Only Murders in the Building Season 4 Episode 10
Category
🎥
Short filmTranscript
00:01Marshall, we need to talk with you.
00:03I thought you wanted to give me more notes on the script.
00:05Everyone's been hounding me about rewrites.
00:07Every draft that Marshall turns in is worse than the last.
00:09Loretta and I shall marry here, in the Arconia.
00:12Saz!
00:13There's something I need to talk to you about when you get a sec.
00:15It's a little sensitive.
00:16So you don't know who the target was?
00:18The person who did this would have to be extremely fit.
00:21A gifted athlete in the best shape of their life.
00:23Saz talked about a stuntman on a movie called Project Ronkonkoma.
00:28He was her protege, but he had messed up pretty badly and he was harassing her.
00:32The only ones who know what went down are Saz, Glenn, and the director.
00:36He's dead.
00:37My Glenn.
00:38Nicky Caccimiglio has been reported missing.
00:40We heard there was quite the snafu on Project Ronkonkoma.
00:43No!
00:44The guy fucked up so bad, Saz had to blackball him.
00:47Who was this protege?
00:48Here he is.
00:49That kind of looks like...
00:50Why does this script say it was written by Saz Pataki?
00:59A movie is a hundred people working together to tell one story.
01:06That's right, Kincaid.
01:07It's me, Uncle Brazos, and I can still send this investigation into a whole new direction.
01:12Freeze!
01:13Tap in.
01:14Tap in!
01:18And action!
01:23I'm good!
01:24Cut!
01:26I'm good!
01:27Cut!
01:31Nice job, Pataki!
01:35Every person on the crew, their job is to help tell the story.
01:40Some tell it with music.
01:42Some tell it with props.
01:44Me?
01:45I tell it with osteoporosis.
01:49Sometimes it doesn't sound terrible to tell a story the old-fashioned way...
01:55...without breaking all my bones in the process.
01:59But where to begin?
02:02Well, I suppose it starts with finding your hero.
02:06Hey, Saz, you okay?
02:08All good, buddy.
02:10I'm getting worse with heights.
02:12I gotcha.
02:13Don't you worry about a thing.
02:16As it turned out, we are all Tim Kono.
02:19When you take your hero on a journey, get him in all kinds of trouble,
02:23but land him home safely?
02:27Nothing better than that.
02:32But happy endings are for movies and exotic massages,
02:36and you can't help but wonder,
02:38how did Tim Kono end up here?
02:42But happy endings are for movies and exotic massages.
02:46Life can have very different plans.
02:50So, the killer is Rex Bailey, slash Marshall P. Pope,
02:54slash the stuntman, slash the screenwriter,
02:57slash what the fuck is going on?
02:59Where is the young one?
03:00We need a pliable brain on this.
03:02I texted Mabel the minute we figured it out,
03:04but she hasn't responded.
03:06What?
03:07How did you get that little accent mark on the E in protégé?
03:10Oh, you press and hold down the letter, you want the accent over,
03:13then you get a list of accent choices.
03:15No kidding!
03:16It's fun, right? Yeah. Mabel taught me that.
03:19You know, every time we solve a murder, that's when the next body drops.
03:24It's like when one murder door closes, someone we know
03:27either gets stabbed, poisoned, or shot.
03:31Why would you say that?
03:33You know my wedding is tomorrow.
03:35Loretta's on her way now, here to the murder building.
03:37I wasn't saying it'd be Loretta.
03:39What, you were basically saying that, Charles.
03:43Oh, my God.
03:44My bride is going to be the next murder victim.
03:47It's so us.
03:48And to think, up until now, my only worry was what our first dance should be.
03:52And whether watching Loretta and I do a tango
03:54might be too erotic for everyone to handle.
03:58It's from Mabel.
04:00Call the police or come anywhere near her door and I'll kill her?
04:09No.
04:40No.
04:53No.
05:09No.
05:13Could you excuse me for a second? I'm just going to go grab...
05:17You're not going anywhere.
05:21You're pretty fit for a writer.
05:25Because you are a stuntman.
05:29Saz is protege.
05:34You stole her script and then you killed her.
05:36I can't believe I have to kill you, too.
05:38I was just supposed to be Saz, but now look at me, sniping, smothering, it never ends.
05:43So you admit you killed Glenn.
05:45I didn't want to.
05:47I never want to, but it was only a matter of time before he realized why I looked familiar.
05:51I hate that I accidentally shot Zach Galifianakis.
05:55He's so funny in The Hangover.
05:57Don't fucking move, Mabel!
06:00Okay.
06:03Okay.
06:04Well, then you can kill me, but you're on your own with the whole rewrite.
06:14Well, I know what you're doing.
06:16You're trying to buy time. I'm not falling for that.
06:18No, you're in charge of this whole thing. I just... Can I...
06:26You have Charles logging on to AOL.
06:31Yeah, because he's old.
06:32No, I've taught him better than that.
06:34And then you have Mabel saying,
06:38You've got fail.
06:41Are you sure you want to go with that?
06:46Fuck!
06:49Fine.
06:51We finish this scene and then I'll kill you.
06:55Shouldn't we be running to Mabel?
06:57Not that I don't love watching you stare out a window like a sad war widow.
07:01Oh, my God. It was one person.
07:05The ledge. That ledge.
07:07It's been right there in plain sight all along.
07:09Who the hell would walk out on that?
07:11A murderous stuntman would.
07:13That's how the shoe print got on the radiator.
07:15That's how he did it in 12 minutes.
07:17And it's the only way we can save Mabel.
07:19Absolutely. What?
07:20Marshall said, if we go to the door, he's going to kill Mabel.
07:23So we walk along the ledge and smuggle her out.
07:27This is actually really smart.
07:29He'll never see us coming through the window.
07:31Okay. You can drop the word us,
07:34because old Ollie Putlam don't walk no ledge.
07:37I need to do this.
07:39I didn't save Saz, but I can save Mabel.
07:48Okay, it's really high up.
07:53What if you do it from Vince's?
07:55It's right next door.
07:59That is the first good pitch you've had
08:01since this whole thing started.
08:03It took four seasons, but now I'm cooking with gas!
08:09Oliver, your hooper arrived. Where are we placing it?
08:12Lester, I have urgent business, so I need you to take over.
08:15Now, I trust you completely, but just know,
08:17if you get anything wrong, I will destroy you.
08:19What? All he does is let in murderers.
08:21Oh, my bride's in the courtyard. Okay.
08:24Charles, I got married in this courtyard, you know,
08:27in the middle of the night with just the stars,
08:29and the fountain has our witness.
08:31I think it's good luck.
08:33Lester, I told you, when I moved in,
08:35I don't really do anecdotes, but have a good day.
08:38Yeah, having a wedding will have a good day, sure.
08:44Oh, look at me.
08:46You're here.
08:48Oliver, oh, my God, my show!
08:50I don't think I can marry you now.
08:52What?
08:54Because algorithm feels it's newer.
08:57Yeah, so North Bund is gonna be Oomph Bund,
09:00and I have to move to New Zealand day after tomorrow.
09:02Oh, God, catch up when you can.
09:04Okay, so maybe you can just quit.
09:06I can't quit.
09:08Then I will move. Married people move for each other.
09:10That's what we'll do, okay?
09:12Where are you going? I will explain later.
09:14Just go to my apartment, lock the door,
09:16and don't answer it for anyone, and I love you.
09:21Okay, left one in front, not the right.
09:23There you go. That's more difficult.
09:29Oh, great timing.
09:31I'm just doing this new thing called exercise.
09:33You want to join? He hired me to be his trainer.
09:35We need to use your window.
09:37Mabel's trapped next door with a killer. Oh, God.
09:39It's the movie writer, incidentally.
09:41I told you it wasn't us.
09:43We're just a bunch of cute weirdos who torched a body.
09:45You want us to call the police? No, no, no.
09:47He'll kill her if we do.
09:49I will not be joining because I'm not insane,
09:51but I will be contributing to today's caper
09:53by creating a front-door distraction.
09:55Front-door distraction. Now, is that a type of ding-dong?
09:57It is, Rudy. Very good.
09:59Ding-dong.
10:01Charles, wait. Wait, wait.
10:03If you fall, angle your body away from my wedding.
10:05Everything's a rental.
10:07Oh.
10:09Oh.
10:11Oh.
10:13Oh.
10:15Okay. All right.
10:17Yeah.
10:19I got this.
10:21Thank God.
10:23Watch it.
10:27Oh, Sazh.
10:29Sazh, I need you.
10:35Okay, Ghost of Sazh.
10:37Anytime you want to tap in.
10:39Anytime.
10:43I can't do it, Sazh.
10:45I can't do it by myself.
10:49That's why I'm here.
10:51Now, be honest. Are you on this ledge
10:53because I'm moving to New Zealand?
10:55I think you know I'm trying to save Mabel,
10:57so go back.
10:59No, no, Charles. You're my ride-or-die,
11:01and my strong preference is to ride,
11:03so scoot, scoot.
11:07I can't move my feet.
11:09Yes, because you're looking down at certain death.
11:13We got to do this facing the wall.
11:15Are you suggesting we pivot?
11:17We are in the sky.
11:19Charles, that is Mabel through that window.
11:21Now you lost Sazh.
11:23We can't lose her, too.
11:25So here we go, okay?
11:27Spin on three.
11:29One, two, three.
11:31Spin!
11:33Oh!
11:35Oh!
11:37Okay. Okay, yeah.
11:39Excellent. The rest of the way,
11:41we merengue.
11:43See, to me, this doesn't read as a dance moment.
11:45Yes, but I realize
11:47it is my wedding dance,
11:49so just watch and learn.
11:51Step, drag.
11:53Step, drag.
11:55Step, drag.
11:57Step, drag.
11:59Step.
12:01And I thought I didn't have rhythm.
12:03Step, drag.
12:05Step, drag.
12:07Step, drag.
12:09Go, go, go.
12:12Wait.
12:14If you're here,
12:16who's doing the ding-dong?
12:18Hello, it's friendly neighbors Rudy and Vince.
12:20We want to borrow some sugar,
12:22you know, like friendly neighbors do.
12:24Uh, Mabel's not...
12:26Mabel's not here right now.
12:28Maybe I'll want to come back later.
12:30We're making sugar chicken,
12:32and we've never done it before,
12:34and we're trying to figure out anything that might work.
12:36Do you have any corn on the cob
12:38or off the cob?
12:40Do you have any little pickles?
12:42What are they, the gherkins or cornichons?
12:44Cornichons.
12:46Cornichons, cornichons.
12:48Uh, Laz, we're kind of busy right now.
12:50Oh, well, it's whatever you have
12:52is really what we're looking for.
12:54Oh, thank God you're here.
12:56Charles, they're not going inside.
12:58Meringue back out here right now.
13:00No.
13:02He killed Saz.
13:04Oh, that's all right. We'll just look.
13:07Please just leave us alone.
13:13We're coming in no matter what, okay?
13:15We're coming in.
13:17Drop the gun.
13:19What is that?
13:21It's Eva Longoria's 19-in-1 multi-tool.
13:23At least four of the settings could kill you.
13:28Okay, sit down!
13:30You fake-bearded bastard!
13:32Sit down!
13:35I need to know why.
13:37Why kill Saz?
13:39Because she blackballed you as a stuntman?
13:41Saz wrote the only murders movie.
13:44Saz, a writer?
13:46You stole the script from her?
13:48Look, I tried to become a writer.
13:50I did what you're supposed to do.
13:52Took my childhood trauma and tried to monetize it
13:54by turning it into a screenplay.
13:56And I had good trauma.
13:58Picture this. A dad who's a hunter
14:00forces his son to be a hunter, too.
14:02The kid is a perfect marksman,
14:04but all he wants to do is write.
14:06And when he leaves for Hollywood,
14:08the dad gives him six months.
14:10Says,
14:12you're a killer, not a writer.
14:14I mean, come on, you'd watch that, right?
14:16Well, it depends on the casting.
14:18Would I have to go to the theater?
14:20I still haven't found time to watch The Wire.
14:22I wanted to prove him wrong,
14:24but nobody would touch my script,
14:26which is not my fault. Hollywood is broken.
14:28See, now here I see his point.
14:30Why else would I not have an ego?
14:32Freeze!
14:34I was about to call it quits
14:36when I met Saz.
14:38She was the first person to be kind to me.
14:40Saz was kind to everyone.
14:42After the Ron Howard
14:44incident,
14:46and by the way, he overreacted.
14:48Saz said my stunting career was over,
14:50but
14:52now I could get back to my writing.
14:54She even offered to read the latest draft
14:56of my screenplay.
14:58I think I nailed it this time.
15:00Oh, Rex.
15:02Man,
15:04you inspire me the way your words
15:06make me feel things.
15:10So much so that I gave it a whirl.
15:14You wrote something?
15:16You're the only one who knows.
15:18My only copy.
15:20And in the spirit
15:22of two writers being vulnerable,
15:24would you
15:26give it a read?
15:30I didn't have high hopes.
15:32What did Saz know about being a writer?
15:34Then I started into it.
15:36And it was good.
15:38Really fucking good.
15:40Certainly better than anything I'd ever written.
15:44We're done.
15:50So?
15:52That was the moment
15:54where I could have been a friend,
15:56where I could have gone in a completely different direction.
15:58It's
16:00not very good.
16:02But everybody's gotta start somewhere.
16:04You know?
16:06How could Saz write something so great
16:08on her first try?
16:10It wasn't fair!
16:12I could make a copy and have a closer read
16:14and see if I can come up with some fixes.
16:16Yes, please. That would be great.
16:18It's just the...
16:20That's all of it. How much of this are you married to?
16:22So I came up with a new name,
16:24which was actually the hardest part.
16:26Eventually I landed on Marshall P. Pope,
16:28which is awesome.
16:30Is it, though?
16:32Sounds like a judge.
16:34After that, all I had to do was get the script into the right hands.
16:36I sent it all around town. I knew someone would bite.
16:38But I was just trying to get an agent.
16:40Never in a million years did I think it would get greenlit
16:42and then fast-tracked.
16:44But Saz found out.
16:46She got shown the script by some stunt friends
16:48I should have known something was up
16:50when she invited me over for a drink.
16:52Come in.
17:02Nice beard, Rex.
17:04Thanks.
17:06Have a seat.
17:18Or should I call you Marshall?
17:20The list of suspects wasn't long,
17:22but you were the only person I let see the script.
17:24Saz, this just got out of hand so quickly.
17:26I wanted to tell you, but...
17:28No, you didn't.
17:30You told me the script was bad,
17:32and then you stole it from me.
17:34You know me. I can take a hit.
17:36Nearly lost a leg during Police Academy 7.
17:38But this?
17:40This hurts way more.
17:42Okay.
17:44I'm gonna call Bev Mellon, and we can sort...
17:46Bev what?
17:48Are you making up new fake names now?
17:50That's her real name.
17:52Bev Mellon from Paramount.
17:54She bought our script.
17:56This is not ours!
17:58Oh!
18:02This is mine!
18:04I hadn't even told Charles yet.
18:06I wanted to ask his permission
18:08before I tried to sell it.
18:10Do you see the mess you've made here?
18:12I do, but...
18:14This movie is...
18:16It's my dream.
18:18I had a dream, too!
18:20I had the dream to sell my script
18:22and build a trampoline park in New Jersey!
18:24A what?
18:26Never the fuck you mind.
18:28Saz, if you say something about this,
18:30I'll never live it down with my dad.
18:32With anyone.
18:34I don't know what I'll do
18:36if this gets out.
18:38Rex,
18:40I don't trust you anymore.
18:42Tomorrow I'm gonna fly to New York
18:44to see Charles make his Broadway debut.
18:46And after,
18:48I'm gonna see him.
18:50And I'm sorry.
18:52But I gotta tell him.
18:54Can you please not do that?
18:56Out!
18:58Go!
19:08I'm really sorry, Saz.
19:10I'm really sorry, Saz.
19:12Yeah, me too.
19:16What was I supposed to do?
19:18Let her ruin everything
19:20I'd worked for?
19:22And then I remembered the Dudenoth apartment.
19:26And I booked a red-eye.
19:32Saz had included this whole
19:34subplot in her first track.
19:36Extraneous, if you ask me.
19:38I cut, but I knew there was an empty apartment.
19:40And what the code was to get in.
20:02I couldn't do it.
20:04It's okay.
20:06It's okay, you're not a killer.
20:08You're not a killer, you're a writer.
20:10You're not a killer, you're a writer.
20:12You're a writer.
20:14You're a writer.
20:16You're a writer.
20:22No, fucking not.
20:26But,
20:28maybe,
20:30maybe to be a writer,
20:32I had to become a killer.
20:36Only she didn't die.
20:40I had to think quick.
20:42One reason I made a good stuntman?
20:46No fear of heights.
21:06No fear of heights.
21:36I'm sorry it had to end this way.
21:38I'm sorry it had to end this way.
21:40I just,
21:42I need this.
21:44Where's the script?
21:46The one with your name on it?
21:48He's gonna get you.
21:50Who?
21:52Who will?
21:54I
21:56know her.
22:00What?
22:06I
22:08love you.
22:10So you watched her die,
22:12and you threw her down the trash chute like she was garbage.
22:14Think of it as her final stunt.
22:18It's on the vibrator setting!
22:20Damn it, Eva Longoria!
22:22Charles, fix it!
22:26Oliver!
22:30Okay,
22:32next time let's not have her killer be a professional stuntman.
22:34There is no next time.
22:36Maybe my dad was right.
22:38This is my talent.
22:40So,
22:42welcome to the end of your movie.
22:54Gone.
22:56What?
23:04No fucking way.
23:24How did you get into my apartment?
23:26I never left.
23:28You've been hiding in my closet
23:30for three weeks?
23:32I was just waiting for you to figure out the case
23:34so I could exact my revenge.
23:36We did it together, Charles.
23:38For sass.
23:40I'm good at seeing through tiny slits
23:42and window blinds,
23:44but I would much rather have taken Marshall out up close,
23:46you know?
23:48Stabbed him through the eye with a buck knife
23:50and really mixed it around.
23:54I truly don't know how you make words like that
23:56arousing.
23:58Oh, Charles.
24:00Anyway, I ate a bunch of your pirate booty
24:02when I was in hiding.
24:04I'll Venmo you eight bucks.
24:06Call it even for serial killing our serial killer.
24:08I got it. Let's go.
24:10Goodbye, Jan.
24:12It's not goodbye, Charles. It never is with us.
24:14We're endgame.
24:18Hi.
24:20Well, it's hard to deny you make a cute couple.
24:22Oh, God.
24:24Seems like an awkward time to celebrate.
24:26Although,
24:28I have an out-of-the-box idea.
24:30Isn't it insulting to flirt now?
24:32Oh, who the hell knows?
24:34Suddenly it's rude to tell a secretary
24:36she looks pretty in a pair of slacks.
24:38Nope. No to that whole sentence.
24:40Compliment her purse.
24:42If it isn't on their body,
24:44you can like it.
24:46No, again, to every word
24:48that's coming out of your mouth.
24:50I'm glad you're doing this.
24:52Being alone in life is making you weird.
24:54And cut.
24:56Okay.
24:58Are you gonna snort like that?
25:00Well, he does.
25:02Poor bastards.
25:04Think they just have to solve Tim Kono's murder.
25:06Little do they know,
25:08the bodies just keep on dropping.
25:10Oh, there you go again,
25:12saying Loretta's gonna get murdered.
25:14I didn't say that.
25:16Every time I have a big moment,
25:18an opening night,
25:20someone dies just to spite me.
25:22You're doing a good job.
25:24My level of cringe is mercifully low.
25:26Heard you caught the killer.
25:28Couldn't have done it without us.
25:30Although I'm not entirely sure
25:32what we did, but I can't say
25:34it didn't help.
25:36I knew that guy Marshall was a shitty writer.
25:38He was trying to get my character to say not
25:40after each sentence.
25:42I loved it. Not.
25:44Mabel,
25:46I have great news.
25:48So I set our pitch meeting for next week.
25:50So I hope you've been fleshing out
25:52your ideas about the buttons.
25:54You know what? I'd rather tell the story
25:56of a stump woman who dedicated
25:58her whole life to protecting her friend.
26:00Who wrote
26:02a love letter to him
26:04in the form of a movie.
26:06Right. But the thing is,
26:08our algorithm really likes buttons.
26:10I don't think I belong
26:12in this industry.
26:14Wait, hello?
26:16Yeah?
26:18Why does it keep shooting, people?
26:20Excuse me.
26:24You know, I appreciate this movie
26:26in a whole different way now.
26:28I mean, Sazh wrote this.
26:30Oh, Charles.
26:42Hey.
26:44Sorry you're missing all this.
26:46Would have been nice.
26:50I think this is your chair.
26:52Well,
26:54thank you, my friend.
27:02Actually, I miss that guy.
27:06You did good.
27:08I know this is just me telling myself
27:10I did good, but
27:12I'll take the compliment.
27:16It's been a long day.
27:18Let him talk to himself.
27:24Going to the chapel
27:26and we're
27:28gonna get married.
27:32Going to the chapel
27:34and we're
27:36gonna get married.
27:40We're going to the chapel
27:42and we're
27:44gonna get married.
27:46We really love you
27:48and we're
27:50gonna get married.
27:54Going to the chapel
27:56of love.
28:02Spring is here,
28:04the sky is blue.
28:10Birds are singing
28:12Okay, where is she?
28:14She's coming.
28:16Yeah, any second.
28:18Something has happened.
28:24Sorry.
28:26I thought I saw a roach.
28:42Sorry.
28:54Sorry we lost track of time.
28:56We had a lot of catching up to do.
29:12I can't believe
29:14what I just said.
29:22Be my man, be my husband,
29:24be my friend, be my lover.
29:42We put on a good show.
29:44Mrs. Putnam?
29:46Yeah, Mrs. Durkin-Putnam.
29:48You forgot my hyphen.
29:50Forgot it?
29:52That's all I think about.
29:58You are the most
30:00exciting person
30:02I've ever met.
30:10You are the most
30:12extraordinary man I have
30:14ever known.
30:16You are. You brought down a murderer.
30:18And you can
30:20merengue.
30:22What a combo.
30:26I can't.
30:28I just
30:30can't imagine
30:32taking you away from all this.
30:34What are you talking about?
30:36I can't wait to be in New Zealand
30:38with all the
30:40sheep.
30:42Anyway,
30:44I'm going to be with you.
30:46Mm-hmm.
30:48But you won't be with them.
31:00Yeah?
31:02Yeah.
31:04We got our happy ending, didn't we?
31:06We did.
31:08And nothing in our relationship has ever been even vaguely
31:10conventional.
31:12So why should we start now?
31:18Let's talk about it tonight.
31:20Yeah.
31:24Did Oliver
31:26and Loretta go up already?
31:28Yeah. She leaves first thing, so
31:30I think they're
31:32taking care of their honeymoon business
31:34for the time being.
31:36Let's just pretend they're upstairs
31:38playing show tunes on the piano.
31:40Well, my date and I had a grand old time.
31:44You brought the ashes?
31:46Yeah, Sazh loved weddings.
31:48But I'm going to say goodbye to these.
31:50Sprinkle them on the land that Sazh wanted
31:52for a trampoline park.
31:54I think that's where she'd like to end up.
31:56Mr. Savage?
31:58Miss Mora.
32:00I hope it's okay.
32:02Thank you. There was no doorman on duty.
32:04I took a shot.
32:06I'm sorry. Do we know you?
32:08No.
32:10I'll send it back down for you,
32:12if I feel like it.
32:16I want to hire you to find my husband.
32:18It's urgent.
32:20Oh, we're not a detective firm.
32:22My husband is Nicky Cacciameglio,
32:24or was, if you believe the news.
32:28I pay very well.
32:30He's one of the top investigators in the building.
32:32It's right there in our name.
32:34What happened to Nicky
32:36has everything to do with this building.
32:38I'm sorry, but good luck.
32:40I'm disappointed.
32:42I thought
32:44maybe you could do what the police
32:46have been unable to,
32:48and what I can't safely do by myself.
32:50Sophia Cacciameglio.
32:52Call.
32:54Change your mind?
33:00It's quite a dame.
33:02In the same way
33:04that Judi Dench is a dame.
33:06God save.
33:10You are going to come, though,
33:12in a few weeks.
33:14You're not going to leave me high and dry
33:16in New Zealand, are you?
33:18You can't kiwi me away.
33:22Sorry.
33:30Where have you been?
34:00I love you.
34:10And as the last frames flicker
34:12on our season at the movies,
34:14between newlyweds
34:16and a captured killer,
34:18we somehow managed to find our way
34:20to a happy ending.
34:22And got through a whole
34:24wedding day all without
34:26a body.
34:28You must be doing something right.
34:34Beautiful day.
34:36Feel that breeze.
34:38It's nice to take a moment
34:40and enjoy.
34:42Wait. Oh, my God!
34:46Lester?
34:48Lester!
34:50Call 911!
34:52Oh, my God.
34:54Lester!
34:56Oh, no.
34:58No, no, no.
35:00Oh, my God, no!
35:02Lester!
35:04Thank you for calling 911.
35:06They're off.
35:0872. Emergencies ahead of you.
35:1072? What?
35:26Who's ready
35:28for Hollywood?
35:30That screwy, booey,
35:32hooey Hollywood
35:34Where any office boy or young
35:36mechanic can be a panic
35:38with just a good-looking
35:40pan
35:42And any barmaid
35:44can be a star maid
35:46if she dances with or without a fan
35:48Who's ready for Hollywood?
35:50Where you're terrific
35:52if you're even good
35:54Where anyone at all
35:56from Sophie Lauren
35:58to Mame Van Doren
36:00is equally understood
36:02Go out and try your luck
36:04You may be Donald Duck
36:06Who's ready for Hollywood?