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Arsenic and Old Lace Cast 5 (Night 1)
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HillviewTV Team
·
December 03, 2022
·
1:51:23
Friday's performance (2 December 2022)
Transcript
0:30
Thank you.
5:03
Hello, good evening.
5:04
Wow, it's wonderful.
5:05
I think this is a lot of you.
5:11
So, welcome. I'm Mr. Harrison. I'm the drama director here, a drama teacher here at Hillview.
5:23
And this is a wonderful, wonderful play and so much fun.
5:28
Very funny. The kids are having
5:30
lots of fun. We've been rehearsing since September. And this is actually cast number five.
5:35
So,
5:36
this is really
5:39
this is their opening night
5:41
until we have three more performances
5:43
tomorrow. So I hope you enjoy the show
5:45
as much as I have and am
5:46
and I'm sure you will.
5:48
So a few things.
5:51
This is a great time to silence
5:53
your cell phone.
5:55
Water is fine in the auditorium
5:57
but please no food or drink
5:59
otherwise. So if you
6:01
bought some of our wonderful concessions
6:03
just put them away.
6:05
I'll move it later.
6:06
And then, let's see.
6:09
We have a no-flash photography.
6:13
And that's really it.
6:15
All right.
6:18
I was talking with someone before the show
6:20
and just saying how this particular production,
6:25
Arsenic and Old Lace, this is kind of trivia,
6:27
but I think it's interesting.
6:28
They drink...
6:33
several times, or they almost drink several times in this show,
6:38
and normally they would
6:42
spit out what they were drinking in what is
6:47
called spit tape, and they escalate in this
6:51
production.
6:52
However, because of COVID, we decided not to do any of
6:57
this tape, it's a spit tape in
6:59
So, if you see the tape tape, you can see the tape tape, and you can see the tape tape.
7:01
So, again, I'm not posting it to hold in time.
7:06
You'll probably see a lot of speed.
7:08
I'll do real nicely.
7:10
All right, well, ladies and gentlemen, please sit back and watch and enjoy our
7:16
show with an old bike.
7:38
Oh, Dr. Harper, Mr. Martha Wrighton, did you all read about your wonderful sermon on
7:43
a Sunday?
7:43
That's very good.
7:44
Thank you, Mr. Houston.
7:45
You've seen so many minutes this time ago, and your sermons aren't as sermons as the
7:50
upcoming talks.
7:51
Trust me, I've already joined my job since Ronald didn't, or did you look at him yet?
7:56
No, dear, not yet.
7:57
Are the biscuits good?
7:59
You want to have another biscuit, don't we have one?
8:01
Oh no, I always need to manage the biscuits.
8:04
Yes, in case you'll have a lovely day.
8:06
I do hope they don't make sure that we're facing far again.
8:09
I mean, it's almost more trouble.
8:10
I know it may not be very terrible at all.
8:13
And I've almost come to the conclusion,
8:15
that this Mr. Hitler isn't a question.
8:18
If only Europe are on another planet.
8:20
Europe, sir?
8:22
To the west!
8:23
There's a danger, danger!
8:24
I mean, Japan!
8:25
Yes, yes, of course.
8:27
Well, let's not talk about war.
8:29
I must admit this, Adi, that war and violence
8:32
in the ground from these surroundings.
8:35
It is peaceful, isn't it?
8:37
Yes, peaceful.
8:39
This happened to the general places that went out
8:41
with the candlelight.
8:41
There may be no taxis.
8:43
It's just a problem for the base,
8:45
so don't unforested, except for the electricity.
8:48
It was modern, which is very important.
8:51
Yes, you have to modernize things
8:52
from a normal diet.
8:55
I understand you sitting around, you said you could do it again tonight.
8:58
You're so happy to write more than cakes.
9:00
Well, I used to experience a meal.
9:02
I waited until 3 o'clock in the morning, and I got into it.
9:04
It would be no problem.
9:06
I was up to help out.
9:07
I think we got some truth in more than that.
9:09
Well, Sister Monster, and I would feel so guilty as we did,
9:12
since it wasn't all wrong that we're going to test the net more tonight.
9:16
Of course, we got here and saw us immediately that I read more than himself
9:19
with part of every government that another-
9:21
Also note, I've asked me one of the students who knew my daughter with some reputation for one
9:27
instance having.
9:28
I'm speaking of you now who's unscortunate passing life with theater.
9:32
Does that happen?
9:33
Oh no, Dr. Harper, more than my life sitting in New York's newspaper.
9:36
I'm almost happy there.
9:37
I can't agree this has to be a special theater that don't doubt it was someone dude about the
9:42
interest of it.
9:43
Well, not more than my kids have no fear of that.
9:46
Life more than I really think is that it's our way.
9:50
She writes terrible things about the C.H.O.
9:52
I'm not.
9:54
But as she says,
9:55
this may be what lost much longer I know
9:58
and I'll be here or something else.
10:01
No, thank you, Teddy.
10:07
How do you do, Mr. Murphy?
10:09
Hello, Ms. Brissard.
10:10
Fine, Mr. Clyde.
10:11
Very well, Mr. Brissard.
10:13
What news have you brought me?
10:15
No, no, I have nothing to report.
10:16
Splendid. Thank you, gentlemen.
10:18
That is, do you know Dr. Harbaugh?
10:20
Sure, hello, Dr. Harper.
10:22
These boys are the choice for a business owner.
10:25
Oh, yes.
10:26
I just want to recommend you.
10:28
This year, this very choice,
10:29
give poor children a happier person.
10:31
So, if you're saying do and get to sit around a station,
10:33
you get tired of trying to drive,
10:35
and then you're saying do you have this machine, you know?
10:37
You've shot yourself in the set.
10:39
And you're so excited about big bucks
10:41
in the armed officer's room.
10:42
I do hope Mrs. Delphi is hearing that it's safe,
10:45
Mr. Delphi, Mrs.
10:48
Oh, I'm sorry to hear that.
10:53
Oh, she's there now, all the weeks ago.
10:55
Well, I'm going to get you some good luck to his kids.
10:58
Don't bother Miss Abby, you've done so much for me already.
11:01
Mrs. We made it this morning.
11:03
His sister wants us out right now to come to a poor old Mr. Vansky who built ever so
11:07
many dogs.
11:08
I won't be a minute.
11:09
Make yourselves comfortable.
11:10
All of you.
11:11
She's going to be going through a lot of trouble.
11:13
Here's a chance.
11:14
There's a lot of people who don't know what to do.
11:15
But if you guys don't know what to do,
11:17
then you can tell me.
11:18
When I came to get that in the next door,
11:20
my wife was, when she died for months before.
11:23
Well, if I know a pure kindness and absent generosity,
11:26
because I'm really brisk in 60s.
11:33
Colonel, you promised what we knew that.
11:35
But I asked for a cabinet reading.
11:37
He used to do that in an overnight.
11:39
Leaders are a little set of things.
11:41
So anyway, I'll let you know.
11:42
He was quite primal. I suppose he does think he's 10 year old, but what was the worst thing we could think to us?
11:47
Darn shame, a nice family like this, I can't hurt you.
11:50
Though his father really does better with some sort of a genius, doesn't he?
11:54
And their father, Ted, his grandfather seemed to me he was a bit of crazy too.
11:57
Yeah, he was crazy like Chops. He made a million dollars.
12:01
Really? He didn't book him?
12:03
Yeah, that's a nice thing. He was some kind of practice and sort.
12:07
I would suggest I would tell those things. He used his house for some sort of...
12:12
Yeah, I heard he used to make mistakes that he used to make, too.
12:15
But it can't make me ever bother for much.
12:16
He can use pretty as little adopters, especially poison creatures.
12:20
Well, whatever you do, you want to get out of it.
12:22
Just relax. Thank God for that.
12:23
And they never spend anything for themselves.
12:26
There's a lot of pressure with you, Charlie.
12:28
You're not gentle.
12:29
And I was even making some questions, don't you?
12:31
I was trying to tell you to go, man, I don't even hate that.
12:33
Did you know they didn't read to me?
12:34
You see, I saw those first and foremost rooms.
12:37
They have not read to you yet.
12:38
If anyone in town you're looking for one, you'll get a good meal and probably a few dollars in the pocket.
12:42
Is just your issue of some people chasing you, too?
12:46
Well, now, is this not a secret?
12:48
No, Ms. Brewster.
12:49
Sorry, do you have to go?
12:50
Do you talk to her?
12:51
No, Mr. Brewster.
12:54
We don't think we get the Christmas first.
12:56
Since I'm leaving you, they're all packed.
12:58
The girls are scared after all.
12:59
Excuse me, Pat.
13:01
Hey, yes, of course.
13:02
I hope Mrs. Brewster is better.
13:04
She's the entire man.
13:05
This is your parents' same suit to me.
13:06
take care.
13:07
Oh, yes, you may use morning.
13:08
I just took something for me.
13:10
I was from the development.
13:12
Oh, look, Dr. Marta.
13:13
How is Mr. Belinsky?
13:15
Well, dear, it's just a little friend.
13:17
The doctor asked me to take a good morning.
13:20
Can you do it?
13:22
No, I asked him, but he says he's against the rules of the hospital.
13:26
You can do it, I say this.
13:28
You want to say yourself something?
13:30
Well, paper buttons are delicious.
13:32
In fact, this man is exciting.
13:34
Ma'am, these are like epilogicates, happy.
13:37
Not a lot of games.
13:38
That's about so many.
13:39
That's general life.
13:40
I retired him.
13:41
What's this?
13:42
The organ?
13:43
I don't know.
13:45
But the organ is Australia.
13:48
No, I think my work's fine and fine.
13:50
But tell me.
13:51
I should listen to what you've been to.
13:53
Robby Irving, if you call it, this is fine now.
13:55
We're right along now.
13:56
Thank you very much.
13:59
It's the next world.
14:05
Well, I'd better be heading home.
14:08
Oh, before you go, it's on top of it.
14:12
George, the blockhouse!
14:14
The blockhouse?
14:15
The stairs are always hard for my coat.
14:17
Have you guys ever tried to be set at night,
14:20
because it wasn't Teddy Roosevelt?
14:21
Oh, no.
14:22
He's so happy being Teddy Roosevelt.
14:25
He was at one time.
14:26
He didn't know if that.
14:27
He's the one if he did.
14:29
George Wilson said,
14:29
he was paying for that 90%.
14:30
But she's eight million dollars in the building.
14:33
She wouldn't be anybody.
14:34
I want you so much out of her, Mr. Rose, about the nobody.
14:38
Well, if you're happy, I'm not happy.
14:42
Doesn't he have these signs, please?
14:43
No, I don't.
14:44
Dr. Hawker has always been trying to get a Hockeydale Sanatorium
14:48
after we pass her.
14:49
They have less 27 people's night.
14:52
Well, it's better to have it all settled.
14:54
And to work with you two days only,
14:55
perhaps you couldn't persuade somebody to commit themselves.
14:58
No, no, no.
14:58
and present people in the station.
15:00
As the minister understands,
15:02
that the final way
15:02
is to pretend to understand
15:03
is that business?
15:06
Business you bring them into capital.
15:08
Dr. Hopper has it all around.
15:10
So, Mr. Hopper should drop by
15:11
and meet how it's not.
15:12
And we're going to have to start that.
15:14
I'd better be going on.
15:15
Or we don't have to be able to be for it.
15:17
Oh, Dr. Hopper,
15:19
please don't compare them to the morning
15:20
because this is a dramatic critic.
15:23
Somebody has to do those things.
15:26
Did you just go to me?
15:29
I think I'm rather late.
15:32
Yes, I'm going to be late too, so why?
15:37
Teddy, you're going down to Panama to meet another look for the canal.
15:42
Be late. Let's go. Just go. I should go. What's your journey?
15:46
I'm going to be late.
15:48
Yes, I didn't know when you'd be home. But the hospital is coming.
15:51
But I'm going to be late. Oh, I've got a long time.
15:54
I'm going to be late.
15:55
Oh, but there was a timer.
15:58
Well, not that.
16:00
Let's look in the window, see.
16:07
Oh, it's a lady. Come in, dear.
16:09
Can I come in, dear? Can I come in, dear? Can I come in, dear?
16:12
Uncle Father is here. He just met, love.
16:15
Can you meet him? No, I didn't deserve that.
16:17
David's on the journey. Why not?
16:19
No, dear.
16:20
Oh, he asked me a minute, dear.
16:23
Do you know the guy, right?
16:24
Sit down.
16:26
My mom is brought up to your mother.
16:28
When a gentleman is speaking to the gentleman's aunt,
16:30
he spoke her at her house.
16:32
She said this too often.
16:35
But she's done.
16:36
I've never known any of his ideas.
16:37
Don't ask us to take me to a prayer meeting.
16:39
It's wonderful to tell you to see if I'm on separate night.
16:41
And they're like, well, a woman has seen some of those
16:44
I don't know if she's in the house.
16:46
Then maybe she's out.
16:47
Oh, well, we're in.
16:48
That's enough to talk with us.
16:49
Not having to take away by us.
16:51
Oh, Abby, don't bother with anything and it doesn't enter my house.
16:55
And then I'll help you.
16:56
No, I'm not secure.
16:58
Yes, all of us have been surprised by the pandemic at home.
17:02
I'd better run over and say goodbye to you.
17:03
It's a feeling you missed in the day.
17:05
It's morning, my friends.
17:06
You tell them I'll be right back.
17:09
Oh, what?
17:10
Hey, hello, it's Martha.
17:12
Abby, morning, nice to meet you.
17:14
Going somewhere?
17:15
I was just getting yourself out and not to get up to me tonight.
17:18
How do you know that was something done?
17:19
Hi, you're in Brooklyn.
17:21
Hello, Morgima.
17:23
Hi, everybody.
17:25
Very well, and you look well.
17:27
You look well, too.
17:29
And you're not seeing much things well yesterday.
17:32
Oh, it was yesterday, wasn't it?
17:34
Well, I was seeing an awful lot lately.
17:37
Well, come to town, come to town, Abby.
17:41
Oh, well, something's moving back today, Jay.
17:44
You know the key things?
17:47
Oh, yes, it's easy.
17:51
Well, you can trust that.
17:53
Make yourself at home.
17:55
You can make yourself at home.
17:57
Well, that was too obvious.
17:59
Where do you want to go for dinner?
18:00
I don't care.
18:01
I'm not very hungry.
18:03
Well, I said that's an exposure to after the show, but that'll make it pretty great, won't you?
18:07
Not with the little things I'm wishing tonight.
18:09
Tonight I'm going to be out by a turn-off.
18:11
You ought to be fresh with clothes.
18:13
Are you supposed to be?
18:14
I've been...
18:15
everything we were all taught in a musical.
18:17
Musical's something along with you,
18:18
I was expecting you.
18:19
After receiving this play between the common people
18:21
on the subway and I listened to a lecture on the drama.
18:24
After a musical, you took me over this lunch
18:25
and they helped me laugh.
18:27
There's no way in there, darling.
18:28
That's a very good actor, a decent report.
18:30
So I wanted to show our first musical
18:31
then you told me I had nice lights.
18:33
And I had two.
18:36
I said to applause, I'm not to get up for me tonight.
18:39
And I thought I'd laugh at the party, Mr. Brooklyn.
18:41
I don't even know.
18:42
The only way I can regret
18:43
My self-respect is about taking it in New York.
18:46
You know what I mean?
18:47
Can you hear me?
18:48
How about tonight?
18:49
We're still following system officiating.
18:51
Oh, gosh.
18:52
Anybody know what I'm planning on with you, is it?
18:54
Take it, darling.
18:55
It's not space, no disease.
18:56
I don't think we got close to night at good notice.
18:59
Don't give me up with that much.
19:02
Darling, let's hope you're going to call it inside today.
19:04
No, we'll have to see you again next time.
19:06
There'll be a lot of other opening nights in October.
19:13
Hello, Mortimer.
19:14
How are you, Mr. President?
19:15
Boy, thank you, Mr. Gold.
19:16
What music you brought me?
19:17
Yes, this is the President of the United States.
19:19
We're leaving behind you.
19:21
Isn't it wonderful?
19:22
Well, goodbye.
19:25
You're welcome, Teddy.
19:27
Panama's a seller.
19:28
He's lost the canal down there.
19:30
He's so sweet, Ken.
19:31
He's very fond of you.
19:32
Well, Teddy, he was always my favorite brother.
19:36
We've done more of you.
19:37
There was another brother.
19:39
I've never heard of him.
19:40
I don't have to say the answer to him.
19:42
No, we don't like to talk about Johnson.
19:44
Johnson lost both of them very early by our class.
19:47
And Johnson was a boy who liked to cut ones in, too.
19:51
With his teeth.
19:52
With the chemistry.
19:53
I don't know.
19:54
He wanted to do some surgery on my grandfather.
19:56
But he wouldn't go to medical school first, and his practice got him in some trouble.
20:02
Good job.
20:03
We're skipping dinner.
20:04
We won't have sex, sir.
20:05
Talk an hour.
20:06
We're not a good hour.
20:07
together again.
20:08
Oh, brother, darling.
20:10
Before I go out with you,
20:11
let's make all the lights
20:12
to pay over me a little.
20:13
Oh, I'll be right back.
20:15
I'll talk to you at the cemetery.
20:17
Mort, no.
20:18
We knew Elaine would be
20:19
getting to tell me.
20:20
Oh, by the way,
20:21
I'm going to marry her.
20:23
Oh, darling.
20:24
Martha, Martha,
20:25
tell me I didn't hear.
20:26
I felt the most amazing
20:27
is for you.
20:28
s***s.
20:29
Mary, Mary.
20:30
Oh, Lord, a man.
20:32
We thought that this happened
20:33
just like this.
20:34
You were a witness
20:35
and just have
20:35
This girl in the world.
20:37
Why don't you just look at her
20:37
hooping over those gray stones?
20:40
By the way, I left a large envelope
20:42
around here last week.
20:43
It was one of my chapters
20:44
of my book on Thoreau.
20:45
Have you seen it?
20:46
Yes, it was here.
20:48
Must be here somewhere.
20:49
Well, what are your plans?
20:51
What are you going to take mine?
20:52
There must be something
20:53
that I can talk about, Elaine.
20:55
Oh, yes, Elaine, that was brilliant.
20:58
What was it?
20:59
My chapter on Thoreau.
21:03
So, we...
21:04
I think you ought to do with your happiness.
21:06
Oh yes, and I was like, is that any of that lady
21:08
you bought some old people?
21:09
Oh yes.
21:10
So now look at a funny line.
21:12
Oh, you just need to stop being in this room.
21:15
Now, where can I put that?
21:16
Well, if your fiancé is from beside you tonight,
21:19
I do hope that there'll be something you can do here for us,
21:22
and maybe something romantic.
21:24
Let's get out of it.
21:26
Murder well out.
21:28
Oh dear.
21:30
When the curtain goes out, the first thing-
21:31
I don't know if you'll be a dead body.
21:42
And Abby, you're going to make plans to save you in that sanitarium?
21:48
Have you done?
21:49
Don't talk about this by today.
21:51
Don't talk about this.
21:54
There they are.
21:55
Please, I'll send them right away.
21:56
That's what got to happen.
21:58
Don't know what getting people.
22:00
and then this minute he's down the cell and get him up to you right away.
22:04
Yes, Mr. Carey, is that?
22:06
When Teddy gets to the mind of the canal, you cannot give it up.
22:09
And, you know, Teddy Fox don't have a deal now.
22:13
He's also tired, is that?
22:16
No, it's not.
22:17
How can you have some weeks work against Teddy?
22:19
You don't want a brother.
22:21
You've lost your sunshine.
22:22
You might as well be now.
22:25
Teddy's killed a man.
22:27
Nonsense, dear.
22:28
There's a body in the window.
22:30
She asked you to go.
22:33
Of course, dear.
22:34
But I wasn't enough.
22:35
She was petty.
22:38
We never trained her, too.
22:40
But who is he?
22:41
His name is Hoskins.
22:43
I don't know, Hoskins.
22:44
That's really all I know about him.
22:46
Except that he doesn't have this.
22:48
That's all you know about him?
22:50
Well, what you doing here?
22:52
What happened to him?
22:54
As Mars are.
22:55
Men don't die.
22:56
The angel window seats and the line.
23:00
He died.
23:02
Well, how?
23:04
Don't be so inquisitive.
23:06
I judge him and God because he's got some love with poison in it.
23:09
Why the poison get in the line?
23:12
Or did it even run?
23:13
Nope.
23:14
It has a distinct odor.
23:16
You get in the line?
23:19
I bet he's the husband to get in the seat because Dr. Harper is coming.
23:22
So, you know what he's done.
23:24
I don't want that guy because he's a body.
23:26
Well, that's it, too.
23:27
That one looking very nice.
23:31
Now, more tonight.
23:32
You know the whole thing.
23:33
You said that, you got it.
23:34
So, that's how the soul is a gentleman.
23:37
So, that's how he had a dream to keep.
23:40
And don't you tell her.
23:42
And I was out.
23:43
I don't know how much she was.
23:45
She's not better.
23:46
It seemed like I said, you know, she didn't even look at the world.
23:49
But this time, look her a real answer.
23:51
She has not.
23:52
Great job, it's another one of the scary pictures.
24:02
Hello, Al, do you know what this is?
24:04
That's right.
24:05
See, Al, when I left the office,
24:06
I thought you'd ask me, remember?
24:08
Well, what did I say?
24:11
Uh-huh, you'll take me about half an hour
24:13
to the speaker, and try to do that.
24:15
That's right, I must be here.
24:18
It's Abby, it's Marissa, come in here.
24:20
Yes, dear.
24:22
What are we gonna do? What are we gonna do?
24:24
Mortimer, let's all be flying up behind you like this.
24:27
But Mr. Hotsky, you're a person, dear.
24:30
Well, whatever his name is, you can get me just in there.
24:32
You don't get to, dear.
24:34
No, 27th time. You're not now digging the water.
24:36
You mean you're gonna bury Mr. Hotsky from a cellar?
24:40
Oh, yes, dear. That's even the others.
24:42
No, you're giving me...
24:43
Others?
24:44
Yeah, definitely.
24:46
When you say others,
24:48
You mean others? More than one others?
24:51
Oh, yes, dear. Let me see.
24:53
This is 11.
24:55
Isn't it?
24:56
No, dear. That's my style.
24:58
No, I mean, this is 11.
25:00
No, dear.
25:01
This is a country.
25:02
I mean, it's the husband's first name.
25:03
It's made like just an even dozen.
25:06
Well, you really shouldn't be talking first.
25:08
Oh, I was talking with my son and that makes fun.
25:14
Oh, thank you.
25:16
Hello? Hello, Al. My ex-drudge is in your voice.
25:20
Anyway, the old I'm in the cellar is...
25:22
Look, Alice, I'm glad you called.
25:24
Get a hold of George right away.
25:25
He thought I was in the place tonight.
25:27
I feel like they did.
25:28
No, Alice, we're just not in the place tonight.
25:30
This is my apartment and I'm running it.
25:32
You get a hold of George.
25:34
Now, let's see where we...
25:37
Oh, yes, I'll be kidding.
25:38
I'll show you the first one.
25:39
And they'll make 12.
25:40
12 right now.
25:41
Here was the first one, Mr. Midson.
25:44
She was about to see.
25:46
Of course, after that, after that,
25:48
because I'm doing full credit,
25:49
no, because she's dying,
25:51
not the man's not at all for us, that's true.
25:54
You see, Mr. Mitchell came here looking for her.
25:57
He was right after he moved to New York,
25:59
but I didn't see nothing about lovely girls
26:01
who could go into this,
26:02
and there was so many people who needed it.
26:04
He was thinking, well, we all know.
26:07
Drifted, because I'm like, dad,
26:08
and I often said, for God, I'm happy.
26:11
He's so so sorry for-
26:12
And then when his father tapped him, and he sat dead right in that chair, looking so peaceful,
26:18
we made up our minds then and then.
26:20
And if you think of other old minds that say peace, man, why, he dropped dead right in that
26:26
chair.
26:27
So awful for you.
26:28
Oh, not yet.
26:30
Why, it was not like old times.
26:32
A grandpa that always used to have it to dab right to around the house.
26:35
You see, so I don't know if it was you know, even with that.
26:40
That meant it to be very thoughtful.
26:42
So we all agree with our handbook and from the mural.
26:46
We can care of guys who have you to worry about it,
26:48
because we know exactly what you should be done.
26:50
In that show, what are you talking about?
26:53
I'll be hearing them talking, you guys.
26:56
I am.
26:57
So you're new for those guys at Poison that have been up in the shelves
27:01
and during colorful and poetry all these years.
27:03
And you know your aunt Moth is not the mixing place.
27:06
You mean your not the kind of paper, lady?
27:08
Well, we're down at Algebra 1.
27:11
I say, what cheese mean for a student?
27:14
That I have cheese mean for a student.
27:16
And then there's the kinds of science.
27:18
I should ask, why did I do that?
27:20
And Judy, one of our times,
27:21
he didn't found science, so delicious.
27:25
Well, I'll ask you the biggest time in the kitchen.
27:27
Oh, I wish you could save the day now.
27:29
I'm sorry, I didn't mean that to be.
27:31
No, I didn't mean that to be a thing.
27:33
Oh, look at me for a lane, don't you?
27:36
How happy.
27:36
I'm going to skip.
27:37
Yeah, yeah.
27:38
I'm going to let you guys watch.
28:04
Oh, it's you. Don't be tall, sorry. It's not that it's you. I was excited. It's like something about
28:10
us. It's been really hard for me to go away.
28:12
Now, I'm in my home lane, and I'll call you up tomorrow.
28:15
Tomorrow? You know why I always call you. I've been for a day or two.
28:18
And we're going to the theater tonight.
28:19
No, no, we're not.
28:21
Oh, why not?
28:22
Why? It's going to stop.
28:24
What time?
28:25
I'm just not going outside tonight. Now, you're on my way. I'm not going to miss you.
28:29
Let's just see what happens. Maybe you can tell me.
28:32
No, dear, I...
28:33
I can't.
28:33
You're supposed to be married.
28:35
Have you forgotten about 15 minutes ago you proposed to me?
28:38
I did?
28:40
Oh, yes.
28:40
Well, size, I know.
28:41
That's wrong.
28:42
Now, you're in my home, and I've got something to do.
28:45
Christine, you said you're supposed to be one minute ago,
28:47
and I was also next.
28:48
I'm not saying you're out of house, darling.
28:50
How would you please get out of here?
28:52
No, I won't get out of here.
28:53
Not until I've had some kind of explanation.
28:56
Well, I...
29:04
Hold on a minute, will you?
29:06
Hold on.
29:07
You're great.
29:09
And they love you.
29:10
And I wish they'd go for you inside, are you?
29:13
You're masterful.
29:15
You're married.
29:16
Can I have problems to face?
29:17
I want your best because I'm inspired.
29:21
Yes, we're married.
29:22
You're fine.
29:30
Hello? Hello?
29:34
Hello?
29:35
I'm not the color world.
29:41
Hello?
29:43
Are you there?
29:44
Yes, I'm just a kid.
29:47
Are you the radio dance?
29:48
Yes, I'm Miss Lisa.
29:50
I'm just my sister.
29:51
And I'm Miss Lisa.
29:52
Her name is Bill.
29:54
I'm just a child.
29:54
۔
29:57
Let me talk to Alabama.
30:00
City, yes?
30:02
I'm sorry, wrong number.
30:04
Do you see the room?
30:05
Why is it that way?
30:06
I must admit to it.
30:08
No one's in my spirit of my life for me.
30:10
I have, do you live in Brooklyn?
30:13
Um, kind of on a home, living on town.
30:15
That's right, yeah.
30:17
Oh, I can wait for a person.
30:19
What kind of on a home is that way?
30:29
Well, why don't you try to last about a while before we stop it?
30:38
Let me make this all sounds.
30:40
It's algebraic line.
30:41
Ugly line?
30:43
Having an ugly line since I was a boy.
30:45
Thank you.
30:47
Oh, I love you so much in your own place.
30:50
How about the honest boy?
30:51
You know the right one?
30:51
The one you don't like?
30:53
Well, you talked to somebody.
30:55
Well, he's going to run the office.
30:57
Oh, hold on.
30:58
What's next to you, buddy?
30:59
There's the impossible because the cat is even in store.
31:02
I'm like the town used to be.
31:04
What's yours, Julian Benita?
31:06
Seriously, I told you, Julian Benita, it's my apartment, isn't it?
31:10
Well, you talked to somebody.
31:11
Oh, well, she's there.
31:13
He's your old boy.
31:14
So, she has a broken house.
31:17
Oh, look out.
31:18
The office boy, the right one, the one you don't know.
31:21
All right, you, hold on, here's not in the office.
31:25
Do you go anywhere in your business?
31:27
No, but I'm not drinking.
31:29
No, I'm not drinking, it's gonna be fine now.
31:33
Do you have meals?
31:35
I don't like, I just think you like I like.
31:38
More of it, uh, uh, uh, uh, uh, uh, uh, uh,
31:43
more of a, not that.
31:48
Get out of here!
31:49
Do you want any choices? Do you want any doubts? Do you want any
31:54
water?
31:56
That's what I want to do with everything you do, things like that.
32:01
It's not only our best, the law is wrong.
32:04
People wouldn't understand.
32:07
Well, you have told Mortimer what I eat as well.
32:11
This is about to a very bad habit.
32:14
Mortimer, we don't stop you from drinking.
32:16
She likes you.
32:17
I see no reason why this would be to deal with us.
32:26
Alright, I'll see the first time.
32:27
Damn, I gotta go.
32:28
Well, look y'all.
32:29
He's gotta do something for me.
32:30
Get a hold of a line.
32:32
The head is on a new cotton.
32:34
Class will meet me up here.
32:37
I'm starting out.
32:39
Look, I've got food this year.
32:41
But before I go, I take it out of it.
32:43
But before I go, do you want to see something?
32:45
Well, we have to know what it was first.
32:47
I love you very much, Karina, you love me.
32:49
Are you doing just as little things for me?
32:51
Well, what do you want us to do?
32:53
Don't do anything. I mean, don't do anything.
32:57
Don't let anyone in this house believe Mr. Austin's right where he is.
33:02
Well, we were working on holding services.
33:05
We're doing services.
33:07
Certainly, you have to prepare Ms. Hopkins for a Methodist service.
33:12
Do you? Why he was a Methodist?
33:13
Again, don't we tell you that?
33:15
Oh, yes.
33:16
And you can join us, yes.
33:18
Remember us?
33:19
Remember how beautiful one day is to see the plant before his best feet.
33:23
And remember, you're not going to let anyone in this house take no promise.
33:27
Well, Ma, I think we can do that now.
33:30
Ma'am is cooperating with us.
33:32
All right, Ma'am.
33:33
Ma'am.
33:34
Ma 'am.
33:41
that I have you on your way at the table.
33:45
Well, I think you're having sex, too.
33:48
And I think I know why.
33:50
Well, she's just not engaged to be married.
33:53
That always makes me mad at this.
33:55
Oh, Abby, is one person enough to be services?
33:59
And as your husband, who do you like to be?
34:01
There's one more.
34:02
You know, dear, it's really my time to be in services.
34:06
But since you weren't doing this, the husband's thing,
34:08
I want you to-
34:09
I figured it was pretty nice of you, but are you sure you'd like me to?
34:14
It's only fair.
34:15
Well, up in the right of black bonsai and mother's old bitch.
34:20
I'll go.
34:22
Oh, but I just know that we've been working with you.
34:25
Well, who do you suppose it is?
34:27
Right, I'll work with you.
34:29
It's two men.
34:31
And I've never seen them before.
34:33
Are you sure?
34:38
Let me work.
34:41
Do you recognize?
34:42
Is that strangest to me?
34:44
We just have to be happy about it.
34:52
Come in, doctor.
34:54
This is the hole of my ears.
34:58
That's me.
34:59
This is fine, I doubt.
35:00
This day of we must still live here.
35:03
There is something so unestateably true.
35:07
I hope there's a tight path waiting for a turn of the prodigal.
35:12
Now, I'm coming.
35:14
Look for the drinks.
35:15
As though we were expecting.
35:17
A good one.
35:18
Who are you?
35:19
What are you doing here?
35:21
Why, and Dad, and look, it's Jonathan.
35:25
You get out of here.
35:26
I'm Jonathan.
35:28
You're not Jonathan.
35:30
Come on Jonathan.
35:31
2% you are.
35:32
Get out of here.
35:34
But I am Jonathan, and this is Dr. Einstein.
35:38
Okay, he is not Dr. Einstein either.
35:42
Not Dr. Albert Einstein, Dr. Herman Einstein.
35:47
Come on, I'm Matthew Jonathan.
35:50
I see you still wearing the lovely garnet ring that Grandma Brewster bought in England.
35:54
And you, in one, there's still the high car to have a scar of grandfather's
36:00
ass and burned your neck.
36:02
His voices are kind of famous.
36:04
Have you been in that shape?
36:06
Well, my face, Dr. Einstein is responsible for that.
36:10
He's a plastic surgeon.
36:12
He changes people's faces.
36:14
But I've seen that face before.
36:17
And remember, we took the women's sports books, the movies,
36:21
and it was so funny.
36:23
It was just that big.
36:24
He's Italian.
36:26
It's done in my life.
36:30
I gave him another one, the right way, the left one.
36:34
Well, I thought that's the future.
36:37
Right, we're all rich.
36:39
And I was intoxicated.
36:40
Do you see?
36:41
Do you see what you've done to me?
36:43
You're in my own family.
36:45
And then, you know, and you didn't love my house.
36:49
You know, most of you tells me about that, then,
36:51
about his aunt and she loves so much.
36:54
And, you know, it's Jonathan.
36:57
Speak to him.
36:58
Tell me I'm still.
37:00
Well, Jonathan, it's been a long time.
37:03
What are you doing here?
37:04
Yes, Jonathan, where have you been here?
37:06
Oh, in the way, in South Africa, Australia, the last five years in Chicago.
37:11
Dr. Einstein and I were in business together.
37:15
Chicago, we were just back to the wild stat.
37:17
Oh, yeah, she found Chicago, Austin and Warren.
37:20
Yeah, it's like a first trip.
37:22
Well, it's wonderful to be in Brooklyn.
37:25
Thank you.
37:26
Abby, Martha, just as I remember, sweet, charming,
37:32
hospitable, and dear Teddy.
37:35
My little brother, Doctor, was determined to become president.
37:39
Teddy's fine, and mom is watching.
37:41
I know about Marty.
37:43
A great credit.
37:45
You definitely feel so bold.
37:47
Tom is in his own nasty nature.
37:49
Well, that's wonderful, Mark.
37:51
Oh, Jonathan.
37:52
Very nice to have you.
37:54
She knew her then.
37:55
Bless you.
37:57
It's good to be home again.
38:00
Well, Martha, we must have got one from the stove.
38:05
Oil over.
38:06
Oh, yes.
38:07
If you'll do it for a moment, Jonathan.
38:08
I must be in a hurry, too.
38:10
Just a minute.
38:12
Oh, and Jonathan, if you want it fresh enough, you can use the washroom in garden hut
38:15
before the laboratory.
38:25
No, Tony, where have we gone from yet?
38:27
Don't you wish I've got pictures of bad things.
38:29
I go to Oprah's one right away.
38:31
We've got to find a restaurant.
38:33
And for Mr. Spinelzo, too.
38:34
Don't waste any worry on that rat.
38:38
But Tony, we've got a stick on our hands.
38:40
Forget Mr. Spinelzo.
38:42
But you can't live a dead body in his bumblebees.
38:44
He is gonna kill them.
38:46
He's a nice fellow.
38:47
He gives his life.
38:48
And he's what happens.
38:49
He said I look like f***.
38:50
Frankenstein, that's your work, doctor.
38:53
You did that to me.
38:54
Easy, Janet.
38:55
I think she'll wait.
38:57
Tonight.
38:58
Oh, but, Janet, I go to eat first.
39:01
I'm hungry.
39:09
Well, Jonathan, you're glad that you took the time to come and say hello.
39:15
But we were never happy in this town.
39:17
You were never happy in this town.
39:18
in this house, and we would have a happy with you again.
39:21
So, we've just come to say,
39:25
And, Jen, I've spent a great many hours
39:28
with brains and many parvades and egg dimmings and bulls.
39:32
You'll point the trial to us, Johnson,
39:34
but my great disappointment is for Dr. Einstein.
39:38
See, I promise him that I'm passing through Brooklyn.
39:42
I bring him here for one of Aunt Martha's home-cooked dinners.
39:46
I'm afraid there wouldn't be enough.
39:51
Well, I think it's the least we can do today.
39:54
Thank you, Aunt Martha.
39:55
We'll stay together.
39:57
Well, we'll hurry along.
40:07
This lovely house is really good, because I
40:12
love you.
40:14
I just placed already.
40:16
I did the bags, yeah?
40:17
That's a must-rate total of fighting.
40:20
I'm sorry about fighting, but did you say no to?
40:25
No, bless old ladies.
40:28
Oh no, it's like a beautiful dream.
40:32
And when I hope they're not going to be in it.
40:39
Yeah, it's so peaceful.
40:41
Yes, that's right.
40:42
This is not so perfect for us.
40:45
It's so peaceful.
40:54
Charge!
41:20
Well, Jonathan, you've led a very interesting life, I'm sure, but we really
41:25
shouldn't talk about
41:26
you to talk. So with my meeting, Dr. Einstein, and what, I might say, changed
41:31
the whole course
41:32
of my life. I had been to South Africa, then Amsterdam. I wanted to go back
41:37
to South Africa.
41:38
And Dr. Einstein.
41:39
I am sorry, made it possible for me.
41:41
A good job, honey.
41:42
When we take the bag of you, don't you say it looks so different?
41:45
The nurse has to introduce me.
41:47
I love that face.
41:49
I still carry the picture with me.
41:57
This looks more the way you spoke, but I still wouldn't tell you.
42:00
I think we'll go back to that face, doctor.
42:03
Yeah, it's safe now.
42:07
Well, it is very delayed, and I found
42:12
it. I found it.
42:13
What did you find, Teddy?
42:15
The story of my life. My biography.
42:17
Two sticks I've told you about, General. That's me, General. Not you.
42:21
I don't want to change.
42:23
Well, you see, the sticks I actually haven't been taken yet.
42:26
And now, General, we were about 10 minutes. That's in New York.
42:29
No, Teddy. Not to come up.
42:31
We've lost him by the time.
42:33
Time has a long way out.
42:35
Nonsense.
42:35
It's just down in the cellar.
42:37
The cellar?
42:38
You let him lead the panel.
42:40
General Gothels.
42:41
As President of the United States, commander in chief of the Army and Navy, I demand the
42:45
of Armenia on the inspection of the new law.
42:47
Hey, I think it's time you went to bed.
42:49
I beg your pardon?
42:51
Who are you?
42:51
I'm Woodrow Wilson.
42:53
Go to bed.
42:56
No, you're not Wilson.
42:57
But your space is familiar.
42:59
You're not for my friendship, Africa.
43:01
Yes, you saw him at me in the jungle.
43:05
Patty, perhaps, John is inside. Maybe she'll go to bed.
43:08
John is the best guy you need to get back to Temple Town.
43:11
General Goethals, inspect the canal.
43:13
All right, Mr. President, we go to Panama.
43:16
Oh, wait, go in. Oh, me, General.
43:19
It's down south, you know.
43:22
Well, done for odds.
43:25
And, Abby, you spoke of our hotel.
43:28
We had our hotel. We came direct this year.
43:30
Well, there's a very...
43:31
Angela Hotel is very locked up.
43:33
This is my home.
43:35
Well, you can't stay here.
43:38
Why not?
43:39
We have room for our lodges.
43:42
Are there lodges in this house?
43:44
Well, not just now, but we can't have some.
43:46
You said my old room is still free.
43:48
Yeah, but you're a patient, Dr. Einstein.
43:51
He can share the room with me.
43:53
No, Jonathan.
43:55
You cannot stay here.
43:57
Dr. Einstein, baby, space.
44:00
It wouldn't be pleasant for any of us.
44:02
It might have to be better than stay here tonight.
44:06
Um, just for the night.
44:07
That's it.
44:08
Now, if you'll get my room ready, it only needs to be out.
44:12
Yeah, we keep it ready to stay on lunch and stay.
44:15
I think you and Dr. Einstein will find it quite comfortable.
44:18
I'm afraid you don't appreciate Dr. Einstein's sleep.
44:21
But you will.
44:22
And if you leave, you'll feel like a very different job.
44:26
Can't operate on you.
44:27
Here, when Dr. Einstein and I get organized, oh, I forgot to tell.
44:32
We're turning Grandfather's laboratory into an opera.
44:34
We expect to be quite busy.
44:37
Oh, no, Jonathan, I will not let you come to Thompson to a hospital.
44:41
They're a hospital.
44:42
Heavens no.
44:43
It will be a beauty parlor.
44:46
Hey, Jonathan, down in the cellar?
44:48
Doctor, my dear aunt, I've invited us to live with them.
44:52
Oh, you say, sit?
44:53
Well, you're staying here, too.
44:58
Tonight, it's a dummy cellar white, the panamata down, the panamata down,
45:03
the panamata down.
45:03
It's a whole teddy down. It just gets me to spin off.
45:06
Six feet long and fluffy white. Down there!
45:09
You think they knew we were bringing this in spin off the wall and that sort of the panamata?
45:14
Rather, a good joke of my aunts. They were making a house of a body buried in the cellar.
45:18
Time to do that to me.
45:20
Yes, we can't keep walking through the door.
45:23
We'll bring a car to the house, and they said, that.
45:26
And they've gone to bed.
45:28
We'll bring Mr. Spinaloa through the window.
45:31
I'm dead.
45:32
This thing, we've got to bed tonight.
45:35
Remember, you're up waiting tomorrow.
45:40
I think she'll be beautiful.
45:41
And if you don't, you don't.
45:47
Do you understand?
45:48
Have you done this already?
45:49
You can go right afterwards.
45:51
Then you can go.
45:51
We're moving a car behind us.
45:54
It's alright where it is. I'm from running.
45:57
I wouldn't want to leave it, Miss Keats.
45:59
That might be against the law.
46:04
How do you don't want to do?
46:06
Well, we're not going to let them stay in this house more than one night for London.
46:10
We're going to let Mr. Hallstands.
46:13
Oh, I'm so patient, the poor dear.
46:16
Well, well, I'll tell you something about it.
46:21
Well, I don't know, they've done it into the funeral services.
46:25
Oh, no! How about when we come back, we see if we can make them
46:28
very better right away, then we'll come back to the funeral services.
46:32
General Goppers is very teased. He says he never sits the right size.
46:36
One of them, they can't sell himself.
46:39
But it's his apartment.
46:41
We must be the secret, too.
46:44
There's none of the wealth either.
46:45
Dear me, he should be shut to the general.
46:47
Then we mustn't come back, but it's whose apartment?
46:51
No, it's your name. We must keep this a secret.
46:54
I'm sorry, Abby.
46:55
Put down my hands on your relations.
46:58
I'm telling you, must keep this secret.
47:01
A state secret?
47:02
Yes, a state secret.
47:04
You have the word, the President of the United States.
47:06
Cross my heart, that's it.
47:08
Let's see.
47:09
How are we going to keep this a secret?
47:11
Now, when it's all dark, you put the mountains
47:14
and you put the poor ground down to the ground.
47:16
I don't know, and then we'll turn down before the services.
47:19
You may not, because it will say favors.
47:22
Where is the poor fellow?
47:24
He's moving those seats.
47:28
We've never had a yellow camera day before.
47:35
I'm going to join you.
47:37
Yeah, I'm going to come back.
47:38
We'll see if we can.
47:39
I think it's going to go right away.
47:42
And now we'll be all that interesting.
47:44
I took what you did on services.
47:46
Oh, how did I know you?
47:48
You said this in our schools.
47:50
Oh, that's right.
47:51
Well, you come right over and see.
47:53
You know, she's really good looking.
47:55
I mean, for a method.
47:58
Bringing the luggage in through here.
48:00
Jonathan, your room is all ready.
48:03
I'm afraid we don't keep that flowers,
48:05
but you should run along to bed.
48:07
You left planning to go, and so...
48:09
Aunt Dabby, did you hear me say go to bed?
48:12
The instruments can go to the laboratory in the morning.
48:15
Now, we're all going to bed.
48:18
I'll wait till you're up, then I'll turn out the lights.
48:22
Run along, Aunt Martha.
48:26
All right then, Debbie.
48:48
Thank you.
49:11
I'll get the window open, you go around, you don't throw it.
49:14
No, it's too heavy for me.
49:16
You who have to go in first, I stay here in front.
49:18
And together, we get him back to the house.
49:21
I'll take a look around outside the house.
49:23
Then, by the top of the class, you open the window.
49:37
Very good.
49:45
Not like that.
49:47
we have a very good encounter.
49:49
So here's the second one.
49:50
Okay, here it is.
49:58
Okay, here's the second one.
50:01
Your second one,
50:02
I guess that's fine.
50:07
I'm very much, I'm not gonna get any more careful.
50:12
No, I'm just kidding.
50:18
I'm not gonna get any more time.
50:24
No, I'm late. I'm gonna get you.
50:26
I'm gonna get you.
50:32
Miss Abby? Miss Martha? Miss Abby? Miss Martha?
50:38
Oh, who is it? Is that you, Teddy?
50:41
Who are you? Who are you?
50:43
I'm Ray Harper. I live next door.
50:45
I came up with you to Miss Abby and Miss Martha.
50:47
Turn on the lights, doctor.
50:51
The show is rather an entire moment for a social call.
50:54
I think he'd better explain what you were doing here.
50:57
We have to know Lizzie.
50:58
You don't live here. I'm in this house every day.
51:00
and I've never seen you before.
51:02
Well, this afternoon, Ms. Martha, what have you done to them?
51:06
Perhaps we'd better introduce ourselves.
51:08
This is Dr. Einstein.
51:10
Dr. Einstein?
51:12
A surgeon of great distinction.
51:14
And something of a magician.
51:17
And I suppose you're going to tell me you're born?
51:19
I am Jonathan Pruister.
51:21
Oh, did Jonathan...
51:23
I see you've heard of me.
51:25
What do they say about me?
51:27
Just because you're...
51:28
about Amy and Jonathan, that's all that was said.
51:31
Well, that explains everything.
51:33
I'll be running along now.
51:37
Is you cutting him up the door?
51:43
That explains.
51:45
Guess what, Jamie?
51:46
Why do you come here with this kind of meat?
51:49
I thought I saw someone pounding in the house.
51:51
I suppose it was you.
51:52
You thought you saw someone crowing around the house?
51:56
Isn't that your car?
51:57
You've gotten shots and went at the car?
52:00
What else did you see?
52:02
Just that.
52:04
What else did you see?
52:06
Just that.
52:08
I wanted to tell Miss Abby to go to the police, but if that was you and that's your car, I don't need to bother Miss
52:13
Abby.
52:13
I'll be running along there.
52:14
What was the man doing in the car?
52:16
I don't know.
52:17
I was on my way over here.
52:19
I think you're a liar.
52:20
I think she tells the truth.
52:22
I left her gone now.
52:24
And she's like, I, and she's thinking, she's going to say a lot around her.
52:28
Alice, parents, I'm me, doctor.
52:31
The private funeral.
52:34
Daddy, Daddy, how is this land?
52:36
Well, that's my daughter, Alice.
52:38
No, Daddy.
52:41
I'm going to give you a picture.
52:43
The dollar.
52:50
What's the restaurant?
52:51
What's happening down there?
52:52
We caught a burglar.
52:54
Go back to your room.
52:56
Oh, well, I'll call the police.
52:57
We've called the police.
52:58
Go back to your room.
52:59
We'll handle this.
53:05
Oh, no, no.
53:09
What are you doing?
53:11
I don't know if I see an interaction, you know, but I'm...
53:14
My gosh, I'm still there.
53:17
It's your brother.
53:18
Jonathan, dear.
53:20
I know this is...
53:21
a nightmare. But, what is it?
53:23
I've come back home,
53:25
Mortimer.
53:26
What is it? I'm supposed to get it. It's your brother.
53:29
Jonathan, yes. He's kind of spacious.
53:32
Is that the I'm psychophone preparation?
53:36
Jonathan was. Where?
53:37
Where? Did you have fun? What's like one?
53:39
Yes, honey.
53:41
Mortimer, do you remember the things I used to do to you?
53:44
They were boys. The needles
53:46
under your fingernails.
53:48
It is Jonathan.
53:49
Yes, I remember. I remember you as the most testable dishes.
53:53
That was from NY's I ever knew.
53:55
Now, you two boys don't stop crawling the minute we see each other.
53:59
There won't be any fight against Abby.
54:01
Jonathan, you're not one here. Get out.
54:06
Well, we didn't bite them for the night, and it wouldn't be very nice to go back on a ride.
54:10
All right. Tonight, the first thing in the morning, out.
54:14
Where are they sleeping? We put them in jars.
54:17
That's my old dream.
54:19
I'm sitting in that room.
54:20
I'm here to stay.
54:21
I'm more than that.
54:22
I'm so glad.
54:23
Tony, we sleep down here.
54:25
You better like to sleep down here.
54:27
You sleep on the sofa and I sleep on the window seat.
54:30
The window seat.
54:31
How well?
54:31
Let's not argue about it.
54:33
The window seat's good enough for me tonight.
54:35
You're not asleep.
54:36
I'll sleep on the window seat.
54:37
And you're not fun.
54:38
All this argument makes me think of Mr. Spinalzo.
54:44
Well, now.
54:45
Lord, it really isn't necessary to inconvenience you like this.
54:49
We'll sleep down here.
54:51
Jonathan, your sudden consideration for me is very unconvincing.
54:56
Come on, Ted.
54:57
Let's go, Dr. Injection.
55:00
Don't bother, Doctor.
55:01
By the way, Doctor, I've completely lost track of Mr. Spinalzo.
55:05
Who's this Mr. Spinalzo?
55:07
I just have been looking for it.
55:09
Well, don't bring anyone else in here.
55:12
It's all right, Ted.
55:13
and a wallet pack.
55:14
I tell you all about it.
55:17
Mortimer, you got something straight down here.
55:20
I can go in with Martha and you can take my room.
55:22
No trouble at all, Aunt Abby.
55:24
We'll be back in a few days.
55:26
Then you can have the room in your room.
55:27
You're just wasting your time.
55:29
I told you, I'm sleeping down here.
55:32
What's the matter with you, dear?
55:34
I've almost been killed.
55:35
I've almost been happy, Martha.
55:37
Oh, you must be just not a fan.
55:40
Yeah, she must be.
55:41
I could go for a snake suit.
55:44
No, it was more than I was kind of a maniac.
55:46
No, I was afraid of my darling here trembling.
55:50
Have you bought any smelling salt?
55:51
No, but do you think some tea or coffee?
55:54
Make some money too.
55:56
Get some sandwiches.
55:57
I haven't had any dinner.
55:58
We'll make some.
55:59
We'll make some for both of you.
56:00
Oh, it's me.
56:02
Oh, yes.
56:04
You are going out somewhere.
56:06
Do you know what time it is?
56:07
It's after 12.
56:09
Lee, you've got to go home.
56:12
We're just going to make some sandwiches for you guys.
56:14
Hey, let's take a minute.
56:15
Why don't you remember?
56:16
We want to sell, but you're in a gate tonight.
56:18
You must have a nice river for both of you.
56:21
Oh, you, a bottle of wine.
56:24
No wine.
56:26
Mortimer, what's going on in this house?
56:28
What do you mean, what's going on in this house?
56:30
You're supposed to take me to dinner and the theater tonight.
56:33
You called it off.
56:34
You asked me to marry you.
56:35
I said I would.
56:36
Five minutes later.
56:37
You threw me out of the house.
56:38
Tonight, just after your brother tries to strangle me, you try to chase me home.
56:42
Now listen, Mr. Brutcher, before I go home, I want to know where I stand.
56:46
Do you love me?
56:47
I love you very much, Elaine.
56:49
In fact, I love you so much, I can't marry you.
56:53
Have you suddenly gone crazy?
56:54
I don't think so, but it's just a matter of time.
56:58
You see, in Santa, you run to my family.
57:00
They're practically gallops.
57:01
That's why I can't marry you, dear.
57:04
No, wait a minute.
57:05
You're going to take me.
57:05
better than that. No.
57:07
Dear, those things take them to do so well.
57:10
No, just kidding. No.
57:12
It goes back to the first thing.
57:14
The one of them goes on the baseline.
57:16
It was the niña, the pita,
57:18
the sand, the poo-poo.
57:20
One of them that's Asian history.
57:22
No. The whole family.
57:25
Take my grandfather.
57:26
He tied his patent and medicines out on
57:28
dead people, but he said he wouldn't
57:30
kill them. He wasn't
57:32
so crazy. He made him a
57:34
And then there's Dorothy.
57:36
He's still Teddy was a maniac.
57:38
He tried not to tell you to leave your brother,
57:40
and not you. I'm in love with you.
57:42
And then there's Teddy.
57:43
You know Teddy. He thinks he's Roosevelt.
57:46
No deer, no brucers should marry.
57:49
And I realize now that if I met my father in time,
57:51
I'd have stopped him.
57:53
No, those are just crazy.
57:55
They're aunts. They're brucers, aren't they?
57:57
And they're the same as sweetest people I've ever known.
58:00
Well, in America.
58:01
peculiarities, and what lovely peculiarities, kindness, generosity, human
58:07
sympathy, there's
58:08
another one, oh Mortimer, oh Mortimer, there are plenty
58:13
of others, you can't tell me anything
58:15
about your aunts, I'm not going to, look at me, you're online right now, something's
58:19
coming, up to where, we're alone together, I know I'm actually, yeah actually, but
58:24
you
58:24
put it down to the back, I'm a mad booster, if you think you're going to get out of this
58:29
You know what I'm saying?
58:30
You're crazy.
58:31
Maybe you're not going to marry me, but I'm going to marry you.
58:33
I love you, you two.
58:35
You're not going to laugh at me.
58:36
Why don't you get the heck out of here?
58:38
You're safe to welcome me home, won't you?
58:39
I'm afraid.
58:41
Can I walk to the cemetery?
58:43
Good night, dear.
58:43
So I'll probably open it there, too.
58:46
You credit.
58:49
It's Abby.
58:50
Come in here.
58:51
We'll be in in a minute, dear.
58:52
Come in here now.
58:54
What is it, dear?
58:56
Who is that in the way?
58:58
We told you, it's Mr. Hoskins.
59:01
It's not Mr. Hoskins.
59:04
Oh, well, who do you suppose that is?
59:07
Are you trying to tell me you've never seen this man before?
59:10
Indeed I am.
59:11
Why, that's the fine hell you do.
59:13
It's getting so that any man thinks he can whoop right in here.
59:16
You know, it's Abby Jones.
59:18
You try to get it out of this.
59:19
That's another one of you gentlemen.
59:22
Look, my husband, you say such a thing.
59:26
Oh, it's Abby who admitted to me that you put Mr. Hoskins in the window seat.
59:30
Yes, I did.
59:31
We'll just mention I've just got the idea for Mr. Hoskins.
59:34
By the way, where is Mr. Hoskins?
59:38
Oh, the muscle gun's better.
59:39
Oh, you buried him?
59:41
Well, not yet. We haven't had a minute with Jonathan in the house.
59:47
But that is not another one of our two.
59:52
You say this is strange or strange.
59:54
You're an abby.
59:54
How can I believe you?
59:56
There are 12 men in the cellar and you admit you poisoned them.
59:59
Yes, I did.
1:00:00
But you don't think that I'd shoot to turn a fib.
1:00:03
What the?
1:00:05
Oh, Marv.
1:00:06
I'd like to have a word with you.
1:00:08
A word that I'm going to have time for.
1:00:10
Jonathan, you and your doctor friend are going to get out of the house just as quickly as possible.
1:00:14
You've arrived at the wrong conclusion.
1:00:16
Take your suitcase and get out.
1:00:18
Jonathan, you're beginning to bore me.
1:00:22
I, my dear mom, just because you graduated from that fence type there, don't
1:00:27
get me grown up.
1:00:28
I'm staying, you're leaving, and I mean now.
1:00:32
If you think I can be frightened, if you think there's anything that I fear,
1:00:37
I would be a strange one for you, but it's taught me one thing, to
1:00:42
be afraid of nothing.
1:00:45
I mean, I'm not supposed to look at the window face now, Aunt Abby.
1:00:53
Johnson, let's ask Martha, see what's in the window seat.
1:00:57
Hey, Abby, I owe you an apology.
1:01:00
I have very good news for you.
1:01:02
Johnson is leaving.
1:01:03
He's taking Dr. Einstein in their hold, so man can listen.
1:01:07
Johnson, you're my brother.
1:01:09
Dear booster, I'm making you a chance to get away and take the evidence with you.
1:01:12
You can't ask for more than that.
1:01:14
Very well.
1:01:15
In that case, I'm going to have to call the police.
1:01:18
Don't reach for that telephone.
1:01:22
Are you still giving me orders after seeing what's happening to Mr. Spinalzo?
1:01:30
Remember, what happened to Mr. Spinalzo can happen to you, too.
1:01:41
Hello, Miss Abby.
1:01:42
Oh, I'm so high.
1:01:43
Is there something we can do for you?
1:01:45
I tell you what I'm talking about.
1:01:47
Oh, he's not company. I'm sorry to forgive you.
1:01:50
No, no, it's not company.
1:01:53
Right enough, so hard.
1:01:54
This is our nephew.
1:01:56
See you to meet us.
1:01:57
And that's not our nephew.
1:01:59
Don't be fine.
1:01:59
See you to make your acquaintance.
1:02:02
Well, it must be nice having your nephews with you.
1:02:04
Are they going to stay with you for a bit?
1:02:06
I'm staying.
1:02:07
My brother Jonathan is just leaving.
1:02:10
Not even before, hasn't I?
1:02:13
I'm afraid not.
1:02:14
But Jonathan hasn't been home in years.
1:02:16
Does this look familiar to me?
1:02:18
Have you ever seen a picture of you somewhere?
1:02:20
I don't think so.
1:02:21
Yes, Jonathan.
1:02:22
I heard about you.
1:02:23
You things are all packed.
1:02:24
Anyway, aren't they?
1:02:26
Well, we'll be wanting to see you buy this.
1:02:28
I'll be wanting to buy it.
1:02:29
What's for us?
1:02:29
I'd like to have you see Grimes and my brother goes.
1:02:31
I just walked in to make sure everything was all right.
1:02:34
We're going to have some coffee in a minute.
1:02:35
Will you join us?
1:02:36
Oh, I forgot the coffee.
1:02:38
Well, I'd better make some more sandwiches.
1:02:40
I have to do an appetite by this time.
1:02:42
I'm Sarah Hara.
1:02:43
Don't bother.
1:02:44
I'm doing the end of the few minutes anyway.
1:02:46
So you can have a couple of coffee with us.
1:02:47
I'll be on soon.
1:02:50
So, you know what's going to photograph
1:02:52
with your brother around here someplace?
1:02:54
I don't think so.
1:02:55
He still even reminds me of somebody.
1:02:57
He looks like some of his problems in the movies.
1:03:00
Well, I never go to the movies.
1:03:02
I see them.
1:03:02
My mother hates them too.
1:03:04
You're a very brother, eh?
1:03:06
My mother was an actress.
1:03:07
Stage actress.
1:03:08
I'm not too political.
1:03:09
She's just a toy.
1:03:10
The big hit was Martin Jets.
1:03:12
Kid for three years.
1:03:14
I was born on tour.
1:03:15
So it's season.
1:03:17
Sioux City, Iowa.
1:03:18
I was born in a documentary by the end of the second act.
1:03:20
And Mother made this an album.
1:03:22
When it's three, there must be a good story in your mother.
1:03:25
You know, I write about theater.
1:03:27
You do?
1:03:28
Say, you're not one of the two students.
1:03:33
Well, I certainly am glad to meet you.
1:03:36
Say, you're in the same line of business.
1:03:38
We are?
1:03:39
Yep, I'm a playwright.
1:03:41
Oh, this being on the police force is distemperated.
1:03:43
How long have you been on this force?
1:03:45
12 years.
1:03:46
I'm collecting material for a play.
1:03:48
Is all the job I see being a cop?
1:03:50
This could be a story.
1:03:51
You've got no idea what goes on with me.
1:03:53
Oh, I think I have.
1:03:55
Say, what time you got?
1:03:57
10,001.
1:03:58
Gee, I got only in.
1:04:00
Wait a minute, Aurora.
1:04:01
On that place, Miss, I may be able to help you.
1:04:04
Say, use my speech.
1:04:05
What's in here tonight?
1:04:06
Look, I'll tell you the plot.
1:04:11
You're leaving now, Jonathan?
1:04:13
Well, you haven't got much time, you know.
1:04:21
Well, goodbye, Jonathan.
1:04:23
Goodbye, Dr. Einstein.
1:04:24
Does this place belong to you?
1:04:26
Yes, Jonathan.
1:04:27
You can't go without all your things.
1:04:30
Well, it was nice meeting you.
1:04:32
I'll see you again, and we'll talk about your play.
1:04:34
Oh, I'm not leaving now, Mr. Lucille.
1:04:37
Why not?
1:04:38
Well, you just offered to help me with my play, didn't you?
1:04:40
You and me are going to write my play together.
1:04:43
I can't do that, Hora.
1:04:44
I'm not a creative writer.
1:04:45
Well, I'll do the creative.
1:04:46
You just put the words to it.
1:04:47
But, Hora, I didn't know so, Mr. Lucille.
1:04:50
I leave in this house until I tell you the plot.
1:04:52
In that case, Mortimer, we'll be running along.
1:04:54
Don't try that.
1:04:55
You can't go yet.
1:04:56
You've got to speak everything with you.
1:04:59
Well, Hora, it was nice meeting you.
1:05:00
You run long now.
1:05:01
My brother's just going.
1:05:03
We'll be bringing some nice sandwiches for you both.
1:05:06
It won't be a minute.
1:05:09
I really need breakfast.
1:05:14
Don't bring that in here.
1:05:15
Now, are you going to throw a bite in the kitchen?
1:05:17
I'll take it.
1:05:18
Are you sure you don't mind eating in the kitchen if it's over?
1:05:22
And what else would you eat?
1:05:26
I'm glad you came back to Brooklyn, Jonathan,
1:05:28
and it gives me a chance to throw you out.
1:05:30
And the first one is your boyfriend, Mr. Spinoza.
1:05:33
I hope, Mr. Spinoza, we can talk to you.
1:05:35
Be right there.
1:05:37
I might have known you grow up for a plow,
1:05:41
for a week, ma'am.
1:05:42
Get going now.
1:05:43
All three of you.
1:05:47
There is a affair between me and my brother.
1:05:49
It's got to be settled.
1:05:51
Sonia, you'll be good trouble enough.
1:05:53
Your brother gives us the times to get away.
1:05:55
What more could happen?
1:05:57
You don't understand.
1:05:59
back a good many years.
1:06:00
Now, Tony, let's get going.
1:06:02
We're not going. We're going to sleep right here
1:06:05
tonight. Would you pop in the kitchen
1:06:07
and miss the swimmer who's in the window seat?
1:06:09
That's all he's got. I'm just take Mr. Spinalzer
1:06:11
and dunk him in the bed, then come right back
1:06:13
here if he tries to interfere.
1:06:15
Now, Tony... Doctor, you know
1:06:17
when I make up my mind. Yeah,
1:06:18
when you make up your mind, you'll lose your head.
1:06:21
Brooklyn ain't a good place for you.
1:06:23
Doctor! Okay, we'll stick
1:06:25
together. Someday we get some.
1:06:27
Am I coming back here?
1:06:28
Did he take these with us?
1:06:29
No, leave them here.
1:06:30
Hide them in the cell.
1:06:31
Move fast.
1:06:33
Spinaldo can go out the same way he came in.
1:06:48
What is it?
1:06:51
Lisa, do you know that hole in the cellar?
1:06:53
We got an A's in the hole.
1:07:08
Where have you been?
1:07:09
I thought I told you to get one out of going.
1:07:12
Oh, you're not?
1:07:13
You think you're not serious about this egg?
1:07:15
You went up hard to know what's in the window?
1:07:16
See, we're staying here.
1:07:18
All right, you asked for it.
1:07:20
This next one is you and also we're hot at the same time.
1:07:23
So hi, afternoon here.
1:07:24
If you tell a horror what's in the window seat,
1:07:27
I'll tell him the cellar is the cellar.
1:07:29
The cellar?
1:07:29
There's an elderly gentleman down there
1:07:31
who seems to be very dead.
1:07:34
What were you doing down in the cellar?
1:07:36
What's he doing down in the cellar?
1:07:38
What was he doing down in the cellar?
1:07:39
What was he doing here, too?
1:07:40
So I kept telling you?
1:07:42
No, horror, you can't do that now.
1:07:43
He's got to ring in.
1:07:44
Sir, I was ringing in.
1:07:45
I'll get you a honking, and I'll tell you the clock.
1:07:48
No, horror, not a friend of all these people.
1:07:49
We'll get together in a month.
1:07:51
How about the back room at Kelly's?
1:07:53
Fine, you go ring in, I'll meet you at Kelly's.
1:07:56
Why don't you go down at the cellar?
1:07:57
That's what it means, is to sell them.
1:07:59
No, we'll go down at Kelly's, but you're going to ring in on the way.
1:08:02
Alright, that'll only take a couple of minutes.
1:08:08
Susan, all this guy in the back in five minutes.
1:08:11
Ah, that's fine, you got it.
1:08:12
Wait for me.
1:08:14
You've got to be right where you want him.
1:08:17
To a PPLT.
1:08:19
These bags, it's not a room, okay?
1:08:23
Oh, you're still here, you're still here to me.
1:08:25
Just more, but I'll be back in a few minutes.
1:08:28
Is there any food left in the kitchen?
1:08:29
I think Dr. Ryan said that I would enjoy it.
1:08:32
But you don't have any time.
1:08:33
No, it's, it's, if you still feel more
1:08:36
that comes back here, well, I don't.
1:08:39
You know what I think?
1:08:40
He's gone the way to get something for us to eat
1:08:43
while we're burying the sister nails in the cell.
1:08:46
Oh no!
1:08:47
They can't bury him in our cellar.
1:08:49
There's a friend of Mortimer's downstairs waiting for him.
1:08:53
Oh, who's my husband?
1:08:55
Oh, no, you can't bury him in our cellar.
1:08:59
We need to move for our watches.
1:09:02
There's, there's these, there's these things.
1:09:05
Have them already crowded with what?
1:09:07
There are 12 graves down there.
1:09:10
12 graves?
1:09:12
And that leaves very little room.
1:09:14
And we're done.
1:09:15
You mean, you and Aunt Larsa have murdered murder?
1:09:19
Certainly not.
1:09:20
It's one of our tactics.
1:09:22
What we've been doing is a mercy.
1:09:25
You mean, you used to take the listeners to Moussa out of here.
1:09:29
You've done that.
1:09:30
In the house.
1:09:31
And you buried them down there.
1:09:33
Honey, we've been chased all over the world.
1:09:36
They stay right there and go,
1:09:37
you know, you just as good as you did it.
1:09:40
You got 12 and 8.
1:09:41
I got 13.
1:09:43
12. No, 13.
1:09:46
There's Mr. Penalza, the first one in London,
1:09:48
two in Johannesburg, two in San Francisco,
1:09:51
one in Melbourne, one in Sydney,
1:09:53
one in Phoenix, Arizona, the filling station.
1:09:56
Then the three in Chicago and the one in South Bend.
1:09:59
That makes 13.
1:10:01
Because you can't count the one in South Bend.
1:10:03
He died in the middle.
1:10:04
He wouldn't have died in the middle.
1:10:06
Yes, and I've shot him no time.
1:10:07
He died in the middle.
1:10:09
He don't count.
1:10:10
He counts with me.
1:10:11
13. No trouble. You got 12, and they got 12.
1:10:15
The all legends are as vast as little as you are.
1:10:18
Oh, they are. Are they? Well, that's easily taken care of.
1:10:21
All I need is one more. That's one. Just one more.
1:10:25
Well, here I am.
1:11:07
Thank you.
1:25:07
It's a terrible thing to do today.
1:25:10
and that's what this looks like a complete stranger.
1:25:11
Oh, the elements of our show are desecrated.
1:25:15
What do you suppose, Mulder Malent?
1:25:16
I don't know, but you must be doing something
1:25:18
because you've had to drum them.
1:25:19
You just wait, I'll settle this.
1:25:21
Well, it can't very well settle anything
1:25:23
while he's out of this house.
1:25:24
That's all we want settled.
1:25:26
What's going on down there?
1:25:27
All right, now, where's Teddy?
1:25:29
Mulder Malent, you be?
1:25:30
I've been over here after you open.
1:25:32
I have a signature signed on Teddy's amendment.
1:25:34
If Teddy and his room, when he signs his amendment,
1:25:37
even I can tackle you.
1:25:38
Jonathan, one of the pay things got to do with it.
1:25:41
So I can make Betty responsible for those 12 days.
1:25:44
I can protect you now, don't you see?
1:25:46
No, I don't see.
1:25:48
It's because we pay taxes to help the parties protect us.
1:25:52
You've got to get Jonathan out of this house.
1:25:55
And this is the house, too.
1:25:56
Can you please let me do this my own way?
1:25:58
I've got you, Betty.
1:26:02
Mortimer, if Jonathan and I are out of this house,
1:26:04
then we'll call in the police.
1:26:06
They'll be out there, I promise you that.
1:26:08
And for God's sake, go to bed, will you?
1:26:10
And damn those clothes, you look like Judith Anderson.
1:26:17
Well, Abby, that's your niece, isn't it?
1:26:19
Yes, the woman is finally going to visit him.
1:26:21
At last.
1:26:22
It just means that Jonathan's worked for a lot of unnecessary trouble.
1:26:26
You better tell him.
1:26:27
Jonathan, the magical stuff you're doing is all done.
1:26:30
Did I get a word for him?
1:26:31
Yeah, and we're just supposed to be undone.
1:26:34
Because you're going to be out of this house by morning.
1:26:36
Mortimer's promise.
1:26:37
Oh, are we?
1:26:38
In that case, do you and Aunt Martha can go to bed and have a pleasant night to sleep?
1:26:42
That's a matter of fact.
1:26:44
Good night, aunties.
1:26:45
No, not good night, Jonathan.
1:26:48
By the time we get up, we'll be out of this house.
1:26:51
Mortimer's promise.
1:26:52
Who has a way to get to?
1:26:54
And Mortimer is back.
1:26:55
Oh, yes.
1:26:56
She's upset.
1:26:57
Right now, she'll be dead.
1:26:59
Goodbye, Jonathan.
1:27:02
You'd better say goodbye to Mortimer.
1:27:04
Oh, you'll see Mortimer.
1:27:06
Yes, I'll see Mortimer.
1:27:14
See, that's not fixed up.
1:27:16
Smooth like the egg.
1:27:18
Nobody will ever know what it is about.
1:27:21
That's what you've heard already.
1:27:23
For the adult you didn't say.
1:27:24
Come along for that.
1:27:26
Yes, you're forgetting, doctor.
1:27:28
Not my brother.
1:27:30
Oh, Tonya, not today. We do that tomorrow.
1:27:33
Or next day.
1:27:34
No. Tonight. Now.
1:27:36
But, Tonya, I'm tired. And tomorrow I've got to operate.
1:27:39
Yes, you're operating tomorrow. But tonight, we take care of more.
1:27:43
No, Tonya, not tonight.
1:27:45
Dr. Lookit. You can see it's going to be done, Tonya.
1:27:49
Yes, you can see it. I know that one.
1:27:52
It's a little too late, Dustin. It's all about partnership.
1:27:56
Okay, we do it. Good to quickly.
1:27:58
The quick press, like in London.
1:28:00
No, doctor, this calls for something special.
1:28:04
I think perhaps a Melbourne restaurant.
1:28:07
A new tenant.
1:28:09
In two hours, and when it was over a voucher,
1:28:13
a duke that will in London was just in bed
1:28:15
to just follow a Melbourne.
1:28:16
We had to work two facts in London.
1:28:18
There was no aesthetic satisfaction to it.
1:28:21
But Melbourne, ah, there was something to remember.
1:28:25
There was something to remember.
1:28:26
I appreciate it, don't you?
1:28:28
No, tell me.
1:28:30
Not me.
1:28:31
Yes, Doctor.
1:28:32
Where are your instruments?
1:28:33
No, tell me.
1:28:34
I want to.
1:28:35
Where are they?
1:28:38
Not me.
1:28:39
You owe me the list of them.
1:28:42
I don't know.
1:28:43
I'll find them, Doctor.
1:28:46
Don't do that, Mr. President.
1:28:48
I cannot say any proclamations after the case in the cabinet.
1:28:51
But this must be a secret proclamation.
1:28:54
Ms. Lord, you can't mess around until it's signed.
1:28:57
You can't, those devils, I'll sign later.
1:28:59
You have my word for it.
1:29:00
I can make the kind of bill later.
1:29:01
Yes, you have someone signed it.
1:29:03
You wait here.
1:29:03
A secret population has to be signed to the secret.
1:29:06
But I have one, Mr. President.
1:29:08
I have to put on the side of the face.
1:29:13
You go now, Anna.
1:29:15
No, Doctor, I'm waiting for something.
1:29:17
Something important.
1:29:18
Please, you go now.
1:29:19
Doctor, I'm signed.
1:29:20
I have nothing against you personally.
1:29:22
Listen to me.
1:29:22
She and I thought, take my advice and get out of the bathroom house too, as far away as possible.
1:29:27
Shubble.
1:29:29
All right, don't say I didn't warn you.
1:29:32
I'm warning you.
1:29:33
Get away quick.
1:29:34
Things are gonna start popping around here any minute.
1:29:37
Listen, it's funny to me.
1:29:39
Women like this is a vaginal.
1:29:42
Do something.
1:29:44
It's horrible.
1:29:45
Jonathan doesn't worry anymore.
1:29:47
She will double just play as teach everything.
1:29:50
About what?
1:29:51
I was going to live before the president was saying this.
1:29:54
That's what we need to do.
1:29:56
Oh, you think so, eh?
1:29:57
I wish you had to sit through some of the ones I had to sit through.
1:30:00
Take a little open, I tell you for instance.
1:30:02
In this place, there's a man.
1:30:03
He's supposed to be bright.
1:30:05
He knows he's in a house with murderers.
1:30:06
He ought to know he's in danger.
1:30:08
He's even been warned to get out of the house.
1:30:10
But does he know?
1:30:12
He stays there.
1:30:14
Now I ask the doctor, is that what an intelligent person would do?
1:30:18
He'd made no sense enough to be trying, to be on guard.
1:30:22
For instance, the murderer invited him to sit down.
1:30:25
He would...
1:30:27
Lunge, he said down.
1:30:29
To leave it or not, downwind in there, too.
1:30:31
And buzzed, he did.
1:30:32
He sat down.
1:30:33
Now mind you something.
1:30:34
This fellow's supposed to be back.
1:30:36
So there he sits.
1:30:36
He's waiting to be tossed up.
1:30:38
And what do you think they used to tie him with?
1:30:40
But, the curtain cord.
1:30:43
He didn't see a gadget.
1:30:45
See him.
1:30:46
He sat down with his...
1:30:46
back to him. And that's what we have to sit through
1:30:49
night after night.
1:30:51
And they say the critics are killing the theater.
1:30:53
It's the playwrights who are killing the theater.
1:30:55
So there he sits. The big joke.
1:30:57
The fellow is supposed to be great.
1:30:59
So when we press up and gag,
1:31:05
Now, Mortimer,
1:31:07
if you don't mind, we'll finish the story.
1:31:11
I've been away for 20 years,
1:31:13
but never once in all that time.
1:31:15
Are you out of my mind?
1:31:18
Now, doctor, we go to work.
1:31:20
That's a quick way, please.
1:31:22
No, doctor, this really lets me ask you to take a ticket.
1:31:25
After all, the programs are a very distinct type.
1:31:30
Stunning.
1:31:32
Dr.
1:31:43
I thought it was Rachel, and when we walked in here this morning,
1:31:47
Angel was lying on the chin.
1:31:49
Oh, where did you put that back?
1:31:53
I didn't think that.
1:31:56
That's all there is to it.
1:31:58
And your books made a dream again.
1:32:01
One moment, Doctor, please. Where are we now?
1:32:05
Mom, I realize now it was you who brought me back to Brooklyn.
1:32:09
Doctor.
1:32:11
To my dear, dead brother.
1:32:17
Darn that idiot!
1:32:18
He goes next!
1:32:19
That's all!
1:32:20
He goes next!
1:32:21
I'm not sure that you're not jolly.
1:32:23
That's very stuff.
1:32:24
I'm not steady.
1:32:25
We get to steady later.
1:32:26
No, we don't get to him at home.
1:32:28
Now we've got to work fast.
1:32:30
Did you quit, mate?
1:32:31
Yes, Dr. The Clipway.
1:32:35
Hey, the cruddle's got to quit blowing that floor.
1:32:39
It's all right, officer. We're taking the vehicle away from him.
1:32:42
He's going to be captured here in the morning.
1:32:44
We promise the neighbors we wouldn't do that anymore.
1:32:46
It won't happen again, officer.
1:32:47
Good night. I'm going to speak to myself.
1:32:51
Hey, you stood me up.
1:32:54
I greeted an hour I told you for you.
1:32:57
What happened to him?
1:33:01
He was explaining the bread.
1:33:03
He's looking nice and that's what happened to them.
1:33:07
What happened in the play you saw tonight?
1:33:10
Gee, they practically stole that from the second act in my play.
1:33:14
Why, in my second act, just before the...
1:33:17
Playbender begins.
1:33:18
It opens.
1:33:19
And my brother texted me.
1:33:20
They are at school.
1:33:21
Only, I ain't born yet.
1:33:23
Oh, yeah.
1:33:27
You've got to meet the plot.
1:33:29
Well, you're kidding though.
1:33:31
See, when all of a sudden, through the door, a man with a black-blast ass walks in...
1:33:35
turns to my mother and says,
1:33:37
Miss LaCorte, will you marry me?
1:33:39
He doesn't know if he's pregnant.
1:34:03
See who she is, lying unconscious across the table in a long way.
1:34:07
The man with the black hat is standing above him with the hatchet.
1:34:10
I'm tied up in a tail, just like you are.
1:34:12
This isn't a photo of flames, some vital.
1:34:15
When all of a sudden, through the window, it comes, nail the gloria.
1:34:19
Hey, remember who paid for that?
1:34:21
You're no easy on it.
1:34:22
Well, I'm listening, ain't I?
1:34:25
How'd you like it so far?
1:34:27
Well, it's quick time, actually.
1:34:29
I'm alone.
1:34:30
If you ain't got my lips, not-
1:34:31
You know, that's good.
1:34:32
All right, it's three days later.
1:34:34
I've been playing for it and I'm under college.
1:34:36
That's the same as you know that.
1:34:37
All right, I'm walking my feet on Saturday night,
1:34:40
46 years old, and as I am following,
1:34:42
it turns out he's the only one who's following me.
1:34:46
So, I said, girl, I want someone.
1:34:48
He's a vacant household report.
1:34:50
I goes in.
1:34:52
I asked him to go, and I seized the door handle for him.
1:34:56
I pulled my gun and said,
1:34:58
I can't believe you guys go up against it.
1:34:59
the wall, and I said,
1:35:01
come in.
1:35:04
Hello, boys.
1:35:07
What's better going on here?
1:35:09
Hey, Doc, what do you know? This is
1:35:11
normal Bristol. He's gonna let me play with me.
1:35:13
I'm just telling him to sleep.
1:35:14
But did you have to try and love to make a
1:35:16
voice in? Yo, you better
1:35:19
report in that station. We'll force
1:35:21
it out looking for you. Did they send you
1:35:22
something? He ignited me in here.
1:35:24
We came to one of the old ladies that they ever have to
1:35:26
pay. The colonel
1:35:27
I'll be that big girl that's in the middle of the night.
1:35:29
And the way the neighbors have been calling it about it,
1:35:31
you think the Germans have dropped a bomb on Swatpish Avenue.
1:35:35
Here, Mr. Newstool, I've got to get away.
1:35:36
So I'm going to just pull back real quick.
1:35:38
You get away from me.
1:35:40
See, you know what's happening?
1:35:41
It's up to 8 o'clock in the morning.
1:35:44
Here, Mr. Newstool, that's what you asked me to live along,
1:35:47
but I don't see anything you can leave out.
1:35:49
You can leave it all out.
1:35:51
Who's this guy?
1:35:54
That's my brother.
1:35:55
Pulled the wonder man away.
1:35:57
So I came back.
1:35:57
Yes, he came back.
1:36:01
He's a bro-feet.
1:36:03
I barely let them know his pounds ago.
1:36:06
Mac, tell those who you can cost a big man on him.
1:36:08
You got it.
1:36:09
Inverse routes.
1:36:10
You want to put him in?
1:36:12
Oh, all right.
1:36:12
We'll hold him right here.
1:36:14
He'll turn something way over.
1:36:16
So I can turn him down, right?
1:36:18
All right, you got me.
1:36:20
And I suppose you were that stool-fitting brother of mine.
1:36:23
What the reward?
1:36:26
Now I'll do some turning in.
1:36:28
You think my aunts are sweet old ladies, don't you?
1:36:30
Well, there are 13 bodies buried in the cellar.
1:36:35
What the heck are you talking about?
1:36:37
You'd better be careful what you're saying about your aunts.
1:36:39
Tell them these French vows.
1:36:40
I'll show you.
1:36:41
I'll prove it to you.
1:36:42
Come down to the cellar with me.
1:36:43
Wait a minute.
1:36:45
13 bodies.
1:36:46
I'll show you where they're buried.
1:36:47
You don't want to see what's down in the cellar.
1:36:50
Go on down to cellars, you may.
1:36:52
Well, since I'm sure I want to be down in the cellar with him, I mean, look
1:36:57
at his face!
1:36:59
He looks like Boris Karloff!
1:37:01
I don't think you're even kidding me!
1:37:04
But what do you know about that?
1:37:07
So then?
1:37:09
What the heck are you men doing to?
1:37:11
I told you I was going to handle this.
1:37:13
Well, sir, we were just about...
1:37:14
So what happened?
1:37:15
Did you put him up, right?
1:37:16
This ain't the guy that blows the needle.
1:37:17
This is your brother.
1:37:18
He's trying to kill Kyle.
1:37:20
I said, but that he looked like Boris Karloff.
1:37:22
Turn over.
1:37:24
You're trying to think he's wanted some work.
1:37:26
Or are you trying to think he's wanted some work?
1:37:28
If you guys don't look at the circle
1:37:29
that went up in the station,
1:37:31
at least you can see the circuit.
1:37:32
Certainly he's working.
1:37:34
In Indiana, escape from the prison
1:37:35
for the command center.
1:37:37
So lost him.
1:37:37
That's how he was assigned.
1:37:39
He looked like Karloff.
1:37:40
Was it a word mentioned?
1:37:41
Yeah, I'm funding it.
1:37:43
He was trying to go down cellar.
1:37:44
So there's 13 guys right down there.
1:37:48
Bodies break in the summer.
1:37:49
Yeah, I didn't forget.
1:37:50
Can you remember the night house?
1:37:52
I thought, oh, I don't want to talk about play.
1:37:54
Oh, it's Shakespeare.
1:37:55
Where have you been all night?
1:37:56
You needn't bother telling me.
1:37:58
I've been right here, Phil.
1:37:59
I didn't have fun at me all in the door, Phil.
1:38:02
We're going to have plenty of time to ride that bike.
1:38:03
Here's a study.
1:38:04
Now get back and report in.
1:38:07
Can I come over sometime in the station, Tyrone?
1:38:10
No, get out of here.
1:38:14
Take that guy's some lesson.
1:38:17
See, we can find where there's talkers.
1:38:20
The guy don't know?
1:38:21
See, he has wanted you.
1:38:22
No wonder what would you say,
1:38:24
itching with pieces full of weapons like you,
1:38:26
falling for that kind of story.
1:38:28
Thirteen bodies buried with some.
1:38:30
But there are thirteen bodies buried in the cellar.
1:38:32
Who are you?
1:38:33
I'm Tadgett Rosenblum.
1:38:36
What is this?
1:38:38
Beautiful, that blows a needle.
1:38:40
Good morning, Colonel.
1:38:42
Well, Colonel, you're doing your last-
1:38:44
You will. Dear me, another yellow fever with them.
1:38:48
All the bodies in the cell are yellow fever with them.
1:38:51
No, Colonel. This is fine over front of the White House.
1:38:53
Will you get that type attitude?
1:38:56
If there's any question in size, that's my opinion.
1:38:59
You'll be proud of this.
1:39:01
You're forgetting. As president, I am also ahead of secret service.
1:39:08
Captain, I'm going to be very scared.
1:39:10
I'd like to talk to you about my conversation.
1:39:12
But Teddy, you know, the one who blew the vehicle?
1:39:14
Mr. Bootsy, we wanted to talk about that.
1:39:16
He's got to get away.
1:39:18
I quite agree with you.
1:39:19
In fact, I have these commitment papers signed by Dr. Gilchrist, a family physician.
1:39:23
You see, Teddy signed them himself, and I signed them on the next 15th.
1:39:26
Where's he going?
1:39:27
Oh, my, I don't care where he goes as long as he goes.
1:39:30
Well, he's going, all right.
1:39:31
But I want to know that everything that happens around here, Teddy's is going to go for it.
1:39:35
Now, those 13 bodies in the cellar?
1:39:37
Yeah, yeah, there's 13 bodies per cellar.
1:39:40
Not that the neighbors were afraid of him, and it's disturbing the peace between the people.
1:39:44
But can you imagine that tall guys threw about 13 bodies in the southern ground around?
1:39:48
Now he's starting his yellow fever scare.
1:39:51
Two inches.
1:39:52
13 bodies.
1:39:53
Do you really think anyone's going to die?
1:39:56
We don't know.
1:39:57
Some people are just dumb enough.
1:39:58
They don't know what to believe sometimes.
1:39:59
About a year ago, crazy guys, they started to murder me over in Greenwood.
1:40:03
And I think about half a year ago, just a little dead.
1:40:06
Will you excuse me?
1:40:11
Good morning, Marilyn. I'm a promoter, dear. This is Mr. Whitterspoon. He said to meet Teddy.
1:40:15
To meet Teddy? Mr. Whitterspoon is the superintendent of Capitale.
1:40:19
Oh, well, I'm writing. This is Capitale.
1:40:22
You're telling me. I'm glad you're here, Super, because you take me to my speech today.
1:40:26
I didn't know that.
1:40:28
Okay, I'm not on my own. I've got some papers to attend, sir.
1:40:30
Not on your wife.
1:40:31
I have no idea who's this immediate.
1:40:33
The papers are outside. He goes to them.
1:40:36
Well, Nathan, you may have applied that in my mollycoddle.
1:40:39
When the President of the United States is traded like that, what's this country coming to?
1:40:43
No, you're me. I'm super. He's asked a minute.
1:40:45
Mr. President, I have very good news for you.
1:40:48
Your term of office is over. Is it March the 4th?
1:40:52
Oh, let's see. No, I got my head.
1:40:54
He's asked a minute. Yes, one must be started immediately.
1:40:57
Is he trying to move into what house before he's out?
1:41:01
This isn't Mr. Task, Teddy. This is Mr. Winiston.
1:41:04
to be your guide in Africa.
1:41:06
Boy, boy, I'll bring down my equipment.
1:41:08
When Safari calls, tell them to wait.
1:41:10
Goodbye, Abby. Goodbye,
1:41:12
Martha. I'm Armada, Africa.
1:41:14
Isn't it wonderful?
1:41:16
George! Good morning, darling.
1:41:18
Oh, you visitors.
1:41:20
This is you. Good morning, Rooney.
1:41:21
How are you doing, Teddy? My, you don't look like
1:41:24
the bus bugs at the place that say you are.
1:41:26
Why, the lieutenant is here.
1:41:28
You know, Teddy was doing so again
1:41:30
last night.
1:41:33
It's a little more serious than that, Mr. Brewster.
1:41:36
Man, you haven't met Mr. Wintersby.
1:41:37
He's the superintendent of Tappydale.
1:41:39
How do you do, Mr. Brewster?
1:41:41
You have come to me, Teddy.
1:41:43
He's come to Kate and-
1:41:45
Oh, no!
1:41:46
Aunties, the police won't tell you to go there.
1:41:50
Not while we're alive.
1:41:52
I'm sorry, Mr. Brewster, but I have to go.
1:41:54
But he was on the outside, and he's going along with the superintendent.
1:41:58
We won't commit!
1:42:00
We won't be separated from Teddy.
1:42:02
We'll kind of sit the middle and wait for that.
1:42:03
I'm sorry, ladies, but the law is wrong.
1:42:05
He's cleared himself and he's gone.
1:42:08
Well, he goes, but we're going too.
1:42:12
Yes, he'll take us with him.
1:42:14
Well, why not?
1:42:16
Well, that's three of them's got to, but it's lost.
1:42:20
You see, we can't take saying to go to Hattondale.
1:42:23
Mr. Whittespoon, if you let us live there,
1:42:25
Teddy, listen to Hattondale's in our world.
1:42:27
And for a day, just...
1:42:29
Well, the Lord knows we could use the money, but I promise for you, and I want to be sensible about this, ladies.
1:42:34
Here I am, wasting my money, and I've got serious work done.
1:42:38
And are there still murders we sold in Brooklyn?
1:42:41
Well, are there?
1:42:42
The people are beutiling, you know, just the whole person.
1:42:45
The things we just get works.
1:42:46
Sooner or later, I've been put to the table and digging up your soul.
1:42:50
I'll sell it.
1:42:51
Now you're messaging telling them there are 13 bodies from your soul.
1:42:59
If that's what you think, Teddy has to go away. You can down this old bus and they'll prove it
1:43:04
to you.
1:43:04
Yes, didn't I doubt? Oh, there's one, Mr. Spinalso, who doesn't belong to us, and we'll have
1:43:09
to leave.
1:43:10
But the other 12 are gentlemen. I don't think the lieutenant wants to go down this alley.
1:43:15
He was telling me that only last year he had been a path and he grew up.
1:43:18
When's he, lieutenant? That's right.
1:43:20
Well, we're enough to get anything here to break the old bus.
1:43:24
and we put flowers in them every Sunday.
1:43:28
Super printing?
1:43:29
Don't you think you can find me for these ladies?
1:43:32
Well, I think you can die and throw it to you.
1:43:35
I think they're worth it, lady.
1:43:37
I'm digging in.
1:43:38
How about it, sugar?
1:43:39
Well, they have to be committed.
1:43:40
Can they commit themselves?
1:43:42
Can they send the babies?
1:43:44
No, certainly.
1:43:45
Oh, if we didn't go to them, we'll find papers.
1:43:47
Where are they?
1:43:48
Yes, where are they?
1:43:50
It's a good morning, Mr. Clark.
1:43:53
Good morning, Ms. Clyde. Are you here, too?
1:43:55
Yeah, we'll be here. I think that's a lot of the kitchen.
1:43:58
We'll sign off, superintendent.
1:43:59
And it's all been pumped.
1:44:01
Thirteen, boys.
1:44:03
Could you all sign right here?
1:44:05
And you here, daddy?
1:44:09
You know, I'm really happy to be going.
1:44:12
I may have been here.
1:44:13
It's changed, so it's been a step a lot again.
1:44:17
So, we're overlooking something.
1:44:19
But, well, we're going to need a signature.
1:44:22
Oh, Dr. Einstein, let's come over here.
1:44:25
We'd like to decide some papers.
1:44:27
I know, just come right over, Doctor.
1:44:29
At one point last night, I thought the doctor was going to operate on me.
1:44:33
Just come right over, Doctor.
1:44:34
Just sign right here, Doctor.
1:44:39
And we're leaving.
1:44:40
I think we're going to school.
1:44:42
I think we're going to do it for a donkey.
1:44:44
I don't think we're going to be so close.
1:44:46
Hello, ladies.
1:44:47
Nice to see you.
1:44:48
Stick around, huh?
1:44:49
What? Don't worry. I'm going to.
1:44:53
Hello, Matt.
1:44:54
You can't get the guy that wants it in again.
1:44:57
Now, there's a description of his report.
1:44:59
It's right on the list. Read it to me.
1:45:01
Yeah, about 54, 556, 140 pounds.
1:45:05
You can't realize what you're just a doctor.
1:45:08
I think it's all nonsense.
1:45:10
It's all lightened, isn't it?
1:45:11
The doctor here just completed the signatures.
1:45:14
Can you stop?
1:45:16
No, no, no.
1:45:18
Mr. Rooster, you sign now as next to skin.
1:45:20
Yes, this part's right here, but that's fine.
1:45:23
That makes everything complete.
1:45:24
Everything legal?
1:45:25
Oh, yes.
1:45:26
Well, aunties, now you're safe.
1:45:28
When do you think you'll be ready to start?
1:45:30
Mr. Woodson, why don't you go upstairs and tell Teddy just what you can take alone?
1:45:35
I'll tell you.
1:45:37
Let's see.
1:45:39
That's not the word.
1:45:40
Mr. Woodson, just thousands of hours.
1:45:43
You see, dear, we're doing...
1:45:45
I'm very worried about something.
1:45:46
Now, darlings, you're going to love it at Hackadale.
1:45:49
Oh, yes, we're very happy about the corporate.
1:45:52
That's just it.
1:45:52
We don't want anything to go wrong.
1:45:55
Oh, they're going to investigate us and we just don't
1:45:58
worry, they're not going to look like Dr. Einstein.
1:46:00
It's not his thing, Mr. Dear.
1:46:02
It's yours.
1:46:03
You see, this sign is next to you.
1:46:06
Yes, of course, why not?
1:46:08
Well, dear, it's something we never wanted to tell you,
1:46:11
but you know, may not have something going to be.
1:46:13
You know, too. You see, dear, you're not really a burster.
1:46:19
You see, your mother can't trust the crook, and you're going about to, oh, three
1:46:24
heads up friends.
1:46:25
She's such a sweet lady, and such a wonderful crook, and you're just going to be there to let her go.
1:46:31
So, I don't know. I'm not really a burster.
1:46:36
Oh, don't say badly about it, dear.
1:46:38
And when they're going to get these two legs away, too.
1:46:41
Are you here? Do you understand? What a bastard!
1:46:45
Well, I really must be about breakfast.
1:46:47
Don't bother, darling.
1:46:49
Mortimer's coming over to my house.
1:46:50
Father's gone to Philadelphia,
1:46:52
and Mortimer and I are going to have breakfast together.
1:46:54
Yes, I need some coffee.
1:46:56
I had quite a night.
1:47:00
It's with you.
1:47:04
Oh, you really don't, darling.
1:47:06
Yeah, there's some people back in Indiana
1:47:08
that have to be careful for her.
1:47:09
She said, come on.
1:47:11
Well, John, I think it's nice to know that you've got someplace to go to.
1:47:15
I need you, too.
1:47:16
Yes, we're going to Huffydale.
1:47:18
And this house is seeing the last of the brief stories.
1:47:21
Unless more and more is like this.
1:47:23
I have a suggestion to me.
1:47:24
Why don't you turn this property over to the church?
1:47:27
Oh, well, I never told you that.
1:47:29
After all, it should be part of the cemetery.
1:47:32
I'm like, keep going.
1:47:33
I'm a busy man.
1:47:34
Goodbye, aunties.
1:47:35
I can't better my record.
1:47:37
Now I don't think, at least I bet that sounds fancy.
1:47:40
The score spans even, 12 to 12.
1:47:45
Mwahahahaha!
1:47:48
You know, Jonathan always was a mean boy.
1:47:51
Never could fancy anyone get ahead of him.
1:47:54
Mr. Witch's Angel family lives with you, happy day?
1:47:57
I have no family.
1:47:59
Oh, well, I suppose you consider everyone a happy daily family.
1:48:03
I'm afraid you don't understand how-
1:48:05
I was going to do institution cards and quite a win.
1:48:08
I thought it would make a very low pay for you.
1:48:10
It does, but my duty is my duty.
1:48:14
Well, Martha, if Mr. Whittestead isn't going to join us
1:48:19
for breakfast,
1:48:20
I think we ought to offer the glass of our elderberry wine.
1:48:25
Elderberry wine?
1:48:26
We make it ourselves.
1:48:28
Ah, yes, of course.
1:48:30
Our happy day, our relationship will be more soon.
1:48:33
But here's...
1:48:33
You don't see much algebraic line nowadays.
1:48:36
I thought I had my life's last of it.
1:48:38
Oh, no.
1:48:39
No, here it is.
1:49:38
We'll be right back.
1:50:37
We'll see you next time.
1:51:03
Thank you.
