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190 Parallels: Tom Althouse on Screenwriting, Copyright, and Hollywood · Tom Althouse Podcast

• 0:04
  Speaker 1: They gave you two doors painted red and blue. Said
• 0:09
  Speaker 1: one held the lies and the other held the truth.
• 0:14
  Speaker 2: But who built the hallway? Who scripted the scene? Who
• 0:20
  Speaker 2: taught you that freedom came from a machine?
• 0:33
  Speaker 3: Hey, Tom, welcome back.
• 0:35
  Speaker 4: Thanks, Jen. Great to be back.
• 0:37
  Speaker 3: Absolutely. We've got so much fun stuff to go on,
• 0:39
  Speaker 3: and I've got a fun little list of things I
• 0:41
  Speaker 3: want to ask you. But first, are there any fun
• 0:43
  Speaker 3: updates you need to let your audience know?
• 0:45
  Speaker 4: Yeah, I just want to say that I really believe
• 0:47
  Speaker 4: that creating art and doing it faithfully is directly connected
• 0:53
  Speaker 4: to God, the source of creativity. I really do. I
• 0:56
  Speaker 4: believe that great work comes from a heart for God.
• 1:00
  Speaker 4: man or woman's heart after God. And I believe that
• 1:02
  Speaker 4: allows us to be in a servant mode and to
• 1:05
  Speaker 4: actually focus on our audience's needs and take the eyes
• 1:08
  Speaker 4: off ourselves. And I think it's a blessing to be
• 1:11
  Speaker 4: able to feel that. So that's been lately my world's
• 1:13
  Speaker 4: feeling like a spirit-filled home, just really, really feeling at peace,
• 1:18
  Speaker 4: incredible feeling of people coming up and saying, you know,
• 1:21
  Speaker 4: God's proud of you. Well done. It's happening at the
• 1:24
  Speaker 4: grocery store. It's happening with people like even calling her
• 1:26
  Speaker 4: from Chicago saying, I got a word for you. It's
• 1:28
  Speaker 4: just amazing. So I'm feeling really, really blessed these days.
• 1:31
  Speaker 4: I'm feeling like I've done a good job. So yeah,
• 1:33
  Speaker 4: I want to show that.
• 1:35
  Speaker 3: Well, well done, good and faithful servant, he says, right?
• 1:38
  Speaker 4: Yes, it means the world. Yeah.
• 1:40
  Speaker 3: That's the big thing too is in the industry of
• 1:43
  Speaker 3: creating is are you creating for yourself? Are you creating
• 1:45
  Speaker 3: for profit? Are you creating out of a spirit-filled mission?
• 1:50
  Speaker 3: Like what is the goal? And it seems like you're
• 1:52
  Speaker 3: Your screenplay was written for a very big mission and
• 1:54
  Speaker 3: then taken for a profit stream.
• 1:57
  Speaker 4: I believe that. It's like, are you writing as a profit?
• 1:59
  Speaker 4: Because it's like the training I had before I did it,
• 2:03
  Speaker 4: and it felt like real true training was about developing
• 2:06
  Speaker 4: true compassion, true humility. And in that, I was absolutely
• 2:11
  Speaker 4: able to completely immerse myself into the story from the
• 2:15
  Speaker 4: aspect of what an audience would feel and allowing my
• 2:19
  Speaker 4: own personal life without filtering. to develop the characters fleshed
• 2:24
  Speaker 4: about fully in the layers that are the ones, as
• 2:27
  Speaker 4: the author, I can bring to those characters. So each
• 2:29
  Speaker 4: of the Matrix characters have a little bit of me
• 2:32
  Speaker 4: in them. And it's kind of cool. And which lends
• 2:35
  Speaker 4: itself to, Jen, to empathy enablers for all the characters.
• 2:40
  Speaker 4: You're actually putting, fleshing humanity into those and feelings into
• 2:43
  Speaker 4: those where each of them have an arc, a journey
• 2:47
  Speaker 4: where you can share a part of it. Instead of
• 2:49
  Speaker 4: the old formula where it was like villains and good guys.
• 2:52
  Speaker 5: Yeah.
• 2:53
  Speaker 4: Oh, my God. And now I think Disney and others
• 2:55
  Speaker 4: are finally caught on. I have producers that contact me
• 2:57
  Speaker 4: and say, you know, we're following your style now. We're
• 3:00
  Speaker 4: following your method now. And it's, you know, from Hollywood.
• 3:02
  Speaker 4: So it's kind of cool.
• 3:02
  Speaker 3: Oh, wow. You've had people contact you that that knew
• 3:06
  Speaker 3: of your script. Is that what you're saying?
• 3:08
  Speaker 4: Yeah. Yeah. Inside Hollywood. That could be Warner Brothers and
• 3:10
  Speaker 4: inside other studios like the Disney affiliated people, even NASA scientists.
• 3:15
  Speaker 4: I've had a couple different ones call me and say, oh,
• 3:17
  Speaker 4: my God, I'm talking to the guy who wrote the
• 3:18
  Speaker 4: movie because they know the evidence is there. like that
• 3:21
  Speaker 4: gold platinum disc. I don't know if I told you.
• 3:22
  Speaker 4: I have a picture of it where I was at
• 3:24
  Speaker 4: the conference at Cape Canaveral. And the three NASA scientists
• 3:28
  Speaker 4: showed up at the event. And so I got pictures together.
• 3:31
  Speaker 4: We held up, you know, this is so cool. They're
• 3:32
  Speaker 4: really cool down-to-earth guys, you know, that nerdy kind of
• 3:35
  Speaker 4: cool guys.
• 3:35
  Speaker 3: Down-to-earth guys, I like that.
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  Speaker 4: Yeah, sorry. Can't help it. And so we're holding this
• 3:42
  Speaker 4: platinum gold disc about this big. And they're saying, you're
• 3:45
  Speaker 4: on this. We're launching this into space, one of our launches.
• 3:50
  Speaker 4: Where it'll say, you are the writer, the father of
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  Speaker 4: the Matrix. I was like, wow.
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  Speaker 3: Like a time capsule thing?
• 3:56
  Speaker 4: Yeah. So there I am at Cape Canaveral, and these
• 3:58
  Speaker 4: guys from Cape Canaveral come running out, NASA scientists. Another
• 4:02
  Speaker 4: time a NASA scientist called me after, I don't know
• 4:05
  Speaker 4: if it was John's program, Caravan at Midnight, or it
• 4:08
  Speaker 4: was Roseanne's. But a NASA scientist called me, and he's
• 4:11
  Speaker 4: a wonderful conversation.
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  Speaker 3: Brilliant.
• 4:13
  Speaker 4: Brilliant. brilliant mind. He's like, you know, oh my God,
• 4:15
  Speaker 4: you're the writer. And I'm like, well, you're a rocket scientist.
• 4:17
  Speaker 4: He's like, yeah, but this is really fun, you know,
• 4:20
  Speaker 4: really fun. Wish I recorded that one. But he said that,
• 4:23
  Speaker 4: you know, that's what he said. The biggest concern, what
• 4:26
  Speaker 4: he liked about my piece, even if it was, you know,
• 4:29
  Speaker 4: pirated that way as a kind of a dulled down film,
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  Speaker 4: he said that what it did was it gave hope
• 4:35
  Speaker 4: because the big feeling at NASA, he said among a
• 4:38
  Speaker 4: number of his comrades, was that We're going to have
• 4:41
  Speaker 4: all the answers soon through NASA. And what about the
• 4:44
  Speaker 4: outer limits and everything else? And there'll be nothing else
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  Speaker 4: to really discover. And he felt that that was a
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  Speaker 4: shutdown of the beauty of the intellect process and community
• 4:53
  Speaker 4: and journey and voyage. And so it's like Star Trek
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  Speaker 4: coming to an end because there's nothing else, no more
• 4:59
  Speaker 4: worlds to conquer or explore, basically, Alexandra. So I was like, no,
• 5:02
  Speaker 4: it'll never get old because the internal worlds that we
• 5:05
  Speaker 4: have that we can share with each other. I said,
• 5:07
  Speaker 4: think of the mortal story, the Matrix story. in how
• 5:10
  Speaker 4: it was written, where I was going to give it
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  Speaker 4: the copyright to all men, women, and children. At the end,
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  Speaker 4: after we got our credit and able to speak the message,
• 5:17
  Speaker 4: let it go on, you know, to foster other works.
• 5:20
  Speaker 4: And I said, that could be millions of other variations
• 5:24
  Speaker 4: of it. So just think of one piece that might
• 5:27
  Speaker 4: change the world, creating all that work. It's endless what
• 5:32
  Speaker 4: can be done, basically. And he liked that. He liked that.
• 5:34
  Speaker 4: So he needed some encouragement. Yeah.
• 5:36
  Speaker 3: Yeah. Yeah, that makes perfect sense, though, too. The natural
• 5:39
  Speaker 3: inspiration and authenticity is stronger than what all of the
• 5:44
  Speaker 3: copycat situations or corrupt situations are creating. Right.
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  Speaker 4: And growth from sharing it. The growth from sharing it.
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  Speaker 3: And authenticity seems to win out, after all. It may
• 5:56
  Speaker 3: not be the brightest, shiniest star that looks the greatest
• 5:59
  Speaker 3: all the time that Hollywood produced, right? And that's why
• 6:02
  Speaker 3: they win, because they have the dollars behind it.
• 6:04
  Speaker 1: Right.
• 6:06
  Speaker 3: Authenticity is the one that hits.
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  Speaker 4: That's the other side to it, too, you just raised up,
• 6:10
  Speaker 4: which is if you are focused on your own self,
• 6:13
  Speaker 4: like if you approach, let's say you have a blank
• 6:15
  Speaker 4: piece of paper or your computer screen in front of you,
• 6:17
  Speaker 4: you're going to write a brilliant novel.
• 6:19
  Speaker 3: All right. Yeah.
• 6:20
  Speaker 4: Whether inspiration is flowing at that moment or not, if
• 6:23
  Speaker 4: your mind goes to, oh, I'm going to be famous,
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  Speaker 4: I'm going to have so much money, women or men
• 6:28
  Speaker 4: are going to love me, your story is going out
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  Speaker 4: the door. It's not going to form. You're killing your baby.
• 6:33
  Speaker 4: You're drowning it. If you are actually looking at that
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  Speaker 4: blank screen going, Father God, just allow me to serve.
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  Speaker 4: Allow me to do whatever you would want me to
• 6:41
  Speaker 4: do and put myself into a peaceful meditative state in
• 6:45
  Speaker 4: prayer or whatever for God. And really focus on compassion, humility,
• 6:49
  Speaker 4: and things like that. And then let it come when
• 6:51
  Speaker 4: it's ready. It'll flow. It'll come. It'll come. The stories
• 6:55
  Speaker 4: will come. And there'll be such a peace. And the
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  Speaker 4: peace of mind and the gentleness will allow it to
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  Speaker 4: flow so well. If you're anxious about success, step away
• 7:07
  Speaker 4: from the computer. You're not going to make it unless
• 7:09
  Speaker 4: you're using AI off the charts. It's like you're not
• 7:11
  Speaker 4: going to really make it because your mind's focused on that.
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  Speaker 4: Your creative mind can't kick in if you're focused on
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  Speaker 4: wanting to gain. And that's the message I want to
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  Speaker 4: give people is don't go there.
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  Speaker 3: That's a really good one. A message to creators is
• 7:24
  Speaker 3: to don't allow that anxious thought to take over a fungus.
• 7:30
  Speaker 4: Don't, yeah, don't look at the egg before it's fried
• 7:32
  Speaker 4: up and hatched. So it's like, let yourself be in
• 7:36
  Speaker 4: a servant mode and you will have a world that
• 7:39
  Speaker 4: has amazing benefits. You know, the greatest among you will
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  Speaker 4: serve the rest.
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  Speaker 3: That's a really good point. That is a really good point.
• 7:46
  Speaker 3: Brings it back to God's part in all this. And
• 7:49
  Speaker 3: you wrote that into your screenplay and they kind of
• 7:51
  Speaker 3: wrote it out and perverted every part of that aspect.
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  Speaker 3: They sure did.
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  Speaker 4: They sure did. Even the ending echoes that very, very
• 7:58
  Speaker 4: point you're raising. It's like the idea was, that I
• 8:03
  Speaker 4: can do everything possible under the sun and I might
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  Speaker 4: yet still fail. But that does not make me a failure.
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  Speaker 4: My character did everything possible. And at the end, it's
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  Speaker 4: the identical figure stepping in and he watches that happen.
• 8:15
  Speaker 4: And that's how it ends. So Hollywood didn't know what
• 8:17
  Speaker 4: to do with that. They had to make the man
• 8:19
  Speaker 4: the hero. They had to at that time. And basically, yeah,
• 8:24
  Speaker 4: now they're trying to get on to the relationship part
• 8:27
  Speaker 4: of it and sticking that into Matrix 4, apparently, what
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  Speaker 4: I had in the beginning. There's no going back to that.
• 8:32
  Speaker 4: And in Matrix 5, they're going to do a whole
• 8:34
  Speaker 4: other shake with different writers. They're saying to rip it
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  Speaker 4: off that way. Do a do-over, they said. A do-over,
• 8:41
  Speaker 4: which is unbelievable.
• 8:41
  Speaker 3: Well, it wouldn't surprise me if they didn't take some
• 8:44
  Speaker 3: of your podcasting discussions, clips you've shared, all these types
• 8:48
  Speaker 3: of things, and then make it very similar to what
• 8:50
  Speaker 3: they think your screenplay is, and then say that you
• 8:55
  Speaker 3: stole that from them too, right?
• 8:56
  Speaker 4: Absolutely. So, yeah, I agree, Jen. And it's like one
• 8:59
  Speaker 4: of the moves they're trying to do is say, There's
• 9:01
  Speaker 4: no match-ups. It was ruled prejudice. No match-ups. I want
• 9:04
  Speaker 4: to just take a moment.
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  Speaker 3: Yeah, no match-ups. He's got over hundreds.
• 9:07
  Speaker 4: I want to just put this up here. So this
• 9:08
  Speaker 4: bit right here, this is from the hidden script, Matrix
• 9:12
  Speaker 4: Reloaded Online. And I want to read the opening of
• 9:18
  Speaker 4: The Immortals, which the fight choreographer Brian said was used
• 9:20
  Speaker 4: on set in one hand with a visual storyboard and
• 9:24
  Speaker 4: lifted images off of it. In the other hand, for
• 9:26
  Speaker 4: that 20-foot rule applied, where if you're within 20 feet
• 9:28
  Speaker 4: of this, you're fired. So this was what was on set,
• 9:31
  Speaker 4: the 98 version.
• 9:33
  Speaker 3: Okay, so for the audio listeners, he's holding up a
• 9:36
  Speaker 3: very giant thick pad of paper that's copyrighted from the
• 9:39
  Speaker 3: Library of Congress, and it's the whole script.
• 9:42
  Speaker 4: 128 pages. 128 pages. Yeah, PAU number at the Library
• 9:46
  Speaker 4: of Congress. It's registered as copyright registered under number PAU2-304-074.
• 9:54
  Speaker 4: Keep in mind also that this title, The Immortals, is
• 9:57
  Speaker 4: what Warner Bros. claims and copyrighted The Immortals. title without
• 10:01
  Speaker 4: even a body of work. They were supposed to eliminate
• 10:03
  Speaker 4: me and then enter into it in the copyright office
• 10:06
  Speaker 4: as titles. And so, again, another Easter egg here is
• 10:09
  Speaker 4: that the Wachowskis did not use The Immortals title. They simply,
• 10:12
  Speaker 4: or the subtitles, they put 347 other subtitles under Immortals.
• 10:16
  Speaker 4: And the Wachowskis didn't do it mad about assassins where
• 10:19
  Speaker 4: they were taken off the Project Assassins because they wrote
• 10:21
  Speaker 4: it so badly, just like they're being taken off the
• 10:23
  Speaker 4: Matrix now because they wrote it so badly with others
• 10:27
  Speaker 4: as writers. And so what they did was they're taken
• 10:29
  Speaker 4: off of Assassins, so they didn't take the titles, one
• 10:32
  Speaker 4: of the titles under Immortals that the very guy that
• 10:35
  Speaker 4: winded down, Amdino Laurentis and Warner Brothers and HBO all
• 10:38
  Speaker 4: copyrighted Immortals title. So they came up, they just reversed
• 10:42
  Speaker 4: the letters of the Immortals and came up with the
• 10:43
  Speaker 4: Matrix by reversing the letters of the Immortals and adding
• 10:46
  Speaker 4: an X. That's what they did. Now, if we look
• 10:48
  Speaker 4: at the original screenplay, because they were angry they were
• 10:52
  Speaker 4: replaced in the first project. So, if we look at
• 10:55
  Speaker 4: the matrix reloaded, the very first line, Jen, the very
• 10:58
  Speaker 4: first line is, the caption says, fade in on, bold
• 11:04
  Speaker 4: black letters, colon, fade in on dark clouds below the
• 11:09
  Speaker 4: inky remnants of the scorched sky. We hold as we
• 11:12
  Speaker 4: sail like a glider, Over the black atmosphere. We dive
• 11:22
  Speaker 4: down into the murkiness through the clouds. Into the world
• 11:25
  Speaker 4: of the dead surface of Earth. The desert of the real.
• 11:30
  Speaker 4: Massive city sprawled. Skeleton of the massive city sprawled everywhere. Okay,
• 11:34
  Speaker 4: let's look at the opening of The Immortals.
• 11:36
  Speaker 3: So here it is.
• 11:36
  Speaker 4: I'm opening up the copyrighted version. Gold sealed. No way
• 11:39
  Speaker 4: it's a forgery. It's right there. 1998 version. Used on
• 11:42
  Speaker 4: set in 99. And let's take a look at the
• 11:45
  Speaker 4: first opening lines. That was the first lines of Matrix Reloaded.
• 11:49
  Speaker 4: Keep in mind, after they did Matrix, they were told,
• 11:54
  Speaker 4: they thought that would be a one-off for their ladder
• 11:56
  Speaker 4: of success, right? And then they're told they have to
• 11:58
  Speaker 4: do it more because it was successful. That's why they
• 12:00
  Speaker 4: went heavily from the opening of the script on Matrix Reloaded. Now,
• 12:03
  Speaker 4: let's look at the opening of this one. They didn't
• 12:05
  Speaker 4: have anything. No, nothing. This says, exterior rainforest near river Dawn.
• 12:10
  Speaker 4: Gliding through pillars of clouds. Same thing. A vast canopy
• 12:14
  Speaker 4: of trees below. Same thing. Superimpose Amazon rainforest. Descend to
• 12:19
  Speaker 4: the canopy. through the leaves and to the ground where
• 12:21
  Speaker 4: the light is noticeably subdued. These again, that is the
• 12:25
  Speaker 4: exact same opening. Let's read one more time, make sure
• 12:31
  Speaker 4: it's loaded. Fade in on dark clouds below the inky
• 12:37
  Speaker 4: remnants of the scorched sky where we, something, as we
• 12:41
  Speaker 4: sail like a glider over the black atmosphere, we dive
• 12:45
  Speaker 4: down into the murkiness through the clouds into the world
• 12:47
  Speaker 4: of the dead surface of earth. Below. Okay.
• 12:50
  Speaker 3: So yours is like Garden of Eden, happy, pretty, and
• 12:54
  Speaker 3: they do the same thing but dark and then say
• 12:58
  Speaker 3: there's no match-ups.
• 12:59
  Speaker 1: Yeah.
• 13:00
  Speaker 4: Yeah. Same thing. Because we even have those skeleton cities
• 13:04
  Speaker 4: where deserted and rot skeleton structures. They are where the
• 13:08
  Speaker 4: outside the program, if you're not part of the immortal program,
• 13:11
  Speaker 4: you are outside there. So you're living in that squalor.
• 13:14
  Speaker 4: And that's where the underground city is under that. So
• 13:17
  Speaker 4: you've got an exact opening. And you also have the
• 13:19
  Speaker 4: exact same ending. So I just want to point that
• 13:22
  Speaker 4: out to people that we've got this. And the reason
• 13:26
  Speaker 4: that they threw the court case and you say, oh,
• 13:28
  Speaker 4: you'll see, oh, he lost his case, you know, with prejudice,
• 13:30
  Speaker 4: is because they forced the entry of six pages of
• 13:34
  Speaker 4: scribbled notes, not the screenplay. They said, you don't have
• 13:38
  Speaker 4: a copyright. Well, this copyright is right there from 1995,
• 13:41
  Speaker 4: from 1998. And it's listed as created in 92, finished
• 13:44
  Speaker 4: in 93 by the Copyright Office. And it's a full
• 13:49
  Speaker 4: 128 pages.
• 13:51
  Speaker 3: And they didn't make it until 99. So where did
• 13:53
  Speaker 3: they supposedly get their ideas and all this stuff from?
• 13:57
  Speaker 3: If it didn't come from yours, where's their copyright for
• 14:00
  Speaker 3: their script? What does their script look like?
• 14:03
  Speaker 4: And why are they claiming on the recording that we have?
• 14:07
  Speaker 3: Well, how do you have so many matchups?
• 14:08
  Speaker 4: But they have no working drafts. Yeah. Oh, my God. Yeah.
• 14:11
  Speaker 4: You got a good point. 128 pages with over 190 matchups.
• 14:12
  Speaker 4: And they're even layered.
• 14:16
  Speaker 3: Well, and like your birthday and your name and your
• 14:19
  Speaker 3: school and your dad's information and your fiance's information, all
• 14:24
  Speaker 3: of that stuff has little Easter eggs that people like
• 14:26
  Speaker 3: to go find. I don't understand how that stuff could
• 14:28
  Speaker 3: naturally just randomly be put in because we know behind
• 14:32
  Speaker 3: the scenes how much every scene is edited.
• 14:35
  Speaker 4: Yes. Plus, there's a clearance department, Jen, at Warner Brothers.
• 14:38
  Speaker 3: Yeah, for like copyrights and stuff, right? They can't have
• 14:40
  Speaker 3: a Coca-Cola logo or something.
• 14:42
  Speaker 4: Yeah. All graphics, you're right, all graphics, all names have
• 14:45
  Speaker 4: to be passed through the clearance department and be okayed
• 14:51
  Speaker 4: and checked as not violating copyright law.
• 14:54
  Speaker 1: Yeah.
• 14:55
  Speaker 4: Or any kind of person. So that's something. And here,
• 14:57
  Speaker 4: right here, I know people listening can't see it, but
• 14:59
  Speaker 4: I'm holding up for you. Immortals draft, right? This is
• 15:04
  Speaker 4: March 21st, 1993. Copyright 1993. First draft. Look at this.
• 15:12
  Speaker 3: That's outrageous. Now, on your website, people can see what
• 15:14
  Speaker 3: happened to you before 93 and the evidence of maybe
• 15:18
  Speaker 3: some collusion cover up and the abuse and all the
• 15:20
  Speaker 3: structure and the why. So you've got the whole timeline.
• 15:23
  Speaker 3: Plus you have the draft that you did on a typewriter. Hello,
• 15:27
  Speaker 3: Tom Hanks and his typewriter advertising.
• 15:30
  Speaker 4: Yes.
• 15:30
  Speaker 3: And then you have the copyrighted draft from 95 and 98.
• 15:35
  Speaker 3: And then you have 190 some odd matchups in the
• 15:39
  Speaker 3: movie from your script that are personal or written or
• 15:45
  Speaker 3: very direct matchups.
• 15:48
  Speaker 4: Right.
• 15:49
  Speaker 3: And people still try to say, no, it didn't happen.
• 15:52
  Speaker 3: We don't know who it is.
• 15:54
  Speaker 4: Exactly. It's gotten so ridiculous, Jen, that the train station
• 15:58
  Speaker 4: scene with the little girl.
• 15:59
  Speaker 1: Yeah.
• 15:59
  Speaker 4: Right. Where she's pushed through by her parents for a
• 16:02
  Speaker 4: better life in the program where they can't follow. I'll
• 16:04
  Speaker 4: have that train station scene from page, I think it's
• 16:07
  Speaker 4: like 56 on here, right in front of someone's face
• 16:10
  Speaker 4: who's on Insider and they go, I don't see it.
• 16:12
  Speaker 4: Like it says right there, train, I don't see it.
• 16:14
  Speaker 4: That's how they play this. They just go, I don't
• 16:16
  Speaker 4: see it. And they'll have the supply to turns and go,
• 16:18
  Speaker 4: we don't see it. It's like, oh, wow.
• 16:19
  Speaker 3: Well, that's what's so interesting to me because creative people
• 16:22
  Speaker 3: can see that kind of thing. We can see how
• 16:24
  Speaker 3: the bare bones of a plot or a frame or
• 16:28
  Speaker 3: a scene or a storyboard looks like this and you
• 16:31
  Speaker 3: can interchange purple or black or you can interchange black
• 16:34
  Speaker 3: tree for scorched earth or you could interchange and it's
• 16:37
  Speaker 3: the same plot it's the same storyboard so what's interesting
• 16:40
  Speaker 3: is they act like they can't see that but that's
• 16:43
  Speaker 3: their job is to see that right right right so
• 16:48
  Speaker 3: how do you have 190 of them that many people
• 16:50
  Speaker 3: can see that are direct and then people whose job
• 16:53
  Speaker 3: it is to see them are like that's not i
• 16:55
  Speaker 3: can't see it.
• 16:56
  Speaker 4: No not at all and remember it said about the
• 16:59
  Speaker 4: city of the dead skeletons of you know the ruined
• 17:03
  Speaker 4: city Here's one description of the city outside the program.
• 17:08
  Speaker 4: It says, the city sounds are around us. This is
• 17:10
  Speaker 4: when he's jacked in through the neck at this image.
• 17:15
  Speaker 4: The city sounds are around us. Dirty concrete buildings, wisps
• 17:19
  Speaker 4: of smoke drift above a crowd of mixed races. No
• 17:23
  Speaker 4: automobiles or vegetation. It's like, you know, it's just, you'll
• 17:29
  Speaker 4: see over and over again about the filth and that
• 17:31
  Speaker 4: kind of stuff in the outside the program. is completely abusive. So, yeah.
• 17:37
  Speaker 4: So then the ending with identical figures facing off, I mean,
• 17:41
  Speaker 4: come on. The pulse wave coming out, renewing the little
• 17:44
  Speaker 4: girl from the train station to life, and the earth greened,
• 17:48
  Speaker 4: and then coming up and hugging and pointing to the
• 17:50
  Speaker 4: sun as the ending. I think we have a case.
• 17:56
  Speaker 4: And then never letting us claim Matrix. The supplied attorneys
• 18:00
  Speaker 4: were all defense attorneys, both sides. Classmates from University of
• 18:04
  Speaker 4: Berkeley said you can only claim two and three by
• 18:07
  Speaker 4: running out the statutes on one. And it's really amazing
• 18:11
  Speaker 4: where I watched this happen. I found my journals from
• 18:14
  Speaker 4: my young boy, Aiden, when he was very young. This
• 18:16
  Speaker 4: was going on. And you see this entry where Tony Rankin,
• 18:20
  Speaker 4: the supplied attorney from Warner Brothers with a suspended license,
• 18:23
  Speaker 4: who was, there's tape from inside the court system from
• 18:27
  Speaker 4: this Frank Ayala, who's listed as endorsed by as litigation
• 18:31
  Speaker 4: support for the very Warner Brothers firm, right? He had
• 18:34
  Speaker 4: called and I taped the call and he said on it, like, yeah, you, this,
• 18:38
  Speaker 4: Tony Rankin has your back against the wall. He's in
• 18:40
  Speaker 4: their pocket. You have no idea how much you're being screwed. Wow.
• 18:43
  Speaker 4: That's powerful. You know, documentary team has that tape also.
• 18:48
  Speaker 4: And in that you see where Rankin runs out the
• 18:52
  Speaker 4: time by disappearing, disappears. Then he comes back and goes
• 18:56
  Speaker 4: after being unreachable the day after the deadline to file,
• 19:00
  Speaker 4: He comes back and goes, well, I guess we don't
• 19:02
  Speaker 4: have a case. Plus, you don't have a copyright, any
• 19:05
  Speaker 4: copyright at all. You just say you do. You don't
• 19:07
  Speaker 4: have any copyright in the office at all. Yeah, we do.
• 19:09
  Speaker 4: We have the proof right here. Full scripts. And so therefore,
• 19:12
  Speaker 4: you don't really have, you don't have a case anyway.
• 19:15
  Speaker 4: He threw it completely, threw it completely before we even started.
• 19:19
  Speaker 4: So he was, you know, and then said that the inserts,
• 19:22
  Speaker 4: like you said, the high school, birthday, my dad's name,
• 19:25
  Speaker 4: all that, in the matrix itself by the Wachowskis was
• 19:27
  Speaker 4: just a coincidence. And you found out that— That's.
• 19:31
  Speaker 3: Not even rationally possible. We did the ratios and the
• 19:34
  Speaker 3: probability of that.
• 19:35
  Speaker 4: And what did you get? What did you get?
• 19:36
  Speaker 3: Like, it's not possible. It'd be like one in bajillion chances. Yeah, right.
• 19:41
  Speaker 4: Like one in 333 trillion or something you got. That's right.
• 19:44
  Speaker 3: Right.
• 19:45
  Speaker 4: So Central West High School, and then you got their
• 19:48
  Speaker 4: attorneys going, Central Bay. Box West High School? Central Box?
• 19:53
  Speaker 4: Is there a box? I'm like, Central West got through
• 19:57
  Speaker 4: the clearance department. And for all the high schools in
• 20:00
  Speaker 4: the world... You've got Central West. Not Central South even.
• 20:03
  Speaker 3: Well, they didn't pick, like, Abermarle Middle or something.
• 20:07
  Speaker 1: Yeah, yeah.
• 20:07
  Speaker 3: Like, they didn't just pick something.
• 20:09
  Speaker 4: Well, there's even Central South, Central North, Central East. I mean,
• 20:13
  Speaker 4: just the school alone could end up with Central West
• 20:15
  Speaker 4: out of all the different high schools, Lincoln, Zeller, whatever,
• 20:20
  Speaker 4: that are all out there. It could have been anything.
• 20:24
  Speaker 3: Yeah. Even just, like, Matrix Middle, and they did nothing.
• 20:27
  Speaker 3: They did nothing.
• 20:28
  Speaker 4: Yep. And they know it. They know it, too. That's
• 20:30
  Speaker 4: what's really wild when you talk to these attorneys. They
• 20:33
  Speaker 4: know they're lying through their teeth. And I don't know
• 20:35
  Speaker 4: if I ever told you this, Jim, or people listening,
• 20:37
  Speaker 4: is that their lead attorney that was classmates of the
• 20:40
  Speaker 4: supplied attorney, Tony Rankin, who threw the case. Yeah. She
• 20:43
  Speaker 4: said at my deposition thing, no discovery of them, she
• 20:46
  Speaker 4: said a statement during the deposition. She goes, given the
• 20:49
  Speaker 4: fact that you wrote The Matrix, strike that. She said it.
• 20:53
  Speaker 4: There's something that happens to the human mind that if,
• 20:56
  Speaker 4: you know, for an attorney, high-level attorney, To say that?
• 21:01
  Speaker 4: Where was she going? So she had in her notes
• 21:04
  Speaker 4: to ask this state that, I guess, in case we
• 21:07
  Speaker 4: were able to lock her down and Rankin failed on
• 21:12
  Speaker 4: trying to throw the case at that point. So she
• 21:14
  Speaker 4: was going to go, given the fact you wrote this,
• 21:16
  Speaker 4: don't you think that, because one of the arguments she
• 21:19
  Speaker 4: raised after that was you didn't publish it. Well, yeah,
• 21:23
  Speaker 4: I did. It was submitted to you guys through attorneys.
• 21:25
  Speaker 4: It was sent through the mail through attorneys. It was
• 21:27
  Speaker 4: It was posted online.
• 21:29
  Speaker 3: It was presented to what's the music star? George Michael.
• 21:34
  Speaker 4: George Michael. So, yeah, it was posted, published and everything.
• 21:39
  Speaker 4: But they're trying to say that. They're trying to say, Jen,
• 21:41
  Speaker 4: that you sat on it and the world would not
• 21:44
  Speaker 4: have that story you wrote unless we did it. You
• 21:48
  Speaker 4: weren't going to do anything with it.
• 21:49
  Speaker 3: But that's not even true. That means that they're saying
• 21:51
  Speaker 3: that they did take it from you. Exactly. So I
• 21:53
  Speaker 3: don't understand. The whole concept of their... lawsuit situations just
• 21:57
  Speaker 3: looks like collusion to me. Now I do have to ask,
• 22:00
  Speaker 3: do you see that your story with that? I know
• 22:03
  Speaker 3: you had some situations with, they tried to either, I know,
• 22:07
  Speaker 3: I know they murdered your children or take your children.
• 22:10
  Speaker 3: So you're looking at CPS involvement now. So maybe weaponized
• 22:15
  Speaker 3: CPS and now you've got weaponized court structure against you. So,
• 22:21
  Speaker 3: That's a common parenting technique where someone who has done
• 22:24
  Speaker 3: something natural or protective or is not bad is weaponized against.
• 22:30
  Speaker 4: Exactly. It's a way to get you to concentrate on
• 22:32
  Speaker 4: something else in a panic, if possible, and claiming that
• 22:36
  Speaker 4: if you don't panic and blow up, then you don't
• 22:39
  Speaker 4: care about the death of your sons. And that's what
• 22:41
  Speaker 4: Sophia Stewart, who claims to be the mother of the Matrix,
• 22:43
  Speaker 4: played on me when she would call me. She called
• 22:45
  Speaker 4: me umpteen times and tried to get a rise out
• 22:47
  Speaker 4: of me. And so she would say, you know, you're
• 22:50
  Speaker 4: the one that killed your sons and you don't care
• 22:52
  Speaker 4: about your sons. You don't feel like you care about
• 22:54
  Speaker 4: the work stolen or the sons or anything. And so
• 22:56
  Speaker 4: she's trying to get you to scream and yell. She
• 22:58
  Speaker 4: wants you to break.
• 22:59
  Speaker 3: Well, probably recorded conversations so that it can be shared
• 23:02
  Speaker 3: as a smear campaign of you screaming and yelling at
• 23:05
  Speaker 3: somebody about your sons or this or that or the other.
• 23:07
  Speaker 3: And so kind of like how the common scam now
• 23:10
  Speaker 3: is on elderly people, get them to answer the phone
• 23:13
  Speaker 3: and say yes or something. And then they record that
• 23:16
  Speaker 3: yes in their name and they can AI get them to,
• 23:21
  Speaker 3: you know, financial scams and stuff. It's a similar concept.
• 23:24
  Speaker 4: Get paid right away as she was under contract with
• 23:26
  Speaker 4: Warner Brothers to smear the author, not for her work.
• 23:30
  Speaker 3: Didn't you say you had a letter where she was
• 23:33
  Speaker 3: shown that she was paid to smear and she thought
• 23:35
  Speaker 3: it was something else?
• 23:36
  Speaker 4: Yeah, five to seven million dollars. She was promised from
• 23:38
  Speaker 4: 2009 to 2013, which was a very length of my case.
• 23:43
  Speaker 4: to what I understand was to handle the author. Her
• 23:45
  Speaker 4: number two explained it to me. It was to handle
• 23:47
  Speaker 4: the author. And then Warner Brothers' Kate Chilton, who's now
• 23:50
  Speaker 4: at Netflix laundering through Netflix, or was. Is that allegedly?
• 23:55
  Speaker 3: Can I look her up? I haven't seen her stuff.
• 23:57
  Speaker 4: Kate Chilton, yeah, she's a monster. She was at my deposition, too.
• 24:00
  Speaker 4: So she's the one that was the architect for the
• 24:02
  Speaker 4: throwing of the case. It was a woman. But, yeah,
• 24:06
  Speaker 4: so the idea was Sophia Stewart was supposed to throw
• 24:09
  Speaker 4: my case, by saying, just claim Matrix 2 and 3,
• 24:13
  Speaker 4: not 1, which she did on the first call to me.
• 24:15
  Speaker 4: She said, you're the missing link. You claim Matrix 2
• 24:18
  Speaker 4: and 3. I'm 1. And then she blew a gasket
• 24:20
  Speaker 4: when my inserts were revealed.
• 24:22
  Speaker 3: Wait, she started by wanting to work with you?
• 24:25
  Speaker 4: She claimed she did. She was a handler. Wow. Yeah,
• 24:29
  Speaker 4: I got the taped call. And so what happened was
• 24:33
  Speaker 4: then she tries to pull the rug. She pulls the
• 24:35
  Speaker 4: rug on me. But she didn't get paid by Warner Brothers,
• 24:38
  Speaker 4: the $ 5 to $ 7 million, the letter that Kate Chilton...
• 24:41
  Speaker 4: had exchanged.
• 24:41
  Speaker 3: With her, promised her.
• 24:43
  Speaker 4: Because they didn't need her in the end because Rankin
• 24:46
  Speaker 4: was able to throw the case. So they said, we're
• 24:48
  Speaker 4: not going to pay you. So they set up a,
• 24:50
  Speaker 4: to have her save face, but not have Warner Brothers
• 24:53
  Speaker 4: lose face. They did something that had nothing to do
• 24:55
  Speaker 4: with the Matrix, owning the Matrix, which was simply to
• 24:59
  Speaker 4: have her sue one of her attorneys and have a
• 25:04
  Speaker 4: no-show by Warner Brothers so that her attorney is considered
• 25:08
  Speaker 4: not doing something.
• 25:09
  Speaker 3: Like a default judgment.
• 25:10
  Speaker 4: And then nothing about actually creating the Matrix. Nothing at all.
• 25:13
  Speaker 4: And then turning that into her claim that she did,
• 25:16
  Speaker 4: that she won millions. And she called me on that one, too.
• 25:18
  Speaker 4: She called me saying it was really wild. She's on
• 25:20
  Speaker 4: the tape going, I got the letter. I got the letter.
• 25:24
  Speaker 4: She's saying that in that sing-song voice. Actually sound better
• 25:27
  Speaker 4: than her. She did. That she has a letter where
• 25:30
  Speaker 4: I sent Warner Brothers a letter and she has it.
• 25:32
  Speaker 4: So she's got millions because she has the letter that
• 25:36
  Speaker 4: I had sent Warner Brothers in 2001 asking about Demolition Man.
• 25:40
  Speaker 4: And that's supposed to show that I knew it way
• 25:42
  Speaker 4: ahead of time and therefore should not have been allowed
• 25:44
  Speaker 4: to do a case. So she's saying her millions is
• 25:46
  Speaker 4: coming from having the letter I sent Warner Brothers, which
• 25:50
  Speaker 4: was her job to throw me, throw my case, that
• 25:53
  Speaker 4: she would get the millions for. That's something blatantly.
• 25:56
  Speaker 3: So blatant gang stalking and then bragging about it.
• 26:00
  Speaker 4: Blatant to death.
• 26:02
  Speaker 3: So you've seen targeting, weaponization of organizations. You've seen gang stalking.
• 26:08
  Speaker 3: You've seen all of the.
• 26:10
  Speaker 4: the playbook and here we are on the other end
• 26:13
  Speaker 4: here we are on the other end and thanks to
• 26:14
  Speaker 4: you and and people like yourself it's.
• 26:16
  Speaker 3: Like mainly a lot of supporters yeah.
• 26:18
  Speaker 4: Well i didn't even know and it's like i just
• 26:21
  Speaker 4: try to be genuine be real and that's why i
• 26:24
  Speaker 4: guess they figure i'm easy target the especially the minions
• 26:27
  Speaker 4: it's like warner brothers uses minions they use failed people
• 26:31
  Speaker 4: in order to attack you and it gets out that
• 26:34
  Speaker 4: you can get a you can get a pretty good
• 26:35
  Speaker 4: paycheck maybe if you are a minion working for a wannabe,
• 26:39
  Speaker 4: a D player they call it in the industry. You
• 26:42
  Speaker 4: can't get in on your own merits, so you get
• 26:43
  Speaker 4: to attack people for them, just like they wanted to
• 26:46
  Speaker 4: hire me to be a script doctor in one of
• 26:49
  Speaker 4: the studios, to be a script doctor, where I wouldn't
• 26:51
  Speaker 4: get credit for my work, but I'd be able to
• 26:52
  Speaker 4: teach them how to rip it off. And it's like, wow, great. No,
• 26:55
  Speaker 4: thank you. Check, please. But that's what they do. They
• 26:58
  Speaker 4: hire these minions to come out to you, so you
• 26:59
  Speaker 4: look low even by responding to them. You're in that
• 27:03
  Speaker 4: lower sphere of of existence.
• 27:05
  Speaker 3: That's part of that whole fusion center gang stalking theory too.
• 27:08
  Speaker 4: Exactly. And it sets you up for a, even possibly
• 27:12
  Speaker 4: a death because the, the idea that the FBI made
• 27:16
  Speaker 4: clear to me was that it would be an inglorious
• 27:19
  Speaker 4: death where they had these like actual agents. I had
• 27:22
  Speaker 4: a conversation with them that were dressed homeless, homeless, that
• 27:28
  Speaker 4: were supposed to get in an altercation with me. And
• 27:30
  Speaker 4: then I'd go down as the man that attacked a
• 27:32
  Speaker 4: homeless person. It's almost like anger management where, you know,
• 27:37
  Speaker 4: the main character, you know, the comedian is in trouble
• 27:40
  Speaker 4: for hitting the blind man stick. The guy with the
• 27:42
  Speaker 4: blind man with the stick.
• 27:44
  Speaker 3: Right.
• 27:44
  Speaker 4: You know, it's like, yeah, it's a comical death in
• 27:47
  Speaker 4: the end where it's actually a trained agent taking you out.
• 27:51
  Speaker 4: But then it's left to look like you had an
• 27:52
  Speaker 4: altercation with a homeless person. What a complete loser. Well, yeah.
• 27:57
  Speaker 3: That's like those suicides, too, where they make it look
• 27:59
  Speaker 3: like you did that. Yeah, I don't know if I
• 28:01
  Speaker 3: told you. And they're still finding out now that Kurt
• 28:02
  Speaker 3: Cobain probably didn't do that after all these years. And so, like,
• 28:06
  Speaker 3: how many people have they targeted like this and then
• 28:09
  Speaker 3: heart attacked or whatever?
• 28:11
  Speaker 1: Exactly.
• 28:11
  Speaker 4: Yeah. Exactly.
• 28:13
  Speaker 3: You know, even like, and I don't know the whole story,
• 28:15
  Speaker 3: and I don't know if you know about him, but
• 28:16
  Speaker 3: even the Joe Fells situation recently, he was talking about
• 28:19
  Speaker 3: old Bibles and old information and all kinds of stuff.
• 28:21
  Speaker 3: And he said, if I am ever found to have
• 28:24
  Speaker 3: offed myself or whatever, then I didn't do it. Like,
• 28:28
  Speaker 3: they did it. This is why. And then he did, supposedly,
• 28:31
  Speaker 3: the way that he said he would never do it.
• 28:33
  Speaker 3: And we're supposed to just believe that he went against
• 28:35
  Speaker 3: his own words from a couple months prior? Like, it
• 28:38
  Speaker 3: doesn't make sense how the blatantly... outrageous the assassins are
• 28:44
  Speaker 3: getting and we're not supposed to notice it. It's always
• 28:48
  Speaker 3: been a thing, but we've never been noticing it. Now
• 28:52
  Speaker 3: we notice it and we're not supposed to address it. No,
• 28:54
  Speaker 3: that didn't happen. These people didn't take their lives. Right.
• 28:58
  Speaker 4: I've been told that they've switched up, the FBI switched
• 29:00
  Speaker 4: up from a highway kill modality to home kill. So
• 29:06
  Speaker 4: if something was to go forward now, We know because
• 29:09
  Speaker 4: the FBI, well, the gun administration, the AT, whatever it is, ATF, whatever.
• 29:12
  Speaker 3: Oh, they use those DEWs, yeah.
• 29:14
  Speaker 4: Yeah, the gun administration gave me a call, federal gun control.
• 29:17
  Speaker 4: And they said that, oh, you can't have a gun
• 29:20
  Speaker 4: for home defense. Specifically just laid it right out right away.
• 29:23
  Speaker 4: I said, why? That's like for criminally insane. Why would
• 29:26
  Speaker 4: I have that on my record? well, the FBI has
• 29:29
  Speaker 4: on your record that you were put away for a
• 29:31
  Speaker 4: criminally insane on a suicide pact with your son. Like, what?
• 29:35
  Speaker 1: What?
• 29:35
  Speaker 4: Oh, yeah. They have it on. The FBI is a
• 29:37
  Speaker 4: false record. And I wasn't committed. I wasn't. I was
• 29:43
  Speaker 4: hauled off by that congressman's FBI group, the SWAT teams.
• 29:47
  Speaker 4: And it's like I held you for a while. The
• 29:50
  Speaker 4: doctor let me go saying there's nothing wrong with this
• 29:52
  Speaker 4: man at all. And then they wrote in your file. Yeah,
• 29:56
  Speaker 4: they got a Chinese doctor to say that I would
• 29:57
  Speaker 4: be committed. I have the files. They erased the files
• 29:59
  Speaker 4: from Lenape Valley crisis. And I have them through attorneys.
• 30:03
  Speaker 4: I got the files now. And so FBI doesn't realize that,
• 30:07
  Speaker 4: I guess. So they went ahead and filed that I
• 30:09
  Speaker 4: was committed for criminally insane and suicide packing my son.
• 30:12
  Speaker 4: I wasn't. And so what they did was they hold
• 30:15
  Speaker 4: that on me so I can't have a weapon to
• 30:16
  Speaker 4: protect myself in my home. They said it'd be a $ 60, 000 fine.
• 30:20
  Speaker 4: and you're in prison, yet there's no public.
• 30:21
  Speaker 1: Record of it.
• 30:21
  Speaker 3: Well, yeah, because that gives them authority to stop you
• 30:24
  Speaker 3: and put you in prison. So when they gang-stalk you
• 30:26
  Speaker 3: for speeding, they can shoot you and put you in
• 30:28
  Speaker 3: prison because you have an illegal firearm.
• 30:31
  Speaker 4: Talk about cowardice.
• 30:32
  Speaker 3: And you're a danger.
• 30:33
  Speaker 4: Talk about cowardice.
• 30:34
  Speaker 3: So that's where that gang-stalking, like people want to act
• 30:37
  Speaker 3: like that doesn't exist or there's no way, but it
• 30:39
  Speaker 3: takes a lot of collusion for that to be able to.
• 30:42
  Speaker 4: Yeah, yeah, because that's a federal crime to put that
• 30:45
  Speaker 4: down as a record. And they use a Chinese doctor
• 30:48
  Speaker 4: to say that I should be put away.
• 30:50
  Speaker 3: Yeah, falsifying records to harm somebody is a very big crime.
• 30:54
  Speaker 4: Yeah, and it should give chills to people when you
• 30:57
  Speaker 4: hear how the process was where I went in there. And,
• 31:01
  Speaker 4: you know, no food, no drinks, all through the night,
• 31:03
  Speaker 4: no sleep. And then this Chinese doctor's there on a
• 31:06
  Speaker 4: monitor from New Jersey. And he's going, okay, you want
• 31:10
  Speaker 4: any medication? I'm like, no, not at all. Are you
• 31:14
  Speaker 4: prescribed medication?
• 31:16
  Speaker 3: No.
• 31:17
  Speaker 4: Are you taking any medication at this time? No. Okay,
• 31:22
  Speaker 4: hold on. And in that brief amount of time, he
• 31:26
  Speaker 4: gets off questioning and the nurse comes in and says,
• 31:29
  Speaker 4: the doctor says she'd be committed for life.
• 31:31
  Speaker 3: The fuck?
• 31:32
  Speaker 4: Yeah.
• 31:33
  Speaker 3: I'm sorry.
• 31:33
  Speaker 4: Pardon me.
• 31:34
  Speaker 3: What?
• 31:34
  Speaker 4: Committed for life. Committed for life. What was I supposed
• 31:39
  Speaker 4: to say? Was I supposed to lie? I'd be committed
• 31:42
  Speaker 4: for life. So then... The doctor in charge was like,
• 31:47
  Speaker 4: something's wrong here. This guy doesn't seem like he's nuts
• 31:50
  Speaker 4: at all, crazy or dangerous. And so he postpones the FBI.
• 31:55
  Speaker 4: They actually sent in two secret service men. My sister
• 31:57
  Speaker 4: bragged they would. They came in in suits and talked
• 32:00
  Speaker 4: to the night nurse in front of me, the monitoring
• 32:02
  Speaker 4: nurse through the night, midnight, saying we're gonna talk to
• 32:04
  Speaker 4: his doctor, make sure he's put away. Not talking to me,
• 32:07
  Speaker 4: talking in front of my cell so I hear it.
• 32:11
  Speaker 4: So hopelessness. And the next day they detained her the
• 32:14
  Speaker 4: regular doctor, for about two and a half hours. She
• 32:17
  Speaker 4: finally came in and said, I have a ream of allegations.
• 32:21
  Speaker 4: I can tell you're never getting out of here. I said,
• 32:23
  Speaker 4: if I could have just 10 minutes to maybe just
• 32:24
  Speaker 4: try to explain this. She said, go ahead, go ahead.
• 32:27
  Speaker 4: And they're waiting for a bed to put me away
• 32:29
  Speaker 4: for life, rip me away from my son. My sister
• 32:31
  Speaker 4: called in and had a niece call in saying, we'll take, Julie,
• 32:34
  Speaker 4: his sister, will take Tom's son. She's gonna take my
• 32:37
  Speaker 4: son away for that Fitzpatrick guy. And she's getting reports.
• 32:40
  Speaker 4: The report shows that she's getting reports. And so the
• 32:42
  Speaker 4: doctor looks at my evidence. I start showing these things.
• 32:45
  Speaker 4: And just in like six minutes of showing her the
• 32:48
  Speaker 4: inserts and things like this, she goes, okay, hang on.
• 32:51
  Speaker 4: She leaves the room, comes back, Lenny V. Valley crisis,
• 32:53
  Speaker 4: and says, get out of here now. To my mom
• 32:56
  Speaker 4: and I, get out of here. Just go. Get out
• 32:58
  Speaker 4: of here now. Just go. Get out of here. Secret
• 33:00
  Speaker 4: service was still there.
• 33:01
  Speaker 3: Thank God for that person.
• 33:02
  Speaker 4: Secret service. Yeah, but they made her disappear. There's no
• 33:05
  Speaker 4: record of her anywhere now. You see that she's at
• 33:07
  Speaker 4: a hospital, not there. She's listed there, not there. And
• 33:10
  Speaker 4: I called the head of Lennaby Valley Crisis and said,
• 33:12
  Speaker 4: where is Dr. Kiefer? And they said, she's not, no
• 33:15
  Speaker 4: longer works here anymore. Well, how can I, you can't,
• 33:18
  Speaker 4: you know, we don't know. You can't reach her. So
• 33:20
  Speaker 4: I can't get the lady who let me go so
• 33:22
  Speaker 4: they can set up another one. Isn't that something? So
• 33:25
  Speaker 4: I was not put away by the skin of my teeth.
• 33:29
  Speaker 4: And it's like, Look how they had the Chinese doctor
• 33:31
  Speaker 4: set it up so it would be set. So being
• 33:33
  Speaker 4: a sore loser, Brian Fitzpatrick, the gay congressman at Lifelong FBI,
• 33:37
  Speaker 4: who's now weighing in on Ukraine again, right? On CNN
• 33:42
  Speaker 4: owned by Warner Brothers, he's on there talking about how
• 33:45
  Speaker 4: he's against, you know, he doesn't want to blame Elon Musk.
• 33:48
  Speaker 4: This is a while. He doesn't want to, like, all
• 33:51
  Speaker 4: this stuff's coming out on Elon Musk with Starlink pulling
• 33:53
  Speaker 4: it back. It was Elon Musk. It was a fault.
• 33:55
  Speaker 4: And the CNN, even their news agency said, yeah, it's
• 33:57
  Speaker 4: clear it's him. And then Brian Fitzpatrick gets on and says, well,
• 34:01
  Speaker 4: we can't draw conclusions about Elon Musk or anybody. We
• 34:04
  Speaker 4: have to talk to everybody. I'll get to the bottom
• 34:06
  Speaker 4: of it. I'm on the Ways and Means Committee, Oversight Committee.
• 34:08
  Speaker 4: I'll get to the bottom of this. So don't, you
• 34:10
  Speaker 4: can't pin Elon Musk. Just, he's covering for Elon Musk
• 34:14
  Speaker 4: because Warner Brothers.
• 34:14
  Speaker 3: Which is stupid because Elon then came out and said, yeah,
• 34:17
  Speaker 3: I did sell it because they breached their contract.
• 34:19
  Speaker 4: So you got the, there's your collusion, right, Jen?
• 34:21
  Speaker 3: Yeah, it is.
• 34:22
  Speaker 4: There's a collusion of Warner Brothers. seen and known by
• 34:24
  Speaker 4: Warner Brothers and Elon Musk with a tech from Warner
• 34:28
  Speaker 4: Brothers off our screenplay, Neuralink, Neuronalink, which he didn't even name.
• 34:31
  Speaker 4: It's Paramount did it. And now you got Warner Brothers
• 34:34
  Speaker 4: merging with Paramount to protect the Neuralink claim off my
• 34:37
  Speaker 4: screenplay so they can have a battery forming Skydance or something.
• 34:40
  Speaker 4: So it's like unbelievable how all the players are now
• 34:43
  Speaker 4: connecting in a smaller and smaller tight grip.
• 34:46
  Speaker 3: I do wonder about that. The timing of that. I'm
• 34:50
  Speaker 3: sure that somebody's going to clip this and be like,
• 34:52
  Speaker 3: oh my God, he's claiming Paramount's doing this for himself.
• 34:55
  Speaker 3: But the timing. And I'm sure there's another artist that
• 34:58
  Speaker 3: they ripped off we don't know about who's feeling similar.
• 35:03
  Speaker 3: But your work changed. People cry about The Matrix. And
• 35:08
  Speaker 3: so it was literally... a life-changing film and they messed
• 35:12
  Speaker 3: it up and you had all these missions for it
• 35:15
  Speaker 3: and there's no reason to cut you out of it.
• 35:17
  Speaker 3: So you would have made creator dollars for it. They
• 35:19
  Speaker 3: could have used your brain to do a lot more things.
• 35:22
  Speaker 3: It just doesn't make sense why they had to do
• 35:24
  Speaker 3: this unless they had a negative intent, right?
• 35:28
  Speaker 4: Well, it was close. It was close, Jen. It was
• 35:30
  Speaker 4: really close because there's that article where the Wachowskis are
• 35:32
  Speaker 4: brought in with Joel Silver and the suits say in
• 35:35
  Speaker 4: the article, we know we have something cool. We don't
• 35:37
  Speaker 4: understand it. Can you explain it to us? And the
• 35:39
  Speaker 4: Wachowskis can't. Larry gets upset and starts screaming on the phone,
• 35:41
  Speaker 4: you can't do that because they were going to give
• 35:42
  Speaker 4: it to me. Give the credit back to me. And
• 35:44
  Speaker 4: Joel Silver tries to explain it, gets it wrong, saying
• 35:46
  Speaker 4: it's robots in the program. It's robot-like agents in the program,
• 35:49
  Speaker 4: which he gets right later when the case is thrown
• 35:51
  Speaker 4: and has all my notes through Discovery, complete access, and
• 35:54
  Speaker 4: does Oblivion with Disney.
• 35:56
  Speaker 2: Wow.
• 35:56
  Speaker 4: So that's where you, Disney holding it for him. So
• 35:58
  Speaker 4: that's when you get him doing robot-like agents as in
• 36:01
  Speaker 4: the original screenplay. So what you got, and then doing
• 36:03
  Speaker 4: Alder Carvin with Netflix with Kate Chilton, who was the
• 36:06
  Speaker 4: handler for Sophia Stewart, coming over to Netflix to do
• 36:10
  Speaker 4: Altered Carbon for Joel Silver to rip off the very premise,
• 36:13
  Speaker 4: the rich in the future have immortality, the poor is
• 36:15
  Speaker 4: used as pawns. So all the evidence we have, I'm
• 36:17
  Speaker 4: very comfortable with what we have. I do believe there's
• 36:19
  Speaker 4: a God. He's got it all in order and the
• 36:20
  Speaker 4: timing's right. Someone said to me recently that they felt
• 36:23
  Speaker 4: led by God. A reporter called me from Chicago, said
• 36:27
  Speaker 4: that I got this word. I fought it, didn't call
• 36:29
  Speaker 4: you right away. And next night I was like feeling
• 36:31
  Speaker 4: just God pushing me. So the next day I'm calling
• 36:34
  Speaker 4: you to let you know that God's saying that the
• 36:36
  Speaker 4: reason you We're not giving credit and had to go
• 36:40
  Speaker 4: through all this time. Audiences weren't ready, first of all.
• 36:43
  Speaker 4: And also it wasn't safe for you to get credit
• 36:45
  Speaker 4: at that time. So it's like, wow, wow. Thank you
• 36:47
  Speaker 4: very much for that call. So it's like just amazing
• 36:50
  Speaker 4: things are happening where that lady with a star, gold
• 36:53
  Speaker 4: star at HEB comes up to me, don't know who
• 36:55
  Speaker 4: she is from Eve. And she's coming up behind me,
• 36:58
  Speaker 4: a gold star saying, and she's very sophisticated, very well-groomed, sophisticated, articulate,
• 37:01
  Speaker 4: going very well-educated, obviously, going, God is proud of you.
• 37:05
  Speaker 4: He wanted me to tell you he's proud of you.
• 37:07
  Speaker 4: Here's a star. My mom was thrilled. You have a
• 37:10
  Speaker 4: gold star.
• 37:11
  Speaker 3: That's great.
• 37:13
  Speaker 4: So it's like everybody's starting to get it now because
• 37:14
  Speaker 4: the evidence can't be refuted. And Warner Bros.
• 37:16
  Speaker 3: Knows that.
• 37:17
  Speaker 4: Talk about trickle-down theory, though. Trickle-down theory is the minions
• 37:21
  Speaker 4: that are hired will be the last to give in.
• 37:22
  Speaker 4: They'll be the last. They'll do shows tacking and saying,
• 37:25
  Speaker 4: he's a liar. But they'll be the last ones to
• 37:27
  Speaker 4: admit it. But Warner Bros. will actually admit it before
• 37:29
  Speaker 4: them that, yeah, you have the evidence. Just back to
• 37:32
  Speaker 4: that Linda Burroughs, classmates with the supplied attorney, defense attorney
• 37:36
  Speaker 4: from Warner Bros., who said, given the fact you wrote
• 37:39
  Speaker 4: The Matrix, so it's like, it's a done deal. Like
• 37:41
  Speaker 4: you said about the matchups and the inserts. Let me
• 37:44
  Speaker 4: read this one to you. Page 110 of The Immortals
• 37:47
  Speaker 4: in that copyright office, which again is number PAU2-304-074, copyright office. Now,
• 37:57
  Speaker 4: Sophia Stewart tried to claim that the document I held
• 38:00
  Speaker 4: up with the gold seal and everything is a forgery.
• 38:02
  Speaker 4: It's got the contact numbers for the supervising copywriting specialist.
• 38:06
  Speaker 4: We've got the director of the copyright office, everything else.
• 38:09
  Speaker 4: And it's got the dates. It's got the PAU numbers,
• 38:11
  Speaker 4: the certified gold stamp, which would take a whole machine
• 38:14
  Speaker 4: shop to create to do. The gold ribbon, bolted, everything else.
• 38:17
  Speaker 4: I mean, she's full of shit. Anyway, so what you
• 38:19
  Speaker 4: got is, obviously, from the projects, page 110, you got
• 38:23
  Speaker 4: this entry on the Immortals, which Warner Bros. Copyrights the
• 38:27
  Speaker 4: Immortal title. Interior tunneler, underground. A young driver is having
• 38:32
  Speaker 4: a blast operating the tunneler. Let me say it again.
• 38:35
  Speaker 4: Interior tunneler, underground. A young driver is having a blast
• 38:38
  Speaker 4: operating the tunneler and playing loud music. He watches the
• 38:43
  Speaker 4: screen showing the strolling map in green with blips on it.
• 38:47
  Speaker 4: Keep in mind two things right here. That scene is
• 38:50
  Speaker 4: right there with the young African-American actor with the headphones
• 38:53
  Speaker 4: on in front of the green scrolling blips with Morpheus
• 38:55
  Speaker 4: and the rest sitting with Jack's the back of the neck,
• 38:57
  Speaker 4: hold Jack in's. Right there. That's the same exact, exact
• 39:01
  Speaker 4: off that one, two-sentence paragraph. Also, keep in mind that
• 39:06
  Speaker 4: Warner Brothers says they don't claim the Matrix title, that
• 39:08
  Speaker 4: Wachowski stuck that in. They didn't prove that. So they're
• 39:10
  Speaker 4: not claiming the Matrix title, believe it or not. That's
• 39:13
  Speaker 4: on that letter to Sophia Stewart. They're claiming the Green
• 39:17
  Speaker 4: Swollen Blips. So they're not even claiming the Matrix title.
• 39:20
  Speaker 4: They're saying Sophia Stewart, who didn't come up with the Matrix.
• 39:23
  Speaker 4: Think of this. Sophia Stewart didn't come up with the
• 39:25
  Speaker 4: Matrix title. but what Chosky's did there's no it's the
• 39:28
  Speaker 4: third eye not matrix yet she's claiming the matrix title
• 39:32
  Speaker 4: because Warner Brothers she's a paralegal and the Warner Brothers
• 39:34
  Speaker 4: didn't claim matrix title so there's she's seeing as a
• 39:36
  Speaker 4: paralegal an opportunity to claim that title but there's trademarks
• 39:39
  Speaker 4: and there's no trademark there's there's matrix cars matrix clothing
• 39:42
  Speaker 4: matrix sites matrix lines and Everything's Matrix because there's no
• 39:46
  Speaker 4: trademark on it. No copyright.
• 39:49
  Speaker 1: Yeah.
• 39:50
  Speaker 3: And so she's able to stick in there.
• 39:53
  Speaker 4: And even when she claims it, when they allow her
• 39:55
  Speaker 4: to do the stupid faux court thing, they still made
• 39:58
  Speaker 4: Matrix without her. Matrix 4 without her. So she has
• 40:01
  Speaker 4: no power whatsoever.
• 40:02
  Speaker 3: Yeah, so it's almost like you guys are in the
• 40:03
  Speaker 3: same position. Somebody's telling the truth. So somebody's lying. And
• 40:09
  Speaker 3: that's why they pit you against each other. So it
• 40:11
  Speaker 3: just creates a small battle situation to dilute. the story.
• 40:16
  Speaker 3: And what's interesting is like, she has a giant following
• 40:20
  Speaker 3: of people that are just following because of the persona
• 40:24
  Speaker 3: she's put out instead of the evidence. And that's not
• 40:28
  Speaker 3: what I'm, I'm, I'm in no way, shape or form
• 40:30
  Speaker 3: attacking the persona, the person, the color of the skin,
• 40:33
  Speaker 3: the woman, the feminine, the gender, the story writer, the nothing.
• 40:36
  Speaker 3: I'm just who wrote the actual screenplay that, you know,
• 40:39
  Speaker 3: Warner Brothers then copied, basically stole and tried to copy.
• 40:45
  Speaker 3: Like that's the question I have. And I think everybody
• 40:47
  Speaker 3: is diluting it and missing the point.
• 40:51
  Speaker 4: But who has the copyright? It's right here. For those
• 40:54
  Speaker 4: that are listening and can't see it, I've read it
• 40:56
  Speaker 4: a couple of times here. The PAU number, the registry number,
• 40:58
  Speaker 4: there's a gold seal. You can test to it. Gem.
• 41:01
  Speaker 3: Yeah.
• 41:01
  Speaker 4: It's a 98 version used on set of 99. Come on.
• 41:03
  Speaker 4: 128 pages. Sophia Stewart's is 33 pages long.
• 41:09
  Speaker 3: Which we have to remember, that's a very Masonic number.
• 41:11
  Speaker 3: So how did she come to that?
• 41:13
  Speaker 4: Yeah.
• 41:13
  Speaker 3: You know, that number.
• 41:15
  Speaker 4: 33 pages.
• 41:15
  Speaker 3: Yeah.
• 41:15
  Speaker 4: And it doesn't have nothing to do with Star Wars,
• 41:17
  Speaker 4: nothing to do.
• 41:17
  Speaker 3: With Mavericks or Terminator. Is she an Eastern star?
• 41:20
  Speaker 4: That's a great question. She claims something about, she wrote
• 41:23
  Speaker 4: her own codex. She claims it. Her own prophecy on numbers,
• 41:28
  Speaker 4: using numbers. And she listed herself. This guy had me
• 41:32
  Speaker 4: on a program, which was one of her people. And
• 41:35
  Speaker 4: so it was a, you know, a blindsiding shot. And
• 41:39
  Speaker 4: so he's on there going, let's look up her number.
• 41:41
  Speaker 4: Sophia Stewart says the light of the world. I'm like, oh, crap.
• 41:45
  Speaker 3: Great. I said, who wrote this? Like a Gematria thing?
• 41:47
  Speaker 4: Yeah, yeah. And I said, well, who wrote this? Sophia
• 41:49
  Speaker 4: Stewart did. Let's look up your number.
• 41:52
  Speaker 3: Yeah, but you programmed Gematria by putting in things that
• 41:55
  Speaker 3: you want it to say.
• 41:56
  Speaker 4: Well, yeah. Well, she created this, wrote it herself. And
• 41:59
  Speaker 4: then she has, he goes, the host goes, let's look
• 42:02
  Speaker 4: up your name, Tom. Tom Oldhouse. It says the son
• 42:05
  Speaker 4: of darkness. The evil one.
• 42:08
  Speaker 1: Like.
• 42:09
  Speaker 3: Oh, yeah.
• 42:10
  Speaker 4: Are you kidding me? And that's what they come down to. Yeah.
• 42:15
  Speaker 4: They have no evidence, no working draft. So what they
• 42:16
  Speaker 4: do is they create stuff like this and they believe
• 42:19
  Speaker 4: audiences are going to swallow it. Lock, stock and barrel.
• 42:22
  Speaker 4: And it's like and pull the trigger. It's like, no.
• 42:24
  Speaker 3: Audiences try to. And then they don't realize why they're sick.
• 42:28
  Speaker 4: Yeah. I mean, like the 30 odd or 100 some
• 42:31
  Speaker 4: people that have watched some of these guys, you know,
• 42:32
  Speaker 4: it's like. I can't help them. It's like if they're
• 42:36
  Speaker 4: going to believe this kind of stuff, they have a
• 42:38
  Speaker 4: need to believe it. It comes from a place of
• 42:39
  Speaker 4: wanting to feel important or something.
• 42:40
  Speaker 3: I don't know.
• 42:41
  Speaker 4: But it's more important to actually look at facts, look
• 42:44
  Speaker 4: at evidence, and acknowledge evidence.
• 42:47
  Speaker 3: And all they can do now is— Well, yeah, and
• 42:49
  Speaker 3: who has all the documents and the pattern of the
• 42:53
  Speaker 3: abuse collusion that would lead to why this would happen?
• 42:56
  Speaker 3: It's not like they would just randomly select somebody and
• 43:00
  Speaker 3: then let them— Get rich off of talking. She's gotten
• 43:04
  Speaker 3: very popular off of talking about this. You've gotten very diminished. Oh, absolutely.
• 43:10
  Speaker 3: You usually try to follow the money and find the corruption.
• 43:12
  Speaker 3: And in this story, people follow the money and then
• 43:15
  Speaker 3: claim that that's the truth because she got a judgment.
• 43:18
  Speaker 3: And that's very strange.
• 43:21
  Speaker 4: Yeah. Nothing to do with the matrix, though. There's nothing
• 43:22
  Speaker 4: to do with the ownership of the matrix or creating
• 43:24
  Speaker 4: the matrix.
• 43:25
  Speaker 3: Well, and in that sense, she's also a victim because
• 43:27
  Speaker 3: they used her. So if people want to believe her story,
• 43:31
  Speaker 3: that's fine. But they used her, pit her against you.
• 43:34
  Speaker 3: And at some point in time, they're going to drop her.
• 43:38
  Speaker 3: And so that's not good for her either. So if
• 43:41
  Speaker 3: she has supporters, pray for the truth to be done.
• 43:45
  Speaker 3: Because if Tom's telling the truth here, she's going to
• 43:48
  Speaker 3: be dropped really far. And that's not fair for somebody
• 43:51
  Speaker 3: who thought they were telling the truth. If she thinks
• 43:53
  Speaker 3: she's honest. She's going to that's going to suck when
• 43:57
  Speaker 3: the truth comes out and she falls off that pedestal
• 43:59
  Speaker 3: they put her on. And that's not fair for survivors.
• 44:02
  Speaker 3: It's not fair what they did to you with all
• 44:03
  Speaker 3: the collusion and the abuse and the structure and the,
• 44:06
  Speaker 3: you know, all the different things they did. And then
• 44:09
  Speaker 3: to just claim that you're crazy and dangerous outright because
• 44:12
  Speaker 3: of that is so playbook and boring. It's not even natural.
• 44:19
  Speaker 3: And so it's interesting that they can do all of
• 44:21
  Speaker 3: that to you and then we're just supposed to cave
• 44:25
  Speaker 3: because somebody comes in and says they also wrote it. Like,
• 44:29
  Speaker 3: that doesn't make sense. You're just supposed to give up
• 44:32
  Speaker 3: because somebody claims something that's not true.
• 44:37
  Speaker 4: Right.
• 44:37
  Speaker 3: What did they expect?
• 44:39
  Speaker 4: And using the first claimant rule, they believe that by
• 44:42
  Speaker 4: bringing someone in for the theft and then someone to
• 44:45
  Speaker 4: claim it can create a conflict of claims. Where the
• 44:48
  Speaker 4: actual author is left out. And then people are like,
• 44:51
  Speaker 4: we've already seen a battle over this. This guy's coming
• 44:53
  Speaker 4: in late. Why did it take so long to show up?
• 44:56
  Speaker 3: Exactly.
• 44:56
  Speaker 4: Because you're the last one to know. You're not part
• 44:58
  Speaker 4: of that planned collusion. And so often, too, what you
• 45:01
  Speaker 4: alluded to, too, is so important. They butter your bread
• 45:04
  Speaker 4: really well before they pull the rug on you. First,
• 45:06
  Speaker 4: they're going to put you up on the highest mountain
• 45:08
  Speaker 4: before they throw you off the cliff. So it's like
• 45:10
  Speaker 4: that's how they work. And you see that happening. Yeah.
• 45:13
  Speaker 4: What you're saying about Sophia Stewart fits the mold. They're
• 45:15
  Speaker 4: going to do that. But there's no way she can
• 45:17
  Speaker 4: succeed in this unless they list her as a writer.
• 45:20
  Speaker 4: Third eye has nothing to do with it.
• 45:21
  Speaker 3: Yeah, but even then, though, that's not even, that's an
• 45:24
  Speaker 3: after the fact and she doesn't have the proof. So
• 45:27
  Speaker 3: those things are all call outs to selling your soul.
• 45:31
  Speaker 3: And if she's truthful and honest, she won't want to
• 45:34
  Speaker 3: do that because she'll know it's not true. So, you know,
• 45:39
  Speaker 3: what's done in darkness be brought to light and, you know,
• 45:43
  Speaker 3: to each their own, and I wish the best for,
• 45:46
  Speaker 3: but if you build your house on sand, it's going
• 45:48
  Speaker 3: to fall, and I don't want that for anybody. And
• 45:50
  Speaker 3: so everybody, I think, should think for themselves. Tom has
• 45:54
  Speaker 3: all the evidence that he's talking about on his website.
• 45:57
  Speaker 3: He posts about that. He's not, you know, selling his
• 46:02
  Speaker 3: speaking engagements like some people are. He's not, you know,
• 46:05
  Speaker 3: selling hobnob book story things about this whole situation like
• 46:11
  Speaker 3: some people are trying to profit off of all of this.
• 46:14
  Speaker 3: So I just think for yourself, think, follow the money,
• 46:17
  Speaker 3: follow the corruption, look at the evidence, look at the collusion,
• 46:21
  Speaker 3: his story. So if, if, if, if somebody's new here
• 46:24
  Speaker 3: and you're just tuning in, you're like, what the fuck?
• 46:25
  Speaker 3: Somebody wrote the matrix. It wasn't the brothers, the sisters
• 46:29
  Speaker 3: and read Tom old house.com. It involves Liberty university, Pat,
• 46:34
  Speaker 3: another university over in that region. What was the name
• 46:36
  Speaker 3: of that school, Tom?
• 46:37
  Speaker 4: Pat Robertson's Regent University.
• 46:40
  Speaker 3: Regent. That's what it was. Pat Robertson, who ran for president.
• 46:43
  Speaker 3: There's schools. There's schools involved. There's churches involved. There's, you know,
• 46:48
  Speaker 3: in Virginia, there's a church involved. There's lawyers involved.
• 46:52
  Speaker 4: You've got FBI agents.
• 46:54
  Speaker 3: Disney, Warner Brothers, Lenny Coco. Like, so there's somebody for
• 46:58
  Speaker 3: everybody in this story. And he's got all the little
• 47:01
  Speaker 3: pieces of the proof. So when you hear other people say,
• 47:04
  Speaker 3: I did this and I did that, and they talk
• 47:06
  Speaker 3: a big game and they never show the proof, just
• 47:09
  Speaker 3: read through his website, read through the blogs, listen to
• 47:13
  Speaker 3: the podcast and stuff where he shows these things out,
• 47:15
  Speaker 3: and then think for yourself. Right.
• 47:18
  Speaker 4: I want to hold something up for you, too, as
• 47:20
  Speaker 4: we finish. This is the FBI card that I was
• 47:23
  Speaker 4: given to the Sheriff's Department.
• 47:25
  Speaker 3: Oh, wow. So you're showing a business card Commonwealth of Virginia.
• 47:28
  Speaker 4: Yeah, business card given to me. And I want to
• 47:29
  Speaker 4: read the statement the FBI put on there when I
• 47:31
  Speaker 4: was with Walsh and the FBI heads at dinner. It says,
• 47:35
  Speaker 4: this is to identify Tom Malthouse. Any courtesy extended will
• 47:39
  Speaker 4: be appreciated. Now, I'm going to call this card back out.
• 47:42
  Speaker 4: So it's like, let's just call that card back out
• 47:44
  Speaker 4: to the FBI. Yeah, back to the FBI. Because Sophia
• 47:48
  Speaker 4: Stewart's saying the FBI is protecting her against me to
• 47:52
  Speaker 4: bring me down. Well, let's go back to the original
• 47:54
  Speaker 4: thing here. They're fans of the work. I hear from agents,
• 47:57
  Speaker 4: fans of the work and everything else. And it's really
• 47:59
  Speaker 4: not all FBI agents. It's the ones in power that
• 48:03
  Speaker 4: have been making sure that this disaster stays the way
• 48:07
  Speaker 4: it is. And that's what the judge said, you know,
• 48:09
  Speaker 4: keep everything as it is. Didn't want to rock the
• 48:11
  Speaker 4: boat of too many families, too many lives. If Tom
• 48:15
  Speaker 4: Althaus got credit for his work, it would affect too
• 48:17
  Speaker 4: many lives. Because isn't that something? If you do corruption
• 48:20
  Speaker 4: an extended way and involve so many companies and so
• 48:24
  Speaker 4: many people, then they'll keep the corruption. The judge will
• 48:26
  Speaker 4: rule to keep the corruption. Because it'll affect too many lives.
• 48:30
  Speaker 3: Oh, absolutely. Well, the judges are in on it. The
• 48:32
  Speaker 3: judges usually have a piece of the puzzle or the
• 48:34
  Speaker 3: pie or a claim or a stake to that estate
• 48:37
  Speaker 3: or something.
• 48:38
  Speaker 4: Yeah, but that's what I was told in court, that
• 48:40
  Speaker 4: we're going to keep everything the same. It'll affect too
• 48:42
  Speaker 4: many lives. It'll rock the boat. And that's something.
• 48:44
  Speaker 1: Wow.
• 48:45
  Speaker 3: So you were given a gold card of get out
• 48:47
  Speaker 3: of jail free, basically, if you need me, call me.
• 48:50
  Speaker 4: Right. Right there.
• 48:51
  Speaker 3: And so for the listeners, this says Commonwealth. Can you
• 48:53
  Speaker 3: hang that up there for a second? So that says
• 48:55
  Speaker 3: Commonwealth of Virginia Portsmouth Sheriff's Office. This is to identify
• 48:58
  Speaker 3: Tom Althaus has typed in there and it says any
• 49:01
  Speaker 3: courtesy extended will be appreciated. Expires December 31st, 1989 by
• 49:08
  Speaker 3: Gary W. Waters, Sheriff of City, Sheriff City of Portsmouth, Virginia.
• 49:13
  Speaker 3: And it's got the gold sheriff logo on the front.
• 49:16
  Speaker 3: So is this given to you by who gave this
• 49:19
  Speaker 3: to you and when?
• 49:20
  Speaker 4: The FBI, one of the FBI heads at dinner with Walsh.
• 49:23
  Speaker 4: So it was dinner.
• 49:24
  Speaker 3: Now you say Walsh, that's John Walsh?
• 49:27
  Speaker 4: Yeah, America's Most Wanted.
• 49:29
  Speaker 3: Was that dinner with you?
• 49:31
  Speaker 4: Yeah, with the FBI heads.
• 49:34
  Speaker 3: And he gave you this card. And what did they say?
• 49:36
  Speaker 4: Yes, yes, yes. They said this would be a card
• 49:39
  Speaker 4: that would be very useful. It would help protect me
• 49:41
  Speaker 4: from anyone bothering me, that they were looking out for me.
• 49:43
  Speaker 3: Really?
• 49:44
  Speaker 1: Mm-hmm.
• 49:46
  Speaker 3: Wow. And that was in 1989. Was this part, you
• 49:49
  Speaker 3: said they.
• 49:49
  Speaker 4: Were rushing you through some- It was 1988. They gave
• 49:51
  Speaker 4: it in 1988.
• 49:51
  Speaker 3: 88, so it was good for a whole year.
• 49:53
  Speaker 4: Yeah, that's when Robertson was running for president. Robertson was
• 49:55
  Speaker 4: running for president. Wow.
• 49:58
  Speaker 3: So, okay.
• 49:58
  Speaker 1: Yeah.
• 49:59
  Speaker 4: I was supposed to be the face of the Christian coalition.
• 50:01
  Speaker 4: Remember the face of the Christian coalition. I was supposed
• 50:03
  Speaker 4: to be.
• 50:03
  Speaker 3: This was part of the grooming. This was one of
• 50:05
  Speaker 3: the benefits.
• 50:06
  Speaker 4: Yeah. One of the perks. It's basically like your black card.
• 50:10
  Speaker 3: Yeah.
• 50:11
  Speaker 4: Yeah. So I was groomed to be on the inside
• 50:14
  Speaker 4: as a leader. The face of. So what do you
• 50:17
  Speaker 4: do with your leaders that aren't, quote, behaving themselves? What
• 50:21
  Speaker 4: do you do with them? Well, you control them. Disconnect them,
• 50:25
  Speaker 4: isolate them. Put in a timeout. That lady, Stephanie Tanner,
• 50:29
  Speaker 4: who was supposed to replace my other honeypot wife.
• 50:32
  Speaker 3: Yeah.
• 50:32
  Speaker 4: The one that was going to, you know, have me
• 50:33
  Speaker 4: raise alpacas with her in Idaho. She had been married
• 50:37
  Speaker 4: to the writer of Napoleon Dynamite, who left a script
• 50:40
  Speaker 4: at her house. Oh, shit. Wow. And she called me
• 50:42
  Speaker 4: when I was in Canada and said that she was
• 50:44
  Speaker 4: not supposed to contact me that soon. Said that her
• 50:46
  Speaker 4: and her sister were raised, basically experimented on or programmed
• 50:50
  Speaker 4: at the University of Berkeley, exactly where these attorneys came from.
• 50:53
  Speaker 4: Handle my case.
• 50:53
  Speaker 3: What?
• 50:54
  Speaker 4: And that they were groomed to be wives. of top people.
• 50:58
  Speaker 4: And her sister married Patrick, who was litigation content control
• 51:02
  Speaker 4: out of Columbia University at Warner Brothers. And he's the
• 51:05
  Speaker 4: one who was responsible for the theft of Superman and
• 51:08
  Speaker 4: my work, she said, inside Warner Brothers. So his sister
• 51:10
  Speaker 4: was married to her. And so she said, I'll be
• 51:14
  Speaker 4: very gentle with you, Tom. If you come, I'll give
• 51:16
  Speaker 4: you the red pill pendant. I'm not making this up,
• 51:18
  Speaker 4: glass pendant or something. And you will live with me,
• 51:20
  Speaker 4: raise the alpacas, and you will be basically having Thanksgiving
• 51:23
  Speaker 4: dinner with a man that took your work.
• 51:25
  Speaker 3: Holy shitballs. Why would you want to do that?
• 51:27
  Speaker 4: I didn't.
• 51:29
  Speaker 3: Yeah. What is their mission with this? This is the control.
• 51:31
  Speaker 4: This is the honeypot pipeline. Well, since I was groomed
• 51:34
  Speaker 4: to lead in the cabal, I was being married into
• 51:36
  Speaker 4: the cabal by a person who admitted that her sister
• 51:39
  Speaker 4: and her were programmed to be wives of leaders in
• 51:42
  Speaker 4: the cabal.
• 51:42
  Speaker 3: Do you think people tell you the truth because of
• 51:46
  Speaker 3: your authentic nature? They can just tell you the truth?
• 51:49
  Speaker 4: Often they do. Often all kinds of people just open up.
• 51:52
  Speaker 4: It's a good point. Even handlers. So she said that, yeah,
• 51:55
  Speaker 4: she said that basically I would be a script doctor
• 51:59
  Speaker 4: in Hollywood, and we'd be one of the wealthiest couples.
• 52:02
  Speaker 4: She said her sister had all the home, the boat,
• 52:05
  Speaker 4: the money, and they were going to have her do
• 52:07
  Speaker 4: her screenplay now. It was all coming from theft of
• 52:10
  Speaker 4: Superman and my work. And so I'd be married in,
• 52:13
  Speaker 4: that way they can own the work in-house, and then
• 52:15
  Speaker 4: I would be script doctoring other people's work and steal it. them.
• 52:19
  Speaker 3: Wow. So they hurt you and then offered you.
• 52:22
  Speaker 4: Yeah. Here's the phrase I used. Stephanie said this specifically.
• 52:24
  Speaker 4: She said, you're the star player on the bench. You're
• 52:27
  Speaker 4: their golden goose. You're their star player on the bench.
• 52:33
  Speaker 4: And if I married her, you wouldn't hear from me again,
• 52:36
  Speaker 4: but I'd be incredibly wealthy. They said one of the
• 52:38
  Speaker 4: wealthiest men in Hollywood.
• 52:40
  Speaker 3: Wow.
• 52:42
  Speaker 4: Married to the family that took my work.
• 52:44
  Speaker 3: So you said no. Who do you think they got?
• 52:47
  Speaker 4: Well, then after I said no, that's what's really wild.
• 52:50
  Speaker 4: I was invited to California with this group of like
• 52:53
  Speaker 4: seven girls and stuff that claimed they were all virgin.
• 52:57
  Speaker 4: It was just, it's like out of a B movie.
• 52:58
  Speaker 4: That's weird. That are working for Netflix, writing for Netflix.
• 53:00
  Speaker 4: What kind of ritual was that? Writing for Netflix. And
• 53:03
  Speaker 4: helicopters were flying. It was just like a bad movie.
• 53:05
  Speaker 4: It was really a bad movie. And they pulled the
• 53:07
  Speaker 4: rug on me. But they said that the woman that
• 53:10
  Speaker 4: I was being lined up to be with, I don't
• 53:12
  Speaker 4: think this woman even knew, was the lead, I'm not
• 53:15
  Speaker 4: making this up, lead actress in Hunger Games. If I
• 53:18
  Speaker 4: came over and did this and worked with a Netflix
• 53:20
  Speaker 4: group and everything else with E7, then I would be
• 53:24
  Speaker 4: hooked up with the lead actress in Hunger Games. I'm
• 53:28
  Speaker 4: sure she didn't even know about that. But this is
• 53:31
  Speaker 4: not so far-fetched because that's what the Wachowskis are promised.
• 53:34
  Speaker 3: She's had not anything about her, but that's interesting because
• 53:38
  Speaker 3: she's had some interesting clips that have gone viral with
• 53:41
  Speaker 3: her hitting on or talking to older men. In an
• 53:46
  Speaker 3: interesting way.
• 53:48
  Speaker 4: I was supposed to be lined up.
• 53:49
  Speaker 3: So she was probably groomed that way.
• 53:50
  Speaker 4: That's exactly right. I would say that's exactly right. Not
• 53:53
  Speaker 4: to put words in her mouth, of course. Right. She
• 53:56
  Speaker 4: never talked to me. I never heard from her. I
• 53:58
  Speaker 4: never talked to her. So I can't say that that
• 54:01
  Speaker 4: was what she wanted at all. But that's what they
• 54:03
  Speaker 4: were claiming would happen. And it goes back to what
• 54:06
  Speaker 4: the honeypot wife told me, Becca Northcutt, what she told me,
• 54:09
  Speaker 4: now Becca B. Lynn, what she told Aiden and I
• 54:12
  Speaker 4: when she said she wanted to actually be with us
• 54:13
  Speaker 4: and Aiden said, well, mom's really in love with you now.
• 54:16
  Speaker 4: when we were going to fight back at Warner Brothers,
• 54:19
  Speaker 4: or was getting offers actually from the inside, she said
• 54:22
  Speaker 4: in tears, which is unusual for see her cry, she
• 54:25
  Speaker 4: was in tears saying, Tom, they're going to replace me
• 54:27
  Speaker 4: with a younger actress. They're going to replace me. If
• 54:30
  Speaker 4: you take their offers, they're going to replace me.
• 54:34
  Speaker 3: Oh, God. So she was like a handler that fell
• 54:38
  Speaker 3: in love with you?
• 54:39
  Speaker 4: Yes. That's what Aiden pointed out. She actually fell in
• 54:41
  Speaker 4: love with you without being genuine. Yeah. So it can
• 54:44
  Speaker 4: backfire on them when they're attacking.
• 54:45
  Speaker 3: So that does make you wonder if you have some
• 54:47
  Speaker 3: interesting chemistry that they are harnessing.
• 54:51
  Speaker 4: What's really funny is she said it and people these days,
• 54:56
  Speaker 4: they'll say this phrase, they'll go, you smell really good.
• 54:59
  Speaker 4: I'm like, it's like a Dr. Seuss book or something.
• 55:01
  Speaker 4: I don't know what's going on, but they're like, you
• 55:03
  Speaker 4: smell really good. I'm like, well, I don't really know
• 55:06
  Speaker 4: what that would be.
• 55:07
  Speaker 3: Yeah, right. Thanks. I showered. Yeah, yeah.
• 55:10
  Speaker 4: Or they'll say, we're really a fan. We love you
• 55:12
  Speaker 4: coming here. We have your stats memorized. It's just, it's
• 55:16
  Speaker 4: wild how I get treated. And I guess that made
• 55:18
  Speaker 4: the other side work overtime. Religious right, woman brothers. It
• 55:22
  Speaker 4: was like, they said, everybody loves you. Everybody loves you
• 55:26
  Speaker 4: was what it was in the beginning. And I feel
• 55:27
  Speaker 4: like we're going back to that because genuine is good.
• 55:29
  Speaker 4: I want to meet other genuine people and work together
• 55:31
  Speaker 4: with genuine people. That's why I don't want to be
• 55:33
  Speaker 4: near these minions. The minions can hate me all they
• 55:36
  Speaker 4: want and trash me, but I don't want to work
• 55:38
  Speaker 4: with people that are not authentic and genuine and actually
• 55:41
  Speaker 4: care about others. So compassion.
• 55:43
  Speaker 3: Well, and there's a situation where you have to protect
• 55:46
  Speaker 3: the authenticity of your work, too. And there's people that
• 55:48
  Speaker 3: will work together on a project and there's people that
• 55:51
  Speaker 3: will steal or sabotage a project. And if they're not
• 55:54
  Speaker 3: willing to acknowledge that they might be one of the
• 55:56
  Speaker 3: ones who could sabotage a project, then they're going to
• 55:59
  Speaker 3: get very angry when they get taken off of a
• 56:01
  Speaker 3: situation they thought they would profit from.
• 56:03
  Speaker 4: Go right back to Sophia Stewart, number one, Nicholas Jackson,
• 56:06
  Speaker 4: her number one guy, who was the one that called
• 56:07
  Speaker 4: me first and then put me on the phone with
• 56:09
  Speaker 4: Sophia Stewart when she said I was the missing link
• 56:11
  Speaker 4: on the initial call. What he said was that he
• 56:14
  Speaker 4: was pushing and pushing out all these texts from this
• 56:17
  Speaker 4: Anderson guy who worked on Cypherman, right, for a comic group.
• 56:24
  Speaker 4: And so Cypherman, and they said what they wanted to
• 56:26
  Speaker 4: do was do a contract, do an inside script, of
• 56:29
  Speaker 4: a blend of Immortals and Cypherman. Well, that's the same
• 56:32
  Speaker 4: time they're claiming I ripped off Cypherman. All these other
• 56:36
  Speaker 4: minions are claiming I ripped off. So Cypherman parties are
• 56:38
  Speaker 4: calling and saying, we want to do a blend. Well,
• 56:40
  Speaker 4: that will serve me no good. It won't do any
• 56:43
  Speaker 4: good for the integrity of my work, as it's copyrighted.
• 56:46
  Speaker 4: It won't show any matchups. I'm like, no. They kept pushing.
• 56:49
  Speaker 4: Want to do a blend? And then they got really
• 56:51
  Speaker 4: angry that I hedged and said, I can't. I can't
• 56:55
  Speaker 4: do a blend with Cypherman. Sorry. They were trying to
• 56:58
  Speaker 4: own it that way. So then I could spend a
• 57:02
  Speaker 4: whole day. I could tell you about all the fight
• 57:04
  Speaker 4: contracts and everything else and the handlers that were saying
• 57:06
  Speaker 4: about putting my face on billboards, everything else that were
• 57:08
  Speaker 4: connected to Disney. There's so much playing here, so much
• 57:11
  Speaker 4: playing out. But I feel really good now. Made it
• 57:14
  Speaker 4: through the gauntlet. I feel like we've made it. And
• 57:17
  Speaker 4: now they're saying the real life story is where the
• 57:19
  Speaker 4: gold is. Even attorneys in Hollywood are saying the real
• 57:22
  Speaker 4: life story is bigger than the matrix itself. the real
• 57:24
  Speaker 4: life story of the author. That's cool. There is a guy.
• 57:27
  Speaker 3: Well, that's your authenticity that they can't steal. That's why
• 57:30
  Speaker 3: it's so great.
• 57:31
  Speaker 4: And an impossible story, right? An impossible story. Then people
• 57:34
  Speaker 4: will get it. They'll get it.
• 57:35
  Speaker 3: Right.
• 57:36
  Speaker 4: So we'll make the real life story.
• 57:37
  Speaker 3: Matrix six is probably going to be a replay of
• 57:40
  Speaker 3: how Thomas, a, you know, all this stuff and rewrite
• 57:45
  Speaker 3: the script and it's going to be yours. And they
• 57:48
  Speaker 3: knew it all along and they were part of the
• 57:49
  Speaker 3: mission and, And here's Tom's check because we were just
• 57:53
  Speaker 3: stringing him along for good Hollywood and You know, they're
• 57:57
  Speaker 3: going to have to play into the game at some
• 57:59
  Speaker 3: point because they put all those matchups in there and
• 58:01
  Speaker 3: you can't deny all the stuff.
• 58:03
  Speaker 4: You're right. They can't. They know it too. They can't.
• 58:05
  Speaker 4: They got minions running their little courses like hamster wheels,
• 58:08
  Speaker 4: but they're not going to get anywhere with it. They're
• 58:09
  Speaker 4: going nowhere, like a stationary bike. So they're not going
• 58:12
  Speaker 4: to get anywhere. But yeah. And then Warner Brothers does
• 58:14
  Speaker 4: that test thing. You just made me think of it.
• 58:16
  Speaker 4: They did the test thing, the Richard Jewell story, which
• 58:18
  Speaker 4: is our story. They're testing that story because we have
• 58:21
  Speaker 4: the real life story. And their attorneys are saying the
• 58:23
  Speaker 4: real life story is bigger than the Matrix. So they're
• 58:24
  Speaker 4: testing it on... an in-house project called The Richard Jewell Story.
• 58:28
  Speaker 3: And that is a big story. And people don't understand
• 58:31
  Speaker 3: how big that story is. And it's tied to so
• 58:33
  Speaker 3: many terroristic situations and misusing of an innocent person and
• 58:39
  Speaker 3: reputation destruction. I mean, yeah. So watch the Richard Jewell story.
• 58:43
  Speaker 3: Wait for Tom's documentary. Follow his website. And keep your
• 58:48
  Speaker 3: eyes open. When you watch these things, people make a
• 58:50
  Speaker 3: lot of money and they'll do a lot of stuff
• 58:52
  Speaker 3: for a little bit of money. So if somebody's making
• 58:54
  Speaker 3: hundreds of millions or billions off of a movie franchise,
• 58:56
  Speaker 3: they'll do some pretty shady things.
• 58:58
  Speaker 4: Yep. And I'll say this too. Thank you for saying that. Compassion, humility,
• 59:02
  Speaker 4: and being genuine is the best thing in the world
• 59:04
  Speaker 4: because you meet the best people and you work with
• 59:06
  Speaker 4: the best people and it is worth it with no
• 59:08
  Speaker 4: regrets in the end. And you're loved ones will benefit
• 59:10
  Speaker 4: from it even just from personal interaction from being genuine
• 59:13
  Speaker 4: that's what roseanne barr noted genuine be genuine don't think
• 59:18
  Speaker 4: about what you can do to gain think about what
• 59:21
  Speaker 4: you can do to create great art that has effect
• 59:23
  Speaker 4: and it'll last it'll last eternity All right.
• 59:26
  Speaker 3: Thanks, Jen. That's exactly it. Thank you very much for
• 59:29
  Speaker 3: your authenticity and your artwork. I'll go ahead and I'll
• 59:31
  Speaker 3: get this up for you. But if you're listening and
• 59:33
  Speaker 3: you're interested and you want to know more about his story,
• 59:35
  Speaker 3: go to TomOldHouse.com and take a look at all the blogs.
• 59:38
  Speaker 3: The press page has things you can share. But also,
• 59:41
  Speaker 3: he's got a cool spot on there where you can
• 59:43
  Speaker 3: submit information if this has happened to you or if
• 59:47
  Speaker 3: you were working on The Matrix and you heard about
• 59:49
  Speaker 3: a script or something like that. Like, there's a lot
• 59:53
  Speaker 3: of interesting pieces to this story and Tom wants the
• 59:58
  Speaker 3: best for everybody involved. It's not a personal project for
• 1:00:01
  Speaker 3: him and I think that's beautiful. So, thank you, Tom.
• 1:00:03
  Speaker 3: Thank you for being here.
• 1:00:04
  Speaker 4: You're welcome. I want to just add, we have a
• 1:00:06
  Speaker 4: commitment to make that film now from a great film company. So,
• 1:00:09
  Speaker 4: you're going to see the film the way it was
• 1:00:10
  Speaker 4: originally written without Siren and London and everything else. So,
• 1:00:12
  Speaker 4: this is going to be awesome.
• 1:00:14
  Speaker 3: Hope people listen to the end that's the gold right
• 1:00:17
  Speaker 3: there that's awesome thanks tom we'll talk soon.
• 1:00:23
  Speaker 1: They gave you two doors painted red and blue said
• 1:00:29
  Speaker 1: one held the lies and the other held the truth.
• 1:00:34
  Speaker 2: But who built the hallway who scripted the scene who
• 1:00:40
  Speaker 2: taught you that freedom came from a machine.
• 1:00:54
  Speaker 5: The screen fades to black But the questions remain Was
• 1:00:59
  Speaker 5: waking up freedom Or another chain When the rebels and
• 1:01:05
  Speaker 5: rulers Both.
• 1:01:07
  Speaker 2: Play their parts The search for the truth Must begin
• 1:01:13
  Speaker 2: in our hearts Beyond.
• 1:01:18
  Speaker 3: The red Beyond the blue There's a way Keep seeking
• 1:01:40
  Speaker 3: what's real.
• 1:01:41
  Speaker 5: Not every truth comes wrapped in a pill.
• 1:01:47
  Speaker 2: No borrowed vision.
• 1:01:49
  Speaker 5: No manufactured sight.
• 1:01:52
  Speaker 1: Just the courage to.
• 1:01:53
  Speaker 4: Question and walk in the light. The greatest deception might
• 1:02:02
  Speaker 4: be believing they gave you a choice.