- 7 minutes ago
## 🎬 A Bucket of Blood (1959) – Public Domain – Horror | Comedy | Cult Classic
**A Bucket of Blood** is a legendary 1959 dark comedy horror film produced and directed by the "King of the B-Movies," **Roger Corman**. Written by **Charles B. Griffith** and starring the incomparable **Dick Miller**, the film was famously shot in just five days on a shoestring budget of $50,000. It is widely praised for its sharp, satirical take on the 1950s beatnik culture, bohemian pretension, and the dark side of artistic ambition.
As a 1959 production that entered the **Public Domain**, it has become a cornerstone of cult cinema, frequently paired with Corman’s other low-budget masterpiece, *The Little Shop of Horrors* (1960).
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## 📖 Plot Summary
The story follows Walter Paisley (Dick Miller), a socially awkward and dim-witted busboy at "The Yellow Door," a trendy beatnik coffee house in Venice, California.
**The macabre masterpiece features:**
* **The Aspiring Artist:** Walter desperately wants to be "cool" and accepted by the pretentious poets and artists who frequent the cafe, but he lacks any discernible talent.
* **The Accidental Sculpture:** After accidentally killing his landlady's cat, Walter panics and covers the body in clay to hide the evidence. To his surprise, the "sculpture" is hailed as a masterpiece of realism by the cafe patrons.
* **The Descent into Murder:** Hooked on the sudden fame and the admiration of the beautiful Carla (Barboura Morris), Walter realizes he needs more "models" to maintain his status as a brilliant new sculptor.
* **The Beatnik Satire:** The film features hilarious parodies of 1950s "beat" culture, including finger-snapping poetry readings and existentialist dialogue that provides a high-contrast backdrop to Walter’s grim secret.
* **The Final Reveal:** As Walter’s obsession grows, his crimes become harder to hide. The film builds toward a high-tension climax where his "living statues" begin to crumble, exposing the grisly truth beneath the clay.
---
## 🎥 Style & Legacy
* **Dick Miller’s Career Performance:** This was Miller's first leading role, and his portrayal of the tragic, misguided Walter Paisley made him a cult icon. He would go on to play characters named "Walter Paisley" in several other films as an homage to this role.
* **Roger Corman’s Efficiency:** Shot on recycled sets from *Diary of a High School Bride*, the film proves Corman’s ability to create a high-quality, atmospheric feature with 100% visible focus on character and dialogue rather than expensive effects.
* **Dark Comedy Roots:** *A Bucket of Blood* is considered one of the earliest "black comedies," successfully blending genuine horror elements with a cynical, witty critique of high society and the art world.
* **Beatnik Aesthetic:** The cinematography utilizes high-key, moody black-and-white lighting to capture the smoke-filled, "hip" atmosphere of the 1950s coffee house scene.
* **Public Domain Staple:**
**A Bucket of Blood** is a legendary 1959 dark comedy horror film produced and directed by the "King of the B-Movies," **Roger Corman**. Written by **Charles B. Griffith** and starring the incomparable **Dick Miller**, the film was famously shot in just five days on a shoestring budget of $50,000. It is widely praised for its sharp, satirical take on the 1950s beatnik culture, bohemian pretension, and the dark side of artistic ambition.
As a 1959 production that entered the **Public Domain**, it has become a cornerstone of cult cinema, frequently paired with Corman’s other low-budget masterpiece, *The Little Shop of Horrors* (1960).
---
## 📖 Plot Summary
The story follows Walter Paisley (Dick Miller), a socially awkward and dim-witted busboy at "The Yellow Door," a trendy beatnik coffee house in Venice, California.
**The macabre masterpiece features:**
* **The Aspiring Artist:** Walter desperately wants to be "cool" and accepted by the pretentious poets and artists who frequent the cafe, but he lacks any discernible talent.
* **The Accidental Sculpture:** After accidentally killing his landlady's cat, Walter panics and covers the body in clay to hide the evidence. To his surprise, the "sculpture" is hailed as a masterpiece of realism by the cafe patrons.
* **The Descent into Murder:** Hooked on the sudden fame and the admiration of the beautiful Carla (Barboura Morris), Walter realizes he needs more "models" to maintain his status as a brilliant new sculptor.
* **The Beatnik Satire:** The film features hilarious parodies of 1950s "beat" culture, including finger-snapping poetry readings and existentialist dialogue that provides a high-contrast backdrop to Walter’s grim secret.
* **The Final Reveal:** As Walter’s obsession grows, his crimes become harder to hide. The film builds toward a high-tension climax where his "living statues" begin to crumble, exposing the grisly truth beneath the clay.
---
## 🎥 Style & Legacy
* **Dick Miller’s Career Performance:** This was Miller's first leading role, and his portrayal of the tragic, misguided Walter Paisley made him a cult icon. He would go on to play characters named "Walter Paisley" in several other films as an homage to this role.
* **Roger Corman’s Efficiency:** Shot on recycled sets from *Diary of a High School Bride*, the film proves Corman’s ability to create a high-quality, atmospheric feature with 100% visible focus on character and dialogue rather than expensive effects.
* **Dark Comedy Roots:** *A Bucket of Blood* is considered one of the earliest "black comedies," successfully blending genuine horror elements with a cynical, witty critique of high society and the art world.
* **Beatnik Aesthetic:** The cinematography utilizes high-key, moody black-and-white lighting to capture the smoke-filled, "hip" atmosphere of the 1950s coffee house scene.
* **Public Domain Staple:**
Category
🎥
Short filmTranscript
00:00:09I will talk to you of art, for there is nothing else to talk about, for there is nothing else.
00:00:17Life is an obscure hobo bumming a ride on the omnibus of art.
00:00:23Burn gas, buggies, and whip your sour cream of circumstance and hope.
00:00:30And go ahead and sleep your bloody heads off.
00:00:33Creation is, all else is not.
00:00:38What is not creation is graham cracker.
00:00:42Let it all crumble to feed the creator.
00:00:47The artist is, all others are not.
00:00:52A canvas is a candle, or a paper.
00:00:56A rock is a rock, or a statue.
00:01:02A sound is a sound, or is music.
00:01:10A creature is a creature, or an artist.
00:01:19Where are John, Joe, Jake, Jim, Jerk?
00:01:24Dead, dead, dead.
00:01:28They were not born before they were born.
00:01:32They were not born.
00:01:33Where are Leonardo, Rembrandt, Ludwig?
00:01:38Alive.
00:01:40Alive.
00:01:42Alive.
00:01:43They were born.
00:01:45Bring on the multitude with a multitude of fishes.
00:01:50Feed them to the fishes for liver oil.
00:01:53Nourish the artist.
00:01:56Stretch their skins upon an easel to give him canvas.
00:02:01Crush their bones into a paste that he might mold them.
00:02:07Let them die.
00:02:10And by their miserable deaths become the clay within his hands.
00:02:16That he might form an ashtray.
00:02:19Or an art.
00:02:21For all that is comes through the eye of the artist.
00:02:26The rest are blind fish swimming in the cave of aloneness.
00:02:31Swim on, you maudlin, muddling, maddened fools.
00:02:36And breathe that one bright and sunny night.
00:02:41Some artist will bait a hook and let you bite upon it.
00:02:47Bite hard and die.
00:02:51In his stomach you are very close to immortality.
00:02:54I love you.
00:03:00I love you.
00:03:00I love you.
00:03:01I love you.
00:03:03Walter?
00:03:05Walter, what are you doing there?
00:03:06I'm just looking at Carla's picture.
00:03:08Do I pay you to look at pictures?
00:03:09I'll get to work.
00:03:10I was just looking.
00:03:11There are empty cups all over the place.
00:03:13Play them out.
00:03:16You shouldn't be so rough on him, Leonard.
00:03:22All right.
00:03:24What do you say, Walter?
00:03:25All right.
00:03:36I think I'll cut.
00:03:50Yes, man.
00:03:51How are you making?
00:03:51Fine, my hand. I got you.
00:03:52You in my mouth.
00:04:05Valdez, Weiss.
00:04:06Yeah, LaCroix checking in.
00:04:08Lou took over a couple of minutes ago.
00:04:09Anything new at the door?
00:04:11Well, nothing you can pound nails in.
00:04:12A couple of hustlers.
00:04:13One of them is short, fat, brunette, name Skinny.
00:04:17The other one was short also.
00:04:18She was bleached and skinny.
00:04:21Name of fat.
00:04:22Probably.
00:04:22I didn't get it.
00:04:23They didn't give any pictures, though.
00:04:25I guess you can keep an eye on them.
00:04:26Okay.
00:04:27Any heads?
00:04:28Well, Jerry Sachs looked like he was straight.
00:04:31I'm sure he's on it anyway.
00:04:33Didn't see any pushes around the place.
00:04:34Lou said he'd check out on Jerry.
00:04:36He'll sound him out later if he gets any higher.
00:04:38I guess that's about it.
00:04:40Okay, Art.
00:04:41Go on home and get a good night's sleep, you think?
00:04:44Okay, so long.
00:04:49Everyone listen to my new poem.
00:04:50Do you think they really heard it?
00:04:52I heard it, Mr. Brock.
00:04:53Thank you, Oper.
00:04:54I'm sure you did.
00:04:56Bring on the multitude with a multitude of fishes.
00:04:58Feed them to the fishes for live royal to nourish the artist.
00:05:02That was word for word.
00:05:04Yes, sir.
00:05:05I've forgotten it.
00:05:06You mean you don't remember your own poem?
00:05:08I refuse to say anything twice.
00:05:10Repetition is death.
00:05:11I don't get it.
00:05:12When you repeat something, you are reliving a moment.
00:05:15Wasting it.
00:05:16Severing it from the other end of your life.
00:05:18I believe only in new impressions, new stimuli, new life.
00:05:21I thought you believed that life is an obscure hobo bumming a ride on a...
00:05:25I do believe that, Walter.
00:05:26But I also believe creative living.
00:05:27To be uncreative, you might as well be in your grave.
00:05:31Or in the army.
00:05:33They tried to draft me once.
00:05:35I couldn't pass the test.
00:05:39Walter?
00:05:40Lennon's looking at you.
00:05:45Jesus, my God.
00:05:47Walter has a clear mind.
00:05:49One day something will enter it, feel lonely and leave again.
00:05:52Too much.
00:05:53Too much.
00:05:54Yes, cats, yes.
00:05:55If you want to know how beatniks live, William and me will show you.
00:05:59We'll introduce you to some wild ones.
00:06:02You may even discover an artist of your own.
00:06:04And how much is that going to cost us?
00:06:07What cost?
00:06:08A couple of bucks.
00:06:09You want to meet some beatniks, don't you?
00:06:10Oh, no, it's the artist.
00:06:11I'm just crazy about artists.
00:06:13All that is comes through the eye of the artist.
00:06:15The rest are just blind fish swimming in a cave of aloneness.
00:06:18Oh, you must be an artist.
00:06:20And working as a busboy, too.
00:06:21Feed him that he will be satisfied.
00:06:24The artist is.
00:06:25All others are not.
00:06:26That's most intriguing.
00:06:28Are you a painter?
00:06:29Well, no.
00:06:30I work...
00:06:31I'm working on something that's not ready yet.
00:06:33What is it, man?
00:06:34Finger painting?
00:06:35Draw me a picture of a house wolf.
00:06:37Make some smoke coming out of the chimney.
00:06:39I am working on something.
00:06:40I'll show you soon.
00:06:41Walter?
00:06:47Is he...
00:07:10You get a good look, kid?
00:07:14Come on home.
00:07:15No, I'm going home.
00:07:18Sir!
00:07:19I like to do my own space, too.
00:07:20It's a good look.
00:07:20Yes, sir.
00:07:22Oh, dear.
00:07:43I love you, Sir.
00:07:44I love you, sir.
00:07:45Well, no, she's gonna be a good look.
00:07:45Oh, Walter, you look awful pale.
00:07:47What'd you have to eat tonight?
00:07:48I had a salami sandwich, Mrs. Swickett.
00:07:51Oh, if you were my son.
00:07:52Why don't you let me fix you a nice bowl of soup?
00:07:54Won't take but a minute.
00:07:55No, it's okay. I can fix myself something.
00:07:58Besides, I got something important to do.
00:08:00Say, Walter, did you see anything of Frankie tonight when you went out?
00:08:03I didn't see him at all.
00:08:05Well, if you do, tell him I got a nice, fresh piece of halibut for him.
00:08:08Tell him that?
00:08:09I mean, do you think he'll understand? He's only a cat.
00:08:13Good night, Walter.
00:08:17Good night.
00:08:51Good night.
00:08:58Good night.
00:09:01Good night.
00:09:04Good night.
00:09:06Good night.
00:09:08Good night.
00:09:08Good night.
00:09:09Good night.
00:09:10Good night.
00:09:11Good night.
00:09:11Good night.
00:09:13Good night.
00:09:13Good night.
00:09:13Good night.
00:09:13Good night.
00:09:14Good night.
00:10:02Frankie?
00:10:11Canvas is a canvas or a painting.
00:10:14A rock is a rock or a statue.
00:10:18A sound is a sound or it's music.
00:10:36Come on. Be your nose. Be your nose.
00:11:11Frankie, shut up.
00:11:15Oh, what's the matter, Frankie? How'd you get yourself stuck in a wall?
00:11:20Wait a minute. I'll get you out.
00:11:36Frankie? Frankie?
00:11:41You all right, Frankie?
00:11:53Frankie?
00:11:56Frankie?
00:12:04Frankie?
00:12:06I'm sorry.
00:12:17Poor Mrs. Swickard.
00:12:23She had a nice, fresh piece of halibut for you.
00:12:31I'll give you to her in the morning.
00:12:32I'll give you to her in the morning.
00:12:42Repetition is death, Frankie.
00:12:43My, I'm sorry.
00:12:44Yeah.
00:13:04Which one should...
00:13:07Are you?
00:13:39Let them die, and by their miserable deaths become the clay within his hands, that he might form an ashtray
00:13:49or an ark.
00:13:51Pray that you might be his diadem, gold, glory, paint, clay, that he might take you in his magic hands
00:14:00and bring from your marrow wonders.
00:14:06We're a John Joe gym jerk.
00:14:20Dead, dead, dead.
00:14:22Dead, dead.
00:14:36Hi, Carla.
00:14:39Walter, what are you doing here so early?
00:14:41Well, I brought something. I think you'll like it.
00:14:43Take that stop to the laundromat, Walter.
00:14:45Huh?
00:14:45Don't mind him.
00:14:47What have you got?
00:14:48It's a thing I made.
00:14:57Walter.
00:14:58You like it?
00:14:59What you got?
00:15:00Oh, come look at this, Leonard.
00:15:03Well, where'd you get that? Auction?
00:15:04I made it.
00:15:06You made that?
00:15:07I said I did, didn't I?
00:15:09Walter, it was very good.
00:15:10Honest?
00:15:11Honest.
00:15:12What's it called?
00:15:14Dead cat?
00:15:15Dead cat?
00:15:16Dead cat?
00:15:16That's its name?
00:15:17Sure.
00:15:19Well, it sure looks dead enough.
00:15:21You, you wanna buy it?
00:15:23Buy it?
00:15:24That thing?
00:15:25Scared people out of the place.
00:15:27Don't be silly.
00:15:29It's tremendous.
00:15:30Look at the detail.
00:15:31The anatomy's perfect.
00:15:33Look at the expression on its face.
00:15:37How come you put a knife into it?
00:15:39I didn't mean to.
00:15:40You just got carried away, huh?
00:15:44Well, all right.
00:15:46I'll tell you what I'll do.
00:15:48I'll put it in the corner of the alcove.
00:15:49If it sells, we'll split 50-50, okay?
00:15:52Sure.
00:15:53Does this mean I'm an artist?
00:15:55Maybe so.
00:15:56You can do other things as well.
00:15:57Well, all that is comes through the eye of the artist.
00:16:00Yeah, you're a real artist now.
00:16:03I go in back and scrub down those garbage cans.
00:16:05Much now.
00:16:09You really like it?
00:16:11We like it.
00:16:13Now go on.
00:16:25Did you see my cat?
00:16:27What's the matter?
00:16:28You're losing?
00:16:36How do you like my cat?
00:16:38You make this thing mad?
00:16:40Uh-huh.
00:16:41It's crazy.
00:16:42It's crazy.
00:16:45You want to buy it?
00:16:46Who me, man?
00:16:48I'm tapping.
00:16:56It's crazy.
00:16:57He likes my cat.
00:16:57Got to work.
00:17:09Hey, hey, Walter.
00:17:10Give me a minute.
00:17:15Hey, congratulations, man.
00:17:17Walter, you're famous.
00:17:18I saw your cat.
00:17:20I saw your cat.
00:17:20Did you like it, Mr. Brock?
00:17:22You may call me Maxwell.
00:17:23How'd you do it, Walter?
00:17:25Oh, I just took some clay and fixed it up.
00:17:30Attention.
00:17:32Attention, everyone.
00:17:33As you pass through these yellow portals, I am sure you noticed on your right a small clay figure.
00:17:38And assume this transfixed effigy to be the work of a master sculptor.
00:17:43And indeed, so it is.
00:17:46That master sculptor is in our midst.
00:17:49He is none other than Walter Paisley, our very own busboy, whose hands of genius have been carrying away the
00:17:56empty cups of your frustrations.
00:17:59Mark well this lad.
00:18:01Mark well this lad.
00:18:02His is the silent voice of creation.
00:18:05Within the dark, rich soil of humility, he blossoms as the hope of our nearly sterile century.
00:18:14Beautiful, Maxwell.
00:18:15Bring me an espresso, Walter.
00:18:17Hey, Maxwell, really beautiful.
00:18:20Man, you are in.
00:18:22Oh, Walter.
00:18:23It was wonderful, Walter.
00:18:23Yes, there stands.
00:18:24Cat's cut.
00:18:25Yes.
00:18:26This is my man.
00:18:28Yeah, yes.
00:18:29Listen, man, you got a pin.
00:18:31Huh?
00:18:32This is my man.
00:18:34Hey, Pops, what's happening?
00:18:36Making a big scene for Walter.
00:18:39Who'd he shoot?
00:18:40He made a cat.
00:18:42Out of clay.
00:18:44See you around.
00:18:46Well, later.
00:18:57Will somebody clear this table, please?
00:18:59This is my man.
00:19:01Will somebody clear this table?
00:19:04Cat's cut.
00:19:04Out.
00:19:07Did you hear them, Mr. DeSantis?
00:19:09They all like my cat.
00:19:11Yeah, very good.
00:19:12Now, look, Walter.
00:19:13You must be tired.
00:19:15Why don't you take the rest of the night off, huh?
00:19:17No, no, no, no.
00:19:18You got it coming.
00:19:19Besides, you're creating an incident.
00:19:20When people are applauding, they don't order coffee.
00:19:23So go on home and work on something.
00:19:25Make another cat.
00:19:27Oh, I haven't got another cat.
00:19:30Just go to the movies.
00:19:31Please, Walter, go.
00:19:33All right, Mr. DeSantis. Good night.
00:19:35Good night, Walter.
00:19:38Walter? Walter, wait a minute.
00:19:40Oh, hello, Maolia.
00:19:42Walter, I dug it.
00:19:44My cat?
00:19:45It was the most wonderful, wildest, like, wiggiest thing I've ever seen.
00:19:51Walter, you've done something to me.
00:19:54Something deep down inside of my prana.
00:19:57I have?
00:19:59Oh, Walter, I want to be with you.
00:20:02You're creative.
00:20:04You've got a hot light bulb glowing inside of you,
00:20:07and I want to be warmed by it.
00:20:10Gee, that's nice of you, Maolia.
00:20:13Walter, take me away from here.
00:20:16Take me away to some cool blue place and gas me.
00:20:20I can't. I've got to go home.
00:20:23Oh, then I'll go home with you.
00:20:24Oh, no, Mrs. Swickard wouldn't like that.
00:20:26She's my landlady.
00:20:27Isn't there anything I can do for you?
00:20:31I don't think so, Maolia.
00:20:33Walter, I can't let you just split like this.
00:20:37I've got to do something.
00:20:38I've got to contribute.
00:20:41You don't have to do anything.
00:20:43Wait.
00:20:45Wait.
00:20:46There is one thing I can do.
00:20:48One little thing.
00:20:50Don't leave, Walter.
00:20:53I want to give you something.
00:20:55Something that'll make you remember me.
00:21:02Put it in your pocket.
00:21:05I'll go, Walter.
00:21:07Don't look back.
00:21:08Just go.
00:21:45Can't you do anything for me?
00:21:50You can do it.
00:21:52I want to give you this guy.
00:21:52I want to give you a little nest.
00:21:55I can do it.
00:21:56I'll play you.
00:21:56You don't need to pick a dollar.
00:21:57You'll need to pick a dollar.
00:21:58I can do it, Mr. Swickard.
00:22:08Can I have your autograph, Mr. Paisley?
00:22:10Why, certainly, my good woman.
00:22:14Everybody likes my cat.
00:22:18You want to buy my statue, mister?
00:22:20Ten thousand dollars?
00:22:22Okay.
00:22:26Gee, I'll be famous.
00:22:30And then I can ask Carla, and she'll see.
00:22:32Yes, I guess I know she will.
00:22:52Hello, Walter.
00:22:53Oh, hi. You're Lou, ain't you?
00:22:55I've seen you down the yellow door plenty. Come on in.
00:22:58I was just making some pancakes. You can have some if you like.
00:23:00Did you see my cat?
00:23:02Yeah, I saw your cat. I also saw that chick like these on you.
00:23:05Oh, that was Neolia. She's a nice girl.
00:23:08She's kind of strange, though.
00:23:10I guess she figures I get headaches or something.
00:23:12Okay, Walter, who's your connection?
00:23:14Connection?
00:23:15Yeah, connection. Who do you score from?
00:23:17Where do you buy your horse?
00:23:19Horse? Horse, junk, white stuff, heroin.
00:23:23Is that what that is?
00:23:24I've never seen any of that before.
00:23:26I always thought that was expensive.
00:23:27Yeah, Walter, that can be real expensive.
00:23:30Gee.
00:23:30Wasn't that nice of Neolia to give me that expensive horse?
00:23:33Walter.
00:23:34Huh?
00:23:36Police officer.
00:23:38You're like an undercover man.
00:23:40You're under arrest, Walter.
00:23:42Under arrest for what?
00:23:43Possession of narcotics.
00:23:44Who, me?
00:23:45What are you talking about?
00:23:47Walter, I got you cold.
00:23:48Now, you just come along quietly.
00:23:50I didn't do nothing.
00:23:51And Neolia gave me those.
00:23:53I didn't ask her for it.
00:23:54I didn't even know what was in that.
00:23:55All right.
00:23:55You can tell them that downtown.
00:23:56Now, let's go.
00:23:57I ain't going no place with you.
00:23:58Walter, do I have to point this at you?
00:24:00You're gonna shoot me.
00:24:01No.
00:24:02Don't shoot me.
00:24:03Walter, just relax.
00:24:04No, you're gonna shoot me.
00:24:05Just relax.
00:24:05Don't shoot me.
00:24:06Just shut up, Walter.
00:24:07No, you're gonna shoot me.
00:24:08Don't shoot.
00:24:20Walter!
00:24:25Walter!
00:24:27Are you all right?
00:24:28I thought I heard you shouting a minute ago.
00:24:34Walter!
00:24:44What's all the noise in here?
00:24:46Noise, Mrs. Swickett?
00:24:47What noise?
00:24:48Don't tell me I didn't hear a racket.
00:24:50Are you sure you're all alone?
00:24:52I'm always alone, Mrs. Swickett.
00:24:55Walter, have you been talking to yourself again?
00:24:57Well, I guess maybe I have, Mrs. Swickett.
00:25:00Somebody's got to.
00:25:01Walter, you know, what you need is a girl.
00:25:03But she doesn't have to be pretty.
00:25:06Just alone, she takes good care of you.
00:25:08Well, I can take real good care of myself, Mrs. Swickett.
00:25:10Yeah, I can see that.
00:25:11Look at this pad.
00:25:13It's terrible.
00:25:14When did you ever clean it up?
00:25:15And when did you change these sheets last?
00:25:17They look like they're alive.
00:25:19Now, Mrs. Swickett, I've got to meet some friends in a little while.
00:25:22And I've got to take a shower.
00:25:23Well, why don't you clean up this time?
00:25:24If you don't mind.
00:25:25Oh, please, Mrs. Swickett.
00:25:26What's the matter?
00:25:50I didn't mean to hurt you, Lou.
00:25:52But if you'd have shot me, you'd be mopping up my blood now.
00:25:58I can't help it if I got scared and hit you.
00:26:01I didn't mean it.
00:26:09It's crazy.
00:26:11It's crazy.
00:26:15I didn't know you had it in you, Walter.
00:26:20How'd you do it?
00:26:23Well, I just took some clay and fixed it up.
00:26:29Go home and make something, Walter.
00:26:32Make another cat.
00:26:44But I haven't got another cat.
00:26:48Well, I reported in here around midnight.
00:26:50Lou had already been gone over an hour.
00:26:53No, nobody seems to know where he went.
00:26:55Why don't you put an alert out on him, and I'll check on him from here.
00:26:58Okay.
00:26:59All right.
00:27:47All right.
00:27:50Little fraud.
00:28:08Louis Raby, age 29.
00:28:10Five foot, 11 inches tall.
00:28:12Dark complexion.
00:28:14Hair black and curly.
00:28:15Last seen wearing blue jeans and gray sweater.
00:28:22Tim Evans was a murderer.
00:28:25All in his prison cell.
00:28:28And those who read about his crimes, they damned his soul to hell.
00:28:34Saying, go down, you murderer, go down.
00:28:41For the murder of his own true wife, and the killing of his own child.
00:28:47The jury found him guilty, and the hanging judge, he smiled.
00:28:53And dig the fuzz.
00:28:56What do you suppose they want?
00:28:58You, man.
00:29:00You.
00:29:01Hey, maybe they're looking for old Walter.
00:29:03He's a criminal type.
00:29:06Ain't you, Walter?
00:29:08I'm sorry, Mr. DeSantis.
00:29:10Oh, that's all right, Walter.
00:29:11You sit down.
00:29:12Me? Sit down.
00:29:15Greetings, man.
00:29:17I'm not supposed to sit with the customers.
00:29:19Wait.
00:29:21Now, why shouldn't you sit at the table, Walter?
00:29:23After all, you're a big artist now.
00:29:25A true creator above mere mortis.
00:29:28What's the big idea?
00:29:30Idea?
00:29:32I was just telling Walter the truth.
00:29:35A man wanted to pay me $100 for the cap.
00:29:38In fact, he's taken it home to show to his wife.
00:29:42Proves that I underestimated Walter's ability.
00:29:44There's work.
00:29:46There's enormous realism.
00:29:47You can hardly tell it from the real thing.
00:29:49Boy, that sounds like a real put down.
00:29:52Get off Walter's back, Leonard.
00:29:54Why on his back?
00:29:55They're not very funny.
00:29:57I'm not trying to be.
00:30:01Walter, what are you gonna make next?
00:30:03A dog, maybe.
00:30:05Or a bird.
00:30:08How about a few dozen cockroaches from your room?
00:30:12Hey, man.
00:30:12Why don't you make an elephant?
00:30:14I got a new one.
00:30:16Great.
00:30:17What is it?
00:30:18It's a full-length, life-size figure.
00:30:22Crazy. What is it called?
00:30:26Murdered man.
00:30:27When do we get to see it?
00:30:28Anytime.
00:30:30Hey, that's a pretty far-out name for a statue.
00:30:32I saw a statue once.
00:30:34It was called a third time Phyllis saw me, she exploded.
00:30:37What kind of a statue was that?
00:30:39I don't know.
00:30:40It was made out of driftwood and dipped in fluoric acid.
00:30:43Very wild.
00:30:46What's wrong, Leonard?
00:30:49Nothing.
00:30:50Nothing at all.
00:30:51It's the food in this dump.
00:30:53Oh, man.
00:30:53You should try the Sorel's sewer.
00:30:55They got wheat germ bagels.
00:30:57Too much.
00:30:59Excuse me, please.
00:31:02I think he really is sick.
00:31:04So who isn't?
00:31:09Santos.
00:31:10I've been trying to get to you all evening.
00:31:12Gotta make a call.
00:31:13Gotta call Lieutenant Valdez.
00:31:15Listen, I was wrong about my wife.
00:31:17She wants that cat after all.
00:31:19Do you hear me?
00:31:19I'll give you that $100 for the cat.
00:31:21I can't talk to you just now.
00:31:23All right then, $200.
00:31:24No.
00:31:25No.
00:31:26No.
00:31:28$300 and that's tops.
00:31:32$300 for the cat?
00:31:35I know I'm going out of my mind, but I've been collecting art pieces all over Europe for years.
00:31:40And this boy Walter Paisley has got it.
00:31:43I want to buy his first work.
00:31:44And to make very sure that I get it, I'll pay you $500.
00:31:49$500 for the cat and the first look at his next stuff.
00:31:59Someone has the cat just now, but I'll have him back in a few days.
00:32:04Then you can have it for the $500.
00:32:06Oh, thank you, sir.
00:32:08I think I've made a bargain.
00:32:09Call me when you're ready.
00:32:11Good night.
00:32:15Larry.
00:32:17You feel better?
00:32:19Listen, I'm going over to Walter's later after the place closes to see murdered man.
00:32:24You feel up to coming along?
00:32:26The rope was fixed around the neck and a washer behind his ear.
00:32:32And the prison bell was tolling, but Tim Evans didn't hear.
00:32:38Saying, go down, you murderer, go down.
00:32:50Look at the size of it.
00:32:52Well, it's not really that big.
00:32:53I got it on a kind of a stamp.
00:32:55Well, let's see it.
00:32:57I'm a little nervous.
00:32:58I never did a person before.
00:33:00You can do anything if you set your mind to it.
00:33:03It's hard in here.
00:33:04You want me to open a window?
00:33:05Come on, Walter.
00:33:06Take off the sheet.
00:33:18Don't you like it?
00:33:23Walter, it's a masterpiece.
00:33:26I've never seen anything like it before.
00:33:31And I hope I never see anything like it again.
00:33:35Neither do I.
00:33:38It's hideous.
00:33:39And it's eloquent.
00:33:42It expresses modern man in all his self-pity.
00:33:47How did you ever find that in yourself, Walter?
00:33:50Well, it wasn't easy.
00:33:54What's the matter with you?
00:33:56Nothing.
00:33:57Nothing at all.
00:33:58I've never seen anyone so squeamish.
00:34:01What's your opinion, Leonard?
00:34:03Don't ask me.
00:34:04Oh, come on.
00:34:06Now, even you must see its value.
00:34:08Do you think that you or I could have conceived of such a thing, much less executed it?
00:34:14Well, then admit it.
00:34:15It's a work of genius.
00:34:17I admit it.
00:34:19Then let's take it down to the yellow door.
00:34:22No.
00:34:23Why not?
00:34:24I'll tell you.
00:34:26But you...
00:34:26Cover it up again, please, huh?
00:34:28Please.
00:34:35What is all this nonsense?
00:34:37Why do you want to hide it?
00:34:39Well...
00:34:40I've been thinking.
00:34:43I...
00:34:43I didn't realize how much talent Walter actually had.
00:34:47It would be wrong to show his pieces one at a time.
00:34:50Dead wrong.
00:34:51You're right.
00:34:53He should build a collection first.
00:34:57Dead.
00:34:58That's the idea.
00:34:59Maybe when it's big enough we can have a show.
00:35:01A show?
00:35:02Just for me?
00:35:02No!
00:35:03Well, not exactly.
00:35:04I mean, you can take years and years...
00:35:08It's getting hot again.
00:35:11It would take you years to make that many statues.
00:35:14But your work would be featured.
00:35:15It's a wonderful idea, Walter.
00:35:18It's the only way to gain recognition.
00:35:19All the big art critics and art dealers will be there.
00:35:22It'll be an event.
00:35:23Yes.
00:35:23Then we can unload.
00:35:24We can sell this stuff for a lot more.
00:35:26What?
00:35:27The show?
00:35:28How soon can we go?
00:35:29Don't rush things.
00:35:30It takes time.
00:35:31But first of all, you've got to stop making these horrible statues.
00:35:36Carla and I will guide you.
00:35:38Maybe you can turn to Freeform.
00:35:40Freeform?
00:35:40Well, that's the movement today.
00:35:41With his talent for realism.
00:35:42But you can see the direction this realism takes.
00:35:44It's unhealthy.
00:35:45But you said I was a genius.
00:35:47I don't want to be a busboy anymore.
00:35:49What?
00:35:49Yes.
00:35:50Maybe you've got a point there.
00:35:51You shouldn't keep working at the yellow door.
00:35:53Look.
00:35:54I'm sure that man is going to buy you a dead cat.
00:35:57So here.
00:35:57Here's your fee in advance.
00:35:59Fifty dollars.
00:36:00And if you need more, I've got it.
00:36:02So don't worry.
00:36:03I've got great faith in you, Walter.
00:36:06Gee.
00:36:07Fifty dollars for something I made.
00:36:09Now you're a professional.
00:36:10Let's go.
00:36:12Okay.
00:36:13Good night, Walter.
00:36:16Keep up the good work.
00:36:18Yeah, but don't rush things.
00:36:20You've got all the time in the world.
00:36:22Come on, Carla.
00:36:24Good night.
00:36:32Good night.
00:36:33Good night.
00:36:35Did you holler, Walter?
00:36:37I'm an artist, Mrs. Rickert.
00:36:39Yeah.
00:36:39Oh, sure you are, Walter.
00:36:41I am.
00:36:43Look!
00:36:47Come to heaven!
00:37:06One of the greatest advances in modern poetry is the elimination of cleric.
00:37:10I am proud to say my poetry is only understood by that minority which is aware.
00:37:15Who have what?
00:37:16We're not of anything stupid, just aware.
00:37:21Man, this place is beginning to feel like a lineup.
00:37:24Yeah, baby.
00:37:26But don't cool out pretty soon. I'm gonna haunt somebody else's joint.
00:37:29We may have to start drinking.
00:37:31.
00:37:38Yes, man! Yes!
00:37:41Yes!
00:37:42That's my man!
00:37:43Yes!
00:37:46Yes, man! Yes!
00:37:48Yes!
00:37:51Good evening, Walter.
00:37:52Good evening, Carla.
00:37:58Sylvia, didn't you see me wave my Zen stick?
00:38:01Oh, it's Walter Paisley.
00:38:03Bring me a cappuccino and a piece of papaya cheesecake.
00:38:05And a bottle of Yugoslavian white wine.
00:38:08Yes, sir, Mr. Paisley.
00:38:09Good evening, Walter.
00:38:11Maxwell, how have you been?
00:38:13I see the rewards of achievement have come your way.
00:38:15Well, after all, I'm a successful sculptor now.
00:38:19Indeed.
00:38:20And I dig Walter the wigger.
00:38:23He's coming out like he just cured cancer.
00:38:26Let us make the scene.
00:38:28Crazy.
00:38:29I was just suggesting to Walter that he try his hand at freeform.
00:38:33Why do you suggest anything to Walter?
00:38:35Are you the spokesman for society come to put your stifling finger in his eye?
00:38:39Good evening, gentlemen.
00:38:41Oh, now, who invited these two down from the clouds?
00:38:44Maxwell!
00:38:45Yoo-hoo!
00:38:45Through the table.
00:38:46Bring a bowl.
00:38:46I may be sick.
00:38:48It's Alice the Awful.
00:38:49Comes to spread cheer and cholera.
00:38:52Look at my son, Hannah, everybody.
00:38:53Do we have to?
00:38:55Where have you been, Alice?
00:38:56I went up to Big Sur to look for Henry Miller.
00:38:58You didn't find him, I hope.
00:39:00No, he's in Europe.
00:39:01Good.
00:39:03Why is the busboy sitting here?
00:39:05I'm not the busboy anymore.
00:39:07That's right.
00:39:08Walter has become a sculptor.
00:39:09Oh, really?
00:39:11I'm a model, you know.
00:39:12I only charge $25 an hour.
00:39:15Would you like to do me?
00:39:17I just might.
00:39:19Never mind that.
00:39:20Walter's gonna try freeform.
00:39:22There you go again.
00:39:23I may take my business to the Sorrell sewer.
00:39:26As a matter of fact, I was going to suggest to Walter that he try a female figure.
00:39:30There's a change from the violent death theme.
00:39:33You really should, Walter.
00:39:35You know what?
00:39:36If you like, I'll be your model for free.
00:39:39I couldn't.
00:39:40Not you.
00:39:41Man, if you're gonna be an artist, you've gotta do nudes.
00:39:45Nudes.
00:39:45Right.
00:39:47Right.
00:39:47Right.
00:39:48Ain't nobody an artist unless he does nudes.
00:39:52Will you get them out of here before we wind up in nightcoach?
00:39:55Oh, let's change the subject.
00:39:57I'm sick of hearing about sculpture.
00:39:58Nobody knows how to do that anymore.
00:40:00Much less the busboy from the yellow door.
00:40:03Who do you think you're talking about?
00:40:05Don't shout at me.
00:40:07I don't like you.
00:40:10Nobody asked for your opinion, Walter.
00:40:12You're just a simple little farm boy and the rest of us are all sophisticated deaknik.
00:40:16Let's split.
00:40:18Yeah, man.
00:40:20I gotta make me some air.
00:40:24See, you made them leave.
00:40:26What did I do?
00:40:27The first beneficial service of your benighted life.
00:40:30It proves we're all good for something.
00:40:33Are you saying that this busboy is better than I?
00:40:36Yes.
00:40:37I think this whole bit about him being a sculptor is just a big put-on for my benefit.
00:40:41That's not true.
00:40:42I am a sculptor.
00:40:43Oh, yeah?
00:40:44Prove it.
00:40:45Make something out of this.
00:40:47There.
00:40:48Hand.
00:40:50That isn't a real hand.
00:40:51If you were a sculptor, you'd create something for me.
00:40:54A harpoon would be very nice.
00:40:56I'm going home.
00:41:01Alice?
00:41:01You're obnoxious.
00:41:04But he's such an idiot.
00:41:50Yes?
00:41:52What are you doing here?
00:41:53I wanted to apologize for being nasty to you this evening.
00:41:57So you're apologized.
00:41:58Good night.
00:42:08Listen, twerp.
00:42:09Why don't you get out of here and let me go to bed?
00:42:11I didn't finish talking to you.
00:42:13I decided to make that female figure after all.
00:42:15Oh?
00:42:16And I'd like you to pose for it.
00:42:18Remember what I said about my price?
00:42:20Twenty-five dollars an hour.
00:42:23If you want to pay it, I don't mind posing.
00:42:25When do you want to start work?
00:42:27Tonight.
00:42:28You mean right now?
00:42:30Uh-huh.
00:42:31Wait till I get my sweater.
00:43:02How do you want me to go outside?
00:43:02Well, you've been waiting for me for a few months.
00:43:02You've been waiting for me for a few months, aren't you?
00:43:02Well, you've been waiting for me for a few months, not to run away.
00:43:08You could use a little more heat around this place.
00:43:11It's bad for the clay.
00:43:13You'll get used to it.
00:43:19Well, I'm almost ready.
00:43:25Here.
00:43:27Sit in this chair and I'll pose you.
00:43:40Kind of rickety.
00:43:42How's this pose?
00:43:44Well, that's fine. It's very good.
00:43:47Just stay like that.
00:43:50It doesn't look like very much clay.
00:43:53Oh, it's enough.
00:43:56Put this around your neck.
00:44:11Oh, my God.
00:44:16Oh, my God.
00:44:18Oh, my God.
00:44:19Oh, my God.
00:44:21Oh, my God.
00:44:23Watch it. The plate's hot.
00:44:24Are these fertile eggs?
00:44:26Are these eggs fertile?
00:44:28Naturally.
00:44:29What did you fry them in?
00:44:31We ran out of the safflower seed oil,
00:44:33but I found a bottle of peanut oil on the shelf.
00:44:35Don't worry. It's not hydrogenated.
00:44:38Is that the cold-pressed stuff
00:44:38or the junk Hilda bought by mistake?
00:44:42Yes, man. Yes.
00:44:44Hi.
00:44:45Good morning, Walter.
00:44:46Hi, Walter. What brings you here?
00:44:48Had some breakfast.
00:44:49What are you having?
00:44:50Soy and wheat germ pancakes,
00:44:52organic guava nectar,
00:44:54calcium lactate and tomato juice,
00:44:56and garbanzo omelets sprinkled with smoked yeast.
00:44:58Join us?
00:44:59No, thanks.
00:45:00Sounds great, though.
00:45:02I brought something to show you.
00:45:03Could I have some of the guys help me?
00:45:05Is it murdered, man?
00:45:06It's better.
00:45:07Come on.
00:45:08Orders.
00:45:15Put it in the middle of the room.
00:45:16When did you do this, Walter?
00:45:18Last night.
00:45:19It doesn't take me very long.
00:45:20You should say not.
00:45:21Well, let's see it, man.
00:45:39Walter, I can't believe it.
00:45:41I'm honored to know this man.
00:45:43Do you think it's nice?
00:45:45Hey, she's beautiful.
00:45:47Do you think it's nice as a murdered man?
00:45:48Oh, I don't know, Walter.
00:45:49It's impossible to choose.
00:45:51They're both great.
00:45:53Walter, I'm deeply moved.
00:45:55To show my appreciation,
00:45:56I'm going to give a party tonight at the Yellow Door.
00:45:58In your honor.
00:45:59And I shall compose a poem.
00:46:00I'll give it to you.
00:46:18Some more champagne, Your Majesty?
00:46:20Here, here.
00:46:21Where, where?
00:46:22There, there.
00:46:25Fine.
00:46:27Can I have another little kiss?
00:46:29Walter, you're all right.
00:46:35Here, let's go.
00:46:45All right.
00:46:47All right.
00:46:48Walter.
00:46:50The bird that flies now pays later through the nose of Ambidextrous apathy.
00:46:55Necrophiles may dance upon the placemats in an orgy of togetherness.
00:46:59The highway of life cuts sharply through the shady ghettos and the ivy-covered tombs.
00:47:05And laughter rings from every time capsule in the star-spangled firmament.
00:47:09And in the deep freeze it is the children's hour.
00:47:13And no one knows that Duncan is murdered.
00:47:16And no one knows that Walter Paisley is born.
00:47:21Duncan knows. Tuesday sunrise knows.
00:47:25Alley cats and garbage cans and steaming pavements.
00:47:29And you and I and the nude descending the staircase.
00:47:33And all such things with soles.
00:47:35We know that Walter Paisley is born.
00:47:38Ring rubber bells, beat cotton gongs, strike silken cymbals, play leathern flutes.
00:47:45The cats and cans and you and I and all such things with soles.
00:47:50We shall hear, Walter Paisley is born.
00:47:54And the souls become flesh.
00:47:57Walter Paisley is born!
00:48:08Marvelous, darling. Marvelous.
00:48:12Man, like that was the greatest gas I ever heard.
00:48:15Crazy. What did he say?
00:48:16Didn't you hear him?
00:48:17No, man. I'm too far out.
00:48:25Maxwell, that was magnificent.
00:48:28I feel so elegant.
00:48:30Walter deserved every word of it.
00:48:32It makes me so glad I'm aware.
00:48:36Did you hear what he said?
00:48:38Yes, Walter.
00:48:39All about me.
00:48:42It's true, isn't it?
00:48:45Every word.
00:48:49You better hold off on the bubbly, artist.
00:48:52Yeah, why?
00:48:54We might talk too much.
00:48:56What would I say?
00:48:58Most anything, I expect.
00:48:59Are you two trying to ignore the rest of us?
00:49:02Oh, not me, Maxwell.
00:49:04I wouldn't ignore you.
00:49:06I know what it is to be ignored.
00:49:09Tell us what you're going to do next, Walter.
00:49:10I'm going to make the most wonderful, wildest, wiggiest things you've ever seen.
00:49:16I'm going to make big statues and little statues, tall statues and short statues.
00:49:22I'm going to make statues of nobodies and statues of famous people.
00:49:28Statues of actors and poets and people who sell things on television.
00:49:35And a statue of the mayor.
00:49:37And some opera singers and their intimate friends.
00:49:41And everybody will say, Walter, let me shake your hand.
00:49:45It's been a real pleasure to have known you.
00:49:54Alley cats and garbage cans.
00:49:56They know that Walter Paisley is born.
00:50:00Ring rubber bells.
00:50:01Beat cotton gowns.
00:50:03Strike silk and cymbals.
00:50:05Play leather and flutes.
00:50:09Tell us what you're going to do next, Walter.
00:50:13I'm going to make big statues and little statues.
00:50:17Movie stars and poets.
00:50:20And guys who sell things on television.
00:50:23And the mayor and some opera singers.
00:50:28Tell us what you're going to do next, Walter.
00:50:34What am I going to do next?
00:50:38What am I going to do next?
00:50:41What am I going to do next?
00:50:42I got to do something before they forget.
00:50:47I know what it's like to be ignored.
00:51:03Who are you? What do you want?
00:51:05Life is an obscure hobo.
00:51:06Bumming a ride on the omnibus of eye.
00:51:08Huh? What did you say?
00:51:10What is not creation is graham crackers.
00:51:12Let them all crumble to feed the creator.
00:51:14Oh, faded. You must be nuts.
00:51:28No!
00:51:29No!
00:51:31No!
00:51:32No!
00:51:33No!
00:51:34No!
00:51:48No!
00:51:49No!
00:51:50No!
00:51:51No!
00:51:51No!
00:51:52No!
00:51:53No!
00:51:54No!
00:51:59It's all like that.
00:52:03The man who got cut in half, extra, extra.
00:52:07Police can only find part of it.
00:52:09Leonard.
00:52:14What's the matter, Leonard?
00:52:18You made a bust.
00:52:20Yeah, isn't it wonderful?
00:52:23What's the matter, Leonard?
00:52:25Put it down, Walter, please.
00:52:33Walter, Walter, listen to me carefully.
00:52:36I don't want you to make any more statues.
00:52:39Do you understand?
00:52:40No more statues.
00:52:41Why not?
00:52:42I got to make statues, Leonard.
00:52:44You heard, Brock, they want me to make them.
00:52:46If I stop making them, I'll just be a bust boy again.
00:52:49Brock, he's behind all of this with his stupid, bitter poetry.
00:52:53Listen, you've got to stop him right away.
00:52:56I'm beginning to feel responsible.
00:52:59Why?
00:53:00What did you do?
00:53:01Never mind.
00:53:03Walter, I've decided to have that show for you, right away.
00:53:08Yes.
00:53:09When Carla comes, we'll have her work up some nice invitations.
00:53:12We'll have them printed up.
00:53:14We'll invite the critics and the art collectors.
00:53:18We'll tell them.
00:53:23Well, I don't see why we can't go.
00:53:25Mr. Leonard DeSantis is afraid to have you come.
00:53:28You who buy his coffee that lure his tourists.
00:53:31You are the heart and soul and meat of the yellow door.
00:53:34He slighted you.
00:53:35Did you get an invitation?
00:53:37I did not.
00:53:38But I'm going anyway.
00:53:40Not to drink his champagne, but to see Walter's triumph.
00:53:43After that, we go no more.
00:53:45Hi, Maxwell.
00:53:46Well, I won't say good luck, Walter.
00:53:48Why not?
00:53:50It would imply you could not succeed on your ability alone.
00:53:56Do you look so handsome?
00:53:58I do.
00:53:59So do you.
00:54:01I mean, you look so pretty.
00:54:04Are you ready?
00:54:05Oh, we've got plenty of time.
00:54:07I know, but I wanted to talk to you.
00:54:09Okay.
00:54:10We can go now, if you like.
00:54:12Bye.
00:54:15Later, man.
00:54:16Later.
00:54:16Swing.
00:54:18Man, why do you suppose Walter wants to get her alone?
00:54:22Do you suppose he could be physically attracted to her?
00:54:24No, man.
00:54:25He ain't the type.
00:54:26He don't get enough vitamin to eat.
00:54:28Maxwell gave him a bottle of wheat germ oil once.
00:54:31Maybe he just started taking it.
00:54:41What did you want to talk to me about, Walter?
00:54:44Well, what kind of people do you like, Carla?
00:54:48Oh, thinking people.
00:54:52Artistic people, I guess.
00:54:54You think I'm artistic?
00:54:55Of course I do.
00:54:57That means you like me.
00:54:58I like you very much, Walter.
00:55:00I thought you did on count of how you kissed me the other night.
00:55:05Oh, that was for your sculptor of the girl, your nude in the chair.
00:55:11Carla, I've been alone for a long time, and I know you've been alone,
00:55:14because you never seem to go out with anybody,
00:55:16even though Leonard's always asking you to go out with him, and I just...
00:55:20What are you trying to say?
00:55:30Carla?
00:55:33I don't want to make statues anymore.
00:55:35I want to get married.
00:55:36To you.
00:55:41How long have you been thinking about this, Walter?
00:55:44Oh, for a long time.
00:55:46Ever since you first came to work at the club.
00:55:50You were the only one who was ever nice to me.
00:55:51Walter, I didn't know you loved me until you kissed me.
00:55:58Walter, I do like you.
00:56:01And I did kiss you.
00:56:04But that was because of your work.
00:56:09There's more to being in love with someone than just that.
00:56:14You mean you don't love me?
00:56:18I'm afraid that's what I mean.
00:56:21But...
00:56:23But you've got to love me.
00:56:25Why do you think I made that Statue of Alice?
00:56:28Walter, I'm sorry, but I...
00:56:29You just can't be sorry.
00:56:31I want to marry you.
00:56:33Now, calm down, Walter, and let's go in there,
00:56:36and then maybe when the show's over, we can talk about it sometime.
00:56:40Well, I don't want to talk about it.
00:56:44I don't want to talk about it.
00:56:44I get it.
00:56:46I see the whole thing now.
00:56:50Nobody knows that Walter Paisley is born.
00:56:56Carla...
00:56:58Will you do one favor for me?
00:57:02Just about anything, Walter.
00:57:05Would you let me make a Statue of you?
00:57:09Would you really like to?
00:57:12That'd make me very happy.
00:57:15Okay.
00:57:17Tonight.
00:57:19I'll make a Statue of you tonight.
00:57:21Okay?
00:57:27Come on.
00:57:30I'll be right back.
00:57:30I'm sorry.
00:57:45I'm sorry.
00:57:48I'm sorry.
00:57:48I just got it.
00:57:50I'm sorry.
00:57:53I'm sorry.
00:57:53I'm sorry.
00:57:54I'm sorry.
00:57:56Here's your question.
00:57:56I'm sorry.
00:57:58I'm sorry.
00:57:58I'm sorry.
00:57:58No, thanks.
00:58:02This could bring about a return to realism.
00:58:05Yes, a one-man return.
00:58:07We have many artists about, but no craftsman.
00:58:11This man knows his anatomy.
00:58:13I'd give $1,500 for this.
00:58:15After you read my review, it'll probably cost you $5,000.
00:58:22So what's the trouble?
00:58:25Why should you be so depressed?
00:58:27Have you heard the things they're saying?
00:58:29You can make $25,000 on these pieces alone.
00:58:32I thought you put money down.
00:58:33I do, but $25,000?
00:58:35Leave me alone.
00:58:50Out!
00:58:50Man, we have come to make this scene.
00:58:53Want some cappuccino, man? We got the bread.
00:58:55We're not open for business. This is an art exhibit.
00:58:57No bumps. Get out.
00:58:58That art is above metal.
00:59:00And he's sober.
00:59:01Well, that's his problem.
00:59:02All right, man. All right. We'll wait outside.
00:59:04Yeah, you wait outside.
00:59:32All right.
00:59:38Where are you going, Carla?
00:59:41What's the matter?
00:59:43Walter, there's a body inside that statue.
00:59:47Well, that's Alice.
00:59:50It's all right, Carla.
00:59:52Maxwell says it's all right.
00:59:54Let them become clay in his hands that he might mold them.
00:59:58Walter, you stay away from me.
01:00:02Don't you see, Carla?
01:00:03I made them immortal.
01:00:05Don't you see, I can do the same for you.
01:00:37Don't you see, I can do the same for you.
01:00:38Call Valdez, have him set some cards.
01:00:39I'm going up to Paisley.
01:00:40I'm going with you.
01:00:42Hey, man, what is the score?
01:00:43Walter Paisley's a murderer.
01:00:45Ah, man, I saw him chasing Carla down the street.
01:01:00I'll be right back.
01:01:05Get it?
01:01:09I'll be right back.
01:01:09Hold it.
01:01:38What was that?
01:01:41Nobody knows I'm here.
01:01:45No, they couldn't know.
01:01:48They're dead.
01:01:53How could they know?
01:01:55Did you see him?
01:01:57He's hiding around here someplace.
01:01:59He can't hide just because we're in clay and he isn't.
01:02:12Walter, go home.
01:02:14He won't know where else to go.
01:02:18Walter, go home.
01:02:23Where is he?
01:02:24Come on.
01:02:25Come on.
01:02:28Come on.
01:02:35Come on.
01:02:37Come on.
01:02:45Come on.
01:02:46Come on.
01:02:46Come on.
01:02:47Come on.
01:02:49Come on.
01:02:55Come on.
01:02:58Come on.
01:02:59Come on.
01:03:04Come on.
01:03:04Come on.
01:03:05Come on.
01:03:14Come on.
01:03:17Come on.
01:03:21Come on.
01:03:26Come on.
01:03:34Come on.
01:03:42Come on.
01:03:45Come on.
01:03:47Come on.
01:03:48Come on.
01:03:50What's the matter with you?
01:03:55Walter.
01:03:59Walter.
01:04:04We'll find him.
01:04:07We'll have him soon, Lou.
01:04:10We'll teach him he can't murder us and get away with it, won't we?
01:04:18Walter.
01:04:23Walter.
01:04:27What you gonna do now, Walter?
01:04:35Walter.
01:04:36I'll hide where they'll never find me.
01:04:49There's his room. He's gone crazy.
01:04:51Paisley! Paisley, open up!
01:04:53Paisley!
01:04:59Paisley!
01:05:05I suppose he would have called it Hanging Man.
01:05:10His greatest work.
01:05:12Paisley!
01:05:17Paisley!
01:05:19Paisley!
01:05:20Paisley!
01:05:21We actually saw it all.
01:05:21We're we начинаping, as we?
01:05:21There we go, Adם!
01:05:21Can I?ли!
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