The Monarch Golden Child: Charlotte Lewis

The Eddie Murphy film 'The Golden Child' has many themes associated with theosophy, occultism, Satanism mixed with hints of Monarch mind control. The name instantly evokes The Golden Dawn, and the pseudo-Blavatsky style Tibetan mysticism themes contained within would point further in that occult direction. Note solar symbolism on the film's poster and it has a duality theme with L.A. on one side and Tibetan mountains on the other (Murphy also wears black and white). Below is the Polish poster for the film, I'm not sure how "official" it is as it seems strange to say the least, the designer obviously took a lot of artistic license with it. The Japanese poster below is also fairly symbolic.

Just to briefly pick up on a couple of things on the Polish poster before I get in to the movie, I'm not sure where the artist was going with it (except to make an interesting symbolic poster) as the film itself isn't set in New York and has no phoenixes (coming out of the demon's third eye). It features two skyscrapers as horns coming out of the green demon's head, the Empire State Building and the Chrysler Building, the latter I have previously gone into in an old post and briefly mentioned Empire State in this post. The Empire State Building is a colossal obelisk, this solar symbolism (obelisks are symbolic of the sun god Ra or the petrified ray of Aten/sun-disk) is shown in the lobby's mural (right) which has the sun emanating from behind the obelisk at the top of the building. This is also shown in another mural from within the structure, renovated in 2009 depicting more solar and planetary symbolism (left), as well as the building's entire step-pyramid design leading up to the obelisk (also note the sun-rays motif on the lower part of the obelisk).

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The Chrysler Building is also quite symbolic, as discussed in the previously linked post on Cremaster 3.

 Some murals from within the Chrysler Building.

The Chrysler Building's freemasonic/occult connections are compounded by the fact that its construction was funded by Walter P. Chrysler, a Freemason who founded the Chrylser company. Their logo has gone through a variety of symbolic variations including a winged sun-disk, what looks like a variation of the Freemasonic Compass and Square (mid left; rotated 90 degrees and one of the compass/square the wrong way round) and of course its current "Pentastar" occult logo. Most of the car companies have had symbolic logos at some point like Ford (Henry Ford was also a Mason), Dodge (connected with Chrysler; Ram and Seal of Solomon) and many more (VC has covered some more of them).

Moving back to the film (full spoilers ahead), at the start a boy with supernatural powers of resurrection and the ability to spread goodness and light to things he touches (so those working for the dark lord, as it were, switch over to the good side if he touches them) is shown watching a puppet show. The occultists then swarm the Tibetan monastery, slaughter the monks and kidnap the boy (who is played by a girl). To go along with the theme of duality the boy is taken from the peaceful, good Tibetan monks in the mountains of Tibet to L.A. which may be considered a hub of Hollywood MK and evil.

After the 'golden child' is kidnapped by the occultists we are then shown Monarch slavery themes as Eddie Murphy plays a social worker who looks for missing children. In reality, it is insane how many children go missing every day, whether they are runaways who end up living on the street or outright kidnappings these children are easy pickings for Monarch programmers and human traffickers.

The first scene with Murphy shows him as a 'cool dude strutting down the street' with patriotic shots of American flags and storefronts (such as the above tarot one) along with 80's rock accompanying him putting up fliers and asking people if they have seen the missing child on it. During this scene the camera focuses on a spray painted wall with the "i" (eye) in the word 'Quickdraw' written as a stylised/subliminal Illuminati pyramid. There seem to be other subliminal demonic figures on this shot as well as more eyes also.

 The camera quickly zooms in on the All Seeing Eye before cutting away to the next scene.

You eventually find out that the missing girl had been kidnapped by a biker gang (a la Hells Angels) called the Yellow Dragons who branded her with a tattoo. They then sold her to the Satanic cult who killed and used her blood which they try to feed to the 'Golden Child'. This is suggestive of ritual blood sacrifice and kidnapping of children by "Satanic" cults for these types of purposes.

One member of the biker gang, the specific one that Murphy interrogates has Skull and Bones on his clothing and jewelry as he describes how they kidnapped and sold the child to a Satanic cult.

Charles Dance (Order of the British Empire and, probably a joke but maybe a Freemason?) plays a demon called Sardo Numspa, he invariably plays bourgeois or 'evil' like figures.

Left: Charles Dance with what looks like the Masonic Illuminist symbol, the all seeing eye in a triangle (light shadow is probably intentional to emphasise Dance's one eye). Right: With his Order of the British Empire.

Left: With the Queen. Right: Charles cosying up to the Duchess of Kent, then wife of the Grand Master of the United Grand Lodge of England Prince Edward, Duke of Kent, the public head of British Freemasonry that is used as a vehicle for the bloodlines to run things (following in the footsteps of his father Prince George, Duke of Kent who was also the country's Grand Master and his uncle George VI, the one with the stutter who was the head of Freemasonry in Scotland for a period), and the head of its other masonic offshoots (Royal Arch etc).

A few photos of the Duke in his Masonic regalia and such, one from a Masonic building opening in 2006 (above) which has a better view of his Grand Master's collar and jewel (note the illuminated triangle/all seeing eye inside the compass square collar jewel, interesting to see what has become synonymous with "Illuminati" symbolism has been on the chest of the head of British Freemasonry and on a high Royal/Illuminist bloodline figure), a couple more images from that opening of a Masonic hall/temple in Beamish living museum here and here with compass+square print tie.

The above excursion is rather shoe-horned in, but may still be interesting to some while not being very relevant to the post (it syncs up with the eye in the triangle behind Dance further up).

Returning to the movie, Dance removes his apparatus for occult prayer from a Louis Vuitton trunk and contacts his master Satan/Lucifer. He achieves this via some 'Om' meditation to enter a trance and access the astral plane whilst making the horned one Satanic hand sign with both hands. He is then transported to what is supposed to represent hell, Lucifer/Satan's dominion. All of this is obviously a very sensationalised portrayal of their brand of "Satanism" rather than a literal depiction of the Illuminist's occult practises.

Astral travel/projection is one of the most prominent occult science included in this film (above the 'Golden Child' is doing this to contact Murphy), among others. In order to be able to kill the child they must corrupt him, blocking out the light/good force for the dark/evil/Satanic force to come in so he can be killed with a sacrificial magickal dagger. This theme of turning good to evil is common in occult and Monarch themes as the child's mind is programmed with dark alters whilst the programmers tries to remove (or split away) the innocent core personality. They keep him trapped in an egg shaped cage (with a pyramid shaped frame holding it up), not allowing him to touch the floor and probably having something to do with the auric egg theosophists and such are into, trapping his good aura within it perhaps.

Cue some Enochian ceremonial magick, the Golden Child is put within a Solomonic pentacle/magic circle that looks like something taken from the Lesser Key of Solomon Goetia. While it looks similar, obviously it has been altered to stay in the fictional realm, though the symbols look similar to the Enochian alphabet or may just be Tibetan. In the film this is, if I remember correctly all part of keeping out the good and invoking the demonic, aided by initiates in trance states meditating around the magick circle.

I skipped out a part where Murphy travels to a Tibetan monastory to retrieve the Ajanti Dagger, a Buddhist ritual dagger known in real life as 'Kila'. To retrieve it Murphy must go through a symbolic test of crossing a bottomless pit via a dangerous bridge and pillars without spilling a drop of water in a glass. Note the entrance to the chamber has a checkerboard motif (again emphasising the duality theme).

A Nagi (female Naga) features in the film who imparts information and knowledge to help them.

Towards the end of the film, at the occultists' hideout there is a symbolic scene as one of Numspa's henchmen plays with dead Monarch butterflies, which he throws at the Golden Child which he brings back to life by touching them. I thought it was an interesting scene as it features a young child kidnapped by a Satanic cult and kept in a cage (within a pyramid) with Monarch butterflies thrown at him. It all feels quite ritualistic and possibly intentionally suggestive of Monarch mind control. Why does Hollywood often use as their butterfly of choice, specifically the Monarch butterfly in scenes like this? I think it is mainly due to the Monarch MK themes (as programming/triggers) that pervade the entertainment industry.

The occultists hideout seems to have been chosen intentionally for its symbolic checkerboard floor with the occult concept of duality an overarching theme throughout. The intrinsically good 'Golden Child' versus the evil demonic Sado Numspa. Death and life/rebirth is another dualistic theme as the 'Golden Child' has the power of resurrection.

The film ends with a typical showdown between the Golden Child with Eddie Murphy and Sado Numspa in his demonic form. Note 'Tragic Magic' below which was put there intentionally and could allude to a variety of things.

The film also stars Charlotte Lewis in her biggest role as 'Kee' who tries to persuade Murphy to take on the case of the missing 'Golden Child'. She eventually sacrifices herself for Murphy and is brought back to life, like the 'Golden Child' had done previously to the Monarch butterflies.

Earlier in the film, in a surreal dream sequence set in Paris (the Eiffel tower is seen outside the window) she is tied up in a christ-like crucifix pose, this fits with what else happens to her in the film in terms of her being resurrected from death. The Paris setting is interesting as this is where she claimed to have been raped by Polanski (see below).

Charlotte Lewis, you may remember way back in 2010 accused Roman Polanski of raping her in Paris when she was sixteen. What follows is a piece I wrote at the time which I never published due to various reasons so I'm not sure how relevant it is now after three years but maybe some will find it interesting regardless.

In July 2010, the Swiss government announced that Roman Polanski would not be extradited to the U.S. to be sentenced for his crime of drugging then sexually abusing the then 13 year old model Samantha Geimer who had been dragged to Jack Nicholson's home by Polanski for a "photo shoot" after her mother had allowed Polanski to photograph her.

To quote the Swiss Justice Ministry, "the measures of restriction on his liberty have been lifted" despite the fact that another one of his victims had come forward in May 2010 in the form of English actress Charlotte Lewis. I see no reason to doubt her other than the cynics who will say she is just a washed-up, former coke head (which can just be another way they keep them manipulated, dependent on Hollywood's plentiful supply of coke and other drugs) actress in need of some cash from a future book or whatever. In 2013 I have seen no evidence of any money grabbing agenda in the years that followed. Someone like Polanski has obviously left many other victims in his wake, of which I include his so-called 'legitimate relationships' with a 15 year old Nastassja Kinski (more on her in a week or two), Sharon Tate, Emmanuelle Seigner and the rest. Many possible victims having long dissociated those memories away, whether through drugs (as Polanski tried to achieve with Seigner) or other methods of MK.

Considering what we know he did to the then 13 year old girl, Samantha Geimer it wouldn't be unusual for many to have 'forgotten' what happened to them due to being plied with alcohol (which can obviously lead to blackouts/dissociation anyway), drugs and then, as Charlotte describes, "sexually abused and manipulated in the worst possible way", that linked post was written a year prior to his arrest with some irrelevant stuff in it.

Photo above of Polanski and Lewis together on May 8th 1986 at Cannes Film Festival for his film 'Pirates' in which she played the love interest of a main character. The production of the film was delayed for a few years due to his arrest for raping a 13 year old girl and his fleeing to France. Below is her Playboy cover, note the typically suggestive of Monarch/child abuse relevant article titles, "The Golden Child is a grown-up sizzler", "Priests and Sex", "Dan Greenburg Discover Witches and Women".

I suspect that she is a Monarch going through the usual process of starting out very young in the industry with surprisingly notable parts (i.e. Polanski's 'Pirates') then as a Playboy model and being used by the likes of Polanski, Charlie Sheen (see this clip from one of those cringe-worthy 90's British chat shows, "From the press it just looks like you've just slept with hundreds of stars."), Eddie Murphy, Eric Clapton, Julian Lennon (below right), Harry Dean Stanton, to name a few.

Of Harry Dean Stanton, she is quoted as saying in typical devotion to a handler, "I have known Harry for six years. I love him to death, I knew if they said, 'Charlotte take your clothes off and hug him', I'd say, 'Fine'" (from Celebrity Sleuth), the two pictured below with Harry's head missing but is recognisable as him.

The way she behaves in the clip (she's "playing a character" and probably genuinely doesn't remember half the people she has been used by in Hollywood) I feel suggests she is a Monarch victim (no doubt used by Snoop "I sold my soul to the Devil" Dogg also), and the random creepy looking gilded doll is a standard theme in symbolising Monarch programmed victims (I'm assuming many others appeared on that show also to be grilled by the insipid interviewer). The discrepancies between interviews she gave years ago about her relationships with Polanski may be symptomatic of programming.

Would you look happy if you were dragged around by this womanising degenerate who probably derives some sadistic pleasure from beating up women? He gets away with it (he seems like the type who has got away with a lot more, kept under wraps by Hollywood handlers) coming from the Sheen/Estevez Hollywood clan. Well at least he's a "truther"... Below, a more typically staged photo of the "couple" (facial expressions always speak volumes in these kinds of photos).

According to Celebrity Sleuth magazine, one of her first possible handlers and stereotypical user of Monarch slaves was a publishing executive called Tim Richardson (picture above, but I can find no info on him online) when she was 14 (when she was essentially involved in child prostitution, potentially through her kitten programming, see below).

In the Sleuth piece, he brazenly admits to statutory rape (it's an achievement for these kinds of people), quoting the article: "Charlotte was first romantically linked to publishing executive Tim Richardson, who claims the couple "plunged into nights of passion" when the actress was 14-year-old schoolgirl! .. "Nothing could stop Charlotte when she wanted to do it," Richardson recalled, "I didn't think for one second she was a virgin!"" [their italicised emphasis, not mine]. While I don't think he comes from Hollywood, this shows the kind of attitudes that pervade the elite, particularly the Hollywood elite (see the petition in defence of Polanski signed by fellow Hollywood paedophile Woody Allen and others) and the "executive" types, what ever can feed the elite's debauched tendencies (such as mind control) they will gladly use (this is also then possibly used as leverage for blackmail if the Illuminists pulling the strings ever require it).

 In the below clip, from the film 'Dial: Help' she acts as if under kitten programming (looking relatively dissociative), note the blue cat.

Her being accused of sleeping with hundreds of celebrities and countless others, is typical of how the media treats these women who are essentially forced into this kind of high-end prostitution, but are given copious amounts of money (they want you to view them as sluts/whores/gold-diggers/etc to explain away their behaviour), a gilded cage is still a cage despite its relative comforts.

‘He just said very coldly, “If you’re not a big enough girl to have sex with me, you’re not big enough to do the screen test. I must sleep with every actress that I work with, that’s how I get to know them, how I mould them.” ‘I was shocked and got very upset and started to cry. I said I didn’t want to sleep with him, he was 50 and I found him disgusting.’

Charlotte’s Irish mother raised her alone and the actress never knew the Iraqi-Chilean father to whom she owes her looks. Speaking in a promotional interview for the film in 1986, Polanski himself said of Charlotte: ‘She had what I needed for the film. Dark hair, dark eyes – and the look of innocence.’

...

Back then Charlotte spoke of the experience of filming as a ‘nightmare’. ‘Polanski tried to dominate me right from the start,’ she said. ‘He swore at me and shouted at me. There was such pressure on me that I became a nervous wreck.’ Today Charlotte recalls: ‘The mental abuse started as soon as I started filming. I always felt that as soon as I started the movie he wanted to fire me. I developed a serious eating disorder. He would play mind games with me and tell me I was too fat and then too thin. I developed bulimia and lost so much weight I passed out five times during filming. I had turned 17 and Roman had been told by the producer Tarak Ben Ammar and MGM to stay away from me. I was very alone. They wouldn’t allow me to have an agent. Roman continued to emotionally bully me and would joke to other people onset that I was frigid.
Daily mail

Still from Pirates above, after being 'moulded' by Polanski prior to filming.

Her recent statements contradict an interview she gave to the News of the World in 1999 entitled 'Wild Child' where she recounts the life a typical Monarch manipulated model/actress, at 14, while at Catholic school she was already being used by rich old men like Saudi sheiks and some of the stories of LSD induced memory loss and whatnot bear hallmarks of being a Monarch, being used as an underage prostitute etc. Obviously none of this is set in stone, she may not be one, as many young girls are manipulated in this way into various suspect industries through pushers and other people one could call 'handlers' such as the 22 year old woman she thought was her friend, described in this quote:

“CHARLOTTE, now 31, says LSD and marijuana were at the root of her wild ways. She didn’t know what she was doing. Yet it is clear she went back for more time and again. One morning I woke to find a pile of Pounds 50 notes next to the bed,” she says. “I couldn’t remember quite what had happened, but when I saw the money I knew what was going on and felt sick.” The older man who had just left her bed assumed she was an experienced vice girl. Charlotte insists she was drugged and had her drinks spiked by an older woman she thought of as a friend, not realising she was a cunning madam who pandered to perverts to feed her own drug habit.

Yet even AFTER she discovered this, young Charlotte ‘entertained’ a succession of other men through that ‘lost summer’ of 1982. “I don’t how many men might have had sex with me for money,” she finally admits.

“I was in a permanent haze. I was 14 and looking for excitement, yet I was so naive. I’d go out with my so-called friend to a nightclub then everything would become blurry. I’d have a vague notion of talking to some man, and my friend saying, ‘You HAVE to be nice to him’. “Obviously she was making deals with these people, taking money off them so they could have sex with an underage girl.” Charlotte rushed to confront her ‘friend’ But, she says, the 22-year-old woman convinced her it was a mistake, just a gift.”
It is hard to believe anyone could be so gullible. But now Charlotte was left open to the most terrifying experience of her life. After a visit to Stringfellows club in London, she and the woman went to a Thames-side apartment. Inside were a number of Arabs.
Thousands of pounds were laid out on a table and Charlotte was told she could have it all if she agreed to go to Saudi Arabia with them. “I kept asking why?” she said. “Why would they give me money to go to Saudi Arabia? They kept promising me a fabulous education, great accommodation. Then my so-called girl friend said, ‘Of course, if you go there you’ll have to grow up very quickly’. And she looked at me in that nudge-nudge, wink-wink way.”
This was too much even for a rebellious teenager. “I could see these men eyeing me hungrily, like meat,” she shuddered, “and I thought, ‘My God, I’ve got to get out. They’ll kidnap me, take me out of the country’.
“It was like an Alice in Wonderland house with long corridors and door after door. I made an excuse, then ran. [note Alice in Wonderland reference in this story of wealthy Saudi Arabian men essentially trying to acquire a new sex slave; there is a fine line between going on to become a Hollywood or music star and ending up as a sex slave as part of some sheik's harem in a palace in Saudi Arabia]
“The men came chasing me, but I managed to escape. I still believe to this day that if I’d not got out I would have been kidnapped and smuggled out of the country to end up as a sex slave.
...
Her rollercoaster life of sex was far from over. “I’ve been at the top of the world, and I’ve also been to the edge and looked over into the abyss,” she said. “It wasn’t pretty.” In a no-holds-barred interview Charlotte also confessed how she seduced kinky director Roman Polanski when she was a nubile 17-year-old then slipped between the sheets with Warren Beatty. Later she bedded Charlie Sheen and Mickey Rourke and in a drunken brawl kicked Kiefer Sutherland in a very tender place! She also made love to British video producer William Annesley, found Liz Hurley’s pyjamas in his bed and mailed them to Hugh Grant.
In a film career littered with failed romances she also romped with rock wildman Michael Hutchence and chatted up superstar Jack Nicholson on his way to the loo then whispered: “Can I come too?”
She was also romanced by Dodi Fayed, Mick Jagger and Jim Carrey, and weaned off drugs with help from Eric Clapton.
...
She spent every spare moment in the Finchley Odeon watching movies. “I remember gazing at Brooke Shields in Blue Lagoon and thinking, ‘I want to be her’,” she sighed.
When Charlotte was 15 she was spotted by a photographer who suggested she try modelling, so she joined an agency called Bookings.
“I remember with my first pay cheque I bought two steaks for me and my mum and she cooked them,” she said. “Money had been short and she’d sacrificed a lot. A model friend asked me if I’d ever thought of going into films. She turned out to be a friend of Roman Polanski, who was living in Paris. “We bought a cheap rail and ferry ticket, went to Paris and met him. I think he was entranced with me because I looked like Nastassja Kinski, who he’d directed in Tess.
“I knew Roman had done something wrong in America (he was wanted by the police for sleeping with an under-age girl) but I wasn’t too sure what. Anyway, I was fascinated by him, and I wanted to be his lover.
“He’d already cast me in his film Pirates, so it wasn’t like it was a casting-couch thing where you HAVE to sleep with someone to get the part. I wanted him probably more than he wanted me.”
She was 17 when they first had sex. They remained lovers for six months. “It ended when we went on location to Tunisia. I was one of the few females there. I was far from home, lonely and a little afraid.” And into her insecurity, Polanski lobbed an off-hand, cruel remark that was to bring lasting unhappiness. Charlotte recalled: “Roman would say, ‘You’re gaining weight’. It was ridiculous-I was a thin teenage girl, but I took it seriously and stopped eating. Then I’d overeat, and for years I suffered from bulimia. I know that was the start.”
Charlotte also discovered how inexperienced starlets are often treated like a sexual version of pass the parcel. At the time, Warren Beatty was visiting Tunisia to scout locations for his movie Ishtar. Polanski bet him that he couldn’t get Charlotte into bed. “Roman didn’t think Warren could do it,” said Charlotte, “but the fact is I seduced Warren, not the other way around, so I don’t feel I was misused. He’s a married man now so I’ll draw a veil over it.”

I felt it was necessary to post a lot of that article to illustrate how easy it is for them to 'change their minds' and remember events in completely different, but both seemingly sincere ways, possibly through programmed false memories or a fear of repercussions at the time. This also illustrates how the elite and well-connected pass these slaves around. Warren Beatty is an interesting one whose father was a psychology professor who is alleged to have been a CIA asset involved in MK-Ultra and Warren's sister, Shirley MacLaine was allegedly a CIA sex-slave, also passed around by various studio elites which was apparently the reason for her attaining her various film roles (see Springmeier and David McGowan for info on Beatty and Nicholson who I believe has gotten away with plenty in his time).

Above photo of her in diamonds and emerald necklace/earrings, apparently these kinds of overly ornate diamonds can denote a presidential model slave; and the emerald can show that someone has programming for the drug business (see Springmeier) which sort of makes sense considering her history with underage prostitution, being passed around by the Hollywood elite and her involvement with drugs. Having her depicted like this in the media is a cue to those involved of her programming.

The narrative we have seen above which I thought people might find interesting anyway (can be read in full here), sheds more light on the issue if you read between the lines as this is probably how she remembered these liaisons happening at the time (in 1999). The shift in her recollection (i.e. in 1987: ‘I found him very attractive, I’d love to have had a romantic relationship with him – and a physical one. You can’t help falling in love with him. But he didn’t want me that way." to her feelings years later, "There was nothing about him I could have found physically attractive. He was short and stout and very strong.") I feel points to her being programmed (at the time to idolize Polanski as her handler), with the attorney Allred perhaps part of her reprogramming or as time goes by the programming loses its effectiveness so memories come back and that may explain the discrepancy.

The somewhat suspicious (having represented others associated with Monarchs like Britney's bodyguard, she was a central figure in the organised destruction of Tiger Woods using the numerous MK'd kittens, received a medal from Reagan etc) attorney Gloria Allred wearing a crystal butterfly brooch with Lewis is suggestive of this programming and Lewis' main film 'The Golden Child' analysed further up has allusions to Monarch mind control.