The James Comey film dream

The James Comey Film Dream

Episodes, voices, montage/collage

by Jon Rappoport

June 18, 2017

These roses we saw in the fields of honor. Old families who live on. Give us light on our branches. Deed to us something of virtue.

WE WANT THE TRUTH. CAN WE GET THAT? CAN WE TAKE OFF THE MASKS AND GET DOWN TO BUSINESS? WE WANT A SURGE OF IMAGINATION AND THE MANY FUTURES IT HOLDS. WE WANT OPEN SOCIETY, MANY PEOPLE CREATING PREVIOUSLY UNKNOWN REALITIES AND CRACKING THE EGG. CAN WE GET THAT? CAN THE “WE” BE TURNED INTO AN “I”? CAN THE ONE “I” BECOME MANY? WHAT ARE “WE” WAITING FOR? WHAT HYPNOTIC FORCE IS HOLDING PEOPLE BACK?

LIVE CNN. LIVE CNN. LIVE CNN.

Pulitzer Prize awarded to homeless playwright whose two-hour work featured a man saying, over and over and over and over, nothing else but I AM NOT THREATENING TO KILL TRUMP, I AM NOT THREATENING TO KILL TRUMP, I AM NOT THREATENING TO KILL TRUMP.

ORDER! THERE WILL BE ORDER IN THE ROOM! Let’s start this dream rolling! No more delays! We have an obligation to kick this thing into high gear. STOP STALLING! WE EITHER HAVE A DREAM ABOUT A MOVIE AND A MOVIE ABOUT A DREAM OR WE HAVE NOTHING. The last thing we need is dead air. Since the fix is in, let’s fix the fix and leap ahead. AND FOR HEAVEN’S SAKE, LET’S TRY TO APPEAR NORMAL AND SEQUENTIAL AND NOT EXPOSE THE WHOLE BUSINESS. WILL ANY SENATOR WHO IS SUFFERING FROM DEMENTIA PLEASE LEAVE THE ROOM. I HAVE A BAD FEELING. WE HAVE SOME ACTORS HERE WHO ARE INCOMPETENT. THEY’RE ILL-PREPARED. THIS MOVIE IS PAPER THIN. WHAT IS WRONG WITH YOU PEOPLE?

We have seen epics of the moon in the ancient doorways, we have noticed the shadows of years passing, we have lain in summer fields. Give us something of value.

Committee Chair Senator Gloobus sits high up and stares at his podium. He counts four ants slowly sluggishly moving about on the polished surface. But it’s hard to tell, sometimes an ant will seem to materialize out of nowhere. He has to hold it together, McCain and Pelosi are over the threshold into brain chaos obviously. He can’t go that route. Not just yet.

COMMITTEE CHAIRMAN GLOOBUS: ISN’T IT TRUE, MR. COMEY, THAT YOU’RE BASICALLY AN OPERATIVE FOR THE CLINTONS?

(General good-natured laughter in the room)

COMEY: WELL I THOUGHT EVERYONE KNEW THAT. I MEAN…DO WE REALLY NEED TO…(looks around)…SURE, YES. BUT NO, I’M NOT. I’M IN THE MIDDLE. I’M HONEST.

COMMITTEEMAN SEN. LUCENT (interrupting): IF SOMEONE WERE TRYING TO MAKE AN INVESTIGATION GO AWAY, WOULD HE FIRE YOU?

COMEY: THAT’S A FISHING EXPEDITION. IT GOES ALL THE WAY BACK TO THE GREEKS AND THE SLAUGHTER AT TROY. DO YOU SEE THE THRUST?

SEN. LUCENT: FOR EXAMPLE, LOCKHEED MARTIN.

COMEY: I WOULD INCLUDE THAT, YES. IF YOU FACTOR IN WAR. AND YOU ALWAYS HAVE TO. I MEAN WE’RE ALL LIVING IN A POOL OF WAR.

SEN. LUCENT: ARE YOU JAMES COMEY?

COMEY: YOU MEAN AS OPPOSED TO AN ARTIFACT OF THE SAME OR DIFFERENT NAME?

SEN. LUCENT: CORRECT.

COMEY: YOU’RE ASKING IF A FILM CAN BECOME AWARE OF ITSELF.

Crew struggling with many cameras and lights in an open field. The movie director is there:

OK LOOK BOYS WE’RE TRYING TO GET THIS SET UP RIGHT. WE WANT TO FILM ATOMS IN MOTION. NOBODY SAID IT WOULD BE EASY. WE WANT TO GET DOWN INSIDE THOSE ATOMS AND FIND OUT HOW THEY WORK. PENETRATE THE SUB PARTICLES AND GET INSIDE THEM TO THE CORE IF THERE IS A CORE. WHO KNOWS, MAYBE THERE ARE VOICES THAT BROADCAST MESSAGES. WHAT ARE THEY SAYING? WE WANT TO GET THAT ON TAPE.

Shack next to a hospital. The shack is a courtroom.

Judge: I’m not really a judge. Let’s get that straight. But in this movie, I have power. That cannot be denied. I come from a good family and we have many dollars and many assets. I was appointed by a president to my seat on the bench. It’s quite a throne, when you consider the benefits.

YEAH WE KNOW ALL THAT, NOTHING NEW THERE…Yeah, nothing new. I’ve been dreaming you up, Judge, for some time. It hasn’t always been easy. You should be paying me big-time for keeping all your crimes under the table. The blister attacks in Berlin, the smoke canisters in the lobby of the Central Park Hotel to cover the jewel heist, and so on. You’re in clover because of me. I see your latest caper is a lawsuit charging 8 million people with being hypnotized. Interesting. Who’s the plaintiff?

Outdoor shopping mall, two cots, sheets rumpled, small table, doctor in white coat searching the room…

Where’s my patient? I need to give him a shot. You’re the audience you’re supposed to know where he is, you can see more than I can, I’m just a little guy doing his job.

THE MOVIE DIRECTOR: DOWN INSIDE A SUB SUB PARTICLE AS TINY AS I DON’T KNOW WHAT. IT WAS QUITE A SHOCKER. BUT IT’S REAL, MAKE NO MISTAKE ABOUT IT. WE’RE MAKING ASTOUNDING DISCOVERIES. IT APPEARS THAT EVERY ATOM CONTAINS A FILM OR A PIECE OF A FILM…

Sagging bottle of perfume and a voice—so this is what you can expect ladies if you weigh over 300 pounds if you use our product a kind of listless languid tall beauty no matter who you are you’ll benefit through a transformative process our scientists developed from studying grossly obese bugs that feed on ferns in Argentina wetlands in 1947 cowboys riding through pampas and rounding up cows and horses

THE SECRET LIFE OF ATOMS LET’S TAKE 56782000000000000000000 ATOMS TO THE 567897234TH POWER AND STUDY THE FILMS THEY EACH CONTAIN AND SEE IF THOSE PIECES OF FILM LINK UP. SEE WHERE I’M GOING BOYS? THOSE HOTEL ROOMS AND PARKS AND SHOPS ARE FILM COMING OUT OF COMPONENT ATOMS. Who proposed that theory? We track the researcher through the dreamscape and find out where he goes, who he talks to, and who he works for. The shoe company is owned by a furrier that’s owned by a bank run by three catalog houses with a po box in des moines and that’s where it stops and goes dry. Everything ends in the countryside. It peters out. That’s what it’s for. End of the line. I thought you were a doctor, I thought you were a judge. Cut outs. Misdirection. You’re under the care of a physician for 30 years and it turns out he disappeared in 1952. You don’t even know where the park is.

We are on the move, from village to village in the unbroken plain, a caravan pro healed spirits, a compound rises up from the ground, mist, enveloping us. Give us something of knowledge.

SEN. LUCENT: WERE YOU THE HEAD OF THE FBI?

COMEY: ARE YOU REFERRING TO THE BOOK CALLED THE FBI OR THE FBI?

SEN. LUCENT: THE FBI.

COMEY: I WAS COMPOSITED OF OLD SCRAPS. I WAS SERVING A TEN YEAR STRETCH IN MARION. THEY CAME AND GOT ME.

SEN. LUCENT: YOU’RE TALKING ABOUT REALITY HOLES.

COMEY: I WOULD SAY THE REALITY HOLES ARE INVESTIGATING US!

Small café in central California, summer afternoon. Two people sitting at a small table drinking coffee. They vanish. A waiter comes and takes the cups away. The sound of gunfire.

COMEY: I HAVE A MEMORY OF BEING EATEN BY AN APPLE.

SEN. LUCENT: HOW BIG WAS THE APPLE?

COMEY: I COULD HOLD IT IN MY HAND.

SEN. LUCENT: WAS MR. TRUMP THERE?

COMEY: I WAS EIGHT YEARS OLD.

SEN. LUCENT: IN THE DREAM?

COMEY: THIS IS THE DREAM. THIS HEARING. AREN’T YOU AWARE OF THAT?

SEN. LUCENT: YES, WELL…

COMEY: THINK ABOUT IT. THIS ROOM. ALL THE PEOPLE.

SEN. LUCENT: WELL…

Seventeen reporters gather around a large table in a newsroom. A clerk is spilling bundles of cash from canvas bags. Reporters grab them. “Have a nice day!” “Have a nice day!” “Let’s go have a drink.” “Want some lunch?”

MOVIE DIRECTOR: I’VE NEVER BEEN MORE SURE OF ANYTHING BOYS. THESE ATOMS ARE MOVIE CLIPS. WE NEED AN ATOM SMASHER. A BIG ONE. MAYBE TWO WORKING IN OPPOSITE DIRECTIONS.

SEN. LUCENT: WAS THERE EVER A JAMES COMEY? THESE SCRAPS YOU’RE MADE OF, MR. COMEY. WHERE DID THEY COME FROM?

COMEY: ATOMS. EACH ATOM HAS WITHIN IT A PIECE OF FILM. WE’RE BIT PLAYERS. DAY PLAYERS. WE’RE HIRED FOR A PROJECT AND THEN WE GO AWAY.

SEN. LUCENT: WHERE DO YOU GO?

COMEY: INTO ATOMIC SUBCONSCIOUS.

SEN. LUCENT: DID MR. TRUMP TELL YOU THAT?

COMEY: HAVE YOU NOTICED HE FADES IN AND OUT?

SEN. LUCENT: I HAVE THAT IN MY NOTES SOMEWHERE.

COMEY: THE NEW YORK TIMES HAS DOCUMENTS ON IT.

SEN. LUCENT: WHAT ABOUT THE RUSSKIES?

COMEY: I’M GLAD YOU ASKED ABOUT THEM, SENATOR. YOU SEE, NOT ALL ATOMS ARE CREATED EQUAL. THE RUSSIANS ARE PARTICULARLY VIRULENT CREATURES. THAT’S WHY THEY MUST BE WIPED OUT LIKE A BLIZZARD WITH A HEAT RAY. THE PRESIDENT DOES NOT UNDERSTAND THIS. HILLARY CLINTON DOES. THAT’S WHY SHE HELPED ENGINEER THE SALE OF TWENTY PERCENT OF US URANIUM TO PUTIN.

SEN. LUCENT: THE UNREAL GIVES BIRTH TO THE REAL?

COMEY: THE REAL IS ALREADY DEFINED, SO HOW COULD IT EXTEND ITS INFLUENCE? ONLY THE UNREAL CAN ENGENDER EFFECTS.

SEN. LUCENT: SO YOU’RE A PROP?

COMEY: AN INTERMEDIARY. I RECEIVE AND THEN I TRANSMIT. I COULD LOOK HUMAN OR I COULD LOOK MECHANICAL. EITHER WAY. IT’S BASICALLY A MATTER OF AESTHETICS. I’M A PIECE OF FILM COMMENTING ON THE FILM.

SEN. LUCENT: DO YOU BATHE?

COMEY: TWICE A DAY.

SEN. LUCENT: AHA.

COMEY: I HAVE TO CLEAN OFF THE EXCESS ELECTROMAGNETICS.

SEN. LUCENT: HOW DO YOU KNOW ALL THIS?

COMEY: DON’T KNOW ANYTHING. I’M A CONDUIT.

Miles of sand on an empty beach. The director and his crew are struggling in the wind to set up their cameras and other equipment. They’re pulling fish out of the water with their hands and eating them raw.

INTERRUPTION—CHAIRMAN OF THE COMMITTEE, SENATOR GLOOBUS: I HAVE TO INTERCEDE FOR A MOMENT. I SUSPECT A LARGER ISSUE IMPACTS ON WHAT WE’RE WITNESSING HERE TODAY…CULTURAL APPROPRIATION. Congratulations, Italy! You’ve just become the richest country in the world. Why? Well, do a little research, and you’ll find the English language has roots, many word roots, in Latin. Every schoolchild used to know this. The theft is outrageous. Here we are, in countries, deploying English (and Spanish and French), and we are failing to admit we’re egregiously poaching on Latin. We should pay the descendants—everyone living in Italy now—a few trillion dollars for starters, just to acknowledge our debt. With ensuing negotiations, that paltry sum will swell, of course. But wait. I have bad news for Italy. The Italian powers-that-be are going to have explore their own roots. Because: where did the Latin language come from? This question is debated. There are partial suggestions. Greek, Phoenician, Celtic, Etruscan. A kind of stew. Committees will have to form in Italy. Discerning and august members of the academic communities of several regions and nations will have to sit down and discuss and debate. I propose a weapons ban in the meeting rooms. The process will undoubtedly take decades. The trillions of dollars flowing into Italy’s coffers, as compensation for cultural appropriation, are on the line. How much of it will go elsewhere? How much will stay? How is the booty going to be divided up? I hate to insert this, but what of the UFO ET question? Because, if you go back far enough, isn’t there the possibility that visitors from other planets and solar systems and galaxies seeded Earth with language? If so, how can we contact them? How can we offer them paper money or digital accounts or precious metals or gems to service our debt? Consider a language-stream that might have traveled from ETs to Sumerians to Phoenicians to Greeks to Romans. Who gets how much money? I can see Italy is going to have work very hard to keep its hands on a lot of dough. Perhaps someone from the Clinton Foundation can offer accounting advice. Just a thought. The United Nations will certainly want to get involved. What do they make for mediating? What’s their cut of the action? And while we’re at it—how much money is actually money? The Federal Reserve will weigh in. Does money invented out of thin air satisfy the present-day descendants of ancient cultures and…the ETs? Rothschild bankers may have their own brand of wisdom to contribute. Goldman Sachs, as well. But somehow, we must arrive at a figure to cover the stolen language(s). Of course, there is another direction we could take. For example, in the case of English, we could, as a gesture of good will, just stop speaking and writing it. Yes, the horse is already out of the barn, but still, why not just outlaw English? It’s a simple yet elegant solution. Let’s invent a new language; perhaps one determined by random generators filled with arbitrary symbols. That way, we could escape the charge of cultural appropriation. We would have to assign meanings to the symbols—and we would have to be careful to avoid stealing definitions from older cultures—but perhaps we could make a go of it. I’m willing to lead such an “expedition.” Since the future of perhaps three hundred trillion dollars is in play, I would only charge a measly one percent for my services. Amen. (“Amen,” from Old English, Church Latin, Greek, Hebrew) A few modern linguists are now claiming all languages originated in Africa. So that’s in the mix, too. There are presently 196 nations in the world. Face it, they’re all going to get involved in negotiations. I recommend using the Roman Colosseum for ongoing meetings. Live stream them on the Web for the next 200 years, interspersed with gladiatorial contests. Speaking of which, I wonder where personal combat began on planet Earth. The descendants of those people certainly deserve compensation for their forefathers inventing the concept and practice of war. Talk about cultural appropriation—that’s a big one.

SEN. LUCENT: THANK YOU, MR. CHAIRMAN. NOW, AS I WAS SAYING, DID PRESIDENT TRUMP PRESSURE YOU TO STOP INVESTIGATING MICHAEL FLYNN, MR. COMEY?

COMEY: IS THAT WHAT YOU WERE SAYING? I THOUGHT WE WERE DISCUSSING FILM.

SEN. LUCENT: WELL…

COMEY: YES. I HAVE IT RIGHT HERE IN A MEMO I WROTE TO MYSELF. FILM. REALITY. AND WAR. WE’RE IN A PERPETUAL STATE OF WAR.

SEN. LUCENT: YOUR FACE LOOKS FAMILIAR.

COMEY: I’M A TYPE THAT GOES BACK TO THE BRITISH COLONIAL EMPIRE. NOW CONSIDERED “U.S. BUSINESSMAN ALERT MODEL.”

SEN. LUCENT: SUPPOSEDLY TRUSTWORTHY. PERFECT FOR THE JOB.

COMEY: SHAPED BY THE FILM.

SEN. LUCENT: IS THERE AN ESCAPE HATCH?

COMEY: I’M NOT THE PERSON TO BE ASKING.

SEN. LUCENT: ABOUT THE MEMO YOU WROTE TO YOURSELF AFTER THE TRUMP MEETING.

COMEY: I LEAKED IT TO THE PRESS AS I WAS WRITING IT.

SEN. LUCENT: EFFICIENT.

COMEY: BUILT THAT WAY.

SEN. LUCENT: DO I EXIST?

COMEY: YOU’VE BEEN CAST IN A THREE OR FOUR DAY ROLE. THEN YOU DISSOLVE BACK INTO THE RAW MATERIAL.

SEN. LUCENT: WILL I EVER RETURN?

COMEY: PERHAPS FOR A FEW BRIEF STINTS. LOOKS LIKE I’LL BE AROUND FOR QUITE A WHILE. I’M SIGNING A BOOK DEAL. I’M SURE A MOVIE WILL DEVELOP. A MOVIE ABOUT A MOVIE.

Main street of small Midwest town. The director and his crew are setting up lights and cameras. DIRECTOR: This is turning into a Comey shoot. We’re going to get inside and see what makes him tick…all the way inside. It’s going to be cosmic…

COMMITTEE CHAIRMAN GLOOBUS: ORDER! DAMMIT ORDER! I KNEW THIS WAS GOING TO HAPPEN! WE’RE ON NATIONAL TELEVISION! DO YOU REALIZE WHAT YOU’RE DOING? MR. COMEY, YOU’RE NOT SOME PHILOSOPHER, YOU’RE THE FORMER HEAD OF THE FBI. PLEASE. KEEP YOUR HEAD ON STRAIGHT. WE WANT TO KNOW HOW TO…I have it somewhere in my notes. We want to know how to keep the dream going and not wake up. Do you have any wisdom to contribute on that question?

COMEY: AS FAR AS I CAN SEE, THE WHOLE THING IS GOING DOWN. WE ARE ILL-PREPARED FOR THIS MOVIE. Not enough rehearsal time. I tried to warn Senator Lucent about it. He didn’t see it as a problem. I told him dream props are sometimes hard to regulate. They fade in and out. This is why we need term limits. Senators can’t sustain the STATE OF MIND. They wobble. They all have dossiers at the NSA. The NSA is making a movie about the movie. This results in, what would I call it, a new level of instability. Even in my case. I feel myself coming apart at the seams.

SEN. LUCENT: HOW MANY LAYERS OF MOVIE ARE WE TALKING ABOUT?

COMEY: WELL, EDWARD SNOWDEN CONTRIBUTED A NEW LAYER. THEN THEY MADE A MOVIE ABOUT HIM. I MYSELF HAVE A BOOK DEAL AND A MOVIE DEAL IS ON THE WAY.

SEN. LUCENT: THAT’S NOT AN ENCOURAGING STATEMENT.

COMEY: ON THE CONTRARY, I BELIEVE WE’RE GOING TO EXPERIENCE A BREAKTHROUGH. IF YOU KNOW YOU’RE IN A DREAM, MANY OPTIONS COME TO MIND.

SEN. LUCENT: SUPPOSE WE WAKE UP?

COMEY: I WOULDN’T ADVISE THAT JUST YET. NOT AT THIS JUNCTURE.

SEN. LUCENT: I LOVE THE DREAM.

COMEY: WE ALL LOVE THE DREAM. BUT IT CAN CHANGE COURSE. DREAMS, YOU KNOW, CAN GO ON FOR CENTURIES. It’s wonderful.

SEN. LUCENT: PERSONALLY, I FEEL RATHER EXCITED.

COMEY: I DON’T SEE A PROBLEM HERE, IF YOU TAKE THE LONG VIEW. WE’RE ENTERING A NEW PHASE. DREAMS AND MOVIES ARE INTER-PENETRATING EACH OTHER. THIS ADDS UP TO A NEW MULTI-DIMENSIONAL STUDIO AND PRODUCTION CENTER.

SEN. LUCENT: YES, WELL…

COMEY: I’M A STAR BUT I’M ALSO A TEAM PLAYER. KEEP THIS IN MIND. THE MOVIE CAN SPREAD BEYOND THE PRODUCTION PARAMETERS. DO YOU SEE? THE PRODUCTION CENTER STRIVES TO INCORPORATE ALL THE NEW DEVELOPMENTS, BUT IN FACT THE DREAM ITSELF ASSERTS ITS PRIMACY. THAT’S WHAT I’M TRYING TO SAY. FINALLY. WE RIDE IN THE DREAM. WE KNOW WE’RE RIDING. WE’RE HAPPILY RIDING. AND THEN COMES A MOMENT OF EXTREME CLARITY. EVEN THE ATOMS WITH THEIR FILM CLIPS GO AWAY. THEY SURRENDER TOO. THE WHOLE UNIVERSE AND ITS SUB-STRATUM GOES AWAY. THE WHOLE PHYSICAL STRUCTURE WHICH WAS TUNED TO PUT OUT AN ENDLESSLY REPEATING FILM IS FORCED TO THROW UP ITS HANDS AND DEPART.

SEN. LUCENT: YES, WELL…

COMEY: THANK YOU FOR THIS CHANCE TO COME BEFORE THE COMMITTEE TODAY…

Sen. Lucent: I’m not done. IS MR. TRUMP A TRAITOR?

COMEY: THERE ARE NO TRAITORS, ONLY PROPS. AND DREAMERS. THE SCRIPT IS GONE.

SEN. LUCENT: BUT YOU’RE STEPPING OUTSIDE YOUR PRESCRIBED ROLE.

COMEY: YES. I CAN FEEL IT.

SEN. LUCENT: YOU’RE NOT COMEY ANYMORE.

COMEY: PRETTY MUCH CORRECT.

SEN. LUCENT: THIS IS GETTING INTERESTING.

COMEY: I WOULD SAY I’M NOW THE “AERIAL COMEY.”

SEN. LUCENT: WILL YOU SEEK THE PRESIDENCY?

COMEY: YOU’RE READING MY MIND.

SEN. LUCENT: I CAN ENVISION A SCENARIO IN WHICH YOU CAN WIN.

COMEY: THE LAST HONEST MAN IN AMERICA.

SEN. LUCENT: YES, WELL…

COMEY: I COULD BE THE NEXT JIMMY CARTER AFTER THE LAST RICHARD NIXON, SENT TO HEAL THE NATION AFTER TRUMP. IT WORKS. TRUTH IN GOVERNMENT. FINALLY. THE GUY WITH NO AGENDA, EXCEPT SERVICE TO THE COUNTRY. BIND UP THE WOUNDS. RESTORE THE INTERDEPENDENCE OF ALL THINGS. PUT THE DREAM BACK ON TRACK AFTER THE FRACTURE.

SEN. LUCENT: WELL…

COMEY: THAT’S IT. YES. LET THE WHOLE CHAOS REIGN AND THEN I’LL COME IN AND RESTORE ORDER.

SEN. LUCENT: RISK, REWARD.

COMEY: IT ALL FITS. ONE, TWO, THREE, IT’S ME…

SEN. LUCENT: LET’S GET TO THE ISSUE OF WHAT ATTORNEY GENERAL LORETTA LYNCH TOLD YOU ABOUT HILLARY CLINTON’S PRIVATE EMAIL SERVER.

COMEY: SHE TOLD ME I WASN’T INVESTIGATING IT. INSTEAD I WAS LOOKING INTO A MATTER. A MATTER.

SEN. LUCENT: STRIKE THAT FROM THE RECORD.

COMEY: IT’S ALREADY IN THE MOVIE. WE’RE ON NATIONAL TELEVISION.

SEN. LUCENT: YES, WELL…

COMEY: I WOULD MUCH RATHER TALK ABOUT MYSELF.

SEN. LUCENT: AS A PAID ADVERTISEMENT?

COMEY: MORE OR LESS.

SEN. LUCENT: BY THE WAY, HOW MUCH ARE YOU PAYING US?

COMEY: THE MONEY DOESN’T COME FROM ME. THERE IS A WHOLE SYSTEM OF CUTOUTS AND FRONTS. IT’S RATHER COMPLEX. ONE HAND WASHES ANOTHER, ONE DOLLAR WASHES ANOTHER.

SEN. LUCENT: ARE YOU SAYING THE ENTIRE FEDERAL BUDGET AND TAXES AND SO FORTH ARE A GIGANTIC MONEY LAUNDERING APPARATUS?

COMEY: I THOUGHT THAT WAS WELL UNDERSTOOD. TRANSFER OF MONEY IS THE NUMBER ONE PRIORITY OF GOVERNMENT. HOW IT GETS FROM A TO B. THE WHOLE POINT IS THE CREATION OF AN AIR OF LEGITIMACY. BUT BACK TO ME, THE LAST HONEST MAN IN AMERICA.

SEN. LUCENT: JAMES COMEY, PRESIDENT.

COMEY: WHY NOT? I WAS “TOUGH ON HILLARY, TOUGH ON TRUMP.” THAT MAKES ME FAIR.

SEN. LUCENT: DON’T YOU THINK YOU’RE GETTING CARRIED AWAY?

COMEY: THE WHOLE COUNTRY IS GETTING CARRIED AWAY. THEY MAY AS WELL BE CARRIED TO ME. I’VE GOT ALMOST FOUR YEARS TO PUMP UP MY LEGEND.

SEN. LUCENT: I FEEL AS IF I’M IN THE DREAM NOW.

COMEY: IT TOOK YOU LONG ENOUGH. WHAT’S THE MATTER WITH YOU?

SEN. LUCENT: PERHAPS I’M A SLOW LEARNER. I’M WEDDED TO OLD CONCEPTS.

COMEY: GET WITH IT. WE’RE SHAPING TIME AND SPACE HERE.

SEN. LUCENT: YES, WELL…

COMEY: I’M THE SPACE TIME CONTINUUM REPRESENTATIVE SENT HERE TO REPAIR ANY RIPS IN THE FABRIC AND PUT THE DREAM BACK ON TRACK. GET IT? I WAS HOPING I COULD AVOID MENTIONING THAT BUT IT APPEARS THINGS ARE WORSE THAN WE BELIEVED. YOU PEOPLE ARE UNHINGED. WE’RE NOT TALKING ABOUT POLITICS, WE’RE TALKING ABOUT METAPHYSICS. Pillars of perception and belief. If the American people aren’t on board with the basics, we’re lost. We’re all supposed to be in the same dream and on the same dream level. That’s the object. But things have gotten…there are too many competing…warps. When I become president I’ll fix all this by edict hopefully. In the meantime, appear normal. Try. I implore you. Let me explain something. You’re supposed to have sanitized cover stories. Clean covers. You’re senators. You want what’s best for the country. If that legend fails by a certain percentage, the whole op goes down the DRAIN. Surely you see this.

Lucent: Mr. Comey, you appear to be talking out of several sides of your mouth. You’ve been taking contradictory positions. You’re this, you’re that. What’s going on?

Comey: I’m just trying to plug multiple leaks in a sinking ship. I’m winging it. Can’t you see that? What keeps a dream going? A smoothness. A sense of continuity. A comity. An atmosphere of we’re all in this together. I’m making a heroic effort to maintain the communal aspect.

Lucent: You’re no hero, sir.

Comey: That’s better…

Lucent: Did you receive pressure from Mr. Trump to stop investigating Michael Flynn?

Comey: I most certainly did. It’s right there in my notes.

Lucent: So in effect he was trying to keep you from the exploring the Russia connection.

Comey: I would say so, yes.

Lucent: Which would be obstruction of justice.

Comey: I leave that to others to decide.

Lucent: Mr. Trump fired you. The FBI was investigating the connections between Russia and the whole Trump team. What else are we to conclude?

Comey: I understand, sir.

Lucent: You were unduly punished.

Comey: That goes without saying…

Lucent: You’re the victim here.

Comey: I have to be. Victims are the future…

Lucent: God, I feel we’ve made a mess of this whole hearing.

Comey: Don’t be so sure. There is a chance the American people aren’t seeing what we’re putting out. They’re seeing a whole different proceeding. We’re the sub-text. They’re the text. For all we know, at this very moment the American people might be seeing an ad for a drug that kills ten thousand people a year, or a car race around a track or a pack of dogs attacking a lion or ice melting on a leaf or an old tornado from the 1970s or a garage in Idaho full of old signs and toys and car parts or a factory assembly line turning out bottles of aspirin or a man watering his garden or a crime scene on a residential street late at night or a history of a diner in New Jersey or a wrinkled grandmother making a quilt or a riot in Baltimore or a Video News Release about a clinic that treats cancer or a pipe organ in a New England church or a Japanese Zen temple or a fishing boat off the Florida Keys instead of us here even though they’re tuned to this hearing, you can never tell, the dream spins out and the dream highlights certain events and obscures others.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

“This is a dream about a movie that is yet to be made”

“This is a dream about a movie that is yet to be made”

by Jon Rappoport

June 6, 2017

Audience addiction to Story is complete. They must have beginning, middle, and end. Without it, they would spin out of control. Or so they think. But every dream they have contradicts this. Dreams more real than real have no story line that finishes. This contradiction requires some attention. If there is enough patience. If people can wait long enough to get involved in stories that don’t operate in the usual fashion. A university could be founded on the question: Do you have the capacity to follow a story that has no beginning, middle, or end? Could you? Would you? How much money would they have to pay you?

“All dreams are movies, and all movies are dreams.” This I learned at the Cite in Paris in 1955, from the coach of the Indo-Chinese ping pong team. He was a physician’s assistant in Berlin and told me soon a pregnant woman would be able to decide the sex of her child.

Here is the script so far, as taken from a dream.

I’ve seen these belly-up ships from war

In green and gold

And sailors pouring on to docks

Running down long halls I understand Your Honor that my testimony might come across as too incisive too much to the point but why wait it’s clear that the people your investigators are searching for include yours truly I’m part of the plot to take down the whole rotting edifice but if you think I’m going to take my sentence lying down I have resources you’ve never imagined to quote a thousand movies this whole proceeding is a joke

What’s that? Do I know I’m dreaming? Of course I do, Sir. Otherwise, why would I be here? Have you seen the shadows of buildings that don’t match the structures and the warm milky hills in the middle of downtown? What I want to know is, who are you? Why don’t you tell this court? You’re the trespasser. We were filming random testimonies about mysteries until you showed up. You know, the mindless navy invasion, the labs, the direct insertion of images in the visual cortex, the background noises in the middle of the night, the printing of trillions of dollars, the apparent arms deals fronted by the american association of dentists.

Who is on trial here? I haven’t seen your credentials. For all I know you could be some kind of machine. But we’ve got you in our sights. We’re going to squeeze you until we get some answers. Take off your coat and tie, Sir. Remove your shoes. Place your eyeglasses on the podium. Search him for weapons and recording devices, boys. I want to know if he has a script. Look through his wallet. He might be a member of an actors union. What do you know about a clandestine organization operating out of Virginia, Your Honor? No not that one. I’m referring to an animated studio, where they build walking talking images. Judges, clerks, doctors, television anchors, colonels and generals nobody ever heard of. I knew a doctor in Chicago who ran for a seat on the city council and then they discovered he had no practice or degree he didn’t show up in any database he had no wife or children the photos were all manufactured he dissolved at a rally in a pile of dust they combed through the debris and found a tooth from a dead lion they traced to a local zoo an old beast someone had shipped in from the veldt with a case of TB.

I’ve had lots of dreams, Your Honor. I’ve learned a few tricks, one of which is turning the tables. I wait until somebody shows up out of the blue, which is called a clue. Then I bring in my boys and we grill him. Occasionally, we extract useful information. This isn’t a lovefest. We don’t put ourselves at the mercy of an unknown superior. We don’t go in for paranoia, either. We vet. We examine. We question. We know our own territory.

Back there somewhere, we started out just wanting to be left alone. That was it. Then the interlopers arrived. We spotted a few who were wandering around trying to blend in. They were looking for information. We didn’t have any, but of course they couldn’t accept that. Now we’ve got military people on our own side. They come in here trying to help. But the whole point of our locales was to avoid exactly what’s happening now.

We’re filming in black and white. I insist on that.

We’re basically operating with a medium that is close to the medium of perception. Suppose you want a large ship to sink with passengers on board. But they survive nicely. In fact, the deeper the ship goes, the dryer the landscape—the passengers are eating and drinking and walking outside the ship to explore the terrain. What do they find? You might want them to come upon a giant newspaper office staffed with people talking on phones and scribbling notes. There’s no reason not to. Mindless activity is good. Fragments of conversation. You almost think you know what it’s about. In the middle of the babble a large figure appears. The boss. The judge. Your Honor. The big cheese. The publisher. He’s going to try to take over the picture.

He’s the big cheese. He waits for no man. “I’ve got a raft of orders today, boys. I want the random stuff to stop. You’re all over the place. This picture is mine. I run it, I own it, I back it, I pay for it…” This is exactly what I want, because this guy is mine. I’ve got him wrapped up because I’m giving him enough rope to hang himself. Bring him forward in all his glory. The audience will root for him because they want the chaos to stop. Do you know why? Because it’s too familiar. They recognize the events and spoken words, as if they’ve lived them and dreamed them before. That’s their problem. I’m just putting one foot in front of the other. Scene by scene. There’s no resolution in a movie because there’s no resolution in a dream. You think there is, but there isn’t. For the big cheese, I’m probably going to need a political rally. People going crazy with excitement inside a bubble.

Now your biography starts to thread its way through the movie. Why not? You’re intensely interested in your life and your past. You want to see it in the movie. You see it and you’re in it. But instead of just you, you’re a character. A drug trafficker from Brazil. A surgeon in a war-torn Third World hell hole. A clerk at the CIA. You don’t know why you’re these characters, but it makes sense that you are. Making sense=familiar. To what degree do I want to let the audience into the movie? It’s a delicate decision. I’ll see. Self-fascination should have limits. You have a dream—you’re standing outside a grocery store looking through the window. You notice the customer is you. The cashier is you. The shopper walking down an aisle is you. The thief who’s wondering whether to rob the cashier is you. How can you look away? You feel it’s a gimmick, but you’re drawn to it. We’ll give that scene a few minutes in the movie, just to claim the audience is important.

The script is expanding in several directions with no end in sight.

The movie goes on and on, so even if there are people (most people) who’ve never heard of it, eventually they will. They’ll drop in. They can move in at any point, because frankly the movie is endless. When you know that…that’s spiritual leverage. Even a bird sitting up in a tree will drop in on the movie. A copy boy in Pittsburgh in 1943 will drop in. A barrister in a gentlemen’s Club in London will sooner or later drop in. In the middle of an earthquake, a waiter will drop in. When do you recognize your own dreams are taking place before your eyes?

The role of the psychological philosopher, ah yes. He’s the judge and the big cheese, too. He appears, on and off, to explain the connection of dreams to reality, but everything he says is false. He is the clock on the wall giving the wrong time. Eventually, he is run over by a herd of buffalo stampeding outside a shopping mall. Just seconds before his death, he is casting a short line into a coy pond in front of a Chinese restaurant. He’ll appear later as a lathe operator at a plant in Newcastle. He’s also running for a seat in the US senate from Illinois.

There’ll be people flying in the movie. Ordinary people. Up in the air. I want to capture their expressions when they know they’re flying, when they feel it. The trick is to actually get them to fly. No fake stuff. They’re really in the air over the city, no aids, no wings, no motors. Then we see their faces. In the movie, in the dream, I’ll have to convince them they can fly. It may take a while. We’ll film those conversations. Not everyone who flies laughs. Some people are afraid. Some are bored because they’re already dead. A dead person flying. Make a note on that. DEAD PEOPLE FLYING. There’s a law against it. Researchers from US medical university are studying the effect and giving interviews to the press. They babble on. They’re on television. Which sends them into orgasmic ecstasy. Hi Mom, I’m on TV. I’ve got face time. The interviewer had dead eyes, I couldn’t understand it, Mom. He was animated and dead. My favorite anchor is a dead duck. Bright and shiny and dead. Contrast the effect of flying vs. seeing a bright and shiny dead anchor. Political rally. Giant hall. Used to be a warehouse, transship point for drugs. Cut in: Lawyer for Sinaloa Cartel lieutenant arrested in Chicago claims his client made an immunity deal with the DEA and CIA. No prosecution. Sinaloa provides actionable intel on other cartels in exchange for clean drug routes up through California all the way to Chicago. The flying people appear in the hall, outside the hall, in the sky. Open space. Higher. Space starts to be endless. Other planets.

When does the film crew start to check out? After the movie is 100 hours and still going strong? Bring in new people. Let them fumble with the equipment and learn how to use it. They’re in the movie. Studio execs show up. Anger boiling over. Behind schedule and over budget. Dream figures from the studio. They believe their lives are on the line. The audience knows these people from other dreams. They’re money nomads, wandering from place to place going nuts about the accounting.

Reporters are killing each other. No one knows why. They’re chasing each other down in the street and shooting shiny Glocks. Firings at newspapers can produce this effect. He went to a good college. He understands subject-verb agreement. How on earth could you fire my son? The moon rises up in a lake and moves into the sky. But the reporters don’t die. They stand up and resume their work. There are stories to get out. The show must go on. Three fires in the Bronx. A cab drove into the East River. A docent at the Museum of Modern Art found a six-carat diamond in her jockstrap.

Mind control experiment went bad. We have to cover it. Send the boys over to the lab facility. Be careful, though. The Army might grab you. Get photos and footage. I understand they have a rhesus human hybrid. See if you can get a few quotes from him. If the vice-president shows up, put him side by side with the hybrid. Photos. Compare and contrast. Let’s do a diagram with arrows and body parts…

At some point, the movie will start to remind the viewer of reality, not through any specific effort, but because any dream taken far enough reminds people of their lives…

Make a note on that.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

My personal consulting services: belief systems

My personal consulting services: belief systems

by Jon Rappoport

May 22, 2017

(contact email: qjrconsulting [at] gmail [dot] com)

In my years of working with private clients, I’ve never met a belief system. I’ve never seen one.

“Belief system” is a term that has broad appeal, because it suggests that a person’s predispositions are organized and interlocked. This sounds like science.

“I see. My mind contains a system of mutually supporting beliefs. My mind is operating in a scientific fashion, even if the belief system doesn’t assist me in attaining my goals. So better science can bail me out. It can change the system. It can install a better system. Perhaps I can even perform science on my own mind and analyze the system and insert new and more positive components. Out with the old software, in with the new. It’s a technical fix. I make a list of better beliefs and plug them into the system…”

Absurd.

This is a fictional model that has no relation to how people change their own actions.

Basically, people change their actions by discovering something they really want to do in life. Then they figure out how to do it. They flesh out a new enterprise. Then they launch the enterprise.

“But I can’t. My belief system is holding me back.”

In my experience, that’s not true. The person is holding himself back. To put it another way, no matter how many insights a person may have about his “self-limiting beliefs,” a moment is going to arrive when he either pulls the trigger on launching a new enterprise, or he doesn’t.

It helps to understand that people who take action do it with a naked decision. They cross the line. They step forward. They don’t wait around for a sign. They don’t try to scrub away all the possible negative factors that could hold them back. They make a move.

This has nothing to do with any system.

In my consulting work, there is something I do that helps certain clients. I give them exercises that flesh out the enterprise they would launch, if they decide to do what they really want to do. In a way, it resembles a rehearsal for the real thing. Or I give them exercises that make their vision of the enterprise more vivid.

But nothing under the sun, except the person himself, will decide to launch a new enterprise, launch it, and keep it going. To think otherwise creates an obstruction, a piece of fantasy that only postpones the moment.

On the other hand, I’ve had clients who were ready to take action from the outset. They first needed to discover what they really wanted to do in life—and then flesh out an enterprise that would express that deep desire. Through dialogue and exercises, I’ve been able to help them make that discovery. And build a plan.

In these times, many people are feeling “down” because of various political developments. That state of mind won’t transport them to where they want to go. I salute the people who keep moving forward in their lives, who are determined to make their largest visions into fact in the world.

If civilization has a root reason to exist, that reason is removing obstructions for such individuals. After all, they build the best of what civilization has to offer.

Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Answers in art

Answers in art

by Jon Rappoport

May 21, 2017

“Logic is a mirror of how the physical world operates. It is a vital tool. Imagination is the capacity to make new and different worlds, an unlimited number of them, which can operate on no particular basis at all.” (The Magician Awakes, Jon Rappoport)

Here is an interesting statement from Dane Rudhyar (1895-1985), about his painting. Rudhyar was a world-famous astrologer, and also a philosopher, painter, and composer.

“It does not seem important to me that people seeing my paintings should know what I felt, why and how I produced them. The essential thing is the viewers’ response — what the paintings do to them, what arises in them as a result of their seeing the paintings, of their relationship with the painting. It is, I believe, a matter of relationship: ‘something’ in the painting meets ‘something’ in the spectator; what is important is the character and quality of this meeting.”

“…These youths are also often greatly impressed by my paintings, yet at the same time they are puzzled by them. I am repeatedly asked what the paintings mean, how the evident symbols in them are to be understood…”

“When facing my paintings, a person’s reaction is often that I must have used such geometrical or biologically suggestive symbols deliberately, knowing exactly why I used them. People frequently are shocked when I tell them that I did not have precise intentions and did not think of traditional meanings. Then they often want to speak of ‘the Unconscious’ — my personal unconscious or the ‘collective Unconscious’…”

“They are even more puzzled if I tell them that they should forget the traditional system of knowledge and simply try to experience the drawing and allow it to speak to them and communicate a ‘mystery’ which perhaps transcends or has meaning besides the traditional knowledge.”

“Nearly twenty years ago while in Paris, I attended meetings and lectures at a well-publicized Congrés du symbolisme in the elegant and ultramodern UNESCO Building. At the close of the sessions I vividly realized that the lecturers always spoke of symbols in the past, referring almost exclusively to ancient cultural epochs and traditions. A very intelligent woman I had met who was enthusiastic about all that had taken place asked about my reaction to the Congress. I expressed my deep interest in the proceedings, but added that I felt the talks had been almost entirely, about the past. She looked at me with a puzzled expression and said, ‘But the past is all we know. We do not know the future!’ To which I replied, ‘Of course we do not know the future, but we are creating it!’ The lady gave me a strange look; she could not grasp the meaning of what I had said, and our conversation ended very soon.”

If you say the voyage of imagination is spiritual, people immediately want to know which spiritual system you are talking about, or which principles. They want art and creation to be an expression of that which is already understood.

But art is not a descriptive sign hanging on the entrance to the cosmos.

Every piece of art is its own cosmos.

It needs no myth structure or origin-story or cultural precedent.

Art is the great exception to every rule of the universe.

If this isn’t magic, nothing is.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Ending free speech: the Great Dot in the mind

Ending free speech: the Great Dot in the mind

by Jon Rappoport

May 14, 2017

Here are some current ‘microaggressions’ listed by the University of California document, Microaggressions and the Messages They Send. These statements are considered out of bounds, racist, sexist. They shouldn’t be uttered. Yes, these are real: ‘Where are you from?’ ‘Where were you born?’ ‘You speak English very well.’ ‘Wow! How did you become so good at math?’ ‘There is only one race, the human race.’ ‘America is a melting pot.’ ‘I don’t believe in race.’ ‘I believe the most qualified person should get the job.’ Again, students, staff, and professors should not utter these and other such statements. In that case, why not graduate to blanket-surveillance, to monitor every word spoken on campus? Teams of student groups could watch and listen and make rulings and deliver punishments.

I’m sick and tired of partial solutions like “triggering” and “safe spaces.” I’m fed up with lame accusations of white privilege as a means to shutting up people who have pinkish whitish skin covering their bodies. I don’t want to hear any more about cancellations of public speeches and riots. Let’s get it over with. I want to see the COMPLETE shutdown of free speech on campuses. Let’s go all the way. Let the kids have control of the operation. Let them strut around like little Mussolinis and Hitlers and clamp down. Give them police power. They’ll burn the libraries for sure. They’ll fire all the teachers and get rid of courses and degrees. They’ll dethrone all previous authority. They’ll turn the buildings and lawns into garbage heaps. They’ll rule over the stench. They’ll knock down all structures and use the parts to build hovels and shacks and they’ll squat. They’ll hold committee of justice meetings and go to war with each other. They’ll assemble tribunals and punish offenders. They’ll declare themselves separate from their parents. They’ll demand money from the state. They’ll turn stadiums and athletic fields into shanty towns for “the people.” Gangs will form. And so on.

Let’s get to it. No need to wait.

And then, in the aftermath…after a rebuild, after wiser heads have prevailed….

In the fall of 2065, an incoming freshmanwomanLBGTQ entered the dining hall at the University of California Berkeley Safe Space Consortium, stepped into the lunch line, and asked a server, “Am I permitted to have a glass of water?”

As soon as the student uttered the word “water,” the server staggered, as if hit by a bullet, and fell to the concrete floor, striking her elbow. She lay there for several minutes, gasping, mumbling, and yelling.

Three ambulances arrived, and she was transported to the local Trauma Ward of the SF Social Justice Hospital for Victims of Micro-PTSD.

She was treated for a two-inch bruise and subsequently kept on-site, for three weeks, to undergo counseling and brain repatterning.

The student who had spoken the word “water” was tried before a college court and found guilty of “triggering a catastrophic moment,” in light of the 30-year water shortage in California. He/she was expelled from college and ordered to perform three months of kitchen labor at a local home for “the downward readjustment of IQ among students of excessive privilege.”

Thereafter, in a joint conference of 600,000 students, professors, staff, and chief administrators of the entire U of California system, held on the premises of the Bohemian Grove Woof-Woof Ritual Center, a vote was cast in favor of making the U of California a “silent teaching space.”

From that moment on, no words would be spoken or written at the U of California, because “any word at any time could provoke a severe adverse event among the vulnerable…”

It was determined that “information itself contains an inherently racist and sexist bias, which cannot be corrected, given the current level of technology.”

Therefore, “teaching is an offense to all students.”

Four years of silent contemplation and meditation on the inequities of society would stand in as the replacement.

Students who survived this rigor of silence would be awarded a degree with honors.

In the ensuing decade, 469 students broke the Rule of Omerta, and were taken to Alcatraz and locked in ancient cells. They were periodically waterboarded, to stress the seriousness of their crimes. The punishment was called The Immersion Technique for the Reversal of Speech, under US Federal Mandate 14389-C/F.

We are all familiar with the NY Times bestseller, My Four Years of Enlightenment, written by Debra John Joseph Margaret Ames Ali Schwartz Washington Hernandez Chan. A key passage has been cited in the US Department of Homeland manual, Avoiding Prosecution after a Surveillance Finding:

“Eventually, at Alacatraz, I forgot where I had grown up, who my parents were, and what ambitions I had for the future. All thought was reduced down to a small dot in my mind, an entirely neutral dot that carried no bias or prejudice. It was there. It was a good and proper thing. It could offend no one. It could trigger nothing. When I knew this, I was free. I could shrug off my chains and take my place among friends and comrades.”

The author is now a monk at the U Cal Adjunct Center of Cosmic Reduction. Recognition of the Great Dot is the goal of every student candidate.

The Dot signifies a level of achievement no past society or civilization has attained. Intentional or accidental insult to the infinitely vulnerable human consciousness can now be avoided, and thus peace can reign.

The primary sin of the past was proliferation of language. It ushered in massive instability and trauma.

In particular, the heinous poets were the leading-edge forces that shattered the calm. Their provocative innovations and flights of fancy wrought havoc on a wide scale. Such irresponsible outpourings can no longer be tolerated in the Global Village.

Language is on the way out. It has finally been identified as the major obstacle to human progress.

Why exacerbate the already-unequal capacity to learn something that, by its very nature, is the enemy of serene consciousness?

Shrink the public menace.

What we have always wanted is an eternity of quietude. It is now within our grasp.

Ask not for whom the bell tolls. Turn off the bell.


The Matrix Revealed

(To read about Jon’s mega-collection, The Matrix Revealed, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

The hidden paranormal people

The hidden paranormal people

by Jon Rappoport

May 14, 2017

NOTE: I’ve combined several pieces here. In various ways, they’re connected.

ONE: A LESSON IN DIVISION AND ITS OPPOSITE

Conventional physics argues that all the tiny particles which make up the universe are:

Neutral and unconscious and dead—

And yet, say these same physicists, the brain, which is only a collection of such particles, is conscious.

The absurdity of this contradiction can only be sustained by monopolistic authority.

Consciousness is as non-material and paranormal as paranormal can be.

Without it, obviously, we would not be communicating right now. We would not be here. We would not Be.

Categories like telepathy, ESP, clairvoyance, and telekinesis don’t tell the whole story. They’re just a pale reflection of the fact that Existence itself is paranormal.

Consensus reality, on the other hand, is a stage play based on the notion of “normal.”

So here we are, and we’re all paranormal, and we’re living in a normal world. If that isn’t a joke, if that isn’t a sickness, if that isn’t a conspiracy, what is?

The Matrix can spawn one Agent Smith after another, like a machine turning out products, and still the incalculable and magical fact of consciousness endures beyond the machine.

The stage play called reality is dedicated to top-down control, because consciousness, if unleashed as creative power, if allowed to flourish, would explode the stage flats and take us out into an open sky of such varied magic it would ring in a multiverse of unpredictable beauties…none of which require supervision from the psychopaths behind the curtain.

Making life into a machine is the goal of elites. We, on the other hand, see something else.

We don’t need to define what that is in a lab. We certainly don’t need to develop algorithms that purport to define what we are.

…Forty years ago, I was hired to tutor a young girl in arithmetic. She was having trouble with long division. She was in sixth grade, she was extremely bright, but she couldn’t do division. This is what I was told.

So one night I walked into a very large house in West Los Angeles. The mother, tall and thin, a remote ghost, led me into a cavernous living room, in the center of which sat her daughter, at a small table.

The mother gestured vaguely and glided off into unknown rooms and left the two of us alone.

I sat down. I gave the girl a couple of division problems to work, and she couldn’t. She grimaced.

“Don’t worry,” I said. “We’ll fix it.”

I asked her to explain what she was confused about. I wanted to get her to talk. She thought about it and recalled a few experiences in arithmetic, from third grade.

I sat there and listened. As she talked, she raised her head and started looking at me. There we were, in a huge quiet house, a dead house, two people, two strangers.

Something clicked. She began smiling.

She said, “I can read very well, but I can’t do division.”

I smiled, too, because it seemed there was a joke here, and it had nothing to do with math. It had to do with her whole life, the house, her parents.

Neither of us quite knew what was going on, but we were in the moment.

Without thinking, she said, “I’m in prison.”

She laughed.

I said, “Right now, I don’t why but I feel like I’m in prison, too.”

We both laughed.

That was all it took.

I brought her back to the beginning of division, started from the bottom, and we worked our way up to more complicated problems. It took about an hour and she was fine.

I felt like we were two undersea divers, our oxygen lines were crossed and pinched, and we’d worked out the kinks. We could breathe again.

After that, we talked about her school, my days in school, teachers. She mentioned tomatoes. She said she was growing them in the back yard.

She took me through a few large rooms into the yard, turned on the pool lights, and we walked along a path to her garden, by a high fence.

The vines were tall, and the red tomatoes looked splendid.

We walked back and sat down at a table by the pool and looked at the water. All of a sudden, things shifted. The night sky was wide open. I could feel the air on my face. I could smell flowers.

“It’s a nice yard,” I said.

She nodded. “I’m reading everything Charles Dickens wrote,” she said.

“Why?” I said.

“Because it doesn’t seem to end,” she said.

I thought about it.

“Some things are like that,” I said.

“No,” she said. “Everything is like that.”

I looked at her.

She was smiling. Her face was radiant.

“Remember what you just said,” I said.

“I will,” she said.

She put out her hand. I shook it.

That was the end of the lesson.

I’ll always remember it.

Magic.

TWO: THE HIDDEN FIRE OF ANCIENT TIBET

There’s a local church in my neighborhood that brings in Tibetan monks once a year to do a sand painting.

For a few days, the Monks use colored sands to create a memorized complex mandala on a large table.

At this service on Easter, the monks destroyed the mandala. They always do that. That’s their gig. They make it and then they whisk it away into dust.

An array of reasons was given to the congregation, to explain why the monks get rid of a sand painting after they’ve completed it.

One, they were “transmuting” the painting. Two, they were now using the sand to create “healing.” Three, they were giving people small envelopes of sand to “spread the healing/creation.” Four, they were illustrating the ineffable or transient nature of all things.

These are all “New Age reasons.” Superficial food for a modern audience.

In the ancient Tibetan tradition, the creation of art had a much deeper and wilder purpose: to reveal that the universe is a product of mind. Period. The universe isn’t some intrinsically sacred entity, it’s a work of art…and if it can be vividly and deeply perceived as such, the adept (artist) can then spontaneously delete pieces of physical reality and/or insert pieces of his own invented reality into universe. Magic.

This was the core of Tibetan thought, and it was brought to the country some 1400 years ago by rebel teachers from India.

UNIVERSE IS A PRODUCT OF MIND. THEREFORE, YOU CAN SPONTANEOUSLY AND MAGICALLY ALTER REALITY.

The ancient Tibetans weren’t fooling around. They weren’t about worship or self-effacing religion. And they weren’t just claiming a person could manifest a desire in the physical world. Of course that could be done. They were going light years farther.

They were saying the universe, at the deepest level, wasn’t really an interlocking system of energies. No, it was a creation of mind. The whole thing was, in that sense, one work of art. Just one. Universe is one work of art among an infinity of possible works of art.

To really qualify as an adept, you had to able to destroy (as in DESTROY) what you created. Not disperse it or turn it into some healing force or blow magic dust on a crowd with it. No. You had to be cheerfully willing to destroy what you create. Otherwise, you would be caught in tangle of diminishing power, fueled by your precious and careful attitude about your own inventions.

Yes, these people were riverboat gamblers. They were shoving in all their chips. They were tough and determined and innovative to the nth degree.

Nothing like them had ever been seen on the face of the Earth.

Two authors are indispensable to understanding what was really going on in Tibet all those years ago. John Blofeld and Alexandra David-Neel. Read Blofeld’s The Tantric Mysticism of Tibet and any of David-Neel’s books about her travels in Tibet, including With Mystics and Magicians in Tibet.

Of great importance is Blofeld’s description of a practice he translates as “Deity Visualization.” The Tibetan student is given a very precise “personage” to create in his mind, down to the last detail of accoutrement. Presumably, this information was relayed to him through a painted mandala.

The student would then retire into isolation, and for months, perhaps years, he would work on this “interior painting,” in his imagination. If he was finally able to hold the complete image together, mentally, he would be done with phase 1.

Then, phase 2, and the imagined personage would seem to come to life. It would become the student’s friend, his ongoing guide, his advisor. The teacher would watch this joyous interaction between the student and the “personage,” and when he saw the student was starting to rely on his new best friend, he would tell the student: DESTROY IT.

This third phase, it was said, was harder than the original task of creating it.

If the student could move through all three phases, he would realize that universe IS a product of mind…and he would be able to impact universe spontaneously. Making things disappear, re-appear, inventing “new pieces” to insert into physical reality.

No ceremonies, no allegiance necessary.

However, as always happens, the priests moved in.

Then the Tibetans clogged up their own fantastic technique of creative work with immense amounts of baggage and ritual and “preparation.” The student had to approach magic from a long way off, had to endure all sorts of hardship. In Tibet, the theocracy took over and buried the core of the teaching.

Then on top of that, coming into modern times, further New Age fluff was added to the mix, resulting in a ludicrous mess.

Yes, the ancient Tibetans—before the priests obscured the most profound of all Earth-bred cosmologies—were on to something enormous.

The monk sand painters at the local church on Sunday? I have no idea what they remember about their real tradition. But they are a vague reminder of that wildness and actual wisdom.

Whether anyone knows or cares, that’s what the sand painting and destruction are about.

There is much more to say about all this, and in various venues I have and will be saying it. Based on this ancient Tibetan fire, I’ve developed a number of techniques that move toward the original Tibetan goal. (See my collection, Exit From The Matrix.)

There is a great deal of nonsense and underbrush to clear away, to establish a new mystery school—where the mystery is out in the open.

THREE: CIA MEMORIES, PART 2

Fiction

NOTE: A patient presently confined to the Sleight Center psychiatric facility believes he is the director of the CIA. He also believes he is living in the year 2053. He is writing CIA memos to “his own top people.”

Memo: July 7, 2053

Dear All:

The other day I wrote this: “There is now no doubt that we have become victims of our own manipulations of time. I find myself in different periods, depending on the day. And not by choice.” I would now revise that statement. I am shifting identities, and each identity carries its own time signature. That is a different situation. Obviously, I have many legends and cover stories I developed over the years in the Agency. At some point, the covers began to take on new force. They ceased being simple disguises. They penetrated past and future. This is a theatrical quality. For example, I found myself reading documents which hadn’t yet been written.

This is the beginning of something. See, I don’t think I’ll be coming back to this place after I leave. I don’t think so. I don’t know where I’ll go, but it won’t be here. There is one thing I need to do while I’m still here. I need to sever my last connection. That connection has to do with secrets. Secrets still fascinate me. So I’ll have to take the lid off and go down that hole into the massive cave and spill all the secrets I find there. Messages about the secrets. Some of them are very complicated. That’s not a problem. I’m ready. I’m ready to deliver those messages. For example, the one about the person who thinks he is me, who imitates me, who accesses records about me, in order to build his legend. I assume he is the current CIA Director, posing as me. I would pose as me, too, if I could. After all, I have a great deal of knowledge. I’m rather handsome. I’m facile. My enemies fear me. Most of you don’t know this, but at the Agency we have a number of doubles who are posing as employees. Don’t ask me where the actual employees have gone. I don’t know. I don’t keep track of that. Apparently, someone wants to take over the Agency and is doing so at a slow pace. Replace an agent here, an agent there. On the other hand, and this is what really interests me, the replacement program could stem from the desire to improve the Agency. Bring in new and improved doubles, as an upgrade. Produce androids. This is the future. Suppose, one day, you’re walking around and you see a person who looks exactly like you buying bread in a shop. You approach him and engage him in conversation. You discover he knows everything you know. But he knows it with more clarity. He’s integrated. He’s more agile. You’re no longer useful, pragmatically speaking. You’re out. In an instrumental society, you’re defunct. You have to go somewhere else. You have to start over. You’re cut loose. You don’t need to consider your obligations.

That’s where I am now, except I’m confined. But that will end. I’m not unhinged. I’m lucid. And I consider my options. When I was officially serving as Director, I made sure conflicting messages were broadcast in the press. This is the straightest path to sowing confusion in the public mind. Confusion leads to despair, and despair leads to inaction. Does that sound like the work of a crazy man? I knew exactly what I was doing. Just as I do now. Think about it. I can communicate with you, my top people at the Agency, can’t I? They can’t stop me. So I’m still the de facto Director of the CIA. They may have my double over there sitting in my chair, but I supersede him. He thinks he’s me, but I know I’m me.

Remember when we got rid of Nixon? We worked through our cutout at the FBI, and he worked with Woodward. Woodward peeled away the layers of the onion on that story. But the whole story was already in the bag. It was a preordained conclusion that Nixon would leave the White House. We had to make it look like an investigation, a sequence. We do that for the rubes and yokels. We give them sequence, but time is already collapsed. We work with time, ladies and gentlemen. That’s our forte.

With JFK, we were aiming for shock value. The sudden explosion of a shot, to induce public trauma. But with Nixon, we spread it out. We can go either way. We destabilize. That’s one of our primary missions. They’ve tried to destabilize me, but they’ve failed. I’m stronger than ever. The psychiatrists at this facility think they’re experts at creating imbalance, but they don’t have a clue who they’re dealing with. From the beginning, I was suckled on an unpredictable nipple. Here today, gone tomorrow. I absorbed the lesson.

Above all, we must remember, when we’re fighting enemies, they are the people to whom we gave life. We invented them. We brought them up. If we lose that knowledge, we lose everything.

We turn out reality. We make it up. Through our agents and assets and cutouts, we disseminate the truth as we create it. If we say the sky is falling, the sky is falling, even if it isn’t. We have the means to build a world, a universe. Why wouldn’t we build it? Should we shrink back from our duty? There is no actual world. It’s an indefinable mix of people and events. It has no form. We give it form. We give it meaning. It’s not our fault that people can’t achieve that on their own. Remember, when the ancient Roman Empire was crumbling, because it couldn’t control all the territory it was conquering, it changed course. It decided to shape a Church that would construct a cosmic order according to a story line it invented. It would thus control minds. That was the great change. Why use armies when words and pictures and theatrical presentations shape thought itself? We are our own Church. We still use political subversion and military force, but on the whole we are dealing with mental processes. We slip in unnoticed and re-constitute belief and opinion and perception.

Given enough time, and adequate personnel, we could convince the population that the world is made of jelly beans. Why not? Atoms, electrons, protons, nuclei, quarks—all dead, all in motion according to inexorable laws. They therefore eliminate the possibility of consciousness. It’s already a jelly bean cosmology…


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.

Discovering desire

Discovering desire

by Jon Rappoport

May 9, 2017

A long time ago, I asked a writer why he wrote.  He just said, “Something new.  Something I never thought of before.”

You know something is there; you just don’t know what it is yet.  But you’ll launch it.  It’s your ship.  You’ll move it out of port.

The world has come to a place where many people now believe they, as individuals, don’t move anything.  The only motion is of the group.  This is a fallacy.  It doesn’t take a village.

I think of writers who moved me in the past.  It wasn’t a matter of agreeing with them.  It was a matter of hearing a voice that let me know there was another person whose urge to express himself in the world was paramount.  Someone was climbing a mountain.  Someone was flying.  Someone was dreaming.  Someone had stopped waiting.  Someone was at the helm.  He wasn’t plotting his course according to standards that had already been laid down.  He was navigating according to an interior roll of the dice.  The dice weren’t random.  They were tuned to an invisible desire.

A book.  The mystery of opening a book.  Looking at the first page.  How does it begin?  Does it ignite a fire?

A book can be a life.

A painting can be a life.

A single thought can give birth to a new life.

From that moment, everything is different.


Exit From the Matrix

(To read about Jon’s mega-collection, Exit From The Matrix, click here.)


Jon Rappoport

The author of three explosive collections, THE MATRIX REVEALED, EXIT FROM THE MATRIX, and POWER OUTSIDE THE MATRIX, Jon was a candidate for a US Congressional seat in the 29th District of California. He maintains a consulting practice for private clients, the purpose of which is the expansion of personal creative power. Nominated for a Pulitzer Prize, he has worked as an investigative reporter for 30 years, writing articles on politics, medicine, and health for CBS Healthwatch, LA Weekly, Spin Magazine, Stern, and other newspapers and magazines in the US and Europe. Jon has delivered lectures and seminars on global politics, health, logic, and creative power to audiences around the world. You can sign up for his free NoMoreFakeNews emails here or his free OutsideTheRealityMachine emails here.