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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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