We were wandering a barren country side more mud
than earth. A dirty country with ditches oozing pollu-
ted puss and devoid of life.
It is through a dream eye as it is now. It is a storange

land of filth but the most pleasent I have seen,, seen
as it is in dream eye; polluted and raw it is as the si-

-ght of the steel structured pilons on the horizon is
to city dwellers; a sign that the open country is reach-

-ed. The polluted water tells us we are'in a scene of

nature.
This is the land of drunkness and desolation, a place

free from the constraints of civilisation. We reach a
portice on the other side of a wire fence, iron barred
windons and iron stone of grey. This is medieval
trance, a mythical Time zone where transport from
town to town is easy and unblocked by Humans medieval
France in the plague years and us free from its dangers
; we are not of this time, but one where the plague has

ceased to be effective and we Immune.

We wander eating from the deserted farms as we go and

now we have reached a castle: where we may take what

we need.
We enter the castia over a train track we know to carry

no train, over the wire and into the walled court-yard
of this temple, a holy water place in the desert.
we find it to be a burnt out steak house of massed
produced type; its faded neon sign, plaster walls recon-
-structed but more real in its being so. This is the
temple film set we are searching for, we enter the high
open doorways into an inner court-yard and as in a dream
observe a hanged woman dressed in white satin with dirt
water wedding dress , desecrated with realism. This
woman is not of the time that we enter the castle but an i

echo of what has been.
We know we must avoid her gaze for being travelers

foreign to these parts and time- we know the dangers of

direct observation effecting the Time-loops that we

are here to observe and break.

We are uneasy and I sneak a glance to discover why: . .

she is dressed this time is long bodice of the time and

not wedding dress but on her head is a crown of water

peals, and she of the upper classes with the arogant

poise of fake film money display.

Next sprays around us a white light and the scene is

distorted and over-loaded with the Intensity of the dream

significance I have to turn and run: almost fly with the

unreality of the scene, in ecsatic state fly from this .'^ e

scene.
I splash through mud and run/fly to the train track s;for

I know a train will arrive now; that the Time setting of
the dream is mangled. Rain is now pouring down in a
grey sky lends its self to all films of great drama; a
sympathetic setting: rain machines pour fourth real thun-

-der and lightning.

I am on the train and find that I have left my shoes In
that fearfull place, out there in all that storm effect that
being dream reality none the less uncontrolable.
I must retreive my shoes; so I astrally project back to
the castle and it is here that peak experience occures,
if it is a dream at all, for the castle is most deffinitely
a temple to the long forgotten white goddess: her clothes
of once nobility are stained with the mud-slung morals
of Christianity invasion, here transformed into the hag of
the moon, dark and negative and the other side of the
coin to the good;and therefore evil: this the side where
we never go and where superstition outlawed by disgust
crushed by the roman Invention of the bullet scarred glass
box; used in other times as the controler of dreams;

directed and profaned by constant blue screen flicker.
I reach the castle in accelerated dream flight zooming
in from a wide off shakey camera zoom into; the court
yard and see the shoes; at this point the woman turns
and 1 -spins animated: revealing the cause of the decay,
a Time piece lays festering In rotted tooth mouth, between
faded rowan berry lips, placed theee by roman 'd entice
leaches and left clicking into reverberated mouth its
Insect sound of death: Time is that which kills .         3 v