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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,000 --> 00:00:00,033 Edited at https://subtitletools.com 2 00:00:00,860 --> 00:00:02,160 >> OKAY. 3 00:00:02,160 --> 00:00:03,470 >> OKAY. OKAY. 4 00:00:03,470 --> 00:00:04,330 >> OKAY. OKAY. [ CLUCKS ] 5 00:00:04,330 --> 00:00:05,200 OKAY. [ CLUCKS ] >> LET'S GO. 6 00:00:05,200 --> 00:00:06,070 [ CLUCKS ] >> LET'S GO. HA HA! 7 00:00:06,070 --> 00:00:07,800 >> LET'S GO. HA HA! >> YEAH, I'M READY TO GO. 8 00:00:07,800 --> 00:00:08,670 HA HA! >> YEAH, I'M READY TO GO. COME ON, LET'S GO. 9 00:00:08,670 --> 00:00:10,410 >> YEAH, I'M READY TO GO. COME ON, LET'S GO. >> I'M GONNA KICK YOUR ASS -- 10 00:00:10,410 --> 00:00:12,140 COME ON, LET'S GO. >> I'M GONNA KICK YOUR ASS -- >> HEY. WATCH YOUR LANGUAGE. 11 00:00:12,140 --> 00:00:16,910 >> I'M GONNA KICK YOUR ASS -- >> HEY. WATCH YOUR LANGUAGE. MY PARENTS ARE HERE. 12 00:00:16,910 --> 00:00:18,650 >> HEY. WATCH YOUR LANGUAGE. MY PARENTS ARE HERE. >> WHAT ARE THEY DOING HERE? 13 00:00:18,650 --> 00:00:20,380 MY PARENTS ARE HERE. >> WHAT ARE THEY DOING HERE? >> WELL, THEY LIKE TO WATCH ME 14 00:00:20,380 --> 00:00:21,250 >> WHAT ARE THEY DOING HERE? >> WELL, THEY LIKE TO WATCH ME COMPETE. 15 00:00:21,250 --> 00:00:22,550 >> WELL, THEY LIKE TO WATCH ME COMPETE. >> GEE, THAT'S GREAT. 16 00:00:22,550 --> 00:00:22,980 COMPETE. >> GEE, THAT'S GREAT. >> YEAH. 17 00:00:22,990 --> 00:00:25,160 >> GEE, THAT'S GREAT. >> YEAH. >> YEAH, I WISH MY FOLKS WOULD 18 00:00:25,150 --> 00:00:26,450 >> YEAH. >> YEAH, I WISH MY FOLKS WOULD SUPPORT ME THAT WAY. 19 00:00:26,460 --> 00:00:26,900 >> YEAH, I WISH MY FOLKS WOULD SUPPORT ME THAT WAY. >> YEAH. 20 00:00:26,890 --> 00:00:28,190 SUPPORT ME THAT WAY. >> YEAH. >> OKAY, LET'S GO! 21 00:00:28,190 --> 00:00:29,060 >> YEAH. >> OKAY, LET'S GO! COME ON! 22 00:00:29,060 --> 00:00:30,790 >> OKAY, LET'S GO! COME ON! [ SHOUTING ] 23 00:01:39,330 --> 00:01:40,630 >> SHE'S EATING CHIPS. 24 00:01:40,630 --> 00:01:42,360 >> SHE'S EATING CHIPS. >> AND SHE'S SO THIN, IT'S EVIL. 25 00:01:42,360 --> 00:01:43,230 >> SHE'S EATING CHIPS. >> AND SHE'S SO THIN, IT'S EVIL. >> I HATE HER. 26 00:01:43,230 --> 00:01:44,530 >> AND SHE'S SO THIN, IT'S EVIL. >> I HATE HER. >> I DON'T KNOW, KATH. 27 00:01:44,530 --> 00:01:46,270 >> I HATE HER. >> I DON'T KNOW, KATH. I THINK IT'S IMPORTANT NOT TO 28 00:01:46,270 --> 00:01:47,140 >> I DON'T KNOW, KATH. I THINK IT'S IMPORTANT NOT TO PREJUDGE PEOPLE. 29 00:01:47,140 --> 00:01:48,870 I THINK IT'S IMPORTANT NOT TO PREJUDGE PEOPLE. I MEAN, WHAT WE ARE INSIDE IS SO 30 00:01:48,870 --> 00:01:50,610 PREJUDGE PEOPLE. I MEAN, WHAT WE ARE INSIDE IS SO MUCH MORE IMPORTANT THAN A 31 00:01:50,610 --> 00:01:51,470 I MEAN, WHAT WE ARE INSIDE IS SO MUCH MORE IMPORTANT THAN A BEAUTIFUL CASING. 32 00:01:51,470 --> 00:01:52,340 MUCH MORE IMPORTANT THAN A BEAUTIFUL CASING. >> CATHY, COME ON. 33 00:01:52,340 --> 00:01:55,810 BEAUTIFUL CASING. >> CATHY, COME ON. MOTHER TERESA WOULD BE JEALOUS. 34 00:01:55,810 --> 00:01:57,550 >> CATHY, COME ON. MOTHER TERESA WOULD BE JEALOUS. >> DO YOU THINK THOSE CHIPS 35 00:01:57,550 --> 00:01:58,410 MOTHER TERESA WOULD BE JEALOUS. >> DO YOU THINK THOSE CHIPS TASTE GOOD? 36 00:01:58,410 --> 00:01:59,710 >> DO YOU THINK THOSE CHIPS TASTE GOOD? >> WELL, THEY ARE CHIPS. 37 00:01:59,720 --> 00:02:00,590 TASTE GOOD? >> WELL, THEY ARE CHIPS. >> OF COURSE. 38 00:02:00,580 --> 00:02:04,920 >> WELL, THEY ARE CHIPS. >> OF COURSE. STUPID QUESTION. 39 00:02:04,920 --> 00:02:08,820 >> OF COURSE. STUPID QUESTION. >> THANK YOU. 40 00:02:08,820 --> 00:02:10,990 STUPID QUESTION. >> THANK YOU. UH, "WELCOME ABOARD" ROSES. 41 00:02:10,990 --> 00:02:11,860 >> THANK YOU. UH, "WELCOME ABOARD" ROSES. >> RIGHT. 42 00:02:11,860 --> 00:02:14,030 UH, "WELCOME ABOARD" ROSES. >> RIGHT. >> YOU KNOW WHAT IT'S LIKE. 43 00:02:14,030 --> 00:02:14,900 >> RIGHT. >> YOU KNOW WHAT IT'S LIKE. >> SURE. 44 00:02:14,900 --> 00:02:16,200 >> YOU KNOW WHAT IT'S LIKE. >> SURE. >> UH-HUH, YEAH. 45 00:02:16,200 --> 00:02:20,540 >> SURE. >> UH-HUH, YEAH. >> WELCOME ABOARD. 46 00:02:20,540 --> 00:02:24,440 >> UH-HUH, YEAH. >> WELCOME ABOARD. >> YOU'RE RIGHT -- I HATE HER. 47 00:02:24,440 --> 00:02:26,170 >> WELCOME ABOARD. >> YOU'RE RIGHT -- I HATE HER. >> OH, MY -- OH! 48 00:02:26,170 --> 00:02:27,910 >> YOU'RE RIGHT -- I HATE HER. >> OH, MY -- OH! >> I KNOW IT'S A CLICHé, BUT IF 49 00:02:27,910 --> 00:02:30,080 >> OH, MY -- OH! >> I KNOW IT'S A CLICHé, BUT IF I ATE THAT, IT WOULD GO RIGHT TO 50 00:02:30,080 --> 00:02:31,810 >> I KNOW IT'S A CLICHé, BUT IF I ATE THAT, IT WOULD GO RIGHT TO MY HIPS WITH REST STOPS AT MY 51 00:02:31,810 --> 00:02:33,110 I ATE THAT, IT WOULD GO RIGHT TO MY HIPS WITH REST STOPS AT MY TUMMY, ARMS, AND EARS. 52 00:02:33,120 --> 00:02:34,430 MY HIPS WITH REST STOPS AT MY TUMMY, ARMS, AND EARS. >> YOUR EARS, CATHY? 53 00:02:34,420 --> 00:02:36,150 TUMMY, ARMS, AND EARS. >> YOUR EARS, CATHY? >> YEAH, WHEN I OVEREAT, MY 54 00:02:36,150 --> 00:02:37,020 >> YOUR EARS, CATHY? >> YEAH, WHEN I OVEREAT, MY LOBES BALLOON. 55 00:02:37,020 --> 00:02:38,320 >> YEAH, WHEN I OVEREAT, MY LOBES BALLOON. YOU HADN'T NOTICED? 56 00:02:38,320 --> 00:02:39,620 LOBES BALLOON. YOU HADN'T NOTICED? >> NO, I HADN'T NOTICED. 57 00:02:39,620 --> 00:02:41,360 YOU HADN'T NOTICED? >> NO, I HADN'T NOTICED. BUT, THEN, I CAN EAT WHATEVER I 58 00:02:41,360 --> 00:02:41,790 >> NO, I HADN'T NOTICED. BUT, THEN, I CAN EAT WHATEVER I LIKE. 59 00:02:41,790 --> 00:02:43,090 BUT, THEN, I CAN EAT WHATEVER I LIKE. OF COURSE, I GAIN WEIGHT. 60 00:02:43,090 --> 00:02:44,390 LIKE. OF COURSE, I GAIN WEIGHT. YOU KNOW, WHEN I WAS YOUNGER, 61 00:02:44,390 --> 00:02:45,690 OF COURSE, I GAIN WEIGHT. YOU KNOW, WHEN I WAS YOUNGER, I COULD EAT ALL DAY. 62 00:02:45,690 --> 00:02:47,000 YOU KNOW, WHEN I WAS YOUNGER, I COULD EAT ALL DAY. OF COURSE, THEN I ALWAYS WORKED 63 00:02:47,000 --> 00:02:50,030 I COULD EAT ALL DAY. OF COURSE, THEN I ALWAYS WORKED IT OFF SHOT-PUTTING AND HUNTING. 64 00:02:50,030 --> 00:02:52,200 OF COURSE, THEN I ALWAYS WORKED IT OFF SHOT-PUTTING AND HUNTING. DO YOU KNOW THAT I HAVEN'T SHOT 65 00:02:52,200 --> 00:02:54,370 IT OFF SHOT-PUTTING AND HUNTING. DO YOU KNOW THAT I HAVEN'T SHOT AN ELK IN OVER THREE SEASONS? 66 00:02:54,370 --> 00:02:56,100 DO YOU KNOW THAT I HAVEN'T SHOT AN ELK IN OVER THREE SEASONS? I MUST BE GETTING OLD. 67 00:02:56,100 --> 00:02:56,970 AN ELK IN OVER THREE SEASONS? I MUST BE GETTING OLD. >> AAH! 68 00:02:56,970 --> 00:02:57,840 I MUST BE GETTING OLD. >> AAH! >> WHAT? 69 00:02:57,840 --> 00:02:59,570 >> AAH! >> WHAT? >> DON'T USE THAT WORD. 70 00:02:59,570 --> 00:03:00,880 >> WHAT? >> DON'T USE THAT WORD. >> WHAT WORD? 71 00:03:00,880 --> 00:03:02,180 >> DON'T USE THAT WORD. >> WHAT WORD? >> THE "O" WORD. 72 00:03:02,180 --> 00:03:03,040 >> WHAT WORD? >> THE "O" WORD. >> "ORGASM"? 73 00:03:03,050 --> 00:03:04,790 >> THE "O" WORD. >> "ORGASM"? >> [ SHOUTS ] 74 00:03:04,780 --> 00:03:06,510 >> "ORGASM"? >> [ SHOUTS ] >> "ORNITHOLOGY"? 75 00:03:06,520 --> 00:03:08,260 >> [ SHOUTS ] >> "ORNITHOLOGY"? >> NO -- "OLD"! 76 00:03:08,250 --> 00:03:11,720 >> "ORNITHOLOGY"? >> NO -- "OLD"! "OLD," AS IN THE SENTENCE, "I'M 77 00:03:11,720 --> 00:03:13,020 >> NO -- "OLD"! "OLD," AS IN THE SENTENCE, "I'M GETTING OLD." 78 00:03:13,020 --> 00:03:13,450 "OLD," AS IN THE SENTENCE, "I'M GETTING OLD." >> HI. 79 00:03:13,460 --> 00:03:15,200 GETTING OLD." >> HI. THIS IS FROM THE MAN IN THE 80 00:03:15,190 --> 00:03:16,490 >> HI. THIS IS FROM THE MAN IN THE RESTAURANT DOWN THE STREET. 81 00:03:16,490 --> 00:03:18,230 THIS IS FROM THE MAN IN THE RESTAURANT DOWN THE STREET. HE SAW YOU ON THE WAY TO WORK. 82 00:03:18,230 --> 00:03:23,870 RESTAURANT DOWN THE STREET. HE SAW YOU ON THE WAY TO WORK. >> OH. THANK HIM FOR ME. 83 00:03:23,870 --> 00:03:25,600 HE SAW YOU ON THE WAY TO WORK. >> OH. THANK HIM FOR ME. >> I HAVE A CONFESSION TO MAKE. 84 00:03:25,600 --> 00:03:26,900 >> OH. THANK HIM FOR ME. >> I HAVE A CONFESSION TO MAKE. >> I'M ALL EARS. 85 00:03:26,900 --> 00:03:29,500 >> I HAVE A CONFESSION TO MAKE. >> I'M ALL EARS. SORRY. 86 00:03:29,500 --> 00:03:31,240 >> I'M ALL EARS. SORRY. >> SOMETIMES, I GO BAR HOPPING. 87 00:03:31,240 --> 00:03:32,540 SORRY. >> SOMETIMES, I GO BAR HOPPING. >> YEAH? THAT'S GREAT. 88 00:03:32,540 --> 00:03:33,840 >> SOMETIMES, I GO BAR HOPPING. >> YEAH? THAT'S GREAT. >> NO, IT'S NOT WHAT YOU THINK. 89 00:03:33,840 --> 00:03:34,710 >> YEAH? THAT'S GREAT. >> NO, IT'S NOT WHAT YOU THINK. I DON'T DRINK. 90 00:03:34,710 --> 00:03:35,580 >> NO, IT'S NOT WHAT YOU THINK. I DON'T DRINK. I JUST ORDER. 91 00:03:35,580 --> 00:03:36,440 I DON'T DRINK. I JUST ORDER. >> WHAT? 92 00:03:36,450 --> 00:03:37,760 I JUST ORDER. >> WHAT? >> I GO HOPING THEY'LL ASK ME 93 00:03:37,750 --> 00:03:39,480 >> WHAT? >> I GO HOPING THEY'LL ASK ME FOR I.D. 94 00:03:39,480 --> 00:03:40,350 >> I GO HOPING THEY'LL ASK ME FOR I.D. >> THAT'S SICK! 95 00:03:40,350 --> 00:03:42,520 FOR I.D. >> THAT'S SICK! I HAVEN'T BEEN ASKED FOR I.D. 96 00:03:42,520 --> 00:03:43,820 >> THAT'S SICK! I HAVEN'T BEEN ASKED FOR I.D. SINCE I WAS 12. 97 00:03:43,820 --> 00:03:46,420 I HAVEN'T BEEN ASKED FOR I.D. SINCE I WAS 12. >> SEE, YOU DON'T HAVE TO WORRY 98 00:03:46,420 --> 00:03:48,590 SINCE I WAS 12. >> SEE, YOU DON'T HAVE TO WORRY ABOUT AGING, KATH, BUT I DO... 99 00:03:48,590 --> 00:03:49,460 >> SEE, YOU DON'T HAVE TO WORRY ABOUT AGING, KATH, BUT I DO... FOR I AM CUTE. 100 00:03:49,460 --> 00:03:50,760 ABOUT AGING, KATH, BUT I DO... FOR I AM CUTE. >> YOU ARE CUTE. 101 00:03:50,760 --> 00:03:52,930 FOR I AM CUTE. >> YOU ARE CUTE. >> BUT THE CUTE, AS A SPECIES, 102 00:03:52,930 --> 00:03:54,230 >> YOU ARE CUTE. >> BUT THE CUTE, AS A SPECIES, DON'T AGE WELL. 103 00:03:54,230 --> 00:03:55,100 >> BUT THE CUTE, AS A SPECIES, DON'T AGE WELL. >> WHAT? 104 00:03:55,100 --> 00:03:56,830 DON'T AGE WELL. >> WHAT? >> NO, I KNOW MY APPEAL. 105 00:03:56,830 --> 00:03:58,130 >> WHAT? >> NO, I KNOW MY APPEAL. I TOOK MARKETING. 106 00:03:58,130 --> 00:03:59,430 >> NO, I KNOW MY APPEAL. I TOOK MARKETING. >> LISTEN UP, KID. 107 00:03:59,430 --> 00:04:01,170 I TOOK MARKETING. >> LISTEN UP, KID. YOU MAY BE GETTING A LITTLE BIT 108 00:04:01,170 --> 00:04:02,470 >> LISTEN UP, KID. YOU MAY BE GETTING A LITTLE BIT OLDER, GRANTED, BUT YOU HAVE A 109 00:04:02,470 --> 00:04:03,340 YOU MAY BE GETTING A LITTLE BIT OLDER, GRANTED, BUT YOU HAVE A WONDERFUL LIFE. 110 00:04:03,340 --> 00:04:04,210 OLDER, GRANTED, BUT YOU HAVE A WONDERFUL LIFE. >> I DO? 111 00:04:04,210 --> 00:04:05,070 WONDERFUL LIFE. >> I DO? >> YES, YOU DO. 112 00:04:05,070 --> 00:04:05,940 >> I DO? >> YES, YOU DO. YOU HAVE... 113 00:04:05,940 --> 00:04:06,370 >> YES, YOU DO. YOU HAVE... >> I HAVE... 114 00:04:06,370 --> 00:04:07,240 YOU HAVE... >> I HAVE... >> UH... 115 00:04:07,240 --> 00:04:08,110 >> I HAVE... >> UH... >> THERE'S... 116 00:04:08,110 --> 00:04:08,980 >> UH... >> THERE'S... >> YOU HAVE... 117 00:04:08,980 --> 00:04:09,410 >> THERE'S... >> YOU HAVE... >> OH, I... 118 00:04:09,410 --> 00:04:10,280 >> YOU HAVE... >> OH, I... >> UH... 119 00:04:10,280 --> 00:04:10,710 >> OH, I... >> UH... >> UH... 120 00:04:10,710 --> 00:04:12,450 >> UH... >> UH... I HAVE MY OWN SET OF POTS! 121 00:04:12,450 --> 00:04:16,780 >> UH... I HAVE MY OWN SET OF POTS! >> YEAH! YOUR OWN SET OF POTS! 122 00:04:16,790 --> 00:04:17,230 I HAVE MY OWN SET OF POTS! >> YEAH! YOUR OWN SET OF POTS! >> HI. 123 00:04:17,220 --> 00:04:18,090 >> YEAH! YOUR OWN SET OF POTS! >> HI. >> HI. 124 00:04:18,090 --> 00:04:20,260 >> HI. >> HI. >> I WAS WONDERING -- WOULD YOU 125 00:04:20,260 --> 00:04:21,120 >> HI. >> I WAS WONDERING -- WOULD YOU TAKE THESE? 126 00:04:21,120 --> 00:04:23,290 >> I WAS WONDERING -- WOULD YOU TAKE THESE? I'VE, UH, KIND OF RUN OUT OF 127 00:04:23,290 --> 00:04:23,730 TAKE THESE? I'VE, UH, KIND OF RUN OUT OF SPACE. 128 00:04:23,730 --> 00:04:25,030 I'VE, UH, KIND OF RUN OUT OF SPACE. >> OH, OKAY. SURE. 129 00:04:25,030 --> 00:04:25,890 SPACE. >> OH, OKAY. SURE. >> THANKS. 130 00:04:25,890 --> 00:04:27,200 >> OH, OKAY. SURE. >> THANKS. >> EXCUSE ME. 131 00:04:27,200 --> 00:04:29,360 >> THANKS. >> EXCUSE ME. HOW OLD ARE YOU? 132 00:04:29,360 --> 00:04:31,530 >> EXCUSE ME. HOW OLD ARE YOU? >> OH, UH...I FORGET. 133 00:04:31,530 --> 00:04:34,140 HOW OLD ARE YOU? >> OH, UH...I FORGET. >> YOU FORGET? 134 00:04:34,140 --> 00:04:36,300 >> OH, UH...I FORGET. >> YOU FORGET? >> 23 -- NO, 2 -- 22. 135 00:04:36,300 --> 00:04:37,170 >> YOU FORGET? >> 23 -- NO, 2 -- 22. BYE. 136 00:04:37,170 --> 00:04:40,210 >> 23 -- NO, 2 -- 22. BYE. >> BYE-BYE. 137 00:04:40,210 --> 00:04:41,940 BYE. >> BYE-BYE. >> HEY, CATHY, I SEE YOU GOT 138 00:04:41,940 --> 00:04:43,240 >> BYE-BYE. >> HEY, CATHY, I SEE YOU GOT SOME FLOWERS. 139 00:04:43,250 --> 00:04:44,990 >> HEY, CATHY, I SEE YOU GOT SOME FLOWERS. SO, WHO'S THE LUCKY GUY? 140 00:04:44,980 --> 00:04:47,150 SOME FLOWERS. SO, WHO'S THE LUCKY GUY? >> I -- WELL...BLUSH-BLUSH. 141 00:04:47,150 --> 00:04:49,320 SO, WHO'S THE LUCKY GUY? >> I -- WELL...BLUSH-BLUSH. >> ACTUALLY, JER, THEY'RE FROM 142 00:04:49,320 --> 00:04:51,490 >> I -- WELL...BLUSH-BLUSH. >> ACTUALLY, JER, THEY'RE FROM THE NEW GIRL. 143 00:04:51,490 --> 00:04:52,350 >> ACTUALLY, JER, THEY'RE FROM THE NEW GIRL. >> WHAT? 144 00:04:52,350 --> 00:04:53,220 THE NEW GIRL. >> WHAT? >> YEAH. 145 00:04:53,220 --> 00:04:55,390 >> WHAT? >> YEAH. YES, WITH A CARD THAT SAID, 146 00:04:55,390 --> 00:04:59,730 >> YEAH. YES, WITH A CARD THAT SAID, "LEZ BE FRIENDS." 147 00:04:59,730 --> 00:05:01,030 YES, WITH A CARD THAT SAID, "LEZ BE FRIENDS." TELL EVERYONE ABOUT THE NEW 148 00:05:01,030 --> 00:05:07,100 "LEZ BE FRIENDS." TELL EVERYONE ABOUT THE NEW GIRL! 149 00:05:07,100 --> 00:05:09,700 TELL EVERYONE ABOUT THE NEW GIRL! >> WELCOME ABOARD! 150 00:05:28,360 --> 00:05:29,660 >> [ SHOUTING ] 151 00:05:29,660 --> 00:05:30,960 >> [ SHOUTING ] >> COME ON, COME HERE! 152 00:05:30,960 --> 00:05:31,830 >> [ SHOUTING ] >> COME ON, COME HERE! COME HERE! 153 00:05:31,830 --> 00:05:32,690 >> COME ON, COME HERE! COME HERE! COME HERE! 154 00:05:32,690 --> 00:05:33,560 COME HERE! COME HERE! HEY, HEY, HEY! 155 00:05:33,560 --> 00:05:34,860 COME HERE! HEY, HEY, HEY! COME ON, SMART GUY! 156 00:05:34,860 --> 00:05:35,730 HEY, HEY, HEY! COME ON, SMART GUY! COME ON! 157 00:05:35,730 --> 00:05:37,030 COME ON, SMART GUY! COME ON! >> [ CLUCKS ] 158 00:05:37,030 --> 00:05:37,900 COME ON! >> [ CLUCKS ] >> COME ON. 159 00:05:37,900 --> 00:05:38,770 >> [ CLUCKS ] >> COME ON. >> YEAH! 160 00:05:38,770 --> 00:05:41,370 >> COME ON. >> YEAH! >> HEY, THE SUN'S GOING DOWN ON 161 00:05:41,370 --> 00:05:42,670 >> YEAH! >> HEY, THE SUN'S GOING DOWN ON YOU GUYS, MAN. 162 00:05:42,670 --> 00:05:43,970 >> HEY, THE SUN'S GOING DOWN ON YOU GUYS, MAN. >> THAT'S RIGHT! 163 00:05:43,970 --> 00:05:45,270 YOU GUYS, MAN. >> THAT'S RIGHT! >> OH, YEAH? 164 00:05:45,270 --> 00:05:46,570 >> THAT'S RIGHT! >> OH, YEAH? >> YEAH! 165 00:05:46,580 --> 00:05:47,890 >> OH, YEAH? >> YEAH! >> OKAY, YOU TAKE THE 166 00:05:47,880 --> 00:05:50,040 >> YEAH! >> OKAY, YOU TAKE THE GOOD-LOOKING GUY, AND I'LL TAKE 167 00:05:50,050 --> 00:05:51,360 >> OKAY, YOU TAKE THE GOOD-LOOKING GUY, AND I'LL TAKE THE REAL UGLY GUY. 168 00:05:51,350 --> 00:05:57,420 GOOD-LOOKING GUY, AND I'LL TAKE THE REAL UGLY GUY. [ SHOUTING ] 169 00:05:57,420 --> 00:05:59,150 THE REAL UGLY GUY. [ SHOUTING ] YOU THINK HE'S GOOD-LOOKING? 170 00:05:59,150 --> 00:06:00,890 [ SHOUTING ] YOU THINK HE'S GOOD-LOOKING? >> YEAH, YOU KNOW -- NICE EYES, 171 00:06:00,890 --> 00:06:03,060 YOU THINK HE'S GOOD-LOOKING? >> YEAH, YOU KNOW -- NICE EYES, HONEST SMILE. 172 00:06:03,060 --> 00:06:05,230 >> YEAH, YOU KNOW -- NICE EYES, HONEST SMILE. >> I DON'T KNOW. 173 00:06:24,680 --> 00:06:26,410 [ OOMPAH MUSIC PLAYS ] 174 00:06:38,990 --> 00:06:40,290 >> DARRILL? 175 00:06:40,300 --> 00:06:41,170 >> DARRILL? DARRILL? 176 00:06:41,160 --> 00:06:42,030 >> DARRILL? DARRILL? DARRILL? 177 00:06:42,030 --> 00:06:43,330 DARRILL? DARRILL? >> OH, GOSH. 178 00:06:43,330 --> 00:06:46,800 DARRILL? >> OH, GOSH. WHERE DID I GO OFF TO THEN, EH? 179 00:06:46,800 --> 00:06:48,540 >> OH, GOSH. WHERE DID I GO OFF TO THEN, EH? >> WELL, YOUR -- YOUR CHEESE IS 180 00:06:48,540 --> 00:06:49,840 WHERE DID I GO OFF TO THEN, EH? >> WELL, YOUR -- YOUR CHEESE IS GETTING COLD. 181 00:06:49,840 --> 00:06:50,710 >> WELL, YOUR -- YOUR CHEESE IS GETTING COLD. >> OH, I'M SORRY. 182 00:06:50,710 --> 00:06:52,440 GETTING COLD. >> OH, I'M SORRY. I WAS COMPLETELY GONE THERE FOR 183 00:06:52,440 --> 00:06:53,310 >> OH, I'M SORRY. I WAS COMPLETELY GONE THERE FOR A MINUTE. 184 00:06:53,310 --> 00:06:55,040 I WAS COMPLETELY GONE THERE FOR A MINUTE. >> WHAT WERE YOU THINKING ABOUT? 185 00:06:55,040 --> 00:06:57,210 A MINUTE. >> WHAT WERE YOU THINKING ABOUT? >> OH, YOU KNOW, JUST LISTENING 186 00:06:57,210 --> 00:06:59,810 >> WHAT WERE YOU THINKING ABOUT? >> OH, YOU KNOW, JUST LISTENING TO THE BAND. 187 00:06:59,810 --> 00:07:01,550 >> OH, YOU KNOW, JUST LISTENING TO THE BAND. >> LISTENING TO WHAT BAND? 188 00:07:01,550 --> 00:07:03,280 TO THE BAND. >> LISTENING TO WHAT BAND? >> OH, YOU KNOW, WHEN YOU DRIFT 189 00:07:03,290 --> 00:07:04,600 >> LISTENING TO WHAT BAND? >> OH, YOU KNOW, WHEN YOU DRIFT AWAY, WHEN YOU DAYDREAM, YOU 190 00:07:04,590 --> 00:07:06,320 >> OH, YOU KNOW, WHEN YOU DRIFT AWAY, WHEN YOU DAYDREAM, YOU ALWAYS SEE THAT LITTLE, TINY 191 00:07:06,320 --> 00:07:08,060 AWAY, WHEN YOU DAYDREAM, YOU ALWAYS SEE THAT LITTLE, TINY OOMPAH BAND, AND YOU SORT OF NOD 192 00:07:08,060 --> 00:07:09,360 ALWAYS SEE THAT LITTLE, TINY OOMPAH BAND, AND YOU SORT OF NOD TO THE MUSIC, YOU KNOW? 193 00:07:09,360 --> 00:07:11,090 OOMPAH BAND, AND YOU SORT OF NOD TO THE MUSIC, YOU KNOW? >> I DON'T SEE A TINY OOMPAH 194 00:07:11,090 --> 00:07:12,390 TO THE MUSIC, YOU KNOW? >> I DON'T SEE A TINY OOMPAH BAND WHEN I DAYDREAM. 195 00:07:12,390 --> 00:07:13,260 >> I DON'T SEE A TINY OOMPAH BAND WHEN I DAYDREAM. >> [ LAUGHS ] 196 00:07:13,260 --> 00:07:15,000 BAND WHEN I DAYDREAM. >> [ LAUGHS ] WHAT DO YOU MEAN YOU DON'T SEE A 197 00:07:15,000 --> 00:07:16,730 >> [ LAUGHS ] WHAT DO YOU MEAN YOU DON'T SEE A TINY, LITTLE OOMPAH BAND WHEN 198 00:07:16,730 --> 00:07:17,600 WHAT DO YOU MEAN YOU DON'T SEE A TINY, LITTLE OOMPAH BAND WHEN YOU DAYDREAM? 199 00:07:17,600 --> 00:07:19,330 TINY, LITTLE OOMPAH BAND WHEN YOU DAYDREAM? >> WELL, I DON'T. 200 00:07:19,330 --> 00:07:21,500 YOU DAYDREAM? >> WELL, I DON'T. >> WELL, WHAT DO YOU SEE? 201 00:07:21,500 --> 00:07:24,110 >> WELL, I DON'T. >> WELL, WHAT DO YOU SEE? >> WELL, I SEE LOTS OF THINGS. 202 00:07:24,110 --> 00:07:25,410 >> WELL, WHAT DO YOU SEE? >> WELL, I SEE LOTS OF THINGS. I SEE THINGS. 203 00:07:25,410 --> 00:07:26,710 >> WELL, I SEE LOTS OF THINGS. I SEE THINGS. I SEE PEOPLE. 204 00:07:26,710 --> 00:07:27,580 I SEE THINGS. I SEE PEOPLE. >> PEOPLE? 205 00:07:27,580 --> 00:07:28,440 I SEE PEOPLE. >> PEOPLE? >> FRIENDS. 206 00:07:28,440 --> 00:07:30,180 >> PEOPLE? >> FRIENDS. SOMETIMES I IMAGINE MYSELF 207 00:07:30,180 --> 00:07:31,480 >> FRIENDS. SOMETIMES I IMAGINE MYSELF SOMEWHERE ELSE. 208 00:07:31,480 --> 00:07:32,780 SOMETIMES I IMAGINE MYSELF SOMEWHERE ELSE. >> SOMEWHERE ELSE?! 209 00:07:32,780 --> 00:07:34,080 SOMEWHERE ELSE. >> SOMEWHERE ELSE?! HOW CHARMING! 210 00:07:34,080 --> 00:07:35,820 >> SOMEWHERE ELSE?! HOW CHARMING! SO YOU TAKE A LITTLE VACATION 211 00:07:35,820 --> 00:07:37,990 HOW CHARMING! SO YOU TAKE A LITTLE VACATION WITHOUT LEAVING WHERE YOU'RE AT. 212 00:07:37,990 --> 00:07:39,720 SO YOU TAKE A LITTLE VACATION WITHOUT LEAVING WHERE YOU'RE AT. SPLENDID. 213 00:07:39,720 --> 00:07:41,460 WITHOUT LEAVING WHERE YOU'RE AT. SPLENDID. GOSH, AND WHAT DO YOU TAKE FOR 214 00:07:41,460 --> 00:07:42,320 SPLENDID. GOSH, AND WHAT DO YOU TAKE FOR THE HEADACHES? 215 00:07:42,320 --> 00:07:43,190 GOSH, AND WHAT DO YOU TAKE FOR THE HEADACHES? >> WHAT HEADACHES? 216 00:07:43,190 --> 00:07:44,490 THE HEADACHES? >> WHAT HEADACHES? >> YOU KNOW, THOSE UNBELIEVABLY 217 00:07:44,490 --> 00:07:46,230 >> WHAT HEADACHES? >> YOU KNOW, THOSE UNBELIEVABLY PAINFUL HEADACHES YOU GET JUST 218 00:07:46,230 --> 00:07:47,090 >> YOU KNOW, THOSE UNBELIEVABLY PAINFUL HEADACHES YOU GET JUST AFTER YOU DAYDREAM. 219 00:07:47,100 --> 00:07:48,840 PAINFUL HEADACHES YOU GET JUST AFTER YOU DAYDREAM. >> I DON'T GET ANY HEADACHES. 220 00:07:48,830 --> 00:07:50,130 AFTER YOU DAYDREAM. >> I DON'T GET ANY HEADACHES. MY GOD, ARE YOU GETTING 221 00:07:50,130 --> 00:07:51,000 >> I DON'T GET ANY HEADACHES. MY GOD, ARE YOU GETTING HEADACHES? 222 00:07:51,000 --> 00:07:52,300 MY GOD, ARE YOU GETTING HEADACHES? >> YES, EVERY TIME. 223 00:07:52,300 --> 00:07:53,600 HEADACHES? >> YES, EVERY TIME. >> MAYBE YOU SHOULD SEE A 224 00:07:53,600 --> 00:07:54,470 >> YES, EVERY TIME. >> MAYBE YOU SHOULD SEE A DOCTOR. 225 00:07:54,470 --> 00:07:57,070 >> MAYBE YOU SHOULD SEE A DOCTOR. >> DO YOU THINK I COULD BE SICK? 226 00:07:57,070 --> 00:07:59,670 DOCTOR. >> DO YOU THINK I COULD BE SICK? [ OOMPAH MUSIC PLAYS ] 227 00:07:59,670 --> 00:08:00,980 >> DO YOU THINK I COULD BE SICK? [ OOMPAH MUSIC PLAYS ] >> DARRILL. 228 00:08:00,980 --> 00:08:01,840 [ OOMPAH MUSIC PLAYS ] >> DARRILL. DARRILL. 229 00:08:01,840 --> 00:08:03,140 >> DARRILL. DARRILL. DARRILL! 230 00:08:03,140 --> 00:08:04,880 DARRILL. DARRILL! >> UH, YES, DOCTOR? 231 00:08:04,880 --> 00:08:07,480 DARRILL! >> UH, YES, DOCTOR? >> I'M AFRAID THAT YOU HAVE A 232 00:08:07,480 --> 00:08:09,650 >> UH, YES, DOCTOR? >> I'M AFRAID THAT YOU HAVE A BRAIN TUMOR. 233 00:08:09,650 --> 00:08:11,820 >> I'M AFRAID THAT YOU HAVE A BRAIN TUMOR. >> YES. 234 00:08:11,820 --> 00:08:14,860 BRAIN TUMOR. >> YES. I WAS AFRAID THAT'S WHAT IT WAS. 235 00:08:14,860 --> 00:08:17,460 >> YES. I WAS AFRAID THAT'S WHAT IT WAS. >> YOU ARE GOING TO DIE. 236 00:08:17,460 --> 00:08:20,500 I WAS AFRAID THAT'S WHAT IT WAS. >> YOU ARE GOING TO DIE. >> AND WITH SO MUCH LEFT UNDONE. 237 00:08:20,500 --> 00:08:23,970 >> YOU ARE GOING TO DIE. >> AND WITH SO MUCH LEFT UNDONE. I HAVE YET TO VISIT ASIA MINOR. 238 00:08:23,970 --> 00:08:24,830 >> AND WITH SO MUCH LEFT UNDONE. I HAVE YET TO VISIT ASIA MINOR. >> DARRILL? 239 00:08:24,830 --> 00:08:25,270 I HAVE YET TO VISIT ASIA MINOR. >> DARRILL? DARRILL! 240 00:08:25,270 --> 00:08:26,130 >> DARRILL? DARRILL! >> HEY! 241 00:08:26,130 --> 00:08:27,870 DARRILL! >> HEY! I JUST WENT TO A DOCTOR'S 242 00:08:27,870 --> 00:08:28,300 >> HEY! I JUST WENT TO A DOCTOR'S OFFICE. 243 00:08:28,300 --> 00:08:30,040 I JUST WENT TO A DOCTOR'S OFFICE. YES, AND I IMAGINED HE WAS 244 00:08:30,040 --> 00:08:31,770 OFFICE. YES, AND I IMAGINED HE WAS TELLING ME THAT I WAS DYING OF 245 00:08:31,770 --> 00:08:33,070 YES, AND I IMAGINED HE WAS TELLING ME THAT I WAS DYING OF A BRAIN TUMOR. 246 00:08:33,070 --> 00:08:35,240 TELLING ME THAT I WAS DYING OF A BRAIN TUMOR. OH, THIS IS FANTASTIC -- A WHOLE 247 00:08:35,240 --> 00:08:37,410 A BRAIN TUMOR. OH, THIS IS FANTASTIC -- A WHOLE WORLD OF IMAGINATION BEYOND THE 248 00:08:37,410 --> 00:08:38,710 OH, THIS IS FANTASTIC -- A WHOLE WORLD OF IMAGINATION BEYOND THE OOMPAH BAND. 249 00:08:38,710 --> 00:08:40,010 WORLD OF IMAGINATION BEYOND THE OOMPAH BAND. >> WELL, THAT'S WONDERFUL. 250 00:08:40,020 --> 00:08:40,890 OOMPAH BAND. >> WELL, THAT'S WONDERFUL. I HAVE TO GO. 251 00:08:40,880 --> 00:08:41,750 >> WELL, THAT'S WONDERFUL. I HAVE TO GO. >> OH, YOU'RE NOT GOING. 252 00:08:41,750 --> 00:08:42,620 I HAVE TO GO. >> OH, YOU'RE NOT GOING. >> YES, I AM. 253 00:08:42,620 --> 00:08:43,920 >> OH, YOU'RE NOT GOING. >> YES, I AM. >> OH, YOU'RE NOT GOING. 254 00:08:43,920 --> 00:08:44,790 >> YES, I AM. >> OH, YOU'RE NOT GOING. >> YES, I AM. 255 00:08:44,790 --> 00:08:46,090 >> OH, YOU'RE NOT GOING. >> YES, I AM. >> YOU'RE NOT GOING TO GO. 256 00:08:46,090 --> 00:08:46,520 >> YES, I AM. >> YOU'RE NOT GOING TO GO. >> YES, I AM. 257 00:08:46,520 --> 00:08:48,690 >> YOU'RE NOT GOING TO GO. >> YES, I AM. >> ALL RIGHT, YOU GO, AND I'LL 258 00:08:48,690 --> 00:08:50,860 >> YES, I AM. >> ALL RIGHT, YOU GO, AND I'LL DAYDREAM A LITTLE ADVENTURE FOR 259 00:08:50,860 --> 00:08:53,030 >> ALL RIGHT, YOU GO, AND I'LL DAYDREAM A LITTLE ADVENTURE FOR YOU USING MY NEWFOUND POWERS OF 260 00:08:53,030 --> 00:08:53,900 DAYDREAM A LITTLE ADVENTURE FOR YOU USING MY NEWFOUND POWERS OF IMAGINATION. 261 00:08:53,900 --> 00:08:54,760 YOU USING MY NEWFOUND POWERS OF IMAGINATION. OKAY? 262 00:08:54,760 --> 00:09:03,000 IMAGINATION. OKAY? >> GOODBYE, DARRILL. 263 00:09:03,000 --> 00:09:05,170 OKAY? >> GOODBYE, DARRILL. [ OOMPAH MUSIC PLAYS ] 264 00:09:05,170 --> 00:09:07,340 >> GOODBYE, DARRILL. [ OOMPAH MUSIC PLAYS ] >> OH, YES! 265 00:09:07,340 --> 00:09:09,080 [ OOMPAH MUSIC PLAYS ] >> OH, YES! ALL RIGHT! 266 00:09:09,080 --> 00:09:11,250 >> OH, YES! ALL RIGHT! OH, YEAH! 267 00:09:11,250 --> 00:09:12,980 ALL RIGHT! OH, YEAH! WORK THAT LOVE TRIANGLE! 268 00:09:12,980 --> 00:09:15,580 OH, YEAH! WORK THAT LOVE TRIANGLE! YES! 269 00:09:15,580 --> 00:09:17,320 WORK THAT LOVE TRIANGLE! YES! YEAH! 270 00:09:47,250 --> 00:09:47,680 >> OOH! 271 00:09:47,680 --> 00:09:48,550 >> OOH! >> YEAH! 272 00:09:48,550 --> 00:09:50,280 >> OOH! >> YEAH! >> OKAY, I'LL TAKE -- 273 00:09:50,290 --> 00:09:52,460 >> YEAH! >> OKAY, I'LL TAKE -- >> NO, LET ME DO THIS ONE. 274 00:09:52,450 --> 00:09:55,490 >> OKAY, I'LL TAKE -- >> NO, LET ME DO THIS ONE. UH, OKAY. 275 00:09:55,490 --> 00:09:57,220 >> NO, LET ME DO THIS ONE. UH, OKAY. I'LL TAKE THE GUY IN THE 276 00:09:57,230 --> 00:09:59,400 UH, OKAY. I'LL TAKE THE GUY IN THE T-SHIRT, AND YOU TAKE THE GREAT 277 00:09:59,390 --> 00:10:01,130 I'LL TAKE THE GUY IN THE T-SHIRT, AND YOU TAKE THE GREAT FLESH-EATING CREATURE OF ANTOR. 278 00:10:01,130 --> 00:10:05,030 T-SHIRT, AND YOU TAKE THE GREAT FLESH-EATING CREATURE OF ANTOR. >> [ ROARS ] 279 00:10:05,030 --> 00:10:05,900 FLESH-EATING CREATURE OF ANTOR. >> [ ROARS ] >> OKAY, SURE. 280 00:10:05,900 --> 00:10:07,200 >> [ ROARS ] >> OKAY, SURE. >> OKAY, LET'S GO! 281 00:10:07,200 --> 00:10:15,440 >> OKAY, SURE. >> OKAY, LET'S GO! >> [ ROARS ] 282 00:10:15,440 --> 00:10:17,180 >> OKAY, LET'S GO! >> [ ROARS ] [ DANCE MUSIC PLAYS ] 283 00:10:36,260 --> 00:10:38,430 >> TAKE IT ALL OFF! 284 00:10:38,430 --> 00:10:45,370 >> TAKE IT ALL OFF! [ BOING! ] 285 00:10:45,370 --> 00:10:48,410 >> TAKE IT ALL OFF! [ BOING! ] WHOOPS. 286 00:10:48,410 --> 00:10:50,580 [ BOING! ] WHOOPS. I WAS JUST AUDITIONING A DANCER 287 00:10:50,580 --> 00:10:56,220 WHOOPS. I WAS JUST AUDITIONING A DANCER IN VIRTUAL REALITY. 288 00:10:56,220 --> 00:10:58,820 I WAS JUST AUDITIONING A DANCER IN VIRTUAL REALITY. HE'S HIRED. 289 00:10:58,820 --> 00:11:00,990 IN VIRTUAL REALITY. HE'S HIRED. I THOUGHT HE WAS VERY SEXY FOR 290 00:11:00,990 --> 00:11:02,290 HE'S HIRED. I THOUGHT HE WAS VERY SEXY FOR A CARTOON. 291 00:11:02,290 --> 00:11:03,590 I THOUGHT HE WAS VERY SEXY FOR A CARTOON. SORT OF LIKE ME. 292 00:11:03,590 --> 00:11:06,190 A CARTOON. SORT OF LIKE ME. THE DIFFERENCE IS, CARTOONS WORK 293 00:11:06,190 --> 00:11:07,500 SORT OF LIKE ME. THE DIFFERENCE IS, CARTOONS WORK FOR FREE. 294 00:11:07,500 --> 00:11:09,660 THE DIFFERENCE IS, CARTOONS WORK FOR FREE. THIS ENTIRE VIRTUAL-REALITY 295 00:11:09,660 --> 00:11:12,270 FOR FREE. THIS ENTIRE VIRTUAL-REALITY ENSEMBLE WAS A GIFT FROM A SHEIK 296 00:11:12,270 --> 00:11:14,000 THIS ENTIRE VIRTUAL-REALITY ENSEMBLE WAS A GIFT FROM A SHEIK ADMIRER OF MINE. 297 00:11:14,000 --> 00:11:15,740 ENSEMBLE WAS A GIFT FROM A SHEIK ADMIRER OF MINE. NOT AN ADMIRER THAT'S CHIC -- 298 00:11:15,740 --> 00:11:17,910 ADMIRER OF MINE. NOT AN ADMIRER THAT'S CHIC -- JUST A RICH ARAB. 299 00:11:17,910 --> 00:11:19,640 NOT AN ADMIRER THAT'S CHIC -- JUST A RICH ARAB. THE TECHNOLOGY IS STILL VERY 300 00:11:19,640 --> 00:11:20,070 JUST A RICH ARAB. THE TECHNOLOGY IS STILL VERY CRUDE. 301 00:11:20,070 --> 00:11:21,810 THE TECHNOLOGY IS STILL VERY CRUDE. YOU CAN BASICALLY GET THE SAME 302 00:11:21,810 --> 00:11:23,540 CRUDE. YOU CAN BASICALLY GET THE SAME EFFECTS FROM SITTING TOO CLOSE 303 00:11:23,550 --> 00:11:24,860 YOU CAN BASICALLY GET THE SAME EFFECTS FROM SITTING TOO CLOSE TO THE TV. 304 00:11:24,850 --> 00:11:28,320 EFFECTS FROM SITTING TOO CLOSE TO THE TV. BUT THEN THERE'S NO HAT. 305 00:11:28,320 --> 00:11:29,620 TO THE TV. BUT THEN THERE'S NO HAT. BUT, OF COURSE, IT'S GETTING 306 00:11:29,620 --> 00:11:30,920 BUT THEN THERE'S NO HAT. BUT, OF COURSE, IT'S GETTING BETTER ALL THE TIME. 307 00:11:30,920 --> 00:11:32,220 BUT, OF COURSE, IT'S GETTING BETTER ALL THE TIME. ONE DAY, THERE'LL BE 308 00:11:32,220 --> 00:11:34,390 BETTER ALL THE TIME. ONE DAY, THERE'LL BE VIRTUAL-REALITY CONCERTS. 309 00:11:34,390 --> 00:11:36,560 ONE DAY, THERE'LL BE VIRTUAL-REALITY CONCERTS. IMAGINE LIZA THIS CLOSE AND 310 00:11:36,560 --> 00:11:38,290 VIRTUAL-REALITY CONCERTS. IMAGINE LIZA THIS CLOSE AND SWEATING ON YOU! 311 00:11:38,290 --> 00:11:40,030 IMAGINE LIZA THIS CLOSE AND SWEATING ON YOU! SCARY! 312 00:11:40,030 --> 00:11:41,330 SWEATING ON YOU! SCARY! ONE DAY, YOU'LL BE ABLE TO 313 00:11:41,330 --> 00:11:43,930 SCARY! ONE DAY, YOU'LL BE ABLE TO ACTUALLY INTERFACE WITH OTHER 314 00:11:43,930 --> 00:11:45,670 ONE DAY, YOU'LL BE ABLE TO ACTUALLY INTERFACE WITH OTHER CYBERNAUTS IN CYBERSPACE. 315 00:11:45,670 --> 00:11:47,840 ACTUALLY INTERFACE WITH OTHER CYBERNAUTS IN CYBERSPACE. WHICH LEADS ONE TO THE 316 00:11:47,840 --> 00:11:50,440 CYBERNAUTS IN CYBERSPACE. WHICH LEADS ONE TO THE OBVIOUS -- VIRTUAL SEX. 317 00:11:50,440 --> 00:11:51,740 WHICH LEADS ONE TO THE OBVIOUS -- VIRTUAL SEX. THAT SHOULD BE EASY. 318 00:11:51,740 --> 00:11:53,470 OBVIOUS -- VIRTUAL SEX. THAT SHOULD BE EASY. GAYS HAVE BEEN HAVING VIRTUAL 319 00:11:53,470 --> 00:11:54,780 THAT SHOULD BE EASY. GAYS HAVE BEEN HAVING VIRTUAL SEX FOR YEARS NOW. 320 00:11:54,780 --> 00:11:56,940 GAYS HAVE BEEN HAVING VIRTUAL SEX FOR YEARS NOW. THE ONLY PROBLEM IS, THE PEOPLE 321 00:11:56,950 --> 00:11:59,120 SEX FOR YEARS NOW. THE ONLY PROBLEM IS, THE PEOPLE YOU'RE MOST LIKELY TO ENCOUNTER 322 00:11:59,110 --> 00:12:00,850 THE ONLY PROBLEM IS, THE PEOPLE YOU'RE MOST LIKELY TO ENCOUNTER IN CYBERLAND WOULD BE COMPUTER 323 00:12:00,850 --> 00:12:03,880 YOU'RE MOST LIKELY TO ENCOUNTER IN CYBERLAND WOULD BE COMPUTER NERDS AND HACKERS, TREKKIES WITH 324 00:12:03,890 --> 00:12:05,630 IN CYBERLAND WOULD BE COMPUTER NERDS AND HACKERS, TREKKIES WITH RED PUBIC HAIR. 325 00:12:15,600 --> 00:12:17,330 OF COURSE, I SUPPOSE SINCE THE 326 00:12:17,330 --> 00:12:18,630 OF COURSE, I SUPPOSE SINCE THE IDEA IS TO LEAVE THE BODY 327 00:12:18,630 --> 00:12:20,370 OF COURSE, I SUPPOSE SINCE THE IDEA IS TO LEAVE THE BODY BEHIND, YOU COULD LOOK LIKE 328 00:12:20,370 --> 00:12:21,240 IDEA IS TO LEAVE THE BODY BEHIND, YOU COULD LOOK LIKE ANYBODY YOU WANT. 329 00:12:21,240 --> 00:12:22,540 BEHIND, YOU COULD LOOK LIKE ANYBODY YOU WANT. I THINK I'D BE A MAN. 330 00:12:22,540 --> 00:12:23,840 ANYBODY YOU WANT. I THINK I'D BE A MAN. IT'S JUST MORE EXCITING TO 331 00:12:23,840 --> 00:12:26,440 I THINK I'D BE A MAN. IT'S JUST MORE EXCITING TO PRETEND. 332 00:12:26,440 --> 00:12:28,610 IT'S JUST MORE EXCITING TO PRETEND. IT'D BE SORT OF LIKE PHONE SEX, 333 00:12:28,610 --> 00:12:30,340 PRETEND. IT'D BE SORT OF LIKE PHONE SEX, EXCEPT LESS EXPENSIVE AND LESS 334 00:12:30,350 --> 00:12:31,220 IT'D BE SORT OF LIKE PHONE SEX, EXCEPT LESS EXPENSIVE AND LESS DANGEROUS. 335 00:12:31,210 --> 00:12:32,950 EXCEPT LESS EXPENSIVE AND LESS DANGEROUS. WELL, YOU KNOW HOW IT IS WHEN 336 00:12:32,950 --> 00:12:34,680 DANGEROUS. WELL, YOU KNOW HOW IT IS WHEN YOU'RE TALKING TO SOMEONE ON THE 337 00:12:34,680 --> 00:12:36,420 WELL, YOU KNOW HOW IT IS WHEN YOU'RE TALKING TO SOMEONE ON THE PHONE AND HE SOUNDS LIKE THE 338 00:12:36,420 --> 00:12:38,150 YOU'RE TALKING TO SOMEONE ON THE PHONE AND HE SOUNDS LIKE THE SEXIEST MAN IN THE LAND. 339 00:12:38,150 --> 00:12:39,890 PHONE AND HE SOUNDS LIKE THE SEXIEST MAN IN THE LAND. SO YOU GO OVER IN THE DEAD OF 340 00:12:39,890 --> 00:12:40,760 SEXIEST MAN IN THE LAND. SO YOU GO OVER IN THE DEAD OF THE NIGHT REALLY DRUNK. 341 00:12:40,760 --> 00:12:42,490 SO YOU GO OVER IN THE DEAD OF THE NIGHT REALLY DRUNK. HE LIVES IN A REALLY SCARY PART 342 00:12:42,490 --> 00:12:43,790 THE NIGHT REALLY DRUNK. HE LIVES IN A REALLY SCARY PART OF TOWN, BUT YOU DON'T CARE 343 00:12:43,790 --> 00:12:45,090 HE LIVES IN A REALLY SCARY PART OF TOWN, BUT YOU DON'T CARE BECAUSE YOU'RE REALLY HORNY. 344 00:12:45,090 --> 00:12:46,390 OF TOWN, BUT YOU DON'T CARE BECAUSE YOU'RE REALLY HORNY. THEN WHEN HE OPENS THE DOOR, 345 00:12:46,390 --> 00:12:48,130 BECAUSE YOU'RE REALLY HORNY. THEN WHEN HE OPENS THE DOOR, HE'S STANDING THERE NUDE, AND HE 346 00:12:48,130 --> 00:12:51,170 THEN WHEN HE OPENS THE DOOR, HE'S STANDING THERE NUDE, AND HE LOOKS LIKE BURGESS MEREDITH. 347 00:12:51,170 --> 00:12:52,470 HE'S STANDING THERE NUDE, AND HE LOOKS LIKE BURGESS MEREDITH. THIS HAPPENED TO A FRIEND OF 348 00:12:52,470 --> 00:12:54,200 LOOKS LIKE BURGESS MEREDITH. THIS HAPPENED TO A FRIEND OF MINE. 349 00:12:54,200 --> 00:12:55,940 THIS HAPPENED TO A FRIEND OF MINE. THIS WOULD NEVER HAPPEN IN 350 00:12:55,940 --> 00:12:57,240 MINE. THIS WOULD NEVER HAPPEN IN VIRTUAL REALITY BECAUSE YOU 351 00:12:57,240 --> 00:12:58,970 THIS WOULD NEVER HAPPEN IN VIRTUAL REALITY BECAUSE YOU NEVER LEAVE THE ARTIFICIAL 352 00:12:58,970 --> 00:12:59,840 VIRTUAL REALITY BECAUSE YOU NEVER LEAVE THE ARTIFICIAL ENVIRONMENT. 353 00:12:59,840 --> 00:13:01,140 NEVER LEAVE THE ARTIFICIAL ENVIRONMENT. SORT OF LIKE ME. 354 00:13:01,140 --> 00:13:02,880 ENVIRONMENT. SORT OF LIKE ME. THE LAST TIME I LEFT THE BAR, 355 00:13:02,880 --> 00:13:04,180 SORT OF LIKE ME. THE LAST TIME I LEFT THE BAR, I WENT TO A BAR. 356 00:13:04,180 --> 00:13:05,910 THE LAST TIME I LEFT THE BAR, I WENT TO A BAR. EVENTUALLY, YOU'LL BE ABLE TO 357 00:13:05,910 --> 00:13:07,650 I WENT TO A BAR. EVENTUALLY, YOU'LL BE ABLE TO GET IT ON WITH ALL YOUR FAVORITE 358 00:13:07,650 --> 00:13:08,080 EVENTUALLY, YOU'LL BE ABLE TO GET IT ON WITH ALL YOUR FAVORITE STARS. 359 00:13:08,080 --> 00:13:09,820 GET IT ON WITH ALL YOUR FAVORITE STARS. I KNOW WHAT YOU'RE THINKING -- 360 00:13:09,820 --> 00:13:11,120 STARS. I KNOW WHAT YOU'RE THINKING -- WHEN CAN YOU HAVE VIRTUAL SEX 361 00:13:11,120 --> 00:13:12,850 I KNOW WHAT YOU'RE THINKING -- WHEN CAN YOU HAVE VIRTUAL SEX WITH ME? 362 00:13:12,850 --> 00:13:14,160 WHEN CAN YOU HAVE VIRTUAL SEX WITH ME? WELL, YOU'LL BE HAPPY TO KNOW 363 00:13:14,160 --> 00:13:16,320 WITH ME? WELL, YOU'LL BE HAPPY TO KNOW THAT I'M ALREADY HARD AT WORK ON 364 00:13:16,320 --> 00:13:17,630 WELL, YOU'LL BE HAPPY TO KNOW THAT I'M ALREADY HARD AT WORK ON A BUDDY COLE PROGRAM. 365 00:13:17,630 --> 00:13:19,360 THAT I'M ALREADY HARD AT WORK ON A BUDDY COLE PROGRAM. IT'LL COME IN THREE LOCATIONS -- 366 00:13:19,360 --> 00:13:21,100 A BUDDY COLE PROGRAM. IT'LL COME IN THREE LOCATIONS -- THE BEDROOM, THE BACKROOM, AND 367 00:13:21,100 --> 00:13:22,830 IT'LL COME IN THREE LOCATIONS -- THE BEDROOM, THE BACKROOM, AND THE BUSHES. 368 00:13:22,830 --> 00:13:24,570 THE BEDROOM, THE BACKROOM, AND THE BUSHES. WHAT DO I LIKE BEST ABOUT 369 00:13:24,570 --> 00:13:25,870 THE BUSHES. WHAT DO I LIKE BEST ABOUT VIRTUAL REALITY? 370 00:13:25,870 --> 00:13:28,040 WHAT DO I LIKE BEST ABOUT VIRTUAL REALITY? SMOKING! 371 00:13:43,650 --> 00:13:45,390 >> ♪ DA, DA, DA, DA, DA-DA-DA ♪ 372 00:13:45,390 --> 00:13:47,120 >> ♪ DA, DA, DA, DA, DA-DA-DA ♪ ♪ DA, DA, DA, DA, DA-DA-DA ♪ 373 00:13:47,120 --> 00:13:48,420 >> ♪ DA, DA, DA, DA, DA-DA-DA ♪ ♪ DA, DA, DA, DA, DA-DA-DA ♪ ♪ DA, DA, DA, DA, DA-DA-DA ♪ 374 00:13:48,420 --> 00:13:49,720 ♪ DA, DA, DA, DA, DA-DA-DA ♪ ♪ DA, DA, DA, DA, DA-DA-DA ♪ ♪ DA, DA, DA, DA, DA, DA ♪ 375 00:13:49,720 --> 00:13:51,030 ♪ DA, DA, DA, DA, DA-DA-DA ♪ ♪ DA, DA, DA, DA, DA, DA ♪ ♪ DA, DA, DA, DA, DA ♪ 376 00:13:51,030 --> 00:13:51,890 ♪ DA, DA, DA, DA, DA, DA ♪ ♪ DA, DA, DA, DA, DA ♪ ♪ DA, DA, DA ♪ 377 00:13:51,890 --> 00:13:53,190 ♪ DA, DA, DA, DA, DA ♪ ♪ DA, DA, DA ♪ >> DO YOU WANT ANOTHER 378 00:13:53,190 --> 00:13:54,060 ♪ DA, DA, DA ♪ >> DO YOU WANT ANOTHER HARD-BOILED EGG? 379 00:13:54,060 --> 00:13:55,360 >> DO YOU WANT ANOTHER HARD-BOILED EGG? >> OKAY, BUT I'VE ALREADY HAD 380 00:13:55,360 --> 00:13:55,800 HARD-BOILED EGG? >> OKAY, BUT I'VE ALREADY HAD FOUR. 381 00:13:55,800 --> 00:13:56,230 >> OKAY, BUT I'VE ALREADY HAD FOUR. >> FOUR? 382 00:13:56,230 --> 00:13:58,400 FOUR. >> FOUR? BUT I MADE SIX -- THREE EACH. 383 00:13:58,400 --> 00:13:59,700 >> FOUR? BUT I MADE SIX -- THREE EACH. >> HEY, YOU KNOW I LIKE MY 384 00:13:59,700 --> 00:14:00,570 BUT I MADE SIX -- THREE EACH. >> HEY, YOU KNOW I LIKE MY HARD-BOILED EGGS. 385 00:14:00,570 --> 00:14:01,870 >> HEY, YOU KNOW I LIKE MY HARD-BOILED EGGS. >> BUT I DID ALL THE WORK. 386 00:14:01,870 --> 00:14:02,740 HARD-BOILED EGGS. >> BUT I DID ALL THE WORK. I BOILED THE WATER. 387 00:14:02,740 --> 00:14:03,600 >> BUT I DID ALL THE WORK. I BOILED THE WATER. I PEELED THE EGGS. 388 00:14:03,600 --> 00:14:05,340 I BOILED THE WATER. I PEELED THE EGGS. >> WELL, YOU KEPT HANDING THEM 389 00:14:05,340 --> 00:14:05,770 I PEELED THE EGGS. >> WELL, YOU KEPT HANDING THEM TO ME. 390 00:14:05,770 --> 00:14:06,640 >> WELL, YOU KEPT HANDING THEM TO ME. WHY'D YOU GIVE ME FOUR? 391 00:14:06,640 --> 00:14:08,380 TO ME. WHY'D YOU GIVE ME FOUR? >> I WASN'T COUNTING. 392 00:14:08,380 --> 00:14:10,110 WHY'D YOU GIVE ME FOUR? >> I WASN'T COUNTING. I'M GONNA EAT THIS ONE. 393 00:14:10,110 --> 00:14:11,410 >> I WASN'T COUNTING. I'M GONNA EAT THIS ONE. >> HEY, DO WHAT YOU DO. 394 00:14:11,410 --> 00:14:12,710 I'M GONNA EAT THIS ONE. >> HEY, DO WHAT YOU DO. >> STOP THE CAR! 395 00:14:12,710 --> 00:14:14,450 >> HEY, DO WHAT YOU DO. >> STOP THE CAR! [ TIRES SCREECH ] 396 00:14:14,450 --> 00:14:15,320 >> STOP THE CAR! [ TIRES SCREECH ] >> WHAT? 397 00:14:15,320 --> 00:14:16,620 [ TIRES SCREECH ] >> WHAT? >> THERE'S A DEER BY THE WATER. 398 00:14:16,620 --> 00:14:17,480 >> WHAT? >> THERE'S A DEER BY THE WATER. >> WHAT? 399 00:14:17,490 --> 00:14:19,230 >> THERE'S A DEER BY THE WATER. >> WHAT? >> THERE'S A DEER BY THE WATER. 400 00:14:19,220 --> 00:14:19,650 >> WHAT? >> THERE'S A DEER BY THE WATER. >> WHERE? 401 00:14:19,650 --> 00:14:20,520 >> THERE'S A DEER BY THE WATER. >> WHERE? >> THERE. 402 00:14:20,520 --> 00:14:20,960 >> WHERE? >> THERE. >> A WHAT? 403 00:14:20,960 --> 00:14:21,820 >> THERE. >> A WHAT? >> A DEER. 404 00:14:21,820 --> 00:14:23,120 >> A WHAT? >> A DEER. >> THAT'S NOT A DEER. 405 00:14:23,120 --> 00:14:23,990 >> A DEER. >> THAT'S NOT A DEER. THAT'S A BEAR. 406 00:14:23,990 --> 00:14:24,860 >> THAT'S NOT A DEER. THAT'S A BEAR. >> NO, IT'S A DEER. 407 00:14:24,860 --> 00:14:25,730 THAT'S A BEAR. >> NO, IT'S A DEER. >> WHERE? 408 00:14:25,730 --> 00:14:27,030 >> NO, IT'S A DEER. >> WHERE? >> THERE, BY THE WATER. 409 00:14:27,030 --> 00:14:28,330 >> WHERE? >> THERE, BY THE WATER. >> HEY, THAT IS A BEAR. 410 00:14:28,330 --> 00:14:30,060 >> THERE, BY THE WATER. >> HEY, THAT IS A BEAR. >> WHATEVER IT IS, IT'S BY THE 411 00:14:30,060 --> 00:14:30,500 >> HEY, THAT IS A BEAR. >> WHATEVER IT IS, IT'S BY THE WATER. 412 00:14:30,500 --> 00:14:31,800 >> WHATEVER IT IS, IT'S BY THE WATER. I'M GONNA GO GET A PICTURE FOR 413 00:14:31,800 --> 00:14:32,670 WATER. I'M GONNA GO GET A PICTURE FOR THE GIRLS. 414 00:14:32,670 --> 00:14:34,400 I'M GONNA GO GET A PICTURE FOR THE GIRLS. >> WHAT? 415 00:14:34,400 --> 00:14:36,140 THE GIRLS. >> WHAT? >> I'M GONNA GET OUT OF THE CAR. 416 00:14:36,140 --> 00:14:37,440 >> WHAT? >> I'M GONNA GET OUT OF THE CAR. I'M GONNA GET A PICTURE OF THE 417 00:14:37,440 --> 00:14:38,310 >> I'M GONNA GET OUT OF THE CAR. I'M GONNA GET A PICTURE OF THE DEER FOR THE GIRLS. 418 00:14:38,310 --> 00:14:39,610 I'M GONNA GET A PICTURE OF THE DEER FOR THE GIRLS. >> BUT IT'S A BEAR. 419 00:14:39,610 --> 00:14:40,910 DEER FOR THE GIRLS. >> BUT IT'S A BEAR. >> IF IT IS A BEAR, DON'T YOU 420 00:14:40,910 --> 00:14:42,210 >> BUT IT'S A BEAR. >> IF IT IS A BEAR, DON'T YOU THINK A BEAR'S A WORTHY PICTURE 421 00:14:42,210 --> 00:14:43,080 >> IF IT IS A BEAR, DON'T YOU THINK A BEAR'S A WORTHY PICTURE FOR THE GIRLS? 422 00:14:43,080 --> 00:14:44,810 THINK A BEAR'S A WORTHY PICTURE FOR THE GIRLS? >> HEY, I WOULDN'T GET OUT OF NO 423 00:14:44,810 --> 00:14:46,550 FOR THE GIRLS? >> HEY, I WOULDN'T GET OUT OF NO CAR TO TAKE A PICTURE OF A BEAR. 424 00:14:46,550 --> 00:14:48,720 >> HEY, I WOULDN'T GET OUT OF NO CAR TO TAKE A PICTURE OF A BEAR. >> I'M GONNA GET OUT OF THE CAR. 425 00:14:48,720 --> 00:14:50,020 CAR TO TAKE A PICTURE OF A BEAR. >> I'M GONNA GET OUT OF THE CAR. I'M GONNA TAKE MY CAMERA. 426 00:14:50,020 --> 00:14:52,190 >> I'M GONNA GET OUT OF THE CAR. I'M GONNA TAKE MY CAMERA. I'M GONNA GET A PICTURE OF THE 427 00:14:52,190 --> 00:14:53,490 I'M GONNA TAKE MY CAMERA. I'M GONNA GET A PICTURE OF THE DEER OR BEAR BY THE WATER. 428 00:14:53,490 --> 00:14:55,220 I'M GONNA GET A PICTURE OF THE DEER OR BEAR BY THE WATER. ARE YOU COMING WITH ME? 429 00:14:55,220 --> 00:14:56,520 DEER OR BEAR BY THE WATER. ARE YOU COMING WITH ME? >> NO, 'CAUSE IN MY HEART OF 430 00:14:56,520 --> 00:14:58,260 ARE YOU COMING WITH ME? >> NO, 'CAUSE IN MY HEART OF HEARTS, I KNOW THAT'S A BEAR. 431 00:14:58,260 --> 00:14:59,990 >> NO, 'CAUSE IN MY HEART OF HEARTS, I KNOW THAT'S A BEAR. >> ALL RIGHT, BUT DON'T EAT MY 432 00:14:59,990 --> 00:15:01,300 HEARTS, I KNOW THAT'S A BEAR. >> ALL RIGHT, BUT DON'T EAT MY LAST HARD-BOILED EGG. 433 00:15:01,300 --> 00:15:03,030 >> ALL RIGHT, BUT DON'T EAT MY LAST HARD-BOILED EGG. >> HEY, BUT IF THE BEAR EATS 434 00:15:03,030 --> 00:15:04,330 LAST HARD-BOILED EGG. >> HEY, BUT IF THE BEAR EATS YOU, THEN CAN I EAT YOUR 435 00:15:04,330 --> 00:15:13,440 >> HEY, BUT IF THE BEAR EATS YOU, THEN CAN I EAT YOUR HARD-BOILED EGG? 436 00:15:13,440 --> 00:15:18,650 YOU, THEN CAN I EAT YOUR HARD-BOILED EGG? >> IT'S GONNA BE BEAUTIFUL. 437 00:15:18,650 --> 00:15:20,810 HARD-BOILED EGG? >> IT'S GONNA BE BEAUTIFUL. >> OOH, THAT'S A GOOD-LOOKING 438 00:15:20,820 --> 00:15:23,860 >> IT'S GONNA BE BEAUTIFUL. >> OOH, THAT'S A GOOD-LOOKING EGG. 439 00:15:23,850 --> 00:15:25,150 >> OOH, THAT'S A GOOD-LOOKING EGG. >> HERE, PRETTY DEER! 440 00:15:25,150 --> 00:15:26,450 EGG. >> HERE, PRETTY DEER! HERE, PRETTY DEER! 441 00:15:26,450 --> 00:15:29,060 >> HERE, PRETTY DEER! HERE, PRETTY DEER! BEAR! CHARGING BEAR! 442 00:15:29,060 --> 00:15:30,790 HERE, PRETTY DEER! BEAR! CHARGING BEAR! [ BEAR GROWLS ] 443 00:15:30,790 --> 00:15:32,090 BEAR! CHARGING BEAR! [ BEAR GROWLS ] START THE CAR! 444 00:15:32,090 --> 00:15:34,260 [ BEAR GROWLS ] START THE CAR! >> I TOLD YOU IT WAS A BEAR. 445 00:15:34,260 --> 00:15:35,560 START THE CAR! >> I TOLD YOU IT WAS A BEAR. >> START THE CAR! 446 00:15:35,560 --> 00:15:38,170 >> I TOLD YOU IT WAS A BEAR. >> START THE CAR! >> THE CAR WON'T START! 447 00:15:38,170 --> 00:15:39,470 >> START THE CAR! >> THE CAR WON'T START! >> DID YOU EAT MY HARD-BOILED 448 00:15:39,470 --> 00:15:39,900 >> THE CAR WON'T START! >> DID YOU EAT MY HARD-BOILED EGG? 449 00:15:39,900 --> 00:15:41,200 >> DID YOU EAT MY HARD-BOILED EGG? >> HEY, I THOUGHT THE BEAR WAS 450 00:15:41,200 --> 00:15:42,070 EGG? >> HEY, I THOUGHT THE BEAR WAS GONNA EAT YOU. 451 00:15:42,070 --> 00:15:43,370 >> HEY, I THOUGHT THE BEAR WAS GONNA EAT YOU. >> INSTEAD OF GRIEVING, YOU 452 00:15:43,370 --> 00:15:44,670 GONNA EAT YOU. >> INSTEAD OF GRIEVING, YOU WOULD EAT A HARD-BOILED EGG? 453 00:15:44,670 --> 00:15:45,970 >> INSTEAD OF GRIEVING, YOU WOULD EAT A HARD-BOILED EGG? >> HEY, CALL IT A FUNERAL EGG, 454 00:15:45,970 --> 00:15:48,140 WOULD EAT A HARD-BOILED EGG? >> HEY, CALL IT A FUNERAL EGG, I DON'T KNOW. 455 00:16:00,560 --> 00:16:04,030 >> ON OCTOBER 31, 1976, AN ERA 456 00:16:04,030 --> 00:16:06,200 >> ON OCTOBER 31, 1976, AN ERA CAME TO AN END. 457 00:16:06,190 --> 00:16:08,800 >> ON OCTOBER 31, 1976, AN ERA CAME TO AN END. THE GREAT VAUDEVILLE ENTERTAINER 458 00:16:08,800 --> 00:16:10,530 CAME TO AN END. THE GREAT VAUDEVILLE ENTERTAINER CYRIL ST. JOHN, ALMOST 459 00:16:10,530 --> 00:16:12,270 THE GREAT VAUDEVILLE ENTERTAINER CYRIL ST. JOHN, ALMOST COMPLETELY FORGOTTEN AND 460 00:16:12,270 --> 00:16:16,170 CYRIL ST. JOHN, ALMOST COMPLETELY FORGOTTEN AND ENTIRELY DEAD, WAS LAID TO REST. 461 00:16:16,170 --> 00:16:18,340 >> DADDY NEVER LIKED CYRIL. 462 00:16:18,340 --> 00:16:20,510 >> DADDY NEVER LIKED CYRIL. NO, NOT IN THE LEAST, NO. 463 00:16:20,510 --> 00:16:23,110 >> DADDY NEVER LIKED CYRIL. NO, NOT IN THE LEAST, NO. IN FACT, WHEN CYRIL WAS ONLY A 464 00:16:23,110 --> 00:16:25,710 NO, NOT IN THE LEAST, NO. IN FACT, WHEN CYRIL WAS ONLY A BABY, DADDY ONCE TOOK CYRIL AND 465 00:16:25,710 --> 00:16:28,320 IN FACT, WHEN CYRIL WAS ONLY A BABY, DADDY ONCE TOOK CYRIL AND PUT HIM IN A PAPER BAG AND THREW 466 00:16:28,320 --> 00:16:30,050 BABY, DADDY ONCE TOOK CYRIL AND PUT HIM IN A PAPER BAG AND THREW HIM IN THE RIVER. 467 00:16:30,050 --> 00:16:31,790 I BELIEVE IT WAS HIS INTENT TO 468 00:16:31,790 --> 00:16:33,520 I BELIEVE IT WAS HIS INTENT TO DROWN CYRIL. 469 00:16:33,520 --> 00:16:34,820 I BELIEVE IT WAS HIS INTENT TO DROWN CYRIL. BUT SOMEHOW OR ANOTHER, CYRIL 470 00:16:34,820 --> 00:16:36,560 DROWN CYRIL. BUT SOMEHOW OR ANOTHER, CYRIL MANAGED TO ESCAPE THE BAG AND 471 00:16:36,560 --> 00:16:37,860 BUT SOMEHOW OR ANOTHER, CYRIL MANAGED TO ESCAPE THE BAG AND MAKE IT TO SHORE. 472 00:16:37,860 --> 00:16:39,590 MANAGED TO ESCAPE THE BAG AND MAKE IT TO SHORE. AND DADDY, QUITE DESPITE 473 00:16:39,590 --> 00:16:41,330 MAKE IT TO SHORE. AND DADDY, QUITE DESPITE HIMSELF, WAS HEARD TO REMARK, 474 00:16:41,330 --> 00:16:42,630 AND DADDY, QUITE DESPITE HIMSELF, WAS HEARD TO REMARK, "THAT BOY'S REALLY GOT 475 00:16:42,630 --> 00:16:44,800 HIMSELF, WAS HEARD TO REMARK, "THAT BOY'S REALLY GOT SOMETHING." 476 00:16:44,800 --> 00:16:47,400 "THAT BOY'S REALLY GOT SOMETHING." HE STILL NEVER LIKED CYRIL, BUT 477 00:16:47,400 --> 00:16:52,170 SOMETHING." HE STILL NEVER LIKED CYRIL, BUT AFTER THAT, THERE WAS...RESPECT. 478 00:16:52,170 --> 00:16:53,910 HE STILL NEVER LIKED CYRIL, BUT AFTER THAT, THERE WAS...RESPECT. >> THE MAN ONCE KNOWN TO 479 00:16:53,910 --> 00:16:55,640 AFTER THAT, THERE WAS...RESPECT. >> THE MAN ONCE KNOWN TO MILLIONS WORLDWIDE SIMPLY AS 480 00:16:55,640 --> 00:16:58,250 >> THE MAN ONCE KNOWN TO MILLIONS WORLDWIDE SIMPLY AS "THE ESCAPIST" BEGAN HIS CAREER 481 00:16:58,250 --> 00:17:01,280 MILLIONS WORLDWIDE SIMPLY AS "THE ESCAPIST" BEGAN HIS CAREER MODESTLY IN THE EARLY '30s. 482 00:17:01,280 --> 00:17:03,020 "THE ESCAPIST" BEGAN HIS CAREER MODESTLY IN THE EARLY '30s. THIS EARLY NEWSREEL FOOTAGE 483 00:17:03,020 --> 00:17:04,750 MODESTLY IN THE EARLY '30s. THIS EARLY NEWSREEL FOOTAGE SHOWS HIM PERFORMING ONE OF HIS 484 00:17:04,750 --> 00:17:06,490 THIS EARLY NEWSREEL FOOTAGE SHOWS HIM PERFORMING ONE OF HIS MOST CELEBRATED FEATS -- AN 485 00:17:06,490 --> 00:17:08,660 SHOWS HIM PERFORMING ONE OF HIS MOST CELEBRATED FEATS -- AN ESCAPE FROM THE LARGE, WET PAPER 486 00:17:08,660 --> 00:17:18,200 MOST CELEBRATED FEATS -- AN ESCAPE FROM THE LARGE, WET PAPER BAG. 487 00:17:18,200 --> 00:17:19,930 ESCAPE FROM THE LARGE, WET PAPER BAG. BUT THE THRILL-HUNGRY AUDIENCES 488 00:17:19,930 --> 00:17:21,240 BAG. BUT THE THRILL-HUNGRY AUDIENCES OF THE '30s WERE NOT EASILY 489 00:17:21,240 --> 00:17:22,100 BUT THE THRILL-HUNGRY AUDIENCES OF THE '30s WERE NOT EASILY SATISFIED. 490 00:17:22,100 --> 00:17:24,710 OF THE '30s WERE NOT EASILY SATISFIED. >> "TRANSATLANTIC NEWS" -- 491 00:17:24,710 --> 00:17:27,740 SATISFIED. >> "TRANSATLANTIC NEWS" -- THE ESCAPIST TESTING THE LIMITS 492 00:17:27,740 --> 00:17:30,780 >> "TRANSATLANTIC NEWS" -- THE ESCAPIST TESTING THE LIMITS OF HUMANITY. 493 00:17:30,780 --> 00:17:32,950 THE ESCAPIST TESTING THE LIMITS OF HUMANITY. >> MR. MAYOR, WOULD YOU PLEASE 494 00:17:32,950 --> 00:17:35,120 OF HUMANITY. >> MR. MAYOR, WOULD YOU PLEASE ATTEST AS TO THE AUTHENTICITY OF 495 00:17:35,120 --> 00:17:39,450 >> MR. MAYOR, WOULD YOU PLEASE ATTEST AS TO THE AUTHENTICITY OF THIS STRAITJACKET? 496 00:17:39,450 --> 00:17:39,890 ATTEST AS TO THE AUTHENTICITY OF THIS STRAITJACKET? >> YES. 497 00:17:39,890 --> 00:17:41,620 THIS STRAITJACKET? >> YES. TO THE BEST OF MY KNOWLEDGE AS 498 00:17:41,620 --> 00:17:43,790 >> YES. TO THE BEST OF MY KNOWLEDGE AS MAYOR, I WOULD HAVE TO SAY THAT 499 00:17:43,790 --> 00:17:45,530 TO THE BEST OF MY KNOWLEDGE AS MAYOR, I WOULD HAVE TO SAY THAT THIS APPEARS TO BE A COMPLETELY 500 00:17:45,530 --> 00:17:48,130 MAYOR, I WOULD HAVE TO SAY THAT THIS APPEARS TO BE A COMPLETELY AUTHENTIC STRAITJACKET OF THE 501 00:17:48,130 --> 00:17:50,300 THIS APPEARS TO BE A COMPLETELY AUTHENTIC STRAITJACKET OF THE TYPE USED IN OUR OWN HUMANELY 502 00:17:50,300 --> 00:17:52,030 AUTHENTIC STRAITJACKET OF THE TYPE USED IN OUR OWN HUMANELY RUN INSANE ASYLUMS. 503 00:17:52,030 --> 00:17:54,200 TYPE USED IN OUR OWN HUMANELY RUN INSANE ASYLUMS. AND, MR. ST. JOHN, MAY I SAY 504 00:17:54,200 --> 00:17:56,800 RUN INSANE ASYLUMS. AND, MR. ST. JOHN, MAY I SAY THAT YOU WOULD HAVE TO BE INSANE 505 00:17:56,800 --> 00:17:58,970 AND, MR. ST. JOHN, MAY I SAY THAT YOU WOULD HAVE TO BE INSANE TO ATTEMPT THIS DARING STUNT? 506 00:17:58,970 --> 00:18:00,270 THAT YOU WOULD HAVE TO BE INSANE TO ATTEMPT THIS DARING STUNT? [ BOTH CHUCKLE ] 507 00:18:00,270 --> 00:18:02,440 TO ATTEMPT THIS DARING STUNT? [ BOTH CHUCKLE ] >> WE SHALL SEE, YOUR HONOR. 508 00:18:02,440 --> 00:18:04,610 [ BOTH CHUCKLE ] >> WE SHALL SEE, YOUR HONOR. MAY I NOW PLEASE BE RAISED INTO 509 00:18:04,610 --> 00:18:06,780 >> WE SHALL SEE, YOUR HONOR. MAY I NOW PLEASE BE RAISED INTO THE AIR? 510 00:18:16,320 --> 00:18:20,230 >> THE MINUTES PASSED... 511 00:18:20,230 --> 00:18:22,830 >> THE MINUTES PASSED... TURNED INTO HOURS. 512 00:18:22,830 --> 00:18:25,430 >> THE MINUTES PASSED... TURNED INTO HOURS. THE HOURS BECAME DAYS. 513 00:18:25,430 --> 00:18:29,340 TURNED INTO HOURS. THE HOURS BECAME DAYS. THE DAYS STRETCHED INTO WEEKS. 514 00:18:29,340 --> 00:18:31,070 THE HOURS BECAME DAYS. THE DAYS STRETCHED INTO WEEKS. ALTHOUGH CYRIL STRUGGLED ON 515 00:18:31,070 --> 00:18:33,240 THE DAYS STRETCHED INTO WEEKS. ALTHOUGH CYRIL STRUGGLED ON GAMELY, IT WAS ALL TOO APPARENT 516 00:18:33,240 --> 00:18:34,980 ALTHOUGH CYRIL STRUGGLED ON GAMELY, IT WAS ALL TOO APPARENT THAT THE GREAT ESCAPIST HAD 517 00:18:34,980 --> 00:18:37,580 GAMELY, IT WAS ALL TOO APPARENT THAT THE GREAT ESCAPIST HAD FINALLY MET HIS MATCH. 518 00:18:37,580 --> 00:18:40,180 THAT THE GREAT ESCAPIST HAD FINALLY MET HIS MATCH. >> 1941 FOUND AMERICA RACING TO 519 00:18:40,180 --> 00:18:42,350 FINALLY MET HIS MATCH. >> 1941 FOUND AMERICA RACING TO WAR, AND THE PUBLIC QUICKLY LOST 520 00:18:42,350 --> 00:18:44,080 >> 1941 FOUND AMERICA RACING TO WAR, AND THE PUBLIC QUICKLY LOST INTEREST IN DAREDEVILS. 521 00:18:44,090 --> 00:18:45,830 WAR, AND THE PUBLIC QUICKLY LOST INTEREST IN DAREDEVILS. CYRIL, NO LONGER IN THE 522 00:18:45,820 --> 00:18:47,990 INTEREST IN DAREDEVILS. CYRIL, NO LONGER IN THE SPOTLIGHT, WAS QUICK TO ENLIST 523 00:18:47,990 --> 00:18:49,720 CYRIL, NO LONGER IN THE SPOTLIGHT, WAS QUICK TO ENLIST TO SERVE HIS COUNTRY. 524 00:18:49,720 --> 00:18:59,700 SPOTLIGHT, WAS QUICK TO ENLIST TO SERVE HIS COUNTRY. [ GUNFIRE ] 525 00:18:59,700 --> 00:19:03,600 TO SERVE HIS COUNTRY. [ GUNFIRE ] [ GUNSHOT ] 526 00:19:03,600 --> 00:19:06,640 [ GUNFIRE ] [ GUNSHOT ] AFTER BEING WOUNDED A RECORD 276 527 00:19:06,640 --> 00:19:10,110 [ GUNSHOT ] AFTER BEING WOUNDED A RECORD 276 TIMES, CYRIL RETURNED TO AMERICA 528 00:19:10,110 --> 00:19:12,280 AFTER BEING WOUNDED A RECORD 276 TIMES, CYRIL RETURNED TO AMERICA AS AN HONORED WAR HERO. 529 00:19:12,280 --> 00:19:14,010 TIMES, CYRIL RETURNED TO AMERICA AS AN HONORED WAR HERO. HE WAS GIVEN HIS OWN SHOW IN THE 530 00:19:14,020 --> 00:19:16,190 AS AN HONORED WAR HERO. HE WAS GIVEN HIS OWN SHOW IN THE NEW MEDIUM OF TELEVISION. 531 00:19:22,260 --> 00:19:26,590 [ APPLAUSE ] 532 00:19:26,590 --> 00:19:30,060 [ APPLAUSE ] >> HEY, DAD. 533 00:19:30,060 --> 00:19:33,100 [ APPLAUSE ] >> HEY, DAD. [ APPLAUSE ] 534 00:19:33,100 --> 00:19:36,140 >> HEY, DAD. [ APPLAUSE ] >> YES, RONNIE? 535 00:19:36,140 --> 00:19:37,870 [ APPLAUSE ] >> YES, RONNIE? >> DO YOU THINK I COULD BORROW 536 00:19:37,870 --> 00:19:38,740 >> YES, RONNIE? >> DO YOU THINK I COULD BORROW THE CAR TONIGHT? 537 00:19:38,740 --> 00:19:40,470 >> DO YOU THINK I COULD BORROW THE CAR TONIGHT? >> WELL, I DON'T KNOW, RONNIE. 538 00:19:40,470 --> 00:19:41,340 THE CAR TONIGHT? >> WELL, I DON'T KNOW, RONNIE. >> AW, COME ON. 539 00:19:41,340 --> 00:19:43,080 >> WELL, I DON'T KNOW, RONNIE. >> AW, COME ON. IT'S NOT LIKE YOU'RE GONNA BE 540 00:19:43,080 --> 00:19:43,940 >> AW, COME ON. IT'S NOT LIKE YOU'RE GONNA BE USING IT. 541 00:19:43,940 --> 00:19:46,550 IT'S NOT LIKE YOU'RE GONNA BE USING IT. >> WHY, I OUGHT TO... 542 00:19:46,550 --> 00:19:49,150 USING IT. >> WHY, I OUGHT TO... >> YEAH, AS IF YOU COULD. 543 00:19:49,150 --> 00:19:52,190 >> WHY, I OUGHT TO... >> YEAH, AS IF YOU COULD. [ LAUGHTER ] 544 00:19:52,190 --> 00:19:55,660 >> YEAH, AS IF YOU COULD. [ LAUGHTER ] SEE YA, POPS. 545 00:19:55,660 --> 00:19:59,130 [ LAUGHTER ] SEE YA, POPS. [ APPLAUSE ] 546 00:19:59,130 --> 00:20:00,430 SEE YA, POPS. [ APPLAUSE ] >> THE GREAT THING ABOUT TV IN 547 00:20:00,430 --> 00:20:02,160 [ APPLAUSE ] >> THE GREAT THING ABOUT TV IN THE OLD DAYS WAS THAT IT WAS 548 00:20:02,160 --> 00:20:02,600 >> THE GREAT THING ABOUT TV IN THE OLD DAYS WAS THAT IT WAS LIVE. 549 00:20:02,600 --> 00:20:04,330 THE OLD DAYS WAS THAT IT WAS LIVE. YOU HAD ONE SHOT AT IT, AND 550 00:20:04,330 --> 00:20:05,630 LIVE. YOU HAD ONE SHOT AT IT, AND ANYTHING COULD HAPPEN. 551 00:20:05,630 --> 00:20:07,370 YOU HAD ONE SHOT AT IT, AND ANYTHING COULD HAPPEN. SOMEBODY WOULD FORGET A LINE, 552 00:20:07,370 --> 00:20:07,800 ANYTHING COULD HAPPEN. SOMEBODY WOULD FORGET A LINE, BREAK A PROP. 553 00:20:07,800 --> 00:20:09,540 SOMEBODY WOULD FORGET A LINE, BREAK A PROP. HELL, HE MIGHT EVEN HAVE GOTTEN 554 00:20:09,540 --> 00:20:11,710 BREAK A PROP. HELL, HE MIGHT EVEN HAVE GOTTEN OUT OF THAT DAMN THING. 555 00:20:11,710 --> 00:20:15,610 YOU NEVER KNEW. 556 00:20:16,040 --> 00:20:17,780 >> "FIT TO BE TIED" RAN FROM 557 00:20:17,780 --> 00:20:19,950 >> "FIT TO BE TIED" RAN FROM 1950 TO 1958, WHEN, ACCORDING TO 558 00:20:19,950 --> 00:20:22,120 >> "FIT TO BE TIED" RAN FROM 1950 TO 1958, WHEN, ACCORDING TO NETWORK EXECUTIVES, DESPITE THE 559 00:20:22,120 --> 00:20:24,280 1950 TO 1958, WHEN, ACCORDING TO NETWORK EXECUTIVES, DESPITE THE ADDITION OF A MONKEY TO THE 560 00:20:24,290 --> 00:20:26,030 NETWORK EXECUTIVES, DESPITE THE ADDITION OF A MONKEY TO THE CAST, THE PREMISE JUST RAN OUT 561 00:20:26,020 --> 00:20:27,320 ADDITION OF A MONKEY TO THE CAST, THE PREMISE JUST RAN OUT OF STEAM. 562 00:20:27,760 --> 00:20:29,500 SEVERAL UNSUCCESSFUL FILMS 563 00:20:29,490 --> 00:20:30,360 SEVERAL UNSUCCESSFUL FILMS FOLLOWED. 564 00:20:30,360 --> 00:20:32,960 SEVERAL UNSUCCESSFUL FILMS FOLLOWED. "BOUND TO SERVE" WAS THE TALE OF 565 00:20:32,960 --> 00:20:35,130 FOLLOWED. "BOUND TO SERVE" WAS THE TALE OF A MOUNTIE BRINGING LAW AND ORDER 566 00:20:35,130 --> 00:20:37,300 "BOUND TO SERVE" WAS THE TALE OF A MOUNTIE BRINGING LAW AND ORDER TO THE CANADIAN NORTHWEST. 567 00:20:37,300 --> 00:20:39,030 A MOUNTIE BRINGING LAW AND ORDER TO THE CANADIAN NORTHWEST. ALTHOUGH CONSIDERED TO BE HIS 568 00:20:39,030 --> 00:20:40,330 TO THE CANADIAN NORTHWEST. ALTHOUGH CONSIDERED TO BE HIS BEST FILM, IT WAS ALSO 569 00:20:40,330 --> 00:20:42,070 ALTHOUGH CONSIDERED TO BE HIS BEST FILM, IT WAS ALSO CONSIDERED TO BE TERRIBLE. 570 00:20:42,070 --> 00:20:44,240 BEST FILM, IT WAS ALSO CONSIDERED TO BE TERRIBLE. 20 MINUTES AFTER ITS RELEASE, 571 00:20:44,240 --> 00:20:45,970 CONSIDERED TO BE TERRIBLE. 20 MINUTES AFTER ITS RELEASE, CYRIL ANNOUNCED HIS RETIREMENT 572 00:20:45,970 --> 00:20:47,710 20 MINUTES AFTER ITS RELEASE, CYRIL ANNOUNCED HIS RETIREMENT FROM SHOW BUSINESS. 573 00:20:47,710 --> 00:20:49,440 MANY YEARS OF ISOLATION 574 00:20:49,440 --> 00:20:50,310 MANY YEARS OF ISOLATION FOLLOWED. 575 00:20:50,310 --> 00:20:52,480 MANY YEARS OF ISOLATION FOLLOWED. UNABLE TO COPE WITH LIFE OUT OF 576 00:20:52,480 --> 00:20:55,080 FOLLOWED. UNABLE TO COPE WITH LIFE OUT OF THE PUBLIC EYE, CYRIL ST. JOHN, 577 00:20:55,080 --> 00:20:57,250 UNABLE TO COPE WITH LIFE OUT OF THE PUBLIC EYE, CYRIL ST. JOHN, THE ESCAPIST, LAPSED INTO MENTAL 578 00:20:57,250 --> 00:20:58,550 THE PUBLIC EYE, CYRIL ST. JOHN, THE ESCAPIST, LAPSED INTO MENTAL ILLNESS AND WAS 579 00:20:58,550 --> 00:21:02,020 THE ESCAPIST, LAPSED INTO MENTAL ILLNESS AND WAS INSTITUTIONALIZED. 580 00:21:02,020 --> 00:21:04,630 ILLNESS AND WAS INSTITUTIONALIZED. >> [ GRUNTING ] 581 00:21:12,430 --> 00:21:15,470 YES! YES! 582 00:21:15,470 --> 00:21:18,070 YES! YES! YES! 583 00:21:18,070 --> 00:21:19,370 YES! YES! YES! >> NOW, IN THE EARLY '70s, 584 00:21:19,370 --> 00:21:21,110 YES! >> NOW, IN THE EARLY '70s, SOMETHING STRANGE AND WONDERFUL 585 00:21:21,110 --> 00:21:22,410 >> NOW, IN THE EARLY '70s, SOMETHING STRANGE AND WONDERFUL HAPPENED. 586 00:21:22,410 --> 00:21:23,710 THE OLD KINESCOPES OF 587 00:21:23,710 --> 00:21:25,450 THE OLD KINESCOPES OF "FIT TO BE TIED" WERE RERUN ALL 588 00:21:25,450 --> 00:21:26,750 "FIT TO BE TIED" WERE RERUN ALL OVER AMERICA, AND A WHOLE NEW 589 00:21:26,750 --> 00:21:28,480 OVER AMERICA, AND A WHOLE NEW GENERATION WAS BEING TURNED ON 590 00:21:28,480 --> 00:21:30,220 GENERATION WAS BEING TURNED ON TO CYRIL ST. JOHN. 591 00:21:30,220 --> 00:21:31,520 THIS, OF COURSE, LED TO THE 592 00:21:31,520 --> 00:21:33,250 THIS, OF COURSE, LED TO THE FAMOUS CARNEGIE HALL APPEARANCE 593 00:21:33,250 --> 00:21:36,290 THIS, OF COURSE, LED TO THE FAMOUS CARNEGIE HALL APPEARANCE IN '74. 594 00:21:36,290 --> 00:21:37,590 FAMOUS CARNEGIE HALL APPEARANCE IN '74. [ MUSICAL INTRODUCTION PLAYS ] 595 00:21:37,590 --> 00:21:44,100 IN '74. [ MUSICAL INTRODUCTION PLAYS ] [ CHEERS AND APPLAUSE ] 596 00:21:44,100 --> 00:21:46,700 [ MUSICAL INTRODUCTION PLAYS ] [ CHEERS AND APPLAUSE ] >> ♪ LYDIA, OH, LYDIA ♪ 597 00:21:46,700 --> 00:21:50,170 [ CHEERS AND APPLAUSE ] >> ♪ LYDIA, OH, LYDIA ♪ ♪ SAY, HAVE YOU MET LYDIA? ♪ 598 00:21:50,170 --> 00:21:54,940 >> ♪ LYDIA, OH, LYDIA ♪ ♪ SAY, HAVE YOU MET LYDIA? ♪ ♪ LYDIA, THE TATTOOED LADY ♪ 599 00:21:54,940 --> 00:21:56,680 ♪ SAY, HAVE YOU MET LYDIA? ♪ ♪ LYDIA, THE TATTOOED LADY ♪ OHH. 600 00:21:56,680 --> 00:21:57,980 ♪ LYDIA, THE TATTOOED LADY ♪ OHH. OHH. 601 00:21:57,980 --> 00:22:01,450 OHH. OHH. [ CHEERS AND APPLAUSE ] 602 00:22:01,450 --> 00:22:03,180 OHH. [ CHEERS AND APPLAUSE ] OHH. 603 00:22:03,180 --> 00:22:05,350 [ CHEERS AND APPLAUSE ] OHH. ♪ OH, LYDIA ♪ 604 00:22:05,350 --> 00:22:07,520 OHH. ♪ OH, LYDIA ♪ ♪ LYDIA ♪ 605 00:22:07,520 --> 00:22:10,120 ♪ OH, LYDIA ♪ ♪ LYDIA ♪ ♪ LYDIA ♪ 606 00:22:10,120 --> 00:22:13,160 ♪ LYDIA ♪ ♪ LYDIA ♪ ♪ TATTOOED LADY ♪ 607 00:22:19,670 --> 00:22:21,840 >> THAT WAS TO BE THE ESCAPIST'S 608 00:22:21,840 --> 00:22:24,440 >> THAT WAS TO BE THE ESCAPIST'S LAST PUBLIC APPEARANCE, BUT FOR 609 00:22:24,440 --> 00:22:26,170 >> THAT WAS TO BE THE ESCAPIST'S LAST PUBLIC APPEARANCE, BUT FOR ONE. 610 00:22:46,290 --> 00:22:49,330 -- Captions by VITAC -- www.vitac.com 611 00:22:49,330 --> 00:22:52,370 CAPTIONS PAID FOR BY BROADWAY VIDEO 63673

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