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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"!
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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.
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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
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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!
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00:01:33,660 --> 00:01:34,837
♪ DO YOU KNOW... ♪
DYLAN!
DYLAN
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00:01:34,861 --> 00:01:38,597
DYLAN!
DYLAN
♪ NOBODY FEELS ANY PAIN ♪
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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.
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00:01:55,182 --> 00:01:55,992
[INDISTINCT ARGUING]
HI, GEORGE.
HI, LORNE.
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00:01:56,016 --> 00:01:57,127
HI, GEORGE.
HI, LORNE.
WE BETTER GET STARTED.
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00:01:57,151 --> 00:01:58,295
HI, LORNE.
WE BETTER GET STARTED.
LORNE, CAN I JUST TALK TO
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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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