The key to unlocking the secrets of a conspiracy like September 11, is the concept of the "big lie." People cannot believe in a truth few have ever even imagined, and if the scale of an enterprise is so vast, and the idea of it so morally repugnant that the consequences of knowing would be unimaginably disruptive, then a lock will keep on the secret.
A conspiracy theory attempts to understand some unknown by assembling bits and pieces of verities into a coherent whole. Since the pieces of the official story of the attack of September 11th 2001 do not fit together, it is necessary to divine a theory of one that does. That--organized members of the U.S. government, its military, its private industry, along with the support of some international cartels and states, planned and executed the attacks of September 11th, as a false-flag pretext for what has followed--is just such an understandable and consistent theory.
The portions of the attack that took place in Shanksville Pennsylvania and at the Pentagon in Arlington, Virginia, were moreover a conspiracy to commit a covert act under the guise of an open one, then manage the media coverage of it, and manipulate its aftermath. So we first have to refine each bit of truth from its dross.
We can do that in Arlington by "outing" the participants, perceiving the artificial and synthetic quality to their performance--the "bad acting," if you will--seen in the photographs, videos and interviews; and by cross referencing their stories. Since the myth of 9-11 is about victimization and the rising above it, the narrative is largely told by victims and their corollaries--saviors and rescuers. However the victims and saviors are in fact perpetrators and enablers in disguise, so it is necessary to first see the deceit. We do this the way we always have, at least since the time of Perry Mason: by looking for inconsistencies and contradictions in their stories.
Such an inconsistency would have a commercial jetliner in a surprise strike hitting an office building filled with 25,000 occupants and having only 49 people be admitted to the hospital as a result, as is officially recorded in an amended Arlington County After-Action Report. Surely the storyboard arc of injuries was created with the planned help of volunteers, especially the most grievously hurt--the six serious burn victims.
Since the dead can't logically be both victim and perpetrator at the same time, we have to ask ourselves how a planned synthetic reality relying on volunteers for the creation of a storyboard of 186 fatalities is created. Must they really die, or can they be disappeared? Is that with or without the knowledge and consent of their loved ones? Did the attack have an internecine component, where actual deaths could occur legitimately within the military family, and still be maintained under an ethos of secrecy? Since the causalities ranged widely from the powerful and influential to the lowly and humble, were they all treated with the same standard, or did some receive special treatment? On second thought, that is a stupid question.
People ask, "If there were no planes, what happened to the people on them?" The answer is simple: They were murdered, disposed of. Gassed on board or disembarked into hangers to be lined up and shot. Get used to it. Power and politics may mean some are alive, but certainly not feeling or sentiment. The deaths in New York City were a matter of pure physics--being in the wrong place at the wrong time as the buildings were struck and fell--considered collateral damage, if they were considered at all.
But Arlington, being the true heart of the conspiracy, reveals the real Münchhausen syndrome, a psychiatric disorder in which those affected fake death, wounds and psychological trauma in return for a benefit. For the conspiracy to hold, the military family needed to be treated on a separate, privileged plane. Government workers in general, if they keep their heads down and their mouths shut, enjoy the illusion of being in a protected class.
With that metric in mind I did a Google search for "Pentagon 9 11" in the Getty image archives and came upon two pictures in rapid succession.
The first was a picture taken on August 15, 2002, of 18-year-old Chiquita Young, daughter of victim Lisa Young, a civilian army employee. My first though was one of shock that someone so young could be indentured into a lifetime of servitude like that--her only consolations being the security of her berth , and a likely status of honor as an in-house living memorial. But thinking it through, the dominant meme became "the military taking care of its own." This might indicate her mother was missing from her life, if not actually dead, or not.
The second photograph was of Rosemary Dillard on the first anniversary of her husband Eddy Dillard's death. My first reaction was that she gave new meaning to the term "black widow." Her ocelot-print coat is a striking branding for someone who was to become a top advocate for the official story.Can we all have forgotten Mrs. Dillard's personal story? That she was an executive at American Airlines whose job was to supervise flight crews, including the crew on Flight 77--a job she had taken seven months earlier? What about Mary Jane Booth, the secretary for the American Airline's general manager at Dulles Airport who was "on the plane" that morning and was lost?
What about the pilot, Captain Charles Burlingame, who was a former Navy fighter pilot? How about"Bud" Flagg, a U.S. Navy Admiral and retired pilot with--you guess it--American Airlines, who along with his wife Darlene, was a passenger on board? Or John Yamnicky, who was an aeronautical engineer working for a defense contractor and was a retired 30-year Naval aviator. Does this sound like coincidence or incest to you?
A primary obstacle to overcome is in continuing to visualize the logistics of actual planes being used that day, when none likely were. Whenever I have been in doubt about some aspect of the plot, I've found it a useful tool to ratchet down the analysis into the moral horror. A worst case scenario here would have Mrs. Dillard, who is a clear nexus, and defender to the plot, volunteering her husband without his knowledge or consent. He wouldn't actually need to be coerced onto a plane. I'm sure that sort of thing is the easiest part to arraign in a plot like this.
Does it really matter if we understand the disposition of Bernard Brown, the eleven-year-old who was lost on board, whose father works in the Navy Command Center, but who was playing golf that day? "Was lost" becomes the most useful way to language those who were "on the plane."
Not only do the ancillary players to the plot have broad connections within the military, it is often second-, or third-generation deep at that, the better to maintain the elite traditions of secrecy, like using the Old Guard regiment to perform the dirty work at the Pentagon. Passenger William E. Caswell, who was described as a "third-generation physicist," was a senior scientist for the U.S. Navy, and also retired Army. I'm sure physicists who work for the government have their own unspoken oral traditions as well.
We can know the plotters by their fidelity to the narrative. Charles Droz III, 52, a retired Lieutenant Commander in the Navy, may be anywhere, but his widow Cynthia is a bad actress, as she keens over his tombstone before a throng of cameras in an American-flag print shirt three years after his death. Is she a patsy, a dupe, or a shill? I don't know, but she left reality some time ago, and took us with her. The great whore of Babylon is a symbol for the media, and here she has her maw opened wide, feeding.
A year later Mrs. Droz is still there making a spectacle of herself. This is not grief, it is propaganda.
(If you want to see the real deal it's here.)
The quality of the storytelling is extremely poor, but without any truth to contrast it with, it served its purpose--for awhile. April Gallup, seen in this four-minute interview, appears to have been driven insane by her lies. Originally a major player in the official narrative, she was at her desk when the attack struck. Grabbing her newborn infant, who for some reason was by her side, she supposedly escaped out the crash hole. In this Carmen L. Burgess photograph, we are told this is her son, and it may be her as well, absent all her later hair weaves.
She is an amalgam herself--part victim, part hero rescuer, she now identifies as disabled, as she identifies her son too. She hopped a ride on the charity circuit and she was utilized for a role in the aftermath as a media figure. Here, speaking for the absurdly named 9/11 Families United to Bankrupt Terrorism, a U.S. government effort at asset seizure.
Apparently, she didn't get what she thought was her share of those assets and turned, or else she was inserted into the 9-11 truth movement by her handlers just to get rid of her.
She and Rosemary Dillard, along with the likes of Lisa Jefferson and Lloyd England and many, many others, showcase the distinct role African-Americans played in the 9-11 story. Seemingly above suspicion as collaborating with the authorities in a conspiracy as dense and closed as 9-11, their presence humanized the narrative. Revealed, is just how far African Americans have come to being fully integrated into, and corrupted by, American society.Applying a theory consistently to all aspects of a thing until it is known surely involves missteps. When I first theorized that the wounded burn victims at the Pentagon were cooperative volunteers I literally shocked myself with the thought. I had to deeply check if something might be wrong with me. But never having imagined that somebody could stoop so low was not my fault. Since then, the theory has withstood the test of time, gaining credence and traction as it fits together well with other known, or partially known aspects. Filtering out a manufactured component of falsity from the lists of the September 11th dead is an unfortunate, but necessary business .
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