Whitley Strieber - The Omega Point

The shibboleth has always been that the “philosopher’s stone” is supposedly capable of turning something like lead or iron into gold. In the Middle Ages, mountebanks went about in Europe using sleight of hand to convince the wealthy that they could do this, with the intention of fleecing them.

There is a truth behind it, though, and it is the explanation, I am convinced, for Herbert Acton’s abilities. And, in fact, as I write this, I feel a sort of déjà vu again, as if the words are a kind of echo. I would surmise that this is information from our class, being drawn through the amnesia.

What this ancient science concerned, I believe, were manipulations that are presently far beyond our ability. It was able to see into the future, and, I think, holds the promise of actually enabling physical movement through time—an orderly, organized version of what happened to that dire wolf in Utah.

I have made a most interesting discovery about this room. It contains a time machine—not one that can enable physical time travel, but one that can facilitate the sort of seeing that Herbert Acton was so expert at. I think of it as a time telescope, and it stands on this desk, the Tiffany masterwork that is far more than a desk lamp.

It was the alchemical colors that revealed the lamp’s true purpose to me. The master who created them understood the uses of light frequencies, and when I close my eyes and let the colors wash across my forehead, I am able to see brilliant images of the future. In other words, the legend of the crystal ball or the magic lantern is about lamps like this.

Accelerating vision into the future—perhaps bodies, too—need have nothing to do with arcane contraptions like supercolliders. It has to do with changing the temporal frequency of the body, and that can be done with light.

You look into a color of the type produced by this lamp until, when you close your eyes, it fills your head—and then, after a few moments, you will see what for me are flickering, indistinct visions, but which for a master like Herbert Acton must have been exquisitely detailed images.

Even with my limited skills, though, I have seen the future, and, frankly, I am terrified. Not because of what is there, but rather what is not.

In my mind’s eye, for example, I can see this room as it will be later tonight, empty, the darkness flickering from the auroras.

Then something else happens, involving strange light rising in the east—a piercing violet object in the sky. And that light—the color is like that of the Great Elixir, a light frequency of great power, both creative and destructive.

No sooner does this light wash in through the windows than all light disappears. It’s not night, it’s another kind of dark entirely. When I tried to see into it, it almost seemed to want to suck me in, as if it was in some way hungry. I think that I was seeing the absence of reality itself, the absolute emptiness that surrounds the universe, that is, what exists before light has come and after it has faded, beyond the limits of time.

In other words, we are almost at the end of time, probably just days away, or even hours.

And yet, it’s not the entire and complete end, because something else is there, a glimmer in the black ocean.

I think this is the beginning of new life on earth, thousands of years from now.

And getting there is our goal, and it is why Caroline refers to her painting as a navigation tool. As she paints, she is looking in her mind’s eye at a specific spot on the Earth of the future, the place she briefly took me to. Once the painting is finished, everybody who sees it, and is properly prepared—no doubt by consuming the substance they’re manufacturing in the arc furnace—will supposedly be able to navigate to the point in time it depicts.

I have also seen our world as it is right now, and what I have seen has almost made me sweat blood, because hell is unfolding here, and it is far, far worse than I imagined. Even as desperate as we are here at the clinic, compared to what’s going on outside, we are a splendid palace shining in the middle of a wasteland.

For example, the farm belt all over the world is a gigantic desert of brown, ruined crops. I sailed from Iowa to Texas on the lamp’s magical wings, and saw nothing but stubble and burning cities and long lines of dead cars on the roads, and everywhere bloated, dead cattle, and people in their millions cutting and eating the carrion meat.

Also, I saw ever more of the huge objects that I glimpsed out my window the other night, drifting over the face of the land, lingering over cities, marching in enormous platoons across the suffering world. I saw them drawing people into themselves in vast numbers, but I could not see what was happening to them. I do remember, though, that it was beautiful. Were these the biblical elect, then, those who have finished with earthly life, being raised up? Or was it something else, the harvest of mankind, perhaps, as slaves or as a DNA pool?

I could see what was happening, but there was nobody to tell me why.

I have also seen people cutting themselves to the bone—literally butchering themselves—to get rid of the strange quasi-physical shadows like the ones on Katie’s neck and probably on Tom Dryden. I fear that I know why, and I fear for them both. Katie seems a good person and Tom is innocuous, but we do hide our darkness, we humans.

Taken together—the vision of the lake of fire from Revelation, and these two encounters with those huge objects, I think that what I am seeing is the beginning of a legendary event, the actual, physical judgment of man.

At the thought, my guts congeal, my heart overspeeds. This whole planet is on death row, and I feel it not only as a member of human society and a man responsible for a lot of lives, I feel it personally. I am the one whose energy will enable us to take our first step across time. That’s why I am identified with Quetzalcoatl who was, among many other things, the god of new beginnings.

My impulse is to throw myself into my work, and I have a lot of work to do. My primary immediate responsibility is clear: be sure this place is not destroyed before we’ve completed what we’ve been put here to do.

I wish that I could say that I was confident, but I am not confident at all. We know literally not a thing about whoever killed Mrs. Denman, and until we do know that, everybody here is in danger, and so is our mission.

Undoubtedly, somebody has at least an inkling of what we are going to attempt, and wants to take our knowledge and use it in our stead.

I look to Mr. Acton’s final letter to me. It warns David that Goliath is coming—in fact, that Goliath is here now. But who is Goliath, a person, a storm, some new fire about to be spit from the sun?

No doubt Goliath is many things, but one of them must be that violet light—the highest color of alchemical growth and also the color of ultimate death. The light is an incredible poison, and it’s coming. But it isn’t the only aspect of the giant. Goliath has servants.

As I am apparently David to this Goliath, it’s worth asking just how I sling my stone into his forehead. The light must come from the supernova that was mentioned in the document Mrs. Denman gave me to read. Maybe we’re getting close enough to it to see its core as a distinct stellar object.

A supernova’s core emanates sterilizing sheets of gamma rays.

As I sit here, night is coming on, the worst time.

I go to one of my majestic windows, to the glowing, bizarre darkness. Frankly, when I looked into the future, I was surprised that I did not see that the sun had gone supernova. Such things happen all the time, with one stellar explosion blasting nearby stars with so much energy that they explode, too.

I cannot see around to the east very well, but it looks as if there is a violet-purple tint off beyond the limits of my vision.