Chronosigns ‘no longer concern … description, but narration’; a narration of ‘false continuity’ where ‘crystalline narrations will extend crystalline description’ (C2: 127). The time-image begins with opsigns and sonsigns, the pure actual de-differentiated image, the image on-screen. This is a fundamental zeroness (images which in no way describe a sensory-motor system, which no longer organise the extension of perception into affects, affects into action, and no longer are framed within mental relations); opsigns and sonsigns stymie the seamless flow of actual image to actual image, allowing for the ascension of virtual correlates. Accordingly, the hyalosign (or crystal image) explores – is a description of – the virtual correlates of the image as fragment. These correlates can be described through the way in which the time-image film disturbs the flow of chronological linear time appropriate to the movement-image through the creation of atemporalities. In other words, the film is no longer the immediate connection of moments of the now, homogeneous time, but rather explores temporal heterogeneity. As was seen with hyalosigns, time has its genesis in the future, time is born from an empty future; and the past sustains time, yet as a complex (intermixings, interstices, forgettings and falsities); finally, the present is an instant generated from the possible and filled out with indeterminacy. Hyalosigns were a description of the image in reference to these atemporal coordinates (atemporal in that they do not conjoin to give linear, human, chronological time); a description that allowed Deleuze to describe three signs – a first sign of an actual–virtual composition in the present, the past the secondary sign, and the future as the sign of genesis. Such images – opsignssonsigns as hyalosigns – coalesce in narration. This coalescence, however, is not a direct connection of actual image to actual image through movement (an indirect image of time), but rather, an indirect connection of actual to actual via the virtual (a direct image of time). This is the chronosign, and it will have – once again – three signs corresponding to the three atemporal relations of the past, present and future. The first sign of actual–virtual narration is ‘peaks of the present’ – images which explore the way in which any present moment is fundamentally composed of many heterogeneous presents (C2: 100).