Part 35 - Rango - Osiris on the Renaissance Stage and... The Bride Theft

Continuing from the previous post, it should by now be very apparent that Rango is witnessing to a jail break by resurrection. The thespian chameleon's terrarium theater production's script elaborates upon what I noted earlier about this jail break scheme, modeled for us when the mole Balthazar and his underground dwelling kin entered the vertical stream of water and ascended out of their prison cell. The serpent dragon is eager for the 70 generations appointed for the binding of his underground kin to pass. Intensely, passionately eager. This recurring theme is a really big deal.

We must ask at some point where the cryptic elements pointing to Osiris might be found in all of that scene's excessive symbolic death and resurrection messaging. Beyond the obvious featuring of the almost ever-present green-skinned chameleon himself as the green-skinned Osiris, both the dead bug and the palm tree have links to this essential identity.

Here's the Osiris link with the palm tree. After the chameleon gives his line as the director about acting being reacting, he turns and addresses the palm tree.

“Victor, you were wooden. There, I said it.”

Yuk yuk. Of course he is, he's a tree. But here's the Osiris signal. A popular version of the Osiris legend had him encased and preserved inside the acacia tree like a mummy. The acacia is a symbol of eternal life and the hope of resurrection, like the palm tree's victory over death. (Acacia; trees of Ethiopia - SPRIG OF ACACIA - Masonic World) Victor, wooden; Osiris, encased in wood. Palm tree. Acacia. Victor. Osiris. Dot. Dot. Connect.

I've already shown in another post how the doll torso represents Isis. Here they are together on the terrarium stage, Osiris and Isis. Before I move on to the bug's link, here's another that loosely links the palm tree and Osiris but strongly associates the chameleon with Horus-Apollo. According to legend, Apollo was born while his mother Leto clung to a palm tree. Think about it.

By the way, at the base of the palm tree grows some aloe, plants renowned for their healing properties. The tree is all about healing, from death. And, speaking of properties, the acacia are known sources of DMT, a pineal gland and Eye of Horus activating agent used for transdimensional access.

Now, the bug, Dr. Martz, plays the aging father of the princess, thus, he's a king like King Osiris. He's dead and dismembered, like Osiris. He's floating in the water, like Osiris in the Nile. There's a fish nearby, like the one that ate the phallus of Osiris. Fish eat bugs. That's enough to establish a link, but, ahhh, there's more!

We know on a few levels why the palm tree is named Victor. Why is the bug played by Dr. Martz? There's a clever clue in this scene and another hint that's dropped in a later scene. Together, they reveal the mysterious identity of Dr. Martz and establish an unmistakable link to Osiris!

During the dress rehearsal of the mock theatrical production, after the dead bug fails to respond to the hero's threatening sword, the chameleon interrupts the scene, playing the role of acting director.

Dr. Martz. Dr. Martz, I'm not getting anything from you. People, we've talked about this. Acting is reacting.

Who is this Dr. Martz and why does he play the dead bug? In December of 2001, a certain Dr. Martz died, an author and long tenured professor at Yale University. Being dead, he can't very well play a living bug, right? Unless he's raised, of course.

“During his long tenure at the University, Professor Martz had also served as acting director of the Beinecke Rare Book and Manuscript Library (1972-1978) and as acting director of the Yale Center for British Art (1981).”
English Professor Louis Martz: 'One of Yale's great teachers'

Please note from that official announcement that he had served as “acting director” for two institutions. Hey - ACTING DIRECTOR? The chameleon actually named Dr. Martz while playing the role of acting director! Well, the professor was not the dramatic acting kind of acting director, but this does effectively serve the purpose of association.

Dr. Martz happened to specialize in English Renaissance literature and 17th-century metaphysical poetry. Hmmmmm. That includes some very layered esoteric literature! Rango featured just such as that in the Elizabethan style terrarium stage production. Rango's Renaissance period drama borrowed the character Malvolio from Twelfth Night, a Shakespearean (Baconian - Sir Francis Bacon) classic. A later scene involved a closely related production put on by Rango's posse as the era's troupe of traveling thespians. We hear Rango deliver this line after he autographs a Bible. "Now remember son, stay in school, eat your veggies and burn everything but Shakespeare." (Burn the Bible?) Assigning Dr. Martz this role in Rango does more than pay homage to the man as a simple cameo might. The point is in the Osiris connection. It's coming.

In another scene, the bank has just been robbed and a character runs through town at dawn, loudly announcing the deed. The stir awakens Sheriff Rango abruptly, who had been in the midst of a dream while sleeping soundly in the jail. He blurts out the following line.

Dr. Martz - I'm on fire - embrace me!

Huh? Is that just a non sequitur outburst from a silly dream, or, comparing to Bean's cryptic but meaningful outbursts on stirring from tonic immobility episodes, a clue providing some insight into why the dead bug was called Dr. Martz? Option 2? Good call!

You can find the telltale text from one of Dr. Martz's books online.

Many Gods and Many Voices: the Role of the Prophet in English and American Modernism by Louis L. Martz

On page 124, you'll read the professor's critical analysis of the D. H. Laurence story titled The Escaped Cock, where, after presenting a particular excerpt, he writes, “Whenever I have taught this story the class at this point has erupted in a gale of laughter.” I imagine any student who might have fallen asleep in class would have awakened suddenly at the eruption of laughter, like Sheriff Rango. What Rango blurted out makes sense in this context.

The story illustrates the intensity of the pilgrim character's sexual desire poetically using figurative language drawn directly from that used of Osiris, when sought by Isis.

“She was looking for the fragments of Osiris, dead and scattered asunder....And through the years she found him bit by bit, heart and head and limbs and body. And yet she had not found the last reality, the final clue to him, that alone could bring him really back to her. For she was Isis of the subtle lotus, the womb which waits submerged and in bud, waits for the touch of that other inward sun that streams its rays from the loins of the male Osiris.”

Picture now the dead and dismembered bug as the Osiris of Dr. Martz's commentary on The Escaped Cock. The ready Isis Barbie appeared in the adjacent corner of the set, also dismembered, for NLP association, playing her role as the gravely ill King's daughter. The Isis of legend was the sister of King Osiris, not his daughter, but, hey, that's plenty close enough for NLP.

The next section excerpted from Laurence's story follows.

“He crouched to her, and he felt the blaze of his manhood and his power rise up in his loins, magnificent.
"I am risen!"
Magnificent, blazing indomitable in the depths of his loins, his own sun dawned, and sent its fire running along his limbs, so that his face shone unconsciously.”

Dr. Martz's reading of the “for mature audiences only” prose that so vividly illustrates an Osiris experience prompted classes of students to erupt in laughter. Any sleeping in the class would surely be startled awake. Rango, startled awake, blurts out: “Dr. Martz - I'm on fire - embrace me!” There it is. There's the knowing reference connecting the dead bug with Osiris.

Any man who has awakened from such a dream feeling “the blaze of his manhood” can relate to what's being further implied here. I'm sure this scene is a source of immense amusement for the few in the know.

This covert reference to Yale University isn't the only one in Rango. You may recall from an earlier post how the Skull and Bones Society at Yale was referenced by the grandfather clock in the banker's office. That clock closely matched the one in the popular picture that shows George Bush standing near the clock.

The theme of the dawn of the sun god Osiris is unmistakably imported by Rango's clever line, and it may be seen that this is attended by supporting visual imagery. Rango was sleeping with cucumber slices on his eyes, pampering himself and getting his beauty rest while he was supposed to be guarding the bank. When stirred from his erotic dream, the slice covering his right eye fell off immediately, exposing it to us in a Horus identifying visual as Harmerty, Horus who rules with two eyes - Horus on the horizon, awakened, and dawning at sunrise as the incarnation of Osiris, the Beast!

It may be noted that when Rango awoke you can see bars on the window. After waking, he exits immediately. He's free. Hmmmm. This is yet another release from jail by resurrection. It's also another version of the ubiquitous phallic Eye of Horus transformation, right?

If you're able to watch the video of this scene you'll hear a rooster crowing as the sequence begins. The town crier character announcing the theft is pictured at sunrise, running frantically down Main Street. A rooster crows as he begins to yell, “The bank's been robbed! The bank's been robbed! Oh, good Lord, the bank's been robbed!” Hey, where did that rooster in the scene come from? Would that be The Escaped Cock? Apparently so! This adds even more support to the link!

Rango. Have I mentioned yet that it's rich with embedded symbolism?

If we intend to draw some line with Rango to say this here is credible but that there's too much of a stretch, where would we draw it? Let's not underestimate our supernatural adversary's capabilities. One thing we should be taking away from this blog's presentations is that he has woven quite an intricate spell in this world of ours, and we, even immersed in it, have been practically oblivious to it's mechanisms and their working. Another takeaway should be that our Lord Y'shua has these matters well in hand, and you and I, whose eyes He is surely opening! Those of you associated with Rango's production who read here and are still invested in the agendas promoted, make note: It's not yet too late to repent.

So, the palm tree and dead bug both have distinct Osiris connections, with Isis and Horus implicit in the linkings. We know why. Beyond hammering such a simple point home in this series, there's implications made in this valuable intelligence gleaned about the serpent's operations that some of us need to get hold of. How much does the devil know about what's going on now and what's coming? What is the Lord teaching us through this? There's far more that I don't know than what I think I know, but I'm learning.

One item of particular interest to me in the rooster crowing scene is how the devil signals a recognition of the Bride Theft. This resurrection harvest will appear to those left behind as though a theft has occurred. What is most valuable will have been left unguarded and stolen away in the night while they sleep. I wrote about this harvest event at length in a study featured as a Beyond the Veil appendix. The Bride Theft

Here's a couple relevant scriptures.

38) Whether he comes in the second watch, or even in the third, and finds them so, blessed are those slaves.
39) “But be sure of this, that if the head of the house had known at what hour the thief was coming, he would not have allowed his house to be broken into.
40) You too, be ready; for the Son of Man is coming at an hour that you do not expect.”

Luke 12:38-40

33) “Take heed, keep on the alert; for you do not know when the appointed time will come.
34) It is like a man away on a journey, who upon leaving his house and putting his slaves in charge, assigning to each one his task, also commanded the doorkeeper to stay on the alert.
35) Therefore, be on the alert—for you do not know when the master of the house is coming, whether in the evening, at midnight, or when the rooster crows, or in the morning—
36) in case he should come suddenly and find you asleep.
37) What I say to you I say to all, ‘Be on the alert!’”

Mark 13:33-37

Sheriff Rango was the assigned doorkeeper. Did the master of the house come at midnight, or when the rooster crowed? Notice the words used as the report of the theft was made.

“The bank's been robbed! The bank's been robbed! Oh, good Lord, the bank's been robbed!”

Three times a phrase is repeated. Resurrection. A resurrection robbery. The Bride Theft! Oh, good Lord! Baruch haba b'shem Adonai! Blessed is he who comes in the name of the Lord!

There are four phrases. Three are the same. It's another instance of “three things and then four,” another signal expression of the 4th Shemittah from 1991's sign being the season appointed for these events to be fulfilled.

The bank robbery was a key trigger that changed the course of the story in Rango. Not unlike the Bride Theft. Watch and see.

Part 34 - Rango - Jailers of Virtue? A Bitter Vengeance Resurrection Plot

During the opening sequence of Rango the umbrella drink chalice was a major signal device. I addressed that terrarium stage's prop pretty thoroughly in the previous post. Another featured prop is the palm tree, which I've already introduced as a signal device but there's more to be gleaned by leveraging that valuable insight.

Again, you can watch this clip posted online: [video] First 14 minutes of Rango. For this post, the clip of interest spans from about 2 minutes in to a little past the 3 minute mark. You might find it helpful to open the video in another window to keep it available for ready review alongside this post's commentary.




The palm tree is a symbol of victory over death, as rightly noted by Masonic author Albert Mackey. The palm tree on the chameleon's theatrical stage set is a pretend actor named Victor. “Victor,” as in “victory over death” in resurrection. The first use of the palm as a signal comes early. The chameleon's show begins. He picks up two palm branches and holds them behind his head to form a curtain that obscures the set from view.

The narrating chameleon: The stage is set, the night moist with apprehension. Alone in her chamber, the princess prepares to take her own life.

The palm branches symbolically form the curtain or veil that separates the realm of the living from that of the dead, a veil which the princess prepares to cross. If she were dead, victory over death would raise her from death through the veil to life. This is dramatized for us as the chameleon, while saying “to take her own life,” parts the two branches in vertical action moving one up and one down to expose the maiden as she is about to cross over.

The play continues.

Princess (dubbed by the chameleon): It is far better to nourish worms than to live without love.
The narrating chameleon: She reaches for the poison chalice. Meanwhile, the wicked Malvolio plots his ascension to the throne. [Dubbing Malvolio's evil laugh.] While her aging father lies gravely ill.
Princess' father (dubbed by the chameleon): Yes, I'm gravely ill.

At this point, the focus is upon the bug, obviously dead, floating on the water with some detached limbs floating nearby. We hear a fanfare and what should appear? Not the chameleon, but Victor, the palm tree. After an awkward moment passes, the chameleon voices Victor's part.

“Hark, who goes there!”

Then, the chameleon finally leaps into the frame, with dialogue that reveals he has come to rescue the maiden. The fanfare, however, was for Victor, who arrived right on cue to rescue the bug from death. That's the role of the palm tree, after all! The NLP suggestion of "grave" was embedded twice in the repeated expression “gravely ill.” There was an obvious need to rescue the princess' father, a king, from the grave. Victory over death, to the rescue!

Continuing, the self-narrating actor has leaped into the scene.

Tis 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! [No response from the lifeless prop-characters - so he repeats as if they might have missed their cue.] The sting of my - eh!

There is a passage of scripture that deals with dead bodies, victory over death, and a related sting, a word used twice in the stage play and twice in this passage.

50) Now I say this, brethren, that flesh and blood cannot inherit the kingdom of God; nor does the perishable inherit the imperishable.
51) Behold, I tell you a mystery; we will not all sleep, but we will all be changed,
52) in a moment, in the twinkling of an eye, at the last trumpet; for the trumpet will sound, and the dead will be raised imperishable, and we will be changed.
53) For this perishable must put on the imperishable, and this mortal must put on immortality.
54) But when this perishable will have put on the imperishable, and this mortal will have put on immortality, then will come about the saying that is written, “DEATH IS SWALLOWED UP in victory.
55) O DEATH, WHERE IS YOUR VICTORY? O DEATH, WHERE IS YOUR STING?”
56) The sting of death is sin, and the power of sin is the law; 57 but thanks be to God, who gives us the victory through our Lord Jesus Christ.

1 Corinthians 15:50-56

Verse 54 could be described as the palm tree verse, and this is immediately followed by the “sting” verses, cleverly modeled in Rango's dramatic sequence, you see. Rango's intent, however is not by any means to advance the genuine but rather counterfeit it with a twisted version. The chameleon delivers his dramatic line then repeats it, leaving off a word to highlight it. Attention is drawn to what's missing - vengeance. More accurately, two words are left off, “bitter” and “vengeance”. We've seen this testimony before and I've noted it on this blog with some frequency. The victory over death that the agents and agencies behind Rango have in mind is about bitter vengeance!

The Lord's way for his obedient saints who walk by His spirit is as follows.

Never take your own revenge, beloved, but leave room for the wrath of God, for it is written, “VENGEANCE IS MINE, I WILL REPAY,” says the Lord.

Romans 12:19

The enemies of God take what is God's upon themselves. The dragon and his hero seek vengeance with bitterness. For what? Rango drops a clue.

Unhand her, you jailers of virtue, or taste the bitter sting of my vengeance!

Unhand her. Yuk yuk. Her is already unhand-ed, with but a torso and a single arm. What's not so funny is what is implied by the rather awkward expression, jailers of virtue. Sure, imprisoning the virtuous maiden, ok, superficial, but the word “virtue” has another meaning that is the key to the deeper plot!

A Virtue is the fifth of the nine orders of angels in medieval angelology. This is a fitting definition, and one that comes from medieval times. This is a Shakespearean production, from long ago when the language was very different, right? Jailers of Virtue. Jailers of angels. Are you getting this? Is someone bitter about jailed angels? Is there some bitter vengeance plotted against the jailer of angels? Does this plot involve some fashion of resurrection, a claim of victory over death? Isn't all this, somehow, familiar? It should be, by now!

The play continues with the chameleon pointing his sword threateningly at the dead bug, which does not respond, of course.

Dr. Martz. Dr. Martz, I'm not getting anything from you. People, we've talked about this. Acting is reacting.

Meaning? The action plotted for revenge is a reaction, a response to the action taken by the jailers. What is coming is in response to the judgment and sentence executed upon those responsible for the flood of Noah's day. There is bitterness in their ranks, and vengeance is plotted against the jailers. A jail break is part of the plan!

More to follow, Lord willing!

Part 1 - 2012 London Olympics - GIANT Olympic Rings on Chunnel Face

I saw an interesting picture today, the one you see here. In preparation for the 2012 Olympics, the French access to the Chunnel has been decorated with this choice promotional imagery. I was immediately struck with the realization that this is a mark of the Beast portal. Thanks Lord, and thanks Jeff (Jeff Davis of Acceleration Blog) for bringing this image to my attention!

Here's the link to the report on the official London2012 site:
Giant Olympic Rings unveiled at Channel Tunnel entrance

The openings are as eyes and the Olympic rings logo marks the Chunnel as on the forehead. Compare the face of the Chunnel to the face of Apollo on this poster from 1936. Giant Olympic Rings? Really? Like this Giant?

These leverage the unseen bindi / bindu chakra, the third eye, the Eye of Horus. Apollo aka Horus is the identity of the implied magical ring number 6, the white capstone of the truncated pyramid created by the inverted rings logo. In 2010, I explored the meaning of the Olympic rings in a 15 part series on this blog. What Does the Olympic Rings Logo Really Mean?

The poster (from the games in Berlin often referred to as the Nazi Olympics) connects this with the Brandenburg Gate, a physical gateway and charged portal identified with the Apollo idol quadriga and emblems. Now, the Zeus worshiping Olympic promoters have repeated, leveraging the Chunnel as an updated Brandenburg Gate - a spell casting magick portal. It reminds me of Rochester, NY's Gateway to High Falls.

The sex magick is implicit, and the train pictured coming or going in or out of the tunnel leaves little left to imagine. Phallic Eye of Horus.

The Chunnel portal eyes are dark.

33 “No one, after lighting a lamp, puts it away in a cellar nor under a basket, but on the lampstand, so that those who enter may see the light.
34 The eye is the lamp of your body; when your eye is clear, your whole body also is full of light; but when it is bad, your body also is full of darkness.
35 Then watch out that the light in you is not darkness.
36 If therefore your whole body is full of light, with no dark part in it, it will be wholly illumined, as when the lamp illumines you with its rays.”

Luke 11:33-36

The light of this enlightenment scheme is Luciferian, Illuminati, a match to the light of the Olympic torches procured from Mount Olympus in ceremonies paying tribute to the source of the light, Zeus. The Bible identifies Zeus as Satan in Revelation 3. It was Zeus that was worshiped by Antiochus Epiphanes, who defiled the altar in Jerusalem in the act identified with the abomination of desolation.

Why do you suppose they didn't just use the 2012 Olympic logo instead of the rings? Would that have been too easily identified as an Eye of Horus?

With this mashup of miscellaneous bits we could play "one thing is not like the others." Except that each thing is like the others.

The London summer games are the Olympics anticipated in the 2008's highly charged occult ritual referred to as the London Presentation. These are the games where Underworld will have significant musical oversight. If the games will indeed be held, they will be a very, very big deal!

Some news of interest

IBM: Mind reading is less than five years away. For real. (CNET - 12/19/2011)

Two deaths from brain-eating amoeba linked to sinus remedy for colds Tap water. It's not what you wish it was.

The Pope, the Devil, and the Masonic Lodge by Texe Marrs

SafetyTat QR!
"SafetyTat is proud to announce SafetyTat QR! This innovative tat combines advanced smart phone technology with integrated QR codes on our award-winning temporary tattoos."

Police employ Predator drone spy planes on home front (LA Times - 12/10/2011)
“As the unmanned aircraft circled 2 miles overhead the next morning, sophisticated sensors under the nose helped pinpoint the three suspects and showed they were unarmed. Police rushed in and made the first known arrests of U.S. citizens with help from a Predator, the spy drone that has helped revolutionize modern warfare.”

Invasion of the Vein Scanners for Cashless Society (Activist Post - 12/8/2011)

WikiLeaks details surveillance industry (Brisbane Times - 12/2/2011)
“"Today we release over 287 files documenting the reality of the international mass surveillance industry - an industry which now sells equipment to dictators and democracies alike in order to intercept entire populations," Assange told reporters in London on Thursday.”

North Miami Beach employees in hot water over alleged Santeria birdseed plot (Miami Herald Blog - 12/1/2011)

“Officer Elizabeth Torres told investigators she meant the manager no harm: “I want to clarify, that it’s nothing malicious and nothing intended to hurt that person.””

Part 33 - Rango - The Chalice

I'm wrapping up this series. No, really. It's just that, well, it's a relative thing. I intend to see this project through to its end as the Lord directs, so this probably isn't the last post in the series.

Right from the start of the animated feature Rango, the theme of death and resurrection is presented. Layers of symbolic images and language are cleverly combined with more obvious elements that make it oh so obvious to those who can interpret this messaging system that Rango is a stealth weapon in the ancient serpent's arsenal. It is also an operations manual, of sorts, broadcast into the public domain. Some of the messages signaled are contained in passing snapshots and some in sequences like vignettes. Others are woven in like a thread through a tapestry. This post covers the full range, highlighting several elements in the opening sequence.

You can watch this clip posted online: [video] First 14 minutes of Rango. The quality is not very good, but it's helpful to see what I describe unfold as presented. The clip of interest spans from about 2 minutes in to just past the 6 1/2 minute mark. You might find it helpful to open the video in another window to keep it available for ready review alongside this post's commentary.



The coming resurrection-transformation realities of the Beast and mark of the Beast are signaled as the chameleon sheds his skin like a snake twice. After the chameleon has been ejected from the car and his terrarium shattered on the road, he watches the wind-up fish “die” as the puddle of water he landed in dries up on the hot pavement. As he turns and looks up at the desert sun he himself also dies, symbolically. His skin crinkles and goes crisp. The dead flesh flakes away and new flesh appears. This shedding immediately happens again, which makes the final skin that appears the third version of chameleon flesh. Meaning: Third day and triple-helix resurrection. He had reached the end of his former bodily existance and was transformed by the heat or power of the light of the Sun, which is to say by the agency of Apollo and the light of Zeus, aka Satan. His serpent nature is revealed as his skin shed alluding to how a snake sheds his skin.

The umbrella bursts into flame just as the second layer of skin falls to the ground and the third has fully appeared. With the attending umbrella sign, what's conjointly signaled is that the end of the line for his genetic line had been reached. I'll explain.

Notice in this image sequence how the umbrella, burnt, resembles the empty dry seed cone of Liriodendron tulipifera, a magnolia called the tuliptree. The picture I found shows a snowy cone frozen into the winter ice of a pond, an interesting match to Rango's fire version.

Rango's symbols are very specific and I've learned there are good reasons why. A particular magnolia seed is pictured. There is an umbrella magnolia, but the seed cone Rango presents is that of the tuliptree. The tuliptree only grows in Appalachian and Chinese forests, and Rango's drink umbrella comes from the Orient. “The tuliptree is a magnolia specialized for wind dispersal of seeds.” (SourPersimmon Blog) While it fell from the sky, the parachuting Oriental umbrella was a wind borne seed. All this is to establish that the umbrella represents a seed pod.

Then God said, “Let the earth sprout vegetation, plants yielding seed, and fruit trees on the earth bearing fruit after their kind with seed in them”; and it was so.

Genesis 1:11

Man is likened to a tree in the Bible. Much of the dynamic of history (and present and future) can be understood as a conflict between two trees and their heritage, their offspring, seed.

And I will put enmity between you and the woman, and between your seed and her seed;

Genesis 3:15a

The burnt umbrella signals that the chameleon is no longer His Creator's fruit tree on the earth bearing fruit after their kind with seed in it. He's been converted, his posterity cut off. This is the mark of the Beast plot. It's not so much towards the goal of simply building an army to enable the Dragon's war against God as it is towards the goal of hijacking everything that is the Sovereign Creator's, even His heritage in a grand scale substitution ploy. Then, this tactical maneuver will maximize the Dragon's resources as the converted assets are no longer Yahweh's but deployable as his own troops. It's a brilliant scheme, but still doomed.

The water glass represents the fruit of the tree, expressing Rango's procreative viability. The umbrella drink with water (life) and umbrella (seed) in the glass signals that he is virile and connected to his Creator. When the umbrella-seed was pictured floating down from the sky, it landed and perched on the edge of Rango's glass. If the seed fell back into the glass, his ability to bring forth offspring “after their kind” would remain. When the umbrella-seed fell outside the glass, the seed was no longer going to remain viable. It shortly burnt, when the chameleon's third skin appeared. The chameleon's glass was empty, signaling that the seed life of his Creator was gone, and with it His heritage. The season had passed where he had the ability to bring forth offspring after his Creator's kind.

This is why you see Rango holding the tipped glass in front of his loins. The glass so tipped would, according to the picture, be pouring out right between his legs, and also in line of his tail that signals the spiral of life. That cycle of life ended as the water of life was drained, as he dehydrated, his glass emptied. The reproductive theme, you should note, is still being signaled by the chameleon's floral shirt, with the flower being the plant's reproductive structure, where, as associated with fruit, its “seed in itself” is openly displayed.

Let not the foreigner who has joined himself to the LORD say, "The LORD will surely separate me from His people " Nor let the eunuch say, "Behold, I am a dry tree."

Isaiah 56:3

The chameleon has become a dry seed pod and a dry tree, even separated from the Lord's people as no longer able to be accounted among them.

But I was like a gentle lamb led to the slaughter; And I did not know that they had devised plots against me, saying, "Let us destroy the tree with its fruit, And let us cut him off from the land of the living, That his name be remembered no more."

Jeremiah 11:19

9) and do not suppose that you can say to yourselves, 'We have Abraham for our father'; for I say to you that from these stones God is able to raise up children to Abraham.
10) The axe is already laid at the root of the trees; therefore every tree that does not bear good fruit is cut down and thrown into the fire.

Matthew 3:9-10

The chameleon had the axe laid to his root, declared as bad fruit. And the seed pod burns as the whole tree thrown into the fire. The Creator's tree.

If what you see in Rango doesn't offend you, you haven't really grasped what you're being shown!

In this image sequence you see the glass illustrating procreative viability.

At top, the chameleon's head is craned forward to momentarily appear over the torso of the doll at the instant the umbrella drink appears superimposed over her loins. Not to overlook the obvious, let's note that the bare breasts are mammary glands, for nursing offspring. Like the shirt whose flowers have both male and female elements, this picture of a hermaphrodite Rango with male and female parts is the Baphomet. The umbrella shape is as an inverted bowl, the womb symbol. It appears in this screenshot like an x-ray view. It is the fertility goddess and god combined - Hermes and Aphrodite.

In the middle, the glass is pictured over his loins with the umbrella perched on the rim like an erect phallus, wilting. Some of you may recall how a very similar umbrella symbol was featured during the London Presentation segment of the closing ceremonies of the 2008 Olympics in Beijing.

By the way, when the phallic umbrella falls off the glass of the green skinned chameleon, allusion is made to the Osiris story, whose privy member was severed by Set and, of all his parts, never recovered. It was eaten by a fish, and a fish just happens to appear next in the scene. Yes, this is even one more subtle but “over the top” evil genius reference to the bringing forth of Horus.

In the bottom image, the umbrella-seed lies on the ground while the chameleon throws off vestiges of the former image of his Creator, shedding his skin. Again, the drink glass is superimposed over his loins, tipped and emptied.

To emphasize this, at the top of this sequence of screenshots we see the chameleon lying in the embrace of his naked lover. We don't see her in the middle image. Why not? The context and thus its meaning would be just too obvious. When the chameleon begins to get up, we see her still lying next to him. The umbrella is definitely not in the glass. Between the chameleon's legs appears a flaccid member. He is post-coital and impotent. When the umbrella-seed burns, we know this is permanent.

I should note at this point that the utility pole in the background is a cross, a tau cross. It's used for power lines and telephone lines. It signals the intersection of the vertical and horizontal that is the union of the sons of god with the daughters of men. It looks like a sacrificial altar scene.

The focal symbols rest upon a piece of the terrarium that is reflective glass with a cloudy sky pictured on it. Above, we see a cloudy sky. As above, so below; the classic occult signaled Hermetic Maxim. This is the same dynamic the reflecting pool has that's located between the Washington monument and Capitol building, the magically mediating device set between the phallic obelisk and womb dome. Soon Horus will be brought forth from the interlude!

After Rango gets up he watches the ICHTHYS dry up and die, the resurrecting fish. Then he looks up and everything happens I described with the skin shedding and umbrella-seed burning. Then he holds up the glass to drink any water that might remain, and the tiniest drop comes out. The glass is dry as a bone. He is as a eunuch.

Then the chameleon hears the armadillos' voice in the distance. He puts the glass to his eye like a makeshift telescope, creating the signal eye of Horus, Harmerty. Given that this glass is the device signaling procreative viability, this can be considered equivalent to a phallic eye of Horus signal. Isn't that rich? The chameleon has experienced the eye of Horus activation and transformation. This puts an exclamation point on all that had just been signaled. The chameleon hears the armadillo's voice again and drops the empty glass. It shatters on the pavement. Everything it represented is most definitely past.

I'll close this post with a couple observations about how the symbolism of the glass began to be developed even as the terrarium theater scene began and how that particular layer of interpretation is strengthened in a later vignette.

The narrating chameleon: The stage is set, the night moist with apprehension. Alone in her chamber, the princess prepares to take her own life.
Princess (dubbed by the chameleon): It is far better to nourish worms than to live without love.
The narrating chameleon: She reaches for the poison chalice...

Obviously, wanting to drink from a poison chalice is to invite death, and we understand that the princess intends to kill herself because she is distraught about being denied what love she values more than life. The language used suggests something beyond that. The glass represents fertility and procreative viability, right? The glass filled with water and with the umbrella in it signals a fertile vitality, with the water of life and viable fruit with seed in itself. When the princess prepares to take her own life, she reaches for the umbrella drink. Instead of a euphemism for suicide, consider it more literally as preparing to take her own life, as preparing to take the umbrella drink into her hand that represents her own life, her reproductive life. There's heavy NLP going on here, signaling that this is really all about her love life, romance, procreative sex and offspring, establishing a link with the signal umbrella drink that will later be exploited to illustrate its end.

The night is moist? Hey, nights are not moist. Damp maybe. What's moist is the maiden, preparing for procreative activity. She's alone in her chamber. We see her with bare breasts. She uses another euphemism for dying that suggests the purpose of the mammary glands displayed, which nourish offspring with milk. Hey, worms are like little snakes, aren't they? She says, "to live" which adds to the narrator's earlier use of the word "life" to make two mentions. She uses the word “love” in connection with “live,” and so “love life” just bubbles up below the threshold of consciousness in the midst of this passionate and classically romantic scene. Her romance, her love life, her intense desire for love - these set the stage (“The stage is set”) for the unfolding of the ancient romance between the sons of god and the daughters of men. This is the subtle attraction of the mark of the Beast. It's sexy to some. Dangerous and sexy. Do not be seduced by the old lies. The serpent is not a worthy lover. What he offers is really the poison chalice that brings death, even the second death.

The lower image pictures a seductive flirtation between the lovers. On one side of the lovers we see the guitar. On the other, the symbol of fertility and procreative viability. The umbrella drink combines with the lovers and guitar in the timeless pharmakeia seduction trinity: Wine, women and song. Sex, drugs and rock & roll.

In this scene, against the backdrop of the palm tree signaling victory over death in resurrection, we hear the chameleon as a Latin lover Don Juan testing his lines on the lady.

The chameleon:: I couldn't help but notice you noticing me noticing you.

He traces his finger around the top of her neck, which you may recognize as the ubiquitous dot-in-circle male-in-female Eye of Horus Sun god symbol. In the midst of delivering his comical reflexive pick-up line, he reaches into the cavity in her neck and plucks something out, flicking it away. What's that? That's nearly where in the body the pineal gland is found, the gland associated with enhanced perception as a dimensional gateway, gnosis and the illumination sought by the armadillo on his quest. The chameleon's enhanced perception - the pineal gland - the activated third eye and Eye of Horus illumination - mark of the Beast - ye shall be as gods, knowing good from evil. Got it.

Then we hear:

The chameleon:: You know the womens find me uncomfortably good looking, but you seem remarkably a tease.

This line just shows the Rango folk being clever and subtle. Depp, voicing the chameleon, actually says what I wrote if you listen carefully, but what we are led to hear is, “remarkably at ease.”

The Rango ploy is seductive indeed. The Eye of Horus and mark of the Beast just seems sexy and almost irresistable. Indeed, it is irresistable to many. It's too late for them - and many won't be spared.

As an obedient saint who watches according to the Lord's command, learn how to interpret the pervasive symbols that surround you. Look at and see what you are being shown. As the Lord directs, learn to read the signs and learn to hear the Lord's voice clearly as the good shepherd, discerning it from the droning din of the hireling's continual lies. Time is short. Seek the Lord diligently for all He is and everything He has for you. The value of having a hearing ear cannot be overestimated.

Part 32 - Rango - Two Striking Biblical References in One Scene!

The animated feature Rango misses few tricks in identifying the lead character with the Sun god, Apollo, who is appointed to return in an incarnation as the Beast. Consider a scene I've already addressed from other perspectives. It features two biblical references that point to the antichrist Sun god worshiped as Apollo.

After Wednesday's street dance the townsfolk head for the holy spigot in a solemn procession. Rango, who had been left behind with the gal he had knocked out, steals her bottle and scurries on, cutting into line. He's new in town and unfamiliar with how things are in Dirt. He strikes up a conversation.

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

Every Wednesday - just like clockwork. They are pictured trudging along under the noonday sun, with the town's clock and bell tower in the background, which has clockworks. This is actually very profound, and it points through biblical reference and an awareness of the development of biblical history to Apollo, the Sun god and antichrist Beast.

Artificial timekeeping mechanisms like the town's featured clockworks in the civic center serve to regulate civic behavior. (See Bells - Supernatural Enchantment and a Biblical Perspective) These keep time in regulated steps, ticking and tocking away as the hands advance around the dial. Such devices distance us from the celestial timepiece that the Creator provided for our benefit and effectively isolate us from Him. The industry of men who labor accordingly, who “work out those steps,” engage in the merchant economy of Babylon, in step with that god of commerce worshiped as Hermes, the god who so actively facilitates the coming of Horus.

14) Then God said, “Let there be lights in the expanse of the heavens to separate the day from the night, and let them be for signs and for seasons and for days and years;
15) and let them be for lights in the expanse of the heavens to give light on the earth”; and it was so.
16) God made the two great lights, the greater light to govern the day, and the lesser light to govern the night; He made the stars also.
17) God placed them in the expanse of the heavens to give light on the earth,
18) and to govern the day and the night, and to separate the light from the darkness; and God saw that it was good.
19) There was evening and there was morning, a fourth day.

Genesis 1:14-19

That's the account of the 4th day of the creation week when the Sun was brought forth. Priscilla said, “Every Wednesday. Just like clock work.” Isn't the 4th day of the week the one we call Wednesday? Sure! A genuine “Wednesday clockwork” features the Sun as the greater light that rules the day. Rango clearly references this passage of scripture!

Some of the Hebrew scholars who looked intently at the biblical account perceived an esoteric prophecy and subsequently looked for the promised messiah to fulfill the type by arriving as the Sun in the 4th millennial day. Y'shua did so come, crowning in birth in its closing moments. That was the genuine, but an artificial “Wednesday clockwork” runs the schedule for an alternate messianic scheme. This one has a pivot on the thirteenth hour ball drop marking the global standard, Greenwich Mean Time. That scheme's messianic Sun god-man was and is today worshiped as Apollo, looked to as attested by Rango's sly Wednesday clockwork reference. His coming approaches in measured steps even as the hands of the clock continue to step around the dial.

By the way, if you visit the Clockwork - Wikipedia page you'll probably find this image at left. No kidding. If that isn't a sun wheel, I've never seen one. It strikes me that the associated piece of the mechanism is called an escapement, because the imprisoned Sun god's escape is implicit in the plot.

If you think I'm reaching for something in this scene that's not really there, consider what follows, which can hardly be taken as anything other than a dramatic device used to covertly identify Rango as Apollo by way of biblical reference. There's a reason why the Lord continues to call out and highlight this animated feature's wicked devices. If you haven't grasped it yet, seek it hard!

When Rango cut into line he slotted in between Priscilla and a big crow. Here's the dialogue that follows Priscilla's comment about the Wednesday clockwork. The crow addresses Rango.

Wounded Bird: You killed bird.
Rango: Yeah. [laughs] Matter of fact I did.
Wounded Bird: Bird dead. Snake come.
Rango: Is it snake?
Priscilla: He means Rattlesnake Jake, Mr Rango. He never comes to town cause he's a-scared of that hawk, but he might come now. May I have your boots when you're dead?
Rango: No! And I ain't got no problem with this Rattlesnake Jake.
Priscilla: That's just what Amos said.
Rango: Amos?

Camera pans to the graveyard and the headstone for Sheriff Amos.

So, when Rango asked about normal civic behavior, he got the scoop. The first to respond was a character named Priscilla. There's a biblical account where a man who was eloquent, like Rango, and unacquainted with matters of consequence pertaining to his activity, like Rango, was informed by a particular man and woman. That woman's name was Priscilla.

24) Now a Jew named Apollos, an Alexandrian by birth, an eloquent man, came to Ephesus; and he was mighty in the Scriptures.
25) This man had been instructed in the way of the Lord; and being fervent in spirit, he was speaking and teaching accurately the things concerning Jesus, being acquainted only with the baptism of John;
26) and he began to speak out boldly in the synagogue. But when Priscilla and Aquila heard him, they took him aside and explained to him the way of God more accurately.

Acts 18:24-26

The man who had matters explained to him was named Apollos. Right. Rango is Apollo!

Priscilla is the first named in verse 26, so Priscilla responds first in Rango's version. Then, the crow responds, as Aquila, in a connection I'll address shortly. These particular three are tightly framed through much of the scene to focus on them, like you see in this screenshot.

In Acts, the two saints explain the way of God more accurately to Apollos, bringing him up to date. In Rango, matters involving the bird (as Yahweh, subject of earlier post) are explained, bringing Rango up to date on the new authority dynamic - the way of God. If you understand how Mayor John would be responsible for what goes on in town, defining the regularly scheduled civic behavior that includes Wednesday's dance steps and entire water ritual, knowing he plays the biblical role of (Mayor) John the Baptist by the holy spigot “River Jordan” (earlier post), you should perceive another link in how Apollos was “acquainted only with the baptism of John.”

Because using the name Priscilla is enough to put us on to the symbolic meaning, the Rango folks know any link to the other involved has to be subtle. The symbolic identity of the crow is only perceived as Aquila when you recognize this character as a quill donor. A-Quill-a. A quill is a feather used as a writing instrument. Crows are among a small number of birds whose feathers are used for quills.

The choice feathers for quills are the stronger primary flight feathers. Among them are the pinions, which extend like “fingers” out from the "hand." These are featured in the scene as the crow's pinions are observed bobbing along behind Rango's hat.

The crow's prime quill feathers are pictured clutching a bottle. Quills are only ever used in connection with liquid ink that comes in bottles. Connect the dots.

Some refer to the crow as Wounded Bird because he limps and walks with a crutch and plays as a Native American Indian. He's a crow and an Indian, so he's a Crow Indian, right? But that character's identity really goes deeper than that. The feathers of choice come from a donor bird's left side because those have the best curvature for predominantly right-handed quill users. The wounded bird is lame on his left side. Has he made a recent donation?

The most convenient way to get a bird's flight feathers without adversely impacting mobility is to acquire them during the annual moult. A scene later in the movie highlights the moulting crow, with all his pinions displayed in plain view.

Priscilla and A-quill-a instructing the eloquent orator Rango as Apollo. How else could you explain it? It's in harmony with understanding the Wednesday clockwork line as a biblical reference to the coming messianic Sun god/man. It's in harmony with the message of the imagery embedded in the promotional graphic and most of what is presented in dramatic expression and graphic imagery throughout the animated feature. You see, Rango represents Apollo - and these folk know their Bible. Their "boss" has a job to do and this is how it's done these days. The Beast and mark of the Beast agendas are advanced through every device and means available.

By the way, picturing Priscilla as a “church mouse” of sorts who looks for an opportunity to gut shoot folks, with braided hair and leading men, plus picturing Aquila with long hair, this is an insult to those saints the Bible honors with an explicit mention - but not that most would perceive it. This is not the appearance and behavior for obedient saints. Not then, and not now.

More yet to come, Lord willing!

Part 31 - Rango - Apollo-Horus-Beast Imagery In Your Face

Among the odds and ends left to address is this item that goes right along with the "i" of Horus series. I've already pointed out how the stylized letter R in the Rango title compares to the Rx symbol for prescriptions. It's the well documented mark of Jupiter and eye of Horus. The curled leg picks up the form of the featured chameleon's spiral-of-life tail. This is leveraged in the film's promo imagery.

The eye of Horus shape referred to as the wedjat is formed on his head, with both the swirl eye of the anja and the superior crown chakras implied. This is the chameleon, changing, transforming in an eye of Horus ascension. The Beast is rising above the clouds, being revealed as no longer amongst the clouds (without water - Jude 1:12). Three eyes are present, Rango's two plus one from the fish. It's a third eye activation.

He is tightly embracing the messianic ICHTHYS fish, a brilliant illustration of the Beast behind the image of the Beast. The fish is a resurrection symbol. (See the parable of Matthew 13:47-50, the 153 fish in John 21 and the sign of Jonah.)

And he deceives those who dwell on the earth because of the signs which it was given him to perform in the presence of the beast, telling those who dwell on the earth to make an image to the beast who had the wound of the sword and has come to life.

Revelation 13:14

The ICHTHYS has a wind up mechanism that animates it, picturing a cyborg messiah, a biotech (and quantum entangled?) image of the Beast.

By the way, this fish is not a hijacking of a legitimate Christian symbol. There are no symbols ordained for use by obedient saints. The image you see at left was lifted from the current Wikipedia entry for ICHTHYS. Plain enough?

Rango is “Osiris green,” the color of the resurrecting god whose phallus, according to legend, was swallowed by a fish. This prompted Isis, when reassembling and regenerating her husband Osiris, to magickally substitute an obelisk for the missing penis. She then impregnated herself with the magickally vigorous Osiris obelisk to bring forth Horus in what appears to be something of a fish proxy.

Amidst this reproductive imagery we see Rango's red and white flowered shirt, signaling potent fertility and the resultant divine offspring produced from Adam-kind.

Hovering above the truncated pyramid shaped “A” in RANGO is the capstone, Horus, represented by the letter “H” in JOHNNY. Horus and Apollo are the same ancient diety. The letter A that touches the eye of Horus signaling letter R is leveraged as a pyramid base, and that A stands for “Apollo.” Tom Horn has documented (Apollyon Rising 2012) how Apollo is the identity to which the pyramid and associated elements point, that are found on the one dollar bill.

Still more odds and ends to follow, Lord willing!

Part 30 - Rango - Odds and Ends

In this series on Rango there remain several odds and ends to address. These insights are worth noting, some of which could well cover multiple posts, but it is expedient to touch on them now and rather more lightly.

When the chameleon arrives in town he assumes an false identity. He spins a yarn with tall tales in the Gas Can Saloon, creating a Rango mythology reminiscent of those created around the ancient gods he represents.

At the end of the movie, the water main valve is opened. The water that flows into town is the element that brings them salvation. Beans' bottle and ash wagon (Numbers 19's "resurrection cure" purification ritual) is blown sky high. From inside a jail cell, Balthazar the zombie-mole and a couple family members being held captive are provided such a means of release. "It's our salvation, Pa!" They enter and ascend in a vertical stream, exiting the prison. It's another symbolic ascension of imprisoned underground dwellers with new life.

The water flows so forcefully into town that the buildings blow to pieces - sky high, yet they remain. It's the destruction of a counter-flood event, but this also pictures the Tandava and Lasya of the cosmic dance of the Nataraja done by lord Shiva, the Destroyer and (re)Creator of worlds - a new age false hope promise.

Have I mentioned that Rango is richly layered with symbolism? Rich, like fudge. The Lord continues opening this to us at this time because some of us really do need to know what's going on. It matters.

The mariachi band that provides the narrative for the movie constantly mentions Rango's impending death - but he does not die. He is the undying.

The critters in the band providing the narrative are owls. Equate owls to the fallen Watchers, the sons of god of Genesis 6 who spawned the hybrid Nephilim. Today, there are those who, like the mariachi owls, provide the narrative for our lives, framing our “world view” through the media, and through our teachers in university style educational systems from a very young age. They train and program us, and we pass it on because this is our learned paradigm. Are we relearning, more able now to discern truth from error?

A paradigm shift is mentioned in Rango's script in the context of DNA transformation. When the posse goes after the bank robbers who had stolen the water reserve bottle, they follow their trail underground. It leads them along a pipeline and through an aquifer. When they reach the end of the pipeline, after plenty of signaling along the way, we hear the following dialogue.

Buford: Some one or some thing is messing with our hydration and that pipe's got something to do with it.
Elgin: Now I thought we was following bank robbers!
Sergeant Turley: We're experiencing a paradigm shift!
Elgin: I'm going to shift the features on your face if you don't shut up!

To “shift the features on your face” suggests changes in appearance in the physical body that will attend the mark of the Beast transformation, which will be the result of someone or some thing messing with hydration, our watery DNA. This builds off what was heard when the water pipe was first discovered in the tunnel.

Buford: Would you look at that!
Spoons: Like seein' the face of God!
Elgin: Amen, brother.

If seeing the water pipe is like seeing the face of God it must have the image of God, or a god, right?

Sound energy will be involved in the transformation (“...if you don't shut up” -- the most familiar audio transducers we know as "speakers" ) and a paradigm shift will occur, with changed thinking like what Elgin's comment (“Now I thought we was...”) suggests. Sergeant Turley is the bird with the arrow piercing his eye, enlightened with the phallic eye of Horus. He's qualified to report his perception of the paradigm shift. Just prior to that exchange we hear, “It's the end of the line.” “Don't go no further.” Meaning? It's the end of the genetic line of Adam, the end of humanity in the image of his Creator, Yahweh's heritage.

While on their way, bearing torches across the aquifer, the posse crosses on a stone bridge that's in the form of a viaduct. It's what I've referred to as a kingdom viaduct. This is a stairway to heaven, Thor's rainbow bridge, Bifröst, which is biblically a mecillah. It's a dimensional portal. A peculiar feature in the backdrop to this crossing is an enormous eye that appears with no explanation and minimal reference. The singular reference is a comment made with a very subtle visual cue attending it. “Well that's a big one,” Doc says, with his left eye closing slightly and shuddering. Recognizing that as a Harmerty signal, we can confidently identify the big eye as the all-seeing eye, in which we see the passing torches reflected. What is being dramatized for us is the eye of Horus facilitating the crossing over of the gene pool aquifer on the stairway to heaven. The “Olympic” torchbearers make the journey with the light of Zeus.

During the artsy extended end credits sequence, the image you see here was presented. Resembling the scene where Rango and Beans were locked in the bank vault that flooded, this is another big eye of Horus transformation dramatization. Rango appears with his fertility signaling floral shirt, swirling around in the water with three fish (triple helix resurrection) inside a big eye marked with the ubiquitous sun wheel symbol. The transformation is facilitated by the audio signal coming from a Watcher, the owl blowing his horn, the 1 Thessalonians 4:16 style trumpet of a god. It's not quite an owl like we had been seeing, however, and his appearance hints at the cock-crowing watch resurrection.

Whew. Take a breath. There's more.

Here's what happened in the bank vault while it filled with water.

Rango: Where I come from, we call this improvisation.

Rango puts the bullet he had secretly removed from his gun into his mouth while he uses both hands to untie Beans.

Beans: [ungagged] You came back!

Beans gives Rango a big kiss and, in the process, swallows the bullet Rango had in his mouth.

Beans: What was that?
Rango: No need to panic. But I think you just swallowed Plan B.
Beans: What?

Beans freezes, experiencing another untimely tonic immobility episode as she sinks under the water. Rango performs the Heimlich Maneuver and the bullet emerges out of her mouth, sent slowly through the water towards the glass bank vault door. When it touches the glass, a high pitched resonating sound is heard and the glass shatters, expelling water through the rupture and releasing the pair from their near watery grave.

What does it mean? Plan B. That would be the Beast plan. B for Beast. Plan B involved the bullet, a 45. A bullet for a male's phallic gun is seed. Plan B is Plan 9 (from Outer Space), as 4+5. See, it genome plan, that. Beans received Rango's bullet. When Rango helped her deliver, the water broke. New arrivals in the nursery. The delivery was facilitated by the resonant acoustic element, because the meager force of the bullet couldn't possibly have broken through the door on impact without it. Resurrection. Genetic reanimation. Mark of the Beast.

You can infer that the oral element alludes to the serpent's conquests in the garden of Eden. Beans receiving the seed in her mouth also suggests the position referred to as 69, highlighting the triple helix transformation as the chromosome sum of 23 x 3.

Part 41 - See, it's the "i" of Horus! Burroughs - Man plus a Computer equals a GIANT!

The imagery that finally prompted a long anticipated return to the "i" of Horus series belongs to the now defunct Burroughs Corporation. The magazine ad from the late 60s you see here came to my attention a couple days ago, linked from RaidersNewsNetwork. (IEET - “To Prevail” “Open the Future”, Jamais Cascio's essay for Joel Garreau’s Prevail Project) This ad picks up the phallic eye of Horus theme of several of the latter posts in this long running series. (See Part 40 - See, it's the "i" of Horus! Red Bull Gives You Wings) It also comes now very appropriately as yet another item in a remarkable sequence illustrating the prophesied release of giants bound in the earth, imprisoned from the time when they were judged in connection with the great evil in the days of Noah. While I'm not quite done squeezing Rango for everything the Lord has for us, the time has come to resume the revelation of the very significant broadcasting of antichrist delusion through the eye of Horus “graven image” portal.

The ad's equation is simple. Man plus a Computer equals a GIANT! When taken literally, it's a very elegant declaration of the essential role some next-gen PositiveId transducer implant will play in facilitating the post-human transformation of man. It's the formula for the mark of the Beast. Take one Adamic man. Add the right computer chip. Presto. Hocus Pocus focus. Outcome? Post-human Giant of the god-man variety!

Is this what those responsible for the ad really intended to say? Whether the folks involved actually knew what they were producing, I can't say, although it seems likely. What I can say with confidence is what it means because the attending copy, symbols and layout attest to the same! I assembled a collection of images to illustrate some of what I perceive.

Notice how the company name appears on the giant's forehead like a label. What kind of giant Burroughs, or, substituting the obvious homonym, burrows? Burrow: “A hole or tunnel dug in the ground by a small animal, such as a rabbit or mole, for habitation or refuge.” Have you been following this blog? How about Horim? How about Rephaim? Djinn. The giants of Genesis 6. If you swap the logo for the name it represents, the giant looks like he just left Ash Wednesday's Mass. Let me just state the obvious: The B stands for Beast.

16) And he causes all, the small and the great, and the rich and the poor, and the free men and the slaves, to be given a mark on their right hand or on their forehead,
17) and he provides that no one will be able to buy or to sell, except the one who has the mark, either the name of the beast or the number of his name.

Revelation 13:16-17

As for buying and selling, it was the Burrows Corporation's business to support those very activities by facilitating accounting, producing adding machines, and then programmable ledgers and finally computers. NCR was a competitor. IBM was another.

The Burrows, uh - Burroughs, logo is a pretty clever device. Embedded within it are the solar wheel cross, a trident and the number 13. Rotated, it's the reproductive imagery of both male and female genitalia. Burrows. Sexual innuendo. Clever, very clever indeed!

The Giant most closely resembles the fashionable form of a hovering genie with torso tapering into a vortex of smoky ectoplasmic - whatever. He has the facial expression and awkward gesture of the sci-fi standard zombie, with a head shaped like Frankenstein's monster. The graphic charcoal stroked technique makes him resemble a hairy shape-shifting werewolf. His physique makes him look like Superman. He's that kind of giant, a composite über-monster. Notice, too, how his left eye is darker than his right, identifying him with Harmerty. Horus, who rules with two eyes.

The tip-off that he's the Sun god is the arc separating the ad copy from the shaded man-computer-giant area. The light arc - that's the Sun. The Giant is presented as the interface between the light and dark, like the Beast will be the divine Sun god interface with man's natural world. Observe how the main blurb connects the Man on the form of the man with Giant on the form of the Sun.

See, too, how the arc passes through the letter m in computer, calling out the m (Like the McDonalds golden arches) which is the thirteenth letter of the alphabet. If you want to get more granular, the arc actually passes through the m and the p. m=13 and p=16 Revelation 13:16

Want to see a real sales job? The ad calls out the word “good” centrally and up top, with italics and underlining and a distinctive typeface. This subtly tags everything in sight. Good? Don't buy it. There's nothing good there.

What is truly good is the Lord Y'shua, who opens our eyes and sets us free!

And Now For Something Completely Different

Completely different? OK, not really. It's more variations on the theme. Beings rising from the underworld, from caves, burrows, etc.

A couple posts ago I mentioned a reason why I've probably been relocated to Pittsburgh, PA. Far from the only reason, but this place is called The Zombie Capital of the World and the zombie theme is big on the Lord's agenda. This past summer some scenes for a movie were filmed in Pittsburgh, the most recent in the blockbuster Batman franchise. It's called The Dark Knight Rises, and here's a promotional poster image.

If it seems familiar you were probably giving the previous post about Rango some thoughtful consideration. Yes, the Batman rising is one more variation on the theme. Bats flying out of cave into the light? Check. High buildings of city? Check. The bat man aka dark knight (Nephilim Giant cave dweller) rises.

I found that poster image and others you'll see here on a recent post to the Acceleration Blog titled Is 2012 also the year of the 'underworld?'.

Underworld is a popular vampire film franchise that has a lot in common with the Twilight series I mentioned in the last post. They have female leads and feature blood sucking vampires and shape-shifting flesh eating werewolves. The fourth installment in the Underworld series is Underworld: Awakening, set for release in 2012. The promotional blurb? Vengeance Returns.

The Dark Knight Rises - Underworld: Awakening - Vengeance Returns. Right. Let's take the hint: A counter-flood is coming!

Another event coming in 2012 is the XXX Olympics in London. This tripled chromosome (XXX) branded promotion of openly Zeus worshiping Olympism is coming very soon, with the torch planned to be lit from the sun on Mt. Olympus this coming May.It has just been announced (on Pearl Harbor Day, no less) that Underworld, yes, Underworld, will have a significant role.

London 2012: Olympic ceremony role for Underworld duo

Underworld will be responsible for overseeing the opening ceremony's music. This dance act duo is currently involved with a production of Frankenstein. There's our reanimation of a monster theme.

Another signal is that the ceremony is a three hour ceremony. Underworld is responsible for the music during the three hour ceremony. Three is the resurrection number. Underworld resurrection. Let's not overlook the musical component of this sign, because sound or audio frequencies will enable the DNA transformation of the mark of the Beast! The opening ceremony for the XXX Olympics is scheduled for July 27. 2+7=9 Do I really need to repeat what nine signals?

Here's some other signal numbers. The Torch Relay is scheduled for a 70 day journey through the UK, covering 8,000 miles and involving 8,000 torchbearers. Equate the 70 day span to the 70 generations of 70 years in length that, according to Enoch, the giants bound in the earth, or underworld, must fulfill before release. The number 8 signals a new beginning, which is what the giants will then enjoy. That the scale of this is global and not merely local is emphasized by the multiplier of a thousand, supporting the UK signal of United Kingdom that refers to a one world government, united as the kings of the Earth give their power to the Beast. This further supports the five rings of the Olympics logo, representing all the inhabitants of the world won to Olympism.

If you're new to the blog, I've written plenty about the Olympics on this blog plus on my regular site, theopenscroll.com. At this point, it seems unlikely I'll be giving the 2012 Olympics post-event coverage because circumstances may not allow. Now is the time to give heed to what the Lord is directing. This season of opportunity is closing fast.

The Batman comic cover that highlighted the Underworld Olympics '76! wouldn't be the first occult signaling comic cover I've seen. If you've been following this blog for a while you may recall this inverted image of a Superman comic, featuring an obfuscated Masonic Temple scene. What does '76 have to do with anything? '76 references 1776, the year the colonies rebelled, declaring independence from British rule. '76 references the spirit of '76, national pride. That's not good, by the way. This kind of rebellion is what is being judged. The numbers 7 and 6 add to 13, the number for rebellion, the signal number for the rebel lord Beast.

By the way, if that makes sense to you this company's branding should too. Their products lubricate and so does their branding, reducing friction that hinders the coming mark, through the effectual spells of symbols. The underworld activity that brings forth such as the UNION 76 (7 united to 6 yields 13) branding has been around for a very long time.

I believe 2012 is a marked year and rightly so. It's not the end, but it can well be said that it will mark the beginning of the end, the end of the underworld's plan in this era to rise and reign. As I often state, the sovereign Lord has ordained a degree of success. The Dark Knight Rises - Underworld: Awakening - Vengeance Returns. The Underworld Olympics. Are you ready? Seek the Lord with all your heart.

Part 29 - Rango - Zombie-Vampire Apocalypse

Following Rango's zombie resurrection scene, presented in the sequence illustrated in Part 28, a zombie apocalypse ensues when the zombies emerge mounted upon flying vampire bats to pursue the fleeing posse and engage in frenzied battle.

If a swarm of ashen undead warrior beasts piloting mounts through the heavens makes you think of a UFO invasion with soulless alien greys, there's a reason for that. Plenty of effort has been put into building the imagery in the past 64 plus years.

By the way, this pairing of the zombie and vampire really smacks of Plan 9 from Outer Space, with its unexplained insertion of Vampira (and of Bella Lugosi's cape-wearing double doing the actor's Dracula shtick) into the midst of the zombie plot. This pairing serves to relate the undying blood drinking vampire to the undead flesh eating zombie. Together, you see, they cryptically illustrate the ritual of “unholy” communion as the eating of the two part Eucharist, the host and chalice, bread and wine, body and blood - of antichrist. This vampire-zombie modeling demands comparison to the ritual human sacrifice to the gods common to cultures around the globe and the cannibalistic practices that typically attend them. The gods and those who worship them feast upon human flesh and blood, first terrorizing their victims. As in days of old, power is still drawn from this activity and supernatural lust is fed in this way.

While I'm on the topic of the vampire, another relevant item has just come to my attention. Thanks Lord (and thanks Aaron)! The Host is a novel authored by professing Mormon Stephenie Meyer. Her vampire romance series Twilight is hugely popular. The Host debuted in 2008 at #1 on the New York Times Best Seller list. Here's a description of the plot, from Wikipedia's entry for The Host.

“After insertion into a human body, alien souls erase the human occupant and establish claim over the body and mind. Wanderer is a soul who has lived on eight other planets previously, Mel being her ninth body host.”
The Host (novel) - Wikipedia

Does this seem familiar, somehow? It should! It's a minor reshuffling of Plan 9 with the mark of the Beast soul swap. Remember what I wrote in the last post about the counter-flood zombie events planned? “Another seems to be related to the mark of the Beast transformation, after human souls are swapped out and the animating spirits of the disembodied dead are swapped in.” Stephenie Meyer knows things. She is tapped in to the same source of knowledge Ed Wood tapped into, and George Romero, J.K. Rowling (Harry Potter), H. P. Lovecraft, Bram Stoker and Mary Shelley.

I paired some images so you can easily compare and connect some dots. See the blue ring in the eye, the ubiquitous signal eye of Horus? That would be the equivalent of the Eucharist host in the monstrance, the eye of Horus device featured in the liturgy of the antichrist Mass as officiated by the priests of the familiar Sun cult.

And, while we're on the subject of the Sun cult, during the zombie apocalypse the Rango folks seized another opportunity to imprint the signal Sun god image, identifying it with the weaponized heavenly conveyances. This is Apollo's army, coming in the power of Zeus. It is the agency and end game engagement of the illuminati, of the activated eye of Horus, of the Romish church and all Mystery Babylon and associated Beast contingent.

The gun sight is a sun wheel, right? It's of the same form as the votive wheel devoted to Apollo I presented in an earlier post. The zombie pilot is sighting with this gun sight. He is using it to see with eye of Horus illumination, depicted in this screenshot as lit by the bright flame emanating from the gun barrel. With this device, victims are targeted and their lives taken away. A gun signifies a penis, like Rattlesnake Jake's Gatling gun rattle. This is the phallic eye of Horus I illustrated in so many posts in the "i" of Horus series. This is the reproductive weaponry of a zombie apocalypse. And, yes, this is the sun cross on the Eucharist and mark of the Beast.

The bat pictured spiraling out of the Sun is one of three sent on a special mission. Proceeding out from the light of the Sun god, the spiraling weaponized zombie-vampire offensive models triple helix DNA. Get it?

Ok. With all that, you're probably thinking I must surely be the chief head of the Department of Redundancy Department. Hey, I know. This is pretty excessive. I think the Lord wants us to start catching on to what's going on. Ya think?

Redundancy. Like how we already saw the zombie resurrection in the chameleon's drain pipe dream sequence. Remember Part 22 from back in October with the Creeping Devil Apollyon glaring from over the furnace pit and the sparks-locusts coming out in the smoke? Redundancy.

1) Then the fifth angel sounded, and I saw a star from heaven which had fallen to the earth; and the key of the bottomless pit was given to him.
2) He opened the bottomless pit, and smoke went up out of the pit, like the smoke of a great furnace; and the sun and the air were darkened by the smoke of the pit.
3) Then out of the smoke came locusts upon the earth, and power was given them, as the scorpions of the earth have power.
4) They were told not to hurt the grass of the earth, nor any green thing, nor any tree, but only the men who do not have the seal of God on their foreheads.
...
9) They had breastplates like breastplates of iron; and the sound of their wings was like the sound of chariots, of many horses rushing to battle.
...
11) They have as king over them, the angel of the abyss; his name in Hebrew is Abaddon, and in the Greek he has the name Apollyon.

Revelation 9:1-4, 9:9, 9:11

Have you read Joel 2 recently? There's the scene, compliments of Rango's crew.

4) Their appearance is like the appearance of horses; And like war horses, so they run.
5) With a noise as of chariots They leap on the tops of the mountains, Like the crackling of a flame of fire consuming the stubble, Like a mighty people arranged for battle.
6) Before them the people are in anguish; All faces turn pale.

Joel 2:4-6

So, another screenshot illustrates the role pharmakeia plays in a coming zombie apocalypse. The undead warriors who emerged from the ground go into battle swigging hooch from earthen jugs while playing musical instruments. Drugs and musical enchantments go together in readying the weaponized warriors who will fly in the heavens for Armageddon's campaign. Revelation 18:23-24. The devil has a plan about how this is going down, and Rango blabs all about it.

Why do we see the swarming army of underground and cave dwelling creatures emerge from a recess in a cliff behind Pueblo adobe dwellings? Have you researched the history of the Pueblo cliff dwelling people? Did you know that the Canaanite tribe of Horim were troglodytes; cave dwellers? This points to the existance of Nephilim, entombed underground.

“Horim means “troglodyte”, or “cave-dweller”. These were the original, or first inhabitants of Mt. Seir, probably related to the Emim and Rephaim. Their excavated dwellings are still found in their hundreds in the sandstone cliffs and mountains of Edom, but especially at Petra – Gen.14:6, 36:20, 21, 29, Deut.2:12,22.”
Giants (Richard Gunther)

Have you read Steve Quayle's fictional book titled Longwalkers and considered why the introductory access to the Giants in stasis was through a cliff wall? Do you understand about the Djinn, genies, always pictured with metallic bracelets?

Rango's setting is just outside Las Vegas. Consider this excerpt from a Pravda article.

“"Atlantis in the Colorado River Desert" - 1947 Nevada news: Near the Nevada - California - Arizona border area, 32 caves within a 180 square mile area were discovered to hold the remains of ancient, strangely costumed 8 -9 foot giants. They had been laid to rest wearing the skins of unknown animals similar to sheepskins fashioned into jackets with pants described as "prehistoric Zoot- suits". The same burial place had been found 10 - 15 years earlier by another man who made a deal with the Smithsonian. The evidence of his find was stolen and covered up by Darwinian scientists.”
Giants in Americas - Death Valley, California - Cavern Temple of Giants

Ah-ha! Right?

Beyond all those “connected dots,” one could and should make some connection between the adobe brick construction of the cliff dwellings and the brick tower of Babel, a work led by Nimrod, the Beast who was.

People, What you're seeing in the likes of Rango is the plan. Non-fiction. According to biblical and extra-biblical testimony, attested to by historical artifacts and documents, myths and legends, cave dwellers will be revived and unleashed to rain destruction down upon the inhabitants of the Earth, as illustrated here in Rango.

Rango folks know things. I'm catching on. The Lord prepares a work against which no weapon formed will prosper.