The Good Guise

The Sgt. Pepper Connection

During the summer of 2005, in July, circumstances arose that led to very long intense moments of prayer and the reading of The Bible as never before. While reading Revelation 12:1 I came across the following passage:

A great and wondrous sign appeared in heaven;
a woman clothed with the sun,
with the moon under her feet
and a crown of twelve stars on her head.

As a result of reading this passage an observation was made that at first was deemed to be nothing more than a simple coincidence. The question should be asked about the passage before it is explained – do you find that this passage relates in any manner to any Beatles’ song that you have ever heard? It turns out that there is a very clear tie to a particular Lennon-McCartney song and so it is of interest to me to see just how obvious it is to others such as you.

Though The Beatles are of a past era almost all of us still find their music familiar because their popularity has not died down even to this day. What is significant about this passage in Revelation 12:1 is that it can be tied directly to the song titled Lucy In The Sky With Diamonds. The manner in which that connection is established is fairly straight-forward; for Lucy is represented by the woman in this passage, and the phrase in the Sky in the song title is embodied by this notion of the woman clothed with the sun with the moon at her feet. Also, the Diamonds portion of the song title can be tied back to the stars on her head portion of the biblical passage found in Revelation 12:1.

After this observation was made, a mental note of this was made and reading of Revelation 12 continued. When the passage in Revelation 12:5 was read, it was realized that this passage related perfectly to Getting Better, the next song that appears on Sgt. Pepper.

Revelation 12:5 states:

She gave birth to a son, a male child,
who “will rule all the nations with an iron scepter.
And her child was snatched up to God and to his throne”.

The song Getting Better can be summed up as being a song about a man that once was a bad man but then became a good man. This theme is in step with the theme put forth in Rev. 12:5 for in this biblical passage we find a man that at first rules with an iron scepter and then is later snatched up to God. We could reasonably conclude that harshness, or bad-ness, is implied by ruling with an iron scepter and good-ness is implied by being snatched up to God, as one who is close to God is by that very arrangement a good person.

At this point it was realized that these two songs may well be part of a larger series of relationships potentially existing between the songs on Sgt. Pepper and passages in Revelation. This turned out to be the case and when a review of related biblical passages was completed the following relationship between songs found on Sgt. Pepper and Revelation 12 and 13 had been identified:

Revelation 12:1 – Lucy In The Sky With Diamonds
Revelation 12:5 – Getting Better
Revelation 12:16 – Fixing a Hole
All of Revelation 12 – She’s Leaving Home
All of Revelation 13 – Being For The Benefit Of Mr. Kite

It is worth the effort at this time to talk about how each of the remaining songs relate to the biblical passages mentioned above. Since the first two of the songs in this list have already been addressed it is appropriate to continue now with the explaining of how Revelation 12:16 is tied to the song Fixing a Hole.

Revelation 12:16 states that:

the earth helped the woman by opening its mouth
and swallowing the river
that the dragon had spewed out of its mouth.

Coming to understand how Fixing a Hole relates to this biblical passage required both poetic insight and spiritual inspiration. Everyone makes the same mistake when first reading the phrase fixing a hole in that at first it is thought that the term fixing connotes the act of mending or repairing. This interpretation is even initially supported by the lyrics of the song as at first glance the lyrics appear to support this conclusion. However, this is an incorrect assessment of the term fixing. It was realized that fixing must be defined in the same manner that we define the word when we say the phrase fixing dinner. If we do this fixing now connotes the act of creating or preparing, as opposed to mending or repairing.

When we define fixing as such there is now a valid connection between this song title and Revelation 12:16, as the biblical passage also includes this notion of creating a hole as the earth is opening its mouth in this biblical passage. By establishing this relationship between the two it is possible to successfully tie the song and this passage to one another in a convincing, poetic way.

After identifying the above biblical relationships in the songs Lucy In The Sky With Diamonds, Getting Better, and Fixing a Hole, a search began for a biblical tie to the next song that appears on Sgt. Pepper; namely, She’s Leaving Home. It was not possible to establish a relationship at that time between the song She’s Leaving Home and this area of The Bible.

However, while reading Revelation 13 it became apparent that all of Revelation 13 was embodied in the song Being For The Benefit Of Mr. Kite. The observations subsequently made regarding Being For The Benefit Of Mr. Kite established beyond the bounds of simple coincidence that an undeniable relationship exists between the artistic efforts of John and Paul and The Bible.

Let’s take a look at how Being For The Benefit Of Mr. Kite relates to Revelation 13.

The song Being For The Benefit Of Mr. Kite contains two characters;

  1. Mr. Henderson, or Mr. H, and
  2. Mr. Kite, or Mr. K.

Revelation 13 fits in well in this regard as it also contains two characters;

  1. the first beast, the beast out of the sea, and
  2. the second beast, the beast out of the earth.

After this relationship between the characters in this song and Revelation 13 was established it was hypothesized that the alphabetical reference to the two characters in the song should allow one to conclude and subsequently prove that Mr. H must represent the first beast and Mr. K must represent the second beast since H precedes K in the alphabet, just as the first beast precedes the second beast.

The hypothesis was a correct one and this is but one of many points of reference that can be made between this song and Revelation 13, thereby strengthening this assertion that Being For The Benefit Of Mr. Kite does have an undeniable tie to Revelation 13. These various points of reference will be covered now. Before that takes place it should be said that is very important that you understand how this song relates to scripture for the ways are many and varied and once you understand how this song ties back to Revelation 13 you will be much more willing to accept the other song/scripture relationships that are also included in this chapter.

Let’s first look at how Mr. H, or Mr. Henderson, is depicted in the song. After having done that we should then be able to tie the characteristics of Mr. H back to the first beast in Revelation 13:

Mr. H is referenced in the song in both a singular and plural manner. For example, the song contains the plural reference in the line the Hendersons will all be there and the singular reference in the phrase and Mr. H will demonstrate.

If we read through Revelation 13 we see that the first beast is described as having seven heads. This is why the song references Mr. H in both singular and plural form; it is one beast but also many beasts at the same time. The two witnesses provide a fair amount of information in this statement, for we can now see that the first beast is not a single entity with many characteristics but instead is comprised of several distinct entities all operating with the same goal in mind.

The song contains the line, And Mr. H will demonstrate ten summersets he’ll undertake on solid ground.

In The Bible the first beast has ten crowns on his seven heads. [32] In order for an individual to complete ten summersets, or somersaults, one must use the crown of one’s head in the process. In this case, the crown of the head is used ten times.

Regarding the phrase he’ll undertake, in The Bible one of the heads of the first beast appears to have suffered a mortal wound, [33] which implies the notion that this head had appeared to die, or had died. Hence the use of the word undertake in the song.

Lastly, Mr. H does all of this on solid ground. This ties correctly to the first beast because even though the first beast is technically the beast of the sea the first thing he does is come out of the sea, [34] implying that he comes on to solid ground.

Let’s look now at how Mr. K is depicted in the song:

The entire show is for the benefit of Mr. Kite as is conveyed with the line for the benefit of Mr. Kite there will be a show tonight.

The culmination of Revelation 13 is that the second beast attains his power and completes his actions. Likewise, Mr. K is the one that benefits the most from the efforts of Mr. H and the public. We can carry this realization a bit further and see now that the goal of the first beast is to bring rise to and in turn strengthen the second beast.

Mr. Kite ends the show by traveling lastly through a hog’s head of real fire.

The most spectacular achievement of the second beast in Revelation 13 is that he makes fire come down from the sky. [35] In the song Mr. Kite travels through a hogshead of fire, which serves to represent this act found in The Bible.

Mr. K performs his tricks without a sound.

The power of the second beast in The Bible is derived by the visual things that he does: those things that require no speaking on his part.

The celebrated Mr. K performs his feat on Saturday at Bishopsgate.

This line in the song is understood only after a proper understanding of the words Saturday and Bishopsgate is arrived at.


Throughout the period of prophecy the two witnesses make numerous references to the days of the week. [36] These references were made in a deliberate manner with the intention of conveying significant meaning to those people that would eventually identify the Lennon-McCartney duo as being the two witnesses. If we look at the story of creation in Genesis we see that everything was created by God in seven days. A very simple conclusion to be derived from this story is that this seven day period serves to represent the time period required to bring some action from inception to completion. In Genesis it is the universe that is created by God in seven days. This symbolic seven day period of completion was used by the two witnesses many times when they talked about various aspects of Jesus Christ that require the passage of time to be fully realized.

For example, we could think of the events taking place in the vision in Revelation as occurring over a seven day period symbolically. If this symbolic week started on Monday, as the week in the story of creation did in Genesis, we would be able to conclude that the events in Revelation will fully manifest themselves seven days later on the following Sunday. With that being said we could surmise that everything taking place on Saturday would be taking place very close to the time the Establishment is fully in place and operational.

In light of this it makes perfect sense to say that Mr. K, the second beast in Revelation 13, performs his feats on a Saturday, since these events taking place in Revelation 13 are indeed very close to the full manifestation of the Establishment. [37]


Though Bishopsgate is an actual location, a proper symbolic interpretation of the word is needed to understand what was intended to be conveyed by the two witnesses. It is easy to attach a religious connotation to the word as bishop is a component of the word. This makes great sense if we understand that the dragon mentioned earlier in Revelation 12 is associated with a religious institution, which it is. Quite a bit of time was spent during the research portion of this literary endeavor establishing that to be the case but here it can be acknowledged that the line

The celebrated Mr. K performs his feat on Saturday at Bishopsgate

should be understood to be saying:

The anti-Christ will emerge out of a religious setting
and complete his actions very close to the time
that the iron civilization ends and the Establishment begins.

In addition to these associations already mentioned, the song also contains other more subtle, more powerful concepts.

The song Being For The Benefit Of Mr. Kite contains the following line:

the band begins at ten to six.

This line is often passed over as being of no importance whenever anyone is trying to understand what is being conveyed in the song. However, there is a significant meaning to be derived from this phrase.

In order to understand the significance of this phrase one needs to have a basic understanding of the book of Revelation. Revelation, at a high level, is a book divided into two distinct sections. The first section is a series of letters that were sent to various churches, and the remainder of Revelation is the vision that discloses the major events that must take place to bring about the Establishment. It is at Revelation 4:2 that the vision begins with the phrase at once I was in the spirit.

If we start counting forward from this point that the vision begins at Revelation 4:2 when we arrive at Revelation 11:3, which is the only direct reference to the two witnesses in The Bible, we find that we are 106 passages, or verses, into the vision found in Revelation.

By establishing this numerical relationship between Revelation 4:2 and Revelation 11:3 we are able to understand the phrase the band begins at ten to six as it was intended to be understood. We now see that ten to six morphed poetically from 106, the exact number of verses into the vision in Revelation that the two witnesses come into the picture. Establishing this numerical relationship between these two verses allows us to conclude that The Beatles, represented here in the song by the word band, are directly related to the two witnesses.

In light of this observation we see now that the phrase the band begins at ten to six is intended to convey the notion that the two witnesses appear 106 verses into the vision contained in Revelation.

By establishing this relationship between this line in the song with the timing of the appearance of the two witnesses within the vision found in Revelation it can now be said that the word band is being used to represent the two witnesses. This observation will prove useful elsewhere in terms of justifying a discussion regarding the symbolic meanings conveyed through the repeated use of certain terminology employed by the two witnesses. [38]

There is also one other very critical connection to be made between the song Being For The Benefit Of Mr. Kite and scripture.

There is a line in this song that has been debated endlessly since it was released to the public, and to this day there has not been a sound conclusion reached regarding what was being conveyed with the line until now.

The line in the song that is being referred to is as follows:

And of course Henry the Horse dances the waltz.

Since it has already been established that the song Being For The Benefit Of Mr. Kite and Revelation 13 are mirror images of one another it was reasoned that the intended meaning of this line must also be contained somewhere within Revelation 13 as well. It was eventually found, and when you are shown how the line ties to Revelation 13 you will see that at last we have been provided with information that should be considered prophetic in nature.

Revelation 13:18 contains one of the most popular passages to be found in The Bible, especially to those concerned with biblical prophecy. It is here that we find reference to the number 666. Specifically, the passage is as follows:

This calls for wisdom.
Let those who have insight calculate
the number of the beast,
for it is the number of a man.
That number is 666.

It seems that it was the two witnesses that had the wisdom and insight needed to break through the mystery of this passage.

What was found was that the two witnesses took this passage found in Revelation 13:18 and rephrased it in a very artistic, poetic manner, in exactly the same manner the passage found in Revelation 12:1 was transformed into the phrase, Lucy In The Sky With Diamonds. Let’s look at the passage found in Revelation 13:18 in piecemeal fashion. The main physical components of this passage are:

  1. a beast
  2. a man
  3. the number 666.

If you are an artist, especially an artist that employs the use of words to create your art, you will have no problem seeing what John Lennon was doing; for he substituted the word horse for the beast in the passage, the name Henry for the man in the passage and, since John was aware that the waltz is a dance routine that is built upon a six step sequence, he created the phrase dances the waltz from the words the number 666. In essence, as one dances the waltz the number 666 is generated over and over again.

With the exact source of this long-debated line now being properly identified, we can understand that the phrase

and of course Henry the horse dances the waltz


and of course the anti-Christ is set into motion, or empowered, by the number 666.

Now that we have determined what is being said with the Henry the horse phrase the final statement found in the song that relates to Mr. Henderson also can be tied to the first beast. The line in the song is:

The Hendersons will dance and sing.

You now understand, based on the above explanation, that the second beast dances the waltz, or is empowered by the number 666. This understanding proves useful now, for with the Hendersons also dancing in the song we can take this as a clear indication that the first beast, which is made up of several distinct components, will also be equally empowered by the number 666. This dancing by the first beast as it is empowered by the number 666 is documented in Revelation 13:7 as follows:

It was given power to make war against God’s people and to conquer them.
And it was given authority over every tribe, people, language and nation.

The first beast also is given the ability to vocalize, which this line in the song poetically makes reference to with the use of the word sing, as in dance and sing. Revelation 13:15 states:

It was given power to give breath to the image of the first beast,
so that it could speak and cause all who refused to worship the image to be killed. [39]

Also, in Revelation 13:5 the following is said:

The beast was given a mouth to utter proud words and blasphemies
and to exercise its authority for forty-two months.

Once one understands this characteristic of the first beast as it is written in Revelation it seems only logical that we find that the Hendersons are singing in the song Being For The Benefit Of Mr. Kite.

Now that it has become obvious that the two witnesses prophesized, in part, about the anti-Christ, we should turn back to the beginning of Revelation 11 for a moment. Let’s read over the beginning of that chapter and incorporate our new understanding of the two witnesses into an interpretation of the following passage:

I was given a reed like a measuring rod and was told,
“Go and measure the temple of God and the altar, with its worshipers.
But exclude the outer court;
do not measure it, because it has been given to the Gentiles.
They will trample on the holy city for 42 months.
And I will appoint my two witnesses,
and they will prophesy for 1,260 days, clothed in sackcloth.

Here we are told that someone is supposed to measure the temple of God and its altar and worshipers. The outer court is not to be measured by this person so we can designate the outer court as something that is purposely being set apart from the temple. By making this designation we can consider this outer court as being the unholy portion of God’s plan; therefore not able to be considered by this person measuring the holy aspect of God’s plan, the temple and altar. We can carry this line of reasoning even further by concluding that specific information related to the outer court might not be able to be directly referenced in The Bible, the holiest of books. This could well fully explain why the two witnesses are part of the final days, or events, found in Revelation; they come and, outside of the bounds of the text of The Bible, deliver information critical to the Establishment, but information that is by its very nature not deemed appropriate for an appearance directly in The Bible.

What was beginning to materialize now as a result of this line of reasoning was the realization that….

….because the unholy aspect of the anti-Christ – this outer court – is so strong, conventional manners of prophesying are not permitted when prophecies are put forth that relate directly to the anti-Christ.

All of the magical or mystical manners that God defines as being off-limits, in that they should never be employed to capture divinations from God, are allowed for a brief time period of 1,260 days to be successfully employed by the two witnesses. It is only through these unholy manners [40] that the prophecies of the two witnesses are allowed to be delivered and stored away for future use.

We need to understand that everything during this time period gets temporarily turned upside down, including the very nature of prophecy itself, so that the anti-Christ can come into and ultimately pass from existence. The two witnesses could be thought of as being anti-prophets in a sense because the short term outcome of their efforts facilitates the rise of the anti-Christ. God will not permit conventional or scripturally-based forms of prophecy to take place during this time period. We also see at the beginning of Revelation 11 that the two witnesses appear in close textual proximity to the measurement of this outer court and this textual positioning serves to further establish that it is the two witnesses that measure the outer court.

But after realizing and then confirming that the once elusive Henry the horse phrase was directly related to Revelation 13:18, nothing of prophetic significance had been identified yet concerning this phrase. It was thought, though, that this level of hidden intricacy that had just been identified was an indication that some deeper significance was to be found in the profound Henry the horse phrase.

John and Paul were very artistic people and they were seen as being very obscure artists by many because some of their artistic efforts were never properly understood. For example, John Lennon forever promoted the concept of the number 9 throughout most of his life and artistic career, especially during the period of prophecy and then also on into his solo career in the 1970s.

With this in mind let’s take a closer look at the phrase and of course Henry the horse dances the waltz. When we isolate this phrase apart from the rest of the song we see that we are now dealing with a nine word phrase. This observation was considered to be potentially not a simple coincidence in light of all that had been realized about the Lennon-McCartney works so far. Since a numerical observation was made in regards to this phrase it was decided that perhaps the prophetic value of this phrase could be identified if it was approached from a numerological point of view.

Conducting numerological analysis is a very simple manner, at least in its initial stage. It is a numerologist’s task to translate an alphabetical sequence into a numerical sequence and then to reduce every numerical sequence down to a single digit. [41]


In numerology, there are a number of different methods [42] in which letters are translated to numbers and then reduced, and one of those methods, the Pythagorean method, says that each letter of the alphabet can be translated to a number as follows:

1 2 3 4 5 6 7 8 9

Once we understand how the Pythagorean method works we are now able to translate the Henry the horse phrase numerologically as follows:

And of course Henry the horse dances the waltz
154 66 363915 85597 285 86915 415351 285 51328

If we add each of the words up we arrive at:

10 12 27 34 15 29 19 15 19

We can then reduce each of these nine numbers down to a single digit and add them together as follows:

1 + 3 + 9 + 7 + 6 + 2 + 1 + 6 + 1 = 36, and 3 + 6 = 9

Now we can see that the initial observation regarding the number of words in this phrase is more than likely not a simple coincidence. At the very least the statistical probability of this numeric outcome happening by chance dissipates significantly once it is understood that not only does the sentence contain 9 words but that a numerical evaluation of the sentence letter by letter also results in the number 9 being generated. Furthermore, this same numerological approach can be applied to the number 666; that is, 6+6+6 totals 18, and 1+8 can be added together to give the same number 9. In addition, this passage is in the 18th verse of Revelation 13, which also reduces down to the number 9.

It seems as if the number 9 is to be found from a great many angles when one looks at this area of the works of John and Paul and this area of scripture. Is this numerical observation a coincidence? To the godless person that is presented this information, perhaps. The Christian, though, who sees and understands the two witnesses, perceives this information very differently than the atheist. A Christian understands that the nature of prophecy is such that its occurrence is not only a very real event but that it is possible in many forms and fashions. The Christian population will use this information in a meaningful manner to identify and deal with the anti-Christ. It will be understood by Christians, because of the prophecies of the two witnesses, that if we remove the relationship of this number 9 from the anti-Christ that we will bring about the anti-Christ’s demise.

After having already established earlier that Mr. K, or Mr. Kite, was the artistic embodiment of the second beast found in Revelation 13, the one directly tied to the number 666, the numerological value of the word Kite was determined:

2 + 9 + 2 + 5 = 18, and 1+8 resolves down to the single digit 9 as well.

So, here we now have the ability to give a very clear numerological explanation of why John Lennon was busy projecting the number 9 to the world. He was delivering prophecy related to the identification and ultimate demise of the anti-Christ. What he was telling us is that there is, or will be, a very strong, tangible, measurable relationship between the number 9 and the anti-Christ.

Let’s turn back now to the larger topic that is at hand in this chapter; namely, the five song sequence on Sgt. Pepper that is currently under discussion regarding the sequence’s correlation to the biblical passages found in Revelation 12 and 13.

The fourth song in this sequence of songs, She’s Leaving Home, had still not yet been tied to any biblical passage in a meaningful fashion. If She’s Leaving Home was to be considered a part of this sequence of songs that is now being discussed then that relationship would need to be found prior to Revelation 13, for Revelation 13 deals with the song Being For The Benefit Of Mr. Kite. In other words, it was seen at this point that the four songs that have already been shown to relate to various biblical passages had been related to those passages in the same sequential manner that the passages appear in The Bible. This meant that the biblical passage(s) related to She’s Leaving Home must come before Revelation 13 and somewhere after the beginning of Revelation 12 [43].

But it would be only after the prophecies of the two witnesses started to be identified that a biblical connection to the song She’s Leaving Home was established. We will return to the song She’s Leaving Home before the close of this chapter but for now let’s talk about how the first message of prophecy in the form of an anagram was derived from the artistic works created by the two witnesses. This explanation is both necessary and appropriate to do so at this time for it was from the identification of this message of prophecy that a solid biblical understanding of the song She’s Leaving Home was gained.

I Am The Walrus

One of the more popular phrases put forth by John and Paul is the phrase I am the walrus. If you are familiar with The Beatles then you are aware of this phrase, which is a title to one of their songs. After being unable to determine how She’s Leaving Home relates to Revelation, other aspects of John and Paul’s artistic efforts were examined, including the I am the walrus phrase.

I am the walrus is a phrase that appears on the E.P. titled, Magical Mystery Tour. It was also released as a single. In addition, the phrase I am the walrus is revisited once again in the song Glass Onion on the album titled The Beatles (The White Album). Specifically, the following is stated in Glass Onion:

“I told you ‘bout the walrus and me, man / you know that we’re as close as can be, man”


“And here’s another clue for you all / the walrus was Paul”

There was no compelling reason to approach the phrase I am the walrus from a biblical point of view [44] until one day as the book of Daniel in The Bible was being read the following passage found at Daniel 7:5 was encountered:

And there before me was a second beast,
which looked like a bear.
It was raised up on one of its sides,
and it had three ribs in its mouth between its teeth.
It was told, ‘Get up and eat your fill of flesh!

The characteristics of this beast could be construed to be describing a walrus in a symbolic manner. A walrus could have about the same mass as a bear, and a walrus’ movements lend it to being described as rising up on one side. Also, the ribs in the mouth portion of this passage in Daniel could be interpreted symbolically as being tusks. It was eventually determined with a high degree of certainty that it is at Daniel 7:5 that the phrase I am the walrus finds its biblical origin.

While tying Daniel 7:5 and the phrase I am the walrus together the two statements found in Glass Onion that deal with the phrase I am the walrus were incorporated into that effort.

The lyrical phrase I told you ‘bout the walrus and me, man / you know that we’re as close as can be, man was reread. This line in Glass Onion applied well here as Daniel 7 talks about four beasts. Daniel 7:5 addresses the second beast, so it was possible to say that the three other beasts were very close by. Since Glass Onion stated that the walrus was Paul, characteristics of the remaining three beasts were reviewed to see if a connection to John Lennon could be established to any of the three remaining beasts.

The fourth beast contains many characteristics that can be symbolically tied back directly to John Lennon. No, it is not being stated here that the passages pertaining to the fourth beast were written exclusively with John Lennon in mind. What is being said is that the life of John Lennon emulated in many ways the statements made about the fourth beast. [45]

What is very interesting is that if we start to examine various components of this world that we live in, this world that has been created by God, we find that many aspects of this world successfully emulate other aspects of this world. This occurrence of emulation [46] appears to be pervasive and unending. You are able to understand emulation once you acknowledge that the structure of our solar system is similar to the structure of the atom; that the birth and death of an idea, or a day, can be seen to emulate in many ways the birth and death of a human being. Yes, emulation is pervasive and persistent in everything we do and all we experience.

In similar fashion, passages found in The Bible can be applied to many different circumstances by employing the concept of emulation, not just here with John Lennon and the fourth beast.

To that end Jesus Christ emulates in his actions the essence of God. Members of the human race, when doing good, emulate the teachings of Jesus Christ. A parent’s love for a child emulates Jesus Christ’s love for all of his children. Our ability to tie this reality of ours back to God, and the word of God, in this manner goes on forever, never ending. All that is being said here is that the life of John Lennon emulates many of the characteristics that are intended to describe the fourth beast in Daniel 7. [47]

The breakthrough regarding my ability to identify the raison d’etre of the phrase I am the walrus took place when it was seen that there was something else to relate these statements found in Glass Onion to other than The Bible; I found that it was possible to apply the clue found in Glass Onion directly to the phrase I am the walrus itself.

This was the most significant breakthrough in this analysis of the two witnesses up to this point and you will see that by adopting this approach it was possible to identify a message of prophecy from the two witnesses. Or, to put this in another way – a message that had originated directly from God was discovered, for let’s not mince words here at this juncture; the prophecies of the two witnesses are, in quite simple terms, messages directly from God. These messages are very special to the Christian world because these prophecies were delivered not only under the context of being related directly to the eventual Establishment, but also as containing information that proves pivotal when considering the manifestation of Revelation 12 & 13.

I considered again the phrases I am the walrus and And here’s another clue for you all / the walrus was Paul. The question was then asked, if all to be considered were these two phrases, how could they be applied to one another?

The phrase I am the walrus was evaluated and it was realized when considering Glass Onion’s the walrus was Paul phrase that Paul and the walrus were one and the same; In other words, it was understood that the words walrus and Paul were interchangeable. So, the the walrus was Paul statement was applied to the phrase I am the walrus to create the phrase:

I am the Paul McCartney

by replacing the word walrus with Paul McCartney.

Up to this point, every interview to be found that John and Paul participated in had already been read. It was recalled that in one or two of them John Lennon had commented briefly about anagrams. Because of these brief comments made during the interviews it was hypothesized that this phrase could possibly be an anagram; that this was perhaps how the prophecies were successfully delivered and subsequently hidden away for some 40 years. [48]

So an attempt was made to solve this anagram I am the Paul McCartney. After rearranging the letters for a few minutes the following was generated:


However, there were still some letters left over that were of no use grammatically. Those letters were A-H-E-N.

The song Glass Onion was returned to as it was this song that had allowed for the progress that had been made so far with the phrase I am the walrus. Another line in the song, trying to make a dovetail joint, ya, proved useful at this time. This is a phrase put forth by the two witnesses that, up until this point, has yet to be properly understood.

The word dove was used so that we could see the word dovetail as having a Christian connotation, as the dove appears in scripture in a fairly significant way. [49] Viewing the word tail as a homonym of the word tale was also seen as a viable means of understanding what was being conveyed with the word dovetail. This was a correct approach to this word dovetail and, as a side note, it was eventually seen that the two witnesses employed the use of homonyms more than once to convey their intended meanings to the public in a hidden manner.

The phrase,

trying to make a dovetail joint

was understood as being a very poetic way of saying,

trying to construct a religious [50] message [51] by connecting [52] together several phrases.

This interpretation of the dovetail joint line in Glass Onion was eventually understood to be instructional in nature as far as this investigation of the two witnesses was concerned, and this concept was subsequently successfully applied to the building of several phrases that could then be solved as anagrams.

The phrase I am the walrus came from the E.P release, Magical Mystery Tour. It was eventually seen based on a number of observations that it was appropriate to append the phrase Magical Mystery Tour to the phrase I am the Paul McCartney forming:

I am the Paul McCartney Magical Mystery Tour. [53]

These 37 letters were then translated into a grammatically correct sentence that should be understood to be a message of prophecy from the two witnesses.

Without disclosing exactly what the phrase translates to at this point, the anagram, when solved, tells where the tomb of Mary Magdalene is located.

Though I did not fully understand the significance of the finding of her tomb when I first realized that providing the location of the tomb of Mary Magdalene was the core of the prophecies of the two witnesses, I now know that the finding of the tomb of Mary Magdalene will be a pivotal event; one that will prove to be the beginning of a chain of events that will culminate with the coming to pass of the anti-Christ. After incorporating this observation about how the role of Mary Magdalene plays a part in the passing of events found in Revelation it was eventually realized that this is what all of Revelation 12 addresses; the events taking place before, during, and after the time period that the tomb of Mary Magdalene is located.

To date, four anagrams have been identified within the works of the two witnesses. All of the anagrams deal with Mary Magdalene. Three of the four anagrams provide information related to the location of the tomb of Mary Magdalene. A person or organization that understands each of these anagrams will be able to locate the tomb of Mary Magdalene, given that other variables permit. It is an unknown at this point if having solved a single anagram would provide enough information about the location of Mary Magdalene so that her tomb can be found. However, if a person or organization possesses each of the statements that have been derived from within the works of the two witnesses the tomb of Mary Magdalene can and will be located.

All of the anagrams that have been identified and solved so far are derived for the most part from the joining together of song titles and lyrical phrases released by the two witnesses. Let’s take a cursory look at the titles of the albums and E.P.s that were released during the period of prophecy as they must be used to construct the prophecies of the two witnesses: [54]

Magical Mystery Tour
Yellow Submarine
Abbey Road
Sgt. (Sergeant) Pepper’s Lonely Hearts Club Band

The above list accounts for all E.P. and L.P. releases during the period of prophecy except for the album titled, The Beatles, which is better known as The White Album. It is worth stepping back and observing that all of these titles have a very useful theme running through them if one views them all as potential components of anagrams. That is, each of the titles contains at least one occurrence of the letter ‘Y’. With the letter ‘Y’ being the least occurring vowel in the English language [55] is it pretty nice to see it showing up in these four phrases well above the average [56]. There is at least the potential now for generating words containing a ‘Y’, such as ‘Mary’, when solving each anagram.

This list above is not exhaustive in terms of what phrases, words, or letters need to be used when constructing the anagrams. The artwork on the albums they released between 11-24-1966 and 05-07-1970 also plays a role in the creation of the anagrams, as do individual song titles and phrases. For example, the ‘LMW 28 IF’ license plate on the cover of Abbey Road needs to be used when assembling the Abbey Road anagram. Various song titles need to be used as well.

At this point of the research it was possible to reasonably conclude that once the phrases are properly assembled together and solved as one would solve an anagram, and once the resulting message is acted upon, Mary Magdalene will be found. Eventually, it became clear that once that happens the living descendents of Mary Magdalene will be identified via scientific means, which will in turn lead to the acquisition of great power by those identified; a power that leads to the coming to be of the first beast in Revelation, the manifestation of which culminates in the rise of the second beast found in Revelation 13, the anti-Christ.

The prophecies of the two witnesses indicate that when Mary Magdalene is found the general consensus will be that Mary Magdalene was the wife of Jesus Christ. There may well be texts that accompany her remains that indicate as such, strengthening that claim. This assertion that Jesus Christ and Mary Magdalene were married is not to be believed. Jesus Christ had no biological children. His existence while alive on earth took place as it is depicted in The Bible. He was the Son of God in a very literal sense.

This false, incorrect belief that Jesus Christ and Mary Magdalene were married will contribute to the rise of the first beast found in Revelation 13. When Mary Magdalene’s living offspring are identified the world will generally conclude that these offspring must be from the blood line of Jesus Christ, allowing them to accumulate great power. This idea that the discovery of the tomb of Mary Magdalene will lead to the identification of her living offspring is supported by scripture as well. In addition, this event is directly related to the prophecies of the two witnesses, for this is the meaning of the phrase found in Revelation 11:6, which states:

…they have power to turn water into blood….

Prophesying, as has already been shown to you, is the act of transferring knowledge from God to a human. You have already been shown that this transference is depicted throughout The Bible in the form of falling water, or rain. This seemingly magical transformation from water to blood is now a very tangible event as the identification of the bloodline of Mary Magdalene which takes place after understanding the prophecies now allows us to understand Revelation 11:6 as saying,

the two witnesses have the ability to provide knowledge or information from God;
information that facilitates the reemergence of the bloodline of Mary Magdalene.

As a result of these advancements made in regards to the phrase I am the walrus, a very tangible interpretation was now possible regarding the highly symbolic song She’s Leaving Home. With an anagram having been identified as containing information pertaining to the finding of the tomb of Mary Magdalene it was possible to conclude that the phrase She’s Leaving Home could be thought of as saying:

Mary Magdalene’s tomb is going to leave its place of burial when it is found;
her physical remains are leaving its home in the earth.

The progress that was hoped for was made regarding the sequence of five songs that were being researched on Sgt. Pepper. Now the proper perspective was possible when reading through Revelation while attempting to tie passages in that book to the song She’s Leaving Home.

Revelation 12 was reviewed again to see if there was something that had not been considered up to this point. Various passages were considered; to that end, Revelation 12:2 is as follows:

She was pregnant and cried out in pain as she was about to give birth.

This mentioning of giving birth could be seen as a symbolic reference to the event of identifying the living bloodline of Mary Magdalene, for once the bloodline is reestablished, we could say that a birth of a bloodline has taken place, though in a very symbolic manner.

After studying Revelation 12 as a whole in regards to the recovery of the tomb of Mary Magdalene, it was determined that the passages in that chapter don’t directly reference Mary Magdalene except in Revelation 12:2, and then only symbolically. Instead, the passages make reference to the related events that take place before, during, and after the tomb has been located. This is why it was so difficult initially to establish a concrete understanding of the song She’s Leaving Home.

At this point it was deemed reasonable to conclude that She’s Leaving Home was a parable-like mirror image of all of Revelation 12, just as Being For The Benefit Of Mr. Kite encompassed all of Revelation 13. Since we see that the prophecies delivered as anagrams relate specifically to events taking place in Revelation 12, the song She’s Leaving Home should be thought of as the centerpiece of the prophecies delivered by the two witnesses. It is from the song She’s Leaving Home that everything flows outward as far as the prophecies of the two witnesses are concerned.

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