When I saw the beautiful young woman emerge from the water in the Omega watch commercial, I gasped. Here was the shape of Rena Easton’s head. She is a Mermaid. Like me, she is a Time Traveler. Her late husband, and their daughter, were Time Travelers. I told Marilyn I have no dreams of the future, and suggested – there is no future! I have gone into The Past – my past – and then some! I have been trying to steer the ship away from the rocks, and save the world. Have I failed? Have we failed? How many Time Travelers are there? We are………..The Alpha and Omega! I have been chosen to speak to you directly. There have been signs.
“Where are you?”
“Here I am!”
The first question God asked the Man and Woman He created, was…………
“Where art thou?”
He made Adam and Eve in His image. God is a Time Traveler. He is The Time Master. He is………….Eternal!
Rena has long known the world is ending. This is why she came West, to find me. We recognized one another from a Eternal Place and Space that is clear, but, can not completely be made manifest for the reason our bodies are about the business of – living! And, loving. Our flesh recoils at the idea it is limited. This is why World Saviors are rejected. However, there is an eternal element in us all that is attracted to us, and will get in our way – deliberately – in order to prolong life. There is a choice, to give up life, and cross over, to where ones heart, beats to a better time. Sometimes, you have to laugh!
I hereby copyright – TIME! A watch can not be the product. I NOW own all watches, in theory!
Love is The Vehicle. This is why I can not give up the love I have for my muses. I became a sexual being when I was twenty. I was on my way to India. My work with women, is out of this world. Rena and I have met, and loved before. Ian has been with us, we are a triangle. He is the brother – I deserved! Our mission, is, and was, the same.
“Save the world!”
“Save the world!”
Commodore…………Sir Ian Easton, put ‘The White Crusader’ in the race……………..for time!
We are, the Alpha and Omega. This is our story. We are…………The Chosen! We were at Tyre, with Jesus. I know why he healed those who were born with their afflictions in Mark 7. I have revealed most of the secret of this, as to why Jesus does not want his disciples to tell others what he has done. Why?
The Truth has been covered up – buried! I am chosen to uncover…………The Truth! In 1948, in Boston, Christians censored Jean Cocteau’s movie. Cocteau was an alleged member of the Priory De Sion.
“I cannot say how stunned and revolted I was to see the local censors had cut the last half-minute from the film. In the final scene Iseult rushes to her lover’s deathbed and arrives too late. She, too, is dying and quietly lies down beside him, yielding up her life in one final embrace. At this point the surroundings melt from sight and by a king of cinematic magic the real eternity of the lovers’ story is brought before the eyes.
In Boston, Iseult is never allowed to reach the dead body of her lover. This type of vulgar censorship does not ruin the film but it does ruin the appetite.”
Rena is my Iseult. We spent fifty days camping together. Her beauty was utterly overwhelming. It was mind altering. Did she know? She lied about her age. She was not eighteen. I was twenty four. I was in the presence of my elder who gave me a thousand and one looks, like the one give in the Omega ad, and my heart stopped beating a hundred times………..in gratitude! I gave my life up for her, before, and will joyfully do so again.
We have seized the Buck Institute. Prepare to synchronize your watches!
THE SEAMASTER AQUA TERRA GENTS’ COLLECTION
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FREMANTLE, Australia — Officials with Britain’s White Crusader syndicate vying for the America’s Cup said Thursday they will seek a ruling from the New York Supreme Court on the legality of a new keel cast in Australia.
Ian Easton, a director of the syndicate, said a specially-designed keel was cast in Perth for its yacht.
The British say they may fit it to the 12-Meter before the third round-robin of the challenger series starts Dec. 2.
Both the Royal Perth Yacht Club and the Yacht Club Costa Smeralda – the governing bodies of the America’s Cup — have rejected the syndicate’s request to use the keel, noting it violates the Deed of Gift stipulation that yachts must be designed and built in the club’s native country.
The British maintain any replacement of the original keel should be considered a modification and therefore permissable.
Easton noted the cost of molding a complete new keel in the country of origin plus flying it to Australia would be prohibitive and ‘greatly favor the defenders over the challengers.’
The Eternal Return
In a foreword to his film, “The Eternal Return,” the French writer Jean Cocteau explains that the title is borrowed from Nietzsche, and that it means great legends of the past may re-occur without their participants being aware of it. with this interesting idea in mind, M. Cocteau has chosen to present the Tristan-Iseult legend in contemporary settings and in something of the same grand-manner that was to be so successful in his later film “Beauty and the Beast.” But, unlike its successor, “The Eternal Return” asks the audience to accept its fairy tale as readily as if it were in today’s headlines: “IRATE MATE SPRINGS LOVE TRAP–Wife and Lover Found Souped-up on Love Potion.”
If you will allow yourself the indulgence of some of Jean Cocteau’s particular brand of photographic sensualness, which is the primary commodity of “The Eternal Return,” you will probably have a big time. Otherwise, you may wish that Cocteau had never put the love potion in the medicine cabinet.
The popular conception of the legend doesn’t seem to have been tampered with except for the introduction of a dwarf into the ill-fated household. He is about the most repulsive creature imaginable, addicted to listening at keyholes and cutting up flies. It seems a weakness on Cocteau’s part to have chosen a freak to personify the evil in the world. But perhaps the choice does not spring so much from Cocteau’s philosophy as from a mere theatrical whim. It is just such flaws, and not his experimental miscarriages, which keep Cocteau from getting one of out Genuine Genius Awards which are passed out so frequently these days.
Though the film is directed by Jean Delannoy, it is generally agreed that the quality is Cocteau’s. It is a beautifully composed picture; the photography and lighting is not tricky and weird, as might be expected, but soft and strangely caressing; the music is once again by Georges Auric and is most appropriate, the best than can be said of any film score.
In the role of Patrice (Tristan), Cocteau has placed his favorite actor, Jean Marais. Though probably not a very good actor, he serves Cocteau’s requirements well enough: he is beautiful, dashing and ethereal. Nathalie (Iseult), is played by a new actress, Madeleine Sologne. The role calls for her to be a little fey, but Mlle. Sologne behaves as if she hadn’t read her Master’s foreward. She seems, from the beginning, to be “aware” that she is Iseult. She is also too heavily made up for so pretty a young lady and actually is more attractive when the lipstick is gone, and she nears her death.
* * * * *
I cannot say how stunned and revolted I was to see the local censors had cut the last half-minute from the film. In the final scene Iseult rushes to her lover’s deathbed and arrives too late. She, too, is dying and quietly lies down beside him, yielding up her life in one final embrace. At this point the surroundings melt from sight and by a king of cinematic magic the real eternity of the lovers’ story is brought before the eyes.
In Boston, Iseult is never allowed to reach the dead body of her lover. This type of vulgar censorship does not ruin the film but it does ruin the appetite.
The End Time has arrived for Scientology and other false prophets and prophecies.
Reblogged this on Rosamond Press and commented:
I have come full circle. The Eternal Return is a core theme with my muses. There is a architypal model. I think I will got to the source, Nina Dyer.