LENNON & DYL A N

[LUCY]

"Permission to land, Tom"


Transcript of two film reels from the Eat The Document archives.

It's now 7am. The sun is up over Hyde Park. The limousine trip is nearly over. Lennon is stoned, but distinctly edgy. Dylan is about to be sick. This is the transcript of the two reels that were judged too weird even for Eat The Document.

Scene: the back of a limo.

Dramatis Personae: John Lennon, a Beatle; Bob Dylan, a folk-rock superstar; Bobby Neuwirth, friend of Dylan's and temporary sound recordist; D.A. Pennebaker, cinema verite film-maker; Tom, a chauffeur.

Time: early morning.

REEL ONE




Dylan: (peering out of a rainy window as the great car rumbles down the
road) There's the mighty Thames. That's what held Hitler back, the
mighty Thames. Winston Churchill said that. (To Tom, the chauffeur)
Tom, ain't that right? (Louder) Ain't that right, Tom? Tom, I think
I'm gonna turn you into Tyrone Power.

Lennon: Say that again, will you Bob?

Dylan: Tom, I think I'm gonna turn you into Ronald Coleman.

Lennon: That's better. That's very much better.

Dylan: Reginald Young. Pee Weedsrom. Or Sleepy John Estes, man. Or Robert
Johnson. Go to medical school like J. Carroll Nash...

Lennon: Johnny Cash, or all the rest of them.

Dylan: I have Johnny Cash in my film. Are you gonna shit yourself when you
see it. You won't believe it.

Lennon: Hey! John's gonna shit again!

Dylan: He doesn't know. You know what he looks like, right, Johnny Cash?
Have you spent much time around him? He moves great. He moves like
that. (Makes Dave Berry/human sloth-type gesture). (To Pennebaker)
You gotta cut that part of the film, man, 'cos I really like him. He
moves like all good people. Like prize fighters. (Smiles directly to
camera) Johnny!

Lennon: Johnny! Big River, Big River! (Makes Macca-like thumbs aloft gesture
of approval)

Pennebaker: (Putting head around camera and beaming) That's for Johnny, too!

Dylan: Yeah, he's on film too. He's incredible.

Lennon: Quite a guy, huh?

Dylan: Quite a guy, John. Oh man, you shoulda been around last night, John.
Today's a drag.

Lennon: Oh really, Bob?

Dylan: Haha! I wish I could talk English, man.

Lennon: Me too, Bobby.

Dylan: (Pointing to Lennon) He can talk American. (To Tom) Hey, Tom, you've
heard me talk in English haven't you? But I can't never do it around
John though because (behind back of hand) John's such a great actor,
man, that...

Lennon: ...you can't believe that it's me.

Dylan: Is this the mighty Thames, still, Tom? (To Lennon) Remember when I
played you those tapes? Do you remember what you said to me? I played
you a son and you said...what's he name of your song publishing
company?

Lennon: Dick James.

Dylan: Naw, naw. Is that the name of it? That wasn't the name I heard.

Lennon: Northern Songs?

Dylan: Right, that was it. I said, What's Northern Songs? And I was never
told, man. I had to go and find out.

Lennon: Didn't they tell you?

Dylan: No, man, they didn't tell me. Someone said, You wanna be on Northern
Sons and you laughed and Paul McCartney looked the other way and
talked to Ringo...

Lennon: ...and Mick Jagger...

Dylan: ...blew shit from his nose...

Lennon: ...and Rob Roy leapt into the room with a big kilt on and said, Hey,
Bobby, have you heard this one?

Dylan: Haha! You haven't lived in Texas, man. I read in the paper that
George Harrison spends a lot of time in the States. You've learned a
lot from George.

Lennon: (In John Peel-style voice) Tell me about The Mamas & Pappas, Bob. I
believe you're backing them bigly.

Dylan: I knew it would get to that. I knew it would get to that. Naw. You're
just interested in the big chick, right? She's got hold of you too.
She's got a hold of everybody I know. Everybody asks me the same
thing. you're terrible, man.

Lennon: Do you know Ralph Donner? He's another great one.

Dylan: No, I only know the lesser known ones.

Lennon: Barry McGuire's a great war hero.

Dylan: Barry McGuire? He's a good friend of yours, John, I understand.

Lennon: He met me through you, Bob, remember that. He's a great buddy,
Sergeant Barry.

Dylan: Haha! Tell me about The Silkies.

Lennon: Naw. We've missed all the good 'uns.

Dylan: Tell me about this pain in my side.

Lennon: Why don't you take something?

Dylan: I've taken a few milligrams of Silkie once. (Dylan then tries to
recommence the previous, spectacularly unsuccessful Barry McGuire
routine). Barry McGuire tells me he's a great friend of yours.

Lennon: (In unmistakable Tito Burns-style voice - see Don't Look Back)
Well, I hate to say this about Barry, Bobby, but I don't know him at
all personally, but I did have a letter from his manager saying he
was very close to you, being on the bosom of the current
folk-a-rock-a boom.

Dylan: Yes, yes.

Lennon: That's the first thing I did hear about Barry himself.

Dylan: But you've never really exchanged correspondence...(breaks off to
addresss Pennebaker, pointing out of the car window) Oh, get those
two lovers over there...(To Lennon) You never did, as one of your
friends would wish you, you never did meet the chap. Haha!

(Lennon is silent. Reel one ends.)


------------------------------------------------------------------------

REEL TWO




Dylan: (Looking increasingly tired and distressed) I wanna go back home. I
wanna go back home, man, see a baseball game, all-night TV. I come
from a land of paradise, man.

Lennon: (In thick Northern accent, very sarcastically) Sounds great.

Dylan: Well, I could make it sound so great that you wouldn't have the
capacity to speak.

(Lennon is silent)

Dylan: (No longer "acting") Hey, I'm very sick, man. I'll be glad when this
is over, 'cos I'm getting very sick here.

Lennon: With the tremors?

Dylan: Are you getting sick here? (Pennebaker leans out of the limo and
shoots Dylan through the window) Is it pouring yet? Hey, that's a
good shot, but why don't you bring it back in 'cos it's cold. (He
scowls, then groans, struck by a wave of nausea) Aw! How far are we
from the hotel, Tom?

Tom: Five minutes.

Dylan: Oh, wow.

Lennon: Permission to land, Tom.

Dylan: Oh God, I don't wanna get sick here. (Head in hands) What if I vomit
into the camera? I've done just about everything else into that
camera, man, I might just vomit into it.

Pennebaker: It'd make a nice ending, wouldn't it? Cooking With Dylan we'll
call it.

Dylan: But I never throw up. (Gallantly attempting to regain composure) So
tell me John, how long have you had a partnership with Macy's?

Lennon: The Macy Brothers themselves, we've had a partnership of 13, 14
years I guess.

Dylan: And you're a new cat, a new youngster, from Canada, right?

Lennon: Canada, yes, rootin' tootin' Quebec, you know.

Dylan: (Abandoning the improvisation) Aw, I'm very sick. How far are we out
of town?

Tom: About ten minutes.

Dylan: Awww!

Tom: Do you want to head back?

Dylan: Yeah! Hurry!

Bobby Neuwirth: (Affecting the voice of the BBC World Service interviewer in
Don't Look Back) In approximately fifteen seconds from now
BBC2 going on the air, in approximately fifteen seconds from
now, an interview with Mr Dylan...Mr Dylan, you must
remember me from the Jamaicas, I went to school with Bobby
Babwebba Babbabably Bawebbly...

Dylan: (Pleading) Aw, don't do it to me, man.

Bobby Neuwirth: All the soul brothers from the BBC will be there. The BBC
good guys are at the airport. The BBC bad guys are waiting
downtown for you when you get there.

(Dylan looks ever more uncomfortable. He removes his shades and rubs his
eyes.)

Lennon: Do you suffer from sore eyes, groovy forehead, or curly hair? Take
Zimdon!

Dylan: Aw, no, man.

Lennon: Come, come, boy, it's only a film. Come, come, pull yourself
together. Another few dollars, eh? That'll get your head up. Come
on, come on, money, money!

Dylan: Haha! Huh! Where are you, Tom?

Bobby Neuwirth: We're in Sherwood forest, Rob. Friar Tuck.

Dylan: (Pleading, about to vomit into camera) Please go back to the hotel.

Tom: I'm on the way back now.

Bobby Neuwirth: What's the altitude in here?

Tom: Two thousand feet.


------------------------------------------------------------------------
- This page courtesy
of the rec.music.dylan archives

[LUCY]

this is the interesting part: anyone know the macy bros?
....................................................

Dylan: (Looking increasingly tired and distressed) I wanna go back home. I
wanna go back home, man, see a baseball game, all-night TV. I come
from a land of paradise, man.
Lennon: (In thick Northern accent, very sarcastically) Sounds great.
Dylan: Well, I could make it sound so great that you wouldn't have the
capacity to speak.
(Lennon is silent)
Dylan: (No longer "acting") Hey, I'm very sick, man. I'll be glad when this
is over, 'cos I'm getting very sick here.
Lennon: With the tremors?
Dylan: Are you getting sick here? (Pennebaker leans out of the limo and
shoots Dylan through the window) Is it pouring yet? Hey, that's a
good shot, but why don't you bring it back in 'cos it's cold. (He
scowls, then groans, struck by a wave of nausea) Aw! How far are we
from the hotel, Tom?
Tom: Five minutes.
Dylan: Oh, wow.
Lennon: Permission to land, Tom.
Dylan: Oh God, I don't wanna get sick here. (Head in hands) What if I vomit
into the camera? I've done just about everything else into that
camera, man, I might just vomit into it.
Pennebaker: It'd make a nice ending, wouldn't it? Cooking With Dylan we'll
call it.
Dylan: But I never throw up. (Gallantly attempting to regain composure) So
tell me John, how long have you had a partnership with Macy's?
Lennon: The Macy Brothers themselves, we've had a partnership of 13, 14
years I guess.
Dylan: And you're a new cat, a new youngster, from Canada, right?
Lennon: Canada, yes, rootin' tootin' Quebec, you know.

[Scatterdome]

LUCY said:

Dylan: And you're a new cat, a new youngster, from Canada, right?

Lennon: Canada, yes, rootin' tootin' Quebec, you know.

Maybe Bob actually said "And your new cat, a new youngster, from Canada, right?"

What year is this dialogue from? If it was from sometime around '67 to '69, and if Bob did say "your" or "your-uh" instead of "you're a," then not only does the sentence make more grammatical sense, it makes total sense if he's talking about Faul! (For those unfamiliar, there are many clues discussed on this forum possibly signifying that Faul could be from Canada.) Maybe Bob's inhibitions in front of the camera were temporarily reduced as he was about to get sick...

[TheWatusi]

oh, scatterdome, you may be on to something.....

[Scatterdome]

I just did a little internet search for background on Eat The Document, and it turns out it's all about Bob's 1966 tour of Europe, of which the last date was May 27, 1966 at the Royal Albert Hall.

The Beatles' "butcher" album cover photo shoot with the real James Paul took place in June, so if Bob is actually talking about Faul in this clip, he's talking about him in early summer '66, even though the switch occurred in autumn!

This, of course, would make perfect sense if my alternate theory (that the Beatles hired a public replacement for Paul and began grooming him before the release of Revolver in June '66, after which James Paul continuted to contribute music from behind-the-scenes) is correct. So here's the link once again, for those unfamiliar:
60if.proboards21.com/index.cgi?board=paul&action=display&thread=1063219993

Interesting that this great scene was deleted. You'd think they would have included as much Lennon & Dylan interaction as they could've. (Unless there's something in this scene that resulted in the editors being forced by someone to cut the scene out of the film?)

Of course, Bob could have been talking about someone else the Beatles had hired from Quebec in the first half of 1966...

[TotalInformation]

They're improving. I don't think Lennon had a partnership with macy Brothers for 13 years . . .

[Scatterdome]

New thought: maybe Dylan was talking about Terry Draper? It's a fact that Terry is from Canada, and the general consensus seems to be that he was the original choice for a "Faul."

Under my alternate theory, James Paul may have already been wanting to hire a public replacement by mid-'65. I will post more detail on this elsewhere, but for now, here's a few tidbits to chew on: If my theory is correct, what if the "Day Tripper/We Can Work It Out" single was all about Paul's then-new plan? Maybe he already had Terry lined up, and "Day Tripper" is about Terry. (Day Tripper = Terry Draper?) "Got a good reason for taking the easy way out..." And then "We Can Work It Out" would be Paul trying to convince John to go with his plan.

Then there's "Yesterday" (Now I need a place to hide away), and "I'm Looking Through You" (James Paul imagining a "Faul" scenario?), and the entire Revolver album's lyrics... but I have to go to work now, so I'll have to detail this on another thread later!

[Darkhorse]

Look, just because he mentions Canada doesn't mean he is talking about Faul. It could be anybody.

Hardly the same thing as saying 'Beatle Bill' in front of the camera.

[TotalInformation]

"Day Tripper/We Can Work It Out" single was all about

Dude, this is just evidence you're grasping waaay too much with your little theory.

[SilverBeatle]

If my theory is correct, what if the "Day Tripper/We Can Work It Out" single was all about Paul's then-new plan? Maybe he already had Terry lined up, and "Day Tripper" is about Terry. (Day Tripper = Terry Draper?)

A little info on Terry Draper:

Terry Draper
Born: September 22, 1951 in Toronto, Ontario

Born and raised in Toronto, Ontario, singer, songwriter, multi-instrumentalist, engineer and producer Terry Draper got his start in the Toronto music scene more than 30 years ago playing drums in various R & B bands including The Innocence Of Virgil Scott starting in 1966. Years of floundering in the Toronto music scene led Draper to a life in Yorkville during the hippie revolution.

As drummer he found his options limited and a close friend gave him a guitar, three chords to start with and told him to play it. After an early appearance by Led Zeppelin at Toronto's Rockpile and a chance meeting with Jimi Hendrix in the late '60's, Draper realized that being a musician for a living was a definite must.

Draper would eventually hook up with highs school pal John Woloschuk to form Whitemail with another Toronto area kid, Dee Long (Polychromatic Experience, Bloodstone). That band would mutate into Mudcow with Jamie Bridgman in 1971, but by the end of 1972 the group had split and the members went their separate ways. Draper would get a day gig working in the 7" singles department at Sam The Record Man in downtown Toronto.

Meanwhile, Long and Woloschuk continued on as recording act Klaatu in January 1973 with producer/financer Terry Brown. A deal with GRT records allowed the duo to release several singles with various session drummers. Long and Woloschuk soon realized that a permanent percussion was needed if they were going to record any further, and in late 1974, Draper made his debut with Klaatu on the single "California Jam".

-----------------------------------

I think this was brought up before but I'll risk repeating: unless his bios are bogus, Draper would have been 14 or 15 when he was picked by Paul as a replacement. Don't ya think they'd want to wait until his voice changed first?

Seriously Draper's life and times are pretty well documented (incl high school pals to verify his age). I think any thought of Draper involved with the Beatles in '65-'66 is farfetched at best.

[Scatterdome]

SilverBeatle—you’re absolutely right!

There’s no way the Beatles would’ve considered a kid who just turned 14 for the part; even if his voice had already changed smoothly and he could sing like Paul at that age, the Beatles knew enough about human nature to know better than to pull a kid into something as huge and crazy as this!

The same goes for September ’66, when Draper had just turned 15. Terry Draper did not sing any tracks for the Beatles while they were together. Unless he’s lying about is age—after all, we are talking about a member of a band that kept its members secret until their fourth album. And Faul lies about his age. But I don’t think Terry’s lying.

The cool thing is, although it’s a little embarrassing, this exposure of the mistake/misinterpretation I made in this “coincidence” actually sharpened my focus to realize more likely meaning of the phonetic similarity between “Terry Draper” and “Day Tripper.” It happened when I remembered Eggman’s post from earlier in the week. He pointed out the amazing phonetic similarity between “Penny Lane” and “Denny Laine,” Faul’s longest-running public bandmate (over 10 years with Faul.)

We already know that Sgt. Pepper and Billy Shears = William Sheppard and Blue Meanie=Illuminati.

But in this case, I think the language is similar but the connection different. Here’s how I think it might work:

James Paul chose Denny Laine, co-founder of the Moody Blues, both for his ability to prop up Faul to keep his music respectable (to give him Wings so that James Paul could eventually do his own thing), and for the phonetic similarity to the Beatles song “Penny Lane.”

James Paul chose Terry Draper as the “Paul-esque” voice in the triple-lead-singer line up of Klaatu, which was modeled after the Beatles to allow the variety of multiple lead singers that he missed when focusing his compositional energies on Faul’s solo career, because of the phonetic similarity to the Beatles song “Day Tripper.”

Why would he let the symbolism be such a determining factor? Because it goes with the analogy of the Illuminati’s symbol-placing behavior to which they were trying to wake us up with their Faul plan. The Illuminati make decisions based on the symbolic potential all the time…

He must have had hundreds of capable musicians that could’ve sang close enough to him, without imitating, which wasn’t required. He chose Terry Draper because it completed the synchronicity perfectly: Day Tripper is to Terry Draper as Penny Lane is to Denny Laine!

Thank you for pointing this error out—I should’ve done more research on that detail. Now my focus is clearer… tomorrow I will modify the first post on my theory’s thread, which functions as the overall thesis and didn’t have that idea in it in the first place. (I wish I could do it tonight, but now I must go to bed.) But I will leave some of it in subsequent posts, with disclaimers in parentheses, to show how a good theory is one that is modified when one of the leads turns out to either have a dead end or a different meaning than first perceived.

Deeper explanation at this thread:
"RUBY TUESDAY LYRICS"
60if.proboards21.com/index.cgi?board=60ifclues&thread=1070378430&action=display&start=0

As for the main subject of this thread-- I think that Dylan was talking about Faul, unless Faul's not from Canada. In that case, he would've probably only been referring to someone else from Canada that John had recently employed.

[TotalInformation]

Blue Meanie=Illuminati

Foul on the play. Illegal reach.

[Scatterdome]

If you're calling that a stretch, Total, I assume you haven't read the Yellow Submarine thread recently:

NowhereMan said:

Take a look at this:


The Pyramid is a symbol of the illuminati isn't it? ( see backside of an american dollar bill.

or it could just be a place to park your Yellow Submarine.

The dialogue that follows immediately after that shot in Yellow Submarine, where the submarine has just landed on the missing part of the pyramid, with the submarine’s portal creating an eye where the Illuminati’s “all-seeing eye” would normally be:

Lord Mayor: “You could pass for the originals”
Ringo: “We are the originals”
Lord Mayor: “No, no, Sgt. Pepper’s Lonely Heart’s Club Band.”
John: “Well, they couldn’t be much with a name like that.”
Paul: “Sgt. Pepper?”
Lord Mayor: “You could impersonate them and rally the land to rebellion!

Significantly, the last line of dialogue right before the submarine lands on the pyramid occurs when Ringo spots a pyramid-shaped pile of apples, peers into the top, and says, “There’s an eye in the apples,” after which he discovers a frozen Lord Mayor hidden in the pile.

Full discussion that occurred on this subject starts at this link:
“Are there clues in Yellow Sub?” (Page 3)
60if.proboards21.com/index.cgi?board=60ifclues&thread=1064668996&action=display&start=45

Have you watched Yellow Submarine recently, Total? Watch it again with my analogy in mind, and if you’ve read the right books, it will become clear:

BLUE MEANIE = ILLUMINATI.