The-Complete-Neruda-Interviews-1-5

The Fourth Interview of Dr. Jamisson Neruda
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Dr. Neruda: “Because the passageway was cut too small for an adult body, and it was a long
distance to traverse.”
Sarah: “With all your technology, couldn’t you have made it wider”
Dr. Neruda: “It was an alternative, but Fifteen didn’t feel it was warranted.”
Sarah: “Why not It seems like a pretty important discovery… maybe the key to the whole
site.”
Dr. Neruda: “The ACIO had technologies that allowed us to drop cameras down the
passageway and photograph the entire chamber remotely.”
Sarah: “What did you see”
Dr. Neruda: “It was the largest of the twenty-four chambers—in all dimensions. Its wall
painting was the largest, and like the twenty-third chamber, was oriented horizontally instead
of vertically. There was a technology artifact that we removed from the chamber that, as far
as I know, is, like all the others, inaccessible to the ACIO probes.”
Sarah: “Other than the chamber being larger in scale, were there any other differences”
Dr. Neruda: “It was very similar to the twenty-third chamber in the sense that it was also
unfinished in appearance, but it was about three times as large in volume. There were a series
of glyphs incised on the wall opposite the painting that were organized in seven groups of
five characters.”
Sarah: “I know you showed me photographs of the chamber paintings, did I see this one”
Dr. Neruda: “No.”
Sarah: “What’s it look like”
Dr. Neruda: “It’s the most abstract and complex of the collection, and consequently, hard
to describe. Like all the chamber paintings, we invested considerable effort and time to
decode the symbols and analyze the content of the painting, but we only had speculation as
to its real purpose.”
Sarah: “Any hypothesis on why the twenty-fourth chamber was hidden”
Dr. Neruda: “Remember that the site was interpreted by most within the Labyrinth Group
as being loosely based on our human genome—”
Sarah: “Because of the helix shape”
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