O, it’s a Lonely Way, The Way of The of The Necromancer —
Lacrimae Mundi — The Tears of The World.
Showing posts with label Axis Mundi. Show all posts
Showing posts with label Axis Mundi. Show all posts
Monday 28 October 2019
Monday 6 May 2019
AXIS MUNDI — The Dark Tower
One last time around The Wheel,
Old Friend.
The Gunslinger:
This is madness.
The Kid :
You can't walk
into a hospital here carrying guns.
Trust me.
Come on.
Let me do all the talking.
Hi.
You've reached Laurie, Lon and Jake.
Please leave a detailed message...
and we'll get back to you
as soon as possible.
This is awful.
Try it.
That looks gross. What is it?
You got to try it.
It's terrible.
I don't want to try it if it's terrible.
It's like mango...
The Gunslinger:
Do the animals here still speak?
What? No, that's a commercial.
Wait, what do you mean by "still"..?
He's in here.
Mr. Deschain.
I see the antibiotics are kicking in.
On a scale of one to 10, how bad is your pain?
The Gunslinger:
Okay.
You were in very bad shape.
I'm surprised you're even sitting up.
The Gunslinger:
I'm Stronger Than Most.
We get that sentiment a lot.
So aside from your infection
and the wound from the...
costume-party incident...
we also found traces
of hepatitis a, b, e, and...
Chronic Radiation Sickness.
Have you traveled overseas
in the past couple of months?
The Gunslinger:
No. I've been here on Keystone-Earth.
So am I cured or not?
We're going to keep you here for the night to monitor your progress.
[Begins ripping I.V. Tubing feeds out of his arm by the fistful.]
Maybe tomorrow afternoon...
What are you doing? No.
The Gunslinger:
I can't stay Here.
You need to get back on that.
Mr. Deschain, you need...
The Gunslinger:
[Deposits Gold into The Healer’s palm.]
For your services.
Wait, what?
May Your Days Be Long.
But you need to get back on that.
Mr. Deschain?
Bring my guns.
These are painkillers and vitamins.
You only want to take
one or two at a... time.
Hey, cutie.
Can we join The Party?
The Gunslinger:
You have both forgotten
The Faces of Your Fathers.
You probably shouldn't talk
to people Here.
What is this?
Sugar.
How we gonna find the portal?
New York's a pretty big place.
I don't know.
I just can't let Walter know
how I'm coming for him.
I've got an idea.
These painkillers work fast.
I haven't felt this good in years.
Yeah, we got the good stuff.
Got any more of that sugar?
Tuesday 12 February 2019
"There are Two Reasons Things Fall Apart." - Jordan Peterson
1) The Best lack all conviction.
2) The Worst are full of passionate intensity.
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
Sunday 13 January 2019
Queen Anne
Jonathan Swift said of this period, that he doubted there was another in history ``more full of passages which the curious of another age would be glad to know the secret springs of.''
The Venetians would not like you to know that Leibniz and Swift constructed some of the secret passages which led to the founding of the American Republic.
Leibniz's patron, Sophie of Hanover, the designated successor to Queen Anne, died in May 1714, at the age of 84.
Her son George was now the heir to the British throne. William of Orange had been George's idol, and Marlborough and the Venetian Party had bought him many times over.
Barely two months after Sophie's death, Queen Anne's life was ended, probably by poison, at the age of 49.
The Duke of Marlborough, who had plotted in exile for years for Anne's overthrow, landed in England the same day.
How serious was the threat Leibniz and Swift posed to the Venetian Party's conspirators?
Just consider the conspirators' satanic rage against the dead Queen Anne, who for all her faults had learned to seek something better in life than they could ever know.
There was no public mourning, nor royal funeral; her corpse was left to rot for more than three weeks.
Then a chosen few, serving George I, buried her secretly at night, in Westminster Abbey--beneath the tomb of her great-great-grandmother, Mary, Queen of Scots.
To this day, no stone or tablet marks her grave.
How The Venetian Virus Infected
and Took Over England
by H. Graham Lowry
Chorus: (WGT) The consolidation of the Venetian Party in England and Britain was a question of culture. Francesco Zorzi of Venice, the close friend and relative of Gasparo Contarini, who was sent by the Venetian oligarchy to England as the sex adviser to Henry VIII, was a cabbalist and Rosicrucian. In 1529, Zorzi came to London to deliver his opinion, and he remained at the court for the rest of his life, building up an important party of followers--the nucleus of the modern Venetian Party in England. In 1525, Zorzi had published the treatise De Harmonia Mundi, which uses the cabbalistic Sephiroth to expound a mystical, irrationalist outlook and to undercut the influence of Nicolaus of Cusa.
In 1536, when he was at the English court, Zorzi wrote his second major work, In Scripturam Sacram Problemata. This is a manual of magic, with Zorzi assuring the aspiring wizard that Christian angels will guard him to make sure he does not fall into the hands of demons.
Zorzi was a great influence on certain Elizabethan poets. Sir Philip Sidney was a follower of Zorzi, as was the immensely popular Edmund Spencer, the author of the long narrative poem The Faerie Queene. Spencer is a key source for the idea of English imperial destiny as God's chosen people, with broad hints of British Israel. Christopher Marlowe and William Shakespeare both attacked Zorzi's influence in such plays as Doctor Faustus and Othello, but the Venetian school was carried on by the Rosicrucian Robert Fludd, and, of course, by Francis Bacon and Thomas Hobbes.
John Milton, the admirer of Paolo Sarpi and apologist for usury, is an example of the pro-Venetian Puritan of the Cromwell Commonwealth period. Milton taught that the Son of God is inferior to the Father, a kind of afterthought, and in any case not necessary. Milton was the contemporary of Sabbatai Zevi, the false messiah from Smyrna, Turkey, whose father was an agent for English Puritan merchants. Did Milton's Paradise Regained of 1671 reflect knowledge of Sabbatai Zevi's meteoric career, which burst on the world in 1665?
The British East India Company was founded in 1600. By 1672, adventurers, such as Diamond Pitt, were freebooting around India.
H. Graham Lowry: In December 1688, the armies of the Dutch Prince William of Orange invaded England, interrupting the Hobbesian nightmare the country had experienced under the deranged King Charles II and his brother James II. A worse nightmare was to follow when William seized the throne of James II, for he embodied a more highly distilled form of poison which Venice had perfected during its sway over the remains of the Dutch Republic. This outright usurpation is blithely referred to in British-Venetian parlance as the ``Glorious Revolution''--which should give you some idea of how little regard for truth prevails in these circles.
The notion of ``English rights and liberties'' was quickly transformed from fiction to fraud under William's dictatorial regime. When King James II fled to France, the rightful successor to the English throne was his eldest daughter Mary, who had married William of Orange reluctantly (he was a notorious homosexual). William's demand to be declared king was never submitted to Parliament for a ``constitutional'' veneer. Instead, he summoned a special ``convention,'' which granted him full power, rather than simply the rank of the Queen's Consort.
King William's Venetian baggage included the evil John Locke, who became the chief propagandist for foisting the Bank of England on that hapless country in 1694. This was not the sort of bank you turned to for financial assistance. It was a gargantuan Venetian swindle, which promptly created England's first national debt to finance ongoing wars of attrition in Europe, imposed a credit crunch by cutting the amount of circulating English coinage nearly in half, and loaded new taxes on an already-collapsing economy. The bank's chief architect was Venetian Party leader Charles Montagu, William's new chancellor of the exchequer, who later attained the loftier position of British ambassador to Venice. Montagu appointed the pathetic Sir Isaac Newton to oversee the ``recoinage'' swindle, and Newton repaid that debt by prostituting his own niece to serve as Montagu's mistress.
The bank's promotional hireling John Locke is better known as the peddler of the obscene notion that the human mind is nothing more than a tabula rasa--a passive register of animal sensations. He clearly had a higher regard for the cash register, however, and openly defended usury as a necessary service for those whose ``estates'' lie ``in money.'' Locke's theories of government approximate those of a casino operator who lays down rules rigged for the house, under which the bestialized players compete for sums of money, which then define their worth as individuals. This is Locke's ``liberty'' to pursue property. His notion of the ``social contract,'' which guarantees the players' club members the right to enter the casino, was in fact advanced in order to justify William of Orange's usurpation of the British throne. James II, in effect, was charged with having denied those rights to his more speculative subjects, thus breaking the contract. Locke argued that the Venetian mob was therefore entitled to move in under a new contract.
By 1697, the Venetian Party's coup inside England was nearly total, and its members filled William's ``ship of state'' from stem to stern. They looked forward to reducing a most troubling matter in the English colonies of America: the impulse toward building an independent nation, which had been driving the Venetians berserk since the 1630s founding of the Massachusetts Bay Colony. In 1701, John Locke, as a member of England's Board of Trade, advocated revoking all the independent charters of the American colonies, placing their economic activity under royal dictatorship, and banning their manufacture of any finished goods.
Leibniz builds anti-Venice movement
Yet, even as the Venetians were swaggering over their apparent triumph, a powerful republican opposition was building around a higher conception of the nature and purpose of man, which both inspired and opened the way for the later founding of the United States. Its leader was the great German scientist and statesman Gottfried Wilhelm von Leibniz, who led what might well be called a movement for the pursuit of happiness--the ultimate goal of the liberty which America embraced in its Declaration of Independence.
In the face of the new Venetian onslaught in England, Leibniz set forth his view of human happiness, from the standpoint of man's creation in imago Dei. Writing ``On the Notions of Right and Justice'' in 1693, Leibniz defines charity as ``universal benevolence,'' which he calls the habit of loving, i.e., ``to regard another's happiness as one's own.'' That joy is first approximated, he says, in the contemplation of a beautiful painting by Raphael, for example, ``by one who understands it, even if it brings no riches, in such a way that it is kept before his eyes and regarded with delight, as a symbol of love.''
When the object of delight ``is at the same time also capable of happiness, his affection passes over into true love,'' Leibniz says. ``But the divine love surpasses other loves, because God can be loved with the greatest result, since nothing is at once happier than God, and nothing more beautiful and more worthy of happiness can be known than He.'' And, since God possesses the ultimate wisdom, Leibniz says, ``the notions of men are best satisfied if we say that wisdom is nothing else than the very science of happiness.''
As the leading scientist and philosopher of his day, Leibniz was widely known throughout Europe, and among such republican leaders of New England as the Winthrops and Mathers, later extending to include, most significantly, Benjamin Franklin. From the 1690s onward, Leibniz's leading ally within England, Scotland, and Ireland, was the brilliant anti-Venetian polemicist Jonathan Swift, who directed a cultural onslaught against the bestial notions of Bacon, Hobbes, René Descartes, Newton, and Locke, for more than 40 years.
From the standpoint of reason, the Aristotelian empiricism of the likes of Descartes and Locke reduces the notion of man to the level of a mere beast, which, of course, is the prerequisite for imposing an empire of the sort the Venetians sought, then and now. When Jonathan Swift took up his cudgels on behalf of Leibniz's refutation of empiricism, he ridiculed their enemies' ideas for what they were: insane. Swift's ``A Digression on Madness,'' in his 1696 work A Tale of a Tub, examines ``the great introducers of new schemes in philosophy,'' both ancient and modern. They were usually mistaken by all but their own followers, Swift says, ``to have been persons crazed, or out of their wits;|... agreeing for the most part in their several models, with their present undoubted successors in the academy of modern Bedlam.''
Oligarchical Families Move In
By 1701, the lunatics of the late-model incarnation of the Venetian Party had typically inbred a set of oligarchical families, mixing and matching Spencers, and Godolphins, and Churchills--the last headed by John Churchill, soon to become duke of Marlborough.
Churchill had begun as a page boy to Charles II in 1665, behind the skirts of his sister Arabella, the mistress of the king's brother James. Then, for similar services rendered, Churchill received £10,000 from Charles II's favorite mistress.
With things apparently moving so swimmingly, the Venetians set their course for their next major objective: the destruction of France, the most productive economic power in Europe. Under the ministry of Jean-Baptiste Colbert, the patron of the scientific academy at Paris where Leibniz himself was engaged in the early 1670s, France had led the way in infrastructural and industrial development. So in 1701, England launched war on France. More than a decade of bloodshed and destruction followed--for the populations of both countries, and their European allies. It was yet another rigged game, in which Venice expected to be the only winner.
There are inevitably loose ends in any foul scheme. Queen Mary had died in 1694, leaving William without a direct heir. Her sister Anne was next in line to the throne, but the death of Anne's only surviving child in 1700 presented a new succession crisis. An Act of Settlement was imposed in 1701. James I's 71-year-old granddaughter Sophie, the head of the German House of Hanover, was designated as Anne's successor. King William died in 1702, and Anne became queen of England.
As the Venetian Party expected, she quickly bestowed preeminence at court upon the duke and duchess of Marlborough, who had spun their webs of influence over her for many years. The problem for the Venetians, was that Sophie's chief adviser and privy counsellor, was Gottfried Wilhelm von Leibniz.
The Battle for Britain
With Leibniz virtually one step away from guiding policy in London, the final battle against Venetian Party dictatorship within England broke out in earnest. It was a conflict between the pursuit of happiness, and the lust for empire. The Marlboroughs resorted to deceit, terror, and treachery to cut off political relations--or even ordinary civilities--between Queen Anne and Sophie of Hanover. Swift maintained a fierce barrage both publicly and privately against Marlborough's Venetian gang, to the point that he broke their domination of Queen Anne's cabinet. He extended his own influence to her innermost circle, and, during 1710 and 1711, he drove the Marlboroughs and all their cronies from office.
London desperately hurled Isaac Newton into the fray against Leibniz, puffing the old fraud up with the lie that differential calculus was his invention rather than Leibniz's. Leibniz and Swift conspired to bring the great composer George Frideric Handel from Hanover to London in 1710, seeking to uplift English musical culture from decadent braying and outright snoring.
The American Flank
And in the midst of all this, Swift managed to get two of his allies appointed to royal governorships in the American colonies. Robert Hunter in New York, and Alexander Spotswood in Virginia, launched a drive in 1710 which opened the door to our future continental republic.
That same year, in Massachusetts, Cotton Mather published his republican organizing manual, An Essay upon the Good, which spread Leibniz's notion of the science of happiness throughout America for more than a century. Benjamin Franklin paid tribute to Mather's book as the single most important influence upon his life.
Jonathan Swift said of this period, that he doubted there was another in history ``more full of passages which the curious of another age would be glad to know the secret springs of.'' The Venetians would not like you to know that Leibniz and Swift constructed some of the secret passages which led to the founding of the American Republic. But within Britain (as it came to be known after the 1707 union which England forced upon Scotland), the battle against the Venetian Party was soon lost.
Leibniz's patron, Sophie of Hanover, the designated successor to Queen Anne, died in May 1714, at the age of 84. Her son George was now the heir to the British throne. William of Orange had been George's idol, and Marlborough and the Venetian Party had bought him many times over. Barely two months after Sophie's death, Queen Anne's life was ended, probably by poison, at the age of 49. The duke of Marlborough, who had plotted in exile for years for Anne's overthrow, landed in England the same day; and George of Hanover was proclaimed Great Britain's King George I. Jonathan Swift had been forced to flee to Ireland, and George soon dismissed Leibniz from the court of Hanover.
How serious was the threat Leibniz and Swift posed to the Venetian Party's conspirators? Just consider the conspirators' satanic rage against the dead Queen Anne, who for all her faults had learned to seek something better in life than they could ever know. There was no public mourning, nor royal funeral; her corpse was left to rot for more than three weeks. Then a chosen few, serving George I, buried her secretly at night, in Westminster Abbey--beneath the tomb of her great-great-grandmother, Mary, Queen of Scots. To this day, no stone or tablet marks her grave.
Leibniz himself died in 1716. Jonathan Swift fought on from Ireland, from the position Queen Anne had granted him as the Dean of St. Patrick's Cathedral in Dublin.
He became the acknowledged political leader of all Ireland during the 1720s, building a mass-based movement on the principles of man's God-given right to liberty, and the right to national sovereignty based on natural law. Swift thereby extended Leibniz's movement for the pursuit of happiness, and immeasurably influenced the growth of republicanism in eighteenth-century America.
Britain, however, began a rapid descent into hell, under the new regime of George I. Previously secret Satan-worshipping societies such as the Hell-Fire Club now surfaced, heralded by the publication in 1714 of Bernard Mandeville's Fable of the Bees, or Private Vices, Public Benefits. Very simply, Mandeville argued that the interests of the state were nothing more than the maximum fulfillment of its individuals' hedonistic pleasures: The more private vices, the more public benefits. Therefore, the state thrives most upon the corruption of its subjects. Inevitably, Britain was soon locked into a Venetian orgy of corruption and new heights of financial speculation, leading to the massive blowout of the South Sea Bubble in 1720. Appropriately, the government which emerged in 1721 from this devastating collapse, was headed by Prime Minister Robert Walpole, who held that post in the service of evil for the next 20 years.
The Hell-Fire Clubs not only proliferated; they became the inner sanctum of Britain's degenerate elite. The most prominent one, founded in 1720 by Lord Wharton, included on its dining-room menu ``Hell-Fire Punch,'' ``Holy Ghost Pie,'' ``Devil's Loins,'' and ``Breast of Venus'' (garnished with cherries for nipples). By the 1760s, when the American colonies began to openly break with Britain, most of the king's cabinet were members of the Hell-Fire Club. When Benjamin Franklin served as our colonial postmaster general, for example, his official superior, Sir Francis Dashwood, was the head of the Hell-Fire Club!
The murderous toll of such a regime upon the British population is expressed by the following statistics: From 1738 to 1758, there were only 297,000 births recorded--against 486,000 deaths. Typifying the bestiality of the emerging British Empire, was the phrase smugly coined by Robert Walpole, ``Every man has his price.''
We must not pay it.
In 1536, when he was at the English court, Zorzi wrote his second major work, In Scripturam Sacram Problemata. This is a manual of magic, with Zorzi assuring the aspiring wizard that Christian angels will guard him to make sure he does not fall into the hands of demons.
Zorzi was a great influence on certain Elizabethan poets. Sir Philip Sidney was a follower of Zorzi, as was the immensely popular Edmund Spencer, the author of the long narrative poem The Faerie Queene. Spencer is a key source for the idea of English imperial destiny as God's chosen people, with broad hints of British Israel. Christopher Marlowe and William Shakespeare both attacked Zorzi's influence in such plays as Doctor Faustus and Othello, but the Venetian school was carried on by the Rosicrucian Robert Fludd, and, of course, by Francis Bacon and Thomas Hobbes.
John Milton, the admirer of Paolo Sarpi and apologist for usury, is an example of the pro-Venetian Puritan of the Cromwell Commonwealth period. Milton taught that the Son of God is inferior to the Father, a kind of afterthought, and in any case not necessary. Milton was the contemporary of Sabbatai Zevi, the false messiah from Smyrna, Turkey, whose father was an agent for English Puritan merchants. Did Milton's Paradise Regained of 1671 reflect knowledge of Sabbatai Zevi's meteoric career, which burst on the world in 1665?
The British East India Company was founded in 1600. By 1672, adventurers, such as Diamond Pitt, were freebooting around India.
H. Graham Lowry: In December 1688, the armies of the Dutch Prince William of Orange invaded England, interrupting the Hobbesian nightmare the country had experienced under the deranged King Charles II and his brother James II. A worse nightmare was to follow when William seized the throne of James II, for he embodied a more highly distilled form of poison which Venice had perfected during its sway over the remains of the Dutch Republic. This outright usurpation is blithely referred to in British-Venetian parlance as the ``Glorious Revolution''--which should give you some idea of how little regard for truth prevails in these circles.
The notion of ``English rights and liberties'' was quickly transformed from fiction to fraud under William's dictatorial regime. When King James II fled to France, the rightful successor to the English throne was his eldest daughter Mary, who had married William of Orange reluctantly (he was a notorious homosexual). William's demand to be declared king was never submitted to Parliament for a ``constitutional'' veneer. Instead, he summoned a special ``convention,'' which granted him full power, rather than simply the rank of the Queen's Consort.
King William's Venetian baggage included the evil John Locke, who became the chief propagandist for foisting the Bank of England on that hapless country in 1694. This was not the sort of bank you turned to for financial assistance. It was a gargantuan Venetian swindle, which promptly created England's first national debt to finance ongoing wars of attrition in Europe, imposed a credit crunch by cutting the amount of circulating English coinage nearly in half, and loaded new taxes on an already-collapsing economy. The bank's chief architect was Venetian Party leader Charles Montagu, William's new chancellor of the exchequer, who later attained the loftier position of British ambassador to Venice. Montagu appointed the pathetic Sir Isaac Newton to oversee the ``recoinage'' swindle, and Newton repaid that debt by prostituting his own niece to serve as Montagu's mistress.
The bank's promotional hireling John Locke is better known as the peddler of the obscene notion that the human mind is nothing more than a tabula rasa--a passive register of animal sensations. He clearly had a higher regard for the cash register, however, and openly defended usury as a necessary service for those whose ``estates'' lie ``in money.'' Locke's theories of government approximate those of a casino operator who lays down rules rigged for the house, under which the bestialized players compete for sums of money, which then define their worth as individuals. This is Locke's ``liberty'' to pursue property. His notion of the ``social contract,'' which guarantees the players' club members the right to enter the casino, was in fact advanced in order to justify William of Orange's usurpation of the British throne. James II, in effect, was charged with having denied those rights to his more speculative subjects, thus breaking the contract. Locke argued that the Venetian mob was therefore entitled to move in under a new contract.
By 1697, the Venetian Party's coup inside England was nearly total, and its members filled William's ``ship of state'' from stem to stern. They looked forward to reducing a most troubling matter in the English colonies of America: the impulse toward building an independent nation, which had been driving the Venetians berserk since the 1630s founding of the Massachusetts Bay Colony. In 1701, John Locke, as a member of England's Board of Trade, advocated revoking all the independent charters of the American colonies, placing their economic activity under royal dictatorship, and banning their manufacture of any finished goods.
Leibniz builds anti-Venice movement
Yet, even as the Venetians were swaggering over their apparent triumph, a powerful republican opposition was building around a higher conception of the nature and purpose of man, which both inspired and opened the way for the later founding of the United States. Its leader was the great German scientist and statesman Gottfried Wilhelm von Leibniz, who led what might well be called a movement for the pursuit of happiness--the ultimate goal of the liberty which America embraced in its Declaration of Independence.
In the face of the new Venetian onslaught in England, Leibniz set forth his view of human happiness, from the standpoint of man's creation in imago Dei. Writing ``On the Notions of Right and Justice'' in 1693, Leibniz defines charity as ``universal benevolence,'' which he calls the habit of loving, i.e., ``to regard another's happiness as one's own.'' That joy is first approximated, he says, in the contemplation of a beautiful painting by Raphael, for example, ``by one who understands it, even if it brings no riches, in such a way that it is kept before his eyes and regarded with delight, as a symbol of love.''
When the object of delight ``is at the same time also capable of happiness, his affection passes over into true love,'' Leibniz says. ``But the divine love surpasses other loves, because God can be loved with the greatest result, since nothing is at once happier than God, and nothing more beautiful and more worthy of happiness can be known than He.'' And, since God possesses the ultimate wisdom, Leibniz says, ``the notions of men are best satisfied if we say that wisdom is nothing else than the very science of happiness.''
As the leading scientist and philosopher of his day, Leibniz was widely known throughout Europe, and among such republican leaders of New England as the Winthrops and Mathers, later extending to include, most significantly, Benjamin Franklin. From the 1690s onward, Leibniz's leading ally within England, Scotland, and Ireland, was the brilliant anti-Venetian polemicist Jonathan Swift, who directed a cultural onslaught against the bestial notions of Bacon, Hobbes, René Descartes, Newton, and Locke, for more than 40 years.
From the standpoint of reason, the Aristotelian empiricism of the likes of Descartes and Locke reduces the notion of man to the level of a mere beast, which, of course, is the prerequisite for imposing an empire of the sort the Venetians sought, then and now. When Jonathan Swift took up his cudgels on behalf of Leibniz's refutation of empiricism, he ridiculed their enemies' ideas for what they were: insane. Swift's ``A Digression on Madness,'' in his 1696 work A Tale of a Tub, examines ``the great introducers of new schemes in philosophy,'' both ancient and modern. They were usually mistaken by all but their own followers, Swift says, ``to have been persons crazed, or out of their wits;|... agreeing for the most part in their several models, with their present undoubted successors in the academy of modern Bedlam.''
Oligarchical Families Move In
By 1701, the lunatics of the late-model incarnation of the Venetian Party had typically inbred a set of oligarchical families, mixing and matching Spencers, and Godolphins, and Churchills--the last headed by John Churchill, soon to become duke of Marlborough.
Churchill had begun as a page boy to Charles II in 1665, behind the skirts of his sister Arabella, the mistress of the king's brother James. Then, for similar services rendered, Churchill received £10,000 from Charles II's favorite mistress.
With things apparently moving so swimmingly, the Venetians set their course for their next major objective: the destruction of France, the most productive economic power in Europe. Under the ministry of Jean-Baptiste Colbert, the patron of the scientific academy at Paris where Leibniz himself was engaged in the early 1670s, France had led the way in infrastructural and industrial development. So in 1701, England launched war on France. More than a decade of bloodshed and destruction followed--for the populations of both countries, and their European allies. It was yet another rigged game, in which Venice expected to be the only winner.
There are inevitably loose ends in any foul scheme. Queen Mary had died in 1694, leaving William without a direct heir. Her sister Anne was next in line to the throne, but the death of Anne's only surviving child in 1700 presented a new succession crisis. An Act of Settlement was imposed in 1701. James I's 71-year-old granddaughter Sophie, the head of the German House of Hanover, was designated as Anne's successor. King William died in 1702, and Anne became queen of England.
As the Venetian Party expected, she quickly bestowed preeminence at court upon the duke and duchess of Marlborough, who had spun their webs of influence over her for many years. The problem for the Venetians, was that Sophie's chief adviser and privy counsellor, was Gottfried Wilhelm von Leibniz.
The Battle for Britain
With Leibniz virtually one step away from guiding policy in London, the final battle against Venetian Party dictatorship within England broke out in earnest. It was a conflict between the pursuit of happiness, and the lust for empire. The Marlboroughs resorted to deceit, terror, and treachery to cut off political relations--or even ordinary civilities--between Queen Anne and Sophie of Hanover. Swift maintained a fierce barrage both publicly and privately against Marlborough's Venetian gang, to the point that he broke their domination of Queen Anne's cabinet. He extended his own influence to her innermost circle, and, during 1710 and 1711, he drove the Marlboroughs and all their cronies from office.
London desperately hurled Isaac Newton into the fray against Leibniz, puffing the old fraud up with the lie that differential calculus was his invention rather than Leibniz's. Leibniz and Swift conspired to bring the great composer George Frideric Handel from Hanover to London in 1710, seeking to uplift English musical culture from decadent braying and outright snoring.
The American Flank
And in the midst of all this, Swift managed to get two of his allies appointed to royal governorships in the American colonies. Robert Hunter in New York, and Alexander Spotswood in Virginia, launched a drive in 1710 which opened the door to our future continental republic.
That same year, in Massachusetts, Cotton Mather published his republican organizing manual, An Essay upon the Good, which spread Leibniz's notion of the science of happiness throughout America for more than a century. Benjamin Franklin paid tribute to Mather's book as the single most important influence upon his life.
Jonathan Swift said of this period, that he doubted there was another in history ``more full of passages which the curious of another age would be glad to know the secret springs of.'' The Venetians would not like you to know that Leibniz and Swift constructed some of the secret passages which led to the founding of the American Republic. But within Britain (as it came to be known after the 1707 union which England forced upon Scotland), the battle against the Venetian Party was soon lost.
Leibniz's patron, Sophie of Hanover, the designated successor to Queen Anne, died in May 1714, at the age of 84. Her son George was now the heir to the British throne. William of Orange had been George's idol, and Marlborough and the Venetian Party had bought him many times over. Barely two months after Sophie's death, Queen Anne's life was ended, probably by poison, at the age of 49. The duke of Marlborough, who had plotted in exile for years for Anne's overthrow, landed in England the same day; and George of Hanover was proclaimed Great Britain's King George I. Jonathan Swift had been forced to flee to Ireland, and George soon dismissed Leibniz from the court of Hanover.
How serious was the threat Leibniz and Swift posed to the Venetian Party's conspirators? Just consider the conspirators' satanic rage against the dead Queen Anne, who for all her faults had learned to seek something better in life than they could ever know. There was no public mourning, nor royal funeral; her corpse was left to rot for more than three weeks. Then a chosen few, serving George I, buried her secretly at night, in Westminster Abbey--beneath the tomb of her great-great-grandmother, Mary, Queen of Scots. To this day, no stone or tablet marks her grave.
Leibniz himself died in 1716. Jonathan Swift fought on from Ireland, from the position Queen Anne had granted him as the Dean of St. Patrick's Cathedral in Dublin.
He became the acknowledged political leader of all Ireland during the 1720s, building a mass-based movement on the principles of man's God-given right to liberty, and the right to national sovereignty based on natural law. Swift thereby extended Leibniz's movement for the pursuit of happiness, and immeasurably influenced the growth of republicanism in eighteenth-century America.
Britain, however, began a rapid descent into hell, under the new regime of George I. Previously secret Satan-worshipping societies such as the Hell-Fire Club now surfaced, heralded by the publication in 1714 of Bernard Mandeville's Fable of the Bees, or Private Vices, Public Benefits. Very simply, Mandeville argued that the interests of the state were nothing more than the maximum fulfillment of its individuals' hedonistic pleasures: The more private vices, the more public benefits. Therefore, the state thrives most upon the corruption of its subjects. Inevitably, Britain was soon locked into a Venetian orgy of corruption and new heights of financial speculation, leading to the massive blowout of the South Sea Bubble in 1720. Appropriately, the government which emerged in 1721 from this devastating collapse, was headed by Prime Minister Robert Walpole, who held that post in the service of evil for the next 20 years.
The Hell-Fire Clubs not only proliferated; they became the inner sanctum of Britain's degenerate elite. The most prominent one, founded in 1720 by Lord Wharton, included on its dining-room menu ``Hell-Fire Punch,'' ``Holy Ghost Pie,'' ``Devil's Loins,'' and ``Breast of Venus'' (garnished with cherries for nipples). By the 1760s, when the American colonies began to openly break with Britain, most of the king's cabinet were members of the Hell-Fire Club. When Benjamin Franklin served as our colonial postmaster general, for example, his official superior, Sir Francis Dashwood, was the head of the Hell-Fire Club!
The murderous toll of such a regime upon the British population is expressed by the following statistics: From 1738 to 1758, there were only 297,000 births recorded--against 486,000 deaths. Typifying the bestiality of the emerging British Empire, was the phrase smugly coined by Robert Walpole, ``Every man has his price.''
We must not pay it.
Wednesday 26 December 2018
Jack
Origin
Late Middle English: from Jack, pet form of the given name John. The term was used originally to denote an ordinary man ( jack (sense 6)), also a youth (mid 16th century), hence the ‘knave’ in cards and ‘male animal’.
The word also denoted various devices saving human labour, as though one had a helper ( jack (sense 1, jack sense 3, jack sense 9, jack sense 10), and in compounds such as jackhammer and jackknife); the general sense ‘labourer’ arose in the early 18th century and survives in cheapjack, lumberjack, steeplejack, etc.
Since the mid 16th century a notion of ‘smallness’ has arisen, hence jack (sense 4, jack sense 5, jack sense 7, jack sense 13).
The word also denoted various devices saving human labour, as though one had a helper ( jack (sense 1, jack sense 3, jack sense 9, jack sense 10), and in compounds such as jackhammer and jackknife); the general sense ‘labourer’ arose in the early 18th century and survives in cheapjack, lumberjack, steeplejack, etc.
Since the mid 16th century a notion of ‘smallness’ has arisen, hence jack (sense 4, jack sense 5, jack sense 7, jack sense 13).
jack
ADJECTIVE
Australian
informal
predicative Tired of or bored with someone or something.
‘people are getting jack of strikes’
" The fictional company which owns and operates the lunar base is called Lunar Industries Ltd. As a nod to this, the production company used to make the movie is also called Lunar Industries Ltd (UK Companies House company number 06346944), whose company directors are Duncan Zowie Hayward Jones (the movie's director) and Stuart Douglas Fenegan (one of the movie's producers). "
So, how is it a fictional company?
And who is Stuart Douglas Fenegan....?
And what does "Hayward" mean....?
Other than being the forename of Haywood Floyd, the Chairman of the National Council of Astronautics and protagonist of both the novel and movie 2010 : The Year We Make Contact AND the novel 2061 : The Next Odyssey (which is about rogue Affrikaaner agents illegally prospecting for diamonds on the surface of (a populated/inhabited) Europa.
JACK
I don't understand. Why does a weak person have to go out and find a strong person... to hang onto?
MARLA
What do you get out of it?
Faint SOUND of SAWING and HAMMERING. Jack can't quite figure where it's coming from.
JACK
You hear that?
MARLA Hear what?
JACK
That... sawing and hammering.
MARLA
Have we been talking too long? Must we change the subject?
Jack turns -- through the crack of the open basement door, Tyler's staring at Jack from the bottom of the stairs.
TYLER (harsh whisper)
You're not talking about me, are you?
Jack reacts, turns back to Marla.
JACK (to Marla and Tyler)
No.
MARLA
That day you came over to my place to play doctor... what was going on there?
TYLER (still a whisper)
What are you talking about?
JACK (to Marla and Tyler) Nothing.
MARLA Nothing? I don't think so.
TYLER (whisper) This conversation...
JACK This conversation...
TYLER ... is over.
JACK ... is over.
Marla comes to touch Jack's hair. Jack closes the basement door. Marla sees the kiss-scar on Jack's hand, grabs his hand. Jack tries to pull it back, but Marla keeps a grip.
MARLA What is this? Who did this?
JACK ... A person.
MARLA Guy or girl?
JACK Why would you ask if it's a guy or a girl?!
MARLA Why would you get bent if I asked?
JACK Let go of me... (pulls his hand free) Leave me alone.
MARLA You're afraid to say.
Marla backs away, closes her eyes, struggling with frustration. She leaves out the back door, not looking back.
Jack leans against the wall. After a moment, he opens the basement door, heads downstairs...
INT. BASEMENT STAIRCASE
Tyler walks upstairs, passing as Jack continues down...
INT. BASEMENT - CONTINUOUS
Jack looks around. TRIPLE-DECKER BUNKS clutter the basement, as many as can fit into the space.
JACK (calling upstairs) Tyler... ? What's this for?
From upstairs, the SOUND of the DOORBELL.
INT. LIVING ROOM - MOMENTS LATER
Jack opens the door. Ricky stands on the porch, staring ahead in subordinate military style. He's in black pants, black shirt, black shoes, holds a PAPER BAG, with an army surplus MATTRESS rolled-up at his feet.
JACK Um... what can I do for you, Ricky?
Tyler steps up beside Jack, looks Ricky over.
TYLER You're too young. Sorry.
JACK Wait a minute...
Tyler comes back inside, shuts the door.
JACK "Too young?"
TYLER If the applicant is young, we tell him he's too young. Old, too old. Fat, too fat.
JACK "Applicant?"
TYLER If the applicant waits at the door for three days without food, shelter or encouragement, then he can enter and begin training.
JACK "Training?" Tyler...
EXT. PORCH - MOMENTS LATER
Jack comes out, walks around Ricky, hands in his pockets, unsure. Tyler watches, nods for Jack to go ahead.
JACK Uh, look. You're too... young to... train here. You should probably be on you way.
No response from Ricky, who remains at attention. Jack goes back inside. Tyler closes the door.
EXT. PORCH - NIGHT
Ricky remains at attention. Jack bursts out with a BROOM, knocks the brown bag out of Ricky's hand, kicks it away.
JACK Are you deaf?! I told you to leave! You will never get inside this house!
EXT. PORCH - MORNING
Ricky's still there. Tyler comes out, friendly.
TYLER Look, friend, I'm sorry for the misunderstanding. It's not the end of the world. Just go away. You're trespassing and I will call the police. Nothing personal.
EXT. PORCH - NIGHT
Ricky, same spot. Jack bursts outside with the broom again.
JACK You're never getting through this door, you stupid little weasel! Look at me when I talk to you... !
He WHACKS Ricky in the shoulder with the broom.
JACK What is your major malfunction!?
INT. JACK'S ROOM - CONTINUOUS
At the window, Tyler sips coffee, watches this scene on the PORCH below.
JACK (V.O.) Sooner or later, we all became what Tyler wanted us to be.
EXT. PORCH - MORNING
Ricky's there. Bob is now next to him, in black, with a paper bag in hand, mattress at his feet. Tyler steps out. Jack stays in the doorway, locking eyes on Bob. To all the following questions, Ricky answers "Sir!" --
TYLER You have two black shirts? Two pair black trousers? One pair black boots? Two pair black socks? One black coat? Three hundred dollars personal burial money? Go inside.
Ricky goes in. Tyler turns to Bob.
TYLER You're too old. Sorry. And, you're too fat. Nice seeing you.
Bob looks genuinely hurt. He picks up his mattress and starts away. Tyler looks at Jack and rolls his eyes. Jack follows Bob...
JACK Bob... Bob, wait... (leading Bob back) Let me explain this to you...
EXT. PORCH -- NIGHT
CRICKETS CHIRP. Bob stands at at rigid attention.
INT. 2ND FLOOR LANDING - NIGHT
Tyler and Jack stand in bathroom doorway, watching Ricky finish SHAVING off all of his HAIR. Tyler comes to give the top of Ricky's head a sharp SLAP.
TYLER A monkey, ready to be shot into space. A Space Monkey, ready to sacrifice himself for Project Mayhem.
From here on, all those with shaved heads: "SPACE MONKEYS."
EXT. PORCH - DAY
Jack looks out the window. Bob stands motionless. There's another "applicant," a SHORT GUY, beside Bob. Ricky comes out the front door with the BROOM...
RICKY (to Bob) You're too fucking old, fatty! We don't want your kind here! (to short guy) You're too short. Go away, stumpy! Go back to the circus!
Ricky HITS them with the broom, then goes in, SLAMS THE DOOR.
JACK (V.O.) So it went...
EXT. BACKYARD - DAY
Tyler works with a HALF DOZEN SPACE MONKEYS, preparing the square of backyard. They pull weeds, clear rocks; working with shovels, rakes, etc. They cart away WHEELBARROWS of rocks and carry in SACKS of FERTILIZER.
JACK (V.O.) Tyler built his army.
IN THE KITCHEN WINDOW, Jack watches...
INT. KITCHEN - CONTINUOUS
Jack keeps watching out the window, eats toast.
JACK (V.O.) To what purpose, might one ask? Well, one might ask, if not for the first rule of Project Mayhem.
Jack turns to look around the kitchen. THREE SPACE MONKEYS work -- one SCRUBBING the FLOOR, one WASHING DISHES, one SCRUBBING the walls. Jack walks out.
JACK (V.O.) In Tyler We Trust.
INT. JACK'S ROOM - DAY
Jack opens his eyes, awakening to sunlight thru the window.
JACK (V.O.) And, then...
INT. UPSTAIRS LANDING - DAY
Jack slowly pushes open the door to Tyler's room...
JACK Tyler...
The room is empty. Jack stares.
JACK (V.O.) He was gone.
INT. LIVING ROOM - DAY
Jack comes downstairs... finds DOZENS of SPACE MONKEYS.
INT. KITCHEN - NIGHT
Jack enters. Space Monkeys render fat and make soap. They pinch HERBS, adding them to the mix. They add VODKA. Off to the side, a couple Monkeys stir a vat of RICE. On the wall is a big bulletin board with HUNDREDS of DRIVER's LICENSES; a sign above it: "HUMAN SACRIFICES."
FRECKLED SPACE MONKEY "You are not a beautiful and unique snowflake. You are the same decaying organic matter as everything else. We are all part of the same compost heap."
JACK (V.O.) Planet Tyler.
Jack dips a spoon into the rice, chomps on it irritatingly.
FRECKLED SPACE MONKEY "We are the all-singing, all-dancing crap of the world."
Jack picks up a BOTTLE of VODKA.
JACK (V.O.) I had to hug the walls, trapped inside this clockwork of Space Monkeys, cooking and working and sleeping in teams.
INT. READING ROOM - NIGHT
Jack enters, vodka in hand. TEN SPACE MONKEYS here, reading.
JACK (V.O.) The house became a living thing, wet inside from so many people sweating and breathing. So many people moving, the house moved.
Jack walks out.
INT. OFFICE - DAY
Jack enters. Angel Face reads a book, marks on a chart. Space Monkeys shuffle PAPERS and NEWS CLIPPINGS. Walls are lined with FILES, each labeled with a STREET ADDRESS, under SIGNS: "Mischief," "Disinformation," "Arson."
Jack's eye lingers on "Arson." He starts flipping through a file. Angel Face comes to take the file from him.
ANGEL FACE That wouldn't interest you.
JACK Where's Tyler?
ANGEL FACE The first rule of Project --
JACK Right, right.
As Angel Face replaces the file, Jack notices -- a LYE- BURNED KISS-SCAR on the back of Angel Face's hand.
EXT. BACK YARD - NIGHT
Jack takes a swig of vodka, smokes. In the BACKGROUND, a Space Monkey WHACKS an APPLICANT with a BROOM. It's a ritual; no words. Other Space Monkeys tend the garden.
JACK (V.O.)
I'm all alone. I Am Jack's Broken Heart.
Jack drops his cigarette in the gravel, steps on it. A Space Monkey immediately comes to clean it up.
I don't understand. Why does a weak person have to go out and find a strong person... to hang onto?
MARLA
What do you get out of it?
Faint SOUND of SAWING and HAMMERING. Jack can't quite figure where it's coming from.
JACK
You hear that?
MARLA Hear what?
JACK
That... sawing and hammering.
MARLA
Have we been talking too long? Must we change the subject?
Jack turns -- through the crack of the open basement door, Tyler's staring at Jack from the bottom of the stairs.
TYLER (harsh whisper)
You're not talking about me, are you?
Jack reacts, turns back to Marla.
JACK (to Marla and Tyler)
No.
MARLA
That day you came over to my place to play doctor... what was going on there?
TYLER (still a whisper)
What are you talking about?
JACK (to Marla and Tyler) Nothing.
MARLA Nothing? I don't think so.
TYLER (whisper) This conversation...
JACK This conversation...
TYLER ... is over.
JACK ... is over.
Marla comes to touch Jack's hair. Jack closes the basement door. Marla sees the kiss-scar on Jack's hand, grabs his hand. Jack tries to pull it back, but Marla keeps a grip.
MARLA What is this? Who did this?
JACK ... A person.
MARLA Guy or girl?
JACK Why would you ask if it's a guy or a girl?!
MARLA Why would you get bent if I asked?
JACK Let go of me... (pulls his hand free) Leave me alone.
MARLA You're afraid to say.
Marla backs away, closes her eyes, struggling with frustration. She leaves out the back door, not looking back.
Jack leans against the wall. After a moment, he opens the basement door, heads downstairs...
INT. BASEMENT STAIRCASE
Tyler walks upstairs, passing as Jack continues down...
INT. BASEMENT - CONTINUOUS
Jack looks around. TRIPLE-DECKER BUNKS clutter the basement, as many as can fit into the space.
JACK (calling upstairs) Tyler... ? What's this for?
From upstairs, the SOUND of the DOORBELL.
INT. LIVING ROOM - MOMENTS LATER
Jack opens the door. Ricky stands on the porch, staring ahead in subordinate military style. He's in black pants, black shirt, black shoes, holds a PAPER BAG, with an army surplus MATTRESS rolled-up at his feet.
JACK Um... what can I do for you, Ricky?
Tyler steps up beside Jack, looks Ricky over.
TYLER You're too young. Sorry.
JACK Wait a minute...
Tyler comes back inside, shuts the door.
JACK "Too young?"
TYLER If the applicant is young, we tell him he's too young. Old, too old. Fat, too fat.
JACK "Applicant?"
TYLER If the applicant waits at the door for three days without food, shelter or encouragement, then he can enter and begin training.
JACK "Training?" Tyler...
EXT. PORCH - MOMENTS LATER
Jack comes out, walks around Ricky, hands in his pockets, unsure. Tyler watches, nods for Jack to go ahead.
JACK Uh, look. You're too... young to... train here. You should probably be on you way.
No response from Ricky, who remains at attention. Jack goes back inside. Tyler closes the door.
EXT. PORCH - NIGHT
Ricky remains at attention. Jack bursts out with a BROOM, knocks the brown bag out of Ricky's hand, kicks it away.
JACK Are you deaf?! I told you to leave! You will never get inside this house!
EXT. PORCH - MORNING
Ricky's still there. Tyler comes out, friendly.
TYLER Look, friend, I'm sorry for the misunderstanding. It's not the end of the world. Just go away. You're trespassing and I will call the police. Nothing personal.
EXT. PORCH - NIGHT
Ricky, same spot. Jack bursts outside with the broom again.
JACK You're never getting through this door, you stupid little weasel! Look at me when I talk to you... !
He WHACKS Ricky in the shoulder with the broom.
JACK What is your major malfunction!?
INT. JACK'S ROOM - CONTINUOUS
At the window, Tyler sips coffee, watches this scene on the PORCH below.
JACK (V.O.) Sooner or later, we all became what Tyler wanted us to be.
EXT. PORCH - MORNING
Ricky's there. Bob is now next to him, in black, with a paper bag in hand, mattress at his feet. Tyler steps out. Jack stays in the doorway, locking eyes on Bob. To all the following questions, Ricky answers "Sir!" --
TYLER You have two black shirts? Two pair black trousers? One pair black boots? Two pair black socks? One black coat? Three hundred dollars personal burial money? Go inside.
Ricky goes in. Tyler turns to Bob.
TYLER You're too old. Sorry. And, you're too fat. Nice seeing you.
Bob looks genuinely hurt. He picks up his mattress and starts away. Tyler looks at Jack and rolls his eyes. Jack follows Bob...
JACK Bob... Bob, wait... (leading Bob back) Let me explain this to you...
EXT. PORCH -- NIGHT
CRICKETS CHIRP. Bob stands at at rigid attention.
INT. 2ND FLOOR LANDING - NIGHT
Tyler and Jack stand in bathroom doorway, watching Ricky finish SHAVING off all of his HAIR. Tyler comes to give the top of Ricky's head a sharp SLAP.
TYLER A monkey, ready to be shot into space. A Space Monkey, ready to sacrifice himself for Project Mayhem.
From here on, all those with shaved heads: "SPACE MONKEYS."
EXT. PORCH - DAY
Jack looks out the window. Bob stands motionless. There's another "applicant," a SHORT GUY, beside Bob. Ricky comes out the front door with the BROOM...
RICKY (to Bob) You're too fucking old, fatty! We don't want your kind here! (to short guy) You're too short. Go away, stumpy! Go back to the circus!
Ricky HITS them with the broom, then goes in, SLAMS THE DOOR.
JACK (V.O.) So it went...
EXT. BACKYARD - DAY
Tyler works with a HALF DOZEN SPACE MONKEYS, preparing the square of backyard. They pull weeds, clear rocks; working with shovels, rakes, etc. They cart away WHEELBARROWS of rocks and carry in SACKS of FERTILIZER.
JACK (V.O.) Tyler built his army.
IN THE KITCHEN WINDOW, Jack watches...
INT. KITCHEN - CONTINUOUS
Jack keeps watching out the window, eats toast.
JACK (V.O.) To what purpose, might one ask? Well, one might ask, if not for the first rule of Project Mayhem.
Jack turns to look around the kitchen. THREE SPACE MONKEYS work -- one SCRUBBING the FLOOR, one WASHING DISHES, one SCRUBBING the walls. Jack walks out.
JACK (V.O.) In Tyler We Trust.
INT. JACK'S ROOM - DAY
Jack opens his eyes, awakening to sunlight thru the window.
JACK (V.O.) And, then...
INT. UPSTAIRS LANDING - DAY
Jack slowly pushes open the door to Tyler's room...
JACK Tyler...
The room is empty. Jack stares.
JACK (V.O.) He was gone.
INT. LIVING ROOM - DAY
Jack comes downstairs... finds DOZENS of SPACE MONKEYS.
INT. KITCHEN - NIGHT
Jack enters. Space Monkeys render fat and make soap. They pinch HERBS, adding them to the mix. They add VODKA. Off to the side, a couple Monkeys stir a vat of RICE. On the wall is a big bulletin board with HUNDREDS of DRIVER's LICENSES; a sign above it: "HUMAN SACRIFICES."
FRECKLED SPACE MONKEY "You are not a beautiful and unique snowflake. You are the same decaying organic matter as everything else. We are all part of the same compost heap."
JACK (V.O.) Planet Tyler.
Jack dips a spoon into the rice, chomps on it irritatingly.
FRECKLED SPACE MONKEY "We are the all-singing, all-dancing crap of the world."
Jack picks up a BOTTLE of VODKA.
JACK (V.O.) I had to hug the walls, trapped inside this clockwork of Space Monkeys, cooking and working and sleeping in teams.
INT. READING ROOM - NIGHT
Jack enters, vodka in hand. TEN SPACE MONKEYS here, reading.
JACK (V.O.) The house became a living thing, wet inside from so many people sweating and breathing. So many people moving, the house moved.
Jack walks out.
INT. OFFICE - DAY
Jack enters. Angel Face reads a book, marks on a chart. Space Monkeys shuffle PAPERS and NEWS CLIPPINGS. Walls are lined with FILES, each labeled with a STREET ADDRESS, under SIGNS: "Mischief," "Disinformation," "Arson."
Jack's eye lingers on "Arson." He starts flipping through a file. Angel Face comes to take the file from him.
ANGEL FACE That wouldn't interest you.
JACK Where's Tyler?
ANGEL FACE The first rule of Project --
JACK Right, right.
As Angel Face replaces the file, Jack notices -- a LYE- BURNED KISS-SCAR on the back of Angel Face's hand.
EXT. BACK YARD - NIGHT
Jack takes a swig of vodka, smokes. In the BACKGROUND, a Space Monkey WHACKS an APPLICANT with a BROOM. It's a ritual; no words. Other Space Monkeys tend the garden.
JACK (V.O.)
I'm all alone. I Am Jack's Broken Heart.
Jack drops his cigarette in the gravel, steps on it. A Space Monkey immediately comes to clean it up.
The Second Coming
Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world,
The blood-dimmed tide is loosed, and everywhere
The ceremony of innocence is drowned;
The best lack all conviction, while the worst
Are full of passionate intensity.
Surely some revelation is at hand;
Surely the Second Coming is at hand.
The Second Coming! Hardly are those words out
When a vast image out of Spiritus Mundi
Troubles my sight: somewhere in sands of the desert
A shape with lion body and the head of a man,
A gaze blank and pitiless as the sun,
Is moving its slow thighs, while all about it
Reel shadows of the indignant desert birds.
The darkness drops again; but now I know
That twenty centuries of stony sleep
Were vexed to nightmare by a rocking cradle,
And what rough beast, its hour come round at last,
Slouches towards Bethlehem to be born?
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