, become deeper, more resonant. “That is my, Ishtar’s, descent into oblivion, the self-annihilating climax of sex. Oh, Ishtar, are you here? Glad you could join us.” He went on. “Sex seeks the equalizing, annihilating combustive collision of beings, in which all traits cancelled each other out, in which one becomes interwoven an unwoven by the other. You don’t mind if I include my own definitions, Ishtar, do you? One becomes the other being, one exchanges place. The other consciousness pulls oneself into its form and digests oneself through it. Oh, sorry, Ishtar, a bit too explicit for your delicate sensibilities. One becomes the refined, fulfilled consciousness of the other. Sex is the one becoming the refinement, the refined shape, of another’s consciousness. One becomes another’s force or will of refinement.”
“I, Ishtar, by my intrinsic nature, seeks my own annihilation. My own annihilation as the fulfillment of another. I would be the will to refine by my annihilation. I am all the motives of Sex. My downward trodding path would be my upward will. The upward will of all the denizens of the underworld I would free would be their following of the will of my downward path..
“Sex seeks the discordant unsynchrony of all phenomena, seeks to crumble all foundation, seeks to have the will of earthquakes. Sex seeks to topple all that could keep itself standing, to topple all articulated foundations for society, all the settled psycopathy of sane relations and systems of convenience, all the systematic psychopathic sediment of society. Sex will change the world… by destroying it. Sex is the unbounded reach of all calls, it is the human voice using its deepest, most primal and unique properties, to make itself a reach. I reach across centuries above myself. Sex gives designations, gives identity, is the right of identity
_______________________
Steve Trevor: With neuroleptic drugs, it’s like, what they put in one hand they take out of the other. The effect they have on your psychology- I don’t like to use the word “neurochemistry”- it’s just.. dualistic, the same drug can both psychologically heal and harm. And the effect is usually invisible to memory.
Wonder Woman: I’m going to tell you something about myself. This golden lasso, I think my mental connection to it is schizophrenia. The lasso is a congregation of voices, of souls.
Steve Trevor: Your lasso has the shape of the infinity symbol in calculus. You are blessed with a connection to an infinite universe.
___________________
Justice League or Wonder Woman screenplay
Maxwell Lord: Can you drink coke after drinking milk. Well, I'll risk it. Oh, it's Pepsi, same question. I'll risk it.
What is the textual basis of making someone into a sexual predator... or rather, what/how is the textual basis of turning victim of sexual predation or and sexual assault into a sexual predator
I said “turned” the second time, didn't I. Like a rotation principle, You rotate someone from sexual predation victim into sexual predator. Important thought I didn't yet forget. We used to call it sex predator, now we've refined it into sexual predator.
Is it simply visual,
no -
is it a visual act
to frame sexual predation
to simply capture every bite of personality that time forget to a time that nobody asked because it never was a time to forget the- train of thought- that it never happenned – certain bites of personality like computer bites of pixels
graphic pixels
computer-effective-graphics
fashion graphic
like modern abstract art (like on the first season of celebrity Apprentice) like modern abstract art cards and pixels
conjoining sliding combining together
like chinese characters
Sexual predation is a card pattern? A perpendicular and vertical card conjoinment into vertigo? (The Alfred Hitchcock movie “Vertigo”?) As Hitchcock represented it. As moral cards, as a moral staircase of the soul, burrowing inside the gut of inward gothic cathedrals, into the guts and arches, no bulwarks to seem of. Seeming supports, invisible to perspective vision. Of the individual on the staircase, because they are outside the margins to perpetuity, to the upward climber perpetually outside the margins into vertigo. .. the seeming.
___________________
Max Lord: Bruce, I'm swamped. Complications, complications, nothing but fucking complications! FUCK! I'll- I'll calm down. I'm all over the map, Bruce. It's a disaster. Why am I talking like a Hollywood producer? I don't know if it's the- never mind. But- I've gt too many juggling balls in the air and I've got to go back to California soon to catch them in time so that- it- what?- can go on?- a disaster? I'm not making sense.
Bruce Wayne: Sit down, Max, no why am I ordering around my guests, I just thought the armchair might provide some Arthur Conan Doyle meditation.
Max Lord: Yeah, you're right. Got a pipe? So I don't destroy the aesthetic of the armchair with my panic-stricken demeanour.
Bruce Wayne: Your version of panic is most people's calmness- Wait, oh, yeah, I have a pipe somewhere in the next foye- oh, no, it's in my hand. I'm not using it.
Max Lord: My version of panic- not for this project. Much appreciated. Got some- old time what-it-called- tobacco?
Bruce Wayne: Close enough to it. I keep it here on the hat table to throw at my guests, present company excluded.
Max Lord: Much appreciated- (Max smokes the pipe and waits for smokesteam to rise) What am I, Bruce- an overqualified overachiever? There is a schedule I'm not keeping. I mean, this is no “Casablanca”, I mean, I want it to be “Casablanca” but let's be realistic.
Bruce Wayne: I don't know- the Spider-man movies were pretty high-concept. That's what you're talking about, isn't it.
Max Lord: Guilty as charged. And apparently I'm guilty of every disastrous- said that already- chaotic facet of this- chaotic- production. I'll try to talk more intelligently around you, Bruce. I respect you. It's why I'm here. You have a talent I don't have, Bruce, hard as it is to believe.
Bruce Wayne: Idling away time.
Max Lord: Close. Understanding time. Principles of tempo. Like this pipe. Pipes tell time by smoke. Classy. You're a distinguished member of the idle rich I can never hope to be in my wildest dreams. All these clocks you have around here in this room from different eras, different centuries. Classy. Like- I'm fascinated- how do you do it, each clock-face, clock arms, keys, what are they called-
...
Bruce Wayne: Danged if I know.
Max Lord: They're all set to an inscrutable elegant synchrony to the rest of the room decor. \or just to the rests of the clocks, Doesn't matter. You time time. Like, it's all relative. The way you've organized these clocks. No clock here makes sense without all the others, not excluding one. All of each of the time of each clock is set to the time of the next. How many hours, days, years, did you spend setting it all up.
Bruce Wayne: I had Alfred do it.
Max Lord: Doesn't matter. You've lived in this room long enough to understand time, the delicate relativity of time to- well, time. I'm from California. It's different there.
Bruce Wayne: Different?
Max Lord: Way different. I wish I could use more sophisticated adjectives for how different it is, but it's really, really different. There are shysters in Hollywood. Lot's of shysters. Maybe I'm one of them and don't know it. That's already a problematic factor and question of this production. No one knows what they are, where they are on the set, what they're saying, who they know, when they're meeting with them, at what time- in sum- what they're doing.
Bruce Wayne: I hope you're not including yourself in the equation.
Max Lord: Well, that's why I came to see you. And I'll finally explain why. Bruce. You've been around. You know the city. You know which section, which sidewalk, which district, which zoning violation, comes after which, one after the other after the other. You understand-
Bruce Wayne: Sequence?
Max Lord: Ah, see, that's why your a genius and I'm still getting there. You know that if you walk far enough in Gotham, there's a beginning, middle and end to it. And not necessarily in that sequence, because maybe Alfred drove you in the limousine to the other end of Gotham, which is it- west end or east end.
Bruce Wayne: That's a good question. No, Harvey Dent warned me about the West End. I would never go there. He's protecting it.
Max Lord: You still call him Harvey?
Bruce Wayne: For now.
Max Lord: Okay, as a hypothetical example, let's say you're at the west end of Gotham and Alfred drove you there in a limousine.
Bruce Wayne: And I got out of the car?
Max Lord: Well- no. Bad example.
Bruce Wayne: No, I get what you're saying. It doesn't have to be the west end. It could be the museum. I go there often.
Max Lord: Great example. So, if you walked back.
Bruce Wayne: I sometimes walk there.
Max Lord: So- you start here- at Wayne Mansion, the beginning, go to the museum, the middle, come back to the mansion, the end. You understand sequence. I never will at this rate, I always knew this had to be a quick, quality production, Wonder Woman can't wait, she's a true Diva, but maybe I didn't tell myself it enough times, or I never listened.
Bruce Wayne: So where do I come in?
Max Lord: Aaahhhh. Wait, I need to refuel my pipe. Never mind, I can do it myself. Listen, Bruce, I'll level with you. I don't think I can do the Wonder Woman movie alone. If I bring you some of my footage, if I have any in the can, will you look at it? And see if it- makes sense, conceivably, whether there's a whatdoyoucallit, a common thread that may have strayed in somewhere, probably by accident.
Bruce Wayne: No problem, Max.
Max Lord: Awesome, that's all I had to hear. It won't take long. If you can pick out the key points. We're ready to rumble. Good stuff.
Bruce Wayne: It was nice to see you, Max.
Max Lord: Likewise.
_________________________
A dream witche's castle.. an island in black-green hue ... in the gleaming pitch of night.. glints of silver stars besmatter the black abyss of night.. around an island.. a green-blackish island... of tropical trees...
.. Barbara Minerva, turning into voice-over of the images of the witch's night: .. a witch... there is a witch's island.. an island in a nietzschian abyss.. an island in the island depths of dream.. castaway.. we are castaways.. you and I Diana.. the island is midnight island.. a bottle in the sea.. dian.. din.. dublins all adin....Dublin island.. dia... dianetics... Macbeth...
.. nude barbara minerva: .. firelips.. i am orgasm.. i am.. mext.. i am ... e next...
nude circe: ... yesssss... youuuuurre nexxxtt..
nude wonder woman: .. we can't fight this.. this alone..
nude barbara minerva: .. i feel the lips of a jellyfish against my vagina..
nude circe: .. that yellyfish is meee.. i am poisssonnn... i .. am.. a.. nude.. m..
nude wonder woman: .. a nude me is the circle of my crimson butt.. a nude m is the circle of my nude breasts...
nuce nude circe crice: ... that contour isss miinnnnnee... i have mini-breasts.. i am a mini-me.. i am minnie mouse.. mickey mouse's fiance..
barbar minder nude barbara minerva: .. you've read the book.. my nudecirce yellyfish h jellyfisu jylyfish jellyfish vagina has read the book..
nude wonder woman: .. i don't know italien..
nude barbara minerva”: my nude barbara minerva.. my nude body is horrornude.. vagina nuide.. vagina nude.. my nude body is talent.. my nude body is t.. my nude body is italien nude..
nude circe: .. i have italien breasts..
nude wonder woman: .. i have greek breasts..
curce nude circe: and a greek butt too...
nude wonder woman: .. salivating .. i crave your vulgarity.. my greek butt craves it... so does my italian vagina.. my vagina is rome.. my rome vagina is encircled encirced by my golden lasso.. my golden vagina..
nude circe: .. i seek the gold of your vagina.. a golden rainbow.. your vagina is my alchemy.. lepprecchhaughnnn... your vagina is my philosopher's stone.. my philosters stone.. yours and my mine vagina is the glded goleden golden holy grail together..
nube nude barbarara minerva: .. would you prefer to be alone..
nude circe: ... no ooo.. prefferrrr.. i prrefferrrr an aauudiieeenccceee...
nude wonder woman: .. yessssss...
Hermes: Let legend go lore of it... there is a scene so unsavory i am never to salt to see.. to sea.. to see ofscrolls.. webscrolls... weavering of arachne... the weavery of arachne is the ignoble diana's reality.. dianetics.. liete-diana.. lite-diana.. the sees of scrolls.. diana-lite Diana-lite.. kool-aid.. here's i come to save the day...
nude circe: .. liifffeee.. iii.. crraave.. liiife...
nude wonder woman: .. how in naked hera's name in GOD'S name are wer going to get out of this, barbara..
nude barebara nude barbara minerva: .. seleeeeeep.. myyy soullll iss in sleeeepp.. p.. p..
nude wonder woman: .. you have to .. you VAVE to.. you HVAVE to.. you HAVE to.. fight the sleep, barbara..
nude barvbara minderva: .. weeping waling wailing weeping.. i caaaan't.. I CAAAAN't///
nude circe: .. yesssss...
ne nude circe subnesciousness nude circe: .. my globes are planets
nude wonder woman: .. -.. crying .. tears gushing gashing forth.. - those plants those plenitude.. those planets are mine.. mine... mine... weeping..
nude circe: .. women will weep...
nude wonder woman: .. they will.. they will... don't lagoon .. don't .. don't lag.. don't laugh, circe..
nude circe: .. i''m nude .. i',m nude.. i'm nude m.. dont laugh circe.. i'm trying...i ' m trying.. not to.. be nude circe.. hahahaaha
nude diana: .. ihave.. never.. pubs pubic pubis dreams.. dreams a sillhuoute .. a nude circe nude diana silluhoutte.. dianetics... dream dianetics..
nude circe barbara-- f a ces phasing together:. ..a sillhuoute of night.. a shadow of the first.. wonder..
nude barbara: .. i am the first.. she is the second..
nude minerva: .. nude mind.. i am nude and second to none..noen..
nude barbara: .. i am the fruit..
nude minerva.. my nude mind.. midgard.. my vagina is the treee.. a bagtree.. my breasts are fruit in surplus.. bananas.. bananabreasts..
nude circe: .. my work is finished..
nude circe: ... singing.. i would die for you.. i would kill for you.. i would let you down solowwlllly.. i am a lowww sham...
nude diana
mud nude wonder woman: ... i thought i was the shem..
nude circe: .. nude circle i am.. the lite of my sham butt.. of my tingling artifice butt but$// bit but#t... silver meadow of stars my nude butt.. my butt is down.. my butt is dawn.. the dawn of day.. twilight.. night..
nude diana: .. i have never felt a silver slit between my nightime curtain..
nude diana: .. i am nube.. nub..m .. nub.. i am nipple.. i am steelnipple... titanium breast..
nude circe: .. you beat me.. you win..
nude diana: .. really>?
Nude circe: .. NO, NOT REALLY!...
Hermes: .. ltetters.. we've got letters.. lots and lots of letters..
nude wonder woman: .. pinko.. i'm a pinko.. my pink butt is the letter of the press..
Hermes: .. a one track mind..
nude wonder woman: .. a i split spilt coffee on my breast..
nude diana: ..i .. am ... naked
...
..
.. in relief.. they's is a horse.. Tolouse- latrouc.. Jogn John Leguisiamo Leguiziamo .. i true hero.. a true hero.. soldier..
Toulouse-Latrouc: .. the mare was a midnight cast of man..
nude Diana: .. a mare of vagina.. a mane of vagina.. no.. soe .. something.. sowing draw .. sowing dragons teeth.. letters..
Toulouse-Latrouc: .. lite.. horses, are lite.. in bounce..
nude diana: .. like my breasts.. my bouncing nude breasts.. my nude breasts...
___________________
Wonder Woman: “I mean I fell in love with the naked Artemis in that Renoir painting, I mean her stomach! It was so libidinous and voluptuous and now- I look just like her! I mean, how I feel now, I look so horny.”
Wonder Woman: “I’m one of the loneliest people, and I just want all the fat, lonely people in the world to know that I’m one of them.”
Wonder Woman: “Well, I don’t look exactly like the way I’m drawn in the comics. I have the body of one of the women in Ruben’s paintings.”
The Rubens women- their bodies look like oceans. And that was what Wonder Woman’s body looked like. It looked like an ocean.
____________________
Max Lord: “See, Diana, I know that Ahmadinejad in his interview with Pierce Morgan may have- I mean, I know it could have sounded like the old “Some of my best friends are Jews” sentiment, but I don’t think that’s how it came off to Americans who watched it. I think he came off as someone who genuinely believed his country was welcoming to Jews.”
_______________
The Wonder Woman costume is made from a rainbow. The rainbow is a symbol of God’s redemption, of God’s salvation.
____________________
Steve Trevor: “Ah, Chomsky. You’re reading Noam Chomsky.
Diana: “I’m reading it in kind of a scattery manner. Like fragments of the writing. I’m just astonished by my ignorance.”
Steve Trevor: “I’ve felt the same feelings. I felt those feelings, I’m mean I’ve encountered some of the information written about by Chomsky at inconvenient times- I shouldn’t say inconvenient. I mean, at times when my conscience, when it- was out of joint with time, to paraphrase Hamlet.
Diana: “Hamlet! I know Hamlet! I’ve finished almost all of Shakespeare. I started with the histories, with the War of the Roses, King Henry the 6th, and those plays provided.. the.. optics through which I read the rest of his plays, for Hamlet especially. The Henry the 6th plays are all about the follies of war and violence and that helped me understand the deep, underlying subtext of Hamlet. I’m sorry, you were talking about encountering Chomsky..”
Steve Trevor: “I think Shakespeare’s plays about the War of the Roses actually is interestingly similar to reading Noam Chomsky. King Henry the 6th, I remember he was kind of a pacifist, wasn’t he, but some may have seen him as a “lame duck”, which is an interesting duality to the man. Pacifism and lame duck-ism.”
Diana: “His pacifism has a religious fervour. Christianity. I have to confess my first exposure to Christianity was listening to a CD of “Jesus Christ Superstar” but it was”- Diana seem on the brink of tears- “so sad and.. haunting.. and.. nihilistic.. I mean, like Jesus feels he died for nothing..and..and he thinks it in his last moments. And Judas- he’s a pacifist, and that’s his tragedy.”
______________________
Tzipi Livni, foreign minister (again) (on TV): It was once said by Ben-Gurion himself that the job of the Foreign Ministry is to explain the policies of the Defence Ministry. And that the job of the Defence Ministry was to enact those policies. I intend to prove him wrong.
Steve Trevor: It seems like it was proven wrong during Operation Cast Lead.
________________________
Steve Trevor: “I mean.. you see the images of Fallujah.. of babies born.. I don’t know what word to use… and you wonder ‘Did we do this?’, ‘Did I do this?”.
Steve Trevor’s frame starts shaking when he talks about Fallujah To him it is a personal guilt, a personal accusation.
_____________________
Barbara Minerva has her own version of a golden lasso, weathered and somewhat corroded by time, but this corrosion giving it a sense of wisdom, of aging, wearying wisdom. She uses this lasso to transform herself into the Cheetah.
Barbara Minerva: “Your golden lasso, it has a weird, convoluted history.”
Diana: “Like me. I felt.. like in my dreams I traveled here. And I was like a whisp of history, partaking in yours. I always felt… like I was a necessary structure of your history when I visited your reality in my dreams. That I was a corner-stone of history- oh, look at me, likening myself to Christ.
Barbara Minerva: “The symbol of the corner-stone, I remember, as the most relevant stone in a building, but a stone easily discardable.
______________________________
Evil “Wonder Woman double mugging a teenager in the alley, with grey-cast face and evil, unnatural down-turned mouth: “Answers.”
A shadowy figure from a corner alley with a gun in her direction: “Here's one.” - the gun shoots, hits her in the face.
The shadowy figure walks into the light, like Smithers as Deep Throat, he's Maxwell Lord.
Teenage mugging victim: Who is she?
Max Lord: Someone I thought- no.
Evil “Wonder Woman” double: You think you're getting away with this, Max? You think your gun will protect you? I know about you men and guns!
Max Lord: At least I'm on the right side of the alley.
Teenage mugging victim: I don't think she's real.
Evil “Wonder Woman” double: (exiting) That's your mark of recognition, isn't it, Max, you're confused, you're all about the greys, you're just a used-car salesman, you dress the part, you're a shyster pretending you belong in the big-leagues.
Max Lord: Yeah, but you'd be nothing without me and you're still nothing so obviously I didn't do a very good job.
Evil “Wonder Woman” double: (exiting into the night like an allusion to Jeff Goldblum's last appearance in “Invasion of the Body Snatchers) You're not immune, Max, I'll get you, I swear to God I'll get you, you're next, the order is altering, I'm not alone, I have friends, you know who they are, the world is in our hands now, we don't have room for you. - I'm going to make sure you're the one fingered for this, you're going to be the one the media reports on, they're going to come after you.
__________________________________
Wonder Woman screenplay
flashes of torture, of “Milleneum” torture are how one digests torture.. like shards of glass of fragments of screen.. of fragments of torture.. of seven fragments of torture.. of fragmented life.. of fragmented evil.. of soulhell of disappointment.. the seven deadly sins of hell..
... sloth avarice...
.... greed lust...
... forget the rest..
the bewildered confusion of someone who is meeting with words of nothing but torture and lead-ins to torture and inclinings toward toward torture.. of someone who can't understand what the hell they're talking about.. apart, well, a justification for torture, which they spend a lot of time talking about to make it airtight... and why are they about – well – what? - airtight vinyl
- airtight plastic- over the human hooman body at the end of a movie of horror genre on Space-tv City-tv
Nameless female torturer: A/I/i need to explain we are superior to any woman who does not bow to our mastery of the human form which is a form of physically mutilating a person into a different shape. Into an elegant shape. It's like sculpture. You can refine the humanity into a human. You can make an angel of a human by cutting pieces into him, That's the crucifix. That's the stigmata. We like to hear the screams in the morning. Screams quiet our spirits by reminding us of regrets past. Every scream is a regret remember. An open sore. A wound reopened for our slavering pleasure. For our shaking ecstacy. Every scream reminds us that we used to be little guys. Unimpressive bookish guys. Accountants. Every regret of that existance comes back in our moment of ecstacy. Every soul-wound of regret. For every strongwoman who thought her muscles bought her soul. Who thought being tough meant being strong. Who though exercizing was work like those bums at gyms you see through dark glass partitions while walking down the street. Get a life. We like Life. All the dead bodies glow. They stay dead by law. By the law of governments which wage war. Like Vietnam. 3000 dead is worth a footnote. One American is worth a 100 Vietnamese in fighting versatility every martial art known to man. They probably use every martial art known to man for torture. The political issue of eugenics is a hot topic. A hot zone. Maybe there are political issues you're not aware of, that would keep you/your an open mind if you were aware of that political level of thinking. Which is also social.
_______________________________
Jean Brayton II felt there was always men to protect her. Distinguished men, cockney blokey men, clowny men, the list went on. Shadow-men were the most insinuating in her progress. They were ready to take a hit. They were willing to comfort her with excrutiating justifications, They were willing to push her to a moment of self-knowledge, That she would become an assassin, That she needed a push, a moment to get over her fright of biting the bullet, To be perpetually haunted by a double-play of indecision, A moment of hellish uncertainty of her motives, of her grasp of the facts, of her conscionability of the facts of- the inevitable. Death, death, and more death. He helps her get her soul over the bell curve. Over the statistical law of average, of probability of true, of truth of knowledge of his agenda for motive between the two of them, a single motive between the two of them, but a double-play between her soul's statisticizing of truth. Of truth of her gullibility to her own ignorance.
To want to be her was to want to be more than her. To be her passionate look-a-like, her copycat, to want to improve on her model by always fawningly seeking to attain new to her standard. A role-model double-play. A keeping up with the Jones's of double-play motives, each competing with the other to improve the lot of the other to expand, to expound, horizons of power. “Jill Jones” to Jill Jones, Or/or/on the reverse. To confuse them.
- to ghost-write Tzipi Livni's autobiography
first sentance -
“It was a stupid name, I admit. I confess to affection for drolleries of vocation and evoquation. Tzip muzt Liv. How does that sound? Tzeep muz Leev eef utherrs die. There were many colloquial permutations to make of this oddly chosen name which was like a smorgesboard of hebrew esoterica, hebrew letters joined together by Kabbalic fervour into a name which sounded like a Jewish fairy tale, so what was it?, a russian ogre, a russian bear-ogre with husky-vusky Siberian voice and acceNt.
Tzipi Livni second chapter
two or one “p”'s , even I forget, and I'm foreign secretary who should know her languages
China wasn't what it used to be since Chou had gone under the radar. Under the radar. Martin Buber said all hebrew, Jewish roads led backward into China. Under the radar. Henry and Chou had set up a long-lasting personal friendship but had it been too personal to the vernacular of friendship, like Herb Tarlick spending weeks moseying and buddying with a client in bars in an attempts to build trust with a client based on personalization of vernacular and mutual goals but falling and further from the horizon of the business you represent by a tunnel-vision of personal relations not enough widely disseminated to many interests, to a sufficient number of lobbying goals. Henry spent too much time in bars instead of the lobby, like me? Miss drrrunken vesty. China inc is what some people call it. Henry lost too much time in smokey dark corridors from an original version of 'Casablanca' with darker lighting. Friendships are made at night but what is made in broad corporate daylight?
Savannah Samson's Batwoman should know Tzipi Livni. They should be friends. Like Francis Boyle and Quaddafi. She's also an international lawyer.
Naked wonder Woman aka IagoDiana: The worm in my heart is a gnawing horror.. it seeks heaven in hell.. in the abysshell of my viscera..... all kinds of tendrils in my viscera.. intricate rivulets of veins of sensation.. a poisonious mineral gnawing my inwards.. seeking mineral.. seeking minerals.. minerals in my bowels.. i see they are menner... minerals in my bowels.. like sensation nodules.. a mineral war in my bowels.. poisonbowels.. poisondelightbowels...all the bitten lusts of my bowels.. all the blood and temperature of my nature in my bowels.. all of this as m motive in to double-plumed knavery.. a double-faced knavery.. a Janus-gated knavery.. a Janus-neurochemical-gated knavery.. a Jeanus gated knavery.. neurochemistry is my design of motives seekin' aspiration.. i seek to understand my rivulets of neurochemistry which reside in my bowels.. my power bowels.. my bowel neurochemistry a poisonous mineral.. i am a rare mineral.. my skin freezes at the touch,like outer space.. my own rare motives... my own rare motive-bowel-nodules.. the histones of my motives.. in my membreane of stomache.. my permeable membrane of stomach.. my stomach a sieve to neurochemical sanctions.. my starving stomach of sensation.. my starving bowels.. my bowels-stomach complex is a sarving starvingly rare mineral.. a starving mineral is my inwars inwards.. so.. chess.. chess wars.. chess inwards.. chess inwars.. chess-in-laws... i will demonstrate malevolence...i will demonstrate the malevolence of human-ghosts.. when devils will their blackest nakedDianasins put on, they do at first suggest with heavenly merciful shos.. as I will now.. to make a theatre of malevolence.. a scientific experiment, if you will, my stomach is a lab.. my stomach is a motive.. the lab is a theatre.. the chemical lab is a theatre.. finnegans wake... chemical compound theatre.. thimble theatre...
Hal Jordan: .. a theatre of malevolence.. patents are the infrastructure of legal institutions... human beings as intellectual property... Cavalli Sforza...
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Wonder Woman: the devil is in the runes of my breasts... my breasts are runes.. devilbreasts.. nipples afire.. i am.. like a leittle meanderer... a mookse in her own iple.. her own breast stteeple.. her own steppes of belly.. her bellyterrain.. her landscape of belly.. she is finished in vagina.. her vagina is finished..
Steve Trevor: how do you.. talk so well?... i've never seen how you amazons talk?... it's like.. a storm of petty.. wait.. a storm of petty is my heart.. my heart is a stormcloud.. you are the lightning in the stormcloud of my heart..
Wonder Woman: My naked butt and breasts are the white flash of the lightning...
Steve Trevor: .. you talk a lot like .. like.. about.. the earthy...
Wonder Woman: .. i am earthy.. i am american earthy.. i am an american gal..
Steve Trevor: .. no question.. no question... but this troubles me..
Wonder Woman: .. am i a ghost in denmark.. am i a young prince as a ghost.. words words words as the text of my heart.. my heart unravels in .. cheerfully.. WORDS!>...
Steve Trevor: my heart is always unravelling.. i think of nothing but kids.. and .. my heart.. is .. always unravelling..
Wonder Woman: - crying softly - .. kids are immortal...
Steve Trevor: very like.. very like.. rozencranz and hamlet and guildenstern were kids together...
Wonder Woman: .. whisperingly.. they were?..
Steve Trevor: ... there is a darkness in our souls.. it is the darkness of lightning-conscience.. of turmoil in heart.. of turmoil of vapours.. of vapours in heart.. of heart in vapours..
Wonder Woman:.. my conscience will soon die in a vapour.. i see the future.. like Anakin..
Steve Trevor: .. many men and women's course is Anakin... mine is too...
Wonder Woman: ... my conscience is a fire.. a holy fire.. which.. will soon.. no no .. turn into a dark fire.. dark waters of lethe... dark water fires..
Steve Trevor: .. conscience temper...
Wonder Woman: .. yeth.. thath me..
Steve Trevor: .. iron wool..
Wonder Woman: .. i have wool in my loins.. i have iron loins..
Steve Trevor: .. you talk so exotic.. so biblical..
Wonder Woman: .. there is much amazon history in the bible..
Steve Trevor: .. i wonder.. was jezebel an amazon..
Wonder Woman: .. - crying - ... i'm sure she was .. i think.. her name.. was.. yes.. artemis.. her name was artemis..
Steve Trevor: .. softly.. lovely name..
Wonder Woman: ...i wonder what happenned to her.. i knew her when i was a child.. an an adolescent.. and then.. she disappeared.. or i disappeared.. we disappeared from each other's companionship.. she was.. she was.. a dangerous child..
Steve Trevor: .. i think i was too..
Wonder Woman: .. there was.. a dark tremour in her being as a child.. different than you i think.. tremours of danger.. tremours of firelice...
Steve Trevor: .. firelice?.. are they like fireflies?...
Wonder Woman: .. unique to themyscira.. she was.. ohhh.. she was always blaming me for things.. always sort of criticizing me.. it got annoying.. i was just so.. stolid, unspeaking about it.. but we were best friends.. an we did a lot of the work of friends together.. we rode together much.. those were very good times..
Stever Trevor: .. on kangas?..
Wonder Woman: .. wait.. we rode on kangas too... kangas are a bit more dangerous to ride on than horses.. so we only rode on horses as children.. wait.. we once both tried to ride on kangas.. she goaded me to it.. i was the cautious, sensible one..there was an unspoken, congenital belief among the children that kangas were for adults.. the belief was not encouraged or motivated by adults.. it just .. the kangas were adult animals..
Steve Trevor: .. so artemis.. her name.. artemis.. was hungry to be an adult..
Wonder Woman: .. too hungry.. she spoke crassly to speak like an adult sometimes.. i mean.. used offensive language.. but she .. she had a very appealing voice.. she once told me.. i got her through suicide.. through feelings of suicide.. just by sitting with her.. i never felt i could accomplish so much but she had a great view of my accomplishments.. she thought i was a great friend.. a meaningful friend.. her.. best friend.. she called me brother.. not sister.. brother.. she.. mattered a lot to me...
___________--
earth 1 nude barbara minerva: .. i have steel wool inmy in my loins.. i am never going to feel them.. ever.. my loins are ice to my senses.. my loins are inhuman.. i am dead wool..
earth 2 nude barbara minerva: .. i have savage breasts.. my nude savage breasts temper my soul to a red iron heat.. .. i feel a stab wound in my g'rorrows heart blood.. i feel a stav stab stave stab wound in my heartpumping soulll... a stab wound in my soul heating it to pitch burning red soulscoals.. i have coalsoul.. i am a savage.. i am a nude savage..
earth 1 nude barbara minerva: .. my lasso nightmares will can take care of that..
earth 2 nude barbara minerva: .. ...noooohhhh!!!...
___________________________
So, it’s after Wonder Woman has destroyed numerous American drones aimed at Pakistan and its population that American planes are sent to confront her.
Wonder Woman is in a super-max cell. A rectangular light shines generically showing a shadowy Maxwell Lord.
Max Lord: “There’s a plane ready to take us both to . You’re free to go.”
Wonder Woman: “Is this…ah.. legitimate?
Max Lord: “It’s part of a prisoner-swap with . is releasing a significant number of prisoners in exchange for you. But it’s important that we don’t stay in America.”
Wonder Woman: “I… I wanted to account for my crimes. Out of respect for the families of the victims. And… the victims themselves” (She starts crying softly)
Max Lord: “Wonder-.. Diana, there are people who want you in prison for life. But we need you free… to do your work. Work that we haven’t- that I haven’t given you a sense of.. the spectrum, of the options. You don’t have to destroy another drone.. or plane.. or anything. We’re building something big. I’ve got a suite all prepared for you- in the jungles of . As long as you don’t mind the heat.”
Wonder Woman: (pause) They’re.. releasing prisoners, and that’s dependant on me… being freed and going with you to .”
Max Lord: “It’s one of the countries that love you. They want you as a citizen.”
Wonder Woman: “If they’re releasing prisoners… then I have to go. Releasing prisoners was my mandate when I came here. I’ve read that one in every 100 Americans is in prison. I could have avoided ending up in one myself but I didn’t. (pause) Why do I talk like this. I talk like a phantom, like someone who is not even in the room. Like I’m quickly receding out of your reality, fading away, wilting away. Like I’m what’s left of a melted candle.”
As Wonder Woman and Max Lord walk through corider after corrider, each corrider wider than the previous, the door panels which serve as entrances to each corrider open up like flowers, mystically.
Wonder Woman: “Until now, I’d only been destroying drones. Then when the planes came, I just.. I didn’t differentiate. I killed those people, those Americans, those civilians of the country that has given me a home, and just- destroying those planes, it was so mechanical, I felt like I was fighting a machine, a drone, I had no thoughts for the people inside the machine, and.. I destroyed the planes, and just the heat from the fiery planes which I felt against myself, the heat excited me, it stimulated me, I liked it. I…. liked- the killing. Oh God!”
Max Lord: (pauses) “When I just making it in the marketing sphere of business, I- had ambitions, and I cozied up to the CEO. He was a soft, gentle man- he.. he became my “soft target”. I mean, I just felt like I could bring the corporation into the stratosphere, that I could make it into a political PR corporation. And, we became friends. We went spelunking together, and- scenarios of some “unfortunate accident” happening to him went through my mind. And then- suddenly, before these scenarios could find a resting place in my mind, a real accident occurred while were climbing up a cave wall. He fell. And- the scenarios vanished as if they’d never been and I quickly lowered myself down to help him. And then… something.. something… happened. And all hope… all reality of rescuing him faded away just as quickly. And- he died. Because of something that came to me, something that I can’t explain… something that just was… something. I don’t know. I just don’t know. (pause) Like King Claudius in “Hamlet” I became CEO. And eventually, I found you.”
Wonder Woman: (long, sad pause) I’m glad you found me.
Max Lord: (pause) “I have something to show you. It’s- it’s a computer. It’s a computer made from technology which is just- alien.”
He shows her The Construct.
The Construct shows her miraculous visions of New Genesis.
Max Lord: “It was an accident that I found the Construct. There was a collision of accidents. It was an accident that led to a vision of world peace, it was visions of the United Nations, of Arab springs, of….
Wonder Woman: “And- and it was while watching these visions that the gentle man died?”
Max Lord: “I’m not sure what you think of me now.”
Wonder Woman: “I think your visions of world peace were… preferable to my ecstatic visions of destruction.”
Later, after talking with it…
The Construct: “I believe, Diana, that- to quote a movie you may not have had the chance to see- that this is the beginning of a beautiful friendship.”
Wonder Woman (to Ares): “With the death of those pilots, with the death of Christ... of Christopher Stevens, my first friend, I became part of the war. I became part of your soul. I think of the pilots, of Christ, of Chris, and I feel like the murderer of that child who died by fire in Gaza. Those pilots died deaths in fire."
Max Lord: “We’re engaging in an operation. I’m calling it self-aggrandizingly “Operation: Justice”.
Wonder Woman: “Those women, those tribal women, those babykillers, in the Tribal Papua New Guinea Eastern Highland Region, in the capital of Goroka, who were going to kill those children, for the most depraved of reasons, those women I refrained from killing. I just- I just wanted to make sure the children were safe. And then, those pilots, who were only following orders, them I killed. I see no justice in myself.”
Steve Trevor helps Wonder Woman rescue the babies.
Wonder Woman is looking at a newspaper headline on the paper’s website (come up with a name for it later). The headline reads “Wonder Woman let free to kill more Americans?”
Did Maxwell Lord once work with Amnesty International, but the horrific fictional account of babies being killed by Iraqi soldiers causes him to resign from Amnesty International and follow his own path.
Max Lord: “To lie.. about something….so horrific. To create such an image…to motivate a war? I felt sorry for the fifteen year old girl at the centre of the controversy, who had given the account. I was working for Amnesty International at the time. I…I felt compelled to resign. It was difficult to decide on Amnesty International’s culpability in accepting and helping to disseminate a report on the fictive actrocities. But there was a wall, a stone wall, set up between Amnesty International and truth which- which seemed to cut too close to the bone for me. I felt…easily corruptible. It was a decision about myself as much as anything that motivated my quitting the organization. It didn’t prevent me from finally becoming the corrupt head of my PR company.
“With Amnesty International, I ask myself whether it’s still a lie which is recorded on the page of history if you retract it later. Hill and Knowlton, they were a PR firm operating on the scale that I later started envisioning for my PR firm. If I had an ideological motivation, would I do…something similar? Lying for public relations, how..complex would my motives have to become to..to lie for an ideological cause. The visions I saw through The Construct, while I was watching them: any lie seemed justifiable to see this vision through. Those visions turn my thoughts into those of an addict, some LSD addict.
“I just wonder, if all you need is a grandiose PR-machine to promote a war into existence, if horrors like..like that are..lies, what can you believe to be the truth? Can you believe, can you believe the Holocaust, can you just… Where is truth? Where are those babies who didn’t die?”
” (turn the preceding monologue into a dialogue)
Max Lord: “I found that focusing on human rights violations was making me inhuman. That’s something that those on both sides of the Israeli-Palestinian conflict struggle with. The partisan politics, how one can be corrupted by ideologies. Those whose sympathies lie with Israel find themselves trivializing Palestinian deaths, those who sympathize with the Palestinians find themselves trivializing Israeli deaths. And it always involves the deaths of children. While working for Amnesty International, I felt like I was politicizing the deaths of children. I couldn’t remain in the organization.”
Wonder Woman rescues children from female infanticide in China.
Steve Trevor: There was something.. terrifying.. about the inhumanity of the Salvation Army in its simple acceptation of the murder of babies.
Wonder Woman: I am just going to say what matters. There are babies being murdered because they are male. There are babies being murdered because they are female. We as a global civilization are responsible for this, culpable of this, punishable for this. We are all babykillers.
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.. nude barbara minerva: ... i know nazi england.. i was an angel there.. i felt much in the way of evil ways of nothing in guarantee.. time and time again.. the knowledge of strait ways of my nude vagina.. i am the butt of many things.. i feel my soul in butternude.. i am heaven.. there is nothing but the the true truth of nude me minerva.. i am happy in death to my nude form.. because i never die.. i .. NEVER.. die...
nude wonder woman: .. you feel much ... i am crying.. literally crying.. your pain is my pregnancy...
nude barbara minerva: .. crying.. your .. pregnancy.. i cry my pregnancy into being.... my tears are my pregnancy.. my pregnant tears...
nude wonder woman: .. do you feel.. a crying ocean.. in your waterfall of rocky tempests of .. soulheap... a heap of soul am i and you...
nude barbara minerva: .. we feel all tears in gush.. i am a gash of blood in swords womb deep.. my womb a sword.. my womb a division...
nude wonder woman: crying.. wailing.. i .. i .. i .. know .. division.. i know .. nothing but division.. my nude mothers soul.. was nothing.. but division..
nude barbara minerva: .. i think .. i met her.. when i was .. but a ghost.. when i was .. but a fiery embryo.. of greece...
nude wonder woman: .. you knew her.. back then?....
nude barbara minerva: .. i knew you too... when you were an embryo....
nude wonder woman: .. you knew me as an embryo?... i feel you have always.. ALWAYS... known me.. as an embryo..
nude barbara minerva: ... i am in fire.. i a m eternally in fire... i am an embryo in fire.. the licks of fire heat my palms of my feet...
nude wonder woman: .. a lake of fire for your feet for my feet for both our feet.. to burn the palms of our feet...
nude wonder woman: .. do you know me.. barbara.. i am .. fire.. Christ babtised me with fire... he made me fire.. literally me fire.. he made me holy fire..
nude barbara minerva: .. that holy fire is mine..
nude wonder woman: .. noooohhh!!!!....
While walking amidst the destroyed buildings and destroyed families of Gaza after it’s most recent attack, during which, for most of, she had been paralyzed by the Cheetah somewhere underground.
Wonder Woman: “Did my opening the underground tunnels of Gaza cause this?”
Maxwell Lord: (to Megan Gale aka Wonder Woman)“I am going to explain to you how you weren't the woman in the video, in the video which protrayed you as a sexual predator, as someone engaging in sexual entrapment or date rape.... I will explain it is a visual replica.. similar to how they've made, how they've computer-generated photorealistic horses and elephants in the “Lord of the Rings” movies... and the voice, the horrific voice which feels to you from the depths of Tartarus... electronic voice-synthesizing technology has been available since World War II, mentioned in a book called "Listening", and it's only had time to advance since then.... every woman's expression , no every expression a woman will have not can have will have a woman will have expression mirf? .. a woman will have expressiveness eliot ness a woman will bundle herself with barrel staves of energy explode with energy nucleur energy? .. radiation decay energy? .. or radiation surplus energy? .. gamma energy? .. green with envy? .. green with energy?
“See, the self-requesting self-decoying self-infringing self-reneging self-indoctrination into self-will of real self-explosion into Pascal explosion of troublshooting bugs radiation bugs bursting with energy with energy synergy withering bursting bubble of bubble browser of bubble mainframes how do you frame a pixel bubble pixels radical! .. bubble pixels were NEW AGE (who was the mistress of new age Alan Moore didn't like, some other version of her would be naked and good) technology radical technology tech bubbles of corpuscles of heart of blood of skin and bone (if its bled to your bone it creeps up in your flesh) of skinlove of Skintow bown bone bubbles bow-wow peanut butter pawn I am so rich and discotietful disco colours of motion of motion are my bubbling person bubbling pixar are my bubbling heart of joy jymes jymesjoyce tic toc – so lock so lock/uu/lucky-lotta litt litle lor l0l0lulu lor lissen less on mor torn mirroor hear me ripper roar rik show rick rick rawrr roor – like a risk-rick thorlion orf rickenricketty – rick – of – thorlog - irru floar ilmorcars S I I I an of oar coroar Oar on psyke psyche! Oar cor – eer/eev is storaer-en (“Children in Danger”, the U.K. snuff book) for-or - forear – arm – me - little Christine Megalopolis on eglise of no elise fame Oarf oraf of Olick or/of laugh at h-oar or Chris is or are a bubble princess who got devel/level on OCD from a scary, agressive dog from a BARKING dog?! It must be worse than we thought “Winona let us down. She was real and understood and was a real person who would help by being a girl who is my friend” Wonder Woman: Gee... Winona Ryder is such a downer....... I SAID THAT! I SAID THAT!... .... back to “from a BARKING dog”... “a public enemy” by Arther Miller by Arthur ibsen by inseb by ensb beh by gotten reb gotteir in thorlog if therein for- Chris morlock moorcks moor is is arntrbs(?) orf orlog grof orbforfarforto ooo corndorgs orf thoris aniantorngale machine warriors in to orors orion/orson orors is in far orrs orf doris is Gun or orn arf“a disease you wouldn't wish on your worst enemy” - finally it's public no personal no REAL normor fell orf orfieors or a favel/foul arf arrr ar – arrr oersies invinse Packard pixel packard orfarns deilera eveannoo in harm ein bates back to “arfieors” .. rerum arf T gorf arf erom's rerrom”
Wonder Woman: “Is this “Justice” operation a part of your vision for world peace?”
Max Lord: “That won’t be depending on me.”
Wonder Woman: “What will it depend on?”
Max Lord: “On- on the success of what Francis Boyle would describe as the incarnation of Hobbesian positivism on the international scale.
Wonder Woman: The absolute sovereignty of a ruler as the basis for law- internationally. What Francis Boyle said there didn’t seem to be, an established universal legal structure for relations between states; what he wanted to abolish- lawless states. An international criminal like me being part of an internationally ruling legal entity? Who else is involved?
Max Lord:
Max Lord: There is something in the air, an evil in the air. Unchecked power is something I can personally identify with. So, I’m going to be instrumental in stopping it. NATO, the Western powers, an Imperialism backed by atomic weapons. We need a different dimension of deterrence.
Wonder Woman: So, we’re officially replacing the World Court.
Max Lord: It’s.. complex. Your friend, Francis Boyle, doesn’t believe in a central international law enforcement agency. We won’t be exactly a centralized entity. We’ll be.. vessels for powers greater than us.
Wonder Woman: (shaking Superman’s hand) So, Superman, it’ll be us together building the Justice League super-state. (She flies off)
Super: Yeah. Yeah. Yeah, what did I just agree to?
Max Lord: We’ll explain it to you later.
“Ahmadinejad”: “During ‘Operation Cast Lead’, I did nothing. Nothing.”
Barbara Minerva: “It’s time for a change of policy. It’s time for a policy of action. It is time for you to come back..”
“Ahmadinejad”: Am I capable of taking action? During “Pillar of Defense”, I did nothing. The image of a murdered child, charred by Israeli fire, did not evoke action from me. That image has not left my mind. ‘Operation Cast Lead’, those four….sleeping children. Sleeping…I think of them as sleeping. They had given up the ghost, and yet it looked like they were sleeping. A sleep of death. Children going to their graves like beds. One child was covered.”
Barbara Minerva (softly): You understand, your critics will say you took action to support a murderous regime in Syria.
“Ahmadinejad”: It was the rebels who were committing atrocities! It was the rebels that were using chemical warfare against the population!” (have to research this more)
Barbara Minerva: What is history as I would make it? What is the history of today which . There is a history in flux, somewhere a history which is like the shadow cast by visible history.
As Wonder Woman flies through the air and television reports show in Tv panels on the screen.
Presidential press conference
Reporter: What are your thoughts on Wonder Woman, mr President?
President of the United States: (with deep irony) What can you say about her? Wonder Woman is a rogue nation unto herself.
First Wonder Woman movie
Wonder Woman – the legend of Megan Gale
Dream director - Martin Scorcese
Dream Cast
Naked Wonder Woman - Naked Megan Gale
Steve Trevor - Tom Cruise
The Naked Cheetah / Naked Barbara Minerva - Naked Angelina Jolie
Maxwell Lord: Leonardo deCaprio and Hugh Grant
Naked Hippolyta - Naked Monica Bellucci
Christopher Stevens - Mikey Jerome
Dana Andrews - Milla Jovovitch
Christ / Chris eliot - himself
Ares: Daniel Day Lewis
Tzipi Livni - Lynda Carter
Ehud Barak - Mel Gibson (role unwritten as yet)
Binyamin Netanyahu / Ehud Olmert Composite character - Alan Rickman (role unwritten as yet)
H
Naked hera: Naked kate winslet
