RENALDO AND CLARA
Scene 64 KNOCKIN ON HEAVEN’S DOOR (Clinton Correctional Institute Dec 7th,
stage at Trenton Jail, Dylan, McGuinn, Baez, Ginsberg, Peter Orlovsky
and Roberta Flack are finishing the show by singing.
Scene 65 (Clinton Correctional Institute Dec 7th, 1975)
“Hurricane” Carter is being interviewed by the press. In prison. When
asked what will happen if the courts say “no” he replies ”We just keep
on going, the road is straight ahead”.
Scene 66 The Streets Of New York
Possibly two scenes together as we get what appears a brief glimpse of
that odd female crowd from scene 64 before we are on the streets of New
York, black people are being interviewed about Carter. All through these
scenes we can hear Dylan singing HURRICANE Several of the black
interviewees are quite vehement in their attitude as to how they, as
well as Hurricane are treated.
Scene 67 (Clinton Correctional Institute Dec 7th,
Further conversation with Hurricane about his book the Sixteenth Round.
Scene 68 The Streets Of New York
white man who says he is a 72 year old cop joins in but states he thinks
the coloured people will “punch him” At one point a woman, Sister
Roberta Smith, is grabbing everybodies attention by announcing that
she’s got something to say “that is gonna enlighten, you, you and you.”
When it urns out that she is talking about the prophecies of Daniel, she
is quickly interrupted.
Scene 69 (Clinton Correctional Institute Dec 7th,
Further conversation with Hurricane this time about what he thinks of
Scene 70 The Streets Of New York
again the black crowd are protesting for Hurricane to be released. These
combined scenes have now taken 15 minutes of the film, the longest
uninterrupted section in the film. Clearly Dylan saw this as a pivotal
part of the film. He cannot resist cutting too
Scene 71 Dreamaway Lounge, Springfield Nov 7, 1975
Maria Frasca who is finishing singing her song “pray God and see, it
wasn’t you, and it wasn’t me” and then tells people that both her songs
are available on a record. Mama “by the way, anybody want a record, it’s
one dollar and I got them for sale.”
Scene 72 Probably October 25th or 26th
On their way to
see Yetnikoff at the Columbia office in New York, Dylan
and the film-crew are hassled by a security guard who refuses to believe
they have permission to film inside the building. The continue to film
as they go up in the lift.
Scene 73 Walter Yetnikoff’s Office
Conversation on the speed required to get the single, Hurricane
Blue is at the pinball machine, telling us about the early sixties in
the village, when Dylan used to play harmonica all night for just one
Scene 75 Champlin Area of Montreal, December 4th
or 5th 1975
we hear both Dylan singing SHE BELONGS TO ME and Ginsberg reciting
KADDISH, we see Sara Dylan leaving a church and walking down the street
with a heavy coil of rope hanging on her shoulder. Sara crosses the
street to a waiting car and gives the rope to Neuwrith, He then leaves
the car, and throws the rope over a high wall, we see a shoe coming over
the wall. followed by a man (Harry Dean Stanton) dressed in a prisoners
outfit. The two men shake hands, and the escaped outlaw walks off,
trying to look like anything other than an escaped convict.
Scene 76 En Route To Montreal, Dec 3rd 1975
and Neuwrith are on a train, they are talking about a mysterious man
with a black beard who Neuwrith claims is following them around. At one
point Neuwrith turns to a stranger sitting opposite and asks if he will
help if there’s trouble. When the stranger says “you can count on me” Neuwrith
replies “He seems ready to make his move, he’ll wait until dark.”
Scene 77 On the Train
Footage of the snow covered scenery from the train, also of Joan Baez
asleep. The scene ends with the train pulling into a station.
Scene 78 Probably Emmett Grogans House, Montreal Dec 6th
is in the horse and buggy that ended part one, going to an unknown
destination. There is no dialogue at all. The scene cuts quickly to.
Scene 79 IT TAKES A LOT TO LAUGH, IT TAKES A TRAIN TO
CRY (filmed at Boston Nov 21st 1975 eve show)
opening line here “I ride a mail train baby” as Dylan is onstage with
the band. The footage is very close and Dylan very animated. When we
pass the line “don’t the brakeman” we cut away from the stage, and with
the music still playing we cut too.
Scene 80 Champlin Area of Montreal, December 4th
or 5th 1975
and Helena are getting on board of a train, at the start of the scene we
see a brakeman riding on a brake van. The scene ends in a cloud of
Scene 81 October 23, 1975 Gerdes Folk City
Elliott is onstage at Gerdes Folk City ( the scene with the Red Roses on
the walls again) , singing “My name is Longheno de Castro, my father was
a Spanish Grandee. But I won my wife in a card game, to hell with those
Lords of the sea.”
Scene 82 Champlin Area of Montreal, December 4th
or 5th 1975
Lafhezio (Harry Dean Stanton) is in his cabin kissing with Joan Baez.
Jack Elliott walks in and announces that a stranger took Lafehzio’s
horse and left the woman in exchange. Elliott seems baffled when
Lafhezio tells him it’s alright and then goes on kissing Joan.
Scene 83 October 23, 1975 Gerdes Folk City
Further footage of Elliott continuing the song from Scene 81.
Scene 84 A Hotel Room
Baez is in her hotel bedroom, she has washed her hair and is talking to
herself about loneliness. At one point whilst saying she wishes she had
someone there, she is stroking her hairdryer in a very sexual manner. On
the table next to her are open packets of Marlboro cigarettes. Dylan’s I
assume? As I am not aware of Joan smoking. It moves onto
Scene 85 DIAMONDS AND RUST
on stage singing her great song a stirring performance filmed very
close,we hear the band but do not see them.
Scene 86 Dreamaway Lounge, Springfield Nov 7, 1975
Mama’s place, Baez and Dylan are sitting at the bar. At the start of the
scene Dylan is smoking those Marlboro cigarettes, Joan is wearing the
wedding dress, and stroking a schooner of sherry the same way she
handled the hair dryer in scene 84.
“what would it have been like if we’d gotten married?” At which point
she switches drinks, this could not be more obvious as the glasses are
totally different shapes.
“I don’t know, I haven’t changed that much, have you?” Baez (smiling)
Scene 87 Dreamaway Lounge, Springfield Nov 7, 1975
Maria Frasca gives Dylan and Baez her blessing, after first saying that
Baez looks like a bridge. She turns and tells Dylan, “So whatever you
do, God bless you.”
Scene 88 Champlin Area of Montreal, December 4th
or 5th 1975
Baez and Dylan are walking in the snow, when Dylan sees a horse. He asks
some stablehands about it’s owner. He is then directed to Lafhezio’s
cabin. He drags Baez behind him up the stairs and throws her in
Lafhezio’s arms, Going back outside he rides off on the horse.
seems to be the start of the conclusion we saw previously ! (still with
me? Good) it is also a variation on the start of the movie where Dylan
traded T bird for a bike, once again to allow Renaldo to escape. All
this too the music if If You See Her Say Hello.
Scene 89 Probably Emmett Grogans House, Montreal Dec 6th
again, Sara , holding a red rose is riding in the buggy, this is very
brief and quickly cuts to.
Scene 90 Champlin Area of Montreal, December 4th
or 5th 1975
cabin Baez is talking to Lafhezio “This guy I was with, always very very
impatient, always running, he didn’t know what he’s looking for. I tried
to make him happy, there was no way.”
Scene 91 ROMANCE IN DURANGO (filmed at Montreal
December 4th 1975)
Starting with “hot chilli peppers” (Baez was acting as a Mexican)
Dylan is onstage performing this live. A very theatrical version with
various band members acting lines and dancing away behind Dylan. Of
Course Scarlet once more has the red rose in her hair.
is sitting on a couch with Sam Shepherd. She is wearing a red bathrobe.
Sam “Well I’m not chasing you, I can tell you that much.” Sara “there’s
no need to chase me, if I go, I go.”
“That’s what I’m afraid of” Sara “What do you want me to stay for ? Why
do you need me?”
need you to perform certain magical things with me, that’s all.” Sara
seems on the attack a lot here, telling Sam that he needs her “like some
kind of amulet” “You’ve got everything you need!” she exclaims.
background ONE TOO MANY MORNINGS is playing Dylan singing ‘It’s a
restless hungry feeling, that don’t mean no one no good, when everything
that I’m saying, you can say it just as good.’
Scene 93 Champlin Area of Montreal, December 4th
or 5th 1975
is walking down a street, she enters a phone booth and calls Yetnikoff’s
Scene 94 Walter Yetnikoff’s Office
scene has changed to Yetnikoff’s office. Dylan is looking at a poster on
the wall with the heading “How To Survive The Bad Times” In the
background a Willie Nelson version of “Time Of The Preacher” is playing.
Scene 95 Champlin Area of Montreal, December 4th
or 5th 1975
to the phone booth, Sara hangs up and says “well I’m going” and as she
leaves you hear, but do not see Sam Shepard saying “all I can say is
this has been a big mistake.” At which the scene changes to.
Scene 96 Quebec Nov 28th, 1975
Bordello, Ginsberg is talking to Sara and the other hookers. Sara is
fixing her hair, there is a red rose next to her mirror. David
Mansfield is talking to some of the girls, whilst Ginsberg seems to be
organizing a spanking from Anne Waldman. The scene ends with Ronson
who is outside the room saying “there’s a show in five minutes” and
throwing a glass at the door.
Scene 97 HOUSE OF THE RISING SUN (filmed at Quebec
Nov 28th, 1975)
and Rob Stoner are in a hotel-room, they are singing the final verse
Backstage Rob Stoner is arguing with Ruth Tyrangiel. Ruth is pleading
with Rob to stay, Rob is walking to the gig and away from Ruth.
Stoner”I just said, don’t come between me and my music. Don’t do that,
because I’m telling you, you’ll have to go.” The scene ends with a coach
driving thru the night as the instrumental section begins of ….
Scene 98 ONE MORE CUP OF COFFEE (filmed at Montreal
December 4th 1975)
stage Dylan is singing the theme song of Renaldo And Clara he has the
red rose once more in his hat. A spirited performance again the sound
continues but the scene changes to.
Scene 99 Backstage
Scarlett Rivera comes to Dylan’s dressing room carrying a red rose. She
sits down beside him and reads his palm. Dylan asks her if she sees
anything there and she says “you have a lot of duality in your life.
Your torn by the poles.”
Scene 100 Seacrest Motel, Falmouth Oct 29th
Cabaret, Ginsberg is on the stage, reciting his poem, KADDISH.
Scene 101 Dreamaway Lounge, Springfield Nov 7, 1975
Maria Frasca is gently stroking Allen Ginsbergs head. After that she
reads his palm. Mama “You carried quite a few crosses in your life…”
Scene 102 Lowell, Massachusetts Nov 3rd, 1975
Ginsberg and Dylan are standing at Jack Kerouac's grave, reading
Mexico City Blues. They talk about famous graves and Ginsberg asks
Dylan, “So that’s what’s going to happen to you?” he points to the
headstone on Kerouacs grave and laughs. Dylan “No, I want to be in an
Scene 103 A Hotel Room
hotel room, Ronee Blakley is shaving off Ginsbergs beard, As she does
so, Howard Alk is walking thru the unlit corridors carrying a lamp with
foil over the top???
Scene 104 EIGHT MILES HIGH
McGuinn onstage, this is only the instrumental end of the song.
jumps on stage and starts dancing. When the song is over McGuinn does
Scene 105 CHESTNUT MARE
with “We jumped off the edge, me holding on.” We cut too
Scene 106 Probably Emmett Grogans House, Montreal Dec 6th
and Dylan are in a bedroom. Dylan is playing guitar while Sara is
talking, “And we’ll travel and you can play and I can dance. And we’ll
be famous! Renaldo and Clara, maybe I should change my name huh? She
hugs him and sighs, “AH Renaldo, I love you.”
Scene 107 Quebec Nov 28th, 1975
and Baez are in the Bordello polishing their fingernails There are lots
of red roses here Anne Waldman (wearing an egyptian red ring??) talks
about a past lover “I threatened to expose him, I was in love.” The
scene is long with Sara and Dylan talking about love. At the end of the
scene Baez asks Sara “I think there was a time that I was involved with
someone, I think maybe you were too.”
Scene 108 Probably Emmett Grogans House, Montreal Dec 6th
woman in white arrives at a house, as Sara, but inside the house she is
suddenly transformed into Joan Baez.
Scene 109 Probably Emmett Grogans House, Montreal Dec 6th
knocks at the bedroom door, asking for Renaldo. Sara lets her in,
reluctantly. When Dylan sees Baez, he seems startled and his mouth drops
open. He then tries to ignore her, but Baez asks him if he recalls her.
Sara points to Baez and asks “Who is she?”
Scene 110 SARA (filmed at Montreal December 4th
performing the song onstage starting with the line, “Sweet virgin
angel, sweet love of my life. Sara, oh Sara, radiant jewel, mystical
Scene 111 Hotel in Toronto Dec 1st , 1975
hotel lobby Shelia Shotten first drags Hawkins and then Ronee Blakely
in front of the camera, thinking they are Mr and Mrs Dylan. Ronee asks
Ronnie (!) if he is with a another woman, and when asked says yes, she
is Mrs Dylan.
Blue, still playing Pinball tells us “you know what a myth is? A myth is
a myth!” as he says this we get a brief glimpse of him being filmed.
Scene 113 Probably Emmett Grogans House, Montreal Dec 6th
bedroom, Dylan is on the bed, embracing Sara. Baez is watching them
which seems to bother Sara. “What’s she looking at?” Dylan tells her to
ignore her, but then Baez reads out a note, “I love you, make me an
appointment please at twilight, my darling.”
(to an embarrassed Dylan) “Have you been lying to me? I hate lies.”
nodding enthusiastically “So do I!” In the background Dylan and Baez
are duetting on THE WATER IS WIDE. Joan leaves and Sara appears to be
questioning Dylan about her.
Scene 114 Probably Emmett Grogans House, Montreal Dec 6th
could be classed as part of scene 113 actually, but at some point in the
argument Joan is suddenly back in the room as The Water Is Wide ends.
Scene 115 (Lowell Nov 2nd, 1975)
and Ginsberg are walking past a row of statues, representing the
stations of the cross.
Scene 116 Probably Emmett Grogans House, Montreal Dec 6th
Baez and Sara are in the bedroom again. Sara (pointing at Baez) “Do you
love her?” Baez (Pointing at Sara) “Do you love her” Dylan, “Do I love
her like I love you? No. Do I love you like I love her? No.”
Scene 117 CATFISH
Stoner is on stage singing, ‘Catfish, million dollar man. Nobody can
throw the ball, like Catfish can.”
Scene 118 Probably Emmett Grogans House, Montreal Dec 6th
in the bedroom both women are criticizing Dylan for never giving
straight answers. They are even comparing their experiences with him.
They now seem friendly in what is quite a reversal of the last few
scenes. Sara “and he’s always been like that?” Baez “for ten years I’ve
“Has he ever given you a straight answer?” Baez (looking at Dylan and
smiling) “Not to my recollection.” Then they seem to cut Dylan out “What
you want to know ?” he asks Joan, who replies “I’m talking to her”. As
they talk Dylan says, “I’m a brother to you both” In the background we
can hear PATTY’S GONE TO LAREDO.
Scene 119 On The Train
brief return to the train window shots, this time with Dylan in camera
Scene 120 Quebec Nov 28th, 1975
bordello, Ginsberg is getting a massage. Whilst Joan is telling David
Mansfield that “his father is a famous homosexual.”
Scene 121 Backstage
Stoner is backstage, made up like a rocker of the fifties. He’s
complaining to Ruth that others got rich by copying his original style.
She tells him he doesn’t need it. However he leaves and as he walks away
we hear the start of Suzanne “he thinks maybe he’ll trust her”
Scene 122 SUZANNE
Baez is on stage singing.
Scene 123 Probably Emmett Grogans House, Montreal Dec 6th
bedroom, Baez admits she was in love with Dylan to Sara, before Baez is
leaving. Sara tells her, “I hear you’re a virgin, wellw e can probably
fix that.” As Baez turns to leave she drops the rose Dylan gives her
back the red flower and looks at her in a very conspiratorial way.
Scene 124 NEVER LET ME GO (filmed at Montreal December 4th
and Baez in extreme close up singing. “Dry your eyes, forget about
Scene 125 Probably Emmett Grogans House, Montreal Dec 6th
is looking at a newspaper photograph of Dylan and Baez. Sara “Ah, she’s
cold, Renaldo. She’s frigid. Look at her, for Christ’s sake. You don’t
want her, Renaldo, she’s probably barren.”
“You don’t even know her !” Sara “I know her, we’re like sisters.
Scene 126 Probably Emmett Grogans House, Montreal Dec 6th
leaves the house, as she does so Ronee Blakely and Harry Dean embrace on
Scene 127 Probably Emmett Grogans House, Montreal Dec 6th
bedroom, Dylan is putting on his white make-up in front of a mirror”
In the background SAD EYED LADY OF THE LOWLANDS is playing. Sara is
telling Dylan how mysterious he is, but that she can change.
Scene 128 Falmouth 28th or 29th
Cafeteria Dominic Paulo is talking to Sloman about truthfulness. His
point is that the idealists of the Sixties all got bought off and went
astray, Sloman “Did you get bought off?” Paulo “No way baby, no way!”
Scene 129 TANGLED UP
IN BLUE (Filmed at Boston Nov 21st 1975 eve show)
is onstage, playing acoustic guitar while sitting on a high stool. The
film concentrates on Bob’s eyes as he sings
the faces I used to know,
They’re an illusion to me now
Some are mathematicians
Some are truck drivers wives.
I don’t know how it all got started
I don’t know what they do with their lives,
But me, I’m still on the road
Heading for another joint.
more is there to say?
Scene 130 (Lowell Nov 2nd, 1975)
Dylan and Ginsberg are leaving the cemetery, they are surrounded by
children in a playground. Ginsberg asks them what God looks like.
Ginsberg is dancing with Ronee, who part way thru changes to an unknown
woman, to the tune of a piano. At the same time we hear him reciting
his poem KADDISH.
Scene 132 Montreal Railway Station December 3rd,
washroom, at a railway station, Dylan and Neuwrith are washing their
hands. They then move to the main hall, where they stand in line before
the window where the tickets are sold. While Dylan buys the tickets,
Neuwrith is talking Helena Kallianiotes into coming with them.
students dormitory members of the film crew are handing out leaflets
that announce the coming of the Rolling Thunder Revue to their town. The
students are also asked if they remember what they dreamed last night.
Scene 134 JUST LIKE A WOMAN (filmed at Cambridge Nov
on stage singing. Ronee Blakely is alongside him singing the chorus.
Dylan seems to be really feeling the lyrics, his facial expressions are
Scene 135 KNOCKIN’ ON HEAVEN’S DOOR (filmed at
Cambridge Nov 20th 1975)
the only time in the film they go straight into a second song. Dylan
and McGuinn are on stage now, with the entire band, rounding off the
dressing room, Dylan is lying flat on his back on the floor in
contemplation. His guitar is lying beside him. In the background we hear
the show still going on.
Scene 137 Seacrest Motel, Falmouth Oct 29th
Cabaret, Hal Frazier is singing IN THE MORNING.
he is singing the credits start to roll.