Now, Director Fury's closing line from the previous scene (about war being won by soldiers) was picked up as the gym scene began, with the soldier flashing back to his wartime battles. Likewise, the last line of the gym scene is picked up as the next scene begins. “You should'a left it in the ocean.” In the ocean. The scene transitions to an underwater setting.
Iron Man is under the water where it's pretty dark, cutting open a casing to expose a bundle of cables. He installs some kind of high tech coupling with coils that glow with a soft blue light. Completing his task, he rises up to emerge from deep under the water. He's apparently in New York Harbor, and he flies away into Manhattan. There's a lot going on here, including Iron Man playing as the beast of Revelation 13 being seen rising from the sea, but there's a continuing focus of attention on the theme of time. Here's where the Stark Tower is introduced as a kind of space-time ark.
This video clip of the featured scene supplements this post. If it doesn't stream well you can try downloading (right-click -- 'save link as...') and playing the mp4 video file from your hard drive.
The Avengers - Stark Tower Launch and Agent Coulson recruits Iron Man
Flying into Manhattan, Iron Man communicates with his girlfriend Pepper Potts, who's in the Stark Tower.
Iron Man: Good to go on this end. The rest is up to you.
Pepper Potts: You disconnected the transmission lines? Are we off the grid?
Iron Man: Stark tower is about to become a beacon of self sustaining clean energy.
Pepper: Well, assuming the arc reactor takes over and it actually works.
Iron Man: I assume. Light her up.
We see the dark tower with lights coming on from the bottom up in a pyramidal triangular shape, including the watery blue sign: STARK.
Pepper: How does it look?
Iron Man: Like Christmas, but with more - me (or perhaps, meaning).
This messianic identification goes beyond inflated ego. When Iron Man recites his green propaganda line, what's more important to note is the independent and self-sustaining aspects of the system being implemented, and the mention of the arc reactor. The arc reactor for the self-sustaining space-time ark. NLP. The ST-ARK is launched in its new state of independence from the power grid that is identified with the outside world. Manhattan is an island. Stark Tower is in Manhattan. It's surrounded by water, disconnected from the world as separated from it by water, an ark apart, independent and outside this space-time domain.
When you watched the clip, did you notice the arched bridge and clock? Time-space bridging.
The dialog is loaded with NLP, peppered, shall we say, with time words. It starts out pretty subtle. “... is about to become a beacon...” “I'm in DC tomorrow,” Pepper says. I note that, in the context of time, DC or 43 decodes to both 12 (4*3) and 7 (4+3), both of which are fundamental time numbers. Given that the special event has to do with a change in power, the mention of DC plays in that context as direct current. We're going to see this emphasized in connection with an AC reference, and the reason for that will become evident as more redundancy supports the covert themes. What she's planning to do in DC is work on the zoning for the next 3 buildings. Next. Sequential in time. NLP builds on a broad range that includes the very subtle.
I note that 3 is the resurrection number, and there is in this numbering of the next buildings an allusion to bodies of triple helix DNA, humans that will be transformed by the mark of the beast to become housed by immortals. Bodies as buildings. Rezoned. That scheme depends upon what's going to be accomplished through the operation of a space-time ark!
Iron Man: “You're killing me and the moment. Remember, enjoy the moment.” The word, moment, and its usage here is quite direct. It's going to be heard a few more times. Killing a moment, of course, is one result of a time war. Following Pepper's mention of rezoning 3 buildings, this speaks to me of the death of the host as it is resurrected or raised, vacated for new occupancy. That merging is intensely sought after by the deceived of the world and is even now being celebrated in anticipation. If they really knew what the outcome will be, oh, how very different things would be!
When Jarvis tells Tony Stark that Agent Coulson of SHIELD is on the line, let's ignore the superficial meaning. He's on the time line. With that insight, what Tony Stark says in response is more than just a flippant attempt to excuse himself from taking Coulson's call. “I'm not in. I'm actually out.” In and out of what? Of the building, technically. Figuratively, he's not in time but outside it, out of the time line Agent Coulson is on, apart from this domain's space-time continuity. To really get this you have to consider the action of the scene. He's just landed on the Stark Tower, a space-time ark. It has just been disconnected from the grid to become independent of the earthly space-time domain. He's not in time but out of time. He was under water, now he's out.
A garment change signals a domain-specific body change, remember. During the conversation with Jarvis, Iron Man is in the process of having his garment-body changed to his Tony Stark body of enhanced human flesh. The garment / domain changing process is something the film frequently makes a big deal of modeling. The unclothing device looks like a ringed stargate and in passing through it Iron Man-becoming-Tony Stark descends steps, which means entering a lower dimensional realm. The stairs speak to me of the biblical mecilah. Think Led Zeppelin's Stairway To (/ from) Heaven.
Jarvis: “Sir. I'm afraid he's insisting.” Tony: “Grow a spine, Jarvis, I've got a date.” A date is an appointment scheduled for a specific time - yet another time reference. A spine is linear and it provides a structure. A linear time line with regular units marked off like vertebra on a spine gives structure to time.
Tony tells Pepper: “Stark Tower is your baby. Give yourself 12% of the credit. ” He associates the number 12, a time number, with the space-time ark tower. Think, Revelation 12, where a prominent metaphor is water-as-time! A sign is seen in the heavens (like the Tower sign they are about to discuss), a sign of a woman who is about to give birth. This follows one messianic reference with another. The sign involving Virgo as the heavenly woman precisely identifies the very moment in time when the messiah was born by means of the celestial-terrestrial clock. (When Jesus was Born - The Celestial Signs) It should be observed that when a woman gives birth, her water breaks. What do you usually hear next? It's time!
Side note: A celestial event in the sky right now, last night and tonight, is being linked by some to what they call the Star of Bethlehem. It involves the bright planets Jupiter and Venus. “Astronomers call these celestial meetups conjunctions. And this is the second in a series of three between Venus and Jupiter in over a year. The cosmic duo were a bit tighter on August 18, 2014, and will be a tad farther apart in their next encounter at dawn on October 26.” Although what already happened in 1991 was the big deal, celestial signs continue to call attention to the significance of the season. The grand celestial clockworks, according to Genesis 1:14-18, are for signs to mark seasons and days and years.
Tony brings up a security breach involving the building and its elevators. Those ascend and descend between floors of a building as traveling between realms through space-time. On the subject of giving Pepper credit, Tony says, “I tell you what. The next building is going to say, Potts, on the tower.” Pepper replies, “On the lease.” Again, “next,” in sequence of time. A lease is a kind of contract that involves a well defined space and a fixed period of time.
Tony: “Call your Mom. Can you bunk over?” A mention of Mom immediately repeats the baby birth / motherhood subject to support the allusion to Revelation 12. Tony's asking if she can bunk over presents us with a coded reference to space to go along with the time references. Bunk beds are one bed above another. Bunk over. Bed over bed. The point of bunk beds is to conserve SPACE. She would be requesting to bunk over for a specified period of TIME, like one night.
During that discussion, Pepper pours them some champagne. She walks over and steps down to descend into a circular space known as a conversation pit. Pit. Abyss. As Tony brings up the security breach, she ritually demonstrates just such a thing. Her left hand reaches for a glass, and on her left wrist is a watch. A timepiece.
So equipped, she breaches the secure perimeter of an aptly defined space-time zone, the drink service tray. Like Steve Rodgers leaving the boxing gym while he's still wearing his gym clothes because he's got the 70 pound Everlast bag filled with the sands of time. As Pepper pulls the bottle out of the ice bucket we hear the sound of shifting ice. Frozen water as time, displaced. Champagne isn't water but the liquid provides the same meaning, and time is figuratively transferred from one container into another as she pours. Notice how the design of the tray conceals the fish swimming in both directions around in a circle, as in water. And, like opposing beams of electrons in a particle collider. Remember the context and the accelerator test facility and Project Pegasus. (Pepper Potts. P P ~ 11 11 when z=1) We may also compare the suspected technology (counter rotating ring EM / gravity propulsion) and purpose (space-time travel) of Die Glocke, the Nazi bell. The vesica piscis or ichthus ring around the tray, connecting and alternating the intersecting arcs with rectangles. Square: Space. Circles, the arcs of which intersect to form the vesica piscis: Time. Space-Time. The arcs - space-time arcs-arks. Crossed circles: Mark of the Beast. Familiar routine, right? The design of the glasses provide for more cross circle imagery for redundancy and thus more potent theurgy.
On the matter of space-time breach signaling watches and drink service in films, remember Decoding "The Penitent Man", parts 10 and 11?
The phone rings. Agent Coulson again. Jarvis: “Sir the telephone. I'm afraid my protocols have been overwritten.” This overwriting of the protocols points to a hack of the higher dimensional security system that exists outside this time-space domain, of a kind where authority is being asserted over the domain.
Phil: “Mr Stark. We need to talk.” Tony: “You have reached the life model decoy of Tony Stark. Please leave a message.” “This is urgent.” “Then leave it urgently.” Immediately, the elevator doors open and there's Phil. Tony: “Security breach! It's on you.” Phil: “I can't stay.” Why can't he stay? Does he need to say it? He doesn't have TIME, of course! “We need you to look this over - as soon as possible.” More attention is given to time.
Phil overwrote the protocols of Jarvis, the personal assistant personality (and straight man to Tony's quips) that is the Tower's AI control system. Phil was able to override the communications interface and also gain unauthorized access to the building, including elevators, even the owner's private elevator. This is the illustration of the security breaching agent of the dragon, seizing control of time and thereby acquiring the authority to access the formerly secure heavenly domains of his enemy.
Tony feigns jealousy over Pepper being on a first name basis with their visitor. “His first name is Agent.” Put it together. Agent Coulson. AC. (As Skye refers to him occasionally in the Agents of SHIELD series.) AC = Antichrist.
Here's a clever bit, building off the drink service scene. There's a leading and misdirection as Phil tries to give Tony the briefing device. Tony: “I don't like being handed things.” Pepper: “That's fine because I love to be handed things, so let's trade. Thank you.” While the most obvious thing being handed over is the briefing device, give attention to the other handed things in the scene. Drinks are handed over, liquid-as-time in space-time styled vessels. Watch the exchange closely as Pepper passes the briefing device from Phil to Tony. Two drinks are received into the only two hands with wristwatches. Their analog wristwatches are handed things that mark the passing of time; hours, minutes and perhaps seconds, if there's a second hand or two!
“Official consulting hours are between 8 and 5 every other Thursday.” The NLP continues to build as Tony identifies a very specific period of time.
Tony: “Ms. Potts. Got a second?” Pepper excuses herself, offering to Phil: “Have a moment.” And, on it goes.
Tony to Pepper: “You know, I thought we were having a moment.” Pepper: “I was having 12% of a moment.” Again, that distinctive use of the time word, moment. And, again, the time number 12 is heard, here, as a modifier of the period of time! Percent, written as a sign, is a circle across from a circle, a cross circle MOB signal.
Tony questions Pepper, still feigning jealousy. “Why is he, Phil?” It begs reflection on the previous scene where Steve Rogers had said, “I slept for 70 years, sir. I think I've had my fill.” Phil, or fill, of time!
After seeing the briefing video and the reason for Phil's urgency, Pepper tells Tony, “I'm going to take the jet to DC tonight.” Tony's response: “Tomorrow.” We revisit the earlier conversation, with greater emphasis on the time elements.
Pepper: “You have homework. You have a lot of homework.” “Well, what if I didn't?” “If you didn't? You mean, when you've finished? Well. Um. Then...” Pepper draws attention to Tony's response, which lacks any reference to the passage of time. Her correction addresses that neglect. The NLP must be reinforced, after all.
After Pepper whispers something privately in Tony's ear, he responds. “Square deal. Flash Date.” Square: A space symbol. Flash Date: Spontaneous, and yet also an appointed time and place. Space-time!
As Pepper leaves, an arrangement is made with Phil to drop her off at the airport, and there's another allegory in play. Tony made sure that we identify Phil as Agent Coulson, or AC. Pepper's going to DC. You might read a bisexual reference into that, but there doesn't seem to be much support for it in the context. However, if you compare that scene closer with the scene opener, you'll find points of comparison. She's going with AC to LaGuardia, then on to DC. Power mode change from alternating current to direct current. Through LaGuardia. LaGuardia as Stark Tower, where another kind of power transition was just celebrated. They transitioned from power grid to arc reactor. LaGuardia: from the definite article la + guardia 'lookout (tower)', a topographic name for someone who lived near a watchtower or an occupational name for someone who kept watch. A WATCH TOWER.
When the scene transitions into the next, we see a large expanse of water (as time). It's not Pepper jetting to DC, but a jet does fly low over the surface to maintain the now expected continuity through the scene transition.
Why saturate those scenes with cryptic space time symbolism? This is how the theurgist ascends into the presence of the gods, and how beans are spilled in Occult ritual about the Adversary's plans.
More to follow, Lord willing.