Pot O’ Gold (1941)
No renewal found Free in the US since 1 January 1970, on the registry's reading: registration LP10413 of 1941 by James Roosevelt was not renewed in the volumes searched. Record.
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- pot_o_gold on the Internet Archive; released 1941
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- 55 shots over 1:25:30 · 44 beats in 35 sequences · 820 transcript lines · JSON
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- Pot O’ Gold No renewal found
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Check before citing the shot count. Few shot boundaries: 55 shots in 1:25:30 is under one a minute. The detector misses cuts on dark, faded or damaged prints and treats dissolves as continuous; the count is a floor, not a measurement. A 6:56 shot at 0:00 (shot 0): either a static hold or a run of missed cuts. Treat it as unverified.
How this page was made
55 shots over 1:25:30, read from the Internet Archive copy pot_o_gold (pot_o_gold.mp4, 640×480, 29.97 fps). Shot boundaries by PySceneDetect's adaptive detector; each frame links to the Archive's player at that second. Registry dossier: Pot O’ Gold No renewal found. JSON
Measurements: black-and-white film on its keyframes (0 of 55 shots judged colour), average shot 93.3s long, a frontal face detected in 45% of keyframes. Shots are detected automatically and each is represented by its midpoint frame.
Released 1941 (Internet Archive).
44 beats in 35 sequences, cut automatically at shot boundaries scored on picture change, pauses in speech, topic shifts, on-screen text and cutting rhythm (each beat says why it starts where it does). Each is annotated by a vision-language model from four sampled frames and the transcript lines in it, as observations with evidence; anything the frames and lines do not support is left null. Machine annotation (Qwen/Qwen3-VL-235B-A22B-Instruct), checked automatically: quotes must be verbatim, names must be spoken, "visible" events are sampled to a second model. 44 of 44 beats annotated, 44 passed the checks, 0 flagged.
Beats
Passages cut at shot boundaries and annotated by a machine from four sampled frames and the transcript lines in them. Each beat says why it starts where it does and what was checked; sequences are visual groups, not scenes.
3:281 of 1 shots sampled
Model synopsis: A man named Jimmy runs a music shop where a girl named Mary practices piano and trumpet; his uncle Charlie visits to discuss family business, and a third man delivers bad news about an attachment on the shop. The setting is an interior music store with instruments and a piano.
Named: Jimmy (t:1:17), Mary (t:1:17), Uncle Charlie (t:3:00). 5 people observed.
“Hello, Mr. Simmons. Hello. Hello, Mary. Hello, Mr. Haskell.” 1:17 · “Well, Uncle Charlie, hello. I'm glad to see you. Hello, Jimmy. I'm glad to see you, too. Well, this is quite a surprise. What brings you up …” 3:00
Evidence, details and a link to share
7:471 of 1 shots sampled
9:031 of 1 shots sampled
Model synopsis: A man in a suit stands on a balcony railing, shouting down at a crowd below. The crowd, including a woman in an apron and a man in a suit, looks up at him as he threatens to have them arrested for disturbing the peace.
- A man in a suit stands on a balcony railing, shouting down at a crowd. [frame:1]
- The man on the balcony continues to shout, mouth open. [frame:2]
- A crowd on the street looks up at the man on the balcony. [frame:3]
4 people observed.
“What's the matter? Stop that!” 9:31 · “Blast it, Bedlam, or I'll have it stopped. Oh, you will, eh?” 9:34
Evidence, details and a link to share
9:591 of 1 shots sampled
11:111 of 1 shots sampled
13:131 of 1 shots sampled
16:011 of 1 shots sampled
16:551 of 1 shots sampled
18:471 of 1 shots sampled
Model synopsis: A woman in a waitress uniform stands behind a piano while a man sits at it; musicians with brass instruments are visible in the background. The setting appears to be an indoor venue with dim lighting and a small audience.
4 people observed.
Evidence, details and a link to share
19:581 of 1 shots sampled
21:321 of 1 shots sampled
22:451 of 1 shots sampled
24:181 of 1 shots sampled
26:221 of 1 shots sampled
Model synopsis: A uniformed officer directs someone into a doorway while another person is visible inside; the officer then gestures for the vehicle to depart. The scene is indoors and lit by artificial light, with no visible clocks or windows to establish time.
- Officer gestures for someone to move along. [frame:1]
- Officer directs person into doorway. [frame:1]
- Officer gestures for vehicle to depart. [frame:1]
2 people observed.
“Move along.” 26:18 · “In you go.” 26:20
Evidence, details and a link to share
27:511 of 1 shots sampled
31:231 of 1 shots sampled
33:561 of 1 shots sampled
36:091 of 1 shots sampled
37:411 of 1 shots sampled
38:501 of 1 shots sampled
40:051 of 1 shots sampled
40:501 of 1 shots sampled
43:441 of 1 shots sampled
51:501 of 1 shots sampled
52:531 of 1 shots sampled
54:131 of 1 shots sampled
Model synopsis: An older man in a dark suit interacts with a radio in a dimly lit room while speaking with others off-screen about hearing music and bugles. He later claims to see paper dolls dancing on a lawn, prompting concern from others who suggest he rest.
- Uncle Charlie points to the furnace and insists others listen to the music. [frame:1]
Named: Uncle Charlie (t:53:26), Jimmy (t:53:47), Mr. Hassel (t:53:26), Parks (t:54:09), Doctor (t:54:51). 5 people observed.
“It's not the radio. Do you still hear it, Uncle Charlie? Yes, it's still playing. Mr. Hassel, tell me. Where does this music seem to be comi…” 53:26 · “Here it is! It's coming from the furnace. Music in first. Well, listen yourself. Jimmy, please tell them it's New Year's.” 53:56
Evidence, details and a link to share
57:301 of 1 shots sampled
Model synopsis: A man in a suit confronts another man in a private office, demanding he sign a legal document about a radio program's cash giveaway. The conversation reveals legal and financial stakes, including potential jail time, while a third party arrives to discuss federal regulations on the giveaway method.
- A man in a dark suit stands facing another man in a light suit in a private office. [frame:1]
Named: Mr. Haskell (t:66:40), Jimmy (t:68:28), Molly (t:68:31), Mom (t:71:08), Mr. Sampson (t:69:34), Mr. Louderman (t:69:18). 8 people observed.
“Now, Mr. Haskell, trick your way out of that” 66:40 · “A statement that you did not authorize Miss McCorkle to make that announcement last night.” 67:36
Evidence, details and a link to share
Model synopsis: A chaotic scene unfolds around a large spinning wheel on a stage, with people shouting, arguing over a phone, and preparing for a prize draw. A man named Horace is involved in the wheel's operation, and a page number is revealed as 66.
- People gather around a large spinning wheel on a stage. [frame:1]
Named: Horace (t:79:17), Daniel Boone (t:78:24), Larry Cotton (t:79:21), Mr. Haskell (t:80:10). 8 people observed.
“All right, there's a wheel. Now how are we going to borrow it?” 77:29 · “Okay, what's with the snooki? Get going. All right, so time this year requires ten cents a day. Who wouldn't get a dime for a condition in…” 77:39
Evidence, details and a link to share
Transcript
Machine transcription of the Archive copy's audio with Whisper large-v3-turbo (temperature 0); the model heard it as en. 820 segments kept, 149 dropped as the kind of hallucination the model produces over music and silence. Each timestamp links to the Archive's player at that second. This has not been checked against the film and can be wrong.
- 1:17 Hello, Mr. Simmons. Hello. Hello, Mary. Hello, Mr. Haskell.
- 1:24 It's little enough for letting Mary come here and practice every day. Ah, it's all right.
- 1:30 How's she doing?
- 1:31 Just don't you discourage her. She keeps up this practice and she'll be able to play real good.
- 1:36 I'll be back in an hour. - Okay, I'll take good care of her.
- 1:39 All right, hop to it, Mary.
- 1:55 Hurry up. Give me an A, will you?
- 2:11 Hey, Jimmy, when are you going to get some new records? Why, you kids haven't quite worn off the old yet. Won't be long now.
- 2:19 Hi, Tommy. Here's the minutes for my last lesson, Jimmy. Tomorrow I'll bring the bacon. Okay, here's your...
- 2:25 Oh, and I think you left your music over there someplace.
- 3:00 Well, Uncle Charlie, hello. I'm glad to see you. Hello, Jimmy. I'm glad to see you, too. Well, this is quite a surprise. What brings you up in this neck of the woods? Well, I came up to see you. Since you didn't take the trouble to answer my letter. Letter? Oh, well, I wanted a little time to think at home. Well, come on in, Uncle Charlie.
- 3:30 I wrote you three months ago. Oh, is it that long? I don't know you know how it is. The fella gets busy every night. These things apply well that you have to change the oil every thousand miles. Jimmy, Jimmy, I came up to have an important talk with you. Oh, yeah, go ahead. I'm listening.
- 4:00 Can't we go someplace without this imperial racket? Oh, oh, yeah. Well, go right in my room there. Where? Right over there.
- 4:12 There we are.
- 4:15 All right.
- 4:16 Oh, not that chair, Uncle Charlie. That needs a little fix.
- 4:19 Took it in on a trade for a secondhand clarinet.
- 4:23 Jimmy.
- 4:24 I'm not going to beat around the bush.
- 4:27 As you know, you and I have not been very close.
800 more segments
- 4:30 After all, we are the last of the Astros.
- 4:33 Well, is that very serious? It is to me. I want to keep the name of Haskell in the health food business. Yeah, well, I...
- 4:40 Understand how you feel, Uncle Charlie. I want to keep the name of Haskell in the music business.
- 4:44 I'm talking about big business. Can't you understand?
- 4:49 I need you, Jimmy.
- 4:51 Someday you're going to get everything I've got.
- 4:55 But you're not going to get it if you persist in frittering your life away in this town.
- 5:00 This whistle stopped.
- 5:04 I like it here.
- 5:06 My dad was happy here.
- 5:08 Oh, I could never understand, my brother.
- 5:12 And I told him when he opened this place, he'd never make a go of it. Well, he kept it failing successfully for 25 years. That's not bad.
- 5:21 If he'd listened to me, he'd been a rich man.
- 5:24 But no!
- 5:25 So what did you have when you died?
- 5:27 Biggest funeral this town ever saw.
- 5:30 Everybody was there. Why not?
- 5:32 Everybody owed him money.
- 5:34 Maybe so.
- 5:35 Dad just had a wonderful time living. He liked things. He liked to hunt and fish. He liked music. Music!
- 5:42 No, it's...
- 5:44 He talked a great deal about you. He did?
- 5:47 always seemed to...
- 5:48 I feel so sorry for you.
- 5:50 Sorry for me!
- 5:52 didn't get anything out of life, just making money. Is that so?
- 5:56 Since when has making money been a crime? Since when...
- 5:59 Oh, I'm not going to argue with you.
- 6:02 And I'm not going to let myself be upset. No, sir. Jimmy! Jimmy!
- 6:09 Uncle, I'm sorry. Don't hit him, Jimmy. He's an old man. Oh, no. It was just a chair, you see. Oh, you heard Uncle Charlie. Oh, don't mind me.
- 6:18 Oh, hello, bud. Can I talk to you for a minute?
- 6:20 Oh, yeah, well, outside here. Will you excuse me a minute, Uncle Charlie?
- 6:25 All right.
- 6:26 I'm afraid I got some bad news for you, Jimmy. Oh, what's the trouble, bud?
- 6:30 I'm supposed to tag up this attachment, but she can dig up some money.
- 6:33 Oh.
- 6:34 Well, I guess you have to pack it up.
- 6:36 Unless you think eggs are gonna go up to $500 a dozen all of a sudden.
- 6:41 I'll see what you can do.
- 6:50 Oh, I was, uh...
- 6:52 Uh, you're just telling me about some people that--
- 6:55 musical instruments.
- 6:56 He's the sheriff, isn't he?
- 6:58 How'd you know? I knew his father.
- 7:00 He was serving a paper on your father the first time I came up here.
- 7:03 That's right.
- 7:05 Well, Jimmy, what's it gonna be?
- 7:07 You can stay here chasing rainbows or you can come with me. I can show you a real pot of gold that's yours for the taking.
- 7:12 I... Wait a minute.
- 7:14 That's a good idea for my radio program tomorrow night.
- 7:19 You've heard my happiness hour, of course? Oh, yes. Everybody's heard that.
- 7:22 once.
- 7:23 Listen to this.
- 7:25 The clouds that make the day so gray must sooner or later pass the waves.
- 7:30 There's always a pot of gold at the end of the rainbow.
- 7:33 Good old homespun philosophy. Oh, boy.
- 7:38 Well...
- 7:40 I've got to be going.
- 7:41 What are you going to do?
- 7:43 Well, I'll tell you, Uncle Charlie. I...
- 7:45 Unless a miracle happens in the next few days, looks like I'll slide down that rainbow.
- 7:53 Land right in the pot.
- 8:02 What was I saying? And furthermore...
- 8:05 And furthermore, I see no reason for changing...
- 8:09 What was I saying?
- 8:10 And furthermore... And furthermore, I see no reason for changing the air guns we are now using to puff our rice and other cereal.
- 8:19 Our present air guns are exceptionally quiet in operation.
- 8:23 I therefore would suggest that... there goes that band again.
- 8:32 Oh, well, let's see.
- 8:35 Come on.
- 8:44 How can a man transact any business with that going on day after day? Tom Tom.
- 8:49 Jungle screeching.
- 8:50 They're a menace to sanity. What did I say? Tom Toms and jungle screeches. No, no, but that's what I mean.
- 8:57 The McCordons took that band in their house just to annoy me.
- 9:01 That's why they've ignored all of my protests. Well, I understand it's a new band just organized. Who wants a new band?
- 9:08 Let him organize in the cave somewhere. Boom, boom, boom, boom, boom. Whoa, whoa, whoa, whoa, whoa. I'll settle this nonsense for all.
- 9:17 Hey! Hey! You! Hey! Hey, you! Hey! Somebody! Hey! Hey! Hey!
- 9:31 What's the matter? Stop that!
- 9:34 Blast it, Bedlam, or I'll have it stopped. Oh, you will, eh?
- 9:38 You and who else? The police!
- 9:41 I'll have that gang of noisy loafers thrown in jail for disturbing the peace. Disturbing the peace, are we?
- 9:51 What about that air gun of yours booming all day and night?
- 9:54 I suppose that's a baby's lullaby, you white-headed old baboon.
- 10:01 That boomin' is business, and besides, we're all used to it. The band is business, and you'll get used to it too, it's your own hard luck.
- 10:08 I'll get out an injunction.
- 10:10 Oh, you will, eh? Well, listen, you black-hearted old skinflint.
- 10:15 For years you've tried every trick to make me sell my house here so you could enlarge your factory.
- 10:20 Well, I'm not selling, Haskell. Not at your price.
- 10:24 So go ahead.
- 10:25 Call the cops if you think you can have this van thrown out of here. You just wait.
- 10:30 You'll find out.
- 10:32 - - Go ahead, boys! Go to it, but no! Ha-ha! Jasper! Go get Jasper.
- 10:42 Duffer!
- 10:44 -Jumper!
- 10:45 Go get him, find him, don't stand there like a dummy.
- 10:48 Do I have to do everything myself around here? Jasper! Jasper! Do you want me, CJ? Do I want you? Why aren't you here when I need you? Go get the police! The police, CJ? The militia! If necessary. That McCorgall woman has insulted me for the last time. But you've said that before, sir. I know, but this time I mean it. That band is driving me insane. It certainly is. Well, have him arrested. I will. But!
- 11:24 Hi, Si. What's cooking? Hi, Si. How's she looking? Life will be as sweet as can be. If I can find a cookie that's looking for me. Hi, Si. All day long, I wasy and dry. To be my little cookie, I'd wait from Shanghai. Shine for you. Hence, hence, surprise, a revenue. Your dogs will get a real shampoo. The real will glow.
- 12:00 Bum dee dum dee, diddle dee dum.
- 12:03 The fortune teller told me I was going to clean up.
- 12:14 Are the apples good?
- 12:15 Just like I sell the Ritz-Carlton. But then they ought to do for the McCorkle.
- 12:19 I'll take a half a dozen. Here, Willie. What am I, a pack horse?
- 12:26 Come on.
- 12:34 Oh, my God.
- 12:36 Thank you. Come on. Too bad you can't carry a few bundles without complaining. Oh, I don't mind carrying them.
- 12:47 Well, who are you? I'm the guy in the Bumble.
- 13:04 For instance,
- 13:05 Well, for instance, band music coming down out of the sky in broad daylight. That's up on our roof. On your roof, is it? The band is strictly on the house.
- 13:14 until we get a job. What do you do with the band? Well, my sister Donna and I sing with it. My brother plays in it, but mother feeds it.
- 13:20 Oh, I see.
- 13:21 Well, it certainly is a swell band. There's a slight difference of opinion around here about that.
- 13:25 Oh, you mean the neighbors object? Oh, no, the neighbors object.
- 13:29 Uh-oh.
- 13:30 Here comes trouble.
- 13:34 Well, Mr. Cargo, as you can see, I'm here with the law. For protection, huh? Certainly not.
- 13:39 We are here to give you the last warning.
- 13:40 That music must cease, definitely, once and for all. I'm coming, Molly! What does this weasel want this time, Mr. Dick? I didn't know. No violence now. Speak to her, officer.
- 13:51 Hello, Mom. They're in bad company, Mac. Well, I've been sent to deliver an ultimatum. Oh, you have, have you? Yes, and that van must go. They're disturbing the peace of the entire neighborhood. Oh, the entire neighborhood. Oh, the entire neighborhood. Oh, you're a good man.
- 14:04 Does it disturb you, Mrs. Papadolish? Not to me. It keeps me young. Disturbished past. What about you, Mrs. Sweeney? It's a big advantage to me. My old man can't fight when he hears music.
- 14:17 They will with me.
- 14:21 - No movements, the rough you-- - Now go back to your kennel and tell old man Haskell what you've heard. Go on now! Hey! Hey, what's going on here? You've heard about the feud between the Hatfields and the McCoys, haven't you? Yeah.
- 14:36 Well, this is the one between the McCorkles and the Haskells.
- 14:38 What'd you say? Who? Come on.
- 14:42 What are you doing? Looking for a nice, soft...
- 14:45 - Oh, quit kicking me! - Look out.
- 14:50 Now, just a minute.
- 14:52 You might miss him.
- 14:54 Go, man.
- 14:55 Um...
- 14:57 Oh, you hoodlums! You'll pay for this, you hoodlums! Now!
- 15:02 Try the sidecatch. Oh! Gosh, you hit the wrong man. Oh, no, you didn't. You hit the right man. Ron! Well, wait. Come on!
- 15:15 Oh, it's blood! I've been shot! I've been stabbed! You're all right, P.J. Take it easy! No, I'm not all right. Call the doctor. Call an ambulance. But that is not, P.J.! It isn't blood. What is it? What is it? Tomato juice! Tomato juice!
- 15:33 Oh, it's clear. Come on in.
- 15:38 true.
- 15:38 Boy, you sure do know your backyards and fences. Oh, I'd have made better time yet if I hadn't had to wait for you. Well, I didn't want to ask you to carry my suitcase.
- 15:50 Have a doughnut, hero.
- 15:52 The best I can offer. - Hi. You're old me. You certainly are.
- 15:55 You know, I wouldn't be surprised if they put up a statue of you throwing that to me. You know, like the discus fellow. Oh, well, that was an accident, hitting my, uh, that man.
- 16:03 Accident?
- 16:04 That was a stroke of genius.
- 16:06 You only knew how everybody hates old man Haskell. I do what?
- 16:10 Why? I could give you a reason for every dollar he's got in the bank. Do you know that he tried to drive us out of our home because he doesn't like music?
- 16:17 It's sort of a stacker, isn't it? It's in half.
- 16:20 Believe me, the name of Haskell's pure poison around here.
- 16:23 It is.
- 16:27 Hmm.
- 16:30 Yes, I'd better be gone.
- 16:32 Oh, what do you have? Well, I have to find a place to live. I sort of expected to live with a relative of mine, but it doesn't seem like a very good idea now.
- 16:39 Well, if you'd like a place where there's never a dull moment, what's the matter with this? Why, the door?
- 16:44 What's going on here?
- 16:45 Who are you and what do you want? Mommy's looking for a place to live. Oh. Are you a new member of the band, or would you be living here at a cash basis?
- 16:52 Mom, this is the fellow that hit old Manhattan with a tomato.
- 16:56 Oh, glory be. Oh, you darling, why didn't you tell me? So you're the fella. Now listen, young man, you're not looking any further. You're going to live right here with us. Here, give me the back. Well, that's very nice of you, but I... Pardon me now, buts now. Why, the bathroom in the house is none too good for you.
- 17:15 Whether you can pay for it or not. Come on now, give me the bag. You're not leaving this house. I'll take the bag. Well, it's silly. Put it out of here. Molly, but listen for you. Has that arrangement finished? Oh, why don't I? I want you to take this bag up to the big room. Oh, can't anybody besides me ever carry a hand around me? Go on with you now. You're on with Gumbler. I'm not gruffing. Let me see it, Horace.
- 17:35 Gee, these changes are swell. Slide over, Frankie.
- 17:38 Come on.
- 17:40 All right, boys, let's go.
- 17:43 The Piper
- 18:13 Ray, Ray, when they're lively, they catch the piper beat. They start to sway and then it isn't long. Till all the folks are dancing, their hearts are gay. When he will play them a song.
- 18:30 When he's done all that, they pass the hat for fascination, beat the piper band.
- 19:14 *phone rings*
- 19:18 I'm sorry, I didn't mean to butt in.
- 19:20 Get 'em, boys.
- 19:26 Say, I didn't mean to bust things out, please.
- 19:31 Can you read music? Sure.
- 19:32 Play it like this. Me?
- 19:34 And over there.
- 19:38 Okay, Frankie, pick it up.
- 20:00 The Camels Are Coming!
- 20:30 People play them a song. When it's done all that, they pass the hat. A fascinating piece of Piper Man.
- 20:45 Fascinating piece of Piper Man.
- 21:05 - Mr. Hoyt.
- 21:06 Greta's been pounding a beat out by the garbage dumps.
- 21:08 A little argument with old man Haskell.
- 21:10 Come on, lad. Well, Brady, you should have been here a little while ago. You'd have been even for life. Yeah, what happened? Oh, boy, bloody.
- 21:20 What do they call poetic justice? It must have been good. Good. It was perfect.
- 21:27 Well, come on. Come on. Out with it. Well, old man Haskell came steaming over here. Yeah. And he got hit with a tomato. Oh.
- 21:37 Right in the kitchen.
- 21:40 It was a soft one, naturally. A hip and run kind. Oh, boy. Nobody knows who did it, I hope. No, nobody but me.
- 21:55 But I'm big hearted.
- 21:56 Boys?
- 21:57 Meet the sharpshooter.
- 22:05 Molly McCorkle, will you never learn to keep your big mouth shut?
- 22:10 What did I say?
- 22:11 too much. Open up, boys. Open up. Open up.
- 22:18 My boy...
- 22:19 You should have a medal.
- 22:21 Yes, sir, I'm sorry I can't be giving you one instead of this.
- 22:27 What is it?
- 22:27 It's a warrant for assault and battery. Old man Haskell swore it out.
- 22:33 Come on, son.
- 22:39 Wait.
- 22:39 Hey, wait a minute, Brady.
- 22:43 Wouldn't you like to give me a good swift kick before you go?
- 22:47 Oh, that's all right. This has been fun here, and I enjoyed jumping over the fences with you.
- 22:52 If I ever get this thing straightened out,
- 22:55 Hope you'll let me come back sometime.
- 22:58 And, uh...
- 23:01 All right.
- 23:03 uh...
- 23:05 Well, come on, Grady. Oh, yes.
- 23:10 The next case...
- 23:13 Hold everything, Judge with me right there. Smalley, where are you? Come on, hurry up the case and start it. Order. Order in the courtroom.
- 23:22 Mary McCorkle, sit down.
- 23:25 Now listen, Mike. Don't you be getting on your high horse with me.
- 23:29 Sit down.
- 23:34 Now, what's this case all about?
- 23:37 Young man, what's your name?
- 23:39 My name?
- 23:40 I prefer your real name.
- 23:44 Uh-huh.
- 23:46 I...
- 23:48 My name is...
- 23:49 James?
- 23:51 Hamilton...
- 23:52 James Hamilton.
- 23:54 Yeah, put that down.
- 23:55 And where do you live, James Hamilton?
- 23:58 He lives with us at my house.
- 24:00 419 63rd Street.
- 24:03 Now tell me, James, how did you get enmeshed in the coils of the law?
- 24:11 I...
- 24:11 Throw a tomato.
- 24:15 He's still modest, Mike. Give me the bullseye right to the old man Hosker's face. He did?
- 24:23 up
- 24:27 Where were we? I'd just thrown the tomato, Your Honor. Oh, yes, yes, yes, yes. Now tell me, Jimmy, my boy,
- 24:37 Did you with premeditation and intent
- 24:40 Did liberty aim at the foresaid Haskell's face, certainly.
- 24:44 - Wow. - And the defendant refuses to answer on the grounds that he...
- 24:48 Might incriminate himself. Glory be, might you certainly know the law.
- 24:53 Having weighed the evidence, the court rules that the case be postponed
- 25:00 Had the defendant released on bail?
- 25:04 provided anybody has any money.
- 25:07 We have $200. Is that enough?
- 25:09 And that was the exact sum that the court had in mind.
- 25:13 Who has it?
- 25:14 I have it, Your Honor. The clerk will accept it.
- 25:19 Next case.
- 25:21 - Thank you, Mike. - Stand aside, please.
- 25:24 Will you move over? I told you, of course.
- 25:26 I'm not pushing you. Oh, take it easy. Wait on you. Don't you push me. Here comes double new mordia.
- 25:33 Open the window, boys. I smell still tomatoes. Very funny, Mrs.
- 25:39 McCorkle, very funny.
- 25:40 I only wish it had been you that threw that tomato. So do I.
- 25:44 Only I'd have put a rock in it. No, you wouldn't. Well, let me tell you.
- 25:52 Proceed with the case, Judge.
- 25:54 I'm here.
- 25:55 Where's the man that assaulted me? If you don't mind, I'll conduct this case without any advice from you.
- 26:02 Back, gentlemen, Mike!
- 26:18 Move along.
- 26:20 In you go.
- 26:26 All right, take it away, Eddie.
- 26:32 I bring a legitimate charge against the hoodlum.
- 26:36 And before I can give my evidence,
- 26:38 The thug is permitted to walk out right under your nose. In the first place, he wasn't under my nose.
- 26:43 And in the second place, the defendant was released on bail.
- 26:46 And in the third place, you're in contempt of court.
- 26:49 And I sentence you to 25 days or $25. Oh, that ain't enough, Mike. Quiet, quiet.
- 26:55 This is an outrage. It's...
- 26:57 It's a travesty on justice. Fifty dollars all fifty days. What? Make up your mind.
- 27:03 It's worth 50 to tell you what I think. Is it worth 100?
- 27:07 All right.
- 27:08 But you wait until the next election.
- 27:11 You wait until... I'm waiting.
- 27:14 Until...
- 27:15 Uh...
- 27:16 Your Honor,
- 27:18 It appears that I haven't any money with me.
- 27:20 Take him away, bailiff. You can't do this to me! The car's the car's the reason, sir. You can't do this to me!
- 27:26 I'm sorry.
- 27:31 And he saved the king.
- 28:11 You gotta get up, you gotta get up, you're in the army now.
- 28:19 Johnny blows the bugle, knows the call from A to Z, but he's always at his best.
- 28:26 When blowing red a leaf.
- 28:34 When Johnny troops is formed, disturbing the peace at break of the dawn. You gotta get up. You're in the army now. Before your eyes are open, you're dressing on the run. And standing at attention with the sergeant's hat on the corporal's gun. Oh, Johnny, close and close. He totally took you into your clothes and makes you rule the day that you were born. There you were born. There's nothing anyone can do. The captain has to make it do.
- 29:04 Honey toots his horn.
- 29:13 Come on.
- 29:31 He took you out of slumber, he took you out of bed. He took you into line and then he goes somewhere and he hangs his head. But still he blows and blows and blows, blows and blows, blows and blows. He wakes you with this crazy tune that goes to bed and sleeps to noon.
- 30:01 suits his fawns.
- 30:04 He stands behind the barricade and plays his morning serenade. The private gets up. The corporal gets up. The sergeant gets up. The lieutenant gets up. The captain gets up. The major gets up. The title gets up. The general gets up. The army gets up.
- 30:45 Music! Music! Even in jail I hear music. You'll get used to it.
- 30:53 Is it? Huh? Let me down! Take your hands off of me and stop this nonsense!
- 30:59 You're nothing but a lot of hoodlums.
- 31:02 Jimmy, my boy! Uncle Charlie will fancy meeting you here. It's a gross miscarriage of justice. But they can't do this to me.
- 31:12 On the other hand, what are you doing here?
- 31:14 Oh, well, just another country boy got mixed up with a lot of evil companions.
- 31:25 We have more prisoners in here than we have commitments. Someone's sink into our jail. What? Yeah.
- 31:30 You fraud and the taxpayers, that's what it is. All right, gangway boys, come on, come on. Line up over there, line up.
- 31:36 You. You.
- 31:37 What's your name?
- 31:38 Haskell.
- 31:39 OK, we got a Haskill. All right, stand over there.
- 31:42 What's your name?
- 31:43 Ask him.
- 31:45 Oh, wise guy, huh?
- 31:47 I suppose you're all named Haskell. Yeah! What's your initials? Uh, James H.
- 31:52 I got no James H. Nothing. So you're the stowaway. Come on, get out of here. You ought to be locked up for pulling a stunt like this. James, my wallet is on my desk in the office. Get it and pay my fine, will you? OK. Charlie, be right back. So long, fellas. Oh, Jimmy. Oh, Jimmy.
- 32:09 - Go!
- 32:12 Hey.
- 32:13 Can you sing?
- 32:14 No, I hate music.
- 32:16 We gotta do something about this, boys.
- 32:39 Hey! Jimmy! Where have you been? Yeah. Yeah.
- 32:44 Oh, well, I...
- 32:45 Me? Oh, I--
- 32:47 I have to...
- 32:48 What's the matter?
- 32:49 - Well, we've been looking all over town for you. - Yeah. - Yeah? What for? - What for? Oh, boy! Come on!
- 32:57 Hey, here's Jim! Molly!
- 32:59 Jimmy's here. - What? What did I tell you? I knew he'd come back.
- 33:04 What happened and where have you been? Oh, I got locked up again by mistake. Oh, you certainly had the boys worried. They've been sitting here chewing their fingernails, thinking you'd run out on them. Well, why am I so popular all of a sudden?
- 33:14 They pawned their instruments to bail you out.
- 33:16 Molly's idea.
- 33:20 Very nice to know that I'm worth $200 on the hoof.
- 33:23 First call for dinner! Jimmy, you're back!
- 33:28 Oh, you'll be at the first table. Take care of them, Molly.
- 33:31 Don't touch her thing!
- 33:36 Get up from the table, all of you. Why, what's the matter, Ma? We've forgotten you have a new membership initiated to the class. Here, you sit.
- 33:43 - Come on, Willie, get a picture. - Come on, now, and stop your--
- 33:48 All right, action.
- 33:54 Right now.
- 33:55 - Okay.
- 33:59 Hail McCorkle, hail McCorkle, we'll proudly sing thy praise.
- 34:16 Hail McCorkle, hail McCorkle. And no one ever pissed.
- 34:27 Welcome to this university for the fraternity.
- 34:31 So full of knowledge, rah, rah, welcome to our little college, hooray! And as we march along, we'll sing our college song!
- 34:46 A knife, a fork and a spoon. We'll be down the happy dew. You'll all feel chummy as you fill your tummy with a knife, a fork and a spoon. Start tap, tap, tap in the dish. You'll get your favorite wish. Send troubles as you want to corn, be passing with a knife, a fork and a spoon. At Mama Corko's table, that's where we play each night.
- 35:16 So we may fuss, it's home to us. So come on, lift up your cup. Let's drink it down, bottoms up. Through stormy weather, we'll all stick together with a knife, a fork and a spoon.
- 35:38 We're gathered round the table.
- 35:44 We're real friends, true and true.
- 35:50 We're gathered round the table
- 35:56 To eat Mother's Irish stew
- 36:01 As I restewed
- 36:11 Boarding House
- 36:29 Dear boarding house
- 36:31 From thee we'll never roam.
- 36:39 Old boarding house
- 36:42 Dear morning hounds to us
- 36:47 Your homes be home.
- 36:58 - Say, that was all right. You can now consider yourself a full-fetched member of the McCarklin class. - Oh, do I make a speech? - If you do, he'll starve to death. Hey, look at this Irish stew.
- 37:12 There you are. Tobados? Thank you.
- 37:17 Well, help yourself.
- 37:20 No tomatoes.
- 37:44 Would you excuse me? I don't feel very well. Oh, it's probably too much excitement. I'll be all right.
- 37:50 the jail and everything, you know.
- 37:52 Well, I think I'll be all right if I can go out and get some fresh air. Willie, you'd better go with him.
- 37:55 Sure.
- 37:56 Oh, well, you don't...
- 37:59 I'd be better off if I just went up to my room for a while.
- 38:02 Will he show him his room? Come on. Willie does everything around here except eat.
- 38:09 If you want anything, just haul it.
- 38:18 Oh,
- 38:37 4th.
- 38:43 When Johnny toots his horn.
- 38:46 Disturbing the police, the breaking of the law, and you gotta get out. - No, no, no. - It's outrageous, outrageous. - I know it, but you're getting better. - I don't want to be better, and I still hate music.
- 38:58 You're so unreasonable. All right, all right, all right, all right.
- 39:02 Now try it again and put in some gestures.
- 39:05 When Johnny doots his horn
- 39:07 Disturbing the peace and breaking the dawn, you gotta get up.
- 39:11 You're in the Army now, before your eyes are opened.
- 39:15 You're dancing on the run
- 39:17 The corporal's got the sergeant at attention with his car. And now he blows and blows. He's a little too.
- 39:32 Where have you been? You'll be sorry for this.
- 39:36 Look what they've done to my voice.
- 39:39 How am I going to broadcast the Haskell happiness hour tonight?
- 39:44 Well, would there be any complaints if you just called the whole thing off?
- 39:47 What? Tell them you lost your voice singing in a jail.
- 39:50 Don't bear it in the air!
- 39:54 Ladies and gentlemen, due to circumstances beyond our control,
- 39:57 I'll go home, Mr. Lutton.
- 39:59 Come on.
- 40:00 We again bring you to Haskell Horos Happiness with C.J. Haskell.
- 40:03 Makers of Haskell's Paddock Cakes, the health food supreme.
- 40:07 Ladies and gentlemen...
- 40:09 I can't do it. I'm sick. I'm croaking.
- 40:12 Jimmy, you do it for me. Oh, yes. Oh, yes. Mr. Hasfield will be with you in just a moment.
- 40:24 Ladies and gentlemen!
- 40:28 All right.
- 40:29 I want to share a little poem with you.
- 40:33 He...
- 40:35 We all should be grateful and happy as kings.
- 40:38 The world is so full of such wonderful things.
- 40:42 The rain and the sun help the earth
- 40:44 - You grow wheat?
- 40:45 perhaps
- 40:46 - Hey, Willie. - ...of any cereal we...
- 40:49 What do you want? Listen to this, will you?
- 40:51 The sun on the ocean sparkling and bright. What do you want to listen to that stuff for? Just listen for a moment. The breeze and the planets at night.
- 40:58 The pansies...
- 41:00 The pansies and lilies, the primrose so fickle,
- 41:04 They're ours to enjoy without spending a nickel.
- 41:07 The parade!
- 41:23 Good evening, sir. Good evening, Parks. Parks!
- 41:28 Come on.
- 41:30 Is the guest room in order? Certainly, sir.
- 41:34 This is my nephew, Mr. James Haskell.
- 41:37 Oh, my God.
- 41:40 How old you do, sir?
- 41:42 Same to you.
- 41:43 - Pardon me, if you look, he's in the car, sir.
- 41:46 I'll catch you.
- 41:46 Oh, I just had one suitcase and I left. What are you whispering about?
- 41:50 I don't know who you started it, sir.
- 41:52 I lost my voice singing. Singing? You, sir?
- 41:55 Yes, I... I think I'd better go and get my suitcase. You won't need it. We have everything here. Come on.
- 42:12 In case you need anything, it's right there. Oh, that's fine.
- 42:16 We'll have breakfast at 7.30. Then I'll take you over to the factory and introduce you around.
- 42:22 Best of all, I'm going to put you on the payroll. I don't imagine you've got much money.
- 42:28 Well, your cashier cashed a check for me.
- 42:31 Your personal check?
- 42:33 - Huh?
- 42:34 Oh, no, it was certified.
- 42:36 No, $214. That's what was left when I closed up shop. Oh, well, that dismal episode is behind you forever, my boy.
- 42:44 Tomorrow is another day.
- 42:46 With more music by the McCarcles, probably.
- 42:49 Jimmy!
- 42:51 That old lady is deliberately trying to wreck my health. But why? Just because I want her property. Oh, that's very unreasonable. It's getting on my nerves. I can't stand it any longer. Well, Uncle Charlie, why don't you go on a vacation?
- 43:07 And let the McCorkles think that they're chasing me out of town. That's just what they want.
- 43:13 Nothing is going to stand in the way of my getting the man who hit me with that tomato.
- 43:23 This is my room if you want me.
- 43:28 I'm going to take a hot bath and a hot toddy and go to bed. Good night, Jim.
- 43:33 Goodbye, patrol.
- 43:48 Oh, my God.
- 44:02 Oh, dear.
- 44:06 Do you believe in fairy tales? I do. I know a place where fairy tales come true. Just close your drowsy eyes, my dear, and a genie will appear.
- 44:36 And through a star-embroidered sky On a carpet you will fly
- 44:45 And you'll await in fairyland.
- 44:53 A prince will ride upon the sea.
- 45:03 You say, fair lady, be my queen. La, la, la, la, la. Ooh, ooh, ooh, ooh, ooh. In this beautiful land of laughter,
- 45:17 You'll live happily ever after
- 45:23 If you believe that fairy tales come true.
- 46:09 Do you believe in fairy tales? I do.
- 46:39 Just close your drowsy eyes, my dear, and a genie will appear. He'll take you by the hand and throw a star-embroidered sky on a carpet.
- 46:59 You will fly and you'll awake in fairy love. Do you believe in fairy tales? Can't, Duke, stop that infernal music! You're white-handed, old Ravoon. This is Jasper. Quiet, Wynch! Jasper, Jasper, where are you? Yes, CJ. Go and get up, Jasper. Okay, CJ. Run, Jimmy, run for your noise! Run, Wynch!
- 47:29 My old friends will ride upon the sea.
- 47:35 Run, Jimmy, run for your life! Look out! Look out, he's got an axe! Don't you touch him! Look out!
- 47:43 - I want you.
- 47:44 Michael.
- 47:52 What a dream I was having.
- 47:56 Well, you just keep right on dreaming. Okay with me?
- 48:08 Oh.
- 48:14 Good night.
- 48:16 Good night.
- 48:38 Uh-huh. Uh-huh.
- 48:39 Was anything wrong?
- 48:41 We heard you on the radio. You did.
- 48:44 Wasn't I terrible?
- 48:47 Molly here? No.
- 48:48 Oh, she didn't? Well, that's good.
- 48:50 Look.
- 48:51 Just what goes on between you and C.J. Haskell?
- 48:53 Oh.
- 48:55 Well, I might as well tell you. He's my uncle.
- 48:57 - Oh, yeah? - Yeah.
- 48:59 Well, here. I'll prove it to you.
- 49:00 Here's a letter he sent me. It's James Hamilton Haskell. That's me. Here. You want to read it? No, I read enough.
- 49:06 Say, what is this? What are you doing here?
- 49:09 Oh, well, I almost forgot what it came for. In the first place, there's $200. Now you can get your instruments out of Hawk. Did you get that from your uncle?
- 49:16 You don't know my uncle.
- 49:18 Thank you, Jim. That's all right, that's all right.
- 49:20 I like the people in this house.
- 49:22 especially, well, I like everybody.
- 49:25 I still like to live here all the time, but...
- 49:28 Soon as Molly finds out who I am, she'll kick me out in the alley. Well, suppose she doesn't find out?
- 49:33 Well, that'd be very nice, but-- Oh, look, you've been regular.
- 49:36 You didn't have to come across with that door.
- 49:38 I'm for you, Jimmy.
- 49:39 How about you, Hire? Sure thing. I'm for you.
- 49:44 No, I still got troubles. Don't you see? Sooner or later, Molly's going to find out who I am.
- 49:50 Just like sooner or later,
- 49:51 Old man Haskell's gonna find out who threw that to me, and that it just won't work.
- 49:56 Either way, I'm a dead duck.
- 49:58 The guy's you're up, we're gonna find out.
- 50:01 Well, he'll see me at the trial, won't he?
- 50:03 What would happen if Uncle Charlie didn't show up for the trial? They'd throw the case out of court.
- 50:08 Well, there's your answer. We're getting rid of Uncle Charlie.
- 50:10 Oh.
- 50:11 Well,
- 50:12 We'll let Red run over him with the ice wagon.
- 50:14 What do you think he'd do it? Oh, you couldn't do that? What do you mean we couldn't do that?
- 50:18 Fred would love it. I'll go get him. Oh, wait a minute. Hold on here. Couldn't you do something not quite so drastic?
- 50:24 Any ideas?
- 50:26 Yeah, I think I'd better go back to Point Jervis.
- 50:29 Uncle Charlie's a pretty tough guy to deal with. And from the way he talked tonight, you better find someplace else to rehearse your band.
- 50:40 Jim, wait a minute.
- 50:41 That's it.
- 50:42 The band.
- 50:43 He doesn't like it. No, he certainly does not.
- 50:46 What? Come on. Come on.
- 51:27 I'm going to go.
- 51:37 Don't shoot, Bill. You're going to get more food, you slug.
- 52:17 Jimmy! Jimmy!
- 52:23 Here he comes. Do you think it'll work for us? If he's whiskered, don't fall off.
- 52:28 Uh, yes, Uncle Charlie.
- 52:31 What are you doing down here? And who is this man? Well, I'll tell you, Uncle Charlie, I got worried about you. I couldn't sleep, so I called in a specialist. Now, this is Professor Height. This is my Uncle Charlie.
- 52:42 - Oh, no. - Nox, it's I don't need a doctor. I eat my own health foods. It's my nerves that are cracking.
- 52:48 That's why I'm here, Mr. Haskell, to work on your nerves. Relax, please.
- 52:53 Relax.
- 52:55 How can anybody relax with that music going on?
- 53:00 You listen.
- 53:04 What music? That creepy music. Don't you hear it? Can you see what I mean?
- 53:13 Yeah.
- 53:13 I tell you I hear music. Maybe it's the radio in the library.
- 53:22 I'm going to go.
- 53:26 It's not the radio. Do you still hear it, Uncle Charlie? Yes, it's still playing. Mr. Hassel, tell me. Where does this music seem to be coming from? I don't know, but just a moment. I'll tell you.
- 53:42 It's here. It's cleaner down here.
- 53:47 Uncle Charlie, don't you think you'd better go back to bed? I tell you, Jimmy, I hear it.
- 53:56 Here it is! It's coming from the furnace. Music in first. Well, listen yourself. Jimmy, please tell them it's New Year's.
- 54:09 I'll get Parks. He'll get me out. Parks will back me up. You see if he don't. What's the matter?
- 54:20 Don't tell me you don't hear anything. Oh, yes. It's about time. I was beginning to get nervous. Beautiful string quartet. String quartet. It's bugles.
- 54:30 Here's bugles on phone. I tell you, I hear bugles. It's bugles. Don't try to humanize. All right, all right. Now let's go and get some air. You've nothing to worry about until you start seeing things.
- 54:40 There's nothing wrong with me!
- 54:51 Shipping! Doctor! What do you see? What do you want us to see, Uncle?
- 54:55 Girls dancing on the lawn. Where? There.
- 55:04 These paper dolls dancing on lawn. Paper dolls. You're right, Jimmy. I'm in terrible shape. My nerves are all gone. Doctor, what do you think I'd better do? Mr. Haskell, give your nerves a good long rest. Get out of town. I'll do it.
- 55:22 I'll go up in the woods. Why, and we'll help you pack. No, not until I find a man who threw that tomato.
- 55:30 Now, Uncle Charlie, your health is much more important than that silly tomato. Yes, that's right. Sure. Now, let me handle this. I'll put the finger on that fella. He's as good as in jail right now. Almost. Now, while you're up there resting, he'll be well taken care of. Don't worry about that. And I'm the guy that can do it.
- 55:45 Good.
- 55:48 I take the first train out in the morning.
- 55:50 What's the matter now?
- 55:53 The music stopped. All but the bull fiddle. You see, you're improving already. Yeah.
- 56:10 Hi, Mr. Haskell. What can I do for you? Hello, Mr. Lotteman. Well, I just dropped in to see if we couldn't make the Haskell happiness hour a little bit happier.
- 56:17 Welcome, stranger. Sit right down. What do you have to drink? Well, I... Hello, Mr. Backus.
- 56:23 What's the purpose of this meeting?
- 56:25 Well, we were about to discuss the program.
- 56:27 You know very well that I have charge of the happiness hour during Mr. Haskell's absence. He trusts me implicitly. Well, not a hundred percent. I beg your pardon. Look, I have a note from my uncle giving me complete charge of the program. Hmm? Well, it didn't take you long to undermine me with your uncle, did it? Mm-mm.
- 56:42 How do I know you didn't write that yourself?
- 56:44 Now listen, Mr. Latterman, there'll be no change-- Would you excuse us a minute? I'd like to talk to you, would you? Yes, we had better talk to you, though.
- 56:50 - Thank you. - Be right back.
- 56:55 Oh! I'd like to make some other improvements, too.
- 57:01 Go right ahead. Well, I'd like to use a band. No, no, no, please, no. We're overloaded with bands. No, but this is ideal because my uncle hates it.
- 57:10 - What? - Yeah, drove them clear up to Canada.
- 57:12 Well, then what do you want to put down his program for? Well, it's pretty hard to explain. But you see, it'll give the band a break. And then they'll have to thank my uncle for it. And that'll make him feel pretty good. Up in Canada? Up in Canada. There's sort of a feud going on. A feud? Uh-huh.
- 57:26 And then there's a girl. Oh, a girl. Yeah.
- 57:31 Mm-hmm.
- 57:32 Sounds pretty confusing, doesn't it?
- 57:34 Well, no, it sounds pretty good.
- 57:36 Hello?
- 57:37 Well, that's it. You play Thursday night over a coast-to-coast hookup at the opening of the Eastchester Country Club.
- 57:42 That's great, Jim. How did you ever do it? Well, I don't know. I just started to talk. The fellow listened. I...
- 57:46 Just as surprised about it as you are. How much did we get for it? Uh...
- 57:51 Nothing.
- 57:52 Nothing? No, you don't get anything.
- 57:53 Oh.
- 57:55 Well, what of it? Is it any different than playing for the neighbors an old man has? Well, what do we get out of that? At least this way there's a chance.
- 58:01 I'm Saul.
- 58:02 What can we lose?
- 58:03 That's all right for me.
- 58:15 Hey, give me a portion.
- 58:19 Bonsoir, monsieur. What did he say? Bonsoir, monsieur. Bonsoir.
- 58:25 And you made me drive this pack through the woods for four hours to get to a place where nobody can talk English.
- 58:30 What kind of a guide are you anyway? Hey, Tiago. Have you a machine? Talkie-talkie.
- 58:37 No, I don't think so. I've got a good one right there.
- 58:41 I'm not a peddler. This one is busted.
- 58:44 I want to hear a program in America that goes on at 8 o'clock. Well, help yourself.
- 58:50 Here.
- 58:53 Get this amaranth off my back! Oui, monsieur. Oui, monsieur.
- 59:00 Thank you, ladies and gentlemen.
- 59:23 That's all right now. We're about to start our broadcast.
- 59:28 Well, boys, here we go.
- 59:30 Good luck.
- 59:33 What, are you scared?
- 59:34 Now just take a deep breath.
- 59:42 Good evening, ladies and gentlemen. The Haskell Happiness Hour comes to you tonight from the dining patio of the exclusive Eastchester Country Club. Country Club? What the? This marks the first appearance on the air of a new band. Music! On my program?
- 59:58 Thank you and good evening, ladies and gentlemen.
- 1:00:00 This is Horace Hite, and the first number on our program is Broadway Cavaliero.
- 1:00:04 featuring Miss Molly McCorkell. McCorkell!
- 1:00:08 And here she is, the charming Molly.
- 1:00:17 He's disarming, alarming, charming and gay. First he steals your heart, then he throws it away.
- 1:00:27 He will tell you of tropical nights. He'll make you dream of a thousand delights. First he'll hold your hand, say you're simply grand. Soon you'll think of his way.
- 1:00:57 He's never been south of the border. He's never been Argentine way. But when he starts to fit, the chances are he'll forget that he's a caballero from Broadway. South on Broadway. He'll hold you and say, senorita, right here in my arms you must stay. And from his dialect, I know you'd never suspect that he's a caballero from Broadway.
- 1:01:27 South on Broadway. It's daytime. He spends parading on the avenue.
- 1:01:35 Then later, you'll always find me with a girl or two and a third in you. He'll take you to all the gay places. He'll make every Latin cafe. He'll give you such a thrill. And then he'll hand you to build this charming caballero from Broadway. South on Broadway.
- 1:01:57 I'm mad at the time to learn the conge, I swear. I gave her the message and I gave her the air. It seemed to be loud and gloom. Suddenly, boom, another girl took over from there. I know if you meet him, you are likely to fall. His methods are sensed because it catches them all. He'll sing you a serenade, tenderly played upon an old male artist. His heart.
- 1:02:27 And all of his pupils will say, he's such an awful crumb, but no one dances a rumble like the camper garrows on Broadway. Stop on Broadway.
- 1:02:57 He's got an impetuous fellow. He's like a dog having his day. This pony's on to me, Garini comes from Oswego, for a cafe from Broadway. He does okay.
- 1:04:54 The dream will pop like a bubble. You'll be the first you'll get, and you will never forget. The time is half the air from Broadway. Way down south of Broadway.
- 1:05:17 Molly, Molly, you were wonderful. Here, you better put this on before you catch cold. You know what Lotteman said? Lotteman said the band was worth $1,500 a week right now. $1,500 a week? Yeah. Jimmy, that means we're success.
- 1:05:29 I've been double-crossed. Get me a drink. Get me a drink.
- 1:05:32 Bands! Country clubs! The McHawkins!
- 1:05:35 Get me a drink, you hear?
- 1:05:37 And now I want to tell you something.
- 1:05:39 Well, it certainly took you long enough to get her onto it.
- 1:05:41 Uh...
- 1:05:42 No, this is...
- 1:05:43 There's something that's been worrying me. You don't know anything about me, who I am. Oh, as if that made any difference. You're you and I'm me.
- 1:05:50 Well, I think I'd better tell you about this. Oh, there you are.
- 1:05:52 Oh, Paul. You made quite an impression. Well, it'll be a different story when I tell your uncle about it. Believe me, C.J. won't pay for your philandering.
- 1:06:02 Is Haskell your uncle?
- 1:06:03 Yes, now that's what I've been trying to tell you. If you'll just let me explain. If you need any explanation, it's all perfectly obvious.
- 1:06:09 Sneaking into our home, pretending that you wanted to help us, and then making me think that we're so... Well, now, wait a minute. Will you please let me explain? What a cheap trick. You are a half-school. Well, now, Molly, quiet. They can hear you out here.
- 1:06:19 That's fine.
- 1:06:23 Hello, everybody. I have some good news for you.
- 1:06:26 Every week beginning next Thursday, Mr. Haskell, the sponsor of our program, is going to give away $1,000 in cash to somebody.
- 1:06:34 A thousand dollars a week! That's a lie!
- 1:06:38 Isn't that generous, folks?
- 1:06:40 Now, Mr. Haskell, trick your way out of that
- 1:06:50 I've got to get back home. How long is it going to take me to get out of here? Well, first portage takes two days. How long take you to get here? A week. Good luck. You can make it back in a week. A week. Ah!
- 1:07:00 Let's get started!
- 1:07:04 Jimmy! Jimmy! Jimmy, my boy, congratulations! That was a marvelous idea! How did you come to think of it? It just came out of a clear sky.
- 1:07:18 The Haskell Happiness Hour created nationwide interest in this program last night by announcing that $1,000 a week would be given away in cash. I know. I read all the papers.
- 1:07:26 Here's Mr. Haskell.
- 1:07:28 Morning. This is your uncle's attorney, Mr. Talmud. Good morning. How do you do, sir? I won't take much of your time.
- 1:07:33 Just sign this paper, please. What is it?
- 1:07:36 A statement that you did not authorize Miss McCorkle to make that announcement last night.
- 1:07:39 that she did it out of spite with intent to damage her uncle.
- 1:07:42 Now sign here, please. Oh, now, wait a minute. There's nothing to worry about.
- 1:07:46 I'll guarantee you we can get judgment against the McCorkles.
- 1:07:49 They won't be able to pay.
- 1:07:51 So we take their property.
- 1:07:52 And that's what your uncle's been trying to do for years.
- 1:07:55 Now, sign here, please.
- 1:07:56 It's a funny thing. I don't like to get pushed around. I also don't sign anything until I read it first. Now, how'd you like to get out of here? Both of you. Don't you hit me again. I have my glass.
- 1:08:06 Mr. Haskell, your uncle... Good day, sir. Good day, sir.
- 1:08:09 Good day.
- 1:08:16 - Beautiful parks. - Thank you, sir.
- 1:08:23 Why don't you answer the phone? Hello?
- 1:08:28 Oh, Jimmy, my boy, how are you?
- 1:08:31 Oh, you want to talk to Molly?
- 1:08:34 Well, I don't think it's a very good time to...
- 1:08:40 Just a moment. You go and fight your own battles. I'm not doing it for you.
- 1:08:49 Well? Look, I hate to annoy you, but this is important. Now, that thousand dollar offer you made last night, it was my idea. Do you understand?
- 1:08:57 Now, just don't argue.
- 1:09:00 If anybody asks you anything about it, just follow Grady's advice.
- 1:09:04 Don't you tell me to keep my mouth shut. Why should I?
- 1:09:07 Well, if you don't, they'll take your home away from you. But is this another one of your tricks? I don't need any help from you.
- 1:09:12 What?
- 1:09:13 I said, "Don't be stupid. I'm not doing it for you. This is for Mom and the boys."
- 1:09:18 Excuse me, sir. Mr. Louderman and Mr. Sampson are coming. Oh, haven't met. Yes.
- 1:09:25 Good evening.
- 1:09:26 Hello. Hello, Jimmy. Congratulations. Your program was a knockout. Telegrams, phone calls from all over the country. People...
- 1:09:34 Oh, I beg your pardon. This is Mr. Sampson. How do you do, Mr. Sampson?
- 1:09:39 Mr. Sampson is an investigator for the federal government. Oh, I...
- 1:09:43 Oh, what's the...
- 1:09:44 Government got to do with it. We're only concerned with one detail, the method by which you will give away the money. Oh, I see. Well, that oughtn't to be very hard. I never heard of anybody having any trouble giving away a thousand dollars.
- 1:09:55 - Well, let's see. - You understand that it cannot be a lottery. The government wouldn't permit raffles or drawings of any description.
- 1:10:01 Oh, yes, I understand that. No, that would be...
- 1:10:06 Well, how about a quiz contest?
- 1:10:09 No, I'm afraid not.
- 1:10:10 It was announced that the money would be given away over the air.
- 1:10:13 not to a studio audience.
- 1:10:15 Oh.
- 1:10:17 Well, that sort of complicates it, doesn't it?
- 1:10:19 I say, well, I...
- 1:10:21 Well, how about taking a city directory and sticking a pin in it, and then give the thousand dollars to the fellow that gets stuck?
- 1:10:26 No, no.
- 1:10:27 The city director is local.
- 1:10:29 This has become a national affair.
- 1:10:31 Oh, well, let's call the whole thing off and not give away my uncle's money at all.
- 1:10:35 Not all. The money was promised and must be given away. Yes, if it isn't, why my company loses its franchise. And your uncle's business is ruined.
- 1:10:42 And you will be liable to a fine and imprisonment.
- 1:10:46 Well, that's great.
- 1:10:48 I...
- 1:10:49 I have quite a choice, don't I?
- 1:10:51 Either I give the money away and go to jail, or I don't give the money away and...
- 1:10:55 Go to jail.
- 1:10:59 Hand me the salt.
- 1:11:04 Tell the moon in a boat, Jimmy, huh?
- 1:11:06 Well, believe me, you've seen the last of them.
- 1:11:08 And he's probably glad he found out just what kind of a girl you really are. All right, Mom, all right. But it's not all right.
- 1:11:15 I find largely Jimmy deserves a girl who really loves him.
- 1:11:18 whether his name be Hamilton, Haskell, or Hasseltschreff.
- 1:11:24 Well, I hope you're satisfied. What's the matter? No.
- 1:11:27 Well, nobody can figure out how to give away that thousand dollars.
- 1:11:31 It looks like Jimmy's going to jail on account of it. Oh, this is awful. But Jimmy isn't responsible. He didn't make the offer. I did.
- 1:11:38 Well, he says it's his program, and he's going to take the rap for it.
- 1:11:41 Then are you going to stand by and see that boy go to jail? But Jimmy told me that-- I know what he told you and why.
- 1:11:47 To keep a roof over our heads.
- 1:11:49 Well, I'd rather we'd lose our house than lose our pride.
- 1:11:54 Oh, Mom.
- 1:11:56 Yes.
- 1:11:57 I've been feeling the same way all week.
- 1:12:04 Yes?
- 1:12:05 No.
- 1:12:06 Conches.
- 1:12:08 Hello, gentlemen.
- 1:12:09 Someone's got to think of something somehow and soon.
- 1:12:12 It's tonight you know the program goes on the air, not next month.
- 1:12:17 And we're no closer to the answer than we were a week ago.
- 1:12:21 Yes. I got it! I got it this time, boy. It came to me just like that. What is it? Now, look. Well, get that bowl. You know that great big glass bowl they used for the draft numbers? Great. That's it. Yeah. Boy, I'm proud of you.
- 1:12:33 That'll do it. No, no, gentlemen, no, no. What's the matter? There'll be a lottery and the government forbids lotteries.
- 1:12:37 No, no, not yet.
- 1:12:39 OK, I'll go back and see if I can dream up something else. You're not sleeping up there, are you? Sleeping? I haven't slept for days. I'm eating aspirin tablets like peanuts.
- 1:12:48 Gentlemen, I've got it. What? It's the first time I've ever been able to beat this game.
- 1:12:54 Yes? Look, why don't you all go down to the broadcasting station? Maybe if I was alone, I could think of something.
- 1:12:59 Okay, Jimmy, we'll get out. Samson, come on.
- 1:13:02 Yes?
- 1:13:03 No, not yet.
- 1:13:04 Would you put that thing off the hook and leave it off? Thank you, sir. Uh...
- 1:13:11 Are you all right, Jimmy? Oh, yes, yeah. I just begin to get my second wind.
- 1:13:15 Well, you better think of something.
- 1:13:28 7:30, hurting Jimmy yet? No, nobody answers the phone. How are we to go in the air?
- 1:13:33 Brother, when the times indicate 8 o'clock, you're on the air.
- 1:13:37 From coast to coast.
- 1:13:46 Oh, coming, Mr. Haskell, coming!
- 1:13:55 Well, it's about time. Why didn't you answer the telephone? Madam, you see, I...
- 1:14:02 Well, how do you like that?
- 1:14:06 Come on, wake up. Come on, get up. Get up, will you? I can't do it. It's against the wall. It's Molly. Oh, get up.
- 1:14:16 Oh.
- 1:14:16 Mm-hmm.
- 1:14:17 You. Yes, it's me. Now, come on.
- 1:14:20 I suppose you want to know how I'm going to give away that thousand dollars. Well, I haven't the slightest idea and I'll go home. Go home.
- 1:14:26 Go home, he says. You come down, Oliver, as fast as you can. On your feet, big boy.
- 1:14:33 If you think the McCorkles are going to let any Haskell fight their battles for them, you're cuckoo. If you think the Haskells are going to let them...
- 1:14:39 The corporals kicked them around to a cuckoo too. Now go on. Go away.
- 1:14:42 Go ahead.
- 1:14:43 Still going to sleep, huh? Uh-oh, now just a second. Don't you dare. Madam, you can't do that. Where's the telephone?
- 1:14:55 What do you think you're doing? I'm going to tell the government man exactly what happened. Oh, no. Oh, yes, I am. Give me that. I'm going to make up my mind. Let me have that. Let me have that.
- 1:15:04 - I will not let go of that phone. No, I won't. - Oh, right. There are millions of other telephones. That's it. That's what? - Hands spinning around. Millions of telephones. Millions of telephone books. Parks! And it's not a lottery. - You are a cuckoo. - Get my phone. Goodbye.
- 1:15:27 The Haskell Happiness Hour presents the radio sensation of the nation, the pot of gold featuring Horace Hyde and his musical night.
- 1:15:43 And don't forget, ladies and gentlemen, before this program is over, we will give away $1,000 in cash. The method of giving it will be announced later.
- 1:15:57 It's the charge of the height.
- 1:16:09 Come on, MCJ. Jasper, did you stop the program? I couldn't. It's on the air now. I'll stop it if I have to tear down the studio.
- 1:16:16 Why did I ever go in the radio business to begin with?
- 1:16:19 Jimmy, where have you been? Have you got an idea? Yeah, this is it. Take them.
- 1:16:23 What are they? Telephone books from all over the country. Get them here, Pop. Get them here, Pop.
- 1:16:27 Are you going to get the rest of them?
- 1:16:30 We're going to give the money away by telephone. You understand? You've got the books in the section of 500 pages each. We have numbers on each one of them. Okay. Get a tape. Get a tape around here. After you. Thank you.
- 1:16:57 Oh, that's nice going. Come on, Parks. We have to go.
- 1:17:06 Same to you. Fine work.
- 1:17:11 Ladies and gentlemen of the listening audience, here's the news you've been waiting for. A thousand dollars, we promise you, will be given away by telephone, so stand by. Hey, that's my money you're giving away, and I won't stand for it. I'll cancel my contract at Louderman. I'll telephone you. Get me to a telephone.
- 1:17:29 All right, there's a wheel. Now how are we going to borrow it?
- 1:17:33 Come on, boys, take hold in the vacant.
- 1:17:39 Okay, what's with the snooki? Get going. All right, so time this year requires ten cents a day. Who wouldn't get a dime for a condition in the next one? Snooki! Oh, where have you been, my sugar plum? Why did you leave me in battle? I guess you've been the way you did. Madam!
- 1:17:57 Madam, my snooki. Why, you're not my snooki at all.
- 1:18:02 A character. How do you like that? Where are we going? I've been robbed! Please! Get a placement.
- 1:18:09 Oh, my God.
- 1:18:10 Gangway!
- 1:18:24 Hello, my little man. May I use your telephone? Hey, Ma! Daniel Boone wants to borrow our telephone!
- 1:18:31 Go away, you tramp. No one uses this phone until they give away that thousand dollars.
- 1:18:37 It's trashed!
- 1:18:38 Daniel Boone!
- 1:18:40 Look out! Look out!
- 1:19:10 - Stop this train now! - C.J., when did you get in town? - Louderman! - I want to talk to you!
- 1:19:17 Come on. All right, Horace, go on.
- 1:19:21 And now, ladies and gentlemen, the wheel is all ready. All ready for the first spin to spin to determine the volume number. Larry Cotton, take it away. And there she goes, ladies and gentlemen. This time after that first big volume number. Yes, sir, and we want that volume to have your name in it, ladies and gentlemen. And furthermore, I'm not going to give away one penny. Okay. Okay.
- 1:19:38 Well, I've got three men in the sponsor's room right now who are begging to buy this program. Buy it! They must be crazy. Oh, is that so?
- 1:19:46 Well, they represent the biggest advertising agencies in this country.
- 1:19:50 All right.
- 1:19:51 What? Wait a minute! Wait a minute! We want you to be the one that Horace is going to call a little bit later. She's slowing down to get this volume rubber. Coming back to it a little bit further.
- 1:20:00 and on and on and on and it's a hundred and twenty four one twenty four one twenty four here i got it
- 1:20:10 Now we're all ready for the second spin. The spin to determine the page number. Larry, let her go. And there we go, ladies and gentlemen, on that second big spin. The one to find the page in that volume we chose just a moment ago. The one page that will have that $1,000 pot of golden name on it. Gentlemen, this is Mr. Haskell. How are you doing, gentlemen? The surest fire advertising stunt I've ever seen. Do you want to sell it? Is it good? I'll give you 20,000 for it right now. Is it that good? I'm like a 30. Trying to steal it, eh?
- 1:20:38 And she's slowing down already just to find this right page, and there she's stopping, and it's page 66. Hey, it's 66.
- 1:20:50 I got it.
- 1:20:53 And now the third and last spin to determine the name of the person on that page who will receive the actual golden telephone call. Larry, take it away. There we go, ladies and gentlemen. This time through all of the names on our chosen page and our chosen volume, find just the one right name that we can send this $1,000 pot of gold to.
- 1:21:08 She's down at the bottom and coming back a little bit, slowing down more and more and more and more. And there it is. Our listing is 38. Listing number 38.
- 1:21:20 And?
- 1:21:25 30... 1, 2, 3, 4, 5, 6, 7, 8, it's... What? What?
- 1:21:29 Oh, the name is Mr. Olaf Swenson...
- 1:21:33 3RJ, ring seven. Ring seven?
- 1:21:37 Uh, uh... Plunkett. Plunkett, Minnesota. Plunkett, uh, Plunkett, Minnesota. Operator, kindly give me Mr. Olaf Swenson.
- 1:21:45 3RJ, Ring 7, Plunkett, Minnesota. That's right.
- 1:21:59 Uh-oh.
- 1:22:01 All right, all right, Coleman, keep your jacket on.
- 1:22:07 Yeah, hello.
- 1:22:08 Stop the clock, boys. Stop the clock. Hello? Hello? Is this Mr. Olaf Swenson speaking?
- 1:22:13 Yeah?
- 1:22:14 Yeah, that's fine, Olaf.
- 1:22:17 A part of what?
- 1:22:20 And how you give me...
- 1:22:23 They ain't got no time for monkey business.
- 1:22:26 Huh?
- 1:22:28 You give me a thousand dollars?
- 1:22:33 Hold up!
- 1:22:35 Come on.
- 1:22:38 Look, why'd you make my Only Faint?
- 1:22:42 What?
- 1:22:45 A pillage!
- 1:22:47 Oh!
- 1:22:49 Hello?
- 1:22:51 Hello?
- 1:22:52 Hello?
- 1:22:54 Folks, they're speechless.
- 1:22:56 It's a million-dollar idea, and it's all mine, all... Oh, so they brought you back alive, did they?
- 1:23:02 What are you doing here? I'm enjoying our program. Your program? What are you trying to put over on me now? It belongs to me, you understand? It does, does it? Why, the whole thing was Molly's idea. Molly's idea? Who is Molly? I want to tell you. It's all right. We got you out of a whole mess. You're not viable for anything connected with the program.
- 1:23:23 We fixed it so Miss McCorkle is responsible for the whole thing. Mommy! You nitwits! You nitwits! Get out of here!
- 1:23:35 That's one of them, Charlie! Charlie!
- 1:23:42 Oh, and Molly is responsible for the whole thing! Yes! Yes!
- 1:23:46 Yeah, where are you going?
- 1:23:47 Out.
- 1:23:48 home.
- 1:23:50 Um...
- 1:23:51 Horace got the call through on the telephone, so...
- 1:23:53 Because everything's fine.
- 1:23:55 Yes.
- 1:23:56 Everything's fine.
- 1:23:58 Yes.
- 1:24:00 Well, I guess it's just one of those things.
- 1:24:02 The McCorgals are allergic to the hazmat.
- 1:24:05 I'm sorry, sir.
- 1:24:06 Yeah, I suppose.
- 1:24:09 far, by the way.
- 1:24:13 Well, Jimmy. Uncle Charlie. Oh, you come with me. Come on, you're in on this too. Ladies and gentlemen, I want to introduce the two young people who originated this program.
- 1:24:28 and which will be a permanent feature of the Haskell Happiness Hour.
- 1:24:33 Miss Molly McCorkle?
- 1:24:35 And my nephew, Mr. James Haskell.
- 1:24:40 Say something. Tell him how happy you are.
- 1:24:43 Hello, everybody. I just want to tell you how happy I am that everything turned out so well for everybody.
- 1:24:50 Uh, ladies and gentlemen, the reason she's so happy is that we're going to be married any second now. All right, Miss McCorkle, trick your way out of that one.
- 1:25:20 When Johnny took him home.
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