Tuesday, September 27, 2011

Part 16 - Rango - More Evidence of Trauma-based Mind Control Programming

Here's yet another post in the series exposing the trauma-based mind-controlled slave layer of the animated feature titled Rango.

Again, due to the subject matter of this post, a caveat is called for.

"A word of caution for survivors of intensively systematic mind control and/or some form of ritualized abuse: There are numerous “triggers” in this article. It is therefore recommended not to read it unless appropriate support systems are in place or if you have a thoroughly reintegrated personality." (Project Monarch: Nazi Mind Control by Ron Patton)

In the last post I wrote about the Rango movie's water ritual line dancers as picturing an army of mind controlled slaves. The activation trigger was the bell of the clock tower as it chimed the Noon hour on Wednesday. Many clocks are featured in Rango, so many and so frequently it becomes obvious that there is some meaning intended. Both clocks and bells are used by handlers to trigger Monarch slaves to switch alters and thereby access targeted programming. One programming technique involves subjecting a slave to ritual abuse at the same time every day.

The following observation comes from what was noted about survivor Kim Noble's in The Art of Dissociation - PseudOccult Media Blog "'Hickory Dickory Dock', her programming related to this is that something [ritual abuse] occurred at six (as it says 'what happens when the clock strikes 6'). "

There's an example of the Noon clock trigger in Paramore's “Brick by Boring Brick” (See Paramore’s “Brick by Boring Brick”: A Song about Mind Control by the VC.) Consider the line: "But it was a trick - And the clock struck 12."

When you become informed about the use of clocks as programming tools, the meaning of the Paramore song and video and of the following conversation between Rango becomes painfully obvious. This is heard while they are marching out of Dirt to the holy spigot for the water ceremony.

Rango: This is a heck of a hoedown you got goin'. Still workin' out those steps. So, is this considered normal civic behavior?
Priscilla: Mmm-hmm. Every Wednesday. Just like clock-work.

Just like clock-work! Dissociation, as with the traumatizing abuse, right on schedule.

The clock-works particularly references an element of Frank L. Baum's Oz series that has been in use by programmers for a long time.

pg. 56 Book 3 Ozma of Oz, “DIRECTIONS FOR USING
For THINKING: --Wind the Clock-work Man under his left arm, (marked No. 1)
For SPEAKING: --Wind the Clock-work Man under his right arm, (marked No. 2)
For WALKING: --Wind Clock-work in the -middle of his back, (marked No. 3)

"N.B.--This Mechanism is guaranteed to work perfectly for a thousand years.” These instructions were used to build Dr. Green’s (Mengele’s) boxes and the robots."

From: The Illuminati ... Slave by Fritz Springmeier and Cisco Wheeler

Alice in Wonderland is another popular work of fiction used in trauma-based programming. The White Rabbit was obsessed with time. "I'm late, I'm late. For a very important date!" White Rabbit is a basic code for "master."

"The stroke of midnight" is referenced in code words for Cinderella Programming.

Clocks and bells are common tools in Satan's toolbox. I wrote about these at length in the writing, Bells - Supernatural Enchantment and a Biblical Perspective. There is an aspect of this I'm really looking forward to exploring in another post, Lord willing, but it's in support of the trauma-based mind control layer that clocks appear in many of Rango's scenes.

"Monarch slaves have many clocks built into their systems. They have internal clock makers and internal clock keepers. In the movie [Labyrinth], clocks pop up everywhere just like in a Monarch’s mind. "

"The Illuminati ... Slave" - by Springmeier and Wheeler

As in Labyrinth, clocks seem to pop up everywhere in Rango, "just like in a Monarch’s mind."

There's one more observation I want to point out about the clocks. One scene in particular stood out for me. Beans, the character who is in perhaps the most obvious Monarch slave role, is seated in the Bank Manager's office. She's seeking credit and she is at the mercy of the banker. A grandfather clock appears in the office. If this seems familiar, you have probably connected some dots. Did the popular image of Yale's Skull and Bones Class of 1947 came to mind?

Let's see. Grandfather clock? Check. Bankers? * Check. Secret society practicing sadistic/Satanic ritual abuse with handlers and slaves? Check. Connect the dots.

* Skull and Bones Class of 1947: George H. W. Bush is the guy just to the left of the clock. A few Bonesmen bankers you may have heard about are:
  • Austan Goolsbee - current Chairperson of the Council of Economic Advisers
  • William Donaldson (Class of 1953) - appointed by Bonesman G. W. Bush as head of Securities and Exchange Commission in 2003
  • Harold Stanley - co-founder of Morgan Stanley
  • Stephen A. Schwarzman - Chairman, CEO & Co-Founder of Blackstone

Beyond the clock imagery allusions, Rango contains references to other Monarch programs like Carousel Programming. Yes, Rango is richly layered! It is a wicked tool! During the water ritual's line dance, the critters dancing form two lines. When they start dancing, they alternately move up and down in a trance with frozen expressions - just exactly like horses and such on a carousel (merry-go-round)!

"The Carousel in real life is used as a device to teach dissociation, and how the alters are to go up and down in trance. Sometimes you will see parents who seem to be so loving having their children ride for long periods on a carousel. They might actually be programming them in dissociation. An internal carousel is built into an internal system. Mirrors and shadows are placed around and perhaps in it. The carousel spins and moves up and down repeatedly. In the center of the carousel, the Programmers often place something or someone important."

"The Illuminati ... Slave" - by Springmeier and Wheeler

Reference is made to Camelot and Shakespeare Programming in the opening scene as the chameleon play-acted such a role. Later in the movie, Rango, after "autographing" a Bible, flippantly gives advice to the little guy, saying, "Burn everything but Shakespeare." (Shakespeare - whose works are believed by many to have been ghost-written by Sir Francis Bacon, occultist. See Secret Mysteries of America's Beginnings, Volume I: The New Atlantis)

Springmeier and Wheeler write: "The programmers like to have alters
identify themselves as “nobody”."
After Rango has been run out of town, he says to himself. "Who am I? I'm nobody." He's not having an existential crisis. He's a Monarch slave. He is identifying himself to us as he is programmed to do!

Another standard programming system is called an umbrella. An umbrella was featured in the umbrella drink Rango enjoyed while in his terrarium. After sliding to a stop on a piece of shattered terrarium glass, he's flat on his back, dazed, looking up into the sky. The umbrella from the drink floats slowly down in a surreal scene, to land on the rim of the glass he still gripped in his hand, balancing momentarily before it topples to the pavement.

"U. Umbrella. - This is associated with military programming. An umbrella protects something, such as the Delta assassination alters. An umbrella must be taken down from the inside and so must this protective shield of the Umbrella program. One Umbrella system had 7 gates to it."
"Delta models are slaves whose sole purpose is assassination. Delta alters are alters within an Illuminati alter system which are programmed to be assassins. These alters are often some of the deepest in a system and in a Genie bottle or with Umbrella programming.

As you may recall from a previous post, Rango was assessed by Rattlesnake Jake for his killer instinct. Rango killed the hawk and was apparently ready and able to kill Jake. He had a Delta program alter, protected with an umbrella system.

Marionette Programming was featured with Rango as a handler and as a handler/slave.

"The painful rape of a child with its legs held in a butterfly configuration is used to get butterfly alters. To get a puppet, the body is given a drug which paralyzes the child. Then electro-shock is applied to certain muscles upon the command of the programmer. The effect is that the child has no control over his body, and the programmer can make the child’s body parts jerk and move by electro-shocking the muscles. The child actually becomes the puppet of the programmer. This is a very powerful program.

One of the names connected with Monarch programming is Marionette Programming. The child literally becomes a Marionette. This concept appears to have been cooked up by the Germans under Hitler. An alter System as a child is physically shown that they are a marionette puppet. Their muscles are electro-shocked in such a way as to take advantage of the natural reflexes. When electro-shocked that way, the victim’s body parts jerk out of our control at the whim of the programmer to prove to the victim that they are a puppet. At this time, the rules are given and rule number 8 is that the alters are their puppet. Illuminati programmer Dr. Mengele, used puppets in a dollhouse as he programmed. He did skits with his puppets. “Dance Marionette dance,” he’d say in his thick german accent.

"The Illuminati ... Slave" - by Springmeier and Wheeler

While Rango was play-acting in his terrarium, after being critisized by "Victor" about his character being undefined, he asks "Who am I? Why - I could be anyone." He responds in an affected voice, "I...I could be the sea captain returning from a mighty voyage, to reclaim his mechanical arm!" We hear a ratcheting sound as he repeatedly hits himself in the head with his arm that he's pretending is mechanical. Comical, yes, until we grasp that this is actually the ritual abuse of a Monarch victim on exhibit! He is helpless, a puppet that is controlled by another.

We see another example of marionette programming following that scene. It involves the doll that looks like a Barbie doll torso, naked and one-armed. In the Shakespearean production she played the stock role of damsel in distress.

Rango: It is I! The much anticipated hero returning to rescue his emotionally unstable maiden. Unhand her you jailers of virtue or taste the bitter sting of my vengeance!

If you follow the Vigilant Citizen's blog at all, you'll notice how frequently mannikins, dolls and stuffed animals are used in trauma-based mind control programming media. These props are used to identify the victims with them, who are unable to move on their own, helpless and entirely subject to those who manipulate them. Dolls and mannikins are used in connection with sexual abuse. This is what is pictured in Rango as he assumes the role of a handler. He play-acts the role of a Don Juan, a Latin lover, making the moves on the doll. She has no legs and can't get away. She has only one arm and can't fight him off. She has no head and can't resist with her own will. She is the "emotionally unstable maiden" who needs rescuing by a returning hero. She can't move her arm, so Rango, the handler, makes it move. He's in control. He expresses the sexual nature of the interaction by acting the "Don Juan" and looking at the bare breasts, asking with obvious interest, "Are those real?"

To the uninformed, this all "flies under the radar" and goes without notice, of course. When you are familiar with what is done to the chosen ones and why, you can't help but see it, and it is offensive. The devil is bad.

Broken mirrors are common images in mind-control signaling. These represent the fractured life of the multiple, the many separated fragmented identities. In Rango, we see the chameleon's life that is represented by his terrarium being shattered. His "family" speeds off into the distance leaving Rango alone. We see him sliding out of control down the road on a piece of the broken reflective glass. When we see him framed in the saloon mirror, the mirror is cracked. When Rango is in the vending machine trying to hide from the red-tailed hawk, the hawk taps the glass with his beak and cracks it, causing a fractured area to appear in front of Rango, who is traumatized in his licorice box "coffin."

Handlers are often slaves themselves. The abused become abusers. When Rango slides on the broken glass of his terrarium down the road, when he comes to a stop he finds himself having slid right alongside the doll torso. Her arm is around him. They are two of a kind. Helpless. Her arm is now a left arm, where earlier, her one arm was her right. Accidental, like a typical movie scene continuity issue? I doubt it. Not in Rango. I think the handler/slave "shoe" was now on the other "foot," or arm... right? Rango, who had just entered "his own story" was about to live out his slave programming.

There is a good reason to know about this. For some, this is very personal. For others, it may be FYI so you can make sense of what the Lord may be revealing about the world around you, as folks are taken in by this wicked scheme on the threshold of the Beast's soon revelation and the coming mark.

Lord, I thank you for preparing us for all that is here and what is coming. In Y'shua's holy name I pray.

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