The film Exorcist III is amazingly replete with premonitory prophecies regarding both 9/11 and Pizzagate. Key to unlocking the mysteries of this film is the tableau of thumb-tacked images on the bulletin board displayed in the office of a character who turns out to be working in league with the demon-possessed killer in the movie. Among these are the picture from the Manly Hall book, and directly underneath that, the Liber Oz text. This is why the author combined the two images on his/her site.
The author also noticed that the figure of the man bending backwards into an almost hogtied position in the image resembled the way in which Jeffrey Dahmer positioned one of his victims. This was several months before the Pizzagate scandal exploded, and it became broadly known that John Podesta’s brother Tony owned a statue — called the Arch of Hysteria — that had clearly been made to mimic the position of the Dahmer victim’s body. The author of the article then points out that Jeffrey Dahmer mentioned in court that part of the inspiration for the things he did was the film Exorcist III.
If I’ve ever seen Exorcist III before, I’ve forgotten it, and I can easily see why. I’m sure I’ve seen the first, although I don’t remember the details, and I’m not sure if I’ve seen the second one, which everybody hated. But I made myself watch number III, and I must say, I’m glad I did. Let me present you with some things that I do believe will blow you away.
So first let’s get this out of the way: the Exorcist films all take place in Georgetown, in Washington, D.C. Pizzagate of course started off as an investigation into possible child trafficking, prostitution, pornography and even worse (torture, dismemberment, murder, cannibalism) taking place among a collection of pizza parlors, children’s charities, and other establishments located in the D.C. area and connected to the Clinton campaign (and really the political power elite in general). That, in itself, is an interesting synchronicity. Podesta and many of the other alleged co-conspirators even attended Georgetown University.
In Exorcist III, the main character, police officer “Kinderman” (child-man), has a dream about going to the train station of the afterlife. We see a shot of an actor dressed like an airplane pilot from the early days of flight. He is sitting there looking distraught with old suitcases around him, but never makes connection with Kinderman in the scene. I was reminded of Charles Lindbergh, who who famously flew the plane “The Spirit of St. Louis.” The actual demon possession case that the original Exorcist was based on happened in St. Louis, MO in 1949. Lindbergh actually grew up in Washington, D.C., and donated the plane to the Smithsonian there when the flight was over. And, as we all know, his child was famously kidnapped and murdered.
This scene is very interesting, by the way. It seems to have been filmed in Grand Central Station in New York, but the ceiling shots are of the Hagia Sophia mosque in Istanbul. Clues about how people are influenced by spirits from the otherworld are numerous here.
For instance, we see a woman with headphones talking into a microphone that is connected to a reel-to-reel tape recorder, saying “Earth, come in please. Can you hear us? We are attempting to communicate.” Then a blind man sitting at the table with her, also wearing headphones, says “the living are deaf.” We also see a couple of little people holding a clock with no hands on it, showing that there is no time where they are.
Later, there is a scene where an elderly insane woman, Mrs. Clelia, at the hospital (where most of the film takes place) tells Kinderman that she hears spirits on her radio. Her radio turns out to be invisible. She tries to trick Kinderman by asking if he can see it. He pretends that he can, but she knows he’s pretending, and tells him that what she was showing in was actually a telephone. “A lot of people can’t tell the difference,” she says.
I see this as a statement about spirit communication. A lot of time you may think you are only sending out a message (praying) or are receiving a message (inspiration), but the communication sometimes goes both ways without you realizing it. You receive prophecies, but you can also bring prophecies into reality with your own imagination. (The theme is returned to later in the film when another mental patient is shown picking up signals from the spirits on a radio.)
The nature of demonic possession is explained by the demon himself later in the film, in a very interesting way. He says:
“It’s not enough, you see, to be a spirit. There’s no magic. In this artificial box that you call a world, we cannot touch except through bodies, you understand? We must operate through neurologic systems.”
Returning to the scene with Mrs. Clelia, she makes a seemingly nonsensical statement that could speak volumes if perceived as a message about Pizzagate that was subconsciously embedded into the movie by the filmmakers, and which could only make sense now, today. She complains that her radio is broken, then says “Nothing ever gets fixed around here. Just a bunch of pies and anchovies.”
The “pie” in question is clearly a pizza, thus the mention of anchovies. But there is more too. Anchovies are fish, and the fish symbol has become integral to Pizzagate because of a mysterious picture of Podesta with a fish drawn on his left hand, and “14” drawn on the other. While the context of the picture — which was sent as an attachment to an email pertaining to some list of environmental goals, where #14, pertaining to the preservation of underwater lifeforms, was highlighted as particularly important — Podesta sending this picture still seems a bizarre way to highlight it. I see hidden meaning in it pertaining to the myth of the dismemberment of Osiris, and the reformation of his body to be used by Isis in a necrophile sex ritual that engendered her son Horus, the “magickal child” and patron deity of the current era, according to Crowley. I explain this in this video.
Another researcher, Marty Leeds, has done a video where he explains how these numbers relate to the number PI and the esoteric numerology of the human hand. I also showed, in the post for my video on this blog, that a symbol of the mysteries of the hand, called the Hand of Glory, was often drawn with a fish in the palm of the hand, just like Podesta’s picture. So the statement about “pies and anchovies” could be pregnant with meaning. (The double entendre there was accidental, believe it or not.)
Note that the director’s cut of Exorcist III was released for the first time just a couple of weeks ago, on October 25..
Now think about this line that is given said by a woman at the heavenly train station in the dream: “Let me out of this damn casa blanca!” Is she talking about the White House, right there in Washington, D.C., where the movie takes place?
Also, consider this: In the film, as I said, the killer removes a finger. As it turns out, this removing of a finger is a common sacrificial requirement in cults, particularly as a self-punishment for failing to meet a promise to the group. Freemasons take oaths promising to mutilate themselves, or acknowledging that others will exact these penalties upon them, if they betray their orders’ secrets. You may remember a similar scene from Godfather II, showing how the Italian Mafia, another cult, practices this.
Marty Leeds explains in the video above that the hands break down into 14 distinct parts. The index finger, the one removed by the killer in Exorcist III, is itself representative of the penis, for obvious visual reasons, which is why we use it as the “fuck you” sign. This is a very old symbol of the cult of Priapus in Europe, the god of fertility known for his giant erect penis. It is an alternative version of another penile hand signal, the fig, which involved putting the thumb between the index and middle fingers of the same hand to simulate sexual penetration. Originally this was a sign used to ward off the evil eye, and only later became an insult, basically saying “may Priapus rape you.” This charm to ward off evil was also used as an amulet, called the fascinum, in the form of a disembodied penis worn as a necklace.
In Killing God to Become God, and in my video about Podesta above, I talked at length about the castration cult of Cybele, and how her priests were required to castrate themselves, with the severed parts then being placed in a sacred vessel as a totem. One can easily see the requirement of sacrificing a finger, particularly the middle one, as a substitute for the harsher sacrifice of the penis. Now consider that Johnny Depp, who has been tied to a long list of occult activity and people, was reported three months ago to have severed his own middle finger, supposedly in an argument with his girlfriend Amber Heard. The argument was, he said, about her cheating on him with Billie Bob Thornton. He then wrote on a mirror in the blood from his finger the words “Starring Billy Bob and Easy Amber.” Afterwards he went to a hospital and had the finger patched up as best he could with skin from the rest of his hand. Now it looks more like a penis than ever.
I don’t necessarily believe the story, which could be a cover for a cult-required sacrifice. Now think about Podesta’s gnarled hands, and the possibility that at least one of his fingers may have been severed and then re-attached, as it seems possible from the Depp example that initiates are allowed to surgically repair their sacrificed fingers after the ceremony.
This idea all came to me before I even saw Exorcist III for the first time yesterday. It came when I was looking up “Liber Oz” on Google Image Search trying to find the origin of that Manly Hall-Liber Oz combo image. I looked up “Liber Oz” and kept finding two things. One was people extending their hands in the sign of Mano Pantea, the sign of blessing made by extending the thumb, index, and middle fingers only, which we so often see being performed by Jesus, by other saints, and even by Baphomet.
The other thing I found with that search was several images of hands where those exact fingers had been severed, as well as images of the three severed fingers alone. These were all artwork, not real, and most of them were from a Japanese line of clothing that is for some reason called “Liber Oz.” I still found it disturbing, and feel that there is some connection here.
Moving on , I found myself agreeing with that other author who said that the number of references to 9 and 11 in Exorcist III are striking, especially 11. The murderer, called the “Gemini killer,” always cuts off one of the victims’ fingers, the index of the right hand, leaving only nine. The astrological sign for Gemini, which he carves into the left hand of each of his victims, is literally two pillars. That’s actually what it is made to symbolize. It shows the twins Castor and Pollux from Roman mythology, locked arm-in-arm and metaphorically symbolized by two pillars.
In my recent article Killing God to Become God, I mention how there is, in Egyptian mythology, a concept of twins who guard the pillars that hold up the sky and keep it separated from Earth, allowing life to occur. I also demonstrated that there are channeled documents written by Aleister Crowley prophesying that these pillars will be destroyed, as well as rituals written by him for his secret societies (Ordo Templi Orientis and Argentum Astrum) that specifically demonstrate how to bring this about through sex magick and blood sacrifice rituals.
These pillars can even be seen represented in the background of one of the scenes in Exorcist III, taking place in the mental ward of a hospital, ostensibly a piece of art made by one of the patients. The concept of the “twins” is highlighted with the first victim shown in the film, a black boy with a t-shirt that says “Police Boys Club.” His name is Thomas, which actually means “twin.”
The connection between the events at the Twin Towers on 9/11 and the idea of knocking down the pillars guarded by the twins is obvious.
There are several other references to 11 in the film, although these may have been, in the minds of the film’s creators, more about symbolizing the sign of Gemini, and Crowley’s idea that the number 11 symbolizes “Crossing the Abyss” to a realm beyond (specifically through homosexual sex magick), rather than any conscious foreshadowing of 9/11. This is how these things often happen. It comes by inspiration from beyond, a concept hammered home repeatedly in the film itself.
Some examples: The killer only kills people with last names that start with K, the 11th letter of the alphabet. When he leaves notes at the crime scene he always doubles the letter “l” in any of the words. A lower-case “l” of course resembles a “1,” and a pillar.
His police file is dated March 11, 1975.
The first line in the scene at the celestial train station is an announcement: the 12:18 to Elksberg now departing from Track 11.” The next line is “All passengers boarding proceed to the gate.” The pillars, of course, are also seen as the “gateway” between one dimension an the next, as they are so often depicted on Masonic tracing boards. Again, see my article Killing God to Become God and my book Clock Shavings.
This is represented in the film when we see a shot of a board announcing all of the train departures. We see that track 11 is associated with “Border Land,” while track 10 is “Earth.” We also see that “03” connects to “Elsewhere” and “04” to “Reconstruct.” Now we understand what was really being said before about Track 11. In the subtitles that come with the film, it says “Elksberg,” but it sounds like “Elsewhere,” and now we know that’s what we were meant to hear.
The “Reconstruct” track connects to the idea of destroying and reconstructing the universe. A moment after this part, we hear a couple of kids arguing about whether or not a “shot” was “out of bounds” if it “hit the line,” to which the girls replies, “It hit the dirt!” This is followed immediately by the woman saying “Come in, Earth” to the radio. This pertains to the idea that “11” is beyond the “border” of the created world, the dirt, with the boundary symbolized by 10.
What you need to understand is that, in the OTO’s structure, they “officially” kind of skip over the 10th degree. The ninth degree is, according to several sources, dedicated to vaginal sex magick mysteries, including the consumption of menstrual blood. The eleventh degree is about “Crossing the Abyss,” as I mentioned. These are sex rituals involving sodomy, killing your own “personality” to make room for the rebirth of your “Holy Guardian Angel” (allegedly your higher self), and then landing safely on the other side of the Abyss, if you’re lucky. It is implied that not every person who goes through this ritual comes out sane or fully functioning.
And what is on the other side? It seems this Abyss is like the Flaming Sword that was made to separate us from Eden so that we could not eat from the Tree of Life and become immortal like the gods. As I explain in Killing God to Become God, the idea of breaking the pillars that separate Heaven and Earth is all about getting into Eden again, and usurping the Most High God. This seems to also necessitate the opening of the barrier between Earth and the underworld. All of the separate elements of existence would mix together, destroying each other, but the idea is that if you can get to the highest spot, where God is, and kill him, you can watch the destruction from up above it and then rebuild things as you like.
The 10th degree is, according to modern “official” (for the public) literature, not a real degree so much as an assigned category for people in certain leadership positions. However, the older sources that I’ve found indicate that in the 10th degree one learns about the mysteries of “fertilizing an ovum.” This could include such things as the magical creation of a Moonchild or a homunculus, as well as the consumption and other use of the bodies of babies and fetuses for various alchemical projects.
I wrote extensively in Killing God to Become God regarding the ritual practice of inviting an entity to possess the father while he is impregnating the mother (or even, in fact, while he is inseminating an artificial ovum, as the article explains). I think this may be hinted at in Exorcist III. The Gemini twins, Castor and Pollux, came from eggs that were inseminated at the same time, but from different fathers. Castor was of human origin, from the King of Sparta, while Pollux’s DNA came from Zeus himself, who had raped their mother Leda while taking the form of a swan. We see an image of the rape of Leda on the bulletin board tableau in Exorcist III, surrounded by images of eviscerated bodies, a mannequin giving birth, and a clipping from a newspaper with the headline “Baby Born with 2-Inch Tail.”
The connection between this idea and the number 10 is multi-faceted. For one thing, in the Arabic numeral system that we all use now, 1 can be seen as resembling an erect male member, and 0 a vagina, or in fact any hole, container, or void. This comparison is made explicitly several times in Crowley’s writings. Indeed, he wrote that the “Eye of Horus,” his term for the anus, was a superior place to plant the divine seed in a magical ritual, rather than the “fish,” the female womb (see poem number 61 of his Book of Lies). Therefore the number eleven was also a badge for homosexual sex to him, representing two penises standing side by side.
Returning to my original point of interest in Exorcist III, the posture of the man in the image from the Manly Hall book that is tacked to the bulletin board, I couldn’t help but think of it during the final scene. One of the exorcising priests, attempting to free the demon-possessed killer, is sent up to the ceiling of the hospital cell they are in by a the demon and somehow the entire back of his body is stuck there, his skin fused to the ceiling. Then he peels himself off, and a large portion of his skin comes off as he falls to the floor. Then, a few minutes later, Kinderman is also stuck to the ceiling. Moreover, blue lighting shoots down from the ceiling and breaks open a hole in the floor, out of which demons and tortured human souls emerge, revealing it to be a portal to Hell.
In an earlier scene, another patient, an elderly female, is shown crawling on the ceiling with her back hanging downward. The potential significance of this will become obvious after the next paragraph.
Now returning to the subject of Liber Oz, and how it actually was originally printed, I learned a bit about that yesterday, and it is very relevant. I noted in my article about the “Dahmer pose” in the Manly Hall image about how it could relate to the symbol of Nuit, the Egyptian goddess of the arch of the sky, bending over frontways. I mentioned the Greek and Sumerian myths where the arch of the sky is a god, Ouranos, who has been castrated, and about the myth that Ouranos was once united with the Earth goddess sexually, and really, Hermaphroditically, before they were cleaved apart by the castration and separated by the pillars. I mentioned that there is a similar myth about Nuit and the male Earth god, Geb, in the Egyptian pantheon. I pointed out how the Egyptian inversion of the Sumerian and Greek myths, and the embrace of the symbol of Nuit by Aleister Crowley, could all express a desire to defeat the highest God, the sky god, dominate him (sexually and otherwise), and create a new order.
Well, as it turns out, the original publication (as I learned from an article published by the Argentum Astrum just two months ago) included an image of Nuit bent over, and also that image of the Devil card from Crowley’s Thoth tarot deck that I mentioned in the previous article.
Now the Devil card appears to be represented in Liber Oz exactly the same as it is in the card deck. We see a penis standing upward, penetrating the “ring of Saturn” (according the the notes from the deck), which could very well represent Zeus penetrating the anus of his father Chronos/Kronos/Saturn to overtake and dominate him. There is a hidden meaning here regarding the story that Zeus, after surviving his father’s attempt to eat him with the help of his mother, then sneaked himself into the royal court of his father and managed to get hired as his “royal cupbearer.” In Greece and other ancient cultures, this term was a euphemism for the royal child sex slaves. After he managed to overthrow his father by poisoning his “cup,” Zeus went on to have his own cupbearers, first a little girl named Hebe, and then a little boy named Ganymede. The word “catamite” comes from Ganymede’s name, a term for a child sex slave of this sort, specifically a boy.
Note that in Exorcist III, the demon tells Kinderman “I know nothing! Except I must go on killing Daddy! I must shame him!” Daddy can only be God himself.
The other image that was printed in the original publication of Liber Oz was “the Aeon,” supposed to represent the Aeon of Horus which Crowley believed we are living in, and which he felt he was helping to initiate with his occult work. Here we see Nuit bent over as the sky arch, and Horus underneath, reigning in the place of Osiris, the overthrown god of the past order (whom Crowley likened to Jesus). But there is one thing missing here that is shown in the tarot deck, and that is the ghostly image of Harpocrates that is superimposed over the image of Horus on the card version.
There is some disagreement between the traditions about whether Harpocrates, the god of silence, was a version of Horus himself, or was his brother. The Romans, who loved to synthesize everything between their pantheon and the Egyptian, likened him to Cupid due to several similarities, one of which is that he is always shown as a small naked boy. Harpocrates always has his finger pressed to his mouth, indicating silence, secrecy, and discretion. Thus the “Sign of Harpocrates” is used in the rituals of Crowley’s OTO, and of the Golden Dawn, to represent the need to keep the order’s secrets.
Harpocrates was also associated with the symbol of the red rose, which seems to connect him even more with Cupid. As Wikipedia explains:
Aphrodite gave a rose to her son Eros, the god of love; he, in turn, gave it to Harpocrates to ensure that his mother’s indiscretions (or those of the gods in general, in other accounts) were kept under wraps. This gave rose the connotation of secrecy which continued through the Middle Ages (a rose suspended from the ceiling of a council chamber pledged all present – sub rosa “under the rose”) to nowadays.
So Harpocrates is holding his fingers to his mouth specifically to indicate that he will keep his silence about the sex crimes of his parents that he has witnessed. This is interesting, since Horus is alleged to have been his mother’s lover, and his father may have also been his brother. The same thing is stated about the characters in the Greek myths mentioned above. Ouranos and Saturn are father and son, but also brothers from the same mother, and Zeus may have been also. The same relationship took place between Cybele and her castrated son Attis.
Note that at the bottom of the Aeon card image, and the image in Liber Oz, we see little people trapped inside the Hebrew letter Shin, which means “teeth.” We see something similar on the Devil card, with the little people trapped inside the testicles on the bottom. Note also the markings down the center of each testicle that each look like the number 11.
The notes on the tarot deck also say that while it represents the “New Aeon,” it also signifies the “Final Judgment.” They further elaborate: “His left hand is open, signifying that the old universe has been destroyed and he is too young to formulate a new one.”
Liber Oz was published in 1941, and the tarot deck was compiled between the years 1938 and 1943. While it’s possible that Aeon card had not been finalized until after Liber Oz, it’s also possible that Crowley removed Harpocrates from this image because, instead of maintaining silence, he was, by publishing Liber Oz, making a very public statement. As the AA website tells us:
On the morning of December 21, 1941, two weeks after the attack on Pearl Harbor and during the Winter Solstice, Crowley enacted a “Magical Gesture” by formally issuing Liber OZ. He recorded the names of the first 11 recipients, each a leader in their particular industry. These were: 1) Literature – H.G. Wells, 2) Peerage & Press & Air – Lord Edward Donegal, 3) Medicine – Ivor Back, 4) Art – G.F. Kelly, 5) Army – General Fuller, 6) Navy – Sir R Keyes, 7) Agriculture – FW Hylton, 8) Law – Lord Maugham, 9) Church – Vicar of St. George, 10) Trade – All-child, 11) BBC and Stage – Esme Percy. Crowley records the exact time that he mailed this first batch of 11 as “9¾ AM”.
There are those numbers again: 9 and 11. Crowley saw the Second World War as a harbinger of this New Aeon, and thus he was publicly proclaiming the Law of this new Aeon. The article goes on to explain that he often recorded the time and date in which he gave early copies of his publications to people. However:
…Usually the early copies were sent to members of the A∴ A∴, O.T.O. or close associates. However, in this case Crowley purposely chose influential individuals throughout society, waited for the proper Magical moment and recorded the exact time of issuance. By distributing OZ in this manner Crowley was planting seeds, to what he hoped would be, “a bloody great Revolution.”
I can’t help but wonder if this “Magickal Gesture,” unleashing army of 9s and 11s, somehow released something that we are still feeling the reverberations of today.