Killer Diller – Old School Comedy Musical Classic is a lively Golden Age film packed with humor, rhythm, and unforgettable performances. Blending comedy with energetic musical numbers, this vintage classic captures the spirit of 1940s entertainment with charm and style.
Featuring dynamic stage performances and lighthearted storytelling, this film delivers old-school laughs alongside vibrant musical moments. A perfect watch for fans of retro cinema, jazz-era vibes, and timeless black-and-white classics.
If you love musical comedies from Hollywood’s golden era, this nostalgic film is a must-see.
#ClassicFilm, #MusicalComedy, #GoldenAgeCinema, #VintageMovie, #OldHollywood, #BlackAndWhiteFilm, #RetroCinema, #1940sFilm
Featuring dynamic stage performances and lighthearted storytelling, this film delivers old-school laughs alongside vibrant musical moments. A perfect watch for fans of retro cinema, jazz-era vibes, and timeless black-and-white classics.
If you love musical comedies from Hollywood’s golden era, this nostalgic film is a must-see.
#ClassicFilm, #MusicalComedy, #GoldenAgeCinema, #VintageMovie, #OldHollywood, #BlackAndWhiteFilm, #RetroCinema, #1940sFilm
Category
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Short filmTranscript
00:00:00The End
00:00:39The End
00:01:07The End
00:01:38The End
00:02:01That'll be all. Get them out as soon as you can.
00:02:03Yes, sir.
00:02:05Oh, Butterfly.
00:02:06Yes, Mr. Dung-Dung.
00:02:07Did you call the agent and tell them they'd need a magician to replace the great voodoo?
00:02:11Yes, sir. I told him the great voodoo did a disappearing act yesterday and didn't show up for rehearsal.
00:02:17He's going to send us another magician.
00:02:19Fine.
00:02:20Oh, and when my fiancée shows up, send her right in.
00:02:23Yes.
00:02:24Bonnie, you never do something.
00:02:27No, Bonnie.
00:02:39They're real, honey.
00:02:41I should hope so. Butterfly told me to go right in, so I did.
00:02:46I fled.
00:02:48Take off your coat.
00:03:02Oh, Montemore, the oppression.
00:03:05You could say that again, honey.
00:03:08Excuse me, honey.
00:03:10Mr. Dung-Dung, that magician the agent sent over here, that his name is Dusty Fletcher.
00:03:17Never heard of her. Tell him to wait.
00:03:20Yes, sir.
00:03:22Help me with these, darling.
00:03:24Uh-huh.
00:03:30There we are.
00:03:33For this, you deserve a big kiss.
00:03:39Well, I've been welcomed before, but never like this.
00:03:44I guess I shall return the compliment.
00:03:46Come here, baby.
00:03:48Why, you, I should break your limit.
00:03:57You see, uh, entering the room without coming through the door, that's just a sample of my ability.
00:04:03I developed that trick because I had difficulties in getting someone to open the door.
00:04:09Uh, say, uh, your name ain't Richard, James, is it?
00:04:12No, it's Montemore.
00:04:14But I'm Mr. Dung-Dung to you.
00:04:16Oh, okay, boss.
00:04:18And I'm not your boss until I see your act.
00:04:21Step right out on the stage.
00:04:23I'm all set up for you.
00:04:24Come on, honey.
00:04:26Let's see what this guy has up his sleeve.
00:04:38What's your name?
00:04:40Butterfly.
00:04:41Pretty girl.
00:04:42And a pretty name.
00:04:46I be back.
00:04:47Pretty soon.
00:04:54Well, you see, I had to set up my props for me so I wouldn't lose any time yet.
00:04:58Okay, let's go.
00:04:59Mm-hmm.
00:05:01But, madam, would you mind assisting me by stepping into this cabinet?
00:05:05She will not.
00:05:06You've got your nerve.
00:05:08I know I've got my nerve, but I ain't got no assistant.
00:05:13Oh, Montemore, let me.
00:05:15I have always wanted to be a play actress.
00:05:24Where is she?
00:05:25She's gone.
00:05:28Huh?
00:05:29What's the matter?
00:05:31Something wrong?
00:05:33If you want to lose that gal, everything would be fine.
00:05:38Because they sure is empty now.
00:05:45Bring her back, or I'm going to do something desperate.
00:05:49And so am I.
00:05:52I'm going to return these cabin tricks and get my money back.
00:05:56Close all the doors.
00:05:58Lock up the joint.
00:05:59Call the police.
00:06:02Quick.
00:06:03Police?
00:06:04Variety Theater.
00:06:05Something awful happened.
00:06:07Huh?
00:06:08I don't know.
00:06:09But as soon as I hang up, I'm going to find out.
00:06:22Get up, you baby.
00:06:26Quick.
00:06:27My sweetheart disappeared with a $1,000 string of pearls.
00:06:30That's how they all disappeared.
00:06:32No, but you don't understand.
00:06:34You see, she was hit.
00:06:35She got into the cabin, and all of a sudden, she got out of here.
00:06:37I don't know where she is.
00:06:39Uh, of course, uh,
00:06:40I ain't at least a bit worried.
00:06:43See, that trick is guaranteed.
00:06:45And if it don't work, I'll get my money back.
00:06:47And you know, honey, money is important.
00:06:51You can buy a lot of things with money.
00:06:53Yeah, I know.
00:06:54Yeah.
00:06:55Like a ring.
00:06:56A real sparkler.
00:07:00Dusty, but we just met.
00:07:02We're practically strangers.
00:07:05That's right.
00:07:06Let me see.
00:07:07Who do I know anybody with?
00:07:09Oh, but so we can get to know each other better.
00:07:13Oh, yeah?
00:07:16Well, honey, how much better?
00:07:21There he is, Sarge.
00:07:22Grab him.
00:07:23Oh, killer killer, eh?
00:07:25Do what you want with me.
00:07:26Put harm not a hair in that girl's head.
00:07:29Come on, Sarge.
00:07:31Grab him.
00:07:35All right, see you later, baby.
00:07:37Save that candy for me.
00:07:39La-de-doo, la-de-doo, la-de-doo, la-la-la.
00:07:47The Sarge wants you to reenact that crime.
00:07:50Yeah, and you can use one of my men.
00:07:53Okay.
00:07:55Step in there, shall I?
00:08:12Come on.
00:08:14Don't worry about a train.
00:08:21Abby Cadella!
00:08:23Abby Cadella!
00:08:26Ha-ha!
00:08:35Well, what do you know?
00:08:38And that's the way Lola disappeared.
00:08:42Hey, you, would you mind trying that again?
00:08:46Both of you guys, get in there.
00:08:48We're going to get to the bottom of this.
00:09:00Abby Cadella!
00:09:01Abby Cadella!
00:09:02Now, don't worry about a thing there.
00:09:04I know they ain't here.
00:09:05They ain't the one over there.
00:09:06Ha-ha!
00:09:09I told you that.
00:09:11This chick has got to work once in a while.
00:09:14Ha-ha!
00:09:16Abby Cadella!
00:09:17Abby Cadella!
00:09:18You see, I got to do it twice
00:09:20because there's two of them in there this time.
00:09:22Don't you get it?
00:09:23Abby Cadella!
00:09:25Abby Cadella!
00:09:27Ha-ha!
00:09:31I lose more darn cops that way.
00:09:33Suppose you try it with me.
00:09:41You see, uh, this could be a secret weapon, you know,
00:09:45or something like, uh, the atomic bomb.
00:09:48Come on, open the door.
00:09:51All right.
00:09:53You ask for it.
00:09:59Well, where's the sign?
00:10:01Uh, I don't know.
00:10:03I guess it's over there.
00:10:13Well, what do you know?
00:10:15It went.
00:10:18One, one, two, two, three, three.
00:10:23I'm even.
00:10:24I better quit while I'm even.
00:10:26Hey, you, take some notes.
00:10:29I'm gonna question this guy.
00:10:33Now, how tall did you say she was?
00:10:36About the size of Dusty.
00:10:38Dusty.
00:10:39Where is Dusty?
00:10:41Don't let him get away.
00:10:43All right.
00:10:44You go that way.
00:10:45You go this way.
00:10:46You go here, and I'll go there.
00:10:48Ready, set, go!
00:10:51No, no, no!
00:10:55Let's try that again, men.
00:10:59You know, if I'm a-hitting this show, honey,
00:11:03I'd like to talk to you about marriage.
00:11:04You mean you want to marry me?
00:11:06Now, stop putting words in my mouth.
00:11:09I said I want to talk to you about it.
00:11:11That's all.
00:11:12Well, if you want to talk about it,
00:11:14now is the time, because the place is padlocked.
00:11:17And unless Lola's promised the dumb don't vote,
00:11:19let the show go on.
00:11:20The show must go on!
00:11:28There he is, grab him!
00:11:33Let's try that again, men.
00:11:35Not for me, you don't.
00:11:36Such a big boy as playing on the floor.
00:11:40Quick, he got away.
00:11:43After him, men.
00:11:47Tell everybody to get ready.
00:11:49The show must go on.
00:11:51That's just what Dusty said.
00:11:53Open the box office.
00:11:55The show must go on.
00:11:56Yes, sir.
00:11:56Dance, Mr. Dum-Dum.
00:11:57Now, let's go.
00:12:26There it goes.
00:12:27Sister, the show's going on.
00:12:29Honey, I owes it all to you.
00:12:32Does that mean we're going to get married?
00:12:34I said I owe it to you.
00:13:06I guess I'll hide down in this basement until it's time for me to go on.
00:13:15Hey, you went down there.
00:13:16How do you know?
00:13:17Yes, how do you know?
00:13:18Yeah, how do you know?
00:13:19Because I've seen this picture before.
00:13:21Come on!
00:13:21Let's go.
00:13:36I'll hide over there.
00:13:49Lynn, let's try that again.
00:14:00Hey, Gus, the curtain's going up in a half an hour.
00:14:08Okay, boss.
00:14:10Hey, what was that?
00:14:12This door please comes up in a quadrant a hour.
00:14:23No opportunity nor on a middle floor.
00:14:23Are those bids where a reduced medium to 3 hour?
00:14:25Will they pick you up?
00:14:25How can I ride over here?
00:14:25Every year?
00:14:30I've gotten a little quarter of an hour here and have been lost.
00:14:37I literally put that.
00:14:50The End
00:15:18We'd like to play a little number that features our two tenor men, Ray Abrams and Shirley Green.
00:15:24The number, Gator Serenade.
00:15:42The End
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00:17:15The End
00:17:28The End
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00:17:48The End
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00:18:35The End
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00:19:46The End
00:19:55The End
00:20:01The End
00:20:31The End
00:20:34The End
00:21:04The End
00:21:12The End
00:21:41The End
00:22:09The End
00:22:52The End
00:23:12The End
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00:24:07The End
00:24:14The End
00:24:51The End
00:24:54The End
00:25:36The End
00:26:23The End
00:26:35The End
00:26:47The End
00:26:48The End
00:26:49The End
00:26:55The End
00:26:57The End
00:26:57really understand. And it ain't nobody's business what I do. Oh, what I do. I'm telling you.
00:27:08It ain't nobody's business what I do. Now you know what to tell your nosy neighbor.
00:27:37Come now, those two tons of melody and mirth, Patterson and Jackson.
00:27:48I believe, I believe, I believe in pushing wells, hey, I also believe in a lot of things, things the
00:27:56daisies tell.
00:27:56I believe, I believe, that's only through the breeze, lots, lots, lots, lots, lots of happiness, I believe those things,
00:28:05hey, when it's Christmas, I believe in Santa Claus, say what you believe, I still drop, I believe the cause,
00:28:12I believe, I believe, I believe that dreams come true, hey, you wish for a dream, I wish it well,
00:28:19don't tell fish or you break the spell, oh, that's how I am, cause that's what we believe.
00:28:28I believe, I believe, I believe, I believe, I believe.
00:30:27And now we'd like to impersonate the four ink spots.
00:30:30Of course, there's only two of us, but we weigh as much as they do.
00:30:43That's the way the ink spots usually start off.
00:30:45You put a nickel in the jukebox, and it goes,
00:30:52When you hear that, your nickel's gone.
00:30:56If I didn't care, more than words can say.
00:31:09If I didn't care, would I feel this way?
00:31:22And would I be sure that this is love beyond company?
00:31:52If I didn't care, would I be sure that this is the truth?
00:32:04Now, honey child, you've got to change your style.
00:32:11Because, honey child, you're driving me wild.
00:32:16Now, tell me, Holmes, this is love.
00:32:19Then tell me, what can it be?
00:32:23Why, it's worrying the heck out of me, honey child.
00:32:29Now, tell me, tell me, tell me, tell me, what is it that makes my head go round and round
00:32:35till I reach my quota?
00:32:36Oh, my scotch, scotch and soda.
00:32:40If I didn't care, would it be the same?
00:32:52Would my every bird be in a room with just your name?
00:33:03Ah, sweet essence of meatballs and spaghetti.
00:33:08Sure.
00:33:10If this is love beyond company.
00:33:16Ah, shoot the salami to me mommy.
00:33:23Do it all, let's be true.
00:33:29If I didn't care.
00:33:35Oh, ho, ho, yeah.
00:33:43Oh, ho, ho, yeah.
00:34:20And now we bring you that dynamic personality, Jackie Mabley.
00:34:24But between you and me, folks, she'd rather be called just plain mom.
00:34:34Thank you, children. Thank you, darling.
00:34:37I know you children are all relaxed back there, sitting back there.
00:34:41Look at him, boss.
00:34:42You think you're going to hear some jokes, don't you?
00:34:45Well, mom don't know none.
00:34:49Mom don't know no jokes, but I can tell you some facts.
00:34:55Don't believe in them fair tales in the first place.
00:34:58See, so don't look for none, because that Mother Hubbard going to the cupboard after dog bones and things like
00:35:05that, that never happened.
00:35:07Mother Hubbard had her gin in the cupboard in one of them squares.
00:35:10You know how your friends can come in, them chiselers that drink you up?
00:35:14So she used to tell him she's going to the cupboard to get a dog a bull.
00:35:18She's going to get her a nip.
00:35:21Mother Hubbard was plenty hip, and you believe that.
00:35:26Mother thing, wait a minute, honey.
00:35:27You'll have to laugh a little louder.
00:35:30Mom can't hear you up there.
00:35:32That's it. Thank you very much.
00:35:34See, I can't hear very good mom tell you how that happened.
00:35:38Mom, when they sent me, they sent for me to come down to Washington.
00:35:43They had some business they wanted me to tend to down there.
00:35:48They sent for me and sent me an airplane ticket.
00:35:52Now, I ain't scared of an airplane.
00:35:54I'm no square, but you young children say it just never moved me, you know, to ride in no airplane.
00:36:04Showing up, no sooner than I got in the plane, they strapped me down.
00:36:12The plane ain't got up no ways hardly for something with glue up in my head like that.
00:36:16I ain't heard nothing since.
00:36:18Both ears stopped up.
00:36:20Oh, I was so sick.
00:36:24I said, honey, the students come to, I said, honey, my ears is all stopped up.
00:36:30She said, here's some chewing gum.
00:36:32I showed that.
00:36:34That ain't unstopped them.
00:36:36I got right limp.
00:36:38I said, do something for me, honey.
00:36:41I'm dying.
00:36:43She said, drop your jaws.
00:36:49And I misunderstood her.
00:36:54They grounded me in Baltimore.
00:36:57Yeah, they took me off.
00:36:59But outside of an airplane, Luther, play that piano for him and tell him that number where it tells you
00:37:09about something else that mom don't have played.
00:37:12Go on, Luther.
00:37:13Play it for him.
00:37:21Now, I guess everyone has their aggravations, especially in certain situations.
00:37:28Now, remember, I don't know what you children's might be, but here's one thing that kind of aggravates me.
00:37:37For instance, a company happened to drop in.
00:37:42Especially if they've been drinking too much gin.
00:37:45I say, now, listen.
00:37:47If you're my friend, don't sit on my bed.
00:37:52Oh, now, don't get me wrong.
00:37:54It's not that I think that your clothes ain't clean.
00:37:58And you know, Mama, I ain't never been mean.
00:38:01But there's a chair.
00:38:03Sit there.
00:38:05Uh, don't sit on my bed.
00:38:09I always was taught that chairs was made to sit in and beds was made to sleep.
00:38:17You're liable to get my blanket out of line.
00:38:21Rumple up my sheet.
00:38:23Oh, it's not that I think that it looks so hot.
00:38:28But it's mine and it's all I got.
00:38:31In fact, I don't care if it ain't nothing but an army cart.
00:38:35Uh, don't sit on my bed.
00:38:39Mattress start to get all lumpy.
00:38:44Springs won't bounce no more.
00:38:48Sides will start sagging.
00:38:50And slacks fall on the floor and you know that's a drag.
00:38:55Then you go home feeling all happy and everything and leaving me with an aching head.
00:39:02Listen, Ben.
00:39:03If you're my friend, I don't sit on my bed.
00:39:07In other words, don't crouch on the couch, son.
00:39:11I don't like it.
00:39:17Folks, have you ever heard of a potpourri of dance steps?
00:39:21Well, here it is with the Clark Brothers.
00:39:23Let's go.
00:49:00Thanks.
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