All language subtitles for SNL S02E12 Ruth Gordon.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 00:00:00,800 --> 00:00:03,780 BECAUSE HE CAN'T. BECAUSE HE CAN'T DO THE SHOW. HE WAS IN DRESS REHEAR... 2 00:00:03,804 --> 00:00:05,048 BECAUSE HE CAN'T DO THE SHOW. HE WAS IN DRESS REHEAR... YOU'RE GONNA HAVE TO ASK DANNY 3 00:00:05,072 --> 00:00:06,249 HE WAS IN DRESS REHEAR... YOU'RE GONNA HAVE TO ASK DANNY TO GO OUT AND DO THE OPENING. 4 00:00:06,273 --> 00:00:07,351 YOU'RE GONNA HAVE TO ASK DANNY TO GO OUT AND DO THE OPENING. BELUSHI IS JUST NOT READ... 5 00:00:07,375 --> 00:00:09,619 TO GO OUT AND DO THE OPENING. BELUSHI IS JUST NOT READ... YEAH, ONE SECOND, PLEASE. OKAY? 6 00:00:09,643 --> 00:00:10,887 BELUSHI IS JUST NOT READ... YEAH, ONE SECOND, PLEASE. OKAY? SEND DANNY OUT. 7 00:00:10,911 --> 00:00:12,789 YEAH, ONE SECOND, PLEASE. OKAY? SEND DANNY OUT. THIS IS JOHN'S DOCTOR. 8 00:00:12,813 --> 00:00:15,058 SEND DANNY OUT. THIS IS JOHN'S DOCTOR. MR. MICHAELS, HE'S GOT TO GO 9 00:00:15,082 --> 00:00:15,558 THIS IS JOHN'S DOCTOR. MR. MICHAELS, HE'S GOT TO GO ON. 10 00:00:15,582 --> 00:00:17,394 MR. MICHAELS, HE'S GOT TO GO ON. NOW, MAYBE HE'S NOT 100% 11 00:00:17,418 --> 00:00:19,662 ON. NOW, MAYBE HE'S NOT 100% BELUSHI, BUT HE'S GOT THE DRIVE 12 00:00:19,686 --> 00:00:21,198 NOW, MAYBE HE'S NOT 100% BELUSHI, BUT HE'S GOT THE DRIVE HE'S GOT THE WILL. 13 00:00:21,222 --> 00:00:22,265 BELUSHI, BUT HE'S GOT THE DRIVE HE'S GOT THE WILL. DOCTOR... 14 00:00:22,289 --> 00:00:24,034 HE'S GOT THE WILL. DOCTOR... HE'S GOT TO PERFORM. 15 00:00:24,058 --> 00:00:25,668 DOCTOR... HE'S GOT TO PERFORM. HE'LL BE CRUSHED IF HE DOESN'T. 16 00:00:25,692 --> 00:00:27,237 HE'S GOT TO PERFORM. HE'LL BE CRUSHED IF HE DOESN'T. I DON'T WANT TO ARGUE WITH 17 00:00:27,261 --> 00:00:28,705 HE'LL BE CRUSHED IF HE DOESN'T. I DON'T WANT TO ARGUE WITH YOU, BUT FROM WHAT I SAW IN 18 00:00:28,729 --> 00:00:30,273 I DON'T WANT TO ARGUE WITH YOU, BUT FROM WHAT I SAW IN DRESS REHEARSAL, I CANNOT PUT 19 00:00:30,297 --> 00:00:31,908 YOU, BUT FROM WHAT I SAW IN DRESS REHEARSAL, I CANNOT PUT BELUSHI ON NATIONAL TELEVISION. 20 00:00:31,932 --> 00:00:33,610 DRESS REHEARSAL, I CANNOT PUT BELUSHI ON NATIONAL TELEVISION. GILDA, WOULD YOU PLEASE FETCH 21 00:00:33,634 --> 00:00:34,411 BELUSHI ON NATIONAL TELEVISION. GILDA, WOULD YOU PLEASE FETCH HIM IN HERE? 22 00:00:34,435 --> 00:00:36,046 GILDA, WOULD YOU PLEASE FETCH HIM IN HERE? JUST TAKE ONE MORE LOOK AT HIM, 23 00:00:36,070 --> 00:00:36,613 HIM IN HERE? JUST TAKE ONE MORE LOOK AT HIM, PLEASE. 24 00:00:36,637 --> 00:00:37,747 JUST TAKE ONE MORE LOOK AT HIM, PLEASE. THEY'VE ALREADY STARTED. 25 00:00:37,771 --> 00:00:38,915 PLEASE. THEY'VE ALREADY STARTED. WE'RE ON THE AIR RIGHT NOW. 26 00:00:38,939 --> 00:00:40,150 THEY'VE ALREADY STARTED. WE'RE ON THE AIR RIGHT NOW. I UNDERSTAND. I UNDERSTAND. 27 00:00:40,174 --> 00:00:41,118 WE'RE ON THE AIR RIGHT NOW. I UNDERSTAND. I UNDERSTAND. I CAN'T PUT HIM IN. 28 00:00:41,142 --> 00:00:43,286 I UNDERSTAND. I UNDERSTAND. I CAN'T PUT HIM IN. AHH. 29 00:00:43,310 --> 00:00:44,821 I CAN'T PUT HIM IN. AHH. WELL, NOW, YOU SEE? YOU SEE? 30 00:00:44,845 --> 00:00:45,855 AHH. WELL, NOW, YOU SEE? YOU SEE? YOU SEE? YOU SEE? 31 00:00:45,879 --> 00:00:46,890 WELL, NOW, YOU SEE? YOU SEE? YOU SEE? YOU SEE? THERE YOU GO. 32 00:00:46,914 --> 00:00:49,059 YOU SEE? YOU SEE? THERE YOU GO. LOOK, I CAN'T PUT THIS MAN ON 33 00:00:49,083 --> 00:00:49,959 THERE YOU GO. LOOK, I CAN'T PUT THIS MAN ON TELEVISION. 34 00:00:49,983 --> 00:00:51,761 LOOK, I CAN'T PUT THIS MAN ON TELEVISION. I MEAN, HE'S BARELY AWAKE. 35 00:00:51,785 --> 00:00:53,863 TELEVISION. I MEAN, HE'S BARELY AWAKE. LORNE, IF JOHN BELUSHI COULD 36 00:00:53,887 --> 00:00:55,999 I MEAN, HE'S BARELY AWAKE. LORNE, IF JOHN BELUSHI COULD SPEAK, HE'D TELL YOU HE'S GOT TO 37 00:00:56,023 --> 00:00:56,633 LORNE, IF JOHN BELUSHI COULD SPEAK, HE'D TELL YOU HE'S GOT TO GO ON. 38 00:00:56,657 --> 00:00:58,201 SPEAK, HE'D TELL YOU HE'S GOT TO GO ON. I DON'T UNDERSTAND. 39 00:00:58,225 --> 00:01:00,003 GO ON. I DON'T UNDERSTAND. WHY ARE YOU SO CONVINCED THAT 40 00:01:00,027 --> 00:01:01,471 I DON'T UNDERSTAND. WHY ARE YOU SO CONVINCED THAT THIS MAN CAN DO A SHOW? 41 00:01:01,495 --> 00:01:02,406 WHY ARE YOU SO CONVINCED THAT THIS MAN CAN DO A SHOW? [LAUGHS] 42 00:01:02,430 --> 00:01:04,174 THIS MAN CAN DO A SHOW? [LAUGHS] TO BE PERFECTLY HONEST, IT'S 43 00:01:04,198 --> 00:01:05,108 [LAUGHS] TO BE PERFECTLY HONEST, IT'S ABOUT MY FEE. 44 00:01:05,132 --> 00:01:07,677 TO BE PERFECTLY HONEST, IT'S ABOUT MY FEE. YOU SEE, IF HE DOESN'T GO ON, HE 45 00:01:07,701 --> 00:01:09,212 ABOUT MY FEE. YOU SEE, IF HE DOESN'T GO ON, HE DOESN'T GET PAID. 46 00:01:09,236 --> 00:01:11,581 YOU SEE, IF HE DOESN'T GO ON, HE DOESN'T GET PAID. AND IF HE DOESN'T GET PAID, I 47 00:01:11,605 --> 00:01:12,949 DOESN'T GET PAID. AND IF HE DOESN'T GET PAID, I DON'T GET PAID. 48 00:01:12,973 --> 00:01:15,519 AND IF HE DOESN'T GET PAID, I DON'T GET PAID. AND IF I DON'T GET PAID, I'LL BE 49 00:01:15,543 --> 00:01:17,820 DON'T GET PAID. AND IF I DON'T GET PAID, I'LL BE FORCED TO CUT OFF HIS DRUGS. 50 00:01:17,844 --> 00:01:20,057 AND IF I DON'T GET PAID, I'LL BE FORCED TO CUT OFF HIS DRUGS. LIVE FROM NEW YORK, IT'S 51 00:01:20,081 --> 00:01:21,624 FORCED TO CUT OFF HIS DRUGS. LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! 52 00:01:21,648 --> 00:01:24,248 LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! [CHEERS AND APPLAUSE] 53 00:01:32,325 --> 00:01:40,325 Announcer: NBC'S "SATURDAY NIGHT." STARRING... 54 00:01:46,474 --> 00:01:49,808 "SATURDAY NIGHT." STARRING... WITH SPECIAL GUEST... 55 00:02:22,074 --> 00:02:27,979 LADIES AND GENTLEMEN, RUTH GORDON! [CHEERS AND APPLAUSE] 56 00:02:47,500 --> 00:02:53,216 WELL... WELL, TONIGHT... TONIGHT YOU'RE SEEING SOMEBODY VERY UNUSUAL IN THIS WORLD 57 00:02:53,240 --> 00:02:54,951 TONIGHT YOU'RE SEEING SOMEBODY VERY UNUSUAL IN THIS WORLD BECAUSE I'M DOING SOMETHING I 58 00:02:54,975 --> 00:02:55,752 VERY UNUSUAL IN THIS WORLD BECAUSE I'M DOING SOMETHING I LIKE TO DO. 59 00:02:55,776 --> 00:02:57,487 BECAUSE I'M DOING SOMETHING I LIKE TO DO. I'M SORRY THAT'S UNUSUAL, BUT 60 00:02:57,511 --> 00:02:58,622 LIKE TO DO. I'M SORRY THAT'S UNUSUAL, BUT THAT EXPLAINS ME. 61 00:02:58,646 --> 00:03:00,490 I'M SORRY THAT'S UNUSUAL, BUT THAT EXPLAINS ME. TONIGHT I'M HERE BECAUSE I ENJOY 62 00:03:00,514 --> 00:03:01,324 THAT EXPLAINS ME. TONIGHT I'M HERE BECAUSE I ENJOY BEING HERE. 63 00:03:01,348 --> 00:03:02,925 TONIGHT I'M HERE BECAUSE I ENJOY BEING HERE. I LIKE TO MAKE AN ENTRANCE. 64 00:03:02,949 --> 00:03:04,361 BEING HERE. I LIKE TO MAKE AN ENTRANCE. I LIKE TO GET APPLAUSE. 65 00:03:04,385 --> 00:03:06,095 I LIKE TO MAKE AN ENTRANCE. I LIKE TO GET APPLAUSE. AND WHEN I'M ON, I LIKE TO DO 66 00:03:06,119 --> 00:03:07,430 I LIKE TO GET APPLAUSE. AND WHEN I'M ON, I LIKE TO DO SOMETHING NEW. 67 00:03:07,454 --> 00:03:09,799 AND WHEN I'M ON, I LIKE TO DO SOMETHING NEW. AND IS THIS EVER NEW TONIGHT? 68 00:03:09,823 --> 00:03:11,968 SOMETHING NEW. AND IS THIS EVER NEW TONIGHT? BECAUSE TONIGHT, THE BUNCH 69 00:03:11,992 --> 00:03:14,504 AND IS THIS EVER NEW TONIGHT? BECAUSE TONIGHT, THE BUNCH BELIEVES THAT I, AFTER 61 YEARS 70 00:03:14,528 --> 00:03:16,939 BECAUSE TONIGHT, THE BUNCH BELIEVES THAT I, AFTER 61 YEARS OF BEING AN ACTRESS, THAT I AM 71 00:03:16,963 --> 00:03:18,208 BELIEVES THAT I, AFTER 61 YEARS OF BEING AN ACTRESS, THAT I AM READY FOR THE 72 00:03:18,232 --> 00:03:20,243 OF BEING AN ACTRESS, THAT I AM READY FOR THE NOT-READY-FOR-PRIME-TIME 73 00:03:20,267 --> 00:03:21,144 READY FOR THE NOT-READY-FOR-PRIME-TIME PLAYERS. 74 00:03:21,168 --> 00:03:23,146 NOT-READY-FOR-PRIME-TIME PLAYERS. AND HOW DO YOU LIKE THIS? 75 00:03:23,170 --> 00:03:24,847 PLAYERS. AND HOW DO YOU LIKE THIS? FIVE WILL GET YOU 10. 76 00:03:24,871 --> 00:03:25,915 AND HOW DO YOU LIKE THIS? FIVE WILL GET YOU 10. I AM READY. 77 00:03:25,939 --> 00:03:27,184 FIVE WILL GET YOU 10. I AM READY. TAKE IT EASY. 78 00:03:27,208 --> 00:03:28,707 I AM READY. TAKE IT EASY. [APPLAUSE] 79 00:03:35,381 --> 00:03:43,381 ["THE MARINES' HYMN" PLAYS] [NO AUDIO] ["THE MARINES' HYMN" 80 00:03:48,962 --> 00:03:51,730 [NO AUDIO] ["THE MARINES' HYMN" CONTINUES] 81 00:04:18,023 --> 00:04:21,025 Announcer: THE MARINES. 82 00:04:29,135 --> 00:04:34,083 ♪ ALL THE CRITICS HATED MY NEW MOVIE ♪ ♪ "A STAR IS BORN" WAS 83 00:04:34,107 --> 00:04:36,486 NEW MOVIE ♪ ♪ "A STAR IS BORN" WAS SELF-INDULGENT, THEY AGREE ♪ 84 00:04:36,510 --> 00:04:38,888 ♪ "A STAR IS BORN" WAS SELF-INDULGENT, THEY AGREE ♪ ♪ 'CAUSE IN THE FILM, I'M 85 00:04:38,912 --> 00:04:41,958 SELF-INDULGENT, THEY AGREE ♪ ♪ 'CAUSE IN THE FILM, I'M PRACTICALLY THE ONLY OTHER ONE 86 00:04:41,982 --> 00:04:44,127 ♪ 'CAUSE IN THE FILM, I'M PRACTICALLY THE ONLY OTHER ONE YOU EVER SEE ♪ 87 00:04:44,151 --> 00:04:46,095 PRACTICALLY THE ONLY OTHER ONE YOU EVER SEE ♪ ♪ I'LL ADMIT THE FILM WAS WEAK 88 00:04:46,119 --> 00:04:47,697 YOU EVER SEE ♪ ♪ I'LL ADMIT THE FILM WAS WEAK IN PLACES ♪ 89 00:04:47,721 --> 00:04:49,098 ♪ I'LL ADMIT THE FILM WAS WEAK IN PLACES ♪ ♪ LIKE WHEN THE CAMERA WAS ON 90 00:04:49,122 --> 00:04:51,434 IN PLACES ♪ ♪ LIKE WHEN THE CAMERA WAS ON OTHER PEOPLE'S FACES ♪ 91 00:04:51,458 --> 00:04:53,536 ♪ LIKE WHEN THE CAMERA WAS ON OTHER PEOPLE'S FACES ♪ ♪ AND I SAY THAT NOT FROM 92 00:04:53,560 --> 00:04:57,240 OTHER PEOPLE'S FACES ♪ ♪ AND I SAY THAT NOT FROM SELF-INDULGENCY ♪ 93 00:04:57,264 --> 00:05:03,313 ♪ AND I SAY THAT NOT FROM SELF-INDULGENCY ♪ ♪ BUT BECAUSE I'M IN LOVE WITH 94 00:05:03,337 --> 00:05:07,250 SELF-INDULGENCY ♪ ♪ BUT BECAUSE I'M IN LOVE WITH ME ♪ 95 00:05:07,274 --> 00:05:11,120 ♪ BUT BECAUSE I'M IN LOVE WITH ME ♪ ♪ ME ♪ 96 00:05:11,144 --> 00:05:15,224 ME ♪ ♪ ME ♪ ♪ ME ♪ 97 00:05:15,248 --> 00:05:16,959 ♪ ME ♪ ♪ ME ♪ ♪ ME ♪ 98 00:05:16,983 --> 00:05:21,665 ♪ ME ♪ ♪ ME ♪ ♪ I'M WHO EVERYONE SHOULD BE ♪ 99 00:05:21,689 --> 00:05:25,535 ♪ ME ♪ ♪ I'M WHO EVERYONE SHOULD BE ♪ ♪ 'CAUSE EVEN IF ONE OF MY FILMS 100 00:05:25,559 --> 00:05:27,771 ♪ I'M WHO EVERYONE SHOULD BE ♪ ♪ 'CAUSE EVEN IF ONE OF MY FILMS SUCKS, IT STILL MAKES 101 00:05:27,795 --> 00:05:32,409 ♪ 'CAUSE EVEN IF ONE OF MY FILMS SUCKS, IT STILL MAKES 4 MILLION BUCKS FOR ME ♪ 102 00:05:32,433 --> 00:05:36,946 SUCKS, IT STILL MAKES 4 MILLION BUCKS FOR ME ♪ ♪ JUST FOR ME ♪ 103 00:05:36,970 --> 00:05:41,418 4 MILLION BUCKS FOR ME ♪ ♪ JUST FOR ME ♪ ♪ I WAS NOT IN "LADY SINGS THE 104 00:05:41,442 --> 00:05:46,589 ♪ JUST FOR ME ♪ ♪ I WAS NOT IN "LADY SINGS THE BLUES" 'CAUSE NOBODY WOULD 105 00:05:46,613 --> 00:05:49,592 ♪ I WAS NOT IN "LADY SINGS THE BLUES" 'CAUSE NOBODY WOULD LISTEN WHEN I KEPT SAYING JUST 106 00:05:49,616 --> 00:05:51,828 BLUES" 'CAUSE NOBODY WOULD LISTEN WHEN I KEPT SAYING JUST MAKE IT JEWS ♪ 107 00:05:51,852 --> 00:05:54,964 LISTEN WHEN I KEPT SAYING JUST MAKE IT JEWS ♪ ♪ FOR ME ♪ 108 00:05:54,988 --> 00:05:56,533 MAKE IT JEWS ♪ ♪ FOR ME ♪ ♪ I'VE PLAYED MISS MARMELSTEIN, 109 00:05:56,557 --> 00:05:59,035 ♪ FOR ME ♪ ♪ I'VE PLAYED MISS MARMELSTEIN, FANNY BRICE, AND DOLLY LEVI ♪ 110 00:05:59,059 --> 00:06:00,937 ♪ I'VE PLAYED MISS MARMELSTEIN, FANNY BRICE, AND DOLLY LEVI ♪ ♪ BUT THOUGH EACH PART HAD A 111 00:06:00,961 --> 00:06:02,772 FANNY BRICE, AND DOLLY LEVI ♪ ♪ BUT THOUGH EACH PART HAD A DIFFERENT NAME ♪ 112 00:06:02,796 --> 00:06:04,907 ♪ BUT THOUGH EACH PART HAD A DIFFERENT NAME ♪ ♪ YOU COULD'VE SEEN THEM ALL 113 00:06:04,931 --> 00:06:07,076 DIFFERENT NAME ♪ ♪ YOU COULD'VE SEEN THEM ALL WITH YOUR EYES CLOSED ♪ 114 00:06:07,100 --> 00:06:09,011 ♪ YOU COULD'VE SEEN THEM ALL WITH YOUR EYES CLOSED ♪ ♪ 'CAUSE I ACTED EVERY ONE OF 115 00:06:09,035 --> 00:06:12,181 WITH YOUR EYES CLOSED ♪ ♪ 'CAUSE I ACTED EVERY ONE OF THEM THE SAME ♪ 116 00:06:12,205 --> 00:06:16,252 ♪ 'CAUSE I ACTED EVERY ONE OF THEM THE SAME ♪ ♪ EXACTLY THE SAME ♪ 117 00:06:16,276 --> 00:06:20,557 THEM THE SAME ♪ ♪ EXACTLY THE SAME ♪ ♪ EXACTLY LIKE ME ♪ 118 00:06:20,581 --> 00:06:23,993 ♪ EXACTLY THE SAME ♪ ♪ EXACTLY LIKE ME ♪ ♪ A BEAUTICIAN 119 00:06:24,017 --> 00:06:26,295 ♪ EXACTLY LIKE ME ♪ ♪ A BEAUTICIAN PRODUCED MY LAST FILM WITH GREAT 120 00:06:26,319 --> 00:06:29,098 ♪ A BEAUTICIAN PRODUCED MY LAST FILM WITH GREAT CARE ♪ 121 00:06:29,122 --> 00:06:31,568 PRODUCED MY LAST FILM WITH GREAT CARE ♪ ♪ AND THE EDITING SURE SHOWED 122 00:06:31,592 --> 00:06:32,736 CARE ♪ ♪ AND THE EDITING SURE SHOWED IT ♪ 123 00:06:32,760 --> 00:06:36,205 ♪ AND THE EDITING SURE SHOWED IT ♪ ♪ "A STAR IS BORN" WAS CUT JUST 124 00:06:36,229 --> 00:06:39,542 IT ♪ ♪ "A STAR IS BORN" WAS CUT JUST LIKE MY HAIR ♪ 125 00:06:39,566 --> 00:06:43,246 ♪ "A STAR IS BORN" WAS CUT JUST LIKE MY HAIR ♪ ♪ FOR ME ♪ 126 00:06:43,270 --> 00:06:46,750 LIKE MY HAIR ♪ ♪ FOR ME ♪ ♪ SO, HAPPY DAYS ARE HERE AGAIN 127 00:06:46,774 --> 00:06:48,685 ♪ FOR ME ♪ ♪ SO, HAPPY DAYS ARE HERE AGAIN FOR ME ♪ 128 00:06:48,709 --> 00:06:52,221 ♪ SO, HAPPY DAYS ARE HERE AGAIN FOR ME ♪ ♪ YOU CAN RAIN ON MY PARADE, BUT 129 00:06:52,245 --> 00:06:54,891 FOR ME ♪ ♪ YOU CAN RAIN ON MY PARADE, BUT NOT ON ME! ♪ 130 00:06:54,915 --> 00:06:57,360 ♪ YOU CAN RAIN ON MY PARADE, BUT NOT ON ME! ♪ ♪ AND MY MAN, I LOVE HIM SO, BUT 131 00:06:57,384 --> 00:07:01,330 NOT ON ME! ♪ ♪ AND MY MAN, I LOVE HIM SO, BUT NOT LIKE I LOVE ME ♪ 132 00:07:01,354 --> 00:07:05,502 ♪ AND MY MAN, I LOVE HIM SO, BUT NOT LIKE I LOVE ME ♪ ♪ 'CAUSE ON A CLEAR DAY YOU CAN 133 00:07:05,526 --> 00:07:07,670 NOT LIKE I LOVE ME ♪ ♪ 'CAUSE ON A CLEAR DAY YOU CAN SEE ME ♪ 134 00:07:07,694 --> 00:07:10,840 ♪ 'CAUSE ON A CLEAR DAY YOU CAN SEE ME ♪ ♪ BUT TELL ME WOULD YOU, COULD 135 00:07:10,864 --> 00:07:14,143 SEE ME ♪ ♪ BUT TELL ME WOULD YOU, COULD YOU BE ME? ♪ 136 00:07:14,167 --> 00:07:17,814 ♪ BUT TELL ME WOULD YOU, COULD YOU BE ME? ♪ ♪ GOODBYE, DOLLY ♪ 137 00:07:17,838 --> 00:07:21,250 YOU BE ME? ♪ ♪ GOODBYE, DOLLY ♪ ♪ HELLO, ME ♪ 138 00:07:21,274 --> 00:07:24,987 ♪ GOODBYE, DOLLY ♪ ♪ HELLO, ME ♪ ♪ THE BEST THINGS IN LIFE ARE 139 00:07:25,011 --> 00:07:27,156 ♪ HELLO, ME ♪ ♪ THE BEST THINGS IN LIFE ARE ME ♪ 140 00:07:27,180 --> 00:07:31,160 ♪ THE BEST THINGS IN LIFE ARE ME ♪ ♪ BUT FIRST BE A PERSON WHO IS 141 00:07:31,184 --> 00:07:33,229 ME ♪ ♪ BUT FIRST BE A PERSON WHO IS ME ♪ 142 00:07:33,253 --> 00:07:37,066 ♪ BUT FIRST BE A PERSON WHO IS ME ♪ ♪ PEOPLE WHO ARE ME ARE THE 143 00:07:37,090 --> 00:07:42,338 ME ♪ ♪ PEOPLE WHO ARE ME ARE THE LUCKIEST PEOPLE IN THE WORLD ♪ 144 00:07:42,362 --> 00:07:46,042 ♪ PEOPLE WHO ARE ME ARE THE LUCKIEST PEOPLE IN THE WORLD ♪ ♪ AND IT'S THE LAUGHTER 145 00:07:46,066 --> 00:07:49,612 LUCKIEST PEOPLE IN THE WORLD ♪ ♪ AND IT'S THE LAUGHTER THAT WE'LL REMEMBER ♪ 146 00:07:49,636 --> 00:07:55,752 ♪ AND IT'S THE LAUGHTER THAT WE'LL REMEMBER ♪ ♪ WHENEVER WE REMEMBER 147 00:07:55,776 --> 00:08:00,056 THAT WE'LL REMEMBER ♪ ♪ WHENEVER WE REMEMBER M-E-E ♪ 148 00:08:00,080 --> 00:08:05,061 ♪ WHENEVER WE REMEMBER M-E-E ♪ ♪ ME! ♪ 149 00:08:05,085 --> 00:08:07,486 M-E-E ♪ ♪ ME! ♪ [CHEERS AND APPLAUSE] 150 00:08:33,412 --> 00:08:40,730 WELL, ESSIE, SHALL WE HAVE SOME NICE TOAST FOR LUNCH? OH, I LOVE TOAST, BUT WE HAD 151 00:08:40,754 --> 00:08:42,532 SOME NICE TOAST FOR LUNCH? OH, I LOVE TOAST, BUT WE HAD TOAST FOR BREAKFAST. 152 00:08:42,556 --> 00:08:45,001 OH, I LOVE TOAST, BUT WE HAD TOAST FOR BREAKFAST. HOW ABOUT SOME NICE CAKE? 153 00:08:45,025 --> 00:08:47,336 TOAST FOR BREAKFAST. HOW ABOUT SOME NICE CAKE? OH, WELL, WE COULD TOAST IT. 154 00:08:47,360 --> 00:08:49,739 HOW ABOUT SOME NICE CAKE? OH, WELL, WE COULD TOAST IT. ALTHOUGH, REAL TOAST IS ONE OF 155 00:08:49,763 --> 00:08:52,809 OH, WELL, WE COULD TOAST IT. ALTHOUGH, REAL TOAST IS ONE OF MY FAVORITES OF THE FOODS. 156 00:08:52,833 --> 00:08:54,276 ALTHOUGH, REAL TOAST IS ONE OF MY FAVORITES OF THE FOODS. I KNOW! 157 00:08:54,300 --> 00:08:57,046 MY FAVORITES OF THE FOODS. I KNOW! LET'S HAVE RAISIN TOAST, AND 158 00:08:57,070 --> 00:08:59,382 I KNOW! LET'S HAVE RAISIN TOAST, AND LET'S CUT IT IN POINTS. 159 00:08:59,406 --> 00:09:02,552 LET'S HAVE RAISIN TOAST, AND LET'S CUT IT IN POINTS. OH, LOVELY, ESSIE! 160 00:09:02,576 --> 00:09:04,053 LET'S CUT IT IN POINTS. OH, LOVELY, ESSIE! BUT IT'S MY TURN TO CUT IT. 161 00:09:04,077 --> 00:09:05,421 OH, LOVELY, ESSIE! BUT IT'S MY TURN TO CUT IT. YOU CUT IT AT BREAKFAST. 162 00:09:05,445 --> 00:09:06,789 BUT IT'S MY TURN TO CUT IT. YOU CUT IT AT BREAKFAST. THAT WAS STRIPES! 163 00:09:06,813 --> 00:09:07,857 YOU CUT IT AT BREAKFAST. THAT WAS STRIPES! THIS IS POINTS! 164 00:09:07,881 --> 00:09:12,028 THAT WAS STRIPES! THIS IS POINTS! OH, ESSIE. 165 00:09:12,052 --> 00:09:15,331 THIS IS POINTS! OH, ESSIE. THERE WE GO. 166 00:09:15,355 --> 00:09:16,633 OH, ESSIE. THERE WE GO. WELL, EMILY? 167 00:09:16,657 --> 00:09:17,400 THERE WE GO. WELL, EMILY? YES? 168 00:09:17,424 --> 00:09:19,468 WELL, EMILY? YES? I'M SO HAPPY THAT YOU'VE 169 00:09:19,492 --> 00:09:21,538 YES? I'M SO HAPPY THAT YOU'VE BECOME THE CORRESPONDENT ON 170 00:09:21,562 --> 00:09:23,039 I'M SO HAPPY THAT YOU'VE BECOME THE CORRESPONDENT ON "NEWS UPDATE." 171 00:09:23,063 --> 00:09:24,306 BECOME THE CORRESPONDENT ON "NEWS UPDATE." OH, YES. 172 00:09:24,330 --> 00:09:26,976 "NEWS UPDATE." OH, YES. HAVE YOU DECIDED WHAT THIS 173 00:09:27,000 --> 00:09:29,812 OH, YES. HAVE YOU DECIDED WHAT THIS WEEK'S EDITORIAL IS GONNA BE? 174 00:09:29,836 --> 00:09:31,781 HAVE YOU DECIDED WHAT THIS WEEK'S EDITORIAL IS GONNA BE? OH, NO, I HAVEN'T, ESSIE. 175 00:09:31,805 --> 00:09:33,816 WEEK'S EDITORIAL IS GONNA BE? OH, NO, I HAVEN'T, ESSIE. I'M GOING TO NEED YOUR HELP. 176 00:09:33,840 --> 00:09:35,451 OH, NO, I HAVEN'T, ESSIE. I'M GOING TO NEED YOUR HELP. NOW, THAT JANE CURTIN GIRL IS 177 00:09:35,475 --> 00:09:37,186 I'M GOING TO NEED YOUR HELP. NOW, THAT JANE CURTIN GIRL IS GOING TO BE SO ANGRY WITH ME IF 178 00:09:37,210 --> 00:09:38,855 NOW, THAT JANE CURTIN GIRL IS GOING TO BE SO ANGRY WITH ME IF I DON'T COME UP WITH SOMETHING 179 00:09:38,879 --> 00:09:39,556 GOING TO BE SO ANGRY WITH ME IF I DON'T COME UP WITH SOMETHING RELEVANT. 180 00:09:39,580 --> 00:09:41,323 I DON'T COME UP WITH SOMETHING RELEVANT. NOW, ESSIE, WHAT ARE THE BURNING 181 00:09:41,347 --> 00:09:43,426 RELEVANT. NOW, ESSIE, WHAT ARE THE BURNING ISSUES OF THE DAY? 182 00:09:43,450 --> 00:09:44,727 NOW, ESSIE, WHAT ARE THE BURNING ISSUES OF THE DAY? HMM... 183 00:09:44,751 --> 00:09:48,330 ISSUES OF THE DAY? HMM... THE BURNING TISSUES OF THE DAY? 184 00:09:48,354 --> 00:09:50,199 HMM... THE BURNING TISSUES OF THE DAY? OH, THAT'S RIDICULOUS. 185 00:09:50,223 --> 00:09:52,702 THE BURNING TISSUES OF THE DAY? OH, THAT'S RIDICULOUS. HOW CAN YOU BLOW YOUR NOSE ON 186 00:09:52,726 --> 00:09:54,904 OH, THAT'S RIDICULOUS. HOW CAN YOU BLOW YOUR NOSE ON SOMETHING THAT'S BURNING? 187 00:09:54,928 --> 00:09:57,707 HOW CAN YOU BLOW YOUR NOSE ON SOMETHING THAT'S BURNING? ISSUES, ESSIE! ISSUES! 188 00:09:57,731 --> 00:09:59,842 SOMETHING THAT'S BURNING? ISSUES, ESSIE! ISSUES! OH, WELL, UH... 189 00:09:59,866 --> 00:10:02,812 ISSUES, ESSIE! ISSUES! OH, WELL, UH... OH! THERE'S THIS NEW FAD... 190 00:10:02,836 --> 00:10:05,682 OH, WELL, UH... OH! THERE'S THIS NEW FAD... TRANSCENDENTAL MEDICATION. 191 00:10:05,706 --> 00:10:09,185 OH! THERE'S THIS NEW FAD... TRANSCENDENTAL MEDICATION. AND THEN THERE'S ALL THIS HOOPLA 192 00:10:09,209 --> 00:10:11,187 TRANSCENDENTAL MEDICATION. AND THEN THERE'S ALL THIS HOOPLA THEY'RE MAKING OVER SHIPS 193 00:10:11,211 --> 00:10:13,590 AND THEN THERE'S ALL THIS HOOPLA THEY'RE MAKING OVER SHIPS DISAPPEARING IN THE MAGUDA 194 00:10:13,614 --> 00:10:14,624 THEY'RE MAKING OVER SHIPS DISAPPEARING IN THE MAGUDA TRIANGLE. 195 00:10:14,648 --> 00:10:17,060 DISAPPEARING IN THE MAGUDA TRIANGLE. OH, OH, DEAR, NO, NO, NO. 196 00:10:17,084 --> 00:10:19,662 TRIANGLE. OH, OH, DEAR, NO, NO, NO. THAT'S MUCH TOO PERSONAL. 197 00:10:19,686 --> 00:10:22,665 OH, OH, DEAR, NO, NO, NO. THAT'S MUCH TOO PERSONAL. WELL, THEN WHAT IS ALL THIS 198 00:10:22,689 --> 00:10:24,667 THAT'S MUCH TOO PERSONAL. WELL, THEN WHAT IS ALL THIS RUCKUS RALPH NADER'S BEEN 199 00:10:24,691 --> 00:10:26,936 WELL, THEN WHAT IS ALL THIS RUCKUS RALPH NADER'S BEEN RAISING ABOUT EQUIPPING EVERY 200 00:10:26,960 --> 00:10:32,575 RUCKUS RALPH NADER'S BEEN RAISING ABOUT EQUIPPING EVERY CAR IN AMERICA WITH AN AIR FAG? 201 00:10:32,599 --> 00:10:33,375 RAISING ABOUT EQUIPPING EVERY CAR IN AMERICA WITH AN AIR FAG? AIR FAG? 202 00:10:33,399 --> 00:10:34,711 CAR IN AMERICA WITH AN AIR FAG? AIR FAG? WELL, THAT'S TERRIBLE! 203 00:10:34,735 --> 00:10:36,512 AIR FAG? WELL, THAT'S TERRIBLE! I DIDN'T KNOW THERE WERE ENOUGH 204 00:10:36,536 --> 00:10:39,215 WELL, THAT'S TERRIBLE! I DIDN'T KNOW THERE WERE ENOUGH OF THOSE HOMOS TO GO AROUND! 205 00:10:39,239 --> 00:10:40,750 I DIDN'T KNOW THERE WERE ENOUGH OF THOSE HOMOS TO GO AROUND! I SAY LET'S KEEP THEM IN 206 00:10:40,774 --> 00:10:42,518 OF THOSE HOMOS TO GO AROUND! I SAY LET'S KEEP THEM IN GREENWICH VILLAGE WHERE THEY 207 00:10:42,542 --> 00:10:44,921 I SAY LET'S KEEP THEM IN GREENWICH VILLAGE WHERE THEY BELONG! 208 00:10:44,945 --> 00:10:48,557 GREENWICH VILLAGE WHERE THEY BELONG! LOOK, EMILY! A DUCK! 209 00:10:48,581 --> 00:10:49,191 BELONG! LOOK, EMILY! A DUCK! ESSIE! 210 00:10:49,215 --> 00:10:50,526 LOOK, EMILY! A DUCK! ESSIE! YOU WATCH YOUR LANGUAGE! 211 00:10:50,550 --> 00:10:52,061 ESSIE! YOU WATCH YOUR LANGUAGE! IT'S YOUR FILTHY MOUTH THAT'S 212 00:10:52,085 --> 00:10:53,696 YOU WATCH YOUR LANGUAGE! IT'S YOUR FILTHY MOUTH THAT'S KEPT YOU OFF THE TELEVISION ALL 213 00:10:53,720 --> 00:10:54,931 IT'S YOUR FILTHY MOUTH THAT'S KEPT YOU OFF THE TELEVISION ALL THESE YEARS. 214 00:10:54,955 --> 00:10:57,600 KEPT YOU OFF THE TELEVISION ALL THESE YEARS. NOW, DEAR, DEAR, WHAT AM I GOING 215 00:10:57,624 --> 00:10:59,368 THESE YEARS. NOW, DEAR, DEAR, WHAT AM I GOING TO DO ON "UPDATE" THIS WEEK? 216 00:10:59,392 --> 00:11:01,037 NOW, DEAR, DEAR, WHAT AM I GOING TO DO ON "UPDATE" THIS WEEK? I MEAN, COULD I TALK ABOUT 217 00:11:01,061 --> 00:11:02,105 TO DO ON "UPDATE" THIS WEEK? I MEAN, COULD I TALK ABOUT TOAST? 218 00:11:02,129 --> 00:11:05,274 I MEAN, COULD I TALK ABOUT TOAST? EMILY, LET'S PRETEND I'M THE 219 00:11:05,298 --> 00:11:07,677 TOAST? EMILY, LET'S PRETEND I'M THE ONE WHO GOES ON "UPDATE." 220 00:11:07,701 --> 00:11:10,246 EMILY, LET'S PRETEND I'M THE ONE WHO GOES ON "UPDATE." NOW, INTRODUCE ME, COME ON. 221 00:11:10,270 --> 00:11:12,015 ONE WHO GOES ON "UPDATE." NOW, INTRODUCE ME, COME ON. OH, ALL RIGHT. 222 00:11:12,039 --> 00:11:13,616 NOW, INTRODUCE ME, COME ON. OH, ALL RIGHT. [CLEARS THROAT] 223 00:11:13,640 --> 00:11:16,352 OH, ALL RIGHT. [CLEARS THROAT] AND NOW, IN RESPONSE TO A RECENT 224 00:11:16,376 --> 00:11:18,021 [CLEARS THROAT] AND NOW, IN RESPONSE TO A RECENT EDITORIAL WHICH WAS SHOWN ON 225 00:11:18,045 --> 00:11:20,857 AND NOW, IN RESPONSE TO A RECENT EDITORIAL WHICH WAS SHOWN ON "WEEKEND UPDATE," HERE, WITH AN 226 00:11:20,881 --> 00:11:23,425 EDITORIAL WHICH WAS SHOWN ON "WEEKEND UPDATE," HERE, WITH AN EDITORIAL REPLY... WATCH IT, 227 00:11:23,449 --> 00:11:26,262 "WEEKEND UPDATE," HERE, WITH AN EDITORIAL REPLY... WATCH IT, ESSIE... IS MISS ESSIE LITELLA. 228 00:11:26,286 --> 00:11:30,633 EDITORIAL REPLY... WATCH IT, ESSIE... IS MISS ESSIE LITELLA. WHAT'S ALL THIS FUSS I KEEP 229 00:11:30,657 --> 00:11:34,303 ESSIE... IS MISS ESSIE LITELLA. WHAT'S ALL THIS FUSS I KEEP HEARING ABOUT FLEA ELECTIONS IN 230 00:11:34,327 --> 00:11:35,538 WHAT'S ALL THIS FUSS I KEEP HEARING ABOUT FLEA ELECTIONS IN CHINA? 231 00:11:35,562 --> 00:11:39,208 HEARING ABOUT FLEA ELECTIONS IN CHINA? IF ORIENTAL INSECTS WANT TO RUN 232 00:11:39,232 --> 00:11:41,443 CHINA? IF ORIENTAL INSECTS WANT TO RUN FOR OFFICE, THAT IS THEIR 233 00:11:41,467 --> 00:11:42,478 IF ORIENTAL INSECTS WANT TO RUN FOR OFFICE, THAT IS THEIR BUSINESS. 234 00:11:42,502 --> 00:11:45,281 FOR OFFICE, THAT IS THEIR BUSINESS. MISS LITELLA! MISS LITELLA! 235 00:11:45,305 --> 00:11:47,249 BUSINESS. MISS LITELLA! MISS LITELLA! WHAT? 236 00:11:47,273 --> 00:11:52,689 MISS LITELLA! MISS LITELLA! WHAT? THAT'S FLEA ERECTIONS. 237 00:11:52,713 --> 00:11:56,425 WHAT? THAT'S FLEA ERECTIONS. FLEA ERECTIONS. 238 00:11:56,449 --> 00:11:58,828 THAT'S FLEA ERECTIONS. FLEA ERECTIONS. OH, WELL, THAT'S VERY 239 00:11:58,852 --> 00:12:00,262 FLEA ERECTIONS. OH, WELL, THAT'S VERY DIFFERENT. 240 00:12:00,286 --> 00:12:06,803 OH, WELL, THAT'S VERY DIFFERENT. NEVER MIND. 241 00:12:06,827 --> 00:12:09,706 DIFFERENT. NEVER MIND. OH! ESSIE, LOOK! 242 00:12:09,730 --> 00:12:13,042 NEVER MIND. OH! ESSIE, LOOK! A POSTCARD FROM NORM CROSBY. 243 00:12:13,066 --> 00:12:15,745 OH! ESSIE, LOOK! A POSTCARD FROM NORM CROSBY. LET ME READ IT TO YOU. 244 00:12:15,769 --> 00:12:19,281 A POSTCARD FROM NORM CROSBY. LET ME READ IT TO YOU. "DEAR LITELLA SISTERS, KEEP UP 245 00:12:19,305 --> 00:12:21,818 LET ME READ IT TO YOU. "DEAR LITELLA SISTERS, KEEP UP THE GOOD WORM, ALL MY LUNCH, 246 00:12:21,842 --> 00:12:22,685 "DEAR LITELLA SISTERS, KEEP UP THE GOOD WORM, ALL MY LUNCH, NORN." 247 00:12:22,709 --> 00:12:25,755 THE GOOD WORM, ALL MY LUNCH, NORN." WELL, THAT'S PRETTY STUPID. 248 00:12:25,779 --> 00:12:27,699 NORN." WELL, THAT'S PRETTY STUPID. LET'S TOAST IT. 249 00:12:54,840 --> 00:12:57,754 HELLO, EVERYBODY, WELCOME TO THE "TOMORROW" SHOW. WELL, HE DID IT. 250 00:12:57,778 --> 00:12:58,721 TO THE "TOMORROW" SHOW. WELL, HE DID IT. PEANUT BUTTER IN THE 251 00:12:58,745 --> 00:12:59,388 WELL, HE DID IT. PEANUT BUTTER IN THE WHITE HOUSE. 252 00:12:59,412 --> 00:13:00,823 PEANUT BUTTER IN THE WHITE HOUSE. WHAT THE HECK WE'LL BE EATING IN 253 00:13:00,847 --> 00:13:02,091 WHITE HOUSE. WHAT THE HECK WE'LL BE EATING IN FOUR YEARS FROM NOW, I JUST 254 00:13:02,115 --> 00:13:02,992 WHAT THE HECK WE'LL BE EATING IN FOUR YEARS FROM NOW, I JUST DON'T KNOW. 255 00:13:03,016 --> 00:13:05,061 FOUR YEARS FROM NOW, I JUST DON'T KNOW. ANYWAY, TONIGHT WE'LL BE EATING 256 00:13:05,085 --> 00:13:05,795 DON'T KNOW. ANYWAY, TONIGHT WE'LL BE EATING BANANAS. 257 00:13:05,819 --> 00:13:06,229 ANYWAY, TONIGHT WE'LL BE EATING BANANAS. HA. 258 00:13:06,253 --> 00:13:08,131 BANANAS. HA. HEY, BANANAS AND PEANUT BUTTER 259 00:13:08,155 --> 00:13:09,899 HA. HEY, BANANAS AND PEANUT BUTTER MAKE PRETTY GOOD SANDWICHES, 260 00:13:09,923 --> 00:13:10,767 HEY, BANANAS AND PEANUT BUTTER MAKE PRETTY GOOD SANDWICHES, DON'T THEY? 261 00:13:10,791 --> 00:13:11,500 MAKE PRETTY GOOD SANDWICHES, DON'T THEY? [LAUGHS] 262 00:13:11,524 --> 00:13:12,969 DON'T THEY? [LAUGHS] I THINK BOB KNOWS WHAT I'M 263 00:13:12,993 --> 00:13:14,170 [LAUGHS] I THINK BOB KNOWS WHAT I'M TALKING ABOUT THERE. 264 00:13:14,194 --> 00:13:15,238 I THINK BOB KNOWS WHAT I'M TALKING ABOUT THERE. HE'S IN THE CREW. 265 00:13:15,262 --> 00:13:18,174 TALKING ABOUT THERE. HE'S IN THE CREW. BUT... 266 00:13:18,198 --> 00:13:19,575 HE'S IN THE CREW. BUT... ANYWAY, I SAY BANANAS BECAUSE 267 00:13:19,599 --> 00:13:21,144 BUT... ANYWAY, I SAY BANANAS BECAUSE TONIGHT OUR GUEST IS THE GUY WHO 268 00:13:21,168 --> 00:13:22,544 ANYWAY, I SAY BANANAS BECAUSE TONIGHT OUR GUEST IS THE GUY WHO MADE THE BIGGEST APE MOVIE OF 269 00:13:22,568 --> 00:13:23,679 TONIGHT OUR GUEST IS THE GUY WHO MADE THE BIGGEST APE MOVIE OF THEM ALL, "KING KONG," 270 00:13:23,703 --> 00:13:25,214 MADE THE BIGGEST APE MOVIE OF THEM ALL, "KING KONG," DINO DE LAURENTIIS, THE PRODUCER 271 00:13:25,238 --> 00:13:26,015 THEM ALL, "KING KONG," DINO DE LAURENTIIS, THE PRODUCER OF THAT MOVIE. 272 00:13:26,039 --> 00:13:28,918 DINO DE LAURENTIIS, THE PRODUCER OF THAT MOVIE. HE'S HERE WITH US TONIGHT. 273 00:13:28,942 --> 00:13:30,352 OF THAT MOVIE. HE'S HERE WITH US TONIGHT. AT THE OUTSET, I'D JUST LIKE 274 00:13:30,376 --> 00:13:31,587 HE'S HERE WITH US TONIGHT. AT THE OUTSET, I'D JUST LIKE TO SAY, WELL, OBVIOUSLY 275 00:13:31,611 --> 00:13:32,989 AT THE OUTSET, I'D JUST LIKE TO SAY, WELL, OBVIOUSLY SOMETHING'S WRONG WITH YOUR 276 00:13:33,013 --> 00:13:33,622 TO SAY, WELL, OBVIOUSLY SOMETHING'S WRONG WITH YOUR LEGS, SIR. 277 00:13:33,646 --> 00:13:34,857 SOMETHING'S WRONG WITH YOUR LEGS, SIR. WHAT THE HECK HAPPENED? 278 00:13:34,881 --> 00:13:36,525 LEGS, SIR. WHAT THE HECK HAPPENED? [Italian accent] MY KONG, 279 00:13:36,549 --> 00:13:38,161 WHAT THE HECK HAPPENED? [Italian accent] MY KONG, HE HAS A GOOD TIME, YOU KNOW? 280 00:13:38,185 --> 00:13:39,428 [Italian accent] MY KONG, HE HAS A GOOD TIME, YOU KNOW? A LITTLE FUN WITH 281 00:13:39,452 --> 00:13:41,264 HE HAS A GOOD TIME, YOU KNOW? A LITTLE FUN WITH MR. JEFF BRIDGES, YOU KNOW? 282 00:13:41,288 --> 00:13:43,132 A LITTLE FUN WITH MR. JEFF BRIDGES, YOU KNOW? AND ONE GRABBED ONE LEG, ONE 283 00:13:43,156 --> 00:13:45,201 MR. JEFF BRIDGES, YOU KNOW? AND ONE GRABBED ONE LEG, ONE GRABBED THE OTHER LEG AND SAID, 284 00:13:45,225 --> 00:13:46,302 AND ONE GRABBED ONE LEG, ONE GRABBED THE OTHER LEG AND SAID, "MAKE A WISH." 285 00:13:46,326 --> 00:13:48,271 GRABBED THE OTHER LEG AND SAID, "MAKE A WISH." AND KONG BEAT HIM, YOU KNOW? 286 00:13:48,295 --> 00:13:50,206 "MAKE A WISH." AND KONG BEAT HIM, YOU KNOW? ABOUT THE PICTURE ITSELF, 287 00:13:50,230 --> 00:13:52,408 AND KONG BEAT HIM, YOU KNOW? ABOUT THE PICTURE ITSELF, MR. DE LAURENTIIS, A FEW MEMBERS 288 00:13:52,432 --> 00:13:53,709 ABOUT THE PICTURE ITSELF, MR. DE LAURENTIIS, A FEW MEMBERS OF THE HOLLYWOOD PRESS HAVE SAID 289 00:13:53,733 --> 00:13:54,777 MR. DE LAURENTIIS, A FEW MEMBERS OF THE HOLLYWOOD PRESS HAVE SAID THAT WITH ALL THAT MONEY... 290 00:13:54,801 --> 00:13:55,678 OF THE HOLLYWOOD PRESS HAVE SAID THAT WITH ALL THAT MONEY... YOU'VE MADE OVER 500 291 00:13:55,702 --> 00:13:56,145 THAT WITH ALL THAT MONEY... YOU'VE MADE OVER 500 PICTURES. 292 00:13:56,169 --> 00:13:57,280 YOU'VE MADE OVER 500 PICTURES. WITH ALL THE MONEY THAT YOU 293 00:13:57,304 --> 00:13:58,547 PICTURES. WITH ALL THE MONEY THAT YOU SPENT ON "KING KONG," YOU COULD 294 00:13:58,571 --> 00:13:59,548 WITH ALL THE MONEY THAT YOU SPENT ON "KING KONG," YOU COULD HAVE MADE 20 GOOD MOVIES 295 00:13:59,572 --> 00:14:00,249 SPENT ON "KING KONG," YOU COULD HAVE MADE 20 GOOD MOVIES INSTEAD. 296 00:14:00,273 --> 00:14:01,851 HAVE MADE 20 GOOD MOVIES INSTEAD. REPORTERS HAVE CALLED YOU 297 00:14:01,875 --> 00:14:03,485 INSTEAD. REPORTERS HAVE CALLED YOU EVERYTHING FROM A RUTHLESS 298 00:14:03,509 --> 00:14:05,421 REPORTERS HAVE CALLED YOU EVERYTHING FROM A RUTHLESS MONKEY PIMP TO A TOY COMMERCIAL 299 00:14:05,445 --> 00:14:05,988 EVERYTHING FROM A RUTHLESS MONKEY PIMP TO A TOY COMMERCIAL MAKER. 300 00:14:06,012 --> 00:14:07,756 MONKEY PIMP TO A TOY COMMERCIAL MAKER. NOW, HOW, SIR, DO YOU ANSWER 301 00:14:07,780 --> 00:14:09,091 MAKER. NOW, HOW, SIR, DO YOU ANSWER THESE CHARGES? 302 00:14:09,115 --> 00:14:11,393 NOW, HOW, SIR, DO YOU ANSWER THESE CHARGES? I ANSWER THESE CHARGES BY 303 00:14:11,417 --> 00:14:13,729 THESE CHARGES? I ANSWER THESE CHARGES BY SAYING THIS... WHEN JAWS DIE, 304 00:14:13,753 --> 00:14:14,997 I ANSWER THESE CHARGES BY SAYING THIS... WHEN JAWS DIE, NOBODY CRIES. 305 00:14:15,021 --> 00:14:15,898 SAYING THIS... WHEN JAWS DIE, NOBODY CRIES. RIGHT? 306 00:14:15,922 --> 00:14:18,600 NOBODY CRIES. RIGHT? WHEN MY KONG DIES, EVERYBODY 307 00:14:18,624 --> 00:14:19,501 RIGHT? WHEN MY KONG DIES, EVERYBODY CRIES. 308 00:14:19,525 --> 00:14:21,137 WHEN MY KONG DIES, EVERYBODY CRIES. INTELLECTUALS CRY. 309 00:14:21,161 --> 00:14:22,138 CRIES. INTELLECTUALS CRY. LITTLE KIDS CRY. 310 00:14:22,162 --> 00:14:23,706 INTELLECTUALS CRY. LITTLE KIDS CRY. ESPECIALLY WOMEN, THEY CRY. 311 00:14:23,730 --> 00:14:25,241 LITTLE KIDS CRY. ESPECIALLY WOMEN, THEY CRY. IT'S LIKE A "BEAUTY AND THE 312 00:14:25,265 --> 00:14:26,342 ESPECIALLY WOMEN, THEY CRY. IT'S LIKE A "BEAUTY AND THE BEAST" TYPE THING. 313 00:14:26,366 --> 00:14:28,311 IT'S LIKE A "BEAUTY AND THE BEAST" TYPE THING. A LOT OF PEOPLE DON'T LIKE YOU, 314 00:14:28,335 --> 00:14:28,811 BEAST" TYPE THING. A LOT OF PEOPLE DON'T LIKE YOU, TOO. 315 00:14:28,835 --> 00:14:30,612 A LOT OF PEOPLE DON'T LIKE YOU, TOO. YOU HAVE TO UNDERSTAND THAT. 316 00:14:30,636 --> 00:14:31,580 TOO. YOU HAVE TO UNDERSTAND THAT. [LAUGHS] 317 00:14:31,604 --> 00:14:33,515 YOU HAVE TO UNDERSTAND THAT. [LAUGHS] EVERYBODY... EVERYBODY LIKE 318 00:14:33,539 --> 00:14:34,250 [LAUGHS] EVERYBODY... EVERYBODY LIKE MY KONG. 319 00:14:34,274 --> 00:14:35,651 EVERYBODY... EVERYBODY LIKE MY KONG. YOU KNOW, EVERYBODY. 320 00:14:35,675 --> 00:14:37,586 MY KONG. YOU KNOW, EVERYBODY. LET ME JUST ASK YOU THIS... 321 00:14:37,610 --> 00:14:39,621 YOU KNOW, EVERYBODY. LET ME JUST ASK YOU THIS... HOW MUCH MONEY DID YOU SPEND ON 322 00:14:39,645 --> 00:14:41,057 LET ME JUST ASK YOU THIS... HOW MUCH MONEY DID YOU SPEND ON THE APE MODEL ITSELF? 323 00:14:41,081 --> 00:14:43,226 HOW MUCH MONEY DID YOU SPEND ON THE APE MODEL ITSELF? TOM... TOM... TOM, TOM, TOM. 324 00:14:43,250 --> 00:14:44,727 THE APE MODEL ITSELF? TOM... TOM... TOM, TOM, TOM. MONEY MEANS NOTHING TO ME. 325 00:14:44,751 --> 00:14:46,195 TOM... TOM... TOM, TOM, TOM. MONEY MEANS NOTHING TO ME. I WANT TO MAKE A CLASSIC. 326 00:14:46,219 --> 00:14:47,563 MONEY MEANS NOTHING TO ME. I WANT TO MAKE A CLASSIC. I WANT TO MAKE A $5-MILLION 327 00:14:47,587 --> 00:14:49,131 I WANT TO MAKE A CLASSIC. I WANT TO MAKE A $5-MILLION ACCIDENT JUST TO MAKE A CLASSIC 328 00:14:49,155 --> 00:14:50,499 I WANT TO MAKE A $5-MILLION ACCIDENT JUST TO MAKE A CLASSIC OUT OF THE KONG, ALL RIGHT? 329 00:14:50,523 --> 00:14:52,568 ACCIDENT JUST TO MAKE A CLASSIC OUT OF THE KONG, ALL RIGHT? I WANT TO MAKE A PIECE OF ART, 330 00:14:52,592 --> 00:14:53,402 OUT OF THE KONG, ALL RIGHT? I WANT TO MAKE A PIECE OF ART, YOU KNOW? 331 00:14:53,426 --> 00:14:54,737 I WANT TO MAKE A PIECE OF ART, YOU KNOW? LIKE MICHELANGELO. 332 00:14:54,761 --> 00:14:56,638 YOU KNOW? LIKE MICHELANGELO. YOU WANT TO TALK ABOUT ART? 333 00:14:56,662 --> 00:14:57,639 LIKE MICHELANGELO. YOU WANT TO TALK ABOUT ART? KONG IS ART. 334 00:14:57,663 --> 00:14:58,640 YOU WANT TO TALK ABOUT ART? KONG IS ART. KONG IS ART. 335 00:14:58,664 --> 00:14:59,375 KONG IS ART. KONG IS ART. YOU KNOW? 336 00:14:59,399 --> 00:15:01,043 KONG IS ART. YOU KNOW? YOU KNOW, I WANT TO HAVE A 337 00:15:01,067 --> 00:15:02,245 YOU KNOW? YOU KNOW, I WANT TO HAVE A SPECIAL KONG FACE. 338 00:15:02,269 --> 00:15:03,946 YOU KNOW, I WANT TO HAVE A SPECIAL KONG FACE. WHEN PEOPLE BRING ME A KONG 339 00:15:03,970 --> 00:15:05,748 SPECIAL KONG FACE. WHEN PEOPLE BRING ME A KONG FACE, I SAY, "NO, THIS ONE IS 340 00:15:05,772 --> 00:15:06,548 WHEN PEOPLE BRING ME A KONG FACE, I SAY, "NO, THIS ONE IS NOT RIGHT. 341 00:15:06,572 --> 00:15:08,317 FACE, I SAY, "NO, THIS ONE IS NOT RIGHT. IT LOOKS LIKE 'PLANET OF THE 342 00:15:08,341 --> 00:15:09,485 NOT RIGHT. IT LOOKS LIKE 'PLANET OF THE APES, ' YOU KNOW?" 343 00:15:09,509 --> 00:15:10,152 IT LOOKS LIKE 'PLANET OF THE APES, ' YOU KNOW?" YES, SIR. 344 00:15:10,176 --> 00:15:11,254 APES, ' YOU KNOW?" YES, SIR. I BRING ANOTHER ONE. 345 00:15:11,278 --> 00:15:12,721 YES, SIR. I BRING ANOTHER ONE. I SAY, "IT LOOKS TOO MUCH LIKE A 346 00:15:12,745 --> 00:15:13,522 I BRING ANOTHER ONE. I SAY, "IT LOOKS TOO MUCH LIKE A MAN, YOU KNOW?" 347 00:15:13,546 --> 00:15:14,623 I SAY, "IT LOOKS TOO MUCH LIKE A MAN, YOU KNOW?" SOMETHING LIKE THAT. 348 00:15:14,647 --> 00:15:16,125 MAN, YOU KNOW?" SOMETHING LIKE THAT. THEY BRING ME ANOTHER ONE, IT 349 00:15:16,149 --> 00:15:17,726 SOMETHING LIKE THAT. THEY BRING ME ANOTHER ONE, IT LOOKS LIKE CHARLES BRONSON, YOU 350 00:15:17,750 --> 00:15:18,160 THEY BRING ME ANOTHER ONE, IT LOOKS LIKE CHARLES BRONSON, YOU KNOW? 351 00:15:18,184 --> 00:15:19,728 LOOKS LIKE CHARLES BRONSON, YOU KNOW? I MADE DEATH WISH. I DID THAT. 352 00:15:19,752 --> 00:15:21,264 KNOW? I MADE DEATH WISH. I DID THAT. CHARLES BRONSON IS A VERY GOOD 353 00:15:21,288 --> 00:15:22,164 I MADE DEATH WISH. I DID THAT. CHARLES BRONSON IS A VERY GOOD FRIEND OF MINE. 354 00:15:22,188 --> 00:15:24,233 CHARLES BRONSON IS A VERY GOOD FRIEND OF MINE. AND SO, FINALLY, WHAT I HAD TO 355 00:15:24,257 --> 00:15:26,369 FRIEND OF MINE. AND SO, FINALLY, WHAT I HAD TO DO... WHAT I HAD TO DO IS BRING 356 00:15:26,393 --> 00:15:28,004 AND SO, FINALLY, WHAT I HAD TO DO... WHAT I HAD TO DO IS BRING IN SOMEONE FROM ITALY. 357 00:15:28,028 --> 00:15:29,005 DO... WHAT I HAD TO DO IS BRING IN SOMEONE FROM ITALY. I'M ITALIAN. 358 00:15:29,029 --> 00:15:31,073 IN SOMEONE FROM ITALY. I'M ITALIAN. I DON'T KNOW IF YOU KNEW THAT. 359 00:15:31,097 --> 00:15:33,175 I'M ITALIAN. I DON'T KNOW IF YOU KNEW THAT. BUT I HAD TO BRING SOMEBODY IN 360 00:15:33,199 --> 00:15:35,011 I DON'T KNOW IF YOU KNEW THAT. BUT I HAD TO BRING SOMEBODY IN FROM ITALY, A MAN WHO IS A 361 00:15:35,035 --> 00:15:37,013 BUT I HAD TO BRING SOMEBODY IN FROM ITALY, A MAN WHO IS A GENIUS, TO MAKE THE KONG FACE 362 00:15:37,037 --> 00:15:38,214 FROM ITALY, A MAN WHO IS A GENIUS, TO MAKE THE KONG FACE THAT WAS RIGHT. 363 00:15:38,238 --> 00:15:40,116 GENIUS, TO MAKE THE KONG FACE THAT WAS RIGHT. HE WAS A MAN NAMED GEPPETTO. 364 00:15:40,140 --> 00:15:41,450 THAT WAS RIGHT. HE WAS A MAN NAMED GEPPETTO. AND HE USED TO MAKE PUPPETS. 365 00:15:41,474 --> 00:15:42,851 HE WAS A MAN NAMED GEPPETTO. AND HE USED TO MAKE PUPPETS. LET ME ASK YOU THIS... WHY 366 00:15:42,875 --> 00:15:43,986 AND HE USED TO MAKE PUPPETS. LET ME ASK YOU THIS... WHY MAKE ANOTHER VERSION OF 367 00:15:44,010 --> 00:15:44,686 LET ME ASK YOU THIS... WHY MAKE ANOTHER VERSION OF "KING KONG"? 368 00:15:44,710 --> 00:15:46,055 MAKE ANOTHER VERSION OF "KING KONG"? THE FIRST ONE... AND I DIDN'T 369 00:15:46,079 --> 00:15:47,390 "KING KONG"? THE FIRST ONE... AND I DIDN'T SEE IT BECAUSE, WELL, AT THE 370 00:15:47,414 --> 00:15:48,791 THE FIRST ONE... AND I DIDN'T SEE IT BECAUSE, WELL, AT THE TIME, MY MOTHER JUST WOULDN'T 371 00:15:48,815 --> 00:15:49,558 SEE IT BECAUSE, WELL, AT THE TIME, MY MOTHER JUST WOULDN'T LET ME SEE IT. 372 00:15:49,582 --> 00:15:50,226 TIME, MY MOTHER JUST WOULDN'T LET ME SEE IT. [LAUGHS] 373 00:15:50,250 --> 00:15:51,493 LET ME SEE IT. [LAUGHS] TOO SCARY OR SOMETHING. 374 00:15:51,517 --> 00:15:52,594 [LAUGHS] TOO SCARY OR SOMETHING. I REALLY DON'T KNOW. 375 00:15:52,618 --> 00:15:54,363 TOO SCARY OR SOMETHING. I REALLY DON'T KNOW. BUT THAT WAS A SUPERB VERSION OF 376 00:15:54,387 --> 00:15:55,831 I REALLY DON'T KNOW. BUT THAT WAS A SUPERB VERSION OF A MOVIE, AND IT WAS GREAT 377 00:15:55,855 --> 00:15:56,399 BUT THAT WAS A SUPERB VERSION OF A MOVIE, AND IT WAS GREAT CINEMA. 378 00:15:56,423 --> 00:15:57,433 A MOVIE, AND IT WAS GREAT CINEMA. WHY DUPLICATE IT? 379 00:15:57,457 --> 00:15:59,001 CINEMA. WHY DUPLICATE IT? THAT'S WHAT I WANT TO KNOW. 380 00:15:59,025 --> 00:16:00,669 WHY DUPLICATE IT? THAT'S WHAT I WANT TO KNOW. DON'T TALK TO ME ABOUT THAT 381 00:16:00,693 --> 00:16:01,870 THAT'S WHAT I WANT TO KNOW. DON'T TALK TO ME ABOUT THAT OLD KONG, ALL RIGHT? 382 00:16:01,894 --> 00:16:03,605 DON'T TALK TO ME ABOUT THAT OLD KONG, ALL RIGHT? THE OLD KONG... LET ME TELL YOU 383 00:16:03,629 --> 00:16:05,308 OLD KONG, ALL RIGHT? THE OLD KONG... LET ME TELL YOU SOMETHING ABOUT THAT OLD KONG, 384 00:16:05,332 --> 00:16:06,409 THE OLD KONG... LET ME TELL YOU SOMETHING ABOUT THAT OLD KONG, ALL RIGHT? 385 00:16:06,433 --> 00:16:08,577 SOMETHING ABOUT THAT OLD KONG, ALL RIGHT? LOOK, THE OLD KONG WAS... 386 00:16:08,601 --> 00:16:10,746 ALL RIGHT? LOOK, THE OLD KONG WAS... THEY'D TELL THE OLD KONG, "WE 387 00:16:10,770 --> 00:16:12,248 LOOK, THE OLD KONG WAS... THEY'D TELL THE OLD KONG, "WE GOT TO SHOOT TOMORROW MORNING AT 388 00:16:12,272 --> 00:16:13,416 THEY'D TELL THE OLD KONG, "WE GOT TO SHOOT TOMORROW MORNING AT 6:00 IN THE MORNING. 389 00:16:13,440 --> 00:16:14,883 GOT TO SHOOT TOMORROW MORNING AT 6:00 IN THE MORNING. WANT TO BE THERE AT 6:00 IN THE 390 00:16:14,907 --> 00:16:15,418 6:00 IN THE MORNING. WANT TO BE THERE AT 6:00 IN THE MORNING." 391 00:16:15,442 --> 00:16:17,619 WANT TO BE THERE AT 6:00 IN THE MORNING." HE'D SAY, "NO, I DON'T WANT TO 392 00:16:17,643 --> 00:16:18,454 MORNING." HE'D SAY, "NO, I DON'T WANT TO SHOW UP. 393 00:16:18,478 --> 00:16:20,189 HE'D SAY, "NO, I DON'T WANT TO SHOW UP. I WANT TO SHOOT AT 8:00 AT 394 00:16:20,213 --> 00:16:20,889 SHOW UP. I WANT TO SHOOT AT 8:00 AT NIGHT." 395 00:16:20,913 --> 00:16:21,958 I WANT TO SHOOT AT 8:00 AT NIGHT." HE'D BE DRUNK. 396 00:16:21,982 --> 00:16:23,759 NIGHT." HE'D BE DRUNK. HE'D BE OUT ALL NIGHT LONG. 397 00:16:23,783 --> 00:16:24,793 HE'D BE DRUNK. HE'D BE OUT ALL NIGHT LONG. HE WAS A BIG STAR. 398 00:16:24,817 --> 00:16:26,095 HE'D BE OUT ALL NIGHT LONG. HE WAS A BIG STAR. HE WANTED TO SHOOT THEN. 399 00:16:26,119 --> 00:16:27,496 HE WAS A BIG STAR. HE WANTED TO SHOOT THEN. SINATRA COULD DO THAT NOW. 400 00:16:27,520 --> 00:16:28,931 HE WANTED TO SHOOT THEN. SINATRA COULD DO THAT NOW. SINATRA WANT TO SHOOT AT 8:00, 401 00:16:28,955 --> 00:16:30,232 SINATRA COULD DO THAT NOW. SINATRA WANT TO SHOOT AT 8:00, YOU SHOOT AT 8:00 AT NIGHT. 402 00:16:30,256 --> 00:16:31,233 SINATRA WANT TO SHOOT AT 8:00, YOU SHOOT AT 8:00 AT NIGHT. YOU KNOW. 403 00:16:31,257 --> 00:16:33,569 YOU SHOOT AT 8:00 AT NIGHT. YOU KNOW. THE OLD KONG, HE'S A DRUNK. 404 00:16:33,593 --> 00:16:35,438 YOU KNOW. THE OLD KONG, HE'S A DRUNK. PARTY APE. A REAL PARTY APE. 405 00:16:35,462 --> 00:16:36,339 THE OLD KONG, HE'S A DRUNK. PARTY APE. A REAL PARTY APE. YOU KNOW... 406 00:16:36,363 --> 00:16:38,240 PARTY APE. A REAL PARTY APE. YOU KNOW... YOU KNOW THE WHOLE THING WITH 407 00:16:38,264 --> 00:16:40,176 YOU KNOW... YOU KNOW THE WHOLE THING WITH THE OLD KONG AND JEAN HARLOW. 408 00:16:40,200 --> 00:16:41,643 YOU KNOW THE WHOLE THING WITH THE OLD KONG AND JEAN HARLOW. NO, SIR, I DIDN'T. 409 00:16:41,667 --> 00:16:43,712 THE OLD KONG AND JEAN HARLOW. NO, SIR, I DIDN'T. THEY USED TO GO OUT TOGETHER. 410 00:16:43,736 --> 00:16:44,680 NO, SIR, I DIDN'T. THEY USED TO GO OUT TOGETHER. THEY WENT CRAZY. 411 00:16:44,704 --> 00:16:45,647 THEY USED TO GO OUT TOGETHER. THEY WENT CRAZY. THEY WENT CRAZY. 412 00:16:45,671 --> 00:16:47,049 THEY WENT CRAZY. THEY WENT CRAZY. HE COULDN'T GET UP IN THE 413 00:16:47,073 --> 00:16:47,649 THEY WENT CRAZY. HE COULDN'T GET UP IN THE MORNING. 414 00:16:47,673 --> 00:16:49,518 HE COULDN'T GET UP IN THE MORNING. HE USED TO MAKE LONG-DISTANCE 415 00:16:49,542 --> 00:16:51,520 MORNING. HE USED TO MAKE LONG-DISTANCE PHONE CALLS ALL OVER THE PLACE, 416 00:16:51,544 --> 00:16:53,522 HE USED TO MAKE LONG-DISTANCE PHONE CALLS ALL OVER THE PLACE, RAN UP THE BUDGET OF THE MOVIE. 417 00:16:53,546 --> 00:16:54,390 PHONE CALLS ALL OVER THE PLACE, RAN UP THE BUDGET OF THE MOVIE. IT'S CRAZY. 418 00:16:54,414 --> 00:16:56,292 RAN UP THE BUDGET OF THE MOVIE. IT'S CRAZY. YOU WANT TO TALK ABOUT LOSING 419 00:16:56,316 --> 00:16:58,127 IT'S CRAZY. YOU WANT TO TALK ABOUT LOSING MONEY, THOUGH, MY MOVIE LOST 420 00:16:58,151 --> 00:17:00,096 YOU WANT TO TALK ABOUT LOSING MONEY, THOUGH, MY MOVIE LOST $500 ON PHONE CALLS MADE BY THE 421 00:17:00,120 --> 00:17:00,662 MONEY, THOUGH, MY MOVIE LOST $500 ON PHONE CALLS MADE BY THE CREW. 422 00:17:00,686 --> 00:17:01,097 $500 ON PHONE CALLS MADE BY THE CREW. I SEE. 423 00:17:01,121 --> 00:17:02,164 CREW. I SEE. SO, WHAT ABOUT ALL THE MONEY 424 00:17:02,188 --> 00:17:02,965 I SEE. SO, WHAT ABOUT ALL THE MONEY SPENT ON ADVERTISING? 425 00:17:02,989 --> 00:17:04,133 SO, WHAT ABOUT ALL THE MONEY SPENT ON ADVERTISING? THE BILLBOARDS AND SO ON DEPICT 426 00:17:04,157 --> 00:17:05,301 SPENT ON ADVERTISING? THE BILLBOARDS AND SO ON DEPICT THE MONSTER CRUSHING JET PLANES, 427 00:17:05,325 --> 00:17:06,335 THE BILLBOARDS AND SO ON DEPICT THE MONSTER CRUSHING JET PLANES, AND THERE'S NOT EVEN ONE JET 428 00:17:06,359 --> 00:17:07,103 THE MONSTER CRUSHING JET PLANES, AND THERE'S NOT EVEN ONE JET PLANE IN THE MOVIE. 429 00:17:07,127 --> 00:17:10,339 AND THERE'S NOT EVEN ONE JET PLANE IN THE MOVIE. ISN'T THIS A BIT OF A HYPE? 430 00:17:10,363 --> 00:17:12,274 PLANE IN THE MOVIE. ISN'T THIS A BIT OF A HYPE? DEPENDS WHAT YOU MEAN ABOUT 431 00:17:12,298 --> 00:17:12,841 ISN'T THIS A BIT OF A HYPE? DEPENDS WHAT YOU MEAN ABOUT HYPE. 432 00:17:12,865 --> 00:17:14,676 DEPENDS WHAT YOU MEAN ABOUT HYPE. YOU KNOW, YOU SEE "A STAR IS 433 00:17:14,700 --> 00:17:15,277 HYPE. YOU KNOW, YOU SEE "A STAR IS BORN"? 434 00:17:15,301 --> 00:17:16,745 YOU KNOW, YOU SEE "A STAR IS BORN"? NO, SIR, I DIDN'T. 435 00:17:16,769 --> 00:17:18,580 BORN"? NO, SIR, I DIDN'T. NOW YOU TALK ABOUT HYPE. 436 00:17:18,604 --> 00:17:20,483 NO, SIR, I DIDN'T. NOW YOU TALK ABOUT HYPE. YOU KNOW, BARBARA STREISAND 437 00:17:20,507 --> 00:17:22,651 NOW YOU TALK ABOUT HYPE. YOU KNOW, BARBARA STREISAND WANTED TO PLAY THE FAY WRAY PART 438 00:17:22,675 --> 00:17:23,719 YOU KNOW, BARBARA STREISAND WANTED TO PLAY THE FAY WRAY PART IN THE MOVIE? 439 00:17:23,743 --> 00:17:25,321 WANTED TO PLAY THE FAY WRAY PART IN THE MOVIE? NO, SIR, I DID NOT. 440 00:17:25,345 --> 00:17:26,588 IN THE MOVIE? NO, SIR, I DID NOT. THAT'S RIGHT. 441 00:17:26,612 --> 00:17:28,590 NO, SIR, I DID NOT. THAT'S RIGHT. I TELL HER, "ONE MONSTER IN A 442 00:17:28,614 --> 00:17:29,892 THAT'S RIGHT. I TELL HER, "ONE MONSTER IN A MOVIE IS ENOUGH." 443 00:17:29,916 --> 00:17:32,661 I TELL HER, "ONE MONSTER IN A MOVIE IS ENOUGH." THAT'S RIGHT. I TELL HER THAT. 444 00:17:32,685 --> 00:17:34,630 MOVIE IS ENOUGH." THAT'S RIGHT. I TELL HER THAT. AND YOU KNOW, I SEE HER. 445 00:17:34,654 --> 00:17:36,932 THAT'S RIGHT. I TELL HER THAT. AND YOU KNOW, I SEE HER. I GO TO A PARTY ONE TIME WITH 446 00:17:36,956 --> 00:17:39,768 AND YOU KNOW, I SEE HER. I GO TO A PARTY ONE TIME WITH THE PRODUCER, JON PETERS. 447 00:17:39,792 --> 00:17:41,803 I GO TO A PARTY ONE TIME WITH THE PRODUCER, JON PETERS. JON PETERS MADE "A STAR IS 448 00:17:41,827 --> 00:17:42,471 THE PRODUCER, JON PETERS. JON PETERS MADE "A STAR IS BORN." 449 00:17:42,495 --> 00:17:44,740 JON PETERS MADE "A STAR IS BORN." AND HE SAYS TO ME, "DINO, I BET 450 00:17:44,764 --> 00:17:47,076 BORN." AND HE SAYS TO ME, "DINO, I BET YOU THAT MY MOVIE IS GONNA GROSS 451 00:17:47,100 --> 00:17:49,111 AND HE SAYS TO ME, "DINO, I BET YOU THAT MY MOVIE IS GONNA GROSS MORE MONEY THAN YOUR MOVIE, 452 00:17:49,135 --> 00:17:50,246 YOU THAT MY MOVIE IS GONNA GROSS MORE MONEY THAN YOUR MOVIE, 'KING KONG.'" 453 00:17:50,270 --> 00:17:51,947 MORE MONEY THAN YOUR MOVIE, 'KING KONG.'" NOW, I SAID, "MAYBE SO. 454 00:17:51,971 --> 00:17:53,582 'KING KONG.'" NOW, I SAID, "MAYBE SO. YOUR MONKEY CAN SING." 455 00:17:53,606 --> 00:17:55,484 NOW, I SAID, "MAYBE SO. YOUR MONKEY CAN SING." [LAUGHS] 456 00:17:55,508 --> 00:17:57,486 YOUR MONKEY CAN SING." [LAUGHS] THAT'S GOOD JOKE. COME ON. 457 00:17:57,510 --> 00:17:58,387 [LAUGHS] THAT'S GOOD JOKE. COME ON. TWO JOKES. 458 00:17:58,411 --> 00:18:00,523 THAT'S GOOD JOKE. COME ON. TWO JOKES. MY WHOLE LIFE I TELL TWO JOKES. 459 00:18:00,547 --> 00:18:02,491 TWO JOKES. MY WHOLE LIFE I TELL TWO JOKES. WE'VE BEEN SPENDING TIME 460 00:18:02,515 --> 00:18:03,725 MY WHOLE LIFE I TELL TWO JOKES. WE'VE BEEN SPENDING TIME TONIGHT WITH... 461 00:18:03,749 --> 00:18:04,893 WE'VE BEEN SPENDING TIME TONIGHT WITH... THAT IS IT. 462 00:18:04,917 --> 00:18:05,827 TONIGHT WITH... THAT IS IT. ALL RIGHT. 463 00:18:05,851 --> 00:18:06,828 THAT IS IT. ALL RIGHT. THANK YOU, SIR. 464 00:18:06,852 --> 00:18:07,963 ALL RIGHT. THANK YOU, SIR. WE'VE GOT TO MOVE ON. 465 00:18:07,987 --> 00:18:09,598 THANK YOU, SIR. WE'VE GOT TO MOVE ON. OUR NEXT GUEST IS THE OWNER OF A 466 00:18:09,622 --> 00:18:10,732 WE'VE GOT TO MOVE ON. OUR NEXT GUEST IS THE OWNER OF A MASSAGE PARLOR... 467 00:18:10,756 --> 00:18:12,435 OUR NEXT GUEST IS THE OWNER OF A MASSAGE PARLOR... I MAKE "VALACHI PAPERS." 468 00:18:12,459 --> 00:18:13,335 MASSAGE PARLOR... I MAKE "VALACHI PAPERS." YES, SIR. 469 00:18:13,359 --> 00:18:17,073 I MAKE "VALACHI PAPERS." YES, SIR. NOBODY CRY WHEN JAWS DIE. 470 00:18:17,097 --> 00:18:18,774 YES, SIR. NOBODY CRY WHEN JAWS DIE. NOBODY CARE WHEN JAWS DIE. 471 00:18:18,798 --> 00:18:20,509 NOBODY CRY WHEN JAWS DIE. NOBODY CARE WHEN JAWS DIE. WHEN MY KONG DIE, EVERYBODY 472 00:18:20,533 --> 00:18:21,110 NOBODY CARE WHEN JAWS DIE. WHEN MY KONG DIE, EVERYBODY CRIES. 473 00:18:21,134 --> 00:18:22,178 WHEN MY KONG DIE, EVERYBODY CRIES. I CRY. 474 00:18:22,202 --> 00:18:23,812 CRIES. I CRY. FISH DIE. NOTHING. 475 00:18:23,836 --> 00:18:26,115 I CRY. FISH DIE. NOTHING. MY KONG HAS A FACE. NICE. 476 00:18:26,139 --> 00:18:27,883 FISH DIE. NOTHING. MY KONG HAS A FACE. NICE. THANK YOU, SIR. 477 00:18:27,907 --> 00:18:29,618 MY KONG HAS A FACE. NICE. THANK YOU, SIR. INTELLECTUALS, THEY CRY. 478 00:18:29,642 --> 00:18:31,353 THANK YOU, SIR. INTELLECTUALS, THEY CRY. YOU KNOW WHAT I'M GONNA DO? 479 00:18:31,377 --> 00:18:33,089 INTELLECTUALS, THEY CRY. YOU KNOW WHAT I'M GONNA DO? I SPENT $10 MILLION ON THAT 480 00:18:33,113 --> 00:18:33,622 YOU KNOW WHAT I'M GONNA DO? I SPENT $10 MILLION ON THAT KONG. 481 00:18:33,646 --> 00:18:34,923 I SPENT $10 MILLION ON THAT KONG. YOU KNOW THAT, TOM? 482 00:18:34,947 --> 00:18:35,824 KONG. YOU KNOW THAT, TOM? $10 MILLION. 483 00:18:35,848 --> 00:18:36,758 YOU KNOW THAT, TOM? $10 MILLION. YES, SIR. 484 00:18:36,782 --> 00:18:37,793 $10 MILLION. YES, SIR. HOW MUCH DO YOU MAKE? 485 00:18:37,817 --> 00:18:39,061 YES, SIR. HOW MUCH DO YOU MAKE? YOU DON'T MAKE THAT MUCH MONEY. 486 00:18:39,085 --> 00:18:40,963 HOW MUCH DO YOU MAKE? YOU DON'T MAKE THAT MUCH MONEY. $10 MILLION. 487 00:18:40,987 --> 00:18:43,932 YOU DON'T MAKE THAT MUCH MONEY. $10 MILLION. SO, I'M GONNA BRING KONG BACK TO 488 00:18:43,956 --> 00:18:46,702 $10 MILLION. SO, I'M GONNA BRING KONG BACK TO LIFE NEXT YEAR, CHRISTMASTIME. 489 00:18:46,726 --> 00:18:49,438 SO, I'M GONNA BRING KONG BACK TO LIFE NEXT YEAR, CHRISTMASTIME. I'M GONNA BRING BACK KONG II, 490 00:18:49,462 --> 00:18:50,539 LIFE NEXT YEAR, CHRISTMASTIME. I'M GONNA BRING BACK KONG II, KONG III. 491 00:18:50,563 --> 00:18:53,509 I'M GONNA BRING BACK KONG II, KONG III. WE'RE GONNA HAVE HONG KONG KONG. 492 00:18:53,533 --> 00:18:54,710 KONG III. WE'RE GONNA HAVE HONG KONG KONG. IT'S GONNA BE LIKE A BRUCE LEE 493 00:18:54,734 --> 00:18:55,377 WE'RE GONNA HAVE HONG KONG KONG. IT'S GONNA BE LIKE A BRUCE LEE TYPE OF THING. 494 00:18:55,401 --> 00:18:56,545 IT'S GONNA BE LIKE A BRUCE LEE TYPE OF THING. IT'S GONNA BE LIKE A MARTIAL 495 00:18:56,569 --> 00:18:56,878 TYPE OF THING. IT'S GONNA BE LIKE A MARTIAL ARTS. 496 00:18:56,902 --> 00:18:58,114 IT'S GONNA BE LIKE A MARTIAL ARTS. WE SENT OUR RESEARCHERS OUT 497 00:18:58,138 --> 00:18:59,014 ARTS. WE SENT OUR RESEARCHERS OUT TO MASSAGE PARLORS IN 498 00:18:59,038 --> 00:19:00,216 WE SENT OUR RESEARCHERS OUT TO MASSAGE PARLORS IN NEW YORK CITY, AND WE'RE GONNA 499 00:19:00,240 --> 00:19:01,417 TO MASSAGE PARLORS IN NEW YORK CITY, AND WE'RE GONNA SET ONE UP IN THE STUDIO HERE 500 00:19:01,441 --> 00:19:01,750 NEW YORK CITY, AND WE'RE GONNA SET ONE UP IN THE STUDIO HERE NEXT. 501 00:19:01,774 --> 00:19:02,951 SET ONE UP IN THE STUDIO HERE NEXT. BRUCE McKAY'S DOING IT, AND, SO, 502 00:19:02,975 --> 00:19:04,019 NEXT. BRUCE McKAY'S DOING IT, AND, SO, I WANT YOU TO TUNE IN FOR THAT. 503 00:19:04,043 --> 00:19:07,956 BRUCE McKAY'S DOING IT, AND, SO, I WANT YOU TO TUNE IN FOR THAT. GOOD NIGHT, EVERYBODY. 504 00:19:07,980 --> 00:19:11,215 I WANT YOU TO TUNE IN FOR THAT. GOOD NIGHT, EVERYBODY. [SPEAKING INDISTINCTLY] 505 00:19:18,757 --> 00:19:26,757 LADIES AND GENTLEMEN AND ALL THE REST OF US, NEXT, MY FRIEND, THE WONDERFUL CHUCK BERRY. 506 00:19:29,569 --> 00:19:31,147 THE REST OF US, NEXT, MY FRIEND, THE WONDERFUL CHUCK BERRY. [INTRODUCTION TO 507 00:19:31,171 --> 00:19:33,811 THE WONDERFUL CHUCK BERRY. [INTRODUCTION TO "JOHNNY B. GOODE" PLAYS] 508 00:19:47,419 --> 00:19:52,134 ♪ DEEP DOWN IN LOUISIANA CLOSE TO NEW ORLEANS ♪ ♪ WAY BACK UP IN THE WOODS AMONG 509 00:19:52,158 --> 00:19:53,235 CLOSE TO NEW ORLEANS ♪ ♪ WAY BACK UP IN THE WOODS AMONG THE EVERGREENS ♪ 510 00:19:53,259 --> 00:19:54,870 ♪ WAY BACK UP IN THE WOODS AMONG THE EVERGREENS ♪ ♪ THERE STOOD A LOG CABIN MADE 511 00:19:54,894 --> 00:19:56,438 THE EVERGREENS ♪ ♪ THERE STOOD A LOG CABIN MADE OF EARTH AND WOOD ♪ 512 00:19:56,462 --> 00:19:57,906 ♪ THERE STOOD A LOG CABIN MADE OF EARTH AND WOOD ♪ ♪ WHERE LIVED A COUNTRY BOY 513 00:19:57,930 --> 00:19:59,375 OF EARTH AND WOOD ♪ ♪ WHERE LIVED A COUNTRY BOY NAMED JOHNNY B. GOODE ♪ 514 00:19:59,399 --> 00:20:01,109 ♪ WHERE LIVED A COUNTRY BOY NAMED JOHNNY B. GOODE ♪ ♪ WHO'D NEVER EVER LEARNED TO 515 00:20:01,133 --> 00:20:02,478 NAMED JOHNNY B. GOODE ♪ ♪ WHO'D NEVER EVER LEARNED TO READ OR WRITE SO WELL ♪ 516 00:20:02,502 --> 00:20:03,945 ♪ WHO'D NEVER EVER LEARNED TO READ OR WRITE SO WELL ♪ ♪ BUT HE COULD PLAY A GUITAR 517 00:20:03,969 --> 00:20:05,347 READ OR WRITE SO WELL ♪ ♪ BUT HE COULD PLAY A GUITAR JUST LIKE A RINGIN' A BELL ♪ 518 00:20:05,371 --> 00:20:06,948 ♪ BUT HE COULD PLAY A GUITAR JUST LIKE A RINGIN' A BELL ♪ ♪ GO! GO! ♪ 519 00:20:06,972 --> 00:20:08,684 JUST LIKE A RINGIN' A BELL ♪ ♪ GO! GO! ♪ ♪ GO, JOHNNY, GO! ♪ 520 00:20:08,708 --> 00:20:09,685 ♪ GO! GO! ♪ ♪ GO, JOHNNY, GO! ♪ ♪ GO! GO! ♪ 521 00:20:09,709 --> 00:20:11,587 ♪ GO, JOHNNY, GO! ♪ ♪ GO! GO! ♪ ♪ GO, JOHNNY, GO! ♪ 522 00:20:11,611 --> 00:20:13,255 ♪ GO! GO! ♪ ♪ GO, JOHNNY, GO! ♪ ♪ GO! ♪ 523 00:20:13,279 --> 00:20:17,293 ♪ GO, JOHNNY, GO! ♪ ♪ GO! ♪ ♪ GO! GO! GO! GO! ♪ 524 00:20:17,317 --> 00:20:20,128 ♪ GO! ♪ ♪ GO! GO! GO! GO! ♪ ♪ I SAID, GO, GO, GO! ♪ 525 00:20:20,152 --> 00:20:23,465 ♪ GO! GO! GO! GO! ♪ ♪ I SAID, GO, GO, GO! ♪ ♪ JOHNNY B. GOODE ♪ 526 00:20:23,489 --> 00:20:25,301 ♪ I SAID, GO, GO, GO! ♪ ♪ JOHNNY B. GOODE ♪ ♪ HE USED TO CARRY HIS GUITAR IN 527 00:20:25,325 --> 00:20:26,669 ♪ JOHNNY B. GOODE ♪ ♪ HE USED TO CARRY HIS GUITAR IN A GUNNY SACK ♪ 528 00:20:26,693 --> 00:20:28,604 ♪ HE USED TO CARRY HIS GUITAR IN A GUNNY SACK ♪ ♪ GO SIT BENEATH THE TREE BY THE 529 00:20:28,628 --> 00:20:29,672 A GUNNY SACK ♪ ♪ GO SIT BENEATH THE TREE BY THE RAILROAD TRACK ♪ 530 00:20:29,696 --> 00:20:31,307 ♪ GO SIT BENEATH THE TREE BY THE RAILROAD TRACK ♪ ♪ OLD ENGINEERS WOULD SEE HIM 531 00:20:31,331 --> 00:20:32,708 RAILROAD TRACK ♪ ♪ OLD ENGINEERS WOULD SEE HIM SITTIN' IN THE SHADE ♪ 532 00:20:32,732 --> 00:20:34,543 ♪ OLD ENGINEERS WOULD SEE HIM SITTIN' IN THE SHADE ♪ ♪ STRUMMIN' WITH THE RHYTHM THAT 533 00:20:34,567 --> 00:20:35,711 SITTIN' IN THE SHADE ♪ ♪ STRUMMIN' WITH THE RHYTHM THAT THE DRIVERS MADE ♪ 534 00:20:35,735 --> 00:20:37,446 ♪ STRUMMIN' WITH THE RHYTHM THAT THE DRIVERS MADE ♪ ♪ THE PEOPLE PASSED HIM BY ♪ 535 00:20:37,470 --> 00:20:38,747 THE DRIVERS MADE ♪ ♪ THE PEOPLE PASSED HIM BY ♪ ♪ THEY WOULD STOP AND SAY, 536 00:20:38,771 --> 00:20:39,515 ♪ THE PEOPLE PASSED HIM BY ♪ ♪ THEY WOULD STOP AND SAY, "OH, MY" ♪ 537 00:20:39,539 --> 00:20:40,949 ♪ THEY WOULD STOP AND SAY, "OH, MY" ♪ ♪ BUT THAT LITTLE COUNTRY BOY 538 00:20:40,973 --> 00:20:41,750 "OH, MY" ♪ ♪ BUT THAT LITTLE COUNTRY BOY COULD PLAY ♪ 539 00:20:41,774 --> 00:20:43,519 ♪ BUT THAT LITTLE COUNTRY BOY COULD PLAY ♪ ♪ GO! GO! ♪ 540 00:20:43,543 --> 00:20:45,221 COULD PLAY ♪ ♪ GO! GO! ♪ ♪ GO! ♪ 541 00:20:45,245 --> 00:20:46,855 ♪ GO! GO! ♪ ♪ GO! ♪ ♪ GO! ♪ 542 00:20:46,879 --> 00:20:48,290 ♪ GO! ♪ ♪ GO! ♪ ♪ GO! ♪ 543 00:20:48,314 --> 00:20:49,825 ♪ GO! ♪ ♪ GO! ♪ ♪ GO! ♪ 544 00:20:49,849 --> 00:20:51,126 ♪ GO! ♪ ♪ GO! ♪ ♪ GO! ♪ 545 00:20:51,150 --> 00:20:52,761 ♪ GO! ♪ ♪ GO! ♪ ♪ I SAID, GO! ♪ 546 00:20:52,785 --> 00:20:54,062 ♪ GO! ♪ ♪ I SAID, GO! ♪ ♪ GO! ♪ 547 00:20:54,086 --> 00:20:56,699 ♪ I SAID, GO! ♪ ♪ GO! ♪ ♪ I SAID, GO, GO, GO! ♪ 548 00:20:56,723 --> 00:20:58,367 ♪ GO! ♪ ♪ I SAID, GO, GO, GO! ♪ ♪ JOHNNY B. GOODE ♪ 549 00:20:58,391 --> 00:21:00,269 ♪ I SAID, GO, GO, GO! ♪ ♪ JOHNNY B. GOODE ♪ LOOK OUT NOW. LET'S GET ONE. 550 00:21:00,293 --> 00:21:06,942 ♪ JOHNNY B. GOODE ♪ LOOK OUT NOW. LET'S GET ONE. [GUITAR SOLO] 551 00:21:06,966 --> 00:21:09,044 LOOK OUT NOW. LET'S GET ONE. [GUITAR SOLO] [BAND PLAYS] 552 00:21:09,068 --> 00:21:17,068 [GUITAR SOLO] [BAND PLAYS] [CHEERS AND APPLAUSE] 553 00:21:18,711 --> 00:21:25,127 [BAND PLAYS] [CHEERS AND APPLAUSE] [GUITAR SOLO] 554 00:21:25,151 --> 00:21:27,084 [CHEERS AND APPLAUSE] [GUITAR SOLO] [BAND PLAYS] 555 00:21:37,061 --> 00:21:42,144 ♪ YOU KNOW HIS MOTHER TOLD HIM, "SOMEDAY YOU WILL BE A MAN, AND YOU WILL BE THE LEADER OF A BIG 556 00:21:42,168 --> 00:21:43,245 "SOMEDAY YOU WILL BE A MAN, AND YOU WILL BE THE LEADER OF A BIG OLD BAND" ♪ 557 00:21:43,269 --> 00:21:45,414 YOU WILL BE THE LEADER OF A BIG OLD BAND" ♪ ♪ "MANY PEOPLE COMIN' FROM MILES 558 00:21:45,438 --> 00:21:47,383 OLD BAND" ♪ ♪ "MANY PEOPLE COMIN' FROM MILES AROUND TO HEAR YOU PLAY YOUR 559 00:21:47,407 --> 00:21:49,251 ♪ "MANY PEOPLE COMIN' FROM MILES AROUND TO HEAR YOU PLAY YOUR MUSIC WHEN THE SUN GOES DOWN" ♪ 560 00:21:49,275 --> 00:21:51,052 AROUND TO HEAR YOU PLAY YOUR MUSIC WHEN THE SUN GOES DOWN" ♪ ♪ MAYBE SOMEDAY YOUR NAME WILL 561 00:21:51,076 --> 00:21:52,621 MUSIC WHEN THE SUN GOES DOWN" ♪ ♪ MAYBE SOMEDAY YOUR NAME WILL BE IN LIGHTS, SAYIN' 562 00:21:52,645 --> 00:21:54,490 ♪ MAYBE SOMEDAY YOUR NAME WILL BE IN LIGHTS, SAYIN' 'JOHNNY B. GOODE TONIGHT'" ♪ 563 00:21:54,514 --> 00:21:55,424 BE IN LIGHTS, SAYIN' 'JOHNNY B. GOODE TONIGHT'" ♪ ♪ GO! GO! ♪ 564 00:21:55,448 --> 00:21:56,592 'JOHNNY B. GOODE TONIGHT'" ♪ ♪ GO! GO! ♪ ♪ GO! ♪ 565 00:21:56,616 --> 00:21:57,859 ♪ GO! GO! ♪ ♪ GO! ♪ ♪ I SAID, GO! ♪ 566 00:21:57,883 --> 00:21:59,728 ♪ GO! ♪ ♪ I SAID, GO! ♪ ♪ I SAID, GO! ♪ 567 00:21:59,752 --> 00:22:01,263 ♪ I SAID, GO! ♪ ♪ I SAID, GO! ♪ ♪ I SAID, GO! ♪ 568 00:22:01,287 --> 00:22:03,198 ♪ I SAID, GO! ♪ ♪ I SAID, GO! ♪ ♪ I SAID, GO! ♪ 569 00:22:03,222 --> 00:22:04,866 ♪ I SAID, GO! ♪ ♪ I SAID, GO! ♪ ♪ GO! ♪ 570 00:22:04,890 --> 00:22:06,802 ♪ I SAID, GO! ♪ ♪ GO! ♪ ♪ GO! ♪ 571 00:22:06,826 --> 00:22:09,871 ♪ GO! ♪ ♪ GO! ♪ ♪ GO, GO, GO! ♪ 572 00:22:09,895 --> 00:22:12,408 ♪ GO! ♪ ♪ GO, GO, GO! ♪ ♪ JOHNNY B. GOODE ♪ 573 00:22:12,432 --> 00:22:14,710 ♪ GO, GO, GO! ♪ ♪ JOHNNY B. GOODE ♪ ♪ BA BA BA BA ♪ 574 00:22:14,734 --> 00:22:19,682 ♪ JOHNNY B. GOODE ♪ ♪ BA BA BA BA ♪ [SONG CONCLUDES] 575 00:22:19,706 --> 00:22:22,072 ♪ BA BA BA BA ♪ [SONG CONCLUDES] [CHEERS AND APPLAUSE] 576 00:22:31,149 --> 00:22:34,618 Announcer: AND NOW "WEEKEND UPDATE" WITH JANE CURTIN. 577 00:22:50,669 --> 00:22:56,752 OUR TOP STORY TONIGHT... SHARING A TOUCHING MOMENT FOR THE CAMERAS, A DEJECTED 578 00:22:56,776 --> 00:22:58,487 SHARING A TOUCHING MOMENT FOR THE CAMERAS, A DEJECTED GERALD FORD WAS CONSOLED BY 579 00:22:58,511 --> 00:23:00,356 THE CAMERAS, A DEJECTED GERALD FORD WAS CONSOLED BY BETTY FORD AS HE REVEALED HIS 580 00:23:00,380 --> 00:23:02,123 GERALD FORD WAS CONSOLED BY BETTY FORD AS HE REVEALED HIS EMOTIONS ON HIS LAST DAY IN 581 00:23:02,147 --> 00:23:02,725 BETTY FORD AS HE REVEALED HIS EMOTIONS ON HIS LAST DAY IN OFFICE. 582 00:23:02,749 --> 00:23:04,593 EMOTIONS ON HIS LAST DAY IN OFFICE. A MOMENT LATER, AS THE PRESIDENT 583 00:23:04,617 --> 00:23:06,462 OFFICE. A MOMENT LATER, AS THE PRESIDENT TURNED AWAY TO HIDE HIS TEARS, 584 00:23:06,486 --> 00:23:08,296 A MOMENT LATER, AS THE PRESIDENT TURNED AWAY TO HIDE HIS TEARS, BETTY ONCE AGAIN DEMONSTRATED 585 00:23:08,320 --> 00:23:09,631 TURNED AWAY TO HIDE HIS TEARS, BETTY ONCE AGAIN DEMONSTRATED HER SENSE OF HUMOR BY HAVING A 586 00:23:09,655 --> 00:23:14,102 BETTY ONCE AGAIN DEMONSTRATED HER SENSE OF HUMOR BY HAVING A GOOD LAUGH BEHIND HIS BACK. 587 00:23:14,126 --> 00:23:15,471 HER SENSE OF HUMOR BY HAVING A GOOD LAUGH BEHIND HIS BACK. WHILE AT THE INAUGURAL BALL 588 00:23:15,495 --> 00:23:16,638 GOOD LAUGH BEHIND HIS BACK. WHILE AT THE INAUGURAL BALL THURSDAY NIGHT, IT WAS 589 00:23:16,662 --> 00:23:18,206 WHILE AT THE INAUGURAL BALL THURSDAY NIGHT, IT WAS JIMMY CARTER WHO STOLE THE SHOW 590 00:23:18,230 --> 00:23:19,742 THURSDAY NIGHT, IT WAS JIMMY CARTER WHO STOLE THE SHOW WHEN HE DID A VENTRILOQUIST ACT 591 00:23:19,766 --> 00:23:21,209 JIMMY CARTER WHO STOLE THE SHOW WHEN HE DID A VENTRILOQUIST ACT WITH A DUMMY THAT LOOKED JUST 592 00:23:21,233 --> 00:23:24,646 WHEN HE DID A VENTRILOQUIST ACT WITH A DUMMY THAT LOOKED JUST LIKE HIS DAUGHTER AMY. 593 00:23:24,670 --> 00:23:26,482 WITH A DUMMY THAT LOOKED JUST LIKE HIS DAUGHTER AMY. AND NOW WITH MORE NEWS ABOUT 594 00:23:26,506 --> 00:23:28,250 LIKE HIS DAUGHTER AMY. AND NOW WITH MORE NEWS ABOUT THE RECENT NEW ADMINISTRATION, 595 00:23:28,274 --> 00:23:29,585 AND NOW WITH MORE NEWS ABOUT THE RECENT NEW ADMINISTRATION, HERE IS CORRESPONDENT 596 00:23:29,609 --> 00:23:30,652 THE RECENT NEW ADMINISTRATION, HERE IS CORRESPONDENT LARAINE NEWMAN. 597 00:23:30,676 --> 00:23:32,436 HERE IS CORRESPONDENT LARAINE NEWMAN. LARAINE? 598 00:23:32,544 --> 00:23:33,611 THANK YOU, JANE. 599 00:23:33,745 --> 00:23:35,679 I'M TALKING WITH LILLIAN CARTER, 600 00:23:35,814 --> 00:23:37,882 THE MOTHER OF OUR NEW PRESIDENT. 601 00:23:38,016 --> 00:23:40,083 MISS LILLY, WHAT'S IT LIKE TO BE 602 00:23:40,218 --> 00:23:41,685 THE NEW FIRST MOTHER? 603 00:23:41,953 --> 00:23:48,737 OH, IT'S JUST WONDERFUL! IT TRULY IS. EVERYONE IS SO NICE TO ME, 604 00:23:48,761 --> 00:23:49,872 IT TRULY IS. EVERYONE IS SO NICE TO ME, ESPECIALLY JIMMY. 605 00:23:49,896 --> 00:23:51,607 EVERYONE IS SO NICE TO ME, ESPECIALLY JIMMY. YOU KNOW, WHEN HE WAS JUST A 606 00:23:51,631 --> 00:23:53,074 ESPECIALLY JIMMY. YOU KNOW, WHEN HE WAS JUST A LITTLE BOY, I TOLD HIM, 607 00:23:53,098 --> 00:23:55,143 YOU KNOW, WHEN HE WAS JUST A LITTLE BOY, I TOLD HIM, "JIMMY..." I ALWAYS CALLED HIM 608 00:23:55,167 --> 00:23:56,978 LITTLE BOY, I TOLD HIM, "JIMMY..." I ALWAYS CALLED HIM JIMMY, EVER SINCE HE WAS A 609 00:23:57,002 --> 00:23:57,913 "JIMMY..." I ALWAYS CALLED HIM JIMMY, EVER SINCE HE WAS A LITTLE BOY. 610 00:23:57,937 --> 00:24:00,849 JIMMY, EVER SINCE HE WAS A LITTLE BOY. AND THAT IS WHY I WAS SO HAPPY 611 00:24:00,873 --> 00:24:02,317 LITTLE BOY. AND THAT IS WHY I WAS SO HAPPY WHEN HE KEPT JIMMY. 612 00:24:02,341 --> 00:24:04,319 AND THAT IS WHY I WAS SO HAPPY WHEN HE KEPT JIMMY. UH, YOU MEAN THAT WHEN HE 613 00:24:04,343 --> 00:24:05,587 WHEN HE KEPT JIMMY. UH, YOU MEAN THAT WHEN HE TOOK THE OATH OF OFFICE AS 614 00:24:05,611 --> 00:24:06,622 UH, YOU MEAN THAT WHEN HE TOOK THE OATH OF OFFICE AS JIMMY CARTER INSTEAD OF 615 00:24:06,646 --> 00:24:08,023 TOOK THE OATH OF OFFICE AS JIMMY CARTER INSTEAD OF JAMES EARL CARTER, YOU WERE GLAD 616 00:24:08,047 --> 00:24:08,757 JIMMY CARTER INSTEAD OF JAMES EARL CARTER, YOU WERE GLAD ABOUT THAT? 617 00:24:08,781 --> 00:24:09,758 JAMES EARL CARTER, YOU WERE GLAD ABOUT THAT? THAT'S RIGHT. 618 00:24:09,782 --> 00:24:11,760 ABOUT THAT? THAT'S RIGHT. AND, LIKE I WAS SAYING, WHEN 619 00:24:11,784 --> 00:24:13,862 THAT'S RIGHT. AND, LIKE I WAS SAYING, WHEN JIMMY WAS A LITTLE BOY, I SAID 620 00:24:13,886 --> 00:24:15,997 AND, LIKE I WAS SAYING, WHEN JIMMY WAS A LITTLE BOY, I SAID TO HIM, "JIMMY, DON'T YOU EVER 621 00:24:16,021 --> 00:24:17,599 JIMMY WAS A LITTLE BOY, I SAID TO HIM, "JIMMY, DON'T YOU EVER TELL A LIE?" 622 00:24:17,623 --> 00:24:19,668 TO HIM, "JIMMY, DON'T YOU EVER TELL A LIE?" AND, YOU KNOW WHAT, HE JUST 623 00:24:19,692 --> 00:24:21,870 TELL A LIE?" AND, YOU KNOW WHAT, HE JUST LOOKED UP AT ME, AND HE SAID, 624 00:24:21,894 --> 00:24:24,272 AND, YOU KNOW WHAT, HE JUST LOOKED UP AT ME, AND HE SAID, "MAMA, I WON'T EVER TELL A LIE." 625 00:24:24,296 --> 00:24:27,309 LOOKED UP AT ME, AND HE SAID, "MAMA, I WON'T EVER TELL A LIE." WELL, WHEN DID YOU THINK YOUR 626 00:24:27,333 --> 00:24:29,945 "MAMA, I WON'T EVER TELL A LIE." WELL, WHEN DID YOU THINK YOUR SON MIGHT BECOME PRESIDENT? 627 00:24:29,969 --> 00:24:31,814 WELL, WHEN DID YOU THINK YOUR SON MIGHT BECOME PRESIDENT? IT WAS AT THAT VERY MOMENT. 628 00:24:31,838 --> 00:24:33,549 SON MIGHT BECOME PRESIDENT? IT WAS AT THAT VERY MOMENT. I SAID TO MYSELF, "LILLY..." 629 00:24:33,573 --> 00:24:35,050 IT WAS AT THAT VERY MOMENT. I SAID TO MYSELF, "LILLY..." UH, I NEVER CALL MYSELF 630 00:24:35,074 --> 00:24:36,418 I SAID TO MYSELF, "LILLY..." UH, I NEVER CALL MYSELF MISS LILLY, YOU KNOW. 631 00:24:36,442 --> 00:24:38,320 UH, I NEVER CALL MYSELF MISS LILLY, YOU KNOW. I SAID TO MYSELF, "LILLY, IF HE 632 00:24:38,344 --> 00:24:40,689 MISS LILLY, YOU KNOW. I SAID TO MYSELF, "LILLY, IF HE CAN SELL THAT CRAP TO HIS OWN 633 00:24:40,713 --> 00:24:43,058 I SAID TO MYSELF, "LILLY, IF HE CAN SELL THAT CRAP TO HIS OWN MOTHER, HE CAN MAKE EVERYBODY 634 00:24:43,082 --> 00:24:44,159 CAN SELL THAT CRAP TO HIS OWN MOTHER, HE CAN MAKE EVERYBODY BELIEVE IT." 635 00:24:44,183 --> 00:24:48,029 MOTHER, HE CAN MAKE EVERYBODY BELIEVE IT." BACK TO YOU, JANE. 636 00:24:48,053 --> 00:24:49,898 BELIEVE IT." BACK TO YOU, JANE. THE ENTIRE POPULATION OF 637 00:24:49,922 --> 00:24:52,033 BACK TO YOU, JANE. THE ENTIRE POPULATION OF PLAINS, GEORGIA, SPENT THE NIGHT 638 00:24:52,057 --> 00:24:54,002 THE ENTIRE POPULATION OF PLAINS, GEORGIA, SPENT THE NIGHT AFTER THE INAUGURATION IN THE 639 00:24:54,026 --> 00:24:55,203 PLAINS, GEORGIA, SPENT THE NIGHT AFTER THE INAUGURATION IN THE LINCOLN BEDROOM IN THE 640 00:24:55,227 --> 00:24:55,971 AFTER THE INAUGURATION IN THE LINCOLN BEDROOM IN THE WHITE HOUSE. 641 00:24:55,995 --> 00:24:57,506 LINCOLN BEDROOM IN THE WHITE HOUSE. IT IS REPORTED THAT THEY ALL 642 00:24:57,530 --> 00:24:59,174 WHITE HOUSE. IT IS REPORTED THAT THEY ALL SLEPT IN THE FAMOUS LINCOLN BED, 643 00:24:59,198 --> 00:25:01,242 IT IS REPORTED THAT THEY ALL SLEPT IN THE FAMOUS LINCOLN BED, EXCEPT BILLY CARTER WHO SLEPT 644 00:25:01,266 --> 00:25:02,110 SLEPT IN THE FAMOUS LINCOLN BED, EXCEPT BILLY CARTER WHO SLEPT UNDER IT. 645 00:25:02,134 --> 00:25:04,045 EXCEPT BILLY CARTER WHO SLEPT UNDER IT. REACTING TO THE EXPERIENCE, 646 00:25:04,069 --> 00:25:06,014 UNDER IT. REACTING TO THE EXPERIENCE, BILLY REPORTEDLY COMMENTED, 647 00:25:06,038 --> 00:25:12,253 REACTING TO THE EXPERIENCE, BILLY REPORTEDLY COMMENTED, QUOTE [BELCHES] END QUOTE. 648 00:25:12,277 --> 00:25:14,089 BILLY REPORTEDLY COMMENTED, QUOTE [BELCHES] END QUOTE. TRAGEDY THIS WEEK WHEN TWO 649 00:25:14,113 --> 00:25:16,024 QUOTE [BELCHES] END QUOTE. TRAGEDY THIS WEEK WHEN TWO MASKED MEN WIELDING SHOTGUNS 650 00:25:16,048 --> 00:25:18,226 TRAGEDY THIS WEEK WHEN TWO MASKED MEN WIELDING SHOTGUNS ENTERED A NEW YORK LUNCHEONETTE, 651 00:25:18,250 --> 00:25:19,528 MASKED MEN WIELDING SHOTGUNS ENTERED A NEW YORK LUNCHEONETTE, MADE THE PROPRIETOR AND 652 00:25:19,552 --> 00:25:21,096 ENTERED A NEW YORK LUNCHEONETTE, MADE THE PROPRIETOR AND CUSTOMERS STRIP NAKED AND LIE 653 00:25:21,120 --> 00:25:22,831 MADE THE PROPRIETOR AND CUSTOMERS STRIP NAKED AND LIE FACEDOWN ON THE FLOOR, KILLED AN 654 00:25:22,855 --> 00:25:24,332 CUSTOMERS STRIP NAKED AND LIE FACEDOWN ON THE FLOOR, KILLED AN INNOCENT BYSTANDER AND MADE OFF 655 00:25:24,356 --> 00:25:25,901 FACEDOWN ON THE FLOOR, KILLED AN INNOCENT BYSTANDER AND MADE OFF WITH TWO CUPS OF COFFEE THAT HAD 656 00:25:25,925 --> 00:25:28,203 INNOCENT BYSTANDER AND MADE OFF WITH TWO CUPS OF COFFEE THAT HAD A STREET VALUE OF $6,000. 657 00:25:28,227 --> 00:25:30,405 WITH TWO CUPS OF COFFEE THAT HAD A STREET VALUE OF $6,000. MORE ON THIS STORY AS IT 658 00:25:30,429 --> 00:25:32,674 A STREET VALUE OF $6,000. MORE ON THIS STORY AS IT DEVELOPS. 659 00:25:32,698 --> 00:25:34,275 MORE ON THIS STORY AS IT DEVELOPS. PRIME MINISTER INDIRA GANDHI 660 00:25:34,299 --> 00:25:35,611 DEVELOPS. PRIME MINISTER INDIRA GANDHI ANNOUNCED THAT INDIA'S 661 00:25:35,635 --> 00:25:37,312 PRIME MINISTER INDIRA GANDHI ANNOUNCED THAT INDIA'S LONG-AWAITED GENERAL ELECTIONS 662 00:25:37,336 --> 00:25:38,614 ANNOUNCED THAT INDIA'S LONG-AWAITED GENERAL ELECTIONS WILL BE HELD IN MARCH. 663 00:25:38,638 --> 00:25:39,948 LONG-AWAITED GENERAL ELECTIONS WILL BE HELD IN MARCH. THE PRIME MINISTER, WHO 664 00:25:39,972 --> 00:25:41,617 WILL BE HELD IN MARCH. THE PRIME MINISTER, WHO DESPOTICALLY IMPOSED PRESS AND 665 00:25:41,641 --> 00:25:43,118 THE PRIME MINISTER, WHO DESPOTICALLY IMPOSED PRESS AND DOMESTIC CENSORSHIP ON HER 666 00:25:43,142 --> 00:25:44,653 DESPOTICALLY IMPOSED PRESS AND DOMESTIC CENSORSHIP ON HER PEOPLE, FEELS THAT THIS IS 667 00:25:44,677 --> 00:25:46,254 DOMESTIC CENSORSHIP ON HER PEOPLE, FEELS THAT THIS IS IMPORTANT TO A DEMOCRACY AND 668 00:25:46,278 --> 00:25:48,123 PEOPLE, FEELS THAT THIS IS IMPORTANT TO A DEMOCRACY AND THAT THE ELECTIONS IN MARCH WILL 669 00:25:48,147 --> 00:25:49,958 IMPORTANT TO A DEMOCRACY AND THAT THE ELECTIONS IN MARCH WILL MARK A DAWN OF A NEW DEMOCRATIC 670 00:25:49,982 --> 00:25:52,093 THAT THE ELECTIONS IN MARCH WILL MARK A DAWN OF A NEW DEMOCRATIC ERA FOR INDIA. 671 00:25:52,117 --> 00:25:53,629 MARK A DAWN OF A NEW DEMOCRATIC ERA FOR INDIA. OH, THIS BULLETIN JUST IN. 672 00:25:53,653 --> 00:25:55,864 ERA FOR INDIA. OH, THIS BULLETIN JUST IN. PRIME MINISTER INDIRA GANDHI HAS 673 00:25:55,888 --> 00:25:58,934 OH, THIS BULLETIN JUST IN. PRIME MINISTER INDIRA GANDHI HAS JUST ANNOUNCED... THAT SHE HAS 674 00:25:58,958 --> 00:26:00,736 PRIME MINISTER INDIRA GANDHI HAS JUST ANNOUNCED... THAT SHE HAS WON THE GENERAL ELECTION TO BE 675 00:26:00,760 --> 00:26:03,539 JUST ANNOUNCED... THAT SHE HAS WON THE GENERAL ELECTION TO BE HELD NEXT MARCH. 676 00:26:03,563 --> 00:26:05,674 WON THE GENERAL ELECTION TO BE HELD NEXT MARCH. STILL TO COME, ZERO MOSTEL BLOWS 677 00:26:05,698 --> 00:26:07,709 HELD NEXT MARCH. STILL TO COME, ZERO MOSTEL BLOWS JACK GILFORD'S NOSE AFTER THIS 678 00:26:07,733 --> 00:26:10,533 STILL TO COME, ZERO MOSTEL BLOWS JACK GILFORD'S NOSE AFTER THIS MESSAGE. 679 00:26:16,675 --> 00:26:19,320 CRAZY ERNIE! BOY, IS ERNIE CRAZY! HE'S BEEN AT IT AGAIN, FOLKS, 680 00:26:19,344 --> 00:26:20,622 BOY, IS ERNIE CRAZY! HE'S BEEN AT IT AGAIN, FOLKS, SLASHING PRICES SO LOW YOU WON'T 681 00:26:20,646 --> 00:26:21,189 HE'S BEEN AT IT AGAIN, FOLKS, SLASHING PRICES SO LOW YOU WON'T BELIEVE IT. 682 00:26:21,213 --> 00:26:22,490 SLASHING PRICES SO LOW YOU WON'T BELIEVE IT. SHOP AROUND THEN COME SEE FOR 683 00:26:22,514 --> 00:26:23,025 BELIEVE IT. SHOP AROUND THEN COME SEE FOR YOURSELF. 684 00:26:23,049 --> 00:26:24,092 SHOP AROUND THEN COME SEE FOR YOURSELF. CRAZY ERNIE WILL NOT BE 685 00:26:24,116 --> 00:26:24,660 YOURSELF. CRAZY ERNIE WILL NOT BE UNDERSOLD. 686 00:26:24,684 --> 00:26:26,028 CRAZY ERNIE WILL NOT BE UNDERSOLD. FOR THE BEST BARGAINS IN STEREO 687 00:26:26,052 --> 00:26:27,095 UNDERSOLD. FOR THE BEST BARGAINS IN STEREO EQUIPMENT, TVs, RADIOS, 688 00:26:27,119 --> 00:26:28,196 FOR THE BEST BARGAINS IN STEREO EQUIPMENT, TVs, RADIOS, CRAZY ERNIE IS YOUR MAN. 689 00:26:28,220 --> 00:26:30,098 EQUIPMENT, TVs, RADIOS, CRAZY ERNIE IS YOUR MAN. HE'S GOT IT ALL... COAX, WITH 690 00:26:30,122 --> 00:26:31,967 CRAZY ERNIE IS YOUR MAN. HE'S GOT IT ALL... COAX, WITH CUSTOM HEADPHONES, BETAMAX 691 00:26:31,991 --> 00:26:33,301 HE'S GOT IT ALL... COAX, WITH CUSTOM HEADPHONES, BETAMAX CHROME CLASSIC CASSETTE DECKS, 692 00:26:33,325 --> 00:26:34,536 CUSTOM HEADPHONES, BETAMAX CHROME CLASSIC CASSETTE DECKS, JAWS TRIPLE-X FLOOR-STANDING 693 00:26:34,560 --> 00:26:36,737 CHROME CLASSIC CASSETTE DECKS, JAWS TRIPLE-X FLOOR-STANDING SPEAKERS AND LOTS, LOTS MORE! 694 00:26:36,761 --> 00:26:38,328 CRAZY ERNIE... HIS PRICES ARE 695 00:26:38,463 --> 00:26:38,929 INSANE! 696 00:26:39,064 --> 00:26:40,598 HIS PRICES ARE INSANE BECAUSE 697 00:26:40,732 --> 00:26:42,232 CRAZY ERNIE IS REALLY CRAZY. 698 00:26:42,366 --> 00:26:43,934 AND I DON'T MEAN CRAZY PRICES 699 00:26:44,069 --> 00:26:44,501 CRAZY. 700 00:26:44,636 --> 00:26:46,236 I'M TALKING CRAZY "NOT PLAYING 701 00:26:46,370 --> 00:26:47,671 WITH A FULL DECK" CRAZY. 702 00:26:47,806 --> 00:26:48,906 I MEAN REALLY CRAZY. 703 00:26:49,040 --> 00:26:49,840 LOOK AT THIS. 704 00:26:49,975 --> 00:26:51,541 THIS TURNTABLE WITH FACE-LOCK 705 00:26:51,676 --> 00:26:53,276 CIRCUITRY AND DIRECTOR MOTOR 706 00:26:53,411 --> 00:26:54,979 DRIVE... $900 MARKED DOWN TO 707 00:26:55,113 --> 00:26:55,445 $12! 708 00:26:55,580 --> 00:26:57,347 AND THIS BRAND-NEW TELEVISION 709 00:26:57,482 --> 00:26:59,149 SET NOW YOURS FOR 52 CENTS. 710 00:26:59,283 --> 00:27:01,184 AND WHY IS CRAZY ERNIE SLASHING 711 00:27:01,319 --> 00:27:02,319 PRICES SO LOW? 712 00:27:02,386 --> 00:27:04,354 BECAUSE IT'S NOT CRAZY ERNIE'S 713 00:27:04,489 --> 00:27:04,989 STORE! 714 00:27:05,123 --> 00:27:06,624 In fact, he's not even 715 00:27:06,758 --> 00:27:07,625 Crazy Ernie. 716 00:27:07,759 --> 00:27:08,970 He's Crazy Frank, Crazy Ernie's 717 00:27:08,994 --> 00:27:09,259 cousin. 718 00:27:09,393 --> 00:27:10,605 You see, last Tuesday, the real 719 00:27:10,629 --> 00:27:11,862 Crazy Ernie, whose store this 720 00:27:11,997 --> 00:27:13,063 really is, ran off to the 721 00:27:13,197 --> 00:27:14,531 Bahamas with Crazy Frank's girl. 722 00:27:14,666 --> 00:27:16,033 TO TELL YOU THE TRUTH, I DON'T 723 00:27:16,167 --> 00:27:17,601 LIKE BEING LEFT ALONE WITH HIM. 724 00:27:17,736 --> 00:27:19,103 IF I HAD A SHOVEL OR SOMETHING 725 00:27:19,237 --> 00:27:20,504 TO STUN HIM WITH, YOU KNOW? 726 00:27:20,639 --> 00:27:21,805 YOU'D BE CRAZY NOT TO TAKE 727 00:27:21,940 --> 00:27:23,173 ADVANTAGE OF THESE BARGAINS. 728 00:27:23,307 --> 00:27:24,074 CASH IN ON THIS. 729 00:27:24,208 --> 00:27:25,575 CRAZY FRANK WANTS TO UNLOAD ALL 730 00:27:25,710 --> 00:27:27,077 THIS STUFF BY NEXT TUESDAY WHEN 731 00:27:27,211 --> 00:27:28,545 THE REAL CRAZY ERNIE GETS BACK 732 00:27:28,680 --> 00:27:29,446 FROM THE BAHAMAS. 733 00:27:29,580 --> 00:27:30,881 CRAZY FRANK... HIS PRICES ARE 734 00:27:31,016 --> 00:27:32,382 INSANE! 735 00:27:42,794 --> 00:27:48,043 WELL, IT DOESN'T HAPPEN VERY OFTEN, BUT "WEEKEND UPDATE" WOULD LIKE TO CORRECT A MISTAKE 736 00:27:48,067 --> 00:27:49,477 OFTEN, BUT "WEEKEND UPDATE" WOULD LIKE TO CORRECT A MISTAKE MADE IN ONE OF OUR NEWS ITEMS 737 00:27:49,501 --> 00:27:50,245 WOULD LIKE TO CORRECT A MISTAKE MADE IN ONE OF OUR NEWS ITEMS LAST WEEK. 738 00:27:50,269 --> 00:27:51,246 MADE IN ONE OF OUR NEWS ITEMS LAST WEEK. IN A PROFILE OF 739 00:27:51,270 --> 00:27:53,115 LAST WEEK. IN A PROFILE OF GENERAL WILLIAM C. WESTMORELAND, 740 00:27:53,139 --> 00:27:54,816 IN A PROFILE OF GENERAL WILLIAM C. WESTMORELAND, WE INADVERTENTLY REPORTED THAT 741 00:27:54,840 --> 00:27:56,417 GENERAL WILLIAM C. WESTMORELAND, WE INADVERTENTLY REPORTED THAT HE IS A MEMBER OF THE MANSON 742 00:27:56,441 --> 00:27:56,985 WE INADVERTENTLY REPORTED THAT HE IS A MEMBER OF THE MANSON FAMILY. 743 00:27:57,009 --> 00:28:01,089 HE IS A MEMBER OF THE MANSON FAMILY. WELL, WE STAND CORRECTED. 744 00:28:01,113 --> 00:28:02,991 FAMILY. WELL, WE STAND CORRECTED. AND NOW, WITH THIS WEEK'S 745 00:28:03,015 --> 00:28:05,127 WELL, WE STAND CORRECTED. AND NOW, WITH THIS WEEK'S EDITORIAL REPLY IS CORRESPONDENT 746 00:28:05,151 --> 00:28:07,362 AND NOW, WITH THIS WEEK'S EDITORIAL REPLY IS CORRESPONDENT EMILY LITELLA. 747 00:28:07,386 --> 00:28:09,898 EDITORIAL REPLY IS CORRESPONDENT EMILY LITELLA. HI. THANK YOU VERY MUCH, 748 00:28:09,922 --> 00:28:10,699 EMILY LITELLA. HI. THANK YOU VERY MUCH, JANE. 749 00:28:10,723 --> 00:28:11,933 HI. THANK YOU VERY MUCH, JANE. WHAT BRILLIANT TOPIC ARE YOU 750 00:28:11,957 --> 00:28:13,068 JANE. WHAT BRILLIANT TOPIC ARE YOU GOING TO COMMENT ON TONIGHT, 751 00:28:13,092 --> 00:28:14,335 WHAT BRILLIANT TOPIC ARE YOU GOING TO COMMENT ON TONIGHT, EMILY? 752 00:28:14,359 --> 00:28:16,437 GOING TO COMMENT ON TONIGHT, EMILY? NOTHING. 753 00:28:16,461 --> 00:28:17,539 EMILY? NOTHING. EXCUSE ME? 754 00:28:17,563 --> 00:28:19,574 NOTHING. EXCUSE ME? WELL, I COULDN'T THINK OF 755 00:28:19,598 --> 00:28:21,476 EXCUSE ME? WELL, I COULDN'T THINK OF ANYTHING TO SAY THIS WEEK. 756 00:28:21,500 --> 00:28:24,846 WELL, I COULDN'T THINK OF ANYTHING TO SAY THIS WEEK. I MEAN, NOTHING GOT MY GOAT. 757 00:28:24,870 --> 00:28:26,581 ANYTHING TO SAY THIS WEEK. I MEAN, NOTHING GOT MY GOAT. MISS LITELLA, LET'S GET 758 00:28:26,605 --> 00:28:27,949 I MEAN, NOTHING GOT MY GOAT. MISS LITELLA, LET'S GET SOMETHING STRAIGHT. 759 00:28:27,973 --> 00:28:29,918 MISS LITELLA, LET'S GET SOMETHING STRAIGHT. BEING A NEWSCASTER GOES BEYOND 760 00:28:29,942 --> 00:28:31,019 SOMETHING STRAIGHT. BEING A NEWSCASTER GOES BEYOND PERSONAL FEELINGS. 761 00:28:31,043 --> 00:28:32,320 BEING A NEWSCASTER GOES BEYOND PERSONAL FEELINGS. YOU HAVE A JOURNALISTIC 762 00:28:32,344 --> 00:28:33,989 PERSONAL FEELINGS. YOU HAVE A JOURNALISTIC RESPONSIBILITY TO THIS STATION 763 00:28:34,013 --> 00:28:37,059 YOU HAVE A JOURNALISTIC RESPONSIBILITY TO THIS STATION AND TO THE PEOPLE WHO WATCH IT. 764 00:28:37,083 --> 00:28:39,027 RESPONSIBILITY TO THIS STATION AND TO THE PEOPLE WHO WATCH IT. WELL, UH, MISS CURTIN, IN MY 765 00:28:39,051 --> 00:28:40,862 AND TO THE PEOPLE WHO WATCH IT. WELL, UH, MISS CURTIN, IN MY OPINION, THERE'S VERY LITTLE 766 00:28:40,886 --> 00:28:42,530 WELL, UH, MISS CURTIN, IN MY OPINION, THERE'S VERY LITTLE HAPPENING. 767 00:28:42,554 --> 00:28:43,865 OPINION, THERE'S VERY LITTLE HAPPENING. JUST PICK UP A NEWSPAPER! 768 00:28:43,889 --> 00:28:45,033 HAPPENING. JUST PICK UP A NEWSPAPER! FRANCE JUST GOT RID OF A 769 00:28:45,057 --> 00:28:45,567 JUST PICK UP A NEWSPAPER! FRANCE JUST GOT RID OF A TERRORIST. 770 00:28:45,591 --> 00:28:46,534 FRANCE JUST GOT RID OF A TERRORIST. WE JUST HAD ELECTIONS. 771 00:28:46,558 --> 00:28:49,004 TERRORIST. WE JUST HAD ELECTIONS. I WAS JUST... 772 00:28:49,028 --> 00:28:50,706 WE JUST HAD ELECTIONS. I WAS JUST... YOU'RE VERY IRRESPONSIBLE, 773 00:28:50,730 --> 00:28:52,407 I WAS JUST... YOU'RE VERY IRRESPONSIBLE, MISS LITELLA, AND, AS A MATTER 774 00:28:52,431 --> 00:28:54,109 YOU'RE VERY IRRESPONSIBLE, MISS LITELLA, AND, AS A MATTER OF FACT, IF IT WERE UP TO ME, 775 00:28:54,133 --> 00:28:55,944 MISS LITELLA, AND, AS A MATTER OF FACT, IF IT WERE UP TO ME, YOU WOULDN'T HAVE THIS JOB RIGHT 776 00:28:55,968 --> 00:28:56,411 OF FACT, IF IT WERE UP TO ME, YOU WOULDN'T HAVE THIS JOB RIGHT NOW. 777 00:28:56,435 --> 00:28:57,746 YOU WOULDN'T HAVE THIS JOB RIGHT NOW. YOU'RE NOT FIT TO BE A 778 00:28:57,770 --> 00:28:58,747 NOW. YOU'RE NOT FIT TO BE A NEWSCASTER. 779 00:28:58,771 --> 00:29:00,882 YOU'RE NOT FIT TO BE A NEWSCASTER. OH, DEAR, WELL, THERE'S NO 780 00:29:00,906 --> 00:29:02,584 NEWSCASTER. OH, DEAR, WELL, THERE'S NO REASON TO BE SO UPSET. 781 00:29:02,608 --> 00:29:04,652 OH, DEAR, WELL, THERE'S NO REASON TO BE SO UPSET. I MEAN, YOU SEEM VERY CRANKY 782 00:29:04,676 --> 00:29:05,653 REASON TO BE SO UPSET. I MEAN, YOU SEEM VERY CRANKY TONIGHT. 783 00:29:05,677 --> 00:29:07,723 I MEAN, YOU SEEM VERY CRANKY TONIGHT. IS IT THAT TIME, DEAR? 784 00:29:07,747 --> 00:29:08,824 TONIGHT. IS IT THAT TIME, DEAR? NO, IT IS NOT. 785 00:29:08,848 --> 00:29:10,692 IS IT THAT TIME, DEAR? NO, IT IS NOT. AND IF IT WAS, IT WOULD BE NONE 786 00:29:10,716 --> 00:29:15,130 NO, IT IS NOT. AND IF IT WAS, IT WOULD BE NONE OF YOUR BUSINESS, ANYWAY. 787 00:29:15,154 --> 00:29:16,765 AND IF IT WAS, IT WOULD BE NONE OF YOUR BUSINESS, ANYWAY. MISS LITELLA, I THINK WE'VE 788 00:29:16,789 --> 00:29:18,533 OF YOUR BUSINESS, ANYWAY. MISS LITELLA, I THINK WE'VE SPENT ENOUGH AIRTIME WITH THIS 789 00:29:18,557 --> 00:29:20,869 MISS LITELLA, I THINK WE'VE SPENT ENOUGH AIRTIME WITH THIS ISSUE, AND I JUST THINK THAT YOU 790 00:29:20,893 --> 00:29:23,071 SPENT ENOUGH AIRTIME WITH THIS ISSUE, AND I JUST THINK THAT YOU SHOULD, FROM NOW ON, TRY TO DO 791 00:29:23,095 --> 00:29:24,339 ISSUE, AND I JUST THINK THAT YOU SHOULD, FROM NOW ON, TRY TO DO YOUR BEST, OKAY? 792 00:29:24,363 --> 00:29:26,574 SHOULD, FROM NOW ON, TRY TO DO YOUR BEST, OKAY? OH, YES, DEAR, I'M VERY, VERY 793 00:29:26,598 --> 00:29:28,810 YOUR BEST, OKAY? OH, YES, DEAR, I'M VERY, VERY SORRY, AND I PROMISE FROM NOW ON 794 00:29:28,834 --> 00:29:30,145 OH, YES, DEAR, I'M VERY, VERY SORRY, AND I PROMISE FROM NOW ON I WILL DO MY BEST. 795 00:29:30,169 --> 00:29:31,512 SORRY, AND I PROMISE FROM NOW ON I WILL DO MY BEST. SEE THAT YOU DO. 796 00:29:31,536 --> 00:29:37,052 I WILL DO MY BEST. SEE THAT YOU DO. BITCH. 797 00:29:37,076 --> 00:29:38,153 SEE THAT YOU DO. BITCH. WELL, THAT'S THE NEWS. 798 00:29:38,177 --> 00:29:39,420 BITCH. WELL, THAT'S THE NEWS. GOOD NIGHT AND HAVE A PLEASANT 799 00:29:39,444 --> 00:29:42,004 WELL, THAT'S THE NEWS. GOOD NIGHT AND HAVE A PLEASANT TOMORROW. 800 00:29:48,419 --> 00:29:53,835 AND NOW, LIKE, HERE'S THIS WEEK'S FILM BY GARY WEIS. IT'S ABOUT A GIRL I USED TO 801 00:29:53,859 --> 00:29:54,402 WEEK'S FILM BY GARY WEIS. IT'S ABOUT A GIRL I USED TO KNOW. 802 00:29:54,426 --> 00:29:57,272 IT'S ABOUT A GIRL I USED TO KNOW. YOU KNOW... WELL... I... WHEN I 803 00:29:57,296 --> 00:29:59,776 KNOW. YOU KNOW... WELL... I... WHEN I MET HER, UM... WHEN YOU... 804 00:30:06,704 --> 00:30:12,620 ♪ I WAS A LITTLE TOO TALL ♪ ♪ COULD'VE USED A FEW POUNDS ♪ ♪ TIGHT PANTS POINTS HARDLY 805 00:30:12,644 --> 00:30:14,455 ♪ COULD'VE USED A FEW POUNDS ♪ ♪ TIGHT PANTS POINTS HARDLY REKNOWN ♪ 806 00:30:14,479 --> 00:30:16,124 ♪ TIGHT PANTS POINTS HARDLY REKNOWN ♪ ♪ SHE WAS A BLACK-HAIRED BEAUTY 807 00:30:16,148 --> 00:30:18,559 REKNOWN ♪ ♪ SHE WAS A BLACK-HAIRED BEAUTY WITH BIG DARK EYES ♪ 808 00:30:18,583 --> 00:30:20,428 ♪ SHE WAS A BLACK-HAIRED BEAUTY WITH BIG DARK EYES ♪ ♪ AND POINTS ALL HER OWN SITTING 809 00:30:20,452 --> 00:30:26,902 WITH BIG DARK EYES ♪ ♪ AND POINTS ALL HER OWN SITTING WAY UP HIGH ♪ 810 00:30:26,926 --> 00:30:30,772 ♪ AND POINTS ALL HER OWN SITTING WAY UP HIGH ♪ ♪ WAY UP FIRM AND HIGH ♪ 811 00:30:30,796 --> 00:30:32,473 WAY UP HIGH ♪ ♪ WAY UP FIRM AND HIGH ♪ ♪ OUT PAST THE CORNFIELDS WHERE 812 00:30:32,497 --> 00:30:34,742 ♪ WAY UP FIRM AND HIGH ♪ ♪ OUT PAST THE CORNFIELDS WHERE THE WOODS GOT HEAVY ♪ 813 00:30:34,766 --> 00:30:36,711 ♪ OUT PAST THE CORNFIELDS WHERE THE WOODS GOT HEAVY ♪ ♪ OUT IN THE BACKSEAT OF MY '60 814 00:30:36,735 --> 00:30:38,313 THE WOODS GOT HEAVY ♪ ♪ OUT IN THE BACKSEAT OF MY '60 CHEVY ♪ 815 00:30:38,337 --> 00:30:40,448 ♪ OUT IN THE BACKSEAT OF MY '60 CHEVY ♪ ♪ WORKIN' ON MYSTERIES WITHOUT 816 00:30:40,472 --> 00:30:45,553 CHEVY ♪ ♪ WORKIN' ON MYSTERIES WITHOUT ANY CLUES ♪ 817 00:30:45,577 --> 00:30:49,424 ♪ WORKIN' ON MYSTERIES WITHOUT ANY CLUES ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ 818 00:30:49,448 --> 00:30:51,526 ANY CLUES ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ TRYIN' TO MAKE SOME FRONT-PAGE 819 00:30:51,550 --> 00:30:53,361 ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ TRYIN' TO MAKE SOME FRONT-PAGE DRIVE-IN NEWS ♪ 820 00:30:53,385 --> 00:30:59,734 ♪ TRYIN' TO MAKE SOME FRONT-PAGE DRIVE-IN NEWS ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ 821 00:30:59,758 --> 00:31:03,038 DRIVE-IN NEWS ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ IN THE SUMMERTIME ♪ 822 00:31:03,062 --> 00:31:06,908 ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ IN THE SUMMERTIME ♪ ♪ OOH ♪ 823 00:31:06,932 --> 00:31:14,850 ♪ IN THE SUMMERTIME ♪ ♪ OOH ♪ ♪ IN THE SWEET SUMMERTIME ♪ 824 00:31:14,874 --> 00:31:16,517 ♪ OOH ♪ ♪ IN THE SWEET SUMMERTIME ♪ ♪ WE WEREN'T IN LOVE ♪ 825 00:31:16,541 --> 00:31:18,887 ♪ IN THE SWEET SUMMERTIME ♪ ♪ WE WEREN'T IN LOVE ♪ ♪ OH, NO, FAR FROM IT ♪ 826 00:31:18,911 --> 00:31:20,021 ♪ WE WEREN'T IN LOVE ♪ ♪ OH, NO, FAR FROM IT ♪ ♪ WE WEREN'T SEARCHIN' FOR SOME 827 00:31:20,045 --> 00:31:22,357 ♪ OH, NO, FAR FROM IT ♪ ♪ WE WEREN'T SEARCHIN' FOR SOME PIE-IN-THE-SKY SUMMIT ♪ 828 00:31:22,381 --> 00:31:24,192 ♪ WE WEREN'T SEARCHIN' FOR SOME PIE-IN-THE-SKY SUMMIT ♪ ♪ WE WERE JUST YOUNG AND 829 00:31:24,216 --> 00:31:26,862 PIE-IN-THE-SKY SUMMIT ♪ ♪ WE WERE JUST YOUNG AND RESTLESS AND BORED ♪ 830 00:31:26,886 --> 00:31:29,998 ♪ WE WERE JUST YOUNG AND RESTLESS AND BORED ♪ ♪ LIVIN' BY THE SWORD ♪ 831 00:31:30,022 --> 00:31:32,700 RESTLESS AND BORED ♪ ♪ LIVIN' BY THE SWORD ♪ ♪ AND WE'D STEAL AWAY EVERY 832 00:31:32,724 --> 00:31:34,970 ♪ LIVIN' BY THE SWORD ♪ ♪ AND WE'D STEAL AWAY EVERY CHANCE WE COULD ♪ 833 00:31:34,994 --> 00:31:36,271 ♪ AND WE'D STEAL AWAY EVERY CHANCE WE COULD ♪ ♪ TO THE BACK ROOM, TO THE ALLEY 834 00:31:36,295 --> 00:31:38,874 CHANCE WE COULD ♪ ♪ TO THE BACK ROOM, TO THE ALLEY OR THE TRUSTY WOODS ♪ 835 00:31:38,898 --> 00:31:40,708 ♪ TO THE BACK ROOM, TO THE ALLEY OR THE TRUSTY WOODS ♪ ♪ I USED HER, SHE USED ME, 836 00:31:40,732 --> 00:31:42,878 OR THE TRUSTY WOODS ♪ ♪ I USED HER, SHE USED ME, BUT NEITHER ONE CARED ♪ 837 00:31:42,902 --> 00:31:45,213 ♪ I USED HER, SHE USED ME, BUT NEITHER ONE CARED ♪ ♪ WE WERE GETTIN' OUR SHARE ♪ 838 00:31:45,237 --> 00:31:49,351 BUT NEITHER ONE CARED ♪ ♪ WE WERE GETTIN' OUR SHARE ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ 839 00:31:49,375 --> 00:31:51,486 ♪ WE WERE GETTIN' OUR SHARE ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ TRYIN' TO LOSE THE AWKWARD 840 00:31:51,510 --> 00:31:53,454 ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ TRYIN' TO LOSE THE AWKWARD TEENAGE BLUES ♪ 841 00:31:53,478 --> 00:31:57,558 ♪ TRYIN' TO LOSE THE AWKWARD TEENAGE BLUES ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ 842 00:31:57,582 --> 00:31:59,494 TEENAGE BLUES ♪ ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ OOH ♪ 843 00:31:59,518 --> 00:32:04,099 ♪ WORKIN' ON OUR NIGHT MOVES ♪ ♪ OOH ♪ ♪ AND IT WAS SUMMERTIME ♪ 844 00:32:04,123 --> 00:32:06,501 ♪ OOH ♪ ♪ AND IT WAS SUMMERTIME ♪ ♪ OOH ♪ 845 00:32:06,525 --> 00:32:12,240 ♪ AND IT WAS SUMMERTIME ♪ ♪ OOH ♪ ♪ SWEET SUMMERTIME, SUMMERTIME ♪ 846 00:32:12,264 --> 00:32:14,864 ♪ OOH ♪ ♪ SWEET SUMMERTIME, SUMMERTIME ♪ [INSTRUMENTAL SOLO] 847 00:32:26,177 --> 00:32:34,177 ♪ NIGHT MOVES ♪ ♪ OOH ♪ ♪ NIGHT MOVES ♪ 848 00:32:34,619 --> 00:32:37,565 ♪ OOH ♪ ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ 849 00:32:37,589 --> 00:32:38,466 ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ 850 00:32:38,490 --> 00:32:41,369 ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ ♪ YEAH ♪ 851 00:32:41,393 --> 00:32:45,373 ♪ NIGHT MOVES ♪ ♪ YEAH ♪ ♪ NIGHT MOVES ♪ 852 00:32:45,397 --> 00:32:49,510 ♪ YEAH ♪ ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ 853 00:32:49,534 --> 00:32:53,548 ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ 854 00:32:53,572 --> 00:32:55,783 ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ 855 00:32:55,807 --> 00:32:58,753 ♪ NIGHT MOVES ♪ ♪ NIGHT MOVES ♪ ♪ WORKIN' AND PRACTICIN', OH, 856 00:32:58,777 --> 00:33:01,337 ♪ NIGHT MOVES ♪ ♪ WORKIN' AND PRACTICIN', OH, THE NIGHT MOVES ♪ 857 00:33:18,296 --> 00:33:22,477 HI. I'M CAPTAIN JOE PALANTINE OF THE GERIATRIC DIVISION OF A BIG POLICE DEPARTMENT IN A BIG 858 00:33:22,501 --> 00:33:23,611 OF THE GERIATRIC DIVISION OF A BIG POLICE DEPARTMENT IN A BIG CITY. 859 00:33:23,635 --> 00:33:24,679 BIG POLICE DEPARTMENT IN A BIG CITY. LET'S JUST CALL IT ANYTOWN, 860 00:33:24,703 --> 00:33:26,047 CITY. LET'S JUST CALL IT ANYTOWN, U.S.A. 861 00:33:26,071 --> 00:33:27,548 LET'S JUST CALL IT ANYTOWN, U.S.A. EVERY DAY IN THE ANYTOWN BUS 862 00:33:27,572 --> 00:33:28,984 U.S.A. EVERY DAY IN THE ANYTOWN BUS STATION, HUNDREDS OF FEMALE 863 00:33:29,008 --> 00:33:30,485 EVERY DAY IN THE ANYTOWN BUS STATION, HUNDREDS OF FEMALE RUNAWAYS ARRIVE, LOOKING FOR 864 00:33:30,509 --> 00:33:31,886 STATION, HUNDREDS OF FEMALE RUNAWAYS ARRIVE, LOOKING FOR ADVENTURE, EXCITEMENT, AND 865 00:33:31,910 --> 00:33:33,188 RUNAWAYS ARRIVE, LOOKING FOR ADVENTURE, EXCITEMENT, AND GLAMOUR IN THE BIG CITY. 866 00:33:33,212 --> 00:33:34,622 ADVENTURE, EXCITEMENT, AND GLAMOUR IN THE BIG CITY. INSTEAD, THEY FALL INTO THE 867 00:33:34,646 --> 00:33:36,124 GLAMOUR IN THE BIG CITY. INSTEAD, THEY FALL INTO THE MURKY WEB OF STREET HUSTLING, 868 00:33:36,148 --> 00:33:37,592 INSTEAD, THEY FALL INTO THE MURKY WEB OF STREET HUSTLING, TURNING TRICKS WITH JOHNS TO 869 00:33:37,616 --> 00:33:39,594 MURKY WEB OF STREET HUSTLING, TURNING TRICKS WITH JOHNS TO SUPPORT THEIR PIMPS. 870 00:33:39,618 --> 00:33:41,262 TURNING TRICKS WITH JOHNS TO SUPPORT THEIR PIMPS. NOT VERY PRETTY WORDS, ARE THEY? 871 00:33:41,286 --> 00:33:42,630 SUPPORT THEIR PIMPS. NOT VERY PRETTY WORDS, ARE THEY? SHOCKING AS IT MAY SEEM, A 872 00:33:42,654 --> 00:33:44,165 NOT VERY PRETTY WORDS, ARE THEY? SHOCKING AS IT MAY SEEM, A STEADILY INCREASING NUMBER OF 873 00:33:44,189 --> 00:33:45,733 SHOCKING AS IT MAY SEEM, A STEADILY INCREASING NUMBER OF THESE RUNAWAYS ARE AGED 65 AND 874 00:33:45,757 --> 00:33:47,035 STEADILY INCREASING NUMBER OF THESE RUNAWAYS ARE AGED 65 AND OVER. 875 00:33:47,059 --> 00:33:48,336 THESE RUNAWAYS ARE AGED 65 AND OVER. ONCE THEY'VE TURNED A TRICK WITH 876 00:33:48,360 --> 00:33:49,670 OVER. ONCE THEY'VE TURNED A TRICK WITH THEIR FIRST JOHN FOR THEIR PIMP, 877 00:33:49,694 --> 00:33:50,705 ONCE THEY'VE TURNED A TRICK WITH THEIR FIRST JOHN FOR THEIR PIMP, THEY SELDOM RETURN TO THE 878 00:33:50,729 --> 00:33:52,040 THEIR FIRST JOHN FOR THEIR PIMP, THEY SELDOM RETURN TO THE NURSING HOMES AND SENIOR CITIZEN 879 00:33:52,064 --> 00:33:53,274 THEY SELDOM RETURN TO THE NURSING HOMES AND SENIOR CITIZEN RETIREMENT VILLAGES FROM WHERE 880 00:33:53,298 --> 00:33:54,575 NURSING HOMES AND SENIOR CITIZEN RETIREMENT VILLAGES FROM WHERE THEY CAME. 881 00:33:54,599 --> 00:33:55,210 RETIREMENT VILLAGES FROM WHERE THEY CAME. WE ARREST THEM. 882 00:33:55,234 --> 00:33:56,277 THEY CAME. WE ARREST THEM. THEY BAIL THEIR WAY OUT WITH 883 00:33:56,301 --> 00:33:57,312 WE ARREST THEM. THEY BAIL THEIR WAY OUT WITH SOCIAL SECURITY AND OLD-AGE 884 00:33:57,336 --> 00:33:59,014 THEY BAIL THEIR WAY OUT WITH SOCIAL SECURITY AND OLD-AGE PENSION CHECKS. 885 00:33:59,038 --> 00:34:01,049 SOCIAL SECURITY AND OLD-AGE PENSION CHECKS. AND THERE THEY ARE, BACK ON THE 886 00:34:01,073 --> 00:34:03,151 PENSION CHECKS. AND THERE THEY ARE, BACK ON THE STREET, HUSTLING, TURNING TRICKS 887 00:34:03,175 --> 00:34:06,888 AND THERE THEY ARE, BACK ON THE STREET, HUSTLING, TURNING TRICKS WITH JOHNS FOR THEIR PIMPS. 888 00:34:06,912 --> 00:34:08,856 STREET, HUSTLING, TURNING TRICKS WITH JOHNS FOR THEIR PIMPS. THIS IS THE STORY OF ONE OF THE 889 00:34:08,880 --> 00:34:12,440 WITH JOHNS FOR THEIR PIMPS. THIS IS THE STORY OF ONE OF THE LITTLE OLD LADIES OF THE NIGHT. 890 00:34:16,720 --> 00:34:22,337 NOW, Y'ALL BETTER SHAPE UP, NOW. YOU GOT TO STABILIZE MY INCOME. 891 00:34:22,361 --> 00:34:23,838 NOW. YOU GOT TO STABILIZE MY INCOME. YOU KNOW, MY WARDROBE IS 892 00:34:23,862 --> 00:34:26,542 YOU GOT TO STABILIZE MY INCOME. YOU KNOW, MY WARDROBE IS FLUCTUATING. 893 00:34:28,466 --> 00:34:34,582 UM... UH, EXCUSE ME, SIR, BUT ARE YOU THE MANAGER OF THIS BUS STATION? 894 00:34:34,606 --> 00:34:37,852 ARE YOU THE MANAGER OF THIS BUS STATION? OOH, I SMELL CHICKEN. 895 00:34:37,876 --> 00:34:40,255 STATION? OOH, I SMELL CHICKEN. HELLO, FOX! 896 00:34:40,279 --> 00:34:41,822 OOH, I SMELL CHICKEN. HELLO, FOX! YOU'RE LOOKING GOOD, BABY... 897 00:34:41,846 --> 00:34:43,124 HELLO, FOX! YOU'RE LOOKING GOOD, BABY... LOOKING GOOD. 898 00:34:43,148 --> 00:34:45,226 YOU'RE LOOKING GOOD, BABY... LOOKING GOOD. DO YOU KNOW WHERE I CAN FIND 899 00:34:45,250 --> 00:34:47,295 LOOKING GOOD. DO YOU KNOW WHERE I CAN FIND SOMETHING TO EAT AND A PLACE TO 900 00:34:47,319 --> 00:34:49,697 DO YOU KNOW WHERE I CAN FIND SOMETHING TO EAT AND A PLACE TO STAY FOR 21 CENTS? 901 00:34:49,721 --> 00:34:51,799 SOMETHING TO EAT AND A PLACE TO STAY FOR 21 CENTS? OH, WHY, YOU ARE WELCOME IN 902 00:34:51,823 --> 00:34:52,934 STAY FOR 21 CENTS? OH, WHY, YOU ARE WELCOME IN MY HOME, BABY. 903 00:34:52,958 --> 00:34:54,035 OH, WHY, YOU ARE WELCOME IN MY HOME, BABY. I'M SNOW. YEAH. 904 00:34:54,059 --> 00:34:55,937 MY HOME, BABY. I'M SNOW. YEAH. YEAH. ALL YOU HAVE TO DO IS 905 00:34:55,961 --> 00:34:57,972 I'M SNOW. YEAH. YEAH. ALL YOU HAVE TO DO IS WHATEVER SNOW TELLS YOU TO DO... 906 00:34:57,996 --> 00:35:00,908 YEAH. ALL YOU HAVE TO DO IS WHATEVER SNOW TELLS YOU TO DO... 30 OR 40 TIMES A NIGHT. 907 00:35:00,932 --> 00:35:02,643 WHATEVER SNOW TELLS YOU TO DO... 30 OR 40 TIMES A NIGHT. AND THEN GIVE WHATEVER MONEY YOU 908 00:35:02,667 --> 00:35:04,079 30 OR 40 TIMES A NIGHT. AND THEN GIVE WHATEVER MONEY YOU MAKE FOR DOING IT TO SNOW. 909 00:35:04,103 --> 00:35:05,813 AND THEN GIVE WHATEVER MONEY YOU MAKE FOR DOING IT TO SNOW. YEAH, AND CLEAN OUT THE GLOVE 910 00:35:05,837 --> 00:35:07,282 MAKE FOR DOING IT TO SNOW. YEAH, AND CLEAN OUT THE GLOVE COMPARTMENT OF SNOW'S CADDY 911 00:35:07,306 --> 00:35:08,416 YEAH, AND CLEAN OUT THE GLOVE COMPARTMENT OF SNOW'S CADDY THREE TIMES A WEEK. 912 00:35:08,440 --> 00:35:10,885 COMPARTMENT OF SNOW'S CADDY THREE TIMES A WEEK. WITH YOUR TONGUE. 913 00:35:10,909 --> 00:35:12,920 THREE TIMES A WEEK. WITH YOUR TONGUE. WELL, I'M ALWAYS HAPPY TO 914 00:35:12,944 --> 00:35:15,022 WITH YOUR TONGUE. WELL, I'M ALWAYS HAPPY TO PITCH IN AND DO A FEW CHORES. 915 00:35:15,046 --> 00:35:16,691 WELL, I'M ALWAYS HAPPY TO PITCH IN AND DO A FEW CHORES. WELL, BABY, I AM SURE THAT 916 00:35:16,715 --> 00:35:18,393 PITCH IN AND DO A FEW CHORES. WELL, BABY, I AM SURE THAT YOU'RE GONNA BE ONE OF MY MAIN 917 00:35:18,417 --> 00:35:20,027 WELL, BABY, I AM SURE THAT YOU'RE GONNA BE ONE OF MY MAIN BREADWINNERS FOR MANY, MANY, 918 00:35:20,051 --> 00:35:21,162 YOU'RE GONNA BE ONE OF MY MAIN BREADWINNERS FOR MANY, MANY, MANY... 919 00:35:21,186 --> 00:35:22,330 BREADWINNERS FOR MANY, MANY, MANY... MONTHS. 920 00:35:22,354 --> 00:35:26,601 MANY... MONTHS. UH, I'M GONNA, UH... GO. 921 00:35:26,625 --> 00:35:28,603 MONTHS. UH, I'M GONNA, UH... GO. YOU'RE WELCOME HERE TO SNOW'S 922 00:35:28,627 --> 00:35:29,937 UH, I'M GONNA, UH... GO. YOU'RE WELCOME HERE TO SNOW'S STABLE, ALL RIGHT? 923 00:35:29,961 --> 00:35:31,872 YOU'RE WELCOME HERE TO SNOW'S STABLE, ALL RIGHT? I'LL SEE YOU LATER, SNOW. 924 00:35:31,896 --> 00:35:32,640 STABLE, ALL RIGHT? I'LL SEE YOU LATER, SNOW. BYE-BYE. 925 00:35:32,664 --> 00:35:33,575 I'LL SEE YOU LATER, SNOW. BYE-BYE. SO LONG. 926 00:35:33,599 --> 00:35:35,376 BYE-BYE. SO LONG. HEY, HONEY, YOU WANT SOME 927 00:35:35,400 --> 00:35:36,010 SO LONG. HEY, HONEY, YOU WANT SOME COFFEE? 928 00:35:36,034 --> 00:35:37,312 HEY, HONEY, YOU WANT SOME COFFEE? UH, TEA, PLEASE. 929 00:35:37,336 --> 00:35:39,280 COFFEE? UH, TEA, PLEASE. OKAY, LISTEN UP... ROCKET TO 930 00:35:39,304 --> 00:35:40,881 UH, TEA, PLEASE. OKAY, LISTEN UP... ROCKET TO THE MOON... $25. 931 00:35:40,905 --> 00:35:43,017 OKAY, LISTEN UP... ROCKET TO THE MOON... $25. WALKING THE DOG... $15. 932 00:35:43,041 --> 00:35:44,319 THE MOON... $25. WALKING THE DOG... $15. AND JUST TO POP THE WEASEL... A 933 00:35:44,343 --> 00:35:45,820 WALKING THE DOG... $15. AND JUST TO POP THE WEASEL... A DIME. 934 00:35:45,844 --> 00:35:48,590 AND JUST TO POP THE WEASEL... A DIME. HEY, HONEY, CHECK OUT MY 935 00:35:48,614 --> 00:35:53,060 DIME. HEY, HONEY, CHECK OUT MY APPROACH. 936 00:35:53,084 --> 00:35:55,430 HEY, HONEY, CHECK OUT MY APPROACH. HEY, HONEY, WANT TO GO TO A 937 00:35:55,454 --> 00:35:56,231 APPROACH. HEY, HONEY, WANT TO GO TO A PARTY? 938 00:35:56,255 --> 00:35:57,698 HEY, HONEY, WANT TO GO TO A PARTY? SURE. WHERE? 939 00:35:57,722 --> 00:36:00,301 PARTY? SURE. WHERE? OUTSIDE, BEHIND THAT ROW OF 940 00:36:00,325 --> 00:36:01,269 SURE. WHERE? OUTSIDE, BEHIND THAT ROW OF LOCKERS. 941 00:36:01,293 --> 00:36:03,070 OUTSIDE, BEHIND THAT ROW OF LOCKERS. COME ON. SHAKE IT, HONEY. 942 00:36:03,094 --> 00:36:04,672 LOCKERS. COME ON. SHAKE IT, HONEY. OKAY, WE'LL BE BACK IN FOUR 943 00:36:04,696 --> 00:36:05,273 COME ON. SHAKE IT, HONEY. OKAY, WE'LL BE BACK IN FOUR MINUTES. 944 00:36:05,297 --> 00:36:06,040 OKAY, WE'LL BE BACK IN FOUR MINUTES. GET TO WORK. 945 00:36:06,064 --> 00:36:08,309 MINUTES. GET TO WORK. SNOW NEEDS A NEW WARDROBE. 946 00:36:08,333 --> 00:36:13,214 GET TO WORK. SNOW NEEDS A NEW WARDROBE. UH... 947 00:36:13,238 --> 00:36:14,882 SNOW NEEDS A NEW WARDROBE. UH... THIS TYPE OF COME-ON OR TOUCH 948 00:36:14,906 --> 00:36:16,317 UH... THIS TYPE OF COME-ON OR TOUCH OR PROCUREMENT TAKES PLACE 949 00:36:16,341 --> 00:36:17,852 THIS TYPE OF COME-ON OR TOUCH OR PROCUREMENT TAKES PLACE THOUSANDS OF TIMES A DAY, AND 950 00:36:17,876 --> 00:36:19,820 OR PROCUREMENT TAKES PLACE THOUSANDS OF TIMES A DAY, AND IT'S A 24-HOUR TRADE. 951 00:36:19,844 --> 00:36:22,590 THOUSANDS OF TIMES A DAY, AND IT'S A 24-HOUR TRADE. STREET HUSTLERS TURNING TRICKS 952 00:36:22,614 --> 00:36:26,961 IT'S A 24-HOUR TRADE. STREET HUSTLERS TURNING TRICKS WITH JOHNS FOR THEIR PIMPS! 953 00:36:26,985 --> 00:36:28,329 STREET HUSTLERS TURNING TRICKS WITH JOHNS FOR THEIR PIMPS! UM... HI, SONNY. 954 00:36:28,353 --> 00:36:29,964 WITH JOHNS FOR THEIR PIMPS! UM... HI, SONNY. WANT TO GO TO A PARTY? 955 00:36:29,988 --> 00:36:31,832 UM... HI, SONNY. WANT TO GO TO A PARTY? YOU'RE UNDER ARREST FOR 956 00:36:31,856 --> 00:36:33,334 WANT TO GO TO A PARTY? YOU'RE UNDER ARREST FOR SOLICITING. 957 00:36:33,358 --> 00:36:34,969 YOU'RE UNDER ARREST FOR SOLICITING. HEY, WAIT A MINUTE, JOE. 958 00:36:34,993 --> 00:36:36,471 SOLICITING. HEY, WAIT A MINUTE, JOE. TAKE A GOOD LOOK AT HER. 959 00:36:36,495 --> 00:36:38,005 HEY, WAIT A MINUTE, JOE. TAKE A GOOD LOOK AT HER. I KNOW. SHE'S OVERAGE. 960 00:36:38,029 --> 00:36:39,574 TAKE A GOOD LOOK AT HER. I KNOW. SHE'S OVERAGE. WE GOT TO BOOK HER ANYWAY. 961 00:36:39,598 --> 00:36:41,376 I KNOW. SHE'S OVERAGE. WE GOT TO BOOK HER ANYWAY. OH, PLEASE DON'T ARREST ME. 962 00:36:41,400 --> 00:36:43,044 WE GOT TO BOOK HER ANYWAY. OH, PLEASE DON'T ARREST ME. THE OTHER GIRLS WILL BE BACK 963 00:36:43,068 --> 00:36:44,845 OH, PLEASE DON'T ARREST ME. THE OTHER GIRLS WILL BE BACK SOON, AND WE CAN ALL GO HAVE A 964 00:36:44,869 --> 00:36:46,381 THE OTHER GIRLS WILL BE BACK SOON, AND WE CAN ALL GO HAVE A PARTY BEHIND THE LOCKERS. 965 00:36:46,405 --> 00:36:47,948 SOON, AND WE CAN ALL GO HAVE A PARTY BEHIND THE LOCKERS. YOU DON'T UNDERSTAND, DO YOU? 966 00:36:47,972 --> 00:36:48,783 PARTY BEHIND THE LOCKERS. YOU DON'T UNDERSTAND, DO YOU? I'M A GOOD COP. 967 00:36:48,807 --> 00:36:50,251 YOU DON'T UNDERSTAND, DO YOU? I'M A GOOD COP. I DON'T DO THAT KIND OF STUFF. 968 00:36:50,275 --> 00:36:51,786 I'M A GOOD COP. I DON'T DO THAT KIND OF STUFF. SURE, THERE ARE GUYS THAT WOULD 969 00:36:51,810 --> 00:36:53,321 I DON'T DO THAT KIND OF STUFF. SURE, THERE ARE GUYS THAT WOULD DO IT, BUT THEY WOULDN'T RESPECT 970 00:36:53,345 --> 00:36:54,255 SURE, THERE ARE GUYS THAT WOULD DO IT, BUT THEY WOULDN'T RESPECT YOU THE NEXT DAY. 971 00:36:54,279 --> 00:36:54,722 DO IT, BUT THEY WOULDN'T RESPECT YOU THE NEXT DAY. COME ON. 972 00:36:54,746 --> 00:36:55,923 YOU THE NEXT DAY. COME ON. WE'RE DOING YOU A FAVOR BY 973 00:36:55,947 --> 00:36:56,624 COME ON. WE'RE DOING YOU A FAVOR BY RUNNING YOU IN. 974 00:36:56,648 --> 00:36:57,792 WE'RE DOING YOU A FAVOR BY RUNNING YOU IN. IT SOUNDS STUPID, BUT HE'S 975 00:36:57,816 --> 00:36:58,193 RUNNING YOU IN. IT SOUNDS STUPID, BUT HE'S RIGHT. 976 00:36:58,217 --> 00:36:59,494 IT SOUNDS STUPID, BUT HE'S RIGHT. WE'RE TRYING TO SAVE YOU FROM 977 00:36:59,518 --> 00:37:02,129 RIGHT. WE'RE TRYING TO SAVE YOU FROM A LIFE AS A STREET HUSTLER... 978 00:37:02,153 --> 00:37:05,333 WE'RE TRYING TO SAVE YOU FROM A LIFE AS A STREET HUSTLER... TURNING TRICKS... 979 00:37:05,357 --> 00:37:07,402 A LIFE AS A STREET HUSTLER... TURNING TRICKS... WITH JOHNS FOR A PIMP! 980 00:37:07,426 --> 00:37:09,170 TURNING TRICKS... WITH JOHNS FOR A PIMP! BELIEVE ME. TRUST ME. 981 00:37:09,194 --> 00:37:11,339 WITH JOHNS FOR A PIMP! BELIEVE ME. TRUST ME. YOU'VE GOT TO LISTEN TO ME, NOT 982 00:37:11,363 --> 00:37:14,442 BELIEVE ME. TRUST ME. YOU'VE GOT TO LISTEN TO ME, NOT JUST FOR ME OR FOR YOU BUT FOR 983 00:37:14,466 --> 00:37:15,643 YOU'VE GOT TO LISTEN TO ME, NOT JUST FOR ME OR FOR YOU BUT FOR ALL THE OTHERS LIKE YOU... THE 984 00:37:15,667 --> 00:37:16,678 JUST FOR ME OR FOR YOU BUT FOR ALL THE OTHERS LIKE YOU... THE ONES I COULDN'T HELP, EVEN 985 00:37:16,702 --> 00:37:18,246 ALL THE OTHERS LIKE YOU... THE ONES I COULDN'T HELP, EVEN THOUGH I WANTED TO. 986 00:37:18,270 --> 00:37:20,248 ONES I COULDN'T HELP, EVEN THOUGH I WANTED TO. NOT JUST FOR THEM, BUT FOR YOU 987 00:37:20,272 --> 00:37:22,016 THOUGH I WANTED TO. NOT JUST FOR THEM, BUT FOR YOU AND FOR ME AND FOR ALL THE 988 00:37:22,040 --> 00:37:24,051 NOT JUST FOR THEM, BUT FOR YOU AND FOR ME AND FOR ALL THE OTHERS LIKE YOU AND LIKE ME AND 989 00:37:24,075 --> 00:37:26,153 AND FOR ME AND FOR ALL THE OTHERS LIKE YOU AND LIKE ME AND THE OTHERS THAT ARE LIKE YOU AND 990 00:37:26,177 --> 00:37:26,821 OTHERS LIKE YOU AND LIKE ME AND THE OTHERS THAT ARE LIKE YOU AND LIKE ME. 991 00:37:26,845 --> 00:37:28,256 THE OTHERS THAT ARE LIKE YOU AND LIKE ME. RUN HER UPTOWN, BILL. 992 00:37:28,280 --> 00:37:29,857 LIKE ME. RUN HER UPTOWN, BILL. COME ON. LET'S GO, BABY. 993 00:37:29,881 --> 00:37:31,659 RUN HER UPTOWN, BILL. COME ON. LET'S GO, BABY. HONKY PIGS. 994 00:37:31,683 --> 00:37:33,761 COME ON. LET'S GO, BABY. HONKY PIGS. REMEMBER ATTICA. 995 00:37:33,785 --> 00:37:35,263 HONKY PIGS. REMEMBER ATTICA. ATTICA! 996 00:37:35,287 --> 00:37:37,220 REMEMBER ATTICA. ATTICA! ATTICA! 997 00:37:42,293 --> 00:37:45,340 WELL, THERE IT IS... A SWEET LITTLE LADY. IF WE HADN'T STOPPED HER, SHE 998 00:37:45,364 --> 00:37:46,474 LITTLE LADY. IF WE HADN'T STOPPED HER, SHE COULD HAVE BECOME A STREET 999 00:37:46,498 --> 00:37:47,642 IF WE HADN'T STOPPED HER, SHE COULD HAVE BECOME A STREET HUSTLER, AND YOU KNOW WHAT 1000 00:37:47,666 --> 00:37:48,509 COULD HAVE BECOME A STREET HUSTLER, AND YOU KNOW WHAT STREET HUSTLERS DO. 1001 00:37:48,533 --> 00:37:51,646 HUSTLER, AND YOU KNOW WHAT STREET HUSTLERS DO. THEY TURN TRICKS... 1002 00:37:51,670 --> 00:37:53,013 STREET HUSTLERS DO. THEY TURN TRICKS... WITH JOHNS FOR THEIR PIMPS! 1003 00:37:53,037 --> 00:37:54,148 THEY TURN TRICKS... WITH JOHNS FOR THEIR PIMPS! [BREATHING HEAVILY] 1004 00:37:54,172 --> 00:37:55,583 WITH JOHNS FOR THEIR PIMPS! [BREATHING HEAVILY] HEY, HONEY. 1005 00:37:55,607 --> 00:37:57,652 [BREATHING HEAVILY] HEY, HONEY. WANT TO GO TO A PARTY? 1006 00:37:57,676 --> 00:37:59,916 HEY, HONEY. WANT TO GO TO A PARTY? YEAH, I GUESS SO. 1007 00:38:15,125 --> 00:38:19,540 Announcer: AND NOW, ONCE AGAIN, HERE'S CHUCK BERRY. [INTRODUCTION TO "MEMPHIS" 1008 00:38:19,564 --> 00:38:21,884 AGAIN, HERE'S CHUCK BERRY. [INTRODUCTION TO "MEMPHIS" PLAYS] 1009 00:38:34,612 --> 00:38:42,612 ♪ LONG-DISTANCE INFORMATION, GIVE ME MEMPHIS, TENNESSEE ♪ ♪ HELP ME FIND THE PARTY TRYING 1010 00:38:42,788 --> 00:38:45,099 GIVE ME MEMPHIS, TENNESSEE ♪ ♪ HELP ME FIND THE PARTY TRYING TO GET IN TOUCH WITH ME ♪ 1011 00:38:45,123 --> 00:38:46,668 ♪ HELP ME FIND THE PARTY TRYING TO GET IN TOUCH WITH ME ♪ ♪ SHE COULD NOT LEAVE HER 1012 00:38:46,692 --> 00:38:48,936 TO GET IN TOUCH WITH ME ♪ ♪ SHE COULD NOT LEAVE HER NUMBER, BUT I KNOW WHO PLACED 1013 00:38:48,960 --> 00:38:50,070 ♪ SHE COULD NOT LEAVE HER NUMBER, BUT I KNOW WHO PLACED THE CALL ♪ 1014 00:38:50,094 --> 00:38:52,807 NUMBER, BUT I KNOW WHO PLACED THE CALL ♪ ♪ MY UNCLE TOOK THE MESSAGE, AND 1015 00:38:52,831 --> 00:38:57,978 THE CALL ♪ ♪ MY UNCLE TOOK THE MESSAGE, AND HE WROTE IT ON THE WALL ♪ 1016 00:38:58,002 --> 00:39:01,316 ♪ MY UNCLE TOOK THE MESSAGE, AND HE WROTE IT ON THE WALL ♪ ♪ OH, HELP ME, INFORMATION ♪ 1017 00:39:01,340 --> 00:39:04,151 HE WROTE IT ON THE WALL ♪ ♪ OH, HELP ME, INFORMATION ♪ ♪ MORE THAN THAT, I CANNOT ADD ♪ 1018 00:39:04,175 --> 00:39:06,954 ♪ OH, HELP ME, INFORMATION ♪ ♪ MORE THAN THAT, I CANNOT ADD ♪ ♪ ONLY THAT I MISS HER AND ALL 1019 00:39:06,978 --> 00:39:08,790 ♪ MORE THAN THAT, I CANNOT ADD ♪ ♪ ONLY THAT I MISS HER AND ALL THE FUN WE HAD ♪ 1020 00:39:08,814 --> 00:39:11,225 ♪ ONLY THAT I MISS HER AND ALL THE FUN WE HAD ♪ ♪ WE WERE PULLED APART BECAUSE 1021 00:39:11,249 --> 00:39:13,828 THE FUN WE HAD ♪ ♪ WE WERE PULLED APART BECAUSE HER MOM DID NOT AGREE ♪ 1022 00:39:13,852 --> 00:39:16,364 ♪ WE WERE PULLED APART BECAUSE HER MOM DID NOT AGREE ♪ ♪ AND TORE APART OUR HAPPY HOME 1023 00:39:16,388 --> 00:39:19,468 HER MOM DID NOT AGREE ♪ ♪ AND TORE APART OUR HAPPY HOME IN MEMPHIS, TENNESSEE ♪ 1024 00:39:22,793 --> 00:39:25,595 [GUITAR SOLO] 1025 00:39:48,886 --> 00:39:55,636 ♪ HELP ME, INFORMATION, GET IN TOUCH WITH MY MARIE ♪ ♪ THE ONLY ONE WHO WOULD PHONE 1026 00:39:55,660 --> 00:39:57,271 TOUCH WITH MY MARIE ♪ ♪ THE ONLY ONE WHO WOULD PHONE ME HERE FROM MEMPHIS, 1027 00:39:57,295 --> 00:39:58,706 ♪ THE ONLY ONE WHO WOULD PHONE ME HERE FROM MEMPHIS, TENNESSEE ♪ 1028 00:39:58,730 --> 00:40:01,476 ME HERE FROM MEMPHIS, TENNESSEE ♪ ♪ HER HOME IS ON THE SOUTH SIDE, 1029 00:40:01,500 --> 00:40:03,978 TENNESSEE ♪ ♪ HER HOME IS ON THE SOUTH SIDE, HIGH UPON A RIDGE ♪ 1030 00:40:04,002 --> 00:40:06,481 ♪ HER HOME IS ON THE SOUTH SIDE, HIGH UPON A RIDGE ♪ ♪ JUST A HALF A MILE FROM THE 1031 00:40:06,505 --> 00:40:09,225 HIGH UPON A RIDGE ♪ ♪ JUST A HALF A MILE FROM THE MISSISSIPPI BRIDGE ♪ 1032 00:40:12,042 --> 00:40:17,458 ♪ YOU KNOW, THE LAST TIME I SAW MARIE, SHE WAS WAVING ME GOODBYE ♪ 1033 00:40:17,482 --> 00:40:19,494 MARIE, SHE WAS WAVING ME GOODBYE ♪ ♪ WITH HURRY-HOME DROPS ON HER 1034 00:40:19,518 --> 00:40:21,328 GOODBYE ♪ ♪ WITH HURRY-HOME DROPS ON HER CHEEK THAT TRICKLED FROM HER 1035 00:40:21,352 --> 00:40:22,430 ♪ WITH HURRY-HOME DROPS ON HER CHEEK THAT TRICKLED FROM HER EYE ♪ 1036 00:40:22,454 --> 00:40:25,099 CHEEK THAT TRICKLED FROM HER EYE ♪ ♪ MARIE IS ONLY 6 YEARS OLD ♪ 1037 00:40:25,123 --> 00:40:28,202 EYE ♪ ♪ MARIE IS ONLY 6 YEARS OLD ♪ ♪ INFORMATION, PLEASE, TRY TO 1038 00:40:28,226 --> 00:40:30,104 ♪ MARIE IS ONLY 6 YEARS OLD ♪ ♪ INFORMATION, PLEASE, TRY TO PUT ME THROUGH TO HER IN 1039 00:40:30,128 --> 00:40:31,839 ♪ INFORMATION, PLEASE, TRY TO PUT ME THROUGH TO HER IN MEMPHIS, TENNESSEE ♪ 1040 00:40:31,863 --> 00:40:34,144 PUT ME THROUGH TO HER IN MEMPHIS, TENNESSEE ♪ [GUITAR SOLO] 1041 00:40:42,272 --> 00:40:50,272 [SONG CONCLUDES] [CHEERS AND APPLAUSE] HAS ANYBODY SEEN CAROL? 1042 00:40:52,918 --> 00:40:54,562 [CHEERS AND APPLAUSE] HAS ANYBODY SEEN CAROL? [INTRODUCTION TO "CAROL" 1043 00:40:54,586 --> 00:40:58,098 HAS ANYBODY SEEN CAROL? [INTRODUCTION TO "CAROL" PLAYS] 1044 00:40:58,122 --> 00:41:02,202 [INTRODUCTION TO "CAROL" PLAYS] ♪ OH, CAROL, DON'T LET HIM STEAL 1045 00:41:02,226 --> 00:41:05,740 [PLAYS] ♪ OH, CAROL, DON'T LET HIM STEAL YOUR HEART AWAY ♪ 1046 00:41:05,764 --> 00:41:07,675 ♪ OH, CAROL, DON'T LET HIM STEAL YOUR HEART AWAY ♪ ♪ I'M GONNA LEARN TO DANCE IF IT 1047 00:41:07,699 --> 00:41:11,612 YOUR HEART AWAY ♪ ♪ I'M GONNA LEARN TO DANCE IF IT TAKES ME ALL NIGHT AND DAY ♪ 1048 00:41:11,636 --> 00:41:13,614 ♪ I'M GONNA LEARN TO DANCE IF IT TAKES ME ALL NIGHT AND DAY ♪ ♪ CLIMB INTO MY MACHINE SO WE 1049 00:41:13,638 --> 00:41:17,752 TAKES ME ALL NIGHT AND DAY ♪ ♪ CLIMB INTO MY MACHINE SO WE CAN CRUISE ON OUT ♪ 1050 00:41:17,776 --> 00:41:19,420 ♪ CLIMB INTO MY MACHINE SO WE CAN CRUISE ON OUT ♪ ♪ I KNOW A SWINGIN' LITTLE JOINT 1051 00:41:19,444 --> 00:41:23,758 CAN CRUISE ON OUT ♪ ♪ I KNOW A SWINGIN' LITTLE JOINT WHERE WE CAN JUMP AND SHOUT ♪ 1052 00:41:23,782 --> 00:41:25,059 ♪ I KNOW A SWINGIN' LITTLE JOINT WHERE WE CAN JUMP AND SHOUT ♪ ♪ IT'S NOT TOO FAR BACK OFF THE 1053 00:41:25,083 --> 00:41:29,797 WHERE WE CAN JUMP AND SHOUT ♪ ♪ IT'S NOT TOO FAR BACK OFF THE HIGHWAY, NOT SO LONG A RIDE ♪ 1054 00:41:29,821 --> 00:41:31,098 ♪ IT'S NOT TOO FAR BACK OFF THE HIGHWAY, NOT SO LONG A RIDE ♪ ♪ YOU PARK YOUR CAR OUT IN THE 1055 00:41:31,122 --> 00:41:35,670 HIGHWAY, NOT SO LONG A RIDE ♪ ♪ YOU PARK YOUR CAR OUT IN THE OPEN, YOU CAN WALK INSIDE ♪ 1056 00:41:35,694 --> 00:41:37,538 ♪ YOU PARK YOUR CAR OUT IN THE OPEN, YOU CAN WALK INSIDE ♪ ♪ A LITTLE CUTE GIRL TAKES YOUR 1057 00:41:37,562 --> 00:41:41,742 OPEN, YOU CAN WALK INSIDE ♪ ♪ A LITTLE CUTE GIRL TAKES YOUR HAT, AND YOU THANK HER, MA'AM ♪ 1058 00:41:41,766 --> 00:41:43,110 ♪ A LITTLE CUTE GIRL TAKES YOUR HAT, AND YOU THANK HER, MA'AM ♪ ♪ AND EVERY TIME YOU MAKE THE 1059 00:41:43,134 --> 00:41:44,445 HAT, AND YOU THANK HER, MA'AM ♪ ♪ AND EVERY TIME YOU MAKE THE SCENE, YOU FIND THE JOINT IS 1060 00:41:44,469 --> 00:41:47,815 ♪ AND EVERY TIME YOU MAKE THE SCENE, YOU FIND THE JOINT IS JAMMED ♪ 1061 00:41:47,839 --> 00:41:49,617 SCENE, YOU FIND THE JOINT IS JAMMED ♪ ♪ OH, CAROL ♪ 1062 00:41:49,641 --> 00:41:51,151 JAMMED ♪ ♪ OH, CAROL ♪ ♪ CAROL ♪ 1063 00:41:51,175 --> 00:41:53,754 ♪ OH, CAROL ♪ ♪ CAROL ♪ ♪ CAROL, CAROL, CAROL, 1064 00:41:53,778 --> 00:41:54,755 ♪ CAROL ♪ ♪ CAROL, CAROL, CAROL, CAROL, CAROL ♪ 1065 00:41:54,779 --> 00:41:57,057 ♪ CAROL, CAROL, CAROL, CAROL, CAROL ♪ ♪ OH, CAROL, DON'T LET HIM STEAL 1066 00:41:57,081 --> 00:41:59,927 CAROL, CAROL ♪ ♪ OH, CAROL, DON'T LET HIM STEAL IT AWAY ♪ 1067 00:41:59,951 --> 00:42:02,062 ♪ OH, CAROL, DON'T LET HIM STEAL IT AWAY ♪ ♪ I'M GONNA LEARN TO DANCE IF IT 1068 00:42:02,086 --> 00:42:06,266 IT AWAY ♪ ♪ I'M GONNA LEARN TO DANCE IF IT TAKES ME ALL NIGHT AND DAY ♪ 1069 00:42:06,290 --> 00:42:09,210 ♪ I'M GONNA LEARN TO DANCE IF IT TAKES ME ALL NIGHT AND DAY ♪ [GUITAR SOLO] 1070 00:42:24,942 --> 00:42:31,792 ♪ YOU HEAR SOME MUSIC LIKE THE BOYS GONNA PLAY ♪ ♪ HOLD TIGHT, PAT YOUR FOOT, 1071 00:42:31,816 --> 00:42:35,930 BOYS GONNA PLAY ♪ ♪ HOLD TIGHT, PAT YOUR FOOT, DON'T LET 'EM CARRY IT AWAY ♪ 1072 00:42:35,954 --> 00:42:37,698 ♪ HOLD TIGHT, PAT YOUR FOOT, DON'T LET 'EM CARRY IT AWAY ♪ ♪ DON'T LET THE HEAT OVERCOME 1073 00:42:37,722 --> 00:42:41,936 DON'T LET 'EM CARRY IT AWAY ♪ ♪ DON'T LET THE HEAT OVERCOME YOU IF WE PLAY TOO LOUD ♪ 1074 00:42:41,960 --> 00:42:43,804 ♪ DON'T LET THE HEAT OVERCOME YOU IF WE PLAY TOO LOUD ♪ ♪ OH, DON'T THE MUSIC INTRIGUE 1075 00:42:43,828 --> 00:42:44,906 YOU IF WE PLAY TOO LOUD ♪ ♪ OH, DON'T THE MUSIC INTRIGUE YOU WHEN THERE'S A GATHERING 1076 00:42:44,930 --> 00:42:48,509 ♪ OH, DON'T THE MUSIC INTRIGUE YOU WHEN THERE'S A GATHERING CROWD? ♪ 1077 00:42:48,533 --> 00:42:50,477 YOU WHEN THERE'S A GATHERING CROWD? ♪ ♪ YOU CAN'T DANCE, I KNOW YOU 1078 00:42:50,501 --> 00:42:54,481 CROWD? ♪ ♪ YOU CAN'T DANCE, I KNOW YOU WISH YOU COULD ♪ 1079 00:42:54,505 --> 00:42:55,917 ♪ YOU CAN'T DANCE, I KNOW YOU WISH YOU COULD ♪ ♪ COME ON, SOCK IT TO ME, 1080 00:42:55,941 --> 00:42:57,752 WISH YOU COULD ♪ ♪ COME ON, SOCK IT TO ME, BARITONE, MAKE ME FEEL GOOD ♪ 1081 00:42:57,776 --> 00:43:00,755 ♪ COME ON, SOCK IT TO ME, BARITONE, MAKE ME FEEL GOOD ♪ [BARITONE SAXOPHONE SOLO] 1082 00:43:00,779 --> 00:43:02,289 BARITONE, MAKE ME FEEL GOOD ♪ [BARITONE SAXOPHONE SOLO] ♪ CAROL ♪ 1083 00:43:02,313 --> 00:43:03,958 [BARITONE SAXOPHONE SOLO] ♪ CAROL ♪ ♪ CAROL ♪ 1084 00:43:03,982 --> 00:43:06,594 ♪ CAROL ♪ ♪ CAROL ♪ ♪ CAROL, CAROL, CAROL, CAROL ♪ 1085 00:43:06,618 --> 00:43:07,695 ♪ CAROL ♪ ♪ CAROL, CAROL, CAROL, CAROL ♪ ♪ B-R-R-R-R-R-R-R-R-R ♪ 1086 00:43:07,719 --> 00:43:09,463 ♪ CAROL, CAROL, CAROL, CAROL ♪ ♪ B-R-R-R-R-R-R-R-R-R ♪ ♪ CAROL, DON'T LET HIM STEAL 1087 00:43:09,487 --> 00:43:12,800 ♪ B-R-R-R-R-R-R-R-R-R ♪ ♪ CAROL, DON'T LET HIM STEAL YOUR HEART AWAY ♪ 1088 00:43:12,824 --> 00:43:14,902 ♪ CAROL, DON'T LET HIM STEAL YOUR HEART AWAY ♪ ♪ I'M GONNA LEARN TO DANCE IF IT 1089 00:43:14,926 --> 00:43:17,772 YOUR HEART AWAY ♪ ♪ I'M GONNA LEARN TO DANCE IF IT TAKES ME ALL NIGHT AND DAY ♪ 1090 00:43:17,796 --> 00:43:19,440 ♪ I'M GONNA LEARN TO DANCE IF IT TAKES ME ALL NIGHT AND DAY ♪ ♪ BA BA BA BOW ♪ 1091 00:43:19,464 --> 00:43:25,112 TAKES ME ALL NIGHT AND DAY ♪ ♪ BA BA BA BOW ♪ [SONG CONCLUDES] 1092 00:43:25,136 --> 00:43:28,071 ♪ BA BA BA BOW ♪ [SONG CONCLUDES] [CHEERS AND APPLAUSE] 1093 00:43:41,184 --> 00:43:45,833 LETS YOU SLEEP WHILE IT TRAINS YOUR DOG. [TONE PLAYS] 1094 00:43:45,857 --> 00:43:47,568 TRAINS YOUR DOG. [TONE PLAYS] DUE TO THE MATURE SUBJECT 1095 00:43:47,592 --> 00:43:49,103 [TONE PLAYS] DUE TO THE MATURE SUBJECT MATTER DEALT WITH IN THE 1096 00:43:49,127 --> 00:43:50,638 DUE TO THE MATURE SUBJECT MATTER DEALT WITH IN THE FOLLOWING FILM, PARENTAL 1097 00:43:50,662 --> 00:43:54,742 MATTER DEALT WITH IN THE FOLLOWING FILM, PARENTAL DISCRETION IS ADVISED. 1098 00:43:54,766 --> 00:43:59,647 FOLLOWING FILM, PARENTAL DISCRETION IS ADVISED. AND NOW... BABIES IN MAKEUP. 1099 00:43:59,671 --> 00:44:02,282 DISCRETION IS ADVISED. AND NOW... BABIES IN MAKEUP. [JAZZ MUSIC PLAYS] 1100 00:44:02,306 --> 00:44:03,283 AND NOW... BABIES IN MAKEUP. [JAZZ MUSIC PLAYS] OH, NO. OH, NO. 1101 00:44:03,307 --> 00:44:04,384 [JAZZ MUSIC PLAYS] OH, NO. OH, NO. PLEASE, MRS. GILLEY. 1102 00:44:04,408 --> 00:44:05,586 OH, NO. OH, NO. PLEASE, MRS. GILLEY. PLEASE, CAN I WATCH IT? 1103 00:44:05,610 --> 00:44:06,286 PLEASE, MRS. GILLEY. PLEASE, CAN I WATCH IT? OH, PLEASE. 1104 00:44:06,310 --> 00:44:07,622 PLEASE, CAN I WATCH IT? OH, PLEASE. I'LL BE SO SAD IF I DON'T. 1105 00:44:07,646 --> 00:44:09,156 OH, PLEASE. I'LL BE SO SAD IF I DON'T. IT'S GONNA BE THE BEST SHOW ON 1106 00:44:09,180 --> 00:44:09,857 I'LL BE SO SAD IF I DON'T. IT'S GONNA BE THE BEST SHOW ON TELEVISION. 1107 00:44:09,881 --> 00:44:10,524 IT'S GONNA BE THE BEST SHOW ON TELEVISION. PLEASE. 1108 00:44:10,548 --> 00:44:12,459 TELEVISION. PLEASE. NO, YOUR MOTHER TOLD ME YOU 1109 00:44:12,483 --> 00:44:14,294 PLEASE. NO, YOUR MOTHER TOLD ME YOU WEREN'T ALLOWED TO WATCH IT. 1110 00:44:14,318 --> 00:44:15,295 NO, YOUR MOTHER TOLD ME YOU WEREN'T ALLOWED TO WATCH IT. WHY? 1111 00:44:15,319 --> 00:44:17,498 WEREN'T ALLOWED TO WATCH IT. WHY? BECAUSE IT'S DIRTY. 1112 00:44:17,522 --> 00:44:19,466 WHY? BECAUSE IT'S DIRTY. DIRTY LIKE "TAKE A BATH" 1113 00:44:19,490 --> 00:44:20,134 BECAUSE IT'S DIRTY. DIRTY LIKE "TAKE A BATH" DIRTY? 1114 00:44:20,158 --> 00:44:21,368 DIRTY LIKE "TAKE A BATH" DIRTY? NOT EXACTLY. 1115 00:44:21,392 --> 00:44:23,570 DIRTY? NOT EXACTLY. DIRTY LIKE "THEY'RE NAKED IN 1116 00:44:23,594 --> 00:44:25,472 NOT EXACTLY. DIRTY LIKE "THEY'RE NAKED IN FRONT OF STRANGERS" DIRTY? 1117 00:44:25,496 --> 00:44:27,842 DIRTY LIKE "THEY'RE NAKED IN FRONT OF STRANGERS" DIRTY? MORE LIKE THAT. 1118 00:44:27,866 --> 00:44:29,510 FRONT OF STRANGERS" DIRTY? MORE LIKE THAT. L-LIKE WHEN YOUR PAJAMA 1119 00:44:29,534 --> 00:44:31,278 MORE LIKE THAT. L-LIKE WHEN YOUR PAJAMA TRAPDOOR IS OPEN AND THERE'S 1120 00:44:31,302 --> 00:44:34,615 L-LIKE WHEN YOUR PAJAMA TRAPDOOR IS OPEN AND THERE'S COMPANY OVER AND YOUR BUM SHOWS? 1121 00:44:34,639 --> 00:44:35,716 TRAPDOOR IS OPEN AND THERE'S COMPANY OVER AND YOUR BUM SHOWS? YEAH. 1122 00:44:35,740 --> 00:44:36,951 COMPANY OVER AND YOUR BUM SHOWS? YEAH. MRS. GILLEY? 1123 00:44:36,975 --> 00:44:38,152 YEAH. MRS. GILLEY? WHAT, PENNY? 1124 00:44:38,176 --> 00:44:40,788 MRS. GILLEY? WHAT, PENNY? WANT TO SEE MY BUM? 1125 00:44:40,812 --> 00:44:41,756 WHAT, PENNY? WANT TO SEE MY BUM? NO. 1126 00:44:41,780 --> 00:44:44,091 WANT TO SEE MY BUM? NO. MRS. GILLEY... 1127 00:44:44,115 --> 00:44:46,761 NO. MRS. GILLEY... WHY DO... WHY DO GIRLS HAVE MORE 1128 00:44:46,785 --> 00:44:48,729 MRS. GILLEY... WHY DO... WHY DO GIRLS HAVE MORE DIRTY PARTS THAN BOYS? 1129 00:44:48,753 --> 00:44:51,966 WHY DO... WHY DO GIRLS HAVE MORE DIRTY PARTS THAN BOYS? BECAUSE BOYS ARE ALWAYS 1130 00:44:51,990 --> 00:44:54,902 DIRTY PARTS THAN BOYS? BECAUSE BOYS ARE ALWAYS LOSING THEIR THINGS. 1131 00:44:54,926 --> 00:44:57,471 BECAUSE BOYS ARE ALWAYS LOSING THEIR THINGS. GOD FIGURED IF HE CLUMPED ALL 1132 00:44:57,495 --> 00:45:00,240 LOSING THEIR THINGS. GOD FIGURED IF HE CLUMPED ALL THE DIRTY PARTS TOGETHER, THEY'D 1133 00:45:00,264 --> 00:45:03,978 GOD FIGURED IF HE CLUMPED ALL THE DIRTY PARTS TOGETHER, THEY'D KNOW WHERE TO FIND THEM. 1134 00:45:04,002 --> 00:45:06,113 THE DIRTY PARTS TOGETHER, THEY'D KNOW WHERE TO FIND THEM. WELL, IF... IF BOYS DON'T 1135 00:45:06,137 --> 00:45:08,415 KNOW WHERE TO FIND THEM. WELL, IF... IF BOYS DON'T HAVE BUST BUMPS, HOW COME THEY 1136 00:45:08,439 --> 00:45:10,685 WELL, IF... IF BOYS DON'T HAVE BUST BUMPS, HOW COME THEY STILL HAVE TWO PINK DOTS RIGHT 1137 00:45:10,709 --> 00:45:11,852 HAVE BUST BUMPS, HOW COME THEY STILL HAVE TWO PINK DOTS RIGHT HERE? 1138 00:45:11,876 --> 00:45:14,755 STILL HAVE TWO PINK DOTS RIGHT HERE? YEAH. WELL, SEE, THAT'S FROM 1139 00:45:14,779 --> 00:45:19,694 HERE? YEAH. WELL, SEE, THAT'S FROM WHEN GOD BLEW THEM UP. 1140 00:45:19,718 --> 00:45:21,295 YEAH. WELL, SEE, THAT'S FROM WHEN GOD BLEW THEM UP. MRS. GILLEY, HOW DO YOU GET A 1141 00:45:21,319 --> 00:45:22,797 WHEN GOD BLEW THEM UP. MRS. GILLEY, HOW DO YOU GET A BABY? 1142 00:45:22,821 --> 00:45:24,464 MRS. GILLEY, HOW DO YOU GET A BABY? WELL, THE MAN TAKES A LADY 1143 00:45:24,488 --> 00:45:25,766 BABY? WELL, THE MAN TAKES A LADY OUT TO A FANCY DINNER. 1144 00:45:25,790 --> 00:45:27,434 WELL, THE MAN TAKES A LADY OUT TO A FANCY DINNER. THEN THEY GO HOME AND THEY DO 1145 00:45:27,458 --> 00:45:32,106 OUT TO A FANCY DINNER. THEN THEY GO HOME AND THEY DO THE CHA-CHA LYING DOWN. 1146 00:45:32,130 --> 00:45:33,708 THEN THEY GO HOME AND THEY DO THE CHA-CHA LYING DOWN. AND THEN WHAT HAPPENS? 1147 00:45:33,732 --> 00:45:35,642 THE CHA-CHA LYING DOWN. AND THEN WHAT HAPPENS? WELL, THEN THE NEXT DAY, THE 1148 00:45:35,666 --> 00:45:37,511 AND THEN WHAT HAPPENS? WELL, THEN THE NEXT DAY, THE MOMMY CALLS UP HER BEST FRIEND 1149 00:45:37,535 --> 00:45:39,479 WELL, THEN THE NEXT DAY, THE MOMMY CALLS UP HER BEST FRIEND FROM ACROSS THE ROAD... ASKS HER 1150 00:45:39,503 --> 00:45:41,448 MOMMY CALLS UP HER BEST FRIEND FROM ACROSS THE ROAD... ASKS HER TO GO OUT AND BUY PILLOWS SO SHE 1151 00:45:41,472 --> 00:45:43,818 FROM ACROSS THE ROAD... ASKS HER TO GO OUT AND BUY PILLOWS SO SHE CAN STUFF THEM UP HER SWEATER. 1152 00:45:43,842 --> 00:45:45,219 TO GO OUT AND BUY PILLOWS SO SHE CAN STUFF THEM UP HER SWEATER. OH, NO, NO, THAT'S WRONG. 1153 00:45:45,243 --> 00:45:46,687 CAN STUFF THEM UP HER SWEATER. OH, NO, NO, THAT'S WRONG. TELL ME THE REAL WAY YOU GET A 1154 00:45:46,711 --> 00:45:47,088 OH, NO, NO, THAT'S WRONG. TELL ME THE REAL WAY YOU GET A BABY. 1155 00:45:47,112 --> 00:45:48,322 TELL ME THE REAL WAY YOU GET A BABY. NO, YOU'RE TOO YOUNG. 1156 00:45:48,346 --> 00:45:49,456 BABY. NO, YOU'RE TOO YOUNG. OH, PLEASE, PLEASE? 1157 00:45:49,480 --> 00:45:52,426 NO, YOU'RE TOO YOUNG. OH, PLEASE, PLEASE? OKAY, HERE'S THE REAL STORY. 1158 00:45:52,450 --> 00:45:55,462 OH, PLEASE, PLEASE? OKAY, HERE'S THE REAL STORY. SEE, THE MAN ZIPS AND UNZIPS HIS 1159 00:45:55,486 --> 00:45:57,264 OKAY, HERE'S THE REAL STORY. SEE, THE MAN ZIPS AND UNZIPS HIS PANTS SEVEN TIMES QUICK, AND 1160 00:45:57,288 --> 00:45:59,066 SEE, THE MAN ZIPS AND UNZIPS HIS PANTS SEVEN TIMES QUICK, AND THEN HE SAYS, "OH, BABY, OH, 1161 00:45:59,090 --> 00:46:03,470 PANTS SEVEN TIMES QUICK, AND THEN HE SAYS, "OH, BABY, OH, BABY, OH, BABY." 1162 00:46:03,494 --> 00:46:05,405 THEN HE SAYS, "OH, BABY, OH, BABY, OH, BABY." YEAH. 1163 00:46:05,429 --> 00:46:07,341 BABY, OH, BABY." YEAH. WELL, I KNOW ALL THIS STUFF 1164 00:46:07,365 --> 00:46:08,008 YEAH. WELL, I KNOW ALL THIS STUFF ANYWAY. 1165 00:46:08,032 --> 00:46:09,977 WELL, I KNOW ALL THIS STUFF ANYWAY. FIRST THE LADY MARRIES A DADDY, 1166 00:46:10,001 --> 00:46:11,912 ANYWAY. FIRST THE LADY MARRIES A DADDY, AND THEN THEY HAVE A BABY, AND 1167 00:46:11,936 --> 00:46:13,313 FIRST THE LADY MARRIES A DADDY, AND THEN THEY HAVE A BABY, AND THEN THE LADY MARRIES ANOTHER 1168 00:46:13,337 --> 00:46:14,514 AND THEN THEY HAVE A BABY, AND THEN THE LADY MARRIES ANOTHER DADDY, AND THEN THEY HAVE 1169 00:46:14,538 --> 00:46:15,783 THEN THE LADY MARRIES ANOTHER DADDY, AND THEN THEY HAVE ANOTHER BABY, AND THEN THE 1170 00:46:15,807 --> 00:46:17,451 DADDY, AND THEN THEY HAVE ANOTHER BABY, AND THEN THE BABIES GO ON TELEVISION. 1171 00:46:17,475 --> 00:46:19,620 ANOTHER BABY, AND THEN THE BABIES GO ON TELEVISION. WHERE'D YOU LEARN THAT? 1172 00:46:19,644 --> 00:46:22,156 BABIES GO ON TELEVISION. WHERE'D YOU LEARN THAT? "SONNY AND CHER." 1173 00:46:22,180 --> 00:46:23,690 WHERE'D YOU LEARN THAT? "SONNY AND CHER." WELL, THAT'S ALL WRONG. 1174 00:46:23,714 --> 00:46:25,325 "SONNY AND CHER." WELL, THAT'S ALL WRONG. SEE, THE DADDY TAKES OFF HIS 1175 00:46:25,349 --> 00:46:26,994 WELL, THAT'S ALL WRONG. SEE, THE DADDY TAKES OFF HIS JOCKEY SHORTS, AND THE MOMMY 1176 00:46:27,018 --> 00:46:27,895 SEE, THE DADDY TAKES OFF HIS JOCKEY SHORTS, AND THE MOMMY PUTS THEM ON. 1177 00:46:27,919 --> 00:46:29,663 JOCKEY SHORTS, AND THE MOMMY PUTS THEM ON. THEN THEY GO IN THE KITCHEN AND 1178 00:46:29,687 --> 00:46:31,465 PUTS THEM ON. THEN THEY GO IN THE KITCHEN AND THEY EAT BACON AND EGGS OFF THE 1179 00:46:31,489 --> 00:46:34,001 THEN THEY GO IN THE KITCHEN AND THEY EAT BACON AND EGGS OFF THE SAME FORK. 1180 00:46:34,025 --> 00:46:36,603 THEY EAT BACON AND EGGS OFF THE SAME FORK. OH. 1181 00:46:36,627 --> 00:46:38,739 SAME FORK. OH. WELL, NOW THAT I KNOW 1182 00:46:38,763 --> 00:46:40,207 OH. WELL, NOW THAT I KNOW EVERYTHING, CAN WE WATCH THE 1183 00:46:40,231 --> 00:46:41,675 WELL, NOW THAT I KNOW EVERYTHING, CAN WE WATCH THE MOVIE? 1184 00:46:41,699 --> 00:46:43,778 EVERYTHING, CAN WE WATCH THE MOVIE? OKAY, BUT DON'T TELL YOUR 1185 00:46:43,802 --> 00:46:44,879 MOVIE? OKAY, BUT DON'T TELL YOUR MOTHER, HUH? 1186 00:46:44,903 --> 00:46:47,547 OKAY, BUT DON'T TELL YOUR MOTHER, HUH? OKAY. 1187 00:46:47,571 --> 00:46:52,508 MOTHER, HUH? OKAY. OH, BABY, OH, BABY, OH, BABY. 1188 00:47:08,292 --> 00:47:13,974 HERE'S THIS WEEK'S HOME MOVIE, SENT TO US FROM NEW ORLEANS BY WALTER WILLIAMS, 1189 00:47:13,998 --> 00:47:15,509 MOVIE, SENT TO US FROM NEW ORLEANS BY WALTER WILLIAMS, VANCE DeGENERES, AND 1190 00:47:15,533 --> 00:47:17,411 NEW ORLEANS BY WALTER WILLIAMS, VANCE DeGENERES, AND DAVID DERICKSON. 1191 00:47:17,435 --> 00:47:18,145 VANCE DeGENERES, AND DAVID DERICKSON. IT'S TIME FOR 1192 00:47:18,169 --> 00:47:19,046 DAVID DERICKSON. IT'S TIME FOR "THE MR. BILL SHOW." 1193 00:47:19,070 --> 00:47:20,147 IT'S TIME FOR "THE MR. BILL SHOW." HELLO, KIDDIES! 1194 00:47:20,171 --> 00:47:21,916 "THE MR. BILL SHOW." HELLO, KIDDIES! OH, IT'S SO GOOD TO SEE ALL YOUR 1195 00:47:21,940 --> 00:47:23,717 HELLO, KIDDIES! OH, IT'S SO GOOD TO SEE ALL YOUR BRIGHT FACES OUT IN FRONT OF THE 1196 00:47:23,741 --> 00:47:24,285 OH, IT'S SO GOOD TO SEE ALL YOUR BRIGHT FACES OUT IN FRONT OF THE TV SET. 1197 00:47:24,309 --> 00:47:25,752 BRIGHT FACES OUT IN FRONT OF THE TV SET. OH, WE'RE GONNA HAVE A GREAT 1198 00:47:25,776 --> 00:47:26,453 TV SET. OH, WE'RE GONNA HAVE A GREAT TIME TODAY. 1199 00:47:26,477 --> 00:47:28,022 OH, WE'RE GONNA HAVE A GREAT TIME TODAY. AND HERE'S MY FRIEND WHO HELPS 1200 00:47:28,046 --> 00:47:29,456 TIME TODAY. AND HERE'S MY FRIEND WHO HELPS ME ALL THE TIME, MR. HANDS. 1201 00:47:29,480 --> 00:47:30,257 AND HERE'S MY FRIEND WHO HELPS ME ALL THE TIME, MR. HANDS. HEY, MR. BILL. 1202 00:47:30,281 --> 00:47:31,391 ME ALL THE TIME, MR. HANDS. HEY, MR. BILL. ONE OF YOUR GOOD FRIENDS IS 1203 00:47:31,415 --> 00:47:32,159 HEY, MR. BILL. ONE OF YOUR GOOD FRIENDS IS COMING TO VISIT. 1204 00:47:32,183 --> 00:47:35,162 ONE OF YOUR GOOD FRIENDS IS COMING TO VISIT. ♪ HERE COMES MR. BILL'S DOG ♪ 1205 00:47:35,186 --> 00:47:36,530 COMING TO VISIT. ♪ HERE COMES MR. BILL'S DOG ♪ OHH! SPOT! 1206 00:47:36,554 --> 00:47:39,033 ♪ HERE COMES MR. BILL'S DOG ♪ OHH! SPOT! OH, IT'S SO GOOD TO SEE YOU, 1207 00:47:39,057 --> 00:47:39,533 OHH! SPOT! OH, IT'S SO GOOD TO SEE YOU, SPOT. 1208 00:47:39,557 --> 00:47:40,734 OH, IT'S SO GOOD TO SEE YOU, SPOT. YOU BEEN A GOOD DOG? 1209 00:47:40,758 --> 00:47:42,402 SPOT. YOU BEEN A GOOD DOG? I'M SURE HE HAS, MR. BILL, 1210 00:47:42,426 --> 00:47:44,071 YOU BEEN A GOOD DOG? I'M SURE HE HAS, MR. BILL, BUT YOUR BEST PAL'S COMING TO 1211 00:47:44,095 --> 00:47:45,105 I'M SURE HE HAS, MR. BILL, BUT YOUR BEST PAL'S COMING TO VISIT RIGHT NOW. 1212 00:47:45,129 --> 00:47:46,207 BUT YOUR BEST PAL'S COMING TO VISIT RIGHT NOW. WHO'S THAT? 1213 00:47:46,231 --> 00:47:47,607 VISIT RIGHT NOW. WHO'S THAT? IT'S MR. SLUGGO. 1214 00:47:47,631 --> 00:47:48,309 WHO'S THAT? IT'S MR. SLUGGO. OH, NO! 1215 00:47:48,333 --> 00:47:49,676 IT'S MR. SLUGGO. OH, NO! HE HURTS ME ALL THE TIME. 1216 00:47:49,700 --> 00:47:50,811 OH, NO! HE HURTS ME ALL THE TIME. HE'S GONNA HURT ME. 1217 00:47:50,835 --> 00:47:52,512 HE HURTS ME ALL THE TIME. HE'S GONNA HURT ME. NO, HE JUST SAYS HE'S HUNGRY. 1218 00:47:52,536 --> 00:47:53,680 HE'S GONNA HURT ME. NO, HE JUST SAYS HE'S HUNGRY. OH, I DON'T HAVE ANYTHING TO 1219 00:47:53,704 --> 00:47:54,882 NO, HE JUST SAYS HE'S HUNGRY. OH, I DON'T HAVE ANYTHING TO EAT... NOTHING TO EAT, NO FOOD. 1220 00:47:54,906 --> 00:47:56,717 OH, I DON'T HAVE ANYTHING TO EAT... NOTHING TO EAT, NO FOOD. HE SAYS THAT DOG LOOKS MIGHTY 1221 00:47:56,741 --> 00:47:57,251 EAT... NOTHING TO EAT, NO FOOD. HE SAYS THAT DOG LOOKS MIGHTY TASTY. 1222 00:47:57,275 --> 00:47:57,985 HE SAYS THAT DOG LOOKS MIGHTY TASTY. NO, LEAVE SPOT ALONE! 1223 00:47:58,009 --> 00:48:00,921 TASTY. NO, LEAVE SPOT ALONE! OHHHHHH! 1224 00:48:00,945 --> 00:48:02,489 NO, LEAVE SPOT ALONE! OHHHHHH! MR. SLUG SAYS SPOT WAS 1225 00:48:02,513 --> 00:48:03,224 OHHHHHH! MR. SLUG SAYS SPOT WAS DELICIOUS. 1226 00:48:03,248 --> 00:48:04,892 MR. SLUG SAYS SPOT WAS DELICIOUS. OH, WHY DID YOU LET HIM DO 1227 00:48:04,916 --> 00:48:05,993 DELICIOUS. OH, WHY DID YOU LET HIM DO THAT TO SPOT? 1228 00:48:06,017 --> 00:48:07,161 OH, WHY DID YOU LET HIM DO THAT TO SPOT? MR. BILL, YOU KNOW, IT'S 1229 00:48:07,185 --> 00:48:08,362 THAT TO SPOT? MR. BILL, YOU KNOW, IT'S IMPORTANT TO BE WELL GROOMED 1230 00:48:08,386 --> 00:48:09,396 MR. BILL, YOU KNOW, IT'S IMPORTANT TO BE WELL GROOMED WHEN EXPECTING VISITORS. 1231 00:48:09,420 --> 00:48:10,297 IMPORTANT TO BE WELL GROOMED WHEN EXPECTING VISITORS. I CAN'T DO THAT. 1232 00:48:10,321 --> 00:48:11,198 WHEN EXPECTING VISITORS. I CAN'T DO THAT. I CAN'T DO IT. WAIT. 1233 00:48:11,222 --> 00:48:12,499 I CAN'T DO THAT. I CAN'T DO IT. WAIT. SURE. LET'S BRUSH YOUR HAIR. 1234 00:48:12,523 --> 00:48:16,937 I CAN'T DO IT. WAIT. SURE. LET'S BRUSH YOUR HAIR. OHH! AAH! OHHHHHHH! 1235 00:48:16,961 --> 00:48:17,938 SURE. LET'S BRUSH YOUR HAIR. OHH! AAH! OHHHHHHH! I DON'T WANT TO BE BALD. 1236 00:48:17,962 --> 00:48:18,973 OHH! AAH! OHHHHHHH! I DON'T WANT TO BE BALD. YOU'RE NOT GOING TO BE, 1237 00:48:18,997 --> 00:48:20,040 I DON'T WANT TO BE BALD. YOU'RE NOT GOING TO BE, 'CAUSE I'VE MADE YOU A NEW 1238 00:48:20,064 --> 00:48:21,242 YOU'RE NOT GOING TO BE, 'CAUSE I'VE MADE YOU A NEW MOD-LOOK TOUPEE. 1239 00:48:21,266 --> 00:48:22,376 'CAUSE I'VE MADE YOU A NEW MOD-LOOK TOUPEE. OH, I DON'T LIKE IT. 1240 00:48:22,400 --> 00:48:23,210 MOD-LOOK TOUPEE. OH, I DON'T LIKE IT. I DON'T LIKE IT! 1241 00:48:23,234 --> 00:48:24,178 OH, I DON'T LIKE IT. I DON'T LIKE IT! I'D RATHER BE BALD. 1242 00:48:24,202 --> 00:48:25,545 I DON'T LIKE IT! I'D RATHER BE BALD. SAY, MR. BILL, A VISITOR'S 1243 00:48:25,569 --> 00:48:26,881 I'D RATHER BE BALD. SAY, MR. BILL, A VISITOR'S COMING RIGHT NOW, AND HE'S A 1244 00:48:26,905 --> 00:48:27,948 SAY, MR. BILL, A VISITOR'S COMING RIGHT NOW, AND HE'S A WORLD-FAMOUS MAGICIAN. 1245 00:48:27,972 --> 00:48:29,583 COMING RIGHT NOW, AND HE'S A WORLD-FAMOUS MAGICIAN. UH, WHO IS THAT, HUH? 1246 00:48:29,607 --> 00:48:31,252 WORLD-FAMOUS MAGICIAN. UH, WHO IS THAT, HUH? IT'S THE AMAZING SLUGGO THE 1247 00:48:31,276 --> 00:48:31,919 UH, WHO IS THAT, HUH? IT'S THE AMAZING SLUGGO THE MAGICIAN. 1248 00:48:31,943 --> 00:48:33,420 IT'S THE AMAZING SLUGGO THE MAGICIAN. OH, NO! HE'S NO MAGICIAN. 1249 00:48:33,444 --> 00:48:35,022 MAGICIAN. OH, NO! HE'S NO MAGICIAN. HE'S JUST GONNA HURT ME AGAIN. 1250 00:48:35,046 --> 00:48:36,123 OH, NO! HE'S NO MAGICIAN. HE'S JUST GONNA HURT ME AGAIN. HE'S GONNA HURT ME! 1251 00:48:36,147 --> 00:48:37,657 HE'S JUST GONNA HURT ME AGAIN. HE'S GONNA HURT ME! AND I'M HIS ASSISTANT, AND 1252 00:48:37,681 --> 00:48:39,159 HE'S GONNA HURT ME! AND I'M HIS ASSISTANT, AND FOR SLUG'S FIRST TRICK, HE'S 1253 00:48:39,183 --> 00:48:40,394 AND I'M HIS ASSISTANT, AND FOR SLUG'S FIRST TRICK, HE'S GOING TO LEVITATE YOU. 1254 00:48:40,418 --> 00:48:41,528 FOR SLUG'S FIRST TRICK, HE'S GOING TO LEVITATE YOU. I CAN'T DO THAT! NO! 1255 00:48:41,552 --> 00:48:42,629 GOING TO LEVITATE YOU. I CAN'T DO THAT! NO! AND TO MAKE IT MORE 1256 00:48:42,653 --> 00:48:43,931 I CAN'T DO THAT! NO! AND TO MAKE IT MORE INTERESTING, HE SAYS TO PUT 1257 00:48:43,955 --> 00:48:45,199 AND TO MAKE IT MORE INTERESTING, HE SAYS TO PUT THESE POISON-TIPPED SPIKES 1258 00:48:45,223 --> 00:48:46,000 INTERESTING, HE SAYS TO PUT THESE POISON-TIPPED SPIKES UNDERNEATH YOU. 1259 00:48:46,024 --> 00:48:46,566 THESE POISON-TIPPED SPIKES UNDERNEATH YOU. OH, NO! 1260 00:48:46,590 --> 00:48:47,701 UNDERNEATH YOU. OH, NO! HE'S JUST GOING TO HURT ME 1261 00:48:47,725 --> 00:48:48,102 OH, NO! HE'S JUST GOING TO HURT ME AGAIN! 1262 00:48:48,126 --> 00:48:48,802 HE'S JUST GOING TO HURT ME AGAIN! HERE WE GO. 1263 00:48:48,826 --> 00:48:49,669 AGAIN! HERE WE GO. LEVITATE YOURSELF. 1264 00:48:49,693 --> 00:48:52,439 HERE WE GO. LEVITATE YOURSELF. OHHHHHHHHH! 1265 00:48:52,463 --> 00:48:55,376 LEVITATE YOURSELF. OHHHHHHHHH! OH, JUST THINK POSITIVE. 1266 00:48:55,400 --> 00:48:56,777 OHHHHHHHHH! OH, JUST THINK POSITIVE. NOW FOR THE TRADITIONAL 1267 00:48:56,801 --> 00:48:58,379 OH, JUST THINK POSITIVE. NOW FOR THE TRADITIONAL "SAW THE MAN IN HALF" TRICK. 1268 00:48:58,403 --> 00:48:59,780 NOW FOR THE TRADITIONAL "SAW THE MAN IN HALF" TRICK. NO, I CAN'T DO THAT! 1269 00:48:59,804 --> 00:49:01,448 "SAW THE MAN IN HALF" TRICK. NO, I CAN'T DO THAT! SOMEONE HELP ME! 1270 00:49:01,472 --> 00:49:02,983 NO, I CAN'T DO THAT! SOMEONE HELP ME! OH, MR. BILL, I'VE SEEN IT 1271 00:49:03,007 --> 00:49:04,551 SOMEONE HELP ME! OH, MR. BILL, I'VE SEEN IT DONE THOUSANDS OF TIMES ON TV. 1272 00:49:04,575 --> 00:49:06,653 OH, MR. BILL, I'VE SEEN IT DONE THOUSANDS OF TIMES ON TV. THAT'S GONNA BREAK MY ARM! 1273 00:49:06,677 --> 00:49:07,754 DONE THOUSANDS OF TIMES ON TV. THAT'S GONNA BREAK MY ARM! NO! WAIT, WAIT! 1274 00:49:07,778 --> 00:49:09,656 THAT'S GONNA BREAK MY ARM! NO! WAIT, WAIT! OHHHHHHHH! 1275 00:49:09,680 --> 00:49:10,724 NO! WAIT, WAIT! OHHHHHHHH! OKAY, MR. BILL. 1276 00:49:10,748 --> 00:49:12,393 OHHHHHHHH! OKAY, MR. BILL. NOW JUST GET IN THE RIGHT FRAME 1277 00:49:12,417 --> 00:49:13,727 OKAY, MR. BILL. NOW JUST GET IN THE RIGHT FRAME OF MIND, AND HERE WE GO. 1278 00:49:13,751 --> 00:49:14,962 NOW JUST GET IN THE RIGHT FRAME OF MIND, AND HERE WE GO. NO, I CAN'T DO THIS. 1279 00:49:14,986 --> 00:49:16,297 OF MIND, AND HERE WE GO. NO, I CAN'T DO THIS. HE'S GONNA SAW ME IN HALF. 1280 00:49:16,321 --> 00:49:17,064 NO, I CAN'T DO THIS. HE'S GONNA SAW ME IN HALF. WAIT, WAIT! 1281 00:49:17,088 --> 00:49:18,032 HE'S GONNA SAW ME IN HALF. WAIT, WAIT! I'M GONNA SAW YOU IN HALF 1282 00:49:18,056 --> 00:49:18,465 WAIT, WAIT! I'M GONNA SAW YOU IN HALF RIGHT NOW. 1283 00:49:18,489 --> 00:49:22,403 I'M GONNA SAW YOU IN HALF RIGHT NOW. NO! NO! NOOOOOOO! 1284 00:49:22,427 --> 00:49:23,938 RIGHT NOW. NO! NO! NOOOOOOO! OKAY, MR. BILL. 1285 00:49:23,962 --> 00:49:25,973 NO! NO! NOOOOOOO! OKAY, MR. BILL. LET'S CHECK THOSE RESULTS. 1286 00:49:25,997 --> 00:49:28,342 OKAY, MR. BILL. LET'S CHECK THOSE RESULTS. HERE WE GO. 1287 00:49:28,366 --> 00:49:31,011 LET'S CHECK THOSE RESULTS. HERE WE GO. OH, MR. BILL, SOMETHING MUST 1288 00:49:31,035 --> 00:49:32,879 HERE WE GO. OH, MR. BILL, SOMETHING MUST HAVE GONE HAYWIRE. 1289 00:49:32,903 --> 00:49:34,114 OH, MR. BILL, SOMETHING MUST HAVE GONE HAYWIRE. MR. BILL'S GOING ON AN 1290 00:49:34,138 --> 00:49:36,083 HAVE GONE HAYWIRE. MR. BILL'S GOING ON AN OUTER-SPACE ADVENTURE RIGHT NOW. 1291 00:49:36,107 --> 00:49:37,918 MR. BILL'S GOING ON AN OUTER-SPACE ADVENTURE RIGHT NOW. OHHHHHH! 1292 00:49:37,942 --> 00:49:40,287 OUTER-SPACE ADVENTURE RIGHT NOW. OHHHHHH! SO UNTIL NEXT WEEK, MR. BILL 1293 00:49:40,311 --> 00:49:41,688 OHHHHHH! SO UNTIL NEXT WEEK, MR. BILL SAYS, "SO LONG." 1294 00:49:41,712 --> 00:49:44,191 SO UNTIL NEXT WEEK, MR. BILL SAYS, "SO LONG." SO LONG FROM MR. SLUGGO AND 1295 00:49:44,215 --> 00:49:47,149 SAYS, "SO LONG." SO LONG FROM MR. SLUGGO AND SPOT AND EVERYBODY. 1296 00:49:49,353 --> 00:49:53,767 Announcer: IF YOU HAVE A SUPER 8 OR A 16-MILLIMETER HOME MOVIE APPROXIMATELY 2 MINUTES IN 1297 00:49:53,791 --> 00:49:57,151 SUPER 8 OR A 16-MILLIMETER HOME MOVIE APPROXIMATELY 2 MINUTES IN LENGTH, SEND IT TO... 1298 00:50:01,398 --> 00:50:05,479 AND INCLUDE A STAMPED, SELF-ADDRESSED ENVELOPE. THERE WILL BE NO MONETARY 1299 00:50:05,503 --> 00:50:08,264 SELF-ADDRESSED ENVELOPE. THERE WILL BE NO MONETARY COMPENSATION AT ALL. 1300 00:50:10,640 --> 00:50:17,813 LADIES AND GENTLEMEN, THE INCREDIBLE RICKY JAY. [CHEERS AND APPLAUSE] 1301 00:50:22,919 --> 00:50:25,721 [LAUGHS] 1302 00:50:30,327 --> 00:50:33,129 [LAUGHING] 1303 00:50:50,813 --> 00:50:52,614 [LAUGHING CONTINUES] 1304 00:50:59,056 --> 00:51:00,789 [LAUGHING STOPS] 1305 00:51:10,733 --> 00:51:12,535 [APPLAUSE] 1306 00:51:19,142 --> 00:51:22,622 THANK YOU, BUT ENOUGH OF THIS LEVITY. LADIES AND GENTLEMEN, THE REASON 1307 00:51:22,646 --> 00:51:24,124 LEVITY. LADIES AND GENTLEMEN, THE REASON THAT I AM HERE THIS EVENING IS 1308 00:51:24,148 --> 00:51:25,659 LADIES AND GENTLEMEN, THE REASON THAT I AM HERE THIS EVENING IS BECAUSE I READ MINDS, AND THIS 1309 00:51:25,683 --> 00:51:27,294 THAT I AM HERE THIS EVENING IS BECAUSE I READ MINDS, AND THIS EVENING I WOULD LIKE TO READ THE 1310 00:51:27,318 --> 00:51:28,862 BECAUSE I READ MINDS, AND THIS EVENING I WOULD LIKE TO READ THE MINDS OF SOME OF YOU OUT IN THE 1311 00:51:28,886 --> 00:51:29,463 EVENING I WOULD LIKE TO READ THE MINDS OF SOME OF YOU OUT IN THE AUDIENCE. 1312 00:51:29,487 --> 00:51:31,065 MINDS OF SOME OF YOU OUT IN THE AUDIENCE. YOU PEOPLE IN THE CHEAPER SEATS 1313 00:51:31,089 --> 00:51:32,066 AUDIENCE. YOU PEOPLE IN THE CHEAPER SEATS WILL HAVE TO WAIT. 1314 00:51:32,090 --> 00:51:33,633 YOU PEOPLE IN THE CHEAPER SEATS WILL HAVE TO WAIT. WOULD YOU, SIR, LIKE TO JOIN ME 1315 00:51:33,657 --> 00:51:34,968 WILL HAVE TO WAIT. WOULD YOU, SIR, LIKE TO JOIN ME ON STAGE, IF THAT'S OKAY? 1316 00:51:34,992 --> 00:51:36,236 WOULD YOU, SIR, LIKE TO JOIN ME ON STAGE, IF THAT'S OKAY? AND HOW ABOUT THIS WOMAN... THE 1317 00:51:36,260 --> 00:51:36,870 ON STAGE, IF THAT'S OKAY? AND HOW ABOUT THIS WOMAN... THE THIRD ONE IN? 1318 00:51:36,894 --> 00:51:38,138 AND HOW ABOUT THIS WOMAN... THE THIRD ONE IN? WOULD YOU LIKE TO COME ON UP AS 1319 00:51:38,162 --> 00:51:39,005 THIRD ONE IN? WOULD YOU LIKE TO COME ON UP AS WELL? 1320 00:51:39,029 --> 00:51:40,307 WOULD YOU LIKE TO COME ON UP AS WELL? JUST COME ON UP TO THE STAGE. 1321 00:51:40,331 --> 00:51:41,108 WELL? JUST COME ON UP TO THE STAGE. HI. HOW ARE YOU? 1322 00:51:41,132 --> 00:51:41,575 JUST COME ON UP TO THE STAGE. HI. HOW ARE YOU? HI. 1323 00:51:41,599 --> 00:51:42,342 HI. HOW ARE YOU? HI. WHAT IS YOUR NAME? 1324 00:51:42,366 --> 00:51:43,277 HI. WHAT IS YOUR NAME? STANLEY SHERMAN. 1325 00:51:43,301 --> 00:51:44,311 WHAT IS YOUR NAME? STANLEY SHERMAN. STANLEY, I'M RICKY. 1326 00:51:44,335 --> 00:51:45,145 STANLEY SHERMAN. STANLEY, I'M RICKY. NICE TO MEET YOU. 1327 00:51:45,169 --> 00:51:46,080 STANLEY, I'M RICKY. NICE TO MEET YOU. NICE TO MEET YOU. 1328 00:51:46,104 --> 00:51:47,281 NICE TO MEET YOU. NICE TO MEET YOU. THAT'S ENOUGH, STANLEY. 1329 00:51:47,305 --> 00:51:48,415 NICE TO MEET YOU. THAT'S ENOUGH, STANLEY. THANK YOU. 1330 00:51:48,439 --> 00:51:49,383 THAT'S ENOUGH, STANLEY. THANK YOU. AND YOU ARE? 1331 00:51:49,407 --> 00:51:50,551 THANK YOU. AND YOU ARE? PEGGY SIEGEL. 1332 00:51:50,575 --> 00:51:51,685 AND YOU ARE? PEGGY SIEGEL. PEGGY, STILL RICKY. 1333 00:51:51,709 --> 00:51:52,752 PEGGY SIEGEL. PEGGY, STILL RICKY. NICE TO MEET YOU. 1334 00:51:52,776 --> 00:51:53,820 PEGGY, STILL RICKY. NICE TO MEET YOU. NICE TO MEET YOU. 1335 00:51:53,844 --> 00:51:55,222 NICE TO MEET YOU. NICE TO MEET YOU. THE REASON I'VE CALLED YOU HERE 1336 00:51:55,246 --> 00:51:56,256 NICE TO MEET YOU. THE REASON I'VE CALLED YOU HERE IS TO CONDUCT A LITTLE 1337 00:51:56,280 --> 00:51:57,558 THE REASON I'VE CALLED YOU HERE IS TO CONDUCT A LITTLE EXPERIMENT WITH THE ORDINARY 1338 00:51:57,582 --> 00:51:58,792 IS TO CONDUCT A LITTLE EXPERIMENT WITH THE ORDINARY PACK OF PLAYING CARDS. 1339 00:51:58,816 --> 00:52:00,194 EXPERIMENT WITH THE ORDINARY PACK OF PLAYING CARDS. NOW, UNDERSTAND THAT THESE 1340 00:52:00,218 --> 00:52:01,628 PACK OF PLAYING CARDS. NOW, UNDERSTAND THAT THESE PLAYING CARDS ARE MERELY AN 1341 00:52:01,652 --> 00:52:03,197 NOW, UNDERSTAND THAT THESE PLAYING CARDS ARE MERELY AN ADJUNCT TO THE PARTICULAR FEAT 1342 00:52:03,221 --> 00:52:04,798 PLAYING CARDS ARE MERELY AN ADJUNCT TO THE PARTICULAR FEAT OF MIND READING THAT I'M GOING 1343 00:52:04,822 --> 00:52:06,366 ADJUNCT TO THE PARTICULAR FEAT OF MIND READING THAT I'M GOING TO DO, AND THEY IN NO WAY HAVE 1344 00:52:06,390 --> 00:52:07,634 OF MIND READING THAT I'M GOING TO DO, AND THEY IN NO WAY HAVE ANYTHING TO DO WITH ME. 1345 00:52:07,658 --> 00:52:09,503 TO DO, AND THEY IN NO WAY HAVE ANYTHING TO DO WITH ME. I'M VERY UNFAMILIAR WITH PLAYING 1346 00:52:09,527 --> 00:52:10,070 ANYTHING TO DO WITH ME. I'M VERY UNFAMILIAR WITH PLAYING CARDS. 1347 00:52:10,094 --> 00:52:11,671 I'M VERY UNFAMILIAR WITH PLAYING CARDS. NOW, PEGGY, WHAT I WOULD LIKE 1348 00:52:11,695 --> 00:52:13,107 CARDS. NOW, PEGGY, WHAT I WOULD LIKE YOU TO DO IS TO HELP ME BY 1349 00:52:13,131 --> 00:52:14,141 NOW, PEGGY, WHAT I WOULD LIKE YOU TO DO IS TO HELP ME BY SELECTING A CARD. 1350 00:52:14,165 --> 00:52:15,909 YOU TO DO IS TO HELP ME BY SELECTING A CARD. OKAY, I'M GOING TO FAN THEM, AND 1351 00:52:15,933 --> 00:52:17,444 SELECTING A CARD. OKAY, I'M GOING TO FAN THEM, AND YOU JUST TAKE ONE OUT OF THE 1352 00:52:17,468 --> 00:52:18,712 OKAY, I'M GOING TO FAN THEM, AND YOU JUST TAKE ONE OUT OF THE DECK... A FREE CHOICE. 1353 00:52:18,736 --> 00:52:20,380 YOU JUST TAKE ONE OUT OF THE DECK... A FREE CHOICE. DON'T LET ME INFLUENCE YOU. 1354 00:52:20,404 --> 00:52:21,848 DECK... A FREE CHOICE. DON'T LET ME INFLUENCE YOU. [LAUGHS] 1355 00:52:21,872 --> 00:52:22,849 DON'T LET ME INFLUENCE YOU. [LAUGHS] SETTLE DOWN, PEGGY. 1356 00:52:22,873 --> 00:52:23,950 [LAUGHS] SETTLE DOWN, PEGGY. I'LL GET BACK TO YOU IN A 1357 00:52:23,974 --> 00:52:24,384 SETTLE DOWN, PEGGY. I'LL GET BACK TO YOU IN A MOMENT. 1358 00:52:24,408 --> 00:52:25,419 I'LL GET BACK TO YOU IN A MOMENT. STANLEY, HANG IN THERE. 1359 00:52:25,443 --> 00:52:26,653 MOMENT. STANLEY, HANG IN THERE. NO, I'LL TELL YOU WHAT... YOU 1360 00:52:26,677 --> 00:52:27,887 STANLEY, HANG IN THERE. NO, I'LL TELL YOU WHAT... YOU MAY THINK THAT I'M TRYING TO 1361 00:52:27,911 --> 00:52:29,156 NO, I'LL TELL YOU WHAT... YOU MAY THINK THAT I'M TRYING TO GIVE YOU A PARTICULAR CARD, SO 1362 00:52:29,180 --> 00:52:30,524 MAY THINK THAT I'M TRYING TO GIVE YOU A PARTICULAR CARD, SO INSTEAD OF DOING THAT, WOULD YOU 1363 00:52:30,548 --> 00:52:32,392 GIVE YOU A PARTICULAR CARD, SO INSTEAD OF DOING THAT, WOULD YOU HOLD UP YOUR LEFT THUMB? 1364 00:52:32,416 --> 00:52:33,494 INSTEAD OF DOING THAT, WOULD YOU HOLD UP YOUR LEFT THUMB? IT'S A TRICKY ONE. 1365 00:52:33,518 --> 00:52:34,194 HOLD UP YOUR LEFT THUMB? IT'S A TRICKY ONE. I KNOW. 1366 00:52:34,218 --> 00:52:35,129 IT'S A TRICKY ONE. I KNOW. DON'T WORRY. 1367 00:52:35,153 --> 00:52:36,330 I KNOW. DON'T WORRY. I WON'T BE INSULTED. 1368 00:52:36,354 --> 00:52:36,830 DON'T WORRY. I WON'T BE INSULTED. GOOD. 1369 00:52:36,854 --> 00:52:38,532 I WON'T BE INSULTED. GOOD. WITH YOUR LEFT THUMB, I'D LIKE 1370 00:52:38,556 --> 00:52:40,234 GOOD. WITH YOUR LEFT THUMB, I'D LIKE YOU TO PUSH INTO THE DECK JUST 1371 00:52:40,258 --> 00:52:41,935 WITH YOUR LEFT THUMB, I'D LIKE YOU TO PUSH INTO THE DECK JUST IN ONE SPOT, ANY PLACE AT ALL, 1372 00:52:41,959 --> 00:52:43,703 YOU TO PUSH INTO THE DECK JUST IN ONE SPOT, ANY PLACE AT ALL, JUST ONCE AND REMEMBER THE CARD 1373 00:52:43,727 --> 00:52:45,071 IN ONE SPOT, ANY PLACE AT ALL, JUST ONCE AND REMEMBER THE CARD THAT YOU HAPPEN TO SEE. 1374 00:52:45,095 --> 00:52:46,173 JUST ONCE AND REMEMBER THE CARD THAT YOU HAPPEN TO SEE. OKAY, PEGGY? 1375 00:52:46,197 --> 00:52:47,841 THAT YOU HAPPEN TO SEE. OKAY, PEGGY? STANLEY, WHAT YOU WILL BE DOING 1376 00:52:47,865 --> 00:52:49,576 OKAY, PEGGY? STANLEY, WHAT YOU WILL BE DOING AS THIS GOES ON IS LOOKING AT MY 1377 00:52:49,600 --> 00:52:51,311 STANLEY, WHAT YOU WILL BE DOING AS THIS GOES ON IS LOOKING AT MY EYES, AND THIS WILL PROVE THAT I 1378 00:52:51,335 --> 00:52:52,712 AS THIS GOES ON IS LOOKING AT MY EYES, AND THIS WILL PROVE THAT I AM NOT A THUMB FETISHIST. 1379 00:52:52,736 --> 00:52:53,113 EYES, AND THIS WILL PROVE THAT I AM NOT A THUMB FETISHIST. GOOD. 1380 00:52:53,137 --> 00:52:54,448 AM NOT A THUMB FETISHIST. GOOD. PEGGY, WOULD YOU PLEASE TAKE A 1381 00:52:54,472 --> 00:52:54,814 GOOD. PEGGY, WOULD YOU PLEASE TAKE A PEEK? 1382 00:52:54,838 --> 00:52:55,815 PEGGY, WOULD YOU PLEASE TAKE A PEEK? NO, YOU DON'T SEEM TO 1383 00:52:55,839 --> 00:52:56,450 PEEK? NO, YOU DON'T SEEM TO UNDERSTAND. 1384 00:52:56,474 --> 00:52:57,851 NO, YOU DON'T SEEM TO UNDERSTAND. I WANT YOU TO ACTUALLY LOOK AT A 1385 00:52:57,875 --> 00:52:58,252 UNDERSTAND. I WANT YOU TO ACTUALLY LOOK AT A CARD. 1386 00:52:58,276 --> 00:52:59,085 I WANT YOU TO ACTUALLY LOOK AT A CARD. I DID. 1387 00:52:59,109 --> 00:53:00,720 CARD. I DID. YOU SAW A CARD THAT QUICKLY? 1388 00:53:00,744 --> 00:53:01,355 I DID. YOU SAW A CARD THAT QUICKLY? YEAH. 1389 00:53:01,379 --> 00:53:02,856 YOU SAW A CARD THAT QUICKLY? YEAH. HERE I'M EXPLAINING, AND 1390 00:53:02,880 --> 00:53:04,158 YEAH. HERE I'M EXPLAINING, AND SUDDENLY SHE MOVES LIKE 1391 00:53:04,182 --> 00:53:04,858 HERE I'M EXPLAINING, AND SUDDENLY SHE MOVES LIKE LIGHTNING. 1392 00:53:04,882 --> 00:53:05,992 SUDDENLY SHE MOVES LIKE LIGHTNING. YOU REMEMBERED ONE? 1393 00:53:06,016 --> 00:53:06,460 LIGHTNING. YOU REMEMBERED ONE? YEAH. 1394 00:53:06,484 --> 00:53:07,661 YOU REMEMBERED ONE? YEAH. WOULD YOU DO ME A VERY BIG 1395 00:53:07,685 --> 00:53:08,061 YEAH. WOULD YOU DO ME A VERY BIG FAVOR? 1396 00:53:08,085 --> 00:53:13,167 WOULD YOU DO ME A VERY BIG FAVOR? FORGET IT. 1397 00:53:13,191 --> 00:53:14,535 FAVOR? FORGET IT. LET'S TRY AGAIN, SHALL WE? 1398 00:53:14,559 --> 00:53:15,935 FORGET IT. LET'S TRY AGAIN, SHALL WE? I'M GOING TO GO THROUGH THE 1399 00:53:15,959 --> 00:53:16,403 LET'S TRY AGAIN, SHALL WE? I'M GOING TO GO THROUGH THE CARDS. 1400 00:53:16,427 --> 00:53:17,871 I'M GOING TO GO THROUGH THE CARDS. YOU USE YOUR THUMB TO TAKE A 1401 00:53:17,895 --> 00:53:18,605 CARDS. YOU USE YOUR THUMB TO TAKE A LOOK AT ONE. 1402 00:53:18,629 --> 00:53:20,106 YOU USE YOUR THUMB TO TAKE A LOOK AT ONE. STANLEY, YOU LOOK AT MY EYES. 1403 00:53:20,130 --> 00:53:21,542 LOOK AT ONE. STANLEY, YOU LOOK AT MY EYES. YOU KNOW THE REASON. 1404 00:53:21,566 --> 00:53:22,609 STANLEY, YOU LOOK AT MY EYES. YOU KNOW THE REASON. YOU ARE VERY GOOD AT THIS, 1405 00:53:22,633 --> 00:53:23,043 YOU KNOW THE REASON. YOU ARE VERY GOOD AT THIS, STANLEY. 1406 00:53:23,067 --> 00:53:23,577 YOU ARE VERY GOOD AT THIS, STANLEY. THANK YOU. 1407 00:53:23,601 --> 00:53:24,811 STANLEY. THANK YOU. HAVE YOU ACTUALLY SEEN THE CARD 1408 00:53:24,835 --> 00:53:25,345 THANK YOU. HAVE YOU ACTUALLY SEEN THE CARD NOW, PEGGY? 1409 00:53:25,369 --> 00:53:25,879 HAVE YOU ACTUALLY SEEN THE CARD NOW, PEGGY? MM-HMM. 1410 00:53:25,903 --> 00:53:27,113 NOW, PEGGY? MM-HMM. SOMEWHERE IN THE DECK IS A 1411 00:53:27,137 --> 00:53:28,014 MM-HMM. SOMEWHERE IN THE DECK IS A CARD WHICH YOU KNOW. 1412 00:53:28,038 --> 00:53:29,115 SOMEWHERE IN THE DECK IS A CARD WHICH YOU KNOW. DO YOU KNOW HOW TO SHUFFLE 1413 00:53:29,139 --> 00:53:29,516 CARD WHICH YOU KNOW. DO YOU KNOW HOW TO SHUFFLE CARDS? 1414 00:53:29,540 --> 00:53:30,150 DO YOU KNOW HOW TO SHUFFLE CARDS? I HOPE SO. 1415 00:53:30,174 --> 00:53:30,950 CARDS? I HOPE SO. JUST A MINUTE. 1416 00:53:30,974 --> 00:53:31,818 I HOPE SO. JUST A MINUTE. THAT'S UNFORTUNATE. 1417 00:53:31,842 --> 00:53:33,787 JUST A MINUTE. THAT'S UNFORTUNATE. DO YOU? 1418 00:53:33,811 --> 00:53:34,254 THAT'S UNFORTUNATE. DO YOU? A LITTLE. 1419 00:53:34,278 --> 00:53:35,255 DO YOU? A LITTLE. WELL, THAT'S BETTER THAN 1420 00:53:35,279 --> 00:53:35,689 A LITTLE. WELL, THAT'S BETTER THAN NOTHING. 1421 00:53:35,713 --> 00:53:36,590 WELL, THAT'S BETTER THAN NOTHING. WOULD YOU TRY, PLEASE? 1422 00:53:36,614 --> 00:53:37,658 NOTHING. WOULD YOU TRY, PLEASE? QUICKLY... IT'S DEAD TIME. 1423 00:53:37,682 --> 00:53:38,592 WOULD YOU TRY, PLEASE? QUICKLY... IT'S DEAD TIME. GET IT. 1424 00:53:38,616 --> 00:53:39,826 QUICKLY... IT'S DEAD TIME. GET IT. COME ON AND MOVE IT. 1425 00:53:39,850 --> 00:53:40,661 GET IT. COME ON AND MOVE IT. LET'S PLAY. 1426 00:53:40,685 --> 00:53:42,028 COME ON AND MOVE IT. LET'S PLAY. THAT'S GOOD, STANLEY. 1427 00:53:42,052 --> 00:53:44,498 LET'S PLAY. THAT'S GOOD, STANLEY. VERY GOOD. 1428 00:53:44,522 --> 00:53:46,233 THAT'S GOOD, STANLEY. VERY GOOD. LADIES AND GENTLEMEN, I AM NOW 1429 00:53:46,257 --> 00:53:48,034 VERY GOOD. LADIES AND GENTLEMEN, I AM NOW GOING TO LOOK THROUGH THE CARDS. 1430 00:53:48,058 --> 00:53:49,836 LADIES AND GENTLEMEN, I AM NOW GOING TO LOOK THROUGH THE CARDS. THIS WILL HELP ME TO LOCATE THE 1431 00:53:49,860 --> 00:53:50,671 GOING TO LOOK THROUGH THE CARDS. THIS WILL HELP ME TO LOCATE THE CORRECT ONE. 1432 00:53:50,695 --> 00:53:52,272 THIS WILL HELP ME TO LOCATE THE CORRECT ONE. AND SINCE I'M TAKING SO MUCH 1433 00:53:52,296 --> 00:53:54,107 CORRECT ONE. AND SINCE I'M TAKING SO MUCH TIME, WHAT I'M GOING TO DO IS TO 1434 00:53:54,131 --> 00:53:56,142 AND SINCE I'M TAKING SO MUCH TIME, WHAT I'M GOING TO DO IS TO HAVE THE CARD WHICH YOU SELECTED 1435 00:53:56,166 --> 00:53:58,178 TIME, WHAT I'M GOING TO DO IS TO HAVE THE CARD WHICH YOU SELECTED JUMP OUT OF THE DECK AND LAND IN 1436 00:53:58,202 --> 00:53:59,846 HAVE THE CARD WHICH YOU SELECTED JUMP OUT OF THE DECK AND LAND IN MY OUTSTRETCHED ARM AS IF 1437 00:53:59,870 --> 00:54:01,715 JUMP OUT OF THE DECK AND LAND IN MY OUTSTRETCHED ARM AS IF PROPELLED. 1438 00:54:01,739 --> 00:54:02,949 MY OUTSTRETCHED ARM AS IF PROPELLED. WATCH! ONE CARD. 1439 00:54:02,973 --> 00:54:05,118 PROPELLED. WATCH! ONE CARD. AND THIS, I BELIEVE, IS THE CARD 1440 00:54:05,142 --> 00:54:06,853 WATCH! ONE CARD. AND THIS, I BELIEVE, IS THE CARD YOU LOOKED AT... THE 2 OF 1441 00:54:06,877 --> 00:54:07,554 AND THIS, I BELIEVE, IS THE CARD YOU LOOKED AT... THE 2 OF HEARTS. 1442 00:54:07,578 --> 00:54:08,755 YOU LOOKED AT... THE 2 OF HEARTS. THAT WAS THE FIRST ONE. 1443 00:54:08,779 --> 00:54:10,056 HEARTS. THAT WAS THE FIRST ONE. THE FIRST ONE. 1444 00:54:10,080 --> 00:54:12,226 THAT WAS THE FIRST ONE. THE FIRST ONE. [LAUGHS] 1445 00:54:12,250 --> 00:54:13,560 THE FIRST ONE. [LAUGHS] THIS WAS, IN FACT, THE CARD 1446 00:54:13,584 --> 00:54:14,828 [LAUGHS] THIS WAS, IN FACT, THE CARD WHICH I ASKED YOU TO FORGET? 1447 00:54:14,852 --> 00:54:15,462 THIS WAS, IN FACT, THE CARD WHICH I ASKED YOU TO FORGET? YES. 1448 00:54:15,486 --> 00:54:17,731 WHICH I ASKED YOU TO FORGET? YES. A FINE JOB YOU'VE DONE. 1449 00:54:17,755 --> 00:54:19,299 YES. A FINE JOB YOU'VE DONE. WHAT WAS THE CARD WHICH I ASKED 1450 00:54:19,323 --> 00:54:20,200 A FINE JOB YOU'VE DONE. WHAT WAS THE CARD WHICH I ASKED YOU TO REMEMBER? 1451 00:54:20,224 --> 00:54:21,134 WHAT WAS THE CARD WHICH I ASKED YOU TO REMEMBER? 2 OF CLUBS. 1452 00:54:21,158 --> 00:54:22,102 YOU TO REMEMBER? 2 OF CLUBS. 2 OF CLUBS. 1453 00:54:22,126 --> 00:54:24,371 2 OF CLUBS. 2 OF CLUBS. WATCH THE 2 OF HEARTS IN MIDAIR, 1454 00:54:24,395 --> 00:54:27,507 2 OF CLUBS. WATCH THE 2 OF HEARTS IN MIDAIR, 'CAUSE THAT IS NOW THE 2 OF 1455 00:54:27,531 --> 00:54:28,275 WATCH THE 2 OF HEARTS IN MIDAIR, 'CAUSE THAT IS NOW THE 2 OF CLUBS. 1456 00:54:28,299 --> 00:54:33,280 'CAUSE THAT IS NOW THE 2 OF CLUBS. [CHEERS AND APPLAUSE] 1457 00:54:33,304 --> 00:54:35,115 CLUBS. [CHEERS AND APPLAUSE] WOULD YOU LIKE TO GO BACK TO 1458 00:54:35,139 --> 00:54:35,949 [CHEERS AND APPLAUSE] WOULD YOU LIKE TO GO BACK TO YOUR SEAT? 1459 00:54:35,973 --> 00:54:36,783 WOULD YOU LIKE TO GO BACK TO YOUR SEAT? THANK YOU. 1460 00:54:36,807 --> 00:54:37,718 YOUR SEAT? THANK YOU. THANK YOU VERY MUCH FOR HELPING 1461 00:54:37,742 --> 00:54:39,018 THANK YOU. THANK YOU VERY MUCH FOR HELPING ME. 1462 00:54:39,042 --> 00:54:40,354 THANK YOU VERY MUCH FOR HELPING ME. LADIES AND GENTLEMEN, MANY OF 1463 00:54:40,378 --> 00:54:41,755 ME. LADIES AND GENTLEMEN, MANY OF YOU KNOW THAT I AM THE MAN WHO 1464 00:54:41,779 --> 00:54:43,189 LADIES AND GENTLEMEN, MANY OF YOU KNOW THAT I AM THE MAN WHO CORRECTLY PREDICTED THE WINNING 1465 00:54:43,213 --> 00:54:44,090 YOU KNOW THAT I AM THE MAN WHO CORRECTLY PREDICTED THE WINNING TICKET IN THE 1923 1466 00:54:44,114 --> 00:54:45,425 CORRECTLY PREDICTED THE WINNING TICKET IN THE 1923 CUBAN NATIONAL LOTTERY. 1467 00:54:45,449 --> 00:54:47,261 TICKET IN THE 1923 CUBAN NATIONAL LOTTERY. THANK YOU VERY MUCH. 1468 00:54:47,285 --> 00:54:48,662 CUBAN NATIONAL LOTTERY. THANK YOU VERY MUCH. THIS EVENING I HAVE ANOTHER 1469 00:54:48,686 --> 00:54:50,130 THANK YOU VERY MUCH. THIS EVENING I HAVE ANOTHER PREDICTION IN STORE FOR YOU. 1470 00:54:50,154 --> 00:54:50,797 THIS EVENING I HAVE ANOTHER PREDICTION IN STORE FOR YOU. LET'S SEE. 1471 00:54:50,821 --> 00:54:52,399 PREDICTION IN STORE FOR YOU. LET'S SEE. YOUNG LADY OVER HERE, WOULD YOU 1472 00:54:52,423 --> 00:54:54,033 LET'S SEE. YOUNG LADY OVER HERE, WOULD YOU MIND JUST STANDING IN YOUR SEAT? 1473 00:54:54,057 --> 00:54:55,535 YOUNG LADY OVER HERE, WOULD YOU MIND JUST STANDING IN YOUR SEAT? NO REASON TO COME UP ONSTAGE. 1474 00:54:55,559 --> 00:54:57,003 MIND JUST STANDING IN YOUR SEAT? NO REASON TO COME UP ONSTAGE. WOULD YOU JUST STAND AT YOUR 1475 00:54:57,027 --> 00:54:57,437 NO REASON TO COME UP ONSTAGE. WOULD YOU JUST STAND AT YOUR SEAT? 1476 00:54:57,461 --> 00:54:59,005 WOULD YOU JUST STAND AT YOUR SEAT? AND I'M GOING TO ASK YOU TO 1477 00:54:59,029 --> 00:55:00,641 SEAT? AND I'M GOING TO ASK YOU TO MENTION ANY NUMBER AT ALL IN 1478 00:55:00,665 --> 00:55:02,476 AND I'M GOING TO ASK YOU TO MENTION ANY NUMBER AT ALL IN JUST A SECOND, BUT I WANT YOU TO 1479 00:55:02,500 --> 00:55:04,244 MENTION ANY NUMBER AT ALL IN JUST A SECOND, BUT I WANT YOU TO REALLY SHOUT IT OUT... A NUMBER 1480 00:55:04,268 --> 00:55:06,880 JUST A SECOND, BUT I WANT YOU TO REALLY SHOUT IT OUT... A NUMBER FROM 1 TO 10... NOW! SHOUT! 1481 00:55:06,904 --> 00:55:07,581 REALLY SHOUT IT OUT... A NUMBER FROM 1 TO 10... NOW! SHOUT! 7! 1482 00:55:07,605 --> 00:55:09,048 FROM 1 TO 10... NOW! SHOUT! 7! 7! 1483 00:55:09,072 --> 00:55:10,751 7! 7! FINALLY. 1484 00:55:10,775 --> 00:55:12,286 7! FINALLY. [LAUGHS] 1485 00:55:12,310 --> 00:55:13,987 FINALLY. [LAUGHS] YOU HAVE NO IDEA I HAVE BEEN 1486 00:55:14,011 --> 00:55:15,455 [LAUGHS] YOU HAVE NO IDEA I HAVE BEEN WAITING FOR THIS MOMENT. 1487 00:55:15,479 --> 00:55:17,357 YOU HAVE NO IDEA I HAVE BEEN WAITING FOR THIS MOMENT. THIS HAS BEEN A VERY TOUGH WEEK, 1488 00:55:17,381 --> 00:55:19,259 WAITING FOR THIS MOMENT. THIS HAS BEEN A VERY TOUGH WEEK, AND I HAVE BEEN WAITING FOR THIS 1489 00:55:19,283 --> 00:55:20,294 THIS HAS BEEN A VERY TOUGH WEEK, AND I HAVE BEEN WAITING FOR THIS 7. 1490 00:55:20,318 --> 00:55:21,828 AND I HAVE BEEN WAITING FOR THIS 7. ["STARS AND STRIPES FOREVER" 1491 00:55:21,852 --> 00:55:22,362 7. ["STARS AND STRIPES FOREVER" PLAYS] 1492 00:55:22,386 --> 00:55:24,765 ["STARS AND STRIPES FOREVER" PLAYS] JUST A LUCKY, INCREDIBLE THING. 1493 00:55:24,789 --> 00:55:26,232 [PLAYS] JUST A LUCKY, INCREDIBLE THING. YOU HAVE NO IDEA. 1494 00:55:26,256 --> 00:55:29,068 JUST A LUCKY, INCREDIBLE THING. YOU HAVE NO IDEA. [SIREN WAILING] 1495 00:55:29,092 --> 00:55:30,937 YOU HAVE NO IDEA. [SIREN WAILING] LADIES AND GENTLEMEN, THANK YOU 1496 00:55:30,961 --> 00:55:32,839 [SIREN WAILING] LADIES AND GENTLEMEN, THANK YOU FOR THIS, THE LUCKIEST NIGHT OF 1497 00:55:32,863 --> 00:55:33,507 LADIES AND GENTLEMEN, THANK YOU FOR THIS, THE LUCKIEST NIGHT OF MY LIFE. 1498 00:55:33,531 --> 00:55:34,808 FOR THIS, THE LUCKIEST NIGHT OF MY LIFE. THANK YOU VERY MUCH. 1499 00:55:34,832 --> 00:55:36,765 MY LIFE. THANK YOU VERY MUCH. [MUSIC RESUMES] 1500 00:56:30,253 --> 00:56:34,501 [SCOFFS] BUT WAIT. COME ON, MAN. NOW, WHAT'S ALL THESE TISSUES, 1501 00:56:34,525 --> 00:56:35,034 BUT WAIT. COME ON, MAN. NOW, WHAT'S ALL THESE TISSUES, BABY? 1502 00:56:35,058 --> 00:56:36,936 NOW, WHAT'S ALL THESE TISSUES, BABY? I WAS JUST SUPPOSED TO REPAIR A 1503 00:56:36,960 --> 00:56:38,772 BABY? I WAS JUST SUPPOSED TO REPAIR A MOVIE PROJECTOR. 1504 00:56:38,796 --> 00:56:39,939 I WAS JUST SUPPOSED TO REPAIR A MOVIE PROJECTOR. MR. REESE, IT'S THIS 1505 00:56:39,963 --> 00:56:41,475 MOVIE PROJECTOR. MR. REESE, IT'S THIS SIMPLE... WEAR THIS TISSUE, FIX 1506 00:56:41,499 --> 00:56:42,876 MR. REESE, IT'S THIS SIMPLE... WEAR THIS TISSUE, FIX THE PROJECTOR, SAY NOTHING TO 1507 00:56:42,900 --> 00:56:44,277 SIMPLE... WEAR THIS TISSUE, FIX THE PROJECTOR, SAY NOTHING TO THE MAN IN THE ROOM, AND YOU 1508 00:56:44,301 --> 00:56:45,979 THE PROJECTOR, SAY NOTHING TO THE MAN IN THE ROOM, AND YOU WILL BE PAID $2,000 FOR WHAT 1509 00:56:46,003 --> 00:56:47,547 THE MAN IN THE ROOM, AND YOU WILL BE PAID $2,000 FOR WHAT WILL PROBABLY AMOUNT TO 5 1510 00:56:47,571 --> 00:56:48,615 WILL BE PAID $2,000 FOR WHAT WILL PROBABLY AMOUNT TO 5 MINUTES OF WORK. 1511 00:56:48,639 --> 00:56:51,050 WILL PROBABLY AMOUNT TO 5 MINUTES OF WORK. $2,00... HEY, UH, YOU MISSED A 1512 00:56:51,074 --> 00:56:52,352 MINUTES OF WORK. $2,00... HEY, UH, YOU MISSED A SPOT OVER HERE. 1513 00:56:52,376 --> 00:56:55,221 $2,00... HEY, UH, YOU MISSED A SPOT OVER HERE. OKAY. GO AHEAD, MR. REESE. 1514 00:56:55,245 --> 00:56:57,457 SPOT OVER HERE. OKAY. GO AHEAD, MR. REESE. THE DOOR AT THE END OF THE HALL. 1515 00:56:57,481 --> 00:57:00,293 OKAY. GO AHEAD, MR. REESE. THE DOOR AT THE END OF THE HALL. WE'RE RIGHT BEHIND YOU. 1516 00:57:00,317 --> 00:57:02,429 THE DOOR AT THE END OF THE HALL. WE'RE RIGHT BEHIND YOU. YOU KNOW... 1517 00:57:02,453 --> 00:57:04,931 WE'RE RIGHT BEHIND YOU. YOU KNOW... I'VE BEEN A MORMON ALL MY LIFE, 1518 00:57:04,955 --> 00:57:06,500 YOU KNOW... I'VE BEEN A MORMON ALL MY LIFE, AND I KNOW WE'RE NOT SUPPOSED TO 1519 00:57:06,524 --> 00:57:08,067 I'VE BEEN A MORMON ALL MY LIFE, AND I KNOW WE'RE NOT SUPPOSED TO HAVE STIMULANTS, BUT THERE'S ONE 1520 00:57:08,091 --> 00:57:09,569 AND I KNOW WE'RE NOT SUPPOSED TO HAVE STIMULANTS, BUT THERE'S ONE THING THAT'S ALWAYS PUZZLED ME. 1521 00:57:09,593 --> 00:57:10,404 HAVE STIMULANTS, BUT THERE'S ONE THING THAT'S ALWAYS PUZZLED ME. WHAT'S THAT? 1522 00:57:10,428 --> 00:57:12,572 THING THAT'S ALWAYS PUZZLED ME. WHAT'S THAT? WELL... ARE WE ALLOWED TO 1523 00:57:12,596 --> 00:57:14,274 WHAT'S THAT? WELL... ARE WE ALLOWED TO DRINK SANKA? 1524 00:57:14,298 --> 00:57:15,074 WELL... ARE WE ALLOWED TO DRINK SANKA? I DON'T THINK SO. 1525 00:57:15,098 --> 00:57:15,876 DRINK SANKA? I DON'T THINK SO. WHAT ABOUT BRIM? 1526 00:57:15,900 --> 00:57:16,543 I DON'T THINK SO. WHAT ABOUT BRIM? I DON'T KNOW. 1527 00:57:16,567 --> 00:57:17,611 WHAT ABOUT BRIM? I DON'T KNOW. I'LL HAVE TO CHECK WITH THE 1528 00:57:17,635 --> 00:57:17,977 I DON'T KNOW. I'LL HAVE TO CHECK WITH THE TEMPLE. 1529 00:57:18,001 --> 00:57:18,712 I'LL HAVE TO CHECK WITH THE TEMPLE. LET'S DO THAT. 1530 00:57:18,736 --> 00:57:20,669 TEMPLE. LET'S DO THAT. OKAY. 1531 00:57:24,173 --> 00:57:26,975 [DRAMATIC MUSIC PLAYS] 1532 00:57:37,654 --> 00:57:42,702 AAH! AAH! NO! NO! PLEASE, PLEASE, MR. REESE, DON'T PUT ANYTHING ON THE BED, 1533 00:57:42,726 --> 00:57:43,236 PLEASE, PLEASE, MR. REESE, DON'T PUT ANYTHING ON THE BED, ALL RIGHT? 1534 00:57:43,260 --> 00:57:45,138 DON'T PUT ANYTHING ON THE BED, ALL RIGHT? THANK YOU. 1535 00:57:45,162 --> 00:57:46,807 ALL RIGHT? THANK YOU. I THINK I'LL GO TO THE 1536 00:57:46,831 --> 00:57:47,474 THANK YOU. I THINK I'LL GO TO THE TOILET. 1537 00:57:47,498 --> 00:57:49,543 I THINK I'LL GO TO THE TOILET. MR. HUGHES, YOU JUST SPENT 72 1538 00:57:49,567 --> 00:57:50,944 TOILET. MR. HUGHES, YOU JUST SPENT 72 HOURS ON THAT THING. 1539 00:57:50,968 --> 00:57:53,179 MR. HUGHES, YOU JUST SPENT 72 HOURS ON THAT THING. YEAH, I GUESS I'M JUST NOT IN 1540 00:57:53,203 --> 00:57:54,113 HOURS ON THAT THING. YEAH, I GUESS I'M JUST NOT IN THE SWING. 1541 00:57:54,137 --> 00:57:55,916 YEAH, I GUESS I'M JUST NOT IN THE SWING. WELL, MAYBE I'LL GET SOME 1542 00:57:55,940 --> 00:57:56,783 THE SWING. WELL, MAYBE I'LL GET SOME EXERCISE. 1543 00:57:56,807 --> 00:57:57,951 WELL, MAYBE I'LL GET SOME EXERCISE. COME ON, FELLAS. 1544 00:57:57,975 --> 00:57:59,352 EXERCISE. COME ON, FELLAS. LET'S GO FOR A WALK. 1545 00:57:59,376 --> 00:58:00,654 COME ON, FELLAS. LET'S GO FOR A WALK. AH, SPLENDID IDEA. 1546 00:58:00,678 --> 00:58:01,855 LET'S GO FOR A WALK. AH, SPLENDID IDEA. [GRUNTS] 1547 00:58:01,879 --> 00:58:02,923 AH, SPLENDID IDEA. [GRUNTS] THANK YOU. 1548 00:58:02,947 --> 00:58:05,224 [GRUNTS] THANK YOU. YES, WELL, WHAT A LOVELY DAY 1549 00:58:05,248 --> 00:58:07,627 THANK YOU. YES, WELL, WHAT A LOVELY DAY IT IS TODAY FOR A WALK. 1550 00:58:07,651 --> 00:58:09,362 YES, WELL, WHAT A LOVELY DAY IT IS TODAY FOR A WALK. WHOOP! WAS THAT A RAINDROP I 1551 00:58:09,386 --> 00:58:10,396 IT IS TODAY FOR A WALK. WHOOP! WAS THAT A RAINDROP I FELT ON MY HAND? 1552 00:58:10,420 --> 00:58:11,498 WHOOP! WAS THAT A RAINDROP I FELT ON MY HAND? I THINK IT WAS. 1553 00:58:11,522 --> 00:58:12,866 FELT ON MY HAND? I THINK IT WAS. TIME TO GO BACK INSIDE. 1554 00:58:12,890 --> 00:58:14,167 I THINK IT WAS. TIME TO GO BACK INSIDE. OH, RUN BETWEEN THE 1555 00:58:14,191 --> 00:58:15,101 TIME TO GO BACK INSIDE. OH, RUN BETWEEN THE RAINDROPS. 1556 00:58:15,125 --> 00:58:16,402 OH, RUN BETWEEN THE RAINDROPS. OOH-OOH! 1557 00:58:16,426 --> 00:58:18,137 RAINDROPS. OOH-OOH! OHH. AHH. 1558 00:58:18,161 --> 00:58:19,639 OOH-OOH! OHH. AHH. MY, YOU'RE LOOKING HEALTHY 1559 00:58:19,663 --> 00:58:20,740 OHH. AHH. MY, YOU'RE LOOKING HEALTHY TODAY, MR. HUGHES. 1560 00:58:20,764 --> 00:58:22,375 MY, YOU'RE LOOKING HEALTHY TODAY, MR. HUGHES. WELL, THANK YOU, CLARENCE. 1561 00:58:22,399 --> 00:58:24,043 TODAY, MR. HUGHES. WELL, THANK YOU, CLARENCE. YOU KNOW, I WORKED UP QUITE AN 1562 00:58:24,067 --> 00:58:24,744 WELL, THANK YOU, CLARENCE. YOU KNOW, I WORKED UP QUITE AN APPETITE. 1563 00:58:24,768 --> 00:58:26,412 YOU KNOW, I WORKED UP QUITE AN APPETITE. BRING ME A HEAPING SPOONFUL OF 1564 00:58:26,436 --> 00:58:29,315 APPETITE. BRING ME A HEAPING SPOONFUL OF BANANA-NUT ICE CREAM. 1565 00:58:29,339 --> 00:58:31,184 BRING ME A HEAPING SPOONFUL OF BANANA-NUT ICE CREAM. UHH. 1566 00:58:31,208 --> 00:58:33,119 BANANA-NUT ICE CREAM. UHH. HOW ARE YOU COMING THERE? 1567 00:58:33,143 --> 00:58:35,254 UHH. HOW ARE YOU COMING THERE? HEY, I KNOW WHO THIS GUY IS. 1568 00:58:35,278 --> 00:58:37,791 HOW ARE YOU COMING THERE? HEY, I KNOW WHO THIS GUY IS. THIS GUY IS NIXON, AIN'T HE? 1569 00:58:37,815 --> 00:58:41,094 HEY, I KNOW WHO THIS GUY IS. THIS GUY IS NIXON, AIN'T HE? WELL, THAT'S CLOSE. 1570 00:58:41,118 --> 00:58:45,231 THIS GUY IS NIXON, AIN'T HE? WELL, THAT'S CLOSE. UHH. MY GOODIES. MY GOODIES. 1571 00:58:45,255 --> 00:58:45,966 WELL, THAT'S CLOSE. UHH. MY GOODIES. MY GOODIES. HEY, HEY. 1572 00:58:45,990 --> 00:58:47,233 UHH. MY GOODIES. MY GOODIES. HEY, HEY. DOES HE NEED A DOCTOR OR 1573 00:58:47,257 --> 00:58:48,101 HEY, HEY. DOES HE NEED A DOCTOR OR SOMETHING, MAN? 1574 00:58:48,125 --> 00:58:49,669 DOES HE NEED A DOCTOR OR SOMETHING, MAN? HE'S ALREADY GOT FOUR OF THE 1575 00:58:49,693 --> 00:58:51,004 SOMETHING, MAN? HE'S ALREADY GOT FOUR OF THE BEST DOCTORS IN THE WORLD. 1576 00:58:51,028 --> 00:58:52,539 HE'S ALREADY GOT FOUR OF THE BEST DOCTORS IN THE WORLD. WHERE DO YOU THINK HE GETS HIS 1577 00:58:52,563 --> 00:58:54,207 BEST DOCTORS IN THE WORLD. WHERE DO YOU THINK HE GETS HIS DRUGS? 1578 00:58:54,231 --> 00:58:55,408 WHERE DO YOU THINK HE GETS HIS DRUGS? JUST FIX THE MACHINE. 1579 00:58:55,432 --> 00:58:57,143 DRUGS? JUST FIX THE MACHINE. THE MACHINE IS ALREADY FIXED, 1580 00:58:57,167 --> 00:58:57,978 JUST FIX THE MACHINE. THE MACHINE IS ALREADY FIXED, BABY. 1581 00:58:58,002 --> 00:58:59,345 THE MACHINE IS ALREADY FIXED, BABY. ALL RIGHT, FINE. 1582 00:58:59,369 --> 00:59:00,814 BABY. ALL RIGHT, FINE. THANK YOU, MR. REESE. 1583 00:59:00,838 --> 00:59:02,415 ALL RIGHT, FINE. THANK YOU, MR. REESE. "ICE STATION ZEBRA." 1584 00:59:02,439 --> 00:59:04,317 THANK YOU, MR. REESE. "ICE STATION ZEBRA." YOU KNOW, FELLAS, THIS IS MY 1585 00:59:04,341 --> 00:59:05,385 "ICE STATION ZEBRA." YOU KNOW, FELLAS, THIS IS MY FAVORITE FILM. 1586 00:59:05,409 --> 00:59:06,753 YOU KNOW, FELLAS, THIS IS MY FAVORITE FILM. IT'S THE FIRST TIME I'VE SEEN IT 1587 00:59:06,777 --> 00:59:08,254 FAVORITE FILM. IT'S THE FIRST TIME I'VE SEEN IT TODAY. 1588 00:59:08,278 --> 00:59:10,957 IT'S THE FIRST TIME I'VE SEEN IT TODAY. GOD, IT'S A GOOD FILM. 1589 00:59:10,981 --> 00:59:12,358 TODAY. GOD, IT'S A GOOD FILM. I THINK I'LL GO FLYING. 1590 00:59:12,382 --> 00:59:13,593 GOD, IT'S A GOOD FILM. I THINK I'LL GO FLYING. THAT'S WHAT I'LL DO. 1591 00:59:13,617 --> 00:59:14,594 I THINK I'LL GO FLYING. THAT'S WHAT I'LL DO. I'LL GO FLYING. 1592 00:59:14,618 --> 00:59:16,663 THAT'S WHAT I'LL DO. I'LL GO FLYING. LAMAR, GET MY FLYING JACKET. 1593 00:59:16,687 --> 00:59:17,597 I'LL GO FLYING. LAMAR, GET MY FLYING JACKET. OH, BOY. 1594 00:59:17,621 --> 00:59:19,933 LAMAR, GET MY FLYING JACKET. OH, BOY. THIS IS GONNA BE A GOOD ONE. 1595 00:59:19,957 --> 00:59:21,001 OH, BOY. THIS IS GONNA BE A GOOD ONE. THANK YOU. 1596 00:59:21,025 --> 00:59:21,935 THIS IS GONNA BE A GOOD ONE. THANK YOU. CAN I GO NOW, MAN? 1597 00:59:21,959 --> 00:59:23,269 THANK YOU. CAN I GO NOW, MAN? WELL, WE'RE JUST ABOUT TO FLY 1598 00:59:23,293 --> 00:59:23,770 CAN I GO NOW, MAN? WELL, WE'RE JUST ABOUT TO FLY TO VEGAS. 1599 00:59:23,794 --> 00:59:24,738 WELL, WE'RE JUST ABOUT TO FLY TO VEGAS. WE DO THIS EVERY DAY. 1600 00:59:24,762 --> 00:59:25,805 TO VEGAS. WE DO THIS EVERY DAY. I WILL ATTEND TO YOU IN A 1601 00:59:25,829 --> 00:59:26,239 WE DO THIS EVERY DAY. I WILL ATTEND TO YOU IN A MOMENT. 1602 00:59:26,263 --> 00:59:27,974 I WILL ATTEND TO YOU IN A MOMENT. I HAVE TO BE A PROPELLER. 1603 00:59:27,998 --> 00:59:29,543 MOMENT. I HAVE TO BE A PROPELLER. YEAH, YOUR ARMS MUST GET 1604 00:59:29,567 --> 00:59:31,310 I HAVE TO BE A PROPELLER. YEAH, YOUR ARMS MUST GET PRETTY TIRED BEING A PROPELLER, 1605 00:59:31,334 --> 00:59:31,778 YEAH, YOUR ARMS MUST GET PRETTY TIRED BEING A PROPELLER, HUH? 1606 00:59:31,802 --> 00:59:33,479 PRETTY TIRED BEING A PROPELLER, HUH? ALL RIGHT. OKAY. 1607 00:59:33,503 --> 00:59:34,781 HUH? ALL RIGHT. OKAY. THIS IS LONG BEACH TOWER TO 1608 00:59:34,805 --> 00:59:35,348 ALL RIGHT. OKAY. THIS IS LONG BEACH TOWER TO THE GOOSE. 1609 00:59:35,372 --> 00:59:36,482 THIS IS LONG BEACH TOWER TO THE GOOSE. ARE YOU READY TO TAKE OFF, 1610 00:59:36,506 --> 00:59:37,050 THE GOOSE. ARE YOU READY TO TAKE OFF, GOOSE? 1611 00:59:37,074 --> 00:59:38,351 ARE YOU READY TO TAKE OFF, GOOSE? START THE ENGINE. 1612 00:59:38,375 --> 00:59:39,753 GOOSE? START THE ENGINE. HERE WE GO! 1613 00:59:39,777 --> 00:59:41,421 START THE ENGINE. HERE WE GO! [IMITATES AIRPLANE ENGINE 1614 00:59:41,445 --> 00:59:43,924 HERE WE GO! [IMITATES AIRPLANE ENGINE REVVING] 1615 00:59:43,948 --> 00:59:45,258 [IMITATES AIRPLANE ENGINE REVVING] OKAY, YOU'RE CLEAR FOR 1616 00:59:45,282 --> 00:59:45,825 [REVVING] OKAY, YOU'RE CLEAR FOR TAKEOFF. 1617 00:59:45,849 --> 00:59:47,293 OKAY, YOU'RE CLEAR FOR TAKEOFF. MR. REESE, COME OVER HERE 1618 00:59:47,317 --> 00:59:47,861 TAKEOFF. MR. REESE, COME OVER HERE WITH ME. 1619 00:59:47,885 --> 00:59:48,728 MR. REESE, COME OVER HERE WITH ME. ALL RIGHT. 1620 00:59:48,752 --> 00:59:50,730 WITH ME. ALL RIGHT. HERE IS A BOX OF TISSUES WITH 1621 00:59:50,754 --> 00:59:52,632 ALL RIGHT. HERE IS A BOX OF TISSUES WITH $2,000 IN IT. 1622 00:59:52,656 --> 00:59:54,133 HERE IS A BOX OF TISSUES WITH $2,000 IN IT. YOU WILL RECEIVE A BOX LIKE THIS 1623 00:59:54,157 --> 00:59:55,602 $2,000 IN IT. YOU WILL RECEIVE A BOX LIKE THIS EVERY YEAR FOR THE REST OF YOUR 1624 00:59:55,626 --> 00:59:57,003 YOU WILL RECEIVE A BOX LIKE THIS EVERY YEAR FOR THE REST OF YOUR LIFE IF YOU SAY NOTHING ABOUT 1625 00:59:57,027 --> 00:59:58,271 EVERY YEAR FOR THE REST OF YOUR LIFE IF YOU SAY NOTHING ABOUT WHAT YOU SAW OR HEARD HERE 1626 00:59:58,295 --> 00:59:59,172 LIFE IF YOU SAY NOTHING ABOUT WHAT YOU SAW OR HEARD HERE TODAY, ALL RIGHT? 1627 00:59:59,196 --> 01:00:00,540 WHAT YOU SAW OR HEARD HERE TODAY, ALL RIGHT? OKAY, OKAY, MAN. 1628 01:00:00,564 --> 01:00:02,175 TODAY, ALL RIGHT? OKAY, OKAY, MAN. WHATEVER YOU WANT, BABY. 1629 01:00:02,199 --> 01:00:03,743 OKAY, OKAY, MAN. WHATEVER YOU WANT, BABY. WHOO! 1630 01:00:03,767 --> 01:00:10,283 WHATEVER YOU WANT, BABY. WHOO! ALL WHITE PEOPLE ARE CRAZY! 1631 01:00:10,307 --> 01:00:11,451 WHOO! ALL WHITE PEOPLE ARE CRAZY! OKAY. ALL RIGHT. 1632 01:00:11,475 --> 01:00:12,953 ALL WHITE PEOPLE ARE CRAZY! OKAY. ALL RIGHT. YOU'RE LOOKING GOOD THERE. 1633 01:00:12,977 --> 01:00:14,821 OKAY. ALL RIGHT. YOU'RE LOOKING GOOD THERE. ♪ HEY, BOBAREBOP ♪ 1634 01:00:14,845 --> 01:00:16,255 YOU'RE LOOKING GOOD THERE. ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ 1635 01:00:16,279 --> 01:00:17,591 ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ 1636 01:00:17,615 --> 01:00:18,959 ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ 1637 01:00:18,983 --> 01:00:20,126 ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ 1638 01:00:20,150 --> 01:00:23,563 ♪ HEY, BOBAREBOP ♪ ♪ HEY, BOBAREBOP ♪ ♪ CAN'T BUY ME LOVE ♪ 1639 01:00:23,587 --> 01:00:25,498 ♪ HEY, BOBAREBOP ♪ ♪ CAN'T BUY ME LOVE ♪ ♪ LOVE ♪ 1640 01:00:25,522 --> 01:00:28,868 ♪ CAN'T BUY ME LOVE ♪ ♪ LOVE ♪ ♪ CAN'T BUY ME LOVE ♪ 1641 01:00:28,892 --> 01:00:30,870 ♪ LOVE ♪ ♪ CAN'T BUY ME LOVE ♪ ♪ I'LL BUY YOU A DIAMOND RING, 1642 01:00:30,894 --> 01:00:34,094 ♪ CAN'T BUY ME LOVE ♪ ♪ I'LL BUY YOU A DIAMOND RING, MY FRIEND, IF IT'LL MAKE... ♪ 1643 01:00:38,400 --> 01:00:43,316 HEY, GOOD EVENING, EVERYBODY, AND, UH... WELCOME TO "WORLD OF ADVENTURE." 1644 01:00:43,340 --> 01:00:45,085 AND, UH... WELCOME TO "WORLD OF ADVENTURE." I'M YOUR HOST, E. BUZZ MILLER. 1645 01:00:45,109 --> 01:00:47,286 "WORLD OF ADVENTURE." I'M YOUR HOST, E. BUZZ MILLER. AND, UH... WE'RE GONNA LOOK AT 1646 01:00:47,310 --> 01:00:48,888 I'M YOUR HOST, E. BUZZ MILLER. AND, UH... WE'RE GONNA LOOK AT SOME EXOTIC PLACES TODAY ON 1647 01:00:48,912 --> 01:00:50,156 AND, UH... WE'RE GONNA LOOK AT SOME EXOTIC PLACES TODAY ON "WORLD OF ADVENTURE." 1648 01:00:50,180 --> 01:00:51,390 SOME EXOTIC PLACES TODAY ON "WORLD OF ADVENTURE." TONIGHT OUR GUEST IS 1649 01:00:51,414 --> 01:00:52,358 "WORLD OF ADVENTURE." TONIGHT OUR GUEST IS CLARA MITDORF. 1650 01:00:52,382 --> 01:00:54,094 TONIGHT OUR GUEST IS CLARA MITDORF. SHE'S A DOCTOR OF ANTHROPOLOGY 1651 01:00:54,118 --> 01:00:55,662 CLARA MITDORF. SHE'S A DOCTOR OF ANTHROPOLOGY AT BERKELEY, AND SHE'S JUST 1652 01:00:55,686 --> 01:00:57,296 SHE'S A DOCTOR OF ANTHROPOLOGY AT BERKELEY, AND SHE'S JUST RETURNED FROM DARKEST AFRICA 1653 01:00:57,320 --> 01:00:58,999 AT BERKELEY, AND SHE'S JUST RETURNED FROM DARKEST AFRICA WITH SOME INSIGHTS INTO OTHER 1654 01:00:59,023 --> 01:01:00,033 RETURNED FROM DARKEST AFRICA WITH SOME INSIGHTS INTO OTHER CULTURES, RIGHT? 1655 01:01:00,057 --> 01:01:01,367 WITH SOME INSIGHTS INTO OTHER CULTURES, RIGHT? PLEASE, MR. MILLER. 1656 01:01:01,391 --> 01:01:03,136 CULTURES, RIGHT? PLEASE, MR. MILLER. WE ANTHROPOLOGISTS ARE REPULSED 1657 01:01:03,160 --> 01:01:04,804 PLEASE, MR. MILLER. WE ANTHROPOLOGISTS ARE REPULSED BY REFERENCES OF AFRICA BEING 1658 01:01:04,828 --> 01:01:05,972 WE ANTHROPOLOGISTS ARE REPULSED BY REFERENCES OF AFRICA BEING THE DARK CONTINENT. 1659 01:01:05,996 --> 01:01:07,273 BY REFERENCES OF AFRICA BEING THE DARK CONTINENT. THAT'S PREJUDICIAL AND 1660 01:01:07,297 --> 01:01:08,508 THE DARK CONTINENT. THAT'S PREJUDICIAL AND MISLEADING, YOU SEE? 1661 01:01:08,532 --> 01:01:09,375 THAT'S PREJUDICIAL AND MISLEADING, YOU SEE? YES. SURE, SURE. 1662 01:01:09,399 --> 01:01:10,576 MISLEADING, YOU SEE? YES. SURE, SURE. WELL, WE ALL UNDERSTAND THAT, 1663 01:01:10,600 --> 01:01:10,977 YES. SURE, SURE. WELL, WE ALL UNDERSTAND THAT, CLARA. 1664 01:01:11,001 --> 01:01:11,911 WELL, WE ALL UNDERSTAND THAT, CLARA. EVERYBODY KNOWS THAT. 1665 01:01:11,935 --> 01:01:12,646 CLARA. EVERYBODY KNOWS THAT. THAT'S GOOD. 1666 01:01:12,670 --> 01:01:13,913 EVERYBODY KNOWS THAT. THAT'S GOOD. YOU TOOK A LOT OF FILM WHEN 1667 01:01:13,937 --> 01:01:15,048 THAT'S GOOD. YOU TOOK A LOT OF FILM WHEN YOU WERE OVER THERE, RIGHT? 1668 01:01:15,072 --> 01:01:16,415 YOU TOOK A LOT OF FILM WHEN YOU WERE OVER THERE, RIGHT? OH, YEAH, BUT YOU MUST LET ME 1669 01:01:16,439 --> 01:01:16,916 YOU WERE OVER THERE, RIGHT? OH, YEAH, BUT YOU MUST LET ME EXPLAIN. 1670 01:01:16,940 --> 01:01:18,084 OH, YEAH, BUT YOU MUST LET ME EXPLAIN. YEAH, ALL KINDS OF FILM. 1671 01:01:18,108 --> 01:01:19,185 EXPLAIN. YEAH, ALL KINDS OF FILM. WE'LL JUST ROLL THE FILM. 1672 01:01:19,209 --> 01:01:20,386 YEAH, ALL KINDS OF FILM. WE'LL JUST ROLL THE FILM. LET'S JUST WATCH THAT FILM. 1673 01:01:20,410 --> 01:01:21,587 WE'LL JUST ROLL THE FILM. LET'S JUST WATCH THAT FILM. HEY, THAT'S BEAUTIFUL. 1674 01:01:21,611 --> 01:01:23,089 LET'S JUST WATCH THAT FILM. HEY, THAT'S BEAUTIFUL. HEY, ISN'T THAT TERRIFIC? 1675 01:01:23,113 --> 01:01:23,923 HEY, THAT'S BEAUTIFUL. HEY, ISN'T THAT TERRIFIC? [WHISTLES] 1676 01:01:23,947 --> 01:01:24,524 HEY, ISN'T THAT TERRIFIC? [WHISTLES] MMM, YEAH. 1677 01:01:24,548 --> 01:01:25,892 [WHISTLES] MMM, YEAH. YOU KNOW, THAT'S NOT REALLY 1678 01:01:25,916 --> 01:01:27,193 MMM, YEAH. YOU KNOW, THAT'S NOT REALLY WHAT I'M ABOUT, AFTER ALL... 1679 01:01:27,217 --> 01:01:28,461 YOU KNOW, THAT'S NOT REALLY WHAT I'M ABOUT, AFTER ALL... STUFF LIKE THAT... BUT, YOU 1680 01:01:28,485 --> 01:01:29,663 WHAT I'M ABOUT, AFTER ALL... STUFF LIKE THAT... BUT, YOU KNOW, IT'S KIND OF A GOOD 1681 01:01:29,687 --> 01:01:30,596 STUFF LIKE THAT... BUT, YOU KNOW, IT'S KIND OF A GOOD PUBLICITY FOR THEM. 1682 01:01:30,620 --> 01:01:32,265 KNOW, IT'S KIND OF A GOOD PUBLICITY FOR THEM. BUT, YOU SEE, YOU JUST GOT TO 1683 01:01:32,289 --> 01:01:33,266 PUBLICITY FOR THEM. BUT, YOU SEE, YOU JUST GOT TO LET ME EXPLAIN. 1684 01:01:33,290 --> 01:01:34,934 BUT, YOU SEE, YOU JUST GOT TO LET ME EXPLAIN. I WAS STUDYING THE BUSHMEN OF 1685 01:01:34,958 --> 01:01:35,835 LET ME EXPLAIN. I WAS STUDYING THE BUSHMEN OF THE KALAHARI. 1686 01:01:35,859 --> 01:01:36,770 I WAS STUDYING THE BUSHMEN OF THE KALAHARI. THAT WAS GOOD. 1687 01:01:36,794 --> 01:01:37,971 THE KALAHARI. THAT WAS GOOD. YEAH. WHAT'S THAT... A MELON 1688 01:01:37,995 --> 01:01:39,172 THAT WAS GOOD. YEAH. WHAT'S THAT... A MELON THOSE WOMEN WERE PASSING AROUND? 1689 01:01:39,196 --> 01:01:40,140 YEAH. WHAT'S THAT... A MELON THOSE WOMEN WERE PASSING AROUND? WHAT IS THAT... A MELON? 1690 01:01:40,164 --> 01:01:40,674 THOSE WOMEN WERE PASSING AROUND? WHAT IS THAT... A MELON? WHAT IS IT? 1691 01:01:40,698 --> 01:01:41,641 WHAT IS THAT... A MELON? WHAT IS IT? WHAT'S THIS DANCE CALLED? 1692 01:01:41,665 --> 01:01:42,308 WHAT IS IT? WHAT'S THIS DANCE CALLED? IT'S BEAUTIFUL. 1693 01:01:42,332 --> 01:01:43,143 WHAT'S THIS DANCE CALLED? IT'S BEAUTIFUL. I LOVE IT, YOU KNOW. 1694 01:01:43,167 --> 01:01:44,510 IT'S BEAUTIFUL. I LOVE IT, YOU KNOW. OH, IT'S GOOD YOU LOVE IT, 1695 01:01:44,534 --> 01:01:45,478 I LOVE IT, YOU KNOW. OH, IT'S GOOD YOU LOVE IT, BECAUSE THERE IT IS. 1696 01:01:45,502 --> 01:01:46,646 OH, IT'S GOOD YOU LOVE IT, BECAUSE THERE IT IS. WELL, SEE, IT'S A GOURD. 1697 01:01:46,670 --> 01:01:48,048 BECAUSE THERE IT IS. WELL, SEE, IT'S A GOURD. IT'S KNOWN AS THE GOURD DANCE. 1698 01:01:48,072 --> 01:01:49,282 WELL, SEE, IT'S A GOURD. IT'S KNOWN AS THE GOURD DANCE. THERE'S THAT GOOD SHOT. 1699 01:01:49,306 --> 01:01:50,717 IT'S KNOWN AS THE GOURD DANCE. THERE'S THAT GOOD SHOT. HOW OLD WOULD YOU SAY THAT GIRL 1700 01:01:50,741 --> 01:01:51,685 THERE'S THAT GOOD SHOT. HOW OLD WOULD YOU SAY THAT GIRL WAS... ABOUT 12, 13? 1701 01:01:51,709 --> 01:01:52,752 HOW OLD WOULD YOU SAY THAT GIRL WAS... ABOUT 12, 13? WHAT DO YOU THINK? 1702 01:01:52,776 --> 01:01:53,319 WAS... ABOUT 12, 13? WHAT DO YOU THINK? BEAUTIFUL. 1703 01:01:53,343 --> 01:01:54,721 WHAT DO YOU THINK? BEAUTIFUL. WASN'T THAT BEAUTIFUL, YOU KNOW? 1704 01:01:54,745 --> 01:01:56,122 BEAUTIFUL. WASN'T THAT BEAUTIFUL, YOU KNOW? IT WAS ALL RIGHT, BUT WE GOT 1705 01:01:56,146 --> 01:01:57,290 WASN'T THAT BEAUTIFUL, YOU KNOW? IT WAS ALL RIGHT, BUT WE GOT TO GET ON WITH THE STUFF. 1706 01:01:57,314 --> 01:01:58,725 IT WAS ALL RIGHT, BUT WE GOT TO GET ON WITH THE STUFF. YOU HAD STUFF ABOUT THE RUINS 1707 01:01:58,749 --> 01:01:59,292 TO GET ON WITH THE STUFF. YOU HAD STUFF ABOUT THE RUINS AND STUFF. 1708 01:01:59,316 --> 01:02:00,694 YOU HAD STUFF ABOUT THE RUINS AND STUFF. WE CUT THAT OUT, 'CAUSE WE FELT 1709 01:02:00,718 --> 01:02:02,062 AND STUFF. WE CUT THAT OUT, 'CAUSE WE FELT THE FOLKS AT HOME WOULD REALLY 1710 01:02:02,086 --> 01:02:03,163 WE CUT THAT OUT, 'CAUSE WE FELT THE FOLKS AT HOME WOULD REALLY APPRECIATE THAT STUFF. 1711 01:02:03,187 --> 01:02:04,297 THE FOLKS AT HOME WOULD REALLY APPRECIATE THAT STUFF. ONE DANCE SAYS IT, I THINK. 1712 01:02:04,321 --> 01:02:05,565 APPRECIATE THAT STUFF. ONE DANCE SAYS IT, I THINK. IT WAS THE BEST FILM YOU TOOK. 1713 01:02:05,589 --> 01:02:06,833 ONE DANCE SAYS IT, I THINK. IT WAS THE BEST FILM YOU TOOK. OF EVERY ASPECT OF 1714 01:02:06,857 --> 01:02:07,934 IT WAS THE BEST FILM YOU TOOK. OF EVERY ASPECT OF BUSHMAN CULTURE, SEE? 1715 01:02:07,958 --> 01:02:08,768 OF EVERY ASPECT OF BUSHMAN CULTURE, SEE? YEAH, SURE. 1716 01:02:08,792 --> 01:02:09,869 BUSHMAN CULTURE, SEE? YEAH, SURE. WELL, COME BACK AND VISIT US 1717 01:02:09,893 --> 01:02:10,570 YEAH, SURE. WELL, COME BACK AND VISIT US AGAIN, YOU KNOW? 1718 01:02:10,594 --> 01:02:11,738 WELL, COME BACK AND VISIT US AGAIN, YOU KNOW? LISTEN, WE'RE GONNA HAVE SOME 1719 01:02:11,762 --> 01:02:12,972 AGAIN, YOU KNOW? LISTEN, WE'RE GONNA HAVE SOME FILMS FROM TAHITI NEXT WEEK, YOU 1720 01:02:12,996 --> 01:02:13,372 LISTEN, WE'RE GONNA HAVE SOME FILMS FROM TAHITI NEXT WEEK, YOU KNOW? 1721 01:02:13,396 --> 01:02:14,273 FILMS FROM TAHITI NEXT WEEK, YOU KNOW? AND WE GOT ANOTHER 1722 01:02:14,297 --> 01:02:15,575 KNOW? AND WE GOT ANOTHER ANTHROPOLOGIST JUST RETURNED 1723 01:02:15,599 --> 01:02:17,010 AND WE GOT ANOTHER ANTHROPOLOGIST JUST RETURNED FROM KENYA, WHERE HE STUDIED THE 1724 01:02:17,034 --> 01:02:18,344 ANTHROPOLOGIST JUST RETURNED FROM KENYA, WHERE HE STUDIED THE BUNTARI TRIBE, AND WE'RE GONNA 1725 01:02:18,368 --> 01:02:19,645 FROM KENYA, WHERE HE STUDIED THE BUNTARI TRIBE, AND WE'RE GONNA SEE SOME FASCINATING CULTURE 1726 01:02:19,669 --> 01:02:21,014 BUNTARI TRIBE, AND WE'RE GONNA SEE SOME FASCINATING CULTURE THERE ON "WORLD OF ADVENTURE" 1727 01:02:21,038 --> 01:02:22,381 SEE SOME FASCINATING CULTURE THERE ON "WORLD OF ADVENTURE" NEXT TIME, SO YOU'RE ALL GONNA 1728 01:02:22,405 --> 01:02:22,882 THERE ON "WORLD OF ADVENTURE" NEXT TIME, SO YOU'RE ALL GONNA TUNE IN. 1729 01:02:22,906 --> 01:02:24,317 NEXT TIME, SO YOU'RE ALL GONNA TUNE IN. TERRIFIC. THANKS FOR COMING IN. 1730 01:02:24,341 --> 01:02:25,685 TUNE IN. TERRIFIC. THANKS FOR COMING IN. WELL, I MAY COME BACK. 1731 01:02:25,709 --> 01:02:27,220 TERRIFIC. THANKS FOR COMING IN. WELL, I MAY COME BACK. SURE. TERRIFIC. BEAUTIFUL. 1732 01:02:27,244 --> 01:02:29,804 WELL, I MAY COME BACK. SURE. TERRIFIC. BEAUTIFUL. BEAUTIFUL. 1733 01:02:42,658 --> 01:02:49,109 FIFI, FIFI, COME HERE THIS INSTANT. OUI, OUI? 1734 01:02:49,133 --> 01:02:50,877 INSTANT. OUI, OUI? FIFI, THERE'S DUST ON MY 1735 01:02:50,901 --> 01:02:51,644 OUI, OUI? FIFI, THERE'S DUST ON MY FLAMINGO. 1736 01:02:51,668 --> 01:02:53,379 FIFI, THERE'S DUST ON MY FLAMINGO. CERTAINEMENT, MONSIEUR MIKE. 1737 01:02:53,403 --> 01:02:55,148 FLAMINGO. CERTAINEMENT, MONSIEUR MIKE. YOU KNOW, WHY, I HAVE HALF A 1738 01:02:55,172 --> 01:02:56,816 CERTAINEMENT, MONSIEUR MIKE. YOU KNOW, WHY, I HAVE HALF A MIND TO TAKE YOU OVER MY KNEE 1739 01:02:56,840 --> 01:02:57,984 YOU KNOW, WHY, I HAVE HALF A MIND TO TAKE YOU OVER MY KNEE AND... OH, NOTHING. 1740 01:02:58,008 --> 01:02:59,385 MIND TO TAKE YOU OVER MY KNEE AND... OH, NOTHING. SAY, WHY DON'T YOU JUST HOP UP 1741 01:02:59,409 --> 01:03:00,854 AND... OH, NOTHING. SAY, WHY DON'T YOU JUST HOP UP HERE IN MY LAP AND I'LL TELL YOU 1742 01:03:00,878 --> 01:03:02,188 SAY, WHY DON'T YOU JUST HOP UP HERE IN MY LAP AND I'LL TELL YOU THE STORY OF WILLY THE WORM? 1743 01:03:02,212 --> 01:03:03,923 HERE IN MY LAP AND I'LL TELL YOU THE STORY OF WILLY THE WORM? WILLY THE WORM? 1744 01:03:03,947 --> 01:03:05,225 THE STORY OF WILLY THE WORM? WILLY THE WORM? OH, Là Là! 1745 01:03:05,249 --> 01:03:06,793 WILLY THE WORM? OH, Là Là! I HAVE NEVER HEARD THIS STORY. 1746 01:03:06,817 --> 01:03:08,361 OH, Là Là! I HAVE NEVER HEARD THIS STORY. YES, YOU SEE, ONE DAY WHILE 1747 01:03:08,385 --> 01:03:09,528 I HAVE NEVER HEARD THIS STORY. YES, YOU SEE, ONE DAY WHILE CROSSING THE HIGHWAY, 1748 01:03:09,552 --> 01:03:11,197 YES, YOU SEE, ONE DAY WHILE CROSSING THE HIGHWAY, WILLY THE WORM WAS RUN OVER BY A 1749 01:03:11,221 --> 01:03:11,965 CROSSING THE HIGHWAY, WILLY THE WORM WAS RUN OVER BY A LARGE TRUCK. 1750 01:03:11,989 --> 01:03:14,934 WILLY THE WORM WAS RUN OVER BY A LARGE TRUCK. HIS BACK HALF WAS JUST MASHED. 1751 01:03:14,958 --> 01:03:16,035 LARGE TRUCK. HIS BACK HALF WAS JUST MASHED. HE WAS RUSHED TO THE WORM 1752 01:03:16,059 --> 01:03:17,270 HIS BACK HALF WAS JUST MASHED. HE WAS RUSHED TO THE WORM DOCTOR, WHO TOOK ONE LOOK AT 1753 01:03:17,294 --> 01:03:18,604 HE WAS RUSHED TO THE WORM DOCTOR, WHO TOOK ONE LOOK AT HIM, SHOOK HIS HEAD SLOWLY FROM 1754 01:03:18,628 --> 01:03:20,774 DOCTOR, WHO TOOK ONE LOOK AT HIM, SHOOK HIS HEAD SLOWLY FROM SIDE TO SIDE, AND SAID, "WILLY, 1755 01:03:20,798 --> 01:03:22,408 HIM, SHOOK HIS HEAD SLOWLY FROM SIDE TO SIDE, AND SAID, "WILLY, I HAVE BAD NEWS FOR YOU. 1756 01:03:22,432 --> 01:03:24,177 SIDE TO SIDE, AND SAID, "WILLY, I HAVE BAD NEWS FOR YOU. I'M AFRAID YOU'LL NEVER CRAWL 1757 01:03:24,201 --> 01:03:24,811 I HAVE BAD NEWS FOR YOU. I'M AFRAID YOU'LL NEVER CRAWL AGAIN." 1758 01:03:24,835 --> 01:03:26,212 I'M AFRAID YOU'LL NEVER CRAWL AGAIN." "NOT CRAWL? NOT CRAWL? 1759 01:03:26,236 --> 01:03:28,014 AGAIN." "NOT CRAWL? NOT CRAWL? BUT CRAWLING'S MY WHOLE LIFE!" 1760 01:03:28,038 --> 01:03:29,883 "NOT CRAWL? NOT CRAWL? BUT CRAWLING'S MY WHOLE LIFE!" EXCLAIMED WILLY, AND HE SET OUT 1761 01:03:29,907 --> 01:03:31,985 BUT CRAWLING'S MY WHOLE LIFE!" EXCLAIMED WILLY, AND HE SET OUT TO PROVE THE DOCTOR WRONG. 1762 01:03:32,009 --> 01:03:33,486 EXCLAIMED WILLY, AND HE SET OUT TO PROVE THE DOCTOR WRONG. MANY YEARS PASSED AND PROGRESS 1763 01:03:33,510 --> 01:03:35,021 TO PROVE THE DOCTOR WRONG. MANY YEARS PASSED AND PROGRESS WAS SLOW, BUT WILLY NEVER GAVE 1764 01:03:35,045 --> 01:03:35,354 MANY YEARS PASSED AND PROGRESS WAS SLOW, BUT WILLY NEVER GAVE UP. 1765 01:03:35,378 --> 01:03:36,890 WAS SLOW, BUT WILLY NEVER GAVE UP. HIS FIERCE DETERMINATION DROVE 1766 01:03:36,914 --> 01:03:37,390 UP. HIS FIERCE DETERMINATION DROVE HIM ON. 1767 01:03:37,414 --> 01:03:38,925 HIS FIERCE DETERMINATION DROVE HIM ON. AND FINALLY, WILLY COULD CRAWL 1768 01:03:38,949 --> 01:03:40,726 HIM ON. AND FINALLY, WILLY COULD CRAWL JUST AS WELL AS HE EVER DID. 1769 01:03:40,750 --> 01:03:42,028 AND FINALLY, WILLY COULD CRAWL JUST AS WELL AS HE EVER DID. "IT'S AMAZING," SAID THE 1770 01:03:42,052 --> 01:03:42,762 JUST AS WELL AS HE EVER DID. "IT'S AMAZING," SAID THE WORM DOCTOR. 1771 01:03:42,786 --> 01:03:44,230 "IT'S AMAZING," SAID THE WORM DOCTOR. "WHY, YOU'D BE WRITTEN UP IN 1772 01:03:44,254 --> 01:03:45,698 WORM DOCTOR. "WHY, YOU'D BE WRITTEN UP IN MEDICAL JOURNALS IF, INDEED, 1773 01:03:45,722 --> 01:03:47,167 "WHY, YOU'D BE WRITTEN UP IN MEDICAL JOURNALS IF, INDEED, WORMS HAD MEDICAL JOURNALS." 1774 01:03:47,191 --> 01:03:48,101 MEDICAL JOURNALS IF, INDEED, WORMS HAD MEDICAL JOURNALS." "THAT'S NOTHING. 1775 01:03:48,125 --> 01:03:49,635 WORMS HAD MEDICAL JOURNALS." "THAT'S NOTHING. WATCH THIS, DOC!" CRIED WILLY. 1776 01:03:49,659 --> 01:03:51,004 "THAT'S NOTHING. WATCH THIS, DOC!" CRIED WILLY. AND HE QUICKLY CRAWLED UP A 1777 01:03:51,028 --> 01:03:52,538 WATCH THIS, DOC!" CRIED WILLY. AND HE QUICKLY CRAWLED UP A ROCK, DOWN THE OTHER SIDE, OVER 1778 01:03:52,562 --> 01:03:53,840 AND HE QUICKLY CRAWLED UP A ROCK, DOWN THE OTHER SIDE, OVER A LOG, AROUND A STUMP, AND 1779 01:03:53,864 --> 01:03:55,208 ROCK, DOWN THE OTHER SIDE, OVER A LOG, AROUND A STUMP, AND PARTWAY ACROSS THE HIGHWAY, 1780 01:03:55,232 --> 01:03:56,776 A LOG, AROUND A STUMP, AND PARTWAY ACROSS THE HIGHWAY, WHERE HE WAS RUN OVER BY ANOTHER 1781 01:03:56,800 --> 01:03:58,111 PARTWAY ACROSS THE HIGHWAY, WHERE HE WAS RUN OVER BY ANOTHER TRUCK EVEN LARGER THAN THE 1782 01:03:58,135 --> 01:03:59,245 WHERE HE WAS RUN OVER BY ANOTHER TRUCK EVEN LARGER THAN THE FIRST. 1783 01:03:59,269 --> 01:04:01,047 TRUCK EVEN LARGER THAN THE FIRST. THIS TIME HIS FRONT HALF WAS 1784 01:04:01,071 --> 01:04:01,681 FIRST. THIS TIME HIS FRONT HALF WAS MASHED. 1785 01:04:01,705 --> 01:04:02,648 THIS TIME HIS FRONT HALF WAS MASHED. THE END. 1786 01:04:02,672 --> 01:04:03,649 MASHED. THE END. [GASPS] 1787 01:04:03,673 --> 01:04:05,251 THE END. [GASPS] OH, WHAT A FINE STORY, 1788 01:04:05,275 --> 01:04:06,385 [GASPS] OH, WHAT A FINE STORY, MONSIEUR MIKE. 1789 01:04:06,409 --> 01:04:07,420 OH, WHAT A FINE STORY, MONSIEUR MIKE. MERCI BEAUCOUP. 1790 01:04:07,444 --> 01:04:09,388 MONSIEUR MIKE. MERCI BEAUCOUP. WELL, YOU SAUCY SCAMP, HADN'T 1791 01:04:09,412 --> 01:04:11,257 MERCI BEAUCOUP. WELL, YOU SAUCY SCAMP, HADN'T YOU BETTER BE ATTENDING TO YOUR 1792 01:04:11,281 --> 01:04:12,158 WELL, YOU SAUCY SCAMP, HADN'T YOU BETTER BE ATTENDING TO YOUR MANY DUTIES? 1793 01:04:12,182 --> 01:04:15,929 YOU BETTER BE ATTENDING TO YOUR MANY DUTIES? BUT OF COURSE. 1794 01:04:15,953 --> 01:04:17,363 MANY DUTIES? BUT OF COURSE. IN CLOSING, I'D JUST LIKE TO 1795 01:04:17,387 --> 01:04:18,764 BUT OF COURSE. IN CLOSING, I'D JUST LIKE TO SAY THAT IT'S ALL VERY EASY TO 1796 01:04:18,788 --> 01:04:19,999 IN CLOSING, I'D JUST LIKE TO SAY THAT IT'S ALL VERY EASY TO LAUGH AT YOURSELF. 1797 01:04:20,023 --> 01:04:21,935 SAY THAT IT'S ALL VERY EASY TO LAUGH AT YOURSELF. THE DIFFICULT THING IS LEARNING 1798 01:04:21,959 --> 01:04:24,570 LAUGH AT YOURSELF. THE DIFFICULT THING IS LEARNING TO LAUGH AT OTHERS. 1799 01:04:24,594 --> 01:04:26,172 THE DIFFICULT THING IS LEARNING TO LAUGH AT OTHERS. OH, MONSIEUR MIKE! 1800 01:04:26,196 --> 01:04:27,340 TO LAUGH AT OTHERS. OH, MONSIEUR MIKE! MONSIEUR MIKE! 1801 01:04:27,364 --> 01:04:29,175 OH, MONSIEUR MIKE! MONSIEUR MIKE! I HAVE DROPPED MY FEATHER 1802 01:04:29,199 --> 01:04:29,909 MONSIEUR MIKE! I HAVE DROPPED MY FEATHER DUSTER! 1803 01:04:29,933 --> 01:04:31,978 I HAVE DROPPED MY FEATHER DUSTER! WILL YOU HELP ME RETRIEVE IT? 1804 01:04:32,002 --> 01:04:33,313 DUSTER! WILL YOU HELP ME RETRIEVE IT? WELL, I HAVE TO GO NOW. 1805 01:04:33,337 --> 01:04:34,780 WILL YOU HELP ME RETRIEVE IT? WELL, I HAVE TO GO NOW. I HAVE TO HELP FIFI RETRIEVER 1806 01:04:34,804 --> 01:04:35,815 WELL, I HAVE TO GO NOW. I HAVE TO HELP FIFI RETRIEVER HER FEATHER DUSTER. 1807 01:04:35,839 --> 01:04:38,199 I HAVE TO HELP FIFI RETRIEVER HER FEATHER DUSTER. GOOD NIGHT. 1808 01:05:01,364 --> 01:05:05,711 WELL, WHEN I OPENED UP HERE, I SAID I LOVED WHAT I WAS GONNA DO. 1809 01:05:05,735 --> 01:05:07,046 I SAID I LOVED WHAT I WAS GONNA DO. WELL, YOU KNOW, A FUNNY THING... 1810 01:05:07,070 --> 01:05:08,248 DO. WELL, YOU KNOW, A FUNNY THING... THINGS DON'T ALWAYS WORK OUT 1811 01:05:08,272 --> 01:05:08,748 WELL, YOU KNOW, A FUNNY THING... THINGS DON'T ALWAYS WORK OUT THAT WAY. 1812 01:05:08,772 --> 01:05:10,350 THINGS DON'T ALWAYS WORK OUT THAT WAY. I ACTUALLY DID LOVE WHAT I WAS 1813 01:05:10,374 --> 01:05:12,051 THAT WAY. I ACTUALLY DID LOVE WHAT I WAS GOING TO DO, AND, YOU KNOW, IT'S 1814 01:05:12,075 --> 01:05:13,652 I ACTUALLY DID LOVE WHAT I WAS GOING TO DO, AND, YOU KNOW, IT'S A LIVE SHOW, AND WE ALL STAYED 1815 01:05:13,676 --> 01:05:15,021 GOING TO DO, AND, YOU KNOW, IT'S A LIVE SHOW, AND WE ALL STAYED ALIVE... YOU ALL, WE ALL. 1816 01:05:15,045 --> 01:05:16,089 A LIVE SHOW, AND WE ALL STAYED ALIVE... YOU ALL, WE ALL. THAT MAKES IT NICE. 1817 01:05:16,113 --> 01:05:17,757 ALIVE... YOU ALL, WE ALL. THAT MAKES IT NICE. AND I TELL YOU WHAT ELSE MADE IT 1818 01:05:17,781 --> 01:05:19,392 THAT MAKES IT NICE. AND I TELL YOU WHAT ELSE MADE IT NICE... IF YOU COULD SEE SOME OF 1819 01:05:19,416 --> 01:05:20,793 AND I TELL YOU WHAT ELSE MADE IT NICE... IF YOU COULD SEE SOME OF THE BARE-ASS CHANGES I WAS 1820 01:05:20,817 --> 01:05:22,461 NICE... IF YOU COULD SEE SOME OF THE BARE-ASS CHANGES I WAS MAKING OFF THERE, YOU WOULD HAVE 1821 01:05:22,485 --> 01:05:23,930 THE BARE-ASS CHANGES I WAS MAKING OFF THERE, YOU WOULD HAVE THOUGHT THAT MIGHT HAVE BEEN 1822 01:05:23,954 --> 01:05:25,398 MAKING OFF THERE, YOU WOULD HAVE THOUGHT THAT MIGHT HAVE BEEN MORE... 1823 01:05:25,422 --> 01:05:31,337 THOUGHT THAT MIGHT HAVE BEEN MORE... [CHEERS AND APPLAUSE] 1824 01:05:31,361 --> 01:05:33,661 MORE... [CHEERS AND APPLAUSE] [BAND PLAYS] 1825 01:06:05,928 --> 01:06:07,429 Announcer: MR. MIKE PLAYED BY 1826 01:06:07,563 --> 01:06:08,563 MICHAEL O'DONOGHUE. 1827 01:06:08,597 --> 01:06:10,065 JOHN BELUSHI'S DOCTOR PLAYED BY 1828 01:06:10,199 --> 01:06:11,699 BOB WHITE. 1829 01:06:11,834 --> 01:06:13,435 NEXT SATURDAY NIGHT, OUR HOST 1830 01:06:13,569 --> 01:06:15,203 WILL BE THAT MINNESOTA VIKING 1831 01:06:15,338 --> 01:06:16,838 FRAN TARKENTON WITH MUSICAL 1832 01:06:16,973 --> 01:06:18,506 GUEST LEO SAYER. 1833 01:06:18,640 --> 01:06:20,708 IT'S ALMOST 1:00 A.M., 12:00 1834 01:06:20,843 --> 01:06:21,843 CENTRAL TIME. 1835 01:06:21,944 --> 01:06:23,811 DO YOU KNOW WHERE YOUR CHILDREN 1836 01:06:23,946 --> 01:06:24,946 ARE? 1837 01:06:24,981 --> 01:06:26,348 WELL, THEY'RE RIGHT HERE WITH 1838 01:06:26,482 --> 01:06:27,182 ME, DON PARDO. 1839 01:06:27,316 --> 01:06:28,416 GOOD NIGHT! 1840 01:06:28,550 --> 01:06:30,518 [YAWNS] 1841 01:06:30,652 --> 01:06:31,319 COME ON, KIDS. 1842 01:06:31,454 --> 01:06:32,820 UNCLE DON'S GONNA TAKE YOU OUT 1843 01:06:32,955 --> 01:06:35,756 FOR A NIGHTCAP. 200405

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