Saturday, March 30, 2013

Paul is Dead Clue: Isaac Asimov's “Five and Five and One”


Isaac Asimov was approached by Faul McCartney
to write a movie about aliens impersonating rock stars

Back in 1974, Faul approached Isaac Asimov about making a movie about a band that was being impersonated by ET's. Ironically, the Faul was going to play one of the impersonators. Here is what wiki had to say about the movie that never happened:
Paul (Faul) McCartney approached Isaac Asimov in December 1974 with a possible idea for a sci-fi related project. He had just finished Wings' Venus and Mars album. 
In December 1974, former Beatle Paul McCartney approached Asimov and asked him if he could write the screenplay for a science-fiction movie musical. McCartney had a vague idea for the plot and a small scrap of dialogue; he wished to make a film about a rock band whose members discover they are being impersonated by a group of extraterrestrials. The band and their impostors would likely be played by McCartney's group Wings, then at the height of their career. Intrigued by the idea, although he was not generally a fan of rock music, Asimov quickly produced a "treatment" or brief outline of the story. He adhered to McCartney's overall idea, producing a story he felt to be moving and dramatic. However, he did not make use of McCartney's brief scrap of dialogue, and probably as a consequence, McCartney rejected the story. The treatment now exists only in the Boston University archives.

Below is an article that talks more about what would have been a pretty major PID clue movie.


Paul on left, Faul on right.



“Five and Five and One” is a science fiction rock opera suggested to Isaac Asimov by Paul McCartney, but as Asimov noted on the first page of his treatment, “nothing ever came of it because McCartney couldn’t recognize good stuff.”

Robotic Revolutions recently had the opportunity to view the Isaac Asimov Collection at the Howard Gotlieb Archival Research Center at Boston University, where we unearthed Asimov’s original treatment.

“Five and Five and One” is the story of six extra-terrestrial, parasitic, energy beings that crash land their space ship on Earth and are forced to take drastic measures to survive: copying the identity of a rock band, with the goal of brainwashing the entire world.

Arriving on Earth, the ETs have the appearance of lizard-men and communicate through thought-waves, but we soon learn the lizard-men are simply host bodies for a race of wraith-like energy beings that must subjugate other species in order to live.

Hiding their space ship in a cave and leaving behind their lizard-like shells, the cloudy group of six takes over a herd of cattle. The intelligence of the aliens suffers in their cattle form, so they begin the search for a more suitable host: man.


Paul on left, Faul on right.

The body snatchers come upon a man and woman in a parked car, listening to music and kissing. The kissing confuses the aliens, as they reproduce asexually through fission and have no understanding of love. Even as they are unable to break the will of the humans, they notice the music affecting them.

The energy beings believe using music may allow them to mentally dominate humanity - to survive and reproduce. Taking the form of eagles, the aliens search the world for the music they need - from exotic Chinese music to modern symphonies and childish jingles, they cannot find a suitable sound.

Finally, the aliens settle on the British backwoods, where they find “the Group,” played by Paul McCartney’s band, Wings. The body snatchers detect strong emotions in the listeners of “the Group,” as well as affection between sexes, which confuses them again.

In a desperate gambit, the ETs expend almost all of their energy to copy the form of “the Group” and through the use of an Emotion-concentrator become “the Super-Group,” able to produce music with even more power and intensity than their predecessors.

The six beings become the five members of the band, accompanied by Joe, an earnest and clumsy, yet lovable manager. “The Super-Group” completely rocks out with the help of the Emotion-Concentrator, creating sophisticated and dangerous music.

Turning into eagles again, the aliens fly to the United States to stage their take over with the assistance of high technology and pop culture. However, once “the Super-Group” begins to play before packed audiences and sold-out crowds they begin to lose control, making “boner” mistakes and social gaffes during their shows.

Joe realizes the beings are dependent on the proximity of “the Group,” so he flies back to Britain and shows the original band US fan magazines and clippings of “the Super-Group” and their runaway success.

Puzzled and indignant, “the Group” struggles to defend their identities. They fly to the United States with Joe, who must constantly push them forward, yet keep them a step away from his alien race to maintain the superiority of “the Super-Group.”

During his travels with “the Group” across the United States, Joe begins to take interest in the only female member of the band.

Once “the Group” is in the US, “the Super-Group” plays with a much surer touch. Yet as suddenly as “the Super-Group” gains their powers they begin to diminish - even with the Emotion-concentrator at full power.

Joe, through his interaction with the girl, realizes “the Group” is regaining their power through their capacity to love. His alien race knows nothing of the physical, mental, or emotional affection of sexual attraction, so “the Super-Group” is unable to express it in their music.
His species is revolved by Joe’s explanation, but it is revealed to be true, as they play a love song full of disgust, while McCartney’s band plays a love song with romance and delight. Undeterred, “the Super-Group” believes they are mere days from taking over the Earth, but Joe tells them they will never succeed without love.

Without Joe to keep “the Group” at bay, they stumble upon “the Super-Group” and the stage is set for a final showdown with original and imitation in direct conflict!

Face to face with their doppelgangers, “the Group” plays better than ever, filled with indignation towards the aliens and love for each other. “The Super-Group” is repulsed by the love, which drives their skill even further into the ground.

Realizing victory is close, a note of triumph enters the music of “the Group.” Joe feels it as well, he knows his race cannot win and he no longer wants them to succeed because he is beginning to understand his love for the girl.

Stealing the Emotion-concentrator from “the Super-Group,” Joe throws it to the original band, but they throw it to the side crying out, “We don’t need it!” Love is the only Emotion-concentrator they need. The extra-terrestrials know they have lost.

The five members of “the Super-Group” melt and disintegrate, wraith-like and formless, disappearing into the distance. However, Joe survives, as a result of experiencing love. He wants the girl, not as a host body, but as a partner, a fusion of equals - a share of her and a share of himself.

The girl understands and they approach… Joe dissolves his human form and melts into the girl, where he will remain as long as she lives.

The final song, in Asimov’s words, “must express the victory of love and the escape of mankind, not only from domination, but from isolation as well. There has been a union of intelligences for the first time and the birth of a combined being greater than either separate one, and the coming of a race that will truly inherit the Universe.”


Above article now available at http://launch.groups.yahoo.com/group/wonderwallemporium/message/197

Special thanks to Andrew Johnson from Check the Evidence for sending this information, which in turn was sent to him by "Neil." My interview with Andrew is available here: Was Paul McCartney "Replaced" By a "Double" in 1966? ( or audio only)

Thank you to everyone who contributes to PID research!

Tina Foster
Author of The Splitting Image: Exposing the Secret World of Doubles, Decoys, and Impostor-Replacements
Join the discussion: PID Miss Him forum

The Luciferian Deception

ALIEN INVASION:
Reptilians, Cetaceans and Frequency Wars on Planet Earth


11 comments:

  1. Perhaps Faul discarded it because it was too close to the truth...

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  2. IVE SUSPECTED that beings based on saturn are influencing mankind in a negative way..hence why masonic/occult symbolism is biased towards that planet...the number/time and word systems play a big part...the number 11 SEEMS very important hence 911,1111AD the crown formed... 1118ad templars ..and the fact we have war sacrifice day on 11th hour,11month,11th day...not to mention golden dawn have rituals based on number 11 and mi5 and mi6 chose it too

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  3. Very interesting how sci-fi often depicts the devil as coming from outer space, as in the 80's movie
    "Krull".
    This reminds me of the 1961 Michael Harner ayahuasca experience:
    "I could only very dimly perceive the givers of these thoughts: giant reptilian creatures reposing sluggishly at the lowermost depths of the back of my brain, where it met the top of the spinal column."...
    "They explained to me in a kind of thought language that they were fleeing from something out in space. They had come to the planet Earth to escape their enemy. The creatures then showed me how they had created life on the planet in order to hide within the multitudinous forms."

    Blue Jay Way:
    "I became conscious, too, of the most beautiful singing I have ever heard in my life, high-pitched and ethereal, emanating from myriad voices on board the galley. As I looked more closely at the deck, I could make out large numbers of people with the heads of blue jays and the bodies of humans, not unlike the bird-headed gods of ancient Egypt.

    Definitely worth a read in light of this intriguing Asimov nugget.
    http://deoxy.org/shamanway.htm

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  4. I wanted to congratulate you on the latest Plastic Macca column re Isaac Asimov's rejected spec treatment for Faul. As a notable biochemist he was, as you know, also an iconic best-selling science fiction writer. His treatment must have alarmed and even repulsed Faul (and in reading it one can easily infer Asimov may have known about the switch with Paul). Basically, it was rejected because it's not a Faul ego vehicle and, besides that, the narration suggests the alien protagonist (presumably Wings leader Faul) was inherently evil and that love would unmask their true identity and motives, inspiring conscientious members to revolt and a true leader (implicitly the reincarnated Paul) would rise and evolve the group with humans into one species, united in and empowered by harmonious love. We both know that's NOT how Faul sees himself nor the world he believes he has on a string (with apologies to Frank Sinatra).

    I think 8+ out of 10 psychiatrists would analyze material like that treatment, the rest of abounding empirical evidence, and truthful documentaries (no, not disinfo releases like that absurd George Harrison "fictionmentary" but films (streaming on Netflix) such as "The Impostor") -- if you haven't seen it, please do-- and yes indeed such a super-majority of shrinks wouldn't shrink from their responsibility in concluding what two Italian scientists already proved with clinical certainty (and hundreds of lyrics and musical clues, both forward and backward, also attest)... along with scores of unaltered photographs the document the ugliest hideous truth hiding in plain view: that James Paul McCartney, son of a cotton salesman and ragtime band leader, was [CHOSE ONE: 1. kidnapped and died of untreated illness or injury; 2. murdered; 3. died accidentally in a car, plane or boat; 4. like Enoch and Elijah, taken into Heaven without dying] and then was... YOUR ONLY CHOICE: replaced in Q4 1966 by a (loathe to admit somewhat talented if egomaniac) Lucifer-worshiping unwell-minded musician and actor of English origin we know little about other than the fact he has a different face, body (from hair part and eyes to posterior to feet even!), speaking style, personality, mannerisms, singing voice, speaking rhythm, playing style and many other features that call him out like a dog who just wet the carpet!

    ~ Ken Knott

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  5. It's time to once and for all EXPOSE this fraud while the man almost universally called Sir Paul McCartney (about whom we know NOTHING prior to 1967) is prancing around pretending to be a man who vanished without a trace just a few months after his 24th birthday.

    How could a sweet and talented young man (just four years out of his teens) vanish into thin air? Worse, how could Paul be replaced so brazenly and convincingly by someone with only a passing resemblance, someone who thinks, acts and behaves entirely differently from the sweet, polite, modest and genuinely "cute" young man, Paul McCartney?

    And what about the DEAD silence about Faul from assumed family members and ex-soul partners (Mike McGear, Jane Asher and more)? What about NO ONE (besides Mal, no surprise there) attending Faul's wedding (no Beatles, not even a 5th Beatle) nor, despite the myth he attended, even his own kid brother Mike (who never showed up, late or otherwise... "you know... British rail" as Faul explained... what B.S.! And what this, Sir Faux? You don't attend your own father's 1977 FUNERAL just a two hour flight from your concert in Europe? Why not? Oh, because he's um.... maybe he's NOT your father. Right.... (That reminds me: in the ATV suit settlement production on British TV, "James Paul McCartney", Faul greets his dad at a pub with his "relies" all around him... "Hi dad" he says. "Dad's" reaction? No hug, handshake or even an acknowledgment; "dad" simply orders a bottle of beer in a squeaky voice! (And, following a staged "Dad covers his son with cash and his "son's" perfunctory "thanks dad" edit, that's the last we see of him). What a psyop, Tina... now in its 47th year!

    ~ Ken Knott

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  6. You hit a home run with that Isaac Asimov piece.

    Especially with me, as I’m at the tail end of watching “The Invaders” episodes on Youtube. I am going to buy the DVD’s from B&N.

    It was on TV in ‘66-‘67. I have no idea why, but I didn’t watch it at all back then.

    First off, I watched the first episode on Youtube, and thought, “Wait a minute. This isn’t about extraterrestrials. This is a metaphor for the rhymes-with-you-know-who’s infiltration of the human race.”

    Couldn’t understand it. A Quinn Martin Production. That’s a gentile name. Hmm.

    So I looked up Quinn Martin. Bingo.

    For example -- one episode had a chemtrail in it. In a clear blue western sky, a chemtrail, in 1966. The main supporting actor developed a hacking cough, almost doubling him over. They never explained it. It was never set up in the script. If that isn’t significant, I don’t know what to say, but as the episodes progressed, there were more and more of these little signs that something was terribly wrong here.

    The other night, Tina, I almost fell off my chair.

    David Vincent, our hero, is escaping in a Ford Fairlane. He comes to one of those generic crossroads with the generic sign pointing to the right to a generic town. The camera, however, stays on the sign for one second too long.

    These towns are always named something familiar. Anytown. Smallville. Maplewood. Right?

    This town, however, was named…

    Travistock.

    Bingo.

    Don

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    1. One episode of The Invaders had a black guy being vetted for the top slot in the government, running the entire space program. He’s, of course, an extraterrestrial.

      A black cop has been hired by the Senate to vet him, and David Vincent, our hero, approaches the cop to let him know he’s got an alien about to be head of the US space program.

      To cut to the chase, the black cop, naturally, understandably, thinks David’s a whack-job.

      David’s asking him, “So did you check his elementary school records?”

      “Did you interview his father?”

      “Did you check his birth certificate?”

      “Did you SEE his birth certificate?”

      I don’t know Tina… I think you can understand I was beating myself up over this one, “Oh, come on, Don. That’s really reaching with the foreshadowing business. It’s just a coincidence.”

      I really was agonizing over it all.

      However, when I saw the camera sit on the Travistock sign just a second too long a few episodes later, well, now I’m not so sure. I’ve seen a ton of stuff in that show I have never seen anyone mention. At ALL.

      Travistock, with an “r”. Gimme a break. It’s like being hit over the head with a shovel.

      A commenter on YouTube about the show described above said, “Let’s see. An African-American being vetted for high government office with an uncertain background. Sounds vaguely familiar, somehow…”

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  7. My sister was floored, but not quite as much as I was, by the Asimov article, both because she hasn’t watched The Invaders yet (I would advise ANYONE to study it extremely closely) and because she didn’t know who Isaac Asimov was. I explained to her that any science fiction fan, if asked to name the top five science fiction writers of all time would include him.

    In talking to her last night about this, she mentioned to me (and I told her to write to you) that a friend of hers worked with Faul on that stupid opera of his. This guy said this long before she started down this road of even considering that Paul was Faul. She had never entertained the notion. She was McCartney’s biggest fan. Flew to London to walk where he walked. Flew to Nova Scotia to catch his concert. Bought front row center tickets off Ebay for fifteen hundred bucks for the Boston concert.

    Anyway, this guy told her the person that knew the LEAST in the entire room was Sir Paul McCartney. Said the guy had no clue. And he was being kind, since she was so crestfallen.

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  8. Incredible story about Faul - so he is pretty much confessing to be an Alien? And what I really wonder is what special message he wanted included in the script which made him reject the project. I think it was probably very poor artistically but held a special meaning.

    Getsmart

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  9. So, as this relates to my Whovian venture, Mr. Shakespeare is proven once again: there truly is nothing new under the sun.

    Scott Powers
    Winston O'Boogie

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