At the close of the first decade of the 2000s, Lawrence Jordan wove together a vast river of image and sound from unused film material piled-up in his studio since 1952. In essence, this is his visual autobiography, including clips from strange and unusual appropriated footage, outtakes from many of his films as well as material from uncompleted projects.

With the ninth chapter, representing reels twenty-five through twenty-seven, we begin largely where the previous reel concluded (with the Balfa Brothers on the soundtrack and the spider still spinning its web). This is all rapidly followed by the postcard-writing and scenery from POSTCARD FROM SAN MIGUEL (1996), inverted by way of San Miguel de Allende. The time machine turns further backward into a collage of footage of "America's sweetheart" Mary Pickford largely culled from D.W. Griffith two-reelers. Thereafter, a collection of otherwise unseen home-movies featuring Lawrence Jordan (wearing a cowboy hat in the desert) and, as always, Joanna McClure throughout the years, from SPECTRE MYSTAGOGIC (1957) and the H.D. TRILOGY (1992-1994), interspersed with other footage of a more casual nature unused in any film. The section ends with a random assortment of found footage involving a lion, dancing children and an early-animated diversion about the Russian Revolution. The closing moments of the chapter, largely all of the twenty-seventh reel, is an exploration of "vertical cinema" (albeit presented horizontally), with THE HOUSE AT 305 PRENTISS (1960) and the otherwise unavailable FOUR VERTICAL PORTRAITS (1960) of Wallace Berman, Patricia Jordan, Shirley Mae and George Herms (along with a bonus pre-portrait of "Louise"), bookended by the briefest return of our web-spinning arachnid.