Showing posts with label Comet. Show all posts
Showing posts with label Comet. Show all posts

Saturday, 3 June 2017

Signs and Wonders : Comets and Chemtrails


Reports of identical disease-inducing mists from the Plague years strongly suggest that the Black Death was caused by germ warfareLet us take a look at the incredible reports which lead to that conclusion....

"There were all sorts of interpretations to little Angelo. 

He's a very sweet man and...a very, very sweet man. It's this sort of...there should be something also--sinister about him. 

I mean, there was always the possibility that he might be No. 1. 

See, I don't know if anyone...do you pick up that at all..? 

I don't know, but that...because he was such a good friend and always by the side of No. 6, that there was...should have been an implication that perhaps he was a sinister character, and particularly in the last episode, when he goes...he's the one that goes out with No. 6 and they go into the...

Maybe he's over No. 1 somewhere...

You know they have so...they have starssuperstars, and what are they gonna call them next? 

Comets

So what...maybe he's a comet or something, little...little Angelo.

 So there should be that remaining sinister thing about it.

"Despite the oppression of the Inquisition, Europe in the 13th century was beginning to recover from the economic and social disruption caused by the Crusades. Signs of a European renaissance were visible in the widening of intellectual and artistic horizons. Trade with other parts of the world did much to enrich European life. Europe was entering an era in which chivalry, music, art, and spiritual values were playing greater roles. Hardly a century of this progress had passed, however, before a disastrous event abruptly brought it to a temporary halt. That event was the Bubonic Plague, also known as the Black Death.

The Black Death began in Asia and soon spread to Europe where it killed well over 25 million people (about one third of Europe’s total population) in less than four years. Some historians put the casualty figure closer to 35 to 40 million people, or about half of all Europeans. 

The epidemic first spread through Europe between 1347and 1350. The Bubonic Plague continued to strike Europe with decreasing fatality every ten to twenty years in short-lived outbreaks all the way up until the 1700’s. Although it is difficult to calculate the total number of deaths from that 400-year period, it is believed that over 100 million people may have died from the Plague. 

Two types of plague are believed to have caused the Black Death. The first is the “bubonic” type, which was the most common. The bubonic form of plague is characterized by swellings of the lymph nodes; the swellings are called ”buboes.” The buboes are accompanied by vomiting, fever, and death within several days if not treated. This form of plague is not contagious between human beings: it requires an active carrier, such as a flea. For this reason, many historians believe that flea-infested rodents caused the Bubonic Plague. Rodents are known to carry the disease even today. A number of records from between 1347 and the late 1600’s speak of rodent infestations prior to several outbreaks of the Black Death, lending credence to the rodent theory.

The second form of plague contributing to the Black Death is a highly contagious type known as “pneumonic” plague. It is marked by shivering, rapid breathing, and the coughing up of blood. Body temperatures are high and death normally follows three to four days after the disease has been contracted. This second type of plague is nearly always fatal and transmits best in cold weather and in poor ventilation. Some physicians today believe it was this second form, the “pneumonic” plague, which was responsible for most of the casualties of the Black Death because of the crowding and poor hygienic conditions then prevalent in Europe. 

We would normally shake our heads at this tragic period of human history and be thankful that modern medicine has developed cures for these dread diseases. However, troubling enigmas about the Black Death still linger. Many outbreaks occurred in summer during warm weather in uncrowded regions. Not all outbreaks of bubonic plague were preceded by rodent infestation; in fact, only a minority of cases seemed to be related to an increase in the presence of vermin. The greatest puzzle about the Black Death is how it was able to strike isolated human populations which had no contact with earlier infected areas. The epidemics also tended to end abruptly. 

To solve these puzzles, an historian would normally look to records from the Plague years to see what people were reporting. When he does so, he encounters stories so stunning and unbelievable that he is likely to reject them as the fantasies and superstitions of badly frightened minds. A great many people throughout Europe and other Plague-stricken regions of the world were reporting that outbreaks of the Plague were caused by foul-smelling “mists.” Those mists frequently appeared after unusually bright lights in the sky. The historian quickly discovers that “mists” and bright lights were reported far more frequently and in many more locations than were rodent infestations. The Plague years were, in fact, a period of heavy UFO activity

What; then, were the mysterious mists?

There is another very important way in which plague germs can be transmitted: through germ weapons. The United States and the Soviet Union today have stockpiles of biological weapons containing bubonic plague and other epidemic diseases. The germs are kept alive in canisters which spray the diseases into the air on thick, often visible, artificial mists. Anyone breathing in the mist will inhale the disease. There are enough such germ weapons today to wipe out a good portion of humanity. Reports of identical disease-inducing mists from the Plague years strongly suggest that the Black Death was caused by germ warfare. Let us take a look at the incredible reports which lead to that conclusion. 

The first outbreak of the Plague in Europe followed an unusual series of events. Between 1298 and 1314, seven large “comets” were seen over Europe; one was of “aweinspiring blackness.”1 One year before the first outbreak of the epidemic in Europe, a “column of fire” was reported over the Pope’s* palace at Avignon, France. 

* This was a second unauthorized pope who assumed the title as the result of a schism within the Catholic Church. The complete title is, 
A chronicle of prodigies and portents that have occurred beyond the right order, operation and working of nature, in both the upper and lower regions of the earth, from the beginning of the world up to these present times. 
Earlier that year, a “ball of fire” was observed over Paris; it reportedly remained visible to observers for some time. To the people of Europe, these sightings were considered omens of the Plague which soon followed. 

It is true that some reported “comets” were probably just that: comets. Some may also have been small meteors or fireballs (large blazing meteors). Centuries ago, people were generally far more superstitious than they are today and so natural meteors and similar prosaic phenomena were often reported as precursors to later disasters even though there was no real-life connection. 

On the other hand, it is important to note that almost any unusual object in the sky was called a “comet.” A good example is found in a bestselling book published in 1557, "A Chronicle of Prodigies and Portents..." by Conrad Lycosthenes. On page 494 of Lycosthenes’ book we read of a “comet” observed in the year 1479: 
“A comet was seen in Arabia in the manner of a sharply pointed wooden beam ...”
The accompanying illustration, which was based on eyewitness descriptions, shows what clearly looks like the front half of a rocketship among some clouds. 

The object appears to have many portholes. Today we would call the object a UFOnot a comet. This leads us to wonder how many other ancient “comets” were actually similar rocket-like objects. When we are confronted with-an old report of a comet, we therefore do not really know what kind of thing we are dealing with unless there is a fuller description. A report of a sudden increase in “comets” or similar celestial phenomena may, in fact, mean an increase in UFO activity.

The link between unusual aerial phenomena and the Black Death was established immediately during the first outbreaks of the Plague in Asia. As one historian tells us:
The first reports [of the Plague] came out of the East. They were confused, exaggerated, frightening, as reports from that quarter of the world so often are: descriptions of storms and earthquakes: of meteors and comets trailing noxious gases that killed trees and destroyed the fertility of the land...2
The above passage indicates that strange flying objects were doing more than just spreading disease: they were also apparently spraying chemical or biological defoliants from the air. The above passage echoes the ancient Mesopotamian tablets which described defoliation of the landscape by ancient Custodial “Gods.” Many human casualties from the Black Death may have been caused by such defoliants. 

The connection between aerial phenomena and plague had begun centuries before the Black Death. We saw examples in our earlier discussion of Justinian’s Plague. We read from another source about a large plague that had reportedly broken out in the year 1117—almost 250 years before the Black Death. 

That plague was also preceded by unusual celestial phenomena: 
In 1117, in January, a comet passed like a fiery army from the North towards the Orient, the moon was overcast blood-red in an eclipse, a year later a light appeared more brilliant than the sun. This was followed by great cold, famine, and plague, of which one-third of humanity is said to have perished.3 * 

* I have seen no mention of this plague in any other history book. It may have been a local plague which destroyed not a third of humanity, but a third of the afflicted population. 
Once the medieval Black Death got started, noteworthy aerial phenomena continued to accompany the dread epidemic. Reports of many of these phenomena were assembled by Johannes Nohl and published in his book, The Black Death, A Chronicle of the Plague(1926). According to Mr. Nohl, at least 26 “comets” were reported between 1500 and 1543. Fifteen or sixteen were seen between 1556 and 1597. In the year 1618, eight or nine were observed. 

Mr. Nohl emphasizes the connection which people perceived between the “comets” and subsequent epidemics: 
In the year 1606 a comet was seen, after which a general plague traversed the world. In 1582 a comet brought so violent a plague upon Majo, Prague, Thuringia, the Netherlands, and other places that in Thuringia it carried off 37,000 and in the Netherlands 46,415.4
From Vienna, Austria, we get the following description of an event which happened in 1568. Here we see a connection between an outbreak of Plague and an object described in a manner remarkably similar to a modern cigar or beam-shaped UFO:
When in sun and moonlight a beautiful rainbow and a fiery beam were seen hovering above the church of St. Stephanie, which was followed by a violent epidemic in Austria, Swabia, Augsberg, Wuertemberg, Nuremburg, and other places, carrying off human beings and cattle.5
Sightings of unusual aerial phenomena usually occurred from several minutes to a year before an outbreak of Plague. Where there was a gap between such a sighting and the arrival of the Plague, a second phenomenon was sometimes reported: the appearance of frightening humanlike figures dressed in black. Those figures were often seen on the outskirts of a town or village and their presence would signal the outbreak of an epidemic almost immediately. 

A summary written in 1682 tells of one such visit a century earlier: 
In Brandenburg [in Germany] there appeared in 1559 horrible men, of whom at first fifteen and later on twelve were seen. The foremost had beside their posteriors little heads, the others fearful faces and long scythes, with which they cut at the oats, so that the swish could be heard at a great distance, but the oats remained standing. When a quantity of people came running out to see them, they went on with their mowing.6
The visit of the strange men to the oat fields was followed immediately by a severe outbreak of the Plague in Brandenburg.
This incident raises intriguing questions: who were the mysterious figures? What were the long scythe-like instruments they held that emitted a loud swishing sound? It appears that the “scythes” may have been long instruments designed to spray poison or germ-laden gas. This would mean that the townspeople misinterpreted the movement of the “scythes” as an attempt to cut oats when, in fact, the movements were the act of spraying aerosols on the town. 

Similar men dressed in black were reported in Hungary: 
. . . in the year of Christ 1571 was seen at Cremnitz in the mountain towns of Hungary on Ascension Day in the evening to the great perturbation [disturbance] of all, when on the Schuelersberg there appeared so many black riders that the opinion was prevalent that the Turks were making a secret raid, but who rapidly disappeared again, and thereupon a raging plague broke out in the neighborhood.7
Strange men dressed in black, “demons,” and other terrifying figures were observed in other European communities. The frightening creatures were often observed carrying long ”brooms,” “scythes,” or “swords” that were used to “sweep” or “knock at” the doors of people’s homes. The inhabitants of those homes fell ill with plague afterwards. It is from these reports that people created the popular image of “Death” as a skeleton or demon carrying a scythe. The scythe came to symbolize the act of Death mowing down people like stalks of grain. In looking at this haunting image of death, we may, in fact, be staring into the face of the UFO.

Of all the phenomena connected to the Black Death, by far the most frequently reported were the strange, noxious “mists.” The vapors were often observed even when the other phenomena were not. Mr. Nohl points out that moist pestilential fogs were “a feature which preceded the epidemic throughout its whole course.” 8 A great many physicians of the time took it for granted that the strange mists caused the Plague. This connection was established at the very beginning of the Black Death, as Mr. Nohl tells us: 
The origin of the plague lay in China, there it is said to have commenced to rage already in the year 1333, after a terrible mist emitting a fearful stench and infecting the air.9
Another account stresses that the Plague did not spread from person to person, but was contracted by breathing the deadly stinking air:
During the whole of the year 1382 there was no wind, in consequence of which the air grew putrid, so that an epidemic broke out, and the plague did not pass from one man to another, but everyone who was killed by it got it straight from the air.10
Reports of deadly “mists” and “pestilential fogs” came from all Plague-infested parts of the world: 
A Prague chronicle describes the epidemic in China, India and Persia; and the Florentine historian Matteo Villani, who took up the work of his brother Giovanni after he had died of the plague in Florence, relays the account of earthquakes and pestilential fogs from a traveller in Asia.
The same historian continues: 
A similar incident of earthquake and pestilential fog was reported from Cyprus, and it was believed that the wind had been so poisonous that men were struck down and died from it.12
He adds: 
German accounts speak of a heavy vile-smelling mist which advanced from the East and spread itself over Italy.13
That author states that in other countries: 
. .. people were convinced that they could contract the disease from the stench, or even, as is sometimes described, actually see the plague coming through the streets as a pale fog.14
He summarizes, rather dramatically: 
The earth itself seemed in a state of convulsion, shuddering and spitting, putting forth heavy poisonous winds that destroyed animals and plants and called swarms of insects to life to complete the destruction.15
Similar happenings are echoed by other writers. A journal from 1680 reported this odd incident: 
That between Eisenberg and Dornberg thirty funeral biers [casket stands] all covered with black cloth were seen in broad daylight, among them on a bier a blackman was standing with a white cross. When these had disappeared a great heat set in so that the people in this place could hardly stand it. But when the sun had set they perceived so sweet a perfume as if they were in a garden of roses. By this time they were all plunged in perturbation. Whereupon the epidemic set in in Thuringia in many places.16
Further south, in Vienna: 
.. . evil smelling mists are blamed, as indicative of the plague, and of these, indeed, several were observed last autumn.17
Direct from the plague-ravaged town of Eisleben, we get this amusing and perhaps exaggerated newspaper account published on September 1, 1682: 
In the cemetery of Eisleben on the 6th inst. [?] at night the following incident was noticed: When during the night the gravediggers were hard at work digging trenches, for on many days between eighty and ninety have died, they suddenly observed that the cemetery church, more especially the pulpit, was lighted up by bright sunshine. But on their going up to it so deep a darkness and black, thick fog came over the graveyard that they could hardly see one another, and which they took to be an evil omen. Thus day and night gruesome evil spirits are seen frightening the people, goblins grinning at them and pelting them, but also many white ghosts and specters.18
The same newspaper story later adds: 
When Magister Hardte expired in his agony a blue smoke was seen to rise from his throat, and this in the presence of the death; the same has been observed in the case of others expiring. In the same manner blue smoke has been observed to rise from the gables of houses at Eisleben all the inhabitants of which have died. In the church of St. Peter blue smoke has been observed high up near the ceiling; on this account the church is shunned, particularly as the parish has been exterminated.19
The “mists” or Plague poisons were thick enough to mix with normal air moisture and become part of the morning dew. People were warned to take the following precautions: 
If newly baked bread is placed for the night at the end of a pole and in the morning is found to be mildewed and internally grown green, yellow and uneatable, and when thrown to fowls and dogs causes them to die from eating it, in a similar manner if fowls drink the morning dew and die in consequence, then the plague poison is near at hand.20
As noted earlier, lethal “mists” were directly associated with bright moving lights in the sky. Other sources for the stenches were also reported. For example, Forestus Alcmarianoswrote of a monstrous “whale” he had encountered which was: 
28 ells [105 feet] in length and 14 ells [33 feet] broad which, coming from the western sea, was thrown upon the shore of Egemont by great waves and was unable to reach the open again; it produced so great a foulness and malignity of the air that very soon a great epidemic broke out in Egemont and neighborhood.21
It is a shame that Mr. Alcmarianos did not provide a more detailed description of the deadly whale because it may have been a craft similar to modern UFOs which have been observed entering and leaving bodies of water. On the other hand, Mr. Alcmarianos’ whale may have been just that: a dead rotting whale which happened to wash up on shore just before a nearby outbreak of the Plague. 

It is significant that foul mists and bad air were blamed for many other epidemics in history. During a plague in ancient Rome, the famous physician Hippocrates (ca. 460337 B.C.) stated that the disease was caused by body disturbances brought on by changes in the atmosphere. To remedy this, Hippocrates had people build large public bonfires. He believed that large fires would set the air aright. 

Hippocrates’ advice was followed centuries later by physicians during the medieval Plague. Modern doctors take a dim view of Hippocrates’ advice on this matter, however, in the belief that Hippocrates was ignorant about the true causes of plague. In reality, huge outdoor bonfires were the only conceivable defense against the Plague if it was indeed caused by germ-saturated aerosols. Vaccines to combat the Plague had not been invented and so the people’s only hope was to burn away the deadly “mists” with fire. Hippocrates and those who followed his advice may have actually saved some lives. 

Significantly, bubonic and pneumonic plagues were not the only infectious diseases in history to be spread on strange lethal fogs. The deadly intestinal disease, cholera, was another: 
When cholera broke out on board Her Majesty’s ship Britannia in the Black Sea in 1854, several officers and men asserted positively that, immediately prior to the outbreak, a curious dark mist swept up from the sea and passed over the ship. The mist had barely cleared the vessel when the first case of disease was announced.22
Blue mists were also reported in connection with the cholera outbreaks of 1832 and 1848-1849 in England. 

As mentioned earlier, plagues had a very strong religious significance. In the Bible, plagues were said to be Jehovah’s method of punishing people for evil. “Omens” preceding outbreaks of the Black Death resembled many of the “omens” reported in the Bible:
Men confronted with the terror of the Black Death were impressed by the chain of events leading up to the final plague, and accounts of the coming of the14th-century pestilence selected from among all the ominous events that must have occurred in the years preceding the outbreak of 1348 those which closely resemble the ten plagues of Pharoah: disruptions in the atmosphere, storms, unusual invasions of insects, celestial phenomena. 23
In addition, the Bubonic form of plague was very similar, if not identical, to some of the punishments inflicted by ”God ” in the Old Testament: 
But the hand of the Lord was heavy upon the people of Ashdod [a Philistine city], and he destroyed them, and killed them with emerods [painful swellings].
1 SAMUEL 5:6 

. .. the hand of the Lord was against the city [Gath, another Philistine city] with a very great destruction: and he killed the men of the city, both young and old, and they had emerods in their secret parts.
1 SAMUEL 5:9 

. .. there was a deadly destruction throughout all the city; the hand of God was very heavy there. And the men that survived were afflicted with the emerods: and the crying of the city went up to heaven.
1 SAMUEL 5:11-12 
The religious aspect of the medieval Black Death was enhanced by reports of thundering sounds in connection with outbreaks of the Plague. The sounds were similar to those described in the Bible as accompanying the appearance of Jehovah. Interestingly, they are also sounds common to some UFO sightings:
During the plague of 1565 in Italy rumblings of thunder were heard day and night, as in a war, together with the turmoil and noise as of a mighty army. In Germany in many places a noise was heard as if a hearse were passing through the streets of its own accord .. .24
Similar noises accompanied strange aerial phenomena in remarkable Plague-related sightings from England. The object described in the quote below remained visible for over a week and does appear to be a true comet or planet (such as Venus); however, some of the other objects can only be labeled “unidentified.” 

Historian Walter George Bell, drawing on writings from the period, summarized: 
Late into dark December nights of the year 1664 London citizens sat up to watch a new blazing star, with “mighty talk” thereupon. King Charles II and his Queen gazed out of the windows at Whitehall. About east it rose, reaching no great altitude, and sank below the south-west horizon between two and three o’clock. In a week or two it was gone, then letters came from Vienna notifying the like sight of a brilliant comet, and “in the ayr [air] the appearance of a Coffin, which causes great anxiety of thought amongst the people.” 

Erfurt saw with it other terrible apparitions, and listeners detected noises in the air, as of fires, and sounds of cannon and musket-shot. The report ran that one night in the February following hundreds of persons had seen flames of fire for an hour together, which seemed to be thrown from Whitehall to St. James and then back again to Whitehall, where after they disappeared. 

In March there came into the heavens a yet brighter comet visible two hours after midnight, and so continuing till daylight. With such ominous portents the Great Plague in London was ushered in.25
Other less frequent “omens” were also reported in connection with the Black Death. Some of those phenomena were obvious fictions. Significantly, the fictions were not widespread and were rarely reported outside of the communities in which they originated

Sunday, 28 May 2017

At 6s and 7s : Various Theories


"Oh, dear. Yeah, well, we're all supposed to come from these things, you know. 

But the monkey thing was, according to various theories extant today, that we all come from the original ape, so I just used that as a symbol, you know. 

The bestial thing and then the other bestial face behind it which was laughing, jeering and jabbering like a monkey."


The following is an interview with Patrick McGoohan that was conducted by writer/TV host Warner Troyer. It took place in Toronto in 1977 in front of, and with the participation of, a studio audience. The 35-minute program was broadcast on TVOntario, a public television network which had shown The Prisoner series along with commentaries from Troyer from October 1976 to February 1977. The Ontario Educational Communications Authority also published a 21-page booklet on The Prisoner called The Prisoner Puzzle.

WARNER TROYER INTERVIEWS PATRICK MCGOOHAN FOR THE ONTARIO EDUCATIONAL COMMUNICATIONS AUTHORITY, MARCH 1977.

Troyer: I guess the first thing I should tell you is that your guest and mine is Patrick McGoohan. Mr. McGoohan, known familiarly to his friends as Number 6, was the creative force behind, the executive producer of, and in several cases the script writer of a series called "The Prisoner," which appeared on television a number of times, not least notably on this network. 

Mr. McGoohan has come here from Los Angeles to meet you and talk to you and to me. And to meet a group of Prisoner, ah, club groupies, some of them from Seneca College which has been operating a course based on the series, some of them from OECA, and some other people, and we're going to talk about "The Prisoner" and I suppose the obvious first question is: Where the hell did that idea come from? How'd you get started?

McGoohan: Boredom, was how it started.

Troyer: Just that? With T.V.? With society, or you?

McGoohan: With T.V. initially. I was doing a series that was called "Secret Agent." Was it called that here, or "Danger Man"? It had two titles.

Troyer: "Danger Man."

McGoohan: And I'd made 54 of those and I thought that was an adequate amount. 



So I went to the gentleman, Lew Grade, who was the financier, and said that I'd like to cease making "Secret Agent" and do something else. So he didn't like that idea. He'd prefer that I'd gone on forever doing it. But anyway, I said I was going to quit. 

So he said, "What's the idea?" This is on the telephone initially, so I met him on a Saturday morning at 7 o'clock. That was always the time we had our discussions, and he said "Alright, what's the idea?" and I had a whole format prepared of this "Prisoner" thing which initially came to me on one of the locations on "Secret Agent" when we went to this place called Portmeirion, where a great deal of it was shot, and I thought it was an extraordinary place, architecturally and atmosphere-wise, and should be used for something and that was two years before the concept came to me. 

So I prepared it and went in to see Lew Grade. I had photographs of the Village or whatever and a format and he said, "I don't want to read the format," because he says he doesn't read formats, he says he can't read apart from accounts, and he sort of said, "Well, what's it about? Tell me." 

So I talked for ten minutes and he stopped me and said, "I don't understand one word you're talking about, but how much is it going to be?" 

So I had a budget with me, oddly enough, and I told him how much and he says, "When can you start?" 

I said Monday, on scripts. And he says, "The money'll be in your company's account on Monday morning." 

Which it was, and that's how we started. 

Behind it, of course, was a certain impatience with the numerology of society and the way we're being made into ciphers, so there was something else behind it.

Troyer: Was that a personal thing in terms of your reaction to society or was it more of an observation? Do you feel you're being...

McGoohan: I think we're progressing too fast. I think that we should pull back and consolidate the things that we've discovered.

Troyer: 
You didn't initially want to do 17 films?

McGoohan: 
No, seven, as a serial as opposed to a series. 

I thought the concept of the thing would sustain for only 7, but then Lew Grade wanted to make his sale to CBS, I believe (first ran it in the States) and he said he couldn't make a deal unless he had more, and he wanted 26, and I couldn't conceive of 26 stories, because it would be spreading it very thin, 


But we did manage, over a week-end, with my writers, to cook up ten more outlines
and eventually we did 17, 


but it should be 7.

Troyer: But you did ten in two days? Ten outlines?

McGoohan: Over a week-end, yes. Outlines, I mean a sort of...7 or 8 page format. (Troyer chuckles.)

Troyer: How would you have described or explained the concept of the series to those writers, the first time you sat down with them, what did you tell them?

McGoohan: It was very difficult because they were also prisoners of conditioning, and they were used to writing for "The Saint" series of the "Secret Agent" series and it was very difficult to explain, and we lost a few by the wayside. 

I had sat down and I wrote a 40-page, sort of, history of the Village, the sort of telephones they used, the sewerage system, what they ate, the transport, the boundaries, a description of the Village, every aspect of it; and they were all given copies of this and then, naturally, we talked to them about it, sent them away and hoped they would come up with an idea that was feasible.

Troyer: What about the philosophy, the rationale of the Village? What did you tell them about that? Its raison-d'etre, not its mechanics...

McGoohan: (very deliberatelyIt was a place that is trying to destroy the individual by every means possible; trying to break his spirit, so that he accepts that he is No. 6 and will live there happily as No. 6 for ever after. 

And this is the one rebel that they can't break.

Troyer: To what end was that process of breaking down the individual will?

McGoohanTo what end?

TroyerFor the Village, what was the purpose, the goal?

McGoohanI think it's going on every day all around us. I had to sign in to get into this joint! 

(Troyer: Uh-huh) Downstairs, yeah.

TroyerMade you angry, too? (Chuckle.)

McGoohanSlightly, yeah. Pass-keys and, you know, let's go down to the basement and all this. That's Prisonership as far as I'm concerned,and that makes me mad! 

And that makes me rebel! 

And that's what the Prisoner was doing, was rebelling against that type of thing!

TroyerBut can you, in everyday life, summon the will and the energy to rebel every time any indignity occurs?

McGoohanYou can't, otherwise you go crazy! You have to live with it. That's what makes us prisoners! You can't totally rebel, otherwise you have to go live on your own, on a desert island. It's as simple as that.

Troyer: 
How much psychic attrition is there, spiritual attrition in not rebelling? 

How much do you give away or lose? 

How high is the cost of not rebelling every time?

Not complaining every time?

McGoohan: 
Ulcers, ulcers.

Troyer: 
Do you have ulcers?

McGoohan: 
I have a couple.

Troyer: 
Bad ones?

McGoohan: 
Not too bad. 
They're gettin' worse. 
(laughs)

Troyer: How many scripts did you write? Your name was on 2.

McGoohan: Well, my name was on and then I wrote under a couple of other names: Archibald Schwartz [ Genuine/Precious, Bold Dark-Complected Person (Black Irish?) ] was one and Paddy Fitz [ Paddy the Bastard ] was another.

Troyer: So how many all together?

McGoohan: I t'ink 5.

Troyer: Which ones? The last one...

McGoohan: The first one I re-wrote. It came out...not the way I wanted, and then the last one, I wrote. The penultimate one, I wrote. Free For All - another one, and then there was another one, I can't remember the name of it offhand. It's a long time ago.

Troyer: What's your response to what could really only be adequately described as a "cult" which has grown up around the series, a kind of mystique about it, here and in Europe?

McGoohan: I'm very gratified because, when it came out originally, in England, there were a lot of haters of it. A love/hate relationship, whichever way you look at it. Already there was a small cult. Now there's a much bigger one over there. 

In fact, when the last episode came out in England, it had one of the largest viewing audiences, they tell me, ever over there, because everyone wanted to know who No. 1 was, because they thought it would be a "James Bond" type of No. 1. 

When they did finally see it, there was a near-riot and I was going to be lynched. And I had to go into hiding in the mountains for 2 weeks, until things calmed down. That's really true!


Troyer: They were angry?

McGoohan: Oh, yeah! Walking around the streets, it was dangerous!

Troyer
Why? Why were they angry?

McGoohan
Because they thought they'd been cheated. 
Because it wasn't, you know, a "James Bond" No. 1 guy.


Troyer: 
It was Themselves.

McGoohan
Yes, well, we'll get into that later, I think. 
(Knowing laughter from Troyer
Come back to that one, that's a very important one.

Troyer: 
D'ya know what's really interesting, to me, is a number of my friends and colleagues who watched the entire series told me, after the last show, that they were angry because they hadn't found out who No. 1 was. 
That went by quickly and they refused to acknowledge it.

McGoohan: 
That was deliberate. I forgot how many frames; I think there were 52 frames, or something, of the shot when they pulled off the monkey mask.

And No. 1's a monkey and then No.1's... Himself.
It was deliberate. 

I mean, I could have held it there for a good two minutes and put a subtitle on it saying, "It's him," you know. 


(All laugh.
But I thought I wasn't going to pander to a mentality so low that it couldn't perceive what I was trying to say, so you had to be a little quick to pick it up. 

That's all.

Troyer: What is your response to all the analysis and all the philosophising and criticism of the series? People have tried to make so much of it and to find so many levels of meaning, to parse it in so many directions.

McGoohan: I'm astonished! For instance, the beautiful presentation, the thing that you prepared for our good friends here, puts profounder meaning into many of the stories than I ever thought of.

Troyer: (Chuckling) Or more pompous?

McGoohan: (Automatically) Yeah. (Troyer chuckles again.) No! Oh, no, not at all. No, no. I think it's marvelous; I'm most gratified.

Troyer: Some questions...over here...

Girl: How did you feel about the response to "The Prisoner" when it was first shown in Britain?

McGoohan: Delighted. I wanted to have controversy, argument, fights, discussions, people in anger waving first in my face saying, "How dare you? Why don't you do more 'Secret Agents' that we can understand?" I was delighted with that reaction. I think it's a very good one. That was the intention of the exercise.

Troyer: Did you get any special kind of response from politicians, from bureaucrats, people in the kind of corporations we all know and hate?

McGoohan: Not enough. I suppose they steered clear of it. But then, of course, they'd be the very ones that wouldn't understand it.

Troyer: Uh-huh. Was there any one that was more fun for you than the other? Was it fun playing a Western?...a western hero for a few...(McGoohan: I, ah...) a few scenes?

McGoohan: I don't know what concepts you good folks have put on that one, but the reason for that, I'll tell ya, is because I wanted to do a Western. I'd never done one. And they'd never made a Western in England, and we were short of a story. (All laugh.) So we cooked that one up (McGoohan chortles), we wrote it in four days and shot it, ya know..
.
Troyer: It was harmless...

McGoohan: it was fun, yeah, it was fun. And takin' whatever you put into it, that's the reason for it. Then we sorta stuck the figures up and all that and put some other concepts in which have other levels, sociological levels, which you can take what you want out of them.

Troyer: Can you make a decent creative enterprise, build one, in any medium, without building it on several levels at once? However much of it is conscious or unconscious?

McGoohan: It's very, ah...a lot of it was conscious, in my case. Of course, other things happen. F'instance, a t'ing happened, the balloon thing, which has been made a great deal of...




Troyer: "Rover."

McGoohan: "Rover," yes. Now, the reason that happened, again, it's like the Western. This, ah...


We had this marvelous piece of machinery that was being built which was gonna be "Rover" and this thing was like a hovercraft and it would go underwater, come up on the beach, climb walls; it could do anything. That was our original Rover. 

By the first day of shooting, unfortunately, the engineers, mechanics and scientific genuises hadn't quite completed it to perfection. (Troyer chuckles.

And the first day of shooting, Rover was supposed to go down off the beach into the water, do a couple of signals and a couple of wheelspins and come back up. But it went down into the water and (laughter all around) stayed down, permanently. 


And then we had to shoot. We had Rover in every scene that day. So we had no Rover and Rover didn't look as though he was going to be resurrected at all. 

So we're standing there. My Production Manager, Bernard Williams (wonderful fellow), standing beside me, and he says, "What're we gonna do?" And he went like that and he looked up and there was this balloon in the sky. And he says, "What's that?" And I said, "I dunno. What is it?" He says, "I think it's a meteorological balloon." And he looked at me. And I said, "How many can ya get within two hours?", ya see. So he says, "I'll see." And he went off and he called the meteorological station nearby. And I did some other shots to cover while he was away and he came back with a hundred of 'em. He took an ambulance so that he could get there and back fast because it was quite a ways to the nearest big town. And he came back with them and there were these funny balloons, all sizes, and that's how Rover came to be.

And sometimes we filled it with a little water, sometimes with oxygen, sometimes with helium, depending on what we wanted him to do. And in the end, we could make him do anything: lie down, beg, anything (Laughter)...Really. 


We used about 6000 of them...

Troyer: Did you really?

McGoohan: Oh, yes. They're very, very fragile. They break very easily.

Troyer: So you'd lose a lot of scenes, then, when you were shooting in a boat...

McGoohan: We always had another one standing by, back-ups, all the time, yes.

Boy: What interested me was the style in which it was done and the whimsy and the hundreds of little touches, but from what you've been saying so far, they all seem to have been accidents. You know, the white balloon was a accident and you happened upon the Village...

McGoohan: Oh, yeah...

Boy: And it's, you know, incredibly lucky.

McGoohan: Yeah, but you...no, no, no, no...There were these pages, don't forget, at the very beginning, which laid out the whole concept; these 40-odd pages laid out the whole concept. That was no accident.

Boy
No, but the little touches...

McGoohan
Those things come anyway.

Boy
But I haven't seen them come very often in any other series.

McGoohan
But they come because you're looking for them, you see. 


I was fortunate to have two or three creative people working with me, like my friend that I said saw the meteorological balloon. 

And wherever one could find these little touched, one put them in. 

But the design of the "Prisoner" thing, that was all clearly laid out from the outset.

Boy: And the style of the way...

McGoohan: And the style was also clearly laid out and the designs of the sets, those were all clearly laid out from the inception of it. There was no accident in that area, you know, the blazers, and the numbers and all that stuff, and the stupid little bicycles and all that.

Troyer: Was it a series, do you think, which had an appeal, a kind of narrow-gauge appeal, chiefly to people in the upper twenty percent of the intelligence quotient bracket or whatever?
McGoohan: Mostly intelligent people...such as we have here?

Troyer: Yeah, I meant that.

McGoohan: You see, one of the t'ings that is frustrating about making a piece of entertainment is trying to make it appeal to everybody. I think this is fatal. I don't think you can do that. It's done a great deal, you know. We have our horror movies and we have our science-fiction things. The best works are those that say...somebody says, "We want to do something this way," and do it, not because they're aiming at a particular audience. They're doing it because it's a story they think is important, and is a statement that they want to make. And they do it and then whoever want to watch it, that's their privilege. I mean, the painting in an art gallery, you know, you have a choice whether you go and look at this one or that one or the other one. You have a choice not even to go in.

Second Boy
One analogy that comes up, from literature, is with epic poetry, or with an epic. 

And "The Prisoner" seems to have all the qualities that belong to an epic, including the kind of structure which you ended up with: 
the thing that began with 7 parts and ended with 17.

McGoohan
Yeah.

Second Boy: 
There have been a few peculiar epic works which have done that sort of thing or been on the way, Spencer's "Faerie Queene" for instance, or Tennyson's "Idylls of the Kings" ...

"Idylls of the King" which became a 12-part non-epic with all the properties and qualities of an epic.


I have one question based on that perhaps peculiar observation, and that is: 
one of the figures in some of the epics, like the "Faerie Queene," is The Dwarf who accompanies Una and the Redcrosse Knight where the idea for Angelo Muscat come from?

McGoohan
Oh. I don't know. 
Where did that come from?

Second Boy: 
Is there a literary image...

McGoohan:
 No, I certainly never thought of one. 
There were all sorts of interpretations to little Angelo. 


He's a very sweet man and...a very, very sweet man. It's this sort of...there should be something also--sinister about him. 



I mean, there was always the possibility that he might be No. 1. 

See, I don't know if anyone...do you pick up that at all..? 

I don't know, but that...because he was such a good friend and always by the side of No. 6, that there was...should have been an implication that perhaps he was a sinister character, and particularly in the last episode, when he goes...he's the one that goes out with No. 6 and they go into the...

Maybe he's over No. 1 somewhere...

You know they have so...they have stars, superstars, and what are they gonna call them next? 

Comets

So what...maybe he's a comet or something, little...little Angelo.

 So there should be that remaining sinister thing about it.

Second Boy: 
I was just curious, because there were so many images of all...of all the figures that are in the series that are...that have literary connections, whether of not they're deliberate...
(McGoohan: Yeah.)
...deliberately connected or not doesn't really matter, does it? 
There might be an element...

McGoohan
No, I don't think...I don't think it does.

Second Boy
No, doesn't matter at all.

McGoohan: I don't think, in that sort of...I, I use the work "surrealistic" about it...thing, that one has to tie up all the loose ends. I think there's...that you...options are open for the beholder to interpret whichever way he likes.

Third Boy: Mr. McGoohan, my question deals with religion.

McGoohan: Yeah.


Third Boy: 
I understand, in reading a little about you, that you're a very religious man, and my question pertains to "Fall Out.

I have interpreted a lot of the acts as being...having this content. 

I'm thinking specifically of the crucifixion of the 2 rebels, of when their arms are drawn apart, the temptation of No. 6 by the President of the Village, of the temptation of Christ...

McGoohan: 
They give him the throne.



Third Boy: 
"Drybones," all of that. 
First of all, would you agree with my idea that that is intentional? 
That it is...

McGoohan: 
Ah, answering: No, 
I had never any religious inspiration for that whatsoever. 

I was just trying to make it dramatically feasible.

 Certainly the temptation with the guy putting me up on the throne and all this stuff, ah...it's Lucifer time. 

But I never thought at that moment. 

Maybe somewhere in the back of my mind it was there, 
"And the hip bone's connected to the thigh bone" 
thing. 

I just thought it was a very good song for the situation and also was applicable to the young man because, as you know, it's easy for us to go astray in youth and he was astray and he's trying to get everything together again.

Third Boy: 
When I speak of religion, I mean a moral attitude towards life.

McGoohan: 
I would think that's necessary, yeah.

Third Boy: 
OK, then, is it fair to say that No. 6 draws upon that? 

Is that the source of his defense? 

Is that how he gets up in the morning and faces another day in the Village?

McGoohan
I think that's a very good comment and I think that's probably true, yeah...

Moral force which says, 
"I have a spirit of my own, a soul of my own and it's not all my own because it's joined with a greater force beyond me." 

I don't think he got up every morning and analyzed it to that extent
but I think that that force is within him and anyone who is able to fight in that individual way.

Third Boy: Would you say that there is a distinct lack in the rest of the villagers? Are they soulless beings?

McGoohan: Ah, the majority of them have been sort of brain- washed. Their souls have been brainwashed out of them. Watching too many commercials is what happened to them.

Troyer: I used to think that television commercials were spiritually healthy because they made us skeptical and that that was probably a very good thing to learn very early on.

McGoohan: Well, they don't make enough people skeptical because if they made enough people skeptical, the people who were made skeptical wouldn't be buying all the junk that they're advertising and then they'd be out of business.

Fourth Boy: 
There's one sequence you do with Leo McKern where he says, "I'll kill you." 

You say, "I'll die," and he says, "You're dead." 

Is that a figure of speech or was there an underlying thing happening there?

McGoohan: 
Now you're talking about 'Once Upon A Time'?

Fourth Boy: 
Yeah, 'Once Upon a Time'.

McGoohan: 
Well, that was very interesting that one...(which was probably my favourite earlier on, Warner. That was probably it.) 
That was one that was written in the 36 hour period. 

And Leo McKern, who was a very good friend of mine and a very fine actor I think, came in on short notice to do it, and it was mainly a 2 hander. 

The brainwashing thing, he was trying to brainwash me and in the end No. 6 turns the tables. 

And the dialogue was very peculiar because all it consisted of was mainly "6, 6, 6," and 5 pages of that at one time. 

And Leo, one lunchtime, went up to his dressing room and I went to see the rushes and I knew he was tired. 

I went up to the dressing room to tell him how good I thought he'd been in the rushes. 

And he was curled up in the fetus position on his couch there, and he says, 
"Go away! Go away you bastard! I don't want to see you again."


I said, "What are you talking about?" 

He says, "I've just ordered 2 doctors," he says, "and they're comin' over as soon as they can." 

He says, "Go away." 

And he had! 

He'd ordered 2 doctors and they come over that afternoon and he didn't work for 3 days. 

He's gone! 

He'd cracked, which was very interesting.

He'd truly cracked. 


And so I had to use a double, the back of a guy's head for a lot and eventually Leo did come back and we completed them and also he was in the final episode, so he forgave me for everything, but he did crack, very interesting, I thought....

Troyer: Much as he cracked in that final episode.



McGoohan: Same, exactly the same.

Troyer: I was wondering about how much intensity there was in that. I know that acting is always an enormously intense experience but in that head-on 2 hander where there was so much dynamic pressure. 


Obviously, it was real.

McGoohan: It was 8 days shooting and for most of those 8 days we were head to head on from 8 o'clock in the morning 'til 6:30 at night with an hour for lunch. So, it was pretty intense. 


It was psychiatrist couch time, sort of thing.


Troyer: Were you a different person when you came out the other end of that series?

McGoohan: Tired, that's all.

Troyer: Beyond that?

McGoohan: No, no....

Troyer: It wasn't purely psychoanalysis?

McGoohan: No, no, I never let any part that I play sort of take over. I think that that's nonsense when that happens. I think you should be able to go in and do it, learn your lines and do it. Some are more fatiguing that others, some are more emotionally exhausting than others. 

I mean, you can't play Hamlet without being drained or King Lear without being drained but to say that you lived through the day playing Lear or playing Hamlet before you go out the next night and go on to the stage, I think that's ludicrous.

Troyer: What about the notions that some actors, some people in other creative endeavors have, that we all have a finite bank of energy that each time one brings some of it up there's a little less left for next time, or for the other end of the road.

McGoohan: I think that the contrary is true. When one looks at people such as Arthur Rubenstein, people with tremendous talents and they are young men. 

They're young men at 75, they're young, 80 they're young! 

Their vitality, in fact, increases. Their energy increases. It just happens, I mean the force. The adrenalin increases. It just happens that the machinery of the body, the parts, the spare parts are wearing out a little bit...I think it increases and I know a lot of old folks who are young, young people.

Troyer: So the creative urge is a muscle, the more we flex it, the stronger it gets.

McGoohan: I think so, yeah. Yeah. It's just this stuff wears out. That's all.

Fifth Boy: Mr. McGoohan, when you began "The Prisoner," you began it in a decade in which a lot of people were used to secret agents. 

You very neatly saw the next decade coming. I thing you saw Watergate; the enemy within as opposed to the enemy without. 

I don't know if you can answer this, but if you were going to do the series again and you had to look aged to the 80's and you were thinking in terms of what you see as being the real enemy, not the storybook enemy but the enemy that's really going to hassle us. If you were going to look into the 80's now, what would you look to?

McGoohan: 
I think progress is the biggest Enemy on earth, apart from oneself, and that goes with 1self, a 2-handed pair with 1self and progress. 


I think we're gonna take good care of this planet shortly. 


They're making bigger and better bombs, faster planes, and all this stuff one day, I hate to say it, there's never been a weapon created yet on the face of the Earth that hadn't been used and that thing is gonna be used unless...I don't know how we're gonna stop it, not it's too late, I think.

Fifth Boy: Do you think maybe there's going to be a strong popular reaction against "Progress" in the future?

McGoohan: No, because we're run by the Pentagon, we're run by Madison Avenue, we're run by television, and as long as we accept those things and don't revolt we'll have to go along with the stream to the eventual avalanche.

Sixth Boy: We tend to view the threat, the Village there, as sort of a thing as something external like Madison Avenue, the media. How responsible are we for accepting this? Where do we become involved in being "unfree"?

McGoohan: Buying the product, to excess. As long as we go out and buy stuff, we're at their mercy. We're at the mercy of the advertiser and of course there are certain things that we need, but a lot of the stuff that is bought is not needed.

Sixth Boy: 
Did you regard the Village as an external thing or as something that we carry around with us all the time?

McGoohan
It was meant to be both. 

The external was the symbol, but it's within us all I think, don't you? 

This surrealist aspect; 
we all live in a little Village.

Troyer
Do we?

McGoohan: 
Your village may be different from other people's villages but we are all prisoners.

Troyer: 
Well, I know who the idiot is in mine.

McGoohan: 
Yes, Number 1 - same as me.

7th Boy: 
Is No. 1 the evil side of man's nature?


McGoohan:
 The Greatest Enemy that we have...

No. 1 was depicted as an evil, governing force in this Village. 

So, who is this No. 1? 

We just see the No. 2's, the sidekicks.
 Now this overriding, evil force is at its most powerful within ourselves and we have constantly to fight it, I think, and that is why I made No. 1 an image of No. 6. 

His other half, his alter ego.

Troyer: 
Did you know when you first outlined the series in your own mind, the concept that No. 1 was going to turn out to be you, to be No. 6?

McGoohan: 
No, I didn't. 
That's an interesting question.

Troyer
When did you find out?

McGoohan
When it got very close to the last episode and I hadn't written it yet. 

And I had to sit down this terrible day and write the last episode and I knew it wasn't going to be something out of James Bond, and in the back of my mind there was some parallel with the character and the No. 1 and the rest. 

And then, I didn't even know exactly 'til I was about the third through the script, the last script.

Troyer: 
How about you colleagues, the other writers. 
Were they surprised?

McGoohan: 
Yep.

Troyer: 
Were they annoyed?

McGoohan: 
No.

Troyer: 
Did they decide it was untidy?

McGoohan: 
No, they used to come along from time to time and say, "Who's No. 1?" you see. 

And I told them , "It's a secret" until I actually sat down and wrote it - and it was, actually; they didn't know until I handed out the script.

Troyer: 
But were they disappointed by that...?

McGoohan: 
No, they liked it. 
They said they always knew it was going to be him.

Troyer: (laughs
Once you told them.

McGoohan: 
A few of them did, really. 
Nobody really knew. No.

Troyer: Why the Double Mask? Why the monkey face?

McGoohan: Oh, dear. Yeah, well, we're all supposed to come from these things, you know. It's the same with the penny farthing symbol bicycle thing. Progress. I don't think we've progressed much. But the monkey thing was, according to various theories extant today, that we all come from the original ape, so I just used that as a symbol, you know. The bestial thing and then the other bestial face behind it which was laughing, jeering and jabbering like a monkey.

Eighth Boy: Mr. McGoohan, during the last episode, Fall Out, we see the Prisoner. He's smiling and laughing and dancing for the first time and yet later on the very last scene is exactly the some as the very first scene where he's driving off with his familiar stern face. My question is, has the Prisoner between the first and the last episode actually changed any?

McGoohan: Ah, no, I think he's essentially the same. I think he got slightly exhilarated by the fact that he got out of this mythical place and felt like doing a little skip and a dance, and singing a bit, and felt very happy to be going home with his little buddy, the Butler, you know. And we never did a cut of him when that door opened. We just saw the door open and he went in. So, you never knew whether his exhilaration was lost when he saw that sinister door that was left like an unfinished symphony.

Ninth Boy: In the final episode, does the Prisoner really consider becoming the leader of the Village?

McGoohan: No. He does not. He just wants to get out and he uses a technique which he hadn't used before that, which was violence, which is sad, but he does; and that's how he gets out and then, of course, in the final episode, he goes back to his little apartment place and he has his little valet guy with him and the door opens on its own when he goes in the car. There you know it's gonna start over again because we continue to be Prisoners.

Ninth Boy: 
And that leads to my last question, what would the Prisoner be likely to do with his newfound freedom?

McGoohan: 
He hasn't got it. 

Which is the whole point. 

When that door opens on its own and there's no one being it, exactly the same as all the doors in the Village open, you know that somebody's waiting in there to start it all over again. 

He's got no freedom. Freedom is a myth. 

There's no final conclusion to it. 

Ah, and I was very fortunate to be able to do something as audacious as that with no final conclusion to it because people do want the word 
"THE END" 
put up there. 

Now the final 2 words for that thing should have been 
"THE BEGINNING".

Troyer
This is kind of a banal question, I guess, but if you could leave one sentence or paragraph in the head of everyone who watched the Prisoner series, the whole series, one thing for them to carry around for awhile, when it was over, what would it be?

McGoohan: 
B C N U

Troyer
Just that?...enigmatic to the end.

McGoohan
Be Seeing You. 
That means quite a lot.

Troyer
It does indeed.

McGoohan: 
B C N U. 
Yeah.