Friday, October 14, 2011

Part 21 - Rango - Time Travel, a Transdimensional Vehicle and DNA Portal

Continuing from the previous post and continuing to focus on the scene where the chameleon has his first interaction with Beans, there's a fascinating and essential element of the Beast revelation scenario featured in the scene; the UFO craft. I write about this regularly so I'm not going to explain much here. See Heaven's Vehicles and
Olympic Ceremony Symbolism - Part Three (about half-way down) for some of what I've written.

At the scene of the counterfeit baptism, transdimensional travel will play a role and a fit vehicle will be present. It seems likely that the lawless one, after being publicly anointed with authority, will enter into a throne vehicle to make his departure. This was modeled during the Beijing Olympics in the London Ceremony in 2008 and it is modeled again in Rango.

The Lawless One will have convincing evidence backing his claim of being "alien," of having entered our time-space domain by extension from another. This explains why Beans tells Rango: "You ain't from around here, are you?" It explains why she says, "Now, it's a puzzle of undeterminable size and dimension." Undeterminable dimension? Right. Would that be a fourth, or higher, perhaps? More NLP. Note the allusion to space and time with "size" and "now." Puzzle solved?

Give some thought to why it is that, when the episode of tonic immobility passes, Beans blurts out, "And until the people of Andromeda Five return him safe and sound, I will not sell my ranch!" Now, the only way to interpret that is as a reference to alien abduction! This directly imports into the mind the imagery of aliens coming and going, taking people away in UFO craft. This is what we are shown when Rango is taken away in the wagon, which illustrates just such a craft!

It should become pretty obvious from the multitude of clues provided that the wagon Beans uses to chauffeur Rango signifies a heavenly chariot.

Do the 144k and the Beast ride off together in biblical type? If so, I haven't noted it, but I believe they do separately, in different ways to different places for different purposes. That the 144k do get heavenly transport is a subject I wrote about in one of the studies in Beyond the Veil. I'll excerpt that here to introduce the biblical Hebrew word "agalah."

"These Egyptian carts are awesome! They are what convinced Jacob of his son's testimony about Joseph! The word used here for 'carts' is Strongs # 5699. 'agalah, ag-aw-law'; from the same as H5696; something revolving, i.e. a wheeled vehicle:--cart, chariot, wagon. The Egyptian carts will transport the families of the 144k to heaven, so this is not a convoy of Hummers, hay wagons or U-Haul trailers. Have you ever read about Ezekiel's vision of the throne with the wheeled vehicle under it? That's apparently Joseph's Egyptian chariot!"
Joseph and Benjamin - Part II

The wagon Rango rides away in is just such an "agalah" transport, used for interdimensional travel.

Consider the image here of the wagon's departure. See how the shadows of the wheels appear centrally under the wagon, hinting at some vertical propulsion mechanism. The shadow wheels extend from the wheels that cast the shadows across to the other wheels - exactly, touching precisely, as intersecting!

This was the appearance and structure of the wheels: They sparkled like chrysolite, and all four looked alike. Each appeared to be made like a wheel intersecting a wheel.
Ezekiel 1:16

Rango's departure in the wagon is transport in a heavenly throne vehicle signifying his ascension to and in a heavenly throne. The genuine described in Ezekiel equates to the unearthly Temple's Most Holy Place wherein is found the ark of the covenant, with winged creatures on top. It's with respect to the Holy of Holies that we find what is to me perhaps the most intriguing symbolism in view! It involves the use of sound to facilitate dimensional travel.

The only person permitted access to the Most Holy Place was the High Priest of Israel, and that, only on one day of the year. Other requirements had to be met too, or even then he would die in the attempt. The requirement that relates most particularly to his accessing the Most Holy Place and thereby entering into the presence of Yahweh without dying is the tinkling sound made by the bells and pomegranates on the hem of his garment.

33) You shall make on its hem pomegranates of blue and purple and scarlet material, all around on its hem, and bells of gold between them all around:
34) a golden bell and a pomegranate, a golden bell and a pomegranate, all around on the hem of the robe.
35) It shall be on Aaron when he ministers; and its tinkling shall be heard when he enters and leaves the holy place before the LORD, so that he will not die.
Exodus 28:33-35

If you can watch this scene, listen to the noise the bottles make when the wagon moves. They tinkle like little bells! I have been pondering for some time what it means that this is a wagon filled with bottles, and now I know! There are two reasons that have been revealed to me. One is that the tinkling sound is required to facilitate transdimensional access to the heavenly realm and abode of the gods! This compares to the High Priest's access to the Most Holy Place and the golden bells and pomegranates he wore, when "its tinkling shall be heard ... so that he will not die."

This explains why Beans asks Rango the following "composite question" after climbing into the wagon. "So, are you gonna die out here or do you want a ride into town?"

The mariachi owls attest to this interpretation as they prophesy his certain demise in the narrative presented during the voyage. With evil genius, they reference the Sirens of ancient Greece. By this means they link this situation with what is more than mere fictional mythology when mortals died while interacting with the gods! Hint. HINT! These were the beings who lured passing mariners with their irresistible songs. The enchanted sailors drew near to hear them and subsequently drowned in the sea as their ships broke up on the rocks. Yeah, more embedded NLP. But Rango does not die. He is the right man at the right time, and the tinkling sound facilitates his journey so that, like the High Priest, he does not die!

Dimensional travel may involve movement from one point in space to another but it also involves time. Beans makes cryptic reference to time travel once Rango has climbed into the wagon, with bottles tinkling. "Today's Wednesday," she says. "And Wednesday's when we all get to it." "Today's Wednesday"? Time. "Get to it." Travel. So, time travel. Cryptic. NLP. Get it?

Even the superficial level of the plot supports the transdimensional travel theme because, with that declaration, Beans is referring to the weekly ritual water ceremony. If you remember from an earlier post in this series, that pictures the DNA transformation portal where one joins with the gods and becomes divine! The DNA transformation equates to regeneration that is akin to resurrection. The version in view is a counterfeit, temporary and corrupt, of course, but nonetheless real.

Now, the other reason why the agalah wagon is filled with bottles is to illustrate the resurrection principle. We can assume the empty bottles on the wagon were intended to be filled with water, like the many other empties we see throughout the movie. We know one of them (a Mason jar) contained ashes. Beans said they were her daddy's. Even though she appeared to correct our inference that they were what remained after cremation, it's obvious the correction was for misdirection. So, we have jars with a person's ashes and jars intended to be filled with water. These are the elements of a biblical purification ritual that is a resurrection type!

For the unclean person, put some ashes from the burned purification offering into a jar and pour fresh water over them.
Numbers 19:17

The ashes represent the dead body (actually messianic). The fresh water represents life. Adding water to the ashes in a jar is a reconstitution, symbolically transformative, a resurrection! This was presented in an appendix of Beyond the Veil titled Resurrection on the Third Day. This link will open the study about 3/4 the way down the page to a section titled, The Purification Ritual. As I've been saying, the key to being able to recognize dramatic modeling is familiarity with what's being modeled.

Some of you may have already been granted insight into how death and resurrection relates to time travel, which has to help grasping the whole "jars on the wagon" bit. This is deep stuff. If you've heard the euphemism "gone on ahead" used when saints die, well, it's really wonderfully expressive! I'm not going into detail here, but when the body is dead there is a spiritual perspective and a physical. With no burden of the body, physical mass is not involved with who and what you are. Without mass, you exit the time/gravity/3-space realm and constraints. "You" don't pass "Go", you don't collect $200 but you do arrive at your appointed and earned resurrection, which is back on the "linear" time line after your point of departure. If that doesn't make sense, please don't ask me to explain. Ask the Lord, OK? I don't know much, but I do know stuff.

So then, the Rango imagery mimics the biblical symbol that is the purification ritual, and you should understand that even the mimicry of a symbol is powerfully effectual in preparing for the targeted season. Folks are prepped in advance. They will buy in!

Is the devil familiar with this? Does he understand the details of the law given through Moses and officiated by the Levitical priesthood? Is he clever enough to embed layers of relevant symbolism in animated features? I think, yes. Are you able to perceive how Rango is a tool that prepares folks for when the events pictured happen? Those who watch movies and see ads and logos and hear music and speeches are programmed to respond in certain ways. When the Lawless one is revealed, few will be able to resist his will. Few indeed.

When we hear Beans say the word "sound" in her emotional alien abduction reference ("And until the people of Andromeda Five return him safe and sound..."), what is achieved through subliminal means (which is becoming more popularly referred to as "perception without awareness") is that "sound" and the activity involved in the alien abduction are linked in our minds. These are common elements in a theme that keeps repeating in my studies.

Time is a factor in sound. Sound travels at a particular speed through a medium, and speed is expressed as distance traveled over time, for example in miles per hour. Sound is also vibration with a property called frequency, which is related to pitch. Frequency may be expressed in a scale of measurement called hertz (Hz). The note referred to as middle C is 261.63 Hz. Brilliance, which is the sounds of bells and the ringing of cymbals is in the 10th octave range, spanning from 16384 to 32768 Hz. Sound effects things by transferring energy to them, most effectively when there is resonance involved. Think: tuning fork. This is in play when frequencies are in common between the physical or chemical structures acted upon and the sound imparting its energy.

I believe the wagon wheels themselves witness to the time element. They are 12 spoke wheels like the hours marked off on an analog clock face, or perhaps on a sun dial. As you may recall from earlier in the series, these wagon wheels are also sun wheel symbols, the sign of Horus.

There's another set of time references that actually includes the location of a very relevant Bible verse! When Rango responds to Beans' questioning about his role and what he's involved in, he prefaces his literal song and dance routine with the following.

Rango: Oh! Well, I...I...I'm glad you asked. I've got two one acts, a mystery and a musical I've been gestating. I've got the words. I'm just kinda workin' on the melody right now. It's like a... [humming a tune] This is - I think it's gonna be a western.

Two one acts? How about we follow the NLP tip-off and take a look at the book of Acts? Two one Acts - chapter two verse one.

And when the day of Pentecost was fully come, they were all with one accord in one place.
Acts 2:1

This features an explicit time-space reference. Time references found: "when...fully come" and "day." Spatial reference found: " one place." Do you see it? This verse is particularly relevant because the season of the lawless one's revealing and interaction with the Bride and 144k will come at Pesah, which is directly related to Pentecost by 50 days. The 50 day time span between them is the primary feature of that holy day of sparse description also known as Shavuot! It is the period of the Counting of the Omer, a daily countdown: Frequency, one count per day.

The Omer is actually a count of 49, which in the context I relate as a fractal to 490 and 4900. It relates to the Yobel, the Jubilee and legal provisions for debt and forgiveness. This ties in to the 70 generations (70x70=4900) prophesied by Enoch relative to a particular dimensional constraint, but I'll leave that to your study.

Do you see how the diabolically clever phrase "two one acts" taps the hidden theme of dimensions, time and space! But wait, there's more! One of the meanings of "two one" or the number 21 is, time. I know. Over the top!

Yesterday, I was going to include most of what you're reading here with yesterday's post, but I divided it up. As I posted Part 20 it occurred to me that I was now going to be publishing content featuring the subject of time in the 21st post. This happened before, just over a year ago. See Part 21 - Rochester, NY - The Clock of Nations and World Domination. That 21-time connection was so obviously directed by the Lord as it came in connection with #22 and the two signs involving the associated bell study. The Lord has been working with me on the subject of time and matters of timing for many years, and He's still at work! Praise the Lord! It's a big deal!

So, returning to the Acts 2:1 reference. Shavuot in Acts 2 is famously a holy day where there was a supernatural sign marking out a particular people. Few realize it, but this event took place at the Temple in Jerusalem, where folks had gathered for the Feast and congregated at that very hour. David Flynn has presented evidence that the Temple is a center of time in his book, Temple at the Center of Time.

This location will be the center of supernatural activity when the scene pictured in Rango happens!

4) who opposes and exalts himself above every so-called god or object of worship, so that he takes his seat in the temple of God, displaying himself as being God.
9) that is, the one whose coming is in accord with the activity of Satan, with all power and signs and false wonders
2 Thessalonians 2:4,9

After Rango says, "I've got two one acts," he continues the list. He adds, "a mystery," suggesting the scene is a mystery to be solved. He then adds, "a musical." A musical is a theatrical production that has an emphasis on music and singing, which are sounds, frequencies! Rango adds, "I'm just kinda workin' on the melody right now." A melody is a combination of pitch and rhythm, involving the actual musical portion of a "musical" production, with the time factor involved in both pitch and rhythm. He then hums a tune, providing a demonstration lacking a language component. The words, of course, are not the immediate subject of attention. He says, "'s gonna be a western." With that, Rango gives yet one more time (it's gonna be) and space (Western) reference.

Beans uses the word "puzzle" and Rango, "mystery." If we haven't solved it yet, to borrow a phrase from Wheel of Fortune, it's time to buy a vowel. The revealing of the lawless one with come with an opened dimensional portal. A man familiar but now changed will appear on the scene in a baptism with supernatural power near where similar things happened earlier in history. He will present convincing evidence of an otherworldly origin and authority. He will depart this realm by ascending in a throne vehicle.

Rango's version left in a cloud of dust with the tinkling peccary (swine) powered wagon's wheels stirring up the desert floor. Y'shua ascended from the Mount of Olives and a cloud received him out of sight.

9) And after He had said these things, He was lifted up while they were looking on, and a cloud received Him out of their sight.
10) And as they were gazing intently into the sky while He was going, behold, two men in white clothing stood beside them.
11) They also said, “Men of Galilee, why do you stand looking into the sky? This Jesus, who has been taken up from you into heaven, will come in just the same way as you have watched Him go into heaven.”
Acts 1:9-11

That return is not far off! Hallelujah!

Next post up, Lord willing, I'll interpret the meaning of the dream sequence that marked Rango's night in the drain pipe.

1 comment:

  1. I can't help but mention the connection of Tango being a reptile and the reptile looking statues in Egypt.