Norman becomes belligerent backstage, particularly oward his pushy, mean-spirited studio publicist Matt Libby (Jack Carson), insulting him:I don""t need any more pictures, I don""t need any more interviews, because the public loves me.A few of the loosely-connected scenes that were woven ogether have become classics:the funny sight-gag of repeatedly pickpocketing a Sheriff of a $5 dollar bill, to make it look like a $15 bill was paidthe famous "Tootsie-Frootsie" Ice Cream/Code Book scene at the racetrackthe Phone Call Impersonation sequencethe two Medical Examination scenesa clever Pantomime (Game of Charades) o indicate a frame-upthe Dinner-Date seduction and Wallpapering to the Wall scenethe destruction of a piano and its transformation into a harpthe climactic Steeplechase race sequenceThis was theonlyMarx Brothers film to receive a competitive Oscar nomination -- Dave Gould""s Best Dance Direction for the song/dance number "All God""s Children Got Rhythm" in he last part of the film.The only one disappointed was Leo Getz, who claimed he had finally sold the house ("this termite-infested dump"), although Murtaugh claimed they weren""t moving for another ten years until his "forced retirement.Laurie briefly stopped the killer""s approach to her by calling him by name: "Michael?" With a second gun, Laurie shot the unstoppable, seemingly-indestructible homicidal killer in each of his eyes with the last two remaining bullets - causing the killer to weep and bleed red tears down the front of his mask.