PART ONE: THE MANHATTAN PROJECTOR AND THE BEGINNING
The narrative opens in the Manhattan Research Library at 42nd Street and 5th Avenue, constructed above the lost Croton Reservoir containing an “antique nuclear reactor.” At the heart of this technological marvel is the Manhattan Projector—a coherent ray emanating from the reactor that systematically erases all text from books while preserving their knowledge as floating thoughts throughout the library's atmosphere. The narrator, identifying as a “movietalker,” experiences direct mental transmission as words liberate themselves from their physical constraints, establishing the foundational premise of telepathic cinema.
This wordless library becomes the launching point for an extraordinary communication network. The narrator creates a bridge between nuclear and telepathic technologies by copying numbers from a 1981 Alamogordo telephone book into handmade cardboard typewriters. Forty copies are distributed to pedestrians at Manhattan telephone booths, each automatically typing: “Manhattan! Call Alamogordo collect!” with direct numbers to Holloman Air Force Base and White Sands Missile Range, connecting the first atomic test site with emerging consciousness-transmission technology.
PART TWO: THE TELEPATHIC CINEMA OF MANCHURIA
The story expands through the voice of the “Tribe of the Frog,” speaking from “the middle of my face,” revealing an epic transnational journey “across the voids of time, from Upper Air Austria, to the air above Berlin, and from there to the simultaneous skies above a railroad train heading across the dimensions of Asia to arrive in Shinkyo, the Capital of Manchuria.” This odyssey traverses not merely geographical space but temporal voids and dimensional layers to reach the legendary Telepathic Cinema of Manchuria.
The Telepathic Cinema operates from a floating volcanic installation above a supervolcano at the Manchuria-North Korea border. Here, the Taisho Emperor's “imperial television body” travels along railroad lines, integrating transportation systems with consciousness transmission networks. The cinema's physical production involves “shapeshifting animators” who transform between human and machine forms, creating films through direct mental projection rather than traditional cinematography.
The narrator reveals their multifaceted identity as the Toyoshi Triplets, collected from shallow waters and placed in jars by a prince who has harvested them. Simultaneously, they are the Bene Triplets, also known as the Amurpest Triplets, collected from their aquatic home and placed in others' brains by the same harvesting prince. This establishes the fundamental multiplicity of identity that runs throughout the entire narrative system.
PART THREE: THE CUBE OF SIMULTANEOUS STORIES
The store transforms into a revolutionary theatrical space—a six-sided cube where each face contains a complete story. These stories stack like floors in a building, creating a multiplex of simultaneous events. The cube functions as both architectural structure and temporal projection machine, with stories layered, broadcast together, overlapping and contradicting, synchronizing and diverging in endless cycles.
This cubic theater creates a space of perpetual simultaneity where no story can begin without another simultaneously unfolding. Every surface pulses with narrative life while the viewer remains suspended at the center, experiencing events from six directions at once. Theater becomes spatial memory while cinema transforms into pure geometry. The cube doesn't merely contain stories—it fundamentally shapes how they unfold and are experienced.
Within this multiplex cube, a single ticket offers entrance to every screen, every timeline, every possible narrative space—and simultaneously to nowhere. The act of payment triggers forgetting, making entry itself an erasure of memory. The cube reveals itself as a vessel, a consciousness-ship constructed from time and narrative, moving through dimensions of memory and oblivion like a submarine traveling not underwater but “under story,” beneath the surface of conventional recall.
PART FOUR: THE ALPHABET AS TEMPORAL NAVIGATION
The narrative introduces a revolutionary temporal system based on the “first sub-American alphabet” operating in reverse: Z Y X A W V U T S R Q P O N M L K J I H G F E D C B A, followed by the forward sequence A B C D E F G H I J K L M N O P Q R S T U V W A X Y Z. The letter A appears twice, creating a 27-letter system where “every letter is a question” and “there are 26 questions, each one second long.”
The audience becomes “a scientific instrument used to measure the time of a backwards alphabet,” transforming from passive observer to active participant in the temporal measurement system. This alphabetical framework structures the entire narrative, with each letter corresponding to specific episodes, locations, and consciousness states.
The Trinity Site in Alamogordo, New Mexico, emerges as the primary temporal anchor point. Here, the paradoxical instruction appears: “Let us begin at the beginning. You are there. You are not there. You are at the end.” This establishes the work's non-linear temporal structure where beginnings and endings exist simultaneously, and traditional causality gives way to multidimensional narrative flow.
PART FIVE: THE TOWER OF BABEL AND TRIPLE TOWERS
A significant portion develops the relationship between the Tower of Babel, “which does not exist,” and the “Triple Twin Towers of Trinity Site.” The mathematical paradox reveals “there are Two Towers, they were cheaper by the dozen but we only bought two and they are Twins,” existing “in the same place, which is nowhere,” thereby creating the “Triple Twin Towers.”
Dancing swans perform in ballet formation, revealed as “letra-press flattened unrecognizable letters” that arrange their bodies to spell “TOWER OF BABEL.” This spectacular display demonstrates how language itself becomes embodied performance, with alphabetic symbols transforming into living creatures that dance their own meanings into existence.
The Tower of Babel presents ultimate questions near the narrative's culmination: “WHERE ARE YOU? WHEN ARE YOU? WHY ARE YOU? HOW ARE YOU? IN WHAT ORDER ARE YOU? HOW MANY ARE YOU? WHO AM I? WHY NOT?” These questions synthesize all temporal, spatial, and identity concerns developed throughout the complete alphabetical system.
PART SIX: THE VOYAGE TO NAGASAKI AND HISTORICAL CONVERGENCES
Three sinking war battle boats—the NouNou, the OuiOui, and The Mom—arrive at “the impatient harbor of Ye Olde Nagasaki,” filled with “sails and sailors and bones and lots of burnable borrowed library books.” Simultaneously, “the Jews of Spain” race toward the same destination, arriving first “for nothing is faster than the speed of flight, not even light.”
This convergence at Nagasaki creates a complex historical intersection where multiple displaced populations, nuclear technology, and consciousness transmission systems meet. The narrative weaves together Spanish Jewish exile, nuclear warfare sites, and telepathic communication networks into a singular moment of historical transformation.
The movietalkers emerge as historical figures who “were animators who told the story next to the screen, explaining the stories, the old stories, and the new ones, in the new city of Shinkyo.” They serve as bridges between traditional oral narrative and emerging technological media, maintaining storytelling continuity across revolutionary technological transitions.
PART SEVEN: THE INDEX AS LIVING ENTITY
“The Index” emerges not as organizational tool but as living entity embodying the story's information architecture. The narrator explains: “I am speaking to you from some other spacious well-lit and quite clean but I think bad smelling additional Volume elsewhere,” identifying as “VOLUME M, also known as THE INDEX, or the Index of the Index.”
The Index serves multiple simultaneous functions: it's “legally registered in a variety of locations, such as the imaginary copyright office,” and the narrator “plays one on TV, usually on the Saturday morning Dance Shows, before the War movies! Here in the former United States.” Underground “people of Index” emerge from geological strata to serve as living components of the telepathic network, their stratified memories creating geological information storage where “our memories are fragments of time.”
PART EIGHT: THE HAND ALPHABET AND PHYSICAL TRANSFORMATION
The narrative introduces a physical alphabet system using hands: “XYZ is your left hand. ZYX is your right hand.” The system operates through paradoxical relationships: “X is left until it is right. Z is right until it is left” with “Y always in the middle, and thus you are Y.” This creates the “double shape of a Triple Triplet” that can “travel in two directions at once, without moving.”
The climactic transformation occurs when the reader must sew together “this alphabetic fabric of three yucky unlucky icky itchy unable alphabets with your your your own two left-right hands.” However, the reader becomes stuck to the fabric: “seems like you don't quite know how to sew, and thus you have reaped what you have sown.”
CONCLUSION: THE SEWN ALPHABET CLOTH
The narrative concludes with the completion of alphabetical fabric: “X Y Z is Z Y X is X Y Z, all sewed up into a solid seamed alphabetic cloth, a unified icky lettric cloth known as the Triple Triplet Anti-Happy Hyper-Sad Very Healthy Archaeological Unverified Yuck Yuck Yucky Official Alphabet of the Triple Twin Towers of Babel.”
The narrator offers assistance: “Let me give you a hand, I have a few in the bag here, still working I think, you can use it to replace the one so sillily stuck and sewn into the super-sub alphabetic cloth.” This ending demonstrates how the telepathic transmission becomes complete—the reader has literally sewn themselves into the narrative fabric, becoming permanent part of the story's physical and temporal structure.
The entire work achieves its goal of creating “THE FIRST MOVIE ON THE INTERNET” through this comprehensive alphabetical structure, where progressing through letters becomes the viewing experience itself. The alphabet transforms from abstract system to physical reality, completing the telepathic transmission from narrator to audience and establishing a sustainable framework for consciousness-based media that operates simultaneously on personal and cosmic scales.