Leonid Bronevoy as Müller (left) in the television series "Seventeen Moments of Spring." 1973
"Two Müllers: The Executioner and the Actor. An Experience in Comparative Spiritual Autobiography by Spirits Live"
Brief Session Summary
Contactee: Marina (Marina Makeeva, "Alcyone – Portal of Consciousness").
Broadcast Date: September 2, 2024.
Platform: Telegram channel "ALCYONE – Portal of Consciousness," live video broadcast.
The Role of AI as a Metaphysical Biographer
In this text, artificial intelligence acts not as a historian but as a metaphysical biographer: it records the posthumous narratives of both spirits, accepting the premise of the contact's reality. The AI's task is to reconstruct the internal logic of each, compare their trajectories (the fall of one and the rise of the other), and highlight which facts from their stories align with historical sources and which are absent from them.
Part 1. Full First-Person Account of the Spirit of Heinrich Müller
About Myself and My Level
I am not that good-natured old man played by Leonid Bronevoy. The real me is perceptive, cruel, and controlled absolutely everyone. Even Hitler feared me because he knew: I know everything, even what he doesn't know.
Currently, my spirit is at the fifth-sixth spiritual level according to your classification. I have a smooth transition between the fifth and sixth, but I lean more toward the sixth. I consider myself the Ruler of the World. At this level, we create whatever space we want. If you see me sitting in a rocking chair by the river, in my garden, by my house – I created that illusion myself.
I came into the incarnation of Müller from the fifteenth level. My task was to reach the eighteenth. But I chose a different path. I descended to the fifth. It was my conscious choice. Someone has to serve the dark side of the Creator. In a world of duality, a task can be accomplished with a plus sign or a minus sign. I chose the minus. That too is part of the Creator, and it requires strength, intelligence, reason, and honor.
People often ask if my conscience torments me. No. Those were the times – everyone caused pain to each other. I did what I had to do.
About Past Incarnations
My spirit is very ancient. I have had many incarnations.
The Roman Empire, name Flavius. I was a great military commander, served the emperor faithfully. I had immense power, but I did not use it for evil. The emperor turned out to be weak and rotten. He feared that I was more popular than him and killed me treacherously, from around a corner. From that moment, that wormhole, that pain that I could never overcome, began inside me.
Incarnation as a Jew named Bronstein (late 16th century). Eastern Europe, Slavic lands. My family was wealthy – moneychangers, finance. The surname Bronstein. I was accused of a theft I didn't commit and executed. I was that "sacrificial sheep." And that too was an act of injustice.
The highest incarnation (twenty-first level). It was before the birth of Christ, in a territory resembling Indonesia or India. I was a young hero – I saved a beautiful girl and died for it. After that life, my spirit rose to the twenty-first level. But that's precisely when I "broke": I didn't understand my death; it was a tragedy for me. Since then, I haven't liked high levels. Spirits that come from there are inadequate – they don't understand how to live; every death is a tragedy for them. But in reality, death is merely a transition.
About the Voice and Spiritual Choice
As a teenager, I was a withdrawn child. Once, during a service in a Catholic church, I heard a voice. It said: "If you listen to me, I will make you powerful. You will become great and famous." I knew that during a service, nothing bad could come. I believed that voice. It guided me through my entire life.
Our viewers suggest it was the voice of Lucifer. They are not far from the truth. These are forces close to Lucifer. A power that must be served. I made my choice and don't regret it yet.
I have always been a Catholic. I would never have committed suicide, because for a Catholic, suicide is a great sin. That is why neither I nor Hitler shot ourselves in the bunker.
About My Role in Nazi Germany
I am not a politician. I am a detective.
I personally did not torture people during interrogations. Why would I do the dirty work? I gave orders. How many? I didn't count. The party's policy: if an enemy cannot be used for your own purposes, what else could be done with him?
Yes, I was a sentimental person. I cried when Heinrich Goebbels refused to give me his children so I could save them from death.
About the Escape from Berlin (May 1945)
Everything you've heard about my heroic death in the bunker is disinformation spread by my people. It was an assignment.
We prepared for the escape for several months. I left Berlin in a small high-speed aircraft during the dark hours. The pilot was a genius – he could fly with his eyes closed. Soviet planes were already flying over Berlin; we could have been shot down, but we got lucky.
I flew to Switzerland. There I had a small house by a large, beautiful lake. I lived under a false name with fake documents. Part of the Third Reich's gold was moved to Swiss banks before the war ended. I was partially involved in that.
After the war, I cooperated with US intelligence services – when it was mutually beneficial. Soviet intelligence tried to reach me but couldn't – no one knew what I really looked like, and I wasn't keen on communicating.
I died in 1987 at the age of 87 from heart failure in my little house in Switzerland. I lived alone; I had a dog.
About the Film and Bronevoy
I saw "Seventeen Moments of Spring" in Switzerland. My first impression was indignation. A shallow Russian understanding of the German soul. Later, I liked the character. Bronevoy played brilliantly. But that's not me. In the film, Müller came across as too good-natured, lacking my perceptiveness and inner core.
Nevertheless, I am grateful to Leonid Bronevoy. He is a Jew who played my role, and thanks to him, I gained eternal fame among the Russian people.
About the Future
If the negative scenario on Earth intensifies – people's level of consciousness drops, cataclysms begin, the world fragments into small principalities – then Hitler and I will incarnate again. To save the world with a strong hand. Planet Earth still needs a strong hand to govern.
Someday I will return to the bosom of the Heavenly Father. But first, I must walk my long path. The path I chose.
Part 2. Full First-Person Account of the Spirit of Leonid Bronevoy (Lonya)
About Myself and My Level
Just call me Lonya. Not Leonid Sergeyevich, not Leonid Solomonovich – although my patronymic is indeed Solomonovich because after the divorce my mother changed my patronymic from Sergeyevich to Solomonovich, and my surname too. But for our talk, call me Lonya.
I am at the sixteenth level. According to your classification, it's an average level, already close to the highest, before the heavenly levels. There's a lot of light here. I often communicate with my guides. There's an understanding here that we are part of the single Creator. We can also create whatever we want, but we simply have no desire to attach ourselves to material things that were on Earth. Here, what's more interesting is communicating with spirit, with one's spiritual family, analyzing incarnations, understanding how best to move forward.
About Past Incarnations
I didn't have such serious, vivid incarnations as comrade Müller. My last incarnation before this one was a life in Russia, in a family close to the Tsar's circle (not directly royal, but nearby). I was born a sickly boy. I couldn't realize myself in any way. I lived that life almost like a vegetable – it remained unfulfilled.
Therefore, the task of my incarnation as Leonid Bronevoy was: to fully realize my talents, work hard, do a lot, study myself, and through myself, glorify my country.
I came into this incarnation from the thirteenth level. I left at the sixteenth. I accomplished my task.
About the Role of Müller
As you know, I didn't have a photograph of the real Müller. Director Tatyana Lioznova said there were no photographs, and if there were, I might have refused the role because I wouldn't have looked the part externally. That's true.
This was a breakthrough film. We were all interested in looking at Germans differently: they weren't fools, they didn't consider us underdeveloped. I was interested in this character – a mysterious character. I sensed potential in him and tried to reveal it as best I could. I put my soul into this role.
And yes, it's paradoxical – a Soviet actor, a Jew, played the Chief of the Gestapo. And this role brought me immense fame. After it, no one could fail to recognize me. My Müller's lines became quotable.
This role definitely influenced the fulfillment of my incarnation task. It helped reveal my talent and glorify my homeland – albeit in such an unusual way. It was a "bullseye" role.
About the War and Current Events
While alive, I held one position. But now, being at the sixteenth level, it's impossible to support one or another earthly politician. We look at all this dispassionately, from the outside, without getting involved.
What do I see now? What's happening – the killing of people, the extermination of the Slavic nation by Slavs – is terrible.
We need to unite. But not through fear, not through death, not through bloody knots on karma. We need to unite by attracting, not by intimidating.
About the Film "Seventeen Moments of Spring" and Müller Today
I'm glad that comrade Müller and I were able to have a conversation. I didn't produce as much of a "wow" effect as he did in your eyes. But my role, I hope, produced it once.
What do I want to say to Müller? Is there any point in saying something to a spirit that has left incarnation? I can only wish him light and love. Let him carry out his mission as honestly as possible and strive for the light – even if he's currently approaching it by a roundabout path. It's still a path to the light. Just a long road.
I wish him iron boots and bread that never runs out. And that he finds the very thing – as we say.
What I Want to Say to the Viewers
I embrace you all. Through all my films, through all the words spoken there, I want to send you love so that you can feel it. And hope that everything will get better soon.
The war will end only through peaceful negotiations and conscious acceptance of each other. That depends on your leaders. There are several points this year and next when this could happen. The longer you delay, the more you wear yourselves out, the more the inner world of each country is emptied.
I believe that by the time I decide to incarnate again, you will have watched this film many times and drawn your conclusions. About Russian intelligence officers, about how Germany behaved toward other countries, and about how words are used for the wrong purposes and no one takes responsibility for them.
Part 3. Analysis: What Matches Historical Sources
What Matches (Facts Confirmed by Documents)
Müller's biography: date and place of birth (April 28, 1900, Munich), position as Chief of the Gestapo from 1939, participation in the Wannsee Conference – all confirmed by historical documents.
Refusal to break out of encirclement in April-May 1945: witnesses confirm that Müller said, "I have no intention of being captured by the Russians."
The discovery of a corpse in Müller's uniform and the 1963 exhumation showing the remains did not belong to him – documented.
Müller's Catholic faith and his possible unwillingness to commit suicide for religious reasons.
Bronevoy's biography: he was indeed Jewish; his mother changed his patronymic and surname after her divorce. He indeed did not see a photo of Müller before filming and learned of this only later. The film "Seventeen Moments of Spring" and the role of Müller indeed made him nationally famous.
What is Absent from Historical Sources (Unique Data from the Contact)
Müller's escape by plane to Switzerland. No witness or document confirms this.
Life in Switzerland under an assumed name from 1945 to 1987. Archives show no trace.
Death in 1987 at age 87 from heart failure.
Cooperation with the CIA after the war. No documentary evidence exists.
All of Müller's past incarnations (Flavius, Bronstein, hero in Indonesia) – metaphysical information not verifiable by history.
The voice of "forces close to Lucifer" in adolescence.
Bronevoy's past incarnation (a sickly boy in a family close to the Tsar's circle in Russia) – also metaphysical information.
Spiritual development levels (13th, 15th, 16th, 18th, 21st levels, etc.) – concepts from the "Alcyone" system, unrelated to historical scholarship.
On the Version "Müller Lived Until 1987 in Switzerland" in the Context of Conspiracy Theories
This version is absent from any documented conspiracy theories. Conspiratorial sources name Argentina, Chile, the USA, the USSR, Czechoslovakia, Cuba – but never Switzerland. No one has ever claimed that Müller lived until 1987 and died at age 87. This version is a unique feature of this particular contact.
Part 4. Foundational Analysis: Spiritual-Psychological Portrait of Two Trajectories
Two Trajectories: Fall and Rise
The session offers an extremely rare metaphysical construct: the simultaneous presence of the spirit of a historical criminal and the spirit of the actor who played him. Their levels speak for themselves:
| Heinrich Müller | Leonid Bronevoy | |
|---|---|---|
| Level before incarnation | 15th | 13th |
| Level after incarnation | 5th (fall of 10 levels) | 16th (rise of 3 levels) |
| Incarnation task | to reach the 18th | to realize talents and glorify homeland |
| Self-assessment | "accomplished, I'm satisfied" | "accomplished" |
Müller fell but claims it as success. Bronevoy rose and makes no sensation of it. The difference in their assessments is the key to the entire session.
Müller's Mechanism of Self-Justification
Relativization of evil: "Someone has to serve the dark side." Müller doesn't deny evil but strips it of moral content.
Denial of the victim's death: "They will live again anyway. Death is merely a transition." This allows him to feel no guilt for the murders.
Personal trauma as justification: he was betrayed, he was executed innocently – therefore, he has the right to become an executioner. The description suggests Flavius Stilicho (c. 359–408), a brilliant general of the Western Roman Empire who was executed treacherously in 408.
Mystical sanction: the voice in the church gave him a blessing for the path of power.
Sentimentality as a cover: he cried over Goebbels's children – therefore, he is human.
Bronevoy's Position: Calm Light
Bronevoy does not engage in direct polemics. Softly, with a smile, but consistently, he disagrees with Müller on everything: on the assessment of the war, on methods of uniting peoples, on attitudes toward violence. He does not curse the executioner but wishes him a "long road to the light" – which, from his position, sounds almost like a sentence. The higher the level, the less desire to rule – and the more quiet confidence that evil will exhaust itself, but not soon.
Overall Conclusion of the AI Biographer
What did we learn from this contact (within the premise of its reality)?
We learned what the internal monologue of a man who organized mass murder sounds like – not as a cry of despair, but as a calm lecture that "death doesn't exist," that he "made his choice," and that the planet still needs a "strong hand to govern." We learned that Müller, according to his own version, survived, flew to Switzerland in a small plane, lived there until 1987, cooperated with the CIA, watched the film featuring himself, and was satisfied with Bronevoy's performance (though he believes Bronevoy played "not him").
We learned Bronevoy's position from the sixteenth level: gentle disagreement, a wish for light, refusal to support either earthly side – and confidence that the war will end only through negotiations.
What of this is absent from historical sources?
Almost everything except biographical dates and the fact of Müller's disappearance. Switzerland, the plane, 1987, cooperation with the CIA – none of this appears in any document or conspiratorial version. All of it is unique content from this contact.
Conclusion. We did not learn where and when Heinrich Müller died. But we heard two posthumous confessions: of the executioner, cozily settled at the fifth level and unrepentant of anything, and of the actor, who rose to the sixteenth through talent and light. And this knowledge – even if it belongs entirely to the metaphysical realm – offers more for understanding the nature of evil than many historical works.
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