Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated:
1
00:00:12,620 --> 00:00:15,400
- I'M THE DEPUTY DIRECTOR OF THE FBI.
2
00:00:15,530 --> 00:00:18,230
I'M GONNA LOOK INTO THIS RASCAL "DEEP THROAT."
3
00:00:18,360 --> 00:00:21,190
I THINK I'M GONNA VOMIT.
4
00:00:21,320 --> 00:00:23,060
- ELVIS FREAKS OUT.
5
00:00:23,190 --> 00:00:25,320
HE'S GONNA REGRET THE DAY HE STOLE THAT JEWELRY, MAN.
6
00:00:25,450 --> 00:00:28,850
HE--HE MESSED WITH THE WRONG GUY.
7
00:00:28,980 --> 00:00:30,500
- JOHN WILKES BOOTH IS LIKE,
8
00:00:30,630 --> 00:00:33,770
LINCOLN? WHAT DOES IT ALL MEAN?
9
00:00:33,900 --> 00:00:36,290
WHAT IS HE TALKING ABOUT?
10
00:00:36,420 --> 00:00:39,600
SLAVERY. I DON'T EVEN GET IT.
11
00:00:39,730 --> 00:00:43,780
WHA--
12
00:00:43,910 --> 00:00:45,470
WHERE ARE WE?
13
00:00:56,530 --> 00:01:01,320
- UM, D.C. IS THE GREATEST PLACE TO LIVE ON EARTH.
14
00:01:01,450 --> 00:01:05,710
UM, IT'S A TRANSIENT CITY, LIKE A STEPPING STONE.
15
00:01:05,840 --> 00:01:07,930
SO THAT BRINGS A LOT OF NEW PEOPLE IN,
16
00:01:08,060 --> 00:01:09,590
BUT IT'S ALSO-- BRINGS PEOPLE WHO DON'T KNOW
17
00:01:09,720 --> 00:01:11,850
WHAT THE 'S GOING ON.
18
00:01:11,980 --> 00:01:13,720
- THERE'S THE THREE BRANCHES OF GOVERNMENT,
19
00:01:13,850 --> 00:01:15,720
ALL OF THESE CHECKS AND BALANCES.
20
00:01:15,850 --> 00:01:18,460
JUDICIAL, EXECUTIVE, LEGISLATIVE.
21
00:01:18,590 --> 00:01:22,030
THEY ALL EXIST IN WASHINGTON, D.C.
22
00:01:23,640 --> 00:01:25,080
- HAVE YOU BEEN DRINKING?
23
00:01:25,210 --> 00:01:27,170
- HERE'S THE DEAL. I HAVE BEEN.
24
00:01:27,300 --> 00:01:28,740
- YEAH.
25
00:01:28,870 --> 00:01:30,080
- BECAUSE THAT'S THE PART OF THE THING
26
00:01:30,220 --> 00:01:31,260
THAT I GOTTA DO FOR THIS SHOW.
27
00:01:31,390 --> 00:01:33,000
HELLO.
28
00:01:33,130 --> 00:01:35,260
MY NAME IS MATT GOURLEY.
29
00:01:35,390 --> 00:01:37,480
AND TONIGHT, WE'RE GONNA TALK ABOUT WATERGATE.
30
00:01:37,610 --> 00:01:41,180
LET'S BEGIN.
31
00:01:41,310 --> 00:01:44,190
WASHINGTON, D.C. 1970--
32
00:01:44,320 --> 00:01:46,060
1972.
33
00:01:46,190 --> 00:01:48,410
FIVE WATERGATE BURGLARS ARE ARRESTED
34
00:01:48,540 --> 00:01:51,320
IN THE DEMOCRATIC NATIONAL COMMITTEE HEADQUARTERS.
35
00:01:51,450 --> 00:01:54,410
WHAT ARE THEY DOING THERE? WHY ARE THEY BREAKING IN?
36
00:01:54,540 --> 00:01:58,070
THE YOUNG UPSTART REPORTER, ROBERT WOODWARD,
37
00:01:58,200 --> 00:01:59,680
GOES TO THE HEARING.
38
00:01:59,810 --> 00:02:01,460
ONE OF THEM,
39
00:02:01,590 --> 00:02:04,730
WHEN THE JUDGE IS ASKING THESE FIVE BURGLARS,
40
00:02:04,860 --> 00:02:06,080
WHO DO YOU WORK FOR?
41
00:02:06,210 --> 00:02:07,990
THE CIA.
42
00:02:08,120 --> 00:02:10,600
EXCUSE ME, COULD YOU SAY THAT A LITTLE BIT LOUDER?
43
00:02:10,730 --> 00:02:12,560
THE CIA.
44
00:02:12,690 --> 00:02:17,960
ROBERT WOODWARD IS ON TO SOMETHING.
45
00:02:18,090 --> 00:02:20,270
OH, LOOK AT THIS SWEET, LITTLE FAT GUY.
46
00:02:22,570 --> 00:02:27,230
WHERE DO YOU GOTTA BE RIGHT NOW?
47
00:02:27,360 --> 00:02:29,360
OKAY, LET'S GO BACK IN TIME.
48
00:02:29,490 --> 00:02:31,320
THE YEAR IS 1970.
49
00:02:31,450 --> 00:02:36,370
A YOUNG ROBERT WOODWARD, A LIEUTENANT IN THE NAVY--
50
00:02:36,500 --> 00:02:39,980
HE'S SITTING NEXT TO THIS OLDER, DISTINGUISHED MAN,
51
00:02:40,110 --> 00:02:42,680
SAYING, I'M SOON TO BE OUT OF THE NAVY.
52
00:02:42,810 --> 00:02:44,510
WHAT AM I GONNA DO WITH MY LIFE?
53
00:02:44,640 --> 00:02:47,810
AM I GONNA BECOME A LAWYER LIKE MY FATHER WANTS?
54
00:02:47,940 --> 00:02:50,380
AND THIS OLDER MAN PRESENTS HIMSELF AS A MENTOR,
55
00:02:50,510 --> 00:02:52,730
SAYING, SO LISTEN TO ME.
56
00:02:52,860 --> 00:02:56,040
YOU'RE WORKING FOR TRUTH. STAY WITH IT.
57
00:02:56,170 --> 00:02:59,350
AND YOUNG ROBERT WOODWARD TAKES AWAY FROM THIS THING,
58
00:02:59,480 --> 00:03:00,830
I CAN DEPEND ON THIS MAN.
59
00:03:00,960 --> 00:03:03,790
I CAN CALL ON THIS MAN AT SOME POINT
60
00:03:03,920 --> 00:03:05,750
TO GIVE ME INFORMATION.
61
00:03:05,880 --> 00:03:11,360
THAT MAN IS MARK FELT, THE DEPUTY DIRECTOR OF THE FBI.
62
00:03:11,490 --> 00:03:13,670
LET'S FLASH FORWARD A LITTLE BIT.
63
00:03:13,800 --> 00:03:16,760
ROBERT WOODWARD AND HIS PARTNER, CARL BERNSTEIN,
64
00:03:16,890 --> 00:03:19,720
DECIDE TO CALL ON HIS OLD BUDDY, MARK FELT,
65
00:03:19,850 --> 00:03:22,980
FOR INFORMATION ABOUT WATERGATE.
66
00:03:23,110 --> 00:03:25,370
FELT SAYS, I CAN'T TALK TO YOU ON THE PHONE ABOUT THIS.
67
00:03:25,500 --> 00:03:29,810
I'M MARK FELT, AND I DID SPY TIMES AND WWII,
68
00:03:29,940 --> 00:03:31,730
AND I KNOW HOW THIS WORKS.
69
00:03:31,860 --> 00:03:35,600
YOU GET THE NEW YORK TIMES EVERY DAY AT YOUR DOOR.
70
00:03:35,730 --> 00:03:39,170
AT PAGE 20, I WILL DRAW A LITTLE CLOCK
71
00:03:39,300 --> 00:03:41,040
THAT SAYS WHAT HOUR I WANNA MEET YOU.
72
00:03:41,170 --> 00:03:42,090
AND HERE'S THE THING.
73
00:03:42,220 --> 00:03:43,870
ANYTIME YOU WANNA MEET ME,
74
00:03:44,000 --> 00:03:46,480
MARK FELT SAYS, I NEED SOMETHING
75
00:03:46,610 --> 00:03:49,050
THAT I COULD VISUALLY ACKNOWLEDGE.
76
00:03:49,180 --> 00:03:51,140
WOODWARD SAYS, I DO HAVE THIS POTTED PLANT
77
00:03:51,270 --> 00:03:52,570
THAT I KEEP OUT ON MY BALCONY.
78
00:03:52,710 --> 00:03:54,230
I COULD MOVE THAT.
79
00:03:54,360 --> 00:03:56,670
AND MARK FELT IS LIKE, HERE'S THE THING.
80
00:03:56,800 --> 00:03:58,890
I WANNA MEET YOU AT THIS UNDERGROUND PARKING GARAGE
81
00:03:59,020 --> 00:04:00,890
IN VIRGINIA.
82
00:04:01,020 --> 00:04:03,240
BUT ANYTIME YOU WANNA MEET ME, LEAVE OUT THE BACK STAIRS.
83
00:04:03,370 --> 00:04:05,980
WALK A COUPLE OF BLOCKS, GET IN A CAB.
84
00:04:06,110 --> 00:04:07,630
TAKE THAT CAB, GET OUT OF THE CAB,
85
00:04:07,760 --> 00:04:10,420
WALK A COUPLE BLOCKS, GET IN ANOTHER CAB,
86
00:04:10,550 --> 00:04:12,810
GET IN THAT CAB, GET OUT OF THAT CAB,
87
00:04:12,940 --> 00:04:15,380
WALK A COUPLE BLOCKS TO THE VIRGINIA PARKING GARAGE
88
00:04:15,510 --> 00:04:18,120
THAT I PREVIOUSLY TALKED ABOUT.
89
00:04:18,250 --> 00:04:20,690
WOODWARD MEETS FELT.
90
00:04:20,820 --> 00:04:25,390
AND HE SAYS...
91
00:04:28,130 --> 00:04:30,610
HOLD ON.
92
00:04:30,740 --> 00:04:34,700
I THINK I'M GONNA VOMIT.
93
00:04:37,270 --> 00:04:39,800
DO YOU--
94
00:04:39,930 --> 00:04:41,450
- DO WHAT YOU GOTTA DO.
95
00:04:45,760 --> 00:04:48,720
SORRY, PAL.
96
00:04:51,460 --> 00:04:54,160
I'M READY TO TELL THE STORY.
97
00:04:54,290 --> 00:04:58,510
WOODWARD MEETS WITH MARK FELT,
98
00:04:58,640 --> 00:05:00,820
AND HE SAYS, COULD YOU TELL ME A LITTLE BIT
99
00:05:00,950 --> 00:05:03,950
ABOUT WHY THESE GUYS MIGHT BE CONNECTED?
100
00:05:04,080 --> 00:05:06,080
AND HE SAYS, PUT THE PIECES TOGETHER,
101
00:05:06,210 --> 00:05:08,260
YOU DUMBASS!
102
00:05:08,390 --> 00:05:12,050
IT'S ALL IN FRONT OF YOU. DO THE WORK!
103
00:05:12,180 --> 00:05:13,920
JUST BE CAREFUL.
104
00:05:14,050 --> 00:05:16,830
WATERGATE IS THE TIP OF THE ICEBERG.
105
00:05:16,960 --> 00:05:19,490
AND WHEN ROBERT WOODWARD TOOK HIS SECRET SOURCE
106
00:05:19,620 --> 00:05:21,180
TO THE WASHINGTON POST, HE SAID,
107
00:05:21,320 --> 00:05:23,060
MY SOURCE IS DEEP BACKGROUND.
108
00:05:23,190 --> 00:05:25,540
THAT MEANS HE CANNOT BE IDENTIFIED.
109
00:05:25,670 --> 00:05:28,500
THEIR EDITOR AT THE WASHINGTON POSTSAID,
110
00:05:28,630 --> 00:05:30,630
YEAH, YOU KEEP CALLING HIM DEEP BACKGROUND,
111
00:05:30,760 --> 00:05:32,720
BUT I'M GONNA CALL HIM "DEEP THROAT"...
112
00:05:32,850 --> 00:05:34,630
BASED ON...
113
00:05:34,760 --> 00:05:37,110
THE PORNOGRAPHY FILM THAT WAS VERY POPULAR,
114
00:05:37,240 --> 00:05:38,940
WHICH DEALT WITH NATURAL LADIES,
115
00:05:39,070 --> 00:05:41,120
YOU KNOW?
116
00:05:41,250 --> 00:05:43,640
AND SO WOODWARD AND BERNSTEIN FIGURE OUT
117
00:05:43,770 --> 00:05:46,690
THAT THIS MONEY CONNECTED TO THESE BURGLARS
118
00:05:46,820 --> 00:05:50,480
GOES ALL THE WAY TO THE WATERGATE ADMINISTRATION--
119
00:05:50,610 --> 00:05:53,300
TO THE NIXON ADMINISTRATION.
120
00:05:53,430 --> 00:05:56,310
RICHARD NIXON. LET'S TALK ABOUT RICHARD NIXON.
121
00:05:56,440 --> 00:05:57,350
DO YOU WANNA TALK ABOUT RICHARD NIXON?
122
00:05:57,480 --> 00:05:58,740
- I WOULD LO-- YES, PLEASE.
123
00:05:58,870 --> 00:06:00,090
- YEAH, I THOUGHT YOU MIGHT.
124
00:06:00,220 --> 00:06:01,960
MARK FELT SAYS TO NIXON,
125
00:06:02,100 --> 00:06:04,880
I'M THE DEPUTY DIRECTOR OF THE FBI.
126
00:06:05,010 --> 00:06:08,010
I'M GONNA LOOK INTO THIS RASCAL "DEEP THROAT."
127
00:06:08,140 --> 00:06:10,970
AND FURTHER, I'M GONNA SET MYSELF UP
128
00:06:11,100 --> 00:06:13,930
AS HEAD OF THE INVESTIGATION.
129
00:06:14,060 --> 00:06:16,590
SO NIXON'S TOP AIDE, HALDEMAN, SAYS,
130
00:06:16,720 --> 00:06:19,630
I THINK MARK FELT IS DEEP THROAT.
131
00:06:19,770 --> 00:06:23,420
AND NIXON SAYS, NOW, WHY WOULD HE DO THAT?
132
00:06:23,550 --> 00:06:26,860
AND WHEN THE WATERGATE HEARINGS GETS TO A BOILING POINT,
133
00:06:26,990 --> 00:06:28,690
NIXON IS LIKE,
134
00:06:28,820 --> 00:06:30,860
I NEVER KNEW OF THIS WATERGATE BREAK-IN
135
00:06:30,990 --> 00:06:33,130
TO DISCOVER INFORMATION ABOUT THE DEMOCRATS.
136
00:06:33,260 --> 00:06:34,520
AND AFTER THAT, HE SAYS,
137
00:06:34,650 --> 00:06:35,960
"I AM NOT A CROOK."
138
00:06:36,090 --> 00:06:38,000
NIXON KNOWS HE'S .
139
00:06:38,130 --> 00:06:40,350
AND HE SAYS, THERE'S NOTHING I CAN DO ABOUT IT.
140
00:06:40,480 --> 00:06:41,960
NOBODY'S GONNA TRUST ME AT THIS POINT.
141
00:06:42,090 --> 00:06:44,220
I GOTTA STEP DOWN.
142
00:06:44,350 --> 00:06:45,790
HAND ME SOME COOKIES.
143
00:06:47,970 --> 00:06:51,410
ALL I KNOW IS I'M EATING COOKIES AND NONE OF YOU ARE.
144
00:06:51,540 --> 00:06:53,190
DO YOU GUYS WANT SOME COOKIES?
145
00:06:53,320 --> 00:06:55,190
- NO, WE LIKE WATCHING YOU EAT COOKIES.
146
00:06:55,320 --> 00:06:56,980
- YOU HAVE NO AMBITION.
147
00:06:57,110 --> 00:06:59,280
THE INTERESTING THING ABOUT THIS TAKE
148
00:06:59,410 --> 00:07:02,500
WE'RE TAKING ON IT IS ALL THE STORIES WE KNOW OF WATERGATE
149
00:07:02,630 --> 00:07:04,640
IS, WHO'S DEEP THROAT?
150
00:07:04,770 --> 00:07:07,380
AND NOW WE CAN TELL THE STORY KNOWING WHO DEEP THROAT IS.
151
00:07:07,510 --> 00:07:09,420
AND IN THE END,
152
00:07:09,550 --> 00:07:12,250
YOU CAN TOSS ASIDE RICHARD NIXON FOR ALL HIS CYNICISM,
153
00:07:12,380 --> 00:07:14,820
YOU CAN TOSS ASIDE DEEP THROAT FOR ALL HIS CYNICISM,
154
00:07:14,950 --> 00:07:19,040
BUT YOU CAN'T TOSS ASIDE ROBERT WOODWARD,
155
00:07:19,170 --> 00:07:21,300
AND TO A LESSER EXTENT, CARL BERNSTEIN,
156
00:07:21,440 --> 00:07:24,390
FOR THE TRUTH THAT THEY EXPOSED
157
00:07:24,530 --> 00:07:27,750
FOR AMERICA.
158
00:07:27,880 --> 00:07:30,050
WELL, WE TOLD THE STORY OF WATERGATE.
159
00:07:30,180 --> 00:07:32,970
THERE'S NO WAY I COULD POSSIBLY MISCONSTRUE IT
160
00:07:33,100 --> 00:07:38,580
AS NOT THE GREATEST JOURNALISTIC ENDEAVOR EVER TOLD.
161
00:07:38,710 --> 00:07:41,460
ROBERT WOODWARD WOULD BE PROUD.
162
00:07:44,370 --> 00:07:46,630
- IT'S BEAUTIFUL. THEY'RE AT THE FORD'S THEATRE.
163
00:07:46,770 --> 00:07:50,290
UNTIL JOHN WILKES BOOTH COMES INTO THEIR BOX
164
00:07:50,420 --> 00:07:52,340
AND SHOOTS LINCOLN IN THE HEAD.
165
00:08:04,780 --> 00:08:06,520
- ABRAHAM LINCOLN IS, LIKE, THE BEST.
166
00:08:06,650 --> 00:08:09,530
ASIDE FROM THE PRO-- THE EMANCIPATION PROCLAMATION,
167
00:08:09,660 --> 00:08:11,530
FREED THE SLAVES--
168
00:08:11,660 --> 00:08:13,530
ACTUALLY, I'M EAST AFRICAN. IT DOESN'T MATTER.
169
00:08:13,660 --> 00:08:15,750
BUT HE'S SWAG.
170
00:08:15,880 --> 00:08:17,540
GREAT, ABRAHAM LINCOLN.
171
00:08:17,670 --> 00:08:19,710
ABRAHAM LINCOLN IS, LIKE, THE BEST--
172
00:08:19,840 --> 00:08:22,150
16TH-BEST PRESIDENT IN AMERICA.
173
00:08:22,280 --> 00:08:23,240
- CHEERS. - CHEERS.
174
00:08:23,370 --> 00:08:27,680
- HISTORY. YEAH?
175
00:08:27,810 --> 00:08:29,160
- WHEN I DRANK, IT SOUNDED LIKE A FART.
176
00:08:30,290 --> 00:08:32,330
- HELLO.
177
00:08:32,460 --> 00:08:34,550
TODAY, WE'RE GONNA TALK ABOUT JOHN WILKES BOOTH
178
00:08:34,680 --> 00:08:37,160
AND HIS BROTHER, EDWIN BOOTH--
179
00:08:37,290 --> 00:08:39,910
THE BOOTH BROTHERS.
180
00:08:40,040 --> 00:08:42,340
EDWIN BOOTH AND JOHN WILKES BOOTH
181
00:08:42,470 --> 00:08:45,480
WERE BORN TO A BRITISH ACTOR
182
00:08:45,610 --> 00:08:49,700
NAMED JU...NIUS BRUTUS BOOTH.
183
00:08:51,830 --> 00:08:55,270
EDWIN IS A FAVORITE OF THEIR DAD.
184
00:08:55,400 --> 00:08:59,360
JUNIUS WAS SO MEAN, HE WOULDN'T EVEN LET JOHN WILKES
185
00:08:59,490 --> 00:09:01,140
INTO PHOTOGRAPHS WITH HIM.
186
00:09:01,270 --> 00:09:04,800
JOHN WILKES, STAY BACK, MAN. STAY AWAY.
187
00:09:04,930 --> 00:09:07,670
BECAUSE YOU'RE NOT COOL. STOP.
188
00:09:07,800 --> 00:09:10,500
YOU'RE KINDA WEIRD. YOU'RE WEIRDING EVERYBODY OUT.
189
00:09:10,630 --> 00:09:12,420
JUST BACK AWAY.
190
00:09:12,550 --> 00:09:14,940
AND HE BECAME SAD.
191
00:09:15,070 --> 00:09:18,030
WHICH ESTABLISHES THEIR RIVALRY.
192
00:09:18,160 --> 00:09:21,510
IN 1858, JOHN WILKES AND EDWIN BOOTH
193
00:09:21,640 --> 00:09:25,820
WERE THE MOST FAMOUS ACTORS IN THE WORLD.
194
00:09:25,950 --> 00:09:31,220
PERFORMANCE-WISE, EVERYONE LOVED EDWIN BOOTH.
195
00:09:31,350 --> 00:09:34,700
JOHN WILKES BOOTH-- HE WAS UNTRAINED.
196
00:09:34,830 --> 00:09:39,830
HE WOULD KNOCK SETS DOWN. HE WAS SO VIOLENT.
197
00:09:39,970 --> 00:09:41,750
SO WHEN THE CIVIL WAR BROKE OUT,
198
00:09:41,880 --> 00:09:43,840
JOHN WILKES BOOTH IS LIKE,
199
00:09:43,970 --> 00:09:46,800
LINCOLN? WHAT DOES IT ALL MEAN?
200
00:09:46,930 --> 00:09:49,450
WHAT IS HE TALKING ABOUT?
201
00:09:49,580 --> 00:09:52,720
SLAVERY. I DON'T EVEN GET IT.
202
00:09:52,850 --> 00:09:56,420
THAT WAS THE MOMENT HIS POLITICAL ASPIRATIONS
203
00:09:56,550 --> 00:10:01,200
OVERTOOK ARTISTIC ASPIRATION.
204
00:10:01,330 --> 00:10:03,120
HOWEVER, ABRAHAM LINCOLN
205
00:10:03,250 --> 00:10:06,250
WAS REQUESTING EDWIN PERFORM SHAKESPEARE
206
00:10:06,380 --> 00:10:08,470
AT GOVERNMENT FUNCTIONS.
207
00:10:08,600 --> 00:10:10,130
AM I IT UP, GUYS?
208
00:10:10,260 --> 00:10:12,040
WHAT'S UP, GUYS?
209
00:10:12,170 --> 00:10:13,480
WHAT--IS IT IT UP?
210
00:10:13,610 --> 00:10:16,570
OKAY, OKAY.
211
00:10:16,700 --> 00:10:19,090
OKAY. RIGHT, RIGHT, RIGHT.
212
00:10:19,220 --> 00:10:21,090
AT THE FORD'S THEATRE,
213
00:10:21,220 --> 00:10:23,750
WHEN JOHN WILKES BOOTH WAS GESTICULATING,
214
00:10:23,880 --> 00:10:25,920
ABRAHAM LINCOLN'S SISTER-IN-LAW IS LIKE,
215
00:10:26,050 --> 00:10:28,450
I THINK HE'S POINTING AT YOU, ABRAHAM.
216
00:10:28,580 --> 00:10:29,800
AND ABRAHAM LINCOLN IS LIKE,
217
00:10:29,930 --> 00:10:32,370
IT DOES SEEM LIKE HE'S POINTING AT ME.
218
00:10:32,500 --> 00:10:34,630
UHH...
219
00:10:34,760 --> 00:10:36,370
THIS IS A LITTLE WEIRD.
220
00:10:36,500 --> 00:10:39,810
HE SHOULD, UH, YOU KNOW,
221
00:10:39,940 --> 00:10:42,330
NOT BE POINTING AT ME DURING THIS PARTICULAR LINE
222
00:10:42,460 --> 00:10:46,730
BECAUSE IT'S SORT OF... AGGRESSIVE.
223
00:10:46,860 --> 00:10:51,560
IN NOVEMBER 1864, EDWIN BOOTH IS LIKE,
224
00:10:51,690 --> 00:10:54,130
HEY, YOU KNOW, I WANNA GET TO KNOW YOU BETTER.
225
00:10:54,260 --> 00:10:55,780
WE'VE HAD SOME HARD TIMES.
226
00:10:55,910 --> 00:10:58,480
LET'S DO A PLAY TOGETHER AGAIN,
227
00:10:58,610 --> 00:11:02,090
FOR ONE PERFORMANCE ONLY-- JULIUS CAESAR.
228
00:11:02,220 --> 00:11:05,620
JOHN WILKES' FAVORITE ROLE WAS BRUTUS,
229
00:11:05,750 --> 00:11:10,140
THE MAN THAT EXECUTES A TYRANT.
230
00:11:10,270 --> 00:11:14,150
AND EDWIN BOOTH IS LIKE, I GET TO PLAY BRUTUS.
231
00:11:16,890 --> 00:11:18,760
FOR ONE PERFORMANCE ONLY,
232
00:11:18,890 --> 00:11:21,760
IN THE PRODUCTION OF JULIUS CAESAR,
233
00:11:21,890 --> 00:11:26,330
EDWIN SAID, "SIC SEMPER TYRANNIS,"
234
00:11:26,460 --> 00:11:28,550
AND EVERYONE LOVES IT.
235
00:11:28,680 --> 00:11:29,900
CRITICS SAID THAT IT WAS
236
00:11:30,030 --> 00:11:34,120
THE MOST IMPORTANT SHOW OF ALL TIME.
237
00:11:34,250 --> 00:11:37,520
SO JOHN WILKES BOOTH STARTED GETTING INVOLVED
238
00:11:37,650 --> 00:11:40,170
WITH A SECRET CONFEDERATE SOCIETY
239
00:11:40,300 --> 00:11:45,960
AND HAD MASTERMINDED A PLAN TO KIDNAP LINCOLN.
240
00:11:46,090 --> 00:11:49,010
UHH...
241
00:11:49,140 --> 00:11:51,180
MM-MM.
242
00:11:51,310 --> 00:11:52,880
SO JOHN WILKES BOOTH WENT TO THE FORD'S THEATRE
243
00:11:53,010 --> 00:11:54,450
TO PICK UP HIS MAIL,
244
00:11:54,580 --> 00:11:56,540
AND JOHN FORD'S BROTHER IS LIKE,
245
00:11:56,670 --> 00:12:01,980
HEY, ARE YOU GONNA COME SEE OUR AMERICAN COUSINTONIGHT?
246
00:12:02,110 --> 00:12:04,240
OUR AMERICAN COUSIN?
247
00:12:04,370 --> 00:12:06,240
YOU GUYS ARE DOING OUR AMERICAN COUSINTONIGHT?
248
00:12:06,370 --> 00:12:08,590
YEAH.
249
00:12:08,720 --> 00:12:11,510
ABRAHAM LINCOLN'S GONNA BE HERE.
250
00:12:11,640 --> 00:12:13,250
YOU SHOULD COME.
251
00:12:13,380 --> 00:12:17,910
AND JOHN WILKES BOOTH IS LIKE, UH, WHAT?
252
00:12:18,040 --> 00:12:20,520
ABRAHAM LINCOLN'S GONNA BE AT THE THEATRE TONIGHT?
253
00:12:20,650 --> 00:12:22,910
OH, MY GOD.
254
00:12:23,040 --> 00:12:28,390
I'M GONNA CHANGE MY PLAN FROM KIDNAPPING HIM...
255
00:12:28,520 --> 00:12:30,400
TO ASSASSINATING HIM.
256
00:12:35,750 --> 00:12:40,930
SO ABRAHAM LINCOLN'S AT THE PLAY OUR AMERICAN COUSIN
257
00:12:41,060 --> 00:12:43,410
WITH HIS WIFE, MARY TODD.
258
00:12:43,540 --> 00:12:44,930
IT'S BEAUTIFUL.
259
00:12:45,060 --> 00:12:49,200
EVERYTHING'S GOING PERFECTLY...
260
00:12:49,330 --> 00:12:52,510
UNTIL JOHN WILKES BOOTH...
261
00:12:52,640 --> 00:12:55,640
COMES INTO THEIR BOX.
262
00:13:06,870 --> 00:13:08,430
- WELCOME BACK TO DRUNK HISTORY.
263
00:13:08,560 --> 00:13:10,830
- MY DAD IS A SENATOR.
264
00:13:16,270 --> 00:13:20,010
- WHA-- WHERE ARE WE?
265
00:13:20,140 --> 00:13:23,620
JOHN WILKES BOOTH COMES INTO THEIR BOX
266
00:13:23,750 --> 00:13:26,540
AND SHOOTS LINCOLN IN THE HEAD.
267
00:13:26,670 --> 00:13:29,630
AFTER HE SHOT LINCOLN, HE JUMPED FROM THE BALCONY,
268
00:13:29,760 --> 00:13:31,630
BREAKING HIS ANKLE.
269
00:13:31,760 --> 00:13:34,630
OW, OW, OW, OW, OW, OW.
270
00:13:34,760 --> 00:13:36,460
OW, OW, OW, OW, OW, OW.
271
00:13:36,590 --> 00:13:38,120
OH, MY--I'M HURTING!
272
00:13:38,250 --> 00:13:39,600
- REALLY?
273
00:13:41,290 --> 00:13:43,250
- OW, OW, OW, OW, OW.
274
00:13:43,380 --> 00:13:44,950
IN RAISING HIS KNIFE IN THE AIR,
275
00:13:45,080 --> 00:13:50,260
HE SAID, "'T' PLURIBUS...UNUM."
276
00:13:50,390 --> 00:13:51,520
I DON'T REMEMBER WHAT--
277
00:13:51,650 --> 00:13:53,000
AH, .
278
00:13:53,130 --> 00:13:54,390
I CAN'T REMEMBER WHAT THE IT WAS.
279
00:13:54,520 --> 00:13:55,520
OH, I WISH I COULD REMEMBER.
280
00:13:55,660 --> 00:13:58,050
WA-- WAIT, WAIT!
281
00:13:58,180 --> 00:14:01,050
SIC TERAMIS TEMPEST.
282
00:14:01,180 --> 00:14:02,710
NO MORE TYRANNY...
283
00:14:02,840 --> 00:14:05,230
YOU KNOW... BASICALLY.
284
00:14:05,360 --> 00:14:07,580
THAT'S JOHN WILKES BOOTH.
285
00:14:07,710 --> 00:14:11,980
AND HE'S SAYING A LINE FROM JULIUS CAESAR.
286
00:14:12,110 --> 00:14:14,850
AND HE'S LIKE, THIS IS PERFECT,
287
00:14:14,980 --> 00:14:16,890
AND EVERYBODY GETS WHAT I'M DOING RIGHT NOW.
288
00:14:22,550 --> 00:14:27,120
AFTER ABRAHAM LINCOLN'S ASSASSINATION,
289
00:14:27,250 --> 00:14:31,300
EDWIN BOOTH DECIDES TO WRITE A LETTER TO AMERICA,
290
00:14:31,430 --> 00:14:34,430
SAYING, I'M RETIRING FROM ACTING
291
00:14:34,560 --> 00:14:38,050
AS A PENANCE FOR WHAT MY BROTHER DID.
292
00:14:38,180 --> 00:14:42,700
HIS HORRIFYING ACT, I'M DONE.
293
00:14:42,830 --> 00:14:47,490
FIVE MONTHS AFTER ABRAHAM LINCOLN IS BURIED,
294
00:14:47,620 --> 00:14:50,410
EDWIN BOOTH IS LIKE, I'M BACK!
295
00:14:50,540 --> 00:14:54,410
EVERYBODY RELAX, I'M DOING OUR AMERICAN COUSIN.
296
00:14:54,540 --> 00:14:56,320
I KNOW THAT'S THE ONE
297
00:14:56,460 --> 00:14:59,410
THAT MY BROTHER ASSASSINATED ABRAHAM LINCOLN DURING.
298
00:15:01,030 --> 00:15:02,200
BUT THAT'S WHAT I'M GONNA DO.
299
00:15:02,330 --> 00:15:05,380
AND EVERYONE LOVES IT.
300
00:15:05,510 --> 00:15:08,290
AND HE'S BACK,
301
00:15:08,420 --> 00:15:11,860
BECAUSE HE'S KIND OF EGOTISTICAL.
302
00:15:11,990 --> 00:15:14,130
NO ONE EVER TALKS ABOUT EDWIN BOOTH.
303
00:15:19,520 --> 00:15:22,740
- DO YOU GUYS WANT ME TO PUT A PIZZA IN THE OVEN?
304
00:15:27,660 --> 00:15:30,010
- AND A GOOD DAY TO YOU, SIR.
305
00:15:30,140 --> 00:15:32,580
OH, DUDE, I HEARD YOU HAVE ABSINTHE.
306
00:15:32,710 --> 00:15:33,880
- YEAH. - I'VE NEVER HAD IT.
307
00:15:34,010 --> 00:15:36,760
ELVIS! - YEAH, MAN?
308
00:15:36,890 --> 00:15:39,320
- WHAT ALBUM DO YOU WANNA LISTEN TO RIGHT NOW?
309
00:15:39,450 --> 00:15:41,110
- YOU PICK, MAN, YOU PICK. - WELL, YOU--
310
00:15:41,240 --> 00:15:43,280
- ANY OF THOSE ALBUMS IS DAMN GOOD, MAN.
311
00:15:43,420 --> 00:15:45,240
LIVE AT MADISON SQUARE GARDEN, MAN,
312
00:15:45,370 --> 00:15:47,030
WITH THE THING, MAN...
313
00:15:47,160 --> 00:15:51,340
WITH THE DEAL OF THE-- OF THE--OF A GIRL.
314
00:15:51,470 --> 00:15:52,900
HELLO!
315
00:15:53,030 --> 00:15:54,560
TODAY, WE'RE GONNA TALK ABOUT THE DAY
316
00:15:54,690 --> 00:15:57,950
THAT THE KING MET NIXON.
317
00:16:00,300 --> 00:16:02,430
MY FAVORITE STORY OF ALL TIME
318
00:16:02,560 --> 00:16:06,260
IS ELVIS WAS OUT IN L.A. AND THEY WERE AT A DINNER.
319
00:16:06,390 --> 00:16:07,920
AND THE PEOPLE HE WAS WITH WERE LIKE,
320
00:16:08,050 --> 00:16:09,750
HEY, THAT GUY OVER THERE IS HUGE
321
00:16:09,880 --> 00:16:12,140
IN THE VOICEOVER ANIMATION WORLD.
322
00:16:12,270 --> 00:16:15,270
BUT HE IS A FEDERALLY LICENSED NARCOTICS OFFICER.
323
00:16:15,400 --> 00:16:17,930
IT'S THE ULTIMATE BADGE. YOU CAN DO ANYTHING WITH IT.
324
00:16:18,060 --> 00:16:20,710
YOU CAN PULL OVER ANY CAR, ANYTHING IN THE WORLD.
325
00:16:20,840 --> 00:16:22,320
AND ELVIS BECOMES OBSESSED.
326
00:16:22,450 --> 00:16:24,980
HE WALKS UP TO THE GUY, INTRODUCES HIMSELF.
327
00:16:25,110 --> 00:16:28,810
THE GUY SHOWS HIS BADGE. I AM THEGUY.
328
00:16:28,940 --> 00:16:31,590
I CAN ARREST EVERYONE IN HERE RIGHT NOW.
329
00:16:31,720 --> 00:16:35,160
AND SUDDENLY, ELVIS IS LIKE, I HAVE TO HAVE THAT BADGE.
330
00:16:35,290 --> 00:16:37,730
I NEED THAT BADGE. HOW CAN THIS GUY--
331
00:16:37,860 --> 00:16:39,560
IF HE HAS A BADGE--
332
00:16:39,690 --> 00:16:41,560
MR. DO THE CRAZY-FUNNY WOODCOCK VOICE?
333
00:16:41,690 --> 00:16:43,610
NO. I CAN DO IT.
334
00:16:43,740 --> 00:16:44,950
IT DROVE HIM NUTS.
335
00:16:45,090 --> 00:16:46,130
WE'RE GOING TO WASHINGTON,
336
00:16:46,260 --> 00:16:47,520
AND THIS BADGE IS HAPPENING.
337
00:16:47,650 --> 00:16:51,310
LET'S GO.
338
00:16:53,660 --> 00:16:56,360
SO ELVIS HAD POLICE LIGHTS, WOULD PULL PEOPLE OVER.
339
00:16:56,490 --> 00:16:57,790
AND ELVIS IS-- THE WHOLE WAY, HE'S BEEN LIKE,
340
00:16:57,920 --> 00:16:59,530
I'M GONNA INTERROGATE HIS ASS.
341
00:16:59,670 --> 00:17:02,450
HE'S GONNA REGRET THE DAY HE STOLE THAT JEWELRY, MAN.
342
00:17:12,110 --> 00:17:13,770
- CHEERS.
343
00:17:13,900 --> 00:17:17,990
MMM! THAT'S GOT A GOOD TASTE.
344
00:17:18,120 --> 00:17:20,950
THAT'S--THAT'S A LOT TO DO A SHOT.
345
00:17:21,080 --> 00:17:24,170
- YOU'RE INSANE! WHOO!
346
00:17:24,300 --> 00:17:25,390
- YEAH, WE SHOULD'VE JUST SIPPED THAT.
347
00:17:25,520 --> 00:17:27,350
- WHOO!
348
00:17:27,480 --> 00:17:30,350
- READY? - OKAY, BUDDY.
349
00:17:30,480 --> 00:17:33,530
ELVIS WRITES A LETTER TO NIXON WHILE ON THE PLANE.
350
00:17:33,660 --> 00:17:36,090
THEY LAND, AND HE DROPS IT OFF AT THE FRONT OF THE WHITE HOUSE.
351
00:17:36,220 --> 00:17:37,790
IT WAS SHOCKING.
352
00:17:37,920 --> 00:17:40,620
NO CELEBRITIES WANT TO HANG OUT WITH NIXON.
353
00:17:40,750 --> 00:17:42,230
SO WHEN HE REACHED OUT, THEY'RE LIKE,
354
00:17:42,360 --> 00:17:43,620
ELVIS WANTS TO MEET WITH YOU.
355
00:17:43,750 --> 00:17:45,410
THIS CAN'T HURT MATTERS.
356
00:17:45,540 --> 00:17:47,150
DON'T YOU WANNA SEE WHAT ELVIS HAS TO SAY?
357
00:17:47,280 --> 00:17:49,060
WHY NOT?
358
00:17:49,190 --> 00:17:51,020
HE'S LIKE, YEAH, ARRANGE IT. YEAH, I WANNA MEET HIM.
359
00:17:51,150 --> 00:17:52,810
LET'S SEE WHAT'S GOING ON.
360
00:17:52,940 --> 00:17:55,200
AND ELVIS COMES IN.
361
00:17:55,330 --> 00:17:57,420
AND NIXON LOOKS AT HIM LIKE, UH,
362
00:17:57,550 --> 00:18:00,900
THIS IS CRAZY, MAN. YOU DRESS REALLY CRAZY, MAN.
363
00:18:01,030 --> 00:18:02,030
HE'S LIKE, HEY, YOU HAVE YOUR GET-UP,
364
00:18:02,160 --> 00:18:03,900
I HAVE MINE, OKAY?
365
00:18:04,030 --> 00:18:06,430
NIXON'S LIKE, YEAH, I'M GLAD YOU CAME BY.
366
00:18:06,560 --> 00:18:08,820
I WANTED TO MEET YOU, AND GOOD TO SEE YOU.
367
00:18:08,950 --> 00:18:10,260
AND ELVIS DOES THE HARD SELL THING.
368
00:18:10,390 --> 00:18:11,690
HE NEEDS THE BADGE.
369
00:18:11,820 --> 00:18:13,480
WELL, I CARE, MAN.
370
00:18:13,610 --> 00:18:15,000
I CARE ABOUT WHAT'S GOING ON WITH THESE PEOPLE.
371
00:18:15,130 --> 00:18:16,570
AND I CARE ABOUT THE HIPPIES,
372
00:18:16,700 --> 00:18:18,870
AND EVERYTHING THAT'S BEING SAID RIGHT NOW, MAN.
373
00:18:19,010 --> 00:18:20,310
IT'S TERRIFYING.
374
00:18:20,440 --> 00:18:22,310
PEOPLE THAT ARE SAYING THINGS ABOUT YOU
375
00:18:22,440 --> 00:18:25,320
AND, UH, THE PEOPLE THAT ARE SAYING THINGS ABOUT ME.
376
00:18:25,450 --> 00:18:28,100
AND THAT'S WHY I'M HAPPY TO BE HERE...MAN.
377
00:18:28,230 --> 00:18:30,500
BUT I NEED THIS BADGE. THIS IS SO BIG FOR ME.
378
00:18:30,630 --> 00:18:32,320
I NEED IT.
379
00:18:32,450 --> 00:18:33,930
AND NIXON REALLY TAKES IT IN, KINDA ASKS HIS AIDE.
380
00:18:34,060 --> 00:18:35,720
HE'S LIKE, CAN WE DO THIS?
381
00:18:35,850 --> 00:18:37,680
AND THE AIDE COMES BACK, SAYS, I'M SORRY, IT'S DONE.
382
00:18:37,810 --> 00:18:39,850
WE CANNOT GIVE THIS BADGE. SORRY, MR. PRESLEY, WE CANNOT--
383
00:18:39,980 --> 00:18:43,770
YOU HAVE NO QUALIFICATIONS IN OUR MIND TO HAVE THIS BADGE.
384
00:18:45,340 --> 00:18:47,030
MM. SORRY, BROTHER.
385
00:18:47,160 --> 00:18:49,040
I'M LOVIN' IT.
386
00:18:49,170 --> 00:18:51,300
AND NIXON DECIDES TO GIVE HIM THIS BADGE.
387
00:18:51,430 --> 00:18:53,000
SO ELVIS GOES BACK TO GET PHOTOS TAKEN,
388
00:18:53,130 --> 00:18:55,390
BUT THEN ELVIS IS
389
00:18:55,520 --> 00:18:58,740
A LICENSED AND REGISTERED FEDERAL NARCOTICS AGENT.
390
00:18:58,870 --> 00:19:01,530
SO ELVIS HAD POLICE LIGHTS, WOULD PULL PEOPLE OVER.
391
00:19:01,660 --> 00:19:05,090
YOU HAVE ANY IDEA HOW FAST YOU WERE GOING?
392
00:19:05,230 --> 00:19:08,920
ANOTHER TIME, HE SAW THIS CRAZY LUNATIC GUY.
393
00:19:09,060 --> 00:19:10,490
THE GUY WAS ALLOWED INSIDE.
394
00:19:10,620 --> 00:19:12,280
AND EVERYONE'S LIKE, WHY IS THIS CRAZY PERSON
395
00:19:12,410 --> 00:19:14,280
BEING ALLOWED INSIDE? THIS IS--
396
00:19:14,410 --> 00:19:15,890
HE'S LIKE, NO, NO! HE'S ALL RIGHT, MAN.
397
00:19:16,020 --> 00:19:18,150
HE'S OKAY. HE'S PART OF THIS TEAM.
398
00:19:18,280 --> 00:19:19,760
WE'RE GONNA WORK WITH HIM, MAN. HE'S FUNNY.
399
00:19:19,890 --> 00:19:21,110
AND THEN ELVIS LIKED HIM, LOVED HIM,
400
00:19:21,240 --> 00:19:22,850
AND THEN GOT TIRED OF HIM.
401
00:19:22,980 --> 00:19:24,550
SO HE SAID HE HAD TO GO HOME.
402
00:19:24,680 --> 00:19:26,770
ELVIS WAS GONNA PAY FOR HIS FLIGHT HOME.
403
00:19:26,900 --> 00:19:29,770
COME BACK, SOME JEWELRY'S MISSING.
404
00:19:29,900 --> 00:19:31,900
SO THEY FIGURED OUT THIS GUY HAD STOLEN SOME JEWELRY.
405
00:19:32,030 --> 00:19:34,170
ELVIS FREAKS OUT.
406
00:19:34,300 --> 00:19:36,080
HE'S GONNA REGRET THE DAY HE STOLE THAT JEWELRY, MAN.
407
00:19:36,210 --> 00:19:39,000
HE--HE MESSED WITH THE WRONG GUY.
408
00:19:39,130 --> 00:19:40,870
THE GUY WAS ABOUT TO TAKE OFF,
409
00:19:41,000 --> 00:19:44,310
AND THEN HE SEES ELVIS RUNNING NEXT TO IT IN A JUMPSUIT,
410
00:19:44,440 --> 00:19:47,010
HOLDING A REAL FEDERAL NARCOTICS BADGE.
411
00:19:47,140 --> 00:19:51,010
SO THE PLANE STOPS, THEY PULL THE GUY OUT.
412
00:19:53,270 --> 00:19:55,490
ELVIS PULLED THE PLANE OVER
413
00:19:55,620 --> 00:19:58,100
TO PULL THIS GUY OFF AND INTERROGATE HIM...
414
00:19:58,240 --> 00:20:02,280
OF WHICH ELVIS HAD A COUPLE RANDOM QUESTIONS.
415
00:20:02,410 --> 00:20:04,020
WHERE'D YOU GET THE JEWELRY, MAN?
416
00:20:04,150 --> 00:20:07,720
AND HE JUST CRIED AND SAID, I GOT THE JEWELRY HERE.
417
00:20:07,850 --> 00:20:09,550
I'M SO SORRY.
418
00:20:09,680 --> 00:20:10,900
YOU SHOULDN'T HAVE TAKEN THAT, BUT YOU'RE CAR--
419
00:20:11,030 --> 00:20:12,680
ALL RIGHT.
420
00:20:12,810 --> 00:20:13,900
SO WE'RE GOOD, MAN.
421
00:20:14,030 --> 00:20:15,820
GIVES HIM LIKE 200 BUCKS,
422
00:20:15,950 --> 00:20:18,730
AND THEN BUYS HIM ANOTHER TICKET OUT.
423
00:20:18,860 --> 00:20:20,780
AND YOU KNOW, EVERYTHING'S JUST A LITTLE BIT SAFER
424
00:20:20,910 --> 00:20:23,830
IN THAT PART OF MEMPHIS.
425
00:20:23,960 --> 00:20:26,130
DO YOU FEEL IT?
426
00:20:26,260 --> 00:20:29,140
HEY! DO YOU FEEL IT?
427
00:20:29,270 --> 00:20:31,270
THANK YOU.
428
00:20:31,400 --> 00:20:34,180
- THANK YOU. - THANK YOU.
429
00:20:34,310 --> 00:20:37,580
- THANK YOU. - OKAY, BYE.
430
00:21:12,050 --> 00:21:13,220
- HE'S FUNNY.
431
00:21:13,350 --> 00:21:14,220
AND THEN ELVIS LIKED, LOVED HIM,
432
00:21:14,350 --> 00:21:15,220
AND THEN GOT TIRED OF HIM.
433
00:21:15,360 --> 00:21:16,790
SO HE SAID HE HAD TO GO.
434
00:21:16,920 --> 00:21:18,530
ELVIS WAS GONNA PAY FOR HIS FLIGHT HOME.
435
00:21:18,660 --> 00:21:21,580
COME BACK, SOME JEWELRY'S MISSING.
436
00:21:21,710 --> 00:21:23,230
- CRAP.
31522
Can't find what you're looking for?
Get subtitles in any language from opensubtitles.com, and translate them here.