After the Cowman departs we get a bunch of 'added' scenes: 196A (Mike, Micky and Peter emerging from the Conduit/Box and encountering the Cop); 196B (the Drill Team coming to their aid) and 196C (The Monkees watching the Drill Team depart and Davy heading off to the Men's Room). Yet these insertions result in only two added pages - 56A and Page 57A (and the latter is pretty short). Page 58 (Davy encountering the eye in the Men's Room / Peter entering) is also marked as 'revised'.
How earlier drafts depicted the action between the Cowman and the Men's Room is up for question, but some vague clues can be found later in the script - as all further scenes which include the Cop are also denoted as 'added'.
It's entirely possible therefore that the first draft of 'Changes' didn't feature the Cop character at all...
Rev. Additional Page
January 24, 1968
Mike sees a cop waiting, tapping his foot and stops.
I'm gonna take flying lessons.
I'll tell you that. Why are we
I don't even want to hear why
or what from you...just out...out!
Mike comes out. Peter appears.
Come on all of you.
Hello officer. Certainly
glad to see you...
Don't even try it. Just out.
Peter comes out.
Micky comes out.
O.K. What're you weirdos
doin' in there? And this
better be straight.
(he points to Micky)
Well, just..um, in there, huh?
In the tube, you mean, right?
Although not covered by any of the corresponding dialogue in Head, Micky Dolenz did indeed take flying lessons around this time (so one should perhaps presume that the original Ojai tapes captured him enthusiastically gabbling on about such plans).
The 'Cop' was played by Logan Ramsey and, by the time the Head credits were assembled, was christened 'Off. Faye Lapid'. The name may well be a groovy countercultural drugs reference of some form or other (and even if it isn't, Google Translate clearly disagrees, as anyone who tries sticking the French words "au fait lapid" in there will discover).
Some early press hand-outs issued in late February 1968 reported that 'Bert Schneider will play a policeman in the Monkees film for Columbia' (although whether they meant this particular policeman is unclear). The hand-outs in question, printed in the Los Angeles Times' regular 'Movie Call Sheet' column (and no doubt elsewhere) also confirmed the casting of Victor Mature and Annette Funicello in the movie.
To the best of our knowledge, Schneider doesn't appear onscreen in Head in any recognisable capacity.
Aside from the switchover from a vacuum cleaner hose to a black box, the Monkees emerging from the latter in a slightly revised order and the addition of the Cop's "Fuzzy wuzzy" insult directed at Micky Dolenz, the confrontation as scripted survived pretty much intact on the big screen.
2nd Revised Page
January 24, 1968
That's right...in the tube.
Well, first we were in a box,
then we, no skip that...
Okay, let's go...down town.
We were looking for Davy.
EXT. STREET - DAY
Davy leads the drill team through their paces around
the cop and takes the Monkees off with him on the end
of the line while the cop stands with open mouth.
They arrive at a rest room door.
They move off. The Monkees stay and watch them as they
march off. A loud screech of brakes and a crash. A damaged
car comes by pushed by two prop men.
I'm gonna take flying lessons.
That puts my mind at ease.
(sees the john)
Would you excuse me?
January 24, 1968
He enters the john.
Head handles Scene 196B and 196C somewhat differently from the original script. A bit of furious quick-cut editing suddenly places the drill team around the Cop and, thereafter the Monkees themselves, performing some complex choreographed display (apparently of their own volition rather than Davy's) while the group seem a little disorientated. A bit of forward marching does occur, but not nearly enough to effect a clean getaway from their initial position.
The Cop meanwhile stands in the background surveying this display disapprovingly,with one foot initially perched on the black box (which has now suddenly re-submerged into the ground again). A couple of actors' chairs are also visible, loitering innocently nearby.
Eventually, the drill team turns heel and marches off in the opposite direction, forcing the now terribly-confused Cop to lead the way. "Thanks a lot, guys", calls Peter as they leave. The ensuing business with the screech of breaks, the crash and the damaged car pushed by prop men doesn't occur.
The entire edited sequence, which lasts less than 25 seconds, features over 40 cuts, from several different angles (including a couple which are clearly 'new' shots freshly-created by hard-matting small sections of much wider angles).
Production photos - the military drill
Drill Team music isolated from the 5.1 mix
Micky's purple revelation that he intends "to take flying lessons" is repeated here, for no very good reason. And, as per the previous occasion, this doesn't occur in the movie. Instead, some extra dialogue has Mike insist "I'll tell you what, man, that cop must've though we wuz totally crazy!", while Peter gets to play the lefty humanitarian, indignantly spitting "He laid a hand on me!"
If our theories about earlier drafts not featuring the Cop character are correct then the 'Daddy's Song' switch from Mike to Davy wouldn't have gotten a chance to affect the "We were just looking for David Jones!" set-up.
Production photo - Bob Rafelson directs the post-drill sequence
The section of Scene 196C showing the Monkees arriving at the green park bench and Davy nipping off to the Men's Room would have been filmed on the same day as the Frank Zappa / bull sequence. Several on-set photos show wee Scots lass (and, around this time, Davy's extra-curricular girlfriend) Lulu popping in for a quick hello and posing with the group at that exact same spot. In an interview with the NME (published March 30 1968) Lulu relates how Davy Jones introduced her to Zappa that day.
A quick photo opportunity with Lulu before Davy goes to the bathroom...
The last 'revised' page of this sequence - Page 58 - sees Davy entering the Men's room. The rest of the scene, including his entrapment in the labyrinth plays out over two further pages, not marked 'added' or 'revised', so presumably were present in the first draft.
January 24, 1968
INT. REST ROOM - DAY
Davy moves to the sink, washes and dries his hands
during the following.
Au contraire? Is that what he
said to me?
He has finished drying his hands and begins to spar in the
Insane? Insane? They better
be...Mess wiff me...mack..take
that fa' that...come on...scare
me? You kiddin'?
A toilet flushes behind Davy. He stops and casually fixes
his collar as the MAN exits in the b.g. After a pause, he
checks to see if any one else is with him. Satisfied that
he is alone, he opens the mirrored medicine chest.
ANGLE - CHEST
A huge eye peers through the opening. We HEAR a low
frightening moronic laugh.
ANGLE - DAVY
He slams the door shut and lurches against the wall, struck
speechless. We hear, splat, splat, splat...off CAMERA.
Peter enters and crosses to the mirror.
Talk about police violence.
He notices Davy cowering.
(continuing; no nonsense)
What's wrong with you?
In Head, Davy's incongruous 'sparring' behaviour (which of course brings to mind his earlier enthusiasm over the boxing match with Sonny Liston - as well as looking forward to the way he uses brute force to attempt to escape from the box later in the movie) occurs on his way to the sink rather than after he's washed and dried his hands. The "Au contraire??" amusement (which, incidentally, had already been used in an episode of TV series called Monkees Marooned (tx: NBC, 30 Oct. 1967)) kicks off the action.
The business with the MAN flushing the toilet and emerging from the cubicle was dropped by the time of the shoot. It's worth remembering that the first sight of a toilet flush in mainstream cinema had only occurred only eight years previously (in Alfred Hitchcock's Psycho (1960) - and Janet Leigh wasn't even using it for its intended purpose back then). It might be fair to assume that even scenes of 'implied' disposal of urine or faecal matter would have been regarded as questionable at the time, especially in a film the studios intended to aim at America's youth.
The toilet in question is heard flushing and gurgling (entirely of its own volition) a bit later - when the Cop checks the cubicle is empty before performing his burlesque dance - but even there there's no implication that anyone's recently sat down on it.
We did ask Mike Nesmith for his views on the above important issue, but he insisted he'd never even heard of a toilet in 1968...
Note how the occupant of said cubicle is referred to in the script as 'the MAN' rather than 'a MAN', perhaps suggesting - as per Peter's ice cream cone earlier - that an earlier draft introduced him properly.
A nice animated special matte effect displays the giant 'eye' in all its glory (although closer inspection, and running the sequence frame-by-frame, reveals that the overlay was added one frame too early). The eye is generally assumed to belong to Victor Mature, although this doesn't appear to be be the case - Mature's own eyes sporting some impressive bags not present here.
Davy and the eye - from the German-dubbed edition.
It may be worth asking at this point whether Davy's trip to the bathroom was particularly necessary. He doesn't make use of the facilities as such, beyond checking his general appearance in the mirror. As mentioned before however, the 'mirror' motif would have been set up during the scene at the group's pad earlier.
The German-dubbed edition of Head erroneously omits the jarring chord which occurs as the eye reveals itself, rendering the scene looking very odd indeed (but perhaps also highlighting how that scene would have looked to the test audiences who didn't have Ken Thorne's score to sweeten the action).
Rather pleasingly, the voice actor who dubs Peter Tork's German voice makes a decent stab at replicating his whistled rendition of 'Strawberry Fields Forever'...
A quick technical observation - the Criterion DVD and Blu ray edition of the scene has an unexplained bluish-green rectangle overlayed onto the cabinet and eye which isn't present on any other version.
Criterion DVD - blue vertical rectangle visible
Rhino VHS - no blue rectangle
Rhino DVD - no blue rectangle
RCA Colmbia VHS - no blue rectangle
Quite what the 'We hear, splat, splat, splat...off CAMERA' description refers to is a bit of a mystery. Especially since the script already made clear that the MAN had left the cubicle by this time...
Peter's demeanour as originally scripted is indeed pretty 'no nonsense', especially when compared to how it's performed in Head where, despite the recent run-in with the law, he manages to retains a certain good humour. He even gets to squeeze a zit in the mirror en route.
Davy points spasmodically at the medicine chest, unable to
He quickly moves to open it and does.
Nothing happens. Davy is astounded.
Davy doesn't know what to say.
What is this suppose to be...
A funny? Wow, really a great
put on you pretend...
...and then I...
He opens the door...
And that's a joke?
Well, let me tell you...no
one ever loans money to a man
with a sense of humor!
He exits. (Peter) Davy looks disbelievingly at the mirror.
He moves slowly toward it. We build suspense with dripping
water and drum beats. He jerks the door open and a bottle
falls out into the sink. But there are only shelves. Davy
smiles with relief and closes the mirror door.
The above highlighted chatter from Peter was tightened up considerably in Head to the much simpler "I get it - the old 'mirror routine', right?", although it is possible that a bit more dialogue was actually filmed.
By comparison, his subsequent "Nobody ever lent money..." platitude was driven home with a strobing series of flashframed words which fill the screen as he delivers it.
ANGLE - MIRROR
We follow as it swings closed. The final image includes
Davy and his startled response to what he sees behind him
in the mirror. A long Gothic vestibule room theremins in
INT. GOTHIC VESTIBULE - DAY
Davy now enters the room. The CAMERA PANS over the looming
shapes of baroque furnishings, conveying mystery, horror and
A SHRIEKING CACKLE echoes through the high arched rafters
of the room.
ANGLE - HIGH-ARCHED RAFTERS
ANGLE - DAVY
Hope I didn't disturb
The wind whistles in the eaves. Davy begins to move through
SERIES OF ANGLES
As Davy fearfully explores this inner sanctum, we see and hear
things such as cobwebs, an ancient grandfather clock, with
chimes, candlabra [sic] which first burn and then are blown out by
the wind, Davy's creaking shoes, tapping limbs on windows, etc.
In the final long DOLLY SHOT, Davy moves down a narrow hallway
toward a door, which glows with a phosphorescent flashing
number one. We hear horrible gnashing and moaning sounds
from the other side, getting more insistent as we move to
ANGLE - DOORKNOB
As Davy's hand slowly turns the knob, we hear a soft long
female moan...as the door begins to swing open:
Note that the script simply states that Davy 'now enters the room', with no suggestion whatsoever of the damned clever editing job which would eventuallyallow him to do so: after seeing the Gothic interior reflected in the mirror, he quickly spins around and discovers that the reflection isn't lying. He spins back to discover that the mirror - and indeed the entire Rest Room - is no longer there and has been replaced with the Gothic surroundings.
Technically, this shot would have necessitated isolating part of the men's room set - ie the wall housing the cabinet and sink - and rebuilding it as a standalone backdrop within the vestibule set - against the wall seen behind Davy as he spins around (so that the reflection in the mirror features the glowing door at the far side of the corridor).
Davy has no dialogue throughout the ensuing unnerving vestibule sequence and instead hams up his short journey towards the door, tripping over skeletons, suits of armour, etc. As well as some suitably unnerving Ken Thorne score, the soundtrack is filled with the mocking laughter of Victor Mature reverberating around.
The door in question doesn't feature a glowing 'number one' on it (Patrick MacGoohan would surely have sued anyway). Instead, the whole door glows, alternating between phosphorescent reds and greens