1.3.1 >> Supplement: Armageddon

In the primary post to which this post serves a supplement ( 1.3 >> The Green Slime is N.E.A.R.), the meaningful insertion of two 1998 films into the alleged 1968/2001 temporal nexus was attempted.  The films in question were the Touchtone Pictures feature Armageddon, starring Bruce Willis, Billy Bob Thornton and others and the DreamWorks production Deep Impact, which featured Morgan Freeman, Robert Duvall et al.  Although ties to 1968 were easily established as the asteroid-rendezvous-and-destroy plot of both films was identical to the plotline of the 1968 sci-fi classic The Green Slime, concrete connections to the year 2001 proved elusive in the case of Armageddon (Deep Impact can be linked in a meaningful way via Arthur C. Clarke, the author of both 2001: ASO and The Hammer of God) and, as a result, the objective of this supplement is to carefully reconsider Armageddon in a more analytical light in an effort to determine if compelling ties to the year 2001 can be established.

The defining event of the year 2001, one which easily eclipsed all others in terms of international attention or news coverage, was the dreadful series of 11 September 2001 terrorist attacks on the United States of America.  Should it prove possible to compellingly link the sci-fi scenario depicted in 1998′s Armageddon to the horrific real-world terrorist attacks of 2001 then the gap between 1968 and 2001 will have been bridged successfully with respect to this production.  As a result, the film will be revisited and scrutinized through this prism.

Having gone back and carefully examined the Touchtone Pictures release Armageddon, the author has concluded the most effective means by which to convey to the reader the film’s compelling connection to the defining event of the year 2001 and therefore to the year itself, is to underscore imagery and/or dialog/monolog from the film, juxtaposed against the imagery and real-world circumstances arising from the 9/11 terrorist attacks (CLICK the images below to enlarge).













Although the images included in the preceding screen scrapes occupy but four minutes and six seconds of the two and a half hour film Armageddon (5:42-9:48), had a random collection of Americans been asked on 31 December 2001 what event the sequence of images called to mind, all or most of them would likely have uttered the numerical sequence “9-1-1.”






The phrases “terrorist bomb” and “Saddam Hussein is bombing us,” combined with images of people falling from buildings and the World Trade Center towers being struck by high velocity impactors to be left in flaming ruins all seem to eerily anticipate the devastation resulting from the terrorist attacks of 11 September 2001 and the events following in their wake (i.e., the 2003 Iraq war and the subsequent ousting of Saddam Hussein).

As an avid movie buff, the current author can honestly and unequivocally state that, to his knowledge, NO film ever made has so chillingly replicated (in advance) the nightmarish imagery deriving from the events of 9/11/2001.  Although other productions, such as the 2001 film Artificial Intelligence and the 1993 film Super Mario Bros., depict the towers in a state of non-impact-related-ruin, the only film to come even remotely close to incorporating the cataclysmic elements linking 1998’s Armageddon and 9/11 is, intriguingly, the 1979 film Meteor, which also depicts WTC destruction via catastrophic impact (with fragments of the colossal asteroid Orpheus).  Incidentally, the film Meteor derives from an MIT report published in 1968 that describes a hypothetical asteroid collision with Earth (Project Icarus).

On a related note, it’s interesting to consider the fact the impact pattern depicted in Armageddon is nearly a mirror image of that from reality.  Whereas the film shows the south tower (2 WTC) being struck first along its southern face, in reality the north tower (1 WTC) was struck first along its northern face.  The film then subsequently shows impact damage to the northern face of the north tower whereas, in reality, the southern face of the south tower was struck approximately 15 minutes after 1 WTC had been hit.  Furthermore, as indicated above, the film depicts about a 10 to 15 floor differential with respect to the damage pattern of the two towers (2 WTC – floors in the vicinity of 41/42 were damaged vis-à-vis 1 WTC – floors around 50 to 60 were hit).  In reality, 1 WTC was struck in the vicinity of floors 93-99 whereas 2 WTC was struck in the vicinity of floors 77-85.  The differential is virtually identical.

In the next section we’ll carefully analyze a rather intriguing impact sequence that occurs almost 2 hours into the film.

At about the 1:59:51 mark, scientists at the Johnson Space Center, which is used as a command center from which the impact crisis is managed, employ a sophisticated radar array to detect an incoming barrage of meteors.  In this instance a geographic area near Paris, France is said to lie within the path of the incoming impactors.  Shortly after making the preliminary announcement France is about to be pummeled, a panning aerial shot of Paris, which includes familiar landmarks such as the Seine River, Pont Alexandre 3 (an arch bridge which spans it), the Eiffel Tower and Les Invalides, appear on the screen.


Although, upon inspecting the scene included above, Parisians would attest to the fact the aerial image is, in fact, an actual image of Paris and the surrounding vicinity, the next image that appears would leave most if not all of them scratching their heads in befuddlement.  While perhaps helpful, French citizenship isn’t required to arrive in the same state of confusion as we’ll soon see.


Using the Eiffel Tower and Les Invalides as your guide, it’s quite easy to see that if the first image of Paris above (where the Eiffel Tower occupies the left foreground and Les Invalides the right background) were to be rotated such that Les Invalides occupies the right-hand foreground and the Eiffel Tower the left-hand background, then Pont Alexandre 3 should be located somewhere behind Les Invalides.  Instead, however, Pont Alexandre 3 now occupies an area directly in front of the Eiffel Tower.  Also misplaced is the replica of the Statue of Liberty, which resides on Île des Cygnes, a narrow island in the Seine River.  Even more disturbing is the apparent fact the Seine River has magically changed its course!  Whereas the first image correctly shows the Eiffel Tower and Les Invalides on the same side of the Seine, the second image shows the Seine flowing between them!

How exactly this can be becomes quite obvious a few frames later when a fiery bolide is seen rapidly descending from the heavens.  Clearly the seemingly realistic aerial image has been crafted via CGI (Computer Generated Imagery) for virtual destruction as the massive meteor slams into the Parisian plain at hypervelocity – perhaps the animators were sloppy in their virtual reconstruction and the producer thought the entire scene so short and the cutaway between aerial images so sudden no one would notice (which apparently they haven’t – save yours truly of course).

Although the thrilling special effects showcased in the wake of the impact are a sight to behold, the most relevant aspect of the impact in terms of the current study is not the destruction wrought in its wake but rather where the bolide strikes.  Before moving on to consider this information, the photo below has been provided to set the geography straight – it’s an accurate satellite image of the vicinity in question (with camera angle and landmarks labeled).


The two images below depict the iconographic Arc de Triomphe before and after the massive meteorite strike.  This monument lies on the famous Avenue des Champs-Élysées, a very board street in Paris, running northwest and southeast as illustrated in the satellite photos below (3rd and 4th images).  Twelve boulevards converge on the monument and appear as ray lines emanating from an impact crater.





In the film, the massive impact crater, centered on Champs-Élysées (just northwest of the Arc de Triomphe – the “+” in the image above), becomes the youngest of Earth’s large impact craters, which might make for another interesting and related synchronism.  Remembering the plots of 1968’s The Green Slime and 1998’s Armageddon, both involving astronauts traveling to an asteroid, drilling shafts in its surface and then planting explosives in the shafts for remote detonation, one link between Armageddon and 1968 has been established.  The photographic image included below, deriving from 1968’s 2001: A Space Odyssey, may provide yet another.


As indicated earlier, just prior to the two-hour mark in the 1998 film Armageddon, an announcement is made that a meteorite is about to strike near Paris, which it then does, excavating a massive crater.  By comparison, just prior to the two-hour mark in the 1968 film 2001: A Space Odyssey, Dr. Heywood Floyd announces in a pre-recorded briefing that the first evidence of intelligent life off the Earth (i.e., the black monolith) was discovered near the lunar impact crater Tycho.  As it happens, scientists have concluded the impact crater Tycho is the youngest of the large impact craters on the Moon, an interesting fact echoed in the film Armageddon vis-à-vis the formation of the youngest of the large impact craters on Earth (depicted as having formed just northwest of the Arc de Triomphe).

As is evident from the photographic survey map of the Tycho region included in the film 2001 ASO (above), the monolith was discovered just to the northwest of the crater along a ray line that seems to parallel the Champs-Élysées in the satellite photo of France – the “+” symbol in the survey photo marks the black monolith discovery site .  Given the symbolic similarities between the two films, is it possible to perhaps underscore a meaningful synchronism here?  The only thing missing is a French monolith…or is it?



Completed in 1974, the Tour Fiat (now the Tour Areva – pictured above) is a French skyscraper standing 604 feet tall, showcasing smooth dark granite cladding and smoked glass windows.  As some readers may’ve thought to themselves while surveying the photos, Tour Fiat’s appearance seems eerily reminiscent of the mysterious black monolith from the Kubrick/Clarke film 2001 ASO.  If so, take comfort in knowing there’s a good reason for this – the two French architects that designed it (Roger Saubot and Francois Jullien) were inspired by the monolith of the 1968 film.  Although both the black monolith and the Tour Areva are technically cuboids with respect to shape, Tour Fiat was designed and built to be a perfect square prism (i.e., the building’s footprint is a square).  Bearing in mind the World Trade Center towers (or Twin Towers) were also conceived as perfect square prisms, it’s most intriguing to note the Tour Fiat project originally called for the construction of a second, twin tower, which was cancelled due to the oil crisis of 1974.

These facts string together some very powerful and fascinating synchronisms:  Tour Fiat’s design was inspired by the black monolith from 1968’s 2001 ASO, Tour Fiat’s original plan mimicked the WTC plan (twin towers designed as perfect square prisms), construction of the WTC towers started in 1968, destruction of the WTC towers was completed in 2001, the iconography of 2001 ASO has been linked to the imagery associated with the 9/11 terrorist attacks of 2001 (more about this later), which brought down the WTC towers.

Despite the intriguing synchronisms enumerated above, one need necessarily enquire as to the proximity of Tour Areva to the hypothetical impact crater from the 1998 film Armageddon.  After all, the average width of France is approximately 400 miles and a line drawn from north to south near the country’s midpoint extends more than 600 miles.  As indicated previously, in the film 2001 ASO, Heywood Floyd places the location of the black monolith near the lunar impact crater Tycho.  Just how near can be estimated by noting the location of the “+” appearing in the photo below (from the film).


In surveying the photo above, the distance from the “+,” marking the monolith’s location, to the edge of the crater appears to be roughly the same as the radius of the crater itself.  As the lunar impact crater Tycho is approximately 51 miles in diameter, the crater’s radius and therefore the approximate distance from the edge of the crater to the monolith excavation site would be about 25 miles.  If the Moon, which is 2,160 miles wide, were to be scaled down to a size approximating that of France (i.e., the Moon’s diameter became about the same as France’s average width, or, approximately 400 miles), the monolith would be located about 4.6 miles from the impact crater.  Given the size of France, should the French monolith (i.e., Tour Areva) fall within this narrowly defined distance, a truly remarkable synchronism would emerge.

As it turns out, Tour Areva is located in Courbevoie, France, west of Paris.  More specifically, in La Défense, a high-rise business district in the Courbevoie commune.  The first satellite image below pinpoints the position of Tour Areva in relation to Armageddon’s hypothetical impact crater (to the northwest).  The second image provides an idea as to the proximity of Tour Areva and Arc de Triomphe to the Eiffel Tower and Les Invalides.



As is evident from the first satellite photo above, at 2.5 miles not only is the distance between the Armageddon impact crater and the Parisian monolith (Tour Areva) well within the 4.6 mile limit set previously, but Tour Areva also lies to the northwest of the impact crater, precisely as the black monolith lies northwest of the Tycho impact crater in 2001 ASO.  The synchronism, it seems, is quite remarkable, particularly when combined with those listed above, which link Tour Areva directly to the WTC towers (1968 – 2001).

As a final thought on the subject, to the author’s knowledge there are only two skyscrapers in the world designed with the black 2001 ASO monolith (lower left) in mind.  The oldest (1974) is the one described here (Tour Fiat/Tour Areva) the second (1992) is the Millenium Hilton hotel, located in Manhattan, flush against the former WTC complex (pictured below on 9/11/2001).


Having carefully compared the fictional imagery of 1998’s Armageddon with the WTC imagery deriving from the terrorist attacks of 9/11/2001, a direct connection has been established between the 1998 film and the year 2001.  Having then shown how both 1998’s Armageddon and 1968’s 2001 ASO depict black monoliths just a few miles northwest of a fresh impact crater, a second connection between Armageddon and the year 2001 was made in that the 1968 film names the year 2001 in its title and dates the monolith’s discovery near Tycho to 12 February 2001.  Strengthening this particular synchronism were the uncanny similarities between Tour Areva’s original twin towers conception as well as its design as a perfect square prism, echoing the design of the WTC towers, alongside which was found the only other black monolith skyscraper (the Millenium Hilton – 1992).  Although, in the author’s opinion, these two synchronisms are sufficient to establish a compelling connect between Armageddon and 2001, there’s a third synchronism that should also be discussed.

In perusing “synchromysticismYouTube videos, which contend various Hollywood films subtly predicted or alluded to the 9/11 attacks prior to 9/11/2001 (through various types of subliminal imagery), eventually one will happen upon movie clips wherein the number sequence 9-1-1 appears in one context or another.  One of the more common contexts is one wherein the sequence comes in the form of a digital or LCD clock display.  With respect to 1998’s Armageddon, many YouTube posters have pointed to this phenomenon.  When dealing with a film like Armageddon, however, these claims must be greeted with a healthy dose of skepticism as the film depicts three distinct countdown clocks (a Zero Barrier countdown, a shuttle launch countdown and a nuclear bomb detonation countdown) in addition to a standard clock, which reports both local and universal time as well as shuttle count.  With so many clocks involved from the beginning of the film to its end, pointing to one or two instances wherein the number sequence 9-1-1 is clearly visible and then using this to argue in favor of an inexplicable anomaly must be cautiously evaluated as other three-number sequences may appear with the same or greater frequency, which would have the effect of relegating the 9-1-1 sequences to coincidence.  Although a tedious task, such an evaluation can be carried out in an effort to determine whether or not occurrences of the 9-1-1 number sequence can be assigned statistical significance.

With respect to the current study, only the first legible sequence of clock numbers will be considered in relation to a given scene, from which every possible 3-number sequence will be extracted for analysis.  In cases where certain numbers in a clock sequence are obscured from view, a wildcard character (?) will be introduced in order to perform tangential analyses that, while not having any bearing on the core study, will be available for reference as needed.  In addition to the wildcard occurrences described above, zero padding occurrences, which is to say, occurrences wherein all numerical entities to the left of non-zero numbers are the number zero, will also be discounted from the core study as such zeros are actually null characters as opposed to significant numbers.  The table below includes a comprehensive, chronological list of “initial-condition” clock displays from scenes where such displays are present.


Working from the time table included in the exhibit above, a numerical matrix can be assembled, with which our numerical analysis will be carried out.  This matrix has been constructed and included below.


When working with a number set ranging from 0 to 9 (10 numbers total), the number of possible combinations when sequences composed of 3 numbers are considered is 1,000 (“000” to “999”).  Of these 1,000 possible combinations, the numerical matrix above contains precisely 90 distinct three-number sequences, which is to say 9% of the total possible.  These 90 combinations are listed in the diagram below.


Working from the 90 combinations included above as a frame of reference, the next step in the analysis is to determine the frequency with which each combination appears in the numerical matrix.  Before reviewing the results of the core analysis, to provide an idea with respect to the skewed results that come about when wildcards and zero-padding occurrences are allowed, some examples have been included below.

As it turns out, if both wildcard entries (yellow highlights) and zero-padding occurrences (orange highlights) are permitted, the 3-number sequence “002” appears in the matrix with the greatest frequency (figure 1) – a total of 6 times.  By eliminating the wildcard and zero-padding entries, which have the effect of skewing the results, however, the sequence “002” appears only once in the numerical matrix (the outlined entry with no highlight).


Similarly, the sequence “020” appears in the matrix 5 times when wildcards and zero-padding are permitted.  Without the unfair advantage, however, “020,” like “002,” appears but a single time in the matrix (figure 2 – the last three numbers in the second to last line of the matrix).  As one might expect, sequences beginning with “0” benefit the most from wildcards and zero padding.


As explained previously, the problem with allowing zero-padding combinations is that the leading zeroes are actually null characters as opposed to actual numbers.  With respect to the problem of allowing wildcards, the two figures above can be referenced to provide an explanation.

In figure 1, the double-wildcard sequence “0??” appears in the matrix twice (yellow highlights).  Although the first “?” could be a “0” and the second a “2,” making the actual sequence “002,” the likelihood of this is only 1% or 1 chance in 100, making it highly unlikely.  Similarly, in figure 2 the single-wildcard sequence “0?0” appears once (yellow highlight, four lines from the top).  Although the “?” could be a “2,” making the actual sequence “020,” the likelihood of this is only 10%, which, while more likely than if two wildcards were included in the sequence, is unlikely nonetheless.

When we eliminate all sequences benefiting from wildcards and zero-padding (40 total), we arrive at the critical results constituting the core of the study.  Here we find that 46 of the remaining 50 combinations (nearly all) appear only once in the matrix.  Combining this with the 40 eliminated previously (i.e., those unfairly benefiting from wildcards and zero-padding), we’re left with only 4 combinations that occur more than once in the matrix.  The figure below depicts combinations appearing twice in the numerical matrix (440, 470 and 512).


Having identified the three double-occurrence sequences, we’re left with only one other 3-number sequence appearing more than once in the matrix – this one appears three times:  911:


As the number sequence 9-1-1 stands alone as the only pure 3-number sequence appearing three times in the matrix, which is to say, throughout the 1998 Armageddon film, one must assign to its recurrence statistical significance.  Moreover, given the incontrovertible similarities between the film’s iconography and that associated with the 9/11 terrorist attacks, the presence of the recurrent 9-1-1 numerical anomaly must be viewed as either an exceedingly unlikely coincidence or else an example of premeditated providence at the direction of an as-yet-unidentified intelligence.

Before exploring the provocative possibility of an intelligence-guided phenomenon further, it should be pointed out that the numerical partition associated with the recurrent 9-1-1 sequences in the film always appears in the correct position.  Bearing in mind the 9-1-1 associated with the 2001 terrorist attacks is actually 9/11, an abbreviated form of the date of the terrorist attacks (9/11/2001), the 9-1-1 sequences appearing in the film always take the form 9:11, echoing 9/11.  This isn’t true of any of the other pure, multiple-occurring sequences, however, each of which appears only twice in the matrix:  440, 470 and 512.

With respect to the 4-4-0 sequence, assuming a month and date within that month are represented (4/4), the partition never appears in the proper position (4:40 – between the numbers 4 and 4):  15:03:22:44:05, 6:11:44:07:92.  For the sequence 4-7-0 (4/7 – 4:70), the same is true:  5:47:08, 1:47:00:24.  Only the sequence 5-1-2 comes close with one correct configuration (5/12 – 5:12):  5:12:??:??, 2:51:20.

If one is open to the possibility the recurrent 9-1-1 sequence appears as an example of premeditated providence, the filmmakers themselves may be suspect but the circumstances involved in two of the three occurrences might dissuade one somewhat from pursuing this train of thought or at least introduce a shadow of a doubt.


During the Joint Chiefs briefing, beginning at 20 minutes 12 seconds into the film, the local time appearing in the digital clock display in the background is 19:11:08 as depicted in the image above.  As the 9-1-1 sequence incorporated into the clock display occupies only the hour and minute fields and the duration for which the clock’s visible in the scene is less than the 52 seconds remaining in the second field (which is to say, before the 9:11 becomes a 9:12), the 9-1-1 sequence remains visible from the scene’s start to its finish.  Clearly its appearance and persistence could’ve been planned and executed quite easily.  The circumstances surrounding the second occurrence of the 9-1-1 sequence, however, is a bit different.


During the brief scene featuring the second occurrence of the 9-1-1 sequence (beginning around 59 minutes 14 seconds into the film), a large, outdoor launch countdown clock is shown.  As soon as the scene is cut over to, the camera is already steadily panning across the clock face at a relatively rapid and constant rate from left to right and it can be inferred from the clock tick, which coincides with the changing seconds count, that the clock’s minutes and seconds are initially 09:12.  However, it’s only after the seconds count ticks down to 11 that the numeral in the ones position of the seconds field (the second 1) becomes visible.  As the camera pan in this particular sequence would need to be perfectly timed to catch the 9:11, it seems far less likely than in the previous instance that this 9:11 sequence was prearranged by the filmmakers.  Additionally, it’s also interesting to note the 9:11 only becomes visible in this scene when viewed in letterbox HD.  When viewed in the usual HD format (i.e., with a 16:9 aspect ratio that fills up an entire widescreen TV or computer display), the digital field in which the second 1 appears cannot be seen in its entirety – both the top and right segments are completely out view while all (or a sufficient portion) of the other segments are visible and inactive, meaning the number can either be a 7 or a 1 but it cannot be determined which.  Had the filmmakers prearranged the scene, one would think they’d engineer the sequence such that it would be visible when viewed in any of the standard formats.  Whereas the prearrangement of the second 9-1-1 appearance (detailed above) would be somewhat difficult for the filmmakers to engineer, the third and final appearance of the sequence would be even more so.


Beginning around the 2 hour 18 minute 38 second mark, Grace Stamper (portrayed by Liv Tyler) is pictured alone in a dark room.  While her face in the foreground is clearly in focus on the right-hand side of the screen, on the left-hand side of the screen fuzzy or out of focus items are depicted in the background.  As it turns out, the grayish, out of focus item centrally located in the frame (labeled “1”) is a metal partition behind Grace Stamper while the green, out of focus item located in the far left of the frame (labeled “2”) is the Zero Barrier countdown clock with a few final seconds and milliseconds remaining – this clock is located on the other side of a glass window overlooking the adjacent situation room.

In this brief scene Grace turns her head to glance back at the countdown clock and, as she does, the camera focally follows her glance, resulting in the following three-part visual sequence:

1 – Grace is in focus, the middle partition and countdown clock are out of focus

2 – Grace is out of focus, the middle partition is in focus and the countdown clock is out of focus

3 – Grace is out of focus, the middle partition is out of focus and the countdown clock comes into focus

The third and final component to the sequence outlined above is the one of interest as it’s where the final 9-1-1 numerical sequence appears in the film.  The sequence has been visually reproduced below.


The six numbered images appearing above are consecutive frames from the film Armageddon, ones which gradually show the time remaining on the critical Zero Barrier countdown clock as it comes into focus.  As is evident, the first legible number sequence to appear is 9-1-1 (frames 3, 4 and 5), which occupies three consecutive frames before changing to 9-0-3 (frame 6).  Although some might argue the clock sequence and camera focal properties were generated via CGI, in viewing the sequence from start to finish there aren’t any visual anomalies that might leave this impression.  For all intents and purposes it appears to be exactly what any casual observer would assume it to be:  a straightforward foreground to background change in camera focus.  Operating under the reasonable assumption no CGI or trick photography was involved, it would’ve been extraordinarily difficult for the filmmakers to engineer the 9-1-1 appearance in this instance as the clock displays seconds and milliseconds.  To do so, the camera would’ve needed to bring the clock into the realm of legibility at some point during the exceedingly brief interval 11 milliseconds appeared in the display (i.e., one millisecond or one thousandth of a second).  Clearly this is highly unlikely, much more so than in the previous example.

Before moving on to the last few items of interest, it should also be pointed out that the last two appearances of the 9-1-1 sequence appear at pivotal moments in the film where the countdown clocks are the focal point of the scene – the first being the unveiling of the public launch countdown clock and the second being Grace Stamper’s (and the camera’s) focus on the Zero Barrier countdown clock as the final seconds and milliseconds tick away.  By contrast, the overwhelming majority of clock countdown appearances are relegated to background imagery (i.e., the focal point of scenes including the clocks are the people in the foreground).

Moving beyond the three-fold appearance of the 9-1-1 numerical sequence in the film, it’s interesting to note that there’s another intriguing scene, immediately preceding the sequence depicted above, that’s eerily reminiscent of specific elements relating to the events associated with the 9/11 terrorist attacks.

Near the end of the film, when it’s determined the remote detonating trigger has been damaged and rendered useless, Harry Stamper (Bruce Willis) decides to remain behind on the asteroid in the hopes of saving the world by manually detonating the asteroid-splitting nuclear explosives.  Prior to this detonation (and his related death) he has the opportunity, via a brief radio transmission, to say goodbye to his daughter Grace as well as express his love and prosperous wishes for her future.  This goodbye is the most emotional moment of the film and eerily calls to mind the many phone calls and last words from people trapped within the WTC towers and the planes that hit them.  Many of these calls were made to loved ones to express the very same sentiments expressed by Willis’ character.  In this respect Willis’ portrayal seems to anticipate the actions of 9/11 casualties.

In an odd way, Willis’ character also takes on at least one defining characteristic of the terrorists.  Whereas Willis has made the noble decision to sacrifice himself to save the world, in a twisted way the terrorist hijackers made a decision to sacrifice themselves for the sake of Jihad against the West.

As it turns out, the very same sort of calls to loved ones as well as acts of self-sacrifice also underscore the ending of Deep Impact, wherein the crew members of the Messiah elect to fly their spacecraft into the heart of the fractured comet where they detonate the nuclear warheads stowed in the hull of the ship, ultimately saving the Earth.

In closing out the current analysis, it’s interesting to note that in addition to the triadic appearance of the 9-1-1 sequence outlined earlier, there are three instances within the film Armageddon wherein the number 3 is prominently displayed in duplicate or triplicate, which might be interpreted as echoes of the 33-year period associated with the author’s alleged 1968-2001 temporal nexus and/or the three-decade/three-year periods separating the 1998 film from the years 1968 and 2001, respectively.  These instances are depicted below.

More to come…