- 2 days ago
A fascinating classic comedy filled with mystery, unexpected situations, and dangerous consequences. Mr. Adam's Bomb (1949) follows a strange experiment that leads to a series of surprising events, creating an entertaining story full of suspense and humor.
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00:09The
00:43Isn't that music I hear?
00:46It certainly is.
00:47It's hot music at that.
01:14I've told your father time and again not to play that so-called dive music in this house.
01:20Well, it sounds like he's not only playing it, but he's dancing to it as well.
01:25But it takes two people to do the jitterbugs, a man and a woman.
01:30You know it too.
02:02Johnston, this is the last time I'm going to tell you that I will not tolerate those
02:08silly jumping records in this house.
02:10Yes, Pop, and especially tonight.
02:12Yes, especially tonight.
02:14Most of the best folks in the town will be here tonight for the reception in honor of
02:18Nadine here.
02:19And I've arranged some very fine entertainment.
02:22Why, even Uncle Adam.
02:23Oh, speaking of Uncle Adam, I've been wondering why he keeps coming in and out of the house
02:27late at night with a lot of funny-looking bundles.
02:30Well, what's in the bundles?
02:31What's in them?
02:32Well, if what's in them looks as bad as what's got them, it sure is some awful stuff.
02:38Well, I was going to tell you when you came downstairs, I ain't going to stay in this house as
02:43long
02:43as that old man keeps sneaking in and out of the rooms way after midnight with a lot of
02:47funny bundles and things.
02:49Last night, he sneaked in the back door with a large round thing.
02:53You know, it could have been a bomb.
02:55Well, what if it was?
02:56Well, if it's his, then he can have it.
02:58Hmm, that's a hard one.
02:59Mr. Adam's bomb.
03:01Adam's bomb?
03:03I know there was something funny going on.
03:06So I'm getting out of here while I can walk out.
03:09Because I ain't going to let no bomb blow me out.
03:12Mother, I'm going upstairs and just change clothes.
03:15Before you know it, the guests will be arriving and I'll still be trying to get into that new
03:19dress.
03:24Now that she's gone, I might as well tell you, Martha and Nadine are not the only ones
03:31who are suspicious of the strange actions of old man Adam.
03:35Do you mean that somebody thinks that my brother's doing something else in that room besides sleeping?
03:41Mother, you know, ever since the Adam farm was invented, Uncle Sam's kept his eye on everybody
03:46who's making any kind of an experiment.
03:48Well, I don't blame you.
03:50That's one thing about Uncle Sam.
03:52He ain't going to let nobody get ahead of him on that stuff.
03:56So a friend of mine from headquarters and his helper is going to be on hand at the party
04:01night just as special to watch old man Adam.
04:03I see.
04:05Since I've never seen the Lord work, I'm going to watch them.
04:11And since I've seen you at work whenever there's any young gals around, I'm going to watch you.
04:20Well, Chief, don't worry about it.
04:23I'll be at that house tonight.
04:25And if there's anything funny going on, you'll know it in the morning.
04:29Okay.
04:31Depend on me.
04:33Goodbye.
04:35Goodbye.
04:39Come in.
04:46Well, of all things, you're the very man I want to see.
04:51You do, huh?
04:52Yes, indeed.
04:54I've just been detailed to investigate some rumor over at the Johnson's house.
04:58Rumor?
04:59Man or woman?
05:00Oh.
05:01When I say rumor, I don't mean rumor.
05:04You don't.
05:05What do you mean?
05:06I mean rumor.
05:08Oh.
05:09Talk.
05:10Oh, that.
05:11Yeah, yeah.
05:13Well, it seems as though headquarters has a suspicion that there is something very mysterious
05:19going on over there.
05:21So I'm going to take you along with me.
05:23Oh, no, no, no.
05:23No, you ain't.
05:24No, you ain't.
05:25I ain't going.
05:26Now, wait a minute.
05:28Sit down.
05:33This is where you can get to be a big man.
05:36You mean this is where I can get to be a small corpse?
05:41Listen.
05:42We have all kind of cages here.
05:44You did, ma'am.
05:45Here's a wire.
05:46Just got from the chief of police in the next town.
05:48Yeah, what is this?
05:49He says, to whom it may concern, that's you.
05:57This is to notify you that Slaughterhouse Mike, the killer, has escaped from prison
06:04and is headed in your direction.
06:07Well, come on, then.
06:08Let's get out of here.
06:10No.
06:10Huh?
06:11I know how brave you are.
06:13You do?
06:14I can see you now.
06:16Stalking this mad killer.
06:18Me?
06:19Yes.
06:21You're casually walking along.
06:23Yeah.
06:23But Slaughterhouse is sneaking towards the corner.
06:26When suddenly, bam.
06:28Oh, there I go.
06:31You and Slaughterhouse come face to face.
06:33Oh, is that?
06:34And he says, are you looking for me?
06:37And I said, no, man.
06:38I ain't looking for you.
06:39But I'm looking for you.
06:40Yes, you are.
06:41I am?
06:41You say, yes.
06:42Uh-huh.
06:43I can see you now.
06:44Yeah.
06:45You've got fire in your eyes.
06:46He put it out.
06:47Oh, Slaughterhouse goes for his gun.
06:49Yeah.
06:49Then you go for yours.
06:50That's good, because mine will be home.
06:52No, no, you don't.
06:55Slaughterhouse suddenly turns.
06:57Yes.
06:57Starts to run.
06:58There you go.
06:59Down the street.
07:00Around the corner.
07:01I'm telling you, that Slaughterhouse certainly can run.
07:05Yeah, but he can't catch me.
07:07He's running in front of you.
07:09Yeah?
07:09What?
07:10Why don't he get out of the way and let him?
07:11Let me run.
07:12You know me when I'm...
07:14No.
07:14Huh?
07:15This is where the real fighting starts.
07:17What is most?
07:17Slaughterhouse takes his gun.
07:19Hey.
07:19Then he hits you over the head.
07:21Then he hits you in the eye.
07:23He kicks you in the shin.
07:24Yes.
07:25And knocks you down and walks up and down your spine.
07:27Yes.
07:28But does that stop you?
07:29Yes.
07:31Now, ladies and gentlemen, Mrs. Margaret Westfield will entertain you.
07:44You settle your mind on the question of love.
07:52Why not just ask your heart?
07:59You can't always believe your heart.
08:07If the question is most lovers' heart.
08:16Your arms are to hold.
08:20Your fingers to feel.
08:24But your eyes are not deep, you'll feel.
08:28Your secrets will reveal.
08:31And then believe the stories that you hear.
08:39For jealousy makes life wise and hard.
08:47An issue of why, then don't trust your eyes.
08:51But if it's a question of all, you can always believe your heart.
09:00You can always believe your heart.
09:08If the question is most lovers' heart.
09:15You can always believe your heart.
09:17Your arms are too old.
09:19Your fingers to feel.
09:22But your eyes cannot be busted.
09:26Your secrets may be near.
09:30And don't believe the stories that you hear.
09:37You can always believe your heart.
09:58You can always believe your heart.
10:04You can always believe your heart.
10:12You can always believe your heart.
10:23You can always believe your heart.
10:33You can always believe your heart.
10:42You can always believe your heart.
10:55You can always believe your heart.
11:01You can always believe your heart.
11:07All right.
11:08Now this is the place.
11:10Any of them bad men here?
11:12No, no, no. Anybody think they're there? No. There is a man in this house that we think is making
11:19an atom bomb.
11:20Well, let it go.
11:26Now, ladies and gentlemen, we have one member of the family who's interested in science.
11:32He'll show you one of his latest experiments, Mr. Adam Jones.
11:39Thank you. Thank you.
11:41And now, folks, if I can get some gentlemen from the audience to come up here and assist me.
11:47All right, now, here's our chance. Go up there and offer your services. Meanwhile, I'll search the house.
11:59Keep this.
12:18Can I get some gentlemen for this experiment?
12:24You said gentlemen?
12:25I said gentlemen.
12:27Oh, fine.
12:29You just stand right there and tell me this point.
12:32And now, ladies and gentlemen, with the assistance of this dummy here, I intend to show...
12:38Just a minute.
12:39What is this dummy, the hoonest dummy you're talking about?
12:42Dummy?
12:43You heard me.
12:43And I'm a dummy?
12:44You a dummy?
12:45You...
12:45That's what I'm asking you.
12:46Of course you're not a dummy.
12:47Well, all right.
12:49I know you're not a dummy.
12:51Well, uh-huh.
12:52You know you're not a dummy.
12:53Yeah, but tell them.
12:54They might think I'm a dummy.
12:55They don't know.
12:56Oh, be quiet.
12:57That's it.
12:57Everybody knows that you're not a dummy.
12:59Are you talking?
13:00But you'll do until we can get a dummy.
13:02Wait a minute.
13:02Let them have that.
13:04I have things to do.
13:05All right.
13:06And now, ladies and gentlemen, in my hand, I hold a common, ordinary butcher knife.
13:11Yeah.
13:12And I'm going to...
13:13Whoa.
13:13What's the matter?
13:14What you fixing to do with the knife?
13:16Well, I'll explain later.
13:16Just a minute.
13:17You're going to explain it?
13:18Yes, sir.
13:18Go ahead.
13:19And I intend to take this knife and plunge it into the skull of the dummy.
13:24Whoa.
13:24Wait, wait, wait.
13:25Wait, wait, wait.
13:26That's all.
13:27What's the matter?
13:27I'll see you later.
13:28Oh, no.
13:29Wait a minute.
13:29You say you're going to plunge your knife in my skull.
13:31Well, that's true.
13:32Is what?
13:33Yeah, that's true.
13:34Are you crazy?
13:35Wait a minute.
13:36I'm not crazy.
13:37Well, neither am I.
13:38Where do you get that stuff?
13:38You don't know how I do it.
13:40I what?
13:41You don't know how I do it.
13:43I don't know how you do it.
13:44That's right.
13:44Do you do it?
13:46Yes.
13:46That's all I have to know.
13:48But when I plunge this knife into your skull...
13:52Yes.
13:53Uh-huh.
13:53The blade comes in contact with the first layer of skin.
13:56Yes.
13:58Now, that first layer of skin does not mean a thing.
14:02Not to you, no.
14:04I'll prove it to you.
14:05Do you remember what I said about the beach?
14:07All right.
14:07You're on the beach.
14:08You're laying out on the sand.
14:10You get sunburned.
14:11I do.
14:12You do?
14:12Oh, I do.
14:13Now, that first layer of skin peels off.
14:15Yes.
14:15There, by proving to you that that first layer of skin does not mean a thing.
14:19Who wrote it?
14:21Now, we come to the second layer of skin.
14:24There we go.
14:24Now, that second layer of skin contains the nerve and the vein.
14:29Yes.
14:29If I were to cut one of those veins, it would mean instant death.
14:34Yes.
14:34But do I cut one of those veins?
14:37Yes.
14:38No.
14:38I go around the vein.
14:41Oh, yes.
14:42Yes.
14:42Then we come to the skull.
14:45Now, as you know, the skull is composed of bone.
14:48Yes.
14:49And since in bone there is no feeling, we just crush right on through it.
15:01Oh, yes.
15:02Now, if I was to pierce that gray matter, that, too, would mean instant death.
15:07Yes.
15:07But do I pierce that gray matter?
15:10Yes.
15:11No.
15:11I go around the gray matter.
15:14Oh, yes.
15:15And pierce the air cell.
15:16Mm-hmm.
15:17Thereby, you suffer no loss of blood.
15:20Now, do you understand?
15:22Even if I did, I wouldn't do it.
15:23Oh, come on.
15:24Get in the box.
15:24Man.
15:25Get in the box.
15:26All right, now.
15:27All right.
15:27Get in the box.
15:27You know what you're doing.
15:29All I've got to say is, as long as you know what you're doing, everything is all right.
15:32I go up.
15:33Now, what's the matter?
15:34What's the matter with you now?
15:36What are you throwing that thing on top of me, sir?
15:38You trying to kidnap me?
15:39No, nothing like that.
15:40I have to do this.
15:41For what?
15:42What is that?
15:42Well, this is an experiment.
15:43This is what you call our magic tapestry.
15:47Magic tapestry?
15:48That's right.
15:48What's you do with that?
15:49Well, you get in the box and suit down.
15:51I'll explain it to you.
15:52Yeah.
15:52You see, you suit down.
15:53Yeah.
15:53And I throw this over your head.
15:55Yeah.
15:55That's right.
15:56Then I count three.
15:58I don't want my head covered up.
16:00Why?
16:00What's the matter?
16:01I want to know when I get stuck.
16:03Well, you want to know what's happening.
16:04That's it.
16:05Don't worry.
16:07You will.
16:08I know.
16:09Now, get in the box.
16:10Yeah, I am.
16:10All right.
16:11Now, throw this over your head.
16:12Uh-huh.
16:13Uh-huh.
16:13And then I count three.
16:14You're going to count.
16:15At the count of three, I come down with the knife.
16:18That's all.
16:19Uh-huh.
16:19I know what you mean.
16:21There I am.
16:22All right.
16:23Uh-huh.
16:26One, two, three.
16:26Hey!
16:26Man, wait a minute.
16:29What's the matter now?
16:30Are you in a hurry?
16:31Oh, no.
16:32I'm not in a hurry.
16:33Why are you...
16:34What is it?
16:34What is it?
16:35Well, how do you want me to count?
16:37Listen.
16:38Say one.
16:40One.
16:41Then say two.
16:44Two.
16:45Then say two and a half.
16:48Two and a half.
16:49Oh, get down in the box.
16:51You're wasting time here.
16:52What now?
16:53Now, where is it now?
16:54Do you know what you're doing?
16:55I know what I'm doing.
16:56Do you ever done this thing before?
16:57Well, I know what I'm doing.
16:58Do you know what you're doing?
16:59I know what I'm doing.
17:00Okay.
17:01Well, I'll...
17:01All right.
17:06One.
17:08Two.
17:09Three.
17:14And now, ladies and gentlemen, you have all seen me stick the knife into this young man's
17:20head.
17:20The only thing I didn't tell you about this experiment is that this is the first time I
17:26ever did it.
17:27So unless I am greatly mistaken, that poor fool should have a hole in his head.
17:32I will now remove the knife and show you the hole.
17:43Have you got a hole in your head?
17:45No, man.
17:46The hole is in this cabbage head right there.
17:49Well, good for you.
17:51I know it.
17:52Good.
18:00And now for my big finish.
18:05I'll take that, Bob.
18:06Oh, this is no bomb.
18:08This is a present for my niece, Nadine.
18:13I'll take that, Bob.
18:14Oh, this is a present for my niece.
18:15I'll take that, Bob.
18:20I'll take that, Bob.
18:20Well, I'll take that.
18:46Don't leave your eyes.
18:49They can be wrong like as not.
18:53Because of what you thought you saw,
18:57this poor fool almost got shot.
19:01If you are wise, you don't touch your eyes.
19:05For if it's a question of love,
19:09you can always be wrong.
19:45What kind of a piece is you doing here?
19:48The chain has broke on my candelabra.
19:51I've waited for the janitor since yesterday.
19:54I'll try to get it fixed for you right away.
20:02Where's your husband?
20:04I've got a complaint.
20:05The door in my bedroom needs me changed.
20:08You want so much attention, it's really a crime.
20:12Well, tell him to come up and sing sometime.
20:20How many times must you be told,
20:23I've got to take a bath if the water's cold.
20:25Go, go get your husband.
20:27Else you'll see there's going to be trouble.
20:30Are you telling me?
20:41Posing like a millionaire
20:43Make-believing you don't care
20:46How you expect to get somewhere
20:48Taking your time
20:51What you do, you sure do late
20:54And you always make me wait
20:57All you do is aggravate
21:00Taking your time
21:02Maybe you think you're fine and dandy
21:05But you better not would
21:08Just cause you're so handy
21:10That don't mean you're good
21:12Better change your lazy views
21:16Or you're going to wake up with the blues
21:19When you find someone else in your shoes
21:22Taking your time
21:25Posing like a millionaire
21:27Maybe you think you don't care
21:30How you expect to get somewhere
21:32Taking your time
21:35What you do, you always do late
21:38What you do, you always do late
21:39All you do is aggravate
21:41Seems like you just like to make me wait
21:44Keep taking your time
21:46Or maybe you think you're fine and dandy
21:49Well, you better not would
21:52Just cause you so handy
21:55That don't prove you're good
21:57Better change them lazy views
22:00Or you're going to wake up with the blues
22:03When you find a new one in your shoes
22:06Taking your time
22:08Framson, get up or you're going to be late
22:11For your afternoon nap
22:13If that's a sample for marriage and life
22:16I sure was glad I was just engaged
22:22You couldn't get him up with an earthquake
22:24Oh, no?
22:25Well, just watch me
22:40Let me try
22:42Have that pen
22:43I've lost it
22:51My goodness
22:52Maybe he's dead
22:53Yeah, from the neck up
22:56This'll get it
22:58Lunch him, sirs
23:04Did I hear y'all say something about lunch?
23:07You sure did, but just make believe I was fooling
23:09Cause you ain't getting nothing no how
23:11Well, I ain't did nothing
23:13That's just it
23:14But I was just arrested
23:39Resting
23:39Oh, Uncle Uranus
23:41Just how do you pass the time?
23:44I don't, Arthur
23:45I just sit here and let the time pass me
23:52Gaze on them
23:56And your grandpa, Moe
23:59Your two cousins
24:00Columbia and Pansy
24:03Them two sleeping beauties must think this year as a hotel
24:09A whole lot of them
24:10Just a bunch of good-for-nothing loafers
24:12Living off of the fatheads of the land
24:14Only we happen to be the fatheads
24:17Now, just to lay off of that
24:19It seemed to me we was talking about lunch
24:21How about it?
24:23I'll starve
24:24You is?
24:25Well, just continue on gazing in that looking glass
24:27And watch yourself starve to death
24:33Who's that?
24:35Who's that?
24:36Me
24:37And you
24:38Oh, that's my good old cousin Joe
24:41Ain't you got nothing but relations?
24:44Ain't you got no friends?
24:48Surprise
24:48Can I come in?
24:50You will then
24:51How are you, Joe?
24:52Where's your baggage?
24:53Well, I ain't bought much baggage
24:55I figure you got everything I need here
24:57But I was scared I might get a little lonely
25:00So I brung my three brothers along
25:02Come along, little doggies
25:04Come along
25:05Well, well, well
25:06How's it, Joe?
25:08How are you?
25:09How are you doing?
25:10Yes, a minute
25:12Yes, a minute
25:13Where y'all launching off to?
25:15What is this?
25:16A quartet?
25:17Yes, I'm nothing else but
25:18How about it, boys?
25:20On an uptown avenue
25:21Where there's welcome on the map
25:23You'll find this for you
25:25When you hang your hat in the Harlem flat
25:29That's a good thing for the man
25:31Why sit around in the chat
25:33You get to eat the chair
25:35When you hang your hat in the Harlem flat
25:51When you hang your hat in the Harlem flat
25:59That's a good thing for the man
26:03When you hang your hat in the Harlem flat
26:10When you hang your hat in the Harlem flat
26:17Lleblicity-la-le-la-le-la-le-la-le
26:22Bump, bump, bump, bump, bump, bump
26:24Bump, bump
26:24Bump, da-dump
26:25Ba-da-da-da-da-da-da-la
26:27Ba-da-da, da-da-da-da-da
26:28Baby, as you hate to go
26:31When you hang your hat to the Harlem black
26:33Ba-da-da-da-da-da-da-da-da-da-da
26:35AndδΈθ¦hty-la-la-la
26:39Hey,esp humano, where do you think you all going?
26:41I'd like to know where my room is
26:43Oh, you would, would you?
26:45Yeah, and I want a room with a southern exposure.
26:48And, Cousin Ethel, if you don't mind, the doctor says I've got to have quiet.
26:52And I'd like to have my breakfast in bed.
26:55Guess what did you all boys do for a living before you come here?
26:58We was a traveling man.
27:00Traveling man?
27:01Yes, sir.
27:02Well, I'm going to see that you pick up where you left off.
27:05You should.
27:07What's the matter?
27:08You can't do that.
27:09You can't do that to me.
27:13I'm tired of working and slaving for a bunch of good-for-nothing tramps like y'all is.
27:18Saying which, I hereby hand in my designation.
27:22From now on, somebody else around here has got to go to work.
27:37Arkees never dream.
27:41They must laugh and sing all day.
27:48You can't forget your troubles when you're thinking what they are.
27:55You can't find the sunshine when you're reaching for a star.
28:04Arkees never dream.
28:09Wouldn't help to live that way.
28:15We must walk a weary road that never seems to turn.
28:23What good would it do to yearn?
28:44That's the way we've learned to be content.
28:58Dark is never dream.
29:04We know what we have to pay.
29:10With a one-way passage only Gabriel will redeem.
29:28That's why dark is never a dream.
29:33That's why dark is never a dream.
29:58Dear nieces and nephews, I have made millions coming up to visit you and want you all to help me
30:09stand some of my door.
30:27Who is it?
30:28It's me, Swami Rivers, the mind reader.
30:34Well, what's on your mind, Swami?
30:37I have been commuting with the spirits, Miss Peabody.
30:40And from certain rumors and designations, I've got some mighty fine news for you.
30:46Sounds like it's going to cost me something.
30:48Oh, now, Miss Peabody, you know I don't care nothing about money.
30:52I was ethereal, immaterial, and inconsequential.
30:57But if you insist, I'll take two hits.
31:00I knew there was a catch in it.
31:03All right.
31:04Now, come on upstairs with me, because the spirits don't never come down to the basement.
31:11Now, how do you want this good news sprung on you?
31:14By the reading of your palm?
31:15Or the bump on your head?
31:17Or does you just want to be psycho-annihilated?
31:20Let your conscience be your guide.
31:22Just tell me.
31:33I see something distant.
31:36Don't tell me it's another relation.
31:38It's getting close.
31:40Now, I know it's another relation.
31:43Now, it's getting closer and closer.
31:46And it's a rich one.
31:48Who is it?
31:49Who is it?
31:51Shut your eyes and concentrate.
31:53Has you got an uncle named Frisbee?
31:55Frisbee?
31:56Yeah.
31:57Yeah.
31:57Samson's Uncle Frisbee.
31:58What about him?
31:59Well, he's a millionaire.
32:01And he done signified to me that he's arriving tonight.
32:04He's coming to spend...
32:06Spend what?
32:07Well, he's going to spend some time with you.
32:10Oh, I thought so.
32:14What's that?
32:18What is it?
32:18I don't know, Miss Peabody.
32:20You don't know.
32:21Let me hear my spirits.
32:23Ethel.
32:23Ethel.
32:25Oh.
32:25Oh, it's you, is it?
32:27Come on, honey.
32:28We is rich.
32:29I just got this close surprise from Uncle Frisbee,
32:32and he's due to arrive here tonight.
32:34Swarmy, you sure is some mind-reading.
32:37I sure is.
32:38Come on, baby.
32:39Get busy.
32:40We got to give that millionaire uncle a great reception
32:42if he wants any part of his door.
32:44Come on, let's go.
32:49Swarmy, you is a man.
32:51Oh.
32:53You've got to shine if you feel.
32:55Mm-hmm.
32:56It gives you lucky price.
32:59Use the bottle's out.
33:01Clean your best up.
33:03Company's coming tonight.
33:06Be sure to wear a collar.
33:08Mm-hmm.
33:09No matter if it's nice.
33:11Mm-hmm.
33:13Don't forget to wear billiard teeth in your hair,
33:15cause the hair's coming tonight.
33:19You can't hold your chest up when you're dressed up in style.
33:25And when your suit is pressed up, you just naturally smile.
33:32And you sit at your table, forget your appetite.
33:38And if you want a drink, get it out of the street.
33:42Company's coming tonight.
33:44I'm dead.
33:46Company's coming tonight.
33:51Well, Mr. Prisby, here you are.
33:53You feel all right now, don't you?
33:55Oh, yes, sir.
33:56Just the same as you are.
33:57Yeah, but you ain't gonna take things that don't belong to you like you used to do.
34:01No, brother.
34:02I am all killed of that.
34:03Now, Mr. Prisby, if you'll just sign this release paper here.
34:06Why, certainly.
34:07Why, certainly.
34:12Good day, gentlemen.
34:16Nice guy, that Prisby.
34:17He's harmless.
34:18The only fault with him was he used to think he was Emperor Jones.
34:24You'd better get him back.
34:39Howdy there, folks.
34:40Welcome, Arthur Prisby.
34:41What's that?
34:42Hello, Arthur Prisby.
34:43Not so loud.
34:44They're after me.
34:45Who's after you?
34:46The Army.
34:47You see, they think that I'm Emperor Jones.
34:50Ah, but I've fooled them.
34:52You know who I am?
34:53Who I am?
34:54I am the Emperor Jones.
34:55Wait a minute.
34:56Wait a minute.
34:57I don't get this.
34:58Don't tag me now.
34:59You'll tag me later.
35:00You'll tag me later.
35:00Oh, no.
35:00No, no.
35:00No, no.
35:06Well, folks, I've had a hard day at the office, and I was ready to eat.
35:10Won't you join me?
35:11Come on, folks.
35:19Say, I've been in here two days and haven't seen a waiter yet.
35:22If I don't hurry up and get some service, I'll call the manager.
35:28Say, that Uncle Frisby of yours is either nuts or he's just testing us before he gives
35:33us some of that money.
35:34You go on and play up to him.
35:37I'll get it.
35:39Well, what can I do for you, Uncle Frisby?
35:42Don't get so familiar, young man.
35:43I will have you fired.
35:45Yes, sir.
35:46Yes, sir.
35:47Now, get this order straight.
35:49I want four turtle eggs filed nine minutes on one side and three on the turtle.
35:59We all chipped in and bought you a nice fat chicken to surprise you.
36:03I'll bring it in right now.
36:07Listen, Bill.
36:08What's the matter?
36:09There's something awful funny going on around here.
36:12A minute ago, I had my watch, and now it's gone.
36:17What you looking at me for?
36:18Hold on.
36:19Wait a minute, Jeff.
36:21Somebody took mine, too.
36:22Yours, too?
36:23It is, Dad.
36:27I sure hope you liked this chicken, Uncle Frisby.
36:30It cost two bucks.
36:31I'll take delay.
36:33I'll take any part I can get.
36:38It's gone!
36:40What are we going to do?
36:41Why, it's gone.
36:46Somebody's got my suspenders.
36:50Everything is going around here.
36:52What are we going to do about it?
36:54We'll call swarming.
36:55He'll tell us where that chicken went.
36:57Let's call swarming.
36:58Come in.
36:58We don't get you out here.
36:59I'm swarming nowhere there.
37:01This is going to be easy.
37:03You all just let me look in my crystal ball, and I'll tell you who stole it.
37:10Good Lord Almighty, I'd have lost the crystal ball.
37:13No!
37:13Yeah!
37:14Can you imagine that?
37:16But surely you that knows all and sees all don't know where the crystal ball is?
37:21Well, how am I going to tell you where the crystal ball is if I ain't got no ball to
37:24tell me where it is?
37:25Is that?
37:26Wait a minute.
37:28I've got it.
37:35Sharp in.
37:43Somebody turn out the lights.
37:49I can see St. Peter standing by the rock.
37:53By the rock.
37:53I can see St. Peter standing by the rock.
37:57By the rock.
37:58Better take your sins and put them all in your heart.
38:01By the rock.
38:02I can see St. Peter standing by the rock.
38:06By the rock.
38:07Bow down.
38:08Bow down.
38:09Bow down.
38:10Hallelujah.
38:11Bow down.
38:12Bow down.
38:13Bow down.
38:15Bow down.
38:15I'm calling him to come and help his love.
38:19I can see St. Peter standing by the ground.
38:24Bow down, bow down, hallelujah, bow down, bow down, bow down, bow down.
38:53Get out of here!
39:00Open the door, Richard!
39:05Get out of here! Get out of here, bow down!
39:07I told you about coming in there stealing whiskey on the bar every time somebody turned it back.
39:12If I catch you in there again, I'll kick your teeth out! One by one!
39:17No, you won't!
39:18No, I won't!
39:19I said, yes, you will.
39:21Listen, I'm a bad bean from Baltimore, and I was bored with boxing gloves on.
39:30Yeah, and they keep messing with me, and you're going to die the same way, too.
39:36Come telling me he's a bad bean from Baltimore, and I get there with him, he'll be a has bean
39:43from Baltimore.
39:46I'll go back and pick up his junk.
39:48Getting mad, cause I won't buy no drinks.
39:51It ain't no use of me buying when everybody else is buying.
39:55I ain't been buying no liquor, and I ain't gonna start it now.
39:59I'm gonna keep on drinking to everybody's health until I ruin my own.
40:05Yeah, he come grabbing me in the car.
40:11Well, he won't grab nobody else, cause I'm going back and relieve him of his grabbers.
40:18Oh, that's what I'm on.
40:19Yeah, I'll break up his joint.
40:21Yeah, I'll break it up!
40:22I'll stick a Macbill joint, burn it down to the ground.
40:28He's gonna tell me I've lived my life.
40:32See, I'll run him out of town.
40:34Run him out of town!
40:35I'll run him as long as he can find something to step on.
40:39He's gonna tell me something like him.
40:41I don't know.
40:42I'll go back and run him out of town.
40:44That's right.
40:45I'll go back and run him out of town.
40:49Well, I ain't going back today, but I'm gonna try to make it tomorrow.
40:54And tomorrow at two o'clock, I'm going on home and get me some sleep.
41:00I got to get off the street, cause I don't want my pastor to see me like this.
41:05Yeah, you have to be so careful these days, cause people are so quick to scan alive your name.
41:14And I don't think my name was saying any more scan alive.
41:18So I'm gonna get on in the house and get me some sleep.
41:21That's what I need.
41:22I'll get on it.
41:23I'll go back and run him out of town.
41:27Well, you know, that's a shame.
41:29I know I ain't drunk.
41:32Just that whiskey is heavy, that's all.
41:37They ought to stop people from drinking whiskey in the hangar.
41:41Get drunk and it makes you act so calm.
41:45And I know I ain't common cause I've got some class I ain't never used.
41:50Yeah.
41:51He's gonna tell me something about Greenwell Street.
41:55And I know about that street.
41:57I like I told boy last Saturday night.
42:06It ain't no...
42:08Yeah.
42:14Yes, I get in the house here and wake up everybody so I can go to sleep.
42:19That's the way I do that to you.
42:21I see them.
42:22I better let I see them.
42:25All right, open the door, Richard.
42:28That's the boy Riddleman.
42:30Now, what's the matter with you?
42:33Hey, open that door up there, Richard!
42:39I know he ain't going out nowhere cause I got on the clothes.
42:44What's the matter with you?
42:45Hey, open the door, Ricky!
42:48Now, that's the reason I don't like to room with nobody.
42:51He don't want to open the door for me.
42:54And I owe just as much rent up there as he is.
42:58I think I'm going to move next Saturday to go just for a woman.
43:00She's charging too much rent in her house.
43:03Three dollars a month.
43:04Yeah, and got the nerve to be mad because we's eleven months in the rent.
43:09Why, she come acting me this morning, she said,
43:12When you boys want to give me some of my back rent?
43:14I just told her, she's lucky she's getting the front rent out of here.
43:18Oh, why not show her my door, Richard?
43:23Then she come acting me, when is I'm going to work?
43:26And I ain't thinking about no work.
43:28I don't want no job. I'm going back on relief Monday.
43:32I was on relief last summer, but I don't know.
43:35They got short of help and they couldn't send your checks out
43:39and you had to go get them and all that, so I put it down.
43:44What you want to do about the door, Richard?
43:49I don't think he's going to do nothing.
43:51But I get in, so I go around to the back and I come around to the alley.
43:55I don't need no Richard Jones or something.
43:58I just didn't want to be walking in no dark alley this time of night.
44:03I wasn't walking in an alley and somebody stick me up.
44:08Well, I got to get hurt because I had nothing to offer.
44:13But I get on in the alley. After I get a little sleep, I know I'm rushing.
44:17And like I told her.
44:19Now you know I ain't never drank no whiskey before that won't let you go nowhere.
44:24Here, here's another thing. You get this light out of that bar and you stay out soon.
44:28I didn't bring no light in.
44:29You did bring the light in there.
44:30I don't care who brought the light in there. You keep it out.
44:34Yes? Yes.
44:35All right, well, we need to keep it out.
44:40All right, didn't you tell if I painted the kitchen window to give a half out of whiskey?
44:43Did you tell me that? Did you tell me that?
44:46What did you do with the paint I had in that bottle?
44:49Who was that?
44:51What did you do with the paint I had in that bottle?
44:54Hey.
44:56Was that paint in that bottle?
45:00Oh, man, you should have told me so loud.
45:04You put paint in a whiskey bottle and set it in front of me?
45:12Uh, give me some paint removal then, I'll drink that.
45:15Come on, give me that.
45:16Listen, Dustin, why don't you get yourself a job and go to work?
45:19No, you, you, you, you...
45:20By that?
45:22Why don't you get yourself a job and go to work?
45:26You mean go to work?
45:29Well, you've known me for many a day, didn't you?
45:31You ever know me to work?
45:33You ever know anybody to know to work?
45:36Well, co-incidentally, did you ever know anybody to know somebody to found out and have an idea of what
45:41I was?
45:43Well, don't worry, you won't.
45:46Man, you are impossible!
45:51I don't care what I am, I ain't tired.
45:55He won't tell me how to live.
45:57Just like I told him, that just...
45:59Now, this old woman across the street, she sees every time...
46:04It happens in the neighborhood, never.
46:06Now, she done spied me or this.
46:09She done called her sister to the wonderful Whitney.
46:12She wants to make sure this is me.
46:14She'd choose on to ask her sister.
46:16He'd take me out, he'd take me out.
46:18Yes, this is me!
46:19I'm drunk, okay!
46:25I just hope she said something about me in the meeting Sunday, and I'll have a whole family thought out
46:32to me.
46:33Her husband come out there last Sunday, he was so ineb-erated.
46:38Ine-erated?
46:41When he got on his knees to pray, he went to sleep.
46:45I had to sober up right quick and pray for us.
46:48I ain't got no time to be praying for nobody, I've got my own soul to stir a line.
46:54But I'm glad he threw his little ladder.
46:56I'd say I'd take him down in the heart and get a little sleep.
46:58That's what I said.
46:59Door in the door, Ricky!
47:00Ah, door in the door!
47:01Ah, I don't want you to open no door.
47:03I don't want you to do nothing.
47:05I'd take my ladder and climb up on a trance, and I don't need no relief.
47:08He wants somebody big, you know.
47:11I'd get in by myself, I don't need you to go.
47:13Tell me I live my life.
47:16Tell me I...
47:18I'd climb up on a trance.
47:20Tell me I live my life.
47:22I live my life.
47:23I'd see myself, I don't need you.
47:27I don't need you, Richard.
47:28I live my life.
47:28I'd get in.
47:30I better be in, I'd get in.
47:34I'm coming on up there, Richard!
47:38You're going to say I don't need you, Richard.
47:40I don't need nobody to tell me.
47:41I live my life.
47:44I don't think I'm going to be here long, Richard!
47:49Tell me.
47:50I don't need you, Richard.
47:50I give you a little help.
47:51I didn't know, I know you're going to be.
47:57I'm high as a Georgia primary.
48:00But it ain't no use being too high, though.
48:04But I'd get in.
48:05I better imagine, I get in.
48:06I'd climb up on a trance, and I didn't know he was going to tell me that.
48:10I didn't know how you lived in my life.
48:12I beg him here.
48:14I didn't.
48:15I didn't.
48:16I don't need Richard.
48:18Oh, why don't you open my door, Richard?
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