 Well, well, well, here's Mama Bloom's brood. Well, today we look in on the Excello Pictures Corporation in Hollywood. We look in to find Papa in his office, just finishing a telephone conversation with Sydney. All right, all right, goodbye. And please don't bother me for two hours because I'm gonna have some lunch and I don't want that my appetite should be spoiled. What? No, no, I'll eat alone. Because when I'm eating alone, I eat better. Yeah, yeah, goodbye. Hey, schlammiel, schlammiel. Maybe you're smart at the same time, huh? Peek-a-boo, Papa. Peek-a-boo. Huh? Peek-a-boo. What's the matter, Mama? You crazy? Come out and shut the door. Oh, Papa, it's all very lovely there. I feel sorry for you because you're having to sit in the office. You shouldn't feel sorry for me about that. I got other things to worry about. Mama, they like this. You shouldn't be worried. Maybe not. Say, Mama, what are you doing here before lunch? I shouldn't be here before lunch. Do I look different after lunch? I should wait. Is there a lot of... Mama, it's all right, all right, all right, Mama. I give up. You are here before lunch and I am happy. Oh, that's good, Jake. That's good. Ah, Papa, this morning I'm feeling like a scent. A million. If you were feeling like a scent, you'd be feeling like I am. So, it's something to matter again. Yes, Mama, not again. I know what's the matter with you, Papa. It's almost lunch and you're hungry. I can read you between the pages like a magazine. Like a magazine. So I'm hungry. So I'll go to lunch. I thought we should eat together. No. All right, so we'll eat together. There? I'll take you to the commissary. You'll take me there, Papa? To the commissary, to the commissary. All the way to Russia? We have to go to eat? Are you crazy, Jake? Mama, you don't understand. The commissary ain't got a thing to do with Russia. The commissary is the lunchroom where everybody in the studio eats. Jake, don't tell me. A commissary is a serviette. A serviette is a napkin. The commissary we got here is our lunchroom. And if you ain't hungry enough to eat in it, I am. They'll take the leap and lean. They'll live and loin. Come on, Mama, come on, before you got me crazy. The drive you crazy is easier. Crazy before anybody could be saying Jacob Ravenstein. Who wants to say it? All right, so we'll eat with Russians. I'm ready, Papa. Eat with Russians. All right, so we don't have an argument. I'll have everybody put on beards. Come on, come on, Mama, I am starving today. You always are. Go ahead, Papa. Papa. Yeah, yeah. Is that the stenotype? Yeah. Good morning, Mr. I don't know your name, but did you learn to write English yet? Mama! What do you think I am? You shouldn't be pulling me to a door so fast. What's the matter with you? Mama, why did you ask my stenographer if she learned to write English? Jack, you got a memory like nothing. She used to go out who wrote the funny little lines. It didn't mean nothing. I found out about that later. Mama, it was shorthand. Shorthand. Something new that Sidian Harold thought out. No, Mama, no. Oldest stenographers use it. That's the least we can read it. They can. Can you, Jack? I can't think. Then why should they write it? So they can read it when they are finished writing it and when I am... Look, I am hungry. I don't want to be standing here all day. All right, Papa. All right. Don't be hollering like the well man from Barney. Oh, shh. There's the lunch room. Right over there where all the people are going now. Honest, Mama, I don't see how they do it. Not so little is blowing to telling him it's 12 o'clock. But somewhere or other, they always find it out. Jack, what tells you when it's time to eat? What tells me? My stomach, my stomach. Well, ain't the other people got stomachs? Don't you think they're getting hungry, too? Or maybe you think you're a privileged cop in here. I give up. Yeah. Oh, there's right for the benefit. Please, Mama, please. Her name is Masha Vagnane. Oh, I forgot, Papa. I forgot. So there goes Masha right for the benefit Vagnane. Yeah. Thank you. When you're in a good humor, I'm never knowing what to expect. Well, you're surprised. Yeah. Yeah, here. We're going this way. Yeah. Oh, my, my. Isn't it nice in here? Sure. It's a cafeteria. A cafeteria. I mean, you carry your own tray. So we'll get in line. Sydney and Harold eating the private dining room. What's the matter with them, are they ashamed? No, no, no. They're big shots. But me. Me, I'm still Jake Bloom who was once in the knee-pants business and who can't remember it without wishing me was back. Take it for you, Mama. All right, Papa. I'll take it for you. Oh, you cut your long line. Say, Mama, I'll tell you what. You tell me what you want to eat and I'll bring it to you at that table over there. All right, Papa. You just get me what you get and it'll be okay. Okay. Okay. You're getting to talk like the boy. Mm-hmm. You just get me some lunch, Yasha. Shhh. I will be waiting, Papa. No, no, no. My sugar today. Just quite a bit. Ah, excuse me. I'm wanting to sit here. Thank you. Pardon me, madam, but may I sit here and partake of my lunch? You, uh, I'm very sorry, but what did you say? I wish to sit here and eat. Oh! Why didn't you say so? It's a pleasure, Mr, uh... I didn't catch the name. Maulington. Arthur S. Maulington. You've heard of me, of course. And your face ain't familiar, but your name ain't needed. Hmm, I see. Yeah. Are you on a diet? Uh, no, no, no, madam. I must eat lightly to keep my weight down. You're skinny now. Frightness of tongue is the essence of speech. If fairness lies exposed, the looseness of flattery. Yeah. I... Oh, double talk. No, no, madam. Shakespeare said that. The immortal bard. The immortal... Sh... does he like you? Shakespeare, madam, is dead. Oh, he was our friend of yours. I beg pardon, madam, but please, your jests do not strike me humorously. I have the salt. Oh, certainly, certainly. I'll pass. You know, you should eat more, Mr. Maulink. I, uh... I still ain't got the name. Yeah. It doesn't matter if you don't know me, madam. Suffice it to say I am an actor. I am valuable to this company. Oh, that's good, that's good. But I'm still saying you should eat more. You're skinny. Perhaps. But my value to this company and to others here in Hollywood lies in keeping me slim-ness. Why are you eating so fast, Mr. Shakespeare? I am not Shakespeare. I am eating rapidly because I must get back to the set. I cannot hold up production to satisfy the cravings of an appetite. You know, you should be the top of stenotype if I can't understand her neither. But you, uh... you are a great actor. Madam, I accepted this job merely to fill in between me appearances on Broadway. I'm resting. Oh, dear. Do you like the crust on the bread? I always eat them. Uh-huh. But what picture are you in now, Mr.? At present, I am appearing in a costume picture. Just one sequence, madam. But I lift it. I lift it. You are here, too? Uh, no. My husband, sir. I'm betting for him. I see. Your husband, I take it, they played Shakespeare? No, no. Pinnacle. Uh-huh. Very funny. Yes, indeed. Not to pop me things, especially when he loses. Uh, but tell me, Mr., how long can you in Hollywood? Two years, madam. Two long years. In that time, I've had opportunity to rest between Broadway appearances. There's a role waiting for me now in a great production of Hamlet, that of Polonius. You know the role, of course. I didn't get the name. Polonius. I thought you said of us Mollington. I am to play Polonius one of the characters of Hamlet. Oh, handsome. Did somebody here write this? Madam Shakespeare wrote Hamlet. Oh. What else did you hacked in? I've played King Lear, Macbeth, Shylock. Oh, Justin. Uh, who are they? Characters, madam. Characters in Shakespeare. Did he write everything? Everything worthwhile, madam. All else is the tensile draperies of foolishness. That once thrown into the lateness of reason loses its power to attract glistens, but deliver the sight of worthy things. Did Shakespeare write that, too? He did, madam. No wonder I never heard of him. Who could understand it? The immortal bard needs no understanding other than that of his devotees. Oh, here comes Papa. Papa, here I am. Papa. I see you, my boy. Excuse me, please. Oh, then you got trays of food in your hands. You wouldn't be seeing a thing. Excuse me. Yeah. Papa, I'm wanting you to meet Mr. Mr. Mollington. I'm glad to know you. I am honored. Mr. Mollington is an actor, Papa. He acted with our king and a ham. Yeah, king. Papa, you brought me pie. I don't want pie. But you like apple pie, mommy. You like it very much. Check your foolish. I do not like apple pie, and you brought some for yourself. You can't eat two pieces. Mama, I'm getting very... Mr. Mollington, please eat the pie. I'm funting you should, so it ain't going to vary. Oh, no, madam. Please, do me the favor, yeah? What's going on? Papa, eat your lunch. It's getting cold. Yeah, everything is crazy today. Very crazy. Is the pie good, Mr. Mollington? Very good, madam. No, it's the first time in my life I'm hearing you say you don't like apple pie. I like apple strudel, not apple pie. You mix it around, Papa. Oh, and you brought me coffee? Coffee, I don't want. You don't want coffee? I don't want coffee. It keeps me awake. Well, really, madam, you shouldn't be getting wasted. Well, I could drink another cup. That's good, that's good. Papa. Huh? Mr. Mollington's our great actor. Oh, he is. You're working here? Yes, I finished a sequence today. Of course, I take these little parts merely to keep me handy until I return to Broadway. Oh, I see. We actors don't really know, don't care about the money. We're trying to put a little art into film. Ah, who says they ain't got it? Sir, I don't know the stage. I wouldn't touch a part in films if it went for the fact that I hate to see the younger generation growing up without a little taste of fine art. That's why I accept parts. I could have more, but... Ah, you could have more. Papa, the meat slipped off your fork and you got your new suit on again. What? Oh, all right, ma'am. Well, I must be leaving. Thank you very, very much for your company and I'm happy to have met you. The pleasure was all yours. Out, ma'am. Hi, Mr. Mullington. Hi, ma'am. How are you? How are you? You look slummy. Who is he? He says he's a great actor. I never heard of him. Never mind. Papa, I want you to do me a favor. The checkbook's in the office, my dad. I'm not wanting the checkbook. Then what? I'm wanting you should give the man a job. Give him a job? You heard of me. Don't want a job. He just... Papa, listen to me. Maybe I'm not knowing a lot about Shakespeare. Maybe there are a lot of things that are muddy to me, but I know people when I see them. The man needs a job He talks very big, Papa, but he ate little, so I know he's needing a steady job. Ma'am, I love you. You see right through people. So you'll give the man a job? All right, ma'am. All right. For you, I'll do it. That's good, Jake. That's good. But I don't want you to be doing it for me. All right. So I'll be doing it for you. Yeah. But who is he? Who is he, Jake? He told you who he was. He's the friend of the immoral beard.