An Evening with Sammy Davis Jr

APPLAUSE

Thank you.

Thank you very much. I would like... Thank you.

May I say, thank you for coming and thank you for watching.

My name is James Bond.

LAUGHTER

Smith & Western, eh? You've had your six. Well, anyway...

He's too attractive, I don't believe him anyway.

Actually, I know it sounds a little ludicrous to introduce oneself,

particularly after the BBC has spent so much money to let you know

that I'm on but I think I have to, I have a psychological problem.

My name is Sammy Davis Jr

and the reason, really, is later on in the show I take off my jacket,

see, and I just sing with my shirt and my pants

and sometimes people confuse me with Harry Belafonte.

"I really can't tell one from another, you know. They all look alike."

LAUGHTER AND APPLAUSE

I would like for you to meet at this time,

a gentleman who has been with me on all my trips to London.

He's been with my family, musically, for about six years.

I feel that he is one of the most

outstanding drummers in our business.

In fact, he's out standing, now, waiting to come on. However...

"Oh, that was rather droll, Sam."

His name is Michael Silver

and I'd like for you to meet him. Here we go.

Come closer.

One, two, three, four...

# I've got you under my skin

# Yes, I've got you deep in the heart of me

# So deep in my heart that you're really a part of me

# I've got you under my skin

# I've tried so, not to give in

# I said to myself, "This affair never would go so well"

# But darling, why should I resist?

# When, my baby, you know darn well

# I've got you, got you under my skin

# I'd sacrifice anything, come what might

# For the sake of having you near

# In spite of that voice that comes in the night

# Says these words in my ear

# "Don't you know, little fool, you never can win?

# "Use your mentality, wake up to reality"

# But each time I do, just the thought of you makes me stop

# Before I begin

# I've got you under my skin

# Like the beat, beat, beat of the tom-tom

# When the jungle shadows fall

# And like the tick-tick-tock of the stately clock

# As it leans against the wall

# Like the drip, drip, drip of the raindrop

# When the summer shower is through

# There is a voice that's within me that keeps repeating

# You, you, you

# Night and day, you are the one

# Only you beneath the moon and under the sun

# Whether near to me or far, my dear

# It doesn't matter where you are, my dear

# I think of you night and day, day and night

# Under the hide of me

# There's an, oh, such a hungry yearning, burning inside of me

# And this torment will never be through

# Till you let me spend my life making love to you

# Day and night, night and day

# Wherever you go, I'll be following you

# Wherever you are, I want to be there too

# By the old Moulmein Pagoda, looking eastward to the sea

# There's a Burmese bird awaiting, and I think she's got eyes for me

# But my sails are in the moonlight but it's there I want to be

# So, come you back, you British soldiers, come you back to Mandalay!

# Come you back to Mandalay!

# On the road to paradise, where the old Flotilla lay

# Can't you hear them paddles chunkin' from Rangoon to Mandalay?

# On the road to Mandalay, where the flyin' fishes play

# And the dawn comes up like thunder over China

# Across the bay

# That is why I would sacrifice anything, come what might

# For the sake of having you near

# In spite of that voice that comes in the night

# Says these words in my ear

# "Don't you know, little schmool, you never can win?

# "Use your mentality, where is your reality?"

# But each time I do, just the thought of you makes me stop

# Before I begin, didn't I tell you that I've got you

# I've got you under my skin

# And I like you, I like you under my skin

-# And I've got...

-I've got to stop taking those pills,

that's all there is to it.

# Oh, I've got you

# Lord knows that I've got you

# Yes, I've got you

# Under my skin. #

Thank you. Thank you very much.

The drummer's name is Michael Silver.

Michael, come down here and take a bow, big daddy.

Take a big one, baby.

Just wonderful.

You played very well tonight.

But I wish the next time we do a show together like this, on TV,

don't send any messages, would you?

LAUGHTER

I would like to do a Rodgers and Hart song for you. Terence...

# You're my funny Valentine

# Sweet comic Valentine

# You make me smile with my heart

# Your looks are laughable

# Unphotographable

# Yet you're my favourite work of art

# Is your figure less than Greek?

# Is your mouth a little weak

# When you open it to speak?

# Are you smart?

# Well, don't change

# A hair for me

# Not if you care for me

# Stay, little Valentine

# Stay

# Each day is Valentine's

# Day

APPLAUSE

Thank you. Thank you, Terry. Just one of them. Thank you there.

You know...

Ta. Erm...

There are, when you start to do a show like this,

one where you want to do some of the things you've

never done on television,

as soon as the announcement comes out in the papers,

invariably, you get people who write you and write notes about it.

Where they have all the things that I had requested.

I got a letter from a young man I imagine must be about seven or

eight years old and he said, "I am interested in fast draw

"and I understand that you do Westerns and all of that,

"and you do with the gun, so, on your show for BBC, would you explain

"a little bit about it and let me see it?"

So, for you, Michael, I'm going to do it.

LAUGHTER

This is the standard holster for fast draw, Mike.

And this is a cord that ties around to keep your gun in the right place.

Making sure that it's at a proper length so that you can

get it out easy.

# As I walked out in the streets of Laredo

# As I walked out in Laredo, one day

# I spied a young cowboy

# Wrapped up in white linen

APPLAUSE

Shucks, I wouldn't put it on unless I was good at it.

LAUGHTER AND APPLAUSE

I told you cats you'd laugh at that.

# Wrapped up in white linen

# And cold as the clay

Now, the single action part is quite simple.

Single action means unless you have the modern revolver,

they can fire this way, by just pressing the trigger, with

an old-fashioned Western gun, you had to cock the gun first and then fire.

So that, in essence, when you go for the fast draw the gun is

actually cocked while it's in the holster, like so.

See, it's cocked here, you pull out and then fire.

Of course, you must be careful, Michael, that when you do this you don't do that.

COMIC DRUM ROLL

Or you'll find out immediately why Chester walks with a limp.

LAUGHTER

Now, we want to see if...

We want to see if we can get a couple of fast ones off

but I would only like to say that attitude is most important.

I brought these along, Michael, just in case, never know.

When Mosley might show up, you never know.

You must be careful to get the proper attitude, you see,

because you've got to walk tall, get the proper stance.

Because Jerry Lewis, for instance, he's never done Westerns

because that would be a little ludicrous.

Can you imagine Jerry Lewis as a Sheriff, walking and saying,

"Hello there, how are you?

"I am the Sheriff of the town, la-da-da da-da."

LAUGHTER AND APPLAUSE

GUNSHOT

DRUM ROLL

APPLAUSE

Thank you. You know what we haven't done yet, Terry?

We haven't done anything that's really sort of old-fashioned,

variety, vaudeville stuff.

Let's do one number like that.

I think I have my vaudeville prop back here. Yes, here we go.

No man worth his union card would be caught without one of these.

LAUGHTER

# Me and my shadow

# Strolling down the avenue

# Me and my shadow

LAUGHTER

# No-one I can tell my troubles to

You've gone too far this time, Sir Percy!

LAUGHTER

# When it's 12 o'clock, I just simply climb the stairs

# I never, never, never, never knock

# Because there ain't going to be nobody up there but

# Me and my...

# I said, me and my shadow

# All alone and feeling blue

DING

LAUGHTER

TAP DANCING SHOES CLINKING

Two, four, six, eight, we don't want to integrate.

LAUGHTER

RAPID CLINKING

ACOUSTIC GUITAR STRUMMING

LAUGHTER

SAMMY SINGS IN BROKEN SPANISH

-BAND:

-Ole! Ole!

All right, all right, enough already.

LAUGHTER

SAMMY SINGS IN BROKEN SPANISH

TAP DANCING SHOES CLINKING

LAUGHTER

# And when it's 12 o'clock, I climb the stairs

# I never knock, cos there's nobody there

# But the landlord, me and my, my little shadow

# I'm all alone and feeling

# All alone and feeling

# All alone and feeling blue

APPLAUSE

I must say...

..that hats have always been important to me,

going back to the days of vaudeville and so forth, with my family in America.

But also to a lot of performers, I think, hats have been important.

For instance, when you take a man like Fred Astaire,

he has a big thing with hats, always dances with hats

and to see Fred Astaire walking down the street is something else, watch.

APPLAUSE

# It's quarter to three

# There's no-one in the place

# Except you and me

# So, set 'em up, Joe

# Got little story

# You ought to know

LAUGHTER

Hi. Now, you take, the same song, same hat, different attitude.

The hat has become important for this man, too. Mr Frank Sinatra.

APPLAUSE

LAUGHTER

Good evening.

# It's quarter to three

# There's no-one in the place

# Except you and me

# Set 'em up, Joe

# Got a little story you ought to know

# I'm drinking, my friend

# To the end of a brief episode

# So, make it one for my baby

# And one more for the road

# The long, long road

# The long, long road

APPLAUSE

I'll tell you what, let's keep the hat on

and shape it into the styles of various favourites

who favoured hats. The Humphrey Bogart hat.

It's quarter to three.

There's no-one in the place except you and me, blue eyes.

So, stick 'em up, Joe.

The Cary Grant hat.

You've got the routine.

I would appreciate it if you would do something to that machine,

I really would.

I mean, after all, what do you think I am, a Coca-Cola drinker?

I'm feeling so sad, wish you'd make the music kind of

bassy and glad, yes, how about that.

Now, of course, there are other actors who don't

depend on a hat or anything like that.

They have their hair askew, things like that, going for them.

I beg your pardon.

Young man, may I present this to you on behalf of the BBC?

LAUGHTER

For the wonderful job you've been doing.

Like Marlon Brando.

LAUGHTER

Uh...

LAUGHTER

Uh, that's how it goes, you know.

I endure...

LAUGHTER

Look, when I talk to you, I want you to look at me, all right?

I'm feeling so sad, you know.

We should make music, erm...

I don't know what you've got but I think I've got it.

LAUGHTER AND APPLAUSE

And of course, there always... Thank you.

There's always my friend, Mr Dean Martin.

Would you hold this for me, please? It's a set.

Which way is the audience, pally?

# That's how it goes

# Joe, I know you're getting anxious to close

# Oh, yeah

# Thanks for the cheer

# Hope you didn't mind my bending your ear

LAUGHTER AND APPLAUSE

# Must be drowned

# Or soon, it's going to explode

# So, make it one for my baby

# And a whole case for the road

# The long

# Don't you know I'm here for the long, long

# Yeah

# The long road

# The long, long road. #

APPLAUSE

I just want to say that we were running...

I know, you don't have to show me the wrist. I've seen it.

I know exactly what it means. It means I'm going off the air, right?

I just want to say... I've got time to say good night, haven't I?

What do you mean?

LAUGHTER

I just want to say... Hey!

How about this, right? What are you going to do if I decide to stay?

LAUGHTER AND APPLAUSE

What about that?

APPLAUSE

That's it, pal of mine.

That's it. Get out Birth Of The Blues, Terry, if you will.

Don't look at your watch. Just get out Birth Of The Blues.

LAUGHTER

What are they going to do?

Perry Mason you know about. He wins every case. You know he does.

What are you starting this rumour for?

I'm here once in every two years.

APPLAUSE

Don't worry... Terry, don't worry about it. Do as I say.

You'll play the number. That's it.

What are they going to do, go like this, you're off?

LAUGHTER

# They heard the breeze

# Through the trees

# Singing weird melodies

# And they named that

Yeah!

# Just the start of the blues

# Then from a jail

# There came a wail

# From a down-heart and frail

# And they played that

# As a part of the blues

# Now from a whip-poor-will

# High on a hill

# They took a new note

# And they pushed it through a horn

# Until it was worn into a blue note

# You gotta believe me, they nursed it

# And they rehearsed it

# And then, then they gave out the news

# That the South Land

# Really gave birth to the blues

# From a whip-poor-will

Everybody, clap hands in time. Come on.

# They grabbed a new note

# And they pushed it through a horn

# Until it was worn into a blue note

# Oh, everybody, they nursed it

# They rehearsed it

# And when they were ready, they gave out the news

# That the South Land

# Gave birth to the blues

Oh!

# They nursed it

# Rehearsed it

# And gave out the news

# That that old South Land

# Gave birth to the blues. #

APPLAUSE

Thank you. I thank you.

Thank you very much, ladies and gentlemen.

Thank you very much.

I can't find words to thank all of the chums and buddies

who came in from the profession tonight into the studio

to see the show. And all of you nice people.

Particularly, you nice people at home who are watching us

from your homes for this brief time.

I particularly would like to thank the entire crew here at the BBC.

I have never worked in my entire life with a nicer bunch of guys.

Terry Rosen, of course, and all the guys in the band.

Always my continued thanks.

And I'd also like to thank my producer,

Mr Dennis Main Wilson for doing so nice by me.

Till we meet again, may I simply leave you like this.

I wish for you what I would wish for my family and myself,

that is that we can all understand each other

a little better in the near future as human beings

and that we might have the privilege of then raising our children

in a peaceful world. Until we meet again, thank you and God bless.

APPLAUSE

Oh, my goodness gracious... To your health!

I'm going to keep drinking to your health until I ruin my own!

LAUGHTER

All right. Everybody up!

Well, I guess it just isn't your day, young man. I would like...

LAUGHTER

We're switching into a sweater here because it's a little proppy

and gives a chance to sort of set the mood more or less

for this next thing. There.

Oh, my goodness gracious. Here we go. This is a...

There we are. This was given to me by Andy Williams. I would like...

LAUGHTER

He has tonnes of these things!

This is a number in which I'd like to feature, my guy.

My bongoist.

A gentleman who's been with me for quite a number of years.

His name is Johnny Mendoza. He's featured in this next number.

Spotlight on Johnny. Go!

# When you're a Jet, you're a Jet all the way

# From your first cigarette to your last dying day

# When you're a Jet, if the spit hits the fan

# You got brothers around, you're a family man

# You're never alone, you're never disconnected

# You're home with your own, when company's expected,

# You're a Jet

# You're a Jet, you're the smoothest kind of cat

# You're a Jet

So don't be late, Tony. We'll be expecting you at the gym, huh?

09.30. Tomorrow night. Be on time.

And walk tall, man.

You're a Jet.

# There's a place for us

# Somewhere, a place for us

# Take my hand and I'll lead you there

# Hold my hand and I'll take you there

# Somewhere, somehow

# I know a new dawn is breaking

# It will be ours for the taking

# For the taking

# Breeze it, buzz it, easy does it

# Stay loose, boy

# You got a rocket in your pocket

# Stay coolly cool, boy

# Go, man, go... Pow!

# But not like a crazy schoolboy

# Just play it cool, boy

Real cool. Real cool.

# And you'll have a ball in America

# You'll give your all in America

# But nobody knows in America

# Puerto Ricos in America

# Tonight, tonight, I'll meet my love tonight

# Tonight there will be our shining stars

# Tonight the world is filled with music

# The world is full of laughter

# It's better than all right

# So, moon, shine bright

# And make this wondrous day wondrous bright

# Tonight

# The most beautiful sound I ever heard

# Maria

# Maria, Maria

# Maria

# All the sounds of the earth in a single word

# Maria

# Maria, Maria

# Maria

# Maria

# I just kissed a girl named Maria

# And suddenly that name will never be the same to me

# Maria

# Say it loud!

# And there's music playing

# Say it soft

# And it's almost like praying

# Maria

# I'll never stop saying

# Maria

# The most beautiful sound I've ever heard

# Maria. #

APPLAUSE

Mr Johnny Mendoza, ladies and gentlemen.

Come over here, Jonno.

Isn't he wonderful, ladies and gentlemen? Magnificent is the word.

APPLAUSE CONTINUES

Boy, I tell you, it's nice to be in this business.

It is, to be exposed to guys like that.

You really made it, baby.

No jazz. Chips down.

That's it.

I hope you don't mind this, ladies and gentlemen.

Those of you who are at home watching the show,

which I hope you will be watching...

..you know that it's a relaxing thing to sit down.

When I was young, I used to say, "Don't ever show me you're tired."

Er, but I'm old now and I've got to show you and that's it!

LAUGHTER

One of the nicest things about, you know,

being with the BBC is being in the same identical studio

for part two as we were in part one working with 90% of the same crew

and, of course, the same guy, Dennis Main, Dame Main Woody.

LAUGHTER

APPLAUSE

Being my producer and my other self.

I must tell you, I must explain why I said that, so you'll know.

His name is Dennis Main Wilson.

But a long time ago when we first met

and we started talking about part one,

I called him Dame Main Woody, you see?

And it sort of stuck.

And everybody around the BBC now goes,

"Oh, here comes Dame Main Woody."

LAUGHTER

And he goes... Grrrr!

LAUGHTER

It's all right from them chaps from the colonies

but I don't have to take it from my own kind!

LAUGHTER

I asked if I could...

..do something, an ad-lib section.

Meaning, really, to ad-lib. Not to know what's planned.

Agreed, we've rehearsed what I might think might be

a couple of the songs you might ask for, or little bits.

But I asked all the people if I could do eight or nine minutes

with anything that the audience here at the theatre would ask to do.

And I have no idea what they're going to ask for.

I swear to you, it is legit.

And I think we might have some fun.

It'll be interesting.

The first guy that asks me to sing Marching Through Georgia,

he's in a lot of trouble, I tell you that.

LAUGHTER

Cos I ain't going there either, you know?

LAUGHTER

But if there are any requests that you'd like to hear,

any of you nice folks? If we can do it, if we know... What?

Once In A Lifetime, please.

Once In A Lifetime? We have a request for Once In A Lifetime, George.

All right. What?

AUDIENCE SHOUTS REQUESTS

All right.

Uh-huh.

Yes, that's wonderful.

We've got enough now to go into a whole series here.

LAUGHTER

I think we got a pretty good cross-section.

-Let's do Once In A Lifetime.

-Thank you!

And er... My pleasure.

Then we'll do a little bit of What Kind Of Fool.

And erm...

AUDIENCE SHOUTS MORE REQUESTS

OK, I'll tell you what we'll do. A Lot Of Living, too, we'll do.

We'll do them all. We've got time. We'll do them all.

PIRATE ACCENT: Ah... Ah, me fine buckers!

LAUGHTER

I know where there's more gold than any man Jack here has ever seen.

Come along with Long John.

LAUGHTER

For those of you at home,

can we get a shot of the band looking for this music?

LAUGHTER

APPLAUSE

It's like John Ford's...

It's like seeing a sneak preview of John Ford's production of the Search.

LAUGHTER

Why did he have to call that one? What number is that?

I'll tell you what we'll do.

While we're waiting for the number things, can we... This is...

Please excuse us, but it is ad-lib.

Could you get to the piano, George, and play a little of All The Way?

Because we had a request for that.

And then we'll do just Once In A Lifetime.

# When somebody loves you

# It's no good unless she loves you

# All the way

# Happy to be near you

# When you need someone to cheer you

# All the way

Tony Bennett.

# Toilet, toilet

# Then the toil is twiz

LAUGHTER

# That's how it's gotta feel

It's Frank's song. So we should do a Frank.

# Deeper than the deep blue seas

# That's how deep it goes

# If it's real

Frankie Laine.

# When somebody needs you

# It's no good unless he needs you

# All the way

APPLAUSE

# Through the good or lean years

LAUGHTER

# Come what may

A little Dean, of course.

# Who knows...

LAUGHTER

# Where the road will lead us

# Oh, yeah, only a fool

# Would say

Me.

LAUGHTER

# And if you let me love you

# It's for sure I'm going to love you

# All the way

# All the way. #

I hope you liked that.

Thank you.

# Just once in a lifetime

# A man knows a moment

# One wonderful moment

# When fate takes his hand

# And this is my moment, my once in a lifetime

# When I can explore new and exciting lands

# For once in my lifetime I feel like a giant

# I soar like an eagle

# As though I have wings

# For this is my moment

# My destiny's called me

# So, lady, once in a lifetime

# I'd like to do good things

# Just once in a lifetime

# A man knows a moment

# One fabulous moment

# When fate takes his hand

# And this is my moment

# My once in a lifetime when I can explore new and exciting lands

# For once in my lifetime I feel like a giant

# I soar like an eagle, just as though I have wings

# Boy, this is my moment

# My destiny's told me

# Oh, it may be just once in a lifetime

# I'm gonna do

# Great

# Things. #

APPLAUSE

The band, ladies and gentlemen...

That's for you, baby. Thank you.

Do What Kind Of Fool. We've got to do a little bit of What Kind Of Fool.

What Kind Of Fool. A little piano.

And, George, if you can, have the guys come in on the second half.

It's a turnaround thing, you know?

Maybe something like that, OK?

Are you having trouble, Bubby?

LAUGHTER

He's looking...

That's it, right here. Here. That's it.

The BBC pays out good money for this!

LAUGHTER

And if they only knew, I'd do it for just fun.

LAUGHTER

Don't you tell nobody!

LAUGHTER

# What kind of fool am I

# Who never fell in love?

# It seems that I'm the only one

# That I have been thinking of

# What kind of man is this

# That could not see

# What could be seen by almost

# Everyone

# But me?

# What kind of lips are these

# That lie with every kiss?

# Let...

I hope it's one of ours! LAUGHTER

# That whispered empty words of love

It's not me, sir. It's the box over there.

# That left me alone like this

# Why can't I fall in love

# Like any other man?

# And maybe then I'll know

# What kind of fool

# I am

# What kind of clown am I?

# What do I know of life?

# Why can't I cast away

# This mask of play and then live my life?

# Why can't I fall in love?

# I don't give a damn

# And maybe then I'll know

# What kind of fool

# Am I. #

APPLAUSE

Thank you.

You were wonderful there.

Thank you.

All right.

This is one I'm putting in

because I don't get a chance to do this very often.

I'm requesting it!

LAUGHTER

Well, I hope these pains go away...

LAUGHTER

Are you ready? Look out, we're going to swing with this one.

# That old black magic has me in its spell

# That old black magic that you weave so well

# Those icy fingers up and down my spine

# The same old witchcraft when your eyes meet mine

# That same old tingle that I feel inside

# Then that elevator starts its ride

# And down and down and down I go,

# And around and around and a cha-cha-cha

# Like the leaf that's caught in the tide

# I should stay away but what can I do?

# I hear your name, and I'm aflame

# A flame with such a burning desire

# That only your kiss

# Can put out the fire

# You're the lover, you're the lover, you're the lover, you're the lover

# I have waited for

# You're the girl, you're the chick, you're the one that I was created for

# And every time your lips meet mine

# Down I go

# All around I go

# Like a leaf, a leaf that's caught in the tide

# I should stay away, but what can I do?

# I hear your name and I'm aflame

# A flame with such a burning desire

# That only your kiss, kiss, kiss can put out that fire

# Cos you're the lover, lover, lover that I have waited for

# You're the one, you're the babe that I was created for

# And every time your lips meet mine

# Well, you ain't nothing but a hound dog

# You ain't nothing but a hound dog

# In a spin, man, can I dig that spin I'm in

# Rumba like a tromba

# Old black magic called

# You're a dirty robber

# Old black magic called

# Oooh-oh stay in the car

# Old black magic called...

Yeah.

SAMMY SCATS

# Way down among Brazilians, coffee beans grow by the billions

# And they've got to have those extra cups to fill

# They've got an awful lot of coffee in Brazil

# You can't get cherry soda cos they've got to fill that quota

# And the way things are I'm hip they never will

# They've got an awful lot of coffee in Brazil

# No tea or tomato juice

# You ain't never gonna see any other kind of juice

# For the planters down in Santos all cry, "No, no, no"

# A politician's daughter was accused of snatching water

# And was fined a great big 50 dollar bill

# They've got an awful lot of coffee, bags and bags of coffee

# They've got a lot of coffee in Brazil

# Brazil

# She gets too hungry for dinner at eight

# She adores the theatre but never comes late

# And she will never argue with the person that she hates

# And that is why the lady is a...

# She likes the free, fresh wind in her wig

# There's nothing she don't dig

# She's a swinger, a humdinger

# She's all alone when she lowers her lamp

# That's why the lady

# That's why the lady

# That's why the lady is a tramp

# A tramp

# Oh, a tramp

# I've got to leave you, I've got to go

# This is the end of my show

# May I thank you, one and all

# For making this evening a ball?

Oh, one more thing.

# If you are having a party and you don't know who to bring

# If you are having a party and you need someone to sing

# Don't go to strangers, come to me

# Cos I will sing absolutely free

# Don't go to Matt Monro

# Don't go to Al Capone

# Don't go to Tony Newley

# Don't go to Frank Sinatra

# Don't go to the Beatles

The Beatles? All right, you can go to them.

# Don't go to anybody else but me

# And remember my name

# Please, remember my name

# My name is Sammy Davis

# My name is Sammy Davis

# My name is Sammy Davis

# My name is Sammy Davis

# My name is Sammy Davis

APPLAUSE

George Rhodes.

And the greatest band. Thank you, guys.

APPLAUSE

Michael Silva and Johnny Mendoza.

Good old Joe. I thank you.

Oh, I've got time.

There was a number that we did last time.

That we didn't do, I beg your pardon, last time that was scheduled to do.

We got hung up into doing other things.

And there's never really enough time to spend.

But there's a serious number that I wanted to do that is about...

What is it?

Bit far for a message from Lionel Blair, isn't it?

LAUGHTER

"Perry Mason is waiting."

LAUGHTER

Bye.

APPLAUSE