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All language subtitles for SNL S02E09 Jodie Foster.DVDRip.HI.RLP.cc.en.UNVSL

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:00,967 --> 00:00:05,882 HI, EVERYBODY. I'M GILDA RADNER. AS IT TURNS OUT, THIS WEEK I 2 00:00:05,906 --> 00:00:07,584 I'M GILDA RADNER. AS IT TURNS OUT, THIS WEEK I HAVE VERY, VERY LITTLE TO DO IN 3 00:00:07,608 --> 00:00:08,318 AS IT TURNS OUT, THIS WEEK I HAVE VERY, VERY LITTLE TO DO IN THE SHOW. 4 00:00:08,342 --> 00:00:10,187 HAVE VERY, VERY LITTLE TO DO IN THE SHOW. I MEAN, UH, IT ISN'T ANYBODY'S 5 00:00:10,211 --> 00:00:12,055 THE SHOW. I MEAN, UH, IT ISN'T ANYBODY'S FAULT, IT JUST TURNED OUT THAT 6 00:00:12,079 --> 00:00:12,589 I MEAN, UH, IT ISN'T ANYBODY'S FAULT, IT JUST TURNED OUT THAT WAY. 7 00:00:12,613 --> 00:00:14,757 FAULT, IT JUST TURNED OUT THAT WAY. SO, UH, THEY SAID I COULD COME 8 00:00:14,781 --> 00:00:16,426 WAY. SO, UH, THEY SAID I COULD COME OUT HERE AND SAY "LIVE, FROM 9 00:00:16,450 --> 00:00:17,894 SO, UH, THEY SAID I COULD COME OUT HERE AND SAY "LIVE, FROM NEW YORK, IT'S 'SATURDAY 10 00:00:17,918 --> 00:00:18,928 OUT HERE AND SAY "LIVE, FROM NEW YORK, IT'S 'SATURDAY NIGHT.'" 11 00:00:18,952 --> 00:00:20,097 NEW YORK, IT'S 'SATURDAY NIGHT.'" [BAND PLAYS] 12 00:00:20,121 --> 00:00:22,232 NIGHT.'" [BAND PLAYS] HOLD IT! WAIT A MINUTE! 13 00:00:22,256 --> 00:00:23,900 [BAND PLAYS] HOLD IT! WAIT A MINUTE! WILL YOU WAIT A MINUTE? 14 00:00:23,924 --> 00:00:26,036 HOLD IT! WAIT A MINUTE! WILL YOU WAIT A MINUTE? HOLD IT! 15 00:00:26,060 --> 00:00:27,904 WILL YOU WAIT A MINUTE? HOLD IT! HOLD IT! WAIT A MINUTE! 16 00:00:27,928 --> 00:00:28,705 HOLD IT! HOLD IT! WAIT A MINUTE! [MUSIC STOPS] 17 00:00:28,729 --> 00:00:30,307 HOLD IT! WAIT A MINUTE! [MUSIC STOPS] JUST HOLD IT A MINUTE. 18 00:00:30,331 --> 00:00:32,731 [MUSIC STOPS] JUST HOLD IT A MINUTE. OKAY. 19 00:00:32,999 --> 00:00:34,900 NOW, I WAS SUPPOSED TO BE IN 20 00:00:35,035 --> 00:00:36,968 THIS SCENE, OKAY, WHERE I WAS 21 00:00:37,103 --> 00:00:38,937 JOEY HETHERTON IN THE LOCKER 22 00:00:39,072 --> 00:00:43,242 ROOM OF THE MINNESOTA VIKINGS. 23 00:00:43,376 --> 00:00:45,077 BUT IT GOT CUT. 24 00:00:45,211 --> 00:00:46,251 NOW, IT WENT OVER GREAT IN 25 00:00:46,312 --> 00:00:47,512 DRESS REHEARSAL, YOU KNOW, AND 26 00:00:47,580 --> 00:00:48,780 I THOUGHT IT WAS PRETTY FUNNY, 27 00:00:48,814 --> 00:00:50,282 BUT IT GOT CUT. 28 00:00:50,417 --> 00:00:54,586 ALL RIGHT? IT JUST GOT CUT. 29 00:00:54,720 --> 00:00:56,522 YOU KNOW, SOMETIMES IT FEELS 30 00:00:56,656 --> 00:00:58,457 JUST LIKE THE WHOLE WORLD IS 31 00:00:58,591 --> 00:00:59,591 GANGING UP ON ME. 32 00:00:59,659 --> 00:01:01,093 I MEAN, THE OTHER GIRLS GOT 33 00:01:01,227 --> 00:01:02,428 FEATURED A LOT IN THE SHOW. 34 00:01:02,562 --> 00:01:04,196 I MEAN, JANE DOES "UPDATE." 35 00:01:04,330 --> 00:01:05,370 I MEAN, SHE DOES IT REALLY 36 00:01:05,498 --> 00:01:06,498 WELL. 37 00:01:06,599 --> 00:01:13,316 ANYBODY CAN READ. AS A MATTER OF FACT, I MAJORED IN ORAL INTERPRETATION IN 38 00:01:13,340 --> 00:01:15,118 AS A MATTER OF FACT, I MAJORED IN ORAL INTERPRETATION IN COLLEGE. 39 00:01:15,142 --> 00:01:17,087 IN ORAL INTERPRETATION IN COLLEGE. ANYWAY, I JUST WANTED TO SAY, IF 40 00:01:17,111 --> 00:01:18,755 COLLEGE. ANYWAY, I JUST WANTED TO SAY, IF YOU WATCH "SATURDAY NIGHT" 41 00:01:18,779 --> 00:01:21,591 ANYWAY, I JUST WANTED TO SAY, IF YOU WATCH "SATURDAY NIGHT" PARTICULARLY TO SEE ME, I WON'T 42 00:01:21,615 --> 00:01:22,392 YOU WATCH "SATURDAY NIGHT" PARTICULARLY TO SEE ME, I WON'T BE ON THAT MUCH. 43 00:01:22,416 --> 00:01:23,793 PARTICULARLY TO SEE ME, I WON'T BE ON THAT MUCH. I MEAN, YOU MIGHT AS WELL FORGET 44 00:01:23,817 --> 00:01:24,094 BE ON THAT MUCH. I MEAN, YOU MIGHT AS WELL FORGET IT. 45 00:01:24,118 --> 00:01:25,295 I MEAN, YOU MIGHT AS WELL FORGET IT. I'LL BE IN THE BACKGROUND A 46 00:01:25,319 --> 00:01:26,463 IT. I'LL BE IN THE BACKGROUND A COUPLE OF TIMES, YOU KNOW, 47 00:01:26,487 --> 00:01:28,298 I'LL BE IN THE BACKGROUND A COUPLE OF TIMES, YOU KNOW, AND, UM... BUT IF YOU'RE A BIG 48 00:01:28,322 --> 00:01:30,267 COUPLE OF TIMES, YOU KNOW, AND, UM... BUT IF YOU'RE A BIG FAN OF MINE, I WOULD JUST TURN 49 00:01:30,291 --> 00:01:30,867 AND, UM... BUT IF YOU'RE A BIG FAN OF MINE, I WOULD JUST TURN IT OFF. 50 00:01:30,891 --> 00:01:32,602 FAN OF MINE, I WOULD JUST TURN IT OFF. AND, MOM, YOU CAN GO TO SLEEP, 51 00:01:32,626 --> 00:01:33,803 IT OFF. AND, MOM, YOU CAN GO TO SLEEP, OKAY? 52 00:01:33,827 --> 00:01:37,174 AND, MOM, YOU CAN GO TO SLEEP, OKAY? UH, BIG DEAL. 53 00:01:37,198 --> 00:01:38,641 OKAY? UH, BIG DEAL. REALLY, BIG DEAL. 54 00:01:38,665 --> 00:01:39,576 UH, BIG DEAL. REALLY, BIG DEAL. PEANUTS! 55 00:01:39,600 --> 00:01:41,278 REALLY, BIG DEAL. PEANUTS! I MEAN, THEY SAY THAT I CAN 56 00:01:41,302 --> 00:01:43,180 PEANUTS! I MEAN, THEY SAY THAT I CAN OPEN THE SHOW. 57 00:01:43,204 --> 00:01:45,482 I MEAN, THEY SAY THAT I CAN OPEN THE SHOW. OKAY. 58 00:01:45,506 --> 00:01:47,284 OPEN THE SHOW. OKAY. LIVE, FROM NEW YORK, 59 00:01:47,308 --> 00:01:49,652 OKAY. LIVE, FROM NEW YORK, IT'S "SATURDAY NIGHT!" 60 00:01:49,676 --> 00:01:52,544 LIVE, FROM NEW YORK, IT'S "SATURDAY NIGHT!" [BAND PLAYS] 61 00:02:07,026 --> 00:02:15,026 Announcer: NBC "SATURDAY NIGHT"... STARRING JODIE FOSTER... 62 00:02:25,578 --> 00:02:30,149 WITH HER SPECIAL GUEST, BRIAN WILSON... 63 00:02:37,290 --> 00:02:40,425 AND THE NOT-READY-FOR-PRIME-TIME PLAYERS. 64 00:02:55,475 --> 00:02:59,944 LADIES AND GENTLEMEN, JODIE FOSTER. 65 00:03:14,460 --> 00:03:19,676 THANK YOU! I'M NOT MISS TEENAGE AMERICA. YEAH, WELL, YOU KNOW, IT'S 66 00:03:19,700 --> 00:03:21,478 I'M NOT MISS TEENAGE AMERICA. YEAH, WELL, YOU KNOW, IT'S REALLY A SPECIAL HONOR FOR ME TO 67 00:03:21,502 --> 00:03:24,214 YEAH, WELL, YOU KNOW, IT'S REALLY A SPECIAL HONOR FOR ME TO BE HERE TONIGHT, 'CAUSE I'M THE 68 00:03:24,238 --> 00:03:25,448 REALLY A SPECIAL HONOR FOR ME TO BE HERE TONIGHT, 'CAUSE I'M THE YOUNGEST HOST "SATURDAY NIGHT" 69 00:03:25,472 --> 00:03:27,184 BE HERE TONIGHT, 'CAUSE I'M THE YOUNGEST HOST "SATURDAY NIGHT" HAS EVER HAD, BUT NOBODY HERE 70 00:03:27,208 --> 00:03:28,385 YOUNGEST HOST "SATURDAY NIGHT" HAS EVER HAD, BUT NOBODY HERE HAS... 71 00:03:28,409 --> 00:03:33,323 HAS EVER HAD, BUT NOBODY HERE HAS... [CHEERS AND APPLAUSE] 72 00:03:33,347 --> 00:03:34,658 HAS... [CHEERS AND APPLAUSE] WHAT I MEAN TO SAY IS, 73 00:03:34,682 --> 00:03:36,193 [CHEERS AND APPLAUSE] WHAT I MEAN TO SAY IS, LIKE, NOBODY HERE HAS TREATED 74 00:03:36,217 --> 00:03:37,394 WHAT I MEAN TO SAY IS, LIKE, NOBODY HERE HAS TREATED ME LIKE A KID OR ANYTHING. 75 00:03:37,418 --> 00:03:38,695 LIKE, NOBODY HERE HAS TREATED ME LIKE A KID OR ANYTHING. THEY'VE ALL ASSURED ME THAT, 76 00:03:38,719 --> 00:03:39,996 ME LIKE A KID OR ANYTHING. THEY'VE ALL ASSURED ME THAT, EVEN THOUGH I'M ONLY 14, I'M 77 00:03:40,020 --> 00:03:41,398 THEY'VE ALL ASSURED ME THAT, EVEN THOUGH I'M ONLY 14, I'M STILL EXACTLY THE SAME AS EVERY 78 00:03:41,422 --> 00:03:42,199 EVEN THOUGH I'M ONLY 14, I'M STILL EXACTLY THE SAME AS EVERY OTHER HOST. 79 00:03:42,223 --> 00:03:43,900 STILL EXACTLY THE SAME AS EVERY OTHER HOST. LIKE I WAS TOLD, FOR EXAMPLE, 80 00:03:43,924 --> 00:03:45,768 OTHER HOST. LIKE I WAS TOLD, FOR EXAMPLE, THAT RAQUEL WELCH ALSO DRANK HER 81 00:03:45,792 --> 00:03:48,505 LIKE I WAS TOLD, FOR EXAMPLE, THAT RAQUEL WELCH ALSO DRANK HER MILK OUT OF A FLINTSTONES GLASS. 82 00:03:48,529 --> 00:03:50,407 THAT RAQUEL WELCH ALSO DRANK HER MILK OUT OF A FLINTSTONES GLASS. AND EVERYONE SAID THAT 83 00:03:50,431 --> 00:03:53,009 MILK OUT OF A FLINTSTONES GLASS. AND EVERYONE SAID THAT DESI ARNAZ, HE GOT PAID THE SAME 84 00:03:53,033 --> 00:03:54,311 AND EVERYONE SAID THAT DESI ARNAZ, HE GOT PAID THE SAME WAY I'M BEING PAID... NOT IN ONE 85 00:03:54,335 --> 00:03:55,345 DESI ARNAZ, HE GOT PAID THE SAME WAY I'M BEING PAID... NOT IN ONE LUMP SUM, BUT IN A WEEKLY 86 00:03:55,369 --> 00:03:57,013 WAY I'M BEING PAID... NOT IN ONE LUMP SUM, BUT IN A WEEKLY ALLOWANCE OF $5, WHICH HE GOT 87 00:03:57,037 --> 00:03:58,715 LUMP SUM, BUT IN A WEEKLY ALLOWANCE OF $5, WHICH HE GOT EVERY SATURDAY MORNING, UNLESS 88 00:03:58,739 --> 00:04:01,484 ALLOWANCE OF $5, WHICH HE GOT EVERY SATURDAY MORNING, UNLESS HE FORGOT TO MAKE HIS BED. 89 00:04:01,508 --> 00:04:02,819 EVERY SATURDAY MORNING, UNLESS HE FORGOT TO MAKE HIS BED. YEAH, AND THERE WAS ONE MORE 90 00:04:02,843 --> 00:04:04,254 HE FORGOT TO MAKE HIS BED. YEAH, AND THERE WAS ONE MORE THING I WAS TOLD REPEATEDLY BY 91 00:04:04,278 --> 00:04:05,322 YEAH, AND THERE WAS ONE MORE THING I WAS TOLD REPEATEDLY BY EVERYONE HERE... THAT 92 00:04:05,346 --> 00:04:07,424 THING I WAS TOLD REPEATEDLY BY EVERYONE HERE... THAT ELLIOT GOULD'S CUE CARDS WERE 93 00:04:07,448 --> 00:04:10,168 EVERYONE HERE... THAT ELLIOT GOULD'S CUE CARDS WERE EXACTLY LIKE MINE. 94 00:04:16,021 --> 00:04:19,569 SO, ANYWAY, I FEEL REALLY COMFORTABLE IN THE ROLE OF "SATURDAY NIGHT" HOST, EXCEPT 95 00:04:19,593 --> 00:04:20,403 COMFORTABLE IN THE ROLE OF "SATURDAY NIGHT" HOST, EXCEPT FOR ONE THING. 96 00:04:20,427 --> 00:04:22,004 "SATURDAY NIGHT" HOST, EXCEPT FOR ONE THING. WELL, THE SHOW HAS STARTED LATE 97 00:04:22,028 --> 00:04:23,340 FOR ONE THING. WELL, THE SHOW HAS STARTED LATE TONIGHT, BUT, JUST LIKE ALL THE 98 00:04:23,364 --> 00:04:24,708 WELL, THE SHOW HAS STARTED LATE TONIGHT, BUT, JUST LIKE ALL THE OTHER HOSTS WHOSE SHOWS STARTED 99 00:04:24,732 --> 00:04:26,075 TONIGHT, BUT, JUST LIKE ALL THE OTHER HOSTS WHOSE SHOWS STARTED LATE, I BROUGHT A NOTE FROM HOME 100 00:04:26,099 --> 00:04:27,377 OTHER HOSTS WHOSE SHOWS STARTED LATE, I BROUGHT A NOTE FROM HOME TO EXPLAIN. 101 00:04:27,401 --> 00:04:29,346 LATE, I BROUGHT A NOTE FROM HOME TO EXPLAIN. I'VE GOT IT RIGHT HERE. 102 00:04:29,370 --> 00:04:32,115 TO EXPLAIN. I'VE GOT IT RIGHT HERE. IT'S SNOOPY, SEE? 103 00:04:32,139 --> 00:04:34,150 I'VE GOT IT RIGHT HERE. IT'S SNOOPY, SEE? "DEAR 'SATURDAY NIGHT' AUDIENCE, 104 00:04:34,174 --> 00:04:36,119 IT'S SNOOPY, SEE? "DEAR 'SATURDAY NIGHT' AUDIENCE, PLEASE EXCUSE JODIE'S TARDINESS 105 00:04:36,143 --> 00:04:38,087 "DEAR 'SATURDAY NIGHT' AUDIENCE, PLEASE EXCUSE JODIE'S TARDINESS TONIGHT, AS THE DOCTOR SAID SHE 106 00:04:38,111 --> 00:04:38,988 PLEASE EXCUSE JODIE'S TARDINESS TONIGHT, AS THE DOCTOR SAID SHE HAD TO WATCH 'MISS TEENAGE 107 00:04:39,012 --> 00:04:40,056 TONIGHT, AS THE DOCTOR SAID SHE HAD TO WATCH 'MISS TEENAGE AMERICA' ALL THE WAY TO THE END 108 00:04:40,080 --> 00:04:41,891 HAD TO WATCH 'MISS TEENAGE AMERICA' ALL THE WAY TO THE END OR SHE WOULD DIE. 109 00:04:41,915 --> 00:04:44,761 AMERICA' ALL THE WAY TO THE END OR SHE WOULD DIE. SIGNED, JODIE'S MOTHER." 110 00:04:44,785 --> 00:04:47,719 OR SHE WOULD DIE. SIGNED, JODIE'S MOTHER." WELL, WE'LL BE RIGHT BACK. 111 00:04:55,895 --> 00:05:01,444 NO TIME RIGHT NOW. [LAUGHS] HI, I'M CHEVY CHASE, AND IF 112 00:05:01,468 --> 00:05:02,879 [LAUGHS] HI, I'M CHEVY CHASE, AND IF YOU'RE SKIPPING MEALS BECAUSE 113 00:05:02,903 --> 00:05:04,414 HI, I'M CHEVY CHASE, AND IF YOU'RE SKIPPING MEALS BECAUSE YOU JUST CAN'T FIND THE TIME TO 114 00:05:04,438 --> 00:05:06,349 YOU'RE SKIPPING MEALS BECAUSE YOU JUST CAN'T FIND THE TIME TO EAT THEM, WHY NOT TRY A PILSON'S 115 00:05:06,373 --> 00:05:07,417 YOU JUST CAN'T FIND THE TIME TO EAT THEM, WHY NOT TRY A PILSON'S FEED BAG DINNER? 116 00:05:07,441 --> 00:05:09,352 EAT THEM, WHY NOT TRY A PILSON'S FEED BAG DINNER? YOU KNOW, EACH PILSON'S FEED BAG 117 00:05:09,376 --> 00:05:10,754 FEED BAG DINNER? YOU KNOW, EACH PILSON'S FEED BAG DINNER HAS THREE SCRUMPTIOUS 118 00:05:10,778 --> 00:05:13,122 YOU KNOW, EACH PILSON'S FEED BAG DINNER HAS THREE SCRUMPTIOUS COURSES... SOUP, YOUR CHOICE OF 119 00:05:13,146 --> 00:05:15,325 DINNER HAS THREE SCRUMPTIOUS COURSES... SOUP, YOUR CHOICE OF SIX EXCITING ENTREES, PLUS A 120 00:05:15,349 --> 00:05:16,859 COURSES... SOUP, YOUR CHOICE OF SIX EXCITING ENTREES, PLUS A YUMMY APPLE BROWN BETTY. 121 00:05:16,883 --> 00:05:18,695 SIX EXCITING ENTREES, PLUS A YUMMY APPLE BROWN BETTY. AND IT STRAPS RIGHT ON TO YOUR 122 00:05:18,719 --> 00:05:20,330 YUMMY APPLE BROWN BETTY. AND IT STRAPS RIGHT ON TO YOUR FACE. 123 00:05:20,354 --> 00:05:21,731 AND IT STRAPS RIGHT ON TO YOUR FACE. I'M 15 LATE FOR AN IMPORTANT 124 00:05:21,755 --> 00:05:23,065 FACE. I'M 15 LATE FOR AN IMPORTANT DATE RIGHT NOW, AND I JUST 125 00:05:23,089 --> 00:05:24,867 I'M 15 LATE FOR AN IMPORTANT DATE RIGHT NOW, AND I JUST HAVEN'T GOT TIME TO EAT. 126 00:05:24,891 --> 00:05:27,570 DATE RIGHT NOW, AND I JUST HAVEN'T GOT TIME TO EAT. MMM, MMM. 127 00:05:27,594 --> 00:05:28,538 HAVEN'T GOT TIME TO EAT. MMM, MMM. TUNA. 128 00:05:28,562 --> 00:05:30,039 MMM, MMM. TUNA. TASTES GREAT ALREADY. 129 00:05:30,063 --> 00:05:32,375 TUNA. TASTES GREAT ALREADY. ♪ EAT LUNCH AND RUN, 130 00:05:32,399 --> 00:05:34,744 TASTES GREAT ALREADY. ♪ EAT LUNCH AND RUN, EVERYONE ♪ 131 00:05:34,768 --> 00:05:39,282 ♪ EAT LUNCH AND RUN, EVERYONE ♪ ♪ FEED YOUR FACE ANYPLACE ♪ 132 00:05:39,306 --> 00:05:43,920 EVERYONE ♪ ♪ FEED YOUR FACE ANYPLACE ♪ ♪ TIE ONE ON ANYPLACE ♪ 133 00:05:43,944 --> 00:05:45,388 ♪ FEED YOUR FACE ANYPLACE ♪ ♪ TIE ONE ON ANYPLACE ♪ ♪ WITH PILSON'S FEED BAG 134 00:05:45,412 --> 00:05:47,424 ♪ TIE ONE ON ANYPLACE ♪ ♪ WITH PILSON'S FEED BAG DINNERS, YOU'VE GOT TIME TO FEED 135 00:05:47,448 --> 00:05:51,328 ♪ WITH PILSON'S FEED BAG DINNERS, YOU'VE GOT TIME TO FEED YOUR FACE ♪ 136 00:05:51,352 --> 00:05:52,329 DINNERS, YOU'VE GOT TIME TO FEED YOUR FACE ♪ HI, HONEY. 137 00:05:52,353 --> 00:05:54,197 YOUR FACE ♪ HI, HONEY. SO, WHERE ARE WE GOING TO EAT? 138 00:05:54,221 --> 00:05:55,464 HI, HONEY. SO, WHERE ARE WE GOING TO EAT? [LAUGHS] 139 00:05:55,488 --> 00:05:59,157 ♪ FEED BAGS, FROM PILSON'S ♪ 140 00:06:13,840 --> 00:06:18,588 OH, RIGHT. YEAH, I MEAN, PINK FLOYD... THIS REALLY GREAT GROUP FROM THE 141 00:06:18,612 --> 00:06:20,357 YEAH, I MEAN, PINK FLOYD... THIS REALLY GREAT GROUP FROM THE '60s... THEY'RE REALLY HOT. 142 00:06:20,381 --> 00:06:21,958 REALLY GREAT GROUP FROM THE '60s... THEY'RE REALLY HOT. NO, LISTEN, AEROSMITH IS LOUD, 143 00:06:21,982 --> 00:06:23,393 '60s... THEY'RE REALLY HOT. NO, LISTEN, AEROSMITH IS LOUD, BUT YOU CAN'T HOLD LOUDNESS 144 00:06:23,417 --> 00:06:24,594 NO, LISTEN, AEROSMITH IS LOUD, BUT YOU CAN'T HOLD LOUDNESS AGAINST THEM. 145 00:06:24,618 --> 00:06:25,395 BUT YOU CAN'T HOLD LOUDNESS AGAINST THEM. RIGHT. 146 00:06:25,419 --> 00:06:26,095 AGAINST THEM. RIGHT. OKAY. 147 00:06:26,119 --> 00:06:28,219 RIGHT. OKAY. I'LL TALK TO YOU TOMORROW, OKAY? 148 00:06:34,193 --> 00:06:39,676 [BELLS TINKLE] WENDY! HEY, YOU KNOW, I KNEW I WAS 149 00:06:39,700 --> 00:06:41,678 WENDY! HEY, YOU KNOW, I KNEW I WAS WRECKED, BUT NOT THIS WRECKED! 150 00:06:41,702 --> 00:06:43,312 HEY, YOU KNOW, I KNEW I WAS WRECKED, BUT NOT THIS WRECKED! WENDY, I'M PETER, AND 151 00:06:43,336 --> 00:06:46,082 WRECKED, BUT NOT THIS WRECKED! WENDY, I'M PETER, AND THIS IS TINKER BEE. 152 00:06:46,106 --> 00:06:47,617 WENDY, I'M PETER, AND THIS IS TINKER BEE. AND WE'VE COME TO TAKE YOU OFF 153 00:06:47,641 --> 00:06:49,085 THIS IS TINKER BEE. AND WE'VE COME TO TAKE YOU OFF TO THE LAND OF THE LOST BEES. 154 00:06:49,109 --> 00:06:50,119 AND WE'VE COME TO TAKE YOU OFF TO THE LAND OF THE LOST BEES. HEY, MAN, I'VE BEEN WRECKED 155 00:06:50,143 --> 00:06:51,120 TO THE LAND OF THE LOST BEES. HEY, MAN, I'VE BEEN WRECKED BEFORE, BUT I'VE HANDLED IT, 156 00:06:51,144 --> 00:06:51,888 HEY, MAN, I'VE BEEN WRECKED BEFORE, BUT I'VE HANDLED IT, YOU KNOW? 157 00:06:51,912 --> 00:06:53,122 BEFORE, BUT I'VE HANDLED IT, YOU KNOW? WHERE YOU NEVER GROW UP. 158 00:06:53,146 --> 00:06:54,290 YOU KNOW? WHERE YOU NEVER GROW UP. YEAH, I MEAN I'VE BEEN 159 00:06:54,314 --> 00:06:55,625 WHERE YOU NEVER GROW UP. YEAH, I MEAN I'VE BEEN THROUGH A LOT OF HEAVY STUFF, 160 00:06:55,649 --> 00:06:56,760 YEAH, I MEAN I'VE BEEN THROUGH A LOT OF HEAVY STUFF, BUT I'VE HANDLED IT. 161 00:06:56,784 --> 00:06:58,327 THROUGH A LOT OF HEAVY STUFF, BUT I'VE HANDLED IT. HEY, AND YOU COULD LEARN TO 162 00:06:58,351 --> 00:06:58,961 BUT I'VE HANDLED IT. HEY, AND YOU COULD LEARN TO FLY, TOO. 163 00:06:58,985 --> 00:07:00,463 HEY, AND YOU COULD LEARN TO FLY, TOO. OH, LISTEN, SOMETHING LIKE 164 00:07:00,487 --> 00:07:01,998 FLY, TOO. OH, LISTEN, SOMETHING LIKE THIS HAPPENED TO ME AT A DEAD 165 00:07:02,022 --> 00:07:04,534 OH, LISTEN, SOMETHING LIKE THIS HAPPENED TO ME AT A DEAD CONCERT ONCE, BUT IT LASTED TWO 166 00:07:04,558 --> 00:07:06,603 THIS HAPPENED TO ME AT A DEAD CONCERT ONCE, BUT IT LASTED TWO HOURS, AN HOUR AND A HALF, TOPS. 167 00:07:06,627 --> 00:07:08,371 CONCERT ONCE, BUT IT LASTED TWO HOURS, AN HOUR AND A HALF, TOPS. WENDY, I SENSE YOU DON'T 168 00:07:08,395 --> 00:07:09,071 HOURS, AN HOUR AND A HALF, TOPS. WENDY, I SENSE YOU DON'T BELIEVE ME. 169 00:07:09,095 --> 00:07:10,507 WENDY, I SENSE YOU DON'T BELIEVE ME. IT'S JUST... I MEAN, TWO 170 00:07:10,531 --> 00:07:12,108 BELIEVE ME. IT'S JUST... I MEAN, TWO PEOPLE COME INTO YOUR ROOM LATE 171 00:07:12,132 --> 00:07:13,743 IT'S JUST... I MEAN, TWO PEOPLE COME INTO YOUR ROOM LATE AT NIGHT, TELL YOU THEY'RE BEES, 172 00:07:13,767 --> 00:07:15,378 PEOPLE COME INTO YOUR ROOM LATE AT NIGHT, TELL YOU THEY'RE BEES, YOU KNOW, THEY'RE GONNA TAKE YOU 173 00:07:15,402 --> 00:07:16,479 AT NIGHT, TELL YOU THEY'RE BEES, YOU KNOW, THEY'RE GONNA TAKE YOU AWAY TO A LAND WHERE YOU NEVER 174 00:07:16,503 --> 00:07:17,580 YOU KNOW, THEY'RE GONNA TAKE YOU AWAY TO A LAND WHERE YOU NEVER GROW UP, YOU CAN FLY... IT'S A 175 00:07:17,604 --> 00:07:18,948 AWAY TO A LAND WHERE YOU NEVER GROW UP, YOU CAN FLY... IT'S A LITTLE WEIRD, THAT'S ALL. 176 00:07:18,972 --> 00:07:20,283 GROW UP, YOU CAN FLY... IT'S A LITTLE WEIRD, THAT'S ALL. IT'S JUST A LITTLE WEIRD. 177 00:07:20,307 --> 00:07:21,918 LITTLE WEIRD, THAT'S ALL. IT'S JUST A LITTLE WEIRD. YOU CALLED US "PEOPLE." 178 00:07:21,942 --> 00:07:23,286 IT'S JUST A LITTLE WEIRD. YOU CALLED US "PEOPLE." WENDY, WE'RE NOT PEOPLE, WE'RE 179 00:07:23,310 --> 00:07:23,686 YOU CALLED US "PEOPLE." WENDY, WE'RE NOT PEOPLE, WE'RE BEES! 180 00:07:23,710 --> 00:07:24,487 WENDY, WE'RE NOT PEOPLE, WE'RE BEES! YEAH, RIGHT. 181 00:07:24,511 --> 00:07:25,455 BEES! YEAH, RIGHT. YOU'RE BEES, AND I'M 182 00:07:25,479 --> 00:07:26,756 YEAH, RIGHT. YOU'RE BEES, AND I'M BIANCA JAGGER, AND I CARRY A 183 00:07:26,780 --> 00:07:28,458 YOU'RE BEES, AND I'M BIANCA JAGGER, AND I CARRY A CANE FOR NO KNOWN REASON. 184 00:07:28,482 --> 00:07:30,493 BIANCA JAGGER, AND I CARRY A CANE FOR NO KNOWN REASON. DON'T YOU BELIEVE IN BEES? 185 00:07:30,517 --> 00:07:32,629 CANE FOR NO KNOWN REASON. DON'T YOU BELIEVE IN BEES? I'D BELIEVE IN PEANUT BUTTER 186 00:07:32,653 --> 00:07:34,564 DON'T YOU BELIEVE IN BEES? I'D BELIEVE IN PEANUT BUTTER BEFORE I'D BELIEVE IN BEES. 187 00:07:34,588 --> 00:07:36,399 I'D BELIEVE IN PEANUT BUTTER BEFORE I'D BELIEVE IN BEES. OH, NO, DON'T SAY THAT. 188 00:07:36,423 --> 00:07:38,535 BEFORE I'D BELIEVE IN BEES. OH, NO, DON'T SAY THAT. YOU'RE KILLING TINK! 189 00:07:38,559 --> 00:07:39,969 OH, NO, DON'T SAY THAT. YOU'RE KILLING TINK! I'M WHAT? 190 00:07:39,993 --> 00:07:41,337 YOU'RE KILLING TINK! I'M WHAT? TINKER BEE! 191 00:07:41,361 --> 00:07:43,105 I'M WHAT? TINKER BEE! IT KILLS HIM IF PEOPLE DON'T 192 00:07:43,129 --> 00:07:44,173 TINKER BEE! IT KILLS HIM IF PEOPLE DON'T BELIEVE IN HIM! 193 00:07:44,197 --> 00:07:45,809 IT KILLS HIM IF PEOPLE DON'T BELIEVE IN HIM! HEY, I NEED THIS LIKE A 194 00:07:45,833 --> 00:07:47,577 BELIEVE IN HIM! HEY, I NEED THIS LIKE A MOOSE NEEDS A HAT RACK, MAN. 195 00:07:47,601 --> 00:07:48,578 HEY, I NEED THIS LIKE A MOOSE NEEDS A HAT RACK, MAN. OH, TINK. 196 00:07:48,602 --> 00:07:50,313 MOOSE NEEDS A HAT RACK, MAN. OH, TINK. POOR TINK IS GOING FAST. 197 00:07:50,337 --> 00:07:51,781 OH, TINK. POOR TINK IS GOING FAST. HEY, I DON'T GO INTO YOUR 198 00:07:51,805 --> 00:07:53,349 POOR TINK IS GOING FAST. HEY, I DON'T GO INTO YOUR ROOM AND DO NUMBERS ON YOU, DO 199 00:07:53,373 --> 00:07:53,650 HEY, I DON'T GO INTO YOUR ROOM AND DO NUMBERS ON YOU, DO I? 200 00:07:53,674 --> 00:07:54,684 ROOM AND DO NUMBERS ON YOU, DO I? TINK! YOU OKAY? 201 00:07:54,708 --> 00:07:56,285 I? TINK! YOU OKAY? I MEAN, THIS IS REALLY GREAT 202 00:07:56,309 --> 00:07:57,954 TINK! YOU OKAY? I MEAN, THIS IS REALLY GREAT FOR PARTIES AND STUFF, BUT LET'S 203 00:07:57,978 --> 00:07:59,322 I MEAN, THIS IS REALLY GREAT FOR PARTIES AND STUFF, BUT LET'S FACE IT, YOU'RE NOT BEES. 204 00:07:59,346 --> 00:08:00,657 FOR PARTIES AND STUFF, BUT LET'S FACE IT, YOU'RE NOT BEES. WHAT DO YOU MEAN WE'RE 205 00:08:00,681 --> 00:08:01,524 FACE IT, YOU'RE NOT BEES. WHAT DO YOU MEAN WE'RE NOT BEES? 206 00:08:01,548 --> 00:08:03,025 WHAT DO YOU MEAN WE'RE NOT BEES? YOU'RE NOT BEES. 207 00:08:03,049 --> 00:08:04,527 NOT BEES? YOU'RE NOT BEES. I MEAN, WELL, LOOK. 208 00:08:04,551 --> 00:08:06,563 YOU'RE NOT BEES. I MEAN, WELL, LOOK. CAN YOU FLY? 209 00:08:06,587 --> 00:08:07,330 I MEAN, WELL, LOOK. CAN YOU FLY? NO. 210 00:08:07,354 --> 00:08:10,299 CAN YOU FLY? NO. [GURGLING] 211 00:08:10,323 --> 00:08:12,435 NO. [GURGLING] CAN YOU POLLINATE? 212 00:08:12,459 --> 00:08:14,170 [GURGLING] CAN YOU POLLINATE? WELL, I'VE NEVER ACTUALLY 213 00:08:14,194 --> 00:08:14,737 CAN YOU POLLINATE? WELL, I'VE NEVER ACTUALLY TRIED. 214 00:08:14,761 --> 00:08:17,507 WELL, I'VE NEVER ACTUALLY TRIED. [GRUNTING] 215 00:08:17,531 --> 00:08:19,609 TRIED. [GRUNTING] DO YOU LIVE IN HIVES? 216 00:08:19,633 --> 00:08:22,311 [GRUNTING] DO YOU LIVE IN HIVES? ACTUALLY, I HAVE A PLACE OVER 217 00:08:22,335 --> 00:08:23,713 DO YOU LIVE IN HIVES? ACTUALLY, I HAVE A PLACE OVER ON EAST 57th. 218 00:08:23,737 --> 00:08:25,114 ACTUALLY, I HAVE A PLACE OVER ON EAST 57th. [CHOKING] 219 00:08:25,138 --> 00:08:27,350 ON EAST 57th. [CHOKING] WELL, THEN, YOU'RE NOT BEES. 220 00:08:27,374 --> 00:08:28,751 [CHOKING] WELL, THEN, YOU'RE NOT BEES. OH, LET'S FACE IT. 221 00:08:28,775 --> 00:08:30,987 WELL, THEN, YOU'RE NOT BEES. OH, LET'S FACE IT. YOU'RE NOT BEES, YOU'RE ACTORS. 222 00:08:31,011 --> 00:08:31,721 OH, LET'S FACE IT. YOU'RE NOT BEES, YOU'RE ACTORS. OH, NO! 223 00:08:31,745 --> 00:08:33,122 YOU'RE NOT BEES, YOU'RE ACTORS. OH, NO! YEAH, MAN, ACTORS. 224 00:08:33,146 --> 00:08:33,890 OH, NO! YEAH, MAN, ACTORS. TELEVISION ACTORS. 225 00:08:33,914 --> 00:08:34,524 YEAH, MAN, ACTORS. TELEVISION ACTORS. I'VE SEEN YOU. 226 00:08:34,548 --> 00:08:35,725 TELEVISION ACTORS. I'VE SEEN YOU. YOU'RE OKAY WHEN YOU GET A GOOD 227 00:08:35,749 --> 00:08:36,726 I'VE SEEN YOU. YOU'RE OKAY WHEN YOU GET A GOOD CONCEPT. 228 00:08:36,750 --> 00:08:37,827 YOU'RE OKAY WHEN YOU GET A GOOD CONCEPT. [GROANING] 229 00:08:37,851 --> 00:08:40,129 CONCEPT. [GROANING] LOOK, YOU'RE KILLING HIM. 230 00:08:40,153 --> 00:08:43,065 [GROANING] LOOK, YOU'RE KILLING HIM. OH, GOD, HE'S PRACTICALLY DEAD 231 00:08:43,089 --> 00:08:43,666 LOOK, YOU'RE KILLING HIM. OH, GOD, HE'S PRACTICALLY DEAD ALREADY. 232 00:08:43,690 --> 00:08:45,201 OH, GOD, HE'S PRACTICALLY DEAD ALREADY. HEY, YOU KNOW, I'M REALLY 233 00:08:45,225 --> 00:08:46,836 ALREADY. HEY, YOU KNOW, I'M REALLY SORRY, BUT LISTEN, THIS IS THE 234 00:08:46,860 --> 00:08:47,971 HEY, YOU KNOW, I'M REALLY SORRY, BUT LISTEN, THIS IS THE '70s... YOU KNOW, '70s? 235 00:08:47,995 --> 00:08:49,205 SORRY, BUT LISTEN, THIS IS THE '70s... YOU KNOW, '70s? FRYE BOOTS, YOGURT... FROZEN 236 00:08:49,229 --> 00:08:51,374 '70s... YOU KNOW, '70s? FRYE BOOTS, YOGURT... FROZEN YOGURT... "GOODBYE YELLOW BRICK 237 00:08:51,398 --> 00:08:51,741 FRYE BOOTS, YOGURT... FROZEN YOGURT... "GOODBYE YELLOW BRICK ROAD." 238 00:08:51,765 --> 00:08:52,942 YOGURT... "GOODBYE YELLOW BRICK ROAD." I MEAN, KIDS ARE DIFFERENT NOW. 239 00:08:52,966 --> 00:08:54,477 ROAD." I MEAN, KIDS ARE DIFFERENT NOW. WE DON'T BELIEVE IN BEES. 240 00:08:54,501 --> 00:08:56,278 I MEAN, KIDS ARE DIFFERENT NOW. WE DON'T BELIEVE IN BEES. YEAH, WELL, LET ME TELL YOU 241 00:08:56,302 --> 00:08:58,381 WE DON'T BELIEVE IN BEES. YEAH, WELL, LET ME TELL YOU SOMETHING... BEES ARE NOT JUST 242 00:08:58,405 --> 00:09:00,617 YEAH, WELL, LET ME TELL YOU SOMETHING... BEES ARE NOT JUST LITTLE BALLS OF YELLOW AND WHITE 243 00:09:00,641 --> 00:09:01,718 SOMETHING... BEES ARE NOT JUST LITTLE BALLS OF YELLOW AND WHITE FLUFF YOU CAN GO AROUND 244 00:09:01,742 --> 00:09:02,886 LITTLE BALLS OF YELLOW AND WHITE FLUFF YOU CAN GO AROUND BELIEVING IN OR NOT BELIEVING 245 00:09:02,910 --> 00:09:03,285 FLUFF YOU CAN GO AROUND BELIEVING IN OR NOT BELIEVING IN. 246 00:09:03,309 --> 00:09:04,821 BELIEVING IN OR NOT BELIEVING IN. BEES ARE A STATE OF MIND. 247 00:09:04,845 --> 00:09:06,355 IN. BEES ARE A STATE OF MIND. I MEAN, THEY'RE YOUTH AND 248 00:09:06,379 --> 00:09:07,824 BEES ARE A STATE OF MIND. I MEAN, THEY'RE YOUTH AND THEY'RE HOPE AND THEY'RE 249 00:09:07,848 --> 00:09:09,859 I MEAN, THEY'RE YOUTH AND THEY'RE HOPE AND THEY'RE LIGHTHEARTEDNESS, AND BEES ARE 250 00:09:09,883 --> 00:09:11,694 THEY'RE HOPE AND THEY'RE LIGHTHEARTEDNESS, AND BEES ARE LIKE A BREATH OF FRESH AIR, 251 00:09:11,718 --> 00:09:14,063 LIGHTHEARTEDNESS, AND BEES ARE LIKE A BREATH OF FRESH AIR, LIKE... LIKE A SONG, OR A DREAM. 252 00:09:14,087 --> 00:09:16,065 LIKE A BREATH OF FRESH AIR, LIKE... LIKE A SONG, OR A DREAM. BEES ARE LIKE MUPPETS WITH 253 00:09:16,089 --> 00:09:19,135 LIKE... LIKE A SONG, OR A DREAM. BEES ARE LIKE MUPPETS WITH LONGER CONTRACTS, UNDERSTAND? 254 00:09:19,159 --> 00:09:20,169 BEES ARE LIKE MUPPETS WITH LONGER CONTRACTS, UNDERSTAND? YEAH, SORT OF. 255 00:09:20,193 --> 00:09:21,804 LONGER CONTRACTS, UNDERSTAND? YEAH, SORT OF. BUT IF YOU DON'T BELIEVE IN 256 00:09:21,828 --> 00:09:23,272 YEAH, SORT OF. BUT IF YOU DON'T BELIEVE IN BEES, YOU DON'T BELIEVE IN 257 00:09:23,296 --> 00:09:26,943 BUT IF YOU DON'T BELIEVE IN BEES, YOU DON'T BELIEVE IN YESTERDAY OR TOMORROW, OKAY? 258 00:09:26,967 --> 00:09:28,411 BEES, YOU DON'T BELIEVE IN YESTERDAY OR TOMORROW, OKAY? OKAY. 259 00:09:28,435 --> 00:09:30,847 YESTERDAY OR TOMORROW, OKAY? OKAY. SO, PLEASE, PLEASE BELIEVE IN 260 00:09:30,871 --> 00:09:32,916 OKAY. SO, PLEASE, PLEASE BELIEVE IN BEES, OR TINK HERE WILL... 261 00:09:32,940 --> 00:09:34,918 SO, PLEASE, PLEASE BELIEVE IN BEES, OR TINK HERE WILL... LISTEN, EVERYBODY. 262 00:09:34,942 --> 00:09:36,553 BEES, OR TINK HERE WILL... LISTEN, EVERYBODY. TINK HERE IS DYING AND THERE'S 263 00:09:36,577 --> 00:09:37,921 LISTEN, EVERYBODY. TINK HERE IS DYING AND THERE'S ONLY ONE WAY TO SAVE HIM. 264 00:09:37,945 --> 00:09:39,422 TINK HERE IS DYING AND THERE'S ONLY ONE WAY TO SAVE HIM. IF YOU BELIEVE IN BEES, GET 265 00:09:39,446 --> 00:09:41,323 ONLY ONE WAY TO SAVE HIM. IF YOU BELIEVE IN BEES, GET UP AND CLAP YOUR HANDS. 266 00:09:41,347 --> 00:09:42,525 IF YOU BELIEVE IN BEES, GET UP AND CLAP YOUR HANDS. THAT'S RIGHT. 267 00:09:42,549 --> 00:09:43,225 UP AND CLAP YOUR HANDS. THAT'S RIGHT. [APPLAUSE] 268 00:09:43,249 --> 00:09:44,694 THAT'S RIGHT. [APPLAUSE] THE ONLY WAY TO KEEP HIM ALIVE 269 00:09:44,718 --> 00:09:52,718 [APPLAUSE] THE ONLY WAY TO KEEP HIM ALIVE IS TO CLAP YOUR HANDS. 270 00:09:53,894 --> 00:09:55,672 THE ONLY WAY TO KEEP HIM ALIVE IS TO CLAP YOUR HANDS. JOHN, YOU CAN GET UP NOW. 271 00:09:55,696 --> 00:10:02,244 IS TO CLAP YOUR HANDS. JOHN, YOU CAN GET UP NOW. THEY'RE CLAPPING. 272 00:10:02,268 --> 00:10:04,047 JOHN, YOU CAN GET UP NOW. THEY'RE CLAPPING. JOHN, YOU CAN GET UP NOW. 273 00:10:04,071 --> 00:10:05,582 THEY'RE CLAPPING. JOHN, YOU CAN GET UP NOW. THEY'RE CLAPPING. 274 00:10:05,606 --> 00:10:06,583 JOHN, YOU CAN GET UP NOW. THEY'RE CLAPPING. HEY, WHAT'S WRONG? 275 00:10:06,607 --> 00:10:07,349 THEY'RE CLAPPING. HEY, WHAT'S WRONG? THAT'S HIS CUE. 276 00:10:07,373 --> 00:10:08,685 HEY, WHAT'S WRONG? THAT'S HIS CUE. I DON'T KNOW. THEY CLAPPED. 277 00:10:08,709 --> 00:10:10,119 THAT'S HIS CUE. I DON'T KNOW. THEY CLAPPED. HE CAN'T GET UP. 278 00:10:10,143 --> 00:10:15,324 I DON'T KNOW. THEY CLAPPED. HE CAN'T GET UP. COME ON! 279 00:10:15,348 --> 00:10:16,392 HE CAN'T GET UP. COME ON! HE WANTS A STANDING 280 00:10:16,416 --> 00:10:20,663 COME ON! HE WANTS A STANDING OVATION. 281 00:10:20,687 --> 00:10:22,465 HE WANTS A STANDING OVATION. GREAT. 282 00:10:22,489 --> 00:10:24,801 OVATION. GREAT. ALL RIGHT, EVERYBODY, IF YOU 283 00:10:24,825 --> 00:10:26,603 GREAT. ALL RIGHT, EVERYBODY, IF YOU BELIEVE IN BEES, STAND UP AND 284 00:10:26,627 --> 00:10:29,547 ALL RIGHT, EVERYBODY, IF YOU BELIEVE IN BEES, STAND UP AND CLAP YOUR HANDS. 285 00:10:41,641 --> 00:10:47,556 COME ON! COME ON! COME ON! COME ON! 286 00:10:47,580 --> 00:10:52,929 COME ON! COME ON! COME ON! COME ON. 287 00:10:52,953 --> 00:10:55,431 COME ON! COME ON! COME ON. THE KIDS TODAY, THEY DON'T 288 00:10:55,455 --> 00:10:56,766 COME ON. THE KIDS TODAY, THEY DON'T BELIEVE IN ANYTHING, DO THEY? 289 00:10:56,790 --> 00:10:58,101 THE KIDS TODAY, THEY DON'T BELIEVE IN ANYTHING, DO THEY? IT'S NOT LIKE WHEN WE WERE 290 00:10:58,125 --> 00:10:58,968 BELIEVE IN ANYTHING, DO THEY? IT'S NOT LIKE WHEN WE WERE GROWING UP, RIPP. 291 00:10:58,992 --> 00:11:00,169 IT'S NOT LIKE WHEN WE WERE GROWING UP, RIPP. I TELL YOU WHAT, ROLL THE 292 00:11:00,193 --> 00:11:01,804 GROWING UP, RIPP. I TELL YOU WHAT, ROLL THE COMMERCIAL AND WE'LL GO TO IT, 293 00:11:01,828 --> 00:11:04,228 I TELL YOU WHAT, ROLL THE COMMERCIAL AND WE'LL GO TO IT, OKAY? 294 00:11:07,366 --> 00:11:11,447 A YEAR BEFORE I WAS BORN IN CALIFORNIA, A NEW MUSICAL GROUP WAS JUST STARTING. 295 00:11:11,471 --> 00:11:12,649 CALIFORNIA, A NEW MUSICAL GROUP WAS JUST STARTING. THEY WERE CALLED "THE BEACH 296 00:11:12,673 --> 00:11:13,116 WAS JUST STARTING. THEY WERE CALLED "THE BEACH BOYS." 297 00:11:13,140 --> 00:11:14,617 THEY WERE CALLED "THE BEACH BOYS." NOW HERE'S THE MAN WHO STARTED 298 00:11:14,641 --> 00:11:17,219 BOYS." NOW HERE'S THE MAN WHO STARTED IT ALL... MR. BRIAN WILSON. 299 00:11:17,243 --> 00:11:24,093 NOW HERE'S THE MAN WHO STARTED IT ALL... MR. BRIAN WILSON. [CHEERS AND APPLAUSE] 300 00:11:24,117 --> 00:11:26,029 IT ALL... MR. BRIAN WILSON. [CHEERS AND APPLAUSE] THANK YOU. 301 00:11:26,053 --> 00:11:28,798 [CHEERS AND APPLAUSE] THANK YOU. [APPLAUSE CONTINUES] 302 00:11:28,822 --> 00:11:30,967 THANK YOU. [APPLAUSE CONTINUES] THANK YOU. 303 00:11:30,991 --> 00:11:34,637 [APPLAUSE CONTINUES] THANK YOU. [APPLAUSE CONTINUES] 304 00:11:34,661 --> 00:11:37,506 THANK YOU. [APPLAUSE CONTINUES] THANK YOU. 305 00:11:37,530 --> 00:11:38,541 [APPLAUSE CONTINUES] THANK YOU. [CLEARS THROAT] 306 00:11:38,565 --> 00:11:40,342 THANK YOU. [CLEARS THROAT] THIS IS A SONG THAT COMES OFF 307 00:11:40,366 --> 00:11:42,278 [CLEARS THROAT] THIS IS A SONG THAT COMES OFF OUR CURRENT ALBUM, AND THE ALBUM 308 00:11:42,302 --> 00:11:44,013 THIS IS A SONG THAT COMES OFF OUR CURRENT ALBUM, AND THE ALBUM IS CALLED "15 BIG ONES," AND 309 00:11:44,037 --> 00:11:46,115 OUR CURRENT ALBUM, AND THE ALBUM IS CALLED "15 BIG ONES," AND IT'S CALLED "BACK HOME." 310 00:11:46,139 --> 00:11:49,285 IS CALLED "15 BIG ONES," AND IT'S CALLED "BACK HOME." [INTRO PLAYS] 311 00:11:49,309 --> 00:11:51,587 IT'S CALLED "BACK HOME." [INTRO PLAYS] ♪ YEAH, YEAH, YEAH ♪ 312 00:11:51,611 --> 00:11:53,723 [INTRO PLAYS] ♪ YEAH, YEAH, YEAH ♪ ♪ YEAH, YEAH, YEAH ♪ 313 00:11:53,747 --> 00:11:55,758 ♪ YEAH, YEAH, YEAH ♪ ♪ YEAH, YEAH, YEAH ♪ ♪ WELL, I'M GOING BACK THIS 314 00:11:55,782 --> 00:12:00,797 ♪ YEAH, YEAH, YEAH ♪ ♪ WELL, I'M GOING BACK THIS SUMMER TO OHIO ♪ 315 00:12:00,821 --> 00:12:03,299 ♪ WELL, I'M GOING BACK THIS SUMMER TO OHIO ♪ ♪ I'M GONNA SEEK OUT ALL MY 316 00:12:03,323 --> 00:12:09,005 SUMMER TO OHIO ♪ ♪ I'M GONNA SEEK OUT ALL MY FRIENDS I'VE ALWAYS KNOWN ♪ 317 00:12:09,029 --> 00:12:11,540 ♪ I'M GONNA SEEK OUT ALL MY FRIENDS I'VE ALWAYS KNOWN ♪ ♪ I'M GOING BACK TO THAT FARM 318 00:12:11,564 --> 00:12:16,345 FRIENDS I'VE ALWAYS KNOWN ♪ ♪ I'M GOING BACK TO THAT FARM THAT I REMEMBER ♪ 319 00:12:16,369 --> 00:12:18,581 ♪ I'M GOING BACK TO THAT FARM THAT I REMEMBER ♪ ♪ WELL, I'M GONNA SPEND THIS 320 00:12:18,605 --> 00:12:23,753 THAT I REMEMBER ♪ ♪ WELL, I'M GONNA SPEND THIS SUMMER BACK HOME ♪ 321 00:12:23,777 --> 00:12:26,388 ♪ WELL, I'M GONNA SPEND THIS SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 322 00:12:26,412 --> 00:12:30,059 SUMMER BACK HOME ♪ ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK 323 00:12:30,083 --> 00:12:31,027 ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK HOME ♪ 324 00:12:31,051 --> 00:12:33,696 ♪ I'LL SPEND MY SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 325 00:12:33,720 --> 00:12:37,499 HOME ♪ ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK 326 00:12:37,523 --> 00:12:38,467 ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK HOME ♪ 327 00:12:38,491 --> 00:12:41,470 ♪ I'LL SPEND MY SUMMER BACK HOME ♪ ♪ I'M GONNA GET UP EVERY MORNING 328 00:12:41,494 --> 00:12:45,842 HOME ♪ ♪ I'M GONNA GET UP EVERY MORNING BEFORE THE ROOSTERS ♪ 329 00:12:45,866 --> 00:12:47,810 ♪ I'M GONNA GET UP EVERY MORNING BEFORE THE ROOSTERS ♪ ♪ I'M GONNA GET UP OUT 330 00:12:47,834 --> 00:12:53,249 BEFORE THE ROOSTERS ♪ ♪ I'M GONNA GET UP OUT OF... BREAKFAST ALL ALONE ♪ 331 00:12:53,273 --> 00:12:55,584 ♪ I'M GONNA GET UP OUT OF... BREAKFAST ALL ALONE ♪ ♪ I'LL MILK THOSE COWS, FEED THE 332 00:12:55,608 --> 00:13:00,923 OF... BREAKFAST ALL ALONE ♪ ♪ I'LL MILK THOSE COWS, FEED THE CHICKENS AND THE HORSES ♪ 333 00:13:00,947 --> 00:13:02,859 ♪ I'LL MILK THOSE COWS, FEED THE CHICKENS AND THE HORSES ♪ ♪ WELL, I'M GONNA SPEND THIS 334 00:13:02,883 --> 00:13:07,830 CHICKENS AND THE HORSES ♪ ♪ WELL, I'M GONNA SPEND THIS SUMMER BACK HOME ♪ 335 00:13:07,854 --> 00:13:10,666 ♪ WELL, I'M GONNA SPEND THIS SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 336 00:13:10,690 --> 00:13:14,070 SUMMER BACK HOME ♪ ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK 337 00:13:14,094 --> 00:13:15,104 ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK HOME ♪ 338 00:13:15,128 --> 00:13:17,573 ♪ I'LL SPEND MY SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 339 00:13:17,597 --> 00:13:21,244 HOME ♪ ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK 340 00:13:21,268 --> 00:13:22,544 ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK HOME ♪ 341 00:13:22,568 --> 00:13:25,214 ♪ I'LL SPEND MY SUMMER BACK HOME ♪ ♪ I'LL EAT EVERYTHING THAT MA 342 00:13:25,238 --> 00:13:30,119 HOME ♪ ♪ I'LL EAT EVERYTHING THAT MA PUTS ON THE TABLE ♪ 343 00:13:30,143 --> 00:13:32,421 ♪ I'LL EAT EVERYTHING THAT MA PUTS ON THE TABLE ♪ ♪ WHEN I GET BACK YOU WON'T 344 00:13:32,445 --> 00:13:37,359 PUTS ON THE TABLE ♪ ♪ WHEN I GET BACK YOU WON'T BELIEVE HOW I'VE GROWN ♪ 345 00:13:37,383 --> 00:13:39,395 ♪ WHEN I GET BACK YOU WON'T BELIEVE HOW I'VE GROWN ♪ ♪ I'LL HIT THE SACK EARLY EVERY 346 00:13:39,419 --> 00:13:44,667 BELIEVE HOW I'VE GROWN ♪ ♪ I'LL HIT THE SACK EARLY EVERY NIGHT, THINKING ABOUT TOMORROW ♪ 347 00:13:44,691 --> 00:13:46,702 ♪ I'LL HIT THE SACK EARLY EVERY NIGHT, THINKING ABOUT TOMORROW ♪ ♪ WELL, I'M GONNA SPEND THIS 348 00:13:46,726 --> 00:13:51,908 NIGHT, THINKING ABOUT TOMORROW ♪ ♪ WELL, I'M GONNA SPEND THIS SUMMER BACK HOME ♪ 349 00:13:51,932 --> 00:13:54,376 ♪ WELL, I'M GONNA SPEND THIS SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 350 00:13:54,400 --> 00:13:58,047 SUMMER BACK HOME ♪ ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK 351 00:13:58,071 --> 00:13:58,981 ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK HOME ♪ 352 00:13:59,005 --> 00:14:01,650 ♪ I'LL SPEND MY SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 353 00:14:01,674 --> 00:14:05,121 HOME ♪ ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK 354 00:14:05,145 --> 00:14:06,222 ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK HOME ♪ 355 00:14:06,246 --> 00:14:08,991 ♪ I'LL SPEND MY SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 356 00:14:09,015 --> 00:14:12,561 HOME ♪ ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK 357 00:14:12,585 --> 00:14:13,495 ♪ BACK HOME ♪ ♪ I'LL SPEND MY SUMMER BACK HOME ♪ 358 00:14:13,519 --> 00:14:16,232 ♪ I'LL SPEND MY SUMMER BACK HOME ♪ ♪ BACK HOME ♪ 359 00:14:16,256 --> 00:14:17,466 HOME ♪ ♪ BACK HOME ♪ ♪ YEAH, YEAH ♪ 360 00:14:17,490 --> 00:14:18,467 ♪ BACK HOME ♪ ♪ YEAH, YEAH ♪ ♪ YEAH, YEAH ♪ 361 00:14:18,491 --> 00:14:19,368 ♪ YEAH, YEAH ♪ ♪ YEAH, YEAH ♪ ♪ YEAH, YEAH ♪ 362 00:14:19,392 --> 00:14:20,402 ♪ YEAH, YEAH ♪ ♪ YEAH, YEAH ♪ ♪ YEAH, YEAH ♪ 363 00:14:20,426 --> 00:14:23,105 ♪ YEAH, YEAH ♪ ♪ YEAH, YEAH ♪ ♪ YEAH, BABY ♪ 364 00:14:23,129 --> 00:14:25,363 ♪ YEAH, YEAH ♪ ♪ YEAH, BABY ♪ [CHEERS AND APPLAUSE] 365 00:14:38,810 --> 00:14:42,725 HI, I'M JODIE FOSTER, AND, IF YOU'RE LIKE ME, YOU'RE GOING THROUGH THOSE AWKWARD 366 00:14:42,749 --> 00:14:44,126 AND, IF YOU'RE LIKE ME, YOU'RE GOING THROUGH THOSE AWKWARD YEARS BETWEEN 13 AND 18 WHEN 367 00:14:44,150 --> 00:14:45,228 GOING THROUGH THOSE AWKWARD YEARS BETWEEN 13 AND 18 WHEN EVERYTHING SEEMS WRONG. 368 00:14:45,252 --> 00:14:46,628 YEARS BETWEEN 13 AND 18 WHEN EVERYTHING SEEMS WRONG. BELIEVE ME, AS CUTE AS I AM, I 369 00:14:46,652 --> 00:14:48,030 EVERYTHING SEEMS WRONG. BELIEVE ME, AS CUTE AS I AM, I KNOW HOW IT FEELS TO HATE YOUR 370 00:14:48,054 --> 00:14:49,498 BELIEVE ME, AS CUTE AS I AM, I KNOW HOW IT FEELS TO HATE YOUR BODY AND WISH YOU COULD TRADE IT 371 00:14:49,522 --> 00:14:50,733 KNOW HOW IT FEELS TO HATE YOUR BODY AND WISH YOU COULD TRADE IT IN FOR SOMEBODY ELSE'S. 372 00:14:50,757 --> 00:14:52,068 BODY AND WISH YOU COULD TRADE IT IN FOR SOMEBODY ELSE'S. THAT'S WHY I'M GLAD THAT I 373 00:14:52,092 --> 00:14:54,036 IN FOR SOMEBODY ELSE'S. THAT'S WHY I'M GLAD THAT I DISCOVERED PUBERTY HELPER. 374 00:14:54,060 --> 00:14:56,172 THAT'S WHY I'M GLAD THAT I DISCOVERED PUBERTY HELPER. SO WHY NOT TRY IT BEFORE IT'S 375 00:14:56,196 --> 00:14:58,341 DISCOVERED PUBERTY HELPER. SO WHY NOT TRY IT BEFORE IT'S TOO LATE AND YOU FIND OUT HOW 376 00:14:58,365 --> 00:14:59,141 SO WHY NOT TRY IT BEFORE IT'S TOO LATE AND YOU FIND OUT HOW LAME YOU ARE? 377 00:14:59,165 --> 00:15:00,542 TOO LATE AND YOU FIND OUT HOW LAME YOU ARE? JODIE'S RIGHT, GUYS AND GALS. 378 00:15:00,566 --> 00:15:01,810 LAME YOU ARE? JODIE'S RIGHT, GUYS AND GALS. WHAT YOU NEED AT THIS AGE IS 379 00:15:01,834 --> 00:15:03,012 JODIE'S RIGHT, GUYS AND GALS. WHAT YOU NEED AT THIS AGE IS ROVCO'S AMAZING NEW PUBERTY 380 00:15:03,036 --> 00:15:03,612 WHAT YOU NEED AT THIS AGE IS ROVCO'S AMAZING NEW PUBERTY HELPER. 381 00:15:03,636 --> 00:15:05,314 ROVCO'S AMAZING NEW PUBERTY HELPER. JUST ONE SINGLE APPLICATION IS 382 00:15:05,338 --> 00:15:06,883 HELPER. JUST ONE SINGLE APPLICATION IS ENOUGH TO COVER A FULL FIVE 383 00:15:06,907 --> 00:15:07,917 JUST ONE SINGLE APPLICATION IS ENOUGH TO COVER A FULL FIVE YEARS OF AGONY. 384 00:15:07,941 --> 00:15:09,485 ENOUGH TO COVER A FULL FIVE YEARS OF AGONY. AVOID POTENTIALLY DAMAGING 385 00:15:09,509 --> 00:15:10,486 YEARS OF AGONY. AVOID POTENTIALLY DAMAGING ADOLESCENT TRAUMA. 386 00:15:10,510 --> 00:15:11,954 AVOID POTENTIALLY DAMAGING ADOLESCENT TRAUMA. LOOK NEAT, FEEL SHARP THROUGH 387 00:15:11,978 --> 00:15:13,389 ADOLESCENT TRAUMA. LOOK NEAT, FEEL SHARP THROUGH WHAT PSYCHIATRISTS TERM "THE 388 00:15:13,413 --> 00:15:14,590 LOOK NEAT, FEEL SHARP THROUGH WHAT PSYCHIATRISTS TERM "THE INSECURITY-PRONE YEARS." 389 00:15:14,614 --> 00:15:16,125 WHAT PSYCHIATRISTS TERM "THE INSECURITY-PRONE YEARS." GUARANTEED TO WORK OR YOUR MONEY 390 00:15:16,149 --> 00:15:16,525 INSECURITY-PRONE YEARS." GUARANTEED TO WORK OR YOUR MONEY BACK. 391 00:15:16,549 --> 00:15:17,826 GUARANTEED TO WORK OR YOUR MONEY BACK. NOW, WATCH ROVCO'S PUBERTY 392 00:15:17,850 --> 00:15:19,929 BACK. NOW, WATCH ROVCO'S PUBERTY HELPER IN ACTION. 393 00:15:19,953 --> 00:15:22,765 NOW, WATCH ROVCO'S PUBERTY HELPER IN ACTION. OH, HI. 394 00:15:22,789 --> 00:15:23,866 HELPER IN ACTION. OH, HI. H-HI, YOURSELF. 395 00:15:23,890 --> 00:15:25,667 OH, HI. H-HI, YOURSELF. WHO DO YOU HAVE FOR MATH THIS 396 00:15:25,691 --> 00:15:26,369 H-HI, YOURSELF. WHO DO YOU HAVE FOR MATH THIS YEAR? 397 00:15:26,393 --> 00:15:27,603 WHO DO YOU HAVE FOR MATH THIS YEAR? MR. NOVAK. 398 00:15:27,627 --> 00:15:28,804 YEAR? MR. NOVAK. I HAVE MR. KOTTER. 399 00:15:28,828 --> 00:15:30,139 MR. NOVAK. I HAVE MR. KOTTER. OH, I-I DIDN'T EVEN 400 00:15:30,163 --> 00:15:31,173 I HAVE MR. KOTTER. OH, I-I DIDN'T EVEN KNOW HE WAS BACK. 401 00:15:31,197 --> 00:15:33,275 OH, I-I DIDN'T EVEN KNOW HE WAS BACK. MAYBE I'LL SWITCH. 402 00:15:33,299 --> 00:15:34,509 TRY PUBERTY HELPER TODAY AND 403 00:15:34,533 --> 00:15:35,777 AVOID THE HEARTBREAK OF STRAIGHT 404 00:15:35,801 --> 00:15:36,841 HAIR, CURLY HAIR, PIMPLES, 405 00:15:36,868 --> 00:15:38,002 BLACKHEADS, ZITS, ALL 406 00:15:38,137 --> 00:15:39,703 KINDS OF SKIN ERUPTIONS, NERDY 407 00:15:39,838 --> 00:15:41,105 CLOTHES YOUR MOTHER MADE YOU 408 00:15:41,240 --> 00:15:42,606 BUY, PHYSICAL AWKWARDNESS, BRA 409 00:15:42,741 --> 00:15:44,108 STRAPS SHOWING, SAFETY PINS IN 410 00:15:44,243 --> 00:15:45,509 YOUR BRA STRAPS SHOWING, TOO 411 00:15:45,644 --> 00:15:46,945 POINTY ELBOWS, SLEPT ON YOUR 412 00:15:47,079 --> 00:15:48,479 ROLLERS, BLUSHING, RETAINERS ON 413 00:15:48,613 --> 00:15:49,814 YOUR TEETH, GUM ON YOUR SKIRT, 414 00:15:49,949 --> 00:15:51,069 NOT HAVING PIERCED EARS WHEN 415 00:15:51,183 --> 00:15:52,183 EVERYBODY ELSE HAS THEM, 416 00:15:52,284 --> 00:15:53,318 GANGLINESS, THE LOOK OF 417 00:15:53,452 --> 00:15:54,652 EMBARRASSING PADS, PINS, AND 418 00:15:54,786 --> 00:15:56,087 BELTS, SHIRT WON'T STAY TUCKED 419 00:15:56,221 --> 00:15:57,555 IN, WHEN YOU DON'T KNOW YOU HAVE 420 00:15:57,689 --> 00:15:58,957 A BOOGER, SOME STUFF YOU GOT ON 421 00:15:59,091 --> 00:16:00,291 YOU IN A CAFETERIA ACCIDENTLY, 422 00:16:00,392 --> 00:16:01,469 TUCKING YOUR SKIRT INTO THE 423 00:16:01,493 --> 00:16:02,613 WAISTBAND OF YOUR UNDERWEAR, 424 00:16:02,661 --> 00:16:03,394 FREQUENT NOSEBLEEDS, 425 00:16:03,528 --> 00:16:04,772 EMBARRASSING BULGES IN THE CHEST 426 00:16:04,796 --> 00:16:06,036 AREA, NO EMBARRASSING BULGES IN 427 00:16:06,065 --> 00:16:06,864 THE CHEST AREA, NEEDING TO 428 00:16:06,999 --> 00:16:08,076 SHAVE, NOT NEEDING TO SHAVE, AND 429 00:16:08,100 --> 00:16:09,100 PREGNANCY! 430 00:16:09,168 --> 00:16:14,050 YES, IT'S THE AMAZING NEW PUBERTY HELPER FROM ROVCO. AND ALL THIS FOR JUST $49.95. 431 00:16:14,074 --> 00:16:15,584 PUBERTY HELPER FROM ROVCO. AND ALL THIS FOR JUST $49.95. THAT'S RIGHT, ONLY $49.95. 432 00:16:15,608 --> 00:16:19,088 AND ALL THIS FOR JUST $49.95. THAT'S RIGHT, ONLY $49.95. WRITE TO... 433 00:16:19,112 --> 00:16:20,722 THAT'S RIGHT, ONLY $49.95. WRITE TO... YOUR HORMONES WILL BE GLAD YOU 434 00:16:20,746 --> 00:16:22,880 WRITE TO... YOUR HORMONES WILL BE GLAD YOU DID. 435 00:16:25,550 --> 00:16:30,433 TICKET, PLEASE. PUT YOUR HAND LUGGAGE ON THE COUNTER AND STEP THROUGH, 436 00:16:30,457 --> 00:16:31,800 PUT YOUR HAND LUGGAGE ON THE COUNTER AND STEP THROUGH, PLEASE. 437 00:16:31,824 --> 00:16:33,069 COUNTER AND STEP THROUGH, PLEASE. [BEEP] 438 00:16:33,093 --> 00:16:34,203 PLEASE. [BEEP] STEP ON BACK, SIR. 439 00:16:34,227 --> 00:16:35,571 [BEEP] STEP ON BACK, SIR. EMPTY ALL METAL OBJECTS INTO 440 00:16:35,595 --> 00:16:36,905 STEP ON BACK, SIR. EMPTY ALL METAL OBJECTS INTO THE TRAY AND LIFT YOUR ARMS, 441 00:16:36,929 --> 00:16:40,009 EMPTY ALL METAL OBJECTS INTO THE TRAY AND LIFT YOUR ARMS, PLEASE. 442 00:16:40,033 --> 00:16:42,478 THE TRAY AND LIFT YOUR ARMS, PLEASE. OKAY, TAKE YOUR THINGS. 443 00:16:42,502 --> 00:16:44,347 PLEASE. OKAY, TAKE YOUR THINGS. STEP RIGHT ON THROUGH, SIR. 444 00:16:44,371 --> 00:16:45,948 OKAY, TAKE YOUR THINGS. STEP RIGHT ON THROUGH, SIR. TICKET, PLEASE. 445 00:16:45,972 --> 00:16:47,049 STEP RIGHT ON THROUGH, SIR. TICKET, PLEASE. PUT YOUR HAND LUGGAGE ON THE 446 00:16:47,073 --> 00:16:48,517 TICKET, PLEASE. PUT YOUR HAND LUGGAGE ON THE COUNTER, PLEASE. 447 00:16:48,541 --> 00:16:51,354 PUT YOUR HAND LUGGAGE ON THE COUNTER, PLEASE. STEP THROUGH, PLEASE. 448 00:16:51,378 --> 00:16:52,388 COUNTER, PLEASE. STEP THROUGH, PLEASE. [BEEP] 449 00:16:52,412 --> 00:16:53,956 STEP THROUGH, PLEASE. [BEEP] STEP RIGHT BACK HERE, SIR. 450 00:16:53,980 --> 00:16:55,724 [BEEP] STEP RIGHT BACK HERE, SIR. PLEASE EMPTY ALL METAL OBJECTS 451 00:16:55,748 --> 00:16:57,393 STEP RIGHT BACK HERE, SIR. PLEASE EMPTY ALL METAL OBJECTS INTO THE METAL TRAY AND LIFT 452 00:16:57,417 --> 00:17:02,031 PLEASE EMPTY ALL METAL OBJECTS INTO THE METAL TRAY AND LIFT YOUR ARMS. 453 00:17:02,055 --> 00:17:05,368 INTO THE METAL TRAY AND LIFT YOUR ARMS. [BEEP] 454 00:17:05,392 --> 00:17:06,902 YOUR ARMS. [BEEP] YOU STILL HAVE METAL ON YOU 455 00:17:06,926 --> 00:17:08,371 [BEEP] YOU STILL HAVE METAL ON YOU SOMEWHERE, SIR. 456 00:17:08,395 --> 00:17:09,972 YOU STILL HAVE METAL ON YOU SOMEWHERE, SIR. OKAY, I'VE GOT SOME KEYS AND, 457 00:17:09,996 --> 00:17:12,041 SOMEWHERE, SIR. OKAY, I'VE GOT SOME KEYS AND, UH, I HAVE A KNIFE. 458 00:17:12,065 --> 00:17:14,543 OKAY, I'VE GOT SOME KEYS AND, UH, I HAVE A KNIFE. OKAY, LIFT YOUR ARMS, PLEASE. 459 00:17:14,567 --> 00:17:17,546 UH, I HAVE A KNIFE. OKAY, LIFT YOUR ARMS, PLEASE. [BEEP] 460 00:17:17,570 --> 00:17:19,415 OKAY, LIFT YOUR ARMS, PLEASE. [BEEP] I'M SORRY, SIR, YOU STILL HAVE 461 00:17:19,439 --> 00:17:21,017 [BEEP] I'M SORRY, SIR, YOU STILL HAVE SOME METAL ON YOU. 462 00:17:21,041 --> 00:17:23,552 I'M SORRY, SIR, YOU STILL HAVE SOME METAL ON YOU. OKAY, OKAY, FINE, FINE, FINE. 463 00:17:23,576 --> 00:17:25,936 SOME METAL ON YOU. OKAY, OKAY, FINE, FINE, FINE. I GOT IT. 464 00:17:34,319 --> 00:17:36,120 [SIGHS] 465 00:17:41,093 --> 00:17:44,407 I KNOW, I KNOW. YOU'RE JUST DOING YOUR JOB. I KNOW. 466 00:17:44,431 --> 00:17:46,730 YOU'RE JUST DOING YOUR JOB. I KNOW. THAT'S RIGHT, SIR. 467 00:18:13,459 --> 00:18:19,141 LIFT YOUR ARMS, PLEASE. [BEEP] I'M SORRY, I'M STILL GETTING A 468 00:18:19,165 --> 00:18:19,575 [BEEP] I'M SORRY, I'M STILL GETTING A BEEP. 469 00:18:19,599 --> 00:18:20,476 I'M SORRY, I'M STILL GETTING A BEEP. OKAY! 470 00:18:20,500 --> 00:18:22,511 BEEP. OKAY! YOU PEOPLE ARE ALWAYS SO 471 00:18:22,535 --> 00:18:23,045 OKAY! YOU PEOPLE ARE ALWAYS SO THOROUGH! 472 00:18:23,069 --> 00:18:24,180 YOU PEOPLE ARE ALWAYS SO THOROUGH! BUT WHEN SOMETHING REALLY 473 00:18:24,204 --> 00:18:25,781 THOROUGH! BUT WHEN SOMETHING REALLY HAPPENS, WHEN YOU'RE REALLY 474 00:18:25,805 --> 00:18:27,550 BUT WHEN SOMETHING REALLY HAPPENS, WHEN YOU'RE REALLY NEEDED, YOU'RE THE LAST ONES TO 475 00:18:27,574 --> 00:18:35,574 HAPPENS, WHEN YOU'RE REALLY NEEDED, YOU'RE THE LAST ONES TO KNOW ABOUT IT! 476 00:18:35,881 --> 00:18:37,560 NEEDED, YOU'RE THE LAST ONES TO KNOW ABOUT IT! I CAN'T TAKE MY COLLAR OFF 477 00:18:37,584 --> 00:18:40,662 KNOW ABOUT IT! I CAN'T TAKE MY COLLAR OFF TODAY. 478 00:18:40,686 --> 00:18:42,264 I CAN'T TAKE MY COLLAR OFF TODAY. THAT'S NOT THE KEY. 479 00:18:42,288 --> 00:18:43,599 TODAY. THAT'S NOT THE KEY. THAT'S ANOTHER ONE. 480 00:18:43,623 --> 00:18:45,401 THAT'S NOT THE KEY. THAT'S ANOTHER ONE. I LOVE METAL! I NEED METAL! 481 00:18:45,425 --> 00:18:47,203 THAT'S ANOTHER ONE. I LOVE METAL! I NEED METAL! YOU SHOULD HAVE THOUGHT OF 482 00:18:47,227 --> 00:18:48,837 I LOVE METAL! I NEED METAL! YOU SHOULD HAVE THOUGHT OF THAT WHEN YOU GOT DRESSED. 483 00:18:48,861 --> 00:18:50,306 YOU SHOULD HAVE THOUGHT OF THAT WHEN YOU GOT DRESSED. OKAY, SIR. 484 00:18:50,330 --> 00:18:51,673 THAT WHEN YOU GOT DRESSED. OKAY, SIR. CAN I GO?! 485 00:18:51,697 --> 00:18:54,743 OKAY, SIR. CAN I GO?! LIFT YOUR ARMS ONE MORE TIME. 486 00:18:54,767 --> 00:18:57,146 CAN I GO?! LIFT YOUR ARMS ONE MORE TIME. [BEEP] 487 00:18:57,170 --> 00:19:02,818 LIFT YOUR ARMS ONE MORE TIME. [BEEP] ALL RIGHT! 488 00:19:02,842 --> 00:19:04,220 [BEEP] ALL RIGHT! ALL RIGHT, SIR, TAKE YOUR 489 00:19:04,244 --> 00:19:06,210 ALL RIGHT! ALL RIGHT, SIR, TAKE YOUR THINGS. 490 00:19:18,890 --> 00:19:23,972 [SIGHS] SOMETIMES IT'S LIKE THEY MAKE IT HARD ON ME ON PURPOSE. 491 00:19:23,996 --> 00:19:25,774 SOMETIMES IT'S LIKE THEY MAKE IT HARD ON ME ON PURPOSE. TICKET, PLEASE. 492 00:19:25,798 --> 00:19:28,444 HARD ON ME ON PURPOSE. TICKET, PLEASE. OH. 493 00:19:28,468 --> 00:19:30,412 TICKET, PLEASE. OH. THANK YOU, TIN WOODSMAN. 494 00:19:30,436 --> 00:19:31,713 OH. THANK YOU, TIN WOODSMAN. GO RIGHT ON THROUGH. 495 00:19:31,737 --> 00:19:32,848 THANK YOU, TIN WOODSMAN. GO RIGHT ON THROUGH. [BEEP] 496 00:19:32,872 --> 00:19:34,617 GO RIGHT ON THROUGH. [BEEP] OH, GO AHEAD, TIN WOODSMAN, IT'S 497 00:19:34,641 --> 00:19:36,285 [BEEP] OH, GO AHEAD, TIN WOODSMAN, IT'S ALL RIGHT. 498 00:19:36,309 --> 00:19:37,653 OH, GO AHEAD, TIN WOODSMAN, IT'S ALL RIGHT. THE TIN WOODSMAN? 499 00:19:37,677 --> 00:19:38,954 ALL RIGHT. THE TIN WOODSMAN? THAT WAS THE TIN WOODSMAN? 500 00:19:38,978 --> 00:19:40,456 THE TIN WOODSMAN? THAT WAS THE TIN WOODSMAN? I SHOULD HAVE ASKED HIM FOR HIS 501 00:19:40,480 --> 00:19:43,247 THAT WAS THE TIN WOODSMAN? I SHOULD HAVE ASKED HIM FOR HIS AUTOGRAPH. 502 00:19:58,664 --> 00:20:03,612 Announcer: AND NOW, "WEEKEND UPDATE," WITH JANE CURTIN. GOOD EVENING, I'M 503 00:20:03,636 --> 00:20:05,514 UPDATE," WITH JANE CURTIN. GOOD EVENING, I'M JANE CURTIN, AND HERE BUT FOR 504 00:20:05,538 --> 00:20:07,483 GOOD EVENING, I'M JANE CURTIN, AND HERE BUT FOR THE GRACE OF GOD GOES GILDA. 505 00:20:07,507 --> 00:20:09,451 JANE CURTIN, AND HERE BUT FOR THE GRACE OF GOD GOES GILDA. OUR TOP STORY TONIGHT... IN A 506 00:20:09,475 --> 00:20:11,620 THE GRACE OF GOD GOES GILDA. OUR TOP STORY TONIGHT... IN A BOOK CALLED "PAST FORGETTING: MY 507 00:20:11,644 --> 00:20:12,888 OUR TOP STORY TONIGHT... IN A BOOK CALLED "PAST FORGETTING: MY LOVE AFFAIR WITH 508 00:20:12,912 --> 00:20:14,723 BOOK CALLED "PAST FORGETTING: MY LOVE AFFAIR WITH DWIGHT EISENHOWER," AUTHOR 509 00:20:14,747 --> 00:20:16,325 LOVE AFFAIR WITH DWIGHT EISENHOWER," AUTHOR KAY SUMMERSBY REVEALS THAT SHE 510 00:20:16,349 --> 00:20:17,959 DWIGHT EISENHOWER," AUTHOR KAY SUMMERSBY REVEALS THAT SHE AND IKE DID HAVE A LOVE AFFAIR 511 00:20:17,983 --> 00:20:19,495 KAY SUMMERSBY REVEALS THAT SHE AND IKE DID HAVE A LOVE AFFAIR DURING WORLD WAR II, BUT SHE 512 00:20:19,519 --> 00:20:20,996 AND IKE DID HAVE A LOVE AFFAIR DURING WORLD WAR II, BUT SHE CONTINUES TO SAY THAT IT WAS 513 00:20:21,020 --> 00:20:22,531 DURING WORLD WAR II, BUT SHE CONTINUES TO SAY THAT IT WAS NEVER CONSUMMATED BECAUSE THE 514 00:20:22,555 --> 00:20:23,799 CONTINUES TO SAY THAT IT WAS NEVER CONSUMMATED BECAUSE THE GENERAL WAS IMPOTENT. 515 00:20:23,823 --> 00:20:25,534 NEVER CONSUMMATED BECAUSE THE GENERAL WAS IMPOTENT. THE AUTHOR, PICTURED HERE WITH 516 00:20:25,558 --> 00:20:26,902 GENERAL WAS IMPOTENT. THE AUTHOR, PICTURED HERE WITH THE THEN SUPREME ALLIED 517 00:20:26,926 --> 00:20:28,604 THE AUTHOR, PICTURED HERE WITH THE THEN SUPREME ALLIED COMMANDER IN EUROPE, SAID THAT 518 00:20:28,628 --> 00:20:30,272 THE THEN SUPREME ALLIED COMMANDER IN EUROPE, SAID THAT IKE WAS LIVING PROOF THAT OLD 519 00:20:30,296 --> 00:20:31,940 COMMANDER IN EUROPE, SAID THAT IKE WAS LIVING PROOF THAT OLD SOLDIERS NEVER DIE, THEY JUST 520 00:20:31,964 --> 00:20:36,878 IKE WAS LIVING PROOF THAT OLD SOLDIERS NEVER DIE, THEY JUST LIMP AWAY. 521 00:20:36,902 --> 00:20:38,247 SOLDIERS NEVER DIE, THEY JUST LIMP AWAY. PATTY HEARST, ENJOYING HER 522 00:20:38,271 --> 00:20:39,648 LIMP AWAY. PATTY HEARST, ENJOYING HER SECOND WEEK OF FREEDOM, IS 523 00:20:39,672 --> 00:20:41,217 PATTY HEARST, ENJOYING HER SECOND WEEK OF FREEDOM, IS BUSYING HERSELF BY REDECORATING 524 00:20:41,241 --> 00:20:42,651 SECOND WEEK OF FREEDOM, IS BUSYING HERSELF BY REDECORATING HER BEDROOM IN HER PARENTS' 525 00:20:42,675 --> 00:20:44,553 BUSYING HERSELF BY REDECORATING HER BEDROOM IN HER PARENTS' APARTMENT, SAYING THAT IT'S JUST 526 00:20:44,577 --> 00:20:45,854 HER BEDROOM IN HER PARENTS' APARTMENT, SAYING THAT IT'S JUST LIKE SHE NEVER LEFT. 527 00:20:45,878 --> 00:20:47,556 APARTMENT, SAYING THAT IT'S JUST LIKE SHE NEVER LEFT. PATTY IS SHOWN HERE ORDERING 528 00:20:47,580 --> 00:20:48,990 LIKE SHE NEVER LEFT. PATTY IS SHOWN HERE ORDERING SOME NEW WALLPAPER IN A 529 00:20:49,014 --> 00:20:50,226 PATTY IS SHOWN HERE ORDERING SOME NEW WALLPAPER IN A DEPARTMENT STORE IN 530 00:20:50,250 --> 00:20:55,431 SOME NEW WALLPAPER IN A DEPARTMENT STORE IN SAN FRANCISCO. 531 00:20:55,455 --> 00:20:56,898 DEPARTMENT STORE IN SAN FRANCISCO. OVERLY CONCERNED WITH THE 532 00:20:56,922 --> 00:20:58,567 SAN FRANCISCO. OVERLY CONCERNED WITH THE INTEGRITY AND PAST RECORDS OF 533 00:20:58,591 --> 00:20:59,901 OVERLY CONCERNED WITH THE INTEGRITY AND PAST RECORDS OF HIS FUTURE COLLEAGUES, 534 00:20:59,925 --> 00:21:01,737 INTEGRITY AND PAST RECORDS OF HIS FUTURE COLLEAGUES, JIMMY CARTER'S TRANSITION OFFICE 535 00:21:01,761 --> 00:21:03,905 HIS FUTURE COLLEAGUES, JIMMY CARTER'S TRANSITION OFFICE RELEASED THE NAMES OF 135 536 00:21:03,929 --> 00:21:06,508 JIMMY CARTER'S TRANSITION OFFICE RELEASED THE NAMES OF 135 PEOPLE, MOST OF THEM YOUNG, ALL 537 00:21:06,532 --> 00:21:08,444 RELEASED THE NAMES OF 135 PEOPLE, MOST OF THEM YOUNG, ALL OF THEM SANTA CLAUS, WHO WILL 538 00:21:08,468 --> 00:21:10,446 PEOPLE, MOST OF THEM YOUNG, ALL OF THEM SANTA CLAUS, WHO WILL HELP SCREEN APPOINTEES FOR THE 539 00:21:10,470 --> 00:21:11,547 OF THEM SANTA CLAUS, WHO WILL HELP SCREEN APPOINTEES FOR THE NEW ADMINISTRATION. 540 00:21:11,571 --> 00:21:13,115 HELP SCREEN APPOINTEES FOR THE NEW ADMINISTRATION. SAID THE PRESIDENT-ELECT, "THE 541 00:21:13,139 --> 00:21:14,750 NEW ADMINISTRATION. SAID THE PRESIDENT-ELECT, "THE MEMBERS OF THIS PANEL ARE QUITE 542 00:21:14,774 --> 00:21:15,284 SAID THE PRESIDENT-ELECT, "THE MEMBERS OF THIS PANEL ARE QUITE ASTUTE. 543 00:21:15,308 --> 00:21:16,852 MEMBERS OF THIS PANEL ARE QUITE ASTUTE. THEY KNOW IF YOU ARE SLEEPING, 544 00:21:16,876 --> 00:21:18,254 ASTUTE. THEY KNOW IF YOU ARE SLEEPING, THEY KNOW IF YOU'RE AWAKE. 545 00:21:18,278 --> 00:21:19,888 THEY KNOW IF YOU ARE SLEEPING, THEY KNOW IF YOU'RE AWAKE. THEY KNOW IF YOU'VE BEEN BAD OR 546 00:21:19,912 --> 00:21:21,523 THEY KNOW IF YOU'RE AWAKE. THEY KNOW IF YOU'VE BEEN BAD OR GOOD, SO BE GOOD, FOR GOODNESS' 547 00:21:21,547 --> 00:21:22,491 THEY KNOW IF YOU'VE BEEN BAD OR GOOD, SO BE GOOD, FOR GOODNESS' SAKE." 548 00:21:22,515 --> 00:21:24,993 GOOD, SO BE GOOD, FOR GOODNESS' SAKE." MORE ON THIS STORY AS IT 549 00:21:25,017 --> 00:21:27,896 SAKE." MORE ON THIS STORY AS IT DEVELOPS. 550 00:21:27,920 --> 00:21:29,931 MORE ON THIS STORY AS IT DEVELOPS. UPON FINISHING A 13-MONTH SEARCH 551 00:21:29,955 --> 00:21:31,767 DEVELOPS. UPON FINISHING A 13-MONTH SEARCH OF THE AEGEAN ISLANDS FOR THE 552 00:21:31,791 --> 00:21:33,535 UPON FINISHING A 13-MONTH SEARCH OF THE AEGEAN ISLANDS FOR THE LEGENDARY CITY OF ATLANTIS, 553 00:21:33,559 --> 00:21:35,170 OF THE AEGEAN ISLANDS FOR THE LEGENDARY CITY OF ATLANTIS, EXPLORER JACQUES COUSTEAU 554 00:21:35,194 --> 00:21:36,672 LEGENDARY CITY OF ATLANTIS, EXPLORER JACQUES COUSTEAU CONCLUDED THAT ATLANTIS NEVER 555 00:21:36,696 --> 00:21:38,140 EXPLORER JACQUES COUSTEAU CONCLUDED THAT ATLANTIS NEVER EXISTED BECAUSE HE COULD NOT 556 00:21:38,164 --> 00:21:38,840 CONCLUDED THAT ATLANTIS NEVER EXISTED BECAUSE HE COULD NOT FIND IT. 557 00:21:38,864 --> 00:21:40,676 EXISTED BECAUSE HE COULD NOT FIND IT. COUSTEAU ALSO MAINTAINED THAT 558 00:21:40,700 --> 00:21:42,611 FIND IT. COUSTEAU ALSO MAINTAINED THAT SEX NEVER EXISTED ON ANY OF THE 559 00:21:42,635 --> 00:21:44,513 COUSTEAU ALSO MAINTAINED THAT SEX NEVER EXISTED ON ANY OF THE AEGEAN ISLANDS BECAUSE HE COULD 560 00:21:44,537 --> 00:21:48,617 SEX NEVER EXISTED ON ANY OF THE AEGEAN ISLANDS BECAUSE HE COULD NOT FIND IT, EITHER. 561 00:21:48,641 --> 00:21:50,319 AEGEAN ISLANDS BECAUSE HE COULD NOT FIND IT, EITHER. THE COMMISSIONER OF FOOTBALL HAS 562 00:21:50,343 --> 00:21:52,053 NOT FIND IT, EITHER. THE COMMISSIONER OF FOOTBALL HAS LAUNCHED A SERIOUS INVESTIGATION 563 00:21:52,077 --> 00:21:53,622 THE COMMISSIONER OF FOOTBALL HAS LAUNCHED A SERIOUS INVESTIGATION INTO THE INCREASING NUMBER OF 564 00:21:53,646 --> 00:21:55,056 LAUNCHED A SERIOUS INVESTIGATION INTO THE INCREASING NUMBER OF INJURIES IN PRO FOOTBALL. 565 00:21:55,080 --> 00:21:56,725 INTO THE INCREASING NUMBER OF INJURIES IN PRO FOOTBALL. CRIPPLING WOUNDS TO THE KNEES 566 00:21:56,749 --> 00:21:58,394 INJURIES IN PRO FOOTBALL. CRIPPLING WOUNDS TO THE KNEES AND HEAD HAVE BEEN ON THE RISE 567 00:21:58,418 --> 00:22:00,095 CRIPPLING WOUNDS TO THE KNEES AND HEAD HAVE BEEN ON THE RISE THIS SEASON AND HAVE CUT SHORT 568 00:22:00,119 --> 00:22:01,430 AND HEAD HAVE BEEN ON THE RISE THIS SEASON AND HAVE CUT SHORT MANY PROMISING CAREERS, 569 00:22:01,454 --> 00:22:02,864 THIS SEASON AND HAVE CUT SHORT MANY PROMISING CAREERS, SUCH AS THAT OF GREEN BAY 570 00:22:02,888 --> 00:22:04,600 MANY PROMISING CAREERS, SUCH AS THAT OF GREEN BAY LINEBACKER MATT ALDMAN, WHO CAN 571 00:22:04,624 --> 00:22:05,967 SUCH AS THAT OF GREEN BAY LINEBACKER MATT ALDMAN, WHO CAN NO LONGER WALK AND HAS A 572 00:22:05,991 --> 00:22:07,736 LINEBACKER MATT ALDMAN, WHO CAN NO LONGER WALK AND HAS A FOOTBALL PERMANENTLY EMBEDDED ON 573 00:22:07,760 --> 00:22:12,140 NO LONGER WALK AND HAS A FOOTBALL PERMANENTLY EMBEDDED ON HIS FACE. 574 00:22:12,164 --> 00:22:14,209 FOOTBALL PERMANENTLY EMBEDDED ON HIS FACE. "THERE IS NO QUESTION THAT THERE 575 00:22:14,233 --> 00:22:16,144 HIS FACE. "THERE IS NO QUESTION THAT THERE IS FAR MORE HARM THAN BENEFITS 576 00:22:16,168 --> 00:22:18,113 "THERE IS NO QUESTION THAT THERE IS FAR MORE HARM THAN BENEFITS CAUSED BY DIETS USING SPEED OR 577 00:22:18,137 --> 00:22:19,047 IS FAR MORE HARM THAN BENEFITS CAUSED BY DIETS USING SPEED OR AMPHETAMINES." 578 00:22:19,071 --> 00:22:20,683 CAUSED BY DIETS USING SPEED OR AMPHETAMINES." THIS STATEMENT WAS MADE TO A 579 00:22:20,707 --> 00:22:22,017 AMPHETAMINES." THIS STATEMENT WAS MADE TO A SENATE SUBCOMMITTEE BY 580 00:22:22,041 --> 00:22:23,819 THIS STATEMENT WAS MADE TO A SENATE SUBCOMMITTEE BY DR. LESTER GRINSPOON OF THE 581 00:22:23,843 --> 00:22:25,053 SENATE SUBCOMMITTEE BY DR. LESTER GRINSPOON OF THE HARVARD MEDICAL SCHOOL. 582 00:22:25,077 --> 00:22:26,522 DR. LESTER GRINSPOON OF THE HARVARD MEDICAL SCHOOL. FOR FURTHER INFORMATION ABOUT 583 00:22:26,546 --> 00:22:28,123 HARVARD MEDICAL SCHOOL. FOR FURTHER INFORMATION ABOUT THIS, WRITE TO THE COMMITTEE AND 584 00:22:28,147 --> 00:22:29,692 FOR FURTHER INFORMATION ABOUT THIS, WRITE TO THE COMMITTEE AND YOU CAN RECEIVE A TRANSCRIPT OF 585 00:22:29,716 --> 00:22:30,793 THIS, WRITE TO THE COMMITTEE AND YOU CAN RECEIVE A TRANSCRIPT OF THE 6-POUND DOCTOR'S 586 00:22:30,817 --> 00:22:35,531 YOU CAN RECEIVE A TRANSCRIPT OF THE 6-POUND DOCTOR'S 1,700-PAGE TESTIMONY. 587 00:22:35,555 --> 00:22:37,132 THE 6-POUND DOCTOR'S 1,700-PAGE TESTIMONY. PRESIDENT-ELECT CARTER MET WITH 588 00:22:37,156 --> 00:22:38,734 1,700-PAGE TESTIMONY. PRESIDENT-ELECT CARTER MET WITH CONGRESSIONAL LEADERS THIS WEEK 589 00:22:38,758 --> 00:22:40,202 PRESIDENT-ELECT CARTER MET WITH CONGRESSIONAL LEADERS THIS WEEK AND PROMISED THAT HE'LL WORK 590 00:22:40,226 --> 00:22:41,236 CONGRESSIONAL LEADERS THIS WEEK AND PROMISED THAT HE'LL WORK CLOSELY WITH THEM. 591 00:22:41,260 --> 00:22:42,871 AND PROMISED THAT HE'LL WORK CLOSELY WITH THEM. TO DEMONSTRATE HIS SINCERITY, 592 00:22:42,895 --> 00:22:44,573 CLOSELY WITH THEM. TO DEMONSTRATE HIS SINCERITY, CARTER GAVE EACH MEMBER OF THE 593 00:22:44,597 --> 00:22:46,107 TO DEMONSTRATE HIS SINCERITY, CARTER GAVE EACH MEMBER OF THE FOREIGN RELATIONS PANEL HIS 594 00:22:46,131 --> 00:22:47,909 CARTER GAVE EACH MEMBER OF THE FOREIGN RELATIONS PANEL HIS PRIVATE HOME TELEPHONE NUMBER. 595 00:22:47,933 --> 00:22:49,478 FOREIGN RELATIONS PANEL HIS PRIVATE HOME TELEPHONE NUMBER. "WEEKEND UPDATE" SOURCE IN 596 00:22:49,502 --> 00:22:50,846 PRIVATE HOME TELEPHONE NUMBER. "WEEKEND UPDATE" SOURCE IN CONGRESS, WHOM WE CALL 597 00:22:50,870 --> 00:22:52,448 "WEEKEND UPDATE" SOURCE IN CONGRESS, WHOM WE CALL "DEEP EARS," OBTAINED THIS 598 00:22:52,472 --> 00:22:53,849 CONGRESS, WHOM WE CALL "DEEP EARS," OBTAINED THIS NUMBER, AND WE ARE GOING TO CALL 599 00:22:53,873 --> 00:22:58,119 "DEEP EARS," OBTAINED THIS NUMBER, AND WE ARE GOING TO CALL THE PRESIDENT-ELECT AT HIS HOME. 600 00:22:58,143 --> 00:23:00,522 NUMBER, AND WE ARE GOING TO CALL THE PRESIDENT-ELECT AT HIS HOME. 3-1-1... 601 00:23:00,546 --> 00:23:03,959 THE PRESIDENT-ELECT AT HIS HOME. 3-1-1... 5-5-5... 602 00:23:03,983 --> 00:23:09,665 3-1-1... 5-5-5... 4-0-9-8. 603 00:23:09,689 --> 00:23:15,471 5-5-5... 4-0-9-8. [Telephone ringing] 604 00:23:15,495 --> 00:23:16,171 4-0-9-8. [Telephone ringing] HELLO? 605 00:23:16,195 --> 00:23:18,006 [Telephone ringing] HELLO? HELLO, IS THIS JIMMY CARTER, 606 00:23:18,030 --> 00:23:19,274 HELLO? HELLO, IS THIS JIMMY CARTER, THE PRESIDENT-ELECT? 607 00:23:19,298 --> 00:23:20,642 HELLO, IS THIS JIMMY CARTER, THE PRESIDENT-ELECT? MM-HMM. YES, IT IS. 608 00:23:20,666 --> 00:23:22,478 THE PRESIDENT-ELECT? MM-HMM. YES, IT IS. WELL, THIS IS JANE CURTIN OF 609 00:23:22,502 --> 00:23:23,979 MM-HMM. YES, IT IS. WELL, THIS IS JANE CURTIN OF "WEEKEND UPDATE," AND IF YOU CAN 610 00:23:24,003 --> 00:23:25,481 WELL, THIS IS JANE CURTIN OF "WEEKEND UPDATE," AND IF YOU CAN ANSWER THIS WEEK'S QUESTION, YOU 611 00:23:25,505 --> 00:23:26,682 "WEEKEND UPDATE," AND IF YOU CAN ANSWER THIS WEEK'S QUESTION, YOU WILL WIN A COMPLETE DENIM 612 00:23:26,706 --> 00:23:29,451 ANSWER THIS WEEK'S QUESTION, YOU WILL WIN A COMPLETE DENIM WARDROBE. 613 00:23:29,475 --> 00:23:31,353 WILL WIN A COMPLETE DENIM WARDROBE. OH, THAT'S VERY EXCITING. 614 00:23:31,377 --> 00:23:32,821 WARDROBE. OH, THAT'S VERY EXCITING. WHAT DO I HAVE TO DO? 615 00:23:32,845 --> 00:23:34,790 OH, THAT'S VERY EXCITING. WHAT DO I HAVE TO DO? WELL, CAN YOU TELL ME WHAT 616 00:23:34,814 --> 00:23:36,725 WHAT DO I HAVE TO DO? WELL, CAN YOU TELL ME WHAT DICTATOR DIED A YEAR AGO LAST 617 00:23:36,749 --> 00:23:38,226 WELL, CAN YOU TELL ME WHAT DICTATOR DIED A YEAR AGO LAST WEEK? 618 00:23:38,250 --> 00:23:40,996 DICTATOR DIED A YEAR AGO LAST WEEK? UM, LET ME THINK ABOUT IT. 619 00:23:41,020 --> 00:23:42,798 WEEK? UM, LET ME THINK ABOUT IT. UH, J. EDGAR HOOVER. 620 00:23:42,822 --> 00:23:44,700 UM, LET ME THINK ABOUT IT. UH, J. EDGAR HOOVER. OH, NO, I'M SORRY. 621 00:23:44,724 --> 00:23:46,201 UH, J. EDGAR HOOVER. OH, NO, I'M SORRY. THAT DICTATOR IS 622 00:23:46,225 --> 00:23:47,436 OH, NO, I'M SORRY. THAT DICTATOR IS GENERAL FRANCISCO FRANCO. 623 00:23:47,460 --> 00:23:49,004 THAT DICTATOR IS GENERAL FRANCISCO FRANCO. OH, I DON'T KNOW HOW I MISSED 624 00:23:49,028 --> 00:23:49,405 GENERAL FRANCISCO FRANCO. OH, I DON'T KNOW HOW I MISSED THAT. 625 00:23:49,429 --> 00:23:50,873 OH, I DON'T KNOW HOW I MISSED THAT. WELL, GOVERNOR CARTER, AS A 626 00:23:50,897 --> 00:23:52,274 THAT. WELL, GOVERNOR CARTER, AS A CONSOLATION, WE'LL BE SENDING 627 00:23:52,298 --> 00:23:53,776 WELL, GOVERNOR CARTER, AS A CONSOLATION, WE'LL BE SENDING YOU A HERBIE HANCOCK "MAN-CHILD" 628 00:23:53,800 --> 00:23:54,976 CONSOLATION, WE'LL BE SENDING YOU A HERBIE HANCOCK "MAN-CHILD" ALBUM AND A CASE OF LOBO 629 00:23:55,000 --> 00:23:55,811 YOU A HERBIE HANCOCK "MAN-CHILD" ALBUM AND A CASE OF LOBO AFTERSHAVE. 630 00:23:55,835 --> 00:23:57,579 ALBUM AND A CASE OF LOBO AFTERSHAVE. OKAY, THANK YOU VERY MUCH. 631 00:23:57,603 --> 00:23:59,347 AFTERSHAVE. OKAY, THANK YOU VERY MUCH. WELL, THANK YOU, GOVERNOR. 632 00:23:59,371 --> 00:24:00,649 OKAY, THANK YOU VERY MUCH. WELL, THANK YOU, GOVERNOR. GOD LOVE YOU NOW. 633 00:24:00,673 --> 00:24:01,583 WELL, THANK YOU, GOVERNOR. GOD LOVE YOU NOW. CALL ANYTIME. 634 00:24:01,607 --> 00:24:02,384 GOD LOVE YOU NOW. CALL ANYTIME. ANYTIME. 635 00:24:02,408 --> 00:24:09,758 CALL ANYTIME. ANYTIME. ALL RIGHT, BYE. 636 00:24:09,782 --> 00:24:11,192 ANYTIME. ALL RIGHT, BYE. THE DISPUTE IN THE ONASSIS 637 00:24:11,216 --> 00:24:12,861 ALL RIGHT, BYE. THE DISPUTE IN THE ONASSIS FAMILY OVER THE DIVISION OF THE 638 00:24:12,885 --> 00:24:14,563 THE DISPUTE IN THE ONASSIS FAMILY OVER THE DIVISION OF THE ESTATE LEFT BY THE LATE SHIPPING 639 00:24:14,587 --> 00:24:16,331 FAMILY OVER THE DIVISION OF THE ESTATE LEFT BY THE LATE SHIPPING TYCOON WAS FINALLY SETTLED THIS 640 00:24:16,355 --> 00:24:16,832 ESTATE LEFT BY THE LATE SHIPPING TYCOON WAS FINALLY SETTLED THIS WEEK. 641 00:24:16,856 --> 00:24:18,500 TYCOON WAS FINALLY SETTLED THIS WEEK. A SOURCE CLOSE TO THE FAMILY 642 00:24:18,524 --> 00:24:20,335 WEEK. A SOURCE CLOSE TO THE FAMILY SAID DAUGHTER CHRISTINA ONASSIS 643 00:24:20,359 --> 00:24:22,103 A SOURCE CLOSE TO THE FAMILY SAID DAUGHTER CHRISTINA ONASSIS AND STEPMOTHER JACKIE REACHED A 644 00:24:22,127 --> 00:24:23,806 SAID DAUGHTER CHRISTINA ONASSIS AND STEPMOTHER JACKIE REACHED A SETTLEMENT THROUGH A PERSONAL 645 00:24:23,830 --> 00:24:24,640 AND STEPMOTHER JACKIE REACHED A SETTLEMENT THROUGH A PERSONAL AGREEMENT. 646 00:24:24,664 --> 00:24:26,074 SETTLEMENT THROUGH A PERSONAL AGREEMENT. NO LAWYERS WERE USED. 647 00:24:26,098 --> 00:24:28,009 AGREEMENT. NO LAWYERS WERE USED. "WEEKEND UPDATE" WAS FORTUNATE 648 00:24:28,033 --> 00:24:29,745 NO LAWYERS WERE USED. "WEEKEND UPDATE" WAS FORTUNATE ENOUGH TO OBTAIN EXCLUSIVE 649 00:24:29,769 --> 00:24:31,346 "WEEKEND UPDATE" WAS FORTUNATE ENOUGH TO OBTAIN EXCLUSIVE FOOTAGE SHOWING HOW THIS 650 00:24:31,370 --> 00:24:32,915 ENOUGH TO OBTAIN EXCLUSIVE FOOTAGE SHOWING HOW THIS SETTLEMENT WAS REACHED BY, 651 00:24:32,939 --> 00:24:34,182 FOOTAGE SHOWING HOW THIS SETTLEMENT WAS REACHED BY, CURIOUSLY ENOUGH, AN 652 00:24:34,206 --> 00:24:35,818 SETTLEMENT WAS REACHED BY, CURIOUSLY ENOUGH, AN OLD-FASHIONED MUD-WRESTLING 653 00:24:35,842 --> 00:24:39,955 CURIOUSLY ENOUGH, AN OLD-FASHIONED MUD-WRESTLING MATCH. 654 00:24:39,979 --> 00:24:41,557 OLD-FASHIONED MUD-WRESTLING MATCH. THAT'S A SURPRISINGLY HEFTY 655 00:24:41,581 --> 00:24:42,691 MATCH. THAT'S A SURPRISINGLY HEFTY JACKIE ON THE LEFT. 656 00:24:42,715 --> 00:24:44,225 THAT'S A SURPRISINGLY HEFTY JACKIE ON THE LEFT. SHE'S BEEN EATING HEAVILY, 657 00:24:44,249 --> 00:24:45,694 JACKIE ON THE LEFT. SHE'S BEEN EATING HEAVILY, BEEFING UP FOR THIS BOUT. 658 00:24:45,718 --> 00:24:47,295 SHE'S BEEN EATING HEAVILY, BEEFING UP FOR THIS BOUT. AND, OF COURSE, TINA IN THE 659 00:24:47,319 --> 00:24:48,464 BEEFING UP FOR THIS BOUT. AND, OF COURSE, TINA IN THE YELLOW BIKINI. 660 00:24:48,488 --> 00:24:50,632 AND, OF COURSE, TINA IN THE YELLOW BIKINI. A FOREARM SMASH BY JACKIE SENDS 661 00:24:50,656 --> 00:24:52,400 YELLOW BIKINI. A FOREARM SMASH BY JACKIE SENDS TINA INTO THE MUD. 662 00:24:52,424 --> 00:24:54,402 A FOREARM SMASH BY JACKIE SENDS TINA INTO THE MUD. AND OH, SHE'S GROGGY. 663 00:24:54,426 --> 00:24:57,138 TINA INTO THE MUD. AND OH, SHE'S GROGGY. SHE CAN BARELY STAND UP, LADIES 664 00:24:57,162 --> 00:24:58,607 AND OH, SHE'S GROGGY. SHE CAN BARELY STAND UP, LADIES AND GENTLEMEN. 665 00:24:58,631 --> 00:25:00,308 SHE CAN BARELY STAND UP, LADIES AND GENTLEMEN. AND STILL ANOTHER FOREARM SLASH. 666 00:25:00,332 --> 00:25:01,510 AND GENTLEMEN. AND STILL ANOTHER FOREARM SLASH. JACK'S IN TOP SHAPE. 667 00:25:01,534 --> 00:25:02,911 AND STILL ANOTHER FOREARM SLASH. JACK'S IN TOP SHAPE. SHE'S BEEN TRAINING SINCE 668 00:25:02,935 --> 00:25:04,412 JACK'S IN TOP SHAPE. SHE'S BEEN TRAINING SINCE AUGUST... 10, 12 HOURS A DAY. 669 00:25:04,436 --> 00:25:06,114 SHE'S BEEN TRAINING SINCE AUGUST... 10, 12 HOURS A DAY. WHOOPS, SHE'S DOWN AS TINA COMES 670 00:25:06,138 --> 00:25:07,716 AUGUST... 10, 12 HOURS A DAY. WHOOPS, SHE'S DOWN AS TINA COMES BACK WITH A TOEHOLD. 671 00:25:07,740 --> 00:25:09,885 WHOOPS, SHE'S DOWN AS TINA COMES BACK WITH A TOEHOLD. NEVER COUNT THIS FEISTY LITTLE 672 00:25:09,909 --> 00:25:11,252 BACK WITH A TOEHOLD. NEVER COUNT THIS FEISTY LITTLE GREEK OUT, FOLKS. 673 00:25:11,276 --> 00:25:13,355 NEVER COUNT THIS FEISTY LITTLE GREEK OUT, FOLKS. BUT A DETERMINED JACKIE BREAKS 674 00:25:13,379 --> 00:25:15,290 GREEK OUT, FOLKS. BUT A DETERMINED JACKIE BREAKS FREE AND THIS IS ANYBODY'S 675 00:25:15,314 --> 00:25:15,891 BUT A DETERMINED JACKIE BREAKS FREE AND THIS IS ANYBODY'S MATCH. 676 00:25:15,915 --> 00:25:17,826 FREE AND THIS IS ANYBODY'S MATCH. NOW JACKIE APPLIES A HEADLOCK. 677 00:25:17,850 --> 00:25:19,828 MATCH. NOW JACKIE APPLIES A HEADLOCK. THAT'S GOT TO HURT WITH PIERCED 678 00:25:19,852 --> 00:25:22,097 NOW JACKIE APPLIES A HEADLOCK. THAT'S GOT TO HURT WITH PIERCED EARS. 679 00:25:22,121 --> 00:25:24,299 THAT'S GOT TO HURT WITH PIERCED EARS. FOLLOWED BY A HARD UPPERCUT. 680 00:25:24,323 --> 00:25:26,668 EARS. FOLLOWED BY A HARD UPPERCUT. THAT GAL CAN REALLY DISH IT OUT. 681 00:25:26,692 --> 00:25:28,604 FOLLOWED BY A HARD UPPERCUT. THAT GAL CAN REALLY DISH IT OUT. OH, OH, ANOTHER HEADLOCK. 682 00:25:28,628 --> 00:25:30,305 THAT GAL CAN REALLY DISH IT OUT. OH, OH, ANOTHER HEADLOCK. ANOTHER... AND A QUICK TAKEDOWN 683 00:25:30,329 --> 00:25:30,939 OH, OH, ANOTHER HEADLOCK. ANOTHER... AND A QUICK TAKEDOWN BY TINA. 684 00:25:30,963 --> 00:25:32,508 ANOTHER... AND A QUICK TAKEDOWN BY TINA. THIS COULD BE IT, LADIES AND 685 00:25:32,532 --> 00:25:33,208 BY TINA. THIS COULD BE IT, LADIES AND GENTLEMEN. 686 00:25:33,232 --> 00:25:35,076 THIS COULD BE IT, LADIES AND GENTLEMEN. THIS COULD BE IT. 687 00:25:35,100 --> 00:25:36,211 GENTLEMEN. THIS COULD BE IT. YES, IT IS. 688 00:25:36,235 --> 00:25:37,045 THIS COULD BE IT. YES, IT IS. YES, IT IS IT. 689 00:25:37,069 --> 00:25:38,547 YES, IT IS. YES, IT IS IT. YES, IT IS, AS TINA SAID, 690 00:25:38,571 --> 00:25:39,982 YES, IT IS IT. YES, IT IS, AS TINA SAID, "HERE'S MUD IN YOUR EYE, 691 00:25:40,006 --> 00:25:41,617 YES, IT IS, AS TINA SAID, "HERE'S MUD IN YOUR EYE, SISTER," AND WINS THE MATCH. 692 00:25:41,641 --> 00:25:43,418 "HERE'S MUD IN YOUR EYE, SISTER," AND WINS THE MATCH. $80 BILLION, THE YACHT, AND THE 693 00:25:43,442 --> 00:25:50,392 SISTER," AND WINS THE MATCH. $80 BILLION, THE YACHT, AND THE ISLAND OF SKORPIOS. 694 00:25:50,416 --> 00:25:52,093 $80 BILLION, THE YACHT, AND THE ISLAND OF SKORPIOS. AN ADDENDUM TO THAT STORY... IT 695 00:25:52,117 --> 00:25:53,595 ISLAND OF SKORPIOS. AN ADDENDUM TO THAT STORY... IT HAD BEEN REPORTED THAT TINA 696 00:25:53,619 --> 00:25:55,196 AN ADDENDUM TO THAT STORY... IT HAD BEEN REPORTED THAT TINA DISLIKED JACKIE BECAUSE OF HER 697 00:25:55,220 --> 00:25:56,932 HAD BEEN REPORTED THAT TINA DISLIKED JACKIE BECAUSE OF HER INSENSITIVE BEHAVIOR AT THE TIME 698 00:25:56,956 --> 00:25:59,200 DISLIKED JACKIE BECAUSE OF HER INSENSITIVE BEHAVIOR AT THE TIME OF THE DEATH OF TINA'S FATHER... 699 00:25:59,224 --> 00:26:00,669 INSENSITIVE BEHAVIOR AT THE TIME OF THE DEATH OF TINA'S FATHER... AEROSOL ONASSIS. 700 00:26:00,693 --> 00:26:03,038 OF THE DEATH OF TINA'S FATHER... AEROSOL ONASSIS. BY WAY OF EXPLANATION, JACKIE 701 00:26:03,062 --> 00:26:05,273 AEROSOL ONASSIS. BY WAY OF EXPLANATION, JACKIE CLARIFIED THAT YES, SHE WAS 702 00:26:05,297 --> 00:26:06,909 BY WAY OF EXPLANATION, JACKIE CLARIFIED THAT YES, SHE WAS INSENSITIVE BECAUSE AEROSOL WAS 703 00:26:06,933 --> 00:26:08,443 CLARIFIED THAT YES, SHE WAS INSENSITIVE BECAUSE AEROSOL WAS FILLED WITH FLUOROCARBONS THAT 704 00:26:08,467 --> 00:26:09,945 INSENSITIVE BECAUSE AEROSOL WAS FILLED WITH FLUOROCARBONS THAT WERE DESTROYING THE OZONE LAYER 705 00:26:09,969 --> 00:26:11,346 FILLED WITH FLUOROCARBONS THAT WERE DESTROYING THE OZONE LAYER AND THAT IF HE DIDN'T DIE, HE 706 00:26:11,370 --> 00:26:12,748 WERE DESTROYING THE OZONE LAYER AND THAT IF HE DIDN'T DIE, HE WOULD HAVE BEEN BANNED BY THE 707 00:26:12,772 --> 00:26:14,249 AND THAT IF HE DIDN'T DIE, HE WOULD HAVE BEEN BANNED BY THE ENVIRONMENTAL PROTECTIVE AGENCY 708 00:26:14,273 --> 00:26:16,051 WOULD HAVE BEEN BANNED BY THE ENVIRONMENTAL PROTECTIVE AGENCY ANYWAY. 709 00:26:16,075 --> 00:26:18,319 ENVIRONMENTAL PROTECTIVE AGENCY ANYWAY. STILL TO COME... FRANK SINATRA 710 00:26:18,343 --> 00:26:20,856 ANYWAY. STILL TO COME... FRANK SINATRA DRINKS HIS SWINE FLU, OR FLINE 711 00:26:20,880 --> 00:26:22,323 STILL TO COME... FRANK SINATRA DRINKS HIS SWINE FLU, OR FLINE SWU. 712 00:26:22,347 --> 00:26:24,682 DRINKS HIS SWINE FLU, OR FLINE SWU. YOU DON'T KNOW, DO YOU? 713 00:26:31,089 --> 00:26:36,705 WHAT KIND OF GUY WATCHES NBC's "SATURDAY NIGHT"? LET'S ASK STEVE BUSHAKIS OF 714 00:26:36,729 --> 00:26:40,175 NBC's "SATURDAY NIGHT"? LET'S ASK STEVE BUSHAKIS OF CHICAGO, ILLINOIS. 715 00:26:40,199 --> 00:26:41,409 LET'S ASK STEVE BUSHAKIS OF CHICAGO, ILLINOIS. I JUST STARTED MY OWN 716 00:26:41,433 --> 00:26:42,010 CHICAGO, ILLINOIS. I JUST STARTED MY OWN BUSINESS. 717 00:26:42,034 --> 00:26:43,344 I JUST STARTED MY OWN BUSINESS. I GUESS I WAS JUST SICK OF 718 00:26:43,368 --> 00:26:44,746 BUSINESS. I GUESS I WAS JUST SICK OF TAKING ORDERS FROM THE OTHER 719 00:26:44,770 --> 00:26:45,380 I GUESS I WAS JUST SICK OF TAKING ORDERS FROM THE OTHER GUY. 720 00:26:45,404 --> 00:26:46,682 TAKING ORDERS FROM THE OTHER GUY. THE BUSINESS? 721 00:26:46,706 --> 00:26:48,149 GUY. THE BUSINESS? THIS PLANT SHOP. 722 00:26:48,173 --> 00:26:50,151 THE BUSINESS? THIS PLANT SHOP. AH, PEOPLE KID ME ABOUT 723 00:26:50,175 --> 00:26:52,788 THIS PLANT SHOP. AH, PEOPLE KID ME ABOUT PLANT-SHOP OWNERS BEING GAY, AND 724 00:26:52,812 --> 00:26:54,322 AH, PEOPLE KID ME ABOUT PLANT-SHOP OWNERS BEING GAY, AND I KID 'EM RIGHT BACK. 725 00:26:54,346 --> 00:26:56,291 PLANT-SHOP OWNERS BEING GAY, AND I KID 'EM RIGHT BACK. YOU SEE, I'M SO SECURE IN MY 726 00:26:56,315 --> 00:26:58,359 I KID 'EM RIGHT BACK. YOU SEE, I'M SO SECURE IN MY VIRILITY THAT I CAN JOKE ABOUT 727 00:26:58,383 --> 00:26:59,561 YOU SEE, I'M SO SECURE IN MY VIRILITY THAT I CAN JOKE ABOUT HOMOS. 728 00:26:59,585 --> 00:27:03,498 VIRILITY THAT I CAN JOKE ABOUT HOMOS. LET ME TELL YOU, THOUGH, I LIKE 729 00:27:03,522 --> 00:27:06,702 HOMOS. LET ME TELL YOU, THOUGH, I LIKE WOMEN, AND THEY LIKE ME. 730 00:27:06,726 --> 00:27:11,139 LET ME TELL YOU, THOUGH, I LIKE WOMEN, AND THEY LIKE ME. I'VE HAD GONORRHEA FIVE TIMES. 731 00:27:11,163 --> 00:27:13,341 WOMEN, AND THEY LIKE ME. I'VE HAD GONORRHEA FIVE TIMES. THERE'S NO DOUBLE STANDARD HERE. 732 00:27:13,365 --> 00:27:14,775 I'VE HAD GONORRHEA FIVE TIMES. THERE'S NO DOUBLE STANDARD HERE. UNH-UNH. 733 00:27:14,799 --> 00:27:16,399 THE MORE PROMISCUOUS A GIRL, THE 734 00:27:16,534 --> 00:27:18,002 MORE I RESPECT HER. 735 00:27:18,136 --> 00:27:19,703 AND WHEN IT COMES TO 736 00:27:19,838 --> 00:27:21,872 ENTERTAINMENT, IT'S RAUNCHY, 737 00:27:22,007 --> 00:27:24,207 SOPHOMORE COMEDY FOR ME. 738 00:27:24,475 --> 00:27:29,224 THAT'S WHY I WATCH "SATURDAY NIGHT." I GUESS YOU'D SAY I'M THAT 739 00:27:29,248 --> 00:27:32,260 "SATURDAY NIGHT." I GUESS YOU'D SAY I'M THAT "SATURDAY NIGHT" KIND OF GUY. 740 00:27:32,284 --> 00:27:33,862 I GUESS YOU'D SAY I'M THAT "SATURDAY NIGHT" KIND OF GUY. WOMEN LOVE A MAN WHO WATCHES 741 00:27:33,886 --> 00:27:36,966 "SATURDAY NIGHT" KIND OF GUY. WOMEN LOVE A MAN WHO WATCHES "SATURDAY NIGHT." 742 00:27:44,529 --> 00:27:49,111 THIS WEEK, LIKE MILLIONS OF AMERICANS, GERALD FORD AND JIMMY CARTER CELEBRATED 743 00:27:49,135 --> 00:27:50,979 AMERICANS, GERALD FORD AND JIMMY CARTER CELEBRATED THANKSGIVING WITH THEIR FAMILIES 744 00:27:51,003 --> 00:27:52,714 JIMMY CARTER CELEBRATED THANKSGIVING WITH THEIR FAMILIES AT TRADITIONAL HOLIDAY DINNERS. 745 00:27:52,738 --> 00:27:54,415 THANKSGIVING WITH THEIR FAMILIES AT TRADITIONAL HOLIDAY DINNERS. IN PLAINS, GEORGIA, THE CARTERS 746 00:27:54,439 --> 00:27:56,051 AT TRADITIONAL HOLIDAY DINNERS. IN PLAINS, GEORGIA, THE CARTERS ENJOYED TURKEY WITH CORNBREAD 747 00:27:56,075 --> 00:27:57,986 IN PLAINS, GEORGIA, THE CARTERS ENJOYED TURKEY WITH CORNBREAD DRESSING, WHILE AT CAMP DAVID, 748 00:27:58,010 --> 00:27:59,420 ENJOYED TURKEY WITH CORNBREAD DRESSING, WHILE AT CAMP DAVID, THE FORD FAMILY DINED 749 00:27:59,444 --> 00:28:01,156 DRESSING, WHILE AT CAMP DAVID, THE FORD FAMILY DINED APPROPRIATELY ON ROAST LAME 750 00:28:01,180 --> 00:28:03,158 THE FORD FAMILY DINED APPROPRIATELY ON ROAST LAME DUCK, CRIPPLED CRANBERRY SAUCE, 751 00:28:03,182 --> 00:28:04,860 APPROPRIATELY ON ROAST LAME DUCK, CRIPPLED CRANBERRY SAUCE, MANGLED YAMS, AND DISABLED 752 00:28:04,884 --> 00:28:06,394 DUCK, CRIPPLED CRANBERRY SAUCE, MANGLED YAMS, AND DISABLED PUMPKIN PIE SERVED ON A 753 00:28:06,418 --> 00:28:07,763 MANGLED YAMS, AND DISABLED PUMPKIN PIE SERVED ON A STRETCHER. 754 00:28:07,787 --> 00:28:09,564 PUMPKIN PIE SERVED ON A STRETCHER. AND HENRY KISSINGER MADE AN 755 00:28:09,588 --> 00:28:11,566 STRETCHER. AND HENRY KISSINGER MADE AN APPEARANCE IN THE ANNUAL MACY'S 756 00:28:11,590 --> 00:28:17,472 AND HENRY KISSINGER MADE AN APPEARANCE IN THE ANNUAL MACY'S THANKSGIVING DAY PARADE. 757 00:28:17,496 --> 00:28:19,174 APPEARANCE IN THE ANNUAL MACY'S THANKSGIVING DAY PARADE. AFTERWARDS, OFFICIALS CUT HIM 758 00:28:19,198 --> 00:28:20,608 THANKSGIVING DAY PARADE. AFTERWARDS, OFFICIALS CUT HIM LOOSE, AND HENRY FLEW TO 759 00:28:20,632 --> 00:28:22,277 AFTERWARDS, OFFICIALS CUT HIM LOOSE, AND HENRY FLEW TO ACAPULCO FOR A MUCH-DESERVED 760 00:28:22,301 --> 00:28:26,414 LOOSE, AND HENRY FLEW TO ACAPULCO FOR A MUCH-DESERVED VACATION. 761 00:28:26,438 --> 00:28:27,916 ACAPULCO FOR A MUCH-DESERVED VACATION. HEAVYWEIGHT CHAMP MUHAMMAD ALI 762 00:28:27,940 --> 00:28:29,551 VACATION. HEAVYWEIGHT CHAMP MUHAMMAD ALI CAME OUT OF RETIREMENT THIS WEEK 763 00:28:29,575 --> 00:28:31,153 HEAVYWEIGHT CHAMP MUHAMMAD ALI CAME OUT OF RETIREMENT THIS WEEK AND ANNOUNCED HIS PLANS TO FIGHT 764 00:28:31,177 --> 00:28:32,353 CAME OUT OF RETIREMENT THIS WEEK AND ANNOUNCED HIS PLANS TO FIGHT FIFTH-RANKED CHALLENGER 765 00:28:32,377 --> 00:28:33,188 AND ANNOUNCED HIS PLANS TO FIGHT FIFTH-RANKED CHALLENGER DWAYNE BOBICK. 766 00:28:33,212 --> 00:28:34,690 FIFTH-RANKED CHALLENGER DWAYNE BOBICK. ALTHOUGH NO DATE HAS BEEN SET 767 00:28:34,714 --> 00:28:36,291 DWAYNE BOBICK. ALTHOUGH NO DATE HAS BEEN SET FOR THE BOUT, IT IS ASSUMED THAT 768 00:28:36,315 --> 00:28:37,793 ALTHOUGH NO DATE HAS BEEN SET FOR THE BOUT, IT IS ASSUMED THAT IT WILL TAKE PLACE EARLY NEXT 769 00:28:37,817 --> 00:28:39,360 FOR THE BOUT, IT IS ASSUMED THAT IT WILL TAKE PLACE EARLY NEXT YEAR, IN TIME FOR THE WINNER TO 770 00:28:39,384 --> 00:28:41,129 IT WILL TAKE PLACE EARLY NEXT YEAR, IN TIME FOR THE WINNER TO REPLACE CIA DIRECTOR 771 00:28:41,153 --> 00:28:42,664 YEAR, IN TIME FOR THE WINNER TO REPLACE CIA DIRECTOR GEORGE BUSH, WHO'S RETIRING ON 772 00:28:42,688 --> 00:28:45,934 REPLACE CIA DIRECTOR GEORGE BUSH, WHO'S RETIRING ON JANUARY 20th. 773 00:28:45,958 --> 00:28:47,635 GEORGE BUSH, WHO'S RETIRING ON JANUARY 20th. LAST WEEK, "WEEKEND UPDATE" 774 00:28:47,659 --> 00:28:49,404 JANUARY 20th. LAST WEEK, "WEEKEND UPDATE" REPORTED THAT TV PERSONALITY 775 00:28:49,428 --> 00:28:50,939 LAST WEEK, "WEEKEND UPDATE" REPORTED THAT TV PERSONALITY MORRIS THE CAT ATTEMPTED 776 00:28:50,963 --> 00:28:52,507 REPORTED THAT TV PERSONALITY MORRIS THE CAT ATTEMPTED SUICIDE, BUT COULD ONLY THINK OF 777 00:28:52,531 --> 00:28:53,975 MORRIS THE CAT ATTEMPTED SUICIDE, BUT COULD ONLY THINK OF WAYS TO KILL EIGHT OF HIS NINE 778 00:28:53,999 --> 00:28:54,576 SUICIDE, BUT COULD ONLY THINK OF WAYS TO KILL EIGHT OF HIS NINE LIVES. 779 00:28:54,600 --> 00:28:56,611 WAYS TO KILL EIGHT OF HIS NINE LIVES. UPDATE HAS RECEIVED HUNDREDS OF 780 00:28:56,635 --> 00:28:58,513 LIVES. UPDATE HAS RECEIVED HUNDREDS OF SUGGESTIONS ON A NINTH WAY TO 781 00:28:58,537 --> 00:29:00,448 UPDATE HAS RECEIVED HUNDREDS OF SUGGESTIONS ON A NINTH WAY TO KILL MORRIS, SUCH AS MAKING HIM 782 00:29:00,472 --> 00:29:02,117 SUGGESTIONS ON A NINTH WAY TO KILL MORRIS, SUCH AS MAKING HIM WATCH HIS OWN COMMERCIALS, 783 00:29:02,141 --> 00:29:03,752 KILL MORRIS, SUCH AS MAKING HIM WATCH HIS OWN COMMERCIALS, MARKING HIM "FRAGILE" AND 784 00:29:03,776 --> 00:29:05,453 WATCH HIS OWN COMMERCIALS, MARKING HIM "FRAGILE" AND SENDING HIM TO MILWAUKEE BY 785 00:29:05,477 --> 00:29:07,255 MARKING HIM "FRAGILE" AND SENDING HIM TO MILWAUKEE BY THIRD-CLASS MAIL, HAVING HIM 786 00:29:07,279 --> 00:29:09,191 SENDING HIM TO MILWAUKEE BY THIRD-CLASS MAIL, HAVING HIM TAKE THE NESTEA PLUNGE FROM THE 787 00:29:09,215 --> 00:29:11,059 THIRD-CLASS MAIL, HAVING HIM TAKE THE NESTEA PLUNGE FROM THE 30th FLOOR, TYING HIS HEAD AND 788 00:29:11,083 --> 00:29:13,061 TAKE THE NESTEA PLUNGE FROM THE 30th FLOOR, TYING HIS HEAD AND TAIL TO TRUCKS GOING IN OPPOSITE 789 00:29:13,085 --> 00:29:14,096 30th FLOOR, TYING HIS HEAD AND TAIL TO TRUCKS GOING IN OPPOSITE DIRECTIONS... 790 00:29:14,120 --> 00:29:15,964 TAIL TO TRUCKS GOING IN OPPOSITE DIRECTIONS... AND STICKING DYNAMITE IN AN 791 00:29:15,988 --> 00:29:17,665 DIRECTIONS... AND STICKING DYNAMITE IN AN UNMENTIONABLE ORIFICE. 792 00:29:17,689 --> 00:29:19,367 AND STICKING DYNAMITE IN AN UNMENTIONABLE ORIFICE. LITERALLY THOUSANDS OF 793 00:29:19,391 --> 00:29:21,469 UNMENTIONABLE ORIFICE. LITERALLY THOUSANDS OF RECOMMENDATIONS, ALL OF THEM 794 00:29:21,493 --> 00:29:23,071 LITERALLY THOUSANDS OF RECOMMENDATIONS, ALL OF THEM GOOD, EXCEPT FOR ONE RACIST WHO 795 00:29:23,095 --> 00:29:24,706 RECOMMENDATIONS, ALL OF THEM GOOD, EXCEPT FOR ONE RACIST WHO MISUNDERSTOOD THE STORY AND TOLD 796 00:29:24,730 --> 00:29:25,540 GOOD, EXCEPT FOR ONE RACIST WHO MISUNDERSTOOD THE STORY AND TOLD US HOW TO KILL 797 00:29:25,564 --> 00:29:27,142 MISUNDERSTOOD THE STORY AND TOLD US HOW TO KILL NOT-READY-FOR-PRIME-TIME PLAYER 798 00:29:27,166 --> 00:29:28,176 US HOW TO KILL NOT-READY-FOR-PRIME-TIME PLAYER GARRETT MORRIS. 799 00:29:28,200 --> 00:29:29,778 NOT-READY-FOR-PRIME-TIME PLAYER GARRETT MORRIS. WE HAVE FORWARDED ALL YOUR 800 00:29:29,802 --> 00:29:31,546 GARRETT MORRIS. WE HAVE FORWARDED ALL YOUR SUGGESTIONS TO THIS OBNOXIOUS 801 00:29:31,570 --> 00:29:33,381 WE HAVE FORWARDED ALL YOUR SUGGESTIONS TO THIS OBNOXIOUS CAT FOR HIS APPROVAL, BUT ONCE 802 00:29:33,405 --> 00:29:35,016 SUGGESTIONS TO THIS OBNOXIOUS CAT FOR HIS APPROVAL, BUT ONCE AGAIN, MORRIS IS BEING FINICKY. 803 00:29:35,040 --> 00:29:36,651 CAT FOR HIS APPROVAL, BUT ONCE AGAIN, MORRIS IS BEING FINICKY. NONE OF THEM ARE TO HIS LIKING, 804 00:29:36,675 --> 00:29:38,319 AGAIN, MORRIS IS BEING FINICKY. NONE OF THEM ARE TO HIS LIKING, SO WE STILL APPEAL TO YOUR SENSE 805 00:29:38,343 --> 00:29:39,087 NONE OF THEM ARE TO HIS LIKING, SO WE STILL APPEAL TO YOUR SENSE OF HUMANITY. 806 00:29:39,111 --> 00:29:40,588 SO WE STILL APPEAL TO YOUR SENSE OF HUMANITY. HELP PUT THIS CAT OUT OF HIS 807 00:29:40,612 --> 00:29:41,989 OF HUMANITY. HELP PUT THIS CAT OUT OF HIS MISERY. 808 00:29:42,013 --> 00:29:43,113 CONTINUE SENDING YOUR 809 00:29:43,248 --> 00:29:48,718 SUGGESTIONS TO... 810 00:29:48,853 --> 00:29:50,020 HOPEFULLY, THE DECISION OF 811 00:29:50,155 --> 00:29:52,890 MORRIS WILL BE FINAL. 812 00:29:53,158 --> 00:29:58,640 A 30% CUT IN NEW YORK STATE FUNDING IS SERIOUSLY THREATENING OPERATIONS AT THE FAMOUS BRONX 813 00:29:58,664 --> 00:29:59,040 FUNDING IS SERIOUSLY THREATENING OPERATIONS AT THE FAMOUS BRONX ZOO. 814 00:29:59,064 --> 00:30:00,508 OPERATIONS AT THE FAMOUS BRONX ZOO. ZOO OFFICIALS SAY THAT THE CUT 815 00:30:00,532 --> 00:30:02,043 ZOO. ZOO OFFICIALS SAY THAT THE CUT WILL MEAN THAT THE ANIMALS WILL 816 00:30:02,067 --> 00:30:03,544 ZOO OFFICIALS SAY THAT THE CUT WILL MEAN THAT THE ANIMALS WILL HAVE TO FEED THEMSELVES, CLEAN 817 00:30:03,568 --> 00:30:04,980 WILL MEAN THAT THE ANIMALS WILL HAVE TO FEED THEMSELVES, CLEAN UP THEIR OWN CAGES, AND TAKE 818 00:30:05,004 --> 00:30:06,281 HAVE TO FEED THEMSELVES, CLEAN UP THEIR OWN CAGES, AND TAKE PART-TIME JOBS AT THE POST 819 00:30:06,305 --> 00:30:07,615 UP THEIR OWN CAGES, AND TAKE PART-TIME JOBS AT THE POST OFFICE DURING THIS HOLIDAY 820 00:30:07,639 --> 00:30:08,250 PART-TIME JOBS AT THE POST OFFICE DURING THIS HOLIDAY SEASON. 821 00:30:08,274 --> 00:30:10,185 OFFICE DURING THIS HOLIDAY SEASON. GOOD NIGHT, AND HAVE A PLEASANT 822 00:30:10,209 --> 00:30:18,209 SEASON. GOOD NIGHT, AND HAVE A PLEASANT TOMORROW. 823 00:30:19,018 --> 00:30:20,862 GOOD NIGHT, AND HAVE A PLEASANT TOMORROW. THIS IS A SONG THAT I WROTE 824 00:30:20,886 --> 00:30:21,863 TOMORROW. THIS IS A SONG THAT I WROTE VERY RECENTLY. 825 00:30:21,887 --> 00:30:23,731 THIS IS A SONG THAT I WROTE VERY RECENTLY. IT KIND OF TYPIFIES MY FEELING 826 00:30:23,755 --> 00:30:25,466 VERY RECENTLY. IT KIND OF TYPIFIES MY FEELING ABOUT WOMEN, AND IT'S CALLED 827 00:30:25,490 --> 00:30:27,202 IT KIND OF TYPIFIES MY FEELING ABOUT WOMEN, AND IT'S CALLED "LOVE IS A WOMAN." 828 00:30:27,226 --> 00:30:29,204 ABOUT WOMEN, AND IT'S CALLED "LOVE IS A WOMAN." 1, 2. 829 00:30:29,228 --> 00:30:30,705 "LOVE IS A WOMAN." 1, 2. [INTRO PLAYS] 830 00:30:30,729 --> 00:30:37,179 1, 2. [INTRO PLAYS] ♪ LOVE IS A WOMAN ♪ 831 00:30:37,203 --> 00:30:43,819 [INTRO PLAYS] ♪ LOVE IS A WOMAN ♪ ♪ TREAT HER TENDERLY TONIGHT ♪ 832 00:30:43,843 --> 00:30:49,858 ♪ LOVE IS A WOMAN ♪ ♪ TREAT HER TENDERLY TONIGHT ♪ ♪ LOVE IS A WOMAN ♪ 833 00:30:49,882 --> 00:30:54,262 ♪ TREAT HER TENDERLY TONIGHT ♪ ♪ LOVE IS A WOMAN ♪ ♪ SO GIVE HER ALL YOUR LOVE 834 00:30:54,286 --> 00:30:59,434 ♪ LOVE IS A WOMAN ♪ ♪ SO GIVE HER ALL YOUR LOVE TONIGHT ♪ 835 00:30:59,458 --> 00:31:02,737 ♪ SO GIVE HER ALL YOUR LOVE TONIGHT ♪ ♪ A WOMAN IS LOVE ♪ 836 00:31:02,761 --> 00:31:05,841 TONIGHT ♪ ♪ A WOMAN IS LOVE ♪ ♪ AND IF YOU'RE SMART, YOU'LL 837 00:31:05,865 --> 00:31:12,047 ♪ A WOMAN IS LOVE ♪ ♪ AND IF YOU'RE SMART, YOU'LL PLEASE HER, TEASE HER TONIGHT ♪ 838 00:31:12,071 --> 00:31:15,183 ♪ AND IF YOU'RE SMART, YOU'LL PLEASE HER, TEASE HER TONIGHT ♪ ♪ JUST TAKE MY ADVICE ♪ 839 00:31:15,207 --> 00:31:18,619 PLEASE HER, TEASE HER TONIGHT ♪ ♪ JUST TAKE MY ADVICE ♪ ♪ YOU JUST TREAT HER NICE ♪ 840 00:31:18,643 --> 00:31:22,991 ♪ JUST TAKE MY ADVICE ♪ ♪ YOU JUST TREAT HER NICE ♪ ♪ AND YOU'LL FIND YOUR WOMAN IS 841 00:31:23,015 --> 00:31:24,826 ♪ YOU JUST TREAT HER NICE ♪ ♪ AND YOU'LL FIND YOUR WOMAN IS LOVE ♪ 842 00:31:24,850 --> 00:31:30,899 ♪ AND YOU'LL FIND YOUR WOMAN IS LOVE ♪ ♪ LOVE IS A WOMAN ♪ 843 00:31:30,923 --> 00:31:34,970 LOVE ♪ ♪ LOVE IS A WOMAN ♪ ♪ SO TELL HER SHE SMELLS GOOD 844 00:31:34,994 --> 00:31:37,372 ♪ LOVE IS A WOMAN ♪ ♪ SO TELL HER SHE SMELLS GOOD TONIGHT ♪ 845 00:31:37,396 --> 00:31:43,345 ♪ SO TELL HER SHE SMELLS GOOD TONIGHT ♪ ♪ LOVE IS A WOMAN ♪ 846 00:31:43,369 --> 00:31:47,749 TONIGHT ♪ ♪ LOVE IS A WOMAN ♪ ♪ SO MAKE HER FEEL THAT WAY 847 00:31:47,773 --> 00:31:53,021 ♪ LOVE IS A WOMAN ♪ ♪ SO MAKE HER FEEL THAT WAY TONIGHT ♪ 848 00:31:53,045 --> 00:31:56,091 ♪ SO MAKE HER FEEL THAT WAY TONIGHT ♪ ♪ A WOMAN IS LOVE ♪ 849 00:31:56,115 --> 00:31:59,394 TONIGHT ♪ ♪ A WOMAN IS LOVE ♪ ♪ AND IF YOU'RE SMART YOU'LL 850 00:31:59,418 --> 00:32:05,433 ♪ A WOMAN IS LOVE ♪ ♪ AND IF YOU'RE SMART YOU'LL PLEASE HER, TEASE HER TONIGHT ♪ 851 00:32:05,457 --> 00:32:08,703 ♪ AND IF YOU'RE SMART YOU'LL PLEASE HER, TEASE HER TONIGHT ♪ ♪ JUST TAKE MY ADVICE ♪ 852 00:32:08,727 --> 00:32:11,907 PLEASE HER, TEASE HER TONIGHT ♪ ♪ JUST TAKE MY ADVICE ♪ ♪ YOU JUST TREAT HER NICE ♪ 853 00:32:11,931 --> 00:32:16,278 ♪ JUST TAKE MY ADVICE ♪ ♪ YOU JUST TREAT HER NICE ♪ ♪ AND YOU'LL FIND YOUR WOMAN IS 854 00:32:16,302 --> 00:32:18,079 ♪ YOU JUST TREAT HER NICE ♪ ♪ AND YOU'LL FIND YOUR WOMAN IS LOVE ♪ 855 00:32:18,103 --> 00:32:20,181 ♪ AND YOU'LL FIND YOUR WOMAN IS LOVE ♪ ♪ 1, 2, 3 ♪ 856 00:32:20,205 --> 00:32:20,949 LOVE ♪ ♪ 1, 2, 3 ♪ ♪ 2, 3 ♪ 857 00:32:20,973 --> 00:32:22,683 ♪ 1, 2, 3 ♪ ♪ 2, 3 ♪ ♪ SHE'S FALLING IN LOVE WITH 858 00:32:22,707 --> 00:32:24,252 ♪ 2, 3 ♪ ♪ SHE'S FALLING IN LOVE WITH ME ♪ 859 00:32:24,276 --> 00:32:26,421 ♪ SHE'S FALLING IN LOVE WITH ME ♪ ♪ 4, 5, 6 ♪ 860 00:32:26,445 --> 00:32:27,222 ME ♪ ♪ 4, 5, 6 ♪ ♪ 5, 6 ♪ 861 00:32:27,246 --> 00:32:28,924 ♪ 4, 5, 6 ♪ ♪ 5, 6 ♪ ♪ SHE FELL FOR ALL MY 862 00:32:28,948 --> 00:32:30,325 ♪ 5, 6 ♪ ♪ SHE FELL FOR ALL MY TRICKS ♪ 863 00:32:30,349 --> 00:32:32,427 ♪ SHE FELL FOR ALL MY TRICKS ♪ ♪ 7, 8, 9 ♪ 864 00:32:32,451 --> 00:32:33,361 TRICKS ♪ ♪ 7, 8, 9 ♪ ♪ 8, 9 ♪ 865 00:32:33,385 --> 00:32:35,096 ♪ 7, 8, 9 ♪ ♪ 8, 9 ♪ ♪ SHE MAKES ME FEEL SO 866 00:32:35,120 --> 00:32:36,697 ♪ 8, 9 ♪ ♪ SHE MAKES ME FEEL SO FINE ♪ 867 00:32:36,721 --> 00:32:42,770 ♪ SHE MAKES ME FEEL SO FINE ♪ ♪ LOVE IS A WOMAN ♪ 868 00:32:42,794 --> 00:32:46,942 FINE ♪ ♪ LOVE IS A WOMAN ♪ ♪ SO TREAT HER TENDERLY 869 00:32:46,966 --> 00:32:49,277 ♪ LOVE IS A WOMAN ♪ ♪ SO TREAT HER TENDERLY TONIGHT ♪ 870 00:32:49,301 --> 00:32:55,317 ♪ SO TREAT HER TENDERLY TONIGHT ♪ ♪ LOVE MAKES A WOMAN ♪ 871 00:32:55,341 --> 00:32:59,454 TONIGHT ♪ ♪ LOVE MAKES A WOMAN ♪ ♪ SO GIVE HER ALL YOUR LOVE 872 00:32:59,478 --> 00:33:01,798 ♪ LOVE MAKES A WOMAN ♪ ♪ SO GIVE HER ALL YOUR LOVE TONIGHT ♪ 873 00:33:08,286 --> 00:33:16,286 ♪ TAKE MY ADVICE ♪ ♪ YOU JUST TREAT HER NICE ♪ ♪ JUST TAKE MY ADVICE ♪ 874 00:33:17,262 --> 00:33:20,608 ♪ YOU JUST TREAT HER NICE ♪ ♪ JUST TAKE MY ADVICE ♪ ♪ YOU JUST TREAT HER NICE ♪ 875 00:33:20,632 --> 00:33:24,245 ♪ JUST TAKE MY ADVICE ♪ ♪ YOU JUST TREAT HER NICE ♪ ♪ TAKE MY ADVICE ♪ 876 00:33:24,269 --> 00:33:26,469 ♪ YOU JUST TREAT HER NICE ♪ ♪ TAKE MY ADVICE ♪ [APPLAUSE] 877 00:33:43,221 --> 00:33:48,103 WELCOME TO A NEW SEGMENT OF "SATURDAY NIGHT" CALLED "LITTLE-KNOWN TALENTS OF THE 878 00:33:48,127 --> 00:33:49,604 "SATURDAY NIGHT" CALLED "LITTLE-KNOWN TALENTS OF THE NOT-READY-FOR-PRIME-TIME 879 00:33:49,628 --> 00:33:50,205 "LITTLE-KNOWN TALENTS OF THE NOT-READY-FOR-PRIME-TIME PLAYERS." 880 00:33:50,229 --> 00:33:51,772 NOT-READY-FOR-PRIME-TIME PLAYERS." TONIGHT YOU WON'T BE SEEING ANY 881 00:33:51,796 --> 00:33:53,108 PLAYERS." TONIGHT YOU WON'T BE SEEING ANY OF MY TALENTS 'CAUSE WE'RE 882 00:33:53,132 --> 00:33:55,076 TONIGHT YOU WON'T BE SEEING ANY OF MY TALENTS 'CAUSE WE'RE FEATURING LARAINE, AND IT JUST 883 00:33:55,100 --> 00:33:57,012 OF MY TALENTS 'CAUSE WE'RE FEATURING LARAINE, AND IT JUST SO HAPPENS THAT LARAINE HAS A 884 00:33:57,036 --> 00:33:58,813 FEATURING LARAINE, AND IT JUST SO HAPPENS THAT LARAINE HAS A UNIQUE GIFT FOR DOING SOUND 885 00:33:58,837 --> 00:34:00,715 SO HAPPENS THAT LARAINE HAS A UNIQUE GIFT FOR DOING SOUND EFFECTS, SO SHE'S GOING TO DO 886 00:34:00,739 --> 00:34:01,782 UNIQUE GIFT FOR DOING SOUND EFFECTS, SO SHE'S GOING TO DO THEM FOR YOU TONIGHT. 887 00:34:01,806 --> 00:34:03,118 EFFECTS, SO SHE'S GOING TO DO THEM FOR YOU TONIGHT. TO BEGIN WITH, LARAINE WOULD 888 00:34:03,142 --> 00:34:09,757 THEM FOR YOU TONIGHT. TO BEGIN WITH, LARAINE WOULD LIKE TO DO A BABY CRYING. 889 00:34:09,781 --> 00:34:16,531 TO BEGIN WITH, LARAINE WOULD LIKE TO DO A BABY CRYING. [CRYING] 890 00:34:16,555 --> 00:34:18,599 LIKE TO DO A BABY CRYING. [CRYING] [BURPS] 891 00:34:18,623 --> 00:34:26,508 [CRYING] [BURPS] [APPLAUSE] 892 00:34:26,532 --> 00:34:28,676 [BURPS] [APPLAUSE] NEXT... I'M SURE YOU'VE ALL 893 00:34:28,700 --> 00:34:30,711 [APPLAUSE] NEXT... I'M SURE YOU'VE ALL HAD PETS, LIKE A LITTLE DOG. 894 00:34:30,735 --> 00:34:32,747 NEXT... I'M SURE YOU'VE ALL HAD PETS, LIKE A LITTLE DOG. LARAINE IS NOW GOING TO DO A 895 00:34:32,771 --> 00:34:37,785 HAD PETS, LIKE A LITTLE DOG. LARAINE IS NOW GOING TO DO A LITTLE DOG BEING STEPPED ON. 896 00:34:37,809 --> 00:34:42,457 LARAINE IS NOW GOING TO DO A LITTLE DOG BEING STEPPED ON. [YIPPING] 897 00:34:42,481 --> 00:34:48,863 LITTLE DOG BEING STEPPED ON. [YIPPING] [APPLAUSE] 898 00:34:48,887 --> 00:34:50,865 [YIPPING] [APPLAUSE] ALSO, LARAINE IS THE ONLY 899 00:34:50,889 --> 00:34:53,101 [APPLAUSE] ALSO, LARAINE IS THE ONLY WOMAN IN NORTH AMERICA TODAY WHO 900 00:34:53,125 --> 00:34:55,170 ALSO, LARAINE IS THE ONLY WOMAN IN NORTH AMERICA TODAY WHO PLAYS THIS PARTICULAR MUSICAL 901 00:34:55,194 --> 00:34:56,171 WOMAN IN NORTH AMERICA TODAY WHO PLAYS THIS PARTICULAR MUSICAL INSTRUMENT. 902 00:34:56,195 --> 00:34:58,406 PLAYS THIS PARTICULAR MUSICAL INSTRUMENT. LARAINE PLAYS HER LIP, AND SHE 903 00:34:58,430 --> 00:35:00,741 INSTRUMENT. LARAINE PLAYS HER LIP, AND SHE IS NOW GOING TO PLAY FOR YOU THE 904 00:35:00,765 --> 00:35:02,777 LARAINE PLAYS HER LIP, AND SHE IS NOW GOING TO PLAY FOR YOU THE FINAL PART OF THE "PORKY PIG" 905 00:35:02,801 --> 00:35:04,045 IS NOW GOING TO PLAY FOR YOU THE FINAL PART OF THE "PORKY PIG" WARNER BROS. CARTOON. 906 00:35:04,069 --> 00:35:05,813 FINAL PART OF THE "PORKY PIG" WARNER BROS. CARTOON. THAT'S WHEN HE SAYS, "THAT'S 907 00:35:05,837 --> 00:35:06,948 WARNER BROS. CARTOON. THAT'S WHEN HE SAYS, "THAT'S ALL, FOLKS," OKAY? 908 00:35:06,972 --> 00:35:09,050 THAT'S WHEN HE SAYS, "THAT'S ALL, FOLKS," OKAY? PICTURE THAT IN YOUR MIND. 909 00:35:09,074 --> 00:35:17,074 ALL, FOLKS," OKAY? PICTURE THAT IN YOUR MIND. [LOONY TOONS THEME PLAYS] 910 00:35:17,549 --> 00:35:19,989 PICTURE THAT IN YOUR MIND. [LOONY TOONS THEME PLAYS] [APPLAUSE] 911 00:35:28,726 --> 00:35:36,726 AND IN CONCLUSION, LARAINE'S PORTRAYAL OF A CHICKEN POSSESSED BY THE DEVIL. 912 00:35:37,169 --> 00:35:38,413 PORTRAYAL OF A CHICKEN POSSESSED BY THE DEVIL. CAN YOU GET A... GOOD. 913 00:35:38,437 --> 00:35:39,914 BY THE DEVIL. CAN YOU GET A... GOOD. OKAY, GET A WIDE SHOT ON THIS. 914 00:35:39,938 --> 00:35:43,050 CAN YOU GET A... GOOD. OKAY, GET A WIDE SHOT ON THIS. OKAY. 915 00:35:43,074 --> 00:35:47,043 OKAY, GET A WIDE SHOT ON THIS. OKAY. [CLUCKING] 916 00:35:51,015 --> 00:35:58,333 [CLUCKING WILDLY] [CLUCKING WITH DEEP VOICE] PLUCK ME. 917 00:35:58,357 --> 00:36:03,326 [CLUCKING WITH DEEP VOICE] PLUCK ME. PLUCK ME, PLUCK ME, PLUCK ME. 918 00:36:15,005 --> 00:36:20,721 AND NOW, AS PART OF NBC's 50th ANNIVERSARY, A SALUTE TO THE GREATEST VOICE-OVER 919 00:36:20,745 --> 00:36:23,057 50th ANNIVERSARY, A SALUTE TO THE GREATEST VOICE-OVER ANNOUNCER IN THE HISTORY OF SHOW 920 00:36:23,081 --> 00:36:25,721 THE GREATEST VOICE-OVER ANNOUNCER IN THE HISTORY OF SHOW BUSINESS... 921 00:36:31,322 --> 00:36:35,102 HELLO, THERE. MY NAME IS DANNY CADENZA FITZJACOBS. 922 00:36:35,126 --> 00:36:37,338 MY NAME IS DANNY CADENZA FITZJACOBS. THE TERM "VOICE-OVER" IS USED IN 923 00:36:37,362 --> 00:36:38,473 DANNY CADENZA FITZJACOBS. THE TERM "VOICE-OVER" IS USED IN TELEVISION WHENEVER 924 00:36:38,497 --> 00:36:40,141 THE TERM "VOICE-OVER" IS USED IN TELEVISION WHENEVER ANNOUNCEMENTS OR NARRATION ARE 925 00:36:40,165 --> 00:36:41,342 TELEVISION WHENEVER ANNOUNCEMENTS OR NARRATION ARE REQUIRED IN A SCENE. 926 00:36:41,366 --> 00:36:43,044 ANNOUNCEMENTS OR NARRATION ARE REQUIRED IN A SCENE. IT'S A GRUELING AND, UNTIL NOW, 927 00:36:43,068 --> 00:36:44,579 REQUIRED IN A SCENE. IT'S A GRUELING AND, UNTIL NOW, THANKLESS ART WHICH DEMANDS 928 00:36:44,603 --> 00:36:46,614 IT'S A GRUELING AND, UNTIL NOW, THANKLESS ART WHICH DEMANDS PRECISION, PATIENCE, AND GUTS. 929 00:36:46,638 --> 00:36:48,749 THANKLESS ART WHICH DEMANDS PRECISION, PATIENCE, AND GUTS. DON PARDO'S BACKGROUND HELPED TO 930 00:36:48,773 --> 00:36:50,418 PRECISION, PATIENCE, AND GUTS. DON PARDO'S BACKGROUND HELPED TO COMBINE THESE QUALITIES. 931 00:36:50,442 --> 00:36:52,353 DON PARDO'S BACKGROUND HELPED TO COMBINE THESE QUALITIES. HIS FATHER WAS AN AUCTIONEER AND 932 00:36:52,377 --> 00:36:54,255 COMBINE THESE QUALITIES. HIS FATHER WAS AN AUCTIONEER AND HIS MOTHER WAS AN OPERA SINGER. 933 00:36:54,279 --> 00:36:55,923 HIS FATHER WAS AN AUCTIONEER AND HIS MOTHER WAS AN OPERA SINGER. YOU MIGHT SAY HE WAS A BORN 934 00:36:55,947 --> 00:36:57,123 HIS MOTHER WAS AN OPERA SINGER. YOU MIGHT SAY HE WAS A BORN ANNOUNCER. 935 00:36:57,147 --> 00:36:58,815 DON TOOK HIS FIRST CUE AT 936 00:36:58,949 --> 00:37:00,917 WESTFIELD HOSPITAL WHERE HE WAS 937 00:37:01,051 --> 00:37:03,587 BORN AT 11:30 A.M., 10:30 938 00:37:03,721 --> 00:37:07,557 CENTRAL TIME. 939 00:37:07,825 --> 00:37:13,241 HOW ARE YOU, HONEY? I'M TIRED, BUT I'M HAPPY. WHEN CAN WE SEE THE BABY? 940 00:37:13,265 --> 00:37:14,875 I'M TIRED, BUT I'M HAPPY. WHEN CAN WE SEE THE BABY? RIGHT NOW, MR. PARDO. 941 00:37:14,899 --> 00:37:16,311 WHEN CAN WE SEE THE BABY? RIGHT NOW, MR. PARDO. OH, ISN'T HE CUTE? 942 00:37:16,335 --> 00:37:18,279 RIGHT NOW, MR. PARDO. OH, ISN'T HE CUTE? I GUESS WE'LL HAVE TO START 943 00:37:18,303 --> 00:37:19,714 OH, ISN'T HE CUTE? I GUESS WE'LL HAVE TO START SENDING OUT THE BIRTH 944 00:37:19,738 --> 00:37:20,348 I GUESS WE'LL HAVE TO START SENDING OUT THE BIRTH ANNOUNCEMENTS. 945 00:37:20,372 --> 00:37:21,449 SENDING OUT THE BIRTH ANNOUNCEMENTS. Announcer: NO, YOU WON'T, 946 00:37:21,473 --> 00:37:21,949 ANNOUNCEMENTS. Announcer: NO, YOU WON'T, DAD. 947 00:37:21,973 --> 00:37:24,285 Announcer: NO, YOU WON'T, DAD. I'LL DO IT MYSELF. 948 00:37:24,309 --> 00:37:25,486 DAD. I'LL DO IT MYSELF. IT'S A BOY. 949 00:37:25,510 --> 00:37:28,022 I'LL DO IT MYSELF. IT'S A BOY. YES, 6 1/2 POUNDS OF YOUR OWN 950 00:37:28,046 --> 00:37:28,556 IT'S A BOY. YES, 6 1/2 POUNDS OF YOUR OWN SON. 951 00:37:28,580 --> 00:37:30,525 YES, 6 1/2 POUNDS OF YOUR OWN SON. ANOTHER MIRACLE FROM MOTHER 952 00:37:30,549 --> 00:37:31,226 SON. ANOTHER MIRACLE FROM MOTHER NATURE. 953 00:37:31,250 --> 00:37:32,860 ANOTHER MIRACLE FROM MOTHER NATURE. JUST LISTEN TO THAT. 954 00:37:32,884 --> 00:37:34,962 NATURE. JUST LISTEN TO THAT. SOMEDAY HE'S GONNA BE PRESIDENT 955 00:37:34,986 --> 00:37:37,632 JUST LISTEN TO THAT. SOMEDAY HE'S GONNA BE PRESIDENT OF THE UNITED STATES. 956 00:37:37,656 --> 00:37:39,967 SOMEDAY HE'S GONNA BE PRESIDENT OF THE UNITED STATES. AND SO, A VOICE WAS BORN. 957 00:37:39,991 --> 00:37:41,969 OF THE UNITED STATES. AND SO, A VOICE WAS BORN. IN SCHOOL, YOUNG PARDO'S 958 00:37:41,993 --> 00:37:44,505 AND SO, A VOICE WAS BORN. IN SCHOOL, YOUNG PARDO'S TEACHERS WERE QUICK TO RECOGNIZE 959 00:37:44,529 --> 00:37:46,974 IN SCHOOL, YOUNG PARDO'S TEACHERS WERE QUICK TO RECOGNIZE HIS SPECIAL TALENT. 960 00:37:46,998 --> 00:37:49,510 TEACHERS WERE QUICK TO RECOGNIZE HIS SPECIAL TALENT. [ALL TALKING] 961 00:37:49,534 --> 00:37:50,612 HIS SPECIAL TALENT. [ALL TALKING] CHILDREN! 962 00:37:50,636 --> 00:37:52,012 [ALL TALKING] CHILDREN! CHILDREN! 963 00:37:52,036 --> 00:37:53,481 CHILDREN! CHILDREN! NOW, WHAT'S GOING ON IN HERE? 964 00:37:53,505 --> 00:37:54,882 CHILDREN! NOW, WHAT'S GOING ON IN HERE? I COULD HEAR YOU ALL THE WAY 965 00:37:54,906 --> 00:37:55,717 NOW, WHAT'S GOING ON IN HERE? I COULD HEAR YOU ALL THE WAY DOWN THE HALL. 966 00:37:55,741 --> 00:37:57,084 I COULD HEAR YOU ALL THE WAY DOWN THE HALL. DON PARDO, TELL ME WHAT WAS 967 00:37:57,108 --> 00:37:57,685 DOWN THE HALL. DON PARDO, TELL ME WHAT WAS GOING ON. 968 00:37:57,709 --> 00:37:58,686 DON PARDO, TELL ME WHAT WAS GOING ON. Announcer: WELL, 969 00:37:58,710 --> 00:38:00,221 GOING ON. Announcer: WELL, MISS LONGABAUGH, SUSAN ANDERSON 970 00:38:00,245 --> 00:38:01,689 Announcer: WELL, MISS LONGABAUGH, SUSAN ANDERSON WAS TALKING WITH HER NEIGHBOR, 971 00:38:01,713 --> 00:38:03,258 MISS LONGABAUGH, SUSAN ANDERSON WAS TALKING WITH HER NEIGHBOR, AND THEN STEVIE O'CONNOR THREW 972 00:38:03,282 --> 00:38:04,359 WAS TALKING WITH HER NEIGHBOR, AND THEN STEVIE O'CONNOR THREW GLORIA'S SHOE IN THE 973 00:38:04,383 --> 00:38:05,627 AND THEN STEVIE O'CONNOR THREW GLORIA'S SHOE IN THE WASTEBASKET. 974 00:38:05,651 --> 00:38:08,229 GLORIA'S SHOE IN THE WASTEBASKET. ANOTHER NAUGHTY ACT BY STEVIE. 975 00:38:08,253 --> 00:38:09,930 WASTEBASKET. ANOTHER NAUGHTY ACT BY STEVIE. THANK YOU, DON PARDO. 976 00:38:09,954 --> 00:38:11,866 ANOTHER NAUGHTY ACT BY STEVIE. THANK YOU, DON PARDO. YOU KNOW, YOU'VE GOT A GREAT 977 00:38:11,890 --> 00:38:12,567 THANK YOU, DON PARDO. YOU KNOW, YOU'VE GOT A GREAT FUTURE. 978 00:38:12,591 --> 00:38:16,971 YOU KNOW, YOU'VE GOT A GREAT FUTURE. THAT VOICE COULD RUN RAILROADS. 979 00:38:16,995 --> 00:38:18,773 FUTURE. THAT VOICE COULD RUN RAILROADS. DON WENT ON TO MARRY HIS 980 00:38:18,797 --> 00:38:20,775 THAT VOICE COULD RUN RAILROADS. DON WENT ON TO MARRY HIS CHILDHOOD SWEETHEART AND, LIKE 981 00:38:20,799 --> 00:38:22,744 DON WENT ON TO MARRY HIS CHILDHOOD SWEETHEART AND, LIKE ALL YOUNG COUPLES AT THE TIME, 982 00:38:22,768 --> 00:38:24,679 CHILDHOOD SWEETHEART AND, LIKE ALL YOUNG COUPLES AT THE TIME, THEY WENT UP TO NIAGARA FALLS 983 00:38:24,703 --> 00:38:31,753 ALL YOUNG COUPLES AT THE TIME, THEY WENT UP TO NIAGARA FALLS FOR THEIR HONEYMOON. 984 00:38:31,777 --> 00:38:34,589 THEY WENT UP TO NIAGARA FALLS FOR THEIR HONEYMOON. UH, IS EVERYTHING FINE, 985 00:38:34,613 --> 00:38:35,890 FOR THEIR HONEYMOON. UH, IS EVERYTHING FINE, MR. AND MRS. PARDO? 986 00:38:35,914 --> 00:38:37,292 UH, IS EVERYTHING FINE, MR. AND MRS. PARDO? Announcer: YES, THANK YOU. 987 00:38:37,316 --> 00:38:38,326 MR. AND MRS. PARDO? Announcer: YES, THANK YOU. ALL RIGHT. 988 00:38:38,350 --> 00:38:42,930 Announcer: YES, THANK YOU. ALL RIGHT. [PLAYS NBC THEME] 989 00:38:42,954 --> 00:38:43,864 ALL RIGHT. [PLAYS NBC THEME] HONEY? 990 00:38:43,888 --> 00:38:45,767 [PLAYS NBC THEME] HONEY? Announcer: YES, KATH? 991 00:38:45,791 --> 00:38:47,067 HONEY? Announcer: YES, KATH? DO IT AGAIN. 992 00:38:47,091 --> 00:38:49,003 Announcer: YES, KATH? DO IT AGAIN. ONCE MORE. GIVE IT TO ME. 993 00:38:49,027 --> 00:38:50,971 DO IT AGAIN. ONCE MORE. GIVE IT TO ME. Announcer: [GRUMBLES] 994 00:38:50,995 --> 00:38:53,441 ONCE MORE. GIVE IT TO ME. Announcer: [GRUMBLES] OH, OKAY. 995 00:38:53,465 --> 00:38:55,176 Announcer: [GRUMBLES] OH, OKAY. WE'LL BE STAYING AT THE FABULOUS 996 00:38:55,200 --> 00:38:56,644 OH, OKAY. WE'LL BE STAYING AT THE FABULOUS BRYANT HOUSE HOTEL. 997 00:38:56,668 --> 00:38:58,446 WE'LL BE STAYING AT THE FABULOUS BRYANT HOUSE HOTEL. 35 SPACIOUS ROOMS WITH A 998 00:38:58,470 --> 00:39:00,080 BRYANT HOUSE HOTEL. 35 SPACIOUS ROOMS WITH A SPECTACULAR VIEW OF THE FALLS, 999 00:39:00,104 --> 00:39:01,482 35 SPACIOUS ROOMS WITH A SPECTACULAR VIEW OF THE FALLS, COMPLIMENTARY CONTINENTAL 1000 00:39:01,506 --> 00:39:03,083 SPECTACULAR VIEW OF THE FALLS, COMPLIMENTARY CONTINENTAL BREAKFAST, AND A FREE TOUR OF 1001 00:39:03,107 --> 00:39:04,619 COMPLIMENTARY CONTINENTAL BREAKFAST, AND A FREE TOUR OF THE FALLS IN THE MAID OF THE 1002 00:39:04,643 --> 00:39:08,289 BREAKFAST, AND A FREE TOUR OF THE FALLS IN THE MAID OF THE MIST. 1003 00:39:08,313 --> 00:39:10,057 THE FALLS IN THE MAID OF THE MIST. AFTER THE HONEYMOON, DON 1004 00:39:10,081 --> 00:39:11,992 MIST. AFTER THE HONEYMOON, DON TRIED MANY JOBS... SHORT-ORDER 1005 00:39:12,016 --> 00:39:13,661 AFTER THE HONEYMOON, DON TRIED MANY JOBS... SHORT-ORDER COOK, DOOR-TO-DOOR SALESMAN. 1006 00:39:13,685 --> 00:39:15,363 TRIED MANY JOBS... SHORT-ORDER COOK, DOOR-TO-DOOR SALESMAN. HE EVEN TRIED BUN RUNNING AT 1007 00:39:15,387 --> 00:39:16,364 COOK, DOOR-TO-DOOR SALESMAN. HE EVEN TRIED BUN RUNNING AT CHIC RESTAURANTS. 1008 00:39:16,388 --> 00:39:17,865 HE EVEN TRIED BUN RUNNING AT CHIC RESTAURANTS. BUT NOTHING SEEMED RIGHT FOR 1009 00:39:17,889 --> 00:39:19,232 CHIC RESTAURANTS. BUT NOTHING SEEMED RIGHT FOR HIM. 1010 00:39:19,256 --> 00:39:20,923 FINALLY, HE GOT HIS COURAGE UP 1011 00:39:21,058 --> 00:39:22,826 AND HE WENT TO APPLY FOR THE JOB 1012 00:39:22,960 --> 00:39:24,594 HE WAS BURNING TO DO... RADIO 1013 00:39:24,729 --> 00:39:27,430 ANNOUNCING. 1014 00:39:27,698 --> 00:39:31,713 YEAH, YEAH, YEAH, YEAH, THAT'S WHAT THEY SAY ABOUT... [KNOCK AT THE DOOR] 1015 00:39:31,737 --> 00:39:35,216 THAT'S WHAT THEY SAY ABOUT... [KNOCK AT THE DOOR] UH, I'LL CALL YOU LATER. 1016 00:39:35,240 --> 00:39:36,984 [KNOCK AT THE DOOR] UH, I'LL CALL YOU LATER. COME IN. 1017 00:39:37,008 --> 00:39:39,220 UH, I'LL CALL YOU LATER. COME IN. [DOOR OPENS] 1018 00:39:39,244 --> 00:39:42,690 COME IN. [DOOR OPENS] AH, MR. PARDO, SIT DOWN. 1019 00:39:42,714 --> 00:39:47,995 [DOOR OPENS] AH, MR. PARDO, SIT DOWN. [DOOR CLOSES] 1020 00:39:48,019 --> 00:39:50,297 AH, MR. PARDO, SIT DOWN. [DOOR CLOSES] OKAY, PARDO, YOU KNOW WHAT THIS 1021 00:39:50,321 --> 00:39:51,932 [DOOR CLOSES] OKAY, PARDO, YOU KNOW WHAT THIS JOB MEANS, DON'T YOU? 1022 00:39:51,956 --> 00:39:52,834 OKAY, PARDO, YOU KNOW WHAT THIS JOB MEANS, DON'T YOU? IT'S DEMANDING. 1023 00:39:52,858 --> 00:39:54,435 JOB MEANS, DON'T YOU? IT'S DEMANDING. YOU GOT TO HAVE PITCH, YOU GOT 1024 00:39:54,459 --> 00:39:56,036 IT'S DEMANDING. YOU GOT TO HAVE PITCH, YOU GOT TO HAVE TIMBRE, AND YOU GOT TO 1025 00:39:56,060 --> 00:39:57,037 YOU GOT TO HAVE PITCH, YOU GOT TO HAVE TIMBRE, AND YOU GOT TO HAVE RESONANCE. 1026 00:39:57,061 --> 00:39:58,706 TO HAVE TIMBRE, AND YOU GOT TO HAVE RESONANCE. THIS AIN'T FOR NO SISSIES SO 1027 00:39:58,730 --> 00:40:00,207 HAVE RESONANCE. THIS AIN'T FOR NO SISSIES SO DON'T GET ANY IDEAS ABOUT 1028 00:40:00,231 --> 00:40:01,609 THIS AIN'T FOR NO SISSIES SO DON'T GET ANY IDEAS ABOUT GETTING YOUR PUSS SLAPPED ALL 1029 00:40:01,633 --> 00:40:02,543 DON'T GET ANY IDEAS ABOUT GETTING YOUR PUSS SLAPPED ALL OVER THE COVERS OF 1030 00:40:02,567 --> 00:40:04,979 GETTING YOUR PUSS SLAPPED ALL OVER THE COVERS OF LIFE AND LOOK, OKAY? 1031 00:40:05,003 --> 00:40:08,148 OVER THE COVERS OF LIFE AND LOOK, OKAY? LET'S SEE. 1032 00:40:08,172 --> 00:40:13,821 LIFE AND LOOK, OKAY? LET'S SEE. COOK, SALESMAN, BUN RUNNER. 1033 00:40:13,845 --> 00:40:16,123 LET'S SEE. COOK, SALESMAN, BUN RUNNER. NOTHING HERE IN YOUR RéSUMé THAT 1034 00:40:16,147 --> 00:40:18,659 COOK, SALESMAN, BUN RUNNER. NOTHING HERE IN YOUR RéSUMé THAT WOULD QUALIFY YOU. 1035 00:40:18,683 --> 00:40:19,861 NOTHING HERE IN YOUR RéSUMé THAT WOULD QUALIFY YOU. BUT I GOT A HUNCH ABOUT YOU, 1036 00:40:19,885 --> 00:40:22,062 WOULD QUALIFY YOU. BUT I GOT A HUNCH ABOUT YOU, PARDO. 1037 00:40:22,086 --> 00:40:25,500 BUT I GOT A HUNCH ABOUT YOU, PARDO. HERE. 1038 00:40:25,524 --> 00:40:26,367 PARDO. HERE. READ THIS. 1039 00:40:26,391 --> 00:40:28,302 HERE. READ THIS. Announcer: "WE'LL BE RIGHT 1040 00:40:28,326 --> 00:40:29,003 READ THIS. Announcer: "WE'LL BE RIGHT BLACK." 1041 00:40:29,027 --> 00:40:30,671 Announcer: "WE'LL BE RIGHT BLACK." I MEAN, "WE'LL BE BRIGHT 1042 00:40:30,695 --> 00:40:31,873 BLACK." I MEAN, "WE'LL BE BRIGHT BLACK." 1043 00:40:31,897 --> 00:40:34,275 I MEAN, "WE'LL BE BRIGHT BLACK." HOW'S THAT? 1044 00:40:34,299 --> 00:40:35,276 BLACK." HOW'S THAT? GREAT. 1045 00:40:35,300 --> 00:40:37,011 HOW'S THAT? GREAT. OKAY, OKAY, THANKS. 1046 00:40:37,035 --> 00:40:39,714 GREAT. OKAY, OKAY, THANKS. WE'LL CALL YOU. 1047 00:40:39,738 --> 00:40:43,350 OKAY, OKAY, THANKS. WE'LL CALL YOU. WELL, DON GOT THE JOB... 1048 00:40:43,374 --> 00:40:44,919 WE'LL CALL YOU. WELL, DON GOT THE JOB... BUT ONLY BECAUSE SIX OTHER 1049 00:40:44,943 --> 00:40:46,587 WELL, DON GOT THE JOB... BUT ONLY BECAUSE SIX OTHER NBC ANNOUNCERS WERE KILLED IN A 1050 00:40:46,611 --> 00:40:48,289 BUT ONLY BECAUSE SIX OTHER NBC ANNOUNCERS WERE KILLED IN A TRAIN WRECK NEAR CHICAGO. 1051 00:40:48,313 --> 00:40:49,657 NBC ANNOUNCERS WERE KILLED IN A TRAIN WRECK NEAR CHICAGO. THE JOB WAS ON A RADIO SHOW 1052 00:40:49,681 --> 00:40:51,025 TRAIN WRECK NEAR CHICAGO. THE JOB WAS ON A RADIO SHOW CALLED "STELLA DALLAS"... A 1053 00:40:51,049 --> 00:40:52,393 THE JOB WAS ON A RADIO SHOW CALLED "STELLA DALLAS"... A SERIAL HEARD AND ENJOYED BY 1054 00:40:52,417 --> 00:40:53,961 CALLED "STELLA DALLAS"... A SERIAL HEARD AND ENJOYED BY MILLIONS OF AMERICANS DURING THE 1055 00:40:53,985 --> 00:40:54,328 SERIAL HEARD AND ENJOYED BY MILLIONS OF AMERICANS DURING THE WAR. 1056 00:40:54,352 --> 00:40:55,696 MILLIONS OF AMERICANS DURING THE WAR. HERE'S A RECORDING OF DON'S 1057 00:40:55,720 --> 00:40:57,865 WAR. HERE'S A RECORDING OF DON'S FIRST SHOW, ONE WE THINK HE'D 1058 00:40:57,889 --> 00:41:00,935 HERE'S A RECORDING OF DON'S FIRST SHOW, ONE WE THINK HE'D LIKE TO FORGET. 1059 00:41:00,959 --> 00:41:04,371 FIRST SHOW, ONE WE THINK HE'D LIKE TO FORGET. [MUSIC PLAYS] 1060 00:41:04,395 --> 00:41:07,007 LIKE TO FORGET. [MUSIC PLAYS] STELLA, DON'T GO INTO THE 1061 00:41:07,031 --> 00:41:07,742 [MUSIC PLAYS] STELLA, DON'T GO INTO THE LIBRARY. 1062 00:41:07,766 --> 00:41:09,510 STELLA, DON'T GO INTO THE LIBRARY. BUT I HAVE TO SEE WHAT'S 1063 00:41:09,534 --> 00:41:11,512 LIBRARY. BUT I HAVE TO SEE WHAT'S HAPPENED TO FATHER. 1064 00:41:11,536 --> 00:41:12,914 BUT I HAVE TO SEE WHAT'S HAPPENED TO FATHER. [CREAKING] 1065 00:41:12,938 --> 00:41:16,216 HAPPENED TO FATHER. [CREAKING] [SCREAMS] 1066 00:41:16,240 --> 00:41:17,418 [CREAKING] [SCREAMS] Announcer: TUNE IN NEXT WEEK 1067 00:41:17,442 --> 00:41:18,619 [SCREAMS] Announcer: TUNE IN NEXT WEEK TO "STELLA DALLAS" WHEN WE FIND 1068 00:41:18,643 --> 00:41:19,654 Announcer: TUNE IN NEXT WEEK TO "STELLA DALLAS" WHEN WE FIND OUT THAT STELLA KILLED HER 1069 00:41:19,678 --> 00:41:20,555 TO "STELLA DALLAS" WHEN WE FIND OUT THAT STELLA KILLED HER FATHER. 1070 00:41:20,579 --> 00:41:22,022 OUT THAT STELLA KILLED HER FATHER. OH, I WASN'T SUPPOSED TO SAY 1071 00:41:22,046 --> 00:41:22,457 FATHER. OH, I WASN'T SUPPOSED TO SAY THAT? 1072 00:41:22,481 --> 00:41:23,791 OH, I WASN'T SUPPOSED TO SAY THAT? BUT I THOUGHT THAT... OH, 1073 00:41:23,815 --> 00:41:28,896 THAT? BUT I THOUGHT THAT... OH, OH, OHHHHH. 1074 00:41:28,920 --> 00:41:35,970 BUT I THOUGHT THAT... OH, OH, OHHHHH. [LAUGHING] 1075 00:41:35,994 --> 00:41:37,371 OH, OHHHHH. [LAUGHING] HE WAS AN NBC STAFF RADIO 1076 00:41:37,395 --> 00:41:38,739 [LAUGHING] HE WAS AN NBC STAFF RADIO ANNOUNCER FOR MANY YEARS 1077 00:41:38,763 --> 00:41:40,140 HE WAS AN NBC STAFF RADIO ANNOUNCER FOR MANY YEARS UNTIL THAT MIRACLE CALLED 1078 00:41:40,164 --> 00:41:41,576 ANNOUNCER FOR MANY YEARS UNTIL THAT MIRACLE CALLED "TELEVISION" APPEARED. 1079 00:41:41,600 --> 00:41:43,478 UNTIL THAT MIRACLE CALLED "TELEVISION" APPEARED. HE WORKED FIRST IN A LIVE, 1080 00:41:43,502 --> 00:41:44,812 "TELEVISION" APPEARED. HE WORKED FIRST IN A LIVE, EARLY TV DRAMA... 1081 00:41:44,836 --> 00:41:47,081 HE WORKED FIRST IN A LIVE, EARLY TV DRAMA... ELAINE CARRINGTON'S "FOLLOW YOUR 1082 00:41:47,105 --> 00:41:50,940 EARLY TV DRAMA... ELAINE CARRINGTON'S "FOLLOW YOUR HEART." 1083 00:41:51,208 --> 00:41:54,043 HE WAS A GOOD MAN... A GOOD 1084 00:41:54,177 --> 00:41:55,512 MAN. 1085 00:41:55,779 --> 00:42:01,462 I'M GOING TO MISS HIM AT THE PLANT. HOW COULD IT HAVE HAPPENED? 1086 00:42:01,486 --> 00:42:03,764 PLANT. HOW COULD IT HAVE HAPPENED? A MACHINE... A PIECE OF STEEL 1087 00:42:03,788 --> 00:42:05,900 HOW COULD IT HAVE HAPPENED? A MACHINE... A PIECE OF STEEL WITH NO FEELINGS, CRUSHING 1088 00:42:05,924 --> 00:42:06,501 A MACHINE... A PIECE OF STEEL WITH NO FEELINGS, CRUSHING HIM. 1089 00:42:06,525 --> 00:42:09,003 WITH NO FEELINGS, CRUSHING HIM. WHAT KIND OF HORROR IS THIS? 1090 00:42:09,027 --> 00:42:10,437 HIM. WHAT KIND OF HORROR IS THIS? WHAT KIND OF NIGHTMARE? 1091 00:42:10,461 --> 00:42:11,806 WHAT KIND OF HORROR IS THIS? WHAT KIND OF NIGHTMARE? WHAT KIND OF MACHINE? 1092 00:42:11,830 --> 00:42:13,240 WHAT KIND OF NIGHTMARE? WHAT KIND OF MACHINE? Announcer: IT WAS AN 1093 00:42:13,264 --> 00:42:15,075 WHAT KIND OF MACHINE? Announcer: IT WAS AN ATKINSON HURLEY METAL PRESS, 1094 00:42:15,099 --> 00:42:16,844 Announcer: IT WAS AN ATKINSON HURLEY METAL PRESS, JANET... 2 1/2 FULL TONS OF 1095 00:42:16,868 --> 00:42:18,546 ATKINSON HURLEY METAL PRESS, JANET... 2 1/2 FULL TONS OF STEEL-MOLDING AND SHAPING 1096 00:42:18,570 --> 00:42:22,049 JANET... 2 1/2 FULL TONS OF STEEL-MOLDING AND SHAPING STRENGTH. 1097 00:42:22,073 --> 00:42:26,186 STEEL-MOLDING AND SHAPING STRENGTH. [LAUGHING] 1098 00:42:26,210 --> 00:42:28,990 STRENGTH. [LAUGHING] DON PARDO WORKED ON OVER 112 1099 00:42:29,014 --> 00:42:31,425 [LAUGHING] DON PARDO WORKED ON OVER 112 SHOWS FROM 1948 TO 1960, 1100 00:42:31,449 --> 00:42:32,960 DON PARDO WORKED ON OVER 112 SHOWS FROM 1948 TO 1960, INCLUDING "FOUR STAR REVUE," 1101 00:42:32,984 --> 00:42:34,662 SHOWS FROM 1948 TO 1960, INCLUDING "FOUR STAR REVUE," "THE COLGATE COMEDY HOUR," "THE 1102 00:42:34,686 --> 00:42:36,397 INCLUDING "FOUR STAR REVUE," "THE COLGATE COMEDY HOUR," "THE PRICE IS RIGHT" AND, OF COURSE, 1103 00:42:36,421 --> 00:42:37,999 "THE COLGATE COMEDY HOUR," "THE PRICE IS RIGHT" AND, OF COURSE, NBC'S LONG-RUNNING GAME SHOW 1104 00:42:38,023 --> 00:42:38,766 PRICE IS RIGHT" AND, OF COURSE, NBC'S LONG-RUNNING GAME SHOW "JEOPARDY!" 1105 00:42:38,790 --> 00:42:40,300 NBC'S LONG-RUNNING GAME SHOW "JEOPARDY!" BUT WHEN TELEVISION MOVED TO 1106 00:42:40,324 --> 00:42:41,903 "JEOPARDY!" BUT WHEN TELEVISION MOVED TO HOLLYWOOD, DON REFUSED TO GO. 1107 00:42:41,927 --> 00:42:43,638 BUT WHEN TELEVISION MOVED TO HOLLYWOOD, DON REFUSED TO GO. HE'D BEEN OFFERED THE ROLE OF AN 1108 00:42:43,662 --> 00:42:45,272 HOLLYWOOD, DON REFUSED TO GO. HE'D BEEN OFFERED THE ROLE OF AN ANNOUNCER ON A NEW COMEDY SHOW 1109 00:42:45,296 --> 00:42:46,473 HE'D BEEN OFFERED THE ROLE OF AN ANNOUNCER ON A NEW COMEDY SHOW BUT, AS HE SAID AT THE TIME, 1110 00:42:46,497 --> 00:42:47,842 ANNOUNCER ON A NEW COMEDY SHOW BUT, AS HE SAID AT THE TIME, "WHO WANTS TO SEE A SHOW ABOUT A 1111 00:42:47,866 --> 00:42:49,577 BUT, AS HE SAID AT THE TIME, "WHO WANTS TO SEE A SHOW ABOUT A CUBAN BANDLEADER AND A CRAZY 1112 00:42:49,601 --> 00:42:50,277 "WHO WANTS TO SEE A SHOW ABOUT A CUBAN BANDLEADER AND A CRAZY REDHEAD? 1113 00:42:50,301 --> 00:42:51,746 CUBAN BANDLEADER AND A CRAZY REDHEAD? I DON'T. OR MAYBE I DO." 1114 00:42:51,770 --> 00:42:53,614 REDHEAD? I DON'T. OR MAYBE I DO." AS IT TURNED OUT, OF COURSE, DON 1115 00:42:53,638 --> 00:42:54,649 I DON'T. OR MAYBE I DO." AS IT TURNED OUT, OF COURSE, DON WAS WRONG, SORT OF. 1116 00:42:54,673 --> 00:42:56,116 AS IT TURNED OUT, OF COURSE, DON WAS WRONG, SORT OF. THERE WAS NO WORK IN NEW YORK. 1117 00:42:56,140 --> 00:42:57,652 WAS WRONG, SORT OF. THERE WAS NO WORK IN NEW YORK. DON WENT THROUGH THE DEPRESSION 1118 00:42:57,676 --> 00:42:59,053 THERE WAS NO WORK IN NEW YORK. DON WENT THROUGH THE DEPRESSION THAT ALL ARTISTS ARE SUBJECT 1119 00:42:59,077 --> 00:43:00,454 DON WENT THROUGH THE DEPRESSION THAT ALL ARTISTS ARE SUBJECT TO... HE STARTED FREQUENTING 1120 00:43:00,478 --> 00:43:02,189 THAT ALL ARTISTS ARE SUBJECT TO... HE STARTED FREQUENTING SLEAZY ANNOUNCER BARS... UNTIL 1121 00:43:02,213 --> 00:43:03,858 TO... HE STARTED FREQUENTING SLEAZY ANNOUNCER BARS... UNTIL HE HEARD ABOUT A NEW TV SHOW 1122 00:43:03,882 --> 00:43:07,360 SLEAZY ANNOUNCER BARS... UNTIL HE HEARD ABOUT A NEW TV SHOW JUST STARTING UP IN NEW YORK. 1123 00:43:07,384 --> 00:43:09,518 UH, NEXT. 1124 00:43:09,653 --> 00:43:13,155 [FOOTSTEPS] 1125 00:43:13,423 --> 00:43:17,471 NAME, PLEASE? Announcer: DON PARDO. DON PARDO? 1126 00:43:17,495 --> 00:43:18,573 Announcer: DON PARDO. DON PARDO? IS HE STILL ALIVE? 1127 00:43:18,597 --> 00:43:20,174 DON PARDO? IS HE STILL ALIVE? WELL, MR. PARDO, AH, I SEE 1128 00:43:20,198 --> 00:43:21,943 IS HE STILL ALIVE? WELL, MR. PARDO, AH, I SEE YOU'VE BEEN, UH, WORKING FOR THE 1129 00:43:21,967 --> 00:43:23,377 WELL, MR. PARDO, AH, I SEE YOU'VE BEEN, UH, WORKING FOR THE PHONE COMPANY, DOING SOME 1130 00:43:23,401 --> 00:43:24,111 YOU'VE BEEN, UH, WORKING FOR THE PHONE COMPANY, DOING SOME RECORDING. 1131 00:43:24,135 --> 00:43:25,813 PHONE COMPANY, DOING SOME RECORDING. UH, COULD YOU DO SOME OF IT NOW 1132 00:43:25,837 --> 00:43:26,747 RECORDING. UH, COULD YOU DO SOME OF IT NOW FOR US, PLEASE? 1133 00:43:26,771 --> 00:43:27,514 UH, COULD YOU DO SOME OF IT NOW FOR US, PLEASE? Announcer: SURE. 1134 00:43:27,538 --> 00:43:29,516 FOR US, PLEASE? Announcer: SURE. AT THE TONE, THE TIME WILL BE 1135 00:43:29,540 --> 00:43:31,719 Announcer: SURE. AT THE TONE, THE TIME WILL BE 5:36 EXACTLY. 1136 00:43:31,743 --> 00:43:34,388 AT THE TONE, THE TIME WILL BE 5:36 EXACTLY. 5:36 AND 10 SECONDS. 1137 00:43:34,412 --> 00:43:36,256 5:36 EXACTLY. 5:36 AND 10 SECONDS. FINE, FINE, FINE, FINE. 1138 00:43:36,280 --> 00:43:37,458 5:36 AND 10 SECONDS. FINE, FINE, FINE, FINE. UH, I GUESS YOU KNOW, DON, 1139 00:43:37,482 --> 00:43:38,593 FINE, FINE, FINE, FINE. UH, I GUESS YOU KNOW, DON, WE'RE, UH, DOING A KIND OF A 1140 00:43:38,617 --> 00:43:39,526 UH, I GUESS YOU KNOW, DON, WE'RE, UH, DOING A KIND OF A YOUNG SHOW. 1141 00:43:39,550 --> 00:43:41,495 WE'RE, UH, DOING A KIND OF A YOUNG SHOW. WELL, I GUESS THAT RULES ME 1142 00:43:41,519 --> 00:43:43,097 YOUNG SHOW. WELL, I GUESS THAT RULES ME OUT. 1143 00:43:43,121 --> 00:43:45,032 WELL, I GUESS THAT RULES ME OUT. NO, THE BRASS AT, UH, NBC IS 1144 00:43:45,056 --> 00:43:46,767 OUT. NO, THE BRASS AT, UH, NBC IS GONNA CALL ME CRAZY, BUT I'M 1145 00:43:46,791 --> 00:43:48,268 NO, THE BRASS AT, UH, NBC IS GONNA CALL ME CRAZY, BUT I'M GONNA GIVE YOU A BREAK, 1146 00:43:48,292 --> 00:43:49,070 GONNA CALL ME CRAZY, BUT I'M GONNA GIVE YOU A BREAK, OLD-TIMER. 1147 00:43:49,094 --> 00:43:51,038 GONNA GIVE YOU A BREAK, OLD-TIMER. WOULD YOU READ SOME OF THE NAMES 1148 00:43:51,062 --> 00:43:52,707 OLD-TIMER. WOULD YOU READ SOME OF THE NAMES THAT ARE ON THAT SHEET THERE? 1149 00:43:52,731 --> 00:43:53,540 WOULD YOU READ SOME OF THE NAMES THAT ARE ON THAT SHEET THERE? Announcer: MM-HMM. 1150 00:43:53,564 --> 00:43:55,977 THAT ARE ON THAT SHEET THERE? Announcer: MM-HMM. [CLEARS THROAT] 1151 00:43:56,001 --> 00:43:58,445 Announcer: MM-HMM. [CLEARS THROAT] HILDA RADAR! 1152 00:43:58,469 --> 00:44:00,247 [CLEARS THROAT] HILDA RADAR! UH, NO, NO, THAT'S 1153 00:44:00,271 --> 00:44:01,082 HILDA RADAR! UH, NO, NO, THAT'S GILDA RADNER. 1154 00:44:01,106 --> 00:44:02,083 UH, NO, NO, THAT'S GILDA RADNER. Announcer: OH. 1155 00:44:02,107 --> 00:44:06,087 GILDA RADNER. Announcer: OH. CHEVROLET CHASE! 1156 00:44:06,111 --> 00:44:07,655 Announcer: OH. CHEVROLET CHASE! UH, WHY DID YOU SAY 1157 00:44:07,679 --> 00:44:08,823 CHEVROLET CHASE! UH, WHY DID YOU SAY "CHEVROLET CHASE"? 1158 00:44:08,847 --> 00:44:10,457 UH, WHY DID YOU SAY "CHEVROLET CHASE"? Announcer: IT'S A COMEDY 1159 00:44:10,481 --> 00:44:11,458 "CHEVROLET CHASE"? Announcer: IT'S A COMEDY SHOW, ISN'T IT? 1160 00:44:11,482 --> 00:44:14,361 Announcer: IT'S A COMEDY SHOW, ISN'T IT? RIGHT. WELL, THANK YOU. 1161 00:44:14,385 --> 00:44:15,730 SHOW, ISN'T IT? RIGHT. WELL, THANK YOU. [FOOTSTEPS DEPART] 1162 00:44:15,754 --> 00:44:19,233 RIGHT. WELL, THANK YOU. [FOOTSTEPS DEPART] GOT A HUNCH ABOUT HIM. 1163 00:44:19,257 --> 00:44:23,004 [FOOTSTEPS DEPART] GOT A HUNCH ABOUT HIM. [LAUGHING] 1164 00:44:23,028 --> 00:44:24,471 GOT A HUNCH ABOUT HIM. [LAUGHING] WELL, THE REST IS HISTORY. 1165 00:44:24,495 --> 00:44:26,073 [LAUGHING] WELL, THE REST IS HISTORY. DON PARDO IS NOW ENJOYING THE 1166 00:44:26,097 --> 00:44:27,574 WELL, THE REST IS HISTORY. DON PARDO IS NOW ENJOYING THE RESPECT AND ADMIRATION OF A 1167 00:44:27,598 --> 00:44:29,309 DON PARDO IS NOW ENJOYING THE RESPECT AND ADMIRATION OF A WHOLE NEW GENERATION OF VIEWERS. 1168 00:44:29,333 --> 00:44:31,512 RESPECT AND ADMIRATION OF A WHOLE NEW GENERATION OF VIEWERS. AND TONIGHT, DON PARDO, WE 1169 00:44:31,536 --> 00:44:32,379 WHOLE NEW GENERATION OF VIEWERS. AND TONIGHT, DON PARDO, WE SALUTE YOU. 1170 00:44:32,403 --> 00:44:34,181 AND TONIGHT, DON PARDO, WE SALUTE YOU. Announcer: THANK YOU, DAN. 1171 00:44:34,205 --> 00:44:36,117 SALUTE YOU. Announcer: THANK YOU, DAN. I'D LIKE TO JUST SAY ONE THING. 1172 00:44:36,141 --> 00:44:37,451 Announcer: THANK YOU, DAN. I'D LIKE TO JUST SAY ONE THING. WHAT'S THAT, DON? 1173 00:44:37,475 --> 00:44:38,986 I'D LIKE TO JUST SAY ONE THING. WHAT'S THAT, DON? Announcer: WE'LL BE RIGHT 1174 00:44:39,010 --> 00:44:44,291 WHAT'S THAT, DON? Announcer: WE'LL BE RIGHT BLACK. 1175 00:44:44,315 --> 00:44:46,326 Announcer: WE'LL BE RIGHT BLACK. BUT ANYWAY, I CAN HARDLY 1176 00:44:46,350 --> 00:44:48,529 BLACK. BUT ANYWAY, I CAN HARDLY BELIEVE THAT IT'S THE LAST DAY 1177 00:44:48,553 --> 00:44:49,563 BUT ANYWAY, I CAN HARDLY BELIEVE THAT IT'S THE LAST DAY OF JUNIOR HIGH. 1178 00:44:49,587 --> 00:44:51,231 BELIEVE THAT IT'S THE LAST DAY OF JUNIOR HIGH. I MEAN, THE LAST DAY OF 9th 1179 00:44:51,255 --> 00:44:51,732 OF JUNIOR HIGH. I MEAN, THE LAST DAY OF 9th GRADE. 1180 00:44:51,756 --> 00:44:53,067 I MEAN, THE LAST DAY OF 9th GRADE. LIKE, ALL DAY LONG I KEPT 1181 00:44:53,091 --> 00:44:54,669 GRADE. LIKE, ALL DAY LONG I KEPT THINKING, THIS IS THE LAST TIME 1182 00:44:54,693 --> 00:44:56,170 LIKE, ALL DAY LONG I KEPT THINKING, THIS IS THE LAST TIME I'LL BE DOING CERTAIN THINGS, 1183 00:44:56,194 --> 00:44:57,805 THINKING, THIS IS THE LAST TIME I'LL BE DOING CERTAIN THINGS, LIKE, THIS IS THE LAST TIME I'LL 1184 00:44:57,829 --> 00:44:58,839 I'LL BE DOING CERTAIN THINGS, LIKE, THIS IS THE LAST TIME I'LL GO TO THIS LOCKER. 1185 00:44:58,863 --> 00:45:00,340 LIKE, THIS IS THE LAST TIME I'LL GO TO THIS LOCKER. THIS IS THE LAST TIME I'LL GET 1186 00:45:00,364 --> 00:45:01,142 GO TO THIS LOCKER. THIS IS THE LAST TIME I'LL GET UP FROM THIS 1187 00:45:01,166 --> 00:45:01,542 THIS IS THE LAST TIME I'LL GET UP FROM THIS DESK. 1188 00:45:01,566 --> 00:45:03,110 UP FROM THIS DESK. THIS IS THE LAST TIME I'LL LOOK 1189 00:45:03,134 --> 00:45:04,078 DESK. THIS IS THE LAST TIME I'LL LOOK AT THAT CLOCK. 1190 00:45:04,102 --> 00:45:05,846 THIS IS THE LAST TIME I'LL LOOK AT THAT CLOCK. UNTIL, FINALLY, AT THE END OF 1191 00:45:05,870 --> 00:45:07,614 AT THAT CLOCK. UNTIL, FINALLY, AT THE END OF THE DAY, I SAID, "THIS IS THE 1192 00:45:07,638 --> 00:45:08,749 UNTIL, FINALLY, AT THE END OF THE DAY, I SAID, "THIS IS THE LAST TIME I'LL BE THINKING THIS 1193 00:45:08,773 --> 00:45:09,850 THE DAY, I SAID, "THIS IS THE LAST TIME I'LL BE THINKING THIS IS THE LAST TIME I'LL BE DOING 1194 00:45:09,874 --> 00:45:10,517 LAST TIME I'LL BE THINKING THIS IS THE LAST TIME I'LL BE DOING SOMETHING." 1195 00:45:10,541 --> 00:45:11,218 IS THE LAST TIME I'LL BE DOING SOMETHING." YEAH? 1196 00:45:11,242 --> 00:45:13,187 SOMETHING." YEAH? YEAH, I MEAN, THINKING THINGS 1197 00:45:13,211 --> 00:45:14,955 YEAH? YEAH, I MEAN, THINKING THINGS LIKE THAT CAN REALLY DRIVE A 1198 00:45:14,979 --> 00:45:16,423 YEAH, I MEAN, THINKING THINGS LIKE THAT CAN REALLY DRIVE A PERSON CRAZY, YOU KNOW? 1199 00:45:16,447 --> 00:45:17,692 LIKE THAT CAN REALLY DRIVE A PERSON CRAZY, YOU KNOW? MMM-HMM, MM-HMM. 1200 00:45:17,716 --> 00:45:18,993 PERSON CRAZY, YOU KNOW? MMM-HMM, MM-HMM. I COULD BE THINKING THAT, 1201 00:45:19,017 --> 00:45:20,394 MMM-HMM, MM-HMM. I COULD BE THINKING THAT, "THIS IS THE LAST TIME I'LL BE 1202 00:45:20,418 --> 00:45:21,829 I COULD BE THINKING THAT, "THIS IS THE LAST TIME I'LL BE ABLE TO TALK TO MR. DAVIS AFTER 1203 00:45:21,853 --> 00:45:23,197 "THIS IS THE LAST TIME I'LL BE ABLE TO TALK TO MR. DAVIS AFTER CLASS... YOU KNOW, AT 1204 00:45:23,221 --> 00:45:25,066 ABLE TO TALK TO MR. DAVIS AFTER CLASS... YOU KNOW, AT SCHOOL... LIKE I'VE DONE EVERY 1205 00:45:25,090 --> 00:45:26,000 CLASS... YOU KNOW, AT SCHOOL... LIKE I'VE DONE EVERY DAY FOR A YEAR." 1206 00:45:26,024 --> 00:45:27,501 SCHOOL... LIKE I'VE DONE EVERY DAY FOR A YEAR." BUT I'M NOT, SO I'M NOT GONNA 1207 00:45:27,525 --> 00:45:28,936 DAY FOR A YEAR." BUT I'M NOT, SO I'M NOT GONNA GET DRIVEN CRAZY, YOU KNOW? 1208 00:45:28,960 --> 00:45:29,937 BUT I'M NOT, SO I'M NOT GONNA GET DRIVEN CRAZY, YOU KNOW? YOU'RE LEANING ON MY 1209 00:45:29,961 --> 00:45:30,738 GET DRIVEN CRAZY, YOU KNOW? YOU'RE LEANING ON MY ATTENDANCE FORMS. 1210 00:45:30,762 --> 00:45:31,438 YOU'RE LEANING ON MY ATTENDANCE FORMS. OH, YEAH. 1211 00:45:31,462 --> 00:45:32,573 ATTENDANCE FORMS. OH, YEAH. THANKS. 1212 00:45:32,597 --> 00:45:34,108 OH, YEAH. THANKS. ANYWAY, I'M NOT THINKING 1213 00:45:34,132 --> 00:45:35,609 THANKS. ANYWAY, I'M NOT THINKING ABOUT THAT, SO, I'M NOT 1214 00:45:35,633 --> 00:45:37,178 ANYWAY, I'M NOT THINKING ABOUT THAT, SO, I'M NOT THINKING ABOUT THIS MAY VERY 1215 00:45:37,202 --> 00:45:38,813 ABOUT THAT, SO, I'M NOT THINKING ABOUT THIS MAY VERY WELL BE THE LAST TIME I'LL BE 1216 00:45:38,837 --> 00:45:40,414 THINKING ABOUT THIS MAY VERY WELL BE THE LAST TIME I'LL BE ABLE TO COME INTO YOUR CLASS 1217 00:45:40,438 --> 00:45:41,515 WELL BE THE LAST TIME I'LL BE ABLE TO COME INTO YOUR CLASS AND TALK TO YOU. 1218 00:45:41,539 --> 00:45:42,950 ABLE TO COME INTO YOUR CLASS AND TALK TO YOU. WHAT ARE YOU THINKING 1219 00:45:42,974 --> 00:45:43,517 AND TALK TO YOU. WHAT ARE YOU THINKING ABOUT? 1220 00:45:43,541 --> 00:45:45,285 WHAT ARE YOU THINKING ABOUT? WELL, I'M THINKING ABOUT, IF 1221 00:45:45,309 --> 00:45:46,921 ABOUT? WELL, I'M THINKING ABOUT, IF I KIND OF SQUINT MY EYES AND 1222 00:45:46,945 --> 00:45:48,689 WELL, I'M THINKING ABOUT, IF I KIND OF SQUINT MY EYES AND MAKE EVERYTHING KIND OF BLURRY, 1223 00:45:48,713 --> 00:45:50,457 I KIND OF SQUINT MY EYES AND MAKE EVERYTHING KIND OF BLURRY, YOU LOOK LIKE PETER FRAMPTON 1224 00:45:50,481 --> 00:45:51,592 MAKE EVERYTHING KIND OF BLURRY, YOU LOOK LIKE PETER FRAMPTON WITH SHORT HAIR. 1225 00:45:51,616 --> 00:45:52,593 YOU LOOK LIKE PETER FRAMPTON WITH SHORT HAIR. OH, REALLY? 1226 00:45:52,617 --> 00:45:53,728 WITH SHORT HAIR. OH, REALLY? YEAH. 1227 00:45:53,752 --> 00:45:54,995 OH, REALLY? YEAH. BUT I'M NOT THINKING ABOUT HOW 1228 00:45:55,019 --> 00:45:56,130 YEAH. BUT I'M NOT THINKING ABOUT HOW I'M NEVER AGAIN... PROBABLY 1229 00:45:56,154 --> 00:45:57,464 BUT I'M NOT THINKING ABOUT HOW I'M NEVER AGAIN... PROBABLY NEVER AGAIN... GONNA GET TO COME 1230 00:45:57,488 --> 00:45:58,766 I'M NEVER AGAIN... PROBABLY NEVER AGAIN... GONNA GET TO COME INTO YOUR ROOM AFTER SCHOOL AND 1231 00:45:58,790 --> 00:46:01,335 NEVER AGAIN... GONNA GET TO COME INTO YOUR ROOM AFTER SCHOOL AND TALK TO YOU ABOUT LIFE. 1232 00:46:01,359 --> 00:46:02,770 INTO YOUR ROOM AFTER SCHOOL AND TALK TO YOU ABOUT LIFE. WELL, YOU'LL HAVE OTHER 1233 00:46:02,794 --> 00:46:03,904 TALK TO YOU ABOUT LIFE. WELL, YOU'LL HAVE OTHER PEOPLE TO TALK ABOUT 1234 00:46:03,928 --> 00:46:05,106 WELL, YOU'LL HAVE OTHER PEOPLE TO TALK ABOUT LIFE WITH, WON'T YOU? 1235 00:46:05,130 --> 00:46:06,707 PEOPLE TO TALK ABOUT LIFE WITH, WON'T YOU? OH, THE OTHER PEOPLE I KNOW 1236 00:46:06,731 --> 00:46:08,308 LIFE WITH, WON'T YOU? OH, THE OTHER PEOPLE I KNOW DON'T WANT TO TALK ABOUT LIFE. 1237 00:46:08,332 --> 00:46:10,377 OH, THE OTHER PEOPLE I KNOW DON'T WANT TO TALK ABOUT LIFE. THEY THINK THAT LIFE IS BORING. 1238 00:46:10,401 --> 00:46:11,478 DON'T WANT TO TALK ABOUT LIFE. THEY THINK THAT LIFE IS BORING. OH, REALLY? 1239 00:46:11,502 --> 00:46:13,480 THEY THINK THAT LIFE IS BORING. OH, REALLY? YEAH, BUT I THINK THAT LIFE 1240 00:46:13,504 --> 00:46:15,549 OH, REALLY? YEAH, BUT I THINK THAT LIFE IS REALLY INTERESTING, BECAUSE, 1241 00:46:15,573 --> 00:46:17,484 YEAH, BUT I THINK THAT LIFE IS REALLY INTERESTING, BECAUSE, AFTER ALL, THE MOST IMPORTANT 1242 00:46:17,508 --> 00:46:21,321 IS REALLY INTERESTING, BECAUSE, AFTER ALL, THE MOST IMPORTANT THING IN LIFE IS LIFE. 1243 00:46:21,345 --> 00:46:21,889 AFTER ALL, THE MOST IMPORTANT THING IN LIFE IS LIFE. RIGHT. 1244 00:46:21,913 --> 00:46:22,289 THING IN LIFE IS LIFE. RIGHT. YEAH. 1245 00:46:22,313 --> 00:46:23,624 RIGHT. YEAH. BUT NOW THAT I WON'T SEE YOU 1246 00:46:23,648 --> 00:46:25,092 YEAH. BUT NOW THAT I WON'T SEE YOU AGAIN, I'LL JUST HAVE TO GET OUT 1247 00:46:25,116 --> 00:46:26,460 BUT NOW THAT I WON'T SEE YOU AGAIN, I'LL JUST HAVE TO GET OUT OF THE HABIT OF TALKING ABOUT 1248 00:46:26,484 --> 00:46:26,994 AGAIN, I'LL JUST HAVE TO GET OUT OF THE HABIT OF TALKING ABOUT IT. 1249 00:46:27,018 --> 00:46:27,995 OF THE HABIT OF TALKING ABOUT IT. WELL... 1250 00:46:28,019 --> 00:46:29,396 IT. WELL... I'LL MISS IT. 1251 00:46:29,420 --> 00:46:30,731 WELL... I'LL MISS IT. JODIE, UH... 1252 00:46:30,755 --> 00:46:31,698 I'LL MISS IT. JODIE, UH... I MISS IT ALREADY. 1253 00:46:31,722 --> 00:46:32,967 JODIE, UH... I MISS IT ALREADY. JODIE, I REALLY HAVE TO GET 1254 00:46:32,991 --> 00:46:33,968 I MISS IT ALREADY. JODIE, I REALLY HAVE TO GET OUT OF HERE, YOU KNOW? 1255 00:46:33,992 --> 00:46:35,202 JODIE, I REALLY HAVE TO GET OUT OF HERE, YOU KNOW? GOOD OLD LIFE. 1256 00:46:35,226 --> 00:46:35,936 OUT OF HERE, YOU KNOW? GOOD OLD LIFE. YEAH. 1257 00:46:35,960 --> 00:46:36,670 GOOD OLD LIFE. YEAH. YEAH. 1258 00:46:36,694 --> 00:46:38,705 YEAH. YEAH. MR. DAVIS, BEFORE YOU GO OUT, I 1259 00:46:38,729 --> 00:46:40,407 YEAH. MR. DAVIS, BEFORE YOU GO OUT, I ALSO WANTED TO TELL YOU I 1260 00:46:40,431 --> 00:46:42,309 MR. DAVIS, BEFORE YOU GO OUT, I ALSO WANTED TO TELL YOU I THOUGHT THAT WAS REALLY FUNNY 1261 00:46:42,333 --> 00:46:44,178 ALSO WANTED TO TELL YOU I THOUGHT THAT WAS REALLY FUNNY WHEN YOU STUCK THAT RULER IN 1262 00:46:44,202 --> 00:46:45,746 THOUGHT THAT WAS REALLY FUNNY WHEN YOU STUCK THAT RULER IN YOUR EAR TODAY. 1263 00:46:45,770 --> 00:46:47,581 WHEN YOU STUCK THAT RULER IN YOUR EAR TODAY. OH? THANKS A LOT. 1264 00:46:47,605 --> 00:46:50,251 YOUR EAR TODAY. OH? THANKS A LOT. YEAH, I KNOW A LOT OF PEOPLE 1265 00:46:50,275 --> 00:46:51,585 OH? THANKS A LOT. YEAH, I KNOW A LOT OF PEOPLE DIDN'T LAUGH. 1266 00:46:51,609 --> 00:46:53,254 YEAH, I KNOW A LOT OF PEOPLE DIDN'T LAUGH. BUT I THINK THAT THEY DON'T 1267 00:46:53,278 --> 00:46:54,855 DIDN'T LAUGH. BUT I THINK THAT THEY DON'T UNDERSTAND YOU LIKE I DO. 1268 00:46:54,879 --> 00:46:56,791 BUT I THINK THAT THEY DON'T UNDERSTAND YOU LIKE I DO. THEY DON'T APPRECIATE YOUR SENSE 1269 00:46:56,815 --> 00:46:59,193 UNDERSTAND YOU LIKE I DO. THEY DON'T APPRECIATE YOUR SENSE OF HUMOR LIKE I DO. 1270 00:46:59,217 --> 00:46:59,726 THEY DON'T APPRECIATE YOUR SENSE OF HUMOR LIKE I DO. OH. 1271 00:46:59,750 --> 00:47:01,428 OF HUMOR LIKE I DO. OH. YEAH, LIKE, A LOT OF PEOPLE 1272 00:47:01,452 --> 00:47:03,164 OH. YEAH, LIKE, A LOT OF PEOPLE CAN GO UP, BANG, STICK A RULER 1273 00:47:03,188 --> 00:47:04,765 YEAH, LIKE, A LOT OF PEOPLE CAN GO UP, BANG, STICK A RULER IN THEIR EAR, WHO CARES, YOU 1274 00:47:04,789 --> 00:47:05,332 CAN GO UP, BANG, STICK A RULER IN THEIR EAR, WHO CARES, YOU KNOW? 1275 00:47:05,356 --> 00:47:06,500 IN THEIR EAR, WHO CARES, YOU KNOW? NOBODY CLAPS. 1276 00:47:06,524 --> 00:47:08,269 KNOW? NOBODY CLAPS. BUT, YOU, WHO I PERSONALLY 1277 00:47:08,293 --> 00:47:10,370 NOBODY CLAPS. BUT, YOU, WHO I PERSONALLY KNOW CARES DEEPLY ABOUT LIFE... 1278 00:47:10,394 --> 00:47:12,439 BUT, YOU, WHO I PERSONALLY KNOW CARES DEEPLY ABOUT LIFE... WELL, WHEN YOU STICK A RULER IN 1279 00:47:12,463 --> 00:47:13,707 KNOW CARES DEEPLY ABOUT LIFE... WELL, WHEN YOU STICK A RULER IN YOUR EAR, IT'S FUNNY. 1280 00:47:13,731 --> 00:47:15,509 WELL, WHEN YOU STICK A RULER IN YOUR EAR, IT'S FUNNY. JODIE, YOU'VE BEEN A TERRIFIC 1281 00:47:15,533 --> 00:47:16,143 YOUR EAR, IT'S FUNNY. JODIE, YOU'VE BEEN A TERRIFIC STUDENT. 1282 00:47:16,167 --> 00:47:17,511 JODIE, YOU'VE BEEN A TERRIFIC STUDENT. LISTEN, I ALSO WANTED TO TELL 1283 00:47:17,535 --> 00:47:18,679 STUDENT. LISTEN, I ALSO WANTED TO TELL YOU THAT YOU'RE MY FAVORITE 1284 00:47:18,703 --> 00:47:19,980 LISTEN, I ALSO WANTED TO TELL YOU THAT YOU'RE MY FAVORITE TEACHER I EVER HAD, BY THE WAY. 1285 00:47:20,004 --> 00:47:21,448 YOU THAT YOU'RE MY FAVORITE TEACHER I EVER HAD, BY THE WAY. WELL, THAT'S VERY NICE OF YOU 1286 00:47:21,472 --> 00:47:21,816 TEACHER I EVER HAD, BY THE WAY. WELL, THAT'S VERY NICE OF YOU TO SAY. 1287 00:47:21,840 --> 00:47:22,917 WELL, THAT'S VERY NICE OF YOU TO SAY. YEAH, 'CAUSE YOU'RE THE KIND OF 1288 00:47:22,941 --> 00:47:23,851 TO SAY. YEAH, 'CAUSE YOU'RE THE KIND OF TEACHER THAT ACTS KIND OF 1289 00:47:23,875 --> 00:47:25,452 YEAH, 'CAUSE YOU'RE THE KIND OF TEACHER THAT ACTS KIND OF REGULAR, YOU KNOW... DOESN'T 1290 00:47:25,476 --> 00:47:26,687 TEACHER THAT ACTS KIND OF REGULAR, YOU KNOW... DOESN'T ACT REAL TEACHERISH. 1291 00:47:26,711 --> 00:47:27,855 REGULAR, YOU KNOW... DOESN'T ACT REAL TEACHERISH. PLUS, LIKE, I HEARD YOU SAY 1292 00:47:27,879 --> 00:47:28,989 ACT REAL TEACHERISH. PLUS, LIKE, I HEARD YOU SAY "DAMN" IN THE SUPPLY CLOSET 1293 00:47:29,013 --> 00:47:29,690 PLUS, LIKE, I HEARD YOU SAY "DAMN" IN THE SUPPLY CLOSET THE OTHER DAY. 1294 00:47:29,714 --> 00:47:30,925 "DAMN" IN THE SUPPLY CLOSET THE OTHER DAY. BUT DON'T WORRY, I WON'T TELL 1295 00:47:30,949 --> 00:47:31,525 THE OTHER DAY. BUT DON'T WORRY, I WON'T TELL ANYBODY. 1296 00:47:31,549 --> 00:47:33,194 BUT DON'T WORRY, I WON'T TELL ANYBODY. WHEN I HEARD YOU SAY "DAMN," 1297 00:47:33,218 --> 00:47:34,695 ANYBODY. WHEN I HEARD YOU SAY "DAMN," I KNEW THAT I COULD BE FRANK 1298 00:47:34,719 --> 00:47:37,264 WHEN I HEARD YOU SAY "DAMN," I KNEW THAT I COULD BE FRANK WITH YOU ABOUT LIFE AND STUFF. 1299 00:47:37,288 --> 00:47:39,033 I KNEW THAT I COULD BE FRANK WITH YOU ABOUT LIFE AND STUFF. WELL, THANKS VERY MUCH. 1300 00:47:39,057 --> 00:47:39,499 WITH YOU ABOUT LIFE AND STUFF. WELL, THANKS VERY MUCH. YEAH. 1301 00:47:39,523 --> 00:47:40,567 WELL, THANKS VERY MUCH. YEAH. PLUS, I WROTE THIS POEM IN 1302 00:47:40,591 --> 00:47:41,735 YEAH. PLUS, I WROTE THIS POEM IN 5th-PERIOD STUDY HALL WHEN I 1303 00:47:41,759 --> 00:47:42,970 PLUS, I WROTE THIS POEM IN 5th-PERIOD STUDY HALL WHEN I GOT SICK OF SIGNING YEARBOOKS, 1304 00:47:42,994 --> 00:47:44,038 5th-PERIOD STUDY HALL WHEN I GOT SICK OF SIGNING YEARBOOKS, 'CAUSE I CAN NEVER GET MY 1305 00:47:44,062 --> 00:47:46,207 GOT SICK OF SIGNING YEARBOOKS, 'CAUSE I CAN NEVER GET MY SIGNATURE THE SAME WAY TWICE. 1306 00:47:46,231 --> 00:47:47,208 'CAUSE I CAN NEVER GET MY SIGNATURE THE SAME WAY TWICE. IT'S ABOUT YOU. 1307 00:47:47,232 --> 00:47:48,675 SIGNATURE THE SAME WAY TWICE. IT'S ABOUT YOU. YOU CAN TELL BY THE TITLE. 1308 00:47:48,699 --> 00:47:50,044 IT'S ABOUT YOU. YOU CAN TELL BY THE TITLE. IT'S CALLED "MR. DAVIS." 1309 00:47:50,068 --> 00:47:51,712 YOU CAN TELL BY THE TITLE. IT'S CALLED "MR. DAVIS." IT'S ABOUT YOU BEING A BIOLOGY 1310 00:47:51,736 --> 00:47:53,180 IT'S CALLED "MR. DAVIS." IT'S ABOUT YOU BEING A BIOLOGY TEACHER AND EVERYTHING. 1311 00:47:53,204 --> 00:47:55,049 IT'S ABOUT YOU BEING A BIOLOGY TEACHER AND EVERYTHING. AND A PERSON. 1312 00:47:55,073 --> 00:47:55,782 TEACHER AND EVERYTHING. AND A PERSON. OKAY. 1313 00:47:55,806 --> 00:47:57,584 AND A PERSON. OKAY. "LIKES FROGS, LIKES SNAKES, 1314 00:47:57,608 --> 00:47:59,686 OKAY. "LIKES FROGS, LIKES SNAKES, DOESN'T LIKE PAINS, DOESN'T LIKE 1315 00:47:59,710 --> 00:48:00,221 "LIKES FROGS, LIKES SNAKES, DOESN'T LIKE PAINS, DOESN'T LIKE ACHES." 1316 00:48:00,245 --> 00:48:01,755 DOESN'T LIKE PAINS, DOESN'T LIKE ACHES." OH, WELL, I'M REALLY SORRY. 1317 00:48:01,779 --> 00:48:03,324 ACHES." OH, WELL, I'M REALLY SORRY. I MEAN, I DIDN'T KNOW THAT YOU 1318 00:48:03,348 --> 00:48:04,725 OH, WELL, I'M REALLY SORRY. I MEAN, I DIDN'T KNOW THAT YOU DIDN'T LIKE PAINS OR ACHES. 1319 00:48:04,749 --> 00:48:06,126 I MEAN, I DIDN'T KNOW THAT YOU DIDN'T LIKE PAINS OR ACHES. I MEAN, FOR ALL I KNOW, YOU'RE 1320 00:48:06,150 --> 00:48:07,461 DIDN'T LIKE PAINS OR ACHES. I MEAN, FOR ALL I KNOW, YOU'RE CRAZY ABOUT PAINS AND ACHES. 1321 00:48:07,485 --> 00:48:08,929 I MEAN, FOR ALL I KNOW, YOU'RE CRAZY ABOUT PAINS AND ACHES. BUT I JUST FIGURED, FROM KNOWING 1322 00:48:08,953 --> 00:48:10,430 CRAZY ABOUT PAINS AND ACHES. BUT I JUST FIGURED, FROM KNOWING YOU AS A PERSON, THAT YOU DIDN'T 1323 00:48:10,454 --> 00:48:11,031 BUT I JUST FIGURED, FROM KNOWING YOU AS A PERSON, THAT YOU DIDN'T LIKE THEM. 1324 00:48:11,055 --> 00:48:11,999 YOU AS A PERSON, THAT YOU DIDN'T LIKE THEM. IS THAT TRUE? 1325 00:48:12,023 --> 00:48:14,668 LIKE THEM. IS THAT TRUE? WELL, YEAH, THAT'S TRUE. 1326 00:48:14,692 --> 00:48:17,371 IS THAT TRUE? WELL, YEAH, THAT'S TRUE. "LIKES BUGS, GERMS, TOO. 1327 00:48:17,395 --> 00:48:20,241 WELL, YEAH, THAT'S TRUE. "LIKES BUGS, GERMS, TOO. AND WHEN THEY DIE, HE GOES 1328 00:48:20,265 --> 00:48:21,075 "LIKES BUGS, GERMS, TOO. AND WHEN THEY DIE, HE GOES 'BOO-HOO.'" 1329 00:48:21,099 --> 00:48:22,943 AND WHEN THEY DIE, HE GOES 'BOO-HOO.'" OH, LISTEN, I REALLY DIDN'T 1330 00:48:22,967 --> 00:48:24,845 'BOO-HOO.'" OH, LISTEN, I REALLY DIDN'T MEAN THAT YOU SAID "BOO-HOO" OR 1331 00:48:24,869 --> 00:48:25,445 OH, LISTEN, I REALLY DIDN'T MEAN THAT YOU SAID "BOO-HOO" OR ANYTHING. 1332 00:48:25,469 --> 00:48:26,981 MEAN THAT YOU SAID "BOO-HOO" OR ANYTHING. WHAT I REALLY MEANT WAS THAT YOU 1333 00:48:27,005 --> 00:48:28,515 ANYTHING. WHAT I REALLY MEANT WAS THAT YOU WERE REALLY SAD, BUT SAD DIDN'T 1334 00:48:28,539 --> 00:48:28,916 WHAT I REALLY MEANT WAS THAT YOU WERE REALLY SAD, BUT SAD DIDN'T RHYME. 1335 00:48:28,940 --> 00:48:30,251 WERE REALLY SAD, BUT SAD DIDN'T RHYME. DON'T WORRY, DON'T WORRY, I'VE 1336 00:48:30,275 --> 00:48:31,518 RHYME. DON'T WORRY, DON'T WORRY, I'VE NEVER HEARD YOU GO "BOO-HOO." 1337 00:48:31,542 --> 00:48:32,686 DON'T WORRY, DON'T WORRY, I'VE NEVER HEARD YOU GO "BOO-HOO." I WON'T TELL ANYONE. 1338 00:48:32,710 --> 00:48:34,154 NEVER HEARD YOU GO "BOO-HOO." I WON'T TELL ANYONE. SAD BECAUSE GERMS DIED? 1339 00:48:34,178 --> 00:48:34,721 I WON'T TELL ANYONE. SAD BECAUSE GERMS DIED? YES. 1340 00:48:34,745 --> 00:48:36,490 SAD BECAUSE GERMS DIED? YES. "IS MARRIED, HAS KIDS, BUT 1341 00:48:36,514 --> 00:48:38,292 YES. "IS MARRIED, HAS KIDS, BUT FOR CERTAIN PEOPLE, MAKES THEM 1342 00:48:38,316 --> 00:48:39,693 "IS MARRIED, HAS KIDS, BUT FOR CERTAIN PEOPLE, MAKES THEM FLIP THEIR LIDS." 1343 00:48:39,717 --> 00:48:41,561 FOR CERTAIN PEOPLE, MAKES THEM FLIP THEIR LIDS." "CERTAIN PEOPLE" HERE IS 1344 00:48:41,585 --> 00:48:42,363 FLIP THEIR LIDS." "CERTAIN PEOPLE" HERE IS UNDERLINED. 1345 00:48:42,387 --> 00:48:44,131 "CERTAIN PEOPLE" HERE IS UNDERLINED. YEAH, WELL..PRETTY STRAIGHT 1346 00:48:44,155 --> 00:48:45,532 UNDERLINED. YEAH, WELL..PRETTY STRAIGHT LINE FOR NO RULER, HUH? 1347 00:48:45,556 --> 00:48:46,934 YEAH, WELL..PRETTY STRAIGHT LINE FOR NO RULER, HUH? AND IT'S GOT A LOT OF BIG RED 1348 00:48:46,958 --> 00:48:47,701 LINE FOR NO RULER, HUH? AND IT'S GOT A LOT OF BIG RED STARS AROUND IT. 1349 00:48:47,725 --> 00:48:48,835 AND IT'S GOT A LOT OF BIG RED STARS AROUND IT. OH, WELL, YOU KNOW ME. 1350 00:48:48,859 --> 00:48:50,371 STARS AROUND IT. OH, WELL, YOU KNOW ME. WHEN I GET A RED FELT-TIP... 1351 00:48:50,395 --> 00:48:52,106 OH, WELL, YOU KNOW ME. WHEN I GET A RED FELT-TIP... FELT-TIP... FELT-TIP PEN... WHEN 1352 00:48:52,130 --> 00:48:53,807 WHEN I GET A RED FELT-TIP... FELT-TIP... FELT-TIP PEN... WHEN I GET IT IN MY HAND, I JUST GET 1353 00:48:53,831 --> 00:48:55,342 FELT-TIP... FELT-TIP PEN... WHEN I GET IT IN MY HAND, I JUST GET CARRIED AWAY LIKE I JUST DID 1354 00:48:55,366 --> 00:48:55,742 I GET IT IN MY HAND, I JUST GET CARRIED AWAY LIKE I JUST DID NOW. 1355 00:48:55,766 --> 00:48:57,244 CARRIED AWAY LIKE I JUST DID NOW. A LOT OF ARROWS HERE, TOO. 1356 00:48:57,268 --> 00:48:58,879 NOW. A LOT OF ARROWS HERE, TOO. YEAH, WELL, ONLY FIVE ARROWS. 1357 00:48:58,903 --> 00:49:00,281 A LOT OF ARROWS HERE, TOO. YEAH, WELL, ONLY FIVE ARROWS. I WOULDN'T CALL FIVE ARROWS A 1358 00:49:00,305 --> 00:49:01,081 YEAH, WELL, ONLY FIVE ARROWS. I WOULDN'T CALL FIVE ARROWS A LOT OF ARROWS. 1359 00:49:01,105 --> 00:49:02,349 I WOULDN'T CALL FIVE ARROWS A LOT OF ARROWS. WELL, THANK YOU, JODIE. 1360 00:49:02,373 --> 00:49:03,717 LOT OF ARROWS. WELL, THANK YOU, JODIE. I'D CALL TEN ARROWS A LOT 1361 00:49:03,741 --> 00:49:05,786 WELL, THANK YOU, JODIE. I'D CALL TEN ARROWS A LOT OF ARROWS, BUT FIVE ARROWS IS 1362 00:49:05,810 --> 00:49:07,988 I'D CALL TEN ARROWS A LOT OF ARROWS, BUT FIVE ARROWS IS DEFINITELY NOT A LOT OF ARROWS. 1363 00:49:08,012 --> 00:49:11,792 OF ARROWS, BUT FIVE ARROWS IS DEFINITELY NOT A LOT OF ARROWS. BYE, JODIE. 1364 00:49:11,816 --> 00:49:12,793 DEFINITELY NOT A LOT OF ARROWS. BYE, JODIE. GOODBYE, REGIS. 1365 00:49:12,817 --> 00:49:13,961 BYE, JODIE. GOODBYE, REGIS. OH, I'M SORRY, I JUST 1366 00:49:13,985 --> 00:49:15,495 GOODBYE, REGIS. OH, I'M SORRY, I JUST WANTED TO SAY THAT ONCE BEFORE 1367 00:49:15,519 --> 00:49:16,363 OH, I'M SORRY, I JUST WANTED TO SAY THAT ONCE BEFORE WE LEFT, YOU KNOW? 1368 00:49:16,387 --> 00:49:17,798 WANTED TO SAY THAT ONCE BEFORE WE LEFT, YOU KNOW? CAN I WRITE YOU OVER THE SUMMER? 1369 00:49:17,822 --> 00:49:18,399 WE LEFT, YOU KNOW? CAN I WRITE YOU OVER THE SUMMER? SURE. 1370 00:49:18,423 --> 00:49:19,633 CAN I WRITE YOU OVER THE SUMMER? SURE. YEAH, YEAH, RIGHT. 1371 00:49:19,657 --> 00:49:21,302 SURE. YEAH, YEAH, RIGHT. I'LL WRITE YOU OVER THE SUMMER. 1372 00:49:21,326 --> 00:49:21,936 YEAH, YEAH, RIGHT. I'LL WRITE YOU OVER THE SUMMER. OKAY. 1373 00:49:21,960 --> 00:49:23,470 I'LL WRITE YOU OVER THE SUMMER. OKAY. IT'LL GIVE ME A CHANCE TO 1374 00:49:23,494 --> 00:49:24,805 OKAY. IT'LL GIVE ME A CHANCE TO PRACTICE MY SIGNATURE. 1375 00:49:24,829 --> 00:49:28,075 IT'LL GIVE ME A CHANCE TO PRACTICE MY SIGNATURE. ALL RIGHT. 1376 00:49:28,099 --> 00:49:29,443 PRACTICE MY SIGNATURE. ALL RIGHT. MAYBE I CAN GET IT THE SAME 1377 00:49:29,467 --> 00:49:31,867 ALL RIGHT. MAYBE I CAN GET IT THE SAME WAY TWICE. 1378 00:49:41,611 --> 00:49:48,329 HI, IT'S ME, GILDA. I WAS JUST ON MY WAY HOME, AND THEY STOPPED ME AND THEY SAID 1379 00:49:48,353 --> 00:49:50,530 I WAS JUST ON MY WAY HOME, AND THEY STOPPED ME AND THEY SAID EVERYONE ELSE WAS REALLY BUSY, 1380 00:49:50,554 --> 00:49:51,731 THEY STOPPED ME AND THEY SAID EVERYONE ELSE WAS REALLY BUSY, BUT THEY NEEDED SOMEONE TO 1381 00:49:51,755 --> 00:49:53,500 EVERYONE ELSE WAS REALLY BUSY, BUT THEY NEEDED SOMEONE TO INTRODUCE GARY WEIS' FILM. 1382 00:49:53,524 --> 00:49:55,402 BUT THEY NEEDED SOMEONE TO INTRODUCE GARY WEIS' FILM. SO, HERE'S THIS WEEK'S FILM BY 1383 00:49:55,426 --> 00:50:01,741 INTRODUCE GARY WEIS' FILM. SO, HERE'S THIS WEEK'S FILM BY GARY WEIS. 1384 00:50:01,765 --> 00:50:06,113 SO, HERE'S THIS WEEK'S FILM BY GARY WEIS. [LAUGHTER] 1385 00:50:06,137 --> 00:50:09,283 GARY WEIS. [LAUGHTER] I DREAM ABOUT I WAS ON A 1386 00:50:09,307 --> 00:50:11,185 [LAUGHTER] I DREAM ABOUT I WAS ON A DINOSAUR HEAD. 1387 00:50:11,209 --> 00:50:14,455 I DREAM ABOUT I WAS ON A DINOSAUR HEAD. HE WAS VERY FRIENDLY. 1388 00:50:14,479 --> 00:50:16,457 DINOSAUR HEAD. HE WAS VERY FRIENDLY. I DREAM OF BATMAN AND ROBIN. 1389 00:50:16,481 --> 00:50:17,824 HE WAS VERY FRIENDLY. I DREAM OF BATMAN AND ROBIN. WHAT DO THEY DO? 1390 00:50:17,848 --> 00:50:19,426 I DREAM OF BATMAN AND ROBIN. WHAT DO THEY DO? THEY FIGHT THE JOKER. 1391 00:50:19,450 --> 00:50:21,061 WHAT DO THEY DO? THEY FIGHT THE JOKER. THEY FIGHT THE JOKER? 1392 00:50:21,085 --> 00:50:21,795 THEY FIGHT THE JOKER. THEY FIGHT THE JOKER? YEAH. 1393 00:50:21,819 --> 00:50:23,530 THEY FIGHT THE JOKER? YEAH. WHAT ELSE DO THEY DO? 1394 00:50:23,554 --> 00:50:25,765 YEAH. WHAT ELSE DO THEY DO? THEY GO THE JOKER'S HOUSE AND 1395 00:50:25,789 --> 00:50:26,733 WHAT ELSE DO THEY DO? THEY GO THE JOKER'S HOUSE AND EVERYTHING. 1396 00:50:26,757 --> 00:50:28,535 THEY GO THE JOKER'S HOUSE AND EVERYTHING. WHAT DO THEY DO IN THE 1397 00:50:28,559 --> 00:50:29,669 EVERYTHING. WHAT DO THEY DO IN THE JOKER'S HOUSE? 1398 00:50:29,693 --> 00:50:30,971 WHAT DO THEY DO IN THE JOKER'S HOUSE? AND THEN THEY GO "BANG, 1399 00:50:30,995 --> 00:50:32,039 JOKER'S HOUSE? AND THEN THEY GO "BANG, FIGHT, POW." 1400 00:50:32,063 --> 00:50:34,308 AND THEN THEY GO "BANG, FIGHT, POW." DO YOU EVER HAVE ANY SCARY 1401 00:50:34,332 --> 00:50:37,777 FIGHT, POW." DO YOU EVER HAVE ANY SCARY DREAMS? 1402 00:50:37,801 --> 00:50:39,813 DO YOU EVER HAVE ANY SCARY DREAMS? YOU DREAM ABOUT ME? 1403 00:50:39,837 --> 00:50:44,518 DREAMS? YOU DREAM ABOUT ME? I-I-I'M THINKING ABOUT ONE. 1404 00:50:44,542 --> 00:50:45,052 YOU DREAM ABOUT ME? I-I-I'M THINKING ABOUT ONE. NO. 1405 00:50:45,076 --> 00:50:47,488 I-I-I'M THINKING ABOUT ONE. NO. DO YOU DREAM ABOUT MONSTERS, 1406 00:50:47,512 --> 00:50:48,088 NO. DO YOU DREAM ABOUT MONSTERS, TOO? 1407 00:50:48,112 --> 00:50:49,723 DO YOU DREAM ABOUT MONSTERS, TOO? SOMETIMES I DO. 1408 00:50:49,747 --> 00:50:51,825 TOO? SOMETIMES I DO. WHAT DO THEY LOOK LIKE? 1409 00:50:51,849 --> 00:50:53,227 SOMETIMES I DO. WHAT DO THEY LOOK LIKE? I DON'T KNOW. 1410 00:50:53,251 --> 00:50:55,529 WHAT DO THEY LOOK LIKE? I DON'T KNOW. WHAT DO YOUR MONSTERS DO IN 1411 00:50:55,553 --> 00:50:56,663 I DON'T KNOW. WHAT DO YOUR MONSTERS DO IN YOUR DREAMS? 1412 00:50:56,687 --> 00:50:59,033 WHAT DO YOUR MONSTERS DO IN YOUR DREAMS? THEY'RE JUST STANDING UP AND 1413 00:50:59,057 --> 00:51:00,300 YOUR DREAMS? THEY'RE JUST STANDING UP AND SCARE ME AWAY. 1414 00:51:00,324 --> 00:51:02,136 THEY'RE JUST STANDING UP AND SCARE ME AWAY. THEY SCARE YOU AWAY? 1415 00:51:02,160 --> 00:51:03,637 SCARE ME AWAY. THEY SCARE YOU AWAY? HOW DO THEY SCARE YOU? 1416 00:51:03,661 --> 00:51:04,938 THEY SCARE YOU AWAY? HOW DO THEY SCARE YOU? WALKING AROUND. 1417 00:51:04,962 --> 00:51:06,306 HOW DO THEY SCARE YOU? WALKING AROUND. THEY WALK AROUND? 1418 00:51:06,330 --> 00:51:07,941 WALKING AROUND. THEY WALK AROUND? HOW ARE THEY WALKING? 1419 00:51:07,965 --> 00:51:12,513 THEY WALK AROUND? HOW ARE THEY WALKING? LIKE THIS. 1420 00:51:12,537 --> 00:51:14,448 HOW ARE THEY WALKING? LIKE THIS. I WAKE UP, LET THE MONSTER 1421 00:51:14,472 --> 00:51:16,283 LIKE THIS. I WAKE UP, LET THE MONSTER SLEEP WITH ME. 1422 00:51:16,307 --> 00:51:17,984 I WAKE UP, LET THE MONSTER SLEEP WITH ME. BATMAN'S NOT A MONSTER. 1423 00:51:18,008 --> 00:51:20,954 SLEEP WITH ME. BATMAN'S NOT A MONSTER. BATMAN IS A FRIENDLY MAN. 1424 00:51:20,978 --> 00:51:26,460 BATMAN'S NOT A MONSTER. BATMAN IS A FRIENDLY MAN. UM, ONE FIRE, TWO FIRE, THREE 1425 00:51:26,484 --> 00:51:29,263 BATMAN IS A FRIENDLY MAN. UM, ONE FIRE, TWO FIRE, THREE FIRE, FOUR FIRE, FIVE FIRE, SIX 1426 00:51:29,287 --> 00:51:30,030 UM, ONE FIRE, TWO FIRE, THREE FIRE, FOUR FIRE, FIVE FIRE, SIX FIRE. 1427 00:51:30,054 --> 00:51:32,632 FIRE, FOUR FIRE, FIVE FIRE, SIX FIRE. SHE COULD DO A VERY SILLY, 1428 00:51:32,656 --> 00:51:34,334 FIRE. SHE COULD DO A VERY SILLY, RIDICULOUS TRICK. 1429 00:51:34,358 --> 00:51:36,937 SHE COULD DO A VERY SILLY, RIDICULOUS TRICK. SHE COULD JUMP UP AND TOUCH A 1430 00:51:36,961 --> 00:51:38,539 RIDICULOUS TRICK. SHE COULD JUMP UP AND TOUCH A CLOUD. 1431 00:51:38,563 --> 00:51:42,176 SHE COULD JUMP UP AND TOUCH A CLOUD. AND THEN SHE COULD... FROM 1432 00:51:42,200 --> 00:51:46,012 CLOUD. AND THEN SHE COULD... FROM NEW YORK... FROM NEW YORK... 1433 00:51:46,036 --> 00:51:50,184 AND THEN SHE COULD... FROM NEW YORK... FROM NEW YORK... FROM LONDON, SHE COULD TAKE HER 1434 00:51:50,208 --> 00:51:54,221 NEW YORK... FROM NEW YORK... FROM LONDON, SHE COULD TAKE HER HAND ALL THE WAY FROM NEW YORK 1435 00:51:54,245 --> 00:51:56,256 FROM LONDON, SHE COULD TAKE HER HAND ALL THE WAY FROM NEW YORK FROM LONDON. 1436 00:51:56,280 --> 00:52:01,095 HAND ALL THE WAY FROM NEW YORK FROM LONDON. SOMETIMES, I, UM... 1437 00:52:01,119 --> 00:52:05,966 FROM LONDON. SOMETIMES, I, UM... UM, UM, UM, UM, UM, UM, UM... 1438 00:52:05,990 --> 00:52:08,751 SOMETIMES, I, UM... UM, UM, UM, UM, UM, UM, UM... I JUST DON'T KNOW. 1439 00:52:17,567 --> 00:52:21,003 [SOMBER MUSIC PLAYS] 1440 00:52:31,348 --> 00:52:39,348 ♪ KING KONG ♪ ♪ IS LOOKING FOR FAY WRAY AGAIN ♪ 1441 00:52:44,862 --> 00:52:50,744 ♪ IS LOOKING FOR FAY WRAY AGAIN ♪ ♪ KING KONG ♪ 1442 00:52:50,768 --> 00:52:55,682 AGAIN ♪ ♪ KING KONG ♪ ♪ IS COMING DOWN BROADWAY 1443 00:52:55,706 --> 00:52:58,318 ♪ KING KONG ♪ ♪ IS COMING DOWN BROADWAY AGAIN ♪ 1444 00:52:58,342 --> 00:53:01,688 ♪ IS COMING DOWN BROADWAY AGAIN ♪ ♪ NO NEED TO BE ALARMED, FOLKS ♪ 1445 00:53:01,712 --> 00:53:05,025 AGAIN ♪ ♪ NO NEED TO BE ALARMED, FOLKS ♪ ♪ NO MATTER HOW HE STRAINS ♪ 1446 00:53:05,049 --> 00:53:08,595 ♪ NO NEED TO BE ALARMED, FOLKS ♪ ♪ NO MATTER HOW HE STRAINS ♪ ♪ THIS GIANT APE CANNOT ESCAPE ♪ 1447 00:53:08,619 --> 00:53:10,597 ♪ NO MATTER HOW HE STRAINS ♪ ♪ THIS GIANT APE CANNOT ESCAPE ♪ ♪ WE'VE LOCKED HIM UP IN 1448 00:53:10,621 --> 00:53:17,804 ♪ THIS GIANT APE CANNOT ESCAPE ♪ ♪ WE'VE LOCKED HIM UP IN CHAINS ♪ 1449 00:53:17,828 --> 00:53:23,710 ♪ WE'VE LOCKED HIM UP IN CHAINS ♪ ♪ KING KONG ♪ 1450 00:53:23,734 --> 00:53:28,515 CHAINS ♪ ♪ KING KONG ♪ ♪ IS KNOCKING AT THE GATE 1451 00:53:28,539 --> 00:53:31,185 ♪ KING KONG ♪ ♪ IS KNOCKING AT THE GATE AGAIN ♪ 1452 00:53:31,209 --> 00:53:37,224 ♪ IS KNOCKING AT THE GATE AGAIN ♪ ♪ KING KONG ♪ 1453 00:53:37,248 --> 00:53:44,998 AGAIN ♪ ♪ KING KONG ♪ ♪ IS ON THE EMPIRE STATE AGAIN ♪ 1454 00:53:45,022 --> 00:53:48,302 ♪ KING KONG ♪ ♪ IS ON THE EMPIRE STATE AGAIN ♪ ♪ WE FOUND HIM ON AN ISLAND 1455 00:53:48,326 --> 00:53:51,805 ♪ IS ON THE EMPIRE STATE AGAIN ♪ ♪ WE FOUND HIM ON AN ISLAND NOT SHOWN ON ANY CHART ♪ 1456 00:53:51,829 --> 00:53:54,408 ♪ WE FOUND HIM ON AN ISLAND NOT SHOWN ON ANY CHART ♪ TO TEACH HIM FEAR, WE'LL BRING 1457 00:53:54,432 --> 00:53:57,377 NOT SHOWN ON ANY CHART ♪ TO TEACH HIM FEAR, WE'LL BRING HIM HERE AND SHOOT HIM IN THE 1458 00:53:57,401 --> 00:54:04,318 TO TEACH HIM FEAR, WE'LL BRING HIM HERE AND SHOOT HIM IN THE HEART ♪ 1459 00:54:04,342 --> 00:54:10,357 HIM HERE AND SHOOT HIM IN THE HEART ♪ ♪ KING KONG ♪ 1460 00:54:10,381 --> 00:54:15,395 HEART ♪ ♪ KING KONG ♪ ♪ IS FALLING THROUGH THE AIR 1461 00:54:15,419 --> 00:54:18,031 ♪ KING KONG ♪ ♪ IS FALLING THROUGH THE AIR AGAIN ♪ 1462 00:54:18,055 --> 00:54:24,070 ♪ IS FALLING THROUGH THE AIR AGAIN ♪ ♪ KING KONG ♪ 1463 00:54:24,094 --> 00:54:29,376 AGAIN ♪ ♪ KING KONG ♪ ♪ IS LANDING IN TIMES SQUARE 1464 00:54:29,400 --> 00:54:31,578 ♪ KING KONG ♪ ♪ IS LANDING IN TIMES SQUARE AGAIN ♪ 1465 00:54:31,602 --> 00:54:33,547 ♪ IS LANDING IN TIMES SQUARE AGAIN ♪ ♪ WE'LL FLY THE FLAG AT 1466 00:54:33,571 --> 00:54:36,216 AGAIN ♪ ♪ WE'LL FLY THE FLAG AT HALF-MAST AND BEAT THE 1467 00:54:36,240 --> 00:54:40,120 ♪ WE'LL FLY THE FLAG AT HALF-MAST AND BEAT THE MUFFLED DRUMS WITHOUT A THRILL 1468 00:54:40,144 --> 00:54:43,457 HALF-MAST AND BEAT THE MUFFLED DRUMS WITHOUT A THRILL OR SCREAM UNTIL THE SON OF 1469 00:54:43,481 --> 00:54:45,559 MUFFLED DRUMS WITHOUT A THRILL OR SCREAM UNTIL THE SON OF KING KONG COMES ♪ 1470 00:54:45,583 --> 00:54:53,583 OR SCREAM UNTIL THE SON OF KING KONG COMES ♪ ♪ THE SON OF KING KONG COMES ♪ 1471 00:54:53,791 --> 00:54:56,558 KING KONG COMES ♪ ♪ THE SON OF KING KONG COMES ♪ [CHEERS AND APPLAUSE] 1472 00:55:15,412 --> 00:55:19,593 BUT... BUT WHAT COULD BE THAT AWFUL THAT YOU CAN'T EVEN SAY IT? 1473 00:55:19,617 --> 00:55:21,395 AWFUL THAT YOU CAN'T EVEN SAY IT? WELL, IT'S JUST THAT YOU'VE 1474 00:55:21,419 --> 00:55:22,596 IT? WELL, IT'S JUST THAT YOU'VE ALWAYS TRUSTED ME. 1475 00:55:22,620 --> 00:55:24,331 WELL, IT'S JUST THAT YOU'VE ALWAYS TRUSTED ME. MARRIED SIX YEARS, AND YOU'VE 1476 00:55:24,355 --> 00:55:26,065 ALWAYS TRUSTED ME. MARRIED SIX YEARS, AND YOU'VE NEVER HAD ANY REASON TO DOUBT 1477 00:55:26,089 --> 00:55:26,933 MARRIED SIX YEARS, AND YOU'VE NEVER HAD ANY REASON TO DOUBT ME. 1478 00:55:26,957 --> 00:55:27,901 NEVER HAD ANY REASON TO DOUBT ME. OH, GOD. 1479 00:55:27,925 --> 00:55:29,936 ME. OH, GOD. FOR GOD'S SAKE, JUST SAY IT, 1480 00:55:29,960 --> 00:55:30,804 OH, GOD. FOR GOD'S SAKE, JUST SAY IT, WILL YOU? 1481 00:55:30,828 --> 00:55:31,705 FOR GOD'S SAKE, JUST SAY IT, WILL YOU? JUST SAY IT. 1482 00:55:31,729 --> 00:55:32,372 WILL YOU? JUST SAY IT. OKAY. 1483 00:55:32,396 --> 00:55:34,007 JUST SAY IT. OKAY. IT IS 1976, AND WE'RE BOTH 1484 00:55:34,031 --> 00:55:35,008 OKAY. IT IS 1976, AND WE'RE BOTH MODERN PEOPLE. 1485 00:55:35,032 --> 00:55:37,043 IT IS 1976, AND WE'RE BOTH MODERN PEOPLE. PLEASE. 1486 00:55:37,067 --> 00:55:38,645 MODERN PEOPLE. PLEASE. RICHARD, NOTHING'S GONNA 1487 00:55:38,669 --> 00:55:39,245 PLEASE. RICHARD, NOTHING'S GONNA CHANGE. 1488 00:55:39,269 --> 00:55:40,847 RICHARD, NOTHING'S GONNA CHANGE. I'M STILL GONNA BE THE SAME 1489 00:55:40,871 --> 00:55:41,715 CHANGE. I'M STILL GONNA BE THE SAME WOMAN I WAS. 1490 00:55:41,739 --> 00:55:46,920 I'M STILL GONNA BE THE SAME WOMAN I WAS. WHAT IS IT? 1491 00:55:46,944 --> 00:55:51,858 WOMAN I WAS. WHAT IS IT? I'M NOT BLACK. 1492 00:55:51,882 --> 00:55:52,926 WHAT IS IT? I'M NOT BLACK. WHAT? 1493 00:55:52,950 --> 00:55:58,532 I'M NOT BLACK. WHAT? I'M NOT BLACK! 1494 00:55:58,556 --> 00:56:00,767 WHAT? I'M NOT BLACK! BUT... BUT THE VERY FIRST 1495 00:56:00,791 --> 00:56:03,136 I'M NOT BLACK! BUT... BUT THE VERY FIRST NIGHT WE MET, YOUR FIRST WORDS 1496 00:56:03,160 --> 00:56:05,372 BUT... BUT THE VERY FIRST NIGHT WE MET, YOUR FIRST WORDS TO ME... "BOY, IT'S SURE FUN 1497 00:56:05,396 --> 00:56:06,206 NIGHT WE MET, YOUR FIRST WORDS TO ME... "BOY, IT'S SURE FUN BEING NEGRO." 1498 00:56:06,230 --> 00:56:07,574 TO ME... "BOY, IT'S SURE FUN BEING NEGRO." SO I SAID IT. SO WHAT? 1499 00:56:07,598 --> 00:56:09,142 BEING NEGRO." SO I SAID IT. SO WHAT? NOBODY MEANS WHAT THEY SAY IN 1500 00:56:09,166 --> 00:56:10,009 SO I SAID IT. SO WHAT? NOBODY MEANS WHAT THEY SAY IN THOSE SINGLES BARS. 1501 00:56:10,033 --> 00:56:11,378 NOBODY MEANS WHAT THEY SAY IN THOSE SINGLES BARS. BUT WHAT ABOUT ALL THAT STUFF 1502 00:56:11,402 --> 00:56:12,546 THOSE SINGLES BARS. BUT WHAT ABOUT ALL THAT STUFF ABOUT HOW YOU'RE CONSTANTLY 1503 00:56:12,570 --> 00:56:14,147 BUT WHAT ABOUT ALL THAT STUFF ABOUT HOW YOU'RE CONSTANTLY BEING MISTAKEN FOR DIANA ROSS? 1504 00:56:14,171 --> 00:56:15,349 ABOUT HOW YOU'RE CONSTANTLY BEING MISTAKEN FOR DIANA ROSS? YOU AGREED WITH ME. 1505 00:56:15,373 --> 00:56:16,817 BEING MISTAKEN FOR DIANA ROSS? YOU AGREED WITH ME. YOU EVEN SAID I HAD TO GAIN 1506 00:56:16,841 --> 00:56:17,684 YOU AGREED WITH ME. YOU EVEN SAID I HAD TO GAIN WEIGHT. 1507 00:56:17,708 --> 00:56:20,186 YOU EVEN SAID I HAD TO GAIN WEIGHT. AND I GUESS YOUR REAL NAME 1508 00:56:20,210 --> 00:56:23,056 WEIGHT. AND I GUESS YOUR REAL NAME REALLY ISN'T JEMIMA, IS IT? 1509 00:56:23,080 --> 00:56:24,257 AND I GUESS YOUR REAL NAME REALLY ISN'T JEMIMA, IS IT? THAT PART WAS TRUE. 1510 00:56:24,281 --> 00:56:25,759 REALLY ISN'T JEMIMA, IS IT? THAT PART WAS TRUE. WELL, THANKS FOR THE INFO. 1511 00:56:25,783 --> 00:56:27,361 THAT PART WAS TRUE. WELL, THANKS FOR THE INFO. YOU KNOW, WHEN YOU'RE MARRIED TO 1512 00:56:27,385 --> 00:56:28,829 WELL, THANKS FOR THE INFO. YOU KNOW, WHEN YOU'RE MARRIED TO SOMEONE, IT'S ALWAYS NICE TO 1513 00:56:28,853 --> 00:56:29,896 YOU KNOW, WHEN YOU'RE MARRIED TO SOMEONE, IT'S ALWAYS NICE TO KNOW THEIR NAME. 1514 00:56:29,920 --> 00:56:31,398 SOMEONE, IT'S ALWAYS NICE TO KNOW THEIR NAME. YOU KNOW, IT'S FUNNY. 1515 00:56:31,422 --> 00:56:33,299 KNOW THEIR NAME. YOU KNOW, IT'S FUNNY. I NEVER THOUGHT I'D HAVE TO TELL 1516 00:56:33,323 --> 00:56:33,767 YOU KNOW, IT'S FUNNY. I NEVER THOUGHT I'D HAVE TO TELL YOU. 1517 00:56:33,791 --> 00:56:35,369 I NEVER THOUGHT I'D HAVE TO TELL YOU. I ALWAYS THOUGHT YOU KNEW, 1518 00:56:35,393 --> 00:56:36,035 YOU. I ALWAYS THOUGHT YOU KNEW, SOMEHOW. 1519 00:56:36,059 --> 00:56:37,371 I ALWAYS THOUGHT YOU KNEW, SOMEHOW. WELL, HOW COULD I? 1520 00:56:37,395 --> 00:56:39,773 SOMEHOW. WELL, HOW COULD I? YOU KEPT IT SO WELL HIDDEN. 1521 00:56:39,797 --> 00:56:41,107 WELL, HOW COULD I? YOU KEPT IT SO WELL HIDDEN. BUT THERE WERE CLUES! 1522 00:56:41,131 --> 00:56:42,709 YOU KEPT IT SO WELL HIDDEN. BUT THERE WERE CLUES! SO MANY TIMES, I THOUGHT YOU'D 1523 00:56:42,733 --> 00:56:43,209 BUT THERE WERE CLUES! SO MANY TIMES, I THOUGHT YOU'D GUESS. 1524 00:56:43,233 --> 00:56:44,745 SO MANY TIMES, I THOUGHT YOU'D GUESS. LIKE THAT TIME YOU CAUGHT ME 1525 00:56:44,769 --> 00:56:46,212 GUESS. LIKE THAT TIME YOU CAUGHT ME WITH MY FAMILY PORTRAIT AND 1526 00:56:46,236 --> 00:56:47,247 LIKE THAT TIME YOU CAUGHT ME WITH MY FAMILY PORTRAIT AND ALL THOSE CRAYONS? 1527 00:56:47,271 --> 00:56:47,914 WITH MY FAMILY PORTRAIT AND ALL THOSE CRAYONS? WELL... 1528 00:56:47,938 --> 00:56:49,282 ALL THOSE CRAYONS? WELL... AND THE TIME YOU SAW MY 1529 00:56:49,306 --> 00:56:50,884 WELL... AND THE TIME YOU SAW MY BIRTH CERTIFICATE WITH THE WORD 1530 00:56:50,908 --> 00:56:52,652 AND THE TIME YOU SAW MY BIRTH CERTIFICATE WITH THE WORD "NOT" WRITTEN IN PENCIL ABOVE 1531 00:56:52,676 --> 00:56:54,554 BIRTH CERTIFICATE WITH THE WORD "NOT" WRITTEN IN PENCIL ABOVE "CAUCASIAN"? 1532 00:56:54,578 --> 00:56:56,256 "NOT" WRITTEN IN PENCIL ABOVE "CAUCASIAN"? WELL... 1533 00:56:56,280 --> 00:56:58,492 "CAUCASIAN"? WELL... AND, THEN THERE'S MY FEAR 1534 00:56:58,516 --> 00:57:00,360 WELL... AND, THEN THERE'S MY FEAR OF SICKLE-CELL ANEMIA. 1535 00:57:00,384 --> 00:57:01,862 AND, THEN THERE'S MY FEAR OF SICKLE-CELL ANEMIA. WHAT ABOUT IT? 1536 00:57:01,886 --> 00:57:04,364 OF SICKLE-CELL ANEMIA. WHAT ABOUT IT? I HAVE NO FEAR OF SICKLE-CELL 1537 00:57:04,388 --> 00:57:05,198 WHAT ABOUT IT? I HAVE NO FEAR OF SICKLE-CELL ANEMIA. 1538 00:57:05,222 --> 00:57:05,932 I HAVE NO FEAR OF SICKLE-CELL ANEMIA. OH. 1539 00:57:05,956 --> 00:57:08,468 ANEMIA. OH. WAIT, WHAT ABOUT THOSE CHRISTMAS 1540 00:57:08,492 --> 00:57:10,370 OH. WAIT, WHAT ABOUT THOSE CHRISTMAS CARDS... SIX YEARS OF CHRISTMAS 1541 00:57:10,394 --> 00:57:12,038 WAIT, WHAT ABOUT THOSE CHRISTMAS CARDS... SIX YEARS OF CHRISTMAS CARDS SIGNED "YOUR COUSIN, 1542 00:57:12,062 --> 00:57:13,273 CARDS... SIX YEARS OF CHRISTMAS CARDS SIGNED "YOUR COUSIN, LITTLE ANTHONY." 1543 00:57:13,297 --> 00:57:15,241 CARDS SIGNED "YOUR COUSIN, LITTLE ANTHONY." DIDN'T YOU EVER WONDER WHY 1544 00:57:15,265 --> 00:57:17,176 LITTLE ANTHONY." DIDN'T YOU EVER WONDER WHY HE NEVER USED HIS LAST NAME? 1545 00:57:17,200 --> 00:57:19,345 DIDN'T YOU EVER WONDER WHY HE NEVER USED HIS LAST NAME? I MEAN, DO YOU REALLY THINK THAT 1546 00:57:19,369 --> 00:57:21,147 HE NEVER USED HIS LAST NAME? I MEAN, DO YOU REALLY THINK THAT LITTLE ANTHONY CALLS HIMSELF 1547 00:57:21,171 --> 00:57:22,248 I MEAN, DO YOU REALLY THINK THAT LITTLE ANTHONY CALLS HIMSELF "LITTLE ANTHONY"? 1548 00:57:22,272 --> 00:57:23,617 LITTLE ANTHONY CALLS HIMSELF "LITTLE ANTHONY"? WELL, I DON'T KNOW. 1549 00:57:23,641 --> 00:57:25,118 "LITTLE ANTHONY"? WELL, I DON'T KNOW. I MEAN, I DON'T GO AROUND 1550 00:57:25,142 --> 00:57:26,219 WELL, I DON'T KNOW. I MEAN, I DON'T GO AROUND THINKING ABOUT WHAT 1551 00:57:26,243 --> 00:57:27,721 I MEAN, I DON'T GO AROUND THINKING ABOUT WHAT LITTLE ANTHONY CALLS HIMSELF 1552 00:57:27,745 --> 00:57:28,388 THINKING ABOUT WHAT LITTLE ANTHONY CALLS HIMSELF THAT MUCH. 1553 00:57:28,412 --> 00:57:30,123 LITTLE ANTHONY CALLS HIMSELF THAT MUCH. LOOK, I'M WHITE, RICHARD. 1554 00:57:30,147 --> 00:57:30,690 THAT MUCH. LOOK, I'M WHITE, RICHARD. WHITE! 1555 00:57:30,714 --> 00:57:32,459 LOOK, I'M WHITE, RICHARD. WHITE! YOU KNOW, CUTE, LITTLE BUTTON 1556 00:57:32,483 --> 00:57:35,128 WHITE! YOU KNOW, CUTE, LITTLE BUTTON NOSE, SUNTAN LOTION, REFERS TO 1557 00:57:35,152 --> 00:57:36,797 YOU KNOW, CUTE, LITTLE BUTTON NOSE, SUNTAN LOTION, REFERS TO BLACKS AS "THEM." 1558 00:57:36,821 --> 00:57:37,697 NOSE, SUNTAN LOTION, REFERS TO BLACKS AS "THEM." STOP! 1559 00:57:37,721 --> 00:57:40,033 BLACKS AS "THEM." STOP! GOD, I'VE BEEN SUCH A SUCH A 1560 00:57:40,057 --> 00:57:40,734 STOP! GOD, I'VE BEEN SUCH A SUCH A FOOL. 1561 00:57:40,758 --> 00:57:42,035 GOD, I'VE BEEN SUCH A SUCH A FOOL. SUCH A FOOL. 1562 00:57:42,059 --> 00:57:44,604 FOOL. SUCH A FOOL. RICHARD, THE BOTTOMS OF MY 1563 00:57:44,628 --> 00:57:47,240 SUCH A FOOL. RICHARD, THE BOTTOMS OF MY FEET ARE THE SAME SHADE AS THE 1564 00:57:47,264 --> 00:57:47,808 RICHARD, THE BOTTOMS OF MY FEET ARE THE SAME SHADE AS THE TOPS. 1565 00:57:47,832 --> 00:57:49,876 FEET ARE THE SAME SHADE AS THE TOPS. THE BOTTOMS ARE THE SAME AS THE 1566 00:57:49,900 --> 00:57:50,444 TOPS. THE BOTTOMS ARE THE SAME AS THE TOPS! 1567 00:57:50,468 --> 00:57:55,014 THE BOTTOMS ARE THE SAME AS THE TOPS! DO YOU UNDERSTAND THAT?! 1568 00:57:55,038 --> 00:57:57,617 TOPS! DO YOU UNDERSTAND THAT?! OH, YOU HAVEN'T BEEN A FOOL. 1569 00:57:57,641 --> 00:57:59,753 DO YOU UNDERSTAND THAT?! OH, YOU HAVEN'T BEEN A FOOL. YOU'VE BEEN IN LOVE, AND LOVE IS 1570 00:57:59,777 --> 00:58:07,694 OH, YOU HAVEN'T BEEN A FOOL. YOU'VE BEEN IN LOVE, AND LOVE IS BLIND. 1571 00:58:07,718 --> 00:58:10,096 YOU'VE BEEN IN LOVE, AND LOVE IS BLIND. I GUESS THIS EXPLAINS WHY YOU 1572 00:58:10,120 --> 00:58:12,065 BLIND. I GUESS THIS EXPLAINS WHY YOU NEVER GOT THAT AFRO, HUH? 1573 00:58:12,089 --> 00:58:12,933 I GUESS THIS EXPLAINS WHY YOU NEVER GOT THAT AFRO, HUH? YEAH. 1574 00:58:12,957 --> 00:58:14,734 NEVER GOT THAT AFRO, HUH? YEAH. WELL, IT DOES COME AS A 1575 00:58:14,758 --> 00:58:16,970 YEAH. WELL, IT DOES COME AS A SHOCK, HONEY, BUT IT'S REALLY 1576 00:58:16,994 --> 00:58:17,604 WELL, IT DOES COME AS A SHOCK, HONEY, BUT IT'S REALLY NOT SO BAD. 1577 00:58:17,628 --> 00:58:18,939 SHOCK, HONEY, BUT IT'S REALLY NOT SO BAD. I MEAN, IT DOESN'T CHANGE YOU, 1578 00:58:18,963 --> 00:58:20,106 NOT SO BAD. I MEAN, IT DOESN'T CHANGE YOU, AND IT DOESN'T CHANGE ME. 1579 00:58:20,130 --> 00:58:21,207 I MEAN, IT DOESN'T CHANGE YOU, AND IT DOESN'T CHANGE ME. RIGHT. 1580 00:58:21,231 --> 00:58:22,509 AND IT DOESN'T CHANGE ME. RIGHT. PLUS, IT WILL REALLY PLEASE 1581 00:58:22,533 --> 00:58:23,710 RIGHT. PLUS, IT WILL REALLY PLEASE MY MOTHER AND FATHER TO HEAR 1582 00:58:23,734 --> 00:58:24,344 PLUS, IT WILL REALLY PLEASE MY MOTHER AND FATHER TO HEAR THIS. 1583 00:58:24,368 --> 00:58:26,546 MY MOTHER AND FATHER TO HEAR THIS. YOU KNOW HOW WHITE PARENTS ARE. 1584 00:58:26,570 --> 00:58:28,515 THIS. YOU KNOW HOW WHITE PARENTS ARE. AND WHITE HUSBANDS, TOO. 1585 00:58:28,539 --> 00:58:30,316 YOU KNOW HOW WHITE PARENTS ARE. AND WHITE HUSBANDS, TOO. I MARRIED ONE, DIDN'T I? 1586 00:58:30,340 --> 00:58:31,384 AND WHITE HUSBANDS, TOO. I MARRIED ONE, DIDN'T I? [LAUGHS] 1587 00:58:31,408 --> 00:58:33,620 I MARRIED ONE, DIDN'T I? [LAUGHS] YEAH. WHAT'S FOR DINNER? 1588 00:58:33,644 --> 00:58:35,911 [LAUGHS] YEAH. WHAT'S FOR DINNER? RIBS. 1589 00:58:58,001 --> 00:59:01,414 OH, MR. MIKE, MR. MIKE, PLEASE TELL ME A LEAST-LOVED BEDTIME STORY. 1590 00:59:01,438 --> 00:59:02,949 PLEASE TELL ME A LEAST-LOVED BEDTIME STORY. WELL, SURE THING, YOU LITTLE 1591 00:59:02,973 --> 00:59:03,349 BEDTIME STORY. WELL, SURE THING, YOU LITTLE IMP. 1592 00:59:03,373 --> 00:59:04,918 WELL, SURE THING, YOU LITTLE IMP. JUST HOP UP HERE ON MY KNEE, AND 1593 00:59:04,942 --> 00:59:06,452 IMP. JUST HOP UP HERE ON MY KNEE, AND I'LL TELL YOU THE STORY OF "THE 1594 00:59:06,476 --> 00:59:10,590 JUST HOP UP HERE ON MY KNEE, AND I'LL TELL YOU THE STORY OF "THE LITTLE TRAIN THAT DIED." 1595 00:59:10,614 --> 00:59:11,424 I'LL TELL YOU THE STORY OF "THE LITTLE TRAIN THAT DIED." OOH! 1596 00:59:11,448 --> 00:59:12,291 LITTLE TRAIN THAT DIED." OOH! OKAY, YES. 1597 00:59:12,315 --> 00:59:13,793 OOH! OKAY, YES. OKAY, NOW, ONE TIME, THERE 1598 00:59:13,817 --> 00:59:15,461 OKAY, YES. OKAY, NOW, ONE TIME, THERE WAS A LITTLE TRAIN WHO HAD TO 1599 00:59:15,485 --> 00:59:17,263 OKAY, NOW, ONE TIME, THERE WAS A LITTLE TRAIN WHO HAD TO PULL A GIANT LOAD OF SCRAP METAL 1600 00:59:17,287 --> 00:59:18,398 WAS A LITTLE TRAIN WHO HAD TO PULL A GIANT LOAD OF SCRAP METAL UP THE MOUNTAIN. 1601 00:59:18,422 --> 00:59:20,400 PULL A GIANT LOAD OF SCRAP METAL UP THE MOUNTAIN. HE HAD NEVER PULLED SUCH A HEAVY 1602 00:59:20,424 --> 00:59:21,801 UP THE MOUNTAIN. HE HAD NEVER PULLED SUCH A HEAVY LOAD IN HIS LIFE, AND SO, WHEN 1603 00:59:21,825 --> 00:59:23,202 HE HAD NEVER PULLED SUCH A HEAVY LOAD IN HIS LIFE, AND SO, WHEN HE LEFT THE VALLEY, HIS LITTLE 1604 00:59:23,226 --> 00:59:25,371 LOAD IN HIS LIFE, AND SO, WHEN HE LEFT THE VALLEY, HIS LITTLE WHEELS SAID, "I HOPE I CAN. 1605 00:59:25,395 --> 00:59:26,907 HE LEFT THE VALLEY, HIS LITTLE WHEELS SAID, "I HOPE I CAN. I HOPE I CAN. 1606 00:59:26,931 --> 00:59:29,676 WHEELS SAID, "I HOPE I CAN. I HOPE I CAN. I HOPE I CAN. I HOPE I CAN." 1607 00:59:29,700 --> 00:59:31,077 I HOPE I CAN. I HOPE I CAN. I HOPE I CAN." BUT, BEFORE LONG, HE PICKED UP 1608 00:59:31,101 --> 00:59:33,046 I HOPE I CAN. I HOPE I CAN." BUT, BEFORE LONG, HE PICKED UP SPEED, AND NOW THE WHEELS SAID, 1609 00:59:33,070 --> 00:59:35,782 BUT, BEFORE LONG, HE PICKED UP SPEED, AND NOW THE WHEELS SAID, "I THINK I CAN. I THINK I CAN. 1610 00:59:35,806 --> 00:59:38,351 SPEED, AND NOW THE WHEELS SAID, "I THINK I CAN. I THINK I CAN. I THINK I CAN. I THINK I CAN." 1611 00:59:38,375 --> 00:59:39,553 "I THINK I CAN. I THINK I CAN. I THINK I CAN. I THINK I CAN." SOON, THE LITTLE TRAIN WAS 1612 00:59:39,577 --> 00:59:40,921 I THINK I CAN. I THINK I CAN." SOON, THE LITTLE TRAIN WAS WHIZZING RIGHT UP THE MOUNTAIN, 1613 00:59:40,945 --> 00:59:42,355 SOON, THE LITTLE TRAIN WAS WHIZZING RIGHT UP THE MOUNTAIN, AND NOW THE WHEELS SAID, "I KNOW 1614 00:59:42,379 --> 00:59:42,989 WHIZZING RIGHT UP THE MOUNTAIN, AND NOW THE WHEELS SAID, "I KNOW I CAN. 1615 00:59:43,013 --> 00:59:44,824 AND NOW THE WHEELS SAID, "I KNOW I CAN. I KNOW I CAN. I KNOW I CAN. 1616 00:59:44,848 --> 00:59:46,626 I CAN. I KNOW I CAN. I KNOW I CAN. I KNOW I CAN! HEART ATTACK! 1617 00:59:46,650 --> 00:59:48,595 I KNOW I CAN. I KNOW I CAN. I KNOW I CAN! HEART ATTACK! HEART ATTACK! HEART ATTACK! 1618 00:59:48,619 --> 00:59:49,395 I KNOW I CAN! HEART ATTACK! HEART ATTACK! HEART ATTACK! HEART ATTACK! 1619 00:59:49,419 --> 00:59:50,530 HEART ATTACK! HEART ATTACK! HEART ATTACK! OH, MY GOD, THE PAIN! 1620 00:59:50,554 --> 00:59:51,665 HEART ATTACK! OH, MY GOD, THE PAIN! OH, MY GOD, THE PAIN! 1621 00:59:51,689 --> 00:59:52,666 OH, MY GOD, THE PAIN! OH, MY GOD, THE PAIN! OH, MY GOD, THE PAIN! 1622 00:59:52,690 --> 00:59:53,700 OH, MY GOD, THE PAIN! OH, MY GOD, THE PAIN! I LEFT MY PILLS IN THE 1623 00:59:53,724 --> 00:59:54,333 OH, MY GOD, THE PAIN! I LEFT MY PILLS IN THE ROUNDHOUSE. 1624 00:59:54,357 --> 00:59:55,368 I LEFT MY PILLS IN THE ROUNDHOUSE. I LEFT MY PILLS IN THE 1625 00:59:55,392 --> 00:59:56,636 ROUNDHOUSE. I LEFT MY PILLS IN THE ROUNDHOUSE." 1626 00:59:56,660 --> 00:59:57,403 I LEFT MY PILLS IN THE ROUNDHOUSE." AND HE DIED. 1627 00:59:57,427 --> 00:59:59,072 ROUNDHOUSE." AND HE DIED. NOW, NORMALLY, JODIE, THAT WOULD 1628 00:59:59,096 --> 01:00:00,740 AND HE DIED. NOW, NORMALLY, JODIE, THAT WOULD BE THE END OF THE STORY, BUT THE 1629 01:00:00,764 --> 01:00:01,942 NOW, NORMALLY, JODIE, THAT WOULD BE THE END OF THE STORY, BUT THE LITTLE TRAIN WAS ON THE 1630 01:00:01,966 --> 01:00:03,509 BE THE END OF THE STORY, BUT THE LITTLE TRAIN WAS ON THE MOUNTAIN, KIND OF ON AN INCLINE, 1631 01:00:03,533 --> 01:00:05,045 LITTLE TRAIN WAS ON THE MOUNTAIN, KIND OF ON AN INCLINE, AND HE BEGAN TO ROLL BACKWARDS, 1632 01:00:05,069 --> 01:00:06,580 MOUNTAIN, KIND OF ON AN INCLINE, AND HE BEGAN TO ROLL BACKWARDS, SLOWLY AT FIRST, OF COURSE, BUT 1633 01:00:06,604 --> 01:00:08,147 AND HE BEGAN TO ROLL BACKWARDS, SLOWLY AT FIRST, OF COURSE, BUT GETTING FASTER AND FASTER, UNTIL 1634 01:00:08,171 --> 01:00:09,716 SLOWLY AT FIRST, OF COURSE, BUT GETTING FASTER AND FASTER, UNTIL HE WAS JUST BARRELING DOWN THE 1635 01:00:09,740 --> 01:00:11,350 GETTING FASTER AND FASTER, UNTIL HE WAS JUST BARRELING DOWN THE MOUNTAIN, HIS WHEELS JUST BARELY 1636 01:00:11,374 --> 01:00:12,185 HE WAS JUST BARRELING DOWN THE MOUNTAIN, HIS WHEELS JUST BARELY ON THE TRACKS. 1637 01:00:12,209 --> 01:00:13,252 MOUNTAIN, HIS WHEELS JUST BARELY ON THE TRACKS. OF COURSE, THEY WEREN'T SAYING 1638 01:00:13,276 --> 01:00:14,353 ON THE TRACKS. OF COURSE, THEY WEREN'T SAYING ANYTHING THIS TIME BECAUSE THEY 1639 01:00:14,377 --> 01:00:15,121 OF COURSE, THEY WEREN'T SAYING ANYTHING THIS TIME BECAUSE THEY WERE DEAD. 1640 01:00:15,145 --> 01:00:16,923 ANYTHING THIS TIME BECAUSE THEY WERE DEAD. NOW, IN THE VALLEY, WHO SHOULD 1641 01:00:16,947 --> 01:00:18,058 WERE DEAD. NOW, IN THE VALLEY, WHO SHOULD BE SITTING ON THE TRACKS BUT 1642 01:00:18,082 --> 01:00:19,225 NOW, IN THE VALLEY, WHO SHOULD BE SITTING ON THE TRACKS BUT FREDDY THE FROG, AND WOULDN'T 1643 01:00:19,249 --> 01:00:20,193 BE SITTING ON THE TRACKS BUT FREDDY THE FROG, AND WOULDN'T YOU KNOW IT, HE'S FACING THE 1644 01:00:20,217 --> 01:00:21,962 FREDDY THE FROG, AND WOULDN'T YOU KNOW IT, HE'S FACING THE WRONG WAY, SO HE NEVER SEES THE 1645 01:00:21,986 --> 01:00:23,763 YOU KNOW IT, HE'S FACING THE WRONG WAY, SO HE NEVER SEES THE TRAIN COMING AT HIM AT 180 MILES 1646 01:00:23,787 --> 01:00:24,330 WRONG WAY, SO HE NEVER SEES THE TRAIN COMING AT HIM AT 180 MILES AN HOUR. 1647 01:00:24,354 --> 01:00:25,832 TRAIN COMING AT HIM AT 180 MILES AN HOUR. FORTUNATELY, FREDDY HOPS OFF THE 1648 01:00:25,856 --> 01:00:27,100 AN HOUR. FORTUNATELY, FREDDY HOPS OFF THE TRACKS JUST IN TIME AND THE 1649 01:00:27,124 --> 01:00:28,367 FORTUNATELY, FREDDY HOPS OFF THE TRACKS JUST IN TIME AND THE TRAIN MISSES HIM, HITTING, 1650 01:00:28,391 --> 01:00:29,535 TRACKS JUST IN TIME AND THE TRAIN MISSES HIM, HITTING, INSTEAD, A SCHOOL BUS, KILLING 1651 01:00:29,559 --> 01:00:31,370 TRAIN MISSES HIM, HITTING, INSTEAD, A SCHOOL BUS, KILLING 150, NO ONE OVER AGE 9, AND THE 1652 01:00:31,394 --> 01:00:32,171 INSTEAD, A SCHOOL BUS, KILLING 150, NO ONE OVER AGE 9, AND THE SCHOOL BUS. 1653 01:00:32,195 --> 01:00:33,740 150, NO ONE OVER AGE 9, AND THE SCHOOL BUS. NOW, WHEN THE STATE POLICE 1654 01:00:33,764 --> 01:00:35,609 SCHOOL BUS. NOW, WHEN THE STATE POLICE ARRIVE AT THE SCENE, ONE OF THEM 1655 01:00:35,633 --> 01:00:37,376 NOW, WHEN THE STATE POLICE ARRIVE AT THE SCENE, ONE OF THEM LOOKS AROUND AT THE CARNAGE AND 1656 01:00:37,400 --> 01:00:38,845 ARRIVE AT THE SCENE, ONE OF THEM LOOKS AROUND AT THE CARNAGE AND GRIZZLY MUTILATION, SPOTS 1657 01:00:38,869 --> 01:00:40,480 LOOKS AROUND AT THE CARNAGE AND GRIZZLY MUTILATION, SPOTS FREDDY, AND SAYS, "YOU KNOW, 1658 01:00:40,504 --> 01:00:42,148 GRIZZLY MUTILATION, SPOTS FREDDY, AND SAYS, "YOU KNOW, IT'S WRONG THAT SO MANY HUMAN 1659 01:00:42,172 --> 01:00:43,683 FREDDY, AND SAYS, "YOU KNOW, IT'S WRONG THAT SO MANY HUMAN BEINGS SHOULD BE DEAD AND THIS 1660 01:00:43,707 --> 01:00:45,151 IT'S WRONG THAT SO MANY HUMAN BEINGS SHOULD BE DEAD AND THIS FROG SHOULD STILL BE ALIVE," 1661 01:00:45,175 --> 01:00:46,686 BEINGS SHOULD BE DEAD AND THIS FROG SHOULD STILL BE ALIVE," AND SO, THEY BEAT HIM TO DEATH 1662 01:00:46,710 --> 01:00:48,154 FROG SHOULD STILL BE ALIVE," AND SO, THEY BEAT HIM TO DEATH WITH A SOFTBALL BAT. 1663 01:00:48,178 --> 01:00:48,989 AND SO, THEY BEAT HIM TO DEATH WITH A SOFTBALL BAT. THE END." 1664 01:00:49,013 --> 01:00:50,824 WITH A SOFTBALL BAT. THE END." OH, MR. MIKE, MR. MIKE, 1665 01:00:50,848 --> 01:00:53,026 THE END." OH, MR. MIKE, MR. MIKE, THAT WAS THE BEST TALE I'VE EVER 1666 01:00:53,050 --> 01:00:53,326 OH, MR. MIKE, MR. MIKE, THAT WAS THE BEST TALE I'VE EVER HEARD. 1667 01:00:53,350 --> 01:00:54,393 THAT WAS THE BEST TALE I'VE EVER HEARD. WELL, YOU KNOW, JODIE, I HAVE 1668 01:00:54,417 --> 01:00:55,261 HEARD. WELL, YOU KNOW, JODIE, I HAVE A LOT MORE WHERE THAT CAME 1669 01:00:55,285 --> 01:00:55,662 WELL, YOU KNOW, JODIE, I HAVE A LOT MORE WHERE THAT CAME FROM. 1670 01:00:55,686 --> 01:00:56,462 A LOT MORE WHERE THAT CAME FROM. UH, GOODNIGHT. 1671 01:00:56,486 --> 01:00:57,964 FROM. UH, GOODNIGHT. HAVE YOU HEARD THE ONE ABOUT THE 1672 01:00:57,988 --> 01:00:59,232 UH, GOODNIGHT. HAVE YOU HEARD THE ONE ABOUT THE PENGUIN, THE SOAP DISH, AND 1673 01:00:59,256 --> 01:01:00,166 HAVE YOU HEARD THE ONE ABOUT THE PENGUIN, THE SOAP DISH, AND INVISIBLE COWGIRL? 1674 01:01:00,190 --> 01:01:01,768 PENGUIN, THE SOAP DISH, AND INVISIBLE COWGIRL? WELL, IT SEEMS THAT... 1675 01:01:01,792 --> 01:01:03,792 INVISIBLE COWGIRL? WELL, IT SEEMS THAT... [APPLAUSE] 1676 01:01:09,966 --> 01:01:14,714 WHEN I WAS A KID, MY MOTHER USED TO TALK ABOUT VIBRATIONS. SHE USED TO TELL ME THAT SOME 1677 01:01:14,738 --> 01:01:16,349 USED TO TALK ABOUT VIBRATIONS. SHE USED TO TELL ME THAT SOME DOGS WOULD BARK AT SOME PEOPLE 1678 01:01:16,373 --> 01:01:17,917 SHE USED TO TELL ME THAT SOME DOGS WOULD BARK AT SOME PEOPLE BUT WOULDN'T BARK AT OTHERS. 1679 01:01:17,941 --> 01:01:19,686 DOGS WOULD BARK AT SOME PEOPLE BUT WOULDN'T BARK AT OTHERS. AND, APPARENTLY, THIS IS BECAUSE 1680 01:01:19,710 --> 01:01:21,154 BUT WOULDN'T BARK AT OTHERS. AND, APPARENTLY, THIS IS BECAUSE SOME PEOPLE PUT OFF STRONG 1681 01:01:21,178 --> 01:01:21,921 AND, APPARENTLY, THIS IS BECAUSE SOME PEOPLE PUT OFF STRONG VIBRATIONS. 1682 01:01:21,945 --> 01:01:23,422 SOME PEOPLE PUT OFF STRONG VIBRATIONS. ANYWAY, THIS SONG IS CALLED 1683 01:01:23,446 --> 01:01:26,425 VIBRATIONS. ANYWAY, THIS SONG IS CALLED "GOOD VIBRATIONS." 1684 01:01:26,449 --> 01:01:30,697 ANYWAY, THIS SONG IS CALLED "GOOD VIBRATIONS." [CHEERS AND APPLAUSE] 1685 01:01:30,721 --> 01:01:33,299 "GOOD VIBRATIONS." [CHEERS AND APPLAUSE] ♪ I ♪ 1686 01:01:33,323 --> 01:01:35,268 [CHEERS AND APPLAUSE] ♪ I ♪ ♪ I LOVE THE COLORFUL CLOTHES 1687 01:01:35,292 --> 01:01:37,637 ♪ I ♪ ♪ I LOVE THE COLORFUL CLOTHES SHE WEARS ♪ 1688 01:01:37,661 --> 01:01:40,807 ♪ I LOVE THE COLORFUL CLOTHES SHE WEARS ♪ ♪ AND THE WAY THE SUNLIGHT PLAYS 1689 01:01:40,831 --> 01:01:45,812 SHE WEARS ♪ ♪ AND THE WAY THE SUNLIGHT PLAYS UPON HER HAIR ♪ 1690 01:01:45,836 --> 01:01:50,183 ♪ AND THE WAY THE SUNLIGHT PLAYS UPON HER HAIR ♪ ♪ I HEAR THE SOUND OF A GENTLE 1691 01:01:50,207 --> 01:01:54,821 UPON HER HAIR ♪ ♪ I HEAR THE SOUND OF A GENTLE WORD ON THE WIND THAT LIFTS HER 1692 01:01:54,845 --> 01:02:00,827 ♪ I HEAR THE SOUND OF A GENTLE WORD ON THE WIND THAT LIFTS HER PERFUME THROUGH THE AIR ♪ 1693 01:02:00,851 --> 01:02:02,628 WORD ON THE WIND THAT LIFTS HER PERFUME THROUGH THE AIR ♪ ♪ I'M PICKING UP GOOD 1694 01:02:02,652 --> 01:02:03,897 PERFUME THROUGH THE AIR ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1695 01:02:03,921 --> 01:02:05,865 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ SHE'S GIVING ME THE 1696 01:02:05,889 --> 01:02:08,234 VIBRATIONS ♪ ♪ SHE'S GIVING ME THE EXCITATIONS ♪ 1697 01:02:08,258 --> 01:02:10,136 ♪ SHE'S GIVING ME THE EXCITATIONS ♪ ♪ I'M PICKING UP GOOD 1698 01:02:10,160 --> 01:02:11,738 EXCITATIONS ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1699 01:02:11,762 --> 01:02:13,506 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ SHE'S GIVING ME THE 1700 01:02:13,530 --> 01:02:15,709 VIBRATIONS ♪ ♪ SHE'S GIVING ME THE EXCITATIONS ♪ 1701 01:02:15,733 --> 01:02:17,643 ♪ SHE'S GIVING ME THE EXCITATIONS ♪ ♪ I'M PICKING UP GOOD 1702 01:02:17,667 --> 01:02:19,512 EXCITATIONS ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1703 01:02:19,536 --> 01:02:20,880 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ SHE'S GIVING ME THE 1704 01:02:20,904 --> 01:02:22,849 VIBRATIONS ♪ ♪ SHE'S GIVING ME THE EXCITATIONS ♪ 1705 01:02:22,873 --> 01:02:25,018 ♪ SHE'S GIVING ME THE EXCITATIONS ♪ ♪ CLOSE MY EYES ♪ 1706 01:02:25,042 --> 01:02:29,989 EXCITATIONS ♪ ♪ CLOSE MY EYES ♪ ♪ SHE'S SOMEHOW CLOSER NOW ♪ 1707 01:02:30,013 --> 01:02:31,891 ♪ CLOSE MY EYES ♪ ♪ SHE'S SOMEHOW CLOSER NOW ♪ ♪ SOFTLY SMILE ♪ 1708 01:02:31,915 --> 01:02:37,864 ♪ SHE'S SOMEHOW CLOSER NOW ♪ ♪ SOFTLY SMILE ♪ ♪ I KNOW SHE MUST BE KIND ♪ 1709 01:02:37,888 --> 01:02:44,204 ♪ SOFTLY SMILE ♪ ♪ I KNOW SHE MUST BE KIND ♪ ♪ WHEN I LOOK IN HER EYES 1710 01:02:44,228 --> 01:02:47,807 ♪ I KNOW SHE MUST BE KIND ♪ ♪ WHEN I LOOK IN HER EYES SHE GOES WITH ME TO A BLOSSOM 1711 01:02:47,831 --> 01:02:53,079 ♪ WHEN I LOOK IN HER EYES SHE GOES WITH ME TO A BLOSSOM WORLD ♪ 1712 01:02:53,103 --> 01:02:54,981 SHE GOES WITH ME TO A BLOSSOM WORLD ♪ ♪ I'M PICKING UP GOOD 1713 01:02:55,005 --> 01:02:56,916 WORLD ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1714 01:02:56,940 --> 01:02:58,384 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ SHE'S GIVING ME THE 1715 01:02:58,408 --> 01:03:00,720 VIBRATIONS ♪ ♪ SHE'S GIVING ME THE EXCITATIONS ♪ 1716 01:03:00,744 --> 01:03:02,555 ♪ SHE'S GIVING ME THE EXCITATIONS ♪ ♪ I'M PICKING UP GOOD 1717 01:03:02,579 --> 01:03:04,457 EXCITATIONS ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1718 01:03:04,481 --> 01:03:06,392 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ I'M PICKING UP GOOD 1719 01:03:06,416 --> 01:03:08,194 VIBRATIONS ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1720 01:03:08,218 --> 01:03:09,629 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ SHE' S GIVING ME THE 1721 01:03:09,653 --> 01:03:12,065 VIBRATIONS ♪ ♪ SHE' S GIVING ME THE EXCITATIONS ♪ 1722 01:03:12,089 --> 01:03:13,900 ♪ SHE' S GIVING ME THE EXCITATIONS ♪ ♪ I'M PICKING UP GOOD 1723 01:03:13,924 --> 01:03:15,802 EXCITATIONS ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1724 01:03:15,826 --> 01:03:17,370 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ SHE'S GIVING ME THE 1725 01:03:17,394 --> 01:03:20,539 VIBRATIONS ♪ ♪ SHE'S GIVING ME THE EXCITATIONS ♪ 1726 01:03:20,563 --> 01:03:24,410 ♪ SHE'S GIVING ME THE EXCITATIONS ♪ ♪ OHHH ♪ 1727 01:03:24,434 --> 01:03:26,579 EXCITATIONS ♪ ♪ OHHH ♪ ♪ OH HO HO ♪ 1728 01:03:26,603 --> 01:03:28,514 ♪ OHHH ♪ ♪ OH HO HO ♪ ♪ I DON'T KNOW WHERE, BUT SHE 1729 01:03:28,538 --> 01:03:30,716 ♪ OH HO HO ♪ ♪ I DON'T KNOW WHERE, BUT SHE SENDS ME THERE ♪ 1730 01:03:30,740 --> 01:03:36,256 ♪ I DON'T KNOW WHERE, BUT SHE SENDS ME THERE ♪ ♪ OOH, MY, MY, WHAT AN ELATION ♪ 1731 01:03:36,280 --> 01:03:42,162 SENDS ME THERE ♪ ♪ OOH, MY, MY, WHAT AN ELATION ♪ ♪ OH, WHAT A SENSATION ♪ 1732 01:03:42,186 --> 01:03:44,197 ♪ OOH, MY, MY, WHAT AN ELATION ♪ ♪ OH, WHAT A SENSATION ♪ ♪ I'M PICKING UP GOOD 1733 01:03:44,221 --> 01:03:45,865 ♪ OH, WHAT A SENSATION ♪ ♪ I'M PICKING UP GOOD VIBRATIONS ♪ 1734 01:03:45,889 --> 01:03:47,466 ♪ I'M PICKING UP GOOD VIBRATIONS ♪ ♪ SHE'S GIVING ME THE 1735 01:03:47,490 --> 01:03:49,869 VIBRATIONS ♪ ♪ SHE'S GIVING ME THE EXCITATIONS ♪ 1736 01:03:49,893 --> 01:03:51,671 ♪ SHE'S GIVING ME THE EXCITATIONS ♪ ♪ I'M PICKING UP ♪ 1737 01:03:51,695 --> 01:03:53,072 EXCITATIONS ♪ ♪ I'M PICKING UP ♪ THANK YOU. 1738 01:03:53,096 --> 01:03:55,574 ♪ I'M PICKING UP ♪ THANK YOU. [APPLAUSE] 1739 01:03:55,598 --> 01:03:57,443 THANK YOU. [APPLAUSE] THANK YOU! 1740 01:03:57,467 --> 01:03:59,467 [APPLAUSE] THANK YOU! [CHEERS AND APPLAUSE CONTINUE] 1741 01:04:13,916 --> 01:04:17,663 THANK YOU. I JUST WANTED TO SAY THAT THIS IS THE BEST AUDIENCE I'VE EVER 1742 01:04:17,687 --> 01:04:19,132 I JUST WANTED TO SAY THAT THIS IS THE BEST AUDIENCE I'VE EVER HAD, 'CAUSE I NEVER HAVE TOO 1743 01:04:19,156 --> 01:04:20,266 IS THE BEST AUDIENCE I'VE EVER HAD, 'CAUSE I NEVER HAVE TOO MANY AUDIENCES. 1744 01:04:20,290 --> 01:04:22,068 HAD, 'CAUSE I NEVER HAVE TOO MANY AUDIENCES. BUT YOU WERE GREAT ANYWAY. 1745 01:04:22,092 --> 01:04:23,036 MANY AUDIENCES. BUT YOU WERE GREAT ANYWAY. DON'T WORRY. 1746 01:04:23,060 --> 01:04:24,637 BUT YOU WERE GREAT ANYWAY. DON'T WORRY. ALSO, I'D LIKE TO THANK 1747 01:04:24,661 --> 01:04:25,305 DON'T WORRY. ALSO, I'D LIKE TO THANK HILDA RADAR. 1748 01:04:25,329 --> 01:04:26,372 ALSO, I'D LIKE TO THANK HILDA RADAR. NO, NO, JUST KIDDING. 1749 01:04:26,396 --> 01:04:27,773 HILDA RADAR. NO, NO, JUST KIDDING. GEE, I DON'T KNOW WHAT TO SAY. 1750 01:04:27,797 --> 01:04:29,209 NO, NO, JUST KIDDING. GEE, I DON'T KNOW WHAT TO SAY. I'M SUPPOSED TO FILL SPACE, AND 1751 01:04:29,233 --> 01:04:30,509 GEE, I DON'T KNOW WHAT TO SAY. I'M SUPPOSED TO FILL SPACE, AND I GUESS I'M SUPPOSED TO SAY 1752 01:04:30,533 --> 01:04:31,945 I'M SUPPOSED TO FILL SPACE, AND I GUESS I'M SUPPOSED TO SAY HELLO TO ALL THE PEOPLE I KNOW, 1753 01:04:31,969 --> 01:04:33,313 I GUESS I'M SUPPOSED TO SAY HELLO TO ALL THE PEOPLE I KNOW, BUT I DON'T KNOW MANY PEOPLE. 1754 01:04:33,337 --> 01:04:35,781 HELLO TO ALL THE PEOPLE I KNOW, BUT I DON'T KNOW MANY PEOPLE. SO, HERE'S JOHN BELUSHI, AND 1755 01:04:35,805 --> 01:04:39,719 BUT I DON'T KNOW MANY PEOPLE. SO, HERE'S JOHN BELUSHI, AND GILDA. 1756 01:04:39,743 --> 01:04:41,977 SO, HERE'S JOHN BELUSHI, AND GILDA. [CHEERS AND APPLAUSE] 1757 01:05:23,685 --> 01:05:24,920 Announcer: MR. MIKE WAS 1758 01:05:25,054 --> 01:05:26,421 PLAYED BY MICHAEL O'DONOGHUE. 1759 01:05:26,555 --> 01:05:27,989 THE GARY WEIS FILM WAS MADE AT 1760 01:05:28,124 --> 01:05:29,324 LEARNING ENVIRONMENTS FOR 1761 01:05:29,458 --> 01:05:30,458 CHILDREN IN NEW YORK. 1762 01:05:30,592 --> 01:05:32,160 NEXT SATURDAY NIGHT, WATCH 1763 01:05:32,295 --> 01:05:33,461 NBC's "WEEKEND WITH 1764 01:05:33,595 --> 01:05:34,595 LLOYD DOBYNS." 1765 01:05:34,696 --> 01:05:36,431 WE'LL BE BACK IN TWO WEEKS ON 1766 01:05:36,565 --> 01:05:38,300 DECEMBER 11th, WHEN "SATURDAY 1767 01:05:38,434 --> 01:05:39,734 NIGHT'S" HOST WILL BE 1768 01:05:39,868 --> 01:05:41,669 CANDICE BERGEN, WITH MUSICAL 1769 01:05:41,804 --> 01:05:43,104 GUEST FRANK ZAPPA. 1770 01:05:43,239 --> 01:05:45,106 AND NOW ENTERING THE SECOND 1771 01:05:45,241 --> 01:05:47,309 50 YEARS, THIS IS THE VOICE OF 1772 01:05:47,443 --> 01:05:49,311 THE OLD DINOSAUR DON PARDO, 1773 01:05:49,445 --> 01:05:51,512 MAKING THE AIRWAVES A FAR, FAR 1774 01:05:51,647 --> 01:05:54,249 BETTER PLACE AND SAYING GOOD 1775 01:05:54,383 --> 01:05:56,318 NIGHT. 192902