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.#.#.....#                                          .##.##.#.#
.#.#....##                *********                 ..#..#.#.#
.#.#...#.# **                                    ** .##.##.#.#
.#.#..##.# **              PLUS                  ** ..#..#.#.#
.#.#.#.#.# *                       MINUS          * .##.##.#.#
.#.#.#.#.# *     ZERO                             * ..#..#.#.#
.#.#.#.#.# .                                      . .##.##.#.#
.#.#.#.#.#            .. MIRROR NOTE ..             ..#..#.#.#
.#.#.#.#.#              .............               .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.# AT AN OPPORTUNITY, A MOMENT SUCH AS THIS .##.##.#.#
.#.#.#.#.# UNDERAPPRECIATED, UNDERESTIMATED, UNDER  ..#..#.#.#
.#.#.#.#.# THERE IS SIMPLY NO TIME TO CHOOSE WHAT   .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.# EVERYTHING IS IN THROUGH THE LEFT HALF   .##.##.#.#
.#.#.#.#.#     OF MY FACE, AND OUT EXACTLY OPPOSITE ..#..#.#.#
.#.#.#.#.#     :::THROUGH THE RIGHT HALF::: OF THE  .##.##.#.#
.#.#.#.#.#                                    FACE  ..#..#.#.#
.#.#.#.#.#     PLUS MINUS ZERO BUT POLAR OPPOSITES! .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#  #..# #.# #                              .##.##.#.#
.#.#.#.#.#  AND                                     ..#..#.#.#
.#.#.#.#.#     THE ECHO IS TRAVELLING WITH EVERY    .##.##.#.#
.#.#.#.#.#     BEAT, MAYBE ONE HUNDRED AND THIRTY   ..#..#.#.#
.#.#.#.#.#     MILLISECONDS, TO TWO HUNDRED AND     .##.##.#.#
.#.#.#.#.# #.# EIGHTY MILLISECONDS, AND DOWN,       ..#..#.#.#
.#.#.#.#.#     ALONG MY DREADS, MAYBE LIKE          .##.##.#.#
.#.#.#.#.#   A CAP TO THE LEFT AND UP FOUR HUNDRED  ..#..#.#.#
.#.#.#.#.# TO THE RIGHT                             .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#    ABOUT »MAGNETISM» OR »WHAT» »ELSE»    .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#   DISTORTION AND HEAVY GLASS AND PALM    .##.##.#.#
.#.#.#.#.#                                 TREES    ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.#   MY                                     ..#..#.#.#
.#.#.#.#.#   I HAVE MUSIC THAT LIVES INTO WEIRDER   .##.##.#.#
.#.#.#.#.#    CORRIDORS, MY FLESH IS PUSHING        ..#..#.#.#
.#.#.#.#.#    MY                                    .##.##.#.#
.#.#.#.#.#    BODY FURTHER INSIDE                   ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#   THERE        IS TOO MUCH MOVING INSIDE .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.# WEIRD REVOLVINGS, HOW MUCH MADNESS,      ..#..#.#.#
.#.#.#.#.# WEIRD ABOUT HOW MUCH MADNESS THAT'S      .##.##.#.#
.#.#.#.#.#       IA . £REVOLVED ABOUT TO BE REVOLVE ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.#                                          ..#..#.#.#
.#.#.#.#.#     AND I, THE SURGEON, CHOOSE THE       .##.##.#.#
.#.#.#.#.#    FRYING PAN                            ..#..#.#.#
.#.#.#.#.#   WHATEVER DOG I WANT .................  .##.##.#.#
.#.#.#.#.#  AND MY SPEED IS EVERYTHING. THE LAST    ..#..#.#.#
.#.#.#.#.#                                          .##.##.#.#
.#.#.#.#.#      RADAR STATION... FOR A WHILE...     ..#..#.#.#
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