Disney Trauma Mind-Control Script 30.0 to 59.5 mins

This is the second of four of the timed sections of the breakdown of the Disney Trauma-Based Mind-Control Slave Script:-

30.0 mins.

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

30.5 mins.

The broomstick comes alive. The broomstick imagery will be used to help create the pancake people (ribbon alters who will haul the internal computer messages). The broomstick person in the film hauls buckets of water. The child is having story after story layered in over a period of time, which are being skillfully constructed toward a programming end.

Parts of the child’s mind that see the movie Fantasia will be dissociated clean slates. They will need to have some imagery given to them so that they have something to build mentally upon. The mind looks at sensory inputs and tries to make sense of a pattern by comparing it to previous patterns that it has identified. Learning is a step-by-step building process, and so is programming.

31.0 mins.

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

32.0 mins.

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

32.5 mins.

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

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

33.5 mins.

Mickey begins conducting waves. Then, for those who understand the veiled scenes, Mickey begins going through the different magic spheres conquering the different spirits. This is Enochian Magic.

34.0 mins.

Mickey wakes up back in his body, and he is in trouble with rising water i.e. a water trauma. Mickey is thrown into the water. The child victim will identify this with the drowning tortures that are given to instill “no talk-no tell” messages. After Mickey (or in child himself) has done something, and returns to his body, then the “no-talk” message will kick in. Victims of mind-control often get the feeling of drowning when they trigger a no-talk message.

34.5 mins.

More water continues to flow.

35.0 mins.

All of a sudden without any continuity of action, Mickey gets an ax and kills the broom by splitting it. The broom dies and then multiplies when it comes back to life. This is such a clear picture of what the programmers want the child’s mind to do. They will traumatize the child essentially unto death, and then they want the tortured alter to multiply itself into many more duplicate alters. Armies of brooms are formed from the broom.

This scene here is a clear red flag that the Illuminati asked Walt Disney to produce this film. This scene with the trauma death of the broom, with it splitting in half, and then coming back to life in a multiplied form, is evidence that this film was meant to be used for training children in multiplicity. The assistant programmer will say “IT’S O.K. TO SPLINTER”. “YOU ARE TIRED, YOU CAN ESCAPE THAT BY RESTING AND LET A PART OF YOURSELF COME OUT”.

At this point, it is necessary to explain what is going to be done when they begin to splinter the child’s mind. After the splitting trauma, the programmer needs to be able to see what the child has created, so he wants the child to look at what’s been made. “CAN YOU LOOK AT WHAT YOU’VE CREATED?”. However, the part of the child that looks back at the trauma will then see that the dissociated trauma was real and that will make the child angry. The programmers want the child to dissociate what he built, and when the child looks back at what he has created he goes into a vortex of dissociation. The child is told if he ever looks back at the memory he will go into the vortex.

35.5 mins.

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

36.0 mins.

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

36.5 mins.

The brooms all march in an army, while Mickey reads his magic book. Mickey then uses his magic book as a lifeboat when he gets whirled into a vortex. A vortex is often created from that part of the mind that is holding the high energy that accumulates in the mind just before the mind splits. It holds the highest energy of the mind. One way a vortex is created is to place the child on a traumatic Disney ride, like a roller coaster.

Special electrical boxes or electrical shoes are outfitted onto the child so that during the ride, at a timed moment when fear is increasing, that fear has pain of the electrical shock added to it. A cattle prod of course would be too dangerous to take up on some type of ride like that with all the motion. Also bear in mind, a small child doesn’t need the electrical power that an adult needs to take it down.

37.0 mins.

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

38.0 mins.

The Conductor and Mickey Mouse shake hands. The conductor does something very significant. Mickey congratulates the conductor and then the conductor (programmer) in turn says, “Mickey, you’ve done a good job.” (Yes, the core/core splits have done a good job at this point, they have just created their inner world!) The MC tells us about the next song the occult Rite of Spring. Spring rituals are creation rituals and so this music is ritually connected to what the programmers are going to do in this segment.

The MC states that instead of the viewer seeing tribal dances (which are by the way witchcraft dances) that instead Disney has decided to show us scenes of what went on billions of years ago. (This next part is also a subtle push for Darwin’s theory of evolution. But because it is child’s entertainment, people don’t have their guard up. The theory of evolution is important, because it allows people including the victim to not take moral responsibility for their actions, and it is also the basis of some of the Hinduism and witchcraft teachings that will be given the deeper alters. This is a backdoor approach to destroy godliness that is carried out on children in general.)

39.5 mins.

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

40.0 mins.

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

42.0 mins.

The face of the planet emerges.

42.5 mins.

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

45.0 mins.

Oceans, and water and fire are coming into being. The child victim needs to know how a world is created in order to create their own internal world. Lava begins flowing as the flute plays the background music. Lightening flashes. The violence of the fierce weather portrayed will be enhanced by the child on drugs to a thousand times its magnitude. This is important because it will take a great deal of mental energy and external torture to create the internal worlds.

Having such super-vivid pictures will help when the victim goes to build their internal worlds. There will be special purpose fragments that will be made into the elements of fire and water. That’s all these special purpose fragments will know. Breaking through the layers in the alter systems will trigger internal earthquakes. This and a later earthquake scene are used to build the foundation for the internal violent weather.

If an internal earthquake shakes a slave’s mind, it has the same effect as if a real earthquake were going off. Everything internally shakes and shifts. An alter system will also have fire children, who start internal fires, and will give internal alters the abreaction or sense that they are burning. The mind gets very survival minded when it thinks it is burning, and goes right back into the programming that is linked with the victim’s compliance for survival during programming.

46.0 mins.

The oceans continue to form.

47.0 mins.

A calm occurs in the action.

47.5 mins.

The screen gets dark except for an amoeba, which becomes two amoebas. As the little amoebas multiply, the asst. programmer encourages the child, “IT’S O.K. TO MULTIPLY. GOD WANTED YOU TO MULTIPLY” Remember, the programmers are working with a pre-schooler with clean slate alters. The programmers must show images that the child can relate to. The concept of the broom being split in half and then multiplying and now the concept of the amoebas splitting are portrayed in a way that the child’s mind can grasp the concept.

48.5 mins.

“IF GOD CAN MAKE A FISH, YOU CAN MAKE A FISH. YOU CAN DO ANYTHING, YOU CAN BE ANYTHING.”

49.0 mins.

Dinosaurs appear. The programmers will reframe the concept of dinosaurs into monsters and demons. The sea-going dinosaurs will be refrained as guardian demons which guard the internal rivers. These guardian demons tie in with Armageddon end-time programming. They also guard the various worlds.

50.0 mins.

Dinosaur-birds swoop down and grab prey. This imagery will be reframed to lay the basis for the winged-monkey watchers of the Oz stories. The winged-monkey watchers are the child alters who are assigned to watch and guard the system.

51.5 mins.

Fierce dinosaurs (later reframed as Dragons) protect the swamps. Swamps are built into the internal worlds, so this is very helpful. Demons and alters like Dameon are set up as guards.

52.0 mins.

More swamps appear. The swamp scenes will form the base in the child’s mind for the internal river Styx. Some dinosaurs that have long necks that look like snakes begin appearing. The asst. programmer will reframe these to the child, “LOOK, THE SEED OF SATAN.” “THAT IS A DEMON.” While the child watches, they reframe the huge dinosaurs as being demons. Pictures of reptilian looking demons will be shown to the child too.

At that age, the child is not going to see the difference. (A note for therapists: Some “”demons’” may actually be important parts to an alter system, and are being used to protect unauthorized users from entering important areas of the system.)

54.0 mins.

Fierce Tyrannosaurus Rex chases dinosaurs. This chase scene is especially frightening to a young child on a LSD trip. Long-necked snake-like dinosaurs appear. They may be refrained as a python snake. T Rex is also known as Leviathan, a demon that inhabits the kundalini spinal column and causes pain in the victim. In the film a long fierce struggle between T Rex and other dinosaurs ensues.

55.0 mins.

The dinosaurs begin dying and soon die. “THE LORD DOESN’T LIKE THEM.”’ This will later be reframed, that if parts integrate they are to die. If someone tries to get into the system, the alters are to bury themselves deep like these dinosaurs do on the film.

56.0 mins.

Dead bones appear

59.0 mins.

Mountains soar out of the ground into eminence.

59.5 mins.

It gets stormy on the screen, winds & floods appear.

To get back to the main script page click below (this will open a new tab) :-

Disney Trauma-Based Mind-Control Slave Script

Main Reference :- https://www.cia.gov/library/abbottabad-compound/FC/
FC2F5371043C48FDD95AEDE7B8A49624_Springmeier.-.Bloodlines.of.the.Illuminati.R.pdf

Check out more about The Disney Story (this link will open a new tab) :-