♪♪
[Jimmy] It was a typical Hollywood party, I guess,
except for the way it ended.
Yes, I saw it all.
I knew them all.
Why they'd come.
For easy pickings and bootleg rum,
the power or just the smell of it.
For money or just the hell of it.
And everybody was on the make for a piece of someone,
someone's take.
They were there for kicks,
for bucks, or laughter.
But Queenie,
what was Queenie after?
Queenie was the mistress of Jolly Grimm,
funny man of the films.
But you recognize him.
A big man in movies,
Hollywood elite.
Born Carlo Grimaldi on Delancey Street.
♪♪
[door opens]
[door closes]
Morning.
[moans]
♪♪
[Jimmy] Queenie was a doll whose age stood still.
She used to dance in Vaudeville.
Dark eyes,
lips like glowing coals.
The kind for who men sell their souls.
Late Saturday morning,
broiling hot,
Queenie woke up feeling shot.
Maybe she woke from a dream
with the cast of the Four Flashing Hustlers
with love to last.
Used her,
abused her in a checkered past.
So, now you know,
a fascinating woman as they go.
Jolly was up,
ugly and threatening.
Hardly the lovable comedy king.
Years ago, he showered and shaved first thing.
But now, since they said he'd lost his touch,
how he looked in private didn't matter much.
He was depressed.
Obsessed with the thought of a comeback
he needed to make,
and the thought of failure.
And what was at stake if he lost,
which was a lot more than the money he had cost.
A Hollywood trade paper spread before him
listed the grosses of Chaplin's picks,
and Harold Lloyd's and Keaton's clicks.
The whole paper seemed to ignore him.
Jolly, love...
Queenie is so tired.
Pour me a cup, will you?
Get it yourself.
Jolly...
Queenie is so tired.
Who the hell do you think you are,
The Queen of Sheba or something?
♪♪
♪ She gets up about a quarter past 11:00 ♪
♪ Feeling like hell but looking like heaven ♪
♪ Oh, oh, oh ♪
♪ That Queenie, baby of mine ♪
♪ That's Queenie ♪
♪ Hair of gold and skin of alabaster ♪
♪ She'll be your mistress, but you won't be her master ♪
♪ Oh, oh, no ♪
♪ Not that Queenie of mine ♪
♪ Now and then, other men ♪
♪ That give my baby the rush ♪
♪ Whacka-whacka-doo ♪
♪ But you can be sure ♪
♪ Queenie is pure ♪
♪ Pure as the driven slush ♪
♪ When she loves you, nobody is tougher ♪
♪ She'll give you pain, yeah, but what a way to suffer ♪
♪ Oh, whoa, whoa, whoa ♪
♪ That Queenie baby is fine ♪
♪ Yeah, yeah ♪
♪ Do, do, do, do, do-do-dee, do-do-do ♪
♪ She's a road to ruin ♪
♪ Oh, no... ♪
♪ She is my own doing ♪
♪ I'm crazy about my Queenie ♪
♪ Do, do, do, do, do-do-dee, do-do-do ♪
♪ She's the queen of the shady ladies ♪
♪ But if I got to go to Hades ♪
♪ I would rather go with Queenie ♪
♪ She might seem kind of mean ♪
♪ But it's only a bluff ♪
♪ 'Cause down inside, the sweetness shines ♪
♪ She's a zircon in the rug ♪
♪ I'm caught in the web and I got to stay beside her ♪
♪ I don't know if I'm the fly or the spider ♪
♪ Oh, well, if things are swell ♪
♪ Long as Queenie is mine ♪
♪ She's a mixture of evil ♪
♪ And innocent charm ♪
♪ She's the kind of Lucrezia Borgia ♪
♪ Of Sunnybrook Farm ♪
♪ Whoa-hoo,
♪ Oh, that's Queenie ♪
Queenie?
Oh, lay off me, you big palooka.
Oh.
Christ's sake, Jolly.
♪♪
Oh.
Don't worry about it.
It's okay.
Treating me like a two-bit whore.
Oh.
You kind of warmed me up.
You touch me again and I'll break you,
you dirty--
Easy.
Easy, sweetie.
Well?
Okay.
The next time you touch me,
if I can find a knife,
I'll damn well use it.
Push that idea around.
My sweetie spats, but I love her.
Oh, the hell with you.
Come on.
Let me pour you a cup of Java, huh?
♪♪
Is this table all right for you, madam?
Thank you.
Madam's coffee.
Here you are, madam.
That'll be fine.
Oh, waiter?Oh, yes, madam.
What's this, the list for the party?
Yeah.Which ones are coming?
The ones with the little red hearts next to their names.
Little red hearts.
The ones with the "X"s have previous engagements.
Goldstone's not coming?
Did you talk to him personally?
Well, his personal secretary.
Queenie!
Queenie, you know that Goldstone
is a big mucky-muck at Metro.
For Christ's sakes, that's the whole point
of this party.
If I can't get a studio to pick up this picture,
we'll be in half 'til doomsday,
now call him back.
Don't get yourself in a lather.
Murchison's coming and--
what's his name, that...
Dutchman from Mammoth Pictures?
Kreutzer, he's German.
Okay, German.
[German accent] You're a belle, Fraulein Queenie,
you look ravishing this evening.
It's my pleasure to see you.
[laughs]
Oh.
Did the projectionist call?
Yeah, he'll be ready to run the film
at 9:00 sharp.
Oh, stop worrying.
Shh...
Queenie, what do you think?
[Jimmy] Grimm's chauffeur, Tex, was an ex-bronco buster,
gun-toting extra and a dozen dusters,
now retired,
and hired as a man on whom Jolly
could depend,
butler and bodyguard,
and rarely in Hollywood,
an all-weather friend.
[door knocks]
[woman] Tex?
Yeah, come on in.
Here is the list of liquor
for the party tonight.
Twenty cases of gin?
Jolly wants you to leave right away
for Pasadena.
He says, "Remember, Ginsberg sent you."
Ginsberg?
Ginsberg the bootlegger.
Knock, knock.
Ginsberg sent me.
And please, watch out for hijackers.
You know, I can still use a shooting iron.
How is the old boy?
Oh, nervous as a cat.
He's always being like that,
ever since the beginning.
I remember his first premiere.
He-- God, he's jumpy as a porcupine
on his wedding night.
I need a new vacuum.
Where's Queenie?
Using the other phone.
Queenie.
[vacuum whirring]
Shut that damn thing off.
Goldstone can't come.
I talked to him myself.
Why the hell not?
Well...
there's another party tonight.
A real big bash at the Pickfair.
Pickfair?
That Mary Pickford,
I always knew she had a mean streak.
Well, didn't we get an invite
from Mary and Doug?
Yeah.
I threw it away.
Well, we couldn't go anyway.
And not tonight.
Those bums.
Ah, forget it... Murchison's coming.
He said he'd drop by before he went up
to Pickfair.You're right.
What do we need Goldstone for anyway?
This is Murchison's kind of picture.
It's got pathos, and drama,
and adventure, and class.
[telephone ringing]
Queenie, get that, will you?
Hello.
[Katie] Hello, Queenie.
Oh, Katie, what's up?
Are you coming?
Hey, Peachy.
What?
[Katie] I'm coming with Dale Sword.
Oh, yeah?
She's bringing Dale Sword.
Who?
Dale Sword, he just starred in his first picture.
What's it called, Katie?
The Sins of Don Juan?
I hear it's terif'.
Where did you meet him, at the club?
[Katie] Yeah, he sent a note to my dressing room.
Did he hear you sing?
[Katie] Of course.
And he loves you anyway, hmm?
[Katie] That dirty bum, he thinks I'm another...
I'll talk to you later.
Never mind about the later,
just get here for the screening, hmm?
Please.
[Katie] Sure, I'll see you tonight
Okay, Angel, see you tonight.
[Katie] Okay, bye.Bye.
Well,
they're coming.
Queenie, that's swell.
You know, I got a real good feeling about tonight.
Like when I first started,
like there's nothing I can't do.
Nothing that I can't get if I want it bad enough.
We're gonna cut for knees on this one.
I feel it.
God.
Oh, like that.
Uh-huh.
[hums]
Maybe, uh, it's a little snug.
Mr. Fink, this jacket is not just a little snug.
This jacket is three sizes too small, at least.
Now I would like to inform you of something.
I am what is known as a fat person,
not pleasantly plump, not stout, not husky,
just fat.
A fat person requires a fat suit.
All my life I've been trying
to convince skinny tailors like you
to make me fat suits, and what do I get?
Then maybe you get a fat tailor.
That's very funny, Fink, but this jacket binds me,
it constricts me, it strangles me.
All I have to do is move the button.
Fink, tonight is the world premiere
of my latest picture, Brother Jasper.
Now, I intend to make a little speech
to introduce that picture.
It's a very carefully planned speech.
It includes gestures.
At the end of that speech, I am gonna look up
at the projectionist,
raise my arms high in the air
and say the words, "Roll the film."
Fink, do you have any idea of what will happen
when I do that?
No?You don't?
This... will happen... when I do that!
Now get out of here and bring me back
a size 50 fat suit in two hours.
Do you understand?
The garment.
Queenie, Jolly doesn't need sound.
Forget all those profits of doom,
not in this picture.
That's gonna be sensational.
You really think so?
Yes, I do.
I think everyone is gonna be very surprised.
By most of it anyway, you ought to make a few cuts.
I...
I've been trying to tell him.
Well, take it easy on him today.
He's kind of all jazzed out.
I know.
[Queenie] Tailor,
dressmaker, beauty parlor.
What's that mark on your face?
That's a bruise, Queenie.
Well, it kind brings a bloom to my cheek,
don't you think?
I can't stand it when he belts you around like that.
Queenie, why do you take it?
I mean, what do you get out of it?
Is a big house and fancy clothes
enough to justify--
Oh, Jimmy, what do you see?
Hmm?
A body.
Female body.
Couple of boobies, legs,
fine fanny.
That's all I was before I met Jolly Grimm.
You know, when I danced in Vaudeville,
I wasn't too nifty in the talent department.
But I got by,
mostly on this good equipment.
But when Jolly found me,
gosh, I was different.
Oh, he was a big star and all of that.
Stepping out with Jolly.
All the waiters bowing and scraping,
everybody is staring at us.
Me waving to all my friends.
I loved it.
I wouldn't say I didn't.
But then,
it got to be something more.
What it was, Jimmy,
is he was the first guy
who ever asked me what I thought.
I remember when I was dancing in Vaudeville,
two a day.
They had a sign backstage that said,
"Do not talk to the principals."
I couldn't even...
speak to a star, you know?
So here was this...
kind of genius,
asking me what I thought.
And not just about clothes
or other people, but really serious things.
The Geneva Convention.
[laughs]
Don't you laugh.
Actually, some things I haven't heard of.
But I looked them up in the papers.
He really was interested in what I...
I had to say,
which is more than you are, Mr. Morrison.
When I talked, he listened.
See?
I understand that.
Really, I do.
But...
the way he beats up on you, Queenie.
But he didn't used to be like that.
Oh, he was always kinda funny about,
you know, the sex stuff.
But that didn't matter.
Especially at first,
he didn't get so violent then.
It was only later when the studios
didn't wanna back his pictures anymore
and he started boozing real heavy.
Then, it got bad.
It's been bad as long as I've known you.
Queenie...
don't you think it's time to...
well, make a change?
[door opens]
[Jolly] Jim, where the hell have you been?
We're late, come on, let's go.
Tex could take me by the beauty parlor
after he drops you, okay?
Beauty parlor.
With that face,
she must have a thing for the sissy hairdresser.
Come on, Queenie, move it.
Well, that's the end of reel one,
what do you think?
I think it's...Eddie, put on reel two,
will you?
Uh, just let it roll out,
step on the pedal.
No, no... the other one.
That's it, let it go.
You need a driver's license to run this thing.
Experience, laddie, just experience.
Well, how'd you like it?
I think it's damn good.
The way you juxtaposed Jasper's meeting
with the little girl with the bell ringing scene,
it works wonderfully.
What did you think of the opening credits?
Well, Jolly...
I mean, I gave you screenwriting credit
right up there with me?
But you didn't have to.Oh, I know, I know.
But I figured produced by, directed by,
and starring little old me was enough.
We agreed that I wasn't gonna do this
for credit.
I mean, writing a few title cards isn't writing,
is it?
I know, but I like to help out young people.
You know, Jim, this kind of credit
can be very important to you.
Hey...
you want this credit, don't you?
I mean...Well, sure.
It's just that...
Now, the second reel has the cannibal scene.
This is my favorite.
I put in a new title card.
Wait until you see it, it's great.
Are you ready?It's all yours.
I want to talk to you about the cannibal scene...
Take a look, take a look.
♪♪
[reel rattling]
♪ Funny man, trying so hard to be funny ♪
♪ Happy-go-lucky and sunny ♪
♪ Why do you play the clown ♪
♪ Why do you do ♪
♪ Funny man, why do you make us laugh at you ♪
♪ Maybe the reason is that you ♪
♪ Think if we knew the real you ♪
♪ We'd frown ♪
♪ Why do you hide behind your mask ♪
♪ Of fun and folly ♪
♪ Life isn't just an endless season to be jolly ♪
♪ Funny man, why you live in our laughter ♪
♪ What is it really you're after ♪
♪ Playing your comedy ♪
♪ Maybe you're saying look at me, folks ♪
♪ I'm just as nice as I can be, folks ♪
♪ Maybe you're saying please love me ♪
♪ Why do you hide behind your mask ♪
♪ Of fun and folly ♪
♪ Life isn't just an endless season to be jolly ♪
♪ Funny man, why you live in our laughter ♪
♪ What is it really you're after ♪
♪ Playing your comedy ♪
♪ Maybe you're saying look at me, folks ♪
♪ I'm just as nice as I can be, folks ♪
♪ Maybe you're saying please love me ♪
♪ Please love me, please love me ♪
♪ Please love me ♪
What did you stop for?
It's the end to the cannibal stuff.
Sure fire, isn't it?
How about that new title card?
"You can't boil me, I'm a friar."
Great, huh?
It's funny.
Sure it is, I admit it.
What's the matter?
Jolly, I gotta tell you.
I think it's wrong.
I don't think things like this
work anymore.
We can't just suddenly have Brother Jasper...
Wrong?
Don't tell me what's wrong ever.
I've been in the comedy business for 20 years.
My instinct tells me what works, what's funny,
you don't.
Look, for whatever my opinion's worth,
I think that sequence is...
corny.
I think...What do you know about...
Just hear me out.
Leave it alone.
The entire cannibal sequence ought to go, really.
Go... you must be batty.
Let me finish!
Brother Jasper is a very touching story.
It's about a monk who is really
questioning his faith.
Sure it's funny,
but in a tender, gentle, new way.
This thing in Africa, it's too wild.
It's too slapstick
and it comes out of left field.
You're gonna lecture me on slapstick.
I was doing comedy when you were pissing
your diapers.
What's funny is always funny.
From Roman times on down to right now.
Public taste changes.
Times are more sophisticated.
Talented people have to lead the public.
And here, I think you're going backward.
Back to the same old supposedly
sure-fire stuff.
Don't you talk to me about my talent.
If there's one thing I know about,
it's what's right for me.
This whole picture is me.
Comedy, drama, pathos.
I got range, Morrison.
I can do it all.
And that's what I wanna show people.
That's what I wanna show the ass-wiping studios.
You'll see tonight.
All right.
I've had my say.
Let's get on with the rest of the reel.
No, go on, go.
I don't need you.
I still think I could help.
No, go on, beat it.
Go write a poem.
All right.
See you tonight.
[Tex] Oh, Jolly, forget about Morrison.
Tonight's gonna be tremendous.
[Jolly] I do not know, Tex.
Screaming at Morrison, raising hell with Queenie.
Maybe I'm losing my marbles.
[Tex] Manage that nerve.
You could lay off of the booze a bit though.
What do you think?
You're right.
I don't know, I think Queenie is real mad at me, Tex.
She acts okay, but...
She is okay.
I'm scared of losing her.
She doesn't need me anymore,
not like she did in the old days.
She's beautiful.
She... she could have anybody she wants.
I think...
that's what scares me the most.
I've been thinking about that a lot lately.
Like you know,
what it would be like if she left me.
You know something?
I'd die without her.
Ain't that a laugh?
I'm gonna ask her to marry me, Tex.
As soon as I get Brother Jasper
off the ground and get a few things
straightened out.
Can you imagine me thinking about
getting married?
It always scared the hell out of me before, but...
I wanna...
I wanna do something for her.
I wanna...
I wanna give her a feeling of...
security.
I don't know.
I mean that's what most girls want, isn't it?
She asked for that?
No.
She's got a lot of pride, you know Queenie.
Do you think she'll have me, Tex?
I told you,
she's nuts about you.
But first, you gotta get this picture
into the theaters.
Then you can take care of the rest
of the things later.
Say, why don't we try and find a fruit stand
before we go home?
Pick up some oranges.
Queenie is just crazy about oranges.
Good idea.
Oh, Signor Charlie... [speaking Italian]
Hi.
[speaking Italian]
Rosa.
Rosa, come here.
I got a big movie star.
[speaking Italian]
Mr. Jolly, I...
I see all your moving picture.
Boy, you...
you sure make funny moving picture.
Grazie.
Grazie tante.
Oh, Rosa.
Rosa, you know who this is?
This is Jolly,
the funny man from the movies.
Mr. Jolly, how come you're no making...
no more moving picture?
It must have been five years?
I just finished one.
Tonight's the world premiere.
It must be great, if it take you
five years to make.
With God's help.
Don't worry.
It's just going to be great.
Listen, Mr. Jolly, you're making me laugh
more than...
any of those guys
even all of the Keystone Police
all put together.
Rosa.
Rosa, give Mr. Jolly a nice kiss.
No, that's all right.
No, no, no.
Rosa, she bring you luck.
She's, uh, she's like a saint.
Okay, fine.
Come here now.
Oh, I got a little present for you.
This is for free.
This is the best.
This was picked this morning.
I want you to give it to your missus
[speaking Italian]
Grazie.
[speaking Italian]
Grazie.
Your Rosa,
she's very beautiful.
No, no.
For your daughter, hmm?
Saint Cecilia, help me.
Maybe if you'll suck in.
[Queenie] Jolly, Kreutzer can't come.
Jesus Christ, tell him to hold on!
I'm gonna talk to him.
Wait, shall I move the button?
The hell with the button, I'll suck in.
Hold the phone just a minute.
Jolly's coming.
What's the matter, Kreutzer?
[Kreutzer] Can't make it tonight, Jolly.
I'm going to Pickfair.
Forget about Pickfair.
[Kreutzer] I can't disappoint Doug...
Listen, you've got to see Brother Jasper.
It's gonna make you a rich man.
[Kreutzer] This is business too, it's in my--
But... Kreutzer...
Look, I've got two hot numbers coming to you tonight.
[Kreutzer] Can one possibly be a red hair?
Yeah, they both have red hair.
Kreutzer, they'll play Mozart on your stomach
if you want them to.
All right, hurry up.
[Kreutzer] Jeez.So long.
What redhead?Do I know?
He's so horny, he'd wang it to Wilma
if he had the chance.
At least he's coming.
Angel, you look amazing.
Get out of here, Romeo, I got to put on my diamonds.
All right, gorgeous.
The folks are beginning to come in.
A little vino to bring us luck.
All right, A toast, I'd like to propose a toast
to a Jolly good fellow.
Oh, no, I'm not drinking.
But I'll clink to that.
[laughter]
♪ Yack-a-do, wack-a-do, yack-a-wap-a-savvy ♪
♪ Ain't you feeling fine ♪
♪ Yack-a-do, wack-a-do, ain't you feeling happy ♪
♪ 'Cause it's party time ♪
♪ Break away, take away all your inhibitions ♪
♪ Get them on the run ♪
♪ Free yourself, be yourself, yes, sir, we got fun 'cause ♪
♪ We're going to a wild party ♪
♪ Everybody come along ♪
♪ Yeah, this party has razzmatazz ♪
♪ Jollity, frivolity, and all of that jazz ♪
♪ We're going to a wild party ♪
♪♪
Christ, what a crew.
Take a look at Madeline True.
People flocked to the film she made,
loving the cutie pie part she played.
She was every man's sweetheart.
Every woman's guide.
Venus and Adonis,
which she never tried to hide.
Men dreamed of a real-life wife
like this adorable thespian.
Poor fools they.
The typical pair of minor movie producers
stood engrossed,
bewailing high production cost,
each of them had suffered most.
In 20 minutes, each had lost
a sum of $60 million with gestures.
After which, they sighed,
drank, panting, tragic-eyed,
mopping at sadly wilted collar.
And Jackie,
perfect of form and face.
In his veins flowed the blood
of more than one race.
He left a subtle trail of scent
floating behind him as he went.
An Apache dancer with a special act,
New York or Paris, his house was packed.
He brought marijuana for all to puff.
And later, he'd bring out the stronger stuff.
Cocaine, morphine, Turkish hash
everything for a proper bash.
Poor Bertha,
now Jackie's ex-partner in dance.
He tossed her around on his last tour of France
until she fractured a leg.
Now, she walks with a limp.
But she still works for Jack.
She's his whore.
He's her pimp.
Eddie Mangione, here with Grace,
a muscular stuntman with a brutish face.
Good-natured if sober, and gentle enough.
But look out if you crossed him,
he could get rough.
Behold the Brothers D' Armano,
otherwise, Oscar and Phil.
They sang, they played the piano,
they lisped, their voices were shrill.
They reeked of powder, rouge, pomade,
piano wasn't all they played.
They gave new meaning to the concept
of the old-fashioned virtue of brotherly love.
♪ The little Dutch boy ♪
♪ Taught a lesson that I liked ♪
♪ If you want to save your country ♪
♪ Stick your finger in a dike ♪
♪ Yack-a-do, wack-a-do, party, party, party ♪
♪ We do a party ♪
♪ Yack-a-do, wack-a-do, don't you be a smarty ♪
♪ Babe, we've got a date ♪
♪ Smoking and drinking and everything but thinking ♪
♪ We'll be going home ♪
♪ Here the news all your booze will be dead and gone 'cause ♪
♪ We're going to a wild party ♪
♪ Come and dance your fears away ♪
♪ You'll feel how it feels ♪
♪ To kick up your heels ♪
♪ Fill your cup and drink it up ♪
♪ Until your mind reels ♪
♪ We're going to a wild party ♪
♪ Where we can be wild and free ♪
♪ You gotta come forth ♪
♪ 'Cause life is too short ♪
♪ So break out in song ♪
♪ And sing all night long ♪
♪ And laugh at the fates ♪
♪ And make life a great big wild ♪
♪ Wild party ♪
[James] As I watched their welcoming exhibition
did I feel something a premonition
for a beast with fair beauty by his side,
fragile hope threatened by a fatal pride.
Or was the tremor I felt inside just off
for the radiant apparition of Queenie.
Exquisite.
Wending her way, descending,
greeting her courtiers along the stair.
She was something you could kneel before in prayer.
[indistinct chatter]
Sam, Mark, well, moving in on my girl, I see.
Jolly, a good host has to share.
Well, so, when are you showing the pictures?
As soon as your competition gets here.
You want someone to fight with, don't you?
[laughter]
The Murchinsons are here.
Oh, yeah.
Excuse us, gentlemen, please.
See you later.
Excuse us.
Hello, Tex.
AJ, how are you?
Good to see you, Jolly.Well, long time no see.
How are you, Mrs. Murchison?Fine.
I believe you both know the very beautiful Queenie.
Oh, how do you do, Mrs. Grimm?
How do you do?
I'm so mad for this house.
It's so...
Hispanic, I guess.
I always used to wonder
who lived in this house.
You know, every year
I run a little house tour,
a sort of ramble to the homes of great stars.
And I wonder...
Would you let us put you on our list?
Oh, Mrs. Murchison, I would be delighted.
Mi casa es su casa.
Oh, splendido.
Come.
Well, AJ, how about a bit
of the bottles or maybe shot of vodka?
How long does your picture run?
Eighty-two minutes...
maybe less.
That long.
Well...
we better get started then.
We're due some place in, uh,
in an hour tonight.
Can't stretch it out too long.
Tex, let's get everybody to the projection room.
Let's get started.
But Kreutzer ain't here.
The hell with him, so he comes late.
What about Dale Sword?What about him?
And Kate, they're not here, yet.
Couldn't we wait just a little bit?
Is Dale Sword going to buy Brother Jasper?
All right, everybody, movie time.
I hate that dirty bum.
She swore to God she'd be here.
And you say you call it Brother Jasper?
Yes, it's based on the life of Father Junipero Serra.
Father who?
He's a great Franciscan missionary.
They call him the Apostle of California,
but he was hilarious.
Well, I mean, he wasn't hilarious,
my conception is...
[Kate] Ta-da!
Meet my latest pash, Mr. Dale Sword.
The sharpest blade in the Hollywood Hills.
Dale, here comes Queenie
and this is Mr. Tex.
How are you?
How are you doing?
Oh, hello, Queenie,
I'm tight.
[laughter]
Hello, Jimmy.
Uh, Queenie, this is Dale Sword.
Ain't he gorgeous?
How do you do?
[James] She saw his features sharp and clean.
He looked sporting, he looked keen.
He made her think of squash rackets, Polo,
and yachting, and dinner jackets.
He had that air of poise without pose
that only a well-bred person shows.
Queenie, everybody is waiting.
Come on.Jolly,
this is Dale Sword.
How do you do?
Nice to meet you.
Come on everybody, it's screening time.
[indistinct chatter]
Dale, it's good to see you.
It's good to see you, AJ.
How are you?Very good
especially after having seen the East Coast
grosses of "Don Juan."
You set a new house record at the Orpheum.
Did you know that?Really?
[James] Dale Sword and Murchison,
prince and czar,
the king of the hill
and the rising star.
Like goes to like,
kind goes to kind.
Winners find winners
and losers find...
just other losers left behind.
♪♪
[James] Cast was assembled,
all the actors,
figures and beauties and benefactors.
Millionaires and zeroes,
lovers, clowns and heroes
met on set.
They rushed to their places in the grand salon.
The curtain was rising, the show was on
starring loners and owners of Babylon,
phonies and cronies and hangers on,
the whole free-loading pantheon.
The wheel was spinning,
the course was charted.
Comedy was beginning.
The tragedy had started.
My friends,
when I first thought about how to introduce
Brother Jasper to you, I thought to myself,
"Jolly, be humble."
That's the ticket this time.
Then I thought about it some more,
me be humble,
well, that's like, Calvin Coolidge
dancing The Black Bottom.
[laughter]
If you saw it, you wouldn't believe it.
Me saying all coy like, "Ladies and gentlemen,
I do sincerely hope you like my latest picture,"
when what I really wanna tell you
is how proud I feel.
Proud for me because I wrote it,
directed it,
and naturally I star in it.
[laughter]
Plus putting up all the money for it.
And proud for my gang,
Ben, Jimmy a real commenter,
Nick, who wanna get some sort of prize
for his sets, and Eddy and, uh,
Frank and Tex over there.
We've been living and loving Brother Jasper
for a long time.
My friends say we even have our fights over it.
But that's only natural in the picture business
as you all know.
Now, it's time to turn them over to you,
his very first audience,
to love I hope
or better yet to fight over.
He belongs to you now.
I'm a little sorry to see him go
out in the world, all on his own.
but there is one consolation
I couldn't be giving him to nicer people.
[applause]
Projection... projectionist...
roll the film.
♪♪
[laughter]
[coughs]
[sniffles]
[indistinct chatter]
[birds chirping]
[indistinct chatter]
Hey.
Hey, waiter.
Oh, wait.
Excuse me sir,
is this Mr. Grimm's house?
That's right.
Well, do you know where I can find Mr. Grimm?
You're looking at him.
Oh, Mr. Grimm,
oh, I'm so excited to meet you.
Gee, you look thinner.
I mean-- I mean on the screen you look gigantic.
Oh, well, I mean.
I didn't mean...Who are you?
Oh, gosh, I'm sorry.
My sister said I should come.
You know, Grace,
Grace Jones?
She came with Eddy Mangione.
What's your name?
Nadine.
Nadine Jones.
Welcome, Nadine.
How'd you get here?
I hitchhike,
come all the way from Burbank.
You see, I'm a dancer,
acrobatics, ballet,
like that.
I'm good too, Mr. Grimm.
I thought maybe you'll let me entertain
all these movie people.
Not tonight.
It's not a good time.Oh, no, really?
I guess you must be starved.
Why don't you go inside and get some chow?
Ask for Wilma.
She has some sarsaparilla in the ice box.
It's right through there.
Oh, jeez, thanks, Mr. Grimm.
But maybe later, I...
Well, see.
Go on,
go ahead.
Okay.
Thanks.
♪♪
[tepid laughter]
[coughs]
[sniffles]
[laughs]
[sighs]
Jolly.
Kreutzer, where the hell have you been?
You missed the whole picture almost?
Oh, Grimm, my apologies, this traffic wasn't good.
How are things at Mammoth Studio,
still raking in bucks?
Yeah, head over foot as they say.
You have still have time to see the last scene in the picture
where Brother Jasper prays for miracle.
So, where is the redheads?
Later, Kreutzer.
You see, I played the part of Father Junipero Serra,
the Apostle of California.
He, uh, he meets this little crippled girl.
A little crippled girl?
Yeah, see, and his faith begins to waiver.
He goes to Africa, the pope's emissary.
Now the last scene takes place in the chapel.
But never played the scene quite at this point.
♪♪
[indistinct chatter]
♪♪
[laughter]
[applause]
[indistinct chatter]
Well, AJ?
Good job, Jolly.
Well, I liked it.I'm glad.
And the ending,
when the little girl walked,
so moving.
Would you mind one tiny suggestion?
No, of course, dear.
Change the little girl to a little boy,
do you remember Jackie Coogan in The Kid
with that big hat pulled over his eyes?
Francine, I'm quite sure Grimm here
cast the picture the way he solve things.
Well actually, there's still a lot of anything
that can be done, AJ.
I know there's a little more work to do.
AJ, I plan to have another...
Jolly darling,
what a torment.
Dale,
we're heading for Doug and Mary's.
Why don't you send your car on ahead
and you and your young lady ride with us?
Thank you, AJ.
But I think I'll stick around
for a little while.
See you later.
That profile.
Hasta luegoeverybody.
[AJ] The silent picture is your problem, Grimm.
We're going all sound now.
I believe once...
[Jolly] What decision do you think the studio will take, AJ?
[AJ] We really got to dash, Jolly, call me next week.
[Jolly] Now Kreutzer wants the picture
and of course Mammoth doesn't have your second.
[AJ] Sounds good to me, If I were you, I'd take it.
[Mrs. Murchison] You and Mrs. Grimm must call on us some time.
And don't forget,
we want you on our house tour.
They don't build them like this anymore.
I'll call you on Monday, AJ.
Uh, I'll be tied up all day Monday.
Call me later on, okay?
Good night.
[taps the window]
Bastards.
Hey.
Don't fret about Murchison.
The screening didn't go great.
some of those people were wackos.
But they love you.
Don't crap me, Queenie.
Oh, Jolly listen,
I think it's a swell picture.
I think it's the best thing you...
You think.
Who gives a flying fart on what you think?
Murchison is the guy with the moolah.
Now, wait a minute, Kreutzer is still here.
You're gonna start giving me advice.
She's gonna start telling me about the picture business.
I'm not interested in what you think.
You're supposed to look good,
that's all.
Now, keep that big fat trap of yours shut,
do you understand?
[indistinct chatter]
[cheering]
[plays piano]
♪ Has come to me again ♪
♪ And made me see again ♪
♪ How me and thee again ♪
♪ Could be again together ♪
♪ I am serene again ♪
♪ Feel like a queen again ♪
♪ Now that my king's come home ♪
It's been grand meeting you, Ms. True.
Madeleine, please.
Madeleine.
Well,
I'll catch you later maybe.
I got to drum up some business
if you gather what I mean.
Well, I'll be here
if you need a shoulder.
Thank you.
Nice to meet you.
♪♪
[indistinct chatter]
Queenie, I haven't seen you all night.
Where have you been hiding?
Hey, how about doing a little number for us, Queenie?
Nah, Jackie,
I ain't danced in ages, you know that?
Come on, Queenie.
How about Singapore Sally?
Me and Oskie know it.
[indistinct chatter]
I'm a little rusty, but Singapore Sally it is.
♪♪
♪ Singapore Sally ♪
♪ Lived in an alley ♪
♪ Down by Maalaea Bay ♪
♪ The story of her life ♪
♪ Her trouble and her strife ♪
♪ She happened to tell me ♪
♪ One day ♪
♪ Sing, Sing ♪
♪ Singapore Sally ♪
♪ Life gave her a quite of shove ♪
♪ Sing, Sing ♪
♪ Singapore Sally ♪
♪ She was waiting for her long lost love ♪
[laughter]
♪ Sally was stuck on a sailor named Chuck ♪
♪ A stoker who worked on an oiler ♪
♪ His face was kind of dumb ♪
♪ And his better kind of glum ♪
♪ But she like the way he stoked her boiler ♪
[laughter]
♪ Then one day, he sailed away ♪
♪ Leaving her in a sea of tears ♪
♪ He said he'd come back soon ♪
♪ In April, May,or June ♪
♪ Now she's been waiting 14 years ♪
♪ Oh, it ain't tragic ♪
[laughter]
♪ Sing, Sing ♪
♪ Singapore Sally, life gave her quite a shove ♪
Oh.
♪ Sing, Sing ♪
♪ Singapore Sally, she was waiting for her long lost love ♪
♪ Down on her luck while she waited for Chuck ♪
♪ Lack of dough made her grow nervous ♪
[laugher]
♪♪
[chattering]
I think I can get it away from Murchison.
That is if you can close the deal
without letting your Teutonic personality.
They have first the sound.
No sound?
What are you, the dark ages?
You want sound legion.
You got sound.
They got a process.
It's called dubbing.
You add the voices and the sound effects later.
Here, listen...
[glass tinkling]
Storm at sea..
Grimm, where is the redhead?
You promised me redheads
play Mozart.
Yeah.
All right, you wait here, I'll get them.
♪♪
Can I show him now?
Can I show him?
No, angel, please.
He looks kind of busy.
♪♪
[laughter]
♪ Sally grew rich at a feverish pitch ♪
♪ Sables and diamonds, she had 'em ♪
♪ Things were so grand, she decided to expand ♪
♪ So Sally turned from miss to madame ♪
♪ And now she's got a cute ♪
♪ A house so very cute ♪
♪ The biggest in Himalayas state ♪
♪ And Sally says, "It's clear ♪
♪ There is a moral here ♪
♪ Good things come to those ♪
♪ Who wait for long lost lovers ♪
[laughter]
♪ Sing, Sing, ♪
♪ Singapore Sally ♪
♪ Life gave her quite a shove ♪
♪ Sing, Sing ♪
♪ Singapore Sally ♪
♪ She was waiting for her long lost love ♪
♪ Sing, Sing, ♪
♪ Singapore Sally, life gave her quite a shove ♪
♪ Sing, Sing ♪
♪ Singapore Sally ♪
♪ She was waiting for her long ♪
♪ Lost love ♪
[cheers and applause]
More.
Yeah, more.
[cheering]
[man] Atta girl.
Queenie, it's marvelous.
You're really wonderful.
Glad you liked it.
Grab a drink.
And I'm no Vernon Castle,
but, uh, would you like to dance with me?
Oh, well, sure sweetie.
Katie, you wouldn't mind if I dance just once
with our hostess before we left, would you?
Of course not, darling.
Well, not in there, too much hobo.
Let's go out to the garden.
All right.
[indistinct chatter]
Queenie,
for God's sake, you're asking for trouble,
don't you know that?
Oh, hush, Queenie knows what she's doing.
She's got my name in her little book
for this dance, old man.
You can have the next.
I just want to talk to her.
My God, look at the glint in his eye.
En garde, monsieur.
Bop.
♪♪
Where's Queeenie?
Have you seen Queenie?
She was doing Singapore Sally on top of the bar.
Laughing her head off.
After that, I don't know.
Where's Queenie?
I don't know, hostessing around.
I was hoping you'd know.
Come on, I'll help you look for her.
I'm missing something too.
The deal isn't important.
I'd rather go with the right studio.
Kreutzer, you have the class approach.
Monks, Grimm,
who wants monks?
Today, the people want action,
violence, lots of shooting, gangsters.
[imitates gunfires]
You want gangsters?
You want gangster--
you got gangsters.
Oh, wait a minute, it's coming to me.
It's-- I see a whole--
I see a whole new scene.
Wait a minute, all right.
Morris-- Morrison, this is my co-writer.
He's a college graduate, got a lot of swell ideas.
He's got a little pot crazy,
but he's a genius, a genius.
What do you say genius?
What do you say we put Brother Jasper
in a bank,
he goes to a bank to make a deposit.
In 1785?
What's the difference?
So we make a few allowances?
What's the differences?
He--so he goes to this bank
and, um, he's got week's collections,
see, and he gets a receipt from the teller.
Handwritten in a piece of old parchment.
What's the difference?
So, uh, all of a sudden,
he sees, uh,
these two mean bastards, see?
And they were in two big black sombreros
and, uh, one of them is holding a gun over the crowd.
And the other one--
the other one has cleaned out the safe
and, uh, the other guy starts, um,
starts taking the valuable-- go take the--
take the valuables go ahead.
All right, give me your wallet.
Give him what he asks for 'cause he's a mean bastard.
Right, give it to him, give it to him, that's right,
see how fast--get it.All right, what do you got?
Now, Brother Jasper can't let this happen, see?
Because I mean he's responsible for the churches' funds,
so he sneaks away.
Nobody notices him.
I mean, he's a man in the cloak.
Who-- who's gonna pay--
let me have that, see--
he sneaks up behind the man.
He sneaks up.
He's scared, but he goes through with it.
All right,
reach for the ceiling.
Bang!
Bang! Brother Jasper falls to the floor.
Damn.
[laughter]Missed you, bastard.
[laughter]
Bang!
Oh!
And he falls to the floor.
He dies.
It'll be better when we get a real actor to play.
You see, the gun keeps firing.
See, it's the kick, it's the kick.
It's the kick of the gun.
The bullets flying.
Leaping, everybody's dancing.
Leaping, jumping, dance--
dance, go on.
It goes on.
What the hell is going on here?
Dance, you son of a rattlesnake, dance.
I won't.
Why the hell not?
Because...
...I happens to know...
...that you had a tobacco.
[laughter]
Of course, I'm gonna use a real gun not a pipe.
What do you say, Kreutzer?
Later, Grimm.
Later.
Mildred here is going to practice the coitus sonata.
We'll talk later.
Voila.
Queenie.
Merci.
To you.
Queenie?
Please don't.
I'm sorry.
You must think that I'm a typical Hollywood magic.
Would you like me to leave?
No,
I think you're really very nice.
♪♪
♪ Here's a dance you all should know ♪
♪ One you do by moving slow ♪
♪ Don't perform too much ♪
♪ Or gliding too much ♪
♪ Or doing the Herbert Hoover Drag ♪
♪ Don't you try to step too far ♪
♪ Things are great the way they are ♪
♪ Keep the status flowing ♪
♪ You keep it going ♪
♪ We're doing the Herbert Hoover Drag ♪
♪ Four more years of prosperity ♪
♪ Four more years of sincerity ♪
♪ Four more years of quiet and peace ♪
♪ Thank you, Herby ♪
♪ Everything will turn out fine ♪
♪ Starting young in 29 ♪
♪ All our troubles over ♪
♪ And wearing clover ♪
♪ We're doing the Herbert Hoover Drag ♪
♪ Thank you, Herby ♪
♪ Everything will turn out fine ♪
♪ Starting young in 29 ♪
♪ All our troubles over and wearing clover ♪
♪ We're doing the Herbert Hoover Drag ♪
Whoa, wait a minute, let's not get down there.
Let's sit over here.
All right.
♪ Do, do, do, do, do, do, do, do, do, do, do ♪
Cigarette?
No, thanks.
Come one, Dale, It's time to go.
Why?
Aren't you having a good time?
No.
I'm gonna go over to pickfair.
Doug and Mary, remember?
They're expecting us.
Oh, yeah.
I forgot about that.
Queenie, I really should go.
Come with us.
Gee, I'm kind of the hostess, Dale.
Well,
then I won't go either.
Kate, do you mind going alone without me?
Oh, Daley, I don't wanna go alone.
No, you got...You know, I'm not.
Damn.Oh, careful.
Oh.
Queenie, stop.
Stop.Cut it, Queenie.
Stop making a scene.
I've been warning you.
About what?You know what I'm talking about.
Lay off that guy.
Why?Because I'm telling you.
Yeah, and who the hell are you anyway?
Haven't you had a trifle too much too drink, old sport?
You.Oh.
Dirty son of.
Cool down.
Easy does it.
Cool down, boy.
You don't wanna mess with his pretty face.
Who do you think you are, pretty boy?
Bigger than me?
Because you make one lousy picture?
Twenty-seven pictures, that's what I made.
That's a career.
Not a cheap two-bit imitation of Valentino.
You son of a bitch.
Come on, let's get out of here.
Go away, I don't need your help.
I don't need it.
[indistinct chatter]
I don't need it.
Let go of me.
Who do you think got me where I am?
My mother?
My father?
They dumped me when I was six years old.
The nuns?
They taught me to feel guilty just by--
by being alive.
And who do you think taught me that?
My teachers?
Never had one.
Directors?
I directed them.
So who built my career?
Agents?
Bloodsuckers with 10%.
The studio is a bunch of horses' asses
with nothing but dollar signs
and their penny brains.
So, who made Jolly Grimm?
I'll tell you who.
Let alone,
big old me.
That's who.
Me!
And I'll do it again.
Not because of any help from you, you freeloaders.
But in spite of you,
I wanna come back.
I wanna come back...
...shining,
and big,
and bright,
and hot.
Hotter than ever.
And I don't need help from anybody.
Not in--
not from you, Morrison,
not from you Tex,
not even from you, Queenie.
Queenie.
Oh, my--
oh, my God.
Queenie.
♪♪
Come on.
[applause]
I was gonna be a movie star.
Oh.
I had this one photo
in a costume with clusters of lemons on the skirt
and a hat with a lot of tulle
and lace up shoes.
Oh, it was so something.
I must have sent that photo to every producer
and director in this town.
And I sat by the phone and waited...
...for days.
Nothing ever happened, I was just one more girl
standing on the road hitching a ride.
And then?
Then I got sick.
Actually, I was starving.
You can't believe that, can you?
No.
No, I can't believe there wasn't always
somebody looking after you.
I looked after myself.
But one day there was a casting call on Jolly's picture
and I was one of the girls they picked that day.
Except I was so weak, I fainted.
There was no place to even lay me down,
so they...
...put me in this stable on a pile of straw.
There I lay in the dark.
When I came to,
it was real quiet.
Everybody had gone.
And suddenly the door flew open and there was Tex.
Oh.
He just about jumped a mile when he saw me.
Oh, I was a mess.
I've been crying and,
oh, lost one of my shoes somewhere or something.
He was real nice.
Brought me home,
cooked me ham and eggs.
Jolly was at some big premiere
and he came in with a lot of fancy types
all in tuxedo and laughing
and rubbing his hands together
like he just done something really big.
Oh, he was on top of world then.
Anyway, Tex told him about me
and he said, "Well, we'll keep the little lady at home."
Can you imagine?
"We'll fatten her up."
He was something.
So sweet.
Yeah, sweet and good to me.
He was always there smiling.
He saved my life.
It all seems ages ago.
I've been through hell I guess.
Now, I should be asking myself what I'm...
...heading forward.
What all of this is leading to?
Maybe it's all leading to me.
♪♪
♪ Pour the wine and let the music play low down ♪
♪ Let me hold you like a lover man would ♪
♪ When I kiss you babe, don't tell me to slow down ♪
♪ Here's the low down ♪
♪ Ain't nothing bad about feeling good ♪
♪ Da, da, da, da, ba, rap, tara, da ♪
♪ Let's discover joy then in it we'll revel ♪
♪ Ba, da ♪
♪ Let's do what we want and not what we should ♪
♪ Ba, da ♪
♪ If we go to hell, we'll tell the old devil ♪
♪ Ba, dam ♪
♪ On the level ♪
♪ Ain't' nothing bad about feeling good ♪
♪ Da, da, da, da, ba, rap, tara, da ♪
♪ Hold me tight ♪
♪ And tell me that tonight's the night ♪
♪ The night we can find ♪
♪ The loving that we've always pine for ♪
♪ Some look down and frown on hugging, and squeezing ♪
♪ That's because their hearts have not understood ♪
♪ That nothing can be wrong ♪
♪ As long as it's pleasing ♪
♪ Here's the reason ♪
♪ Ain't nothing bad about feeling good ♪
Queenie?
Sorry, gentlemen.
Queenie says it's really rare.
I mean my talent.
Queenie.
Looks like a can of worms.
She said she was in the movies.
♪ Hold me tight ♪
♪ And tell me that tonight's the night ♪
♪ The night we can find ♪
♪ The loving that we've always pine for ♪
♪ Some look down and frown on hugging and squeezing ♪
♪ Da, da, da, da, da, ♪
♪ That's because they're hearts have not understood ♪
♪ Da, da, da, da, da, da ♪
♪ That nothing can be wrong ♪
♪ As long as it's pleasing ♪
♪ Here's the reason ♪
♪ Ain't nothing bad about feeling ♪
♪ Ain't nothing ♪
♪ Bad about feeling ♪
♪ Good ♪
No.
It's Grace.
Who?
My sister.
Oh, Jesus.
Oh, don't cry.
Don't cry.
I'll tell you what,
we'll go to the kitchen,
I'll give a piece of Wilma's angel fruit cake.
Is that all right, angel?
Shhh, come on, come on.
♪♪
You gotta be philosophical about these things.
Whatever happens, happens.
I understand why my best friend
would throw herself at Dale.
I mean, everybody knows what kind of life she has with Jolly.
Ain't no secret.
Kate, we gotta find them.
Oh, Jiminy.
I understand.
You've been stuck on her for years.
It's plain as day.
But look,
sometimes you win, sometimes you lose like tonight.
Okay, we both lost.
That doesn't mean that...
...a couple of losers aren't entitled to have fun.
Okay, loser, you win.
Good?
Hmm.
Sure suits you.
Angel food
for an angel face.
You sure do remind me of Queenie.
First time I met her, she was an extra on the set.
She was starving.
Filling her face with breakfast donuts
like she hadn't eaten in a week.
Which she hadn't, the poor kid.
I still remember
grabbing those donuts.
Next thing I knew, she was sitting right where you are,
shoveling in Tex's ham and eggs.
She used to hitchhike all over the place just like you.
Did you put her in your pictures, Mr. Grimm?
No.
I took care of her, Nadine.
Real good care.
Grace says I should be nice to you.
She says maybe you'll put me in your pictures.
You sure do remind me of Queenie.
Listen...
if you want...
you can kiss me or stuff like that.
Hey, get away from that kid.
Get off.
No.Nadine.
Wait, please, don't hit him.
Please, don't hit him.
[indistinct chatter]
Trying to ruin a little kid.
[indistinct chatter]
What are you laughing at, you tart?
I'll break your goddamn face.
You wanna fight?
You wanna fight you bastards,
You wanna fight?
Come on.Stop it.
I'll break your goddamn face.
Don't hit him.
He'll kill, Jolly.
[grunts]
[glass shattering]
[groaning]
Goddamn you, damn you.
Hey, what are you doing?
Let go of me.
Hank.
Are you all right?
No, I'm fine.
Thank you.
It just hurts a bit.
That's what you want, some stud.
Go on, go get your rocks off.
That's all that's on your brain anyway.
I'll get you good you son of a bitch.
♪♪
♪ Sunday ♪
♪ Morning blues ♪
♪ Ain't nothing as bad ♪
♪ As a Sunday morning blues ♪
♪ When Saturday's child ♪
♪ Must pay their dues ♪
♪ The night thought you could win ♪
♪ But then morning came in ♪
♪ Saying baby, you lose ♪
♪ Last night ♪
♪ You tried to find ♪
♪ And riding the wings of hope ♪
♪ You got me found ♪
♪ Now morning has come ♪
♪ And got the moon ♪
♪ And you feel deep inside ♪
♪ In the Sunday morning blues ♪
♪ It's funny ♪
♪ It's really funny ♪
♪ That how in the moonlight ♪
♪ Every dream seemed real ♪
♪ But when it's sunny ♪
♪ I'll tell you, honey ♪
♪ You wake from the dream ♪
♪ And begin the nightmare ♪
♪ Of Sunday ♪
♪ Morning blues ♪
♪ When's love's tender kiss ♪
♪ Has become morning blues ♪
♪ So then finish your drink ♪
♪ Put on your shoes ♪
Happy Sunday morning to you.
Why is she doing this to me?
I don't understand.
It had to happen.
She's young and you ain't.
I don't understand.
There's lots of guys before you.
There will be lots of guys after you.
That's just how it goes.
No.
Oh, look, Dale, probably ain't the first.
Don't say that.
Come on.
Be a realist.
You guys think you got some kind of patent on fooling around?
A woman got needs too, you know.
Don't say that, I don't-- I don't--
I don't want you to say that.
Come on.
Dale's probably number 679.
Last week, the milkman, this week, Dale,
next week the bootlegger.
Shut up.
Listen, sweetie.
Shut up.
I...
...wanna marry her.
I wanna marry her.
Oh, hey, honey, I was just kidding.
I was just trying to make light of it,
you know.
What's that on your face?
Jolly, what are you hollering?
Brother Jasper don't holler.
That's right.
That's one of my characters.
Hey,
you liked my character, huh?
My Brother Jasper?
He's all right for a gentile.
Hey, Katey,
me and Sam are going to Pickfair.
Do you wanna come?
No, it's too late, you crazy.
It's never too late, they serve breakfast.
Hey, where the hell have you two guys been?
I've been looking all over for you.
We gotta talk a deal.
Remember, a deal.
Yeah, we'll talk a deal at Pickfair.
Listen, I got this swell new idea for a scene.
Where's Dale Sword?
Didn't he bring you?
Come on, let's get him, we'll all go.
Oh, well. Mr. Dale Sword is very busy.
Yeah.
Where's Dale Sword?
[both] Where's Dale Sword?
[both] Dale Sword?
Daley.
[both] Dale Sword.
Daley.Dale Sword.
Dale Sword.
Where are you?
[laughing]
Dale Sword.
Just forget about Dale.
Forget about Dale Sword.
Let me tell you about this great vision.
It's real commercial.
Dale...Sword...
You see, Brother Jasper walks into a bank
and there's a holdup.
Holdup, yeah.
You must be holed up somewhere.
It's great.
It's gonna be hilarious.
It's what you call, uh,
comedy high point,
you know, like Chaplin
eating his shoe or, uh,
Harold Lloyd hanging on a clock or something great like that.
Of course, it takes a great actor,
Come on, Jolly, this ain't the time.
Come on down, Dale.
Katey is waiting.
That son of a bitch, you wanna come down
and watch a great actor doing a great scene.
Come on down, Dale Sword.
And watch a real actor in action.
Come on down or we're coming up.
Yeah, Come on down or we're coming up.
Hey, wait a minute, let me-- let me show them, Tex.
I just want to demonstrate here.
That gun is loaded, Jolly.
Demonstration.It's loaded.
Go away.Be careful.
Now listen, see, Brother Jasper, he's got--
he turns the table on these two thugs, see.
Come on, Dale.Turns the table on them.
It's party time.
Right on time, right on cue, He knows the scene.
Jolly, let me have the gun.
Jolly, give me the gun.Silence.
Give me the gun, come on now.
Come on now.Bang.
Let go, Tex.
He's firing...
Jolly, put that gun down, what are you trying to do?
Bang. [gunshot]
Give me back the gun.
Queenie!
Queenie?
Oh, God.
Oh, my God.
Quennie?
Oh, no.
No.
Dale, Dale!
No.
Dale.
Let me go.
Oh, no.
No.
Daley, No.
Let me through.
[Kate] [sobbing] oh, no.
♪♪
♪ Yackadoo, wackadoo, party, party, party ♪
♪ Pick you up at 8:00 ♪
♪ Yackadoo, wackadoo, don't you be a smarty ♪
♪ Babe, we gotta date ♪
♪ Smoking and drinking and everything ♪
♪ We're thinking will be going on ♪
♪ Hear the news, all your blues will be dead and gone ♪
♪ We're going to a wild party ♪
♪ Come and dance your fears away ♪
♪ You feel how it feels ♪
♪ To kick up your heels ♪
♪ Fill your cup and drink it up ♪
♪ Until you have a migraine ♪
♪ We're going to a wild party ♪
♪ Where we can be wild and free ♪
♪ You gotta go for it ♪
♪ 'Cause life is too short ♪
♪ So break out in song ♪
♪ And sing all night long ♪
♪ And laugh at your fate ♪
♪ And make life a great big wild ♪
♪ Wild party? ♪