Alchemy of Shakespeare-the Real 007


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Dan Winter's background - on the spiritual physics of alchemy:

John Dee / Shakespeare - Flamel- and the deep science and real history of real alchemy : & &
See also- real physics of alchemy- the cause and the cure of the Crusades / religion wars :

Our co-author for the REAL Shakespeare/ John Dee -origin of REAL Alchemy -: Alan Green- -his Book: "Dee-Coding Shakespeare" - this talk: "Deep Science of John Dee inside Shakespeare"- Alan's presentation on the deep physics in the plays- and the mystery of Dee- was a blockbuster: Film here:

Seeing the next DEE-mension

by Dan Winter

July 2020

dedicated to Teresa Burns- and her -- life of Dee

prelude- to THE movie plot (the present article)

We have all yearned to 'talk to angels' and 'see the next dimension' - but very few physicists (or even less electrical engineers like me) - have taken this challenge seriously.

Here Dan Winter attempts to explain VISIONING THE NEXT DIMENSION / 5D / Bliss - with biophysical geometric clarity:

Somewhere during the events of 'going off the deep end' after quitting IBM - and going to the Gurdjieff school ( somewhere after graduate psychophysiology (U of D),
I found myself in the Harvard library reading John Dee and having past life 'flash' memories. At the time- I was already subliminally aware of having spent 'far too many' lifetimes as a priest.
I suspect also I was wallowing in the delicious agony of learning I alternated between lifetimes of torturing alchemists (for the inquisition) - and being one ( as John Dee perhaps).

Anyway- I DID have some actual memory flashes - years before I met Vincent Bridges (in the 80's)- who sometime later warned me I had been John Dee.

Vincent was one clever dude ( see ).Only now re-reading Teresa Burns manuscript- do I learn that even in his own day- Crowley insisted he had
the past life memories of Dee's partner in crime- Edward Kelley. So when Vincent was just launching his wars with nemesis Laura Knight

the trigger point was when Laura told Vincent her dream revealing he was Crowley (who for Laura was about equal to the devil).

So Vincent apparently at that moment- ran for his life from Laura's (then Florida) house..(and his own karma?..)

Vincent had always owned up to being Kelley- but somehow hid his memories of Crowley.

There is soo much personality crap that goes with trying to learn some basic physics. Dee was appropriately expressing the certain survival requirement for humanity
that we either learn to communicate with (and make) large plasma tornados / angels- or die. This becomes a very specific electrical engineering contract spec- when you
correctly understand the perameters. Take for example Dee solemnly informing Queen Elizabeth a year ahead of time he was going to make the (meterologically famous)
storm which took out the Spanish Armada ( later.. 'The Tempest'). One myth I like is Dee famously going to the '7 hills of Prague' (see also )

to launch the plasma phire / flame letters rites which sent that -one time in history- storm to the North Sea. Large plasma beings have a centripetal intelligence principle available
to those who transcend 'Einstein induced insanity' and learn why objects fall to the ground. Leaving our children ignorant of this 'origin of centripetal forces'
principle is precisely as tragic as not telling them how ancestral memory / communion of saints / collective unconscious forms as a plasma intelligence.
Not only do the children not learn the field effect physics of ancestral memory- but directly as a result they cannot believe in the memory inertia whose tornado's they can ride.

This is somewhat like Dune's "Muab Dib" learning to split the segments of the sand worms - sinusoidal segments- creating 'still points' - 'in the flow - of time' to steer the great dragon current.
If you feel yourself in a widening gyre whose center cannot hold - while falling into this twistor - metaphor- consider the lucid dreaming teacher earnestly informing you- you must practice MEDITATION or you cannot form the STILL POINT required for leverage to navigate inside the lucid dream ( or at death). If TIME is a name for charge spin rate- and charge implosion brings all spins to one conjugate still point- it is clear there would be only ONE way to create a still point among waves with your mind- to create leverage with which to steer- (after you find there is NOTHING but waves).

But we get ahead of ourselves in time a bit here.. The essential wave mechanic here seems to be a bit of apologia for the lifetime of Dee-
by way of seeing the wave crests of many lifetimes of physics lessons - conjugate implosively.

Vincent's lifetime of scholarship - insisted the Bacon - Shakespeare conspiracy did not wash - BUT that serious historical investigations show that Shakespeare is historically the person
Francis Garland –in John Dee’s famous notebook. (see alchemy film link above). This results in a flood of answers to where Shakespeare got his ideas- including Italian and Czech royal
courts - AND importantly for our point- HOW the famous cube/octa design for perspective in the geometry of Shakespeare's Globe theater-(images below) originated.
( hint: What was Dee's angelic symmetry doing: in-CUBE-ating)

Once we see how consumed perspective (cube of opposing opposite perspectives)
suddenly phase locks the audience to FEEL the exactly opposing emotions- IN PHASE - so suddenly at the end of the play-

they FEEL the blissful rush of oneness with EACH of the characters- with their superficially opposing viewpoints- BUT their common fusion into humanity.
THAT non-destructive perfected COLLAPSE of feelings - (FUSION) is beautifully BOTH a deep psychology AND a deep physics.

Non-destructive perfected COLLAPSE is not just a key buzzword in much of new psychology - it is PRECISELY as Einstein insisted - key to virtually every physics breakthru.

MOST especially - it is precisely what alchemy - is - as implosion- and the reason every literature student is taught: Shakespeare is ABOUT ALCHEMY.

SO- before we explain the cube of perspectives in Dee's discoveries about talking with Angels- (big plasma - is even more powerful than big pharma)..

let us review the quintessential cube of physics in how phase conjugate mirrors work- AND their corresponding window into ancestor memories.
(Dee's shewstone for scrying - vs. Olmec obsidian and magnetic mirrors - vs - the bottom dark coating under Nostredamus's scrying water cup).

SO - in order to make time reversal and negentropy in the conventional physics of phase conjugate mirrors- you start with the 'cube of space'.


You must align the opposing lasers into virtually a cube of opposing spaces- with almost angstrom level accuracy before the MAGic starts.

image of phase conjugate mirror - lasers in a cube..

BUT the one thing you must add to finish the alchemy is the magic of the substance of the phase conjugate mirror itself (where 'many paths and errands meet').

It is no wonder physics has never learned WHY the phase conjugate mirror material HAS to be super hi dielectric (classically barium strontium titanate).
(Modern physics seems to have a permanent and definitely fatal mental block preventing the understanding of why ANYTHING is centripetal).

Permission to converge implode flux lines- optically and electrically-
requires a very PERMISSIVE media (think not so much CNN but rather perfected 'permission to touch').

Hi dielectric is essential to implosive capacitance - key to most vacuum enery tech - and in practice - key to most all forms of alchemy-
including why ground powder of the Kabbah stone was almost certainly the first philosophers stone / projective powder.

The potent way to learn what dielectric constant is - is to feel your childs soul bleed out- the first time they walk into a steel and aluminum school.

The dielectric is wrong- charge ( and their soul) cannot breathe. This is the ONLY way to introduce biologic architecture to scientists ( ).

Biologic materials (wood / natural fabric / limestone) - have high dielectric constant (breathe charge efficiently)
because their molecules obeyed the sign which tempted them into biology in the first place: 'get fractal or be dead'.
(The same sign pretty much defines the exit -not the entrance- to most all human cities).

NOW let's return to the ritual John Dee dee-signed for calling angels. I always best recall the ritual we did near Turino- with Teresa and Alan leading the 'angel calls'.
We had spent days showing the science behind Ophanim / Enochian- then we got the ground aligned into the sacred 'four directions'.

Then Alan went to each of the four directions and powerful evoked the sacred divine names associated with those direction ( Ag-la ....)

We have shown elsewhere ( ) how the sacred (Hebrew / Sanskrit ) alphabet letters are simply THE UNAMBIGUOUS
set of spiral shadows of THE ONE golden spiral
on the self organizing torus -then tilted and casting 'flame letter' shadows INDEXED BY THE SHAWDOWGRAMS OF TETRA / CUBE.

This means this is the uniquely MOST powerful way to add inertia to a centripetal center by -in-CUBE-8-ting (just like phase conjugate mirrors).

Remember the celebrant and participants by pronouncing each letter- are casting the same phonon pressure geometry shadow in space

(see - spectrograms of the Hebrew alphabet- link above).

AND - we now see clearly- that THE VISUALIZING OF EACH LETTER -so powerfully that the hologram of the optical cortex literally becomes

so that the PHASE ANGLE OF THE INCOMING CHARGE IS TILTED PRECISELY by that tetra-cube index.

And since when you dream, and when you die, and when you send a 'spell', the ONLY thing you are is a plasma cloud-
THAT spiral imploding is your ONLY way of steering (vector navigating by imploding-) -
- for the same reason the golden spiral which I first proved is how hydrogen is assembled, is the ONLY reason hydrogen makes gravity.

As always for creation physics- ya gotta teach those pine cones to kiss noses accurately.

AND- the result..(of that ritual)

Many of those- especially near the center of the square- almost fainted with the intense winds of charge which imploded thru that room.

Quite equivalent to the famous rite that 'blew the doors off the church'. We now know the origin of the famous changes in air pressure-

amidst the magical rite (not to mention how tornados are steered). Low pressure onsets where implosion is triggered.

Not unlike Schauberger knowing when his piezo doped water vortex was about to start generating electricity from gravity- by

watching for the moment it 'spontaneously' gets colder.

SO - have we ( or more importantly perhaps- have I ) apologized for John Dee's life?

John Dee spent his life in agonizing pursuit of fusion anong symbols. His famous "Monas Hieroglyica" seemed to me to be little more than a caligraphers attempt to show

that all the astrological symbols can fuse into one. Gravity waves- are the longitudinal emf result of phase conjugate charge collapse. SO - The angle at which planets tilt the longitudinal emf-
into Earth's charge field - we now know is clearly the core physics of astrology.

John Dee's yearning WAS to learn the psycho physics of charge fusion- and thus how 'angels' have voices inside huge interstellar plasma beings.

He knew his generation was about as toast- as ours- if we cannot teach our kids to talk to elemental plasma.

(No Earthling today needs to look far to confirm -that our tornado's are 'out of control' and NOT COMMUNICATING).

Finishing John Dee's karma- is perhaps no better fulfilled than our project now-

First we showed that the trance state kids use to open the inner 'tube vortex' thru which they demonstrably see while blindfolded-

is directly the result of EEG cascades which implode ( alpha to beta to gamma cascades of both golden ratio and octave- charge collapse incubeated)-

our (Iris's) kids from Amsterdam are now literally 'hot on the trail' with Denise to show the SAME eeg/ trance/ bliss state

(inCUBEation perfected) which is experimentally proven to trigger VISION WITH INNER EYES-

is ALSO enabling CLAIRVOYANT VISION OF ELEMENTALs - (and angelic) forces!

.. and coming soon- how this same (longitudinal emf coherence)- enables lucid dreaming ( new blog on this very soon).

Warmly, Dan Winter (more on the above physics lessons: , ,

-and now below sthe original - JOHN DEE - ALCHEMY SCREENPLAY- (again Acknowledgements to Teresa Burns).


Dan is formally looking for film-maker- partners / writers

to collaborate on the following film-making project(s):

Project 1:

Alchemy of Shakespeare-the Real 007

Treatment 1
By Daniel Winter
Teresa Burns
July 22, 2018
Abstract – Serious historical investigations show that Shakespeare is historically the person Francis Garland –in John Dee’s famous notebook- all of which underscores Queen Elizabeth’s famous ‘007’ Dee spy story.  This was just before John Dee and Edward Kelley- alchemically made the purest gold then ever documented on the planet- by the British Royal Society. The physics of fusion behind their work has also been investigated by an international team of  engineers and scientists who claim to understand the precise electrical physics behind the Philosopher’s Stone – -Red Powder’ which Dee and Kelley and most likely Flamel used. The historical source of that powder they used - The KAABA STONE / ‘Lucifer’s Eye’ reveals something more: the real alchemic cause and CURE of the crusades- namely how human fusion into bliss and oneness is precisely the same as the actual practical physics of REAL ALCHEMY.  We also investigate the story and probable physics behind John Dee’s implosive ‘angel calls’ he used to create  “The Tempest” vortex which took out the Spanish Armada- something he predicted to Queen Elizabeth- a year before it happened.

Treatment / - from Teresa Burns- in collaboration with Dan Winter

Pitch:  think Cloud Atlas meets the history of alchemy as the cause and cure of the war of religions. 

Title?   This isn't really focused on Shakespeare... but we could do something with "shaking the spear" (its tip made of meteoric iron?) at the heavens?

Real Alchemy of Shakespeare

A Spear for (from?) the Heavens

Alchemy: the Lost Years

Title is an exciting tale of intrigue, mystery, and magic set in present day Sandia Labs, New Mexico with flashbacks (as “remote viewing”) to places including ancient Phrygia, Jerusalem during the First Crusade, and Renaissance Prague just prior to the Spanish Armada’s assault upon England, told through the eyes of characters to who want to transform their own lives.  Could we bring back enough magic to have a Golden Age on earth?  Title   invites you to join the quest, and find out.

In scenes ranging from a mad caliph who seeks immortality to a Rabbi cursing the Crusaders to William Shakespeare learning alchemy from John Dee and Edward Kelley to a present-day crisis with a “talking meteor” in Sandia Labs, New Mexico, five characters find their lives interlocked through 1,000 years of alchemy, magic, and cutting edge science.


Opening: As a reddish brown meteor hurtles through space,  a first barely-audible voice-over increases.  The speaker is in the midst of explaining how such metallic “stones from heaven” impacted human history. “All of our gold and silver, most of our iron… it came from the heavens,” the voice says, as the meteor burns through the atmosphere and hits the earth. “But then something strange happened.”  As the meteoric dust subsides, and the night sky still glows with flecks of smaller “falling stars” in the meteor shower, proto-humans encircle a giant now blackened stone that has fallen, and begin to dance around it.  A shaman speaks to it, and seems spoken to in return.  He turns around, his staff held high, as the others chant and bow to the stone.  And we flash to the present, where the speaker’s face seems strangely similar to the shaman’s.

Scene 2: Present-day scientist Dan Winter has been brought in secret to Sandia Labs, where Dr. Archnemesis urgently needs help with a “stone that fell from heaven”- in this case a talking meteorite that seems to be driving the technical staff in his lab insane.  Winter gathers his team to reveal the physics of the “Black Stone”—the prima materia of alchemy.  Is this the same as the famous Cybele Stone of the ancient world?  Could parts of this powerful stone have made it into histories of all three of the west’s major religions, and perhaps be part of why they are fighting?

Scene 3: Meanwhile magician and historian Vincent Bridges, a reincarnation of a cursed Crusader doomed to remember all of his lives since the fall of Jerusalem, is in Prague attempting a time-travel working.  He plans to go back to 1593 to untie a “knot” involving a former incarnation of himself, Sir Edward Kelley.  Soon we’ll find out that all of the characters in that timeline also exist in the present and in the First Crusade.

Scene 4: fades from Winter talking at Sandia labs to a similar presentation with Bridges several years before: reveals how collective plasma becomes implosive with symmetry seed center- Kaaba -  introduces harmonic alchemy physics of bliss/ fusion (presaging Shakespeare).  Bridges jokingly tells the story of being cursed by the “Rabbi.”

(treatment- to be continued)

==== next - exerpt from 'Alchemical ENIGMA' new book from Teresa Burns- with Vincent Bridges

Part Five

Edward Kelley the Alchemist


Others say that the knowledge of the Art was restored by Hermes Trismegistus, whose mind was a treasury of all arts and sciences; and alchemists are still called sons of Hermes.
Edward Kelley
The Theatre of Terrestrial Astronomy


Once upon a time, there was a young squire named Wolfram who had the good fortune to travel with his Emperor to Arles for his coronation as King. While there he heard the first whispers of a new legend concerning something that would be called the Holy Grail. Later, after Chretien's attempt at the story had become the equivalent of a medieval bestseller, Wolfram tried his hand at the yarn. He claimed that he had a better source and deeper insight into the story, and went on to create one of the true classics of the Middle Ages, Parzival.
Wolfram's version had many significant departures from Chretien's original narrative. The most significant concerned the nature of the Grail itself. In Wolfram's Parzival, the Grail is not a cup or a plate, or even a series of holy objects, it is a Stone, the stone of exile, or the stone that fell from heaven, depending on how you read Wolfram's pun. This change removes the Grail story from its supposedly Christian roots and places it in a whole different realm, that of alchemy.
We know that much of the Grail legend has its origin in Provence and southern France in general. Wolfram would also write a romance set in Septimania and Provence, and even Parzival can be largely mapped to southern France. But where did the idea that the Grail was a magical meteorite originate? That component cannot be traced to southern France; its closest cognates are all Middle Eastern, including Abraham's flaming torch, the Kaaba Stone and even the Cybele stone from central Turkey. So how did these stories become part of the Grail Legend for Wolfram?
The answer to our question takes us in an unusual direction, toward Bohemia. Wolfram claimed to be a Bavarian, but the probable location of his birthplace, somewhere in eastern Bavaria, makes him a subject of the King of Bohemia at the time of his birth. These were at best fluid loyalties, all tied to the person of the Holy Roman Emperor. After the death of Frederick Barbarossa, the Empire went into a period of anarchy and near civil war. We know that Wolfram fought in these wars, but we have no clues as to when, where or for whom. Curiously enough, one of the most likely places for Wolfram to have campaigned is Bohemia.
Ottokar I, "King" or Duke of Bohemia, spent these years scheming and playing one off the other in the Imperial struggles in order to secure for his family clear title to the rulership of Bohemia. It is likely that Wolfram either fought with Ottokar and Phillip of Swabia, or against them, in the period in which he was composing Parzival. Perhaps he even visited Prague while the ancient fortress at Vysehrad dominated it. That unfortunately, we will never know...
But the likelihood that Wolfram was in Bohemia at some point is very good, and as a careful listener to the local storytellers, he would have heard a curious legend.  
Long ago, soon after the creation of the world but before man appeared, God and the Evil One fought a great battle in heaven. The Evil One lost, and was cast down into the far north of the world. As the archangel Michael struck the Evil One, a splinter from the great Green Stone was struck off and also fell to earth, landing in eastern Bohemia and Moravia. This essentially Persian/Iranian legend was told to explain the vast amounts of green glass-like stone found throughout the region.
In Wolfram's imagination, this became the Grail Stone, the stone of exile and the stone that fell from heaven at the same time. But how did the story, originally Persian, get to Bohemia? Archeology has the answer, and it seems that soon after the Islamic conquest of Persia in the late 7th century groups of Zoroastrians began to migrate north and west into central Europe. By the 8th century, there were centers of Persian Mithraism in several places in central Bohemia, including Prague, where a Persian fire altar occupied the center of the old town, just about where Tynsky Chram is today. A century or so later, Bohemia became officially Christian, and the local legends got a gloss of Biblical authority. By the time Wolfram likely heard the story, it was as an extension of Genesis.


That Kelley was a major influence on the history of alchemy in Europe is without doubt. His influence was strongest in Central Europe, but over the next century his works and ideas on alchemy spread from Bohemia to Germany, France and England. Along with Dr. Dee’s Monas Hieroglphica, Kelley’s work formed a cornerstone of Rosicrucianism. As his fame grew, so did his reputation, and it took on many of the components of the Faust legends, leading us to suspect that Kelley might have been one of the influences on Marlowe’s version.


here we refer to PROSPEROS BOOK:
This article is a classic.  It's asking what book Prospero, the character based on John Dee in the Tempest, throws away at the end of the play when he gives up his mantel of magic.

(Teresa Burns writes:) I'd give two answers:  the "magic book" must be both John Dee's spiritual diaries as distilled into Sloane ms 3191,
and the Folger Shakespeare Libraries "Magic book" referenced in this article.


Teresa Burns- earlier - treatment/abstract was as follows:

Dr. John Dee, Elizabeth I’s court astrologer and the original secret agent 007, and Sir Edward Kelley, a mysterious occultist with a sinister past, are sent by the Angelic Beings on an apocalyptic missionary journey that draws in none other than a young poet and spy named Will Shakespeare.  Their travels take them to Prague, a Gothic fairy tale of a city, ruled by the half-mad Holy Roman Emperor Rudolf II who believes in Hermetic science and has a grudge against the Catholic Church. In this arena of politics and magic, intrigue and espionage, and against the backdrop of the Spanish Armada and Dee and Kelley’s angelic conversations, wife-swapping, and alchemy, Shakespeare grows from a wide-eyed innocent into the greatest playwright of all time, discovering his real talents, and finding the great themes of his future plays in his own experiences, including his tempestuous romance with the Dark Lady of the sonnets.


New Story Plotline

© VB/TB 2009,  © VB 2011 

(Dan-- this is the project Vincent and I started together --still have the signed documents to prove that-

As far as the plot below: I had different ideas about what should be included as a focus, but clearly the plot was going to be the way he wanted it, not the way I wanted it, which might have been fine except what he wanted, when he returned from Prague the first time, totally changed in head-spinning ways.  Now, I’d asked what focus would better serve the higher awareness of the audience who is watching, and revise accordingly.  I think many people care about personal transformation, and only a few care much at all about Shakespeare, Dee and Kelley did 400 years ago.  So they need to be in service to the larger story of alchemy—which is what I see you doing in your outline—rather than the alchemy story being in service of what great alchemists this person or that person was.


Act One

Prologue – Dissolve from credits to montage of Kenilworth Progress, very dreamlike showing Leicester and Arden, Bride Ale Pageant, storytelling Captain, the Queen, etc. Voice-over comments…

Part One –

A) Flow into Dyer and Will coming into Prague from west, driving a rickety one horse coach past Billa Hora and royal forest preserve, then stopping for the night at monastery. Dyer spots the Archduke Ferdinand at the spring, and uses the sighting as an excuse to talk to Will, finally, concerning their mission. They are to find two important people, Dr. John Dee, the Queen’s friend and sort of wizard, “head intelligencer,” and his partner, co-conspirator or common swindler, Edward Kelley. “there’s more than a whiff of brimstone around the man…” Dee is Dyer’s main concern, but Kelley could be playing a very deep game. “Sir Francis knows him well, and Sidney met him once or twice… what he is doing with Dee, and why, in God’s great goodness, are they here? That’s our goal… And whatever you do, don’t stare at his ears…” Dyer stresses the importance of the mission, noting that he should be at Sidney’s side in the Low Countries instead of pursuing this kind of chimera in Prague’s cauldron of intrigue. “The Emperor is mad, and his brother is pure evil. The factions of Europe, from the Pope to the Emperor’s uncle the King of Spain, to Maltese Knights and Venetian bankers, are all here, circling like carrion…” Dyer explains the cover story… they are coming from the Emperor of Muscovy to ask about employing Dee as a scholar… Will is to speak as little as possible, and then in bad Latin.

B) Early morning trip down old road, past the bulk of the castle to the right then switching back to reveal a panorama of Prague, down through edge of Mala Strana, the Little Town, to Stone Bridge, and over to Old Town. They stop at the Black Star in Karlova Street, where Dyer engages two small upper floor rooms, and Will is sent to deal with the horse and coach. Will has spent a few months in London and Westminster, plus traveling across the German States with Dyer, but he has never experienced anything like Imperial Prague. Every race and language in Europe was represented, along with their food, leisure activities and religions. Will finds a stable near Old Town Square, and then is drawn into a solemn procession. It is the Feast Day of The Erection of the Holy Cross, September 14th, and the ancient Byzantine Catholic rite is taking its relics up to the cathedral inside the castle. Will follows along, through a climb up through newly rebuilt Little Town below the castle and up what seemed like an endless staircase to the Old Palace itself and the front of the cathedral, glowing with mosaic scenes from the Bible stories. Will is swept up and goes inside with the procession. The imagery is overwhelming; he has a vision of the shining ones and the light settles on one of the court ladies standing to the left of main altar. She is dark and sparkling, and Will, full of Dante and Petrarch and Sidney, falls in love with the weight of a revelation. As he leaves the church, he feels transformed, and the whole city, walking down from the castle, seems to glow with its own internal light.

C) Dyer has also been busy, collecting rumors about Dee and Kelley. He and Will spend a few days frequenting markets and taverns in Old Town, and listening to many of the local legends, including a vigorous rendition of the Faust story. They soon discover that Dee and Kelley are in Trebon, in southern Bohemia. They have been exiled, under pressure from the Vatican and the Spanish Ambassador, to the estate of Villem Rosenburg. Dyer and Will prepare for the trip, but are continually delayed. Dyer is afraid to leave Prague and his sources of information as things have taken a disastrous turn in the Netherlands. Sidney is wounded and dying near Zutphen, where Leicester and his allies have taken a sharp defeat. Dyer frets and Will loafs, roaming the city looking another glimpse of his vision, his Dark Lady…Just after the weather turns cold and wet and raw, Dyer and Will depart for Trebon. The trip takes two weeks, but by early December they arrive at Majdalena outside Trebon.

Part Two –

A) Two weeks on the road brings them to a small but prosperous village on December 8th. Rosenburg has a new town house in the center of the village, but Dee and Kelley are housed in the old castle a few miles outside the town.  The place is spacious, but rather ramshackle, and most of it seems to be below ground in the maze of crypts and cellars. No one is there to greet them and the place seems almost deserted except for a few children and an old caretaker. The castle consists of a three story square tower, with the top floor semi-collapsed, along with a long farmhouse, a kitchen and some stables - a cluster of small houses with a lumpish looking Rathaus in their midst marks the crossroads - and sundry out buildings, enclosed by a crumbling stone wall and a moat mostly filled with generations of debris and garbage, the scene was far from the splendid manors of the court or even Rosenburg’s other houses. A roundish and seemingly ancient chapel stands just outside the wall.

Slowly the household emerges, the ladies, Jane Dee and Joanna Kelley, appear first bustling about their midday duties. A Latin tutor materializes and gathers the children. Dee huffs up - having been out on his morning constitutional and seen the coach coming up the road from Trebon - out of breath and somewhat harried. He apologizes profusely for not being there to greet them, and at the height of the commotion Kelley emerges from one of the crypts under the chapel, looking as if he had slept in his clothes, which he had, and deep in thought. He passes the group without seeing them and only at the entrance of the tower does he turn back to greet them. His hair is pushed back and the serrated edges of his ears poke through his hair. Will keeps staring at them. Dee makes them as comfortable as possible, as there is a shortage of beds, and the ladies lay in an early supper. Dyer and Dee are talking about the news from England and the lowlands while Kelley drinks and broods. Young Will can’t seem to keep his eyes off Kelley’s ears, so Kelley decides to provoke him. “Do you know how I got these ears?” No, Will answers. “Well sir, if you did know then, I’d probably have to kill you.” Will is shocked, but replies that all he knows is how funny they look. Kelley looks at him blankly then roars with laughter.

B) The weather turns bad, cold and damp with a constant drizzle and this odd collection of people are forced to stay indoors and basically underfoot. Dee is writing and conferring with Dyer, Kelley is apparently off in the crypts and Will is left with the ladies and servants. He plays Latin words games with Lizzie-Jane Kelley, works on his sonnet and talks with Jane Dee, who reminds him of Anne back in Stratford, and flirts with Joanna Kelley. Kelley appears infrequently, coming up from the crypts smelling of hellfire and moldy earth to drink himself insensible, rant about his destiny and the wrongs done him since birth, and generally disturb the smooth workings of the household. Will sees that Kelley has little use for his own wife and even less for Jane Dee, and somehow this makes him even more remote and sinister. Dee, whose main fault is that he loves the sound of own voice spouting platitudes, takes an interest in Will and tries to include him in his talks with Dyer. Will however is caught in the thrall of the spell back in Prague, and all he can do is work on his sonnet. “Therefore my mistress’ brows are raven black…”

C) One morning a week or so after their arrival, Kelley appears looking fresh and washed for the morning meal. He apologizes for his late temperament his mind has been on his work, but his work has reached a successful conclusion. “Gentlemen, if you so wish it, I will perform the magnum opus, right here in the crypt of this god-forsaken hovel, so that all may know that only from the lowliest, may come the Highest.”  Everyone spends the day in a twitter, Kelley heads for Trebona and returns just before sunset. Jane cooks her Christmas goose a few days early, and after everyone is full and bursting with anticipation, the men head off to the chapel and its crypt. After a few narrow turns, they arrive at an old Romanesque vault, circular with a single giant pillar in the center, that Kelley has completely filled with alchemical equipment. As Dee explains the basic theory, and adds some extensive and comprehensive prayers, Kelley takes a lump of badly smelted lead, dumps it into a crucible and begins to heat it up. The room takes on a hellish glow and fills with the sharp tang of molten metal. Dee begins to pray in a language Will has never heard before as Kelley strains his crucible and stirs his lead. Kelly then takes the fresh wax he brought from town and shakes a few grains from the bottom of a small flask on to it. He wraps it into a ball between his thumb and forefinger and holds it above the crucible.

As Dee and Kelley begin a chant in unison in the strange language, Kelley drops the ball into the lead and covers the crucible. Silent falls; except for Dee’s quiet prayers and the knocking of Dyer’s knees, as Kelley sets a sequence of hourglasses. They wait, as the room grows dark and the air thick. Finally, Kelley relights the fire, moves the crucible and places it on the small wooden table in the center of the room. They gather around, and Kelley opens the cover and tilts the still molten liquid toward the light. “Gold, gentlemen, the great work is accomplished.” Kelley promises to give Dyer the crucible to show to whomever he thought best, then poured the gold into a mold.

D) Will didn’t remember how he got to his room on the ruined third floor that night. He dreamed, or lay in the dark and watched his visions on the back of his eyelids, until dawn. He remembered the Faust stories that he had heard in Prague and Dyer’s sneering appraisal of Kelley, and it grew into a conviction that he had just flirted with eternal damnation. But the next morning, the house seems so normal, and the weather brightens and so Will begins to feel better. He decides to find out just who these people really are, and what they are really doing, not just do his job and spy on them. He would figure it all out, and somehow that would get him back to Prague, back to the Dark Lady and perhaps, even to meet her.


Act Two -

Part One -

A) Dyer leaves for England with his crucible and packets of letters as soon as he can hire a better coach and horses.  Young Will is left behind, without so much as an explanation, and everyone at the castle just assumes that he is meant to be there. Kelley and Dee hold endless discussions in languages Will can’t follow, and, as Jane has cooked the Christmas dinner a week early, the holidays are gloomy and slightly sad.  It snows for two days and by the 26th everyone is in need of a little recreation. Jane gathers the group in the main hall and has a huge fire built and declares that they will have a merry holiday, or she will not be pleased. Joanna sings hymns and plays the small virginal, Dee tells a tall tale about the Christmas processionals at Cambridge. Even Kelley adds a gloomy tale of the Illyrian Duke and the Lady of Cyprus who loved him so much she became his servant just to be with him, and then wins his love while wooing his lady for him. A few mugs of warm spiced wine and the room sparkles with jokes, including a great deal of witticism on Dee’s choice of a nom de guerre for Will, Francis Garland. As this dies down, everyone turns to the young stranger in their midst. Tell us a tale, Will, the ladies urge him.  Will says he knows no tales worthy of the company but the ladies nag him to at least tell his own story. Dee looks worried, buried in his beard and frowning, and Kelley seems bored.  Will has no choice and so launches into his story – Stratford, his father, the vision at Kenilworth, his service in the north, then his uncle’s execution, the satirical ballad on Sir Thomas Lucy’s gate, being forced into service to Queen, having such hope only to see nothing come of it but a wife he didn’t even know, children that weren’t his, a small town life that seemed to swallow him whole, having to leave the twins and Susannah behind, London, rootless and lost on the road to Trebona. The plain tone and the quiet intensity of his pain moved the entire group. Dee says he will pray for him, Jane mothers him. Kelley, deeply moved, announces that Shakespeare has a new job, as his secretary. “Brother Garland,” Kelley declares, “we are your family now.”  Will, speechless, stumbles up to his drafty bedchamber.

B) The next day, Dee and Kelley seem to have reached a conclusion. Dee will stay in Trebona and keep the alchemical experiments going while Kelly heads to Prague for more supplies and Rosenburg’s wedding, an event foretold by the angels but whose accomplishment had awaited the completion of the great work. Joanna of course wants desperately to go, Jane as well, but less so. However, Kelley is clear that he can’t do what he needs to do with a large family and servants along. This trip is light and lean, focused on important business, not a social occasion. Joanna sulks, but there is nothing she can do. Dee is quite happy to stay at the castle; he’s not fond of court functions in general. The experiments are set in order and early on the 30th, Kelley and Will set off to Prague. They arrive mid afternoon the next day at Kelley’s hideaway on the fringe of the Old Thief’s Market near Beggar’s Square behind Tynsky Chram. Kelley sheds his identity with his clothes and becomes Quick Eddie, the darling of the demi-monde of the Imperial City. Over the next week, Kelley educates Will about life on the underside of the Gothic Fairy Tale. Prague is a city of refugees, wanderers, heretics, criminals, geniuses and Jews, and Kelley is welcomed by various names in every den of iniquity in town. Will follows along, trying to stay out of trouble by being invisible, while Kelley does deals and arranges transactions. They meet Kelley’s “brother,’ Thomas, whom Joanna also claims as her brother, who is a musician at court and Kelley’s main source of information in the Castle. After a week or so, Kelley takes Will to a fine tailor in Mala Strana below the castle and has a suit of formal clothes made for him. Rosenberg’s wedding is coming up.

C) The wedding, on the Sunday of the Feast of Christ’s Baptism, was turning out to be a major event. Rumor had spread that Rosenburg’s marriage was a sign that things had happened on the alchemical front so every alchemist in town, from the lowest puffer to the most advanced philosopher wanted to be there. The wedding was to be a quiet affair at St. Vitus’ after mass, but in order to accommodate the crowd of the curious and the well wishing, Rosenberg was throwing an alchemical masked ball that evening at his palace in Hradcani. Not just the alchemists would be there but the cream of Imperial society. They too, particularly the people who actually ran Rudolph’s Empire, were very interested. Will is dispatched first, with instructions to watch the crowd and notice the alignments of power. Kelley will make his entrance later. As Will is leaving in his Green Lion mask, Kelley has a flash of a premonition and warns against the wiles of Queen Mab who gallops through lover’s dreams and steals their souls. During the long walk up to the garden palaces of the Imperial nobility, Will ponders Kelley’s advice. Arriving early, Will finds a good spot, a cloistered antechamber, from which to watch. He notes the introductions - who talks to Rosenberg and who makes only a perfunctory comment - and hardly notices when an Italian masque begins: an old favorite, Romeo and Juliet. As he watches, he is transported, so caught up in the story that he fails to notice when the music begins and the area in front of him opens into the dance floor. The dancers move like animated symbols, blending and changing like alchemical notations flowing through a beautiful dream.  Will notices a richly dressed Diana the Moon Goddess dancing with an elegance that compels him to stare. Moving closer, he realizes that this is his own Dark Lady. She catches his movement in the shadows and carefully arranges to be near him at the end of the measure. A quick curtsy and she vanishes behind the tapestry and into the cloister where Will is standing. Breathless, she grabs his hand and, murmuring something in Czech, pulls him close to her.  After a moment, she reaches up and kisses him, removing his mask as she does so. Will is stunned, hardly daring to move or breath but the kiss lights a spark and he returns it full force. After a long moment the music begins again and she pulls away, only to react in shock when she sees his face. He is definitely not who she expected to find and kiss in the cloistered aisle; and she is insulted that he allowed it. Such is clear from her manner and the torrent of quiet, angry Czech, as she vanishes once more back onto the dance floor, merging into the flow without a ripple.

As the music ends, a stir runs through the crowd. Kelley has arrived, dressed as the allegorical alchemist in black and silver with a gold chaplet topping a long black hooded cap. Rosenberg greets him warmly, and introduces him as Magister Dominus Kelley. They chat as the rest of the room shifts itself around to catch the Magister’s eye. Kelley, Will recognizes, is giving the performance of a lifetime, restrained and yet masterful, in complete control of the room and yet open and full of wisdom. This Kelley is the strangest of all to Will. So might the Devil have appeared before the angels to tempt them? There is some magic at work, Will decides, that is far beyond his comprehension. When the dancing begins again, Will notices that his “Diana” has gone, and that the light has left the room with her. He walks back, stimulated and frightened by the kiss, and filled with an odd sense of admiration for his friend and mentor. In less than a month, he has come closer to his Dark Lady than he ever dreamed possible. But where exactly were the shining ones in all this?

D) Two days later, Kelley and Will are up early on the road to Trebona. The air is chill and frosty and patches of leftover snow brighten the brown sameness of the landscape. The breath comes in big smoky explosions as they talk. First off, Kelley wants Will’s report, which he gives in sharp detail. Names were hard to get, but images and devices he remembers clearly, and Kelley is pleased. Kelley is as close to being in a good mood that morning as Will had yet seen. Kelley asks him how he managed at the ball, and Will, who can hardly contain himself, tells the whole story: seeing her at the Cathedral in September with the shining ones, not being able to get the image out of his mind, haunting the Old Town Square for a glimpse of her, how she kissed him at the ball expecting someone else… Kelley laughs so hard he almost falls off his horse. When Will wants to know what’s so funny, Kelley bursts out again. Will is somewhat offended, and rides a while in silence as Kelley mulls things over. “A thousand pardons, good sir,” Kelley apologizes. He explains that he was only partly laughing at Will, but mostly laughing with the Great Joker, Kelley’s sobriet for God, who seems to have taken a great interest young Will lately. Kelley explains about the Feast of the Holy Cross, how it marks a secret, the timing of the coming apocalypse, or lifting of the veil. “Indeed, many think 1588 is the date, but truly learned men know there is one planetary age to go yet.” Kelley refers to the great clock in the Old Town Square and explains that there are cycles within cycles, of which the clock notes only the smallest, or localized scales of life and death. The secret of why alchemy exists can be found in those cycles. “And of course, the Feast of the Baptism of Christ, points to John the Baptist initiating his son or brother Jesus, and holds an especial meaning for those of the Ancient Order, as Rosenberg certainly is. Your Dark Lady fixation has placed you at the center of the great conspiracy, my fine lad, the new Hermetic Brotherhood of the Golden Light of Dawn.”

Kelley doesn’t know who the Lady might be, but he is impressed with Will’s luck all around. Kelley lets him in on the big secret, the Angelic Conversations he and Dee have been having for years. The Angels have stage-managed the whole event and now they have something important in mind. A shift in the planetary age is often disruptive, and this coming shift might see the end of England, and the final victory for Philip II and the Spanish Inquisition, an end of this world, if not of the World. “The Angels have given warning and a certain amount of instruction, but somehow, and soon, I must have the rest of it. Time is short and my tide is high, ‘tis time to sail before the gathering storm.” What about alchemy? Will asks. “That’s one of the keys, a sort of demonstration of principle, which then must be applied on a different level.” Kelley muses a while in silence, “The only question is that of Time, the moment of being and non-being…” Kelley hardly says three words the rest of the trip. Shakespeare composes a sonnet in his head: “If I profane with my unworthiest hand…”


Part Two -

A) Kelley and Young Will ride slowly out from Trebona in a sleet-filled drizzle, pausing at the Rathaus in sight of the castle. Will questions their lack of progress, looking forward to a large fire, food and a warm bed. Kelley replies that he is girding his loins for the scene to come. “ Let him who can tame a shrewd wife, better than thus, let him come to me and fetch ten pounds and a golden purse,” Kelley sings in a quavering comic voice. He then tells Will the story of his and Joanna’s marriage: First husband was one of Dee business partners, his sad end while wool smuggling, Dee arranging the marriage as a way to give Kelley more respectability and a stronger covering identity, their complete lack of sympathy for or understanding of each others desires and drives. “I am afraid that while I have Rosenburg’s fine gift to Jane, I completely overlooked Joanna and so have nothing to even remotely compare.” This side of Kelley also surprises Will. Kelley cares about Joanna, but he doesn’t care for her. Kelley puts a good face on it, and they ride up to the castle.

The scene is as tumultuous as Kelley expected. Jane is pleased to happy tears with Rosenburg’s gift and Kelley’s kindness in bringing it to her, while Joanna sulks and makes unnecessarily pointed and unkind comments. Dee is pleased by everything and stunned when Kelley tells him that Rosenburg is on his way to Trebona and wants Dee and Jane and the family to come travel with him. The household erupts into happy chaos, and eventually Will gets his dinner and moves into Dyer’s old room. Kelley and Joanna can be heard arguing far into the night.

B) Two days later, Kelley is ready to depart for Prague and points eastward. Will finds that his status has changed again. Dee and Kelley have held long conversations, some including Will, and it is decided that Lucky Will, as Kelley now calls him, will be instructed in the arcane arts. Dee gives him a pile of manuscripts, The Monas with its commentary, the Aphorisms, Agripa, Trithemious, and various ancient texts to copy including the Black Venus, along with instructions on what to study, and what to analyze. Will is a little overwhelmed, but anxious to please and genuinely thrilled to be involved as one of the inner circle. He takes his magickal apprenticeship very seriously; including the oaths Dee has him swear. Soon after Kelley’s departure, word comes that Rosenburg is at his new house in town and ready to receive Dee and his family.  Within a week, they are gone, leaving only Joanna and her children, the servants and Will at the old castle.

C) They settle quickly into a quiet routine. Joanna gets up early to get the servants in gear, Will soon joins her and they read and study by the kitchen hearth. Joanna reads her romances, and some verses including a few of Sidney’s works, while Will tackles the magical philosophy of the Renaissance, from Agripa to Bruno and back again, all referenced to the Hieroglyphic Monad, and all subject to examination on Dee’s return. Joanna is quiet in the beginning but her natural sociability soon takes hold and she takes every opportunity to interrupt Will, originally with simple comments and concerns, but these quickly turn to a fierce desire to know more about her husband and what is really going on with all the strange people, the house is always full of spies, and the mysterious Angels and the strange smells from the crypt. Will tries to deflect her questions as best he can, remembering the terrible oaths he has sworn to Dee, but constantly suspects that Joanna is reading more into his evasions than he would like. Their talk after a few weeks turns to love, and Will hears her side of the family tragedy, and he reads her his first finished Dark Lady Sonnet: “In the old age black was not counted fair…”

She is impressed and turns up the flirtation a notch. Will, while pleased and somewhat amused, is clearly not interested. The talk of love becomes stilted and soon Joanna is back to prying details of Kelley’s other lives out of him. So it is a relief when Kelley breezes through in mid February. He stays a day or two, and then is off again after Dee and Rosenburg. The Dee’s arrive for a brief stay a few days after Kelley leaves, and then they are off again as well. For another three weeks, the same awkward dance continues, except now Joanna tries her musical skills and sings and plays the virginal every afternoon. Will daydreams about his Dark Lady playing such an instrument and Joanna mistakes his arousal for a sign of interest. Supper is strained, and Will turns in early only to find his sleep interrupted near dawn by a warm and needy Joanna. He turns her down, which is hard, both on him and on her. She takes it badly and makes a scene, rudely commenting on his friendship with Dyer the pederast, and storms out. A few hours later, the whole group, Dee, Jane, the family and Kelley arrive from Trebona.

D) Three days later, just as everyone has settled in and Will been given his written examination, word arrives that one Lord Biberstein, a courier of Rosenburg’s, is at the Inn on the Crumlaw road and wants to talk with Dee and Kelley. They ride off together, and Dee returns before sunset; Kelley has gone with Biberstein, riding away toward Crumlaw. Will is a little nervous that Joanna will return to his chamber, but the night passes quietly. Kelley returns early the next afternoon, and Dee and Kelley take turns giving Will his oral examination. Will passes, but supper is strained by Jane’s exuberant discussion of Dee’s new position with Rosenberg and all the important people she met while away. Joanna tries to ignore it, but is drawn into the discussion against her will when Jane launches into a description of court fashion, including the latest gossip on Joanna’s brother Thomas’ betrothal to one of the Countess’ ladies in waiting. Dee squelches the discussion quickly, and Kelley is oddly amused.

After supper, Dee, Kelley and Will head for the small chapel and more serious discussions. Everything is in place to begin the Third Action, all the players are on the board, and with Lucky Will’s influence the time is exactly right. Kelley gives a brief overview of the previous Angelic conversations: the shaky start back at Mortlake, the slow success at receiving an angelic language, the first glimmers of understanding, the apocalyptic warnings, and then Laski and the call to Prague. Dee adds his perspective, and Will gains a glimpse of why Dee is considered the smartest man on the planet; from navigation to British destiny in the new world to a grasp of continental politics, Dee’s mind is wide ranging and all encompassing. He explains how he and Nostradamus saw all this coming back in the 1560s; how he had worked first for Maximillan II, Rudolph’s father as a book agent and dedicated the very secret material that Will had been studying to the Emperor, how Maximillan II allowed the formation of the Hermetic Brotherhood, which Dee considered a secret college of adepts struggling to bring enlightenment to the increasingly dark world around them. Kelley then continues with the early days in Prague; going first to Cracow with Laski while the arrangements were made for a visit to the Emperor; the first visits to the Castle, their reception, giving the Emperor a few Cabalistic texts, and the unreadable manuscript and vial of projective powders that Kelley had tried to sell Dee at their first meeting. Dee continues with the angelic conversations in Prague and the continued shaky relations with the various court factions. Kelley tells of his dismay at finding that the prized powders were in fact worthless. Dee interjects the wonderful, nay miraculous, discovery of certain mineral sands at the mines outside Prague. That saw the beginning of the first action, basic test of method and theory, and that was completed October last. The second action, that of actually making gold, you saw for yourself in December. Now it is time for the Third Action, which is transforming the nature of the time, the planetary shift of angelic intelligence, just as we transformed lead into gold.

Kelley is silent for a while after Dee finishes. “The first two actions were framed by what we know of the ancients, but the third action is something that is only hinted at. We have little or no guidance so must trust our own in this matter. I have, admittedly, been seeking the wisdom of some pagans” – Will has a flash of the Asiatic house in Prague and thinks he knows which pagans, which makes him smile -  “and thinking over some of the texts, such as the Black Venus and I think I have an idea…” Jane, who, using as trivial a contrivance as she can muster, makes her way nosily into the chapel, interrupting them. The meeting adjourns for the night.

The conversations continue over the next week. Jane, to help mollify Joanna and make the household run smoother, introduces her to the ladies at Newhouse in Trebona, This is a small group of Rosenburg’s unmarred and widowed female kin, who had formed a sort of pious Christian coffee klatch around the local cult of the Magdalene. Joanna blossomed and was cheerful as spring slowly crept up and exploded over the landscape. Jane, however, was a different matter. Will always marked the shift at the moment she barged into the chapel, but there had been signs. Simply put, Jane had seen the Light and wanted in on the Big Secret.

Ea) By April 4th, the Third Action was ready to start, timing a half moon cycle that would end on the 18th.  The goal was to open contact with the energy of the coming planetary cycle, that of Venus, and simply ask for guidance. This working marks the first real magick for Will. He finds the experience exhilarating and in his mind images from the scrying ball and the alchemical ball mix with the flow of the ritual into a kind of alchemical theatre. For the very first time, he feels that there is something he is good at. 

b) But things continued to be strained at the castle. Joanna takes every opportunity to visit at Newhouse, and Jane uses her absence to spend hours talking with Dee. Kelley took up the slack of helping Will with his lessons, but it seemed to Will that Jane was asking Dee almost the same questions. Soon, Jane begins to suggest that Arthur, her son, might in fact be a better scryer than Kelley, particularly if Kelley would teach him. Dee agrees and suggests that they train Arthur to be the seer in the closing Third Action working. Kelley announces that Dee will have to take responsibility for including Arthur; he will have nothing to do with it. Dee prepares the boy and on Wednesday sits him down at the Holy Table with the angelic shewstone present. He struggles, but sees very little. Dee puts him to it again the next afternoon, with even less results. By Friday, Kelley decides to intervene, interrupting their session with a breezy tale of spirits flying around the chapel, then looks in the crystal and delivers a sharp warning about what is to come in the voice of an ancient Goddess.

c) The next day, the 18th and the last day of the working, Kelley returns to the crystal at Dee’s urging after Arthur, seeing nothing, faints dead away. Kelley reports a vision of a naked Madimi, (a somewhat unusual spirit that seems to have been guiding the move to Prague, but which hasn’t been heard from for three years,) who announces an alchemical union of the four, Kelley, Joanna, Dee and Jane, and that nothing is unlawful that is lawful unto God. Kelley professes to be shocked and swears off the entire endeavor. Dee talks him out of it before supper, but Dee’s calm acceptance triggers a powerful reaction in Kelley and after hitting the home brewed slivovice, Kelley goes off on a rampage. He explodes up from the crypts shouting of small gnomes and a tricksy sprite named Ben. He rants about doom and destruction, spins wild fantasies of the fall of nations and empires, and accuses Will and Dyer of being spies. Dee comforts him and they sit talking until two hours past midnight. Will has been a witness to the whole event, and long after Dee has gone up to bed, where Jane can be heard stirring restlessly, and Kelley has collapsed into a drunken heap, Will remains frozen in place.

d) It takes a full day for Kelley to recover, but by the afternoon of Monday the 20th he emerges looking much the worse for the experience. After a little food, and much water, Kelley reports that the spirits swamped him but that one caught his attention. It said Join Enoch his tablets; give every place its running number. Kelley explained that this was the great breakthrough, a way to make the angelic tablets into “something tangible, something truly describable only by a kind mathematics we have yet to create.” Dee believes him, and forgives him for his outburst. Will is in shock, as is both Jane and Joanna. The air is so thick it would take a sharp knife to cut it. The tension goes up a notch on the 21st when Kelley rejects Dee original agreement, and writes a statement condemning the whole arrangement. It builds for another two days, with Jane taking to her bed, and Joanna looking morose and distant. No one talks about Kelley’s explosions, and not even Dee seems to have much to say.

e) The next day, Friday, the day of Venus, is also Will’s 23rd birthday. The working that day, called by Kelley in order to achieve some clarity, was all anyone could have wished for; levitation, lighting tricks, physical materializations, topped off by one of the spirits actually making off with Dee’s angelic orb. Kelley is distraught, almost to the point of a heart attack, and then after recovering somewhat, undergoes a kind of kundalini experience. Dee is thrilled by the goings-on, and his mind is made up on the spot concerning the proposed union. As Kelley recovers over the next week, the household dynamic shifts once again. The tension is gone and Jane acts as if she is the cat that swallowed the canary, and even Joanna has brightened up a bit. Only Will is sinking deeper into a funk.

f) On May 1st, Kelley shows Dee how to use the crystal, and for the first time, Will is not invited. Two days later on Sunday, the pact is signed and sealed between John Dee, Jane Dee, Edward Kelley and Joanna Kelley. There remained only the matter of details, it seemed. The following Wednesday, the 6th, Dee and Kelly, with Will along this time, go to the chapel for approval of their agreement. Madimi approves, and disappears in a swarm of spiritual beings like a vast crescent moon. Two weeks later, on the 20th, they are at it again. This time Madimi does a few magic tricks with the covenant seal then turns to a Christ analogy for a closing. Will has a strange feeling that something is happening just beyond his senses. For the whole two weeks between workings, Dee and Kelley have been discussing something. Will guesses it is a new ritual, one connected with the covenant, but he is not included on the discussions. Curiously enough Jane is included, and Will feels even more lost.

f1) That evening they break it to him. All four surround him in his hearth corner. Kelley begins: “Will, lad,” his brogue thickening, “are you ready to go back to England?” Will of course says no, and Kelley replies “then we have to know we can trust you on this thing.” Dee jumps in, saying that they need his trust, that they need him for the next working, and they need him to trust them enough to do it and not ask any questions. Joanna smiles, in her best manner, and Jane looks like she wants to mother him. Will feels trapped, caught in a situation that he doesn’t understand, between powerful egos and forces, completely out of his depth. He doesn’t want to go back to England, for many, many reasons, and he doesn’t want to let everyone down, still… There’s that faint whiff of hellfire lingering…

f2) Then Dee continues: “We want you to be a vessel or host for the archangel Michael; you can actually be one of your shining ones.” Will felt his mind tilting, and slowly his head nodded in agreement, and he heard himself saying, all right, then, I trust you. The next day is full of odd preparations, Joanna gives Will a bath in herbs and Jane is hidden away doing something. They have been feeding him teas of various flavors since dawn, and so Will almost doesn’t notice Joanna’s attention to detail. He remembers being oiled in something that stung behind his knees and under his armpits, dressed in clean white robes, and given a strong cup of something to drink. He remembers voices chanting down a long tunnel and some bright Italian sky spreading out endlessly, and nothing else until he awakens in bed the next day.

Ga) Everyone is kind to him, but not much is said on any subject. The next day, Kelley recovers Dee’s lost scrying crystal, finding it in Jane Dee’s pillow. Will finds this curious, but no one bothers to explain. On the 23rd of May, a working is done to get Madimi’s approval and further assistance. She approves and morphs through a sequence of goddess images, ending with a Sophia-like Green Woman, “Wisdom is a piercing beam…” She promises Kelley his revenge, and then vanishes for good.

b) And just that quick, the tone changed. Things shifted, Jane sang in the mornings and Joanna seemed to enjoy planning for her brother, or brother-in-law’s wedding. Dee was happy, puttering around doing absurd jokes for the children. Even Kelley seemed spent, exhausted and calmed. He had the air of someone just waiting on events, breathing and hoping for another miracle like it every minute. Will, released from his magical duties, worked on his sonnets. On the morning of June 9th, the whole entourage decamps for Prague and Thomas Kelley’s wedding.

Part Three -

A) They take up residence in Dee and Kelley’s old house on the corner of Karlovo Nemesti, near the old Bohemian fortress of Vysehrad. Will is immediately lost sight of in the swirl of wedding planning and politics. He leaves and finds himself walking north through the heart of the New City, Nove Mesto, drawn like filings to a magnet toward the Old Town Square. The New City ends sharply at the edge of Stare Mesto, the Old City. Two centuries drop away and the tight streets and warrens of ancient tenements are like something from the dark ages. But Will knows to turn right at the Horse Market and a short clogged street away is the Old Town Hall, with its miraculous clock. Now of course, he sees the clock in a different light, and he sees that 72 clicks of the large cycle, the year, would make one click on the larger clock cycle of the great year, or 25, 920 clicks of this small scale yearly clock. In a rush, the material he had been learning flew together into a larger pattern. Of course, INRI, the alchemical elements and much more, would also be a week, 270 years, of the great year. Feeling dizzy, Will sits on the Town Hall steps, and struggles with the concept of time. The Clock strikes the hour, the Apostles peer out through the windows, Death rings the chimes and the golden cock crows; another hour of eternity has passed.

B) A few days later, Thomas Kelley’s bachelor party or dowry meeting is held at the Sign of the Golden Wheel at the juncture of Karlova and Husova streets. Kelley attends with Will as his retainer, Thomas arrives with a group of court musicians, including Krystof Harant, and a few of Kelley shadier friends show up as well. On the bride’s side is her father, brother, a few retainers, and the personal entourage of the Imperial Chancellor, who is the Bride’s father liege. The tavern is crowded, and the talk mostly bawdy, but with a sharp edge of business. The Chancellor acts as if he is buying Kelley, not marrying a retainer’s daughter to his brother, and Kelley is diffident and offhand in his reply. Tempers rise, and the Chancellor makes a remark about Kelley’s ears, and the whole place almost comes to blows. Cooler heads prevail, but the Chancellor takes his leave. The party goes back to simpler jokes and quiet bargaining. Will and Thomas and Krystof Harant decide to take the air outside. They are standing in the edge of the street when a carriage pulls up. The coachmen calls out a question, Kristof answers him, and for just a second, a beautiful but veiled face appears at the carriage window. It is the Dark Lady. She leans back at the answer and the coach moves off up Husova Street. Will is shocked, and asks who was that? Kristof answers him: that was the Chancellor’s wife, Countess Catarina de Monfort Hradec. Will is dumbstruck, suddenly weak in the knees and sick. His Dark Lady, his love, is the wife of the most powerful man in the Empire, even counting the Emperor…

C) Wedding

D) Seduction

E) Departure

Act Three – - end of earlier treatment- started by Teresa Burns and Vincent Bridges



John Dee / Shakespeare - Flamel- and the deep science and real history of real alchemy : & &
See also- real physics of alchemy- the cause and the cure of the Crusades / religion wars :

Our co-author for the REAL Shakespeare/ John Dee -origin of REAL Alchemy -: Alan Green- -his Book: "Dee-Coding Shakespeare" - this talk: "Deep Science of John Dee inside Shakespeare"- Alan's presentation on the deep physics in the plays- and the mystery of Dee- was a blockbuster: Film here:
Alan is the key to unlock so much mystery behind these ancient traditions- His knowledge of the fundamental constants of geometry and physics is in depth - plus- imagine his courage as he tricked the administration of Shakespeare's tomb - to PROVE that the cavity in the altar stone was there - and surely contains all the docs to show how Dee - put the science in Shakespeare- and spiritual awaken generations to see the connection between ancient sacred geometry- and navigating our aura in the future- We are DELIGHTED Alan has agreed to come back and share more with us!!

May 6- SEEKING THE STONE- new FILM is up(with pdf visuals) see> -with Teresa Burns new book: An Alchemical Enigma: A Short History of the Rise and Fall of Sir Edward Vincent Bridges edited: Teresa Burns & Eliska Bridges image: April Lionheart"- + 'Seeking the Stone from the First Crusade to the Present'
A western history of alchemy derived from Jay Weidner and Vincent Bridges- Mysteries of the Great Cross at Hendaye - and some comments on the metaphysics of past lives, with digressions on to sacred languages, standing waves, and group karma, in which Dan explains why understanding the principles of alchemy is the best way to undo the massive group karma of the First Crusade.
" PLUS : 'Why Did the Angels Tell Dee and Kelley that the Great Table of Earth' held the key to alchemical transmutation?

Alan Green - presenting "Dee-Coding Shakespeare" Feb 19,2017 - 2.5hrs
Fifth workshop- Feb 19 - Sun 2PM- New York time:
DEE-Coding Shakespeare- with Alan Green

By in-depth analysis of coherent and geometric pattern recognition, Alan Green reveals John Dee's cutting-edge scientific knowledge and cryptographic mastery as the revelation motor in the mystery of Shakespeare’s identity. This completely new information has profound implications that will surely restore Dee’s maligned reputation from the dustbin of history to the pinnacle of respect and awe we all know he rightfully deserves.

Green has worked in seclusion for twelve years to bring the world a previously unsuspected side to the Enochian Tables as Rosetta Stone, unpacking an amazing spiritual science hidden deep within the Shakespeare subterfuge. By matching the 624 Enochian squares to the 624 characters of Shakespeare’s Gravestone, Monument, and Sonnets Dedication, Green reveals Dee and “Shakespeare” to be the mathematical / poetical / spiritual polymaths of the Age! 

In a stunning tour de force you will witness how Dee has embedded twelve of the world’s most significant math constants (AND the precise geographical coordinates of the Great Pyramid!) into the innocent-looking punctuation of the Sonnets title page. Shakespeare states emphatically in Sonnet 121: “I AM THAT I AM”. Green reveals, for the first time, how the poet got away with printing such a statement which, at the time, would have been viewed as outright blasphemy, punishable by prolonged torture and death. There's more than a historical blockbuster here — there are ultimately the questions of BEING/BECOMING immortal by knowing the real wave science. Hence
Film here:

"ANGEL GRID" = Implosive Charge Collapse= 'The Sacred"? - We add here-just for comparison Dan Winter's analysis of John Michell's metrology

for comparison to Alan Green's brilliant work above-
here- John Michell found the key geometric series

linking the English FOOT- to all the other major

ancient sacred measures

EXCEPT the meter -
which Alan Green has now linked-

Note it was Dan Winter's discovery that

the English FOOT - which keys

this geometric cascade of EMBEDABILITY

FOOT = Planck Length x golden ratio ^ exactly 164

Meaning that the foot and therefore this entire cascade

precisely fits


that implosion in to LIFE FORCE-
then would appear to


Winter's complete equation series
planck length/time x Golden Ratio Phase Conjugatn^Integer N
(same equation predicts 3 radii of hydrogen, the EXACT 2 wavelengths of photosynthesis, ADP, venus year, earth year, galactic year, precession -AND Schumann, Priore, EEG implosion wavelengths) - see


Closely related: see our project




Seeking the Stone with Teresa Burns and Dan Winter - course film -LearnitLive version (with chat) - You tube version:
>Download course visuals SeekingtheStone.pdf - Alchemical Enigma book- intro/exerpt - AlchemicalEnigmaintro.pdf from Teresa


 Seeking the Stone: Alchemical Enigma w/ Teresa Burns & Dan Winter

Terry Burns Outline of Vincent's ideas on the history of western alchemy: May 6, 2018: Seeking the Stone: Alchemical Enigma w/ Teresa Burns & Dan Winter, - Teresa Burns -new book: An Alchemical Enigma: A Short History of the Rise and Fall of Sir Edward Vincent Bridges editor: Teresa Burns image: April Lionheart"“Seeking the Stone,” from the First Crusade to the Present
A western history of alchemy derived from Jay Weidner and Vincent Bridges’s Mysteries of the Great Cross at Hendaye … and some comments on the metaphysics of past lives, with digressions on to sacred languages, standing waves, and group karma, in which Dan explains why understanding the principles of alchemy is the best way to undo the massive group karma of the First Crusade.

update Mar 18, 2018 - Course Film from>

You tube version (less chat window):

Paul Harris- Complete 2018 COURSE VISUALS PDF: Paulstalk2018.pdf ,

Note Paul's 2017 course:Practical Alchemy - is just below on this page, Preceding article Science of Alchemy w/Vincent Bridges- see

Links from course: examples measuring the frequency series of essential oils: ,
examples What geometry of MONOATOMICS makes them phase conjugate:

March 18 - Paul Harris : Longevity /Rejuvenation Tech - plasma implosion- treatment- is already successful in about 20 countries. In addition to being hardware director, and co-inventor- Paul has a lifetime of experience doing and teaching practical alchemy. He is famous for deeply exploring the connection between the ancient mystical practices and wisdoms of alchemy-- precisely to modern - implosive fusion, isotope transition physics, and non-destructive charge collapse- the core of our fractal field conjugate physics curriculum. See what is on Paul's mind- as he returns from his LA and Mexico lectures- preparing for his tour of our summer conference series- - including Prague, Turkey and South France! The latest in plasma rejuvenation science, and our work with Theraphi- and more. Course :Update from Paul Harris: Longevity Technologies: From Ancient Times to Our Near Future-Human life span has been getting longer for some time, but did you know that for our next generation, some predict it to grow shorter? Join us for an overview of Longevity Technologies, from the Ancient Taoists and Alchemists to the latest in Nano-Tech. What's next? What are some of the social, political, economic ramifications and how will they effect you personally? While some see many of these so called "Disruptive Technologies" as a potential threat, Paul sees them as change that's well over due, come and discover the answers to some of these riveting questions.. How did the Taoists and Alchemists manage to live for so long? Is your lifespan really hard coded in your DNA?
- Is it true that stem-cells no longer have to be extracted from placentas or bone marrow?
In fact one simple cosmetic procedure unknowingly throws tons of them away each year.
- What does diet have to do with aging?
- Has there been any discoveries in nano-technologies that will help us live longer?
- Can the earth support such a large population with longer lifespans?
Paul has a lifetime of experience practicing and teaching practical alchemy. He is famous for deeply exploring the connection between the ancient mystical practices and wisdom of alchemy from ancient to modern implosive fusion, isotope transition physics, and non-destructive charge collapse- the core of our fractal field conjugate physics curriculum. Let's see what is on Paul's mind- as he returns from his LA and Mexico lectures- preparing for his tour of our summer conference series including Prague, Turkey and South France! The latest in plasma rejuvenation science, and our work with Theraphi- and more. ----Paul Harris is an inventor and hands-on entrepreneur of 27 years founding and working with various successful start ups in energy, medical and information technology sectors, he's also an eclectic researcher and educator. He has taken a multidisciplinary approach to life and has developed a deep knowledge-base in a wide area of studies including Alternative Fuels, Energy Production and Storage, Electronics, Chemistry, Plasma Physics, Water Technologies, Herbology and Permaculture. Paul's inventions include various electro-medical devices, water processing, petrochemical refining, waste to energy, oil sands extraction, alternative fuels and energy scavenging systems. Paul has found this diversity necessary in understanding the fundamental principles behind the true workings of nature.

next at- - this Sunday-Mar 25, 2018 - (2pm NY time) Dee and Ophanim Angel Magic -Science of Invoking Intelligent Plasma Beings , with Alan Moore and Teresa Burns ( - if your 'Tempest' storms have gone into chaos-maybe you should learn how mindful plasma is addressed?) - ,

added Nov 30, 2016: - ALCHEMY's Real Physics and the Immortality Doorway-
from Dan Winter- with Vincent Bridges last interview- days before his death.-
“Occult Shakespeare, Occult Alchemy, Prague, Kelley, Dee and the Philosophers Stone.


Dec. 2016: from Dan Winter- We commemorate here the passing of our karmic research partner Vincent Bridges- by adding the interview he made a few days before his death-
on “Occult Shakespeare, Occult Alchemy, Prague, Kelley, Dee and the Philosophers Stone.”- It feels appropriate to add some notes.

[Also see our Vincent Bridges archive: - and the new Facebook group: Alchemy Enochian-Ophanim -  -also directly related see Vincent's| "Angels in the DNA: The Emerald Modem and Dr. Dee’s Ophanic Language" by Vincent Bridges.  As he quotes Fulcanelli--"Language, the instrument of  the spirit, has a life of its own - even though it is only a reflection of the universal Idea. "- Fulcanelli, Le Mystere des cathedrals]

Vincent's remarks in this fateful recording bring up so many memories- I am about flooded with emotion .. and insight. I am moved to share. First- a bit of caveat here- those who knew Vincent well came to believe what he said- (as he mentions in the recording) that he had not forgotten a single lifetime in the thousand or so years- since the Rabbi grabbed Vincent's saddle during the bloody crusade in Jerusalem -- standing up to his waist in the blood of Muslims and Jews- and telling him - he was on the wrong side-- and he was condemned to NO FORGETTING for a thousand years.  Vincent says in the interview [29:00] “Don’t get me started on the Catholic church.  A thousand years ago, a little Jewish man cursed me to reincarnate until the Catholic church was dead,    and we expiated our sins at the fall of Jerusalem, and that’s only partially a joke.” The version of the “joke” most of us heard was that, at the fall of Jerusalem near the Temple Mount,  Vincent (then a red-haired ax-swinging Crusader) was cursed to remember all of his lifetimes for the next thousand years, or “until you realize what you [and the other Crusaders] have done.”

Vincent proved to many of us his lifetime memories of Edward Kelley, _____, Count Cagliostro - and others-- were quite functionally intact.  (I remember one tour guide in an Italian museum who was going to take days to recover after Vincent updated him on some real history).   Vincent made no secret of his memories.  After he returned from Prague for his first visit this lifetime, one I facilitated for him in 2010 (acknowledgement also here to Roger Green),
many of his friends back home apparently felt he’d returned possessed by Edward Kelley!
Vincent, in turn, believed I had the memories of John Dee - although I prefer to call it a soul fragment memory- but this does relate to our discussion here.  It described a dynamic between us whether by truth or metaphor.  Some of the lifetime of running humor/ competition between Vincent and I (echoing that of Dee and Kelley) had to do with my telling Vincent- that history was merely a nightmare you could wake up from if you learned the science, whereas Vincent's view was the more traditional historian view—(“the play's the thing in which we'll capture the conscience of the King.” “History will out.”)

So in the recording above- when Vincent tries to answer whether alchemy really is just the psychology of immortality symbolized (aka JUNG, as he discusses at about 20:30) - OR whether the physics could be real- and he answers both- the richness of this irony deserves plumbing

Vincent's play "The Donkey in the Cradle" ---based on his Kelley incarnation and Edward Kelley's disastrous love for a Dark Lady--- was scheduled to be performed just a day or so after Vincent unexpectedly died.   (In the interview, you can hear him say it will be performed that Friday and Saturday… instead, it wound up being cancelled due to the tragic circumstances)  It was to be performed at the play’s namesake, the Donkey in the Cradle, the place in Prague where Kelley made his home and where Vincent believed Kelley practiced his magic and alchemy in the early 1590s, after John Dee had returned to England.  This interview also took place there, and Vincent says, “Listen, I live in Kelley’s Tower, I’m sitting right now, oh, ten feet away from a 60 foot tall magic wand [that being the Tower itself] …. The staircase in the Tower is carved, twisted caved like a spiral, from one oak tree. … Things happen here.  We have our own weather, we have our own ghosts…. There are these paranormal spots, and the more you get in touch with some of this stuff, the stranger it gets.”

It apparently got very strange.  Sorting out what actually happened is not easy, only in part because of my good friend’s tendency to play fast and loose with details. (Example: he wasn’t actually living at the Tower right before he died, but he had lived there for a couple years preceding, and he was there very often, especially as the play was being rehearsed.  Apparently, he was at work on a few other Donkey in the Cradle projects as well, including a time telephone, an Ophanic lamp, and trying to find where Kelley had left some missing manuscripts.

When Vincent talks about the play rehearsals, he says [about 30:00] “As you can imagine, we’ve had the ghost of Sir Edward trying to rewrite the play, trying to guest direct it.” 
We have spent perhaps hundreds of hours discussing the color of the karma here. Many have shared stories of seeing  Sir Edward Kelley's ghost in Kelley's tower; there’s even a conspiracy theory that it was the angry ghost that killed Vincent.  Those connected to the play insisted the ghost -objected to something in Vincent's play about Kelley -- which Vincent wrote from inside Kelley's tower in Prague-- to be played therein (“the play's the thing....”). It is widely known from interviewing the play's producer (who clearly was afraid of Kelley's ghost)- what Kelley's ghost objected to.   That producer apparently tried to broker a compromise between the two (Vincent, and Kelley’s ghost) and failed.
Other accounts of what happened with the play and Vincent’s death are even more fantastical.  And there’s the mundane explanation: his body, simply and inopportunely, gave out.  It’s not our place to solve that here, but to simply point out that karmic interplay follows the same energetic rules as everything else.  More on that in a minute.

Vincent mentions [5:45] that much of his Prague work had to do with “reclaiming and recovering” the reputation of Sir Edward Kelley--who although a hero in Prague-- is overshadowed elsewhere by Dr. John Dee (shades of me I suppose.. we couldn't allow the science to obscure the history could we…)?
Because of Kelley's love object- (in competition with Shakespeare who in Prague/Dee's notes is Frances Garland)- the DARK LADY's- betrayal- Kelley ended up dying in King Rudolf's prison in Most. As the play's producer explained to me, the ONE thing (“the play's the thing...”) =- in which Vincent departed from the real history- of Kelley - in the play - (which was .. “the thing”...) -was not to show the DARK LADY - (Katerina de Montfort Hredec, wife of Emperor Rudolf II's right hand man, Adam Hradec, according to Vincent) - as the real betrayer (as Francis Garland/Shakespeare's character in Vincent's play warns Kelley about). SO- since Kelley's ghost had NOT forgiven the DARK LADY- but Vincent - in Prague seems to be still connectedd with the lady whom he believed to be the reincarnation OF the (Shakespeare's) DARK LADY (Kelley's femme fatale in that life .. now recurrent in the present?) -- Vincent skewed THAT part of .. the play's the thing.. WHICH pissed off Kelley's ghost!
Are you following me../? (what a tangled web we weave…!).

Related PLAY -Elixir of Youth (Immortality?) - with Dee and Kelley:
Magicians Dr Dee and Edward Kelley have 24 hours to create The Elixir of Youth or face the wrath of Emperor Rudolf II.Meanwhile, rivals in magic Rabbi Loew and Tycho Brahe have unleashed a Golem that is threatening the town...A multimedia show containing alchemical philosophy, childish jokes, startling special effects, original live music and featuring an international cast of Prague based actors and musicians. The show will be performed in the courtyard at the base of Edward Kelley's Tower in Malastrana.

There are other aspects of the interview we could reflect upon… how “we” (mentioned several times—9:00 on--who?) “discovered” the Francis Garland in John Dee’s diary was Shakespeare…the unnamed “we” he worked upon these ideas with can identify herself, or herselves, as she chooses.  How would she/they describe this discovery?  One former co-author, whose explication of Kelley’s poem to Shakespeare was going to be an appendix for his biography of Sir Edward Kelley, says Vincent claimed to have “looked through the Veil” to figure out who the man near Kelley—the one who became Shakespeare—was.  She mentioned that another time, he “dropped in” to watch a proto-Rosicrucian meeting at Dr. John Dee’s housein Mortlake, circa 1593, and saw ten people sitting at a table.  He gave his coauthor descriptions and the assignment of trying to figure out who nine of those people (the ones other than Dee) were.

Here is the timeline Vincent mentions when he talks about how he pieced together that Francis Garland was John Dee’s “cover name” for William Shakespeare (timeline which historically supports- Alan Green's DEE-CODING Shakespeare- detailed work on John DEE in Shakespeare's codes-more below on this).   What of the story of comparing Shakespeare’s handwriting to that in another archive?  Others might tell it differently… the devil is in the details—they say—or at least, the karmic trace.  But the overall arch of the story stayed the same.  It was about how Sir Edward Kelley knew Shakespeare, and what he knew about the philosopher’s stone.  The “devil in those details,” lack of phase conjugation and entropy, we’ll come back to, later. 
Entropic stories lose structure and the details clash. But they could be restructured and put back in phase so easily, with a few principles in mind.
SO what does this color of karma have to do with our article? Vincent (in the interview) is just finishing saying- if you could alchemize your personality you COULD immortalize.. and then.. he dies. And at least on the surface the (Kelley) ghostly karma which may have killed him- was - the mysterious alchemy of Shakespeare's play on the DARK LADY. So if ever there was some rich irony- to teach us something here..

Now- since my field is clearly NOT the history-
Has Vincent's play (on the DARK LADY) “captured the conscience of the (alchemic) king? --others might say-- in 2 deadly instances.. not (Kelley and Vincent)- but clearly this is NOT for me to say..
and my field IS the apologia for the science. I play my historical role here- to (humbly pray) explicate the science (hoping to immortalize.. ) .

Is there immortality in the science?

Our subject here then: can the actual deep physics science of alchemy / transmutation / isotope transition- also PRECISELY reveal how personal immortality/ rejuvenation is gained/ alchemized--

First: the physics. Remember in the interview Vincent is emphasizing that if you track the scenes in Fulcanelli's MYSTERY OF THE CATHEDRALS- you get an actual practical instructional sequence on the physics process of alchemy. Then if you look at what Fulcanelli- is telling us- he especially emphasizes HOW the cathedral produces precise solar/ plasma / star ALIGNMENTs. What is it about exact opposing (plasma) alignments which produces ALCHEMY ? (hint phase conjugation - you guessed it). For your answer- you might also re-read the chapter in my book about how precise solar alignments (sunrise / sunset) do the plasma phase conjugation rejuvenation called AGNI HOTRA.

The physics begins with understanding that ALCHEMY and the Immortality Doorway-

here is the key equation as it is now on the inside cover of my new book (3rd printing just released)

--equation graphic - from the key science article:

--The important principle revealed by the cathedrals for example- and Vincent emphasizing that both Nostradamus's scrying cup- AND Kelley's alchemic cauldron- were EXACTLY centered in a magnetic PENTAGRAM- (hint golden ratio/phase conjugate / implosive- see above)..


And again I thank Vincent for clueing me in to the special COATING on the bottom of Nostradamus scrying cup (Nostradamus was another ghost on speaking terms with Vincent… it seems he was almost Vincent's pet, subject of a couple of articles no longer available on-line, about the History Channel Nostradamus specials Vincent made, reputedly some of their most-viewed shows ever.)  Vincent said Nostradamus’s scrying cup was similar in operation to the crystal physics of John Dee 'shewstone' (and see more on the philosopher's stone/ meteorites below). All of this confirmed my theory and later proof concerning the physics of these materials:  the high dielectric constant in these materials identified the zero point coupling enabled by these phase conjugate dielectrics ( see our related lab developments on these charge implosive/alchemic - zero point devices: ).

I would like to ask Vincent why someone so brilliant had to lie to me. During out workshop in Prague, I’d asked him why Kelley chose death in Most prison- rather than revealing to Rudolf II- the secret of alchemy. Vincent told me that it was because Kelley believed absolute power corrupts absolutely. But then.. in the play he wrote...- or rather in the interview above? In discussing the words he has Kelley say in the play-- it emerges- -that Kelley (as characterized by  Vincent.) - in fact could not make more of the critical red powder / projective powder / philosophers stone - which produced the fusion reaction (alchemy)...  Vincent told others he knew those last years that the problem Kelley had was that, while he could produce the reaction from the powder, he could not produce the powder.  He kept trying to.  But he failed.
Because ( I imply) they still did not really know.. the immortal PHYSICS!?
I am still grateful that Vincent pointed me in the correct direction- to understand what the projected gold vapor did in the (meteoritic) glass ( Kabba stone- first philosophers stone)- later in the Templar red glass- and related to the meteoritic MOLDAVITE stones of Prague- Vincent mentions.

By propagating a potentially monoatomic gold vapor thru the meteoritic glass foam crystallizing at critical temperatures- the macromolecular (glass) foam sandwich geometry COULD form SELF SIMILAR to the micro molecular monoatomic stabilized gold atoms- thus making the ( )- phase conjugate MONOATOMIC spectral radiance SELF SIMILAR to the macro molecular (longer wave) capacitance. This barely introduces what a PHASE CONJUGATE DIELECTRIC IS ( holy grail of zero point energy- and self- organization / self awareness- google:"alice in barium titanate land"). Fractal / Self Similar / long wave to short wave broad spectal phase conjugate implosive charge collapse- IS the key!

NOW if that powder were used with a wetting agent (in Kelley's case bee's wax- note dielectric quality)- then- in the right PHONON geometry conditions (see the music key in the film "Chain Reaction"- see the phonon physics of commercially successful phase conjugate plasma rejuvenation )- THEN- the fusion - phase conjugate negentropic charge collapse isotope transition is possible. (As Vincent mentions detailed historical documents prove the British Royal society has NEVER measured before or since- gold as pure as their evaluation of what Kelley produced).

We do show examples as proof of concept for equations which identify precisely the (conjugate?) frequency and temperature to catalyze most every commercially useful isotope transition at (acknowledgement here: Bill Donavan)

SO - in summary non-destructive implosive charge collapse IS isotope transition optimized- and the clear physics of cold fusion. Longitudinal interferometry IS the remote plasma containment holy grail of cold fusion

SO- where in this metaphor do we identify the (longitudinal interferometry) physics of alchemically immortalizing your memory and your body?

Longitudinal wave mechanics (produced by conjugation)- is essentially the entry gateway- in to the collective unconscious/ ancestor memory / and the immortal ( Sufi master who makes perfect echo IS the immortal).
We explain the wave mechanics

Essentially the transverse -up and down- charge wave- while waltzing down the 'optimized translation of vorticity' golden spiral on the pine cone (of phase conjugation) preparing to kiss noses of planck sphere diameter..

emerges as a longitudinal compressional wave - (see animation at link)

This EL is the EL as in EL o HIM- because you can't leave home without.. er rather lucid dream or go thru death without it..

Learning to track the transverse wave front DOWN into a LONGITUDINAL WAVE FRONT - with your attention is the PHYSICS of learning to lucid dream, and take memory thru death-

and EXACTLY how Ingo Swann heated a 'flame'(thermistor) at a distance thru a faraday cage with his mind ( for training in the required EEG: )

It bears mentioning here- that Vincent's training in producing accurate (phonon / binaural beat) EEG interferometry
(he discusses in the interview for relieving childhood trauma- WHERE THE MEMORY WAS PUT ON THE SHELF- very similar to results reported for
ARE related to what we are told by multiple historians (like Teresa) that under optimal conditions Vincent could remote view thru history into the past - with historically useful documented accuracy.

So essentially phase conjugate generated longitudinal EMF- doorway to the divine immortal - is the magic fairy dust here:

-faster than light, -potentially 'every where at once' - and -VERY good at action at distance- does this sound like "God" to you?

You are NOT ancestral memory OR the collective unconscious TIL you get there.
AND we know exactly how DNA makes that conjugate black- hole- AND it explains PRECISELY WHY
(as Ray Moody- so nicely proved with surgeons)- NEAR DEATH VISIONS ARE ELECTRICALLY CONTAGIOUS.

SO- perhaps a most significant remaining question - is how is this plasma charge density/ fusion reaction triggered and experienced in the human body.

What IS clear- is that the alchemic charge collapse/ implosion- IS essentially the non-destructive implosive charge compression which phase conjugation produces. Note how in the equation table above

the key harmonics apply to ADP (how we measured kundalini in the microwave), the HRV, the Sacral Cranial pump frequencies, the EEG, etc. My entire book- including the article- - show that climaxing all the bodies negentropic processes- are PRECISELY phase conjugate (alchemic / plasma compression) frequencies.

SO- plasma compression by alchemic phase conjugation IS kundalini and human bliss ( Kundalini biomechanics by power spectra detail: )

When the body lights up with Kundalini / bliss - we show how the DNA braids to climax phase conjugation by golden ratio :

This IS the plasma physics which alchemizes the body- to a shining plasma implosive beacon ( Kundalini is called: great masts of God in Iceland)

The transmutation makes the body more negentropic / immortalizing.

The manifestation is a plasma shining. ( becomes you.. the power spectra is identical)

Just as in being Danion Brinkley making it thru death - during lightning, and 'Powder' movies hero, Kundalini plasma implosion's alchemy says- that

one unshareable thought will generate heat. The perfectly shareable wave- is the name of phase conjugate negentropic charge collapse- AND alchemy.

The reason this is specifically the doorway in to collective unconscious and ancestral memory - is again what we discuss:

Practical example: A pyramid made of high dielectric material (Steel/Aluminum would be poisonous to this), then made of a conjugate capacitive macro geometry, then aligned at major grid cross points- WOULD by conjugating fields- couple the key LONGITUDINAL EMF- accounting for the documented ways pyramids trigger growth- AND function as communication devices- even as portals for plasma projection (ultimately teleportation).

SO- Vincent was right about alchemy being both the physics of real transmutation AND the immortalizing of the personality- and NOW we actually know the physics.

To DO the hygiene- perhaps - you start with a day ( or a minute) in which you only think thoughts useful to ALL of DNA survival (perfect way to prepare for death/bliss).

DNA has been in the business of compressing the hell out of genes for a billion years- just to squeeze out that symmetry info. You could by dying to try it?
Pure principle (eureka) is what inhabits the lightning.

In summary- the alchemy of physics isotope transitions IS the charge / spin density DURING charge collapse between electron shells- which results from fractal / phase conjugate charge compression (literally a longitudinal propagating GLOW like monoatomics, gold powder, Theraphi plasma etc- even monoatomic hydrogen plasma- all have some qualities of seeming self awareness or at least )-

AND the alchemizing of the personality toward rejuventation, immortality (can be physical or memory thru death) IS in fact identical : a charge glow spin density / radiance which results from fractal phase conjugate charge implosion. Quite literally BLISS PROCESS TRANSMUTES THE AURA INTO SOMETHING SUSTAINABLE ( and longitudinal).

Come on baby.. LIGHT MY FIRE!

Inserting here- Vincent's origin Dee/Shakespeare and the Ophanim lecture- from our UK Conference:


returning to the original article here- we have the excellent lecture
-History, Science, Meaning and Practice of Alchemy lead by Paul Harris (with Dan Winter) - "Sacred Geometry of the Philosophers Stone"
- excellent presentation lead by Paul Harris -with - Sept 25, 2016

This IS it-(I always say it)- the BEST class yet- with Paul Harris on the REAL Science, History and Practice of ALCHEMY - - learn how alchemic preparations enact the physics of charge collapse- to heal (add negentropy)- even reduce radioactivity - why Spagyric plant alchemy is essential before the mineral alchemy - learn about gold powder poisoning vs- the real fusion processes (completing the self similarity between nuclear conjugation/ electron conjugation and macromolecular- the 'foam' of gold vapor in the meteoritic philosophers stone).. - even see the pictures of the lab in action!

here is the alternate version- video with the chat notes: (file will eventually change -to without chat notes)

here is the detail PDF visual series for Paul Harris Lecture- from Paul -17 meg download: AlchemyPaulHarris.pdf


Next we have the excellent historical and literary interpretation- lecture from Teresa Burns: -on Alchemy and Fusion Geometry in Shakespeare- Esoteric Real History with John Dee and Edward Kelley -

Youtube version of this film (less the chat panel) :

here is the detail PDF visual series from Teresa Burns- for the lecture - 11.1 meg download : DeeFinalCompleteTeresa.pdf

Excellent scholarly background articles from Teresa Burns - on this google: jwmt teresa burns
Notably: A Golden Storm - Teresa Burns
See Bridges and Burns,, part six. 21.
John Dee and Edward Kelley's Great Table - Teresa Burns and J. Alan Moore -
Teresa Burns and J. Alan Moore

Powerful new correlation for the Dee / 007 Shakespeare Historical connection we present with Teresa Burns/Vincent Bridges-here:
JOHN DEE & SHAKESPEARE'S 'MEASURE-FOR MEASURE' by Alan Green--Geometric detail for the message John Dee sent thru Shakespeare

- The films that accompany Dee-Coding Shakespeare:(dee code)
Alan Green is a British-born pianist, composer, author, educator, and Shakespeare scholar. His former life in the music business (top thirty Billboard artist in the 80's with Arista and CBS records; author of award-winning books on The Monkees; musical director for Davy Jones) seems at odds with his current incarnation as a documentarian of ancient wisdom. But he insists his extensive musical training in both classical and jazz disciplines has ideally prepared him to recognize deeply embedded patterns that orthodox academics have missed.
His odyssey began 12 years ago when a friend introduced him to the Shakespeare Authorship mystery. Convinced there were genuine reasons to doubt the official attribution of the untraveled, uneducated Stratford man, Green spent the next two years of intense research crafting his findings into a stage musical entitled Bard. As his research and intuition for the subject deepened however, he discovered dozens of Freemasonic codes embedded in Shakespeare's monument and gravestone. It was clear the story had all the secret society ramifications and political intrigue of a Dan Brown novel — with one important difference. These codes were real. In fact they'd been specifically laid out geometrically so as to prove their authenticity by revealing a stunningly accurate web of twelve of the world's most significant mathematical constants. Most astoundingly of all, they gave the precise geographic co-ordinates of the Great Pyramid, along with instructions for decoding the exact same web of constants within its basic proportions.
Green will unveil two ground-breaking books at CPAK. Dee-Coding Shakespeare details the first half of his 12-year journey. It shows the critical role the leading Renaissance mathematician/cryptographer Dr. John Dee played in the greatest literary cover-up of all time. Professor Michael Delahoyde of Washington State University proclaims it, "The best, most exciting breakthrough I've seen in all my years as a Shakespeare scholar". The sequel, Shakespeare's Hieroglyph (The Universal Constant of Measure for Measure for Measure), is the second shoe dropping. It presents not only previously unknown proof of the twelve constants the Bard predicted, but unveils a unification of the world's leading measurement systems elegantly encoded into the pyramid's design. This mathematically pure Universal Constant of Measure shifts two paradigms... with one stone.

Next- Dan Winter's lecture in this series- Alchemy - Plasma Fusion- Implosion Science -from Shakespeare to Dee to Physics- Conjugate IMPLOSION Fusion and HUMAN ONENESS EXPERIENCE


alternatively the youtube version of the same film (less the chat window)

Announcing the 3 major Visuals Set PDF files for ALCHEMY OF FUSION-and Human Oneness- with Dan Winter - online interactive course

Sun- Sept 4 - 2PM EST-- NY time,8PM Paris- Alchemy- Plasma Fusion - Wave Physics- vs Human ONENESS Experience- with Dan Winter - at - - we are working deeply to make the specific connection between actual ALCHEMY / Isotope Tranisition Physics- vs Cold Fusion- vs- the actual geometric science of creating GROUP ONENESS EXPERIENCE (literally plasma fusion). We use John Dee's HYPERCUBE design - widely thought to be the template for Shakespeare's (alchemic) theater- and the Conjugate Opposing PAIRS OF EMOTIONS and SCENES in theater- to describe how the whole theater at the end of the play experience's a group identity FEELING FOR ALL- as if they were one with each character. The actual plasma physics of cold fusion and isotope /charge collapse- is precisely the physics of alchemy, of tantra and the alchemy of human oneness.

The extensive - visuals series for this course are:

1. alchemyfusioncourse.pdf - Making the psychological connection between Alchemy in Shakespeare Plays- versus the symmetry required to trigger FUSION and GROUP ONENESS EXPERIENCE
---- images from (below) and

2. alchemyatomicscourse.pdf - Understanding Platonic SELF SIMILARITY Symmetry (same in Electron spdf vs Nuclear Nesting) in the Atomic Table
- as the physics of implosive charge collapase (alchemy)
- images mostly exerpted from

3. - More to the COLD FUSION PHYSICS - detail example of ISOTOPE TRANSITION AS CATALYZED NON DESTRUCIVE IMPLOSIVE (ALCHEMIC) CHARGE COLLAPSE - this work particularly credit to Bill Donavan - now Elizabeth Donavan - - also see project introduction links.

Register Direct at:

=== Below is the original ALCHEMY OF FUSION article- which will soon be expanded into a book with Dan Winter (science) and Teresa Burns (historical detail and more). (images also in the first pdf above)


Fractal Alchemy:Perfect Charge Collapse IS Implosion FUSION

Physics of Alchemy and Fusion:
from Dee's Implosive Hypercube Design for Shakespeare's Theater

directly to human fusion / oneness bliss experience-

to the Deep Science of Alchemy / Isotope Transition and Cold Fusion

article by Dan Winter , July 10, 2016

Alchemy Physics vs Dee/Shakespeares Fusion Geometry of ONEness

HD - 1 hour 53 min. Dan Winter's presentation - Sacred Geometry Conference- Portal to Ascention - July 6, 2016, Published on Jul 10, 2016

Alchemy of Sacred Geometry:Fusion / Implosion /Oneness from Dee and Shakespeare to the Physics of Alchemy -

In the theater - using the hypercube- arranges a sequence of OPPOSING EMOTIONS pairs ( as in Midsummer Nights Dream)- which sets up the symmetry

among emotions for the plasma fusion to take place at the end- which fuses everyone suddenly identifying with the whole and all the characters- instead of their separate parts

( a oneness experience).

Note how opposing emotions- create theses precise geometric wave forms : 'Sentics' -


Below we also refer to the background article / scholarship

where Vincent Bridges and Theresa Burns- documented that Shakespeare is the well known person identified in John Dee's notes as Francis Garland.

Theresa is preparing more extensive articles documenting the evidence much of Shakespeare's exquisite material clearly came thru his dramatic experiences as Queen Elizabeth's spy assigned to John Dee and Edward Kelley- after they sent the purest gold the british royal society had ever measured back from their Alchemy tower in Prague.

Vincent Bridges and Dan Winter Alchemy background- films:

Update Sept 3, 2015: Video added from Vincent Bridges-presentation:
Alchemy / John Dee / Templars - Spiritual History:
(Part 1)


Vincent Bridges - Spiritual History Presentation- Part 2: Malta, Templars, St John and more..
Includes Padma Sambava-& The Diamond Body- Aura that melts stone: The REAL Alchemy


3rd film- from S.France- Vincent Bridges: Deep Grail History:Mary/Madonna/StJohn/DaVinci/Nostradamus








This especially includes Prospero as John Dee's 'Heptagonal Working' cooking up the "Tempest" storm that took out the Spanish Armada - about a year after he predicted to Queen Elizabeth what he would do.

When John Dee became apparently the planet leading mathematician developing his HYPERCUBE mathematics (inspiring Shakespeare's theater design) - he also had apparently the largest library in Europe. His central intention at that point was to model a fusion of symbol systems - he called the HIEROGLPHIC MONAD. Unifying language systems into the symmetry of charge fusion- is also a big part of what this authors life has been about. See my animations of the charge domain donut - tetra/cube symmetry physics of the origin of Hebrew/ Sanskrit -

Central- to his Hieroglyphic Monad idea- was his understanding of the science of Astrology. Today- we know more than John Dee did about that too. The metaphor of the 12 houses of Astrology - is exactly the number of symmetry faces- to the Dodeca/ Icosa symmetry set- which IS PHASE CONJUGATION. And today- we know that the physics community has agreed the major fractal symmetry of the universe's mass is Dodeca. Which is all excellent support for my new Phase Conjugate model of the (alchemic / fusion ) CAUSE of gravity!

So - both the unifying fusion of symbol - as symmetry (alphabets) - and the gravity symmetry physics behind astrology - can both today ascertain the physics behind John Dee's dream of a oneness/ fusion - MONAD - and the physics of Alchemy. Shakespeare scholars all agree -that THE most common theme behind Shakespeare's plays is Alchemy.

SO- to review the phase conjugate principles behind fusion in ritual and theater:

-to Phase Conjugate and Imploder Centripetally- as in optics- waves must approach from essentailly from cubic directions


called FOUR WAVE MIXING - above - in phase conjugate optics.

Remember phase conjugate optics is documented in physics to cause negentropy and time reversal.

That cubic approach - when used among letters of the alphabet- produce implosion called ' casting a spell'

(how the air pressure change in a church during ritual can 'blow the doors off')

See -

for the tetra cubic shadows of charge donuts- called Hebrew and Sanskrit.

We describe this implementation in the 4 directions ritual of Ophanic Enochian letters ritual ( in the film)-

see graphic below.- and at

Exerpt images here- courtesy Darlen with Vincent Bridges:

Note Here!: With the generosity of Darlene and Vincent- they have agreed that I may put this link here: OR-Part2c2.PDF
You can download this entire chapter from their upcoming book - includes detailed references.
- in hopes of promoting that work (appreciate your supporting them).









To INHABIT your world / STEER your TORNADO - IS- to effectively EMBED in it!
SO- occupying the so called CUBE OF SPACE- is both the origin of alphabets/ symbol systems
- AND ritual- because setting up a precise cube of opposing wave forms is HOW you ..
phase conjugate / implode- AND THUS 'CAST A SPELL' / created centripetal force.

So we animated the SHAMANIC IMPLICATIONS of these SEVEN ARROWS thru the tetra/ cube - with discussion :

and we present a complete BODY WORK / YOGA - 'Inhabiting your space- by embedding in the 7 arrows' - at

It is interesting that in addition to our animations of the physics of the toroidal symmetry origins of HEBREW from the SEVEN ARROWS of the tetra ( )
- we also find this TETRA CUBE symmetry root in the origin of ROVASH IRASH- old Draco / old Hungarian :







So- when Vincent Bridges discovered the HYPERCUBE symmetry in Ophanic letters- it confirms this principle- phase conjugate implosion among letter vectors.




trans cubic/hypercubic glyph symmetry routes genetic/glandular/and emotive magnetics thru implosion/wormhole:

(into "lords of time" "ophanic" "whirling ones", "O PHI in them", "angel bodies")



The postscript article here - will be the phase conjugate charge collapse prediction for isotope transition- for alchemy / fusion physics. Note how the spiral path down Bucky's jitterbug is not just the symmetry of superconductivity - we now know that isotope transition IS non-destructive (phase conjugate) charge collapse.

Intro - spreadsheet see

Metallmorphosis pdf at

Other film projects pending from our group


ET Origins of DNA: &
'Finding out that your ancestors...were shallow minded parasites- should not really be that shocking.

( in this case the Annunaki Drac /Uru / Enlil-Yalweh crew.) If your favorite conspiracy theory flavor of the day- has decided that Jewish story of parasitic bankers are THE problem of history/engines of warmaking - then take a bigger drink from the story of who Yalweh / Enlil was- ( ) per Anne Rice- the FATHER of all vampires. (Enlil began as a faulty condemned clone by:) Enki/Nudimud/Sam/Osiris's - Draco Annunaki family hired him to his EA's EArth- be the chief cloner of human/TAK-Adama/slaves- mostly to use humans as slaves and snack food - altho HE had some bigger more romantic ideas. about what humans could be 'for' (hint - 'vaccine' for the Orion wars?) . see 'Sam'/ Enki: )
When indigenous people worldwide wake up to find out their original Engish and Spanish colonizers- originally 'bringers of God' were in fact mostly murderous parasites is a similar feeling.
Shapeshifting Draco remnant blood line parasitic plasma entities like the ones who apparently took out (became the aura control/alter ego of) Rupert Murdock - and Gunther Russbacher - ( ) have no chance if they face coherent aura lucid dreamers- empowered Shaman types - - These ones can quickly can make George Bush's entire military budget obsolete. The computer aboard a military borg like star ship - has little chance against the interfering plasma of a determined lucid dreaming shaman. Also the plasma control of the aura- shapeshifting entities taking over- is ONLY possible with aura's weakened by things like addiction or depression. If your aura is strong with good charge/ spiritual hygiene / bliss process- then YOUR implosion steers the tornado! May 'the FORCE" be with you LUKE!
Updated - Sept 26,07: Dragon History inside DNA: Proven in Alphabet Origin- From Hungarian to Seraphic to Magyar-
Immediate sequel to this note updates- Mar 07 and


3. Tesla / Lakhovsky / Rife / Priore / THERAPHI - real history of energy field medicine - (Priore) , see also Paul Harris lectures &

3. US and Global Rule by Draconian Military Industrial Parasite Governments: we have documented how US Military Government theft of the the majority of new patents- and criminal wholesale destruction of the lives of the inventors- destroys the creativity of most of the western world- including the criminal weaponization of the SWIFT banking system by the US military government. We know the people and the examples.

4. How carbon nano- and cold plasma - will re-invent life as we know it on this planet- - replacing all forms of structural materials (32 times stronger than steel) - all forms of propulsion, all forms energy production, and water purification: & (our partner Karl's story leaves 'Chain Reaction' in boring dust) -

5. How "PI the Movie" was based on Dan Winter's inventions: - negentropy , , , ,



Dan Winter

US: 310 651 8123

skype ID danwinter