"#Sayit 'sonlyapapermoon" "# Sailing over a cardboard sea" "# But it wouldn't be make-believe if you believed in me" "# Yes, it's only a canvas sky" "# Hanging over a cotton tree" "# But it wouldn't be make-believe if you believed in me" "# With all your love it's a honky-tonk parade" "# Without your love, it's a melody played in a penny arcade" "# It's a Barnum and Bailey world" "# Just as hollow as it can be" "# But it wouldn't be make-believe if you believed in me #" "# Rock of ages cleft for me" "# Let me hide myself in thee" "# Let the water and the blood" "# From thy wounded side which flowed" "# Be of sin the double cure" "# Save from wrath" "# And make me pure #" ""Judge me, O Lord, for I have walked in mine integrity." ""I have trusted also in the Lord," ""therefore I shall not slide." ""Examine me, O Lord, and prove me." ""Try my reins and my heart." ""For thy loving kindness is before mine eyes" ""and I have walked in thy truth." ""I have not sat with evil persons," ""neither will I go in with dissemblers." ""I will wash mine hands in innocency." ""So will I compass thine altar, O Lord." ""That I may publish with the voice of thanksgiving" ""and tell of all thy wondrous works... "" " Loggins' funeral?" " Yes, ma'am." " Ain't related, are you?" " Related?" "We're looking for the child's kin." "Thought I saw some resemblance." "No kin?" "None we know of, except in Missouri." "Seems you got the child's jaw." "No, just a friend of her mama." "If ever a child needed a friend..." ""... will I bless the Lord." " "Amen. "" " Amen." "Amen, Essie Mae." "I just know your ass is still warm." "Would you like some water, Addie?" "We'll get the child some water." "Bless you, child." "I wanted to pay my respects to your mama." " I have to go." "It's a long way to St Louis." " St Louis, Missouri?" "Yes, ma'am." "I sell the Good Book." "Just spreading the Lord's good news." "Addie, don't you have your Aunt Billie living in St Joseph, Missouri?" "Her poor mother's sister." " Her only known relative." " That so?" "If you're driving your chariot to Missouri, you could take her." " I wouldn't call it a chariot, Reverend." " I'll write the woman a letter tonight." "I have to think upon this." "I may have to make a few stops along the way." " I never travelled with no child before." " The child's got no place to go!" "Well... in the eyes of the Lord, I have no choice." "Hallelujah!" " God works in mysterious ways." " Don't He?" "Come on, Addie, better get your things." "This nice man's taking you to your aunt." " How come you're taking me?" " Huh?" " How come you're taking me?" " 'Cause I'm going that way, honey." "Although I do want to make just one stop before we leave town." " Got a little business to do." " You know my mama real good?" "Oh, pretty good." "You just stay out here." "Don't you say a word unless I ask you to." " Mr Robertson?" " That's right." " I'd like a minute of your time." " Not buying today." " Just want you to meet somebody." " So what?" " Tell him your name, honey." " Addie." "Addie Loggins." "You done real fine." "I'll be out in a minute." " Ain't she a sweet child?" " No, she ain't." "Maybe not now, because she's sad, with her mama dead and your drunken brother hitting that tree." "What are you trying to pull?" "Get out!" " I'm going." "I'll tell you where." " I don't care!" "To see J T Faraday." "You know who he is?" "One of the biggest lawyers in Kansas." "He don't favour the man with the money." "Know what's going to happen to your brother?" "A lawsuit against him." "Everything's going to be tied up in knots." "His money, his house, all he owns!" "Including half this plant." "Don't think that poor child ain't entitled, 'cause she is." "Now, I was thinking, $2,000 would be acceptable." "I'll give you 200." " $200?" " $200." "It's a deal." "There you are." "That'll be $67.54." " You sure these tyres are new?" " $67.54." "Now, we'll have you to St Jo in no time." " When's the next train to St Joseph?" " St Joseph?" "Let's see." "That'll be the 4.14." "Change trains in Kansas City and into St Jo at 9.52 a. m." "One child's price ticket." "$11.45." "Send a telegram to Mrs Billie Roy Griggs, Cosmo Row, St Joseph." ""Train arriving 9.52 a. m." "And bringing love, affection and $20 cash. "" "Make that $25 cash and sign it just Addie Loggins." "Ten words, that will be 85 cents more." "That will be $12.30." "$12.30?" "You'd better say in that message, "Love, affection and $20 cash. "" ""Love, affection and $20 cash. "" "Here's your ticket, and $20 for your Aunt Billie." "We got till 4.15." "I don't suppose you can wait here by yourself, can you?" "You hungry?" "Want a Nehi and a Coney Island?" " Ain't you eating?" " I ain't hungry." "You worried about going on the train?" "You'll like it." "You'll soon be at your aunt's and all your troubles over." "So, eat up." " She don't know me." " She will." " She ain't going to want me." " She ain't seen you yet." "Never even cared for my mama." "And she was her sister." " Your mama was fine." " Everybody says she weren't!" " Everybody don't know your mama." " How good you know her?" "Enough to know you can be proud of the happiness she gave." "Eat your Coney Island." "You meet her in a bar-room?" " Where would you get that question?" " I hear talk, wondering if you was my pa." "Well, don't the world have a wild imagination?" "Eat your Coney Island." "You my pa?" "Course I ain't your pa." "I'll get you some relish." "Coney Island ain't no good without relish." "Look, I know how you feel." "I lost my ma and pa." "I don't know where my sister is." "I wish I could tell you I'm your pa, but it just ain't like that." "You met her in a bar!" "Just because a man meets a woman in a bar don't mean he's your pa!" "Eat up!" "Then if you ain't my pa, I want my $200!" "What's that?" "I want my $200." "I heard you through the door, talking to that man." "It's my money and I want it." " You hold on a second..." " I want my money." "You took my $200!" " Will you quiet down?" " I want my $200!" " Hold on." "Let me explain something." " If you was my pa, that'd be different!" " Well, I ain't!" "Get that out of your head." " I look like ya." "You don't look any more like me than you do that Coney Island!" "Eat it!" " We got the same jaw." " Lots of people do!" " It's possible!" " It ain't!" " Then I want my $200!" " All right!" "We got the same jaw." "I know a woman that looks like a bullfrog." " That don't mean she's its mother!" " You met my mom in a bar." "You think everybody gets met in a bar gets a baby?" " It's possible." " Anything is." "Possible don't make it true." " Then I want my money!" " Will you quiet down?" "The trouble with you is you got no appreciation." "Maybe I did get a little money from that man and you're entitled to that." "I'm entitled to my share for getting it for you." "Where would you be without me?" "Think them folks would spend a penny to send you east?" "Who got you a ticket?" "Who got you a Coney Island?" "And threw in $20 extra, not to mention 85 cents for that telegram." "You wouldn't have had that without me." "I didn't have to take you, but I took you." "I think that's fair enough." "We're both a little better off." "You get to St Jo." "I get myself a little better car." "Fair is fair." "Now, drink your Nehi and eat your Coney Island." "I want my $200." "I don't have your $200 no more and you know it." "If you don't give me my $200, I'm going to tell a policeman how you got it and he'll make you give it to me, 'cause it's mine." "But I don't have it!" "Then get it." "How we doing, angel pie?" "Going to have dessert when we finish our hot dog?" "I don't know." "Daddy, why don't we get Precious a dessert if she eats her dog?" "Her name ain't Precious." "I want my money back on this ticket and send this telegram, "Trip delayed," ""but I'm coming real soon!"" "Lie quiet." "Folks don't take to children when they're doing business." " Yes?" " Ma'am, is Mr Morgan at home?" "Mr Morgan?" "My name is Moses Pray, Kansas Bible Company." "He'll know." "I'm sorry." "Mr Morgan has passed on." "Oh, ma'am, I just..." "I don't know what to say." " What were you seeing him about?" " He ordered this here Bible..." " Rudolph ordered a Bible?" " The de luxe with the lady's name on it." " Lady's name?" " I expect a special gift to a family friend." "Under the circumstances, I'll give you back his dollar deposit with no obligation." "Ma'am, I don't know how to put into words the sorrow I feel." "What name is on it?" "I don't really know what name Mr Morgan had put on it, ma'am." "Let's see." "It's here somewhere." "I've got it." "Here it is..." " Pearl." "... Pearl." " I'm Pearl." " He must have got this for you, ma'am." "Yes, he bought it for me." " Of course." "You're not obliged to take it." " Of course I'll take it." "There's one thing." "I told him I could sell him a cheaper Bible, but he wanted the best, being the de luxe with the lady's name printed in gold..." " Oh, he would." "... bringing a balance due of $8." "$8?" "Well, that's $8, minus the dollar deposit," " making it $7." " I'll go get my purse." " You're not obliged to take it." " Of course I am." "He ordered the de luxe!" "Coldornot, it's good to be back in Manhattan." "Jack, you've been here since Thursday." "What have you done?" "I've had a lot of fun, Don." "I saw some shows, went to nightclubs." "Last night, I was invited to Fred Allen's apartment for dinner." " Fred Allen?" " We're good friends." "I'm glad to hear it." "Has Fred got a nice apartment?" "How could I tell, Don, with all that laundry hanging in the living room?" " Ain't you going to go to sleep?" " Don't you want to hear Jack Benny?" "No!" "I don't want to sound catty..." "You're too young to smoke!" "You're going to set this whole place on fire." "I now owe you $103.72." "74." "# I always knew some day I'd accompany you" "# Along Flirtation Walk" "# A dream foretold A story that you'd unfold" "# That lives forever and never grows old" "# I always felt that your little heart would melt" "# Along Flirtation Walk... #" "Roosevelt said we're all feeling better." " He did?" " Made me feel good saying that." " Better than I've felt in a long time." " Bet old Frank wishes you was 21." "You don't like me, do you?" "No, I don't like you!" " Yes?" " Ma'am, is Mr Bates at home?" "Mr Bates is dead." "He died a week ago." "Passed over?" "I was just talking to him not less than a month ago." " What was it you wanted?" " My name is Pray, Kansas Bible Co." "I have this Bible Mr Bates ordered." " Bible?" " Who is it?" "What's the trouble?" " It's about Benjamin buying a Bible." " Bible?" "What kind of Bible?" "Says he talked to Benjamin a month ago." "I'm not sure of the dates." "Benjamin didn't go near that shop for more than a month before he died." "I may be mixed up on the dates." "What company are you from?" "Kansas Bible Company, out of Wichita." " I ain't never heard of it." " Daddy?" "Can't we go?" "I want to get to church and pray for Mama." "Yeah, sure we can, honey." "Daddy was just fixing to leave." "This is my little girl." "It's just the two of us." " My mama's gone to the Lord." " So has poor Mr Bates." "Here's his deposit." "Let us know if there's anything we can do." "Hold on there!" "Wait one damn minute." " He actually ordered a Bible?" " He did." "Here it is." " In gold, for somebody named Marie." " That's her." "She's Marie." "She meant a lot to him." "He wanted the de luxe edition." " How much?" " That's..." " It's the $12 one, Daddy!" " $12?" "Honey, we have to have a little goodness in our hearts in the circumstances." "If it'll make that woman happy," "I'll take it." "You owe me $85.74." "Imean,we 'regoing to Washington on the Q T." "Molly, she says we can't go on the Q T, we got to take "The Pennsylvania"." "I'd better go!" "Where's my suitcase?" " I don't know, McGee." "You had it last." " I know." "It's in the hall." "He's going to open the closet." "He'll say he's got to straighten it out." "Got to straighten out that closet one of these days." " Would you like to do business with me?" " Instead of paying me back?" "I'll pay you back." "While we head east, how about we do business together?" "You're looking at me like I'm out to cheat you." "It's business." "Take it or leave it." "Turn off that radio." "You'll drive us all deaf with it." "... in an average way, of course." "I can..." "OK." "Remember one thing, I decide on the price." "Maybe you don't know French, but there's finesse!" "I never sold no Bible for $12." "That man was a law officer!" " We got it, didn't we?" " I don't care if we got it!" "Don't you go making the decisions!" "You just got to look like a pretty little girl." "You ain't got a ribbon in that cigar box?" "I got my mom's kimono in my suitcase, Chinaman with umbrellas." "That ain't what I had in mind." "You look real nice in that ribbon." "First off, I didn't know was she a boy or a girl." " I'm a girl!" " Well, it makes all the difference." " Ain't she got a sweet face?" "Somehow." " We'll take a ribbon in each colour." " How much is that going to cost me?" " That'll be 15 cents." "Bought my grandchildren ribbons just like this, last holiday." "Grandchildren?" "I don't believe it." "Break a five?" "You can believe it all right." "I'm just as old as I look." "Now, here you be." "That's one, two, three, four, five." "This wallet's about to bust inside." "I give you five ones, you give me that $5 bill." " How many grandchildren you got?" " I got two granddaughters, nine and ten, two grandsons near 16 and I got a grandson 35 years old!" "Come on!" "Why don't you just give me a $10 bill?" "Here's the five." "The ones are there." "It won't be so quick to break." " Six children!" " I got a daughter 51!" "I don't mean to be handing you no line, but that's pretty hard to believe." " You can believe it all right!" " I'd have to see it." "Much obliged." " See you again!" " Y'all come back!" "It just don't seem quite right." "Somehow." " Yes?" " I'm looking for Mr Stanley." " Mr Stanley's dead." " I'm looking for Mr Warren M Stanley." "Warren's passed on, sir." "I was just talking to him not more than two weeks back." "He ordered this Bible." "He spent money on a Bible?" " Yes, with the name Elvira in the corner." " Why would he buy a Bible?" "He took fast to the idea." "He left a balance to it." "Not counting the deposit..." " This one's already paid for!" " Huh?" "Mr Stanley paid for the whole thing, don't you remember?" " Afternoon, ma'am." "Mr Huff at home?" " Mr Huff passed away a week ago." "Gee, I was talking to him a month ago." " What was it you wanted?" " My name is Pray, Kansas Bible Co." "He ordered this Bible for Edna." " That's my name." " You don't have to take it." " I'll give you back his deposit and..." " Of course I want to keep it." "He bought me a Bible." "I told him I could sell him a cheaper one, but he wanted the best, the best being the de luxe with the name printed in gold letters, bringing up a balance..." "Of $24!" "$24." "I'll get my purse." "What's your name, honey?" " Addie." " What a sweet little name." " Addie Pray, ma'am." " Addie Pray, I'm going to get you $24 and an extra five for just coming to my door." " Praise the Lord." " Praise the Lord." "# Keep your sunny side up, up" "# Hide the side that gets blue #" " Let's give 'em some money." " No." "Just a little bit." "We got $305.16." "It's a whole other business giving it away." " They're poorly!" " The whole country is." " Frank Roosevelt said to care for people." " I don't care about Roosevelt." " He says it!" " That so?" "He's taking care of himself." "You think he don't eat off silver trays?" "He could eat off table tops." "He don't." "Because that would make him look common." "He ain't running this." "I am." " You don't say what we give away." " It's mine, too." " $200 belongs to me, don't forget." " You want it?" "Put my share in my pocket and I'll take you to a train station." "You like that?" "Find out where the nearest depot is." "First you overcharge, then you give it away!" " Where are we?" " Plainville." "$12 for a Bible!" "Then it's up to $24!" "If I stay with you, I'll end up in jail!" " You can take me to the Lincoln depot." " You bet I will!" " Where's Lincoln?" " There." " You think I'm taking you over there?" " We'll hit one in Sylvan Grove." " Where's Sylvan Grove?" " Here." " That's through Lucas." " You got to go some way!" " I'm not complaining!" " You got to go through Waldo, Luray..." "Luray?" "Those are pretty good towns." "We could do some business." " We won't." "We're nearly out of Bibles." " What?" "Why didn't you tell me?" " You look in the box!" " You've always got an excuse." " You always blame me!" " You should have told me!" " We're running out of Bibles!" " We got to get new ones in Great Bend." " Great Bend's the other way." " We got to have Bibles, don't we?" "We can veer down to Lucas and Wilson." "Veer off to Lorraine and Bushton." "We could veer off to Hoisington." "Just have to keep on veering, that's all." " I'm getting hungry." "You hungry?" " Uh-huh." "#Justonemorechance" "# To prove it's you alone I care for" "# Each night I say a little prayer for... #" "SometimesI justdon'tknow." "Keeping people with all the Doodley-do!" "Doodley-do!" "Doodley-do!" "You go on back now." "I'll see you another time." " Don't send me back." " You got to go." "Another time, I promise." "What you trying to keep secret?" "You got diamonds and rubies in there?" " Go on, go on." " Old Fido!" "Night-night, old Fido!" " Woof!" " Woof, woof!" "#StillI'mhopingallthewhile" "# You'll give me just one more word... #" "There it is!" " Much obliged." " Thank you, sir." "All right, boy, you're next." "I ain't a boy!" " Don't let it bother you." " It ain't funny." " There's no reason to get that sore." " He called me a boy." " He just got mixed up, that's all." " He looked me straight in the eye!" " So am I and I think you're beautiful." " You're just saying that." "You're as beautiful as your mama and she put every flower to shame." "They feared she'd droop the tulips in Holland, and you got all her looks." " Then how come he called me a boy?" " I don't know." " Maybe it's 'cause of what you got on." " What's wrong with it?" "Nothing." "It just... don't exactly make you look feminine." "Maybe we should get you fixed up." "Get you a new dress, a fancy new hat." "It wouldn't exactly hurt business either." " You really think I'm pretty as Mama?" " Course I do." " How much money's in the box?" " $405.16." " Give me a twenty." " What for?" "Give me a twenty!" " Come on." " Where?" "To get us new outfits with your money from Aunt Helen." " I don't have no Aunt Helen." " Sure you do." "Let me explain it to you." " Yes, sir?" " An Ipana toothpaste and Sen-Sen." " 20 and 5." " 25." " Yes, sir." " There." "75 makes 1, 4 makes 5 and 15 makes 20." "Thank you very much." "I don't need a bag." " Thank you very much." " Thank you." "Bye now!" " How much is this?" " 35 cents." " 65 cents makes $1." "Thank you." " Thank you." " Yes?" " A bottle of purple toilet water, please." "That'll be 25 cents." "There you go!" "Lady, you made a mistake." "Huh?" "I give you $4.75." " I gave you a $20 bill." " Uh-uh." "You gave me a five." "No, ma'am, it was a $20 bill." "You give me a five and I give you $4.75." "It was a $20 bill." "No twenties in with no fives." " What's all the turmoil?" " This girl gave me a $5 bill." "I gave her a $20 bill, I know I did." "It was a birthday present from my Aunt Helen." "She wrote "Happy Birthday, Addie" on it." "You just go look and see!" "That's it, right there!" "That's my $20 bill I got from my Aunt Helen!" " Give the child her $20 bill!" " I am." " Give the child her $20." " Yes, sir!" " And some candy." " Yes, sir!" " And pay attention to things!" " Yes, sir!" "Get your cotton candy!" "Sweet hot cotton candy!" " Five cents." " Do you have change for this five?" "There you are, little girl." "Cotton candy!" "Cotton candy!" "Mister, this purse is full." "If you give me a five, I'll give you five ones." " Get your cotton candy right here!" " Mister!" "Unless you've got a $10 bill?" "I'll give you the five back, along with the five ones." "There." "Now, don't bother me any more." "Cotton candy!" "Step up and get your cotton candy!" ""HAPPY DAYS ARE HERE AGAIN")" "Get your tickets for a fourth of a dollar!" "The show goes on in five minutes!" "Six unusual ladies unveiling the secret of passion, found only a few years back in the Egyptian tomb of Queen Neferetti, and featuring the luscious Miss Trixie Delight!" " I had my photo took!" " You did?" " Come get a photo with me?" " Not now." " It'll only take a minute!" " Not now!" " It won't be here after tonight!" " I can't help that." " How many times will you see it?" " As many as I like." " You've seen it half a dozen." " I might see it more." "Go play bingo." " I don't want to." " Write another love note to St Roosevelt." " Maybe I will!" " Stop standing around checking on me." "I ain't about to leave some poor child stranded." "I got scruples, too." " You know what that is, scruples?" " No." "But if you've got them, it's a sure bet they belong to somebody else." "And his name ain't Frank!" "It's Franklin!" "Hey there, I wondered where you got to." "Where's your pa?" " Is my picture ready?" " Sure." "Excuse me, folks." "Sit back in the moon there." "I'll be right with you." "Here it is." "Hey now, I thought you were going to sit in the moon with your pa?" "He ain't my pa!" "Hi!" "Get ready!" "Smile!" "Hold it, hold it!" "Beautiful." "I don't want you smoking in the car tomorrow." " What?" " I didn't say nothing." "I'm listening to you." "There'll be two extra people riding with us and one don't like smoke." " What extra person?" " What?" " What extra person?" " A lady I'm taking to Topeka." " I didn't know we was going there." " You don't know everything." "What's the lady's name?" "Miss Delight." "Miss Trixie Delight." "She's a real lady!" "I'm just giving her a ride!" "That's what you're always talking about, helping other people out!" "Don't drop nothing, Imogene." "Take care of those breakables." "Yes, Miss Trixie." "Morning!" "Car is right over here." "You better ride in the back." "Come on, Imogene, you don't want to keep these nice people waiting." "Then I danced in Tuscaloosa and the Mayor said the nicest things about me." "The newspaper ran a big photo on me." "I got a scrapbook on me from all over." "Tell him about the time that man tried to crack your head with a bottle." "Imogene, you silly old thing." "You know that's not true." "He wasn't going to hit me with no bottle." "He was horsing around." "Ask me nice and I'll tell you about that." "Tell him about the time you almost got thrown in jail." "I don't understand it, Daddy." "This little baby has to go winky-tinky all the time." " Don't worry." "We'll stop here for dinner." " We just stopped for her at lunch." "Right, and now we're stopping for dinner." "Come on." "I ain't hungry." "# The whole day through" "# Just a little song... #" " Want one?" " OK." " How old are you?" " I don't know, 15." "Why?" " Just asking." "Where are you from?" " Nowhere." " You've got to be from somewheres." " Down by Troy, I guess." "How long you work for her?" "Ain't kept count." "A year, maybe." "How old you be?" "Nine." "She really do all that dancing?" "If you want to call it dancing." "All she do is waggle her hips and shake her behind." "How come she leave that job?" "The boss try to make her put out for his friends." " She don't put out for free." " She put out much?" "Like a gum machine." "Drop something in and she'll put something out." " How much she charge?" " Most she can get." "But she always asks for $5." "She ain't putting out for your pa, though." "Says she's going to get all she can first." "He say he was my pa?" "I heard him mumbling something like he didn't want to talk about it." "Ain't he?" "I'm with him, ain't I?" "How do you come to be with her?" "She promised to give me $4 every week." "She ain't gave me nothing!" "Except a nickel or dime." " Why don't you quit?" " Quit?" "How I'm going to quit?" "And what if I do?" "Ain't got no money to get home to Mom." "And what if I do get home?" "They got hard times as it is." "My mama say, "Go work for a white lady, she'll take good care of you. "" "Know what I think?" "You know that white speck on top of chicken doo-doo?" "That's the kind of white she is." "She's just like that little white speck on top of old chicken shit!" "I just love it, love it, love it!" "All this white." "It is absolutely the proper thing for my kind of appearance." "You need a new dress." "The right dress makes all the difference in a face, especially since you've got the right kind of bone structure." "Oh my, oh my, Daddy, but wouldn't you look handsome behind the wheel of that?" "Everything is in the bone structure." "A person can tell his whole life by his bone structure." "I tried pushing her out of a window." "I think there are bugs all over." "I just hope there's no snakes round here." "I think we ought to go now, you know?" "Thank you." "Now, hurry..." "Oh!" "Come on, get those things in there." "Don't break anything, either." " Let's go!" " Baby's got to go winky-tinky." "Don't worry." "Hey!" "Come on, we're ready." " Come on!" " I ain't ready!" "You don't look busy." "Come on." " I ain't coming!" " You listen here..." " No, I won't listen here!" " What's up with you?" "I want to sit in front." "How come we ain't working no more?" "We're on vacation." "Miss Delight and me are in front because we're grown-ups." "That's where grown-ups sit!" "Children do not tell grown-ups what to do with their lives." "She ain't my grown-up and I ain't sitting no more in the back." " Not for no cow!" " Keep your voice down!" "Miss Delight ain't no cow." "She has a high school diploma!" "And she's got to go to the bathroom, so get to the car!" "She's always in the bathroom!" "She must have a bladder like a peanut." "I ain't getting back in that car till she's out of it!" "What's up?" "Daddy says you're wearing a sad face." "That ain't good." "How would you like a colouring book?" "You like Mickey the Mouse?" "Oh!" "Son of a bitch!" "Come down to the car and let's all be friends." "You see me smile?" "Let's see you smile like Aunt Trixie." "Come on down with Mademoiselle." "Kiddo, I understand how you feel." "You don't have to worry." "One of these days you're going to be just as pretty as Mademoiselle, maybe more." "You already got bone structure." "When I was your age, I didn't have any." "Took me years to get bone structure." "Don't think that's not important." "Nobody started to call me Mademoiselle till I was 17 and getting bone structure." "At your age, I was skinny." "Never thought I'd have nothing up here." "You're going to have them up there, too." "Tell you what, want me to show you how to use cosmetics?" "I'll let you put on my earrings." "You'll see how pretty you're going to be." "I'll show you how to make up your eyes and your lips." "I'll see to it you get a little bra, or something." "Now, pick your ass up, sit in the back, and cut out the crap, you understand?" "You're going to ruin it, ain't you?" "I don't want to wipe you out and I don't want you wiping me out, you know?" "So I'm going to level with you, OK?" "With me, it's just a matter of time." "I don't know why, but somehow I just don't manage to hold on real long." "So, if you wait it out a little, it'll be over, you know?" "Even if I want a fella, somehow or other I manage to get it screwed up." "Maybe I'll get a new pair of shoes, a nice dress, a few laughs." "Times are hard." "If you fool around on the hill up here, then you don't get nothing," "I don't get nothing, he don't get nothing." "So, how about it, honey?" "Just for a little while?" "Let old Trixie sit up front with her big tits." "Hey, come on!" "We're coming, and if you don't find me a gas station soon, this little old snowflake's going to wet her pantaloons!" "Whoo!" "Oh my, I almost fell down!" "Yoo-hoo!" "Look what we got!" "Ain't she the sweetest thing?" "Don't he look like a prince in this?" "Imogene, get everything in here." "We got more room than Kansas!" "Listen to the horn!" "Blow the horn, Daddy!" "Do it again!" "This girl's sitting on the trolley, takes out a magazine and starts to read it." "She ain't read more than two pages and, real slow, she takes her stockings down and takes off her shoes." "She turns the stockings wrong side out and puts them back on." "All the passengers are wondering what's going on." "This old guy asks her," ""I saw your strange procedure." "What were you doing?"" "She said, "I was reading this magazine and found it to be such hot stuff," ""I felt compelled to turn the hose on myself. "" "Have they a room with a canopy bed?" " Have you a room with a canopy bed?" " No, but I got one with a fireplace." "I'd like that one, Daddy." "It ain't no canopy bed, but it sure opens up a whole new can of peas!" "Can of peas!" "Ain't that cute!" "How's that?" "Imogene, help the boy with these things." "Give them 234, 235 and 236." "They're fixing the elevator." "First flight up, if you don't mind." "It's all right." "Thank you." " Can of peas!" " What was that?" "Well, you know, canopy, can of..." "They rhyme." "I see!" "Can of peas, canopy." "I get it now." "I knew you'd get it." "#PictureHenryFord without a car" "# Picture heaven's firmament without a star" "# Picture Fritzi Kreisler without a fiddle" "# Picture poor Philadelphia without a Biddle" "# Picture Central Park without a sailor" "# Picture Mister Lord minus Mister Taylor" "# Mix 'em all together and what have you got?" "# Just a picture of me without... #" "There's a rip in the seam of that dress." "Get it sewed up." "And wash these hose." " Yes, Miss." " My bath ready?" " Yes, Miss Trixie." " You've made it awful hot lately." " I knows you like it hot, Miss Trixie." " Not that hot!" "Finish up all these things." " Come back in an hour and dry me off." " Yes, Miss Trixie." " What you doing up there?" " I got an idea." "Come on!" " What kind of idea?" " Come in here and I'll tell you." "Go on." "What would Miss Trixie do if somebody offered her $25 to put out?" "You crazy?" "For that much money, she'd drop her pants in the road." "That's what I figured." "You want to get away from Miss Trixie?" "If you help me," "I'll give you money to get home." " How much money?" " $30." " When do we start?" " Tomorrow." "Miss Trixie, you know the man at the desk who checked us in?" "Yeah?" "He tell me he'd pay $25 just to have a good time with you." "What?" "That little two-bit-bum nerve of that guy!" "Bet he don't make that in a week." "Where would he get that?" "I don't know." "All I know is what he told me." "$25, huh?" "I'd sure have to see the money to believe it." "There you go." "You come back and see us again real soon." "Hmm!" " I'll have a Juicy Fruit gum, please." " Here." "Want I should chew it for you?" "You know that red-headed lady, named Miss Trixie Delight?" " She thinks you're real cute." " Says you and who else?" "Honest!" "She says you're better looking than Dick Powell." " The lady's got good taste!" " Thought you'd like to know." "Just a minute!" "Give these to her." "Say they're with Floyd's compliments." "She'll like that!" "Maybe you should write her a note." "What kind?" "I thought men always wrote ladies notes when they send presents." "Maybe you should ask for a date." "That'd tickle her." "Yeah, maybe I ought to." "Say, she's not married, is she?" "She don't even have a regular boyfriend." "The man with her yesterday is my daddy." "He's her manager." "She's a dancer." "I figured she was something like that." "Whereabouts does she dance?" " Lots of big places." "She's a star." " How about that!" "Why not print it?" "She likes that." "Print it, huh?" ""Some sweets for the sweet." ""Some girls say I'm a smooth dancer myself." "How about trying me out?"" " You sure this is going to work?" " I don't know, but we'll give it a try." "Throw this in the drawer, will you?" "Keep your fingers crossed." " Who is it?" " It's Addie." "What is it?" "I got a message from Moze." "He had to run over to Haynesville." " He won't be back until suppertime." " Huh?" "I think he had to get something fixed on his car." "He'll be gone all day." "Well, OK." "OK!" " Howdy." " Howdy." " What you having?" " Waffles." "I already ate." "I had waffles, too." "Sure are good, ain't they?" "They ain't bad for waffles." "Mr Moze, Miss Trixie don't feel so good." "She's staying in bed today." "She'll see you at supper." "She's sick?" "I'd better go up there." "She ain't real sick." "Ain't no worry." "She's having her lady's time." "Oh..." "Tell her I'll see her this evening." "Just wanted to say good morning." "I think I'll go upstairs and polish my shoes." " Somebody's at the door, Imogene." " Yes, Miss Trixie." " Something for you, Miss." " What?" " It was outside the door." " What is it?" "Imogene, leave that." "Run along." "I'll call you when I need you." "Yes, Miss Trixie." "Hello, Cupid." "Miss Trixie wants to see you." "Says it's important." "Room 235." "She does, does she?" "When?" " Now." " I can't get off right now." "It's important." "You tell her I'll come up later tonight, when the moon is full." "But you can't." "She won't even be here after tonight." "She won't even be here after today." "She won't?" "Well..." "You won't be sorry." "I could go up for a few minutes." "What's that room number?" "Room 235." "She's waiting for you." "OK." "Tell her I'm on my way up, sweetheart." "He's coming!" "He's coming!" " Who is it?" " Sheikh of Araby." "Well, don't you look purty!" "Well, come on in, honey." "Come on." " You don't give a girl much time." " I get around." " You don't go around babbling, do you?" " What?" "It's just important to me right now not to get talked about." "Do I look like that kind of fella?" "Say!" "You are a wild one, aren't you?" "Hold it!" "Wait, you're going to tear it!" "Now, just let me slip it off." "Hey!" "Well now...  ... ain't you a show dog!" "Oh!" "I'm going." "The key!" "Give me the key!" "Mr Moze will kill them both, I knows it." " Wait for me here!" " OK." " Moze!" " What's the trouble?" " Better go up to Trixie's room right away!" " Is she sick?" "No, she's not." "Just do what I tell you." "And take the elevator!" "Don't knock!" "Use a key!" "Your daddy going to kill that man." " He'll cut him up pretty bad." " Moze wouldn't do that." "Down home, when a man come home and hear a man in bed with his wife, he just go to the wood pile and get his double-blade axe and go in and chop them up." "Folk say he cut them up just like kindling wood." " Addie, we're leaving!" " Now?" "Right this minute!" "I don't know why that girl did such a thing to me." "I'd have done almost anything for that girl." "It just ain't fair." " I reckon she's been carrying on a while." " From the start." " There were other men?" " Lots." "Why didn't you tell me?" "I just knew you wouldn't believe me." " Promise me one thing." " What, Moze?" "When you grow up, don't be the kind of woman who deceives men." " Promise me that." " I promise, Moze." "#..." "let me go on" "# Just a little ways away" "# While we walk along we'll talk" "# Talk about how it will be" "# When you say that you'll be mine" "# In our home, we'll happy be" "# Down beside where the waters flow" "# Down on the banks of the... #" "Moze..." "Moze, pay attention." " What is it?" " I seen something peculiar." " That man in there." " What man?" " Standing by the door." " What's peculiar about him?" "He's got a roll of money could choke us both to death." "I'm not up to anything." "He's got a notebook and all that money." "He keeps going outside and coming back in again." "Bootlegger." "No question about it." "You think we might do business with him?" "Drop a wad?" "We ain't done nothing for two months, since Trixie." "And we only have $212 left." " Better way of doing business." " What ways?" "Oh, heaps." "Look, he's going out again!" " Follow him." " Yeah?" "I told you, didn't I?" "Follow him." "Find out where he goes." "#..." "When you say that you'll be mine" "# In our home, we'll happy be" " # Down beside where the waters flow" "# Down on the banks of the Ohio... #" "Thank you." "# Big brown eyes and curly hair... #" " What did you find out?" " He's got bottles in a bin." " How big's the bin?" " Like our car trunk." "What's your plan?" " Find out where he keeps his goods." " There's a shack, but he didn't go in it." "How about a walk before Daddy puts you to bed?" "Oh, goody!" "He's Jess Hardin, a bootlegger." "Wholesales across the county." "His brother's a big shot, too, but the girl couldn't tell me about him." "I had to go." " Where is it?" " Over there." "OK, come on." "Keep watch." "Anybody comes, cough real low." "I'm going in." " It may be locked." " Folks in the country never lock things." "Don't you know that?" "# Come sit by my side, little darlin'" "# Come lay your cool hand on my brow" "# Promise me that you will never... #" "You Hardin?" "That's right." "Conrad's the name." "Jack said I ought to look you up." "Jack who?" " Just Jack's good enough." " Don't know no Jack." "He's running the biggest wholesale business in the state." " You selling?" " Right." "Ain't interested in shiney." "I ain't selling shiney." "I deal in bonded goods." "What kind?" " I have a good deal on Three Feathers." " How much?" "It depends." "You take 20 cases, I'd let them go for $25 per." "Too much." " You can't get it that cheap legally." " Ain't legal here." " All the more reason it's a bargain." " Give you $20." "Can't do it." "Price is set down in Wichita." "How long before delivery?" "How's early in the morning?" "You got it in the county?" "That's right." "#..." "My mother is dead and in heaven... #" "Where do I pick it up?" " OK." " You leave some?" "Plenty." "He'll never miss it." "Moze!" "Moze, we'd better get." " Here." " It's all filled up!" "Them's for me." "Get going!" "Hurry!" "Get up there!" "Now, hold on!" "And make sure nothing spills off!" "Well, you'd better go slow." "And hurry!" " Easy!" " I got to turn corners, don't I?" "Won't he miss his whiskey?" "In a week." "By then, we'll be in Missouri." "He can't do nothing once we're in Missouri." "Where is it?" "Brrm-brmm." "Scoot over!" " How much you get?" " $625." "$625 and he bought his own whiskey!" "That's $625, plus the $212 we already got." "If we drop some wallets and do some twenties..." " What's that?" " Where?" " Behind us." " I don't see nothing." " Something's back there." " Nothing but black." " I thought I seen something flicker." " Nothing there." " You put the money in the box?" " Uh-huh." "I'll be glad to get out of this town, I'll tell you that." "There it is again!" "Dad blam it!" " Something flickered, sure as hell!" " Nothing behind us!" "Uh-oh!" "I told you!" " Who could it be?" " Christ!" " Don't stop, keep going!" " I can't." "The car's in front of me." "It'll be OK." "Let me do the talking." " Playing games with us?" " I didn't know who it was." "It's risky." "Might get your tyres shot off." "Where are you heading?" "Me and my girl are going to St Jo." " Live there?" " Nearby." "What's your business?" "Livestock." "Mules, horses, cattle." "That's funny." "I heard you was a bootlegger." "No, sir." "Must be a mistake." "Maybe." "Maybe not." "Way I hear it, you just had a transaction by the old barn." " Where would you hear that?" " A family friend." "I don't know what you're talking about." "I'm talking about bootlegging." "I'm talking about $625." " Where's that?" " I don't have no $625." "I don't know what you mean." "I don't even know where the old barn is." "Well, I reckon we'll just have to explain a little more thoroughly, won't we?" "Beau, you take a ride with these nice people." "We're all going back to town." "Damn!" "Just when you think you got it made." "Just ain't made." " You good at this?" " Not too good." "Not too good?" "Bootlegger's sitting there with his own little game and he ain't even good at his own little game." "Yes, sir, that is some good joke." "Found these on the seat." "Wasn't any money in the car." "I gone all through it." "Livestock business, huh?" "That whiskey's for a friend." "Hold out your hands." "I said hold out your hands." "You heard me." "I didn't say put them down, did I?" "Clean hands for livestock." "Don't look like they do much but play a little casino." " It's for a friend." "I didn't see no harm..." " Didn't see no harm?" "Hear that, Beau?" "Bootlegger claims he don't know the law." "I don't need no bottles to book you." "Law says all I need is one little old drop." "And law says you use a vehicle to transport alcohol, the said vehicle is confiscated to be sold at public auction." "Kiss that pretty little car goodbye." " Hold on!" "That seems rough..." " I didn't tell you to lower your hands." "I tell you to lower them, you lower them." "You don't do nothing till I say." "Understand?" "Yes, sir." "I already did." "Ain't nothing in his clothes except him, and he ain't worth five cents." "She ain't got nothing on her, either." "You don't know what kind of trouble you're in." "Better start thinking on it." "I got a case against you for possessing and transporting whiskey." "I can think of a few other things." "Better face it." "You're going to be here for a while working on the county roads." "With luck, you're out in six months." "Six more for influencing a child." "Maybe six years for that." " Maybe we could work something out?" " What's there to work out?" "I sure don't like to send a man to the road gang." "Always felt sorry for them." "But I can't overlook the fact that you've been paid $625 and you ain't telling me where it is." "I know you're a bootlegger, so what's there for me to work out?" "Let's cut this ring around the rosy." "Where's that money?" "You think I'm fooling around?" "I ain't fooling around." "Maybe you'll come around in time." "Get a little thirsty, get a little hungry." "Time has a way with criminals." " Don't it, Beau?" " Sure do." "It's almost five." "Somebody ought to be stirring at the café." "I'll step over there." "See if that family friend is there." "I'll be back before long." "I got all day, you know?" "Got all the time in the world." "#... trouble's just a bubble and the clouds will soon go by" "# So let's have another cup of coffee Let's have another piece of pie" "# Let a smile be your umbrella for it's just an April shower" "# Even John D Rockefeller... #" "Sir, may I get my things, please?" "OK." "#... so now's the time to buy So let's have another cup of coffee" "# And let's have another piece of pie" "Daddy, I need the shithouse." "There's one down the hall." "Daddy, I'm scared." "I want you to come and stand by the door." "All right if I go with her?" "Down there." " Run!" " You crazy?" "Where are we running?" "God!" "Stop them bootleggers!" " This is the craziest..." " Hurry!" "I'm hurrying!" " Bootleggers!" " Oh, Jesus!" " I'll hit him!" " He can jump!" "I could've killed him!" "They could've had me for murder!" " They're shooting at us!" " They're missing." "Go!" "We won't make it!" "Not in this car!" "Every lawman in Kansas will be looking for it." "We got to cross the river!" " Where's the bridge?" " Jesus!" " What?" " The bridge is the other way!" " What?" "!" " Hang on!" "It's no good!" "We'll make it too easy for them!" "We got to get off this road!" "Holy smoke!" " Blow your horn!" " Won't help." "He can't pull off the road." "Selling whiskey to a sheriff's brother!" " Hang on to your hat!" "Hold on!" " Oh, God!" " You all right?" " Uh-huh." "We held them, but we got to get off this road or we'll be in town." "Get that money out!" "You'll stop my heart!" "We made it, didn't we?" "Anybody to home?" "Howdy." "Need to get rid of my car here." "I need to get rid of my car." "Sheriff wants to put her in an orphanage." "Know anybody that might want to swap?" "How about that truck there?" "We'll just let him chew on it a while." "Well, the rear tyres look new, anyway." " The radio looks OK." " Think it runs?" " It better!" " Where will we go?" "Out of Kansas, across the river to St Jo, that's where." "Here he comes." "Look at them all." "I want a swap and three days' start before you take it out." "It's all legal." "Got the papers here." "Fill out the form and you own it." "Ain't going to swap." "It's brand-new." " That car ain't no good!" " What's the matter with it?" "Can't haul nothing in it." "If that's all, you can sell it and get two trucks to do your hauling." "Ain't going to swap." " Rassle you for it." " You crazy?" "If I win, we swap." "You win, keep the car and the truck." "Quiet." " What kind of rassling?" " You name it." " Catch as can?" " Shoes or barefoot?" " Makes no never mind to me." " Barefoot." "Ya-ha!" "Go on, Leroy, go on!" "You'll get killed just to give something away." "Ain't got no choice." "Get that city boy!" "Get the city boy!" " Let's go." " Make him say "calf rope", Leroy." "Come on, Leroy." "Get him, Leroy." "Get him!" "You stop that!" "You make him fight fair!" "Look out for that rake!" "Watch out!" "Let's go in the car!" "Yee-ha!" "Ya-hoo!" "Whoo!" " Are you pushing?" " Of course I'm pushing!" "OK, it'll go now." "Put your foot on the brake." " The brake!" " It don't work!" "The brake, goddamn it, the brake!" " Don't you know where the brake is?" " It don't work." "Oh!" "Well, it figures." "Well, we're in Missouri." "What'll we do now?" "Drop some twenties?" " How much money we got?" " $837 and some change." "42 cents, I think." "We're just outside St Jo." " So what?" " So..." "It's a big town." "We can do better than twenties." "Y'allknowthatone , "Let's have another cup of coffee. "" "It's 10.30 Sunday morning in St Jo and y'all get to church now, OK?" "Here's the news." "In Omaha, President Roosevelt told the nation..." "Moze, what if he don't believe you?" "He will." "He's out to make a killing, just like us." " Maybe he don't have a silver mine?" " I checked." "Where's the money?" "He's just what people say he is." "Rich and greedy." "Pull up your socks." "We could get a house and everything." "Everything, just everything." "# Just around the corner There's a rainbow in the sky... #" "Got it?" "Corner of East Waring and Burlington, 11.00." "Just show up with tears in your eyes." "Don't forget the money." "Of course I won't." "See you in 30 minutes." "Moze, could we get a piano?" "A piano?" "We'll have a whole factory." "# Just around the corner There's a rainbow in the sky #" "I guess you just didn't make a good enough swap." "My brother's real sore at you." "Seems you sold him his own whiskey." "You can't arrest me here." "Your brother's a bootlegger!" "You got an awful big mouth, mister." "Maybe I can't arrest you in Missouri." "Maybe I don't want to." "But I can make sure you ain't going to feel good while you're here." "Let's go!" "Addie!" "Addie." "Moze!" "Moze." " I..." "I swallowed my gold tooth." " Oh, Moze..." " They took it all." " You're all beat up." "Nothing's left." "I've been keeping $10 for emergencies!" "What'll we do with $10?" "Buy Bibles." "Do a little widow business." "Must be lots of good towns around here." "Do twenties, drop some wallets." "Before you know it, we'll be good again." "I'll bet in no time, we could have a whole new car and everything." "You're taking me to Aunt Billie's now, ain't you?" "I won't." " Don't cry." " I won't." "It's where we set out for, ain't it?" "Looks nice." "Yeah, looks real fine." " That must be your uncle." " He looks nice, too." "Yep, real nice." "Maybe if Roosevelt comes by, they'll take me to see him." " If you write him, he can write back now." " He might at that." "Course he will." "Ain't no question but he will." "All this talk's just wasting time." "There's your skates and your radio." " Where will you go?" " I got plans." "New ideas coming in every day." "Get going." "If I knew for sure you wasn't my pa..." "It's for sure I ain't." "Sometimes I used to figure Mr Connors could have been my pa." "The way he touched my shoulder." "Get me things from the candy counter free." "And Mr Pritchard, he smiled at me once, real nice." "Except they don't have my jaw or nothing." "So long." "Ain't you coming to the door with me?" "There it is." "Right there." " They'll wonder how I got here." " Tell them a family friend brung you." "You had trouble on the way with your car and with finances." "Get going." "Yes?" "Yes?" "I'm Addie." "Addie!" "Aah." "I've been worried sick about you!" "Come on in." "I've been writing, and your Uncle Daniel's been trying to call to see where you've been." "You're the spitting image of your mother." "Pretty as a picture." "I don't know why I go on." "What you need is cold lemonade." "You sit right there and I'll be right back." "Everybody's going to be so happy to see you." "We'llgetthoseclothesoffyou and you're going to get into a nice bath." "Then you're going to sleep in your own little bed, alongside your cousin Edna." "I near give up on you, child." "I bet you're starving to death." "I'm going to cut you a big piece of pie." "We got those telegrams." "Then we never did hear from you." "I said I don't want you riding with me no more." "You still owe me $200." "Look!" "Come on!" "Hurry up!" "# Keep your sunny side up, keep it up!" "# Hide the side that gets blue" "# If you have nine sons in a row" "# Start a baseball team They make money, you know!" "# Keep your funny side up, don't let up!" "# Let your laughter come through, do!" "# Stand upon your legs Be like two fried eggs" "# Keep your sunny side up!" "#" "I am Peter Bogdanovich and I'm going to be speaking about Paper Moon." "Billy Friedkin, Francis Coppola and I had a company." "There were three Directors Company films." "This was the first." "That typeface," "Paper Moon, the logo," "Polly Platt, the production designer, found in Kansas while scouting locations." "It's very Thirties." "It was Tatum's first picture." "I had already made What's Up, Doc?" "with Ryan." "Laszlo Kovacs, Polly Platt and Frank Marshall, who all worked on this picture, had all worked with me before on a couple of pictures." "The title of this book, on which the movie's based, was Addie Pray." "I was looking through a list of songs of the period and there was this song called It's Only A Paper Moon." "Those two words, "Paper Moon", jumped out at me." "We actually had to put a scene in the picture where she sits in the paper moon to convince the studio." "Alvin Sargent did a great job on this screenplay." "The picture begins in a close-up." "Actually, the original script began in a movie theatre, where Tatum's character was watching a Shirley Temple movie." "I thought we should begin at the funeral, and I thought, just in case anybody doubted who the movie was about, we should begin in a close-up, so they get the point." "This was actually, I think, the first day of shooting, when we did this." "We tried to shoot pretty much in continuity." "We did this with a red filter." "A lot of the film was shot with a green or red filter, which both John Ford and Orson Welles had told me was a good way to get contrast in black and white." "We threw this in at the last minute where he steals the flowers." "We'd have liked more clouds in the sky." "What could we do?" "We had to shoot." "There's overlapping dialogue here that we had to rehearse a few times." "A wonderful actress from Texas." "She played the woman who takes over the movie theatre in The Last Picture Show." "Wonderful actress." "Brought her in from Texas." "This location was a graveyard we found in around Hays, Kansas." "That's the only line in the entire picture that we looped." "We did it afterwards." "Every other line in the picture was recorded live." "The whole picture was shot in and around a 50-mile radius of two towns." "One, Hays, Kansas, right in the middle of Kansas, we shot a lot of little towns around there." "Then we moved to St Joseph, Missouri, where we shot a lot of other stuff." "This was shot in Hays, early on." "Also, Polly Platt and I had driven across the country in the mid-'60s, and we'd noticed that there were no hills in Kansas, and so we thought, when we were confronted with this," "we thought it would be more interesting to do it in the middle of the country, rather than the South, which is how it was written, as a southern story." "With Tennessee Williams and William Inge and so many southern writers, including Faulkner, it'd be more interesting somewhere else." "This was shot in Kansas." "We had to, of course, straighten out the backgrounds, so that we made sure there were no anachronisms." "All done in one piece." "It's a great sky in this shot." "This is all in and around Hays, Kansas." "We didn't do too much to have to make the period, make it to find no anachronisms or to erase them." "But, every so often..." "Now, this depth of field you see with Noble Willingham, who played a small part in The Last Picture Show and I brought up from Texas, that depth of field was done with wide-angle lenses." "We did that a lot." "We wanted everything in focus." "It's hard to do, you have to put a lot of light in it." "I like the idea of everything in focus, because it's the way the eye sees." "Orson Welles had done that brilliantly in Citizen Kane and two other films, where you could see everything, Ambersons and Touch of Evil." "I love the way that looks, but it takes a lot of light and you have to use wide-angle lenses." "We did a lot in this picture." "I'll point it out as we go through." "Of course, shooting the picture in black and white was something" "I decided that we would try to do, because I felt that both Ryan and Tatum first of all were both attractive, blonde, blue-eyed, and I thought they'd look too good." "I also thought too movie starish." "And I also thought that, as on The Last Picture Show, it would be a lot easier to convey the Thirties, very much of a black and white period, in black and white." "It would look too pretty and too much like a movie in colour." "So, I said to the studio that I wanted to do it in black and white." "See the depth of field there?" "She's sharp and so is everything you see behind her." "Now, here's a good example." "Everybody's in focus." "He's in focus, the fellow in the foreground and Tatum." "On the reverse from the window, we had two kids playing in the back." "We put them back there, so that they would be in focus, too." "Also, of course, the contrast between two happy kids playing in their yard and Tatum standing on the tracks." "This was a real a real railroad shack in Kansas." "I told the studio I wanted to use black and white." "They said, "Why?"" "Gorham, Kansas, it really was Gorham." "They said, "Why?" and I told them." "They said, "OK."" "Luckily, I'd had a big success with The Last Picture Show." "What's Up, Doc?" "Which we made with Ryan and Barbra, was playing in theatres, so I guess they figured I was doing something right." "So they let me do it without much of an argument." "Here's a shot where we built that movie theatre, the facade of that movie theatre across the way so we could see its reflection, and in the cut inside as the waitress turns, you'd see it outside." "There was a movie theatre somewhere in Kansas called Dream." "I thought that was a marvellous word that summed up a lot of what movies are to people." "Like dreams." "So we called it Dream." "Polly designed the facade." "It's playing Steamboat Round The Bend because that was a John Ford movie of 1935, and Will Rogers' last movie." "And also a kind of a a middle-of-the-country kind of story." "Ryan's on the left, Tatum's on the right." "In order to turn around and shoot the interior, which we needed, we're still over here on this side." "As he moves, on the movement we cut to a direct reverse, you see?" "Now he's on the opposite side." "Audience never notices because of the movement." "Howard Hawks once told me," ""Always cut on movement and the audience won't notice the cut. "" "A good way to go to a direct reverse is to do it on a cut like that, where the actors basically switch sides." "But we needed to be on the inside so we could see people reacting when she starts talking about the $200." "I told Ryan to have a big bite of cheesecake in his mouth so he'd have trouble talking!" "Everybody has to turn and look around." "We had to be on this side." "This is where the audience fell in love with the picture, in this scene." "Every time I saw it, they'd watch, they'd be interested but didn't know if they liked it." "When this scene happened, this is where we got 'em." "Every time." "There's a fly flying around." "Ryan's annoyed by it." ""It'h pothible!"" "I think that I've been saying, "It'h pothible" ever since then." "It's a kind of a joke in the family." "Now, Ryan plays this whole long speech without a cut." "Get in the Nehi and the Coney Island." ""Coney Island" was a middle-western term for a hot dog." "It's a long speech to do without a cut." "It works because it isn't cut." "Again, you see how she's sharp in the foreground and he's sharp." "That was something we wanted to do for the whole picture." "I told her to take her time with this." "Tatum and I worked closely together, helping with the lines." "This close-up coming up here, I said, "Play this line like John Wayne, darling. "" "I said, "Just, 'Then get it. '" ""Take your time, you got him by the balls. "" "And she laughed!" "I remember she went, "Oh, Peter!"" "And, "You know you got him, so take your time. " She did." "A great, "Then get it. "" "You see she's walking on the tracks now, quite happy." "We got a good sky there." "Again, this sequence coming up was two scenes originally." "It was a scene where we find out about the Bibles and how he prints them and does all that." "And there was a scene where you see him trying to sell a Bible and see how he does it." "As I was going through the script, I combined the two scenes, so that Tatum would be discovering how... he does the thing, and with the Bible, at the same time he's selling a Bible." "So we combined them and played the sequence from her point of view." "You see it from her point of view, even that shot we had a minute ago where she rides up in the seat and the camera comes up to see him." "All this is her point of view, done very consciously to put the audience in her head, studying and learning how he did it all." "Alvin was happy when I showed him and said, "That's good movie-making. "" "It was a good way of telling the whole story economically." "Everything she does here is to help the audience understand it when you see it from her point of view." "And then you hear him doing the whole thing, which originally was a whole separate scene and she wasn't in it." "She reads it, she figures it out just as he says it." "And it dawns on her." "And he does his smooth salesman thing." "The audience loved this because they were discovering it as she did." "Polly Platt and me were discussing the script and she said," ""I think maybe I have an idea for somebody who could play the part. "" "She mentioned Tatum O'Neal." "I had met her, I think, on the movie set briefly and I said," ""Well... she's young," ""but if we use Tatum, we could use Ryan. "" "I kind of wanted to do another picture with Ryan." "So that's how it happened really." "You're hearing Jack Benny and The Jack Benny Show on the radio, which was very popular in the Thirties and we had to get permission from Jack." "Actually, Tatum wasn't listening to Jack Benny when we shot it." "We put it in later." "Now, this was the scene when she lights a cigarette." "I was smoking at that time." "I used to smoke." "She was imitating me." "To get her to light it with her thumb like that, we actually glued a little piece of sandpaper on, so she could do it easily." "Then she..." "Then she takes this puff very much like I smoked!" "The funny thing is that we found some lettuce cigarettes with no nicotine, no tobacco." "They made them in Texas." "We had a bunch of lettuce cigarettes brought up for her for these scenes, so she wouldn't be smoking nicotine." "Even so, she kept smoking these things." "She'd sit with the crew, playing cards and smoking." "I'd say," ""Come on!" "OK, put out the cigarette!"" "She had to make it look second nature but didn't keep smoking after the picture." "There was no nicotine." "That's Dick Powell singing." "It's from Flirtation Walk, a Frank Borzage picture, Warner Brothers." "This shot was reminiscent of Grapes of Wrath, which, of course was a great Thirties' movie." "It was shot in the Forties, but it was a movie about the Thirties." "We decided not to have a score, which was something we had done on Targets and The Last Picture Show." "Even What's Up, Doc?" "there was no score, although Barbra sang." "On this picture, we did the same thing we'd done on The Last Picture Show where we used songs of the period, records of the period, and there's quite a few in this movie." "The idea was to give you more of a sense of verisimilitude, give more of a sense of period without having the score tell you what to feel." "Now, this fellow playing the sheriff was my driver on the picture." "He was a really nice guy and seemed right for the picture." "We couldn't find somebody we liked." "My driver did it well." "Those shots of Ryan were shot with a very wide-angle lens which distorted his face, made him look scared, helped him to look a little out of control." "That's why we did it that way." "Things are in focus in the background and sharp in the foreground." "That's hard to do, unless you use a wide-angle lens." "Again, here everything's sharp." "Here's the first time she ups the price." "I remember those chickens in the background." "I moved the chickens into the shot." "Here, she's listening to the radio again, Fibber McGee and Molly, which was a very popular show in the Thirties and Forties." "The joke of the closet was something they used to do every week or two." "He'd open the closet door, everything would fall." "That was a running gag." "So, the idea was everything you hear in the movie soundtrack is something they're listening to, the radio playing, or phonograph or whatever." "There's no score." "As I said, it kind of gives a feeling of verisimilitude." "I noticed it when I did Targets, how it seemed more real, because there was no imposed point of view from the outside." "I've done it on a lot of my pictures and I like to do it." "And it gives you a chance to hear songs that were popular at the time the story's set." "I did it in my most recent film The Cat's Meow with 58 period songs." "On this one, we had well over 20, I think." "There's a list of them at the end." "All those rooms..." "That was a real room somewhere in Kansas, with those pipes." "It was really shot there." "All these interiors, nothing was built." "We moved things but the interiors on this movie were all shot also on real locations" "in Kansas or Missouri." "Now, this scene here, where he does the scam with the $10 and asks for the change, what's funny is that..." "She cracks her knuckles which I had her do." "It was something I used to do." "Again, I gave her that touch." "This scam he does where he gets extra money to fool her," "Ryan absolutely never understood it." "He never could figure it out." "I said, "Just do it, it'll be all right. "" "He turns away from the camera because he wasn't confident." "Tatum does it later." "I don't think she understood it, either." "That was all one piece of film." "You see them outside, getting into the car, driving off." ""That just don't seem right." "Somehow. "" "It's also a line that's in our family quite often," ""Don't seem right." "Somehow. "" "This is Eleanor Bogart." "She was a wonderful woman." "She was a writer, a magazine writer." "We found her, I think, in Texas." "We did a lot of the casting for the picture in Dallas and Houston, where we cast The Last Picture Show and had good luck." "So we used a lot of actors from Texas and brought them in." "This is where she has her pang..." "Her heart goes out." "Ryan doesn't like that too much." "I keep calling them Ryan and Tatum because you get used to that." "It's Addie and Moze." "In the book, his name was "Long Boy" Moses, and we called him Moze." "Again now, here, she walks up and when she does, it's all told from her point of view." "The dynamic between Ryan and Tatum was rather like the movie." "See, here's her point of view, figuring out that she's rich." "Had to tell it visually, so we get to this moment where they get $24." "Tatum had to sing." "We couldn't have the music playing at the same time." "So she had to learn it and we had to sync it up." "Here, this is the shot that was really to recall The Grapes of Wrath." "Now, this shot here plays for several minutes without a cut." "It was the single most difficult shot in the entire picture." "We did it 36 times." "We did it 25 times the first day and never got further than about four lines." "Now, there was only one stretch of road that ran for about a mile where there were no anachronisms, no signs that were wrong or anything." "This is what Alvin and I referred to as the end of the first act." "It was a scene I had asked him to write." "It wasn't in the book." "I said, "Let's put a scene at the end of the first act" ""where they're together, they've done well, but now they get into a fight." ""They argue, they almost break up, and then they cement the relationship. "" "He wrote this brilliant scene, one of the best scenes in the picture, and I felt it had to be done in one continuous shot." "Even though it's a scene of antagonism, I felt if we didn't play it all in one shot, it wouldn't work." "Something about the unity of the shot would give them a kind of unity." "Notice all he has to do is have his hands on the wheel." "We were pulling the car and she has all kinds of business with the map and the radio, and everything else." "This one stretch of road, we were pulling this car with only a mile to get the scene, and if we didn't get it in the mile, we had to turn around, go another mile down the road, turn around," "drive right back, turn and drive again." "We did it 25 times the first day, then came back about two days later and got this on the tenth or fifteenth take." "The sun came out, it was perfect." "It was the only one." "That's the end of the first act." "Each act ends with the car driving away from us." "Also, that scene being in one continuous shot," "I thought would convince the audience unconsciously, subconsciously, that everything Tatum did was real, because they watched her in that scene, doing everything." "It's an extraordinary piece of work on her part to do that at eight and a half." "All that business, all those words, it wasn't easy." "I was very proud of her when she got it." "Ryan threatened to quit halfway, and at the end of the first day he couldn't stand it, he'd done 5,000 Peyton Places and couldn't handle it." "But he did." "This again, this whole sequence again, was told from her point of view." "It moves in on her, she peeks, she sees him, and that was again to make the audience..." "Here, actually, it becomes objective but, up to there, it's subjective." "And subjective use of the camera is a wonderful way of having the audience..." "Again now, see, it becomes subjective." "It's a way of having the audience on the side of the character from whose point of view we're seeing it." "We did it quite a lot in this picture with Tatum." "And now she gets up and goes to the bathroom." "An amusing scene." "This was again shot in a real room somewhere in Kansas." "Usually we'd go inside if it was raining." "We'd go inside and shoot something, but we always had a cover set." "This was again shot really on location." "This again, a long piece of film here, where we show the box and that there's a fake bottom to it." "This is the only time we see the mother." "We got an actress to play the mother." "Now, this extended piece of film in the mirror was interesting." "It was difficult to rehearse it." "We did a rehearsal, but what I did was cut the sound out." "I talked her through the shot, telling her, "Open the perfume." ""Put some in your hand." "Put it all over your face like a guy after shaving. "" "And she did all that." "Then we took my voice out and put the sound in." "It was the only way." ""Put some more on. " That was to set up the joke coming up where..." "Look at that sweet smile." "Breaks your heart." "It was to set up this joke." "We got lucky with the car." "We didn't have to open a window, just the dash, which was a wonderful prop." "Foiled again!" "Again, you see the background." "That's real and in focus." "This was a real barber's shop, again somewhere in Kansas." "Those are her Funnies." "This next shot on the street is a dolly shot with no cut." "They play the whole scene together." "It was such a bumpy street, the crew came in ahead of time and laid down cement, or something, to make the road level, so we could..." "You can see it there." "We had to lay it down so that the dolly would not bump like crazy." "This is all done in one piece, all the way across the street and they had to play it." "If they screwed up, or we did, we had to start again." "This didn't take too many times to do it." "This was again a town in Kansas that hadn't changed much." "There were many like this." "Jack Benny said to me after he saw the movie, "I wanted to ask you." ""Why is it in all your pictures there are never any people on the streets?"" "I said, "I don't like extras. "" ""I thought there was a reason. "" "I said, "You go to these little towns, you never do see people on the street. "" "That was really the reason." "I joked about the extras." "A wonderful actress from Texas." "I can't think of her name now." "And this little shop," "Polly did a hell of a job designing." "There was some Ipana toothpaste with original packaging." "Again, everything's from her point of view right now." "We do that so often, rarely from Ryan's point of view, almost always from Tatum's." "Polly designed that dress, which she ends up wearing in the picture." "The camera moving for her point of view makes a feeling of suspense." "Something's going to happen." "Now it becomes objective." "And this whole scam, of course..." "We had to go in for inserts to make it clear what was happening for the audience." "Inserts are those kind of shots where you see the dollar bill and so on." "Now, this was a big moment for Tatum where she had to pretend to cry." "She loved doing this, you know, faking it." "She had that raspy voice." "Here she had to pretend to cry." "I said, "Lay it on thick, Tatum. "" "Going for sympathy, big time, here." "See how the background, the town is all sharp, so you feel you're there." "This was, "My Aunt Helling", she said." "I liked it so we kept it in." ""Happy Birthday, Addie. " I remember writing it on the bill myself." "Talk about walking down memory lane." "A close-up for where she can't keep tears." "This, as I remember, was all one long piece of film also, starting on the cotton candy, where she does the scam now," "fooling the guy with the dollar scam." "She just rattled it right off." "Again, we did this whole piece in one film..." "We did this whole section with one piece of film." "The entire carnival scene," "I think we did it in only two or three shots, the whole thing." "The camera follows her." "All these extras and all this was all done in one shot, one big shot." "Again, Tatum had to do it." "She was eight and a half and did wonderfully." "The first day we shot this, it was cold and took time." "She ate so much cotton candy she got sick, and we had to quit and come back and do it the next night." "We still finished the picture four days under schedule." "Polly did a wonderful job designing this whole thing." "She runs over, they come back to the camera, and there's been no cut yet, not until this scene ends." "There we see the Ferris wheel." "There's an enormous amount to do and it's all started on the cotton candy." "The thing about scruples was one of the biggest laughs in the picture." "We didn't have to do this too many times." "By now, she was getting pretty professional." "Huge laugh on that, and she walks out." "Ryan did a funny thing with his shoulders here." "This is the second shot in the carnival." "It was tricky to have her in focus as she came in." "That took a lot of time." "I wanted to see the background in focus and have her walk in, without having to rack focus as usual because she walks in on a close-up." "Laszlo had to throw a lot of light in there to have her come in sharp." "This is the second shot." "We did the carnival in two shots." "This thing with the paper moon we added so we could call it Paper Moon, 'cause the studio said," ""Why do you want to call it Paper Moon?" "Addie Pray was a bestseller. "" "I said, "How many copies?" "100,000."" "I said, "Get 100,000 people, we'll really have a hit. "" "They said, "OK!" I talked to Alvin about adding a scene where they sit in it." "We thought of a way of connecting that and having it actually pay off at the end." "Here's a shot, also." "This whole scene is played in one shot." "Again, she's sharp and he's sharp, and it's not easy to do." "It's wonderful when you get actors that can play the scene in one piece." "She smokes again, very meditatively." "Audiences laughed every time she did it." "This was Madeline Kahn's introduction." "We had to get a bra specially made so it would jiggle like that." "We wanted to make sure it jiggled." "P J Johnson's an actress, a kid of 16 that we found in Houston, I think it was." "This was a road in Kansas that Polly found, actually two roads side by side." "She said, "Wouldn't it be nice to get a shot travelling?"" "We did it twice in the picture, later with the other car." "It was wonderful to be able to have a wide shot travelling like that." "Two roads side by side she found." "Madeline really was very attractive, but we've made her not look too good." "She hadn't looked too good in What's Up, Doc?" "either." "She wasn't happy about how she looked in this." "That little expression she did." "Here was another real town." "My God, all these real towns!" "He stops so sharp, the kids almost got thrown out." "He really did it!" "Now, this shot coming up was another very difficult shot and we had to do it twice." "We did it one day." "We didn't get it and then we came back." "This shot here." "It was very tricky." "I actually had her light a match and light the cigarette." "That would stall this." "The first time we did it, that screwed things up." "This whole scene I wanted to play without a cut, as it does." "They just talk and there's no cutting, there's no interference." "When the curtain goes up, that's it." "They did it, but not terribly well." "It was windy, they had trouble with the match." "We did it about ten times and never did get it right." "But I did print a couple or three shots, a couple or three takes." "The studio called." ""That scene isn't very good, is it?"" "I said, "No. " They said, "That girl's not very good. "" "I said, "No. " They said, "Are you going to recast it?"" "I said, "Yeah, probably. "" "So, three or four days later," "I took the two girls and, for 90 minutes, discussed the scene as though they were in their twenties." "I went into it in detail, told them stories about how to throw the scene away and not hit it so hard, and don't do any acting." "It was the first scene PJ had ever done." "She wasn't an actress, she was 16." "We talked them through it for about an hour and a half while everybody waited." "Then, we went out and got in the car and they did it." "We got it on the first or second take." "They were wonderful." "Studio called and said, "You recast it. " I said, "Yeah." ""Had to. "" "Both smoking, they're both wonderful." "Again, you just got to have good actors to do that." "This is another shop, Vivians Dress Shop." "Polly named it after her mother." "This had to be very carefully timed." "It's all in one shot also." "It was a crane shot." "The joke's at the end and she had to pass the camera right at the right moment." "Then Madeline just talking on and on." "Had to be timed, boom!" "Just like that." "This is one of the most memorable scenes in the picture." "People who've seen the picture often talk about Madeline Kahn on the hill with Tatum, when she tries to convince her to let her sit in the front." "We didn't put that tree there." "Believe it or not, it was there." "It's so picturesque you'd think it was put there, but we didn't." "She says, "Be careful with that stuff back there. " She throws it down!" "This scene with Ryan, again you see they're both in focus." "This was shot all in just a few hours." "Again, somewhere within 50 miles of Hays, Kansas." "Wonderful locations Polly and Frank Marshall found." "I asked Polly to read the script and tell me why I should do it, the first draft, which was quite different." "She said, "You'd connect with it 'cause you have daughters. "" "And that was one of the reasons I did it." "Again, you see, this is from her point of view." "Again, puts us in her head and avoids a lot of dialogue we didn't need to hear." "It makes it possible for us to speed it up." "You don't have to hear that dialogue." "This is again from her point of view." "But now it becomes objective." "It's one of the big laughs. "You like Mickey the Mouse?" "Son of a bitch!"" "Wonderfully written and wonderfully acted." "Madeline was wonderful to work with." "In this scene she has her big line coming at the end of the scene." "This is all one piece." "There's a couple of cuts to Tatum." "This section here is all one piece, and it's a first or second take you're looking at." "Madeline was brilliant, a brilliant actress." "This was only her second picture." "She did What's Up, Doc?" "and then this." "I think then she did Blazing Saddles." "What's Up, Doc?" "Introduced her to movies, which we shot the year before and then this one." "Madeline read for me when we were casting What's Up, Doc?" "She was on Broadway with Danny Kaye." "Actually, she just talked." "I thought she was so funny." "She didn't think she was funny." "She walks away." "It cuts to Tatum." "We stop." "She turns." "That was all one piece we shot." "Now, on this turn is the change." "You get closer to her and this was all done in one piece." "And the speech ends with her saying, "So, how about it, honey?" ""Let old Trixie sit up front with her big tits. "" "Madeline said in rehearsal, "I'm not going to say that." "I'm not going to say big tits. "" "I said, "OK." She said, "I'm going to say breasts. "" "I said, "OK."" "So in rehearsals and whenever we ran through it, she never said that." "And this was the first take, I think." "I went over just before we shot it and whispered in her ear," ""Try saying tits once. "" "She didn't say anything, and then she said it." "This is the first time she'd ever said it." "And the little thing she does... afterwards, that little embarrassed thing, is 'cause she'd never said it before and it's one of the picture's golden moments." "And it cements them." "Feels like yesterday." "Now, this, when she slips, she actually did almost slip." "That was all ad-libbed, 'cause she did almost fall down." "Here's another road, a wonderful road, with two roads that Polly found that we used to get this shot." "One of my favourites." "Now, this joke, Ryan loved telling this joke." "This cackle he has after he tells the joke, he came up with." "He said, "What do you think of this laugh I got here?"" "In rehearsal, he came up with it." "I said, "It's perfect, it absolutely defines the character. "" "Ryan does this wonderfully." "That cackle, he thought that was hysterical." "And her laughter, of course." "Madeline was hysterical." "Now, this whole sequence in the hotel was not in the first draft that I read of the script, which had been developed without me." "When I read the book," "I thought this sequence with Trixie..." "In fact, the whole thing with Trixie Delight was not in the original draft script." "We only used about half the book." "We didn't use the second half at all." "This was pretty much as written." "Of course, it was southern and we moved it." "Here's her point of view to show that this guy is interested in her." "She figures it out and she's calculating." "That was Burton Gilliam who plays the hotel clerk." "He's an actor that read for me in Texas." "He was an exterminator." "He was a boxer and then had an exterminating company." "He had those slightly fake teeth and that wonderful accent." "Mel Brooks cast him I think immediately in Blazing Saddles, right after it." "I remember he called and said," ""Mel Brooks wants me in Hollywood." "I'd have to give up my exterminating. "" "I said, "Do it, Burton. "" "He did, and he hasn't stopped working since." "He did a lot of commercials." "So this whole sequence in the hotel again is told from Tatum's point of view." "It was pretty much the way it was written in the book." "We adapted it and moved it along a bit." "A wonderful, wonderful sequence, the whole Trixie Delight episode, which is, basically, pretty much the second act of the movie." "Now, this was funny, because Tatum was very tired when we made this scene." "It was morning." "She couldn't kind of get this one scene." "She says, "When do we start?"" "This plays all in one shot, but when they get into it, she says," ""When do we start?"" "She says, "Tomorrow morning. " I had to scare her to get that line, 'cause she didn't say it with enough excitement." "I kept saying, "You got to be more excited. " Finally, I just said," ""Say it!" She said, "Tomorrow morning!"" ""Print!"" "Sometimes we had to use tricks, because she was just a kid." "Oh, God, she's brilliant, Madeline Kahn!" "My God!" "She was absolutely one of the most brilliant comediennes." "She could say a line, get a scream." "The line wasn't even funny." "This was a memorable shot." "In the scene she now says, "Juicy Fruit gum, please. "" "In the original version, we had a different brand, and then we couldn't get that brand to send us a period wrapper." "We used Juicy Fruit as the wrapper is the same as it was in the Thirties, so we changed it." "Tatum learned the other brand." "Now she had to unlearn it and say, "Juicy Fruit. "" "That presented an enormous challenge." "This was actually shot in St Joseph, Missouri." "We found a hotel there that Polly dressed up." "This was shot later in the picture than it is in the story." "They played this whole thing in the mirror." "This whole manoeuvre with Trixie and the desk clerk was in the book." "Now, of course, in the book" "Addie was twelve, twelve and a half." "Making her younger, which initially everybody was a little worried about," "I think, in fact, improved it, because it made her more advanced." "This was written to be cut with Madeline." "I thought we'd stay outside and play the whole thing with Tatum and just do the inside as the voice." "You don't know what they're going to do." "Kept having them run down the stairs." "This business with the waffles we did many times, for various reasons." "She'd screw up, he'd screw up, and he kept having to eat these waffles." "I remember finally he broke down and said, "I can't eat any more of these!"" "One time the phone rang and he says, "I'll get it. "" "This was an embarrassing thing." "Ryan had to be embarrassed." "He does it wonderfully." "And Tatum playing kind of fraudulent here." "He can't figure out what's going on." "We had fun that morning." "We'd had to do it many times, but it wasn't gruelling." "Here she has an enormous amount to do, open the thing, put it back, close the thing." "And, you know, it's not easy, all that business." "Remembering to put the money in." "She had to do it fast." "I said, "We haven't much time." "Hurry!" She had to do it all quickly." "This is where they both had to make a scared face, the same face." "So they worked it out." "Verna Fields was the editor." "She got an Oscar for Jaws." "Everything you're seeing..." "She did a terrific job." "Everything you're seeing was shot exactly the way it's edited." "I mean, there was no coverage, no additional footage." "It was all shot to be cut this way." "It's called cutting in the camera." "Of course, you have to find exactly where to cut it, but that's the way it was shot." "This fellow, Burt Gilliam, wonderful actor." "He'd never acted before." "I gave her that little thing to do with her eyebrow." ""You won't be sorry. "" "I couldn't do it, but she did it." "I showed her what I had in mind." "A lot of running up and down the stairs." "This was a favourite line of everybody on the crew." "We used to laugh about it. "Who is it?" He says, "The Sheik of Araby. "" "The Sheik of Araby was a popular song of that period, of a little earlier, actually." ""Come on in. " Then she clears her throat!" "I thought that was funny." "The Sheik of Araby was a song of the Twenties recalling Valentino." "They walk up and this is all done in one piece." "They listen." "We decided not to show it, but play it from their point of view." "Just hear it." "They did actually play it out there and we recorded it at the same time." "As we were shooting it, they played it." "This was a tricky shot, to pull back and hold everybody in focus." "All in one piece." "This was a tricky little scene for Tatum, again her point of view." "The whole plan's not going to work." "She had to do those looks." "God, she was good." "Ryan, I remember, did a couple of funny takes on this when we rehearsed." "Now, this moment when she looks sad," "I told her to feel bad about it." "Feel bad about what you did." "She did." "She felt kind of bad about it." "This little scene, again with so much dialogue for PJ to do." "She did it without a cut." "The audience laughed at this." "They played this in one shot and then they run upstairs." "This last moment here again was done without a cut," "where Ryan realises he's been..." "There was a cut there." "I was wrong." "This is the last time you see PJ." "The camera moves away." "The wind blows." "We didn't orchestrate that, so it really happened that way." "We shot this two angles, one of the few times we decided in the cutting room." "We shot it from the front and back, and we decided in the cutting room that it played better to just stay on the backs, not see her, having tricked him, you know." "We decided not to show her lying so desperately to him." "We had trouble with the windshield wipers." "They kept going." "It was raining." "Everybody said we had to shoot interior." "I said, "Let's shoot the end of the second act. "" "It was raining, so we shot it, two or three shots in the rain, and it was over and that was the end of the second act." "I learned from John Ford if the weather's bad, sometimes you can use it." "This was a long night sequence that we did about the bootleggers, and this is the third act." "That's John Hillerman, who became rather well known later on Magnum P I, with Tom Selleck, playing Selleck's partner." "This is a real town." "The interior was real." "Somewhere again in Missouri, I think, we shot this." "It was a whole long night sequence, where nights are tough on everybody." "Of course, Tatum had lots of fun doing it." "Again, she had to talk, chew gum, look, and all without a cut." "John Hillerman plays two parts, as you'll see in a moment." "Plays brothers." "This whole sequence, night sequence, kind of spooky, was essentially shown from Addie's point of view." "This was a terrific location we found." "All shot in real locations." "We had to build that little thing on the outside, and this was a tricky sequence to do, visually," "all at night, keeping everything sharp." "It's harder, of course, at night to keep things in focus." "And again, it's all from her point of view to show the bootlegging scam, which took people a while to figure out." "It was important that he be in focus on the outside, so you feel he's coming and it gives a little suspense." "Very difficult to do at night, 'cause it required a lot more light." "Laszlo Kovacs did a brilliant job." "This was a tricky shot." "We had to bend down, so we could hold them closer in the two-shot." "Wrote all this in at the last minute to explain what was going on, 'cause it was a little confusing about the brothers." "Again, they played it in one shot." "It's wonderful shooting a scene in one shot, if the actors are good and the dialogue's right, and you can see them." "It adds verisimilitude, like there's been no directorial interference." "I think this was a piece, coming up here, that plays in one shot." "He walks in the door, sits down, and the camera moves in." "It shows you where you are, sets up the situation, and now the two actors play the scene, and the camera moves in." "There's no reason to cut." "It gives a more suspenseful feeling, and also reality, it really happened." "Because it did." "What you're seeing is what happened." "It did happen and the audience feels that on some level, that there's been no interference." "And this is the only scene in the picture, I think, where Ryan is in it without Tatum." "That's why her winning Best Supporting Actress is odd." "She has a bigger part than Ryan." "She's on many scenes without Ryan, but this is the only scene he has without her." "That John Hillerman's looking a little bit like Peter Lorre." "I knew Johnnie as an actor in New York, that's where I met him." "He's from Texas originally." "We worked together at the New York Shakespeare Festival." "See, the camera moves in, still no cut." "His first film was The Last Picture Show." "Then we had him in What's Up, Doc?" "For this thing, I asked him to gain weight so he'd be heavier for the bootlegger." "Then later, when he plays the sheriff, the brother, he should look similar but not exactly like him." "It was to give the subliminal feeling that these guys are brothers." "So you sort of recognise him, but not quite." "He had to gain a lot of weight to play the bootlegger." "Then we shot the other stuff in Missouri, later." "This was in Kansas." "She almost did fall off this thing." "The thing tipped over." "That really did happen!" "Luckily, the crates were glued together so they couldn't fall off, although it was a little scary there, when it almost tipped over." "Johnnie Hillerman playing both parts would give us a feeling, a subliminal feeling that, "Haven't we seen this guy somewhere?"" "Of course, then they turn out to be brothers." "And that was the idea, that the audience might recognise something familiar about him and Ryan looks at him like he's familiar, which you see in the next sequence." "Tatum loved this, pretending to drive." "The very last shot in this scene, I got the idea from Rear Window," "Hitchcock's Rear Window, where it leaves you with suspense because you see just the light of the cigarette on this pan." "So you wonder if he heard it or didn't hear it." "You see him, but don't see anything really, except the light of the cigarette, which is something Hitchcock did in Rear Window." "This was night." "All this stuff was done at night." "This was tricky, to get a feeling where she looks and you see nothing." "Then you do see something." "I think we shot this at a totally different time, because John Hillerman's in this and he had to lose all that weight." "Seeing Ryan in the glass, it was tricky." "We had to do it all in the mirror." "And keeping them both in focus again." "That little something, I don't know how we did that." "It was tricky." "This was hard to shoot." "The prop man, Tony Wade, drove the other car." "He became a producer later." "That was a tricky little thing, to pull in like that." "It was done with one shot." "All the cars, we found the cars down in the South or in the Midwest." "Now, here's John Hillerman playing the other part." "The audience is supposed to think maybe they've seen him." "But he'd lost a lot of weight, so this was shot later in the schedule." "The budget wasn't big, under $3 million." "I think we shot the whole picture for $2.8 million, which was below average for a picture at that time." "Of course, money was worth more." "Again, no music here." "Johnnie being from Texas helped him with this regional character he had to play." "Now, in this sequence, this is the scene in the very small room, it was actually just the size it looks." "It was a very small room." "I'm not sure, I think it was around St Jo, Missouri." "I don't know how many set-ups there were now." "The editor said to me," ""Do you realise you shot 47 set-ups in this little room?"" "And we did." "There are probably more set-ups in this sequence than in any sequence in the picture." "Every one of these pieces of film is different." "It really required that sort of thing as it was suspense." "Each angle is different and not repeated." "This looks similar, but it's different than the one we shot earlier." "I think it was 47 set-ups, or something close to 50 for this sequence." "Very elaborate." "We were in this room for a while, for two or three days, to get this." "This is a very suspenseful sequence and it required different points of view, different angles, different things, all in a tiny little room." "So you can imagine how much work there was with the lighting and camera, and in the editing, of course." "Amazing, in a small room, to do that many shots, but it's what we had, each shot is different." "We didn't storyboard it." "I worked it out on my own script and we just worked our way through it." "The hat that Tatum wore, which was supposed to be her mother's hat, was designed for the trick ending where the audience sees the money's in it." "That had to be specially made, so that it could be believable that they wouldn't see it." "That's my voice doing the disc jockey in the background." "I always play the disc jockey in my pictures." "This was tricky, to not see what she was doing until we moved in." "I brought the light up so you could see the money at the end and not at the beginning." "All these are different angles, each one." "Now, this is yet another angle." "Everything you see is what we shot." "There wasn't anything extra shot." "We didn't shoot the entire scene in each angle, we just shot whatever was needed for the moment." "It was cutting in the camera, but we knew that as we were doing it, that we had a lot of cuts." "Here's one of the few times we see both sides of the room." "You can see how small it was 'cause you just saw him cross." "It pans him out." "It's a very small room." "John was playing this a little threatening." "I said, "Just throw the whole thing away. "" "That actor playing the deputy is Floyd Mahaney, the cop in The Last Picture Show who arrests Cybill Shepherd and Tim Bottoms on their honeymoon." "I remembered him and we brought him up for this." "Now he played another cop." "This was tricky, to get her to put the stuff..." "I couldn't figure it out." "Tony Wade said, "Have her do it with her arm. "" "That solved it." "I couldn't figure out how to have her pick all that up quickly." "It was so simple." "Tony said, "Have her sweep it off. " Thanks, Tony." "That was an insert of the key, so that's a close-up." "The audience laughed at that, at her smile and his reaction." "This next line was one of the biggest laughs in the picture." "She says, "I got to go to the shithouse. "" "It was one of the two lines we had to change on TV." "A big laugh!" "Everybody's embarrassed, which was funny to the audience." "We actually previewed this picture once, in Denver, and it played great." "All we did was, the opening credits were three minutes, and I reduced it to a minute and a half." "That's the only change we made from preview to final cut." "We took out a minute of opening credits." "Actually, we just moved them faster." "Originally we played the whole song, but we cut it in half." "This was a town near St Joseph, Missouri, I think." "Yeah, it was." "That door opened by accident." "We didn't know it would." "No scenes were cut out of the movie." "This was exactly what we shot." "John had to do that stunt himself." "Ryan insisted on doing his own driving, every shot, even long shots like that, where you don't see them." "Tony Wade, the prop man, drove the other car." "Tatum almost broke up there." "She had trouble with this." "You see it again, you'll see she kind of starts to grin." "This is this little action thing, all one shot, starting with this." "Camera pans around." "The car goes away." "It's sort of like the same shot I did in Targets." "Now we pan this car the other way." "It's more elaborate." "I thought it would be fun to do it in one shot." "Now it goes away." "It's all one piece of film." "So it's in live action." "It's true to what you see." "This was a tricky sequence." "That swerve of the car, Ryan did all that himself." ""Selling whiskey to a sheriff's brother. " Just to make sure the audience get it." "This was shot in Missouri." "Ryan did all this stuff himself." "We'd done an elaborate chase with Ryan in the car in What's Up, Doc?" "This was nothing compared to that one." "In fact, we didn't make it too long." "I figured we'd done that already." "We don't have to do it again!" "All this was not easy driving and none of this was sped up in the camera." "This was all done really with this kind of speed and Ryan did it all himself, as I've said three times now, but it's impressive." "We had this sequence here with these hillbillies." "We had a lot of trouble finding the main hillbilly." "Randy Quaid, whom I had introduced in The Last Picture Show and then brought to Hollywood for a small part in What's Up, Doc?" "I figured if he came to Hollywood, he'd get an agent, and he did." "By the time we were making Paper Moon," "Randy Quaid had been cast in the leading role in The Last Detail with Jack Nicholson." "I couldn't find somebody to play this leading hillbilly in this sequence." "So I called Randy and said, "I know you're starring in a picture." ""Could you do me a favour and come and play a small part in this picture?" ""I need somebody regional, who's a good actor," ""who's tall and gangly," ""and can't find anybody. "" "Randy said, "I'll do it for you. "" "Just before he did The Last Detail, he came and did this scene for us." "This is funny because I told them to rig the door to fall." "Watch the way Tatum didn't know it was going to happen." "She jumps back." "See?" "It's real!" "She didn't know it was going to happen." "Put in the line about the radio being OK 'cause I wanted music in it." "The truck was junk, but we wanted a radio, otherwise we'd have no music." ""The radio's OK." We threw that line in." "And here comes Randy and his brothers." "It's a little like Li'I Abner," "or later, a Deliverance kind of thing." "There's Randy Quaid." "And we set this "rassle you for it" business, which we do at the end, we set it up like it would be a big deal." "We made it not a big deal." "There's Randy." "Wonderful actor." "Found him in Houston, Texas for The Last Picture Show." "He was doing a nightclub act with his brother." "He read for one part." "We cast him in another." "There he is." "You can see him better." "In the book, Ryan's character was called "Long Boy" Moses Pray, and we didn't like calling him "Long Boy"." "Moses was too complicated." "He's Moze a few times in the book." "We just dropped "Long Boy", which is sort of southern, also." "This scene, Verna Fields kept telling me, "This doesn't cut. "" "I said, "You'll find it. " It was tricky to cut." "With the camera..." "See how the camera's moving with these shots." "It was tricky to find where to cut." "It was one of the only times Verna complained." "She went, "This won't cut." "Your stuff usually cuts a lot easier. "" "I said, "Verna, you'll figure it out. " It was real quick." "Boom!" "It's over." "We set it up like it was going to be a big thing." "He cheats and gets it over with." "I didn't want to make too big a deal out of it." "Ryan looks right in the lens here." "I told him to look in the lens." "That's a trick that Hitchcock taught me, about doing point of view." "She actually was driving and he was pushing." "I think the camera was locked on to the truck." "Again, they're both in focus." "This set up that it had no brakes, so we could do the ending." "This whole sequence had a hair in the lens, which we saw the day after." "It was one of the last scenes we shot." "I was so tired of being there that I said, "We'll just blow it up. "" "We blew the hair out of it and did not re-shoot anything." "We had to set up the faulty brakes so the truck could roll off at the end." "This whole last scam here..." "That's my voice, setting up the song, the DJ telling you we're in St Joseph." "All this stuff was shot in St Joseph, starting with the hillbilly sequence." "This scene in the mirror, again without a cut, the whole thing plays in the mirror." "This was a scam that was not in the book, and we added it so that we could have a reason" "for him to drop her off with the aunt, which he was close to." "But in the scene before it looked like he wasn't going to do it." "We had to have a reason that he did, which was always part of the ending." "But we didn't know how to resolve it after that, until just before we left Kansas to go to Missouri." ""In the thky... " She's so sweet." "He forgot his gold tooth, which we set up so later on he can say he swallowed it." "It's only the second time you see him put it in, but it's to remind the audience." "Now, this was all shot in St Jo, Missouri, downtown, a great location that Polly and Frank found." "But this whole ending was not in the book." "Again, we shot this with a wide-angle lens, which distorts his face and helps him seem scared." "We shot this on the weekend, so that there'd be no traffic in town and no people." "Ryan's really running in this next shot, really full-out running." "The camera's going back." "I think the camera was on a truck." "This is very sweet." "Tatum comes out the door." "I said, "Be happy now. "" "She comes out and we pan." "She came down the stairs and does a little skip." "See?" "There." "She came over to me." "I said, "Cut!" "Print!"" "She went, "Did you like the skip?" So sweet!" "I always remember that." "She was getting to be a real pro by then." "Of course, this was toward the end of the picture." "It's a location they found to make this thing work." "And it does look..." "Somebody pointed out it looked like Shadow of a Doubt." "It's black and white in a small Midwestern town." "We had a transitional problem here that Verna solved with the shot of the clock." "The other sequence had ended with a high-angle shot, looking down on Ryan as they came in." "It looked stagey." "We didn't know how to make the transition." "Verna said," ""Let's go to the clock. " That's what did it." "Again, this is all shown from Tatum's point of view as a way of putting you in her head." "St Joseph's an interesting town, because it looks like a bigger town, and it is." "Now, Ryan had to be heavily made up for this, of course." "The way she said "Moze" was so touching to me." "She did it so well." "We tried to avoid it being sentimental, but it's quite touching." "She's very good in this." "They both were." "Again, Ryan was shot with a wide-angle to distort him, and she knows he's going to take her back." ""Don't start crying. " "I won't. " She's tough!" "This was all shot near St Jo, Missouri, and this is where we paid off the paper moon photograph." "Here we're setting up the photograph that he finds." "The audience knows he'll find something." "It isn't a surprise." "We don't know what it is." "The studio previewed the picture in 100 theatres across the country one day, taking an ad out in some of the magazines," "to guide word of mouth to start and it was very good on this movie." "The audiences really liked it." "It became a big grossing picture, from word of mouth, 'cause the reviews were mixed, some good, some not." "People remember it as getting great reviews, but it didn't." "The New York Times didn't give it a good review." "Time magazine didn't like it." "Interestingly, some of the backlash against my previous successes was starting on this picture, but the audiences really embraced it." "A rare time Tatum doesn't get a close-up, and it was played from Ryan's point of view to keep it from being sentimental, because it's easy to overly work the heart strings." "Now it becomes her point of view again, albeit briefly." "All these wonderful roads." "And now she goes to see her aunt." "This is where we had trouble figuring out how to end the picture." "She goes in." "You see she's not even thinking about being there." "She's missing him already." "We didn't know how to get them back together and what would happen if we did get them back together." "Just before we left Hays, Kansas," "I realised that we hadn't paid off a couple of things, one thing." "We hadn't paid off the" ""You owe me $200."" ""Paid off" means putting a finish to something set up earlier in the picture." "A number of times there'd been talk about "You owe me $200."" "All that stuff in the first act, and then he loses all his money." "So now, of course, he still owes her the $200." "Polly and Frank had found this road in Kansas." "I wrote that on the photograph myself." "They'd found this road..." "This, by the way, paying off the photo was part of this ending we thought of, just before we left Kansas." "There was this road with a wonderful hill, one of the only hills in Kansas, and it was a terrific road." "I had a brainstorm and thought," ""What if we pay off the fact that the truck has no brakes" ""and the photograph and the $200, and make that the ending?"" "That's what we did." "She misses him, says, "The hell with it!" and runs away." "We don't see her run away, but we see her when Ryan sees her." "And he stops the truck, 'cause it's not doing too well." "He notices the photograph, looks at it and misses her." "She is looking at this nice house." "Her aunt's a nice person, but she misses him, which you can tell from the way she turns in this shot." "It was one of the only times I didn't know how to shoot this scene in the room." "I actually said, "Let's go home." "I can't figure out how to shoot it. "" "Then I realised it had to be in one shot, moving in to the close-up of her." "Orson Welles told me if you don't know how to shoot, something's wrong with the scene, and it was too elaborate." "This shot was, I think, one of the most touching." "I said, "Don't smile, don't look happy, because it'd be too sentimental. "" "Here it's paid off." "She runs up." "He says he doesn't want her with him." "She says, "You still owe me $200." The audience loved that pay-off." "The brakes fail, and we had an ending." "They ride off into eternity." "You see the road, not yet, but it was this great road." "Close-up, and she hits him with it." "He throws down the hat." "She got him, again!" "And there goes the truck." "We saved it." "This shot here is the last shot in the picture." "It pans them and you see them do the whole thing." "There's the truck and road." "He jumps in and helped her in." "Actually, we had somebody hidden in the truck who helped her." "She got in." "All one piece." "Pan, and there's the road, finally, which Polly and Frank found." "She didn't know what this'd be good for." "It was good for the ending." "That happens when everybody works together." "The music goes." "Then the music comes back, and it's the only time, except the beginning, that the music is used as a score." "It comes back to us." "It goes to the optical and the credits roll." "The studio wanted to make a sequel called Harvest Moon, which would have used the second half of the book." "It mainly played with an older woman, which they wanted to have Mae West play." "I thought we'd done it." "I just thought..." "I couldn't return to it, somehow." "A TV series was done for 13 episodes, which I approved the casting in." "I actually picked the casting." "Jodie Foster had a big success with that, but the series itself was not popular, 'cause it was in... colour!" "The truck is still going." "I told them, "Just keep going. "" "He went to the end of the hill." "I'm proud of the picture, proud of Tatum, Ryan, Madeline and John Hillerman." "All of us, Polly and Frank, everybody, Laszlo, did a great job." "So it's one of the ones I'm proud of."