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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:12,620 --> 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

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