This film illustrates the entertainment industry's talent management system, where young artists like Bongo Herbert are signed to exclusive contracts with managers who control their careers and earnings. The narrative demonstrates how talent agencies negotiate 50/50 revenue splits, manage legal contracts for minors, and balance artistic development with commercial success. The story reveals the complex power dynamics between artists, managers, and record labels, showing how young performers often lack agency in their career decisions while industry professionals make critical choices about their development and future opportunities.
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Expresso Bongo 1959 Film in English, Laurence Harvey, Sylvia Syms,Yolande DonlanAdded:
What's that? Get with it, chick. Get with it. What's the POINT OF COMING IF YOU DON'T GO FOR THE HUH? WHAT'S THE POINT?
>> YEAH, BUT VERA, when she goes, she really goes ver.
>> You see, he doesn't like only shorter. I thought was shorter.
>> Oh, no. Very big.
>> Well, I can't get with him. I do try, but I just can't.
>> Yeah, me. So square it's like dancing with a load of D.
>> No >> variety.
This melody maker. I'll bring you back in the morning.
>> Jolly.
>> Jolly. This isn't a lending library.
>> All right. I'm not paying a subscription.
>> Hello, boys.
I've got second in the third, third in the fourth. I've got no appetite.
>> Look, let's come to the spieler. It might break the box.
>> Still racing racer.
>> What else?
>> I got a hot tip for you. Misha Machuna in the 430 >> on you too better.
>> Too sh >> D to see your new look. Leon, have you got music?
>> What am I scar?
>> Hi Leon.
>> You want easy to take?
>> Two shrilling.
Hi Johnny.
>> How are the alterations coming?
>> Expensive and no nothing from you. I don't want no proposition from you.
>> Did I make I didn't make >> I've got a big enough proposition with all this.
>> All right. So, give me a cup of coffee and I won't waste your time by telling you what can make Leon's New Espresso the most habitated teenage club in Soho.
>> Thank you very much. Welcome.
>> And make me up six salt beef on white and uh four, no, two smoked salmon >> to eat. Oh, no, it's too many.
>> To take if it's not against your principles. Oh, by the way, you heard I'm handling the beast rhythm group.
Beast burns and his beasts making a bomb.
>> Six be the rise more fresh. Who wants beast? Everybody wants to listen to music today, Leon. Everybody wants it.
>> So, what's with this new Jude box?
>> They'll fix it. It's music, ain't it, >> Leon? For half of what that machine with its degenerate can music costs. You can have a real life artist in this place. A personality, someone that the kids will eat up.
>> No. And oh, you're talking to an educated man, Leon. I could spell even four-letter words before I was six.
>> Take a Don't you want to open this great new enterprise with a splash? Something that will get you into the papers. Now, look at this. Just look, teenage kids making music in espressos. It's creating such interest.
>> It's a good publicity.
>> It's fabulous publicity. I can book you an artist into here, which will make this place beat out greetings from Cudon to Wilston. The kids will come flocking in here. Cost you a mere £20 a week for a first class artist. £5 cash booking charge.
>> Some hope.
>> Hope unlike charity costs nothing.
>> It's still too expensive.
>> Six beef, two salmons. I want you to know that I come from a long line of small capital big hopers, some of whom did not die bankrupt.
>> Look, Johnny, why don't you stick to drumming? You're a good drummer boy, but what kind of a manager? What's so funny?
I put in a few cucumbers to last.
>> I was just thinking what a great opportunity you're missing for the sake of a mere five.
>> I'm glad. Oh, well, that's how it is.
Some fellas are just not cut out for success.
>> Oh, that's how it is.
>> Look, Leo, I'll book you a top personality and throw in a group to back him. A mere 20 the package.
>> No.
>> A me? No.
>> All right. All right. So, thank you and good night, Leon Roof. Espresso Bal.
>> Hey, you you're actually paying?
>> I told you foolish man. I own a fortune in talent. It just so happens I'm a f short tonight.
>> Hey, Johnny. Wait a minute. For curiosity sake, we're What's the proposition?
>> No, it's too late, Leon.
>> Forget it.
>> All right. All right.
>> All right. Don't book me a genius. But chief, the jukebox will cost me a fortune.
>> I shouldn't be doing this, but for an old friend, you can do anything you like with me, can't you, Bill? Just anything.
>> I must be out of my mind.
>> Want to come upstairs, dear?
>> Nah, Penelopey, do you mind?
>> Johnny, I'm sorry. I'm getting so shortsighted.
>> In your business, it's better you don't see.
Good evening my little Chinese Rouse.
>> Watch her Johnny.
>> And what teenage follow are they up to?
>> Just started historical honeys.
Now, if you boys were good at school and studied history carefully, You'll remember tales of bygone ages. Let us turn back history's pages. Study scenes of dirty plot. In those days, gosh, they had the lot. First, Mary, Queen of Scots in Kilty.
She of treason was found guilty. Then she came an awful cropper on the headsman's wicked chopper. Next, the eyides of March in Rome. And Caesar wished he stayed at home cuz on that day he passed away with his last words. Get you brute.
>> You wouldn't walk in and touch every stone. You wouldn't stroke a May that wasn't your own. Which means unless you're serious, just leave the loot alone.
>> You can look at the goods, but don't touch.
>> You can value the stocks, >> but don't touch.
>> The stocks are in front.
>> Yeah, don't touch.
>> You can't walk in the destas.
Which means until you own the goods, don't touch the exit.
>> YOU CAN HOVER LIKE AN EAGLE. But until you make it legal, >> you can look at the goods, but don't touch.
Hello, Charlie.
COME ON ELMA, FREDDY, GET DRESSED. How can you strip if you're not dressed?
>> The work's aging you, Charlie.
>> Oh, it's like Smithfield Meat Market around here.
>> So, you're here then?
>> So, I'm here then. Kiss me properly.
>> I was using my new voice tonight. Do you like it?
>> It was an experience, Maisy Doll. I wouldn't have missed it for 50% of Al Parnell.
>> And do me, >> you know, I think um well, I think we might go straight home tonight. Watch till have a few laughs.
>> I hadn't thought about it.
>> Well, don't rupture your brain.
>> Oh, don't be. I'm all pathological when I'm doing a show. It's all those bald heads out there. It's like playing to an egg box.
>> So long as you don't lay the eggs.
>> I'm getting out of it soon. So, at least mention my new voice.
>> We could both do with an early night.
I'm dying of hunger. Besides, I've got our supple already cooking to death here.
>> Sorry, Johnny. My teacher says I'm a new Judy Garland.
>> Send me the bill for the testimonial.
>> I told her to send you all the bills.
It's nice to know you have so much faith in me.
>> Do you want to take in the finale?
>> Nothing personal, kid, but I think I need some fresh air.
>> You, too. You've been running nearly as long as the show. It's known as fidelity. And your g-string slipped.
You know the trouble with non-stop review? People are always waiting. You wait for the slmers to come in. The slmers wait for the girls to go on stage. The girls wait for the slmers to go home to their wives. Five shows a day. Non-stop, everybody's waiting.
>> That's life. We all have to wait together.
>> I love that Chinese philosophy. Here come the raincoats. You better flush those Elmond eyes.
>> Hello, J. Glad to see you.
>> Hi Khaki. How's the film business?
>> Ah, I have VERY INTERESTING PLANS with Dietrix the girl, Gable the boy, and Brand for heavy. Good chemistry, eh?
>> Now look, Khaki, do me a favor. Touch somebody else this week.
>> It's parties.
All I got to do, get these three people, and I'm back in business.
>> Good. Good. We'll all buy tickets now.
Where the hell IS MAISY?
>> MAISY, >> YOU KNOW, I was the man who introduced a bubble bath into show business.
>> Well, the bubbles burst now, Dad.
>> Tell Maisy to get the lead out. Who first beat the girl in asses milk?
Answer me that when I made a private life of Omar Cayan.
>> Does tin shilling speak?
>> You be my associate producer.
>> Be great. Be great.
>> This dri then.
>> Good night.
>> So what did you do? Decide to give them another show here. Carry the dinner.
>> Why can't we go out sometimes? Why can't we see a bit of life?
>> Five shows a day you see life. Maisie, I'm taking you home for a little light relief.
>> Johnny Jackson, I want to dance.
>> But you've been dancing all day. I want to go to a jazz club.
>> Look, definitely no jazz.
>> So why are you against jazz all of a sudden? It's ridiculous. You're making money out of Beast B. So why shouldn't we listen to him occasionally?
>> Maisy, why do you have to torture me?
>> A woman has moves.
>> But lazy dog.
>> NORMAL.
>> Beyond TomTom.
>> Say again.
>> I've got the perfect setting for all this teenage violence. Yeah. You carry on with your der. I'll be right back.
You uh strangled the old vocal cords very effectively, my boy.
>> Do what?
>> The old tonsil cape up.
>> Ah, that's nothing. It's the old drums I fancy. I got the rhythm kind of natural like it comes natural.
>> It's that golden voice you want to cultivate. Any schmuck can irritate those skins?
>> I want to play drums.
>> Well, um, perhaps I can arrange that for you. Now, look, let's discuss it over a cool coke.
>> Are you a teacher then?
>> No. Professor >> got no money for lessons.
>> Naturally, who has two vintage Coke?
>> I got one, please.
>> Thank you. And good night, Johnny Jackson. P.S. Sleep well.
>> Maisy, I want you to meet a talent of the First Order. Um, what's your name, kid?
>> Verr. This is Maisy King.
>> How are you? You have the dessert. It's been yet another memorable evening.
>> Oh, wait a minute, Darl. Wait a minute.
Here, take your address down there. I'll talk to you first thing in the morning.
>> I got to go to work tomorrow morning. I work the punt there bottom of Fris Street.
>> What were that golden talent?
>> Are you sending me up? Who looks after you, kid?
>> Me? No manager, >> but for this I do it for kicks.
>> Well, you're off sick tomorrow, son. You got a great future as a singer.
>> I don't want to sing. I want to play drums.
>> You shall have my own personal kit. I'll see you at your home first thing in the morning. Oh, and by the way, your first lesson as a professional. No more singing for free. Oh, I've left me dinner behind. You carried me away, kid.
Carried me away.
>> And how's the most unavailable strip in town?
>> Still doing your own stripping. Thank you. Get back to your washboard, scrubber. I'm switching you to an espresso.
>> Oh, no.
>> Oh, yes. Get. You owe me money. Work for it. Look, Maisy Doll, I'm always waiting for you while you're singing, don't I?
So, you can wait for me while I'm working.
>> All right, but let's go somewhere.
>> We're going home. And your breath smells of garlic.
>> The pickle cucumber is leaking all over my hand. Sorry.
>> My favorite perfume.
>> Salt beef. Aren't we always going to celebrate our lover's crisp with delicates? You know, caviar gives you a rash.
>> Leon, sandwiches are the worst in Soho.
>> That fur isn't the best either. You know, as soon as I make my first million.
>> Yes.
>> I'm going to have it clean for you.
>> All right. So, tell me.
>> Tell you what, we're back in camp far from the Indians. Relax.
>> I don't want to relax. I'm still waiting to hear what you thought of my new voice. M I think I made the right choice. Delicious. Still look warm.
>> Johnny, >> you're a lucky kid.
>> I'd like your opinion.
>> Black velvet without the champagne.
>> I want an honest opinion.
>> Relax.
>> I'll tell you. No charge.
>> I'm not in the mood. I want a frank opinion.
>> So, take your things off.
How can I give you an honest opinion while you're dressed?
Amazing.
Maisy, did we walk around London with you like that?
>> Well, there's not much point in putting my things on at the theater if I've got to take them all off again here.
>> Supposing you had an accident.
>> You're the only accident I ever had.
>> Oh, I love your love talking.
>> No, I don't want a man. I want a manager. Tell me first what you thought of my number.
>> Well, well, Maisie, you're a highly talented girl, but >> you didn't like it.
>> Well, it's a small voice, Maisie.
>> It's getting bigger every lesson.
Well, yes, but um or be like me, doll, give up gracefully.
>> Thanks for nothing, pig.
>> Pigsty alone.
>> Look at that bed. How can you live like this? Come on, let's make it.
>> Look, Maisy, there's no point in making a knife in a human.
>> Well, don't act like we're married. It spoils everything.
>> Nobody else in the world is so pathological about the word marriage.
Come straight in the >> Well, haven't I been faithful to you for 2 years? As far as you know, >> you want the Tim Pan Ali award.
>> I'm only faithful because I'm not married to you. Only a married man is unfaithful. Maisy, >> the sheep comes before the blanket nowadays. So my voice doesn't move.
>> Oh, sure I move, doll, but this is no playground.
It's a jungle and it eats up pretty little birds like you in great quantities. They get swallowed up.
Nobody ever knows they've gone. Nobody ever misses it.
Are you trying to tell me in your tender way you'd miss me?
>> If you don't know already, how can I tell you?
>> You've got a wonderful way of not saying a thing.
>> I don't say it because maybe I'd mean it. And anything I mean, I'm not fooly enough to say.
>> Can't you say it just once?
>> Say what you mean in this jungle and you're a dead jacko.
How did I ever tangle with you? You're not my girlhood dream at all. I want you to know that.
>> All I'm saying is enjoy your lessons, but don't expect too much because practically nobody's a star, Maisie, including most stars.
>> What's with this bird kid then?
>> Well, this boy is our stake in the future of British show business, and I'm going to manage him.
>> I'm just not with you. The way your mind works, you're always finding talent that turns out to be untalented. I just knew against my own intelligence which I insult every day of my working life that one of these boys would make it. But >> not me.
>> Look, Maisie, I I've only got a very small organization. One artist is all I can handle at a time.
>> You just don't think of me that way, do you?
>> Well, I do that way, Maisie, but not that way.
>> Well, at least he can't give you what I can give you. I hope.
>> Hope justified.
>> You see what a waste of time it is making a bed.
Look who's he covers. Let's go tonight.
Yes, >> Mrs. Rudge.
>> What if >> is your son Bird at home?
>> No.
>> No.
>> What's he been doing? I'll kill him.
>> No. No need for violence, Mrs. Rudge. I bring tidings of joy to you and the entire Rudge tribe.
>> Here, what is all this?
>> Where's Young?
>> You're getting a nice time probation, officer. These days, there go.
>> Well, there's my boy.
>> Now, you listen to me, mister. He don't tell me what he gets up to at night hanging around the West End and I don't want to know.
>> Don't speak to the gentleman or that mom. He's the bloke I told you about.
Going to be my manager. He's going to make me.
>> Make you what? Someone people dig.
>> That's it. Mrs. Rudge, >> our boy is going to be the idol of teenagers everywhere. Recordings, variety bookings. Why? He'll even open up shoe shops for cash. Now, it only requires your signature, Mrs. Rudge.
>> I ain't signing. It's all a swindle.
Whenever I ever signed anything, it's always been a swindle for me.
>> Hello. I'd >> like you to meet my new government there. I'll have a bit of >> the pleasure is mine, Mr. Rudge. And congratulations. And perhaps you'd prefer this side.
>> Is he the man from the pool?
>> Success, Mr. Rudge. Any moment now. You have produced one of the major talents in Britain today. Yes, you. By marrying Mrs. Rudge and Begetting Herbert have contributed in no small measure to the pleasure of hundreds of little people like yourselves. Oh, >> poor bastard.
>> Now all we need is the old signature and a peep into the boy's birth certificate.
>> Don't you dare.
>> Now, Mrs. Rudge, when did you say the lad was born?
>> I didn't. and mind your own bloody business. It's nobody's business when he was born.
>> Now look, Mrs. RJ, it's just in the case of miners. We have to get things right for the book.
>> I don't want no N nosy Parkers nosing around my marriage business. Dad, tell him to belt up and get out.
>> But think what a difference this will make to your standard of living, Mrs. Rut.
>> Here you are, Anson.
>> Oh, lovely.
>> Here, give me that. OH, THAT'S NONE OF YOUR BUSINESS.
>> BUT I'M HIS guiding light, his helping hand, his mentor.
I see.
Uhhuh. Oh, I follow. My dear Mrs. Raj, it can happen to the best of us. My own mother. Need I say more?
>> That's right, MARSHALL. YOU ALWAYS WATCH WHAT'S TOUCHY ABOUT THIS.
>> YOU SHUT UP. YOU HAD YOUR SAY years ago.
>> You're his mom. I'm his own man. That's all that matters, ain't it, mate?
>> This just makes for an extra bond BETWEEN US.
>> WE DON'T WANT ALL THAT SHOUTED ALL OVER THE PLACE.
>> YOU'RE THE ONLY ONE THAT'S SHOUTING, MRS. R.
>> OH, YES. DEFINITELY.
>> SO, come on now. There's no need for self-consciousness amongst friends. Just sign this little go-ahad to handle Herbert's career. Where the dots are, Mrs. R.
>> That little swan has never BROUGHT ME MORE THAN TWO QUID A WEEK. WHY SHOULD I DO ANYTHING FOR HIM?
>> HAVEN'T I GOT EXPENSES? I got A LOT OF EXPENSES.
>> WHAT ABOUT ME THEN? WHAT HAVE I GOT FOR 18 YEARS EXCEPT EXPENSES?
>> HOW MUCH DID this haircut cost? Peanuts.
12 of a week, I tell you.
>> Down, boy.
>> But she's always on me. Always.
>> This isn't pie in the sky we're talking about. Why? You'll even see your boy on television. The beloved face of her own little bird reflected in the hot cod's eye which watches every home in Britain.
>> We got no money for television. Design, madam, and you will have a contemporary home fit for British voters to watch television in.
>> How do I know what all this means? All this where as where if and where from? I DON'T WANT to know about any of that.
>> It's an insurance for your future.
>> Have kids. Go on, have kids and get done. I don't know what we have them for.
>> He's a good boy, Mrs. Rud. He'll look after you fine if you'll just sign.
>> Have kids. I've got this drunken LO CAN'T HAVE TWO EIGHT MINUTES IN HIS POCKET WITHOUT BEING a good TIME CHARLIE WITH DRINKS ALL AROUND EVERY TOM, DICK, AND HARRY.
>> JUST SIGN.
>> And that Edna THERE ALWAYS WAS AFTER THE BOYS. WHERE'S SHE GOING TO END UP?
CAUSING MY ANSWER.
>> OH, STOW IT. STO IT IS ALL very highly embarrassing to a stranger.
>> I don't know. Definitely. I don't know what we have kids for.
>> I'll tell you what you have kids for. So you can bleed them white. Call yourself a mother. I never had A MOTHER. JUST >> WHY DO YOU GET COME ON, YOU talented little Bertie.
>> AND DON'T COME BACK.
>> WHAT A BASTARD.
>> Look kid, you don't have to go back to the fun fair, but we can fix up the contract over a nice cup of hot milky coffee. Well, I'll just have a few shots. You know, it sort of relieves my feelings.
>> All right, be my guest.
>> Hey, Bert. You want it? The old man has been around.
>> A stop, old man.
>> Look, the kid's a little off color this morning. Give him a dozen shots.
>> But he shoots off more than he sees.
>> Who cares about a few legalities?
>> Good shop. After all, the relationship between a manager and artisteist is one of friendship, but a great shot, kid takes me back to my few weeks in the guards.
So, um, so we hand in the old resignation, turn our backs on all the fun at the fun fair and we go along to Leon's espresso. Are you listening to me, Bertie?
>> That's better. I guess I feel all right now. You can tell the gov I'm jacking it in.
>> Oh, your courage will be rewarded, my boy. Just sign here.
>> Let's get this straight. You offer him money for for bashing the bongos and your singing. Don't forget the real gold part of your talent.
>> So, when do I get the money?
>> Yeah, you're holding up business.
>> This is business. Please.
>> Now look, my boy, we'll start you off modestly on the espresso circuit. A lovely, loud little joint just around the corner. We'll crash off from there.
England's only chance of getting to the moon next. Sign here, you talented little child.
>> Do I get the money now?
>> Eventually, on this 5-year contract, we go 50/50. All right.
>> 50 what?
>> All right. If that's the way you feel about it, 50/50 shake.
>> So, how much do I get?
>> Look, from now on, half of everything you earn is going to go to you.
Bert Raj.
A nice, honest, square name, but uh just a teeny bit uncommercial. Now, let me see. Uh Crasher, Basher, Banger. I've got it. Bongo. Bongo. Herbert. There we are. All signed and witnessed.
>> Witnessed? Who's the witness then?
>> I'm the witness then.
>> Maisy King, is that you?
>> Maisy's a friend who not knowing how to write gives me the use of her signature.
What will I tell the governor then?
>> Tell him to put up a plaque. Bongo Herbert worked here. Come on, kid.
>> First, Mary, Queen of Scots in Kilty.
>> All right. Where are you, Mary?
>> Hold it. Hold it. And who's the historical expert who thought up that combination?
>> Well, it's not easy, Charlie. They just said a box of assorted tops.
You didn't expect to go on television in the buff, did you?
>> This is a decent, respectable country.
>> You wouldn't talk to us like that if we had a union.
>> I'll belt up and break the coffee.
>> Hello.
>> Hello, Star Maker.
>> Hail Caesar.
>> Hi, Johnny. Do you want some coffee?
>> Yeah. What's all the overdress for? A royal visit.
>> We've got 10 seconds on some television show, so we're going straight.
>> Well, don't let it become a habit. Now look, Maisy, I want you to make a telephone call for me.
>> Why can't you make it?
>> Because I won't be here. I'll be at Garrick Records, which is where I want you to telephone me at 11:45 precisely and ask for me.
>> But you know it's against the rules to use the telephone.
>> So give Charlie half a crown for his cut on the infringement.
>> What do you want me to say?
>> At 11:45 precisely, I want you to say, "This is HMV. Could we please speak to Bongo Herbert's manager?" Repeat the message.
>> This is HMV. Could we please speak to Bongo Herbert's manager? Who's Bongo Herbert? I've just signed him today.
He's that great kid we heard last night.
Fast work, eh?
>> What's all this HMV jazz?
>> Now look, Maisie, you get on with your act and I'll get on with mine.
>> 11:45 on the dot.
>> Mr. Yes.
>> There's someone to see you. Mr. Johnny Jackson.
>> Johnny Jackson >> used to arrange music for you. Since it's urgent, would you see him?
>> Normally, no. But at this moment, a pleasure.
>> How you keeping?
>> I'm surviving, Johnny, but it's against my own nature. Are you looking for work?
>> Work? Haven't you heard? I'm a manager.
>> Is the business so short of managers? It has to drag good musicians away from their inst.
>> So, who wants to listen to good musician?
>> I want to listen to good musicians.
Funny to think, Johnny, that you and Ta are both things of the past.
>> That's what happens if you're modern in your time.
>> Ah, should do well. She's got gloss schmaltz and she carries her jeweled minkers to a man of all.
>> They just booked their show for television. That's what it is today. So, what's on your mind, Johnny?
>> I've got a boy.
Please, Johnny. Not you also.
Everybody's got a boy. Instead of eating their fingernails today, they wear them down on the guitar.
>> But this boy has got a completely new gimmick.
>> Yes, he plays the guitar with his nose.
>> All right. All right. So, I bring you a talent because you're an old friend and you treat me like a schnor.
>> Look, Johnny, for the sake of our old association, maybe I could find you a few arrangements to do.
>> Mr. Mayer, I'm not asking for charity. I am offering you Bongo Herbert.
>> What for a name? Bongo.
>> For all the big companies that after him. Why? Nixa, Philipsy, even HMV.
>> Sure, sure, sure. And they'll be in the next command performance.
>> Do me a personal favor.
>> That's what I'm trying to do.
>> Look, I've got so many of these young schmandies.
>> All right, you made your point. Nice to have seen you again, Mr. Mayor.
What do you make the time?
>> Almost 11:45. Thank you, Johnny. All the best. Go in health.
>> Stomach tablets.
>> Yeah, you kind have one. 40% more pepsin. Listening to all this track has made me a double Alza man.
>> I know how you feel. I got the same trouble.
>> You're an Alza man.
>> Am I an Alza man?
>> Good. Now you begin to sound like you're a medic.
>> I can taste the extra pepsin.
>> Sorry not to do business on this occasion, but who knows?
>> The telephone, Mr. Mayor.
>> Never mind the phone to see an old friend.
>> Could be important.
>> What's more important than friendship?
>> Well, something could have dropped out of the top 10.
>> Top 10.
>> Top 10.
>> Who is it?
>> HMV. Mr. M. They want Bongo Herbert's manager.
>> I'm sorry, Mr. Meer, but uh well, things are popping. You don't mind? It's a pleasure. Thank you. Hello, Johnny Jackson speaking. Bongo Herbert's manager.
>> We called it about Bongo Herbert.
>> Oh, yes, that's right. Well, I can't give you a decision right now.
Well, you see, I've got a deal pending for Bongo elsewhere. Well, of course, your offer is very attractive, but u we'll be in touch. And thank you for calling. Goodbye.
again. Marvelous to see you, Mr. Mayor.
I'm sorry we can't do anything. Maybe next time.
>> Just a minute. Sit down, please.
>> I don't want to waste your time.
>> So, where is this boy of yours?
>> You want to see him in his right settings, Mr. Mayor?
>> All right. So, bring him along in at the cradle.
>> He's opening a new place tonight, the TomTom. Give yourself an out. O, >> do you good.
>> All right. As you leave, kindly speech on Aida, please.
>> With pleasure, Mr. Mayor.
The kids great, isn't it, Leon?
>> Yeah. And I get all my genuine Italian peasant stone cups and sauces group.
>> Oh, two free cups. Leon, >> you've ordered the head six FREE CUPS FROM NOW YOU PAY.
>> You're doing great business, boy.
>> It's a free cappuccino to each new customer, isn't it? Leon, >> what's so new about you?
>> I got a great idea for a great picture.
>> Khaki. Khaki, the coffee is free. You don't have to give a performance for it.
>> Not at the theater, Johnny, to see your girl televisionized.
>> Sure.
>> Um, it's tonight, isn't it?
>> Personally, I would never compromise myself by making pictures for television.
>> I'll be back.
>> Hey, Johnny.
>> Hey, Johnny. WAIT A MINUTE. WHY NOT ME?
WHY CAN'T I GET MY TOMTOM on television?
>> Strip and I'll guarantee you a spot.
>> STOP IT.
FROM NOW ON, ALL FREE COFFEE MUST BE PAID for >> here. What's the program? Children's television strip with mother.
>> It's a documentary for Cosmar.
>> What? A documentary at the entire. What will they think of next?
>> The stocks are in touch.
You can't open up the >> What's cooking flour drum girl?
>> I am. Oh, it's hot in here.
>> Well, it looks as if the completely ununique, unfabulous, unsensational Maisy King is finding faith.
>> And do not look queer wearing clothes.
>> Is Gilbert Harding here?
>> Who's he?
>> Why, you little Lotus Blossom. You can't have Cosmama without Gilbert. Ah, >> good evening, Mr. Hardy. I'm the press man for this joint. Well, >> don't go ask me for too many plugs. You what the corporation is like about >> asking? I just wanted to say what a great idea it was for a serious, well-informed documentary mob like yours to uh take a look at the way these wonderful teenage kids live.
>> All right, cut film. Well, that's extremely kind of you, Simon.
>> Maisy kid. Maisy, come over here and meet a real personality. You know, my friend and I are some of your greatest fans.
>> Well, Miss King, that was most interesting. It had an authentic quality of gay delinquency.
>> Oh, it looks much better in the real costumes. What did you think of my voice?
>> What I admire most about these kids is their is their energy, their their vitality, their life. You know, straight after the show, do you know what this little lady's going to be doing?
>> What?
>> Well, she'll be rocking like mad with the other kids down at the TomTom.
>> She will?
>> Oh, and where's that now?
>> Well, it's a sort of contemporary youth center on the other side of Compton Street. Come on, kid. Dress. Let's get with it.
See you down there, chum.
>> Well, Simon, we may as well wrap this up and get over to that TomTom place. See if we can get some candid stuff.
>> What's all this TomTom routine?
>> This is our day, Maisie. I should have had faith. I should have realized that luck can be so undiscriminating it could even happen to me. You know, if I get a plug in Kosarama, we may well be in profit.
>> I could get those advanced course singing lessons for as little as half a gimme.
>> Get moving.
>> HEY, PROFIT. I LOVE THOSE WORDS. Come on, kids. Look, I want you all to come down to the TomTom with me.
>> What do I want to go there for? I'm tired.
>> Yes, I want to go to bed.
>> Can't you keep your mind off work now?
Come on. I'll be my guest. All the espresso YOU CAN DRINK. MAKE AN EYE OF IT. LIVE IT OUT. COME ON NOW. GET READY.
COME ON.
>> All right.
>> HOW LONG HAVE WE GOT to stay in this nut house of a juvenile?
>> This is a recreation center. Go in and recreate. I'll be down in a minute.
Doll, >> where are you going? Kids, I'm waiting for someone.
>> Will you balance the budget with all this secrecy?
>> Look, Maisy, when I'm doing business, don't waste my time with economics.
>> Oh, you handle business so business-like.
>> Well, do me a favor, Maisy.
>> Evening, Mr. Mayor. Is the Elsa doing well tonight?
>> I already feel a small symptom of irritation. What? Television for an express opening.
>> What else?
>> How short of material can they get?
>> It's the boy, Mr. Mayor. His mustard just mustard.
>> Mustard. Mustard. Public taste has degenerated so far. I'm finding great difficulty in getting down to it. How low can you sink?
>> Just a little lower, Mr. Mayor. It's down in the cellar.
>> Well, here we are in typical espresso coffee bar. In this rather synthetically exotic decor, the teenagers relax after their working day. That is, if you can call it relaxation. Of course, you and I might prefer the quiet atmosphere of an old English path. But these youngsters get their kicks, as they put it, under plastic palm trees, where they sit to hatch and plot their teenage rebellions.
Let's see what they think about it. You, sir, what do you think about it?
>> Why me?
>> Oh, thank you.
>> Have a cappuccino, Mr. Mayor.
>> Yes, please. Flat. Uh, one flat. Leon, this is my friend, Miss Keen. Mr. Mayor, Garrett Records.
>> How are you?
>> How do you do, Miss Ke? Chat him up.
>> Look, look, look what these tables do to my pain. Just say what it does to your business.
>> I always say this is the best part of the day for me. Just sitting peacefully sipping cafe.
>> At least coffee will keep me awake.
>> As a matter of interest, Mr. Mayor, how do you sleep? What do I want to sleep for?
>> Pleas yourself.
>> Awake, I can count sheep. Going into the record shops, buying my discs.
>> Oh, don't you love this character? I'll be right back. Make conversation.
>> Come on, Bonga baby. You're on.
>> I just did it.
>> We'll do it again. Just hold that camera. Wherever that camera goes, let it find you. Right. Three.
when he backed up his little bunger baby. What do you think about that?
>> Good evening, miss.
>> But don't you think the boy's got something, Mr. Mayor?
>> Something he's got. What it is, I don't want to know.
>> But you can be frank with me, Mr. Mayor.
What's your feeling about this boy?
>> Nausea. Nausea.
>> Nausea. When I see this little bleeder and compare him with a nausea, >> a boy who owns an Austin Heale, he's twice as great as Benny.
>> All your life you should be so sick.
>> When this talent's in the lolly, if you take the risk, he'll make more than Bobby Raleigh from his nauseating disc.
All this music, what a scandal in his grave is turning handle. Nosia nosia.
>> All he needs a crew cut a sweatshirt and some jeans and he'll be better box office than all your shell. Hey, when I hear these coffee bar and think what they did to come and no years ago they would be failures.
>> Now they're cutting out surveillers.
So try to sell the meister singers in espresso bars. All they want is shy singers black on their guitar.
When I think of Don Pasquali and compare him with Charlie.
>> I want you to know Mr. Mayor that I appreciate your frankness with Opera. I lost my shirt. Get from this rock track.
I'll make money.
>> All right, I'll give you 35 for one this two sides of your bongo. No royalty.
It's a deal. Half cash. It's a special concession to a man. Pan and cash.
>> It's a deal.
>> Good one.
>> Hello, Johnny.
>> What you think of them?
>> Oh, kinky, but nice. Nice.
>> Fetches me quite a new class of Cleanel.
>> Good. Let me be your financial adviser.
>> Always ready to try something new.
>> Invest in a car. Love on wheels. It's the safest thing.
>> I think you've got something there.
Where do they put these things?
>> Now, Penelopey, you've been warned.
>> It's a fine thing if a girl can't look up a used car bargain.
>> Hi.
>> So, what's high? Things have reached an all-time low.
>> Now, what's happened?
>> Exactly nothing. It's a week since I signed Bongo to make a record. No record.
A week since he opened at the TomTom. No paragraph.
>> At least you got some money.
>> Money? You call this money? 2.7 shillings and n pence and a life membership at the TomTom. Money? She says you >> got left.
>> At this rate, Bongo is going to be a very old teenager before I can retire to the south of France.
>> But the advanced singing lessons, Johnny, you promised.
>> Never. Not since I was a boy scout.
>> You said the next >> Sorry, doll. You'll have to keep on stripping. At >> this rate, I'm going to be a very old stripper before I can retire to the south of France.
>> Oh, that's the brave little artiste.
What's for lunch?
>> Guess. The same as I've been guessing for the last 3,000 Thursdays. Spaghetti.
>> It's special today, then?
>> You mean it's not overcooked?
>> Remember what day it is?
>> Black Thursday.
>> It's our anniversary.
>> Congratulations. Of what?
>> Two years ago today, you bought me my first salt beef sandwich.
>> Why do women always want to remember such things?
>> Well, they do.
>> Now look, with all my money, do we have to eat off newspapers?
>> They're the lunch edition. I thought they give you an appetite. Look, >> that with meatballs in the spaghetti is my anniversary present to you.
>> Timber.
>> How hungry are you?
>> Cosmic present. It's just like I thought.
>> Just like you thought.
>> Yeah, that's why I told him to hog that camera.
>> You didn't know they'd plaster the newspapers with his face.
>> BBC television Saturday night. Okay.
Oh, I didn't know for sure, but I knew.
I knew.
>> That's one thing I've got against you, Johnny Jackson. In all three years you've been my soul agent, YOU'LL NEVER ADMIT YOU don't know.
>> Still out of order. How do I pay for it?
It's >> out of order because you don't.
>> Oh, get this junk off the table. You're running these valuable newspapers.
>> That junk happens to be our anniversary lunch. WHERE ARE YOU GOING?
>> I've got to organize that. Mayor, the press. Oh, and Gilbert Harvey.
>> But the food's ready.
>> Listen, Maisy, do I'm cooking. You shouldn't be.
>> I EVEN GOT SOME WINE. RED WINE.
>> WELL, keep it warm.
>> I hate wine. I hate meatballs.
And I hate agents.
>> I wish I could hate your wish.
But what's a girl going to do to love you when she loves to hate in your arms?
I'm longing to loathe your laughter. I want to be foot loose, fancy, and free.
But when I'm loose and free, it's you I fancy. Oh, go lucky me.
I wish I could kill our beautiful friendship. I wish I could douse your passion flame. But what's a girl who aims to miss you when she's missing her aim? I'd like to forget past, present, and future. If only my head and heart could agree.
But you're my past and my future at the present. Don't know if I hate to love you. I love to hate you.
Lucky me.
>> 1 2 3 here. I arranged to get my boy national advertising. A 45minute program weekend peak viewing. And you haven't even got his discount yet.
>> He sinks on this program.
>> What else can he do? Interview the queen mother.
Fix a recording session this afternoon.
>> Don't give me problems. Fix it. Your voice disc will be in the shops late on Monday.
>> Satisfied?
>> Satisfied. You've made a wise decision, Mr. Mayor. This will restore the public's faith in Garrick Records.
>> I suppose he's a likable fellow.
>> Cosmer, which studio, please?
>> Studio 6. Got an appointment.
>> Special urgent delivery. Gilbert Harding. Personal.
>> I'll f it through.
>> Oh, it's more than my job's worth to keep him waiting.
>> Hey, YOU'VE GOT TO BE ANNOUNCED.
>> I'm not proud.
>> Yes, I know, old boy. I know. And you may very well be right. But my personal view has always been very strongly that the Archbishop should come in through there.
>> Oh, my dear Mr. Harding, I'd like to congratulate you on the publicity for your teenage rebellion program.
>> Extremely kind of you, I'm sure.
>> Sensational. Just sensational.
>> Haven't we met before?
>> Oh, it's not impossible. My show business interests are extensive. As I was saying, the ads for your program are fabulous.
>> Well, I'm so grateful to him, but as you see, we're very busy.
>> You see, I happen to be closely related to this Bongo Herbert, the boy you're featuring in your advert.
>> Oh, yes. He was father.
>> Uh, no, closer than that, manager.
>> I'm afraid we cannot allow you to use the film material of our clients.
>> But we've made him the keynote. He runs through the whole film.
>> I'm afraid our lawyers feel that this program of yours, praiseworthy as it may well be, is denigratory to our client's professional status. Would you care to see the documents?
>> We had no idea the boy had any professional status.
>> My dear Harding, the kid has records coming out all the time. Why? Garrick records have an immense investment in him. You're not just exploiting an unprotected kid, you know.
>> I assure you, we have no desire to exploit anyone, anyone at all. You better sit down.
>> We don't want our boy exhibited as a teenage curiosity.
>> Teenagers are regarded by the corporation with the deepest reverence.
>> By me, too, I assure you. We are quite prepared to pay your client a fair fee.
>> It isn't the mere money, Harding. We are loaded. It's the principle of the thing.
How much do you have in mind?
>> 50.
>> Oh, please.
>> 75. It's a documentary.
>> Yes, but Bongo Herbert isn't an inexpensive heading boat.
>> We have the most eminent people coming to discuss this bongo and his symptoms.
I mean, his art. It's a program on the highest level, and 100 is as far as we're prepared to go. I've been watching you very closely, Harding, and I've come to the conclusion that you're a deeply sincere person, and I'm going to do my best to help you.
>> Well, I'm very glad you could feel that way, Mr. um >> Jackson. Sir, we'll take the hundred. Uh ask your cashier to leave it for me on my way out. Now, about this eminent discussion.
>> Mhm.
>> I have one or two modest suggestions, do sit down.
>> Oh, dear.
>> Now, my dear Harvey, >> well, here we are in a typical espresso coffee bar. And in this rather synthetically exotic decor, the teenagers relax after the day's work.
These young >> Yeah, you just finished. Oh no, I missed it. Missed the first film. How do I look?
>> You came over. Wonderful bong.
>> No kidding.
>> Hey, why wasn't Johnny here to see me?
What kind of a manager is he in today >> for you? Good.
>> Probably holding Maya down to a hot television set. Perhaps I'll come on again. Huh?
>> Well, I don't know about you, but that left me absolutely breathless just watching it again. Now, what is the answer to this astonishing phenomenon of our time? With us in the studio tonight, we have a distinguished panel of experts to discuss it, the Reverend Tobias Craraven.
>> Good evening.
>> And of course, a Harley Street psychiatrist.
>> Good evening.
>> And last, but certainly not least, a man who has been responsible for much of what we are here to discuss, Mr. Johnny Jackson, the well-known artist manager.
Hire a cats.
>> How the hell did he get on there?
>> Oh, that Johnny. He's a really deep character.
>> Now, doctor, would you say this was just a healthy sign of high spirits?
>> It's not as simple as that. Adolescence in our time demand outlets for their frustrations.
>> See, you're frustrated, Bongo. You need some vent.
>> Seek elsewhere.
>> The drums, Bongo beats, may stand for someone he doesn't like. Or they may be a simple means of evacuating tension.
>> What's all that about, bent? Huh?
that the whole mass of whirling conflict surge up to a pounding climax afterwards in its relaxation of tension and the face is almost beautiful.
>> Hear that? You're almost beautiful.
Bongo, >> do me a favor, Mr. Craraven.
>> Oh, speaking personally, I welcome the whole phenomenon. After all, many popular songs do have a touch of religion.
>> Speaking for myself, >> many others are frankly paging for myself. We have to reach the people at their own level.
>> Mr. Jackson, >> still speaking for myself, I would definitely say that the Rev is on to something there. This boy, Bongo Herbert, we must all bear in mind, is a real symbol of modern youth. And this number which we heard him sing, Voice in the Wilderness, will we believe introduce a new era in the hit parade?
>> Oh, the psychiatrist. Yes, doctor.
Because get this kids, the disc of Voice in the Wilderness will be on sale in your local record shops any minute now.
>> Well, thank you Mr. Jackson. There you have the con.
>> There is of course something in what Mr. Jackson says. I started a jive club at our youth center some time ago. Later we converted it into skiffl. Now I think it not impossible that I start a bongo club in my crypt.
>> Oh, good for you, Rev. A big hand for the Rev kids. You just heard the attitude of a really great modern churchman. if I may say so. Just because we want a few kicks as well is no reason we should be unreligious.
>> Oh, thank you, Mr. Jackson. There you have the >> And talking about religion, kids, I don't want you to regard Bongo as a substitute. Even though his latest Garrick recording, A Voice in the wilderness is the greatest you ever heard.
>> I am speaking on behalf of both me and Bongo when I say go to church this Sunday. Me and Bongo often go together to the same little local church where Bongo was christened 18 years ago.
>> How can he say those things? How can he lie so well? There >> with his mom and his little sister and his dad who have made so many sacrifices for him. Bongo gives thanks for all you wonderful people who have made his career possible.
I never had it so good since the day I was born.
Corn is growing where there used to be barren soil. What a laugh. I struck oil.
I never had it so rich before.
I was sliding the slope. Then I signed up a duck. Bongo, you opened the door.
I never had it so good till I learned to be bad.
Glad to tell you I'm no longer misunderstood.
I never had it so good. Good.
I never had it so good.
>> We have to proceed cautiously and quietly.
>> It's number five in the top 10. How cautious can you get? Look, look at my systematic planning on the Dixie College LP. She hasn't been seen here for years and already we have pre-sold 50,000.
>> Good for you. But how does it help us?
We got to have action. Sh.
>> Quietly. As a young also, you should take things quietly. Find a new gimme and make a second record.
>> You should pardon the suggestion. But with a property as hot as Bongo, I can go anywhere.
>> Sure, you can go to Mix. Even HMV after the second record. Remember, I have an option. Please, if you don't want the boy, release us.
Let us make a little loot. We've consumed that few pounds of nicotine and salt beef a long time ago.
>> My boy, business is a very unfair thing.
That's why I'm going to give you a small percentage on your third record.
>> But we haven't made our second record yet.
>> First, we make a contract for the third and then we discuss the second.
>> I see.
>> So, you do want the boy. You can be frank with me, Mr. Mayor.
>> The boy can be a first class property with Gary direction. Understand?
Yes, >> your car's here, Mr. Mer. And the Dixie Collins press reception is in half an hour.
>> Thank you, miss. Details we discuss later. Now, I have to go over to the Dorchester. You know how demanding a real star can be, even if she isn't twinkling too brightly at the moment.
>> I know I can trust you to give Bongo and me a fair deal, Mr. Mayor.
>> You cannot. But what alternative do you have?
>> Smoking. Smoking. What kind of a hobby smoking? You need a bint. I keep telling you bent is the best nerve tonic there is. I personally recommend it signed beast. Can't you get off it?
>> Not since I was 12. Sort of takes you by the throat. Bongo.
>> Got no time for all that jazz. Besides, I got other problems. Wish I had other problems.
>> Hi, Go. Hi.
>> So, what new gimmick have you spawned?
>> It's another bongo in the moronic so far.
>> When I beat my chick with a solid rock.
Look, get with it, beast. May I want something different?
>> Well, so why can't this be different? We could put some more echo on bongo. Wire up something or other. Singing for the guff kid?
>> No, I just can't get with her today. I don't know what's the matter with me.
>> That mother of yours?
>> Has she been here?
>> No, but she's been in all the espressos looking for me.
>> Mother?
Mother?
>> Mother? Maybe that's it. A new kind of rock with mother song. A sort of Edypus rock. Yeah, that's what you should be doing, Beast. Putting down in music what what Bongo and all the other kids in the country is worried about.
>> Me? I'm just an ordinary kid.
>> Yeah. Yeah. Save the humility for the press. Now, now we've got to be analytical about this. Well, look at the headlines you've had for a few days.
You've become a sort of national anti-hero. You're every poor little fish in the country, only covered in gold chips. Who? Me? Yes, you. You talented little bird. You've got a chip in your shoulder and an H bomb in your pants, a sneer, a twitch, a hell in your head.
It's you against the world, baby. And the world loves you for hating it.
>> This is a great hate number.
>> I was just television. Now, that simple priest on TV the other night, if he can get our message, well, the least we can do is get his now. So far, what have we got in the act?
>> Sex.
>> We've got beat. We've got >> violence.
>> We've got We've got >> bash. We need more bash.
>> All that. We've got We've got it all except one thing.
>> Religion. We've got to get religion.
>> Where you going? Heaven.
>> Gentle. Gentle man.
>> So, Miss Scholace is a little after all.
She's a lady, isn't she?
>> Only by six. It's the routine star treatment.
>> I'm surprised Dixie can still remember the routine.
>> Rosemary is getting so terribly late.
I'm sorry. I really can't wait anymore.
>> But my sweet, I know how much Dixie is longing to talk to you.
>> So are 20 others, dear. Provided I quote them. What would be poor press agents do without your marvelous column?
>> Yes. Have another cocktail. It's a privilege for Gary Greas that Miss Cullis comes to us >> for England too, Mr. Meer. Falling stars are just what we need. I suppose we are.
We playing out. I'm tired and I've got a deadline to meet >> dear. You always look as fresh as a midday edition.
>> I've got three more of these tea parties to get to it. Don't be >> My liver is screaming.
>> Angels, in all these years, have I ever let you down.
>> Look, I know it's a natural environment, but do you think you could possibly drag your client out of the bedroom?
>> Ladies and gentle press, your hostess, Miss Dixie Collins.
>> Hello, darlings. How perfectly wonderful of you all. Have you and Prince decided to come for good now?
>> Is it TRUE THAT YOU MARRIED?
>> BOYS, PLEASE. Will some gorgeous gentleman get me a drink?
>> But what exactly is the truth about your fourth marriage, Miss Collins?
>> The same tragedy as a third, darling.
But then with me, everything goes in cycles. Up and down, up and down.
>> Why is it so long since you visited England, Miss Collins?
>> Oh, you know, so many dates, so many husbands, none of them English. What a pretty dress.
>> Dixie, there seems to be some doubt about your date of birth. Would you care to clear it up?
>> Certainly, darling. I'm Scorpio and you're Patricia Lewis. Simply everybody read your column back in America.
>> Hello, >> Dixie. Whatever became of that young flamco singer, >> the California oranges just didn't agree with him, the poor darling. So, I reexported him back to Spain.
>> Thank you, G. Sure tough to get a drink at this party.
>> She can look after herself, that girl.
>> You has developed the muscles.
>> You've got to admit it. She looks marvelous.
>> I admit it, but I can't enjoy it.
>> Oh no.
>> Which paper are you?
>> The Financial Times. I just had to see you, Mr. Mayor. I've got a great idea for Bongo. It's haunting me. All right, but not now. Come to my office.
>> Well, it's almost classical. At the same time, it's got a reverential attitude towards life.
>> You're not holding my attention. Go.
>> It's a sort of half a maria with heart.
>> Italian numbers are out.
>> In a word, Mr. Mayor, religion.
You're a bloody nuisance, but you are a tri.
>> All right, I'll buy religion. So, take a drink and go in the bedroom.
>> That's a good one.
>> What shows are you doing here, Miss Collins?
>> Well, I know Gus has arranged a TV spectacular.
>> It's a beautiful show. Beautiful.
>> What will the rest of the show be?
>> We hope to book some of that wonderful talent you have so much of in this country.
>> Like who, for example?
>> Like whom, for example?
>> Well, like Bongo Herbert, for example.
What do you think of Bongo Herbert, Dixie?
>> I just love another drink >> to the rich in heart.
>> Thank you.
>> I'll get another. And thank you.
>> You've never even heard of Bongo Herbit, Miss Collins.
>> Does anybody have an American cigarette?
>> Sure, M.
>> Bongo is one of our most promising younger stars. A real Garrett Fine.
>> I've always done everything I could to help young talent on.
>> That's so true.
>> Can we say that Bongo will be in your show then, Miss Collins?
>> Any kid Gus Mayer says is promising is going to get a big push from me.
>> Got it. Good quote. Well, that's it everybody. Goodbye. Anybody coming to the sur >> so soon?
>> I'm sorry, Rosemary. We've got four stars waiting for us, including Son of Lassie.
>> Jack, darling, why not stay? I promise you, we'll give you a completely new angle.
>> Sorry, darling. She's had a moment. Bye, >> Jack. Darling.
>> Jack.
>> So, how are you, my precious?
>> Lated and exhausted, Gus. We'll have one glass of champagne. Ellen, >> no more for me, thanks. I'm getting a bit burpy.
>> I'm sorry I had to throw you to the wolves.
>> Any man who can freestyle 50,000 records for me can throw me anywhere he likes.
>> To the too long delayed return of a great lady.
>> You know, Gus, I hope this whole thing comes off. I'm getting so cold over there that for the first time in my life, I'm terrified.
>> Travel hopefully, darling. I'm having a teller recording made of the Dixie Collie Show and I'll send it straight to New York. They'll go mad for you.
>> Scott, would you like to be my sixth husband?
>> Do I look like Henry VII?
>> Who the hell is Pinky?
>> You are second.
>> Oh, yes. The heel.
>> All these years, she didn't care about her darling son. But now she thinks I'm making some money. She wants the lot.
>> You ought to go and see her, Bonga.
She's probably very proud of you.
>> Well, she's too late. I've always been alone and that's the way it's going to stay.
>> That's the way it is in this business.
You kid yourself from time to time, but really you're always on your own.
>> But it's all right for you. You've got Johnny.
>> Oh, sure. So have you.
>> I'm just something he sells. Like rat poison or fish and chips.
>> It's funny. You don't like it because he sells you and I don't like it because he won't sell me.
>> But it's all right for you. You're sort of dedicated.
>> What too? Stripping. What I mean is to you singing is sort of an art.
>> Perhaps that's why no one will buy it.
>> For me, it's more like a drug. Takes my mind off quite a few things.
>> What are you doing after the show, sweetie?
>> Meeting my boyfriend in the Vice Squad.
Want to come?
>> So, this is where you come in your spare time. We'll have to watch your voice doesn't start breaking. I just fancied a few drinks.
>> Big big problems he has. All I have to worry about is finding numbers for him, fixing records, booking him on TV shows.
All the rest he can do himself.
>> Don't pick on the kid. He was lonely.
>> So little white mother Maisie is comforting him.
>> Why not? Do you have an exclusive contract on my spare time?
>> Look, I just fancied a few drinks.
>> So now you've had them. Now get out.
>> I told you not to push him around.
>> Oh, bear in mind what you say. Blow bongo.
>> He's my guest.
>> Drop it, Maisy. I'm going.
>> Now look, >> you look I've got 50% of what he's got.
He hasn't got 50% of what I've got. If that remark's supposed to refer to me, YOU CAN TAKE IT RIGHT BACK.
>> You're a big help. You are. I need the kid for work and you're busy getting him drunk. What are you, a sadist or something?
>> Most of the time I'm with you. I wish I was.
>> Oh, now look, Macy doll. I've been working very hard. I'm under a lot of tension.
>> Well, stay under and drown.
>> Ah, what the hell? For art, one has to make sacrifices.
Hell, >> if it's you, I'm asleep. You want to be careful whom you say you're not into.
>> I am being careful. That's why I'm telling you I'm not in. What was it you required?
>> Well, just because we have a little scene every so often. I mean, you don't have to hibernate.
Oh, come over here, baby.
>> No, I'm having a nice quiet read and it's very relaxing. If you were a gentleman, you'd come over here.
>> But you can Well, you can read here, baby.
Come on, you can relax here.
>> Why can't you come over here anyway?
>> Well, I'd love to, baby. Really, I would. But well, I've got a lot of very important calls coming through. I'm expecting Hollywood on the line any minute now. You know, it's midm morning over there.
>> Thanks for the geography LESSON AND GOOD NIGHT.
>> OH, MAISY, BUT I'VE GOT SO MANY IMPORTANT THINGS TO DISCUSS with you.
Something Well, something that really means our whole future.
>> Our whole future?
>> Yes, that's right, baby. Oh, come over.
There's so much I want to tell you.
Maybe I will. Maybe I will. Of course, I have to dress first.
>> OH, THAT'S GREAT, BABY. THAT'S GREAT.
LOOK, I'LL GO AND MAKE HER SOME COFFEE.
YOU COME RIGHT OVER. You know, I've got so MANY BUSINESS PROBLEMS.
>> WHAT HAVE YOU and me got to do with business problems?
>> Well, isn't it of some interest to you that I succeed? You know, if Bongo doesn't get that.
>> So, it's Bongo. You don't want me. You just want SOMEONE TO TALK TO ABOUT THAT BLOODY BONGO.
>> WHO ELSE HAVE I GOT TO TALK TO?
>> I'M NOT IN A TALKING MOOD.
>> I'M SORRY. I INSULTED YOUR IGNORANCE BY EVEN SUGGESTING THAT I COULD TALK TO YOU.
>> YOU WANT TO GO UP IN THE MIDDLE OF THE NIGHT BECAUSE YOU WANT A LITTLE RABBIT?
I WANT TO KNOW.
>> YOU WANT TO CH IT UP WITH SOMEONE? IT'S AN INSULT. YOU'RE KINKY.
>> WHO'S KINKING?
>> YOU'RE BENT.
>> WHO'S BENT?
>> DON'T YOU SHOUT AT ME.
>> WHO'S SHOUTING?
>> GOOD NIGHT.
>> GOOD NIGHT.
Thank you. Thank you. And now, straight from New York, Hollywood, and Las Vegas, we are very happy to be able to afford the fantabulous, fantastico Dixie Cohen.
Well, this is it, Golden Boy. Hey, smoking when that V velvet voice is about to perform.
>> She's around here somewhere. I just know she's around here somewhere.
>> Don't tell me my little virgins found himself a piece of frontline frit. It's my mother I'm talking about. She's around here somewhere.
>> So, where else should a boy's mother be?
But they decide at a time like this.
>> Edna told me she's on the war path. She got the needle to me and she wants half my money.
>> I'd give her half of mine if I thought it would make her happy.
>> You would?
>> Look, it isn't as simple as all that.
Now, listen to me, kids. She won't come around here. You have my personal guarantee.
>> Fix her for me, Johnny?
>> Sure, I'll fix her for you. I'm your manager, aren't I? Your friend, your chum, your protector. Now, go out there and kill him. Tonight, 8 million Teley hugging imbeciles are going to fall in love with you simultaneously.
>> Thank you. Thank you all. YOU TWO UP THERE, it's wonderful to know you still love me. Now, here's a new singer making his very first variety appearance, your own Bongo Herbert.
Thank you. Thank you very much.
Thank you very much. Thank you very much indeed. It's not generally known that I'm a deeply religious boy. And here in this the theater tonight, we're glad it's Sunday because, well, we've had a number specially written for this show.
We'd like to dedicate it to to a lady who's taught us that there's someone bigger than you or I. My mother.
>> That was lovely, wasn't it?
You've sold another 50,000 records tonight, my darling Dixie. 50,000.
>> Gus, if that doesn't get me a New York series, I'll just have to marry a prince.
>> Yes.
>> Only me.
>> Can I bring my daughter in?
>> Of course, Gus. Fix and drink.
>> Miss Collins, it was simply splendid.
All my tums are there. Goodness, we couldn't have adored it more.
>> Thank you.
>> I told you everyone would be utterly delighted to have you back.
>> Rosemary, I'm delighted to have me back, too. Monzie, I do wish you'd let me go on the stage.
>> I will, darling, if you ever get an offer. So far, you've not had an offer of any sort.
>> Monzie, that's quite unfair. It's only my third season.
>> Sia, you have lipstick on your teeth.
>> Was absolutely topping, Miss Collins.
Word of an officer and a gentleman.
>> Oh, rather. Oh, good.
>> You did very well, my little Robin. It was the most moving experience.
>> I got a message from Miss Collins herself. She's inviting me around to her dressing room for a drink. This is better than I thought. If she takes a fancy to you, I may be able to book you onto any other show she's doing.
>> You've got to get into the habit of cultivating the right people because every right person, you know, makes you a little more right. Ah, Harry, just the man we're looking for. Look, I want you to take a picture of the boy with Miss Collins.
>> They won't let us in.
>> What do you mean they won't let you in?
You've got to be with the right people.
Now, you wait there.
>> Now, maybe.
>> No place in here, I'm afraid. Not even the financial time.
>> Can't you recognize fellow artists? This is Bongo Herbert.
>> Oh, I invited Mr. Herbert to come around for a drink. Well, in that case, do come in, Mr. Herbert, with your father.
>> Oh, isn't he sweet? Isn't he pure? Pure.
I hear from >> Miss Collins, I want to tell you what a wonderful experience it was to witness the triumphant return of one of the greatest.
>> I'm sure you've always prayed for me.
The face is familiar, but I can't place the flattery.
>> Johnny Jax, manager and friend.
>> I didn't know the two went together.
>> To the star of the future, Bongo Herbert. Well, stars of present and future, I must love you and leave you all. Late nights are hell for a man with a stomach condition.
>> Good night.
>> Sleep well, darling.
>> I'll let you know.
>> Shrine is a masterpiece. Come to my office tomorrow. It's a pleasure.
>> I asked you around for a drink, Bongo, to tell you I think you've got an awful lot to offer. And I hope I can help you.
>> Oh, goodness. Bonga, do say something.
>> Yes, speak to Cynthia. She's your generation.
>> Something incocknney. Apples and pears and things.
>> I thought she was marvelous. Miss Collins >> now. Isn't that nice?
>> It was nice of you to come around. So sorry to have to rush you, but Miss Collins has to get dressed.
>> I always thought you was marvelous, Miss Collins. Ever since I was a kid.
>> Funnily enough, so have I.
>> I happen to have a photographer.
>> No more photographs. We've had all the photographs.
>> Just one for the kids album. Please, Miss Collins.
>> I can't think of a cuter album to be.
>> Go get your masterpiece. It may be royalty next. Splash them pearlies.
Bongo. That That's enough for the album.
>> Miss Collins, >> you have just brought a moment of happiness into the life of a deprived child. From now on, I'm personally going to see that he's available for any show of yours at any time. Bless you. Home to Betty. Bongo baby.
>> Good night.
>> Good night, Dar.
>> You really think I did all right tonight, girl?
>> You have done well tonight, drama boy.
So have I. All you need to succeed in this business is one success after another. Now remember, on this battlefield, the only mercy shown to losers is to finish him off. But not to worry. Home, Bongo. See you in the morning.
>> But I don't want to go home.
>> Well, what's the matter, kid? Aren't you comfortable in Beast Flat? Well, look now, don't let those girls of his get you down. Here's a bonus. Stop off and buy yourself a sandwich.
>> Taxi.
>> This is the life. Hey, better than beating your brains out at Leon's the Caprice. And don't eat too much.
Oh, sorry, miss. It's okay. I'm just leaving. Uh, would you like the flowers?
>> Oh, >> they're yours. Oh, it's lovely having you back again, Miss Collins. I remember when you done your first show here.
>> So do I. Ah, >> what's the stage door man called? A.
That's right, Arthur.
Good night, Arthur. You remembered my name.
>> But of course. Good night.
>> Could I have your autograph, Miss Collins, please?
>> Of course. Thank you. Like the show?
>> Loved it.
>> Good. You, too.
>> You gave a divine performance. Can you sign to Harry, please?
>> Yes, I'll do that.
>> Thank you. Good night.
>> Oh, Miss Collins.
>> Well, hello. The photographers have all gone.
>> Oh, I hate them. They try to make you look a proper Charlie.
>> You look more of a Charlie when they leave you alone. Well, good night again.
>> Oh, Miss Collins, you you asked me for a drink.
>> So, I did. Well, you better come and have one then.
>> What have I got to lose? My virtue.
I love your number.
Relax. Let yourself go.
>> Oh, what a place.
>> Mix me a champagne cocktail, darling.
>> Yes, of course. But I have another >> Oh, what am I saying? I'll mix it.
>> Maybe you'd like to wash your hands or something.
>> Oh, no thanks. I'll wash my hands in the dressing room before the show.
>> I know what that is.
>> Good. Then open it. I'll bet your manager gives you lots of that to drink.
>> Well, Johnny's not too bad when you get to know him. He gives me a quid tonight to buy coffee and sandwiches. I'd like to see his face now if he could see me.
>> Give you a quid?
>> Oh, yes. He's all right with money. He gives me wages every week. And even then, he's always slipping me half a bar for this or that.
>> Is he your manager or your owner?
>> He's my manager. I owe everything I am to him. All the best, then.
>> I can see you're used to champagne cocktails. Nice drink.
>> Very nice. Help yourself to another.
>> Thanks. Don't mind if I do.
>> You mean this manager of yours pays you a salary?
>> What do you mean wages? Like what do you do here? Drop of this, drop of that.
>> That's it. Not too much of that.
>> Well, it's not like wages exactly. Not like I used to get when I was working the fun fair. We go half. See, everything what I earn, we share and share alike. Very nice of Johnny.
Really? Cheerio.
Cheerio, you've made a couple of records, too. I understand.
>> Goes up your nose a bit if you drink it too fast. Yes. This shrine on the second floor number is my second. How do you think it'll go?
>> I understand there's a market. Although, personally, mothers leave me cold.
>> They do? Me, too. I hate mothers. Do you know when I was a kid in the war, my mother used to leave me to play on the bombsite all day while she went out and worked munition factory. I suppose we all had to do our bit. I know I did often.
>> I think I have another one of these.
>> Take it easy now. Have you eaten tonight?
>> No, I I haven't eaten all day. Too sort of nervous. I bet you never get nervous, Dixie. I bet nothing in the whole world ever makes you nervous.
>> You know, you wouldn't think so to look at me, but I'm really a very nervous type.
>> Oops you. I think maybe you are. Sit down.
>> Garrick starts both with records out this week. It's marvelous.
>> That's what I always say. Go straight to the horse's mouth and you get a load of horse blossoms. Take it away.
>> Let's be big about this.
>> Why?
>> Associated PR.
>> I'll take it. Give it to me.
>> Yes. This is Dixie Collins. Well, I'm a little overwhelmed, of course. Oh, I was delighted with Bongo's success. He's such a sweet, talented kid. I'm sure he'll go far.
In fact, I'm giving him a little party to celebrate his success. That's right.
Bye.
>> A party?
>> Oh, what the hell? Why not? He's really a very cute boy. Let the breakfast in, Rosemary. You're hired again.
>> That's what I call taking it like a real prop. Tell me, Gus, is a kid really that naive or is it that?
>> Six months of such naivity and he'll be earning a thousand a week.
>> That'll be a neat 500 for that enterprising manager of his >> household.
>> He owns 50% of Bongo.
>> 50? This is monstrous.
50%.
>> Have some coffee, Gus.
>> No thanks. I'm too upset. I'll see you later, beautiful. 50%.
>> I'm upset that you're upset, Mr. Mayor, but I have a completely legal and binding contract with Bongo, and so far he's not complaining.
>> I'm not questioning the legality of your contract. I'm simply suggesting that you are being a little unfair.
>> So poor little Bongo. Instead of making a fortune every month, he only makes half a fortune.
>> I'M NOT TALKING ABOUT BONGO, IT'S ME YOU ARE BEING UNFAIR TO. WHY SHOULD YOU OWN HALF OF SUCH A PROPERTY?
>> Are you suggesting perhaps that um you should have an interest?
>> It could be to our mutual benefit.
I feel the need to contemplate.
>> If you don't mind, not for while I'm talking business.
>> YOU MAY BE TALKING BUSINESS, MR. MAYOR, but I'm not. I've been beating a bear living out of THIS BUSINESS FOR TOO MANY YEARS TO be of a generous nature. Look, Johnny, to me, money isn't everything.
How could it be with one foot in the classics? You put me onto a good artist, and in return, I'm not going to be too small about it.
>> Just how small are you not going to be, Mr. Mayor?
I'm arranging a show for the holes up north featuring our recording stars. I want Bongo to top the bill. How much?
400 a week on a 12week tour. Well, I'm going to give you a deck royalty on both records.
>> So, charity begins in the Chering Cross Road after all.
>> But there is a slight case of condition.
>> How stupid of me. Naturally, there would be.
>> Don't bite the hand that feeds you.
>> With my delicate stomach.
>> From here to eternity. Bonga will be on exclusive contract to record for G. In return, we feature him nationwide.
>> I get it.
>> This way you both get it. Fair.
>> As things go, Mr. Mayor.
Very fair.
>> It's like I always say, my boy, in this business, even us in this world, nothing is for nothing.
>> This I already noticed, Mr. Mayor.
>> Everything's for everyone on the other side.
>> There will be free Ambrosia beyond the great divide.
Everything's for everyone where the living's hide.
>> There's a little snag, Jack. First you've got to die.
>> Nothing is for nothing. That's the human plan.
>> Line up for the rat race. Man must live on man.
>> Nothing is for nothing. Nothing is for free.
I'll look after you, Jack. You look after me.
>> Now, >> right.
>> That's it, boys. You've taken enough for a souvenir program.
>> Bye-bye, boys. Thank you.
>> Off you go.
>> It's been wonderful having you, darling.
Good night.
>> Successful, I should say.
>> Rosemary, you're fantastico. Just fantastico.
>> Super.
>> Was absolutely chopping, Miss Collins.
Word of an officer and a gentleman.
>> We'll drop Bongo off for you. Bongo and I have a little business to discuss.
>> Oh goodness.
>> Oh well. I do hope you have the happiest possible business discussion, darling.
>> Good night, Rosemary.
>> Come along, celibate. Come back later, boys. See you in the morning, Rosemary.
>> About my account.
>> In the morning, darling. Off you go. 95.
>> They're gone.
>> Bongo.
>> Bongo.
>> I'm out here. Dixie, >> high up, aren't we?
>> I've been higher. It >> was a smashing party, Dixie. Thanks a lot. You can't half lay it on.
>> I'm glad you enjoyed it, sweetie.
>> What are some strange characters, though? And that lady Rosemary.
Funny to think that stuck up Cynthia is her chico.
>> Rosemary's perfectly capable of breeding, although naturally she avoids it whenever possible.
>> Come over here, Bongo. Let's talk about your future.
>> All those cars look real squashed.
Old Johnny's doing very well for me.
>> Old Johnny's doing very well for old Johnny, too. What does he plan for you?
>> Oh, this and that. A bit of variety. You know, the usual. So long as it brings in the loot.
>> I know the routine. and beat all you can out of a singer for a year and then when the kids are bored, dump him.
>> Johnny never dumped me.
>> Not while you're getting bookings, he won't. But a pop singer's life is short.
I've had three lives already and I'm not that old.
>> What's he doing to develop your talent?
>> Like to swing with me, Dixie?
>> You can't go on being a teenage singer for very far beyond your teenage, you know.
>> Yeah, that's right. What am I going to do when I hit 20?
I'm going to ask Johnny what I'm going to do when I hit 20. He ought to be thinking about it.
>> Bad things can happen to you in this racket if you don't look ahead.
>> Be terrible to be out of it, though, wouldn't it?
>> You're infected. All right.
>> I've never had a day's illness in my life.
>> You're full of health, are you?
>> I'll say.
>> Good.
Let's go inside. It's getting cold.
>> You know something, Dixie?
>> What?
>> If I didn't have my bungos to work it out on, I'd flip my lid. Isn't there anything else you like better?
>> Well, there is something else.
>> Do tell.
>> No, I don't like to.
>> Go on. I've had requests for practically everything in my time.
>> No, I feel silly.
>> I won't laugh.
>> It's the one thing I really want.
>> Maybe it can be arranged.
>> Well, it's a motor scooter. Not a motorbike. A red scooter. What a pity I don't carry an agency for them.
>> And who would you take with you on the pillion of your little motor scooter, Bongo?
>> I'd get one of them boxes fixed on the back for my sandwiches.
>> Bongo, that's really a new twist.
Haven't you got a steady girlfriend?
>> Why is everybody always on with this girlfriend routine?
>> It's not unnatural or illegal, you know.
It's not even taxed yet. Our girlfriends just pin you down anyway. They're always wanting things.
>> Sometimes it's mutual.
>> I don't go much for these guys like Beast wasting theirelves the whole time.
>> So long as he gets his kicks.
>> But he ought to be saving it for his drums.
You've got enough for drums and a steady girlfriend of all times.
>> I'll get it.
>> Sit down. Don't waste yourself.
>> Oh, I uh hope I'm not too late for the party, Miss Collins.
>> The party's over, Mr. Jackson. We all missed you very much.
>> I'd like to thank you for all the help you're giving our boy.
>> Think nothing of it, Mr. Jackson. Good night.
>> I really mean it, Miss Collins. It's not often a star looks down the way you are in Bongo.
>> Do come in.
>> I know that you're very happy for my boy. I'm happy, too. When success comes to someone you've nursed carefully along like a sick welp. Well, you can understand, Miss Collins. You get a bit careful about that kid. I thought animals like you became extinct with giant lizards.
>> I'll take that as a compliment from a great lizardess.
>> I'm going to be very plain, Miss Collins.
>> You are very, very plain.
>> I don't want you interfering with my business interests. Oh, nothing personal, of course.
>> Who is it, Dixie?
>> Who but your ever loving old uncle Johnny? You've been quite the social lion tonight, kid.
>> Yeah, but where am I going to be when I'm 20? Who cares? Now clear your crit in his mind for a minute and listen to me.
>> I ought to be developing myself.
>> I just booked the TOUR FOR YOU. 400 a week.
>> Yelling and bashing in bogos, I suppose.
>> What else? Playing the old Vic. THIS IS THE BIG TIME.
>> I know. I know.
>> Well, you ungrateful idiot. React. Don't just sit there all smug and deodorized all of a sudden.
>> What do you think about all this, Dixie?
>> Never mind about what Dixie thinks.
>> Please carry on. My days are all mine.
>> Who gets the nights?
>> Careful, dear.
>> Dixie's been advising me about my career. You got to think ahead in this business.
>> Leave the visionary part to me. You just remember that you're great only so long as the teenage public thinks you're one of them.
>> What do I care about those grimy y going fancy on them? Make as if you were for one brief moment superior. And you, my little chicken, have had it.
>> Uncle Johnny really is telling you the truth about life.
>> Let's begin to understand one another.
Miss Collins Bongo takes his orders from me. Now put out that cheap cigar, get those glad rags back to Mos, and come and have a quick look at the numbers for YOUR NEW ACT. WHAT I DO IS MY BUSINESS.
>> Half is mine.
>> Aren't you playing this just a little too tough?
>> I'm just protecting my half. Good night, Miss Collins. Get >> All right, Mr. Jackson. Let's see what we can do with the other half.
>> Who's inside? Is it the queen? office.
She wouldn't come down here.
>> Cool. Look at her. Who are you?
>> IT'S A FILM STAR. NEVER SEEN HER ON FILM. Now she's on television.
>> Cool. Look at that figure. SHE'S A SMASHER. LOOK AT FATHER CHRISTMAS.
Where can I find Mrs. Raj?
>> You found her. And if you're looking for Bongo, he don't live here anymore.
>> Nobody asked me to call Mrs. Raj.
>> Oh, we did.
>> I suppose you better come in then.
>> Thank you. Bring those in, George.
>> Put them there, George.
>> Isn't this homemade?
>> What's all that?
>> Presents for Bongo, Mrs. Raj. For you and the family.
>> Him. send him parcels. He never comes near us. So, what's he sending us parcels for?
>> You've got to realize, Mrs. Raj, the bongo's become an enormous success. When success comes to the young, it sometimes upsets him for a while.
>> It upset me. I know that. All those presents for me.
>> For the whole family. You see, Mrs. Red, you may not have thought so, but Bongo thinks a great deal about you. He's been trying to see you.
>> What stopped him then? He knows where we live, don't he?
>> I'm afraid Mr. Jackson doesn't consider that Bongo ought to give too much attention to his relatives.
>> That's that spy manager of his, I suppose.
>> Mr. Jackson is very concerned that nothing should interrupt Bongo's career.
>> So, we don't let him see his own mother.
>> Well, Mrs. Raj, you did give your consent.
>> I never give my consent to nothing.
>> But you did agree to Bongo's contract with Mr. Jackson.
>> I did sign no contract. Maybe if I had, we'd have got something out of it.
>> But Bongo is under 21, Mrs. Rudge. His contract isn't legal unless his parents agree to it.
>> We didn't agree to nothing, and we don't get nothing out of it.
>> Well, then you mustn't blame Bongo.
>> You're right. I'm going to do that, Jackson. It's come between me and my son. I'm going to do it.
>> For bongo's sake, I think you should.
>> All right, I will.
>> You know, Mrs. Raj, I just love a cup of real English tea.
>> Help yourself, dear. It's maybe a bit cold.
>> Having fun, sweetie?
>> Never been so happy, Dixie.
>> That's what we want, darling. Won't be long.
>> Okay.
I want you to know I really appreciate you are telling me about all this.
>> I'm sure you do, Gus. After all, there's nothing to prevent you taking the boy over completely.
>> If I do so, it would only be on a perfectly straight legal basis.
>> Never mind the ethical discussion. You just get your legal blood hounds onto this right away.
>> Can I use your phone?
>> I can't wait.
>> Regardless of my old friendship for Johnny, I feed for all our sakes. I have no alternative. Get me home and Brixton Chancery Lane. Mind you, darling, you forgive an old friend being perhaps a little personal, but >> No, I won't, Gus. All that concerns you is that I intend to use Bongo in my New York act. Have you heard from them yet?
>> They've only had the tele recording this morning.
>> You think I'll get an offer?
>> I'm sure of it any moment. Horse, a little matter of legal contract.
>> I'll leave you to your business.
>> Thank you again, darling. It's a matter of an underage miner contracted as an artist.
Maisy. Maisy. Has the kid been around here?
>> Oh, sure. We have lots of young boys around here.
>> I think it's a police.
>> Maisy doll. This is urgent.
>> So, what's the matter?
>> I can't find Bongo.
>> He ran out of rehearsals.
>> Who is that all?
>> What do you mean is that all? I've got the greatest deal I've ever lined up in my life for this stupid embassy that suddenly decides to go and get temperamental.
>> All right. Don't bite me as well as everybody else.
>> Who's biting? I'm just worried, that's all.
>> So, YOU COME TO LITTLE WHITE mother Maisie.
>> All right, twist the knife.
>> Ever since you got into the grave, he'd been screaming as though you were drowning.
>> Why does he do this to me?
>> Don't worry, Johnny. He's probably chatting it up with some wideeyed kid in a coffin bar somewhere.
>> Maybe you're right. I think I know the very kid.
>> Like the sun, Bongo. You mustn't take too much of it at once. Anything you say, Dixie, you're the boss now.
>> Good turn over.
>> Do you think you think Johnny will make any trouble?
>> Johnny is not in a position to make anything anymore.
>> It's going to be marvelous going to the States.
>> With me?
>> Yeah, with you. I bet you thought I was a real drip when I got lost here that first night.
>> You'd be surprised what I thought.
>> You see, I never thought of me and you in that way. Well, you wouldn't really.
But I'll say this for you, Dixie. You've got what it takes.
>> I've got the lot, haven't I?
>> The lot?
>> It's very lonely having the lot alone.
>> Go on. You alone? You're always in the papers.
>> Sure. Sure.
>> What kind of act do we get going to do in New York?
>> Haven't thought out the details yet.
You'll sing.
>> Yeah. I'll freshen up a bit. You know, put a bit of pep into your show.
>> Thanks. Well, let's face it, Dixie.
You're fabulous, but you're a bit on the square side.
>> I am. Am I?
>> Still maybe getting on a bit.
>> I think maybe I am.
>> But you're real class.
>> I wonder if you're going to help me much.
>> Help you what?
>> Help me?
Oh, hell. Turn over. You're done this side, >> Bongo.
You can fool all of the people some of the time.
You can fool some of the people all of the time.
Try to convey you're as young as a day when a boy first kissed you.
Try to imply that the years passing by somehow have missed you.
You can fool most of the people lead them astray as a rule.
Most of the people like it.
Throwing dust in their eyes isn't hard to do.
Fool them all.
But you can't fool you.
I'm a fool.
Why are you crucifying me, bongo, baby?
>> What the hell are you doing here?
>> That's what I came here to ask you.
Well, we've got work to do. You're a variety artist. The tour, remember?
>> You're trespassing on Dixie Collins property, >> and Dixie Collins is trespassing on mine. Now, you listen to me, Bert. Raj, I've got two seats booked on that Birmingham train on Monday.
>> Well, you better flo one of them sharpish. I'm not coming.
>> Say that again.
>> Look, the tour's no good for my career.
All those kids screaming their heads off. Is that what you want for me? So 400 a week is bad.
>> You're just like that old woman of mine.
You don't care about me. It's just the money.
>> So suddenly it's all for love, is it? We got to love you, you idiot.
>> Dixie and I are doing an act together.
Maybe we'll even do a film together. I suppose it'll be about this great star who underneath it all is just a lonely woman. And this great little kid who underneath it all is just a rotten, UNGRATEFUL LITTLE SCOTT. GET out now.
Get this message and get it clear. I owe 50% of you, no matter which part you're giving to Madame Collins.
>> You keep your filthy mind to yourself.
>> And you keep your filthy hands off my property. He's got a 4-year contract with me.
>> In a pig's eye, he has a contract. It's about as legitimate as you are.
>> You've got a real yen for that boy, haven't you? You're a real case.
>> So are you, my friend. His signature doesn't mean a thing. He's underage.
>> I see. But only for signing contracts and voting, I suppose. Everything else he either knows already or you'll teach him.
>> I don't have to take this from you. Get out or I'll have you thrown out.
>> I can get his parents to sign that contract anytime. IF I WASN'T HAPPY.
>> YOUR PARENTS WILL never sign with you because they've already signed with somebody else. Will you leave now or shall I have you pushed over the edge?
>> Oh, it's going to look great in the press.
Much fancied film star, stables, unbroken, street Arab.
>> Say what you like, it means as little as that contract of yours. Bongo is underage.
>> To me, he looks all of a sudden very grown up.
>> Not that way. The way you came in.
That's the end of him.
>> You're free, Bongo. You're free.
>> Tell me about New York, Dixie.
>> Well, it's full of Johnny Jackson's and Gus Mayers >> and Bongo Herberts.
>> Don't worry, honey. You're unique.
All right. So, I signed the contracts for Bongo's tour, but not for dates like these.
>> The dates are the same dates for anybody.
>> I wouldn't even offer them to a troop of performing dogs. I'm sorry, Mr. Mayor, but I WON'T LET HIM PLAY.
>> WELL, WHAT'S THAT FOR?
>> You are a performing dog, Johnny. I want you to know I APPRECIATE THE PERFORMANCE. NOW, LET'S FINISH THE COMMENT.
>> I'M AFRAID WE MUST.
>> YOU HEAR ME OUT? YOU HAVE SIGNED on behalf of Pongo Herbert, AND YOU CAN'T DELIVER.
>> WHAT DO you mean I can't deliver him?
YOU'RE A SUGAR.
>> YOU CAN'T DELIVER HIM BECAUSE YOU HAVE NEVER HAD HIM ON A legal basis. Oh, I see.
>> So, you enjoy the confidence of Miss Dixie Collins.
>> My dear Johnny, no one could be sorry than I am. But you have placed me in a very difficult position. What am I to do? I have contracts to live up to.
>> I ought to have known.
My little gutter lily.
Glistening up at that fabulous grifter.
I understand how you must feel, my boy.
But I cannot with the best in the world allow your misfortune to become my own.
>> All right. So I'm in trouble, Mr. Mayor.
If I had a way of helping you out. Oh, believe me, I would.
>> I'm glad you feel that way, my boy. I would hate to sue you. It's better this way.
>> Which way?
>> It's better that I, after all, an old friend should take over the boy.
>> Cable, Mr. M.
>> Thank you.
>> Why? I get it.
I follow.
Oh, what the hell? If I can invent one bongo, Herbert, I can invent another.
See you around, Mr. Mayor.
>> Just a minute. Get me Miss Collins of the Dorchester.
>> Right away.
>> I want you to sit in on this.
>> It's very kind of you, Mr. Mayor, but I don't want to do any arrangements for you.
>> Sit down, please. It may cheer you a little to know that business losses like death come to all of us, no matter who.
>> Miss Collins on the line, Mr. Mar.
>> Hello, Dixie. DARLING, I JUST RECEIVED THE CABLE >> from New York. That's wonderful, Gus.
What does it say?
>> They want Bongo. He's on show for 13 weeks.
>> That's terrific. I can't wait to tell him. When do we leave?
>> Well, BONGO LEAVES NEXT WEEK. IT MIGHT BE SMART to go with him.
>> Why wouldn't I go with him? You said we had 13 shows.
>> And who knows, Dixie, darling, if you play your card right, you might get on two or three of them.
>> Who was it, Dixie?
An old man with a sythe.
>> What's a sythe?
>> Sort of a very big knife.
>> But what did you do that was so wrong?
You made Bongo, didn't you?
>> I made him, but I can't deliver him.
>> In this business, Maisy, if you can't deliver, that's criminal.
>> And why are they all against you?
>> They just don't happen to share your eccentric taste, that's all.
>> They just don't understand you.
>> That's right. Whenever anyone said you were a bastard, I always denied it.
>> Good kid, but don't bother to deny it.
>> Just explain that it's a bastard world and I'm a fully paid up member.
>> How long will you be away?
>> Only a few weeks and don't look so miserable. I'm only going on a band tour. Where's me other brush?
>> In the kitchen.
>> Well, go on. Go and get it. I've got a train to catch.
>> You said you'd never go back to band work.
>> We got debts to pay, doll. You wouldn't want me to well Welch on all those uh delicates suppliers. And well, there's your singing teacher. You'd never wish on anybody.
>> You're so faithful. It's heartbreaking.
>> Those things were never so bad. It's not fair.
>> Things are back to normal and they were never fair.
>> How could Bongo do this to you?
>> What a blonde broad and a one-way trip to Broadway.
>> A mayor ought to be ashamed of himself.
>> There's no shame in this trade, Maisie.
Mayor's a great flesh broker. When he cracks the whip, everybody performs. The whole world loves a big agent, Maisie.
But a small one's anybody's [ __ ] Come on, love it all.
What time do you have to be at the show?
>> Dress's walking on for me, but I've got to do the last one.
>> Well, that's all right. Being seen onto a train at night makes me feel like an immigrant.
>> You're so right, my friend.
>> Dy, I didn't see you in a month or so.
>> Jackie, not now, JACKIE. NOT >> WHEN are we going to get together again?
>> I told you it's only a few weeks. IT'S NOTHING.
>> AT LAST, I GOT A PROPOSITION that is 110%. You remember my picture? Omar Cayam, >> I was a school boy. I WASN'T EVEN BORN.
I'M SORRY I WAS.
>> EASY, DOLL. I'm not dying.
>> They are making a stage music with it.
>> Look, Khie. Khaki, we're having a private conversation here.
>> Hey, I'm in business again. Here is what I owe you over the past 5 years. Plus six. I always keep 10.
Who said good deeds go unrewarded?
>> In case the public interest in strip declines while I'm away. Go on. You better go now, doll.
>> Oh, Johnny.
I'll phone you from Manchester in the morning.
>> I should never have spent so much on those singing this >> idiot. I love >> your voice.
>> Goner.
>> I happen to own the stage right of Cayam.
>> Good. Good. You sell out and retire. It couldn't happen to a nicer pioneer of spectacles.
>> SELL OUT NOTHING. I'M GOING TO PRODUCE.
I GOT ONLY ONE PROBLEM. WHO DO I GET FOR CAYAMA?
>> CAILLOU? Omayam's girlfriend. She's a sort of a period Judy Garland. Do you understand?
>> You know something, Ka?
>> I just happen to have under contract to me an absolutely brand new, entirely gorgeous, all British, real sensational Judy Garland.
>> It's not impossible.
>> Hey, in this business, nothing is impossible.
release.
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