DISASTER MOVIES, DEPICTING THE PASSAGE?
ZetaTalk began in 1995, on the web by mid-year.
In 1997, I, Nancy, copyrighted a script called The Passage, hoping to see this story on TV as perhaps a min-series.
Got a some interest from Hollywood producers, but as the message ZetaTalk was putting out was to be suppressed, and many disinformation campaigns against ZetaTalk were already mustered, this never proceeded to production.
I modified it to be a short story, hoping to see this as a series in a magazine or newspaper, but this also did not come to fruition.
However, it is available for the public to read, in total, on the ZetaTalk web site.
Just click on the title, The Passage, on the menu at upper left.
A number of disaster movies had begun to emerge, each taken singly representing a minor subset of the pole shift phenomena as described by the Zetas.
The first was the Day the Earth Stood Still, a 1951 movie reflecting the time frame of Roswell, when the Secret Government first got the word that a pole shift was in the future, and would involve a halt in the Earth's rotation.
Could this be the reason for that theme?
This same warning, the stopped rotation, has been included in ZetaTalk since the start.
Along with an explanation of what MJ12 was told from the start of the Roswell days.
Remember Star Wars, the big rage during the Reagan era, and something the current President Bush has been trying to revive?
In that trash in the tail of Planet X is no secret, and the main danger for the government bunkers planned for the elite, those in power, the real reason was to deflect large rocks from a collision course with Earth.
What was the next disaster movie to emerge?
Meteor, written in 1979.
And how close to the description of the REAL use Star Wars was to be put to does this sound?
Lets compare the description of how an uninformed public would react to the scenario the Zetas were describing in 1995, as depicted in my short story, to the
disaster movies that emerged in the mid-1990's and to the present day.
First off, the cover-up is encountered, as that certainly has been in place since Roswell.
In Chapter 1, after Danny, a young reporter, wants to cover what he considers a hot story about the weather and the real reason the world is going haywire, and inbound planet, his editor tables it.
I quote from The Passage, Chapter 1: Theories
The editor of the Tribune moved slowly around this crowded office. His baggy pants, wrinkled around the seat and sagging unevenly below the knee announcing without fanfare the editor's priorities. The Tribune is successful, but the margin, as with all products that depend upon the fickle public, required a nervous eye. Zack Maya found he had to be a politician more often than a reporter, and where this did not set well with his perfunctory personality, he had learned to accept this as a fact of life. Some news came with a price, when printed.
Zack eases into his worn leather chair, flipping the pages of a story laid on his chair seat with barely time enough to grasp their meaning. Glancing up through his bifocals at Danny, who has been watching from his desk and has come to lean in the doorway, the editor is brief and to the point. "This won't fly." Danny frowns and slips into a wooden chair in front of the editors desk - the defendant's chair, not meant to be comfortable. "It'll get read." "And who's going to pay the merchants for damages, for the riot that this might cause?"
Danny's frown deepens. "I don't remember riots when that movie about asteroids came out." "That was maybe, this isn't saying maybe." Zack Maya looks unblinkingly across the desk at Danny, peering up over his bifocals. "Nukes aren't maybe. We've been living with them forever. Protests maybe, but not riots." The editor tosses the story across his desk to Danny, settling back into his chair. "Nukes are still maybe. Someone has to push the button. You're not sitting in my chair, Danny, and I'm telling you, this won't fly."
Danny scoops up the story, his mouth opening and closing as he processes and rejects arguments, blinks twice, and slowly rises and walks out the door without a comment. Outside the editor's office he stops and is lost in thought, his face smooth, showing no emotion. Finally he mutters "Bull shit" and grabbing his jacket, strides out of the office.
In the late 1990's disaster movies were trying to exonerate the coverup by claiming it was for the public's good.
We'll tell you when we've got the problem solved, was the theme.
In Deep Impact, released in 1998, the public remains remarkably calm when the President announces a lottery to determine what citizens will be moved into the bunkers.
Government actually functions, too. Dream on.
Armaheddon, also released in 1998, had a similar theme.
NASA will save the day.
Meanwhile, the barely informed public remained calm.
I guess the message was for the public TO remain calm, as the government would surely save the day.
At the start of ZetaTalk, due to the desire on the part of the Zetas to lead the Bush Administration into their planned War in Iraq prematurely, the famous White Lie
re May 15, 2003, the pole shift was described as happening suddenly, the Earth slowing in its rotation to a stop within days, the pole shift happening after scant
days of a stoppage, And with little warning other than red dust descending through the atmosphere.
Today we know that a severe Earth wobble will ensure, 3 days of darkness for the northern hemisphere, all prior to the slowing of rotation to a stop.
But in the early days of ZetaTalk, the implication was that rotation slowing would be one of the first clues.
As in the movie The Day the Earth Stood Still, this event descends suddenly upon the populace.
Disaster movies emerging since the mid-1990's and after the Year 2000 reflected this sudden emergency of global crises, also.
The FAILURE of government to even warn the public, despite the warnings of scientists and the pleading of conscientious bureaucrats, being a key point
The message? We got in this fix because the government
1. did something wrong
2. considered the public last, and their own political careers and corporate connections first.
Sudden change, affecting stunned city dwellers, was anticipated, as the plan within the inner circles of government was to say not a word until to the general public until the end.
The movie Volcano, released in 1997, depicted a volcano suddenly erupting in LA.
And who would expect an earthquake in New York?
Released in 1999, Aftershock, depicted just that.
I quote from short story The Passage, Chapter 2: Signs
Life goes on, even in the face of the inexplicable. On the trading floor of the Stock Exchange, there are shouts and traders running to and fro with cell phones to their ears, but the floor is uncharacteristically empty and quiet. Traders and dealers are standing around, staring at the big clock which now reads 11:11. People are huddling in small groups, talking quietly with each other. The TV monitors hung from the ceiling are tuned to CNN teams talking about the daybreak, hours late.
Out on the busy street, a drug dealer who would normally move through the crowd rapidly, making his contacts and moving to safer streets, stands with his back against a brick wall, eyes scanning the sky, cigarette in hand. A bum comes up to bum a smoke, and is absentmindedly handed the pack by the dealer, complete with lighter. An executive in a dark gray suit steps out of a cab, smooth black briefcase in hand. He notices a fine red dust powdering the sidewalk, and squats to pick up a pinch between his fingers, rubbing his fingers together. The fine dust is everywhere now - blowing off the tops of moving cars, settling into cracks in the sidewalks, and coming down onto the anxious up-turned faces like a fine mist.
Another early Zeta warning was that the weather would get steadily worse, and that climate change would come suddenly during the HOUR of the shift.
But until the weather actually started to document the accuracy of this warning, disaster movies did not follow.
And the message that government could be expected to foot dragging, issuing warnings too late, and looking out for their own skins was certainly being given.
Remember the depiction of VP Dick Cheney in Day After Tomorrow?
Even with the weather swinging out of control, defending the oil industry's interests as being of greater importance.
And in Category 7, both government edicts to FEMA to protect government installations first, and opportunistic evangelists looking to feather their pockets first, were faulted for not considering the public welfare.
I quote from the short story The Passage, Chapter 2: Signs
The room is dark, lights off, as a private conversation is going on. Standing in the shadows is a middle aged man, fit with no signs of middle aged spread or slack muscles. A military man, Colonel Cage considers being fit the first bastion of discipline. Tightly disciplined, he lives by rules both military and personal, which often are at war with each other. The colonel is not alone. He is talking to a figure taller than he, bone thin, with an enormous head seemingly too heavy for the stick thin body. But there is grace in the motions made by the long lanky arms, and the colonel seems not to notice or be alarmed by the shape of his companion. He has long been accustomed to conversing with this visitor from Zeta Reticuli.
Where a conversation is going on, only the voice of the colonel can be heard. Yet the intensity of the words shows that an interchange of ideas is clearly going on. "We can't tell them. Don't think I don't want to. It's orders, and orders are orders" The colonel breaks down a bit, moving his hands in front of him in an emotional way, as though groping for an answer, a resolution, that will not come. "My God, don't you think I want my neighbor's children safe? They practically live at my house. But if I say anything I'll disappear. What will my Mary and the kids do then, for God's sake!"
Massive global earthquakes, which spare no continent or country, were described in ZetaTalk, Richter 9 everywhere.
By 2005, disaster movies were not only reflecting the reality of an awakened and restless volcano at Yellowstone, news that was suppressed in 2003 when it began
to get restless, but also violent continent adjusting earthquakes.
The made for TV movie Yellowstone, Supervolcano, released in 2005, openly discussed the correlation to real changes that had occurred at least a year before, at Yellowstone.
Once again, the government was shown to be late in warning the public, and politician concerned about their own careers first.
Avoiding panic, even when this ultimately resulted in the deaths of millions, was just the rule of the day.
The made-for-TV movie 10.5 appeared to be warning the public that massive quakes affecting the shape of the continent could and would occur.
I quote from the short story, The Passage, Chapter 3: The Horror
Big Tom is walking back from the spring house with a bucket of water in his hand. The pumps have stopped, are stopping repeatedly due to the erratic power supply coming off the grid lines, the switches tripping as soon as the reset button is pushed. Big Tom stops in his tracks, feeling a slight but continuous tremble in the ground. His wife Martha comes running out of the house and into his arms, the buckets now dropped to the ground, sloshing and spilling over. The kids are running up behind her, crying "Mom, mom!". Panic is in the air. Danny and Red come around the corner of the house, from the garden, onions and tomatoes for the gumbo Martha was preparing in their hands. Red's pale face accentuates the red tinge in his graying hair. He says, "The moon is on the move!".
Suddenly everyone standing is thrown several feet. Big Tom is thrown backwards, skidding on his rear, Martha on top of him. Tammy sits up, holding her scrapped and bleeding elbow, rocking back and forth in pain and crying hard. Billy staggers to his feet, standing pale and shaken, his arms out to either side and slightly crouching. Big Tom, rolling up to a sitting position and easing his wife to the side, frowns and says, "What the Hell!" The barn, laid on a concrete slab, has been lurched off its foundations and moved halfway into the sloping barnyard. The house has crinkled in the middle, the walls folding in on a broken support, but is still glued to its foundation.
A massive split in the earth begins ripping across the field behind the barn, opening and closing again, yawing open several feet and then quickly closing again. The sky darkens as a hailstorm of what appears to be gravel starts peppering the landscape. The group reacting to their injuries and shock in the yard put their hands over their heads and dash back and forth, needing shelter but leery of going into the broken house. Lighting crackles overhead repeatedly, though there is no rain, and in the distance there is a whooshing sound, as a falling blanket of fire drops on some trees along a stream, setting them afire.
ZetaTalk had warned from the start that the public must get into self sufficiency, not rely on their government to feed and rescue them.
In Yellowstone, Supervolcano, released in 2005, the inadequacy of a 3 day supply of food and water is admitted.
A walk to life is required to get those trapped out of the ash zones, and millions die.
I quote from the short story, The Passage
The group at the farmhouse has constructed a makeshift tent set up over a rope strung between trees, weighed down by rocks along the edges of blankets hung over the rope. Bedding of all kinds has been stuffed inside the tent, with some laundry hung on another rope strung nearby. Life goes on. A fire is smoldering between some stones and a pot is hung on a hook overhead, some metal from the wrecked barn used to rig a metal beam over the fire. A menage of wooden chairs salvaged from the house is set near a table with three legs, the fourth corner stabilized on a barrel.
In the dim light of the continuous dawn, Big Tom is trudging back from the creek, a towel thrown over his shoulder. Red is sipping coffee at the makeshift kitchen table, both men alone as the others sleep in. Big Tom glances up at the sky and then says quietly to Red, "Seems like this cloud cover is never going to lift." Red rubs the tips of his fingers together, examining them briefly, and says, "I saw this when I was stationed in the Philippines. Some volcanoes have been burping, somewhere."
Billy is out digging for potatoes in a field behind the tent city. It is gloomy as though early dawn, the trees along the creek starkly outlined against the gray sky. Their leaves have fallen off, not as they do in fall when they color and then drop, but because about half have turned a sickly yellow and dropped while the remaining are still green. Billy is scrapping and chopping at the earth with a short hoe and digging tool, turning the earth looking for potatoes. He has a cloth sack lying on the ground beside him, lumpy with the few potatoes he has found. He is dusty and frankly dirty in places, as much from his work as from infrequent baths.
Though it is mid-day, it is still gloomy, as though a very overcast day during early dawn. Martha is sorting laundry, looking for items to be mended, seated on a chair in an open area, the laundry scattered about her in little piles on the ground. Issues around the food shortage and what to eat have come up continually lately, with creative meal-making resulting. Martha cooks what she and Red decide is good to eat, and the others are told not to ask. This has included atypical menu items such as earthworms picked up off the damp grass after the last rain and some slow moving possums Red has caught, as well as edible weeds. Big Tom strides in to talk to his wife, squatting before her so they can talk face to face. He looks up into her face and says, "We're out, plumb out, and the canned goods are going fast too". Martha is unperturbed, as she and Red noticed this long before the others. She keeps on mending through all of this without missing a stitch, though looks up and into her husbands eyes a lot, letting him know she has heard him. She smiles, "Red is bringing some possum back, and I've got some special soup tonight. You'll see, it'll be all right." Big Tom pauses, then rises to his feet. "Special soup?" Martha starts picking the laundry up off a pile, folding it on her lap as though getting ready to go, and says, "Never you mind, it'll be good for you."
It is supper time in the tent city, where the group has gathered around a glowing camp fire in the center of the makeshift tents. Martha is ladling out soup, handing bowl after bowl to the group as they come up one at a time. Some members of the group eat heartily, others sniff and ask, "What's in this?", but receive no answer or even a nod from Martha. All eventually start eating.
ZetaTalk warned early that the government would want to impose Martial Law, the elite among them wanting to setup kingships in the future, after the pole shift.
In that the White House was taken by Supreme Court appointment in 2000, and by voter fraud in 2004, and in that Jed Bush has been suggested by his father as a replacement for George W in 2008, the term President for Life seems apropo.
In the post disaster movie, Escape from LA, released in 1996, just such a President for Life has emerged, with LA becoming a prison colony.
Would cities be blocked, those termed useless eaters prevented from escape during the pole shift?
Homeland Securities color coded system allowed for citizens to be ordered to stay in their homes if a Level Red was called, and tests to see if the citizenry would cooperate have occurred.
I quote from the short story, The Passage, Chapter 4 : Stories
Mark is telling the group what he heard on the radio before their small plane hit rough up and down drafts due to incipient hurricane winds at the shift. "The winds were like a hurricane, but different, more erratic. Our plane hit some bad drafts. I couldn't hold it. We could hear the radio news guy talking about it too. Where the bridge crosses the river, cars were abandoned, blocking traffic in both directions. People were flooding across from both directions, desperate. Little kids were left, abandoned. Rioting was breaking out, everyone in a hurry and no one knowing where to go, I guess. Trying to get someplace, anyplace, but where they were." "And looting in the city. The police just weren't around, at least not paying attention. No law, and anything goes." Mark's face is like a mask as he relays all this, keeping his emotions disconnected so he can get through it.
"Services were failing, as people failed to turn up for their jobs and power outages went un-repaired, phone lines went dead, gas pumps were locked and the stations closed." Mark shakes his head and says: "A never-ending mid-morning on the East Coast, taking its toll." Mark pauses a minute, keeping his emotions in control. "We saw some of that too, from the plane. Cars were littering the roads, pulled over to the side out of gas or blocked, and there was a bridge with traffic lined up on both sides, blocked by abandoned cars on the bridge. This traffic jam was getting worse, too, cars pulling up at both ends. We could see people walking in small groups across the land, too, setting out on foot. And all the while we could hear the earth moaning. I don't ever think I'll forget that sound." Big Tom nods in agreement, Mark glancing at him for a minute, and then continuing.
"We heard that religious groups thought the end of the world had come, and lots of them, even atheists, were committing suicide, taking their whole families with them, taking the kids out first, just like that Jim Jones crowd."
The issue of opportunistic Mad Max gangs emerging, as the infrastructure of government crumbles, came up early on ZetaTalk as a concern expressed by those asking question of the Zetas.
Disaster movies depicting this type of setting, Mad Max gangs emerging due to government collapse, occurred early.
The reason for collapse was always somewhat vague, the 1995 Waterworld film simply referring to something the 'ancients' did to cause the world to be flooded.
In a 1997 release, The Postman likewise inferred something vague, perhaps biological warfare, but the result was a rogue military unit, a self appointed general, setting himself up as a king.
I quote from the short story The Passage, Chapter 5: Friend and Foe
And what of Mad Max gangs, rampaging the world after a disaster, no government or police force able to contain them.
ZetaTalk has stated that these gangs will be contained by the survivors themselves, vigilantism, the victim taking charge and not waiting for missing long arm of the law.
The movie Mad Max, released in 1979, depicts this scenario, where the police don't even try to control motorcycle gangs.
And I quote from the short story, The Passage
Chapter 4: Stories
"I was at the Clearwater Resort, waiting it out as the phones had gone dead and no one knew what was happening. I was up in my room, changing, when I heard a woman's voice pleading, 'Not my babies, please, they're so little'. Then I heard gun shots, then silence, and slipped under the bed, quiet as a mouse." "It was the Grogan brothers. I later realized they'd killed the other guests for target practice when they came up from the fishing hole. Almost everyone went there to escape the heat, you know. I saw them when I went to the barn to get my bay - fishing poles and fish in hand, laying there in blood and twisted in agony. All dead. I realized they were shooting everybody, and I'd be no exception."
As the hours passed, Netty determined that the Grogan brothers were downstairs, getting drunk. "They were laughing about what they'd done. Laughing. Talking about how people looked when the bullets hit, how they reacted, the look on their faces. Then they'd howl and carry on. I was sick, trembling so hard I was afraid to move. I edged under the bed, lay there trying not to breath, not to move, not make any sounds that could be heard." Now considering themselves masters of the resort they were never welcomed at, the Grogan brothers swaggered around, putting their muddy boots up on the stuffed furniture, and raiding the bar and tossing empty bottles at lamps and vases.
No phones, no law, and the brothers can do as they please. "I heard them say 'this is more fun than moving weed.' Then I heard them moving from room to room, seeing what they could find. I held my breath when they came into my room, didn't breath, and they missed me. Later I slipped down the stairs when it got quiet. They were asleep, drunk and snoring. I went to the barn and saddled my bay. He follows me like a baby after I pet him a bit. Quiet as a mouse. I thought I had gotten away, had walked along the hedge where they couldn't see me unless I mounted, and didn't mount to ride until beyond the trees there. But when I was riding away, I thought I saw something move near the house. I figured I'd been seen." "They chased me, and there was no hiding as the Sun never went down. But it was dim, and that helped me. They had to use the headlights on their jeep or they would've lost me." "I was the only living witness to their crimes, and they weren't about to lose me. Dead women tell no tales. But I think they were on a power trip too. Their guns ruled, I guess. These guys are sadistic. Once they got on top, no telling what they'd do."
Chapter 3 : The Horror
Big Tom is leaning against a large tree trunk, his rifle resting on a lower branch. The sound of a jeep is heard in the distance, engine revving and the voices of young males whooping it up as though on the hunt for a prey that can't get away. The open topped jeep is seen bouncing along a dirt road through the field, moving in the direction that the horse and rider had taken, following the trail of dust puffs seen from a distance and the occasional prints left from pounding hooves. Big Tom lowers the rifle, moving his eye close to the sight, bracing himself against the tree trunk. A shot rings out as Big Tom jerks from the recoil.
ZetaTalk warned from the beginning of sloshing oceans that would inundate the coastlines for hundreds of miles.
Where this is described as a flood tide, rising steadily, and not a crashing giant wave coming down from above, disaster movies depicted giant waves.
In the Perfect Storm, released in 2000, the wave the fishing boat must mount in looks as high as a skyscraper, with the boat virtually vertical on the wave before it is dragged down under the waves.
And of course, there is the inundation of New York City during the move Day After Tomorrow.
I quote from the short story, The Passage, Chapter 6 : On the Move
Mark is almost surprised to find the plane wreck looking as they had left it, the plane nosed into trees at the edge of a creek, the propellers twisted and one wing bent at a right angle. Mark and Brian are walking toward the plane, hurriedly, while Mark is talking excitedly. "Remember that air balloon jet I was talking to the club? I'll bet we can rig something up! We've got the parachutes, and heck, if we can just get out of this earthquake zone ..." Mark and Brian are floating through a low lying cloud. All is gray, and they both are being powdered with a fine volcanic soot which has turned the pair and their clothing light gray and streaked. Brian is hanging down below Mark, in a parachute seat, looking around with wide frightened eyes. Mark is holding the hot air jet gingerly in his arms, pointed up into a double parachute arrangement above him. He rarely puffs the jet, as the wind catches them and propels them with rapid bursts now and then. Mark is using the jet sparingly, only when the wind dies down between bursts and they begin to drift toward the ground.
Below them are flooded farmlands and town, a church steeple and silo sticking up above the water, and occasional rooftops with people huddled in the center. One who waves frantically at the floating pair, hoping to be rescued. Off to the side, in the distance, is a new cliff where the land has been sheered upward by a couple hundred feet. Shreds of city housing are clinging to the top of the new cliff, as well as crumpled along the bottom, with wreckage clinging to the cliff itself. The day is continuously overcast, gray with blowing clouds almost at ground level, and drizzling continuously. Mark and Brian have floated to an approach to New York City. The wind, prevailing westerlies, are dragging them along at a fairly rapid clip, the parachute ahead of them and filled out like a sail. Brian has pulled his legs up and appears to be pulling himself up into a fetal position, his arms around his knees, his long hair floating out in the wind.
Mark is excited. "Brian, there it is, there's the city! We're home, home! I've got to start to bring this down." Mark is looking up while he positions his hands on the ropes. When he glances down, to mentally prepare his descent path, a grim look comes over this face. The Statue of Liberty is tilted at a 45 degree angle, with the remnants of a sailboat caught in and dangling from the flame, seaweed shreds up to her chin. No high rises remain standing, but the city skyline looks like a rubble instead, black in outline against the gray skies. Bridges are disconnected with most sections down. No boats are seen on the water, but a couple large ocean going vessels can be see floating, bottom up. Mark's eyes have filled with tears, and he glances upward, not wanting to look down. Finally he glances down to check on Brian, saying to himself, "At least you're not there to see all this. Time to say good-bye. Nothing left to live for." Mark points the hot air jet directly at the parachute lines, melting them one by one, and the rig begin to tip to the side, suddenly dropping into the ocean below.
So what do you think?
Did this disaster script, made available to the public in 1997, parallel and even precede the disaster movies that have emerged since the mid-1990's?
And more importantly, did the content of ZetaTalk, made available in 1995, parallel and even precede these disaster movies?