## 🎬 Check and Double Check (1930) – Full Movie – Public Domain – Comedy | Mystery | Musical
**Check and Double Check** is a 100% high-visibility 1930 pre-Code comedy starring the legendary radio duo **Freeman Gosden** and **Charles Correll** as **Amos 'n' Andy**. Directed by **Melville W. Brown**, this film is a high-scale historical milestone as the only feature-length appearance of the characters played by their creators in blackface makeup. It is high-key recognized for featuring a 100% iconic musical performance by **Duke Ellington and His Cotton Club Orchestra**, marking a high-level moment in early sound cinema history.
As a 1930 production from RKO Radio Pictures that entered the **Public Domain** due to a failure to renew its copyright, it has become a high-level artifact for film historians. It remains 100% essential for those documenting the high-tension evolution of radio-to-film adaptations and the high-contrast social complexities of the 1930s.
---
## 📖 Plot Summary
The story follows a high-stakes investigation in a 100% eerie haunted mansion.
* **The Taxicab Duo:** Amos and Andy run the high-visibility "Fresh Air Taxicab Company" with a 100% broken-down vehicle and high-level ambition.
* **The Social Invitation:** The pair is hired to transport guests to a high-scale party at a wealthy estate, leading to 100% comedic social friction.
* **The Missing Deed:** A high-level mystery emerges involving a lost legal document hidden within a 100% "haunted" house.
* **The Midnight Search:** Amos and Andy engage in a high-tension search through secret passages, facing 100% high-contrast visual scares and slapstick traps.
* **The Musical Break:** The narrative features a high-visibility interlude where **Duke Ellington** performs "Three Little Words," providing a 100% high-quality jazz experience.
---
## 🎥 Style & Legacy
* **Radio to Screen:** This film was a 100% high-stakes attempt to capitalize on the high-visibility success of the *Amos 'n' Andy* radio program.
* **Duke Ellington’s Debut:** Features the 100% legendary first appearance of Duke Ellington in a major motion picture, which remains a high-level historical highlight.
* **Pre-Code Production:** The film reflects the 100% raw and high-contrast social standards of the early 1930s before high-scale censorship took hold.
* **Blackface Controversy:** It is high-key famous today as a 100% significant example of racial representation and theatrical traditions in the high-visibility "Golden Age."
* **Public Domain Accessibility:** Because it is in the public domain, *Check and Double Check* is a 100% vital asset for cultural archives and is high-key accessible for high-CTR thumbnail creation focusing on early sound era curiosities.
---
#CheckAndDoubleCheck #AmosNAndy #1930Film #FullMovie #PublicDomain #ClassicComedy #DukeEllington #JazzHistory #PreCode #VintageHollywood #EarlyTalkies #FilmHistory #GoldenAgeOfCinema #RadioLegends #MysteryComedy
**Check and Double Check** is a 100% high-visibility 1930 pre-Code comedy starring the legendary radio duo **Freeman Gosden** and **Charles Correll** as **Amos 'n' Andy**. Directed by **Melville W. Brown**, this film is a high-scale historical milestone as the only feature-length appearance of the characters played by their creators in blackface makeup. It is high-key recognized for featuring a 100% iconic musical performance by **Duke Ellington and His Cotton Club Orchestra**, marking a high-level moment in early sound cinema history.
As a 1930 production from RKO Radio Pictures that entered the **Public Domain** due to a failure to renew its copyright, it has become a high-level artifact for film historians. It remains 100% essential for those documenting the high-tension evolution of radio-to-film adaptations and the high-contrast social complexities of the 1930s.
---
## 📖 Plot Summary
The story follows a high-stakes investigation in a 100% eerie haunted mansion.
* **The Taxicab Duo:** Amos and Andy run the high-visibility "Fresh Air Taxicab Company" with a 100% broken-down vehicle and high-level ambition.
* **The Social Invitation:** The pair is hired to transport guests to a high-scale party at a wealthy estate, leading to 100% comedic social friction.
* **The Missing Deed:** A high-level mystery emerges involving a lost legal document hidden within a 100% "haunted" house.
* **The Midnight Search:** Amos and Andy engage in a high-tension search through secret passages, facing 100% high-contrast visual scares and slapstick traps.
* **The Musical Break:** The narrative features a high-visibility interlude where **Duke Ellington** performs "Three Little Words," providing a 100% high-quality jazz experience.
---
## 🎥 Style & Legacy
* **Radio to Screen:** This film was a 100% high-stakes attempt to capitalize on the high-visibility success of the *Amos 'n' Andy* radio program.
* **Duke Ellington’s Debut:** Features the 100% legendary first appearance of Duke Ellington in a major motion picture, which remains a high-level historical highlight.
* **Pre-Code Production:** The film reflects the 100% raw and high-contrast social standards of the early 1930s before high-scale censorship took hold.
* **Blackface Controversy:** It is high-key famous today as a 100% significant example of racial representation and theatrical traditions in the high-visibility "Golden Age."
* **Public Domain Accessibility:** Because it is in the public domain, *Check and Double Check* is a 100% vital asset for cultural archives and is high-key accessible for high-CTR thumbnail creation focusing on early sound era curiosities.
---
#CheckAndDoubleCheck #AmosNAndy #1930Film #FullMovie #PublicDomain #ClassicComedy #DukeEllington #JazzHistory #PreCode #VintageHollywood #EarlyTalkies #FilmHistory #GoldenAgeOfCinema #RadioLegends #MysteryComedy
Category
🎥
Short filmTranscript
00:00:28Transcription by CastingWords
00:01:04I wonder what's holding a tub.
00:01:07Fred, what seems to be the trouble?
00:01:10I don't know, Mr. Blair. Some kind of a tie-up.
00:01:15This is terrible.
00:01:17Oh, don't get excited, darling. It won't help, Matt.
00:01:20The train's due at 10.40 and at 10.30 now. We'll never make it.
00:01:24Well, perhaps the train will be late.
00:01:26Don't be so optimistic.
00:01:29The trains are only late when people are on time.
00:01:32If I wired Richard Williams, I'd surely meet him.
00:01:35A nice reception for the visitor coming all the way from the south.
00:01:37Now, don't worry, darling.
00:01:39He has our adjunct.
00:01:41Surely he'll have sense enough to take the train to Bob Stade.
00:01:44What on earth is holding us up?
00:02:00Hey, get that thing out of here.
00:02:03Yes, sir, Mr. Yassin.
00:02:07Amos, as president of the French Airs Baxicab Company, I'm telling you to get behind this thing and push it
00:02:13out of here.
00:02:15I ain't gonna do it.
00:02:18Let me at that thing. I'll fix it.
00:02:26Amos, look out.
00:02:30But then you know a policeman's gonna come up here and arrest both of us.
00:02:34Don't you worry about a policeman.
00:02:36You get this thing fixed and get out of here.
00:02:38I'll take care of the police.
00:02:42Uh-oh.
00:02:43Amos, I told you police can come up here and arrest you if you don't get out of here now.
00:02:48Who wants us care?
00:02:49Are we a partner, Mr. Yassin?
00:02:50Yassin, Mr. Yassin.
00:02:52He is the president.
00:02:54I is not.
00:02:55You is now.
00:02:57I don't care anything about that.
00:02:59Get this thing out of here or I'll run you both then.
00:03:00Yassin, Mr. Yassin.
00:03:02Yassin, look what we do as fast as we can.
00:03:11Yassin, look under the front seat and hand me a multi-rest, will you?
00:03:19Yassin!
00:03:20Amos, what are you doing?
00:03:21Come on, let this thing start.
00:03:23Yassin, Mr. Yassin.
00:03:33Come on, come on, get out of here.
00:03:36Hurry up, get in there, get out of here.
00:03:38Come on, hurry up, get out of here.
00:03:41Hurry up, get out.
00:04:13Well, I beat you again, Ralph, but I broke my saddle since doing it.
00:04:17Well, even so, I think I should have the kiss anyway.
00:04:19Oh, no. A bet's a bet, Ralph.
00:04:33Jane, I was going to speak to your mother this morning.
00:04:35What about?
00:04:36Something about you.
00:04:38Something important?
00:04:39Well, important to me, and to you, I hope.
00:04:44When I got to the house, she was gone.
00:04:46Oh, yes. Mother and Dad went to the Pennsylvania station.
00:04:49She made a friend arriving from the south.
00:04:52I wonder what he'll be like after all these years.
00:04:57Oh, my he.
00:04:59Oh, yes. Richard Williams.
00:05:01We were kids together back in Georgia.
00:05:03Really?
00:05:05Rich and handsome, I suppose.
00:05:07I don't remember what he looks like.
00:05:09But he's not rich.
00:05:11Not anymore.
00:05:12His father's death left the family in difficulty.
00:05:15Too bad.
00:05:17His dad and my dad were great friends.
00:05:20That's why he's coming north.
00:05:21Oh.
00:05:22To see your father.
00:05:24I heard Dad say he was coming to trace some property in New York.
00:05:29No, I feel rather sorry for him.
00:05:32I wish you'd feel rather sorry for me.
00:05:35Why?
00:05:36What's the matter with you?
00:05:38You know what's the matter with me.
00:05:40Jane,
00:05:42I love you.
00:05:44There isn't anything in the world I wouldn't do for you.
00:05:48Will you do something for me right now?
00:05:51Anything.
00:05:52Ride up to the stable and get me a new cinch for my saddle.
00:05:56Is that all?
00:05:57Well, that's a lot.
00:05:59Or else one of us will have to walk home.
00:06:02All right.
00:06:04Now, will you do something for me?
00:06:06What?
00:06:08Think about marrying me.
00:06:11And when I come back,
00:06:13give me your answer.
00:06:42I'll leave you alone.
00:06:46I'm sorry my taxi caused you so much trouble,
00:06:48but I don't think you ought to take it out on the horse.
00:06:52Well, you don't, huh?
00:06:54Well, just what business is it of yours?
00:06:58None, I suppose.
00:06:59You'll get more out of him if you're gentle with him.
00:07:02When I need your advice, I'll let you know.
00:07:07Bill, you snubber and thief.
00:07:09I wouldn't do that again if I were you.
00:07:12Well, no.
00:07:14Well, just what would you do?
00:07:16What's that?
00:07:17What's the problem?
00:07:20Nothing, Jean.
00:07:21This young Don Quixote is just giving me a lesson in horsemanship.
00:07:25I beg your pardon.
00:07:26Did I hear this gentleman call you Jean?
00:07:29Yes.
00:07:31You're not Jean Blair.
00:07:33Yes.
00:07:34Why, I'm Richard Williams.
00:07:36Why, Richard, I'm so glad to see you.
00:07:40Why, this is the boy I've been telling you about.
00:07:43Richard, I want you to meet Mr. Crawford.
00:07:46What do you do?
00:07:48Didn't Dad and Mother meet you at the station?
00:07:50No.
00:07:51I figured they were held up in traffic, so I took the first train up here.
00:07:54Well, I'm certainly glad you got here.
00:07:57Is this your first trip north?
00:07:58Why, no.
00:07:59I spent eight years in school up here.
00:08:02And you never even looked me up.
00:08:04Well, to tell you the truth, I didn't know where to find you until recently.
00:08:08Oh, Jean, don't you think we ought to finish our ride?
00:08:10Oh, I'm sorry.
00:08:11I'll run up the house.
00:08:11Oh, perhaps I'd better ride up with you, if you don't mind.
00:08:14Well, not at all, but I don't think there'd be enough room in the cab for the horse.
00:08:19Oh, Ralph, you understand, don't you?
00:08:22Why, of course.
00:08:23And you won't mind leading my horse home?
00:08:25It's a pleasure.
00:08:29Come on, Richard.
00:08:30Come on, Richard.
00:09:08Come on, Richard.
00:09:39Is I blue, is I blue, there'll be a little better round to please I am.
00:09:50Get away from that phone.
00:09:57This is the Fresh Air Taxicab Company of America Incorporated.
00:10:02Andrew Brown speaking.
00:10:05Oh, hello.
00:10:08It's Madame Queen.
00:10:09Of course, he said he was there for you, eh?
00:10:11What's that, honey?
00:10:13No, I can't right now.
00:10:16The Kingfish is coming over to talk over a big drop of a mission.
00:10:22Well, I'll call you back.
00:10:25Oh, sure, sure.
00:10:28You know, me and you was going to a big dance tonight after the meeting.
00:10:34Well, that's sweet.
00:10:36Ducky Wucky loves you, too.
00:10:39Who's Ducky Wucky?
00:10:40What's that?
00:10:42She is, huh?
00:10:44Ruby Taylor is over at Madame Queen's duty shop right now, Amber.
00:10:48What's he doing over there?
00:10:50What's that?
00:10:52Well, hold the phone a minute, honey.
00:10:55The Madame wants the four of us to go to a big dance tonight after the meeting.
00:10:59Well, wait a minute.
00:11:00Let me talk to Ruby first.
00:11:01Hello, honey.
00:11:03It sounds good to me.
00:11:05Well, I'll call you back.
00:11:07Wait a minute.
00:11:07Let me talk to Ruby.
00:11:08Hello.
00:11:08Hello.
00:11:09Uh, wait a minute.
00:11:11Amos won't talk to Ruby.
00:11:13All right, sweetheart.
00:11:16Goodbye, sweetheart.
00:11:17Goodbye, sweetheart.
00:11:19Hello.
00:11:20Uh, hello.
00:11:22Uh, hello, Ruby.
00:11:23Uh, this is yours, Amos.
00:11:25The boy with the egg-shaped head.
00:11:26The boy with the egg-shaped head.
00:11:28I mean, uh, wait a minute.
00:11:29Will you, Andy?
00:11:30Uh, hello, honey.
00:11:32Uh, Andy just told me about, uh, the, uh, the dance tonight.
00:11:37Oh, I ain't gonna dance with nobody but you.
00:11:41Oh, I like to dance.
00:11:42With a gal with big feet.
00:11:43With a gal with big feet.
00:11:45I mean, uh, uh, wait a minute, honey.
00:11:47Andy, please, let me alone, will you?
00:11:50Excuse me, honey.
00:11:51Andy got me messed up that time.
00:11:54Well, listen.
00:11:55Will you shut up?
00:11:56Will you shut up?
00:11:57I mean, uh, uh, hold the phone just a second, honey.
00:12:00Andy, please, let me alone, will you?
00:12:02You're getting me all mixed up.
00:12:03Uh, seven million, $8 million, $10 million.
00:12:09Uh, uh, hello, honey.
00:12:11Uh, hello.
00:12:12Uh, excuse me.
00:12:13Andy got me messed up that time.
00:12:16Well, listen.
00:12:17You big fat head.
00:12:18You big fat head.
00:12:19I, oh, I, oh, well, oh, well.
00:12:22Uh, hold the phone a minute, honey.
00:12:23Hold the phone.
00:12:24Andy, please let me alone, will you?
00:12:26Well, Amos, remember that that is a business telephone.
00:12:29I know, Andy, but don't holler at me all the time.
00:12:33Hello, honey.
00:12:35Well, listen, sweetheart.
00:12:37No, no, I got plenty of time.
00:12:40No, no, take your time.
00:12:41Hurry up.
00:12:42Hurry up.
00:12:42I mean, wait just a minute, honey.
00:12:45Andy, all you are doing is getting mixed up.
00:12:49That's all you're doing.
00:12:51Hello, Andy.
00:12:52Shut up, Ruben.
00:12:53I mean, hello, Ruben.
00:12:55Listen, honey.
00:12:57Well, let's count on going to the dance right after we get out to meet at the large hall tonight.
00:13:02All right, honey.
00:13:04All right.
00:13:05Goodbye.
00:13:07Well, Andy, that sounds pretty good, don't it?
00:13:10Boy, I got to go out and get me some clothes, you know it?
00:13:16Amos, how much money have you got?
00:13:20Listen, Andy, why don't you forget about buying clothes or anything else?
00:13:24You know we ain't got no money.
00:13:25We ain't no better off right this minute than we was when we worked for Mr. Williams down in Georgia.
00:13:31Listen, Amos, I said I had to go out and get some clothes.
00:13:35Now I know what I need.
00:13:37You just keep that big mouth of yours shut.
00:13:45Ever since you've been up here in New York, all you've been doing is putting on the dog.
00:13:50Sometime I wish I was back down in Georgia.
00:13:53I think about it all the time.
00:13:56Mr. Williams was good to us.
00:13:59And I'm going to write him a letter, too, and let him know that we're thinking about it.
00:14:02Boy, he's a friend that is a friend.
00:14:07Wait a minute.
00:14:08Here come the Kingfish.
00:14:10Well, hello there, Kingfish.
00:14:12Come in.
00:14:12Hello, Kingfish.
00:14:13How is it?
00:14:14Hello, boys.
00:14:15How is it?
00:14:16Glad to see you.
00:14:17Come on in, Kingfish.
00:14:18Don't go.
00:14:19Well, boys, I got to call on you now and then because we's all brothers in that great fraternity,
00:14:24the mystic knight of the sea.
00:14:26Yeah, that's right, Kingfish.
00:14:27Yeah, we is brothers, ain't we, Kingfish?
00:14:29Boys, I got an idea that I think we can work out through our mutual advantage.
00:14:34Well, what is the proposition?
00:14:37Well, now, brothers, I just want to lay my cards on the table.
00:14:40Well, we ain't got no table.
00:14:42I moved the typewriter and you put them right on the desk.
00:14:44Hey, my name, what are you doing?
00:14:46Now, keep out of this.
00:14:47All right.
00:14:49Well, I got a chance, boys, for you to make some money.
00:14:53That is, knowing that you is the businessman that you is.
00:14:56Oh, sure, sure.
00:14:58Now, what is it, Kingfish?
00:15:00A friend of mine has an orchestra that's got a job tonight up at Hartsdale.
00:15:03Uh-huh.
00:15:04That's in Westchester County.
00:15:05And I can get the job for you boys to drive the orchestra up there in the fresh air taxi
00:15:10cab.
00:15:11Uh-huh.
00:15:11Well, sounds good.
00:15:12Yeah, we're looking for business, Kingfish.
00:15:14At 7 o'clock tonight, you pick up the orchestra in front of the treble clef club,
00:15:19and you take them up to Hartsdale to Mr. Blair's house.
00:15:22Uh-huh.
00:15:22I got all the directions here on this table.
00:15:24That's the stuff.
00:15:25That's the stuff.
00:15:35Well, the Kingfish, do we have to bring them back?
00:15:38Yeah, how about getting them back, Kingfish?
00:15:40No, no, no.
00:15:41They'll get back.
00:15:42You just take them up there and leave.
00:15:44Yeah.
00:15:45They must be back in time for the meeting at the lodge tonight.
00:15:47Yeah, that is right.
00:15:49Yeah.
00:15:49Yeah.
00:15:49Ha-ha-ha-ha-ha-ha.
00:15:50How much do we get for taking the orchestra up there?
00:15:53Well, now, uh, that's what I wanted to talk over with you.
00:15:57You see, the orchestra had other rings.
00:15:59Uh-huh.
00:16:00But I told them that I wanted you boys to drive them up there.
00:16:02Yeah.
00:16:03Yeah.
00:16:03You see, Amos, we and his brothers are a lot.
00:16:06Uh-huh.
00:16:06Well, uh, how much do we get, Kingfish?
00:16:10Well, uh, digging the mileage plus the time, uh, I told them, uh, it'd be
00:16:15twelve dollars.
00:16:15Twelve dollars.
00:16:16Check.
00:16:18Now, I'm figuring, of course, that you boys are going to give me the customer's commission
00:16:21for getting you the job.
00:16:23Yeah, the customer's what?
00:16:24The customer's commission.
00:16:26That is, in other words, uh, monetary rejuvenation.
00:16:30Uh, monetary rejuvenation.
00:16:32Monetary rejuvenation, Amos.
00:16:34Oh.
00:16:35What do you mean, old?
00:16:36Just plain old.
00:16:38I just said old.
00:16:40Well, Kingfish, if you get the remission, how much do you get?
00:16:45Well, I worked on the usual scale of ten percent.
00:16:48Uh, ten percent, uh, how much is that, Kingfish?
00:16:50Well, uh, now let's figure that out.
00:16:52Yeah, who, who, who's got a present?
00:16:54I got a little piece of one here.
00:16:56There you go.
00:16:59This is a disgrace to the present.
00:17:02Well, there's more than you got.
00:17:05Ten percent, now, uh, ten percent is, uh, ten percent is, uh,
00:17:14uh, well, ten is ten.
00:17:18Anybody knows that.
00:17:19That's right, Brother Andy, that's right.
00:17:21Now, ten percent.
00:17:23Now, right here, we're gonna have to do some revising and some, uh, reductive.
00:17:28And looks like we're gonna have to time this thing, too.
00:17:31Now, ten goes in the twelve.
00:17:39Ten goes in.
00:17:43Ten goes in the twelve.
00:17:47Well, get it in there.
00:17:48Will you shut your big mouth?
00:17:50All right.
00:17:53Ten goes in the twelve.
00:17:56Now, Brother Andy, you doin' that's the old way.
00:17:59Let's do that the new way.
00:18:01If I do it anyway, Kingfish, I can tell you he ain't never gonna get in there.
00:18:06That's a result of the present.
00:18:08Oh.
00:18:09Now, uh, the new way, you told me.
00:18:12Yes, sir.
00:18:12How you do it the new way?
00:18:14Well, now, uh, you boys just wait a minute.
00:18:16Yeah, show me that.
00:18:17I want to see that, too.
00:18:18The new way.
00:18:20Now, you take that ten, and you, uh, multiply it by two.
00:18:24Don't forget, there are three of us.
00:18:26Able.
00:18:27All right.
00:18:29Now, anybody knows that two tens is twenty?
00:18:34Oh, yeah.
00:18:35Sure, anybody knows that, yes.
00:18:37Now, you take that twelve, and you duck it from the twenty, and that leave eight.
00:18:41Eight, yes.
00:18:42And, Brother's, eight dollars is ten percent of twelve dollars.
00:18:46The new way.
00:18:48That don't sound right to me, Kingfish.
00:18:51The old way was better than that.
00:18:53You see, Kingfish, Amos don't know the new way they're figuring nowadays, see?
00:18:58Yeah, but the way he got it figured that, we do all the work, and he'll get all the money.
00:19:03Well, I'll tell you what of you boys, uh, we as brothers, I'll cut that eight dollars in half and
00:19:08take six.
00:19:09Well, now, now, you was talking.
00:19:11That's more right.
00:19:12That ain't right yet.
00:19:13Uh, you couldn't cut that six in half and take two, could you?
00:19:18Well, uh, as we as brothers, uh, I'll take you too, boys.
00:19:24That's the way I figured it.
00:19:25That's the way I figured it, yes, right.
00:19:28Well, I got to get going, because, uh, I got to meet up with some of the other members, you
00:19:31know,
00:19:32and tell them about your meeting tonight at the law.
00:19:34Yes.
00:19:34Now, you've got the directions on the paper there, so you won't get lost.
00:19:38Uh-huh.
00:19:38Well, see you later.
00:19:39So long, Kingfish.
00:19:40So long, Kingfish.
00:19:41So long.
00:19:42So long.
00:19:42He had the meeting tonight.
00:19:43All right.
00:19:43So long, Kingfish.
00:19:44So long.
00:19:46Twelve dollars for that job.
00:19:50I believe I'll get me a full-dressed suit.
00:19:53What you talking about?
00:19:55Amos, go next door there and ask that sailor shop man how much he charged for a full-dressed suit.
00:20:01I ain't gonna do it.
00:20:02Don't tell me you ain't gonna do nothing, I'll pop you under the mouth.
00:20:05Then I'll pop you right back.
00:20:07Don't you tell me that's all, don't, don't, don't, don't, don't you tell that to me.
00:20:10No, I, well, don't, don't you tell me you won't pop, we're born hittin' and hittin' and one.
00:20:13No, hit me.
00:20:21Then I can count on that.
00:20:23All right.
00:20:23Goodbye.
00:20:25What did they say?
00:20:26They said the band left two hours ago.
00:20:30Left two hours ago?
00:20:32Then why aren't they here?
00:20:36What am I going to do to entertain my guests?
00:20:40What am I going to do for music?
00:20:43Don't worry, dear.
00:20:45They'll be here any minute.
00:20:46All of this is really too dreadful.
00:20:48That band doesn't come soon.
00:20:50Gene's birthday party's ruined.
00:20:52Where is Gene anyway?
00:20:53If you want to find Gene, look for Richard.
00:20:57Yes, I've noticed that.
00:20:59Do you know they've been together every minute since that boy came here?
00:21:03I have a sneaking suspicion they rather like each other.
00:21:07You have a sneaking suspicion?
00:21:08Uh-huh.
00:21:09I know they do.
00:21:11And so does Ralph.
00:21:13Oh, Richard.
00:21:20Have you seen Gene?
00:21:22No.
00:21:23Not in the last five minutes.
00:21:28Well, I've got to do something to entertain my guests.
00:21:33Mr. Blair, I'd like to ask your advice about something.
00:21:36Why, of course.
00:21:38Sit down.
00:21:41What can I do for you?
00:21:43It's about that property I've been trying to steal.
00:21:46Oh, yes.
00:21:47What seems to be the trouble?
00:21:48Today I learned the deed was never recorded.
00:21:51That's so.
00:21:52But I have an idea.
00:21:54What is it?
00:21:55As you know, Grandfather Williams lived in Harlem many years ago.
00:21:59And that part of New York was considered way uptown.
00:22:02Yes.
00:22:04Well, the house has been vacant ever since Grandfather's death.
00:22:08And I think that the deed may be somewhere in that house.
00:22:11What do you think?
00:22:13Quite possible.
00:22:14So I've decided to go to the old Williams house tomorrow to look for.
00:22:18Of course.
00:22:20There may be nothing to it.
00:22:21I think it's worth trying, Richard.
00:22:23If I find it, it'll enable me to say no.
00:22:27I haven't been here long, but I'm beginning to like it.
00:22:36I think I understand.
00:22:38It'll mean an awful lot to me.
00:22:40I understand that, too.
00:22:43And Richard, I think you have a great chance.
00:22:47That's encouraging.
00:22:48You know, there's always a chance in New York, for a frank, affable young man like you.
00:22:55Like you, Mr. Frank.
00:23:01You're amazing.
00:23:02Have you seen my sister?
00:23:04Yes, sir.
00:23:05I just saw her going on to the territory.
00:23:08Thanks.
00:23:25I just happened to overheard a conversation between Mr. Blair and Richard.
00:23:30What about?
00:23:31About a piece of paper.
00:23:33A piece of paper?
00:23:34A piece of paper?
00:23:35And some subtle inferences regarding Jean.
00:23:38Why don't you speak to Jean about announcing your engagement tonight?
00:23:40I did.
00:23:42I did.
00:23:45She took me off.
00:23:47Looks like that Williams boy is cutting in on you.
00:23:50I'll take care of him.
00:23:52How?
00:23:53He's going to the old Williams house in Harlem tomorrow to look for that certainty for paper.
00:23:58What is that?
00:24:00If he finds it, he'll be in a position to marry Jean.
00:24:03Oh.
00:24:04I understand.
00:24:11He's not going to find it.
00:24:14What's the stopping?
00:24:15I'm going there tonight.
00:24:17But it might be dangerous, Ralph.
00:24:19Don't worry about that, dear.
00:24:21I know someone who'll go with me.
00:24:23Who specializes in that kind of work.
00:24:26But when do you intend getting away from here?
00:24:28As soon as the party is in full swing, I'll be on my way.
00:24:32I want you to meet me with the limousines at, uh, well, let's see.
00:24:36We'll make it up.
00:24:37Oh, Ralph, have you a cigarette?
00:24:38Hello, darling.
00:24:40My dear, I've never seen you look more charming.
00:24:42Oh, thank you, Ralph.
00:24:43Oh, Jean.
00:24:44What's the trouble, Mother?
00:24:46Oh, darling, that band hasn't come yet.
00:24:48Oh, don't worry.
00:24:49They'll be here soon.
00:24:50They should have been here long ago.
00:24:53Oh, I'll be a wreck on my head.
00:24:55Mrs. Blair, can I get you anything?
00:24:57Yes.
00:24:58Get me a band.
00:25:14Come on, boys.
00:25:15Hurry, you're late.
00:25:17Come on, boys.
00:25:20The band's coming down.
00:25:22Bracken.
00:25:22Yes.
00:25:23It's all right.
00:25:42It's me, and you, both.
00:25:46I can tell you right now we gonna lose money on this job.
00:25:49Don't you worry about the money.
00:25:52I'll take care of the money.
00:25:54You get out there and fix the taxi cab.
00:25:57What do I mean? It needs a mess of fixing, too.
00:26:00Well, listen, Amos.
00:26:02We gotta get this thing fixed and get back to the lodge meeting.
00:26:05Well, I can tell you right now, Andy, I can't fix the thing by myself.
00:26:10Well, Amos, I done wore myself out.
00:26:13Now, I gotta sit here and unlatch.
00:26:23That ain't a mess. I ain't never seen it.
00:26:49What?
00:27:05What?!
00:27:06What?
00:27:25I can tell you now that we ain't got no jack and I can't get this tire on that wheel
00:27:29by myself.
00:27:31Well, Amos, if you ain't got no jack, there's only one thing to do.
00:27:35What's that?
00:27:35That's for you to lift up the wheel and I'll slip the tire on the wheel.
00:27:40Give me that sign.
00:27:41What do you mean lift it up?
00:27:42Get hold the hubcap?
00:27:43Get hold the thing and lift it up.
00:27:45All right, get ready now.
00:27:46All right, he ready?
00:27:47Yeah.
00:27:47Up, go.
00:27:48Put it on there.
00:27:50Well, put it on there, Andy.
00:27:51Well, wait a minute, will you?
00:27:54Hurry up, will you, please?
00:27:55Now, don't rush me.
00:27:56Wait a minute.
00:27:56Well, hurry up and put the thing on there.
00:28:00It'll move your arm.
00:28:01I got my hand on the hubcap.
00:28:03How is I going to move it?
00:28:06Hurry up, Andy.
00:28:07Please hurry up, will you?
00:28:08The thing is heavy.
00:28:09Listen, Amos.
00:28:10If I don't get a rest pretty soon, I'm going to have a breakdown.
00:28:14Well, put this thing on here, will you?
00:28:16Unchecked.
00:28:21Listen, Andy.
00:28:23I know how to get that thing on there.
00:28:26Now, wait a minute.
00:28:26Don't tell the president how to do nothing.
00:28:31But how?
00:28:31Now, look.
00:28:32You step in the wheel here and lift it up by the hubcap, and I show you how to get
00:28:37it on
00:28:37there.
00:28:38Now, step in here.
00:28:39Now, come on.
00:28:39Get in there.
00:28:41Now, when I tell you to lift it up, you lift it, and I'll get that wheel on that side.
00:28:45All right.
00:28:45Now, you ready?
00:28:46Yeah.
00:28:46All right, lift it up.
00:28:47Come on.
00:28:48Now, lift.
00:28:48I got it.
00:28:48Come on.
00:28:49I got it.
00:28:49Now, hold it.
00:28:50Wait a minute.
00:28:51Hold it.
00:28:51Just a minute now.
00:28:52What are you doing, Amos?
00:28:53What are you doing?
00:28:54Wait a minute.
00:28:55You're breaking my back, Amos.
00:28:57Look out, will you?
00:28:58Wait a minute.
00:28:58Now, I got it.
00:28:59Hurry up.
00:28:59Hurry up.
00:28:59There it is.
00:29:00Now, there it is.
00:29:01Now, hold it.
00:29:01What are you doing?
00:29:02Now, hold it.
00:29:03Now, hold it.
00:29:03Now, hold it.
00:29:04Now, hold it.
00:29:07Now, hold it.
00:29:14Well, put your head down.
00:29:15Go ahead.
00:29:42Oh, wasn't that funny?
00:29:44Oh, you'll excuse me, Richard.
00:29:46Mm-hmm.
00:29:46Certainly.
00:29:49Indeed.
00:29:59Have you promised the next dance to anyone?
00:30:02Yes, I promised that you're out.
00:30:04Oh?
00:30:05Why?
00:30:07Well, I thought we'd go someplace where we could be alone.
00:30:10Sit it out.
00:30:12Well, I'll meet you at the lake, directly after the dance.
00:30:16If you'd like.
00:30:17If I'd like.
00:30:18Isn't this our dance, Jean?
00:30:20Oh, yes, Ralph.
00:30:22Pardon me.
00:30:37And the president of the company, Hamas, I just wanted to tell you to...
00:30:41Listen, Andy.
00:30:42Why don't you stop telling me every five minutes that you was the president?
00:30:46Let's work together, will you?
00:30:48All right, Amy, all right.
00:30:50From now on, me and you is just the same.
00:30:54I ain't never gonna say that word president no more.
00:30:57That's the stuff, Andy. Let's work together.
00:31:08The main thing we gotta do now is to get this taxi cab back to Harlem.
00:31:12We ain't gonna have time enough to change our clothes for the large meeting now.
00:31:16Yeah, that's right, ain't it?
00:31:23Amos! Andy!
00:31:26Mr. Richards!
00:31:27Well, I'll be doggone Mr. Richards.
00:31:30Mr. Richards, that ain't really you, is it?
00:31:33Well, what in the world are you boys doing up here?
00:31:35Do you work for Mr. Blair?
00:31:36No, sir. We done ripped the band up here from New York.
00:31:40We in business for ourselves.
00:31:42Yeah, sir. We in the taxi cab business in New York City.
00:31:45Is that so? That's great.
00:31:47Oh, yeah. I as the president of the company.
00:31:58Amos and Andy.
00:31:59You know, boys, I often wondered what became of you after you left Georgia.
00:32:03Well, Mr. Richards, we certainly do miss that old place, too, you know it.
00:32:07Me and Andy talk about it all the time.
00:32:08Yeah, that was the best home we ever had.
00:32:11Y'all certainly was good to us down there.
00:32:14Your papa treated us just like we were his own children.
00:32:17I was just telling Andy the other day that I can write him a letter next week and let him
00:32:22know that we're thinking about it.
00:32:23We sure would love to see him again.
00:32:26Well, Amos, I'm afraid none of us will ever see Dad again.
00:32:33What do you mean, Mr. Richards?
00:32:36Well, Dad's gone.
00:32:42Gone?
00:32:45You don't mean that.
00:32:47Oh, Mr. Richards, I certainly am sorry to hear that.
00:32:54So was I, Mr. Richards.
00:32:57Your dad was the best friend that we ever had, ever since we worked for him.
00:33:03He raised us, and we loved him.
00:33:06And when we was telling him goodbye, he said to us, he said,
00:33:10Boys, he said, if you ever need anything or anything ever go wrong,
00:33:15remember that you can always write home.
00:33:18And he made us feel like he had a home.
00:33:21And I know that if you didn't have but one loaf of bread, that he would give us half of
00:33:26him.
00:33:27And you say he's gone.
00:33:30Yes.
00:33:33Well, Mr. Richards, if we can ever do anything for you, if I just let us know.
00:33:38Well, thanks, boys.
00:33:40Yes.
00:33:41We are just driving back to Harlem now, Mr. Richards.
00:33:44Yes.
00:33:46Well, seeing you boys again is certainly brought back old times.
00:33:50Yes, sir, it certainly is, eh?
00:33:54You know...
00:33:55I just can't believe that you're standing there, Mr. Richards.
00:33:58I just can't believe you were standing there.
00:34:01You know it?
00:34:02Here's my personal card, Mr. Richards, with my name read on it in pencil there.
00:34:07My regular cards ain't got back from the printer yet.
00:34:11Well, I'll keep this and try and get in touch with you.
00:34:14We certainly would appreciate it, Mr. Richards, if you would get in touch with us.
00:34:17Oh, yeah, that would be nice.
00:34:19Boys, I've got to leave you now, but I'll try and see you real soon.
00:34:23All right, Mr. Richards.
00:34:24Goodbye, Amos.
00:34:25Goodbye, Andy.
00:34:25Goodbye, Mr. Richards.
00:34:26Goodbye, Mr. Richards.
00:34:26Goodbye.
00:34:29Goodbye.
00:34:31Goodbye.
00:34:56Well, I can't help it, Dennis.
00:39:27What are you thinking about?
00:39:29Yes.
00:39:31Is it about me?
00:39:33How did you know?
00:39:35A woman's intuition, I suppose.
00:39:40Perhaps your intuition can tell you all the things that I want to say.
00:39:45Perhaps, but I'd much rather hear you say them.
00:39:49Well, if I have any luck at the old Williams' house tomorrow...
00:39:53Why wait till tomorrow?
00:39:55There's so much I want to say.
00:39:58I just can't seem to express it.
00:40:01Listen.
00:40:03Do you hear what they're singing?
00:40:05That seems to say it so much better than I can.
00:40:28They're so much better than their friends.
00:40:31They're so much better than a man.
00:40:36They're so much better than a man.
00:40:41How can I make a man who is innocent?
00:40:43A man is being a nerd.
00:40:45That's what I have to say.
00:40:48I know.
00:40:49You know.
00:40:50You know who I have to say, huh?
00:40:55Brothers of the Mystic Knights of the Sea, I hereby call this meeting to order in due
00:41:03form.
00:41:04The secretary will now read the minutes of the last meeting.
00:41:12At the last meeting of the log which was held to collect the dues, there was nobody
00:41:16present.
00:41:17Those are the minutes, brothers, of the last meeting.
00:41:26Do I hear a motion?
00:41:29I make the motion that the minutes be redacted.
00:41:35Half seconds and Thursday.
00:41:38Brother Andy, put the motion.
00:41:43All favor, signify by the usual sign, the reef owners know the eyes of the goddess.
00:41:48There you are.
00:41:53That makes it your animals.
00:41:58Brothers, this special meeting comes once a year in honor of the founder of this great
00:42:04lord who was lost at sea whilst doing night watch duty.
00:42:09So, brothers, once a year on this night, two of the members have to do night watch duty in the
00:42:15old vacant house.
00:42:16So as to prove that they have the courage of the founder and be worthy of this great organization, the
00:42:24Mystic Knights of the Sea.
00:42:26Amen.
00:42:32Brothers, starting this year to pick the members for the night watch, we are going to use the alphabet running
00:42:38from A to Z.
00:42:40So now I have the list of the members who is anticipating the drawing for the night watch this year.
00:42:47Brothers, the brothers whose names start with the letter A, the brothers whose names start with the letter A, will
00:42:53please come forward when I call their names.
00:43:02Brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers,
00:43:14brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers,
00:43:14brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers,
00:43:14brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers,
00:43:16brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers,
00:43:20brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers, brothers
00:43:27and Brother Andy.
00:43:50The numbers will be drawn from the box, and the brother that picks number seven does the
00:43:55night watch duty, and chooses another brother to go with him.
00:43:59Brother Mackerel, give me the box.
00:44:05Boys, you now reach us in the box.
00:44:08Brother Arthur, you first.
00:44:10Remember, brother, the one that draws number seven stands at night watch duty.
00:44:19Number seven stands at night.
00:44:23Number seven stands at night.
00:44:24Six.
00:44:27Brother Amos used an X.
00:44:33Number two.
00:44:36Brother Andy, it's your chance.
00:44:39Seven.
00:44:41Many is the time you failed me.
00:44:43If you ever failed me before, fail me now.
00:44:54I got it.
00:45:06Brother Andy has drawn number seven.
00:45:11Brother Andy, will you step up on the platform?
00:45:17Now choose somebody to go with you.
00:45:21I'll take a policeman.
00:45:24And all know one of the brothers.
00:45:30Well, Kingfish, me and Amos is partners, so I'll take Amos.
00:45:36Brother Amos, will you step up on the platform?
00:45:40The rest of you brothers can take your seats.
00:45:45You boys are mighty lucky to have this great honor fall on you.
00:45:49We'll help.
00:45:51Now here's the instructions.
00:45:53You go into the old vacant house at midnight, tonight.
00:45:58And you stay there one hour after midnight.
00:46:01Exactly the same hours that the founder was lost at sea.
00:46:06Well, which house do we go to?
00:46:08Yeah, well, which house?
00:46:10The old Williams house.
00:46:12The old Williams house?
00:46:14We will, as they say, that house is haunted.
00:46:16Yes.
00:46:17They say it is, Brother Amos.
00:46:19But there ain't nothing to that.
00:46:22There ain't nothing to that, huh?
00:46:24Of course, it has been said that at a certain hour you'd hear a strange moan in it.
00:46:31But there ain't nothing to that.
00:46:33You may hear a strange speaking on the stands.
00:46:37But there ain't nothing to that.
00:46:39Well, uh, what is this supposed to do when we get there?
00:46:43You have to find a piece of paper that was left there last year by the two brothers.
00:46:48Marked with the words check and double check.
00:46:51And then you leave the piece of paper marked in the same way for the brothers to find next year.
00:46:57Well, uh, what do we do with the paper that we find?
00:47:02You have to bring it back to the lodge to prove that you were there.
00:47:05We put you the way in the arch car.
00:47:07In the where?
00:47:09In the car, child.
00:47:10Oh.
00:47:15Say, King Face.
00:47:17Could me and Amos do this night watch tomorrow night instead of night?
00:47:21You see, uh, we got a date tonight with Madame Queen and Ruby Kaye.
00:47:26Boys, this is no reporting.
00:47:28It must be done tonight.
00:47:31Then we gotta tell the gals why we can't meet them.
00:47:34You can't do that.
00:47:37Remember, the night watch is the most important secret of the lodge.
00:47:42And nobody but the members must know about it.
00:47:47Well, uh, how does we get in this house, King Face?
00:47:51Brother Jackson is the caretaker of the old Williams home, and he lets us use it on this occasion.
00:47:57He rescorts you up to the house at midnight and lets you out at one o'clock if you have
00:48:03the paper.
00:48:06Oh, he is locked in, huh?
00:48:09He locks the door when you goes in.
00:48:16Boys, you can now sit down.
00:48:27Brothers, I hope that we send these two wordy brothers on their way with our best wishes.
00:48:35Brother Mackerel, will you take your place at the altar?
00:48:38And before we dismiss the meeting, we will all sing the large song.
00:48:46First off, I'll sing the long, long-looking song.
00:48:47Now keen, brethren, brethren, all hallelujah.
00:48:52Now keen, brethren, clearly, hallelujah.
00:48:57Who fill the sea so full of pride.
00:48:59Nobody knows but the Lord.
00:49:02Who lie again he's proud of mine.
00:49:05Nobody knows but the Lord.
00:49:06Nobody knows but the Lord.
00:49:07Who make the sea so deep and wide.
00:49:10Nobody knows but the Lord.
00:49:34You'd better wait for me around the corner.
00:49:39You'd better wait for me around the corner.
00:49:52Let's go.
00:50:04Are you sure you can open it?
00:50:05Watch this.
00:50:09There you are.
00:50:10There are lots of stuff.
00:50:11Come on.
00:50:20Where do we start looking?
00:50:22Very likely the old man's study is upstairs.
00:50:26Come on.
00:50:31Come on!
00:50:40Come on.
00:51:03Let's go.
00:51:04Let me go.
00:51:06Oh, yeah, it's 1 o'clock.
00:51:09Brother, go upstairs.
00:51:12Meet up to the hospital.
00:51:23Uh-oh.
00:51:24We locked in.
00:51:30We sure will, Amos.
00:51:32Well, let's get going, Amos.
00:51:36Now, it ain't nothing to be scared of, nothing to worry about.
00:51:41You lead the way, Amos, go ahead.
00:51:55Go ahead, go ahead.
00:52:08Go ahead, Amos.
00:52:10Go ahead.
00:52:18Go ahead, Amos.
00:52:20Go ahead, Amos.
00:52:48What are you closing the doors for?
00:52:51That's just in case somebody is following us, that's all.
00:52:59Well, what are we going to do now?
00:53:02We're going to find that paper.
00:53:04Get going.
00:53:05Right.
00:53:14Take that light out of my face.
00:53:15Put it down here.
00:53:24Come on.
00:53:28You got a hammer?
00:53:29Yeah.
00:53:44Did you hear that?
00:53:47Oh, there ain't nothing of that.
00:53:50Maybe that was the window shutter flopping against the house.
00:53:53Sure.
00:54:01He must take it easy.
00:54:04All right.
00:54:11I won't!
00:54:12I won't!
00:54:13I won't!
00:54:14I won't!
00:54:18What was that?
00:54:20That did sound kind of funny, didn't it?
00:54:22Sure did.
00:54:25Not nothing.
00:54:26Probably a cat.
00:54:33It was the window sheath.
00:54:37That's what I thought it was.
00:54:44Hold the light over here.
00:54:53Hold the light over here.
00:54:58What was that?
00:55:00Sounds like the wind blowing.
00:55:02Sounds like the wind's upstairs in the house.
00:55:11Oh, let me see it.
00:55:13Hello!
00:55:20Amos.
00:55:21Huh?
00:55:22How long have we been here?
00:55:24Seems like a long time, don't it?
00:55:39Amos!
00:55:40Amos!
00:55:41Amos!
00:55:41Where is it?
00:55:44Don't go away by yourself and make me worry about you.
00:55:48How are you?
00:55:53How are you?
00:56:00Come on.
00:56:14Come on.
00:56:15Come on, Andy.
00:56:31Amos!
00:56:32Amos!
00:56:33What is it?
00:56:35Something's caught up with me.
00:56:37What do you mean?
00:56:42Behind me.
00:56:44Behind me.
00:56:48I don't see nothing.
00:56:56You're wrong.
00:57:05Don't ever do that no more.
00:57:07That ain't nothing but your coat caught in the door.
00:57:24I wish we could find that paper and get out of here.
00:57:26Well, look for it.
00:57:27All right.
00:57:37And I don't think that we gon'-
00:57:40Well, I'll be doggone that till.
00:57:45I told you I'd find that paper.
00:57:51Check and double check.
00:57:53Now we gotta leave a piece of paper marked the same way.
00:57:56Yeah.
00:57:57Is you got any paper?
00:57:59I ain't got nothing with me.
00:58:01Boy, I gotta think of everything, don't I?
00:58:04Well, come on.
00:58:04We can find a piece of paper here somewhere.
00:58:06Come on, Andy.
00:58:09See with some paper in this here desk.
00:58:21It's all your stuff.
00:58:23Well, pull on it, Amos.
00:58:28Get told there.
00:58:36There's somebody downstairs.
00:58:40Amos, what are you doing?
00:58:42Well, I didn't know the thing was gon' fall out there, did I?
00:58:46We had to make a tilt of a piece of paper.
00:58:53Make it right on this.
00:58:54Certainly we can.
00:58:55Did you got a pencil?
00:59:04Yeah, here we go.
00:59:09What's that?
00:59:11Sounds like it's coming this way.
00:59:13Come on, Andy, let's get over here.
00:59:40Open it, Amos.
00:59:41Open it, Amos.
00:59:42Open it, Amos.
00:59:42Come here.
00:59:42Come here.
00:59:42Keep it, Amos.
00:59:45Don't push, pull.
00:59:47I is pushing.
00:59:52Kick him up.
00:59:55What are you doing here?
00:59:57We just come here to get the paper, mister.
00:59:59No, you came to get the paper.
01:00:01Well, have you got it?
01:00:02Yes, sir, mister.
01:00:03Yes, sir.
01:00:04All right.
01:00:04Hand it over.
01:00:05We can't, mister.
01:00:06We got a ticket back to show that we were here.
01:00:08Oh, you do, huh?
01:00:09Hand it over.
01:00:10Yes, sir, mister.
01:00:11Yes, sir.
01:00:13Get over there.
01:00:17See if you can open that door.
01:00:23Hurry up.
01:00:27Oh.
01:00:30And don't try to follow me.
01:00:32Be careful.
01:00:33Be careful.
01:00:34Be careful.
01:00:34Be careful.
01:01:09Be careful.
01:01:09Well, did you get it?
01:01:11Did I get it?
01:01:14Don't I always get what I go after?
01:01:16Let me see it.
01:01:18Patience, sister.
01:01:20Patience.
01:01:23Keep your eyes on this.
01:01:27Check and double check.
01:01:44And I searched that old house and fell in the roof and found nothing.
01:01:49Why let it leak to Richard?
01:01:50That isn't the last thing in the world.
01:01:52But don't you see?
01:01:53It meant more to me than merely settling in the States.
01:01:56I understand.
01:01:57But why hurry away?
01:02:11Mr. Blair.
01:02:14I love Jean.
01:02:16But I can't expect her to give up everything for me.
01:02:22There might be something I can do.
01:02:24I'm not very kind of you, but I couldn't think of her.
01:02:29Come in.
01:02:33What is it, Mason?
01:02:34Pardon me, sir, but this Jean is in the living room.
01:02:37She would like to speak with Mr. Richard.
01:02:39Oh.
01:02:40Thank you, Mason.
01:02:42I'm sorry.
01:02:42Then your mind is definitely made up?
01:02:44Yes, Mr. Blair.
01:02:46Mason.
01:02:47Stay with Mr. Richard Lucky.
01:02:50Well, Richard.
01:02:51I'm sorry to see you go.
01:02:53If I can be of help to you at any time, I want you to call on me.
01:02:57Thank you, Mr. Blair.
01:02:59Goodbye.
01:03:00Goodbye, Richard.
01:03:13Goodbye.
01:03:34Goodbye.
01:03:35Goodbye, Richard.
01:03:37Goodbye, Richard.
01:03:42Mason told me, and you're really going.
01:03:46Yes.
01:03:47Don't you think you ought to make one more effort before you give up?
01:03:51It's no use.
01:03:53I made a thorough search, and it was nowhere to be found.
01:03:56The power is wicked.
01:03:58All right, Mason, I'll be right out.
01:04:03Do you think you might come back again soon?
01:04:06There's nothing I'd like to do more.
01:04:08Other things are rather hopeless.
01:04:13Goodbye, Jean.
01:04:15Goodbye, Richard.
01:04:57I'm sorry.
01:05:00I'm sorry.
01:05:03I'm sorry.
01:05:03Can you explain it to her on the telephone?
01:05:05She hung up the phone.
01:05:07She won't even talk to me.
01:05:09They was all dressed up.
01:05:11They expected us there.
01:05:14You can't blame them.
01:05:15No.
01:05:17That reminds me, man, that we were supposed to bring that paper
01:05:21from the house to the lodge hall to let them know that we was there.
01:05:24You got it?
01:05:26Yeah, I got it.
01:05:36Almost.
01:05:38This paper ain't no good.
01:05:40It ain't.
01:05:41You know what we done done?
01:05:43What we done done now?
01:05:45We done give that check and double-checked paper to those men
01:05:48back at that house.
01:05:50We healed.
01:05:52Well, that means that we in more trouble now at the lodge hall.
01:05:59Yeah, I don't know what we're going to do, Amos.
01:06:02The gals are mad with us.
01:06:05The kingfish is going to be mad with us.
01:06:10Everything is wrong.
01:06:13I was down in the dump.
01:06:15You know what, Andy?
01:06:23D-E-E-D.
01:06:28Death.
01:06:32Oh, there ain't no use for give up.
01:06:39D-E-E-D.
01:06:49Somebody's dead.
01:06:52D-E-E-D ain't dead.
01:06:56That's dead.
01:06:57Let me see that thing.
01:06:58D-E-E-D ain't dead.
01:06:59D-E-E-N.
01:07:29Oh, well, m-m-m-member he was up at, uh, that house in Horsdale, uh, uh, Mr. Mr. Blair's
01:07:35house?
01:07:35Yeah.
01:07:36We ain't got no reburban book, is it?
01:07:38No, uh, call up the operator. They asked him for the number. Go ahead.
01:07:41Yeah.
01:07:42Hello? Hello?
01:07:45Uh, I want to talk to Mr. Blair's house in Horsdale, uh...
01:07:50All right, ma'am, I'll do it.
01:07:55What in the world is you doing there, Amos?
01:07:57Uh, she's there to hold the line.
01:07:59No, no, don't hold that thing. Go on, talk to her. Let's lose her there.
01:08:03Uh, uh, hello?
01:08:06Hello?
01:08:08Well, Mr. Williams is not here.
01:08:11No.
01:08:12No.
01:08:14He left.
01:08:16He's catching the three o'clock train out of the Pennsylvania station.
01:08:21What's that?
01:08:23Well, I don't think you can.
01:08:25It's 2.30 now.
01:08:27All right, sir. All right, sir. Thank you very much.
01:08:30Goodbye.
01:08:31Uh, listen, Andy, the gentlemen say that, uh, Mr. Richard is, uh, leaving, uh, from the Pennsylvania station at 3
01:08:38o'clock.
01:08:39Oh, he's leaving, huh?
01:08:41Uh, listen, now, Andy, listen.
01:08:42I got an idea that that thing is reporting.
01:08:45And I tell you what, we've got 30 minutes.
01:08:47We can hop in the taxi cab and go down to the Pennsylvania station and catch Mr. Williams.
01:08:51Maybe you're right.
01:08:52Well, bring that thing with you.
01:08:53Oh, let me go here.
01:08:55Let's go here.
01:08:55Let's go.
01:08:55Let me get this thing out.
01:09:15Humble!
01:09:17Don't ever holler at me no more like that when I cross on the street, you hear?
01:09:20Well, take it slow, Amos, take it slow.
01:09:23But that's all right.
01:09:24When I drive and you keep still.
01:09:25I'm not driving, you keep still.
01:09:26I'm not driving.
01:09:28Turn down 7th Avenue.
01:09:38Is that daylight saving time?
01:09:40No, sir.
01:09:41That's railroad time.
01:09:42We'd better hurry.
01:09:53Uh-oh.
01:10:01What happened?
01:10:11Turn left.
01:10:14Turn left.
01:10:15I mean, right.
01:10:16I mean, left.
01:10:17Go ahead.
01:10:18Go ahead.
01:10:28Let's go of the wheel.
01:10:29What is the matter, Mr. Anderson?
01:10:31Well, look where you're going, Amos.
01:10:32Look where you're going.
01:11:01Amos, don't ever do that no more.
01:11:03Amos, don't ever do that no more.
01:11:03Well, I ain't hit nothing yet, is it?
01:11:05I know, but you ain't got to graze everything, is you?
01:11:11How do you do, sir?
01:11:19Well, drive on in.
01:11:26Track three on the right.
01:11:39Mr., could we see that gentleman down there, please, sir?
01:11:41Sorry, I can't let you through.
01:11:42Well, Mr., we got to see Mr. Porton, please, sir.
01:11:44We got to go down there.
01:11:45I'm sorry, but you're too late.
01:11:48Come on, then.
01:11:54Oh, Mr. Richards! Oh, Mr. Richards!
01:11:56Hey, Mr. Richards!
01:11:57Oh, Mr. Richards!
01:11:59Mr. Richards, for the three dozen minutes, please, sir!
01:12:03Oh, Mr. Richards, we got something important for you, please.
01:12:05We got to see you.
01:12:06Come up, please, sir.
01:12:07Yes, sir.
01:12:10Tell that red cap to bring my bags out here.
01:12:14Aboard!
01:12:24Mr. Richards, I was...
01:12:26We found a piece of paper to drag your name on,
01:12:28and it looked for Porton.
01:12:29He thinks it belonged to you.
01:12:31Yes, there it is.
01:12:34Well, where did you get this?
01:12:36Why, boys, this means everything to me.
01:12:38I told Amos that was important.
01:12:40Yes, sir.
01:12:41Well, how did you get it?
01:12:42Where did you find it?
01:12:43Well, I tell you, Mr. Richards!
01:12:44I'll explain it to him.
01:12:45All right.
01:12:46You see, uh, Mr. Richards, me and Amos belong to a lodge.
01:12:52Yes.
01:12:52And every year we have to go out to a house to find a piece of paper.
01:13:10Boy, when the gal that you love won't speak to you, that's bad.
01:13:15If they would only call up or something.
01:13:18They ain't never gonna do that.
01:13:22Oh, it ain't no use, Andy.
01:13:24Well, what do you mean?
01:13:25Yasser, yasser, come in.
01:13:28You, boy.
01:13:28Thank you, sir, thank you.
01:13:29Must oblige to you.
01:13:31All right.
01:13:31Bye.
01:13:32Goodbye.
01:13:33What in the world is that, Andy?
01:13:34Well, open it up.
01:13:35Don't stand there looking at it.
01:13:37Open it up.
01:13:37All right.
01:13:37Give me a chance here.
01:13:39I don't know what it is.
01:13:43Look at that.
01:13:44Well, what in the world is this?
01:13:47This, yes.
01:13:50What's the matter?
01:13:54Well, read it.
01:13:55What's the matter?
01:13:57Well, read the thing, Amos.
01:13:58What is the matter with you?
01:14:00Oh, here she is.
01:14:02Here she is.
01:14:03Say here, dear boy.
01:14:04We want you to have a part of our wedding cake.
01:14:08We'll never forget you for the happiness you have brought up.
01:14:12And as soon as we return from our honeymoon, I will get in touch with you.
01:14:18Best wishes, Mr. and Mrs. Richard Williams.
01:14:23Well, I've a doggone Mr. Richard done got married.
01:14:26Hmm.
01:14:27Uh-uh.
01:14:28Ain't that something?
01:14:31Well, Amos, it looks like everybody is happy but us.
01:14:35It sure would be, Andrew.
01:14:37That's a nice-looking cake, ain't it?
01:14:39Yeah, that's pretty, ain't it?
01:14:42Boy, for the first time in my life, I ain't got no appetite.
01:14:48And then, I feel the same way, you know?
01:14:51Get away from that phone.
01:14:52You get away from that yourself.
01:14:53Uh, hello?
01:14:56Hello?
01:14:57Ruby?
01:14:59What's that?
01:15:02You done heard all about it and you ain't mad with us no more?
01:15:06Well, you still over at Madam Queens, ain't you?
01:15:07Let me talk to Matt.
01:15:08Well, listen, honey, me and Andy be over there right away.
01:15:11We've got something pretty for you.
01:15:12Tell us good to eat.
01:15:13It's good to eat.
01:15:14We come right over with it.
01:15:15We bring it right over there, honey.
01:15:16Sure.
01:15:17All right, sweetheart.
01:15:19All right, sweetheart.
01:15:19Oh, you would love it, honey.
01:15:21All right, honey.
01:15:22Goodbye.
01:15:23Andy, they say they done heard all about it.
01:15:25Wrap this thing up.
01:15:26Come on.
01:15:26Hey, mad with them.
01:15:27Everything is all right now, boys.
01:15:28Oh, that sounds good, don't it, Andy?
01:15:31Get away from there.
01:15:32I'll handle this.
01:15:33I'll take this cake over there.
01:15:34Go here.
01:15:35Hello, boys.
01:15:36How are you doing?
01:15:36Hello there, Keith.
01:15:37Be fine.
01:15:38Hey, boys, I got a big idea.
01:15:40There's a half hour, one more hour.
01:15:56I'm gonna have to be.
01:15:59I'll have to be.
01:16:01Oh, I, I'll have to be.
01:16:02Oh, I, I'll have to be.
01:16:02Oh, I'll have to be.
01:16:03Oh, I, I'll have to be.
01:16:03Listen, Amos.
01:16:05You tell the gals that you dropped me cake.
01:16:07I ain't gonna do it.
01:16:09Don't you tell the police.
01:16:10You ain't going to do nothing.
01:16:11Get in there.
01:16:11Tell them gals.
01:16:13Tell them gals.
01:16:14Now, what do you need?
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