Why do they hide Satanic ritual abuse murders as serial killers?

mimmi boomhaeur

the” Saturn Death Cult” hiding it’s occult ritual abuse murders. Like a funny game to Law enforcement and they could care less about destroying families. making up stories of fake serial killers to cover up there trail. I wonder how many innocent people  went to jail so they could and do get away with this part of there religion?

Right now in North America there are 100’s of thousands of them. Killing animals and humans all so they can get more powerful.

Leaving codes like calling cards as a protection Amulet.

SO the Code Killer all along has been many people all involved in  a death cult.  Performing rituals and using drugs and different spells to create a facade of interaction with the demonic and fallen Angels.

Well we all know how the story ends.

working copy of lipstick murders


Code Killer link:Georgette Bauerdorf

GB numbers

Jack Whiteside Parsons

10 02 1914   1+ 0+ 0+ 2 +1+9= 18 1+8=9

L Ron Hubbard

03 13 1911  0+3+1+3+1+9+1+1=28 2+8=10


Georgettes birth date was

05 6 1924  5+6+1+9+2+4= 27   2+7=9

09  21, 1945 4+5=9 


To the Los Angeles police–

Almost a year ago Georgette

Bauerdorf, age 20, Hollywood

Canteen hostess was murdered

in her apartment in West Holly-


Between now and Oct. 11–a year

after her death–the one who

murdered her will appear at the

Hollywood Canteen. The murderer

will be in uniform. He has since

he committed the murder been in

action at Okinawa. The murder

of Georgette Bauerdorf was Divine


Let the Los Angeles police arrest

the murderer if they can–

‘Go Slow’

Man Killer Says

Black Dahlia Case

Was the Code Killer leaving hidden codes as amulets in the death dates and birth dates of the victims?

was this the mark of the “Saturn Death Cult”

L Ron Hubbard was a military man and supposedly served in Japan


Code killer Link to 1940’s unsolved cold cases

here were a number of similar murders that were never solved in Los Angeles during the 1940’s;

7-26-43 Ora Murray 42 found nude, bludgeoned to death dumped in golf club parking lot after 2am, after a night of drinking and dancing in downtown bars.
10-12-44 Georgina Bauerdorf 20 (a friend of Elizabeth Short’s) found nude strangled in her own apt. bathtub, after apparently being followed home from the Hollywood servicemans club.
1-15-47 Elizabeth (Beth) Short aka Black Dahlia 22, found nude, bludgeoned to death dumped in vacat lot on downtown LA Hollywood border, after leaving downtown LA Biltmore hotel with no apparent place to stay the night. Her body was also cut in 2 at the waist, she’d been sexually assaulted, and also tortured.
2-10-47 Jeanne French 40 found nude vacant lot bludgeoned, beat to death, strangled, signs of torture, after being seen in downtown/hollywood bars with brown haired man, a message written in lipstick possibly referring to the Short crime written on body.
3-12-47 Evelyn Winters 42 found nude, bludgeoned to death in vacant lot 2 miles from downtown, strangled, last seen in bars the night before.
5-11-47 Laura Trelstad (Telestad) 37 found nude strangled with strip of cloth, bludgeoned, dumped in vacant lot near oil rigs, after being last seen intoxicated bars Long Beach.
7-8-47 Rosenda Mondragon 20 found nude strangled with stocking signs of torture, dumped side of street 1 miles from Winters scene.
6-13-49 Louise Springer 28 abducted with her car while waiting in a downtown parking lot, found 2 days later in car bludgeoned, strangled with a cloth strip, sexually assulted/tortured.
8-11-49 Jean Spangler 27 starlet a onetime roomate of Beth Shorts, body never found, after going on date with new man, and being seen in bars with a brown haired men, or 2 men, purse found on street at Hollywood’s Dell park.
8-18-49 Mimi Boombauer known as ‘the happy widow’ after going out on date to nightclubs, body never found, purse left in Wilshire phone booth with note written in lipstick
certainly looks like Los Angeles had a serial killer on the loose in the 1940’s

2-14-48 Viola Norton 36 (survived) abducted from sidewalk 1:30am Alhambra after bars, by 2 men in a car, beaten, bludgeoned, slashed, dumped for dead blocks from Short scene.
Ora murray deserved to live

Puce or “Blood” red

All of them are all linked together 

Maya Dern was with Anger and Harringtons film company called Creative Film Associates (CFA). CFA was founded to distribute experimental films or “underground films” such as those of Maya DerenJohn and James Whitney, as well as Anger’s and Harrington’s.[17]


Marcel Duchamp and Maya Deren

did a movie in 1943 called ‘Witches Cradle”

Maya Deren studied Voodoo and Voodoo rituals and Marcel Duchamp was an alchemist and a member of “The Saturn Death Cult”

n December 1946, Beth BLACK DAHLIA took up “temporary” residence in San Diego with a young woman named Dorothy French. She was a counter girl at the Aztec Theater, which stayed open all night, and after an evening show, she found Beth sleeping in one of the seats. Beth told her that she had left Hollywood because work was hard to find due to the actor’s strikes that were going on. Dorothy felt sorry for her and offered her a place to stay at her mother’s home. She meant that Beth could stay for a few days, but she ended up sleeping on the French’s couch for more than a month.  ( kENNETH ANGER DID A MOVIE ON AZTEC SACRIFICING AT THIS TIME)




Puce is Blood Red

Puce moment

lipstick killer

Marcel duchamp art work

Marcel Duchamp and Max Ernst Alchemy

Except they are different. In some ways, the artist and the occultist are one and the same. Picasso, Dali and Max Ernst have been described as shamans (the latter being portrayed as such in Leonora Carrington’s 1939 portrait: fig. 4), Duchamp as an alchemist, Gauguin as a magus. These titles are often applied to the artist, who may also be ascribed visionary powers, being in touch with a world beyond the mundane. The idea of the artist as some kind of magician goes back to prehistory.

Probably the greatest artistic magical act of the twentieth century was that performed by the alchemist, Marcel Duchamp.

Alchemy is usually thought of as the quest for a Philosopher’s Stone that allows the transformation of base metals into gold, but another interpretation is that it is not tied to the material world and that the Stone is knowledge and the gold is enlightenment, the transformation of consciousness. By signing a urinal and displaying it in a gallery, Duchamp not only effected a physical transformation (urinal to artwork), he managed to transform consciousness. He changed what art was, and we can still feel the effects of that act even today.

When looked at as a piece of history, Fountain may well be Duchamp’s true ‘Great Work’ (the study and practice of alchemy), but it does not seem that he necessarily saw it so. Nadia Choucha reports that J.F. Moffitt traced the influence of occultism –and in particular alchemy- on Duchamp, in his essay Marcel Duchamp: Alchemist of the Avant-Garde. Moffitt believes that Duchamp studied alchemical primary sources as his interest in the subject grew, and that the recurring motif of the circular form in the artist’s work are based on the alchemical symbol for gold.

Apparently influenced by Kandinsky’s Concerning the Spiritual in Art (1911), Duchamp was already exploring the idea that art had the ability to directly change consciousness when he began work on The Bride Stripped Bare by her Bachelors, Even (also known as The Large Glass) in 1915, two years before Fountain. “Duchamp was a modern alchemist, and The Large Glass was his ‘Great Work’ (Choucha), and, as with many of the alchemists of the past, the work was left unfinished: Duchamp was still making notes and diagrams up until he died in 1968, and Nadia Choucha believes it has its origin in two seventeenth century alchemical parables.

Max Ernst was another artist who crossed the bridge between Dada and Surrealism, and the influence of alchemy on his work has already been mentioned. This influence is examined in Max Ernst and Alchemy: A Magician in Search of a Myth by M. E. Warlick, the discovery of the existence of which was too late for me to obtain it for inclusion in my research, so instead I will briefly point out that Ernst had felt he was aware of the occult world since his childhood, and described himself as “a young man aspiring to become a magician” following his ‘death’ at the beginning of the First World War and ‘resuscitation’ at the end; a symbolic initiation.

As has been noted previously, the writings of Eliphas Levi were influential upon Andre Breton. In the 1920s, the Surrealists borrowed the spiritualist practice of automatic drawing and writing, and by the 1940s, according to Choucha, “we find concepts and imagery borrowed from Alchemy, the Tarot, Gnosticism, Tantra, Shamanism amongst others, not only as subject matter, but influencing production and technique.” As a group, the Surrealists were fairly open-minded when it came to occult ideas.