Movie 'Contact' - Hidden Gem

[Karl]

(107) & (109) Who Lives, Who Dies? - Decisions, Responsibility and Free Will
(Taking these twin primes together. As always, up for discussion.)

"My Name! It's vanished!" (10729) (4s)

Image of Doc, Marty, the tombstone and...







...flowers for Clara's cross. (Close up image @1:07:02. Someone please, tell me what sort of flowers these are! I suspect they are strongly related to death and mourning.)






"Marty, we all have to make decisions (10847) that affect the course of our lives. You've gotta do what you've gotta do. And I've gotta do what I've gotta do."





"Marty, I've made a decision. (10909) I'm not going with you tomorrow."




“This tombstone could still be in your future.” "Doc, you're a scientist." (1:10:00)

Doc is giving up his chance to cross the abyss into the breakaway society’s future world – Tomorrowland. Many people, if given a fully informed choice, would opt not to go, and for a variety of personal reasons, prefer to stay behind and die.

Doc is in love, of course, and does not want to leave Clara behind. These are hard decisions to make, and impossible to reason through. Emotion versus science.

But Doc also stands for the old generation of the insiders, the 'dying Haddens’. Just like the US president in the movie 2012, he is giving away his ticket to the younger generation.


Source: https://www.bitchute.com/video/cDghVSijn0ef/

[Karl]

(113) Clara Going to 'The End of the Line'

So Doc/Hadden is not going to the future. What about Clara, 'teacher 33'?

Here is Doc saying goodbye @1:13:00. Clara does not understand what he is saying.




When he leaves, he puts flowers on her grave. (11447)




Finally, Clara comes to understand she will not 'cross over' into the future.
(11909) "Mam?" "How far does the 8 o'clock train go?" "San Francisco is the end of the line." "I'll take a one-way ticket." She always wears light colours, but here, her dark-coloured dress suggests she is mourning. She goes no further than the Golden Gate (Bridge in San Francisco), where our souls leave this earthly plane, i.e., she dies.



What our 'teachers' want, is power in this world, and that is what they get.
But they are only with us for the ride until the end of the line.

[Karl]

(127) Marty Overcoming Tannen with a Trick

Doc is not crossing over the Abyss into the future, and Clara isn't either. What about Marty? Well, he first has to settle his own affairs with Tannen. There are many interesting details leading up to his victory over his 'Evil Twin'. (Three posts for all the images.)

After Doc agrees to leave with Marty and toasting on the future (11831) (4s) he passes out.






Nice stunt @(11839).




Meanwhile, Tannen calls him out to fight. (12119)(4s)

[Karl]

Letting himself be dragged into a fight, however, will lead to his death, just like his old namesake, Seamus' brother, in the Virginia saloon. (12143)




There is plenty of social pressure from the saloon patrons calling him a yellow belly coward. (12251) (4s) And @1:23:03 “Clint Eastwood is the biggest yellow belly in the West.”







And from Tannen himself, calling him a pieslinger. (12347) (4s)






They are pressing all his buttons, and he stands again completely alone.

[Karl]

Right after he has made up his mind to avoid the confrontation - @1:23:51 “He’s an asshole!” - Doc rises like a Phoenix.

They escape through the back door. (12413) [Love the slapstick humor: @1:24:06 “You got a backdoor to this place?” “Yeah, it’s in the back.”] And when they get shot at, Doc gets caught, and Marty jumps in a shed and hits a cast iron stove (12421) where the lid falls of. Now, to save his friend, he has no choice but to confront Tannen. The moment of truth.

Tannen challenges him to "Draw!" (12900), which Marty refuses.




He wins the fight by a cunning trick - hiding the stove lid under his poncho - thus outsmarting Tannen. (12809)





Many impressions to unpack. My takeaway is that we can get all the advice and guidance we want (Doc as Marty's friend and mentor), in the end we all have to stand up for ourselves. (Doc passed out.) Making a choice for your future may mean facing ridicule and social pressure, standing apart. Letting yourself be dragged into needless arguments - Trump, war, bank failures, you name it - will distract you and lead to your demise.

And, more than anything else, we need to face our own dark side, ego, fear, greed, lust for power and short-term gains. Brute force does not help you in that respect. You have to outsmart him, become your best self.

[Karl]

(131) The Great Train Robbery - The Execution of 'The Plan'
(I'll put in a few more images for this one as well. Because I like them, I guess. Two posts.)

Train No.131. Image @(13241)




Doc reaches the back of the train @(13103)(4s), and catches it @(13109) starting the robbery, ahem, 'science experiment'.








Marty reaches the train @(13121)

[Karl]

Marty and Doc make their way from the back of the train to the front. No.131 (13219)




Hijacking @(13229)(4s)






(13249) Train stopped at the switchtrack. Wagons uncoupled and locomotive rerouted on to Carson spur, up to power the DeLorean. (13327)(4s)






The train, of course, is human society. It is not stopped by some obstacle put over the rails. No, it is stealthily captured from behind and steadily taken over until the locomotive is reached.

The wagons being pulled represent the interest of the common people, the passengers, and the locomotive being that which powers and steers society: government, banking, industry, science etc.

The passengers are left to fend for themselves while the engine is being put to a different use: powering the elite's time machine.

[Karl]

(137-139) The Old and the New - Marty Crossing the Abyss

137 and 139 are twin primes, two posts. They seem to symbolize the old and the new here. (See a later post about The Walk.)

The locomotive pushing the DeLorean. (13709)




Doc has fabricated a green, yellow, and red (traffic light?) presto log. Interesting, but the firing of each is definitely not prime time. The only association I had in mind making is "The yellow one is about to blow!" But I cannot tie it to anything here, so no.

On the other hand, passing the marker points on the route is well-timed.
The abandoned silver mine. (13721)-(13723), twin primes [Image @1:37:22]




The wind mill, point of no return. (13829)-(13831), twin primes [Image (13831)]




The end of the track. (14107)(4s)

[Karl]

Marty reaches 88mph just in time (14143)




... to be flashed to the future (14149),




whereas the locomotive falls right into the Abyss (14159)




forming Doc's spectacular wreck that no-one will be around to see. (14207)




Reaching 1985, Marty arrives with three bangs on the the Golden Gate Bridge, finished in time just as Doc predicted, and safely crosses the Abyss. First bang @(14221).




The main line seems very clear. The current society is used to power/construct the 'Delorean' and the 'Golden Gate Bridge', the means for a lucky few chosen ones to survive the coming cyclical earth/sun disaster, 'Shonash Ravine', the 'Abyss'. The great majority will not survive, and will go down with the locomotive, straight into the ravine, to form a spectacular wreck, the subject of myths in the next cycle.

Timing seems to be important. Again, please tell me about the meaning of the 'abandoned silver mine' and the 'wind mill'. I have no idea.

[Karl]

?? Destruction of the Time Machine
This is one of those instances where I am not so sure about the timing with prime numbers. I guess you could argue to combine it with the last prime above, 139. I just don't know.

The time machine faces its destruction by another train. Does that have meaning? (14303)




The licence plate spins right on a prime. (14327) I did not go back to check BTTF I, but I bet, there too, the licence plate spins on a prime. As bookends at the first and last use of the time machine, the start and the end of the predictions/prophecies. That means that in this scene the DeLorean stands for the vehicle Zemeckis is using to tell us about the future, and not for the elite's escape pod.




After all his adventures and trials, after successfully overcoming his own dark side, and now with the full right to call himself Clint Eastwood, true hero of the Far West, Marty has arrived safely across the ravine, next to the 'new housing development'. (14407)




I cannot help but make this very speculative connection: I AM MM, Marty McFly. Marty as the hope and future of humankind to cross the Abyss. (Image of the Georgia Guidestones inserted cube.)




So, if the time machine is destroyed, indicating the end of the predictions, why doesn't the movie end here? What else remains there to be said? I think you may be surprised!

[Karl]

(If the abandoned silver mine above is the same as the abandoned Delgado mine, where Doc has burried the DeLorean, the mine could be a symbol for the behind-the-scenes united world government as a prerequisite for humanity to make it across the ravine. The 'windmill' then probably stands for the infrastructure which needs to be in place. That still leaves the question why specifically these symbols have been chosen.)
-------
(149)-(151) Lightning Flash
Here again, I am not so sure about the meaning of the primes. I am just taking the last two together and wrap it all up. Both 149 and 151 refer to a lightning flash.

We get a recap of the predictions! No need to watch the entire trilogy, the last ten minutes spell it all out.

Marty, our hero, takes us through the Lions Gate to the realm of the subconscious (14411)(4s).






Here, he told us all about the twin towers in BTTF I (14419)(4s).






And he warns us against being bullied by Needles in BTTF II. (14747)(4s)



(Next post.)

[Karl]

For if you do, you will crash the 'white Rolls'. (14747)(4s)




Of course, a white Rolls is a unicorn under the cars. Just as unlikely as a bear in a cave of the US Southwest, i.e., a symbol. For example, on the substack of Dr. William Makis, you can read all about people who have crashed the 'white Rolls'. You clearly get the picture from a GlobalResearch.ca artikel by Dr. Makis, image below. Remember, in BTTF II Marty is handicapped after this accident and gives up his music.




Then, a flash and blast knock Marty and Jennifer off their feet (14900, scene switch over white screen) The ‘lightning flash’ which will blast us back to the age of steam power, pre-electricity, in 1885 and BTTF III. “Marty, it runs on steam!” (14923)






Now, when understanding all this, you deserve your certificate of 'Partners in Crime', sorry 'Prime-Time'. (15017)(4s) “to Marty Partners in Time September 5, 1885”




At the end of it all, with a second flash from the sun, Doc and his family escape in the time machine. Compare to Contact, gem #79 (1:19), ‘Selection will be based on intelligence.’ (15137)

[Karl]

The Walk

I am not doing The Walk. I'm not doing it. Not. (Auto-suggestion/self-hypnosis)

I am not doing it for three reasons.

(1) It takes a lot of time, really. I have watched Contact and BTTF III (and II) over and over again, then checking the primes, trying to make sense of it and then all the writing. And I should really be spending my time preparing for my future, as Tannen quite convincingly pointed out in BTTF III @(10100).


(2) Because...




(3) You know how to do it yourself by now. If you want to try your hand at it, watch and listen carefully from ~39'30" to ~43'30". It is the equivalent for The Walk, as the image below for Contact.




I never heard it at first while, afterwards, I laughed my ass off for my own ignorance. Anyway, I am not saying it is the only key to deciphering the movie, but definitely a major one.


The only free online copy I could locate is this one, but I could not get it to run properly. (And thus, I could not check the timing, but you could with the images below.)

Source: https://youtube.com/watch?v=oOY1l7YaKz0

Here is a We.Transfer link to a copy I downloaded from Odysee a while ago (now defunct). Same as always: I have had no trouble, up to you.


If you do check it out, you will be richly rewarded. With such jewels as below. (4337) and (4339)
Ellie Arroway flying from the old to the new (continent), crossing over the Abyss. Twin primes, of course.






Or, possibly my favourite in the movie: @1:42:53 (10253)
'Transfiguration' (or at least part of it) with the son (crossing the wire between the old and the new), receiving by way of the holy ghost (here a seagull, more commonly a white dove) the message from the father (the Eye of Ra, sun in micronova) that upon crossing, he/humanity will become god-like.




Good luck and have fun!

[Karl]

Why did I spend so much time trying to decipher these movies of 30-40 years old?

Because a movie director who described the main 9/11 narrative in so much detail 15+y before the event; and who pointed out correctly that the weapon of choice for the 'Great Culling' of humanity would be 'Needles', 30+y in advance, is somehow in the know and has something important to say even if he can only do so in a slightly concealed way. I am all ears when he speaks, and I do believe his message about the next pivotal moments being similar to a Carrington event and a micronova.

In concluding my contribution to this thread, I need to do one more thing.

To my spirit guides, LdH, Robert Zemeckis and accomplices, and to 'Hadden':




And to you, dear reader:

[onevoice]

Posted by Karl (here)
Why did I spend so much time trying to decipher these movies of 30-40 years old?

Because a movie director who described the main 9/11 narrative in so much detail 15+y before the event; and who pointed out correctly that the weapon of choice for the 'Great Culling' of humanity would be 'Needles', 30+y in advance, is somehow in the know and has something important to say even if he can only do so in a slightly concealed way. I am all ears when he speaks, and I do believe his message about the next pivotal moments being similar to a Carrington event and a micronova.

In concluding my contribution to this thread, I need to do one more thing.

To my spirit guides, LdH, Robert Zemeckis and accomplices, and to 'Hadden':

Attachment 53247


And to you, dear reader:

Attachment 53248

Karl, I really appreciate all the time you devoted in deciphering the movie. There is so much we can learn from these Zemeckis movies. In an earlier posting, I included a frame grab of the "Contact" showing USA in the predawn hours. I'll include it again for reference:


Although the above frame grab shows a huge cloud that spans most of the USA, I believe it is a hidden message that Zemicks was conveying. When I initially viewed this, I had a strong intiutive sense that this actually represented a huge inland body of water which splits the USA into two parts. Interestingly the other day I saw a YT video of Vincent Tolman who had a major NDE. In the video he talks about a cataclysmic event at time mark 1:51 of an inland sea (150 to 200 miles wide) forming in the future USA:

Source: https://youtube.com/watch?v=ToIhnLNBLFk

He also talks about other huge geographical and political changes that could happen in the future.

[blindwillow]

I am "sharing space" with Matthew McConaughey during Earth's ascension process back to being a "heart-based" (read David Icke for the controller consciousness based "fear and control" distortion of Earth "reality). The wormhole transit scene in Contact is very interesting.

It includes "blue stars" which "orange star" inhabitants say tend to be "delusional." Most disturbing however is this person's sense that the "beach scene" near the end represents an Arcturian astral "Death Trap" (read Courtney Brown for more on this concept as well as Greg Calise and Carla Fox if her blog is still up on astral, "sacred" geometry trapping mechanisms using dark matter webbing and other methods as well as "false light constructs" and synthetic realities which can have near-infinite "real seeming" dimensions).

[IMG]<img src="blob:https://mail.tutanota.com/bfee5379-a93b-475d-9d47-b6b2c35e5593"/>[/IMG]

(If the above image does not show up, here is the text to describe the stars depicted which does include the blue stars of the Summer Triangle: while the Sirius star region is incorrectly understood and depicted by third-to-fourth-dimensional Earth science as a binary star system, it is actually a trinary star system that “remembers” at the level of stellar “consciousness” the death of the more “feminine” stellar intelligence now represented by the reddish-orange dwarf star Sirius-C.)

[Michel Leclerc]

Karl. I have read the instalments of your ongoing exegesis of Zemeckis work. I only watched the first Back to the Future and Contact. I gladly believe your conviction his work conveys the messages you have read “into” it ad/or “out of” it. I thank you for your enormous research, your didactic elegance and the brilliance of your result.

On a parallel track a conviction (experience) of mine. When really perceiving a great work of art – by devoting ourselves to understanding it – we turn clairvoyant, able to decipher it. It is as if that human creation were a set of tarot cards that engages our “mantic” talents and we start seeing things. Also beyond what the creator him/herself put into it – because the creator reads reality or experience or vision in a similar way and is taught wisdom by his or her endeavour.

Both you and Zemeckis have used the series of primes as “tarot card order” so to speak, and discovery has been made possible. I have – not with Zemeckis' work – used other number series (Fibonacci’s and its variants), and it has yielded for me astonishing insights. The very phenomenon is baffling and is in itself a “walk”: suddenly we seem superhuman: how was that even possible? we wonder.

As for the wind-mill. The obvious idea: pre-steam machine technology. After the catastrophically burning steam machine (the train wreck), no more second Law of Thermodynamics involved. The ability to travel in time without technology maybe?

Or Don Quijote? Somebody, something (the Haddens of this world) expecting from technology what only body, soul and spirit can birth?

[Karl]

Michel
Thank you, and sorry for my late reply.

As Martin Armstrong observes, there seem to be two kinds of research. One where you try to prove a theory, and the other where you just stumble into something new. I was only watching a movie and suddenly intrigued by Zemeckis' own clue: the series of primes and that 'that was not the real message'. As I started investigating, a whole new story came up. One he is undoubtedly not allowed to talk about openly. From where I stand now, it is just undeniable that Zemeckis has used prime numbers in his work to hide one story behind another.

Yes, in a sense that was like becoming clairvoyant. :-) Not pretending, of course, to have the final word. Not at all. I will have missed many clues and misinterpreted others. That doesn't matter to me. I have found the key, at least a main key, to understanding his work. Let others use it for their benefit.

The windmill could also point to the renewable energies developed since the 1980's. I don't know. And, yes, fully agree with you, technology is all well and good, but there is much more to life.

[Karl]

I only came across this documentary, because Martin Armstrong reported that Biden granted Michael Conahan clemency. Of course, I don't live in the US/Pennsylvania/Luzerne County. But still, I missed it completely.

This is exactly what BTTF II portrays for the 'future' (937), now easily >10y ago:




I found it very sad to watch. Here on Bitchute:


Source: https://www.bitchute.com/video/u1hBTWx1DnFX

[Karl]

In the next few posts the slides of a small presentation I prepared for my local community.
If you have read through the thread, you can easily fill in the words.
Please, do respect the first point on the second slide.