Opened June 17, 1970
PART TWO ...
Based on Alan Jay Lerner’s “2nd Revised First Draft” screenplay (dated October, 1968), Barbra Archives has reconstructed the scenes which were cut from “On A Clear Day You Can See Forever.” Still photographs of the scenes from my collection, lobby cards and even audio recordings have helped fill in the blanks, too. The scenes are presented in the order they would have appeared in the final film.
BARBRA ARCHIVES “ON A CLEAR DAY” PAGES:
OVERVIEW (DEVELOPMENT, CASTING, HAIR TESTS, REINCARNATION BALL, FILMING, LOCATIONS)
PUBLICITY, POSTERS, SOUNDTRACK ALBUM, FEATURETTES
BEHIND THE SCENES PHOTOS, BEATON & SCAASI COSTUMES
CUT SCENES / ROADSHOW PT. 1 — WAIT TILL WE’RE 65 + MORE
CUT SCENES / ROADSHOW PT. 2 — E.S.P., SHE ISN’T YOU + MORE
After scene 80, where Marc asks Daisy about Robert Tentrees, Scene 84 — an entire bedroom and marriage scene — was cut out!
MARC
What about Robert Tentrees? He had no money and you married him, didn't you?
DAISY
(in the chair, remembering something) Oh, my God!
MARC
What's the matter?
Melinda wakes up in bed
84A. A BEDROOM - (DAY)
Melinda and Robert have been asleep in a double bed. Melinda has just awakened and is looking at the clock on the night table.
She shakes Robert and they both leap from bed in a mad rush.
SCENE 84B. STREET IN DENSE FOG - (DAY)
Melinda and Robert run out of the house and into a waiting carriage, barely visible in the soupy stuff.
84C. EXT. ANOTHER STREET HEAVILY FOGGED - (DAY)
The carriage pulls up and Robert and Melinda leap out and into a dim building.
84D. INT. CHURCH ALTAR - (DAY)
Melinda and Robert, still puffing, are standing before a minister who is marrying them.
DAISY'S VOICE
True, he had not a penny to his name. But love is the exception to every rule, is it not? *
In the final cut of Clear Day, the editors simply cut from Marc’s question at the top of the scene to this line, which answers the question. After, Marc sings “Melinda.”
Tad Pringle (Jack Nicholson) was cut completely from this rooftop scene where Warren realizes he forgot to tell Daisy that Chemical Foods postponed the dinner. Right before Daisy enters, Warren finds Tad on the roof playing another instrument.
WARREN:
I’m waiting for Daisy.
TAD
She’s worth waiting for.
WARREN:
She certainly is. We’re really going to be happy.
TAD:
I don’t think so.
WARREN:
Who asked you? Why not?
TAD:
You don’t know who she is.
WARREN:
And just who the hell do you think you are?
TAD:
I don’t know.
Daisy enters. She sees Warren and stands in shock …
Over the years there has been some inaccurate information repeated about a song that was supposedly sung by Streisand and cut from the movie called “E.S.P.” The imprecise story was repeated in James Kimbrell’s otherwise excellent Streisand bio. Kimbrell wrote: “[‘E.S.P.’] was a fascinating production number in which Daisy would appear as all her previous lives, singing in a montage of five languages, French Italian, Spanish, German and English. One week alone was allocated to filming the scene …”
Recently researchers have been able to look at Alan Jay Lerner and Burton Lane’s papers and deduce the truth.
There was a song written for the movie titled “People Like Me (E.S.P.)” – but upon reviewing Lerner’s actual lyrics (see below), the song was intended to be sung twice, with a reprise, by Yves Montand.
Then there is the curious stage direction in Lerner’s final draft that occurs in scene 113 where “Go To Sleep” now resides. Without referencing an actual song title, Lerner wrote: “Song by Daisy in which she drifts back in time from lifetime to lifetime, changing languages as she goes.” At the conclusion of the song, Chabot suddenly sat upright in bed. Later in Lerner’s script, he wrote another curious line for Chabot: “One day in the office she asked me if I had been thinking of her around four o’clock that morning. I said no. But it wasn’t true. I had been dreaming about her all night. I saw her in distant lands and in distant times....” This line, of course, was cut as well.
The “E.S.P.” urban myth gets murkier when one looks at photos of Streisand dressed for the film in a gaudy, yellow, zebra-striped outfit designed by Scaasi. For years, Streisand bios and fanzines stated that this was an actual “futuristic costume” from one of Daisy’s future-lives featured in “E.S.P.”
However, Barbra Archives has seen newsreel footage of Streisand wearing the zebra suit, filming this scene at the Central Park Zoo. The audio playback is clearly “Come Back To Me” – Barbra was to have worn that outfit for a mere two lines of the song as she heard the llamas mouthing Chabot’s vocal part. Minnelli is on record about cutting this out: “We did … cut out a scene at the Central Park Zoo, because she was wearing a very high-fashion outfit. That was just too much.”
The biggest clue about “E.S.P.” was in a 1968 L.A. Times story on producer Howard Koch: “[Studio vice president] Donnenfeld wants $250,000 trimmed out of the budget … The trim is accomplished by a slight reshuffling of the schedule and re-planning of a complicated song sequence in which Miss Streisand, as a clairvoyant, appears as all the historical figures she claims to have been in her other lives. It will take five days to shoot and is timed down to the costume changes and hairdressing.”
One can only assume that “E.S.P.” was cut before it was ever filmed .... and that the simple “Go To Sleep” was put in its place. This is supported by the fact that Barbra returned to the set in August 1969 to film “Go To Sleep” – this was after the majority of On A Clear Day’s principle photography was already completed.
It’s odd that Montand’s “People Like Me (E.S.P.)” has never surfaced after all these years. The recordings have never leaked, whereas all the others have.
“People Like Me (E.S.P.)”
(sung by Dr. Chabot after a discussion with his colleague Conrad about the phenomenon of Extra Sensory Perception.)
MARC:
What can he see
In E.S.P. ?
Can't he tell it's all a foolish fable?
I'm surprised he's not more stable.
If only he
Were more like me.
It's all a sham,
Ad nauseam.
To a sober-minded man of reason,
E.S.P. is worse than treason.
There out to be
More men like me!
Let them call it parapsychology;
Men with brains call it absurd.
I can tell you it's fol-de-rology
And I've never read a word.
A balanced mind
Is hard to find.
When I see a man who's so misguided,
Who's had all the training I did,
I raise my eyes
And eulogize:
Thank God for people like me,
Who still have eyes that can see;
Whose feet can be found
Planted firm on the ground ...
Thank the Lord, or where would we be?
With only him
And the others just as fuzzy-headed
How could they be so mis-leaded?
One thing is clear:
It's good I'm here.
Weaker men have no real defense at all.
That's a group in which I'm not.
They would never need extra sense at all
If they'd use the five they've got.
For E.S.P.
Will always be
Just a tempest in a gypsy teacup,
Long as men like me will speak up
And show the way.
And so I say:
Thank God for people like me,
Who still have eyes that can see.
Those few with a brain,
May they always remain.
Thank God for people like me.
“People Like Me (E.S.P.) — Reprise”
(sung later in the film by Dr. Chabot — presumedly after he is made to resign from the college after his experiences with Daisy/Melinda.)
MARC:
Why can't they see
That E.S.P.
Is a science not a foolish fable?
Will their tiny minds be able
To grow in time
As wise as I'm ?
I'm well aware
That I am rare
To behold their violent aberration
When they hear “reincarnation”
Has made it clear
I'm needed here.
Let them scoff at parapsychology;
Call me fool or maniac.
I'll demand a public apology
When they die and all come back.
For E.S.P.
Is ABC
We have extra senses I've no doubt of;
Common sense is what they're out of.
And when they pray
They ought to say:
Thank God for people like me
Without us where would they be?
Thank God there are those
Who can see past their nose ...
Thank God for people like me.
Credit: The most excellent book The Complete Lyrics of Alan Jay Lerner, edited with annotations by Dominic McHugh and Amy Asch. Oxford University Press, 2018. [ BUY AT AMAZON ]
The following scenes reflect a whole sequence of cuts to the plot line of On A Clear Day. At this point, the film is at the halfway mark and it’s apparent subplots and flashbacks were cut for time and to keep the pace moving.
The first scene to go from this section was 115 — which was after Marc hypnotized Daisy by telepathy for the first time. In the theatrically released film, Marc asked Daisy/Melinda to resume telling the story about Robert Tentrees from where they left off. Daisy/Melinda sat up in her chair and exclaimed, “Please! Not when I'm about to make an entrance!” The 129-minute film cuts to the green gaming room.
But here is the scene, completely excised from the film, that would have followed Melinda’s exclamation ….
It is crowded. A footman is announcing.
FOOTMAN
Mr. and Mrs. Robert Tentrees.
Melinda and Robert enter. Robert is now a man of considerable bearing. All heads in the room turn. They are immediately surrounded.
DAISY'S VOICE
Before you start pecking at me — we're at the Royal Pavillion.
MARC'S VOICE
Again?
DAISY'S VOICE
Two and a half years later. Now if you'll excuse me...
MARC'S VOICE
I want to talk about Robert.
DAISY'S VOICE
I know. Everyone does.
MARC'S VOICE
What do you mean?
116. DAISY AND ROBERT
Robert is talking to a distinguished looking gentleman.
ROBERT
I cannot tomorrow. I will be at Parliament with the Prime Minister most of the day. We shall have to do it next week.
DISTINGUISHED GENTLEMAN
Next week is too late, Tentrees. The ship is sailing Monday and I need insurance.
ROBERT
Go elsewhere.
DISTINGUISHED GENTLEMAN
After being rejected by you? With your record? What company would take me?
ROBERT
I wouldn't know, sir. I speak only for Pelham of London.
DISTINGUISHED GENTLEMAN
But you're wrong about the “Lady Maria.” She's one of the best frigates afloat, and always kept in immaculate condition.
ROBERT
Yes. I'm told there's not a rat on it.
A MRS. FITZHERBERT appears, interrupting the discussion.
ROBERT
(Bowing) Good evening, Mrs. Fitzherbert.
MRS. FITZHERBERT
(To the distinguished gentleman) Would you excuse us, please?
(She starts to lead Robert and Melinda across the room) The Duke of Glenallen longs to meet you. In fact, he's quite beside himself and I think he deserves a more amusing companion.
MARC'S VOICE
(Plainly indicating genuine irritation as Melinda and company traverse the hall) All that fuss over Robert Tentrees. You would think he was ... I don't know what!
DAISY'S VOICE
I know exactly what: One of the richest men in England.
MARK'S VOICE
(Even more irritated) I don't believe it. How?
The tableau freezes.
DAISY'S VOICE
I'm tired.
The paint runs down the screen.
Following flashback scene 116 was another present-day scene. Daisy wore a flowered dress and headband here.
One can see how this scene could have really tested the audience's patience as Marc, once again, tries to discern if Daisy is telling the truth about her past lives.
Marc says, “I’ve prepared a free association test for one of my classes and I’d like to try it on someone.”
So in classic psychiatrist question/answer mode, Marc throws out a word and Daisy says the first thing that comes to her mind. The comedy is obvious:
MARC: Parliament.
DAISY: Cigarettes.
MARC: King.
DAISY: Size.
MARC: Lord.
DAISY: Tarryton
As the stills reveal, Marc grows very impatient with Daisy.
[Note: Paramount's schooting schedule reveals that this scene, the 21st day of shooting, was filmed on February 4, 1969 on Stage 5. On the schedule, the scene is notated as “Marc tries out the L'Histoire de Rien test on Daisy.” For props, the schedule called for “Blooming Flowers.”]
In this scene, Melinda takes tea with several ladies who are gossiping about Napolean. Mrs. Fitzherbert tells Melinda that the King wishes to Knight Robert Tentrees.
LADY TWO
Rumors! Rumors!
LADY ONE
One hears so much that is false these days.
LADY TWO
Are all rumors untrue?
DAISY
No. Only the ones worth repeating.
MRS. FITZHERBERT
(Laughing)
I must tell that to His Highness. He adores cynicism.
DAISY
Some rumors are delightful. I heard for example that His Highness is considering making Robert a peer.
LADY ONE
Out of a hat?
There is general laughter.
MRS. FITZHERBERT
Now there is a rumor that is true.
DAISY
(Ecstatic)
Sir Robert Tentrees! Mrs. Fitzherbert, how generous of His Highness!
At the end of this scene, Melinda is summoned from tea by a courier. “Mrs. Tentrees,” he implores, “Sir Joseph Pelham has just had a message from the Herford Club that Mr. Tentrees is there drinking and playing roulette and losing a fortune – and would you please come.”
Meanwhile, back in Marc’s office …. He is still quizzing Daisy about the past life she has revealed as Melinda Tentrees.
Now with his tie loosened, Marc asks Daisy to look through a large book with etchings of 19th Century London landmarks to see if the images spark any memories within her.
DAISY
What's the name of that street?
MARC
Park Lane.
DAISY
Never heard of it.
She turns a few more pages in rapid succession.
DAISY
Whew! Those were pretty gamey times, weren't they? Some of these etchings! (She whistles). I mean this whole century was really for adults only ... It's funny ... I thought the British only got sexy lately.
At this point in the screenplay, Lerner employed a new flashback device: lithographs, or etchings. Lerner used the drawings to flash back to the Melinda and Robert scenes. Director Minnelli designed an etching-like, minimalistic set for Streisand to appear on during the transition from the book drawing to the actual memory. Note that Melinda appears at the top of this scene wearing a velvet wrap. She must “check” it before making her entrance in the Club — she’s not wearing the wrap in the final film.
128. CLOSEUP OF THE BOOK LYING OPEN
The pages have flipped back to the Foyer of the Herford Club.
DISSOLVE TO:
129. INT. FOYER OF THE HERFORD CLUB
Daisy enters. She stands at the entrance of the gaming room ...
Not having seen the actual footage, one can assume that somehow the minimalist gate set dissolved to the more realistic Herford Club set — that gorgeous, green-carpeted and draped casino.
The theatrical film follows the script closely inside the Herford Club, with Melinda joining Robert at the game table and using her powers to win money.
The editor did trim out a couple of lines about Mrs. Fitzherbert and Robert finding out he was being knighted by the King. They had to go because they would not have made sense — that dialogue (scene 118-120 above) was cut out earlier.
(NOTE: On the photo slideshow here, the first image of the Baily and Sons gate is merely an example of what Minnelli was probably going for here ... it's not actually from any of the Clear Day images.)
After the news broke that Marc Chabot discovered a case of reincarnation, the students begin protesting on campus. In scene 140, as he is walking into the building, Marc was asked by a reporter if he believed in reincarnation. “Yes, if you can afford it,” he said.
Following that, Marc and his secretary, Mrs. Hatch (Mabel Albertson) interact.
MARC
Good morning, Mrs. Hatch.
MRS. HATCH
Here are your messages, doctor. The last one has a name like an eye chart.
Marc … looks at a newspaper on his desk.
MARC
Mon Dieu! Even the American Medical Association has opened fire. Imagine! The A.M.A. coming out against living in the past!
MRS. HATCH
Why is everyone so violent about reincarnation?
MARC
The thought of coming back to this planet must be too much for them. Anything else?
MRS. HATCH
(Gravely)
Yes! Dr. Hume would like to see you in the conference room at ten o’clock sharp.
After this exchange, Chabot goes to the college conference room where Dr. Hume (Bob Newhart) asks for him to either deny reincarnation or tender his resignation letter.
Cut from the film, Marc and Conrad discuss the decision Marc has to make. “You have to follow your own conscience,” Conrad tells him. “From every point of view you have no alternative: you must write that letter.”
MARC
I’m going to.
CONRAD
I wonder if you’re doing the right thing? Of course, if you want to ignore the fact that we’re only here for a split second of eternity, and think it’s more important to find a cure for our miniscule aches and pains while we’re here, than it is to try and solve the mystery of eternity … Well, God knows you’re entitled to your opinion.
He looks at Marc. Marc is gone.
The next scene is Marc at his desk writing the letter – which appears in the final film.
The scene between Melinda and Marc, as it plays in the final film, was rewritten since the 1968 screenplay. The film dialogue makes more sense – Melinda is resigned to stand trial, and Marc has decided to stop communicating with her. Even the dialogue leading into “He Isn't You” flows more naturally in the final film than in the screenplay.
However, the film and screenplay diverge when it comes to Streisand's song “He Isn't You.” Recorded and filmed was a second verse sung by Marc to Melinda – “She Isn’t You,” which began right after Streisand's version. As Marc sings to Melinda, the two come together (finally!) in the same space ... even though it is somewhat of a dream.
This scene would was also the finale of Act One. In the theatrical print, Marc crumbles up his letter and throws it out the window. Then the movie dissolves as Marc walks into Hume’s office to deliver his resignation.
The way it would have played in the roadshow version, was that after throwing the letter out the window, Marc delivers the line to sleeping Daisy: “ Oh well ... It's time to wake up, little one ...You and I both. One...two... ”
FADE OUT.
INTERMISSION.
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