Deeper Insights into the Illuminati Formula

that the child watches the film over & over, so not everything indicated in this script by caps that the programmer says will necessarily be said in one showing.)

00 minutes. Curtains open. Action begins with an orchestra. The Conductor upon a step pyramid is the center of the scene, and is shown to be the center of authority. Master Programmer Dr. Joseph Mengele liked Fantasia because he was a musician and a violinist. Mengele (Dr. Green) liked Bach, Beethoven, and Schubert and orchestra music. He enjoyed taking what he liked & using this music to make slaves. He would portray himself during programming as being the conductor, & all the orchestra were his children. The film will allow for a repetition of this theme.

00.5 minutes. The instruments begin playing. The musicians are silhouettes which cast shadows upon the wall. Alters will often see themselves in this fashion too, as merely a shadow or merely a silhouette.

01.5 minutes. The MC (named Taylor) begins talking. He begins grooming the viewer. He says that the film may suggest to your imagination "geometric figures floating in space."

02. minutes. The M.C. says there are 3 kinds of music. He says some music is to create definite stories, some to create definite pictures, and some music exists for its own sake.

02.5 minutes. The M.C. introduces us to the "Absolute music."

03. minutes. He states that ,,Abstract images that might pass through your mind...music will suggest other things to your imagination..." The Philadelphia Orchestra begins playing "Toccata and Fuge" by Bach in the background. As a cartoon for children (or adults) the film has already lost the normal audience at this point. (There is no way that Disney could have escaped realizing that the film starts out losing the normal audience.)

03.5 minutes. The conductor is standing out and everyone else is a silhouette with shadow mirror images (like so many of the alters become). Leopald Stokowski is now standing as the rising sun rises. This is an allusion to sun worship and the sun rising in the east. The music is going up and down, and this music at this point is used to train the child to go up and down the trance ladder (that is to go deeper or lighter in trance).

04. minutes. The conductor opens his hands and waves them in an Illuminati hand signal. The music begins.

06 minutes. A row of violinists play, they are merely silhouettes with shadows.

06.5 minutes. A harp scale is played in the background

that is used in the programming. Triggers are attached to this harp scale, or the harp scale is used as a foundation identifier for a piano scale. More children can be taught the piano than the harp, so this scale is usually transferred to a piano scale.

07 minutes. A series of 3 musicians is shown.

07.5 minutes. The conductor (the programmer) becomes invisible. The Prog. Assistant will ask the child, ,,WHO IS GREEN? GREEN BECOMES INVISIBLE."

08 minutes. First lines representing bows are shown (the violinists are invisible), then the Golden Gate Bridge. "REMEMBER THE BOW, NOT THE VIOLINIST." The bow lines flashing on the screen represent energy. 08.5 minutes. Colored disks are flashed onto the screen. The lights are represented to the child victim ‘THAT’S DR. GREEN’S ORCHESTRA." Geometric shapes and flashes of lines explode onto the screen. Concentric rings that will pattern the concentric worlds appear. (See Vol. 2 p. 196 for an illustration of this.)

10. minutes. Asst. Prog. will say, ,,YOU ARE HIS STAR." as stars flash on the screen. Many hidden alters (parts) are stars. Swirling lines arrive, and then colors and then more concentric lines.

11 minutes. Worlds within worlds are shown. Water is shown. Concentric circles that are the pattern for the worlds are presented. A varying number (5 or 7) of Castle-like structures materialize and then disappear. (These will form the pattern for some of the internal castles.) A quick flowing yellow line comes down the center of the screen, ‘THAT’S THE YELLOW BRICK ROAD."

11.5 min. Lots of stars emerge.

12 minutes. Various worlds are shown, and an illusionary castle. Lots of stars are shown, which will be how the victim will model many of their alter parts after. Lots of purple stars appear, representing royal star alters.

12.5 minutes. Spiral splotches of cloud-like colors appear and disappear in dissociative colors. This is the Kingdom of the Gods during programming. The Asst. Programmer takes the opportunity to ask, "WHOSE ORCHESTRA?" This scene is used for the internal heaven where the kings are. Then the camera shows the conductor finishing.

13 minutes. The programmer has finished building his basic worlds.

13.5 minutes. The MC talks about Tchaikovsky’s Nutcracker.

14 minutes. 13 circling lights come into view circling around and around. (The 13 lights are something like 4 yellow lights, 3 white lights, 4 orange, 2 blue-something like this. They don’t have to be all the different programming colors at this point, because that programming will come in its own time.) Stars turn

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into fairies. A fairy with lots of fairy dust whirls around. ("Make a wish" the slave will be told later on, create what you want.) Flowers grow into butterflies. Hypnotic music plays as the fairy throws fairy dust. Soon, the Fairy spins a web.

15 minutes. The cabalistic tree of life is made with lights, and then the many colors of the ribbons are flashed up on the screen quickly. A compass image is very quickly flashed on the screen.

16 minutes. Lights multiply on the screen, and a spider web appears in the background. There are lots of stars which shine as lights in a spider web. (Stars will serve as alters in programming, the spider web serves as a system within the system, see Vol. 2.) There are several shots of multitudes of stars on a spider web. 16.5 minutes. There is an explosion of light which has a splintering effect (which will fit in well with an electroshock later on to create alters.) Around and around go 6 big mushrooms dancing, with a little one trying to participate. The programmer will point out that the mushrooms are "A FAMILY". When the splintering effect is done with real electricity in the future, the mind will splinter into a family.

17.6 minutes. Concentric circles appear in water. Flashing pedals emerge as if they were dissociation spreading through the water. The flowers are the top spinners (see the pages in Deeper Insights on spin tortures to create spinner families), they dance, & then they float away in the bubbles (of dissociation). "A FAMILY OF SPINNERS" the programmer will say. "SEE THEY SPIN YOU INTO BUBBLES INTO NOTHINGNESS." There is lots of dancing shown by the spinners. Everyone is dancing to the top. The child victim’s head will be wobbling back and forth from the influence of the drugs and dissociation at this point.

19.5 minutes. When the family of fish make a star, the Asst. Programmer says, "SEE HOW SAD THEY ARE." The fish dance in circles and they also hide behind veils. "THE FISH MADE ITS OWN BUBBLES AND YOU CAN MAKE YOUR OWN BUBBLES TOO."

21.5 min. The child is trained to trance at the hypnotic 8’s that appear in the water. This type of scene will put the deeper alters to sleep of a slave still actively being used. The movie here is being used to teach symbols, which will be important in the programming. Asst. Programmer, "LOOK YOU’RE JUST FLOATING.. ..FLOAT, FLOAT, FLOAT, SLEEP...SEE SHE WENT RIGHT INTO THE CENTER OF THE TRANCE STATE.. .YOU DANCE ROUND AND ROUND AND ROUND AND WHERE WE END UP YOU’LL NEVER KNOW."

22 minutes. Lots of bubbles begin appearing. They will be used in the programming to assist the child to protect its mind from the traumas. The asst. programmer may have a bubble toy to make bubbles in her hand as a game to play with the child. The child will be trained and programmed to put its memories into bubbles and let them disappear. ,,WHY WOULD YOU WANT TO GO INTO THE BUBBLE TO GET AWAY FROM THE DARKNESS? 1,2,3...NOW THERE ARE MANY BUBBLES, THIS IS WHAT WE WANT YOU TO DO." At this point the film is showing different colors of bubbles, for instance gold bubbles. This trains the child’s mind to identify different colors of bubbles. The bubble-fish-flower scene is going on. ,,DON’T YOU FEEL LIKE THAT FISH, ROUND AND ROUND YOU GO" (dissociation encouraged). The fish continues going in a dissociative spin. The fish swim in graceful perfect figure 8’s which have a subconscious hypnotic induction message to the victim. "SLEEPY LITTLE FISH" is said when the music gets hypnotic. "YOU’RE SLEEPY & YOU’RE TIRED, THIS IS NOTHING BUT A DREAM." "ALL THE DIAMONDS ARE ALL AROUND, NOT YOU" In other words, this is teaching the child that their entire internal world can be around them, but "you don’t know that it’s you." The child begins to lose the ability to realize that other parts of itself belong to itself, they are only stars, etc. The fish changes into anot her character. flowers are appearing in different colors of the color coding, red, green, orange, blue, white. . .All of a sudden it get’s still. "SHH, LISTEN CLOSELY."

22.5 minutes. Eyes shine in the darkness. "EVERYTHING IS FINE, YOU JUST RELAX."

Silhouettes appear, which represent fish (alters, and people) who are there but you don’t see them, they are behind the veil like the silhouettes. ‘THEY AREN’T THERE, IF YOU SEE THEM THEY AREN’T REAL THEY LOOK LIKE A FLOWER, WHEN YOU SEE THEM, YOU WON’T SEE A CHILD- YOU WILL SEE A FLOWER." The silhouette veil gives the sense to the child that he can sense something but it’s not there. 23 min. Different plants appear and dance. (This part of movie is very important in structuring.) The plants separate into many plants and flowers, and they multiply on the screen, but at the end they solidity into a solid plant. This is teaching the ,,you-are-one-but-you-are-many" concept. "FAMILIES ALWAYS WORK TOGETHER. WHETHER YOU ARE BLUE OR YELLOW OR GREEN, FAMILIES ALWAYS WORK TOGETHER IN HARMONY."

24 minutes. "BUBBLES ALL HAVE A LIFE SOURCE...THERE, LOOK, WHAT’S IN THAT BUBBLE?" 24.5 minutes. ,,YOU CAN HAVE YOUR OWN ORCHESTRA". Fruit that hangs on the tree is shown, which will be the basis for how they hang the programs (the fruit) in the internal world. Note the colors, orange, white, yellow, purple, blue, green,...

24.5 minutes. Fairyland appears on the screen. The Fairies awake and fly through leaves. ‘THERE’S YOUR

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FAIRIES. SHE IS VERY MAGICAL. SHE CAN CREATE ANYTHING AND SO CAN YOU." "THE FAIRIES ARE SO MAGICAL."

When the core is being first split, the parts of the mind that are creative are taken and used to create the fairies. The programmers will only take these original creative splits, they will not try to get fairies from any more torture. The fairies are the creative parts of the child, how ever many creative parts that the child has splintered will be the number of fairies created. These parts of the mind receive very heavy programming. They are core splits. (If readers remember on page 87 of Vol. 2, it refers to a Core Protector coded "Creation". That alter was a fairy, a core split. Not only does this creative part make things "magically" for the system, it protects the core. Does that help people to understand how the Core can be so creatively protected?! (For more understanding about the Core see Cisco’s very deep article on the Core.) Fairies are assigned to every part of an alter system. The child of 3 or 4, who watches Fantasia has had their core locked away at 2 1/2. The core’s stars have not been locked away yet, & have access to her energy. When the system is built, the stars are locked away & become the core’s guardians. They will act like the core to protect her. The real value of the fairies comes when the core’s stars are locked away & the Programmers have to depend upon the creative power of the fairies.

24 minutes. A vine (which represents a system’s double helix) lights up one leaf after another. The leaves are staggered (alternated) and they light up in sequence, which teaches the child the foundation of how they will create the DNA helix and its staggered exit permissions.

25.5 min. The leaves are now floating up and down, like the alters will learn to do. "SOME FALL TO THE GROUND AND DIE." This is the point where the story of the Oak Tree will be added in for programming. When the Illuminati programmers want "to destroy" an alter they can use the chandelier-MT 6:22-23 torture mentioned on page 310 of the Vol. 2 Formula book, and then have the splintered alters become leaves that fall to the ground and die. After this, these disobedient and now "dead" alters can be taken & be dissociated from their memories. The memories are locked up someplace permanent within the mind.

26. min. Out of a leaf like "box" come a series of fairies. The child is taught to put things (such as alters) in boxes of various shapes.

26.5 min. Leaves blow in the wind. Fairies cover things and keep them safe.

27. min. Fairies continue flying around. The seasons are passing in sequence. An internal green-skirted fairy will be connected to the internal hourglass during the programming.

27.5 min. The fairies quit flying and skate on ice. The season has turned to winter.

28 min. A winter scene. The four seasons have come to an end.

28.5 min. A sorcerer is introduced by the MC (emcee). The sorcerer is shown and then his assistant or trainee who is Mickey Mouse. Mickey Mouse wants to be creative and magical like the great wizard. Mickey Mouse sees the power that the sorcerer has, and wants that power. What is really being subtly portrayed here is the programmer (the wizard) and the core & the core’s creative splits (Mickey Mouse). Showing the programmer as a great wizard is actually right on the money. The top programmers are all Grand Masters in the Illuminati and are very much into witchcraft.

29 min. The sorcerer (wizard) is shown again. This time the wizard,, with his skull beside him, creates from his witch’s cauldron a big colorful butterfly which is forever changing. (Is this big yellow, purple, white, and blue butterfly meant to be a Monarch butterfly? The programmers will use it that way for this Monarch programming.) The great wizard magically creates the big colorful butterfly and then he shatters it into countless splinters!

 

 

Disney often portrays Mickey Mouse as a Sorcerer.

30 min. Mickey sneaks around and grabs the magic hat. (The magic hat is one of the few things in the film that doesn’t mean anything for the programming. It merely has witchcraft symbols.) Then a magic broom appears.

30.5 min. The broomstick comes alive. The broomstick imagery will be used to help create the pancake people (ribbon alters who will haul the internal computer messages). The broomstick person in the film hauls buckets of water. The child is having story after story layered in over a period of time, which are being skillfully constructed toward a programming end. Parts of the child’s mind that see the movie Fantasia will be dissociated clean slates. They will need to have some imagery given to them so that they have something to build mentally upon. In Cisco’s section of the book, in the Truth article it is discussed how the

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mind looks at sensory inputs and tries to make sense of a pattern by comparing it to previous patterns that it has identified. Learning is a step-by-step building process, and so is programming.

31. min. Mickey as the apprentice sorcerer (in a sense the victim who the programmer is training) manipulates the broomstick person. "THE CHILD (Mickey) CAN DO WHAT THE GREAT MAGICIAN DID. YOU CAN TELL YOUR MIND WHAT TO DO. YOU GET POWER BY LEARNING TO BE CREATIVE." Mickey (and the victim) become mirror images of the Wizard over them.

32 min. Then the sorcerer sits on his throne, and while on the throne acts like the conductor. Here is a subtle mental tie-in that Mickey is playing the role of programmer (conductor) and is sitting on an Illuminati throne (like so many of the Illuminati Grand Master programmers have actually done.) Michael Aquino is just one of several mind-control programmers who have gone by the name of Mickey. Because Mickey Mouse is substituted for being the programmer at different points in programming, this scene will tie in well with other standard programming sessions.

32.5 min. Mickey in the film clearly is shown leaving his physical body and astrally projecting himself. This is such a vivid portrayal of occult astral projection, that it is mind-boggling that many Christians consider Walt Disney movies to be christian. (See Vol. 2, p. 319, for a discussion of the scientific methods to understand and induce astral projection.) This again is laying the mental foundation for the child to leave its body mentally and either hover over its body in dissociation or to travel somewhere via astral projection. Mickey Mouse then begins conducting lights.

p_starry-sky.gif

These lights represent the alters that the victim will make for the conductor. The lights (aka stars) are the conductor’s orchestra. Lightning (such as flashes that come from electroshock) and stormy weather are being controlled by Mickey. Notice that the things Mickey is controlling are fear-based. After the child has viewed the film many times and memorized it, when the electro-shock is applied during this time of the film, the child will control it like Mickey by ‘magically’ creating splits.

33.5 min. Mickey begins conducting waves. Then, for those who understand the veiled scenes, Mickey begins going through the different magic spheres conquering the different spirits. This is Enochian Magic. 34 min. Mickey wakes up back in his body, and he is in trouble with rising water i.e. a water trauma. Mickey is thrown into the water. The child victim will identify this with the drowning tortures that are given to instill "no talk-no tell" messages. After Mickey (or in child himself) has done something, and returns to his body, then the "‘no-talk"’ message will kick in. Victims of mind-control often get the feeling of drowning when they trigger a no-talk message.

34.5 min. More water continues to flow.

35 min. All of a sudden without any continuity of action, Mickey gets an ax and kills the broom by splitting it. The broom dies and then multiplies when it comes back to life. This is such a clear picture of what the programmers want the child’s mind to do. They will traumatize the child essentially unto death, and then they want the tortured alter to multiply itself into many more duplicate alters. Armies of brooms are formed from the broom. This scene here is a clear red flag that the Illuminati asked Walt Disney to produce this film. This scene with the trauma death of the broom, with it splitting in half, and then coming back to life in a multiplied form, is evidence that this film was meant to be used for training children in multiplicity. The assistant programmer will say "IT’S O.K. TO SPLINTER." "YOU ARE TIRED, YOU CAN ESCAPE THAT BY RESTING AND LET A PART OF YOURSELF COME OUT." At this point, it is necessary to explain what is going to be done when they begin to splinter the child’s mind. After the splitting trauma, the programmer needs to be able to see what the child has created, so he wants the child to look at what’s been made. "‘CAN YOU LOOK AT WHAT YOU’VE CREATED?" However, the part of the child that looks back at the trauma will then see that the dissociated trauma was real and that will make the child angry. The programmers want the child to dissociate what he built, and when the child looks back at what he has created he goes into a vortex of dissociation. The child is told if he ever looks back at the memory he will go into the vortex.

35.5 min. Water is being thrown in by the brooms, while Mickey throws water out.

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36 min. All of a sudden a hypnotic vortex sucks things in during the film.

36.5 min. The brooms all march in an army, while Mickey reads his magic book. Mickey then uses his magic book as a lifeboat when he gets whirled into a vortex. A vortex is often created from that part of the mind that is holding the high energy that accumulates in the mind just before the mind splits. It holds the highest energy of the mind. One way a vortex is created is to place the child on a traumatic Disney ride--like a rollar coaster. Special electrical boxes or electrical shoes are outfitted onto the child so that during the ride, at a particular timed moment when fear is increasing, that fear has pain of the electrical shock added to it. A cattle prod of course would be too dangerous to take up on some type of ride like that with all the motion. Also bear in mind, a small child doesn,,t take need the electrical power that an adult needs to take it down.

37 min. At the bottom of vortices in the Illuminati programming, the programmers place Guardian demons. In Fantasia, when Mickey gets to the bottom of the vortex, sure enough, there is a Guardian there to meet him. The Guardian spirit parts the water as if he were Moses with the Red Sea.

38. min. The Conductor and Mickey Mouse shake hands. The conductor does something very significant. Mickey congratulates the conductor and then the conductor (programmer) in turn says, "Mickey, you’ve done a good job." (Yes, the core/core splits have done a good job at this point, they have just created their inner world!) The MC tells us about the next song the occult Rite of Spring. Spring rituals are creation rituals and so this music is ritually connected to what the programmers are going to do in this segment. The MC states that instead of the viewer seeing tribal dances (which are by the way witchcraft dances), that instead Disney has decided to show us scenes of what went on billions of years ago. (This next part is also a subtle push for Darwin’s theory of evolution. But because it is child’s entertainment, people don’t have their guard up. The theory of evolution is important, because it allows people including the victim to not take moral responsibility for their actions, and it is also the basis of some of the Hinduism and witchcraft teachings that will be given the deeper alters. This is a backdoor approach to destroy godliness that is carried out on children in general.)

39.5 min. The MC says, "Imagine a lonely tormented little planet spinning in a sea of nothingness." This is exactly what the programmer will say to the child as they work together at building an internal world. The "sea of nothingness" is what the reader will see described in our books as "Outer Space" or ,,the Rubicon." Also that "sea of nothingness" is used much later to reinforce the secrecy of the programmers. Much later as the programmer and torture has progressed the programmers will say to alters, "LOOK DOWN ON THE EMPTY SEA OF NOTHINGNESS. THERE IS NO DR. GREEN. THERE IS NO DADDY THERE."

40 minutes. A swirl of stars in a galaxy appears. Swirls of comet-like lights flash by. "MANY WORLDS THERE." This will set the base for the child to build galaxies and worlds within their mind. "BE LIKE GOD, CREATE YOUR WORLD. BE YOUR OWN GOD AND CREATE YOUR OWN WORLD" the child is told at this point.

42 minutes. The face of the planet emerges.

42.5 min. Lots of volcanoes erupt on the screen, setting the foundation to build realistic internal volcanoes.

45 min. Oceans, and water and fire are coming into being. The child victim needs to know how a world is created in order to create their own internal world. Lava begins flowing as the flute plays the background music. Lightening flashes. The violence of the fierce weather portrayed will be enhanced by the child on drugs to a thousand times its magnitude. This is important because it will take a great deal of mental energy and external torture to create the internal worlds. Having such super-vivid pictures will help when the victim goes to build their internal worlds. There will be special purpose fragments that will be made into the elements of fire and water. That’s all these special purpose fragments will know. Breaking through the layers in the alter systems will trigger internal earthquakes. This and a later earthquake scene are used to build the foundation for the internal violent weather. If an internal earthquake shakes a slave’s mind, it has the same effect as if a real earthquake were going off. Everything internally shakes and shifts. An alter system will also have fire children, who start internal fires, and will give internal alters the abreaction or sense that they are burning. The mind gets very survival minded when it thinks it is burning, and goes right back into the programming that is linked with the victim’s compliance for survival during programming. 46 minutes. The oceans continue to form.