| Theodore Bikel:
|
| This, as you might have guessed, is the end of the movie. |
| The entire cast is
|
| assembled here at the Centerville Recreational Facility to bid farewell to you,
|
| and to express thanks for your attendance at this theater. |
| This might seem old
|
| fashioned to some of you, but I’d like to join in on this song. |
| It’s the kind
|
| of a sentimental song that you get at the end of a movie, it’s the kind of a
|
| song that people might sing to let you in the audience know that we really like
|
| you and care about you, yeah. |
| .. Understand how hard it is to laugh these
|
| days, with all the terrible problems in the world!
|
| Lord, have mercy on the people in England
|
| For the terrible food these people must eat
|
| (Baaahhh. .. excuse me a minute)
|
| And may the Lord have mercy on the fate of this movie
|
| And God bless the mind of the man in the street
|
| Help all the rednecks and the flatfoot policemen
|
| Through the terrible functions they all must perform
|
| God help the winos, the junkies, and the weirdos
|
| And every poor soul who’s adrift in the storm
|
| Help everybody, so they all get some action
|
| Some love on the weekend, some real satisfaction
|
| Phyllis Bryn-Julson:
|
| A room and a meal
|
| And a garbage disposal
|
| A lawn and a hose’ll
|
| Be strictly genteel
|
| Reach out your hand to the girl in the dog book
|
| The girl in the pig book, and the one with the horse
|
| Make sure they keep all those businessmen happy
|
| And the purple-lipped censors and the Germans of course
|
| Help everybody, so they all get some action
|
| Some love on the weekend, some real satisfaction
|
| A Swedish apparatus
|
| With a hood and a bludgeon
|
| With a microwave oven
|
| «Honey, how do it feel?»
|
| Lord, have mercy on the hippies and faggots
|
| And the dykes and the weird little children they grow
|
| Help the black man
|
| Help the poor man
|
| Help the milk man
|
| Help the door man
|
| Help the lonely, neglected old farts that I know
|
| Theodore Bikel:
|
| It’s been swell havin' you with us tonight, folks!
|
| Mark:
|
| But, don’t leave the theater yet, cause there’s still more to come,
|
| but before we go on, I want to introduce to you my friend and musical
|
| associate, Howard Kaylan, who’s going to give us all a final closing
|
| benediction
|
| They’re gonna clear out the studio
|
| They’re gonna tear down all the.
|
| They’re gonna whip down all the.
|
| They’re gonna sweep out all the.
|
| They’re gonna pay off all the.
|
| (Oh, yeah!)
|
| And then.
|
| And then.
|
| And then.
|
| And then.
|
| Hey hey hey, everybody in the orchestra and the chorus
|
| Talkin' 'bout every one of our lovely and talented dancers
|
| Talkin' 'bout the light bulb men
|
| Camera men
|
| The make-up men
|
| (The fake-up men)
|
| Yeah, the rake-up men
|
| (Especially Herbie Cohen, yeah. . .)
|
| They’re all gonna rise up
|
| They’re gonna jump up
|
| I said jump up
|
| Talkin' 'bout jump right up and off the floor
|
| Jump right up and hit the door
|
| They’re all gonna rise up and jump off!
|
| They’re gonna ride on home
|
| They’re gonna ride on home
|
| They’re gonna ride on home
|
| They’re gonna ride on home
|
| And once again
|
| Take themselves
|
| Seriously, yeeeah!
|
| Two, three, four, seriously
|
| They’re all gonna go home (ye-hey!)
|
| Through the driving sleet and rain
|
| They’re all gonna go home
|
| Through the fog, through the dust
|
| Through the tropical fever and the blistering frost
|
| They’re all gonna go home
|
| And get out of it as they can be, baby
|
| And the same goes for me
|
| (The same goes for me)
|
| Oh, yeah!
|
| Oh, yeah!
|
| Oh, yeah!
|
| Oh, yeah!
|
| And each and every member of this rock oriented comedy group in his own special
|
| way
|
| Is gonna get out of it as he can be
|
| We all gonna get wasted
|
| We all gonna get twisted
|
| We all gonna get wasted
|
| We all gonna get twisted
|
| And I am definitely gonna get.
|
| REAMED
|
| Cause I’m such a lonely
|
| I’m such a lonely
|
| A lonely, lonely, talkin' 'bout a lonely guy!
|
| Oh, and I know tonight, I am definitely.
|
| I am positively.
|
| I just have to get.
|
| BENT, REAMED AND WASTED
|
| Jimmy Carl Black:
|
| A disaster area the size of Atlantic City, New Jersey!
|
| Howard:
|
| He’s making me do this, ladies and gentlemen. |
| I wouldn’t do it if it weren’t
|
| for him. |
| You noticed, all through this material, I’ve been glancing over toward
|
| my left? |
| Well, I’ll tell you the reason for that, ladies and gentlemen.
|
| HE is over there. |
| HE is over on the left. |
| HE is the guy that is making me do
|
| all this shit. |
| Right over there. |
| Now all through this movie, every time we’ve
|
| been on stage, I’ve had to look over in that direction, right? |
| You saw it. |
| ..
|
| you know. |
| Well that’s cause HE’s over there. |
| I’ve got to watch him for signs.
|
| He jumps up and down like a jackass. |
| I can’t even believe the guy sometimes.
|
| But we gotta watch him. |
| «After all,» we said, «it's Frank’s movie.
|
| «Now, we’re THE MOTHERS, but it’s still Frank’s movie. |
| Let’s say it,
|
| he got to paid for it, he rented the studio, had all these cheesy sets built.
|
| .. it’s so moche! |
| I can’t even stand it. |
| .. He’s telling everybody,
|
| right now, right over there, to. |