Roman Holiday is a 1953 film shot in Rome, Italy. ‘Roman holiday’ is a metaphor for dissociation and madness (see Monarch slaves).
Let’s take a look at the film:
While in Rome during a multi-city goodwill tour, Princess Anne (Audrey Hepburn), the youthful heir to a European crown, impresses the guests of an embassy ball with her charm and poise.
Some children from royal families are turned into Monarch slaves. They are driven mad through torture, rape and severe beatings, then demons are installed during a Satanic ritual using witchcraft. These demons possess the slave and take control of their life, becoming their alter personas (see The Great Deception, Pagan gods and Pagan feasts).
Later, as she is preparing for bed, Anne, feeling overwhelmed by her tedious, endless, schedule, starts to scream uncontrollably at her efficient secretary, Countess Vereberg.
Anne is fighting her demonic possession. When Monarch slaves fight their demonic possession, their lunacy manifests, the madness becomes uncontrollable, and they become destructive — screaming, lashing out, smashing objects, etc. Countess Vereberg is her handler.
To calm her, Anne’s doctor injects her with a sedative, but before the drug takes effect, Anne sneaks out of the palatial embassy and hides in the back of a truck.
The doctor is also a witch and handler. The sedative is a hallucinogen to calm the slave’s madness before ritual sodomy is performed to facilitate demonic possession. Anne ‘sneaking out’ is the beginning of the ‘roman holiday’ or dissociation, she has been sodomised and more demons invoked to possess her — she has now resumed state of a Monarch slave, whereby slaves live in a permanently dissociative state of fear and terror.
Anne jumps out when the truck reaches a lively part of town, but is already starting to yawn from the sedative. Soon after, American reporter Joe Bradley (Gregory Peck) spots her prostrate on some stairs and hears her mumbling in English.
Joe represents the doctor, who is the chief witch/abuser/handler.
Joe is unaware of her identity and assumes she is drunk, but reluctantly drags her into a cab. When Joe asks the increasingly groggy Anne for an address, she insists that she lives in the Colosseum. Not knowing what else to do, Joe takes Anne to his tiny apartment. There, while trying to undress herself so that she can don Joe’s pajamas, Anne admits that she has never been alone with a man and starts to recite poetry.
The car/cab is a symbolic chariot — chariots are heavenly vehicles used in transiting from one dimension to another; Anne is transitioning from the world of reality (madness) to the world of fantasy (dissociation/spiritual binding through demonic possession). The Colosseum is where Roman slaves used to perform. Pajamas symbolise the relaxed state surrounding sleep; Anne has now completely dissociated. Monarch slaves dissociate so that more demons can be installed to control them. So Anne, who surfaced when the madness manifested, and who is a dysfunctional maniac, has been calmed. The reciting of poetry represents the texts and pictures from certain books, such as The Wonderful Wizard of Oz and Alice in Wonderland used in witchcraft to create Monarch slaves.
Frustrated, Joe goes out for coffee, after instructing her to sleep on his couch. When he returns, however, he finds her curled up on his bed and rolls her onto the couch.
Coffee is taken in the morning to help one ‘wake up’: It represents the awakening; Anna has been possessed by a new demon. The couch is a metaphor for the grave, Anne’s real self has been ‘buried’.
The next day, Joe, who was scheduled to interview the princess that morning, wakes up late and rushes out, leaving behind the still sleeping Anne. At his newspaper office, Joe, unaware that the princess’ activities for the day have been cancelled, lies to Hennessey, his editor, that he conducted the interview. When Hennessey shows him a newspaper report about the princess’ sudden ‘illness’, Joe stares at the accompanying photograph and realises that the princess is the woman on his couch. Seeing his opportunity, the perpetually broke Joe gets Hennessey to agree to pay him $5,000 dollars if he produces an exclusive, revealing interview with the princess, complete with photographs.
Back at Joe’s apartment, Anne finally wakes up and introduces herself as Anya.
Anya is Anne’s alter persona or the demons that possess her.
After drawing Anne a bath, Joe slips out and telephones his photographer friend, Irving Radovich, telling him only that he needs him for an important story. Now bathed and dressed, a grateful Anne borrows 1,000 lire from Joe and leaves on foot. Joe follows her, watching with amusement as she buys herself a pair of shoes from a street vendor.
During torture, slaves are locked in cells, strapped into strait-jackets and half drowned in ice baths. Anne is being subjected to this method of torture. Telephones represent demonic invocation from hell. In occult symbolism, 1000 is the number of completeness. So Anne’s madness has been successfully contained.
Shoes in symbolism represent authority and power, but they can also represent humility and servitude. So here we see Anne being subdued as a slave.
Anne then enters a barber shop and insists that the barber, Mario Delani, cut her long hair into a stylish bob.
Anne with a different hairstyle represents demonic installation.
Mario is taken with the transformed Anne and invites her to a barge dance that night. With her last bit of money, Anne buys a gelato and at the Trevi Fountain, is joined by Joe, who pretends he has run into her.
An ice cream cone represents the mental brain freeze of the Monarch slave, or their madness and helplessness; the gelato in this case is an alternate of the ice cream cone (in Italian, gelato means ‘frozen’). The central figure of the Trevi Fountain, standing in a large niche, is Neptune, god of the Sea. He rides a shell-shaped chariot that is pulled by two sea horses. Each sea horse is guided by a Triton. One of the horses is calm and obedient, the other one restive. They represent the fluctuating moods of the sea.
This is an allusion to Anne fighting her demonic possession (restive horse), then her madness being contained (calm, obedient horse).
Anne, in turn, claims she is a runaway schoolgirl and admits that her only desire is to spend the day having fun. Anxious to please, Joe takes her to a nearby café, where she meets Irving, who, unaware of Joe’s scheme, almost reveals Joe’s identity. After Joe fills him in, Irving, using a miniature camera hidden inside a cigarette lighter, snaps pictures of Anne smoking her first cigarette.
Etymology of school:
From Middle English schole (group of persons, multitude, host).
Anne is a ‘schoolgirl’ — symbolising that she is possessed by a multitude or legion of demons.
To create Monarch slaves, demons possess the slaves and completely control every aspect of their lives. A cigarette is a symbol of this ‘taking of the body’. The smoke from the cigarette represents the spirit/demon (all alters personas are demons) replacing the slaves.
The three then go sightseeing, and Anne, whom Irving nicknames ‘Smitty’ after she states that her last name is Smith, jumps on a motorscooter Joe has rented and takes a wild ride around the plaza.
Etymology of Smith:
From Middle English smithen (to work metal, forge, beat into, torment, refine, create).
Monarch slaves are created by tormenting or torturing the slaves until they become mad, then they are drugged and ritually sodomised for spiritual doors to open for demons to possess them.
The sightseeing and wild ride is the assignment or mission undertaken by the demons that possess the Monarch slave.
The ride gets them arrested, but when Joe claims that he and Anne were on their way to get married, the police let them go. Anne and Joe test their truthfulness at the ancient sculpture Bocca della Veritá, or Mouth of Truth, and then visit a wall on which passersby post their hopes and wishes.
‘Getting arrested’ is code for electrocution. High voltage electroshock is used to subdue Monarch slaves fighting their demonic possession when the lunacy manifests.
Bocca della Veritá is a round medallion made of Pavonozzetto marble, which comes from Dominium in Frigia (modern Turkey). It is a worn mask of a deity in the shape of a bearded man, with two oddly shaped horns and two round protuberances on the lower part of the beard (testicles). It has two holes mid-height on both sides, indicating that L-shaped chips were used to hold it in position or to prevent it from falling.
The medallion depicts The Roman Forest god Faunus, the equivalent of the Greek god Pan, who is Satan. It was originally in the temple of Jupiter Juranius in the Tiberian island, where oaths were taken, as the cover of a temple water collector, hanging in the middle with an opening in the roof.
Witches force Monarch slaves to make blood covenants, contracts, oaths and to shed innocent blood. What various witchcraft and Illuminati slaves experience is Satan drawing blood from their left hand, and causing them to write in their own blood a formal contract entering his service in the Great White Book; an important Illuminati document.
The medallion in the film represents Anne taking an oath to bind her with Satan, which is what is referred to as ’on their way to get married’.
Having made her wish, Anne asks to be taken to the barge dance near the Castel Saint Angelo and there enjoys a romantic dance with Joe.
The barge dance is yet another assignment or mission undertaken by the demons that possess Anne, given by the barber who represents one of the handlers or witches in the real world.
When Mario shows up and cuts in, Joe and Irving become excited imagining the publicity potential of the headline ‘The Princess and the Barber’. Just then, secret service agents from Anne’s homeland grab her and try to drag her away. Anne screams for Joe, who races to the rescue and instigates a brawl. Anne gleefully joins in the fracas and jumps in the Tiber River with Joe to escape capture. After swimming to safety, Joe and Anne embrace and kiss, then return to Joe’s apartment. There, Anne hears a radio report about the distress her illness is causing her people and sadly tells Joe she must leave. Stopping near the embassy, Joe and Anne share a final, passionate kiss before Anne runs off into the night.
Etymology of kiss:
The word ‘kiss’ is derived from the French baiser (from Latin basiare), which means ‘to have sex’.
Monarch slaves are created during a Satanic ritual that involves ritually sodomising the slave in order to open up spiritual doors for demons to possess the slave.
The river stands for the irreversible passage of time and, in consequence, for a sense of loss and oblivion. It symbolises the loss of her identity or free will.
In the embassy, Anne’s advisors scold her for neglecting her duty, but Anne silences them by stating that duty was the only reason she came back. The next day, Hennessey drops by Joe’s apartment, anxious to collect his story, and is dismayed when Joe insists he does not have one. Irving then shows up with the pictures he took of Anne, but Joe refuses to use them. Later, Anne appears at the previously scheduled press conference and is pleasantly surprised to see Joe and Irving there. After Joe lets her know through his public comments that her secrets are safe with him, Anne deviates from protocol and shakes hands with the reporters. Irving then gives her the photos he took, and with tears in her eyes she tells Joe how much she has enjoyed meeting him. Heartbroken, Joe watches Anne retreat with her advisors and walks out of the embassy alone.
All this represents the dissociative state in which Anne permanently lives, as a demonically possessed dysfunctional maniac. The photos represent the pictures of Akashic records taken by the slave during time travel (see Time Travel).