Original 4 minute teck track produced
by @19825 Music
in Belgium

BEAT ME to raw skin that chafes and falls to the floor.
Grind all the way down to the essence.
The blade becomes flawless only through endless repetitive friction.
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In this story there is HER, IT, HIM, and THE BETTER EGOS.
HER eyes don't lie to you though you may have to look into them to hear the truth.
HIM's just profiting, there's no connection in this world more than a money dart to her skin.
IT keeps building, though, why does It keep building?
THE BETTER EGOS all hate each other, they're just better than the rest.

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SEQUENCE I
IN OUR SHOWERS THE SOAP IS NEVER CLEAN

The opening scene presents an elevated, bird's-eye perspective that collapses inward, creating a spatial effect like an accordion juncture in time or a gravitational well. IT and HER occupy a shared temporal field. The setting is an intimate bathroom—an architectural space associated with hygiene—rendered permeable and unstable. Money falls continuously, replacing water, producing an image of abundance that fails its intended function. Cleanliness is suggested structurally but denied materially. IT lies supine atop rubbish. IT's blindfolded beneath designer sunglasses. The costume—a degraded French maid uniform—frames the body as stylized labor. A knife rests nearby, not in action but in waiting. IT is presented as infrastructure rather than subject: equivalent to the toilet, a fixture designed for use. The compositional emphasis shifts to HER’s face, distorted by proximity to light. Her expression is imminent and defensive. The space rotates again, now hovering over HER’s bathroom, where falling money multiplies into a kaleidoscopic field, potentially illegible to the viewer. HER stands upright but cannot count. Nausea replaces measurement. The body remains functional. Work must continue.
There is no time for reflection—only $€£¥ $€£¥ $€£¥.
What more does HER need to be?
The sequence establishes a closed circuit: circulation without purification, abundance without relief.
IT remains available.

SEQUENCE II
PLAYING MURDER GAMES UNTIL NATURE IS CRIMSON IN ALLEGORY

THE BETTER EGOS appear as a collective formation defined by symmetry and opposition. Their presence is competitive rather than communal. Mirrors are unnecessary; reflection is assumed. This sequence stages violence as ritualized encounter. The figures strip their chests to exposure, presenting the body as proof of endurance. Cold functions as an equalizing force, not a deterrent. Each figure claims supremacy while requiring the other's elimination. Blood enters the scene chromatically, marking escalation rather than injury. The struggle continues until certainty replaces motion. The violence concludes only when dominance is stabilized. The sequence frames the ego as a self-consuming system that equates victory with annihilation.

“And if anyone tried to release them and lead them upward, would they not kill him if they could get their hands on him?”
— Plato, The Republic, Book VII

SEQUENCE III
HER SURVIVES ONLY BY RUNNING DIRECT TO INSANITY

The visual field contracts. HER withdraws from spectacle and relocates inward. She is no longer displayed but sustained through repetition. Running becomes the dominant gesture. Movement is continuous, meditative, and compulsory. Money reappears not as object but as direction—an invisible force organizing trajectory. This pursuit is identified as HER’s central error. The chase produces exhaustion rather than reward. Insanity emerges not as collapse but as prolonged overextension. Survival is achieved through motion alone.

SEQUENCE IV
WE ALL PLAY SIMULATE DEATH IN RED-CODED PESTICIDE

The space fractures into overlapping realities. The phrase BEAT ME becomes briefly legible across the hallucinatory environment of THE BETTER EGOS, who have now entered a stage of enjoyment. Blood is no longer incidental; it is performative. HER is positioned beneath them, subjected to repeated impact. The body absorbs force as material rather than resisting it. THE BETTER EGOS are shown suspended beneath robotic mechanisms. Limbs are reconstructed. Genetic code appears adjustable. Violence becomes procedural. IT reactivates, awakening into renewed use. A new figure, HIM, appears removed from physical engagement. He occupies leisure. He imagines perfection. Judgment and scrutiny surround him without consequence. Elsewhere, HER sits in snow, struggling to stabilize her vision. The knees that once propelled her now fail. Still, she must run again.
Stasis equals death. HIM shapes money into darts. He plays his leisure game from a distance. IT is the easiest target. The dart does not miss; it engulfs all. Flames conclude the action.

SEQUENCE V
DELICIOUS PROFITS ARE ONLY IT’S SLAUGHTER AWAY;
EXHIBIT 4

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Fragments of IT now occupy the environment—walls, floors, surfaces—distributed evenly. HIM remains unchanged, fulfilling the same function. THE BETTER EGOS search for IT’s location, drawn by attention. Their priority remains centrality, even at the cost of self-destruction. IT becomes conscious of her display.
EXHIBIT 4 introduces a tomato: ripe, red, cultivated. Its value is emphasized through description. A woman in a French maid costume crushes it in her hand. Seeds fall. Pulp stains skin. The gesture is not destruction but desecration. The tomato is revealed as more valued than the laboring body. The fruit is sacred. The woman is replaceable—the tomato functions as currency. The body functions as stage.
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IT’s face should be the mess.
IT’s face should be the mess.
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SEQUENCE VI
RECALIBRATE THE EGOS ALL USED UP

All figures remain functional except HIM, who continues throwing darts without purpose. Waste replaces target.HER has endured sustained damage, though she conceals it. THE BETTER EGOS turn inward, submitting themselves to external judgment. The process dismantles and rebuilds them until ego collapses. They refuse further pursuit. They exit the system. Their disappearance occurs beneath HER’s continued motion. She refuses death.

SEQUENCE VII
LIFELESS HANDS FLOAT LIKE ASH-LADEN CLOUDS

HER appears in multiple iterations, receiving the cumulative damage. A lifeless hand rests in mineral-blue water. The image is still, controlled, purified.

IT does not reappear.
There is no search.
No residue remains to locate.

THE BETTER EGOS no longer register.
HIM withdraws, finished.

HER’s refusal to die alters her status. She exceeds prey. The question remains unresolved: how much endurance precedes peace?
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The final image holds on HER, submerged, her weight supported by water.
HER heavy head bears over this calm of HER.
The system pauses.
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May HER rest in peace.

END
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