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AND NOW FROM STUDIO 8H IN
NEW YORK'S FAMED
ROCKEFELLER CENTER, THE RED
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00:00:13,381 --> 00:00:14,724
NEW YORK'S FAMED
ROCKEFELLER CENTER, THE RED
NETWORK JOINS THE BLUE TO BRING
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00:00:14,748 --> 00:00:15,792
ROCKEFELLER CENTER, THE RED
NETWORK JOINS THE BLUE TO BRING
YOU HOWARD SHORE AND THE
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00:00:15,816 --> 00:00:17,194
NETWORK JOINS THE BLUE TO BRING
YOU HOWARD SHORE AND THE
NATIONAL BROADCASTING ORCHESTRA,
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00:00:17,218 --> 00:00:18,561
YOU HOWARD SHORE AND THE
NATIONAL BROADCASTING ORCHESTRA,
FEATURING THE VOCAL STYLINGS OF
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00:00:18,585 --> 00:00:20,663
NATIONAL BROADCASTING ORCHESTRA,
FEATURING THE VOCAL STYLINGS OF
MR. GARRETT MORRIS.
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00:00:20,687 --> 00:00:24,623
FEATURING THE VOCAL STYLINGS OF
MR. GARRETT MORRIS.
[ORCHESTRA PLAYS]
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00:00:32,899 --> 00:00:38,181
♪ ON THE NBC TONIGHT ♪
♪ YOU'LL HEAR THREE TONES RING
OUT ♪
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00:00:38,205 --> 00:00:40,717
♪ YOU'LL HEAR THREE TONES RING
OUT ♪
♪ THEY HAVE A SPECIAL MEANING ♪
10
00:00:40,741 --> 00:00:42,185
OUT ♪
♪ THEY HAVE A SPECIAL MEANING ♪
♪ SO HERE'S WHAT IT'S ALL
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00:00:42,209 --> 00:00:43,853
♪ THEY HAVE A SPECIAL MEANING ♪
♪ SO HERE'S WHAT IT'S ALL
ABOUT ♪
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00:00:43,877 --> 00:00:44,587
♪ SO HERE'S WHAT IT'S ALL
ABOUT ♪
♪ I ♪
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00:00:44,611 --> 00:00:45,355
ABOUT ♪
♪ I ♪
♪ LOVE ♪
14
00:00:45,379 --> 00:00:46,556
♪ I ♪
♪ LOVE ♪
♪ YOU ♪
15
00:00:46,580 --> 00:00:47,991
♪ LOVE ♪
♪ YOU ♪
♪ THREE LITTLE TONES HAVE
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00:00:48,015 --> 00:00:49,393
♪ YOU ♪
♪ THREE LITTLE TONES HAVE
JUST HAD THEIR SAY ♪
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00:00:49,417 --> 00:00:50,127
♪ THREE LITTLE TONES HAVE
JUST HAD THEIR SAY ♪
♪ I ♪
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00:00:50,151 --> 00:00:50,894
JUST HAD THEIR SAY ♪
♪ I ♪
♪ LOVE ♪
19
00:00:50,918 --> 00:00:52,229
♪ I ♪
♪ LOVE ♪
♪ YOU ♪
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00:00:52,253 --> 00:00:53,596
♪ LOVE ♪
♪ YOU ♪
♪ FUNNY, BUT, HONEY, THAT'S
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00:00:53,620 --> 00:00:54,998
♪ YOU ♪
♪ FUNNY, BUT, HONEY, THAT'S
WHAT THEY SAY ♪
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00:00:55,022 --> 00:00:57,501
♪ FUNNY, BUT, HONEY, THAT'S
WHAT THEY SAY ♪
♪ CHIMES HAVE RUNG ♪
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00:00:57,525 --> 00:01:00,603
WHAT THEY SAY ♪
♪ CHIMES HAVE RUNG ♪
♪ THE PROGRAM'S DONE ♪
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00:01:00,627 --> 00:01:02,772
♪ CHIMES HAVE RUNG ♪
♪ THE PROGRAM'S DONE ♪
♪ MY LOVE SONG HAS JUST
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00:01:02,796 --> 00:01:05,808
♪ THE PROGRAM'S DONE ♪
♪ MY LOVE SONG HAS JUST
BEGU-U-N ♪
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00:01:05,832 --> 00:01:08,645
♪ MY LOVE SONG HAS JUST
BEGU-U-N ♪
♪ TURN THE DIAL OF YOUR HEART ♪
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00:01:08,669 --> 00:01:11,415
BEGU-U-N ♪
♪ TURN THE DIAL OF YOUR HEART ♪
♪ TUNE IN TO MY STATION ♪
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♪ TURN THE DIAL OF YOUR HEART ♪
♪ TUNE IN TO MY STATION ♪
♪ THOUGH WE MAY BE MILES APART ♪
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♪ TUNE IN TO MY STATION ♪
♪ THOUGH WE MAY BE MILES APART ♪
♪ YOUR RADIO TELLS YOU I KNOW ♪
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♪ THOUGH WE MAY BE MILES APART ♪
♪ YOUR RADIO TELLS YOU I KNOW ♪
♪ LISTEN, DEAR ♪
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♪ YOUR RADIO TELLS YOU I KNOW ♪
♪ LISTEN, DEAR ♪
♪ CAN'T YOU HEAR? ♪
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♪ LISTEN, DEAR ♪
♪ CAN'T YOU HEAR? ♪
♪ I LOVE YOU ♪
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00:01:58,651 --> 00:02:04,101
♪ TURN THE DIAL OF YOUR
HEART ♪
♪ TUNE IN TO OUR STATION ♪
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00:02:04,125 --> 00:02:06,570
HEART ♪
♪ TUNE IN TO OUR STATION ♪
♪ THOUGH WE MAY BE MILES APART ♪
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00:02:06,594 --> 00:02:08,671
♪ TUNE IN TO OUR STATION ♪
♪ THOUGH WE MAY BE MILES APART ♪
♪ YOUR RADIO TELLS YOU I
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00:02:08,695 --> 00:02:09,439
♪ THOUGH WE MAY BE MILES APART ♪
♪ YOUR RADIO TELLS YOU I
KNOW ♪
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♪ YOUR RADIO TELLS YOU I
KNOW ♪
♪ LISTEN, DEAR ♪
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00:02:12,065 --> 00:02:14,578
KNOW ♪
♪ LISTEN, DEAR ♪
♪ CAN'T YOU HEAR? ♪
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♪ LISTEN, DEAR ♪
♪ CAN'T YOU HEAR? ♪
♪ I LOVE YOU ♪
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[CHEERS AND APPLAUSE]
AND NOW, LIVE FROM NEW YORK,
IT'S "SATURDAY NIGHT"!
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AND NOW, LIVE FROM NEW YORK,
IT'S "SATURDAY NIGHT"!
[BAND PLAYS]
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Announcer: IT'S "SATURDAY
NIGHT LIVE"...
WITH THE ROLLING STONES...
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STARRING DAN AYKROYD...
JOHN BELUSHI...
JANE CURTIN...
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JOHN BELUSHI...
JANE CURTIN...
GARRETT MORRIS...
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JANE CURTIN...
GARRETT MORRIS...
BILL MURRAY...
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GARRETT MORRIS...
BILL MURRAY...
LARAINE NEWMAN...
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00:03:30,444 --> 00:03:34,379
BILL MURRAY...
LARAINE NEWMAN...
AND GILDA RADNER.
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LADIES AND GENTLEMAN, THE MAYOR
OF THE CITY OF NEW YORK,
ED KOCH!
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00:03:51,064 --> 00:03:54,999
OF THE CITY OF NEW YORK,
ED KOCH!
[CHEERS AND APPLAUSE]
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HOW AM I DOING?
[CHEERS AND APPLAUSE]
I'M DELIGHTED TO BE HERE TO
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[CHEERS AND APPLAUSE]
I'M DELIGHTED TO BE HERE TO
WELCOME "SATURDAY NIGHT LIVE"
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00:04:28,602 --> 00:04:30,146
I'M DELIGHTED TO BE HERE TO
WELCOME "SATURDAY NIGHT LIVE"
BACK TO NEW YORK.
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WELCOME "SATURDAY NIGHT LIVE"
BACK TO NEW YORK.
THIS IS THE FOURTH SEASON, AND
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00:04:32,072 --> 00:04:33,617
BACK TO NEW YORK.
THIS IS THE FOURTH SEASON, AND
WE WANT THEM TO KNOW HOW
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00:04:33,641 --> 00:04:35,418
THIS IS THE FOURTH SEASON, AND
WE WANT THEM TO KNOW HOW
GRATEFUL WE ARE THAT THEY'RE
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00:04:35,442 --> 00:04:38,655
WE WANT THEM TO KNOW HOW
GRATEFUL WE ARE THAT THEY'RE
HERE IN THIS GREAT CITY.
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GRATEFUL WE ARE THAT THEY'RE
HERE IN THIS GREAT CITY.
[CHEERS AND APPLAUSE]
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HERE IN THIS GREAT CITY.
[CHEERS AND APPLAUSE]
I'M ON THIS SHOW FOR, REALLY,
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00:04:46,253 --> 00:04:47,163
[CHEERS AND APPLAUSE]
I'M ON THIS SHOW FOR, REALLY,
TWO REASONS.
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00:04:47,187 --> 00:04:50,600
I'M ON THIS SHOW FOR, REALLY,
TWO REASONS.
ONE IS TO SPEAK TO THE NATION.
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TWO REASONS.
ONE IS TO SPEAK TO THE NATION.
WE HERE IN NEW YORK WANT TO TELL
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ONE IS TO SPEAK TO THE NATION.
WE HERE IN NEW YORK WANT TO TELL
THOSE OF YOU IN OTHER STATES HOW
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00:04:55,162 --> 00:04:57,340
WE HERE IN NEW YORK WANT TO TELL
THOSE OF YOU IN OTHER STATES HOW
MUCH WE APPRECIATE WHAT YOU DID
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00:04:57,364 --> 00:04:59,609
THOSE OF YOU IN OTHER STATES HOW
MUCH WE APPRECIATE WHAT YOU DID
FOR US WHEN WE WERE DOWN AND OUT
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00:04:59,633 --> 00:05:01,645
MUCH WE APPRECIATE WHAT YOU DID
FOR US WHEN WE WERE DOWN AND OUT
AND NEEDED YOUR HELP, AND YOU
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00:05:01,669 --> 00:05:03,713
FOR US WHEN WE WERE DOWN AND OUT
AND NEEDED YOUR HELP, AND YOU
CAME THROUGH.
67
00:05:03,737 --> 00:05:05,882
AND NEEDED YOUR HELP, AND YOU
CAME THROUGH.
WE WANT TO SAY TO ALL OF THOSE
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00:05:05,906 --> 00:05:07,984
CAME THROUGH.
WE WANT TO SAY TO ALL OF THOSE
OF YOU OUT THERE, "THANKS FOR
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00:05:08,008 --> 00:05:09,018
WE WANT TO SAY TO ALL OF THOSE
OF YOU OUT THERE, "THANKS FOR
THE LOAN.
70
00:05:09,042 --> 00:05:10,820
OF YOU OUT THERE, "THANKS FOR
THE LOAN.
YOU WON'T BE SORRY."
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00:05:10,844 --> 00:05:14,780
THE LOAN.
YOU WON'T BE SORRY."
[CHEERS AND APPLAUSE]
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NEW YORK CITY IS A GREAT PLACE
IN WHICH TO LIVE.
WE'RE VERY LUCKY, THOSE OF US
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00:05:25,726 --> 00:05:27,370
IN WHICH TO LIVE.
WE'RE VERY LUCKY, THOSE OF US
WHO ARE HERE, BUT THE CITY
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WE'RE VERY LUCKY, THOSE OF US
WHO ARE HERE, BUT THE CITY
BELONGS TO EVERYBODY, AND WE ARE
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WHO ARE HERE, BUT THE CITY
BELONGS TO EVERYBODY, AND WE ARE
GOING THROUGH A GREAT
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BELONGS TO EVERYBODY, AND WE ARE
GOING THROUGH A GREAT
RENAISSANCE.
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GOING THROUGH A GREAT
RENAISSANCE.
"SATURDAY NIGHT" IS ONE REASON
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00:05:33,701 --> 00:05:35,412
RENAISSANCE.
"SATURDAY NIGHT" IS ONE REASON
FOR THIS RENAISSANCE... AN
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00:05:35,436 --> 00:05:37,180
"SATURDAY NIGHT" IS ONE REASON
FOR THIS RENAISSANCE... AN
INSIGNIFICANT REASON, BUT A
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00:05:37,204 --> 00:05:38,748
FOR THIS RENAISSANCE... AN
INSIGNIFICANT REASON, BUT A
REASON NEVERTHELESS.
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00:05:38,772 --> 00:05:39,849
INSIGNIFICANT REASON, BUT A
REASON NEVERTHELESS.
[LAUGHTER]
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REASON NEVERTHELESS.
[LAUGHTER]
THE PEOPLE ON THIS SHOW... THEY
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00:05:42,042 --> 00:05:43,820
[LAUGHTER]
THE PEOPLE ON THIS SHOW... THEY
COULD HAVE CHOSEN TO GO
84
00:05:43,844 --> 00:05:46,155
THE PEOPLE ON THIS SHOW... THEY
COULD HAVE CHOSEN TO GO
ELSEWHERE, BUT THEY CAME HERE TO
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00:05:46,179 --> 00:05:48,024
COULD HAVE CHOSEN TO GO
ELSEWHERE, BUT THEY CAME HERE TO
NEW YORK CITY INSTEAD OF
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ELSEWHERE, BUT THEY CAME HERE TO
NEW YORK CITY INSTEAD OF
PITTSBURGH, DENVER, NEWARK.
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00:05:51,585 --> 00:05:53,463
NEW YORK CITY INSTEAD OF
PITTSBURGH, DENVER, NEWARK.
SOME COULD PROBABLY EVEN GET
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00:05:53,487 --> 00:05:55,498
PITTSBURGH, DENVER, NEWARK.
SOME COULD PROBABLY EVEN GET
WORK IN HOLLYWOOD, WHICH BRINGS
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00:05:55,522 --> 00:05:57,634
SOME COULD PROBABLY EVEN GET
WORK IN HOLLYWOOD, WHICH BRINGS
ME TO THE SECOND AND MAIN REASON
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00:05:57,658 --> 00:05:59,636
WORK IN HOLLYWOOD, WHICH BRINGS
ME TO THE SECOND AND MAIN REASON
WHY I'M HERE TONIGHT, AND THAT
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00:05:59,660 --> 00:06:01,705
ME TO THE SECOND AND MAIN REASON
WHY I'M HERE TONIGHT, AND THAT
IS TO OFFICIALLY HONOR A MEMBER
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00:06:01,729 --> 00:06:03,640
WHY I'M HERE TONIGHT, AND THAT
IS TO OFFICIALLY HONOR A MEMBER
OF THE "SATURDAY NIGHT" CAST.
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00:06:03,664 --> 00:06:05,575
IS TO OFFICIALLY HONOR A MEMBER
OF THE "SATURDAY NIGHT" CAST.
HE'S APPEARED OFF BROADWAY HERE
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00:06:05,599 --> 00:06:07,544
OF THE "SATURDAY NIGHT" CAST.
HE'S APPEARED OFF BROADWAY HERE
IN NEW YORK, AND HE'S GONE ON TO
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00:06:07,568 --> 00:06:09,278
HE'S APPEARED OFF BROADWAY HERE
IN NEW YORK, AND HE'S GONE ON TO
BE ONE OF THE STARS OF THIS
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00:06:09,302 --> 00:06:10,714
IN NEW YORK, AND HE'S GONE ON TO
BE ONE OF THE STARS OF THIS
SHOW AND MOST RECENTLY
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00:06:10,738 --> 00:06:12,482
BE ONE OF THE STARS OF THIS
SHOW AND MOST RECENTLY
DISTINGUISHED HIMSELF IN THE
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00:06:12,506 --> 00:06:14,083
SHOW AND MOST RECENTLY
DISTINGUISHED HIMSELF IN THE
FIELD OF MOTION PICTURES...
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00:06:14,107 --> 00:06:15,485
DISTINGUISHED HIMSELF IN THE
FIELD OF MOTION PICTURES...
A GREAT NEW YORKER...
100
00:06:15,509 --> 00:06:16,453
FIELD OF MOTION PICTURES...
A GREAT NEW YORKER...
JOHN BELUSHI.
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A GREAT NEW YORKER...
JOHN BELUSHI.
[CHEERS AND APPLAUSE]
102
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JOHN, YOUR CURRENT FILM,
"ANIMAL HOUSE," IS BREAKING
BOX-OFFICE RECORDS IN NEW YORK
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00:06:39,566 --> 00:06:41,177
"ANIMAL HOUSE," IS BREAKING
BOX-OFFICE RECORDS IN NEW YORK
AND ACROSS THE COUNTRY.
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00:06:41,201 --> 00:06:42,512
BOX-OFFICE RECORDS IN NEW YORK
AND ACROSS THE COUNTRY.
AND AS A RESIDENT OF OUR CITY,
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00:06:42,536 --> 00:06:44,547
AND ACROSS THE COUNTRY.
AND AS A RESIDENT OF OUR CITY,
YOU'VE HELPED TO MAKE IT THE
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00:06:44,571 --> 00:06:46,783
AND AS A RESIDENT OF OUR CITY,
YOU'VE HELPED TO MAKE IT THE
VITAL CREATIVE CENTER THAT IT IS
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YOU'VE HELPED TO MAKE IT THE
VITAL CREATIVE CENTER THAT IT IS
NOW.
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00:06:47,374 --> 00:06:49,151
VITAL CREATIVE CENTER THAT IT IS
NOW.
AND ON BEHALF OF MYSELF AND THE
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NOW.
AND ON BEHALF OF MYSELF AND THE
PEOPLE OF THE CITY OF NEW YORK,
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00:06:51,011 --> 00:06:53,256
AND ON BEHALF OF MYSELF AND THE
PEOPLE OF THE CITY OF NEW YORK,
I'D LIKE TO PRESENT YOU WITH A
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00:06:53,280 --> 00:06:56,493
PEOPLE OF THE CITY OF NEW YORK,
I'D LIKE TO PRESENT YOU WITH A
CITY OF NEW YORK CERTIFICATE OF
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00:06:56,517 --> 00:06:59,962
I'D LIKE TO PRESENT YOU WITH A
CITY OF NEW YORK CERTIFICATE OF
MERIT.
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00:06:59,986 --> 00:07:07,537
CITY OF NEW YORK CERTIFICATE OF
MERIT.
[CHEERS AND APPLAUSE]
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00:07:07,561 --> 00:07:10,640
MERIT.
[CHEERS AND APPLAUSE]
THANK YOU, MAYOR KOCH.
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00:07:10,664 --> 00:07:13,109
[CHEERS AND APPLAUSE]
THANK YOU, MAYOR KOCH.
UH, THIS IS A GREAT HONOR.
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THANK YOU, MAYOR KOCH.
UH, THIS IS A GREAT HONOR.
IT'S, UH, A VERY NICE
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UH, THIS IS A GREAT HONOR.
IT'S, UH, A VERY NICE
CERTIFICATE OF MERIT.
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00:07:17,270 --> 00:07:18,515
IT'S, UH, A VERY NICE
CERTIFICATE OF MERIT.
[LAUGHTER]
119
00:07:18,539 --> 00:07:21,183
CERTIFICATE OF MERIT.
[LAUGHTER]
I COULD, UH, PUT IT ON MY WALL.
120
00:07:21,207 --> 00:07:22,952
[LAUGHTER]
I COULD, UH, PUT IT ON MY WALL.
IT'LL...
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00:07:22,976 --> 00:07:24,086
I COULD, UH, PUT IT ON MY WALL.
IT'LL...
MR. MAYOR, IS THIS IT...
122
00:07:24,110 --> 00:07:26,723
IT'LL...
MR. MAYOR, IS THIS IT...
THIS PIECE OF PAPER HERE?
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00:07:26,747 --> 00:07:28,024
MR. MAYOR, IS THIS IT...
THIS PIECE OF PAPER HERE?
I MEAN, ISN'T THERE A KEY TO THE
124
00:07:28,048 --> 00:07:28,825
THIS PIECE OF PAPER HERE?
I MEAN, ISN'T THERE A KEY TO THE
CITY OR SOMETHING?
125
00:07:28,849 --> 00:07:30,059
I MEAN, ISN'T THERE A KEY TO THE
CITY OR SOMETHING?
YOU KNOW, I MEAN, DOLLY PARTON
126
00:07:30,083 --> 00:07:31,160
CITY OR SOMETHING?
YOU KNOW, I MEAN, DOLLY PARTON
GOT A KEY TO THE CITY.
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00:07:31,184 --> 00:07:32,796
YOU KNOW, I MEAN, DOLLY PARTON
GOT A KEY TO THE CITY.
JOHN, THE KEY TO THE CITY IS
128
00:07:32,820 --> 00:07:34,163
GOT A KEY TO THE CITY.
JOHN, THE KEY TO THE CITY IS
A DIFFERENT KIND OF HONOR.
129
00:07:34,187 --> 00:07:35,665
JOHN, THE KEY TO THE CITY IS
A DIFFERENT KIND OF HONOR.
YEAH, IT'S A BIGGER HONOR,
130
00:07:35,689 --> 00:07:36,265
A DIFFERENT KIND OF HONOR.
YEAH, IT'S A BIGGER HONOR,
YOU KNOW?
131
00:07:36,289 --> 00:07:37,066
YEAH, IT'S A BIGGER HONOR,
YOU KNOW?
I MEAN, UH...
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00:07:37,090 --> 00:07:38,768
YOU KNOW?
I MEAN, UH...
I LIVED HERE FOR SIX YEARS, YOU
133
00:07:38,792 --> 00:07:39,268
I MEAN, UH...
I LIVED HERE FOR SIX YEARS, YOU
KNOW?
134
00:07:39,292 --> 00:07:40,837
I LIVED HERE FOR SIX YEARS, YOU
KNOW?
A BLONDE WITH A RACK ROLLS IN
135
00:07:40,861 --> 00:07:42,539
KNOW?
A BLONDE WITH A RACK ROLLS IN
FROM NASHVILLE, AND YOU GIVE HER
136
00:07:42,563 --> 00:07:43,740
A BLONDE WITH A RACK ROLLS IN
FROM NASHVILLE, AND YOU GIVE HER
THE KEY TO THE CITY.
137
00:07:43,764 --> 00:07:46,275
FROM NASHVILLE, AND YOU GIVE HER
THE KEY TO THE CITY.
SHE LIVES IN L.A. IN A TRAILER!
138
00:07:46,299 --> 00:07:47,977
THE KEY TO THE CITY.
SHE LIVES IN L.A. IN A TRAILER!
WAS SHE IN A MOVIE?
139
00:07:48,001 --> 00:07:50,513
SHE LIVES IN L.A. IN A TRAILER!
WAS SHE IN A MOVIE?
I MEAN, "ANIMAL HOUSE" HAS MADE
140
00:07:50,537 --> 00:07:52,415
WAS SHE IN A MOVIE?
I MEAN, "ANIMAL HOUSE" HAS MADE
$60 MILLION, YOU KNOW?
141
00:07:52,439 --> 00:07:54,417
I MEAN, "ANIMAL HOUSE" HAS MADE
$60 MILLION, YOU KNOW?
$60 MILLION.
142
00:07:54,441 --> 00:07:58,655
$60 MILLION, YOU KNOW?
$60 MILLION.
DOES NEW YORK HAVE $60 MILLION?
143
00:07:58,679 --> 00:08:00,323
$60 MILLION.
DOES NEW YORK HAVE $60 MILLION?
$60 MILLION FOR
144
00:08:00,347 --> 00:08:02,224
DOES NEW YORK HAVE $60 MILLION?
$60 MILLION FOR
UNIVERSAL STUDIOS...
145
00:08:02,248 --> 00:08:02,959
$60 MILLION FOR
UNIVERSAL STUDIOS...
THAT'S RIGHT.
146
00:08:02,983 --> 00:08:04,327
UNIVERSAL STUDIOS...
THAT'S RIGHT.
AND YOU KNOW WHAT I GOT OUT OF
147
00:08:04,351 --> 00:08:04,661
THAT'S RIGHT.
AND YOU KNOW WHAT I GOT OUT OF
IT?
148
00:08:04,685 --> 00:08:05,528
AND YOU KNOW WHAT I GOT OUT OF
IT?
900 BUCKS!
149
00:08:05,552 --> 00:08:06,529
IT?
900 BUCKS!
[LAUGHTER]
150
00:08:06,553 --> 00:08:08,297
900 BUCKS!
[LAUGHTER]
JOHN, I'M JUST HERE TO
151
00:08:08,321 --> 00:08:09,599
[LAUGHTER]
JOHN, I'M JUST HERE TO
CONGRATULATE YOU.
152
00:08:09,623 --> 00:08:10,934
JOHN, I'M JUST HERE TO
CONGRATULATE YOU.
HOLD IT, ED.
153
00:08:10,958 --> 00:08:13,202
CONGRATULATE YOU.
HOLD IT, ED.
YOU KNOW, I DIDN'T EVEN GET A
154
00:08:13,226 --> 00:08:15,538
HOLD IT, ED.
YOU KNOW, I DIDN'T EVEN GET A
POINT FROM THE FILM, YOU KNOW?
155
00:08:15,562 --> 00:08:17,206
YOU KNOW, I DIDN'T EVEN GET A
POINT FROM THE FILM, YOU KNOW?
I DIDN'T GET A PERCENTAGE OF THE
156
00:08:17,230 --> 00:08:17,807
POINT FROM THE FILM, YOU KNOW?
I DIDN'T GET A PERCENTAGE OF THE
PROFITS.
157
00:08:17,831 --> 00:08:18,475
I DIDN'T GET A PERCENTAGE OF THE
PROFITS.
I GOT ZIP.
158
00:08:18,499 --> 00:08:19,509
PROFITS.
I GOT ZIP.
DO YOU THINK THAT'S FAIR?
159
00:08:19,533 --> 00:08:19,909
I GOT ZIP.
DO YOU THINK THAT'S FAIR?
NO.
160
00:08:19,933 --> 00:08:21,110
DO YOU THINK THAT'S FAIR?
NO.
AND IF IT WERE UP TO ME, YOU'D
161
00:08:21,134 --> 00:08:21,878
NO.
AND IF IT WERE UP TO ME, YOU'D
GET A PERCENTAGE.
162
00:08:21,902 --> 00:08:22,879
AND IF IT WERE UP TO ME, YOU'D
GET A PERCENTAGE.
PERCENTAGE OF WHAT...
163
00:08:22,903 --> 00:08:23,780
GET A PERCENTAGE.
PERCENTAGE OF WHAT...
NEW YORK CITY?
164
00:08:23,804 --> 00:08:25,314
PERCENTAGE OF WHAT...
NEW YORK CITY?
COME ON, WHAT'S THAT WORTH?
165
00:08:25,338 --> 00:08:27,049
NEW YORK CITY?
COME ON, WHAT'S THAT WORTH?
ALL YOU CAN COME UP WITH IS THIS
166
00:08:27,073 --> 00:08:28,284
COME ON, WHAT'S THAT WORTH?
ALL YOU CAN COME UP WITH IS THIS
CERTIFICATE OF MERIT.
167
00:08:28,308 --> 00:08:29,819
ALL YOU CAN COME UP WITH IS THIS
CERTIFICATE OF MERIT.
I GOT ONE OF THESE IN GRADE
168
00:08:29,843 --> 00:08:32,889
CERTIFICATE OF MERIT.
I GOT ONE OF THESE IN GRADE
SCHOOL.
169
00:08:32,913 --> 00:08:34,891
I GOT ONE OF THESE IN GRADE
SCHOOL.
JOHN, FORTUNATELY, I JUST
170
00:08:34,915 --> 00:08:36,526
SCHOOL.
JOHN, FORTUNATELY, I JUST
HAPPEN TO HAVE ANOTHER
171
00:08:36,550 --> 00:08:38,094
JOHN, FORTUNATELY, I JUST
HAPPEN TO HAVE ANOTHER
CERTIFICATE OF MERIT.
172
00:08:38,118 --> 00:08:40,997
HAPPEN TO HAVE ANOTHER
CERTIFICATE OF MERIT.
NOT NOW, KOCH.
173
00:08:41,021 --> 00:08:42,665
CERTIFICATE OF MERIT.
NOT NOW, KOCH.
YOU KNOW, I DIDN'T HAVE TO COME
174
00:08:42,689 --> 00:08:43,332
NOT NOW, KOCH.
YOU KNOW, I DIDN'T HAVE TO COME
BACK HERE.
175
00:08:43,356 --> 00:08:45,034
YOU KNOW, I DIDN'T HAVE TO COME
BACK HERE.
YOU KNOW, I COULD HAVE STAYED IN
176
00:08:45,058 --> 00:08:45,735
BACK HERE.
YOU KNOW, I COULD HAVE STAYED IN
HOLLYWOOD.
177
00:08:45,759 --> 00:08:47,436
YOU KNOW, I COULD HAVE STAYED IN
HOLLYWOOD.
EVERYONE TOLD ME, "STAY AND MAKE
178
00:08:47,460 --> 00:08:48,004
HOLLYWOOD.
EVERYONE TOLD ME, "STAY AND MAKE
MOVIES.
179
00:08:48,028 --> 00:08:49,639
EVERYONE TOLD ME, "STAY AND MAKE
MOVIES.
YOU DON'T HAVE TO GO BACK THERE
180
00:08:49,663 --> 00:08:51,340
MOVIES.
YOU DON'T HAVE TO GO BACK THERE
WHERE YOU HAVE TO CLEAN UP AFTER
181
00:08:51,364 --> 00:08:52,174
YOU DON'T HAVE TO GO BACK THERE
WHERE YOU HAVE TO CLEAN UP AFTER
YOUR OWN DOG."
182
00:08:52,198 --> 00:08:53,209
WHERE YOU HAVE TO CLEAN UP AFTER
YOUR OWN DOG."
[LAUGHTER]
183
00:08:53,233 --> 00:08:55,111
YOUR OWN DOG."
[LAUGHTER]
AND MAKING FILMS IS SO MUCH
184
00:08:55,135 --> 00:08:55,845
[LAUGHTER]
AND MAKING FILMS IS SO MUCH
EASIER.
185
00:08:55,869 --> 00:08:57,814
AND MAKING FILMS IS SO MUCH
EASIER.
YOU KNOW, THEY SAY, "ARE YOU
186
00:08:57,838 --> 00:08:58,882
EASIER.
YOU KNOW, THEY SAY, "ARE YOU
READY, JOHN?"
187
00:08:58,906 --> 00:09:00,550
YOU KNOW, THEY SAY, "ARE YOU
READY, JOHN?"
"NO, I'M NOT READY RIGHT NOW."
188
00:09:00,574 --> 00:09:01,684
READY, JOHN?"
"NO, I'M NOT READY RIGHT NOW."
"OKAY. 10 MINUTES?"
189
00:09:01,708 --> 00:09:02,685
"NO, I'M NOT READY RIGHT NOW."
"OKAY. 10 MINUTES?"
I SAID, "OKAY, MAYBE 10
190
00:09:02,709 --> 00:09:03,152
"OKAY. 10 MINUTES?"
I SAID, "OKAY, MAYBE 10
MINUTES."
191
00:09:03,176 --> 00:09:04,387
I SAID, "OKAY, MAYBE 10
MINUTES."
"WOULD YOU LIKE SOME MORE ICED
192
00:09:04,411 --> 00:09:04,954
MINUTES."
"WOULD YOU LIKE SOME MORE ICED
TEA, JOHN?"
193
00:09:04,978 --> 00:09:05,555
"WOULD YOU LIKE SOME MORE ICED
TEA, JOHN?"
"YEAH, OKAY.
194
00:09:05,579 --> 00:09:06,589
TEA, JOHN?"
"YEAH, OKAY.
I'LL HAVE SOME ICED TEA.
195
00:09:06,613 --> 00:09:08,024
"YEAH, OKAY.
I'LL HAVE SOME ICED TEA.
I'LL BE READY IN A SECOND."
196
00:09:08,048 --> 00:09:09,893
I'LL HAVE SOME ICED TEA.
I'LL BE READY IN A SECOND."
YOU KNOW, I COULD HAVE STAYED IN
197
00:09:09,917 --> 00:09:11,694
I'LL BE READY IN A SECOND."
YOU KNOW, I COULD HAVE STAYED IN
HOLLYWOOD, TAKING ALL THOSE BIG
198
00:09:11,718 --> 00:09:13,029
YOU KNOW, I COULD HAVE STAYED IN
HOLLYWOOD, TAKING ALL THOSE BIG
OFFERS, HAD A HOUSE ON
199
00:09:13,053 --> 00:09:18,367
HOLLYWOOD, TAKING ALL THOSE BIG
OFFERS, HAD A HOUSE ON
MULHOLLAND DRIVE, BUT NO!
200
00:09:18,391 --> 00:09:20,503
OFFERS, HAD A HOUSE ON
MULHOLLAND DRIVE, BUT NO!
I GOT TO STAY HERE, COME BACK TO
201
00:09:20,527 --> 00:09:22,338
MULHOLLAND DRIVE, BUT NO!
I GOT TO STAY HERE, COME BACK TO
NEW YORK CITY, AND WORK FOR
202
00:09:22,362 --> 00:09:24,140
I GOT TO STAY HERE, COME BACK TO
NEW YORK CITY, AND WORK FOR
THESE LATE-NIGHT-TV WAGES.
203
00:09:24,164 --> 00:09:26,709
NEW YORK CITY, AND WORK FOR
THESE LATE-NIGHT-TV WAGES.
450 BUCKS A SHOW...
204
00:09:26,733 --> 00:09:27,911
THESE LATE-NIGHT-TV WAGES.
450 BUCKS A SHOW...
THAT'S HOW MUCH WE GET!
205
00:09:27,935 --> 00:09:29,412
450 BUCKS A SHOW...
THAT'S HOW MUCH WE GET!
YOU KNOW HOW MUCH THEY GET ON
206
00:09:29,436 --> 00:09:30,479
THAT'S HOW MUCH WE GET!
YOU KNOW HOW MUCH THEY GET ON
"LAVERNE & SHIRLEY"?
207
00:09:30,503 --> 00:09:32,448
YOU KNOW HOW MUCH THEY GET ON
"LAVERNE & SHIRLEY"?
LENNY AND SQUIGGY GET 5 GRAND A
208
00:09:32,472 --> 00:09:33,016
"LAVERNE & SHIRLEY"?
LENNY AND SQUIGGY GET 5 GRAND A
SHOW!
209
00:09:33,040 --> 00:09:35,351
LENNY AND SQUIGGY GET 5 GRAND A
SHOW!
JOHN, I WISH YOU WOULD JUST
210
00:09:35,375 --> 00:09:39,055
SHOW!
JOHN, I WISH YOU WOULD JUST
ACCEPT THE CERTIFICATE.
211
00:09:39,079 --> 00:09:40,222
JOHN, I WISH YOU WOULD JUST
ACCEPT THE CERTIFICATE.
OKAY.
212
00:09:40,246 --> 00:09:42,158
ACCEPT THE CERTIFICATE.
OKAY.
I'M SORRY, MAYOR.
213
00:09:42,182 --> 00:09:45,995
OKAY.
I'M SORRY, MAYOR.
I'LL ACCEPT YOUR THING HERE.
214
00:09:46,019 --> 00:09:46,930
I'M SORRY, MAYOR.
I'LL ACCEPT YOUR THING HERE.
LOOK, I'M SORRY.
215
00:09:46,954 --> 00:09:48,497
I'LL ACCEPT YOUR THING HERE.
LOOK, I'M SORRY.
YOU KNOW, THIS ISN'T THE PLACE
216
00:09:48,521 --> 00:09:49,933
LOOK, I'M SORRY.
YOU KNOW, THIS ISN'T THE PLACE
TO TALK ABOUT HOW UNIVERSAL
217
00:09:49,957 --> 00:09:50,667
YOU KNOW, THIS ISN'T THE PLACE
TO TALK ABOUT HOW UNIVERSAL
SCREWED ME.
218
00:09:50,691 --> 00:09:52,035
TO TALK ABOUT HOW UNIVERSAL
SCREWED ME.
YOU KNOW, IT'S, UH...
219
00:09:52,059 --> 00:09:53,937
SCREWED ME.
YOU KNOW, IT'S, UH...
JUST THAT I LIVE HERE AND I PAY
220
00:09:53,961 --> 00:09:55,038
YOU KNOW, IT'S, UH...
JUST THAT I LIVE HERE AND I PAY
TAXES, YOU KNOW.
221
00:09:55,062 --> 00:09:56,272
JUST THAT I LIVE HERE AND I PAY
TAXES, YOU KNOW.
I SWEATED OUT THE BEAME YEARS,
222
00:09:56,296 --> 00:09:56,773
TAXES, YOU KNOW.
I SWEATED OUT THE BEAME YEARS,
YOU KNOW?
223
00:09:56,797 --> 00:09:57,574
I SWEATED OUT THE BEAME YEARS,
YOU KNOW?
I'M, UH...
224
00:09:57,598 --> 00:09:59,308
YOU KNOW?
I'M, UH...
I'M NOT SAYING THAT I'M THE
225
00:09:59,332 --> 00:10:01,310
I'M, UH...
I'M NOT SAYING THAT I'M THE
GREATEST ACTOR, YOU KNOW, IN THE
226
00:10:01,334 --> 00:10:03,245
I'M NOT SAYING THAT I'M THE
GREATEST ACTOR, YOU KNOW, IN THE
WORLD AND "ANIMAL HOUSE" IS THE
227
00:10:03,269 --> 00:10:05,247
GREATEST ACTOR, YOU KNOW, IN THE
WORLD AND "ANIMAL HOUSE" IS THE
GREATEST FILM IN THE WORLD, BUT,
228
00:10:05,271 --> 00:10:08,184
WORLD AND "ANIMAL HOUSE" IS THE
GREATEST FILM IN THE WORLD, BUT,
YOU KNOW, IT'S A GOOD FILM...
229
00:10:08,208 --> 00:10:09,619
GREATEST FILM IN THE WORLD, BUT,
YOU KNOW, IT'S A GOOD FILM...
A VERY GOOD FILM.
230
00:10:09,643 --> 00:10:12,121
YOU KNOW, IT'S A GOOD FILM...
A VERY GOOD FILM.
I DID SOME VERY CUTE THINGS IN
231
00:10:12,145 --> 00:10:13,723
A VERY GOOD FILM.
I DID SOME VERY CUTE THINGS IN
THAT MOVIE, YOU KNOW...
232
00:10:13,747 --> 00:10:15,692
I DID SOME VERY CUTE THINGS IN
THAT MOVIE, YOU KNOW...
YOU KNOW, LIKE THAT THING WITH
233
00:10:15,716 --> 00:10:17,594
THAT MOVIE, YOU KNOW...
YOU KNOW, LIKE THAT THING WITH
THE JELLO IN THE CAFETERIA LINE.
234
00:10:17,618 --> 00:10:18,561
YOU KNOW, LIKE THAT THING WITH
THE JELLO IN THE CAFETERIA LINE.
REMEMBER THAT?
235
00:10:18,585 --> 00:10:20,262
THE JELLO IN THE CAFETERIA LINE.
REMEMBER THAT?
I'M AFRAID I DON'T, JOHN.
236
00:10:20,286 --> 00:10:21,397
REMEMBER THAT?
I'M AFRAID I DON'T, JOHN.
WELL, IT WAS JUST BEFORE THE
237
00:10:21,421 --> 00:10:22,164
I'M AFRAID I DON'T, JOHN.
WELL, IT WAS JUST BEFORE THE
MASHED-POTATO THING.
238
00:10:22,188 --> 00:10:22,899
WELL, IT WAS JUST BEFORE THE
MASHED-POTATO THING.
YOU REMEMBER THAT?
239
00:10:22,923 --> 00:10:23,833
MASHED-POTATO THING.
YOU REMEMBER THAT?
NO, JOHN.
240
00:10:23,857 --> 00:10:26,235
YOU REMEMBER THAT?
NO, JOHN.
REGRETTABLY, I HAVEN'T SEEN THE
241
00:10:26,259 --> 00:10:26,970
NO, JOHN.
REGRETTABLY, I HAVEN'T SEEN THE
FLICK.
242
00:10:26,994 --> 00:10:28,705
REGRETTABLY, I HAVEN'T SEEN THE
FLICK.
YOU HAVEN'T SEEN THE MOVIE?
243
00:10:28,729 --> 00:10:30,039
FLICK.
YOU HAVEN'T SEEN THE MOVIE?
YOU'RE GIVING ME THIS?
244
00:10:30,063 --> 00:10:31,074
YOU HAVEN'T SEEN THE MOVIE?
YOU'RE GIVING ME THIS?
ARE YOU KIDDING?
245
00:10:31,098 --> 00:10:34,978
YOU'RE GIVING ME THIS?
ARE YOU KIDDING?
I'VE BEEN VERY BUSY.
246
00:10:35,002 --> 00:10:36,345
ARE YOU KIDDING?
I'VE BEEN VERY BUSY.
WELL, DO YOU KNOW WHERE THE
247
00:10:36,369 --> 00:10:37,279
I'VE BEEN VERY BUSY.
WELL, DO YOU KNOW WHERE THE
WAVERLY THEATER IS?
248
00:10:37,303 --> 00:10:38,047
WELL, DO YOU KNOW WHERE THE
WAVERLY THEATER IS?
SURE, I DO.
249
00:10:38,071 --> 00:10:39,415
WAVERLY THEATER IS?
SURE, I DO.
IT'S SIX BLOCKS FROM MY HOUSE.
250
00:10:39,439 --> 00:10:40,850
SURE, I DO.
IT'S SIX BLOCKS FROM MY HOUSE.
I GOT A MIDNIGHT SHOW.
251
00:10:40,874 --> 00:10:42,551
IT'S SIX BLOCKS FROM MY HOUSE.
I GOT A MIDNIGHT SHOW.
DO YOU HAVE A HAT OR A COAT OR
252
00:10:42,575 --> 00:10:43,252
I GOT A MIDNIGHT SHOW.
DO YOU HAVE A HAT OR A COAT OR
SOMETHING?
253
00:10:43,276 --> 00:10:43,886
DO YOU HAVE A HAT OR A COAT OR
SOMETHING?
COAT.
254
00:10:43,910 --> 00:10:45,321
SOMETHING?
COAT.
COULD SOMEBODY GET THE
255
00:10:45,345 --> 00:10:46,188
COAT.
COULD SOMEBODY GET THE
MAYOR'S COAT?
256
00:10:46,212 --> 00:10:47,323
COULD SOMEBODY GET THE
MAYOR'S COAT?
LOOK, WE'LL GO DOWNTOWN NOW AND
257
00:10:47,347 --> 00:10:47,757
MAYOR'S COAT?
LOOK, WE'LL GO DOWNTOWN NOW AND
CATCH IT.
258
00:10:47,781 --> 00:10:48,791
LOOK, WE'LL GO DOWNTOWN NOW AND
CATCH IT.
IT'S A GOOD MOVIE, YOU KNOW.
259
00:10:48,815 --> 00:10:49,892
CATCH IT.
IT'S A GOOD MOVIE, YOU KNOW.
WE'LL TAKE A CAB OR SOMETHING.
260
00:10:49,916 --> 00:10:50,994
IT'S A GOOD MOVIE, YOU KNOW.
WE'LL TAKE A CAB OR SOMETHING.
BUS, BUT I'D RATHER STAY
261
00:10:51,018 --> 00:10:51,360
WE'LL TAKE A CAB OR SOMETHING.
BUS, BUT I'D RATHER STAY
HERE.
262
00:10:51,384 --> 00:10:52,394
BUS, BUT I'D RATHER STAY
HERE.
YOU WANT TO STAY HERE?
263
00:10:52,418 --> 00:10:53,630
HERE.
YOU WANT TO STAY HERE?
WELL, WE GOT TO SEE THE MOVIE.
264
00:10:53,654 --> 00:10:54,497
YOU WANT TO STAY HERE?
WELL, WE GOT TO SEE THE MOVIE.
WE'LL BE RIGHT BACK.
265
00:10:54,521 --> 00:10:58,123
WELL, WE GOT TO SEE THE MOVIE.
WE'LL BE RIGHT BACK.
[CHEERS AND APPLAUSE]
266
00:11:02,895 --> 00:11:07,076
HI, JOAN.
OH. HI, PAT.
I JUST THOUGHT I'D DROP BY
267
00:11:07,100 --> 00:11:08,444
OH. HI, PAT.
I JUST THOUGHT I'D DROP BY
TODAY TO SEE THE COLOR OF THE
268
00:11:08,468 --> 00:11:09,912
I JUST THOUGHT I'D DROP BY
TODAY TO SEE THE COLOR OF THE
HAND TOWELS YOU'RE USING IN THE
269
00:11:09,936 --> 00:11:11,413
TODAY TO SEE THE COLOR OF THE
HAND TOWELS YOU'RE USING IN THE
SPARE BATHROOM.
270
00:11:11,437 --> 00:11:12,682
HAND TOWELS YOU'RE USING IN THE
SPARE BATHROOM.
OH, SURE.
271
00:11:12,706 --> 00:11:14,150
SPARE BATHROOM.
OH, SURE.
COME ON IN.
272
00:11:14,174 --> 00:11:14,817
OH, SURE.
COME ON IN.
HMM.
273
00:11:14,841 --> 00:11:16,552
COME ON IN.
HMM.
SOMETHING SURE SMELLS LIKE
274
00:11:16,576 --> 00:11:17,153
HMM.
SOMETHING SURE SMELLS LIKE
LILAC.
275
00:11:17,177 --> 00:11:19,122
SOMETHING SURE SMELLS LIKE
LILAC.
ARE YOU WEARING A NEW PERFUME?
276
00:11:19,146 --> 00:11:20,156
LILAC.
ARE YOU WEARING A NEW PERFUME?
THANKS, PAT.
277
00:11:20,180 --> 00:11:21,891
ARE YOU WEARING A NEW PERFUME?
THANKS, PAT.
BUT IT'S NOT ME, IT'S MY CAR.
278
00:11:21,915 --> 00:11:23,660
THANKS, PAT.
BUT IT'S NOT ME, IT'S MY CAR.
YOUR CAR SMELLS THAT GOOD?
279
00:11:23,684 --> 00:11:24,493
BUT IT'S NOT ME, IT'S MY CAR.
YOUR CAR SMELLS THAT GOOD?
SURE...
280
00:11:24,517 --> 00:11:25,995
YOUR CAR SMELLS THAT GOOD?
SURE...
WITH AUTOSCENT, THE
281
00:11:26,019 --> 00:11:27,797
SURE...
WITH AUTOSCENT, THE
INTERNAL-COMBUSTION DEODORIZER.
282
00:11:27,821 --> 00:11:29,098
WITH AUTOSCENT, THE
INTERNAL-COMBUSTION DEODORIZER.
AUTOSCENT EXHAUST
283
00:11:29,122 --> 00:11:30,332
INTERNAL-COMBUSTION DEODORIZER.
AUTOSCENT EXHAUST
FRESHENER... LILAC.
284
00:11:30,356 --> 00:11:31,500
AUTOSCENT EXHAUST
FRESHENER... LILAC.
HOW DOES IT WORK?
285
00:11:31,524 --> 00:11:32,802
FRESHENER... LILAC.
HOW DOES IT WORK?
OH, IT'S SO EASY.
286
00:11:32,826 --> 00:11:34,203
HOW DOES IT WORK?
OH, IT'S SO EASY.
HERE, LET ME SHOW YOU.
287
00:11:34,227 --> 00:11:35,672
OH, IT'S SO EASY.
HERE, LET ME SHOW YOU.
ALL YOU DO IS PUMP AUTOSCENT
288
00:11:35,696 --> 00:11:37,173
HERE, LET ME SHOW YOU.
ALL YOU DO IS PUMP AUTOSCENT
INTO THE CARBURETOR EVERY 100
289
00:11:37,197 --> 00:11:38,675
ALL YOU DO IS PUMP AUTOSCENT
INTO THE CARBURETOR EVERY 100
MILES OR WHENEVER YOU WANT TO
290
00:11:38,699 --> 00:11:39,642
INTO THE CARBURETOR EVERY 100
MILES OR WHENEVER YOU WANT TO
CHANGE THE SCENT.
291
00:11:39,666 --> 00:11:41,377
MILES OR WHENEVER YOU WANT TO
CHANGE THE SCENT.
JOAN, YOU NEVER TOLD ME YOU
292
00:11:41,401 --> 00:11:42,578
CHANGE THE SCENT.
JOAN, YOU NEVER TOLD ME YOU
KNEW ANYTHING ABOUT
293
00:11:42,602 --> 00:11:43,412
JOAN, YOU NEVER TOLD ME YOU
KNEW ANYTHING ABOUT
CARBURETORS.
294
00:11:43,436 --> 00:11:44,013
KNEW ANYTHING ABOUT
CARBURETORS.
OH, SURE.
295
00:11:44,037 --> 00:11:45,081
CARBURETORS.
OH, SURE.
I CAN TEAR DOWN A CARB IN
296
00:11:45,105 --> 00:11:45,715
OH, SURE.
I CAN TEAR DOWN A CARB IN
NOTHING FLAT.
297
00:11:45,739 --> 00:11:47,016
I CAN TEAR DOWN A CARB IN
NOTHING FLAT.
BUT YOU DON'T HAVE TO DO THAT TO
298
00:11:47,040 --> 00:11:48,851
NOTHING FLAT.
BUT YOU DON'T HAVE TO DO THAT TO
USE AUTOSCENT.
299
00:11:48,875 --> 00:11:50,586
BUT YOU DON'T HAVE TO DO THAT TO
USE AUTOSCENT.
MY EXHAUST HAS BEEN SMELLING
300
00:11:50,610 --> 00:11:51,954
USE AUTOSCENT.
MY EXHAUST HAS BEEN SMELLING
LIKE LILACS ALL WEEK.
301
00:11:51,978 --> 00:11:53,656
MY EXHAUST HAS BEEN SMELLING
LIKE LILACS ALL WEEK.
BUT TODAY, I WANT IT TO SMELL
302
00:11:53,680 --> 00:11:54,924
LIKE LILACS ALL WEEK.
BUT TODAY, I WANT IT TO SMELL
LIKE A PINE FOREST.
303
00:11:54,948 --> 00:11:55,658
BUT TODAY, I WANT IT TO SMELL
LIKE A PINE FOREST.
GO AHEAD.
304
00:11:55,682 --> 00:11:57,593
LIKE A PINE FOREST.
GO AHEAD.
SMELL THE TAIL PIPE.
305
00:11:57,617 --> 00:11:59,228
GO AHEAD.
SMELL THE TAIL PIPE.
[ENGINE TURNS OVER]
306
00:11:59,252 --> 00:12:01,363
SMELL THE TAIL PIPE.
[ENGINE TURNS OVER]
MMM!
307
00:12:01,387 --> 00:12:03,966
[ENGINE TURNS OVER]
MMM!
IT REALLY WORKS!
308
00:12:03,990 --> 00:12:05,267
MMM!
IT REALLY WORKS!
AUTOSCENT, THE
309
00:12:05,291 --> 00:12:06,602
IT REALLY WORKS!
AUTOSCENT, THE
AUTOMOBILE-EXHAUST FRESHENER,
310
00:12:06,626 --> 00:12:07,970
AUTOSCENT, THE
AUTOMOBILE-EXHAUST FRESHENER,
IN FOUR EXCITING FRAGRANCES...
311
00:12:07,994 --> 00:12:09,405
AUTOMOBILE-EXHAUST FRESHENER,
IN FOUR EXCITING FRAGRANCES...
LILAC, LEMON-LIME, PINE-FOREST,
312
00:12:09,429 --> 00:12:11,107
IN FOUR EXCITING FRAGRANCES...
LILAC, LEMON-LIME, PINE-FOREST,
AND MUSK... IN ENVIRONMENTALLY
313
00:12:11,131 --> 00:12:12,842
LILAC, LEMON-LIME, PINE-FOREST,
AND MUSK... IN ENVIRONMENTALLY
SAFE PUMP SPRAY.
314
00:12:12,866 --> 00:12:15,546
AND MUSK... IN ENVIRONMENTALLY
SAFE PUMP SPRAY.
[CHEERS AND APPLAUSE]
315
00:12:15,835 --> 00:12:21,472
[THE ROLLING STONES' "MISS YOU"
PLAYS]
316
00:12:25,410 --> 00:12:29,425
GOOD EVENING, EVERYBODY.
WELCOME TO THE "TOMORROW" SHOW.
AT THE OUTSET OF THE PROGRAM
317
00:12:29,449 --> 00:12:30,626
WELCOME TO THE "TOMORROW" SHOW.
AT THE OUTSET OF THE PROGRAM
TONIGHT, I'D LIKE TO CLEAR
318
00:12:30,650 --> 00:12:32,028
AT THE OUTSET OF THE PROGRAM
TONIGHT, I'D LIKE TO CLEAR
SOMETHING UP THAT TICKED ME OFF
319
00:12:32,052 --> 00:12:33,096
TONIGHT, I'D LIKE TO CLEAR
SOMETHING UP THAT TICKED ME OFF
WHEN I HEARD ABOUT IT.
320
00:12:33,120 --> 00:12:33,896
SOMETHING UP THAT TICKED ME OFF
WHEN I HEARD ABOUT IT.
THERE'S A, UH...
321
00:12:33,920 --> 00:12:35,765
WHEN I HEARD ABOUT IT.
THERE'S A, UH...
THERE'S A NEWSMAN WHO WORKS AT
322
00:12:35,789 --> 00:12:37,100
THERE'S A, UH...
THERE'S A NEWSMAN WHO WORKS AT
KNBC IN LOS ANGELES.
323
00:12:37,124 --> 00:12:38,134
THERE'S A NEWSMAN WHO WORKS AT
KNBC IN LOS ANGELES.
HIS NAME IS PAUL MOYER.
324
00:12:38,158 --> 00:12:39,368
KNBC IN LOS ANGELES.
HIS NAME IS PAUL MOYER.
HE'S A LOCAL NEWS ANCHORMAN.
325
00:12:39,392 --> 00:12:40,737
HIS NAME IS PAUL MOYER.
HE'S A LOCAL NEWS ANCHORMAN.
WELL, LATELY, SOMEBODY WALKED UP
326
00:12:40,761 --> 00:12:42,038
HE'S A LOCAL NEWS ANCHORMAN.
WELL, LATELY, SOMEBODY WALKED UP
TO ME AND SAID, "TOM, YOU KNOW
327
00:12:42,062 --> 00:12:43,206
WELL, LATELY, SOMEBODY WALKED UP
TO ME AND SAID, "TOM, YOU KNOW
THAT GUY PAUL MOYER OVER IN
328
00:12:43,230 --> 00:12:43,572
TO ME AND SAID, "TOM, YOU KNOW
THAT GUY PAUL MOYER OVER IN
NEWS.
329
00:12:43,596 --> 00:12:44,874
THAT GUY PAUL MOYER OVER IN
NEWS.
GEE, HE LOOKS AND SOUNDS A LOT
330
00:12:44,898 --> 00:12:45,441
NEWS.
GEE, HE LOOKS AND SOUNDS A LOT
LIKE YOU."
331
00:12:45,465 --> 00:12:46,709
GEE, HE LOOKS AND SOUNDS A LOT
LIKE YOU."
WELL, THIS AFTERNOON, SOMEBODY
332
00:12:46,733 --> 00:12:48,010
LIKE YOU."
WELL, THIS AFTERNOON, SOMEBODY
ELSE COMES UP AND SAYS, "TOM,"
333
00:12:48,034 --> 00:12:49,345
WELL, THIS AFTERNOON, SOMEBODY
ELSE COMES UP AND SAYS, "TOM,"
HE SAID, "IS IT TRUE PAUL MOYER
334
00:12:49,369 --> 00:12:50,446
ELSE COMES UP AND SAYS, "TOM,"
HE SAID, "IS IT TRUE PAUL MOYER
FROM OVER IN NEWS WILL BE
335
00:12:50,470 --> 00:12:51,781
HE SAID, "IS IT TRUE PAUL MOYER
FROM OVER IN NEWS WILL BE
REPLACING YOU ON THE 'TOMORROW'
336
00:12:51,805 --> 00:12:52,148
FROM OVER IN NEWS WILL BE
REPLACING YOU ON THE 'TOMORROW'
SHOW?"
337
00:12:52,172 --> 00:12:53,315
REPLACING YOU ON THE 'TOMORROW'
SHOW?"
WELL, NOW, BY GOSH, PAUL MOYER
338
00:12:53,339 --> 00:12:54,550
SHOW?"
WELL, NOW, BY GOSH, PAUL MOYER
AND I USED TO WORK TOGETHER, AND
339
00:12:54,574 --> 00:12:55,651
WELL, NOW, BY GOSH, PAUL MOYER
AND I USED TO WORK TOGETHER, AND
I WATCHED THE NEWS THE OTHER
340
00:12:55,675 --> 00:12:56,018
AND I USED TO WORK TOGETHER, AND
I WATCHED THE NEWS THE OTHER
NIGHT.
341
00:12:56,042 --> 00:12:57,153
I WATCHED THE NEWS THE OTHER
NIGHT.
AND THIS FELLA DOES SOUND AND
342
00:12:57,177 --> 00:12:58,354
NIGHT.
AND THIS FELLA DOES SOUND AND
LOOK A LITTLE BIT LIKE ME, BUT
343
00:12:58,378 --> 00:12:59,388
AND THIS FELLA DOES SOUND AND
LOOK A LITTLE BIT LIKE ME, BUT
AS FAR AS TOM SNYDER BEING
344
00:12:59,412 --> 00:13:00,623
LOOK A LITTLE BIT LIKE ME, BUT
AS FAR AS TOM SNYDER BEING
REPLACED ON THE "TOMORROW" SHOW,
345
00:13:00,647 --> 00:13:01,858
AS FAR AS TOM SNYDER BEING
REPLACED ON THE "TOMORROW" SHOW,
WELL, THAT'S JUST A LOT OF BUNK.
346
00:13:01,882 --> 00:13:02,992
REPLACED ON THE "TOMORROW" SHOW,
WELL, THAT'S JUST A LOT OF BUNK.
THERE'S NO WAY HE'S GONNA GET
347
00:13:03,016 --> 00:13:04,127
WELL, THAT'S JUST A LOT OF BUNK.
THERE'S NO WAY HE'S GONNA GET
TOM SNYDER'S SHOW, 'CAUSE I
348
00:13:04,151 --> 00:13:05,427
THERE'S NO WAY HE'S GONNA GET
TOM SNYDER'S SHOW, 'CAUSE I
KNOW, IF THEY EVER THREW ME OUT
349
00:13:05,451 --> 00:13:06,595
TOM SNYDER'S SHOW, 'CAUSE I
KNOW, IF THEY EVER THREW ME OUT
OF HERE, BOBBY BROWN AND THE
350
00:13:06,619 --> 00:13:07,797
KNOW, IF THEY EVER THREW ME OUT
OF HERE, BOBBY BROWN AND THE
REST OF THE GUYS IN THE CREW
351
00:13:07,821 --> 00:13:08,965
OF HERE, BOBBY BROWN AND THE
REST OF THE GUYS IN THE CREW
WOULD END UP COMING WITH ME.
352
00:13:08,989 --> 00:13:10,166
REST OF THE GUYS IN THE CREW
WOULD END UP COMING WITH ME.
WE'D DO IT IN MY LIVING ROOM,
353
00:13:10,190 --> 00:13:11,433
WOULD END UP COMING WITH ME.
WE'D DO IT IN MY LIVING ROOM,
AND WE'D PUT THE DAMN THING IN
354
00:13:11,457 --> 00:13:12,034
WE'D DO IT IN MY LIVING ROOM,
AND WE'D PUT THE DAMN THING IN
SYNDICATION.
355
00:13:12,058 --> 00:13:13,435
AND WE'D PUT THE DAMN THING IN
SYNDICATION.
WELL, THAT'S THAT.
356
00:13:13,459 --> 00:13:18,707
SYNDICATION.
WELL, THAT'S THAT.
[CHEERS AND APPLAUSE]
357
00:13:18,731 --> 00:13:20,609
WELL, THAT'S THAT.
[CHEERS AND APPLAUSE]
ANYWAY, MY GUEST TONIGHT IS A
358
00:13:20,633 --> 00:13:22,544
[CHEERS AND APPLAUSE]
ANYWAY, MY GUEST TONIGHT IS A
MAN WHO'S FAMILIAR TO ANYBODY
359
00:13:22,568 --> 00:13:24,013
ANYWAY, MY GUEST TONIGHT IS A
MAN WHO'S FAMILIAR TO ANYBODY
WHO OWNS A HI-FI SET.
360
00:13:24,037 --> 00:13:25,915
MAN WHO'S FAMILIAR TO ANYBODY
WHO OWNS A HI-FI SET.
HE'S A MEMBER OF A POP GROUP,
361
00:13:25,939 --> 00:13:28,017
WHO OWNS A HI-FI SET.
HE'S A MEMBER OF A POP GROUP,
THE ROLLING STONES, AND HIS NAME
362
00:13:28,041 --> 00:13:29,685
HE'S A MEMBER OF A POP GROUP,
THE ROLLING STONES, AND HIS NAME
IS MR. MICK JAGGER.
363
00:13:29,709 --> 00:13:33,644
THE ROLLING STONES, AND HIS NAME
IS MR. MICK JAGGER.
[CHEERS AND APPLAUSE]
364
00:13:42,054 --> 00:13:45,234
AND, SIR...
SIR, I GUESS MY FIRST QUESTION
TO YOU IS, SIR... WHY
365
00:13:45,258 --> 00:13:45,968
SIR, I GUESS MY FIRST QUESTION
TO YOU IS, SIR... WHY
MICK JAGGER?
366
00:13:45,992 --> 00:13:47,036
TO YOU IS, SIR... WHY
MICK JAGGER?
WHY THE NAME JAGGER?
367
00:13:47,060 --> 00:13:48,838
MICK JAGGER?
WHY THE NAME JAGGER?
WHAT DOES IT MEAN?
368
00:13:48,862 --> 00:13:50,940
WHY THE NAME JAGGER?
WHAT DOES IT MEAN?
WELL, IT'S MY NAME.
369
00:13:50,964 --> 00:13:53,209
WHAT DOES IT MEAN?
WELL, IT'S MY NAME.
IT WAS MY FATHER'S NAME.
370
00:13:53,233 --> 00:13:54,343
WELL, IT'S MY NAME.
IT WAS MY FATHER'S NAME.
ALL RIGHT, FAIR ENOUGH.
371
00:13:54,367 --> 00:13:57,280
IT WAS MY FATHER'S NAME.
ALL RIGHT, FAIR ENOUGH.
I'LL BUY THAT.
372
00:13:57,304 --> 00:13:59,048
ALL RIGHT, FAIR ENOUGH.
I'LL BUY THAT.
GET OFF MY CLOUD!
373
00:13:59,072 --> 00:13:59,982
I'LL BUY THAT.
GET OFF MY CLOUD!
GET OFF MY CLOUD?
374
00:14:00,006 --> 00:14:01,317
GET OFF MY CLOUD!
GET OFF MY CLOUD?
THE SONG "GET OFF MY CLOUD"
375
00:14:01,341 --> 00:14:02,651
GET OFF MY CLOUD?
THE SONG "GET OFF MY CLOUD"
WAS ONE OF THE BEST THINGS YOU
376
00:14:02,675 --> 00:14:04,053
THE SONG "GET OFF MY CLOUD"
WAS ONE OF THE BEST THINGS YOU
GUYS EVER DID, AND I'LL TELL YOU
377
00:14:04,077 --> 00:14:04,420
WAS ONE OF THE BEST THINGS YOU
GUYS EVER DID, AND I'LL TELL YOU
WHY.
378
00:14:04,444 --> 00:14:05,688
GUYS EVER DID, AND I'LL TELL YOU
WHY.
I WAS WORKING AT WESTINGHOUSE
379
00:14:05,712 --> 00:14:06,956
WHY.
I WAS WORKING AT WESTINGHOUSE
INDUSTRIES BACK IN THE '50s...
380
00:14:06,980 --> 00:14:08,524
I WAS WORKING AT WESTINGHOUSE
INDUSTRIES BACK IN THE '50s...
NOT IN THE TOASTER DIVISION, IN
381
00:14:08,548 --> 00:14:09,892
INDUSTRIES BACK IN THE '50s...
NOT IN THE TOASTER DIVISION, IN
THE BROADCASTING DIVISION.
382
00:14:09,916 --> 00:14:11,360
NOT IN THE TOASTER DIVISION, IN
THE BROADCASTING DIVISION.
THERE WAS A UNIT MANAGER WHO
383
00:14:11,384 --> 00:14:12,929
THE BROADCASTING DIVISION.
THERE WAS A UNIT MANAGER WHO
USED TO GET ME SO TEED OFF, YOU
384
00:14:12,953 --> 00:14:13,395
THERE WAS A UNIT MANAGER WHO
USED TO GET ME SO TEED OFF, YOU
KNOW?
385
00:14:13,419 --> 00:14:14,864
USED TO GET ME SO TEED OFF, YOU
KNOW?
I USED TO FEEL LIKE SAYING TO
386
00:14:14,888 --> 00:14:16,199
KNOW?
I USED TO FEEL LIKE SAYING TO
HIM, "GET THE HECK OFF MY
387
00:14:16,223 --> 00:14:18,167
I USED TO FEEL LIKE SAYING TO
HIM, "GET THE HECK OFF MY
CLOUD."
388
00:14:18,191 --> 00:14:19,401
HIM, "GET THE HECK OFF MY
CLOUD."
YOU EVER FEEL LIKE SAYING,
389
00:14:19,425 --> 00:14:20,536
CLOUD."
YOU EVER FEEL LIKE SAYING,
"HECK, I'M MICK JAGGER.
390
00:14:20,560 --> 00:14:21,704
YOU EVER FEEL LIKE SAYING,
"HECK, I'M MICK JAGGER.
I GOT A FEW HIT RECORDS.
391
00:14:21,728 --> 00:14:23,105
"HECK, I'M MICK JAGGER.
I GOT A FEW HIT RECORDS.
I CAN AFFORD TO TAKE SOME TIME
392
00:14:23,129 --> 00:14:24,506
I GOT A FEW HIT RECORDS.
I CAN AFFORD TO TAKE SOME TIME
OFF AND DO WHATEVER THE HECK I
393
00:14:24,530 --> 00:14:24,941
I CAN AFFORD TO TAKE SOME TIME
OFF AND DO WHATEVER THE HECK I
WANT"?
394
00:14:24,965 --> 00:14:26,475
OFF AND DO WHATEVER THE HECK I
WANT"?
DO YOU EVER FEEL THAT WAY?
395
00:14:26,499 --> 00:14:28,077
WANT"?
DO YOU EVER FEEL THAT WAY?
YEAH, I SUPPOSE I DO.
396
00:14:28,101 --> 00:14:29,979
DO YOU EVER FEEL THAT WAY?
YEAH, I SUPPOSE I DO.
I MEAN, WE DID A TOUR THAT WAS
397
00:14:30,003 --> 00:14:31,848
YEAH, I SUPPOSE I DO.
I MEAN, WE DID A TOUR THAT WAS
REALLY SUCCESSFUL, AND I WENT
398
00:14:31,872 --> 00:14:32,949
I MEAN, WE DID A TOUR THAT WAS
REALLY SUCCESSFUL, AND I WENT
CRAZY, I GUESS...
399
00:14:32,973 --> 00:14:34,550
REALLY SUCCESSFUL, AND I WENT
CRAZY, I GUESS...
A LITTLE CRAZY AFTER IT, AND
400
00:14:34,574 --> 00:14:36,518
CRAZY, I GUESS...
A LITTLE CRAZY AFTER IT, AND
I PUT A BARBECUE AND A SWIMMING
401
00:14:36,542 --> 00:14:39,488
A LITTLE CRAZY AFTER IT, AND
I PUT A BARBECUE AND A SWIMMING
POOL IN THE BACKYARD.
402
00:14:39,512 --> 00:14:40,756
I PUT A BARBECUE AND A SWIMMING
POOL IN THE BACKYARD.
WELL, MICK, I KNOW EXACTLY
403
00:14:40,780 --> 00:14:41,457
POOL IN THE BACKYARD.
WELL, MICK, I KNOW EXACTLY
WHAT YOU MEAN.
404
00:14:41,481 --> 00:14:42,859
WELL, MICK, I KNOW EXACTLY
WHAT YOU MEAN.
YOU KNOW, THERE'S NOTHING LIKE A
405
00:14:42,883 --> 00:14:44,260
WHAT YOU MEAN.
YOU KNOW, THERE'S NOTHING LIKE A
GOOD OLD-FASHIONED BARBECUE.
406
00:14:44,284 --> 00:14:45,828
YOU KNOW, THERE'S NOTHING LIKE A
GOOD OLD-FASHIONED BARBECUE.
YOU START COOKING UP THE STEAKS.
407
00:14:45,852 --> 00:14:47,263
GOOD OLD-FASHIONED BARBECUE.
YOU START COOKING UP THE STEAKS.
THE SMELL OF THE CHARBROILING
408
00:14:47,287 --> 00:14:48,664
YOU START COOKING UP THE STEAKS.
THE SMELL OF THE CHARBROILING
ATTRACTS EVERYBODY FROM NEXT
409
00:14:48,688 --> 00:14:49,098
THE SMELL OF THE CHARBROILING
ATTRACTS EVERYBODY FROM NEXT
DOOR.
410
00:14:49,122 --> 00:14:50,766
ATTRACTS EVERYBODY FROM NEXT
DOOR.
GOLLY, I FIND MYSELF FEEDING THE
411
00:14:50,790 --> 00:14:51,834
DOOR.
GOLLY, I FIND MYSELF FEEDING THE
WHOLE NEIGHBORHOOD.
412
00:14:51,858 --> 00:14:53,502
GOLLY, I FIND MYSELF FEEDING THE
WHOLE NEIGHBORHOOD.
THAT'S THE FUN OF A BARBECUE.
413
00:14:53,526 --> 00:14:55,037
WHOLE NEIGHBORHOOD.
THAT'S THE FUN OF A BARBECUE.
[LAUGHS]
414
00:14:55,061 --> 00:14:58,274
THAT'S THE FUN OF A BARBECUE.
[LAUGHS]
WELL, YES, SIR.
415
00:14:58,298 --> 00:14:59,641
[LAUGHS]
WELL, YES, SIR.
I'LL BUY THAT, SIR.
416
00:14:59,665 --> 00:15:01,744
WELL, YES, SIR.
I'LL BUY THAT, SIR.
YOU KNOW, TOM, EVER SINCE WE
417
00:15:01,768 --> 00:15:03,812
I'LL BUY THAT, SIR.
YOU KNOW, TOM, EVER SINCE WE
PUT THE POOL IN AT OUR HOUSE, A
418
00:15:03,836 --> 00:15:05,581
YOU KNOW, TOM, EVER SINCE WE
PUT THE POOL IN AT OUR HOUSE, A
LOT OF OLD FRIENDS THAT WE
419
00:15:05,605 --> 00:15:07,549
PUT THE POOL IN AT OUR HOUSE, A
LOT OF OLD FRIENDS THAT WE
HAVEN'T SEEN FOR A WHILE JUST
420
00:15:07,573 --> 00:15:09,518
LOT OF OLD FRIENDS THAT WE
HAVEN'T SEEN FOR A WHILE JUST
DROP IN MORE OFTEN, YOU KNOW,
421
00:15:09,542 --> 00:15:11,287
HAVEN'T SEEN FOR A WHILE JUST
DROP IN MORE OFTEN, YOU KNOW,
LIKE ROD AND BABS STEWART,
422
00:15:11,311 --> 00:15:12,922
DROP IN MORE OFTEN, YOU KNOW,
LIKE ROD AND BABS STEWART,
ERIC AND MADGE CLAPTON.
423
00:15:12,946 --> 00:15:14,991
LIKE ROD AND BABS STEWART,
ERIC AND MADGE CLAPTON.
THEY LOVE TO COME OVER AND BEAT
424
00:15:15,015 --> 00:15:18,594
ERIC AND MADGE CLAPTON.
THEY LOVE TO COME OVER AND BEAT
THE HEAT, YOU KNOW.
425
00:15:18,618 --> 00:15:19,795
THEY LOVE TO COME OVER AND BEAT
THE HEAT, YOU KNOW.
WELL, IT'S A HOT LIFE YOU
426
00:15:19,819 --> 00:15:20,529
THE HEAT, YOU KNOW.
WELL, IT'S A HOT LIFE YOU
LEAD, YOU KNOW.
427
00:15:20,553 --> 00:15:21,730
WELL, IT'S A HOT LIFE YOU
LEAD, YOU KNOW.
SPEAKING OF HEAT, BOY, YOU'RE
428
00:15:21,754 --> 00:15:22,531
LEAD, YOU KNOW.
SPEAKING OF HEAT, BOY, YOU'RE
QUITE THE DANCER.
429
00:15:22,555 --> 00:15:23,665
SPEAKING OF HEAT, BOY, YOU'RE
QUITE THE DANCER.
I SAW YOUR SHOW IN TUCSON.
430
00:15:23,689 --> 00:15:24,833
QUITE THE DANCER.
I SAW YOUR SHOW IN TUCSON.
AND SOME OF THOSE MOVES... I
431
00:15:24,857 --> 00:15:26,068
I SAW YOUR SHOW IN TUCSON.
AND SOME OF THOSE MOVES... I
WOULDN'T THINK THE HUMAN BODY
432
00:15:26,092 --> 00:15:27,403
AND SOME OF THOSE MOVES... I
WOULDN'T THINK THE HUMAN BODY
WOULD BE CAPABLE OF MOVING LIKE
433
00:15:27,427 --> 00:15:27,803
WOULDN'T THINK THE HUMAN BODY
WOULD BE CAPABLE OF MOVING LIKE
THAT.
434
00:15:27,827 --> 00:15:28,905
WOULD BE CAPABLE OF MOVING LIKE
THAT.
THEY WERE TERRIFIC, MICK,
435
00:15:28,929 --> 00:15:29,405
THAT.
THEY WERE TERRIFIC, MICK,
REALLY.
436
00:15:29,429 --> 00:15:30,139
THEY WERE TERRIFIC, MICK,
REALLY.
THANK YOU.
437
00:15:30,163 --> 00:15:30,839
REALLY.
THANK YOU.
WHICH ONES?
438
00:15:30,863 --> 00:15:32,441
THANK YOU.
WHICH ONES?
WHICH PARTICULAR ONES DID YOU GO
439
00:15:32,465 --> 00:15:32,841
WHICH ONES?
WHICH PARTICULAR ONES DID YOU GO
FOR?
440
00:15:32,865 --> 00:15:34,343
WHICH PARTICULAR ONES DID YOU GO
FOR?
WELL, THE LITTLE THING WITH
441
00:15:34,367 --> 00:15:35,744
FOR?
WELL, THE LITTLE THING WITH
YOUR LEG, YOU KNOW, AND THE
442
00:15:35,768 --> 00:15:37,013
WELL, THE LITTLE THING WITH
YOUR LEG, YOU KNOW, AND THE
LITTLE WALK, YOU KNOW...
443
00:15:37,037 --> 00:15:38,047
YOUR LEG, YOU KNOW, AND THE
LITTLE WALK, YOU KNOW...
THE LITTLE THINGS YOU DO,
444
00:15:38,071 --> 00:15:39,048
LITTLE WALK, YOU KNOW...
THE LITTLE THINGS YOU DO,
ALL THOSE LITTLE THINGS.
445
00:15:39,072 --> 00:15:39,681
THE LITTLE THINGS YOU DO,
ALL THOSE LITTLE THINGS.
WHICH ONE?
446
00:15:39,705 --> 00:15:40,549
ALL THOSE LITTLE THINGS.
WHICH ONE?
YOU WANT TO SHOW ME?
447
00:15:40,573 --> 00:15:40,983
WHICH ONE?
YOU WANT TO SHOW ME?
SHOW ME.
448
00:15:41,007 --> 00:15:42,484
YOU WANT TO SHOW ME?
SHOW ME.
WHAT DO YOU MEAN?
449
00:15:42,508 --> 00:15:43,619
SHOW ME.
WHAT DO YOU MEAN?
WELL, I'LL CLEAR A BIT OF ROOM
450
00:15:43,643 --> 00:15:44,520
WHAT DO YOU MEAN?
WELL, I'LL CLEAR A BIT OF ROOM
HERE.
451
00:15:44,544 --> 00:15:45,754
WELL, I'LL CLEAR A BIT OF ROOM
HERE.
WELL, HECK.
452
00:15:45,778 --> 00:15:46,989
HERE.
WELL, HECK.
HECK, I CAN...
453
00:15:47,013 --> 00:15:49,491
WELL, HECK.
HECK, I CAN...
[CHEERS AND APPLAUSE]
454
00:15:49,515 --> 00:15:50,826
HECK, I CAN...
[CHEERS AND APPLAUSE]
[LAUGHS]
455
00:15:50,850 --> 00:15:51,460
[CHEERS AND APPLAUSE]
[LAUGHS]
ALL RIGHT, AL.
456
00:15:51,484 --> 00:15:52,561
[LAUGHS]
ALL RIGHT, AL.
LET'S GET A WIDE SHOT OF THIS.
457
00:15:52,585 --> 00:15:53,762
ALL RIGHT, AL.
LET'S GET A WIDE SHOT OF THIS.
HECK, I CAN BOOGIE JUST LIKE THE
458
00:15:53,786 --> 00:15:54,196
LET'S GET A WIDE SHOT OF THIS.
HECK, I CAN BOOGIE JUST LIKE THE
NEXT GUY.
459
00:15:54,220 --> 00:15:54,997
HECK, I CAN BOOGIE JUST LIKE THE
NEXT GUY.
WELL, I MEAN, YOU KNOW, THE
460
00:15:55,021 --> 00:16:00,970
NEXT GUY.
WELL, I MEAN, YOU KNOW, THE
LITTLE... THE LITTLE WALK...
461
00:16:00,994 --> 00:16:02,405
WELL, I MEAN, YOU KNOW, THE
LITTLE... THE LITTLE WALK...
AND, YOU KNOW, THE THING WITH
462
00:16:02,429 --> 00:16:04,340
LITTLE... THE LITTLE WALK...
AND, YOU KNOW, THE THING WITH
YOUR LEG... YOU KNOW, THE...
463
00:16:04,364 --> 00:16:05,808
AND, YOU KNOW, THE THING WITH
YOUR LEG... YOU KNOW, THE...
MM-HMM. MM-HMM.
464
00:16:05,832 --> 00:16:06,909
YOUR LEG... YOU KNOW, THE...
MM-HMM. MM-HMM.
YEAH, YEAH, YEAH, YEAH.
465
00:16:06,933 --> 00:16:07,810
MM-HMM. MM-HMM.
YEAH, YEAH, YEAH, YEAH.
YOU KNOW THAT?
466
00:16:07,834 --> 00:16:08,710
YEAH, YEAH, YEAH, YEAH.
YOU KNOW THAT?
THOSE MOVES THERE.
467
00:16:08,734 --> 00:16:09,611
YOU KNOW THAT?
THOSE MOVES THERE.
HECK, YEAH, YOU KNOW.
468
00:16:09,635 --> 00:16:14,483
THOSE MOVES THERE.
HECK, YEAH, YOU KNOW.
[LAUGHS]
469
00:16:14,507 --> 00:16:15,918
HECK, YEAH, YOU KNOW.
[LAUGHS]
YOU KNOW, I THINK YOU CLEARLY
470
00:16:15,942 --> 00:16:17,219
[LAUGHS]
YOU KNOW, I THINK YOU CLEARLY
MISSED YOUR CALLING IN LIFE.
471
00:16:17,243 --> 00:16:18,220
YOU KNOW, I THINK YOU CLEARLY
MISSED YOUR CALLING IN LIFE.
WHAT DO YOU MEAN?
472
00:16:18,244 --> 00:16:19,588
MISSED YOUR CALLING IN LIFE.
WHAT DO YOU MEAN?
YOU THINK I SHOULD HAVE BEEN A
473
00:16:19,612 --> 00:16:20,556
WHAT DO YOU MEAN?
YOU THINK I SHOULD HAVE BEEN A
DANCER OR SOMETHING?
474
00:16:20,580 --> 00:16:23,192
YOU THINK I SHOULD HAVE BEEN A
DANCER OR SOMETHING?
WELL, NOT FOR A LIVING.
475
00:16:23,216 --> 00:16:26,062
DANCER OR SOMETHING?
WELL, NOT FOR A LIVING.
SPEAKING OF RELAXATION, MICK.
476
00:16:26,086 --> 00:16:27,296
WELL, NOT FOR A LIVING.
SPEAKING OF RELAXATION, MICK.
I JUST DO IT TO FOOL AROUND.
477
00:16:27,320 --> 00:16:28,464
SPEAKING OF RELAXATION, MICK.
I JUST DO IT TO FOOL AROUND.
YOU KNOW, I LIKE TO DANCE.
478
00:16:28,488 --> 00:16:29,765
I JUST DO IT TO FOOL AROUND.
YOU KNOW, I LIKE TO DANCE.
YOU KNOW, I NOTICED ON A COVER
479
00:16:29,789 --> 00:16:31,100
YOU KNOW, I LIKE TO DANCE.
YOU KNOW, I NOTICED ON A COVER
OF ONE OF YOUR SINGLES RELEASED
480
00:16:31,124 --> 00:16:32,401
YOU KNOW, I NOTICED ON A COVER
OF ONE OF YOUR SINGLES RELEASED
IN 1966, "HAVE YOU SEEN YOUR
481
00:16:32,425 --> 00:16:33,735
OF ONE OF YOUR SINGLES RELEASED
IN 1966, "HAVE YOU SEEN YOUR
MOTHER, BABY, STANDING IN THE
482
00:16:33,759 --> 00:16:35,871
IN 1966, "HAVE YOU SEEN YOUR
MOTHER, BABY, STANDING IN THE
SHADOW?"... CAN WE SEE THAT?
483
00:16:35,895 --> 00:16:37,373
MOTHER, BABY, STANDING IN THE
SHADOW?"... CAN WE SEE THAT?
YOU GUYS SEEM TO BE GUYS THAT
484
00:16:37,397 --> 00:16:38,841
SHADOW?"... CAN WE SEE THAT?
YOU GUYS SEEM TO BE GUYS THAT
ENJOY DRESSING UP AS GALS NOW
485
00:16:38,865 --> 00:16:39,508
YOU GUYS SEEM TO BE GUYS THAT
ENJOY DRESSING UP AS GALS NOW
AND AGAIN.
486
00:16:39,532 --> 00:16:41,444
ENJOY DRESSING UP AS GALS NOW
AND AGAIN.
WELL, IT'S NOT SUCH A REALLY
487
00:16:41,468 --> 00:16:43,346
AND AGAIN.
WELL, IT'S NOT SUCH A REALLY
BIG DEAL, YOU KNOW, DRESSING UP
488
00:16:43,370 --> 00:16:44,213
WELL, IT'S NOT SUCH A REALLY
BIG DEAL, YOU KNOW, DRESSING UP
AS A WOMAN.
489
00:16:44,237 --> 00:16:45,681
BIG DEAL, YOU KNOW, DRESSING UP
AS A WOMAN.
THIS WAS JUST MORE OF A
490
00:16:45,705 --> 00:16:47,350
AS A WOMAN.
THIS WAS JUST MORE OF A
THEATRICAL DEVICE WE USED.
491
00:16:47,374 --> 00:16:48,617
THIS WAS JUST MORE OF A
THEATRICAL DEVICE WE USED.
WELL, ALL I KNOW IS I GOT A
492
00:16:48,641 --> 00:16:49,852
THEATRICAL DEVICE WE USED.
WELL, ALL I KNOW IS I GOT A
PINK WOMAN'S HOUSECOAT AT HOME
493
00:16:49,876 --> 00:16:50,953
WELL, ALL I KNOW IS I GOT A
PINK WOMAN'S HOUSECOAT AT HOME
AND A PAIR OF FUZZY, PINK
494
00:16:50,977 --> 00:16:52,154
PINK WOMAN'S HOUSECOAT AT HOME
AND A PAIR OF FUZZY, PINK
SLIPPERS, AND, HECK, I DIDN'T
495
00:16:52,178 --> 00:16:53,456
AND A PAIR OF FUZZY, PINK
SLIPPERS, AND, HECK, I DIDN'T
BUY THEM 'CAUSE THEY'RE LADIES'
496
00:16:53,480 --> 00:16:53,889
SLIPPERS, AND, HECK, I DIDN'T
BUY THEM 'CAUSE THEY'RE LADIES'
THINGS.
497
00:16:53,913 --> 00:16:55,157
BUY THEM 'CAUSE THEY'RE LADIES'
THINGS.
I BOUGHT THEM 'CAUSE, DAMN IT,
498
00:16:55,181 --> 00:16:56,959
THINGS.
I BOUGHT THEM 'CAUSE, DAMN IT,
THEY'RE COMFORTABLE!
499
00:16:56,983 --> 00:16:58,995
I BOUGHT THEM 'CAUSE, DAMN IT,
THEY'RE COMFORTABLE!
I MEAN...
500
00:16:59,019 --> 00:17:00,863
THEY'RE COMFORTABLE!
I MEAN...
I DON'T CARE IF THEY ARE LADIES'
501
00:17:00,887 --> 00:17:01,597
I MEAN...
I DON'T CARE IF THEY ARE LADIES'
GARMENTS.
502
00:17:01,621 --> 00:17:03,132
I DON'T CARE IF THEY ARE LADIES'
GARMENTS.
I KNOW YOU DON'T, TOM.
503
00:17:03,156 --> 00:17:04,967
GARMENTS.
I KNOW YOU DON'T, TOM.
IT DOESN'T SURPRISE ME AT ALL.
504
00:17:04,991 --> 00:17:06,768
I KNOW YOU DON'T, TOM.
IT DOESN'T SURPRISE ME AT ALL.
IN FACT, I STILL HAVE A LITTLE
505
00:17:06,792 --> 00:17:08,637
IT DOESN'T SURPRISE ME AT ALL.
IN FACT, I STILL HAVE A LITTLE
PUSH-UP BRA THAT WE USED ON THE
506
00:17:08,661 --> 00:17:10,506
IN FACT, I STILL HAVE A LITTLE
PUSH-UP BRA THAT WE USED ON THE
COVER AND, REALLY, YOU CAN HAVE
507
00:17:10,530 --> 00:17:11,540
PUSH-UP BRA THAT WE USED ON THE
COVER AND, REALLY, YOU CAN HAVE
IT IF YOU WANT.
508
00:17:11,564 --> 00:17:12,708
COVER AND, REALLY, YOU CAN HAVE
IT IF YOU WANT.
REALLY? I COULD HAVE THAT?
509
00:17:12,732 --> 00:17:13,709
IT IF YOU WANT.
REALLY? I COULD HAVE THAT?
YEAH, I DON'T NEED IT
510
00:17:13,733 --> 00:17:14,176
REALLY? I COULD HAVE THAT?
YEAH, I DON'T NEED IT
ANYMORE.
511
00:17:14,200 --> 00:17:15,011
YEAH, I DON'T NEED IT
ANYMORE.
WELL, ALL RIGHT.
512
00:17:15,035 --> 00:17:15,878
ANYMORE.
WELL, ALL RIGHT.
THAT WOULD BE GREAT.
513
00:17:15,902 --> 00:17:17,113
WELL, ALL RIGHT.
THAT WOULD BE GREAT.
MICK, I'LL TAKE YOU UP ON THAT.
514
00:17:17,137 --> 00:17:18,280
THAT WOULD BE GREAT.
MICK, I'LL TAKE YOU UP ON THAT.
THANK YOU SO MUCH FOR JOINING
515
00:17:18,304 --> 00:17:18,580
MICK, I'LL TAKE YOU UP ON THAT.
THANK YOU SO MUCH FOR JOINING
US.
516
00:17:18,604 --> 00:17:19,715
THANK YOU SO MUCH FOR JOINING
US.
YOU KNOW, I JUST WANT TO SAY
517
00:17:19,739 --> 00:17:20,949
US.
YOU KNOW, I JUST WANT TO SAY
THAT WHEN THEY TOLD ME YOU WERE
518
00:17:20,973 --> 00:17:22,218
YOU KNOW, I JUST WANT TO SAY
THAT WHEN THEY TOLD ME YOU WERE
DOING THE SHOW, I WAS, FRANKLY,
519
00:17:22,242 --> 00:17:23,052
THAT WHEN THEY TOLD ME YOU WERE
DOING THE SHOW, I WAS, FRANKLY,
QUITE APPREHENSIVE.
520
00:17:23,076 --> 00:17:24,320
DOING THE SHOW, I WAS, FRANKLY,
QUITE APPREHENSIVE.
I HEARD YOU WERE A LITTLE BIT OF
521
00:17:24,344 --> 00:17:25,521
QUITE APPREHENSIVE.
I HEARD YOU WERE A LITTLE BIT OF
A CUTUP, A KIND OF A HELLION.
522
00:17:25,545 --> 00:17:26,555
I HEARD YOU WERE A LITTLE BIT OF
A CUTUP, A KIND OF A HELLION.
I DON'T KNOW WHAT KIND OF
523
00:17:26,579 --> 00:17:27,789
A CUTUP, A KIND OF A HELLION.
I DON'T KNOW WHAT KIND OF
HIGH JINKS TO EXPECT FROM GUYS
524
00:17:27,813 --> 00:17:28,290
I DON'T KNOW WHAT KIND OF
HIGH JINKS TO EXPECT FROM GUYS
LIKE YOU.
525
00:17:28,314 --> 00:17:29,058
HIGH JINKS TO EXPECT FROM GUYS
LIKE YOU.
BUT HERE YOU ARE.
526
00:17:29,082 --> 00:17:30,359
LIKE YOU.
BUT HERE YOU ARE.
YOU'RE A WELL-BEHAVED YOUNG MAN.
527
00:17:30,383 --> 00:17:31,293
BUT HERE YOU ARE.
YOU'RE A WELL-BEHAVED YOUNG MAN.
AND FRANKLY, SIR, I AM
528
00:17:31,317 --> 00:17:34,530
YOU'RE A WELL-BEHAVED YOUNG MAN.
AND FRANKLY, SIR, I AM
SURPRISED.
529
00:17:34,554 --> 00:17:35,731
AND FRANKLY, SIR, I AM
SURPRISED.
WELL, TOM, THANK YOU.
530
00:17:35,755 --> 00:17:36,865
SURPRISED.
WELL, TOM, THANK YOU.
THAT'S NICE OF YOU.
531
00:17:36,889 --> 00:17:38,534
WELL, TOM, THANK YOU.
THAT'S NICE OF YOU.
YOU KNOW, BEFORE I CAME HERE, I
532
00:17:38,558 --> 00:17:40,102
THAT'S NICE OF YOU.
YOU KNOW, BEFORE I CAME HERE, I
HEARD A FEW THINGS ABOUT YOU.
533
00:17:40,126 --> 00:17:43,272
YOU KNOW, BEFORE I CAME HERE, I
HEARD A FEW THINGS ABOUT YOU.
AND I HEARD YOU WERE SLOW AND A
534
00:17:43,296 --> 00:17:46,509
HEARD A FEW THINGS ABOUT YOU.
AND I HEARD YOU WERE SLOW AND A
BIT THICK... YOU KNOW, A KIND OF
535
00:17:46,533 --> 00:17:49,445
AND I HEARD YOU WERE SLOW AND A
BIT THICK... YOU KNOW, A KIND OF
A DIM BULB.
536
00:17:49,469 --> 00:17:50,879
BIT THICK... YOU KNOW, A KIND OF
A DIM BULB.
BUT NOW I'VE MET YOU, YOU KNOW,
537
00:17:50,903 --> 00:17:54,650
A DIM BULB.
BUT NOW I'VE MET YOU, YOU KNOW,
I KNOW YOU CAN'T HELP IT.
538
00:17:54,674 --> 00:17:55,884
BUT NOW I'VE MET YOU, YOU KNOW,
I KNOW YOU CAN'T HELP IT.
WELL, THANK YOU VERY MUCH,
539
00:17:55,908 --> 00:17:56,185
I KNOW YOU CAN'T HELP IT.
WELL, THANK YOU VERY MUCH,
SIR.
540
00:17:56,209 --> 00:17:57,386
WELL, THANK YOU VERY MUCH,
SIR.
YOU'RE WELCOME BACK ANYTIME.
541
00:17:57,410 --> 00:17:58,287
SIR.
YOU'RE WELCOME BACK ANYTIME.
WE'VE BEEN TALKING WITH...
542
00:17:58,311 --> 00:17:59,355
YOU'RE WELCOME BACK ANYTIME.
WE'VE BEEN TALKING WITH...
EXCUSE ME, TOM.
543
00:17:59,379 --> 00:18:00,989
WE'VE BEEN TALKING WITH...
EXCUSE ME, TOM.
ONE THING, YOU KNOW, BEFORE WE
544
00:18:01,013 --> 00:18:01,690
EXCUSE ME, TOM.
ONE THING, YOU KNOW, BEFORE WE
FINISH UP.
545
00:18:01,714 --> 00:18:03,025
ONE THING, YOU KNOW, BEFORE WE
FINISH UP.
ANYTHING AT ALL, SIR.
546
00:18:03,049 --> 00:18:04,293
FINISH UP.
ANYTHING AT ALL, SIR.
THROUGH THIS ENTIRE
547
00:18:04,317 --> 00:18:05,661
ANYTHING AT ALL, SIR.
THROUGH THIS ENTIRE
INTERVIEW, ONE THING HAS
548
00:18:05,685 --> 00:18:06,562
THROUGH THIS ENTIRE
INTERVIEW, ONE THING HAS
FASCINATED ME.
549
00:18:06,586 --> 00:18:07,363
INTERVIEW, ONE THING HAS
FASCINATED ME.
YES, SIR?
550
00:18:07,387 --> 00:18:08,764
FASCINATED ME.
YES, SIR?
IT'S THE EXTRAORDINARY
551
00:18:08,788 --> 00:18:11,534
YES, SIR?
IT'S THE EXTRAORDINARY
VARIETY OF COLORS IN YOUR HAIR.
552
00:18:11,558 --> 00:18:14,203
IT'S THE EXTRAORDINARY
VARIETY OF COLORS IN YOUR HAIR.
I MEAN, THERE MUST BE AT LEAST
553
00:18:14,227 --> 00:18:14,903
VARIETY OF COLORS IN YOUR HAIR.
I MEAN, THERE MUST BE AT LEAST
12.
554
00:18:14,927 --> 00:18:16,905
I MEAN, THERE MUST BE AT LEAST
12.
I MEAN, THERE'S GRAY AND BLACK
555
00:18:16,929 --> 00:18:18,807
12.
I MEAN, THERE'S GRAY AND BLACK
AND BLUE AND A LITTLE GREEN.
556
00:18:18,831 --> 00:18:20,576
I MEAN, THERE'S GRAY AND BLACK
AND BLUE AND A LITTLE GREEN.
YOU MUST BE AWARE OF THAT.
557
00:18:20,600 --> 00:18:21,077
AND BLUE AND A LITTLE GREEN.
YOU MUST BE AWARE OF THAT.
GREEN?
558
00:18:21,101 --> 00:18:22,344
YOU MUST BE AWARE OF THAT.
GREEN?
I DIDN'T KNOW ABOUT THE SPOT OF
559
00:18:22,368 --> 00:18:23,645
GREEN?
I DIDN'T KNOW ABOUT THE SPOT OF
GREEN, MICK, TO BE QUITE HONEST
560
00:18:23,669 --> 00:18:24,146
I DIDN'T KNOW ABOUT THE SPOT OF
GREEN, MICK, TO BE QUITE HONEST
WITH YOU.
561
00:18:24,170 --> 00:18:25,381
GREEN, MICK, TO BE QUITE HONEST
WITH YOU.
JOIN US TOMORROW ON "TOMORROW,"
562
00:18:25,405 --> 00:18:26,549
WITH YOU.
JOIN US TOMORROW ON "TOMORROW,"
WHEN WE'LL BE TALKING WITH A
563
00:18:26,573 --> 00:18:27,849
JOIN US TOMORROW ON "TOMORROW,"
WHEN WE'LL BE TALKING WITH A
GROUP OF BEEF FARMERS WHO CLAIM
564
00:18:27,873 --> 00:18:29,051
WHEN WE'LL BE TALKING WITH A
GROUP OF BEEF FARMERS WHO CLAIM
THAT ELVIS PRESLEY'S GHOST IS
565
00:18:29,075 --> 00:18:30,219
GROUP OF BEEF FARMERS WHO CLAIM
THAT ELVIS PRESLEY'S GHOST IS
RESPONSIBLE FOR A MYSTERIOUS
566
00:18:30,243 --> 00:18:31,220
THAT ELVIS PRESLEY'S GHOST IS
RESPONSIBLE FOR A MYSTERIOUS
SERIES OF AERIAL CATTLE
567
00:18:31,244 --> 00:18:32,354
RESPONSIBLE FOR A MYSTERIOUS
SERIES OF AERIAL CATTLE
MUTILATIONS IN THE MIDWEST.
568
00:18:32,378 --> 00:18:34,056
SERIES OF AERIAL CATTLE
MUTILATIONS IN THE MIDWEST.
GOOD NIGHT, EVERYBODY.
569
00:18:34,080 --> 00:18:35,224
MUTILATIONS IN THE MIDWEST.
GOOD NIGHT, EVERYBODY.
[THE ROLLING STONES' "MISS YOU"
570
00:18:35,248 --> 00:18:39,517
GOOD NIGHT, EVERYBODY.
[THE ROLLING STONES' "MISS YOU"
PLAYS]
571
00:18:47,626 --> 00:18:54,977
♪ THE HILLS ARE ALIVE WITH
THE SOUND OF MUSIC ♪
♪ WITH THE SONGS THEY HAVE
572
00:18:55,001 --> 00:18:58,680
THE SOUND OF MUSIC ♪
♪ WITH THE SONGS THEY HAVE
SUNG FOR 1,000 YEARS ♪
573
00:18:58,704 --> 00:19:00,349
♪ WITH THE SONGS THEY HAVE
SUNG FOR 1,000 YEARS ♪
HELLO, MRS. LOOPNER.
574
00:19:00,373 --> 00:19:01,517
SUNG FOR 1,000 YEARS ♪
HELLO, MRS. LOOPNER.
HI, TODD.
575
00:19:01,541 --> 00:19:02,451
HELLO, MRS. LOOPNER.
HI, TODD.
HI, LISA.
576
00:19:02,475 --> 00:19:06,088
HI, TODD.
HI, LISA.
HI, MOM.
577
00:19:06,112 --> 00:19:07,889
HI, LISA.
HI, MOM.
WHAT A BECOMING HOUSECOAT,
578
00:19:07,913 --> 00:19:08,857
HI, MOM.
WHAT A BECOMING HOUSECOAT,
MRS. LOOPNER.
579
00:19:08,881 --> 00:19:10,593
WHAT A BECOMING HOUSECOAT,
MRS. LOOPNER.
OH, FLATTERY WILL GET YOU
580
00:19:10,617 --> 00:19:11,760
MRS. LOOPNER.
OH, FLATTERY WILL GET YOU
EVERYWHERE, TODD.
581
00:19:11,784 --> 00:19:13,362
OH, FLATTERY WILL GET YOU
EVERYWHERE, TODD.
YOU KIDS MUST BE STARVING.
582
00:19:13,386 --> 00:19:15,164
EVERYWHERE, TODD.
YOU KIDS MUST BE STARVING.
LET ME GET YOU SOME MINIATURE
583
00:19:15,188 --> 00:19:16,064
YOU KIDS MUST BE STARVING.
LET ME GET YOU SOME MINIATURE
MARSHMALLOWS.
584
00:19:16,088 --> 00:19:17,032
LET ME GET YOU SOME MINIATURE
MARSHMALLOWS.
THANKS, MOM!
585
00:19:17,056 --> 00:19:20,136
MARSHMALLOWS.
THANKS, MOM!
THANK YOU, MRS. LOOPNER.
586
00:19:20,160 --> 00:19:21,570
THANKS, MOM!
THANK YOU, MRS. LOOPNER.
NOW, WHICH ONE OF YOU IS THE
587
00:19:21,594 --> 00:19:23,071
THANK YOU, MRS. LOOPNER.
NOW, WHICH ONE OF YOU IS THE
NEW PRESIDENT OF THE CHESS CLUB?
588
00:19:23,095 --> 00:19:23,705
NOW, WHICH ONE OF YOU IS THE
NEW PRESIDENT OF THE CHESS CLUB?
OH, MOM.
589
00:19:23,729 --> 00:19:26,175
NEW PRESIDENT OF THE CHESS CLUB?
OH, MOM.
THEY DON'T PICK TILL FRIDAY.
590
00:19:26,199 --> 00:19:28,244
OH, MOM.
THEY DON'T PICK TILL FRIDAY.
MOM, WHY ARE YOU TAKING
591
00:19:28,268 --> 00:19:30,179
THEY DON'T PICK TILL FRIDAY.
MOM, WHY ARE YOU TAKING
EVERYTHING OUT OF THE
592
00:19:30,203 --> 00:19:31,514
MOM, WHY ARE YOU TAKING
EVERYTHING OUT OF THE
REFRIGERATOR?
593
00:19:31,538 --> 00:19:33,115
EVERYTHING OUT OF THE
REFRIGERATOR?
WELL, THE POOR OLD NORGE IS
594
00:19:33,139 --> 00:19:34,216
REFRIGERATOR?
WELL, THE POOR OLD NORGE IS
ON THE FRITZ AGAIN.
595
00:19:34,240 --> 00:19:35,917
WELL, THE POOR OLD NORGE IS
ON THE FRITZ AGAIN.
I'M JUST CLEANING IT OUT FOR THE
596
00:19:35,941 --> 00:19:37,186
ON THE FRITZ AGAIN.
I'M JUST CLEANING IT OUT FOR THE
REFRIGERATOR REPAIRMAN.
597
00:19:37,210 --> 00:19:38,287
I'M JUST CLEANING IT OUT FOR THE
REFRIGERATOR REPAIRMAN.
OOH! LISA!
598
00:19:38,311 --> 00:19:40,456
REFRIGERATOR REPAIRMAN.
OOH! LISA!
THIS CAME FOR YOU TODAY.
599
00:19:40,480 --> 00:19:41,590
OOH! LISA!
THIS CAME FOR YOU TODAY.
OH, NO!
600
00:19:41,614 --> 00:19:43,359
THIS CAME FOR YOU TODAY.
OH, NO!
I DON'T BELIEVE IT!
601
00:19:43,383 --> 00:19:44,226
OH, NO!
I DON'T BELIEVE IT!
IT CAME!
602
00:19:44,250 --> 00:19:46,395
I DON'T BELIEVE IT!
IT CAME!
IT'S FROM BORIS SPASSKY, THE
603
00:19:46,419 --> 00:19:48,564
IT CAME!
IT'S FROM BORIS SPASSKY, THE
FAMOUS RUSSIAN CHESS PLAYER.
604
00:19:48,588 --> 00:19:49,898
IT'S FROM BORIS SPASSKY, THE
FAMOUS RUSSIAN CHESS PLAYER.
OH, HE'S SMART.
605
00:19:49,922 --> 00:19:51,300
FAMOUS RUSSIAN CHESS PLAYER.
OH, HE'S SMART.
LET ME SEE THAT.
606
00:19:51,324 --> 00:19:52,301
OH, HE'S SMART.
LET ME SEE THAT.
NO! TODD!
607
00:19:52,325 --> 00:19:53,402
LET ME SEE THAT.
NO! TODD!
TODD, COME ON!
608
00:19:53,426 --> 00:19:55,003
NO! TODD!
TODD, COME ON!
IT'S MY LETTER!
609
00:19:55,027 --> 00:19:56,205
TODD, COME ON!
IT'S MY LETTER!
[GROANS]
610
00:19:56,229 --> 00:19:57,339
IT'S MY LETTER!
[GROANS]
YOU NERD!
611
00:19:57,363 --> 00:19:58,707
[GROANS]
YOU NERD!
"DEAR COMRADE FOUR-EYES
612
00:19:58,731 --> 00:19:59,275
YOU NERD!
"DEAR COMRADE FOUR-EYES
LOOPNER.
613
00:19:59,299 --> 00:20:00,842
"DEAR COMRADE FOUR-EYES
LOOPNER.
YOURS WAS THE STUPIDEST LETTER
614
00:20:00,866 --> 00:20:02,378
LOOPNER.
YOURS WAS THE STUPIDEST LETTER
I'VE EVER RECEIVED IN MY LIFE,
615
00:20:02,402 --> 00:20:03,979
YOURS WAS THE STUPIDEST LETTER
I'VE EVER RECEIVED IN MY LIFE,
AND IF YOU REALLY WANT TO LEARN
616
00:20:04,003 --> 00:20:05,614
I'VE EVER RECEIVED IN MY LIFE,
AND IF YOU REALLY WANT TO LEARN
ABOUT CHESS, YOU SHOULD PROBABLY
617
00:20:05,638 --> 00:20:07,015
AND IF YOU REALLY WANT TO LEARN
ABOUT CHESS, YOU SHOULD PROBABLY
ASK THE FUTURE PRESIDENT OF
618
00:20:07,039 --> 00:20:08,484
ABOUT CHESS, YOU SHOULD PROBABLY
ASK THE FUTURE PRESIDENT OF
WALDESHERA HIGH SCHOOL CHESS
619
00:20:08,508 --> 00:20:09,951
ASK THE FUTURE PRESIDENT OF
WALDESHERA HIGH SCHOOL CHESS
CLUB, THE ALWAYS INCREDIBLE,
620
00:20:09,975 --> 00:20:11,853
WALDESHERA HIGH SCHOOL CHESS
CLUB, THE ALWAYS INCREDIBLE,
GREAT TODD DE LA MUCA."
621
00:20:11,877 --> 00:20:12,854
CLUB, THE ALWAYS INCREDIBLE,
GREAT TODD DE LA MUCA."
[LAUGHS]
622
00:20:12,878 --> 00:20:15,023
GREAT TODD DE LA MUCA."
[LAUGHS]
THAT'S SO FUNNY, I FORGOT TO
623
00:20:15,047 --> 00:20:15,691
[LAUGHS]
THAT'S SO FUNNY, I FORGOT TO
LAUGH.
624
00:20:15,715 --> 00:20:17,593
THAT'S SO FUNNY, I FORGOT TO
LAUGH.
"SERIOUSLY YOURS, BORIS
625
00:20:17,617 --> 00:20:19,161
LAUGH.
"SERIOUSLY YOURS, BORIS
SPAZOLAPOLIS SPASSKY."
626
00:20:19,185 --> 00:20:20,128
"SERIOUSLY YOURS, BORIS
SPAZOLAPOLIS SPASSKY."
COME HERE, MOM.
627
00:20:20,152 --> 00:20:21,497
SPAZOLAPOLIS SPASSKY."
COME HERE, MOM.
THIS IS WHAT IT REALLY SAYS.
628
00:20:21,521 --> 00:20:22,565
COME HERE, MOM.
THIS IS WHAT IT REALLY SAYS.
"DEAR MISS LOOPNER,
629
00:20:22,589 --> 00:20:23,499
THIS IS WHAT IT REALLY SAYS.
"DEAR MISS LOOPNER,
CONGRATULATIONS.
630
00:20:23,523 --> 00:20:25,033
"DEAR MISS LOOPNER,
CONGRATULATIONS.
KING'S KNIGHT TO QUEEN'S PAWN
631
00:20:25,057 --> 00:20:26,468
CONGRATULATIONS.
KING'S KNIGHT TO QUEEN'S PAWN
FOUR WAS AN INGENIOUS MOVE.
632
00:20:26,492 --> 00:20:27,836
KING'S KNIGHT TO QUEEN'S PAWN
FOUR WAS AN INGENIOUS MOVE.
YOU SHOULD HAVE NO TROUBLE
633
00:20:27,860 --> 00:20:29,471
FOUR WAS AN INGENIOUS MOVE.
YOU SHOULD HAVE NO TROUBLE
BECOMING PRESIDENT OF YOUR HIGH
634
00:20:29,495 --> 00:20:31,106
YOU SHOULD HAVE NO TROUBLE
BECOMING PRESIDENT OF YOUR HIGH
SCHOOL CHESS CLUB WITH THAT HEAD
635
00:20:31,130 --> 00:20:32,140
BECOMING PRESIDENT OF YOUR HIGH
SCHOOL CHESS CLUB WITH THAT HEAD
ON YOUR SHOULDERS.
636
00:20:32,164 --> 00:20:34,510
SCHOOL CHESS CLUB WITH THAT HEAD
ON YOUR SHOULDERS.
SINCERELY, BORIS SPASSKY."
637
00:20:34,534 --> 00:20:35,911
ON YOUR SHOULDERS.
SINCERELY, BORIS SPASSKY."
OH, HE'S RIGHT ABOUT THAT
638
00:20:35,935 --> 00:20:36,712
SINCERELY, BORIS SPASSKY."
OH, HE'S RIGHT ABOUT THAT
HEAD BUSINESS.
639
00:20:36,736 --> 00:20:38,247
OH, HE'S RIGHT ABOUT THAT
HEAD BUSINESS.
WELL, I'M GONNA BE PRESIDENT
640
00:20:38,271 --> 00:20:39,682
HEAD BUSINESS.
WELL, I'M GONNA BE PRESIDENT
OF THE CHESS CLUB, AND YOU'RE
641
00:20:39,706 --> 00:20:40,949
WELL, I'M GONNA BE PRESIDENT
OF THE CHESS CLUB, AND YOU'RE
GONNA BE PRESIDENT OF THE
642
00:20:40,973 --> 00:20:42,251
OF THE CHESS CLUB, AND YOU'RE
GONNA BE PRESIDENT OF THE
PEPPERONI-PIZZA-FACE CLUB.
643
00:20:42,275 --> 00:20:43,452
GONNA BE PRESIDENT OF THE
PEPPERONI-PIZZA-FACE CLUB.
YOU WANT TO SAY IT INSTEAD OF
644
00:20:43,476 --> 00:20:44,353
PEPPERONI-PIZZA-FACE CLUB.
YOU WANT TO SAY IT INSTEAD OF
SPRAYING IT, YOUNG LADY?
645
00:20:44,377 --> 00:20:44,820
YOU WANT TO SAY IT INSTEAD OF
SPRAYING IT, YOUNG LADY?
[GROANS]
646
00:20:44,844 --> 00:20:45,521
SPRAYING IT, YOUNG LADY?
[GROANS]
NO WAY, ANYWAY...
647
00:20:45,545 --> 00:20:48,457
[GROANS]
NO WAY, ANYWAY...
NOT WITH MY NEW CAMPAIGN SONG.
648
00:20:48,481 --> 00:20:51,694
NO WAY, ANYWAY...
NOT WITH MY NEW CAMPAIGN SONG.
[DANCE MUSIC PLAYS]
649
00:20:51,718 --> 00:20:52,328
NOT WITH MY NEW CAMPAIGN SONG.
[DANCE MUSIC PLAYS]
WHAT'S HE DOING?
650
00:20:52,352 --> 00:20:54,029
[DANCE MUSIC PLAYS]
WHAT'S HE DOING?
♪ CHESS IS THE WORD ♪
651
00:20:54,053 --> 00:20:55,030
WHAT'S HE DOING?
♪ CHESS IS THE WORD ♪
♪ IT'S THE WORD ♪
652
00:20:55,054 --> 00:20:56,131
♪ CHESS IS THE WORD ♪
♪ IT'S THE WORD ♪
♪ THAT YOU HEARD ♪
653
00:20:56,155 --> 00:20:57,266
♪ IT'S THE WORD ♪
♪ THAT YOU HEARD ♪
♪ CHESS HAS MOOD ♪
654
00:20:57,290 --> 00:20:59,401
♪ THAT YOU HEARD ♪
♪ CHESS HAS MOOD ♪
♪ CHESS HAS FEELING ♪
655
00:20:59,425 --> 00:21:00,402
♪ CHESS HAS MOOD ♪
♪ CHESS HAS FEELING ♪
♪ OH ♪
656
00:21:00,426 --> 00:21:02,605
♪ CHESS HAS FEELING ♪
♪ OH ♪
♪ CHESS IS THE TIME ♪
657
00:21:02,629 --> 00:21:04,273
♪ OH ♪
♪ CHESS IS THE TIME ♪
♪ THE PLACE, THE MOTION ♪
658
00:21:04,297 --> 00:21:06,542
♪ CHESS IS THE TIME ♪
♪ THE PLACE, THE MOTION ♪
TODD, YOU KEEP ME SO YOUNG.
659
00:21:06,566 --> 00:21:08,744
♪ THE PLACE, THE MOTION ♪
TODD, YOU KEEP ME SO YOUNG.
[LAUGHS]
660
00:21:08,768 --> 00:21:10,312
TODD, YOU KEEP ME SO YOUNG.
[LAUGHS]
IF IT WAS UP TO ME, THERE WOULD
661
00:21:10,336 --> 00:21:11,813
[LAUGHS]
IF IT WAS UP TO ME, THERE WOULD
BE TWO PRESIDENTS OF THE CHESS
662
00:21:11,837 --> 00:21:13,515
IF IT WAS UP TO ME, THERE WOULD
BE TWO PRESIDENTS OF THE CHESS
CLUB.
663
00:21:13,539 --> 00:21:14,850
BE TWO PRESIDENTS OF THE CHESS
CLUB.
LISA, WILL YOU LET IN THE
664
00:21:14,874 --> 00:21:16,084
CLUB.
LISA, WILL YOU LET IN THE
REFRIGERATOR REPAIRMAN?
665
00:21:16,108 --> 00:21:17,353
LISA, WILL YOU LET IN THE
REFRIGERATOR REPAIRMAN?
I'M GOING OVER TO GRANNY
666
00:21:17,377 --> 00:21:18,019
REFRIGERATOR REPAIRMAN?
I'M GOING OVER TO GRANNY
LOOPNER'S.
667
00:21:18,043 --> 00:21:19,888
I'M GOING OVER TO GRANNY
LOOPNER'S.
OKEYDOKEY, MOM.
668
00:21:19,912 --> 00:21:21,724
LOOPNER'S.
OKEYDOKEY, MOM.
BYE.
669
00:21:21,748 --> 00:21:22,958
OKEYDOKEY, MOM.
BYE.
[DOOR CLOSES]
670
00:21:22,982 --> 00:21:24,226
BYE.
[DOOR CLOSES]
OH, UH, LISA.
671
00:21:24,250 --> 00:21:25,026
[DOOR CLOSES]
OH, UH, LISA.
YEAH?
672
00:21:25,050 --> 00:21:27,229
OH, UH, LISA.
YEAH?
I REALLY NEED YOUR HELP WITH
673
00:21:27,253 --> 00:21:28,764
YEAH?
I REALLY NEED YOUR HELP WITH
MY HISTORY HOMEWORK.
674
00:21:28,788 --> 00:21:30,633
I REALLY NEED YOUR HELP WITH
MY HISTORY HOMEWORK.
WELL, TODD, YOU KNOW IF YOU
675
00:21:30,657 --> 00:21:32,534
MY HISTORY HOMEWORK.
WELL, TODD, YOU KNOW IF YOU
SINCERELY NEED MY HELP, YOU CAN
676
00:21:32,558 --> 00:21:33,435
WELL, TODD, YOU KNOW IF YOU
SINCERELY NEED MY HELP, YOU CAN
COUNT ON IT.
677
00:21:33,459 --> 00:21:34,970
SINCERELY NEED MY HELP, YOU CAN
COUNT ON IT.
OH, GOOD, BECAUSE I'M
678
00:21:34,994 --> 00:21:36,204
COUNT ON IT.
OH, GOOD, BECAUSE I'M
STUDYING ALL ABOUT
679
00:21:36,228 --> 00:21:37,640
OH, GOOD, BECAUSE I'M
STUDYING ALL ABOUT
UNDERDEVELOPED NATIONS!
680
00:21:37,664 --> 00:21:38,641
STUDYING ALL ABOUT
UNDERDEVELOPED NATIONS!
CUT IT OUT!
681
00:21:38,665 --> 00:21:39,308
UNDERDEVELOPED NATIONS!
CUT IT OUT!
STOP IT!
682
00:21:39,332 --> 00:21:41,109
CUT IT OUT!
STOP IT!
UNDERDEVELOPED MUCH?
683
00:21:41,133 --> 00:21:42,077
STOP IT!
UNDERDEVELOPED MUCH?
[LAUGHS]
684
00:21:42,101 --> 00:21:43,178
UNDERDEVELOPED MUCH?
[LAUGHS]
WHY DON'T YOU GO PLAY IN
685
00:21:43,202 --> 00:21:43,612
[LAUGHS]
WHY DON'T YOU GO PLAY IN
TRAFFIC?
686
00:21:43,636 --> 00:21:44,846
WHY DON'T YOU GO PLAY IN
TRAFFIC?
YOU KNOW, THAT'S HYSTERICAL
687
00:21:44,870 --> 00:21:46,114
TRAFFIC?
YOU KNOW, THAT'S HYSTERICAL
THAT YOU SHOULD MENTION TRAFFIC,
688
00:21:46,138 --> 00:21:47,283
YOU KNOW, THAT'S HYSTERICAL
THAT YOU SHOULD MENTION TRAFFIC,
BECAUSE HERE COMES THE NOOGIE
689
00:21:47,307 --> 00:21:48,417
THAT YOU SHOULD MENTION TRAFFIC,
BECAUSE HERE COMES THE NOOGIE
PATROL!
690
00:21:48,441 --> 00:21:49,618
BECAUSE HERE COMES THE NOOGIE
PATROL!
AAH!
691
00:21:49,642 --> 00:21:51,420
PATROL!
AAH!
HERE'S THOSE FALL NOOGIES YOU
692
00:21:51,444 --> 00:21:52,120
AAH!
HERE'S THOSE FALL NOOGIES YOU
ORDERED.
693
00:21:52,144 --> 00:21:52,755
HERE'S THOSE FALL NOOGIES YOU
ORDERED.
THEY FALL, HUH?
694
00:21:52,779 --> 00:21:54,690
ORDERED.
THEY FALL, HUH?
OOH, BLACK AND BLUE ARE GONNA BE
695
00:21:54,714 --> 00:21:56,458
THEY FALL, HUH?
OOH, BLACK AND BLUE ARE GONNA BE
THE BIG COLORS THIS YEAR, MY
696
00:21:56,482 --> 00:21:56,992
OOH, BLACK AND BLUE ARE GONNA BE
THE BIG COLORS THIS YEAR, MY
DEAR.
697
00:21:57,016 --> 00:21:58,727
THE BIG COLORS THIS YEAR, MY
DEAR.
CUT IT OUT, CRATER FACE!
698
00:21:58,751 --> 00:21:59,528
DEAR.
CUT IT OUT, CRATER FACE!
[DOORBELL RINGS]
699
00:21:59,552 --> 00:22:00,429
CUT IT OUT, CRATER FACE!
[DOORBELL RINGS]
WHAT HAPPENED HERE?
700
00:22:00,453 --> 00:22:03,399
[DOORBELL RINGS]
WHAT HAPPENED HERE?
AAH!
701
00:22:03,423 --> 00:22:04,933
WHAT HAPPENED HERE?
AAH!
ABD COOLING SYSTEMS.
702
00:22:04,957 --> 00:22:06,368
AAH!
ABD COOLING SYSTEMS.
OH, YOU MUST BE THE
703
00:22:06,392 --> 00:22:07,903
ABD COOLING SYSTEMS.
OH, YOU MUST BE THE
REFRIGERATOR REPAIRMAN.
704
00:22:07,927 --> 00:22:09,237
OH, YOU MUST BE THE
REFRIGERATOR REPAIRMAN.
YEAH, WHERE IS SHE?
705
00:22:09,261 --> 00:22:09,638
REFRIGERATOR REPAIRMAN.
YEAH, WHERE IS SHE?
OH.
706
00:22:09,662 --> 00:22:12,007
YEAH, WHERE IS SHE?
OH.
[WHISTLES]
707
00:22:12,031 --> 00:22:14,677
OH.
[WHISTLES]
WHAT A BEAUTY.
708
00:22:14,701 --> 00:22:16,244
[WHISTLES]
WHAT A BEAUTY.
AN OLD NORGE.
709
00:22:16,268 --> 00:22:17,413
WHAT A BEAUTY.
AN OLD NORGE.
YOU DON'T SEE MANY OF THESE
710
00:22:17,437 --> 00:22:18,113
AN OLD NORGE.
YOU DON'T SEE MANY OF THESE
BABES ANYMORE.
711
00:22:18,137 --> 00:22:22,318
YOU DON'T SEE MANY OF THESE
BABES ANYMORE.
NO, NOT TOO OFTEN.
712
00:22:22,342 --> 00:22:23,985
BABES ANYMORE.
NO, NOT TOO OFTEN.
NOT TOO OFTEN.
713
00:22:24,009 --> 00:22:27,189
NO, NOT TOO OFTEN.
NOT TOO OFTEN.
YEAH, THAT...
714
00:22:27,213 --> 00:22:35,213
NOT TOO OFTEN.
YEAH, THAT...
THAT'S A RARE SIGHT, ALL RIGHT.
715
00:22:35,855 --> 00:22:36,832
YEAH, THAT...
THAT'S A RARE SIGHT, ALL RIGHT.
WELL, THE POWER'S WORKING
716
00:22:36,856 --> 00:22:37,165
THAT'S A RARE SIGHT, ALL RIGHT.
WELL, THE POWER'S WORKING
OKAY.
717
00:22:37,189 --> 00:22:38,233
WELL, THE POWER'S WORKING
OKAY.
I'M GONNA TURN HER AROUND, SEE
718
00:22:38,257 --> 00:22:41,370
OKAY.
I'M GONNA TURN HER AROUND, SEE
IF I CAN GET A LOOK AT HER.
719
00:22:41,394 --> 00:22:42,771
I'M GONNA TURN HER AROUND, SEE
IF I CAN GET A LOOK AT HER.
YEAH, YOU JUST KEEP...
720
00:22:42,795 --> 00:22:44,340
IF I CAN GET A LOOK AT HER.
YEAH, YOU JUST KEEP...
MAYBE YOU SHOULD LOOK AT HER.
721
00:22:44,364 --> 00:22:46,074
YEAH, YOU JUST KEEP...
MAYBE YOU SHOULD LOOK AT HER.
HEY, TODD, YOU THINK WE
722
00:22:46,098 --> 00:22:48,109
MAYBE YOU SHOULD LOOK AT HER.
HEY, TODD, YOU THINK WE
SHOULD OFFER HIM SOME MINIATURE
723
00:22:48,133 --> 00:22:49,110
HEY, TODD, YOU THINK WE
SHOULD OFFER HIM SOME MINIATURE
MARSHMALLOWS?
724
00:22:49,134 --> 00:22:51,012
SHOULD OFFER HIM SOME MINIATURE
MARSHMALLOWS?
NO, I THINK MAYBE HE MIGHT
725
00:22:51,036 --> 00:22:52,314
MARSHMALLOWS?
NO, I THINK MAYBE HE MIGHT
WANT THE BIG ONES.
726
00:22:52,338 --> 00:22:54,182
NO, I THINK MAYBE HE MIGHT
WANT THE BIG ONES.
I DON'T BELIEVE IT.
727
00:22:54,206 --> 00:22:56,952
WANT THE BIG ONES.
I DON'T BELIEVE IT.
TOO BAD YOU'RE NOT STUDYING
728
00:22:56,976 --> 00:22:59,054
I DON'T BELIEVE IT.
TOO BAD YOU'RE NOT STUDYING
OVERDEVELOPED NATIONS.
729
00:22:59,078 --> 00:23:00,756
TOO BAD YOU'RE NOT STUDYING
OVERDEVELOPED NATIONS.
I THINK MAYBE I'LL SWITCH TO
730
00:23:00,780 --> 00:23:02,424
OVERDEVELOPED NATIONS.
I THINK MAYBE I'LL SWITCH TO
MATH AND GO INTO LONG DIVISION.
731
00:23:02,448 --> 00:23:04,092
I THINK MAYBE I'LL SWITCH TO
MATH AND GO INTO LONG DIVISION.
[Laughing] OH, TODD!
732
00:23:04,116 --> 00:23:06,061
MATH AND GO INTO LONG DIVISION.
[Laughing] OH, TODD!
YOU KNOW, WHEN I WAS A KID,
733
00:23:06,085 --> 00:23:07,929
[Laughing] OH, TODD!
YOU KNOW, WHEN I WAS A KID,
HOMEWORK WASN'T SO MUCH FUN.
734
00:23:07,953 --> 00:23:09,598
YOU KNOW, WHEN I WAS A KID,
HOMEWORK WASN'T SO MUCH FUN.
WE'RE JUST LAUGHING AT
735
00:23:09,622 --> 00:23:11,500
HOMEWORK WASN'T SO MUCH FUN.
WE'RE JUST LAUGHING AT
SOMETHING FUNNY THAT HAPPENED
736
00:23:11,524 --> 00:23:12,835
WE'RE JUST LAUGHING AT
SOMETHING FUNNY THAT HAPPENED
ON THE WHIFF.
737
00:23:12,859 --> 00:23:15,136
SOMETHING FUNNY THAT HAPPENED
ON THE WHIFF.
YEAH, THE MOON CAME OUT
738
00:23:15,160 --> 00:23:18,340
ON THE WHIFF.
YEAH, THE MOON CAME OUT
SURPRISINGLY EARLY.
739
00:23:18,364 --> 00:23:20,075
YEAH, THE MOON CAME OUT
SURPRISINGLY EARLY.
OH, TODD!
740
00:23:20,099 --> 00:23:22,043
SURPRISINGLY EARLY.
OH, TODD!
NO WISECRACKS!
741
00:23:22,067 --> 00:23:23,779
OH, TODD!
NO WISECRACKS!
OH, NICE!
742
00:23:23,803 --> 00:23:25,414
NO WISECRACKS!
OH, NICE!
WISECRACKS!
743
00:23:25,438 --> 00:23:26,948
OH, NICE!
WISECRACKS!
I'M BACK, KIDS!
744
00:23:26,972 --> 00:23:27,983
WISECRACKS!
I'M BACK, KIDS!
HI, MOM.
745
00:23:28,007 --> 00:23:30,386
I'M BACK, KIDS!
HI, MOM.
OH, YOU MUST BE THE MAN FROM
746
00:23:30,410 --> 00:23:32,020
HI, MOM.
OH, YOU MUST BE THE MAN FROM
ABD COOLING SYSTEMS.
747
00:23:32,044 --> 00:23:33,121
OH, YOU MUST BE THE MAN FROM
ABD COOLING SYSTEMS.
I'M ENID LOOPNER.
748
00:23:33,145 --> 00:23:34,390
ABD COOLING SYSTEMS.
I'M ENID LOOPNER.
HOW'S THE OLD NORGE?
749
00:23:34,414 --> 00:23:39,160
I'M ENID LOOPNER.
HOW'S THE OLD NORGE?
JUST A SECOND, MA'AM.
750
00:23:39,184 --> 00:23:40,929
HOW'S THE OLD NORGE?
JUST A SECOND, MA'AM.
MY NOSE TELLS ME I'VE GOT
751
00:23:40,953 --> 00:23:42,731
JUST A SECOND, MA'AM.
MY NOSE TELLS ME I'VE GOT
SOME DELICIOUS EGG SALAD OVER
752
00:23:42,755 --> 00:23:44,099
MY NOSE TELLS ME I'VE GOT
SOME DELICIOUS EGG SALAD OVER
HERE ABOUT TO GO BAD.
753
00:23:44,123 --> 00:23:46,435
SOME DELICIOUS EGG SALAD OVER
HERE ABOUT TO GO BAD.
MMM!
754
00:23:46,459 --> 00:23:48,804
HERE ABOUT TO GO BAD.
MMM!
MMM! EGG SALAD'S MY FAVORITE.
755
00:23:48,828 --> 00:23:50,606
MMM!
MMM! EGG SALAD'S MY FAVORITE.
EGG SALAD FOR EVERYONE.
756
00:23:50,630 --> 00:23:52,775
MMM! EGG SALAD'S MY FAVORITE.
EGG SALAD FOR EVERYONE.
YOU KNOW, YOUR FATHER, THE
757
00:23:52,799 --> 00:23:55,143
EGG SALAD FOR EVERYONE.
YOU KNOW, YOUR FATHER, THE
LATE MR. LOOPNER... GOD REST HIS
758
00:23:55,167 --> 00:23:57,479
YOU KNOW, YOUR FATHER, THE
LATE MR. LOOPNER... GOD REST HIS
SOUL... USED TO SAY, "HAPPINESS
759
00:23:57,503 --> 00:23:59,782
LATE MR. LOOPNER... GOD REST HIS
SOUL... USED TO SAY, "HAPPINESS
IS A NORGE FULL OF TANG AND EGG
760
00:23:59,806 --> 00:24:00,549
SOUL... USED TO SAY, "HAPPINESS
IS A NORGE FULL OF TANG AND EGG
SALAD."
761
00:24:00,573 --> 00:24:03,852
IS A NORGE FULL OF TANG AND EGG
SALAD."
[LAUGHS]
762
00:24:03,876 --> 00:24:05,186
SALAD."
[LAUGHS]
SO, DOCTOR, WILL THE PATIENT
763
00:24:05,210 --> 00:24:05,621
[LAUGHS]
SO, DOCTOR, WILL THE PATIENT
LIVE?
764
00:24:05,645 --> 00:24:06,455
SO, DOCTOR, WILL THE PATIENT
LIVE?
I DON'T KNOW.
765
00:24:06,479 --> 00:24:07,689
LIVE?
I DON'T KNOW.
SHE'S GOT A LEAK NEAR THE
766
00:24:07,713 --> 00:24:08,290
I DON'T KNOW.
SHE'S GOT A LEAK NEAR THE
CONDENSER.
767
00:24:08,314 --> 00:24:09,558
SHE'S GOT A LEAK NEAR THE
CONDENSER.
SOMETHING'S WRONG WITH THE
768
00:24:09,582 --> 00:24:10,459
CONDENSER.
SOMETHING'S WRONG WITH THE
FREON COMPRESSOR.
769
00:24:10,483 --> 00:24:11,727
SOMETHING'S WRONG WITH THE
FREON COMPRESSOR.
LOOKS LIKE YOU PROBABLY NEED A
770
00:24:11,751 --> 00:24:12,628
FREON COMPRESSOR.
LOOKS LIKE YOU PROBABLY NEED A
NEW EXPANSION VALVE.
771
00:24:12,652 --> 00:24:13,796
LOOKS LIKE YOU PROBABLY NEED A
NEW EXPANSION VALVE.
YOU KNOW, PARTS ARE HARD TO
772
00:24:13,820 --> 00:24:14,730
NEW EXPANSION VALVE.
YOU KNOW, PARTS ARE HARD TO
FIND, THE OLD NORGE.
773
00:24:14,754 --> 00:24:16,031
YOU KNOW, PARTS ARE HARD TO
FIND, THE OLD NORGE.
I'D BETTER TAKE HER DOWN TO THE
774
00:24:16,055 --> 00:24:18,033
FIND, THE OLD NORGE.
I'D BETTER TAKE HER DOWN TO THE
SHOP.
775
00:24:18,057 --> 00:24:19,301
I'D BETTER TAKE HER DOWN TO THE
SHOP.
OH, LISA.
776
00:24:19,325 --> 00:24:21,804
SHOP.
OH, LISA.
YOU WERE TOO YOUNG TO REMEMBER,
777
00:24:21,828 --> 00:24:24,406
OH, LISA.
YOU WERE TOO YOUNG TO REMEMBER,
BUT THEY TOOK YOUR FATHER AWAY
778
00:24:24,430 --> 00:24:25,541
YOU WERE TOO YOUNG TO REMEMBER,
BUT THEY TOOK YOUR FATHER AWAY
LIKE THAT.
779
00:24:25,565 --> 00:24:27,843
BUT THEY TOOK YOUR FATHER AWAY
LIKE THAT.
AND HE NEVER CAME BACK?
780
00:24:27,867 --> 00:24:28,644
LIKE THAT.
AND HE NEVER CAME BACK?
NO.
781
00:24:28,668 --> 00:24:29,711
AND HE NEVER CAME BACK?
NO.
HE DIED.
782
00:24:29,735 --> 00:24:32,314
NO.
HE DIED.
FIRST DADDY, AND NOW THE
783
00:24:32,338 --> 00:24:35,551
HE DIED.
FIRST DADDY, AND NOW THE
NORGE.
784
00:24:35,575 --> 00:24:36,585
FIRST DADDY, AND NOW THE
NORGE.
JUST WANT TO GET YOUR
785
00:24:36,609 --> 00:24:37,853
NORGE.
JUST WANT TO GET YOUR
SIGNATURE ON THIS THING, MA'AM,
786
00:24:37,877 --> 00:24:40,889
JUST WANT TO GET YOUR
SIGNATURE ON THIS THING, MA'AM,
IF I COULD.
787
00:24:40,913 --> 00:24:42,157
SIGNATURE ON THIS THING, MA'AM,
IF I COULD.
JUST SIGN THAT THERE.
788
00:24:42,181 --> 00:24:43,826
IF I COULD.
JUST SIGN THAT THERE.
I'LL DO MY DARNDEST TO GET THE
789
00:24:43,850 --> 00:24:44,793
JUST SIGN THAT THERE.
I'LL DO MY DARNDEST TO GET THE
OLD NORGE BACK.
790
00:24:44,817 --> 00:24:46,662
I'LL DO MY DARNDEST TO GET THE
OLD NORGE BACK.
I'M SORRY I CAN'T DO ANYTHING
791
00:24:46,686 --> 00:24:48,430
OLD NORGE BACK.
I'M SORRY I CAN'T DO ANYTHING
ABOUT THE LATE MR. LOOPNER.
792
00:24:48,454 --> 00:24:52,534
I'M SORRY I CAN'T DO ANYTHING
ABOUT THE LATE MR. LOOPNER.
GOD REST HIS SOUL.
793
00:24:52,558 --> 00:24:53,569
ABOUT THE LATE MR. LOOPNER.
GOD REST HIS SOUL.
OH, HEY.
794
00:24:53,593 --> 00:24:55,136
GOD REST HIS SOUL.
OH, HEY.
CHEER UP, EVERYBODY.
795
00:24:55,160 --> 00:24:56,872
OH, HEY.
CHEER UP, EVERYBODY.
COME ON. HOLD ON HERE.
796
00:24:56,896 --> 00:25:03,345
CHEER UP, EVERYBODY.
COME ON. HOLD ON HERE.
[DANCE MUSIC PLAYS]
797
00:25:03,369 --> 00:25:04,580
COME ON. HOLD ON HERE.
[DANCE MUSIC PLAYS]
♪ NORGE IS THE FRIDGE ♪
798
00:25:04,604 --> 00:25:06,181
[DANCE MUSIC PLAYS]
♪ NORGE IS THE FRIDGE ♪
♪ IT'S THE FRIDGE THAT YOU HAD ♪
799
00:25:06,205 --> 00:25:07,883
♪ NORGE IS THE FRIDGE ♪
♪ IT'S THE FRIDGE THAT YOU HAD ♪
♪ BUT THERE WILL BE A NEW NORGE
800
00:25:07,907 --> 00:25:08,917
♪ IT'S THE FRIDGE THAT YOU HAD ♪
♪ BUT THERE WILL BE A NEW NORGE
TOMORROW ♪
801
00:25:08,941 --> 00:25:10,752
♪ BUT THERE WILL BE A NEW NORGE
TOMORROW ♪
♪ A NEW NORGE ♪
802
00:25:10,776 --> 00:25:12,287
TOMORROW ♪
♪ A NEW NORGE ♪
♪ A NORGE THAT'S ALL WELL ♪
803
00:25:12,311 --> 00:25:13,755
♪ A NEW NORGE ♪
♪ A NORGE THAT'S ALL WELL ♪
♪ IT'LL BE NICE ♪
804
00:25:13,779 --> 00:25:16,825
♪ A NORGE THAT'S ALL WELL ♪
♪ IT'LL BE NICE ♪
♪ IT'LL MAKE ICE FOR THE TANG OF
805
00:25:16,849 --> 00:25:18,794
♪ IT'LL BE NICE ♪
♪ IT'LL MAKE ICE FOR THE TANG OF
TOMORROW ♪
806
00:25:18,818 --> 00:25:20,496
♪ IT'LL MAKE ICE FOR THE TANG OF
TOMORROW ♪
BYE, NORGE!
807
00:25:20,520 --> 00:25:23,264
TOMORROW ♪
BYE, NORGE!
GOODBYE, OLD NORGE.
808
00:25:23,288 --> 00:25:27,224
BYE, NORGE!
GOODBYE, OLD NORGE.
COME BACK SOON, NORGE.
809
00:25:45,376 --> 00:25:48,189
[Greek accent] ALL RIGHT.
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER!
810
00:25:48,213 --> 00:25:49,157
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER!
[Greek accent]
811
00:25:49,181 --> 00:25:50,425
CHEESEBURGER!
[Greek accent]
CHEESEBURGER, CHEESEBURGER,
812
00:25:50,449 --> 00:25:51,159
[Greek accent]
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER.
813
00:25:51,183 --> 00:25:52,160
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER.
NO.
814
00:25:52,184 --> 00:25:54,129
CHEESEBURGER.
NO.
NO FRIES. CHEAP.
815
00:25:54,153 --> 00:25:56,431
NO.
NO FRIES. CHEAP.
CHEAP, CHEAP, CHEAP!
816
00:25:56,455 --> 00:25:57,298
NO FRIES. CHEAP.
CHEAP, CHEAP, CHEAP!
[Greek accent] CHEAP,
817
00:25:57,322 --> 00:25:57,599
CHEAP, CHEAP, CHEAP!
[Greek accent] CHEAP,
CHEAP!
818
00:25:57,623 --> 00:25:59,535
[Greek accent] CHEAP,
CHEAP!
WHAT TO DRINK?
819
00:25:59,559 --> 00:26:01,169
CHEAP!
WHAT TO DRINK?
NO, NO COKE.
820
00:26:01,193 --> 00:26:02,203
WHAT TO DRINK?
NO, NO COKE.
PEPSI.
821
00:26:02,227 --> 00:26:03,906
NO, NO COKE.
PEPSI.
PEPSI, PEPSI, PEPSI!
822
00:26:03,930 --> 00:26:05,440
PEPSI.
PEPSI, PEPSI, PEPSI!
PEPSI, PEPSI, PEPSI!
823
00:26:05,464 --> 00:26:08,143
PEPSI, PEPSI, PEPSI!
PEPSI, PEPSI, PEPSI!
10 MINUTES.
824
00:26:08,167 --> 00:26:09,310
PEPSI, PEPSI, PEPSI!
10 MINUTES.
HEY, SANDY.
825
00:26:09,334 --> 00:26:11,446
10 MINUTES.
HEY, SANDY.
WHY IS EVERYBODY SO SAD AROUND
826
00:26:11,470 --> 00:26:12,414
HEY, SANDY.
WHY IS EVERYBODY SO SAD AROUND
HERE TODAY?
827
00:26:12,438 --> 00:26:13,515
WHY IS EVERYBODY SO SAD AROUND
HERE TODAY?
IT'S PETE.
828
00:26:13,539 --> 00:26:14,650
HERE TODAY?
IT'S PETE.
WHAT HAPPENED?
829
00:26:14,674 --> 00:26:17,653
IT'S PETE.
WHAT HAPPENED?
HE'S COMING BACK TODAY.
830
00:26:17,677 --> 00:26:18,687
WHAT HAPPENED?
HE'S COMING BACK TODAY.
WELL, I THOUGHT HE WAS
831
00:26:18,711 --> 00:26:19,821
HE'S COMING BACK TODAY.
WELL, I THOUGHT HE WAS
SUPPOSED TO BE AWAY ANOTHER
832
00:26:19,845 --> 00:26:20,155
WELL, I THOUGHT HE WAS
SUPPOSED TO BE AWAY ANOTHER
WEEK.
833
00:26:20,179 --> 00:26:21,056
SUPPOSED TO BE AWAY ANOTHER
WEEK.
DID SOMETHING HAPPEN?
834
00:26:21,080 --> 00:26:22,724
WEEK.
DID SOMETHING HAPPEN?
WELL, HE DIDN'T INHERIT TOO
835
00:26:22,748 --> 00:26:23,491
DID SOMETHING HAPPEN?
WELL, HE DIDN'T INHERIT TOO
MUCH MONEY.
836
00:26:23,515 --> 00:26:25,226
WELL, HE DIDN'T INHERIT TOO
MUCH MONEY.
YOU MEAN HE WENT ALL THE WAY
837
00:26:25,250 --> 00:26:26,995
MUCH MONEY.
YOU MEAN HE WENT ALL THE WAY
TO GREECE BECAUSE SOMEBODY DIED?
838
00:26:27,019 --> 00:26:27,996
YOU MEAN HE WENT ALL THE WAY
TO GREECE BECAUSE SOMEBODY DIED?
THAT'S RIGHT.
839
00:26:28,020 --> 00:26:29,765
TO GREECE BECAUSE SOMEBODY DIED?
THAT'S RIGHT.
HIS UNCLE LEFT HIM MONEY, AND IF
840
00:26:29,789 --> 00:26:31,499
THAT'S RIGHT.
HIS UNCLE LEFT HIM MONEY, AND IF
HE WANT TO GET IT, HE HAD TO GO
841
00:26:31,523 --> 00:26:33,068
HIS UNCLE LEFT HIM MONEY, AND IF
HE WANT TO GET IT, HE HAD TO GO
ALL THE WAY TO GREECE.
842
00:26:33,092 --> 00:26:34,770
HE WANT TO GET IT, HE HAD TO GO
ALL THE WAY TO GREECE.
HE DIDN'T WANT TO GO, BUT
843
00:26:34,794 --> 00:26:36,805
ALL THE WAY TO GREECE.
HE DIDN'T WANT TO GO, BUT
EVERYBODY TOLD HIM, "YOU KNOW,
844
00:26:36,829 --> 00:26:37,940
HE DIDN'T WANT TO GO, BUT
EVERYBODY TOLD HIM, "YOU KNOW,
YOU DON'T KNOW.
845
00:26:37,964 --> 00:26:39,841
EVERYBODY TOLD HIM, "YOU KNOW,
YOU DON'T KNOW.
IT COULD BE A LOT OF MONEY."
846
00:26:39,865 --> 00:26:40,776
YOU DON'T KNOW.
IT COULD BE A LOT OF MONEY."
SO HE WENT.
847
00:26:40,800 --> 00:26:43,812
IT COULD BE A LOT OF MONEY."
SO HE WENT.
WELL, HOW MUCH DID HE GET?
848
00:26:43,836 --> 00:26:45,547
SO HE WENT.
WELL, HOW MUCH DID HE GET?
$400... NOT EVEN ENOUGH TO
849
00:26:45,571 --> 00:26:47,082
WELL, HOW MUCH DID HE GET?
$400... NOT EVEN ENOUGH TO
PAY FOR THE PLANE TICKET.
850
00:26:47,106 --> 00:26:48,850
$400... NOT EVEN ENOUGH TO
PAY FOR THE PLANE TICKET.
WELL, HE'LL BE EXCITED WHEN
851
00:26:48,874 --> 00:26:50,518
PAY FOR THE PLANE TICKET.
WELL, HE'LL BE EXCITED WHEN
HE GETS BACK AND SEES HOW YOU
852
00:26:50,542 --> 00:26:51,720
WELL, HE'LL BE EXCITED WHEN
HE GETS BACK AND SEES HOW YOU
FIXED UP THE PLACE.
853
00:26:51,744 --> 00:26:52,888
HE GETS BACK AND SEES HOW YOU
FIXED UP THE PLACE.
THAT'S RIGHT.
854
00:26:52,912 --> 00:26:54,923
FIXED UP THE PLACE.
THAT'S RIGHT.
YOU KNOW, THAT MURAL THERE, THAT
855
00:26:54,947 --> 00:26:56,157
THAT'S RIGHT.
YOU KNOW, THAT MURAL THERE, THAT
WAS NIKO'S IDEA.
856
00:26:56,181 --> 00:26:57,659
YOU KNOW, THAT MURAL THERE, THAT
WAS NIKO'S IDEA.
HE PAINTED IT HIMSELF.
857
00:26:57,683 --> 00:27:00,996
WAS NIKO'S IDEA.
HE PAINTED IT HIMSELF.
OH.
858
00:27:01,020 --> 00:27:02,197
HE PAINTED IT HIMSELF.
OH.
THAT IS PATMOS.
859
00:27:02,221 --> 00:27:04,165
OH.
THAT IS PATMOS.
IT IS THE TOWN WHERE PETER TO GO
860
00:27:04,189 --> 00:27:05,333
THAT IS PATMOS.
IT IS THE TOWN WHERE PETER TO GO
TO GET HIS MONEY.
861
00:27:05,357 --> 00:27:07,235
IT IS THE TOWN WHERE PETER TO GO
TO GET HIS MONEY.
THE ONLY WAY TO GET THERE IS BY
862
00:27:07,259 --> 00:27:08,336
TO GET HIS MONEY.
THE ONLY WAY TO GET THERE IS BY
DONKEY, YOU SEE?
863
00:27:08,360 --> 00:27:11,106
THE ONLY WAY TO GET THERE IS BY
DONKEY, YOU SEE?
HUH. OH.
864
00:27:11,130 --> 00:27:13,075
DONKEY, YOU SEE?
HUH. OH.
YOU DID THAT, NIKO?
865
00:27:13,099 --> 00:27:15,477
HUH. OH.
YOU DID THAT, NIKO?
OH.
866
00:27:15,501 --> 00:27:17,613
YOU DID THAT, NIKO?
OH.
CHEESEBURGER, CHEESEBURGER,
867
00:27:17,637 --> 00:27:19,547
OH.
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER, CHEESEBURGER.
868
00:27:19,571 --> 00:27:21,149
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER, CHEESEBURGER.
FOUR CHIPS, FOUR PEPSI.
869
00:27:21,173 --> 00:27:22,350
CHEESEBURGER, CHEESEBURGER.
FOUR CHIPS, FOUR PEPSI.
CHEESEBURGER, CHEESEBURGER,
870
00:27:22,374 --> 00:27:23,451
FOUR CHIPS, FOUR PEPSI.
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER, CHEESEBURGER.
871
00:27:23,475 --> 00:27:27,422
CHEESEBURGER, CHEESEBURGER,
CHEESEBURGER, CHEESEBURGER.
FOUR CHIP, FOUR PEPSI.
872
00:27:27,446 --> 00:27:28,857
CHEESEBURGER, CHEESEBURGER.
FOUR CHIP, FOUR PEPSI.
OKAY, WHAT TO DRINK?
873
00:27:28,881 --> 00:27:30,592
FOUR CHIP, FOUR PEPSI.
OKAY, WHAT TO DRINK?
I THINK I'LL HAVE A PEPSI.
874
00:27:30,616 --> 00:27:32,094
OKAY, WHAT TO DRINK?
I THINK I'LL HAVE A PEPSI.
PEPSI.
875
00:27:32,118 --> 00:27:33,561
I THINK I'LL HAVE A PEPSI.
PEPSI.
PEPSI.
876
00:27:33,585 --> 00:27:35,097
PEPSI.
PEPSI.
FINISH?
877
00:27:35,121 --> 00:27:41,803
PEPSI.
FINISH?
YEAH.
878
00:27:41,827 --> 00:27:45,607
FINISH?
YEAH.
PEPSI.
879
00:27:45,631 --> 00:27:46,942
YEAH.
PEPSI.
PEPPER?
880
00:27:46,966 --> 00:27:48,810
PEPSI.
PEPPER?
YEAH, JUST A LITTLE.
881
00:27:48,834 --> 00:27:50,946
PEPPER?
YEAH, JUST A LITTLE.
SAY WHEN.
882
00:27:50,970 --> 00:27:52,514
YEAH, JUST A LITTLE.
SAY WHEN.
THAT'S FINE.
883
00:27:52,538 --> 00:27:54,482
SAY WHEN.
THAT'S FINE.
OKAY?
884
00:27:54,506 --> 00:27:55,250
THAT'S FINE.
OKAY?
YEAH.
885
00:27:55,274 --> 00:27:56,417
OKAY?
YEAH.
IT'S OKAY.
886
00:27:56,441 --> 00:27:57,719
YEAH.
IT'S OKAY.
SAY WHEN.
887
00:27:57,743 --> 00:27:58,720
IT'S OKAY.
SAY WHEN.
WHEN.
888
00:27:58,744 --> 00:27:59,788
SAY WHEN.
WHEN.
WHEN?
889
00:27:59,812 --> 00:28:00,856
WHEN.
WHEN?
WHEN.
890
00:28:00,880 --> 00:28:01,923
WHEN?
WHEN.
OKAY.
891
00:28:01,947 --> 00:28:03,025
WHEN.
OKAY.
YEAH.
892
00:28:03,049 --> 00:28:04,425
OKAY.
YEAH.
SAY WHEN.
893
00:28:04,449 --> 00:28:05,493
YEAH.
SAY WHEN.
WHEN.
894
00:28:05,517 --> 00:28:06,561
SAY WHEN.
WHEN.
WHEN?
895
00:28:06,585 --> 00:28:07,562
WHEN.
WHEN?
YES!
896
00:28:07,586 --> 00:28:08,429
WHEN?
YES!
YES?
897
00:28:08,453 --> 00:28:09,197
YES!
YES?
NO!
898
00:28:09,221 --> 00:28:10,132
YES?
NO!
N-NO.
899
00:28:10,156 --> 00:28:10,932
NO!
N-NO.
NO.
900
00:28:10,956 --> 00:28:11,867
N-NO.
NO.
OKAY.
901
00:28:11,891 --> 00:28:15,137
NO.
OKAY.
[TELEPHONE RINGS]
902
00:28:15,161 --> 00:28:17,238
OKAY.
[TELEPHONE RINGS]
OLYMPIA.
903
00:28:17,262 --> 00:28:20,208
[TELEPHONE RINGS]
OLYMPIA.
NIKO.
904
00:28:20,232 --> 00:28:20,876
OLYMPIA.
NIKO.
HEY, EVERYBODY!
905
00:28:20,900 --> 00:28:24,835
NIKO.
HEY, EVERYBODY!
THERE'S PETE!
906
00:28:36,214 --> 00:28:39,260
HI, PETE.
HI, PETE.
HI, PETE.
907
00:28:39,284 --> 00:28:41,563
HI, PETE.
HI, PETE.
HOW WAS GREECE?
908
00:28:41,587 --> 00:28:45,734
HI, PETE.
HOW WAS GREECE?
THE PLACE SURE LOOKS DIFFERENT,
909
00:28:45,758 --> 00:28:47,569
HOW WAS GREECE?
THE PLACE SURE LOOKS DIFFERENT,
DOESN'T IT?
910
00:28:47,593 --> 00:28:50,772
THE PLACE SURE LOOKS DIFFERENT,
DOESN'T IT?
LOOK, PETE... RED VEST,
911
00:28:50,796 --> 00:28:53,709
DOESN'T IT?
LOOK, PETE... RED VEST,
JUST LIKE ATHENA GARDENS.
912
00:28:53,733 --> 00:28:55,911
LOOK, PETE... RED VEST,
JUST LIKE ATHENA GARDENS.
AND LOOK AT THIS MURAL OVER
913
00:28:55,935 --> 00:28:56,544
JUST LIKE ATHENA GARDENS.
AND LOOK AT THIS MURAL OVER
HERE.
914
00:28:56,568 --> 00:29:02,350
AND LOOK AT THIS MURAL OVER
HERE.
NIKO DID IT.
915
00:29:02,374 --> 00:29:03,885
HERE.
NIKO DID IT.
OUT!
916
00:29:03,909 --> 00:29:05,187
NIKO DID IT.
OUT!
OUT!
917
00:29:05,211 --> 00:29:06,121
OUT!
OUT!
OUT!
918
00:29:06,145 --> 00:29:06,654
OUT!
OUT!
OUT!
919
00:29:06,678 --> 00:29:07,488
OUT!
OUT!
WE'RE NOT FINISHED EATING!
920
00:29:07,512 --> 00:29:08,489
OUT!
WE'RE NOT FINISHED EATING!
OUT!
921
00:29:08,513 --> 00:29:11,226
WE'RE NOT FINISHED EATING!
OUT!
OUT! OUT! OUT!
922
00:29:11,250 --> 00:29:12,060
OUT!
OUT! OUT! OUT!
BUT I WORK HERE.
923
00:29:12,084 --> 00:29:13,128
OUT! OUT! OUT!
BUT I WORK HERE.
OUT!
924
00:29:13,152 --> 00:29:15,197
BUT I WORK HERE.
OUT!
OUT! OUT!
925
00:29:15,221 --> 00:29:18,466
OUT!
OUT! OUT!
OUT! OUT! OUT! OUT! OUT! OUT!
926
00:29:18,490 --> 00:29:25,340
OUT! OUT!
OUT! OUT! OUT! OUT! OUT! OUT!
OUT! OUT! OUT!
927
00:29:25,364 --> 00:29:26,274
OUT! OUT! OUT! OUT! OUT! OUT!
OUT! OUT! OUT!
[KNOCK ON DOOR]
928
00:29:26,298 --> 00:29:26,875
OUT! OUT! OUT!
[KNOCK ON DOOR]
PETE!
929
00:29:26,899 --> 00:29:28,610
[KNOCK ON DOOR]
PETE!
PETE, SOME GUY'S DRIVING AWAY IN
930
00:29:28,634 --> 00:29:29,277
PETE!
PETE, SOME GUY'S DRIVING AWAY IN
YOUR CAR!
931
00:29:29,301 --> 00:29:30,946
PETE, SOME GUY'S DRIVING AWAY IN
YOUR CAR!
MAYBE WE SHOULD CALL THE POLICE
932
00:29:30,970 --> 00:29:36,852
YOUR CAR!
MAYBE WE SHOULD CALL THE POLICE
OR SOMETHING!
933
00:29:36,876 --> 00:29:39,054
MAYBE WE SHOULD CALL THE POLICE
OR SOMETHING!
OH, PETE.
934
00:29:39,078 --> 00:29:39,988
OR SOMETHING!
OH, PETE.
PETE, DON'T WORRY.
935
00:29:40,012 --> 00:29:41,289
OH, PETE.
PETE, DON'T WORRY.
YOU'LL PROBABLY GET IT BACK.
936
00:29:41,313 --> 00:29:43,759
PETE, DON'T WORRY.
YOU'LL PROBABLY GET IT BACK.
MY WIFE.
937
00:29:43,783 --> 00:29:45,593
YOU'LL PROBABLY GET IT BACK.
MY WIFE.
YOUR WIFE WAS IN THE CAR?
938
00:29:45,617 --> 00:29:46,161
MY WIFE.
YOUR WIFE WAS IN THE CAR?
MM.
939
00:29:46,185 --> 00:29:47,796
YOUR WIFE WAS IN THE CAR?
MM.
I THOUGHT I SAW SOMEBODY
940
00:29:47,820 --> 00:29:49,131
MM.
I THOUGHT I SAW SOMEBODY
SITTING THE BACKSEAT.
941
00:29:49,155 --> 00:29:50,766
I THOUGHT I SAW SOMEBODY
SITTING THE BACKSEAT.
HE PROBABLY DIDN'T SEE HER.
942
00:29:50,790 --> 00:29:52,533
SITTING THE BACKSEAT.
HE PROBABLY DIDN'T SEE HER.
HE JUST SAW THE KEYS AND DROVE
943
00:29:52,557 --> 00:29:53,001
HE PROBABLY DIDN'T SEE HER.
HE JUST SAW THE KEYS AND DROVE
OFF.
944
00:29:53,025 --> 00:29:54,836
HE JUST SAW THE KEYS AND DROVE
OFF.
MY LUGGAGE.
945
00:29:54,860 --> 00:29:55,837
OFF.
MY LUGGAGE.
YOUR LUGGAGE WAS IN THERE,
946
00:29:55,861 --> 00:30:00,642
MY LUGGAGE.
YOUR LUGGAGE WAS IN THERE,
TOO?
947
00:30:00,666 --> 00:30:08,316
YOUR LUGGAGE WAS IN THERE,
TOO?
[SIGHS]
948
00:30:08,340 --> 00:30:09,851
TOO?
[SIGHS]
SANDY, DO YOU THINK IT'D BE
949
00:30:09,875 --> 00:30:11,486
[SIGHS]
SANDY, DO YOU THINK IT'D BE
ALL RIGHT IF I ORDERED SOME FOOD
950
00:30:11,510 --> 00:30:13,354
SANDY, DO YOU THINK IT'D BE
ALL RIGHT IF I ORDERED SOME FOOD
TO GO?
951
00:30:13,378 --> 00:30:15,023
ALL RIGHT IF I ORDERED SOME FOOD
TO GO?
OH.
952
00:30:15,047 --> 00:30:17,058
TO GO?
OH.
TWO CHEESEBURGERS AND TWO
953
00:30:17,082 --> 00:30:19,261
OH.
TWO CHEESEBURGERS AND TWO
PEPSIS.
954
00:30:19,285 --> 00:30:20,428
TWO CHEESEBURGERS AND TWO
PEPSIS.
CHEESEBURGER, CHEESEBURGER.
955
00:30:20,452 --> 00:30:21,897
PEPSIS.
CHEESEBURGER, CHEESEBURGER.
PEPSI, PEPSI.
956
00:30:21,921 --> 00:30:24,900
CHEESEBURGER, CHEESEBURGER.
PEPSI, PEPSI.
CHEESEBURGER, CHEESEBURGER.
957
00:30:24,924 --> 00:30:28,859
PEPSI, PEPSI.
CHEESEBURGER, CHEESEBURGER.
PEPSI, PEPSI, PEPSI!
958
00:30:41,639 --> 00:30:45,720
Announcer: AND NOW
"WEEKEND UPDATE" WITH THE
"WEEKEND UPDATE" NEWS TEAM
959
00:30:45,744 --> 00:30:47,388
"WEEKEND UPDATE" WITH THE
"WEEKEND UPDATE" NEWS TEAM
BROUGHT TO YOU BY GOATEX, THE
960
00:30:47,412 --> 00:30:49,557
"WEEKEND UPDATE" NEWS TEAM
BROUGHT TO YOU BY GOATEX, THE
SANITARY NAPKIN FOR YOUR NANNY.
961
00:30:49,581 --> 00:30:51,359
BROUGHT TO YOU BY GOATEX, THE
SANITARY NAPKIN FOR YOUR NANNY.
HERE ARE CO-ANCHORPERSONS
962
00:30:51,383 --> 00:30:54,462
SANITARY NAPKIN FOR YOUR NANNY.
HERE ARE CO-ANCHORPERSONS
BILL MURRAY AND JANE CURTIN.
963
00:30:54,486 --> 00:30:55,297
HERE ARE CO-ANCHORPERSONS
BILL MURRAY AND JANE CURTIN.
GOOD EVENING.
964
00:30:55,321 --> 00:30:56,097
BILL MURRAY AND JANE CURTIN.
GOOD EVENING.
I'M JANE CURTIN.
965
00:30:56,121 --> 00:30:57,532
GOOD EVENING.
I'M JANE CURTIN.
AND BEFORE WE START THE NEWS, I
966
00:30:57,556 --> 00:30:58,800
I'M JANE CURTIN.
AND BEFORE WE START THE NEWS, I
WANT TO ANNOUNCE A PERSONNEL
967
00:30:58,824 --> 00:31:00,268
AND BEFORE WE START THE NEWS, I
WANT TO ANNOUNCE A PERSONNEL
CHANGE HERE AT "WEEKEND UPDATE."
968
00:31:00,292 --> 00:31:01,803
WANT TO ANNOUNCE A PERSONNEL
CHANGE HERE AT "WEEKEND UPDATE."
DAN AYKROYD, WHO HAD BEEN MY
969
00:31:01,827 --> 00:31:03,571
CHANGE HERE AT "WEEKEND UPDATE."
DAN AYKROYD, WHO HAD BEEN MY
CO-ANCHORPERSON, HAS BEEN KICKED
970
00:31:03,595 --> 00:31:05,140
DAN AYKROYD, WHO HAD BEEN MY
CO-ANCHORPERSON, HAS BEEN KICKED
UPSTAIRS TO STATION MANAGER.
971
00:31:05,164 --> 00:31:06,908
CO-ANCHORPERSON, HAS BEEN KICKED
UPSTAIRS TO STATION MANAGER.
NEEDLESS TO SAY, WE ALL WISH HIM
972
00:31:06,932 --> 00:31:08,609
UPSTAIRS TO STATION MANAGER.
NEEDLESS TO SAY, WE ALL WISH HIM
LUCK AND SINCERELY HOPE THAT HE
973
00:31:08,633 --> 00:31:10,111
NEEDLESS TO SAY, WE ALL WISH HIM
LUCK AND SINCERELY HOPE THAT HE
DOES A BETTER JOB AS STAGE
974
00:31:10,135 --> 00:31:11,379
LUCK AND SINCERELY HOPE THAT HE
DOES A BETTER JOB AS STAGE
MANAGER THAN HE DID AS
975
00:31:11,403 --> 00:31:12,147
DOES A BETTER JOB AS STAGE
MANAGER THAN HE DID AS
NEWSCASTER.
976
00:31:12,171 --> 00:31:13,882
MANAGER THAN HE DID AS
NEWSCASTER.
BUT I AM HAPPY TO SAY THAT DAN
977
00:31:13,906 --> 00:31:15,483
NEWSCASTER.
BUT I AM HAPPY TO SAY THAT DAN
IS BEING REPLACED BY A MOST
978
00:31:15,507 --> 00:31:16,985
BUT I AM HAPPY TO SAY THAT DAN
IS BEING REPLACED BY A MOST
CAPABLE, HIGHLY RESPECTED
979
00:31:17,009 --> 00:31:18,653
IS BEING REPLACED BY A MOST
CAPABLE, HIGHLY RESPECTED
BROADCAST JOURNALIST WHO WILL
980
00:31:18,677 --> 00:31:20,521
CAPABLE, HIGHLY RESPECTED
BROADCAST JOURNALIST WHO WILL
REPORT THE NEWS WITH CREDIBILITY
981
00:31:20,545 --> 00:31:21,356
BROADCAST JOURNALIST WHO WILL
REPORT THE NEWS WITH CREDIBILITY
AND DIGNITY.
982
00:31:21,380 --> 00:31:23,591
REPORT THE NEWS WITH CREDIBILITY
AND DIGNITY.
PLEASE WELCOME MR. BILL MURRAY.
983
00:31:23,615 --> 00:31:28,429
AND DIGNITY.
PLEASE WELCOME MR. BILL MURRAY.
[CHEERS AND APPLAUSE]
984
00:31:28,453 --> 00:31:29,564
PLEASE WELCOME MR. BILL MURRAY.
[CHEERS AND APPLAUSE]
HELLO, ALL YOU MANIACS.
985
00:31:29,588 --> 00:31:30,899
[CHEERS AND APPLAUSE]
HELLO, ALL YOU MANIACS.
AND, WELL, THEY GOT ME DOING THE
986
00:31:30,923 --> 00:31:32,200
HELLO, ALL YOU MANIACS.
AND, WELL, THEY GOT ME DOING THE
HARD NEWS THIS YEAR, AND I LOVE
987
00:31:32,224 --> 00:31:32,500
AND, WELL, THEY GOT ME DOING THE
HARD NEWS THIS YEAR, AND I LOVE
IT.
988
00:31:32,524 --> 00:31:33,268
HARD NEWS THIS YEAR, AND I LOVE
IT.
IT'S INCREDIBLE.
989
00:31:33,292 --> 00:31:34,535
IT.
IT'S INCREDIBLE.
I'VE BEEN READING UP ON THINGS
990
00:31:34,559 --> 00:31:35,370
IT'S INCREDIBLE.
I'VE BEEN READING UP ON THINGS
THAT ARE GOING ON.
991
00:31:35,394 --> 00:31:36,571
I'VE BEEN READING UP ON THINGS
THAT ARE GOING ON.
AND I'LL TELL YOU SOMETHING.
992
00:31:36,595 --> 00:31:37,906
THAT ARE GOING ON.
AND I'LL TELL YOU SOMETHING.
IT'S OPENED UP A WHOLE NEW WORLD
993
00:31:37,930 --> 00:31:39,107
AND I'LL TELL YOU SOMETHING.
IT'S OPENED UP A WHOLE NEW WORLD
FOR ME... FASCINATING STUFF.
994
00:31:39,131 --> 00:31:40,408
IT'S OPENED UP A WHOLE NEW WORLD
FOR ME... FASCINATING STUFF.
TAKE OUR TOP STORY FOR TONIGHT,
995
00:31:40,432 --> 00:31:41,877
FOR ME... FASCINATING STUFF.
TAKE OUR TOP STORY FOR TONIGHT,
FOR EXAMPLE.
996
00:31:41,901 --> 00:31:43,245
TAKE OUR TOP STORY FOR TONIGHT,
FOR EXAMPLE.
THERE'S A WAR GOING ON IN
997
00:31:43,269 --> 00:31:44,179
FOR EXAMPLE.
THERE'S A WAR GOING ON IN
BEIRUT, LEBANON.
998
00:31:44,203 --> 00:31:45,847
THERE'S A WAR GOING ON IN
BEIRUT, LEBANON.
700 PEOPLE HAVE BEEN KILLED THIS
999
00:31:45,871 --> 00:31:46,314
BEIRUT, LEBANON.
700 PEOPLE HAVE BEEN KILLED THIS
WEEK.
1000
00:31:46,338 --> 00:31:47,883
700 PEOPLE HAVE BEEN KILLED THIS
WEEK.
NOW, AS I UNDERSTAND IT, SYRIA
1001
00:31:47,907 --> 00:31:49,517
WEEK.
NOW, AS I UNDERSTAND IT, SYRIA
IS TRYING TO DRAW ISRAEL INTO A
1002
00:31:49,541 --> 00:31:51,152
NOW, AS I UNDERSTAND IT, SYRIA
IS TRYING TO DRAW ISRAEL INTO A
WAR SO THAT ISRAEL WON'T SIGN A
1003
00:31:51,176 --> 00:31:52,187
IS TRYING TO DRAW ISRAEL INTO A
WAR SO THAT ISRAEL WON'T SIGN A
TREATY WITH EGYPT.
1004
00:31:52,211 --> 00:31:53,688
WAR SO THAT ISRAEL WON'T SIGN A
TREATY WITH EGYPT.
NOW, THIS IS INCREDIBLE.
1005
00:31:53,712 --> 00:31:55,490
TREATY WITH EGYPT.
NOW, THIS IS INCREDIBLE.
THE JEWS AND THE EGYPTIANS ARE
1006
00:31:55,514 --> 00:31:57,092
NOW, THIS IS INCREDIBLE.
THE JEWS AND THE EGYPTIANS ARE
TRYING TO BE GOOD, BUT THE
1007
00:31:57,116 --> 00:31:58,526
THE JEWS AND THE EGYPTIANS ARE
TRYING TO BE GOOD, BUT THE
SYRIANS WON'T LET THEM.
1008
00:31:58,550 --> 00:32:00,228
TRYING TO BE GOOD, BUT THE
SYRIANS WON'T LET THEM.
I MEAN, WE HAVE NOTHING LIKE
1009
00:32:00,252 --> 00:32:01,629
SYRIANS WON'T LET THEM.
I MEAN, WE HAVE NOTHING LIKE
THIS IN SHOW BUSINESS...
1010
00:32:01,653 --> 00:32:03,365
I MEAN, WE HAVE NOTHING LIKE
THIS IN SHOW BUSINESS...
I MEAN, YEAH, SOME BACKSTABBING,
1011
00:32:03,389 --> 00:32:03,831
THIS IN SHOW BUSINESS...
I MEAN, YEAH, SOME BACKSTABBING,
SURE.
1012
00:32:03,855 --> 00:32:05,267
I MEAN, YEAH, SOME BACKSTABBING,
SURE.
BUT, I MEAN, I GET INTO AN
1013
00:32:05,291 --> 00:32:06,935
SURE.
BUT, I MEAN, I GET INTO AN
ARGUMENT WITH SOMEBODY, IT GETS
1014
00:32:06,959 --> 00:32:08,370
BUT, I MEAN, I GET INTO AN
ARGUMENT WITH SOMEBODY, IT GETS
TO WHERE WE'RE GONNA THROW
1015
00:32:08,394 --> 00:32:10,071
ARGUMENT WITH SOMEBODY, IT GETS
TO WHERE WE'RE GONNA THROW
PUNCHES, I TURN AROUND AND WALK
1016
00:32:10,095 --> 00:32:10,972
TO WHERE WE'RE GONNA THROW
PUNCHES, I TURN AROUND AND WALK
AWAY, YOU KNOW.
1017
00:32:10,996 --> 00:32:12,707
PUNCHES, I TURN AROUND AND WALK
AWAY, YOU KNOW.
BUT THESE PEOPLE ARE USING GUNS,
1018
00:32:12,731 --> 00:32:14,442
AWAY, YOU KNOW.
BUT THESE PEOPLE ARE USING GUNS,
THEY'RE USING ARTILLERY, THEY'RE
1019
00:32:14,466 --> 00:32:15,377
BUT THESE PEOPLE ARE USING GUNS,
THEY'RE USING ARTILLERY, THEY'RE
DROPPING BOMBS.
1020
00:32:15,401 --> 00:32:16,945
THEY'RE USING ARTILLERY, THEY'RE
DROPPING BOMBS.
I MEAN, I GET MAD AT COLUMBIA
1021
00:32:16,969 --> 00:32:18,546
DROPPING BOMBS.
I MEAN, I GET MAD AT COLUMBIA
PICTURES, WHAT AM I, GONNA GO
1022
00:32:18,570 --> 00:32:20,115
I MEAN, I GET MAD AT COLUMBIA
PICTURES, WHAT AM I, GONNA GO
OVER THERE AND DROP A BOMB ON
1023
00:32:20,139 --> 00:32:20,515
PICTURES, WHAT AM I, GONNA GO
OVER THERE AND DROP A BOMB ON
THEM?
1024
00:32:20,539 --> 00:32:21,917
OVER THERE AND DROP A BOMB ON
THEM?
DO YOU KNOW WHAT MY NAME WOULD
1025
00:32:21,941 --> 00:32:23,251
THEM?
DO YOU KNOW WHAT MY NAME WOULD
BE IN THIS TOWN OR ANY OTHER?
1026
00:32:23,275 --> 00:32:26,288
DO YOU KNOW WHAT MY NAME WOULD
BE IN THIS TOWN OR ANY OTHER?
M-U-D-H-I-T, AND I MEAN IT.
1027
00:32:26,312 --> 00:32:27,855
BE IN THIS TOWN OR ANY OTHER?
M-U-D-H-I-T, AND I MEAN IT.
ANYWAY, SOMETHING HAS GOT TO BE
1028
00:32:27,879 --> 00:32:28,924
M-U-D-H-I-T, AND I MEAN IT.
ANYWAY, SOMETHING HAS GOT TO BE
DONE ABOUT THIS WAR.
1029
00:32:28,948 --> 00:32:30,392
ANYWAY, SOMETHING HAS GOT TO BE
DONE ABOUT THIS WAR.
I MEAN, SYRIA IS JUST WAY THE
1030
00:32:30,416 --> 00:32:31,826
DONE ABOUT THIS WAR.
I MEAN, SYRIA IS JUST WAY THE
"H" OUT OF LINE ON THIS, I'M
1031
00:32:31,850 --> 00:32:32,693
I MEAN, SYRIA IS JUST WAY THE
"H" OUT OF LINE ON THIS, I'M
TELLING YOU.
1032
00:32:32,717 --> 00:32:34,029
"H" OUT OF LINE ON THIS, I'M
TELLING YOU.
JANE, IT'S INCREDIBLE.
1033
00:32:34,053 --> 00:32:35,696
TELLING YOU.
JANE, IT'S INCREDIBLE.
YOU DO THE HARD NEWS, AND YOU
1034
00:32:35,720 --> 00:32:37,198
JANE, IT'S INCREDIBLE.
YOU DO THE HARD NEWS, AND YOU
LEARN A LOT ABOUT PEOPLE.
1035
00:32:37,222 --> 00:32:37,665
YOU DO THE HARD NEWS, AND YOU
LEARN A LOT ABOUT PEOPLE.
WOW.
1036
00:32:37,689 --> 00:32:38,900
LEARN A LOT ABOUT PEOPLE.
WOW.
OUCH.
1037
00:32:38,924 --> 00:32:41,937
WOW.
OUCH.
NOW, HERE'S A STORY.
1038
00:32:41,961 --> 00:32:43,271
OUCH.
NOW, HERE'S A STORY.
I DON'T EVEN KNOW WHY IT'S HERE.
1039
00:32:43,295 --> 00:32:44,439
NOW, HERE'S A STORY.
I DON'T EVEN KNOW WHY IT'S HERE.
CONGRESS SUSTAINS A VETO ON
1040
00:32:44,463 --> 00:32:45,340
I DON'T EVEN KNOW WHY IT'S HERE.
CONGRESS SUSTAINS A VETO ON
WATER PROJECT.
1041
00:32:45,364 --> 00:32:46,041
CONGRESS SUSTAINS A VETO ON
WATER PROJECT.
WHO CARES?
1042
00:32:46,065 --> 00:32:47,809
WATER PROJECT.
WHO CARES?
THERE ARE PEOPLE BEING KILLED IN
1043
00:32:47,833 --> 00:32:51,079
WHO CARES?
THERE ARE PEOPLE BEING KILLED IN
LEBANON!
1044
00:32:51,103 --> 00:32:52,914
THERE ARE PEOPLE BEING KILLED IN
LEBANON!
THE A.M.A., D.E.S., CANCER OF
1045
00:32:52,938 --> 00:32:54,449
LEBANON!
THE A.M.A., D.E.S., CANCER OF
THE CERVIX.
1046
00:32:54,473 --> 00:32:55,550
THE A.M.A., D.E.S., CANCER OF
THE CERVIX.
I THINK THERE ARE CERTAIN THINGS
1047
00:32:55,574 --> 00:32:56,584
THE CERVIX.
I THINK THERE ARE CERTAIN THINGS
THAT SHOULDN'T BE TALKED ABOUT
1048
00:32:56,608 --> 00:33:00,822
I THINK THERE ARE CERTAIN THINGS
THAT SHOULDN'T BE TALKED ABOUT
ON TV, AND THIS IS ONE OF THEM.
1049
00:33:00,846 --> 00:33:02,523
THAT SHOULDN'T BE TALKED ABOUT
ON TV, AND THIS IS ONE OF THEM.
THE SELECTION PROCESS FOR THE
1050
00:33:02,547 --> 00:33:09,464
ON TV, AND THIS IS ONE OF THEM.
THE SELECTION PROCESS FOR THE
POPE... WE DID THIS A MONTH AGO.
1051
00:33:09,488 --> 00:33:10,898
THE SELECTION PROCESS FOR THE
POPE... WE DID THIS A MONTH AGO.
JANE, HAVE YOU GOT ANYTHING
1052
00:33:10,922 --> 00:33:17,405
POPE... WE DID THIS A MONTH AGO.
JANE, HAVE YOU GOT ANYTHING
INTERESTING OVER THERE, HONEY?
1053
00:33:17,429 --> 00:33:18,739
JANE, HAVE YOU GOT ANYTHING
INTERESTING OVER THERE, HONEY?
AS MOST OF YOU AROUND THE
1054
00:33:18,763 --> 00:33:20,108
INTERESTING OVER THERE, HONEY?
AS MOST OF YOU AROUND THE
COUNTRY ARE AWARE, WE HERE IN
1055
00:33:20,132 --> 00:33:21,409
AS MOST OF YOU AROUND THE
COUNTRY ARE AWARE, WE HERE IN
NEW YORK HAVE BEEN HAVING A
1056
00:33:21,433 --> 00:33:22,910
COUNTRY ARE AWARE, WE HERE IN
NEW YORK HAVE BEEN HAVING A
NEWSPAPER STRIKE FOR A COUPLE OF
1057
00:33:22,934 --> 00:33:23,378
NEW YORK HAVE BEEN HAVING A
NEWSPAPER STRIKE FOR A COUPLE OF
MONTHS.
1058
00:33:23,402 --> 00:33:24,879
NEWSPAPER STRIKE FOR A COUPLE OF
MONTHS.
AND NEW YORKERS HAVE HAD TO RELY
1059
00:33:24,903 --> 00:33:26,381
MONTHS.
AND NEW YORKERS HAVE HAD TO RELY
ALMOST SOLELY ON RUMOR FOR THEIR
1060
00:33:26,405 --> 00:33:27,215
AND NEW YORKERS HAVE HAD TO RELY
ALMOST SOLELY ON RUMOR FOR THEIR
INFORMATION.
1061
00:33:27,239 --> 00:33:28,549
ALMOST SOLELY ON RUMOR FOR THEIR
INFORMATION.
SO FOR YOU NEW YORKERS,
1062
00:33:28,573 --> 00:33:30,251
INFORMATION.
SO FOR YOU NEW YORKERS,
"WEEKEND UPDATE" WOULD LIKE TO
1063
00:33:30,275 --> 00:33:31,853
SO FOR YOU NEW YORKERS,
"WEEKEND UPDATE" WOULD LIKE TO
CLEAR UP JUST A FEW OF THOSE
1064
00:33:31,877 --> 00:33:32,520
"WEEKEND UPDATE" WOULD LIKE TO
CLEAR UP JUST A FEW OF THOSE
RUMORS.
1065
00:33:32,544 --> 00:33:33,554
CLEAR UP JUST A FEW OF THOSE
RUMORS.
FIRST OF ALL,
1066
00:33:33,578 --> 00:33:35,523
RUMORS.
FIRST OF ALL,
JULIE NIXON EISENHOWER DID NOT
1067
00:33:35,547 --> 00:33:37,425
FIRST OF ALL,
JULIE NIXON EISENHOWER DID NOT
BEAR A MONGOLOID BABY.
1068
00:33:37,449 --> 00:33:39,794
JULIE NIXON EISENHOWER DID NOT
BEAR A MONGOLOID BABY.
CONVICTED "SON OF SAM" SLAYER
1069
00:33:39,818 --> 00:33:42,230
BEAR A MONGOLOID BABY.
CONVICTED "SON OF SAM" SLAYER
DAVID BERKOWITZ IS NOT ENGAGED
1070
00:33:42,254 --> 00:33:43,564
CONVICTED "SON OF SAM" SLAYER
DAVID BERKOWITZ IS NOT ENGAGED
TO PHYLLIS GEORGE.
1071
00:33:43,588 --> 00:33:45,500
DAVID BERKOWITZ IS NOT ENGAGED
TO PHYLLIS GEORGE.
AND POPE JOHN PAUL I DID NOT
1072
00:33:45,524 --> 00:33:47,602
TO PHYLLIS GEORGE.
AND POPE JOHN PAUL I DID NOT
DIE IN HIS SLEEP LAST WEEK, BUT
1073
00:33:47,626 --> 00:33:49,837
AND POPE JOHN PAUL I DID NOT
DIE IN HIS SLEEP LAST WEEK, BUT
HE WAS BURIED LAST THURSDAY.
1074
00:33:49,861 --> 00:33:52,173
DIE IN HIS SLEEP LAST WEEK, BUT
HE WAS BURIED LAST THURSDAY.
NOW, HERE'S AN INTERESTING
1075
00:33:52,197 --> 00:33:53,308
HE WAS BURIED LAST THURSDAY.
NOW, HERE'S AN INTERESTING
STORY.
1076
00:33:53,332 --> 00:33:54,709
NOW, HERE'S AN INTERESTING
STORY.
THIS WEEK, THE SENATE VOTED
1077
00:33:54,733 --> 00:33:56,211
STORY.
THIS WEEK, THE SENATE VOTED
60 TO 36 TO EXTEND THE PERIOD
1078
00:33:56,235 --> 00:33:57,445
THIS WEEK, THE SENATE VOTED
60 TO 36 TO EXTEND THE PERIOD
FOR RATIFICATION OF THE
1079
00:33:57,469 --> 00:33:58,779
60 TO 36 TO EXTEND THE PERIOD
FOR RATIFICATION OF THE
EQUAL RIGHTS AMENDMENT TO
1080
00:33:58,803 --> 00:34:01,116
FOR RATIFICATION OF THE
EQUAL RIGHTS AMENDMENT TO
JUNE 30, 1982, AND THAT IS THE
1081
00:34:01,140 --> 00:34:02,783
EQUAL RIGHTS AMENDMENT TO
JUNE 30, 1982, AND THAT IS THE
SUBJECT OF TONIGHT'S
1082
00:34:02,807 --> 00:34:03,851
JUNE 30, 1982, AND THAT IS THE
SUBJECT OF TONIGHT'S
POINT/COUNTERPOINT.
1083
00:34:03,875 --> 00:34:05,420
SUBJECT OF TONIGHT'S
POINT/COUNTERPOINT.
BILL, THE ARGUMENT THAT THE
1084
00:34:05,444 --> 00:34:06,621
POINT/COUNTERPOINT.
BILL, THE ARGUMENT THAT THE
EXTENSION OF E.R.A. IS
1085
00:34:06,645 --> 00:34:08,223
BILL, THE ARGUMENT THAT THE
EXTENSION OF E.R.A. IS
UNCONSTITUTIONAL IS FULL OF THE
1086
00:34:08,247 --> 00:34:09,891
EXTENSION OF E.R.A. IS
UNCONSTITUTIONAL IS FULL OF THE
SAME SUBSTANCE THAT YOU ARE FULL
1087
00:34:09,915 --> 00:34:10,225
UNCONSTITUTIONAL IS FULL OF THE
SAME SUBSTANCE THAT YOU ARE FULL
OF.
1088
00:34:10,249 --> 00:34:11,893
SAME SUBSTANCE THAT YOU ARE FULL
OF.
NOWHERE IN THE CONSTITUTION DOES
1089
00:34:11,917 --> 00:34:13,328
OF.
NOWHERE IN THE CONSTITUTION DOES
IT SAY THAT CONGRESS CANNOT
1090
00:34:13,352 --> 00:34:14,929
NOWHERE IN THE CONSTITUTION DOES
IT SAY THAT CONGRESS CANNOT
EXTEND THE RATIFICATION PERIOD.
1091
00:34:14,953 --> 00:34:16,364
IT SAY THAT CONGRESS CANNOT
EXTEND THE RATIFICATION PERIOD.
YOU PIGS SIMPLY GRAB AT ANY
1092
00:34:16,388 --> 00:34:17,698
EXTEND THE RATIFICATION PERIOD.
YOU PIGS SIMPLY GRAB AT ANY
EXCUSE TO KEEP WOMEN IN A
1093
00:34:17,722 --> 00:34:19,334
YOU PIGS SIMPLY GRAB AT ANY
EXCUSE TO KEEP WOMEN IN A
SUBSERVIENT ROLE TO BE EXPLOITED
1094
00:34:19,358 --> 00:34:20,868
EXCUSE TO KEEP WOMEN IN A
SUBSERVIENT ROLE TO BE EXPLOITED
AS VAPID SEX OBJECTS LIKE THE
1095
00:34:20,892 --> 00:34:22,237
SUBSERVIENT ROLE TO BE EXPLOITED
AS VAPID SEX OBJECTS LIKE THE
DALLAS COWBOY CHEERLEADERS.
1096
00:34:22,261 --> 00:34:23,738
AS VAPID SEX OBJECTS LIKE THE
DALLAS COWBOY CHEERLEADERS.
E.R.A. NEEDS THE TIME TO CLEAR
1097
00:34:23,762 --> 00:34:25,206
DALLAS COWBOY CHEERLEADERS.
E.R.A. NEEDS THE TIME TO CLEAR
UP THE VICIOUS MISCONCEPTIONS
1098
00:34:25,230 --> 00:34:26,374
E.R.A. NEEDS THE TIME TO CLEAR
UP THE VICIOUS MISCONCEPTIONS
AND LIES SPREAD BY ITS
1099
00:34:26,398 --> 00:34:27,075
UP THE VICIOUS MISCONCEPTIONS
AND LIES SPREAD BY ITS
OPPONENTS.
1100
00:34:27,099 --> 00:34:28,776
AND LIES SPREAD BY ITS
OPPONENTS.
E.R.A. WILL NOT MANDATE MILITARY
1101
00:34:28,800 --> 00:34:30,145
OPPONENTS.
E.R.A. WILL NOT MANDATE MILITARY
SERVICE FOR WOMEN, UNISEX
1102
00:34:30,169 --> 00:34:32,447
E.R.A. WILL NOT MANDATE MILITARY
SERVICE FOR WOMEN, UNISEX
BATHROOMS, AND THE ABOLITION OF
1103
00:34:32,471 --> 00:34:33,481
SERVICE FOR WOMEN, UNISEX
BATHROOMS, AND THE ABOLITION OF
ALIMONY, BILL.
1104
00:34:33,505 --> 00:34:35,417
BATHROOMS, AND THE ABOLITION OF
ALIMONY, BILL.
PUT THAT IN YOUR JOCKSTRAP AND
1105
00:34:35,441 --> 00:34:36,984
ALIMONY, BILL.
PUT THAT IN YOUR JOCKSTRAP AND
SNAP IT, BILL.
1106
00:34:37,008 --> 00:34:39,320
PUT THAT IN YOUR JOCKSTRAP AND
SNAP IT, BILL.
[CHEERS AND APPLAUSE]
1107
00:34:39,344 --> 00:34:40,788
SNAP IT, BILL.
[CHEERS AND APPLAUSE]
WELL, JANE, YOU KNOW
1108
00:34:40,812 --> 00:34:42,524
[CHEERS AND APPLAUSE]
WELL, JANE, YOU KNOW
SOMETHING... YOU'VE GOT A POINT
1109
00:34:42,548 --> 00:34:43,124
WELL, JANE, YOU KNOW
SOMETHING... YOU'VE GOT A POINT
THERE.
1110
00:34:43,148 --> 00:34:44,959
SOMETHING... YOU'VE GOT A POINT
THERE.
I'VE BEEN FLIP-FLOPPING ON THIS
1111
00:34:44,983 --> 00:34:46,894
THERE.
I'VE BEEN FLIP-FLOPPING ON THIS
ISSUE ALL ALONG, TO TELL YOU THE
1112
00:34:46,918 --> 00:34:47,462
I'VE BEEN FLIP-FLOPPING ON THIS
ISSUE ALL ALONG, TO TELL YOU THE
TRUTH.
1113
00:34:47,486 --> 00:34:49,330
ISSUE ALL ALONG, TO TELL YOU THE
TRUTH.
AND AT FIRST, I WAS ALL FOR IT,
1114
00:34:49,354 --> 00:34:51,199
TRUTH.
AND AT FIRST, I WAS ALL FOR IT,
BUT THEN SOMEBODY TOLD ME ABOUT
1115
00:34:51,223 --> 00:34:52,700
AND AT FIRST, I WAS ALL FOR IT,
BUT THEN SOMEBODY TOLD ME ABOUT
THIS BATHROOM THING, AND
1116
00:34:52,724 --> 00:34:54,635
BUT THEN SOMEBODY TOLD ME ABOUT
THIS BATHROOM THING, AND
I... I KNOW FROM EXPERIENCE THAT
1117
00:34:54,659 --> 00:34:56,171
THIS BATHROOM THING, AND
I... I KNOW FROM EXPERIENCE THAT
IT CAN TAKE ME UP TO 15 MINUTES
1118
00:34:56,195 --> 00:34:57,738
I... I KNOW FROM EXPERIENCE THAT
IT CAN TAKE ME UP TO 15 MINUTES
TO URINATE IF THERE IS A GIRL IN
1119
00:34:57,762 --> 00:34:58,540
IT CAN TAKE ME UP TO 15 MINUTES
TO URINATE IF THERE IS A GIRL IN
THE SAME ROOM.
1120
00:34:58,564 --> 00:34:59,807
TO URINATE IF THERE IS A GIRL IN
THE SAME ROOM.
SO THEN I WAS AGAINST IT.
1121
00:34:59,831 --> 00:35:01,142
THE SAME ROOM.
SO THEN I WAS AGAINST IT.
AND THEN I HEARD THE WOMEN
1122
00:35:01,166 --> 00:35:02,009
SO THEN I WAS AGAINST IT.
AND THEN I HEARD THE WOMEN
DIDN'T WANT IT.
1123
00:35:02,033 --> 00:35:03,511
AND THEN I HEARD THE WOMEN
DIDN'T WANT IT.
SO I FIGURED IF THE WOMEN DON'T
1124
00:35:03,535 --> 00:35:05,012
DIDN'T WANT IT.
SO I FIGURED IF THE WOMEN DON'T
WANT IT, WHY FORCE IT ON THEM?
1125
00:35:05,036 --> 00:35:07,182
SO I FIGURED IF THE WOMEN DON'T
WANT IT, WHY FORCE IT ON THEM?
AND NOW, YOU, JANE, YOU KNOW, A
1126
00:35:07,206 --> 00:35:09,217
WANT IT, WHY FORCE IT ON THEM?
AND NOW, YOU, JANE, YOU KNOW, A
WOMAN, COMING OUT FOR IT, AND
1127
00:35:09,241 --> 00:35:11,319
AND NOW, YOU, JANE, YOU KNOW, A
WOMAN, COMING OUT FOR IT, AND
YOU OBVIOUSLY KNOW WHAT YOU'RE
1128
00:35:11,343 --> 00:35:12,053
WOMAN, COMING OUT FOR IT, AND
YOU OBVIOUSLY KNOW WHAT YOU'RE
TALKING ABOUT.
1129
00:35:12,077 --> 00:35:13,088
YOU OBVIOUSLY KNOW WHAT YOU'RE
TALKING ABOUT.
I'VE CHANGED MY MIND.
1130
00:35:13,112 --> 00:35:14,422
TALKING ABOUT.
I'VE CHANGED MY MIND.
YOU'VE CHANGED ME ALL AROUND.
1131
00:35:14,446 --> 00:35:15,690
I'VE CHANGED MY MIND.
YOU'VE CHANGED ME ALL AROUND.
NOW, WHAT SHOULD WE DO ON A
1132
00:35:15,714 --> 00:35:16,524
YOU'VE CHANGED ME ALL AROUND.
NOW, WHAT SHOULD WE DO ON A
THING LIKE THIS?
1133
00:35:16,548 --> 00:35:18,659
NOW, WHAT SHOULD WE DO ON A
THING LIKE THIS?
I MEAN, DO WE SEND TELEGRAMS?
1134
00:35:18,683 --> 00:35:20,095
THING LIKE THIS?
I MEAN, DO WE SEND TELEGRAMS?
OR WHAT DO WE SAY?
1135
00:35:20,119 --> 00:35:22,330
I MEAN, DO WE SEND TELEGRAMS?
OR WHAT DO WE SAY?
I MEAN, HEY, STATE LEGISLATORS,
1136
00:35:22,354 --> 00:35:24,632
OR WHAT DO WE SAY?
I MEAN, HEY, STATE LEGISLATORS,
GET ON THE BALL.
1137
00:35:24,656 --> 00:35:26,367
I MEAN, HEY, STATE LEGISLATORS,
GET ON THE BALL.
OKAY, DAMN IT.
1138
00:35:26,391 --> 00:35:28,069
GET ON THE BALL.
OKAY, DAMN IT.
ALL RIGHT, UH...
1139
00:35:28,093 --> 00:35:29,437
OKAY, DAMN IT.
ALL RIGHT, UH...
[APPLAUSE]
1140
00:35:29,461 --> 00:35:32,073
ALL RIGHT, UH...
[APPLAUSE]
THANK YOU, YEAH.
1141
00:35:32,097 --> 00:35:32,907
[APPLAUSE]
THANK YOU, YEAH.
THIS IS GREAT.
1142
00:35:32,931 --> 00:35:34,342
THANK YOU, YEAH.
THIS IS GREAT.
WE'RE GETTING SOMETHING DONE
1143
00:35:34,366 --> 00:35:35,443
THIS IS GREAT.
WE'RE GETTING SOMETHING DONE
HERE... ALL RIGHT.
1144
00:35:35,467 --> 00:35:37,178
WE'RE GETTING SOMETHING DONE
HERE... ALL RIGHT.
A MORNING-AFTER BIRTH CONTROL
1145
00:35:37,202 --> 00:35:38,546
HERE... ALL RIGHT.
A MORNING-AFTER BIRTH CONTROL
PILL DEVELOPED AT THE
1146
00:35:38,570 --> 00:35:40,448
A MORNING-AFTER BIRTH CONTROL
PILL DEVELOPED AT THE
UNIVERSITY OF FLORIDA HAS PROVED
1147
00:35:40,472 --> 00:35:41,816
PILL DEVELOPED AT THE
UNIVERSITY OF FLORIDA HAS PROVED
TO BE 99% EFFECTIVE.
1148
00:35:41,840 --> 00:35:42,950
UNIVERSITY OF FLORIDA HAS PROVED
TO BE 99% EFFECTIVE.
HEY, GREAT NEWS.
1149
00:35:42,974 --> 00:35:44,685
TO BE 99% EFFECTIVE.
HEY, GREAT NEWS.
ONLY ONE PREGNANCY OCCURRED
1150
00:35:44,709 --> 00:35:46,621
HEY, GREAT NEWS.
ONLY ONE PREGNANCY OCCURRED
AMONG 359 WOMEN WHO STARTED THE
1151
00:35:46,645 --> 00:35:48,289
ONLY ONE PREGNANCY OCCURRED
AMONG 359 WOMEN WHO STARTED THE
MEDICATION WITHIN 72 HOURS AFTER
1152
00:35:48,313 --> 00:35:49,924
AMONG 359 WOMEN WHO STARTED THE
MEDICATION WITHIN 72 HOURS AFTER
UNPROTECTED SEXUAL INTERCOURSE.
1153
00:35:49,948 --> 00:35:50,958
MEDICATION WITHIN 72 HOURS AFTER
UNPROTECTED SEXUAL INTERCOURSE.
NOW, IT'S CALLED A
1154
00:35:50,982 --> 00:35:52,427
UNPROTECTED SEXUAL INTERCOURSE.
NOW, IT'S CALLED A
POST-OVULATORY INTERCEPTIVE.
1155
00:35:52,451 --> 00:35:53,794
NOW, IT'S CALLED A
POST-OVULATORY INTERCEPTIVE.
AND I HAVE A SAMPLE RIGHT
1156
00:35:53,818 --> 00:35:55,096
POST-OVULATORY INTERCEPTIVE.
AND I HAVE A SAMPLE RIGHT
HERE... ENOUGH FOR THREE
1157
00:35:55,120 --> 00:35:55,796
AND I HAVE A SAMPLE RIGHT
HERE... ENOUGH FOR THREE
INCEPTIONS.
1158
00:35:55,820 --> 00:35:57,165
HERE... ENOUGH FOR THREE
INCEPTIONS.
THEY'RE NOT GONNA DO ME ANY
1159
00:35:57,189 --> 00:35:57,599
INCEPTIONS.
THEY'RE NOT GONNA DO ME ANY
GOOD.
1160
00:35:57,623 --> 00:35:59,033
THEY'RE NOT GONNA DO ME ANY
GOOD.
HERE, JANE, WHOLE YEAR'S SUPPLY
1161
00:35:59,057 --> 00:35:59,601
GOOD.
HERE, JANE, WHOLE YEAR'S SUPPLY
FOR YOU.
1162
00:35:59,625 --> 00:36:04,772
HERE, JANE, WHOLE YEAR'S SUPPLY
FOR YOU.
HA!
1163
00:36:04,796 --> 00:36:06,508
FOR YOU.
HA!
AH, YOU'RE SO TIGHT, AND I GOT
1164
00:36:06,532 --> 00:36:09,244
HA!
AH, YOU'RE SO TIGHT, AND I GOT
YOU WITH THAT ONE, JANE.
1165
00:36:09,268 --> 00:36:10,811
AH, YOU'RE SO TIGHT, AND I GOT
YOU WITH THAT ONE, JANE.
GREAT!
1166
00:36:10,835 --> 00:36:12,614
YOU WITH THAT ONE, JANE.
GREAT!
HERE'S SOME GOOD NEWS... THE
1167
00:36:12,638 --> 00:36:14,349
GREAT!
HERE'S SOME GOOD NEWS... THE
WORLD'S SECOND TEST-TUBE BABY
1168
00:36:14,373 --> 00:36:16,050
HERE'S SOME GOOD NEWS... THE
WORLD'S SECOND TEST-TUBE BABY
WAS BORN TUESDAY IN CALCUTTA.
1169
00:36:16,074 --> 00:36:17,818
WORLD'S SECOND TEST-TUBE BABY
WAS BORN TUESDAY IN CALCUTTA.
DOCTORS THERE PREDICT THAT NOW
1170
00:36:17,842 --> 00:36:19,487
WAS BORN TUESDAY IN CALCUTTA.
DOCTORS THERE PREDICT THAT NOW
ALL INDIAN WOMEN, EVEN THOSE
1171
00:36:19,511 --> 00:36:21,055
DOCTORS THERE PREDICT THAT NOW
ALL INDIAN WOMEN, EVEN THOSE
STERILIZED BY THE PREVIOUS
1172
00:36:21,079 --> 00:36:22,923
ALL INDIAN WOMEN, EVEN THOSE
STERILIZED BY THE PREVIOUS
GOVERNMENT, WILL BE ABLE TO HAVE
1173
00:36:22,947 --> 00:36:23,891
STERILIZED BY THE PREVIOUS
GOVERNMENT, WILL BE ABLE TO HAVE
MORE CHILDREN.
1174
00:36:23,915 --> 00:36:25,560
GOVERNMENT, WILL BE ABLE TO HAVE
MORE CHILDREN.
AND WHAT'S MORE, THE PROCEDURE
1175
00:36:25,584 --> 00:36:27,362
MORE CHILDREN.
AND WHAT'S MORE, THE PROCEDURE
IS SO INEXPENSIVE THAT EVEN THE
1176
00:36:27,386 --> 00:36:29,164
AND WHAT'S MORE, THE PROCEDURE
IS SO INEXPENSIVE THAT EVEN THE
POOREST INDIANS CAN AFFORD IT.
1177
00:36:29,188 --> 00:36:30,598
IS SO INEXPENSIVE THAT EVEN THE
POOREST INDIANS CAN AFFORD IT.
AS FOR THE SEVEN-POUND,
1178
00:36:30,622 --> 00:36:32,167
POOREST INDIANS CAN AFFORD IT.
AS FOR THE SEVEN-POUND,
SIX-OUNCE GIRL, MOTHER AND
1179
00:36:32,191 --> 00:36:33,768
AS FOR THE SEVEN-POUND,
SIX-OUNCE GIRL, MOTHER AND
DAUGHTER ARE BOTH STARVING
1180
00:36:33,792 --> 00:36:35,503
SIX-OUNCE GIRL, MOTHER AND
DAUGHTER ARE BOTH STARVING
COMFORTABLY.
1181
00:36:35,527 --> 00:36:36,037
DAUGHTER ARE BOTH STARVING
COMFORTABLY.
OOH.
1182
00:36:36,061 --> 00:36:37,738
COMFORTABLY.
OOH.
IN THE LAST FEW YEARS, DISCOS
1183
00:36:37,762 --> 00:36:39,274
OOH.
IN THE LAST FEW YEARS, DISCOS
HAVE BECOME A BIG PART OF THE
1184
00:36:39,298 --> 00:36:40,408
IN THE LAST FEW YEARS, DISCOS
HAVE BECOME A BIG PART OF THE
ENTERTAINMENT SCENE.
1185
00:36:40,432 --> 00:36:42,009
HAVE BECOME A BIG PART OF THE
ENTERTAINMENT SCENE.
NOW HERE TO FILE HER REPORT ON
1186
00:36:42,033 --> 00:36:43,611
ENTERTAINMENT SCENE.
NOW HERE TO FILE HER REPORT ON
ONE OF NEW YORK'S MORE POPULAR
1187
00:36:43,635 --> 00:36:45,146
NOW HERE TO FILE HER REPORT ON
ONE OF NEW YORK'S MORE POPULAR
DISCOTHEQUES IS CORRESPONDENT
1188
00:36:45,170 --> 00:36:46,981
ONE OF NEW YORK'S MORE POPULAR
DISCOTHEQUES IS CORRESPONDENT
ROSEANNE ROSANNADANNA.
1189
00:36:47,005 --> 00:36:48,883
DISCOTHEQUES IS CORRESPONDENT
ROSEANNE ROSANNADANNA.
[CHEERS AND APPLAUSE]
1190
00:36:48,907 --> 00:36:51,118
ROSEANNE ROSANNADANNA.
[CHEERS AND APPLAUSE]
THANKS A LOT, JANE, THANK
1191
00:36:51,142 --> 00:36:52,687
[CHEERS AND APPLAUSE]
THANKS A LOT, JANE, THANK
YOU.
1192
00:36:52,711 --> 00:36:54,522
THANKS A LOT, JANE, THANK
YOU.
A MR. RICHARD FANNER FROM
1193
00:36:54,546 --> 00:36:56,691
YOU.
A MR. RICHARD FANNER FROM
FORT LEE, NEW JERSEY, WRITES IN
1194
00:36:56,715 --> 00:36:58,560
A MR. RICHARD FANNER FROM
FORT LEE, NEW JERSEY, WRITES IN
AND SAYS, "DEAR
1195
00:36:58,584 --> 00:37:01,696
FORT LEE, NEW JERSEY, WRITES IN
AND SAYS, "DEAR
ROSEANNE ROSANNADANNA, TELL ME
1196
00:37:01,720 --> 00:37:03,264
AND SAYS, "DEAR
ROSEANNE ROSANNADANNA, TELL ME
ABOUT STUDIO 54.
1197
00:37:03,288 --> 00:37:05,733
ROSEANNE ROSANNADANNA, TELL ME
ABOUT STUDIO 54.
WHY IS IT SO HARD TO GET IN?
1198
00:37:05,757 --> 00:37:06,534
ABOUT STUDIO 54.
WHY IS IT SO HARD TO GET IN?
CAN I GET IN?
1199
00:37:06,558 --> 00:37:08,169
WHY IS IT SO HARD TO GET IN?
CAN I GET IN?
DO I GOT TO HAVE A TICKET TO GET
1200
00:37:08,193 --> 00:37:08,536
CAN I GET IN?
DO I GOT TO HAVE A TICKET TO GET
IN?
1201
00:37:08,560 --> 00:37:10,137
DO I GOT TO HAVE A TICKET TO GET
IN?
DO I GOT TO KNOW SOMEONE TO GET
1202
00:37:10,161 --> 00:37:10,505
IN?
DO I GOT TO KNOW SOMEONE TO GET
IN?
1203
00:37:10,529 --> 00:37:12,139
DO I GOT TO KNOW SOMEONE TO GET
IN?
DO I GOT TO BE FAMOUS TO GET IN?
1204
00:37:12,163 --> 00:37:13,774
IN?
DO I GOT TO BE FAMOUS TO GET IN?
WHAT'S IT LIKE WHEN I DO GET IN?
1205
00:37:13,798 --> 00:37:15,343
DO I GOT TO BE FAMOUS TO GET IN?
WHAT'S IT LIKE WHEN I DO GET IN?
AND IF I DO GET IN, IS IT REAL
1206
00:37:15,367 --> 00:37:19,980
WHAT'S IT LIKE WHEN I DO GET IN?
AND IF I DO GET IN, IS IT REAL
HARD TO GET OUT?"
1207
00:37:20,004 --> 00:37:21,782
AND IF I DO GET IN, IS IT REAL
HARD TO GET OUT?"
MR. FANNER, YOU SURE ASK A LOT
1208
00:37:21,806 --> 00:37:23,518
HARD TO GET OUT?"
MR. FANNER, YOU SURE ASK A LOT
OF QUESTIONS FOR SOMEONE FROM
1209
00:37:23,542 --> 00:37:24,619
MR. FANNER, YOU SURE ASK A LOT
OF QUESTIONS FOR SOMEONE FROM
NEW JERSEY.
1210
00:37:24,643 --> 00:37:27,054
OF QUESTIONS FOR SOMEONE FROM
NEW JERSEY.
BUT YOU WROTE TO THE RIGHT LADY
1211
00:37:27,078 --> 00:37:28,823
NEW JERSEY.
BUT YOU WROTE TO THE RIGHT LADY
'CAUSE LAST NIGHT, I,
1212
00:37:28,847 --> 00:37:31,192
BUT YOU WROTE TO THE RIGHT LADY
'CAUSE LAST NIGHT, I,
ROSEANNE ROSANNADANNA, WENT TO
1213
00:37:31,216 --> 00:37:34,529
'CAUSE LAST NIGHT, I,
ROSEANNE ROSANNADANNA, WENT TO
STUDIO 54 'CAUSE I LOVE TO
1214
00:37:34,553 --> 00:37:35,096
ROSEANNE ROSANNADANNA, WENT TO
STUDIO 54 'CAUSE I LOVE TO
DANCE.
1215
00:37:35,120 --> 00:37:36,831
STUDIO 54 'CAUSE I LOVE TO
DANCE.
I DON'T WANT TO BRAG, BUT I,
1216
00:37:36,855 --> 00:37:38,433
DANCE.
I DON'T WANT TO BRAG, BUT I,
ROSEANNE ROSANNADANNA, CAN
1217
00:37:38,457 --> 00:37:40,668
I DON'T WANT TO BRAG, BUT I,
ROSEANNE ROSANNADANNA, CAN
REALLY SHAKE, SHAKE, SHAKE,
1218
00:37:40,692 --> 00:37:42,670
ROSEANNE ROSANNADANNA, CAN
REALLY SHAKE, SHAKE, SHAKE,
SHAKE MY BOOTIES.
1219
00:37:42,694 --> 00:37:44,939
REALLY SHAKE, SHAKE, SHAKE,
SHAKE MY BOOTIES.
AND BESIDES, I WANTED TO SEE HOW
1220
00:37:44,963 --> 00:37:46,807
SHAKE MY BOOTIES.
AND BESIDES, I WANTED TO SEE HOW
THE "BEAUTIFUL PEOPLE" GET
1221
00:37:46,831 --> 00:37:47,475
AND BESIDES, I WANTED TO SEE HOW
THE "BEAUTIFUL PEOPLE" GET
CRAZY.
1222
00:37:47,499 --> 00:37:49,510
THE "BEAUTIFUL PEOPLE" GET
CRAZY.
SO I GO IN, AND WHO DO I SEE
1223
00:37:49,534 --> 00:37:51,579
CRAZY.
SO I GO IN, AND WHO DO I SEE
FIRST BUT THAT FANCY DESIGNER
1224
00:37:51,603 --> 00:37:52,913
SO I GO IN, AND WHO DO I SEE
FIRST BUT THAT FANCY DESIGNER
MR. HALSTON?
1225
00:37:52,937 --> 00:37:55,583
FIRST BUT THAT FANCY DESIGNER
MR. HALSTON?
AND HE LOOKED SO DEPRESSED, I
1226
00:37:55,607 --> 00:37:57,918
MR. HALSTON?
AND HE LOOKED SO DEPRESSED, I
THOUGHT HE WAS GONNA DIE.
1227
00:37:57,942 --> 00:37:59,721
AND HE LOOKED SO DEPRESSED, I
THOUGHT HE WAS GONNA DIE.
AND THEN I NOTICED THAT HE
1228
00:37:59,745 --> 00:38:01,789
THOUGHT HE WAS GONNA DIE.
AND THEN I NOTICED THAT HE
WASN'T WEARING SENSIBLE SHOES.
1229
00:38:01,813 --> 00:38:03,824
AND THEN I NOTICED THAT HE
WASN'T WEARING SENSIBLE SHOES.
HE WAS DANCING IN THESE TIGHT,
1230
00:38:03,848 --> 00:38:05,526
WASN'T WEARING SENSIBLE SHOES.
HE WAS DANCING IN THESE TIGHT,
BLACK, SLEAZY, ANKLE-HIGH
1231
00:38:05,550 --> 00:38:07,495
HE WAS DANCING IN THESE TIGHT,
BLACK, SLEAZY, ANKLE-HIGH
BOOTS... THE KIND YOU IMAGINE
1232
00:38:07,519 --> 00:38:09,196
BLACK, SLEAZY, ANKLE-HIGH
BOOTS... THE KIND YOU IMAGINE
THAT FRANKIE VALLI WEARS.
1233
00:38:09,220 --> 00:38:11,232
BOOTS... THE KIND YOU IMAGINE
THAT FRANKIE VALLI WEARS.
WELL, ANYWAYS, HALSTON SHOWS ME
1234
00:38:11,256 --> 00:38:13,100
THAT FRANKIE VALLI WEARS.
WELL, ANYWAYS, HALSTON SHOWS ME
THAT THE INSIDE OF HIS SHOE
1235
00:38:13,124 --> 00:38:15,136
WELL, ANYWAYS, HALSTON SHOWS ME
THAT THE INSIDE OF HIS SHOE
SCRAPED AGAINST THE HEEL OF HIS
1236
00:38:15,160 --> 00:38:17,705
THAT THE INSIDE OF HIS SHOE
SCRAPED AGAINST THE HEEL OF HIS
FOOT, AND HE GOT A BIG BLISTER.
1237
00:38:17,729 --> 00:38:19,006
SCRAPED AGAINST THE HEEL OF HIS
FOOT, AND HE GOT A BIG BLISTER.
AND THE BLISTER BROKE, SO HE
1238
00:38:19,030 --> 00:38:20,107
FOOT, AND HE GOT A BIG BLISTER.
AND THE BLISTER BROKE, SO HE
PUTS A BAND-AID ON IT.
1239
00:38:20,131 --> 00:38:21,342
AND THE BLISTER BROKE, SO HE
PUTS A BAND-AID ON IT.
WELL, THEN THE SHOE STARTS
1240
00:38:21,366 --> 00:38:22,677
PUTS A BAND-AID ON IT.
WELL, THEN THE SHOE STARTS
RUBBING AGAINST THE BAND-AID,
1241
00:38:22,701 --> 00:38:23,244
WELL, THEN THE SHOE STARTS
RUBBING AGAINST THE BAND-AID,
YOU KNOW.
1242
00:38:23,268 --> 00:38:24,646
RUBBING AGAINST THE BAND-AID,
YOU KNOW.
AND THEN THE BAND-AID GETS ALL
1243
00:38:24,670 --> 00:38:25,913
YOU KNOW.
AND THEN THE BAND-AID GETS ALL
CURLED UP, AND IT GETS THIS
1244
00:38:25,937 --> 00:38:26,881
AND THEN THE BAND-AID GETS ALL
CURLED UP, AND IT GETS THIS
LIQUID STUFF ON IT.
1245
00:38:26,905 --> 00:38:28,949
CURLED UP, AND IT GETS THIS
LIQUID STUFF ON IT.
YOU DON'T KNOW WHAT IT IS.
1246
00:38:28,973 --> 00:38:31,286
LIQUID STUFF ON IT.
YOU DON'T KNOW WHAT IT IS.
I MEAN, THAT GUY MAY BE ONE OF
1247
00:38:31,310 --> 00:38:33,554
YOU DON'T KNOW WHAT IT IS.
I MEAN, THAT GUY MAY BE ONE OF
THE BEAUTIFUL PEOPLE, BUT HIS
1248
00:38:33,578 --> 00:38:34,855
I MEAN, THAT GUY MAY BE ONE OF
THE BEAUTIFUL PEOPLE, BUT HIS
FOOT MADE ME SICK.
1249
00:38:34,879 --> 00:38:35,923
THE BEAUTIFUL PEOPLE, BUT HIS
FOOT MADE ME SICK.
[LAUGHTER]
1250
00:38:35,947 --> 00:38:37,880
FOOT MADE ME SICK.
[LAUGHTER]
[APPLAUSE]
1251
00:38:43,521 --> 00:38:47,435
I-IS THAT ALL?
IS THAT ALL YOU HAVE TO SAY
ABOUT THE PLACE?
1252
00:38:47,459 --> 00:38:48,836
IS THAT ALL YOU HAVE TO SAY
ABOUT THE PLACE?
ISN'T THERE ANYTHING ELSE?
1253
00:38:48,860 --> 00:38:50,004
ABOUT THE PLACE?
ISN'T THERE ANYTHING ELSE?
WHAT DO YOU MEAN?
1254
00:38:50,028 --> 00:38:51,172
ISN'T THERE ANYTHING ELSE?
WHAT DO YOU MEAN?
[LAUGHS]
1255
00:38:51,196 --> 00:38:53,207
WHAT DO YOU MEAN?
[LAUGHS]
I MEAN, DO THEY SERVE FOOD?
1256
00:38:53,231 --> 00:38:54,575
[LAUGHS]
I MEAN, DO THEY SERVE FOOD?
IS THERE A BAND?
1257
00:38:54,599 --> 00:38:55,876
I MEAN, DO THEY SERVE FOOD?
IS THERE A BAND?
WHAT'S THE SOUND SYSTEM LIKE?
1258
00:38:55,900 --> 00:38:56,944
IS THERE A BAND?
WHAT'S THE SOUND SYSTEM LIKE?
ARE THERE BLACK LIGHTS?
1259
00:38:56,968 --> 00:38:57,712
WHAT'S THE SOUND SYSTEM LIKE?
ARE THERE BLACK LIGHTS?
IS THERE A BAR?
1260
00:38:57,736 --> 00:38:59,013
ARE THERE BLACK LIGHTS?
IS THERE A BAR?
IS IT IN A GOOD NEIGHBORHOOD?
1261
00:38:59,037 --> 00:39:00,415
IS THERE A BAR?
IS IT IN A GOOD NEIGHBORHOOD?
DO YOU HAVE TO KNOW SOMEBODY TO
1262
00:39:00,439 --> 00:39:00,848
IS IT IN A GOOD NEIGHBORHOOD?
DO YOU HAVE TO KNOW SOMEBODY TO
GET IN?
1263
00:39:00,872 --> 00:39:02,049
DO YOU HAVE TO KNOW SOMEBODY TO
GET IN?
IS IT EVERYTHING THAT IT'S
1264
00:39:02,073 --> 00:39:03,718
GET IN?
IS IT EVERYTHING THAT IT'S
CRACKED UP TO BE, YOU KNOW?
1265
00:39:03,742 --> 00:39:05,019
IS IT EVERYTHING THAT IT'S
CRACKED UP TO BE, YOU KNOW?
♪ YOU'RE A NATIVE
1266
00:39:05,043 --> 00:39:07,121
CRACKED UP TO BE, YOU KNOW?
♪ YOU'RE A NATIVE
NEW YORKER ♪
1267
00:39:07,145 --> 00:39:08,856
♪ YOU'RE A NATIVE
NEW YORKER ♪
R-ROSEANNE, ROSEANNE,
1268
00:39:08,880 --> 00:39:11,058
NEW YORKER ♪
R-ROSEANNE, ROSEANNE,
ROSEANNE, ROSEANNE, STUDIO 54 IS
1269
00:39:11,082 --> 00:39:12,660
R-ROSEANNE, ROSEANNE,
ROSEANNE, ROSEANNE, STUDIO 54 IS
SUPPOSED TO BE VERY CHIC AND
1270
00:39:12,684 --> 00:39:13,394
ROSEANNE, ROSEANNE, STUDIO 54 IS
SUPPOSED TO BE VERY CHIC AND
GLAMOROUS.
1271
00:39:13,418 --> 00:39:15,029
SUPPOSED TO BE VERY CHIC AND
GLAMOROUS.
EVERYBODY WANTS TO KNOW ABOUT
1272
00:39:15,053 --> 00:39:15,430
GLAMOROUS.
EVERYBODY WANTS TO KNOW ABOUT
IT.
1273
00:39:15,454 --> 00:39:17,598
EVERYBODY WANTS TO KNOW ABOUT
IT.
WHAT'S IT LIKE IN THERE?
1274
00:39:17,622 --> 00:39:20,301
IT.
WHAT'S IT LIKE IN THERE?
WELL, JANE, JUST BETWEEN YOU
1275
00:39:20,325 --> 00:39:23,438
WHAT'S IT LIKE IN THERE?
WELL, JANE, JUST BETWEEN YOU
AND ME, IT'S CRAZY NUTS.
1276
00:39:23,462 --> 00:39:25,105
WELL, JANE, JUST BETWEEN YOU
AND ME, IT'S CRAZY NUTS.
THEY GOT GUYS DANCING WITH GUYS,
1277
00:39:25,129 --> 00:39:26,708
AND ME, IT'S CRAZY NUTS.
THEY GOT GUYS DANCING WITH GUYS,
GIRLS DANCING WITH GIRLS, GUYS
1278
00:39:26,732 --> 00:39:28,376
THEY GOT GUYS DANCING WITH GUYS,
GIRLS DANCING WITH GIRLS, GUYS
WHO LOOK LIKE GIRLS DANCING WITH
1279
00:39:28,400 --> 00:39:30,010
GIRLS DANCING WITH GIRLS, GUYS
WHO LOOK LIKE GIRLS DANCING WITH
GIRLS WHO LOOK LIKE GUYS, GIRLS
1280
00:39:30,034 --> 00:39:31,646
WHO LOOK LIKE GIRLS DANCING WITH
GIRLS WHO LOOK LIKE GUYS, GIRLS
WHO LOOK LIKE DOGS DANCING WITH
1281
00:39:31,670 --> 00:39:33,247
GIRLS WHO LOOK LIKE GUYS, GIRLS
WHO LOOK LIKE DOGS DANCING WITH
THEMSELVES, GUYS WHO LOOK LIKE
1282
00:39:33,271 --> 00:39:34,682
WHO LOOK LIKE DOGS DANCING WITH
THEMSELVES, GUYS WHO LOOK LIKE
DOGS DANCING WITH DOGS.
1283
00:39:34,706 --> 00:39:36,517
THEMSELVES, GUYS WHO LOOK LIKE
DOGS DANCING WITH DOGS.
IT'S JUST LIKE MY FATHER ALWAYS
1284
00:39:36,541 --> 00:39:38,353
DOGS DANCING WITH DOGS.
IT'S JUST LIKE MY FATHER ALWAYS
USED TO SAY TO ME BEFORE I WENT
1285
00:39:38,377 --> 00:39:39,320
IT'S JUST LIKE MY FATHER ALWAYS
USED TO SAY TO ME BEFORE I WENT
TO BED.
1286
00:39:39,344 --> 00:39:40,421
USED TO SAY TO ME BEFORE I WENT
TO BED.
HE'D SAY,
1287
00:39:40,445 --> 00:39:42,657
TO BED.
HE'D SAY,
"ROSEANNE ROSANNADANNA,
1288
00:39:42,681 --> 00:39:46,627
HE'D SAY,
"ROSEANNE ROSANNADANNA,
STUDIO 54 IS JUST LIKE JANE'S
1289
00:39:46,651 --> 00:39:47,695
"ROSEANNE ROSANNADANNA,
STUDIO 54 IS JUST LIKE JANE'S
EAR.
1290
00:39:47,719 --> 00:39:49,330
STUDIO 54 IS JUST LIKE JANE'S
EAR.
FROM THE OUTSIDE, IT'S KIND OF
1291
00:39:49,354 --> 00:39:50,698
EAR.
FROM THE OUTSIDE, IT'S KIND OF
PRETTY AND COULD BE VERY
1292
00:39:50,722 --> 00:39:52,166
FROM THE OUTSIDE, IT'S KIND OF
PRETTY AND COULD BE VERY
GLAMOROUS WITH JEWELRY AND
1293
00:39:52,190 --> 00:39:53,768
PRETTY AND COULD BE VERY
GLAMOROUS WITH JEWELRY AND
DIAMONDS AND GLITTER AND VERY
1294
00:39:53,792 --> 00:39:55,302
GLAMOROUS WITH JEWELRY AND
DIAMONDS AND GLITTER AND VERY
ATTRACTIVE AND VERY NICE AND
1295
00:39:55,326 --> 00:39:56,437
DIAMONDS AND GLITTER AND VERY
ATTRACTIVE AND VERY NICE AND
EVERYTHING LIKE.
1296
00:39:56,461 --> 00:39:58,239
ATTRACTIVE AND VERY NICE AND
EVERYTHING LIKE.
BUT ON THE INSIDE, IT'S REAL
1297
00:39:58,263 --> 00:40:00,107
EVERYTHING LIKE.
BUT ON THE INSIDE, IT'S REAL
DARK, AND IT'S GOT SOME WEIRD
1298
00:40:00,131 --> 00:40:01,208
BUT ON THE INSIDE, IT'S REAL
DARK, AND IT'S GOT SOME WEIRD
STUFF IN THERE.
1299
00:40:01,232 --> 00:40:02,777
DARK, AND IT'S GOT SOME WEIRD
STUFF IN THERE.
I DON'T KNOW WHAT IT IS.
1300
00:40:02,801 --> 00:40:04,211
STUFF IN THERE.
I DON'T KNOW WHAT IT IS.
GOOD NIGHT, MY LITTLE
1301
00:40:04,235 --> 00:40:05,312
I DON'T KNOW WHAT IT IS.
GOOD NIGHT, MY LITTLE
ROSEANNE ROSANNADANNA."
1302
00:40:05,336 --> 00:40:06,247
GOOD NIGHT, MY LITTLE
ROSEANNE ROSANNADANNA."
THAT'S THE NEWS.
1303
00:40:06,271 --> 00:40:07,615
ROSEANNE ROSANNADANNA."
THAT'S THE NEWS.
GOOD NIGHT, AND HAVE A PLEASANT
1304
00:40:07,639 --> 00:40:10,239
THAT'S THE NEWS.
GOOD NIGHT, AND HAVE A PLEASANT
TOMORROW.
1305
00:40:13,878 --> 00:40:21,878
LADIES AND GENTLEMEN, THE
ROLLING STONES.
["BEAST OF BURDEN" PLAYS]
1306
00:40:36,534 --> 00:40:43,384
♪ I'LL NEVER BE
YOUR BEAST OF BURDEN ♪
♪ I WALKED FOR MILES ♪
1307
00:40:43,408 --> 00:40:46,053
YOUR BEAST OF BURDEN ♪
♪ I WALKED FOR MILES ♪
♪ MY FEET HURT ♪
1308
00:40:46,077 --> 00:40:48,856
♪ I WALKED FOR MILES ♪
♪ MY FEET HURT ♪
♪ ALL I WANT IS YOU TO MAKE
1309
00:40:48,880 --> 00:40:51,080
♪ MY FEET HURT ♪
♪ ALL I WANT IS YOU TO MAKE
LOVE TO ME ♪
1310
00:40:55,653 --> 00:41:02,303
♪ I DON'T WANT NO BEAST OF
BURDEN ♪
♪ DON'T NEED NO FUSSING ♪
1311
00:41:02,327 --> 00:41:05,039
BURDEN ♪
♪ DON'T NEED NO FUSSING ♪
♪ DON'T NEED NO CURSING ♪
1312
00:41:05,063 --> 00:41:08,776
♪ DON'T NEED NO FUSSING ♪
♪ DON'T NEED NO CURSING ♪
♪ ALL I WANT IS YOU TO MAKE LOVE
1313
00:41:08,800 --> 00:41:13,213
♪ DON'T NEED NO CURSING ♪
♪ ALL I WANT IS YOU TO MAKE LOVE
TO ME ♪
1314
00:41:13,237 --> 00:41:15,650
♪ ALL I WANT IS YOU TO MAKE LOVE
TO ME ♪
♪ AM I HARD ENOUGH? ♪
1315
00:41:15,674 --> 00:41:18,018
TO ME ♪
♪ AM I HARD ENOUGH? ♪
♪ AM I TOUGH ENOUGH? ♪
1316
00:41:18,042 --> 00:41:20,822
♪ AM I HARD ENOUGH? ♪
♪ AM I TOUGH ENOUGH? ♪
♪ AM I RICH ENOUGH? ♪
1317
00:41:20,846 --> 00:41:26,461
♪ AM I TOUGH ENOUGH? ♪
♪ AM I RICH ENOUGH? ♪
♪ I'M NOT TOO BLIND TO SEE ♪
1318
00:41:26,485 --> 00:41:29,163
♪ AM I RICH ENOUGH? ♪
♪ I'M NOT TOO BLIND TO SEE ♪
♪ I DON'T WANT NO BEAST OF
1319
00:41:29,187 --> 00:41:30,798
♪ I'M NOT TOO BLIND TO SEE ♪
♪ I DON'T WANT NO BEAST OF
BURDEN ♪
1320
00:41:30,822 --> 00:41:33,133
♪ I DON'T WANT NO BEAST OF
BURDEN ♪
♪ DON'T NEED YOUR FUSSING ♪
1321
00:41:33,157 --> 00:41:35,803
BURDEN ♪
♪ DON'T NEED YOUR FUSSING ♪
♪ DON'T NEED YOUR CURSING ♪
1322
00:41:35,827 --> 00:41:39,574
♪ DON'T NEED YOUR FUSSING ♪
♪ DON'T NEED YOUR CURSING ♪
♪ ALL I WANT IS YOU TO MAKE LOVE
1323
00:41:39,598 --> 00:41:44,378
♪ DON'T NEED YOUR CURSING ♪
♪ ALL I WANT IS YOU TO MAKE LOVE
TO ME ♪
1324
00:41:44,402 --> 00:41:45,480
♪ ALL I WANT IS YOU TO MAKE LOVE
TO ME ♪
♪ I'LL TELL YOU ♪
1325
00:41:45,504 --> 00:41:48,082
TO ME ♪
♪ I'LL TELL YOU ♪
♪ I DON'T WANT NO BEAST OF
1326
00:41:48,106 --> 00:41:50,017
♪ I'LL TELL YOU ♪
♪ I DON'T WANT NO BEAST OF
BURDEN ♪
1327
00:41:50,041 --> 00:41:52,920
♪ I DON'T WANT NO BEAST OF
BURDEN ♪
♪ LET'S GO HOME AND DRAW THE
1328
00:41:52,944 --> 00:41:53,754
BURDEN ♪
♪ LET'S GO HOME AND DRAW THE
CURTAINS ♪
1329
00:41:53,778 --> 00:41:57,692
♪ LET'S GO HOME AND DRAW THE
CURTAINS ♪
♪ SOME MUSIC ON THE RADIO ♪
1330
00:41:57,716 --> 00:42:03,063
CURTAINS ♪
♪ SOME MUSIC ON THE RADIO ♪
♪ COME ON, BABY, PLEASE ♪
1331
00:42:03,087 --> 00:42:05,366
♪ SOME MUSIC ON THE RADIO ♪
♪ COME ON, BABY, PLEASE ♪
♪ AM I HARD ENOUGH? ♪
1332
00:42:05,390 --> 00:42:07,768
♪ COME ON, BABY, PLEASE ♪
♪ AM I HARD ENOUGH? ♪
♪ AM I ROUGH ENOUGH? ♪
1333
00:42:07,792 --> 00:42:10,505
♪ AM I HARD ENOUGH? ♪
♪ AM I ROUGH ENOUGH? ♪
♪ AM I RICH ENOUGH? ♪
1334
00:42:10,529 --> 00:42:15,977
♪ AM I ROUGH ENOUGH? ♪
♪ AM I RICH ENOUGH? ♪
♪ I'M NOT TOO BLIND TO SEE ♪
1335
00:42:16,001 --> 00:42:18,379
♪ AM I RICH ENOUGH? ♪
♪ I'M NOT TOO BLIND TO SEE ♪
♪ I... IT'S A ♪
1336
00:42:18,403 --> 00:42:20,643
♪ I'M NOT TOO BLIND TO SEE ♪
♪ I... IT'S A ♪
[GUITAR SOLO]
1337
00:42:35,819 --> 00:42:38,933
YOU SAY IT.
♪ PRETTY, PRETTY, PRETTY,
PRETTY ♪
1338
00:42:38,957 --> 00:42:41,235
♪ PRETTY, PRETTY, PRETTY,
PRETTY ♪
♪ SUCH A PRETTY GIRL ♪
1339
00:42:41,259 --> 00:42:43,470
PRETTY ♪
♪ SUCH A PRETTY GIRL ♪
♪ PRETTY, PRETTY, PRETTY ♪
1340
00:42:43,494 --> 00:42:46,741
♪ SUCH A PRETTY GIRL ♪
♪ PRETTY, PRETTY, PRETTY ♪
♪ SUCH A PRETTY GIRL ♪
1341
00:42:46,765 --> 00:42:51,812
♪ PRETTY, PRETTY, PRETTY ♪
♪ SUCH A PRETTY GIRL ♪
♪ OH, COME ON, BABY, PLEASE ♪
1342
00:42:51,836 --> 00:42:54,815
♪ SUCH A PRETTY GIRL ♪
♪ OH, COME ON, BABY, PLEASE ♪
♪ I'LL TELL YOU SOMETHING ♪
1343
00:42:54,839 --> 00:42:58,218
♪ OH, COME ON, BABY, PLEASE ♪
♪ I'LL TELL YOU SOMETHING ♪
♪ YOU CAN PUT ME OUT ♪
1344
00:42:58,242 --> 00:42:59,754
♪ I'LL TELL YOU SOMETHING ♪
♪ YOU CAN PUT ME OUT ♪
♪ ON THE STREET ♪
1345
00:42:59,778 --> 00:43:01,656
♪ YOU CAN PUT ME OUT ♪
♪ ON THE STREET ♪
♪ PUT ME OUT ♪
1346
00:43:01,680 --> 00:43:04,391
♪ ON THE STREET ♪
♪ PUT ME OUT ♪
♪ WITH NO SHOES ON MY FEET ♪
1347
00:43:04,415 --> 00:43:07,161
♪ PUT ME OUT ♪
♪ WITH NO SHOES ON MY FEET ♪
♪ PUT ME OUT, PUT ME OUT, PUT ME
1348
00:43:07,185 --> 00:43:10,185
♪ WITH NO SHOES ON MY FEET ♪
♪ PUT ME OUT, PUT ME OUT, PUT ME
OUT OF MISERY ♪
1349
00:43:13,757 --> 00:43:20,307
♪ ALL YOUR AFFECTION ♪
♪ I SUCK IT UP ♪
♪ THROW IT ALL AT ME ♪
1350
00:43:20,331 --> 00:43:23,044
♪ I SUCK IT UP ♪
♪ THROW IT ALL AT ME ♪
♪ I SHRUG IT OFF ♪
1351
00:43:23,068 --> 00:43:25,279
♪ THROW IT ALL AT ME ♪
♪ I SHRUG IT OFF ♪
♪ THERE'S ONE THING, BABY ♪
1352
00:43:25,303 --> 00:43:27,848
♪ I SHRUG IT OFF ♪
♪ THERE'S ONE THING, BABY ♪
♪ I CAN'T UNDERSTAND ♪
1353
00:43:27,872 --> 00:43:29,684
♪ THERE'S ONE THING, BABY ♪
♪ I CAN'T UNDERSTAND ♪
♪ YOU KEEP ON TELLING ME ♪
1354
00:43:29,708 --> 00:43:31,852
♪ I CAN'T UNDERSTAND ♪
♪ YOU KEEP ON TELLING ME ♪
♪ I AIN'T YOUR KIND OF MAN ♪
1355
00:43:31,876 --> 00:43:36,691
♪ YOU KEEP ON TELLING ME ♪
♪ I AIN'T YOUR KIND OF MAN ♪
♪ AIN'T I ROUGH ENOUGH? ♪
1356
00:43:36,715 --> 00:43:41,195
♪ I AIN'T YOUR KIND OF MAN ♪
♪ AIN'T I ROUGH ENOUGH? ♪
♪ AIN'T I ROUGH ENOUGH? ♪
1357
00:43:41,219 --> 00:43:42,730
♪ AIN'T I ROUGH ENOUGH? ♪
♪ AIN'T I ROUGH ENOUGH? ♪
♪ AIN'T I RICH ENOUGH? ♪
1358
00:43:42,754 --> 00:43:45,199
♪ AIN'T I ROUGH ENOUGH? ♪
♪ AIN'T I RICH ENOUGH? ♪
♪ IN LOVE ENOUGH? ♪
1359
00:43:45,223 --> 00:43:51,872
♪ AIN'T I RICH ENOUGH? ♪
♪ IN LOVE ENOUGH? ♪
♪ COME ON, TELL ME, BABY ♪
1360
00:43:51,896 --> 00:43:54,374
♪ IN LOVE ENOUGH? ♪
♪ COME ON, TELL ME, BABY ♪
♪ I DON'T WANT NO BEAST OF
1361
00:43:54,398 --> 00:43:56,176
♪ COME ON, TELL ME, BABY ♪
♪ I DON'T WANT NO BEAST OF
BURDEN ♪
1362
00:43:56,200 --> 00:43:58,245
♪ I DON'T WANT NO BEAST OF
BURDEN ♪
♪ I WALKED FOR MILES ♪
1363
00:43:58,269 --> 00:44:00,314
BURDEN ♪
♪ I WALKED FOR MILES ♪
♪ MY FEET ARE HURTING ♪
1364
00:44:00,338 --> 00:44:00,982
♪ I WALKED FOR MILES ♪
♪ MY FEET ARE HURTING ♪
♪ I'LL NEVER ♪
1365
00:44:01,006 --> 00:44:01,582
♪ MY FEET ARE HURTING ♪
♪ I'LL NEVER ♪
♪ NEVER ♪
1366
00:44:01,606 --> 00:44:02,216
♪ I'LL NEVER ♪
♪ NEVER ♪
♪ NEVER ♪
1367
00:44:02,240 --> 00:44:02,917
♪ NEVER ♪
♪ NEVER ♪
♪ NEVER ♪
1368
00:44:02,941 --> 00:44:06,308
♪ NEVER ♪
♪ NEVER ♪
♪ NEVER, NEVER EVER BE ♪
1369
00:44:10,380 --> 00:44:16,964
♪ I WON'T BE YOUR BEAST OF
BURDEN ♪
♪ DON'T NEED NO FUSSING ♪
1370
00:44:16,988 --> 00:44:19,033
BURDEN ♪
♪ DON'T NEED NO FUSSING ♪
♪ DON'T NEED NO NURSING ♪
1371
00:44:19,057 --> 00:44:19,634
♪ DON'T NEED NO FUSSING ♪
♪ DON'T NEED NO NURSING ♪
♪ I'LL NEVER ♪
1372
00:44:19,658 --> 00:44:20,200
♪ DON'T NEED NO NURSING ♪
♪ I'LL NEVER ♪
♪ NEVER ♪
1373
00:44:20,224 --> 00:44:20,935
♪ I'LL NEVER ♪
♪ NEVER ♪
♪ NEVER ♪
1374
00:44:20,959 --> 00:44:21,602
♪ NEVER ♪
♪ NEVER ♪
♪ NEVER ♪
1375
00:44:21,626 --> 00:44:26,140
♪ NEVER ♪
♪ NEVER ♪
♪ NEVER, NEVER, NEVER BE ♪
1376
00:44:26,164 --> 00:44:28,976
♪ NEVER ♪
♪ NEVER, NEVER, NEVER BE ♪
♪ AH, SHOULD I? ♪
1377
00:44:29,000 --> 00:44:31,480
♪ NEVER, NEVER, NEVER BE ♪
♪ AH, SHOULD I? ♪
[GUITAR SOLO]
1378
00:45:10,473 --> 00:45:17,892
♪ NEVER ♪
♪ NEVER ♪
♪ NEVER ♪
1379
00:45:17,916 --> 00:45:22,329
♪ NEVER ♪
♪ NEVER ♪
♪ NEVER ♪
1380
00:45:22,353 --> 00:45:26,055
♪ NEVER ♪
♪ NEVER ♪
[CHEERS AND APPLAUSE]
1381
00:45:34,431 --> 00:45:42,431
THANK YOU.
THANK YOU VERY MUCH.
WHOA, MY BABY.
1382
00:45:49,180 --> 00:45:51,491
THANK YOU VERY MUCH.
WHOA, MY BABY.
YOU'RE SO RESPECTABLE.
1383
00:45:51,515 --> 00:45:53,796
WHOA, MY BABY.
YOU'RE SO RESPECTABLE.
["RESPECTABLE" PLAYS]
1384
00:46:06,029 --> 00:46:10,410
♪ WELL, NOW YOU'RE RESPECTED IN
SOCIETY ♪
♪ YOU DON'T WORRY ABOUT THE
1385
00:46:10,434 --> 00:46:11,946
SOCIETY ♪
♪ YOU DON'T WORRY ABOUT THE
THINGS THAT YOU USED TO BE ♪
1386
00:46:11,970 --> 00:46:14,248
♪ YOU DON'T WORRY ABOUT THE
THINGS THAT YOU USED TO BE ♪
♪ YOU'RE TALKING HEROIN WITH THE
1387
00:46:14,272 --> 00:46:15,216
THINGS THAT YOU USED TO BE ♪
♪ YOU'RE TALKING HEROIN WITH THE
PRESIDENT ♪
1388
00:46:15,240 --> 00:46:17,317
♪ YOU'RE TALKING HEROIN WITH THE
PRESIDENT ♪
♪ "YES, IT'S A PROBLEM, SIR, BUT
1389
00:46:17,341 --> 00:46:19,821
PRESIDENT ♪
♪ "YES, IT'S A PROBLEM, SIR, BUT
IT CAN'T BE BENT" ♪
1390
00:46:24,447 --> 00:46:29,263
♪ WELL, NOW YOU'RE THE PILLAR OF
SOCIETY ♪
♪ YOU WORRY ABOUT THE THINGS
1391
00:46:29,287 --> 00:46:30,530
SOCIETY ♪
♪ YOU WORRY ABOUT THE THINGS
THAT YOU USED TO BE ♪
1392
00:46:30,554 --> 00:46:32,666
♪ YOU WORRY ABOUT THE THINGS
THAT YOU USED TO BE ♪
♪ YOU'RE A RAG-TRADE GIRL, THE
1393
00:46:32,690 --> 00:46:33,834
THAT YOU USED TO BE ♪
♪ YOU'RE A RAG-TRADE GIRL, THE
QUEEN OF PORN ♪
1394
00:46:33,858 --> 00:46:35,736
♪ YOU'RE A RAG-TRADE GIRL, THE
QUEEN OF PORN ♪
♪ YOU'RE THE EASIEST LAY ON THE
1395
00:46:35,760 --> 00:46:36,771
QUEEN OF PORN ♪
♪ YOU'RE THE EASIEST LAY ON THE
WHITE HOUSE LAWN ♪
1396
00:46:36,795 --> 00:46:39,807
♪ YOU'RE THE EASIEST LAY ON THE
WHITE HOUSE LAWN ♪
♪ GET OUT OF MY LIFE ♪
1397
00:46:39,831 --> 00:46:42,977
WHITE HOUSE LAWN ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T COME BACK ♪
1398
00:46:43,001 --> 00:46:44,645
♪ GET OUT OF MY LIFE ♪
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
1399
00:46:44,669 --> 00:46:45,813
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
1400
00:46:45,837 --> 00:46:48,916
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
1401
00:46:48,940 --> 00:46:51,919
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
♪ YOU'RE SO RESPECTABLE ♪
1402
00:46:51,943 --> 00:46:54,889
♪ DON'T COME BACK ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
1403
00:46:54,913 --> 00:46:58,092
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
1404
00:46:58,116 --> 00:47:01,295
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
1405
00:47:01,319 --> 00:47:03,164
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ GET OUT OF MY LIFE ♪
1406
00:47:03,188 --> 00:47:04,198
♪ YOU'RE SO RESPECTABLE ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
1407
00:47:04,222 --> 00:47:07,367
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
1408
00:47:07,391 --> 00:47:09,170
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
1409
00:47:09,194 --> 00:47:10,337
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
1410
00:47:10,361 --> 00:47:13,274
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
1411
00:47:13,298 --> 00:47:15,458
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
[GUITAR SOLO]
1412
00:47:37,687 --> 00:47:45,687
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
1413
00:47:46,064 --> 00:47:49,676
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ YEAH, SO RESPECTABLE ♪
1414
00:47:49,700 --> 00:47:51,545
♪ YOU'RE SO RESPECTABLE ♪
♪ YEAH, SO RESPECTABLE ♪
♪ GET OUT OF MY LIFE ♪
1415
00:47:51,569 --> 00:47:52,579
♪ YEAH, SO RESPECTABLE ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
1416
00:47:52,603 --> 00:47:55,983
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
1417
00:47:56,007 --> 00:47:57,417
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
1418
00:47:57,441 --> 00:47:58,452
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
1419
00:47:58,476 --> 00:48:01,889
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
1420
00:48:01,913 --> 00:48:04,073
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
[GUITAR SOLO]
1421
00:48:25,602 --> 00:48:33,602
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
1422
00:48:33,677 --> 00:48:37,557
♪ YOU'RE SO RESPECTABLE ♪
♪ YOU'RE SO RESPECTABLE ♪
♪ AH, YOU'RE SO RESPECTABLE ♪
1423
00:48:37,581 --> 00:48:39,426
♪ YOU'RE SO RESPECTABLE ♪
♪ AH, YOU'RE SO RESPECTABLE ♪
♪ NOW GET OUT OF MY LIFE ♪
1424
00:48:39,450 --> 00:48:40,560
♪ AH, YOU'RE SO RESPECTABLE ♪
♪ NOW GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
1425
00:48:40,584 --> 00:48:43,597
♪ NOW GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
1426
00:48:43,621 --> 00:48:45,366
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
1427
00:48:45,390 --> 00:48:46,300
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
1428
00:48:46,324 --> 00:48:49,569
♪ GET OUT OF MY LIFE ♪
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
1429
00:48:49,593 --> 00:48:51,405
♪ DON'T TAKE MY WIFE ♪
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
1430
00:48:51,429 --> 00:48:52,439
♪ DON'T COME BACK ♪
♪ GET OUT OF MY LIFE ♪
♪ DON'T DROP MY WIFE ♪
1431
00:48:52,463 --> 00:48:54,983
♪ GET OUT OF MY LIFE ♪
♪ DON'T DROP MY WIFE ♪
♪ DON'T COME BACK ♪
1432
00:49:00,870 --> 00:49:02,671
[CHEER AND APPLAUSE]
1433
00:49:10,380 --> 00:49:12,181
["SHATTERED" PLAYS]
1434
00:49:24,861 --> 00:49:31,946
♪ UNH, SHATTERED ♪
♪ SHATTERED ♪
♪ STILL SURVIVING ON THE
1435
00:49:31,970 --> 00:49:32,479
♪ SHATTERED ♪
♪ STILL SURVIVING ON THE
STREETS ♪
1436
00:49:32,503 --> 00:49:34,348
♪ STILL SURVIVING ON THE
STREETS ♪
♪ LOOK AT ME ♪
1437
00:49:34,372 --> 00:49:37,451
STREETS ♪
♪ LOOK AT ME ♪
♪ I'M IN TATTERS ♪
1438
00:49:37,475 --> 00:49:41,755
♪ LOOK AT ME ♪
♪ I'M IN TATTERS ♪
♪ I'M SHATTERED ♪
1439
00:49:41,779 --> 00:49:42,923
♪ I'M IN TATTERS ♪
♪ I'M SHATTERED ♪
♪ FRIENDS ARE SO ALARMING ♪
1440
00:49:42,947 --> 00:49:44,158
♪ I'M SHATTERED ♪
♪ FRIENDS ARE SO ALARMING ♪
♪ AND MY LOVER'S NEVER
1441
00:49:44,182 --> 00:49:44,858
♪ FRIENDS ARE SO ALARMING ♪
♪ AND MY LOVER'S NEVER
CHARMING ♪
1442
00:49:44,882 --> 00:49:46,526
♪ AND MY LOVER'S NEVER
CHARMING ♪
♪ LIFE'S JUST A COCKTAIL PARTY
1443
00:49:46,550 --> 00:49:47,394
CHARMING ♪
♪ LIFE'S JUST A COCKTAIL PARTY
ON THE STREET ♪
1444
00:49:47,418 --> 00:49:47,995
♪ LIFE'S JUST A COCKTAIL PARTY
ON THE STREET ♪
♪ BIG APPLE ♪
1445
00:49:48,019 --> 00:49:49,163
ON THE STREET ♪
♪ BIG APPLE ♪
♪ PEOPLE DRESSED IN PLASTIC
1446
00:49:49,187 --> 00:49:49,663
♪ BIG APPLE ♪
♪ PEOPLE DRESSED IN PLASTIC
BAGS ♪
1447
00:49:49,687 --> 00:49:51,065
♪ PEOPLE DRESSED IN PLASTIC
BAGS ♪
♪ DIRECTING TRAFFIC ♪
1448
00:49:51,089 --> 00:49:53,934
BAGS ♪
♪ DIRECTING TRAFFIC ♪
♪ SOME KIND OF FASHION ♪
1449
00:49:53,958 --> 00:49:54,935
♪ DIRECTING TRAFFIC ♪
♪ SOME KIND OF FASHION ♪
♪ LAUGHTER, JOY, AND
1450
00:49:54,959 --> 00:49:55,569
♪ SOME KIND OF FASHION ♪
♪ LAUGHTER, JOY, AND
LONELINESS ♪
1451
00:49:55,593 --> 00:49:56,837
♪ LAUGHTER, JOY, AND
LONELINESS ♪
♪ AND SEX AND SEX AND SEX AND
1452
00:49:56,861 --> 00:49:57,171
LONELINESS ♪
♪ AND SEX AND SEX AND SEX AND
SEX ♪
1453
00:49:57,195 --> 00:49:59,073
♪ AND SEX AND SEX AND SEX AND
SEX ♪
♪ LOOK AT ME ♪
1454
00:49:59,097 --> 00:50:02,042
SEX ♪
♪ LOOK AT ME ♪
♪ I'M IN TATTERS ♪
1455
00:50:02,066 --> 00:50:05,045
♪ LOOK AT ME ♪
♪ I'M IN TATTERS ♪
♪ I'M SHATTERED ♪
1456
00:50:05,069 --> 00:50:08,382
♪ I'M IN TATTERS ♪
♪ I'M SHATTERED ♪
♪ I'M SHATTERED ♪
1457
00:50:08,406 --> 00:50:12,353
♪ I'M SHATTERED ♪
♪ I'M SHATTERED ♪
♪ SHATTERED ♪
1458
00:50:12,377 --> 00:50:13,653
♪ I'M SHATTERED ♪
♪ SHATTERED ♪
♪ ALL THIS CHITTER-CHATTER,
1459
00:50:13,677 --> 00:50:15,022
♪ SHATTERED ♪
♪ ALL THIS CHITTER-CHATTER,
CHITTER-CHATTER, CHITTER-CHATTER
1460
00:50:15,046 --> 00:50:15,456
♪ ALL THIS CHITTER-CHATTER,
CHITTER-CHATTER, CHITTER-CHATTER
'BOUT ♪
1461
00:50:15,480 --> 00:50:17,291
CHITTER-CHATTER, CHITTER-CHATTER
'BOUT ♪
♪ SHMATE, SHMATE, SHMATE... I
1462
00:50:17,315 --> 00:50:18,325
'BOUT ♪
♪ SHMATE, SHMATE, SHMATE... I
CAN'T GIVE IT AWAY ON
1463
00:50:18,349 --> 00:50:19,159
♪ SHMATE, SHMATE, SHMATE... I
CAN'T GIVE IT AWAY ON
7th AVENUE ♪
1464
00:50:19,183 --> 00:50:20,194
CAN'T GIVE IT AWAY ON
7th AVENUE ♪
♪ THIS TOWN'S BEEN WEARING
1465
00:50:20,218 --> 00:50:21,528
7th AVENUE ♪
♪ THIS TOWN'S BEEN WEARING
TATTERS ♪
1466
00:50:21,552 --> 00:50:22,929
♪ THIS TOWN'S BEEN WEARING
TATTERS ♪
♪ HUH, SHUT UP ♪
1467
00:50:22,953 --> 00:50:27,667
TATTERS ♪
♪ HUH, SHUT UP ♪
♪ SHATTERED, SHATTERED ♪
1468
00:50:27,691 --> 00:50:28,935
♪ HUH, SHUT UP ♪
♪ SHATTERED, SHATTERED ♪
♪ LAUGHTER AND JOY AND DIRTY
1469
00:50:28,959 --> 00:50:30,137
♪ SHATTERED, SHATTERED ♪
♪ LAUGHTER AND JOY AND DIRTY
DREAMS ARE STILL SURVIVING ON
1470
00:50:30,161 --> 00:50:30,737
♪ LAUGHTER AND JOY AND DIRTY
DREAMS ARE STILL SURVIVING ON
THE STREET ♪
1471
00:50:30,761 --> 00:50:31,705
DREAMS ARE STILL SURVIVING ON
THE STREET ♪
♪ LAUGHTER, JOY, AND
1472
00:50:31,729 --> 00:50:33,240
THE STREET ♪
♪ LAUGHTER, JOY, AND
LONELINESS AND SEX AND SEX AND
1473
00:50:33,264 --> 00:50:33,874
♪ LAUGHTER, JOY, AND
LONELINESS AND SEX AND SEX AND
SEX AND SEX ♪
1474
00:50:33,898 --> 00:50:35,742
LONELINESS AND SEX AND SEX AND
SEX AND SEX ♪
♪ AND LOOK AT ME ♪
1475
00:50:35,766 --> 00:50:38,112
SEX AND SEX ♪
♪ AND LOOK AT ME ♪
♪ I'M SHATTERED ♪
1476
00:50:38,136 --> 00:50:40,247
♪ AND LOOK AT ME ♪
♪ I'M SHATTERED ♪
♪ HEY, I'M SHATTERED ♪
1477
00:50:40,271 --> 00:50:42,351
♪ I'M SHATTERED ♪
♪ HEY, I'M SHATTERED ♪
[GUITAR SOLO]
1478
00:51:03,626 --> 00:51:07,974
♪ GET IT ♪
♪ LOOK AT ME ♪
♪ I'M IN TATTERS ♪
1479
00:51:07,998 --> 00:51:09,910
♪ LOOK AT ME ♪
♪ I'M IN TATTERS ♪
♪ LOOK AT ME ♪
1480
00:51:09,934 --> 00:51:11,178
♪ I'M IN TATTERS ♪
♪ LOOK AT ME ♪
♪ I'M SHATTERED ♪
1481
00:51:11,202 --> 00:51:13,013
♪ LOOK AT ME ♪
♪ I'M SHATTERED ♪
♪ LOOK AT ME ♪
1482
00:51:13,037 --> 00:51:14,114
♪ I'M SHATTERED ♪
♪ LOOK AT ME ♪
♪ I'M SHATTERED ♪
1483
00:51:14,138 --> 00:51:16,250
♪ LOOK AT ME ♪
♪ I'M SHATTERED ♪
♪ LOOK AT ME ♪
1484
00:51:16,274 --> 00:51:17,884
♪ I'M SHATTERED ♪
♪ LOOK AT ME ♪
♪ I'M SHATTERED ♪
1485
00:51:17,908 --> 00:51:19,453
♪ LOOK AT ME ♪
♪ I'M SHATTERED ♪
♪ SHADOOBIE ♪
1486
00:51:19,477 --> 00:51:20,887
♪ I'M SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED ♪
1487
00:51:20,911 --> 00:51:22,556
♪ SHADOOBIE ♪
♪ SHATTERED ♪
♪ SHADOOBIE ♪
1488
00:51:22,580 --> 00:51:24,158
♪ SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED ♪
1489
00:51:24,182 --> 00:51:25,526
♪ SHADOOBIE ♪
♪ SHATTERED ♪
♪ SHADOOBIE ♪
1490
00:51:25,550 --> 00:51:27,061
♪ SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED ♪
1491
00:51:27,085 --> 00:51:28,828
♪ SHADOOBIE ♪
♪ SHATTERED ♪
♪ SHADOOBIE ♪
1492
00:51:28,852 --> 00:51:29,496
♪ SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED ♪
1493
00:51:29,520 --> 00:51:30,830
♪ SHADOOBIE ♪
♪ SHATTERED ♪
♪ UNH, SHADOOBIE ♪
1494
00:51:30,854 --> 00:51:33,167
♪ SHATTERED ♪
♪ UNH, SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
1495
00:51:33,191 --> 00:51:33,867
♪ UNH, SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
1496
00:51:33,891 --> 00:51:36,136
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
1497
00:51:36,160 --> 00:51:37,003
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
1498
00:51:37,027 --> 00:51:39,005
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
1499
00:51:39,029 --> 00:51:40,107
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
1500
00:51:40,131 --> 00:51:42,176
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
1501
00:51:42,200 --> 00:51:43,243
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
1502
00:51:43,267 --> 00:51:44,911
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
1503
00:51:44,935 --> 00:51:45,979
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
1504
00:51:46,003 --> 00:51:48,803
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
1505
00:51:53,910 --> 00:52:01,295
♪ DON'T YOU KNOW THE CRIME IS
GOING UP, UP, UP, UP, UP, HUH? ♪
♪ TO LIVE IN THIS TOWN YOU MUST
1506
00:52:01,319 --> 00:52:02,229
GOING UP, UP, UP, UP, UP, HUH? ♪
♪ TO LIVE IN THIS TOWN YOU MUST
BE TOUGH, TOUGH, TOUGH, TOUGH,
1507
00:52:02,253 --> 00:52:05,432
♪ TO LIVE IN THIS TOWN YOU MUST
BE TOUGH, TOUGH, TOUGH, TOUGH,
TOUGH, TOUGH, TOUGH ♪
1508
00:52:05,456 --> 00:52:07,401
BE TOUGH, TOUGH, TOUGH, TOUGH,
TOUGH, TOUGH, TOUGH ♪
♪ WE GOT RATS ON THE WEST SIDE,
1509
00:52:07,425 --> 00:52:08,835
TOUGH, TOUGH, TOUGH ♪
♪ WE GOT RATS ON THE WEST SIDE,
BEDBUGS UPTOWN ♪
1510
00:52:08,859 --> 00:52:10,270
♪ WE GOT RATS ON THE WEST SIDE,
BEDBUGS UPTOWN ♪
♪ WHAT A MESS, THIS TOWN'S IN
1511
00:52:10,294 --> 00:52:10,770
BEDBUGS UPTOWN ♪
♪ WHAT A MESS, THIS TOWN'S IN
TATTERS ♪
1512
00:52:10,794 --> 00:52:16,410
♪ WHAT A MESS, THIS TOWN'S IN
TATTERS ♪
♪ I'M SHATTERED ♪
1513
00:52:16,434 --> 00:52:18,579
TATTERS ♪
♪ I'M SHATTERED ♪
♪ SHATTERED, SHATTERED ♪
1514
00:52:18,603 --> 00:52:20,280
♪ I'M SHATTERED ♪
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
1515
00:52:20,304 --> 00:52:21,781
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED ♪
1516
00:52:21,805 --> 00:52:22,516
♪ SHADOOBIE ♪
♪ SHATTERED ♪
♪ SHADOOBIE ♪
1517
00:52:22,540 --> 00:52:24,985
♪ SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
1518
00:52:25,009 --> 00:52:25,652
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
1519
00:52:25,676 --> 00:52:27,721
♪ SHATTERED, SHATTERED ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
1520
00:52:27,745 --> 00:52:28,722
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
1521
00:52:28,746 --> 00:52:30,790
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
1522
00:52:30,814 --> 00:52:31,658
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
1523
00:52:31,682 --> 00:52:33,727
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
1524
00:52:33,751 --> 00:52:34,728
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
1525
00:52:34,752 --> 00:52:36,830
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
1526
00:52:36,854 --> 00:52:37,697
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
1527
00:52:37,721 --> 00:52:40,667
♪ SHATTERED, SHATTERED, UNH ♪
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
1528
00:52:40,691 --> 00:52:42,402
♪ SHADOOBIE ♪
♪ SHATTERED, SHATTERED ♪
♪ YEAH, MY BRAIN'S BEEN... MY
1529
00:52:42,426 --> 00:52:45,205
♪ SHATTERED, SHATTERED ♪
♪ YEAH, MY BRAIN'S BEEN... MY
BRAIN'S BEEN SPLATTERED ALL OVER
1530
00:52:45,229 --> 00:52:50,377
♪ YEAH, MY BRAIN'S BEEN... MY
BRAIN'S BEEN SPLATTERED ALL OVER
TOWN ♪
1531
00:52:50,401 --> 00:52:52,881
BRAIN'S BEEN SPLATTERED ALL OVER
TOWN ♪
♪ SHATTERED, SHATTERED ♪
1532
00:52:59,142 --> 00:53:07,142
♪ SHATTERED, SHATTERED ♪
♪ SHATTERED, SHATTERED ♪
♪ SHATTERED, SHATTERED ♪
1533
00:53:08,052 --> 00:53:09,429
♪ SHATTERED, SHATTERED ♪
♪ SHATTERED, SHATTERED ♪
♪ SHA-TA, SHA-TA, SHA-TA,
1534
00:53:09,453 --> 00:53:10,964
♪ SHATTERED, SHATTERED ♪
♪ SHA-TA, SHA-TA, SHA-TA,
SHA-TA, SHA-TA, SHA-TA, SHA-TA,
1535
00:53:10,988 --> 00:53:15,636
♪ SHA-TA, SHA-TA, SHA-TA,
SHA-TA, SHA-TA, SHA-TA, SHA-TA,
SHA-TA, TA, TA, TA, TA, HA, HA ♪
1536
00:53:15,660 --> 00:53:16,736
SHA-TA, SHA-TA, SHA-TA, SHA-TA,
SHA-TA, TA, TA, TA, TA, HA, HA ♪
♪ ALL MY FRIENDS, THEY COME
1537
00:53:16,760 --> 00:53:17,304
SHA-TA, TA, TA, TA, TA, HA, HA ♪
♪ ALL MY FRIENDS, THEY COME
AROUND ♪
1538
00:53:17,328 --> 00:53:18,438
♪ ALL MY FRIENDS, THEY COME
AROUND ♪
♪ FLATTER, FLATTER, FLATTER,
1539
00:53:18,462 --> 00:53:19,573
AROUND ♪
♪ FLATTER, FLATTER, FLATTER,
FLATTER, FLATTER, FLATTER,
1540
00:53:19,597 --> 00:53:20,707
♪ FLATTER, FLATTER, FLATTER,
FLATTER, FLATTER, FLATTER,
FLATTER ♪
1541
00:53:20,731 --> 00:53:22,276
FLATTER, FLATTER, FLATTER,
FLATTER ♪
♪ PILE IT UP ♪
1542
00:53:22,300 --> 00:53:23,743
FLATTER ♪
♪ PILE IT UP ♪
♪ PILE IT UP ♪
1543
00:53:23,767 --> 00:53:26,213
♪ PILE IT UP ♪
♪ PILE IT UP ♪
♪ ON A PLATTER ♪
1544
00:53:26,237 --> 00:53:28,277
♪ PILE IT UP ♪
♪ ON A PLATTER ♪
[CHEERS AND APPLAUSE]
1545
00:53:56,165 --> 00:54:01,237
[INDISTINCT CONVERSATIONS]
[DISCO MUSIC PLAYS]
1546
00:54:22,959 --> 00:54:30,959
[LAUGHTER]
HAL, I... I GOT TO TELL YOU,
MY... MY MANAGER SAYS IT'S JUST
1547
00:54:31,269 --> 00:54:33,413
HAL, I... I GOT TO TELL YOU,
MY... MY MANAGER SAYS IT'S JUST
NOT ME.
1548
00:54:33,437 --> 00:54:34,981
MY... MY MANAGER SAYS IT'S JUST
NOT ME.
WHAT'S THIS STUFF?
1549
00:54:35,005 --> 00:54:36,550
NOT ME.
WHAT'S THIS STUFF?
SUSHI.
1550
00:54:36,574 --> 00:54:37,651
WHAT'S THIS STUFF?
SUSHI.
WHAT'S THAT?
1551
00:54:37,675 --> 00:54:38,985
SUSHI.
WHAT'S THAT?
RAW FISH ON RICE.
1552
00:54:39,009 --> 00:54:39,919
WHAT'S THAT?
RAW FISH ON RICE.
[RUMBLING]
1553
00:54:39,943 --> 00:54:40,920
RAW FISH ON RICE.
[RUMBLING]
WHAT'S THAT?
1554
00:54:40,944 --> 00:54:42,689
[RUMBLING]
WHAT'S THAT?
IT'S A SLIGHT TREMOR, A LITTLE
1555
00:54:42,713 --> 00:54:43,223
WHAT'S THAT?
IT'S A SLIGHT TREMOR, A LITTLE
QUAKE.
1556
00:54:43,247 --> 00:54:44,991
IT'S A SLIGHT TREMOR, A LITTLE
QUAKE.
WE GET THEM HERE ALL THE TIME.
1557
00:54:45,015 --> 00:54:45,659
QUAKE.
WE GET THEM HERE ALL THE TIME.
OH, GOD.
1558
00:54:45,683 --> 00:54:47,060
WE GET THEM HERE ALL THE TIME.
OH, GOD.
HAVE YOU READ THE SCRIPT?
1559
00:54:47,084 --> 00:54:48,595
OH, GOD.
HAVE YOU READ THE SCRIPT?
THIS IS A DYNAMITE CAREER MOVE.
1560
00:54:48,619 --> 00:54:49,929
HAVE YOU READ THE SCRIPT?
THIS IS A DYNAMITE CAREER MOVE.
LET ME RUN IT DOWN FOR YOU.
1561
00:54:49,953 --> 00:54:51,097
THIS IS A DYNAMITE CAREER MOVE.
LET ME RUN IT DOWN FOR YOU.
[TELEPHONE RINGING]
1562
00:54:51,121 --> 00:54:52,566
LET ME RUN IT DOWN FOR YOU.
[TELEPHONE RINGING]
HELLO, HAL SHUNKA'S SUSHI
1563
00:54:52,590 --> 00:54:55,235
[TELEPHONE RINGING]
HELLO, HAL SHUNKA'S SUSHI
PARTY.
1564
00:54:55,259 --> 00:54:56,202
HELLO, HAL SHUNKA'S SUSHI
PARTY.
HAL, IT'S MY AGENT.
1565
00:54:56,226 --> 00:54:57,437
PARTY.
HAL, IT'S MY AGENT.
HE SAID HE LOVED "BROKEN."
1566
00:54:57,461 --> 00:54:58,905
HAL, IT'S MY AGENT.
HE SAID HE LOVED "BROKEN."
HE SAID HE'LL DO $40 MILLION IF
1567
00:54:58,929 --> 00:54:59,640
HE SAID HE LOVED "BROKEN."
HE SAID HE'LL DO $40 MILLION IF
IT'S GOT LEGS.
1568
00:54:59,664 --> 00:55:00,540
HE SAID HE'LL DO $40 MILLION IF
IT'S GOT LEGS.
ISN'T THAT GREAT?
1569
00:55:00,564 --> 00:55:01,541
IT'S GOT LEGS.
ISN'T THAT GREAT?
NOT NOW, DARLING.
1570
00:55:01,565 --> 00:55:02,576
ISN'T THAT GREAT?
NOT NOW, DARLING.
DADDY'S WORKING.
1571
00:55:02,600 --> 00:55:04,110
NOT NOW, DARLING.
DADDY'S WORKING.
MICHAEL, I'M SENSITIVE.
1572
00:55:04,134 --> 00:55:04,745
DADDY'S WORKING.
MICHAEL, I'M SENSITIVE.
OH... YEAH.
1573
00:55:04,769 --> 00:55:05,612
MICHAEL, I'M SENSITIVE.
OH... YEAH.
YOU'RE SENSITIVE?
1574
00:55:05,636 --> 00:55:06,580
OH... YEAH.
YOU'RE SENSITIVE?
IT'S FOR YOU, ANNIE.
1575
00:55:06,604 --> 00:55:07,748
YOU'RE SENSITIVE?
IT'S FOR YOU, ANNIE.
IT'S A PERFECT VEHICLE FOR
1576
00:55:07,772 --> 00:55:08,081
IT'S FOR YOU, ANNIE.
IT'S A PERFECT VEHICLE FOR
YOU.
1577
00:55:08,105 --> 00:55:08,882
IT'S A PERFECT VEHICLE FOR
YOU.
IT SAYS SOMETHING.
1578
00:55:08,906 --> 00:55:09,349
YOU.
IT SAYS SOMETHING.
HELLO?
1579
00:55:09,373 --> 00:55:10,651
IT SAYS SOMETHING.
HELLO?
WHAT HAVE YOU BEEN IN ANYWAY,
1580
00:55:10,675 --> 00:55:11,084
HELLO?
WHAT HAVE YOU BEEN IN ANYWAY,
HUH?
1581
00:55:11,108 --> 00:55:12,386
WHAT HAVE YOU BEEN IN ANYWAY,
HUH?
I DID A "LOVE BOAT," "MASH,"
1582
00:55:12,410 --> 00:55:13,654
HUH?
I DID A "LOVE BOAT," "MASH,"
"ROCKFORD," "DONNY AND MARIE,"
1583
00:55:13,678 --> 00:55:15,355
I DID A "LOVE BOAT," "MASH,"
"ROCKFORD," "DONNY AND MARIE,"
"BIG EVENT"...
1584
00:55:15,379 --> 00:55:16,156
"ROCKFORD," "DONNY AND MARIE,"
"BIG EVENT"...
[RUMBLING]
1585
00:55:16,180 --> 00:55:18,057
"BIG EVENT"...
[RUMBLING]
UH, "STARSKY AND HUTCH," TWO
1586
00:55:18,081 --> 00:55:19,993
[RUMBLING]
UH, "STARSKY AND HUTCH," TWO
"SPIDER-MAN," AND... AND... AND
1587
00:55:20,017 --> 00:55:23,430
UH, "STARSKY AND HUTCH," TWO
"SPIDER-MAN," AND... AND... AND
"A WOMAN CALLED MOSES."
1588
00:55:23,454 --> 00:55:26,400
"SPIDER-MAN," AND... AND... AND
"A WOMAN CALLED MOSES."
LET ME TELL YOU... AND KEEP
1589
00:55:26,424 --> 00:55:28,669
"A WOMAN CALLED MOSES."
LET ME TELL YOU... AND KEEP
THIS UNDER YOUR HAT...
1590
00:55:28,693 --> 00:55:29,670
LET ME TELL YOU... AND KEEP
THIS UNDER YOUR HAT...
EARTHQUAKE!
1591
00:55:29,694 --> 00:55:32,172
THIS UNDER YOUR HAT...
EARTHQUAKE!
DOC SIMON WILL PROBABLY DO
1592
00:55:32,196 --> 00:55:32,972
EARTHQUAKE!
DOC SIMON WILL PROBABLY DO
THE REWRITES.
1593
00:55:32,996 --> 00:55:34,408
DOC SIMON WILL PROBABLY DO
THE REWRITES.
THE STUDIO, OF COURSE, WANTS
1594
00:55:34,432 --> 00:55:35,676
THE REWRITES.
THE STUDIO, OF COURSE, WANTS
NICHOLSON, AND REDFORD'S
1595
00:55:35,700 --> 00:55:36,876
THE STUDIO, OF COURSE, WANTS
NICHOLSON, AND REDFORD'S
AGENT IS READING IT...
1596
00:55:36,900 --> 00:55:38,412
NICHOLSON, AND REDFORD'S
AGENT IS READING IT...
HEY, HEY, HEY!
1597
00:55:38,436 --> 00:55:41,114
AGENT IS READING IT...
HEY, HEY, HEY!
EVEN AS WE SPEAK.
1598
00:55:41,138 --> 00:55:43,817
HEY, HEY, HEY!
EVEN AS WE SPEAK.
HEY, HEY, COME ON NOW!
1599
00:55:43,841 --> 00:55:45,619
EVEN AS WE SPEAK.
HEY, HEY, COME ON NOW!
UH, EARTHQUAKE!
1600
00:55:45,643 --> 00:55:48,288
HEY, HEY, COME ON NOW!
UH, EARTHQUAKE!
UH, RUN!
1601
00:55:48,312 --> 00:55:49,589
UH, EARTHQUAKE!
UH, RUN!
YOU MAY NEVER GET ANOTHER
1602
00:55:49,613 --> 00:55:50,524
UH, RUN!
YOU MAY NEVER GET ANOTHER
SHOT AT THIS AGAIN.
1603
00:55:50,548 --> 00:55:51,792
YOU MAY NEVER GET ANOTHER
SHOT AT THIS AGAIN.
BUT IF IT'S POINTS YOU WANT,
1604
00:55:51,816 --> 00:55:52,693
SHOT AT THIS AGAIN.
BUT IF IT'S POINTS YOU WANT,
THEN YOU GOT THEM.
1605
00:55:52,717 --> 00:55:53,259
BUT IF IT'S POINTS YOU WANT,
THEN YOU GOT THEM.
WHAT?
1606
00:55:53,283 --> 00:55:54,027
THEN YOU GOT THEM.
WHAT?
[SCREAMING]
1607
00:55:54,051 --> 00:55:55,562
WHAT?
[SCREAMING]
I SAID, "IF IT'S POINTS YOU
1608
00:55:55,586 --> 00:55:57,096
[SCREAMING]
I SAID, "IF IT'S POINTS YOU
WANT, YOU GOT THEM."
1609
00:55:57,120 --> 00:55:57,897
I SAID, "IF IT'S POINTS YOU
WANT, YOU GOT THEM."
WHAT?
1610
00:55:57,921 --> 00:56:01,335
WANT, YOU GOT THEM."
WHAT?
IF IT'S POINTS YOU WANT, YOU
1611
00:56:01,359 --> 00:56:01,935
WHAT?
IF IT'S POINTS YOU WANT, YOU
GOT THEM!
1612
00:56:01,959 --> 00:56:03,892
IF IT'S POINTS YOU WANT, YOU
GOT THEM!
[CRASH]
1613
00:56:19,308 --> 00:56:23,957
AND NOW WE TAKE YOU TO THE
WHITE HOUSE, WHERE
PRESIDENT CARTER HAS A SURPRISE
1614
00:56:23,981 --> 00:56:27,227
WHITE HOUSE, WHERE
PRESIDENT CARTER HAS A SURPRISE
ANNOUNCEMENT.
1615
00:56:27,251 --> 00:56:29,396
PRESIDENT CARTER HAS A SURPRISE
ANNOUNCEMENT.
GOOD EVENING.
1616
00:56:29,420 --> 00:56:30,497
ANNOUNCEMENT.
GOOD EVENING.
THE SUCCESS OF THE CAMP DAVID
1617
00:56:30,521 --> 00:56:31,732
GOOD EVENING.
THE SUCCESS OF THE CAMP DAVID
SUMMIT TWO WEEKS AGO WAS A GREAT
1618
00:56:31,756 --> 00:56:32,833
THE SUCCESS OF THE CAMP DAVID
SUMMIT TWO WEEKS AGO WAS A GREAT
ACCOMPLISHMENT FOR THE ENTIRE
1619
00:56:32,857 --> 00:56:36,470
SUMMIT TWO WEEKS AGO WAS A GREAT
ACCOMPLISHMENT FOR THE ENTIRE
WORLD, AS WELL AS FOR MYSELF.
1620
00:56:36,494 --> 00:56:38,104
ACCOMPLISHMENT FOR THE ENTIRE
WORLD, AS WELL AS FOR MYSELF.
AFTER I LOOKED AT THOSE POLLS, I
1621
00:56:38,128 --> 00:56:39,506
WORLD, AS WELL AS FOR MYSELF.
AFTER I LOOKED AT THOSE POLLS, I
SAID TO MYSELF, "JIMMY, WHY
1622
00:56:39,530 --> 00:56:41,040
AFTER I LOOKED AT THOSE POLLS, I
SAID TO MYSELF, "JIMMY, WHY
DON'T YOU JUST KEEP DOING WHAT
1623
00:56:41,064 --> 00:56:42,576
SAID TO MYSELF, "JIMMY, WHY
DON'T YOU JUST KEEP DOING WHAT
YOU DO BEST... BRINGING PEOPLE
1624
00:56:42,600 --> 00:56:44,077
DON'T YOU JUST KEEP DOING WHAT
YOU DO BEST... BRINGING PEOPLE
WITH SEEMINGLY IRRECONCILABLE
1625
00:56:44,101 --> 00:56:45,679
YOU DO BEST... BRINGING PEOPLE
WITH SEEMINGLY IRRECONCILABLE
DIFFERENCES TOGETHER AND MAKING
1626
00:56:45,703 --> 00:56:47,247
WITH SEEMINGLY IRRECONCILABLE
DIFFERENCES TOGETHER AND MAKING
THEM SEE THAT THERE IS A COMMON
1627
00:56:47,271 --> 00:56:48,482
DIFFERENCES TOGETHER AND MAKING
THEM SEE THAT THERE IS A COMMON
GROUND ON WHICH TO BASE
1628
00:56:48,506 --> 00:56:50,149
THEM SEE THAT THERE IS A COMMON
GROUND ON WHICH TO BASE
AGREEMENT?"
1629
00:56:50,173 --> 00:56:52,085
GROUND ON WHICH TO BASE
AGREEMENT?"
FOR THE LAST 13 DAYS,
1630
00:56:52,109 --> 00:56:56,356
AGREEMENT?"
FOR THE LAST 13 DAYS,
UNBEKNOWNST TO THE PRESS...
1631
00:56:56,380 --> 00:56:58,124
FOR THE LAST 13 DAYS,
UNBEKNOWNST TO THE PRESS...
I'VE BEEN MEETING SECRETLY AT
1632
00:56:58,148 --> 00:57:00,026
UNBEKNOWNST TO THE PRESS...
I'VE BEEN MEETING SECRETLY AT
CAMP DAVID WITH MR. JOHN LENNON
1633
00:57:00,050 --> 00:57:01,461
I'VE BEEN MEETING SECRETLY AT
CAMP DAVID WITH MR. JOHN LENNON
AND MR. PAUL McCARTNEY.
1634
00:57:01,485 --> 00:57:08,167
CAMP DAVID WITH MR. JOHN LENNON
AND MR. PAUL McCARTNEY.
[APPLAUSE]
1635
00:57:08,191 --> 00:57:09,403
AND MR. PAUL McCARTNEY.
[APPLAUSE]
THE SUCCESS OF OUR TALKS FAR
1636
00:57:09,427 --> 00:57:10,704
[APPLAUSE]
THE SUCCESS OF OUR TALKS FAR
EXCEEDED OUR EXPECTATIONS, AND
1637
00:57:10,728 --> 00:57:12,005
THE SUCCESS OF OUR TALKS FAR
EXCEEDED OUR EXPECTATIONS, AND
I'M HAPPY TO ANNOUNCE THAT WE
1638
00:57:12,029 --> 00:57:13,306
EXCEEDED OUR EXPECTATIONS, AND
I'M HAPPY TO ANNOUNCE THAT WE
HAVE AGREED TO SIGN A DOCUMENT
1639
00:57:13,330 --> 00:57:16,276
I'M HAPPY TO ANNOUNCE THAT WE
HAVE AGREED TO SIGN A DOCUMENT
CALLED "A FRAMEWORK FOR THE
1640
00:57:16,300 --> 00:57:18,645
HAVE AGREED TO SIGN A DOCUMENT
CALLED "A FRAMEWORK FOR THE
REUNION OF THE BEATLES."
1641
00:57:18,669 --> 00:57:23,517
CALLED "A FRAMEWORK FOR THE
REUNION OF THE BEATLES."
[APPLAUSE]
1642
00:57:23,541 --> 00:57:24,851
REUNION OF THE BEATLES."
[APPLAUSE]
NOW, THERE STILL ARE SOME
1643
00:57:24,875 --> 00:57:25,719
[APPLAUSE]
NOW, THERE STILL ARE SOME
DISAGREEMENTS.
1644
00:57:25,743 --> 00:57:26,853
NOW, THERE STILL ARE SOME
DISAGREEMENTS.
A LOT DEPENDS UPON THE
1645
00:57:26,877 --> 00:57:28,522
DISAGREEMENTS.
A LOT DEPENDS UPON THE
AVAILABILITY OF GEORGE AND RINGO
1646
00:57:28,546 --> 00:57:30,089
A LOT DEPENDS UPON THE
AVAILABILITY OF GEORGE AND RINGO
TO JOIN IN THE NEGOTIATIONS, BUT
1647
00:57:30,113 --> 00:57:31,758
AVAILABILITY OF GEORGE AND RINGO
TO JOIN IN THE NEGOTIATIONS, BUT
SECRETARY VANCE WILL LEAVE
1648
00:57:31,782 --> 00:57:33,760
TO JOIN IN THE NEGOTIATIONS, BUT
SECRETARY VANCE WILL LEAVE
TOMORROW FOR LONDON TO MEET WITH
1649
00:57:33,784 --> 00:57:35,595
SECRETARY VANCE WILL LEAVE
TOMORROW FOR LONDON TO MEET WITH
GEORGE, AND WE FEEL CONFIDENT
1650
00:57:35,619 --> 00:57:39,766
TOMORROW FOR LONDON TO MEET WITH
GEORGE, AND WE FEEL CONFIDENT
THAT RINGO WILL DO ANYTHING.
1651
00:57:39,790 --> 00:57:41,435
GEORGE, AND WE FEEL CONFIDENT
THAT RINGO WILL DO ANYTHING.
IF EVERYTHING GOES WELL, THE
1652
00:57:41,459 --> 00:57:43,136
THAT RINGO WILL DO ANYTHING.
IF EVERYTHING GOES WELL, THE
BEATLES WILL LAUNCH A 30-CITY
1653
00:57:43,160 --> 00:57:44,671
IF EVERYTHING GOES WELL, THE
BEATLES WILL LAUNCH A 30-CITY
TOUR OF THE UNITED STATES
1654
00:57:44,695 --> 00:57:46,272
BEATLES WILL LAUNCH A 30-CITY
TOUR OF THE UNITED STATES
SOMETIME, HOPEFULLY, BEFORE
1655
00:57:46,296 --> 00:57:48,341
TOUR OF THE UNITED STATES
SOMETIME, HOPEFULLY, BEFORE
NOVEMBER 1980.
1656
00:57:48,365 --> 00:57:51,411
SOMETIME, HOPEFULLY, BEFORE
NOVEMBER 1980.
[APPLAUSE]
1657
00:57:51,435 --> 00:57:53,179
NOVEMBER 1980.
[APPLAUSE]
PLUS, THE BEATLES WILL RELEASE
1658
00:57:53,203 --> 00:57:54,915
[APPLAUSE]
PLUS, THE BEATLES WILL RELEASE
AN ORIGINAL, LONG-PLAY RECORD
1659
00:57:54,939 --> 00:57:56,817
PLUS, THE BEATLES WILL RELEASE
AN ORIGINAL, LONG-PLAY RECORD
ALBUM WHICH I'M PROUD TO PREDICT
1660
00:57:56,841 --> 00:57:58,384
AN ORIGINAL, LONG-PLAY RECORD
ALBUM WHICH I'M PROUD TO PREDICT
WILL BE SHIPPED DOUBLE PLATINUM.
1661
00:57:58,408 --> 00:58:00,720
ALBUM WHICH I'M PROUD TO PREDICT
WILL BE SHIPPED DOUBLE PLATINUM.
[APPLAUSE]
1662
00:58:00,744 --> 00:58:02,121
WILL BE SHIPPED DOUBLE PLATINUM.
[APPLAUSE]
ALLOW ME NOW TO READ SOME OF THE
1663
00:58:02,145 --> 00:58:04,691
[APPLAUSE]
ALLOW ME NOW TO READ SOME OF THE
KEY TERMS OF THE FRAMEWORK.
1664
00:58:04,715 --> 00:58:07,727
ALLOW ME NOW TO READ SOME OF THE
KEY TERMS OF THE FRAMEWORK.
RICHARD RINGO STARKEY WILL PLAY
1665
00:58:07,751 --> 00:58:10,864
KEY TERMS OF THE FRAMEWORK.
RICHARD RINGO STARKEY WILL PLAY
PERCUSSION, DRUMS, AT ALL BEATLE
1666
00:58:10,888 --> 00:58:12,031
RICHARD RINGO STARKEY WILL PLAY
PERCUSSION, DRUMS, AT ALL BEATLE
CONCERTS.
1667
00:58:12,055 --> 00:58:13,299
PERCUSSION, DRUMS, AT ALL BEATLE
CONCERTS.
HOWEVER, IN THE RECORDING
1668
00:58:13,323 --> 00:58:14,400
CONCERTS.
HOWEVER, IN THE RECORDING
STUDIO, MR. STARKEY'S
1669
00:58:14,424 --> 00:58:15,869
HOWEVER, IN THE RECORDING
STUDIO, MR. STARKEY'S
PERFORMANCE MAY OR MAY NOT BE
1670
00:58:15,893 --> 00:58:17,337
STUDIO, MR. STARKEY'S
PERFORMANCE MAY OR MAY NOT BE
REQUIRED ON CERTAIN SELECTIONS
1671
00:58:17,361 --> 00:58:18,404
PERFORMANCE MAY OR MAY NOT BE
REQUIRED ON CERTAIN SELECTIONS
AT THE DISCRETION OF
1672
00:58:18,428 --> 00:58:21,975
REQUIRED ON CERTAIN SELECTIONS
AT THE DISCRETION OF
MR. PAUL McCARTNEY.
1673
00:58:21,999 --> 00:58:23,743
AT THE DISCRETION OF
MR. PAUL McCARTNEY.
GEORGE HARRISON WILL BE LIMITED
1674
00:58:23,767 --> 00:58:25,545
MR. PAUL McCARTNEY.
GEORGE HARRISON WILL BE LIMITED
TO ONE SONG PER ALBUM CONCERNING
1675
00:58:25,569 --> 00:58:27,347
GEORGE HARRISON WILL BE LIMITED
TO ONE SONG PER ALBUM CONCERNING
MATTERS PERTAINING TO THE INDIAN
1676
00:58:27,371 --> 00:58:30,684
TO ONE SONG PER ALBUM CONCERNING
MATTERS PERTAINING TO THE INDIAN
SUBCONTINENT.
1677
00:58:30,708 --> 00:58:34,253
MATTERS PERTAINING TO THE INDIAN
SUBCONTINENT.
YOKO ONO WILL NOT SING.
1678
00:58:34,277 --> 00:58:37,757
SUBCONTINENT.
YOKO ONO WILL NOT SING.
[APPLAUSE]
1679
00:58:37,781 --> 00:58:39,526
YOKO ONO WILL NOT SING.
[APPLAUSE]
YOKO ONO WILL NOT SING, HUM,
1680
00:58:39,550 --> 00:58:41,461
[APPLAUSE]
YOKO ONO WILL NOT SING, HUM,
SCREAM, MOAN, TALK, OR MAKE ANY
1681
00:58:41,485 --> 00:58:43,396
YOKO ONO WILL NOT SING, HUM,
SCREAM, MOAN, TALK, OR MAKE ANY
VOCAL SOUNDS ON ANY BEATLE ALBUM
1682
00:58:43,420 --> 00:58:45,031
SCREAM, MOAN, TALK, OR MAKE ANY
VOCAL SOUNDS ON ANY BEATLE ALBUM
OR DURING ANY LIVE BEATLE
1683
00:58:45,055 --> 00:58:45,932
VOCAL SOUNDS ON ANY BEATLE ALBUM
OR DURING ANY LIVE BEATLE
PERFORMANCE.
1684
00:58:45,956 --> 00:58:48,201
OR DURING ANY LIVE BEATLE
PERFORMANCE.
[APPLAUSE]
1685
00:58:48,225 --> 00:58:50,537
PERFORMANCE.
[APPLAUSE]
LINDA EASTMAN McCARTNEY...
1686
00:58:50,561 --> 00:58:52,539
[APPLAUSE]
LINDA EASTMAN McCARTNEY...
McCARTNEY WILL NOT SING, HUM,
1687
00:58:52,563 --> 00:58:54,641
LINDA EASTMAN McCARTNEY...
McCARTNEY WILL NOT SING, HUM,
SCREAM, MOAN, TALK, OR PLAY THE
1688
00:58:54,665 --> 00:58:56,710
McCARTNEY WILL NOT SING, HUM,
SCREAM, MOAN, TALK, OR PLAY THE
TAMBOURINE ON ANY BEATLE ALBUM
1689
00:58:56,734 --> 00:58:58,478
SCREAM, MOAN, TALK, OR PLAY THE
TAMBOURINE ON ANY BEATLE ALBUM
OR DURING ANY LIVE BEATLE
1690
00:58:58,502 --> 00:58:59,479
TAMBOURINE ON ANY BEATLE ALBUM
OR DURING ANY LIVE BEATLE
PERFORMANCE.
1691
00:58:59,503 --> 00:59:02,582
OR DURING ANY LIVE BEATLE
PERFORMANCE.
[APPLAUSE]
1692
00:59:02,606 --> 00:59:04,618
PERFORMANCE.
[APPLAUSE]
THESE TWO MEN, MY FRIENDS, EACH
1693
00:59:04,642 --> 00:59:06,620
[APPLAUSE]
THESE TWO MEN, MY FRIENDS, EACH
MAKE PAINFUL CONCESSIONS IN THE
1694
00:59:06,644 --> 00:59:08,655
THESE TWO MEN, MY FRIENDS, EACH
MAKE PAINFUL CONCESSIONS IN THE
SPIRIT OF COMPROMISE, BUT IF IT
1695
00:59:08,679 --> 00:59:10,456
MAKE PAINFUL CONCESSIONS IN THE
SPIRIT OF COMPROMISE, BUT IF IT
HADN'T BEEN FOR MANY PEOPLE
1696
00:59:10,480 --> 00:59:11,858
SPIRIT OF COMPROMISE, BUT IF IT
HADN'T BEEN FOR MANY PEOPLE
WORKING BEHIND THE SCENES, WE
1697
00:59:11,882 --> 00:59:13,126
HADN'T BEEN FOR MANY PEOPLE
WORKING BEHIND THE SCENES, WE
WOULDN'T BE HERE TONIGHT.
1698
00:59:13,150 --> 00:59:14,594
WORKING BEHIND THE SCENES, WE
WOULDN'T BE HERE TONIGHT.
AND I ESPECIALLY WANT TO THANK
1699
00:59:14,618 --> 00:59:15,829
WOULDN'T BE HERE TONIGHT.
AND I ESPECIALLY WANT TO THANK
SECRETARY CYRUS VANCE AND
1700
00:59:15,853 --> 00:59:18,999
AND I ESPECIALLY WANT TO THANK
SECRETARY CYRUS VANCE AND
MR. SMOKEY ROBINSON.
1701
00:59:19,023 --> 00:59:20,466
SECRETARY CYRUS VANCE AND
MR. SMOKEY ROBINSON.
I GUESS YOU COULD SAY IT WAS A
1702
00:59:20,490 --> 00:59:22,002
MR. SMOKEY ROBINSON.
I GUESS YOU COULD SAY IT WAS A
LONG AND WINDING ROAD, BUT AS I
1703
00:59:22,026 --> 00:59:23,570
I GUESS YOU COULD SAY IT WAS A
LONG AND WINDING ROAD, BUT AS I
SAID TO PAUL AND JOHN AS WE FLEW
1704
00:59:23,594 --> 00:59:25,005
LONG AND WINDING ROAD, BUT AS I
SAID TO PAUL AND JOHN AS WE FLEW
HERE FROM CAMP DAVID, I THINK
1705
00:59:25,029 --> 00:59:26,472
SAID TO PAUL AND JOHN AS WE FLEW
HERE FROM CAMP DAVID, I THINK
WE'VE PROVED THAT, IN THE END,
1706
00:59:26,496 --> 00:59:28,842
HERE FROM CAMP DAVID, I THINK
WE'VE PROVED THAT, IN THE END,
AS SOMEONE ONCE SAID, THE LOVE
1707
00:59:28,866 --> 00:59:31,077
WE'VE PROVED THAT, IN THE END,
AS SOMEONE ONCE SAID, THE LOVE
YOU TAKE IS EQUAL TO THE LOVE
1708
00:59:31,101 --> 00:59:32,078
AS SOMEONE ONCE SAID, THE LOVE
YOU TAKE IS EQUAL TO THE LOVE
YOU MAKE.
1709
00:59:32,102 --> 00:59:39,252
YOU TAKE IS EQUAL TO THE LOVE
YOU MAKE.
[APPLAUSE]
1710
00:59:39,276 --> 00:59:40,854
YOU MAKE.
[APPLAUSE]
[British accent] WELL, LET
1711
00:59:40,878 --> 00:59:42,221
[APPLAUSE]
[British accent] WELL, LET
ME JUST SAY A BIT ABOUT MY
1712
00:59:42,245 --> 00:59:43,523
[British accent] WELL, LET
ME JUST SAY A BIT ABOUT MY
FRIEND, PRESIDENT CARTER.
1713
00:59:43,547 --> 00:59:44,858
ME JUST SAY A BIT ABOUT MY
FRIEND, PRESIDENT CARTER.
THIS MAN DISPLAYED GREAT
1714
00:59:44,882 --> 00:59:45,425
FRIEND, PRESIDENT CARTER.
THIS MAN DISPLAYED GREAT
COURAGE.
1715
00:59:45,449 --> 00:59:47,027
THIS MAN DISPLAYED GREAT
COURAGE.
HE WORKED NIGHT AND DAY, AND SO
1716
00:59:47,051 --> 00:59:47,527
COURAGE.
HE WORKED NIGHT AND DAY, AND SO
DID WE.
1717
00:59:47,551 --> 00:59:48,895
HE WORKED NIGHT AND DAY, AND SO
DID WE.
WE USUALLY DIDN'T GET TO BED
1718
00:59:48,919 --> 00:59:50,129
DID WE.
WE USUALLY DIDN'T GET TO BED
UNTIL 3:00 OR 4:00 IN THE
1719
00:59:50,153 --> 00:59:51,531
WE USUALLY DIDN'T GET TO BED
UNTIL 3:00 OR 4:00 IN THE
MORNING, AND THEN WE'D GET UP
1720
00:59:51,555 --> 00:59:53,033
UNTIL 3:00 OR 4:00 IN THE
MORNING, AND THEN WE'D GET UP
AGAIN AROUND 3:00 OR 4:00 IN THE
1721
00:59:53,057 --> 00:59:53,667
MORNING, AND THEN WE'D GET UP
AGAIN AROUND 3:00 OR 4:00 IN THE
AFTERNOON.
1722
00:59:53,691 --> 00:59:56,269
AGAIN AROUND 3:00 OR 4:00 IN THE
AFTERNOON.
AND THE PRESIDENT WAS ALREADY UP
1723
00:59:56,293 --> 00:59:57,170
AFTERNOON.
AND THE PRESIDENT WAS ALREADY UP
WORKING.
1724
00:59:57,194 --> 00:59:58,038
AND THE PRESIDENT WAS ALREADY UP
WORKING.
[British accent] THAT'S
1725
00:59:58,062 --> 00:59:58,638
WORKING.
[British accent] THAT'S
RIGHT.
1726
00:59:58,662 --> 01:00:00,707
[British accent] THAT'S
RIGHT.
AS YOU KNOW, PAUL AND I HAVE OUR
1727
01:00:00,731 --> 01:00:02,642
RIGHT.
AS YOU KNOW, PAUL AND I HAVE OUR
DISAGREEMENTS, BUT WE PROMISED
1728
01:00:02,666 --> 01:00:04,444
AS YOU KNOW, PAUL AND I HAVE OUR
DISAGREEMENTS, BUT WE PROMISED
PRESIDENT CARTER THAT WE
1729
01:00:04,468 --> 01:00:06,379
DISAGREEMENTS, BUT WE PROMISED
PRESIDENT CARTER THAT WE
WOULD WRITE OUR FIRST NEW SONG
1730
01:00:06,403 --> 01:00:08,247
PRESIDENT CARTER THAT WE
WOULD WRITE OUR FIRST NEW SONG
TOGETHER IN THREE MONTHS.
1731
01:00:08,271 --> 01:00:10,283
WOULD WRITE OUR FIRST NEW SONG
TOGETHER IN THREE MONTHS.
PAUL, I HOPE WE DO IT LONGER
1732
01:00:10,307 --> 01:00:12,318
TOGETHER IN THREE MONTHS.
PAUL, I HOPE WE DO IT LONGER
THAN THREE MONTHS... I MEAN,
1733
01:00:12,342 --> 01:00:14,153
PAUL, I HOPE WE DO IT LONGER
THAN THREE MONTHS... I MEAN,
SOONER THAN THREE MONTHS.
1734
01:00:14,177 --> 01:00:15,221
THAN THREE MONTHS... I MEAN,
SOONER THAN THREE MONTHS.
SORRY, PAUL.
1735
01:00:15,245 --> 01:00:20,093
SOONER THAN THREE MONTHS.
SORRY, PAUL.
[APPLAUSE]
1736
01:00:20,117 --> 01:00:24,130
SORRY, PAUL.
[APPLAUSE]
♪ THE LOVE YOU TAKE ♪
1737
01:00:24,154 --> 01:00:30,336
[APPLAUSE]
♪ THE LOVE YOU TAKE ♪
♪ IS EQUAL TO THE LOVE YOU
1738
01:00:30,360 --> 01:00:34,295
♪ THE LOVE YOU TAKE ♪
♪ IS EQUAL TO THE LOVE YOU
MAKE ♪
1739
01:00:44,807 --> 01:00:52,358
♪ N.B. SEE US ♪
♪ N.B. SEE US ♪
NEXT FRIDAY NIGHT ON NBC, AN
1740
01:00:52,382 --> 01:00:53,994
♪ N.B. SEE US ♪
NEXT FRIDAY NIGHT ON NBC, AN
ALL-STAR CELEBRITY SPORTS
1741
01:00:54,018 --> 01:00:56,818
NEXT FRIDAY NIGHT ON NBC, AN
ALL-STAR CELEBRITY SPORTS
SPECTACULAR...
1742
01:00:57,920 --> 01:00:59,655
THE BIGGEST STARS WITH THE
1743
01:00:59,789 --> 01:01:01,089
BIGGEST T's AND THE
1744
01:01:01,223 --> 01:01:02,223
NICEST A's...
1745
01:01:02,324 --> 01:01:03,792
CHARLIE'S ANGEL CHERYL LADD...
1746
01:01:03,926 --> 01:01:05,226
WONDER WOMAN LYNDA CARTER...
1747
01:01:05,361 --> 01:01:06,361
SUZANNE SOMERS...
1748
01:01:06,495 --> 01:01:07,129
LOLA FALANA...
1749
01:01:07,263 --> 01:01:08,363
VALERIE PERRINE AND
1750
01:01:08,497 --> 01:01:09,497
ADRIANNE BARBEAU...
1751
01:01:09,598 --> 01:01:11,266
ALL YOUR FAVORITE T's AND A's,
1752
01:01:11,400 --> 01:01:13,101
INCLUDING HOOTCHY-KOOTCHY GIRL
1753
01:01:13,235 --> 01:01:13,835
CHARO AND
1754
01:01:13,970 --> 01:01:15,570
SOMETIME-GAME-SHOW-GUEST STAR
1755
01:01:15,705 --> 01:01:16,437
CAROL WAYNE...
1756
01:01:16,572 --> 01:01:17,706
PLUS THE DALLAS COWBOY
1757
01:01:17,840 --> 01:01:20,642
CHEERLEADERS.
1758
01:01:33,556 --> 01:01:37,603
HELLO.
I'M DAVE MABEL.
WELCOME ONCE AGAIN TO
1759
01:01:37,627 --> 01:01:38,738
I'M DAVE MABEL.
WELCOME ONCE AGAIN TO
"DANGER PROBE."
1760
01:01:38,762 --> 01:01:40,674
WELCOME ONCE AGAIN TO
"DANGER PROBE."
TONIGHT'S STORY IS FILE NUMBER
1761
01:01:40,698 --> 01:01:42,441
"DANGER PROBE."
TONIGHT'S STORY IS FILE NUMBER
377 FROM THE "DANGER PROBE"
1762
01:01:42,465 --> 01:01:43,043
TONIGHT'S STORY IS FILE NUMBER
377 FROM THE "DANGER PROBE"
FILES.
1763
01:01:43,067 --> 01:01:44,544
377 FROM THE "DANGER PROBE"
FILES.
THE EVENTS IN 377 OCCURRED
1764
01:01:44,568 --> 01:01:46,212
FILES.
THE EVENTS IN 377 OCCURRED
RECENTLY IN THE SOUTH AMERICAN
1765
01:01:46,236 --> 01:01:47,647
THE EVENTS IN 377 OCCURRED
RECENTLY IN THE SOUTH AMERICAN
REPUBLIC OF PARAGUAY IN A
1766
01:01:47,671 --> 01:01:49,282
RECENTLY IN THE SOUTH AMERICAN
REPUBLIC OF PARAGUAY IN A
SUBCHAMBER OF FEDERAL POLICE
1767
01:01:49,306 --> 01:01:50,150
REPUBLIC OF PARAGUAY IN A
SUBCHAMBER OF FEDERAL POLICE
HEADQUARTERS.
1768
01:01:50,174 --> 01:01:51,985
SUBCHAMBER OF FEDERAL POLICE
HEADQUARTERS.
IT IS 6:00 ON A COLD DECEMBER
1769
01:01:52,009 --> 01:01:52,686
HEADQUARTERS.
IT IS 6:00 ON A COLD DECEMBER
MORNING.
1770
01:01:52,710 --> 01:01:54,620
IT IS 6:00 ON A COLD DECEMBER
MORNING.
THE DIRECTOR OF FEDERAL POLICE,
1771
01:01:54,644 --> 01:01:56,589
MORNING.
THE DIRECTOR OF FEDERAL POLICE,
GENERAL BARDOTO P., A SADISTIC
1772
01:01:56,613 --> 01:01:58,491
THE DIRECTOR OF FEDERAL POLICE,
GENERAL BARDOTO P., A SADISTIC
EX-TAXIDERMIST, IS EXCHANGING
1773
01:01:58,515 --> 01:02:00,293
GENERAL BARDOTO P., A SADISTIC
EX-TAXIDERMIST, IS EXCHANGING
SCALPELS AND LENGTHS OF
1774
01:02:00,317 --> 01:02:01,795
EX-TAXIDERMIST, IS EXCHANGING
SCALPELS AND LENGTHS OF
RUBBER HOSE WITH MADAM
1775
01:02:01,819 --> 01:02:03,563
SCALPELS AND LENGTHS OF
RUBBER HOSE WITH MADAM
DR. CHEETAH R., A MENTALLY
1776
01:02:03,587 --> 01:02:05,464
RUBBER HOSE WITH MADAM
DR. CHEETAH R., A MENTALLY
UNSTABLE MINISTER OF INTERNAL
1777
01:02:05,488 --> 01:02:07,366
DR. CHEETAH R., A MENTALLY
UNSTABLE MINISTER OF INTERNAL
SECURITY AND STUDENT TORTURE.
1778
01:02:07,390 --> 01:02:09,035
UNSTABLE MINISTER OF INTERNAL
SECURITY AND STUDENT TORTURE.
"DANGER PROBE" WILL EXAMINE THE
1779
01:02:09,059 --> 01:02:10,737
SECURITY AND STUDENT TORTURE.
"DANGER PROBE" WILL EXAMINE THE
REACTIONS OF THESE TWO RUTHLESS,
1780
01:02:10,761 --> 01:02:12,305
"DANGER PROBE" WILL EXAMINE THE
REACTIONS OF THESE TWO RUTHLESS,
DEPRAVED INDIVIDUALS WHEN TWO
1781
01:02:12,329 --> 01:02:13,573
REACTIONS OF THESE TWO RUTHLESS,
DEPRAVED INDIVIDUALS WHEN TWO
STRANGERS ENTER THE
1782
01:02:13,597 --> 01:02:15,408
DEPRAVED INDIVIDUALS WHEN TWO
STRANGERS ENTER THE
SUBCHAMBER... IN THIS CASE, A
1783
01:02:15,432 --> 01:02:17,043
STRANGERS ENTER THE
SUBCHAMBER... IN THIS CASE, A
HARE KRISHNA DISCIPLE FROM
1784
01:02:17,067 --> 01:02:18,778
SUBCHAMBER... IN THIS CASE, A
HARE KRISHNA DISCIPLE FROM
ST. LOUIS, MISSOURI, AND HIS
1785
01:02:18,802 --> 01:02:20,680
HARE KRISHNA DISCIPLE FROM
ST. LOUIS, MISSOURI, AND HIS
HITCHHIKING COMPANION, A FEMALE
1786
01:02:20,704 --> 01:02:22,582
ST. LOUIS, MISSOURI, AND HIS
HITCHHIKING COMPANION, A FEMALE
STREET MIME FROM SAN FRANCISCO.
1787
01:02:22,606 --> 01:02:27,754
HITCHHIKING COMPANION, A FEMALE
STREET MIME FROM SAN FRANCISCO.
THIS IS "DANGER PROBE."
1788
01:02:27,778 --> 01:02:28,955
STREET MIME FROM SAN FRANCISCO.
THIS IS "DANGER PROBE."
[Spanish accent] I'M
1789
01:02:28,979 --> 01:02:30,389
THIS IS "DANGER PROBE."
[Spanish accent] I'M
TELLING YOU, BEATING THE INSTEP
1790
01:02:30,413 --> 01:02:31,791
[Spanish accent] I'M
TELLING YOU, BEATING THE INSTEP
OF THE FOOT WITH A RUBBER HOSE
1791
01:02:31,815 --> 01:02:33,793
TELLING YOU, BEATING THE INSTEP
OF THE FOOT WITH A RUBBER HOSE
IS MOST EFFECTIVE!
1792
01:02:33,817 --> 01:02:35,494
OF THE FOOT WITH A RUBBER HOSE
IS MOST EFFECTIVE!
NO, NO, NO, NO...
1793
01:02:35,518 --> 01:02:36,763
IS MOST EFFECTIVE!
NO, NO, NO, NO...
BEATING THE HEEL!
1794
01:02:36,787 --> 01:02:37,363
NO, NO, NO, NO...
BEATING THE HEEL!
AAAH!
1795
01:02:37,387 --> 01:02:38,664
BEATING THE HEEL!
AAAH!
THAT IS THE BEST!
1796
01:02:38,688 --> 01:02:39,866
AAAH!
THAT IS THE BEST!
STOP! STOP!
1797
01:02:39,890 --> 01:02:41,334
THAT IS THE BEST!
STOP! STOP!
YOU ARE BOTH RIGHT!
1798
01:02:41,358 --> 01:02:43,603
STOP! STOP!
YOU ARE BOTH RIGHT!
BOTH METHODS ARE EXCRUCIATINGLY
1799
01:02:43,627 --> 01:02:45,772
YOU ARE BOTH RIGHT!
BOTH METHODS ARE EXCRUCIATINGLY
PAINFUL, BUT IT DEPENDS ON THE
1800
01:02:45,796 --> 01:02:46,773
BOTH METHODS ARE EXCRUCIATINGLY
PAINFUL, BUT IT DEPENDS ON THE
INDIVIDUAL.
1801
01:02:46,797 --> 01:02:53,346
PAINFUL, BUT IT DEPENDS ON THE
INDIVIDUAL.
[ALL LAUGH EVILLY]
1802
01:02:53,370 --> 01:02:54,114
INDIVIDUAL.
[ALL LAUGH EVILLY]
AH!
1803
01:02:54,138 --> 01:02:56,415
[ALL LAUGH EVILLY]
AH!
HI... IT'S GENTLEMAN'S DAY
1804
01:02:56,439 --> 01:02:57,183
AH!
HI... IT'S GENTLEMAN'S DAY
TODAY.
1805
01:02:57,207 --> 01:02:58,885
HI... IT'S GENTLEMAN'S DAY
TODAY.
UH, SORRY.
1806
01:02:58,909 --> 01:02:59,786
TODAY.
UH, SORRY.
ARE YOU BUSY RIGHT NOW?
1807
01:02:59,810 --> 01:03:00,820
UH, SORRY.
ARE YOU BUSY RIGHT NOW?
DO YOU HAVE A MINUTE TO TALK
1808
01:03:00,844 --> 01:03:02,856
ARE YOU BUSY RIGHT NOW?
DO YOU HAVE A MINUTE TO TALK
ABOUT KRISHNA CONSCIOUSNESS?
1809
01:03:02,880 --> 01:03:07,026
DO YOU HAVE A MINUTE TO TALK
ABOUT KRISHNA CONSCIOUSNESS?
AND NOW MIMES BY MAUREEN.
1810
01:03:07,050 --> 01:03:14,300
ABOUT KRISHNA CONSCIOUSNESS?
AND NOW MIMES BY MAUREEN.
MODERN MAN!
1811
01:03:14,324 --> 01:03:16,569
AND NOW MIMES BY MAUREEN.
MODERN MAN!
GUARDS, SEIZE THEM!
1812
01:03:16,593 --> 01:03:19,139
MODERN MAN!
GUARDS, SEIZE THEM!
HAVE YOU HEARD THE...
1813
01:03:19,163 --> 01:03:20,306
GUARDS, SEIZE THEM!
HAVE YOU HEARD THE...
HAVE YOU HEARD THE ALBUM
1814
01:03:20,330 --> 01:03:21,507
HAVE YOU HEARD THE...
HAVE YOU HEARD THE ALBUM
GEORGE HARRISON DID FOR US?
1815
01:03:21,531 --> 01:03:25,311
HAVE YOU HEARD THE ALBUM
GEORGE HARRISON DID FOR US?
IT'S A GREAT ALBUM.
1816
01:03:25,335 --> 01:03:26,246
GEORGE HARRISON DID FOR US?
IT'S A GREAT ALBUM.
YOU HAVEN'T HEARD THAT ALBUM BY
1817
01:03:26,270 --> 01:03:27,046
IT'S A GREAT ALBUM.
YOU HAVEN'T HEARD THAT ALBUM BY
GEORGE HARRISON, HAVE YOU?
1818
01:03:27,070 --> 01:03:30,049
YOU HAVEN'T HEARD THAT ALBUM BY
GEORGE HARRISON, HAVE YOU?
NO!
1819
01:03:30,073 --> 01:03:31,450
GEORGE HARRISON, HAVE YOU?
NO!
STRAP THEM TO THE TABLE.
1820
01:03:31,474 --> 01:03:32,551
NO!
STRAP THEM TO THE TABLE.
AAH!
1821
01:03:32,575 --> 01:03:34,687
STRAP THEM TO THE TABLE.
AAH!
OKAY.
1822
01:03:34,711 --> 01:03:36,689
AAH!
OKAY.
WHO ARE YOU?
1823
01:03:36,713 --> 01:03:38,925
OKAY.
WHO ARE YOU?
AAAH!
1824
01:03:38,949 --> 01:03:39,592
WHO ARE YOU?
AAAH!
HEY, LOOK.
1825
01:03:39,616 --> 01:03:40,894
AAAH!
HEY, LOOK.
YOU CAN HAVE ALL THE BOOKS FOR
1826
01:03:40,918 --> 01:03:41,727
HEY, LOOK.
YOU CAN HAVE ALL THE BOOKS FOR
FREE IF YOU WANT.
1827
01:03:41,751 --> 01:03:42,428
YOU CAN HAVE ALL THE BOOKS FOR
FREE IF YOU WANT.
AAAH!
1828
01:03:42,452 --> 01:03:44,030
FREE IF YOU WANT.
AAAH!
WHERE ARE YOUR COMMUNIST
1829
01:03:44,054 --> 01:03:44,730
AAAH!
WHERE ARE YOUR COMMUNIST
FRIENDS?
1830
01:03:44,754 --> 01:03:46,699
WHERE ARE YOUR COMMUNIST
FRIENDS?
LISTEN, CAN YOU SAY, "NAM YO
1831
01:03:46,723 --> 01:03:49,169
FRIENDS?
LISTEN, CAN YOU SAY, "NAM YO
HO RENGE KYON"?
1832
01:03:49,193 --> 01:03:51,171
LISTEN, CAN YOU SAY, "NAM YO
HO RENGE KYON"?
NAM YO HO RENGE KYON!
1833
01:03:51,195 --> 01:03:52,571
HO RENGE KYON"?
NAM YO HO RENGE KYON!
THAT'S GOOD.
1834
01:03:52,595 --> 01:03:53,807
NAM YO HO RENGE KYON!
THAT'S GOOD.
THANK YOU.
1835
01:03:53,831 --> 01:03:56,242
THAT'S GOOD.
THANK YOU.
PREPARE THE SURGICAL GENERATOR
1836
01:03:56,266 --> 01:03:59,779
THANK YOU.
PREPARE THE SURGICAL GENERATOR
AND SMALL BONE SAW.
1837
01:03:59,803 --> 01:04:00,379
PREPARE THE SURGICAL GENERATOR
AND SMALL BONE SAW.
OKAY, HOLD IT!
1838
01:04:00,403 --> 01:04:01,181
AND SMALL BONE SAW.
OKAY, HOLD IT!
WE'LL PUT A LID ON THIS!
1839
01:04:01,205 --> 01:04:01,614
OKAY, HOLD IT!
WE'LL PUT A LID ON THIS!
OKAY, BOYS!
1840
01:04:01,638 --> 01:04:02,248
WE'LL PUT A LID ON THIS!
OKAY, BOYS!
COME AND GET THEM!
1841
01:04:02,272 --> 01:04:09,755
OKAY, BOYS!
COME AND GET THEM!
[DRILL WHIRS]
1842
01:04:09,779 --> 01:04:11,424
COME AND GET THEM!
[DRILL WHIRS]
GIVE IT UP, HELLION.
1843
01:04:11,448 --> 01:04:12,692
[DRILL WHIRS]
GIVE IT UP, HELLION.
[GRUNTS]
1844
01:04:12,716 --> 01:04:14,727
GIVE IT UP, HELLION.
[GRUNTS]
DAVE MABEL, "DANGER PROBE."
1845
01:04:14,751 --> 01:04:16,062
[GRUNTS]
DAVE MABEL, "DANGER PROBE."
YOU TWO ALL RIGHT?
1846
01:04:16,086 --> 01:04:16,796
DAVE MABEL, "DANGER PROBE."
YOU TWO ALL RIGHT?
YEAH.
1847
01:04:16,820 --> 01:04:18,131
YOU TWO ALL RIGHT?
YEAH.
BOY, AM I GLAD YOU
1848
01:04:18,155 --> 01:04:20,266
YEAH.
BOY, AM I GLAD YOU
"DANGER PROBE" PEOPLE SHOWED UP.
1849
01:04:20,290 --> 01:04:20,834
BOY, AM I GLAD YOU
"DANGER PROBE" PEOPLE SHOWED UP.
WHEW!
1850
01:04:20,858 --> 01:04:21,600
"DANGER PROBE" PEOPLE SHOWED UP.
WHEW!
WHEW!
1851
01:04:21,624 --> 01:04:23,469
WHEW!
WHEW!
BOY, REALLY, ARE WE GLAD TO SEE
1852
01:04:23,493 --> 01:04:24,570
WHEW!
BOY, REALLY, ARE WE GLAD TO SEE
YOU, DAVE MABEL.
1853
01:04:24,594 --> 01:04:25,939
BOY, REALLY, ARE WE GLAD TO SEE
YOU, DAVE MABEL.
HOW CAN WE THANK YOU?
1854
01:04:25,963 --> 01:04:26,940
YOU, DAVE MABEL.
HOW CAN WE THANK YOU?
THAT'S OKAY.
1855
01:04:26,964 --> 01:04:28,241
HOW CAN WE THANK YOU?
THAT'S OKAY.
YOU TWO RUN ALONG NOW.
1856
01:04:28,265 --> 01:04:30,076
THAT'S OKAY.
YOU TWO RUN ALONG NOW.
A SOUTH AMERICAN POLICE STATE IS
1857
01:04:30,100 --> 01:04:31,510
YOU TWO RUN ALONG NOW.
A SOUTH AMERICAN POLICE STATE IS
NO PLACE FOR A COUPLE OF
1858
01:04:31,534 --> 01:04:33,179
A SOUTH AMERICAN POLICE STATE IS
NO PLACE FOR A COUPLE OF
ECCENTRIC NONCONFORMISTS LIKE
1859
01:04:33,203 --> 01:04:33,980
NO PLACE FOR A COUPLE OF
ECCENTRIC NONCONFORMISTS LIKE
YOURSELVES.
1860
01:04:34,004 --> 01:04:35,315
ECCENTRIC NONCONFORMISTS LIKE
YOURSELVES.
I'M DAVE MABEL.
1861
01:04:35,339 --> 01:04:39,085
YOURSELVES.
I'M DAVE MABEL.
THIS IS "DANGER PROBE."
1862
01:04:39,109 --> 01:04:40,653
I'M DAVE MABEL.
THIS IS "DANGER PROBE."
Announcer: ALL STORIES ON
1863
01:04:40,677 --> 01:04:42,055
THIS IS "DANGER PROBE."
Announcer: ALL STORIES ON
"DANGER PROBE" ARE TRUE.
1864
01:04:42,079 --> 01:04:43,823
Announcer: ALL STORIES ON
"DANGER PROBE" ARE TRUE.
HOWEVER, "DANGER PROBE" DOES NOT
1865
01:04:43,847 --> 01:04:45,258
"DANGER PROBE" ARE TRUE.
HOWEVER, "DANGER PROBE" DOES NOT
WISH TO ENDORSE DANGEROUS
1866
01:04:45,282 --> 01:04:46,025
HOWEVER, "DANGER PROBE" DOES NOT
WISH TO ENDORSE DANGEROUS
SITUATIONS.
1867
01:04:46,049 --> 01:04:47,493
WISH TO ENDORSE DANGEROUS
SITUATIONS.
THE "DANGER PROBE" SQUAD ARE
1868
01:04:47,517 --> 01:04:48,394
SITUATIONS.
THE "DANGER PROBE" SQUAD ARE
PROFESSIONALS.
1869
01:04:48,418 --> 01:04:50,029
THE "DANGER PROBE" SQUAD ARE
PROFESSIONALS.
VIEWERS SHOULD NOT ATTEMPT TO
1870
01:04:50,053 --> 01:04:52,733
PROFESSIONALS.
VIEWERS SHOULD NOT ATTEMPT TO
DUPLICATE THEIR ACTIONS.
1871
01:05:02,598 --> 01:05:06,368
GOOD NIGHT, AND THANK YOU.
[BAND PLAYS]
[CHEERS AND APPLAUSE]
1872
01:05:23,552 --> 01:05:24,953
Announcer: NEXT SATURDAY
1873
01:05:25,087 --> 01:05:26,288
NIGHT, OUR HOST WILL BE
1874
01:05:26,422 --> 01:05:27,789
FRED WILLARD, WITH MUSICAL
1875
01:05:27,924 --> 01:05:29,590
GUEST DEVO.
1876
01:05:29,725 --> 01:05:31,359
THIS IS DON PARDO.
1877
01:05:31,493 --> 01:05:33,461
GOOD NIGHT.
205231
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