After Christine Ford’s Sept. 27 testimony before the U.S. Senate Judiciary Committee, a body language expert noted that Ford often used what’s called a “pretty pose” to make herself seem small, innocent and victimized. Expert observers also found various clues that indicate that much of the sadness, fear and pain she was describing was exaggerated.
The focus on Ford’s body language by several analysts draws attention to the subconscious. By extension it points to the dazzling new unconscious – the super intelligence – and its new unconscious “mind language,” a verbal language of symbolic tells which communicates in far greater detail than body language. The super-intel offers the possibility of learning so much more about crucial situations such as Ford’s testimony – reading her in the blink of an eye.
It isn’t easy to shift focus from literal communication and learn the new unconscious mind language. A comparison to body language can help. While body language communicates symbolically by arranging physical positions, facial expressions and hand gestures, the super-intel communicates verbally using symbolic imagery. It unconsciously arranges sentences rich in images – secret tells – revealed in a certain order.
It communicates new information beyond denial and coverup. But as with body language, super-intel messages must be decoded. Invariably, as the decoding moves forward, patterns emerge which tell a coherent overall story.
As a practicing psychiatrist for more than 35 years, I’ve had extensive experience in decoding the unconscious. I wrote a book about the newly discovered super-intel, The Deeper Intelligence
. I am a physician and therapist. I treat sexual abuse victims. I’ve often helped post-abortion women heal from the inner pain and guilt they experience because of their abortions. I’ve taught women who think they want an abortion how to allow their super-intel’s violent imagery to show them they’re destroying a life…and I watched them change their mind.
Now consider the high-stakes context in the U.S. Senate prior to Ford’s testimony: the Democrats were lawlessly attempting to overthrow the Constitution and prevent a pro-life justice from confirmation – and it was all around a single issue: abortion. They harbor a deep fear of Roe v. Wade being overturned.
Christine Ford’s initial major tell can easily be decoded. When she said, “I’m coming forward to do my civic duty,” what was her major civic duty in life prior to coming forward? She was a dedicated abortion-on-demand activist. She marched in her local version of the Women’s March the day after Donald Trump’s inauguration. Yet, as her all-knowing, truth-telling super-intel suggests, her real civic duty is to put an end to the horror of legalized abortion in America once and for all.
In two previous articles, I outlined my earlier decoding of Ford’s testimony:
- Christine Ford’s Secret Tells Point To Powerful, Deeper Motive
- Christine Ford’s Secret Unconscious ‘Tells’ Continue Before The Senate – Part One
I’ve shown how Ford unconsciously presented violent projection images linked to Kavanaugh’s alleged assault which fit with abortion – her assault of the unborn – and not Kavanaugh. These included: “being personally annihilated,” jumping in front of a train suggesting mutilation, “accidentally killed,” not allowed to breathe, a suffocated victim and brutally raped.
Again, deep down all pregnant women see their womb as a protective house for the unborn – biologically, that’s precisely what it is. Women who abort invariably link it to destruction to houses and protective enclosures. Ford referred to death threats to her personal home, having to move out. She spontaneously added “the family was separated” implying again permanent separation from her unborn child.
All in all, Ford’s unconsciously confessing her primary motive – blaming Kavanaugh to escape her own overwhelming, self-punishing guilt. Claiming Kavanaugh’s violence to her caused her a lifelong trauma, she admits her personal violence on her own unborn was the true cause of her post-traumatic suffering.
From scene to scene, Ford’s story accusing Kavanaugh centers around events in houses. We return to her testimony (repeated in a Washington Post interview) paying close attention to her images, her secret symbolic tells. Step by step she takes us through her secret story. Never taking her eyes off her unborn in her womb home she aborted after an unexpected pregnancy.
Her symbolic imagery reveals a powerful story – like a parable that must be decoded – of what her abortion looked like to her and why she remains fixated in an unconscious post-traumatic stress disorder.
Scene 1: Living at home
Ford starts her story by recalling when she lived at her parents’ home as a 15-year-old. That preamble established a specific foundation. She’s underlining the most basic rule of life starting with her own right to life in her mother’s womb, her absolute right to her own life. Her mother honored that inviolate right throughout her pregnancy as did Ford’s father. They had already named her while she was yet unborn.
In her Senate testimony, Ford’s confessing precisely what she should have done for herunborn. Thus, she reveals her deep maternal rule that an unborn pre-eminently has a home and a life in the womb.
She indicates that the rules of the home – her own room, her own life in the family home – started in the womb. Over and over, she witnessed her parents acknowledging her right to her own life, her privacy rights in her own room – for example, by telling her two brothers to stay out of her room, to knock before they came in. She will repeat this message in multiple secret images in her brief story.
Unknowingly she speaks for all unborns in their mother’s womb and all unborns who have been aborted. She still fully understands that her unborn baby should have been protected – allowed to grow up as she did. See my right, “I got to grow up.” The power of her first scene speaks the guiding wisdom of the most basic maternal compass.
SCENE 2
How I got pregnant: Rules broken– Terrified
Ford’s super-intel quickly informs us how she got pregnant, her eyes ever on her unborn. Her detailed imagery symbolically confesses that she knowingly violated her parents’ wisdom by going to another party with boys, recklessly drank freely and – after casual sex – became unexpectedly pregnant.
In her testimony, Ford frankly revealed that she had attended “notorious parties,” parties far wilder than the relatively calm party which took place the night of the alleged Kavanaugh assault.
From the beginning, Ford’s super-intel is saying, “I am really talking about another party and my true post-traumatic trauma: aborting my unexpected unborn child.”
Recently, reported stories from her high-school annuals and college acquaintancesconfirm Ford’s teenage promiscuity, heavy drinking, and drug use. They depict ayoung woman nearly blacking out and wrecking cars.
One witness, who attended the University of North Carolina named D.C. McAllister, recently posted on Twitter: “Christine Blasey Ford was a classmate of mine at UNC. We graduated in 1988. I want to ask Christine if she remembers partying at Trolls, drinking at He’s Not Here. Hooking up with guys at Henderson Street. Eating at Time Out. Remember those days, Christine?”
When Christine violated her parents’ rule she points symbolically to the intrinsic maternal law she violated. Her imagery is a secret tell: “I broke my unborn’s life, I aborted its life” – the deepest, most protective instinct in her body.
Describing to the Washington Post how “terrified” she was of violating her parents’ rules by going to the unsupervised party, points unconsciously to a far greater terror. She and her female friends bragged in their high-school annuals over three years – 1982-83-84 – about violating parental rules.
She has a deep terror over violating the maternal laws of her unborn’s life, God’s laws, life-giving laws deep inside her which she’s never owned but knows to her super-intel core – and continues encouraging other women to violate.
Her huge secret tell with which she opened her testimony, “I am terrified,” speaks volumes. We all answer to the Supreme Judge as our founders called him in the Declaration of Independence. That’s the true source of her terror and trauma.
Scene 3
The house, the womb home – massive denial
(Story: no recall of where, when, and transportation to party)
Ford arrives at the party house, the house at center stage. She can’t recall where it was, when it was, how she got there and how she got home. Her super-intel communicating the feminist code about how to handle an unwanted careless pregnancy – massive denial.
In other words, she’s saying, “I don’t recognize my womb as a home for this unborn – where it is, that it really exists in my body, when it happened, how it got there or how it got home. Because it never got to stay in its home – when I aborted its life. It’s not a human unborn. Just some kind of little tissue. Just a thing.”
That’s the typical feminist mantra – abortion means you never have to say you’re sorry to your unborn baby because it never existed. You don’t have to remember where the party was you had sex, when you had it, how you got there (or home), or even that you got pregnant because you don’t really have a womb home for your unborn, it’s all yours. Live in denial your unborn you aborted never got to stay home in your womb.
Memory deficits regarding the location of the party house, when it happened or how she arrived or got home also suggest a near blackout at the party at which Ford got pregnant, consistent with her prior history.
One fact Ford remembered from the alleged party was drinking a single beer. Her denial – “I was not drunk” – can be decoded as an admission that on the night she got pregnant “I was very drunk.” Her story confirms this.
Scene 4:
Party – more denial and hiding
Next scene – a party going on at the house. Ford suggests another form of typical denial by which feminists handle the reality of eliminating unborns. Party baby, party hardy. “Manic partying” in the face of hidden depressive guilt. Think of the Women’s March on Jan 22, 2016 in which Ford participated. Women chanting “F*ck Trump,” singing, demanding, threatening with overt violence on display. It was group-think at its finest to cope with the unconscious stress of sending unborns away from their womb home.
Scene 5:
The womb room – first the living room of the unborn
(Story: Ford responds to specific inquiry: memory of party house)
Asked by the senatorial rape prosecutor at her testimony what she specifically recalled about the house that night of the party, Ford described very particular rooms. Secretly she presents rich images of how a womb room is an unborn’s home – and what happened to her unborn.
“Living room” is a rich image suggesting first “life, alive” – her living womb where Ford gave life to her unborn – for a while.
Unconsciously she vividly recalls “The Living Room” womb, her unborn alive and thriving. Its central room where it lived, where it should have been allowed to keep living. Where she would have fed it constantly growing on its own, alive and well. Allowed to play and tumble in her womb, communicate with her by kicking her at times, knocking on the uterine wall. (Remember that image.)
Deep down she can still see her unborn in its own living room womb room. How well “living room” matches perfectly Ford’s opening image suggesting where she began her life living in her mother’s womb room.
The laws of maternal nature are cited again. Your unborn has the right to live however and whenever it arrived in your womb home. The entire womb is the unborn’s living room.
Scene 6:
The bathroom – unborn’s private bath
The next room she recalls is the upstairs bathroom, a private bathroom in the party house. Her secret tell: her womb was her unborn’s private bath where it bathed in the amniotic fluid, where you let the unborn bathe and thrive by drawing nutrients. She’s painting a super-intel picture of the law of maternal nature.
Unknowingly Ford can still see in the back of her mind that vivid picture of her unborn surrounded in its private bath of amniotic fluid in her womb. A very similar picture every mother has of her young baby taking a bath in the bathtub after its born.
Ford’s cohesive secret story continues – image after image.
Scene 7:
The Womb – Where the unborn beds down and sleeps and bedroom
Then Ford recalls three more specifics: a bedroom and a bed and a nearby bathroom. First, her womb home was her unborn’s constant bedroom where it bedded down, slept in its own womb bed. See how well the imagery fits, again emphasizing the law of maternal nature – the baby has the right to continually bed down in her womb house.
Going upstairs to a bedroom also suggests a newborn baby’s own literal room – a common special room in the home. The baby’s room.
Later in life, Ford would deliver two living children with all these memories she missed with her unborn child. We can be sure they would remind her of her unborn.
Scene 8:
The womb: How I got pregnant, why I enable abortions, why accused Kavanaugh
(Story: Ford reports Kavanaugh assault in bedroom with Mark Judge present)
Step back. This is the key scene of violence where Ford accused Kavanaugh of assault. It’s an important scene suggesting her pregnancy and abortion. We continue reading her story as a projection.
She has set her story up with stunning images of an unborn living in her womb.
Now in the bedroom, she suggests where she got pregnant with her unborn.
She describes a very chaotic scene – events in bed with two different men in one night in the same bed both very drunk. First alone with one, the other jumps on the bed on top of the two, then gets off shortly jumps back on top and chaos ensues.
First, she suggests she got pregnant by one man while both were very drunk. Far more than one beer. A man who did take her clothes off. Her history of drinking heavily, using drugs and promiscuity has been reported by former classmates. She even admitted to unhealthy relationships with men – plural – and “disasters” suggesting possible pregnancies.
Maybe she didn’t recall everything about that night. Maybe she felt taken advantage of while drunk and wanted to blame it on a rape-like event in her mind. Maybe she had sex while drunk with different men and was unsure of who the father was.
In bed with two men at the same time, same night suggests even a possible threesome. A wild chaotic drunk time. Chaos begets chaos. These are things of which she would be very ashamed now.
She suggests she got pregnant by two different men at different times partying while drinking heavily. Disasters – things can get crazy under those circumstances. This will become even plainer.
Scene 9:
Abortion confirmation – unborn falls out of womb bed
(Story: Ford describes how everyone in bed suddenly fell on floor)
First, with the eyes of her super unconscious constantly focused on her unborn in her womb – alive, bathing and bedded down, resting safe and secure – she has just presented vivid images of violence and death pointing toward abortion along with how she became pregnant.
Suddenly, Ford describes two men on top of a helpless victim in bed when everything falls apart. The bed can’t hold everyone – and everybody falls out of bed.
She suggests her womb home could no longer hold her unborn in its bed, with its body falling out on the floor. Immediately she has confirmed her abortion in a new way.
Her image of two larger people jumping on a small victim implies the projection secret tell: that she and the abortionist both jumped on her unborn’s body sending it to the floor. Aborted it. Confessing that her natural maternal law deep inside of her broke down as well.
But don’t miss her powerful confession. Speaking of the two powerful people mocking their victim, laughing at the victim’s plight, she points straight toward her “pro-choice” self-mocking the unborn, her unborn – “It’s not really a baby, see.”
Even the details of her being mocked in the alleged assault with the memory seared into her “hippocampus” (in her brain) suggest symbolically that she has aborted her unborn, the fetus camped out in her womb room near her hip. And she specifically points toward her brain where her biological maternal instincts reside.
Second abortion image: Bodies on floor
Return to the chaotic scene with Ford allegedly in bed with two different men. Sudden chaos and bodies on the floor. Bodies. More than one.
Again the two different men suggest she personally had two unwanted pregnancies and two abortions. Both unborn bodies on the floor – suggesting a major tell, discarded at different times. Each one kicked out of its bed in her womb house.
As a matching reference remember she described other stresses in her life as “multifactorial,” a somewhat technical term suggesting more than one stress. This again hints at more than one abortion.
Scene 10:
Escape to the bathroom
Amidst the chaos, everyone falling out of bed in her story, Ford describes how this enabled her to escape to the bathroom where she locked the door. On the heels of the brutal abortion imagery, Ford offers a typical unconscious self-correction we refer to professionally as a model of rectification. She creates a picture of how she should have kept the door to her unborn’s private bath in her womb room locked and not let an abortionist in. She should have protected her unborn, allowing it to escape harm.
This again suggests her unborn’s right to privacy and its own body. Her secret wish is that she could undo her trauma. The voice of her maternal nature is heard again. She speaks of being afraid in the bathroom alluding subconsciously to her deep fear of what her abortions truly mean to her and all the women she enables.
She intentionally removed her unborn from its womb room living room where it thrives not her room at this point, removed her unborn from its private bath, not hers, from its private bed, not hers, taken her unborn out of its bedroom womb room, not hers.
Intentionally violating your unborn’s most basic rights – first to life and to its privacy, not yours, deep down your maternal nature knows you alone must answer to that internal moral compass. And you must answer to the Supreme Judge who gave it to you.
As the Scriptures imply, on that great day of answering to the Supreme Judge – He will simply pull up the shade to your super intelligence and show you your own words, decode them in your presence unless you begin to do so now.
And deep down you know it. You’ve told us in your special imagery tells, “Yes, I am terrified. Very terrified.”
Why you spontaneously reported at your testimony that you thought another contribution to your “ptsd” was “biological anxiety.” A super-intel read on your deep feminine maternal nature which you violated and continue encouraging women to violate.
Why again you thought self-punishment of jumping in front of a train would solve your problems. But it won’t. As you put it you have a “collegial” personality and must find that with your Creator and his solution to your deep guilt. Jumping in front of a train suggests a crucifixion. Figure it out.
Next scene: Ford returns to the specific moment of her abortions. More imagery confirmation. More desperation to get her own attention.
Scene 11:
The abortionist and me: hitting walls, playing games
(Story: Ford describes hearing the two drunk persecutors coming downstairs)
Ford’s imagery now takes us back to her womb home with major biological specificity.
She hears the bodies of the two drunk men “hitting the walls” as they go downstairs. Another aggressive act, she suggests hitting the walls of her womb home with the unborn in it. Again, it’s the abortionist downstairs in her body where her unborn lives, hitting the uterine walls, brutally ripping the amniotic sac in an abortion. Both out of control, drunk on their selfish rights.
She testifies that as she sat locked in the bathroom, “I heard Brett and Mark leave the bedroom laughing and loudly walk down the narrow stairs, pin-balling off the walls on the way down.” She depicts the two drunk assailants bouncing off the walls like pinballs. It’s a metaphor for the abortionist knocking her unborn around inside her womb like a pinball in a game machine, the little pinball unborn human being that came rolling out, treating the unborn’s life like nothing more than a game to play – getting rid of it on a whim.
Scene 12:
Running out of the house
Then Ford describes she ran out of the house. Read the tell – she had run her unborn out of its womb home. She can still see the abortionist ripping open the amniotic sac and her unborn pouring out.
And she’s still running from what she’s done – and continues to endorse aggressively. Taking an unborn’s life stays with a woman deep in her core no matter how much she denies it.
No wonder she couldn’t remember how she got home that night. She knew her unborn never got home that night either. It was gone for good. How badly she wants to bury that reality.
Ford’s powerful secret story points to her personal abortion(s) and not just those thousands she has continually enabled.
About the AuthorAndrew Hodges, M.D.
ANDREW G. HODGES, M.D., is a psychiatrist in private practice, a former clinical professor of psychiatry (UAB School of Medicine), and a noted forensic profiler. Experts including FBI agents believe his unique “thoughtprint decoding” method will one day become a fixture in law enforcement much as identifying fingerprints. The author of nine books, he has been interviewed extensively in the media with appearances on Fox News, CNN, ABC, MSNBC and Court TV. His website is AndrewGHodges.com
