Numbers are the essence of who God is. They don’t change. They are a standard code of conduct and God is the ultimate mathematician. The numerical patterns found in the King James Bible have nothing to do with the occult sense of numerology; on the contrary, they are another layer to God’s Word. As the Bible illustrates in the previous verses, the spirit of the anti-Christ likes to take God’s Word, reverse it, and turn it upside down on its head. God destroys Babylon; Babylon rises once again with the coming of the anti-Christ, but God’s Word tells us what to look for. As stated in Revelation 13:18, wisdom and knowledge come from counting:
“Here is wisdom. Let him that hath understanding count the number of the beast: for it is the number of a man; and his number is Six hundred threescore and six.” (Revelation 13:18 KJV)
The numerical patterns found in the King James Bible are a fascinating study, but the number nine is of particular interest when we look at I Am Legend. Notice the dates used in the movie: in 2009 the virus hit, and three years later, on September 9, 2012 (9/9/12), the cure is discovered. In the Bible, the number nine represents death, birth, and transformation. Jesus gave up the ghost around the ninth hour in Matthew 27:46. The Holy Ghost is mentioned ninety times in the King James Bible. Sarah was ninety years old when she gave birth to Isaac, and the average pregnancy for a woman is nine months. Clearly, the use of the number nine in I Am Legend is an important aspect to the deeper meaning of the plotline, ie, death, transformation, and rebirth, or more specifically, the falling away of mankind and its transformation into monarch slaves.
In Revelation chapter nine, a star falls from heaven and opens up the bottomless pit. Locusts are then released onto the earth where they are given power, as the scorpions of the earth have power. Locusts, like butterflies, have four wings and can be thought of as the virus in I Am Legend that infects mankind.
“And the fifth angel sounded, and I saw a star fall from heaven unto the earth: and to him was given the key of the bottomless pit. And he opened the bottomless pit; and there arose a smoke out of the pit, as the smoke of a great furnace; and the sun and the air were darkened by reason of the smoke of the pit. And there came out of the smoke locusts upon the earth: and unto them was given power, as the scorpions of the earth have power. And it was commanded them that they should not hurt the grass of the earth, neither any green thing, neither any tree; but only those men which have not the seal of God in their foreheads.” (Revelation 9:1-4 KJV)
Just like the description of the wheeled cherubims in Ezekiel, these locusts (unclean spirits and lesser gods) are described as having faces that resemble human faces, as well as hair like woman’s hair, crowns of gold, and breastplates of iron. In Revelation 9:11, it’s revealed that the king of the army of locusts is the angel of the bottomless pit, Apollyon or Abaddon.
“And they had a king over them, which is the angel of the bottomless pit, whose name in the Hebrew tongue is Abaddon, but in the Greek tongue hath his name Apollyon.” (Revelation 9:11 KJV)
And so we have an inundation of these lesser gods upon the earth in the last days, a sort of revolution that could potentially transform mankind into obedient puppets and eventually lead to a new world order. Monarch programming and psychic driving are the tools used by these beings to manipulate and deceive mankind into believing a lie. They shall light up the darkness (you might say) and usher in the new age, the Age of Aquarius, or the age of enlightenment. Some say we’ve already entered the Aquarian age which is a time associated with electricity, computers, rebellion, astrology, and nonconformity. The astrological term became popular during the hippie movement in the 1960’s and 1970’s.
Revolution 9
Released in 1968, The Beatles’ White Album features a track titled Revolution 9. The song is a chaotic sound collage of breaking glass, car horns, gunfire, crowd noise and a voice repeating on a loop, “number nine, number nine, number nine…” The song projects an apocalyptic ambience that John Lennon himself described as “an unconscious picture of what I actually think will happen when it happens; just like a drawing of a revolution.” As for the use of the number nine, he stated, “nine turned out to be my birthday and my lucky number and everything. I didn’t realize it: it was just so funny the voice saying ‘number nine’; it was like a joke, bringing number nine into it all the time, that’s all it was.”
While Lennon downplayed the use of the number nine, Charles Manson (who was given nine life sentences for the murder of nine people) often referred to the song and interpreted it as a parallel to Chapter 9 of the Book of Revelation. Whether or not Lennon was actually inspired by the Book of Revelation is unclear, but American shock-rock group Marilyn Manson recorded a track in 1994 titled, Revelation #9, which was inspired by the Beatles’ song. Revolution 9 also inspired White Zombie’s Real Solution #9, which contains samples of an interview with Manson Family member Patricia Krenwinkel. The Beatles’ song also inspired punk rock group United Nations to record a song titled, Resolution 9, which was released on September 9, 2008.
So what does all of this mean? What’s the connection? In a broader sense, it means that everything is connected. From the political realm, to the entertainment realm, and even to the criminal realm, the movers and shakers of this world are very much aware of the influence of the spiritual realm. To quote from the White Stripes’ song Seven Nation Army, “Everyone knows about it, from the Queen of England to the hounds of hell.” From Charles Manson, to The Beatles, to our elected officials, every one of them is a victim of monarch programming – a tall statement to make but an accurate one nonetheless. No one makes it to the top without experiencing the hidden hand of the programmer. On a larger scale, we’re all victims.
9/11 Predictive Programming
This is the original cover of the album (created in June 2001) depicting the members destroying the twin towers using what appeared to be a detonator. The apparent detonator was actually an electronic tuner. The album was originally scheduled for release in September of that year. After the 9/11 attacks, the band postponed the album’s release until November so they could create new cover art.
The number nine is everywhere in pop culture, but in the years and decades leading up to the events of September 11, 2001, predictive programming has never been so obvious. The images featured above are just a few examples of how the media (namely Hollywood) foretells of coming events through subtle, and in some cases, not so subtle images and symbols. The powers that be responsible for these uncanny “coincidences” are not of flesh and blood, but rather, powers and principalities of a world we can’t see.
These soft-pedaled harbingers are not the works of some underground cabal of mystery men and women; they are the results of familiar spirits working through the artists, set designers, writers and directors responsible for churning out the material. The butterflies and locusts are the wizards behind the curtains. They essentially are the Illuminati, the predictive programmers, and the hidden handlers. They are the rulers of the darkness of this world and the spiritual wickedness in high places. Is it any wonder why the Twin Towers fell on 9/11, the date corresponding with Revelation 9:11 where Apollyon opens up the bottomless pit? After all, the Greek meaning for Apollyon is “The Destroyer.” There is a revolution coming, but it won’t be for the benefit of mankind or the renewal of our freedoms. It will be one of strong delusion, and no amount of guns or ammo will prevent the evil net from being cast.
The Apple and the birdcage 