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those paintings around that depicted similar scenes and I gather them to be significant to Indian religious folk bathing in sacred rivers like the Ganges. Nearly all the Hindu art I had looked up depicted the blue beings, some with women possessing four arms or more and interestingly some nondescript creatures like multi-headed serpents. Nothing however pointed to the significance of wise-seals. I even noticed occasional bright objects in the paintings that could either have represented the Sun or strange stars but nothing like the Biblical yet technological object that hovered overhead like the classic UFO. Once again I write this book as much in request for answers as I try to offer them and I hope that my experiences will perhaps arouse someone proficient enough in Hindu folklore to point to what I might have seen. Naturally I was rocked by this new memory just like the others, but realised how my new approach to “shelve and not to try to understand” was perhaps the best one. An open case is how that and everything else in this book remains. “Triggers” had proved to be my most promising fuse to ignite these hidden memories. Without that painting I might never have realised the memory of the Hindu garden. I wondered if these triggers posed a threat such as accidents or unforeseen flaws that upset or even quickened the alien’s programme. For instance, that memory might not have been due to release itself into my consciousness until years later perhaps. By fate I come across it much sooner. Does that mean I have tasted forbidden fruit too early? It was undoubtedly going to leave me wondering and that meant I would seek out more information continuously like a dog worrying a bone until I finally learned what it all meant. That painting wasn’t the last “trigger” I was going to encounter on this holiday. Because of my early interest in stage magic, the theatrical interest had branched out onto other areas during my younger years and onto various acts seen on the stage. The costumes and dramatic personas that appeared in drama always reminded me of something cryptic and alien. Those masks sometimes worn in plays truly fascinated me but when this theatrical interest moved onto science I never really cared to investigate the connection. It wasn’t until sometime towards the end of my holiday in Rome one morning while crossing the road when I saw one of those mimes on the street corner. The connection came flooding back. limmediately isolated this mime figure from the noise and crowds around me as I become suddenly absorbed into his/her act. It was first the pasty 129