[<< SCENES 29-32]
102 SCENE 33 13 mins. The Pleated Gazelle Sequence. Master take - up to Dental Hygiene Music (p. 60 of the score) Cameras 1; in Area C ) ) Cameras 2; in Area E ) ) Pointing towards Orchestra. Cameras 3; in front of Camp gates ) Cameras 4; in front of D (between pianos & orchestra) Boom 1; by camera 3. Boom 2; between cameras 3 & 1. Much back-lighting. Mirror suspended over piano keyboard. Zappa is standing in front of the camp gates which are closed. Towers and fences in. Harpsichord on Conductor's extreme right. No pianos. "The Conductor" is Ian, from the Group. 1. Cam. 3 / FRANK LOW CU FRANK One night I couldn't get any Big Wheel in action ... background. 2. Cam. 1 / CU CELLO'S 3. Cam. 3 / I went back to the hotel by LOW CU FRANK myself ... 4. Cam. 4 / LOW CU VIOLINS 5. Cam. 3 / I made some instant coffee and LOW CU FRANK I took out the music I'd been working on ... a piece for voice and small ensemble ... 6. Cam. 2 / VERTICAL MIRROR SHOT OF PIANO KEYBOARD. ZOOM IN.
103 SCENE 33 (Cont) 7. Mix Cam. 4 / VBCU VIOLA SOLO DEFOCUS 8. Mix Cam. 3 / It was called: LOW CU FRANK "I have seen the Pleated Gazelle". 9. Cam. 2 / VERTICAL PIANO KEYBOARD 10 Cam. 4 / CU PERCUSSION 11. Cam. 1 / SOPRANO CU SOPRANO Ah! (by the Wheel in C) 12. Cam. 3 / NARRATOR CU NARRATOR (in D) front of Camp gates Gazelle? 13. Cam. 1 / HIGH WA ORCHESTRA 14. Mix Cam. 2 / VERTICAL PIANO KEYBOARD 15. Inlay Cam. 4 / SOPRANO (singing) CU PROFILE SOPRANO I have seen the pleated Gazelle. Guhh-zal-ll Gahh-zille etc 16. Cam. 3 / FRANK LOW CU FRANK Some people might wonder why a person might want to write something like this.
SCENE 33 (Cont) 104 17 Cam. 4 / SOPRANO (singing) VBCU SOPRANO'S MOUTH Guh-Guh Gaw-zalle Goo. 18. Cam. 3 / FRANK LOW CU FRANK It's not pretty and it doesn't make any sense at all ... 19. Cam. 4 / SOPRANO (singing) LOW CU SOPRANO Goo-ee-oo Goo-ah-goo-ee 20. Cam. 3 / FRANK LOW CU FRANK But that didn't matter to me while I was writing it ... I just wrote down whatever came to mind ... I figured I'd never get to hear it anyway ... 21. Cam. 2 / CU HORNS DEFOCUS 22. Mix Cam. 4 / CU TRUMPET DEFOCUS 23. Mix Cam. 3 / CU SOPRANO DEFOCUS 24. Mix Cam. 4 / CU TRUMPET DEFOCUS 25. Mix Cam. 3 / CU SOPRANO 26 Mix Cam. 2. / MCU FLUTES, OBOES & COR ANGLAIS
105 SCENE 33 (Cont) 27. Mix Cam. 4 / CU FLUTE 28. Mix Cam. 2 / TRUMPET 29. Mix Cam. 4 / MCU FLUTES, OBOES ETC. 30. Cam. 2 / CU HORNS ZOOM OUT (go to front of orchestra)
106 SCENE 34 Cameras 1; in Area C ) ) Cameras 2; in Area E ) Pointing towards Orchestra. ) Cameras 3; in front of Camp Gates ) Cameras 4; in front of D (between pianos & orchestra) 31. Cam. 3 / FRANK LOW CU FRANK It occurred to me later that night, that if (by some chance) The Pleated Gazelle was ever performed, the audience might like it better, if it had a story. 32. Cam. 1 / CU CELLO SOLO 33. Cam. 4 / CU VIOLIN SOLO 34. Cam. 2 / CU CONCERT GUITARS 35. Cam. 1 / SOPRANO CU SOPRANO Ah! 36. Cam. 3 / FRANK CU FRANK So I made up a story ... DEFOCUS Once upon a time there was a girl. 37. Mix Cam. 2 / CU GUITAR ZOOM OUT DEFOCUS 38. Mix Cam. 3 / FRANK CU FRANK She always wore a green wool overcoat ...
107 SCENE 34 (Cont) 39. Cam. 2 / CU HARPSICHORD DEFOCUS 40. Mix Cam. 1 / CU HARP DEFOCUS 41 Mix Cam. 3 / FRANK CU FRANK With plastic fish and Vienna sausages pinned on it ... On the shoulders ... 42. Mix Cam. 1 / CU HARP ZOOM IN 43 Mix Cam. 2 / CU GUITARS 44 Mix Cam. 1 / CU HARP ZOOM IN 45 Mix Cam. 3 / FRANK CU FRANK She was in love with a boy who always treated her wrong. 46. Mix Cam. 1 / CU HARP 47. Cam. 3 / One day she flipped out FRANK 48. Cam. 1 / CU 'CELLI 49. Cam. 2 / CU GUITARS
108 SCENE 34 (Cont) 50. Cam. 4. / CU CHORUS Rapid intercutting between Cams. 1, 2. & 3, as directed. 51. Cam. 2 / CU HORNS ENDS
109 SCENE 35 (bar 115b) Camera 4; in Area D ) ) Camera 2; in Area E ) ) Pointing towards Orchestra Camera 3; in front of Camp Gates. ) Camera 1; now parked in M. Orchestra dimly lit in background. Towers and fences in. 52. Cam. 1 / FRANK LOW CU FRANK She had a terrible fight with her old boyfriend one night. ZOOM OUT She told him to go away and beat him with a plastic fish. She ate some Vienna sausages TRACK BACK DOWN M. to calm down. MOTORHEAD, sitting Then she met a newt rancher at the porch of the ... a young lad who raised newt ranch, comes newts, so rich people could into view, holding his have coats made out of them. industrial vacuum cleaner. She loved him a lot, and they started shacking up on the ranch where he grew the newts. CRANE UP still Everything was fine, except TRACKING BACK. he was in love with an industrial vacuum cleaner.
110 SCENE 36 (bar 116) Camera 2; in Area E ) ) Camera 3; in front of Camp Gates ) Pointing towards Orchestra ) Camera 1; now back in C ) Camera 4; now also in D pointing to Orchestra 53. Cam. 3 / SOPRANO (singing) CU SOPRANO'S MOUTH Dew on the newts we got. 54. Cam. 1 / TENOR (singing) CU TENOR'S MOUTH Newt money due. It's a payment on the rental for the dewy little newts we got. 55. Cam. 4 / CU HARP 56. Cam. 1 / We got 'em dewy. PROFILE - TENOR'S MOUTH 57. Cam. 3 / SOPRANO (singing) PROFILE SOPRANO'S MOUTH Left 'em in the yard all night. Hope they didn't get up tight. The little vixens. The saucy little vixens. I hope they didn't get pissed off. 58. Cam. 2 / CU CLARINET 59. Cam. 3 / I hope they did not ... CU SOPRANO'S FACE 60. Cam. 2 / CU CLARINET 61. Cam. 3 / Did not ... Cu SOPRANO
111 SCENE 36 (Cont) 62. Cam. 2 / CU CLARINET 63. Mix. Cam. 4 / CU HARP 64. Cam. 3 / SOPRANO (singing) CU SOPRANO I hope ... that they ... Did not. 65. Mix Cam. 4 / CU HARP 66. Cam. 3 / Dash off ... CU SOPRANO into the night! ZOOM IN
112 SCENE 37 Camera 1; Back in C ) ) Camera 2; in Area E ) ) Pointing towards Orchestra Camera 3; in front of Camp gates ) ) Camera 4; moved back to E ) Set in 3 grand pianos. 67. Cam. 3 / FRANK CU FRANK The girl was afraid of the dark and the night and some- times the newts ... But more than anything, she was getting worried about the young lad's attachment to the industrial vacuum cleaner. Whenever he had to go out at night and see if the newts had dashed off, she'd stay home and knit big socks, sobbing to herself. 68. Cam. 2 / "Blorp" CU HORNS 69. Cam. 4 / "Blorp" CU TROMBONES 70. Cam. 1 / CU BASSOON 71. Cam. 3 / BARITONES AND BASSES CU CHORUS The lad searches the night for his newts. 72. Cam. 4 / WA WOODWIND ZOOM INTO BASSOON 73. Cam. 2 / CU TRUMPETS They shuffle deck of cards.
113 SCENE 37 (Cont) 74. Cam. 4 / CU TROMBONES 75. Cam. 1 / CU BASSOONS 76. Cam. 4 / WA BRASS 77. Cam. 3 / CU FLUTES 78. Cam. 2 / CU HORNS WHIP PAN LEFT to TRUMPETS WHIP PAN RIGHT to TROMBONES ZOOM OUT They all get up and look around and under their chairs. 79. Cam. 4 / Pop CU PIANIST 80. Cam. 1 / WOODBLOCKS 81. Cam. 3 / Blorp WA WOODWIND ZOOM INTO CLARINETS PAN LEFT TO FLUTES PAN RIGHT TO HORNS They are also looking under their chairs, etc. 82. Cam. 2 / CU TROMBONES - also looking around.
114 SCENE 37 (Cont) 83. Cam. 4 / CU CLARINETS - also looking around. 84. Cam. 1 / CU BASSOON PAN RIGHT to BRASS ZOOM OUT, CRANE UP. . Everybody looking around.
115 SCENE 38 P. 31 Letter "K" "The Pleated Gazelle" Camera 1; in Area C Camera 2; in Area E Camera 3/4; outside Newt Ranch - Area N Set in fences. Also set in fence in front of Newt Ranch Dance Sequence. Three of the Dancers are dressed as newts. The newts are escaping from their cages outside the Newt Ranch, and are climbing the barbed wire fence into the Orchestra. (From Camera 1) 2 Dancers (newts) have big feet sticking out of their middles, And remain at the Newt Ranch to do a little foot duet. Also, Motorhead is crawling around the Orchestra, pursuing the Newts. (From Camera 2) ALSO 85. Cam. 3 / SUPER CU TRUMPET 86. Cam. 3 / SUPER CU BASSOONS
116 SCENE 39 Camera 1; in Area C Camera 2; in Area E Camera 3; in Area D Camera 4; outside Newt Ranch Frank is standing in Narrator's Area. 87. Cam. 4 / FRANK CU FRANK Then he'd come home all tired (in front of orchestra) out. She'd put down the big sock she was Working on and look up at him lovingly ... She wanted him to love her just as much As he loved his industrial vacuum cleaner And the newts in the yard. She dreamed of ways to win his love ... 88. Cam. 1 / Optical Freak-Out Time CU CELLO 89. Mix Cam. 3 / Cu BASSOON 90. Mix Cam. 4 / CU SOPRANO 91. Mix Cam. 2 / CU PIANO
117 SCENE 40 Camera 4; behind Area C (near N) Camera 2; at top of M Camera 3; in Area A, behind the harp Camera 1; top of N Boom by Camera 4 Set in chow tables, fences. The Chorus, now dressed in prison uniform, Are seated at the Chow tables (c). In the Concentration Camp. They are blowing bubbles with straws and paper cups. One member of the chorus is dressed as "The Narrator" (Rance). Rance, meanwhile, is pacing back and forth with 2 model "shopping pup" dogs in front of the Camp Gates. The Soprano soloist is seated among the Chorus, singing to Motorhead who is peering through the barbed wire. REPLAY END OF SCENE 38 VT AND MIX TO 92. Cam. 4 / WA CHORUS 93. Cam. 1 / NARRATOR (to camera) LOW CU NARRATOR The girl want to fix him some broth. 94. Cam. 4 / WA CHORUS 95. Cam. 3 / SOPRANO CU SOPRANO as she turns to Tinsel cock. MOTORHEAD, ZOOM PAST her to MOTORHEAD. 96. Cam. 4 / CHORUS LOW WA CHORUS: in the background Do-wee-do we see the tinsel Tinsel Cock, my baby. cock car being lowered in.
118 SCENE 40 (Cont) 97. Mix Cam. 3 / SOPRANO CU MOTORHEAD Would you like some broth? ZOOM OUT to reveal SOPRANO 98. Mix Cam. 1 / CHORUS/NARRATOR RANCE pacing up and down. Some nice soup. Small dogs in it. 99. Cam. 2 / CU DOGS 100. Cam. 3 / SOPRANO CU BROTH POT being held by You like broth? SOPRANO 101. Cam. 1 / CHORUS/NARRATOR CU NARRATOR Dog broth? You like dog broth hot? 102. Super Cam. 3 / SOPRANO CU SOPRANO PROFILE Hot broth? Hot dog debris? 103. Cam. 1 / CHORUS/NARRATOR CU NARRATOR How d'ya like it? 104. Cam. 2 / Debris of the CU RANCE 105. Cam. 1 / four styles offered. CU DOG It barks 106. Cam. 2 / Debris, CU NARRATOR 107. Cam. 1 / broth, breath. CU DOG "shopping pup" It actually hops.
119 SCENE 40 (Cont) 108. Cam. 2 / And the ever popular, hygenic, CU NARRATOR European version, tinsel cock! ZOOM OUT to reveal car, still coming in 109. Cam. 4 / CU TINSEL COCK CAR landing 110. Cam. 3. / CU HEADLIGHT it winks at MOTORHEAD. 111. Cam. 1 / Which do you choose? CU NARRATOR to camera - very sinister. 112. Cam. 3 / CU SOPRANO she looks.
120 SCENE 41 Camera 4; behind Area C Camera 2; in Area C Camera 3; in the middle of Orchestra A Camera 1; top of M The temptation of MOTORHEAD, who is still in front of the Newt Ranch. He tries to outstare the car, which tries to outwink him. 2 Guards club and drug the Soprano soloist. (Jim Black, dressed as a prison guard, clubs the Soprano.) (The Dwarf, also dressed as a prison guard, drugs her.) One member of the Chorus is still dressed as "The Narrator". Chow tables no longer there. 113. Mix Cam. 2 / CU CAR HEADLIGHT 114. Mix Cam. 3. / ZOOM INTO CU MOTORHEAD looking angry. Intercutting as directed. 115. Cam. 2 / CHORUS/NARRATOR CU JIM BLACK as he advances on The girl ... SOPRANO ZOOM OUT 116. Cam. 4. / TENORS CU DWARF as he jabs her. Duh girl wants to fix some broth. ZOOM IN 117. Cam. 1 / CHORUS/NARRATOR CU NARRATOR He dissolves ... in a statement to the Press explains ...
121 SCENE 42 Camera 4; behind Area C Camera 2; in Area C Camera 1; top of M Camera 3; now in front of the Newt Ranch between cameras 1 And 4 Chorus are clustered round the Tinsel Car. One member of the Chorus is still dressed as "The Narrator". 118. Cam. 3 / SOPRANO CU SOPRANO ZOOM OUT to reveal Broth reminds me of nuns, her standing behind I see them smashing with rulers, a portable picture Disciplining munchkin cretins. of a night-club dancer. 119. Cam. 4 / CU CHORUS looking astonished. 120. Cam. 3 / MS SOPRANO Tortured munchkins RANCE MUHAMMITZ now Tortured Munchkins pulls out a second unfolding Irish Catholic victims portable picture of a child Little green scratchy sweaters with brown corduroy pants Little green scratchy one and green scratchy sweater, Brown corduroy pants with bristles sticking out all over it, sitting on a stool. ZOOM INTO PICTURE. Corduroy pants an' green scratchy Munchkin Irish Catholic Victims. 121. Cam. 4 / CHORUS CU CHORUS Munchkins! Munchkins! 122. Cam. 2 / SOPRANO CU SOPRANO Munchkins get me hot ... COLOURS GO BERSERK Munchkins get me ... get me-we-oo-ch 123. Cam. 4 / CHORUS/NARRATOR CU CHORUS/NARRATOR Hot! Get her real hot.
122 SCENE 42 (Cont) 124. Mix Cam. 2 / CU HARP 125. Mix Cam. 3 / SOPRANO CU SOPRANO Ah. Yeah. Yeah. ZOOM IN 126. Super Cam. 1 / CU PIANO 127. Cam. 4 / SOPRANO CU VACUUM CLEANER jumping up and down. Pork me!
123 SCENE 43 Camera 1; in top M. Camera 2; in Area C. Camera 3; in front of Newt Ranch, between 1 & 4. Camera 4; moved over to Guitars. 128. Cam. 4 / CU GUITAR 129. Cam. 3 / RANCE CU RANCE A cardboard box ... A series of cardboard boxes... With a nun's suit painted all over them. Four views ... Every side of the boxes. 130. Cam. 4 / GUITAR 131. Cam. 3 / Another Thrilling view CU RANCE Of a black starchy nun-suit... Inspiring in its simplicity ... Quality goods ... 131A. Super Cam. 2 / RANCE SOPRANO SOPRANO PROFILE, Weasels ... (Pork me off!) Vienna sausages ... Very small dogs ... Inspired by its simplicity ... ZOOM INTO RANCE. Nearly able to get off behind it.
124 SCENE 44 Camera 1; in top of M Camera 2; in Area C Camera 4; has gone across to the Orchestral Drum Set Camera 3; now in Orchestra A The Soprano soloist is now trying to sell the tinsel cock car to Motorhead. One member of the Chorus is still dressed as "The Narrator". 132. Cam. 2 / SOPRANO 2 SHOT SOPRANO & MOTORHEAD Tinsel Cock 133. Cam. 1 / CHORUS/NARRATOR CU CHORUS/NARRATOR -aside to audience Munchkins get her hot 'n dewy. 134. Cam. 3 / CHORUS CU PERCUSSION Do-wee-do. Bow doom Tinsel Cock me Daddy 135. Cam. 2 / SOPRANO 2 SHOT SOPRANO, MOTORHEAD Would you like some broth? 136. Cam. 3 / CHORUS/NARRATOR CU MOTORHEAD, who shakes his head Some nice soup. in disbelief. Small dogs in it. Dogs. Dog feet. ZOOM IN 137. Cam. 1 / You like broth? CU CHORUS/NARRATOR CHORUS (off) ZOOM IN Wad'n'um CHORUS/NARRATOR Dog feet?
SCENE 44 (Cont) 125 138. Cam. 2 / SOPRANO CU SOPRANO Hot broth? 139. Cam. 4 / CHORUS/NARRATOR CU ORCHESTRAL DRUM SET (E) Dog feet broth! 140. Cam. 1 / You like nuns? CU CHORUS/NARRATOR 141. Cam. 3 / CHORUS CU CHORUS Newts! 142. Cam. 1 / CHORUS/NARRATOR CU NARRATOR Gazelles? 143. Cam. 3 / CHORUS CU CHORUS Hot nuns! 144. Cam. 1 / CHORUS/NARRATOR CU CHORUS/NARRATOR Gazelles? 145. Cam. 3 / WA CHORUS & DANCERS They clap. 4 OF THE DANCERS are putting on their gazelle costumes over their black boiler suits. 146. Cam. 2 / SOPRANO CU SOPRANO Ah! 147. Cam. 1 / CHORUS/NARRATOR CU CHORUS/NARRATOR Gazelles? Hot nun debris? 148. Super Cam. 3 & 4 / CU PERCUSSION
126 SCENE 45 Camera 1; in top of M. Camera 2; in Area C Camera 3; now back in front of Newt Ranch Camera 4; at back of Orchestra 149. Cam. 1 / FRANK LOW CU FRANK sitting inside the I figured that if there was a tinsel cock car. story ... especially a love story, that more people in the audience could identify with or vicariously partici- pate in the concepts involving newts, dogs, gazelles and hot nun debris. 150. Cam. 2 / SOPRANO SLOW ZOOM INTO CU SOPRANO Why don't you strap on ... this of cardboard boxes? Daddy-O (Joy of my desiring) You'll certainly look suave. And get me hot. Hot. Hot. Get me hot and horny. 151. Cam. 3 / CHORUS CU CHORUS Ah! 152. Cam. 2 / SOPRANO CU SOPRANO If there's one thing I really get off on, It's a nun-suit painted on some old boxes. 153. Cam. 1 / CU CONDUCTOR'S Some old melodies ... SCORE. ZOOM IN 154. Mix Cam. 2 / Four - four CU SOPRANO an aura, an aerial. Pink gums, stomp gray teeth. Dental floss Gets me hot.
127 SCENE 45 (Cont) 155. Mix Cam. 2 / CU OBOES/BASSOONS 156. Mix Cam. 2 / SOPRANO (Cont) CU SOPRANO Wanna watch a Dental Hygiene Movie?
128 SCENE 46 Camera 2; in Area C Camera 3; in Area A Camera 1; goes over to Area E Camera 4; comes back to front of Orchestra The Soprano soloist, with the Orchestra in background, is setting up the film projector on the fender of the tinsel cock car. She pulls the aerial of the car and the film reels pop up. The headlight becomes the projector beam. 157. Cam. 2 / WA SOPRANO & TINSEL COCK CAR Intercutting as directed. 158. Cam. 3 / SU SOPRANO switching on projector. 159. Cam. 2 / WA ZOOM INTO HEADLIGHT BEAM (MIX TO DENTAL HYGIENE FILM ANIMATION SEQUENCE) Orchestra continues. Covering shots. 160. Cam. 4 / CU PIANO 161. Cam. 1 / CU BRASS 162. Cam. 2 / CU SIDE DRUM ZOOM OUT
129 SCENE 46 (Cont) 163. Cam. 3 / CU BASSOON (3 GOES BEHIND ORCHESTRA) 164. Cam. 4 / CU TRUMPETS 165. Cam. 1 / CU CYMBAL 166. Cam. 1 / CU TROMBONES 167. Cam. 4 / CU TRUMPETS 168. Cam. 3 / CU PERCUSSION 169. Cam. 4 / CU TRUMPETS 170. Cam. 2 / CU VIOLINS 171. Cam. 3 / CU PERCUSSION 172. Cam. 4 / CU PIANOS 173. Cam. 1 / CU TROMBONES ZOOM OUT CRANE UP 174. Cam. 3 / CU GONG
130 SCENE 46 (Cont) 175. Mix Cam. 2 / SOPRANO (innocently) CU SOPRANO Is this getting you hot ... or what? I am getting hot from it ... you look like you might be getting just a little hot ... I'm gonna put on the second reel ... and then you can fuck me, okay? 176. Cam. 4 / MOTORHEAD (uncomfortable) MS MOTORHEAD & SOPRANO Listen ... uh ... you got any cartoons? Or Woodstock? SOPRANO (slightly amazed) This isn't getting you hot? 177. Cam. 3 / MOTORHEAD (embarrassed) CU MOTORHEAD Listen ... uh ... these boxes ... uh ... they're not bad ... uh ... I can get a little bit hot from the boxes, but ... 178. Cam. 2 / SOPRANO (fully amazed) CU SOPRANO I can't believe a person such as yourself wouldn't just die to watch a movie with pictures of GUMS in it ... it's almost making me come and everything. 179. Cam. 4 / MOTORHEAD (trying to understand) Cu MOTORHEAD Uh ... what is it ... you get hot from movies like this, right? 180. Cam. 2 / SOPRANO 2 SHOT SOPRANO & MOTORHEAD EVERYBODY gets hot from this sort of thing! EVERYBODY ... all my friends ... EVERYBODY I know. Jeff Beck dies for it. He dies for it. The girl with the harp ... she dies for it ... ZOOM INTO CU SOPRANO
131 SCENE 47 SCENE 33 in sync-sound playback from the beginning. The music is from the first section of "The Pleated Gazelle". Larry the Dwarf, dressed as Zappa is entering the Motel Room. He is closing the door with his foot, holding the tape recorder (Which is still running) under his arm, and looking at his watch. He walks to the desks, and begins to pretend to write "The Pleated Gazelle" ... His lamp is sitting on the desk, gently steaming. Cameras 3 & 4; in Area S. 1. Cam. 3 / CU LARRY's fake watch. ZOOM OUT to reveal him entering. 2. Cam. 4 / WA as he sits at desk ZOOM IN. 3. Cam. 3 / CU STEAMING LAMP 4. Cam. 4 / CU LARRY writing. 5. Cam. 3 / WA over LARRY'S SHOULDER towards the distant lights. (Orchestra Area) CUT to Master Take on "Gazelle" (Narrator)
132 SCENE 48 Scene 39 in sync-sound playback from letter F. (Bar 71) Camera 1; in M pointing towards Rance Muhammitz Ranch Cameras 3/4; in Area S Camera 2; in W, looking out towards P. This scene at Night. 1. Cam. 4 / FRANK (re-record) So I made up a story. 2. Cam. 3 / ORIGINAL TAKE ZOOM PAST as before. Once upon a time, there was a girl ... 3. Mix Cam. 1 / A Girl (Dancer) comes out of the ranch, doing an elaborate series of pirouettes, wearing a green wool overcoat. She dances up the She always wore a green wool street and goes into overcoat ... the butcher's shop. She emerges with her green wool overcoat, covered with plastic fish & Vienna sausages pinned on it. She starts to dance back down the street, but pauses ... 4. Cam. 2 / With plastic fish and Vienna CU PLASTIC FISH sausages pinned on it ... PAN UP TO GIRL'S On the shoulders. FACE. Cam. 1 / (Shot 42 on original) She continues to pirouette down the street, stopping in front of the Redneck Eats.
133 SCENE 48 (Cont) 4. Continued Cam. 2 / She was in love with a boy who WA JIMMY CARL BLACK always treated her wrong. in foreground. ZOOM INTO GIRL who turns to look at him. (Shot 46) Cam. 1 / JIMMY CARL BLACK stumbles out of Redneck Eats towards the girl. She reaches out to give him a hug, and he breaks a bottle over her head. He is breathing beer all over her, (Shot 48) and ripping off the plastic fish. He now tries to strangle her, making (Shot 49) crude erotic gestures. She breaks away. Intercutting with Camera 2 as directed. Cam. 2 / (Bar 113) CU GIRL looks at him in disgust.
134 SCENE 49 Camera 1; in M pointing towards Rance Muhammitz Ranch Action identical as for first part of SCENE 48 up until she pirouettes Into the butcher's shop. This sequence to be used for VIDEO-DISC speed-up later.
135 SCENE 50 Scene 35 sync-sound playback. Camera 1; in Area A Cameras 3/4; in front of Area I Camera 2; in M, pointing towards N Towers and fences struck Set in 2 Newt Cages. The Girl now comes towards the Newt Ranch where she meets Motorhead. Love at first sight. 3 Dancers are in the cages, dressed as newts. Their hands are also dressed as newts, thus making 3 newts per Dancer. Cam. 1 / ORIGINAL CU GIRL Then she met a newt rancher ... Cam. 3 / A young lad who raised newts, CU MOTORHEAD so rich people could have coats made out of them. She loved him a lot, and they started shacking up on the ranch where he grew the newts. Cam. 4 / Everything was fine except CU NEWT CAGES was in love with an industrial ... Cam. 2 / ... vacuum cleaner ... CU VACUUM CLEANER Intercutting as directed.
136 SCENE 51 SCENE 36 sync-sound playback (bar 116) Camera 1; In Area A Cameras 3 & 4; In front of Area I Camera 2; In M pointing towards N. Towers and fences out. Newt puppets in Chorus Area (C) Cam. 1 / (Shot 53) CU NEWT-PUPPET HEADS ORIGINAL Inlay mouths of Chorus Dew on the newts from master take into We got Newt faces. Newt money due ... Cam. 3 / It's a payment MS MOTORHEAD and On the rental for the vacuum cleaner, The dewy little newts who are passing in We got. front of the newt cages and about to enter the newt ranch. Cam. 4 / We got 'em dewy! MS GIRL, who is following MOTORHEAD She attempts to hug him, but is rejected in favour of the vacuum cleaner. Cam. 1 / Left 'em in the yard CU NEWT PUPPETS, All night. who are frolicking. Hope they didn't get up Up tight. Intercutting with Cameras 2, 3, & 4 The little vixens, are directed. The saucy little vixens, I hope they didn't get pissed off. I hope they did not, Did not, I hope that they did not, Cam. 1 / Dash off into the night. CU NEWT FACE inlay SOPRANO's mouth from original.
137 SCENE 52 Scene 36 in sync-sound playback. Camera 1; in Area C Camera 3; behind Orchestra Camera 4; in Area D Throughout the previous action, Larry the Dwarf, is creeping through the Orchestra toward the nun Harpist, whom he overcomes and attempts to rape. Cam. 1 / ORIGINAL WA ORCHESTRA (from) FAST ZOOM INTO Left 'em in the yard all night, LARRY Hope they didn't get up tight. Intercutting with Cameras 3 & 4 The little vixens, as directed. (bar 131) The saucy little vixens, I hope they didn't get pissed off. I hope they did not, Did not, I hope that they did not, Dash off into the night.
138 SCENE 53 Scene 37 in sync-sound playback. (bar 144B) Camera 3; is behind Area N Camera 1; in Area B Camera 4; in Area C Interior of Newt Ranch. The girl is sitting inside the house knitting a giant sock, sobbing to herself. The sock is 4ft wide and 6ft long, with similarly large knitting needles. She is wearing an "instant tears" apparatus. The girl was afraid of the dark and the Night and sometimes the Newts ... But more than anything she was getting Worried about the young lad's attachment to The industrial vacuum cleaner. Whenever he had to go out at night And see if the newts had dashed off, she'd Mix from Master take to / Stay home and knit big socks, Cam. 4 sobbing to herself. CU GIRL Intercutting as directed. ZOOM PAST GIRL towards Orchestra, which is already moving about. Finish on 3.
139 SCENE 54 Scene 39 sync-sound playback Camera 3; is behind Area N Camera 1; in Area B Camera 4; in Area C Set in Newt Cages. Cam. 3 / ORIGINAL CU MOTORHEAD as he returns home. Then he'd come home all tired out. Cam. 1 / She'd put down the big sock INTERIOR 2 SHOT she was working on and look GIRL & MOTOR HEAD Up at him, longingly. Cam. 4 / She wanted him to love her CU GIRL Just as much as he loved his Cam. 3 / Industrial Vacuum Cleaner, CU VACUUM CLEANER and the Cam. 2 / Newts in the yard. CU NEWT CAGES Cam. 4 / She dreamed of ways to win CU GIRL his love. ZOOM IN Colours dissolve Intercutting as directed. Mix out to beginning of Scene 39.
140 SCENE 55 Sync-sound playback of Scene 43 (Letter "V" "The Pleated Gazelle") Camera 1; in Area C ) ) Camera 2; in Area B ) ) All looking into Newt Ranch. Camera 3; in Area M ) ) Camera 4; in front of ) N ) Intercutting as directed. ORIGINAL The Girl pulls a series of 3 cardboard boxes out of the closet in the house. MOTORHEAD is sitting on the porch. She carries the boxes out, and stacks Pork me! them over MOTORHEAD's body, one by one. The lowest box has a skirt A cardboard box ... with feet. The next, the A series of cardboard boxes ... chest part of a suit with With a nun's suit painted all collar and tie. The next, over them ... a painted arch through Four views ... which we see MOTOR- Every side of the boxes ... HEAD's face. Another thrilling view of a black starchy nun-suit ... Inspiring in its simplicity ... Quality goods ... Weazels ... Vienna sausages ... Etc. Mix back to ORIGINAL.
141 SCENE 56 (sync-sound playback of Scene 45) (Letter "W" the pleated Gazelle) Camera 1; in Area C ) ) Camera 3; in Area B ) All looking at Tinsel Cock Car. ) Camera 4; at top of M) Cam. 4 / (ORIGINAL) CU SOPRANO as she SOPRANO pulls out her set of cardboard nun suit Why don't you strap on this here boxes from the trunk bunch of cardboard boxes, of the car. Daddy-o, Joy of my desiring You'll certainly look suave and get me hot. Hot! Hot! She proceeds to put Get me hot and horny! them on If there's one thing I really get off on It's a nun suit painted on some old boxes. Some old melodies ... Mix back to ORIGINAL
[>> SCENES 57-66]
Special thanks to Charles Ulrich (scans) and Chayne Quinn (typing!).