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1
00:00:03,103 --> 00:00:04,447
OH!
2
00:00:04,471 --> 00:00:07,250
I'M NOT ASKING YOU,
I'M TELLING YOU.
3
00:00:07,274 --> 00:00:11,988
POPPING IN ON OH? WHAT DID YOU
WSUDDENLY. HAVE IN MIND?
4
00:00:12,012 --> 00:00:13,323
WELL...
5
00:00:13,347 --> 00:00:14,590
WATER AND AIR IS FREE.
6
00:00:14,614 --> 00:00:16,326
WE DON'T MAKE
NO CHARGE FOR IT.
7
00:00:16,350 --> 00:00:18,261
HE TAKES MILK BATHS,
THAT'S IT, MILK BATHS.
8
00:00:18,285 --> 00:00:20,730
OH, I GOT IT,
HE TIES A COW TO THE CEILING
9
00:00:20,754 --> 00:00:22,131
AND TAKES A SHOWER.
10
00:00:24,624 --> 00:00:28,205
THE FIRST RULE IS...
11
00:00:28,229 --> 00:00:31,397
OBEY ALL RULES!
12
00:00:31,831 --> 00:00:32,876
THIS PROGRAM
13
00:00:32,900 --> 00:00:35,712
BY CONTRIBUTIONS
TO YOUR PBS STATION
14
00:00:35,736 --> 00:00:41,573
FROM VIEWERS LIKE YOU.
15
00:00:45,245 --> 00:00:47,357
Narrator: THEY CREATED
THE CHARACTERS
16
00:00:47,381 --> 00:00:49,259
THAT MAKE US LAUGH.
17
00:00:49,283 --> 00:00:50,527
VIV?
HUH?
18
00:00:50,551 --> 00:00:51,494
DO YOU THINK
WE COULD
19
00:00:51,518 --> 00:00:53,063
SQUEEZE OUT
THROUGH THE TOP?
20
00:00:53,087 --> 00:00:54,664
WE MIGHT...
WE MIGHT NOT HAVE TO.
21
00:00:54,688 --> 00:00:57,501
IN A FEW MINUTES,
WE'LL BE ABLE TO FLOAT OUT.
22
00:00:59,927 --> 00:01:02,272
YOU KNOW, SHE IS
A BRILLIANT CLOWN.
23
00:01:02,296 --> 00:01:04,407
SHE CREATES HER OWN COMEDY.
24
00:01:04,431 --> 00:01:08,845
THEYNarrator: THEY BROUGHT US
A FTOGETHER, WEEK AFTER WEEK.
25
00:01:08,869 --> 00:01:11,648
WHAT'S THE MATTER, RALPH?
YOU GOT AN ITCH?
26
00:01:11,672 --> 00:01:13,950
I CAN'T REACH IT.
WILL YOU GRAB IT?
27
00:01:13,974 --> 00:01:16,486
SURE.
WHERE IS IT?
28
00:01:16,510 --> 00:01:18,188
TO THE LEFT.
29
00:01:18,212 --> 00:01:19,222
UP.
30
00:01:19,246 --> 00:01:20,290
OVER.
31
00:01:20,314 --> 00:01:22,025
NOW GO!
32
00:01:25,186 --> 00:01:27,463
I THINK JACKIE
INSTINCTIVELY KNEW
33
00:01:27,487 --> 00:01:28,931
WHAT AN AUDIENCE WANTED.
34
00:01:28,955 --> 00:01:30,333
AND HE GAVE IT TO THEM.
35
00:01:30,357 --> 00:01:31,768
THANK YOU, SHERIFF.
36
00:01:31,792 --> 00:01:33,569
Narrator:
THEY OFFERED A GLIMPSE
37
00:01:33,593 --> 00:01:35,839
OF A BETTER LIFE,
38
00:01:35,863 --> 00:01:36,873
A HAPPIER TIME.
39
00:01:36,897 --> 00:01:38,175
OH, WELL,
IT'S MY FAULT
40
00:01:38,199 --> 00:01:39,810
IF BARNEY
WAS SNOOZING A LITTLE.
41
00:01:39,834 --> 00:01:42,612
SEE, I HAD HIM OUT
TILL 4:00 THIS MORNING
42
00:01:42,636 --> 00:01:43,646
ON A CHICKEN STAKE-OUT.
43
00:01:43,670 --> 00:01:45,515
WE GOT A TIP
THAT BUZZ JENKINS
44
00:01:45,539 --> 00:01:46,683
HAS BEEN LIFTING
A FEW FRYERS
45
00:01:46,707 --> 00:01:48,551
FROM AL'S
POULTRY HEADQUARTERS.
46
00:01:48,575 --> 00:01:49,619
OH, DEAR.
47
00:01:49,643 --> 00:01:50,720
OH, DEAR!
48
00:01:50,744 --> 00:01:51,754
YOU KNOW BUZZ?
49
00:01:51,778 --> 00:01:52,555
THAT'S WHERE I'M
50
00:01:52,579 --> 00:01:55,892
HAVING SUPPER
THIS EVENING.
51
00:01:55,916 --> 00:01:58,327
IT WAS NOT A REAL PLACE,
52
00:01:58,351 --> 00:01:59,696
BUT YOU WANTED IT TO BE.
53
00:01:59,720 --> 00:02:01,297
SAID, "DO YOU THINK
THAT'S FUNNY?"
54
00:02:01,321 --> 00:02:04,000
AND I SAID, "OH, LORD,
YES, THAT'S FUNNY."
55
00:02:04,024 --> 00:02:05,301
AND THAT WAS THE BEGINNING.
56
00:02:05,325 --> 00:02:08,738
Narrator: THEIR FAMILIES
BECAME OURS,
57
00:02:08,762 --> 00:02:13,109
ROLE MODELS
FOR A GENERATION.
58
00:02:13,133 --> 00:02:15,445
TO THANK
YOU AND DADDYTHANK US FOR WHAT?
59
00:02:15,469 --> 00:02:17,413
WELL, TO GET IN
TO THE LITTLE LEAGUE,
60
00:02:17,437 --> 00:02:20,683
YOU HAVE TO BE BETWEEN
EIGHT AND TWELVE YEARS OLD.
61
00:02:20,707 --> 00:02:22,218
SO I WANT TO THANK
YOU AND DADDY
62
00:02:22,242 --> 00:02:24,654
FOR ME BEING BORN
EIGHT YEARS AGO.
63
00:02:26,346 --> 00:02:27,590
YOU'RE VERY WELCOME.
64
00:02:27,614 --> 00:02:29,058
BUT BELIEVE ME,
AT THE TIME,
65
00:02:29,082 --> 00:02:31,093
WE WEREN'T THINKING
OF BASEBALL.
66
00:02:31,117 --> 00:02:34,564
HE SAID, "IF YOU'RE GOING TO GET
AN AUDIENCE TO FOLLOW YOU,
67
00:02:34,588 --> 00:02:36,866
YOU HAVE TO TELL THE TRUTH
THE WHOLE WAY."
68
00:02:36,890 --> 00:02:42,472
TO BRING US
THTHEIR VISION.,
69
00:02:42,496 --> 00:02:44,307
I'M SO UNHAPPY!
70
00:02:44,331 --> 00:02:45,508
WHY?
71
00:02:45,532 --> 00:02:48,311
BECAUSE YOU DIDN'T
WATCH ALL OF THE SHOW.
72
00:02:48,335 --> 00:02:50,112
WHY, I TOLD YOU,
I HAD TO WORK.
73
00:02:50,136 --> 00:02:52,815
NO, ROB, AT THE VERY
END OF THE SHOW,
74
00:02:52,839 --> 00:02:54,951
I DIDN'T HANDLE MYSELF
TOO WELL
75
00:02:54,975 --> 00:02:56,586
WHEN THAT PATRICK RAT...
76
00:02:56,610 --> 00:03:00,556
OH, HE GOT YOU TO SAY
SOMETHING EMBARRASSING?
77
00:03:00,580 --> 00:03:01,857
WHAT WAS IT?
78
00:03:01,881 --> 00:03:04,594
THAT ALAN BRADY
IS BALD.
79
00:03:08,455 --> 00:03:10,733
I WAS FUNNY ON
THE "VAN DYKE SHOW"
80
00:03:10,757 --> 00:03:11,868
BECAUSE OF CARL REINER,
81
00:03:11,892 --> 00:03:14,504
WHO IS A GREAT, GREAT
COMEDY WRITER.
82
00:03:14,528 --> 00:03:17,574
WE KNEW IT WAS SOMETHING
VERY GOOD,
83
00:03:17,598 --> 00:03:19,743
AND SOMETHING INNOVATIVE.
84
00:03:19,767 --> 00:03:23,346
IT WAS... IT WAS
INTELLIGENT COMEDY.
85
00:03:23,370 --> 00:03:27,550
Narrator: TOGETHER,
THEY DESIGNED THE TEMPLATES
86
00:03:27,574 --> 00:03:31,020
FOR A WHOLE NEW FORM
OF ENTERTAINMENT...
87
00:03:31,044 --> 00:03:33,378
THE SITCOM.
88
00:03:35,949 --> 00:03:40,752
THEY ARE
THE PIONEERS OF TELEVISION.
89
00:03:47,094 --> 00:03:50,429
FALL, 1955.
90
00:03:52,433 --> 00:03:55,612
JACKIE GLEASON HAS SCRAPPED
91
00:03:55,636 --> 00:03:56,813
HIS POPULAR VARIETY HOUR,
92
00:03:56,837 --> 00:03:59,282
IN FAVOR OF AN EXPERIMENT...
93
00:03:59,306 --> 00:04:00,617
A HALF-HOUR SITCOM
94
00:04:00,641 --> 00:04:02,285
BASED ON ONE OF HIS SKETCHES.
95
00:04:02,309 --> 00:04:05,655
NO ONE BELIEVES THIS IS
A GOOD IDEA.
96
00:04:05,679 --> 00:04:08,992
NO ONE EXCEPT JACKIE.
97
00:04:09,016 --> 00:04:10,259
SEE, THAT'S WHAT
I'M TALKING ABOUT,
98
00:04:10,283 --> 00:04:12,996
RIGHT OVER THERE,
GOT TO GET THAT ANGLE.
99
00:04:13,020 --> 00:04:14,897
Narrator: CBS EXECUTIVES
WANTED GLEASON
100
00:04:14,921 --> 00:04:18,468
TO STAY WITH THE VARIETY SHOW,
A PROVEN HIT,
101
00:04:18,492 --> 00:04:21,104
AND CRITICS WONDERED WHY
GLEASON WOULD GIVE UP
102
00:04:21,128 --> 00:04:25,196
THE CHANCE TO DO MULTIPLE
CHARACTERS EVERY WEEK.
103
00:04:26,266 --> 00:04:30,679
NOW HE WOULD LIMIT HIMSELF
TO JUST ONE...
104
00:04:30,703 --> 00:04:33,082
RALPH KRAMDEN.
105
00:04:38,846 --> 00:04:41,724
DESPITE THE SKEPTICISM,
106
00:04:41,748 --> 00:04:45,695
GLEASON HELD FAST.
107
00:04:45,719 --> 00:04:48,431
AND ON OCTOBER 1, 1955,
108
00:04:48,455 --> 00:04:51,434
"THE HONEYMOONERS" SERIES
WENT ON THE AIR
109
00:04:51,458 --> 00:04:54,359
FOR THE VERY FIRST TIME.
110
00:05:00,367 --> 00:05:03,468
THE SEASON'S RATINGS
WERE NOT GREAT.
111
00:05:04,337 --> 00:05:06,782
"THE HONEYMOONERS"
DIDN'T EVEN
112
00:05:06,806 --> 00:05:08,518
WIN ITS TIME SLOT THAT YEAR.
113
00:05:08,542 --> 00:05:11,821
BUT THOSE 39 EPISODES
LIVED ON,
114
00:05:11,845 --> 00:05:15,791
ENTERTAINING GENERATION
AFTER GENERATION.
115
00:05:15,815 --> 00:05:20,629
AND IT NEVER WOULD HAVE HAPPENED
WITHOUT THE VISION AND TALENT
116
00:05:20,653 --> 00:05:22,598
OF ONE JACKIE GLEASON.
117
00:05:22,622 --> 00:05:25,335
Randolph:
HE RAN EVERYTHING.
118
00:05:25,359 --> 00:05:27,537
HE PICKED THE COSTUMES,
YOU KNOW, HE JUST,
119
00:05:27,561 --> 00:05:30,640
EVERYONE DEFERRED TO HIM
FOR EVERY QUESTION!
120
00:05:30,664 --> 00:05:31,541
IT WAS AMAZING!
121
00:05:31,565 --> 00:05:35,177
AND HE SEEMED TO BE RIGHT
MOST OF THE TIME.
122
00:05:35,201 --> 00:05:37,347
INSTINCTIVELY, HE KNEW
WHAT WAS RIGHT,
123
00:05:37,371 --> 00:05:40,216
EVEN THOUGH HE WASN'T
A WELL-SCHOOLED MAN.
124
00:05:40,240 --> 00:05:43,953
BUT THEATRICALLY,
♪ JUST WAIT TILL I GET BACK ♪
125
00:05:43,977 --> 00:05:48,291
♪ TO OHIO! ♪♪
126
00:05:55,255 --> 00:05:57,567
Narrator: JACKIE GLEASON
GOT HIS START
127
00:05:57,591 --> 00:05:59,135
IN SMALL NIGHTCLUBS.
128
00:05:59,159 --> 00:06:02,872
AND HIS REPUTATION
GREW QUICKLY.
129
00:06:02,896 --> 00:06:06,676
HE STOLE MOST OF HIS JOKES.
130
00:06:06,700 --> 00:06:08,911
BUT IT DIDN'T REALLY MATTER.
131
00:06:08,935 --> 00:06:12,348
JACKIE'S APPEAL
WASN'T THE JOKE.
132
00:06:12,372 --> 00:06:16,352
IT WAS HIM.
133
00:06:16,376 --> 00:06:19,021
BIG, BROAD, IMPROVISATIONAL.
134
00:06:19,045 --> 00:06:21,357
HE COULD TAKE ON
ANY CHARACTER,
135
00:06:21,381 --> 00:06:23,559
MAKE ANYTHING FUNNY.
136
00:06:23,583 --> 00:06:27,664
JACKIE GLEASON WAS ONE
OF THE FUNNIEST COMIC ACTORS
137
00:06:27,688 --> 00:06:28,665
IN THE WORLD.
138
00:06:28,689 --> 00:06:31,000
HARRY, WHEN ARE WE
GOING TO GET SOME ACTION?
139
00:06:31,024 --> 00:06:32,235
WE'RE JUST ABOUT
OUT OF DOUGH.
140
00:06:32,259 --> 00:06:35,705
Narrator: BY THE 1940s,
GLEASON'S ACTING SKILLS
141
00:06:35,729 --> 00:06:38,575
LANDED HIM MINOR ROLES
IN HOLLYWOOD FILMS.
142
00:06:38,599 --> 00:06:42,778
BUT THE MOVIES COULDN'T CAPTURE
GLEASON'S STRENGTH.
143
00:06:42,802 --> 00:06:45,215
HE NEEDED A STAGE,
144
00:06:45,239 --> 00:06:46,782
AN AUDIENCE
145
00:06:46,806 --> 00:06:48,384
TO INSPIRE THE RAW,
146
00:06:48,408 --> 00:06:49,919
SEAT-OF-THE-PANTS EXCITEMENT
147
00:06:49,943 --> 00:06:54,424
THAT BEDEMARK.
148
00:06:58,418 --> 00:06:59,529
I, UH...
149
00:06:59,553 --> 00:07:03,566
THAT TIME,
GOING OVER THERE.
150
00:07:03,590 --> 00:07:05,768
THIS IS NOTHING.
LOOK AT THE TUMBLE...
151
00:07:05,792 --> 00:07:07,403
Narrator:
FED UP WITH HOLLYWOOD,
152
00:07:07,427 --> 00:07:09,171
GLEASON RETURNED
TO NEW YORK
153
00:07:09,195 --> 00:07:12,642
AND TOOK A SHOT
AT LIVE TELEVISION.
154
00:07:13,767 --> 00:07:16,178
ALL YOU NEED IS
JUST A LITTLE SHAVE.
155
00:07:26,246 --> 00:07:29,825
Narrator: GLEASON SOON LANDED
HIS OWN VARIETY SHOW,
156
00:07:29,849 --> 00:07:32,995
WHERE HE DID A WIDE RANGE
OF CHARACTERS
157
00:07:33,019 --> 00:07:34,663
EVERY WEEK.
158
00:07:34,687 --> 00:07:38,735
BUT ONE SKETCH BECAME
AN AUDIENCE FAVORITE...
159
00:07:38,759 --> 00:07:41,470
"THE HONEYMOONERS."
160
00:07:41,494 --> 00:07:42,872
GET A LOAD OF THIS.
161
00:07:42,896 --> 00:07:47,110
"DEAR ALICE,
MEET ME AT THE SAME SPOT
162
00:07:47,134 --> 00:07:48,311
"THIS AFTERNOON,
AND I'LL
163
00:07:48,335 --> 00:07:50,746
TAKE YOU AROUND
TO A FEW PLACES."
164
00:07:51,872 --> 00:07:54,851
"THEN I'LL SNEAK UP
TO YOUR PLACE TONIGHT
165
00:07:54,875 --> 00:07:57,787
WHILE RALPH
IS OUT BOWLING."
166
00:07:58,846 --> 00:08:00,190
SIGNED, "JOE."
167
00:08:00,214 --> 00:08:01,691
GET A LOAD OF THAT.
168
00:08:01,715 --> 00:08:04,194
"THEN I'LL SNEAK UP
TO YOUR PLACE TONIGHT
169
00:08:04,218 --> 00:08:07,430
WHILE RALPH
IS OUT BOWLING."
170
00:08:07,454 --> 00:08:09,732
DON'T LET IT UPSET YOU,
WILL YOU, PAL?
171
00:08:09,756 --> 00:08:11,500
COME ON,
DON'T LET IT UPSET YOU...
172
00:08:11,524 --> 00:08:14,204
YOU'LL BOWL ROCKS
TONIGHT.
173
00:08:19,566 --> 00:08:22,045
Narrator: GLEASON'S FOIL
ON "THE HONEYMOONERS"
174
00:08:22,069 --> 00:08:23,947
WAS ART CARNEY.
175
00:08:23,971 --> 00:08:25,782
QUIET AND EASYGOING,
176
00:08:25,806 --> 00:08:29,551
CARNEY WAS THE OPPOSITE
OF THE MERCURIAL GLEASON
177
00:08:29,575 --> 00:08:30,820
IN NEARLY EVERY WAY.
178
00:08:30,844 --> 00:08:35,023
BUT THERE WAS ONE TRAIT
THEY DID HAVE IN COMMON.
179
00:08:35,047 --> 00:08:39,996
THE TWO WERE JUST
THEY WMAGIC TOGETHER.UNNY.
180
00:08:40,020 --> 00:08:43,866
I DON'T THINK THAT JACKIE
WOULD HAVE...
181
00:08:43,890 --> 00:08:46,936
BEEN THAT GREAT
WITHOUT ART.
182
00:08:46,960 --> 00:08:47,736
I...
183
00:08:47,760 --> 00:08:48,604
OH, "I, I, I" NOTHING!
184
00:08:48,628 --> 00:08:52,108
Narrator: IN THIS RARE,
EARLY VERSION
185
00:08:52,132 --> 00:08:56,379
PERT KELTON PLAYED
GLEASON'S WIFE, ALICE.
186
00:08:56,403 --> 00:08:57,713
THE SCRIPTS WERE DARKER,
187
00:08:57,737 --> 00:08:58,714
MORE GRITTY.
188
00:08:58,738 --> 00:09:02,218
AND GLEASON PLAYED IT
WITH STRIKING REALISM.
189
00:09:02,242 --> 00:09:04,687
AREN'T YOU
ASHAMED OF YOURSELF?
190
00:09:04,711 --> 00:09:06,222
AREN'T YOU ASHAMED?
191
00:09:06,246 --> 00:09:08,157
ME OUT WORKING HARD
ALL DAY,
192
00:09:08,181 --> 00:09:10,826
AND YOU RUNNING AROUND
WITH SOME SNEAK
193
00:09:10,850 --> 00:09:12,061
BY THE NAME OF JOE!
194
00:09:12,085 --> 00:09:13,929
YOU OUGHTA BE
ASHAMED OF YOURSELF!
195
00:09:13,953 --> 00:09:15,030
RALPH!
196
00:09:15,054 --> 00:09:16,532
DON'T "RALPH" ME!
197
00:09:16,556 --> 00:09:18,801
MAYBE THIS JOE
HAS THAT CADILLAC.
198
00:09:18,825 --> 00:09:22,338
OR MAYBE JOE'S
MAYBE JOE'S GOTGOT FINGERNAILS
199
00:09:22,362 --> 00:09:23,406
THAT ARE MANICURED.
200
00:09:23,430 --> 00:09:24,574
BUT I COULDA HAD A CADILLAC.
201
00:09:24,598 --> 00:09:26,642
I COULDA HAD
MANICURED NAILS,
202
00:09:26,666 --> 00:09:28,444
AND I COULDA HAD
FANCY CLOTHES!
203
00:09:28,468 --> 00:09:30,012
BUT I DIDN'T THROW
MY MONEY AWAY
204
00:09:30,036 --> 00:09:32,115
ON ANYTHING FOOLISH
LIKE THAT, NO SIR.
205
00:09:32,139 --> 00:09:33,716
I TOOK WHAT LITTLE MONEY
I HAD
206
00:09:33,740 --> 00:09:36,519
AND GOT A TWIN BURIAL PLOT
FOR US!
207
00:09:45,418 --> 00:09:47,696
WHEN GLEASON
SWITCHED NETWORKS,
208
00:09:47,720 --> 00:09:49,499
PERT KELTON
LEFT THE CAST.
209
00:09:49,523 --> 00:09:52,735
OFFICIALLY, THE REASON
WAS HEALTH PROBLEMS.
210
00:09:52,759 --> 00:09:56,339
BUT IN TRUTH,
KELTON WAS BLACKLISTED,
211
00:09:56,363 --> 00:10:01,343
FALSELY ACCUSED
OF COMMUNIST TIES.
212
00:10:01,367 --> 00:10:05,147
FOR KELTON, AS WITH MOST
BLACKLISTED PERFORMERS,
213
00:10:05,171 --> 00:10:10,653
IT WACBS SAID THAT SHELOW.
214
00:10:10,677 --> 00:10:12,922
WASN'T GOING TO BE
ON THEIR NETWORK.
215
00:10:12,946 --> 00:10:15,391
SO JACKIE HAD TO FIND
SOMEONE ELSE.
216
00:10:15,415 --> 00:10:16,325
AND HE FOUND AUDREY.
217
00:10:16,349 --> 00:10:19,996
Narrator: AT FIRST,
GLEASON DIDN'T WANT
218
00:10:20,020 --> 00:10:22,231
AUDREY MEADOWS
TO PLAY HIS WIFE.
219
00:10:22,255 --> 00:10:24,366
HE THOUGHT SHE WAS
TOO PRETTY.
220
00:10:24,390 --> 00:10:28,204
BUT WITH A LITTLE MAKEUP
AND A LOT OF ATTITUDE,
221
00:10:28,228 --> 00:10:31,607
MEADOWS SEALED THE ROLE
AND SOON BECAME
222
00:10:31,631 --> 00:10:33,842
ONE OF GLEASON'S
GREATEST ASSETS,
223
00:10:33,866 --> 00:10:38,002
TRADING BARBS
AS HIS EQUAL.
224
00:10:40,207 --> 00:10:42,084
I HOPE, ALICE,
THAT YOU'RE
225
00:10:42,108 --> 00:10:42,985
NOT GOING TO ASK ME
226
00:10:43,009 --> 00:10:44,687
TO TAKE
THIS POTATO SALAD
227
00:10:44,711 --> 00:10:46,923
BACK TO DE VITO'S,
GET MY MONEY,
228
00:10:46,947 --> 00:10:48,324
AND THEN WALK
TWO BLOCKS
229
00:10:48,348 --> 00:10:49,458
DOWN TO CROSS'S DELICATESSEN
230
00:10:49,482 --> 00:10:50,827
TO GET
THE POTATO SALAD THERE.
231
00:10:50,851 --> 00:10:52,795
I HOPE YOU'RE NOT
GOING TO ASK ME THAT.
232
00:10:52,819 --> 00:10:55,464
I HOPE YOU'RE NOT
GOING TO ASK ME THAT!
233
00:10:55,488 --> 00:10:57,800
I'M NOT
ASKING YOU, RALPH.
234
00:10:57,824 --> 00:10:59,035
I'M NOT ASKING YOU.
235
00:10:59,059 --> 00:11:02,438
I'M NOT ASKING YOU,
I'M TELLING YOU.
236
00:11:03,629 --> 00:11:06,408
THAT'S RIGHT.YOU'RE TELLING ME?
237
00:11:06,432 --> 00:11:10,012
THAT'S RIGHT! YOU'RE TELLING ME!
238
00:11:10,036 --> 00:11:11,981
YOU'RE TELLING ME?
239
00:11:12,005 --> 00:11:13,916
YOU'RE TELLING ME?
240
00:11:13,940 --> 00:11:16,585
ALL RIGHT!
241
00:11:16,609 --> 00:11:17,887
I'LL GO!
242
00:11:19,445 --> 00:11:23,092
BUT I'M NOT GOING
TO YOUR MOTHER'S TOMORROW!
243
00:11:31,024 --> 00:11:32,368
Narrator: WHEN
"THE HONEYMOONERS"
244
00:11:32,392 --> 00:11:35,104
BECAME A SERIES
IN 1955,
245
00:11:35,128 --> 00:11:37,940
GLEASON INSISTED
ON PRODUCING
246
00:11:37,964 --> 00:11:39,942
TWO EPISODES EVERY WEEK.
247
00:11:39,966 --> 00:11:41,744
SO, ON ANY GIVEN DAY,
248
00:11:41,768 --> 00:11:45,781
CARNEY, MEADOWS, AND FOURTH
CAST MEMBER JOYCE RANDOLPH
249
00:11:45,805 --> 00:11:47,783
WOULD SPEND HOURS
MEMORIZING
250
00:11:47,807 --> 00:11:49,284
AND REHEARSING THEIR LINES.
251
00:11:49,308 --> 00:11:54,623
BUT GLEASON
DID NOT PARTICIPATE.
252
00:11:54,647 --> 00:11:57,593
JACKIE BELIEVED THAT PREPARATION
253
00:11:57,617 --> 00:11:58,828
MADE COMEDY STALE.
254
00:11:58,852 --> 00:12:01,964
Randolph: WE JUST KNEW
HE WANTED IT
255
00:12:01,988 --> 00:12:04,867
SPONTANEOUS AND FAST
AND LIVE AND TRUE,
256
00:12:04,891 --> 00:12:08,170
AND HE FELT THAT YOU DIDN'T
GET THOSE THINGS
257
00:12:08,194 --> 00:12:11,874
IF YOU HAD BEEN DOING IT
OVER AND OVER AND OVER.
258
00:12:11,898 --> 00:12:14,077
IT JUST WASN'T FRESH ENOUGH
FOR HIM.
259
00:12:14,101 --> 00:12:18,914
AND MAYBE HE WAS INSPIRED
WHEN HE WAS NERVOUS,
260
00:12:18,938 --> 00:12:21,918
AND I THINK PERHAPS
WE ALL WERE.
261
00:12:24,810 --> 00:12:27,857
Narrator: OFF CAMERA,
JACKIE GLEASON
262
00:12:27,881 --> 00:12:29,058
LIVED LARGE.
263
00:12:29,082 --> 00:12:31,160
HE HAD A TEMPESTUOUS REPUTATION.
264
00:12:31,184 --> 00:12:34,396
BUT THE PEOPLE WHO WORKED
WITH JACKIE
265
00:12:34,420 --> 00:12:36,765
SAW HIM VERY DIFFERENTLY.
266
00:12:36,789 --> 00:12:38,300
HE COULD DO EVERYTHING.
267
00:12:38,324 --> 00:12:41,304
AND I THOUGHT HE WAS
A VERY SWEET MAN,
268
00:12:41,328 --> 00:12:44,807
YOU KNOW, I MEAN,
HE HAD A REPUTATION SOMETIMES
269
00:12:44,831 --> 00:12:46,542
OF BEING TOUGH...
270
00:12:46,566 --> 00:12:50,345
WHO WAS AN ENORMOUSLY GREAT
ACTOR.
271
00:12:50,369 --> 00:12:52,882
AND A GIFTED, GIFTED
COMEDIAN.
272
00:12:52,906 --> 00:12:57,286
AND THAT THERE WAS NOTHING
THAT HE EVER DID
273
00:12:57,310 --> 00:13:01,190
THAT DIDN'T... I DON'T EVEN CARE
IF IT WAS THE SMALLEST SKETCH...
274
00:13:01,214 --> 00:13:04,860
THAT YOU DIDN'T GO,
"WHOA!"
275
00:13:04,884 --> 00:13:06,995
AND PARTICULARLY TO ACTRESSES,
I THINK,
276
00:13:07,019 --> 00:13:08,931
AND HE WAS KIND TO EVERYBODY.
277
00:13:08,955 --> 00:13:12,300
WELL, LIKE, I GUESS
I HEARD HIM YELL A FEW TIMES,
278
00:13:12,324 --> 00:13:14,370
BUT...
279
00:13:14,394 --> 00:13:15,738
NOT AT "HONEYMOONERS" PEOPLE.
280
00:13:15,762 --> 00:13:17,806
RALPH, WHY DO YOU
GET YOURSELF
281
00:13:17,830 --> 00:13:18,874
INTO SPOTS LIKE THIS?
282
00:13:18,898 --> 00:13:20,676
YOU WANT
TO KNOW WHY, ALICE?
283
00:13:20,700 --> 00:13:22,278
I'LL TELL YOU WHY.
284
00:13:22,302 --> 00:13:26,648
IT'S BECAUSE I HAVE
A BIG MOUTH!
285
00:13:26,672 --> 00:13:28,251
THAT'S WHY!
286
00:13:28,275 --> 00:13:31,609
A BIG MOUTH!
287
00:13:33,380 --> 00:13:35,891
Narrator:
GLEASON DECIDED
288
00:13:35,915 --> 00:13:38,961
TO END
THE "HONEYMOONERS" SITCOM
289
00:13:38,985 --> 00:13:40,830
AFTER JUST ONE SEASON.
290
00:13:40,854 --> 00:13:43,266
39 EPISODES.
291
00:13:43,290 --> 00:13:46,602
HIS REASON... HE BELIEVED
THE SERIES
292
00:13:46,626 --> 00:13:47,837
HAD RUN OUT OF IDEAS.
293
00:13:47,861 --> 00:13:51,796
AND HE DIDN'T WANT
THE SHOW'S QUALITY TO SLIP.
294
00:13:57,737 --> 00:14:00,883
GLEASON WOULD CONTINUE
ON TELEVISION
295
00:14:00,907 --> 00:14:02,151
FOR THE NEXT 15 YEARS,
296
00:14:02,175 --> 00:14:05,521
REPRISING HIS TRADEMARK
RALPH KRAMDEN
297
00:14:05,545 --> 00:14:07,356
IN COUNTLESS SKETCHES.
298
00:14:07,380 --> 00:14:12,216
VIEWERS ENJOYED
REVISITING THIS OLD FRIEND.
299
00:14:13,286 --> 00:14:14,596
EVERY WEEK,
YOU COME HOME
300
00:14:14,620 --> 00:14:16,865
WITH SOME NEW, CRAZY,
HAREBRAINED SCHEME!
301
00:14:16,889 --> 00:14:19,468
THAT'S ALL I'VE HEARD
FOR THE PAST 14 YEARS...
302
00:14:19,492 --> 00:14:22,270
ONE CRAZY, HAREBRAINED
SCHEME AFTER ANOTHER!
303
00:14:22,294 --> 00:14:23,205
THAT IS ALL I HAVE HEARD
304
00:14:23,229 --> 00:14:24,673
SINCE THE DAY
THAT WE GOT MARRIED.
305
00:14:24,697 --> 00:14:27,776
YOU HEARD ONE
OF MY HAREBRAINED SCHEMES
306
00:14:27,800 --> 00:14:29,578
BEFORE WE GOT MARRIED.
307
00:14:29,602 --> 00:14:31,647
I PROPOSED TO YOU!
308
00:14:35,174 --> 00:14:40,244
DON'T YOU EVER
SAY THAT AGAIN, RALPH.
309
00:14:43,149 --> 00:14:47,896
Narrator: THE FINAL EPISODE
OF "THE HONEYMOONERS" SITCOM
310
00:14:47,920 --> 00:14:50,065
MARKED THE END
OF AN ERA.
311
00:14:50,089 --> 00:14:54,870
THE SITCOM INDUSTRY
WAS LEAVING NEW YORK
312
00:14:54,894 --> 00:14:55,971
AND HEADING WEST,
313
00:14:55,995 --> 00:14:57,907
FOLLOWING THE FOOTSTEPS
314
00:14:57,931 --> 00:15:02,077
OF TELEVISION'S
BIGGEST HIT EVER.
315
00:15:02,101 --> 00:15:04,313
♪ DU BARRY WAS
A LADY ♪
316
00:15:04,337 --> 00:15:07,183
♪ NO MATTER WHAT
THEY MAY SAY ♪
317
00:15:07,207 --> 00:15:08,117
♪ DU BARRY WAS A LADY ♪
318
00:15:08,141 --> 00:15:09,685
Narrator: LUCILLE BALL
WAS POPULAR
319
00:15:09,709 --> 00:15:11,987
EVEN BEFORE
HER LANDMARK SITCOM,
320
00:15:12,011 --> 00:15:14,690
APPEARING IN DOZENS
OF MOVIES.
321
00:15:14,714 --> 00:15:16,759
WOULD YOU ACCEPT
THIS LITTLE TOKEN?
322
00:15:16,783 --> 00:15:18,360
OH! DARLING!
323
00:15:18,384 --> 00:15:19,928
YOU REALLY SHOULDN'T
HAVE DONE IT.
324
00:15:19,952 --> 00:15:22,998
OH, LOUIS, I JUST
CAN'T ACCEPT THIS.
325
00:15:23,022 --> 00:15:24,566
OH, NO, REALLY,
I JUST CAN'T ACCEPT IT.
326
00:15:24,590 --> 00:15:27,392
ALL RIGHT,
THEN GIVE IT BACK.
327
00:15:29,128 --> 00:15:31,240
Narrator:
LUCY'S COMIC TALENTS
328
00:15:31,264 --> 00:15:33,175
TRANSLATED WELL
TO RADIO,
329
00:15:33,199 --> 00:15:37,112
WI "MY FAVORITE HUSBAND." AR
330
00:15:37,136 --> 00:15:38,280
Ball: NO, NO,
LET ME EXPLAIN, GEORGE.
331
00:15:38,304 --> 00:15:40,683
YOU SEE, I SENT THE BUTCHER
A VALENTINE BY MISTAKE,
332
00:15:40,707 --> 00:15:43,151
AND SINCE
IT WAS ALREADY MAILED,
333
00:15:43,175 --> 00:15:45,521
Richard Denning: THE BUTCHER?
Ball: NO, THE MAILMAN.
334
00:15:45,545 --> 00:15:46,522
I WAITED
AT THE BUTCHER SHOP
335
00:15:46,546 --> 00:15:47,623
UNTIL HE GOT THERE,
AND WHEN I
336
00:15:47,647 --> 00:15:49,124
GRABBED THE VALENTINE,
HE CALLED THE POLICE!
337
00:15:49,148 --> 00:15:50,793
Denning: THE MAILMAN?
Ball: NO, THE BUTCHER.
338
00:15:50,817 --> 00:15:53,996
AND I TRIED TO EXPLAIN
HOW IT WAS ALL A MISTAKE,
339
00:15:54,020 --> 00:15:55,731
Denning: THE MAILMAN
OR THE BUTCHER?
340
00:15:55,755 --> 00:15:56,632
Ball: THE POLICEMAN.
341
00:15:56,656 --> 00:15:58,033
THEN WE ALL HAD TO GO
IN A POLICE CAR,
342
00:15:58,057 --> 00:16:00,635
AND HE SAID IT WAS
A FEDERAL OFFENSE
343
00:16:00,659 --> 00:16:02,038
Denning: THE MAILMAN,
THE BUTCHER,
344
00:16:02,062 --> 00:16:03,906
OR THE POLICEMAN?
Ball: THE JUDGE.
345
00:16:09,068 --> 00:16:12,214
Narrator: WHEN HER RADIO SHOW
WAS ADAPTED FOR TV,
346
00:16:12,238 --> 00:16:14,750
BALL INSISTED
ON A NEW ACTOR
347
00:16:14,774 --> 00:16:16,118
TO PLAY HER COSTAR.
348
00:16:16,142 --> 00:16:22,179
HER HUSBAND,
THE MAN DESI ARNAZ.MIND...
349
00:16:23,083 --> 00:16:24,827
THE NETWORK
WAS NOT ENTHUSED.
350
00:16:24,851 --> 00:16:27,897
ARNAZ WAS CUBAN,
AND CBS THOUGHT
351
00:16:27,921 --> 00:16:30,432
AN ETHNICALLY MIXED MARRIAGE
352
00:16:30,456 --> 00:16:31,867
JUST WASN'T PLAUSIBLE.
353
00:16:31,891 --> 00:16:34,970
BUT LUCILLE BALL
WAS TOUGH.
354
00:16:34,994 --> 00:16:37,539
DESI GOT THE JOB.
355
00:16:37,563 --> 00:16:38,474
HE KNEW HIS PART.
356
00:16:38,498 --> 00:16:40,976
HE KNEW WHO HE WAS
ON THAT SHOW.
357
00:16:41,000 --> 00:16:44,212
AND HE CERTAINLY
KNEW HER VALUE.
358
00:16:44,236 --> 00:16:45,748
YOU KNOW, THEY WORKED.
359
00:16:45,772 --> 00:16:47,817
THEY WERE PERFECT TOGETHER.
360
00:16:47,841 --> 00:16:51,209
RICKY, ARE YOU
STILL MAD?
361
00:16:52,212 --> 00:16:54,723
RICKY, TALK TO ME.
ARE YOU STILL MAD?
362
00:16:54,747 --> 00:16:57,226
NO, DEAR.
LET'S JUST FORGET IT.
363
00:16:57,250 --> 00:16:58,060
I CAN'T FORGET IT
364
00:16:58,084 --> 00:17:00,495
UNTIL I KNOW
YOU STILL LOVE ME.
365
00:17:00,519 --> 00:17:01,363
I LOVE YOU.
366
00:17:01,387 --> 00:17:03,565
IF YOU LOVE ME,
YOU'LL GIVE ME
367
00:17:03,589 --> 00:17:06,535
A GREAT BIG KISS.
368
00:17:08,661 --> 00:17:10,505
COME ON.
369
00:17:10,529 --> 00:17:11,907
KISS ME.
370
00:17:18,137 --> 00:17:19,748
WHAT ARE YOU DOING HERE?
371
00:17:19,772 --> 00:17:21,917
LUCY, I DIDN'T MEAN TO...
372
00:17:24,643 --> 00:17:26,055
Narrator:
BEHIND THE SCENES,
373
00:17:26,079 --> 00:17:28,924
DESI DEMONSTRATED
ONE OF THE SHARPEST MINDS
374
00:17:28,948 --> 00:17:30,859
IN THE ENTERTAINMENT BUSINESS.
375
00:17:30,883 --> 00:17:35,064
HE UNDERSTOOD THAT LUCY
NEEDED THE FEEDBACK
376
00:17:35,088 --> 00:17:36,932
OF A STUDIO AUDIENCE.
377
00:17:36,956 --> 00:17:38,967
BUT THAT WAS
A REVOLUTIONARY IDEA
378
00:17:38,991 --> 00:17:42,738
IN HOLLYWOOD,
BACK IN 1951.
379
00:17:42,762 --> 00:17:45,006
NONE OF THE PRODUCTION STUDIOS
380
00:17:45,030 --> 00:17:46,875
COULD ACCOMMODATE AUDIENCES.
381
00:17:46,899 --> 00:17:50,011
BUT DESI ARNAZ WASN'T
ABOUT TO GIVE UP.
382
00:17:50,035 --> 00:17:55,384
BECAUSE SITCOM ACTORS
THRIVE ON LAUGHTER.
383
00:17:55,408 --> 00:17:58,486
YOU GET A JOLT
FROM THE AUDIENCE
384
00:17:58,510 --> 00:18:00,155
WHEN THEY LAUGH AT YOU.
385
00:18:00,179 --> 00:18:02,424
AND IT JUST GIVES YOU
THAT OOMPH!
386
00:18:02,448 --> 00:18:05,427
TO GO AND DO THE NEXT PART
EVEN BETTER.
387
00:18:05,451 --> 00:18:09,798
Narrator: DESI FINALLY COBBLED
TOGETHER THE RIGHT STUDIO SPACE,
388
00:18:09,822 --> 00:18:12,368
RETROFITTED BLEACHERS
FOR THE AUDIENCE,
389
00:18:12,392 --> 00:18:17,261
AND A NEW ERA IN TELEVISION
WAS LAUNCHED.
390
00:18:20,833 --> 00:18:23,579
IT WAS SEPTEMBER 4, 1951.
391
00:18:23,603 --> 00:18:27,138
THE SHOW WAS
"I LOVE LUCY."
392
00:18:29,575 --> 00:18:30,886
Man: ACTION!
393
00:18:30,910 --> 00:18:33,155
UH, FRED AND ETHEL
SHOULD BE HERE IN A MINUTE.
394
00:18:33,179 --> 00:18:34,089
OH, HERE THEY COME NOW.
395
00:18:34,113 --> 00:18:35,658
RICKY RICARDO,
FOR THE LAST TIME,
396
00:18:35,682 --> 00:18:38,393
ARE YOU GOING TO LET ME
BE IN THAT ACT OR NOT?
397
00:18:38,417 --> 00:18:39,594
NO.
HI!
398
00:18:39,618 --> 00:18:41,429
Narrator:
"I LOVE LUCY"
399
00:18:41,453 --> 00:18:43,932
AND BALL'S LATER SITCOMS
TOOK FULL ADVANTAGE
400
00:18:43,956 --> 00:18:46,301
OF HER SKILLS
AS A PHYSICAL COMEDIAN.
401
00:18:46,325 --> 00:18:47,803
THAT WAS A DUMB
THING TO DO!
402
00:18:47,827 --> 00:18:50,706
Narrator: TALENT UNPARALLELED
BEFORE OR SINCE.
403
00:18:50,730 --> 00:18:54,076
HOW DID I KNOW
THIS WAS GOING TO HAPPEN?
404
00:18:54,100 --> 00:18:55,243
OH, WELL...
405
00:18:57,136 --> 00:18:58,280
I DIDN'T KNOW
WHAT I WAS TRYING.
406
00:18:58,304 --> 00:19:00,549
YOU KNOW WHAT WE'RE
GOING TO HAVE TO DO?
WHAT?
407
00:19:00,573 --> 00:19:02,317
WE'RE GOING TO HAVE TO
KICK THIS DOOR IN.
408
00:19:02,341 --> 00:19:04,553
WE'RE GOING TO HAVE TO BREAK
THE GLASS.
409
00:19:04,577 --> 00:19:05,487
OH, THAT'S A GOOD IDEA.
410
00:19:05,511 --> 00:19:07,289
OKAY.
GO AHEAD, KICK IT.
411
00:19:07,313 --> 00:19:10,225
OH, NO YOU DON'T!
412
00:19:10,249 --> 00:19:12,394
THAT'S TOO DANGEROUS!
413
00:19:12,418 --> 00:19:14,362
NOT THAT I'M AFRAID
OF CUTTING MYSELF,
414
00:19:14,386 --> 00:19:16,565
BUT THE BLOOD
MIGHT DRAW A SHARK.
415
00:19:23,662 --> 00:19:25,140
VIV?
HUH?
416
00:19:25,164 --> 00:19:26,108
DO YOU THINK
WE COULD
417
00:19:26,132 --> 00:19:27,743
SQUEEZE OUT
THROUGH THE TOP?
418
00:19:27,767 --> 00:19:29,078
WE MIGHT...
WE MIGHT NOT HAVE TO.
419
00:19:29,102 --> 00:19:30,946
Narrator: LUCY PREPARED
FOR EACH EPISODE
420
00:19:30,970 --> 00:19:33,481
WITH THE RIGOR
OF AN OLYMPIC ATHLETE,
421
00:19:33,505 --> 00:19:35,684
REHEARSING EVERY MOVE,
422
00:19:35,708 --> 00:19:38,587
WORKING OUT
THE TINIEST DETAILS
423
00:19:38,611 --> 00:19:40,288
OVER AND OVER.
424
00:19:40,312 --> 00:19:43,124
SHE WASLIKE GLEASON.VISER,
425
00:19:43,148 --> 00:19:46,061
RATHER, SHE WAS
A KEEN OBSERVER
426
00:19:46,085 --> 00:19:48,931
WHO MOLDED PERFORMANCES
GRADUALLY
427
00:19:48,955 --> 00:19:50,765
UNTIL THEY WERE PERFECT.
428
00:19:50,789 --> 00:19:51,900
IF YOU CAN HEAR ME,
429
00:19:51,924 --> 00:19:54,102
I HAVE TO GET
INTO YOUR PURSE
430
00:19:54,126 --> 00:19:56,371
AND GET YOUR KEY
TO YOUR APARTMENT.
431
00:19:56,395 --> 00:19:57,806
ALL RIGHT?
432
00:19:57,830 --> 00:19:58,807
HERE...
433
00:19:58,831 --> 00:20:00,809
AH!
OH!
434
00:20:00,833 --> 00:20:03,678
OH!
435
00:20:03,702 --> 00:20:06,781
OH!
436
00:20:06,805 --> 00:20:08,705
NO...
437
00:20:11,243 --> 00:20:13,788
WELL, I THINK SHE WAS
VERY MUCH OF AN ANALYST
438
00:20:13,812 --> 00:20:15,690
AND FIGURED OUT
WHAT WAS FUNNY
439
00:20:15,714 --> 00:20:17,348
AND THEN WOULD DO IT.
440
00:20:20,486 --> 00:20:22,964
Narrator:
BALL'S DISCIPLINED APPROACH
441
00:20:22,988 --> 00:20:25,401
EARNED HER A REPUTATION
FOR TOUGHNESS.
442
00:20:25,425 --> 00:20:27,636
SHE KNEW WHAT WORKED
FOR HER.
443
00:20:27,660 --> 00:20:31,840
AND SHE WASN'T AFRAID
TO TELL GUEST STARS
444
00:20:31,864 --> 00:20:35,878
Griffith:
TO FACE FRONT AND SAY THE JOKE.
445
00:20:35,902 --> 00:20:39,214
AND I REHEARSED ALL WEEK
AND REHEARSED ALL WEEK
446
00:20:39,238 --> 00:20:40,348
AND REHEARSED ALL WEEK,
447
00:20:40,372 --> 00:20:43,418
AND WHEN IT CAME SHOW TIME,
I REALIZED
448
00:20:43,442 --> 00:20:47,289
YOU GOTTA FACE FRONT
AND SAY THE JOKES.
449
00:20:47,313 --> 00:20:51,827
SO I DID IT,
AND WE GOT BIG LAUGHS.
450
00:20:51,851 --> 00:20:55,831
SHE SAID, "THERE I WAS,
WORRIED ABOUT YOU ALL WEEK."
451
00:20:59,759 --> 00:21:02,671
Narrator: DESPITE HER REPUTATION
AS A TASKMASTER,
452
00:21:02,695 --> 00:21:06,208
BALL WAS ALSO KNOWN
FOR ACTS OF KINDNESS,
453
00:21:06,232 --> 00:21:07,876
ESPECIALLY TOWARD
YOUNG ACTORS.
454
00:21:07,900 --> 00:21:12,080
WHEN AN UNKNOWN BARBARA EDEN
WAS CAST ON "I LOVE LUCY,"
455
00:21:12,104 --> 00:21:14,282
BALL MADE SURE THE NEWCOMER
456
00:21:14,306 --> 00:21:16,385
HAD THE BEST POSSIBLE
WARDROBE.
457
00:21:16,409 --> 00:21:17,452
HI!
458
00:21:17,476 --> 00:21:20,989
Eden: SHE SAID,
"DO YOU LIKE THAT DRESS?"
459
00:21:21,013 --> 00:21:22,157
AND I SAID, "IT'S FINE."
460
00:21:22,181 --> 00:21:24,092
"IT'S FINE, I LIKE IT, YES."
461
00:21:24,116 --> 00:21:26,794
YOU KNOW, I WASN'T
GOING TO NOT LIKE ANYTHING.
462
00:21:26,818 --> 00:21:28,030
AND SHE SAID, "TAKE IT OFF."
463
00:21:28,054 --> 00:21:32,001
AND SHE SPENT ALL THE TIME
WE WERE REHEARSING,
464
00:21:32,025 --> 00:21:33,602
SHE AND HER ASSISTANT,
465
00:21:33,626 --> 00:21:34,836
PUTTING THOSE GROMMETS,
466
00:21:34,860 --> 00:21:36,571
THOSE SHINY GROMMETS,
ON MY DRESS
467
00:21:36,595 --> 00:21:37,673
SO THAT IT WOULD SHINE,
468
00:21:37,697 --> 00:21:40,375
SO THAT IT HAD
A LITTLE OOMPH TO IT.
469
00:21:40,399 --> 00:21:44,613
I THINK THAT'S REMARKABLE.
470
00:21:44,637 --> 00:21:48,316
Narrator: LUCY LATER INSPIRED
ANOTHER YOUNG ACTRESS,
471
00:21:48,340 --> 00:21:51,453
GETTING HER START
ON THE SHOW NEXT DOOR...
472
00:21:51,477 --> 00:21:52,788
MARY TYLER MOORE.
473
00:21:52,812 --> 00:21:56,525
FOR WEEKS, BALL WOULD CLIMB
ONTO THE STUDIO CATWALK
474
00:21:56,549 --> 00:21:59,327
AND SECRETLY
WATCH MOORE REHEARSE.
475
00:21:59,351 --> 00:22:01,697
AND ONE DAY,
I GUESS WE HAD DONE
476
00:22:01,721 --> 00:22:04,466
SOMETHING THAT REALLY
GOT TO HER,
477
00:22:04,490 --> 00:22:05,667
AND SHE LAUGHED OUT LOUD.
478
00:22:05,691 --> 00:22:08,003
AND THERE WAS NO MISSING
THAT LAUGH.
479
00:22:08,027 --> 00:22:11,172
LUCILLE BALL
WAS IN THE SKY.
480
00:22:11,196 --> 00:22:13,075
AND WE LOOKED AT HER,
AND SHE CAME DOWN,
481
00:22:13,099 --> 00:22:14,943
AND SHE WAS TALKING
TO ALL OF US,
482
00:22:14,967 --> 00:22:17,613
AND AS SHE WAS LEAVING,
483
00:22:17,637 --> 00:22:20,849
SHE TURNED AROUND TO ME,
AND SHE SAID,
484
00:22:20,873 --> 00:22:22,784
"YOU'RE VERY GOOD."
485
00:22:22,808 --> 00:22:28,490
NOT A LOT OF FLOWERS,
NOT A LOT OF COMEDY IN THAT,
486
00:22:28,514 --> 00:22:30,792
BUT IT REALLY HIT ME.
487
00:22:30,816 --> 00:22:33,361
AND I KNEW THAT I MUST HAVE
488
00:22:33,385 --> 00:22:37,320
SOMETHING WORTH CONTINUING WITH.
489
00:22:40,325 --> 00:22:43,838
Narrator: PERHAPS LUCY'S
GREATEST ASSET
490
00:22:43,862 --> 00:22:44,673
WAS DESI.
491
00:22:44,697 --> 00:22:45,740
HE WORKED TIRELESSLY
492
00:22:45,764 --> 00:22:48,343
TO PUT HER
IN THE PERFECT POSITION
493
00:22:48,367 --> 00:22:49,644
TO SHINE.
494
00:22:49,668 --> 00:22:52,147
WHEN DESI LEARNED
THAT KARL FREUND
495
00:22:52,171 --> 00:22:55,551
WAS THE BEST CINEMATOGRAPHER
IN THE COUNTRY,
496
00:22:55,575 --> 00:22:59,020
ARNAZ PERSONALLY LURED
THE SUPERSTAR
497
00:22:59,044 --> 00:23:00,121
OUT OF RETIREMENT.
498
00:23:00,145 --> 00:23:03,492
AND IF DESI THOUGHT
A REAL TUNA FISH
499
00:23:03,516 --> 00:23:05,126
WAS FUNNIER THAN A PROP,
500
00:23:05,150 --> 00:23:08,853
HE'D SPARE NO EXPENSE
TO GET ONE.
501
00:23:18,130 --> 00:23:20,242
WHAT ARE YOU DOING
WITH THAT FISH?
502
00:23:20,266 --> 00:23:22,610
UH...
503
00:23:22,634 --> 00:23:23,879
WHAT FISH?
504
00:23:29,241 --> 00:23:31,419
Narrator: DESI HAD
AN UNCANNY ABILITY
505
00:23:31,443 --> 00:23:33,321
TO MULL A CONTRACT
ONE MINUTE
506
00:23:33,345 --> 00:23:37,326
AND ACT, THE NEXT,
WITHOUT MISSING A BEAT.
507
00:23:37,350 --> 00:23:38,961
BUT DESPITE HIS GENIUS,
508
00:23:38,985 --> 00:23:43,031
ARNAZ WAS ALSO
A MAN WITH APPETITES.
509
00:23:43,055 --> 00:23:44,766
AND THAT LED TO HIS DOWNFALL.
510
00:23:44,790 --> 00:23:49,972
I SPENT A LOT OF TIME
ON THAT SET, HIDING.
511
00:23:49,996 --> 00:23:53,608
AND PROBABLY, IF I HAD BEEN
A LITTLE MORE SOPHISTICATED,
512
00:23:53,632 --> 00:23:55,210
I COULD HAVE HANDLED IT BETTER.
513
00:23:55,234 --> 00:23:58,147
BUT ALL I KNEW HOW TO DO
WAS TO HIDE.
514
00:23:58,171 --> 00:23:59,614
AND THAT'S WHAT I DID!
515
00:24:00,739 --> 00:24:01,583
I JUST HID.
516
00:24:01,607 --> 00:24:02,751
I'D SEE HIM COMING,
517
00:24:02,775 --> 00:24:03,652
AND I'D GO HIDE.
518
00:24:03,676 --> 00:24:05,720
AND THEN I'D COME OUT
519
00:24:05,744 --> 00:24:09,725
YOUR COUNTRY CLUB
IS SIMPLY FABULOUS!
520
00:24:09,749 --> 00:24:10,558
OH, THANK YOU.
521
00:24:10,582 --> 00:24:12,727
AND THE MUSIC'S
SO DREAMY!
522
00:24:12,751 --> 00:24:14,028
YOU LIKE TO DANCE?
523
00:24:14,052 --> 00:24:16,731
Narrator:
LUCY FORGAVE DESI
524
00:24:16,755 --> 00:24:19,834
FOR THE DRINKING,
THE DALLIANCES.
525
00:24:19,858 --> 00:24:22,937
BUT THEIR MARRIAGE
DIDN'T SURVIVE.
526
00:24:22,961 --> 00:24:25,907
THE COUPLE DIVORCED
IN 1960.
527
00:24:25,931 --> 00:24:30,301
YET THE PUBLIC
NEVER STOPPED LOVING LUCY.
528
00:24:31,671 --> 00:24:34,949
SHE STARRED
IN SUCCESSFUL SITCOMS
529
00:24:34,973 --> 00:24:36,818
WELL INTO THE 1970s.
530
00:24:36,842 --> 00:24:38,320
BUT HER TV CHARACTER
531
00:24:38,344 --> 00:24:41,978
NEVER AGAIN HAD
A HUSBAND.
532
00:24:52,558 --> 00:24:54,436
WHY DID YOU BREAK
THAT DISH?
533
00:24:54,460 --> 00:24:56,305
WELL, I'M SORRY,
BUT IT SAID,
534
00:24:56,329 --> 00:25:00,675
SO I JUST PICKED THEM UP,
"TAND I JUST TAPPED... ISHES,"
535
00:25:03,869 --> 00:25:05,480
YOU DID IT AGAIN.
536
00:25:05,504 --> 00:25:06,481
WELL, FOR HEAVEN'S SAKE,
537
00:25:06,505 --> 00:25:08,083
WHY DOES IT
SAY "UNBREAKABLE"
538
00:25:08,107 --> 00:25:09,051
WHEN THEY'RE BREAKABLE?
539
00:25:09,075 --> 00:25:11,586
THOSE ARE UNBREAKABLE!
540
00:25:11,610 --> 00:25:15,123
THESE ARE
IMPORTED CHINA.
541
00:25:16,348 --> 00:25:17,559
AND BREAKABLE.
542
00:25:17,583 --> 00:25:19,616
YOU SHOULD KNOW.
543
00:25:21,620 --> 00:25:23,031
THESE ARE
THE UNBREAKABLES?
544
00:25:23,055 --> 00:25:24,654
GUARANTEED.
545
00:25:33,299 --> 00:25:37,245
Narrator: "I LOVE LUCY'S"
SUCCESS
546
00:25:37,269 --> 00:25:39,881
SPAWNED A LONG LIST
OF IMITATORS
547
00:25:39,905 --> 00:25:41,249
IN THE MID-1950s.
548
00:25:41,273 --> 00:25:44,741
EVERYONE WANTED
TO BE LIKE LUCY.
549
00:25:48,180 --> 00:25:50,859
BUT THE NEXT BIG SITCOM STAR
550
00:25:50,883 --> 00:25:55,152
DIDN'T LOOK
ANYTHING LIKE LUCILLE BALL.
551
00:25:59,458 --> 00:26:01,636
CHICAGO, 1940.
552
00:26:01,660 --> 00:26:04,673
A YOUNG COMEDIAN
NAMED AMOS JACOBS
553
00:26:04,697 --> 00:26:07,230
HAS JUST ARRIVED IN TOWN.
554
00:26:09,034 --> 00:26:11,813
BUT HE CAN'T FIND WORK.
555
00:26:11,837 --> 00:26:13,080
HE'S READY TO QUIT...
556
00:26:13,104 --> 00:26:17,085
WHEN HE PASSES BY A CHURCH
AND SAYS A PRAYER.
557
00:26:17,109 --> 00:26:22,824
WITHIN AN HOUR,
HE LANDS TWO PLUM ACTING ROLES.
558
00:26:22,848 --> 00:26:24,359
AND BEFORE THE MONTH
IS OUT,
559
00:26:24,383 --> 00:26:28,063
HE'S HEADLINING
AT CHICAGO'S 5100 CLUB.
560
00:26:28,087 --> 00:26:32,100
BY NOW, HE'S CHOSEN
A STAGE NAME.
561
00:26:32,124 --> 00:26:33,468
AND AMOS JACOBS
562
00:26:33,492 --> 00:26:36,204
BECAME DANNY THOMAS.
563
00:26:36,228 --> 00:26:41,609
DANNY THOMAS... HE WAS
A GREAT STORYTELLER HUMORIST.
564
00:26:41,633 --> 00:26:45,146
HE COULD TELL ONE JOKE
AND TAKE 12 MINUTES TO TELL IT.
565
00:26:45,170 --> 00:26:47,548
BUT IT'S FUNNY
ALL THE WAY THROUGH.
566
00:26:47,572 --> 00:26:50,117
AND THEN IT'S FUNNIEST
AT THE END.
567
00:26:50,141 --> 00:26:53,121
AND HE WOULD GET UP,
AND HE WOULD JUST BANTER.
568
00:26:53,145 --> 00:26:56,124
HE COULD HAVE BANTERED
FOR FOUR DAYS.
569
00:26:56,148 --> 00:26:58,615
IT CAME EASY TO HIM.
570
00:27:02,054 --> 00:27:03,999
Narrator:
BY THE EARLY '50s,
571
00:27:04,023 --> 00:27:05,433
THOMAS WANTED A SITCOM.
572
00:27:05,457 --> 00:27:08,670
BUT HE COULDN'T FIND A PREMISE
THAT WORKED.
573
00:27:08,694 --> 00:27:13,809
THE ANSWER CAME
FROM HIS YOUNG DAUGHTER, MARLO.
574
00:27:13,833 --> 00:27:15,743
MY DAD USED TO TRAVEL
SO MUCH,
575
00:27:15,767 --> 00:27:19,247
AND MY MOTHER HATED
TO SLEEP ALONE.
576
00:27:19,271 --> 00:27:20,849
SLEEPING IN MY MOTHER'S
BIG, HUGE BED.
577
00:27:20,873 --> 00:27:23,585
AND WE'D BRING OUR TOYS
AND OUR THINGS IN THERE.
578
00:27:23,609 --> 00:27:25,653
AND THEN, WHEN MY DAD
WAS ABOUT TO COME HOME,
579
00:27:25,677 --> 00:27:28,189
SHE'D SAY, "MAKE ROOM
FOR DADDY," AND WE WOULD.
580
00:27:28,213 --> 00:27:29,391
AND SO WE SAID THAT SO MUCH
581
00:27:29,415 --> 00:27:33,294
THAT MY FATHER THOUGHT
THAT THAT WAS A GREAT PREMISE
582
00:27:33,318 --> 00:27:34,930
FOR A SHOW, YOU KNOW,
THE IDEA
583
00:27:34,954 --> 00:27:38,100
OF MAKING ROOM FOR THIS FIGURE
THAT YOU LOVE,
584
00:27:38,124 --> 00:27:39,167
THAT LEAVES ALL THE TIME.
585
00:27:39,191 --> 00:27:41,503
SO THAT WAS
PRETTY MUCH OUR CHILDHOOD.
586
00:27:41,527 --> 00:27:45,039
THANK YOU, DADDY!
CUB SCOUT MAG
GOSH, THANKS! R YOU.
587
00:27:45,063 --> 00:27:46,274
WHAT DID I
TELL YOU, LINDA?
588
00:27:46,298 --> 00:27:49,077
WHEN HE GOES AWAY,
HE COMES HOME WITH PRESENTS!
589
00:27:49,101 --> 00:27:51,979
WHEN ARE YOU
GOING AWAY AGAIN?
590
00:27:52,003 --> 00:27:54,316
Narrator:
DANNY THOMAS'S SITCOM,
591
00:27:54,340 --> 00:27:56,785
WHICH BEGAN AS
"MAKE ROOM FOR DADDY,"
592
00:27:56,809 --> 00:28:01,456
WAS AMONG THE FIRST IN A LONG
LINE OF FAMILY-BASED SHOWS.
593
00:28:01,480 --> 00:28:05,193
NOW CHILDREN COULD BE
THE CENTRAL PLAYERS
594
00:28:05,217 --> 00:28:06,495
IN A TV SITCOM.
595
00:28:06,519 --> 00:28:09,330
WHAT DID YOU DO,
RUN INTO A TRUCK?
596
00:28:09,354 --> 00:28:12,133
NO, I HAD A FIGHT
WITH JOHNNY STEWART.
597
00:28:12,157 --> 00:28:14,235
YEAH?
WHAT ABOUT?
598
00:28:14,259 --> 00:28:16,604
WELL, HE WOULDN'T LET ME
CROSS THE STREET
599
00:28:16,628 --> 00:28:18,005
UNLESS I PAID HIM A DIME.
600
00:28:19,064 --> 00:28:21,742
HE WANTED
TO CHARGE YOU A DIME
601
00:28:21,766 --> 00:28:23,945
TO CROSS THE STREET?
602
00:28:23,969 --> 00:28:27,015
WHAT'S HE RUNNING,
HIS OWN PRIVATE TOLL ROAD?
603
00:28:27,039 --> 00:28:29,284
I SAID I WOULDN'T
GIVE IT TO HIM.
604
00:28:29,308 --> 00:28:31,152
YOU SAID
THE RIGHT THING.
605
00:28:31,176 --> 00:28:32,186
SO HE SLUGGED ME.
606
00:28:33,512 --> 00:28:34,388
WHAT DID YOU DO?
607
00:28:34,412 --> 00:28:35,523
OH, YOU DON'T
HAVE TO WORRY,
608
00:28:35,547 --> 00:28:36,691
DADDY,
I KNEW WHAT TO DO.
609
00:28:36,715 --> 00:28:38,259
ATTABOY, YOU
GAVE IT TO HIM, HUH?
610
00:28:38,283 --> 00:28:40,995
YEAH, AND HE WENT
AND BOUGHT AN ICE CREAM CONE.
611
00:28:47,559 --> 00:28:49,304
JUST ALWAYS TELL THE STORY.
612
00:28:49,328 --> 00:28:50,204
AND EVERY JOKE HAS
613
00:28:50,228 --> 00:28:52,040
A BEGINNING AND MIDDLE
AND END,
614
00:28:52,064 --> 00:28:53,642
AND EVERY HALF-HOUR
OF A SITCOM
615
00:28:53,666 --> 00:28:55,209
HAS A BEGINNING
AND MIDDLE AND END.
616
00:28:55,233 --> 00:28:58,146
AND YOU NEED TO JUST
FOLLOW THROUGH WITH THE STORY.
617
00:28:58,170 --> 00:28:59,914
AND THAT WAS THE BEST ADVICE
HE EVER GAVE ME.
618
00:28:59,938 --> 00:29:04,252
Narrator: ONE OF THE GREAT
LEGACIES OF DANNY THOMAS'S SHOW
619
00:29:04,276 --> 00:29:06,955
WAS TV'S FIRST SUCCESSFUL
SITCOM SPIN-OFF,
620
00:29:06,979 --> 00:29:11,426
CREATED FOR AN UP-AND-COMING
NORTH CAROLINA COMIC.
621
00:29:11,450 --> 00:29:13,761
HE'S PICKED
ON THE WRONG GUY.
622
00:29:13,785 --> 00:29:15,797
YOU'VE BROUGHT ME BACK
INTO TOWN, I'M TELLING YOU,
623
00:29:15,821 --> 00:29:17,999
YOU'VE PICKED ON THE WRONG MAN
THIS TIME, CLEM!
624
00:29:18,023 --> 00:29:21,569
THE NAME AIN'T CLEM,
IT'S ANDY.
625
00:29:21,593 --> 00:29:23,538
ANDY TAYLOR.
626
00:29:29,601 --> 00:29:32,914
Narrator: ANDY GRIFFITH
ALWAYS LIKED PERFORMING.
627
00:29:32,938 --> 00:29:36,451
HE STARTED OUT STUDYING
FOR THE MINISTRY,
628
00:29:36,475 --> 00:29:38,286
THEN SWITCHED TO MUSIC,
629
00:29:38,310 --> 00:29:40,821
AND LATER, COMEDY.
630
00:29:40,845 --> 00:29:44,592
AFTER COLLEGE, HE DEVELOPED
A SERIES OF MONOLOGUES
631
00:29:44,616 --> 00:29:47,462
THAT CAPTURED
HIS APPALACHIAN ROOTS...
632
00:29:47,486 --> 00:29:50,198
INCLUDING THE MILLION-SELLING
633
00:29:50,222 --> 00:29:52,400
"WHAT IT WAS, WAS FOOTBALL!"
634
00:29:52,424 --> 00:29:55,971
Griffith: IT WAS THAT BOTH
BUNCHES FULL OF THEM MEN
635
00:29:55,995 --> 00:29:58,606
WANTED THIS FUNNY-LOOKING
LITTLE PUMPKIN TO PLAY WITH.
636
00:29:58,630 --> 00:30:02,878
THEY DID, AND I KNOW, FRIENDS,
THAT THEY COULDN'T EAT IT,
637
00:30:02,902 --> 00:30:06,848
BECAUSE THEY KICKED IT THE WHOLE
EVENING, AND IT NEVER BUSTED.
638
00:30:08,307 --> 00:30:10,551
Narrator: THE RECORD
MADE GRIFFITH
639
00:30:10,575 --> 00:30:12,387
A NATIONAL CELEBRITY.
640
00:30:12,411 --> 00:30:17,425
INCLUDING HIS UNIQUE RETELLING
OTOF THE STORY OF HAMLET.,
641
00:30:17,449 --> 00:30:19,460
BEFORE THE PLAY
EVER OPENS UP,
642
00:30:19,484 --> 00:30:20,996
WHY, THIS FELLOW
CLAUDIUS
643
00:30:21,020 --> 00:30:23,098
PLOTTED AND KILLED
HAMLET'S DADDY
644
00:30:23,122 --> 00:30:25,700
SO THAT HE MIGHT
GAIN THE THRONE.
645
00:30:25,724 --> 00:30:26,734
MM-HMM?
646
00:30:27,927 --> 00:30:29,437
AND... WELL,
I APPRECIATE IT...
647
00:30:29,461 --> 00:30:34,109
AND THEN, THEN MARRIED,
MARRIED HAMLET'S MOM.
648
00:30:34,133 --> 00:30:37,279
AND THAT MADE HIM
HAMLET'S STEPDADDY.
649
00:30:37,303 --> 00:30:39,380
AND ALL, DO TRY
TO REMEMBER THAT,
650
00:30:39,404 --> 00:30:42,083
BECAUSE YOU WILL
NEED IT LATER ON.
651
00:30:42,942 --> 00:30:45,119
I WAS LOOKING,
ALWAYS LOOKING
652
00:30:45,143 --> 00:30:48,557
FOR A WAY TO GET
INTO SHOW BUSINESS.
653
00:30:48,581 --> 00:30:49,958
NOW, THIS FELLOW HERE...
654
00:30:49,982 --> 00:30:51,593
Narrator:
BY THE LATE 1950s,
655
00:30:51,617 --> 00:30:54,228
GRIFFITH HAD STARRED
IN SEVERAL MOVIES,
656
00:30:54,252 --> 00:30:56,297
AND ON BROADWAY
IN THE HIT PLAY,
657
00:30:56,321 --> 00:30:57,832
"NO TIME FOR SERGEANTS."
658
00:30:57,856 --> 00:31:01,636
I HEARD THIS FELLOW,
BECAUSE IRVINLUCKY, N SICK.
659
00:31:01,660 --> 00:31:04,238
TELL THE OTHERS
THAT IRVIN
660
00:31:04,262 --> 00:31:05,262
HAD R.O.T.C.
661
00:31:06,699 --> 00:31:08,577
FOR A WHOLE YEAR!
662
00:31:08,601 --> 00:31:10,711
Narrator:
IN 1960,
663
00:31:10,735 --> 00:31:13,748
GRIFFITH AIMED HIS SIGHTS
664
00:31:13,772 --> 00:31:14,615
ON TELEVISION.
665
00:31:14,639 --> 00:31:17,018
AN EPISODE
OF DANNY THOMAS'S SHOW
666
00:31:17,042 --> 00:31:20,755
WAS CRAFTED TO SHOWCASE
GRIFFITH'S TALENTS.
667
00:31:20,779 --> 00:31:21,923
BUT ANDY ALMOST QUIT
668
00:31:21,947 --> 00:31:25,093
BEFORE HIS FIRST EPISODE
WAS COMPLETED.
669
00:31:25,117 --> 00:31:26,460
AND HERE'S
ANOTHER FIVE.
670
00:31:26,484 --> 00:31:27,461
GO BUY YOURSELF
A COMB,
671
00:31:27,485 --> 00:31:29,230
AND RAKE THE HAYSEED
OUT OF YOUR HAIR.
672
00:31:29,254 --> 00:31:30,198
Griffith:
THE FIRST DAY
673
00:31:30,222 --> 00:31:33,234
OF REHEARSAL,
WE SAT AROUND THE TABLE
674
00:31:33,258 --> 00:31:35,670
AND READ THE SCRIPT.
675
00:31:35,694 --> 00:31:40,508
DANNY THOMAS, SHELDON LEONARD,
AND A MAN NAMED ARTIE STANDER,
676
00:31:40,532 --> 00:31:41,676
WHO WROTE THE PILOT,
677
00:31:41,700 --> 00:31:44,212
YELLED AT ONE ANOTHER
ALL DAY.
678
00:31:44,236 --> 00:31:46,748
IT'S HIGHWAY ROBBERY,
THAT'S WHAT IT IS!
679
00:31:46,772 --> 00:31:49,050
AND I SAID...
680
00:31:49,074 --> 00:31:51,085
"SHELDON, IF THAT'S
WHAT TELEVISION IS,
681
00:31:51,109 --> 00:31:53,488
I DON'T THINK
I'LL BE ABLE TO TAKE IT."
682
00:31:53,512 --> 00:31:57,058
SHELDON WAS VERY WISE.
683
00:31:57,082 --> 00:32:00,061
HE SAID, "ANDY,"
684
00:32:00,085 --> 00:32:02,897
HE SAID,
685
00:32:02,921 --> 00:32:04,999
"YOU HAVE TO UNDERSTAND
SOMETHING."
686
00:32:05,023 --> 00:32:06,768
HE SAID, "DANNY LIKES TO YELL.
687
00:32:06,792 --> 00:32:08,670
SO WE ALL YELL."
688
00:32:08,694 --> 00:32:12,207
HE SAID, "IF YOU
DON'T WANT TO YELL,
689
00:32:12,231 --> 00:32:13,941
NOBODY WILL YELL."
690
00:32:13,965 --> 00:32:17,167
AND IT WORKED OUT
TO BE TRUE.
691
00:32:20,105 --> 00:32:22,183
Narrator: AFTER THE PILOT
WAS PRODUCED,
692
00:32:22,207 --> 00:32:25,252
ANDY GRIFFITH GOT A CALL
FROM AN OLD FRIEND...
693
00:32:25,276 --> 00:32:30,546
PERHAPS THE MOST IMPORTANT CALL
IN SITCOM HISTORY.
694
00:32:32,851 --> 00:32:33,794
IT WAS DON KNOTTS.
695
00:32:33,818 --> 00:32:37,966
KNOTTS THOUGHT SHERIFF TAYLOR
NEEDED A DEPUTY.
696
00:32:37,990 --> 00:32:40,768
ANDY AGREED.
697
00:32:40,792 --> 00:32:43,871
WHEN HE REALIZED THAT DON
COULD GO,
698
00:32:43,895 --> 00:32:47,975
HE LET HIM GO,
LET HIM CARRY A SCENE,
699
00:32:47,999 --> 00:32:49,277
AND... OR WHOMEVER.
700
00:32:49,301 --> 00:32:52,414
YOU KNOW, HE HAD GREAT RESPECT
FOR OTHER ACTORS.
701
00:32:52,438 --> 00:32:53,181
THAT DOES IT.
702
00:32:53,205 --> 00:32:55,950
NOT QUITE,
SHERIFF. BARNEY...
703
00:32:55,974 --> 00:32:57,708
PLEASE, ANDY!
704
00:32:59,110 --> 00:33:01,323
NOW, MEN, THERE ARE
A FEW THINGS...
705
00:33:01,347 --> 00:33:03,557
Narrator: BARNEY FIFE
SOON EMERGED
706
00:33:03,581 --> 00:33:06,861
AS THE FUNNIEST CHARACTER
ON TELEVISION.
707
00:33:06,885 --> 00:33:11,065
NOW HERE AT THE ROCK,
WE HAVE TWO BASIC RULES!
708
00:33:11,089 --> 00:33:16,293
MEMORIZE THEM SO THAT YOU CAN
SAY THEM IN YOUR SLEEP.
709
00:33:17,429 --> 00:33:20,675
THE FIRST RULE IS...
710
00:33:20,699 --> 00:33:24,612
OBEY ALL RULES!
711
00:33:24,636 --> 00:33:29,417
SECONDLY,
DO NOT WRITE ON THE WALLS,
712
00:33:29,441 --> 00:33:32,654
AS IT TAKES
A LOT OF WORK
713
00:33:32,678 --> 00:33:36,024
TO ERASE WRITING
OFF OF WALLS!
714
00:33:36,048 --> 00:33:41,529
DON BROUGHT ALL THESE EMOTIONS
THAT BARNEY FELT.
715
00:33:41,553 --> 00:33:44,298
HE BROUGHT THEM
INTO HIMSELF,
716
00:33:44,322 --> 00:33:47,135
AND THEN THEY WOULD GO
INTO HIS MIND,
717
00:33:47,159 --> 00:33:49,804
AND THEN I COULD SEE IT
IN HIS EYES.
718
00:33:49,828 --> 00:33:54,075
I COULD SEE HIS EYES
TURN INTO BARNEY FIFE.
719
00:34:05,343 --> 00:34:08,589
IF YOU LOOK
AT, YOU KNOW, DON'S WORK,
720
00:34:08,613 --> 00:34:12,360
I MEAN, HE'S JUST SUCH
A WONDERFUL, CUDDLY GUY.
721
00:34:12,384 --> 00:34:14,695
I MEAN, YOU WOULD LOVE HIM TO BE
THE SHERIFF IN YOUR TOWN,
722
00:34:14,719 --> 00:34:17,565
BECAUSE HE'S NEVER GOING TO HURT
ANYBODY, OBVIOUSLY.
723
00:34:22,227 --> 00:34:23,838
Narrator: DON KNOTTS
WAS THE FIRST
724
00:34:23,862 --> 00:34:26,807
OF SEVERAL KEY ADDITIONS
TO "THE ANDY GRIFFITH SHOW."
725
00:34:26,831 --> 00:34:31,445
THE 13th EPISODE
ADDED FLOYD, THE BARBER.
726
00:34:31,469 --> 00:34:33,213
LATER, GOMER PYLE.
727
00:34:33,237 --> 00:34:34,348
HOWDY, GOMER.
728
00:34:34,372 --> 00:34:35,316
HI, ANDY!
729
00:34:35,340 --> 00:34:36,184
WHAT'LL IT BE?
730
00:34:36,208 --> 00:34:38,086
REGULAR OR HIGH TEST?
731
00:34:38,110 --> 00:34:40,188
I'M GOING TO GET THIS
PUT ON THE PATROL CAR.
732
00:34:40,212 --> 00:34:43,324
YOU WANT THAT
PUT ON YOUR CAR?
733
00:34:43,348 --> 00:34:47,595
SURE AIN'T GOING TO HELP
THE LOOKS OF IT NONE.
734
00:34:47,619 --> 00:34:50,798
UH, IT DON'T GO
ON THE OUTSIDE, GOMER.
735
00:34:50,822 --> 00:34:53,867
GOMER WAS... EVERYBODY THOUGHT
HE WAS STUPID,
736
00:34:53,891 --> 00:34:55,136
BUT HE REALLY WASN'T.
737
00:34:55,160 --> 00:34:56,504
HE JUST WANTED TO SEE
738
00:34:56,528 --> 00:34:59,874
ME, I DON'T DO
NO ENGINE WORK. IN EVERYBODY.
739
00:34:59,898 --> 00:35:02,944
JUST GAS AND OIL,
WATER AND AIR.
740
00:35:02,968 --> 00:35:06,314
WAWE DON'T MAKE
NO CHARGE FOR IT.
741
00:35:06,338 --> 00:35:09,283
I'D NEVER ACTED BEFORE
IN MY LIFE,
742
00:35:09,307 --> 00:35:13,521
AND SO I REMEMBER,
ANDY ANNOUNCED TO THE CREW
743
00:35:13,545 --> 00:35:15,923
AND TO ALL THE CAST,
HE SAID,
744
00:35:15,947 --> 00:35:17,525
"NOW, LISTEN," HE SAID,
"EVERYBODY HERE,"
745
00:35:17,549 --> 00:35:18,860
HE SAYS, "THIS HERE
IS JIM NABORS."
746
00:35:18,884 --> 00:35:21,395
AND SAID, "THIS IS HIS FIRST
TIME TO DO THIS.
747
00:35:21,419 --> 00:35:22,830
"HE DOESN'T KNOW
WHAT HE'S DOING,
748
00:35:22,854 --> 00:35:25,232
"SO ALL YOU HELP HIM OUT
AS MUCH AS YOU CAN."
749
00:35:25,256 --> 00:35:28,703
AND THEY DID, AND THEY WERE
ABSOLUTELY WONDERFUL.
750
00:35:28,727 --> 00:35:29,470
ANY QUESTIONS?
751
00:35:29,494 --> 00:35:32,306
YEAH, I GOT
ONE LITTLE BITTY ONE.
752
00:35:32,330 --> 00:35:33,541
Narrator:
IN THE FIRST EPISODES,
753
00:35:33,565 --> 00:35:36,243
GRIFFITH PLAYED THE SHERIFF
BROADLY.
754
00:35:36,267 --> 00:35:39,179
THE DRAWL IS THICK.
755
00:35:39,203 --> 00:35:41,548
THE GRIN,
CONSTANT.
756
00:35:41,572 --> 00:35:42,816
WE GOT ONE ROAD
DOWN THERE
757
00:35:42,840 --> 00:35:44,518
BY THE LAKE
THAT AIN'T EVEN MARKED.
758
00:35:44,542 --> 00:35:48,022
Narrator: AS THE TALENT POOL
AROUND HIM GREW,
759
00:35:48,046 --> 00:35:51,526
GRIFFITH REALIZED
HE WAS BETTER OFF
760
00:35:51,550 --> 00:35:52,694
PLAYING THE STRAIGHT MAN,
761
00:35:52,718 --> 00:35:54,762
A STABLE CENTER
762
00:35:54,786 --> 00:35:57,064
IN A TOWN
OF QUIRKY CHARACTERS.
763
00:35:57,088 --> 00:35:58,432
IT WAS A MASTER STROKE
764
00:35:58,456 --> 00:36:01,536
THAT WOULD KEEP THE SHOW FRESH
FOR YEARS.
765
00:36:01,560 --> 00:36:02,570
ERNEST T.?
766
00:36:02,594 --> 00:36:04,005
I HEAR YOU.
767
00:36:04,029 --> 00:36:05,206
HERE'S WHAT
WE'RE GOING TO DO.
768
00:36:05,230 --> 00:36:08,242
WE'RE GOING TO GET
CHARLENE AND DUD
769
00:36:08,266 --> 00:36:09,744
MARRIED BY A PREACHER.
770
00:36:09,768 --> 00:36:10,745
TOMORROW BEING SUNDAY,
771
00:36:10,769 --> 00:36:12,179
THE PREACHER
WILL BE BY.
772
00:36:12,203 --> 00:36:14,449
GOOD, THEN WE'LL
HAVE 'EM MARRIED
773
00:36:14,473 --> 00:36:16,917
BY A PREACHER TOMORROW.
774
00:36:16,941 --> 00:36:20,120
YEAH, THAT GIVES ME
24 HOURS TO COURT HER!
775
00:36:20,144 --> 00:36:21,189
NOW, YOU JUST HOLD ON!
776
00:36:21,213 --> 00:36:25,259
24 HOURS!
I STILL GOT A CHANCE!
777
00:36:25,283 --> 00:36:27,795
HEE HEE!
HA HA!
778
00:36:27,819 --> 00:36:29,196
HEE HEE!
779
00:36:29,220 --> 00:36:30,531
WOO-HOO!
780
00:36:30,555 --> 00:36:32,232
YIPPITY!
781
00:36:32,256 --> 00:36:33,467
HA HA!
782
00:36:33,491 --> 00:36:35,169
Ernest T.:
WOO-HOO!
783
00:36:37,763 --> 00:36:40,207
IF YOU ASK ME,
THIS ERNEST T. BASS
784
00:36:40,231 --> 00:36:42,309
IS A STRANGE
AND WEIRD CHARACTER.
785
00:36:42,333 --> 00:36:46,647
YES, PLAIN ORNERY
IS WHAT HE IS.
786
00:36:46,671 --> 00:36:49,049
I THINK HE'S A NUT!
787
00:36:51,976 --> 00:36:55,956
THE CHARACTERS IN MAYBERRY
WERE REAL PEOPLE
788
00:36:55,980 --> 00:36:57,792
FROM OUR NECK OF THE WOODS.
789
00:36:57,816 --> 00:37:02,096
WE DIDN'T TRY TO MAKE THEM
CARTOONS OR ANYTHING.
790
00:37:02,120 --> 00:37:04,131
AND I THINK THAT WAS DUE
A LOT TO ANDY.
791
00:37:04,155 --> 00:37:08,069
WE NEVER WANTED TO MAKE A LIE
OUT OF THE CHARACTERS.
792
00:37:08,093 --> 00:37:13,441
SO ANYTHING THAT MADE
THE CHARACTERS SEEM...
793
00:37:13,465 --> 00:37:18,079
WRONG OR GOING
IN THE WRONG DIRECTION
794
00:37:18,103 --> 00:37:21,315
FOR THAT PARTICULAR STORY
WE WERE TELLING,
795
00:37:21,339 --> 00:37:25,286
Eden: I ENJOYED BEING
ON "THE ANDY GRIFFITH SHOW"
796
00:37:25,310 --> 00:37:28,222
BECAUSE IT WASN'T
AN OBVIOUS COMEDY.
797
00:37:28,246 --> 00:37:32,893
THIS WAS REAL LIFE,
IN A DIFFERENT WORLD
798
00:37:32,917 --> 00:37:35,863
THAT A LOT OF PEOPLE
IN AMERICA DON'T UNDERSTAND,
799
00:37:35,887 --> 00:37:39,800
AND CAN'T RELATE TO,
BUT THEY LOVE TO WATCH IT.
800
00:37:39,824 --> 00:37:42,170
AND I THINK ANDY KNEW THAT.
801
00:37:42,194 --> 00:37:45,673
HE WAS... THIS WAS
A BRILLIANT MAN.
802
00:37:45,697 --> 00:37:47,608
THAT WALLY...
WHEN IT COMES TO MOTORS,
803
00:37:47,632 --> 00:37:49,477
HE'S SURE GOT
A GREEN THUMB.
804
00:37:49,501 --> 00:37:51,412
Narrator: UNLIKE LUCY
OR JACKIE,
805
00:37:51,436 --> 00:37:55,083
ANDY HATED THE IDEA
OF A STUDIO AUDIENCE.
806
00:37:55,107 --> 00:37:58,519
TO HIM, LIVE AUDIENCES
CREATED PRESSURE
807
00:37:58,543 --> 00:38:01,522
FOR A STEADY STREAM
OF ONE-LINERS,
808
00:38:01,546 --> 00:38:03,557
PREVENTING SUBTLE
CHARACTER DEVELOPMENT.
809
00:38:03,581 --> 00:38:08,529
SO "THE ANDY GRIFFITH SHOW"
WAS SHOT LIKE A MOVIE,
810
00:38:08,553 --> 00:38:10,097
WITH NO AUDIENCE,
811
00:38:10,121 --> 00:38:10,965
GIVING THE CAST
812
00:38:10,989 --> 00:38:12,966
AND WRITERS
MUCH GREATER FREEDOM.
813
00:38:12,990 --> 00:38:16,437
WHY DO THEY LEAVE
A BOY LIKE THAT IN CHARGE?
814
00:38:16,461 --> 00:38:17,905
WELL, IT'S JUST
A PART-TIME JOB.
815
00:38:17,929 --> 00:38:19,240
HE'S SAVING UP MONEY
FOR COLLEGE.
816
00:38:19,264 --> 00:38:21,075
STUDYING TO BE
A DOCTOR.
817
00:38:22,633 --> 00:38:27,248
AND SO DON AND I CAN DO
THESE LITTLE QUIET SCENES,
818
00:38:27,272 --> 00:38:30,885
OR ME AND RONNIE
OR ME AND AUNT BEE,
819
00:38:30,909 --> 00:38:32,286
OR FLOYD THE BARBER.
820
00:38:32,310 --> 00:38:37,491
ANY OF US, WE CAN DO
THESE LONG, LITTLE NICE SCENES
821
00:38:37,515 --> 00:38:41,796
WITHOUT HAVING TO GO
FOR A JOKE.
822
00:38:41,820 --> 00:38:43,831
PA?
823
00:38:43,855 --> 00:38:45,165
MM?
824
00:38:45,189 --> 00:38:49,103
SHE SURE IS PRETTY,
AIN'T SHE?
825
00:38:49,127 --> 00:38:51,739
SHE SURE IS.
826
00:38:51,763 --> 00:38:53,207
NIGHT, PA.
827
00:38:53,231 --> 00:38:54,931
NIGHT.
828
00:38:58,603 --> 00:38:59,947
HE GOT AWAY!
829
00:38:59,971 --> 00:39:01,482
Narrator: WORKING WITHOUT
AN AUDIENCE
830
00:39:01,506 --> 00:39:04,818
ALSO MADE IT EASIER
TO CREATE THE ILLUSION
831
00:39:04,842 --> 00:39:07,455
THAT MAYBERRY WAS
A REAL PLACE.
832
00:39:07,479 --> 00:39:10,591
VIEWERS SAW THE TOWN STREETS,
833
00:39:10,615 --> 00:39:12,759
GOT INSIDE THE SHOPS.
834
00:39:12,783 --> 00:39:15,362
EVEN THE ACCENTS SEEMED RIGHT.
835
00:39:15,386 --> 00:39:17,298
WE USED TO LAUGH A LOT,
836
00:39:17,322 --> 00:39:20,768
BECAUSE I TALK LIKE GOMER,
YOU KNOW,
837
00:39:20,792 --> 00:39:23,171
AND ANDY HAD A REAL
SOUTHERN DRAWL,
838
00:39:23,195 --> 00:39:26,640
AND DON WAS FROM
WEST VIRGINIA,
839
00:39:26,664 --> 00:39:30,077
AND WE COULDN'T FIGURE OUT
WHERE AUNT BEE WAS FROM.
840
00:39:30,101 --> 00:39:31,112
"AHN-DEE!"
841
00:39:31,136 --> 00:39:32,880
WE SAID, "WHERE IS SHE FROM?"
842
00:39:34,039 --> 00:39:36,017
BUT, NO, IT WAS...
843
00:39:36,041 --> 00:39:38,386
NO, HE WAS VERY TRUE
844
00:39:38,410 --> 00:39:39,353
TO OUR AREA,
845
00:39:39,377 --> 00:39:41,756
ANDY WAS, AND HE REALLY
WORKED HARD
846
00:39:41,780 --> 00:39:43,123
TO KEEP IT THAT WAY.
847
00:39:43,147 --> 00:39:44,625
I NOTICED THE OTHER DAY
848
00:39:44,649 --> 00:39:47,495
ON THE OPENING
OF "THE GRIFFITH SHOW,"
849
00:39:47,519 --> 00:39:51,366
WHERE RONNIE AND I ARE WALKING
DOWN TO THE FISHING HOLE,
850
00:39:51,390 --> 00:39:56,003
AT SOME POINT... I THINK IT'S
AFTER HE THROWS THE ROCK...
851
00:39:56,027 --> 00:39:58,805
I LOOK AT HIM, AND I GO,
"WHEW," LIKE THAT.
852
00:39:59,764 --> 00:40:02,109
Announcer:
"THE ANDY GRIFFITH SHOW."
853
00:40:02,133 --> 00:40:04,412
STARRING ANDY GRIFFITH.
854
00:40:04,436 --> 00:40:05,780
THAT WAS MY FATHER.
855
00:40:05,804 --> 00:40:08,549
MY FATHER DID THAT.
"WHEW."
856
00:40:08,573 --> 00:40:12,008
SO I DO MY FATHER.
857
00:40:13,912 --> 00:40:16,790
Narrator: THE SUCCESS
OF "THE ANDY GRIFFITH SHOW"
858
00:40:16,814 --> 00:40:20,394
FUELED A SURGE
IN RURAL SITCOMS.
859
00:40:20,418 --> 00:40:22,396
INCLUDING "GREEN ACRES,"
860
00:40:22,420 --> 00:40:23,564
"PETTICOAT JUNCTION,"
861
00:40:23,588 --> 00:40:25,265
AND "THE BEVERLY HILLBILLIES."
862
00:40:25,289 --> 00:40:26,634
THE SHOWS WERE POPULAR,
863
00:40:26,658 --> 00:40:30,370
BUT GRIFFITH POINTS
TO AN IMPORTANT DIFFERENCE.
864
00:40:30,394 --> 00:40:35,743
Griffith: WE WANT THEM
TO LAUGH WITH US, NOT AT US.
865
00:40:35,767 --> 00:40:40,314
THAT'S WHY WE WERE DIFFERENT
FROM THOSE OTHER SHOWS.
866
00:40:40,338 --> 00:40:43,751
Narrator: DESPITE
THE MAJOR TREND
867
00:40:43,775 --> 00:40:45,553
TOWARD RURAL SITCOMS,
868
00:40:45,577 --> 00:40:48,422
ONE URBAN COMEDY
DID MAKE A MARK
869
00:40:48,446 --> 00:40:49,557
IN THE EARLY 1960s...
870
00:40:49,581 --> 00:40:52,960
PERHAPS THE MOST INNOVATIVE SHOW
OF THE PERIOD.
871
00:40:54,452 --> 00:40:57,464
Announcer:
"THE DICK VAN DYKE SHOW."
872
00:40:57,488 --> 00:41:00,489
STARRING DICK VAN DYKE.
873
00:41:02,593 --> 00:41:04,338
Narrator: DESPITE
THE TITLE,
874
00:41:04,362 --> 00:41:06,907
"THE DICK VAN DYKE SHOW"
WAS ACTUALLY
875
00:41:06,931 --> 00:41:09,309
THE CREATION OF CARL REINER.
876
00:41:09,333 --> 00:41:13,147
AFTER A LONG RUN
ON SID CAESAR'S
877
00:41:13,171 --> 00:41:15,516
"YOUR SHOW OF SHOWS,"
878
00:41:15,540 --> 00:41:17,751
REINER FOUND HIMSELF
879
00:41:17,775 --> 00:41:19,653
OUT OF WORK IN 1959.
880
00:41:19,677 --> 00:41:21,956
HE WENT TO THE BEACH
THAT SUMMER
881
00:41:21,980 --> 00:41:25,125
AND DID SOMETHING
NO ONE HAD DONE BEFORE...
882
00:41:25,149 --> 00:41:29,330
WROTE 13 FULL EPISODES
OF A NEW SITCOM.
883
00:41:29,354 --> 00:41:34,301
THEN REINER MADE
ONE MAJOR MISTAKE.
884
00:41:34,325 --> 00:41:38,060
HE CAST HIMSELF
AS THE LEAD.
885
00:41:40,331 --> 00:41:42,042
RICHARD, COME,
SIT OVER HERE.
886
00:41:42,066 --> 00:41:43,310
SIT HERE,
AND YOU'LL SEE
887
00:41:43,334 --> 00:41:45,346
HOW DADDY WRITES
"THE ALAN STURDY SHOW."
888
00:41:45,370 --> 00:41:48,148
DO YOU NEED THEM
TO HELP YOU, DADDY?
889
00:41:48,172 --> 00:41:50,618
WELL, NO, I DON'T.
890
00:41:50,642 --> 00:41:52,319
Narrator: THE PILOT
WASN'T PICKED UP.
891
00:41:52,343 --> 00:41:55,956
THE WHOLE CONCEPT
MIGHT HAVE ENDED RIGHT THERE.
892
00:41:55,980 --> 00:41:57,858
BUT PRODUCER
SHELDON LEONARD
893
00:41:57,882 --> 00:41:59,660
SAW THE BRILLIANCE
OF THE SCRIPTS
894
00:41:59,684 --> 00:42:05,199
AND PERSUADED REINER TO LET
SOMEONE ELSE PLAY THE LEAD.
895
00:42:05,223 --> 00:42:06,990
BUT WHO?
896
00:42:09,628 --> 00:42:12,773
GREW UP WATCHING
LAUREL AND HARDY MOVIES.
897
00:42:12,797 --> 00:42:17,578
INSPIRED TO PERFORM,
HE APPEARED ON LOCAL TV SHOWS,
898
00:42:17,602 --> 00:42:22,716
SUMMER VARIETY PROGRAMS,
AND WAS EVENTUALLY SIGNED
899
00:42:22,740 --> 00:42:24,773
BY CBS IN 1956.
900
00:42:29,914 --> 00:42:33,527
THE PROBLEM WAS THAT
NO ONE WAS QUITE SURE
901
00:42:33,551 --> 00:42:36,963
HOW TO SHOWCASE
VAN DYKE'S TALENTS.
902
00:42:36,987 --> 00:42:39,266
THEY TRIED GAME SHOWS...
903
00:42:39,290 --> 00:42:43,370
EVEN GAVE HIM A SPOT
ON THE CBS MORNING NEWS SHOW
904
00:42:43,394 --> 00:42:44,839
WITH WALTER CRONKITE.
905
00:42:44,863 --> 00:42:46,473
Van Dyke:
I DIDN'T LIKE IT.
906
00:42:46,497 --> 00:42:47,942
I REALIZED IT WASN'T
FOR ME.
907
00:42:47,966 --> 00:42:52,613
THERE WAS ONE POINT WHERE THEY
LET CRONKITE GO FROM THAT
908
00:42:52,637 --> 00:42:54,481
AND GAVE HIM ANOTHER ASSIGNMENT.
909
00:42:54,505 --> 00:42:58,185
AND IT CAME OUT IN THE PAPER
THAT I HAD FIRED HIM.
910
00:42:59,343 --> 00:43:01,455
AND WALTER CRONKITE CALLED ME UP
911
00:43:01,479 --> 00:43:05,192
AND I SAID, "WALTER, I DON'T
HAVE ANY CLOUT AROUND HERE!"
912
00:43:05,216 --> 00:43:08,863
I'M A KID!
I CAN'T FIRE YOU!
913
00:43:08,887 --> 00:43:10,664
HE THOUGHT I HAD FIRED HIM.
914
00:43:15,026 --> 00:43:18,405
Narrator: BY 1963,
VAN DYKE LANDED ON BROADWAY
915
00:43:18,429 --> 00:43:19,740
IN "BYE BYE BIRDIE."
916
00:43:19,764 --> 00:43:21,875
WHEN CARL REINER SAW
THE MUSICAL,
917
00:43:21,899 --> 00:43:24,745
HE REALIZED HE HAD FOUND
THE PERFECT LEAD
918
00:43:24,769 --> 00:43:26,447
FOR HIS NEW SITCOM.
919
00:43:26,471 --> 00:43:28,982
I WAS FUNNY
ON THE "VAN DYKE SHOW"
920
00:43:29,006 --> 00:43:30,117
BECAUSE OF CARL REINER,
921
00:43:30,141 --> 00:43:32,687
WHO IS A GREAT, GREAT
COMEDY WRITER.
922
00:43:32,711 --> 00:43:35,789
Narrator:
BUT CASTING THE LEAD
923
00:43:35,813 --> 00:43:43,664
AFTER ADDING COMEDY VETERANS
ROSE MARIE AND MOREY AMSTERDAM,
924
00:43:43,688 --> 00:43:45,766
REINER WAS STUMPED
IN HIS ATTEMPT
925
00:43:45,790 --> 00:43:50,404
HE INTERVIEWED
TOMORE THAN 60 ACTRESSES..
926
00:43:50,428 --> 00:43:51,472
NONE SEEMED RIGHT.
927
00:43:51,496 --> 00:43:53,907
THE ANSWER FINALLY CAME
928
00:43:53,931 --> 00:43:56,744
FROM CO-PRODUCER DANNY THOMAS,
929
00:43:56,768 --> 00:43:59,479
WHO HAD WANTED TO HIRE
A CERTAIN UNKNOWN
930
00:43:59,503 --> 00:44:02,683
TO PLAY HIS DAUGHTER
BUT TURNED HER DOWN
931
00:44:02,707 --> 00:44:06,219
Moore: I HAD AUDITIONED
FOR A MOFOR DANNY. REASON.
932
00:44:06,243 --> 00:44:10,391
HE CAME OVER TO ME AND SAID,
"MARY, I WANT YOU TO KNOW
933
00:44:10,415 --> 00:44:13,093
"THAT THE REASON YOU GOT...
YOU DIDN'T GET THE JOB
934
00:44:13,117 --> 00:44:15,328
"IS NOT BECAUSE YOU'RE NOT
A GOOD ACTRESS,
935
00:44:15,352 --> 00:44:17,497
"IT'S BECAUSE YOU HAVE
A VERY FUNNY NOSE,
936
00:44:17,521 --> 00:44:19,800
AND NO ONE WOULD BELIEVE
YOU'RE MY DAUGHTER."
937
00:44:19,824 --> 00:44:23,504
Narrator: DANNY THOMAS
REMEMBERED THE NOSE.
938
00:44:23,528 --> 00:44:26,474
BUT HE COULDN'T REMEMBER
WHO THE ACTRESS WAS,
939
00:44:26,498 --> 00:44:30,311
EXCEPT THAT SHE HAD
THREE NAMES.
940
00:44:30,335 --> 00:44:33,880
THE HUNT WAS ON
FOR THE MYSTERIOUS GIRL
941
00:44:33,904 --> 00:44:34,748
WITH THREE NAMES.
942
00:44:34,772 --> 00:44:39,753
FINALLY, THEY LOCATED
MARY TYLER MOORE.
943
00:44:39,777 --> 00:44:43,257
AND THEY CALLED ME IN.
I ALMOST DIDN'T GO.
944
00:44:43,281 --> 00:44:48,529
BECAUSE I HAD LOST OUT ON,
I GUESS THREE ROLES
945
00:44:48,553 --> 00:44:50,765
IN THE LAST TWO WEEKS.
946
00:44:50,789 --> 00:44:52,033
I JUST DIDN'T GET THEM.
947
00:44:52,057 --> 00:44:54,635
AND I WAS FEELING
VERY SORRY FOR MYSELF
948
00:44:54,659 --> 00:44:58,205
AND WAS HAVING A CUP OF COFFEE
WITH A GIRLFRIEND,
949
00:44:58,229 --> 00:45:00,474
AND SHE SAID,
"WELL, THAT'S RIDICULOUS.
950
00:45:00,498 --> 00:45:02,876
"YOU JUST PUT THAT CUP DOWN
AND GET IN THE CAR
951
00:45:02,900 --> 00:45:04,945
AND GO OVER
AND INTERVIEW FOR THIS!"
952
00:45:04,969 --> 00:45:07,181
"THE DICK VAN DYKE SHOW."
953
00:45:07,205 --> 00:45:08,715
AND I DID.
954
00:45:08,739 --> 00:45:10,951
HI, HONEY...
955
00:45:10,975 --> 00:45:14,088
WHO NEEDS KISSING
JUST AN ADESPERATELY.WIFE
956
00:45:14,112 --> 00:45:17,858
WASN'T LIKE EARLIER
MARYTV MOMS.OORE
957
00:45:17,882 --> 00:45:22,897
HER CHARACTER WAS ALLURING,
EVEN PROVOCATIVE.
958
00:45:22,921 --> 00:45:25,032
WHERE'S RICH?
959
00:45:25,056 --> 00:45:26,367
IS THAT ALL
YOU'VE GOT TO SAY?
960
00:45:26,391 --> 00:45:28,569
WELL, WHAT
DID YOU EXPECT?
961
00:45:28,593 --> 00:45:30,037
HOW ABOUT,
"WHY THE BIG SEXY HELLO?"
962
00:45:30,061 --> 00:45:31,405
OF "DID YOU
SMASH A FENDER?"
963
00:45:31,429 --> 00:45:33,207
OR "HOW MUCH
DID THE DRESS COST?"
964
00:45:33,231 --> 00:45:34,375
WELL, I'LL TRY ALL THREE.
965
00:45:34,399 --> 00:45:36,477
WHY THE, DID YOU,
AND HOW MUCH?
966
00:45:36,501 --> 00:45:39,579
WELL, BECAUSE I LOVE YOU,
I DIDN'T,
967
00:45:39,603 --> 00:45:40,480
AND $12.95.
968
00:45:40,504 --> 00:45:43,583
OH, WONDERFUL.
WHERE IS RICH?
969
00:45:43,607 --> 00:45:46,253
WELL, I DIDN'T WANT HIM
POPPING IN ON US SUDDENLY.
970
00:45:46,277 --> 00:45:48,322
OH?
WHAT DID YOU HAVE IN MIND?
971
00:45:48,346 --> 00:45:50,323
WELL...
972
00:45:51,348 --> 00:45:54,061
I WANT TO BE ALONE
WITH YOU JUST A MINUTE.
973
00:45:54,085 --> 00:45:55,963
WELL, DARLING,
HOW ROMANTIC!
974
00:45:55,987 --> 00:45:57,264
DO YOU KNOW
SOMETHING?
975
00:45:57,288 --> 00:46:01,490
YOU'VE BEEN SEEING
TOO MANY ITALIAN MOVIES.
976
00:46:06,730 --> 00:46:09,009
Narrator:
"THE DICK VAN DYKE SHOW"
977
00:46:09,033 --> 00:46:10,010
WAS NOT AN INSTANT HIT.
978
00:46:10,034 --> 00:46:13,046
SCHEDULED AGAINST POWERHOUSE
PERRY COMO,
979
00:46:13,070 --> 00:46:14,215
THE RATINGS WERE DISMAL.
980
00:46:14,239 --> 00:46:19,352
BUT THE SHOW GRADUALLY
PICKED UP STEAM,
981
00:46:19,376 --> 00:46:22,389
ESPECIALLY AS REINER BEGAN
TO TAKE ADVANTAGE
982
00:46:22,413 --> 00:46:23,891
OF HIS CAST'S UNIQUE TALENTS.
983
00:46:23,915 --> 00:46:26,527
ROB PETRIE WASN'T SUPPOSED
TO HAVE BEEN A KLUTZ
984
00:46:26,551 --> 00:46:28,362
IN THE BEGINNING.
985
00:46:28,386 --> 00:46:32,266
CARL KNEW I LOVED
TO DO THE PHYSICAL STUFF.
986
00:46:32,290 --> 00:46:35,368
OR HE WOULD JUST SAY,
"DICK DOES FIVE MINUTES HERE,"
987
00:46:35,392 --> 00:46:37,538
AND LET ME
COME UP WITH SOMETHING.
988
00:46:37,562 --> 00:46:42,409
HUH... HUH...
989
00:46:42,433 --> 00:46:46,480
HUH... I CAN'T USE THAT,
IT'S MONOGRAMMED!
990
00:46:46,504 --> 00:46:48,015
OH, BOY.
991
00:46:48,039 --> 00:46:50,184
I CAN'T BLOW
ON YOUR FAMILY CREST!
992
00:46:50,208 --> 00:46:52,119
HAH...
993
00:46:52,143 --> 00:46:53,220
NO, NO, DON'T...
994
00:46:53,244 --> 00:46:54,555
OH, I'M SORRY, JERRY.
995
00:46:54,579 --> 00:46:55,889
HUH...
OH, THERE'S...
996
00:46:55,913 --> 00:46:56,990
I CAN'T...
997
00:46:57,014 --> 00:46:58,192
AH... AH...
998
00:46:58,216 --> 00:47:00,194
NO!
999
00:47:00,218 --> 00:47:01,662
AH... AH...
1000
00:47:01,686 --> 00:47:04,097
AH...
1001
00:47:04,121 --> 00:47:06,367
AH...
AGH!
1002
00:47:07,926 --> 00:47:11,071
AH... AH...
1003
00:47:11,095 --> 00:47:13,173
HUH?
1004
00:47:13,197 --> 00:47:14,941
AH!
1005
00:47:14,965 --> 00:47:17,110
AH, AH!
1006
00:47:17,134 --> 00:47:19,680
AH... AH...
1007
00:47:19,704 --> 00:47:22,749
AH-CHOO!
1008
00:47:22,773 --> 00:47:25,419
VERY, VERY GOOD.
1009
00:47:25,443 --> 00:47:27,388
Narrator: A SEASONED VAUDEVILLE
COMEDIAN,
1010
00:47:27,412 --> 00:47:30,724
MOREY AMSTERDAM WROTE MANY
OF HIS OWN JOKES...
1011
00:47:30,748 --> 00:47:32,759
OFTEN ON THE SPOT.
1012
00:47:32,783 --> 00:47:34,027
WHEN WE DID THE "VAN DYKE SHOW,"
1013
00:47:34,051 --> 00:47:35,996
THERE WERE A LOT OF TIMES
WE WERE STUCK
1014
00:47:36,020 --> 00:47:37,897
FOR JOKES AND LINES AND THINGS
LIKE THAT,
1015
00:47:37,921 --> 00:47:39,766
AND MOREY WOULD SAY,
"I'LL FIND A BETTER LINE.
1016
00:47:39,790 --> 00:47:41,268
DON'T SAY THAT,
I'LL FIND A BETTER LINE."
1017
00:47:41,292 --> 00:47:43,636
AND HE'D COME UP WITH NOT ONE...
THREE OR FOUR.
1018
00:47:43,660 --> 00:47:46,439
PICK... YOU KNOW,
PICK WHICH ONE YOU LIKED BEST.
1019
00:47:46,463 --> 00:47:47,340
Buddy:
OKAY, GOOD, GOOD,
1020
00:47:47,364 --> 00:47:48,409
AND MAYBE WE CAN GET HIM
TO DO
1021
00:47:48,433 --> 00:47:50,444
SOME MONEY JOKES, LIKE,
"HE'S SO RICH THAT..."
1022
00:47:50,468 --> 00:47:52,279
HE'S SO RICH
THAT HE'S EVEN
1023
00:47:52,303 --> 00:47:55,015
GOT AND WHEN HE GETS OUT,
1024
00:47:55,039 --> 00:47:56,550
HE LEAVES
A 14-KARAT RING.
1025
00:47:56,574 --> 00:48:00,087
AH, NAH, THIS GUY
IS TOO RICH TO TAKE A BATH.
1026
00:48:00,111 --> 00:48:01,722
TOO RICH TO TAKE A BATH?
1027
00:48:01,746 --> 00:48:02,822
I MEAN, A REGULAR BATH.
1028
00:48:02,846 --> 00:48:05,225
HE TAKES MILK BATHS,
THAT'S IT, MILK BATHS.
1029
00:48:05,249 --> 00:48:06,293
OH, I GOT IT,
HE TIES A COW
1030
00:48:06,317 --> 00:48:08,362
TO THE CEILING
AND TAKES A SHOWER!
1031
00:48:09,987 --> 00:48:12,632
LOOK, DON'T WORRY,
WE'LL GET SOME GOOD JOKES LATER.
1032
00:48:12,656 --> 00:48:15,636
WELL, YOU DIDN'T SAY
YOU WANTED GOOD JOKES.
1033
00:48:15,660 --> 00:48:16,669
LOOK...
1034
00:48:16,693 --> 00:48:20,975
Narrator: WHEN THE SERIES BEGAN,
MARY TYLER MOORE
1035
00:48:20,999 --> 00:48:23,810
SHE WAS A ROOKIE
IN A CAST OF VETERANS.
1036
00:48:23,834 --> 00:48:27,314
BUT AS HER COMIC TALENTS
BEGAN TO BLOSSOM,
1037
00:48:27,338 --> 00:48:29,816
REINER EXPANDED
HER CHARACTER.
1038
00:48:29,840 --> 00:48:32,552
SHE JUST GOT IT
SO QUICKLY.
1039
00:48:32,576 --> 00:48:33,853
THAT I'M STILL FASCINATED
1040
00:48:33,877 --> 00:48:36,256
BY HOW FAST SHE GREW
ON THAT SHOW.
1041
00:48:36,280 --> 00:48:40,627
CARL COULD SEE THAT I HAD
SOME... IF NOT ABILITY,
1042
00:48:40,651 --> 00:48:45,733
THAT'S IT!
THAT'S EXACTLY IT! FOR HUMOR.
1043
00:48:45,757 --> 00:48:47,434
WHAT'S IT?
1044
00:48:47,458 --> 00:48:49,336
DON'T UNDERSTAND!
1045
00:48:49,360 --> 00:48:51,037
OH, BOY.
1046
00:48:51,061 --> 00:48:52,939
Moore:
AND I GOT TO CRY.
1047
00:48:52,963 --> 00:48:55,642
AND I PREPARED
VERY WELL.
1048
00:48:55,666 --> 00:48:59,446
I COPIED EVERYTHING
THAT NANETTE FABRAY
1049
00:48:59,470 --> 00:49:01,815
EVER DID IN A CRYING SCENE.
1050
00:49:01,839 --> 00:49:04,418
AND SHE WAS THE MASTER.
1051
00:49:07,945 --> 00:49:10,156
HONEY?
1052
00:49:10,180 --> 00:49:15,229
HONEY, YOU MEAN
YOU'VE BEEN SAVING THIS
1053
00:49:15,253 --> 00:49:18,064
TO BUY ME AN XKGJFK400?
1054
00:49:18,088 --> 00:49:20,367
I WANTED TO BUY YOU
1055
00:49:20,391 --> 00:49:22,770
AN IMPORTANT PRESENT.
1056
00:49:22,794 --> 00:49:25,572
AN IMPOR...
1057
00:49:25,596 --> 00:49:29,042
WELL, HONEY,
1058
00:49:29,066 --> 00:49:31,311
HONEY, IT'S
A WONDERFUL THOUGHT,
1059
00:49:31,335 --> 00:49:33,213
BUT IT'S
A LITTLE BIT CRAZY.
1060
00:49:33,237 --> 00:49:36,349
WHERE DID YOU EVER
GET AN IDEA LIKE THAT?
1061
00:49:36,373 --> 00:49:38,751
FROM MY MOTHER.
1062
00:49:38,775 --> 00:49:40,454
YOUR MOTHER?
1063
00:49:40,478 --> 00:49:42,456
SHE SAVED FOR YEARS,
1064
00:49:42,480 --> 00:49:44,924
AND THEN, ON THEIR
25th WEDDING ANNIVERSARY,
1065
00:49:44,948 --> 00:49:49,196
SHE BOUGHT MY FATHER
A BIG, IMPORTANT PRESENT.
1066
00:49:49,220 --> 00:49:51,498
WELL, WHAT
DID SHE GET HIM?
1067
00:49:51,522 --> 00:49:53,067
HIS OWN ROOM.
1068
00:49:55,759 --> 00:49:57,670
Narrator:
"THE DICK VAN DYKE SHOW"
1069
00:49:57,694 --> 00:49:58,471
WAS A DISTINCTIVE MIX
1070
00:49:58,495 --> 00:50:01,208
OF SOPHISTICATION
AND SLAPSTICK,
1071
00:50:01,232 --> 00:50:05,845
WELL-ROUNDED CHARACTER COMEDY,
PEPPERED WITH
1072
00:50:05,869 --> 00:50:08,248
GLIB ONE-LINERS
1073
00:50:08,272 --> 00:50:16,272
ALWAYS HELD TOGETHER
ITBY CREATOR CARL REINER.,
1074
00:50:16,614 --> 00:50:18,659
HE'S A GENIUS,
HE'S A BRILLIANT MAN.
1075
00:50:18,683 --> 00:50:22,529
I'D HAD A CRUSH ON HIM
WHEN I USED TO WATCH HIM
1076
00:50:22,553 --> 00:50:23,897
ON THE SID CAESAR SHOWS.
1077
00:50:23,921 --> 00:50:28,768
HE WAS SO HANDSOME TO ME,
AND SO DEBONAIR.
1078
00:50:28,792 --> 00:50:33,006
AND YET HE WAS A BUFFOON
WHEN HE WANTED TO BE.
1079
00:50:33,030 --> 00:50:34,842
HE WAS... HE WAS JUST GREAT.
1080
00:50:34,866 --> 00:50:39,380
HIS GREAT TALENT WAS HEARING
YOUR SPEECH PATTERNS
1081
00:50:39,404 --> 00:50:42,282
AND YOUR TEMPO,
AND THE WAY YOU SPOKE,
1082
00:50:42,306 --> 00:50:44,317
AND HE WROTE IT
SO THAT YOU DIDN'T
1083
00:50:44,341 --> 00:50:46,319
HAVE TO DO ANYTHING
WITH THE LINE.
1084
00:50:46,343 --> 00:50:48,755
IT WAS WRITTEN THE WAY
THAT ACTOR SPOKE.
1085
00:50:48,779 --> 00:50:50,890
HE DID IT FOR MARY,
FOR MOREY.
1086
00:50:50,914 --> 00:50:53,693
HE HAD MOREY'S RAPID-FIRE...
1087
00:50:53,717 --> 00:50:56,363
AND IT WAS SO EASY!
1088
00:50:56,387 --> 00:50:57,831
I THINK TWO THINGS
ARE VERY FUNNY.
1089
00:50:57,855 --> 00:51:00,701
WHAT'S FUNNAN ITCH. THAT?
1090
00:51:00,725 --> 00:51:02,669
A TOOTH ITCH?
1091
00:51:04,061 --> 00:51:05,405
NO, NO.
1092
00:51:05,429 --> 00:51:06,173
ALAN GETS THIS ITCH
1093
00:51:06,197 --> 00:51:07,774
RIGHT IN THE MIDDLE
OF HIS BACK,
1094
00:51:07,798 --> 00:51:08,641
AND HE CAN'T SCRATCH IT.
1095
00:51:08,665 --> 00:51:10,610
HEY, YEAH, THAT
COULD BE GOOD.
1096
00:51:10,634 --> 00:51:12,946
SAY... SAY THAT HE'S
A CONCERT PIANIST,
1097
00:51:12,970 --> 00:51:15,215
RIGHT IN THE MIDDLE
OF A RECITAL,
1098
00:51:15,239 --> 00:51:16,015
HE GETS THAT ITCH
1099
00:51:16,039 --> 00:51:17,817
RIGHT BETWEEN
HIS SHOULDER BLADES.
1100
00:51:17,841 --> 00:51:20,387
DO IT, ROB,
DO IT, DO IT.
1101
00:51:39,897 --> 00:51:43,844
Narrator: AFTER
"THE DICK VAN DYKE SHOW"
1102
00:51:43,868 --> 00:51:45,879
LEFT THE AIR IN 1966,
1103
00:51:45,903 --> 00:51:49,916
SITCOMS BEGAN
A GRADUAL TRANSITION
1104
00:51:49,940 --> 00:51:51,084
TO A NEW ERA.
1105
00:51:51,108 --> 00:51:53,120
THE INNOCENCE
1106
00:51:53,144 --> 00:51:55,589
WOULD BE REPLACED
BY RELEVANCE.
1107
00:51:55,613 --> 00:51:59,393
THIS SECOND WAVE
WOULD TAKE THE SITCOM
1108
00:51:59,417 --> 00:52:00,427
IN A WHOLE NEW DIRECTION.
1109
00:52:00,451 --> 00:52:04,598
A FEW PIONEERS,
LIKE MARY TYLER MOORE,
1110
00:52:04,622 --> 00:52:07,333
WOULD RIDE THE NEW WAVE.
1111
00:52:07,357 --> 00:52:10,938
BUT MOST WERE HAPPY
TO STEP ASIDE.
1112
00:52:10,962 --> 00:52:12,739
THEY HAD MADE THEIR MARK,
1113
00:52:12,763 --> 00:52:16,810
ESTABLISHED
THE SITCOM FORM.
1114
00:52:16,834 --> 00:52:17,944
I MEAN, AFTER ALL,
IT'S,
1115
00:52:17,968 --> 00:52:20,780
IT'S MEN LIKE YOU
THAT MADE AMERICA GREAT.
1116
00:52:20,804 --> 00:52:23,283
HE FELT THAT,
WHEN YOU DID IT SPONTANEOUSLY,
1117
00:52:23,307 --> 00:52:24,518
IT WAS VERY RIGHT
AND VERY FUNNY,
1118
00:52:24,542 --> 00:52:29,511
AND I THINK HE WAS CORRECT,
YOU KNOW, IT WORKED.
1119
00:52:34,084 --> 00:52:35,161
IF YOU COME
FROM YOUR OWN HEART,
1120
00:52:35,185 --> 00:52:38,331
IF YOU COME
FROM REALLY WHERE YOU ARE,
1121
00:52:38,355 --> 00:52:42,002
IF YOU TRY TO FIGURE OUT
WHAT PEOPLE WANT,
1122
00:52:42,026 --> 00:52:43,336
IT ALMOST NEVER WORKS.
1123
00:52:43,360 --> 00:52:46,140
PETE DOOLEY'S TRUCK
SPLASHED MUD
1124
00:52:46,164 --> 00:52:47,374
ALL OVER MISS FLETCHER.
1125
00:52:47,398 --> 00:52:51,478
AND I SEEN VIOLA McCONKER
SNEAK OUT BY OUR BARN
1126
00:52:51,502 --> 00:52:56,549
IT CAME DOWN TO ALL OF US
WANTED OUR TOWN TO BE THAT WAY.
1127
00:52:56,573 --> 00:53:03,045
AND IT -ALL RIGHT.HAT WAY.
1128
00:53:10,454 --> 00:53:11,454
I, UH...
1129
00:53:18,162 --> 00:53:20,640
BELIEVE THAT FINISHES
THE GAME, MR. PETRIE.
1130
00:53:20,664 --> 00:53:21,541
I MEAN, IT'S WONDERFUL
1131
00:53:21,565 --> 00:53:23,176
TO HELP SOMEONE ELSE
GET A LAUGH.
1132
00:53:23,200 --> 00:53:26,813
BUT IT'S GOD'S OWN GIFT
TO GET ONE YOURSELF.
1133
00:53:26,837 --> 00:53:28,982
WE ENDED UP WITH A GROUP
OF FIVE PEOPLE
1134
00:53:29,006 --> 00:53:31,585
WHO JUST WENT LIKE THAT
THE FIRST DAY.
1135
00:53:31,609 --> 00:53:33,453
AND WE WORKED LIKE A TEAM
1136
00:53:33,477 --> 00:53:34,354
AND HAD SUCH FUN.
1137
00:53:34,378 --> 00:53:36,356
IT'S LIKE SINGING
IN A QUARTET.
1138
00:53:36,380 --> 00:53:37,557
OR PLAYING
IN A QUARTET.
1139
00:53:37,581 --> 00:53:40,727
WHEN IT ALL WORKS,
IT'S JUST GREAT FUN.
1140
00:53:40,751 --> 00:53:42,629
OW!
OW!
1141
00:53:42,653 --> 00:53:44,230
YEAH, YEAH!
1142
00:53:44,254 --> 00:53:45,465
TAKE IT!
1143
00:53:45,489 --> 00:53:46,633
MM! MM!
1144
00:53:46,657 --> 00:53:49,469
YOU TELL ME
THAT ISN'T FUNNY, BOY.
1145
00:53:49,493 --> 00:53:51,404
THAT IS A MIRACLE!
1146
00:53:51,428 --> 00:53:53,773
WITH THE ITCH!
WITH THE ITCH!
1147
00:53:53,797 --> 00:53:56,443
WE WERE ALL HAVING
A WONDERFUL TIME AND SAYING,
1148
00:53:56,467 --> 00:53:57,544
"PLEASE LET THIS GO ON!"
1149
00:53:57,568 --> 00:53:59,268
BECAUSE WE LOVED IT.
1150
00:54:02,573 --> 00:54:05,185
Narrator: THEY LOVED IT.
1151
00:54:05,209 --> 00:54:08,544
AND WE STILL LOVE THEM...
1152
00:54:10,948 --> 00:54:14,449
THE PIONEERS OF TELEVISION.
1153
00:54:22,426 --> 00:54:23,503
"PIONEERS OF TELEVISION"
1154
00:54:23,527 --> 00:54:26,528
WILL CONTINUE IN A MOMENT.
1155
00:54:57,093 --> 00:54:59,038
FOR MORE INFORMATION
ON "PIONEERS OF TELEVISION"
1156
00:54:59,062 --> 00:55:01,274
AND OTHER PBS PROGRAMS,
1157
00:55:01,298 --> 00:55:03,443
GO TO PBS.ORG.
1158
00:55:03,467 --> 00:55:06,179
NEXT TIME, ON
"PIONEERS OF TELEVISION"...
1159
00:55:06,203 --> 00:55:07,347
LET ME CLOSE MY EYES
1160
00:55:07,371 --> 00:55:08,615
AND JUST, UH...
1161
00:55:08,639 --> 00:55:11,685
WE'RE DELIGHTED YOU JOINED US
TONIGHT FOR OUR FIRST SHOW.
1162
00:55:13,777 --> 00:55:16,789
EVERY LITTLE INFLECTION
THAT YOU HAVE
1163
00:55:16,813 --> 00:55:18,858
IS EXACTLY
THE WAY I WORK.
1164
00:55:18,882 --> 00:55:20,393
NOW, WHAT DO YOU DO
FOR EXERCISE?
1165
00:55:20,417 --> 00:55:24,264
I STUMBLE, AND THEN
I FALL INTO A COMA.
1166
00:55:24,288 --> 00:55:26,666
WE'RE NOT ON TELEVISION, WE'RE
JUST SITTING HERE, CHATTING.
1167
00:55:26,690 --> 00:55:29,702
MAY I HAVE SILENCE,
PLEASE?
1168
00:55:29,726 --> 00:55:31,637
YOU'VE HAD IT
MANY TIMES BEFORE.
78163
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