The Debra Hunter Pitts Testimony
The Untold Story About Eric Clapton, the song
'Layla' and its Real Message!
by Wes Penre, Feb 29, 2008
Introduction by Wes Penre
Debra Hunter Pitts
his is Part
2 of the
amazing and shocking testimony of Debra Hunter Pitts, who grew up in
Butler County, Missouri in the 50s and 60s - a major Satanic
part of the United States at that time, where human sacrifice
was happening every day. Debra, being a music prodigy, got
involved in the music business at an early age and came to know
Eric Clapton and Carlos Santana already as a girl
For a more
detailed presentation on Debra, go back to
Part 1 of this interview. If you have not done so already,
please start with reading Part 1 before digging into this one.
This way you can get the full understanding of what these
important interviews are all about.
In Part 2
we will concentrate on the true story about the 1970
hit song "Layla", played by "Derek and the Dominos", where
Clapton was the front figure. The official story goes that it
was written by Clapton as a love song, but as we shall see,
the song was not written by Eric Clapton at all, but Debra wrote
it for Clapton on his request.
Moreover, it is not only a love song, but the lyrics also hides
a murder story.
presentation of Debra Hunter Pitts in Part 1, we learned that
she was closely connected to both Eric Clapton and Carlos
Santana, has kids with both, and that the three of them worked undercover
in a group called Militia One, to halt
an Illuminati coup (by Debra referred to as the Nazis) against the United States. There were a lot of other
celebrities involved in the Resistance as well.
Debra was also interviewed
earlier by the researcher and radio host Greg
Szymanski on May 23, 2007. The interview can be
listened to and downloaded online
(if this audio file will disappear from that site, please
contact me, and I will email it to
Now I am proud
to let you take part of this exclusive interview I did with
Debra in February, 2008:
Illuminati News Presents:
The Wes Penre Interview with Debra Hunter Pitts,
You indicated earlier, in Part 1 of this interview
that there is a very important and interesting story behind the
1970 hit song “Layla”, which became a classic and is
still played frequently on the radio stations. The alert reader
has probably already noticed that you also go under the name Layla Cries. Who wrote
this song “Layla” and how is it related to you?
The true story behind the song "Layla" is not exactly secret to
the media but it hasn't been put in print before so I'm going to
set the record straight. When I met Eric he gave me the nickname
Layla and said it was the name of a woman in something he had
read. I told him I would use it for my stage name since it was
my nickname, and I told Carlos to call me Layla too. When
wanted me to put out an album about a year later I needed a last
name for it so I picked Cries. The reason I did is because all
of us cried so much over the Nazi entrapment.
Clapton and Carlos Santana
On one of Eric's trips to my hometown he came by the school to
see me like he usually did. In a casual conversion I told him I
planned a lovechild with Carlos Santana but not for a couple of
more years. Eric wanted kids more than any man that I ever knew
and he was heartbroken that I didn't want a child with him first.
We talked about the future and music and children. I told Eric,
"If any Nazi hurt my lovechild with Carlos I'll kill the Nazi
scumbag for that. They are not going to destroy my children the way
they destroyed me." As we talked about music he asked if I would
write him a song. I told him I would and I'd make it a good one
so it can turn out to be a rock classic. I wanted to prove I
knew the ropes in the biz and knew what kind of song would have
a lasting impact. After all I was a child musical and
mathematical prodigy that the Nazi liked to see some talent from
once in awhile.
I went to my class and wrote the song as fast as I could because
I wanted to give it to Eric after that class so he could go on
about his business. I wrote for the title Baby but didn't like
it. I thought I'd just put my name on it so I erased Baby and
put Debi and didn't like that either. So out of the blue it just
came to me that I had a real pretty stage name so I erased the
title again and wrote Layla. I handed it out the window to
right there at school. I said, "It's sold to you for one kiss.
Just don't say you wrote it for any girlfriends. I'll show you
how to sing and play it after class." I showed him how to sing
it to evoke the raw emotion of a man torn by a painful secret.
He wanted a slow version and I insisted my version had to be
first and then someday he could do the slower version. I made it
clear that once the Nazi exposure was complete (1984) that he
was to start to credit me as the songwriter.
When I research the song Layla, it is still credited everywhere
to Eric Clapton as being the composer. Did he ever credit you
after 1984, and if so, did the Media refuse to acknowledge it?
Or did Eric neglect to credit you in public? If so, why?
That's one of the reasons I'm slightly upset with Eric. He was
supposed to start crediting me in 1984. I don't know why he
hasn't, except the FBI are refusing to let us tell the truth
about any of this, and no, he never credited me. In the future,
the public will see our private films that were never released,
where we discuss me writing "Layla."
He also hasn't mentioned
yet that he let me name his band at that time, "Derek and the
Dominos." Our first argument was over how to spell
Layla, how to play it, and how to spell Dominos. Eric said the
band had been incorrectly introduced by a different name.
Someone in the band liked the other title better than Dominos
and suggested they change it. I told Eric that he had told me
the only thing he knew for sure is he wanted Dominos in the
title. He said that was right and he told the guys in the band
to go to hell - the bands name was not changing.
The entertainment and news
media never refused to acknowledge me. But remember they had
tons of old footage of their own that they are not allowed to go
public with yet. I don't think Eric neglected in acknowledging
me, I understand he is being silenced by force, we all are. I'm
going ahead with my plans to write a book and my new manager is
encouraging me to get busy on a documentary.
Wes:Pattie Boyd’s name pops up here and there when you research the
background of this song. Who is she, and what is her
relationship to “Layla”?
I don't know why her name pops up unless she is spreading it
around the web herself. If she's obsessed with Eric, that's not
cool. I understand that some amateur writers are assuming that
she connects with the song, but that's because the truth hasn't
come out. That truth will come out as this interview proceeds.
She is Eric's
and before that, George Harrison's wife. She has absolutely nothing to
do with the song "Layla", other than Eric lied to her when he
said he wrote it for her. I have never heard of any media
calling her Layla, it's a surprise to me. After he married her in 1979 it
actually became a joke to all of us including Eric, that she
thought she was the Layla in the song. I don't
think Eric ever told her we were undercover because she couldn't
I have met her a few
times in Texas, where she went to interfere with the undercover
work that Eric and I were doing with Interpol agents. The agents
were recording the incidents so I told them to let it "leak" to
the media when the time is right that she had risked our lives.
That's the reason the media didn't want to hear from her for all
The first time she pulled that trick she brought
Bianca Jagger with her. I think Mick [Jagger] and her were already
divorced. I told Eric to talk to Mick and put a stop to that,
because I thought it wasn't Bianca's fault. I don't think I ever
heard anything else about Bianca.
The paparazzi knew me by my stage name Layla Cries, because
that's how I was introduced, so that's what they called me when
they wanted me to turn for a photo. Eric and Carlos would remind
photographers not to make photos of me in public. But the clubs we
were practicing in could put photos of us on the walls in glass
cases with locks. So don't think for a minute that the media
don't know the true story behind the song "Layla", because they
do. I'll call Eric and his ex wife both a liar until this is out
in the open and I am officially credited.
When you causally read the lyrics to “Layla”, it just looks like
a regular love song, but there is much more to it than that,
from what I understand. Am I correct if I imply that this song
is actually revealing a murder story?
It was tricky for me to write about a murder and make it sound
like a love song but that was my plan and it worked. At the same
time the song had to be made to be sung from a man's perspective.
I insisted that
Eric don't change the words because it would
change the meaning. We actually argued over him wanting to
change it too much; he DID change it but it still worked ok. He has
the original copy and I don't remember my exact words when I
described the song in my old journals. Basically I wrote it like this:
(Layla) What do you do when you get home dear
With nobody waiting by your side
You've been running from far too much too long
You know it's just your foolish pride
I tried to give you consolation
I knew a man who let you down
Like a fool I fell in love with you
You turned my whole world upside down
Let's make the best of the situation
Before I finally go insane
Please don't say I'll never find a way
Don't tell me all my love's in vain
Chorus Baby you've got me on my knees
Baby I'm begging darling please
Baby won't you easy my worried mind
This is the online lyrics:
Layla What'll you do when you get lonely
And nobody's waiting by your side
You've been running and hiding much too long
You know it's just your foolish pride
I tried to give you consolation
When your old man had let you down
Like a fool I fell in love with you
Turned my whole world upside down
Let's make the best of the situation
Before I finally go insane
Please don't say we'll never find a way
And tell me all my love's in vain
Eric brought me a copy of the album "Layla and Other Assorted
Love Songs", but
I signed it and gave it back. I was mad at him so I wrote on it,
"If I ever fall in love you'll know because you'll be there."
The heart shape on the album was ok as it was how I signed notes
to Eric. I even had looked up heart shapes so I could find one
that I wanted as a signature tool to go with my Layla stage name
and liked having it on the album.
I told him the title was too
long and I asked why the cover had a blonde on it. He said
something about blonde hair looked better than brown hair on the
album so I let it slide... for awhile. I reminded him after that,
the song is not about a girlfriend but about a crime, one that
hadn't happen yet and would not for two full decades after the
song was written.
Remember what I said when we were discussing me
naming his next band? It was "Derek and the Dominos" and he asked
me to write him a song. The other conversation that day was
about having a lovechild. Remember what I told Eric, "...if
the Nazi hurt my lovechild I would kill the Nazi scum?" Eric and
Carlos said the same thing, that they would kill the scum that
hurt their children, because what the Nazis did to us they were
not going to do to our children.
You say the murder case you were writing about in “Layla” didn’t
happen in reality until 20 years after. Which murder is this
song actually talking about?
media knows the murder story involves Eric and I, but even they
don't know the song "Layla" was futuristic in meaning. The song
interpretation ties in with what I'm revealing and is truly
exclusive because Eric hasn't made this public yet.
I've explained the conversation between Eric
and I about writing a song and having children and what we said
about killing the Nazi that hurt our children. The song has to
be read between the lines to understand the meaning. It doesn't
just say someday a killing's going to happen; if it did it would
ruin it as a love song.
After 1984 when the FBI got involved in
halting the coup, they refused to allow any of us contact. They
said I had to shoot the Nazi scum I married who had destroyed
and abused my lovechild with Carlos.
I lived with, Jack (learn more about him in
Part 1), was going to kill his wife and make me marry him,
so I needed someone stupid to marry instead, and a guy named
Bill Pitts was stupid enough to talk into getting married; of
course his family thought they were going to get rich off of me
Soon I came to know that they thought if I
'disappeared', they could claim royalty money and sue Eric for
certain videos, but Eric is one smart cookie. (plus I had Carlos
get a paternity test the first day of kindergarten for William,
my son. That ruined the in-laws' chance of ever getting any cash
(think they weren't a wee bit mad?) And I needed to leave town
and move away; I don't think they would let that happen unless I
married one of them. Interpol told me his family was involved,
but he never told me. Even on the way to Texas they tried to
kill us; they will kill their own.
one week shy of 16 when Bill died and spent his whole childhood
saying he's gonna kill him when he's big enough, and I'd tell
him, no your not! I'm going to do it for you.
The FBI promised me a no bill but I
called them liars and refused to do what they told me for a few
years. I even tried to get Eric to shoot the scumbag for me, but
he wasn't allowed to.
So in 1990 they had Eric to bring our kids
to visit me so I could see them for a few minutes. The FBI was
using our children as pawns to do what they told me and it broke
my heart, but it surely worked on convincing me to do everything
the FBI said.
So in 1990, when I shot the Nazi scum, I expected to see my
family like I was told, but after all these years they still
deny me access to my family. They also refused to allow Eric to
explain to me why they continue to keep this covered up.
media, which includes the entertainment media, have turned their
back on us for too long. They should have offered to help
exposing the FBI, who are actually victimizing all of us
without explanation. We're not allowed phone calls or letters
and when I see Eric it is out in public and he is in disguise
and we are only allowed to speak for a minute. I'm surprised
that of all that we have been through that he hasn't been the
one to tell the FBI to go to hell and brought me my children to
Comparing my story to
Wayne Morin is what made me
know your site is the best place for me to come out with the
truth rather than anywhere else. I cried for Wayne because of
what the government did to destroy him. I can tell
by his tapes
he's not crazy, but a very destroyed person because of the way
the court system is set up. But he was destroyed in a different
kind of way than I was.
I saw the system when I was appointed
one of the best lawyers in Texas, Jack Strickland. I was set up
to make sure I got acquitted eventually because I was a lover to
two very famous people. One of the tricks of the trade was to
send me to the Vernon State Hospital for the minimum of sixty
days, also set up by the FBI and our scam of a court system. I
was new to how that end of the system worked and didn't like it.
The system could benefit high profile people in a different way
than the average citizens who many times paid a huge price with
their lives. Wayne Morin was one of the saddest stories of legal
abuse I've ever heard of outside of the Nazism that I survived.
The point I need to stress here is there's no free press out
there to approach us and say, "We're going to help you get the
Wes: Thanks, Debra. I
really appreciate that you open up here for me so the truth can
come out. Now, is there anything else you want to tell us about
"Layla" before I go on with a few questions I have had in mind
Debra: The terms I used in the
song were based partly on a daydream, but the word situation was
how we referred to the coup. The song is entwined stories making
it complicated to describe. It's my favorite song that I've ever
written and I couldn't have been prouder. Carlos wanted that song
real bad, but Eric had asked for a song, which was the reason I wrote it.
My next favorite I wrote about the same time, in 1970, a
titled "My Missouri Valley". The song was sung beautifully by
someone else at the homecoming game a year of two later. I was
flattered that Elvis Presley came to see the first singing of
the song in my hometown.
Wes: It is an amazing story you are
telling us. This has been covered up and the truth kept away
from the public by the FBI, the Interpol and the Media so
effectively all these years. And there are those telling us that
a few people can't control the world?
Now I'm curious about another thing: you said
in the first part of this interview
that you made a movie in 1984 to expose the US Government. This
movie is an important part of it all, so can you give some more
details on that?
Debra: During one of
Eric's visits to Ft. Worth in the summer of 1984 he said
everything was in place for a party that was also going to be a
movie. He told me that people from Hollywood would be there,
including a Hollywood producer and some of our singer friends.
Eric and I and his friends were referred to
as "The New Rat Pack". I'm not really sure who named us that, but I
think it was Frank Zappa and ZZ Top. Eric said all they were
waiting for was for me to give the go ahead if I thought I could
do the show without missing a dance step. I told him to set the
date, and as it turned out, Eric set a date in July.
In order to have so many famous people there,
we pretended the party was my birthday present. Eric pretended
he was presenting me as being ready for the stage life. The Nazi
crime families allowed us to do the show with the understanding
that they were on the verge on making big money of me.
Everyone was in place for the role they were to play without a
script and Eric chose a singles bar named "Players."
Eric and I
played the leading roles. The plans went smoothly and when I got
there Eric was on stage singing "Cocaine." As I went into the
building he stopped singing and called me Layla. I went on the
stage with him and we sang a duet that we had sung for all those
years titled "Someone Like You." Eric then sang a couple of
numbers to make videos out of. I was in some of them: "Before
You Accuse Me," and "Lead Me On". Then we did waltz and ball
room dances where I danced with Eric, Carlos, and Bob Jones
[the Interpol Agent, see Part 1 of this interview, Wes Penre].
I did my comedy routine and with that
part done we just talked and people quoted songs. One of my
lines in the movie went like this, when I am talking to Eric:
"Who's turn is it to beat up your wife yours or mine; just write
it in your next love letter."
At that time, President Ronald Reagan called and thanked me for
not discussing UFOs...
Wes: Really? Why
did he do that? Doesn't that seem kind of odd?
Debra: It was!What I didn'tknow at the
time was that the Iran Contra scandal had been going on for
about a year or more. I think Interpol probably knew about that
as they were watching our government. Shortly before that, maybe
in the late 70s, some kind of yet undisclosed turmoil was
unfolding in the area of Iran. We had CIA there of course and
some Americans were taken hostage. Right after that Reagan took
office and we began, (if not sooner) making bombs. I know that
because I was a factory worker and a heat treating company
needed someone that could work part time.
The metal that I was testing for hardness with a zerominder
tester was the detonators for the bombs. I had to estimate the
number of detonators I was seeing go through the factory each month
and it was about a million.
While I was on the job we dropped a
few of them babies in the middle east but not many. I knew we
were going to end up back over there as we continued to make
bombs for a few years that I know of. Then in 1990 we went to
Desert Storm and I knew we still had plenty of bombs left so I
knew we were going back. We're there today involved in the
desert war version of Vietnam. The point I'm getting at is I
couldn't figure out the real reason the president called me. I
thought he actually thought that we were going to get to the
subject of the bombs I knew we were making and expose Iran
Contra. Now I have run across info that says he was briefed on
UFOs in 81 and made remarks about them about three more times as
a matter of record. I may never know the real reason he called.
When Iran Contra went public a few years later, I think about 89, I
thought that was the reason he called; fear that we knew and
were going to expose that in our movie, but we had something more
important to expose that night.
"Thank you for what you said; In the
name of National Security I can't discuss UFOs."
- Ronald Reagan to Debra, July 1984.
Yes, please go on...
Debra: Well,there were some fights in the movie that were
real fights where a couple of Nazis got beaten up. Of course we
left those fights in the movie.
The theme of the comedy was that I was the one that was unknown
but talented and had a lot of famous boyfriends. I was to choose
a lover to marry in the movie; Eric, Carlos, or Bob Jones.
It was an all star cast and it was what I
call the heist because the Nazis never made money off me. We had
good music, good dancing, good jokes, and good fights in the
show. The night went smoothly just like we planned. We had
national and foreign media and satellite setups and it was
lights and cameras lined up on the highway as far as we could see.
It was a once in a lifetime deal, and anyone that was there was
really excited over the prospect of exposing the organized
crime. That is what the Nazis in the building with us didn't
know, that they were being exposed for what they were. That is
why the media was there, because they knew we were entrapped and
doing something that would lead to a halt of the coup. The media
has always known about the coup in the US but it could not be
public before 1984.
Now there's the problem of the media still
silent after all these years since the movie was made.
Wes: Yes, I am not surprised. The
Media are owned by the same people you were exposing, and
although there are good, honest reporters working for them as
well, they are very limited at what they can publish or not.
They are just as trapped as we all are...
what exactly did you do with the
movie once it was made, whom did you give it to, and who is in
possession of it now?
Debra: I don't
know why the movie was never released, unless it's because of the
cover-up, but the producer will have the original. The FBI agent
Jerry Smith approached me shortly after and wanted a copy of the
script. I told him there was no script. The media have copies of
including Jane Garrity of NBC, which was the local news media.
NBC was allowed to stay in the room for the
complete movie. One of the other station's anchors named
Clarice Tinsley was said to be a Nazi and I think she
wasn't' allowed inside; I'm not sure who told me that. Rolling
Stone Magazine was there; ET's Mary Hart was there, and I don't know if MTV was there; both those
shows where new back at that time. Also the local District
Attorney who was a Nazi was allowed to be there, but I didn't ask
what his name was.
Wes: How did you present the movie, so that the Nazis
could be exposed?
Debra: Hollywood and the music crowd made the plans, and
all I had to do was discuss a few things with Eric and Carlos.
Then with a date set everyone involved knew what they would want
to say or do in the movie. The Nazis didn't realize they were
being exposed and they couldn't kill us on stage because too much
media was there. They didn't trust us but they were being tempted
with multi million dollars worth of royalties. So they fell for
it to allow us to get together that night. Greed really did
bring down the Nazis.
With cameras rolling, the Nazis harassed us
even while we were on stage. They yelled, tried to distract us
and made terrible remarks to make us miss a step or fall. While
we were sitting and talking they would try to hit us, so the
fights in the movie are real fights. They were showing and
proving to the media that they controlled us, and we were proving
they're not for that one night. So when the public see it, and
eventually they will, it is all real stuff but it was a pivot
point in our goal.
I know when people see someone famous like Eric they think in terms of music. When I saw
Eric I thought in
terms of one of my men being very important to the covert unit.
I don't want to sound cold hearted, but I used to worry that if he OD'd on drugs it could be accident, suicide, or murder and we
would never know which. It would also have been a set back in our
endeavor as the plans would have changed if any key players
Wes: Now, can you tell us the details on what the movie
was about and what made it so revealing?
Debra: I think of it as a duel or parallel movie,
accomplished two missions. We made a romantic comedy that's
worth a fortune as a money maker that appeased the Nazis. It was
a one of a kind movie that had never been done before, as we had
no script but a lot of good music. The main agenda was to allow
the Nazis in the movie with us to interfere so people can see
what we were going through every day of our lives. They were
being exposed in a round a bout way and they got nervous and
tried to ruin the show for us.
Wes: So if I understand this correctly, you let the Nazis
participate, being themselves in a revealing way? My question
then is, if you used this movie as proof of a conspiracy and a
coup taking place, was this evidence enough? Couldn't the
participating Nazis after the fact just say they were told to
play this role and that they've been set up? Or something
similar, which would put reasonable doubt into the picture?
Debra: Yes the Nazis were allowed to be in the movie,
there was no getting rid of those psychopaths anyway. There was
a ton of evidence already gathered up for fifteen years with no
one to trust to hand it over to. The Nazis actually were set up
and we learned how to do a set up from them as they constantly
set us up for falls. The entertainment media knew as well as the
news media that we were not all equally free. Some of us were -
well lets be blunt about it - we were referred to as slaves. All
the media knew not to put certain info out there for the public.
It was such a huge undertaking that it was mind boggling.
Anytime Eric or Carlos or anyone else told the paparazzi not to
make a photo public they respected that.
We had put out word
that an assassination was going to happen that night during the
movie. We had to have a good reason to allow all that media in
there and it worked out fine. By being there, the assassin
couldn't carry out his deed, but there was no assassin anyway.
The media waited a good many years for everything to fall into
place. They were perfectly behaved and aware that on that stage
something more than a song and dance was going on. We were
secretly performing a historical military maneuver that someday
will be made public. It's difficult for me to put some of my
story into words because I spent a lifetime silent in order to
keep people protected. I kept foreign agents so covered that no
one ever knew they were here until they revealed themselves in
Wes: Did you meet with other celebrities as well, and if
so, in what way were they involved?
Each celebrity played themselves in the comedy. I may not
remember all of those who where there but I do remember some:
Tom Petty, Andy Warhol, Mickey Gilley, Willie Nelson, Robert
Cray, the lovely Goldie Hawn, Grandpa Jones (Hew Haw),
Keith Richards, Mick Jagger, and BB King. I don't remember any
of The Beatles being there but I think the lovely Yoko Ono was
there. Also one top secret rock star that people thought had
died but was still alive was there and of course Eric, Carlos,
and myself. The lovely Mary Hart of ET [Entertainment
Tonight, editor's note], which was a new program
at the time, was there too. And last of all but not least is the
lovely Farrarh Fawcett whom I pray for all the time. I hope
others are praying for her as well, in her struggle against cancer, as we
all know someone affected by that terrible disease.
was one of the all time favorites to all of us and we
were proud that he was our pied piper of skinny white kids. All
of us learned to do our musical blues in life from his
inspiration. What was good about BB is he actually liked us
young ones and watching us grow with individual interpretations
of the blues. In fact my first encounter with music other than
gospel was BB on the radio and I reckon it was the late 50s or
early 60s. Grandpa was trying to find a station without static
and I heard some new sounds. He said it was BB and it was called
the blues. I told him I have to have some of that kind of music
in my life. I've loved the blues ever since. I feel fortunate
that I had a sample of that when I was very young because it
helped mold me into the kinds of sounds I wanted to learn to
With gospel being my first musical passion in life, I continued
to explore the possibility that not all music was devil music.
We were hearing that back in those days about the new music like
The Beatles. At the time I didn't realize how true it was, but
the Satanist had infiltrated the music scene as well as
Hollywood. I was learning that while I was still a school girl.
I also learned it was not The Beatles that were devils, or their
music. The real culprits were in the shadows behind them, out of
sight; the unseen crime families with sinister intent. Back in
those days Hollywood was the Mecca of mammon to the Nazis and
they were a greedy lot. They would sell your soul to rock and
roll and your children's too. They would warp your mind with a
very intense control and even tell you not to think.
A few more folks I met, some in Missouri and others later after I
moved to Texas, were Bill Murray (comedian), ZZ Top, Frank Zappa Sr.,
Stevie Ray Vaughn, Rod Steward, Phil Collins, Hank Williams, and
the lovely Carly Simon. Carly came to meet me while I was in
high school and said she heard that someday I'm going to name a
daughter after her because I just loved her. Carlos and I have
twins named Carlos and Carly. I think on that trip to Missouri
was Carly, Duane Allman, Eric, Carlos, The Beatles and
In fact I think it was my first meeting with Pattie Boyd and I
didn't know who she was. But she kept saying something under her
breath while staring at me. I told her off and asked Eric who the blonde was, and he said she was
wife. I think I told him not to bring her around anymore because
I didn't have time for jealous games and I didn't want George
anyway. That's when he said it was himself she was jealous over,
From then on I thought she was obsessed with Eric.
But worst than that was that she dedicated her life to following
me and causing trouble; she even screamed that I can't use Layla
for a stage name. She also would nag about how much her clothes
cost and that she was rich. The reason I mention that is
because there were missing kids out there for me to concentrate
on; I really didn't have time for that nonsense.
In 1974 when
Eric said he was living with Pattie, I told him to get rid of
her. When he said he married her... well here's the
Me: Tell me in one word why you married that?
Me: You mean love?
Eric: No I mean prestige, she was a Beatle wife.
Me: She might get some prestige but you sure the heck won't.
Couldn't you find someone beautiful? Couldn't you find someone
intelligent? Couldn't you find someone with some decency, and I
hope this a short term thing.
That's how I knew he wasn't in it for life. But when we got
ready for the movie, I told him something else people don't
know. "When I walk in Players she better not be there and if
she's there, I'm walking right back out and you won't ever see
me again." She wasn't allowed to be there and Eric wouldn't put
her in videos.
I didn't exactly meet the band Police, but they played at the
Pavillion some time in 1979, or after - I can't remember, in Arlington, Texas. One of the undercover agents
asked them to play a song that he could dance to with me and they
introduced me as Layla, the girlfriend to Clapton and Santana. I
think what we danced to was "Roxanne." They wanted
me in front of the stage for the dance and I didn't ask why. I
did everything I was ever told with a simple response of OK or
trust me. Eric's name undercover was Boss but it was also the
nickname of the agent in charge of all of us, Bob Jones.
was the Mexican and mine was the Pro. Bob Jones named me that
because I survived by knowing how to mentally deal with the
Nazis, and it meant being psychologically professional.
Wes: Thank you, Debra! This interview has been
very educating for me, and I am sure for the readers too...
Please stay tuned, for there will be a Part 3 as well. In
the near future we'll be continuing with Debra's eyewitness
survivor account to history in the making. She will detail how
the Nazi Network around her operated and ties in with
globalization. We will hear how the St. Louis, Missouri branch
of Masons put out a death warrant on her at the same time the
Nazi captured, tied up and were going to hang Bob Jones...
(Update, April 01, 2008: Part three is now published and
can be viewed here)
Wes Penre is a
researcher, journalist, the owner of the domains
Zionist Watch and is the publisher of the
same. He has been researching Globalization and the New World
Order and exposed the big players behind the scenes for more
than a decade now. He has published his research on the Internet
at the above domains, which are currently updated to keep people
informed what is going on. You can also find his articles linked
up, discussed and republished all over the Internet.
with Debra Hunter Pitts, aka Layla Cries
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