| Frankie: Okay, this is the picture. |
| Johnny’s been hurt. |
| He’s been hurt bad.
|
| Woman: Look, we can’t leave him here, we can’t. |
| Look, he’s in a pool of blood.
|
| He’s gonna die, I know it.
|
| Frankie: We’ve gotta leave him here, honey. |
| We gotta. |
| He won’t talk,
|
| I promise you that! |
| Will you Johnny?
|
| Woman: Frankie, I don’t care whether he talks or not, I just can’t leave him
|
| like this.
|
| Johnny Listen. |
| Leave me here I… I… I can … I can … handle it.
|
| Woman: Oh, no, Johnny, no…
|
| Frankie: The cops are outside. |
| Luke’s in the car. |
| Come on, let’s get the hell
|
| outta this joint.
|
| Woman: Frankie, when they get here wer’re gonna be dead, I know we are!
|
| We don’t have agun!
|
| Frankie: Listen. |
| We got three million… Listen,. |
| We got three million in the
|
| can, here. |
| We can’t look after him, I’ll send the bird to his mother.
|
| Come on, let’s just get out of this place, we can do it!
|
| Woman: Oh, no, Johnny, no…
|
| Frankie: Okay now, just lean up against that door. |
| When I give the word «Go»
|
| we just…, we just go through it and blast at the same time.
|
| She came, as in the book, Mickey Spillane
|
| That Saturday night dark masquerade
|
| Had filled his friend with lead, the same, sweetheart
|
| But then, as nothing happens quite the same
|
| Investigation is the game
|
| He had to check her story right away-he dead
|
| Sam Spade his buddy Archer first to go he got it She spelt it out, how could they know the 'Fatman' got it -he dead
|
| Her sister didn’t really live at all-confusion-he dead
|
| His chase led to the Fatman, to face the friends of Mr. Cairo
|
| Woman: Hey, there’s a really terrific dress shop. |
| Can we stop this raid while I buy a new gown?
|
| Frankie: I’ll buy you the whole factory, sweetheart. |
| Don’t worry.
|
| That night, the double crosser got it right
|
| Pretending he was really dim
|
| He slipped to Sam a double gin (Mickey Finn)
|
| He woke, the boys had gone, but not his gun
|
| They’d left a note to lead him on The chase to find the Maltese Falcon-you bet-
|
| Early thirties gangster movies
|
| Set to spellbind population
|
| From Chicago to Hong Kong
|
| Via Istanbul the Talking Tong
|
| Dirty rats thru' prohibition
|
| Money flowed thru gangsterism
|
| Acting out this fantasy
|
| In Hollywoods vicinity
|
| The best part for the best rendition
|
| Al Capone he sent to prison
|
| Citizen Kane came fast and quickly
|
| Conquerin ol' New York City
|
| Poking fun at superstition
|
| Media became television Give me Cagney anyday
|
| Or Jimmy Stewart for President
|
| Or Edward 'G' and all those guys
|
| Who always shoot between the eyes
|
| Between the eyes
|
| Between the eyes
|
| Kasper: ha, ha, well done Mr. Cairo, and what do you have to say about that,
|
| my friend?
|
| Spade: Allright. |
| So you’ve got me in it. |
| What about her?
|
| Brigid: Don’t worry about me, I’m okay
|
| Kasper: Very magnanimous, sir, very magnanimous indeed, ha, ha, ha Mr. Cairo: You mean…, you won’t make us an offer we… we can’t refuse…
|
| Father love do you work, do you work for Mother
|
| Chances could call, and accept that, be no other
|
| Science as it might, disappear correspond with colour
|
| Chance is the fruit, will outlive, what is now the brother
|
| Call for total wealth to distribute like a picture
|
| In black and white, give it joy, give it, let it hit you
|
| Spoil our existence by extreme gift to population
|
| Father love do you work, do you work for Mother
|
| Tell me straight be the Godfather be no other
|
| Media Kings give us now give us total movie
|
| Straight right now, give it clear, give us total movie
|
| Now being here, being now, being here believing
|
| Man: I don’t know which words to put in there sweetheart, you know,
|
| I can’t do it. |
| Pretty kind of useless, though, don’t you think so Mary?
|
| Man: Come with me to the far lands of Baghdad.
|
| Woman: Oh, if only I could. |
| That’s what I want more than anything in the world,
|
| but it could never be…
|
| Man: Of course it can…
|
| Woman: But my father would find us wherever we went. |
| Yes, he has forbidden me to… to even speak to you, if he finds me now. |
| I don’t know what he’d do…
|
| Man: But he doesn’t know that I’m… I’m a prince. |
| Before, I was the thief of Baghdad now…
|
| Woman: It doesn’t matter…
|
| Man: Then follow me, darling, follow me now to the ends of the Earth |
| One on one to talk to you
|
| Like film stars they get close to you
|
| You’ve mirrored his appeal
|
| He wants you so, he wants to be beside you
|
| Then you pass by giving him the other side of you
|
| Like the mystics do So that every time he moves, he moves for you
|
| Soul and light can always see
|
| The meeting of true love and she
|
| This silent night and I,
|
| I guess a lonely mind might see
|
| I’ve seen love on the screen
|
| I’ve seen a screen goddesss and me-oh
|
| How often this, how often, this the power of you
|
| And so, I must confess
|
| Whatever I see
|
| I’m meant to be there with you
|
| With you with you
|
| Silent golden movies, talkies, technicolour, long ago
|
| My younger ways stand clearer, clearer than my footprints
|
| Stardom greats I’ve followed closely Closer than the nearest heartbeat
|
| Longer that expected-ther were great-
|
| Oh love oh love just to see them
|
| Acting on the silver screen, oh my Clark Gable, Fairbanks, Maureen O’Sullivan
|
| Fantasy would fill my life and I Love fantasy so much
|
| Did you see in the morning light
|
| I really talked, yes I did, to Gods early dawning light
|
| And I was privileged to be as I am to this day
|
| To be with you. |
| To be with you
|
| Mr. Cairo: Listen. |
| I have arranged this display for… for all of you people to.
|
| . |
| to come here this evening and I… I know you have been searched, but,
|
| what you… you don’t realize is, is that in the back of the Maltese Falcon,
|
| I have it … |