Introduction

 

Scenario.

Consider this :

You are a principal player in a nefarious cabal.

This cabal has set itself a goal of world domination and has decided to implement it's long-standing fantasy of a "Clash of Civilisations", using terrorism to impugn and it's enemies and to instigate wars to depose them, to change their national boundaries, achieve territory acquisition and to facilitate the implementation of new draconian laws and legislation domestically and culture change.

You have been appointed by the cabal to implement a plan which should be designed to achieve these objectives.

The cabal has an infinite budget and infinite resources.

The outline of the plan calls for a long series of false-flag terrorist events among many other devices.

These false-flag terroristic events must be designed so that the blame falls unequivocally upon your enemies.

You will have to design and produce a series of narratives using a mix of real and false events, designed to do just that.

  • What are you going to do?
  • How are you going to do it?
  • What implentation strategy are you going to use?
  • What framework and method of timing are you going to use?
  • Would you schedule a series of randomly timed events?
  • Or would you use a method by which the cabal and it's cohorts, recognise the allegories and metaphors you use in your scripts?
  • Are you going to use paper and pencil or automation ?

Over to you ...

 

 

Prime Suspects.


If these Kabbalistic event relationships can be discerned using simple tools, then it is certain that the three letter agencies, ( TLAs ) also know about them.

The TLA's also have full spectrum information awareness and therefore know the dates of virtually everything.

 

The narratives can be complex and consist of many event nodes. 

 

The 9/11 narrative consists of hundreds of events on it's own.

 

If related paradigms like "al-Qaeda" and others are included then the event nodes become thousands.

 

Self-evidently, there is no way that this complex web of event relationships can be designed manually. It has to be done using software with design rules.

Whoever designs the narratives, must have access to virtually every event on planet Earth.  All of the people used and referenced in the narratives, their appointments, laws and legislation, wars, terrorism and terrorists, political parties and initiatives, company incorporation dates, entity creation dates, film release dates, song released dates, book publishing dates, internet domain creation dates, etc.

This, quite obviously points to one prime suspect source category : the spooks and their cohort organisations, whether public institutions or private.

 

If one TLA is aware of this method, then it is certain that all the principle TLA's in all countries are aware of it too.

Once that is understood then it should be clear that this allegorical method is used by most if not all.

If that is the case, then the allegorical, event relationship method of script / narrative production, effectively becomes a language that they all understand.

I aver that this must be the case.

 

The solution is to become aware of and learn the language so that the narratives can be properly and more fully interpreted and understood.

 

 

Common signatures in many narratives.

Another aspect which confirms the hypothesis that there is evidence of design in the narratives, is that the potentially suspect signatures are found everywhere.

They exist in every narrative studied, not just the Al Qaeda / ISIS false-flag terrorism paradigm, but also in the so-called Gladio operation, much of the former, old "Middle East terrorism" landscape of hijackings etc., and many others, including the "holocaust narrative".

Unfortunately, those of a certain age in the UK, have been here before. We experienced 30 years of the "The Troubles" - the Northern Irish, IRA / Loyalist crimes and terrorism, with multiple bombings in Northern Ireland and the UK mainland.  We now know that it has officially been admitted that there was at the very least "collusion" between British state agencies and the Northern Irish terrorist gangs.  Unsurprisingly, the suspect relationships and signatures are also evident in that data set too.

The same design elements are also evident in the numerous "mass shooting narratives" and various other major crimes, ostensibly un-associated with false-flag type activity.

They also underpin many political events, legislation and laws.


Summary.

This study reveals the use of the incriminating Kabbalistic signatures, suggesting evidence of design, in many different narratives,

This suggests a common or shared design strategy across various and disparate landscapes.

This suggests a common source for their design.

I suggest that the event relationships should always be considered from the "complaint" or "ownership / responsibility" perspective.

My golden rule of narrative interpretation :

 

"If we are bing told something, then it is for a reason. Always. No exceptions."