Charleston is the second largest city in the U.S. state of South Carolina. It was made the county seat of Charleston County in 1901 when Charleston County was founded. The city's original name was Charles Towne in 1670, and it moved to its present location (Oyster Point) from a location on the west bank of the Ashley River (Albemarle Point) in 1680. It adopted its present name in 1783. In 1690, Charleston was the fifth largest city in North America, and remained among the ten largest cities in the United States through the 1840 census. As defined by the U.S. Office of Management and Budget, and used by the U.S. Census Bureau for statistical purposes only, Charleston is included within the Charleston – North Charleston – Summerville metropolitan area and the Charleston-North Charleston urban area.
Charleston is known as The Holy City due to the prominence of churches on the low-rise cityscape, particularly the numerous steeples which dot the city's skyline, and for the fact that it was one of the few cities in the original thirteen colonies to provide religious tolerance, albeit restricted to non-Catholics. Many Huguenots found their way to Charleston. Charleston was also one of the first colonial cities after Savannah, Georgia to allow Jews to practice their faith without restriction. Kahal Kadosh Beth Elohim, founded in 1749, is the fourth oldest Jewish congregation in the continental United States. Brith Sholom Beth Israel is the oldest Orthodox synagogue in the South, founded by Ashkenazi (German and Central European Jews) Jews in the mid-19th century.
Plot
Busdrive My Heart is an outrageous comedy about a college student named Scott who falls in love with a day camp bus driver named Amanda. Amanda's emotions are put to the test as she must decide whether her love for Scott is stronger than a promise she made to her dying grandmother. Hilarity ensues as their love is constantly being thwarted by Amanda's grotesque sister, her meddling parents, and the ex boyfriend living in her own home.
Keywords: college-town
Busdrive this!
Kaitlin: Frank? Sounds like a wiener. I don't do wieners.::Scott: Don't call him a wiener.::Kaitlin: You wouldn't last TWO MINUTES in my world!
Scott: Hark on thee. Thouest rains dews on the son of morn.::Kyle: It has been a forenight since we have seen the frowest of maidens.::Amanda: 'Tis I, young Thantrees! The sirens song whispers gently on the frets of thy brow.::Scott: Avast! For thine humus is on thine sandwich. But no fearest me, for I shed no tears for Aiden's wrath...::Kyle: Nein! For haste! Of the treacherous buttocks of the grandest of all racks.
Ross: Torn up inside? Oh, I know that feeling. Having your juicy cutlets ripped from your body like a savage beast feasting on the flesh of an unsuspecting victim? Knowing that each bite makes him stronger and drags him further and further into the depths of insanity?::Scott: Yeah, it's... kind of like that...
Balls: I just dropped by to see if you got any ski-bop-be-do from that hot chick last night.::Scott: What are you, Ella Fitzgerald now?::Balls: Come on, I want all the details! Did she give you a Lazy Susan? How about a Skinflute Jumpsuit? What about a Yellow-bellied Muffin Shooter?::Scott: We didn't do anything, and I think you just made those up.::Scott: You're a dick! You had that hot chick all to yourself last night and you didn't even banga-langa-ding-dong? Don't even tell me you're still a vegan!
Mustache Man: Pardon me. May I trouble you for a dollop of corn?
Amanda: Let's take this slow.::Scott: Of Course.::Amanda: Nothing kinky. I'm not gonna give you a Lazy Susan or anything. I ain't no hojack.::Scott: I don't even know what that is.::Amanda: Neither do I.
Amanda: Have you ever had a Grandma?::Scott: Yes... once...::Amanda: Have you ever made a promise to someone on their death bed, and then completely regretted making that promise within minutes of leaving the room?::Scott: All the time...
Lipkin: We must be in space, 'cause I wanna fill your moon boots!::Amanda: I don't even know what that means...::Lipkin: [laughing] That's hilarious! Name's Lipkin. Read the shirt.::Amanda: Amanda...::Lipkin: Mmmmmm... [scrapes her hand across his leg]::Amanda: [disgusted] Sickenating!::Lipkin: So Mandra, what are you doing in this bar all by yourself? I'm a boiling pot of chocolate that's ready to spill! What? You ignore Lipkin? Nobody ignores Lipkin!
Plot
Brothers - older Stephen and three years junior Bloom - have been con artists since they were kids. Stephen is the mastermind, for who the intricacy of the story used in the con is as important as the positive outcome of the swindle. Bloom is the main character of Stephen's stories, the character he considers the anti-hero. As adults, they travel the world and never enlist the same people twice in their cons, except for their consistent sidekick, the mysterious and primarily silent Bang Bang, a Japanese woman who just appeared in their lives one day and who has a penchant for blowing things up. As Bloom hits his mid-thirties, he wants to quit the business as he is losing his own identity to that of the characters he portrays; he doesn't know anymore what is real and what is make-believe. Stephen talks him into one last con, the mark to be the eccentric, lonely but beautiful New Jersey heiress, Penelope Stamp. Penelope's primary past-time in life is to, as she calls it, "borrow hobbies": when she sees something she likes, she learns how to do it solely through reading books. As the brothers go through their final con on Penelope, three main problems may occur to thwart the plan. First, the brothers' former mentor and now arch enemy, Diamond Dog, may exact his long awaited revenge on the brothers. Second, Penelope may end up being more unpredictable than all their former marks. And third, Bloom, who has let love slip by in his life, may fall for Penelope. But through the process, no one ever really knows who is conning who.
Keywords: abandoned-theatre, accidental-shooting, accordion, adultery, airplane, apple, argentine, arm-sling, banjo, bar
They'd never let the truth come between them
Two master deceivers. One last swindling journey.
Bloom: Eat your waffles, fat man.
Stephen: That's my new favorite camel.
The Curator: The Curator: Madam, your smile is the sun and fallen men like me, we need the sun.
Stephen: I have at different times in my life, sold sand to an Arab and ice to an Eskimo.
Bang Bang: [after blowing up the Prague castle] Fuck me...
Bloom: Do you feel cheated?::Penelope Stamp: The trick to not feeling cheated is to learn how to cheat.
Stephen: The score to beat is 7.9. Keep your head in the game, that Japanese judge is very tough.::Bloom: This is a banana seat, man.::[Stephen and Bang Bang stare at him]::Bloom: Don't give me that blank look. You know what a goddamn banana seat is.
Bloom: There's actually a nack to this. If you're trying to fast-track to a mark's sympathies, there's nothing quite as effective as having your first conversation be from a hospital bed... they put you in.
Penelope Stamp: I think you're constipated, in your fucking soul... I think you might have a really big load of grumpy petrified poop up your soul's ass.
Penelope Stamp: Oh my god, I'm so horny!::Bloom: [exiting] Goodnight.
Charleston is my name. Con tricks are my game!
Plot
Two professional killers invade a small town and kill a gas station attendant, "the Swede," who's expecting them. Insurance investigator Reardon pursues the case against the orders of his boss, who considers it trivial. Weaving together threads of the Swede's life, Reardon uncovers a complex tale of treachery and crime, all linked with gorgeous, mysterious Kitty Collins.
Keywords: african-american, alcoholic, armed-robbery, astronomy, atlantic-city-new-jersey, attempted-suicide, based-on-short-story, beneficiary, betrayal, billiards
THE MOST SUSPENSEFUL PICTURE OF ALL TIME! (re-release print ad - all caps)
One Moment with Her...And He Gambled His LUCK...LOVE...and His LIFE!
BOLD -- because it's told the untamed HEMINGWAY WAY!
She's a match for any mobster!
TENSE! TAUT! TERRFIFIC! told the untamed Hemingway way!
Every kiss carved his name on another bullet
The Screen's All-Time Classic Of Suspense! (1956 re-release)
Jim Reardon: She took a powder. The dough went with her.
Reardon: Good morning, Stella.::Stella: Good morning, dream boy.
Jail ward doctor: [speaking about the fatally wounded Blinky] Beats me. I don't know what keeps him going.::Jim Reardon: Will he be able to talk anymore?::Jail ward doctor: He's dead now - except he's breathing!
Jim Reardon: How much time has he got?::Lieutenant Sam Lubinsky: He's behind schedule now.
'Swede' Andersen: Why did you ever go back to him, Kitty?::Kitty Collins: Maybe because I hate him. I'm poison, Swede, to myself and everybody around me! I'd be afraid to go with anyone I love for the harm I do to them! I don't care harming him!
Lt. Sam Lubinsky: Don't ask a dying man to lie his soul into Hell.
[last lines]::[after Reardon has wrapped up the investigation, Kenyon congratulates him]::R.S. Kenyon: Owing to your splendid efforts the basic rate of The Atlantic Casualty Company - as of 1947 - will probably drop one-tenth of a cent. [he shakes Reardon's hand] Congratulations, Mr. Reardon.::Jim Reardon: I'd rather have a night's sleep.::R.S. Kenyon: Why don't you take a good rest. I must say you've earned it. [Reardon starts to leave] This is Friday... don't come in 'til Monday.::Jim Reardon: Thanks.
Big Jim Colfax: If there's one thing in this world I hate, it's a double-crossing dame.
George: What'll it be, gentlemen?::Max: I don't know. Whatta you want to eat, Al?::Al: I don't know what I want to eat.::Max: I'll have the roast pork tenderloin with apple sauce and mashed potatoes.::George: That's not ready yet.::Max: Then what's it on the card for?::George: Well, that's on the dinner. You can have that at six o'clock. That clock is ten minutes fast. The dinner isn't ready yet.::Max: Never mind the clock. What have you got to eat?::George: Well, I can give you any kind of sandwiches: bacon and eggs, liver and bacon, ham and eggs, steak...::Al: I'll have the chicken croquettes with the cream sauce and the green peas and the mashed potatoes.::George: That's on the dinner too.::Al: [with nasty edge to his voice] Everything we want's on the dinner. That's the way want's on the dinner - that's the way you work it, huh?::George: I can give you ham and eggs, bacon and eggs...::Al: I'll take ham and eggs.::Max: Give me bacon and eggs.::George: [through the service window into the kitchen] One ham and, bacon and.::Sam: [loudly] Comin' up!
Al: You got anything to drink?::George: I can give you soda, beer, ginger ale...::Al: I said, 'You got anything to drink?'::George: [intimidated] No.::Al: This is a hot town. Whatta ya call it?::George: Brentwood.::Al: Did you ever hear of Brentwood?::Max: [Max shakes his head, no]::Al: Whatta ya do here nights?::Max: [sarcastically] They eat the dinner. They all come here and eat the big dinner.::George: [showing fear] That's right.::Al: [condescendingly] You're a pretty bright boy, aren't you?::George: [intimidated] Sure.::Max: [contemptiously] Well you're NOT!::Max: [to Al] Is he Al?::Al: He's dumb!
C'est nous les démenageurs de piano,
Des Steinway des Pleyel et des Gaveau,
Du teintement des pourboires économiques,
Nous on connait la musique,
Pour ce qui est du reste, ca c'est pas nos oignons,
Artistes nous on ne l'est pas pour deux ronds
Quand la musique vous a brisé les reins,
Y'a pas de charleston qui tient.
Pour nous prendre aux tripes,
Faut se lever de bonnes heures,
Dire qu'il y a des types,
Qui sur cet engin de malheur
Arrivent à faire croire à tout les balots,
Que la vie c'est comme au piano.
De l'amour ils en font tout un cinéma,
A les ecouter de vrai y'aurait que ça,
Qu'est ce qui resterait pour les déménageurs,
Qu'en ont des tonnes sur le coeur,
Il nous resterait qu'à nous noircir sur le zing
Mais là encore faut se farcir le bastringue
Il se trouve toujours parmi nous un tocard
Pour y glisser ses pourboires.
Pour tous les faire taire,
Y'a vraiment qu'une façon,
Les envoyer faire, un petit tour au charbon
Sur le piano de massacre de la réalité
Ils toucheraient du doigt la purée.
C'est nous les démenageurs de piano,
Des Steinway des Pleyel et des Gaveau,
Du teintement des pourboires economiques,
Nous on connait la musique,
Au fond à quoi qu'ca sert de discuter,
Comme l'a dit l'autre, a chacun son metier,
Tirer sur le pianiste, c'est pas notre boulot,
Nous on tire sur le piano
Taking my camera out again for some photographs I won't forget
I go for a walk along east bay
It's so beautiful today
Happiness hanging in the air
And it's only real when shared
Remember the night at the gallery
The back of the roon and she smiled at me
I knew right away I could never be lone,
How could I be lonely
I always wanna feel like I do in Charleston
I tell you thats the way that life should be
I always wanna love like I love in Charleston
Oh how I love you Charleston
Your secret's safe with me
Na na na na na na na na na na na na na na na na
Counting the cobblestones and bricks
That the fathers built the city with
I might be a Yankee born and raised
But it's here I wanna spend my days
A sandwich a pose and a bunch of friends
The fourth of July, out on Sullivan
I gotta get back to a place so real, it's so real
I always wanna feel like I do in Charleston
I tell you thats the way that life should be
I always wanna love like I love in Charleston
Oh how I love you Charleston
Your secret's safe with me
Na na na na na na na na na na na na na na na na
Got rid of the old bridge and put in a new bridge
Everyone knows that things must change
We know what we were and we know what we can be
Change is slow this I know
I always wanna feel like I do in Charleston
I tell you thats the way that life should be
I always wanna love like I love in Charleston
Oh how I love you Charleston
Your secret's safe with me
Na na na na na na na na
Your secrets safe with me
Na na na na na na na na
Don't stop - don't stop - don't stop -
Jumping locomotion
energetic potion
Feel your body keepin' time
pulsing beat into your mind.
Automatic action
systematic passion
Daylight stepping in the night
colours change to black and white.
Lover
don't waste your time
'cause you can make a move.
Brother
you'll blow your mind if you get into the groove.
Don't stop
hungry dancer
come and do the charleston
Modern day romancer
get back to the charleston.
Don't stop
hungry dancer
come and do the charleston
Modern day romancer
get back to the charleston.
Dance until the mon@ing
see your partner glowing
Back and forth
you move your feet
steaming hot
you feel the heat.
Step back in the old days
loving with the new ways
See you must have a good time
happiness is in a climb.
Music
it seems to change
but people are the same.
Choose it what you prefer
but dancing will remain.
Don't stop
hungry dancer
come and do the charleston
. . .
Don't stop
hungry dancer
come and do the charleston
Charleston bound I told my friends
I got family there next to kin in all different skins
Brotha may I walk your streets
Show me where and when I swear I won't stray from curb
Yea I know this ain't my town town town but it is tonight
Place my heart at home and take a shot for luck cause
Those rules don't count tonight
My hotels on the right
We'll all have secrets tomorrow
Find a mate and make sure those doubts don't get in the way
The energy that fills this place
It's one I've never felt, and I have been in heaven and hell
Is it safe to close my eyes
I don't want to miss a thing tell me when the clock hits ok
One more night and I have to head back to my town
So place me in the sins and take a drink of hen cause
Those rules don't count tonight
My hotels on the right
We'll all have secrets tomorrow
Find a mate and make sure those doubts don't get in the way
Yea I know this ain't my town
But I'm Charleston bound
Those rules don't count tonight
My hotels on the right
We'll all have secrets tomorrow
The trip started well, they packed up their bags and packed into the cars
Made the six hour drive to wrap up the year with friends that they love.
That's when everyone tries to be someone else.
I say, what's so bad about being yourself?
they'll send their innocence away until a rainy day or when their caught.
And maybe in a couple years they'll understand the truth they forgot.
Then the hour approached the good kids turned bad the bad kids turned worse
They'd like chaos to rule cause no one feels guilt when mayhem ensues
that's when everyone tries to be someone else.
I say, what's so bad about being yourself?
They'll send their innocence away until a rainy day or when their caught.
And maybe in a couple years they'll understand the truth they forgot.
I can't believe that this is true.
What did you think that this would make you cool?
and while you're living in excess
all the anthems you profess you don't possess.
Everyone tries to be someone else,
what's so bad about being yourself?
They'll send their innocence away until a rainy day or when their caught.
Mamãe!
Os meus sapatinhos
Como estão velhinhos
De tanto dançar
Esta dança que balança
E qualquer criança
Dança sem cansar
Charleston
Charleston
Só quem dança sabe o que é bom
Mamãe!
Os meus sapatinhos
Eram tão novinhos
Foi o Charleston
Lá na praia
Lá na escola
Lá em casa na vitrola
Todo mundo ao som do Charleston
Eu já sei todos os passos
Mexo as pernas, mexo os braços
Mas estou sentindo frio nos pés!
Mamãe!
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