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1
00:00:02,370 --> 00:00:05,005
* JUST SIT RIGHT BACK,
AND YOU'LL HEAR A TALE *
2
00:00:05,073 --> 00:00:07,208
* A TALE OF A FATEFUL TRIP *
3
00:00:07,275 --> 00:00:09,277
* THAT STARTED
FROM THIS TROPIC PORT *
4
00:00:09,343 --> 00:00:11,712
* ABOARD THIS TINY SHIP *
5
00:00:11,779 --> 00:00:14,215
* THE MATE WAS
A MIGHTY SAILIN' MAN *
6
00:00:14,282 --> 00:00:16,684
* THE SKIPPER BRAVE AND SURE *
7
00:00:16,750 --> 00:00:21,655
* 5 PASSENGERS SET SAIL THAT DAY
FOR A 3-HOUR TOUR *
8
00:00:21,722 --> 00:00:24,458
* A 3-HOUR TOUR *
9
00:00:24,525 --> 00:00:26,227
[THUNDER]
10
00:00:26,294 --> 00:00:28,162
* THE WEATHER STARTED
GETTING ROUGH *
11
00:00:28,229 --> 00:00:30,631
* THE TINY SHIP WAS TOSSED *
12
00:00:30,698 --> 00:00:32,900
* IF NOT FOR THE COURAGE
OF THE FEARLESS CREW *
13
00:00:32,966 --> 00:00:37,605
* THE MINNOW WOULD BE LOST,
THE MINNOW WOULD BE LOST *
14
00:00:37,671 --> 00:00:40,274
* THE SHIP SET GROUND
ON THE SHORE OF THIS *
15
00:00:40,341 --> 00:00:42,276
* UNCHARTED DESERT ISLE *
16
00:00:42,343 --> 00:00:44,845
* WITH GILLIGAN *
17
00:00:44,912 --> 00:00:47,315
* THE SKIPPER, TOO *
18
00:00:47,381 --> 00:00:51,785
* THE MILLIONAIRE AND HIS WIFE *
19
00:00:51,852 --> 00:00:54,655
* THE MOVIE STAR *
20
00:00:54,722 --> 00:00:56,124
* AND THE REST *
21
00:00:56,190 --> 00:01:01,262
* ARE HERE ON GILLIGAN'S ISLE *
22
00:01:13,907 --> 00:01:17,010
HELLO, HELLO.
TESTING, 1,2,3,4.
CAN YOU HEAR ME?
23
00:01:17,077 --> 00:01:19,980
YES, GILLIGAN.
I CAN HEAR YOU FINE.
CAN YOU HEAR ME?
24
00:01:20,047 --> 00:01:21,215
YEAH, I CAN HEAR YOU.
25
00:01:21,282 --> 00:01:23,016
UH, YEAH, I CAN HEAR YOU.
CAN YOU HEAR ME?
26
00:01:23,083 --> 00:01:25,986
YES, GILLIGAN,
I CAN HEAR YOU FINE.
CAN YOU HEAR ME?
27
00:01:26,053 --> 00:01:27,588
YEAH, I CAN HEAR YOU.
28
00:01:27,655 --> 00:01:29,990
THAT PROFESSOR SURE
IS SMART TO INVENT
THIS TELEPHONE SYSTEM.
29
00:01:30,057 --> 00:01:31,325
THAT'S RIGHT,
GILLIGAN,
30
00:01:31,392 --> 00:01:32,726
AND HE'S GOING TO STRING
WIRES ALL OVER.
31
00:01:32,793 --> 00:01:34,295
THAT WAY WE CAN TALK
ANY PLACE ON THE ISLAND.
32
00:01:34,362 --> 00:01:35,963
GILLIGAN! SKIPPER!
HAVE YOU SEEN GINGER?
33
00:01:36,029 --> 00:01:37,231
SHE'S BEEN GONE
ALL MORNING.
34
00:01:37,298 --> 00:01:39,300
WELL, NO I HAVEN'T.
SHE WASN'T AT BREAKFAST.
35
00:01:39,367 --> 00:01:40,401
OH, I'M AWFULLY WORRIED
ABOUT HER.
36
00:01:40,468 --> 00:01:41,702
SHE'S BEEN ACTING
SO FUNNY LATELY.
37
00:01:41,769 --> 00:01:43,871
YOU MEAN FUNNY FUNNY
OR FUNNY STRANGE?
38
00:01:43,937 --> 00:01:45,173
FUNNY STRANGE.
39
00:01:45,239 --> 00:01:46,474
WELL,
IF SHE'S MISSING,
40
00:01:46,540 --> 00:01:47,808
WE OUGHT TO ORGANIZE
A SEARCHING PARTY.
41
00:01:47,875 --> 00:01:49,410
OH, THAT'S
A GOOD IDEA.
42
00:01:49,477 --> 00:01:50,344
WELL, COME ON, GILLIGAN. SHE'S
PROBABLY AT THE OTHER END
43
00:01:50,411 --> 00:01:51,712
OF THE ISLAND.
HEY, WAIT.
44
00:01:51,779 --> 00:01:53,247
IF SHE'S ON THE OTHER END
OF THE ISLAND
45
00:01:53,314 --> 00:01:54,114
WHY DON'T
WE JUST CALL HER?
46
00:01:54,182 --> 00:01:56,016
HELLO! HELLO!
HELLO!
47
00:01:56,083 --> 00:01:58,619
THE PROFESSOR
HASN'T STRUNG
THOSE WIRES YET.
48
00:01:58,686 --> 00:01:59,853
OH, YEAH.
49
00:01:59,920 --> 00:02:01,289
CANCEL THAT LAST CALL.
50
00:02:03,791 --> 00:02:04,758
COME ON, GILLIGAN.
51
00:02:09,096 --> 00:02:11,565
Skipper: GINGER!
52
00:02:11,632 --> 00:02:12,966
GINGER!
53
00:02:13,033 --> 00:02:14,067
Gilligan: GINGER!
54
00:02:14,134 --> 00:02:15,636
GINGER!
55
00:02:15,703 --> 00:02:17,037
GINGER!
56
00:02:17,104 --> 00:02:18,406
OH, WE'LL NEVER FIND HER
THIS WAY.
57
00:02:18,472 --> 00:02:20,241
WE'VE GOT TO SPLIT UP.
58
00:02:20,308 --> 00:02:21,575
SPLIT UP? OH, SKIPPER,
WE'VE BEEN TOGETHER
TOO LONG.
59
00:02:21,642 --> 00:02:22,643
YOU'RE LIKE A FATHER
TO ME.
60
00:02:22,710 --> 00:02:24,445
GILLIGAN--
I REMEMBER ONCE--
61
00:02:24,512 --> 00:02:26,447
GILLIGAN, WHAT I MEAN IS
WE'LL HAVE TO SEPARATE.
62
00:02:26,514 --> 00:02:28,081
THAT WAY WE CAN COVER
MORE TERRITORY.
63
00:02:28,148 --> 00:02:29,450
OH.
64
00:02:29,517 --> 00:02:31,018
NOW, I'LL GO OVER HERE,
AND YOU GO OUT OVER THERE.
65
00:02:31,084 --> 00:02:32,152
RIGHT, SKIPPER.
66
00:02:32,220 --> 00:02:35,689
OH, GILLIGAN!
I SAID OUT THERE!
67
00:02:43,096 --> 00:02:44,498
GINGER!
68
00:02:46,567 --> 00:02:48,602
GINGER!
69
00:02:48,669 --> 00:02:51,071
HEY, GINGER!
70
00:02:51,138 --> 00:02:53,006
Skipper: GINGER!
71
00:02:53,073 --> 00:02:54,408
SHE'S NOT OVER HERE.
72
00:02:54,475 --> 00:02:56,277
SHE'S NOT OVER HERE.
73
00:02:56,344 --> 00:02:58,646
SHE'S NOT
OVER HERE. AWK!
74
00:03:00,013 --> 00:03:01,782
[SQUAWKS]
75
00:03:04,652 --> 00:03:06,287
GINGER!
76
00:03:06,354 --> 00:03:07,154
[GINGER SOBBING]
77
00:03:07,221 --> 00:03:08,656
OH, THERE YOU ARE!
78
00:03:08,722 --> 00:03:11,459
WE'VE BEEN LOOKING
ALL OVER FOR YOU.
79
00:03:11,525 --> 00:03:13,026
THAT MUST BE
A PRETTY SAD STORY
80
00:03:13,093 --> 00:03:14,728
TO MAKE YOU CRY
LIKE THAT.
81
00:03:14,795 --> 00:03:16,364
OH, GILLIGAN.
82
00:03:16,430 --> 00:03:18,266
THIS WAS SUPPOSED TO BE
MY OPENING NIGHT.
83
00:03:18,332 --> 00:03:20,468
I WAS GOING
TO MAKE MY DEBUT.
84
00:03:20,534 --> 00:03:22,370
I WAS SUPPOSED TO STAR
IN THIS PLAY.
85
00:03:22,436 --> 00:03:23,704
I WAS IN A PLAY ONCE
IN SCHOOL.
86
00:03:23,771 --> 00:03:26,039
IT WAS CALLED
OUR FRIENDS IN THE FOREST.
87
00:03:26,106 --> 00:03:27,174
I PLAYED
A SQUIRREL,
OH, PLEASE!
88
00:03:27,241 --> 00:03:28,742
AND ALL I HAD TO DO
WAS GATHER NUTS
89
00:03:28,809 --> 00:03:30,411
WHILE THE REST OF THE ANIMALS
SAT AROUND AND DID NOTHING.
90
00:03:30,478 --> 00:03:33,080
I GATHERED NUTS AND NUTS,
AND BY THE TIME WINTER CAME
91
00:03:33,146 --> 00:03:35,449
I HAD PLENTY
TO EAT, BUT--
92
00:03:35,516 --> 00:03:38,085
I KNOW. ALL THE OTHER
ANIMALS WENT HUNGRY.
93
00:03:38,151 --> 00:03:40,354
YOU SAW THE PLAY.
94
00:03:40,421 --> 00:03:43,023
OH, GILLIGAN.
95
00:03:43,090 --> 00:03:44,558
YOU JUST
DON'T UNDERSTAND.
96
00:03:44,625 --> 00:03:46,894
YOU JUST
DON'T UNDERSTAND.
97
00:03:46,960 --> 00:03:49,530
THIS PLAY
WAS ESPECIALLY
WRITTEN FOR ME.
98
00:03:49,597 --> 00:03:51,299
WHY, I WOULD
HAVE BEEN FAMOUS
OVERNIGHT
99
00:03:51,365 --> 00:03:52,766
IF I GOT TO DO IT.
100
00:03:52,833 --> 00:03:54,735
ALL BROADWAY
WOULD HAVE BEEN
AT MY FEET.
101
00:03:54,802 --> 00:03:55,903
GEE.
102
00:03:55,969 --> 00:03:57,771
WHY, A NEW STAR
WOULD HAVE BEEN BORN.
103
00:03:57,838 --> 00:03:59,840
MY NAME WOULD
HAVE BEEN ASSURED
AMONG THE GREATS.
104
00:03:59,907 --> 00:04:02,209
PRODUCERS WOULD BE
CLAMORING FOR ME.
105
00:04:02,276 --> 00:04:03,577
YOU KNOW WHAT,
GINGER?
106
00:04:03,644 --> 00:04:04,445
WHAT?
107
00:04:04,512 --> 00:04:06,447
YOU OUGHTA BE
ON THE STAGE.
108
00:04:06,514 --> 00:04:09,383
OH, GILLIGAN!
YOU DON'T UNDERSTAND
AT ALL!
109
00:04:09,450 --> 00:04:11,485
YOU JUST
DON'T UNDERSTAND.
110
00:04:13,887 --> 00:04:15,088
I DON'T THINK
IT'S GOING TO DO
MUCH GOOD
111
00:04:15,155 --> 00:04:16,424
TO TAKE THIS
TO GINGER, SKIPPER.
112
00:04:16,490 --> 00:04:17,691
WELL, YOU TELL HER
SHE'S GOT TO EAT THAT.
113
00:04:17,758 --> 00:04:19,693
SHE'S GOT HAVE
HER STRENGTH KEPT UP.
114
00:04:19,760 --> 00:04:22,229
OH, I'LL TRY.
115
00:04:22,296 --> 00:04:24,898
POOR GIRL.
WISH THERE WAS SOMETHING
I COULD DO FOR HER.
116
00:04:24,965 --> 00:04:26,400
WHY DON'T
YOU HELP HER
CARRY THE TRAY?
117
00:04:26,467 --> 00:04:27,701
OH, NOT HER, GILLIGAN.
FOR GINGER.
OH.
118
00:04:27,768 --> 00:04:29,269
SHE'S STILL
PRETTY BROKEN UP.
119
00:04:29,337 --> 00:04:30,938
I DON'T BLAME HER.
I WAS JUST READING
THE PLAY.
120
00:04:31,004 --> 00:04:32,440
IT'S PRETTY GOOD.
LOTS OF ACTION IN IT.
121
00:04:32,506 --> 00:04:34,141
LISTEN TO THIS...
122
00:04:34,207 --> 00:04:36,276
QUIET!
NOT ANOTHER WORD!
123
00:04:36,344 --> 00:04:37,545
I WILL TAKE
THIS SWORD
124
00:04:37,611 --> 00:04:39,012
AND SPLIT
YOUR SKULL.
125
00:04:39,079 --> 00:04:40,280
I WILL THROW OFF
THESE CHAINS.
126
00:04:40,348 --> 00:04:41,949
I REFUSE TO BE
YOUR SLAVE.
127
00:04:42,015 --> 00:04:42,916
I WILL
NO LONGER TOIL
128
00:04:42,983 --> 00:04:43,917
FOR A THANKLESS
TYRANT,
129
00:04:43,984 --> 00:04:45,653
WHO WILL NEVER
ALLOW--
130
00:04:45,719 --> 00:04:46,654
HERE, HERE, HERE!
WHAT'S GOING ON HERE?
A MUTINY?
131
00:04:46,720 --> 00:04:48,021
DON'T WORRY,
MR. HOWELL--
132
00:04:48,088 --> 00:04:49,657
DON'T YOU TALK TO ME,
YOU SCURVY MUTINEER!
133
00:04:49,723 --> 00:04:51,459
CAPTAIN,
THROW THIS MAN IN IRONS!
134
00:04:51,525 --> 00:04:53,293
OH, RELAX, MR. HOWELL.
THIS IS NOT A MUTINY.
135
00:04:53,361 --> 00:04:54,962
HE'S JUST READING
SOME LINES FROM A PLAY.
136
00:04:55,028 --> 00:04:56,129
UH, A PLAY?
137
00:04:56,196 --> 00:04:57,465
YES.
READING
SOME LINES--
138
00:04:57,531 --> 00:04:59,299
WELL, IF THERE'S ONE THING
I CAN'T STAND
139
00:04:59,367 --> 00:05:00,768
IS A MUTINY BEFORE LUNCH.
140
00:05:00,834 --> 00:05:03,170
SEE, MR. HOWELL.
IT'S A SCRIPT.
141
00:05:03,236 --> 00:05:04,472
OH, A SCRIPT.
OH, YES.
142
00:05:04,538 --> 00:05:06,173
TITLE,
A PYRAMID FOR TWO
143
00:05:06,239 --> 00:05:07,040
BIG SET, SMALL CAST.
144
00:05:07,107 --> 00:05:08,476
IT'S GINGER'S PLAY.
145
00:05:08,542 --> 00:05:10,143
SHE WAS SUPPOSED TO HAVE BEEN
ON BROADWAY LAST NIGHT.
146
00:05:10,210 --> 00:05:11,345
OH, WELL,
I'D LIKE TO READ IT.
147
00:05:11,412 --> 00:05:12,680
I BACKED A FEW SHOWS
IN MY TIME.
148
00:05:12,746 --> 00:05:14,748
MUSICALS, YOU KNOW.
DANCING GIRLS.
149
00:05:14,815 --> 00:05:16,484
IT'S THE ONLY BUSINESS
WHERE YOU CAN BE A DEVIL
150
00:05:16,550 --> 00:05:18,852
WHEN YOU'RE
AN ANGEL.
151
00:05:18,919 --> 00:05:20,788
YOU GET IT?
NO.
152
00:05:20,854 --> 00:05:24,291
WELL, A BACKER IS CALLED
AN ANGEL--NEVER MIND.
153
00:05:24,358 --> 00:05:26,026
MR. HOWELL,
MAYBE YOU COULD BACK
THIS PLAY.
154
00:05:26,093 --> 00:05:27,227
ME?
155
00:05:27,294 --> 00:05:28,862
SURE, MR. HOWELL.
WE CAN TRY IT OUT HERE
156
00:05:28,929 --> 00:05:30,063
AND IF IT'S GOOD,
WE CAN TAKE IT TO BROADWAY.
157
00:05:30,130 --> 00:05:31,532
WELL,
I DON'T KNOW...
158
00:05:31,599 --> 00:05:32,700
WHY DON'T YOU DO IT,
MR. HOWELL?
159
00:05:32,766 --> 00:05:33,967
IT WOULD BE
A LOT OF PRESTIGE.
160
00:05:34,034 --> 00:05:35,369
I'VE GOT PRESTIGE.
161
00:05:35,436 --> 00:05:36,804
AND IF IT'S A HIT,
YOU MAKE A MILLION DOLLARS.
162
00:05:36,870 --> 00:05:38,539
I'VE GOT
A MILLION DOLLARS.
163
00:05:38,606 --> 00:05:40,641
IF IT'S A FLOP,
YOU CAN DEDUCT IT
FROM YOUR INCOME TAX.
164
00:05:40,708 --> 00:05:43,477
NOW YOU'RE TALKING!
165
00:05:43,544 --> 00:05:46,414
OH, GINGER, YOU'VE GOT
TO EAT SOMETHING.
166
00:05:46,480 --> 00:05:48,449
OH, COME ON, HONEY.
SNAP OUT OF IT.
167
00:05:48,516 --> 00:05:50,784
THANKS, MARY ANN.
I'LL BE ALRIGHT.
168
00:05:50,851 --> 00:05:51,985
OH, HERE.
169
00:05:52,052 --> 00:05:53,721
YOU'VE ALWAYS ADMIRED THIS.
WEAR IT A LITTLE WHILE.
170
00:05:53,787 --> 00:05:54,888
MAYBE IT'LL MAKE YOU
FEEL BETTER.
171
00:05:54,955 --> 00:05:56,590
Gilligan:
GINGER! HEY, GINGER!
172
00:05:56,657 --> 00:05:59,226
GILLIGAN!
SHE'S IN HERE.
173
00:05:59,292 --> 00:06:00,894
HEY, GINGER.
GINGER, GUESS WHAT?
174
00:06:00,961 --> 00:06:02,430
MR. HOWELL'S GOING
TO PUT THE PLAY ON.
175
00:06:02,496 --> 00:06:03,731
OH, THAT'S
WONDERFUL!
WHAT?
176
00:06:03,797 --> 00:06:05,298
WHAT'S WONDERFUL ABOUT IT?
177
00:06:05,365 --> 00:06:07,000
SO WHAT, IF HE PUTS
MY PLAY ON HERE.
178
00:06:07,067 --> 00:06:08,168
YOU DON'T UNDERSTAND.
179
00:06:08,235 --> 00:06:09,737
WE'LL PUT IT ON HERE FIRST,
AND IF IT'S REAL GOOD,
180
00:06:09,803 --> 00:06:11,439
MR. HOWELL WILL TAKE IT
TO BROADWAY.
181
00:06:11,505 --> 00:06:13,741
MEANWHILE, THE ISLAND'S...
THE ISLAND'S KIND OF LIKE
OFF-BROADWAY.
182
00:06:13,807 --> 00:06:15,643
OH!
OH, THAT'S GREAT!
183
00:06:15,709 --> 00:06:17,611
OH, MR. HOWELL
HAS ALL KINDS
OF INFLUENCE.
184
00:06:17,678 --> 00:06:19,179
IF ANYONE
CAN MAKE YOU A STAR,
HE CAN.
185
00:06:19,246 --> 00:06:21,682
OH, GILLIGAN,
YOU'VE MADE ME
SO HAPPY.
186
00:06:21,749 --> 00:06:23,984
YOU'RE WONDERFUL!
YOU'RE JUST MARVELOUS.
187
00:06:24,051 --> 00:06:26,820
I DON'T KNOW HOW
TO DESCRIBE YOU,
YOU'RE SO GREAT.
188
00:06:26,887 --> 00:06:27,888
[BONK]
189
00:06:31,692 --> 00:06:33,494
LET'S SEE NOW.
WHOM CAN I GET
190
00:06:33,561 --> 00:06:34,462
TO PLAY
THE LEADING MAN
IN THIS PLAY?
191
00:06:34,528 --> 00:06:36,296
WELL, WHAT'S
HE LIKE, DEAR?
192
00:06:36,363 --> 00:06:40,501
WELL, THE PART CALLS
FOR SOMEONE WHO HAS
A MAGNIFICENT PHYSIQUE
193
00:06:40,568 --> 00:06:43,303
RAVISHINGLY HANDSOME,
MARVELOUS DICTION.
194
00:06:43,370 --> 00:06:44,638
I KNOW WHO WOULD BE
PERFECT
195
00:06:44,705 --> 00:06:46,607
BUT I'LL BE TOO BUSY
DIRECTING THE PLAY.
196
00:06:46,674 --> 00:06:47,875
ALRIGHT.
BACK TO BUSINESS.
197
00:06:47,941 --> 00:06:49,477
NOW, LET'S FINISH
TYPING THE PARTS.
198
00:06:49,543 --> 00:06:51,712
WELL,
I'M READY, DEAR.
199
00:06:51,779 --> 00:06:54,482
MARC ANTONY BRINGS YOU
NEWS FROM ROME.
200
00:06:54,548 --> 00:06:55,949
THE BATTLE
GOES WELL,
201
00:06:56,016 --> 00:06:59,186
AND THE ARMIES
MOVE ONWARD,
EVER ONWARD.
202
00:06:59,252 --> 00:07:00,821
HAVE YOU GOT THAT,
MY DEAR?
203
00:07:00,888 --> 00:07:03,056
M-A-R...
204
00:07:03,123 --> 00:07:05,759
C! MARC! THERE!
205
00:07:05,826 --> 00:07:08,762
UH, WHAT DID YOU SAY
AFTER THAT, DEAR?
206
00:07:08,829 --> 00:07:11,532
I SEE THIS IS
GOING TO BE
A LONG REWRITE.
207
00:07:11,599 --> 00:07:13,467
WELL, I'VE
NEVER TYPED BEFORE
208
00:07:13,534 --> 00:07:15,168
AND THIS TYPEWRITER'S
VERY CONFUSING.
209
00:07:15,235 --> 00:07:16,604
THEY HAVE THE ABCs
ALL MIXED UP.
210
00:07:16,670 --> 00:07:18,271
MR. HOWELL!
MR. HOWELL!
211
00:07:18,338 --> 00:07:20,974
OH, GILLIGAN TOLD ME
YOU'RE GOING TO PRODUCE
MY PLAY.
212
00:07:21,041 --> 00:07:23,110
OH, YOU'VE MADE ME
THE HAPPIEST GIRL
IN THE WORLD.
213
00:07:24,912 --> 00:07:27,648
COME, MY DEAR.
LET'S NOT LOSE OUR HEADS.
214
00:07:27,715 --> 00:07:29,650
I JUST WANTED
TO THANK YOU,
MR. HOWELL
215
00:07:29,717 --> 00:07:30,851
I'LL SEE YOU
AT REHEARSAL, HUH?
216
00:07:30,918 --> 00:07:34,287
TA TA, MY DEAR.
SEE YOU AT THE THEATER.
217
00:07:34,354 --> 00:07:36,456
EMOTIONAL LITTLE CREATURE,
ISN'T SHE?
218
00:07:36,524 --> 00:07:38,291
YES.
219
00:07:38,358 --> 00:07:42,763
AND IF I WERE YOU,
I'D WIPE HER GRATITUDE
OFF MY FACE.
220
00:07:42,830 --> 00:07:45,499
OH! YES, YES.
OF COURSE.
221
00:07:45,566 --> 00:07:48,235
NOW, WHERE WERE WE,
MY DEAR?
222
00:07:48,301 --> 00:07:49,937
MARC.
223
00:07:50,003 --> 00:07:53,541
A SHIP! LOOK, IN THE HARBOR.
I SEE A SHIP.
224
00:07:53,607 --> 00:07:54,508
A SHIP, A SHIP!
WE'RE SAVED!
225
00:07:54,575 --> 00:07:56,009
WHERE IS IT?
WHERE IS IT?
226
00:07:56,076 --> 00:07:57,711
PLEASE, GILLIGAN.
I'M PRACTICING
MY LINES.
227
00:07:57,778 --> 00:07:58,946
YOUR ACTING
SURE IS CONVINCING.
228
00:07:59,012 --> 00:08:00,881
I THOUGHT THERE WAS
A SHIP IN THE HARBOR.
229
00:08:00,948 --> 00:08:02,916
OH, GILLIGAN.
I GOTTA CHANGE
MY COSTUME.
230
00:08:02,983 --> 00:08:04,585
OH.
231
00:08:08,488 --> 00:08:10,190
GEE, PROFESSOR.
YOU'RE DOING
A REAL NEAT JOB.
232
00:08:10,257 --> 00:08:11,925
THANKS, GILLIGAN.
233
00:08:11,992 --> 00:08:14,027
YOU KNOW, THESE JUNGLE BERRIES
MIXED WITH WATER
MAKE EXCELLENT PAINT.
234
00:08:14,094 --> 00:08:15,395
MMM. AND IN CASE
THE PLAY'S A FLOP,
235
00:08:15,462 --> 00:08:16,864
WE ALWAYS CAN EAT
THE SCENERY.
236
00:08:16,930 --> 00:08:18,732
I THOUGHT
YOU WERE SUPPOSED TO BE
FIXING THAT DOOR.
237
00:08:18,799 --> 00:08:20,801
I ALREADY
FINISHED IT.
LOOK HERE.
238
00:08:20,868 --> 00:08:22,603
SEE? IT WORKS
JUST FINE. SEE?
239
00:08:22,670 --> 00:08:23,671
OH, NO, GILLIGAN,
THAT'S WRONG.
240
00:08:23,737 --> 00:08:25,405
THE DOOR SHOULD OPEN IN,
NOT OUT.
241
00:08:25,472 --> 00:08:28,308
WHY? IT WORKS FINE.
WHAT'S WRONG WITH IT
HAVING OPEN OUT?
242
00:08:28,375 --> 00:08:30,210
[SKIPPER MOANS]
243
00:08:35,082 --> 00:08:36,884
SORRY, SKIPPER. I DIDN'T KNOW
YOU WERE THERE--
244
00:08:36,950 --> 00:08:40,721
GILLIGAN, HOW DO YOU MANAGE
TO ALWAYS DO SOMETHING--
245
00:08:40,788 --> 00:08:42,089
NEVER MIND, GILLIGAN!
246
00:08:42,155 --> 00:08:43,523
SKIPPER,
SKIPPER...
247
00:08:43,591 --> 00:08:45,358
ARE YOU MAD?
248
00:08:45,425 --> 00:08:47,595
BELIEVE IT
OR NOT, YES!
249
00:08:47,661 --> 00:08:49,830
SKIPPER, OH,
I'M GLAD YOU'RE HERE.
250
00:08:49,897 --> 00:08:52,332
I WANT YOU TO TRY ON THIS TOGA
THAT I MADE FOR YOU.
251
00:08:52,399 --> 00:08:53,533
SEE IF IT'S
BIG ENOUGH.
252
00:08:53,601 --> 00:08:55,669
PUT YOUR HEAD
THROUGH THERE.
253
00:08:55,736 --> 00:08:57,437
WHERE DO I PUT
THE REST OF IT, MARY ANN?
254
00:08:57,504 --> 00:08:59,172
THERE! OH, WAIT.
255
00:09:02,175 --> 00:09:04,511
ALRIGHT, CAST.
REHEARSAL TIME.
PLACES, EVERYONE.
256
00:09:04,578 --> 00:09:07,848
MARC ANTONY, CAESAR,
JULIUS, MARC...
257
00:09:07,915 --> 00:09:08,749
Professor: HERE WE ARE,
MR. HOWELL.
258
00:09:08,816 --> 00:09:09,850
OH, OH, FINE.
259
00:09:09,917 --> 00:09:10,784
HOW DO I LOOK,
MR. HOWELL?
260
00:09:10,851 --> 00:09:12,152
WELL, I KNOW
IN THE PLAY
261
00:09:12,219 --> 00:09:13,787
THAT CLEOPATRA'S
SUPPOSED TO BE
CRAZY ABOUT YOU,
262
00:09:13,854 --> 00:09:16,857
BUT YOU'RE
NOT EXACTLY
MY TYPE.
263
00:09:16,924 --> 00:09:19,192
BY THE WAY, WHERE IS
THE QUEEN OF THE NILE?
264
00:09:19,259 --> 00:09:21,128
HERE I AM.
265
00:09:21,194 --> 00:09:22,462
HOW DO I LOOK?
266
00:09:22,529 --> 00:09:24,531
OH, YOU LOOK
RAVISHING.
267
00:09:24,598 --> 00:09:26,533
I MUST SAY,
YOU LOOK RAVISHING.
268
00:09:26,600 --> 00:09:28,101
I ENVY THAT SNAKE, MY DEAR.
THANK YOU.
269
00:09:28,168 --> 00:09:29,937
WELL, SHALL WE
GET ON WITH IT?
270
00:09:30,003 --> 00:09:33,273
ALRIGHT, EVERYONE.
CLEAR THE STAGE,
CLEAR THE STAGE.
271
00:09:33,340 --> 00:09:35,976
NOW, IN THIS ONE, YOU HAVEN'T
SEEN YOUR LOVER FOR AGES,
YOU UNDERSTAND?
272
00:09:36,043 --> 00:09:37,711
YOU'RE YEARNING FOR HIM.
YOU'RE PINING FOR HIM.
273
00:09:37,778 --> 00:09:40,013
YOU'RE OVER THERE
BY THE WINDOW
WHEN YOU SEE THE SHIP.
274
00:09:40,080 --> 00:09:42,616
ALRIGHT, ALRIGHT.
PLACES. LET'S GO.
275
00:09:43,784 --> 00:09:47,154
LOOK! I SEE A SHIP...
IN THE HARBOR.
276
00:09:47,220 --> 00:09:48,555
I SEE A SHIP!
277
00:09:48,622 --> 00:09:49,890
A SHIP! A SHIP!
WHERE? WE'RE SAVED!
278
00:09:49,957 --> 00:09:51,024
WHERE IS IT?
WHERE IS IT?
279
00:09:51,091 --> 00:09:52,826
GILLIGAN, WHAT
ARE YOU DOING?
280
00:09:52,893 --> 00:09:54,527
OH, IT'S JUST
THE PLAY.
281
00:09:54,594 --> 00:09:56,897
YES, YES.
WOULD YOU MIND
CLEARING THE STAGE--
282
00:09:56,964 --> 00:09:59,166
GET OFF THERE!
WHERE WERE WE... OH, YES, YES.
283
00:09:59,232 --> 00:10:00,600
YOU'RE OVER THERE
BY THE WINDOW
284
00:10:00,668 --> 00:10:02,202
AND THE MAID
BRINGS IN THE NECTAR.
285
00:10:02,269 --> 00:10:03,370
IS THE MAID THERE?
286
00:10:03,436 --> 00:10:04,571
Lovey:
YES, I'M READY.
287
00:10:04,638 --> 00:10:05,538
ALRIGHT, ALRIGHT.
PLACES.
288
00:10:05,605 --> 00:10:06,840
TAKE IT FROM THE TOP.
289
00:10:06,907 --> 00:10:10,678
A SHIP! LOOK!
IN THE HARBOR,
I SEE A SHIP.
290
00:10:14,514 --> 00:10:16,684
WHAT IS THIS?!
HURRY, DEAR!
291
00:10:21,388 --> 00:10:23,290
I BRING YOU--
292
00:10:23,356 --> 00:10:25,325
OH, GO GET IT!
293
00:10:25,392 --> 00:10:27,060
DON'T YELL AT ME.
294
00:10:30,798 --> 00:10:33,600
I BRING YOU--
295
00:10:33,667 --> 00:10:36,636
I BRING YOU NECTAR,
MY QUEEN.
296
00:10:36,704 --> 00:10:38,538
LOVEY, MY DEAR,
YOU MUSTN'T CROSS
297
00:10:38,605 --> 00:10:40,007
IN FRONT OF
A BIG STAR.
298
00:10:40,073 --> 00:10:41,474
OH?
299
00:10:41,541 --> 00:10:43,143
TRY IT AGAIN.
300
00:10:43,210 --> 00:10:46,379
I BRING YOU NECTAR,
MY QUEEN.
301
00:10:46,446 --> 00:10:47,948
THANK YOU!
NO, GINGER.
302
00:10:48,015 --> 00:10:49,016
GINGER, YOU MUSTN'T
SAY THANK YOU.
303
00:10:49,082 --> 00:10:50,751
SEE, TH-THAT'S
A SERVANT.
304
00:10:50,818 --> 00:10:53,921
THAT'S A NON-ENTITY,
A VERY LOWLY PERSON,
YOU UNDERSTAND?
305
00:10:53,987 --> 00:10:56,724
AND INCIDENTALLY,
YOU LOOK EVERY INCH
A QUEEN.
306
00:10:56,790 --> 00:10:58,191
PROUD AND BEAUTIFUL,
307
00:10:58,258 --> 00:11:00,694
ACCUSTOMED
TO THE ADORATION
OF THE WORLD.
308
00:11:00,761 --> 00:11:01,528
THURSTON?
309
00:11:01,594 --> 00:11:02,963
YOU'RE BEAUTIFUL.
310
00:11:03,030 --> 00:11:04,031
THURSTON!
311
00:11:04,097 --> 00:11:06,066
OH, YES! YES, YES,
WHAT IS IT, DEAR?
312
00:11:06,133 --> 00:11:08,035
I'D LIKE A WORD
WITH YOU ALONE.
313
00:11:08,101 --> 00:11:10,337
OH, YES.
YES, OF COURSE.
314
00:11:10,403 --> 00:11:12,272
MAINTAIN THAT MOOD.
YES.
315
00:11:18,111 --> 00:11:20,080
YES, MY DEAR,
WHAT IS IT?
316
00:11:20,147 --> 00:11:22,549
THURSTON, DO YOU
REMEMBER THE DAY
WE GOT MARRIED?
317
00:11:22,615 --> 00:11:24,084
INDEED, I DO.
318
00:11:24,151 --> 00:11:27,487
THAT WAS THE DAY
CONSOLIDATED GENERAL
JUMPED 17 POINTS.
319
00:11:27,554 --> 00:11:29,156
DO YOU
STILL LOVE ME?
320
00:11:29,222 --> 00:11:31,759
OF COURSE, I DO, DARLING.
I ADORE YOU.
321
00:11:31,825 --> 00:11:34,762
YOU'RE...YOU'RE
MRS. THURSTON HOWELL III.
322
00:11:34,828 --> 00:11:35,896
WELL, DOESN'T IT
BOTHER YOU
323
00:11:35,963 --> 00:11:37,865
THAT MRS. THURSTON
HOWELL III
324
00:11:37,931 --> 00:11:40,033
SHOULD HAVE SUCH
A TEENSY WEENSY PART
325
00:11:40,100 --> 00:11:41,969
IN HER HUSBAND'S
PLAY?
326
00:11:42,035 --> 00:11:43,536
I NEVER THOUGHT OF IT
THAT WAY.
327
00:11:43,603 --> 00:11:46,373
A HOWELL
PLAYING A MAID.
328
00:11:46,439 --> 00:11:48,742
WELL, IT ISN'T EXACTLY
TYPECASTING, IS IT?
329
00:11:48,809 --> 00:11:50,677
BUT THE ONLY PARTS LEFT ARE,
LET'S SEE...
330
00:11:50,744 --> 00:11:53,213
THE, UH, HIGH PRIESTESS?
331
00:11:53,280 --> 00:11:55,182
SLAVE GIRL?
332
00:11:55,248 --> 00:11:57,084
LADY IN WAITING?
333
00:11:57,150 --> 00:12:00,020
WELL, THE ONLY PART LEFT
IS CLEOPATRA.
334
00:12:05,125 --> 00:12:07,360
ALRIGHT.
ON STAGE, EVERYONE.
335
00:12:07,427 --> 00:12:10,663
EVERYONE ON STAGE.
THAT'S IT. ON THE DOUBLE.
336
00:12:10,730 --> 00:12:12,399
NOW, I HAVE
A ANNOUNCEMENT TO MAKE.
337
00:12:12,465 --> 00:12:15,135
I'VE DECIDED ON
A SLIGHT CAST CHANGE.
338
00:12:15,202 --> 00:12:18,038
MRS. HOWELL WILL PLAY
THE PART OF CLEOPATRA,
339
00:12:18,105 --> 00:12:20,407
AND GINGER WILL PLAY
THE PART OF THE MAID.
340
00:12:20,473 --> 00:12:22,309
[SOBS]
341
00:12:22,375 --> 00:12:23,710
BUT, MR. HOWELL,
GINGER HAD
HER HEART SET
342
00:12:23,777 --> 00:12:24,812
ON PLAYING
THAT PART.
343
00:12:24,878 --> 00:12:26,780
THAT'S SHOWBIZ.
344
00:12:32,920 --> 00:12:35,622
A SHIP! LOOK IN THE HARBOR.
345
00:12:35,688 --> 00:12:36,957
I SEE A SHIP.
346
00:12:37,024 --> 00:12:38,325
A SHIP? A SHIP?
347
00:12:38,391 --> 00:12:40,928
OH, WE'RE SAVED!
WHERE--
GILLIGAN!
348
00:12:40,994 --> 00:12:43,163
OH. STILL THE PLAY, HUH?
349
00:12:43,230 --> 00:12:44,564
GILLIGAN, WHAT'S
WRONG WITH YOU?
350
00:12:44,631 --> 00:12:45,465
WILL YOU
GET BACKSTAGE?
351
00:12:45,532 --> 00:12:46,566
EXCUSE ME, MR. HOWELL.
352
00:12:46,633 --> 00:12:48,268
I'LL JUST GO
FIX THE SCENE.
353
00:12:48,335 --> 00:12:50,070
REALLY. ALRIGHT,
LOVEY, MY DEAR.
354
00:12:50,137 --> 00:12:51,271
TAKE IT
FROM THE TOP.
355
00:12:51,338 --> 00:12:54,341
A SHIP.
LOOK IN THE HARBOR.
356
00:12:54,407 --> 00:12:56,443
I SEE A SHIP!
357
00:12:57,610 --> 00:12:59,046
THAT'S THE CUE
FOR THE MAID
358
00:12:59,112 --> 00:13:01,348
TO ENTER
WITH THE NECTAR.
WHERE IS THE MAID?
359
00:13:01,414 --> 00:13:02,983
GINGER, GINGER,
WHERE'S GINGER?
360
00:13:03,050 --> 00:13:04,284
I'M SORRY, MR. HOWELL,
BUT I'M AFRAID
361
00:13:04,351 --> 00:13:05,953
CLEOPATRA'LL HAVE
TO GO ON THE WAGON.
362
00:13:06,019 --> 00:13:08,121
GINGER REFUSES TO PLAY
THE PART OF THE MAID.
363
00:13:08,188 --> 00:13:11,458
OH, DEAR. IT'S SO HARD
TO KEEP HELP THESE DAYS.
364
00:13:11,524 --> 00:13:12,592
PRETTY HARD,
MR. HOWELL.
365
00:13:12,659 --> 00:13:13,593
SHE WENT
BACK TO HER HUT.
366
00:13:13,660 --> 00:13:14,694
I THINK
SHE WAS CRYING.
367
00:13:14,761 --> 00:13:16,363
OH, TEMPERAMENT!
368
00:13:16,429 --> 00:13:18,165
I TELL YOU,
ALL YOU ACTRESSES
369
00:13:18,231 --> 00:13:20,300
ARE LITTLE CHILDREN
IN A TANTRUM WORLD!
370
00:13:20,367 --> 00:13:21,969
AH, YOU'RE ALL
AGAINST ME!
371
00:13:22,035 --> 00:13:24,304
I CAN'T PUT ON A SHOW
WITH THIS TEMPERAMENT!
372
00:13:24,371 --> 00:13:25,338
DO YOU HEAR ME?
373
00:13:25,405 --> 00:13:26,874
IF THERE'S ONE THING
I CAN'T STAND
374
00:13:26,940 --> 00:13:29,409
IT'S TEMPERAMENT!
TEMPERAMENT!
375
00:13:30,810 --> 00:13:31,912
[CRYING]
376
00:13:31,979 --> 00:13:33,914
DON'T CRY, GINGER.
I KNOW HOW YOU FEEL
377
00:13:33,981 --> 00:13:35,182
BUT IT'S NOT
THE END OF THE WORLD.
378
00:13:35,248 --> 00:13:37,284
I WAS GONNA
BE DISCOVERED.
379
00:13:37,350 --> 00:13:39,619
I WAS GONNA
OPEN ON BROADWAY.
380
00:13:39,686 --> 00:13:41,288
I WAS GONNA
BE A STAR!
381
00:13:41,354 --> 00:13:42,856
NOW LOOK AT ME!
382
00:13:42,923 --> 00:13:44,691
YOU'RE RIGHT.
IT'S THE END OF THE WORLD.
383
00:13:44,757 --> 00:13:46,293
OH, GILLIGAN,
STOP THAT.
384
00:13:46,359 --> 00:13:48,061
THAT'S NO WAY
TO CHEER HER UP.
385
00:13:48,128 --> 00:13:49,562
OH, YEAH, I WAS
SUPPOSED TO CHEER HER UP.
386
00:13:49,629 --> 00:13:50,864
LOOK ON THE BRIGHT SIDE,
GINGER.
387
00:13:50,931 --> 00:13:52,599
MAYBE WE'LL
NEVER BE RESCUED
388
00:13:52,665 --> 00:13:55,102
AND MAYBE WE'LL BE
MAROONED ON THIS ISLAND
FOR THE REST OF OUR LIVES.
389
00:13:55,168 --> 00:13:58,405
THEN THERE'LL BE
NO BROADWAY, NO PLAY,
NO NOTHING. HA HA.
390
00:13:58,471 --> 00:14:00,840
I MAY DO
SOMETHING DESPERATE.
391
00:14:00,908 --> 00:14:02,442
OH, GILLIGAN, OUT!
HUH?
392
00:14:02,509 --> 00:14:03,676
OUT! OUT!
393
00:14:03,743 --> 00:14:04,844
YOU TRYING
TO TELL ME SOMETHING?
394
00:14:04,912 --> 00:14:07,280
I CERTAINLY AM.
OUT, GILLIGAN!
395
00:14:08,815 --> 00:14:12,352
OH, MY FAIR QUEEN,
COME AWAY WITH ME
AND SHARE MY--
396
00:14:12,419 --> 00:14:13,887
SKIPPER?
JUST A MINUTE,
GILLIGAN.
397
00:14:13,954 --> 00:14:15,088
BUT, SKIPPER, I WANT
TO TALK TO YOU.
398
00:14:15,155 --> 00:14:16,456
IT'S ABOUT GINGER.
REMEMBER WE--
399
00:14:16,523 --> 00:14:17,490
GILLIGAN, PLEASE.
400
00:14:17,557 --> 00:14:19,592
CAN'T YOU SEE THAT
I'M REHEARSING MY LINES?
401
00:14:19,659 --> 00:14:21,561
OH.
402
00:14:21,628 --> 00:14:23,263
OH, MY FAIR QUEEN
403
00:14:23,330 --> 00:14:27,300
COME AWAY WITH ME
AND SHARE MY LOT.
404
00:14:27,367 --> 00:14:28,936
OUR LOVE WILL--
405
00:14:29,002 --> 00:14:30,270
OUR LOVE--
406
00:14:30,337 --> 00:14:33,673
OUR LOVE WILL LAST
ALL THROUGH ET--
407
00:14:33,740 --> 00:14:35,308
ETERNITY.
408
00:14:35,375 --> 00:14:35,875
ETERNITY?
409
00:14:35,943 --> 00:14:37,577
ETERNITY!
410
00:14:37,644 --> 00:14:38,946
THINK WE CAN TALK
NOW, SKIPPER, HUH?
NOW CAN WE TALK?
411
00:14:39,012 --> 00:14:40,113
WELL, YOU'RE A FINE PAL.
412
00:14:40,180 --> 00:14:41,314
I MEAN, WHAT'D YOU
THINK OF MY ACTING?
413
00:14:41,381 --> 00:14:43,050
YOUR ACTING?
THAT LAST SPEECH I MADE.
414
00:14:43,116 --> 00:14:44,317
WHAT DID YOU THINK OF IT?
415
00:14:44,384 --> 00:14:46,119
I DON'T KNOW.
I WASN'T LISTENING.
416
00:14:46,186 --> 00:14:47,087
WELL, LISTEN THIS TIME.
I'LL DO IT OVER AGAIN.
417
00:14:47,154 --> 00:14:48,355
I WANT YOUR OPINION.
418
00:14:48,421 --> 00:14:49,822
BUT, SKIPPER, I WANT
TO TALK TO YOU.
419
00:14:49,889 --> 00:14:52,960
GILLIGAN, WILL YOU
STOP AND LISTEN?
420
00:14:53,026 --> 00:14:54,627
OH, MY FAIR QUEEN--
421
00:14:54,694 --> 00:14:56,729
THAT WAS JUST GREAT,
SKIPPER. JUST GREAT!
422
00:14:56,796 --> 00:14:58,165
GILLIGAN,
I HAVEN'T EVEN SAID IT.
423
00:14:58,231 --> 00:15:00,333
YEAH, BUT NOW
CAN WE TALK?
424
00:15:00,400 --> 00:15:02,936
WILL YOU GO AWAY
AND LET ME ALONE
425
00:15:03,003 --> 00:15:05,973
AND DO MY REHEARSING
BY MYSELF?
426
00:15:06,039 --> 00:15:07,207
[SIGHS]
427
00:15:10,743 --> 00:15:12,545
OH, MY FAIR GILLIGAN--
428
00:15:13,780 --> 00:15:15,215
OH, MY--
429
00:15:17,417 --> 00:15:18,485
OH, MY FAIR--
430
00:15:20,187 --> 00:15:22,956
MY HEART,
IT BEATS SO.
431
00:15:23,023 --> 00:15:25,625
I CAN SCARCE HEAR
MY LOVER'S APPROACH.
432
00:15:25,692 --> 00:15:27,460
THAT IS VERY GOOD.
VERY GOOD, LOVEY.
433
00:15:27,527 --> 00:15:30,463
NOW REMEMBER,
CLEOPATRA IS
A WOMAN OF PASSION
434
00:15:30,530 --> 00:15:32,799
AND SHE IS WAITING
FOR HER LOVER
MARC ANTONY
435
00:15:32,865 --> 00:15:34,801
TO RETURN FROM ROME.
GOT THAT?
436
00:15:34,867 --> 00:15:35,935
I THINK SO.
437
00:15:36,003 --> 00:15:37,270
YOUR EYES
ARE GLOWING.
438
00:15:37,337 --> 00:15:38,871
YOUR TEMPLES
ARE POUNDING.
439
00:15:38,938 --> 00:15:40,507
YOUR HEART
IS BEATING FAST.
440
00:15:40,573 --> 00:15:43,443
YOUR ANXIETY
IS SUCH THAT YOU
CAN HARDLY BREATHE.
441
00:15:43,510 --> 00:15:46,313
JUST PRETEND
THAT YOU'VE EATEN
A HUNGARIAN DINNER.
442
00:15:46,379 --> 00:15:47,847
OH, YES!
443
00:15:47,914 --> 00:15:49,382
VERY GOOD.
I KNEW YOU'D GET IT.
444
00:15:49,449 --> 00:15:51,751
ARE--ARE YOU READY,
MARC ANTONY?
445
00:15:51,818 --> 00:15:53,086
I'M READY, MR. HOWELL.
446
00:15:53,153 --> 00:15:54,087
JUST GIVE ME MY CUE.
447
00:15:54,154 --> 00:15:55,922
GOOD, GOOD, GOOD.
448
00:15:55,989 --> 00:15:57,557
CURTAIN. LIGHTS.
449
00:15:57,624 --> 00:15:59,993
YOU'RE ON, MY DEAR.
450
00:16:00,060 --> 00:16:03,396
MY HEART BEATS SO.
451
00:16:03,463 --> 00:16:06,466
I CAN SCARCE HEAR
MY LOVER'S APPROACH.
452
00:16:06,533 --> 00:16:08,201
SKIPPER,
CAN I TALK TO YOU?
453
00:16:08,268 --> 00:16:10,303
NOT NOW, GILLIGAN.
I'M WAITING FOR MY CUE.
454
00:16:10,370 --> 00:16:12,205
MY HEART, IT BEATS SO.
455
00:16:12,272 --> 00:16:15,442
I CAN SCARCE HEAR
MY LOVER'S APPROACH.
456
00:16:15,508 --> 00:16:16,743
THAT'S MY CUE.
PLEASE, SKIPPER.
457
00:16:20,613 --> 00:16:22,382
WELL, MARC ANTONY,
SAY SOMETHING.
458
00:16:22,449 --> 00:16:24,517
I FORGOT MY LINE,
MR. HOWELL.
459
00:16:25,885 --> 00:16:27,320
"O GRACIOUS QUEEN,
460
00:16:27,387 --> 00:16:30,190
GREET THY HAPPY SAILOR."
TRIPPINGLY.
461
00:16:30,257 --> 00:16:31,958
I--I--
I GOT IT NOW.
462
00:16:32,025 --> 00:16:33,360
I GOT IT.
463
00:16:34,227 --> 00:16:35,462
NOW, SKIPPER? NOW?
464
00:16:35,528 --> 00:16:36,563
NOT NOW, GILLIGAN.
465
00:16:36,629 --> 00:16:37,597
BUT YOU PROMISED.
466
00:16:37,664 --> 00:16:40,200
MY HEART, IT BEATS SO.
467
00:16:40,267 --> 00:16:44,137
I CAN SCARCE HEAR
MY LOVER'S APPROACH.
468
00:16:45,938 --> 00:16:47,174
O GRACIOUS GREET,
469
00:16:47,240 --> 00:16:48,775
QUEEN THY HAPPY SAILOR.
470
00:16:50,343 --> 00:16:51,678
IN THE NAME
OF RICHARD BURTON
471
00:16:51,744 --> 00:16:53,346
WHAT ARE YOU DOING?
472
00:16:53,413 --> 00:16:55,715
I'M SORRY, MR. HOWELL,
BUT IT'S GILLIGAN.
473
00:16:55,782 --> 00:16:57,050
HE'S PESTERING ME.
474
00:16:57,117 --> 00:16:58,551
NEVER MIND THAT.
WE'LL TAKE CARE OF THAT.
475
00:16:58,618 --> 00:17:00,753
DO IT AGAIN,
WILL YOU PLEASE?
476
00:17:00,820 --> 00:17:02,422
ALRIGHT, SIR.
477
00:17:04,057 --> 00:17:05,192
NOW, SKIPPER?
NOW, HUH?
478
00:17:05,258 --> 00:17:06,826
NOT NOW, GILLIGAN!
FOR GOODNESS SAKES
479
00:17:06,893 --> 00:17:08,161
HELP WITH THE SCENERY
OR THE PROPS
480
00:17:08,228 --> 00:17:09,296
OR DO SOMETHING!
481
00:17:09,362 --> 00:17:11,631
MY HEART, IT BEATS SO.
482
00:17:11,698 --> 00:17:14,567
I CAN SCARCE HEAR
MY LOVER'S APPROACH.
483
00:17:16,436 --> 00:17:19,339
O GRACIOUS SAILOR,
QUEEN THY HAPPY GREET!
484
00:17:22,909 --> 00:17:25,212
Skipper:
PLEASE, MR. HOWELL,
JUST ONCE MORE?
485
00:17:25,278 --> 00:17:26,779
JUST ONCE MORE.
ALRIGHT.
486
00:17:28,581 --> 00:17:31,251
REALLY, DARLING.
HOW CAN I PERFORM
487
00:17:31,318 --> 00:17:34,020
WHEN THE OTHER ACTORS
CAN'T REMEMBER THEIR LINES?
488
00:17:34,087 --> 00:17:35,988
NEVER MIND, LOVEY.
CALM DOWN.
489
00:17:36,055 --> 00:17:37,457
HE'S A SLOW STUDY.
490
00:17:37,524 --> 00:17:40,127
Mrs. Howell:
I CAN SCARCE HEAR MY--
491
00:17:40,193 --> 00:17:41,494
Mr. Howell: GILLIGAN!
492
00:17:41,561 --> 00:17:43,363
WHAT ARE YOU DOING
WITH THAT LADDER?
493
00:17:43,430 --> 00:17:44,697
THE PROFESSOR HAS
TO PAINT THE SCENERY.
494
00:17:44,764 --> 00:17:46,966
WELL, NOT NOW.
WE'RE REHEARSING!
495
00:17:47,033 --> 00:17:49,436
OKAY. I'LL TAKE IT
BACKSTAGE.
496
00:17:49,502 --> 00:17:52,472
I CAN SCARCE HEAR
MY LOVER'S APPROACH.
497
00:17:54,073 --> 00:17:55,675
AAAH!
498
00:18:01,914 --> 00:18:04,951
OH, THAT LAST REHEARSAL,
MY DEAR, WAS SIMPLY MARVELOUS.
499
00:18:05,017 --> 00:18:06,919
WITH MY DIRECTING
AND MY PRODUCING
500
00:18:06,986 --> 00:18:09,122
THIS PLAY COULD BE
A BIG BROADWAY HIT.
501
00:18:09,189 --> 00:18:11,991
THURSTON,
YOU HAVEN'T SAID A WORD
ABOUT MY PERFORMANCE.
502
00:18:12,058 --> 00:18:13,160
NO, I HAVEN'T, HAVE I?
503
00:18:13,226 --> 00:18:15,395
WELL, IT'S AN OVERSIGHT
ON MY PART.
504
00:18:15,462 --> 00:18:17,997
EH, MAY I SAY, MY DEAR,
THAT YOU ARE SIMPLY SPLENDID.
505
00:18:18,064 --> 00:18:19,699
OH, THANK YOU,
THURSTON.
506
00:18:19,766 --> 00:18:21,768
EVEN GINGER, WHOM
I REPLACED IN THE PART
507
00:18:21,834 --> 00:18:23,236
PAID ME A COMPLIMENT.
508
00:18:23,303 --> 00:18:26,906
SHE COMPARED ME TO A FAMOUS
TELEVISION PERSONALITY.
509
00:18:26,973 --> 00:18:27,907
OH, GOOD.
510
00:18:27,974 --> 00:18:30,109
BY THE WAY,
WHO IS MR. ED?
511
00:18:30,177 --> 00:18:32,212
I HAVEN'T ANY IDEA.
512
00:18:32,279 --> 00:18:34,414
I WONDER WHY SHE DIDN'T
COMPARE YOU TO MRS. ED.
513
00:18:34,481 --> 00:18:35,815
I CAN HARDLY WAIT
FOR TOMORROW NIGHT.
514
00:18:35,882 --> 00:18:39,018
OPENING NIGHT. LOT OF DETAILS
TO ATTEND TO, MY DEAR.
515
00:18:39,085 --> 00:18:40,920
SEE YOU LATER.
MM.
516
00:18:40,987 --> 00:18:42,222
HELLO, GILLIGAN, MY BOY.
517
00:18:42,289 --> 00:18:43,890
HI, MR. HOWELL.
CAN I TALK
TO MRS. HOWELL?
518
00:18:43,956 --> 00:18:45,625
THERE SHE IS--
CLEOPATRA.
519
00:18:45,692 --> 00:18:46,659
SEE YOU LATER.
520
00:18:49,662 --> 00:18:51,198
HI, MRS. HOWELL.
521
00:18:51,264 --> 00:18:53,466
I HOPE YOU'RE NOT
GONNA GET MAD AT ME
FOR WHAT I'M GONNA SAY.
522
00:18:53,533 --> 00:18:55,034
IT'S GOT NOTHING TO DO
WITH YOUR ACTING.
523
00:18:55,101 --> 00:18:56,236
I THINK THAT'S REAL GOOD.
524
00:18:56,303 --> 00:18:57,970
MAYBE EVEN BETTER
THAN MR. ED'S.
525
00:18:58,037 --> 00:19:01,073
BUT YOU SEE, THE REASON
WE PUT THIS PLAY ON
IN THE FIRST PLACE
526
00:19:01,140 --> 00:19:04,411
WAS BECAUSE GINGER WAS
FEELING SO TERRIBLE
ABOUT BROADWAY
527
00:19:04,477 --> 00:19:06,613
AND YOU'RE A VERY
IMPORTANT WOMAN,
MRS. HOWELL.
528
00:19:06,679 --> 00:19:08,415
YOU GOT
EVERYTHING YOU WANT
529
00:19:08,481 --> 00:19:11,418
BUT THIS PLAY IS
THE ONLY THING GINGER'S GOT.
530
00:19:11,484 --> 00:19:14,187
AND, UH, I HOPE YOU'RE
NOT GETTING MAD AT ME.
531
00:19:14,254 --> 00:19:16,389
SEE, GINGER'S
GETTING REAL DESPERATE
532
00:19:16,456 --> 00:19:20,059
AND I THOUGHT THAT
MAYBE IF YOU'D, UH...
533
00:19:20,126 --> 00:19:21,594
I GUESS YOU'RE
GETTING MAD AT ME.
534
00:19:21,661 --> 00:19:23,796
YOU HAVEN'T
SAID A SINGLE WORD.
535
00:19:26,165 --> 00:19:27,634
WHAT?
536
00:19:27,700 --> 00:19:30,136
WHAT'S THE MATTER,
MRS. HOWELL?
537
00:19:30,203 --> 00:19:32,205
MR. HOWELL? MR. HOWELL?
538
00:19:32,272 --> 00:19:33,406
WHAT IS IT, GILLIGAN?
539
00:19:33,473 --> 00:19:35,408
SHE'S TALKING,
BUT NOTHING'S COMING OUT.
540
00:19:35,475 --> 00:19:37,777
LOVEY, MY DEAR,
WHAT IS IT?
541
00:19:39,178 --> 00:19:41,381
BY GEORGE,
SHE'S GOT LARYNGITIS.
542
00:19:41,448 --> 00:19:42,915
YEAH, AND SHE
LOST HER VOICE, TOO.
543
00:19:42,982 --> 00:19:44,684
A STAR WITH LARYNGITIS.
544
00:19:44,751 --> 00:19:46,319
OH, IT'S THE SCOURGE
OF EVERY PRODUCER.
545
00:19:46,386 --> 00:19:47,520
WHAT ARE YOU GONNA DO,
MR. HOWELL?
546
00:19:47,587 --> 00:19:48,755
I'LL HAVE TO CALL OFF
THE SHOW.
547
00:19:48,821 --> 00:19:50,457
I'M AN ANGEL
WITH MY WINGS CLIPPED.
548
00:19:50,523 --> 00:19:52,191
WHY DON'T YOU USE GINGER?
SHE KNOWS ALL THE LINES.
549
00:19:52,259 --> 00:19:53,125
WELL, I DON'T KNOW.
MR. HOWELL,
550
00:19:53,192 --> 00:19:54,294
I SAW A MOVIE ONCE
551
00:19:54,361 --> 00:19:55,462
AND JUST BEFORE
THE STAR WENT ON
552
00:19:55,528 --> 00:19:57,163
SHE FELL DOWN
AND BROKE BOTH HER ARMS.
553
00:19:57,230 --> 00:19:58,498
OR WAS IT
BOTH HER LEGS?
554
00:19:58,565 --> 00:20:00,132
WELL, ANYHOW, THERE WAS
A GIRL IN THE CHORUS
555
00:20:00,199 --> 00:20:01,768
AND SHE KNEW ALL THE LINES
AND ALL THE DANCES
556
00:20:01,834 --> 00:20:03,236
AND THE PRODUCER WAS
GOING OUT OF HIS MIND
557
00:20:03,303 --> 00:20:04,103
WHEN ALL OF A SUDDEN
HE YELLED--
558
00:20:04,170 --> 00:20:05,171
GET THE UNDERSTUDY!
559
00:20:05,238 --> 00:20:06,406
YOU SAW THE PICTURE,
TOO.
560
00:20:06,473 --> 00:20:08,608
ON THE LATE SHOW.
GO, MY BOY!
561
00:20:08,675 --> 00:20:09,809
LOVEY, TRY.
562
00:20:14,481 --> 00:20:16,416
HERE WE GO, MY DEAR.
OH, NO, SIR.
563
00:20:16,483 --> 00:20:18,150
HERE'S YOUR SEAT
RIGHT UP HERE, SIR.
564
00:20:18,217 --> 00:20:19,486
NONSENSE!
I ALWAYS SIT
565
00:20:19,552 --> 00:20:21,153
SECOND ROW CENTER
WITH MRS. HOWELL!
566
00:20:21,220 --> 00:20:22,255
MAY I SEE YOUR TICKET,
PLEASE, SIR?
567
00:20:22,322 --> 00:20:23,623
YEAH,
YOU'LL SEE IT--
568
00:20:23,690 --> 00:20:25,091
WHAT ARE YOU
TALKING ABOUT?
569
00:20:25,157 --> 00:20:27,527
GET BACKSTAGE,
WILL YOU? ALRIGHT.
570
00:20:27,594 --> 00:20:29,562
THE FIRST-NIGHTERS
ARE HERE.
571
00:20:29,629 --> 00:20:31,664
CURTAIN!
572
00:20:31,731 --> 00:20:35,034
[HORN FANFARE
PLAYING]
573
00:20:35,101 --> 00:20:36,503
BEAUTIFUL SET!
574
00:20:43,643 --> 00:20:45,912
Ginger: A SHIP.
LOOK, IN THE HARBOR.
575
00:20:45,978 --> 00:20:46,979
I SEE A SHIP.
576
00:20:47,046 --> 00:20:48,381
YOUR NECTAR,
OH, MY QUEEN.
577
00:20:48,448 --> 00:20:50,149
OH, NO.
NO, NO, NO.
578
00:20:50,216 --> 00:20:51,384
I'M TOO EXCITED.
579
00:20:51,451 --> 00:20:52,819
MY LOVER'S SHIP
IS IN THE HARBOR.
580
00:20:52,885 --> 00:20:54,821
OH, I MUST SEND HIM
THIS MESSAGE.
581
00:20:54,887 --> 00:20:56,423
SEND IN THE ROYAL
MESSENGER.
582
00:20:56,489 --> 00:20:58,024
NO, NO, NO.
583
00:21:09,502 --> 00:21:10,437
YOU SENT FOR ME,
O QUEEN?
584
00:21:10,503 --> 00:21:11,671
OH, YES.
YES, I DID.
585
00:21:11,738 --> 00:21:13,440
I WANT YOU
TO SEND THIS MESSAGE
586
00:21:13,506 --> 00:21:15,107
TO MY LOVER
MARC ANTONY.
587
00:21:15,174 --> 00:21:16,443
BUT WAIT. NO.
588
00:21:16,509 --> 00:21:17,944
YOU WILL
BE RECOGNIZED.
589
00:21:18,010 --> 00:21:19,446
SEND IN MY MAID.
HUH?
590
00:21:19,512 --> 00:21:20,880
MY MAID.
SEND MY MAID IN.
591
00:21:20,947 --> 00:21:22,649
YES, O QUEEN.
592
00:21:34,327 --> 00:21:35,995
YOU SENT FOR ME,
O QUEEN?
593
00:21:36,062 --> 00:21:37,263
OH, YES. YES.
594
00:21:37,330 --> 00:21:39,198
I'VE DECIDED THAT YOU
MUST TAKE THIS MESSAGE
595
00:21:39,265 --> 00:21:40,733
TO MY LOVER MARC ANTONY.
YES, O QUEEN.
596
00:21:40,800 --> 00:21:43,870
BUT WAIT! A WOMAN!
YOU WILL BE SUSPECT.
597
00:21:43,936 --> 00:21:46,305
SEND IN MY AGED
BUT TRUSTWORTHY MAJOR-DOMO.
598
00:21:46,373 --> 00:21:47,640
SEND HIM IN IMMEDIATELY.
599
00:21:47,707 --> 00:21:49,342
YEAH, THAT FIGURES.
LOOK, WHY DON'T I--
600
00:21:49,409 --> 00:21:50,443
WHY DON'T YOU
GIVE ME THE MESSAGE,
601
00:21:50,510 --> 00:21:51,243
AND I CAN GIVE IT
TO HIM.
602
00:21:51,310 --> 00:21:52,745
NO, NO, NO, NO, NO.
603
00:21:52,812 --> 00:21:56,349
I MUST--I MUST ENTRUST IT
TO HIM WITH MY OWN HANDS.
604
00:22:05,725 --> 00:22:07,193
YOUR MAID SAID
YOU WANTED ME, O QUEEN?
605
00:22:07,259 --> 00:22:08,495
YES, YES.
606
00:22:08,561 --> 00:22:10,630
DELIVER THIS MESSAGE,
BUT BE CAREFUL.
607
00:22:10,697 --> 00:22:12,164
CAESAR'S SPIES
ARE EVERYWHERE.
608
00:22:12,231 --> 00:22:13,600
I WILL BE CAREFUL,
O QUEEN.
609
00:22:13,666 --> 00:22:15,134
YOU KNOW WHAT TO DO
IF YOU'RE CAUGHT?
610
00:22:15,201 --> 00:22:16,302
I'LL EAT IT.
611
00:22:16,369 --> 00:22:17,870
GOOD, GOOD, GOOD.
THIS MESSAGE
612
00:22:17,937 --> 00:22:19,739
MUST NOT FALL
INTO CAESAR'S HANDS.
613
00:22:19,806 --> 00:22:21,841
HARK!
I HEAR FOOTSTEPS.
614
00:22:21,908 --> 00:22:23,743
IT'S CAESAR!
615
00:22:26,379 --> 00:22:27,880
NO, NO,
I WAS MISTAKEN.
616
00:22:27,947 --> 00:22:28,681
IT'S NOT CAESAR.
617
00:22:28,748 --> 00:22:31,150
GIVE ME BACK
THE MESSAGE.
618
00:22:31,217 --> 00:22:33,152
GIVE ME BACK
THE MESSAGE.
619
00:22:33,219 --> 00:22:34,921
TOO LATE, O QUEEN.
620
00:22:36,188 --> 00:22:37,457
IT'S WONDERFUL, DEAR,
621
00:22:37,524 --> 00:22:40,126
AND THE NEXT ACT
IS EVEN MORE DRAMATIC.
622
00:22:41,193 --> 00:22:43,963
MY HEART, IT BEATS SO.
623
00:22:44,030 --> 00:22:46,899
I CAN SCARCE HEAR
MY LOVER'S APPROACH.
624
00:22:46,966 --> 00:22:48,935
[FOOTSTEPS]
625
00:22:49,001 --> 00:22:50,770
SLAVE, OPEN THE DOOR.
626
00:22:52,605 --> 00:22:54,140
SLAVE, OPEN THE DOOR.
627
00:22:54,206 --> 00:22:55,374
HUNH!
628
00:23:00,747 --> 00:23:02,482
O GRACIOUS QUEEN,
OH!
629
00:23:02,549 --> 00:23:05,418
GREET THY HAPPY SAILOR!
630
00:23:13,693 --> 00:23:15,862
WASN'T SHE MAGNIFICENT,
DEAR?
631
00:23:15,928 --> 00:23:17,163
BRAVO, BRAVO!
632
00:23:17,229 --> 00:23:18,330
BRAVO! BRA--
633
00:23:18,397 --> 00:23:19,365
WHAT DID YOU SAY?
634
00:23:19,432 --> 00:23:20,700
I SAID BRAVO.
635
00:23:20,767 --> 00:23:23,603
YOU--YOU DIDN'T HAVE
LARYNGITIS AFTER ALL.
636
00:23:23,670 --> 00:23:26,138
YOU WERE JUST BEING NOBLE.
637
00:23:26,205 --> 00:23:28,608
I WAS JUST
BEING A HOWELL.
638
00:23:30,309 --> 00:23:32,645
BRAVO! BRAVO!
BRAVO! BRAVO!
639
00:23:32,712 --> 00:23:34,647
SIMPLY MARVELOUS!
640
00:23:35,782 --> 00:23:36,783
OOH! OW!
641
00:23:41,220 --> 00:23:42,321
GILLIGAN!
642
00:23:42,388 --> 00:23:43,389
GILLIGAN, LITTLE BUDDY!
643
00:23:43,456 --> 00:23:44,724
UUUHH!
644
00:23:53,399 --> 00:23:54,934
COME ON, SKIPPER.
HERE.
645
00:23:55,001 --> 00:23:56,302
I'M SORRY, SKIPPER.
646
00:23:56,368 --> 00:23:57,770
GILLIGAN, NEVER MIND!
647
00:23:57,837 --> 00:23:59,572
NEVER MIND, GILLIGAN!
648
00:23:59,639 --> 00:24:01,073
I WAS JUST HANGING UP
THE WASH TO DRY.
649
00:24:01,140 --> 00:24:03,710
I SAW THAT YOU WERE.
650
00:24:03,776 --> 00:24:06,713
GILLIGAN, I WANTED
TO TALK TO YOU
ABOUT SOMETHING.
651
00:24:06,779 --> 00:24:08,481
WELL, MR. HOWELL
REALLY LIKED THE PLAY,
DIDN'T HE?
652
00:24:08,548 --> 00:24:10,316
HE SURE DID. HE'S GONNA
PUT IT ON BROADWAY
653
00:24:10,382 --> 00:24:11,518
WHEN WE GET OFF
THE ISLAND.
654
00:24:11,584 --> 00:24:12,719
EXACTLY.
NOW, GILLIGAN
655
00:24:12,785 --> 00:24:14,320
I WANT YOU
TO FORGET SOMETHING.
656
00:24:14,386 --> 00:24:15,555
UNDERSTAND?
I WANT YOU TO FORGET
657
00:24:15,622 --> 00:24:17,089
THAT I'M YOUR SKIPPER.
IT'S FORGOTTEN.
658
00:24:17,156 --> 00:24:18,491
AND I WANT YOU
TO FORGET THAT
YOU WORK FOR ME.
659
00:24:18,558 --> 00:24:19,992
IT'S FORGOTTEN.
AND I WANT YOU TO FORGET
660
00:24:20,059 --> 00:24:21,193
THAT I'M TWICE
AS BIG AS YOU ARE.
661
00:24:21,260 --> 00:24:22,895
IT'S FORGOTTEN.
662
00:24:22,962 --> 00:24:24,096
GILLIGAN,
WHAT DID YOU THINK
663
00:24:24,163 --> 00:24:26,065
OF MY MARC ANTONY,
LITTLE BUDDY?
664
00:24:26,132 --> 00:24:27,667
IT'S FORGOTTEN.
665
00:24:27,734 --> 00:24:28,768
COME ON NOW,
GILLIGAN.
666
00:24:28,835 --> 00:24:30,469
WHAT DID YOU
REALLY THINK?
667
00:24:30,537 --> 00:24:32,271
TERRIBLE, TERRIBLE,
TERRIBLE.
668
00:24:32,338 --> 00:24:33,573
DON'T PAY
ANY ATTENTION TO HIM.
669
00:24:33,640 --> 00:24:34,974
HE JUST SAYS
WHAT HE'S TAUGHT.
670
00:24:35,041 --> 00:24:37,644
UH-HUH. AND WHO'S
BEEN TEACHING HIM?
671
00:24:37,710 --> 00:24:39,846
GILLIGAN, GILLIGAN,
GILLIGAN. AWK!
672
00:24:39,912 --> 00:24:41,814
BLABBERMOUTH.
673
00:24:53,726 --> 00:24:56,629
* THEY'RE HERE
FOR A LONG, LONG TIME *
674
00:24:56,696 --> 00:24:57,830
* THEY'LL HAVE TO MAKE *
675
00:24:57,897 --> 00:24:59,298
* THE BEST OF THINGS *
676
00:24:59,365 --> 00:25:00,967
* IT'S AN UPHILL CLIMB *
677
00:25:01,033 --> 00:25:03,035
* THE FIRST MATE
AND HIS SKIPPER, TOO *
678
00:25:03,102 --> 00:25:05,104
* WILL DO THEIR VERY BEST *
679
00:25:05,171 --> 00:25:07,540
* TO MAKE
THE OTHERS COMFORTABLE *
680
00:25:07,607 --> 00:25:09,108
* IN THEIR
TROPIC ISLAND NEST *
681
00:25:09,175 --> 00:25:10,710
* NO PHONE *
* NO LIGHTS *
682
00:25:10,777 --> 00:25:13,813
* NO MOTOR CARS,
NOT A SINGLE LUXURY *
683
00:25:13,880 --> 00:25:16,315
* LIKE ROBINSON CRUSOE *
684
00:25:16,382 --> 00:25:18,150
* IT'S PRIMITIVE AS CAN BE *
685
00:25:18,217 --> 00:25:20,653
* SO JOIN US HERE EACH WEEK,
MY FRIENDS *
686
00:25:20,720 --> 00:25:22,589
* YOU'RE SURE
TO GET A SMILE *
687
00:25:22,655 --> 00:25:24,791
* FROM 7 STRANDED
CASTAWAYS *
688
00:25:24,857 --> 00:25:27,159
* HERE ON GILLIGAN'S ISLE *
48375
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