Jerry takes a midnight snack from the fridge unaware that Tom is watching him.
Butch convinces Tom and Jerry that there's no reason to fight and they should all sign a peace treaty. Tom and Butch even rescue their pals from a fellow cat and dog. But then a steak falls off a truck and the boys can't decide how to divvy it up, ultimately losing it completely, and the truce is off.
Tom calls the exterminators, but they send a cat, who despite his various tools, doesn't fare much better than Tom usually does.
Tom's new book on "how to catch a mouse" doesn't prove too helpful against Jerry; actually, Jerry seems to make better use of it than Tom.
Tom is golfing, but having no success. Jerry insures that remains the case.
The family dog warns Tom not to make any noise so he can take a nap. Jerry hears this and immediately devises plans to ensure that the dog's nap will be interrupted.
Tom chases Jerry into a bottle of invisible ink, and the now-invisible Jerry proceeds to have fun torturing Tom.
Tom fights with another cat over Jerry.
Jerry crashes a vase onto Tom's head, which gets Mammy to throw Tom out. Jerry at first revels in his freedom, but soon tires of this, and, under a flag of truce, hatches a plan with Tom.
Tom invites Toots to an elegant dinner. However, he's made the mistake of trying to put Jerry to work, as a serving boy, a corkscrew, and other tasks. Jerry puts up with a little of this, but mostly gets revenge on Tom.
It's spring, and Tom is much more interested in the female cat next door than in Jerry.
A young man in New York has exasperated his father because of his constant carousing and irresponsibility, so his father sends him to his uncle's ranch in the west. The young man arrives in the town of Piute Pass, which is being terrorized by Tiger Lip Tompkins and his gang, the Masked Angels. The Easterner befriends a young woman whose father is being held captive by Tompkins, and he decides to help her.
Junyer Bear has a number of surprises for Good Ol' Pa on Good Ol' Father's Day, whether he wants them or not.
Mammy Two-Shoes threatens to throw Tom out of the house if he makes a mess. Jerry sees an opportunity to rid himself of his feline nemesis.
Tom's day at the beach doesn't start out well. First he gets his swimsuit caught in the door of the beach house, and doesn't realize it until his intended dive in the ocean sends him snapping back and crashing through the door. He runs out and tries again. This time he is so determined to jump in the water that when he does so, he doesn't notice the tide is out and that he is swimming in the sand, which is filled with broken bottles, tin cans and other debris. Later, he tries to win over a beautiful girl on the beach, but, being the boor he is, he annoys her by drinking her soda pop, eating her hot dog and munching loudly as he lays his head in her lap. Suddenly, a tomato flies through the air and lands on his head. So does a banana peel. Tom looks for the culprit and finds him in the girl's picnic basket. Jerry is inside, eating what he wants and tossing out the rest...
Mammy Two-Shoes tells Tom and Butch that the cat who gets rid of the icebox-raiding, breadbox-invading mouse (Jerry) is the one who can stay.
Tom is playing with Jerry when a cute lady cat is delivered to Mammy for her to take care of. Tom is smitten at first sight.
At an upper class golf resort, a tramp discovers he's the lookalike of a rich man with a beautiful, unhappy wife.
The seven short films making up GENIUS PARTY couldn’t be more diverse, linked only by a high standard of quality and inspiration. Atsuko Fukushima’s intro piece is a fantastic abstraction to soak up with the eyes. Masaaki Yuasa, of MIND GAME and CAT SOUP fame, brings his distinctive and deceptively simple graphic style and dream-state logic to the table with “Happy Machine,” his spin on a child’s earliest year. Shinji Kimura’s spookier “Deathtic 4,” meanwhile, seems to tap into the creepier corners of a child’s imagination and open up a toybox full of dark delights. Hideki Futamura’s “Limit Cycle” conjures up a vision of virtual reality, while Yuji Fukuyama’s "Doorbell" and "Baby Blue" by Shinichiro Watanabe use understated realism for very surreal purposes. And Shoji Kawamori, with “Shanghai Dragon,” takes the tropes and conventions of traditional anime out for very fun joyride.
A clip-show music video for the album of the same name and vintage. Includes 5 songs from the album ("Mousetrap", "Disco Mickey Mouse", "Watch Out For Goofy", "Macho Duck", "Welcome To Rio").