All language subtitles for SNL S02E08 Paul Simon.DVDRip.HI.RLP.cc.en.UNVSL

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,533 --> 00:00:07,451 Announcer: PORTIONS OF THE FOLLOWING PROGRAM HAVE BEEN PRE-RECORDED. 2 00:00:07,475 --> 00:00:10,620 FOLLOWING PROGRAM HAVE BEEN PRE-RECORDED. [GUITAR PLAYS] 3 00:00:10,644 --> 00:00:12,822 PRE-RECORDED. [GUITAR PLAYS] ♪ THIS LAND IS YOUR LAND ♪ 4 00:00:12,846 --> 00:00:14,557 [GUITAR PLAYS] ♪ THIS LAND IS YOUR LAND ♪ ♪ THIS LAND IS MY LAND ♪ 5 00:00:14,581 --> 00:00:15,459 ♪ THIS LAND IS YOUR LAND ♪ ♪ THIS LAND IS MY LAND ♪ ♪ FROM CAL.. ♪ 6 00:00:15,483 --> 00:00:16,193 ♪ THIS LAND IS MY LAND ♪ ♪ FROM CAL.. ♪ THANK YOU. 7 00:00:16,217 --> 00:00:17,627 ♪ FROM CAL.. ♪ THANK YOU. ♪ ...IFORNIA TO THE NEW YORK 8 00:00:17,651 --> 00:00:18,228 THANK YOU. ♪ ...IFORNIA TO THE NEW YORK ISLANDS ♪ 9 00:00:18,252 --> 00:00:21,131 ♪ ...IFORNIA TO THE NEW YORK ISLANDS ♪ CHEVY! CHEVY! 10 00:00:21,155 --> 00:00:22,632 ISLANDS ♪ CHEVY! CHEVY! PAUL, HOW ARE YOU? 11 00:00:22,656 --> 00:00:23,833 CHEVY! CHEVY! PAUL, HOW ARE YOU? GOOD TO SEE YOU! 12 00:00:23,857 --> 00:00:24,501 PAUL, HOW ARE YOU? GOOD TO SEE YOU! HOW ARE YA? 13 00:00:24,525 --> 00:00:25,802 GOOD TO SEE YOU! HOW ARE YA? I'M FINE. I'M FINE. I'M FINE. 14 00:00:25,826 --> 00:00:26,970 HOW ARE YA? I'M FINE. I'M FINE. I'M FINE. WELL, HOW'S IT BEEN GOING 15 00:00:26,994 --> 00:00:28,005 I'M FINE. I'M FINE. I'M FINE. WELL, HOW'S IT BEEN GOING SINCE YOU LEFT THE SHOW? 16 00:00:28,029 --> 00:00:29,772 WELL, HOW'S IT BEEN GOING SINCE YOU LEFT THE SHOW? OH, HEY. DYNAMITE! 17 00:00:29,796 --> 00:00:30,307 SINCE YOU LEFT THE SHOW? OH, HEY. DYNAMITE! REALLY? 18 00:00:30,331 --> 00:00:31,274 OH, HEY. DYNAMITE! REALLY? ARE YOU DOING SPECIALS? 19 00:00:31,298 --> 00:00:32,409 REALLY? ARE YOU DOING SPECIALS? OH, YEAH, I'M WORKING ON 20 00:00:32,433 --> 00:00:33,543 ARE YOU DOING SPECIALS? OH, YEAH, I'M WORKING ON SPECIALS EVEN AS WE TALK. 21 00:00:33,567 --> 00:00:34,077 OH, YEAH, I'M WORKING ON SPECIALS EVEN AS WE TALK. MOVIES? 22 00:00:34,101 --> 00:00:35,312 SPECIALS EVEN AS WE TALK. MOVIES? I'M WRITING, THE MOVIES. 23 00:00:35,336 --> 00:00:35,945 MOVIES? I'M WRITING, THE MOVIES. FANTASTIC. 24 00:00:35,969 --> 00:00:37,014 I'M WRITING, THE MOVIES. FANTASTIC. SO IT WAS WORTH IT TO LEAVE THE 25 00:00:37,038 --> 00:00:37,680 FANTASTIC. SO IT WAS WORTH IT TO LEAVE THE SHOW WHEN YOU DID. 26 00:00:37,704 --> 00:00:39,049 SO IT WAS WORTH IT TO LEAVE THE SHOW WHEN YOU DID. YEAH. WHAT ARE YOU DOING? 27 00:00:39,073 --> 00:00:40,617 SHOW WHEN YOU DID. YEAH. WHAT ARE YOU DOING? I'M GONNA DO THE SHOW 28 00:00:40,641 --> 00:00:41,485 YEAH. WHAT ARE YOU DOING? I'M GONNA DO THE SHOW TONIGHT. 29 00:00:41,509 --> 00:00:42,352 I'M GONNA DO THE SHOW TONIGHT. THAT'S GREAT! 30 00:00:42,376 --> 00:00:43,487 TONIGHT. THAT'S GREAT! I'M THE HOST, YEAH. 31 00:00:43,511 --> 00:00:44,888 THAT'S GREAT! I'M THE HOST, YEAH. YOU'RE A LITTLE BIT EARLY. 32 00:00:44,912 --> 00:00:46,390 I'M THE HOST, YEAH. YOU'RE A LITTLE BIT EARLY. I HAVE TO GET CHANGED INTO A 33 00:00:46,414 --> 00:00:47,590 YOU'RE A LITTLE BIT EARLY. I HAVE TO GET CHANGED INTO A COSTUME FOR THE OPENING. 34 00:00:47,614 --> 00:00:48,691 I HAVE TO GET CHANGED INTO A COSTUME FOR THE OPENING. OH, THAT'S FUNNY. 35 00:00:48,715 --> 00:00:49,393 COSTUME FOR THE OPENING. OH, THAT'S FUNNY. IS IT GOOD? 36 00:00:49,417 --> 00:00:50,693 OH, THAT'S FUNNY. IS IT GOOD? TO TELL YOU THE TRUTH, I HAVE 37 00:00:50,717 --> 00:00:51,761 IS IT GOOD? TO TELL YOU THE TRUTH, I HAVE MY DOUBTS ABOUT THE WHOLE 38 00:00:51,785 --> 00:00:52,195 TO TELL YOU THE TRUTH, I HAVE MY DOUBTS ABOUT THE WHOLE CONCEPT. 39 00:00:52,219 --> 00:00:53,296 MY DOUBTS ABOUT THE WHOLE CONCEPT. IT'S SOMETHING THEY WROTE. 40 00:00:53,320 --> 00:00:54,597 CONCEPT. IT'S SOMETHING THEY WROTE. I'M GONNA TALK TO LORNE ABOUT IT 41 00:00:54,621 --> 00:00:55,032 IT'S SOMETHING THEY WROTE. I'M GONNA TALK TO LORNE ABOUT IT ANYWAY. 42 00:00:55,056 --> 00:00:56,533 I'M GONNA TALK TO LORNE ABOUT IT ANYWAY. AH. HEY, HEY. 43 00:00:56,557 --> 00:00:58,135 ANYWAY. AH. HEY, HEY. LIVE FROM NEW YORK, IT'S 44 00:00:58,159 --> 00:00:59,469 AH. HEY, HEY. LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! 45 00:00:59,493 --> 00:01:00,504 LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! OKAY, YEAH. GREAT, CHEV. 46 00:01:00,528 --> 00:01:01,438 "SATURDAY NIGHT"! OKAY, YEAH. GREAT, CHEV. SEE YOU A LITTLE BIT LATER. 47 00:01:01,462 --> 00:01:02,839 OKAY, YEAH. GREAT, CHEV. SEE YOU A LITTLE BIT LATER. OKAY, SEE YOU LATER. 48 00:01:02,863 --> 00:01:04,341 SEE YOU A LITTLE BIT LATER. OKAY, SEE YOU LATER. OOH! LISTEN. 49 00:01:04,365 --> 00:01:06,443 OKAY, SEE YOU LATER. OOH! LISTEN. HEY! WHY DON'T YOU COME TO THE 50 00:01:06,467 --> 00:01:08,011 OOH! LISTEN. HEY! WHY DON'T YOU COME TO THE PARTY AFTER THE SHOW? 51 00:01:08,035 --> 00:01:08,678 HEY! WHY DON'T YOU COME TO THE PARTY AFTER THE SHOW? PARTY? 52 00:01:08,702 --> 00:01:10,147 PARTY AFTER THE SHOW? PARTY? I'D LOVE TO DO THAT, MAN. 53 00:01:10,171 --> 00:01:11,781 PARTY? I'D LOVE TO DO THAT, MAN. IF I'M FINISHED WITH MY WORK, 54 00:01:11,805 --> 00:01:12,715 I'D LOVE TO DO THAT, MAN. IF I'M FINISHED WITH MY WORK, I'LL BE THERE. 55 00:01:12,739 --> 00:01:14,217 IF I'M FINISHED WITH MY WORK, I'LL BE THERE. EVERYONE WOULD LOVE TO SEE 56 00:01:14,241 --> 00:01:14,551 I'LL BE THERE. EVERYONE WOULD LOVE TO SEE YOU. 57 00:01:14,575 --> 00:01:15,919 EVERYONE WOULD LOVE TO SEE YOU. THEY WOULD LOVE TO SEE YOU 58 00:01:15,943 --> 00:01:16,420 YOU. THEY WOULD LOVE TO SEE YOU AGAIN. 59 00:01:16,444 --> 00:01:17,687 THEY WOULD LOVE TO SEE YOU AGAIN. OKAY. 60 00:01:17,711 --> 00:01:18,955 AGAIN. OKAY. BEAUTIFUL. 61 00:01:18,979 --> 00:01:20,023 OKAY. BEAUTIFUL. SEE YOU LATER. 62 00:01:20,047 --> 00:01:21,191 BEAUTIFUL. SEE YOU LATER. OKAY, BEAUTIFUL. 63 00:01:21,215 --> 00:01:23,160 SEE YOU LATER. OKAY, BEAUTIFUL. ♪ DO YOU KNOW... DO ♪ 64 00:01:23,184 --> 00:01:24,727 OKAY, BEAUTIFUL. ♪ DO YOU KNOW... DO ♪ [STRUMS OUT-OF-TUNE CHORD] 65 00:01:24,751 --> 00:01:27,064 ♪ DO YOU KNOW... DO ♪ [STRUMS OUT-OF-TUNE CHORD] [HUMS] 66 00:01:27,088 --> 00:01:29,366 [STRUMS OUT-OF-TUNE CHORD] [HUMS] ♪ DO YOU KNOW THE WAY TO 67 00:01:29,390 --> 00:01:31,435 [HUMS] ♪ DO YOU KNOW THE WAY TO SAN JOSE? ♪ 68 00:01:31,459 --> 00:01:32,436 ♪ DO YOU KNOW THE WAY TO SAN JOSE? ♪ ♪ DO YOU KNOW... ♪ 69 00:01:32,460 --> 00:01:33,636 SAN JOSE? ♪ ♪ DO YOU KNOW... ♪ DYLAN! 70 00:01:33,660 --> 00:01:34,837 ♪ DO YOU KNOW... ♪ DYLAN! DYLAN 71 00:01:34,861 --> 00:01:38,597 DYLAN! DYLAN ♪ NOBODY FEELS ANY PAIN ♪ 72 00:01:40,967 --> 00:01:44,247 I MEAN, HOW DO YOU THINK I FEEL? I FEEL TERRIBLE ABOUT IT. 73 00:01:44,271 --> 00:01:45,549 FEEL? I FEEL TERRIBLE ABOUT IT. NO GOOD SAYING THAT NOW. 74 00:01:45,573 --> 00:01:46,749 I FEEL TERRIBLE ABOUT IT. NO GOOD SAYING THAT NOW. I'VE COME ALL THIS WAY. 75 00:01:46,773 --> 00:01:48,251 NO GOOD SAYING THAT NOW. I'VE COME ALL THIS WAY. $3,000. THAT WAS THE DEAL. 76 00:01:48,275 --> 00:01:49,619 I'VE COME ALL THIS WAY. $3,000. THAT WAS THE DEAL. I UNDERSTAND, BUT IT WAS JUST 77 00:01:49,643 --> 00:01:50,554 $3,000. THAT WAS THE DEAL. I UNDERSTAND, BUT IT WAS JUST ONE OF THOSE MIX-UPS. 78 00:01:50,578 --> 00:01:51,721 I UNDERSTAND, BUT IT WAS JUST ONE OF THOSE MIX-UPS. I MEAN, IT'S... 79 00:01:51,745 --> 00:01:53,957 ONE OF THOSE MIX-UPS. I MEAN, IT'S... [INDISTINCT ARGUING] 80 00:01:53,981 --> 00:01:55,158 I MEAN, IT'S... [INDISTINCT ARGUING] HI, GEORGE. 81 00:01:55,182 --> 00:01:55,992 [INDISTINCT ARGUING] HI, GEORGE. HI, LORNE. 82 00:01:56,016 --> 00:01:57,127 HI, GEORGE. HI, LORNE. WE BETTER GET STARTED. 83 00:01:57,151 --> 00:01:58,295 HI, LORNE. WE BETTER GET STARTED. LORNE, CAN I JUST TALK TO 84 00:01:58,319 --> 00:01:59,062 WE BETTER GET STARTED. LORNE, CAN I JUST TALK TO YOU FOR A MINUTE? 85 00:01:59,086 --> 00:02:00,063 LORNE, CAN I JUST TALK TO YOU FOR A MINUTE? IN PRIVATE? 86 00:02:00,087 --> 00:02:00,897 YOU FOR A MINUTE? IN PRIVATE? SURE. 87 00:02:00,921 --> 00:02:02,265 IN PRIVATE? SURE. CAN YOU JUST EXCUSE US FOR A 88 00:02:02,289 --> 00:02:02,765 SURE. CAN YOU JUST EXCUSE US FOR A MOMENT? 89 00:02:02,789 --> 00:02:03,700 CAN YOU JUST EXCUSE US FOR A MOMENT? WHAT IS IT? 90 00:02:03,724 --> 00:02:07,471 MOMENT? WHAT IS IT? LORNE, I HAVE GRAVE DOUBTS 91 00:02:07,495 --> 00:02:08,905 WHAT IS IT? LORNE, I HAVE GRAVE DOUBTS ABOUT THE COSTUME. 92 00:02:08,929 --> 00:02:09,906 LORNE, I HAVE GRAVE DOUBTS ABOUT THE COSTUME. WHAT, IN THE OPENING? 93 00:02:09,930 --> 00:02:11,108 ABOUT THE COSTUME. WHAT, IN THE OPENING? YES, I DO. 94 00:02:11,132 --> 00:02:12,609 WHAT, IN THE OPENING? YES, I DO. I THINK THE OPENING'S WORKING 95 00:02:12,633 --> 00:02:14,111 YES, I DO. I THINK THE OPENING'S WORKING WONDERFULLY. 96 00:02:14,135 --> 00:02:16,179 I THINK THE OPENING'S WORKING WONDERFULLY. WHAT ARE YOU WORRIED ABOUT? 97 00:02:16,203 --> 00:02:17,414 WONDERFULLY. WHAT ARE YOU WORRIED ABOUT? I-I'M WORRIED ABOUT... 98 00:02:17,438 --> 00:02:18,848 WHAT ARE YOU WORRIED ABOUT? I-I'M WORRIED ABOUT... I-I FEEL THERE'S A REAL GOOD 99 00:02:18,872 --> 00:02:20,484 I-I'M WORRIED ABOUT... I-I FEEL THERE'S A REAL GOOD CHANCE THAT I COULD LOOK LIKE A 100 00:02:20,508 --> 00:02:22,152 I-I FEEL THERE'S A REAL GOOD CHANCE THAT I COULD LOOK LIKE A FOOL IS WHAT I'M WORRIED ABOUT. 101 00:02:22,176 --> 00:02:23,953 CHANCE THAT I COULD LOOK LIKE A FOOL IS WHAT I'M WORRIED ABOUT. NOT A CHANCE. REALLY. 102 00:02:23,977 --> 00:02:25,388 FOOL IS WHAT I'M WORRIED ABOUT. NOT A CHANCE. REALLY. YOU JUST HAVE TO HAVE CONFIDENCE 103 00:02:25,412 --> 00:02:26,423 NOT A CHANCE. REALLY. YOU JUST HAVE TO HAVE CONFIDENCE WHEN YOU GO OUT THERE. 104 00:02:26,447 --> 00:02:28,125 YOU JUST HAVE TO HAVE CONFIDENCE WHEN YOU GO OUT THERE. BELIEVE ME, IT'LL WORK. 105 00:02:28,149 --> 00:02:29,692 WHEN YOU GO OUT THERE. BELIEVE ME, IT'LL WORK. I HOPE YOU'RE RIGHT. 106 00:02:29,716 --> 00:02:30,393 BELIEVE ME, IT'LL WORK. I HOPE YOU'RE RIGHT. DO YOU BELIEVE ME? 107 00:02:30,417 --> 00:02:31,461 I HOPE YOU'RE RIGHT. DO YOU BELIEVE ME? I DON'T BELIEVE YOU, BUT I 108 00:02:31,485 --> 00:02:32,195 DO YOU BELIEVE ME? I DON'T BELIEVE YOU, BUT I HOPE YOU'RE RIGHT. 109 00:02:32,219 --> 00:02:33,230 I DON'T BELIEVE YOU, BUT I HOPE YOU'RE RIGHT. REALLY, I THINK... 110 00:02:33,254 --> 00:02:34,131 HOPE YOU'RE RIGHT. REALLY, I THINK... IT WILL BE GREAT. 111 00:02:34,155 --> 00:02:35,064 REALLY, I THINK... IT WILL BE GREAT. YOU BETTER CHANGE. 112 00:02:35,088 --> 00:02:36,466 IT WILL BE GREAT. YOU BETTER CHANGE. I HOPE YOU'RE RIGHT, LORNE. 113 00:02:36,490 --> 00:02:36,833 YOU BETTER CHANGE. I HOPE YOU'RE RIGHT, LORNE. FINE. 114 00:02:36,857 --> 00:02:37,867 I HOPE YOU'RE RIGHT, LORNE. FINE. I'LL TELL YOU ONE THING, I'M 115 00:02:37,891 --> 00:02:38,868 FINE. I'LL TELL YOU ONE THING, I'M GONNA GET IT STRAIGHT IN THE 116 00:02:38,892 --> 00:02:39,202 I'LL TELL YOU ONE THING, I'M GONNA GET IT STRAIGHT IN THE FUTURE. 117 00:02:39,226 --> 00:02:41,138 GONNA GET IT STRAIGHT IN THE FUTURE. I KNOW, BUT IF YOU DON'T GO 118 00:02:41,162 --> 00:02:42,139 FUTURE. I KNOW, BUT IF YOU DON'T GO ON TONIGHT... 119 00:02:42,163 --> 00:02:43,940 I KNOW, BUT IF YOU DON'T GO ON TONIGHT... IF YOU DON'T GO ON TONIGHT, 120 00:02:43,964 --> 00:02:45,442 ON TONIGHT... IF YOU DON'T GO ON TONIGHT, IT'LL BREAK HIS HEART. 121 00:02:45,466 --> 00:02:46,743 IF YOU DON'T GO ON TONIGHT, IT'LL BREAK HIS HEART. I MEAN, IT MUST BE... 122 00:02:46,767 --> 00:02:48,378 IT'LL BREAK HIS HEART. I MEAN, IT MUST BE... SEE, I THOUGHT THAT YOU WOULD 123 00:02:48,402 --> 00:02:50,147 I MEAN, IT MUST BE... SEE, I THOUGHT THAT YOU WOULD UNDERSTAND THAT IF IT WAS $3,000 124 00:02:50,171 --> 00:02:51,814 SEE, I THOUGHT THAT YOU WOULD UNDERSTAND THAT IF IT WAS $3,000 FOR FOUR PEOPLE, THEN IT WOULD 125 00:02:51,838 --> 00:02:53,450 UNDERSTAND THAT IF IT WAS $3,000 FOR FOUR PEOPLE, THEN IT WOULD JUST BE $750 FOR EACH OF YOU. 126 00:02:53,474 --> 00:02:55,418 FOR FOUR PEOPLE, THEN IT WOULD JUST BE $750 FOR EACH OF YOU. I MEAN, AS FAR AS I'M CONCERNED, 127 00:02:55,442 --> 00:02:57,354 JUST BE $750 FOR EACH OF YOU. I MEAN, AS FAR AS I'M CONCERNED, I MEAN, YOU COULD HAVE THE FULL 128 00:02:57,378 --> 00:02:57,987 I MEAN, AS FAR AS I'M CONCERNED, I MEAN, YOU COULD HAVE THE FULL $3,000. 129 00:02:58,011 --> 00:02:59,156 I MEAN, YOU COULD HAVE THE FULL $3,000. IT'S THE NETWORK. 130 00:02:59,180 --> 00:03:00,923 $3,000. IT'S THE NETWORK. $750, THAT'S PRETTY CHINTZY, 131 00:03:00,947 --> 00:03:01,658 IT'S THE NETWORK. $750, THAT'S PRETTY CHINTZY, ISN'T IT? 132 00:03:01,682 --> 00:03:04,327 $750, THAT'S PRETTY CHINTZY, ISN'T IT? WELL, I'LL TELL YOU WHAT. 133 00:03:04,351 --> 00:03:07,330 ISN'T IT? WELL, I'LL TELL YOU WHAT. I KNOW THAT THERE'S ANOTHER $250 134 00:03:07,354 --> 00:03:09,866 WELL, I'LL TELL YOU WHAT. I KNOW THAT THERE'S ANOTHER $250 AVAILABLE FOR THE OPENING, 135 00:03:09,890 --> 00:03:11,067 I KNOW THAT THERE'S ANOTHER $250 AVAILABLE FOR THE OPENING, FOR THE PERSON WHO SAYS "LIVE 136 00:03:11,091 --> 00:03:12,269 AVAILABLE FOR THE OPENING, FOR THE PERSON WHO SAYS "LIVE FROM NEW YORK, IT'S 'SATURDAY 137 00:03:12,293 --> 00:03:12,735 FOR THE PERSON WHO SAYS "LIVE FROM NEW YORK, IT'S 'SATURDAY NIGHT.'" 138 00:03:12,759 --> 00:03:14,604 FROM NEW YORK, IT'S 'SATURDAY NIGHT.'" LIVE FROM NEW YORK, IT'S 139 00:03:14,628 --> 00:03:15,905 NIGHT.'" LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! 140 00:03:15,929 --> 00:03:19,064 LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! [BAND PLAYS] 141 00:03:26,239 --> 00:03:34,239 Announcer: NBC's "SATURDAY NIGHT"... STARRING PAUL SIMON... 142 00:03:41,555 --> 00:03:43,233 "SATURDAY NIGHT"... STARRING PAUL SIMON... WITH HIS SPECIAL GUEST 143 00:03:43,257 --> 00:03:45,777 STARRING PAUL SIMON... WITH HIS SPECIAL GUEST GEORGE HARRISON... 144 00:03:55,735 --> 00:03:59,605 AND THE NOT-READY-FOR-PRIME-TIME PLAYERS... 145 00:04:13,519 --> 00:04:21,519 LADIES AND GENTLEMEN, PAUL SIMON! [CHEERS AND APPLAUSE] 146 00:04:42,214 --> 00:04:46,151 [INTRO TO "STILL CRAZY AFTER ALL THESE YEARS" PLAYS] 147 00:04:54,560 --> 00:05:02,560 ♪ I MET MY OLD LOVER ON THE STREET LAST NIGHT ♪ ♪ SHE SEEMED SO GLAD TO SEE ME, 148 00:05:05,706 --> 00:05:09,719 STREET LAST NIGHT ♪ ♪ SHE SEEMED SO GLAD TO SEE ME, I JUST SMILED ♪ 149 00:05:09,743 --> 00:05:11,888 ♪ SHE SEEMED SO GLAD TO SEE ME, I JUST SMILED ♪ ♪ AND WE TALKED ABOUT SOME OLD 150 00:05:11,912 --> 00:05:13,723 I JUST SMILED ♪ ♪ AND WE TALKED ABOUT SOME OLD TIMES ♪ 151 00:05:13,747 --> 00:05:15,224 ♪ AND WE TALKED ABOUT SOME OLD TIMES ♪ ♪ AND WE DRANK OURSELVES SOME 152 00:05:15,248 --> 00:05:17,026 TIMES ♪ ♪ AND WE DRANK OURSELVES SOME BEERS ♪ 153 00:05:17,050 --> 00:05:20,830 ♪ AND WE DRANK OURSELVES SOME BEERS ♪ ♪ STILL CRAZY AFTER ALL THESE 154 00:05:20,854 --> 00:05:22,031 BEERS ♪ ♪ STILL CRAZY AFTER ALL THESE YEARS ♪ 155 00:05:22,055 --> 00:05:25,835 ♪ STILL CRAZY AFTER ALL THESE YEARS ♪ ♪ OH, STILL CRA... ♪ 156 00:05:25,859 --> 00:05:27,437 YEARS ♪ ♪ OH, STILL CRA... ♪ CUT! 157 00:05:27,461 --> 00:05:29,005 ♪ OH, STILL CRA... ♪ CUT! OKAY, CUT IT. 158 00:05:29,029 --> 00:05:30,039 CUT! OKAY, CUT IT. [MUSIC STOPS] 159 00:05:30,063 --> 00:05:33,410 OKAY, CUT IT. [MUSIC STOPS] FORGET IT, RICHARD. 160 00:05:33,434 --> 00:05:37,514 [MUSIC STOPS] FORGET IT, RICHARD. [LAUGHTER] 161 00:05:37,538 --> 00:05:40,016 FORGET IT, RICHARD. [LAUGHTER] YOU KNOW, I SAID WHEN THE TURKEY 162 00:05:40,040 --> 00:05:42,452 [LAUGHTER] YOU KNOW, I SAID WHEN THE TURKEY CONCEPT WAS FIRST BROUGHT UP, 163 00:05:42,476 --> 00:05:44,821 YOU KNOW, I SAID WHEN THE TURKEY CONCEPT WAS FIRST BROUGHT UP, I SAID THERE'S A VERY GOOD 164 00:05:44,845 --> 00:05:47,190 CONCEPT WAS FIRST BROUGHT UP, I SAID THERE'S A VERY GOOD CHANCE I'M GONNA END UP 165 00:05:47,214 --> 00:05:49,726 I SAID THERE'S A VERY GOOD CHANCE I'M GONNA END UP LOOKING STUPID IF I COME OUT 166 00:05:49,750 --> 00:05:50,960 CHANCE I'M GONNA END UP LOOKING STUPID IF I COME OUT WEARING IT. 167 00:05:50,984 --> 00:05:52,995 LOOKING STUPID IF I COME OUT WEARING IT. I MEAN, EVERYONE SAID, "OH, IT'S 168 00:05:53,019 --> 00:05:54,564 WEARING IT. I MEAN, EVERYONE SAID, "OH, IT'S THANKSGIVING, GO AHEAD." 169 00:05:54,588 --> 00:05:56,433 I MEAN, EVERYONE SAID, "OH, IT'S THANKSGIVING, GO AHEAD." I FELT THAT IT WAS NOT IN ANY 170 00:05:56,457 --> 00:05:58,301 THANKSGIVING, GO AHEAD." I FELT THAT IT WAS NOT IN ANY WAY IN KEEPING WITH MY IMAGE, 171 00:05:58,325 --> 00:06:00,269 I FELT THAT IT WAS NOT IN ANY WAY IN KEEPING WITH MY IMAGE, THE LYRICS, "THE BOXER," ANY OF 172 00:06:00,293 --> 00:06:01,204 WAY IN KEEPING WITH MY IMAGE, THE LYRICS, "THE BOXER," ANY OF THOSE SONGS. 173 00:06:01,228 --> 00:06:04,173 THE LYRICS, "THE BOXER," ANY OF THOSE SONGS. THEY SAID, "HEY, YOU KNOW, YOU 174 00:06:04,197 --> 00:06:07,711 THOSE SONGS. THEY SAID, "HEY, YOU KNOW, YOU TAKE YOURSELF SO SERIOUSLY. 175 00:06:07,735 --> 00:06:09,512 THEY SAID, "HEY, YOU KNOW, YOU TAKE YOURSELF SO SERIOUSLY. WHY DON'T YOU STOP TAKING 176 00:06:09,536 --> 00:06:11,414 TAKE YOURSELF SO SERIOUSLY. WHY DON'T YOU STOP TAKING YOURSELF SO SERIOUSLY FOR A 177 00:06:11,438 --> 00:06:13,516 WHY DON'T YOU STOP TAKING YOURSELF SO SERIOUSLY FOR A WHILE, LOOSEN UP A LITTLE BIT, 178 00:06:13,540 --> 00:06:15,719 YOURSELF SO SERIOUSLY FOR A WHILE, LOOSEN UP A LITTLE BIT, AND MAYBE PEOPLE WILL LAUGH? 179 00:06:15,743 --> 00:06:17,954 WHILE, LOOSEN UP A LITTLE BIT, AND MAYBE PEOPLE WILL LAUGH? YOU WANT TO BE MR. ALIENATION? 180 00:06:17,978 --> 00:06:20,089 AND MAYBE PEOPLE WILL LAUGH? YOU WANT TO BE MR. ALIENATION? YOU CAN BE MR. ALIENATION." 181 00:06:20,113 --> 00:06:21,458 YOU WANT TO BE MR. ALIENATION? YOU CAN BE MR. ALIENATION." WELL, I DIDN'T WANT TO BE 182 00:06:21,482 --> 00:06:22,359 YOU CAN BE MR. ALIENATION." WELL, I DIDN'T WANT TO BE MR. ALIENATION. 183 00:06:22,383 --> 00:06:25,294 WELL, I DIDN'T WANT TO BE MR. ALIENATION. I-I WANT TO BE A REGULAR GUY, 184 00:06:25,318 --> 00:06:28,398 MR. ALIENATION. I-I WANT TO BE A REGULAR GUY, BUT I FEEL THIS HAS JUST BEEN A 185 00:06:28,422 --> 00:06:31,200 I-I WANT TO BE A REGULAR GUY, BUT I FEEL THIS HAS JUST BEEN A DISASTER. 186 00:06:31,224 --> 00:06:32,034 BUT I FEEL THIS HAS JUST BEEN A DISASTER. I'M SORRY. 187 00:06:32,058 --> 00:06:34,003 DISASTER. I'M SORRY. I'M JUST GONNA GO AND CHANGE. 188 00:06:34,027 --> 00:06:37,106 I'M SORRY. I'M JUST GONNA GO AND CHANGE. IT'S JUST A TERRIBLE MISTAKE. 189 00:06:37,130 --> 00:06:43,179 I'M JUST GONNA GO AND CHANGE. IT'S JUST A TERRIBLE MISTAKE. [APPLAUSE] 190 00:06:43,203 --> 00:06:47,049 IT'S JUST A TERRIBLE MISTAKE. [APPLAUSE] [MUTTERING INDISTINCTLY] 191 00:06:47,073 --> 00:06:48,184 [APPLAUSE] [MUTTERING INDISTINCTLY] WONDERFUL! 192 00:06:48,208 --> 00:06:49,318 [MUTTERING INDISTINCTLY] WONDERFUL! WONDERFUL? 193 00:06:49,342 --> 00:06:50,653 WONDERFUL! WONDERFUL? YOU CALL THAT WONDERFUL? 194 00:06:50,677 --> 00:06:51,688 WONDERFUL? YOU CALL THAT WONDERFUL? WHAT, YOU GOT A PROBLEM? 195 00:06:51,712 --> 00:06:53,089 YOU CALL THAT WONDERFUL? WHAT, YOU GOT A PROBLEM? IT WAS ONE OF THE MOST 196 00:06:53,113 --> 00:06:54,758 WHAT, YOU GOT A PROBLEM? IT WAS ONE OF THE MOST HUMILIATING EXPERIENCES OF MY 197 00:06:54,782 --> 00:06:55,224 IT WAS ONE OF THE MOST HUMILIATING EXPERIENCES OF MY LIFE! 198 00:06:55,248 --> 00:06:56,826 HUMILIATING EXPERIENCES OF MY LIFE! WHAT, THE BAND CAME IN LATE? 199 00:06:56,850 --> 00:06:58,194 LIFE! WHAT, THE BAND CAME IN LATE? THE BAND IS FINE! 200 00:06:58,218 --> 00:06:59,028 WHAT, THE BAND CAME IN LATE? THE BAND IS FINE! IT'S NOT THE BAND! 201 00:06:59,052 --> 00:07:00,329 THE BAND IS FINE! IT'S NOT THE BAND! I DON'T UNDERSTAND WHAT THE 202 00:07:00,353 --> 00:07:00,930 IT'S NOT THE BAND! I DON'T UNDERSTAND WHAT THE PROBLEM IS. 203 00:07:00,954 --> 00:07:02,632 I DON'T UNDERSTAND WHAT THE PROBLEM IS. THE PROBLEM IS I'M SINGING 204 00:07:02,656 --> 00:07:04,267 PROBLEM IS. THE PROBLEM IS I'M SINGING "STILL CRAZY AFTER ALL THESE 205 00:07:04,291 --> 00:07:05,835 THE PROBLEM IS I'M SINGING "STILL CRAZY AFTER ALL THESE YEARS" IN A TURKEY OUTFIT! 206 00:07:05,859 --> 00:07:07,704 "STILL CRAZY AFTER ALL THESE YEARS" IN A TURKEY OUTFIT! WOULD YOU LIKE TO SING IN A 207 00:07:07,728 --> 00:07:08,805 YEARS" IN A TURKEY OUTFIT! WOULD YOU LIKE TO SING IN A TURKEY OUTFIT? 208 00:07:08,829 --> 00:07:10,039 WOULD YOU LIKE TO SING IN A TURKEY OUTFIT? I THOUGHT IT WORKED GREAT. 209 00:07:10,063 --> 00:07:10,573 TURKEY OUTFIT? I THOUGHT IT WORKED GREAT. YEAH? 210 00:07:10,597 --> 00:07:11,608 I THOUGHT IT WORKED GREAT. YEAH? WHAT DO I LOOK LIKE, 211 00:07:11,632 --> 00:07:12,675 YEAH? WHAT DO I LOOK LIKE, JAN-MICHAEL VINCENT HERE? 212 00:07:12,699 --> 00:07:13,810 WHAT DO I LOOK LIKE, JAN-MICHAEL VINCENT HERE? YOU THINK I'M LOOKING GOOD? 213 00:07:13,834 --> 00:07:15,044 JAN-MICHAEL VINCENT HERE? YOU THINK I'M LOOKING GOOD? YOU LOOK GREAT! HONESTLY. 214 00:07:15,068 --> 00:07:16,145 YOU THINK I'M LOOKING GOOD? YOU LOOK GREAT! HONESTLY. WHY DON'T YOU JUST GO CHANGE? 215 00:07:16,169 --> 00:07:17,179 YOU LOOK GREAT! HONESTLY. WHY DON'T YOU JUST GO CHANGE? YEAH, LET'S JUST DO THAT. 216 00:07:17,203 --> 00:07:18,314 WHY DON'T YOU JUST GO CHANGE? YEAH, LET'S JUST DO THAT. LET'S SAY IT WAS A DIFFERENCE OF 217 00:07:18,338 --> 00:07:18,715 YEAH, LET'S JUST DO THAT. LET'S SAY IT WAS A DIFFERENCE OF OPINION. 218 00:07:18,739 --> 00:07:19,783 LET'S SAY IT WAS A DIFFERENCE OF OPINION. MAYBE IT WAS A DIFFERENCE OF 219 00:07:19,807 --> 00:07:20,784 OPINION. MAYBE IT WAS A DIFFERENCE OF OPINION, BUT I THINK IT WORKED 220 00:07:20,808 --> 00:07:22,485 MAYBE IT WAS A DIFFERENCE OF OPINION, BUT I THINK IT WORKED GREAT. 221 00:07:22,509 --> 00:07:24,687 OPINION, BUT I THINK IT WORKED GREAT. WE'LL BE RIGHT BACK AFTER THIS 222 00:07:24,711 --> 00:07:26,122 GREAT. WE'LL BE RIGHT BACK AFTER THIS FOLLOWING MESSAGE. 223 00:07:26,146 --> 00:07:27,857 WE'LL BE RIGHT BACK AFTER THIS FOLLOWING MESSAGE. I CAN'T FIT THROUGH THE DOOR! 224 00:07:27,881 --> 00:07:31,001 FOLLOWING MESSAGE. I CAN'T FIT THROUGH THE DOOR! ALL RIGHT, I'LL HELP YOU. 225 00:07:34,821 --> 00:07:40,470 [MID-TEMPO MUSIC PLAYS] ♪ THIS WORLD'S A-CHANGIN' FASTER ♪ 226 00:07:40,494 --> 00:07:42,705 ♪ THIS WORLD'S A-CHANGIN' FASTER ♪ ♪ THAN A TEARDROP TURNS TO 227 00:07:42,729 --> 00:07:43,773 FASTER ♪ ♪ THAN A TEARDROP TURNS TO LAUGHTER ♪ 228 00:07:43,797 --> 00:07:46,743 ♪ THAN A TEARDROP TURNS TO LAUGHTER ♪ ♪ BUT SOME THINGS NEVER CHANGE ♪ 229 00:07:46,767 --> 00:07:48,377 LAUGHTER ♪ ♪ BUT SOME THINGS NEVER CHANGE ♪ ♪ AND THEY'RE THE THINGS THAT 230 00:07:48,401 --> 00:07:50,413 ♪ BUT SOME THINGS NEVER CHANGE ♪ ♪ AND THEY'RE THE THINGS THAT REALLY MATTER ♪ 231 00:07:50,437 --> 00:07:53,450 ♪ AND THEY'RE THE THINGS THAT REALLY MATTER ♪ ♪ LIKE WEATHER VANES AND COUNTRY 232 00:07:53,474 --> 00:07:54,050 REALLY MATTER ♪ ♪ LIKE WEATHER VANES AND COUNTRY LANES ♪ 233 00:07:54,074 --> 00:07:55,284 ♪ LIKE WEATHER VANES AND COUNTRY LANES ♪ ♪ WHERE CRICKETS CHIRP 234 00:07:55,308 --> 00:07:57,253 LANES ♪ ♪ WHERE CRICKETS CHIRP AT NIGHT ♪ 235 00:07:57,277 --> 00:07:59,656 ♪ WHERE CRICKETS CHIRP AT NIGHT ♪ ♪ AND BREAKFAST IN THE EARLY 236 00:07:59,680 --> 00:08:00,590 AT NIGHT ♪ ♪ AND BREAKFAST IN THE EARLY MORNING ♪ 237 00:08:00,614 --> 00:08:05,227 ♪ AND BREAKFAST IN THE EARLY MORNING ♪ ♪ TO START YOUR DAY OFF RIGHT ♪ 238 00:08:05,251 --> 00:08:06,696 MORNING ♪ ♪ TO START YOUR DAY OFF RIGHT ♪ OUT HERE ON A FARM, 239 00:08:06,720 --> 00:08:08,665 ♪ TO START YOUR DAY OFF RIGHT ♪ OUT HERE ON A FARM, BREAKFAST IS OUR MOST IMPORTANT 240 00:08:08,689 --> 00:08:09,231 OUT HERE ON A FARM, BREAKFAST IS OUR MOST IMPORTANT MEAL. 241 00:08:09,255 --> 00:08:11,033 BREAKFAST IS OUR MOST IMPORTANT MEAL. THAT'S WHY WE START EACH DAY 242 00:08:11,057 --> 00:08:12,869 MEAL. THAT'S WHY WE START EACH DAY THE NATURAL WAY... 243 00:08:12,893 --> 00:08:14,637 THAT'S WHY WE START EACH DAY THE NATURAL WAY... WITH A BIG BRIMMING BOWL OF 244 00:08:14,661 --> 00:08:18,475 THE NATURAL WAY... WITH A BIG BRIMMING BOWL OF QUARRY. 245 00:08:18,499 --> 00:08:19,642 WITH A BIG BRIMMING BOWL OF QUARRY. QUARRY CONTAINS NO 246 00:08:19,666 --> 00:08:21,444 QUARRY. QUARRY CONTAINS NO PRESERVATIVES, NO ADDITIVES, NO 247 00:08:21,468 --> 00:08:22,745 QUARRY CONTAINS NO PRESERVATIVES, NO ADDITIVES, NO ARTIFICIAL FLAVORING. 248 00:08:22,769 --> 00:08:24,213 PRESERVATIVES, NO ADDITIVES, NO ARTIFICIAL FLAVORING. AND IT'S MADE WITHOUT THE USE OF 249 00:08:24,237 --> 00:08:25,915 ARTIFICIAL FLAVORING. AND IT'S MADE WITHOUT THE USE OF PESTICIDES OR INORGANIC 250 00:08:25,939 --> 00:08:26,916 AND IT'S MADE WITHOUT THE USE OF PESTICIDES OR INORGANIC FERTILIZER. 251 00:08:26,940 --> 00:08:30,186 PESTICIDES OR INORGANIC FERTILIZER. BECAUSE QUARRY ISN'T GROWN... 252 00:08:30,210 --> 00:08:31,955 FERTILIZER. BECAUSE QUARRY ISN'T GROWN... IT'S MINED. 253 00:08:31,979 --> 00:08:33,690 BECAUSE QUARRY ISN'T GROWN... IT'S MINED. HERE'S A READY-TO-EAT CEREAL 254 00:08:33,714 --> 00:08:35,358 IT'S MINED. HERE'S A READY-TO-EAT CEREAL THAT'S PURE 100% ROCKS AND 255 00:08:35,382 --> 00:08:36,826 HERE'S A READY-TO-EAT CEREAL THAT'S PURE 100% ROCKS AND PEBBLES, WITH A HEARTY, 256 00:08:36,850 --> 00:08:38,361 THAT'S PURE 100% ROCKS AND PEBBLES, WITH A HEARTY, OLD-FASHIONED FLAVOR THE 257 00:08:38,385 --> 00:08:41,225 PEBBLES, WITH A HEARTY, OLD-FASHIONED FLAVOR THE WHOLE FAMILY WILL ENJOY. 258 00:08:45,491 --> 00:08:53,491 [CRUNCHING] MMM. GREAT, MOM. IT'S REALLY GOOD. 259 00:08:54,334 --> 00:08:56,579 MMM. GREAT, MOM. IT'S REALLY GOOD. IT'S DELICIOUS! 260 00:08:56,603 --> 00:08:58,314 IT'S REALLY GOOD. IT'S DELICIOUS! AND IT'S GOOD FOR THEM 261 00:08:58,338 --> 00:09:00,016 IT'S DELICIOUS! AND IT'S GOOD FOR THEM BECAUSE EVERY SERVING IS 262 00:09:00,040 --> 00:09:02,385 AND IT'S GOOD FOR THEM BECAUSE EVERY SERVING IS CHOCK-FULL OF MINERALS. 263 00:09:02,409 --> 00:09:03,820 BECAUSE EVERY SERVING IS CHOCK-FULL OF MINERALS. I LIKE QUARRY 'CAUSE IT'S 264 00:09:03,844 --> 00:09:04,521 CHOCK-FULL OF MINERALS. I LIKE QUARRY 'CAUSE IT'S CRUNCHY. 265 00:09:04,545 --> 00:09:05,922 I LIKE QUARRY 'CAUSE IT'S CRUNCHY. [CRUNCHING CONTINUES] 266 00:09:05,946 --> 00:09:07,557 CRUNCHY. [CRUNCHING CONTINUES] WHAT? 267 00:09:07,581 --> 00:09:09,726 [CRUNCHING CONTINUES] WHAT? I SAID, "I LIKE QUARRY 'CAUSE 268 00:09:09,750 --> 00:09:11,961 WHAT? I SAID, "I LIKE QUARRY 'CAUSE IT'S CRUNCHY"! 269 00:09:11,985 --> 00:09:13,496 I SAID, "I LIKE QUARRY 'CAUSE IT'S CRUNCHY"! SO, IF BREAKFAST IS IMPORTANT 270 00:09:13,520 --> 00:09:15,398 IT'S CRUNCHY"! SO, IF BREAKFAST IS IMPORTANT TO YOU, START YOUR DAY THE 271 00:09:15,422 --> 00:09:16,866 SO, IF BREAKFAST IS IMPORTANT TO YOU, START YOUR DAY THE NATURAL WAY... 272 00:09:16,890 --> 00:09:20,169 TO YOU, START YOUR DAY THE NATURAL WAY... WITH QUARRY. 273 00:09:20,193 --> 00:09:22,071 NATURAL WAY... WITH QUARRY. ♪ LIKE SWIMMIN' HOLES AND 274 00:09:22,095 --> 00:09:25,775 WITH QUARRY. ♪ LIKE SWIMMIN' HOLES AND BRIMMIN' BOWLS OF CEREAL MADE 275 00:09:25,799 --> 00:09:29,000 ♪ LIKE SWIMMIN' HOLES AND BRIMMIN' BOWLS OF CEREAL MADE FROM STONE ♪ 276 00:09:46,586 --> 00:09:54,586 [INTRO TO "50 WAYS TO LEAVE YOUR LOVER" PLAYS] ♪ "THE PROBLEM IS ALL INSIDE 277 00:09:58,398 --> 00:10:01,243 [YOUR LOVER" PLAYS] ♪ "THE PROBLEM IS ALL INSIDE YOUR HEAD," SHE SAID TO ME ♪ 278 00:10:01,267 --> 00:10:03,379 ♪ "THE PROBLEM IS ALL INSIDE YOUR HEAD," SHE SAID TO ME ♪ ♪ "THE ANSWER IS EASY IF YOU 279 00:10:03,403 --> 00:10:06,049 YOUR HEAD," SHE SAID TO ME ♪ ♪ "THE ANSWER IS EASY IF YOU TAKE IT LOGICALLY ♪ 280 00:10:06,073 --> 00:10:08,150 ♪ "THE ANSWER IS EASY IF YOU TAKE IT LOGICALLY ♪ ♪ I'D LIKE TO HELP YOU IN YOUR 281 00:10:08,174 --> 00:10:09,752 TAKE IT LOGICALLY ♪ ♪ I'D LIKE TO HELP YOU IN YOUR STRUGGLE TO BE FREE ♪ 282 00:10:09,776 --> 00:10:12,789 ♪ I'D LIKE TO HELP YOU IN YOUR STRUGGLE TO BE FREE ♪ ♪ THERE MUST BE 50 WAYS TO LEAVE 283 00:10:12,813 --> 00:10:14,824 STRUGGLE TO BE FREE ♪ ♪ THERE MUST BE 50 WAYS TO LEAVE YOUR LOVER" ♪ 284 00:10:14,848 --> 00:10:17,827 ♪ THERE MUST BE 50 WAYS TO LEAVE YOUR LOVER" ♪ ♪ SHE SAID, "IT'S REALLY NOT MY 285 00:10:17,851 --> 00:10:19,762 YOUR LOVER" ♪ ♪ SHE SAID, "IT'S REALLY NOT MY HABIT TO INTRUDE ♪ 286 00:10:19,786 --> 00:10:21,898 ♪ SHE SAID, "IT'S REALLY NOT MY HABIT TO INTRUDE ♪ ♪ FURTHERMORE, I HOPE MY MEANING 287 00:10:21,922 --> 00:10:24,634 HABIT TO INTRUDE ♪ ♪ FURTHERMORE, I HOPE MY MEANING WON'T BE LOST OR MISCONSTRUED ♪ 288 00:10:24,658 --> 00:10:26,836 ♪ FURTHERMORE, I HOPE MY MEANING WON'T BE LOST OR MISCONSTRUED ♪ ♪ SO I'LL REPEAT MYSELF 289 00:10:26,860 --> 00:10:29,205 WON'T BE LOST OR MISCONSTRUED ♪ ♪ SO I'LL REPEAT MYSELF AT THE RISK OF BEING CRUDE ♪ 290 00:10:29,229 --> 00:10:32,141 ♪ SO I'LL REPEAT MYSELF AT THE RISK OF BEING CRUDE ♪ ♪ THERE MUST BE 50 WAYS TO LEAVE 291 00:10:32,165 --> 00:10:34,343 AT THE RISK OF BEING CRUDE ♪ ♪ THERE MUST BE 50 WAYS TO LEAVE YOUR LOVER ♪ 292 00:10:34,367 --> 00:10:38,615 ♪ THERE MUST BE 50 WAYS TO LEAVE YOUR LOVER ♪ ♪ 50 WAYS TO LEAVE YOUR LOVER" ♪ 293 00:10:38,639 --> 00:10:41,150 YOUR LOVER ♪ ♪ 50 WAYS TO LEAVE YOUR LOVER" ♪ ♪ JUST SLIP OUT THE BACK, JACK ♪ 294 00:10:41,174 --> 00:10:43,352 ♪ 50 WAYS TO LEAVE YOUR LOVER" ♪ ♪ JUST SLIP OUT THE BACK, JACK ♪ ♪ MAKE A NEW PLAN, STAN ♪ 295 00:10:43,376 --> 00:10:46,055 ♪ JUST SLIP OUT THE BACK, JACK ♪ ♪ MAKE A NEW PLAN, STAN ♪ ♪ DON'T NEED TO BE COY, ROY ♪ 296 00:10:46,079 --> 00:10:48,457 ♪ MAKE A NEW PLAN, STAN ♪ ♪ DON'T NEED TO BE COY, ROY ♪ ♪ JUST LISTEN TO ME ♪ 297 00:10:48,481 --> 00:10:50,827 ♪ DON'T NEED TO BE COY, ROY ♪ ♪ JUST LISTEN TO ME ♪ ♪ HOP ON THE BUS, GUS ♪ 298 00:10:50,851 --> 00:10:53,429 ♪ JUST LISTEN TO ME ♪ ♪ HOP ON THE BUS, GUS ♪ ♪ NO NEED TO DISCUSS MUCH ♪ 299 00:10:53,453 --> 00:10:55,498 ♪ HOP ON THE BUS, GUS ♪ ♪ NO NEED TO DISCUSS MUCH ♪ ♪ JUST DROP OFF THE KEY, LEE ♪ 300 00:10:55,522 --> 00:10:58,134 ♪ NO NEED TO DISCUSS MUCH ♪ ♪ JUST DROP OFF THE KEY, LEE ♪ ♪ AND GET YOURSELF FREE ♪ 301 00:10:58,158 --> 00:11:01,026 ♪ JUST DROP OFF THE KEY, LEE ♪ ♪ AND GET YOURSELF FREE ♪ [GUITAR SOLO] 302 00:11:21,113 --> 00:11:26,963 ♪ SHE SAID, "IT GRIEVES ME SO TO SEE YOU IN SUCH PAIN ♪ ♪ I WISH THERE WAS SOMETHING I 303 00:11:26,987 --> 00:11:28,665 TO SEE YOU IN SUCH PAIN ♪ ♪ I WISH THERE WAS SOMETHING I COULD DO TO MAKE YOU SMILE 304 00:11:28,689 --> 00:11:29,331 ♪ I WISH THERE WAS SOMETHING I COULD DO TO MAKE YOU SMILE AGAIN ♪ 305 00:11:29,355 --> 00:11:31,433 COULD DO TO MAKE YOU SMILE AGAIN ♪ ♪ I SAID, "HEY, I APPRECIATE 306 00:11:31,457 --> 00:11:32,769 AGAIN ♪ ♪ I SAID, "HEY, I APPRECIATE THAT ♪ 307 00:11:32,793 --> 00:11:34,771 ♪ I SAID, "HEY, I APPRECIATE THAT ♪ ♪ AND WOULD YOU PLEASE EXPLAIN 308 00:11:34,795 --> 00:11:40,242 THAT ♪ ♪ AND WOULD YOU PLEASE EXPLAIN ABOUT THE 50 WAYS?" ♪ 309 00:11:40,266 --> 00:11:42,211 ♪ AND WOULD YOU PLEASE EXPLAIN ABOUT THE 50 WAYS?" ♪ ♪ SHE SAID, "WHY DON'T WE BOTH 310 00:11:42,235 --> 00:11:43,980 ABOUT THE 50 WAYS?" ♪ ♪ SHE SAID, "WHY DON'T WE BOTH JUST SLEEP ON IT TONIGHT? ♪ 311 00:11:44,004 --> 00:11:46,582 ♪ SHE SAID, "WHY DON'T WE BOTH JUST SLEEP ON IT TONIGHT? ♪ ♪ AND I BELIEVE IN THE MORNING 312 00:11:46,606 --> 00:11:49,285 JUST SLEEP ON IT TONIGHT? ♪ ♪ AND I BELIEVE IN THE MORNING YOU'LL BEGIN TO SEE THE LIGHT" ♪ 313 00:11:49,309 --> 00:11:51,287 ♪ AND I BELIEVE IN THE MORNING YOU'LL BEGIN TO SEE THE LIGHT" ♪ ♪ AND THEN SHE KISSED ME AND I 314 00:11:51,311 --> 00:11:52,989 YOU'LL BEGIN TO SEE THE LIGHT" ♪ ♪ AND THEN SHE KISSED ME AND I REALIZED SHE PROBABLY WAS 315 00:11:53,013 --> 00:11:53,589 ♪ AND THEN SHE KISSED ME AND I REALIZED SHE PROBABLY WAS RIGHT ♪ 316 00:11:53,613 --> 00:11:56,793 REALIZED SHE PROBABLY WAS RIGHT ♪ ♪ THERE MUST BE 50 WAYS TO LEAVE 317 00:11:56,817 --> 00:11:59,962 RIGHT ♪ ♪ THERE MUST BE 50 WAYS TO LEAVE YOUR LOVER ♪ 318 00:11:59,986 --> 00:12:03,032 ♪ THERE MUST BE 50 WAYS TO LEAVE YOUR LOVER ♪ ♪ 50 WAYS TO LEAVE YOUR LOVER ♪ 319 00:12:03,056 --> 00:12:05,868 YOUR LOVER ♪ ♪ 50 WAYS TO LEAVE YOUR LOVER ♪ ♪ JUST SLIP OUT THE BACK, JACK ♪ 320 00:12:05,892 --> 00:12:08,104 ♪ 50 WAYS TO LEAVE YOUR LOVER ♪ ♪ JUST SLIP OUT THE BACK, JACK ♪ ♪ YOU MAKE A NEW PLAN, STAN ♪ 321 00:12:08,128 --> 00:12:10,339 ♪ JUST SLIP OUT THE BACK, JACK ♪ ♪ YOU MAKE A NEW PLAN, STAN ♪ ♪ DON'T NEED TO BE COY, ROY ♪ 322 00:12:10,363 --> 00:12:12,975 ♪ YOU MAKE A NEW PLAN, STAN ♪ ♪ DON'T NEED TO BE COY, ROY ♪ ♪ JUST LISTEN TO ME ♪ 323 00:12:12,999 --> 00:12:14,977 ♪ DON'T NEED TO BE COY, ROY ♪ ♪ JUST LISTEN TO ME ♪ ♪ HOP ON THE BUS, GUS ♪ 324 00:12:15,001 --> 00:12:17,546 ♪ JUST LISTEN TO ME ♪ ♪ HOP ON THE BUS, GUS ♪ ♪ DON'T NEED TO DISCUSS MUCH ♪ 325 00:12:17,570 --> 00:12:19,782 ♪ HOP ON THE BUS, GUS ♪ ♪ DON'T NEED TO DISCUSS MUCH ♪ ♪ JUST DROP OFF THE KEY, LEE ♪ 326 00:12:19,806 --> 00:12:22,384 ♪ DON'T NEED TO DISCUSS MUCH ♪ ♪ JUST DROP OFF THE KEY, LEE ♪ ♪ AND GET YOURSELF FREE ♪ 327 00:12:22,408 --> 00:12:24,687 ♪ JUST DROP OFF THE KEY, LEE ♪ ♪ AND GET YOURSELF FREE ♪ ♪ OOH, SLIP OUT THE BACK, JACK ♪ 328 00:12:24,711 --> 00:12:27,056 ♪ AND GET YOURSELF FREE ♪ ♪ OOH, SLIP OUT THE BACK, JACK ♪ ♪ MAKE A NEW PLAN, STAN ♪ 329 00:12:27,080 --> 00:12:29,525 ♪ OOH, SLIP OUT THE BACK, JACK ♪ ♪ MAKE A NEW PLAN, STAN ♪ ♪ DON'T NEED TO BE COY, ROY ♪ 330 00:12:29,549 --> 00:12:32,028 ♪ MAKE A NEW PLAN, STAN ♪ ♪ DON'T NEED TO BE COY, ROY ♪ ♪ JUST LISTEN TO ME ♪ 331 00:12:32,052 --> 00:12:34,097 ♪ DON'T NEED TO BE COY, ROY ♪ ♪ JUST LISTEN TO ME ♪ ♪ HOP ON THE BUS, GUS ♪ 332 00:12:34,121 --> 00:12:35,497 ♪ JUST LISTEN TO ME ♪ ♪ HOP ON THE BUS, GUS ♪ ♪ YOU DON'T NEED TO DISCUSS 333 00:12:35,521 --> 00:12:36,699 ♪ HOP ON THE BUS, GUS ♪ ♪ YOU DON'T NEED TO DISCUSS MUCH ♪ 334 00:12:36,723 --> 00:12:39,035 ♪ YOU DON'T NEED TO DISCUSS MUCH ♪ ♪ JUST DROP OFF THE KEY, LEE ♪ 335 00:12:39,059 --> 00:12:41,893 MUCH ♪ ♪ JUST DROP OFF THE KEY, LEE ♪ ♪ AND GET YOURSELF FREE ♪ 336 00:12:54,606 --> 00:13:02,606 [CHEERS AND APPLAUSE] THANK YOU. THANK YOU. 337 00:13:13,725 --> 00:13:18,975 HELLO! I'M BABA WAWA! AND WELCOME TO "BABA WAWA AT WARGE." 338 00:13:18,999 --> 00:13:20,877 AND WELCOME TO "BABA WAWA AT WARGE." WE ARE INDEED WUCKY TO HAVE AS 339 00:13:20,901 --> 00:13:22,745 "BABA WAWA AT WARGE." WE ARE INDEED WUCKY TO HAVE AS OUR GUEST TONIGHT THE GWEATWY 340 00:13:22,769 --> 00:13:24,546 WE ARE INDEED WUCKY TO HAVE AS OUR GUEST TONIGHT THE GWEATWY WESPECTED AND WORLD-WENOWNED 341 00:13:24,570 --> 00:13:26,415 OUR GUEST TONIGHT THE GWEATWY WESPECTED AND WORLD-WENOWNED CWEATOR OF SHUTTLE DIPWOMACY, 342 00:13:26,439 --> 00:13:28,217 WESPECTED AND WORLD-WENOWNED CWEATOR OF SHUTTLE DIPWOMACY, SOMETIMES CONTROVEWSIAL, BUT 343 00:13:28,241 --> 00:13:30,019 CWEATOR OF SHUTTLE DIPWOMACY, SOMETIMES CONTROVEWSIAL, BUT TO MY MIND, A WEALLY WEGULAR 344 00:13:30,043 --> 00:13:34,523 SOMETIMES CONTROVEWSIAL, BUT TO MY MIND, A WEALLY WEGULAR GUY... SECWETARY OF STATE 345 00:13:34,547 --> 00:13:38,560 TO MY MIND, A WEALLY WEGULAR GUY... SECWETARY OF STATE DR. HENWY KISSINGER. 346 00:13:38,584 --> 00:13:40,830 GUY... SECWETARY OF STATE DR. HENWY KISSINGER. DR. KISSINGER, YOU ONCE SAID 347 00:13:40,854 --> 00:13:42,965 DR. HENWY KISSINGER. DR. KISSINGER, YOU ONCE SAID THAT POWER IS THE GWEATEST 348 00:13:42,989 --> 00:13:44,133 DR. KISSINGER, YOU ONCE SAID THAT POWER IS THE GWEATEST APHWODISIAC. 349 00:13:44,157 --> 00:13:45,567 THAT POWER IS THE GWEATEST APHWODISIAC. WHAT EXACTLY TO YOU MEAN BY 350 00:13:45,591 --> 00:13:46,035 APHWODISIAC. WHAT EXACTLY TO YOU MEAN BY THIS? 351 00:13:46,059 --> 00:13:47,804 WHAT EXACTLY TO YOU MEAN BY THIS? [German accent] WELL, HAVE 352 00:13:47,828 --> 00:13:49,338 THIS? [German accent] WELL, HAVE YOU EVER STUDIED A NUCLEAR 353 00:13:49,362 --> 00:13:49,972 [German accent] WELL, HAVE YOU EVER STUDIED A NUCLEAR WARHEAD? 354 00:13:49,996 --> 00:13:52,809 YOU EVER STUDIED A NUCLEAR WARHEAD? ONCE, WHEN I WAS WORKING ON A 355 00:13:52,833 --> 00:13:55,178 WARHEAD? ONCE, WHEN I WAS WORKING ON A WHITE PAPER WEPORT ON NUCWEAR 356 00:13:55,202 --> 00:13:56,478 ONCE, WHEN I WAS WORKING ON A WHITE PAPER WEPORT ON NUCWEAR PROWIFEWATION. 357 00:13:56,502 --> 00:14:00,016 WHITE PAPER WEPORT ON NUCWEAR PROWIFEWATION. DR. KISSINGER, IN A PWEVIOUS 358 00:14:00,040 --> 00:14:02,151 PROWIFEWATION. DR. KISSINGER, IN A PWEVIOUS INTERVIEW WITH THE ITALIAN 359 00:14:02,175 --> 00:14:04,586 DR. KISSINGER, IN A PWEVIOUS INTERVIEW WITH THE ITALIAN BABA WAWA, AWIANA FAWACCI, OR 360 00:14:04,610 --> 00:14:06,622 INTERVIEW WITH THE ITALIAN BABA WAWA, AWIANA FAWACCI, OR WHATEVER HER NAME IS, YOU 361 00:14:06,646 --> 00:14:08,791 BABA WAWA, AWIANA FAWACCI, OR WHATEVER HER NAME IS, YOU WEFERRED TO YOURSELF AS A 362 00:14:08,815 --> 00:14:10,693 WHATEVER HER NAME IS, YOU WEFERRED TO YOURSELF AS A GUNSWINGER, SORT OF A WONE 363 00:14:10,717 --> 00:14:13,595 WEFERRED TO YOURSELF AS A GUNSWINGER, SORT OF A WONE WANGER OF FOWEIGN POWICY. 364 00:14:13,619 --> 00:14:14,897 GUNSWINGER, SORT OF A WONE WANGER OF FOWEIGN POWICY. UH... 365 00:14:14,921 --> 00:14:16,498 WANGER OF FOWEIGN POWICY. UH... OH... 366 00:14:16,522 --> 00:14:17,133 UH... OH... NO. 367 00:14:17,157 --> 00:14:18,367 OH... NO. LONE RANGER? 368 00:14:18,391 --> 00:14:20,169 NO. LONE RANGER? I NEVER SAID THAT. 369 00:14:20,193 --> 00:14:21,170 LONE RANGER? I NEVER SAID THAT. LONE RANGER? COME ON. 370 00:14:21,194 --> 00:14:22,839 I NEVER SAID THAT. LONE RANGER? COME ON. BUT, DR. KISSINGER, YOU DID 371 00:14:22,863 --> 00:14:24,440 LONE RANGER? COME ON. BUT, DR. KISSINGER, YOU DID WEFER TO PRESIDENT NIXON AS 372 00:14:24,464 --> 00:14:25,774 BUT, DR. KISSINGER, YOU DID WEFER TO PRESIDENT NIXON AS THE MEATBALL PWESIDENT. 373 00:14:25,798 --> 00:14:26,843 WEFER TO PRESIDENT NIXON AS THE MEATBALL PWESIDENT. NOW, WHAT DO YOU CALL 374 00:14:26,867 --> 00:14:28,244 THE MEATBALL PWESIDENT. NOW, WHAT DO YOU CALL PWESIDENT FORD? 375 00:14:28,268 --> 00:14:31,113 NOW, WHAT DO YOU CALL PWESIDENT FORD? TONTO. 376 00:14:31,137 --> 00:14:32,815 PWESIDENT FORD? TONTO. JUST KIDDING. TONTO. 377 00:14:32,839 --> 00:14:34,650 TONTO. JUST KIDDING. TONTO. DOCTOR, WHAT WOULD YOU SAY 378 00:14:34,674 --> 00:14:36,452 JUST KIDDING. TONTO. DOCTOR, WHAT WOULD YOU SAY WAS THE HIGH POINT OF YOUR 379 00:14:36,476 --> 00:14:38,221 DOCTOR, WHAT WOULD YOU SAY WAS THE HIGH POINT OF YOUR TENURE AS SECWETARY OF STATE? 380 00:14:38,245 --> 00:14:41,324 WAS THE HIGH POINT OF YOUR TENURE AS SECWETARY OF STATE? WELL, I WOULD SAY IN 1973 381 00:14:41,348 --> 00:14:44,827 TENURE AS SECWETARY OF STATE? WELL, I WOULD SAY IN 1973 WHEN I WON THE NOBEL PEACE PRIZE 382 00:14:44,851 --> 00:14:47,830 WELL, I WOULD SAY IN 1973 WHEN I WON THE NOBEL PEACE PRIZE FOR ENDING THE VIETNAM WAR. 383 00:14:47,854 --> 00:14:49,798 WHEN I WON THE NOBEL PEACE PRIZE FOR ENDING THE VIETNAM WAR. AND THE LOW POINT? 384 00:14:49,822 --> 00:14:53,769 FOR ENDING THE VIETNAM WAR. AND THE LOW POINT? I'D SAY 1975 WHEN THE 385 00:14:53,793 --> 00:14:56,906 AND THE LOW POINT? I'D SAY 1975 WHEN THE VIETNAM WAR ENDED. 386 00:14:56,930 --> 00:14:59,308 I'D SAY 1975 WHEN THE VIETNAM WAR ENDED. DR. KISSINGER, IN CONCWUSION, 387 00:14:59,332 --> 00:15:01,577 VIETNAM WAR ENDED. DR. KISSINGER, IN CONCWUSION, THERE IS ONE THING THAT WEAWY, 388 00:15:01,601 --> 00:15:03,846 DR. KISSINGER, IN CONCWUSION, THERE IS ONE THING THAT WEAWY, WEAWY IWITATES ME ABOUT YOU... 389 00:15:03,870 --> 00:15:07,116 THERE IS ONE THING THAT WEAWY, WEAWY IWITATES ME ABOUT YOU... AFTER 40 YEARS OF BEING IN THIS 390 00:15:07,140 --> 00:15:08,951 WEAWY IWITATES ME ABOUT YOU... AFTER 40 YEARS OF BEING IN THIS COUNTWY, WHY DO YOU STILL TALK 391 00:15:08,975 --> 00:15:16,975 AFTER 40 YEARS OF BEING IN THIS COUNTWY, WHY DO YOU STILL TALK WITH THAT SIWWY, SIWWY ACCENT? 392 00:15:17,150 --> 00:15:19,929 COUNTWY, WHY DO YOU STILL TALK WITH THAT SIWWY, SIWWY ACCENT? WELL, IF YOU TALK WITH A 393 00:15:19,953 --> 00:15:22,999 WITH THAT SIWWY, SIWWY ACCENT? WELL, IF YOU TALK WITH A GERMAN ACCENT, IT HELPS PEOPLE 394 00:15:23,023 --> 00:15:26,135 WELL, IF YOU TALK WITH A GERMAN ACCENT, IT HELPS PEOPLE FORGET THAT YOU ARE JEWISH, YOU 395 00:15:26,159 --> 00:15:27,069 GERMAN ACCENT, IT HELPS PEOPLE FORGET THAT YOU ARE JEWISH, YOU SEE? 396 00:15:27,093 --> 00:15:28,337 FORGET THAT YOU ARE JEWISH, YOU SEE? CAN YOU SAY THIS... 397 00:15:28,361 --> 00:15:30,206 SEE? CAN YOU SAY THIS... "I AM A WEAWY, WEAWY FAT, 398 00:15:30,230 --> 00:15:34,243 CAN YOU SAY THIS... "I AM A WEAWY, WEAWY FAT, WOWY-POWY DIPLOMAT"? 399 00:15:34,267 --> 00:15:36,045 "I AM A WEAWY, WEAWY FAT, WOWY-POWY DIPLOMAT"? "I'M A WEAWY, WEAWY FAT, 400 00:15:36,069 --> 00:15:38,381 WOWY-POWY DIPLOMAT"? "I'M A WEAWY, WEAWY FAT, WOWY-POWY DIPLOMAT," YOU 401 00:15:38,405 --> 00:15:39,882 "I'M A WEAWY, WEAWY FAT, WOWY-POWY DIPLOMAT," YOU SIWWY WABBIT. 402 00:15:39,906 --> 00:15:40,649 WOWY-POWY DIPLOMAT," YOU SIWWY WABBIT. OKAY? 403 00:15:40,673 --> 00:15:42,584 SIWWY WABBIT. OKAY? WE'VE JUST ABOUT WUN OUT OF 404 00:15:42,608 --> 00:15:43,152 OKAY? WE'VE JUST ABOUT WUN OUT OF TIME. 405 00:15:43,176 --> 00:15:44,987 WE'VE JUST ABOUT WUN OUT OF TIME. DOCTOR, AS EVERYONE KNOWS, I, 406 00:15:45,011 --> 00:15:46,789 TIME. DOCTOR, AS EVERYONE KNOWS, I, BABA WAWA, WAS THE FIRST TO 407 00:15:46,813 --> 00:15:48,624 DOCTOR, AS EVERYONE KNOWS, I, BABA WAWA, WAS THE FIRST TO EXCLUSIVEWY INTERVIEW YOU AS 408 00:15:48,648 --> 00:15:49,959 BABA WAWA, WAS THE FIRST TO EXCLUSIVEWY INTERVIEW YOU AS SECRETAWY OF STATE. 409 00:15:49,983 --> 00:15:51,193 EXCLUSIVEWY INTERVIEW YOU AS SECRETAWY OF STATE. NOW, WITH 410 00:15:51,217 --> 00:15:53,729 SECRETAWY OF STATE. NOW, WITH PWESIDENT-EWECT CARTER, 411 00:15:53,753 --> 00:15:56,598 NOW, WITH PWESIDENT-EWECT CARTER, WHO PWOMISED TO WEPWACE YOU, 412 00:15:56,622 --> 00:15:58,334 PWESIDENT-EWECT CARTER, WHO PWOMISED TO WEPWACE YOU, I MAY BE THE WAST. 413 00:15:58,358 --> 00:16:00,202 WHO PWOMISED TO WEPWACE YOU, I MAY BE THE WAST. HAVE YOU ANY FINAL WORDS FOR 414 00:16:00,226 --> 00:16:01,603 I MAY BE THE WAST. HAVE YOU ANY FINAL WORDS FOR THE AMEWICAN PUBWIC? 415 00:16:01,627 --> 00:16:04,540 HAVE YOU ANY FINAL WORDS FOR THE AMEWICAN PUBWIC? NO. 416 00:16:04,564 --> 00:16:05,808 THE AMEWICAN PUBWIC? NO. THANK YOU VEWY MUCH. 417 00:16:05,832 --> 00:16:07,376 NO. THANK YOU VEWY MUCH. THIS IS BABA WAWA SAYING HAVE A 418 00:16:07,400 --> 00:16:09,045 THANK YOU VEWY MUCH. THIS IS BABA WAWA SAYING HAVE A PWEASANT WEEKEND. 419 00:16:09,069 --> 00:16:11,469 THIS IS BABA WAWA SAYING HAVE A PWEASANT WEEKEND. [MUMBLES] 420 00:16:20,245 --> 00:16:23,047 ["TWILIGHT ZONE" THEME PLAYS] 421 00:16:25,985 --> 00:16:31,434 YOU'RE TRAVELING TO ANOTHER DIMENSION, A DIMENSION OF TIME AND OF SPACE, A DIMENSION OF 422 00:16:31,458 --> 00:16:32,668 DIMENSION, A DIMENSION OF TIME AND OF SPACE, A DIMENSION OF SIGHT AND OF MIND. 423 00:16:32,692 --> 00:16:34,403 AND OF SPACE, A DIMENSION OF SIGHT AND OF MIND. YOU'RE MOVING INTO A LAND OF 424 00:16:34,427 --> 00:16:36,038 SIGHT AND OF MIND. YOU'RE MOVING INTO A LAND OF BOTH SHADOW AND SUBSTANCE. 425 00:16:36,062 --> 00:16:37,706 YOU'RE MOVING INTO A LAND OF BOTH SHADOW AND SUBSTANCE. YOU'VE JUST CROSSED OVER INTO 426 00:16:37,730 --> 00:16:42,378 BOTH SHADOW AND SUBSTANCE. YOU'VE JUST CROSSED OVER INTO THE "TWILITE ZONE." 427 00:16:42,402 --> 00:16:44,046 YOU'VE JUST CROSSED OVER INTO THE "TWILITE ZONE." MEET BETTY MARTIN. 428 00:16:44,070 --> 00:16:45,581 THE "TWILITE ZONE." MEET BETTY MARTIN. AGE 27. 429 00:16:45,605 --> 00:16:46,782 MEET BETTY MARTIN. AGE 27. A STRUGGLING ACTRESS WORKING AS 430 00:16:46,806 --> 00:16:48,217 AGE 27. A STRUGGLING ACTRESS WORKING AS A MODEL. 431 00:16:48,241 --> 00:16:50,152 A STRUGGLING ACTRESS WORKING AS A MODEL. TOLD TO MEET A CERTAIN PRODUCER 432 00:16:50,176 --> 00:16:51,954 A MODEL. TOLD TO MEET A CERTAIN PRODUCER BY HER AGENT PEGGY, WHO'S JUST 433 00:16:51,978 --> 00:16:53,655 TOLD TO MEET A CERTAIN PRODUCER BY HER AGENT PEGGY, WHO'S JUST CHECKED INTO ROOM 16 OF THE 434 00:16:53,679 --> 00:16:55,324 BY HER AGENT PEGGY, WHO'S JUST CHECKED INTO ROOM 16 OF THE BLAINE MOTEL, A MOTEL WHERE 435 00:16:55,348 --> 00:16:57,293 CHECKED INTO ROOM 16 OF THE BLAINE MOTEL, A MOTEL WHERE THERE ARE NO CHECK-OUT TIMES, NO 436 00:16:57,317 --> 00:16:58,961 BLAINE MOTEL, A MOTEL WHERE THERE ARE NO CHECK-OUT TIMES, NO ROOM SERVICE, AND, FOR SOME 437 00:16:58,985 --> 00:17:00,129 THERE ARE NO CHECK-OUT TIMES, NO ROOM SERVICE, AND, FOR SOME REASON, NO SINKS. 438 00:17:00,153 --> 00:17:01,797 ROOM SERVICE, AND, FOR SOME REASON, NO SINKS. SHE'S JUST GOTTEN A ROOM 439 00:17:01,821 --> 00:17:03,632 REASON, NO SINKS. SHE'S JUST GOTTEN A ROOM RESERVED FOR GUESTS OF THE 440 00:17:03,656 --> 00:17:11,307 SHE'S JUST GOTTEN A ROOM RESERVED FOR GUESTS OF THE "TWILITE ZONE." 441 00:17:11,331 --> 00:17:14,977 RESERVED FOR GUESTS OF THE "TWILITE ZONE." [KEYS JINGLE] 442 00:17:15,001 --> 00:17:16,379 "TWILITE ZONE." [KEYS JINGLE] [SCREAMS] 443 00:17:16,403 --> 00:17:17,279 [KEYS JINGLE] [SCREAMS] [GASPS] 444 00:17:17,303 --> 00:17:21,017 [SCREAMS] [GASPS] I'M TERRIBLY SORRY! 445 00:17:21,041 --> 00:17:22,451 [GASPS] I'M TERRIBLY SORRY! MY GOODNESS. 446 00:17:22,475 --> 00:17:24,120 I'M TERRIBLY SORRY! MY GOODNESS. YOU FRIGHTENED ME. 447 00:17:24,144 --> 00:17:26,322 MY GOODNESS. YOU FRIGHTENED ME. WELL, I'M SUPPOSED TO MEET 448 00:17:26,346 --> 00:17:27,490 YOU FRIGHTENED ME. WELL, I'M SUPPOSED TO MEET SOMEONE HERE. 449 00:17:27,514 --> 00:17:29,658 WELL, I'M SUPPOSED TO MEET SOMEONE HERE. THIS IS ROOM 16, ISN'T IT? 450 00:17:29,682 --> 00:17:30,826 SOMEONE HERE. THIS IS ROOM 16, ISN'T IT? YES. 451 00:17:30,850 --> 00:17:32,761 THIS IS ROOM 16, ISN'T IT? YES. MEET MEET SYLVIA TOWNSEND. 452 00:17:32,785 --> 00:17:33,996 YES. MEET MEET SYLVIA TOWNSEND. AGE 26. 453 00:17:34,020 --> 00:17:35,664 MEET MEET SYLVIA TOWNSEND. AGE 26. A STRUGGLING ACTRESS WORKING 454 00:17:35,688 --> 00:17:37,500 AGE 26. A STRUGGLING ACTRESS WORKING NIGHTS AS A COCKTAIL WAITRESS AT 455 00:17:37,524 --> 00:17:39,135 A STRUGGLING ACTRESS WORKING NIGHTS AS A COCKTAIL WAITRESS AT THE EL PADRINO BAR, A SEEDY 456 00:17:39,159 --> 00:17:40,569 NIGHTS AS A COCKTAIL WAITRESS AT THE EL PADRINO BAR, A SEEDY ESTABLISHMENT PATRONIZED 457 00:17:40,593 --> 00:17:42,138 THE EL PADRINO BAR, A SEEDY ESTABLISHMENT PATRONIZED BY DOWN-AND-OUT THEATRICAL 458 00:17:42,162 --> 00:17:42,738 ESTABLISHMENT PATRONIZED BY DOWN-AND-OUT THEATRICAL AGENTS. 459 00:17:42,762 --> 00:17:45,041 BY DOWN-AND-OUT THEATRICAL AGENTS. SYLVIA, TOO, HAS JUST CHECKED 460 00:17:45,065 --> 00:17:46,975 AGENTS. SYLVIA, TOO, HAS JUST CHECKED INTO THE "TWILITE ZONE." 461 00:17:46,999 --> 00:17:49,178 SYLVIA, TOO, HAS JUST CHECKED INTO THE "TWILITE ZONE." [SIGHS] 462 00:17:49,202 --> 00:17:51,080 INTO THE "TWILITE ZONE." [SIGHS] YOU FRIGHTENED ME AT FIRST. 463 00:17:51,104 --> 00:17:52,781 [SIGHS] YOU FRIGHTENED ME AT FIRST. THEY MUST HAVE MADE A MISTAKE AT 464 00:17:52,805 --> 00:17:53,416 YOU FRIGHTENED ME AT FIRST. THEY MUST HAVE MADE A MISTAKE AT THE DESK. 465 00:17:53,440 --> 00:17:56,585 THEY MUST HAVE MADE A MISTAKE AT THE DESK. HERE, YOU SIT, AND I'LL GO CALL. 466 00:17:56,609 --> 00:17:59,821 THE DESK. HERE, YOU SIT, AND I'LL GO CALL. THIS REALLY IS UNUSUAL. 467 00:17:59,845 --> 00:18:01,757 HERE, YOU SIT, AND I'LL GO CALL. THIS REALLY IS UNUSUAL. A CUSTOMER OF MINE SAID HE WAS A 468 00:18:01,781 --> 00:18:03,692 THIS REALLY IS UNUSUAL. A CUSTOMER OF MINE SAID HE WAS A PRODUCER, AND HE HAD ME MEET HIM 469 00:18:03,716 --> 00:18:05,361 A CUSTOMER OF MINE SAID HE WAS A PRODUCER, AND HE HAD ME MEET HIM UP HERE IN THIS ROOM FOR AN 470 00:18:05,385 --> 00:18:10,899 PRODUCER, AND HE HAD ME MEET HIM UP HERE IN THIS ROOM FOR AN AUDITION. 471 00:18:10,923 --> 00:18:14,703 UP HERE IN THIS ROOM FOR AN AUDITION. THE LINE IS DEAD. 472 00:18:14,727 --> 00:18:17,506 AUDITION. THE LINE IS DEAD. [KEYS JINGLING] 473 00:18:17,530 --> 00:18:22,278 THE LINE IS DEAD. [KEYS JINGLING] [DOOR RATTLING] 474 00:18:22,302 --> 00:18:25,647 [KEYS JINGLING] [DOOR RATTLING] OH! IS THIS ROOM 16? 475 00:18:25,671 --> 00:18:27,816 [DOOR RATTLING] OH! IS THIS ROOM 16? Both: YES! 476 00:18:27,840 --> 00:18:30,086 OH! IS THIS ROOM 16? Both: YES! NO WONDER IT WAS ONLY $7 A 477 00:18:30,110 --> 00:18:30,953 Both: YES! NO WONDER IT WAS ONLY $7 A NIGHT. 478 00:18:30,977 --> 00:18:34,356 NO WONDER IT WAS ONLY $7 A NIGHT. YOU HAVE TO SHARE. 479 00:18:34,380 --> 00:18:35,891 NIGHT. YOU HAVE TO SHARE. MEET RHONDA FRIEDMAN. 480 00:18:35,915 --> 00:18:36,992 YOU HAVE TO SHARE. MEET RHONDA FRIEDMAN. AGE 26. 481 00:18:37,016 --> 00:18:38,694 MEET RHONDA FRIEDMAN. AGE 26. A STRUGGLING ACTRESS CURRENTLY 482 00:18:38,718 --> 00:18:40,262 AGE 26. A STRUGGLING ACTRESS CURRENTLY WORKING IN A FACTORY TESTING 483 00:18:40,286 --> 00:18:42,064 A STRUGGLING ACTRESS CURRENTLY WORKING IN A FACTORY TESTING RUBBER GLOVES FOR IMPERFECTIONS. 484 00:18:42,088 --> 00:18:44,066 WORKING IN A FACTORY TESTING RUBBER GLOVES FOR IMPERFECTIONS. WHAT RHONDA DOESN'T KNOW IS 485 00:18:44,090 --> 00:18:45,568 RUBBER GLOVES FOR IMPERFECTIONS. WHAT RHONDA DOESN'T KNOW IS THAT SHE, TOO, HAS JUST ENTERED 486 00:18:45,592 --> 00:18:48,770 WHAT RHONDA DOESN'T KNOW IS THAT SHE, TOO, HAS JUST ENTERED THE "TWILITE ZONE." 487 00:18:48,794 --> 00:18:50,372 THAT SHE, TOO, HAS JUST ENTERED THE "TWILITE ZONE." I GUESS THERE MUST BE 488 00:18:50,396 --> 00:18:51,773 THE "TWILITE ZONE." I GUESS THERE MUST BE SOMETHING WRONG WITH THE MANAGER 489 00:18:51,797 --> 00:18:53,342 I GUESS THERE MUST BE SOMETHING WRONG WITH THE MANAGER OF THIS PLACE, SENDING ALL THREE 490 00:18:53,366 --> 00:18:54,510 SOMETHING WRONG WITH THE MANAGER OF THIS PLACE, SENDING ALL THREE OF US YOUNG ACTRESSES TO THE 491 00:18:54,534 --> 00:18:57,546 OF THIS PLACE, SENDING ALL THREE OF US YOUNG ACTRESSES TO THE SAME ROOM. 492 00:18:57,570 --> 00:18:58,814 OF US YOUNG ACTRESSES TO THE SAME ROOM. [KNOCK ON DOOR] 493 00:18:58,838 --> 00:19:00,149 SAME ROOM. [KNOCK ON DOOR] WHAT IS IT?! 494 00:19:00,173 --> 00:19:03,952 [KNOCK ON DOOR] WHAT IS IT?! ROO-O-O-M SERVICE! 495 00:19:03,976 --> 00:19:05,454 WHAT IS IT?! ROO-O-O-M SERVICE! ROOM SERVICE? 496 00:19:05,478 --> 00:19:07,389 ROO-O-O-M SERVICE! ROOM SERVICE? UH-HUH. 497 00:19:07,413 --> 00:19:11,460 ROOM SERVICE? UH-HUH. CHAMPAGNE. 498 00:19:11,484 --> 00:19:12,961 UH-HUH. CHAMPAGNE. CHAMPAGNE? 499 00:19:12,985 --> 00:19:17,366 CHAMPAGNE. CHAMPAGNE? YES. 500 00:19:17,390 --> 00:19:22,838 CHAMPAGNE? YES. IT'S FROM A... MR. SERLING. 501 00:19:22,862 --> 00:19:24,507 YES. IT'S FROM A... MR. SERLING. THAT'S FUNNY. 502 00:19:24,531 --> 00:19:27,176 IT'S FROM A... MR. SERLING. THAT'S FUNNY. I DIDN'T KNOW THIS MOTEL HAD 503 00:19:27,200 --> 00:19:28,611 THAT'S FUNNY. I DIDN'T KNOW THIS MOTEL HAD ROOM SERVICE. 504 00:19:28,635 --> 00:19:31,547 I DIDN'T KNOW THIS MOTEL HAD ROOM SERVICE. WAIT! THERE'S MORE. 505 00:19:31,571 --> 00:19:34,550 ROOM SERVICE. WAIT! THERE'S MORE. "COMPLIMENTS OF... THE 506 00:19:34,574 --> 00:19:37,786 WAIT! THERE'S MORE. "COMPLIMENTS OF... THE 'TWILITE ZONE.'" 507 00:19:37,810 --> 00:19:38,954 "COMPLIMENTS OF... THE 'TWILITE ZONE.'" [DOOR LOCKS] 508 00:19:38,978 --> 00:19:39,522 'TWILITE ZONE.'" [DOOR LOCKS] [SQUEALS] 509 00:19:39,546 --> 00:19:40,623 [DOOR LOCKS] [SQUEALS] THERE'S SOMEONE LOCKING THE 510 00:19:40,647 --> 00:19:40,956 [SQUEALS] THERE'S SOMEONE LOCKING THE DOOR! 511 00:19:40,980 --> 00:19:42,158 THERE'S SOMEONE LOCKING THE DOOR! NO! 512 00:19:42,182 --> 00:19:44,960 DOOR! NO! [ALL SQUEALING] 513 00:19:44,984 --> 00:19:46,495 NO! [ALL SQUEALING] SUBMITTED FOR YOUR 514 00:19:46,519 --> 00:19:47,696 [ALL SQUEALING] SUBMITTED FOR YOUR APPROVAL... 515 00:19:47,720 --> 00:19:49,298 SUBMITTED FOR YOUR APPROVAL... THREE PRETTY GIRLS, 516 00:19:49,322 --> 00:19:51,133 APPROVAL... THREE PRETTY GIRLS, ALL OF THEM ACTRESSES, 517 00:19:51,157 --> 00:19:52,801 THREE PRETTY GIRLS, ALL OF THEM ACTRESSES, LOCKED IN A MOTEL ROOM, EACH 518 00:19:52,825 --> 00:19:54,537 ALL OF THEM ACTRESSES, LOCKED IN A MOTEL ROOM, EACH POSSESSING SIMILAR CHARMS AND 519 00:19:54,561 --> 00:19:55,204 LOCKED IN A MOTEL ROOM, EACH POSSESSING SIMILAR CHARMS AND TALENTS. 520 00:19:55,228 --> 00:19:56,938 POSSESSING SIMILAR CHARMS AND TALENTS. VICTIMS OF A BIZARRE JOKE, 521 00:19:56,962 --> 00:19:57,673 TALENTS. VICTIMS OF A BIZARRE JOKE, PERHAPS. 522 00:19:57,697 --> 00:19:59,941 VICTIMS OF A BIZARRE JOKE, PERHAPS. OR PERHAPS THIS... A MAN CREATES 523 00:19:59,965 --> 00:20:01,410 PERHAPS. OR PERHAPS THIS... A MAN CREATES A TELEVISION SHOW. 524 00:20:01,434 --> 00:20:03,212 OR PERHAPS THIS... A MAN CREATES A TELEVISION SHOW. HE GOES TO A LOT OF PARTIES. 525 00:20:03,236 --> 00:20:04,813 A TELEVISION SHOW. HE GOES TO A LOT OF PARTIES. HE MEETS A LOT OF PRETTY 526 00:20:04,837 --> 00:20:05,648 HE GOES TO A LOT OF PARTIES. HE MEETS A LOT OF PRETTY ACTRESSES. 527 00:20:05,672 --> 00:20:06,882 HE MEETS A LOT OF PRETTY ACTRESSES. HE WAKES UP IN THE MORNING. 528 00:20:06,906 --> 00:20:08,217 ACTRESSES. HE WAKES UP IN THE MORNING. PERHAPS HE'S HAD A LITTLE TOO 529 00:20:08,241 --> 00:20:08,950 HE WAKES UP IN THE MORNING. PERHAPS HE'S HAD A LITTLE TOO MUCH TO DRINK. 530 00:20:08,974 --> 00:20:10,386 PERHAPS HE'S HAD A LITTLE TOO MUCH TO DRINK. HE DOESN'T REMEMBER THE PROMISES 531 00:20:10,410 --> 00:20:11,554 MUCH TO DRINK. HE DOESN'T REMEMBER THE PROMISES HE MADE THE NIGHT BEFORE. 532 00:20:11,578 --> 00:20:13,255 HE DOESN'T REMEMBER THE PROMISES HE MADE THE NIGHT BEFORE. ALTHOUGH HE'S A BRILLIANT WRITER 533 00:20:13,279 --> 00:20:14,890 HE MADE THE NIGHT BEFORE. ALTHOUGH HE'S A BRILLIANT WRITER AND CREATOR, HE IS ALSO HUMAN, 534 00:20:14,914 --> 00:20:16,091 ALTHOUGH HE'S A BRILLIANT WRITER AND CREATOR, HE IS ALSO HUMAN, AND HE HAS HIS NEEDS. 535 00:20:16,115 --> 00:20:17,326 AND CREATOR, HE IS ALSO HUMAN, AND HE HAS HIS NEEDS. THAT'S WHY HE ARRANGED THIS 536 00:20:17,350 --> 00:20:18,727 AND HE HAS HIS NEEDS. THAT'S WHY HE ARRANGED THIS MEETING, AND, IN A FEW MOMENTS, 537 00:20:18,751 --> 00:20:20,796 THAT'S WHY HE ARRANGED THIS MEETING, AND, IN A FEW MOMENTS, WILL CROSS FOREVER INTO THE 538 00:20:20,820 --> 00:20:22,464 MEETING, AND, IN A FEW MOMENTS, WILL CROSS FOREVER INTO THE "TWILITE ZONE." 539 00:20:22,488 --> 00:20:25,328 WILL CROSS FOREVER INTO THE "TWILITE ZONE." ["TWILIGHT ZONE" THEME PLAYS] 540 00:21:00,058 --> 00:21:04,362 Announcer: AND NOW, "WEEKEND UPDATE" WITH JANE CURTIN. 541 00:21:16,875 --> 00:21:21,857 GOOD EVENING. OUR TOP STORY TONIGHT... A LONG-TERM STUDY OF 542 00:21:21,881 --> 00:21:23,825 OUR TOP STORY TONIGHT... A LONG-TERM STUDY OF CONTRACEPTION HAS RESULTED IN A 543 00:21:23,849 --> 00:21:25,728 A LONG-TERM STUDY OF CONTRACEPTION HAS RESULTED IN A HIGHLY FAVORABLE EVALUATION OF 544 00:21:25,752 --> 00:21:27,730 CONTRACEPTION HAS RESULTED IN A HIGHLY FAVORABLE EVALUATION OF THE DIAPHRAGM, AS OPPOSED TO THE 545 00:21:27,754 --> 00:21:30,866 HIGHLY FAVORABLE EVALUATION OF THE DIAPHRAGM, AS OPPOSED TO THE ORAL CONTRACEPTIVE PILL... 546 00:21:30,890 --> 00:21:32,968 THE DIAPHRAGM, AS OPPOSED TO THE ORAL CONTRACEPTIVE PILL... WHICH HAS HAD CONTROVERSIES OVER 547 00:21:32,992 --> 00:21:34,202 ORAL CONTRACEPTIVE PILL... WHICH HAS HAD CONTROVERSIES OVER ITS SIDE EFFECTS. 548 00:21:34,226 --> 00:21:35,738 WHICH HAS HAD CONTROVERSIES OVER ITS SIDE EFFECTS. THE MAJOR COMPLAINT ABOUT THE 549 00:21:35,762 --> 00:21:37,439 ITS SIDE EFFECTS. THE MAJOR COMPLAINT ABOUT THE DIAPHRAGM, COMPARED TO THE PILL, 550 00:21:37,463 --> 00:21:39,007 THE MAJOR COMPLAINT ABOUT THE DIAPHRAGM, COMPARED TO THE PILL, IS THAT THE DIAPHRAGM IS MUCH 551 00:21:39,031 --> 00:21:40,142 DIAPHRAGM, COMPARED TO THE PILL, IS THAT THE DIAPHRAGM IS MUCH HARDER TO SWALLOW. 552 00:21:40,166 --> 00:21:42,745 IS THAT THE DIAPHRAGM IS MUCH HARDER TO SWALLOW. [LAUGHTER] 553 00:21:42,769 --> 00:21:44,546 HARDER TO SWALLOW. [LAUGHTER] PATTY HEARST WAS RELEASED FROM 554 00:21:44,570 --> 00:21:46,114 [LAUGHTER] PATTY HEARST WAS RELEASED FROM PRISON ON BAIL YESTERDAY, 555 00:21:46,138 --> 00:21:47,983 PATTY HEARST WAS RELEASED FROM PRISON ON BAIL YESTERDAY, PENDING APPEALS OF HER TRIAL AT 556 00:21:48,007 --> 00:21:48,917 PRISON ON BAIL YESTERDAY, PENDING APPEALS OF HER TRIAL AT A LATER DATE. 557 00:21:48,941 --> 00:21:50,786 PENDING APPEALS OF HER TRIAL AT A LATER DATE. SHE WAS TAKEN FROM HER CELL AND 558 00:21:50,810 --> 00:21:52,554 A LATER DATE. SHE WAS TAKEN FROM HER CELL AND DRIVEN HOME IN THE TRUNK OF A 559 00:21:52,578 --> 00:21:54,189 SHE WAS TAKEN FROM HER CELL AND DRIVEN HOME IN THE TRUNK OF A CAR AND LOCKED IN A CLOSET FOR 560 00:21:54,213 --> 00:21:56,024 DRIVEN HOME IN THE TRUNK OF A CAR AND LOCKED IN A CLOSET FOR OBVIOUS REASON OF SECURITY. 561 00:21:56,048 --> 00:21:57,760 CAR AND LOCKED IN A CLOSET FOR OBVIOUS REASON OF SECURITY. THE BAIL WAS $1.5 MILLION IN 562 00:21:57,784 --> 00:21:59,495 OBVIOUS REASON OF SECURITY. THE BAIL WAS $1.5 MILLION IN CASH AND BONDS, AND ALTHOUGH 563 00:21:59,519 --> 00:22:01,330 THE BAIL WAS $1.5 MILLION IN CASH AND BONDS, AND ALTHOUGH OFFICIALS DENY THAT THE HEARST 564 00:22:01,354 --> 00:22:03,231 CASH AND BONDS, AND ALTHOUGH OFFICIALS DENY THAT THE HEARST FORTUNE BOUGHT PATTY'S RELEASE, 565 00:22:03,255 --> 00:22:04,566 OFFICIALS DENY THAT THE HEARST FORTUNE BOUGHT PATTY'S RELEASE, THEY DIDN'T DENY THAT THE 566 00:22:04,590 --> 00:22:06,001 FORTUNE BOUGHT PATTY'S RELEASE, THEY DIDN'T DENY THAT THE CALIFORNIA STATE BUDGET HAS 567 00:22:06,025 --> 00:22:07,369 THEY DIDN'T DENY THAT THE CALIFORNIA STATE BUDGET HAS FINALLY BEEN BALANCED FOR THE 568 00:22:07,393 --> 00:22:11,106 CALIFORNIA STATE BUDGET HAS FINALLY BEEN BALANCED FOR THE FIRST TIME IN 75 YEARS. 569 00:22:11,130 --> 00:22:14,209 FINALLY BEEN BALANCED FOR THE FIRST TIME IN 75 YEARS. STEVEN WEED, PATTY'S EX-FIANCé, 570 00:22:14,233 --> 00:22:15,744 FIRST TIME IN 75 YEARS. STEVEN WEED, PATTY'S EX-FIANCé, WAS ASKED IF THE THOUGHT THE 571 00:22:15,768 --> 00:22:17,346 STEVEN WEED, PATTY'S EX-FIANCé, WAS ASKED IF THE THOUGHT THE COUPLE WOULD GET BACK TOGETHER 572 00:22:17,370 --> 00:22:18,514 WAS ASKED IF THE THOUGHT THE COUPLE WOULD GET BACK TOGETHER NOW THAT SHE'S HOME. 573 00:22:18,538 --> 00:22:20,349 COUPLE WOULD GET BACK TOGETHER NOW THAT SHE'S HOME. WEED ANSWERED, "I'M USUALLY VERY 574 00:22:20,373 --> 00:22:21,983 NOW THAT SHE'S HOME. WEED ANSWERED, "I'M USUALLY VERY UNDERSTANDING, BUT THIS GIRL HAS 575 00:22:22,007 --> 00:22:27,022 WEED ANSWERED, "I'M USUALLY VERY UNDERSTANDING, BUT THIS GIRL HAS A LOT OF EXPLAINING TO DO." 576 00:22:27,046 --> 00:22:28,857 UNDERSTANDING, BUT THIS GIRL HAS A LOT OF EXPLAINING TO DO." A REPORT RELEASED THIS WEEK BY 577 00:22:28,881 --> 00:22:30,192 A LOT OF EXPLAINING TO DO." A REPORT RELEASED THIS WEEK BY CARTER CAMPAIGN TREASURER 578 00:22:30,216 --> 00:22:32,294 A REPORT RELEASED THIS WEEK BY CARTER CAMPAIGN TREASURER ROBERT LIPSCHUTZ STATES THAT 579 00:22:32,318 --> 00:22:33,829 CARTER CAMPAIGN TREASURER ROBERT LIPSCHUTZ STATES THAT JIMMY CARTER SPENT NEARLY 580 00:22:33,853 --> 00:22:35,230 ROBERT LIPSCHUTZ STATES THAT JIMMY CARTER SPENT NEARLY $35 MILLION TO WIN THE 581 00:22:35,254 --> 00:22:36,998 JIMMY CARTER SPENT NEARLY $35 MILLION TO WIN THE PRESIDENCY. 582 00:22:37,022 --> 00:22:38,701 $35 MILLION TO WIN THE PRESIDENCY. THE PRESIDENT-ELECT IS SHOWN 583 00:22:38,725 --> 00:22:39,668 PRESIDENCY. THE PRESIDENT-ELECT IS SHOWN HERE BEGGING ON THE STREETS OF 584 00:22:39,692 --> 00:22:40,869 THE PRESIDENT-ELECT IS SHOWN HERE BEGGING ON THE STREETS OF PLAINS FOR MONEY TO MAKE UP HIS 585 00:22:40,893 --> 00:22:42,304 HERE BEGGING ON THE STREETS OF PLAINS FOR MONEY TO MAKE UP HIS DEFICIT. 586 00:22:42,328 --> 00:22:45,808 PLAINS FOR MONEY TO MAKE UP HIS DEFICIT. [LAUGHTER AND APPLAUSE] 587 00:22:45,832 --> 00:22:47,876 DEFICIT. [LAUGHTER AND APPLAUSE] AT A PRIVATE BUSINESS GATHERING 588 00:22:47,900 --> 00:22:49,745 [LAUGHTER AND APPLAUSE] AT A PRIVATE BUSINESS GATHERING IN BOSTON, FORMER CALIFORNIA 589 00:22:49,769 --> 00:22:51,513 AT A PRIVATE BUSINESS GATHERING IN BOSTON, FORMER CALIFORNIA GOVERNOR RONALD REAGAN SAID 590 00:22:51,537 --> 00:22:53,315 IN BOSTON, FORMER CALIFORNIA GOVERNOR RONALD REAGAN SAID YESTERDAY THAT "IF AMERICA'S 591 00:22:53,339 --> 00:22:55,283 GOVERNOR RONALD REAGAN SAID YESTERDAY THAT "IF AMERICA'S TWO-PARTY SYSTEM IS TO SURVIVE, 592 00:22:55,307 --> 00:22:57,319 YESTERDAY THAT "IF AMERICA'S TWO-PARTY SYSTEM IS TO SURVIVE, THE REPUBLICAN PARTY NEEDS A NEW 593 00:22:57,343 --> 00:22:59,254 TWO-PARTY SYSTEM IS TO SURVIVE, THE REPUBLICAN PARTY NEEDS A NEW SUPPORTING COALITION AND A NEW 594 00:22:59,278 --> 00:22:59,855 THE REPUBLICAN PARTY NEEDS A NEW SUPPORTING COALITION AND A NEW NAME." 595 00:22:59,879 --> 00:23:01,590 SUPPORTING COALITION AND A NEW NAME." TODAY, G.O.P. HEADQUARTERS IS 596 00:23:01,614 --> 00:23:03,359 NAME." TODAY, G.O.P. HEADQUARTERS IS BEING FLOODED BY SUGGESTIONS 597 00:23:03,383 --> 00:23:04,926 TODAY, G.O.P. HEADQUARTERS IS BEING FLOODED BY SUGGESTIONS FOR THE NEW NAME, THE MOST 598 00:23:04,950 --> 00:23:06,562 BEING FLOODED BY SUGGESTIONS FOR THE NEW NAME, THE MOST POPULAR OF WHICH IS [BLEEP] 599 00:23:06,586 --> 00:23:09,331 FOR THE NEW NAME, THE MOST POPULAR OF WHICH IS [BLEEP] FOLLOWED BY [BLEEP] AND FINALLY 600 00:23:09,355 --> 00:23:11,066 POPULAR OF WHICH IS [BLEEP] FOLLOWED BY [BLEEP] AND FINALLY "THE SUPREMES." 601 00:23:11,090 --> 00:23:13,702 FOLLOWED BY [BLEEP] AND FINALLY "THE SUPREMES." [LAUGHTER] 602 00:23:13,726 --> 00:23:15,637 "THE SUPREMES." [LAUGHTER] WELL, FOR QUITE SOME TIME NOW, 603 00:23:15,661 --> 00:23:16,805 [LAUGHTER] WELL, FOR QUITE SOME TIME NOW, THE AREA KNOWN AS THE 604 00:23:16,829 --> 00:23:17,906 WELL, FOR QUITE SOME TIME NOW, THE AREA KNOWN AS THE BERMUDA TRIANGLE HAS 605 00:23:17,930 --> 00:23:19,375 THE AREA KNOWN AS THE BERMUDA TRIANGLE HAS MYSTERIOUSLY ACCOUNTED FOR THE 606 00:23:19,399 --> 00:23:20,743 BERMUDA TRIANGLE HAS MYSTERIOUSLY ACCOUNTED FOR THE DISAPPEARANCE OF PLANES AND 607 00:23:20,767 --> 00:23:22,411 MYSTERIOUSLY ACCOUNTED FOR THE DISAPPEARANCE OF PLANES AND BOATS THAT TRAVEL THROUGH IT. 608 00:23:22,435 --> 00:23:24,079 DISAPPEARANCE OF PLANES AND BOATS THAT TRAVEL THROUGH IT. BUT TODAY, IT WAS DISCOVERED 609 00:23:24,103 --> 00:23:25,881 BOATS THAT TRAVEL THROUGH IT. BUT TODAY, IT WAS DISCOVERED THAT THE TRIANGLE WAS ONLY PART 610 00:23:25,905 --> 00:23:27,716 BUT TODAY, IT WAS DISCOVERED THAT THE TRIANGLE WAS ONLY PART OF A LARGER CONFIGURATION, NOW 611 00:23:27,740 --> 00:23:29,685 THAT THE TRIANGLE WAS ONLY PART OF A LARGER CONFIGURATION, NOW BEING REFERRED TO AS THE BERMUDA 612 00:23:29,709 --> 00:23:30,853 OF A LARGER CONFIGURATION, NOW BEING REFERRED TO AS THE BERMUDA SHORTS. 613 00:23:30,877 --> 00:23:32,688 BEING REFERRED TO AS THE BERMUDA SHORTS. [LAUGHTER] 614 00:23:32,712 --> 00:23:35,156 SHORTS. [LAUGHTER] ALTHOUGH STILL AT A LOSS AS TO 615 00:23:35,180 --> 00:23:36,725 [LAUGHTER] ALTHOUGH STILL AT A LOSS AS TO HOW THE BOATS AND PLANES ARE 616 00:23:36,749 --> 00:23:38,627 ALTHOUGH STILL AT A LOSS AS TO HOW THE BOATS AND PLANES ARE LOST, SCIENTISTS SAY THAT THE 617 00:23:38,651 --> 00:23:40,328 HOW THE BOATS AND PLANES ARE LOST, SCIENTISTS SAY THAT THE REVELATION DOES SHED SOME LIGHT 618 00:23:40,352 --> 00:23:41,930 LOST, SCIENTISTS SAY THAT THE REVELATION DOES SHED SOME LIGHT AS TO WHY ALL THE FISH IN THE 619 00:23:41,954 --> 00:23:45,133 REVELATION DOES SHED SOME LIGHT AS TO WHY ALL THE FISH IN THE AREA ARE WEARING KNEE SOCKS. 620 00:23:45,157 --> 00:23:46,702 AS TO WHY ALL THE FISH IN THE AREA ARE WEARING KNEE SOCKS. THIS STORY FROM BELGRADE, 621 00:23:46,726 --> 00:23:47,936 AREA ARE WEARING KNEE SOCKS. THIS STORY FROM BELGRADE, YUGOSLAVIA. 622 00:23:47,960 --> 00:23:49,571 THIS STORY FROM BELGRADE, YUGOSLAVIA. CONTRARY TO PREVIOUS REPORTS, 623 00:23:49,595 --> 00:23:51,807 YUGOSLAVIA. CONTRARY TO PREVIOUS REPORTS, YUGOSLAV PRESIDENT TITO AND 624 00:23:51,831 --> 00:23:53,809 CONTRARY TO PREVIOUS REPORTS, YUGOSLAV PRESIDENT TITO AND SOVIET LEADER LEONID BREZHNEV DO 625 00:23:53,833 --> 00:23:55,577 YUGOSLAV PRESIDENT TITO AND SOVIET LEADER LEONID BREZHNEV DO CLOSE THEIR EYES WHEN THEY KISS. 626 00:23:55,601 --> 00:23:57,713 SOVIET LEADER LEONID BREZHNEV DO CLOSE THEIR EYES WHEN THEY KISS. [LAUGHTER] 627 00:23:57,737 --> 00:24:00,649 CLOSE THEIR EYES WHEN THEY KISS. [LAUGHTER] ACTOR HARRY REEMS, THE LARGEST 628 00:24:00,673 --> 00:24:01,817 [LAUGHTER] ACTOR HARRY REEMS, THE LARGEST MEMBER OF THE CAST OF 629 00:24:01,841 --> 00:24:03,184 ACTOR HARRY REEMS, THE LARGEST MEMBER OF THE CAST OF "DEEP THROAT," ATTENDED A 630 00:24:03,208 --> 00:24:04,853 MEMBER OF THE CAST OF "DEEP THROAT," ATTENDED A STAR-STUDDED PARTY TO RAISE 631 00:24:04,877 --> 00:24:06,488 "DEEP THROAT," ATTENDED A STAR-STUDDED PARTY TO RAISE MONEY FOR HIS LEGAL-DEFENSE 632 00:24:06,512 --> 00:24:07,022 STAR-STUDDED PARTY TO RAISE MONEY FOR HIS LEGAL-DEFENSE FUND. 633 00:24:07,046 --> 00:24:08,624 MONEY FOR HIS LEGAL-DEFENSE FUND. IT WAS THERE THAT THE ACTOR 634 00:24:08,648 --> 00:24:10,158 FUND. IT WAS THERE THAT THE ACTOR UNVEILED A NEW HARRY REEMS 635 00:24:10,182 --> 00:24:11,827 IT WAS THERE THAT THE ACTOR UNVEILED A NEW HARRY REEMS COCKTAIL, WHICH, ALTHOUGH IT 636 00:24:11,851 --> 00:24:13,829 UNVEILED A NEW HARRY REEMS COCKTAIL, WHICH, ALTHOUGH IT CONTAINS NO BEER, STILL HAS A 637 00:24:13,853 --> 00:24:14,730 COCKTAIL, WHICH, ALTHOUGH IT CONTAINS NO BEER, STILL HAS A HEAD. 638 00:24:14,754 --> 00:24:16,965 CONTAINS NO BEER, STILL HAS A HEAD. [LAUGHTER] 639 00:24:16,989 --> 00:24:18,099 HEAD. [LAUGHTER] IT'S MY JOB, MOM. 640 00:24:18,123 --> 00:24:21,637 [LAUGHTER] IT'S MY JOB, MOM. I'M SORRY. 641 00:24:21,661 --> 00:24:23,605 IT'S MY JOB, MOM. I'M SORRY. NOW THIS FILM REPORT FROM 642 00:24:23,629 --> 00:24:28,009 I'M SORRY. NOW THIS FILM REPORT FROM CORRESPONDENT LARAINE NEWMAN. 643 00:24:28,033 --> 00:24:29,812 NOW THIS FILM REPORT FROM CORRESPONDENT LARAINE NEWMAN. THIS IS LARAINE NEWMAN 644 00:24:29,836 --> 00:24:31,880 CORRESPONDENT LARAINE NEWMAN. THIS IS LARAINE NEWMAN REPORTING FROM SLEEPY MINEOLA, 645 00:24:31,904 --> 00:24:33,816 THIS IS LARAINE NEWMAN REPORTING FROM SLEEPY MINEOLA, LONG ISLAND, WHERE LAST WEEK IT 646 00:24:33,840 --> 00:24:35,617 REPORTING FROM SLEEPY MINEOLA, LONG ISLAND, WHERE LAST WEEK IT WAS DISCLOSED THAT LONG-TIME 647 00:24:35,641 --> 00:24:38,086 LONG ISLAND, WHERE LAST WEEK IT WAS DISCLOSED THAT LONG-TIME RESIDENT BOLESLAV MAIKOVSKIS 648 00:24:38,110 --> 00:24:39,688 WAS DISCLOSED THAT LONG-TIME RESIDENT BOLESLAV MAIKOVSKIS ALLEGEDLY WAS A NAZI WAR 649 00:24:39,712 --> 00:24:41,356 RESIDENT BOLESLAV MAIKOVSKIS ALLEGEDLY WAS A NAZI WAR CRIMINAL WHO ENTERED THIS 650 00:24:41,380 --> 00:24:42,624 ALLEGEDLY WAS A NAZI WAR CRIMINAL WHO ENTERED THIS COUNTRY ILLEGALLY. 651 00:24:42,648 --> 00:24:44,526 CRIMINAL WHO ENTERED THIS COUNTRY ILLEGALLY. BUT MINEOLANS TELL ME THEY 652 00:24:44,550 --> 00:24:46,595 COUNTRY ILLEGALLY. BUT MINEOLANS TELL ME THEY ACCEPT MAIKOVSKIS AS A PEACEFUL 653 00:24:46,619 --> 00:24:48,564 BUT MINEOLANS TELL ME THEY ACCEPT MAIKOVSKIS AS A PEACEFUL CITIZEN WHO PAYS HIS TAXES, 654 00:24:48,588 --> 00:24:50,466 ACCEPT MAIKOVSKIS AS A PEACEFUL CITIZEN WHO PAYS HIS TAXES, KEEPS UP HIS LAWN, AND WORKS 655 00:24:50,490 --> 00:24:52,634 CITIZEN WHO PAYS HIS TAXES, KEEPS UP HIS LAWN, AND WORKS AFTERNOONS WITH THE TOWN'S STATE 656 00:24:52,658 --> 00:24:54,503 KEEPS UP HIS LAWN, AND WORKS AFTERNOONS WITH THE TOWN'S STATE HIGH SCHOOL CHAMPION SOCCER 657 00:24:54,527 --> 00:24:55,070 AFTERNOONS WITH THE TOWN'S STATE HIGH SCHOOL CHAMPION SOCCER TEAM. 658 00:24:55,094 --> 00:24:56,872 HIGH SCHOOL CHAMPION SOCCER TEAM. THEY SEE NO REASON TO DEPORT 659 00:24:56,896 --> 00:24:58,841 TEAM. THEY SEE NO REASON TO DEPORT MAIKOVSKIS, NOR ANY OF THE OTHER 660 00:24:58,865 --> 00:25:00,476 THEY SEE NO REASON TO DEPORT MAIKOVSKIS, NOR ANY OF THE OTHER NAZIS WHO CAME HERE AFTER 661 00:25:00,500 --> 00:25:01,477 MAIKOVSKIS, NOR ANY OF THE OTHER NAZIS WHO CAME HERE AFTER WORLD WAR II. 662 00:25:01,501 --> 00:25:03,579 NAZIS WHO CAME HERE AFTER WORLD WAR II. TO LOCAL RESIDENTS, NAZIS ARE 663 00:25:03,603 --> 00:25:05,681 WORLD WAR II. TO LOCAL RESIDENTS, NAZIS ARE LIKE ANY OTHER MINORITY GROUP 664 00:25:05,705 --> 00:25:07,415 TO LOCAL RESIDENTS, NAZIS ARE LIKE ANY OTHER MINORITY GROUP WHO FLED TO THIS COUNTRY TO 665 00:25:07,439 --> 00:25:08,750 LIKE ANY OTHER MINORITY GROUP WHO FLED TO THIS COUNTRY TO ESCAPE PERSECUTION. 666 00:25:08,774 --> 00:25:10,953 WHO FLED TO THIS COUNTRY TO ESCAPE PERSECUTION. ONLY IN AMERICA, JANE, THE 667 00:25:10,977 --> 00:25:12,955 ESCAPE PERSECUTION. ONLY IN AMERICA, JANE, THE MELTING POT OF THE WORLD. 668 00:25:12,979 --> 00:25:14,790 ONLY IN AMERICA, JANE, THE MELTING POT OF THE WORLD. LARAINE NEWMAN, MINEOLA, 669 00:25:14,814 --> 00:25:16,859 MELTING POT OF THE WORLD. LARAINE NEWMAN, MINEOLA, LONG ISLAND. 670 00:25:16,883 --> 00:25:21,062 LARAINE NEWMAN, MINEOLA, LONG ISLAND. [APPLAUSE] 671 00:25:21,086 --> 00:25:23,198 LONG ISLAND. [APPLAUSE] THIS JUST IN... UTAH MURDERER 672 00:25:23,222 --> 00:25:24,867 [APPLAUSE] THIS JUST IN... UTAH MURDERER GARY GILMORE, WHO HAS REQUESTED 673 00:25:24,891 --> 00:25:26,368 THIS JUST IN... UTAH MURDERER GARY GILMORE, WHO HAS REQUESTED A SPEEDY CARRYING OUT OF HIS 674 00:25:26,392 --> 00:25:28,269 GARY GILMORE, WHO HAS REQUESTED A SPEEDY CARRYING OUT OF HIS DEATH SENTENCE, HAS JUST WON THE 675 00:25:28,293 --> 00:25:30,305 A SPEEDY CARRYING OUT OF HIS DEATH SENTENCE, HAS JUST WON THE UTAH STATE LOTTERY, THE FIRST 676 00:25:30,329 --> 00:25:33,909 DEATH SENTENCE, HAS JUST WON THE UTAH STATE LOTTERY, THE FIRST PRIZE... THE FIRST PRIZE, 677 00:25:33,933 --> 00:25:36,144 UTAH STATE LOTTERY, THE FIRST PRIZE... THE FIRST PRIZE, WHICH IS $50,000 A YEAR FOR 678 00:25:36,168 --> 00:25:38,246 PRIZE... THE FIRST PRIZE, WHICH IS $50,000 A YEAR FOR LIFE. 679 00:25:38,270 --> 00:25:40,048 WHICH IS $50,000 A YEAR FOR LIFE. UTAH LOTTERY OFFICIALS SAY THEY 680 00:25:40,072 --> 00:25:43,284 LIFE. UTAH LOTTERY OFFICIALS SAY THEY COULDN'T BE HAPPIER. 681 00:25:43,308 --> 00:25:45,220 UTAH LOTTERY OFFICIALS SAY THEY COULDN'T BE HAPPIER. THERE WAS A NEAR TRAGEDY THIS 682 00:25:45,244 --> 00:25:46,722 COULDN'T BE HAPPIER. THERE WAS A NEAR TRAGEDY THIS WEEK, WHEN POPULAR TV 683 00:25:46,746 --> 00:25:48,490 THERE WAS A NEAR TRAGEDY THIS WEEK, WHEN POPULAR TV PERSONALITY MORRIS THE CAT 684 00:25:48,514 --> 00:25:49,825 WEEK, WHEN POPULAR TV PERSONALITY MORRIS THE CAT ATTEMPTED SUICIDE. 685 00:25:49,849 --> 00:25:51,593 PERSONALITY MORRIS THE CAT ATTEMPTED SUICIDE. DESPONDENT OVER THE DEATH OF A 686 00:25:51,617 --> 00:25:53,729 ATTEMPTED SUICIDE. DESPONDENT OVER THE DEATH OF A CLOSE FRIEND, SMOKEY THE BEAR, 687 00:25:53,753 --> 00:25:55,564 DESPONDENT OVER THE DEATH OF A CLOSE FRIEND, SMOKEY THE BEAR, MORRIS, IN AN ACT OF SYMPATHY, 688 00:25:55,588 --> 00:25:57,399 CLOSE FRIEND, SMOKEY THE BEAR, MORRIS, IN AN ACT OF SYMPATHY, CHOSE TO CALL IT QUITS HIMSELF, 689 00:25:57,423 --> 00:25:59,167 MORRIS, IN AN ACT OF SYMPATHY, CHOSE TO CALL IT QUITS HIMSELF, LEAVING BEHIND A NOTE WHICH 690 00:25:59,191 --> 00:26:00,368 CHOSE TO CALL IT QUITS HIMSELF, LEAVING BEHIND A NOTE WHICH READ SIMPLY... 691 00:26:00,392 --> 00:26:01,603 LEAVING BEHIND A NOTE WHICH READ SIMPLY... ♪ "MEOW, MEOW, MEOW, MEOW 692 00:26:01,627 --> 00:26:02,804 READ SIMPLY... ♪ "MEOW, MEOW, MEOW, MEOW MEOW, MEOW, MEOW, MEOW ♪ 693 00:26:02,828 --> 00:26:03,939 ♪ "MEOW, MEOW, MEOW, MEOW MEOW, MEOW, MEOW, MEOW ♪ ♪ MEOW, MEOW, MEOW 694 00:26:03,963 --> 00:26:05,974 MEOW, MEOW, MEOW, MEOW ♪ ♪ MEOW, MEOW, MEOW MEOW, MEOW" ♪ 695 00:26:05,998 --> 00:26:08,209 ♪ MEOW, MEOW, MEOW MEOW, MEOW" ♪ BECAUSE MORRIS HAD NINE LIVES, 696 00:26:08,233 --> 00:26:09,778 MEOW, MEOW" ♪ BECAUSE MORRIS HAD NINE LIVES, HE TRIED TO END THEM ALL BY 697 00:26:09,802 --> 00:26:11,446 BECAUSE MORRIS HAD NINE LIVES, HE TRIED TO END THEM ALL BY HANGING HIMSELF, SLITTING HIS 698 00:26:11,470 --> 00:26:13,181 HE TRIED TO END THEM ALL BY HANGING HIMSELF, SLITTING HIS WRISTS, STICKING HIS HEAD IN AN 699 00:26:13,205 --> 00:26:14,650 HANGING HIMSELF, SLITTING HIS WRISTS, STICKING HIS HEAD IN AN OVEN, MIXING ALCOHOL WITH 700 00:26:14,674 --> 00:26:16,451 WRISTS, STICKING HIS HEAD IN AN OVEN, MIXING ALCOHOL WITH SLEEPING PILLS, THROWING HIMSELF 701 00:26:16,475 --> 00:26:18,219 OVEN, MIXING ALCOHOL WITH SLEEPING PILLS, THROWING HIMSELF IN FRONT OF A TRAIN, BRINGING A 702 00:26:18,243 --> 00:26:19,955 SLEEPING PILLS, THROWING HIMSELF IN FRONT OF A TRAIN, BRINGING A RADIO INTO THE BATHTUB WITH HIM, 703 00:26:19,979 --> 00:26:21,790 IN FRONT OF A TRAIN, BRINGING A RADIO INTO THE BATHTUB WITH HIM, SHOOTING HIMSELF, AND SITTING IN 704 00:26:21,814 --> 00:26:23,692 RADIO INTO THE BATHTUB WITH HIM, SHOOTING HIMSELF, AND SITTING IN A CAR WITH THE MOTOR RUNNING IN 705 00:26:23,716 --> 00:26:24,893 SHOOTING HIMSELF, AND SITTING IN A CAR WITH THE MOTOR RUNNING IN HIS GARAGE. 706 00:26:24,917 --> 00:26:26,628 A CAR WITH THE MOTOR RUNNING IN HIS GARAGE. MORRIS, NOW RESTING COMFORTABLY 707 00:26:26,652 --> 00:26:28,396 HIS GARAGE. MORRIS, NOW RESTING COMFORTABLY AT BIDEAWEE HOSPITAL, DEPRESSED 708 00:26:28,420 --> 00:26:29,998 MORRIS, NOW RESTING COMFORTABLY AT BIDEAWEE HOSPITAL, DEPRESSED THAT HE COULD ONLY THINK OF 709 00:26:30,022 --> 00:26:31,600 AT BIDEAWEE HOSPITAL, DEPRESSED THAT HE COULD ONLY THINK OF EIGHT WAYS TO KILL HIMSELF. 710 00:26:31,624 --> 00:26:33,201 THAT HE COULD ONLY THINK OF EIGHT WAYS TO KILL HIMSELF. "UPDATE" VIEWERS WHO HAVE IDEAS 711 00:26:33,225 --> 00:26:34,736 EIGHT WAYS TO KILL HIMSELF. "UPDATE" VIEWERS WHO HAVE IDEAS FOR A NINTH WAY TO KILL MORRIS 712 00:26:34,760 --> 00:26:38,320 "UPDATE" VIEWERS WHO HAVE IDEAS FOR A NINTH WAY TO KILL MORRIS ARE URGED TO SEND THEM TO... 713 00:26:46,504 --> 00:26:53,989 [APPLAUSE] THE DECISION OF MORRIS IS FINAL. THE NATIONAL BROADCASTING 714 00:26:54,013 --> 00:26:55,591 THE DECISION OF MORRIS IS FINAL. THE NATIONAL BROADCASTING COMPANY MARKED ITS 50th 715 00:26:55,615 --> 00:26:57,092 THE NATIONAL BROADCASTING COMPANY MARKED ITS 50th ANNIVERSARY THIS WEEK. 716 00:26:57,116 --> 00:26:58,894 COMPANY MARKED ITS 50th ANNIVERSARY THIS WEEK. THIS OCCASION WILL BE SALUTED IN 717 00:26:58,918 --> 00:27:00,428 ANNIVERSARY THIS WEEK. THIS OCCASION WILL BE SALUTED IN A TV SPECIAL TOMORROW NIGHT 718 00:27:00,452 --> 00:27:02,064 THIS OCCASION WILL BE SALUTED IN A TV SPECIAL TOMORROW NIGHT SHOWING THE NETWORK'S STARS, 719 00:27:02,088 --> 00:27:03,665 A TV SPECIAL TOMORROW NIGHT SHOWING THE NETWORK'S STARS, BIGGEST HIGHLIGHTS, AND MOST 720 00:27:03,689 --> 00:27:05,433 SHOWING THE NETWORK'S STARS, BIGGEST HIGHLIGHTS, AND MOST GLAMOROUS MOMENTS OF THE PAST 50 721 00:27:05,457 --> 00:27:07,135 BIGGEST HIGHLIGHTS, AND MOST GLAMOROUS MOMENTS OF THE PAST 50 YEARS, WHICH, THROUGH CREATIVE 722 00:27:07,159 --> 00:27:08,704 GLAMOROUS MOMENTS OF THE PAST 50 YEARS, WHICH, THROUGH CREATIVE INGENUITY, HAS SOMEHOW BEEN 723 00:27:08,728 --> 00:27:10,906 YEARS, WHICH, THROUGH CREATIVE INGENUITY, HAS SOMEHOW BEEN STRETCHED TO 4 1/2 HOURS. 724 00:27:10,930 --> 00:27:12,808 INGENUITY, HAS SOMEHOW BEEN STRETCHED TO 4 1/2 HOURS. THE COMPANY HAS BEEN RECEIVING 725 00:27:12,832 --> 00:27:14,710 STRETCHED TO 4 1/2 HOURS. THE COMPANY HAS BEEN RECEIVING GIFTS ALL WEEK, INCLUDING BEST 726 00:27:14,734 --> 00:27:16,645 THE COMPANY HAS BEEN RECEIVING GIFTS ALL WEEK, INCLUDING BEST WISHES FROM COMPETING NETWORKS, 727 00:27:16,669 --> 00:27:18,680 GIFTS ALL WEEK, INCLUDING BEST WISHES FROM COMPETING NETWORKS, CBS AND ABC, WHO SENT THEM DAWN, 728 00:27:18,704 --> 00:27:20,348 WISHES FROM COMPETING NETWORKS, CBS AND ABC, WHO SENT THEM DAWN, DOC, MR. T AND TINA, AND A 729 00:27:20,372 --> 00:27:22,818 CBS AND ABC, WHO SENT THEM DAWN, DOC, MR. T AND TINA, AND A HOMESICK BARBARA WALTERS. 730 00:27:22,842 --> 00:27:24,720 DOC, MR. T AND TINA, AND A HOMESICK BARBARA WALTERS. AND IN STILL ANOTHER 731 00:27:24,744 --> 00:27:26,855 HOMESICK BARBARA WALTERS. AND IN STILL ANOTHER CELEBRATION, TODAY MARKS THE 732 00:27:26,879 --> 00:27:27,856 AND IN STILL ANOTHER CELEBRATION, TODAY MARKS THE FIRST ANNIVERSARY OF THE 733 00:27:27,880 --> 00:27:28,924 CELEBRATION, TODAY MARKS THE FIRST ANNIVERSARY OF THE SO-CALLED DEATH OF 734 00:27:28,948 --> 00:27:31,860 FIRST ANNIVERSARY OF THE SO-CALLED DEATH OF GENERALISSIMO FRANCISCO FRANCO. 735 00:27:31,884 --> 00:27:33,061 SO-CALLED DEATH OF GENERALISSIMO FRANCISCO FRANCO. HE, TOO, HAS BEEN RECEIVING 736 00:27:33,085 --> 00:27:34,395 GENERALISSIMO FRANCISCO FRANCO. HE, TOO, HAS BEEN RECEIVING GIFTS FROM ALL OVER THE WORLD, 737 00:27:34,419 --> 00:27:36,197 HE, TOO, HAS BEEN RECEIVING GIFTS FROM ALL OVER THE WORLD, INCLUDING DEAD FLOWERS FROM 738 00:27:36,221 --> 00:27:37,966 GIFTS FROM ALL OVER THE WORLD, INCLUDING DEAD FLOWERS FROM ARGENTINA, A CANDYGRAM FROM 739 00:27:37,990 --> 00:27:40,135 INCLUDING DEAD FLOWERS FROM ARGENTINA, A CANDYGRAM FROM MAO TSE-TUNG, AND RECENTLY 740 00:27:40,159 --> 00:27:42,537 ARGENTINA, A CANDYGRAM FROM MAO TSE-TUNG, AND RECENTLY ACQUIRED DAWN, DOC, MR. T AND 741 00:27:42,561 --> 00:27:43,639 MAO TSE-TUNG, AND RECENTLY ACQUIRED DAWN, DOC, MR. T AND TINA, AS WELL AS A HOMESICK 742 00:27:43,663 --> 00:27:44,773 ACQUIRED DAWN, DOC, MR. T AND TINA, AS WELL AS A HOMESICK BARBARA WALTERS FROM THE 743 00:27:44,797 --> 00:27:47,375 TINA, AS WELL AS A HOMESICK BARBARA WALTERS FROM THE NATIONAL BROADCASTING COMPANY. 744 00:27:47,399 --> 00:27:49,244 BARBARA WALTERS FROM THE NATIONAL BROADCASTING COMPANY. FEDERAL HEALTH OFFICIALS REPORT 745 00:27:49,268 --> 00:27:51,279 NATIONAL BROADCASTING COMPANY. FEDERAL HEALTH OFFICIALS REPORT THAT A NEW STRAIN OF GONORRHEA, 746 00:27:51,303 --> 00:27:52,914 FEDERAL HEALTH OFFICIALS REPORT THAT A NEW STRAIN OF GONORRHEA, WHICH KILLS THE PENICILLIN USED 747 00:27:52,938 --> 00:27:54,449 THAT A NEW STRAIN OF GONORRHEA, WHICH KILLS THE PENICILLIN USED TO TREAT IT, HAS TURNED UP IN 748 00:27:54,473 --> 00:27:55,117 WHICH KILLS THE PENICILLIN USED TO TREAT IT, HAS TURNED UP IN 11 STATES. 749 00:27:55,141 --> 00:27:56,518 TO TREAT IT, HAS TURNED UP IN 11 STATES. COINCIDENTALLY, THEY ARE THE 750 00:27:56,542 --> 00:27:58,787 11 STATES. COINCIDENTALLY, THEY ARE THE SAME STATES VISITED LAST SPRING 751 00:27:58,811 --> 00:28:02,724 COINCIDENTALLY, THEY ARE THE SAME STATES VISITED LAST SPRING BY UGANDAN DICTATOR IDI AMIN. 752 00:28:02,748 --> 00:28:04,392 SAME STATES VISITED LAST SPRING BY UGANDAN DICTATOR IDI AMIN. REACHED FOR COMMENT BY OUR 753 00:28:04,416 --> 00:28:06,128 BY UGANDAN DICTATOR IDI AMIN. REACHED FOR COMMENT BY OUR UPDATE CORRESPONDENT, AMIN 754 00:28:06,152 --> 00:28:07,763 REACHED FOR COMMENT BY OUR UPDATE CORRESPONDENT, AMIN SAID, "IT JUST GOES TO PROVE 755 00:28:07,787 --> 00:28:09,765 UPDATE CORRESPONDENT, AMIN SAID, "IT JUST GOES TO PROVE THAT I CAN SPREAD MY PHILOSOPHY 756 00:28:09,789 --> 00:28:12,000 SAID, "IT JUST GOES TO PROVE THAT I CAN SPREAD MY PHILOSOPHY IN YOUR COUNTRY." 757 00:28:12,024 --> 00:28:13,434 THAT I CAN SPREAD MY PHILOSOPHY IN YOUR COUNTRY." HERE TO COMMENT FURTHER ON THIS 758 00:28:13,458 --> 00:28:15,137 IN YOUR COUNTRY." HERE TO COMMENT FURTHER ON THIS IS "UPDATE" SCIENCE EDITOR 759 00:28:15,161 --> 00:28:16,471 HERE TO COMMENT FURTHER ON THIS IS "UPDATE" SCIENCE EDITOR DR. GARRETT MORRIS. 760 00:28:16,495 --> 00:28:18,040 IS "UPDATE" SCIENCE EDITOR DR. GARRETT MORRIS. DR. MORRIS, TELL US ABOUT THIS 761 00:28:18,064 --> 00:28:19,407 DR. GARRETT MORRIS. DR. MORRIS, TELL US ABOUT THIS NEW STRAIN, AND WHY HAS IT 762 00:28:19,431 --> 00:28:21,042 DR. MORRIS, TELL US ABOUT THIS NEW STRAIN, AND WHY HAS IT GOTTEN OUT OF HAND? 763 00:28:21,066 --> 00:28:23,433 WELL, UH, JANE, WHAT MAKES 764 00:28:23,568 --> 00:28:25,669 THIS STRAIN SO UNUSUAL IS 765 00:28:25,804 --> 00:28:28,305 THAT IT KILLS PENICILLIN, WHICH 766 00:28:28,439 --> 00:28:30,841 IS USED TO KILL GONORRHEA. 767 00:28:31,109 --> 00:28:35,423 AND THIS GONORRHEA IS A TRICKY ONE. OOH, IT'S TRICKY. 768 00:28:35,447 --> 00:28:37,092 ONE. OOH, IT'S TRICKY. LET ME SHOW YOU. 769 00:28:37,116 --> 00:28:39,761 OOH, IT'S TRICKY. LET ME SHOW YOU. NOW, THIS HERE... 770 00:28:39,785 --> 00:28:41,629 LET ME SHOW YOU. NOW, THIS HERE... LET ME PUT A LITTLE DROP HERE. 771 00:28:41,653 --> 00:28:42,931 NOW, THIS HERE... LET ME PUT A LITTLE DROP HERE. OKAY. 772 00:28:42,955 --> 00:28:45,333 LET ME PUT A LITTLE DROP HERE. OKAY. THIS HERE PENICILLIN. 773 00:28:45,357 --> 00:28:47,169 OKAY. THIS HERE PENICILLIN. NOW, LET'S JUST FOCUS IN. 774 00:28:47,193 --> 00:28:49,571 THIS HERE PENICILLIN. NOW, LET'S JUST FOCUS IN. RIGHT DOWN THERE. 775 00:28:49,595 --> 00:28:50,572 NOW, LET'S JUST FOCUS IN. RIGHT DOWN THERE. [LAUGHTER] 776 00:28:50,596 --> 00:28:52,207 RIGHT DOWN THERE. [LAUGHTER] ALL RIGHT. NOW, YOU SEE? 777 00:28:52,231 --> 00:28:52,941 [LAUGHTER] ALL RIGHT. NOW, YOU SEE? YOU SEE? 778 00:28:52,965 --> 00:28:54,810 ALL RIGHT. NOW, YOU SEE? YOU SEE? NOW, WE'VE FORTIFIED THIS 779 00:28:54,834 --> 00:28:57,045 YOU SEE? NOW, WE'VE FORTIFIED THIS PENICILLIN THE BEST WAY WE KNEW 780 00:28:57,069 --> 00:28:57,612 NOW, WE'VE FORTIFIED THIS PENICILLIN THE BEST WAY WE KNEW HOW. 781 00:28:57,636 --> 00:28:59,647 PENICILLIN THE BEST WAY WE KNEW HOW. BUT NO MATTER WHAT WE DO, THE 782 00:28:59,671 --> 00:29:01,616 HOW. BUT NO MATTER WHAT WE DO, THE RESULTS ARE ALWAYS THE SAME. 783 00:29:01,640 --> 00:29:03,085 BUT NO MATTER WHAT WE DO, THE RESULTS ARE ALWAYS THE SAME. BUT DIFFERENT APPROACHES, NEW 784 00:29:03,109 --> 00:29:04,052 RESULTS ARE ALWAYS THE SAME. BUT DIFFERENT APPROACHES, NEW STRATEGIES... 785 00:29:04,076 --> 00:29:06,421 BUT DIFFERENT APPROACHES, NEW STRATEGIES... NOTHING SEEMS TO WORK AGAINST 786 00:29:06,445 --> 00:29:07,789 STRATEGIES... NOTHING SEEMS TO WORK AGAINST THIS GONORRHEA. 787 00:29:07,813 --> 00:29:09,891 NOTHING SEEMS TO WORK AGAINST THIS GONORRHEA. BECAUSE IN THE LONG RUN, THE 788 00:29:09,915 --> 00:29:12,327 THIS GONORRHEA. BECAUSE IN THE LONG RUN, THE PENICILLIN IS STILL A LOSER. 789 00:29:12,351 --> 00:29:13,929 BECAUSE IN THE LONG RUN, THE PENICILLIN IS STILL A LOSER. VERY FRIGHTENING, DOCTOR. 790 00:29:13,953 --> 00:29:15,396 PENICILLIN IS STILL A LOSER. VERY FRIGHTENING, DOCTOR. LET ME ASK YOU SOMETHING, 791 00:29:15,420 --> 00:29:15,964 VERY FRIGHTENING, DOCTOR. LET ME ASK YOU SOMETHING, DOCTOR. 792 00:29:15,988 --> 00:29:16,765 LET ME ASK YOU SOMETHING, DOCTOR. I'M CURIOUS. 793 00:29:16,789 --> 00:29:18,266 DOCTOR. I'M CURIOUS. JUST WHERE DID YOU GET THIS 794 00:29:18,290 --> 00:29:19,567 I'M CURIOUS. JUST WHERE DID YOU GET THIS PARTICULAR SAMPLE FROM? 795 00:29:19,591 --> 00:29:22,303 JUST WHERE DID YOU GET THIS PARTICULAR SAMPLE FROM? LORETTA. WHEW! 796 00:29:22,327 --> 00:29:26,307 PARTICULAR SAMPLE FROM? LORETTA. WHEW! [LAUGHTER AND APPLAUSE] 797 00:29:26,331 --> 00:29:27,809 LORETTA. WHEW! [LAUGHTER AND APPLAUSE] THANK YOU, 798 00:29:27,833 --> 00:29:31,279 [LAUGHTER AND APPLAUSE] THANK YOU, DR. GARRETT MORRIS. 799 00:29:31,303 --> 00:29:32,948 THANK YOU, DR. GARRETT MORRIS. PORTIONS OF A RADIOACTIVE 800 00:29:32,972 --> 00:29:34,549 DR. GARRETT MORRIS. PORTIONS OF A RADIOACTIVE CLOUD CAUSED BY THIS WEEK'S 801 00:29:34,573 --> 00:29:36,051 PORTIONS OF A RADIOACTIVE CLOUD CAUSED BY THIS WEEK'S NUCLEAR TEST IN CHINA ARE 802 00:29:36,075 --> 00:29:37,819 CLOUD CAUSED BY THIS WEEK'S NUCLEAR TEST IN CHINA ARE EXPECTED TO REACH NEW YORK CITY 803 00:29:37,843 --> 00:29:38,887 NUCLEAR TEST IN CHINA ARE EXPECTED TO REACH NEW YORK CITY TOMORROW MORNING. 804 00:29:38,911 --> 00:29:40,688 EXPECTED TO REACH NEW YORK CITY TOMORROW MORNING. REMAINS OF THIS GIANT MUSHROOM 805 00:29:40,712 --> 00:29:42,457 TOMORROW MORNING. REMAINS OF THIS GIANT MUSHROOM CLOUD, FILLED WITH SIGNIFICANT 806 00:29:42,481 --> 00:29:44,325 REMAINS OF THIS GIANT MUSHROOM CLOUD, FILLED WITH SIGNIFICANT AMOUNTS OF RADIOACTIVE FALLOUT, 807 00:29:44,349 --> 00:29:46,161 CLOUD, FILLED WITH SIGNIFICANT AMOUNTS OF RADIOACTIVE FALLOUT, MAY HOVER OVER THE CITY FOR AS 808 00:29:46,185 --> 00:29:47,295 AMOUNTS OF RADIOACTIVE FALLOUT, MAY HOVER OVER THE CITY FOR AS MUCH AS 24 HOURS. 809 00:29:47,319 --> 00:29:48,964 MAY HOVER OVER THE CITY FOR AS MUCH AS 24 HOURS. IN A RELATED STORY, THE WEATHER 810 00:29:48,988 --> 00:29:50,265 MUCH AS 24 HOURS. IN A RELATED STORY, THE WEATHER FORECAST FOR NEW YORK'S 811 00:29:50,289 --> 00:29:51,733 IN A RELATED STORY, THE WEATHER FORECAST FOR NEW YORK'S METROPOLITAN AREA CALLS FOR 812 00:29:51,757 --> 00:29:53,368 FORECAST FOR NEW YORK'S METROPOLITAN AREA CALLS FOR BRIGHTER SKIES, A LOWER POLLEN 813 00:29:53,392 --> 00:29:55,103 METROPOLITAN AREA CALLS FOR BRIGHTER SKIES, A LOWER POLLEN COUNT, AND THE BEST AIR QUALITY 814 00:29:55,127 --> 00:29:56,772 BRIGHTER SKIES, A LOWER POLLEN COUNT, AND THE BEST AIR QUALITY THAT THIS AREA HAS EXPERIENCED 815 00:29:56,796 --> 00:29:57,939 COUNT, AND THE BEST AIR QUALITY THAT THIS AREA HAS EXPERIENCED IN QUITE SOME TIME. 816 00:29:57,963 --> 00:29:59,775 THAT THIS AREA HAS EXPERIENCED IN QUITE SOME TIME. GOOD NIGHT, ENJOY THE WEATHER, 817 00:29:59,799 --> 00:30:02,919 IN QUITE SOME TIME. GOOD NIGHT, ENJOY THE WEATHER, AND HAVE A PLEASANT TOMORROW. 818 00:30:09,808 --> 00:30:16,357 LADIES AND GENTLEMEN, MY FRIEND GEORGE HARRISON. [CHEERS AND APPLAUSE] 819 00:30:16,381 --> 00:30:18,849 FRIEND GEORGE HARRISON. [CHEERS AND APPLAUSE] THANK YOU. 820 00:30:27,725 --> 00:30:33,797 A-ONE, TWO, THREE, FOUR. [INTRO TO "HERE COMES THE SUN" PLAYS] 821 00:30:45,844 --> 00:30:51,659 ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ 822 00:30:51,683 --> 00:30:52,994 ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ 823 00:30:53,018 --> 00:30:55,385 ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ ♪ IT'S ALL RIGHT ♪ 824 00:31:02,560 --> 00:31:09,845 ♪ LITTLE DARLING ♪ ♪ IT'S BEEN A LONG, COLD, LONELY WINTER ♪ 825 00:31:09,869 --> 00:31:11,646 ♪ IT'S BEEN A LONG, COLD, LONELY WINTER ♪ ♪ LITTLE DARLING ♪ 826 00:31:11,670 --> 00:31:13,648 WINTER ♪ ♪ LITTLE DARLING ♪ ♪ IT SEEMS LIKE YEARS 827 00:31:13,672 --> 00:31:17,052 ♪ LITTLE DARLING ♪ ♪ IT SEEMS LIKE YEARS SINCE IT'S BEEN HERE ♪ 828 00:31:17,076 --> 00:31:19,254 ♪ IT SEEMS LIKE YEARS SINCE IT'S BEEN HERE ♪ ♪ HERE COMES THE SUN ♪ 829 00:31:19,278 --> 00:31:20,688 SINCE IT'S BEEN HERE ♪ ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ 830 00:31:20,712 --> 00:31:22,858 ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ 831 00:31:22,882 --> 00:31:24,492 ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ 832 00:31:24,516 --> 00:31:26,876 ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ ♪ IT'S ALL RIGHT ♪ 833 00:31:33,958 --> 00:31:41,042 ♪ LITTLE DARLING ♪ ♪ THE SMILES RETURNING TO THE FACES ♪ 834 00:31:41,066 --> 00:31:43,178 ♪ THE SMILES RETURNING TO THE FACES ♪ ♪ LITTLE DARLING ♪ 835 00:31:43,202 --> 00:31:45,046 FACES ♪ ♪ LITTLE DARLING ♪ ♪ IT SEEMS LIKE YEARS 836 00:31:45,070 --> 00:31:48,616 ♪ LITTLE DARLING ♪ ♪ IT SEEMS LIKE YEARS SINCE IT'S BEEN HERE ♪ 837 00:31:48,640 --> 00:31:50,551 ♪ IT SEEMS LIKE YEARS SINCE IT'S BEEN HERE ♪ ♪ HERE COMES THE SUN ♪ 838 00:31:50,575 --> 00:31:52,254 SINCE IT'S BEEN HERE ♪ ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ 839 00:31:52,278 --> 00:31:54,356 ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ 840 00:31:54,380 --> 00:31:55,857 ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ 841 00:31:55,881 --> 00:31:58,315 ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ ♪ IT'S ALL RIGHT ♪ 842 00:32:10,561 --> 00:32:18,561 ♪ SUN, SUN, SUN ♪ ♪ HERE IT COMES ♪ ♪ SUN, SUN, SUN ♪ 843 00:32:18,804 --> 00:32:22,517 ♪ HERE IT COMES ♪ ♪ SUN, SUN, SUN ♪ ♪ HERE IT COMES ♪ 844 00:32:22,541 --> 00:32:24,619 ♪ SUN, SUN, SUN ♪ ♪ HERE IT COMES ♪ ♪ SUN, SUN, SUN ♪ 845 00:32:24,643 --> 00:32:28,489 ♪ HERE IT COMES ♪ ♪ SUN, SUN, SUN ♪ ♪ HERE IT COMES ♪ 846 00:32:28,513 --> 00:32:30,591 ♪ SUN, SUN, SUN ♪ ♪ HERE IT COMES ♪ ♪ SUN, SUN, SUN ♪ 847 00:32:30,615 --> 00:32:33,083 ♪ HERE IT COMES ♪ ♪ SUN, SUN, SUN ♪ ♪ HERE IT COMES ♪ 848 00:32:40,758 --> 00:32:47,943 ♪ LITTLE DARLING ♪ ♪ I FEEL THE ICE IS SLOWLY MELTING ♪ 849 00:32:47,967 --> 00:32:49,844 ♪ I FEEL THE ICE IS SLOWLY MELTING ♪ ♪ LITTLE DARLING ♪ 850 00:32:49,868 --> 00:32:52,314 MELTING ♪ ♪ LITTLE DARLING ♪ ♪ IT SEEMS LIKE YEARS SINCE IT'S 851 00:32:52,338 --> 00:32:55,317 ♪ LITTLE DARLING ♪ ♪ IT SEEMS LIKE YEARS SINCE IT'S BEEN CLEAR ♪ 852 00:32:55,341 --> 00:32:57,218 ♪ IT SEEMS LIKE YEARS SINCE IT'S BEEN CLEAR ♪ ♪ HERE COMES THE SUN ♪ 853 00:32:57,242 --> 00:32:58,786 BEEN CLEAR ♪ ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ 854 00:32:58,810 --> 00:33:01,089 ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ 855 00:33:01,113 --> 00:33:02,424 ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ 856 00:33:02,448 --> 00:33:08,029 ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ ♪ IT'S ALL RIGHT ♪ 857 00:33:08,053 --> 00:33:09,897 ♪ AND I SAY ♪ ♪ IT'S ALL RIGHT ♪ ♪ HERE COMES THE SUN ♪ 858 00:33:09,921 --> 00:33:11,499 ♪ IT'S ALL RIGHT ♪ ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ 859 00:33:11,523 --> 00:33:13,501 ♪ HERE COMES THE SUN ♪ ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ 860 00:33:13,525 --> 00:33:15,070 ♪ DOO DOO DOO DOO ♪ ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ 861 00:33:15,094 --> 00:33:20,575 ♪ HERE COMES THE SUN ♪ ♪ AND I SAY ♪ ♪ IT'S ALL RIGHT ♪ 862 00:33:20,599 --> 00:33:22,799 ♪ AND I SAY ♪ ♪ IT'S ALL RIGHT ♪ ♪ IT'S ALL RIGHT ♪ 863 00:33:29,474 --> 00:33:36,724 [CHEERS AND APPLAUSE] THANK YOU. THANK YOU. 864 00:33:36,748 --> 00:33:38,726 THANK YOU. THANK YOU. NICE. 865 00:33:38,750 --> 00:33:45,500 THANK YOU. NICE. THANK YOU. 866 00:33:45,524 --> 00:33:48,169 NICE. THANK YOU. THANK YOU. 867 00:33:48,193 --> 00:33:50,227 THANK YOU. THANK YOU. [TUNING GUITARS] 868 00:33:58,936 --> 00:34:06,936 [INTRO TO "HOMEWARD BOUND" PLAYS] ♪ I'M SITTIN' IN THE RAILWAY 869 00:34:07,012 --> 00:34:07,522 [PLAYS] ♪ I'M SITTIN' IN THE RAILWAY STATION ♪ 870 00:34:07,546 --> 00:34:08,990 ♪ I'M SITTIN' IN THE RAILWAY STATION ♪ ♪ GOT A TICKET FOR MY 871 00:34:09,014 --> 00:34:12,460 STATION ♪ ♪ GOT A TICKET FOR MY DESTINATION ♪ 872 00:34:12,484 --> 00:34:15,096 ♪ GOT A TICKET FOR MY DESTINATION ♪ ♪ MMM ♪ 873 00:34:15,120 --> 00:34:16,931 DESTINATION ♪ ♪ MMM ♪ ♪ ON A TOUR OF ONE-NIGHT 874 00:34:16,955 --> 00:34:17,598 ♪ MMM ♪ ♪ ON A TOUR OF ONE-NIGHT STANDS ♪ 875 00:34:17,622 --> 00:34:19,401 ♪ ON A TOUR OF ONE-NIGHT STANDS ♪ ♪ MY SUITCASE AND GUITAR IN 876 00:34:19,425 --> 00:34:20,168 STANDS ♪ ♪ MY SUITCASE AND GUITAR IN HAND ♪ 877 00:34:20,192 --> 00:34:21,736 ♪ MY SUITCASE AND GUITAR IN HAND ♪ ♪ AND EVERY STOP IS NEATLY 878 00:34:21,760 --> 00:34:22,537 HAND ♪ ♪ AND EVERY STOP IS NEATLY PLANNED ♪ 879 00:34:22,561 --> 00:34:24,639 ♪ AND EVERY STOP IS NEATLY PLANNED ♪ ♪ FOR A POET AND A ONE-MAN 880 00:34:24,663 --> 00:34:26,207 PLANNED ♪ ♪ FOR A POET AND A ONE-MAN BAND ♪ 881 00:34:26,231 --> 00:34:29,110 ♪ FOR A POET AND A ONE-MAN BAND ♪ ♪ HOMEWARD BOUND ♪ 882 00:34:29,134 --> 00:34:31,446 BAND ♪ ♪ HOMEWARD BOUND ♪ ♪ I WISH I WAS ♪ 883 00:34:31,470 --> 00:34:34,982 ♪ HOMEWARD BOUND ♪ ♪ I WISH I WAS ♪ ♪ HOMEWARD BOUND ♪ 884 00:34:35,006 --> 00:34:36,784 ♪ I WISH I WAS ♪ ♪ HOMEWARD BOUND ♪ ♪ HOME, WHERE MY THOUGHT'S 885 00:34:36,808 --> 00:34:37,685 ♪ HOMEWARD BOUND ♪ ♪ HOME, WHERE MY THOUGHT'S ESCAPING ♪ 886 00:34:37,709 --> 00:34:39,587 ♪ HOME, WHERE MY THOUGHT'S ESCAPING ♪ ♪ HOME, WHERE MY MUSIC'S 887 00:34:39,611 --> 00:34:40,221 ESCAPING ♪ ♪ HOME, WHERE MY MUSIC'S PLAYING ♪ 888 00:34:40,245 --> 00:34:42,390 ♪ HOME, WHERE MY MUSIC'S PLAYING ♪ ♪ HOME, WHERE MY LOVE LIES 889 00:34:42,414 --> 00:34:49,197 PLAYING ♪ ♪ HOME, WHERE MY LOVE LIES WAITING SILENTLY FOR ME ♪ 890 00:34:49,221 --> 00:34:51,199 ♪ HOME, WHERE MY LOVE LIES WAITING SILENTLY FOR ME ♪ ♪ EVERY DAY'S AN ENDLESS 891 00:34:51,223 --> 00:34:53,068 WAITING SILENTLY FOR ME ♪ ♪ EVERY DAY'S AN ENDLESS STREAM OF CIGARETTES AND 892 00:34:53,092 --> 00:34:56,171 ♪ EVERY DAY'S AN ENDLESS STREAM OF CIGARETTES AND MAGAZINES ♪ 893 00:34:56,195 --> 00:34:58,973 STREAM OF CIGARETTES AND MAGAZINES ♪ ♪ OOH, OOH ♪ 894 00:34:58,997 --> 00:35:00,942 MAGAZINES ♪ ♪ OOH, OOH ♪ ♪ AND EACH TOWN LOOKS THE SAME 895 00:35:00,966 --> 00:35:01,842 ♪ OOH, OOH ♪ ♪ AND EACH TOWN LOOKS THE SAME TO ME ♪ 896 00:35:01,866 --> 00:35:04,212 ♪ AND EACH TOWN LOOKS THE SAME TO ME ♪ ♪ THE MOVIES AND THE FACTORIES ♪ 897 00:35:04,236 --> 00:35:06,314 TO ME ♪ ♪ THE MOVIES AND THE FACTORIES ♪ ♪ AND EVERY STRANGER'S FACE I 898 00:35:06,338 --> 00:35:08,349 ♪ THE MOVIES AND THE FACTORIES ♪ ♪ AND EVERY STRANGER'S FACE I SEE REMINDS ME THAT I LONG 899 00:35:08,373 --> 00:35:10,751 ♪ AND EVERY STRANGER'S FACE I SEE REMINDS ME THAT I LONG TO BE ♪ 900 00:35:10,775 --> 00:35:13,521 SEE REMINDS ME THAT I LONG TO BE ♪ ♪ HOMEWARD BOUND ♪ 901 00:35:13,545 --> 00:35:15,723 TO BE ♪ ♪ HOMEWARD BOUND ♪ ♪ I WISH I WAS ♪ 902 00:35:15,747 --> 00:35:19,260 ♪ HOMEWARD BOUND ♪ ♪ I WISH I WAS ♪ ♪ HOMEWARD BOUND ♪ 903 00:35:19,284 --> 00:35:21,262 ♪ I WISH I WAS ♪ ♪ HOMEWARD BOUND ♪ ♪ HOME, WHERE MY THOUGHT'S 904 00:35:21,286 --> 00:35:22,063 ♪ HOMEWARD BOUND ♪ ♪ HOME, WHERE MY THOUGHT'S ESCAPING ♪ 905 00:35:22,087 --> 00:35:23,798 ♪ HOME, WHERE MY THOUGHT'S ESCAPING ♪ ♪ HOME, WHERE MY MUSIC'S 906 00:35:23,822 --> 00:35:24,566 ESCAPING ♪ ♪ HOME, WHERE MY MUSIC'S PLAYING ♪ 907 00:35:24,590 --> 00:35:26,534 ♪ HOME, WHERE MY MUSIC'S PLAYING ♪ ♪ HOME, WHERE MY LOVE LIES 908 00:35:26,558 --> 00:35:33,141 PLAYING ♪ ♪ HOME, WHERE MY LOVE LIES WAITING SILENTLY FOR ME ♪ 909 00:35:33,165 --> 00:35:34,976 ♪ HOME, WHERE MY LOVE LIES WAITING SILENTLY FOR ME ♪ ♪ TONIGHT I'LL SING MY SONGS 910 00:35:35,000 --> 00:35:35,676 WAITING SILENTLY FOR ME ♪ ♪ TONIGHT I'LL SING MY SONGS AGAIN ♪ 911 00:35:35,700 --> 00:35:37,312 ♪ TONIGHT I'LL SING MY SONGS AGAIN ♪ ♪ I'LL PLAY THE GAME AND 912 00:35:37,336 --> 00:35:40,047 AGAIN ♪ ♪ I'LL PLAY THE GAME AND PRETEND ♪ 913 00:35:40,071 --> 00:35:43,017 ♪ I'LL PLAY THE GAME AND PRETEND ♪ ♪ MMM ♪ 914 00:35:43,041 --> 00:35:44,752 PRETEND ♪ ♪ MMM ♪ ♪ BUT ALL MY WORDS COME BACK 915 00:35:44,776 --> 00:35:45,386 ♪ MMM ♪ ♪ BUT ALL MY WORDS COME BACK TO ME ♪ 916 00:35:45,410 --> 00:35:47,722 ♪ BUT ALL MY WORDS COME BACK TO ME ♪ ♪ IN SHADES OF MEDIOCRITY ♪ 917 00:35:47,746 --> 00:35:50,258 TO ME ♪ ♪ IN SHADES OF MEDIOCRITY ♪ ♪ LIKE EMPTINESS IN HARMONY ♪ 918 00:35:50,282 --> 00:35:54,762 ♪ IN SHADES OF MEDIOCRITY ♪ ♪ LIKE EMPTINESS IN HARMONY ♪ ♪ I NEED SOMEONE TO COMFORT ME ♪ 919 00:35:54,786 --> 00:35:56,964 ♪ LIKE EMPTINESS IN HARMONY ♪ ♪ I NEED SOMEONE TO COMFORT ME ♪ ♪ HOMEWARD BOUND ♪ 920 00:35:56,988 --> 00:35:59,734 ♪ I NEED SOMEONE TO COMFORT ME ♪ ♪ HOMEWARD BOUND ♪ ♪ I WISH I WAS ♪ 921 00:35:59,758 --> 00:36:02,737 ♪ HOMEWARD BOUND ♪ ♪ I WISH I WAS ♪ ♪ HOMEWARD BOUND ♪ 922 00:36:02,761 --> 00:36:04,572 ♪ I WISH I WAS ♪ ♪ HOMEWARD BOUND ♪ ♪ HOME, WHERE MY THOUGHT'S 923 00:36:04,596 --> 00:36:05,440 ♪ HOMEWARD BOUND ♪ ♪ HOME, WHERE MY THOUGHT'S ESCAPING ♪ 924 00:36:05,464 --> 00:36:07,242 ♪ HOME, WHERE MY THOUGHT'S ESCAPING ♪ ♪ HOME, WHERE MY MUSIC'S 925 00:36:07,266 --> 00:36:07,975 ESCAPING ♪ ♪ HOME, WHERE MY MUSIC'S PLAYING ♪ 926 00:36:07,999 --> 00:36:09,810 ♪ HOME, WHERE MY MUSIC'S PLAYING ♪ ♪ HOME, WHERE MY LOVE LIES 927 00:36:09,834 --> 00:36:15,517 PLAYING ♪ ♪ HOME, WHERE MY LOVE LIES WAITING SILENTLY FOR ME ♪ 928 00:36:15,541 --> 00:36:20,109 ♪ HOME, WHERE MY LOVE LIES WAITING SILENTLY FOR ME ♪ ♪ SILENTLY FOR ME ♪ 929 00:36:28,286 --> 00:36:36,286 [CHEERS AND APPLAUSE] THANK YOU. THANK YOU. 930 00:36:47,339 --> 00:36:50,618 THANK YOU. THANK YOU. THANK YOU. 931 00:36:50,642 --> 00:36:52,053 THANK YOU. THANK YOU. GEORGE HAS BROUGHT TWO FILMS 932 00:36:52,077 --> 00:36:54,855 THANK YOU. GEORGE HAS BROUGHT TWO FILMS WITH HIM TONIGHT THAT ARE SONGS 933 00:36:54,879 --> 00:36:56,724 GEORGE HAS BROUGHT TWO FILMS WITH HIM TONIGHT THAT ARE SONGS FROM HIS NEW ALBUM. 934 00:36:56,748 --> 00:36:58,393 WITH HIM TONIGHT THAT ARE SONGS FROM HIS NEW ALBUM. THE FILM THAT WE'RE ABOUT TO SEE 935 00:36:58,417 --> 00:36:59,994 FROM HIS NEW ALBUM. THE FILM THAT WE'RE ABOUT TO SEE IS CALLED "CRACKERBOX PALACE," 936 00:37:00,018 --> 00:37:01,629 THE FILM THAT WE'RE ABOUT TO SEE IS CALLED "CRACKERBOX PALACE," AND IT WAS DIRECTED BY A MUTUAL 937 00:37:01,653 --> 00:37:02,664 IS CALLED "CRACKERBOX PALACE," AND IT WAS DIRECTED BY A MUTUAL FRIEND, ERIC IDLE. 938 00:37:02,688 --> 00:37:03,964 AND IT WAS DIRECTED BY A MUTUAL FRIEND, ERIC IDLE. [APPLAUSE] 939 00:37:03,988 --> 00:37:07,502 FRIEND, ERIC IDLE. [APPLAUSE] ALL RIGHT, VICAR. 940 00:37:07,526 --> 00:37:08,536 [APPLAUSE] ALL RIGHT, VICAR. FORMER HOST OF THE 941 00:37:08,560 --> 00:37:09,571 ALL RIGHT, VICAR. FORMER HOST OF THE "SATURDAY NIGHT" SHOW. 942 00:37:09,595 --> 00:37:10,971 FORMER HOST OF THE "SATURDAY NIGHT" SHOW. SO, I GUESS, IF YOU LOOK UP AT 943 00:37:10,995 --> 00:37:12,373 "SATURDAY NIGHT" SHOW. SO, I GUESS, IF YOU LOOK UP AT YOUR MONITORS, WE'LL BE ABLE TO 944 00:37:12,397 --> 00:37:17,412 SO, I GUESS, IF YOU LOOK UP AT YOUR MONITORS, WE'LL BE ABLE TO SEE GEORGE'S FILM. 945 00:37:17,436 --> 00:37:18,913 YOUR MONITORS, WE'LL BE ABLE TO SEE GEORGE'S FILM. [INTRO TO "CRACKERBOX PALACE" 946 00:37:18,937 --> 00:37:21,204 SEE GEORGE'S FILM. [INTRO TO "CRACKERBOX PALACE" PLAYS] 947 00:37:34,418 --> 00:37:42,303 ♪ I WAS SO YOUNG WHEN I WAS BORN ♪ ♪ MY EYES COULD NOT YET SEE ♪ 948 00:37:42,327 --> 00:37:44,905 BORN ♪ ♪ MY EYES COULD NOT YET SEE ♪ ♪ AND BY THE TIME OF MY FIRST 949 00:37:44,929 --> 00:37:46,374 ♪ MY EYES COULD NOT YET SEE ♪ ♪ AND BY THE TIME OF MY FIRST DAWN ♪ 950 00:37:46,398 --> 00:37:49,577 ♪ AND BY THE TIME OF MY FIRST DAWN ♪ ♪ SOMEBODY HOLDING ME ♪ 951 00:37:49,601 --> 00:37:52,313 DAWN ♪ ♪ SOMEBODY HOLDING ME ♪ ♪ THEY SAID, "I WELCOME YOU TO 952 00:37:52,337 --> 00:37:54,682 ♪ SOMEBODY HOLDING ME ♪ ♪ THEY SAID, "I WELCOME YOU TO CRACKERBOX PALACE ♪ 953 00:37:54,706 --> 00:37:58,653 ♪ THEY SAID, "I WELCOME YOU TO CRACKERBOX PALACE ♪ ♪ WE'VE BEEN EXPECTING YOU ♪ 954 00:37:58,677 --> 00:38:00,455 CRACKERBOX PALACE ♪ ♪ WE'VE BEEN EXPECTING YOU ♪ ♪ YOU BRING SUCH JOY IN 955 00:38:00,479 --> 00:38:02,624 ♪ WE'VE BEEN EXPECTING YOU ♪ ♪ YOU BRING SUCH JOY IN CRACKERBOX PALACE ♪ 956 00:38:02,648 --> 00:38:05,393 ♪ YOU BRING SUCH JOY IN CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW 957 00:38:05,417 --> 00:38:08,217 CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW OUR LOVE IS TRUE" ♪ 958 00:38:15,326 --> 00:38:23,326 ♪ WHILE GROWING UP OR TRYING TO ♪ ♪ NOT KNOWING WHERE TO START ♪ 959 00:38:23,468 --> 00:38:26,013 OR TRYING TO ♪ ♪ NOT KNOWING WHERE TO START ♪ ♪ I LOOKED AROUND FOR SOMEONE 960 00:38:26,037 --> 00:38:30,217 ♪ NOT KNOWING WHERE TO START ♪ ♪ I LOOKED AROUND FOR SOMEONE WHO MAY HELP REVEAL MY HEART ♪ 961 00:38:30,241 --> 00:38:32,052 ♪ I LOOKED AROUND FOR SOMEONE WHO MAY HELP REVEAL MY HEART ♪ ♪ SOMEONE SAID, "WHILE YOU'RE A 962 00:38:32,076 --> 00:38:35,623 WHO MAY HELP REVEAL MY HEART ♪ ♪ SOMEONE SAID, "WHILE YOU'RE A PART OF CRACKERBOX PALACE ♪ 963 00:38:35,647 --> 00:38:39,627 ♪ SOMEONE SAID, "WHILE YOU'RE A PART OF CRACKERBOX PALACE ♪ ♪ DO WHAT THE REST ALL DO ♪ 964 00:38:39,651 --> 00:38:41,562 PART OF CRACKERBOX PALACE ♪ ♪ DO WHAT THE REST ALL DO ♪ ♪ OR FACE THE FACT THAT 965 00:38:41,586 --> 00:38:43,364 ♪ DO WHAT THE REST ALL DO ♪ ♪ OR FACE THE FACT THAT CRACKERBOX PALACE ♪ 966 00:38:43,388 --> 00:38:46,301 ♪ OR FACE THE FACT THAT CRACKERBOX PALACE ♪ ♪ MAY HAVE NO OTHER CHOICE THAN 967 00:38:46,325 --> 00:38:48,965 CRACKERBOX PALACE ♪ ♪ MAY HAVE NO OTHER CHOICE THAN TO DEPORT YOU" ♪ 968 00:39:11,315 --> 00:39:19,315 ♪ "AND WE WELCOME YOU TO CRACKERBOX PALACE ♪ ♪ WE'VE BEEN EXPECTING YOU ♪ 969 00:39:20,425 --> 00:39:22,303 CRACKERBOX PALACE ♪ ♪ WE'VE BEEN EXPECTING YOU ♪ ♪ YOU BRING SUCH JOY IN 970 00:39:22,327 --> 00:39:24,271 ♪ WE'VE BEEN EXPECTING YOU ♪ ♪ YOU BRING SUCH JOY IN CRACKERBOX PALACE ♪ 971 00:39:24,295 --> 00:39:27,241 ♪ YOU BRING SUCH JOY IN CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW 972 00:39:27,265 --> 00:39:34,615 CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW OUR LOVE IS TRUE" ♪ 973 00:39:34,639 --> 00:39:37,639 ♪ NO MATTER WHERE YOU ROAM, KNOW OUR LOVE IS TRUE" ♪ ♪ IT'S TRUE, IT'S TRUE ♪ 974 00:39:44,882 --> 00:39:52,882 ♪ SOME TIMES ARE GOOD ♪ ♪ SOME TIMES ARE BAD ♪ ♪ THAT'S ALL A PART OF LIFE ♪ 975 00:39:53,157 --> 00:39:55,436 ♪ SOME TIMES ARE BAD ♪ ♪ THAT'S ALL A PART OF LIFE ♪ ♪ AND STANDING IN BETWEEN THEM 976 00:39:55,460 --> 00:39:59,807 ♪ THAT'S ALL A PART OF LIFE ♪ ♪ AND STANDING IN BETWEEN THEM ALL I MET A MR. GRIEF ♪ 977 00:39:59,831 --> 00:40:02,710 ♪ AND STANDING IN BETWEEN THEM ALL I MET A MR. GRIEF ♪ ♪ AND HE SAID, "I WELCOME YOU TO 978 00:40:02,734 --> 00:40:04,912 ALL I MET A MR. GRIEF ♪ ♪ AND HE SAID, "I WELCOME YOU TO CRACKERBOX PALACE ♪ 979 00:40:04,936 --> 00:40:09,183 ♪ AND HE SAID, "I WELCOME YOU TO CRACKERBOX PALACE ♪ ♪ WAS NOT EXPECTING YOU ♪ 980 00:40:09,207 --> 00:40:10,985 CRACKERBOX PALACE ♪ ♪ WAS NOT EXPECTING YOU ♪ ♪ LET'S RAP AND TAP AT 981 00:40:11,009 --> 00:40:12,754 ♪ WAS NOT EXPECTING YOU ♪ ♪ LET'S RAP AND TAP AT CRACKERBOX PALACE ♪ 982 00:40:12,778 --> 00:40:15,823 ♪ LET'S RAP AND TAP AT CRACKERBOX PALACE ♪ ♪ KNOW THAT THE LORD IS WELL AND 983 00:40:15,847 --> 00:40:23,847 CRACKERBOX PALACE ♪ ♪ KNOW THAT THE LORD IS WELL AND INSIDE OF YOU" ♪ 984 00:40:24,589 --> 00:40:27,201 ♪ KNOW THAT THE LORD IS WELL AND INSIDE OF YOU" ♪ ♪ "AND WE WELCOME YOU TO 985 00:40:27,225 --> 00:40:29,370 INSIDE OF YOU" ♪ ♪ "AND WE WELCOME YOU TO CRACKERBOX PALACE ♪ 986 00:40:29,394 --> 00:40:33,508 ♪ "AND WE WELCOME YOU TO CRACKERBOX PALACE ♪ ♪ WE'VE BEEN EXPECTING YOU ♪ 987 00:40:33,532 --> 00:40:35,276 CRACKERBOX PALACE ♪ ♪ WE'VE BEEN EXPECTING YOU ♪ ♪ YOU BRING SUCH JOY IN 988 00:40:35,300 --> 00:40:37,211 ♪ WE'VE BEEN EXPECTING YOU ♪ ♪ YOU BRING SUCH JOY IN CRACKERBOX PALACE ♪ 989 00:40:37,235 --> 00:40:39,747 ♪ YOU BRING SUCH JOY IN CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW 990 00:40:39,771 --> 00:40:42,906 CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW OUR LOVE IS TRUE" ♪ 991 00:40:49,847 --> 00:40:55,996 ♪ "YOU BRING SUCH JOY IN CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW 992 00:40:56,020 --> 00:40:59,700 CRACKERBOX PALACE ♪ ♪ NO MATTER WHERE YOU ROAM, KNOW OUR LOVE ♪ 993 00:40:59,724 --> 00:41:04,160 ♪ NO MATTER WHERE YOU ROAM, KNOW OUR LOVE ♪ ♪ KNOW OUR LOVE IS TRUE" ♪ 994 00:41:15,105 --> 00:41:16,773 [APPLAUSE] 995 00:41:34,492 --> 00:41:38,506 NOT MUCH IS KNOWN ABOUT BILLY. SOME SAID HE SPENT HIS CHILDHOOD 996 00:41:38,530 --> 00:41:39,807 BILLY. SOME SAID HE SPENT HIS CHILDHOOD IN THE CANADIAN ROCKIES. 997 00:41:39,831 --> 00:41:41,476 SOME SAID HE SPENT HIS CHILDHOOD IN THE CANADIAN ROCKIES. OTHERS SAID HE SPENT HIS EARLY 998 00:41:41,500 --> 00:41:43,010 IN THE CANADIAN ROCKIES. OTHERS SAID HE SPENT HIS EARLY YEARS IN THE BAYOU COUNTRY. 999 00:41:43,034 --> 00:41:44,846 OTHERS SAID HE SPENT HIS EARLY YEARS IN THE BAYOU COUNTRY. NOBODY KNOWS FOR SURE. 1000 00:41:44,870 --> 00:41:45,847 YEARS IN THE BAYOU COUNTRY. NOBODY KNOWS FOR SURE. I BELIEVE HE GREW UP IN 1001 00:41:45,871 --> 00:41:47,915 NOBODY KNOWS FOR SURE. I BELIEVE HE GREW UP IN NEW YORK, IN QUEENS. 1002 00:41:47,939 --> 00:41:50,050 I BELIEVE HE GREW UP IN NEW YORK, IN QUEENS. AT 137-62 70th ROAD, 1003 00:41:50,074 --> 00:41:52,720 NEW YORK, IN QUEENS. AT 137-62 70th ROAD, NEAR MAIN STREET AND JEWEL 1004 00:41:52,744 --> 00:41:53,754 AT 137-62 70th ROAD, NEAR MAIN STREET AND JEWEL AVENUE. 1005 00:41:53,778 --> 00:41:55,122 NEAR MAIN STREET AND JEWEL AVENUE. YOU TAKE THE "D" TRAIN TO 1006 00:41:55,146 --> 00:41:56,624 AVENUE. YOU TAKE THE "D" TRAIN TO CONTINENTAL AVENUE, THEN YOU 1007 00:41:56,648 --> 00:41:58,025 YOU TAKE THE "D" TRAIN TO CONTINENTAL AVENUE, THEN YOU TAKE THE Q-14 BUSY TO MAIN 1008 00:41:58,049 --> 00:41:58,559 CONTINENTAL AVENUE, THEN YOU TAKE THE Q-14 BUSY TO MAIN STREET. 1009 00:41:58,583 --> 00:42:00,160 TAKE THE Q-14 BUSY TO MAIN STREET. NOT MUCH ELSE WAS KNOWN ABOUT 1010 00:42:00,184 --> 00:42:00,561 STREET. NOT MUCH ELSE WAS KNOWN ABOUT HIM. 1011 00:42:00,585 --> 00:42:02,262 NOT MUCH ELSE WAS KNOWN ABOUT HIM. HE JUST RODE INTO TOWN ONE DAY, 1012 00:42:02,286 --> 00:42:03,263 HIM. HE JUST RODE INTO TOWN ONE DAY, AND SAID... 1013 00:42:03,287 --> 00:42:04,832 HE JUST RODE INTO TOWN ONE DAY, AND SAID... I'M HERE TO HELP INDIANS, 1014 00:42:04,856 --> 00:42:06,567 AND SAID... I'M HERE TO HELP INDIANS, WILD HORSES, AND RUNAWAY KIDS OF 1015 00:42:06,591 --> 00:42:08,469 I'M HERE TO HELP INDIANS, WILD HORSES, AND RUNAWAY KIDS OF ALL RACES AND RELIGIONS. 1016 00:42:08,493 --> 00:42:13,073 WILD HORSES, AND RUNAWAY KIDS OF ALL RACES AND RELIGIONS. GOT ANY HERE? 1017 00:42:13,097 --> 00:42:16,310 ALL RACES AND RELIGIONS. GOT ANY HERE? THEY CALLED HIM A RENEGADE. 1018 00:42:16,334 --> 00:42:18,479 GOT ANY HERE? THEY CALLED HIM A RENEGADE. A RENEGADE? 1019 00:42:18,503 --> 00:42:23,250 THEY CALLED HIM A RENEGADE. A RENEGADE? YEAH. I AM A RENEGADE. 1020 00:42:23,274 --> 00:42:24,619 A RENEGADE? YEAH. I AM A RENEGADE. THERE WERE CERTAIN THINGS 1021 00:42:24,643 --> 00:42:25,887 YEAH. I AM A RENEGADE. THERE WERE CERTAIN THINGS THAT WERE KNOWN FOR SURE. 1022 00:42:25,911 --> 00:42:27,822 THERE WERE CERTAIN THINGS THAT WERE KNOWN FOR SURE. HE WAS A VIETNAM VET AND A BLACK 1023 00:42:27,846 --> 00:42:29,056 THAT WERE KNOWN FOR SURE. HE WAS A VIETNAM VET AND A BLACK BELT IN KARATE. 1024 00:42:29,080 --> 00:42:34,862 HE WAS A VIETNAM VET AND A BLACK BELT IN KARATE. THAT'S RIGHT. I AM. 1025 00:42:34,886 --> 00:42:35,997 BELT IN KARATE. THAT'S RIGHT. I AM. THEY SAID HE WAS A 1026 00:42:36,021 --> 00:42:36,697 THAT'S RIGHT. I AM. THEY SAID HE WAS A HALF-BREED. 1027 00:42:36,721 --> 00:42:39,033 THEY SAID HE WAS A HALF-BREED. THAT'S RIGHT. I WAS. 1028 00:42:39,057 --> 00:42:41,402 HALF-BREED. THAT'S RIGHT. I WAS. [LAUGHTER] 1029 00:42:41,426 --> 00:42:42,537 THAT'S RIGHT. I WAS. [LAUGHTER] HE LIVED ON THE INDIAN 1030 00:42:42,561 --> 00:42:43,838 [LAUGHTER] HE LIVED ON THE INDIAN RESERVATION WITH AN OLD INDIAN 1031 00:42:43,862 --> 00:42:45,172 HE LIVED ON THE INDIAN RESERVATION WITH AN OLD INDIAN MEDICINE MAN WHO TAUGHT HIM THE 1032 00:42:45,196 --> 00:42:48,375 RESERVATION WITH AN OLD INDIAN MEDICINE MAN WHO TAUGHT HIM THE SECRETS OF THE WORLD OF SNAKES. 1033 00:42:48,399 --> 00:42:49,343 MEDICINE MAN WHO TAUGHT HIM THE SECRETS OF THE WORLD OF SNAKES. I DO SPEND MOST OF 1034 00:42:49,367 --> 00:42:50,845 SECRETS OF THE WORLD OF SNAKES. I DO SPEND MOST OF MY TIME ON THE RESERVATION, 1035 00:42:50,869 --> 00:42:52,613 I DO SPEND MOST OF MY TIME ON THE RESERVATION, ALTHOUGH SOMETIMES I STAY AT THE 1036 00:42:52,637 --> 00:42:54,381 MY TIME ON THE RESERVATION, ALTHOUGH SOMETIMES I STAY AT THE HOWARD JOHNSON... FREE COFFEE IN 1037 00:42:54,405 --> 00:42:58,285 ALTHOUGH SOMETIMES I STAY AT THE HOWARD JOHNSON... FREE COFFEE IN YOUR ROOM, WITH THE CREMORA. 1038 00:42:58,309 --> 00:42:59,620 HOWARD JOHNSON... FREE COFFEE IN YOUR ROOM, WITH THE CREMORA. BUT ONE THING EVERYONE 1039 00:42:59,644 --> 00:43:01,221 YOUR ROOM, WITH THE CREMORA. BUT ONE THING EVERYONE KNEW... HE WAS THE DEADLIEST MAN 1040 00:43:01,245 --> 00:43:02,690 BUT ONE THING EVERYONE KNEW... HE WAS THE DEADLIEST MAN WITH HIS HANDS AND FEET THAT 1041 00:43:02,714 --> 00:43:05,927 KNEW... HE WAS THE DEADLIEST MAN WITH HIS HANDS AND FEET THAT THESE PARTS HAD EVER KNOWN. 1042 00:43:05,951 --> 00:43:09,630 WITH HIS HANDS AND FEET THAT THESE PARTS HAD EVER KNOWN. I AM PRETTY DEADLY. 1043 00:43:09,654 --> 00:43:11,699 THESE PARTS HAD EVER KNOWN. I AM PRETTY DEADLY. HIS NAME WAS BILLY PAUL. 1044 00:43:11,723 --> 00:43:13,034 I AM PRETTY DEADLY. HIS NAME WAS BILLY PAUL. NOT THE BILLY PAUL THAT RECORDED 1045 00:43:13,058 --> 00:43:14,001 HIS NAME WAS BILLY PAUL. NOT THE BILLY PAUL THAT RECORDED "ME AND MRS. JONES." 1046 00:43:14,025 --> 00:43:15,102 NOT THE BILLY PAUL THAT RECORDED "ME AND MRS. JONES." A LOT OF PEOPLE GET THEM 1047 00:43:15,126 --> 00:43:16,403 "ME AND MRS. JONES." A LOT OF PEOPLE GET THEM CONFUSED. 1048 00:43:16,427 --> 00:43:18,305 A LOT OF PEOPLE GET THEM CONFUSED. HE WAS ANOTHER BILLY PAUL. 1049 00:43:18,329 --> 00:43:20,610 CONFUSED. HE WAS ANOTHER BILLY PAUL. AND THIS IS HIS STORY. 1050 00:43:33,210 --> 00:43:39,493 FRENCH VANILLA? SURE. THERE YOU GO. THANK YOU. 1051 00:43:39,517 --> 00:43:41,195 SURE. THERE YOU GO. THANK YOU. HI, I'LL HAVE A DOUBLE 1052 00:43:41,219 --> 00:43:42,997 THANK YOU. HI, I'LL HAVE A DOUBLE SCOOP OF OREGON BLACKBERRY. 1053 00:43:43,021 --> 00:43:45,099 HI, I'LL HAVE A DOUBLE SCOOP OF OREGON BLACKBERRY. OKAY. 1054 00:43:45,123 --> 00:43:46,567 SCOOP OF OREGON BLACKBERRY. OKAY. I'LL HAVE A JAMOCHA ALMOND 1055 00:43:46,591 --> 00:43:47,234 OKAY. I'LL HAVE A JAMOCHA ALMOND FUDGE. 1056 00:43:47,258 --> 00:43:50,170 I'LL HAVE A JAMOCHA ALMOND FUDGE. WE DON'T HAVE ANY CONES LEFT. 1057 00:43:50,194 --> 00:43:51,806 FUDGE. WE DON'T HAVE ANY CONES LEFT. WELL, WHAT ARE THOSE? 1058 00:43:51,830 --> 00:43:52,907 WE DON'T HAVE ANY CONES LEFT. WELL, WHAT ARE THOSE? THEY'RE NOT FOR YOU, 1059 00:43:52,931 --> 00:43:53,908 WELL, WHAT ARE THOSE? THEY'RE NOT FOR YOU, FEATHERHEAD. 1060 00:43:53,932 --> 00:43:56,376 THEY'RE NOT FOR YOU, FEATHERHEAD. YOU ARE SO LOW! 1061 00:43:56,400 --> 00:43:57,812 FEATHERHEAD. YOU ARE SO LOW! OKAY, OKAY. 1062 00:43:57,836 --> 00:43:59,947 YOU ARE SO LOW! OKAY, OKAY. LET'S JUST NOT GET HEAVY HERE. 1063 00:43:59,971 --> 00:44:01,983 OKAY, OKAY. LET'S JUST NOT GET HEAVY HERE. NOW, LET'S JUST REMEMBER WHAT WE 1064 00:44:02,007 --> 00:44:03,618 LET'S JUST NOT GET HEAVY HERE. NOW, LET'S JUST REMEMBER WHAT WE TEACH AT THE SCHOOL, MAN. 1065 00:44:03,642 --> 00:44:05,486 NOW, LET'S JUST REMEMBER WHAT WE TEACH AT THE SCHOOL, MAN. LIKE, THIS GUY IS PUTTING OUT 1066 00:44:05,510 --> 00:44:07,254 TEACH AT THE SCHOOL, MAN. LIKE, THIS GUY IS PUTTING OUT HOSTILE VIBES TO YOU, OKAY? 1067 00:44:07,278 --> 00:44:09,090 LIKE, THIS GUY IS PUTTING OUT HOSTILE VIBES TO YOU, OKAY? BUT, LIKE, IF YOU LET THOSE 1068 00:44:09,114 --> 00:44:11,225 HOSTILE VIBES TO YOU, OKAY? BUT, LIKE, IF YOU LET THOSE HOSTILE VIBES, LIKE, GET TO YOU, 1069 00:44:11,249 --> 00:44:12,026 BUT, LIKE, IF YOU LET THOSE HOSTILE VIBES, LIKE, GET TO YOU, YOU KNOW? 1070 00:44:12,050 --> 00:44:13,961 HOSTILE VIBES, LIKE, GET TO YOU, YOU KNOW? LIKE, THEN, YOU GET AGGRESSIVE, 1071 00:44:13,985 --> 00:44:15,930 YOU KNOW? LIKE, THEN, YOU GET AGGRESSIVE, AND YOU'RE NO BETTER THAN HE IS, 1072 00:44:15,954 --> 00:44:16,396 LIKE, THEN, YOU GET AGGRESSIVE, AND YOU'RE NO BETTER THAN HE IS, MAN. 1073 00:44:16,420 --> 00:44:18,065 AND YOU'RE NO BETTER THAN HE IS, MAN. LIKE, WHAT YOU HAVE TO DO IS, 1074 00:44:18,089 --> 00:44:19,834 MAN. LIKE, WHAT YOU HAVE TO DO IS, LIKE, REACH REALLY, REALLY DEEP 1075 00:44:19,858 --> 00:44:21,669 LIKE, WHAT YOU HAVE TO DO IS, LIKE, REACH REALLY, REALLY DEEP INSIDE YOURSELF, MAN, AND, LIKE, 1076 00:44:21,693 --> 00:44:23,170 LIKE, REACH REALLY, REALLY DEEP INSIDE YOURSELF, MAN, AND, LIKE, PULL OUT ALL THE SUNSHINE AND 1077 00:44:23,194 --> 00:44:24,739 INSIDE YOURSELF, MAN, AND, LIKE, PULL OUT ALL THE SUNSHINE AND LIGHT THAT I KNOW THAT'S INSIDE 1078 00:44:24,763 --> 00:44:25,139 PULL OUT ALL THE SUNSHINE AND LIGHT THAT I KNOW THAT'S INSIDE YOU. 1079 00:44:25,163 --> 00:44:26,841 LIGHT THAT I KNOW THAT'S INSIDE YOU. LIKE, I KNOW THAT'S IN THERE. 1080 00:44:26,865 --> 00:44:28,109 YOU. LIKE, I KNOW THAT'S IN THERE. YOU'RE SO BEAUTIFUL. 1081 00:44:28,133 --> 00:44:29,977 LIKE, I KNOW THAT'S IN THERE. YOU'RE SO BEAUTIFUL. AND, LIKE, GIVE THAT POSITIVE 1082 00:44:30,001 --> 00:44:31,612 YOU'RE SO BEAUTIFUL. AND, LIKE, GIVE THAT POSITIVE ENERGY TO HIM, AND IT'LL 1083 00:44:31,636 --> 00:44:33,147 AND, LIKE, GIVE THAT POSITIVE ENERGY TO HIM, AND IT'LL OVERCOME HIS BAD KARMA. 1084 00:44:33,171 --> 00:44:35,415 ENERGY TO HIM, AND IT'LL OVERCOME HIS BAD KARMA. GIVE ME A BREAK! 1085 00:44:35,439 --> 00:44:37,018 OVERCOME HIS BAD KARMA. GIVE ME A BREAK! OH, LOOK, DON'T LISTEN 1086 00:44:37,042 --> 00:44:37,652 GIVE ME A BREAK! OH, LOOK, DON'T LISTEN TO HIM. 1087 00:44:37,676 --> 00:44:39,553 OH, LOOK, DON'T LISTEN TO HIM. JUST THINK OF EVERYTHING THAT'S 1088 00:44:39,577 --> 00:44:41,455 TO HIM. JUST THINK OF EVERYTHING THAT'S GOOD WITHIN YOU, AND GIVE IT TO 1089 00:44:41,479 --> 00:44:41,922 JUST THINK OF EVERYTHING THAT'S GOOD WITHIN YOU, AND GIVE IT TO HIM. 1090 00:44:41,946 --> 00:44:43,824 GOOD WITHIN YOU, AND GIVE IT TO HIM. LIKE, THINK CREATIVELY, EXPRESS 1091 00:44:43,848 --> 00:44:45,660 HIM. LIKE, THINK CREATIVELY, EXPRESS YOURSELF, DO ANYTHING, MAN. 1092 00:44:45,684 --> 00:44:46,593 LIKE, THINK CREATIVELY, EXPRESS YOURSELF, DO ANYTHING, MAN. OH, I KNOW. 1093 00:44:46,617 --> 00:44:47,895 YOURSELF, DO ANYTHING, MAN. OH, I KNOW. I'LL SING HIM A SONG. 1094 00:44:47,919 --> 00:44:48,829 OH, I KNOW. I'LL SING HIM A SONG. BEAUTIFUL! 1095 00:44:48,853 --> 00:44:53,000 I'LL SING HIM A SONG. BEAUTIFUL! THAT'S A BEAUTIFUL IDEA. 1096 00:44:53,024 --> 00:44:55,402 BEAUTIFUL! THAT'S A BEAUTIFUL IDEA. HIT IT. 1097 00:44:55,426 --> 00:44:56,470 THAT'S A BEAUTIFUL IDEA. HIT IT. [Off-key] ♪ YOU'RE NOT A 1098 00:44:56,494 --> 00:44:57,571 HIT IT. [Off-key] ♪ YOU'RE NOT A DREAM ♪ 1099 00:44:57,595 --> 00:44:59,439 [Off-key] ♪ YOU'RE NOT A DREAM ♪ ♪ YOU'RE NOT AN ANGEL ♪ 1100 00:44:59,463 --> 00:45:02,576 DREAM ♪ ♪ YOU'RE NOT AN ANGEL ♪ ♪ YOU'RE A MAN ♪ 1101 00:45:02,600 --> 00:45:04,545 ♪ YOU'RE NOT AN ANGEL ♪ ♪ YOU'RE A MAN ♪ ♪ I'M NOT A QUEEN ♪ 1102 00:45:04,569 --> 00:45:06,113 ♪ YOU'RE A MAN ♪ ♪ I'M NOT A QUEEN ♪ ♪ I'M A WOMAN ♪ 1103 00:45:06,137 --> 00:45:09,416 ♪ I'M NOT A QUEEN ♪ ♪ I'M A WOMAN ♪ ♪ TAKE MY HAND ♪ 1104 00:45:09,440 --> 00:45:12,853 ♪ I'M A WOMAN ♪ ♪ TAKE MY HAND ♪ ♪ MAKE A SPACE IN THE LIVES THAT 1105 00:45:12,877 --> 00:45:15,723 ♪ TAKE MY HAND ♪ ♪ MAKE A SPACE IN THE LIVES THAT WE PLAN ♪ 1106 00:45:15,747 --> 00:45:17,391 ♪ MAKE A SPACE IN THE LIVES THAT WE PLAN ♪ ♪ AND HERE WE'LL STAY ♪ 1107 00:45:17,415 --> 00:45:19,660 WE PLAN ♪ ♪ AND HERE WE'LL STAY ♪ ♪ UNTIL IT'S TIME FOR YOU TO 1108 00:45:19,684 --> 00:45:22,096 ♪ AND HERE WE'LL STAY ♪ ♪ UNTIL IT'S TIME FOR YOU TO GO-O-O-O-O ♪ 1109 00:45:22,120 --> 00:45:23,363 ♪ UNTIL IT'S TIME FOR YOU TO GO-O-O-O-O ♪ THAT'S REALLY BEAUTIFUL, 1110 00:45:23,387 --> 00:45:23,798 GO-O-O-O-O ♪ THAT'S REALLY BEAUTIFUL, HONEY. 1111 00:45:23,822 --> 00:45:24,965 THAT'S REALLY BEAUTIFUL, HONEY. THAT'S REALLY BEAUTIFUL. 1112 00:45:24,989 --> 00:45:25,866 HONEY. THAT'S REALLY BEAUTIFUL. THANK YOU. 1113 00:45:25,890 --> 00:45:27,902 THAT'S REALLY BEAUTIFUL. THANK YOU. CAN I HAVE THAT CONE NOW? 1114 00:45:27,926 --> 00:45:29,686 THANK YOU. CAN I HAVE THAT CONE NOW? NO! 1115 00:45:37,134 --> 00:45:42,482 WHAT SEEMS TO BE THE TROUBLE, LUKE? OH, HI, BERNARD. 1116 00:45:42,506 --> 00:45:45,285 LUKE? OH, HI, BERNARD. THIS IS MY STORE, ISN'T IT? 1117 00:45:45,309 --> 00:45:46,721 OH, HI, BERNARD. THIS IS MY STORE, ISN'T IT? IT SURE IS. 1118 00:45:46,745 --> 00:45:48,789 THIS IS MY STORE, ISN'T IT? IT SURE IS. WELL, THAT MEANS THAT I DON'T 1119 00:45:48,813 --> 00:45:50,691 IT SURE IS. WELL, THAT MEANS THAT I DON'T HAVE TO SERVE ANYBODY I DON'T 1120 00:45:50,715 --> 00:45:52,492 WELL, THAT MEANS THAT I DON'T HAVE TO SERVE ANYBODY I DON'T WANT TO, RIGHT? 1121 00:45:52,516 --> 00:45:53,828 HAVE TO SERVE ANYBODY I DON'T WANT TO, RIGHT? THAT'S RIGHT. 1122 00:45:53,852 --> 00:45:56,563 WANT TO, RIGHT? THAT'S RIGHT. WELL, I WANT TO SERVE WHITES. 1123 00:45:56,587 --> 00:45:58,665 THAT'S RIGHT. WELL, I WANT TO SERVE WHITES. HEY, LUKE, WHERE'S THE FLOUR 1124 00:45:58,689 --> 00:46:00,701 WELL, I WANT TO SERVE WHITES. HEY, LUKE, WHERE'S THE FLOUR YOU KEEP AROUND TO DEGRADE ALL 1125 00:46:00,725 --> 00:46:02,937 HEY, LUKE, WHERE'S THE FLOUR YOU KEEP AROUND TO DEGRADE ALL MEMBERS OF THE NON-WHITE RACE? 1126 00:46:02,961 --> 00:46:04,404 YOU KEEP AROUND TO DEGRADE ALL MEMBERS OF THE NON-WHITE RACE? OVER THERE IN THE CORNER. 1127 00:46:04,428 --> 00:46:06,406 MEMBERS OF THE NON-WHITE RACE? OVER THERE IN THE CORNER. OH, YEAH. YEAH. 1128 00:46:06,430 --> 00:46:11,946 OVER THERE IN THE CORNER. OH, YEAH. YEAH. [CHUCKLING] 1129 00:46:11,970 --> 00:46:15,716 OH, YEAH. YEAH. [CHUCKLING] THERE. 1130 00:46:15,740 --> 00:46:18,919 [CHUCKLING] THERE. LOOK AT THAT LITTLE INDIAN BOY. 1131 00:46:18,943 --> 00:46:20,520 THERE. LOOK AT THAT LITTLE INDIAN BOY. UHH! 1132 00:46:20,544 --> 00:46:21,989 LOOK AT THAT LITTLE INDIAN BOY. UHH! AND LOOK AT THAT LITTLE 1133 00:46:22,013 --> 00:46:24,191 UHH! AND LOOK AT THAT LITTLE INDIAN GIRL. 1134 00:46:24,215 --> 00:46:24,825 AND LOOK AT THAT LITTLE INDIAN GIRL. THERE YOU GO. 1135 00:46:24,849 --> 00:46:25,793 INDIAN GIRL. THERE YOU GO. NOW YOU CAN SERVE THEM. 1136 00:46:25,817 --> 00:46:27,762 THERE YOU GO. NOW YOU CAN SERVE THEM. THEY'RE ALL WHITE, LUKE! 1137 00:46:27,786 --> 00:46:29,596 NOW YOU CAN SERVE THEM. THEY'RE ALL WHITE, LUKE! YOU WOULDN'T DO THIS IF 1138 00:46:29,620 --> 00:46:30,865 THEY'RE ALL WHITE, LUKE! YOU WOULDN'T DO THIS IF BILLY PAUL WAS HERE! 1139 00:46:30,889 --> 00:46:32,066 YOU WOULDN'T DO THIS IF BILLY PAUL WAS HERE! [Mockingly] "YOU WOULDN'T 1140 00:46:32,090 --> 00:46:33,167 BILLY PAUL WAS HERE! [Mockingly] "YOU WOULDN'T DO THIS IF BILLY PAUL WERE 1141 00:46:33,191 --> 00:46:33,533 [Mockingly] "YOU WOULDN'T DO THIS IF BILLY PAUL WERE HERE!" 1142 00:46:33,557 --> 00:46:35,636 DO THIS IF BILLY PAUL WERE HERE!" WELL, WHERE'S BILLY PAUL NOW, 1143 00:46:35,660 --> 00:46:36,170 HERE!" WELL, WHERE'S BILLY PAUL NOW, HUH? 1144 00:46:36,194 --> 00:46:37,504 WELL, WHERE'S BILLY PAUL NOW, HUH? HE'S UNDERGOING A SACRED 1145 00:46:37,528 --> 00:46:38,739 HUH? HE'S UNDERGOING A SACRED INDIAN RITUAL IN WHICH HE 1146 00:46:38,763 --> 00:46:39,974 HE'S UNDERGOING A SACRED INDIAN RITUAL IN WHICH HE GETS BITTEN ON THE ANKLES 1147 00:46:39,998 --> 00:46:41,108 INDIAN RITUAL IN WHICH HE GETS BITTEN ON THE ANKLES REPEATEDLY BY POISONOUS 1148 00:46:41,132 --> 00:46:42,643 GETS BITTEN ON THE ANKLES REPEATEDLY BY POISONOUS RATTLESNAKES, AND THEN HE HAS TO 1149 00:46:42,667 --> 00:46:44,078 REPEATEDLY BY POISONOUS RATTLESNAKES, AND THEN HE HAS TO DANCE, AND THEN HE GETS BITTEN 1150 00:46:44,102 --> 00:46:45,445 RATTLESNAKES, AND THEN HE HAS TO DANCE, AND THEN HE GETS BITTEN REPEATEDLY SOME MORE BY SOME 1151 00:46:45,469 --> 00:46:46,881 DANCE, AND THEN HE GETS BITTEN REPEATEDLY SOME MORE BY SOME MORE RATTLESNAKES, THEN HE HAS 1152 00:46:46,905 --> 00:46:48,415 REPEATEDLY SOME MORE BY SOME MORE RATTLESNAKES, THEN HE HAS TO DANCE SOME MORE. 1153 00:46:48,439 --> 00:46:49,250 MORE RATTLESNAKES, THEN HE HAS TO DANCE SOME MORE. [COUGHS] 1154 00:46:49,274 --> 00:46:50,350 TO DANCE SOME MORE. [COUGHS] WHAT'S THE POINT OF 1155 00:46:50,374 --> 00:46:51,085 [COUGHS] WHAT'S THE POINT OF THE CEREMONY? 1156 00:46:51,109 --> 00:46:52,286 WHAT'S THE POINT OF THE CEREMONY? SO THE GREAT SPIRIT CAN SEE 1157 00:46:52,310 --> 00:46:53,720 THE CEREMONY? SO THE GREAT SPIRIT CAN SEE HOW GOOD A DANCER HE IS. 1158 00:46:53,744 --> 00:46:56,924 SO THE GREAT SPIRIT CAN SEE HOW GOOD A DANCER HE IS. [SCOFFS] 1159 00:46:56,948 --> 00:47:04,948 HOW GOOD A DANCER HE IS. [SCOFFS] [LAUGHTER] 1160 00:47:05,489 --> 00:47:07,067 [SCOFFS] [LAUGHTER] I'M HERE TO HELP INDIANS AND 1161 00:47:07,091 --> 00:47:08,669 [LAUGHTER] I'M HERE TO HELP INDIANS AND WILD HORSES AND RUNAWAY KIDS OF 1162 00:47:08,693 --> 00:47:10,637 I'M HERE TO HELP INDIANS AND WILD HORSES AND RUNAWAY KIDS OF ALL RACES AND RELIGIONS. 1163 00:47:10,661 --> 00:47:11,806 WILD HORSES AND RUNAWAY KIDS OF ALL RACES AND RELIGIONS. DON'T YOU TOUCH ME, 1164 00:47:11,830 --> 00:47:12,472 ALL RACES AND RELIGIONS. DON'T YOU TOUCH ME, BILLY PAUL! 1165 00:47:12,496 --> 00:47:13,941 DON'T YOU TOUCH ME, BILLY PAUL! I'LL CALL MY FATHER! 1166 00:47:13,965 --> 00:47:16,010 BILLY PAUL! I'LL CALL MY FATHER! IF YOU TOUCH ME, YOU'RE A DEAD 1167 00:47:16,034 --> 00:47:17,611 I'LL CALL MY FATHER! IF YOU TOUCH ME, YOU'RE A DEAD MAN, BILLY PAUL! 1168 00:47:17,635 --> 00:47:21,415 IF YOU TOUCH ME, YOU'RE A DEAD MAN, BILLY PAUL! OH, MY GOD, BERNARD. 1169 00:47:21,439 --> 00:47:24,373 MAN, BILLY PAUL! OH, MY GOD, BERNARD. LOOK WHAT YOU'VE DONE. 1170 00:47:38,989 --> 00:47:46,673 YOU KNOW, JEANIE AND THE KIDS AT SCHOOL, THEY ALL TELL ME TO TRY AND CONTROL MY TEMPER. 1171 00:47:46,697 --> 00:47:47,942 AT SCHOOL, THEY ALL TELL ME TO TRY AND CONTROL MY TEMPER. THEY TELL ME TO TRY AND BE 1172 00:47:47,966 --> 00:47:50,945 TRY AND CONTROL MY TEMPER. THEY TELL ME TO TRY AND BE NONVIOLENT. 1173 00:47:50,969 --> 00:47:53,013 THEY TELL ME TO TRY AND BE NONVIOLENT. AND I TRY, BERNARD. 1174 00:47:53,037 --> 00:47:59,220 NONVIOLENT. AND I TRY, BERNARD. HONEST TO GOD, I TRY. 1175 00:47:59,244 --> 00:48:02,489 AND I TRY, BERNARD. HONEST TO GOD, I TRY. BUT WHEN I LOOK AT THIS GIRL... 1176 00:48:02,513 --> 00:48:05,492 HONEST TO GOD, I TRY. BUT WHEN I LOOK AT THIS GIRL... THIS BEAUTIFUL FLOWER... 1177 00:48:05,516 --> 00:48:09,063 BUT WHEN I LOOK AT THIS GIRL... THIS BEAUTIFUL FLOWER... THIS INNOCENT CHILD... 1178 00:48:09,087 --> 00:48:11,431 THIS BEAUTIFUL FLOWER... THIS INNOCENT CHILD... AND WHEN I THINK THAT SHE WILL 1179 00:48:11,455 --> 00:48:14,534 THIS INNOCENT CHILD... AND WHEN I THINK THAT SHE WILL CARRY WITH HER THE MEMORY OF 1180 00:48:14,558 --> 00:48:17,537 AND WHEN I THINK THAT SHE WILL CARRY WITH HER THE MEMORY OF THIS HUMILIATION, EVERY SINGLE 1181 00:48:17,561 --> 00:48:21,242 CARRY WITH HER THE MEMORY OF THIS HUMILIATION, EVERY SINGLE DAY OF HER LIFE, I JUST GO 1182 00:48:21,266 --> 00:48:29,266 THIS HUMILIATION, EVERY SINGLE DAY OF HER LIFE, I JUST GO BERSERK! 1183 00:48:31,042 --> 00:48:33,787 DAY OF HER LIFE, I JUST GO BERSERK! UH... 1184 00:48:33,811 --> 00:48:35,822 BERSERK! UH... HEY, BILLY PAUL, UH... 1185 00:48:35,846 --> 00:48:37,258 UH... HEY, BILLY PAUL, UH... HOW WOULD YOU LIKE A COUPLE OF 1186 00:48:37,282 --> 00:48:39,526 HEY, BILLY PAUL, UH... HOW WOULD YOU LIKE A COUPLE OF SCOOPS OF ROCKY ROAD? 1187 00:48:39,550 --> 00:48:41,128 HOW WOULD YOU LIKE A COUPLE OF SCOOPS OF ROCKY ROAD? UH... 1188 00:48:41,152 --> 00:48:42,997 SCOOPS OF ROCKY ROAD? UH... OR MAYBE SOME BANANA BUNDT 1189 00:48:43,021 --> 00:48:47,201 UH... OR MAYBE SOME BANANA BUNDT OR SOME, UH, ALMOND MOCHA? 1190 00:48:47,225 --> 00:48:52,306 OR MAYBE SOME BANANA BUNDT OR SOME, UH, ALMOND MOCHA? I WANT A TRIPLE CONE. 1191 00:48:52,330 --> 00:48:54,909 OR SOME, UH, ALMOND MOCHA? I WANT A TRIPLE CONE. STRAWBERRY, CHOCOLATE... 1192 00:48:54,933 --> 00:48:56,944 I WANT A TRIPLE CONE. STRAWBERRY, CHOCOLATE... ARE YOU LISTENING? 1193 00:48:56,968 --> 00:48:58,812 STRAWBERRY, CHOCOLATE... ARE YOU LISTENING? STRAWBERRY, CHOCOLATE, AND 1194 00:48:58,836 --> 00:49:00,247 ARE YOU LISTENING? STRAWBERRY, CHOCOLATE, AND VANILLA. 1195 00:49:00,271 --> 00:49:03,550 STRAWBERRY, CHOCOLATE, AND VANILLA. THAT'S RED, BLACK, AND WHITE, 1196 00:49:03,574 --> 00:49:10,757 VANILLA. THAT'S RED, BLACK, AND WHITE, TOGETHER. 1197 00:49:10,781 --> 00:49:12,726 THAT'S RED, BLACK, AND WHITE, TOGETHER. IF ONLY THE WORLD COULD GET 1198 00:49:12,750 --> 00:49:14,761 TOGETHER. IF ONLY THE WORLD COULD GET ALONG AS WELL AS THIS ICE CREAM 1199 00:49:14,785 --> 00:49:16,730 IF ONLY THE WORLD COULD GET ALONG AS WELL AS THIS ICE CREAM CONE, BILLY PAUL WOULDN'T HAVE 1200 00:49:16,754 --> 00:49:21,902 ALONG AS WELL AS THIS ICE CREAM CONE, BILLY PAUL WOULDN'T HAVE TO KILL SO MANY PEOPLE. 1201 00:49:21,926 --> 00:49:23,503 CONE, BILLY PAUL WOULDN'T HAVE TO KILL SO MANY PEOPLE. ♪ GO AHEAD AND HATE YOUR 1202 00:49:23,527 --> 00:49:24,871 TO KILL SO MANY PEOPLE. ♪ GO AHEAD AND HATE YOUR NEIGHBOR ♪ 1203 00:49:24,895 --> 00:49:27,474 ♪ GO AHEAD AND HATE YOUR NEIGHBOR ♪ ♪ GO AHEAD AND CHEAT A FRIEND ♪ 1204 00:49:27,498 --> 00:49:30,510 NEIGHBOR ♪ ♪ GO AHEAD AND CHEAT A FRIEND ♪ ♪ DO IT IN THE NAME OF HEAVEN ♪ 1205 00:49:30,534 --> 00:49:32,246 ♪ GO AHEAD AND CHEAT A FRIEND ♪ ♪ DO IT IN THE NAME OF HEAVEN ♪ ♪ YOU CAN JUSTIFY IT IN THE 1206 00:49:32,270 --> 00:49:33,147 ♪ DO IT IN THE NAME OF HEAVEN ♪ ♪ YOU CAN JUSTIFY IT IN THE END ♪ 1207 00:49:33,171 --> 00:49:34,815 ♪ YOU CAN JUSTIFY IT IN THE END ♪ ♪ THERE WON'T BE ANY TRUMPETS 1208 00:49:34,839 --> 00:49:35,983 END ♪ ♪ THERE WON'T BE ANY TRUMPETS BLOWING ♪ 1209 00:49:36,007 --> 00:49:38,785 ♪ THERE WON'T BE ANY TRUMPETS BLOWING ♪ ♪ COME THE JUDGMENT DAY ♪ 1210 00:49:38,809 --> 00:49:43,890 BLOWING ♪ ♪ COME THE JUDGMENT DAY ♪ ♪ ON THE BLOODY MORNING AFTER ♪ 1211 00:49:43,914 --> 00:49:47,354 ♪ COME THE JUDGMENT DAY ♪ ♪ ON THE BLOODY MORNING AFTER ♪ ♪ ONE TIN SOLDIER RIDES AWAY ♪ 1212 00:49:48,352 --> 00:49:52,521 [INTRO TO "SOMETHING SO RIGHT" PLAYS] 1213 00:50:11,941 --> 00:50:19,941 ♪ YOU GOT THE COOL WATER ♪ ♪ WHEN THE FEVER RUNS HIGH ♪ ♪ YOU GOT THE LOOK OF LOVE LIGHT 1214 00:50:26,657 --> 00:50:28,935 ♪ WHEN THE FEVER RUNS HIGH ♪ ♪ YOU GOT THE LOOK OF LOVE LIGHT IN YOUR EYES ♪ 1215 00:50:28,959 --> 00:50:33,573 ♪ YOU GOT THE LOOK OF LOVE LIGHT IN YOUR EYES ♪ ♪ AND I WAS IN CRAZY MOTION ♪ 1216 00:50:33,597 --> 00:50:39,813 IN YOUR EYES ♪ ♪ AND I WAS IN CRAZY MOTION ♪ ♪ TILL YOU CALMED ME DOWN ♪ 1217 00:50:39,837 --> 00:50:42,682 ♪ AND I WAS IN CRAZY MOTION ♪ ♪ TILL YOU CALMED ME DOWN ♪ ♪ IT TOOK A LITTLE TIME ♪ 1218 00:50:42,706 --> 00:50:47,888 ♪ TILL YOU CALMED ME DOWN ♪ ♪ IT TOOK A LITTLE TIME ♪ ♪ BUT YOU CALMED ME DOWN ♪ 1219 00:50:47,912 --> 00:50:50,991 ♪ IT TOOK A LITTLE TIME ♪ ♪ BUT YOU CALMED ME DOWN ♪ ♪ WHEN SOMETHING GOES WRONG ♪ 1220 00:50:51,015 --> 00:50:54,395 ♪ BUT YOU CALMED ME DOWN ♪ ♪ WHEN SOMETHING GOES WRONG ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ 1221 00:50:54,419 --> 00:50:58,232 ♪ WHEN SOMETHING GOES WRONG ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ 1222 00:50:58,256 --> 00:51:01,568 ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ AND THE LAST ONE TO KNOW ♪ 1223 00:51:01,592 --> 00:51:03,870 ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ AND THE LAST ONE TO KNOW ♪ ♪ WHEN SOMETHING GOES RIGHT ♪ 1224 00:51:03,894 --> 00:51:07,074 ♪ AND THE LAST ONE TO KNOW ♪ ♪ WHEN SOMETHING GOES RIGHT ♪ ♪ OH, IT'S LIKELY TO LOSE ME, 1225 00:51:07,098 --> 00:51:08,342 ♪ WHEN SOMETHING GOES RIGHT ♪ ♪ OH, IT'S LIKELY TO LOSE ME, MMM ♪ 1226 00:51:08,366 --> 00:51:10,644 ♪ OH, IT'S LIKELY TO LOSE ME, MMM ♪ ♪ IT'S APT TO CONFUSE ME ♪ 1227 00:51:10,668 --> 00:51:12,979 MMM ♪ ♪ IT'S APT TO CONFUSE ME ♪ ♪ IT'S SUCH AN UNUSUAL SIGHT ♪ 1228 00:51:13,003 --> 00:51:16,350 ♪ IT'S APT TO CONFUSE ME ♪ ♪ IT'S SUCH AN UNUSUAL SIGHT ♪ ♪ OH, I CAN'T, I CAN'T GET USED 1229 00:51:16,374 --> 00:51:19,219 ♪ IT'S SUCH AN UNUSUAL SIGHT ♪ ♪ OH, I CAN'T, I CAN'T GET USED TO SOMETHING SO RIGHT ♪ 1230 00:51:19,243 --> 00:51:22,283 ♪ OH, I CAN'T, I CAN'T GET USED TO SOMETHING SO RIGHT ♪ ♪ SOMETHING SO RIGHT ♪ 1231 00:51:35,158 --> 00:51:43,158 ♪ THEY'VE GOT A WALL IN CHINA ♪ ♪ IT'S A THOUSAND MILES LONG ♪ ♪ TO KEEP OUT THE FOREIGNERS, 1232 00:51:49,107 --> 00:51:52,086 ♪ IT'S A THOUSAND MILES LONG ♪ ♪ TO KEEP OUT THE FOREIGNERS, THEY MADE IT STRONG ♪ 1233 00:51:52,110 --> 00:51:56,690 ♪ TO KEEP OUT THE FOREIGNERS, THEY MADE IT STRONG ♪ ♪ AND I'VE GOT A WALL AROUND ME 1234 00:51:56,714 --> 00:52:02,629 THEY MADE IT STRONG ♪ ♪ AND I'VE GOT A WALL AROUND ME THAT YOU CAN'T EVEN SEE ♪ 1235 00:52:02,653 --> 00:52:06,100 ♪ AND I'VE GOT A WALL AROUND ME THAT YOU CAN'T EVEN SEE ♪ ♪ IT TOOK A LITTLE TIME, YEAH, 1236 00:52:06,124 --> 00:52:11,105 THAT YOU CAN'T EVEN SEE ♪ ♪ IT TOOK A LITTLE TIME, YEAH, TO GET NEXT TO ME ♪ 1237 00:52:11,129 --> 00:52:13,840 ♪ IT TOOK A LITTLE TIME, YEAH, TO GET NEXT TO ME ♪ ♪ WHEN SOMETHING GOES WRONG ♪ 1238 00:52:13,864 --> 00:52:18,078 TO GET NEXT TO ME ♪ ♪ WHEN SOMETHING GOES WRONG ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ 1239 00:52:18,102 --> 00:52:21,281 ♪ WHEN SOMETHING GOES WRONG ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ THE FIRST TO ADMIT IT ♪ 1240 00:52:21,305 --> 00:52:24,784 ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ THE FIRST TO ADMIT IT ♪ ♪ THE LAST ONE TO KNOW ♪ 1241 00:52:24,808 --> 00:52:27,053 ♪ THE FIRST TO ADMIT IT ♪ ♪ THE LAST ONE TO KNOW ♪ ♪ WHEN SOMETHING GOES RIGHT ♪ 1242 00:52:27,077 --> 00:52:30,390 ♪ THE LAST ONE TO KNOW ♪ ♪ WHEN SOMETHING GOES RIGHT ♪ ♪ OH, IT'S LIKELY TO LOSE ME, 1243 00:52:30,414 --> 00:52:31,791 ♪ WHEN SOMETHING GOES RIGHT ♪ ♪ OH, IT'S LIKELY TO LOSE ME, OH ♪ 1244 00:52:31,815 --> 00:52:33,827 ♪ OH, IT'S LIKELY TO LOSE ME, OH ♪ ♪ IT'S APT TO CONFUSE ME ♪ 1245 00:52:33,851 --> 00:52:35,729 OH ♪ ♪ IT'S APT TO CONFUSE ME ♪ ♪ BECAUSE IT'S SUCH AN UNUSUAL 1246 00:52:35,753 --> 00:52:36,630 ♪ IT'S APT TO CONFUSE ME ♪ ♪ BECAUSE IT'S SUCH AN UNUSUAL SIGHT ♪ 1247 00:52:36,654 --> 00:52:39,733 ♪ BECAUSE IT'S SUCH AN UNUSUAL SIGHT ♪ ♪ OH, I SWEAR, I CAN'T GET USED 1248 00:52:39,757 --> 00:52:42,702 SIGHT ♪ ♪ OH, I SWEAR, I CAN'T GET USED TO SOMETHING SO RIGHT ♪ 1249 00:52:42,726 --> 00:52:50,310 ♪ OH, I SWEAR, I CAN'T GET USED TO SOMETHING SO RIGHT ♪ ♪ SOMETHING SO RIGHT ♪ 1250 00:52:50,334 --> 00:52:52,546 TO SOMETHING SO RIGHT ♪ ♪ SOMETHING SO RIGHT ♪ ♪ SOME PEOPLE NEVER SAY THE 1251 00:52:52,570 --> 00:52:56,082 ♪ SOMETHING SO RIGHT ♪ ♪ SOME PEOPLE NEVER SAY THE WORDS "I LOVE YOU" ♪ 1252 00:52:56,106 --> 00:52:59,553 ♪ SOME PEOPLE NEVER SAY THE WORDS "I LOVE YOU" ♪ ♪ IT'S NOT THEIR STYLE 1253 00:52:59,577 --> 00:53:03,823 WORDS "I LOVE YOU" ♪ ♪ IT'S NOT THEIR STYLE TO BE SO BOLD ♪ 1254 00:53:03,847 --> 00:53:06,627 ♪ IT'S NOT THEIR STYLE TO BE SO BOLD ♪ ♪ SOME PEOPLE NEVER SAY THOSE 1255 00:53:06,651 --> 00:53:09,663 TO BE SO BOLD ♪ ♪ SOME PEOPLE NEVER SAY THOSE WORDS "I LOVE YOU" ♪ 1256 00:53:09,687 --> 00:53:12,299 ♪ SOME PEOPLE NEVER SAY THOSE WORDS "I LOVE YOU" ♪ ♪ BUT LIKE A CHILD, THEY'RE 1257 00:53:12,323 --> 00:53:20,240 WORDS "I LOVE YOU" ♪ ♪ BUT LIKE A CHILD, THEY'RE LONGING TO BE TO-O-LD ♪ 1258 00:53:20,264 --> 00:53:25,111 ♪ BUT LIKE A CHILD, THEY'RE LONGING TO BE TO-O-LD ♪ ♪ WHEN SOMETHING GOES WRONG ♪ 1259 00:53:25,135 --> 00:53:28,649 LONGING TO BE TO-O-LD ♪ ♪ WHEN SOMETHING GOES WRONG ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ 1260 00:53:28,673 --> 00:53:32,152 ♪ WHEN SOMETHING GOES WRONG ♪ ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ THE FIRST TO ADMIT IT ♪ 1261 00:53:32,176 --> 00:53:35,722 ♪ I'M THE FIRST TO ADMIT IT ♪ ♪ THE FIRST TO ADMIT IT ♪ ♪ AND THE LAST ONE TO KNOW ♪ 1262 00:53:35,746 --> 00:53:38,058 ♪ THE FIRST TO ADMIT IT ♪ ♪ AND THE LAST ONE TO KNOW ♪ ♪ WHEN SOMETHING GOES RIGHT ♪ 1263 00:53:38,082 --> 00:53:41,027 ♪ AND THE LAST ONE TO KNOW ♪ ♪ WHEN SOMETHING GOES RIGHT ♪ ♪ WELL, IT'S LIKELY TO LOSE ME, 1264 00:53:41,051 --> 00:53:42,629 ♪ WHEN SOMETHING GOES RIGHT ♪ ♪ WELL, IT'S LIKELY TO LOSE ME, OH ♪ 1265 00:53:42,653 --> 00:53:44,831 ♪ WELL, IT'S LIKELY TO LOSE ME, OH ♪ ♪ IT'S APT TO CONFUSE ME ♪ 1266 00:53:44,855 --> 00:53:46,633 OH ♪ ♪ IT'S APT TO CONFUSE ME ♪ ♪ BEING IT'S SUCH AN UNUSUAL 1267 00:53:46,657 --> 00:53:47,401 ♪ IT'S APT TO CONFUSE ME ♪ ♪ BEING IT'S SUCH AN UNUSUAL SIGHT ♪ 1268 00:53:47,425 --> 00:53:50,737 ♪ BEING IT'S SUCH AN UNUSUAL SIGHT ♪ ♪ OH, I SWEAR, I CAN'T GET USED 1269 00:53:50,761 --> 00:53:54,874 SIGHT ♪ ♪ OH, I SWEAR, I CAN'T GET USED TO SOMETHING SO RIGHT ♪ 1270 00:53:54,898 --> 00:54:02,898 ♪ OH, I SWEAR, I CAN'T GET USED TO SOMETHING SO RIGHT ♪ ♪ OH, OH, SOMETHING SO RIGHT ♪ 1271 00:54:04,942 --> 00:54:07,902 TO SOMETHING SO RIGHT ♪ ♪ OH, OH, SOMETHING SO RIGHT ♪ [CHEERS AND APPLAUSE] 1272 00:54:18,488 --> 00:54:23,270 THANK YOU. ♪ WELL, I PULLED OUT OF PITTSBURGH ♪ 1273 00:54:23,294 --> 00:54:24,538 ♪ WELL, I PULLED OUT OF PITTSBURGH ♪ ♪ ROLLIN' DOWN THAT EASTERN 1274 00:54:24,562 --> 00:54:27,040 PITTSBURGH ♪ ♪ ROLLIN' DOWN THAT EASTERN SEABOARD ♪ 1275 00:54:27,064 --> 00:54:28,375 ♪ ROLLIN' DOWN THAT EASTERN SEABOARD ♪ ♪ I GOT MY DIESEL WOUND UP, AND 1276 00:54:28,399 --> 00:54:29,843 SEABOARD ♪ ♪ I GOT MY DIESEL WOUND UP, AND SHE'S A-RUNNIN' LIKE NEVER 1277 00:54:29,867 --> 00:54:32,011 ♪ I GOT MY DIESEL WOUND UP, AND SHE'S A-RUNNIN' LIKE NEVER BEFORE ♪ 1278 00:54:32,035 --> 00:54:33,113 SHE'S A-RUNNIN' LIKE NEVER BEFORE ♪ ♪ THERE'S A SPEED ZONE 1279 00:54:33,137 --> 00:54:34,180 BEFORE ♪ ♪ THERE'S A SPEED ZONE AHEAD, ALL RIGHT... ♪ 1280 00:54:34,204 --> 00:54:35,081 ♪ THERE'S A SPEED ZONE AHEAD, ALL RIGHT... ♪ HELLO, EVERYBODY, AND 1281 00:54:35,105 --> 00:54:35,515 AHEAD, ALL RIGHT... ♪ HELLO, EVERYBODY, AND WELCOME. 1282 00:54:35,539 --> 00:54:36,583 HELLO, EVERYBODY, AND WELCOME. AS YOU GATHERED FROM THE FILM 1283 00:54:36,607 --> 00:54:37,651 WELCOME. AS YOU GATHERED FROM THE FILM CLIP OFF THE TOP OF THE SHOW, 1284 00:54:37,675 --> 00:54:38,652 AS YOU GATHERED FROM THE FILM CLIP OFF THE TOP OF THE SHOW, WE'RE GONNA BE DOING A SHOW 1285 00:54:38,676 --> 00:54:39,586 CLIP OFF THE TOP OF THE SHOW, WE'RE GONNA BE DOING A SHOW ABOUT TRUCKS AND TRUCKERS 1286 00:54:39,610 --> 00:54:40,654 WE'RE GONNA BE DOING A SHOW ABOUT TRUCKS AND TRUCKERS TONIGHT, AND I HOPE YOU ENJOY 1287 00:54:40,678 --> 00:54:40,920 ABOUT TRUCKS AND TRUCKERS TONIGHT, AND I HOPE YOU ENJOY IT. 1288 00:54:40,944 --> 00:54:43,189 TONIGHT, AND I HOPE YOU ENJOY IT. I'D LIKE TO SAY, UH, AT THE 1289 00:54:43,213 --> 00:54:44,291 IT. I'D LIKE TO SAY, UH, AT THE OUTSET... 1290 00:54:44,315 --> 00:54:45,191 I'D LIKE TO SAY, UH, AT THE OUTSET... [APPLAUSE] 1291 00:54:45,215 --> 00:54:46,293 OUTSET... [APPLAUSE] OF THE PROGRAM THAT WE HAD 1292 00:54:46,317 --> 00:54:47,394 [APPLAUSE] OF THE PROGRAM THAT WE HAD SUCH A GOOD TIME IN ENGLAND, 1293 00:54:47,418 --> 00:54:48,462 OF THE PROGRAM THAT WE HAD SUCH A GOOD TIME IN ENGLAND, WE'RE GONNA TRY TO GET BACK 1294 00:54:48,486 --> 00:54:48,828 SUCH A GOOD TIME IN ENGLAND, WE'RE GONNA TRY TO GET BACK THERE. 1295 00:54:48,852 --> 00:54:49,963 WE'RE GONNA TRY TO GET BACK THERE. AT LEAST, I'M GONNA TRY TO GET 1296 00:54:49,987 --> 00:54:50,497 THERE. AT LEAST, I'M GONNA TRY TO GET BACK THERE. 1297 00:54:50,521 --> 00:54:51,665 AT LEAST, I'M GONNA TRY TO GET BACK THERE. WHETHER THE PRODUCTION CREW CAN 1298 00:54:51,689 --> 00:54:52,766 BACK THERE. WHETHER THE PRODUCTION CREW CAN COME WITH ME, THAT'S ANOTHER 1299 00:54:52,790 --> 00:54:53,833 WHETHER THE PRODUCTION CREW CAN COME WITH ME, THAT'S ANOTHER MATTER, AND ONE THAT WILL BE 1300 00:54:53,857 --> 00:54:54,901 COME WITH ME, THAT'S ANOTHER MATTER, AND ONE THAT WILL BE DECIDED UPSTAIRS AT THE RCA 1301 00:54:54,925 --> 00:54:55,736 MATTER, AND ONE THAT WILL BE DECIDED UPSTAIRS AT THE RCA BUILDING, OR ACTUALLY 1302 00:54:55,760 --> 00:54:56,270 DECIDED UPSTAIRS AT THE RCA BUILDING, OR ACTUALLY DOWNSTAIRS. 1303 00:54:56,294 --> 00:54:57,638 BUILDING, OR ACTUALLY DOWNSTAIRS. IF YOU KNOW THE RCA BUILDING, WE 1304 00:54:57,662 --> 00:54:58,838 DOWNSTAIRS. IF YOU KNOW THE RCA BUILDING, WE TAPE ON 6 AND THE EXECUTIVE 1305 00:54:58,862 --> 00:54:59,673 IF YOU KNOW THE RCA BUILDING, WE TAPE ON 6 AND THE EXECUTIVE OFFICES ARE ON 4. 1306 00:54:59,697 --> 00:55:01,107 TAPE ON 6 AND THE EXECUTIVE OFFICES ARE ON 4. HA HA HA. 1307 00:55:01,131 --> 00:55:03,910 OFFICES ARE ON 4. HA HA HA. [LAUGHTER] 1308 00:55:03,934 --> 00:55:05,111 HA HA HA. [LAUGHTER] WE'RE TALKING TONIGHT WITH 1309 00:55:05,135 --> 00:55:05,912 [LAUGHTER] WE'RE TALKING TONIGHT WITH MR. PAUL SIMON. 1310 00:55:05,936 --> 00:55:07,046 WE'RE TALKING TONIGHT WITH MR. PAUL SIMON. HE'S HEAD OF THE EASTERN 1311 00:55:07,070 --> 00:55:08,114 MR. PAUL SIMON. HE'S HEAD OF THE EASTERN SEABOARD CHAPTER OF THE 1312 00:55:08,138 --> 00:55:09,549 HE'S HEAD OF THE EASTERN SEABOARD CHAPTER OF THE INDEPENDENT TRUCKERS ASSOCIATION 1313 00:55:09,573 --> 00:55:10,183 SEABOARD CHAPTER OF THE INDEPENDENT TRUCKERS ASSOCIATION OF AMERICA. 1314 00:55:10,207 --> 00:55:11,618 INDEPENDENT TRUCKERS ASSOCIATION OF AMERICA. MR. SIMON, THE GYPSY TRUCKER'S A 1315 00:55:11,642 --> 00:55:13,052 OF AMERICA. MR. SIMON, THE GYPSY TRUCKER'S A HARDWORKING MAN, AND I WANT TO 1316 00:55:13,076 --> 00:55:14,454 MR. SIMON, THE GYPSY TRUCKER'S A HARDWORKING MAN, AND I WANT TO ASK YOU, SIR, YOU PUSH A RIG 24 1317 00:55:14,478 --> 00:55:15,121 HARDWORKING MAN, AND I WANT TO ASK YOU, SIR, YOU PUSH A RIG 24 HOURS A DAY. 1318 00:55:15,145 --> 00:55:16,956 ASK YOU, SIR, YOU PUSH A RIG 24 HOURS A DAY. DO YOU HAVE A RATE SET PER 1319 00:55:16,980 --> 00:55:19,092 HOURS A DAY. DO YOU HAVE A RATE SET PER MILEAGE, AND WELL, HOW THE HELL 1320 00:55:19,116 --> 00:55:21,928 DO YOU HAVE A RATE SET PER MILEAGE, AND WELL, HOW THE HELL DO YOU DO IT, SIR? 1321 00:55:21,952 --> 00:55:23,797 MILEAGE, AND WELL, HOW THE HELL DO YOU DO IT, SIR? LET ME JUST START OFF BY 1322 00:55:23,821 --> 00:55:25,432 DO YOU DO IT, SIR? LET ME JUST START OFF BY SAYING THAT I AM NOT AN 1323 00:55:25,456 --> 00:55:27,834 LET ME JUST START OFF BY SAYING THAT I AM NOT AN INDEPENDENT TRUCKER. 1324 00:55:27,858 --> 00:55:30,136 SAYING THAT I AM NOT AN INDEPENDENT TRUCKER. I MEAN, I NEVER DROVE A TRUCK. 1325 00:55:30,160 --> 00:55:30,837 INDEPENDENT TRUCKER. I MEAN, I NEVER DROVE A TRUCK. UH... 1326 00:55:30,861 --> 00:55:32,872 I MEAN, I NEVER DROVE A TRUCK. UH... MY NAME IS PAUL SIMON, BUT 1327 00:55:32,896 --> 00:55:34,174 UH... MY NAME IS PAUL SIMON, BUT I'M A SONGWRITER. 1328 00:55:34,198 --> 00:55:35,542 MY NAME IS PAUL SIMON, BUT I'M A SONGWRITER. I'M NOT A TRUCKER. 1329 00:55:35,566 --> 00:55:36,910 I'M A SONGWRITER. I'M NOT A TRUCKER. YOU'RE PAUL SIMON AND YOU'RE 1330 00:55:36,934 --> 00:55:38,244 I'M NOT A TRUCKER. YOU'RE PAUL SIMON AND YOU'RE A SONGWRITER, BUT YOU WROTE THE 1331 00:55:38,268 --> 00:55:39,546 YOU'RE PAUL SIMON AND YOU'RE A SONGWRITER, BUT YOU WROTE THE TRUCKING SONG WE HEARD OFF THE 1332 00:55:39,570 --> 00:55:40,347 A SONGWRITER, BUT YOU WROTE THE TRUCKING SONG WE HEARD OFF THE TOP OF THE SHOW. 1333 00:55:40,371 --> 00:55:42,616 TRUCKING SONG WE HEARD OFF THE TOP OF THE SHOW. IS THAT CORRECT? 1334 00:55:42,640 --> 00:55:44,083 TOP OF THE SHOW. IS THAT CORRECT? NO. NO, I... 1335 00:55:44,107 --> 00:55:46,386 IS THAT CORRECT? NO. NO, I... BUT YOU DO WRITE SONGS ABOUT 1336 00:55:46,410 --> 00:55:47,987 NO. NO, I... BUT YOU DO WRITE SONGS ABOUT TRUCKS AND TRUCKERS. 1337 00:55:48,011 --> 00:55:50,724 BUT YOU DO WRITE SONGS ABOUT TRUCKS AND TRUCKERS. NO, I'VE NEVER WRITTEN A SONG 1338 00:55:50,748 --> 00:55:53,026 TRUCKS AND TRUCKERS. NO, I'VE NEVER WRITTEN A SONG ABOUT A TRUCK OR TRUCKERS. 1339 00:55:53,050 --> 00:55:53,993 NO, I'VE NEVER WRITTEN A SONG ABOUT A TRUCK OR TRUCKERS. ALL RIGHT, SIR. 1340 00:55:54,017 --> 00:55:55,295 ABOUT A TRUCK OR TRUCKERS. ALL RIGHT, SIR. SOMEWHERE ALONG THE LINE, I 1341 00:55:55,319 --> 00:55:56,697 ALL RIGHT, SIR. SOMEWHERE ALONG THE LINE, I GUESS I MADE A MISTAKE OR MY 1342 00:55:56,721 --> 00:55:58,131 SOMEWHERE ALONG THE LINE, I GUESS I MADE A MISTAKE OR MY STAFF HAS MADE A MISTAKE, AND, 1343 00:55:58,155 --> 00:55:59,499 GUESS I MADE A MISTAKE OR MY STAFF HAS MADE A MISTAKE, AND, WELL, WHEN I HEARD THAT WE'D 1344 00:55:59,523 --> 00:56:00,867 STAFF HAS MADE A MISTAKE, AND, WELL, WHEN I HEARD THAT WE'D BOOKED PAUL SIMON, I ASSUMED 1345 00:56:00,891 --> 00:56:02,235 WELL, WHEN I HEARD THAT WE'D BOOKED PAUL SIMON, I ASSUMED THAT IT WAS A MR. SIMON THAT 1346 00:56:02,259 --> 00:56:03,770 BOOKED PAUL SIMON, I ASSUMED THAT IT WAS A MR. SIMON THAT WE'D INTERVIEWED BEFORE FROM THE 1347 00:56:03,794 --> 00:56:04,237 THAT IT WAS A MR. SIMON THAT WE'D INTERVIEWED BEFORE FROM THE I.T.A. 1348 00:56:04,261 --> 00:56:05,539 WE'D INTERVIEWED BEFORE FROM THE I.T.A. YOU'RE NOT THAT PAUL SIMON. 1349 00:56:05,563 --> 00:56:06,906 I.T.A. YOU'RE NOT THAT PAUL SIMON. YOU'RE PAUL SIMON THE WRITER, 1350 00:56:06,930 --> 00:56:08,408 YOU'RE NOT THAT PAUL SIMON. YOU'RE PAUL SIMON THE WRITER, AND NOW THAT I KNOW WHO YOU ARE, 1351 00:56:08,432 --> 00:56:09,909 YOU'RE PAUL SIMON THE WRITER, AND NOW THAT I KNOW WHO YOU ARE, AND YOU KNOW THAT I KNOW WHO YOU 1352 00:56:09,933 --> 00:56:11,345 AND NOW THAT I KNOW WHO YOU ARE, AND YOU KNOW THAT I KNOW WHO YOU ARE, MY FIRST QUESTION TO YOU, 1353 00:56:11,369 --> 00:56:12,612 AND YOU KNOW THAT I KNOW WHO YOU ARE, MY FIRST QUESTION TO YOU, SIR, WOULD BE, HOW THE HECK DO 1354 00:56:12,636 --> 00:56:13,179 ARE, MY FIRST QUESTION TO YOU, SIR, WOULD BE, HOW THE HECK DO YOU DO IT? 1355 00:56:13,203 --> 00:56:14,414 SIR, WOULD BE, HOW THE HECK DO YOU DO IT? YOU HAVE AN ENDLESS STRING OF 1356 00:56:14,438 --> 00:56:16,149 YOU DO IT? YOU HAVE AN ENDLESS STRING OF HITS... "BAREFOOT IN THE PARK," 1357 00:56:16,173 --> 00:56:19,720 YOU HAVE AN ENDLESS STRING OF HITS... "BAREFOOT IN THE PARK," "THE ODD COUPLE," UH... 1358 00:56:19,744 --> 00:56:20,654 HITS... "BAREFOOT IN THE PARK," "THE ODD COUPLE," UH... "STAR-SPANGLED GIRL," 1359 00:56:20,678 --> 00:56:21,822 "THE ODD COUPLE," UH... "STAR-SPANGLED GIRL," "CALIFORNIA SUITE"... WHICH, 1360 00:56:21,846 --> 00:56:22,789 "STAR-SPANGLED GIRL," "CALIFORNIA SUITE"... WHICH, INCIDENTALLY, I SAW IN 1361 00:56:22,813 --> 00:56:23,790 "CALIFORNIA SUITE"... WHICH, INCIDENTALLY, I SAW IN CALIFORNIA AND I SAW IN 1362 00:56:23,814 --> 00:56:24,858 INCIDENTALLY, I SAW IN CALIFORNIA AND I SAW IN NEW YORK, AND I LIKED THE 1363 00:56:24,882 --> 00:56:25,925 CALIFORNIA AND I SAW IN NEW YORK, AND I LIKED THE NEW YORK PRODUCTION A LOT 1364 00:56:25,949 --> 00:56:26,360 NEW YORK, AND I LIKED THE NEW YORK PRODUCTION A LOT BETTER. 1365 00:56:26,384 --> 00:56:27,394 NEW YORK PRODUCTION A LOT BETTER. HOW DO YOU KEEP COMING UP WITH 1366 00:56:27,418 --> 00:56:29,295 BETTER. HOW DO YOU KEEP COMING UP WITH THEM? 1367 00:56:29,319 --> 00:56:31,965 HOW DO YOU KEEP COMING UP WITH THEM? UH, WELL, I DON'T ACTUALLY. 1368 00:56:31,989 --> 00:56:32,999 THEM? UH, WELL, I DON'T ACTUALLY. THAT'S NEIL SIMON. 1369 00:56:33,023 --> 00:56:34,167 UH, WELL, I DON'T ACTUALLY. THAT'S NEIL SIMON. PLAYS, MO... 1370 00:56:34,191 --> 00:56:35,369 THAT'S NEIL SIMON. PLAYS, MO... I THINK YOU'RE THINKING OF 1371 00:56:35,393 --> 00:56:36,536 PLAYS, MO... I THINK YOU'RE THINKING OF NEIL SIMON, AREN'T YOU, THE 1372 00:56:36,560 --> 00:56:37,103 I THINK YOU'RE THINKING OF NEIL SIMON, AREN'T YOU, THE PLAYWRIGHT? 1373 00:56:37,127 --> 00:56:38,872 NEIL SIMON, AREN'T YOU, THE PLAYWRIGHT? NEIL SIMON. 1374 00:56:38,896 --> 00:56:40,974 PLAYWRIGHT? NEIL SIMON. AND YOU'RE PAUL SIMON. 1375 00:56:40,998 --> 00:56:42,442 NEIL SIMON. AND YOU'RE PAUL SIMON. SO, YOU'D BE A RELATION TO HIM, 1376 00:56:42,466 --> 00:56:43,844 AND YOU'RE PAUL SIMON. SO, YOU'D BE A RELATION TO HIM, AND THAT'S WHY YOU'RE HERE... 1377 00:56:43,868 --> 00:56:47,113 SO, YOU'D BE A RELATION TO HIM, AND THAT'S WHY YOU'RE HERE... NO. NO RELATION. 1378 00:56:47,137 --> 00:56:48,648 AND THAT'S WHY YOU'RE HERE... NO. NO RELATION. WELL, SIR, THEN, AT THIS 1379 00:56:48,672 --> 00:56:50,183 NO. NO RELATION. WELL, SIR, THEN, AT THIS POINT, LET ME ASK YOU, WHAT 1380 00:56:50,207 --> 00:56:51,284 WELL, SIR, THEN, AT THIS POINT, LET ME ASK YOU, WHAT EXACTLY DO YOU DO? 1381 00:56:51,308 --> 00:56:52,919 POINT, LET ME ASK YOU, WHAT EXACTLY DO YOU DO? WELL, I WAS UNDER THE 1382 00:56:52,943 --> 00:56:54,921 EXACTLY DO YOU DO? WELL, I WAS UNDER THE IMPRESSION THAT YOU INVITED ME 1383 00:56:54,945 --> 00:56:56,790 WELL, I WAS UNDER THE IMPRESSION THAT YOU INVITED ME ON THE SHOW, I MEAN, TO TALK 1384 00:56:56,814 --> 00:56:58,759 IMPRESSION THAT YOU INVITED ME ON THE SHOW, I MEAN, TO TALK ABOUT A BENEFIT THAT I'M ABOUT 1385 00:56:58,783 --> 00:57:00,727 ON THE SHOW, I MEAN, TO TALK ABOUT A BENEFIT THAT I'M ABOUT TO DO AT MADISON SQUARE GARDEN 1386 00:57:00,751 --> 00:57:02,829 ABOUT A BENEFIT THAT I'M ABOUT TO DO AT MADISON SQUARE GARDEN FOR THE AMERICAN CIVIL LIBERTIES 1387 00:57:02,853 --> 00:57:04,197 TO DO AT MADISON SQUARE GARDEN FOR THE AMERICAN CIVIL LIBERTIES UNION. 1388 00:57:04,221 --> 00:57:05,399 FOR THE AMERICAN CIVIL LIBERTIES UNION. AH. 1389 00:57:05,423 --> 00:57:06,566 UNION. AH. THE AMERICAN CIVIL LIBERTIES 1390 00:57:06,590 --> 00:57:06,933 AH. THE AMERICAN CIVIL LIBERTIES UNION. 1391 00:57:06,957 --> 00:57:08,034 THE AMERICAN CIVIL LIBERTIES UNION. I THOUGHT YOU KNEW THAT. 1392 00:57:08,058 --> 00:57:09,569 UNION. I THOUGHT YOU KNEW THAT. YOU'RE A SONGWRITER, AND YOU, 1393 00:57:09,593 --> 00:57:10,970 I THOUGHT YOU KNEW THAT. YOU'RE A SONGWRITER, AND YOU, WELL, NOW I KNOW WHO YOU ARE. 1394 00:57:10,994 --> 00:57:12,372 YOU'RE A SONGWRITER, AND YOU, WELL, NOW I KNOW WHO YOU ARE. LET ME ASK YOU THIS QUESTION. 1395 00:57:12,396 --> 00:57:13,740 WELL, NOW I KNOW WHO YOU ARE. LET ME ASK YOU THIS QUESTION. AS AN ENGLISHMAN LIVING IN THIS 1396 00:57:13,764 --> 00:57:14,875 LET ME ASK YOU THIS QUESTION. AS AN ENGLISHMAN LIVING IN THIS COUNTRY WHO'S BEEN HAVING 1397 00:57:14,899 --> 00:57:16,109 AS AN ENGLISHMAN LIVING IN THIS COUNTRY WHO'S BEEN HAVING TROUBLE WITH IMMIGRATION, I 1398 00:57:16,133 --> 00:57:17,511 COUNTRY WHO'S BEEN HAVING TROUBLE WITH IMMIGRATION, I GUESS YOU'RE PRETTY HAPPY AT THE 1399 00:57:17,535 --> 00:57:18,545 TROUBLE WITH IMMIGRATION, I GUESS YOU'RE PRETTY HAPPY AT THE WAY THINGS TURNED OUT. 1400 00:57:18,569 --> 00:57:19,679 GUESS YOU'RE PRETTY HAPPY AT THE WAY THINGS TURNED OUT. YEAH, WELL, THEY'RE NOT 1401 00:57:19,703 --> 00:57:20,980 WAY THINGS TURNED OUT. YEAH, WELL, THEY'RE NOT BOTHERING ME, SINCE I WAS BORN 1402 00:57:21,004 --> 00:57:21,548 YEAH, WELL, THEY'RE NOT BOTHERING ME, SINCE I WAS BORN IN NEWARK. 1403 00:57:21,572 --> 00:57:23,417 BOTHERING ME, SINCE I WAS BORN IN NEWARK. YOU KNOW, THINGS HAVE BEEN GOING 1404 00:57:23,441 --> 00:57:24,150 IN NEWARK. YOU KNOW, THINGS HAVE BEEN GOING ALL RIGHT. 1405 00:57:24,174 --> 00:57:25,585 YOU KNOW, THINGS HAVE BEEN GOING ALL RIGHT. BUT YOU LIVE IN NEW YORK, AND 1406 00:57:25,609 --> 00:57:26,887 ALL RIGHT. BUT YOU LIVE IN NEW YORK, AND YOU DO HAVE A JAPANESE WIFE. 1407 00:57:26,911 --> 00:57:28,922 BUT YOU LIVE IN NEW YORK, AND YOU DO HAVE A JAPANESE WIFE. I DON'T HAVE A JAPANESE WIFE. 1408 00:57:28,946 --> 00:57:29,956 YOU DO HAVE A JAPANESE WIFE. I DON'T HAVE A JAPANESE WIFE. COME ON, NOW. 1409 00:57:29,980 --> 00:57:31,725 I DON'T HAVE A JAPANESE WIFE. COME ON, NOW. ONE OF YOU HAS A JAPANESE WIFE. 1410 00:57:31,749 --> 00:57:33,326 COME ON, NOW. ONE OF YOU HAS A JAPANESE WIFE. HA HA HA. 1411 00:57:33,350 --> 00:57:35,495 ONE OF YOU HAS A JAPANESE WIFE. HA HA HA. LOOK, UH... 1412 00:57:35,519 --> 00:57:39,499 HA HA HA. LOOK, UH... [CHEERS AND APPLAUSE] 1413 00:57:39,523 --> 00:57:43,570 LOOK, UH... [CHEERS AND APPLAUSE] I WAS INVITED ON THIS SHOW... 1414 00:57:43,594 --> 00:57:45,572 [CHEERS AND APPLAUSE] I WAS INVITED ON THIS SHOW... AND IT'S OBVIOUS TO ME THAT YOU 1415 00:57:45,596 --> 00:57:47,441 I WAS INVITED ON THIS SHOW... AND IT'S OBVIOUS TO ME THAT YOU DON'T KNOW WHO OR WHAT I AM. 1416 00:57:47,465 --> 00:57:49,443 AND IT'S OBVIOUS TO ME THAT YOU DON'T KNOW WHO OR WHAT I AM. I'VE NEVER EVEN SEEN YOUR SHOW. 1417 00:57:49,467 --> 00:57:51,277 DON'T KNOW WHO OR WHAT I AM. I'VE NEVER EVEN SEEN YOUR SHOW. I KNOW WHAT YOU ARE, SO I'LL 1418 00:57:51,301 --> 00:57:53,346 I'VE NEVER EVEN SEEN YOUR SHOW. I KNOW WHAT YOU ARE, SO I'LL JUST BE SAYING GOOD NIGHT, THEN. 1419 00:57:53,370 --> 00:57:55,415 I KNOW WHAT YOU ARE, SO I'LL JUST BE SAYING GOOD NIGHT, THEN. UH, YEAH. GOOD NIGHT. 1420 00:57:55,439 --> 00:57:56,215 JUST BE SAYING GOOD NIGHT, THEN. UH, YEAH. GOOD NIGHT. WELL, SIR, FINE. 1421 00:57:56,239 --> 00:57:57,283 UH, YEAH. GOOD NIGHT. WELL, SIR, FINE. IF THAT'S THE WAY YOU FEEL, I 1422 00:57:57,307 --> 00:57:57,951 WELL, SIR, FINE. IF THAT'S THE WAY YOU FEEL, I CAN RESPECT THAT. 1423 00:57:57,975 --> 00:57:58,852 IF THAT'S THE WAY YOU FEEL, I CAN RESPECT THAT. I CAN RESPECT ANY MAN'S 1424 00:57:58,876 --> 00:57:59,285 CAN RESPECT THAT. I CAN RESPECT ANY MAN'S OPINIONS. 1425 00:57:59,309 --> 00:58:00,620 I CAN RESPECT ANY MAN'S OPINIONS. I GUESS WHAT WE'VE SEEN THERE IS 1426 00:58:00,644 --> 00:58:01,955 OPINIONS. I GUESS WHAT WE'VE SEEN THERE IS A LITTLE BIT OF THE ANGER OF THE 1427 00:58:01,979 --> 00:58:03,256 I GUESS WHAT WE'VE SEEN THERE IS A LITTLE BIT OF THE ANGER OF THE '60s, A LITTLE BIT OF THE ANGER 1428 00:58:03,280 --> 00:58:04,591 A LITTLE BIT OF THE ANGER OF THE '60s, A LITTLE BIT OF THE ANGER THAT CAUSED SOME OF THE HIJINKS 1429 00:58:04,615 --> 00:58:05,892 '60s, A LITTLE BIT OF THE ANGER THAT CAUSED SOME OF THE HIJINKS AT COLLEGE CAMPUSES, AND SOME OF 1430 00:58:05,916 --> 00:58:07,126 THAT CAUSED SOME OF THE HIJINKS AT COLLEGE CAMPUSES, AND SOME OF THAT ANGER WE'LL BE SEEING AT 1431 00:58:07,150 --> 00:58:08,361 AT COLLEGE CAMPUSES, AND SOME OF THAT ANGER WE'LL BE SEEING AT THAT BENEFIT FOR THE AMERICAN 1432 00:58:08,385 --> 00:58:09,329 THAT ANGER WE'LL BE SEEING AT THAT BENEFIT FOR THE AMERICAN CIVIL LIBERTIES UNION. 1433 00:58:09,353 --> 00:58:10,630 THAT BENEFIT FOR THE AMERICAN CIVIL LIBERTIES UNION. AND, SIR, GOOD LUCK TO YOU, AND 1434 00:58:10,654 --> 00:58:12,365 CIVIL LIBERTIES UNION. AND, SIR, GOOD LUCK TO YOU, AND WELL, BYE-BYE. 1435 00:58:12,389 --> 00:58:13,567 AND, SIR, GOOD LUCK TO YOU, AND WELL, BYE-BYE. WE'LL BE BACK AFTER THIS 1436 00:58:13,591 --> 00:58:15,068 WELL, BYE-BYE. WE'LL BE BACK AFTER THIS COMMERCIAL WITH AN 85-YEAR-OLD 1437 00:58:15,092 --> 00:58:16,503 WE'LL BE BACK AFTER THIS COMMERCIAL WITH AN 85-YEAR-OLD INTERIOR DECORATOR WHO CLAIMS 1438 00:58:16,527 --> 00:58:18,004 COMMERCIAL WITH AN 85-YEAR-OLD INTERIOR DECORATOR WHO CLAIMS SHE WAS ABDUCTED BY 9-FOOT-TALL 1439 00:58:18,028 --> 00:58:19,205 INTERIOR DECORATOR WHO CLAIMS SHE WAS ABDUCTED BY 9-FOOT-TALL HUMANOIDS IN A FOREST IN 1440 00:58:19,229 --> 00:58:19,739 SHE WAS ABDUCTED BY 9-FOOT-TALL HUMANOIDS IN A FOREST IN ARIZONA. 1441 00:58:19,763 --> 00:58:22,476 HUMANOIDS IN A FOREST IN ARIZONA. BUT FIRST, HERE'S A FILM BY 1442 00:58:22,500 --> 00:58:24,478 ARIZONA. BUT FIRST, HERE'S A FILM BY GEORGE HARRISON. 1443 00:58:24,502 --> 00:58:27,213 BUT FIRST, HERE'S A FILM BY GEORGE HARRISON. [APPLAUSE] 1444 00:58:27,237 --> 00:58:29,605 GEORGE HARRISON. [APPLAUSE] [INTRO TO "THIS SONG" PLAYS] 1445 00:58:48,825 --> 00:58:56,825 ♪ THIS SONG ♪ ♪ HAS NOTHING TRICKY ABOUT IT ♪ ♪ THIS SONG ♪ 1446 00:58:58,201 --> 00:58:59,579 ♪ HAS NOTHING TRICKY ABOUT IT ♪ ♪ THIS SONG ♪ ♪ AIN'T BLACK OR WHITE ♪ 1447 00:58:59,603 --> 00:59:01,347 ♪ THIS SONG ♪ ♪ AIN'T BLACK OR WHITE ♪ ♪ AND AS FAR AS I KNOW, 1448 00:59:01,371 --> 00:59:03,650 ♪ AIN'T BLACK OR WHITE ♪ ♪ AND AS FAR AS I KNOW, DON'T INFRINGE ON ANYONE'S 1449 00:59:03,674 --> 00:59:09,022 ♪ AND AS FAR AS I KNOW, DON'T INFRINGE ON ANYONE'S COPYRIGHT, SO ♪ 1450 00:59:09,046 --> 00:59:10,223 DON'T INFRINGE ON ANYONE'S COPYRIGHT, SO ♪ ♪ THIS SONG ♪ 1451 00:59:10,247 --> 00:59:12,559 COPYRIGHT, SO ♪ ♪ THIS SONG ♪ ♪ WE'LL LET BE ♪ 1452 00:59:12,583 --> 00:59:16,129 ♪ THIS SONG ♪ ♪ WE'LL LET BE ♪ ♪ THIS SONG IS IN "E" ♪ 1453 00:59:16,153 --> 00:59:20,589 ♪ WE'LL LET BE ♪ ♪ THIS SONG IS IN "E" ♪ ♪ THIS SONG IS FOR YOU AND 1454 00:59:27,329 --> 00:59:35,329 ♪ THIS TUNE ♪ ♪ HAS NOTHING BRIGHT ABOUT IT ♪ ♪ THIS TUNE ♪ 1455 00:59:36,473 --> 00:59:37,918 ♪ HAS NOTHING BRIGHT ABOUT IT ♪ ♪ THIS TUNE ♪ ♪ AIN'T BAD OR GOOD ♪ 1456 00:59:37,942 --> 00:59:40,353 ♪ THIS TUNE ♪ ♪ AIN'T BAD OR GOOD ♪ ♪ AND COME EVER WHAT MAY, MY 1457 00:59:40,377 --> 00:59:47,060 ♪ AIN'T BAD OR GOOD ♪ ♪ AND COME EVER WHAT MAY, MY EXPERT TELLS ME IT'S OKAY ♪ 1458 00:59:47,084 --> 00:59:51,497 ♪ AND COME EVER WHAT MAY, MY EXPERT TELLS ME IT'S OKAY ♪ ♪ AS THIS SONG CAME TO ME 1459 00:59:51,521 --> 00:59:54,467 EXPERT TELLS ME IT'S OKAY ♪ ♪ AS THIS SONG CAME TO ME UNKNOWINGLY ♪ 1460 00:59:54,491 --> 00:59:57,303 ♪ AS THIS SONG CAME TO ME UNKNOWINGLY ♪ ♪ THIS SONG COULD BE YOU, 1461 00:59:57,327 --> 00:59:59,205 UNKNOWINGLY ♪ ♪ THIS SONG COULD BE YOU, COULD BE ♪ 1462 00:59:59,229 --> 01:00:05,411 ♪ THIS SONG COULD BE YOU, COULD BE ♪ [INDISTINCT TALKING] 1463 01:00:05,435 --> 01:00:07,435 COULD BE ♪ [INDISTINCT TALKING] ♪ OOH OOH OOH ♪ 1464 01:00:58,287 --> 01:01:05,471 ♪ THIS RIFF ♪ ♪ AIN'T TRYING TO WIN GOLD MEDALS ♪ 1465 01:01:05,495 --> 01:01:07,607 ♪ AIN'T TRYING TO WIN GOLD MEDALS ♪ ♪ THIS RIFF ♪ 1466 01:01:07,631 --> 01:01:09,175 MEDALS ♪ ♪ THIS RIFF ♪ ♪ AIN'T HIP OR SQUARE, 1467 01:01:09,199 --> 01:01:11,244 ♪ THIS RIFF ♪ ♪ AIN'T HIP OR SQUARE, WELL-DONE OR RARE ♪ 1468 01:01:11,268 --> 01:01:13,513 ♪ AIN'T HIP OR SQUARE, WELL-DONE OR RARE ♪ ♪ MAY END UP ONE MORE WEIGHT TO 1469 01:01:13,537 --> 01:01:17,917 WELL-DONE OR RARE ♪ ♪ MAY END UP ONE MORE WEIGHT TO BEAR ♪ 1470 01:01:17,941 --> 01:01:21,855 ♪ MAY END UP ONE MORE WEIGHT TO BEAR ♪ ♪ BUT THIS SONG COULD WELL BE 1471 01:01:21,879 --> 01:01:24,457 BEAR ♪ ♪ BUT THIS SONG COULD WELL BE A REASON TO SEE ♪ 1472 01:01:24,481 --> 01:01:27,661 ♪ BUT THIS SONG COULD WELL BE A REASON TO SEE ♪ ♪ THAT WITHOUT YOU THERE'S NO 1473 01:01:27,685 --> 01:01:30,986 A REASON TO SEE ♪ ♪ THAT WITHOUT YOU THERE'S NO POINT TO THIS SONG ♪ 1474 01:01:43,866 --> 01:01:51,866 ♪ THIS SONG COULD WELL BE A REASON TO SEE ♪ ♪ THAT WITHOUT YOU THERE'S NO 1475 01:01:52,976 --> 01:01:56,178 A REASON TO SEE ♪ ♪ THAT WITHOUT YOU THERE'S NO POINT TO THIS SONG ♪ 1476 01:02:07,489 --> 01:02:09,357 [APPLAUSE] 1477 01:02:15,998 --> 01:02:20,001 [INTRO TO "BRIDGE OVER TROUBLED WATER" PLAYS] 1478 01:02:33,649 --> 01:02:41,649 ♪ WHEN YOU'RE WEARY ♪ [APPLAUSE] ♪ FEELING SMALL ♪ 1479 01:02:44,094 --> 01:02:51,878 [APPLAUSE] ♪ FEELING SMALL ♪ ♪ WHEN TEARS ARE IN YOUR EYES ♪ 1480 01:02:51,902 --> 01:02:59,902 ♪ FEELING SMALL ♪ ♪ WHEN TEARS ARE IN YOUR EYES ♪ ♪ I WILL DRY THEM ALL ♪ 1481 01:02:59,943 --> 01:03:04,958 ♪ WHEN TEARS ARE IN YOUR EYES ♪ ♪ I WILL DRY THEM ALL ♪ ♪ I'M ON YOUR SIDE ♪ 1482 01:03:04,982 --> 01:03:12,732 ♪ I WILL DRY THEM ALL ♪ ♪ I'M ON YOUR SIDE ♪ ♪ OH, WHEN TIMES GET ROUGH ♪ 1483 01:03:12,756 --> 01:03:17,370 ♪ I'M ON YOUR SIDE ♪ ♪ OH, WHEN TIMES GET ROUGH ♪ ♪ AND FRIENDS JUST CAN'T BE 1484 01:03:17,394 --> 01:03:19,438 ♪ OH, WHEN TIMES GET ROUGH ♪ ♪ AND FRIENDS JUST CAN'T BE FOUND ♪ 1485 01:03:19,462 --> 01:03:25,678 ♪ AND FRIENDS JUST CAN'T BE FOUND ♪ ♪ LIKE A BRIDGE OVER TROUBLED 1486 01:03:25,702 --> 01:03:28,281 FOUND ♪ ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ 1487 01:03:28,305 --> 01:03:32,252 ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ ♪ I WILL LAY ME DOWN ♪ 1488 01:03:32,276 --> 01:03:38,324 WATER ♪ ♪ I WILL LAY ME DOWN ♪ ♪ LIKE A BRIDGE OVER TROUBLED 1489 01:03:38,348 --> 01:03:41,060 ♪ I WILL LAY ME DOWN ♪ ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ 1490 01:03:41,084 --> 01:03:45,253 ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ ♪ I WILL LAY ME DOWN ♪ 1491 01:03:55,031 --> 01:04:01,580 ♪ WHEN YOU'RE DOWN AND YOU'RE OUT ♪ ♪ WHEN YOU'RE ON THE STREETS, 1492 01:04:01,604 --> 01:04:05,351 OUT ♪ ♪ WHEN YOU'RE ON THE STREETS, YEAH ♪ 1493 01:04:05,375 --> 01:04:12,425 ♪ WHEN YOU'RE ON THE STREETS, YEAH ♪ ♪ WHEN EVENING FALLS SO HARD ♪ 1494 01:04:12,449 --> 01:04:19,398 YEAH ♪ ♪ WHEN EVENING FALLS SO HARD ♪ ♪ I WILL COMFORT YOU ♪ 1495 01:04:19,422 --> 01:04:24,003 ♪ WHEN EVENING FALLS SO HARD ♪ ♪ I WILL COMFORT YOU ♪ ♪ I'LL TAKE YOUR PART ♪ 1496 01:04:24,027 --> 01:04:31,377 ♪ I WILL COMFORT YOU ♪ ♪ I'LL TAKE YOUR PART ♪ ♪ OH, WHEN DARKNESS COMES ♪ 1497 01:04:31,401 --> 01:04:37,350 ♪ I'LL TAKE YOUR PART ♪ ♪ OH, WHEN DARKNESS COMES ♪ ♪ AND PAIN IS ALL AROUND ♪ 1498 01:04:37,374 --> 01:04:42,956 ♪ OH, WHEN DARKNESS COMES ♪ ♪ AND PAIN IS ALL AROUND ♪ ♪ LIKE A BRIDGE OVER TROUBLED 1499 01:04:42,980 --> 01:04:45,758 ♪ AND PAIN IS ALL AROUND ♪ ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ 1500 01:04:45,782 --> 01:04:49,528 ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ ♪ I WILL LAY ME DOWN ♪ 1501 01:04:49,552 --> 01:04:55,235 WATER ♪ ♪ I WILL LAY ME DOWN ♪ ♪ LIKE A BRIDGE OVER TROUBLED 1502 01:04:55,259 --> 01:04:58,338 ♪ I WILL LAY ME DOWN ♪ ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ 1503 01:04:58,362 --> 01:05:02,375 ♪ LIKE A BRIDGE OVER TROUBLED WATER ♪ ♪ I WILL LAY ME DOWN ♪ 1504 01:05:02,399 --> 01:05:07,546 WATER ♪ ♪ I WILL LAY ME DOWN ♪ ♪ MMM-MMM-MMM-MMM ♪ 1505 01:05:07,570 --> 01:05:12,085 ♪ I WILL LAY ME DOWN ♪ ♪ MMM-MMM-MMM-MMM ♪ [CHEERS AND APPLAUSE] 1506 01:05:12,109 --> 01:05:14,820 ♪ MMM-MMM-MMM-MMM ♪ [CHEERS AND APPLAUSE] THANK YOU. 1507 01:05:14,844 --> 01:05:16,778 [CHEERS AND APPLAUSE] THANK YOU. THANK YOU. 1508 01:05:25,087 --> 01:05:26,521 GOOD NIGHT TO EVERYONE. 1509 01:05:26,655 --> 01:05:27,923 A HAPPY THANKSGIVING. 1510 01:05:28,057 --> 01:05:29,624 AND MY SPECIAL APOLOGIES TO 1511 01:05:29,758 --> 01:05:30,926 MICHAEL O'DONOGHUE. 1512 01:05:31,060 --> 01:05:32,060 HE KNOWS WHY. 1513 01:05:32,094 --> 01:05:37,232 [APPLAUSE] 1514 01:05:37,366 --> 01:05:38,366 GOOD NIGHT. 1515 01:05:38,467 --> 01:05:40,201 [CHEERS AND APPLAUSE] 1516 01:05:40,336 --> 01:05:45,506 [BAND PLAYS] 1517 01:05:45,641 --> 01:05:46,741 Announcer: NEXT SATURDAY 1518 01:05:46,875 --> 01:05:47,875 NIGHT, OUR HOST WILL BE 1519 01:05:47,944 --> 01:05:49,077 JODIE FOSTER, WITH A SPECIAL 1520 01:05:49,211 --> 01:05:50,378 APPEARANCE BY BRIAN WILSON OF 1521 01:05:50,512 --> 01:05:51,146 THE BEACH BOYS. 1522 01:05:51,280 --> 01:05:52,480 YOU KNOW, I'M AN OLD BEACH BOY 1523 01:05:52,581 --> 01:05:53,114 MYSELF. 1524 01:05:53,249 --> 01:05:54,615 WHEN THE SURF WAS UP, SO WAS I. 1525 01:05:54,750 --> 01:05:56,451 BUT THAT'S ANOTHER STORY, AND SO 1526 01:05:56,585 --> 01:05:57,352 AM I. 1527 01:05:57,486 --> 01:05:59,321 THIS IS DON PARDO, HANGING TEN 1528 01:05:59,455 --> 01:06:01,423 AND SAYING, "GOOD NIGHT!" 1529 01:06:01,557 --> 01:06:04,592 WHEEEEEE! 1530 01:06:04,726 --> 01:06:05,893 [CHEERS AND APPLAUSE 1531 01:06:06,028 --> 01:06:08,129 [CONTINUES] 170918

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