Watch Online Hazel 1961 - s2ep28
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00:00Why no, Mr. Sutherland. My wife and I would...
00:04What flight are Sir Horace and Lady Hobart on?
00:08When did they leave New York?
00:12Well, that should make them arrive at the airport at...
00:16Uh, excuse me, Mr. Sutherland.
00:20Would you mind waiting for just a moment?
00:24Hey, so what are you doing?
00:28I'm fixing Harold's scooter.
00:30What?
00:31What do you think she's doing, George? She's fixing Harold's scooter.
00:33I had a mouth full of nails.
00:35Well, I've got an ear full of noise. Now, I've been talking on the telephone.
00:38Uh, honey, you better get dressed right away.
00:40Mrs. Sutherland wants us to meet them at the airport.
00:42Who's them?
00:43Uh, Sir Horace and Lady Hobart.
00:45Uh, he's the new conductor for our symphony orchestra, Harold.
00:47We're going to the airport with Mr. Sutherland.
00:49I'm still talking with him on the phone, so will you please quit that hammering?
00:52Oh, I'm sorry, Mr. B.
00:54Why don't you use the phone in here? I'll be quiet as a mouse.
00:57All right, Hazel. And I'm sorry I shouted at you.
01:00Oh, that's all right. It was all my fault.
01:02Hello, Mr. Sutherland. I'm sorry to have kept you waiting.
01:05Well, I had to leave the phone for a moment.
01:07No, no. No, nothing important.
01:09I hear this Sir Horace has a terrible temper.
01:11What does he do? Yell at people like Mr. Griffin?
01:14Oh, worse than that. Once he got so mad at his musicians,
01:17he threw his stick through a stained glass window.
01:20Well, I assume he'll begin rehearsals immediately.
01:22And once he caught one of his violinists sneaking a cigarette at rehearsal,
01:26he broke his fiddle.
01:27Excuse me, Mr. Sutherland. Would you mind holding on again for a moment?
01:31Hazel, here's the hammer.
01:33Have a mouth full of nails.
01:35Now go ahead and fix the scooter.
01:37I didn't realize when I was well off.
02:20A few hours later...
02:31Oh, now, tell me honestly.
02:32Isn't it quieter here than being at home with Hazel's hammering?
02:36Don't you think we should have gone off the plane to meet them?
02:38Oh, no. Let Mr. Sutherland greet them first.
02:40After all, he's chairman of the board.
02:42I'm not even a member.
02:43I'm just the attorney for the Symphony Society.
02:45I brought along these revised...
02:46George, here they are.
02:51Sir Horace, may I present Mr. and Mrs. George Baxter.
02:54How do you do?
02:55Mr. Baxter is the attorney for the Symphony Society.
02:57I know, I know, I know.
02:58We had many transatlantic telephone conversations,
03:01and Mr. Baxter was kind enough to send me the recordings of your orchestra.
03:05I gather you liked them or you wouldn't be here.
03:07May I say that I consider your orchestra is one of the world's greatest,
03:11all-round, second-rate symphonies?
03:15Second-rate?
03:16Don't be alarmed.
03:17There are no first-rate orchestras.
03:19There are only first-rate conductors.
03:23Lady Hobart, may I say that I have always been a great admirer of yours?
03:27Oh, please do.
03:29I heard you sing at the Metropolitan Opera.
03:31Really?
03:32Aida?
03:33Yes, that was the opera.
03:34I shall never forgive myself.
03:36When she retired from the stage and married me,
03:39I deprived the world of its greatest Aida.
03:42George, would you mind getting their luggage?
03:44Oh, of course not.
03:45Oh, I'll go with you and point it out.
03:47Oh, fine, fine.
03:48It'll only be a moment.
03:49Will you excuse us?
03:50By the way, I understand that you have a woman
03:53in the violin section of your orchestra?
03:56Oh, yes, yes, Miss Waverly.
03:57She's the daughter of my son's music teacher.
03:59Then let me make myself quite clear.
04:01I do not conduct an orchestra with a woman in it.
04:04But...
04:05On the stage, yes, they are divine.
04:07They sing like angels.
04:08But in the orchestra, no.
04:10Women are abominable musicians.
04:12They are a distraction to my men.
04:14And they are a positive embarrassment
04:16to my vocabulary when I get mad.
04:18Excuse me.
04:19I forgot.
04:20A little matter of claim checks.
04:22Oh, yes.
04:23I have them somewhere.
04:25Let's see.
04:26What was I saying?
04:27Ah, yes, that woman.
04:28She belongs in the kitchen.
04:29And that's where she should stay.
04:31There's no business where she is.
04:32She's no business doing what she's doing.
04:34Holy smoke.
04:35Has he met Hazel already?
04:37Here you are, George.
04:39Don't keep Lady Hobart waiting.
04:41I won't.
04:44Boy, they can't fire her without a reason.
04:47They gotta have a reason.
04:48People don't fire people without a reason.
04:51Even if it's the wrong reason.
04:53All I know is that the concertmaster called her
04:56and told her not to come to rehearsal.
04:58Then the next day, she got a very polite,
05:00formal letter telling her she was fired.
05:02Boy, I'd like to see them try something like that on me.
05:06You know, I heard indirectly
05:08that Sir Horace finds women distracting.
05:10Who don't?
05:12Well, I mean, he apparently feels my daughter
05:15would be distracting to the men in the orchestra.
05:17The minute men don't find women distracting,
05:19that's going to be the end of the population explosion.
05:22You know that.
05:24Well, the reason I came to see you, Hazel,
05:26is that I know Mr. Baxter
05:27has a connection with the symphony.
05:29Well, it's a very loose connection.
05:31He's their lawyer,
05:32but he ain't been able to get me no passes.
05:35Now, I don't know how friendly
05:37his relation is with Sir Horace.
05:39Oh, they're probably buddies by now.
05:41Mr. B's like I am.
05:42He makes friends fast.
05:44Well, if he could talk to Sir Horace,
05:46if he could just persuade him
05:48to listen to Myra play, that's all.
05:50If he heard her,
05:51perhaps he'd be willing to overlook her sex.
05:53Mr. B's upstairs dressing.
05:54Wait, I'll be right back.
05:57Oh, Mr. B, have you just...
05:59Hazel, I have nothing whatsoever
06:01to do with the musicians and the symphony.
06:03But you're their lawyer.
06:04You've got a lot of influence.
06:06Will you please not stand in front of the mirror?
06:08Mr. B, I don't think you heard what I said.
06:10Sir Horace has kicked Myra Waverly
06:12right off the symphony orchestra.
06:14Hazel, I heard what you said,
06:15and I know what he did.
06:16Now, if you must stand in front of the mirror,
06:18the least you can do is to let your nose get shiny
06:20so I can see the time I time.
06:22But he hasn't even heard her play.
06:23He don't even know how good she is.
06:26Dorothy!
06:27It ain't only that, Mr. B.
06:28It's Mrs. Waverly.
06:29She's worked like a dog all her life,
06:31teaching music,
06:32just so she'd have enough money
06:33to send Myra to the best conservatory.
06:35Dorothy!
06:37Every 18 years she's been knocking herself out
06:40just so her daughter'd have every chance in the world.
06:42Dorothy!
06:43What?
06:44What are you yelling about?
06:45What is it?
06:46I'll tell you what it is, Missy.
06:47Who was it that taught Harold how to play the accordion?
06:50Mrs. Waverly.
06:51Yeah, and who talked him into practicing
06:53every night for an hour after dinner?
06:55Mrs. Waverly.
06:56Yeah, an hour of accordion music
06:57every night after dinner.
06:59That's grounds for alienation of affection right there.
07:02So don't try to get any favors from Mrs. Waverly.
07:04Will you two please tell me
07:05what you're bickering about?
07:07Hazel wants me.
07:08Me?
07:09I'm not even a member of the board.
07:10I'm just the attorney.
07:11She wants me to tell Sir Horace
07:13to put that Waverly girl back in the symphony orchestra.
07:15Oh, George, that's wonderful.
07:17How soon can you do it?
07:19If I could do anything possible
07:21to help that girl, I would.
07:22Sir Horace is one of the great conductors of the world.
07:25Now, you must assume he knows what he's doing.
07:28He doesn't tell me how to run my law firm.
07:30I don't tell him how to run his symphony orchestra.
07:32Well, I'm sorry, Mr. B.,
07:34but it means such a lot to Miss Waverly.
07:36Yes, George, she's worked so hard
07:37to get her daughter where she is.
07:39If you could just talk Sir Horace
07:40into listening to Marla play.
07:42I'm telling you, my hands are tied.
07:44As a matter of fact,
07:45the only thing that isn't tied is my tie.
07:47Will you stand over here,
07:48not in front of the mirror.
07:51music
07:54music
07:57Hazel!
07:59Hazel!
08:01music
08:05Oh, hello, George.
08:06Oh, hello, Mr. Sutherland.
08:08I wasn't expecting you.
08:10Well, I thought I'd drop by and see you for a minute.
08:12A little matter has come up.
08:14I'm glad you did.
08:15I was going to drop by your office.
08:16Oh?
08:17I wanted to talk to you about that Waverly girl.
08:19You know, the violinist?
08:20Oh, you too?
08:22What do you mean?
08:23My secretary's been harping at me for two days.
08:26She wants me to get the girl reinstated.
08:28Do you think you can?
08:30Well, I possibly could if I wanted to,
08:32but I have no intention of doing so.
08:34The orchestra personnel is in the hands of Sir Horace.
08:36Oh, I appreciate that.
08:37But you see, it's not only a matter of the girl,
08:39it's her mother.
08:40George, Sir Horace is one of the world's great orchestra leaders.
08:43We're paying him twice as much as our previous conductor.
08:45We're not only paying him for his fame,
08:47we are paying him for his ability.
08:49And I, for one, have to assume that he knows what he's doing.
08:52That's exactly what I said.
08:54But funny, coming from you, it sounds more convincing.
08:57Well, let's forget the Waverly girl for the moment.
08:59Something more important has come up.
09:01Can you give a little cocktail party for Sir Horace this afternoon?
09:05This afternoon?
09:07Well, that's rather short notice.
09:10Sir Horace is impatient to meet the press.
09:12He's been here nearly a week.
09:13And our publicity man thinks it's a good idea too.
09:16I'd give it at my place, but my help is away.
09:21I understand.
09:22I'll call and invite him right away.
09:25Really, George, sometimes you can be absolutely impossible.
09:28The idea of giving a cocktail party on such short notice.
09:31Now, darling, look, it wasn't my idea.
09:34It was forced on me by Mr. Sutherland.
09:35Well, if Mr. Sutherland wants to give a cocktail party, why...
09:38He's right in the living room.
09:39Why doesn't he give it at his own house?
09:41Because he doesn't have any help.
09:43Well, of all days.
09:44Well, maybe, maybe I can borrow Helga from the Johnsons.
09:47Helga? Where's Hazel?
09:48I gave her the day off, George.
09:50This isn't her day off.
09:51She wanted this day instead of her regular day off.
09:54We need her. Where is she?
09:55I haven't the faintest idea.
09:57And here's another biography of Sir Horace,
10:00and then there's a long article on him
10:02in this volume of Grove's Musical Encyclopedia.
10:06Oh, boy, this must weigh a ton.
10:08And here's another biography,
10:11but this one's written in German.
10:13Well, that won't be much help
10:14unless I sit next to a German on the bus.
10:16I'm on my way to Sir Horace's hotel now to see him.
10:20Hazel, you told me you wanted to see
10:22everything that had ever been written about Sir Horace.
10:25Well, I didn't know there was so much.
10:27And I shouldn't be letting you have any of these books
10:30in the first place.
10:31Why not?
10:32Because you still owe the library a 32-cent fine.
10:35I don't owe anybody 32 cents.
10:38And you've owed it for over five years.
10:40I've offered to pay it myself.
10:42No, I don't want you to pay it.
10:44That would be admitting that I owed it.
10:46I brought that book back to the library right on time.
10:50The library was closed,
10:51so I slipped it through the slot in the door.
10:54It ain't my fault if the janitor kicked in under the desk.
10:58And it ain't my fault if you didn't find it
11:00till 32 cents later.
11:02Look, Hazel,
11:03what is it you want with all this
11:05Sir Horace information anyway?
11:07I told you, I'm going to Sir Horace's hotel,
11:09and I want to have something to bone up on the bus.
11:13Then this Music Digest magazine is what you want.
11:17It's over 12 years old,
11:19but it has an interview with him
11:21that expresses all his opinions.
11:23Oh, yeah, yeah.
11:25Yeah, this is exactly what I want.
11:28You know how flattered people are
11:29when you know all about them when you meet them.
11:32You know, like me,
11:33if anybody mentions that they know about
11:35my winning my bowling championship in 1944,
11:38the next thing you know,
11:39I'm buying them a hot fudge sundae.
11:42Hazel, I haven't stamped that magazine yet.
11:45Where's your library card?
11:48Hazel?
11:50Shh.
11:54Sir, you may tell your editor
11:56that my dismissal of the female violinist
11:59is a matter of musical integrity.
12:02I have not had a woman in my orchestra since 1947.
12:06At that time, I had a beautiful cellist
12:09who insisted on wearing short skirts.
12:12The critics reviewed her legs instead of Beethoven.
12:16Well, if this trend of women in orchestras continues,
12:20composers will have to write music for the eyes
12:22instead of the ears.
12:23I guess that's all I have to say.
12:25Thank you. Good day.
12:26Darling, you were on the phone.
12:28I thought perhaps Mr. Baxter had arrived.
12:31Oh, he'll be picking us up for cocktails at any moment.
12:47Oh, excuse me.
12:52Oh, hi, Mr. B.
12:54Hazel, what do you think you're doing...
12:55What are you doing here?
12:56That's what I'm asking you.
12:57Now, why aren't you at home where I'm paying you to be?
12:59I got the afternoon off.
13:01Yes, and Dorothy's at home going crazy
13:02trying to prepare a cocktail party for Sir Horace.
13:04Well, nobody told me anything about it.
13:06Well, you know what? Now I just told you.
13:08You haven't any business here anyway.
13:10Well, I wanted to talk to Sir Horace about Myra Waverly.
13:13I found this wonderful article about him
13:15in the magazine here.
13:16I got it at the library.
13:17You know how flattered anybody is
13:19if you know all about him when you meet him.
13:21Like me, for instance.
13:22If anybody knows I won my first bowling championship in 1944,
13:26the first thing you know, I'm buying...
13:27I'll show you to the elevator.
13:29I know where it is, Mr. B.
13:30How do you think I got here?
13:32Boy, I'm a good high jumper, but not to the 17th floor.
13:35Hazel, look, the pleasure of showing you off.
13:37Now I want you to grab a cab and make it to home
13:39as fast as you can get.
13:46Lady Hobart, Sir Horace, how nice to see you.
13:49How very kind and thoughtful of Mr. Baxter
13:51to have this party for us.
13:53Sorry we're a bit late,
13:54but I took the long way driving here.
13:56I wanted him to see some of the city.
13:57Yes, and it's lovely.
13:59Oh, we'll adore living here during the symphony season.
14:01I don't see my wife anywhere.
14:03Well, I haven't seen her myself for the past 20 minutes.
14:05Mr. Sutherland, would you mind introducing
14:07our guests of honor to the others?
14:08No, I'd be happy to.
14:09Excuse me, I'll see if I can find her.
14:11Right this way, sir.
14:13Oh, how nice to see you.
14:18Dorothy, Sir Horace and Lady Hobart are here.
14:21They are?
14:22Oh, dear, I wanted to help Hazel
14:23get these canopies ready.
14:25Well, I drove all over town
14:26to give her time to get here and help you.
14:28He studied music at the London Conservatory.
14:30Hazel, will you forget about that magazine
14:32and serve these things?
14:33Come on, darling.
14:39Oh, yes, that's right.
14:40Oh, yes, that's right.
14:41That season I was conducting
14:43at the Metropolitan Opera House.
14:45How we have missed your Aida.
14:47There hasn't been an Aida to compare with you
14:49since you retired to marry Sir Horace.
14:51Well, thank you.
14:52I seem to recall, shall we say,
14:55a memorable performance of Faust.
14:58If you are thinking of the one I am thinking of,
15:00don't mention that disaster.
15:02Oh, yes.
15:03In the last scene,
15:04when the devil is supposed to descend to hell
15:06in the cloud of smoke...
15:07The trapdoor's stuck.
15:08Well, the devil kept riding up and down
15:11and up and down like a jack-in-the-box,
15:13but he could never get lower than two feet.
15:15I was never so furious in my life.
15:17I stopped the performance,
15:18I turned to the audience, and I said,
15:20Ladies and gentlemen, we may all relax.
15:23Hell is full.
15:25There isn't even room for the devil.
15:29How do you do, Lady Hobart, Sir Horace?
15:32So nice to see you again.
15:33Hope you don't mind.
15:34We've invited the photographer.
15:35Not at all, not at all.
15:36Perhaps you'd like to freshen up a bit
15:37for the cameras.
15:38Would you care to come upstairs with us?
15:40Certainly.
15:41Yes, will you excuse us for a moment?
15:42I feel pretty fresh, but let's go.
15:55Right this way, Lady Hobart.
15:57The ladies are using our bedroom.
16:00And, Sir Horace,
16:01the gentlemen are using the guest bedroom.
16:03I'll be with you in just a moment.
16:06I think he's fine.
16:07Personally, I have no great love
16:09for Scarlatti's music.
16:10Well, that's heresy.
16:11Nothing in the last 300 years
16:12can compare with it.
16:13Heaven or dirt, they're real good.
16:15I simply don't like Scarlatti.
16:18Oh, Scarlatti?
16:19No, he's a chicken
16:20that was wrapped in bacon.
16:23Mr. Wells?
16:24Yes, Mr. Baxter?
16:25Sir Horace and Lady Hobart
16:26will be down shortly.
16:27They're upstairs freshening up.
16:28Fine.
16:29They've agreed to as many pictures
16:30as you wish to take.
16:31And the mirror is over here.
16:33Now, is there anything else
16:34I can get you, Lady Hobart?
16:35Oh, I don't think so.
16:36I have everything.
16:41Yes?
16:42How do you do, Sir Horace?
16:43How do you do?
16:44May I say welcome to America?
16:46Why, I've been here for over 60 years,
16:49on and off.
16:50Yes, but you was born in England.
16:52I've always wanted to visit England,
16:54go to all those old romantic places,
16:56you know, like Eagle's Witch on the Thames
17:01and Berwick on the Tweed.
17:03Oh, Berwick on the Tweed.
17:05That's where you was born, ain't it?
17:07So I was told.
17:08I assumed the information was correct.
17:10I wasn't taking notes at the time.
17:12Yep, that's where you was born, all right.
17:15It was April 23rd, 1903.
17:18And you was one of seven children.
17:20And when you was six, you had the measles.
17:23And when you were nine, you had the open cough.
17:25Really?
17:26You're remarkably well informed.
17:28From whom did I catch it, may I ask?
17:30Well, you got me there.
17:32But I do know you went to the London Conservatory of Music.
17:36And in 1948, you was made Knight of the Garden.
17:39Ain't you just dying of curiosity
17:41where I got all this information?
17:43Not in the least.
17:44Well, I'll tell you.
17:46A friend of mine is a terrific admirer of yours.
17:49According to her, you and Beethoven is in the same class.
17:53Not quite.
17:54Beethoven had the advantage over me.
17:56He was deaf.
17:57He was deaf.
17:58Well, this girl is a terrific violinist.
18:00Oh, boy, she's sensational.
18:02Everybody in town thinks she's just as good as Horowitz.
18:05Horowitz is a pianist.
18:06Well, you see, she sometimes accompanies herself on the piano.
18:21Lady Hobart?
18:22Yes.
18:23I'm Hazel.
18:24I'm a maid for the Baxters.
18:26Well, that would seem rather obvious.
18:28I'm also a very good friend of Myra Waverly's.
18:31Who?
18:32You know, the girl violinist that your husband fired?
18:34Oh, yes.
18:35I'm sure that if he ever heard her play...
18:37Well, I don't have anything to do with the orchestra.
18:39I have absolutely no influence.
18:41Oh, go on.
18:42A beautiful girl like you is sure to influence her husband.
18:45Well, he wouldn't listen to me.
18:47I thought I'd soft-soap him, you know, by knowing all about him.
18:50So I went to the library and got all the dope, you know, like this magazine.
18:54Oh, really?
18:56My husband has a complete clipping file, everything that's ever been written on him.
19:00But I don't think I've ever seen that before.
19:03Oh, well, this is an old one.
19:05You know, it is nearly 12 years old.
19:07Oh, that would have been before we were married.
19:09He was conducting at the Metropolitan Opera then.
19:12Yeah, I know.
19:13He says in here something about some poor girl who's trying to sing Aida.
19:18May I?
19:19Oh, sure.
19:20It's right here.
19:22He sure has some temper, huh?
19:25I think it's about to meet its match.
19:28Poor girl was probably trying to do her best.
19:31He says here her Aida was enough to dry up the Nile.
19:34Then her voice had more cracks in it than the Sphinx.
19:38May I borrow this a moment?
19:41Oh, sure.
19:43Ah, ready, my dear.
19:45Ready, ready, ready.
19:48Where did you get hold of this?
19:50More cracks than the Sphinx.
19:52I've been trying to keep this interview out of your sight for 12 years.
19:56Yes, and if the bastard's maid hadn't given it to me, I never would have seen it.
20:00Dry up the Nile.
20:02We were not married then.
20:04Just exactly why did you marry me?
20:06Was my voice so bad that you thought I was dead?
20:09Just exactly why did you marry me?
20:11Was my voice so bad you'd go to that length to keep me off the stage?
20:15Buttercup, Angel Face, it was a terrible evening.
20:18The orchestra had played abominably that night.
20:20I had a cold.
20:21Everything had gone wrong.
20:22I had to blame someone.
20:24Sweetheart, how could I know that I was going to fall in love with you?
20:27As the barefooted Aida, she thumped her big toe in time with the music.
20:32And her big toe kept better time than her voice.
20:36Anyone like a nice chicken liver wrapped in bacon?
20:43Scarlatti's music forms the most important link between the tentative new music of the 17th century
20:48and the classical school of the 18th, which culminated in Mozart.
20:51Now, don't you agree, Mrs. Baxter?
20:53Well, uh...
20:54He may have created the classical history of music,
20:56but that doesn't prevent him from being the most abominable bore, does it, Mrs. Baxter?
21:00Well, uh...
21:03Excuse me.
21:04I demand that you fire her.
21:05But, Sir Horace, I don't understand why you're saying that.
21:07Sir Horace, let's discuss it right here in the den.
21:09All right, but it's not a matter of what I'm saying now.
21:11It's what I said 12 years ago.
21:12Then we'll discuss it.
21:13We'll discuss the whole thing right here.
21:20And then she gave that magazine article to my wife.
21:22Your maid is responsible for this.
21:24I demand that you fire her.
21:26Well, now, Sir Horace, I understand how you feel, but...
21:28Oh, so you understand how I feel.
21:30And how long is it since your wife attempted to break a Budweiser over your head?
21:34I demand that you fire her.
21:37Well, now, Sir Horace, she's been with us for 10 years.
21:40You mean to say that woman has been with you for 10 years?
21:43You shouldn't be an attorney, man.
21:45They need men like you in the army.
21:48If he refuses to fire her, I demand that the symphony orchestra fire him,
21:52or I will not set foot on that concert stage.
21:54Now, Sir Horace, I'm making full allowance for your justifiable angst,
21:58but you have a contract with our symphony.
22:00It's a very old and a very respected institution.
22:03Under no circumstances can it be intimidated by an artist,
22:06no matter how great his prestige.
22:08Now, am I right, Mr. Sutherland?
22:09Oh, quite right, George. We'd never fire you.
22:12We might arrange some kind of permanent leave of absence.
22:21I don't know why I'm laughing.
22:23I should be furious.
22:24Oh, no, you ain't furious.
22:26You told me how much you loved him.
22:28Well, he has so much dignity.
22:30That's what made it so funny, the way he ran when I picked up that bud bod.
22:35What happened?
22:37Oh, Lady Hobart and her husband just had a terrific battle, but it's all right now.
22:41Hazel talked me into forgiving him,
22:43and she also pointed out what a remarkable bargaining position I'm in.
22:47Oh, sure. If she was a polka player,
22:49she'd be sitting pretty with five aces in her hand and a couple of deuces wild up her sleeve.
22:55So, if you would like to have Miss Waverly back in your orchestra,
22:58I suggest you tell my husband that I want to see him.
23:05Those are my terms.
23:07My dearest, if you will forgive and forget,
23:09I will not only reinstate Miss Waverly in the orchestra,
23:14but I will insert for her a pizzicato solo in the middle of the Mozart Requiem.
23:22And not so fast, darling, not so fast.
23:25In addition to reinstating Miss Waverly in the orchestra,
23:28there's a little matter of that sable coat you've been refusing to buy me.
23:32Oh, $16,000?
23:36All right, Buttercup, but I was wrong.
23:40You did not dry up the Nile, but you are drying up my bank account.
23:46Yes, now that takes care of drying up the Nile and more cracks than the Sphinx.
23:51Now we come to my thumping big toe.
23:56Oh, they're nice, darling.
23:58But there is something to be said for diamonds.
24:03Hazel, did she get all that from you?
24:06No, only the part about getting Myra back in the orchestra.
24:09The sable coat and the diamonds was her own idea.
24:13Mr. B., you know who they remind me of?
24:15Who?
24:16You and me.
24:17You know, whenever you start to get fat, I say something and then you get mad at me.
24:21So then I give you an extra big piece of pie and you forgive me.
24:24But then the pie makes you fatter and I say so.
24:29And then you get mad at me and that leads to another piece of pie.
24:34Whatever mind, Hazel.
24:36To err is human, to forgive divine.
24:38Well, it may be divine, but you better stop forgiving me while you can still get in your pants.
25:08© BF-WATCH TV 2021