200 Motels Shooting Script

[<< SCENES 1-17]
51 SCENE 18 2 mins. Camera 1; in Area E Camera 2; in Area G Camera 3; in Area H Camera 4; in Area H Orchestra. Group. Chorus (off screen). The Group is playing "Went on the Road". Area F is backlit. Camera 1, 2, and 3 as directed. Camera 4 / GROUP CU VOCALISTS Went on the road for a month touring What a drag. Y'gotta go - Even if you'd rather be at home Flaked out in Hollywood, Drove to Inglewood, and then we dumped all our shit 'n took a plane at five o' three What's it gonna be? MARK (spoken) Chicken, beef or turkey? GROUP La, la, la, la. MARK (spoken) Would you like a snack? GROUP Ah! Just arrived. Gee, this place is thrilling! Camera 4 / MARK CU MARK I'd give my soul for a double cheeseburger ... from a famous American Burger Chain with a symbol in the parking lot that's yellow plastic goes like this ... (he gestures) NOTE: This shot to be freeze- framed later.
52 SCENE 19 Camera 4; in front of Y The Scene to be superimposed on the freeze-frame last shot of Scene 18. From an enormous puff of colored smoke, RANCE, wearing a postman's hat, carrying his steaming briefcase, walks to middle of LS from Right. Cam. 4 / RANCE LS RANCE Special delivery for a Mister Volman ... Mister Volman? ... are you Volman? (with the superimposition RANCE will appear to be looking up VOLMAN'S NOSTRIL) VOICES-OFF (filtered) HOWARD Do you smell something weird? MARK (sniff, sniff) ... it's a double cheeseburger ... from a famous American Burger Chain with a symbol in the parking lot that's yellow plastic and goes like this ... in a steaming briefcase. Thunderclap. Lightning flash.
53 SCENE 20 Camera 2, 3, & 4; in front of F. MARK, HOWARD & JEFF are pretending to be frozen. RANCE is trying to wake them up. At the editing stage, 20 dissolves out of last shot of 19. 1. Cam. 3 / CU HOWARD who is frozen. 2. Cam. 2 / RANCE (to HOWARD) MS STEAMING BRIEFCASE. I'll bet you're Volman ... PAN UP TO RANCE 3. Cam. 4 / HOWARD (points to MARK) CU HOWARD He's Volman ... who are you? 4. Cam. 3 / RANCE (addressing all three) 3 SHOT RANCE, HOWARD & MARK I am ... uh ... you can call me RANCE MUHAMMITZ. 5. Cam. 4 / HOWARD CU HOWARD We did already ... I called "Rance" and he called you "Muhammitz" ... just a few minutes ago at the beginning of that song. 6. Cam. 2 / RANCE (a little sinister) CU RANCE Of course you did, lads ... I was in the fake night club across the street with an Indian gentlemen and sensed a need on your behalf to communicate with me ... or you wouldn't have called, would you? 7. Cam. 3 / JEFF 3 SHOT We didn't actually call you ... JEFF & MARK we just said "Rance" and "Muhamminns" a couple times... I just said "Framminns" myself.
54 SCENE 20 (Cont) 7. Continued MARK We said "RUTH!" in there too ... does that count? 8. Cam. 2 / RANCE (still sinister) CU RANCE I am known by many names ... and I'm at your service whenever you choose to call. 9. Cam. 3 / JEFF CU JEFF You're the mail man in this town, right? That a mail man hat? Is it a real one? 10. Cam. 2 / RANCE CU RANCE You're Simmons, is that correct? Yes ... yes, Simmons, I do a few odd jobs here in Centerville ... I'm sort of the general proprietor of its major industries, its lakes, its parks, its lavish recreational facilities ZOOM OUT to include ... its homes HOWARD HOWARD Shit, you're really versatile ... 11 Cam. 4 / RANCE (modestly) CU RANCE It's nothing, lads, really ... I get paid to do this just like everybody else. One day you fix an election ... the next day you deliver the mail. We in government have a wide range of services to provide for ... the man in the street. By the way, Mister Volman ... I ZOOM OUT to MS have your cheeseburger ... (RANCE pulls it steaming from his briefcase) ... would you care to sign for it? RANCE pulls a mysterious parchment scroll out of his coat pocket.
55 SCENE 20 (Cont) 12. Cam. 2 / MS MARK and ZOOM IN MARK'S face realizes that there is more to the cheeseburger than he bargained for. MARK'S EYES shift desperately. There is a dramatic pause. Silence. We see only MARK'S FACE as he decides. 13. Super Cam. 4 / CU RANCE'S HAND SUPER RANCE'S HAND with steaming cheese- burger. JEFF (VOICE OVER) casually You gonna eat that cheeseburger JEFF'S HAND reaches Mark? (in the SUPERED SHOT) for the mystery burger. RANCE'S HAND pulls out of frame. JEFF'S HAND pulls out, unwrapping the burger. We hear the waxed paper crinkling and JEFF chewing but continue to watch MARK'S EXPRESSION He turns disgustedly to JEFF, looks him up and down, then turns toward HOWARD and says ... MARK (wearily amused) Fuckin' guy'll eat anything ... 14. Mix Cam. 2 / RANCE (off CAMERA to JEFF) CU JEFF, CHEWING This is registered ... er ... a registered delivery. You'll have to SIGN for it. JEFF (chewing) Sure, man ... I'll sign for it. Where's the pencil?
56 SCENE 20 (Cont) 14. Continued RANCE (off CAMERA) I don't wish to alarm you, my son, but ... the signature will have to be ... in blood ... JEFF (casually, still chewing) I don't have any blood ... I'm too wan ... no shit ... I saw Ted Mack in the Jacksonville Sheraton ... that's exactly what he told me ... 15. Cam. 4 / RANCE (agitated, growing CU RANCE ominous) I'll rent some blood ... you still must sign! You took the mystery burger! You're in FULL possession of THE BURGER ... JEFF (off CAMERA, chewing) Forget it, man ... call my service ... we'll have lunch ... PAN RIGHT with RANCE CAMERA follows RANCE as he walks over and stares directly into JEFF'S FACE (still chewing) 2 SHOT. RANCE & JEFF RANCE (ominous) Do you know who I am ... DO YOU KNOW WHO I REALLY AM? 16. Cam. 3 / MARK (slightly aggressive) CU MARK Really, man ... who do you think you are? 17. Cam. 4 / JEFF (chewing last of the burger) 2 SHOT RANCE & JEFF Yeah, man ... really ... what's the deal? You want me to tell you who I really think you are?
57 SCENE 20 (Cont) 18. Cam. 2 / HOWARD (confused) CU HOWARD Somebody tell ME ... who is this guy? 19. Cam. 3 / JEFF (explains first to GROUP WA GROUP then to CAMERA) I'll give it to you in technical terms ... I just ate the burger, right? Well ... (devotional voice) ... 20. Cam. 4 / JEFF CU JEFF ... just as the human body, as a result of stuffing food into it, must relieve itself eventually of noxious wastes and grocery by-products ... and a factory spew garbage into the air and water, fouling the biosphere, as a result of the endless quest for higher productivity, so it is that you ... as a fake devil surrogate, live on stage at the Centerville Vetrans Memorial Arena represent only one small dribble from the discharge of a diseased imagin- ation belonging to the guy who is paying me to say this, and who shall go nameless at this time ... rent the blood ... I don't give a shit. DISSOLVE The sound trails away into echo. This out of focus shot to be mixed later with the first shot of Scene 21.
58 SCENE 21 2 mins. (bar 114) "Centerville" Camera 1; in Area N Camera 2; in Area W, looking through K Camera 3; in Area G Camera 4; in Area I Orchestra. Group. Groupies. Chorus (off screen). Dancers. Mark and Howard leave the rest of the group on stage and wander around Centerville. Radio mics. Dancers are dressed in 1940's Centerville street clothes. The citizens are: 3 housewives, 1 policeman, 2 kids, 1 soda-jerk, 1 politician, 2 blue-collar workers, 1 WAC (service type). Each citizen is carrying a cardboard cut-out extra person. Towers and fences set in. 1A. Cam. 3 / CU MARK (Exactly the same shot as the last of scene 18) 1B. Cam. 4 / CU GROUPIES 2. Cam. 3 / CU MARK and HOWARD as they leave stage. ZOOM OUT and TRACK BACK. "Centerville ... GROUPIES appear in A real nice place to raise left of screen. your kids up. They enter the street. Centerville ... Still TRACKING BACK It's really neat. 3. Cam. 1 / Churches! MS Liquor Store. Arm swinging to simulate walking.
59 SCENE 21 (Cont) 4. Mix to Cam. 4 / STILL TRACKING BACK. 5. Cam. 1 / Churches! MS Liquor Store. 6. Mix to Cam. 4 / And liquor stores ... Still TRACKING BACK. 7. Cam. 3 / MS DANCERS stagger out of liquor store (K) and pass behind MARK and HOWARD, and go into Butcher's shop (L) (Cam. 3 now hides in W) 8. Cam. 4 / Bowling Alleys. (now tucked 2 SHOT MARK in beyond N) and HOWARD 9. Cam. 1 / 2 SHOT MARK and HOWARD. ZOOM OUT, TRACK Just like Glendale. BACK and CRANE UP, revealing people watching them from P. 10. Cam. 4 / MOTORHEAD comes out of the NEWT RANCH with his industrial vacuum cleaner, and looks at MARK. PAN LEFT to see MARK looking at him. 11. Cam. 3 / (now in 2 SHOT. MARK front of P) and HOWARD turn to look up Fifth Avenue (J) GROUPIES cross Look ... Over there. shot from right to left and go into Rancid Boutique (K).
60 SCENE 21 (Cont) 11. Continued CAMERA follows It's a rancid boutique. them in. 12. Cam. 2 / (from GROUPIES enter inside K) shop. 13. Cam. 3 / Over MARK and HOWARD's shoulder into rancid boutique. ZOOM INTO GROUPIE activity. MARK and HOWARD turn You know what kind of a girl to CAMERA. works in a boutique! 14. Cam. 2 / CU GROUPIES. 15. Cam. 4 / HOWARD 2 SHOT. MARK and HOWARD The kind of girl with a sister who wears a brassiere to a pop festival. They walk away from Forget the rancid boutique. rancid boutique disgusted. There's no chance to get any action in this town. This place has got to be the bottom line ... The lowest ... 16. Cam. 3 / LUCY (excited) MS Rancid boutique ZOOM INTO GROUPIE Janet! Did you see those guys activity. with the hair? NOTE: Cam. 1 now goes and parks itself in C, looking towards E. 17. Cam. 2 / JANET (unimpressed) 2 SHOT JANET and LUCY It's those guys from the fake stage across from our house.
61 SCENE 21 (Cont) 18. Cam. 3 / LUCY (eroticized) CU LUCY I get so excited when somebody from a group gets near me ... I just ... I just ... (pant, gasp, etc.) 19. Cam. 2 / JANET (wisely) 2 SHOT JANET and LUCY Eeeeuuooo! Don't you have any taste? That one guy's got gray hair and the other one's too fat. LUCY They looked so lonely ... 20. Cam. 3 / JANET CU JANET Lonely? Good evening, honey ... They looked desperate! Desperate Pop Stars are so depressing when they been on the road for a long time and they finally get some action ... 21. Cam. 2 / LUCY 2 SHOT JANET and LUCY They drool on you. JANET Really ... all that stuff comes out of their mouth when they're on top of you ... it's so mo-shay ... eeeuuooo! 22. Cam. 3 / LUCY CU LUCY Eeeuuuooo ... on the pillows ... 23. Cam. 2 / JANET 2 SHOT JANET and LUCY ... but I like the drummer ... with the rivets on his clothes he's not bad. LUCY Yeah ... I seen him too! He just screams ENGLISHNESS ... with the little haircut and the rings ...
62 SCENE 21 (Cont) 23. Continued JANET ... and the binoculars ... 24. Cam. 3 / LUCY CU LUCY Binoculars? 25. Cam. 2 / JANET 2 SHOT JANET and LUCY Didn't you notice his binoculars? 26. Cam. 3 / LUCY CU LUCY No ... he's got BINOCULARS? 27. Cam. 2 / JANET 2 SHOT JANET and LUCY He watches us through 'em ... he's a pervert. 28. Cam. 3 / LUCY Eeeuuooo! Really? I get hot just thinking about perversions ... mmmmm ... binoculars! Maybe we could meet him in the fake night club and find out if he really is perverted! 29. Cam. 2 / JANET 2 SHOT JANET and LUCY Just take my word for it ... HE IS PERVERTED! 30. Cam. 3 / LUCY CU LUCY Mmmmmm ... and English, too! 31. Cam. 2 / JANET 2 SHOT JANET and LUCY They're all that way.
63 SCENE 21 (Cont) 32. Cam. 3 / MS JANET and LUCY They let the beads fall back in place, and retreat into the depths of the rancid boutique, laughing and mumbling ad libs about what they'll do when they meet AYNSLEY in the fake night club. CAMERA TRACKS BACK to reveal LARRY, outside the Boutique. The lights dim except for a lonely spot on LARRY, He is still dressed as ZAPPA, holding the lamp. He is seated on a stack of newspapers near some empty coke bottles. LARRY (to CAMERA) When you go on tour with a musical group, it's possible that any town can seem like this ... whether it's large or small or busy or if there's nothing happening in it. The reason for this is quite simple. A musician, if you consider the normal pattern of modern civilised life, is on the outside of it all ... he doesn't work regular hours like a decent God-fearing citizen ... the life he leads might, in many ways, seem useless and irrelevant to those of us who prefer a quiet evening in front of the television and a bottle of beer. Amazing as it might seem to some of us, musicians have basic physical needs, just like real people. Many of them study for years ... learning to play a violin, for instance ... only to be rewarded with a humdrum job in the fourth row of a symphonic string section ...
64 SCENE 21 (Cont) 32. Continued CAMERA 3 TRACKS with him as he stands, tucks the lamp under his arm, and walks around the corner toward the concentration camp. The Orchestra is rehearsing quietly on the pizzicato section of the "TUNA SANDWICH BALLET" ... GEORGE DUKE is conducting. LARRY con- tinues to narrate as he walks. LARRY That's one of the reasons the Government has constructed at great expense, this Experimental Re-orientation Facility ... He gestures toward the camp. to find a way, perhaps, to re- train these useless old musicians with their brown fiddles and little horns ... give them a useful trade; a reason to exist in a modern world ... a change for a happier, more productive life. LARRY enters the con- centration Camp. Some will enter the military. Some will learn shorthand. The CHORUS (new Unfortunately, some will dis- prisoners) are frog-marched appear in the middle of the passed LARRY into the camp, night on a special train they're whipped by RANCE and sending in ... it's the only way, HERBIE. really, to bring about a final solution to the Orchestra Question. 33. Cam. 1 / WA LARRY in foreground left. In the distance, The Mothers are on Group Stage in all its fraudulent Grand- eur. The Orchestral plink- ing subsides and is replaced by quiet distant rock and roll tune up noises. LARRY, still in foreground continues: I'm sure most of us realize that a Pop Group will earn a vast amount of money, compared to these other kind of musicians.
65 SCENE 21 (Cont) 33. Continued LARRY (Continued) That's basically why the special Government Agencies in charge of Mass Response Programming and Psychological Stultification prefer to treat them in another, more subtle manner. They know, just as many of you vigilant and thoroughly upstanding citizens might have discovered for yourselves, the power of Pop Music to corrupt and putrefy the minds of World Youth are virtu- ally limitless. 34. Cam. 4 / CU AYNSLEY PROFILE on Group Stage, seated at Drum Kit, bent over to AYNSLEY (still bent over and fix his bass drum pedal. grunting) Mmmf ... this bloody thing ... DICK! Where's Dick? Bring me the screwdriver! 35. Cam. 2 / WA Over AYNSLEY'S SHOULDER as DICK BARBER dressed in his Industrial Vacuum Cleaner costume arrives at edge of Stage and hands AYNSLEY the screwdriver. The rest of the Group is looking on, adjusting their equipment too. 36. Cam. 4 / AYNSLEY (seeing Dick's CU AYNSLEY costume) What the fuck are you supposed to be? 37. Cam. 2 / DICK (squinting) CU DICK One more remark outa you, Dunbar and I'll punch your lights out.
66 SCENE 21 (Cont) 37. Continued MARK Howard! Look! It's Dick Barber. HOWARD (amazed) What? JEFF (casually) Go on ... admit it, Barber ... you've accepted part time employ- ment as an industrial vacuum cleaner as a compensation for loss of hair on your forehead from being road manager of The Mothers of Invention for too long. 38. Cam. 3 / WA GROUP from Stage level. 39. Cam. 2 / DICK (pissed off) Listen Simmons, I'll rip your head off and shit in it if you don't ... 40. Cam. 3 / CU MARK He grabs a P. A. system mike off its stand. FAST ZOOM BACK to reveal front view of stage with microphone in hand. He motions to the camera to approach. The CAMERA TRACKS in quickly to a 2 SHOT of DICK and MARK (siting now on edge of stage) MARK (to CAMERA) Ladies and gentlemen, this is Dick Barber, our road manager who used to be a fourth grade school teacher in Pomona. In 1967 he gave up his academic life to work with this group and all his hair on the front of his head began to dwindle away as if a strange and mysterious curse had been placed upon him.
67 SCENE 21 (Cont) 41. Cam. 2 / DICK (enraged, grabbing MARK CU DICK by his collar) Listen, you bloated sub-human falsetto version of Lesley West... He drags MARK off the Stage and throws him on the ground. ... if any of the stewardesses I been hustling on KLM ever hear a word about this vacuum cleaner suit, you'll pay ... (SNORK!) ... with your life! Intercutting between Cams. 2 and 4 as directed. Snorking violently, DICK and MARK stage a fight, kicking over chairs (a few breakaways) and crashing into the base of the stage. HOWARD jumps down to help MARK. JEFF jumps down. 42. Cam. 3 / CU FRANK FRANK steps onto Stage unnoticed and conducts fight music (improvised) with IAN, GEORGE and AYNSLEY. 43. Cam. 4 / WA GROUP DICK knocks MARK, HOWARD and JEFF UNCONSCIOUS. 44. Cam. 1 / HIGH WA DICK stumbles off in the direction of the Newt Ranch. The Orchestra plays a short dramatic cue. Before he arrives at Newt Ranch, DISSOLVE BACK to floor in front of stage where the three victims are just waking up.
68 SCENE 21 (Cont) 45. Mix Cam. 4 / HOWARD (groggy) MS HOWARD I don't even believe the tension that's built up in this group from being on the road so long! PAN to MARK MARK (groggy) It probably wouldn't be bad if we got to work in some decent places ... PAN to HOWARD HOWARD That's true ... after all, the power of Pop Music to corrupt and putrefy the minds of World Youth are virtually limitless ... I mean ... we could be getting reamed every night! PAN to MARK MARK But first you gotta be someplace, where there's at least a little potential ...this place doesn't make it at all ...
69 SCENE 22 2 mins. (bar 182) GROUP: ORCHESTRA: CHORUS: Camera 1; Area E) ) Camera 2; Area G) ) All pointing at F. Camera 3; Area D) ) Camera 4; Area H) The is the master sequence of "This Town is a Sealed Tuna Sandwich." Chorus (off screen) Orchestra (mostly off screen). Camera 1; CU HOWARD ) Camera 4; CU MARK ) Intercutting as directed. Cameras 2&3 as directed) Cam. 4 / MARK CU MARK This town, this town, this town we're in is just a sealed tuna sandwich with the wrapper glued. We get a few in every tour. CU HOWARD HOWARD I think we played this one before. This town, this town is a sealed tuna sandwich, sealed tuna sandwich, with the wrapper glued. It's by baloney on the rack, it goes for forty cents a whack. It's just a place for us to play, to help us pay the (ORCHESTRA) cost of the tickets back to L.A. The cost of the tickets back to L.A. The cost of the tickets back to L.A. (CHORUS) All the people in the sandwich town. Think the place is great! Cam. 1 / CU TROMBONE SOLO What if part of it's crumblin' down. Most of them prob'ly won't be 'round. (HOWARD) They'll either be dead. (MARK) Or move to San Francisco. (BOTH) Where everybody thinks they're in heavy business.
70 SCENE 72 (Cont) Cam. 1 / CU PERCUSSION Cam. 2 / CU PERCUSSION Cam. 4 / But it's just a tuna sandwich (MARK and HOWARD) From another catering service!
71 SCENE 23 (to the sync-sound playback of Scene 22) Camera 1; In Area M, pointing away from Concentration Camp. Camera 2; In Area G, looking up J. Camera 3; Looking towards K. Camera 4; In front of P, near Newt Ranch. Action begins in M with Dancers, dressed as 40's Centerville citizens, Doing idiotic type dance in the street to signify stupidity. This town, this town, This town we're in is just a sealed tuna sandwich with the wrapper glued We get a few in every tour. I think we played this one before. Cam. 1 / This town, this town WA DANCERS TRACK Is a sealed tuna sandwich BACK with them, as they Sealed tuna sandwich with the advance menacingly on wrapper glued. the camera. It's by baloney on the rack, it goes for forty cents a Cam. 2 / WA To see JANET and LUCY exit from K to go towards L (Butchers Shop). Cam. 3 / Whack! CU Meat-Chopper Arm which cuts meat outside the butcher's shop. Cam. 2 / It's just a place for us to play, WA DANCERS to help us pay the cost of the The DANCERS look on at tickets LUCY and JANET, as if they were freaks. Cam. 4 / back to LA 2 SHOT JANET and LUCY The cost of the tickets back to LA The cost of the tickets back to LA. Cam. 1 / WA and CRANE UP to reveal the glories of Centerville. The DANCERS now too ecstatic with joy at All the people in the sandwich their lovely town. town think the place is great.
72 SCENE 24 (Also to the syn-sound playback of Scene 22) Mark and Howard mime their words to playback. Camera 3; outside Area S pointing at M Camera 4; inside R Camera 1; outside Area S pointing Q Towers and forces in. 1. Cam. 3 / What if part of it's crumblin' 2 SHOT MARK and HOWARD down ... TRACK BACK as they come towards Q. They lean on night deposit box, and it falls off. (bar 233) 2. Cam. 1 / Most of them prob'ly won't be ZOOM IN through hole 'round. left by departed night deposit box. 3. Cam. 4 / CU NIGHTWATCHMAN We see NIGHTWATCHMAN stuffing money into a suitcase. They'll either be dead. 4. Cam. 3 / MS POLICE OFFICER coming down the street. 5. Cam. 4 / Or move to San Francisco CU NIGHTWATCHMAN Where everybody thinks about to leave. they're in heavy business. PAN ROUND as he goes. 6. Cam. 3 / He runs straight into a POLICEMAN. (bar 244) He gives him some money. The Officer tips his hat, and then rushes away from the (bar 247) street. 7. Cam. 4 / CU OFFICER, who looks (bar 251) astonished. ZOOM IN. 8. Cam. 1 / But it's just a tuna sandwich 2 SHOT MARK and from another catering service. HOWARD, who smile.
73 SCENE 25 3½ mins. (bar 256) THE TUNA SANDWICH BALLET Orchestra; Dancers; Chorus. George (from the Group) is conducting the Orchestra. Camera 1; in Area A looking down M Camera 2; outside L looking towards P Camera 3; outside N looking down M Camera 3; outside I looking down M The Dancers, in their 40's Centerville Citizens street gear, dance another idiotic dance for idiots. The Chorus are milling in their Centerville Clothes. It is still late afternoon. Cameras as directed. The action starts with a child shooting another child with a pop gun. At bar 293 (trumpet fanfare). The doors of P open and out step Rance, the Dwarf and Herbie. They water their lawns. In fact, they are carrying hoses with solid plastic water streams and attached puddles. Rance is dressed in army pants. Later the Vacuum Cleaner steps out, dripping. Then Motorhead appears with a watering can and waters the Vacuum Cleaner. General astonishment.
74 SCENE 26 1½ mins. (bar 368) Group; Orchestra; Chorus. Camera 1; in Area E pointing at Orchestra. Camera 2; in Area C pointing at Orchestra. Camera 3 & 4 in Area H pointing at Group. Towers and Forces out. Chorus in Narrator's area. Cam. 4 / This town ... 2 SHOT MARK and This town ... HOWARD They open their coats to This town we're in is just like a reveal dirty postcards. Sealed tuna sandwich with the ZOOM IN. wrapper glued. Cam. 3 / We get a few in every tour CU MARK They're always such a fucking bore Cam. 4 / HOWARD (spoken) CU HOWARD I can't wait till we blow this place and get to a town with a lot of hot action. Cam. 3 / Newt Montana, Ladies an' CU MARK Gentlemen! BOLERO Camera 1; CU Orchestra percussion) ) Camera 2; CU Piano keyboards ) As directed. ) Camera 3 and 4; CU Group ) 1. Cam. 4 / This town ... CU VOCALIST This town .... (CHORUS also singing off screen) is a sealed tuna sandwich with the wrapper glued. 2. Cam. 2 / It's by baloney on the rack MS CHORUS (In AREA A) 3. Cam. 4 / It goes for forty cents a CU VOCALIST whack. 4. Cam. 3 / CU GROUP TROMBONE
75 SCENE 26 (Cont) 5. Cam. 4 / It's just a rancid little snack. CU GROUP TO VOCALIST 6. Cam. 2 / CU CHORUS crinkling cellophane. 7. Cam. 4 / in a plastic pack ... CU GROUP VOCALIST 8. Cam. 2 / CU CHORUS hissing. 9. Cam. 4 / from a matron in La Habra CU GROUP VOCALIST With a blown-out crack 10. Cam. 1 / CU WIND MACHINE 11. Cam. 4 / Who dies to suck the fringe CU GROUP VOCALIST off of Jimmy Carl Black!
76 SCENE 27 Speeded Up Videodisc section. This is to be inserted at end of ZOOM IN to Mark and Howard's post- Cards of happy snapshots of Centerville.
77 SCENE 28 (to sync-sound playback of Scene 26) (Bolero section) Camera 1; in Area B looking towards E Camera 3; in Area H looking towards F Towers and fences in. Cam. 3 / WA GROUP TRACK BACK with them, as they advance out of the theatre and into 5th Avenue. MARK/HOWARD are This town ... miming as they go This ... ... is a sealed tuna sandwich. The CHORUS/DANCERS are milling about - everybody interacting! ... with the wrapper glued. As they come by It's by baloney on the rack. the butcher's shop (L) They go towards the It goes for forty cents a whack. Concentration Camp. It's just a rancid little snack CAMERA follows Plastic pack from a matron in them. La Habra With a blown out crack. ZOOM PAST into Who dies to suck the fringe off of CU JIMMY CARL BLACK Cam. 1 / Jimmy Carl Black! CU PROFILE JIMMY CARL BLACK
[>> SCENES 29-32]


Special thanks to Charles Ulrich (scans) and Chayne Quinn (typing!).