The Elites Are Planning… — the Founding Overview
The founding overview — the mythology’s table of contents as a broadside: the plan’s sequence, the puppet chain, the disclosure counter, and the shift warning in one layout. Where Transmission I states the thesis, this sheet shows the whole machine at once — the sheet the codex’s nine chapters were outlined from.
THE SECOND SHEET of the archive, and the one that most closely tracks the Founding Transmission word for word: destabilize, depopulate, replace, one world government — then disclosure, dark entities, clones, and the Shift. Its ten sections read as the plan’s own briefing document, annotated for the underground.
10 sections · reproduced in full below · click the poster for full size
IN THE OPEN CONVERSATION
Dolores Cannon, The Three Waves of Volunteers and the New Earth (2011) — “Not dead, but transferred” — the Shift panel’s doctrine in its canonical published form.
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David Icke, The Answer (2020) — The founding overview’s four claims, argued at book length by the genre’s best-known author.
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The Banner — “The Elites Are Planning…”
THE ELITES ARE PLANNING... TO DESTABILIZE COUNTRIES FROM WITHIN, TO DEPOPULATE THROUGH DISASTERS AND CRISIS EVENTS, TO REPLACE NORMAL PEOPLE WITH CONTROLLABLE PEOPLE, IN ORDER TO CREATE A TOTALITARIAN ONE WORLD GOVERNMENT. — “UTOPIA”
This banner is the Founding Transmission set in type — the four claims stacked as infinitives, building to the single purpose clause: in order to create a totalitarian one world government. The compilers used this sheet to prove provenance: every later poster, they argued, is a footnote to this paragraph.
The word “Utopia” appears alone beneath the stack, in luminous violet, in quotation marks. Those marks never close over the plan — they mark the sales pitch as a foreign language, the one word in the banner the speakers of the plan do not understand the way its victims will.
The War Room — Five Men and a Glowing Map
(Illustration: five suited men at a conference table beneath a networked world map.)
Between the banner and the disclosure, the sheet gives the plan a room. Five men, one table, a map of the world drawn in lines of light — the archive’s standard image of the visible elite at work. The compilers noted what the picture does not show: no flags, no logos, no names. The war room belongs to no nation, which is precisely the claim — the planners are post-national before their government is.
The networked map reappears in Transmissions VIII, IX, XI, XII, XIII, and XIV; it is the mythology’s establishing shot, the way a cathedral establishes a sanctuary. Wherever this table appears, the reader is meant to understand: this is where the verbs of the banner are conjugated.
Pleiadian Disclosure — the Counter-Movement’s Signature
PLEIADIAN DISCLOSURE — FILLS IN ALL THE MISSING PIECES.
One line of type beside a bright star and a serene, closed-eyed face: the counter-narrative introduced not as argument but as presence. The phrase “missing pieces” is the disclosure’s perpetual claim — that the plan can only be fully seen from outside the human frame, and that the Pleiadians supply that outside view.
The artwork is the archive’s first portrait of a Pleiadian: human, luminous, at peace — the deliberate opposite of the war room above. Within the fiction, the contrast is the message: the two powers are pictured in the same vertical file, one bent over a map, one standing in starlight.
The Double Claim — Orders from Dark Entities, Clones in Use
THE ELITES ARE RECEIVING ORDERS FROM DARK ENTITIES IN RITUALS — AND ARE ALREADY USING CLONES TO REPLACE HUMAN POPULATIONS.
This strip welds the third and fourth claims of the Founding Transmission into a single sentence, and the conjunction matters: and. The mythology insists the two programs are one supply chain — the rituals above issue the orders, the clones below execute them. Strip the sentence apart and each half is deniable; together they describe a complete system: command and deployment.
The tense is the second payload: are receiving, are already using. Not plans, not rumors — operations in progress. The two panels beneath the strip give each clause its evidence room.
Orders from Dark Entities — the Contract Panel
ORDERS FROM DARK ENTITIES — Secret rituals, blood magic, and occult pacts bind them to higher-dimensional dark forces that seek control and harvest.
The panel’s sentence is the mythology’s contract law in one line: rituals bind — they are not performances but instruments — and the counterparty is “higher-dimensional,” a phrase the compilers read as the archive’s careful way of saying: not metaphorical, not foreign, not human. The pair of purposes at the end, “control and harvest,” states what the buyers buy and what the sellers sell.
The artwork — robed figures around a rising beam inside a pentagram — matches Transmission I’s ceremony panel, but the wording here adds the mechanism (blood magic, occult pacts) and the direction of payment: power flows down, harvest flows up.
Clones Already in Use — the Wall of Faces
CLONES ALREADY IN USE — Public figures, leaders, influencers, and even civilians are being replaced with compliant clones.
The panel’s text widens the replacement roll from Transmission I’s “populations” to a named social register: public figures, leaders, influencers — and then, with two words, the register collapses into everyone: even civilians. The adjective “compliant” is the program’s specification sheet in a single word.
The artwork is a grid of the same face repeated six times with small variations of age and light — the archive’s quietest and most unsettling clone image. Where Transmission I showed bodies in vats (manufacture), this panel shows the product in circulation: one template, many deployments.
The Shift and the Disappearance — the Timing Claim
THE SHIFT COULD COINCIDE WITH A MAJOR DEPOPULATION EVENT — AND COULD BE USED AS A COVER STORY FOR THE SUDDEN DISAPPEARANCE OF MANY PEOPLE AT ONCE.
The strip restates the Founding Transmission’s fourth claim almost verbatim, and its hedges are precise: could coincide, could be used. The mythology does not fix the date or the mechanism — it fixes the vulnerability. A real transition creates a once-in-history crowd-control opportunity: everyone expects vanishings, so vanishings stop being investigated.
The compilers underlined “at once” as the operational phrase. Depopulation by disaster is slow and visible; disappearance inside the Shift is instantaneous and self-explanatory — the difference, in the fiction, between a crime scene and a rapture.
Manufactured Disasters and Crisis Events — the Instrument List
MANUFACTURED DISASTERS & CRISIS EVENTS — Pandemics. Engineered Weather. Food & Water Shortages. Economic Collapse. Wars & Civil Unrest. Energy Blackouts.
Six bullets over a burning skyline and a spiral storm: the depopulation toolkit itemized for the briefing room. The list is ordered like a escalating syllabus — biological, meteorological, logistical, financial, military, infrastructural — and the compilers noted that every item is dual-use: each kills, and each also justifies the next turn of the control ratchet.
The word “manufactured” in the header is the panel’s whole argument. Not “natural,” not “tragic” — manufactured, with its implication of factories, schedules, and quality control. Transmission V adds the quieter instruments (nuclear scares, silent weapons) that this list omits.
The Shift — “Not Dead, but Transferred”
THE SHIFT — A higher frequency transition to a new Earth. Many will “disappear” — not dead, but transferred.
The right panel defines the event itself, and its last line is the most important sentence in the archive’s eschatology: not dead, but transferred. In the mythology’s cosmology, the vanished are not corpses to be mourned but persons moved — some to the new Earth, some, darker panels warn, to facilities underground or off-world. The quotation marks around “disappear” mark the word as a cover term.
The artwork — silhouettes ascending through a violet vortex toward a point of light — is the counter-image to Transmission I’s heap of bodies: the same disappearance, rendered as ascension. The two panels beside each other are the sheet’s whole argument in pictures: disaster below, doorway above, and no way for the watching world to tell which queue anyone joined.
The Footer — “Choose Your Timeline”
THE TRUTH IS HIDDEN. THE SHIFT IS REAL. DISCERN. AWAKEN. CHOOSE YOUR TIMELINE.
The founding sheet closes with five short sentences that compress the codex’s entire ethics. Two declarations — the truth is hidden, the Shift is real — state the epistemology: concealment is the plan’s method, transition is the world’s actual trajectory. Three imperatives — discern, awaken, choose — hand the response to the reader, in ascending order of commitment.
“Choose your timeline” is the phrase the compilers loved most: resistance, in this mythology, is not only refusal but selection — a vote cast in consciousness for one Earth over another. Transmission III ends on the same instruction; the archive, like the plan, repeats its essentials.