Howard Lutnick

They only threw that, but they threw that in there trying to solve it because they didn't have enough matter based upon the gravity, all the equations on gravity. They didn't have enough matter to have the spiral. So they just started adding things in there because they weren't using the magnetic returning waves

to generate the things, the same stuff that we did in the rebuilding of the planet Saturn. Instead of it being an internal attractor, we allow the returning waves, the magnetic returning waves, to be the thing that's causing the structure. Everything is made not by being pulled in, but by the weight of everything else pushing down on top of it.

to generate the things, the same stuff that we did in the rebuilding of the planet Saturn. Instead of it being an internal attractor, we allow the returning waves, the magnetic returning waves, to be the thing that's causing the structure. Everything is made not by being pulled in, but by the weight of everything else pushing down on top of it.

That was our approach in doing it and being able to rebuild Saturn literally without the animation, without gravity, without dark matter, without dark energy, having the hexagon at the top of it, being able to have all of the energy flows. That in itself, that's why I put that out there. I'm like, hey, rebuild the planet Saturn in your blender and prove that gravity is nothing but an effect.

That was our approach in doing it and being able to rebuild Saturn literally without the animation, without gravity, without dark matter, without dark energy, having the hexagon at the top of it, being able to have all of the energy flows. That in itself, that's why I put that out there. I'm like, hey, rebuild the planet Saturn in your blender and prove that gravity is nothing but an effect.

That's what I'm asking. Please do that.

That's what I'm asking. Please do that.

No, you're not. You did right.

No, you're not. You did right.

That's what I was saying, gravity at different places, it changes depending on the distance from something, all of those things, so it means it's a conditional fact.

That's what I was saying, gravity at different places, it changes depending on the distance from something, all of those things, so it means it's a conditional fact.

Go to Terry's Linchpins. Okay, so all of that is there. Yeah, all of that is in Terry's Linchpins. The moment you pull it up, we've got an actual section, and it has about 10 of these papers in it, and we're going to add... There's about 60 papers altogether that we've done since we can't get publication anywhere else, and I'm asking them to please... You know, depending on your curiosity.

Go to Terry's Linchpins. Okay, so all of that is there. Yeah, all of that is in Terry's Linchpins. The moment you pull it up, we've got an actual section, and it has about 10 of these papers in it, and we're going to add... There's about 60 papers altogether that we've done since we can't get publication anywhere else, and I'm asking them to please... You know, depending on your curiosity.

You want to talk about anti-gravity machines, then here we go. You want to talk about pulling energy directly from the flux, here we go. You want to talk about tangential flight, here's the papers on that. So everything is in there.

You want to talk about anti-gravity machines, then here we go. You want to talk about pulling energy directly from the flux, here we go. You want to talk about tangential flight, here's the papers on that. So everything is in there.

Harvey Borden.

Harvey Borden.

Dito Montiel, one of the best directors I've ever worked with, he directed that. He also directed A Guide to Recognizing Your Saints. I mean, it's a really beautiful movie. but he took me through New York. The character was supposed to be like LL Cool J driving a Hummer, pant leg rolled up, you know, it's supposed to be some money guy, and it did not fit what he was doing in the thing.

Dito Montiel, one of the best directors I've ever worked with, he directed that. He also directed A Guide to Recognizing Your Saints. I mean, it's a really beautiful movie. but he took me through New York. The character was supposed to be like LL Cool J driving a Hummer, pant leg rolled up, you know, it's supposed to be some money guy, and it did not fit what he was doing in the thing.

So the director took me through New York. We were walking, and he was like, he tied a string to my leg to... shorten my gape so that I about six inches. So I didn't have the stride that I wanted. And he put a briefcase in my hand and he said, I want you to be I want you to imagine yourself as a 65 year old Jewish woman. trying to express herself inside of an urban area. 65-year-old Jewish woman.