All language subtitles for SNL S02E17 Broderick Crawford.DVDRip.HI.RLP.cc.en.UNVSL

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,134 --> 00:00:03,981 Announcer: LADIES AND GENTLEMEN, "SATURDAY NIGHT" IS PROUD TO PRESENT 2 00:00:04,005 --> 00:00:06,483 GENTLEMEN, "SATURDAY NIGHT" IS PROUD TO PRESENT RHONDA WEISS AND THE RHONDETTES. 3 00:00:06,507 --> 00:00:08,485 PROUD TO PRESENT RHONDA WEISS AND THE RHONDETTES. [CHEERS AND APPLAUSE] 4 00:00:08,509 --> 00:00:14,391 RHONDA WEISS AND THE RHONDETTES. [CHEERS AND APPLAUSE] [MID-TEMPO MUSIC PLAYS] 5 00:00:14,415 --> 00:00:15,292 [CHEERS AND APPLAUSE] [MID-TEMPO MUSIC PLAYS] ♪ OOH ♪ 6 00:00:15,316 --> 00:00:17,094 [MID-TEMPO MUSIC PLAYS] ♪ OOH ♪ THEY SAY YOU GAVE RATS 7 00:00:17,118 --> 00:00:19,229 ♪ OOH ♪ THEY SAY YOU GAVE RATS CANCER, AND I SAY THAT CAN'T BE 8 00:00:19,253 --> 00:00:20,364 THEY SAY YOU GAVE RATS CANCER, AND I SAY THAT CAN'T BE TRUE. 9 00:00:20,388 --> 00:00:21,965 CANCER, AND I SAY THAT CAN'T BE TRUE. BECAUSE YOU'RE JUST SO VERY 10 00:00:21,989 --> 00:00:22,499 TRUE. BECAUSE YOU'RE JUST SO VERY SWEET. 11 00:00:22,523 --> 00:00:25,068 BECAUSE YOU'RE JUST SO VERY SWEET. THAT'S SOMETHING YOU'D NEVER DO. 12 00:00:25,092 --> 00:00:26,769 SWEET. THAT'S SOMETHING YOU'D NEVER DO. I LOVE YOU, I NEEDED YOU. 13 00:00:26,793 --> 00:00:28,605 THAT'S SOMETHING YOU'D NEVER DO. I LOVE YOU, I NEEDED YOU. WE HAD A FINE RELATION TILL LAST 14 00:00:28,629 --> 00:00:30,340 I LOVE YOU, I NEEDED YOU. WE HAD A FINE RELATION TILL LAST WEEK WHEN IT WAS RUINED BY THE 15 00:00:30,364 --> 00:00:32,309 WE HAD A FINE RELATION TILL LAST WEEK WHEN IT WAS RUINED BY THE FOOD AND DRUG ADMINISTRATION. 16 00:00:32,333 --> 00:00:35,312 WEEK WHEN IT WAS RUINED BY THE FOOD AND DRUG ADMINISTRATION. ♪ AND I CAN LOOK EVERYWHERE 17 00:00:35,336 --> 00:00:39,483 FOOD AND DRUG ADMINISTRATION. ♪ AND I CAN LOOK EVERYWHERE FROM ARKANSAS TO AKRON ♪ 18 00:00:39,507 --> 00:00:40,484 ♪ AND I CAN LOOK EVERYWHERE FROM ARKANSAS TO AKRON ♪ ♪ BUT, SUGAR ♪ 19 00:00:40,508 --> 00:00:43,253 FROM ARKANSAS TO AKRON ♪ ♪ BUT, SUGAR ♪ ♪ THERE'S NO SUGAR SUBSTITUTE 20 00:00:43,277 --> 00:00:47,757 ♪ BUT, SUGAR ♪ ♪ THERE'S NO SUGAR SUBSTITUTE TO SUBSTITUTE FOR SACC-HA-RIN ♪ 21 00:00:47,781 --> 00:00:49,292 ♪ THERE'S NO SUGAR SUBSTITUTE TO SUBSTITUTE FOR SACC-HA-RIN ♪ ♪ SACCHARIN ♪ 22 00:00:49,316 --> 00:00:51,895 TO SUBSTITUTE FOR SACC-HA-RIN ♪ ♪ SACCHARIN ♪ ♪ GOODBYE, SACC-HA-RIN ♪ 23 00:00:51,919 --> 00:00:53,263 ♪ SACCHARIN ♪ ♪ GOODBYE, SACC-HA-RIN ♪ ♪ BYE-BYE ♪ 24 00:00:53,287 --> 00:00:55,798 ♪ GOODBYE, SACC-HA-RIN ♪ ♪ BYE-BYE ♪ ♪ GOODBYE, SACCHARIN ♪ 25 00:00:55,822 --> 00:00:56,766 ♪ BYE-BYE ♪ ♪ GOODBYE, SACCHARIN ♪ [EXHALES SHARPLY] 26 00:00:56,790 --> 00:00:59,503 ♪ GOODBYE, SACCHARIN ♪ [EXHALES SHARPLY] ♪ WHEN I HAD... MY FIRST TASTE OF 27 00:00:59,527 --> 00:01:00,237 [EXHALES SHARPLY] ♪ WHEN I HAD... MY FIRST TASTE OF YOU ♪ 28 00:01:00,261 --> 00:01:02,839 ♪ WHEN I HAD... MY FIRST TASTE OF YOU ♪ ♪ AND YOU STOPPED MY TEENAGE 29 00:01:02,863 --> 00:01:04,674 YOU ♪ ♪ AND YOU STOPPED MY TEENAGE SOBBINGS ♪ 30 00:01:04,698 --> 00:01:07,477 ♪ AND YOU STOPPED MY TEENAGE SOBBINGS ♪ ♪ BY SHOWING ME THERE WAS A BIG, 31 00:01:07,501 --> 00:01:09,579 SOBBINGS ♪ ♪ BY SHOWING ME THERE WAS A BIG, WIDE WORLD OUTSIDE 32 00:01:09,603 --> 00:01:12,949 ♪ BY SHOWING ME THERE WAS A BIG, WIDE WORLD OUTSIDE OF BASKIN-ROBBINS ♪ 33 00:01:12,973 --> 00:01:16,686 WIDE WORLD OUTSIDE OF BASKIN-ROBBINS ♪ ♪ ROBBINS ♪ 34 00:01:16,710 --> 00:01:18,255 OF BASKIN-ROBBINS ♪ ♪ ROBBINS ♪ SO, WHAT DID YOU WEIGH IN 35 00:01:18,279 --> 00:01:18,855 ♪ ROBBINS ♪ SO, WHAT DID YOU WEIGH IN COLLEGE? 36 00:01:18,879 --> 00:01:20,390 SO, WHAT DID YOU WEIGH IN COLLEGE? I WENT UP AND DOWN. 37 00:01:20,414 --> 00:01:22,159 COLLEGE? I WENT UP AND DOWN. LIKE, AROUND WHAT? 38 00:01:22,183 --> 00:01:25,695 I WENT UP AND DOWN. LIKE, AROUND WHAT? BETWEEN 115 AND 125. 39 00:01:25,719 --> 00:01:29,732 LIKE, AROUND WHAT? BETWEEN 115 AND 125. CLOSER TO 115 OR 125? 40 00:01:29,756 --> 00:01:34,804 BETWEEN 115 AND 125. CLOSER TO 115 OR 125? BETWEEN, LIKE, 123 AND 125. 41 00:01:34,828 --> 00:01:39,742 CLOSER TO 115 OR 125? BETWEEN, LIKE, 123 AND 125. LIKE, AROUND 124? 42 00:01:39,766 --> 00:01:41,044 BETWEEN, LIKE, 123 AND 125. LIKE, AROUND 124? BITCH. 43 00:01:41,068 --> 00:01:42,512 LIKE, AROUND 124? BITCH. [LAUGHTER AND APPLAUSE] 44 00:01:42,536 --> 00:01:46,416 BITCH. [LAUGHTER AND APPLAUSE] ♪ OOH ♪ 45 00:01:46,440 --> 00:01:48,918 [LAUGHTER AND APPLAUSE] ♪ OOH ♪ ♪ FIRST CHANCE ♪ 46 00:01:48,942 --> 00:01:50,420 ♪ OOH ♪ ♪ FIRST CHANCE ♪ ♪ TO WEAR MY CLOTHES WITHOUT 47 00:01:50,444 --> 00:01:52,689 ♪ FIRST CHANCE ♪ ♪ TO WEAR MY CLOTHES WITHOUT IMPRINTING IN MY SKIN ♪ 48 00:01:52,713 --> 00:01:55,459 ♪ TO WEAR MY CLOTHES WITHOUT IMPRINTING IN MY SKIN ♪ ♪ THE ELASTIC FROM MY 49 00:01:55,483 --> 00:01:56,960 IMPRINTING IN MY SKIN ♪ ♪ THE ELASTIC FROM MY UNDERPANTS ♪ 50 00:01:56,984 --> 00:01:59,963 ♪ THE ELASTIC FROM MY UNDERPANTS ♪ ♪ UNDERPANTS ♪ 51 00:01:59,987 --> 00:02:01,465 UNDERPANTS ♪ ♪ UNDERPANTS ♪ BUT THEY DON'T CARE ABOUT THE 52 00:02:01,489 --> 00:02:02,765 ♪ UNDERPANTS ♪ BUT THEY DON'T CARE ABOUT THE FACT THAT SINCE YOU'VE BEEN 53 00:02:02,789 --> 00:02:03,700 BUT THEY DON'T CARE ABOUT THE FACT THAT SINCE YOU'VE BEEN AROUND... 54 00:02:03,724 --> 00:02:05,368 FACT THAT SINCE YOU'VE BEEN AROUND... YOU'RE THE ONLY REASON I CAN 55 00:02:05,392 --> 00:02:06,936 AROUND... YOU'RE THE ONLY REASON I CAN ZIP MY JEANS WITHOUT LYING 56 00:02:06,960 --> 00:02:07,437 YOU'RE THE ONLY REASON I CAN ZIP MY JEANS WITHOUT LYING DOWN. 57 00:02:07,461 --> 00:02:08,738 ZIP MY JEANS WITHOUT LYING DOWN. THERE'S NOTHING YOU CAN DO! 58 00:02:08,762 --> 00:02:09,973 DOWN. THERE'S NOTHING YOU CAN DO! THAT'S NOT TRUE. 59 00:02:09,997 --> 00:02:11,541 THERE'S NOTHING YOU CAN DO! THAT'S NOT TRUE. IMAGINE I STEP INTO MY CAR, 60 00:02:11,565 --> 00:02:13,243 THAT'S NOT TRUE. IMAGINE I STEP INTO MY CAR, DRIVE A LITTLE TOO FAST TO THE 61 00:02:13,267 --> 00:02:13,810 IMAGINE I STEP INTO MY CAR, DRIVE A LITTLE TOO FAST TO THE MARKET. 62 00:02:13,834 --> 00:02:14,444 DRIVE A LITTLE TOO FAST TO THE MARKET. I'M PANICKED. 63 00:02:14,468 --> 00:02:15,612 MARKET. I'M PANICKED. IT'S RAINING REAL HARD, AND I 64 00:02:15,636 --> 00:02:16,813 I'M PANICKED. IT'S RAINING REAL HARD, AND I CAN'T FIND A PLACE TO PARK IT. 65 00:02:16,837 --> 00:02:18,415 IT'S RAINING REAL HARD, AND I CAN'T FIND A PLACE TO PARK IT. BUT FINALLY, EXHAUSTED, I RACE 66 00:02:18,439 --> 00:02:19,849 CAN'T FIND A PLACE TO PARK IT. BUT FINALLY, EXHAUSTED, I RACE FROM THE STORE... IT FEELS 67 00:02:19,873 --> 00:02:21,118 BUT FINALLY, EXHAUSTED, I RACE FROM THE STORE... IT FEELS REALLY FAR... AND PILE 68 00:02:21,142 --> 00:02:22,452 FROM THE STORE... IT FEELS REALLY FAR... AND PILE EVERYTHING THEY HAD THAT 69 00:02:22,476 --> 00:02:23,953 REALLY FAR... AND PILE EVERYTHING THEY HAD THAT CONTAINS ARTIFICIAL SWEETENER IN 70 00:02:23,977 --> 00:02:25,155 EVERYTHING THEY HAD THAT CONTAINS ARTIFICIAL SWEETENER IN THE FRONT SEAT OF MY CAR. 71 00:02:25,179 --> 00:02:26,723 CONTAINS ARTIFICIAL SWEETENER IN THE FRONT SEAT OF MY CAR. THEN I SQUEEZE IN AND PULL OUT, 72 00:02:26,747 --> 00:02:28,325 THE FRONT SEAT OF MY CAR. THEN I SQUEEZE IN AND PULL OUT, HEADING FOR THE NEXT FOOD PLACE. 73 00:02:28,349 --> 00:02:29,526 THEN I SQUEEZE IN AND PULL OUT, HEADING FOR THE NEXT FOOD PLACE. TOO BAD I DIDN'T SEE THE 74 00:02:29,550 --> 00:02:31,027 HEADING FOR THE NEXT FOOD PLACE. TOO BAD I DIDN'T SEE THE GOOD HUMOR TRUCK COMING STRAIGHT 75 00:02:31,051 --> 00:02:32,496 TOO BAD I DIDN'T SEE THE GOOD HUMOR TRUCK COMING STRAIGHT AT ME BEFORE THE CASE OF TAB 76 00:02:32,520 --> 00:02:33,630 GOOD HUMOR TRUCK COMING STRAIGHT AT ME BEFORE THE CASE OF TAB SLID ACROSS MY FACE! 77 00:02:33,654 --> 00:02:34,764 AT ME BEFORE THE CASE OF TAB SLID ACROSS MY FACE! HAVE YOU GOT INSURANCE?! 78 00:02:34,788 --> 00:02:35,765 SLID ACROSS MY FACE! HAVE YOU GOT INSURANCE?! HAVE YOU GOT INSURANCE?! 79 00:02:35,789 --> 00:02:40,737 HAVE YOU GOT INSURANCE?! HAVE YOU GOT INSURANCE?! HAVE YOU GOT INSURANCE?! 80 00:02:40,761 --> 00:02:43,173 HAVE YOU GOT INSURANCE?! HAVE YOU GOT INSURANCE?! WATCH ME DIE. 81 00:02:43,197 --> 00:02:45,175 HAVE YOU GOT INSURANCE?! WATCH ME DIE. ♪ OOH, AH-OOH ♪ 82 00:02:45,199 --> 00:02:47,244 WATCH ME DIE. ♪ OOH, AH-OOH ♪ ♪ OOH, AH-OOH ♪ 83 00:02:47,268 --> 00:02:48,678 ♪ OOH, AH-OOH ♪ ♪ OOH, AH-OOH ♪ AND THE TRUTH IS, THAT'S WHAT 84 00:02:48,702 --> 00:02:49,979 ♪ OOH, AH-OOH ♪ AND THE TRUTH IS, THAT'S WHAT HAPPENED LAST FRIDAY NIGHT AT 85 00:02:50,003 --> 00:02:52,081 AND THE TRUTH IS, THAT'S WHAT HAPPENED LAST FRIDAY NIGHT AT 7:00. 86 00:02:52,105 --> 00:02:54,317 HAPPENED LAST FRIDAY NIGHT AT 7:00. ♪ OOH, AH-OOH ♪ 87 00:02:54,341 --> 00:02:55,418 7:00. ♪ OOH, AH-OOH ♪ ♪ OOH, AH-OOH ♪ 88 00:02:55,442 --> 00:02:57,420 ♪ OOH, AH-OOH ♪ ♪ OOH, AH-OOH ♪ NOW SACCHARIN AND I WILL BE 89 00:02:57,444 --> 00:02:59,489 ♪ OOH, AH-OOH ♪ NOW SACCHARIN AND I WILL BE TOGETHER FOREVER IN LOW-CALORIE 90 00:02:59,513 --> 00:03:00,957 NOW SACCHARIN AND I WILL BE TOGETHER FOREVER IN LOW-CALORIE HEAVEN. 91 00:03:00,981 --> 00:03:01,791 TOGETHER FOREVER IN LOW-CALORIE HEAVEN. ♪ SACCHARIN ♪ 92 00:03:01,815 --> 00:03:03,160 HEAVEN. ♪ SACCHARIN ♪ YOU LEFT A BAD TASTE IN MY 93 00:03:03,184 --> 00:03:03,593 ♪ SACCHARIN ♪ YOU LEFT A BAD TASTE IN MY MOUTH! 94 00:03:03,617 --> 00:03:04,261 YOU LEFT A BAD TASTE IN MY MOUTH! ♪ SACCHARIN ♪ 95 00:03:04,285 --> 00:03:05,362 MOUTH! ♪ SACCHARIN ♪ BUT YOU KEPT MY SEAMS FROM 96 00:03:05,386 --> 00:03:05,762 ♪ SACCHARIN ♪ BUT YOU KEPT MY SEAMS FROM BUSTING! 97 00:03:05,786 --> 00:03:06,563 BUT YOU KEPT MY SEAMS FROM BUSTING! ♪ SACCHARIN ♪ 98 00:03:06,587 --> 00:03:07,897 BUSTING! ♪ SACCHARIN ♪ WITHOUT YOU IN MY LIFE, MY 99 00:03:07,921 --> 00:03:09,032 ♪ SACCHARIN ♪ WITHOUT YOU IN MY LIFE, MY BODY WOULD BE ABSOLUTELY 100 00:03:09,056 --> 00:03:10,600 WITHOUT YOU IN MY LIFE, MY BODY WOULD BE ABSOLUTELY DISGUSTING! 101 00:03:10,624 --> 00:03:13,637 BODY WOULD BE ABSOLUTELY DISGUSTING! ♪ AND I CAN LOOK EVERYWHERE FROM 102 00:03:13,661 --> 00:03:17,641 DISGUSTING! ♪ AND I CAN LOOK EVERYWHERE FROM ARKANSAS TO AKRON ♪ 103 00:03:17,665 --> 00:03:18,642 ♪ AND I CAN LOOK EVERYWHERE FROM ARKANSAS TO AKRON ♪ ♪ BUT, SUGAR ♪ 104 00:03:18,666 --> 00:03:21,278 ARKANSAS TO AKRON ♪ ♪ BUT, SUGAR ♪ ♪ THERE'S NO SUGAR SUBSTITUTE 105 00:03:21,302 --> 00:03:25,782 ♪ BUT, SUGAR ♪ ♪ THERE'S NO SUGAR SUBSTITUTE TO SUBSTITUTE FOR SACC-HA-RIN ♪ 106 00:03:25,806 --> 00:03:27,050 ♪ THERE'S NO SUGAR SUBSTITUTE TO SUBSTITUTE FOR SACC-HA-RIN ♪ ♪ OHH ♪ 107 00:03:27,074 --> 00:03:29,186 TO SUBSTITUTE FOR SACC-HA-RIN ♪ ♪ OHH ♪ BUT I'LL BE FIT FOREVER, AND 108 00:03:29,210 --> 00:03:30,920 ♪ OHH ♪ BUT I'LL BE FIT FOREVER, AND MAYBE YOU SHOULD TRY IT. 109 00:03:30,944 --> 00:03:33,256 BUT I'LL BE FIT FOREVER, AND MAYBE YOU SHOULD TRY IT. JUST DO WHAT I'VE DONE AND GO ON 110 00:03:33,280 --> 00:03:35,659 MAYBE YOU SHOULD TRY IT. JUST DO WHAT I'VE DONE AND GO ON THE CAR-CRASH DIET. 111 00:03:35,683 --> 00:03:36,959 JUST DO WHAT I'VE DONE AND GO ON THE CAR-CRASH DIET. GOODBYE, AKRON. 112 00:03:36,983 --> 00:03:39,329 THE CAR-CRASH DIET. GOODBYE, AKRON. HELLO, SACCHARIN! 113 00:03:39,353 --> 00:03:41,698 GOODBYE, AKRON. HELLO, SACCHARIN! [CHEERS AND APPLAUSE] 114 00:03:41,722 --> 00:03:42,799 HELLO, SACCHARIN! [CHEERS AND APPLAUSE] THANK YOU! 115 00:03:42,823 --> 00:03:44,901 [CHEERS AND APPLAUSE] THANK YOU! THANK YOU! THANK YOU! 116 00:03:44,925 --> 00:03:46,670 THANK YOU! THANK YOU! THANK YOU! THANK YOU. 117 00:03:46,694 --> 00:03:47,404 THANK YOU! THANK YOU! THANK YOU. THANK YOU. 118 00:03:47,428 --> 00:03:50,873 THANK YOU. THANK YOU. AND NOW... AND NOW, EVERYBODY... 119 00:03:50,897 --> 00:03:52,942 THANK YOU. AND NOW... AND NOW, EVERYBODY... EVERYBODY, I'D LIKE TO INTRODUCE 120 00:03:52,966 --> 00:03:54,043 AND NOW... AND NOW, EVERYBODY... EVERYBODY, I'D LIKE TO INTRODUCE THE RHONDETTES. 121 00:03:54,067 --> 00:03:56,613 EVERYBODY, I'D LIKE TO INTRODUCE THE RHONDETTES. JANE CURTAIN FROM BOSTON. 122 00:03:56,637 --> 00:03:58,915 THE RHONDETTES. JANE CURTAIN FROM BOSTON. LARAINE NEWMAN FROM L.A. 123 00:03:58,939 --> 00:04:01,585 JANE CURTAIN FROM BOSTON. LARAINE NEWMAN FROM L.A. AND, FINALLY, LINDA RONSTADT 124 00:04:01,609 --> 00:04:03,019 LARAINE NEWMAN FROM L.A. AND, FINALLY, LINDA RONSTADT FROM THE PLAZA HOTEL. 125 00:04:03,043 --> 00:04:06,523 AND, FINALLY, LINDA RONSTADT FROM THE PLAZA HOTEL. [CHEERS AND APPLAUSE] 126 00:04:06,547 --> 00:04:09,693 FROM THE PLAZA HOTEL. [CHEERS AND APPLAUSE] THANK YOU. 127 00:04:09,717 --> 00:04:12,596 [CHEERS AND APPLAUSE] THANK YOU. AND... NOW... 128 00:04:12,620 --> 00:04:14,797 THANK YOU. AND... NOW... LADIES AND GENTLEMEN... 129 00:04:14,821 --> 00:04:17,200 AND... NOW... LADIES AND GENTLEMEN... All: LIVE FROM NEW YORK, 130 00:04:17,224 --> 00:04:18,868 LADIES AND GENTLEMEN... All: LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! 131 00:04:18,892 --> 00:04:20,870 All: LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! [CHEERS AND APPLAUSE] 132 00:04:20,894 --> 00:04:23,094 IT'S "SATURDAY NIGHT"! [CHEERS AND APPLAUSE] [BAND PLAYS] 133 00:04:31,371 --> 00:04:39,371 Announcer: NBC's "SATURDAY NIGHT"... STARRING... 134 00:04:43,349 --> 00:04:45,150 WITH SPECIAL GUESTS... 135 00:05:20,787 --> 00:05:25,957 LADIES AND GENTLEMEN... BRODERICK CRAWFORD. [CHEERS AND APPLAUSE] 136 00:05:43,976 --> 00:05:47,824 WELL, THANK YOU. THANK YOU VERY MUCH. AS A VERY OLD AND DEAR AND 137 00:05:47,848 --> 00:05:49,592 THANK YOU VERY MUCH. AS A VERY OLD AND DEAR AND RATHER ROTUND FRIEND LIKE MYSELF 138 00:05:49,616 --> 00:05:50,527 AS A VERY OLD AND DEAR AND RATHER ROTUND FRIEND LIKE MYSELF USED TO SAY... 139 00:05:50,551 --> 00:05:52,462 RATHER ROTUND FRIEND LIKE MYSELF USED TO SAY... "HOW SWEET IT IS." 140 00:05:52,486 --> 00:05:54,030 USED TO SAY... "HOW SWEET IT IS." YOU KNOW, IT'S BEEN A LONG TIME 141 00:05:54,054 --> 00:05:55,398 "HOW SWEET IT IS." YOU KNOW, IT'S BEEN A LONG TIME SINCE I'VE BEEN BACK IN THIS 142 00:05:55,422 --> 00:05:58,067 YOU KNOW, IT'S BEEN A LONG TIME SINCE I'VE BEEN BACK IN THIS STUDIO... 37 YEARS TO BE EXACT. 143 00:05:58,091 --> 00:05:59,168 SINCE I'VE BEEN BACK IN THIS STUDIO... 37 YEARS TO BE EXACT. THAT WAS BACK IN THE DAYS OF 144 00:05:59,192 --> 00:05:59,536 STUDIO... 37 YEARS TO BE EXACT. THAT WAS BACK IN THE DAYS OF RADIO. 145 00:05:59,560 --> 00:06:00,770 THAT WAS BACK IN THE DAYS OF RADIO. SOME GREAT RADIO SHOWS CAME OUT 146 00:06:00,794 --> 00:06:01,871 RADIO. SOME GREAT RADIO SHOWS CAME OUT OF HERE, AND WHEN TELEVISION 147 00:06:01,895 --> 00:06:03,105 SOME GREAT RADIO SHOWS CAME OUT OF HERE, AND WHEN TELEVISION CAME IN, GREAT TELEVISION, GREAT 148 00:06:03,129 --> 00:06:04,607 OF HERE, AND WHEN TELEVISION CAME IN, GREAT TELEVISION, GREAT MUSIC. 149 00:06:04,631 --> 00:06:06,576 CAME IN, GREAT TELEVISION, GREAT MUSIC. SEE, I WORKED FOR NBC 37 YEARS 150 00:06:06,600 --> 00:06:07,877 MUSIC. SEE, I WORKED FOR NBC 37 YEARS AGO. 151 00:06:07,901 --> 00:06:09,045 SEE, I WORKED FOR NBC 37 YEARS AGO. I WAS WORKING ON A PLAY OVER ON 152 00:06:09,069 --> 00:06:09,579 AGO. I WAS WORKING ON A PLAY OVER ON BROADWAY... 153 00:06:09,603 --> 00:06:10,913 I WAS WORKING ON A PLAY OVER ON BROADWAY... THE MUSIC BOX THEATRE... 154 00:06:10,937 --> 00:06:12,349 BROADWAY... THE MUSIC BOX THEATRE... 45th STREET. 155 00:06:12,373 --> 00:06:13,750 THE MUSIC BOX THEATRE... 45th STREET. AND IN THOSE DAYS, YOU DIDN'T 156 00:06:13,774 --> 00:06:14,784 45th STREET. AND IN THOSE DAYS, YOU DIDN'T GET VERY MUCH BREAD. 157 00:06:14,808 --> 00:06:16,252 AND IN THOSE DAYS, YOU DIDN'T GET VERY MUCH BREAD. YOU KIND OF HAD TO WORK FOR THE 158 00:06:16,276 --> 00:06:16,786 GET VERY MUCH BREAD. YOU KIND OF HAD TO WORK FOR THE MINIMUM. 159 00:06:16,810 --> 00:06:18,555 YOU KIND OF HAD TO WORK FOR THE MINIMUM. AND SO WE SUPPLEMENTED OUR 160 00:06:18,579 --> 00:06:20,623 MINIMUM. AND SO WE SUPPLEMENTED OUR INCOME BY DOING A LOT OF RADIO, 161 00:06:20,647 --> 00:06:22,425 AND SO WE SUPPLEMENTED OUR INCOME BY DOING A LOT OF RADIO, AND I HAD A SMALL PART IN 162 00:06:22,449 --> 00:06:24,527 INCOME BY DOING A LOT OF RADIO, AND I HAD A SMALL PART IN A RADIO SERIES HERE, AND ONE 163 00:06:24,551 --> 00:06:26,128 AND I HAD A SMALL PART IN A RADIO SERIES HERE, AND ONE DAY AFTER THE MATINEE, I CAME 164 00:06:26,152 --> 00:06:27,697 A RADIO SERIES HERE, AND ONE DAY AFTER THE MATINEE, I CAME OUT OF THE MUSIC BOX THEATRE, 165 00:06:27,721 --> 00:06:29,432 DAY AFTER THE MATINEE, I CAME OUT OF THE MUSIC BOX THEATRE, AND I HAD TO BE HERE AT NBC, BUT 166 00:06:29,456 --> 00:06:30,734 OUT OF THE MUSIC BOX THEATRE, AND I HAD TO BE HERE AT NBC, BUT I COULDN'T FIND A TAXI. 167 00:06:30,758 --> 00:06:32,802 AND I HAD TO BE HERE AT NBC, BUT I COULDN'T FIND A TAXI. SO I STARTED TO RUN. 168 00:06:32,826 --> 00:06:34,270 I COULDN'T FIND A TAXI. SO I STARTED TO RUN. SO I HAD MY SCRIPT IN MY HAND, 169 00:06:34,294 --> 00:06:35,271 SO I STARTED TO RUN. SO I HAD MY SCRIPT IN MY HAND, AND I RAN LIKE MAD. 170 00:06:35,295 --> 00:06:36,573 SO I HAD MY SCRIPT IN MY HAND, AND I RAN LIKE MAD. I FLEW THROUGH SECURITY. 171 00:06:36,597 --> 00:06:38,074 AND I RAN LIKE MAD. I FLEW THROUGH SECURITY. THEY DIDN'T KNOW WHAT I WAS. 172 00:06:38,098 --> 00:06:40,076 I FLEW THROUGH SECURITY. THEY DIDN'T KNOW WHAT I WAS. I JUST WENT RIGHT BY THEM. 173 00:06:40,100 --> 00:06:41,344 THEY DIDN'T KNOW WHAT I WAS. I JUST WENT RIGHT BY THEM. THEN I CAME UP TO THE THIRD 174 00:06:41,368 --> 00:06:42,612 I JUST WENT RIGHT BY THEM. THEN I CAME UP TO THE THIRD FLOOR, AND I WENT INTO 3-B. 175 00:06:42,636 --> 00:06:44,280 THEN I CAME UP TO THE THIRD FLOOR, AND I WENT INTO 3-B. I DIDN'T NOTICE THE LIGHT WAS 176 00:06:44,304 --> 00:06:45,682 FLOOR, AND I WENT INTO 3-B. I DIDN'T NOTICE THE LIGHT WAS ON, SAYING "ON THE AIR." 177 00:06:45,706 --> 00:06:47,384 I DIDN'T NOTICE THE LIGHT WAS ON, SAYING "ON THE AIR." I HAD MY SCRIPT IN MY HAND, AND 178 00:06:47,408 --> 00:06:48,985 ON, SAYING "ON THE AIR." I HAD MY SCRIPT IN MY HAND, AND I WAVED IT TO THE PRODUCER IN 179 00:06:49,009 --> 00:06:50,687 I HAD MY SCRIPT IN MY HAND, AND I WAVED IT TO THE PRODUCER IN THE CONTROL ROOM AND POINTED TO 180 00:06:50,711 --> 00:06:51,053 I WAVED IT TO THE PRODUCER IN THE CONTROL ROOM AND POINTED TO IT. 181 00:06:51,077 --> 00:06:52,756 THE CONTROL ROOM AND POINTED TO IT. HE CAME OUT AND SAID TO ME, 182 00:06:52,780 --> 00:06:53,790 IT. HE CAME OUT AND SAID TO ME, "WRONG STUDIO. 183 00:06:53,814 --> 00:06:56,926 HE CAME OUT AND SAID TO ME, "WRONG STUDIO. YOU'RE TWO DOWN THE HALL." 184 00:06:56,950 --> 00:06:58,127 "WRONG STUDIO. YOU'RE TWO DOWN THE HALL." SO OUT I GO AGAIN. 185 00:06:58,151 --> 00:07:00,497 YOU'RE TWO DOWN THE HALL." SO OUT I GO AGAIN. I SAW THE LIGHT... "ON THE AIR." 186 00:07:00,521 --> 00:07:02,164 SO OUT I GO AGAIN. I SAW THE LIGHT... "ON THE AIR." WELL, I WALKED IN, SCRIPT IN MY 187 00:07:02,188 --> 00:07:03,900 I SAW THE LIGHT... "ON THE AIR." WELL, I WALKED IN, SCRIPT IN MY HAND, AND POINTED, AND JUST AS I 188 00:07:03,924 --> 00:07:05,468 WELL, I WALKED IN, SCRIPT IN MY HAND, AND POINTED, AND JUST AS I WAS WAVING TO THE PRODUCER TO 189 00:07:05,492 --> 00:07:06,603 HAND, AND POINTED, AND JUST AS I WAS WAVING TO THE PRODUCER TO COME OUT, I HEARD SOMEBODY 190 00:07:06,627 --> 00:07:08,705 WAS WAVING TO THE PRODUCER TO COME OUT, I HEARD SOMEBODY READING MY LINES. 191 00:07:08,729 --> 00:07:09,906 COME OUT, I HEARD SOMEBODY READING MY LINES. SO THERE WAS NOTHING I COULD DO 192 00:07:09,930 --> 00:07:11,107 READING MY LINES. SO THERE WAS NOTHING I COULD DO BUT SIT DOWN AND WAIT UNTIL THE 193 00:07:11,131 --> 00:07:12,876 SO THERE WAS NOTHING I COULD DO BUT SIT DOWN AND WAIT UNTIL THE SHOW WAS OVER. 194 00:07:12,900 --> 00:07:14,811 BUT SIT DOWN AND WAIT UNTIL THE SHOW WAS OVER. WELL, I WAITED. 195 00:07:14,835 --> 00:07:16,012 SHOW WAS OVER. WELL, I WAITED. THE PRODUCER CAME OUT. 196 00:07:16,036 --> 00:07:17,447 WELL, I WAITED. THE PRODUCER CAME OUT. I DIDN'T LIKE THE LOOK ON HIS 197 00:07:17,471 --> 00:07:18,815 THE PRODUCER CAME OUT. I DIDN'T LIKE THE LOOK ON HIS FACE, BUT HE CAME OUT, AND I 198 00:07:18,839 --> 00:07:20,149 I DIDN'T LIKE THE LOOK ON HIS FACE, BUT HE CAME OUT, AND I STARTED TO SAY, "I'M SOR..." 199 00:07:20,173 --> 00:07:23,219 FACE, BUT HE CAME OUT, AND I STARTED TO SAY, "I'M SOR..." AND HE SAID, "YOU'RE FIRED." 200 00:07:23,243 --> 00:07:24,954 STARTED TO SAY, "I'M SOR..." AND HE SAID, "YOU'RE FIRED." WELL, THAT'S A PRETTY TERRIBLE 201 00:07:24,978 --> 00:07:25,588 AND HE SAID, "YOU'RE FIRED." WELL, THAT'S A PRETTY TERRIBLE FEELING. 202 00:07:25,612 --> 00:07:27,657 WELL, THAT'S A PRETTY TERRIBLE FEELING. BUT NOW I'M VERY HAPPY THAT 203 00:07:27,681 --> 00:07:29,959 FEELING. BUT NOW I'M VERY HAPPY THAT AFTER 40 YEARS, NBC IS GIVING ME 204 00:07:29,983 --> 00:07:31,260 BUT NOW I'M VERY HAPPY THAT AFTER 40 YEARS, NBC IS GIVING ME ANOTHER CHANCE. 205 00:07:31,284 --> 00:07:34,084 AFTER 40 YEARS, NBC IS GIVING ME ANOTHER CHANCE. [LAUGHTER AND APPLAUSE] 206 00:07:42,728 --> 00:07:46,743 AND PLEASE CROSS YOUR FINGERS AND HOPE I DON'T BLOW IT THIS TIME, HUH? 207 00:07:46,767 --> 00:07:47,811 AND HOPE I DON'T BLOW IT THIS TIME, HUH? ALL RIGHT, NOW, I'LL TELL YOU 208 00:07:47,835 --> 00:07:48,511 TIME, HUH? ALL RIGHT, NOW, I'LL TELL YOU WHAT I'M GONNA DO. 209 00:07:48,535 --> 00:07:49,679 ALL RIGHT, NOW, I'LL TELL YOU WHAT I'M GONNA DO. I'M GONNA SIT BACK AND ENJOY THE 210 00:07:49,703 --> 00:07:49,979 WHAT I'M GONNA DO. I'M GONNA SIT BACK AND ENJOY THE SHOW. 211 00:07:50,003 --> 00:07:51,414 I'M GONNA SIT BACK AND ENJOY THE SHOW. AND WHY DON'T YOU DO THAT, TOO? 212 00:07:51,438 --> 00:07:52,749 SHOW. AND WHY DON'T YOU DO THAT, TOO? ALL OF US, JUST ENJOY. 213 00:07:52,773 --> 00:07:55,733 AND WHY DON'T YOU DO THAT, TOO? ALL OF US, JUST ENJOY. [CHEERS AND APPLAUSE] 214 00:08:11,290 --> 00:08:17,406 AS YOU CAN SEE, DON MARCELLO, WE ARE IN AN EXTREMELY UNTENABLE BUSINESS SITUATION. 215 00:08:17,430 --> 00:08:19,843 WE ARE IN AN EXTREMELY UNTENABLE BUSINESS SITUATION. OUR EXPANSION IN THESE AREAS 216 00:08:19,867 --> 00:08:22,311 BUSINESS SITUATION. OUR EXPANSION IN THESE AREAS HERE IS UNDERGOING... WHAT SHALL 217 00:08:22,335 --> 00:08:24,146 OUR EXPANSION IN THESE AREAS HERE IS UNDERGOING... WHAT SHALL I SAY? A-A TREND OF 218 00:08:24,170 --> 00:08:24,914 HERE IS UNDERGOING... WHAT SHALL I SAY? A-A TREND OF RESISTANCE. 219 00:08:24,938 --> 00:08:26,449 I SAY? A-A TREND OF RESISTANCE. OKAY, COME ON, COME ON. 220 00:08:26,473 --> 00:08:28,017 RESISTANCE. OKAY, COME ON, COME ON. DON'T GIVE ME THIS IVY-LEAGUE 221 00:08:28,041 --> 00:08:28,818 OKAY, COME ON, COME ON. DON'T GIVE ME THIS IVY-LEAGUE MUMBO JUMBO. 222 00:08:28,842 --> 00:08:30,086 DON'T GIVE ME THIS IVY-LEAGUE MUMBO JUMBO. LET ME SPELL IT OUT FOR YOU. 223 00:08:30,110 --> 00:08:31,955 MUMBO JUMBO. LET ME SPELL IT OUT FOR YOU. ALL I KNOW IS MY CONGLOMERATE 224 00:08:31,979 --> 00:08:33,356 LET ME SPELL IT OUT FOR YOU. ALL I KNOW IS MY CONGLOMERATE AIN'T CONGLOMERATING. 225 00:08:33,380 --> 00:08:35,324 ALL I KNOW IS MY CONGLOMERATE AIN'T CONGLOMERATING. I'M LOSING MONEY, AND WHEN THAT 226 00:08:35,348 --> 00:08:37,126 AIN'T CONGLOMERATING. I'M LOSING MONEY, AND WHEN THAT STARTS TO HAPPEN, I BEGIN TO 227 00:08:37,150 --> 00:08:40,229 I'M LOSING MONEY, AND WHEN THAT STARTS TO HAPPEN, I BEGIN TO START REEVALUATING MY PERSONNEL. 228 00:08:40,253 --> 00:08:41,598 STARTS TO HAPPEN, I BEGIN TO START REEVALUATING MY PERSONNEL. AND THAT MEANS IF MY ADVISORS 229 00:08:41,622 --> 00:08:43,099 START REEVALUATING MY PERSONNEL. AND THAT MEANS IF MY ADVISORS DON'T START GIVING ME SOME SOUND 230 00:08:43,123 --> 00:08:44,300 AND THAT MEANS IF MY ADVISORS DON'T START GIVING ME SOME SOUND ADVICE, THEIR NEXT PUBLIC 231 00:08:44,324 --> 00:08:45,502 DON'T START GIVING ME SOME SOUND ADVICE, THEIR NEXT PUBLIC APPEARANCE WILL BE AT THE 232 00:08:45,526 --> 00:08:46,970 ADVICE, THEIR NEXT PUBLIC APPEARANCE WILL BE AT THE SUPERMARKET AS SEVERAL BRIGHTLY 233 00:08:46,994 --> 00:08:48,337 APPEARANCE WILL BE AT THE SUPERMARKET AS SEVERAL BRIGHTLY PACKAGED TWO-POUND ROLLS OF 234 00:08:48,361 --> 00:08:50,373 SUPERMARKET AS SEVERAL BRIGHTLY PACKAGED TWO-POUND ROLLS OF PIMENTO LOAF. 235 00:08:50,397 --> 00:08:51,975 PACKAGED TWO-POUND ROLLS OF PIMENTO LOAF. INDEED, WE DISCUSSED THAT 236 00:08:51,999 --> 00:08:53,710 PIMENTO LOAF. INDEED, WE DISCUSSED THAT POSSIBILITY OVER BREAKFAST THIS 237 00:08:53,734 --> 00:08:54,343 INDEED, WE DISCUSSED THAT POSSIBILITY OVER BREAKFAST THIS MORNING. 238 00:08:54,367 --> 00:08:55,812 POSSIBILITY OVER BREAKFAST THIS MORNING. YES, BUT WE HAVE A SPECIFIC 239 00:08:55,836 --> 00:08:57,113 MORNING. YES, BUT WE HAVE A SPECIFIC RECOMMENDATION TO INCREASE 240 00:08:57,137 --> 00:08:57,647 YES, BUT WE HAVE A SPECIFIC RECOMMENDATION TO INCREASE REVENUE. 241 00:08:57,671 --> 00:08:59,015 RECOMMENDATION TO INCREASE REVENUE. YES, THE PROBLEM IS THIS, 242 00:08:59,039 --> 00:08:59,749 REVENUE. YES, THE PROBLEM IS THIS, DON MARCELLO. 243 00:08:59,773 --> 00:09:01,918 YES, THE PROBLEM IS THIS, DON MARCELLO. NOW, THE KIRSHNER FAMILY 244 00:09:01,942 --> 00:09:03,686 DON MARCELLO. NOW, THE KIRSHNER FAMILY CONTROLS THE NUMBERS AND THE 245 00:09:03,710 --> 00:09:05,421 NOW, THE KIRSHNER FAMILY CONTROLS THE NUMBERS AND THE PROSTITUTION HERE AND HERE. 246 00:09:05,445 --> 00:09:07,356 CONTROLS THE NUMBERS AND THE PROSTITUTION HERE AND HERE. AND THE CORNELIUS FAMILY IS 247 00:09:07,380 --> 00:09:09,559 PROSTITUTION HERE AND HERE. AND THE CORNELIUS FAMILY IS MOVING INTO THE DRUG-TRAFFIC IN 248 00:09:09,583 --> 00:09:10,527 AND THE CORNELIUS FAMILY IS MOVING INTO THE DRUG-TRAFFIC IN SECTOR "B." 249 00:09:10,551 --> 00:09:12,261 MOVING INTO THE DRUG-TRAFFIC IN SECTOR "B." SO AS LONG AS THE KIRSHNER 250 00:09:12,285 --> 00:09:14,296 SECTOR "B." SO AS LONG AS THE KIRSHNER FAMILY AND THE CORNELIUS FAMILY 251 00:09:14,320 --> 00:09:16,365 SO AS LONG AS THE KIRSHNER FAMILY AND THE CORNELIUS FAMILY ARE PHYSICAL ENTITIES, WE CANNOT 252 00:09:16,389 --> 00:09:18,467 FAMILY AND THE CORNELIUS FAMILY ARE PHYSICAL ENTITIES, WE CANNOT EXPAND INTO THESE AREAS. 253 00:09:18,491 --> 00:09:19,435 ARE PHYSICAL ENTITIES, WE CANNOT EXPAND INTO THESE AREAS. SO, WHAT IS YOUR 254 00:09:19,459 --> 00:09:20,269 EXPAND INTO THESE AREAS. SO, WHAT IS YOUR RECOMMENDATION? 255 00:09:20,293 --> 00:09:22,539 SO, WHAT IS YOUR RECOMMENDATION? WE RECOMMEND THAT YOU KILL AS 256 00:09:22,563 --> 00:09:24,140 RECOMMENDATION? WE RECOMMEND THAT YOU KILL AS SOON AS POSSIBLE BOTH 257 00:09:24,164 --> 00:09:26,308 WE RECOMMEND THAT YOU KILL AS SOON AS POSSIBLE BOTH DON CORNELIUS AND DON KIRSHNER. 258 00:09:26,332 --> 00:09:29,332 SOON AS POSSIBLE BOTH DON CORNELIUS AND DON KIRSHNER. [LAUGHTER AND APPLAUSE] 259 00:09:33,873 --> 00:09:37,954 SOUNDS LIKE A BEAUTIFUL IDEA. HAVE YOU GOT A BUTTON MAN LINED UP TO DO THE JOB OR WHAT? 260 00:09:37,978 --> 00:09:38,521 HAVE YOU GOT A BUTTON MAN LINED UP TO DO THE JOB OR WHAT? YES, WE DO. 261 00:09:38,545 --> 00:09:39,789 UP TO DO THE JOB OR WHAT? YES, WE DO. WE WERE FORTUNATE ENOUGH TO 262 00:09:39,813 --> 00:09:41,257 YES, WE DO. WE WERE FORTUNATE ENOUGH TO SECURE THE SERVICES OF THE BEST 263 00:09:41,281 --> 00:09:42,091 WE WERE FORTUNATE ENOUGH TO SECURE THE SERVICES OF THE BEST IN THE BUSINESS. 264 00:09:42,115 --> 00:09:42,926 SECURE THE SERVICES OF THE BEST IN THE BUSINESS. WHERE IS HE? 265 00:09:42,950 --> 00:09:44,027 IN THE BUSINESS. WHERE IS HE? HE'S RIGHT OUTSIDE OF THE 266 00:09:44,051 --> 00:09:44,594 WHERE IS HE? HE'S RIGHT OUTSIDE OF THE OFFICE, SIR. 267 00:09:44,618 --> 00:09:45,595 HE'S RIGHT OUTSIDE OF THE OFFICE, SIR. COULD YOU SEND IN THE 268 00:09:45,619 --> 00:09:46,596 OFFICE, SIR. COULD YOU SEND IN THE GENTLEMAN THAT'S WAITING, 269 00:09:46,620 --> 00:09:48,264 COULD YOU SEND IN THE GENTLEMAN THAT'S WAITING, PLEASE? 270 00:09:48,288 --> 00:09:49,165 GENTLEMAN THAT'S WAITING, PLEASE? WHERE'S THIS GUY FROM, 271 00:09:49,189 --> 00:09:49,532 PLEASE? WHERE'S THIS GUY FROM, ANYWAY? 272 00:09:49,556 --> 00:09:50,433 WHERE'S THIS GUY FROM, ANYWAY? OUR NEW YORK MEN ARE TOO 273 00:09:50,457 --> 00:09:51,500 ANYWAY? OUR NEW YORK MEN ARE TOO WELL-KNOWN FOR THIS, YOU KNOW. 274 00:09:51,524 --> 00:09:52,201 OUR NEW YORK MEN ARE TOO WELL-KNOWN FOR THIS, YOU KNOW. NO, DON'T WORRY. 275 00:09:52,225 --> 00:09:53,036 WELL-KNOWN FOR THIS, YOU KNOW. NO, DON'T WORRY. HE'S FROM OUT OF TOWN. 276 00:09:53,060 --> 00:09:56,039 NO, DON'T WORRY. HE'S FROM OUT OF TOWN. YEAH. 277 00:09:56,063 --> 00:09:58,307 HE'S FROM OUT OF TOWN. YEAH. [LAUGHTER AND APPLAUSE] 278 00:09:58,331 --> 00:09:59,742 YEAH. [LAUGHTER AND APPLAUSE] Announcer: AND NOW ANOTHER 279 00:09:59,766 --> 00:10:01,444 [LAUGHTER AND APPLAUSE] Announcer: AND NOW ANOTHER EPISODE OF... 280 00:10:01,468 --> 00:10:03,628 Announcer: AND NOW ANOTHER EPISODE OF... [GONG BANGS] 281 00:10:07,907 --> 00:10:14,924 UH, DON MARCELLO, THIS IS THE BUTTON MAN WE HAVE HIRED FOR THE JOB. 282 00:10:14,948 --> 00:10:16,158 THE BUTTON MAN WE HAVE HIRED FOR THE JOB. WHERE ARE YOU FROM? 283 00:10:16,182 --> 00:10:17,694 THE JOB. WHERE ARE YOU FROM? [SPEAKING FOREIGN LANGUAGE] 284 00:10:17,718 --> 00:10:21,263 WHERE ARE YOU FROM? [SPEAKING FOREIGN LANGUAGE] DETROIT, HUH? 285 00:10:21,287 --> 00:10:22,431 [SPEAKING FOREIGN LANGUAGE] DETROIT, HUH? WELL, WE'LL JUST SEE ABOUT 286 00:10:22,455 --> 00:10:24,100 DETROIT, HUH? WELL, WE'LL JUST SEE ABOUT THAT. 287 00:10:24,124 --> 00:10:25,401 WELL, WE'LL JUST SEE ABOUT THAT. WHO'S THE HEAD OF THE NUMBERS 288 00:10:25,425 --> 00:10:26,669 THAT. WHO'S THE HEAD OF THE NUMBERS RACKET IN THE DOWNTOWN AREA 289 00:10:26,693 --> 00:10:27,236 WHO'S THE HEAD OF THE NUMBERS RACKET IN THE DOWNTOWN AREA THERE NOW? 290 00:10:27,260 --> 00:10:29,739 RACKET IN THE DOWNTOWN AREA THERE NOW? [SPEAKING FOREIGN LANGUAGE] 291 00:10:29,763 --> 00:10:31,941 THERE NOW? [SPEAKING FOREIGN LANGUAGE] OKAY. 292 00:10:31,965 --> 00:10:34,210 [SPEAKING FOREIGN LANGUAGE] OKAY. NOW, LET ME ASK YOU THIS. 293 00:10:34,234 --> 00:10:35,945 OKAY. NOW, LET ME ASK YOU THIS. WHAT'S HIS BROTHER DOING NOW? 294 00:10:35,969 --> 00:10:37,780 NOW, LET ME ASK YOU THIS. WHAT'S HIS BROTHER DOING NOW? [SPEAKING FOREIGN LANGUAGE] 295 00:10:37,804 --> 00:10:38,681 WHAT'S HIS BROTHER DOING NOW? [SPEAKING FOREIGN LANGUAGE] [CHUCKLES] 296 00:10:38,705 --> 00:10:39,782 [SPEAKING FOREIGN LANGUAGE] [CHUCKLES] THAT'S RIGHT. 297 00:10:39,806 --> 00:10:43,219 [CHUCKLES] THAT'S RIGHT. HE DOESN'T HAVE A BROTHER. 298 00:10:43,243 --> 00:10:44,687 THAT'S RIGHT. HE DOESN'T HAVE A BROTHER. WHO WAS THE SHERIFF IN 299 00:10:44,711 --> 00:10:46,555 HE DOESN'T HAVE A BROTHER. WHO WAS THE SHERIFF IN WAYNE COUNTY BETWEEN 1958 AND 300 00:10:46,579 --> 00:10:49,158 WHO WAS THE SHERIFF IN WAYNE COUNTY BETWEEN 1958 AND 1963? 301 00:10:49,182 --> 00:10:52,528 WAYNE COUNTY BETWEEN 1958 AND 1963? [SPEAKING FOREIGN LANGUAGE] 302 00:10:52,552 --> 00:10:53,562 1963? [SPEAKING FOREIGN LANGUAGE] I DON'T KNOW, EITHER. 303 00:10:53,586 --> 00:10:54,563 [SPEAKING FOREIGN LANGUAGE] I DON'T KNOW, EITHER. HEY, THIS GUY'S GONNA BE 304 00:10:54,587 --> 00:10:55,098 I DON'T KNOW, EITHER. HEY, THIS GUY'S GONNA BE ALL RIGHT. 305 00:10:55,122 --> 00:10:56,565 HEY, THIS GUY'S GONNA BE ALL RIGHT. [SPEAKING FOREIGN LANGUAGE] 306 00:10:56,589 --> 00:10:59,102 ALL RIGHT. [SPEAKING FOREIGN LANGUAGE] ALL RIGHT. 307 00:10:59,126 --> 00:11:00,503 [SPEAKING FOREIGN LANGUAGE] ALL RIGHT. OKAY, NOW, DO YOU GUYS HAVE THIS 308 00:11:00,527 --> 00:11:01,470 ALL RIGHT. OKAY, NOW, DO YOU GUYS HAVE THIS HIT PLANNED OR WHAT? 309 00:11:01,494 --> 00:11:02,939 OKAY, NOW, DO YOU GUYS HAVE THIS HIT PLANNED OR WHAT? YES, WE'VE TAKEN ALL FACTORS 310 00:11:02,963 --> 00:11:03,906 HIT PLANNED OR WHAT? YES, WE'VE TAKEN ALL FACTORS INTO CONSIDERATION. 311 00:11:03,930 --> 00:11:05,307 YES, WE'VE TAKEN ALL FACTORS INTO CONSIDERATION. NOW, WE KNOW THAT DON CORNELIUS 312 00:11:05,331 --> 00:11:06,609 INTO CONSIDERATION. NOW, WE KNOW THAT DON CORNELIUS AND DON KIRSHNER ALWAYS EAT 313 00:11:06,633 --> 00:11:08,210 NOW, WE KNOW THAT DON CORNELIUS AND DON KIRSHNER ALWAYS EAT LUNCH IN THE SAME RESTAURANT. 314 00:11:08,234 --> 00:11:09,245 AND DON KIRSHNER ALWAYS EAT LUNCH IN THE SAME RESTAURANT. WAIT, WAIT, WAIT A MINUTE. 315 00:11:09,269 --> 00:11:10,379 LUNCH IN THE SAME RESTAURANT. WAIT, WAIT, WAIT A MINUTE. I'M NOT GONNA SEND THIS GUY INTO 316 00:11:10,403 --> 00:11:10,913 WAIT, WAIT, WAIT A MINUTE. I'M NOT GONNA SEND THIS GUY INTO A RESTAURANT. 317 00:11:10,937 --> 00:11:11,648 I'M NOT GONNA SEND THIS GUY INTO A RESTAURANT. HE'D STAND OUT LIKE 318 00:11:11,672 --> 00:11:12,214 A RESTAURANT. HE'D STAND OUT LIKE A GREEN THUMB! 319 00:11:12,238 --> 00:11:13,482 HE'D STAND OUT LIKE A GREEN THUMB! OH, NOT REALLY. 320 00:11:13,506 --> 00:11:15,885 A GREEN THUMB! OH, NOT REALLY. THEY EAT AT BENIHANA'S... 321 00:11:15,909 --> 00:11:17,319 OH, NOT REALLY. THEY EAT AT BENIHANA'S... A JAPANESE RESTAURANT ON THE 322 00:11:17,343 --> 00:11:18,220 THEY EAT AT BENIHANA'S... A JAPANESE RESTAURANT ON THE LOWER EAST SIDE. 323 00:11:18,244 --> 00:11:20,256 A JAPANESE RESTAURANT ON THE LOWER EAST SIDE. HE'LL FIT IN JUST FINE. 324 00:11:20,280 --> 00:11:21,390 LOWER EAST SIDE. HE'LL FIT IN JUST FINE. OKAY, TELL ME SOMETHING. 325 00:11:21,414 --> 00:11:23,359 HE'LL FIT IN JUST FINE. OKAY, TELL ME SOMETHING. JUST HOW IS THIS HIT GONNA GO 326 00:11:23,383 --> 00:11:23,926 OKAY, TELL ME SOMETHING. JUST HOW IS THIS HIT GONNA GO DOWN? 327 00:11:23,950 --> 00:11:25,528 JUST HOW IS THIS HIT GONNA GO DOWN? WE'VE ARRANGED IT SO THAT HE 328 00:11:25,552 --> 00:11:26,896 DOWN? WE'VE ARRANGED IT SO THAT HE WILL PREPARE THE FOOD THAT 329 00:11:26,920 --> 00:11:28,430 WE'VE ARRANGED IT SO THAT HE WILL PREPARE THE FOOD THAT DON CORNELIUS AND DON KIRSHNER 330 00:11:28,454 --> 00:11:29,065 WILL PREPARE THE FOOD THAT DON CORNELIUS AND DON KIRSHNER WILL EAT. 331 00:11:29,089 --> 00:11:29,666 DON CORNELIUS AND DON KIRSHNER WILL EAT. SHOW ME. 332 00:11:29,690 --> 00:11:30,800 WILL EAT. SHOW ME. IF WE COULD JUST HAVE A 333 00:11:30,824 --> 00:11:31,668 SHOW ME. IF WE COULD JUST HAVE A MINUTE FOR A BRIEF 334 00:11:31,692 --> 00:11:32,568 IF WE COULD JUST HAVE A MINUTE FOR A BRIEF DEMONSTRATION. 335 00:11:32,592 --> 00:11:34,203 MINUTE FOR A BRIEF DEMONSTRATION. YEAH, I GUESS SO. 336 00:11:34,227 --> 00:11:35,437 DEMONSTRATION. YEAH, I GUESS SO. SO YOU COME OUT OF THAT 337 00:11:35,461 --> 00:11:36,139 YEAH, I GUESS SO. SO YOU COME OUT OF THAT MOTOR CITY. 338 00:11:36,163 --> 00:11:37,306 SO YOU COME OUT OF THAT MOTOR CITY. [SPEAKING FOREIGN LANGUAGE] 339 00:11:37,330 --> 00:11:38,775 MOTOR CITY. [SPEAKING FOREIGN LANGUAGE] WHAT'S YOUR PRICE? 340 00:11:38,799 --> 00:11:41,144 [SPEAKING FOREIGN LANGUAGE] WHAT'S YOUR PRICE? [SPEAKING FOREIGN LANGUAGE] 341 00:11:41,168 --> 00:11:42,611 WHAT'S YOUR PRICE? [SPEAKING FOREIGN LANGUAGE] FAIR ENOUGH. 342 00:11:42,635 --> 00:11:44,413 [SPEAKING FOREIGN LANGUAGE] FAIR ENOUGH. OKAY, NOW, YOU REALIZE THAT 343 00:11:44,437 --> 00:11:46,482 FAIR ENOUGH. OKAY, NOW, YOU REALIZE THAT ACCORDING TO TRADITION, YOU MUST 344 00:11:46,506 --> 00:11:48,184 OKAY, NOW, YOU REALIZE THAT ACCORDING TO TRADITION, YOU MUST KISS BOTH OF THE VICTIMS. 345 00:11:48,208 --> 00:11:51,054 ACCORDING TO TRADITION, YOU MUST KISS BOTH OF THE VICTIMS. MNH-MNH-MNH-MNH-MNH. 346 00:11:51,078 --> 00:11:52,922 KISS BOTH OF THE VICTIMS. MNH-MNH-MNH-MNH-MNH. [SPEAKING FOREIGN LANGUAGE] 347 00:11:52,946 --> 00:11:54,456 MNH-MNH-MNH-MNH-MNH. [SPEAKING FOREIGN LANGUAGE] PBHT! UGH! 348 00:11:54,480 --> 00:11:54,924 [SPEAKING FOREIGN LANGUAGE] PBHT! UGH! UGH, UGH! 349 00:11:54,948 --> 00:11:55,758 PBHT! UGH! UGH, UGH! THE KISS OF DEATH. 350 00:11:55,782 --> 00:11:56,959 UGH, UGH! THE KISS OF DEATH. [SPEAKING FOREIGN LANGUAGE] 351 00:11:56,983 --> 00:11:58,161 THE KISS OF DEATH. [SPEAKING FOREIGN LANGUAGE] YOU DON'T GET THE JOB UNLESS 352 00:11:58,185 --> 00:11:59,295 [SPEAKING FOREIGN LANGUAGE] YOU DON'T GET THE JOB UNLESS YOU KISS BOTH VICTIMS ON THE 353 00:11:59,319 --> 00:11:59,662 YOU DON'T GET THE JOB UNLESS YOU KISS BOTH VICTIMS ON THE CHEEK. 354 00:11:59,686 --> 00:12:00,963 YOU KISS BOTH VICTIMS ON THE CHEEK. [SPEAKING FOREIGN LANGUAGE] 355 00:12:00,987 --> 00:12:02,031 CHEEK. [SPEAKING FOREIGN LANGUAGE] OKAY, HOLD IT, HOLD IT, 356 00:12:02,055 --> 00:12:02,498 [SPEAKING FOREIGN LANGUAGE] OKAY, HOLD IT, HOLD IT, HOLD IT. 357 00:12:02,522 --> 00:12:06,502 OKAY, HOLD IT, HOLD IT, HOLD IT. THAT POINT'S NEGOTIABLE. 358 00:12:06,526 --> 00:12:07,804 HOLD IT. THAT POINT'S NEGOTIABLE. WHAT THE HELL'S ALL THIS? 359 00:12:07,828 --> 00:12:09,438 THAT POINT'S NEGOTIABLE. WHAT THE HELL'S ALL THIS? THIS IS A SIMULATION OF THE 360 00:12:09,462 --> 00:12:10,873 WHAT THE HELL'S ALL THIS? THIS IS A SIMULATION OF THE DINING AREA AT BENIHANA'S. 361 00:12:10,897 --> 00:12:13,743 THIS IS A SIMULATION OF THE DINING AREA AT BENIHANA'S. NOW, THAT... THIS CABBAGE HERE 362 00:12:13,767 --> 00:12:16,212 DINING AREA AT BENIHANA'S. NOW, THAT... THIS CABBAGE HERE IS DON KIRSHNER, AND THIS 363 00:12:16,236 --> 00:12:19,682 NOW, THAT... THIS CABBAGE HERE IS DON KIRSHNER, AND THIS CABBAGE IS DON CORNELIUS. 364 00:12:19,706 --> 00:12:20,717 IS DON KIRSHNER, AND THIS CABBAGE IS DON CORNELIUS. OKAY, PAL. 365 00:12:20,741 --> 00:12:21,550 CABBAGE IS DON CORNELIUS. OKAY, PAL. SHOW ME YOUR STUFF. 366 00:12:21,574 --> 00:12:24,054 OKAY, PAL. SHOW ME YOUR STUFF. [SPEAKING FOREIGN LANGUAGE] 367 00:12:30,816 --> 00:12:32,617 [SIZZLING] 368 00:13:11,657 --> 00:13:13,457 [APPLAUSE] 369 00:13:19,999 --> 00:13:23,946 YOU MEAN TO TELL ME THAT YOU'RE GOING TO COOK THEIR LAST MEAL RIGHT IN FRONT OF THEM? 370 00:13:23,970 --> 00:13:29,485 YOU'RE GOING TO COOK THEIR LAST MEAL RIGHT IN FRONT OF THEM? [SPEAKING FOREIGN LANGUAGE] 371 00:13:29,509 --> 00:13:30,719 MEAL RIGHT IN FRONT OF THEM? [SPEAKING FOREIGN LANGUAGE] I'M GLAD TO KNOW YOU'RE NOT 372 00:13:30,743 --> 00:13:31,387 [SPEAKING FOREIGN LANGUAGE] I'M GLAD TO KNOW YOU'RE NOT PUTTING ME ON. 373 00:13:31,411 --> 00:13:32,922 I'M GLAD TO KNOW YOU'RE NOT PUTTING ME ON. UNH-UNH, UNH-UNH. 374 00:13:32,946 --> 00:13:33,555 PUTTING ME ON. UNH-UNH, UNH-UNH. ALL RIGHT. 375 00:13:33,579 --> 00:13:34,757 UNH-UNH, UNH-UNH. ALL RIGHT. NOW, ABOUT THAT KISS OF DEATH. 376 00:13:34,781 --> 00:13:36,659 ALL RIGHT. NOW, ABOUT THAT KISS OF DEATH. [SPEAKING FOREIGN LANGUAGE] 377 00:13:36,683 --> 00:13:39,262 NOW, ABOUT THAT KISS OF DEATH. [SPEAKING FOREIGN LANGUAGE] IS IT WORTH $10,000 TO YOU? 378 00:13:39,286 --> 00:13:41,597 [SPEAKING FOREIGN LANGUAGE] IS IT WORTH $10,000 TO YOU? [SPEAKING FOREIGN LANGUAGE] 379 00:13:41,621 --> 00:13:43,232 IS IT WORTH $10,000 TO YOU? [SPEAKING FOREIGN LANGUAGE] $12,500. 380 00:13:43,256 --> 00:13:44,466 [SPEAKING FOREIGN LANGUAGE] $12,500. [SPEAKING FOREIGN LANGUAGE] 381 00:13:44,490 --> 00:13:45,401 $12,500. [SPEAKING FOREIGN LANGUAGE] OKAY, OKAY, OKAY. 382 00:13:45,425 --> 00:13:46,869 [SPEAKING FOREIGN LANGUAGE] OKAY, OKAY, OKAY. HOLD IT, HOLD IT. 383 00:13:46,893 --> 00:13:49,071 OKAY, OKAY, OKAY. HOLD IT, HOLD IT. $17,000 AND CARFARE BACK TO 384 00:13:49,095 --> 00:13:49,471 HOLD IT, HOLD IT. $17,000 AND CARFARE BACK TO DETROIT. 385 00:13:49,495 --> 00:13:52,095 $17,000 AND CARFARE BACK TO DETROIT. [SPEAKING FOREIGN LANGUAGE] 386 00:14:00,605 --> 00:14:04,053 OKAY, PAL. YOU GOT A DEAL. [SPEAKING FOREIGN LANGUAGE] 387 00:14:04,077 --> 00:14:05,387 YOU GOT A DEAL. [SPEAKING FOREIGN LANGUAGE] Announcer: TUNE IN NEXT WEEK 388 00:14:05,411 --> 00:14:06,488 [SPEAKING FOREIGN LANGUAGE] Announcer: TUNE IN NEXT WEEK FOR ANOTHER EPISODE OF... 389 00:14:06,512 --> 00:14:08,490 Announcer: TUNE IN NEXT WEEK FOR ANOTHER EPISODE OF... [GONG BANGS] 390 00:14:08,514 --> 00:14:10,448 FOR ANOTHER EPISODE OF... [GONG BANGS] [APPLAUSE] 391 00:14:22,728 --> 00:14:26,608 ON ST. PATRICK'S DAY, GARY WEIS AND MYSELF WENT WANDERING AROUND NEW YORK TO 392 00:14:26,632 --> 00:14:28,177 GARY WEIS AND MYSELF WENT WANDERING AROUND NEW YORK TO VISIT SOME OF MY OLD HAUNTS AND 393 00:14:28,201 --> 00:14:29,511 WANDERING AROUND NEW YORK TO VISIT SOME OF MY OLD HAUNTS AND HANGOUTS. 394 00:14:29,535 --> 00:14:30,579 VISIT SOME OF MY OLD HAUNTS AND HANGOUTS. WELL, HERE'S THE FILM ON IT. 395 00:14:30,603 --> 00:14:31,580 HANGOUTS. WELL, HERE'S THE FILM ON IT. I HOPE YOU ENJOY IT. 396 00:14:31,604 --> 00:14:34,516 WELL, HERE'S THE FILM ON IT. I HOPE YOU ENJOY IT. IT HASN'T CHANGED MUCH. 397 00:14:34,540 --> 00:14:35,651 I HOPE YOU ENJOY IT. IT HASN'T CHANGED MUCH. I WAS BORN AND BROUGHT UP AROUND 398 00:14:35,675 --> 00:14:36,352 IT HASN'T CHANGED MUCH. I WAS BORN AND BROUGHT UP AROUND THIS NEIGHBORHOOD. 399 00:14:36,376 --> 00:14:37,453 I WAS BORN AND BROUGHT UP AROUND THIS NEIGHBORHOOD. THOSE BUILDINGS WEREN'T THERE 400 00:14:37,477 --> 00:14:39,555 THIS NEIGHBORHOOD. THOSE BUILDINGS WEREN'T THERE WHEN I WAS A KID. 401 00:14:39,579 --> 00:14:41,724 THOSE BUILDINGS WEREN'T THERE WHEN I WAS A KID. BUT THEM HOUSES, THAT'S WHERE I 402 00:14:41,748 --> 00:14:42,558 WHEN I WAS A KID. BUT THEM HOUSES, THAT'S WHERE I WAS BORN. 403 00:14:42,582 --> 00:14:44,260 BUT THEM HOUSES, THAT'S WHERE I WAS BORN. THERE USED TO BE A SALOON THERE, 404 00:14:44,284 --> 00:14:44,660 WAS BORN. THERE USED TO BE A SALOON THERE, TOO. 405 00:14:44,684 --> 00:14:46,395 THERE USED TO BE A SALOON THERE, TOO. AND THERE WAS ANOTHER ONE ON THE 406 00:14:46,419 --> 00:14:47,230 TOO. AND THERE WAS ANOTHER ONE ON THE OTHER CORNER. 407 00:14:47,254 --> 00:14:49,765 AND THERE WAS ANOTHER ONE ON THE OTHER CORNER. NO, IT HASN'T CHANGED MUCH. 408 00:14:49,789 --> 00:14:51,234 OTHER CORNER. NO, IT HASN'T CHANGED MUCH. YOU STILL GOT THE SAME PLACE YOU 409 00:14:51,258 --> 00:14:52,668 NO, IT HASN'T CHANGED MUCH. YOU STILL GOT THE SAME PLACE YOU CAN GET YOUR VEGETABLES CHEAPER, 410 00:14:52,692 --> 00:14:54,103 YOU STILL GOT THE SAME PLACE YOU CAN GET YOUR VEGETABLES CHEAPER, YOU CAN GET YOUR MEATS CHEAPER, 411 00:14:54,127 --> 00:14:55,537 CAN GET YOUR VEGETABLES CHEAPER, YOU CAN GET YOUR MEATS CHEAPER, AND YOU CAN GET YOUR BRAINS BEAT 412 00:14:55,561 --> 00:14:56,873 YOU CAN GET YOUR MEATS CHEAPER, AND YOU CAN GET YOUR BRAINS BEAT OUT QUICKER IN HELL'S KITCHEN 413 00:14:56,897 --> 00:14:58,040 AND YOU CAN GET YOUR BRAINS BEAT OUT QUICKER IN HELL'S KITCHEN THAN ANY PLACE I KNOW IN 414 00:14:58,064 --> 00:14:58,574 OUT QUICKER IN HELL'S KITCHEN THAN ANY PLACE I KNOW IN NEW YORK. 415 00:14:58,598 --> 00:15:00,076 THAN ANY PLACE I KNOW IN NEW YORK. YOU'RE OUT OF FOCUS, DEAR. 416 00:15:00,100 --> 00:15:01,377 NEW YORK. YOU'RE OUT OF FOCUS, DEAR. I'M WALKING THIS WAY. 417 00:15:01,401 --> 00:15:03,645 YOU'RE OUT OF FOCUS, DEAR. I'M WALKING THIS WAY. BRODERICK CRAWFORD DRIVES UP... 418 00:15:03,669 --> 00:15:04,180 I'M WALKING THIS WAY. BRODERICK CRAWFORD DRIVES UP... TERRIBLE. 419 00:15:04,204 --> 00:15:05,348 BRODERICK CRAWFORD DRIVES UP... TERRIBLE. OH, BOY... A LONG TIME. 420 00:15:05,372 --> 00:15:06,115 TERRIBLE. OH, BOY... A LONG TIME. NO, NO. 421 00:15:06,139 --> 00:15:07,350 OH, BOY... A LONG TIME. NO, NO. DON'T TELL ME HOW OLD YOU 422 00:15:07,374 --> 00:15:07,683 NO, NO. DON'T TELL ME HOW OLD YOU ARE. 423 00:15:07,707 --> 00:15:09,385 DON'T TELL ME HOW OLD YOU ARE. I WAS AN INFANT. 424 00:15:09,409 --> 00:15:11,053 ARE. I WAS AN INFANT. WHEN YOU SAW ME? 425 00:15:11,077 --> 00:15:11,720 I WAS AN INFANT. WHEN YOU SAW ME? YEAH. 426 00:15:11,744 --> 00:15:13,022 WHEN YOU SAW ME? YEAH. THAT MAKES ME 95. 427 00:15:13,046 --> 00:15:17,326 YEAH. THAT MAKES ME 95. [LAUGHTER] 428 00:15:17,350 --> 00:15:20,629 THAT MAKES ME 95. [LAUGHTER] YEAH, IT'S STILL BEAUTIFUL. 429 00:15:20,653 --> 00:15:22,064 [LAUGHTER] YEAH, IT'S STILL BEAUTIFUL. BUT IT SEEMS CENTRAL PARK HAS 430 00:15:22,088 --> 00:15:23,565 YEAH, IT'S STILL BEAUTIFUL. BUT IT SEEMS CENTRAL PARK HAS CHANGED SINCE I'VE BEEN A KID. 431 00:15:23,589 --> 00:15:25,801 BUT IT SEEMS CENTRAL PARK HAS CHANGED SINCE I'VE BEEN A KID. WHEN I WAS KID, WE USED TO ASK 432 00:15:25,825 --> 00:15:27,536 CHANGED SINCE I'VE BEEN A KID. WHEN I WAS KID, WE USED TO ASK OUR MOTHERS, "GIVE US A BLANKET. 433 00:15:27,560 --> 00:15:29,105 WHEN I WAS KID, WE USED TO ASK OUR MOTHERS, "GIVE US A BLANKET. WE WANT TO SLEEP IN THE PARK 434 00:15:29,129 --> 00:15:30,373 OUR MOTHERS, "GIVE US A BLANKET. WE WANT TO SLEEP IN THE PARK TONIGHT." 435 00:15:30,397 --> 00:15:31,673 WE WANT TO SLEEP IN THE PARK TONIGHT." SO WE'D COME OUT HERE AND SLEEP. 436 00:15:31,697 --> 00:15:34,076 TONIGHT." SO WE'D COME OUT HERE AND SLEEP. IN THE MORNING, THE SUN WOULD 437 00:15:34,100 --> 00:15:35,311 SO WE'D COME OUT HERE AND SLEEP. IN THE MORNING, THE SUN WOULD WAKE US UP OR THE COPS WOULD 438 00:15:35,335 --> 00:15:36,012 IN THE MORNING, THE SUN WOULD WAKE US UP OR THE COPS WOULD WAKE US UP. 439 00:15:36,036 --> 00:15:36,913 WAKE US UP OR THE COPS WOULD WAKE US UP. THEY DIDN'T HUSTLE US. 440 00:15:36,937 --> 00:15:38,381 WAKE US UP. THEY DIDN'T HUSTLE US. THEY SAID, "COME ON, GET UP, AND 441 00:15:38,405 --> 00:15:38,948 THEY DIDN'T HUSTLE US. THEY SAID, "COME ON, GET UP, AND GET OUT." 442 00:15:38,972 --> 00:15:40,349 THEY SAID, "COME ON, GET UP, AND GET OUT." SO WE'D FLIP A COIN AND DECIDE 443 00:15:40,373 --> 00:15:41,683 GET OUT." SO WE'D FLIP A COIN AND DECIDE WHAT RIVER WE WERE GONNA SWIM 444 00:15:41,707 --> 00:15:43,119 SO WE'D FLIP A COIN AND DECIDE WHAT RIVER WE WERE GONNA SWIM IN. 445 00:15:43,143 --> 00:15:44,453 WHAT RIVER WE WERE GONNA SWIM IN. BUT RIGHT NOW, I WOULDN'T COME 446 00:15:44,477 --> 00:15:45,922 IN. BUT RIGHT NOW, I WOULDN'T COME INTO CENTRAL PARK IN THIS YEAR 447 00:15:45,946 --> 00:15:50,192 BUT RIGHT NOW, I WOULDN'T COME INTO CENTRAL PARK IN THIS YEAR OF '77 AFTER SUNDOWN. 448 00:15:50,216 --> 00:15:51,360 INTO CENTRAL PARK IN THIS YEAR OF '77 AFTER SUNDOWN. AND PLUS THE FACT, WHAT'S THE 449 00:15:51,384 --> 00:15:52,395 OF '77 AFTER SUNDOWN. AND PLUS THE FACT, WHAT'S THE EASIEST WAY TO GET KILLED? 450 00:15:52,419 --> 00:15:53,829 AND PLUS THE FACT, WHAT'S THE EASIEST WAY TO GET KILLED? 'CAUSE IF YOU JUMP IN ANY ONE 451 00:15:53,853 --> 00:15:55,164 EASIEST WAY TO GET KILLED? 'CAUSE IF YOU JUMP IN ANY ONE OF THE RIVERS, THE POLLUTION 452 00:15:55,188 --> 00:15:55,932 'CAUSE IF YOU JUMP IN ANY ONE OF THE RIVERS, THE POLLUTION WILL KILL YOU. 453 00:15:55,956 --> 00:15:57,099 OF THE RIVERS, THE POLLUTION WILL KILL YOU. BUT IT WAS A HELL OF A PLACE 454 00:15:57,123 --> 00:15:58,834 WILL KILL YOU. BUT IT WAS A HELL OF A PLACE WHEN I WAS A KID. 455 00:15:58,858 --> 00:16:00,002 BUT IT WAS A HELL OF A PLACE WHEN I WAS A KID. AND IT'S STILL BEAUTIFUL, AND I 456 00:16:00,026 --> 00:16:02,338 WHEN I WAS A KID. AND IT'S STILL BEAUTIFUL, AND I HOPE SOMEDAY IT GETS BACK TO IT. 457 00:16:02,362 --> 00:16:04,907 AND IT'S STILL BEAUTIFUL, AND I HOPE SOMEDAY IT GETS BACK TO IT. BEAUTIFUL SKYLINE, HUH? 458 00:16:04,931 --> 00:16:07,310 HOPE SOMEDAY IT GETS BACK TO IT. BEAUTIFUL SKYLINE, HUH? [ALARM BLARING] 459 00:16:07,334 --> 00:16:07,843 BEAUTIFUL SKYLINE, HUH? [ALARM BLARING] OH, YOU. 460 00:16:07,867 --> 00:16:08,911 [ALARM BLARING] OH, YOU. BRODERICK CRAWFORD! 461 00:16:08,935 --> 00:16:10,079 OH, YOU. BRODERICK CRAWFORD! BRODERICK CRAWFORD... RIGHT. 462 00:16:10,103 --> 00:16:13,882 BRODERICK CRAWFORD! BRODERICK CRAWFORD... RIGHT. HELLO, MISTER-R-R-R! 463 00:16:13,906 --> 00:16:15,251 BRODERICK CRAWFORD... RIGHT. HELLO, MISTER-R-R-R! WHAT ARE YOU DOING WITH A 464 00:16:15,275 --> 00:16:16,218 HELLO, MISTER-R-R-R! WHAT ARE YOU DOING WITH A BALLOON LIKE THIS? 465 00:16:16,242 --> 00:16:17,686 WHAT ARE YOU DOING WITH A BALLOON LIKE THIS? TAKE A PICTURE OF 466 00:16:17,710 --> 00:16:19,088 BALLOON LIKE THIS? TAKE A PICTURE OF BRODERICK CRAWFORD. 467 00:16:19,112 --> 00:16:20,990 TAKE A PICTURE OF BRODERICK CRAWFORD. MISSISSIPPI! 468 00:16:21,014 --> 00:16:21,890 BRODERICK CRAWFORD. MISSISSIPPI! YAY! 469 00:16:21,914 --> 00:16:23,259 MISSISSIPPI! YAY! ARE THE CAMERAS ROLLING? 470 00:16:23,283 --> 00:16:24,793 YAY! ARE THE CAMERAS ROLLING? HELLO, HOW ARE YOU? 471 00:16:24,817 --> 00:16:25,761 ARE THE CAMERAS ROLLING? HELLO, HOW ARE YOU? COME ON. 472 00:16:25,785 --> 00:16:26,895 HELLO, HOW ARE YOU? COME ON. OHH! 473 00:16:26,919 --> 00:16:28,630 COME ON. OHH! YEAH! 474 00:16:28,654 --> 00:16:29,865 OHH! YEAH! BOY, I'M NOTHING BUT A 475 00:16:29,889 --> 00:16:32,335 YEAH! BOY, I'M NOTHING BUT A GROWN-UP DEAD-END KID. 476 00:16:32,359 --> 00:16:34,403 BOY, I'M NOTHING BUT A GROWN-UP DEAD-END KID. I REMEMBER YEARS AGO... 477 00:16:34,427 --> 00:16:35,071 GROWN-UP DEAD-END KID. I REMEMBER YEARS AGO... LOOK AT IT NOW... 478 00:16:35,095 --> 00:16:36,939 I REMEMBER YEARS AGO... LOOK AT IT NOW... MORGAN GUARANTY. 479 00:16:36,963 --> 00:16:37,940 LOOK AT IT NOW... MORGAN GUARANTY. IT USED TO BE A HOTEL. 480 00:16:37,964 --> 00:16:39,976 MORGAN GUARANTY. IT USED TO BE A HOTEL. I LIVED IN THERE. 481 00:16:40,000 --> 00:16:40,776 IT USED TO BE A HOTEL. I LIVED IN THERE. IT WAS WONDERFUL. 482 00:16:40,800 --> 00:16:41,777 I LIVED IN THERE. IT WAS WONDERFUL. I COULD CHARGE THINGS. 483 00:16:41,801 --> 00:16:44,146 IT WAS WONDERFUL. I COULD CHARGE THINGS. I COULD GET AWAY WITH MURDER. 484 00:16:44,170 --> 00:16:45,814 I COULD CHARGE THINGS. I COULD GET AWAY WITH MURDER. AND IT WAS A WONDERFUL PLACE TO 485 00:16:45,838 --> 00:16:47,350 I COULD GET AWAY WITH MURDER. AND IT WAS A WONDERFUL PLACE TO STAY, AND AROUND THE CORNER, 486 00:16:47,374 --> 00:16:49,018 AND IT WAS A WONDERFUL PLACE TO STAY, AND AROUND THE CORNER, AFTER THE SHOWS WERE CLOSED, IT 487 00:16:49,042 --> 00:16:50,619 STAY, AND AROUND THE CORNER, AFTER THE SHOWS WERE CLOSED, IT HAD TO BE 2:00 OR 3:00 IN THE 488 00:16:50,643 --> 00:16:52,121 AFTER THE SHOWS WERE CLOSED, IT HAD TO BE 2:00 OR 3:00 IN THE MORNING, WE USED TO GO TO A 489 00:16:52,145 --> 00:16:53,555 HAD TO BE 2:00 OR 3:00 IN THE MORNING, WE USED TO GO TO A PLACE CALLED RUBENS JUST AROUND 490 00:16:53,579 --> 00:16:54,957 MORNING, WE USED TO GO TO A PLACE CALLED RUBENS JUST AROUND THE CORNER. 491 00:16:54,981 --> 00:16:55,757 PLACE CALLED RUBENS JUST AROUND THE CORNER. AND IT'S FUNNY. 492 00:16:55,781 --> 00:16:57,226 THE CORNER. AND IT'S FUNNY. WHEN YOU WALKED IN THERE, IF YOU 493 00:16:57,250 --> 00:16:58,660 AND IT'S FUNNY. WHEN YOU WALKED IN THERE, IF YOU WERE AN ACTOR OR A NEWSPAPERMAN 494 00:16:58,684 --> 00:17:00,229 WHEN YOU WALKED IN THERE, IF YOU WERE AN ACTOR OR A NEWSPAPERMAN OR ANYTHING ELSE LIKE THIS, THEY 495 00:17:00,253 --> 00:17:01,763 WERE AN ACTOR OR A NEWSPAPERMAN OR ANYTHING ELSE LIKE THIS, THEY WOULD BRING YOU A POT OF TEA AT 496 00:17:01,787 --> 00:17:04,433 OR ANYTHING ELSE LIKE THIS, THEY WOULD BRING YOU A POT OF TEA AT 3:00 IN THE MORNING, AND USUALLY 497 00:17:04,457 --> 00:17:05,767 WOULD BRING YOU A POT OF TEA AT 3:00 IN THE MORNING, AND USUALLY IT WAS SCOTCH BECAUSE THE BARS 498 00:17:05,791 --> 00:17:07,936 3:00 IN THE MORNING, AND USUALLY IT WAS SCOTCH BECAUSE THE BARS WERE CLOSED... OR BOURBON. 499 00:17:07,960 --> 00:17:09,238 IT WAS SCOTCH BECAUSE THE BARS WERE CLOSED... OR BOURBON. ONCE IN A WHILE, IT TURNED OUT 500 00:17:09,262 --> 00:17:10,439 WERE CLOSED... OR BOURBON. ONCE IN A WHILE, IT TURNED OUT TO BE WHITE TEA IF YOU WERE 501 00:17:10,463 --> 00:17:12,074 ONCE IN A WHILE, IT TURNED OUT TO BE WHITE TEA IF YOU WERE DRINKING GIN. 502 00:17:12,098 --> 00:17:13,675 TO BE WHITE TEA IF YOU WERE DRINKING GIN. BUT THEY ALWAYS DID IT FOR YOU. 503 00:17:13,699 --> 00:17:15,077 DRINKING GIN. BUT THEY ALWAYS DID IT FOR YOU. THIS IS BEAUTIFUL. 504 00:17:15,101 --> 00:17:16,445 BUT THEY ALWAYS DID IT FOR YOU. THIS IS BEAUTIFUL. THIS IS BEAUTIFUL. 505 00:17:16,469 --> 00:17:18,981 THIS IS BEAUTIFUL. THIS IS BEAUTIFUL. COME HERE, COME HERE, COME HERE. 506 00:17:19,005 --> 00:17:20,216 THIS IS BEAUTIFUL. COME HERE, COME HERE, COME HERE. WE'RE HELPING A FELLOW ON 507 00:17:20,240 --> 00:17:21,783 COME HERE, COME HERE, COME HERE. WE'RE HELPING A FELLOW ON ST. PATRICK'S DAY WITH 508 00:17:21,807 --> 00:17:22,651 WE'RE HELPING A FELLOW ON ST. PATRICK'S DAY WITH HANDCUFFS. 509 00:17:22,675 --> 00:17:24,153 ST. PATRICK'S DAY WITH HANDCUFFS. [LAUGHTER] 510 00:17:24,177 --> 00:17:25,754 HANDCUFFS. [LAUGHTER] WHEN I WAS LOOKING FOR A JOB 511 00:17:25,778 --> 00:17:27,456 [LAUGHTER] WHEN I WAS LOOKING FOR A JOB AROUND THIS TOWN AND WHATNOT, I 512 00:17:27,480 --> 00:17:29,058 WHEN I WAS LOOKING FOR A JOB AROUND THIS TOWN AND WHATNOT, I WOULD COME IN SHINE THIS AND 513 00:17:29,082 --> 00:17:29,825 AROUND THIS TOWN AND WHATNOT, I WOULD COME IN SHINE THIS AND SHINE THAT. 514 00:17:29,849 --> 00:17:31,293 WOULD COME IN SHINE THIS AND SHINE THAT. YOUR DAD SAID TO ME, 515 00:17:31,317 --> 00:17:33,262 SHINE THAT. YOUR DAD SAID TO ME, "KEEP SHINING, KEEP SHINING. 516 00:17:33,286 --> 00:17:34,997 YOUR DAD SAID TO ME, "KEEP SHINING, KEEP SHINING. AND ALWAYS REMEMBER YOU'RE OKAY 517 00:17:35,021 --> 00:17:36,798 "KEEP SHINING, KEEP SHINING. AND ALWAYS REMEMBER YOU'RE OKAY HERE AND YOU GOT A CREDIT HERE." 518 00:17:36,822 --> 00:17:38,534 AND ALWAYS REMEMBER YOU'RE OKAY HERE AND YOU GOT A CREDIT HERE." FINALLY MY CREDIT RAN TO 519 00:17:38,558 --> 00:17:40,569 HERE AND YOU GOT A CREDIT HERE." FINALLY MY CREDIT RAN TO 100-AND-SOME-ODD DOLLARS, AND 520 00:17:40,593 --> 00:17:42,604 FINALLY MY CREDIT RAN TO 100-AND-SOME-ODD DOLLARS, AND FINALLY I GOT A JOB, AND YOUR 521 00:17:42,628 --> 00:17:44,540 100-AND-SOME-ODD DOLLARS, AND FINALLY I GOT A JOB, AND YOUR FATHER SAID TO ME, "FROM NOW ON, 522 00:17:44,564 --> 00:17:45,641 FINALLY I GOT A JOB, AND YOUR FATHER SAID TO ME, "FROM NOW ON, I'LL TAKE OVER." 523 00:17:45,665 --> 00:17:46,375 FATHER SAID TO ME, "FROM NOW ON, I'LL TAKE OVER." HE WENT TO 524 00:17:46,399 --> 00:17:48,210 I'LL TAKE OVER." HE WENT TO THE MUSIC BOX THEATRE, PICKED UP 525 00:17:48,234 --> 00:17:50,846 HE WENT TO THE MUSIC BOX THEATRE, PICKED UP MY CHECK, TOOK $20 OUT FOR 526 00:17:50,870 --> 00:17:53,615 THE MUSIC BOX THEATRE, PICKED UP MY CHECK, TOOK $20 OUT FOR HIMSELF, ENOUGH FOR MY HOTEL 527 00:17:53,639 --> 00:17:56,752 MY CHECK, TOOK $20 OUT FOR HIMSELF, ENOUGH FOR MY HOTEL ROOM AND RENT, AND ENOUGH FOR MY 528 00:17:56,776 --> 00:17:57,386 HIMSELF, ENOUGH FOR MY HOTEL ROOM AND RENT, AND ENOUGH FOR MY POCKET. 529 00:17:57,410 --> 00:17:58,521 ROOM AND RENT, AND ENOUGH FOR MY POCKET. HE WAS YOUR BANKER. 530 00:17:58,545 --> 00:17:59,588 POCKET. HE WAS YOUR BANKER. HE WAS MY BANKER. 531 00:17:59,612 --> 00:18:01,057 HE WAS YOUR BANKER. HE WAS MY BANKER. HEY, HAVEN'T SEEN YOU IN A LONG 532 00:18:01,081 --> 00:18:01,457 HE WAS MY BANKER. HEY, HAVEN'T SEEN YOU IN A LONG TIME. 533 00:18:01,481 --> 00:18:02,858 HEY, HAVEN'T SEEN YOU IN A LONG TIME. HOW ARE YOU, MR. CRAWFORD? 534 00:18:02,882 --> 00:18:03,592 TIME. HOW ARE YOU, MR. CRAWFORD? GOOD, AND YOU? 535 00:18:03,616 --> 00:18:04,427 HOW ARE YOU, MR. CRAWFORD? GOOD, AND YOU? FINE, THANK YOU. 536 00:18:04,451 --> 00:18:05,661 GOOD, AND YOU? FINE, THANK YOU. IS BUSINESS STILL GOOD HERE? 537 00:18:05,685 --> 00:18:06,662 FINE, THANK YOU. IS BUSINESS STILL GOOD HERE? TERRIFIC, DOING GREAT. 538 00:18:06,686 --> 00:18:07,829 IS BUSINESS STILL GOOD HERE? TERRIFIC, DOING GREAT. YOU GOT ANY BIG TIPPERS OR 539 00:18:07,853 --> 00:18:08,764 TERRIFIC, DOING GREAT. YOU GOT ANY BIG TIPPERS OR SMALL TIPPERS IN HERE? 540 00:18:08,788 --> 00:18:10,632 YOU GOT ANY BIG TIPPERS OR SMALL TIPPERS IN HERE? GOT A LOT OF WALKOUTS. 541 00:18:10,656 --> 00:18:11,267 SMALL TIPPERS IN HERE? GOT A LOT OF WALKOUTS. SMALL? 542 00:18:11,291 --> 00:18:12,734 GOT A LOT OF WALKOUTS. SMALL? SMALL ONES AND BIG ONES. 543 00:18:12,758 --> 00:18:14,070 SMALL? SMALL ONES AND BIG ONES. I'LL MOVE IN AND TRY AND 544 00:18:14,094 --> 00:18:14,736 SMALL ONES AND BIG ONES. I'LL MOVE IN AND TRY AND IMPROVE IT. 545 00:18:14,760 --> 00:18:15,604 I'LL MOVE IN AND TRY AND IMPROVE IT. GOOD SEEING YOU. 546 00:18:15,628 --> 00:18:16,238 IMPROVE IT. GOOD SEEING YOU. GOD BLESS. 547 00:18:16,262 --> 00:18:17,139 GOOD SEEING YOU. GOD BLESS. MAY I SHAKE YOUR HAND? 548 00:18:17,163 --> 00:18:17,906 GOD BLESS. MAY I SHAKE YOUR HAND? OF COURSE YOU MAY. 549 00:18:17,930 --> 00:18:19,075 MAY I SHAKE YOUR HAND? OF COURSE YOU MAY. THANK YOU VERY MUCH. 550 00:18:19,099 --> 00:18:21,944 OF COURSE YOU MAY. THANK YOU VERY MUCH. [LAUGHS] 551 00:18:21,968 --> 00:18:23,011 THANK YOU VERY MUCH. [LAUGHS] I LOVE NEW YORK. 552 00:18:23,035 --> 00:18:23,912 [LAUGHS] I LOVE NEW YORK. I DON'T KNOW. 553 00:18:23,936 --> 00:18:30,419 I LOVE NEW YORK. I DON'T KNOW. IT'S A NUTHOUSE. 554 00:18:30,443 --> 00:18:31,554 I DON'T KNOW. IT'S A NUTHOUSE. HEY, HAVEN'T SEEN YOU IN A LONG 555 00:18:31,578 --> 00:18:32,688 IT'S A NUTHOUSE. HEY, HAVEN'T SEEN YOU IN A LONG TIME. 556 00:18:32,712 --> 00:18:34,645 HEY, HAVEN'T SEEN YOU IN A LONG TIME. [APPLAUSE] 557 00:18:40,885 --> 00:18:48,137 [MID-TEMPO POP MUSIC PLAYS] HEY, WHY DO THESE PEOPLE LOOK SO GOOD? 558 00:18:48,161 --> 00:18:49,305 HEY, WHY DO THESE PEOPLE LOOK SO GOOD? BECAUSE THEY'RE WEARING THE 559 00:18:49,329 --> 00:18:50,639 SO GOOD? BECAUSE THEY'RE WEARING THE FINEST-QUALITY LEATHER COATS AND 560 00:18:50,663 --> 00:18:51,273 BECAUSE THEY'RE WEARING THE FINEST-QUALITY LEATHER COATS AND ACCESSORIES. 561 00:18:51,297 --> 00:18:52,575 FINEST-QUALITY LEATHER COATS AND ACCESSORIES. LOOK AT THIS BEAUTIFUL LEATHER 562 00:18:52,599 --> 00:18:53,942 ACCESSORIES. LOOK AT THIS BEAUTIFUL LEATHER COAT... A SMOOTH, THICK GRAIN OF 563 00:18:53,966 --> 00:18:56,044 LOOK AT THIS BEAUTIFUL LEATHER COAT... A SMOOTH, THICK GRAIN OF COWHIDE FOR ONLY $20. 564 00:18:56,068 --> 00:18:56,845 COAT... A SMOOTH, THICK GRAIN OF COWHIDE FOR ONLY $20. $20? 565 00:18:56,869 --> 00:18:58,080 COWHIDE FOR ONLY $20. $20? WHY SUCH QUALITY FOR SUCH A LOW 566 00:18:58,104 --> 00:18:58,481 $20? WHY SUCH QUALITY FOR SUCH A LOW PRICE? 567 00:18:58,505 --> 00:18:58,780 WHY SUCH QUALITY FOR SUCH A LOW PRICE? WHY? 568 00:18:58,804 --> 00:19:00,249 PRICE? WHY? BECAUSE THESE PEOPLE BUY THEIR 569 00:19:00,273 --> 00:19:01,317 WHY? BECAUSE THESE PEOPLE BUY THEIR SUEDE AND LEATHER AT 570 00:19:01,341 --> 00:19:02,718 BECAUSE THESE PEOPLE BUY THEIR SUEDE AND LEATHER AT MEL'S HIDE HEAVEN, WHERE YOU 571 00:19:02,742 --> 00:19:04,153 SUEDE AND LEATHER AT MEL'S HIDE HEAVEN, WHERE YOU SELECT YOUR OWN COW, THEN YOU 572 00:19:04,177 --> 00:19:05,654 MEL'S HIDE HEAVEN, WHERE YOU SELECT YOUR OWN COW, THEN YOU ROPE IT, YOU STUN IT, YOU SKIN 573 00:19:05,678 --> 00:19:05,988 SELECT YOUR OWN COW, THEN YOU ROPE IT, YOU STUN IT, YOU SKIN IT! 574 00:19:06,012 --> 00:19:07,423 ROPE IT, YOU STUN IT, YOU SKIN IT! YOU SELECT YOUR OWN COW FROM 575 00:19:07,447 --> 00:19:08,991 IT! YOU SELECT YOUR OWN COW FROM OVER 900 HEAD IN MEL'S 40-ACRE, 576 00:19:09,015 --> 00:19:10,426 YOU SELECT YOUR OWN COW FROM OVER 900 HEAD IN MEL'S 40-ACRE, FULLY AIR-CONDITIONED INDOOR 577 00:19:10,450 --> 00:19:11,193 OVER 900 HEAD IN MEL'S 40-ACRE, FULLY AIR-CONDITIONED INDOOR CATTLE RANGE. 578 00:19:11,217 --> 00:19:12,628 FULLY AIR-CONDITIONED INDOOR CATTLE RANGE. THEN YOU ROPE, YOU STUN, YOU 579 00:19:12,652 --> 00:19:14,029 CATTLE RANGE. THEN YOU ROPE, YOU STUN, YOU SKIN, WE TAN AND TAILOR THE 580 00:19:14,053 --> 00:19:14,497 THEN YOU ROPE, YOU STUN, YOU SKIN, WE TAN AND TAILOR THE HIDES. 581 00:19:14,521 --> 00:19:16,064 SKIN, WE TAN AND TAILOR THE HIDES. ALL OUR EQUIPMENT IS LIGHT AND 582 00:19:16,088 --> 00:19:16,999 HIDES. ALL OUR EQUIPMENT IS LIGHT AND EASY TO OPERATE. 583 00:19:17,023 --> 00:19:18,400 ALL OUR EQUIPMENT IS LIGHT AND EASY TO OPERATE. HERE'S MRS. MEL TO SHOW YOU HOW 584 00:19:18,424 --> 00:19:19,268 EASY TO OPERATE. HERE'S MRS. MEL TO SHOW YOU HOW TO WORK THE SAWS. 585 00:19:19,292 --> 00:19:21,302 HERE'S MRS. MEL TO SHOW YOU HOW TO WORK THE SAWS. [MOTOR WHIRRING] 586 00:19:21,326 --> 00:19:21,592 YEAH. 587 00:19:21,726 --> 00:19:22,726 SHE'S GOT HER LEATHER. 588 00:19:22,794 --> 00:19:23,361 YOU GET YOURS AT 589 00:19:23,495 --> 00:19:24,828 MEL'S HIDE HEAVEN, ROUTE 15, 590 00:19:24,963 --> 00:19:25,963 PARAMUS, OFF EXIT 21. 591 00:19:26,097 --> 00:19:27,431 [MOTOR WHIRRING] 592 00:19:27,566 --> 00:19:29,367 [CHEERS AND APPLAUSE] 593 00:19:40,745 --> 00:19:45,694 LADIES AND GENTLEMEN, THE RCO ALL-STARS, FEATURING DR. JOHN, LEVON HELM, AND 594 00:19:45,718 --> 00:19:46,728 THE RCO ALL-STARS, FEATURING DR. JOHN, LEVON HELM, AND PAUL BUTTERFIELD. 595 00:19:46,752 --> 00:19:48,497 DR. JOHN, LEVON HELM, AND PAUL BUTTERFIELD. [CHEERS AND APPLAUSE] 596 00:19:48,521 --> 00:19:49,998 PAUL BUTTERFIELD. [CHEERS AND APPLAUSE] [INTRODUCTION TO 597 00:19:50,022 --> 00:19:52,502 [CHEERS AND APPLAUSE] [INTRODUCTION TO "SING, SING, SING" PLAYS] 598 00:20:05,337 --> 00:20:13,337 ♪ THE WORLD WE KNOW ♪ ♪ WITH ITS OWN SKILL ♪ ♪ THAT ALONE DON'T COUNT ♪ 599 00:20:13,379 --> 00:20:14,923 ♪ WITH ITS OWN SKILL ♪ ♪ THAT ALONE DON'T COUNT ♪ ♪ WITHOUT THIS SWEAT ♪ 600 00:20:14,947 --> 00:20:16,825 ♪ THAT ALONE DON'T COUNT ♪ ♪ WITHOUT THIS SWEAT ♪ ♪ AND TOIL OF MINE ♪ 601 00:20:16,849 --> 00:20:22,264 ♪ WITHOUT THIS SWEAT ♪ ♪ AND TOIL OF MINE ♪ ♪ IT WOULDN'T BE WORTH A DIME ♪ 602 00:20:22,288 --> 00:20:24,600 ♪ AND TOIL OF MINE ♪ ♪ IT WOULDN'T BE WORTH A DIME ♪ ♪ YOU GOT TO LIVE AND GIVE ♪ 603 00:20:24,624 --> 00:20:26,735 ♪ IT WOULDN'T BE WORTH A DIME ♪ ♪ YOU GOT TO LIVE AND GIVE ♪ ♪ SHARE AND CARE ♪ 604 00:20:26,759 --> 00:20:28,204 ♪ YOU GOT TO LIVE AND GIVE ♪ ♪ SHARE AND CARE ♪ ♪ REALLY PUT SOME LOVE IN 605 00:20:28,228 --> 00:20:32,174 ♪ SHARE AND CARE ♪ ♪ REALLY PUT SOME LOVE IN THE AIR ♪ 606 00:20:32,198 --> 00:20:34,410 ♪ REALLY PUT SOME LOVE IN THE AIR ♪ ♪ WHEN YOUR NEIGHBOR'S DOWN ♪ 607 00:20:34,434 --> 00:20:36,345 THE AIR ♪ ♪ WHEN YOUR NEIGHBOR'S DOWN ♪ ♪ JUST LIFT HIM UP ♪ 608 00:20:36,369 --> 00:20:40,516 ♪ WHEN YOUR NEIGHBOR'S DOWN ♪ ♪ JUST LIFT HIM UP ♪ ♪ NOBODY CAN LIVE IN DESPAIR ♪ 609 00:20:40,540 --> 00:20:43,686 ♪ JUST LIFT HIM UP ♪ ♪ NOBODY CAN LIVE IN DESPAIR ♪ ♪ NOW, EVERYBODY, LET'S SING, 610 00:20:43,710 --> 00:20:45,254 ♪ NOBODY CAN LIVE IN DESPAIR ♪ ♪ NOW, EVERYBODY, LET'S SING, SING, SING ♪ 611 00:20:45,278 --> 00:20:48,290 ♪ NOW, EVERYBODY, LET'S SING, SING, SING ♪ ♪ EVERYBODY, LET'S SING, SING, 612 00:20:48,314 --> 00:20:50,158 SING, SING ♪ ♪ EVERYBODY, LET'S SING, SING, SING ♪ 613 00:20:50,182 --> 00:20:52,160 ♪ EVERYBODY, LET'S SING, SING, SING ♪ ♪ LET'S ALL PITCH IN ♪ 614 00:20:52,184 --> 00:20:54,129 SING ♪ ♪ LET'S ALL PITCH IN ♪ ♪ LET FREEDOM RING ♪ 615 00:20:54,153 --> 00:20:56,532 ♪ LET'S ALL PITCH IN ♪ ♪ LET FREEDOM RING ♪ ♪ MAKE A BETTER WORLD TO LIVE 616 00:20:56,556 --> 00:21:00,302 ♪ LET FREEDOM RING ♪ ♪ MAKE A BETTER WORLD TO LIVE IN ♪ 617 00:21:00,326 --> 00:21:03,205 ♪ MAKE A BETTER WORLD TO LIVE IN ♪ ♪ SING, SING, SING ♪ 618 00:21:03,229 --> 00:21:05,207 IN ♪ ♪ SING, SING, SING ♪ ♪ EVERYBODY, LET'S SING ♪ 619 00:21:05,231 --> 00:21:07,543 ♪ SING, SING, SING ♪ ♪ EVERYBODY, LET'S SING ♪ ♪ ...SING, SING ♪ 620 00:21:07,567 --> 00:21:10,011 ♪ EVERYBODY, LET'S SING ♪ ♪ ...SING, SING ♪ ♪ LET'S JUST ALL PITCH IN ♪ 621 00:21:10,035 --> 00:21:12,214 ♪ ...SING, SING ♪ ♪ LET'S JUST ALL PITCH IN ♪ ♪ LET'S MAKE A FRIEND ♪ 622 00:21:12,238 --> 00:21:14,350 ♪ LET'S JUST ALL PITCH IN ♪ ♪ LET'S MAKE A FRIEND ♪ ♪ MAKE A BETTER WORLD TO LIVE 623 00:21:14,374 --> 00:21:15,517 ♪ LET'S MAKE A FRIEND ♪ ♪ MAKE A BETTER WORLD TO LIVE IN ♪ 624 00:21:15,541 --> 00:21:18,186 ♪ MAKE A BETTER WORLD TO LIVE IN ♪ BLOW YOUR HEART, BUDDY. 625 00:21:18,210 --> 00:21:20,170 IN ♪ BLOW YOUR HEART, BUDDY. [UP-TEMPO MUSIC PLAYS] 626 00:21:53,345 --> 00:21:59,261 ♪ SOCIETY, YOU HAVE NO PRIORITY ♪ ♪ WE'RE ALL ONE PART OF 627 00:21:59,285 --> 00:22:02,364 PRIORITY ♪ ♪ WE'RE ALL ONE PART OF A WHOLE ♪ 628 00:22:02,388 --> 00:22:04,667 ♪ WE'RE ALL ONE PART OF A WHOLE ♪ ♪ AND WHEN THE PEOPLE SHOUT ♪ 629 00:22:04,691 --> 00:22:06,602 A WHOLE ♪ ♪ AND WHEN THE PEOPLE SHOUT ♪ ♪ YOU GOT TO HEAR THEM OUT ♪ 630 00:22:06,626 --> 00:22:09,104 ♪ AND WHEN THE PEOPLE SHOUT ♪ ♪ YOU GOT TO HEAR THEM OUT ♪ ♪ EVERYBODY IS A BEAUTIFUL 631 00:22:09,128 --> 00:22:12,441 ♪ YOU GOT TO HEAR THEM OUT ♪ ♪ EVERYBODY IS A BEAUTIFUL SOUL ♪ 632 00:22:12,465 --> 00:22:14,643 ♪ EVERYBODY IS A BEAUTIFUL SOUL ♪ ♪ WE GOT TO PULL TOGETHER ♪ 633 00:22:14,667 --> 00:22:17,346 SOUL ♪ ♪ WE GOT TO PULL TOGETHER ♪ ♪ WORK HAND IN HAND ♪ 634 00:22:17,370 --> 00:22:20,749 ♪ WE GOT TO PULL TOGETHER ♪ ♪ WORK HAND IN HAND ♪ ♪ REALLY GOT TO DO OUR BEST... ♪ 635 00:22:20,773 --> 00:22:21,983 ♪ WORK HAND IN HAND ♪ ♪ REALLY GOT TO DO OUR BEST... ♪ ♪ ...KNOW THE FIRST FROM 636 00:22:22,007 --> 00:22:22,584 ♪ REALLY GOT TO DO OUR BEST... ♪ ♪ ...KNOW THE FIRST FROM THE LAST ♪ 637 00:22:22,608 --> 00:22:23,752 ♪ ...KNOW THE FIRST FROM THE LAST ♪ ♪ KNOW THE GRASS FROM 638 00:22:23,776 --> 00:22:24,453 THE LAST ♪ ♪ KNOW THE GRASS FROM THE WHEAT ♪ 639 00:22:24,477 --> 00:22:26,021 ♪ KNOW THE GRASS FROM THE WHEAT ♪ ♪ KNOW THE FLOWER FROM 640 00:22:26,045 --> 00:22:26,888 THE WHEAT ♪ ♪ KNOW THE FLOWER FROM THE SEED ♪ 641 00:22:26,912 --> 00:22:27,923 ♪ KNOW THE FLOWER FROM THE SEED ♪ ♪ NOW IT'S TIME ♪ 642 00:22:27,947 --> 00:22:29,224 THE SEED ♪ ♪ NOW IT'S TIME ♪ ♪ YEAH ♪ 643 00:22:29,248 --> 00:22:31,893 ♪ NOW IT'S TIME ♪ ♪ YEAH ♪ ♪ NOW, EVERYBODY, LET'S SING, 644 00:22:31,917 --> 00:22:33,729 ♪ YEAH ♪ ♪ NOW, EVERYBODY, LET'S SING, SING, SING ♪ 645 00:22:33,753 --> 00:22:35,531 ♪ NOW, EVERYBODY, LET'S SING, SING, SING ♪ ♪ LET'S JUST SING ♪ 646 00:22:35,555 --> 00:22:38,233 SING, SING ♪ ♪ LET'S JUST SING ♪ ♪ ...SING, SING ♪ 647 00:22:38,257 --> 00:22:40,636 ♪ LET'S JUST SING ♪ ♪ ...SING, SING ♪ ♪ LET'S ALL PITCH IN ♪ 648 00:22:40,660 --> 00:22:42,805 ♪ ...SING, SING ♪ ♪ LET'S ALL PITCH IN ♪ ♪ LET FREEDOM RING ♪ 649 00:22:42,829 --> 00:22:45,073 ♪ LET'S ALL PITCH IN ♪ ♪ LET FREEDOM RING ♪ ♪ MAKE UP A BETTER WORLD TO LIVE 650 00:22:45,097 --> 00:22:47,042 ♪ LET FREEDOM RING ♪ ♪ MAKE UP A BETTER WORLD TO LIVE IN ♪ 651 00:22:47,066 --> 00:22:49,645 ♪ MAKE UP A BETTER WORLD TO LIVE IN ♪ ♪ NOW, EVERYBODY, LET'S SING, 652 00:22:49,669 --> 00:22:52,113 IN ♪ ♪ NOW, EVERYBODY, LET'S SING, SING, SING ♪ 653 00:22:52,137 --> 00:22:53,849 ♪ NOW, EVERYBODY, LET'S SING, SING, SING ♪ ♪ LET'S JUST SING ♪ 654 00:22:53,873 --> 00:22:56,117 SING, SING ♪ ♪ LET'S JUST SING ♪ ♪ ...SING, SING ♪ 655 00:22:56,141 --> 00:22:58,520 ♪ LET'S JUST SING ♪ ♪ ...SING, SING ♪ ♪ LET'S JUST ALL PITCH IN ♪ 656 00:22:58,544 --> 00:23:00,656 ♪ ...SING, SING ♪ ♪ LET'S JUST ALL PITCH IN ♪ ♪ LET FREEDOM RING ♪ 657 00:23:00,680 --> 00:23:02,491 ♪ LET'S JUST ALL PITCH IN ♪ ♪ LET FREEDOM RING ♪ ♪ AND MAKE A BETTER WORLD TO 658 00:23:02,515 --> 00:23:03,859 ♪ LET FREEDOM RING ♪ ♪ AND MAKE A BETTER WORLD TO LIVE IN ♪ 659 00:23:03,883 --> 00:23:06,243 ♪ AND MAKE A BETTER WORLD TO LIVE IN ♪ [UP-TEMPO MUSIC PLAYS] 660 00:23:11,222 --> 00:23:18,095 ♪ EVERYBODY, LET'S JUST SING, SING, SING ♪ 661 00:23:20,766 --> 00:23:22,566 [CHEERS AND APPLAUSE] 662 00:23:34,679 --> 00:23:38,527 HELLO, I'M BILL MURRAY. YOU CAN CALL ME BILLY, BUT AROUND HERE, EVERYBODY JUST 663 00:23:38,551 --> 00:23:40,061 YOU CAN CALL ME BILLY, BUT AROUND HERE, EVERYBODY JUST CALLS ME THE NEW GUY. 664 00:23:40,085 --> 00:23:41,296 AROUND HERE, EVERYBODY JUST CALLS ME THE NEW GUY. I WANT TO THANK THE PRODUCER 665 00:23:41,320 --> 00:23:42,664 CALLS ME THE NEW GUY. I WANT TO THANK THE PRODUCER LORNE MICHAELS FOR URGING ME TO 666 00:23:42,688 --> 00:23:44,132 I WANT TO THANK THE PRODUCER LORNE MICHAELS FOR URGING ME TO SPEAK WITH YOU DIRECTLY. 667 00:23:44,156 --> 00:23:45,734 LORNE MICHAELS FOR URGING ME TO SPEAK WITH YOU DIRECTLY. YOU SEE, I'M A LITTLE BIT 668 00:23:45,758 --> 00:23:47,269 SPEAK WITH YOU DIRECTLY. YOU SEE, I'M A LITTLE BIT CONCERNED. 669 00:23:47,293 --> 00:23:48,570 YOU SEE, I'M A LITTLE BIT CONCERNED. I DON'T THINK I'M MAKING IT ON 670 00:23:48,594 --> 00:23:50,539 CONCERNED. I DON'T THINK I'M MAKING IT ON THE SHOW. 671 00:23:50,563 --> 00:23:51,840 I DON'T THINK I'M MAKING IT ON THE SHOW. I'M A FUNNY GUY, BUT I HAVEN'T 672 00:23:51,864 --> 00:23:53,108 THE SHOW. I'M A FUNNY GUY, BUT I HAVEN'T BEEN SO FUNNY ON THE SHOW. 673 00:23:53,132 --> 00:23:54,309 I'M A FUNNY GUY, BUT I HAVEN'T BEEN SO FUNNY ON THE SHOW. MY FRIENDS SAY, "HOW COME 674 00:23:54,333 --> 00:23:55,644 BEEN SO FUNNY ON THE SHOW. MY FRIENDS SAY, "HOW COME THEY'RE GIVING YOU ALL THOSE 675 00:23:55,668 --> 00:23:56,845 MY FRIENDS SAY, "HOW COME THEY'RE GIVING YOU ALL THOSE PARTS THAT AREN'T FUNNY?" 676 00:23:56,869 --> 00:23:59,180 THEY'RE GIVING YOU ALL THOSE PARTS THAT AREN'T FUNNY?" WELL, IT'S NOT THE MATERIAL, 677 00:23:59,204 --> 00:24:01,149 PARTS THAT AREN'T FUNNY?" WELL, IT'S NOT THE MATERIAL, IT'S ME. 678 00:24:01,173 --> 00:24:02,651 WELL, IT'S NOT THE MATERIAL, IT'S ME. IT'S NOT THAT I'M NOT FUNNY. 679 00:24:02,675 --> 00:24:04,352 IT'S ME. IT'S NOT THAT I'M NOT FUNNY. IT'S THAT I'M NOT BEING FUNNY AT 680 00:24:04,376 --> 00:24:05,287 IT'S NOT THAT I'M NOT FUNNY. IT'S THAT I'M NOT BEING FUNNY AT THE RIGHT TIME. 681 00:24:05,311 --> 00:24:06,655 IT'S THAT I'M NOT BEING FUNNY AT THE RIGHT TIME. HONEST. 682 00:24:06,679 --> 00:24:07,923 THE RIGHT TIME. HONEST. BEFORE, YOU KNOW, I COULD BE 683 00:24:07,947 --> 00:24:09,024 HONEST. BEFORE, YOU KNOW, I COULD BE FUNNY WHENEVER I WANTED. 684 00:24:09,048 --> 00:24:10,626 BEFORE, YOU KNOW, I COULD BE FUNNY WHENEVER I WANTED. BUT NOW, AS A PROFESSIONAL, I 685 00:24:10,650 --> 00:24:12,327 FUNNY WHENEVER I WANTED. BUT NOW, AS A PROFESSIONAL, I HAVE TO LEARN TO PICK MY SPOTS, 686 00:24:12,351 --> 00:24:12,994 BUT NOW, AS A PROFESSIONAL, I HAVE TO LEARN TO PICK MY SPOTS, YOU KNOW. 687 00:24:13,018 --> 00:24:14,195 HAVE TO LEARN TO PICK MY SPOTS, YOU KNOW. THIS MORNING I PICKED UP MY 688 00:24:14,219 --> 00:24:14,663 YOU KNOW. THIS MORNING I PICKED UP MY LAUNDRY. 689 00:24:14,687 --> 00:24:15,898 THIS MORNING I PICKED UP MY LAUNDRY. THEY GUY SAYS TO ME, "BILL, 690 00:24:15,922 --> 00:24:17,299 LAUNDRY. THEY GUY SAYS TO ME, "BILL, YOU KNOW, EVERY TIME YOU COME IN 691 00:24:17,323 --> 00:24:18,634 THEY GUY SAYS TO ME, "BILL, YOU KNOW, EVERY TIME YOU COME IN HERE, YOU SAY SOMETHING FUNNY. 692 00:24:18,658 --> 00:24:19,768 YOU KNOW, EVERY TIME YOU COME IN HERE, YOU SAY SOMETHING FUNNY. BUT I SAW YOU ON THE SHOW 693 00:24:19,792 --> 00:24:20,903 HERE, YOU SAY SOMETHING FUNNY. BUT I SAW YOU ON THE SHOW 'SATURDAY NIGHT, ' AND YOU 694 00:24:20,927 --> 00:24:23,071 BUT I SAW YOU ON THE SHOW 'SATURDAY NIGHT, ' AND YOU STUNK." 695 00:24:23,095 --> 00:24:24,706 'SATURDAY NIGHT, ' AND YOU STUNK." WELL, THAT HURT, YOU KNOW? 696 00:24:24,730 --> 00:24:26,475 STUNK." WELL, THAT HURT, YOU KNOW? YEAH, IT JUST TOTALLY DESTROYED 697 00:24:26,499 --> 00:24:27,409 WELL, THAT HURT, YOU KNOW? YEAH, IT JUST TOTALLY DESTROYED MY CONFIDENCE. 698 00:24:27,433 --> 00:24:29,010 YEAH, IT JUST TOTALLY DESTROYED MY CONFIDENCE. LAST FRIDAY I WENT TO A PARTY 699 00:24:29,034 --> 00:24:29,778 MY CONFIDENCE. LAST FRIDAY I WENT TO A PARTY WITH DANNY. 700 00:24:29,802 --> 00:24:31,246 LAST FRIDAY I WENT TO A PARTY WITH DANNY. THERE WAS A PRETTY GIRL THERE I 701 00:24:31,270 --> 00:24:32,581 WITH DANNY. THERE WAS A PRETTY GIRL THERE I WANTED TO IMPRESS, AND I'M A 702 00:24:32,605 --> 00:24:33,315 THERE WAS A PRETTY GIRL THERE I WANTED TO IMPRESS, AND I'M A PARTY ANIMAL. 703 00:24:33,339 --> 00:24:35,584 WANTED TO IMPRESS, AND I'M A PARTY ANIMAL. I WAS VERY FUNNY. 704 00:24:35,608 --> 00:24:36,952 PARTY ANIMAL. I WAS VERY FUNNY. DANNY SAID NOTHING. 705 00:24:36,976 --> 00:24:38,086 I WAS VERY FUNNY. DANNY SAID NOTHING. HE WAS SAVING IT. 706 00:24:38,110 --> 00:24:39,321 DANNY SAID NOTHING. HE WAS SAVING IT. SHE SAID TO ME, "YOU'RE SO 707 00:24:39,345 --> 00:24:39,788 HE WAS SAVING IT. SHE SAID TO ME, "YOU'RE SO FUNNY. 708 00:24:39,812 --> 00:24:41,189 SHE SAID TO ME, "YOU'RE SO FUNNY. I WISH I HAD A TAPE RECORDER." 709 00:24:41,213 --> 00:24:42,758 FUNNY. I WISH I HAD A TAPE RECORDER." WELL, I WISH SHE HAD, TOO, 710 00:24:42,782 --> 00:24:43,459 I WISH I HAD A TAPE RECORDER." WELL, I WISH SHE HAD, TOO, YOU KNOW? 711 00:24:43,483 --> 00:24:44,960 WELL, I WISH SHE HAD, TOO, YOU KNOW? SATURDAY NIGHT AFTER THE SHOW, 712 00:24:44,984 --> 00:24:46,495 YOU KNOW? SATURDAY NIGHT AFTER THE SHOW, WHEN SHE WENT HOME WITH DAN, I 713 00:24:46,519 --> 00:24:48,029 SATURDAY NIGHT AFTER THE SHOW, WHEN SHE WENT HOME WITH DAN, I COULD HAVE PLAYED THE TAPE BACK 714 00:24:48,053 --> 00:24:48,597 WHEN SHE WENT HOME WITH DAN, I COULD HAVE PLAYED THE TAPE BACK FOR HER. 715 00:24:48,621 --> 00:24:51,066 COULD HAVE PLAYED THE TAPE BACK FOR HER. NOW, WHAT I'M ASKING FOR IS YOUR 716 00:24:51,090 --> 00:24:53,068 FOR HER. NOW, WHAT I'M ASKING FOR IS YOUR SUPPORT. 717 00:24:53,092 --> 00:24:54,536 NOW, WHAT I'M ASKING FOR IS YOUR SUPPORT. I'VE GOTTEN SOME NICE LETTERS 718 00:24:54,560 --> 00:24:56,004 SUPPORT. I'VE GOTTEN SOME NICE LETTERS FROM OLD FRIENDS AND PEOPLE I 719 00:24:56,028 --> 00:24:57,339 I'VE GOTTEN SOME NICE LETTERS FROM OLD FRIENDS AND PEOPLE I OWE MONEY TO, BUT FROM YOU 720 00:24:57,363 --> 00:24:59,040 FROM OLD FRIENDS AND PEOPLE I OWE MONEY TO, BUT FROM YOU PEOPLE, I HEAR NOTHING. 721 00:24:59,064 --> 00:25:00,442 OWE MONEY TO, BUT FROM YOU PEOPLE, I HEAR NOTHING. I'M NOT ASKING FOR LETTERS, 722 00:25:00,466 --> 00:25:01,777 PEOPLE, I HEAR NOTHING. I'M NOT ASKING FOR LETTERS, BUT... I KNOW THIS SOUNDS 723 00:25:01,801 --> 00:25:04,980 I'M NOT ASKING FOR LETTERS, BUT... I KNOW THIS SOUNDS CORNY... SUPPORT. 724 00:25:05,004 --> 00:25:06,181 BUT... I KNOW THIS SOUNDS CORNY... SUPPORT. I'M A CATHOLIC. 725 00:25:06,205 --> 00:25:08,917 CORNY... SUPPORT. I'M A CATHOLIC. [LAUGHTER] 726 00:25:08,941 --> 00:25:10,786 I'M A CATHOLIC. [LAUGHTER] I'M ONE OF NINE CHILDREN... 727 00:25:10,810 --> 00:25:12,087 [LAUGHTER] I'M ONE OF NINE CHILDREN... ED, BRIAN, NANCY, PEGGY, LAURA, 728 00:25:12,111 --> 00:25:13,321 I'M ONE OF NINE CHILDREN... ED, BRIAN, NANCY, PEGGY, LAURA, ANDY, JOHN, AND JOEL. 729 00:25:13,345 --> 00:25:14,590 ED, BRIAN, NANCY, PEGGY, LAURA, ANDY, JOHN, AND JOEL. I CAN SAY THAT FASTER, BUT I 730 00:25:14,614 --> 00:25:15,858 ANDY, JOHN, AND JOEL. I CAN SAY THAT FASTER, BUT I WANTED THEM ALL TO HEAR THEIR 731 00:25:15,882 --> 00:25:16,291 I CAN SAY THAT FASTER, BUT I WANTED THEM ALL TO HEAR THEIR NAMES. 732 00:25:16,315 --> 00:25:17,893 WANTED THEM ALL TO HEAR THEIR NAMES. I WAS RAISED IN WILMETTE, 733 00:25:17,917 --> 00:25:19,795 NAMES. I WAS RAISED IN WILMETTE, ILLINOIS... A SMALL MINING TOWN 734 00:25:19,819 --> 00:25:21,697 I WAS RAISED IN WILMETTE, ILLINOIS... A SMALL MINING TOWN NORTH OF CHICAGO. 735 00:25:21,721 --> 00:25:22,698 ILLINOIS... A SMALL MINING TOWN NORTH OF CHICAGO. THAT REMINDS ME OF SOMETHING 736 00:25:22,722 --> 00:25:24,967 NORTH OF CHICAGO. THAT REMINDS ME OF SOMETHING FUNNY. 737 00:25:24,991 --> 00:25:26,802 THAT REMINDS ME OF SOMETHING FUNNY. MY FATHER DIED WHEN I WAS 17. 738 00:25:26,826 --> 00:25:27,703 FUNNY. MY FATHER DIED WHEN I WAS 17. [LAUGHTER] 739 00:25:27,727 --> 00:25:29,805 MY FATHER DIED WHEN I WAS 17. [LAUGHTER] NO, THAT'S NOT WHAT WAS FUNNY. 740 00:25:29,829 --> 00:25:30,873 [LAUGHTER] NO, THAT'S NOT WHAT WAS FUNNY. HE WAS FUNNY. 741 00:25:30,897 --> 00:25:32,073 NO, THAT'S NOT WHAT WAS FUNNY. HE WAS FUNNY. PEOPLE ALWAYS SAID TO ME, 742 00:25:32,097 --> 00:25:33,509 HE WAS FUNNY. PEOPLE ALWAYS SAID TO ME, "OH, YOU'LL NEVER GROW UP TO BE 743 00:25:33,533 --> 00:25:34,576 PEOPLE ALWAYS SAID TO ME, "OH, YOU'LL NEVER GROW UP TO BE AS FUNNY AS YOUR DAD." 744 00:25:34,600 --> 00:25:36,678 "OH, YOU'LL NEVER GROW UP TO BE AS FUNNY AS YOUR DAD." AND NOW HE'S NOT AROUND TO SEE 745 00:25:36,702 --> 00:25:39,080 AS FUNNY AS YOUR DAD." AND NOW HE'S NOT AROUND TO SEE ME BE NOT AS FUNNY AS HIM. 746 00:25:39,104 --> 00:25:41,316 AND NOW HE'S NOT AROUND TO SEE ME BE NOT AS FUNNY AS HIM. MY SISTER NANCY IS A NUN. 747 00:25:41,340 --> 00:25:43,051 ME BE NOT AS FUNNY AS HIM. MY SISTER NANCY IS A NUN. MY MOM WORKS TO SUPPORT THE 748 00:25:43,075 --> 00:25:43,719 MY SISTER NANCY IS A NUN. MY MOM WORKS TO SUPPORT THE FAMILY. 749 00:25:43,743 --> 00:25:45,253 MY MOM WORKS TO SUPPORT THE FAMILY. BUT THAT'S ALL BESIDE THE POINT. 750 00:25:45,277 --> 00:25:46,755 FAMILY. BUT THAT'S ALL BESIDE THE POINT. IT'S NO CONCERN OF YOURS WHETHER 751 00:25:46,779 --> 00:25:48,123 BUT THAT'S ALL BESIDE THE POINT. IT'S NO CONCERN OF YOURS WHETHER OR NOT THEY NEED THE MONEY I 752 00:25:48,147 --> 00:25:49,357 IT'S NO CONCERN OF YOURS WHETHER OR NOT THEY NEED THE MONEY I MAKE. 753 00:25:49,381 --> 00:25:50,592 OR NOT THEY NEED THE MONEY I MAKE. WHAT I'M TALKING ABOUT IS 754 00:25:50,616 --> 00:25:53,061 MAKE. WHAT I'M TALKING ABOUT IS BETWEEN YOU AND ME. 755 00:25:53,085 --> 00:25:54,663 WHAT I'M TALKING ABOUT IS BETWEEN YOU AND ME. IF YOU COULD SEE IT IN YOUR 756 00:25:54,687 --> 00:25:56,398 BETWEEN YOU AND ME. IF YOU COULD SEE IT IN YOUR HEART TO LAUGH WHENEVER I SAY 757 00:25:56,422 --> 00:25:58,166 IF YOU COULD SEE IT IN YOUR HEART TO LAUGH WHENEVER I SAY SOMETHING... I DON'T CARE WHAT 758 00:25:58,190 --> 00:25:59,968 HEART TO LAUGH WHENEVER I SAY SOMETHING... I DON'T CARE WHAT IT IS... OR IF YOU CAN'T LAUGH, 759 00:25:59,992 --> 00:26:02,237 SOMETHING... I DON'T CARE WHAT IT IS... OR IF YOU CAN'T LAUGH, THINK ABOUT MY FAMILY AND THE 760 00:26:02,261 --> 00:26:04,540 IT IS... OR IF YOU CAN'T LAUGH, THINK ABOUT MY FAMILY AND THE FATHER THAT I NEVER REALLY GOT 761 00:26:04,564 --> 00:26:05,774 THINK ABOUT MY FAMILY AND THE FATHER THAT I NEVER REALLY GOT TO KNOW. 762 00:26:05,798 --> 00:26:07,308 FATHER THAT I NEVER REALLY GOT TO KNOW. IF I KNOW YOU'RE ON MY SIDE, 763 00:26:07,332 --> 00:26:08,844 TO KNOW. IF I KNOW YOU'RE ON MY SIDE, I'LL MAKE YOU LAUGH SO HARD, 764 00:26:08,868 --> 00:26:10,478 IF I KNOW YOU'RE ON MY SIDE, I'LL MAKE YOU LAUGH SO HARD, YOU'LL HAVE TO HOLD YOUR SIDES 765 00:26:10,502 --> 00:26:12,180 I'LL MAKE YOU LAUGH SO HARD, YOU'LL HAVE TO HOLD YOUR SIDES TO KEEP FROM PULLING A MUSCLE OR 766 00:26:12,204 --> 00:26:13,815 YOU'LL HAVE TO HOLD YOUR SIDES TO KEEP FROM PULLING A MUSCLE OR TEARING A CARTILAGE. 767 00:26:13,839 --> 00:26:16,685 TO KEEP FROM PULLING A MUSCLE OR TEARING A CARTILAGE. IT'S UP TO YOU... YEAH, YOU. 768 00:26:16,709 --> 00:26:18,186 TEARING A CARTILAGE. IT'S UP TO YOU... YEAH, YOU. NOW, I DON'T WANT LETTERS. 769 00:26:18,210 --> 00:26:19,721 IT'S UP TO YOU... YEAH, YOU. NOW, I DON'T WANT LETTERS. I JUST WANT TO MAKE IT AS A 770 00:26:19,745 --> 00:26:21,489 NOW, I DON'T WANT LETTERS. I JUST WANT TO MAKE IT AS A NOT-READY-FOR-PRIME-TIME PLAYER. 771 00:26:21,513 --> 00:26:22,891 I JUST WANT TO MAKE IT AS A NOT-READY-FOR-PRIME-TIME PLAYER. AND WHEN THAT'S DONE, I'LL BE 772 00:26:22,915 --> 00:26:24,026 NOT-READY-FOR-PRIME-TIME PLAYER. AND WHEN THAT'S DONE, I'LL BE ABLE TO STAND HERE ON A 773 00:26:24,050 --> 00:26:25,460 AND WHEN THAT'S DONE, I'LL BE ABLE TO STAND HERE ON A SATURDAY NIGHT IN THE MIDDLE OF 774 00:26:25,484 --> 00:26:27,395 ABLE TO STAND HERE ON A SATURDAY NIGHT IN THE MIDDLE OF ROCKEFELLER PLAZA, 775 00:26:27,419 --> 00:26:30,098 SATURDAY NIGHT IN THE MIDDLE OF ROCKEFELLER PLAZA, NEW YORK CITY, NEW YORK, 776 00:26:30,122 --> 00:26:31,700 ROCKEFELLER PLAZA, NEW YORK CITY, NEW YORK, 10020... 777 00:26:31,724 --> 00:26:33,068 NEW YORK CITY, NEW YORK, 10020... [LAUGHTER] 778 00:26:33,092 --> 00:26:38,373 10020... [LAUGHTER] AND SAY, "DAD, I DID IT." 779 00:26:38,397 --> 00:26:39,474 [LAUGHTER] AND SAY, "DAD, I DID IT." HE'D LIKE THAT. 780 00:26:39,498 --> 00:26:41,618 AND SAY, "DAD, I DID IT." HE'D LIKE THAT. [APPLAUSE] 781 00:26:54,646 --> 00:26:58,193 WELL, MRS. RICARDO, THIS IS YOUR FIRST DAY ON THE JOB. 782 00:26:58,217 --> 00:27:01,362 THIS IS YOUR FIRST DAY ON THE JOB. [CHEERS AND APPLAUSE] 783 00:27:01,386 --> 00:27:04,132 JOB. [CHEERS AND APPLAUSE] DON'T MAKE ANY MISTAKES. 784 00:27:04,156 --> 00:27:05,667 [CHEERS AND APPLAUSE] DON'T MAKE ANY MISTAKES. YES, MR. WITHERBOTTOM. 785 00:27:05,691 --> 00:27:07,435 DON'T MAKE ANY MISTAKES. YES, MR. WITHERBOTTOM. THIS IS A CONVEYOR BELT. 786 00:27:07,459 --> 00:27:09,104 YES, MR. WITHERBOTTOM. THIS IS A CONVEYOR BELT. YES, MR. WITHERBOTTOM. 787 00:27:09,128 --> 00:27:10,939 THIS IS A CONVEYOR BELT. YES, MR. WITHERBOTTOM. I'M NOW GOING TO PULL THE 788 00:27:10,963 --> 00:27:12,407 YES, MR. WITHERBOTTOM. I'M NOW GOING TO PULL THE LEVER THAT STARTS THE 789 00:27:12,431 --> 00:27:13,875 I'M NOW GOING TO PULL THE LEVER THAT STARTS THE CONVEYOR BELT. 790 00:27:13,899 --> 00:27:16,544 LEVER THAT STARTS THE CONVEYOR BELT. YES, MR. WITHERBOTTOM. 791 00:27:16,568 --> 00:27:20,348 CONVEYOR BELT. YES, MR. WITHERBOTTOM. NOW, THIS, MRS. RICARDO, IS A 792 00:27:20,372 --> 00:27:22,517 YES, MR. WITHERBOTTOM. NOW, THIS, MRS. RICARDO, IS A NUCLEAR WARHEAD. 793 00:27:22,541 --> 00:27:24,486 NOW, THIS, MRS. RICARDO, IS A NUCLEAR WARHEAD. [LAUGHTER] 794 00:27:24,510 --> 00:27:26,454 NUCLEAR WARHEAD. [LAUGHTER] YOUR JOB IS TO TAKE A CAN OF 795 00:27:26,478 --> 00:27:28,757 [LAUGHTER] YOUR JOB IS TO TAKE A CAN OF WHIPPED CREAM... 796 00:27:28,781 --> 00:27:30,792 YOUR JOB IS TO TAKE A CAN OF WHIPPED CREAM... SPRAY THE NUCLEAR WARHEAD LIKE 797 00:27:30,816 --> 00:27:34,262 WHIPPED CREAM... SPRAY THE NUCLEAR WARHEAD LIKE SO... 798 00:27:34,286 --> 00:27:36,031 SPRAY THE NUCLEAR WARHEAD LIKE SO... PUT A CHERRY ON THE TOP OF THE 799 00:27:36,055 --> 00:27:39,901 SO... PUT A CHERRY ON THE TOP OF THE NUCLEAR WARHEAD, AND PLACE IT ON 800 00:27:39,925 --> 00:27:43,204 PUT A CHERRY ON THE TOP OF THE NUCLEAR WARHEAD, AND PLACE IT ON THIS SHELF LIKE SO. 801 00:27:43,228 --> 00:27:45,774 NUCLEAR WARHEAD, AND PLACE IT ON THIS SHELF LIKE SO. DO YOU UNDERSTAND SO FAR? 802 00:27:45,798 --> 00:27:47,676 THIS SHELF LIKE SO. DO YOU UNDERSTAND SO FAR? YES, MR. WITHERBOTTOM. 803 00:27:47,700 --> 00:27:49,044 DO YOU UNDERSTAND SO FAR? YES, MR. WITHERBOTTOM. NOW, IF FOR ANY REASON AT ALL 804 00:27:49,068 --> 00:27:49,945 YES, MR. WITHERBOTTOM. NOW, IF FOR ANY REASON AT ALL YOU WANT TO STOP THE 805 00:27:49,969 --> 00:27:52,413 NOW, IF FOR ANY REASON AT ALL YOU WANT TO STOP THE CONVEYOR BELT, SIMPLY PULL THIS 806 00:27:52,437 --> 00:27:54,449 YOU WANT TO STOP THE CONVEYOR BELT, SIMPLY PULL THIS LEVER DOWN INTO THE "OFF" 807 00:27:54,473 --> 00:27:55,150 CONVEYOR BELT, SIMPLY PULL THIS LEVER DOWN INTO THE "OFF" POSITION. 808 00:27:55,174 --> 00:27:56,351 LEVER DOWN INTO THE "OFF" POSITION. YES, MR. WITHERBOTTOM. 809 00:27:56,375 --> 00:27:58,319 POSITION. YES, MR. WITHERBOTTOM. AND ONE MORE THING. 810 00:27:58,343 --> 00:28:00,588 YES, MR. WITHERBOTTOM. AND ONE MORE THING. THESE NUCLEAR WARHEADS ARE ARMED 811 00:28:00,612 --> 00:28:03,625 AND ONE MORE THING. THESE NUCLEAR WARHEADS ARE ARMED AND VERY DANGEROUS. 812 00:28:03,649 --> 00:28:05,493 THESE NUCLEAR WARHEADS ARE ARMED AND VERY DANGEROUS. SO DON'T LET ANY OF THEM HIT THE 813 00:28:05,517 --> 00:28:06,061 AND VERY DANGEROUS. SO DON'T LET ANY OF THEM HIT THE FLOOR. 814 00:28:06,085 --> 00:28:06,695 SO DON'T LET ANY OF THEM HIT THE FLOOR. IS THAT CLEAR? 815 00:28:06,719 --> 00:28:08,263 FLOOR. IS THAT CLEAR? YES, MR. WITHERBOTTOM. 816 00:28:08,287 --> 00:28:09,798 IS THAT CLEAR? YES, MR. WITHERBOTTOM. ALL RIGHT, THEN, GET TO WORK. 817 00:28:09,822 --> 00:28:11,266 YES, MR. WITHERBOTTOM. ALL RIGHT, THEN, GET TO WORK. I'LL CHECK BACK IN A FEW HOURS 818 00:28:11,290 --> 00:28:13,468 ALL RIGHT, THEN, GET TO WORK. I'LL CHECK BACK IN A FEW HOURS TO SEE HOW YOU'RE DOING. 819 00:28:13,492 --> 00:28:14,970 I'LL CHECK BACK IN A FEW HOURS TO SEE HOW YOU'RE DOING. YES, MR. WITHERBOTTOM. 820 00:28:14,994 --> 00:28:16,504 TO SEE HOW YOU'RE DOING. YES, MR. WITHERBOTTOM. THANK YOU, MR. WITHERBOT... 821 00:28:16,528 --> 00:28:17,438 YES, MR. WITHERBOTTOM. THANK YOU, MR. WITHERBOT... THANK YOU, MRS. RICARDO. 822 00:28:17,462 --> 00:28:20,898 THANK YOU, MR. WITHERBOT... THANK YOU, MRS. RICARDO. GOODBYE, MR. WITHER... BOTTOM. 823 00:29:42,513 --> 00:29:44,314 [METAL LEVER RATTLES] 824 00:30:21,886 --> 00:30:25,755 WELL, MRS. RICARDO, HOW ARE WE DOING? AAH! 825 00:30:46,311 --> 00:30:50,826 WHAT DO WE DO NOW, MR. WITHERBOTTOM? NOW WE GET SOME CANNED GOODS 826 00:30:50,850 --> 00:30:52,560 MR. WITHERBOTTOM? NOW WE GET SOME CANNED GOODS AND WE GO LIVE IN THE BASEMENT 827 00:30:52,584 --> 00:30:54,996 NOW WE GET SOME CANNED GOODS AND WE GO LIVE IN THE BASEMENT FOR 10 OR 15 YEARS. 828 00:30:55,020 --> 00:30:58,800 AND WE GO LIVE IN THE BASEMENT FOR 10 OR 15 YEARS. [WAILING] 829 00:30:58,824 --> 00:31:03,705 FOR 10 OR 15 YEARS. [WAILING] [APPLAUSE] 830 00:31:03,729 --> 00:31:06,808 [WAILING] [APPLAUSE] MR. WITHERBOTTOM... 831 00:31:06,832 --> 00:31:08,877 [APPLAUSE] MR. WITHERBOTTOM... DOES THAT MEAN I'M FIRED? 832 00:31:08,901 --> 00:31:10,611 MR. WITHERBOTTOM... DOES THAT MEAN I'M FIRED? NO, MRS. RICARDO. 833 00:31:10,635 --> 00:31:12,780 DOES THAT MEAN I'M FIRED? NO, MRS. RICARDO. ANYBODY CAN MAKE A MISTAKE. 834 00:31:12,804 --> 00:31:15,085 NO, MRS. RICARDO. ANYBODY CAN MAKE A MISTAKE. [APPLAUSE] 835 00:31:27,151 --> 00:31:32,100 Announcer: AND NOW "WEEKEND UPDATE" WITH JANE CURTIN. 836 00:31:32,124 --> 00:31:34,269 "WEEKEND UPDATE" WITH JANE CURTIN. GOOD EVENING. 837 00:31:34,293 --> 00:31:36,972 JANE CURTIN. GOOD EVENING. I'M WEARING BLACK MESH 838 00:31:36,996 --> 00:31:39,374 GOOD EVENING. I'M WEARING BLACK MESH STOCKINGS... 839 00:31:39,398 --> 00:31:41,209 I'M WEARING BLACK MESH STOCKINGS... AND STUDDED LEATHER BOOTS WITH 840 00:31:41,233 --> 00:31:45,146 STOCKINGS... AND STUDDED LEATHER BOOTS WITH 8-INCH SPIKED HEELS AND A GARTER 841 00:31:45,170 --> 00:31:46,081 AND STUDDED LEATHER BOOTS WITH 8-INCH SPIKED HEELS AND A GARTER BELT. 842 00:31:46,105 --> 00:31:49,284 8-INCH SPIKED HEELS AND A GARTER BELT. [WOLF WHISTLE] 843 00:31:49,308 --> 00:31:50,852 BELT. [WOLF WHISTLE] OF COURSE, YOU'VE ALL SEEN MY 844 00:31:50,876 --> 00:31:53,554 [WOLF WHISTLE] OF COURSE, YOU'VE ALL SEEN MY BRA. 845 00:31:53,578 --> 00:31:55,490 OF COURSE, YOU'VE ALL SEEN MY BRA. BUT LET'S TALK ABOUT MY PANTIES 846 00:31:55,514 --> 00:31:59,194 BRA. BUT LET'S TALK ABOUT MY PANTIES FOR ONE SECOND, SHALL WE? 847 00:31:59,218 --> 00:32:01,029 BUT LET'S TALK ABOUT MY PANTIES FOR ONE SECOND, SHALL WE? THEY'RE MESH. 848 00:32:01,053 --> 00:32:04,199 FOR ONE SECOND, SHALL WE? THEY'RE MESH. BLACK-MESH STRING BIKINIS. 849 00:32:04,223 --> 00:32:06,301 THEY'RE MESH. BLACK-MESH STRING BIKINIS. I LOVE THEM. 850 00:32:06,325 --> 00:32:08,103 BLACK-MESH STRING BIKINIS. I LOVE THEM. YOU WOULD, TOO. 851 00:32:08,127 --> 00:32:11,839 I LOVE THEM. YOU WOULD, TOO. I WISH I HAD THEM ON RIGHT NOW. 852 00:32:11,863 --> 00:32:14,075 YOU WOULD, TOO. I WISH I HAD THEM ON RIGHT NOW. THEY'RE IN MY LAUNDRY BASKET... 853 00:32:14,099 --> 00:32:15,911 I WISH I HAD THEM ON RIGHT NOW. THEY'RE IN MY LAUNDRY BASKET... AT HOME. 854 00:32:15,935 --> 00:32:19,981 THEY'RE IN MY LAUNDRY BASKET... AT HOME. THEREFORE, UNDER THIS SUIT... 855 00:32:20,005 --> 00:32:22,550 AT HOME. THEREFORE, UNDER THIS SUIT... YOU GET THE PICTURE. 856 00:32:22,574 --> 00:32:25,486 THEREFORE, UNDER THIS SUIT... YOU GET THE PICTURE. OUR TOP STORY TONIGHT... 857 00:32:25,510 --> 00:32:27,322 YOU GET THE PICTURE. OUR TOP STORY TONIGHT... 19-MONTH-OLD JASON CARTER, 858 00:32:27,346 --> 00:32:29,357 OUR TOP STORY TONIGHT... 19-MONTH-OLD JASON CARTER, GRANDSON OF THE PRESIDENT, WAS 859 00:32:29,381 --> 00:32:31,192 19-MONTH-OLD JASON CARTER, GRANDSON OF THE PRESIDENT, WAS BUSTED TODAY BY WASHINGTON 860 00:32:31,216 --> 00:32:32,994 GRANDSON OF THE PRESIDENT, WAS BUSTED TODAY BY WASHINGTON POLICE, LOCKED UP, AND CHARGED 861 00:32:33,018 --> 00:32:34,695 BUSTED TODAY BY WASHINGTON POLICE, LOCKED UP, AND CHARGED WITH LEAKING CLASSIFIED MATERIAL 862 00:32:34,719 --> 00:32:36,298 POLICE, LOCKED UP, AND CHARGED WITH LEAKING CLASSIFIED MATERIAL ON THE WHITE HOUSE FRONT LAWN. 863 00:32:36,322 --> 00:32:38,033 WITH LEAKING CLASSIFIED MATERIAL ON THE WHITE HOUSE FRONT LAWN. YOUNG CARTER FACES UP TO 20 864 00:32:38,057 --> 00:32:39,901 ON THE WHITE HOUSE FRONT LAWN. YOUNG CARTER FACES UP TO 20 YEARS OF TOILET TRAINING AT A 865 00:32:39,925 --> 00:32:43,038 YOUNG CARTER FACES UP TO 20 YEARS OF TOILET TRAINING AT A FEDERAL INSTITUTION. 866 00:32:43,062 --> 00:32:44,739 YEARS OF TOILET TRAINING AT A FEDERAL INSTITUTION. FIRST LADY ROSALYNN CARTER LAST 867 00:32:44,763 --> 00:32:46,474 FEDERAL INSTITUTION. FIRST LADY ROSALYNN CARTER LAST FRIDAY FORMALLY UNVEILED THE NEW 868 00:32:46,498 --> 00:32:47,875 FIRST LADY ROSALYNN CARTER LAST FRIDAY FORMALLY UNVEILED THE NEW OFFICIAL PORTRAIT OF THE 869 00:32:47,899 --> 00:32:49,610 FRIDAY FORMALLY UNVEILED THE NEW OFFICIAL PORTRAIT OF THE PRESIDENT, PAINTED ON COMMISSION 870 00:32:49,634 --> 00:32:53,714 OFFICIAL PORTRAIT OF THE PRESIDENT, PAINTED ON COMMISSION BY ARTIST WILLEM de KOONING. 871 00:32:53,738 --> 00:32:55,883 PRESIDENT, PAINTED ON COMMISSION BY ARTIST WILLEM de KOONING. AND IN A HEARTWARMING GESTURE OF 872 00:32:55,907 --> 00:32:58,019 BY ARTIST WILLEM de KOONING. AND IN A HEARTWARMING GESTURE OF SHOW BUSINESS, COMEDIAN BOB HOPE 873 00:32:58,043 --> 00:32:59,720 AND IN A HEARTWARMING GESTURE OF SHOW BUSINESS, COMEDIAN BOB HOPE HAS DONATED HIS BRAIN TO 874 00:32:59,744 --> 00:33:01,423 SHOW BUSINESS, COMEDIAN BOB HOPE HAS DONATED HIS BRAIN TO LUCILLE BALL. 875 00:33:01,447 --> 00:33:03,158 HAS DONATED HIS BRAIN TO LUCILLE BALL. POSING FOR THIS PICTURE, JUST 876 00:33:03,182 --> 00:33:04,960 LUCILLE BALL. POSING FOR THIS PICTURE, JUST AFTER THE TRANSPLANT OPERATION, 877 00:33:04,984 --> 00:33:06,794 POSING FOR THIS PICTURE, JUST AFTER THE TRANSPLANT OPERATION, LUCY SAID, "I FEEL MUCH FUNNIER 878 00:33:06,818 --> 00:33:07,728 AFTER THE TRANSPLANT OPERATION, LUCY SAID, "I FEEL MUCH FUNNIER ALREADY." 879 00:33:07,752 --> 00:33:11,266 LUCY SAID, "I FEEL MUCH FUNNIER ALREADY." MR. HOPE SAID NOTHING. 880 00:33:11,290 --> 00:33:12,867 ALREADY." MR. HOPE SAID NOTHING. AND NOW "WEEKEND UPDATE" 881 00:33:12,891 --> 00:33:14,836 MR. HOPE SAID NOTHING. AND NOW "WEEKEND UPDATE" REPORTER GARRETT MORRIS REPORTS 882 00:33:14,860 --> 00:33:16,871 AND NOW "WEEKEND UPDATE" REPORTER GARRETT MORRIS REPORTS ON THE BLACK GOVERNOR CONFERENCE 883 00:33:16,895 --> 00:33:18,073 REPORTER GARRETT MORRIS REPORTS ON THE BLACK GOVERNOR CONFERENCE BEING HELD AT THE 884 00:33:18,097 --> 00:33:19,207 ON THE BLACK GOVERNOR CONFERENCE BEING HELD AT THE AMERICANA HOTEL IN NEW YORK. 885 00:33:19,231 --> 00:33:21,542 BEING HELD AT THE AMERICANA HOTEL IN NEW YORK. COME IN, GARRETT. 886 00:33:21,566 --> 00:33:23,278 AMERICANA HOTEL IN NEW YORK. COME IN, GARRETT. THIS IS THE SECOND DAY OF THE 887 00:33:23,302 --> 00:33:24,879 COME IN, GARRETT. THIS IS THE SECOND DAY OF THE THIRD ANNUAL BLACK GOVERNORS' 888 00:33:24,903 --> 00:33:26,947 THIS IS THE SECOND DAY OF THE THIRD ANNUAL BLACK GOVERNORS' CONFERENCE. 889 00:33:26,971 --> 00:33:29,206 THE EXPECTED SHOWDOWN BETWEEN 890 00:33:29,340 --> 00:33:31,475 THE CONSERVATIVE AND LIBERAL 891 00:33:31,609 --> 00:33:33,410 BLACK GOVERNORS HAS NOT 892 00:33:33,544 --> 00:33:36,146 MATERIALIZED BECAUSE OF THE FACT 893 00:33:36,280 --> 00:33:37,947 THAT, FOR THE THIRD YEAR IN A 894 00:33:38,082 --> 00:33:41,718 ROW, NO ONE HAS SHOWN UP. 895 00:33:41,986 --> 00:33:48,769 NOW, I'M TOLD THAT THIS IS DUE TO THE FACT THAT THERE ARE NO BLACK GOVERNORS IN THE 896 00:33:48,793 --> 00:33:53,841 TO THE FACT THAT THERE ARE NO BLACK GOVERNORS IN THE UNITED STATES. 897 00:33:53,865 --> 00:33:55,743 BLACK GOVERNORS IN THE UNITED STATES. YOU COULDN'T FIND A BLACK 898 00:33:55,767 --> 00:33:58,113 UNITED STATES. YOU COULDN'T FIND A BLACK GOVERNOR IN THE UNITED STATES IF 899 00:33:58,137 --> 00:33:59,881 YOU COULDN'T FIND A BLACK GOVERNOR IN THE UNITED STATES IF MY LIFE DEPENDED ON IT. 900 00:33:59,905 --> 00:34:01,649 GOVERNOR IN THE UNITED STATES IF MY LIFE DEPENDED ON IT. I MEAN, I THOUGHT THIS WAS 901 00:34:01,673 --> 00:34:03,084 MY LIFE DEPENDED ON IT. I MEAN, I THOUGHT THIS WAS LARAINE NEWMAN'S THING... YOU 902 00:34:03,108 --> 00:34:05,086 I MEAN, I THOUGHT THIS WAS LARAINE NEWMAN'S THING... YOU KNOW, UH, JANE, SHOWING UP WHEN 903 00:34:05,110 --> 00:34:07,088 LARAINE NEWMAN'S THING... YOU KNOW, UH, JANE, SHOWING UP WHEN NOTHING'S HAPPENING? 904 00:34:07,112 --> 00:34:08,323 KNOW, UH, JANE, SHOWING UP WHEN NOTHING'S HAPPENING? JUST BECAUSE I'M BLACK DOESN'T 905 00:34:08,347 --> 00:34:09,590 NOTHING'S HAPPENING? JUST BECAUSE I'M BLACK DOESN'T MEAN YOU CAN PULL THAT STUFF ON 906 00:34:09,614 --> 00:34:11,726 JUST BECAUSE I'M BLACK DOESN'T MEAN YOU CAN PULL THAT STUFF ON ME, TOO. 907 00:34:11,750 --> 00:34:13,328 MEAN YOU CAN PULL THAT STUFF ON ME, TOO. YOU KNOW, I GOT FRIENDS. 908 00:34:13,352 --> 00:34:16,031 ME, TOO. YOU KNOW, I GOT FRIENDS. I'LL GET ALEX HALEY TO CANCEL 909 00:34:16,055 --> 00:34:17,499 YOU KNOW, I GOT FRIENDS. I'LL GET ALEX HALEY TO CANCEL YOUR "ROOTS"... 910 00:34:17,523 --> 00:34:19,000 I'LL GET ALEX HALEY TO CANCEL YOUR "ROOTS"... HONKY. 911 00:34:19,024 --> 00:34:20,335 YOUR "ROOTS"... HONKY. THIS IS GARRETT MORRIS AT THE 912 00:34:20,359 --> 00:34:23,638 HONKY. THIS IS GARRETT MORRIS AT THE AMERICANA HOTEL, SIGNING OFF. 913 00:34:23,662 --> 00:34:24,839 THIS IS GARRETT MORRIS AT THE AMERICANA HOTEL, SIGNING OFF. THANK YOU, GARRETT. 914 00:34:24,863 --> 00:34:26,474 AMERICANA HOTEL, SIGNING OFF. THANK YOU, GARRETT. WE ALL WONDERED WHEN YOU'D CATCH 915 00:34:26,498 --> 00:34:27,675 THANK YOU, GARRETT. WE ALL WONDERED WHEN YOU'D CATCH ON TO OUR LITTLE JOKE. 916 00:34:27,699 --> 00:34:28,876 WE ALL WONDERED WHEN YOU'D CATCH ON TO OUR LITTLE JOKE. HAVE FUN NEXT WEEK WHEN WE 917 00:34:28,900 --> 00:34:29,644 ON TO OUR LITTLE JOKE. HAVE FUN NEXT WEEK WHEN WE SEND YOU TO THE 918 00:34:29,668 --> 00:34:33,915 HAVE FUN NEXT WEEK WHEN WE SEND YOU TO THE CONFERENCE ON BLACK POPES. 919 00:34:33,939 --> 00:34:35,483 SEND YOU TO THE CONFERENCE ON BLACK POPES. SOURCES IN HOLLYWOOD SAY THAT 920 00:34:35,507 --> 00:34:37,185 CONFERENCE ON BLACK POPES. SOURCES IN HOLLYWOOD SAY THAT FILM DIRECTOR ROMAN POLANSKI HAS 921 00:34:37,209 --> 00:34:38,686 SOURCES IN HOLLYWOOD SAY THAT FILM DIRECTOR ROMAN POLANSKI HAS ANNOUNCED HE'S QUITTING THE 922 00:34:38,710 --> 00:34:40,288 FILM DIRECTOR ROMAN POLANSKI HAS ANNOUNCED HE'S QUITTING THE MOVIE BUSINESS AND WILL OPEN A 923 00:34:40,312 --> 00:34:45,427 ANNOUNCED HE'S QUITTING THE MOVIE BUSINESS AND WILL OPEN A BABYSITTING SERVICE. 924 00:34:45,451 --> 00:34:47,495 MOVIE BUSINESS AND WILL OPEN A BABYSITTING SERVICE. IN A SURPRISE MOVE THIS WEEK, 925 00:34:47,519 --> 00:34:49,230 BABYSITTING SERVICE. IN A SURPRISE MOVE THIS WEEK, IDI AMIN STEPPED DOWN AS 926 00:34:49,254 --> 00:34:51,466 IN A SURPRISE MOVE THIS WEEK, IDI AMIN STEPPED DOWN AS PRESIDENT OF UGANDA TO FULFILL A 927 00:34:51,490 --> 00:34:52,567 IDI AMIN STEPPED DOWN AS PRESIDENT OF UGANDA TO FULFILL A DREAM HE'S HAD SINCE 928 00:34:52,591 --> 00:34:53,868 PRESIDENT OF UGANDA TO FULFILL A DREAM HE'S HAD SINCE CHILDHOOD... THAT IS, 929 00:34:53,892 --> 00:34:54,869 DREAM HE'S HAD SINCE CHILDHOOD... THAT IS, BECOME A MEMBER OF THE 930 00:34:54,893 --> 00:34:57,838 CHILDHOOD... THAT IS, BECOME A MEMBER OF THE HARLEM GLOBETROTTERS. 931 00:34:57,862 --> 00:34:58,873 BECOME A MEMBER OF THE HARLEM GLOBETROTTERS. [WHISTLE AND BONES PLAY 932 00:34:58,897 --> 00:34:59,840 HARLEM GLOBETROTTERS. [WHISTLE AND BONES PLAY "SWEET GEORGIA BROWN"] 933 00:34:59,864 --> 00:35:00,875 [WHISTLE AND BONES PLAY "SWEET GEORGIA BROWN"] HEY, MAN, WHO'S THAT CAT 934 00:35:00,899 --> 00:35:01,809 ["SWEET GEORGIA BROWN"] HEY, MAN, WHO'S THAT CAT COMING DOWN THE STREET? 935 00:35:01,833 --> 00:35:03,010 HEY, MAN, WHO'S THAT CAT COMING DOWN THE STREET? I DON'T KNOW, BUT IT SOUND TO 936 00:35:03,034 --> 00:35:04,179 COMING DOWN THE STREET? I DON'T KNOW, BUT IT SOUND TO ME LIKE THAT WHISTLING MAN WITH 937 00:35:04,203 --> 00:35:04,979 I DON'T KNOW, BUT IT SOUND TO ME LIKE THAT WHISTLING MAN WITH THE BONES. 938 00:35:05,003 --> 00:35:07,014 ME LIKE THAT WHISTLING MAN WITH THE BONES. SURE HAS HIMSELF A BALL. 939 00:35:07,038 --> 00:35:09,198 THE BONES. SURE HAS HIMSELF A BALL. [MUSIC CONTINUES] 940 00:35:23,354 --> 00:35:29,370 MORE ON MEADOWLARK AMIN AS THE SEASON PROGRESSES. WELL, THE MOVIE "EARTHQUAKE" 941 00:35:29,394 --> 00:35:30,871 THE SEASON PROGRESSES. WELL, THE MOVIE "EARTHQUAKE" OPENED IN MALAYSIA THIS WEEK. 942 00:35:30,895 --> 00:35:32,373 WELL, THE MOVIE "EARTHQUAKE" OPENED IN MALAYSIA THIS WEEK. UNFORTUNATELY, A CARELESS 943 00:35:32,397 --> 00:35:33,975 OPENED IN MALAYSIA THIS WEEK. UNFORTUNATELY, A CARELESS PROJECTIONIST TURNED UP THE 944 00:35:33,999 --> 00:35:35,610 UNFORTUNATELY, A CARELESS PROJECTIONIST TURNED UP THE SENSURROUND A BIT TOO MUCH, 945 00:35:35,634 --> 00:35:37,312 PROJECTIONIST TURNED UP THE SENSURROUND A BIT TOO MUCH, KILLING THOUSANDS AND LEAVING 946 00:35:37,336 --> 00:35:40,681 SENSURROUND A BIT TOO MUCH, KILLING THOUSANDS AND LEAVING UNTOLD MILLIONS HOMELESS. 947 00:35:40,705 --> 00:35:42,450 KILLING THOUSANDS AND LEAVING UNTOLD MILLIONS HOMELESS. STILL TO COME, BEEKEEPERS HOLD 948 00:35:42,474 --> 00:35:44,185 UNTOLD MILLIONS HOMELESS. STILL TO COME, BEEKEEPERS HOLD BLACK MAN HOSTAGE, AFTER THIS 949 00:35:44,209 --> 00:35:45,320 STILL TO COME, BEEKEEPERS HOLD BLACK MAN HOSTAGE, AFTER THIS MESSAGE. 950 00:35:45,344 --> 00:35:49,157 BLACK MAN HOSTAGE, AFTER THIS MESSAGE. [APPLAUSE] 951 00:35:49,181 --> 00:35:51,426 MESSAGE. [APPLAUSE] "CANINE"... DOUBLE-WORD 952 00:35:51,450 --> 00:35:52,760 [APPLAUSE] "CANINE"... DOUBLE-WORD SCORE, 21 POINTS. 953 00:35:52,784 --> 00:35:54,729 "CANINE"... DOUBLE-WORD SCORE, 21 POINTS. GOOD. 954 00:35:54,753 --> 00:35:56,131 SCORE, 21 POINTS. GOOD. "CANINE." 955 00:35:56,155 --> 00:35:58,566 GOOD. "CANINE." GEE, SPARKY SEEMS SO DULL AND 956 00:35:58,590 --> 00:35:59,734 "CANINE." GEE, SPARKY SEEMS SO DULL AND LISTLESS LATELY. 957 00:35:59,758 --> 00:36:01,035 GEE, SPARKY SEEMS SO DULL AND LISTLESS LATELY. I WONDER IF ANYTHING'S WRONG 958 00:36:01,059 --> 00:36:01,569 LISTLESS LATELY. I WONDER IF ANYTHING'S WRONG WITH HIM. 959 00:36:01,593 --> 00:36:03,404 I WONDER IF ANYTHING'S WRONG WITH HIM. MY DOG, SKIPPY, USED TO BE 960 00:36:03,428 --> 00:36:05,140 WITH HIM. MY DOG, SKIPPY, USED TO BE LIKE THAT UNTIL I FOUND OUT 961 00:36:05,164 --> 00:36:06,640 MY DOG, SKIPPY, USED TO BE LIKE THAT UNTIL I FOUND OUT ABOUT PUPPY UPPERS. 962 00:36:06,664 --> 00:36:08,798 PUPPY UPPERS PEP UP YOUR POOCH. 963 00:36:08,932 --> 00:36:10,500 PLUS, THEY HELP CONTROL HIS 964 00:36:10,635 --> 00:36:11,134 WEIGHT. 965 00:36:11,269 --> 00:36:13,002 PUPPY UPPERS. 966 00:36:13,137 --> 00:36:14,437 MIND IF I TRY ONE? 967 00:36:14,705 --> 00:36:20,921 GO RIGHT AHEAD. HMM. SPARKY. 968 00:36:20,945 --> 00:36:23,491 HMM. SPARKY. [SPARKY BARKS] 969 00:36:23,515 --> 00:36:25,893 SPARKY. [SPARKY BARKS] "BONE"... TRIPLE-WORD SCORE, 25 970 00:36:25,917 --> 00:36:26,561 [SPARKY BARKS] "BONE"... TRIPLE-WORD SCORE, 25 POINTS. 971 00:36:26,585 --> 00:36:27,462 "BONE"... TRIPLE-WORD SCORE, 25 POINTS. VERY GOOD. 972 00:36:27,486 --> 00:36:28,263 POINTS. VERY GOOD. [SPARKY BARKING] 973 00:36:28,287 --> 00:36:31,166 VERY GOOD. [SPARKY BARKING] OKAY, OKAY, SPARKY. 974 00:36:31,190 --> 00:36:32,534 [SPARKY BARKING] OKAY, OKAY, SPARKY. HERE'S YOUR PUPPY UPPER. 975 00:36:32,558 --> 00:36:36,904 OKAY, OKAY, SPARKY. HERE'S YOUR PUPPY UPPER. [SPARKY WHIMPERING] 976 00:36:36,928 --> 00:36:38,706 HERE'S YOUR PUPPY UPPER. [SPARKY WHIMPERING] MAYBE IT'S ME, JILL, BUT I THINK 977 00:36:38,730 --> 00:36:40,508 [SPARKY WHIMPERING] MAYBE IT'S ME, JILL, BUT I THINK SPARKY'S PERKED UP A LITTLE TOO 978 00:36:40,532 --> 00:36:41,242 MAYBE IT'S ME, JILL, BUT I THINK SPARKY'S PERKED UP A LITTLE TOO MUCH. 979 00:36:41,266 --> 00:36:43,510 SPARKY'S PERKED UP A LITTLE TOO MUCH. NO ARGUMENT THERE, JOY. 980 00:36:43,534 --> 00:36:44,901 YOU KNOW, WHEN MY SKIPPY GETS 981 00:36:45,035 --> 00:36:46,503 A LITTLE TOO FRISKY, I GIVE HIM 982 00:36:46,637 --> 00:36:49,673 THESE... DOGGIE DOWNERS. 983 00:36:49,940 --> 00:36:55,022 "DOGGIE DOWNERS. MELLOWS OUT YOUR MUTT." MIND IF I TRY ONE? 984 00:36:55,046 --> 00:36:57,091 MELLOWS OUT YOUR MUTT." MIND IF I TRY ONE? GO RIGHT AHEAD. 985 00:36:57,115 --> 00:36:58,393 MIND IF I TRY ONE? GO RIGHT AHEAD. HMM. 986 00:36:58,417 --> 00:37:01,095 GO RIGHT AHEAD. HMM. [SPARKY WHINING] 987 00:37:01,119 --> 00:37:04,465 HMM. [SPARKY WHINING] [THUD] 988 00:37:04,489 --> 00:37:06,601 [SPARKY WHINING] [THUD] THAT'S PUPPY UPPERS, FOR WHEN 989 00:37:06,625 --> 00:37:08,703 [THUD] THAT'S PUPPY UPPERS, FOR WHEN YOUR DOG IS LIKE THIS. 990 00:37:08,727 --> 00:37:11,038 THAT'S PUPPY UPPERS, FOR WHEN YOUR DOG IS LIKE THIS. AND DOGGIE DOWNERS, FOR WHEN 991 00:37:11,062 --> 00:37:13,641 YOUR DOG IS LIKE THIS. AND DOGGIE DOWNERS, FOR WHEN YOUR DOG IS LIKE THIS. 992 00:37:13,665 --> 00:37:16,305 AND DOGGIE DOWNERS, FOR WHEN YOUR DOG IS LIKE THIS. FROM HOUND-DOZE. 993 00:37:21,639 --> 00:37:25,253 THIS JUST IN. IN BROOKLYN, A MAN WALKS INTO A PSYCHIATRIST'S OFFICE, SAYS, 994 00:37:25,277 --> 00:37:26,421 IN BROOKLYN, A MAN WALKS INTO A PSYCHIATRIST'S OFFICE, SAYS, "DOCTOR, DOCTOR, NO ONE WILL 995 00:37:26,445 --> 00:37:27,088 PSYCHIATRIST'S OFFICE, SAYS, "DOCTOR, DOCTOR, NO ONE WILL TALK TO ME." 996 00:37:27,112 --> 00:37:31,859 "DOCTOR, DOCTOR, NO ONE WILL TALK TO ME." THE DOCTOR SAYS, "NEXT." 997 00:37:31,883 --> 00:37:33,261 TALK TO ME." THE DOCTOR SAYS, "NEXT." OH, THAT NEW WRITER IS JUST 998 00:37:33,285 --> 00:37:33,861 THE DOCTOR SAYS, "NEXT." OH, THAT NEW WRITER IS JUST TERRIFIC. 999 00:37:33,885 --> 00:37:34,596 OH, THAT NEW WRITER IS JUST TERRIFIC. [LAUGHS] 1000 00:37:34,620 --> 00:37:35,796 TERRIFIC. [LAUGHS] AND NOW, BECAUSE OF 1001 00:37:35,820 --> 00:37:36,964 [LAUGHS] AND NOW, BECAUSE OF ST. PATRICK'S DAY, 1002 00:37:36,988 --> 00:37:38,566 AND NOW, BECAUSE OF ST. PATRICK'S DAY, MR. JOHN BELUSHI IS HERE TO 1003 00:37:38,590 --> 00:37:40,301 ST. PATRICK'S DAY, MR. JOHN BELUSHI IS HERE TO DISCUSS THE LUCK OF THE IRISH. 1004 00:37:40,325 --> 00:37:41,035 MR. JOHN BELUSHI IS HERE TO DISCUSS THE LUCK OF THE IRISH. THANK YOU. 1005 00:37:41,059 --> 00:37:42,337 DISCUSS THE LUCK OF THE IRISH. THANK YOU. THANK YOU VERY MUCH, JANE. 1006 00:37:42,361 --> 00:37:44,905 THANK YOU. THANK YOU VERY MUCH, JANE. WELL, IT'S THAT TIME AGAIN. 1007 00:37:44,929 --> 00:37:46,807 THANK YOU VERY MUCH, JANE. WELL, IT'S THAT TIME AGAIN. ST. PATRICK'S DAY HAS COME AND 1008 00:37:46,831 --> 00:37:48,576 WELL, IT'S THAT TIME AGAIN. ST. PATRICK'S DAY HAS COME AND GONE, AND, WELL, THE SONS OF 1009 00:37:48,600 --> 00:37:50,844 ST. PATRICK'S DAY HAS COME AND GONE, AND, WELL, THE SONS OF IRELAND ARE BASKING IN THE GLOW. 1010 00:37:50,868 --> 00:37:51,901 YOU KNOW, WHEN I THINK OF 1011 00:37:52,035 --> 00:37:53,202 IRELAND, I THINK OF A LOT OF 1012 00:37:53,337 --> 00:37:55,405 COLORFUL IRISH EXPRESSIONS LIKE, 1013 00:37:55,539 --> 00:37:56,873 "TOP OF THE MORNING TO YA," 1014 00:37:57,007 --> 00:37:58,608 "KISS THE BLARNEY STONE," "MAY 1015 00:37:58,743 --> 00:38:00,577 THE ROAD RISE TO MEET YA, " " MAY 1016 00:38:00,711 --> 00:38:02,078 YOU BE IN HEAVEN AN HOUR BEFORE 1017 00:38:02,212 --> 00:38:03,880 THE DEVIL KNOWS YOU'RE DEAD," 1018 00:38:04,014 --> 00:38:05,024 "I'D LIKE TO SMASH YOU IN THE 1019 00:38:05,048 --> 00:38:07,183 FACE WITH MY SHILLELAGH," 1020 00:38:07,318 --> 00:38:09,452 "DANNY BOY," "BEGORRA," "WAIL 1021 00:38:09,587 --> 00:38:10,731 OF THE BANSHEE, " AND " WHISKEY 1022 00:38:10,755 --> 00:38:11,931 FOR THE LEPRECHAUNS, WHISKEY FOR 1023 00:38:11,955 --> 00:38:13,189 THE LEPRECHAUNS." 1024 00:38:13,457 --> 00:38:18,606 BUT THE EXPRESSION I THINK MOST PEOPLE IDENTIFY WITH THE IRISH, IS, OF COURSE, "THE LUCK OF THE 1025 00:38:18,630 --> 00:38:19,707 PEOPLE IDENTIFY WITH THE IRISH, IS, OF COURSE, "THE LUCK OF THE IRISH." 1026 00:38:19,731 --> 00:38:21,976 IS, OF COURSE, "THE LUCK OF THE IRISH." "LUCK OF THE IRISH." 1027 00:38:22,000 --> 00:38:22,810 IRISH." "LUCK OF THE IRISH." SURE. 1028 00:38:22,834 --> 00:38:24,111 "LUCK OF THE IRISH." SURE. SAY YOU'RE IN A PUB SOMEWHERE IN 1029 00:38:24,135 --> 00:38:25,680 SURE. SAY YOU'RE IN A PUB SOMEWHERE IN IRELAND... OH, ANYWHERE IN 1030 00:38:25,704 --> 00:38:26,748 SAY YOU'RE IN A PUB SOMEWHERE IN IRELAND... OH, ANYWHERE IN IRELAND. 1031 00:38:26,772 --> 00:38:27,782 IRELAND... OH, ANYWHERE IN IRELAND. SOME GUY COMES UP TO YOU AND 1032 00:38:27,806 --> 00:38:29,350 IRELAND. SOME GUY COMES UP TO YOU AND SAYS, "HEY, IS THAT A BOMB I 1033 00:38:29,374 --> 00:38:30,251 SOME GUY COMES UP TO YOU AND SAYS, "HEY, IS THAT A BOMB I HEAR TICKING?" 1034 00:38:30,275 --> 00:38:32,420 SAYS, "HEY, IS THAT A BOMB I HEAR TICKING?" THEN BAM!! 1035 00:38:32,444 --> 00:38:33,921 HEAR TICKING?" THEN BAM!! YOUR SMALL INTESTINES ARE ON THE 1036 00:38:33,945 --> 00:38:35,390 THEN BAM!! YOUR SMALL INTESTINES ARE ON THE CEILING, AND YOUR BRAINS ARE ON 1037 00:38:35,414 --> 00:38:36,691 YOUR SMALL INTESTINES ARE ON THE CEILING, AND YOUR BRAINS ARE ON YOUR CAR ACROSS THE STREET. 1038 00:38:36,715 --> 00:38:37,992 CEILING, AND YOUR BRAINS ARE ON YOUR CAR ACROSS THE STREET. [CHUCKLES] 1039 00:38:38,016 --> 00:38:39,059 YOUR CAR ACROSS THE STREET. [CHUCKLES] THAT'S THE LUCK OF THE IRISH FOR 1040 00:38:39,083 --> 00:38:39,894 [CHUCKLES] THAT'S THE LUCK OF THE IRISH FOR YOU. 1041 00:38:39,918 --> 00:38:41,529 THAT'S THE LUCK OF THE IRISH FOR YOU. LOOK, WHO'S KIDDING WHO, OKAY? 1042 00:38:41,553 --> 00:38:43,598 YOU. LOOK, WHO'S KIDDING WHO, OKAY? LET'S TALK ABOUT THE BAD LUCK OF 1043 00:38:43,622 --> 00:38:45,500 LOOK, WHO'S KIDDING WHO, OKAY? LET'S TALK ABOUT THE BAD LUCK OF THE IRISH, ALL RIGHT? 1044 00:38:45,524 --> 00:38:46,434 LET'S TALK ABOUT THE BAD LUCK OF THE IRISH, ALL RIGHT? HOW ABOUT THIS? 1045 00:38:46,458 --> 00:38:48,269 THE IRISH, ALL RIGHT? HOW ABOUT THIS? POTATO FAMINE!! [CHUCKLES] 1046 00:38:48,293 --> 00:38:49,136 HOW ABOUT THIS? POTATO FAMINE!! [CHUCKLES] HOW ABOUT THAT? 1047 00:38:49,160 --> 00:38:50,104 POTATO FAMINE!! [CHUCKLES] HOW ABOUT THAT? IT SCARES THEM, DOESN'T IT? 1048 00:38:50,128 --> 00:38:52,707 HOW ABOUT THAT? IT SCARES THEM, DOESN'T IT? WELL, IT SHOULD. 1049 00:38:52,731 --> 00:38:53,974 IT SCARES THEM, DOESN'T IT? WELL, IT SHOULD. THAT'S WHY THEY CAME HERE IN THE 1050 00:38:53,998 --> 00:38:55,209 WELL, IT SHOULD. THAT'S WHY THEY CAME HERE IN THE FIRST PLACE... SO THEY WOULDN'T 1051 00:38:55,233 --> 00:38:56,277 THAT'S WHY THEY CAME HERE IN THE FIRST PLACE... SO THEY WOULDN'T HAVE TO WORK IN THE POTATO 1052 00:38:56,301 --> 00:38:57,111 FIRST PLACE... SO THEY WOULDN'T HAVE TO WORK IN THE POTATO FIELDS. 1053 00:38:57,135 --> 00:38:57,978 HAVE TO WORK IN THE POTATO FIELDS. THAT'S WHY THEY BECAME 1054 00:38:58,002 --> 00:39:00,080 FIELDS. THAT'S WHY THEY BECAME POLITICIANS, PRIESTS, AND COPS. 1055 00:39:00,104 --> 00:39:01,949 THAT'S WHY THEY BECAME POLITICIANS, PRIESTS, AND COPS. LUCK? GIVE ME A BREAK. 1056 00:39:01,973 --> 00:39:02,650 POLITICIANS, PRIESTS, AND COPS. LUCK? GIVE ME A BREAK. I GOT A FRIEND. 1057 00:39:02,674 --> 00:39:03,685 LUCK? GIVE ME A BREAK. I GOT A FRIEND. HIS NAME IS DAN SULLIVAN. 1058 00:39:03,709 --> 00:39:04,852 I GOT A FRIEND. HIS NAME IS DAN SULLIVAN. JOHN, GET TO THE POINT. 1059 00:39:04,876 --> 00:39:06,421 HIS NAME IS DAN SULLIVAN. JOHN, GET TO THE POINT. HE'S IRISH AS THEY COME. 1060 00:39:06,445 --> 00:39:07,922 JOHN, GET TO THE POINT. HE'S IRISH AS THEY COME. WE USED TO DRINK TOGETHER A LOT. 1061 00:39:07,946 --> 00:39:09,390 HE'S IRISH AS THEY COME. WE USED TO DRINK TOGETHER A LOT. AFTER TWO DRINKS, HE WOULD LOOK 1062 00:39:09,414 --> 00:39:10,858 WE USED TO DRINK TOGETHER A LOT. AFTER TWO DRINKS, HE WOULD LOOK LIKE AN IRISH PIRATE, YOU KNOW. 1063 00:39:10,882 --> 00:39:12,327 AFTER TWO DRINKS, HE WOULD LOOK LIKE AN IRISH PIRATE, YOU KNOW. YOU THINK HE HAD LUCK? 1064 00:39:12,351 --> 00:39:14,094 LIKE AN IRISH PIRATE, YOU KNOW. YOU THINK HE HAD LUCK? IN ONE DAY, HE GOT HIS CAR 1065 00:39:14,118 --> 00:39:15,830 YOU THINK HE HAD LUCK? IN ONE DAY, HE GOT HIS CAR STOLEN, AND THE STUPID... HE HAD 1066 00:39:15,854 --> 00:39:17,532 IN ONE DAY, HE GOT HIS CAR STOLEN, AND THE STUPID... HE HAD NO INSURANCE AND NO LICENSE, AND 1067 00:39:17,556 --> 00:39:19,266 STOLEN, AND THE STUPID... HE HAD NO INSURANCE AND NO LICENSE, AND THEN HE GETS LOCKED UP FOR BEING 1068 00:39:19,290 --> 00:39:19,967 NO INSURANCE AND NO LICENSE, AND THEN HE GETS LOCKED UP FOR BEING DRUNK. 1069 00:39:19,991 --> 00:39:22,036 THEN HE GETS LOCKED UP FOR BEING DRUNK. OKAY? SO, AFTER THAT, HE TAKES 1070 00:39:22,060 --> 00:39:23,904 DRUNK. OKAY? SO, AFTER THAT, HE TAKES OFF FOR SOMEPLACE LIKE INDIA OR 1071 00:39:23,928 --> 00:39:25,673 OKAY? SO, AFTER THAT, HE TAKES OFF FOR SOMEPLACE LIKE INDIA OR NEPAL OR SOMEPLACE LIKE THAT. 1072 00:39:25,697 --> 00:39:26,941 OFF FOR SOMEPLACE LIKE INDIA OR NEPAL OR SOMEPLACE LIKE THAT. AND HIS MOTHER DIES, YOU KNOW, 1073 00:39:26,965 --> 00:39:28,275 NEPAL OR SOMEPLACE LIKE THAT. AND HIS MOTHER DIES, YOU KNOW, SO THEY WIRE HIM AND TELL HIM TO 1074 00:39:28,299 --> 00:39:29,310 AND HIS MOTHER DIES, YOU KNOW, SO THEY WIRE HIM AND TELL HIM TO COME TO THE FUNERAL. 1075 00:39:29,334 --> 00:39:30,845 SO THEY WIRE HIM AND TELL HIM TO COME TO THE FUNERAL. YOU KNOW, HIS MOTHER'S FUNERAL. 1076 00:39:30,869 --> 00:39:32,380 COME TO THE FUNERAL. YOU KNOW, HIS MOTHER'S FUNERAL. JOHN, WHAT DOES THIS HAVE... 1077 00:39:32,404 --> 00:39:33,448 YOU KNOW, HIS MOTHER'S FUNERAL. JOHN, WHAT DOES THIS HAVE... ONE SECOND, WAIT. 1078 00:39:33,472 --> 00:39:35,282 JOHN, WHAT DOES THIS HAVE... ONE SECOND, WAIT. AND HE'S IN INDIA OR NEPAL, 1079 00:39:35,306 --> 00:39:37,084 ONE SECOND, WAIT. AND HE'S IN INDIA OR NEPAL, SITTING SQUAT-LEGGED LISTENING 1080 00:39:37,108 --> 00:39:38,353 AND HE'S IN INDIA OR NEPAL, SITTING SQUAT-LEGGED LISTENING TO SOME SACRED COW. 1081 00:39:38,377 --> 00:39:39,954 SITTING SQUAT-LEGGED LISTENING TO SOME SACRED COW. SO, HE COMES BACK AND HE GETS 1082 00:39:39,978 --> 00:39:41,422 TO SOME SACRED COW. SO, HE COMES BACK AND HE GETS STOPPED AT U.S. CUSTOMS FOR 1083 00:39:41,446 --> 00:39:43,023 SO, HE COMES BACK AND HE GETS STOPPED AT U.S. CUSTOMS FOR TRAFFICKING IN ILLEGAL DRUGS. 1084 00:39:43,047 --> 00:39:45,760 STOPPED AT U.S. CUSTOMS FOR TRAFFICKING IN ILLEGAL DRUGS. NOT HOLDING, HE'S TRAFFICKING. 1085 00:39:45,784 --> 00:39:46,761 TRAFFICKING IN ILLEGAL DRUGS. NOT HOLDING, HE'S TRAFFICKING. I MEAN, HERE'S THIS GUY 1086 00:39:46,785 --> 00:39:47,928 NOT HOLDING, HE'S TRAFFICKING. I MEAN, HERE'S THIS GUY SULLIVAN, HIS OLD LADY KICKS 1087 00:39:47,952 --> 00:39:49,029 I MEAN, HERE'S THIS GUY SULLIVAN, HIS OLD LADY KICKS OFF, HE GETS POPPED AT THE 1088 00:39:49,053 --> 00:39:50,164 SULLIVAN, HIS OLD LADY KICKS OFF, HE GETS POPPED AT THE BORDER, AND HE'S SITTING ON 1089 00:39:50,188 --> 00:39:51,799 OFF, HE GETS POPPED AT THE BORDER, AND HE'S SITTING ON 50 POUNDS OF BLACK TIBETAN 1090 00:39:51,823 --> 00:39:53,501 BORDER, AND HE'S SITTING ON 50 POUNDS OF BLACK TIBETAN FINGER HASH AND TWO KEYS OF 1091 00:39:53,525 --> 00:39:55,202 50 POUNDS OF BLACK TIBETAN FINGER HASH AND TWO KEYS OF SLAM! 1092 00:39:55,226 --> 00:39:57,405 FINGER HASH AND TWO KEYS OF SLAM! NOW, THAT'S NOT BAD LUCK. 1093 00:39:57,429 --> 00:39:59,273 SLAM! NOW, THAT'S NOT BAD LUCK. THAT'S DUMB LUCK. 1094 00:39:59,297 --> 00:40:00,341 NOW, THAT'S NOT BAD LUCK. THAT'S DUMB LUCK. I DON'T THINK LUCK HAS ANYTHING 1095 00:40:00,365 --> 00:40:00,908 THAT'S DUMB LUCK. I DON'T THINK LUCK HAS ANYTHING TO DO WITH IT! 1096 00:40:00,932 --> 00:40:01,642 I DON'T THINK LUCK HAS ANYTHING TO DO WITH IT! I THINK IT'S BRAINS! 1097 00:40:01,666 --> 00:40:03,010 TO DO WITH IT! I THINK IT'S BRAINS! I DON'T THINK THE GUY HAS ANY 1098 00:40:03,034 --> 00:40:03,778 I THINK IT'S BRAINS! I DON'T THINK THE GUY HAS ANY BRAINS AT ALL! 1099 00:40:03,802 --> 00:40:05,179 I DON'T THINK THE GUY HAS ANY BRAINS AT ALL! FIRST OF ALL, HE'S A DRUNK, THEN 1100 00:40:05,203 --> 00:40:05,913 BRAINS AT ALL! FIRST OF ALL, HE'S A DRUNK, THEN HE'S A JUNKIE! 1101 00:40:05,937 --> 00:40:07,281 FIRST OF ALL, HE'S A DRUNK, THEN HE'S A JUNKIE! NOW, I DON'T KNOW WHAT'S WORSE! 1102 00:40:07,305 --> 00:40:09,116 HE'S A JUNKIE! NOW, I DON'T KNOW WHAT'S WORSE! DON'T ASK ME. ASK SULLIVAN. 1103 00:40:09,140 --> 00:40:10,117 NOW, I DON'T KNOW WHAT'S WORSE! DON'T ASK ME. ASK SULLIVAN. AND WHAT HAPPENS? 1104 00:40:10,141 --> 00:40:11,719 DON'T ASK ME. ASK SULLIVAN. AND WHAT HAPPENS? HE CALLS ME UP AND HE SAYS, 1105 00:40:11,743 --> 00:40:13,521 AND WHAT HAPPENS? HE CALLS ME UP AND HE SAYS, "HEY, MAN, I GOT BUSTED AT THE 1106 00:40:13,545 --> 00:40:14,154 HE CALLS ME UP AND HE SAYS, "HEY, MAN, I GOT BUSTED AT THE BORDER. 1107 00:40:14,178 --> 00:40:15,490 "HEY, MAN, I GOT BUSTED AT THE BORDER. I NEED 5 GRAND BAIL." 1108 00:40:15,514 --> 00:40:15,956 BORDER. I NEED 5 GRAND BAIL." JOHN? 1109 00:40:15,980 --> 00:40:16,724 I NEED 5 GRAND BAIL." JOHN? WAIT A SECOND. 1110 00:40:16,748 --> 00:40:19,427 JOHN? WAIT A SECOND. I SAID... I SAID, "5 GRAND MAN!? 1111 00:40:19,451 --> 00:40:22,129 WAIT A SECOND. I SAID... I SAID, "5 GRAND MAN!? HEY, MAN, I'VE NEVER EVEN SEEN 1112 00:40:22,153 --> 00:40:24,432 I SAID... I SAID, "5 GRAND MAN!? HEY, MAN, I'VE NEVER EVEN SEEN $5,000 IN MY LIFE, SO DON'T ASK 1113 00:40:24,456 --> 00:40:25,700 HEY, MAN, I'VE NEVER EVEN SEEN $5,000 IN MY LIFE, SO DON'T ASK ME FOR IT, MAN. 1114 00:40:25,724 --> 00:40:26,834 $5,000 IN MY LIFE, SO DON'T ASK ME FOR IT, MAN. WHY DON'T YOU ASK YOUR MOTHER?!" 1115 00:40:26,858 --> 00:40:28,235 ME FOR IT, MAN. WHY DON'T YOU ASK YOUR MOTHER?!" WHICH WAS A DUMB THING FOR ME TO 1116 00:40:28,259 --> 00:40:29,370 WHY DON'T YOU ASK YOUR MOTHER?!" WHICH WAS A DUMB THING FOR ME TO SAY, BECAUSE HIS MOTHER JUST 1117 00:40:29,394 --> 00:40:30,070 WHICH WAS A DUMB THING FOR ME TO SAY, BECAUSE HIS MOTHER JUST DIED. 1118 00:40:30,094 --> 00:40:34,909 SAY, BECAUSE HIS MOTHER JUST DIED. NOW, I GOT THIS DRUNKEN IRISH 1119 00:40:34,933 --> 00:40:37,077 DIED. NOW, I GOT THIS DRUNKEN IRISH JUNKIE WHO WANTS TO KILL ME 1120 00:40:37,101 --> 00:40:38,846 NOW, I GOT THIS DRUNKEN IRISH JUNKIE WHO WANTS TO KILL ME BECAUSE OF WHAT I SAID ABOUT HIS 1121 00:40:38,870 --> 00:40:40,214 JUNKIE WHO WANTS TO KILL ME BECAUSE OF WHAT I SAID ABOUT HIS MOTHER BEING IN TERMINAL 1122 00:40:40,238 --> 00:40:41,883 BECAUSE OF WHAT I SAID ABOUT HIS MOTHER BEING IN TERMINAL DREAMLAND, YOU KNOW. 1123 00:40:41,907 --> 00:40:44,452 MOTHER BEING IN TERMINAL DREAMLAND, YOU KNOW. OH, ONE THING... LEAVE ME 1124 00:40:44,476 --> 00:40:45,052 DREAMLAND, YOU KNOW. OH, ONE THING... LEAVE ME ALONE!! 1125 00:40:45,076 --> 00:40:46,353 OH, ONE THING... LEAVE ME ALONE!! ONE THING! 1126 00:40:46,377 --> 00:40:47,955 ALONE!! ONE THING! THEY LOVE THEIR MOTHERS, BOY! 1127 00:40:47,979 --> 00:40:49,624 ONE THING! THEY LOVE THEIR MOTHERS, BOY! OH, THEY LOVE THEIR MOTHERS. 1128 00:40:49,648 --> 00:40:51,526 THEY LOVE THEIR MOTHERS, BOY! OH, THEY LOVE THEIR MOTHERS. IT'S MAMA THIS AND MAMA THAT. 1129 00:40:51,550 --> 00:40:53,127 OH, THEY LOVE THEIR MOTHERS. IT'S MAMA THIS AND MAMA THAT. "OH, MY IRISH MOTHER!" 1130 00:40:53,151 --> 00:40:54,896 IT'S MAMA THIS AND MAMA THAT. "OH, MY IRISH MOTHER!" "IRELAND MUST BE HEAVEN, BECAUSE 1131 00:40:54,920 --> 00:40:56,431 "OH, MY IRISH MOTHER!" "IRELAND MUST BE HEAVEN, BECAUSE MY MOTHER COMES FROM THERE!" 1132 00:40:56,455 --> 00:40:58,533 "IRELAND MUST BE HEAVEN, BECAUSE MY MOTHER COMES FROM THERE!" AAH! 1133 00:40:58,557 --> 00:41:00,356 MY MOTHER COMES FROM THERE!" AAH! AAH! 1134 00:41:07,097 --> 00:41:14,214 [CLEARS THROAT] THAT'S THE NEWS FOR TONIGHT. GOOD NIGHT, MARY RICHARDS, AND 1135 00:41:14,238 --> 00:41:16,150 THAT'S THE NEWS FOR TONIGHT. GOOD NIGHT, MARY RICHARDS, AND HAVE A PLEASANT TOMORROW. 1136 00:41:16,174 --> 00:41:20,443 GOOD NIGHT, MARY RICHARDS, AND HAVE A PLEASANT TOMORROW. [CHEERS AND APPLAUSE] 1137 00:41:20,711 --> 00:41:24,246 [DRAMATIC THEME MUSIC PLAYS] 1138 00:41:24,381 --> 00:41:25,615 WHENEVER THE LAWS OF ANY 1139 00:41:25,749 --> 00:41:26,883 STATE ARE BROKEN, A DULY 1140 00:41:27,017 --> 00:41:28,384 AUTHORIZED ORGANIZATION SWINGS 1141 00:41:28,519 --> 00:41:29,018 INTO ACTION. 1142 00:41:29,152 --> 00:41:30,553 THEY MAY BE CALLED THE STATE 1143 00:41:30,688 --> 00:41:32,254 POLICE, STATE TROOPERS, MILITIA, 1144 00:41:32,389 --> 00:41:33,957 THE RANGERS, THE PIGS, THE HEAT, 1145 00:41:34,091 --> 00:41:35,592 THE KLINGONS, OR THE HIGHWAY 1146 00:41:35,726 --> 00:41:36,726 PATROL. 1147 00:41:36,794 --> 00:41:38,227 THESE ARE THE STORIES OF THE MEN 1148 00:41:38,362 --> 00:41:39,729 WHOSE TRAINING, SKILL, COURAGE, 1149 00:41:39,864 --> 00:41:41,297 AND EQUIPMENT MAKE FOR EXCELLENT 1150 00:41:41,431 --> 00:41:45,134 TV ENTERTAINMENT. 1151 00:41:45,402 --> 00:41:50,050 CAPTAIN MATHEWS, WE PULLED A CARFUL OF DRUNKS OVER NEAR MALIBU. 1152 00:41:50,074 --> 00:41:50,952 CARFUL OF DRUNKS OVER NEAR MALIBU. SO, WHERE ARE THEY? 1153 00:41:50,976 --> 00:41:52,152 MALIBU. SO, WHERE ARE THEY? WELL, WE LOCKED ALL OF THEM 1154 00:41:52,176 --> 00:41:52,954 SO, WHERE ARE THEY? WELL, WE LOCKED ALL OF THEM UP BUT THE DRIVER. 1155 00:41:52,978 --> 00:41:53,855 WELL, WE LOCKED ALL OF THEM UP BUT THE DRIVER. NONE OF THEM HAVE ANY 1156 00:41:53,879 --> 00:41:54,622 UP BUT THE DRIVER. NONE OF THEM HAVE ANY IDENTIFICATION. 1157 00:41:54,646 --> 00:41:55,857 NONE OF THEM HAVE ANY IDENTIFICATION. THEN BRING IN THE DRIVER. 1158 00:41:55,881 --> 00:41:57,191 IDENTIFICATION. THEN BRING IN THE DRIVER. OKAY. 1159 00:41:57,215 --> 00:41:59,594 THEN BRING IN THE DRIVER. OKAY. COME IN HERE, WILL YA? 1160 00:41:59,618 --> 00:42:01,596 OKAY. COME IN HERE, WILL YA? SIT DOWN THERE, PUNK. 1161 00:42:01,620 --> 00:42:05,800 COME IN HERE, WILL YA? SIT DOWN THERE, PUNK. SIT DOWN, SIT DOWN, SIT DOWN. 1162 00:42:05,824 --> 00:42:07,969 SIT DOWN THERE, PUNK. SIT DOWN, SIT DOWN, SIT DOWN. WHAT'S YOUR NAME, KID? 1163 00:42:07,993 --> 00:42:09,637 SIT DOWN, SIT DOWN, SIT DOWN. WHAT'S YOUR NAME, KID? I HAVE CONSTITUTIONAL RIGHTS. 1164 00:42:09,661 --> 00:42:10,771 WHAT'S YOUR NAME, KID? I HAVE CONSTITUTIONAL RIGHTS. I'M NOT OBLIGED TO ANSWER THAT 1165 00:42:10,795 --> 00:42:11,205 I HAVE CONSTITUTIONAL RIGHTS. I'M NOT OBLIGED TO ANSWER THAT QUESTION. 1166 00:42:11,229 --> 00:42:12,339 I'M NOT OBLIGED TO ANSWER THAT QUESTION. LOOK, DON'T MAKE TROUBLE FOR 1167 00:42:12,363 --> 00:42:12,807 QUESTION. LOOK, DON'T MAKE TROUBLE FOR YOURSELF. 1168 00:42:12,831 --> 00:42:13,875 LOOK, DON'T MAKE TROUBLE FOR YOURSELF. YOU WANT TO GET STRAIGHTENED 1169 00:42:13,899 --> 00:42:15,042 YOURSELF. YOU WANT TO GET STRAIGHTENED OUT, I'LL GIVE YOU A BREAK, BUT, 1170 00:42:15,066 --> 00:42:16,076 YOU WANT TO GET STRAIGHTENED OUT, I'LL GIVE YOU A BREAK, BUT, RIGHT NOW, YOU'RE FACING THREE 1171 00:42:16,100 --> 00:42:17,144 OUT, I'LL GIVE YOU A BREAK, BUT, RIGHT NOW, YOU'RE FACING THREE MONTHS IN THE SLAMMER FOR DRUNK 1172 00:42:17,168 --> 00:42:18,145 RIGHT NOW, YOU'RE FACING THREE MONTHS IN THE SLAMMER FOR DRUNK DRIVING. 1173 00:42:18,169 --> 00:42:19,580 MONTHS IN THE SLAMMER FOR DRUNK DRIVING. NOW, WHAT THE HELL'S YOUR NAME? 1174 00:42:19,604 --> 00:42:21,181 DRIVING. NOW, WHAT THE HELL'S YOUR NAME? JACK KEROUAC. 1175 00:42:21,205 --> 00:42:23,317 NOW, WHAT THE HELL'S YOUR NAME? JACK KEROUAC. [SUSPENSEFUL MUSIC PLAYS] 1176 00:42:23,341 --> 00:42:25,019 JACK KEROUAC. [SUSPENSEFUL MUSIC PLAYS] TELL ME, WHO WAS IN THE CAR 1177 00:42:25,043 --> 00:42:25,720 [SUSPENSEFUL MUSIC PLAYS] TELL ME, WHO WAS IN THE CAR WITH YOU? 1178 00:42:25,744 --> 00:42:26,921 TELL ME, WHO WAS IN THE CAR WITH YOU? NEAL CASSADY, 1179 00:42:26,945 --> 00:42:28,656 WITH YOU? NEAL CASSADY, LAWRENCE FERLINGHETTI, AND 1180 00:42:28,680 --> 00:42:30,825 NEAL CASSADY, LAWRENCE FERLINGHETTI, AND GINSBERG. 1181 00:42:30,849 --> 00:42:31,392 LAWRENCE FERLINGHETTI, AND GINSBERG. KEROUAC? 1182 00:42:31,416 --> 00:42:32,560 GINSBERG. KEROUAC? OH, WAIT A MINUTE, KEROUAC, 1183 00:42:32,584 --> 00:42:33,961 KEROUAC? OH, WAIT A MINUTE, KEROUAC, KEROUAC. 1184 00:42:33,985 --> 00:42:35,029 OH, WAIT A MINUTE, KEROUAC, KEROUAC. HEY, I THINK I READ THAT BOOK 1185 00:42:35,053 --> 00:42:35,496 KEROUAC. HEY, I THINK I READ THAT BOOK YOU WROTE. 1186 00:42:35,520 --> 00:42:36,163 HEY, I THINK I READ THAT BOOK YOU WROTE. "ON THE ROAD"? 1187 00:42:36,187 --> 00:42:37,532 YOU WROTE. "ON THE ROAD"? YEAH, "ON THE ROAD." 1188 00:42:37,556 --> 00:42:39,166 "ON THE ROAD"? YEAH, "ON THE ROAD." YOU KNOW, THAT BOOK MAKES YOU 1189 00:42:39,190 --> 00:42:40,868 YEAH, "ON THE ROAD." YOU KNOW, THAT BOOK MAKES YOU OUT A VERY UNSAFE DRIVER, KID. 1190 00:42:40,892 --> 00:42:42,637 YOU KNOW, THAT BOOK MAKES YOU OUT A VERY UNSAFE DRIVER, KID. IT'S NOT ME, MAN, IT'S THE 1191 00:42:42,661 --> 00:42:43,771 OUT A VERY UNSAFE DRIVER, KID. IT'S NOT ME, MAN, IT'S THE AMERICAN HIGHWAY. 1192 00:42:43,795 --> 00:42:45,372 IT'S NOT ME, MAN, IT'S THE AMERICAN HIGHWAY. WHERE GOEST THOU, AMERICA? 1193 00:42:45,396 --> 00:42:46,941 AMERICAN HIGHWAY. WHERE GOEST THOU, AMERICA? WHERE GOEST THOU IN THY SHINY, 1194 00:42:46,965 --> 00:42:48,208 WHERE GOEST THOU, AMERICA? WHERE GOEST THOU IN THY SHINY, BLACK CAR IN THE NIGHT? 1195 00:42:48,232 --> 00:42:49,510 WHERE GOEST THOU IN THY SHINY, BLACK CAR IN THE NIGHT? MOTION AND, WHOOSH, THE GRAY 1196 00:42:49,534 --> 00:42:50,878 BLACK CAR IN THE NIGHT? MOTION AND, WHOOSH, THE GRAY SKIES ABOVE THE STEEL MILL AT 1197 00:42:50,902 --> 00:42:52,146 MOTION AND, WHOOSH, THE GRAY SKIES ABOVE THE STEEL MILL AT DAWN AND, WHOOSH, THE TRUCK 1198 00:42:52,170 --> 00:42:53,881 SKIES ABOVE THE STEEL MILL AT DAWN AND, WHOOSH, THE TRUCK STOPS AND NEON AND THE SINGING 1199 00:42:53,905 --> 00:42:55,650 DAWN AND, WHOOSH, THE TRUCK STOPS AND NEON AND THE SINGING OF BLACKTOP IN THE RAIN, AND ME 1200 00:42:55,674 --> 00:42:56,417 STOPS AND NEON AND THE SINGING OF BLACKTOP IN THE RAIN, AND ME IN MY... 1201 00:42:56,441 --> 00:42:57,718 OF BLACKTOP IN THE RAIN, AND ME IN MY... WHOA, HOLD UP. 1202 00:42:57,742 --> 00:42:59,086 IN MY... WHOA, HOLD UP. LOCK THIS GUY UP AND LET HIM 1203 00:42:59,110 --> 00:43:00,087 WHOA, HOLD UP. LOCK THIS GUY UP AND LET HIM SLEEP IT OFF, WILL YA? 1204 00:43:00,111 --> 00:43:02,189 LOCK THIS GUY UP AND LET HIM SLEEP IT OFF, WILL YA? COME ON. 1205 00:43:02,213 --> 00:43:04,391 SLEEP IT OFF, WILL YA? COME ON. HEY, WAIT A MINUTE, KEROUAC. 1206 00:43:04,415 --> 00:43:05,726 COME ON. HEY, WAIT A MINUTE, KEROUAC. YOU KNOW, YOU WRITE PRETTY GOOD 1207 00:43:05,750 --> 00:43:06,126 HEY, WAIT A MINUTE, KEROUAC. YOU KNOW, YOU WRITE PRETTY GOOD PROSE? 1208 00:43:06,150 --> 00:43:06,928 YOU KNOW, YOU WRITE PRETTY GOOD PROSE? THANKS A LOT. 1209 00:43:06,952 --> 00:43:08,262 PROSE? THANKS A LOT. OH, TAKE HIM THE HELL OUT OF 1210 00:43:08,286 --> 00:43:08,963 THANKS A LOT. OH, TAKE HIM THE HELL OUT OF HERE, WILL YA? 1211 00:43:08,987 --> 00:43:09,931 OH, TAKE HIM THE HELL OUT OF HERE, WILL YA? COME ON, LET'S GO. 1212 00:43:09,955 --> 00:43:12,499 HERE, WILL YA? COME ON, LET'S GO. 2125 TO 2150. 1213 00:43:12,523 --> 00:43:13,133 COME ON, LET'S GO. 2125 TO 2150. [CLATTER] 1214 00:43:13,157 --> 00:43:14,368 2125 TO 2150. [CLATTER] SORRY, CAPTAIN MATHEWS. 1215 00:43:14,392 --> 00:43:16,837 [CLATTER] SORRY, CAPTAIN MATHEWS. THAT'S ALL RIGHT, PICK IT UP. 1216 00:43:16,861 --> 00:43:19,574 SORRY, CAPTAIN MATHEWS. THAT'S ALL RIGHT, PICK IT UP. 2125... 2125 TO 2150. 1217 00:43:19,598 --> 00:43:21,108 THAT'S ALL RIGHT, PICK IT UP. 2125... 2125 TO 2150. 2150. BYE. 1218 00:43:21,132 --> 00:43:23,778 2125... 2125 TO 2150. 2150. BYE. TROUBLE AT THE PINK HOTEL. 1219 00:43:23,802 --> 00:43:24,946 2150. BYE. TROUBLE AT THE PINK HOTEL. WHAT'S UP? 1220 00:43:24,970 --> 00:43:26,747 TROUBLE AT THE PINK HOTEL. WHAT'S UP? A GIRL IS HOLDING HER SIAMESE 1221 00:43:26,771 --> 00:43:27,615 WHAT'S UP? A GIRL IS HOLDING HER SIAMESE TWIN HOSTAGE. 1222 00:43:27,639 --> 00:43:28,649 A GIRL IS HOLDING HER SIAMESE TWIN HOSTAGE. SHE'S GOT A GUN. 1223 00:43:28,673 --> 00:43:29,917 TWIN HOSTAGE. SHE'S GOT A GUN. WELL, KEEP HER TALKING TILL I 1224 00:43:29,941 --> 00:43:30,718 SHE'S GOT A GUN. WELL, KEEP HER TALKING TILL I GET THERE, WILL YA? 1225 00:43:30,742 --> 00:43:32,453 WELL, KEEP HER TALKING TILL I GET THERE, WILL YA? ALL RIGHT, COME ON, LET'S MOVE. 1226 00:43:32,477 --> 00:43:39,093 GET THERE, WILL YA? ALL RIGHT, COME ON, LET'S MOVE. COME ON, MOVE, MOVE, MOVE! 1227 00:43:39,117 --> 00:43:42,517 ALL RIGHT, COME ON, LET'S MOVE. COME ON, MOVE, MOVE, MOVE! [DRAMATIC THEME MUSIC PLAYS] 1228 00:43:48,158 --> 00:43:52,573 ALL RIGHT, WHAT ARE HER DEMANDS? DEMANDS? WHY IS SHE HOLDING HER SISTER 1229 00:43:52,597 --> 00:43:53,107 DEMANDS? WHY IS SHE HOLDING HER SISTER HOSTAGE? 1230 00:43:53,131 --> 00:43:54,508 WHY IS SHE HOLDING HER SISTER HOSTAGE? GEE, I DIDN'T THINK TO ASK. 1231 00:43:54,532 --> 00:43:55,776 HOSTAGE? GEE, I DIDN'T THINK TO ASK. I'VE JUST BEEN TELLING HER, 1232 00:43:55,800 --> 00:43:57,011 GEE, I DIDN'T THINK TO ASK. I'VE JUST BEEN TELLING HER, "EVERYTHING'S GONNA BE ALL 1233 00:43:57,035 --> 00:43:58,045 I'VE JUST BEEN TELLING HER, "EVERYTHING'S GONNA BE ALL RIGHT, SWEETHEART," THAT'S ALL. 1234 00:43:58,069 --> 00:43:59,013 "EVERYTHING'S GONNA BE ALL RIGHT, SWEETHEART," THAT'S ALL. WHAT'S HER NAME? 1235 00:43:59,037 --> 00:44:00,615 RIGHT, SWEETHEART," THAT'S ALL. WHAT'S HER NAME? NAME? I DIDN'T THINK TO ASK 1236 00:44:00,639 --> 00:44:01,582 WHAT'S HER NAME? NAME? I DIDN'T THINK TO ASK HER THAT, EITHER. 1237 00:44:01,606 --> 00:44:04,184 NAME? I DIDN'T THINK TO ASK HER THAT, EITHER. GIVE ME THAT THING, WILL YA? 1238 00:44:04,208 --> 00:44:05,853 HER THAT, EITHER. GIVE ME THAT THING, WILL YA? THIS IS CAPTAIN MATHEWS OF THE 1239 00:44:05,877 --> 00:44:06,821 GIVE ME THAT THING, WILL YA? THIS IS CAPTAIN MATHEWS OF THE HIGHWAY PATROL. 1240 00:44:06,845 --> 00:44:08,522 THIS IS CAPTAIN MATHEWS OF THE HIGHWAY PATROL. WHY ARE YOU HOLDING YOUR SISTER 1241 00:44:08,546 --> 00:44:09,690 HIGHWAY PATROL. WHY ARE YOU HOLDING YOUR SISTER HOSTAGE? 1242 00:44:09,714 --> 00:44:10,958 WHY ARE YOU HOLDING YOUR SISTER HOSTAGE? I'M... I'M CALLING THE 1243 00:44:10,982 --> 00:44:12,493 HOSTAGE? I'M... I'M CALLING THE WORLD'S ATTENTION TO THE PLIGHT 1244 00:44:12,517 --> 00:44:13,995 I'M... I'M CALLING THE WORLD'S ATTENTION TO THE PLIGHT OF THE OPPRESSED SIAMESE TWINS 1245 00:44:14,019 --> 00:44:15,295 WORLD'S ATTENTION TO THE PLIGHT OF THE OPPRESSED SIAMESE TWINS EVERYWHERE! 1246 00:44:15,319 --> 00:44:16,530 OF THE OPPRESSED SIAMESE TWINS EVERYWHERE! I HAVE TWO DEMANDS! 1247 00:44:16,554 --> 00:44:18,398 EVERYWHERE! I HAVE TWO DEMANDS! IF THEY'RE NOT MET, I'LL KILL MY 1248 00:44:18,422 --> 00:44:19,066 I HAVE TWO DEMANDS! IF THEY'RE NOT MET, I'LL KILL MY SISTER! 1249 00:44:19,090 --> 00:44:21,168 IF THEY'RE NOT MET, I'LL KILL MY SISTER! LISTEN TO HER! SHE'S SERIOUS! 1250 00:44:21,192 --> 00:44:22,336 SISTER! LISTEN TO HER! SHE'S SERIOUS! WAIT A MINUTE, IF YOU KILL 1251 00:44:22,360 --> 00:44:23,570 LISTEN TO HER! SHE'S SERIOUS! WAIT A MINUTE, IF YOU KILL YOUR SISTER, YOU'RE GONNA DIE, 1252 00:44:23,594 --> 00:44:24,471 WAIT A MINUTE, IF YOU KILL YOUR SISTER, YOU'RE GONNA DIE, TOO. 1253 00:44:24,495 --> 00:44:25,806 YOUR SISTER, YOU'RE GONNA DIE, TOO. YOU GOT THE PICTURE, 1254 00:44:25,830 --> 00:44:26,440 TOO. YOU GOT THE PICTURE, FLATFOOT! 1255 00:44:26,464 --> 00:44:28,009 YOU GOT THE PICTURE, FLATFOOT! WE'RE TALKING MURDER-SUICIDE 1256 00:44:28,033 --> 00:44:28,709 FLATFOOT! WE'RE TALKING MURDER-SUICIDE HERE! 1257 00:44:28,733 --> 00:44:30,678 WE'RE TALKING MURDER-SUICIDE HERE! SHE DOESN'T KID! SHE'S CRAZY! 1258 00:44:30,702 --> 00:44:31,512 HERE! SHE DOESN'T KID! SHE'S CRAZY! SHUT UP! 1259 00:44:31,536 --> 00:44:33,114 SHE DOESN'T KID! SHE'S CRAZY! SHUT UP! WHAT ARE YOUR DEMANDS? 1260 00:44:33,138 --> 00:44:35,683 SHUT UP! WHAT ARE YOUR DEMANDS? DEMAND NUMBER ONE... I WANT A 1261 00:44:35,707 --> 00:44:37,785 WHAT ARE YOUR DEMANDS? DEMAND NUMBER ONE... I WANT A JOB THAT ISN'T IN ANY WAY 1262 00:44:37,809 --> 00:44:39,954 DEMAND NUMBER ONE... I WANT A JOB THAT ISN'T IN ANY WAY CONNECTED WITH THE CIRCUS. 1263 00:44:39,978 --> 00:44:41,488 JOB THAT ISN'T IN ANY WAY CONNECTED WITH THE CIRCUS. AND, NUMBER TWO, I WANT MY 1264 00:44:41,512 --> 00:44:43,223 CONNECTED WITH THE CIRCUS. AND, NUMBER TWO, I WANT MY SISTER AND I CONSIDERED AS ONE 1265 00:44:43,247 --> 00:44:45,059 AND, NUMBER TWO, I WANT MY SISTER AND I CONSIDERED AS ONE PERSON WHEN WE GO TO BUY AIRLINE 1266 00:44:45,083 --> 00:44:46,827 SISTER AND I CONSIDERED AS ONE PERSON WHEN WE GO TO BUY AIRLINE TICKETS. 1267 00:44:46,851 --> 00:44:47,895 PERSON WHEN WE GO TO BUY AIRLINE TICKETS. CAPTAIN MATHEWS, UH, TWO 1268 00:44:47,919 --> 00:44:48,929 TICKETS. CAPTAIN MATHEWS, UH, TWO PRIESTS FROM THE PARISH ARE 1269 00:44:48,953 --> 00:44:49,263 CAPTAIN MATHEWS, UH, TWO PRIESTS FROM THE PARISH ARE HERE. 1270 00:44:49,287 --> 00:44:50,430 PRIESTS FROM THE PARISH ARE HERE. THEY WANT A CHANCE TO TALK HER 1271 00:44:50,454 --> 00:44:50,931 HERE. THEY WANT A CHANCE TO TALK HER DOWN. 1272 00:44:50,955 --> 00:44:52,432 THEY WANT A CHANCE TO TALK HER DOWN. CAPTAIN MATHEWS, THIS IS 1273 00:44:52,456 --> 00:44:53,367 DOWN. CAPTAIN MATHEWS, THIS IS FATHER TIM, FATHER ROY, THE 1274 00:44:53,391 --> 00:44:54,001 CAPTAIN MATHEWS, THIS IS FATHER TIM, FATHER ROY, THE SIAMESE PRIESTS. 1275 00:44:54,025 --> 00:44:55,435 FATHER TIM, FATHER ROY, THE SIAMESE PRIESTS. HOW ARE YOU, FATHER? 1276 00:44:55,459 --> 00:44:56,603 SIAMESE PRIESTS. HOW ARE YOU, FATHER? [Irish accent] YOU KNOW, 1277 00:44:56,627 --> 00:44:57,705 HOW ARE YOU, FATHER? [Irish accent] YOU KNOW, CAPTAIN MATHEWS, WE THOUGHT 1278 00:44:57,729 --> 00:44:58,873 [Irish accent] YOU KNOW, CAPTAIN MATHEWS, WE THOUGHT MAYBE THAT WE COULD BRING THE 1279 00:44:58,897 --> 00:44:59,907 CAPTAIN MATHEWS, WE THOUGHT MAYBE THAT WE COULD BRING THE LORD'S HELP. 1280 00:44:59,931 --> 00:45:01,308 MAYBE THAT WE COULD BRING THE LORD'S HELP. [Irish accent] GIVE THE 1281 00:45:01,332 --> 00:45:02,777 LORD'S HELP. [Irish accent] GIVE THE GIRL HALF A CHANCE, AND SHE'LL 1282 00:45:02,801 --> 00:45:03,644 [Irish accent] GIVE THE GIRL HALF A CHANCE, AND SHE'LL HAND ME THE GUN. 1283 00:45:03,668 --> 00:45:04,545 GIRL HALF A CHANCE, AND SHE'LL HAND ME THE GUN. THAT IS, IF SHE'S 1284 00:45:04,569 --> 00:45:05,179 HAND ME THE GUN. THAT IS, IF SHE'S RIGHT-HANDED. 1285 00:45:05,203 --> 00:45:06,446 THAT IS, IF SHE'S RIGHT-HANDED. IF SHE'S LEFT-HANDED, SHE'LL BE 1286 00:45:06,470 --> 00:45:07,314 RIGHT-HANDED. IF SHE'S LEFT-HANDED, SHE'LL BE HANDING ME THE GUN. 1287 00:45:07,338 --> 00:45:08,549 IF SHE'S LEFT-HANDED, SHE'LL BE HANDING ME THE GUN. SHE'LL HAND ME THE GUN. 1288 00:45:08,573 --> 00:45:10,017 HANDING ME THE GUN. SHE'LL HAND ME THE GUN. IT WAS MY IDEA. I SAID IT FIRST. 1289 00:45:10,041 --> 00:45:11,152 SHE'LL HAND ME THE GUN. IT WAS MY IDEA. I SAID IT FIRST. YES, BUT I THOUGHT OF IT 1290 00:45:11,176 --> 00:45:11,518 IT WAS MY IDEA. I SAID IT FIRST. YES, BUT I THOUGHT OF IT FIRST. 1291 00:45:11,542 --> 00:45:12,653 YES, BUT I THOUGHT OF IT FIRST. I HAD IT IN A DREAM SEVERAL 1292 00:45:12,677 --> 00:45:13,220 FIRST. I HAD IT IN A DREAM SEVERAL NIGHTS AGO! 1293 00:45:13,244 --> 00:45:14,288 I HAD IT IN A DREAM SEVERAL NIGHTS AGO! WAIT A MINUTE, PLEASE, 1294 00:45:14,312 --> 00:45:15,222 NIGHTS AGO! WAIT A MINUTE, PLEASE, FATHERS! 1295 00:45:15,246 --> 00:45:16,757 WAIT A MINUTE, PLEASE, FATHERS! WILL YOU GO AND SEE WHAT YOU CAN 1296 00:45:16,781 --> 00:45:17,424 FATHERS! WILL YOU GO AND SEE WHAT YOU CAN DO ABOUT IT? 1297 00:45:17,448 --> 00:45:18,425 WILL YOU GO AND SEE WHAT YOU CAN DO ABOUT IT? YEAH, ALL RIGHT. 1298 00:45:18,449 --> 00:45:19,493 DO ABOUT IT? YEAH, ALL RIGHT. YOU GO WITH THEM, OKAY? 1299 00:45:19,517 --> 00:45:20,260 YEAH, ALL RIGHT. YOU GO WITH THEM, OKAY? YEAH, GO AHEAD. 1300 00:45:20,284 --> 00:45:21,328 YOU GO WITH THEM, OKAY? YEAH, GO AHEAD. HEY, WHAT GOES ON HERE? 1301 00:45:21,352 --> 00:45:22,362 YEAH, GO AHEAD. HEY, WHAT GOES ON HERE? I DIDN'T ASK FOR NO LOUSY 1302 00:45:22,386 --> 00:45:23,363 HEY, WHAT GOES ON HERE? I DIDN'T ASK FOR NO LOUSY PRIESTS. 1303 00:45:23,387 --> 00:45:24,398 I DIDN'T ASK FOR NO LOUSY PRIESTS. WHAT ARE THEY TRYING TO PULL ON 1304 00:45:24,422 --> 00:45:25,833 PRIESTS. WHAT ARE THEY TRYING TO PULL ON ME? 1305 00:45:25,857 --> 00:45:28,169 WHAT ARE THEY TRYING TO PULL ON ME? Both: OH, DON'T SHOOT! 1306 00:45:28,193 --> 00:45:31,005 ME? Both: OH, DON'T SHOOT! WE'RE SIAMESE PRIESTS. 1307 00:45:31,029 --> 00:45:32,539 Both: OH, DON'T SHOOT! WE'RE SIAMESE PRIESTS. THIS IS NONE OF YOUR 1308 00:45:32,563 --> 00:45:33,307 WE'RE SIAMESE PRIESTS. THIS IS NONE OF YOUR BUSINESS. 1309 00:45:33,331 --> 00:45:35,209 THIS IS NONE OF YOUR BUSINESS. AH, CHILD, IF YOU KNEW HALF 1310 00:45:35,233 --> 00:45:37,111 BUSINESS. AH, CHILD, IF YOU KNEW HALF AS MUCH AS WE KNOW ABOUT GOD'S 1311 00:45:37,135 --> 00:45:38,979 AH, CHILD, IF YOU KNEW HALF AS MUCH AS WE KNOW ABOUT GOD'S PLAN, YOU WOULDN'T BE SAYING 1312 00:45:39,003 --> 00:45:40,081 AS MUCH AS WE KNOW ABOUT GOD'S PLAN, YOU WOULDN'T BE SAYING THIS RIGHT NOW. 1313 00:45:40,105 --> 00:45:42,116 PLAN, YOU WOULDN'T BE SAYING THIS RIGHT NOW. YOU MEAN, A QUARTER AS MUCH. 1314 00:45:42,140 --> 00:45:43,050 THIS RIGHT NOW. YOU MEAN, A QUARTER AS MUCH. WELL, ALL RIGHT. 1315 00:45:43,074 --> 00:45:44,384 YOU MEAN, A QUARTER AS MUCH. WELL, ALL RIGHT. THAT'S A POINT WELL TAKEN. 1316 00:45:44,408 --> 00:45:47,154 WELL, ALL RIGHT. THAT'S A POINT WELL TAKEN. OKAY, CHILD, GIVE ME THE GUN. 1317 00:45:47,178 --> 00:45:48,655 THAT'S A POINT WELL TAKEN. OKAY, CHILD, GIVE ME THE GUN. COME A STEP CLOSER, AND I'LL 1318 00:45:48,679 --> 00:45:49,489 OKAY, CHILD, GIVE ME THE GUN. COME A STEP CLOSER, AND I'LL SHOOT, I SWEAR! 1319 00:45:49,513 --> 00:45:50,925 COME A STEP CLOSER, AND I'LL SHOOT, I SWEAR! ALL RIGHT, THEN GIVE ME THE 1320 00:45:50,949 --> 00:45:51,625 SHOOT, I SWEAR! ALL RIGHT, THEN GIVE ME THE GUN. 1321 00:45:51,649 --> 00:45:52,927 ALL RIGHT, THEN GIVE ME THE GUN. SHE'S SO DEPRESSED, SHE 1322 00:45:52,951 --> 00:45:54,428 GUN. SHE'S SO DEPRESSED, SHE DOESN'T CARE WHETHER SHE LIVES 1323 00:45:54,452 --> 00:45:55,395 SHE'S SO DEPRESSED, SHE DOESN'T CARE WHETHER SHE LIVES OR DIES, BUT I DO! 1324 00:45:55,419 --> 00:45:56,797 DOESN'T CARE WHETHER SHE LIVES OR DIES, BUT I DO! YOU GOT TO MEET HER DEMANDS! 1325 00:45:56,821 --> 00:45:59,666 OR DIES, BUT I DO! YOU GOT TO MEET HER DEMANDS! WELL, I CAN'T DO THAT, BUT I 1326 00:45:59,690 --> 00:46:01,035 YOU GOT TO MEET HER DEMANDS! WELL, I CAN'T DO THAT, BUT I CAN DO THIS. 1327 00:46:01,059 --> 00:46:03,337 WELL, I CAN'T DO THAT, BUT I CAN DO THIS. I WILL TALK TO THE JUDGE AND SEE 1328 00:46:03,361 --> 00:46:05,372 CAN DO THIS. I WILL TALK TO THE JUDGE AND SEE IF I CAN GET HIM TO DROP THE 1329 00:46:05,396 --> 00:46:06,874 I WILL TALK TO THE JUDGE AND SEE IF I CAN GET HIM TO DROP THE KIDNAPPING CHARGES. 1330 00:46:06,898 --> 00:46:09,676 IF I CAN GET HIM TO DROP THE KIDNAPPING CHARGES. NOW, GIVE ME THE GUN. 1331 00:46:09,700 --> 00:46:11,478 KIDNAPPING CHARGES. NOW, GIVE ME THE GUN. I'LL SHOOT. 1332 00:46:11,502 --> 00:46:12,947 NOW, GIVE ME THE GUN. I'LL SHOOT. GIVE ME THE GUN, THEN, WILL 1333 00:46:12,971 --> 00:46:13,948 I'LL SHOOT. GIVE ME THE GUN, THEN, WILL YOU, PLEASE, CHILD? 1334 00:46:13,972 --> 00:46:15,149 GIVE ME THE GUN, THEN, WILL YOU, PLEASE, CHILD? GIVE ME THE GUN? 1335 00:46:15,173 --> 00:46:15,916 YOU, PLEASE, CHILD? GIVE ME THE GUN? AH! 1336 00:46:15,940 --> 00:46:18,685 GIVE ME THE GUN? AH! I GOT THE GUN, I GOT THE GUN. 1337 00:46:18,709 --> 00:46:20,721 AH! I GOT THE GUN, I GOT THE GUN. AH, YOU TWO OWE YOUR NECKS TO 1338 00:46:20,745 --> 00:46:22,056 I GOT THE GUN, I GOT THE GUN. AH, YOU TWO OWE YOUR NECKS TO THE HIGHWAY PATROL. 1339 00:46:22,080 --> 00:46:24,759 AH, YOU TWO OWE YOUR NECKS TO THE HIGHWAY PATROL. OFFICER! 1340 00:46:24,783 --> 00:46:26,160 THE HIGHWAY PATROL. OFFICER! YOU WON'T BE HAVING MORE TROUBLE 1341 00:46:26,184 --> 00:46:29,329 OFFICER! YOU WON'T BE HAVING MORE TROUBLE WITH THIS GIRLS. 1342 00:46:29,353 --> 00:46:30,898 YOU WON'T BE HAVING MORE TROUBLE WITH THIS GIRLS. THANK YOU! YOU'RE WONDERFUL! 1343 00:46:30,922 --> 00:46:32,266 WITH THIS GIRLS. THANK YOU! YOU'RE WONDERFUL! GOD BE WITH YOU. 1344 00:46:32,290 --> 00:46:33,667 THANK YOU! YOU'RE WONDERFUL! GOD BE WITH YOU. I KNEW SHE'D GIVE ME THE GUN. 1345 00:46:33,691 --> 00:46:35,002 GOD BE WITH YOU. I KNEW SHE'D GIVE ME THE GUN. YOU ALWAYS GET THE GUN, AND 1346 00:46:35,026 --> 00:46:35,736 I KNEW SHE'D GIVE ME THE GUN. YOU ALWAYS GET THE GUN, AND IT BOTHERS ME. 1347 00:46:35,760 --> 00:46:37,037 YOU ALWAYS GET THE GUN, AND IT BOTHERS ME. WELL, YOU ALWAYS GET TO SHAKE 1348 00:46:37,061 --> 00:46:37,404 IT BOTHERS ME. WELL, YOU ALWAYS GET TO SHAKE HANDS. 1349 00:46:37,428 --> 00:46:38,405 WELL, YOU ALWAYS GET TO SHAKE HANDS. YOU'RE RIGHT-HANDED, I'M 1350 00:46:38,429 --> 00:46:39,006 HANDS. YOU'RE RIGHT-HANDED, I'M LEFT-HANDED. 1351 00:46:39,030 --> 00:46:46,380 YOU'RE RIGHT-HANDED, I'M LEFT-HANDED. [DRAMATIC THEME MUSIC PLAYS] 1352 00:46:46,404 --> 00:46:48,515 LEFT-HANDED. [DRAMATIC THEME MUSIC PLAYS] WHOA, THAT WAS A TOUGH ONE. 1353 00:46:48,539 --> 00:46:49,984 [DRAMATIC THEME MUSIC PLAYS] WHOA, THAT WAS A TOUGH ONE. YEAH, THOSE SIAMESE TWINS... 1354 00:46:50,008 --> 00:46:51,351 WHOA, THAT WAS A TOUGH ONE. YEAH, THOSE SIAMESE TWINS... THEY ALWAYS GIVE US TROUBLE. 1355 00:46:51,375 --> 00:46:52,119 YEAH, THOSE SIAMESE TWINS... THEY ALWAYS GIVE US TROUBLE. YEAH, I KNOW. 1356 00:46:52,143 --> 00:46:55,890 THEY ALWAYS GIVE US TROUBLE. YEAH, I KNOW. 2130 TO 2150. 1357 00:46:55,914 --> 00:46:57,825 YEAH, I KNOW. 2130 TO 2150. 2150. BYE. 1358 00:46:57,849 --> 00:46:59,126 2130 TO 2150. 2150. BYE. ACCIDENT OUT HERE ON 1359 00:46:59,150 --> 00:47:00,027 2150. BYE. ACCIDENT OUT HERE ON COAST HIGHWAY. 1360 00:47:00,051 --> 00:47:01,061 ACCIDENT OUT HERE ON COAST HIGHWAY. WHAT HAPPENED? 1361 00:47:01,085 --> 00:47:02,296 COAST HIGHWAY. WHAT HAPPENED? HOT ROD IN A BLUE PORSCHE. 1362 00:47:02,320 --> 00:47:03,297 WHAT HAPPENED? HOT ROD IN A BLUE PORSCHE. HE ROLLED IT. 1363 00:47:03,321 --> 00:47:04,731 HOT ROD IN A BLUE PORSCHE. HE ROLLED IT. IS HE CRITICAL? 1364 00:47:04,755 --> 00:47:05,833 HE ROLLED IT. IS HE CRITICAL? HE BIT IT. 1365 00:47:05,857 --> 00:47:07,534 IS HE CRITICAL? HE BIT IT. VICE HAS IDENTIFIED HIM AS 1366 00:47:07,558 --> 00:47:09,136 HE BIT IT. VICE HAS IDENTIFIED HIM AS JAMES DEAN OF LOS ANGELES. 1367 00:47:09,160 --> 00:47:10,805 VICE HAS IDENTIFIED HIM AS JAMES DEAN OF LOS ANGELES. JAMES DEAN? 1368 00:47:10,829 --> 00:47:12,039 JAMES DEAN OF LOS ANGELES. JAMES DEAN? JAMES DEAN! 1369 00:47:12,063 --> 00:47:13,274 JAMES DEAN? JAMES DEAN! YOU KNOW, HE WAS A HELL OF A 1370 00:47:13,298 --> 00:47:13,874 JAMES DEAN! YOU KNOW, HE WAS A HELL OF A GOOD ACTOR. 1371 00:47:13,898 --> 00:47:15,109 YOU KNOW, HE WAS A HELL OF A GOOD ACTOR. YEAH, HE WAS, BUT HE DIDN'T 1372 00:47:15,133 --> 00:47:16,210 GOOD ACTOR. YEAH, HE WAS, BUT HE DIDN'T TAKE OUR DEFENSIVE-DRIVING 1373 00:47:16,234 --> 00:47:16,610 YEAH, HE WAS, BUT HE DIDN'T TAKE OUR DEFENSIVE-DRIVING COURSE. 1374 00:47:16,634 --> 00:47:17,778 TAKE OUR DEFENSIVE-DRIVING COURSE. YEAH, GUESS YOU'RE RIGHT. 1375 00:47:17,802 --> 00:47:20,147 COURSE. YEAH, GUESS YOU'RE RIGHT. 2130... 10-8, 10-17 ON A 1376 00:47:20,171 --> 00:47:22,683 YEAH, GUESS YOU'RE RIGHT. 2130... 10-8, 10-17 ON A 10-99, AND OUT. 1377 00:47:22,707 --> 00:47:23,884 2130... 10-8, 10-17 ON A 10-99, AND OUT. 10-4. 1378 00:47:23,908 --> 00:47:25,948 10-99, AND OUT. 10-4. [DRAMATIC THEME MUSIC PLAYS] 1379 00:47:33,283 --> 00:47:36,130 WELL, THAT'S IT. BE SURE AND SEE THE HIGHWAY PATROL IN ACTION AGAIN NEXT 1380 00:47:36,154 --> 00:47:36,897 BE SURE AND SEE THE HIGHWAY PATROL IN ACTION AGAIN NEXT WEEK. 1381 00:47:36,921 --> 00:47:38,565 PATROL IN ACTION AGAIN NEXT WEEK. UNTIL THEN, REMEMBER, WHEN YOU 1382 00:47:38,589 --> 00:47:43,960 UNTIL THEN, REMEMBER, WHEN YOU DRIVE, USE A CAR. 1383 00:47:44,228 --> 00:47:46,795 [DRAMATIC THEME MUSIC PLAYS] 1384 00:47:54,771 --> 00:47:56,505 [PIANO PLAYS] 1385 00:48:02,946 --> 00:48:10,946 HEWWO, THIS IS "BABA WAWA AT WARGE." WET ME JUST BEGIN BY SAYING, 1386 00:48:11,055 --> 00:48:12,799 "BABA WAWA AT WARGE." WET ME JUST BEGIN BY SAYING, THERE'S NEVER A DULL MOMENT IN 1387 00:48:12,823 --> 00:48:14,068 WET ME JUST BEGIN BY SAYING, THERE'S NEVER A DULL MOMENT IN MY IWWUSTWIOUS CAWEER. 1388 00:48:14,092 --> 00:48:16,237 THERE'S NEVER A DULL MOMENT IN MY IWWUSTWIOUS CAWEER. I JUST WETURNED FROM IWAN, WHERE 1389 00:48:16,261 --> 00:48:17,938 MY IWWUSTWIOUS CAWEER. I JUST WETURNED FROM IWAN, WHERE I WAS INTERVIEWING THE SHAH AND 1390 00:48:17,962 --> 00:48:20,440 I JUST WETURNED FROM IWAN, WHERE I WAS INTERVIEWING THE SHAH AND SHAHNESS AND SHAHNETTES OF IWAN. 1391 00:48:20,464 --> 00:48:22,176 I WAS INTERVIEWING THE SHAH AND SHAHNESS AND SHAHNETTES OF IWAN. AND NOW HERE I AM IN THE 1392 00:48:22,200 --> 00:48:24,245 SHAHNESS AND SHAHNETTES OF IWAN. AND NOW HERE I AM IN THE WUXURIOUS BEVEWY HILLS HOME OF 1393 00:48:24,269 --> 00:48:26,280 AND NOW HERE I AM IN THE WUXURIOUS BEVEWY HILLS HOME OF A GWEAT ORIENTAL FILM STAR. 1394 00:48:26,304 --> 00:48:28,015 WUXURIOUS BEVEWY HILLS HOME OF A GWEAT ORIENTAL FILM STAR. OF COURSE, I'M WEFERRING TO THE 1395 00:48:28,039 --> 00:48:30,484 A GWEAT ORIENTAL FILM STAR. OF COURSE, I'M WEFERRING TO THE TWULY TEWWIFIC GODZILLA. 1396 00:48:30,508 --> 00:48:32,753 OF COURSE, I'M WEFERRING TO THE TWULY TEWWIFIC GODZILLA. HOW ARE YOU TODAY, GODZILLA? 1397 00:48:32,777 --> 00:48:33,453 TWULY TEWWIFIC GODZILLA. HOW ARE YOU TODAY, GODZILLA? I'M FINE. 1398 00:48:33,477 --> 00:48:34,755 HOW ARE YOU TODAY, GODZILLA? I'M FINE. HOW ARE YOU, BARBARA? 1399 00:48:34,779 --> 00:48:35,856 I'M FINE. HOW ARE YOU, BARBARA? OH, JUST FINE. 1400 00:48:35,880 --> 00:48:37,992 HOW ARE YOU, BARBARA? OH, JUST FINE. GODZILLA, IS THIS YOUR PWACE? 1401 00:48:38,016 --> 00:48:39,393 OH, JUST FINE. GODZILLA, IS THIS YOUR PWACE? YES, IT SURE IS. 1402 00:48:39,417 --> 00:48:41,528 GODZILLA, IS THIS YOUR PWACE? YES, IT SURE IS. YOU JUST CAN'T GET AWAY FROM IT. 1403 00:48:41,552 --> 00:48:43,330 YES, IT SURE IS. YOU JUST CAN'T GET AWAY FROM IT. YOU KNOW, THE WORK IS HERE. 1404 00:48:43,354 --> 00:48:45,399 YOU JUST CAN'T GET AWAY FROM IT. YOU KNOW, THE WORK IS HERE. THIS IS WHERE I'M GONNA MAKE MY 1405 00:48:45,423 --> 00:48:46,800 YOU KNOW, THE WORK IS HERE. THIS IS WHERE I'M GONNA MAKE MY HOME... LOS ANGELES. 1406 00:48:46,824 --> 00:48:47,534 THIS IS WHERE I'M GONNA MAKE MY HOME... LOS ANGELES. [CHUCKLES] 1407 00:48:47,558 --> 00:48:50,170 HOME... LOS ANGELES. [CHUCKLES] GODZILLA, IS... IS THAT A 1408 00:48:50,194 --> 00:48:51,405 [CHUCKLES] GODZILLA, IS... IS THAT A JAPANESE NAME? 1409 00:48:51,429 --> 00:48:53,140 GODZILLA, IS... IS THAT A JAPANESE NAME? UH, NO, YOU KNOW, A LOT OF 1410 00:48:53,164 --> 00:48:55,009 JAPANESE NAME? UH, NO, YOU KNOW, A LOT OF PEOPLE THINK I'M FROM JAPAN OR A 1411 00:48:55,033 --> 00:48:57,611 UH, NO, YOU KNOW, A LOT OF PEOPLE THINK I'M FROM JAPAN OR A MUPPET, YOU KNOW, BUT, ACTUALLY, 1412 00:48:57,635 --> 00:48:58,545 PEOPLE THINK I'M FROM JAPAN OR A MUPPET, YOU KNOW, BUT, ACTUALLY, I'M NEITHER. 1413 00:48:58,569 --> 00:49:00,614 MUPPET, YOU KNOW, BUT, ACTUALLY, I'M NEITHER. I'M ACTUALLY... I WAS... I'M 1414 00:49:00,638 --> 00:49:01,348 I'M NEITHER. I'M ACTUALLY... I WAS... I'M HAWAIIAN. 1415 00:49:01,372 --> 00:49:02,383 I'M ACTUALLY... I WAS... I'M HAWAIIAN. I WAS BORN IN A CRATER OFF THE 1416 00:49:02,407 --> 00:49:04,184 HAWAIIAN. I WAS BORN IN A CRATER OFF THE COAST OF OAHU, AND MY EGG WAS 1417 00:49:04,208 --> 00:49:05,920 I WAS BORN IN A CRATER OFF THE COAST OF OAHU, AND MY EGG WAS HATCHED FROM THE WARMTH OF A 1418 00:49:05,944 --> 00:49:07,587 COAST OF OAHU, AND MY EGG WAS HATCHED FROM THE WARMTH OF A LAVA FLOW, DURING AN ERUPTION 1419 00:49:07,611 --> 00:49:08,956 HATCHED FROM THE WARMTH OF A LAVA FLOW, DURING AN ERUPTION FROM A DORMANT VOLCANO. 1420 00:49:08,980 --> 00:49:11,491 LAVA FLOW, DURING AN ERUPTION FROM A DORMANT VOLCANO. OH, FWOM THE WARMTH OF A WAVA 1421 00:49:11,515 --> 00:49:14,594 FROM A DORMANT VOLCANO. OH, FWOM THE WARMTH OF A WAVA FWOW DUWING A VOLCANIC EWUPTION. 1422 00:49:14,618 --> 00:49:16,830 OH, FWOM THE WARMTH OF A WAVA FWOW DUWING A VOLCANIC EWUPTION. WEAWWY? SO, YOU'RE HAWAIIAN? 1423 00:49:16,854 --> 00:49:18,732 FWOW DUWING A VOLCANIC EWUPTION. WEAWWY? SO, YOU'RE HAWAIIAN? YES, SURE. 1424 00:49:18,756 --> 00:49:19,633 WEAWWY? SO, YOU'RE HAWAIIAN? YES, SURE. I WENT TO HIGH SCHOOL WITH 1425 00:49:19,657 --> 00:49:20,167 YES, SURE. I WENT TO HIGH SCHOOL WITH BETTE MIDLER. 1426 00:49:20,191 --> 00:49:21,635 I WENT TO HIGH SCHOOL WITH BETTE MIDLER. OH, WEAWWY? 1427 00:49:21,659 --> 00:49:23,203 BETTE MIDLER. OH, WEAWWY? WE WENT STEADY TOGETHER FOR 1428 00:49:23,227 --> 00:49:23,904 OH, WEAWWY? WE WENT STEADY TOGETHER FOR TWO YEARS. 1429 00:49:23,928 --> 00:49:24,972 WE WENT STEADY TOGETHER FOR TWO YEARS. [BOTH CHUCKLE] 1430 00:49:24,996 --> 00:49:26,440 TWO YEARS. [BOTH CHUCKLE] GODZILLA, IF I COULD GET 1431 00:49:26,464 --> 00:49:28,108 [BOTH CHUCKLE] GODZILLA, IF I COULD GET PERSONAL WITH YOU FOR A MOMENT, 1432 00:49:28,132 --> 00:49:29,609 GODZILLA, IF I COULD GET PERSONAL WITH YOU FOR A MOMENT, WOULD YOU SAY THERE WAS ANY 1433 00:49:29,633 --> 00:49:31,211 PERSONAL WITH YOU FOR A MOMENT, WOULD YOU SAY THERE WAS ANY PARTICULAR WEASON WHY YOU WENT 1434 00:49:31,235 --> 00:49:32,346 WOULD YOU SAY THERE WAS ANY PARTICULAR WEASON WHY YOU WENT INTO SHOW BUSINESS? 1435 00:49:32,370 --> 00:49:33,780 PARTICULAR WEASON WHY YOU WENT INTO SHOW BUSINESS? I MEAN, SOMETHING FWOM AN 1436 00:49:33,804 --> 00:49:34,881 INTO SHOW BUSINESS? I MEAN, SOMETHING FWOM AN UNHAPPY CHILDHOOD? 1437 00:49:34,905 --> 00:49:36,450 I MEAN, SOMETHING FWOM AN UNHAPPY CHILDHOOD? I WAS HATCHED FROM AN EGG. 1438 00:49:36,474 --> 00:49:37,952 UNHAPPY CHILDHOOD? I WAS HATCHED FROM AN EGG. YOU COULD SAY I CAME FROM A 1439 00:49:37,976 --> 00:49:38,919 I WAS HATCHED FROM AN EGG. YOU COULD SAY I CAME FROM A BROKEN HOME. 1440 00:49:38,943 --> 00:49:40,887 YOU COULD SAY I CAME FROM A BROKEN HOME. [BOTH LAUGH] 1441 00:49:40,911 --> 00:49:43,390 BROKEN HOME. [BOTH LAUGH] OH, GODZILLA, IF I COULD GET 1442 00:49:43,414 --> 00:49:45,392 [BOTH LAUGH] OH, GODZILLA, IF I COULD GET JUST WITTLE WEE BIT MORE 1443 00:49:45,416 --> 00:49:46,760 OH, GODZILLA, IF I COULD GET JUST WITTLE WEE BIT MORE PERSONAL WITH YOU, ARE YOU, UH 1444 00:49:46,784 --> 00:49:48,195 JUST WITTLE WEE BIT MORE PERSONAL WITH YOU, ARE YOU, UH [CHUCKLES] BUT I DON'T WANT YOU 1445 00:49:48,219 --> 00:49:50,697 PERSONAL WITH YOU, ARE YOU, UH [CHUCKLES] BUT I DON'T WANT YOU TO GET PERSONAL WITH ME. 1446 00:49:50,721 --> 00:49:51,999 [CHUCKLES] BUT I DON'T WANT YOU TO GET PERSONAL WITH ME. ARE YOU MAWWIED? 1447 00:49:52,023 --> 00:49:54,068 TO GET PERSONAL WITH ME. ARE YOU MAWWIED? YES, VERY HAPPILY, YES. 1448 00:49:54,092 --> 00:49:55,436 ARE YOU MAWWIED? YES, VERY HAPPILY, YES. I HAVE A BEAUTIFUL WIFE, 1449 00:49:55,460 --> 00:49:56,770 YES, VERY HAPPILY, YES. I HAVE A BEAUTIFUL WIFE, JUANITA, AND TWO LOVELY 1450 00:49:56,794 --> 00:49:58,705 I HAVE A BEAUTIFUL WIFE, JUANITA, AND TWO LOVELY CHILDREN... SCHUYLER, 8, AND 1451 00:49:58,729 --> 00:50:00,240 JUANITA, AND TWO LOVELY CHILDREN... SCHUYLER, 8, AND LINDSAY, 5. 1452 00:50:00,264 --> 00:50:01,608 CHILDREN... SCHUYLER, 8, AND LINDSAY, 5. OH, A BOY AND A GIRL. 1453 00:50:01,632 --> 00:50:03,643 LINDSAY, 5. OH, A BOY AND A GIRL. AH, NO, TWO BOYS. 1454 00:50:03,667 --> 00:50:04,544 OH, A BOY AND A GIRL. AH, NO, TWO BOYS. PLEASE, THEY'RE GONNA BE 1455 00:50:04,568 --> 00:50:05,245 AH, NO, TWO BOYS. PLEASE, THEY'RE GONNA BE FOOTBALL PLAYERS. 1456 00:50:05,269 --> 00:50:05,980 PLEASE, THEY'RE GONNA BE FOOTBALL PLAYERS. WIGHT. 1457 00:50:06,004 --> 00:50:07,848 FOOTBALL PLAYERS. WIGHT. OH, WATCH IT, GODZILLA. 1458 00:50:07,872 --> 00:50:10,017 WIGHT. OH, WATCH IT, GODZILLA. UH, IF COULD GET JUST A TEENY 1459 00:50:10,041 --> 00:50:12,353 OH, WATCH IT, GODZILLA. UH, IF COULD GET JUST A TEENY TINY BIT MORE PERSONAL WITH YOU, 1460 00:50:12,377 --> 00:50:14,088 UH, IF COULD GET JUST A TEENY TINY BIT MORE PERSONAL WITH YOU, WHAT IS YOUR WIFE WIKE 1461 00:50:14,112 --> 00:50:14,721 TINY BIT MORE PERSONAL WITH YOU, WHAT IS YOUR WIFE WIKE PHYSICAWWY? 1462 00:50:14,745 --> 00:50:17,591 WHAT IS YOUR WIFE WIKE PHYSICAWWY? ABOUT 5'3½"... ON THE PETITE 1463 00:50:17,615 --> 00:50:18,125 PHYSICAWWY? ABOUT 5'3½"... ON THE PETITE SIDE. 1464 00:50:18,149 --> 00:50:19,493 ABOUT 5'3½"... ON THE PETITE SIDE. I HAVE NO COMPLAINTS, YOU KNOW. 1465 00:50:19,517 --> 00:50:21,328 SIDE. I HAVE NO COMPLAINTS, YOU KNOW. GODZILLA, IF I COULD GET A 1466 00:50:21,352 --> 00:50:23,297 I HAVE NO COMPLAINTS, YOU KNOW. GODZILLA, IF I COULD GET A WOT MORE PERSONAL WITH YOU, HOW 1467 00:50:23,321 --> 00:50:27,267 GODZILLA, IF I COULD GET A WOT MORE PERSONAL WITH YOU, HOW DO YOU AND YOUR WIFE DO IT? 1468 00:50:27,291 --> 00:50:28,502 WOT MORE PERSONAL WITH YOU, HOW DO YOU AND YOUR WIFE DO IT? VERY CAREFULLY. 1469 00:50:28,526 --> 00:50:31,405 DO YOU AND YOUR WIFE DO IT? VERY CAREFULLY. [BOTH LAUGH] 1470 00:50:31,429 --> 00:50:32,939 VERY CAREFULLY. [BOTH LAUGH] WHO DO THE KIDS TAKE AFTER? 1471 00:50:32,963 --> 00:50:35,342 [BOTH LAUGH] WHO DO THE KIDS TAKE AFTER? OH, MY WIFE, PLEASE. 1472 00:50:35,366 --> 00:50:36,410 WHO DO THE KIDS TAKE AFTER? OH, MY WIFE, PLEASE. ONE ACTOR IN THE FAMILY IS 1473 00:50:36,434 --> 00:50:37,177 OH, MY WIFE, PLEASE. ONE ACTOR IN THE FAMILY IS ENOUGH, YOU KNOW. 1474 00:50:37,201 --> 00:50:37,777 ONE ACTOR IN THE FAMILY IS ENOUGH, YOU KNOW. [CHUCKLES] 1475 00:50:37,801 --> 00:50:40,580 ENOUGH, YOU KNOW. [CHUCKLES] GODZILLA, WHAT'S NEXT? 1476 00:50:40,604 --> 00:50:42,149 [CHUCKLES] GODZILLA, WHAT'S NEXT? WELL, ACTUALLY, BARBARA, WHAT 1477 00:50:42,173 --> 00:50:43,650 GODZILLA, WHAT'S NEXT? WELL, ACTUALLY, BARBARA, WHAT I REALLY WANT TO DO IS DIRECT. 1478 00:50:43,674 --> 00:50:45,986 WELL, ACTUALLY, BARBARA, WHAT I REALLY WANT TO DO IS DIRECT. OHO, WELL, GOOD WUCK, 1479 00:50:46,010 --> 00:50:46,853 I REALLY WANT TO DO IS DIRECT. OHO, WELL, GOOD WUCK, GODZILLA. 1480 00:50:46,877 --> 00:50:48,622 OHO, WELL, GOOD WUCK, GODZILLA. DO YOU DO ALL YOUR OWN STUNTS? 1481 00:50:48,646 --> 00:50:50,657 GODZILLA. DO YOU DO ALL YOUR OWN STUNTS? I LIKE TO, BARBARA. 1482 00:50:50,681 --> 00:50:52,159 DO YOU DO ALL YOUR OWN STUNTS? I LIKE TO, BARBARA. OKAY, ONCE, I HURT MY HIP, AND 1483 00:50:52,183 --> 00:50:53,560 I LIKE TO, BARBARA. OKAY, ONCE, I HURT MY HIP, AND THEY HAD TO SEND IN A STUNT 1484 00:50:53,584 --> 00:50:55,129 OKAY, ONCE, I HURT MY HIP, AND THEY HAD TO SEND IN A STUNT LIZARD, BUT USUALLY I LIKE TO DO 1485 00:50:55,153 --> 00:50:55,962 THEY HAD TO SEND IN A STUNT LIZARD, BUT USUALLY I LIKE TO DO MY OWN STUNTS. 1486 00:50:55,986 --> 00:50:57,431 LIZARD, BUT USUALLY I LIKE TO DO MY OWN STUNTS. WELL, COULD YOU PWEASE 1487 00:50:57,455 --> 00:50:58,632 MY OWN STUNTS. WELL, COULD YOU PWEASE DEMONSTWATE FOR US? 1488 00:50:58,656 --> 00:50:59,500 WELL, COULD YOU PWEASE DEMONSTWATE FOR US? SURE COULD. 1489 00:50:59,524 --> 00:51:00,600 DEMONSTWATE FOR US? SURE COULD. WHY DON'T YOU COME ON UP OVER 1490 00:51:00,624 --> 00:51:01,701 SURE COULD. WHY DON'T YOU COME ON UP OVER HERE? 1491 00:51:01,725 --> 00:51:03,170 WHY DON'T YOU COME ON UP OVER HERE? OKAY, NOW, THERE ARE TWO BASIC 1492 00:51:03,194 --> 00:51:05,172 HERE? OKAY, NOW, THERE ARE TWO BASIC MOVES WHEN I COME TO DESTROY A 1493 00:51:05,196 --> 00:51:06,173 OKAY, NOW, THERE ARE TWO BASIC MOVES WHEN I COME TO DESTROY A CITY OR SOMETHING. 1494 00:51:06,197 --> 00:51:08,208 MOVES WHEN I COME TO DESTROY A CITY OR SOMETHING. FIRST, I COME IN AND THERE'S A 1495 00:51:08,232 --> 00:51:11,145 CITY OR SOMETHING. FIRST, I COME IN AND THERE'S A SWIPE LIKE [ROARS] LIKE THAT. 1496 00:51:11,169 --> 00:51:14,481 FIRST, I COME IN AND THERE'S A SWIPE LIKE [ROARS] LIKE THAT. AND THEN THERE'S THE CRUSH AND 1497 00:51:14,505 --> 00:51:18,452 SWIPE LIKE [ROARS] LIKE THAT. AND THEN THERE'S THE CRUSH AND SMASH LIKE THAT. 1498 00:51:18,476 --> 00:51:19,219 AND THEN THERE'S THE CRUSH AND SMASH LIKE THAT. OH. [CHUCKLES] 1499 00:51:19,243 --> 00:51:19,853 SMASH LIKE THAT. OH. [CHUCKLES] VERY SIMPLE. 1500 00:51:19,877 --> 00:51:20,854 OH. [CHUCKLES] VERY SIMPLE. IT'S ALL DONE WITH SPECIAL 1501 00:51:20,878 --> 00:51:21,522 VERY SIMPLE. IT'S ALL DONE WITH SPECIAL EFFECTS. 1502 00:51:21,546 --> 00:51:23,524 IT'S ALL DONE WITH SPECIAL EFFECTS. GODZILLA, I THANK YOU FOR 1503 00:51:23,548 --> 00:51:25,125 EFFECTS. GODZILLA, I THANK YOU FOR YOUR HOSPITAWITY, AND GOOD WUCK 1504 00:51:25,149 --> 00:51:26,693 GODZILLA, I THANK YOU FOR YOUR HOSPITAWITY, AND GOOD WUCK IN YOUR NEW CAWEER. 1505 00:51:26,717 --> 00:51:28,628 YOUR HOSPITAWITY, AND GOOD WUCK IN YOUR NEW CAWEER. ONE MORE THING, GODZILLA. 1506 00:51:28,652 --> 00:51:30,764 IN YOUR NEW CAWEER. ONE MORE THING, GODZILLA. UH, BE WISE WITH US. 1507 00:51:30,788 --> 00:51:33,167 ONE MORE THING, GODZILLA. UH, BE WISE WITH US. BE GOOD WITH US. 1508 00:51:33,191 --> 00:51:34,868 UH, BE WISE WITH US. BE GOOD WITH US. THIS IS BABA WAWA AT WARGE 1509 00:51:34,892 --> 00:51:36,937 BE GOOD WITH US. THIS IS BABA WAWA AT WARGE SAYING "GOOD NIGHT." 1510 00:51:36,961 --> 00:51:39,406 THIS IS BABA WAWA AT WARGE SAYING "GOOD NIGHT." [PIANO PLAYS] 1511 00:51:39,430 --> 00:51:40,541 SAYING "GOOD NIGHT." [PIANO PLAYS] OH! 1512 00:51:40,565 --> 00:51:42,664 [PIANO PLAYS] OH! [APPLAUSE] 1513 00:51:50,673 --> 00:51:57,657 Announcer: ONCE AGAIN, THE RCO ALL-STARS. [APPLAUSE] 1514 00:51:57,681 --> 00:51:58,792 RCO ALL-STARS. [APPLAUSE] [INTRODUCTION TO "AIN'T THAT A 1515 00:51:58,816 --> 00:52:01,176 [APPLAUSE] [INTRODUCTION TO "AIN'T THAT A LOT OF LOVE" PLAYS] 1516 00:52:14,397 --> 00:52:21,982 ♪ I KNOW THE DESERT COULDN'T HOLD ALL THE LOVE THAT I FEEL IN MY HEART FOR YOU ♪ 1517 00:52:22,006 --> 00:52:23,550 HOLD ALL THE LOVE THAT I FEEL IN MY HEART FOR YOU ♪ ♪ JUST LIKE THE OCEAN THAT 1518 00:52:23,574 --> 00:52:26,120 MY HEART FOR YOU ♪ ♪ JUST LIKE THE OCEAN THAT STARTED TO ROLL, MY LOVE IT 1519 00:52:26,144 --> 00:52:29,623 ♪ JUST LIKE THE OCEAN THAT STARTED TO ROLL, MY LOVE IT WOULD BE COMING TO YOU ♪ 1520 00:52:29,647 --> 00:52:33,093 STARTED TO ROLL, MY LOVE IT WOULD BE COMING TO YOU ♪ ♪ AIN'T THAT A LOT OF LOVE FOR 1521 00:52:33,117 --> 00:52:37,297 WOULD BE COMING TO YOU ♪ ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ 1522 00:52:37,321 --> 00:52:40,567 ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ ♪ AIN'T THAT A LOT OF LOVE FOR 1523 00:52:40,591 --> 00:52:45,027 ONE HEART TO HOLD? ♪ ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ 1524 00:53:00,109 --> 00:53:07,794 ♪ IF THE COOK IN THE KITCHEN HAD A TOUCH AS HOT AS YOURS, IT WOULDN'T NEED A FIRE ♪ 1525 00:53:07,818 --> 00:53:10,063 A TOUCH AS HOT AS YOURS, IT WOULDN'T NEED A FIRE ♪ ♪ I CAN'T THINK OF A WORD THAT 1526 00:53:10,087 --> 00:53:11,998 WOULDN'T NEED A FIRE ♪ ♪ I CAN'T THINK OF A WORD THAT DESCRIBES YOU BETTER THAN 1527 00:53:12,022 --> 00:53:15,169 ♪ I CAN'T THINK OF A WORD THAT DESCRIBES YOU BETTER THAN "INDESCRIBABLE" ♪ 1528 00:53:15,193 --> 00:53:18,639 DESCRIBES YOU BETTER THAN "INDESCRIBABLE" ♪ ♪ AIN'T THAT A LOT OF LOVE FOR 1529 00:53:18,663 --> 00:53:22,609 "INDESCRIBABLE" ♪ ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ 1530 00:53:22,633 --> 00:53:26,213 ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ ♪ AIN'T THAT A LOT OF LOVE FOR 1531 00:53:26,237 --> 00:53:30,250 ONE HEART TO HOLD? ♪ ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ 1532 00:53:30,274 --> 00:53:32,594 ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ WHOO! 1533 00:54:00,570 --> 00:54:08,570 ♪ AIN'T THAT A LOT OF LOVE? ♪ ♪ A LOT OF LOVE ♪ ♪ AIN'T THAT A LOT OF LOVE? ♪ 1534 00:54:11,014 --> 00:54:14,316 ♪ A LOT OF LOVE ♪ ♪ AIN'T THAT A LOT OF LOVE? ♪ ♪ A LOT OF LOVE ♪ 1535 00:54:31,100 --> 00:54:38,218 ♪ IF THE BEES ONLY KNEW HOW SWEET YOU WERE, DARLING, THEY WOULD SHUT UP THEIR HONEYCOMB ♪ 1536 00:54:38,242 --> 00:54:40,687 SWEET YOU WERE, DARLING, THEY WOULD SHUT UP THEIR HONEYCOMB ♪ ♪ IF THE BIRDS COULD HEAR HOW 1537 00:54:40,711 --> 00:54:43,022 WOULD SHUT UP THEIR HONEYCOMB ♪ ♪ IF THE BIRDS COULD HEAR HOW SWEET YOUR VOICE IS, THEY'D PACK 1538 00:54:43,046 --> 00:54:45,692 ♪ IF THE BIRDS COULD HEAR HOW SWEET YOUR VOICE IS, THEY'D PACK UP AND FLY AWAY ♪ 1539 00:54:45,716 --> 00:54:49,263 SWEET YOUR VOICE IS, THEY'D PACK UP AND FLY AWAY ♪ ♪ AIN'T THAT A LOT OF LOVE FOR 1540 00:54:49,287 --> 00:54:53,199 UP AND FLY AWAY ♪ ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ 1541 00:54:53,223 --> 00:54:56,770 ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ ♪ AIN'T THAT A LOT OF LOVE FOR 1542 00:54:56,794 --> 00:55:00,696 ONE HEART TO HOLD? ♪ ♪ AIN'T THAT A LOT OF LOVE FOR ONE HEART TO HOLD? ♪ 1543 00:55:22,619 --> 00:55:25,654 [MUSIC ENDS] [CHEERS AND APPLAUSE] 1544 00:55:34,864 --> 00:55:36,898 [SOLEMN MUSIC PLAYS] 1545 00:56:21,644 --> 00:56:25,225 HOOVER'S GONNA BE SURPRISED, DADDY. WELL, THIS OUGHT TO SHOW HIM 1546 00:56:25,249 --> 00:56:26,626 DADDY. WELL, THIS OUGHT TO SHOW HIM RICHARD NIXON WOULDN'T ASK 1547 00:56:26,650 --> 00:56:27,994 WELL, THIS OUGHT TO SHOW HIM RICHARD NIXON WOULDN'T ASK ANYBODY TO DO ANYTHING HE 1548 00:56:28,018 --> 00:56:30,597 RICHARD NIXON WOULDN'T ASK ANYBODY TO DO ANYTHING HE WOULDN'T DO HIMSELF. 1549 00:56:30,621 --> 00:56:31,998 ANYBODY TO DO ANYTHING HE WOULDN'T DO HIMSELF. YOU MEAN, YOU'D LEAD A NIGHT 1550 00:56:32,022 --> 00:56:33,099 WOULDN'T DO HIMSELF. YOU MEAN, YOU'D LEAD A NIGHT PATROL ON THE VIETCONG? 1551 00:56:33,123 --> 00:56:35,802 YOU MEAN, YOU'D LEAD A NIGHT PATROL ON THE VIETCONG? I'M NOT STUPID, PRINCESS. 1552 00:56:35,826 --> 00:56:37,804 PATROL ON THE VIETCONG? I'M NOT STUPID, PRINCESS. WAIT, YOU CAN'T GO IN THERE. 1553 00:56:37,828 --> 00:56:38,605 I'M NOT STUPID, PRINCESS. WAIT, YOU CAN'T GO IN THERE. WHY? 1554 00:56:38,629 --> 00:56:40,540 WAIT, YOU CAN'T GO IN THERE. WHY? WELL, JULIE, HE DOESN'T 1555 00:56:40,564 --> 00:56:41,908 WHY? WELL, JULIE, HE DOESN'T UNDERSTAND WOMEN. 1556 00:56:41,932 --> 00:56:45,979 WELL, JULIE, HE DOESN'T UNDERSTAND WOMEN. YOU WAIT HERE TILL I'M FINISHED. 1557 00:56:46,003 --> 00:56:48,749 UNDERSTAND WOMEN. YOU WAIT HERE TILL I'M FINISHED. [ALARM WAILING] 1558 00:56:48,773 --> 00:56:50,484 YOU WAIT HERE TILL I'M FINISHED. [ALARM WAILING] WAIT! DON'T SHOOT! 1559 00:56:50,508 --> 00:56:52,252 [ALARM WAILING] WAIT! DON'T SHOOT! ALL RIGHT, DON'T SHOOT! 1560 00:56:52,276 --> 00:56:53,620 WAIT! DON'T SHOOT! ALL RIGHT, DON'T SHOOT! IT'S THE PRESIDENT! 1561 00:56:53,644 --> 00:56:54,521 ALL RIGHT, DON'T SHOOT! IT'S THE PRESIDENT! [ALARM STOPS] 1562 00:56:54,545 --> 00:56:55,422 IT'S THE PRESIDENT! [ALARM STOPS] YES, SIR. 1563 00:56:55,446 --> 00:56:56,356 [ALARM STOPS] YES, SIR. YES, SIR. 1564 00:56:56,380 --> 00:56:57,557 YES, SIR. YES, SIR. WHAT'S THE MEANING OF THIS, 1565 00:56:57,581 --> 00:56:57,924 YES, SIR. WHAT'S THE MEANING OF THIS, NIXON? 1566 00:56:57,948 --> 00:56:58,892 WHAT'S THE MEANING OF THIS, NIXON? HOW'D YOU GET THROUGH MY 1567 00:56:58,916 --> 00:56:59,393 NIXON? HOW'D YOU GET THROUGH MY SECURITY? 1568 00:56:59,417 --> 00:57:00,360 HOW'D YOU GET THROUGH MY SECURITY? I TOLD THEM I WAS THE 1569 00:57:00,384 --> 00:57:01,461 SECURITY? I TOLD THEM I WAS THE PRESIDENT. 1570 00:57:01,485 --> 00:57:04,163 I TOLD THEM I WAS THE PRESIDENT. NOW, LOOK, J. EDGAR... 1571 00:57:04,187 --> 00:57:05,432 PRESIDENT. NOW, LOOK, J. EDGAR... I'VE GOT A NEW PLAN FOR THAT 1572 00:57:05,456 --> 00:57:06,833 NOW, LOOK, J. EDGAR... I'VE GOT A NEW PLAN FOR THAT SPECIAL INTELLIGENCE GROUP WE'VE 1573 00:57:06,857 --> 00:57:09,403 I'VE GOT A NEW PLAN FOR THAT SPECIAL INTELLIGENCE GROUP WE'VE BEEN NEEDING AT THE WHITE HOUSE. 1574 00:57:09,427 --> 00:57:10,871 SPECIAL INTELLIGENCE GROUP WE'VE BEEN NEEDING AT THE WHITE HOUSE. WELL, I GOT ANOTHER PLAN. 1575 00:57:10,895 --> 00:57:12,038 BEEN NEEDING AT THE WHITE HOUSE. WELL, I GOT ANOTHER PLAN. IT'S 3:00 IN THE MORNING. 1576 00:57:12,062 --> 00:57:13,407 WELL, I GOT ANOTHER PLAN. IT'S 3:00 IN THE MORNING. NOW, WHY THE HELL DON'T YOU GO 1577 00:57:13,431 --> 00:57:14,808 IT'S 3:00 IN THE MORNING. NOW, WHY THE HELL DON'T YOU GO HOME, TAKE A FISTFUL OF VALIUM, 1578 00:57:14,832 --> 00:57:17,544 NOW, WHY THE HELL DON'T YOU GO HOME, TAKE A FISTFUL OF VALIUM, AND GET SOME SLEEP? 1579 00:57:17,568 --> 00:57:18,678 HOME, TAKE A FISTFUL OF VALIUM, AND GET SOME SLEEP? YOU THINK I'D COME HERE IF 1580 00:57:18,702 --> 00:57:19,579 AND GET SOME SLEEP? YOU THINK I'D COME HERE IF THIS WASN'T IMPORTANT? 1581 00:57:19,603 --> 00:57:20,847 YOU THINK I'D COME HERE IF THIS WASN'T IMPORTANT? WE'RE PUBLIC SERVANTS. 1582 00:57:20,871 --> 00:57:22,416 THIS WASN'T IMPORTANT? WE'RE PUBLIC SERVANTS. WE'RE ON CALL 24 HOURS A DAY. 1583 00:57:22,440 --> 00:57:23,817 WE'RE PUBLIC SERVANTS. WE'RE ON CALL 24 HOURS A DAY. ALL RIGHT, ALL RIGHT, I'LL 1584 00:57:23,841 --> 00:57:24,618 WE'RE ON CALL 24 HOURS A DAY. ALL RIGHT, ALL RIGHT, I'LL THINK ABOUT IT. 1585 00:57:24,642 --> 00:57:25,786 ALL RIGHT, ALL RIGHT, I'LL THINK ABOUT IT. ALL RIGHT, STAND UP. 1586 00:57:25,810 --> 00:57:27,421 THINK ABOUT IT. ALL RIGHT, STAND UP. NOW, TURN AROUND, TURN AROUND. 1587 00:57:27,445 --> 00:57:29,255 ALL RIGHT, STAND UP. NOW, TURN AROUND, TURN AROUND. NOW, DON'T PEEK. 1588 00:57:29,279 --> 00:57:30,924 NOW, TURN AROUND, TURN AROUND. NOW, DON'T PEEK. I'M GONNA PUT MY ROBE ON. 1589 00:57:30,948 --> 00:57:32,358 NOW, DON'T PEEK. I'M GONNA PUT MY ROBE ON. NOW, THIS IS A REAL DIFFERENT 1590 00:57:32,382 --> 00:57:33,693 I'M GONNA PUT MY ROBE ON. NOW, THIS IS A REAL DIFFERENT PLAN, NOT LIKE THE COLSON PLAN 1591 00:57:33,717 --> 00:57:34,694 NOW, THIS IS A REAL DIFFERENT PLAN, NOT LIKE THE COLSON PLAN OR THE MAGRUDER PLAN. 1592 00:57:34,718 --> 00:57:37,163 PLAN, NOT LIKE THE COLSON PLAN OR THE MAGRUDER PLAN. THIS ONE WAS SCALED WAY DOWN. 1593 00:57:37,187 --> 00:57:38,632 OR THE MAGRUDER PLAN. THIS ONE WAS SCALED WAY DOWN. FOR INSTANCE, GET THIS IDEA. 1594 00:57:38,656 --> 00:57:40,634 THIS ONE WAS SCALED WAY DOWN. FOR INSTANCE, GET THIS IDEA. WE DON'T RANDOMLY SPY ON PEOPLE 1595 00:57:40,658 --> 00:57:42,569 FOR INSTANCE, GET THIS IDEA. WE DON'T RANDOMLY SPY ON PEOPLE ANYMORE, WE JUST SPY ON PEOPLE 1596 00:57:42,593 --> 00:57:44,604 WE DON'T RANDOMLY SPY ON PEOPLE ANYMORE, WE JUST SPY ON PEOPLE WHOM WE HAVE A REASON TO SPY ON. 1597 00:57:44,628 --> 00:57:46,406 ANYMORE, WE JUST SPY ON PEOPLE WHOM WE HAVE A REASON TO SPY ON. GREAT, HUH? 1598 00:57:46,430 --> 00:57:50,644 WHOM WE HAVE A REASON TO SPY ON. GREAT, HUH? WELL... 1599 00:57:50,668 --> 00:57:52,879 GREAT, HUH? WELL... WHAT AGENCIES ARE INVOLVED? 1600 00:57:52,903 --> 00:57:55,348 WELL... WHAT AGENCIES ARE INVOLVED? WELL, THE CIA TAPS THE PHONES 1601 00:57:55,372 --> 00:57:57,551 WHAT AGENCIES ARE INVOLVED? WELL, THE CIA TAPS THE PHONES AND READS THE MAIL AND LETTERS 1602 00:57:57,575 --> 00:57:58,852 WELL, THE CIA TAPS THE PHONES AND READS THE MAIL AND LETTERS OF, LIKE, FOREIGN AGENTS, 1603 00:57:58,876 --> 00:58:00,253 AND READS THE MAIL AND LETTERS OF, LIKE, FOREIGN AGENTS, INCLUDING AMERICANS WHO HAVE 1604 00:58:00,277 --> 00:58:01,220 OF, LIKE, FOREIGN AGENTS, INCLUDING AMERICANS WHO HAVE GONE OVERSEAS. 1605 00:58:01,244 --> 00:58:02,689 INCLUDING AMERICANS WHO HAVE GONE OVERSEAS. LIKE DANIEL ELLSBERG, 1606 00:58:02,713 --> 00:58:03,523 GONE OVERSEAS. LIKE DANIEL ELLSBERG, JANE FONDA? 1607 00:58:03,547 --> 00:58:04,825 LIKE DANIEL ELLSBERG, JANE FONDA? YEAH, TED KENNEDY, 1608 00:58:04,849 --> 00:58:05,959 JANE FONDA? YEAH, TED KENNEDY, JOE NAMATH. 1609 00:58:05,983 --> 00:58:07,627 YEAH, TED KENNEDY, JOE NAMATH. WHAT ABOUT MY BOYS? 1610 00:58:07,651 --> 00:58:09,195 JOE NAMATH. WHAT ABOUT MY BOYS? WELL, THE FBI DOES DOMESTIC 1611 00:58:09,219 --> 00:58:10,530 WHAT ABOUT MY BOYS? WELL, THE FBI DOES DOMESTIC SURVEILLANCE... YOU KNOW, 1612 00:58:10,554 --> 00:58:11,731 WELL, THE FBI DOES DOMESTIC SURVEILLANCE... YOU KNOW, LEFT-WINGERS WHO MIGHT 1613 00:58:11,755 --> 00:58:13,066 SURVEILLANCE... YOU KNOW, LEFT-WINGERS WHO MIGHT SYMPATHIZE WITH A VIOLENT 1614 00:58:13,090 --> 00:58:14,033 LEFT-WINGERS WHO MIGHT SYMPATHIZE WITH A VIOLENT COMMUNIST REVOLUTION. 1615 00:58:14,057 --> 00:58:15,435 SYMPATHIZE WITH A VIOLENT COMMUNIST REVOLUTION. OH, ABBIE HOFFMAN, 1616 00:58:15,459 --> 00:58:16,636 COMMUNIST REVOLUTION. OH, ABBIE HOFFMAN, HUEY NEWTON, AND THE 1617 00:58:16,660 --> 00:58:17,270 OH, ABBIE HOFFMAN, HUEY NEWTON, AND THE BLACK PANTHERS? 1618 00:58:17,294 --> 00:58:18,371 HUEY NEWTON, AND THE BLACK PANTHERS? TED KENNEDY, 1619 00:58:18,395 --> 00:58:19,606 BLACK PANTHERS? TED KENNEDY, SHIRLEY MacLAINE. 1620 00:58:19,630 --> 00:58:21,174 TED KENNEDY, SHIRLEY MacLAINE. OKAY, OKAY, OKAY. 1621 00:58:21,198 --> 00:58:22,208 SHIRLEY MacLAINE. OKAY, OKAY, OKAY. NOW, GET THIS. 1622 00:58:22,232 --> 00:58:23,710 OKAY, OKAY, OKAY. NOW, GET THIS. THE WHITE HOUSE WILL HAVE A 1623 00:58:23,734 --> 00:58:24,544 NOW, GET THIS. THE WHITE HOUSE WILL HAVE A SPECIAL UNIT. 1624 00:58:24,568 --> 00:58:26,446 THE WHITE HOUSE WILL HAVE A SPECIAL UNIT. THE ONLY JOB THEY HAVE IS TO 1625 00:58:26,470 --> 00:58:27,380 SPECIAL UNIT. THE ONLY JOB THEY HAVE IS TO PLUG LEAKS. 1626 00:58:27,404 --> 00:58:29,148 THE ONLY JOB THEY HAVE IS TO PLUG LEAKS. GUESS WHAT THEY'RE CALLED. 1627 00:58:29,172 --> 00:58:32,251 PLUG LEAKS. GUESS WHAT THEY'RE CALLED. [SIGHS] THE PLUMBERS? 1628 00:58:32,275 --> 00:58:34,153 GUESS WHAT THEY'RE CALLED. [SIGHS] THE PLUMBERS? YEAH, THE PLUMBERS. 1629 00:58:34,177 --> 00:58:34,955 [SIGHS] THE PLUMBERS? YEAH, THE PLUMBERS. HOW DID YOU KNOW? 1630 00:58:34,979 --> 00:58:37,290 YEAH, THE PLUMBERS. HOW DID YOU KNOW? I GUESS IT LEAKED OUT ALREADY. 1631 00:58:37,314 --> 00:58:38,358 HOW DID YOU KNOW? I GUESS IT LEAKED OUT ALREADY. LOOK, IF WE GET CAUGHT, WHO 1632 00:58:38,382 --> 00:58:39,158 I GUESS IT LEAKED OUT ALREADY. LOOK, IF WE GET CAUGHT, WHO TAKES THE RAP FOR IT? 1633 00:58:39,182 --> 00:58:40,059 LOOK, IF WE GET CAUGHT, WHO TAKES THE RAP FOR IT? OH, I DON'T KNOW, SOME 1634 00:58:40,083 --> 00:58:41,895 TAKES THE RAP FOR IT? OH, I DON'T KNOW, SOME PATSY... MITCHELL, FOR EXAMPLE. 1635 00:58:41,919 --> 00:58:43,296 OH, I DON'T KNOW, SOME PATSY... MITCHELL, FOR EXAMPLE. NO, NO, I'M NOT GOING ALONG 1636 00:58:43,320 --> 00:58:43,797 PATSY... MITCHELL, FOR EXAMPLE. NO, NO, I'M NOT GOING ALONG WITH IT. 1637 00:58:43,821 --> 00:58:45,264 NO, NO, I'M NOT GOING ALONG WITH IT. NOT GOING ALONG WITH ANY ILLEGAL 1638 00:58:45,288 --> 00:58:46,867 WITH IT. NOT GOING ALONG WITH ANY ILLEGAL PLAN UNLESS YOU GIVE ME WRITTEN 1639 00:58:46,891 --> 00:58:48,201 NOT GOING ALONG WITH ANY ILLEGAL PLAN UNLESS YOU GIVE ME WRITTEN CONSENT TO BREAK THE LAW. 1640 00:58:48,225 --> 00:58:50,604 PLAN UNLESS YOU GIVE ME WRITTEN CONSENT TO BREAK THE LAW. GEE, I SURE WISH I COULD DO 1641 00:58:50,628 --> 00:58:51,771 CONSENT TO BREAK THE LAW. GEE, I SURE WISH I COULD DO THAT, BUT I CAN'T. 1642 00:58:51,795 --> 00:58:52,906 GEE, I SURE WISH I COULD DO THAT, BUT I CAN'T. THAT WOULD BE SURE GROUNDS FOR 1643 00:58:52,930 --> 00:58:53,473 THAT, BUT I CAN'T. THAT WOULD BE SURE GROUNDS FOR IMPEACHMENT. 1644 00:58:53,497 --> 00:58:54,908 THAT WOULD BE SURE GROUNDS FOR IMPEACHMENT. I MAY NOT BE FAST ON MY FEET, 1645 00:58:54,932 --> 00:58:56,376 IMPEACHMENT. I MAY NOT BE FAST ON MY FEET, BUT I'M NOT DUMB ENOUGH TO GET 1646 00:58:56,400 --> 00:58:57,777 I MAY NOT BE FAST ON MY FEET, BUT I'M NOT DUMB ENOUGH TO GET MYSELF THROWN OUT OF OFFICE. 1647 00:58:57,801 --> 00:58:59,579 BUT I'M NOT DUMB ENOUGH TO GET MYSELF THROWN OUT OF OFFICE. [SCOFFS] IT'D TAKE A REAL 1648 00:58:59,603 --> 00:59:03,149 MYSELF THROWN OUT OF OFFICE. [SCOFFS] IT'D TAKE A REAL IDIOT TO DO THAT. 1649 00:59:03,173 --> 00:59:05,585 [SCOFFS] IT'D TAKE A REAL IDIOT TO DO THAT. ALL RIGHT, NIXON, I CAN'T GO 1650 00:59:05,609 --> 00:59:06,786 IDIOT TO DO THAT. ALL RIGHT, NIXON, I CAN'T GO ALONG WITH YOU. 1651 00:59:06,810 --> 00:59:08,087 ALL RIGHT, NIXON, I CAN'T GO ALONG WITH YOU. WELL, I DIDN'T WANT TO DO 1652 00:59:08,111 --> 00:59:09,890 ALONG WITH YOU. WELL, I DIDN'T WANT TO DO THIS, J. EDGAR, BUT I'M AFRAID 1653 00:59:09,914 --> 00:59:11,124 WELL, I DIDN'T WANT TO DO THIS, J. EDGAR, BUT I'M AFRAID YOU FORCED MY HAND. 1654 00:59:11,148 --> 00:59:12,993 THIS, J. EDGAR, BUT I'M AFRAID YOU FORCED MY HAND. THE WHITE HOUSE HAS PROOF THAT 1655 00:59:13,017 --> 00:59:16,429 YOU FORCED MY HAND. THE WHITE HOUSE HAS PROOF THAT YOU'RE A VIRGIN. 1656 00:59:16,453 --> 00:59:18,131 THE WHITE HOUSE HAS PROOF THAT YOU'RE A VIRGIN. YOU'RE BLUFFING, NIXON. 1657 00:59:18,155 --> 00:59:18,899 YOU'RE A VIRGIN. YOU'RE BLUFFING, NIXON. I AM? 1658 00:59:18,923 --> 00:59:20,299 YOU'RE BLUFFING, NIXON. I AM? THERE IS NO DEFINITIVE TEST 1659 00:59:20,323 --> 00:59:21,434 I AM? THERE IS NO DEFINITIVE TEST FOR DETERMINING A MAN'S 1660 00:59:21,458 --> 00:59:22,569 THERE IS NO DEFINITIVE TEST FOR DETERMINING A MAN'S VIRGINITY. 1661 00:59:22,593 --> 00:59:23,603 FOR DETERMINING A MAN'S VIRGINITY. WHAT THE HELL WAS LIDDY 1662 00:59:23,627 --> 00:59:24,437 VIRGINITY. WHAT THE HELL WAS LIDDY TALKING ABOUT, THEN? 1663 00:59:24,461 --> 00:59:26,039 WHAT THE HELL WAS LIDDY TALKING ABOUT, THEN? OH, YOU'RE REALLY AN IDIOT, 1664 00:59:26,063 --> 00:59:28,141 TALKING ABOUT, THEN? OH, YOU'RE REALLY AN IDIOT, NIXON. 1665 00:59:28,165 --> 00:59:30,010 OH, YOU'RE REALLY AN IDIOT, NIXON. BLACKMAILING ME IS LIKE TRYING 1666 00:59:30,034 --> 00:59:31,244 NIXON. BLACKMAILING ME IS LIKE TRYING TO BRIBE HOWARD HUGHES. 1667 00:59:31,268 --> 00:59:33,079 BLACKMAILING ME IS LIKE TRYING TO BRIBE HOWARD HUGHES. HEY, HEY, DO YOU REMEMBER THAT 1668 00:59:33,103 --> 00:59:34,915 TO BRIBE HOWARD HUGHES. HEY, HEY, DO YOU REMEMBER THAT CHINESE BROAD YOU BROUGHT INTO 1669 00:59:34,939 --> 00:59:35,615 HEY, HEY, DO YOU REMEMBER THAT CHINESE BROAD YOU BROUGHT INTO WASHINGTON? 1670 00:59:35,639 --> 00:59:36,583 CHINESE BROAD YOU BROUGHT INTO WASHINGTON? SU-LI? 1671 00:59:36,607 --> 00:59:39,920 WASHINGTON? SU-LI? YEAH. 1672 00:59:39,944 --> 00:59:41,087 SU-LI? YEAH. LISTEN. 1673 00:59:41,111 --> 00:59:42,822 YEAH. LISTEN. SU-LI. 1674 00:59:42,846 --> 00:59:44,524 LISTEN. SU-LI. MR. PLESIDENT. 1675 00:59:44,548 --> 00:59:45,559 SU-LI. MR. PLESIDENT. SU-LI. 1676 00:59:45,583 --> 00:59:47,060 MR. PLESIDENT. SU-LI. OH, MR. PLESIDENT. 1677 00:59:47,084 --> 00:59:48,528 SU-LI. OH, MR. PLESIDENT. OH, SU-LI. 1678 00:59:48,552 --> 00:59:50,697 OH, MR. PLESIDENT. OH, SU-LI. [Moaning] MR. PLESIDENT. 1679 00:59:50,721 --> 00:59:52,465 OH, SU-LI. [Moaning] MR. PLESIDENT. THE MEETING'S OVER, NIXON. 1680 00:59:52,489 --> 00:59:54,868 [Moaning] MR. PLESIDENT. THE MEETING'S OVER, NIXON. GET LOST. 1681 00:59:54,892 --> 00:59:56,169 THE MEETING'S OVER, NIXON. GET LOST. COULD I HAVE THAT TAPE? 1682 00:59:56,193 --> 00:59:57,403 GET LOST. COULD I HAVE THAT TAPE? NO WAY, BUSTER. 1683 00:59:57,427 --> 00:59:58,738 COULD I HAVE THAT TAPE? NO WAY, BUSTER. HOW ABOUT A COPY? 1684 00:59:58,762 --> 00:59:59,706 NO WAY, BUSTER. HOW ABOUT A COPY? NO CHANCE. 1685 00:59:59,730 --> 01:00:00,473 HOW ABOUT A COPY? NO CHANCE. [SQUEALING] 1686 01:00:00,497 --> 01:00:01,441 NO CHANCE. [SQUEALING] [POUNDING ON WINDOW] 1687 01:00:01,465 --> 01:00:02,676 [SQUEALING] [POUNDING ON WINDOW] WHAT THE HECK IS GOING ON? 1688 01:00:02,700 --> 01:00:03,476 [POUNDING ON WINDOW] WHAT THE HECK IS GOING ON? OH! OH! 1689 01:00:03,500 --> 01:00:05,178 WHAT THE HECK IS GOING ON? OH! OH! MR. HOOVER, WE FOUND HER 1690 01:00:05,202 --> 01:00:07,013 OH! OH! MR. HOOVER, WE FOUND HER SNEAKING AROUND IN THE BUSHES. 1691 01:00:07,037 --> 01:00:07,914 MR. HOOVER, WE FOUND HER SNEAKING AROUND IN THE BUSHES. JULIE! 1692 01:00:07,938 --> 01:00:09,849 SNEAKING AROUND IN THE BUSHES. JULIE! HAVE THEM KILLED, DADDY! 1693 01:00:09,873 --> 01:00:11,117 JULIE! HAVE THEM KILLED, DADDY! I CAN'T, PRINCESS, THEY'RE 1694 01:00:11,141 --> 01:00:11,885 HAVE THEM KILLED, DADDY! I CAN'T, PRINCESS, THEY'RE G-MEN. 1695 01:00:11,909 --> 01:00:12,886 I CAN'T, PRINCESS, THEY'RE G-MEN. BOYS, YOU GO AHEAD TO THE 1696 01:00:12,910 --> 01:00:13,386 G-MEN. BOYS, YOU GO AHEAD TO THE STEAM ROOM. 1697 01:00:13,410 --> 01:00:14,454 BOYS, YOU GO AHEAD TO THE STEAM ROOM. I'LL MEET YOU THERE IN ABOUT A 1698 01:00:14,478 --> 01:00:16,022 STEAM ROOM. I'LL MEET YOU THERE IN ABOUT A HALF-HOUR. 1699 01:00:16,046 --> 01:00:17,256 I'LL MEET YOU THERE IN ABOUT A HALF-HOUR. YES, SIR. 1700 01:00:17,280 --> 01:00:18,491 HALF-HOUR. YES, SIR. YES, SIR. 1701 01:00:18,515 --> 01:00:20,026 YES, SIR. YES, SIR. WELL, PRINCESS, LET'S CALL IT 1702 01:00:20,050 --> 01:00:20,560 YES, SIR. WELL, PRINCESS, LET'S CALL IT A NIGHT. 1703 01:00:20,584 --> 01:00:22,028 WELL, PRINCESS, LET'S CALL IT A NIGHT. WAIT A MINUTE, NIXON, NIXON, 1704 01:00:22,052 --> 01:00:24,564 A NIGHT. WAIT A MINUTE, NIXON, NIXON, COME HERE, COME HERE. 1705 01:00:24,588 --> 01:00:26,666 WAIT A MINUTE, NIXON, NIXON, COME HERE, COME HERE. LET ME LOOK AT YOU. 1706 01:00:26,690 --> 01:00:27,801 COME HERE, COME HERE. LET ME LOOK AT YOU. YOU KNOW SOMETHING, IF YOU 1707 01:00:27,825 --> 01:00:29,035 LET ME LOOK AT YOU. YOU KNOW SOMETHING, IF YOU PARTED YOUR HAIR ON THE OTHER 1708 01:00:29,059 --> 01:00:30,036 YOU KNOW SOMETHING, IF YOU PARTED YOUR HAIR ON THE OTHER SIDE, YOU'D BE A PRETTY 1709 01:00:30,060 --> 01:00:32,072 PARTED YOUR HAIR ON THE OTHER SIDE, YOU'D BE A PRETTY NICE-LOOKING FELLA. 1710 01:00:32,096 --> 01:00:33,106 SIDE, YOU'D BE A PRETTY NICE-LOOKING FELLA. YOU REALLY THINK SO, 1711 01:00:33,130 --> 01:00:33,940 NICE-LOOKING FELLA. YOU REALLY THINK SO, J. EDGAR? 1712 01:00:33,964 --> 01:00:34,808 YOU REALLY THINK SO, J. EDGAR? YEAH. 1713 01:00:34,832 --> 01:00:36,242 J. EDGAR? YEAH. WELL, I'LL THINK ABOUT IT. 1714 01:00:36,266 --> 01:00:37,677 YEAH. WELL, I'LL THINK ABOUT IT. I'LL SEE YOU NEXT WEEK, HOOVER. 1715 01:00:37,701 --> 01:00:39,846 WELL, I'LL THINK ABOUT IT. I'LL SEE YOU NEXT WEEK, HOOVER. [CHEERS AND APPLAUSE] 1716 01:00:39,870 --> 01:00:42,750 I'LL SEE YOU NEXT WEEK, HOOVER. [CHEERS AND APPLAUSE] [SOLEMN MUSIC PLAYS] 1717 01:00:59,455 --> 01:01:05,204 AND NOW, LADIES AND GENTLEMEN, THE METERS. [CHEERS AND APPLAUSE] 1718 01:01:05,228 --> 01:01:06,439 GENTLEMEN, THE METERS. [CHEERS AND APPLAUSE] [INTRODUCTION TO 1719 01:01:06,463 --> 01:01:09,103 [CHEERS AND APPLAUSE] [INTRODUCTION TO "MY NAME UP IN LIGHTS" PLAYS] 1720 01:01:32,321 --> 01:01:39,639 ♪ LIKE TO BE A WRITER, SINGER ON FIRE ♪ ♪ ANYTHING I COULD DO TO SET MY 1721 01:01:39,663 --> 01:01:41,374 ON FIRE ♪ ♪ ANYTHING I COULD DO TO SET MY NAME UP IN LIGHTS ♪ 1722 01:01:41,398 --> 01:01:43,843 ♪ ANYTHING I COULD DO TO SET MY NAME UP IN LIGHTS ♪ ♪ I'D EVEN BE A SPOKESMAN ♪ 1723 01:01:43,867 --> 01:01:46,813 NAME UP IN LIGHTS ♪ ♪ I'D EVEN BE A SPOKESMAN ♪ ♪ OR JUST A PLAIN OLD JOKESMAN ♪ 1724 01:01:46,837 --> 01:01:48,848 ♪ I'D EVEN BE A SPOKESMAN ♪ ♪ OR JUST A PLAIN OLD JOKESMAN ♪ ♪ BET YOU'LL CRACK YOUR SIDE ♪ 1725 01:01:48,872 --> 01:01:51,084 ♪ OR JUST A PLAIN OLD JOKESMAN ♪ ♪ BET YOU'LL CRACK YOUR SIDE ♪ ♪ AND YOU'LL LAST ALL NIGHT ♪ 1726 01:01:51,108 --> 01:01:53,519 ♪ BET YOU'LL CRACK YOUR SIDE ♪ ♪ AND YOU'LL LAST ALL NIGHT ♪ ♪ WANT TO BE NO BEGGAR ♪ 1727 01:01:53,543 --> 01:01:56,022 ♪ AND YOU'LL LAST ALL NIGHT ♪ ♪ WANT TO BE NO BEGGAR ♪ ♪ CAN'T BE NO UNDERTAKER ♪ 1728 01:01:56,046 --> 01:01:58,091 ♪ WANT TO BE NO BEGGAR ♪ ♪ CAN'T BE NO UNDERTAKER ♪ ♪ 'CAUSE THAT KIND OF THING JUST 1729 01:01:58,115 --> 01:01:59,025 ♪ CAN'T BE NO UNDERTAKER ♪ ♪ 'CAUSE THAT KIND OF THING JUST AIN'T RIGHT ♪ 1730 01:01:59,049 --> 01:02:00,493 ♪ 'CAUSE THAT KIND OF THING JUST AIN'T RIGHT ♪ ♪ HAH, HAH ♪ 1731 01:02:00,517 --> 01:02:03,029 AIN'T RIGHT ♪ ♪ HAH, HAH ♪ ♪ DON'T WANT TO BE NO PREACHER ♪ 1732 01:02:03,053 --> 01:02:05,498 ♪ HAH, HAH ♪ ♪ DON'T WANT TO BE NO PREACHER ♪ ♪ OR JUST A PLAIN OLD TEACHER ♪ 1733 01:02:05,522 --> 01:02:08,068 ♪ DON'T WANT TO BE NO PREACHER ♪ ♪ OR JUST A PLAIN OLD TEACHER ♪ ♪ I ONLY WANT TO DO WHAT IS MY 1734 01:02:08,092 --> 01:02:09,402 ♪ OR JUST A PLAIN OLD TEACHER ♪ ♪ I ONLY WANT TO DO WHAT IS MY NAME OF DELIGHT ♪ 1735 01:02:09,426 --> 01:02:10,170 ♪ I ONLY WANT TO DO WHAT IS MY NAME OF DELIGHT ♪ ♪ HAH ♪ 1736 01:02:10,194 --> 01:02:14,640 NAME OF DELIGHT ♪ ♪ HAH ♪ ♪ I GOT FAME OF THE NIGHT ♪ 1737 01:02:14,664 --> 01:02:18,144 ♪ HAH ♪ ♪ I GOT FAME OF THE NIGHT ♪ ♪ I GOT TO GET MY NAME UP IN 1738 01:02:18,168 --> 01:02:20,113 ♪ I GOT FAME OF THE NIGHT ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1739 01:02:20,137 --> 01:02:22,916 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ I GOT TO GET MY NAME UP IN 1740 01:02:22,940 --> 01:02:25,085 LIGHTS ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1741 01:02:25,109 --> 01:02:27,620 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ I GOT TO GET MY NAME UP IN 1742 01:02:27,644 --> 01:02:28,588 LIGHTS ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1743 01:02:28,612 --> 01:02:30,578 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ HIT IT! 1744 01:02:43,559 --> 01:02:45,360 ♪ OOH ♪ 1745 01:03:22,131 --> 01:03:24,032 OW! 1746 01:03:33,142 --> 01:03:38,024 ♪ I CAN'T BE NO GOVERNMENT WORKER ♪ ♪ I CAN'T BE NO SODA JERKER ♪ 1747 01:03:38,048 --> 01:03:39,893 WORKER ♪ ♪ I CAN'T BE NO SODA JERKER ♪ ♪ 'CAUSE THAT KIND OF LIFE IS 1748 01:03:39,917 --> 01:03:41,261 ♪ I CAN'T BE NO SODA JERKER ♪ ♪ 'CAUSE THAT KIND OF LIFE IS NOT FOR ME ♪ 1749 01:03:41,285 --> 01:03:42,495 ♪ 'CAUSE THAT KIND OF LIFE IS NOT FOR ME ♪ ♪ HAH ♪ 1750 01:03:42,519 --> 01:03:45,165 NOT FOR ME ♪ ♪ HAH ♪ ♪ DON'T WANT TO BE NO SHIP OR 1751 01:03:45,189 --> 01:03:47,133 ♪ HAH ♪ ♪ DON'T WANT TO BE NO SHIP OR JUST ANOTHER SAILOR ♪ 1752 01:03:47,157 --> 01:03:49,002 ♪ DON'T WANT TO BE NO SHIP OR JUST ANOTHER SAILOR ♪ ♪ 'CAUSE WHAT I WANT CAN'T BE 1753 01:03:49,026 --> 01:03:52,405 JUST ANOTHER SAILOR ♪ ♪ 'CAUSE WHAT I WANT CAN'T BE FOUND IN THE SEA ♪ 1754 01:03:52,429 --> 01:03:55,108 ♪ 'CAUSE WHAT I WANT CAN'T BE FOUND IN THE SEA ♪ ♪ I GOT TO GET MY NAME UP IN 1755 01:03:55,132 --> 01:03:56,676 FOUND IN THE SEA ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1756 01:03:56,700 --> 01:03:59,212 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ I GOT TO GET MY NAME UP IN 1757 01:03:59,236 --> 01:04:00,180 LIGHTS ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1758 01:04:00,204 --> 01:04:01,514 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ HAH ♪ 1759 01:04:01,538 --> 01:04:04,350 LIGHTS ♪ ♪ HAH ♪ ♪ I GOT TO GET MY NAME UP IN 1760 01:04:04,374 --> 01:04:04,851 ♪ HAH ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1761 01:04:04,875 --> 01:04:05,819 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ HAH ♪ 1762 01:04:05,843 --> 01:04:08,754 LIGHTS ♪ ♪ HAH ♪ ♪ I GOT TO GET MY NAME UP IN 1763 01:04:08,778 --> 01:04:09,655 ♪ HAH ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1764 01:04:09,679 --> 01:04:10,589 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ I GOT TO GET MY NAME UP ♪ 1765 01:04:10,613 --> 01:04:12,758 LIGHTS ♪ ♪ I GOT TO GET MY NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN 1766 01:04:12,782 --> 01:04:13,259 ♪ I GOT TO GET MY NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1767 01:04:13,283 --> 01:04:14,828 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ GOOD GOD, I GOT TO GET MY 1768 01:04:14,852 --> 01:04:15,628 LIGHTS ♪ ♪ GOOD GOD, I GOT TO GET MY NAME UP ♪ 1769 01:04:15,652 --> 01:04:17,964 ♪ GOOD GOD, I GOT TO GET MY NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN 1770 01:04:17,988 --> 01:04:18,531 NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1771 01:04:18,555 --> 01:04:19,699 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ I GOT TO GET MY NAME UP ♪ 1772 01:04:19,723 --> 01:04:22,368 LIGHTS ♪ ♪ I GOT TO GET MY NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN 1773 01:04:22,392 --> 01:04:23,136 ♪ I GOT TO GET MY NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1774 01:04:23,160 --> 01:04:24,237 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ ♪ I GOT TO GET MY NAME UP ♪ 1775 01:04:24,261 --> 01:04:26,973 LIGHTS ♪ ♪ I GOT TO GET MY NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN 1776 01:04:26,997 --> 01:04:27,874 ♪ I GOT TO GET MY NAME UP ♪ ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ 1777 01:04:27,898 --> 01:04:29,242 ♪ I GOT TO GET MY NAME UP IN LIGHTS ♪ [MUSIC ENDS] 1778 01:04:29,266 --> 01:04:31,499 LIGHTS ♪ [MUSIC ENDS] [CHEERS AND APPLAUSE] 1779 01:04:44,313 --> 01:04:46,814 [BAND PLAYS] 1780 01:04:51,420 --> 01:04:55,401 I'D LIKE TO THANK YOU, LADIES AND GENTLEMEN, FOR ALL COMING TO SEE THE SHOW, AND I'D LIKE TO 1781 01:04:55,425 --> 01:04:56,769 AND GENTLEMEN, FOR ALL COMING TO SEE THE SHOW, AND I'D LIKE TO THANK ALL OF YOU OUT THERE FOR 1782 01:04:56,793 --> 01:04:58,137 SEE THE SHOW, AND I'D LIKE TO THANK ALL OF YOU OUT THERE FOR WATCHING, BUT, MOST OF ALL, I'D 1783 01:04:58,161 --> 01:04:59,405 THANK ALL OF YOU OUT THERE FOR WATCHING, BUT, MOST OF ALL, I'D LIKE TO THANK THIS WONDERFUL 1784 01:04:59,429 --> 01:05:00,539 WATCHING, BUT, MOST OF ALL, I'D LIKE TO THANK THIS WONDERFUL CAST FOR MAKING ALL THIS 1785 01:05:00,563 --> 01:05:01,908 LIKE TO THANK THIS WONDERFUL CAST FOR MAKING ALL THIS POSSIBLE FOR ME TO HAVE SO MUCH 1786 01:05:01,932 --> 01:05:02,876 CAST FOR MAKING ALL THIS POSSIBLE FOR ME TO HAVE SO MUCH FUN. 1787 01:05:02,900 --> 01:05:04,310 POSSIBLE FOR ME TO HAVE SO MUCH FUN. GOD BLESS YOU. 1788 01:05:04,334 --> 01:05:06,467 FUN. GOD BLESS YOU. [APPLAUSE] 1789 01:05:42,371 --> 01:05:43,531 Announcer: FILM PRODUCTION 1790 01:05:43,605 --> 01:05:45,206 SERVICES BY JAMES SIGNORELLI FOR 1791 01:05:45,341 --> 01:05:46,874 SHOOTING STAR PRODUCTION. 1792 01:05:47,009 --> 01:05:49,010 NEXT SATURDAY NIGHT, OUR HOST 1793 01:05:49,145 --> 01:05:50,711 WILL BE JACK BURNS WITH MUSICAL 1794 01:05:50,846 --> 01:05:52,047 GUEST SANTANA. 1795 01:05:52,181 --> 01:05:53,915 UNTIL THEN, THIS IS DON PARDO 1796 01:05:54,050 --> 01:05:55,283 REMINDING YOU THAT TOMORROW IS 1797 01:05:55,418 --> 01:05:57,785 THE FIRST DAY OF SPRING, SO EAT 1798 01:05:57,920 --> 01:05:59,387 A ROBIN FOR LUNCH. 1799 01:05:59,521 --> 01:06:01,823 GOOD NIGHT. 1800 01:06:01,958 --> 01:06:03,891 [APPLAUSE CONTINUES] 196131

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