Published On: Fri, Feb 14th, 2020

At last a proper understanding of “Blade Runner”: a retelling of Masonic lore

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Continuing the informal and infrequent series in which literary criticism of movies reveals the retelling of Masonic lore, this article is dedicated to a film that seems to have evaded proper scrutiny and articulation of resultant analysis in the many years since it was produced: Blade Runner. The lack of proper understanding regarding the nature of the film is surprising, given the very obvious central theme of two factions of humanity who become reconciled through a mediating Christ figure. But then, the film is so obviously Masonic that those in a position to talk to the audience about its exoteric meaning would, we might imagine, be bound by their own oaths not to. Based on a story by Philip K. Dick, and directed by Ridley Scott, who gave the world the Luciferian-themed Prometheus-variation Alien film, Blade Runner has all the right genetic credentials for being subconscious inculcation and behaviour manipulation towards a new scheme of social order.

Indeed, in itself Blade Runner is about nothing less than the Masonic Great Work: the making of the State where robbers and murderers legitimately, by technocracy, rule over the masses – meaning all men. Masonic lore, in this case coming to us in the form of a Rosicrucian variation as told by Max Heindel in his book, Freemasonry and Catholicism [1919], defines Masonic expectation in a way that is less threatening: a new kingdom is for the reconciled sons of Cain and Seth, with the psychopathic aspect of the Cain character not suitably accounted for; i.e. no explanation that by its nature it cannot reconcile, but would want to be dominant. Whatever the spin may be, the conflict between a sedentary form of human being (Seth) and an active, self-determining one (Cain) who, by this quality, deserves to overturn a system ordained by God†, is the dynamic at the heart of the film in the shape of the duel between the Blade Runner, or Slave Hunter (with the substitution of a few letters), Deckhard, and a replicant who has rebelled against human masters, Roy Batty.

In fact, Blade Runner turns out to be such a comprehensive reworking of what is core Masonic mythology that there is only one issue to deal with in an analysis of the film. Around this central area is explanation of symbolism that ties imagery with narrative – some of which has perplexed audiences for a long time – but there is essentially only one storyline and one theme.

The simplest part of the story is that which is already well familiar: the tale of Adam and Eve, but with a slight variation: Cain is the son of a “Lucifer spirit”, Samael, by Eve, while Seth is 100% human by Adam. A Lucifer spirit, for simplicity’s sake, can be thought of as a fallen angel: beings that were scandalised by the creation of humanity, and thus became disobedient against the implementation. Before Seth, of course, there was Abel – the son of Adam and Eve who was murdered by Cain. According to Genesis, the issue that caused the mischief was envy caused by God’s preference of Abel’s sacrifice, Cain not dedicating himself to the task as he should – and this would be about right (for why should Cain, a man on a trajectory to become His equal, care about the perfect offering to win God’s favour). And yet, in Masonic legend, Abel’s death is an inevitable consequence of Cain’s ability to escape his destiny.

Cain – and this is an observation of the author’s own – being an arable farmer, would know the soil, and thus be superbly placed to be the progenitor of a line of artificers who could smelt metals for tools and create material for building. So, Cain’s descendants would be the kings (claiming dominion of men over and above God), whereas Seth’s descendents would be the priests (who rule through God by insisting on subservience to His representatives on earth). Alchemically speaking, the Sons of Seth were of water, and the Sons of Cain were of fire. One salves to heal, while the other burns to bend to the will. This great division between two camps of leadership for humanity was to be mediated into one unified stream by the Christ.

Meanwhile, when Solomon built the Jerusalem Temple, he hired Hiram Abiff – a descendent of Cain – as chief architect. Hiram was dissatisfied because he was constrained by God’s design. He could, however, invent the basin for the cleansing of the priests. This was to be the Molten Sea, as Heindel explains:

To this end he sent messengers over the world to collect all the metals with which the Sons of Cain had ever wrought. With his hammer he pulverised them in a fiery furnace to extract by alchemistry, from each particle, the quintessence of knowledge derived from the experience of working with it. Thus the combined quintessence of these various base metals would form a spiritual sublimate of knowledge incomparable in potency, valuable beyond all earthly things. Being of ultimate purity it would contain no colour, but resemble a “sea of glass”. Whosoever should lave in it would find himself endowed with perpetual youth. No philosopher could compare with him in his wisdom; this “white stone” knowledge would even enable him to lift the veil of invisibility and meet the superhuman Hierarchs, who work in the world with a potency undreamt of by the masses.

Please notice the relationship between supreme knowledge, immortality, and the ability to see other “gods” (when the partaker has become one). The Philosopher’s Stone is the catalyst to god-hood. Moreover, the Sea of Glass would be “the means whereby the Sons of Cain might ‘rend the veil’ and open the way to God for ‘whosoever will’”.

In fact, the creation of the Philosopher’s Stone by Hiram is a forerunner that was never to be, but still an equivalence to the creation of the Blood of Christ (which did rent the veil of the Temple). In essence, the Sea of Glass isn’t merely a thing that spiritually supercharges Levite priests, it inherently involves creating access to God for others who hitherto hadn’t had it – but not to God as the Sons of Seth represented cosmological truth to the masses. The metaphor is about creating spiritual leadership by the Sons of Cain, but always couched in terms of reconciliation with the other side. This is the key thing to remember.

As was hinted at above, Hiram did not complete his world order shattering achievement. His apprentices, to whom he would not bestow his own secret knowledge, decided to sabotage him, and prepared the great basin with water so that when Hiram’s liquid fire was released into it there was a violent reaction – Hiram did not know how to meld fire and water, and he was undone. However, at that point, he was beckoned to jump into the broiling, unresolved Sea of Glass by the voice of his ancestor, Tubalcain. Following the command, he was then conducted down to the centre of earth where he held a conference with his ultimate ancestor, Cain. Hiram was given instructions on how to blend water with fire, and was presented with tools by which to do it: a hammer, and a new word (which would transmute across time into the cross and the rose).

Cain prophesied that Hiram would die without his hopes being fulfilled, and that many sons would be born of the widow who would keep his memory great (i.e. the Masonic orders and membership thereof). Ultimately, the Lion of Judah would raise Hiram with the powerful grip of his paw, and whereas on this day Hiram had been baptised with fire, in the future the Lion of Judah would baptise with water and the spirit. The prophesying continued: this Lion of Judah would build a new city, and temple therein, where the nations will worship, and the Sons of Seth and Cain would meet in peace at the Sea of Glass.

Well, this prophesy refers to the resurrection from the death of Lazarus – or Hiram being reincarnated as that same character – raised from the grave by the host of the Office of Christ (Jesus), who would be the mediator between the Sons of Seth and the Sons of Cain for a new order in the world. And the Christ will be that which the Sons of Cain and Sons of Seth will leave their respective gods to serve: which, again, is the Luciferian compromise that the modern ruling class still employs where all the concession must come from the other side. To explain: the Sons of Cain have no god from which they could leave, having always understood that man could evolve into his own god. On the other hand, the Sons of Seth must abandon Jehovah.

With the mythology exposed, we now turn to its retelling in Blade Runner, with one important tweak having been made which gives the “widows sons” more dynamism – and this will be discussed by and by.

Eldon Tyrell, the founder and corporate head of the Tyrell Corporation which was responsible for the design, manufacturing, and selling of human replicants, is established as being representative of God when Deckhard the slave hunter visits him. He lives at the top of a ziggurat-style building, in the location where a temple would have been in an ancient complex of the same configuration. There is also symbolism taking place outside the window. It appears that from these heights, the viewer can see clear skies, which appear to be overcast at the level of the streets (which seem to be being rained on constantly). The sun can be seen between two columns, and although one is set at an angle to the horizontal, it barely makes any difference: here is a symbol that is familiarly Masonic and represents the path to enlightenment (or the enlightened one in the Temple). Moreover, earlier in the film, there is a scene where a long approach to two ziggurat buildings, and then finally closer to one of them, is interspersed with the close-up shot of an eye, suggesting the divine all-seeing eye, compounding the impression that Tyrell (whose name incorporates not one but two iterations of the world “El” – one at the beginning and one at the end [alpha to omega style]) is God.

In a confrontation between Tyrell and Batty, the latter murders the former. Thus, the creation destroys its creator in an act to claim candidacy for godhood; it is an act that represents the negation of God through the evolutionary process. Batty, then, is true to his Cainite heredity; his killing of Tyrell is a by-product of his technocratic supremacy, and it is an act that ushers in of a new moral schema. He mocks Deckhard, when the Blade Runner cannot shoot straight, as not being very good. He goes on to tell him, “you’re supposed to be the ‘good man’”. This additional comment uses “good” from the perspective of the God of the Sons of Seth, whereas “good” is meant as skilful in Batty’s previous remark. Batty is drawing attention to the different moral perspectives. For the Sons of Cain, goodness is all in technical ability, not in the lack of sin.

Batty’s act that causes the superseding of God by the Cainite moral universe is reinforced by imagery after the deed is done. Batty’s journey in an elevator on Tyrell’s building is redundant to narrative: it can be presumed that he left the place the same way he entered. The point of the scene’s inclusion must be to show the sky outside the lift being full of stars. There is clearly a sense of Batty’s movement amongst these objects of the heavens to show accomplishment of godhood: a god’s place is amongst the stars.

We can establish that Batty is a Cain figure further beyond the evidence so far presented. There is the fact that he and his ilk are rebellious slaves, or an inferior class of men by diktat to favour a preferred class (those who haven’t committed fratricide). Moreover, the replicants are not permitted on Earth, making their presence on the planet special. Having come down from the heavens, they are, in effect, fallen angels, and Batty quotes a poem about the subject to make the point:

Fiery the angels fell; deep thunder rolled around their shores; burning with the fires of Orc.

In saying these lines, Batty misquotes a poem by Blake that has the angels rising. No doubt a separate essay is required to interpret the work in its entirety, but the least that can be said about it is that “Orc” is a powerful serpent. Even the casual scholar of Masonry knows that the serpent represents knowledge, so even without reading the Blake text we could guess at its Luciferian nature. Understandably, the makers of Blade Runner would want to make a point quickly to keep the pace of an action packed sci-fi movie, so Batty makes it quite clear by the insertion of the word “fell” in relation to the angels who burned with the fires of knowledge. Appropriately, Batty is often bathed in red light, indicating that he is of that ilk of which he has spoken.

Contrarily, Deckhard is shown clamouring through a small aperture into a dilapidated bathroom with water freely pouring down from leaks in the ceiling; this is to indicate that he is woman-born. And contrary to the geeky discussion topic where Deckhard is a replicant who doesn’t realise it, he is most definitely a man because of his opposition to the fallen angel figure of Batty. In fact, Deckhard is obviously a human being because of how he has his fingers dislocated by Batty, who himself crashed through a wall to cause the disfigurement. Deckhard cannot bust through walls, nor not feel pain – his howling in agony when he tries to operate on the injury to his fingers is testimony to it. On the other hand, Batty can insert a large nail taken from the floorboards into his hand without feeling any obvious signs of discomfort.

This nail through Batty’s “paw” is also one of a number of indications in the fight sequence between him and Deckhard which is crucial for delineating the characteristics of the combatant pair and thus presenting the symbolism by which to make the essential interpretation. Although Deckhard is the Son of Seth, he is not the Christ figure as he is expected to be because of his mythical genealogy. Instead, it is Batty who represents the Jesus character. The nail through the hand is a reference to how Jesus was attached to the cross. Batty, naked otherwise but for a pair of shorts (and who has stripped down for no other reason than to create the look), resembles Jesus in his death apparel; i.e. just the loin cloth. Batty is covered in blood reminding of the unwarranted punishment suffered by Jesus prior to death. His particular condition comes about as the result of some aggression meted out by Deckhard with a section of plumbing. The message is that Deckhard is certainly powerful and capable of causing damage, and in this fashion he represents the masses in the Son of Seth moral universe who, in their ignorance and with the ability to become unrestrained, are a threat to plans that the Sons of Cain have for them.

Penultimately, there is the fact that Batty saves Deckhard from a fall to the death – so, in fact, from a state of equivalence to death back into life – by lifting him up using the grip of the lions paw, for the hand that Batty uses is the one with the symbolic nail jammed through it. This act confirms that Batty is the mediator of the Rosicrucian legend.

Evidently, then, the makers of Blade Runner, have inverted the roles of the Sons of Cain and the Sons of Seth in the scheme, with Batty being the host of the Christ, and Deckhard being Lazarus. We might well imagine that this has been done for the drama and to make the Batty character dynamic; after all, to be the one who was “once dead” is to be the one who is passive in the scheme. Or perhaps it is a development of the mythology since Heindel wrote his book whereby the Sons of Cain can reconcile themselves with the Sons of Seth, with the latter not having much choice about the matter (the fact of our uni-polar world might stand as evidence that there is enough hubris for such a development). So, the Blade Runner version of the myth, there isn’t even an original wrongdoing that needs to rectified; the “widows’ sons” are the usurped, claiming their rightful place.

The last sign that Batty is the Christ figure comes when he dies. At this moment he releases from his clutches a dove which he hitherto has been holding ever since his appearance on the roof top to confront Deckhard. In many essays on Blade Runner to be found on the internet, this is naively, or perhaps disingenuously, styled as Batty’s soul rising to heaven, signifying that he has the same spiritual apparatus as a man. It is no such thing. This is the same symbol for the Holy Ghost that was used in the Gospels – but for Holy Ghost read Office of Christ. With Batty having completed his task as mediator by lifting Deckhard into a second life, the Office of Christ departs. In other Luciferian films (2001, A Space Odyssey, for instance), the viewer will see that if technology brings mankind into the new order, it isn’t the beneficiary of the development. Batty is the machinery, and Deckhard, the man, is the beneficiary.

The new arrangement that has been caused by the mediation is the cleaving together of Rachel, a female replicant, and Deckhard. This is made evident by Deckhard’s change of attitude. Previously Deckhard did not care about her, stating to her that the only reason he wouldn’t pursue her to kill her is that she had saved his life, and therefore he was in debt to her.  After the tussle with Batty, Deckhard is concerned for her safety, and acts to actively protect her. She is a replicant, and he is a man, and yet he speaks of love for her. He also previously treated her with roughness during a love scene that was controversial because of Deckhard’s behaviour (signifying how a man would treat a robot built especially to have sexual intercourse). Again, after the interaction with Batty, Deckhard has become tender about Rachel. This new state of being between the two is the device that is representative of the reconciliation between the Sons and Seth and the Sons of Cain. And the use of a particular symbol, that of a unicorn, which appears when Deckhard and Rachel are about to flee to from her persecutors confirms the use of the device.

Of course, the image of a unicorn famously appears at another moment in the film, and it is a thing that has mystified the audience. The moment occurs when Deckhard is sitting at his piano, and then suddenly out of nowhere a unicorn majestically bounds through a glen in a shot that fills the screen. It appears so unrelated to the film that an attempt has been made to rationalise it as a memory of Deckhard’s that is not his own; in other words, it is implanted, and Deckhard is himself a replicant.

In fact, Deckhard’s placement at the piano at the moment that this image is manifested is to connect it with Rachel, who will later sit at the same spot and play the instrument. Again, the later foil model of a unicorn is the symbol that is discovered at the moment that Deckhard and Rachel are set to embark on a new life together, and conformation of the link: the unicorn is very much related to Rachel.

While the reason for the unicorn is now established, there is still the issue of its actual meaning. The unicorn is an alchemical symbol, and alchemy is actually code for human spiritual development.  Of Mercury, which is the alchemical substance that a unicorn represents, Heindel writes:

Penetrating the secrets of the nature by the mind…[,] Mercury is also capable of freeing the spirit from its physical prison house.


[At the] start… [of the] search for light,… [the initiate] stands at the pathway of regeneration guarded by the Lords of Mercury who with their wisdom will guide him toward his desired goal.

The unicorn is representative of the substance that acts as a catalyst for the creation of the self-god. Linked with Rachel, the unicorn in Blade Runner is a symbol of Deckhard’s – representing man’s – spiritual development – or evolution. The pairing with Rachel is the event that brings entry into the new order, where Jehovah has been abandoned. And in fact, the Deckhard-Rachel relationship is reminiscent of the pairing of Adam and Eve. Adam is man, and Eve is presented to him by God (Tyrell) – a woman who wasn’t born, but made from a man. The relevance of this association is that in the Masonic myth, Eve provides evolutionary momentum for Adam, and this is what Rachel does for Deckhard.

So, Blade Runner is decoded at last, and it is all very well, but a fair question to ask at this juncture is what does it amount to above being an intellectual exercise? The answer is that when this lore is packed so densely into a film, there is no chance that no harm is meant by it. The purpose is to load the disguised narrative, or at least the “tent poles” of the Luciferian religion into the collective sub-consciousness. The goal is slow acclimatisation to the nature of the project, and to declare the future in parable for those who have eyes and ears to see and hear: no one will be able to plead ignorance, because the opportunity to understand was offered. The final destination of “Luciferian evolution” is openly discussed in books such as Max Heindel’s. So, let’s see what he has to say (here are some choice paragraphs:

[The] Day of redemption [is] when the two streams shall be united in the Kingdom of Heaven… where reigns Christ, the King of Peace, exercising the dual office of king and priest after the order of Melchisedec [symbolic name of the divine Hierarchs], for the good of all.

Here we come to understand that actually the Kingdom of Christ, created by the mediation between the Sons of Seth and the Sons of Cain, is in fact rule by the “divine Hierarchs”. The following provides further elucidation:

By imagination the Great Architect of the Universe must first have visualised everything as it now is, or as it was first created, and then by His will the physical atoms were marshalled into the matrix of thought, thus gradually bringing the universe into manifestation as designed by its creator. Nor is this process complete, but will continue until the whole has become perfect as originally designed.

The divine Hierarchies who have carried out the plan of the Great Creator utilise the same duel creative force when fashioning the crystal in the mineral, the leaf in the plant, or the shape of the animal. Their powerful imagination pictures in the archetypal region of the earth that which they desire to create, and their concentrated will moulds the coarser matter into this matrix until it assumes a definite physical form as desired.

What is being discussed here is the continual beautification as per the Hermetic religion where it is the role of the ruling class to carry on the work of creation – and note the hubris in Heindel regarding the assumed power over nature. The very significant part is that which refers to moulding the courser matter – which means bending the masses to the ruling class’ will so that they contribute in their proper place: as slaves.

In fact, Heindel actually uses the words “new order” in relation to rule of the Divine Hierarchs – who are only mystical beings in the horse-crap that is Luciferian mythology. In actual fact, they are men who work in the shadows, and who, as Heindel writes, “who work in the world with a potency undreamt of by the masses”. When Blade Runner was made, the world was without the internet – in fact, none of the Luciferian science fiction before the internet (that the author is aware of) predicts the internet, and this is not to be surprised at, because it means access to knowledge. With the internet, the “masses” are able to become familiar with the plainly stated facts of the intentions of certain hidden hands that guide governments. We know about the plan for Global Government, the eco-sustainability agenda, the Orwellian terror threat and intelligence agency generated wars, etc, etc. The potent work in the world of the divine Hierarchs is now not undreamt of. So, with the goal understood, we must understand that there is an actual intent, with actual strategic import, to pack films with Luciferian conditioning for the purpose of bringing about the goal – something that continues on, with one of the Avengers films clearly being the most Luciferian the author has seen for a long while. Indeed, modern films are perhaps overtly coded in a way that they have never been, but it’s important to expose the older films, because they have had the all important gestation period of the same sort that existed between the writing of the War of the Worlds (a Luciferian tale, exposed here) and the Orson Welles radio broadcast, which was probably a “shock test” in relation to the book. Note too, that Blade Runner, as well as bringing us hidden conditioning, also taught expectation about rampant immigration, climate change, and the scarcity of animals (thus food types – towards the promotion of vegetarianism), to name but a few features of the new order that we have, without a shadow of a doubt, been nudged into, and that we still expect to come.


† According to Masonry and Catholicism mankind was led to err by the Lucifer spirits, and this is why some reconciliation is required. And so there is a sense in this version of the mythology that recognises an offense against the Creator. It must be understood that in this variation, God is not the prison guard over Eden, but instead he is powerless except through the dominion that the Sons of Seth have over the world. But this makes no sense – not at least immediately – because the Sons of Cain actually became the potentates on earth. The fact that Cain was not a favourite with God appears to be the matter that rankles with the “sons of the widow” (or Eve, who lost her “first husband”, Samael) – but we’re not talking about the Biblical God. The Biblical God is the representation of the Creator that the Sons of Seth show to the masses and say that the will of the supreme being is being done in the spiritual rule of the Sons of Seth; it is that they have the power of religious leadership in the name of the Creator that causes the bitterness of the Sons of Cain. In Hermeticism, the Creator has a plan for the world that can only be achieved through the spiritual dominance of the Sons of Cain – and the body of the work speaks of the continuing creation that will recommence when God of the Bible has been abandoned.

In any version of Masonic lore, the story of Adam and Eve is symbolic of evolution, which is the concept at the heart of the continuing beautification of Hermeticism – which is the real religion of the Masons. Heindel’s Rosicrucian exposition is true to this core vision, because “Lucifer spirits” are entirely evolutionary factors that facilitate progression towards godhood.

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