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1
00:00:23,757 --> 00:00:26,494
IT'S NOT ONLY THE COMPOSITION
BUT THE SENSE OF COLOR
2
00:00:26,527 --> 00:00:28,496
THAT MAKES
FOR A REAL WORK OF ART.
3
00:00:28,529 --> 00:00:30,364
YEAH, THEM COLORS
ARE REAL NICE.
4
00:00:30,398 --> 00:00:33,301
GEE, THAT'S GOING
TO BE GOOD, WARREN.
5
00:00:33,334 --> 00:00:36,270
THANK YOU,
OPIE.
REAL WORK OF ART.
6
00:00:36,304 --> 00:00:38,506
ALL YOU DO IS PASTE
THOSE LITTLE TILES ON?
7
00:00:38,539 --> 00:00:41,309
WELL, THERE'S A
LITTLE MORE TO IT
THAN THAT, OPIE.
8
00:00:41,342 --> 00:00:42,610
I MEAN, THIS IS
WHAT WE CALL
9
00:00:42,643 --> 00:00:44,145
YOUR "MOSAIC PICTURE."
10
00:00:44,178 --> 00:00:46,514
THAT'S SURE GOING TO BE
A NICE SAILBOAT, WARREN.
11
00:00:46,547 --> 00:00:49,750
YEAH, AND LOOK AT THE OCEAN,
AND THERE'S THE WAVES.
12
00:00:49,783 --> 00:00:50,751
HEY, WARREN?
13
00:00:50,784 --> 00:00:51,785
MM-HMM.
14
00:00:51,819 --> 00:00:53,521
COULD I PUT ONE ON?
15
00:00:53,554 --> 00:00:55,123
WELL, I, UH...
16
00:00:55,156 --> 00:00:57,658
WELL, I STUDIED ART
IN BIBLE SCHOOL ONE SUMMER.
17
00:00:57,691 --> 00:00:59,393
LET ME JUST PUT ONE ON.
18
00:00:59,427 --> 00:01:01,362
GOOBER, IT'S
MY PICTURE...
19
00:01:01,395 --> 00:01:03,097
I JUST WANT TO PUT ONE ON.
20
00:01:03,131 --> 00:01:04,365
GO AHEAD.
21
00:01:06,167 --> 00:01:07,535
WHERE SHOULD I PUT IT?
22
00:01:07,568 --> 00:01:10,238
PUT IT ANYWHERE YOU WANT.
IT'S FREE ART.
23
00:01:13,707 --> 00:01:15,309
YOU RUINED IT, GOOBER.
24
00:01:15,343 --> 00:01:16,577
HE RUINED IT, OPIE.
I DID NOT!
25
00:01:16,610 --> 00:01:17,778
YOU SAID YOU
STUDIED ART.
26
00:01:17,811 --> 00:01:19,480
I DID, IN BIBLE SCHOOL.
27
00:01:19,513 --> 00:01:21,349
THEY NEVER TAUGHT
YOU COMPLEMENTARY
COLORS, DID THEY?
28
00:01:21,382 --> 00:01:22,383
NONE OF YOUR BUSINESS.
29
00:01:25,319 --> 00:01:26,487
HEY, ANDY.
30
00:01:26,520 --> 00:01:28,156
WHAT'S THE MATTER WITH YOU?
31
00:01:28,189 --> 00:01:30,124
THAT WARREN THINKS
HE KNOWS EVERYTHING.
32
00:01:39,233 --> 00:01:40,201
HI, OPE. WARREN.
33
00:01:40,234 --> 00:01:41,469
HI, ANDY.
HI, PA.
34
00:01:41,502 --> 00:01:42,470
NEAT, HUH?
35
00:01:42,503 --> 00:01:43,604
COMING RIGHT ALONG.
36
00:01:43,637 --> 00:01:45,306
YOU STILL DON'T
WANT TO TAKE IT UP?
37
00:01:45,339 --> 00:01:46,407
NO, THANKS, WARREN.
38
00:01:46,440 --> 00:01:48,242
WELL, YOU OUGHT
TO GIVE IT A TRY.
39
00:01:48,276 --> 00:01:50,711
IT'S DONE WONDERS FOR ME--
A REAL SAFETY VALVE.
40
00:01:50,744 --> 00:01:53,847
I GET LOST IN THE DARN THING,
AND IT EASES THE PRESSURES.
41
00:01:53,881 --> 00:01:56,484
EVERYBODY NEEDS
A SAFETY VALVE.
42
00:01:56,517 --> 00:01:57,818
YEAH, I SUPPOSE.
43
00:01:57,851 --> 00:01:59,253
EVEN YOU, ANDY.
44
00:01:59,287 --> 00:02:02,456
UH, WARREN, I JUST CAME BY
TO GET THE MAIL.
45
00:02:02,490 --> 00:02:05,826
YOU'RE ONE OF THESE FELLAS
ALWAYS CALM ON THE OUTSIDE
46
00:02:05,859 --> 00:02:07,861
BUT ON THE INSIDE
YOU'RE STEWING, HUH?
47
00:02:07,895 --> 00:02:08,929
NO.
HUH?
48
00:02:08,962 --> 00:02:10,164
NO.
HUH?
49
00:02:10,198 --> 00:02:11,399
ARE YOU, PA?
NO!
50
00:02:11,432 --> 00:02:13,367
DILATED PUPILS--
YOU CAN ALWAYS TELL.
51
00:02:13,401 --> 00:02:14,435
I'M NOT STEWING.
52
00:02:14,468 --> 00:02:15,903
YOU JUST DON'T
WANT TO ADMIT IT.
53
00:02:15,936 --> 00:02:17,371
THERE'S NOTHING TO ADMIT.
54
00:02:17,405 --> 00:02:18,639
YOU'RE TRYING
TO HIDE IT.
55
00:02:18,672 --> 00:02:19,940
I'M NOT HIDING ANYTHING.
56
00:02:19,973 --> 00:02:21,642
SEE? YOU JUST
BLEW YOUR TOP.
57
00:02:21,675 --> 00:02:23,377
OPE, LET'S GO HOME AND EAT.
58
00:02:23,411 --> 00:02:24,478
PRESSURE, ANDY, PRESSURE.
59
00:02:24,512 --> 00:02:25,646
WAIT A MINUTE.
60
00:02:25,679 --> 00:02:27,848
I GOT TO GET SOMETHING HERE.
61
00:02:27,881 --> 00:02:29,483
PA?
YEAH.
62
00:02:29,517 --> 00:02:31,419
CAN I GET ONE OF
THOSE MOSAIC KITS?
63
00:02:31,452 --> 00:02:32,853
WARREN SAID YOU
CAN GET THEM
64
00:02:32,886 --> 00:02:34,422
AT THE HARDWARE STORE.
65
00:02:34,455 --> 00:02:36,857
YOU GOT SO MANY THINGS
YOU DON'T PLAY WITH ALREADY.
66
00:02:36,890 --> 00:02:38,592
I MEAN, JUST FOR PRESSURE.
67
00:02:38,626 --> 00:02:40,594
PRESSURE?
68
00:02:40,628 --> 00:02:42,830
WELL, YEAH, YOU KNOW,
SCHOOL AND ALL THAT.
69
00:02:42,863 --> 00:02:44,298
OH, COME ON.
70
00:02:44,332 --> 00:02:46,467
WELL, GEE, PA,
EVEN KIDS NEED A VALVE.
71
00:02:47,935 --> 00:02:49,503
LET'S GO.
72
00:02:57,378 --> 00:03:00,314
COME ON... YOU...
73
00:03:00,348 --> 00:03:02,950
ALL RIGHT, BOY, OVER IT!
74
00:03:02,983 --> 00:03:04,485
OVER IT.
75
00:03:04,518 --> 00:03:05,886
ALL RIGHT!
76
00:03:05,919 --> 00:03:07,721
ATTABOY.
77
00:03:12,693 --> 00:03:13,794
COME ON, SPOT.
78
00:03:13,827 --> 00:03:16,397
COME ON. OVER IT,
BOY, OVER IT.
79
00:03:16,430 --> 00:03:17,831
ATTABOY.
80
00:03:17,865 --> 00:03:18,899
HEY...
81
00:03:18,932 --> 00:03:20,768
COME BACK
HERE, SPOT.
82
00:03:20,801 --> 00:03:22,370
COME BACK HERE.
83
00:03:22,403 --> 00:03:24,505
NOW, LOOK, YOU
KNOW THE DEAL.
84
00:03:24,538 --> 00:03:26,507
IF I LET YOU
IN WITH ME
85
00:03:26,540 --> 00:03:28,676
YOU GOT TO STAY
WITH ME, RIGHT?
86
00:03:28,709 --> 00:03:29,977
ALL RIGHT.
87
00:03:30,010 --> 00:03:31,812
HEEL, SPOT.
88
00:03:31,845 --> 00:03:33,314
ATTABOY.
89
00:03:33,347 --> 00:03:35,249
SLOW, NOW.
90
00:03:35,283 --> 00:03:36,950
SLOW, SPOT.
91
00:03:36,984 --> 00:03:39,387
HEY, UH... CAN I HELP YOU?
92
00:03:39,420 --> 00:03:41,789
IT'S OKAY.
93
00:03:44,625 --> 00:03:47,361
HEY, WHO LOCKED MY CELL?
94
00:03:47,395 --> 00:03:49,663
JUST A MINUTE, FELLA.
95
00:03:49,697 --> 00:03:52,400
NOW, IN THE FIRST PLACE,
THAT'S NOT YOUR CELL.
96
00:03:52,433 --> 00:03:53,667
OH, YES, IT IS.
97
00:03:53,701 --> 00:03:55,035
THAT'S MY CALENDAR
98
00:03:55,068 --> 00:03:57,538
AND THAT'S MY OLD
FOAM RUBBER PILLOW.
99
00:03:57,571 --> 00:03:59,039
JUST WHO ARE YOU, FELLA?
100
00:03:59,072 --> 00:04:01,008
OTIS... UH...
101
00:04:01,041 --> 00:04:02,743
UH... WELL,
DON'T TELL ME.
102
00:04:02,776 --> 00:04:04,011
CAMPBELL. OTIS CAMPBELL.
103
00:04:04,044 --> 00:04:05,479
OH, SO YOU'RE OTIS.
104
00:04:05,513 --> 00:04:06,880
WELL, I'VE HEARD
ABOUT YOU.
105
00:04:06,914 --> 00:04:08,582
THAT'S RIGHT,
AND WHO ARE YOU?
106
00:04:08,616 --> 00:04:09,983
I'M WARREN FERGUSON.
107
00:04:10,017 --> 00:04:11,452
UH, DEPUTY SHERIFF.
108
00:04:11,485 --> 00:04:12,820
NOW, YOU CAN'T STAY HERE
109
00:04:12,853 --> 00:04:14,655
SO GO ON HOME
AND SLEEP IT OFF.
110
00:04:14,688 --> 00:04:16,056
OH, NOTHING DOING.
111
00:04:16,089 --> 00:04:18,826
FRIDAY AND SATURDAY NIGHTS,
THIS IS MY HOME.
112
00:04:18,859 --> 00:04:20,828
NOT WHEN I'M
ON DUTY, IT ISN'T.
113
00:04:20,861 --> 00:04:22,730
YOU'D BETTER OPEN
UP THAT CELL.
114
00:04:22,763 --> 00:04:23,897
NOT A CHANCE.
115
00:04:23,931 --> 00:04:25,366
ALL RIGHT.
116
00:04:25,399 --> 00:04:26,600
SEE HOW YOU LIKE THIS.
117
00:04:26,634 --> 00:04:28,068
SIC HIM, SPOT, SIC HIM.
118
00:04:28,101 --> 00:04:29,703
GO GET HIM. SIC HIM.
119
00:04:29,737 --> 00:04:31,939
CAMPBELL, IT MIGHT
INTEREST YOU TO KNOW
120
00:04:31,972 --> 00:04:33,441
THERE'S NO DOG THERE.
121
00:04:33,474 --> 00:04:35,376
SHH! HE DOESN'T KNOW THAT.
122
00:04:35,409 --> 00:04:37,044
HE DIDN'T MEAN IT, SPOT.
123
00:04:37,077 --> 00:04:39,046
YOU KNOW, I'VE SEEN
YOUR KIND BEFORE.
124
00:04:39,079 --> 00:04:41,582
I KNOW WHAT YOU'RE USED
TO-- MOLLYCODDLING.
125
00:04:41,615 --> 00:04:43,684
WELL, YOU'RE NOT GOING
TO GET IT FROM ME.
126
00:04:43,717 --> 00:04:45,686
NO, MY FRIEND,
ACCORDING TO THE LAW
127
00:04:45,719 --> 00:04:48,356
YOU HAVEN'T DONE ANYTHING,
SO YOU'RE GOING HOME.
128
00:04:48,389 --> 00:04:49,557
OH, I...
129
00:04:49,590 --> 00:04:50,658
COME ON. LET'S GO.
130
00:04:50,691 --> 00:04:51,659
LET'S...
131
00:04:51,692 --> 00:04:53,026
THERE. I DID SOMETHING.
132
00:04:53,060 --> 00:04:54,395
THAT'S ENOUGH OF THAT.
133
00:04:54,428 --> 00:04:55,496
COME ON, CAMPBELL.
134
00:04:55,529 --> 00:04:56,730
HOME, YOU GO.
135
00:04:56,764 --> 00:04:58,031
OH, NO, YOU DON'T.
136
00:04:58,065 --> 00:05:00,067
STEALING--
IS THAT GOOD ENOUGH?
137
00:05:00,100 --> 00:05:01,635
YOU DON'T NEED A GAVEL.
138
00:05:01,669 --> 00:05:02,803
LET'S GO. OUT, OUT.
139
00:05:02,836 --> 00:05:05,673
WELL, IF IT'S GOTTA BE,
IT'S GOTTA BE.
140
00:05:05,706 --> 00:05:07,408
HEY, NOW, WAIT A MINUTE.
141
00:05:07,441 --> 00:05:08,542
NOW, WATCH YOURSELF.
142
00:05:08,576 --> 00:05:09,543
ALL RIGHT.
143
00:05:09,577 --> 00:05:10,678
THAT'S IT. THAT'S IT.
144
00:05:10,711 --> 00:05:11,745
ASSAULTING AN OFFICER.
145
00:05:11,779 --> 00:05:13,080
IN WE GO, INTO THE CELL.
146
00:05:13,113 --> 00:05:14,081
FINE, FINE.
147
00:05:14,114 --> 00:05:15,416
INTO JAIL, MY FRIEND.
148
00:05:15,449 --> 00:05:17,418
I DON'T HAVE
TO PUT UP WITH THAT.
149
00:05:17,451 --> 00:05:20,421
JUST SEEMS LIKE AN AWFUL
ROUNDABOUT WAY TO DO IT.
150
00:05:23,891 --> 00:05:25,693
SPOT, ATTABOY.
151
00:05:25,726 --> 00:05:28,762
NOT ON THE CHAIR, SPOT.
152
00:05:31,465 --> 00:05:34,802
PA, IT'S COMIN' ALONG
NICE, ISN'T IT?
153
00:05:34,835 --> 00:05:37,838
YEAH.
154
00:05:37,871 --> 00:05:40,508
COULD I SPEND 20 CENTS
FOR SOME MORE WHITE TILES?
155
00:05:40,541 --> 00:05:44,512
WELL, I SUPPOSE.
156
00:05:44,545 --> 00:05:46,146
HOW'S YOUR PRESSURE?
157
00:05:46,179 --> 00:05:47,548
HUH?
158
00:05:47,581 --> 00:05:49,016
I SAID,
HOW'S YOUR PRESSURE?
159
00:05:49,049 --> 00:05:52,052
OH! I FEEL
REAL GOOD.
160
00:05:52,085 --> 00:05:54,422
GOOD -- HAD ME WORRIED
THERE FOR A WHILE.
161
00:05:54,455 --> 00:05:59,427
OPIE, AREN'T YOU SUPPOSED TO
MEET JOHNNY PAUL SOMEWHERE?
162
00:05:59,460 --> 00:06:01,094
YEAH, I'M LEAVIN'
RIGHT NOW.
163
00:06:01,128 --> 00:06:02,596
BYE, PA, BYE, AUNT BEE.
164
00:06:02,630 --> 00:06:04,131
BYE, OPIE.
165
00:06:04,164 --> 00:06:05,866
BOY, THAT ART BUSINESS
REALLY IS
166
00:06:05,899 --> 00:06:08,001
SWEEPIN' THROUGH TOWN,
ISN'T IT?
167
00:06:08,035 --> 00:06:10,538
OH, ANDY, I THINK IT'S
A VERY NICE THING.
168
00:06:10,571 --> 00:06:11,939
I SUPPOSE.
169
00:06:11,972 --> 00:06:14,875
I LOOK FORWARD TO OUR
WEDNESDAY EVENING CLASS.
170
00:06:14,908 --> 00:06:17,478
WE HAVE 10
IN THE ART CLASS NOW.
171
00:06:17,511 --> 00:06:18,746
OH, GOOD.
172
00:06:18,779 --> 00:06:20,514
HOW ARE YOU COMIN'
WITH YOUR WATERCOLORS?
173
00:06:20,548 --> 00:06:23,751
WELL, IT'S NOTHING SENSATIONAL,
BUT IT'S A LOT OF FUN.
174
00:06:23,784 --> 00:06:25,018
WE ENJOY IT.
175
00:06:26,153 --> 00:06:27,955
COME IN.
176
00:06:27,988 --> 00:06:28,989
MORNING, AUNT BEE.
177
00:06:29,022 --> 00:06:30,724
GOOD MORNING.
OH, HI, WARREN.
178
00:06:30,758 --> 00:06:32,526
I, UH, I KNOW
IT'S PRETTY EARLY
179
00:06:32,560 --> 00:06:34,428
TO BE BUSTING IN
ON YOU LIKE THIS
180
00:06:34,462 --> 00:06:35,729
BUT IT'S PRETTY IMPORTANT.
181
00:06:35,763 --> 00:06:36,930
WARREN, HAVE YOU
HAD YOUR BREAKFAST?
182
00:06:36,964 --> 00:06:38,131
OH, SURE. THANKS.
183
00:06:38,165 --> 00:06:39,533
WELL, WHAT IS IT?
184
00:06:39,567 --> 00:06:41,802
WELL... OTIS
IS OVER AT THE JAIL.
185
00:06:41,835 --> 00:06:43,537
HE CHECKED IN LAST NIGHT.
186
00:06:43,571 --> 00:06:45,138
MM-HMM. WELL, IT'S FRIDAY.
187
00:06:45,172 --> 00:06:48,642
I'LL TELL YOU ONE THING, ANDY--
THAT MAN HAS A PROBLEM.
188
00:06:48,676 --> 00:06:49,810
YEAH.
WE KNOW.
189
00:06:49,843 --> 00:06:51,812
WE'VE WORKED AND
WORKED ON OTIS.
190
00:06:51,845 --> 00:06:53,146
AS I UNDERSTAND IT,
191
00:06:53,180 --> 00:06:55,549
HE'S A HARDWORKING,
INDUSTRIOUS CITIZEN
192
00:06:55,583 --> 00:06:57,918
FROM MONDAY MORNING
TILL FRIDAY NIGHT.
193
00:06:57,951 --> 00:07:00,854
RIGHT. HE'S A GLUE-DIPPER
OVER AT THE FURNITURE FACTORY.
194
00:07:00,888 --> 00:07:04,458
AND THEN COMES THE WEEKEND,
AND, UH, HMM?
195
00:07:04,492 --> 00:07:05,559
YEAH.
196
00:07:05,593 --> 00:07:07,895
HAVE YOU EVER WONDERED
WHY, ANDY?
197
00:07:07,928 --> 00:07:09,863
WELL, IT'S PRETTY SIMPLE.
198
00:07:09,897 --> 00:07:12,633
I LIKE FISHING;
YOU LIKE MOSAICS;
199
00:07:12,666 --> 00:07:14,602
HE LIKES DRINKING.
200
00:07:14,635 --> 00:07:15,836
NOTHING YOU CAN DO
ABOUT IT.
201
00:07:15,869 --> 00:07:17,204
WELL, I SPENT
202
00:07:17,237 --> 00:07:19,807
THE GREATER PART OF LAST EVENING
THINKING ABOUT IT
203
00:07:19,840 --> 00:07:21,975
AND I'VE COME UP
WITH A CONCLUSION
204
00:07:22,009 --> 00:07:24,812
THAT OTIS USES HIS DRINKING
AS A SAFETY VALVE.
205
00:07:24,845 --> 00:07:26,780
YOU REMEMBER
MY VALVE THEORY.
206
00:07:26,814 --> 00:07:28,616
VERY WELL.
207
00:07:28,649 --> 00:07:33,153
WELL, WHAT IF WE WERE TO,
UH, GIVE OTIS A NEW VALVE?
208
00:07:33,186 --> 00:07:35,255
GIVE HIM A NEW WHAT?
209
00:07:35,288 --> 00:07:36,724
NEW VALVE, MOSAICS--
210
00:07:36,757 --> 00:07:39,259
A BRAND-NEW INTEREST
TO OCCUPY HIS WEEKENDS.
211
00:07:39,292 --> 00:07:40,861
OH, COME ON.
212
00:07:40,894 --> 00:07:43,564
ANDY, THAT'S A VERY GOOD IDEA.
213
00:07:43,597 --> 00:07:44,698
ANDY, HE JUST
214
00:07:44,732 --> 00:07:46,099
MIGHT BE INTERESTED
215
00:07:46,133 --> 00:07:48,602
AND WITH YOUR PERMISSION,
I'D LIKE TO GIVE IT A TRY.
216
00:07:48,636 --> 00:07:50,070
I MEAN, IT'S UNDERSTANDABLE.
217
00:07:50,103 --> 00:07:52,773
WITH TODAY'S PRESSURES,
EVERYBODY NEEDS A SAFETY VALVE.
218
00:07:52,806 --> 00:07:54,141
AND REMEMBER, TOO, ANDY
219
00:07:54,174 --> 00:07:56,877
YOUR MODERN PRISONS
ARE NOT ONLY TO INCARCERATE
220
00:07:56,910 --> 00:07:58,779
THEY'RE ALSO
TO REHABILITATE, TOO.
221
00:07:58,812 --> 00:08:00,047
BE MY GUEST.
222
00:08:00,080 --> 00:08:01,582
ALL RIGHT?
MM-HMM.
223
00:08:01,615 --> 00:08:02,583
THANK YOU, ANDY.
224
00:08:02,616 --> 00:08:03,684
AUNT BEE.
225
00:08:03,717 --> 00:08:05,285
I'LL SEE YOU
AT THE COURTHOUSE.
226
00:08:05,318 --> 00:08:06,754
OH, THANKS
FOR THE TOAST.
227
00:08:06,787 --> 00:08:08,021
YOU'RE WELCOME.
228
00:08:08,055 --> 00:08:09,089
I'LL SEE YOU.
229
00:08:09,122 --> 00:08:10,190
MM-HMM.
BYE.
230
00:08:10,223 --> 00:08:11,992
WELL, I HAVE TO GIVE WARREN
231
00:08:12,025 --> 00:08:13,226
CREDIT FOR TRYING.
232
00:08:13,260 --> 00:08:14,928
SHOWS A FEELING FOR OTHERS.
233
00:08:14,962 --> 00:08:15,996
YES, IT DOES.
234
00:08:16,029 --> 00:08:18,198
WOULDN'T IT BE SOMETHING
235
00:08:18,231 --> 00:08:21,001
IF OTIS HAD AN ARTISTIC FLAIR?
236
00:08:21,034 --> 00:08:22,202
YEAH.
237
00:08:22,235 --> 00:08:23,871
I MAY BE WRONG
238
00:08:23,904 --> 00:08:27,040
BUT TO ME HE HAS THAT LOOK.
239
00:08:30,210 --> 00:08:31,912
ALL RIGHT, OTIS,
UP WE GO.
240
00:08:31,945 --> 00:08:33,647
LET'S GO,
RISE AND SHINE.
241
00:08:33,681 --> 00:08:34,782
OW! OW! OW!
242
00:08:34,815 --> 00:08:36,183
RISE AND SHINE,
COME ON.
243
00:08:36,216 --> 00:08:37,651
OW! OH! OH!
244
00:08:37,685 --> 00:08:39,319
WHAT ARE YOU...?
245
00:08:41,188 --> 00:08:42,623
WHOO!
246
00:08:42,656 --> 00:08:45,025
WHOEVER SAID THAT DAWN
COMES UP LIKE THUNDER
247
00:08:45,058 --> 00:08:47,160
SURE KNEW WHAT HE
WAS TALKING ABOUT.
248
00:08:47,194 --> 00:08:49,797
I GOT SOMETHING YOU NEED--
A LITTLE DRINK.
249
00:08:49,830 --> 00:08:52,633
OH, FINE, THAT'S ALL
I NEED, ALL RIGHT.
250
00:08:52,666 --> 00:08:53,867
WHAT IS THAT ANYWAY?
251
00:08:53,901 --> 00:08:55,569
WELL, IT'S FOR WHAT AILS YOU.
252
00:08:55,603 --> 00:08:58,205
IT'S AN OLD REMEDY,
A LITTLE SASSAFRAS ROOTS HERE...
253
00:08:59,673 --> 00:09:02,342
AND SORGHUM MOLASSES.
254
00:09:04,077 --> 00:09:07,047
AND A RAW EGG.
255
00:09:07,080 --> 00:09:08,849
OHH!
256
00:09:08,882 --> 00:09:10,350
AND, UH, HOT SAUCE.
257
00:09:10,383 --> 00:09:11,652
THERE WE ARE.
258
00:09:11,685 --> 00:09:13,854
NOW WE JUST MIX IT ALL UP, OTIS,
259
00:09:13,887 --> 00:09:15,222
AND WE'RE GOING
TO HAVE OURSELVES
260
00:09:15,255 --> 00:09:17,357
A NICE, LITTLE MORNING
PICK
261
00:09:18,726 --> 00:09:20,828
OKAY, NOW, HERE,
YOU TRY THIS.
262
00:09:20,861 --> 00:09:21,929
COME ON.
263
00:09:21,962 --> 00:09:23,130
OH, NO!
264
00:09:23,163 --> 00:09:25,766
OTIS, NOW, IT'S TIME
FOR YOUR JUICE.
265
00:09:25,799 --> 00:09:27,601
NO, I DON'T WANT IT.
266
00:09:27,635 --> 00:09:28,702
LET'S GO, OTIS.
267
00:09:28,736 --> 00:09:30,103
COME ON. HERE WE GO.
268
00:09:30,137 --> 00:09:31,939
HERE WE GO. HERE WE GO.
269
00:09:31,972 --> 00:09:33,106
THERE WE ARE.
270
00:09:33,140 --> 00:09:34,207
YEAH.
271
00:09:36,409 --> 00:09:38,311
HEY...
272
00:09:38,345 --> 00:09:40,147
YEAH.
273
00:09:40,180 --> 00:09:41,849
SURE, SEE?
274
00:09:41,882 --> 00:09:43,383
AHH!
275
00:09:43,416 --> 00:09:45,619
IT'S GOT A NICE ZIP TO IT.
276
00:09:45,653 --> 00:09:46,854
ALL RIGHT, NOW...
277
00:09:46,887 --> 00:09:49,389
YEAH, THAT'LL REALLY
FIX ME UP FOR TONIGHT.
278
00:09:49,422 --> 00:09:50,991
WELL...
279
00:09:51,024 --> 00:09:54,194
I WANT TO SHOW YOU
SOMETHING ELSE, OTIS.
280
00:09:54,227 --> 00:09:55,295
HERE WE GO.
281
00:09:55,328 --> 00:09:56,396
NOW, HERE...
282
00:09:56,429 --> 00:09:58,632
YOU TAKE A LOOK AT THIS.
283
00:09:58,666 --> 00:10:01,702
SEE WHAT YOU THINK
OF ALL THIS HERE.
284
00:10:01,735 --> 00:10:03,170
HERE WE ARE.
285
00:10:03,203 --> 00:10:04,738
WHAT'S THAT?
286
00:10:04,772 --> 00:10:08,075
WELL, WHAT DOES IT
LOOK LIKE?
287
00:10:08,108 --> 00:10:09,142
TILES.
288
00:10:09,176 --> 00:10:10,277
MM-HMM.
289
00:10:10,310 --> 00:10:12,245
ARE YOU MAKING
A BATHROOM FLOOR?
290
00:10:12,279 --> 00:10:15,348
NO, OTIS. THIS IS A BOAT,
AND THESE ARE THE WAVES.
291
00:10:15,382 --> 00:10:17,284
OH, DON'T SHOW ME
THE WAVES, NOT NOW.
292
00:10:17,317 --> 00:10:19,286
OTIS, THIS HAPPENS
TO BE A FORM OF ART.
293
00:10:19,319 --> 00:10:21,021
NOW, YOU GET INTERESTED
IN THIS
294
00:10:21,054 --> 00:10:23,290
AND I GUARANTEE
IT'LL CURE YOUR PROBLEM.
295
00:10:23,323 --> 00:10:25,292
WHO SAYS I WANT
TO CURE IT?
296
00:10:25,325 --> 00:10:27,194
OH, COME ON,
I WANT YOU TO TRY THIS.
297
00:10:27,227 --> 00:10:28,929
GET A FEEL
OF THE TILES, HUH?
298
00:10:28,962 --> 00:10:30,097
NO.
299
00:10:30,130 --> 00:10:32,132
OTIS, YOU ARE
AT THE CROSSROADS.
300
00:10:32,165 --> 00:10:34,167
NOW, I WANT YOU TO DO THIS.
301
00:10:34,201 --> 00:10:36,203
NO! N-O, NO.
302
00:10:36,236 --> 00:10:37,204
OKAY, THEN.
303
00:10:37,237 --> 00:10:38,739
THIS IS THE LAST TIME
304
00:10:38,772 --> 00:10:41,108
I'M EVER GOING TO LET YOU
IN THIS JAIL.
305
00:10:41,141 --> 00:10:43,844
THEN, I'LL GO
TO MOUNT PILOT
OR SILER CITY.
306
00:10:43,877 --> 00:10:47,380
I'LL BLACKLIST YOU IN EVERY JAIL
WITHIN 500 MILES OF HERE.
307
00:10:47,414 --> 00:10:48,749
YOU'RE OUT, BUSTER.
308
00:10:48,782 --> 00:10:49,783
O-U-T, OUT, OUT.
309
00:10:49,817 --> 00:10:50,918
YOU WOULDN'T.
310
00:10:50,951 --> 00:10:51,919
WOULDN'T I?
311
00:10:55,222 --> 00:10:58,158
ALL RIGHT, NOW,
DO IT RIGHT, OTIS.
312
00:11:05,232 --> 00:11:06,767
ISN'T THAT FUN?
313
00:11:17,077 --> 00:11:18,712
HI, OTIS.
314
00:11:18,746 --> 00:11:19,947
HI, ANDY.
315
00:11:19,980 --> 00:11:21,248
WARREN?
316
00:11:21,281 --> 00:11:23,316
HE LEFT ABOUT
A HALF HOUR AGO.
317
00:11:23,350 --> 00:11:26,954
OH.
318
00:11:26,987 --> 00:11:30,257
WELL, I SEE
HE HAD A TALK WITH YOU.
319
00:11:30,290 --> 00:11:31,424
YEP.
320
00:11:31,458 --> 00:11:33,426
OTIS, WARREN'S
KIND OF NEW HERE.
321
00:11:33,460 --> 00:11:36,429
THERE ARE A LOT OF THINGS
HE DOESN'T UNDERSTAND.
322
00:11:36,463 --> 00:11:38,165
YEAH, I KNOW.
323
00:11:38,198 --> 00:11:39,366
HOW'S IT COMING?
324
00:11:39,399 --> 00:11:40,467
FINE.
325
00:11:40,500 --> 00:11:42,402
WELL, I JUST WANTED YOU TO KNOW
326
00:11:42,435 --> 00:11:44,404
HE'S A LITTLE HEADSTRONG
ABOUT CERTAIN THINGS
327
00:11:44,437 --> 00:11:46,974
AND YOU CAN LEAVE
ANYTIME YOU WANT TO, OKAY?
328
00:11:47,007 --> 00:11:48,909
OKAY.
329
00:12:04,124 --> 00:12:05,893
HEY, ANDY.
330
00:12:05,926 --> 00:12:09,162
HEY, GOOB.
331
00:12:09,196 --> 00:12:11,965
I JUST RUN INTO OTIS.
332
00:12:11,999 --> 00:12:13,533
HE'S ON HIS WAY
TO THE STORE
333
00:12:13,566 --> 00:12:15,302
TO GET SOME MORE
OF THEM TILES AND THINGS.
334
00:12:15,335 --> 00:12:16,804
IS THAT RIGHT?
335
00:12:16,837 --> 00:12:18,772
BOY, HE'S SURE STICKIN'
WITH IT, ISN'T HE?
336
00:12:18,806 --> 00:12:20,407
YEAH, I'LL SAY HE IS.
337
00:12:20,440 --> 00:12:22,309
HE'S WORKIN' ON
ONE OF HIS OWN NOW.
338
00:12:22,342 --> 00:12:24,211
HIS OWN ORIGINAL CREATION.
339
00:12:24,244 --> 00:12:25,779
NO KIDDIN'!
340
00:12:25,813 --> 00:12:27,815
IT IS GONNA BE
A PASTORAL SCENE.
341
00:12:27,848 --> 00:12:29,549
THAT OUGHTA BE REAL NICE,
HUH, ANDY?
342
00:12:29,582 --> 00:12:30,818
YEAH, IT SHOULD.
343
00:12:30,851 --> 00:12:32,219
WHAT IS IT?
344
00:12:32,252 --> 00:12:34,487
A PASTORAL SCENE?
345
00:12:34,521 --> 00:12:36,023
YEAH.
346
00:12:36,056 --> 00:12:37,390
IT'S A KIND OF
A COUNTRY SETTING,
347
00:12:37,424 --> 00:12:38,458
YOU KNOW, PEACEFUL, QUIET.
348
00:12:38,491 --> 00:12:41,161
I WISH I COULD DO ART.
349
00:12:41,194 --> 00:12:43,063
WELL, GOOB, I GUESS SOME FOLKS
350
00:12:43,096 --> 00:12:45,498
GOT THAT ARTISTIC FLAIR
AND SOME DON'T.
351
00:12:45,532 --> 00:12:47,500
I GUESS YOU AND ME DON'T.
352
00:12:47,534 --> 00:12:49,302
YEAH.
353
00:12:50,537 --> 00:12:53,240
'COURSE, EVERYBODY CAN'T
WORK ON CARS, EITHER.
354
00:12:53,273 --> 00:12:56,309
YEAH.
355
00:12:57,377 --> 00:12:59,046
WELL, I'LL SEE YA.
356
00:12:59,079 --> 00:13:00,213
I'LL SEE YA.
357
00:13:06,954 --> 00:13:09,489
I UNDERSTAND THERE'LL BE
ABOUT HALF A DOZEN GUESTS
358
00:13:09,522 --> 00:13:11,458
AT THE ART CLASS
WEDNESDAY NIGHT.
359
00:13:11,491 --> 00:13:13,193
YES, A LOT OF PEOPLE
ARE INTERESTED.
360
00:13:13,226 --> 00:13:14,995
HARRIET MOODY IS COMING OVER.
361
00:13:15,028 --> 00:13:16,563
SHE'S INTERESTED
IN PLATE PAINTING.
362
00:13:16,596 --> 00:13:17,998
THAT'S GREAT!
363
00:13:18,031 --> 00:13:19,232
HOW ABOUT YOU, ANDY?
YOU COMING?
364
00:13:19,266 --> 00:13:20,233
ANDY?
365
00:13:20,267 --> 00:13:21,334
HMM?
366
00:13:21,368 --> 00:13:22,369
THE ART CLASS.
YOU COMIN'?
367
00:13:22,402 --> 00:13:23,937
OH, I DON'T KNOW.
368
00:13:23,971 --> 00:13:26,439
I MIGHT, IF I DON'T HAVE
ANYTHING ELSE TO DO.
369
00:13:27,474 --> 00:13:29,910
I'LL GET IT.
370
00:13:33,146 --> 00:13:35,582
OH, HI, OTIS.
COME IN.
371
00:13:35,615 --> 00:13:36,616
HI, ANDY.
372
00:13:36,649 --> 00:13:38,285
I GOT A SURPRISE
FOR YOU FOLKS.
373
00:13:38,318 --> 00:13:39,352
A SURPRISE?
NO KIDDING.
374
00:13:39,386 --> 00:13:40,620
YEP, I MADE YOU
A PICTURE.
375
00:13:40,653 --> 00:13:41,621
YOU DID?
376
00:13:41,654 --> 00:13:42,622
WELL...
377
00:13:42,655 --> 00:13:43,623
I DID.
378
00:13:43,656 --> 00:13:44,958
OH, I HOPE
YOU LIKE IT.
379
00:13:44,992 --> 00:13:46,960
WELL, OF COURSE, WE WILL, OTIS.
380
00:13:46,994 --> 00:13:48,495
SURE, WE WILL.
381
00:13:48,528 --> 00:13:49,496
YOU READY?
382
00:13:49,529 --> 00:13:50,898
READY.
383
00:13:50,931 --> 00:13:52,065
Otis:
THERE YOU ARE.
384
00:13:55,235 --> 00:13:56,636
WELL...
385
00:13:56,669 --> 00:13:58,505
BOY.
386
00:13:58,538 --> 00:14:00,373
Y
387
00:14:00,407 --> 00:14:01,975
WELL, SURE, I DO.
388
00:14:02,009 --> 00:14:05,112
IT'S, UH, IT'S, UH,
IT'S INTERESTING.
389
00:14:05,145 --> 00:14:07,047
HOW YOU LIKE
IT, AUNT BEE?
390
00:14:07,080 --> 00:14:09,516
WELL... IT'S, UH...
391
00:14:09,549 --> 00:14:11,985
IT'S, UH, VERY COLORFUL,
ISN'T IT, WARREN?
392
00:14:12,019 --> 00:14:13,486
THAT'S
A WONDERFUL
EFFORT, OTIS.
393
00:14:13,520 --> 00:14:16,523
WELL, YOU-YOU
REALLY DID IT, OTIS...
394
00:14:16,556 --> 00:14:18,225
DIDN'T HE, AUNT BEE?
395
00:14:18,258 --> 00:14:20,493
CERTAINLY DID.
396
00:14:20,527 --> 00:14:22,195
IT'S A PASTORAL, RIGHT?
397
00:14:22,229 --> 00:14:23,263
UH, RIGHT.
398
00:14:23,296 --> 00:14:25,232
WELL, I-I CERTAINLY
APPRECIATE
399
00:14:25,265 --> 00:14:27,134
YOUR GIVING IT-IT
TO US, OTIS.
400
00:14:27,167 --> 00:14:28,401
WHERE YOU
GONNA HANG IT?
401
00:14:28,435 --> 00:14:29,402
HANG IT?
402
00:14:29,436 --> 00:14:30,437
UH-HUH.
403
00:14:30,470 --> 00:14:32,105
UH, WELL, YEAH,
WE'LL HANG IT.
404
00:14:32,139 --> 00:14:33,440
UH... UH, WELL
405
00:14:33,473 --> 00:14:35,375
AUNT BEE USUALLY
HANDLES THAT.
406
00:14:36,709 --> 00:14:40,147
YES, WH-WH-WHERE ARE
WE GOING TO HANG IT?
407
00:14:40,180 --> 00:14:41,681
SEE, SHE'S THE DECORATOR.
408
00:14:41,714 --> 00:14:43,083
YEAH.
409
00:14:43,116 --> 00:14:45,552
I KNOW, UPSTAIRS
IN THE HALLWAY.
410
00:14:45,585 --> 00:14:47,420
IN THE HALLWAY.
411
00:14:47,454 --> 00:14:49,156
THE HALLWAY?
412
00:14:49,189 --> 00:14:51,624
WHY NOT
OVER THE FIREPLACE, ANDY?
413
00:14:51,658 --> 00:14:53,426
WELL, WE HAVE A PICTURE
UP THERE.
414
00:14:53,460 --> 00:14:56,163
THERE'S NOTHING LIKE
A LITTLE CHANGE
NOW AND THEN.
415
00:14:56,196 --> 00:14:57,430
I'LL SHOW YOU
WHAT I MEAN.
416
00:14:57,464 --> 00:14:59,032
WE JUST TAKE
THIS ONE DOWN...
417
00:14:59,066 --> 00:15:00,333
AND HERE'S MINE.
418
00:15:00,367 --> 00:15:02,402
OKAY, OTIS, HOLD IT
THERE FOR A SECOND, NOW.
419
00:15:02,435 --> 00:15:03,703
EASY DOES IT, NOW.
420
00:15:03,736 --> 00:15:04,972
YEAH.
421
00:15:05,005 --> 00:15:07,040
WE'LL PUT IT UP
RIGHT HERE
422
00:15:07,074 --> 00:15:08,708
AND... THERE WE ARE.
423
00:15:08,741 --> 00:15:09,977
PERFECT.
424
00:15:10,010 --> 00:15:11,711
MMM. SURE LOOKS
PRETTY UP THERE.
425
00:15:11,744 --> 00:15:13,446
YEAH, Y-YOU REALLY
CAN SEE IT.
426
00:15:13,480 --> 00:15:15,048
WELL, I GOT TO
GO NOW, FOLKS.
427
00:15:15,082 --> 00:15:16,349
I'M GLAD
YOU LIKE IT.
428
00:15:16,383 --> 00:15:17,450
SEE YOU LATER.
429
00:15:17,484 --> 00:15:18,585
THANKS, OTIS.
430
00:15:18,618 --> 00:15:20,120
THANK YOU VERY MUCH.
431
00:15:20,153 --> 00:15:21,288
GOOD-BYE, OTIS.
432
00:15:22,622 --> 00:15:24,391
WHAT'D YOU PUT IT
UP THERE FOR?
433
00:15:24,424 --> 00:15:25,658
OTIS IS
AT THE CROSSROADS.
434
00:15:25,692 --> 00:15:27,327
HE COULD GO EITHER WAY.
435
00:15:27,360 --> 00:15:29,529
IF WE DON'T GIVE HIM
PROPER ENCOURAGEMENT
436
00:15:29,562 --> 00:15:31,598
HE'LL GO
RIGHT BACK WHERE HE WAS.
437
00:15:31,631 --> 00:15:33,233
BUT A PICTURE
LIKE THAT.
438
00:15:33,266 --> 00:15:35,202
IN THE MOST IMPORTANT
PLACE IN THE HOUSE?
439
00:15:35,235 --> 00:15:36,336
DON'T YOU UNDERSTAND?
440
00:15:36,369 --> 00:15:38,138
WHAT HAPPENED TO OTIS
IS A MIRACLE.
441
00:15:38,171 --> 00:15:39,606
AUNT BEE...
WHAT?
442
00:15:39,639 --> 00:15:41,308
LET'S HAVE OTIS
AS GUEST SPEAKER
443
00:15:41,341 --> 00:15:43,010
AT TOMORROW NIGHT'S
ART CLASS...
444
00:15:43,043 --> 00:15:45,278
LET OUR VISITORS HEAR
WHAT ART CAN DO FOR A PERSON.
445
00:15:45,312 --> 00:15:46,646
WELL, IT...
446
00:15:46,679 --> 00:15:48,581
COULD BE ONE
OF THE MOST EXCITING EVENINGS
447
00:15:48,615 --> 00:15:50,083
WE'VE EVER HAD.
448
00:15:50,117 --> 00:15:53,153
WELL, WHAT TIME'S
THE ART CLASS OVER, WARREN?
449
00:15:53,186 --> 00:15:54,721
WITH ALL THE GUESTS AND ALL
450
00:15:54,754 --> 00:15:57,657
IT'LL PROBABLY BE
A LATE ONE... 10:00 MAYBE.
451
00:15:57,690 --> 00:16:00,027
WELL, I WANTED TO GO
TO THE PICTURE SHOW.
452
00:16:00,060 --> 00:16:02,529
GOOBER, ART IS MORE IMPORTANT
THAN A PICTURE SHOW.
453
00:16:02,562 --> 00:16:05,298
THEY'RE SHOWING
THE MONSTER THAT
ATE MINNESOTA.
454
00:16:05,332 --> 00:16:07,200
YOU'VE ALREADY SEEN THAT
TEN TIMES.
455
00:16:07,234 --> 00:16:08,468
WELL, I LIKE IT.
456
00:16:08,501 --> 00:16:09,769
GOOBER, HOW CAN YOU THINK
457
00:16:09,802 --> 00:16:12,139
ABOUT GOING TO THE MOVIES
WHEN THERE'S ART?
458
00:16:12,172 --> 00:16:13,473
NOW, LOOK AT THIS.
459
00:16:13,506 --> 00:16:15,242
DOESN'T THAT
GIVE YOU A THRILL?
460
00:16:18,778 --> 00:16:20,347
IT'S NICE...
461
00:16:20,380 --> 00:16:22,782
BUT IT AIN'T NO
MONSTER THAT ATE MINNESOTA.
462
00:16:22,815 --> 00:16:25,552
GOOBER... I AM NOT GOING
TO THE MOVIES.
463
00:16:25,585 --> 00:16:26,786
HOW ABOUT YOU?
464
00:16:26,819 --> 00:16:29,522
WHY DON'T YOU COME OVER
TO THE ART CLASS?
465
00:16:29,556 --> 00:16:30,790
THEY GONNA SERVE ANYTHING?
466
00:16:30,823 --> 00:16:32,459
NO, I DON'T THINK SO.
467
00:16:32,492 --> 00:16:35,462
THREE HOURS IS
A LONG TIME TO GO
WITHOUT EATING.
468
00:16:35,495 --> 00:16:37,264
THEN, DON'T GO.
I'LL GO.
469
00:16:37,297 --> 00:16:38,665
DON'T DO ME ANY FAVORS.
470
00:16:38,698 --> 00:16:40,400
I SAID I'D GO,
DIDN'T I?
471
00:16:50,810 --> 00:16:53,780
YOU GONNA LEAVE
THAT UP THERE, PA?
472
00:16:53,813 --> 00:16:55,548
I'M DEBATING.
473
00:16:55,582 --> 00:16:58,151
THE FELLAS
WERE OVER HERE TODAY.
474
00:16:58,185 --> 00:17:00,253
THEY WERE
LAUGHING AT IT.
475
00:17:00,287 --> 00:17:02,422
ANDY, WE BETTER BE LEAVING.
476
00:17:07,627 --> 00:17:09,596
JUST A SECOND.
477
00:17:11,564 --> 00:17:13,266
THERE'S A LIMIT
TO WHAT ONE MAN
478
00:17:13,300 --> 00:17:14,801
OUGHT TO GO THROUGH
FOR ANOTHER.
479
00:17:14,834 --> 00:17:17,470
WELL, WHAT ARE YOU GOING
TO DO WITH IT, PA?
480
00:17:17,504 --> 00:17:18,805
PUT IT IN THE CLOSET.
481
00:17:18,838 --> 00:17:20,607
BUT OTIS'LL FIND OUT,
AND YOU KNOW
482
00:17:20,640 --> 00:17:22,542
WHAT WARREN SAID
ABOUT ENCOURAGEMENT.
483
00:17:22,575 --> 00:17:24,711
WHEN HE COMES OVER,
WE'LL PUT IT UP AGAIN.
484
00:17:24,744 --> 00:17:26,579
WELL, I DON'T FEEL GOOD
ABOUT THAT.
485
00:17:26,613 --> 00:17:28,115
OPIE, NOW, YOU UNDERSTAND.
486
00:17:28,148 --> 00:17:29,716
IT'S THE KIND OF PICTURE
487
00:17:29,749 --> 00:17:32,119
THAT WOULD PROBABLY
APPEAL TO SOMEBODY ELSE
488
00:17:32,152 --> 00:17:33,620
BUT IT'S JUST NOT
OUR TASTE.
489
00:17:33,653 --> 00:17:34,854
SURE, PA.
490
00:17:34,887 --> 00:17:37,157
WE'LL BE BACK
IN A COUPLE OF HOURS, OPIE.
491
00:17:37,190 --> 00:17:38,291
BYE.
OKAY. BYE, PA.
492
00:17:38,325 --> 00:17:39,526
BYE, OPIE.
BYE, AUNT BEE.
493
00:17:43,396 --> 00:17:44,564
COMING.
494
00:17:49,802 --> 00:17:50,770
HI, OPE.
495
00:17:50,803 --> 00:17:52,105
HI, MR. CAMPBELL.
496
00:17:52,139 --> 00:17:53,640
YOUR FOLKS GONE ALREADY?
497
00:17:53,673 --> 00:17:55,608
YEAH. THEY LEFT ABOUT
TEN MINUTES AGO.
498
00:17:55,642 --> 00:17:57,710
I STOPPED BY
TO ASK THEM TO WAIT FOR ME.
499
00:17:57,744 --> 00:18:00,180
I'D BETTER GO CLEAN UP
AND MEET THEM AT THE CLASS.
500
00:18:00,213 --> 00:18:02,249
I'LL SEE YOU LATER.
OKAY, B...
501
00:18:04,351 --> 00:18:06,586
SAY, MY PICTURE...
502
00:18:08,488 --> 00:18:09,856
THEY TAKE IT TO CLASS?
503
00:18:09,889 --> 00:18:12,159
NO, THEY DIDN'T TAKE IT
TO CLASS.
504
00:18:12,192 --> 00:18:13,660
WELL, WHAT'D THEY DO WITH IT?
505
00:18:13,693 --> 00:18:16,129
WELL, THEY LIKED IT A LOT.
506
00:18:16,163 --> 00:18:17,397
WHAT'D THEY DO WITH IT?
507
00:18:17,430 --> 00:18:18,498
THEY THOUGHT IT WAS
508
00:18:18,531 --> 00:18:19,732
THE BEST COW
THEY EVER SAW.
509
00:18:19,766 --> 00:18:22,535
WHERE'D THEY PUT IT?
510
00:18:23,836 --> 00:18:26,406
THEY PUT IT
IN THE CLOSET.
511
00:18:26,439 --> 00:18:28,141
IN THE CLOSET?
512
00:18:28,175 --> 00:18:29,342
YEAH.
513
00:18:30,843 --> 00:18:32,712
WELL, THAT'S A FINE
HOW-DO-YOU-DO.
514
00:18:32,745 --> 00:18:36,149
YOU WORK ALL WEEK ON A PICTURE,
AND IT ENDS UP IN A CLOSET.
515
00:18:36,183 --> 00:18:38,418
WELL, GEE,
MR. CAMPBELL...
516
00:18:38,451 --> 00:18:40,320
WELL, IT'S NOT YOUR FAULT.
517
00:18:40,353 --> 00:18:43,423
IT'S NOT YOUR FAULT, OPE.
518
00:18:43,456 --> 00:18:44,657
SEE YOU LATER.
519
00:18:49,496 --> 00:18:52,499
AND THE MESSAGE
THAT I WISH TO CONVEY
520
00:18:52,532 --> 00:18:54,634
PARTICULARLY TO OUR VISITORS
521
00:18:54,667 --> 00:18:58,505
IS THAT ART IN ANY FORM
IS A MEANS OF SELF-EXPRESSION--
522
00:18:58,538 --> 00:19:02,375
WHETHER IT BE WATERCOLORS,
WHICH IS MY FIELD
523
00:19:02,409 --> 00:19:06,213
OR OILS OR PLATE PAINTING
OR WHAT HAVE YOU.
524
00:19:06,246 --> 00:19:08,381
IT'S A FORM OF EXPRESSION
525
00:19:08,415 --> 00:19:10,817
AND WE HOPE
THAT YOU WILL JOIN US.
526
00:19:10,850 --> 00:19:12,519
THE MORE THE MERRIER.
527
00:19:12,552 --> 00:19:14,254
AND, NOW WE TAKE YOU
528
00:19:14,287 --> 00:19:16,923
INTO THE FASCINATING WORLD
OF MOSAICS
529
00:19:16,956 --> 00:19:18,658
WITH WARREN FERGUSON.
530
00:19:18,691 --> 00:19:20,393
OTIS ISN'T HERE YET, ANDY.
531
00:19:20,427 --> 00:19:22,829
OH, HE'S ALWAYS LATE.
HE'LL BE HERE.
532
00:19:22,862 --> 00:19:24,297
YOU GONNA SPEAK,
WARREN?
533
00:19:24,331 --> 00:19:25,532
YEAH.
534
00:19:25,565 --> 00:19:28,368
I'D BE SCARED
TO DEATH.
535
00:19:28,401 --> 00:19:29,569
EXCUSE ME.
536
00:19:42,349 --> 00:19:45,685
Warren:
LADIES AND GENTLEMEN,
GUESTS...
537
00:19:45,718 --> 00:19:48,288
AS YOU HAVE BEEN ABLE
TO JUDGE
538
00:19:48,321 --> 00:19:50,957
THE HORIZONS OF ART
ARE UNLIMITED.
539
00:19:50,990 --> 00:19:54,694
IN THE CASE OF MOSAICS...
540
00:19:54,727 --> 00:19:58,265
GIVEN A FEW SIMPLE TOOLS
AND A MINIMUM OF EXPERIENCE
541
00:19:58,298 --> 00:19:59,566
YOU, TOO, CAN PRODUCE
542
00:19:59,599 --> 00:20:01,768
A PERFECTLY ACCEPTABLE
WORK OF ART.
543
00:20:04,604 --> 00:20:08,675
UM, AS WE EXPLORE THE
POSSIBILITIES OF THIS MEDIUM
544
00:20:08,708 --> 00:20:11,678
LET US REMEMBER
THAT WE LIVE
545
00:20:11,711 --> 00:20:13,313
IN A DAY AND AGE
546
00:20:13,346 --> 00:20:15,915
WHEN WE HAVE LOTS
OF LEISURE TIME ON OUR HANDS.
547
00:20:19,619 --> 00:20:23,723
WELL, THERE'S A LOT MORE
I COULD TELL YOU...
548
00:20:23,756 --> 00:20:25,458
BUT LET ME SAY THAT, UH...
549
00:20:25,492 --> 00:20:27,860
I DID PLAN TO HAVE
A SURPRISE SPEAKER TONIGHT
550
00:20:27,894 --> 00:20:31,764
BUT I GUESS
HE SURPRISED ME.
551
00:20:31,798 --> 00:20:34,567
WELL... IN CONCLUSION...
552
00:20:34,601 --> 00:20:38,471
LET ME SAY
THAT ART IS FOR EVERYBODY
553
00:20:38,505 --> 00:20:40,473
UM, MEN, WOMEN...
554
00:20:40,507 --> 00:20:42,709
BOYS...
555
00:20:42,742 --> 00:20:44,010
AND GIRLS...
556
00:20:44,043 --> 00:20:45,745
CHILDREN...
557
00:20:45,778 --> 00:20:48,581
ADULTS...
558
00:20:48,615 --> 00:20:50,350
UH...
559
00:20:50,383 --> 00:20:53,353
LADIES AND GENTLEMEN,
O-OUR GUEST SPEAKER HAS ARRIVED.
560
00:20:53,386 --> 00:20:55,822
SO WITHOUT FURTHER ADO,
LET ME INTRODUCE A MAN
561
00:20:55,855 --> 00:20:58,358
WHO HAS SOME VERY
IMPORTANT THINGS TO SAY TO YOU
562
00:20:58,391 --> 00:20:59,392
MR. OTIS CAMPBELL.
563
00:21:03,830 --> 00:21:06,032
UH, MAYBE WE'D BETTER
RESCHEDULE THIS TALK
564
00:21:06,065 --> 00:21:07,500
FOR SOME FUTURE DATE.
565
00:21:07,534 --> 00:21:09,502
NOTHING DOING.
I'M TALKING NOW.
566
00:21:09,536 --> 00:21:10,637
OTIS, PLEASE...
567
00:21:10,670 --> 00:21:12,839
YOU WANT ME TO SIC
MY DOG ON YOU?
568
00:21:12,872 --> 00:21:15,041
COME ON, SPOT,
SIC HIM, SIC HIM.
569
00:21:15,074 --> 00:21:16,609
GET HIM, GET HIM, SPOT.
570
00:21:16,643 --> 00:21:19,679
OH, THIS IS HORRIBLE.
571
00:21:19,712 --> 00:21:25,585
LADIES AND GENTLEMEN,
I AM HERE TO DISCUSS M-MOSAICS.
572
00:21:25,618 --> 00:21:26,919
OH, OTIS, PLEASE...
573
00:21:26,953 --> 00:21:30,390
Otis:
EVERY ARTIST
HAS GOT TO KNOW
574
00:21:30,423 --> 00:21:32,525
HOW TO HAVE A FAILURE.
575
00:21:32,559 --> 00:21:34,394
THAT'S THE ONLY WAY
TO LEARN.
576
00:21:34,427 --> 00:21:36,396
RIGHT, SPOT?
577
00:21:36,429 --> 00:21:38,798
SIT. SIT.
578
00:21:38,831 --> 00:21:41,000
I KNOW THE REASON
FOR MY FAILURE
579
00:21:41,033 --> 00:21:42,502
AND, SO FROM NOW ON
580
00:21:42,535 --> 00:21:44,804
THINGS ARE GOING
TO BE DIFFERENT.
581
00:21:44,837 --> 00:21:46,072
THANK YOU,
THANK YOU.
582
00:21:46,105 --> 00:21:48,875
I SHALL NOW RETURN
TO MY STUDIO.
583
00:21:54,881 --> 00:21:57,083
COME ON, SPOT.
584
00:21:57,116 --> 00:21:58,485
COME ON.
585
00:22:02,121 --> 00:22:03,923
I CAN'T CONCENTRATE,
ANDY.
586
00:22:03,956 --> 00:22:05,492
AW, HE'LL SHOW UP.
587
00:22:05,525 --> 00:22:07,560
OH, IT'S BEEN
A DAY AND A HALF.
588
00:22:07,594 --> 00:22:10,430
I WONDER IF HE COULD
BE OVER IN MT. PILOT.
589
00:22:10,463 --> 00:22:11,964
NO, I CHECKED
OVER THERE.
590
00:22:11,998 --> 00:22:13,466
OH.
591
00:22:13,500 --> 00:22:17,970
Otis:
* I'LL FLY ON THE WINGS
592
00:22:18,004 --> 00:22:19,439
* OF AN ANGEL...
593
00:22:21,741 --> 00:22:23,075
HI, FELLAS.
594
00:22:23,109 --> 00:22:24,644
HOW YOU DOING, OTIS?
595
00:22:24,677 --> 00:22:26,446
WE WERE WORRIED
ABOUT YOU, OTIS.
596
00:22:26,479 --> 00:22:28,615
HEY, I SEE YOU
FINALLY GOT YOURSELF
597
00:22:28,648 --> 00:22:29,749
A REAL DOG, EH?
598
00:22:29,782 --> 00:22:30,917
WHAT?
599
00:22:30,950 --> 00:22:31,918
THE DOG.
600
00:22:31,951 --> 00:22:33,119
WHAT DOG?
601
00:22:33,152 --> 00:22:35,822
I DON'T SEE ANY DOG.
602
00:22:35,855 --> 00:22:37,624
HEY, OTIS, UM, LISTEN
603
00:22:37,657 --> 00:22:40,460
I'M-I'M AWFUL SORRY
ABOUT THAT PICTURE.
604
00:22:40,493 --> 00:22:42,862
OH, DON'T BE SORRY.
605
00:22:42,895 --> 00:22:46,633
IT WAS ROTTEN,
JUST PLAIN ROTTEN.
606
00:22:46,666 --> 00:22:48,167
AW, NOW, OTIS...
607
00:22:48,200 --> 00:22:49,402
IT...
608
00:22:49,436 --> 00:22:51,370
HOW DO YOU LIKE THIS?
609
00:22:54,006 --> 00:22:55,742
WELL, OTIS,
THAT'S BEAUTIFUL.
610
00:22:55,775 --> 00:22:57,877
BOY, THAT'S GREAT.
611
00:22:57,910 --> 00:23:00,980
DID ALL THAT IN JUST FIVE HOURS.
612
00:23:01,013 --> 00:23:05,518
I HAVE FINALLY LEARNED
THE SECRET TO REAL ART.
613
00:23:05,552 --> 00:23:07,019
OH, THAT'S SWELL.
614
00:23:07,053 --> 00:23:10,156
I FIND I DO MY BEST WORK...
615
00:23:10,189 --> 00:23:12,925
WHEN I'M JUST A LITTLE GASSED.
616
00:23:12,959 --> 00:23:14,894
AW, OTIS...
617
00:23:14,927 --> 00:23:16,996
OH, DON'T ACT SO SAD.
618
00:23:17,029 --> 00:23:18,898
NOW I GOT TWO HOBBIES.
619
00:23:31,811 --> 00:23:32,912
HI.
620
00:23:32,945 --> 00:23:34,647
HELLO!
MY, YOU'RE HOME EARLY.
621
00:23:34,681 --> 00:23:35,882
YEAH, GOT FINISHED.
622
00:23:35,915 --> 00:23:38,150
I'LL GET A NICE
CUP OF COFFEE.
623
00:23:38,184 --> 00:23:39,952
OKAY.
624
00:23:39,986 --> 00:23:42,021
I'M GONNA FINISH THIS
TODAY, PA.
625
00:23:42,054 --> 00:23:43,490
GOOD.
626
00:23:43,523 --> 00:23:44,524
WANT TO WORK ON IT
WITH ME?
627
00:23:44,557 --> 00:23:45,658
NO, THANKS.
628
00:23:45,692 --> 00:23:47,126
HOW COME?
629
00:23:47,159 --> 00:23:49,896
WELL, I'LL TELL YOU
THE TRUTH, OPE.
630
00:23:49,929 --> 00:23:51,598
I'VE HAD ENOUGH MOSAICS
631
00:23:51,631 --> 00:23:53,900
TO LAST ME
QUITE A LITTLE WHILE.
632
00:23:53,933 --> 00:23:56,903
UH...
633
00:23:59,806 --> 00:24:01,674
YOU OUGHT TO USE
SOME BLUE IN THERE.
634
00:24:01,708 --> 00:24:02,942
I'M GONNA USE GREEN.
635
00:24:02,975 --> 00:24:04,644
BUT IT JUST
CALLS FOR BLUE.
636
00:24:04,677 --> 00:24:06,513
WELL, I'M USING BLUE
OVER HERE.
637
00:24:06,546 --> 00:24:08,047
WELL, THAT'S
A DARKER BLUE.
638
00:24:08,080 --> 00:24:09,749
WELL, I KIND OF LIKE
THE GREEN.
639
00:24:09,782 --> 00:24:11,851
LET ME SEE THAT.
640
00:24:11,884 --> 00:24:14,721
WELL, GEE, PA,
I WANT TO DO IT.
641
00:24:14,754 --> 00:24:17,023
WELL, YOU ASKED ME
TO HELP, DIDN'T YOU?
642
00:24:21,894 --> 00:24:24,864
WELL, GREEN'S WRONG THERE.
643
00:24:28,568 --> 00:24:31,771
GOT TO BE BLUE.
42019
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