WEBVTT 00:00.000 --> 00:07.000 It's the Martin and Lewis show! 00:14.680 --> 00:18.120 The National Broadcasting Company brings you transcribed from New York, the Martin and 00:18.120 --> 00:23.240 Lewis show. Our guest tonight, Ralph Bellamy, and featuring Flo McMichael, Dick Stabeel and 00:23.240 --> 00:30.240 his orchestra, and starring Dean Martin, 00:30.240 --> 00:37.240 and Jerry Lewis. 01:00.240 --> 01:05.240 I'm just lily you attracted my attention by holding a lighted firecracker in your teeth. 01:05.240 --> 01:31.240 But it turned out you were just a flash in the pan. 01:35.240 --> 01:44.240 My dear old Swanee, I'd give the world to be among the folks in the IX. 01:44.240 --> 01:51.240 I even know my mammy's waiting for me, praying for me down by the Swanee. 01:51.240 --> 02:00.240 The folks up north will see me no more when I get to my Swanee shore. 02:00.240 --> 02:11.240 Mammy's waiting for me, praying for me down by the Swanee. 02:11.240 --> 02:34.240 The folks up north will see me no more when I get to my Swanee shore. 02:34.240 --> 02:38.240 When Dean and Jerry's picture, My Friend Irma, opens at the Paramount Theatre in September, 02:38.240 --> 02:44.240 the boys have an offer to appear on the stage at the same time, but only on one condition. 02:44.240 --> 02:50.240 They must have a complete new act. Well, right now we find them in the theater manager's office discussing it. 02:50.240 --> 02:53.240 But before we sign the contract, boys, there's just one thing. 02:53.240 --> 02:54.240 Yeah? 02:54.240 --> 02:55.240 Well, what's that, Mr. Smith? 02:55.240 --> 03:05.240 Just this. So many people in New York have seen your act at the Copacabana by now that for your appearance here on the Paramount stage, you absolutely must have everything new in your act. 03:05.240 --> 03:06.240 A new act, huh? 03:06.240 --> 03:07.240 Mm-hmm. 03:07.240 --> 03:11.240 Hey, I got a sensational idea. I just got to work out a few of the details. 03:11.240 --> 03:13.240 What's this new sensational idea, Jerry? 03:13.240 --> 03:17.240 The curtain goes up on an empty stage. Dean and I walk out. 03:17.240 --> 03:18.240 Yes, yes, and then what do you do? 03:18.240 --> 03:21.240 Those are the details. I got to work out. 03:21.240 --> 03:23.240 Oh, Jerry, you're so embarrassing. 03:23.240 --> 03:28.240 Mr. Smith, I don't understand what you're worried about. Jerry and I do a pretty good act on the nightclub floor. 03:28.240 --> 03:34.240 Oh, I know that. I was over at the Copacabana watching. Your singing is dynamite, Dean. Pure dynamite. 03:34.240 --> 03:36.240 What about my jokes? 03:36.240 --> 03:41.240 Son, your fuse must have got wet. 03:41.240 --> 03:45.240 Wait, I got another idea, Dean. How about that dramatic bit we did in Atlantic City? Remember? 03:45.240 --> 03:53.240 I was the millionaire and you were my butler, and I had that dramatic opening line, Jives, pass me the grapefruit. What a line that was. 03:53.240 --> 03:57.240 Jives, pass me the grapefruit. 03:57.240 --> 03:59.240 Well, Dean, did you pass him the grapefruit? 03:59.240 --> 04:03.240 I couldn't. The audience beat me to it. 04:03.240 --> 04:05.240 You know, I'm beginning to lose confidence in you boys. 04:05.240 --> 04:09.240 I meant what I said before. No new act, no contract for my stage show. 04:09.240 --> 04:16.240 Look, Mr. Smith, we've just been kidding. Of course we've got a new act. We've been working on it for months and it's sensational. 04:16.240 --> 04:17.240 What new act, Jerry? 04:17.240 --> 04:20.240 Dean's so modest, Mr. Smith. What new act? 04:20.240 --> 04:22.240 All right, what new act? 04:22.240 --> 04:27.240 Oh, I can't do justice telling you about it here in this office, but you come out to the Copa tonight and we'll show you the whole new act. 04:27.240 --> 04:42.240 Okay, I'll be there, but I'm warning you, you'd better have something good or the whole deal's off. Good day, gentlemen. 04:42.240 --> 04:46.240 Yes, that's what happened yesterday. Jerry and Dean have been worried all night. 04:46.240 --> 04:52.240 And this morning we find them in their apartment still wondering about a new act to do for the Paramount stage. 04:52.240 --> 04:55.240 You sure put us on the spot, Jerry, telling that manager we had a new act. 04:55.240 --> 04:59.240 Well, I had to say something, Dean, or we would have lost that contract. 04:59.240 --> 05:01.240 Yeah, but we've got to have a new act by tonight. 05:01.240 --> 05:08.240 Hey, Dean, I just got an idea. I could be one of those guys who come out and swallow razor blades and nails. You know, the man with the cast iron stomach? 05:08.240 --> 05:10.240 Oh, Jerry, you couldn't do that. 05:10.240 --> 05:15.240 Sure I could. I can see it all now. I come out in the middle of the stage and start eating anything they hand me. 05:15.240 --> 05:21.240 Nuts, bolts, spikes, tin cans, beer caps, carving knives. Our act will be a big hit. 05:21.240 --> 05:26.240 People will bring their babies from all over just to hear me rattle. 05:26.240 --> 05:31.240 And Dean, for an encore, I swallow daggers and swords and needles and ice picks and, Dean? 05:31.240 --> 05:32.240 What? 05:32.240 --> 05:34.240 My stomach hurts. 05:34.240 --> 05:36.240 Now, Jerry, this is serious. 05:36.240 --> 05:39.240 Hey, none of these ideas seem to be good enough, Dean. I guess we ought to... 05:39.240 --> 05:42.240 Come in. Who is it? 05:42.240 --> 05:43.240 It's me. 05:43.240 --> 05:45.240 It's Florence, our secretary. 05:45.240 --> 05:47.240 Hiya, Florence. Any mail for us today? 05:47.240 --> 05:51.240 Oh, yeah. Here's some letters. But there's something I can't understand. 05:51.240 --> 05:52.240 What? 05:52.240 --> 05:56.240 Well, I mailed this letter the other day and it came back marked insufficient postage. 05:56.240 --> 05:59.240 Well, let's see it. Well, Florence, no wonder. There's no stamp on it. 05:59.240 --> 06:03.240 Oh, that's funny. I distinctly remember putting a stamp on it. 06:03.240 --> 06:05.240 Did you lick the stamp good? 06:05.240 --> 06:08.240 Ah, you have to lick it? 06:14.240 --> 06:16.240 Well, of course you have to lick it. 06:16.240 --> 06:21.240 Oh, I couldn't do that. I couldn't stick my tongue out at George Washington. 06:23.240 --> 06:28.240 Florence, George Washington is on the front of the stamp. You licked the back. 06:28.240 --> 06:33.240 Well, that's even worse. I certainly wouldn't do anything like that behind George's back. 06:36.240 --> 06:39.240 Florence, let's not bother with that now. Jerry's got us in a real jam. 06:39.240 --> 06:43.240 We've got to get a new act together by tonight for the manager of the Paramount Theatre. 06:43.240 --> 06:46.240 Why don't you go back and do your old act that you started out with? 06:46.240 --> 06:49.240 Well, you mean where Jerry and I come out on opposite sides of the stage 06:49.240 --> 06:52.240 and I say, hello, Jerry, and I hit him in the face with an apple pie? 06:52.240 --> 06:55.240 Oh, I'll never do that again. That was horrible. 06:55.240 --> 06:56.240 What was so horrible? 06:56.240 --> 06:58.240 Too much cinnamon. 06:58.240 --> 07:11.240 You're so silly, Mr. Lewis. You know, sometimes you remind me of a picture I saw called the Snakepot. 07:11.240 --> 07:18.240 The Snakepot? You mean that Olivia de Havilland picture? 07:18.240 --> 07:28.240 Florence, it wasn't the Snakepot. It was the Schnookpot. 07:28.240 --> 07:32.240 Hey, Jerry, look at all this mail Florence brought. Here's a letter from Ralph Bellamy. 07:32.240 --> 07:35.240 You mean Ralph Bellamy, the star of that Broadway play Detective Story? 07:35.240 --> 07:38.240 That's right. And listen to what he says. It says, Dear Dean and Jerry, 07:38.240 --> 07:42.240 I saw you at Copacabana a few nights ago and enjoyed it tremendously. 07:42.240 --> 07:46.240 I hope you pardon me for saying so, but I have a wonderful idea for you. 07:46.240 --> 07:51.240 It'll make your act even better than it is. And if you are interested, please come and see me. 07:51.240 --> 07:52.240 Regards, Ralph Bellamy. 07:52.240 --> 07:56.240 Hey, hey, maybe this is the idea we've been looking for. 07:56.240 --> 07:58.240 What are we waiting for, Dean? Let's go see him quick. 07:58.240 --> 07:59.240 Well, okay. Come on, Florence. 07:59.240 --> 08:00.240 Me? 08:00.240 --> 08:03.240 Sure, it'll look important. I was bringing along our secretary. 08:03.240 --> 08:06.240 Sure, Florence. Remember, when you meet Mr. Bellamy, make us look important. 08:06.240 --> 08:07.240 Well, I do. 08:07.240 --> 08:12.240 Oh, it's easy. You know, when you see your chance, just dropping a line about Dean being the greatest singer in show business 08:12.240 --> 08:14.240 and me being the funniest comedian in the whole world. 08:14.240 --> 08:16.240 The funniest comedian in the whole world. 08:16.240 --> 08:17.240 That's it. Think you can do it? 08:17.240 --> 08:20.240 Sure. I'll lie my head off. 08:20.240 --> 08:25.240 Come on, let's go see Ralph Bellamy. We've got no time to lose. 08:32.240 --> 08:36.240 Hey, Mr. Bellamy's apartment is 3408 down to your right. 08:36.240 --> 08:44.240 Follow me, folks. 3402, 3406, 3408. Here it is. 08:45.240 --> 08:46.240 Mr. Bellamy? 08:46.240 --> 08:49.240 Yes, I'm Ralph Bellamy. 08:55.240 --> 08:59.240 Well, come on in, Dean, Jerry. But I don't believe I know this young lady. 08:59.240 --> 09:01.240 Oh, this is Florence McMichael, our secretary. 09:01.240 --> 09:09.240 Oh, thank you, thank you for mentioning the name of such a lowly person as me. Oh, mighty master. 09:10.240 --> 09:13.240 Florence, don't overdo it. 09:14.240 --> 09:18.240 Well, Mr. Bellamy, we're certainly anxious to hear about the great idea you have in mind for us. 09:18.240 --> 09:23.240 Yeah, we appreciate you taking the time to think of us. Gee, a big Broadway star like you. 09:23.240 --> 09:26.240 Oh, I'm not really a big Broadway star. 09:26.240 --> 09:27.240 Yes, you are, Mr. Bellamy. 09:27.240 --> 09:30.240 Oh, come now, Jerry. I'm not really such a big star. 09:30.240 --> 09:31.240 Oh, yes, you are. 09:31.240 --> 09:33.240 Oh, no, I'm not. 09:33.240 --> 09:35.240 Hey, Dean, this guy ain't a big star. 09:39.240 --> 09:44.240 Oh, now, yes, he is. I know Mr. Bellamy, and I've seen you in your play Detective Stories. 09:44.240 --> 09:49.240 Thank you, Dean. Let's get down to business. I've watched your act. Dean here has a fine voice. 09:49.240 --> 09:52.240 Fine voice? He's got a wonderful voice. 09:52.240 --> 09:55.240 Yes, that's right. And Jerry is funny, very funny. 09:55.240 --> 10:00.240 Oh, he's funnier than funny. He's downright idiotic. 10:03.240 --> 10:05.240 Florence, will you stop helping? 10:05.240 --> 10:07.240 And your speaking voice is unique, Jerry. 10:07.240 --> 10:13.240 Why, your enunciation and your vowel construction seem to be in juxtaposition with your esophagus and your larynx. 10:13.240 --> 10:16.240 Okay, Florence, play around with that for a while. 10:17.240 --> 10:19.240 We're all excited about this new... 10:19.240 --> 10:20.240 A very romantic love song. 10:20.240 --> 10:21.240 You've written a song? 10:21.240 --> 10:22.240 Yes. 10:22.240 --> 10:26.240 I hate to tell you this, but the good ones only come from professional songwriters. 10:26.240 --> 10:29.240 I know about that, fellows, but this is an exception. This is art. 10:29.240 --> 10:34.240 Well, come to think of it, Jerry, Mr. Bellamy has been around the theater, and he's smart. He knows show business. 10:34.240 --> 10:36.240 He wouldn't write a bad song. 10:36.240 --> 10:38.240 Sure, that's right. It has to be a hit. 10:38.240 --> 10:41.240 Leave it to the general public, like, say, your secretary here. 10:41.240 --> 10:42.240 Me? 10:42.240 --> 10:52.240 Sure. It's a very romantic love song called, When My Honey Bee Starts Buzzing Around, I Always Get the Hives. 10:55.240 --> 10:57.240 Well, what do you think of it, Florence? 10:57.240 --> 10:59.240 Bye. 10:59.240 --> 11:04.240 No, you don't get the clever idea of the song. You see, my honey bee is what I call a girl. 11:04.240 --> 11:08.240 And when she starts buzzing around, that means she's not being true to me. 11:08.240 --> 11:15.240 And I'm so unhappy, I break out in hives. See? Wonderful, isn't it? Huh? 11:15.240 --> 11:16.240 Mr. Bellamy? 11:16.240 --> 11:17.240 Yes? 11:17.240 --> 11:20.240 Are you for real? 11:20.240 --> 11:25.240 What I don't understand, Mr. Bellamy, is why you decided to have Jerry and me introduce your song. 11:25.240 --> 11:28.240 Well, frankly, boys, I've tried everybody else, Crosby, Como, Jolson. 11:28.240 --> 11:33.240 Just yesterday, I took it to Phil Spitalni, and he had the girls play it at a rehearsal. 11:33.240 --> 11:34.240 Is Phil Spitalni gonna use it? 11:34.240 --> 11:41.240 No, the song had a peculiar effect on the orchestra. Every time Evelyn played a chorus on her magic violin, she broke an A string. 11:41.240 --> 11:44.240 Yeah, Evelyn has more trouble with her magic violin. 11:44.240 --> 11:52.240 Why, the other night, she played that new song, Bally High, and her midriff lit up. 11:52.240 --> 12:01.240 Well, I'll just go over to the piano and play my song for you. 12:01.240 --> 12:08.240 First, I want to give you the background of this song. You see, I originally composed it for an old girlfriend of mine who liked romantic love songs. 12:08.240 --> 12:11.240 Unfortunately, she's now a B-pop fan. 12:11.240 --> 12:18.240 Oh, I see. You wrote it for an old flame, and she turned into a solid cinder. 12:18.240 --> 12:19.240 Shut up. 12:19.240 --> 12:23.240 Wait a minute, Dean. I don't think Mr. Bellamy got the joke. 12:23.240 --> 12:29.240 You see, Mr. Bellamy, I said solid cinder, and it's really like an old flame that's burned out, you see. 12:29.240 --> 12:34.240 But a cinder and a cinder is the same kind of words. B-bop, a cinder, you know? That's a B-bopper. 12:34.240 --> 12:43.240 But my cinder was about a flame. See, this is very funny whenever I tell the cinder, look how he's staring at me. 12:43.240 --> 12:45.240 Mr. Bellamy, why don't you play your song? 12:45.240 --> 13:01.240 Well, here goes. When I call you on the phone, then I know you are my own. Pretty clever, huh? 13:01.240 --> 13:04.240 Surely you can't deny that those words really mean something. 13:04.240 --> 13:11.240 All it means to me is that you know a girl's phone number and you got a nickel. 13:11.240 --> 13:15.240 Mr. Bellamy, you must be kidding, aren't you? Did you really write this? 13:15.240 --> 13:16.240 Amazing, isn't it? 13:16.240 --> 13:17.240 Sure is. 13:17.240 --> 13:18.240 Wait till you hear the next two lines. 13:18.240 --> 13:32.240 I know that you're the only one when I dial Trafalgar 1. 13:32.240 --> 13:47.240 Oh, that's clever. Imagine that, Dean. He rhymed 1 with 1. Isn't that a doll? 13:47.240 --> 13:49.240 Jerry, you're interrupting. 13:49.240 --> 13:51.240 I'm sorry. 13:51.240 --> 14:07.240 And then it goes, Back in school when skies were gray, I kissed her on the 10th of November. 14:07.240 --> 14:12.240 Now, wait a second. Why don't you make that I kissed her on the 10th of May, then it'll rhyme. 14:12.240 --> 14:17.240 I had to wait till November, you see. She had hay fever all summer. 14:17.240 --> 14:21.240 Yeah, my eyes are starting to burn a little right now. 14:21.240 --> 14:23.240 Well, how do you like it so far? 14:23.240 --> 14:29.240 Oh, I think it's swell, Mr. Bellamy. What a beautiful story you tell, calling his girl on the phone. 14:29.240 --> 14:34.240 Gee, I sit home night after night and nobody ever calls me and tells me things like that. 14:34.240 --> 14:35.240 They don't, Lawrence? Why? 14:35.240 --> 14:41.240 I don't know. Maybe it's because I haven't got a phone. 14:41.240 --> 14:43.240 Lawrence, please. 14:43.240 --> 14:44.240 Go ahead, Mr. Bellamy. 14:44.240 --> 14:58.240 Well, in the middle, it changes, like all popular songs do. In a sun suit, everybody knows her. They all go for her southern exposure. 14:58.240 --> 15:03.240 You mean that that girl in the song was parading around in just a sun suit? 15:03.240 --> 15:04.240 Why, yes. 15:04.240 --> 15:10.240 Gee, it's a good thing she didn't have a magic violin. She lit up all over. 15:10.240 --> 15:13.240 Well, how does your song finish up, Mr. Bellamy? 15:13.240 --> 15:18.240 Well, that's as far as I've gone. But now that most of the work is done for you, it should be simple for you to take it and put a finish on it. 15:18.240 --> 15:24.240 Ah, I guess we'll have to. Jerry's already told the manager of the Paramount that we'll have a new act to show him at the Copa Cabana tonight. 15:24.240 --> 15:27.240 So, come on, Jerry, Lawrence, we'll have to work fast. 15:27.240 --> 15:29.240 Okay, I'll see you all at the Copa tonight. 15:29.240 --> 15:45.240 Hi there, Mr. Bellamy. Glad you got here. I was beginning to think you weren't coming. Won't you sit down? 15:45.240 --> 15:48.240 Thanks. Say, the Copa's really crowded, isn't it? 15:48.240 --> 16:09.240 Yeah. Hey, Dean's just about ready to open a midnight floor show. Will you listen? 16:09.240 --> 16:22.240 The old cowpoke went riding out one dark and windy day Upon a ridge he rested as he went along his way 16:22.240 --> 16:30.240 When all at once a mighty herd of red-eyed cows he saw Aplowing through the ragged sky 16:30.240 --> 16:52.240 And a perk-clouded dog Yippee-i-ay Yippee-i-o The ghost heard in the sky 16:52.240 --> 16:58.240 As the riders looped on by him he heard one call his name 16:58.240 --> 17:04.240 If you want to save your soul from hell or riding on the rain 17:04.240 --> 17:09.240 Then cowboy, change your ways today or with us you will ride 17:09.240 --> 17:17.240 Trying to catch the devil's herd across these endless skies 17:17.240 --> 17:34.240 Yippee-i-ay Yippee-i-o The ghost heard in the sky 17:34.240 --> 17:57.240 The ghost heard in the sky Yippee-i-o The ghost riders in the sky 18:04.240 --> 18:20.240 That was wonderful. Your partner really has a marvelous voice. 18:20.240 --> 18:21.240 You said it. 18:21.240 --> 18:24.240 But now about my song. Did you do anything with it? 18:24.240 --> 18:29.240 Did we do anything with it? Why didn't you hear it? We made a big production number out of it. 18:29.240 --> 18:32.240 But you're going to have to help us by acting one of the parts out. 18:32.240 --> 18:34.240 Acting one of the parts in a nightclub? 18:34.240 --> 18:38.240 Well, you'll have to help us out though, Mr. Bellamy. We go on right after Dean sings. 18:38.240 --> 18:42.240 You see, the manager at Paramount Theatre just rushed over from the theatre to catch the act. 18:42.240 --> 18:44.240 Come on over. I want you to meet him. 18:44.240 --> 18:48.240 Mr. Smith, this is the composer of our new act, Ralph Bellamy. 18:48.240 --> 18:49.240 How do you do? 18:49.240 --> 18:52.240 Hello, Mr. Bellamy. So you're a songwriter, eh? 18:52.240 --> 18:56.240 Oh, not professionally. Mr. Bellamy is an actor in the legitimate theatre. 18:56.240 --> 18:58.240 The legitimate theatre? What in the world's that? 18:58.240 --> 19:02.240 The kind that doesn't sell popcorn in the lobby. 19:02.240 --> 19:05.240 Now look here, Lewis. This new act of yours better be good. 19:05.240 --> 19:07.240 You didn't sound very convincing in my office yesterday. 19:07.240 --> 19:10.240 If you're wasting my time, the whole deal is off. 19:10.240 --> 19:16.240 Oh, you'll love it, Mr. Smith. It's a very beautiful and romantic song, broken up by tense, dramatic scenes. 19:16.240 --> 19:18.240 Well, I still have my doubts. 19:18.240 --> 19:23.240 You'll find out in a second. That's our cue. Excuse us. 19:23.240 --> 19:33.240 Ladies and gentlemen, the Copacabana proudly presents Dean Martin, Jerry Lewis, Florence McMichael, and Ralph Bellamy 19:33.240 --> 19:36.240 in a new musical extravaganza entitled... 19:42.240 --> 19:47.240 When My Honey Bee Starts Buzzin' Round, I Always Get the Hives. 19:47.240 --> 19:50.240 Okay, Dean, you start it off. 19:50.240 --> 20:00.240 When I call you on the phone, then I know you are my own. 20:00.240 --> 20:11.240 I know that you're the only one when I dialed Trafalgar 1. 20:11.240 --> 20:18.240 The scene, a side street off Trafalgar Square in London. 20:18.240 --> 20:25.240 Eighteen fog-shrouded blocks into the Limehouse District, two British criminals meet in front of a saloon. 20:25.240 --> 20:27.240 Nice save there, Jerry old dog. 20:27.240 --> 20:30.240 What's on your mind, Dean old meatball? 20:30.240 --> 20:34.240 What say we go in this here saloon and whittle our whistle, eh? 20:34.240 --> 20:38.240 Blimey, that's a good idea. Let's go in. 20:38.240 --> 20:44.240 Dean, this is a rum pub. Them swinging doors are in very bad taste. 20:44.240 --> 20:46.240 Very bad taste? How can you say that? 20:46.240 --> 20:49.240 I just tasted one. 20:49.240 --> 20:55.240 Jerry, you got any idea how we can maybe make a few shillings, eh? Maybe a stick-up, eh? A nice little murder, eh? 20:55.240 --> 21:03.240 Stick-up? Murder? Dean, all you think about is work, work, work. Why don't we have some amusement, go out and slug some barbies? 21:03.240 --> 21:07.240 I got a better idea, Jerry. Girls. 21:07.240 --> 21:11.240 Ah, that ain't no fun going out and slugging girls. 21:11.240 --> 21:17.240 Nah, you blinkin' idiot, we don't go out and slug the girls. We get friendly with the girls. We buy them drinks. We talks to them. 21:17.240 --> 21:22.240 Oh, we cozies up to them, right? Gets chummy, right? 21:22.240 --> 21:30.240 Right. Then we slugs them. 21:30.240 --> 21:37.240 I say, Dean, there's a likely-looking girl standing at the bar. I'll go over and start a casual conversation. 21:37.240 --> 21:43.240 I'll be very polite and subtle. She'll never suspect that I'm really working up to buying her a drink. 21:43.240 --> 21:44.240 I say, then, Miss. 21:44.240 --> 21:52.240 I'll have a large beer. 21:52.240 --> 21:57.240 Someone asked you? 21:57.240 --> 22:05.240 In case you're interested, short, dark and underfed, my name is Bridgett Mulley O'Monahan McRiley Colleen O'Kelly Murphy. 22:05.240 --> 22:08.240 Do tell. And where do you hail from? 22:08.240 --> 22:15.240 Italy. 22:15.240 --> 22:17.240 All right, Jerry, off with you. I seen her first. 22:17.240 --> 22:21.240 You may have seen her first, but she goes for me she does. 22:21.240 --> 22:25.240 I don't go for you all, your friend. Neither of you is exactly Cary Grant, you know. 22:25.240 --> 22:36.240 Did you say Cary Grant? No, Judy, Judy, Judy, you can't take a baby out of a man's life and expect him to go home living the way he has been. 22:36.240 --> 22:37.240 It's not right. 22:37.240 --> 22:40.240 Wait a minute, Jerry. What have you done to my beautiful song? 22:40.240 --> 22:44.240 Oh, I just fixed it, Mr. Bellamy. I can prove it, too, by Mr. Smith. 22:44.240 --> 22:47.240 Hey, Mr. Smith, what do you think of the act so far? 22:47.240 --> 22:49.240 Boo. 22:49.240 --> 22:50.240 What? 22:50.240 --> 22:51.240 Boo. 22:51.240 --> 22:58.240 You see, he loves it. Come on, Mr. Bellamy, you're acting in this next part. Sing it, Dean. 22:58.240 --> 23:09.240 I'll always have you in my heart because I love you from the start. 23:09.240 --> 23:20.240 Back in school when skies were gray, I kissed you on the tenth of November. 23:20.240 --> 23:31.240 Oh, who can forget those high school days, going to see your first girl, the scene, a high school boy walking up to the door of his girl's house. 23:31.240 --> 23:35.240 Boy, I'll bet my girl Ethel will be glad to see me. I'll knock. 23:35.240 --> 23:39.240 Who is it? 23:39.240 --> 23:42.240 Hiya, sugar cookie. It's me, your snuggle bunny. 23:42.240 --> 23:50.240 All right, you can come in, Gerald, but I've already got company. It's my other boyfriend, Ralph Bellamy, the Bigfoot Ball Star. 23:50.240 --> 23:51.240 Hello. 23:51.240 --> 23:59.240 Look, squirt, freeze the crowd. When two persons have some serious neck-in-a-doo and some dopey person is around interrupting, it's embarrassing. 23:59.240 --> 24:02.240 Oh, yeah? Don't listen to him, Ethel. You stay right here. 24:02.240 --> 24:11.240 Never mind here, Matthew. 24:11.240 --> 24:18.240 Here, Ethel, I brought you a present. It's a piece of the jersey I wore when I made 147 touchdowns last Saturday. 24:18.240 --> 24:25.240 147 touchdowns, 147 touchdowns. You think he won the game or something? 24:25.240 --> 24:28.240 Dean, we'll be a big hit with Mr. Smith. 24:28.240 --> 24:31.240 Don't kid yourself. Mr. Smith really hates the act now. 24:31.240 --> 24:32.240 What makes you think that? 24:32.240 --> 24:35.240 Well, look at him. He just set himself on fire. 24:35.240 --> 24:42.240 Oh, he's just lighting a cigar. I'll bet that means he's happy, Dean. Now go on, sing the next part of the act. 24:42.240 --> 24:54.240 In a sun suit, everybody loves her. They all go for her southern exposure. 24:54.240 --> 25:09.240 The scene, the deep south, Magnolia, a beautiful southern belle, is calling to her father, Colonel Jerry Lewisson Pepper. 25:09.240 --> 25:12.240 Oh, father, father. 25:12.240 --> 25:20.240 Yeah, why y'all do all you do all while? Why y'all hankering at the door that are? 25:20.240 --> 25:26.240 Oh, father, the tourists have all gone. You can thin out your accent a little now. 25:26.240 --> 25:32.240 Gotta keep my accent right, Magnolia. I got an audition tomorrow with the lucky strike people. 25:32.240 --> 25:35.240 Forty-four. 25:35.240 --> 25:38.240 So number two. 25:38.240 --> 25:45.240 Father, my beau Ralph is coming over to call me. Maybe he'll pop the question tonight. 25:45.240 --> 25:48.240 Oh, there's Ralph now. You better go in the next room, Papa. 25:48.240 --> 25:51.240 All right, daughter, I'll go. 25:51.240 --> 25:53.240 Hi-yo, Magnolia. 25:53.240 --> 25:58.240 Ralph, honey, sugar, lamb pie. Come and sit on the sofa. 25:58.240 --> 26:03.240 Oh, now, Magnolia, I know why y'all want me to sit on the sofa. 26:03.240 --> 26:04.240 You do? 26:04.240 --> 26:12.240 Yep. When I left last night, I peeked in the window and I saw you rooting under the cushions from a loose chain. 26:12.240 --> 26:17.240 Say, Magnolia, I'd like to give you a little kiss, but your pappy might object. 26:17.240 --> 26:25.240 Oh, father won't even know. He's a half mile away cutting sugarcane. He won't know what's going on back here at the house. 26:25.240 --> 26:28.240 Well, okay, then. 26:31.240 --> 26:39.240 Aha! Caught you, Bellamy! This means you do! We'll shoot it out, that's what we'll do! 26:39.240 --> 26:44.240 Okay, I got my gun right here. 26:44.240 --> 26:45.240 You got a gun? 26:45.240 --> 26:47.240 Sure have. 26:47.240 --> 26:50.240 Make yourself the home friend. 26:50.240 --> 27:07.240 So when I'm low and feeling blue, I lift the phone and talk to you. Cause when I call you upon the phone, you are my very own. 27:07.240 --> 27:21.240 And talk to you, cause when I call you upon the phone, you are my very own. 27:21.240 --> 27:24.240 Not someone else's. 27:24.240 --> 27:44.240 You are my very own. 27:44.240 --> 27:48.240 Well, Jerry, did you ask Mr. Smith what he thought of your new act? 27:48.240 --> 27:53.240 I couldn't. He stormed out of here so mad he couldn't see. Well, there goes our contract to appear at the parliament. 27:53.240 --> 27:59.240 Oh, not necessarily, Jerry. There's two months till September and we still have a chance to put a new act together by then. 27:59.240 --> 28:02.240 I just happened to think, I got another song that's a wow! 28:02.240 --> 28:03.240 Oh, no, no, no. 28:03.240 --> 28:15.240 Boy, it'll be perfect to build your act around. It's got a much better title too. It's called, When My Baby Lamb Pulls the Wool Over My Eyes, I Always Feel Real Bad! 28:15.240 --> 28:18.240 Well, that does it. Thanks for coming over tonight, Mr. Bellamy. 28:18.240 --> 28:19.240 Good night, fellas. 28:19.240 --> 28:29.240 Good night. See you next week, folks. 28:29.240 --> 28:35.240 The Martin & Lewis Show, Trans-France and New York is produced and directed by Robert L. Redd and written by Ray Allen and Dick McKnight. 28:35.240 --> 28:37.240 Next Tuesday, our guest will be Charlie Ruggles. 28:37.240 --> 28:55.240 This is Ed Hurley, he's suggesting you tune in to your NBC station each Tuesday evening at the same hour for the Martin & Lewis Show. 28:55.240 --> 29:11.240 This is NBC, the national broadcasting company.