Sunday, December 20, 2009

Thursday, December 10, 2009

-The Smoking Gun- The 1:45 Terminator Introduction



The film opens with a post nuclear darkened war scene canvassed by robots controlled through computer chips with laser-guided weapons in or about 2010 to 2030 A.D. A hovercraft of immense proportions enters the scene with the most advanced computer oriented laser guided weapons known to the post nuclear world. A man pops up from nowhere and begins to run as his friend hopes that he make it. Still, with precision, the computer generated robot focuses, aims, and disperses his atom relationships so as to mystify his very existence.



Then the insert on the screen wrote these unscripted words: “The machines rose from the ashes of the nuclear fire. Their war to exterminate mankind had raged for decades, but the final battle would not be fought in this time. It would be fought here, in our present tonight.” (Exhs. 1, 2, 3, 4, 5, 6, 7, 8, 9, The Third Eye)



This description does not appear anywhere in the script written by James Cameron. Yet, the words and the post nuclear war came from MY SOURCE WORK. This was not revealed in any draft done by James Cameron including the draft from June of 1982.



Sophia Stewart completed the six-page treatment of the Third Eye on May 1, 1981. It was forwarded to the Vice President of Creative Affairs of Fox before May 7, 1981. Surprisingly, Gale Anne Hurd, then the public relations and marketing director of New World Productions under Roger Corman who had never produced a film, started Pacific Western Productions on May 12, 1981.



The first minute and 45 seconds of the film includes visual dialogue that is not written into the first, second, third, fourth, or fifth draft of the screenplay.



In the April 29, 2005 Motion for Summary Judgment submitted to the Court by Bruce Isaacs of Beverly Hills, he did not disclose to the court the following facts:



1) that the first minute and 45 seconds of the film does not read on the screenplay by Cameron and Hurd;

2) that the first minute and 45 seconds of the film does read on the treatment by Sophia Stewart dated May 1, 1981;

3) that the May 1, 1981 treatment was sent to Fox before May 7, 1981;

4) that the May 1, 1981 treatment was transferred from Fox to Roger Corman of New World Pictures prior to May 9, 1981;

5) that Gale Hurd, Corman's assistant, started Pacific Western Productions on May 12, 1981 while James Cameron was in Italy and did not know about the May 1, 1981 treatment;

6) Cameron was required to play along with Hurd to get the opportunity to write and direct the project based upon Stewart's work product.

(ABSOLUTE FRAUD!!!)




If Law Enforcement protects the rights of corporations, shouldn't Law Enforcement protect the rights of citizens?

The Stewart case shines a light on white collar crime now sweeping America. Stewart uncovered a sophisticated theft of her protected literary work, its embezzlement and how that was used as a means to conceal the crime and escape repercussions. For Instance: “This willful failure to disclose Stewart’s contribution makes the copyright registration invalid under 18 U.S.C. 1001 for willfully failing to reveal that the substantial contributing author was omitted with the intent to deny her royalties in the project. Yet, on a reading of the "Third Eye" as copyrighted on February 2, 1983, it is undeniable that the first minute and 45 seconds came from that discussion and that it is totally excluded from the copyright submission of Cameron and Hurd to the Copyright Office. The technique of taking the script and sending it through a chop shop so that many of its features are changed while unpublished and then bringing it forth as a published work is described as infringement in Dezendorf v. Twentieth Century Fox. Yet, it is plainly present in the movie. This is evidence that Hurd had consciousness of the wrongfulness of this activity and did not want it to be said that she wrote exactly what was written in Stewart’s treatment. The May 1, 1981 treatment is covered by copyright registration number Txu 117-610 in the name of Sophia Stewart. This is evidence of a theft of the script, knowing unauthorized use of it, and an intent to deny Stewart of her share of the profits associated therewith”.

The FBI recently admitted that the epidemic of Mortgage fraud spread across America is born from the "lending industry" itself not borrowers. Is the "film industry" itself any different? If so, why did a Warner Brothers Attorney named Judy Neulak inform Stewart that she (Neulak) knew for a fact, that Warner Brothers had used Stewart's protected literary work? Why is Warner Brothers & Fox permitting the sale of images of "The Matrix" and "The Terminator" with Stewart's book "The Third Eye" on amazon.com (since 2005) without suing Stewart for copyright infringement? - http://www.amazon.com/Third-Eye-Mother-Matrix/dp/0978539648 Who will explain the fact that the alleged creator's scripts BEAR NO RESEMBLEMCE to what's on screen in both sets of Terminator and Matrix films? Due to a lack of “source material” - did Cameron, Hurd & the Wachowski’s get caught hiding stolen source material in the plain sight of the movies themselves?
For a good reason, thieves don’t register what they steal without an attempt to fraudulently alter the 'make and model' of what was stolen. These “Alterations” are actually “calculated measures” used to escape detection and repercussions. Likewise, this pattern of theft is consistent with child kidnappers who are known by law enforcement to shave the heads and/or otherwise “alter” the appearance of children they abduct in order to (1) keep their parents from ever recognizing them and (2) escape repercussion. Nevertheless, a good mother will always recognize her baby.

“If someone steals your car and puts it through a chop shop, (where the crooks add or take away from it) trying to make it their own, is it still your car? Do you go out and buy another car to prove yours was stolen?”

–Sophia Stewart, Legal Owner of the Matrix & the Terminator