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Banksy Style DAHAB GOLD SCENE 8 “The Suitcase, The Saws, The Rope, The Goodbye, The Break no 6 Fine Art Posters

£1,000.00
By A1-Who Dares Wins

Fine Art Posters based around real life events during My Life - My Deaths -Their Plans - Failed - 2001 -2025  

This marks of the back of the 3rd SAS link and my escape from Hergest . This Art work captulates the 1% life Art work real life events regenerated by Mr39-7 ( Sean Actually damaged Mr Emed's Glasses out of spite) to create a situation when i trashed his . I did the decent thing overiding Sean's fkery and paid for Mr Emed's glasses even though i knew Sean did it. Love Mr Emed. 

DAHAB GOLD — SCENE 8 

“The Suitcase, The Saws, The Rope, The Goodbye, The Break”

After Scene 7, when the psychological table test reached its peak,
Mr. Samir stepped in and set boundaries.
It was his hotel, and he had every right to stop the escalation.
He simply said: “That’s enough.”

Later that night, I sat next to Gino — the man connected to the so-called “130 million euro loss.”
He played it off as if he’d lost a hotel worth €130 million,
but we both knew the truth:
it tied back to the historic 130 million euro drug operation of July 2011.

I had already linked it all.
I told him who the grass was.
We had the Nokia mobile with @ marie moore @,
which connected back to September 2007,
when Sean Norman brought the Moores’ death threat my way after watching 300.

Everything was converging here in Egypt —
Gino, (Sean Norman) ( he was just an hisorical nobody instigator ), Marie Moore, the 130 million,
and Sean Flannery from the UK.

As I sat processing this, a man walked in:

Small.
Ginger hair.
Ginger beard.
He looked directly at me and said one word:

“Goodbye.”

Then he walked on.

I stood up and moved beside Mr. Samir.

Samir nodded at the ginger man and said:

“Look at his face.”

Then he told me:

“This is the biggest mafia place in Dahab…
and I wish I could help you.”

That confirmed what I already sensed —
the situation wasn’t just dangerous;
it was layered, connected, and far bigger than the room itself.

They didn’t know who I was,
and they didn’t know the truth:
that all of this was a collated series of setups by snakes,
false framing,
plus the three SAS links,
the third being the undercover SAS man inside the mental health hospital
I had just been discharged from.

Yet even with that, I wasn’t folding.
I held my ground.
But they weren’t listening.
Gino kept escalating.

We sat again at the table,
and that’s when the scene intensified:

  • Stacks of rusty saws beside me

  • A suitcase

  • Rope

  • Gino pounding the guitar, manic, losing control

  • Ashraf pushing apple pie and ice cream at me, repeatedly

  • A knife being rubbed across my arm

I pushed the food back — I wasn’t hungry.
I’d eaten already.
It wasn’t about food.
It was about pressure and compliance.

And the whole time, Gino stayed worked up, excited,
fuelled by the atmosphere.

Then — the moment that changed everything:

My mother called me.

Gino answered the phone, manic , and said:

“Ciao… goodbye.”

Then he added:

“And you have family in Australia.”

A detail I never told him.
Not once.
Yet he knew.

That hit differently.
That told me something else:
someone had briefed him,
someone had fed him information,
or the network ran deeper than the room itself.

Up until this point,
they had already said they were going to cut my neck,
and they had drawn pink angles on their bodies
showing where they intended to make the cuts on mine.

Even then, I held my nerve.
I still didn’t break.

But they had boxed me into a point where,
if something happened,
I was going to be forced to defend myself.

And then —
at the final moment —
Gino offered the break.

He said:

“Do you want a break?”

Because he could feel the line breaking —
not my line, but theirs.

They pushed it too far.
They didn’t know I was innocent
and were moments from forcing something irreversible.

I took the break.

That break snapped the cycle —
and opened the doorway to what happened next.

This moment —
the saws, the suitcase, the rope, the guitar, the apple pie, the knife, the “goodbye,” the Australia reveal —
is the true Scene 8

in the Dahab Gold timeline..Story by Mr39-7 

 ( Read the book when it comes out ) Blog here ;

https://a1whodareswins.com/blogs/news/leaving-mh-var-ring-after-assignation-failure-in-there-and-to-south-sinai-egypt-dahab-with-1-penny-and-a-set-of-dreams-and-goals-january-23-to-may-th-4th-2014-in-blind

Created for the creators, designed for the artists - our blank posters put the gallery-grade paper at your disposal so that you can print all your works in exquisite detail and with high-end archival quality. Equipped with a smooth, matte surface, your artwork is printed with the Giclée technique for crisp color fidelity on par with Fine Art printing standards

.: Material: gallery-grade 220 gsm fine art paper
.: Giclée print quality
.: Smooth matte finish
.: Available in 19 sizes 
.: Horizontal, vertical and square options
.: Blank product sourced from the United Kingdom



EU representative: A1 Who Dares Wins Ltd , info@a1whodareswins.com, Chadstones , The Hangar, Hadley Park E, Hadley , Telford , ENG, TF16QJ, GB

Product information: Generic brand, 2 year warranty in EU and Northern Ireland as per Directive 1999/44/EC

Warnings, Hazard: No restrictions, Blank product sourced from the United Kingdom

Care instructions: If the poster does gather any dust, you may wipe it off gently with a clean, dry cloth. Recommend framing to protect.