This imagery report comes after watching Shadow Man, another straight to video film starring Steven Seagal during the early hours of the morning while it was on TV, while half asleep. It is not supposed to make sense or have any real connection with the film that was watched, but remains a document for me at this present time
I. In a large dimly lit office the hero of the story walks around and sees that there is a man sitting in a chair that begins to transform before his eyes into something very futuristic, he can not believe his eyes as back of this chair transforms. He realises that there is something not quite right about the reality that he is in any more. Is he missing something.In a large dimly lit office the hero of the story walks around and sees that there is a man sitting in a chair that begins to transform before his eyes into something very futuristic, he can not believe his eyes as back of this chair transforms. He realises that there is something not quite right about the reality that he is in any more. Is he missing something.
II. In the hotel lobby, the young girl leaves the hotel under the gaze of her father, enters a car and then as she sits in the front enters a compartment that forms beneath the bonnet, the car seems to have a whole second level to it full of crawl spaces with a rail along it and the girl lies on a trolly that moves along this crawl space that seems to go off into nowhere and it doesn't make any sense, maybe she has gone into some miniature railways system beneath the ground. There is a rumour going on or a theory that she has been abducted by aliens and they can't really bring themselves to realise it so they must live out existence in this fragmented reality. Maybe the chair that he saw earlier on came from a memory of the space ship in which the aliens were. The hero doesn't believe in aliens, he doesn't believe that he has a daughter either, he wonders how people have cobbled together such nonsense and are trying to get him to believe it
III.
Car Chase: For the sake of the child who seems to have been lost somewhere and because he feels that he would be doing a good deed for the community, he gets into a car and starts driving around the streets, he is supposed to be in a car chase but there is no other car that he seems to be chasing, he doesn't see the point of it and would rather go home. There are other cars moving around streets but these cars are not even running around the same town, they knew only that a car was driving around a similar street somewhere in another town and that was near enough to being chased by that car, men with radios sitting before tracking screens give them information over mobile phones and walky talkies about which way to drive. They are driving around for a long time as if they are being chased but with no one visible chasing them but they wonder if it has been enough, they'd like to go home and feel that they must have impressed someone enough with their driving, however there's a car coming from the neighbouring town into this others car's town and they are due to crash into each other at the corner of a street as their long distance trajectories are set to connect. Who out there is imagining these cities to be one place in this clever plan. The hero is being assured that driving around like this is a way of driving further and further away from the idea that his daughter has been abducted by aliens, his car drives past more pieces of futuristic technology that would be found aboard the space craft but none of this can be true.
IV. A villain drives around on a motorbike and then seems to crash in the side of a truck but it's as if there is a special space for him to purposely crash into and a sphincter like hatch opens up where the motorcyclist is pulled in while his bike remains embedded in the side of the truck, and he suddenly turns up in the steering wheel of the vehicle before he drives the vehicle off, turns a corner and then suddenly the truck over turns immediately. the driver remains trapped in the driving seat bleeding away.
V. Under a hail of bullets, a car drives between the tables outside of a restaurant and a motorcyclists drives between the tables the other way as diners are sitting there eating their meals, while a rider on moped suddenly drives the other way and the car then drives through the side entrance of a hotel and then from one hallways into another turning around a corner under a hail of gunfire from men standing by the walls and the car drives down a landing into another hallway and then disappears through the kitchen, the kitchen opens up to two alley ways with directional signposts. The gun men stand there watching the car drive off into the distance and one speaks into a walk talky. These alleyways may well continue off to another city twenty five or fifty miles away without any break in the walls or places to turn off.
VI. The hero finds himself in the club, he drags a young pretty woman out of the woman's toilets screaming at everyone else to get out of their and soon finds himself talking to her in an empty room at a table , the woman sits there with her hands tied behind her back on purpose, she asks him if he wants to tighten the knot on the rope around her wrists, the entrance into this chamber soon becomes smaller and smaller.
VII. The hero sits at the desk twiddling around with his mobile phone, spinning it around, twiddling it with a pen and tries to construct a gun or something else out of it, he pressed all kinds of buttons to make it open up or or do something as if it were some sort of a transforming puzzle but soon gives up and begins writing death threats to the pop singer Spritney Beavers, he sits around in peoples cars, in cinema seats, at bars and cafes writing these death threats to send to her, he feels that she must appreciate them in some way since she had sent him many pairs of her panties in appreciation but he could never actually believe it was all for real because there was a big furore with the police trying to track down his identity when she went into hiding although she would never actually hand his address over to the police to have him arrested and he had been writing some of the most vicious death threats to her for more than a decade as far as he could remember and he spent that whole decade waking up every morning wondering what would happen if the police came to his front door to arrest him and what he might have to do to fight his way out, and had even since organised a group of people in a small wooden club house who are all dedicated to writing death threats to her all desiring the same response to see if they could cover his tracks, he would have the blame put on one of them but he hadn't quite figured out which one it would have to be should the worst come to the worse.
VIII. The hero is about to be shot by someone, he can sense that it is going to happen any moment he does not have a gun and then suddenly he opens up the bonnet of an old car, pulls out some pipes and other engine parts and magically assembles a gun and shoots the man who is about to kill him, once he has shot the person, the engine pieces seem to disconnect as if they could never had come together to form a gun. Blood and brains are spattered all over the door and the gunman who whose blood and brains are to be spattered all over the door has not been shot yet, it is only a matter of seconds before he is. He realises that his doom is coming. The hero shoots him in the head , there is no repeat of an explosion of blood and brains on the wall, the victim falls on the floor dead
IX. Another villain is suddenly shot repeatedly by the hero, but the villain although peppered with bullets doesn't think that they've gone deep enough within and it is a question of identifying the person who is to be shot dead within even further although it is possible that the other person with the gun may never see the victim within far enough. It is a question of addressing the core of the gun target rather than just as a distant target. The villain says "you never really kill me until you really know what you're shooting at"
X. Never the less the hero thinks that he has shot all of these people dead whether he actually killed them or not, whether or not he had gun to shoot them with even, or if they were within a hundred miles of the killing scene, they all seemed enough like the people he remembered from the days that he stood around with these people in bars and pubs seriously talking about the pop singers that they wanted to marry, how the Boris the Bloph with his glazed expression spoke about how Keelie Minogee was so amazing, his short fat stubby fingers were still reaching out to her as if her face were manifesting before his own and he was trying to touch her cheeks and no one could tolerate the very idea that he might somehow succeed in getting her attention, Joe the boxer who had intensions of changing his own name to that of his best friends was sure that he was going to marry Beyoncé, he would phone the hero up every other day to ask if it seemed like a good idea to change his name from one friends of his to another and would threaten anyone who seemed like a contender to Beyoncés hand in marriage or even claim that he wasn't good enough. Norris McRoberts had ambitions to play piano with Mariah Carey and live with her in Acapulco making a living as a musician. They all got into heated discussions about who was the most important singer, on the verge of killing one another with a variety of weapons trying to prove their point. He saw Joe the boxer's shot dead body hanging out of an open car door, the shooting and the death may not have taken place at all but that didn't matter anymore.
XI. The hero went to see his boss, known as the dragon lady, she has a surgical collar and titanium implants in her neck, she gargled volcanic lava every morning. He wondered what else she had in for him. As she grinned, her mouth opened up wide to the back of the jaw, as if cracking open to reveal rows upon rows of teeth like shards of broken glass. She told him that she couldn't stop what was going to happen next even though whatever was about to happen wasn't something of any interest anyway.
XII. In the sky soldiers in a helicopter have come to shoot the hero as he leaves a mansion and finish him off, this seems to be the final test by the agency who he works for, as if they wanted him dead or they were willing to have good soldiers die for no good reason other than they were not as smart as this secret agent. He shoots at the helicopter with a small gun , and something odd happens, the helicopter starts to burn away slowly break into three pieces as if the three pieces connected by sliding pegs, the divides between the pieces of the helicopter becomes bigger and bigger and somehow it still hangs in the air, the troops aboard the helicopter didn't know what was happening, there wasn't anything in their operation manual about this, it must have been some alteration that they made at the last minute, a secret way of destroying helicopters that only secret agents knew about. The car that it is shooting is starting to come apart as of it looks like a zigzag from above but somehow is still driving through the woodlands.
XIII. The hero buys the little girl a pony to thank her for tolerating being so ugly and not trying to commit suicide. He still can't believe that she must be his child and instead that there must be a mixup somewhere and would like her to be replaced by a prettier child or at least have her face altered by the best of plastic surgeons because no daughter of his ought to have a face like hers. However other people come to tell him how pretty she really is but he can't see it for some reason, perhaps he has been disillusioned for too long and it results in this sort of perception, he still can not believe that what they are saying is real but is however acknowledging their point of view even if it is not his own.
