The Golden Child (1986)

PG-13 | 93 mins | Adventure, Comedy | 1986

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HISTORY

       A 15 Jul 1986 HR article mentioned that Paramount Pictures Corp. had originally considered Mel Gibson for the male lead, “Chandler Jarrell,” in The Golden Child. In Oct 1984, Eddie Murphy signed a new contract with Paramount, the studio that had released his previous 1984 hit, Beverly Hills Cop (see entry), as noted in HR articles dated 2 Oct 1985 and 18 Feb 1986. In Jun 1985, after a lengthy decision process, Murphy committed to The Golden Child in preference to twenty other projects being developed exclusively for him, which was announced in a 15 Jun 1985 LAT article. According to Paramount executive David Kirkpatrick, it was “‘the first script Eddie has liked from beginning to end.’” Although the article also stated, “the choice is a surprise.” Dennis Feldman, who was not related to the film’s producer, Edward S. Feldman, completed the screenplay in Jan 1985 and was paid approximately $330,000 upfront. The article pointed out that it was a pricey arrangement, considering that Feldman had just one prior credit, as co-writer of the film, Just One of the Guys (1985, see entry). Paramount did not offer the highest bid for the screenplay, but agreed to let Feldman direct, to which other studios were resistant. However, Feldman’s deal as director fell through, and in addition to writing, he received a credit as the co-producer. George Miller was strongly considered to direct, as reported in a 28 Jul 1985 LAT article and a 11 Aug 1985 LAT article. Sources in the ... More Less

       A 15 Jul 1986 HR article mentioned that Paramount Pictures Corp. had originally considered Mel Gibson for the male lead, “Chandler Jarrell,” in The Golden Child. In Oct 1984, Eddie Murphy signed a new contract with Paramount, the studio that had released his previous 1984 hit, Beverly Hills Cop (see entry), as noted in HR articles dated 2 Oct 1985 and 18 Feb 1986. In Jun 1985, after a lengthy decision process, Murphy committed to The Golden Child in preference to twenty other projects being developed exclusively for him, which was announced in a 15 Jun 1985 LAT article. According to Paramount executive David Kirkpatrick, it was “‘the first script Eddie has liked from beginning to end.’” Although the article also stated, “the choice is a surprise.” Dennis Feldman, who was not related to the film’s producer, Edward S. Feldman, completed the screenplay in Jan 1985 and was paid approximately $330,000 upfront. The article pointed out that it was a pricey arrangement, considering that Feldman had just one prior credit, as co-writer of the film, Just One of the Guys (1985, see entry). Paramount did not offer the highest bid for the screenplay, but agreed to let Feldman direct, to which other studios were resistant. However, Feldman’s deal as director fell through, and in addition to writing, he received a credit as the co-producer. George Miller was strongly considered to direct, as reported in a 28 Jul 1985 LAT article and a 11 Aug 1985 LAT article. Sources in the 28 Jul 1985 LAT article revealed that Murphy was an “avowed fan” of Miller’s Mad Max films, but a news item in the Oct 1985 Los Angeles Magazine, claimed Murphy, who had director approval per his Paramount contract, rejected Miller for the job. A 2 Oct 1985 HR article confirmed that Michael Ritchie was signed as director, with a production start date of Feb/Mar 1986, and that the film was scheduled as a major Christmas release.
       Casting news highlighted the search for two unknowns for the part of “Kee Nang,” the female lead, and for the part of “The Golden Child,” a six-year old boy. According to a 12 Dec 1985 LADN article, Robert D. Wachs, one of the producers as well as Murphy’s manager, stated that the global effort was focused in London, Bombay and Hong Kong as well as the United States. A LADN article dated 25 Mar 1986, announced Charlotte Lewis as the final choice for the role of Kee Nang and claimed it would be the “first time Murphy has been romantically involved on screen.” According to the film’s press kit at the AMPAS library, Lewis, selected from over 500 applicants, was a teenage model and budding actress whose only previous screen appearance was Roman Polanski’s Pirates. News items in the 31 Mar 1986 People and the 21 Mar 1986 LAHExam reported that Jasmine Reate, a girl from Carmel, California, would be The Golden Boy. People explained that her head would be shaved and the credit would be written as, “J.L. Reate,” to disguise her sex.
       The 18 Feb 1986 editions of DV and HR announced that The Golden Child began filming on 18 Feb 1986. According to a Jan 1987 interview in AmCin, with Donald Thorin, the director of photography, the majority of the film was shot on the Paramount soundstages. Location filming included street scenes in Los Angeles, as well as the Mammoth Mountain ski area in California for the re-creation of the Himalayas. As noted in the end credits, a second unit filmed in Nepal.
       A feature article in the Jan 1987 AmCin about the film’s special effects detailed how the Industrial Light and Magic crew employed a new live-action motion control technology, the Tondreau system, to create a more life-like movement for the demon sequences. According to the visual effects supervisor, Ken Ralston, Tondreau was still a prototype being developed for Who Framed Roger the Rabbit (1988, see entry), so the process of applying it on The Golden Child was a “‘scary decision’” and an “‘initiation by fire.’” Ralston further explained that, “‘At the end, we were just barely ahead of schedule, and in fact, in some instances we had fallen behind schedule because that’s what happens when you develop these kinds of techniques.’” In addition to the film’s advanced effects, there was a stand-alone scene, illustrating an older style of animation, which was especially “fun” for the ILM crew. In a display of The Golden Boy’s magic, a discarded can of Pepsi morphs into a figure with a top hat and a cane, dancing to the music of Irving Berlin’s “Putting on the Ritz.”
       News reports in the 3 Dec 1986 and the 6 Dec 1986 LAHExam alleged that due to unfinished work on the ILM special effects and to a final tweaking of the soundtrack, the film was still not complete, even with the gala premiere looming on 11 Dec 1986. The 3 Dec 1986 LAHExam article added that the secrecy surrounding the production had sparked rumors of a “Golden Turkey.” The film had little positive buzz in advance of its opening, as outlined in a 13 Dec 1986 LAT feature article. Producer Wachs explained that in the final weeks, John Barry’s score was replaced with one from Michel Colombier, a decision based on results from test audiences. Wachs said, “‘[Barry’s score] was magnificent but the research told us it did not move the picture along.’” Wachs also confirmed that the special effects were not finished until “just days” before the premiere. Furthermore, short scenes were added to highlight Murphy’s comedy. The article proposed that debuting the film in New York might have been a strategy to escape the negativity surrounding the project and Murphy in Hollywood. Producer Feldman stated, “‘It’s the usual. In L.A., they are all waiting for him to fail. But I don’t think he is going to,’” and claimed that The Golden Child tested almost as favorably as Beverly Hills Cop. Feldman was quoted in a 21 Jul 1986 DV article that the film’s budget was approximately $24.5 million, compared to the $30 million figure reported in a 3 Jul 1986 DV article.
       The Golden Child survived lackluster press and negative reviews to become a box office success, as noted in a 7 Jan 1987 HR article. Along with Star Trek IV (see entry) and Crocodile Dundee, it was part of a trio of unexpected hits for Paramount in 1986. The film grossed $52.2 million in just 24 days of release and was immediately ranked in the top ten grossing films of 1986.
      The end credits include the following acknowledgement, “The Producers Wish to Thank: California Film Office; Tibet West, New York; Lama Excursions, Nepal.” The following statement also appears in the end credits, “Sequences filmed on location in The Kingdom of Nepal.”
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SOURCE CITATIONS
SOURCE
DATE
PAGE
American Cinematographer
Jan 1987
pp. 51-54, 56-64.
Daily Variety
18 Feb 1986.
---
Daily Variety
30 Apr 1986.
---
Daily Variety
3 Jul 1986.
---
Daily Variety
21 Jul 1986.
---
Hollywood Reporter
2 Oct 1985
p. 1, 16.
Hollywood Reporter
18 Feb 1986.
---
Hollywood Reporter
15 Jul 1986.
---
Hollywood Reporter
12 Dec 1986
p. 3, 38.
Hollywood Reporter
17 Dec 1986.
---
Hollywood Reporter
7 Jan 1987.
---
Los Angeles Daily News
12 Dec 1985.
---
Los Angeles Daily News
25 Mar 1986.
---
Los Angeles Herald Examiner
21 Mar 1986.
---
Los Angeles Herald Examiner
3 Dec 1986.
---
Los Angeles Herald Examiner
6 Dec 1986.
---
Los Angeles Magazine
Oct 1985.
---
Los Angeles Times
15 Jun 1985.
---
Los Angeles Times
28 Jul 1985.
---
Los Angeles Times
11 Aug 1985.
---
Los Angeles Times
12 Dec 1986
p. 1, 10.
Los Angeles Times
13 Dec 1986
Section VI, p. 1, 4.
New York Times
12 Dec 1986
p. 19.
People
31 Mar 1986.
---
Variety
17 Dec 1986
p. 20, 24.
CAST
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
A Feldman/Meeker Production in Association with Eddie Murphy Productions, Inc.
A Michael Ritchie Film
NAME
CREDITED AS
CREDIT
DIRECTORS
Dir, 2d unit, Los Angeles/2d unit, Nepal
Unit prod mgr
Prod mgr, 2d unit, Nepal
1st asst dir
1st asst dir, 2d unit, Los Angeles
2d asst dir
2d asst dir, 2d unit, Los Angeles
2d 2d asst dir
Asst dir, 2d unit, Nepal
Asst dir, 2d unit, Nepal
PRODUCERS
Exec prod
Exec prod
Co-prod
Assoc prod
WRITER
PHOTOGRAPHY
Dir of photog
Dir of photog, 2d unit, Los Angeles
Cam op
Cam op, 2d unit, Los Angeles
1st asst photog
1st asst photog
1st asst photog, 2d unit, Los Angeles
2d asst photog
2d asst photog, 2d unit, Los Angeles
Asst photog, 2d unit, Nepal
Asst photog, 2d unit, Nepal
Film loader
Chief lighting tech
Chief lighting tech, 2d unit, Los Angeles
Asst chief lighting tech
Asst chief lighting tech
Asst chief lighting tech, 2d unit, Los Angeles
1st company grip
1st company grip, 2d unit, Los Angeles
2d company grip
2d company grip
2d company grip
2d company grip, 2d unit, Los Angeles
Dolly grip
Dolly grip
Dolly grip, 2d unit, Nepal
Still photog
ART DIRECTORS
Prod des
Art dir
Asst art dir
Prod illustrator
Prod illustrator
Art dept liaison, 2d unit, Nepal
FILM EDITORS
Asst film ed
Apprentice film ed
Negative cutting
SET DECORATORS
Set dec
Prop master
Prop master, 2d unit, Los Angeles
Prop master, 2d unit, Nepal
Asst prop master
Asst prop master
Set des
Const coord
Const supv
Const supv
Propmaker
Propmaker
Propmaker
Propmaker
Propmaker
Propmaker
Leadperson
Leadperson
Prop personnel
Prop personnel
Prop personnel
Paint supv
Prod painter
Laborer supv
Laborer supv
Greensperson
Demon props by
COSTUMES
Cost des
Cost supv
Women's key cost
Men's key cost
Cost, 2d unit, Los Angeles
Ward, 2d unit, Nepal
MUSIC
Mus/Orch
Supv mus ed
Mus ed
Mus score mixer
Mus score mixer
SOUND
Prod sd mixer
Boom personnel
Boom personnel
Supv sd ed
Supv sd ed
Sd ed
Supv ADR ed
ADR ed
Supv foley ed
Foley ed
Spec sd eff created by
Asst sd ed
Asst sd ed
Re-rec mixer
Re-rec mixer
Re-rec mixer
VISUAL EFFECTS
Visual eff supv
Visual eff coord
Spec eff supv
Spec eff
Spec eff
Spec eff
Spec eff
Titles and opticals by
Demon supv, ILM
Go motion supv, ILM
Go motion anim, ILM
Chief visual eff ed, ILM
Optical supv, ILM
Supv modelmaker, ILM
Anim supv, ILM
Matt dept supv, ILM
General mgr, ILM
Visual eff coord, ILM
Demon des and sculpted by, ILM
Go motion cam op, ILM
Go motion cam op, ILM
Eff cam op, ILM
Eff cam op, ILM
Asst cam op, ILM
Asst cam op, ILM
Asst cam op, ILM
Asst cam op, ILM
Asst cam op, ILM
Optical cam op, ILM
Optical cam op, ILM
Optical cam op, ILM
Optical lineup, ILM
Optical lineup, ILM
Matte artist, ILM
Matte artist, ILM
Matte artist, ILM
Matte photog, ILM
Asst eff ed, ILM
Asst eff ed, ILM
Processing, ILM
Processing, ILM
Demon fabrication, ILM
Demon fabrication, ILM
Demon armatures, ILM
Demon armatures, ILM
Modelmaker, ILM
Modelmaker, ILM
Modelmaker, ILM
Modelmaker, ILM
Modelmaker, ILM
Modelmaker, ILM
Modelmaker, ILM
Anim cam op, ILM
Anim cam op, ILM
Anim, ILM
Anim, ILM
Anim, ILM
Anim, ILM
Rotoscope artist, ILM
Rotoscope artist, ILM
Rotoscope artist, ILM
Storyboard artist, ILM
Still dept, ILM
Still dept, ILM
Pyro tech, ILM
Pyro tech, ILM
Pyro tech, ILM
Prod asst, ILM
Stage tech, ILM
Stage tech, ILM
Stage tech, ILM
Stage tech, ILM
Prod accountant, ILM
Prod accountant, ILM
Prod accountant, ILM
Prod secy, ILM
Prod secy, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
Equipment tech, ILM
DANCE
Dancing can movement adv
MAKEUP
Makeup des and created by
Key makeup artist
Makeup artist, 2d unit, Los Angeles
Hairstylist
Hairstylist, 2d unit, Los Angeles
Makeup/hair, 2d unit, Nepal
PRODUCTION MISC
Casting
Casting consultant, U.K.
Casting consultant, U.S.
Casting asst
Scr supv
Scr supv, 2d unit, Los Angeles
Animals provided by
Animal trainer
Animal trainer
Animal trainer
Animal trainer
Loc mgr
Loc mgr, 2d unit, Nepal
Tech adv
Transportation coord
Transportation capt
Transportation capt
Prod office coord
Prod coord, 2d unit, Nepal
Coord exec, 2d unit, Nepal
Prod secy
Prod auditor
Asst prod auditor
Cashier, 2d unit, Nepal
Unit pub
Craft services
Craft services, 2d unit, Los Angeles
Welfare worker
Asst to Mr. Ritchie
Asst to Mr. E. Feldman
Asst to Mr. Wachs
Asst to Mr. D. Feldman
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Prod asst
Weapons consultant
Monastery tech adv
STAND INS
Stunt coord
Stunt coord
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
Stunt player
COLOR PERSONNEL
Col timer
SOURCES
MUSIC
"Wisdom of the Ages," composed and conducted by John Barry
"The Chosen One," by Michel Colombier, performed by Robbie Buchanan
"Puttin' on the Ritz," [instrumental version] by Irving Berlin
+
MUSIC
"Wisdom of the Ages," composed and conducted by John Barry
"The Chosen One," by Michel Colombier, performed by Robbie Buchanan
"Puttin' on the Ritz," [instrumental version] by Irving Berlin
"Another Day's Life," by David Wheatley.
+
SONGS
"The Best Man in the World," music by John Barry, lyric by Ann Wilson, Nancy Wilson and Sue Ennis, performed by Ann Wilson, Ann Wilson courtesy of Capitol Records, Inc.
"Body Talk," by Stephen Pearcy, Warren DeMartini and Juan Croucier, performed by Ratt, courtesy of Atlantic Recording Corporation.
DETAILS
Release Date:
1986
Premiere Information:
Los Angeles and New York openings: 12 December 1986
Production Date:
began 18 February 1986
Copyright Claimant:
Paramount Pictures Corporation
Copyright Date:
7 January 1987
Copyright Number:
PA314225
Physical Properties:
Sound
Dolby Stereo ® in Selected Theatres
Color
Color by Metrocolor®
Lenses
Lenses and Panaflex® camera by Panavision®
Duration(in mins):
93
MPAA Rating:
PG-13
Country:
United States
Language:
English
PCA No:
28105
Passed by NBR:
No
SYNOPSIS

In present day Tibet, while monks witness The Golden Child restoring life to a dead bird, the evil Sardo Numspa and his followers storm their temple. After trampling the monks, they kidnap The Golden Child, taking him away in a basket cage. On the streets of Los Angeles, Chandler Jarrell, a freelance social worker, posts notices offering a reward to find a missing 16-year old girl named Cheryl Mosely. As Chandler calls attention to Mosely’s disappearance on a local television talk show, a Tibetan woman, Kee Nang, watches with great interest and takes notes. Later, she approaches Chandler at a playground to request that he locate a child that was kidnapped five days ago in northeastern Tibet. As Chandler remains skeptical, Kee Nang explains that this special child is destined to save the world. 400 years ago, the Nechung Oracle predicted his kidnapping and transport to the City of Angels, and, as written on the ancient scroll she unfolds, a man who is “no angel” would save The Child. Kee tells Chandler that he is this man. Later, at an abandoned house, the police and Chandler inspect the site where Cheryl Mosely’s body has been discovered. Chandler photographs various pieces of evidence: a dragon tattoo on the girl’s body, cryptic graffiti on the walls and a bowl of oatmeal spiked with blood. After Chandler notices that Kee Na is trailing him as he investigates the case, he learns from her that Cheryl’s death and The Golden Child’s abduction are connected. The graffiti on the walls of the abandoned house indicates the kidnappers’ attempt to restrain ... +


In present day Tibet, while monks witness The Golden Child restoring life to a dead bird, the evil Sardo Numspa and his followers storm their temple. After trampling the monks, they kidnap The Golden Child, taking him away in a basket cage. On the streets of Los Angeles, Chandler Jarrell, a freelance social worker, posts notices offering a reward to find a missing 16-year old girl named Cheryl Mosely. As Chandler calls attention to Mosely’s disappearance on a local television talk show, a Tibetan woman, Kee Nang, watches with great interest and takes notes. Later, she approaches Chandler at a playground to request that he locate a child that was kidnapped five days ago in northeastern Tibet. As Chandler remains skeptical, Kee Nang explains that this special child is destined to save the world. 400 years ago, the Nechung Oracle predicted his kidnapping and transport to the City of Angels, and, as written on the ancient scroll she unfolds, a man who is “no angel” would save The Child. Kee tells Chandler that he is this man. Later, at an abandoned house, the police and Chandler inspect the site where Cheryl Mosely’s body has been discovered. Chandler photographs various pieces of evidence: a dragon tattoo on the girl’s body, cryptic graffiti on the walls and a bowl of oatmeal spiked with blood. After Chandler notices that Kee Na is trailing him as he investigates the case, he learns from her that Cheryl’s death and The Golden Child’s abduction are connected. The graffiti on the walls of the abandoned house indicates the kidnappers’ attempt to restrain The Golden Child’s good powers. According to Kee, they must additionally surround The Child on four sides with evil followers so that he will not escape as an astral being. Chandler cannot believe what he is hearing, but nonetheless follows Kee to the next step. She takes Chandler to the basement of Doctor Hong’s Chinese herb shop, where a mysterious, 300-year old Tibetan librarian, Kala, speaks from behind a screen. She relates to Chandler the significance of The Golden Child, which is compassion. Every 1,000 years, a golden or perfect child is born who will protect mankind from eternal cruelty. The librarian does not know the specific identity of the kidnappers, only that they want the world to embrace evil. She further clarifies that if The Child consumes the blood in the oatmeal, its impurity would make him vulnerable, and thus all of humanity would be at risk. After Chandler pretends to flirt with the librarian, she becomes rattled and questions whether Chandler really is “The Chosen One,” the one who will rescue The Child. Embarrassed, Kee and Doctor Hong confirm that he is “The Chosen One.” When Kee drives Chandler home that evening, he invites her inside for a drink, but she seems unimpressed with his jokes and declines. At a warehouse, four of Numspa’s evil guards sit in a large circle around The Golden Child to keep his spirit caged. When one of the guards falls asleep, The Child momentarily escapes as an astral vision and floats outside Chandler’s window, releasing the bird he revived at the monastery. Chandler watches in disbelief, then receives a phone tip that Cheryl was with a group of bikers in Pacoima known as The Yellow Dragons. The next day, after finding their hideout, Chandler, with the help of Kee’s fighting skills, subdues the bikers and learns that Cheryl was sold to Tommy Tong who needed her blood in a deal with the devil. At Tong’s restaurant, Kee and Chandler fight off Tong who escapes into an alley where he is bludgeoned to death by Numspa. Back at the warehouse, Numspa transports himself to hell, where the voice of his lord congratulates him for killing the potential traitor, Tommy Tong, but demands that Numspa destroy The Child soon, using the powerful Ajanti dagger. The dagger is the only means available, but it is closely guarded, so the voice suggests that Numspa must first trade The Child for the dagger and then employ it to kill The Child. That night, Chandler has a dream that is both real and imagined, where Numspa appears and offers to exchange The Child for the Ajanti dagger and then burns a scar down Chandler’s arm so he will remember their conversation. After Chandler awakens, he returns to Kala who tells him that the sacred dagger of Ajanti killed the second Golden Child and that Chandler must use the weapon to lure Numspa into releasing the current Golden Child, but must never allow the dagger to fall into Numspa’s hands. Doctor Wong reminds Chandler that since he is “The Chosen One,” he is the only one who can obtain the dagger in Tibet. That evening, Kee finally accepts Chandler’s offer to come inside, and they spend the night together. The next morning she convinces him to fulfill his destiny, and they fly to Nepal. In Kathmandu, while Kee arranges their journey into Tibet, Chandler buys a pendant from “The Old Man,” a street peddler who swindles him out of a $100 bill, and then vanishes. Meanwhile in Los Angeles, Numspa transfers The Golden Child to a new hideout, at a mansion. Across rivers and mountains, Kee and Chandler journey to the temple that guards the Ajanti dagger, and seek permission of the temple’s high priest, who happens to be the street peddler Chandler encountered in Kathmandu. The priest instructs Chandler on how to navigate the precarious corridor across a bottomless pit that leads to the dagger, and using his wits, Chandler succeeds in procuring it from a cave of fire. After the test, Chandler asks the priest’s advice on proposing marriage to Kee. The priest, who happens to be Kee’s father, speaks with his daughter privately and tells her that she has his blessing to follow her heart. Having managed to sneak the dagger out of Nepal, Numspa is waiting for them at the Los Angeles airport with a ploy to have Chandler arrested for stealing the dagger, but, using his comedic personality as a distraction, Chandler spoils Numspa’s plan. Doctor Hong takes Chandler, Kee and the dagger to an isolated hideaway for safety, but at night Chandler and Kee must flee when Numspa’s men attack and seize the dagger. Numspa fires a crossbow at Chandler, but Kee shields him, taking the arrow in her back. Kee’s body is taken to the herb shop, where Kala reassures Chandler that The Golden Child can save Kee’s life, as long as sunlight can reach her body. Doctor Wong adds that Chandler has time to find The Child, as Numspa cannot use the dagger until night. At the mansion hideaway, The Child tricks the evil follower, Til, to come close to the basket cage so that he can touch him, thereby converting him to the good side. While driving, Chandler sees The Golden Child’s bird again and follows it to the mansion hideaway where he reclaims the dagger and rescues The Child, with the assistance of the new ally, Til. Numspa reacts by transforming into his true form, a demon. Chandler and The Child speed away in the car, chased by the flying demon into an abandoned industrial building. As the demon destroys the building around them, Chandler and The Child escape, leaving the dagger behind, and they drive to the herb shop to save Kee. Wielding the dagger, the demon confronts them in the basement of the herb shop, but Chandler’s pendant from Kathmandu shields him from the thrust of the blade, and the dagger hits the ground. The Golden Child uses his mind to send it to Chandler, enabling him to kill the demon. Using a ray of the sun, The Child revives Kee. Later, strolling in a park overlooking Los Angeles, Kee assures Chandler that she will only be away for two weeks while she escorts The Golden Child back to Tibet. Chandler then gives The Child a baseball cap to avoid being teased about his shaved head, as the bird flies down to rest on The Child’s shoulder. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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