The next page boasts the first big 'cut sequence'. It is also the one scene from the whole shooting script which has been reproduced on the internet before now so chances are, if you're interested enough in the subject to have read this far, it'll already be familiar to you. No matter.
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CHANGES
Revised Page
February 15, 1968
5
19
CONTINUED
She moves toward the door. Mike follows her and as he opens
it, he whispers in her ear, and smiles.
19
GIRL
Are you kidding?
His face falls as she exits. He slowly closes the door and
moves sheepishly back into the room. The other boys sit in
various attitudes of introspection. Mike moves to the mirror
in the bathroom and confronts his image. He looks straight
on and then at this profile making facial adjustments to suit
his mood
MIKE
Now wait a minute. I mean...
Is that not a look of wry
intelligence and wit! Lookie
here at this twinkling eye and
knowing grin. In short, a look
welcome from the regal elegance of
20
FLASH ANGLE - MIKE
Mike, top hat, tails and cane descends the red carpeted
stairs with a swagger.
20
MIKE (V.O.)
...Mayfair to..
21
FLASH ANGLE - MIKE
Marlboro Man.
21
MIKE
The rugged wilderness of Montana...
22
ANGLE - PETER
He moves to join Mike at the mirror. Mike steps back as
Peter relates to his images.
22
PETER
Pathos. Victim but undaunted. Pure...
23
FLASH ANGLE - PETER
Classic white faced tear-eyed clown figure
23
PETER (V.O.)
Harlequin... What woman has no
maternal instinct? What sensible
young lady can resist that quality?
Mirror angle Peter.
Production photo - Are you kidding?"
Note that by the time of the shoot, Mike actually has an actual - and pretty much audible - line which he whispers to the girl. Had it been totally inaudible, as the script describes it, it would perhaps have rendered the scene a tad more suggestive than it should have been.
We always assumed that the line was simply "Why don't you come back later when the guys aren't here?" (Davy Jones actually quotes it thus on the Colgems 'Open End Radio Interview'). Feasible enough - Mike trying it on, believing that he's one step ahead of the others and that it's only their presence hindering his overall attractiveness. Other times we've heard it as "Why don't you come back later when the guys are dead?", which is somewhat less palatable but makes a certain amount of sense in terms of the overall storyline. The Rhino DVD subtitlers meanwhile heard the line as "Why don't you come back later when your parents aren't here?".
Shot 19 in Head doesn't feature the other three Monkees sitting 'in various attitudes of introspection', although Mike does throw a rather caustic look towards where they'd presumably be sitting after he closes the door.
The script directions place the mirror in the bathroom, whereas in the film the action takes place in the main living room area. The original setting would perhaps have linked the scene conceptually with events which later take place in the Columbia Studios washroom - where Davy experiences similar 'reflection' issues with the mirrored cabinet.
In Head, during the opening lines of Mike Nesmith's bruised ego ponderings in Shot 19, the entire screen morphs into a TV-shaped picture against a black background and goes flying into the top-left hand corner. This is then joined by nineteen further screens, filling the cinematic canvas one by one, each depicting a snippet from the film we're about to watch and accompanied by a far broader (and more unified) bit of Monkees 'self-analysis' in the form of the song 'Ditty Diego'. The latter doesn't feature in the 'Changes' script in any way, shape or form and was included as a bridging replacement for a cut scene, Shots 20 - 27, often referred to as the 'Look In The Mirror' sequence.
Mike as the Marlboro Man - production photo
It is a shame that this scene was lost as it does appear to be quite pivotal in terms of the philosophies presented in the movie. The motif of the 'mirror' - perhaps the ultimate ego-accessory - recurs at other times throughout the scripted storyline, usually as a Lewis Carroll-esque metaphor for looking beyond one's own projected image or presence (eg Davy's afore-mentioned problems with the cabinet in the washroom - which made it to the film - and Mike's method of leaving the beach house to attend his birthday party - which didn't). Indeed, the motif extended to the front cover design of the original Head soundtrack LP (Colgems COSO-5008), its mylar-covered reflective surface acting as a mirror to the purchaser.
The Who would later explore similar mirror-related, trapped-existence, ego-death amusement with their LP Tommy.
Fantasy cutaways were of course a regular feature in the Monkees TV show, usually employed as short, sharp visual exclamation marks to add a sudden extra burst of daftness to a scene. These however were seldom commented on within the show's storylines. It's possible that part of the implication here is that the four 'characters' have now acknowledged this particular TV gimmick and can utilise it for more inward-looking purposes.
In 'Changes', Mike gets two different fantasy personae - an Irving Berlin top-hat and tails caricature and a Malboro Man cigarette ad cowboy. The other three only get one alternate reflection each. Tchah - it's who you know...
Production shots of most of the Monkees' alter-egos were taken during the 'Flash Angle' sessions and can also be found on other Head pages on the net - notably at www.brilton.net, an excellent site which made a damn good head-start (pun entirely intentional) at reconstructing a few of the missing scenes from what snippets were previously available.
A few frames of Peter addressing the mirror in readiness for his alter-ego to manifest itself feature in 'NY Action'.
Peter as the Harlequin - screengrab from 'NY Action' and some production photos
The 'Mirror angle Peter' direction which ends Page 5 appears to be erroneous - it is in fact Micky who next looms into shot.
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CHANGES
Revised Page
January 24, 1967 [sic]
6
23
CONTINUED
He looks in the mirror.
23
MICKY
Whatever... That's me. I'm that, right?
People think I'm crazy or whatever.
I mean, some chicks dig it...some don't.
I'm not gonna do some incredible... like
punjab, sultan... disguise shot.
24
FLASH ANGLE - MICKY
He's in a satyr outfit.
24
MICKY (V.O.)
Even if I do, it's still me.
He crosses his eyes at CAMERA.
25
FLASH ANGLE - MICKY
24
MICKY
And believe me, I dig just
only this... hair, nose, head,
the whole shot. Who cares?
You know?
Davy has wandered over and stares levelly at himself in the
mirror.
DAVY
Who cares? I'll tell you who
cares. What are we? Worried
about a broad? I got a woman,
63 years old from Ithaca, New York,
writes me on lavender paper who cares.
Remind her of Randolph Valentino...
she says...
26
FLASH - DAVY
As the Sheik
26
27
ANGLE-DAVY
27
Micky as the satyr - production photo
Again, production photos are all that remain to show what was planned for Micky's 'Satyr' persona. He does rather look the part, with arched back, demonic-looking horns, fur-covered lower-half and carrying the requisite pan-pipes. Gene Ashman, the wardrobe bod evidently couldn't find a way to give Dolenz a pair of hooves, but his lower extremities most likely wouldn't have been framed in the shot anyway. Pleasingly, the production pics do indeed show him 'crossing his eyes at the camera'.
Note that Micky initially insists that he's not going to portray a cheap image of himself before his reflection is revealed - however, the description he gives of such an image, 'some incredible... like punjab, sultan... disguise shot.' appears to be alluding more to Davy's subsequent mirror persona rather than his own. It should perhaps be noted at this point that, of all the alter-egos this scene presents, Davy's is the only one which actually recurs in 'Changes'/Head - in the Arabian harem scene which accompanies 'Can You Dig It'.
Still from 'NY Action'
Davy as the Sheik - production photo (with roll of blue paper in shot).
A few frames of Davy as a Sheik also appear in 'NY Action' and show him to have been filmed against a pull-down blue backdrop. Production photos of Peter and Mike's fantasy personas meanwhile show a yellow backdrop in evidence. It's pretty likely therefore that a 'traveling matte' effect was planned for these sequences - to project the Monkees' respective characters against 'relevant' filmed backdrops. In the case of Davy's 'Randolph Valentino' the desert location shoot in Palm Springs (or indeed the 'Harem' sequence) may well have provided some usable footage. Mike's 'Malboro Man' meanwhile would probably have required the dusty cowboy setting used in that famous advertising campaign. Quite what they had in mind for Peter's 'Harlequin' and Micky's 'Satyr' is anyone's guess.
Quite why a blue background was chosen for Davy (as well as for the 'flying' effects for all four Monkees later in the film) while a yellow background was deemed technically more appropriate for Peter and Mike is another matter altogether. Assuming they did actually make use of the cinematic colour-key effects available at the time (a painstaking Technicolor process which involved a great deal more messing about than might be deemed necessary)
Certainly, the 'live action' matte clips which actually made it to the film (ie the dandruff sucked up the vacuum cleaner / hit by the golf club / Big Victor towering and stomping / etc) only last a few seconds apiece and may actually have been rendered using animated overlays rather than a straight colour key. It's also possible that difficulties in successfully completing the effects may have contributed to the reasons why the whole 'Look in the mirror' scene was eventually dropped from the film
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CHANGES
Revised Page
February 15, 1968
7
27
CONTINUED
27
DAVY
I got people buyin' me hair in
lockets and sendin' hand painted
tea bags, shoe horns, horn toads,
pickles, donuts, flashlights, hot-dogs, flower-pots and cash. Everything you can think of. That's who cares.
MIKE
Rudolph.
DAVY
What?
PETER
Rudolph Valentino, you remind her
of, he's saying.
DAVY
(laughing)
Rudolph? Rudolph! That's funny
as Humphery, isn't it?
MIKE
He'd probably been big if he'd
changed it to Randolph, though.
MICKY
So, what's the point?
PETER
Why need there be a point?
Are we keeping score or something?
MIKE
I am.
DAVY
I am, too.
MICKY
Count me in...
PETER
Then I guess the point is evident...
During the above, as all four stand in front of the mirror,
begin fading in SOUND OF CONCERT audience, clamoring for Monks.
CUT TO:
INT. MONKEE CONCERT - DAY
28
The fans including the kissing girl, chant and scream, et. al.
28
Shot 27 - production photo
Note that pages 5, 6 and 7 are 'Revised' and that two of these count among several pages in the script which were updated on February 15 1968, the date of the first scheduled day of shooting (which included this very scene) - and the day Nesmith, Dolenz and Jones elected to call a wildcat strike. Since the latter action was reportedly not received well by Rafelson and Schneider it's tempting to wonder whether the group had been depicted as quite such shallow, self-obsessed, competitive, egotistical caricatures in earlier drafts!
The spirit of competitiveness between the Monkees was pretty well-known within the production of the TV show. Songwriter Tommy Boyce, quoted in Glenn A. Baker's Monkeemania spelled out something approaching the reality of what the 'Lady Pleasure' and 'Mirror' scenes appear to hint at:
'They had really changed since we worked with them in the beginning. I don't think they particularly liked each other at all by then. They used to argue about the script - "you have more lines than I do, I'm going on strike!" that sort of thing. Micky used to bribe the cameraman, slip him $25 to make sure he got the most closeups. But Davy gave the guy $35 and, because Micky would never go that high, Davy would get them all. Most of it was laughed off as a joke, but there was an underlying resentment there that wasn't very pleasant at all.'
Double-page spread of tinted production photos in 16 Magazine, June 1968
Something which perhaps should be noted at this stage is how a lot of the group's lines throughout the script have seemingly been written as an approximation of their real-life conversational patois rather than as straight 'movie dialogue'. Theoretically, these lines may even have been transcribed directly from the infamous Monkees/Rafelson/Nicholson Ojai discussion tapes. There are certainly some passages which come across as a little too realistic-sounding, even assuming Nicholson and Rafelson boasted a keen 'ear-for-dialogue'.
Production shots: Mike Nesmith and Micky Dolenz discuss their mirror scenes with Jack Nicholson and Bob Rafelson, respectively.
'Clamoring for Monks' is an odd abbreviation (made all the odder for the fact that the group do appear as monks later on in the film) but Sandoval notes that this shortening of the group's name was quite common among the cast and crew - with non-group-members and hangers-on being referred to as 'mini-Monks'.
Shot 28 calls for the kissing girl to be part of the audience (itself a curious decision since it suggests that the character was meant to be a Monkees fan - yet she doesn't seem altogether taken with their talents in other areas). As it happens, she isn't at the concert in Head, although at least one female fan is given the lion's share of the audience shots.
"The money's in, we're made of tin... "
Before we get to the next page of the script we should do a quick breakdown (or preferably a nice long one) of the sequence which eventually replaced the 'Look in the mirror' - 'Ditty Diego'.
The various screens show the following scenes from the film (all timings refer to the Rhino DVD).
1
"Hey now, wait a minute... now wait just a minute..."
Mike at the mirror (0:08:30).
2
"Hey hey, we are The Monkees, you know we love to please"
The Monkees advancing towards the cave during the 'War' sequence. An alternate take to that used in the film (0:12:56).
3
"A manufactured image with no philosophies"
Micky toppling down a sand-dune at the beginning of the desert sequence (0:16:57). This is the same take as used in the movie, although it's a few frames longer here and not degraded to off-monitor quality (the actual shot only appears as part of the first 'Channel Hopping' sequence). It's also a mirror image of how it's later presented. Alternate takes of the dune-tumbling in 'NY Action' suggest that it's the 'Ditty Diego' version of the shot which has been visually reversed.
4
"We hope you like our story, although there isn't one"
Peter and Davy being fed grapes by the harem girls - a cutaway from the Covered Wagon sequence (0:26:30). Exactly the same take as used in the scene - but about half a second longer at the start and end here.
5
"That is to say there's many - that way there is more fun"
Micky yanking the arrow from Mike's shoulder during the Covered Wagon sequence - exact same take as used in the movie (0:26:23). Note that, chronologically, this should have come before the TV screen featuring the harem scene.
6
"You've told us you like action, and games of many kinds"
Davy being floored by Sonny Liston during the boxing sequence. Seemingly an alternate take of the third time Davy hits the canvas (0:32:03)
7
"You like to dance, we like to sing, so let's all lose our minds"
Davy walking through the 'Summer' section of 'As We Go Along', surrounded by flowers. An alternate take of a similar shot which appears in the film (0:39:16).
8
"We know it doesn't matter, 'cos what you came to see"
The Monkees being shown round the factory - with a stretcher carrying an injured party being pulled past behind them. Part of the exact same shot which occurs in the film (0:42:45).
9
"Is what we'd love to give you, and give it 1-2-3"
The interior of the vacuum cleaner with Micky sliding through the entrance - exact same take as occurs later (0:44:21). Note: although, like most of the TV screens, the shot only shows a small section of the overall picture when compared to their corresponding scenes in the movie, this particular screen actually shows more of the top of the picture than is presented later (even in 'full frame' editions).
10
"But it may come 3-2-1-2 or jump from 9 to 5"
Part of the 'Daddy's Song' sequence with Davy and Toni Basil (0:47:51). This shot - with the duo wearing white clothes against a dark background - is presented 'clean' here, without the stroboscopic cuts back and forth to the corresponding take where they wear black clothes against a light background.
11
"And when you see the end in sight, the beginning may arrive"
Micky tumbling down the hill after being startled by the 'Lancashire Midget Greenie' (0:54:32).
12
"For those who look for meanings, in form as they do fact"
Peter, Micky and Mike being hassled by the Cop after emerging from the black box and being shoved along the street, Peter in particular bearing the brunt of the 'police brutality'. This shot doesn't actually appear in Head and looks as though it may originally have come after their 'arrest' ("Okay, boys, let's go... downtown..."), which would place it at the 0:50:53 mark. Chronologically, this is also out of sequence as it actually occurs before the 'Lancashire Midget Greenie' scene.
13
"We might tell you one thing but we'd only take it back"
Monkees manacled to a dungeon wall - which revolves around. An alternate take to the one which appears later (0:55:00).
14
"Not back like in a boxback, not back like in a race"
Mike in negative and slow motion tumbling through the labyrinth. Alternate take to one which occurs in the film (0:59:24)
15
"Not back so we can keep it, but back in time and space"
Peter and a girl grooving at Mike's birthday party. This exact shot doesn't occur in Head. Similar shots of the pair - with the camera tilted the other way - occur several times throughout the party sequence (1:00:58 onwards).
16
"You say we're manufactured, to that we all agree"
Micky, Davy and Mike sitting down in the box to listen to Peter's lecture. Same take as that used in the film (1:10:44).
17
"So take your choice and we'll rejoice in never being free"
Davy kicking the box door down; Inspector Shrink turning to react (the only TV screen which contains two successive shots). Same shots as occur in the film (1:13:53) but a looser edit thereof.
18
"Hey hey, we are The Monkees, we've said it all before"
Helicopter carrying the black box towards the desert. Same shot occurs in the film (1:15:50).
19
"The money's in, we're made of tin, we're here to give you more"
Bridge scene - Micky cutting through the tape the second time. Alternate take to that which occurs in the film (1:20:32).
20
"The money's in, we're made of tin, we're here to give you..."
Footage of a Vietcong suspect being shot through the head at point blank range. Occurs during the 'Circle Sky' scene (0:15:11) and partially, in slow motion, during the second 'Channel Hopping' sequence (1:18:25).
'Ditty Diego' was in fact one of the final studio contributions the band made to the movie, laying down the vocals (a capella - the sprightly piano accompaniment was added later) at RCA Victor Studios, Hollywood on July 25 1968. A 4'30" edit of the earlier part of the shambolic session (with some of the lines spoken by different groupmembers and boasting an extra verse) was released as an extra on Rhino's Head CD (Rhino R2 71795) while the more recent Rhino Handmade Deluxe set (RHM2 525670) boasts a full 22'55" of the same. 'Chorus leader' Jack Nicholson can also be heard throughout advising on their delivery.
A few online articles suggest that, at the time of recording, 'Ditty Diego' was simply entitled 'Movie Jingle'. Sandoval doesn't confirm this in his book (and it's the sort of thing he would mention) so it appears to be a myth. In fact its origins may lie in a somewhat garbled report published in Monkees Monthly('Film Jingle', September 1968), which claimed that the Monkees had recorded 'an hour long jingle especially for their film' which was 'a take-off on all the people who have knocked the Monkees over the past two years saying that they were "Ignorant"; "Plastic pop stars"; "Never-going-to-make-it"; etc' The 'hour long' confusion presumably stems from the fact that the recording session lasted about that long.
'Ditty Diego' piano track isolated from the 5.1 mix
Although the report above shouldn't exactly be relied on (the given date of the session - August 2 1968 - is also incorrect, although the piano session took place the day after that) it is worth pondering on whether 'Ditty Diego' was actually intended for use in the movie at this point or simply planned as an advertising jingle. Especially given that a) the whole sequence was eventually used (TV sets and all) in one of the theatrical trailers, and b) its inclusion in the movie was something of an 11th hour replacement for the 'Look in the mirror' sequence. Either way, it would appear that the group had some idea of what was planned visually by the time of the recording - at one stage during the session we hear Micky Dolenz giggling over the idea of "Twenty little inserts - twenty shots on the screen..."
With this in mind, it's worth considering the boast made by the filmmakers (reported in the NME on 16 March 1968) that the movie would feature '20 different plots' - although it may be pushing it somewhat to regard the shooting of a Vietcong suspect as any kind of standalone narrative!
Whether or not 'Ditty Diego' could really be described as a piss-take of the critics is another matter. Written by Rafelson and Nicholson, it comes across more like damage limitation, not just for the film (spelling out in bold print from the outset that the audience shouldn't expect anything like a straight plot, or indeed anything other than a tricksy put-on) but also for the group itself, effectively allowing the Monkees to beat themselves up before the critics got a chance to. Rather tellingly, the piece was recorded after the rough 'work-print' preview screening of the film in July 1968 which left most of its audience somewhat confused.
The song was only credited to Rafelson/Nicholson on certain overseas editions of the LP - presumably because Rafelson's role as producer on the TV show created a 'conflict of interests' with Screen Gems (his contribution to the Monkees' marvellous 'P.O. Box 9847' had gone uncredited for similar reasons).
For more on 'Ditty Diego', go to our 'Soundtrack' page. There'll be one. At some point.
As the notorious NBC newsreel footage of Viet Cong suspect Nguyen Van Lem being executed cuts short the 'Ditty Diego' song, the ratio suddenly shifts. The various images of the movie are suddenly replaced by this graphic footage in nineteen of the TV screens - the final one now showing a shot of a girl apparently screaming in horror. But as her picture zooms forward to fill the screen we realise that she's simply part of an audience of kids screaming for The Monkees. A nice instance of creative post-production, which links us nicely to Shot 28 - and the 'Monkee concert' - as planned.
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8
28
CONTINUED:
28
CROWD
We want the Monkees! We want
the Monkees! Micky, Davy, Peter,
Mike...oh God! etc.
CUT TO
INT. ANGLE - A BATHROOM - DAY
29
A room which conceivably could be a dressing room.
We hear the crowd roar.
29
30
SERIES OF ANGLES
Speeded up action. The four boys put on their clothes.
Each wears all white trousers and sweater with a large
red letter on the front.
30
INT. DARK CORRIDOR - DAY
31
as if it were a tunnel leading to concert. Monkees
head down corridor.
They emerge from tunnel to the field. Davy leaps
into the air. A large red "W" is on his chest.
33
DAVY
Gimme a "W"!!
34
ANGLE - CARD SECTION
a "W" is formed
34
CROWD
(thunders)
"W"!!
35
ANOTHER ANGLE
This one superimposed over the previous two angles is
Davy's leap slowed to about half speed and ends as we:
35
CUT TO:
For Page 8 we rejoin the earlier, unrevised draft. Note that Shots 29 - 30 are specifically namechecked here as taking place in a 'bathroom' - although the direction isn't quite so clear, suggesting a 'room which conceivably could be a dressing room'. By the time of the February rewrites the bathroom was seemingly taken as read. By the time of the shoot however there was no bathroom to be seen and the dressing sequence takes place in the main living room.
Shot 30's call for 'Speeded up action' suggests a traditional 2x speed edit was in mind at script stage. In the film, the required urgency is conveyed through a series of quick-cut close-ups of their various stages of dress (shots which, along the way, reveal more details of the house interior, including a grand piano - from which emerges some kind of curious puppet jester - and a large poster depicting the musculature of the human body). All of this is intercut with various shots of colourfully-attired Monkees fans awaiting their free concert at the Valley Music Hall, Salt Lake City (of which, more later).
Production photos of Shot 30
Although the script calls for them to dress for the 'War Chant' sequence, with the large red letters emblazoned on their clothes - in the film they simply don their white stage-clothes at this point, the 'WAR!' clothing only revealing itself for Shot 33 as they emerge from the tunnel and onto the football field.
The group culminate their dressing routine by performing a strange hands-aloft 'worship' ritual in front of the stained glass bay windows. Production photos, taken from various angles, show that they're on their knees throughout this. Gloria Stavers' June 1968 write-up in 16 Magazine reveals that this was the first shot filmed on the second day at Stage 7. Stavers also suggests that it would 'probably be used as the intro to the movie - with the credits running across it'. Although on first glance this may read like bollocks of the highest order, it's worth considering whether there were plans to incorporate the shot as part of the unused montage of unconnected images in the 'Porpoise Song' ('Changes' - Page 4, Shot 16) - a sequence which a) would indeed have run under the opening credits (had they actually decided to have some), and b) also had, in its scripted version, the sound of the fans chanting "We want the Monkees..." on its soundtrack.
The final few frames of the shot which shows them leaving the pad reveal evidence of an extra 'inhabitant'. On the far left of the screen we see what looks like a human hand reaching out from the corner of the room (in fact, pretty much from the location of where the mirror is situated!).
Alternate tunnel shot from 'NY Action'
Shot 33 - production photo
Alternate 'War Chant' shot from 'NY Action'
'NY Action' features an alternate take of the band traversing through the corridor actually wearing the 'WAR!' clothes (still running in a horizontal arrangement, albeit in a different order to the shot used in the movie).
Probably unrelated, but still interesting, Sandoval notes that during some between-takes banter during a session for 'Riu Chiu' on October 3 1967, Peter Tork voiced an idea for the film project which involved the group "entering a tunnel - and then taking the tunnel with them." This would have been almost two months before the Ojai script discussions.
The 'War Chant' sequence was filmed at the Pasadena Rose Bowl while the crowd response on the audio track was recorded during the Salt Lake City Valley Music Hall gig (reviewing the full audio recording of that performance, Sandoval noted that Peter Tork originally led the audience through the whole "Gimme a W..." routine. This recording is now available on the Rhino Handmade Head Deluxe boxed set.).
The December 1968 edition of Tiger Beat magazine revealed that Micky Dolenz came up with the whole 'War Chant' scenario.
Although the script suggests that an actual crowd was expected to convey the 'card section's spelling out of the various letters (the next page even calls for such a crowd to be seen 'shaking with ferver, screaming "WAR!!"' at the close of the sequence), the cutaways were eventually rendered with what appears to be stock footage and a bit of simple matte animation. The results are cheap, but cheerful enough.
Shot 35's superimposed collage of different angles of Davy and the crowd doesn't occur in Head, and neither does Shot 38 on the next page which features a similar collage following Peter's leap.
Alternate shots of Davy and Peter performing the chant can be found in 'NY Action'. Note that in Head, Davy's cry of "Gimme a 'W'" occurs as he emerges from the corridor onto the field, whereas the trailer offcuts feature shots of him in place on the pitch as per the others.
It's possible however that the alternate Davy shot may actually depict a scene from a reprise of the 'War' sequence which occurs later in the script (see 'Changes' - Page 50, Shot 186) but which was eventually cut from the film).
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9
36
ANGLE - PETER
Same is Davy's except "A" is his letter.
36
PETER
Gimme an "A"!!
37
ANGLE - CARD SECTION
Forms an "A".
37
CROWD
"A"!!
38
ANOTHER ANGLE
Same kind of super as with Davy.
38
39
ANGLE - MICKY
His letter is "R".
39
MICKY
Gimme an "R"!!
40
ANGLE - CARD SECTION
forms an "R".
40
CROWD
"R"!!
41
ANGLE - MIKE
He wears an exclamation point.
41
MIKE
What does it spell?
42
ANGLE - CARD SECTION
WAR! is formed.
42
CROWD
WAR!!
As the crowd stands shaking with ferver, screaming "WAR!!"
CUT TO:
43
SERIES OF STOCK SHOTS - THE BOMB
Slow motion, superimpositioned beautiful roaring angles of this fiery mushroom as it burgeons ghost-like through the atmosphere. Then we move into faster stock shots of cannons, battle ships, bombay doors, bazookas, flame throwers, mortar, machine guns, hand grenades, riots, etc. SOUND reaches a climax and then:
43
DISSOLVE TO:
Production photos taken during the Pasadena Rose Bowl 'War Chant' shoot...
As mentioned previously, no special crowd filming was undertaken for Shot 42, the fervour simply conveyed via the stock footage, matte-animation and Salt Lake City audience sound.
Shot 43 meanwhile concerns itself only with multiple stock shots of Vietnam news footage. No mushroom clouds appear (and, to be fair, it would probably have been difficult for them to top the use of such in Dr Strangelove (1964) - also, incidentally, a Columbia Pictures release, and directed by Stanley Kubrick who would later work with Jack Nicholson on The Shining, etc, blah.)
Mike Nesmith receives cheerleader choreography from Jack Nicholson at the Pasadena Rose Bowl
