Page 2: THE LOST FILMS
676 Movies for Telepathic Broadcast to the Invading UFOs
Judai and Juna narrate the complete collapse of UNITEDST (the former United States) through numbered entries documenting ruined landmarks, ghosted institutions, failed resurrections, and provisional governments—26 lost motion pictures per day over 26 days, originally created by the Manchu Edison Film Corporation, where every fragment of the devastated landscape becomes a film, every film becomes a dream no one has ever had, and the narrators' task is to keep the UFOs watching long enough to save the world.
2-1: OUR STORY SO FAR (Entries 1-104)
The First Signals from UNITEDST
As Judai and Juna document the fall of the former United States, they encounter border patrol agents greeting UFOs, reversed anthems looping from buried speakers, statues that stare back, roads erased from maps, census forms asking how welcome the ships felt, ghosted institutions, memory contagions, and the emergence of Unit DST declaring itself eternal across the sky—104 fragments where America becomes a haunted broadcast field and reality begins to mythologize itself.
2-2: OUR STORY SO FAR 2 (Entries 105-364)
Unit DST Becomes Its Own Witness
Through sequences five through fourteen, Judai and Juna traverse territories of inverted holidays, national ghosts, surveilled ruins, repurposed landmarks, sentient static, localized amnesia, invisible governance, broken physics, recursive ceremonies, metaphysical legislation, living infrastructure, reversed timelines, evaporating allegiances, ritual containment zones, and self-recording infrastructure—260 numbered entries where the ruined states document themselves, the UFOs offer terms, and the nation becomes less a place and more a condition until Unit DST retreats beyond the grid.
2-3: OUR STORY SO FAR 3 (Entries 339-390 + Structural Elements)
Let's Go—And Bring Your Fleas!
“Our Story, Badly Told” continues through ritual detritus, spectral borderlands, inverted infrastructure, mnemonic landscapes, marriage memorials, and territories where the ruins document themselves—courthouse stairs descending forever, observation towers repeating “again,” broken anthem parades, gas stations for the departed, erased playgrounds with Juna's handwriting carved into slides, and houses with no address where her own voice answers from inside.
2-4: OUR STORY SO FAR 4 (Further Entries)
The Rhetorical Trick That Works on Those Who Follow
The repetition of “the think” becomes a mantra as more lost films accumulate—entries from Day 16 and beyond, where the syntax of narration begins to break down entirely, “I think I am the thing I think I am” echoing across the void as Judai and Juna continue their impossible catalog through territories that resist even the minimal coherence of naming.
2-5 OUR STORY SO FAR 5
Day 2322
Day 1 in Nagasaki searching for the invisible movie through frozen thought in the bushes, where syntax collapses entirely into “blah blah blah blah blah,” “pop pop pop,” “ha ha ha ha ha,” “papa papa papa,” “bing bing bing,” “bang bang bang bang,” “la la la la la,” as the narrator stutters through “I think the thing” but it mutates into “thank,” “buffet,” “fake fake fake,” punctuated by random fragments like “Happy birthday,” “I'm not her father,” “Mama! My mom,” “I was proud of my,” the language disintegrating across hundreds of repetitions until reaching the countdown “Day 26 three 2524. Day 2322. Day” where even the numbers start to fail and the transmission approaches complete breakdown.
2-6 OUR STORY SO FAR 6
Dancing the Ballet of the Breath of the Helium Telepaths
In “The Lost Ballet of the Manchurian Passage,” Angela of Mount Aso—a blood telepathist at the Judeo-Buddhist cathedral in Nagasaki who once died as a burning Jew and remembers through residual telepathy—explores the soul of the brain-damaged Taisho Emperor in Siberian Tokyo, discovering Higham Pollack, a telepathic rabbi and Sino-Talmudic scholar traveling as a Jesuit missionary in 15th century China, who has constructed a memory palace inside the imperial void from floating materials, and together they depart in reverse through existing time to the invisible dark palace of the frog Emperor (a flower in everyone's blood) to direct the telepathic film “Israel in Manchukuo” for the Manchu Edison Film Corporation, descending into underground mine cities where people arrive as particles of time through gas-filled veins, dancing without moving through the mysterious ballet of the missing universe across the third of 3000 adventures, where Angela Benedek and the Benedek triplets split the double brains of all the worlds, teaching audiences to forget things they never knew while speaking stories of the void between all voids.