“Wow!” said the Cowardly Lion, with a shudder. “It makes me dreadfully nervous to see that big hammer pounding so near my head. One blow would crush me into a door-mat.” “The ir-on gi-ant is a fine fellow,” said Tiktok, “and works as stead-i-ly as a clock. He was made for the Nome King by Smith & Tin-ker, who made me, and his du-ty is to keep folks from find-ing the un-der-ground pal-ace. Is he not a great work of art?”… “No,” replied the machine; “he is only made to pound the road, and has no think-ing or speak-ing at-tach-ment. But he pounds ve-ry well, I think.”… “Is there no way to stop his machinery?” “On-ly the Nome King, who has the key, can do that,” answered Tiktok….Meanwhile the giant continued to raise his iron mallet high in the air and to strike the path terrific blows that echoed through the mountains like the roar of cannon.”

This was used as the script to place in Thor, a giant who protects the programming. Very severe split brain headaches are programmed to occur to the victim, whenever the internal Thor pounds his hammer. If the programming is threatened, Thor and the imps (demons) appear, to protect it. There are an entire series of events using programming and obedient alters that takes place to protect the programming, if it is ever threatened.

Pg. 159 Book 3 Ozma of Oz:

“There was no reply, except that the shifting Nomes upon the mountain laughed in derision. ‘You must not command the Nome King.’ said Tiktok, ‘for you do not rule him, as you do your own people.’ ”

The purpose of this part is to prepare the child’s alters to accept that internal Queens and other leading alters do not rule the demons that are placed into their system, and are not to order them around. Pg. 163 Book 3 Ozma of Oz:

“In the center of this room was a throne carved out of a solid boulder of rock, rude and rugged in shape but glittering with great rubies and diamonds and emeralds on every part of its surface. And upon the throne sat the Nome King. pg. 167 Book 3 Ozma of Oz, on this page is a picture of the Nome King telling Dorothy and Ozma that, “They belong to me and I shall keep them.”

In other words, the imps and their jewels belong to the king of the demons. Around his throne are steps with gems, and this imagery was used to build the internal gems in a system, with Satan/the AntiChrist’s throne at the top of the stairs.

Pg. 170 Book 3 Ozma of Oz:

“Although this army consisted of rock-colored Nomes, all squat and fat, they were clothed in glittering armor of polished steel, inlaid with beautiful gems. Upon his brow each wore a brilliant electric light, and they bore sharp spears and swords and battle-axes if solid bronze. It was evident they were perfectly trained, for they stood in straight rows, rank after rank, with their weapons held erect and true, as if awaiting but the word of command to level them upon their foes.” ‘This,’ said the Nome King, ‘is but a small part of my army. No ruler upon Earth has ever dared to fight me, and no ruler ever will, for I am too powerful to oppose.”

This was to help build acceptance within the child of the layering of armies of demons.

Pg. 180, Book 3 Ozma of Oz:

“For upon the edge of the table rested a pretty grasshopper, that seemed to have been formed from a single emerald.”

The next page has a picture of a grasshopper wearing a hat and many shoes. This was used to help the victim take the hypnotic suggestion that their programmer was a grasshopper, a cricket. Mengele used a clicker which helped with this hypnotic suggestion too.

Pg. 182-183 Book 3 Ozma of Oz:

“…the King returned to his throne…. they were greatly Page 115 …. disheartened by…the knowledge that she was now an ornament in the Nome King’s palace–a dreadful, creepy place in spite of all its magnificance. Without their little leader they did not know what to do next, and each one, down to the trembling private of the army, began to fear he would soon be more ornamental than useful….’ Never mind,’ said the jolly monarch. ‘If he doesn’t care to enter the palace…I’ll throw him into one of my fiery furnaces.’

Pg. 184 Book 3 Ozma of Oz:

“…twenty-six officers filed into the palace and made their guesses—and became ornaments.” Story line used to program parts to become useful ornaments. “…he wore a heavy gold chain around his neck to show that he was the Chief Steward of the Nome King…”

Many of the abusers signify their power to the slaves, by wearing a gold chain around their neck.

Pg. 186 Book 3 Ozma of Oz:

On this page it states that some magical power gave the King the ability to know all that took place in his palace. By crediting their abilities to an occult magical dimension, the programmers enhanced their appearance of power to the child victim.

Pg. 192 Book 3 Ozma of Oz:

On this page and the surrounding pages, the people who have become ornaments are also assigned colors. The Queen of Ev “are all ornaments of a royal purple color.” and “all those people from Oz into green ornaments.”

Pg. 194 Book 3 Ozma of Oz:

‘If I wore the magic belt which enables you to work all your transformations, and gives you so much other power….What color will you make the Kansas girl? asked the Steward. ‘Gray, I think,’ said his Majesty. ‘And the Scarecrow and the machine man?’ ‘Oh, they shall be of solid gold, because they are so ugly in real life.’

This was the script to bring in the color programming. Color programming is discussed in the Structuring chapter (7) and the Internal Controls chapter (11) dealing with the internal computers, and in chapter 4 where the codes are given.

Pg. 192 Book 3 Ozma of Oz:

‘What more do you want?’ demanded the King. ‘A fat baby. I want a fat baby,’ said the Hungry Tiger. ‘A nice, plump, juicy, tender, fat baby.’ When the alters are forced to accept that they are tigers and other cats, then they are encouraged (forced) into cannibalism.

Pg. 200 Book 3 Ozma of Oz:

“So Tiktok touched a yellow glass vase that had daisies painted on one side, and he spoke at the same time the word ‘Ev.’ …. In a flash the machine man had disappeared,…”

This was part of the programming to introduce daisies and switching.

Pg. 201 Book 3 Ozma of Oz:

“Next she touched the image of a purple kitten that stood on the corner of a mantel, and as she pronounced the word ‘Ev’ the kitten disappeared, and a pretty, fair-haired boy stood beside her.”

This is teaching the switching of alters and their color programming.

We will stop our coverage of the Ozma of Oz book here. We have only partially covered only two of the 14 Oz books, all of which were used as programming scripts. There are many more sections in this series of 14 books that served as programming scripts, but the reader has got the basic idea. It is still important to go over how some of the other books were used in programming, so that the reader begins to see how the story lines assist in programming, and how the story lines are so frequently tied together from perhaps 12 different stories to reinforce one alter’s programming.

 

Alice In Wonderland

Alice Through the Looking Glass ‘I can’t believe that!’ said Alice. ‘Can’t you?’ the Queen said in a pitying tone. ‘Try again: draw a long breath, and shut your eyes.’ Alice laughed. ‘There’s no use trying,’ she said. ‘One can’t believe impossible things.’ ‘I dare say you haven’t had much practice,’ said the Queen. ‘When I was your age, I always did it for half an hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.”

The chapter “Which Dreamed It” in Alice Through the Looking Glass has sexual programming, the Red Queen is purring. The story where Walruses make believe it is oysters is used for programming. Other sexual programming occurs in the chapter “It’s my own invention” where the Knight In Crimson (& White) Armor are prisoners which dual for her.

Tweedle Dee & Tweedle Dum is used for S&M programming, which has a hand signal involving rotating the thumbs of a clasp hand. Alters go through the looking glass, and fall down an oak tree by falling into a deeper and deeper trance. Monarch programming is a reflection of how Satan’s mind works.

Lewis Carroll ‘s book with its inversion themes fits in with this type of thinking. Lewis Carroll loved the humor of logical contradictions. In the book, Alice wonders if cats eat bats or bats eat cats, and she is told that to say what she means is not the same as meaning what she says. When she eats the left side of the mushroom, she grows large; the right side has the reverse effect.

These changes in size are in themselves reversals. A large girl and small puppy end up to be a large puppy and a small girl. In Sylvia and Bruno, we are presented with an antigravity wool that can be placed into a parcel to make it weigh less than nothing, a watch that reverses time, a black light, and a projective plane with outside inside and inside outside.

The slave learns that E-V-I-L is simply L-I-V-E backwards. In the looking glass world, the Red Queen knows of a hill so large that compared to it the hill in question is a valley. Also she knows of dry biscuits which quench thirst, a messenger who whispers by shouting, and Alice who runs as fast as she can to stay in one place. (Sometimes it seems we really do have to run fast to stay in place.) The King of Hearts thinks its not unusual to write letters to nobody, and the White King compliments Alice on having keen enough eyesight to see nobody at a great distance down the road.

Can you see why this book was so good to program us? In the book Through the Looking Glass all asymmetrical objects (that means all objects which can’t be superimposed on their mirrored image) “go the other way.” There are left-right reversals. Tweedledee and Tweedledum are mirror image twins. The White Knight sings about squeezing his right foot into a left shoe, and there are several mentions of corkscrews. A Helix (a corkscrew) is an asymmetric structure with distinct left and right forms.

The book’s type of thinking was extended beyond asymmetrical objects to asymmetrical relations of all types. For example, Alice walks backward, in the railway carriage the guard tells her she is traveling the wrong way. The king has two messengers, “one to come and one to go.” The White Queen explains the advantages of living backward in time, the looking glass cake is handed around first, then sliced.

Odd and even numbers, which are equivalent to left and right or on and off are worked into the story at several points. For instance, the White Queen requests jam every other day. Going through the looking glass takes us to a world where the ordinary world is turned upside down and backward. Things go every which way except the way they are supposed to go. Anti-matter is a mirror image.

Anti-matter milk will explode Alice, but an Anti-matter Alice on the other side of the looking glass can drink the anti-matter milk.

In Chapter 11 Alice captures the Red Queen. It results in a legitimate checkmate of the Red King, who has slept through the entire live size chess game without moving. The checkmate ends the dream, but leaves open in the story the question of whether the dream was Alice’s or the Red King’s. The programming has so often been only a dream to us. The outside world was so often just an unreal dream to us. What was real and what was not real? The real world (for other people) was full of contradictions, and the unreal world (our internal world) was consistent. Everything was upside down, forwards and backwards. In the Looking Glass book, one shuttles back and forth mysteriously between real and dream worlds. “So, either I’ve been dreaming about life or I only dream that life is but a dream.”

As a slave breaks away from the programming, life becomes a bewildering confusion as the slave is pulled between two worlds. The internal world has everything the alter needs, the external world is a harsh cold reality that doesn’t have much to offer. People in the external world can help make it real for a slave. The handlers will never do this.

Alters will need a reason to want to come out of the internal reality which they are programmed to believe in. For so long much of life was seen as a dream. It will be hard to get a grasp on what was real and what was the lie. Many of the lies are more real than the truth. Life was sometimes like the parallel dreams of the Red King and Alice, like two mirrors facing each other.

The Tall Book of Make-Believe

This book was published by Harper & Row in 1950 and was indeed tall, the pages being 4″ x 9 1/2″. On page 14, the programmer would read the first paragraph of the poem and then say “sleep, sleep, sleep.”

“Have you ever heard of the Sugar-Plum Tree? ‘Tis a marvel of great renown! It blooms on the shore of the Lollypop Sea in the garden of Shut-Eye Town; The fruit that it bears is so wondrously sweet (As those who have tasted it say) That good little children have only to eat of that fruit to be happy next day. Sleep, Sleep, Sleep.”

On page 16-17, there is a story about how a child is dragged under the kitchen door and becomes flat. There is a picture of a child being pulled under a door and coming out flat on page 17. This was used as part of the script to make the ribbons for the slaves. The ribbons in a system can go under doors and through the entire system. On page 23, Rosa the flat person (pancake person) is shown again. This is ribbon. The top of the page has a large cricket like creature that was said to the child to be the programmer (Dr. Mengele).

All of the stories in The Tall Book of Make Believe were used one way or the other in programming. We will just touch on some notable points.

On page 38 is a poem about a Mr. Nobody. The programmers like to have alters identify themselves as “nobody”.

On page 39 is a poem/story about “someone” who comes tapping…but it is “only the cricket whistling”. This was used to help program in that the 3 taps were the cricket (the cover image for the programmer.)

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