All language subtitles for SNL S04E11 Cicely Tyson.DVDRip.HI.RLP.cc.en.UNVSL

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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:01,468 --> 00:00:02,534 Announcer: "EMERGENCY," 2 00:00:02,668 --> 00:00:03,869 STARRING MEGAN MARSHACK, WILL 3 00:00:04,004 --> 00:00:05,237 NOT BE SEEN TONIGHT SO THAT WE 4 00:00:05,372 --> 00:00:06,438 MAY BRING YOU THIS SPECIAL 5 00:00:06,572 --> 00:00:08,374 PRESENTATION. 6 00:00:14,747 --> 00:00:18,661 HOW WAS THE MEETING? I DON'T KNOW, JANE. I THINK THERE'S GONNA BE 7 00:00:18,685 --> 00:00:19,296 I DON'T KNOW, JANE. I THINK THERE'S GONNA BE TROUBLE. 8 00:00:19,320 --> 00:00:21,131 I THINK THERE'S GONNA BE TROUBLE. LORNE JUST CUT JOHN'S BIG PIECE, 9 00:00:21,155 --> 00:00:22,432 TROUBLE. LORNE JUST CUT JOHN'S BIG PIECE, THE ONE WHERE HE PLAYS 10 00:00:22,456 --> 00:00:23,566 LORNE JUST CUT JOHN'S BIG PIECE, THE ONE WHERE HE PLAYS VICE-PREMIER DENG? 11 00:00:23,590 --> 00:00:25,202 THE ONE WHERE HE PLAYS VICE-PREMIER DENG? I MEAN, JOHN'S BEEN WORKING ON 12 00:00:25,226 --> 00:00:26,669 VICE-PREMIER DENG? I MEAN, JOHN'S BEEN WORKING ON THAT FOR A REAL LONG TIME. 13 00:00:26,693 --> 00:00:27,937 I MEAN, JOHN'S BEEN WORKING ON THAT FOR A REAL LONG TIME. IT'S IMPORTANT TO HIM. 14 00:00:27,961 --> 00:00:29,306 THAT FOR A REAL LONG TIME. IT'S IMPORTANT TO HIM. WELL, WHY WAS IT CUT? 15 00:00:29,330 --> 00:00:31,541 IT'S IMPORTANT TO HIM. WELL, WHY WAS IT CUT? WELL, IT SEEMS LIKE THE 16 00:00:31,565 --> 00:00:34,177 WELL, WHY WAS IT CUT? WELL, IT SEEMS LIKE THE WRITERS JUST FOUND OUT THAT DENG 17 00:00:34,201 --> 00:00:35,645 WELL, IT SEEMS LIKE THE WRITERS JUST FOUND OUT THAT DENG WENT BACK TO CHINA, YOU KNOW? 18 00:00:35,669 --> 00:00:37,014 WRITERS JUST FOUND OUT THAT DENG WENT BACK TO CHINA, YOU KNOW? THERE WERE ALL SO BUSY THEY 19 00:00:37,038 --> 00:00:38,615 WENT BACK TO CHINA, YOU KNOW? THERE WERE ALL SO BUSY THEY DIDN'T GET A CHANCE TO WATCH THE 20 00:00:38,639 --> 00:00:40,117 THERE WERE ALL SO BUSY THEY DIDN'T GET A CHANCE TO WATCH THE NEWS OR ANYTHING, AND NOW DENG 21 00:00:40,141 --> 00:00:41,385 DIDN'T GET A CHANCE TO WATCH THE NEWS OR ANYTHING, AND NOW DENG ISN'T EVEN HERE ANYMORE. 22 00:00:41,409 --> 00:00:42,919 NEWS OR ANYTHING, AND NOW DENG ISN'T EVEN HERE ANYMORE. WELL, HE LEFT FIVE DAYS AGO. 23 00:00:42,943 --> 00:00:44,421 ISN'T EVEN HERE ANYMORE. WELL, HE LEFT FIVE DAYS AGO. I KNOW, AND THEY JUST FOUND 24 00:00:44,445 --> 00:00:44,787 WELL, HE LEFT FIVE DAYS AGO. I KNOW, AND THEY JUST FOUND OUT. 25 00:00:44,811 --> 00:00:46,123 I KNOW, AND THEY JUST FOUND OUT. WELL, I JUST SAW JOHN IN 26 00:00:46,147 --> 00:00:47,491 OUT. WELL, I JUST SAW JOHN IN MAKEUP, AND HE DIDN'T REALLY 27 00:00:47,515 --> 00:00:48,625 WELL, I JUST SAW JOHN IN MAKEUP, AND HE DIDN'T REALLY SEEM THAT UPSET TO ME. 28 00:00:48,649 --> 00:00:49,126 MAKEUP, AND HE DIDN'T REALLY SEEM THAT UPSET TO ME. I KNOW. 29 00:00:49,150 --> 00:00:50,193 SEEM THAT UPSET TO ME. I KNOW. HE LOOKS OKAY, BUT I CAN SEE 30 00:00:50,217 --> 00:00:51,094 I KNOW. HE LOOKS OKAY, BUT I CAN SEE THAT LOOK IN HIS EYES. 31 00:00:51,118 --> 00:00:52,095 HE LOOKS OKAY, BUT I CAN SEE THAT LOOK IN HIS EYES. I'M JUST AFRAID HE'S GONNA 32 00:00:52,119 --> 00:00:53,763 THAT LOOK IN HIS EYES. I'M JUST AFRAID HE'S GONNA START THROWING THINGS AGAIN. 33 00:00:53,787 --> 00:01:00,437 I'M JUST AFRAID HE'S GONNA START THROWING THINGS AGAIN. [WHISTLING] 34 00:01:00,461 --> 00:01:02,005 START THROWING THINGS AGAIN. [WHISTLING] HEY, WHAT'S, UH... WHAT'S THE 35 00:01:02,029 --> 00:01:02,972 [WHISTLING] HEY, WHAT'S, UH... WHAT'S THE MATTER WITH GILDA? 36 00:01:02,996 --> 00:01:03,773 HEY, WHAT'S, UH... WHAT'S THE MATTER WITH GILDA? OH, NOTHING. 37 00:01:03,797 --> 00:01:05,142 MATTER WITH GILDA? OH, NOTHING. I THINK SHE'S JUST AFRAID YOU 38 00:01:05,166 --> 00:01:06,443 OH, NOTHING. I THINK SHE'S JUST AFRAID YOU MIGHT HIT HER OR SOMETHING. 39 00:01:06,467 --> 00:01:07,277 I THINK SHE'S JUST AFRAID YOU MIGHT HIT HER OR SOMETHING. [SCOFFS] 40 00:01:07,301 --> 00:01:08,678 MIGHT HIT HER OR SOMETHING. [SCOFFS] WELL, WHY WOULD I HIT HER? 41 00:01:08,702 --> 00:01:10,280 [SCOFFS] WELL, WHY WOULD I HIT HER? WELL, SHE THOUGHT YOU MIGHT 42 00:01:10,304 --> 00:01:11,814 WELL, WHY WOULD I HIT HER? WELL, SHE THOUGHT YOU MIGHT BE MAD BECAUSE THE DENG PIECE 43 00:01:11,838 --> 00:01:12,416 WELL, SHE THOUGHT YOU MIGHT BE MAD BECAUSE THE DENG PIECE WAS CUT. 44 00:01:12,440 --> 00:01:13,917 BE MAD BECAUSE THE DENG PIECE WAS CUT. THE DENG PIECE? NAH. 45 00:01:13,941 --> 00:01:16,253 WAS CUT. THE DENG PIECE? NAH. THAT DOESN'T MATTER. 46 00:01:16,277 --> 00:01:17,387 THE DENG PIECE? NAH. THAT DOESN'T MATTER. THAT DOESN'T MATTER. 47 00:01:17,411 --> 00:01:18,821 THAT DOESN'T MATTER. THAT DOESN'T MATTER. IT'S NO BIG DEAL, YOU KNOW? 48 00:01:18,845 --> 00:01:19,889 THAT DOESN'T MATTER. IT'S NO BIG DEAL, YOU KNOW? THE GUY LEFT TOWN. 49 00:01:19,913 --> 00:01:21,458 IT'S NO BIG DEAL, YOU KNOW? THE GUY LEFT TOWN. THOSE THINGS HAPPEN, YOU KNOW? 50 00:01:21,482 --> 00:01:22,825 THE GUY LEFT TOWN. THOSE THINGS HAPPEN, YOU KNOW? YEAH, WELL, MAYBE IT'S JUST 51 00:01:22,849 --> 00:01:24,027 THOSE THINGS HAPPEN, YOU KNOW? YEAH, WELL, MAYBE IT'S JUST AS WELL BECAUSE YOUR DENG 52 00:01:24,051 --> 00:01:25,328 YEAH, WELL, MAYBE IT'S JUST AS WELL BECAUSE YOUR DENG IMITATION IS A LOT LIKE YOUR 53 00:01:25,352 --> 00:01:26,729 AS WELL BECAUSE YOUR DENG IMITATION IS A LOT LIKE YOUR SAMURAI ONLY WITHOUT THE SWORD. 54 00:01:26,753 --> 00:01:27,230 IMITATION IS A LOT LIKE YOUR SAMURAI ONLY WITHOUT THE SWORD. [CHUCKLES] 55 00:01:27,254 --> 00:01:28,398 SAMURAI ONLY WITHOUT THE SWORD. [CHUCKLES] [CHUCKLES] 56 00:01:28,422 --> 00:01:30,100 [CHUCKLES] [CHUCKLES] UH, WHAT ARE YOU SAYING? 57 00:01:30,124 --> 00:01:32,069 [CHUCKLES] UH, WHAT ARE YOU SAYING? YOU'RE SAYING THAT MY SAMURAI 58 00:01:32,093 --> 00:01:33,836 UH, WHAT ARE YOU SAYING? YOU'RE SAYING THAT MY SAMURAI IMITATION IS LIKE MY DENG 59 00:01:33,860 --> 00:01:34,837 YOU'RE SAYING THAT MY SAMURAI IMITATION IS LIKE MY DENG IMITATION? 60 00:01:34,861 --> 00:01:36,173 IMITATION IS LIKE MY DENG IMITATION? THEY'RE TOTALLY DIFFERENT. 61 00:01:36,197 --> 00:01:38,175 IMITATION? THEY'RE TOTALLY DIFFERENT. TOTALLY DIFFERENT! 62 00:01:38,199 --> 00:01:39,642 THEY'RE TOTALLY DIFFERENT. TOTALLY DIFFERENT! JAPANESE IS AN ATONAL LANGUAGE. 63 00:01:39,666 --> 00:01:40,477 TOTALLY DIFFERENT! JAPANESE IS AN ATONAL LANGUAGE. IT'S DIFFERENT. 64 00:01:40,501 --> 00:01:41,511 JAPANESE IS AN ATONAL LANGUAGE. IT'S DIFFERENT. HE COMES OUT, AND... THE WALKS 65 00:01:41,535 --> 00:01:42,079 IT'S DIFFERENT. HE COMES OUT, AND... THE WALKS ARE DIFFERENT. 66 00:01:42,103 --> 00:01:43,180 HE COMES OUT, AND... THE WALKS ARE DIFFERENT. I'VE BEEN WORKING ON DENG'S WALK 67 00:01:43,204 --> 00:01:44,214 ARE DIFFERENT. I'VE BEEN WORKING ON DENG'S WALK FOR THREE DAYS NOW. 68 00:01:44,238 --> 00:01:45,648 I'VE BEEN WORKING ON DENG'S WALK FOR THREE DAYS NOW. I MEAN, I KNOW HOW HE WALKS. 69 00:01:45,672 --> 00:01:46,783 FOR THREE DAYS NOW. I MEAN, I KNOW HOW HE WALKS. THE JAPANESE WALK... IT'S A 70 00:01:46,807 --> 00:01:47,417 I MEAN, I KNOW HOW HE WALKS. THE JAPANESE WALK... IT'S A SMALLER WALK. 71 00:01:47,441 --> 00:01:48,017 THE JAPANESE WALK... IT'S A SMALLER WALK. IT'S LIKE... 72 00:01:48,041 --> 00:01:50,187 SMALLER WALK. IT'S LIKE... [SPEAKING FOREIGN LANGUAGE] 73 00:01:50,211 --> 00:01:50,987 IT'S LIKE... [SPEAKING FOREIGN LANGUAGE] YOU KNOW? 74 00:01:51,011 --> 00:01:53,022 [SPEAKING FOREIGN LANGUAGE] YOU KNOW? CHINESE IS... IS MORE MUSICAL. 75 00:01:53,046 --> 00:01:53,723 YOU KNOW? CHINESE IS... IS MORE MUSICAL. IT'S... 76 00:01:53,747 --> 00:01:55,392 CHINESE IS... IS MORE MUSICAL. IT'S... [SPEAKING FOREIGN LANGUAGE] 77 00:01:55,416 --> 00:01:57,026 IT'S... [SPEAKING FOREIGN LANGUAGE] AND HE JUST TAKES BIG STEPS, YOU 78 00:01:57,050 --> 00:01:58,428 [SPEAKING FOREIGN LANGUAGE] AND HE JUST TAKES BIG STEPS, YOU KNOW, JUST THOSE BIG STEPS. 79 00:01:58,452 --> 00:01:59,496 AND HE JUST TAKES BIG STEPS, YOU KNOW, JUST THOSE BIG STEPS. IT'S TOTALLY DIFFERENT. 80 00:01:59,520 --> 00:02:00,163 KNOW, JUST THOSE BIG STEPS. IT'S TOTALLY DIFFERENT. [CHUCKLES] 81 00:02:00,187 --> 00:02:01,331 IT'S TOTALLY DIFFERENT. [CHUCKLES] IT'S ALTOGETHER DIFFERENT. 82 00:02:01,355 --> 00:02:02,632 [CHUCKLES] IT'S ALTOGETHER DIFFERENT. YOU DON'T HAVE TO GET UPSET 83 00:02:02,656 --> 00:02:03,400 IT'S ALTOGETHER DIFFERENT. YOU DON'T HAVE TO GET UPSET ABOUT IT, JOHN. 84 00:02:03,424 --> 00:02:05,202 YOU DON'T HAVE TO GET UPSET ABOUT IT, JOHN. I'M NOT ANGRY, JANE. 85 00:02:05,226 --> 00:02:05,835 ABOUT IT, JOHN. I'M NOT ANGRY, JANE. NOPE. 86 00:02:05,859 --> 00:02:07,837 I'M NOT ANGRY, JANE. NOPE. I HAVE NOTHING TO BE ANGRY 87 00:02:07,861 --> 00:02:08,838 NOPE. I HAVE NOTHING TO BE ANGRY ABOUT. 88 00:02:08,862 --> 00:02:11,674 I HAVE NOTHING TO BE ANGRY ABOUT. LIFE IS GOOD. 89 00:02:11,698 --> 00:02:14,511 ABOUT. LIFE IS GOOD. I'M IN A HIT MOVIE. 90 00:02:14,535 --> 00:02:16,179 LIFE IS GOOD. I'M IN A HIT MOVIE. I'VE GOT A NUMBER-ONE ALBUM ON 91 00:02:16,203 --> 00:02:18,515 I'M IN A HIT MOVIE. I'VE GOT A NUMBER-ONE ALBUM ON THE CHARTS. 92 00:02:18,539 --> 00:02:21,851 I'VE GOT A NUMBER-ONE ALBUM ON THE CHARTS. AND I'M ON THE BEST SHOW ON 93 00:02:21,875 --> 00:02:23,019 THE CHARTS. AND I'M ON THE BEST SHOW ON TELEVISION. 94 00:02:23,043 --> 00:02:25,188 AND I'M ON THE BEST SHOW ON TELEVISION. SO WHAT IF A PART IS CUT NOW AND 95 00:02:25,212 --> 00:02:26,123 TELEVISION. SO WHAT IF A PART IS CUT NOW AND THEN, JANE? 96 00:02:26,147 --> 00:02:27,957 SO WHAT IF A PART IS CUT NOW AND THEN, JANE? THAT'S NOTHING TO BE UPSET 97 00:02:27,981 --> 00:02:29,058 THEN, JANE? THAT'S NOTHING TO BE UPSET ABOUT, REALLY. 98 00:02:29,082 --> 00:02:30,393 THAT'S NOTHING TO BE UPSET ABOUT, REALLY. JOHN, THAT'S QUITE A CHANGE 99 00:02:30,417 --> 00:02:31,561 ABOUT, REALLY. JOHN, THAT'S QUITE A CHANGE FOR YOU. 100 00:02:31,585 --> 00:02:35,398 JOHN, THAT'S QUITE A CHANGE FOR YOU. WELL, I JUST REALIZED NOTHING 101 00:02:35,422 --> 00:02:37,134 FOR YOU. WELL, I JUST REALIZED NOTHING IS WORTH LOSING YOUR HEAD ABOUT, 102 00:02:37,158 --> 00:02:37,767 WELL, I JUST REALIZED NOTHING IS WORTH LOSING YOUR HEAD ABOUT, YOU KNOW? 103 00:02:37,791 --> 00:02:40,203 IS WORTH LOSING YOUR HEAD ABOUT, YOU KNOW? NOT ONE THING IS THAT IMPORTANT 104 00:02:40,227 --> 00:02:42,572 YOU KNOW? NOT ONE THING IS THAT IMPORTANT BECAUSE I'VE GOT A LOT OF EGGS 105 00:02:42,596 --> 00:02:44,307 NOT ONE THING IS THAT IMPORTANT BECAUSE I'VE GOT A LOT OF EGGS IN THE BASKET. 106 00:02:44,331 --> 00:02:47,344 BECAUSE I'VE GOT A LOT OF EGGS IN THE BASKET. IF THIS SHOW SHOULD END, I'D 107 00:02:47,368 --> 00:02:49,679 IN THE BASKET. IF THIS SHOW SHOULD END, I'D HAVE OTHER STUFF TO DO... 108 00:02:49,703 --> 00:02:53,350 IF THIS SHOW SHOULD END, I'D HAVE OTHER STUFF TO DO... NOT LIKE YOU. 109 00:02:53,374 --> 00:02:54,284 HAVE OTHER STUFF TO DO... NOT LIKE YOU. WHAT WOULD YOU DO? 110 00:02:54,308 --> 00:02:55,752 NOT LIKE YOU. WHAT WOULD YOU DO? YOU'D GO BACK TO BOSTON IN SOME 111 00:02:55,776 --> 00:02:56,919 WHAT WOULD YOU DO? YOU'D GO BACK TO BOSTON IN SOME IMPROV GROUP, YOU KNOW? 112 00:02:56,943 --> 00:02:58,355 YOU'D GO BACK TO BOSTON IN SOME IMPROV GROUP, YOU KNOW? "AH, GIVE ME A SUGGESTION OF A 113 00:02:58,379 --> 00:02:59,656 IMPROV GROUP, YOU KNOW? "AH, GIVE ME A SUGGESTION OF A LOCATION, AN OCCUPATION, AN 114 00:02:59,680 --> 00:03:00,223 "AH, GIVE ME A SUGGESTION OF A LOCATION, AN OCCUPATION, AN EMOTION." 115 00:03:00,247 --> 00:03:02,091 LOCATION, AN OCCUPATION, AN EMOTION." HEY, THAT'S GREAT ENTERTAINMENT, 116 00:03:02,115 --> 00:03:02,592 EMOTION." HEY, THAT'S GREAT ENTERTAINMENT, JANE. 117 00:03:02,616 --> 00:03:06,263 HEY, THAT'S GREAT ENTERTAINMENT, JANE. YOU SEE, YOU'VE GOT NO CHOICE. 118 00:03:06,287 --> 00:03:07,631 JANE. YOU SEE, YOU'VE GOT NO CHOICE. I COULD HAVE STAYED IN 119 00:03:07,655 --> 00:03:09,399 YOU SEE, YOU'VE GOT NO CHOICE. I COULD HAVE STAYED IN HOLLYWOOD, DONE ANOTHER MOVIE. 120 00:03:09,423 --> 00:03:10,967 I COULD HAVE STAYED IN HOLLYWOOD, DONE ANOTHER MOVIE. I COULD HAVE DONE A LOT OF 121 00:03:10,991 --> 00:03:11,568 HOLLYWOOD, DONE ANOTHER MOVIE. I COULD HAVE DONE A LOT OF THINGS. 122 00:03:11,592 --> 00:03:15,238 I COULD HAVE DONE A LOT OF THINGS. BUT NO. 123 00:03:15,262 --> 00:03:17,106 THINGS. BUT NO. I CAME BACK BECAUSE I WANTED TO. 124 00:03:17,130 --> 00:03:18,575 BUT NO. I CAME BACK BECAUSE I WANTED TO. AND THAT'S THE DIFFERENCE 125 00:03:18,599 --> 00:03:19,709 I CAME BACK BECAUSE I WANTED TO. AND THAT'S THE DIFFERENCE BETWEEN US, JANE. 126 00:03:19,733 --> 00:03:21,444 AND THAT'S THE DIFFERENCE BETWEEN US, JANE. I'M HERE NOT BECAUSE I HAVE TO 127 00:03:21,468 --> 00:03:24,113 BETWEEN US, JANE. I'M HERE NOT BECAUSE I HAVE TO BE... BECAUSE I WANT TO BE. 128 00:03:24,137 --> 00:03:25,415 I'M HERE NOT BECAUSE I HAVE TO BE... BECAUSE I WANT TO BE. IT'S THE NEW ME. 129 00:03:25,439 --> 00:03:27,116 BE... BECAUSE I WANT TO BE. IT'S THE NEW ME. BETTER GET USED TO IT. 130 00:03:27,140 --> 00:03:28,618 IT'S THE NEW ME. BETTER GET USED TO IT. JOHN, THAT'S GREAT. 131 00:03:28,642 --> 00:03:30,687 BETTER GET USED TO IT. JOHN, THAT'S GREAT. A WHOLE NEW JOHN BELUSHI, THANKS 132 00:03:30,711 --> 00:03:32,755 JOHN, THAT'S GREAT. A WHOLE NEW JOHN BELUSHI, THANKS TO A LITTLE SUCCESS AND A LOT OF 133 00:03:32,779 --> 00:03:33,256 A WHOLE NEW JOHN BELUSHI, THANKS TO A LITTLE SUCCESS AND A LOT OF HEROIN. 134 00:03:33,280 --> 00:03:37,260 TO A LITTLE SUCCESS AND A LOT OF HEROIN. SON OF A... 135 00:03:37,284 --> 00:03:38,595 HEROIN. SON OF A... LIVE FROM NEW YORK, IT'S 136 00:03:38,619 --> 00:03:40,096 SON OF A... LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! 137 00:03:40,120 --> 00:03:42,240 LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! [BAND PLAYS] 138 00:03:51,163 --> 00:03:54,966 Announcer: IT'S "SATURDAY NIGHT LIVE." 139 00:03:59,004 --> 00:04:01,973 WITH CICELY TYSON. 140 00:04:09,682 --> 00:04:17,682 STARRING DAN AYKROYD... JOHN BELUSHI... JANE CURTIN... 141 00:04:24,231 --> 00:04:28,378 JOHN BELUSHI... JANE CURTIN... GARRETT MORRIS... 142 00:04:28,402 --> 00:04:32,215 JANE CURTIN... GARRETT MORRIS... BILL MURRAY... 143 00:04:32,239 --> 00:04:36,052 GARRETT MORRIS... BILL MURRAY... LARAINE NEWMAN... 144 00:04:36,076 --> 00:04:38,510 BILL MURRAY... LARAINE NEWMAN... AND GILDA RADNER. 145 00:04:44,417 --> 00:04:52,417 WITH MUSICAL GUEST TALKING HEADS. LADIES AND GENTLEMEN, 146 00:04:55,462 --> 00:04:57,106 TALKING HEADS. LADIES AND GENTLEMEN, CICELY TYSON! 147 00:04:57,130 --> 00:04:59,330 LADIES AND GENTLEMEN, CICELY TYSON! [CHEERS AND APPLAUSE] 148 00:05:17,684 --> 00:05:21,864 [CLEARS THROAT] [High-pitched voice] THANK YOU. 149 00:05:21,888 --> 00:05:23,366 [High-pitched voice] THANK YOU. [CHEERS AND APPLAUSE] 150 00:05:23,390 --> 00:05:24,367 YOU. [CHEERS AND APPLAUSE] DOWN. 151 00:05:24,391 --> 00:05:26,035 [CHEERS AND APPLAUSE] DOWN. THANK YOU. 152 00:05:26,059 --> 00:05:27,537 DOWN. THANK YOU. THANK YOU. 153 00:05:27,561 --> 00:05:29,739 THANK YOU. THANK YOU. YOU KNOW, AS AN AWARD-WINNING 154 00:05:29,763 --> 00:05:31,974 THANK YOU. YOU KNOW, AS AN AWARD-WINNING BLACK ACTRESS, I GET TO HEAR A 155 00:05:31,998 --> 00:05:34,311 YOU KNOW, AS AN AWARD-WINNING BLACK ACTRESS, I GET TO HEAR A LOT OF HILARIOUS ANECDOTES, YOU 156 00:05:34,335 --> 00:05:34,944 BLACK ACTRESS, I GET TO HEAR A LOT OF HILARIOUS ANECDOTES, YOU KNOW? 157 00:05:34,968 --> 00:05:35,745 LOT OF HILARIOUS ANECDOTES, YOU KNOW? SO WHEN THE 158 00:05:35,769 --> 00:05:37,380 KNOW? SO WHEN THE "SATURDAY NIGHT LIVE" STAFF 159 00:05:37,404 --> 00:05:38,915 SO WHEN THE "SATURDAY NIGHT LIVE" STAFF CALLED ME TO DO THE SHOW, 160 00:05:38,939 --> 00:05:40,750 "SATURDAY NIGHT LIVE" STAFF CALLED ME TO DO THE SHOW, NATURALLY I SAID TO MYSELF... I 161 00:05:40,774 --> 00:05:41,851 CALLED ME TO DO THE SHOW, NATURALLY I SAID TO MYSELF... I SAID, "CICELY..." 162 00:05:41,875 --> 00:05:43,353 NATURALLY I SAID TO MYSELF... I SAID, "CICELY..." [CHUCKLES] 163 00:05:43,377 --> 00:05:46,523 SAID, "CICELY..." [CHUCKLES] I SAID... I SAID, "WHAT A..." 164 00:05:46,547 --> 00:05:48,987 [CHUCKLES] I SAID... I SAID, "WHAT A..." [CHEERS AND APPLAUSE] 165 00:06:02,628 --> 00:06:07,610 EXCUSE ME, GARRETT, BUT WOULD YOU MIND TELLING ME WHAT YOU ARE DOING? 166 00:06:07,634 --> 00:06:09,846 YOU MIND TELLING ME WHAT YOU ARE DOING? [Normal voice] HEY, I DON'T 167 00:06:09,870 --> 00:06:10,814 DOING? [Normal voice] HEY, I DON'T BELIEVE IT. 168 00:06:10,838 --> 00:06:13,650 [Normal voice] HEY, I DON'T BELIEVE IT. UH... YOU'RE REALLY HERE. 169 00:06:13,674 --> 00:06:14,984 BELIEVE IT. UH... YOU'RE REALLY HERE. OF COURSE I'M HERE! 170 00:06:15,008 --> 00:06:16,820 UH... YOU'RE REALLY HERE. OF COURSE I'M HERE! I'VE BEEN IN MY DRESSING ROOM, I 171 00:06:16,844 --> 00:06:18,521 OF COURSE I'M HERE! I'VE BEEN IN MY DRESSING ROOM, I MEAN, WAITING FOR SOMEBODY TO 172 00:06:18,545 --> 00:06:19,556 I'VE BEEN IN MY DRESSING ROOM, I MEAN, WAITING FOR SOMEBODY TO COME AND GET ME. 173 00:06:19,580 --> 00:06:20,757 MEAN, WAITING FOR SOMEBODY TO COME AND GET ME. WHAT ARE YOU DOING HERE? 174 00:06:20,781 --> 00:06:22,291 COME AND GET ME. WHAT ARE YOU DOING HERE? I MEAN, WHAT ARE YOU DOING HERE? 175 00:06:22,315 --> 00:06:23,793 WHAT ARE YOU DOING HERE? I MEAN, WHAT ARE YOU DOING HERE? WELL, YOU KNOW, WHEN I HEARD 176 00:06:23,817 --> 00:06:24,327 I MEAN, WHAT ARE YOU DOING HERE? WELL, YOU KNOW, WHEN I HEARD ABOUT... 177 00:06:24,351 --> 00:06:25,328 WELL, YOU KNOW, WHEN I HEARD ABOUT... THIS IS MY SPOT! 178 00:06:25,352 --> 00:06:26,863 ABOUT... THIS IS MY SPOT! WHEN I HEARD THEM TALK ABOUT, 179 00:06:26,887 --> 00:06:28,197 THIS IS MY SPOT! WHEN I HEARD THEM TALK ABOUT, YOU KNOW, CICELY TYSON, YOU 180 00:06:28,221 --> 00:06:29,532 WHEN I HEARD THEM TALK ABOUT, YOU KNOW, CICELY TYSON, YOU KNOW, ON THE SHOW, I DIDN'T 181 00:06:29,556 --> 00:06:32,535 YOU KNOW, CICELY TYSON, YOU KNOW, ON THE SHOW, I DIDN'T THINK THEY'D ACTUALLY GET YOU. 182 00:06:32,559 --> 00:06:34,771 KNOW, ON THE SHOW, I DIDN'T THINK THEY'D ACTUALLY GET YOU. I JUST ASSUMED IT WAS A PART FOR 183 00:06:34,795 --> 00:06:35,872 THINK THEY'D ACTUALLY GET YOU. I JUST ASSUMED IT WAS A PART FOR ME, YOU KNOW? 184 00:06:35,896 --> 00:06:37,940 I JUST ASSUMED IT WAS A PART FOR ME, YOU KNOW? I MEAN, I DO A... I DO A GOOD 185 00:06:37,964 --> 00:06:38,975 ME, YOU KNOW? I MEAN, I DO A... I DO A GOOD CICELY TYSON, HONEY. 186 00:06:38,999 --> 00:06:40,343 I MEAN, I DO A... I DO A GOOD CICELY TYSON, HONEY. GARRETT, WOULD YOU TELL ME 187 00:06:40,367 --> 00:06:41,644 CICELY TYSON, HONEY. GARRETT, WOULD YOU TELL ME WHY YOU HAVE MY CLOTHES ON? 188 00:06:41,668 --> 00:06:42,912 GARRETT, WOULD YOU TELL ME WHY YOU HAVE MY CLOTHES ON? WHAT ARE YOU DOING WITH MY 189 00:06:42,936 --> 00:06:43,580 WHY YOU HAVE MY CLOTHES ON? WHAT ARE YOU DOING WITH MY CLOTHES ON? 190 00:06:43,604 --> 00:06:45,348 WHAT ARE YOU DOING WITH MY CLOTHES ON? LOOK, LOOK, LET ME EXPLAIN 191 00:06:45,372 --> 00:06:46,416 CLOTHES ON? LOOK, LOOK, LET ME EXPLAIN SOMETHING, NOW. 192 00:06:46,440 --> 00:06:47,984 LOOK, LOOK, LET ME EXPLAIN SOMETHING, NOW. I WAS HIRED BY THIS SHOW, 193 00:06:48,008 --> 00:06:49,819 SOMETHING, NOW. I WAS HIRED BY THIS SHOW, CICELY, UNDER THE TERMS OF THE 194 00:06:49,843 --> 00:06:51,654 I WAS HIRED BY THIS SHOW, CICELY, UNDER THE TERMS OF THE TOKEN MINORITY WINDOW-DRESSING 195 00:06:51,678 --> 00:06:53,656 CICELY, UNDER THE TERMS OF THE TOKEN MINORITY WINDOW-DRESSING ACT OF 1978. 196 00:06:53,680 --> 00:06:55,759 TOKEN MINORITY WINDOW-DRESSING ACT OF 1978. NOW, MY CONTRACT... DIG THIS 197 00:06:55,783 --> 00:06:57,293 ACT OF 1978. NOW, MY CONTRACT... DIG THIS CONTRACT, WILL YOU? 198 00:06:57,317 --> 00:06:59,462 NOW, MY CONTRACT... DIG THIS CONTRACT, WILL YOU? CLEARLY STATES... MY CONTRACT 199 00:06:59,486 --> 00:07:00,497 CONTRACT, WILL YOU? CLEARLY STATES... MY CONTRACT CLEARLY S... 200 00:07:00,521 --> 00:07:01,964 CLEARLY STATES... MY CONTRACT CLEARLY S... WAIT. OH, WHERE? OH, RIGHT HERE. 201 00:07:01,988 --> 00:07:03,099 CLEARLY S... WAIT. OH, WHERE? OH, RIGHT HERE. CLEARLY STATES THAT "IN 202 00:07:03,123 --> 00:07:04,501 WAIT. OH, WHERE? OH, RIGHT HERE. CLEARLY STATES THAT "IN ADDITION TO SERVICES DESCRIBED 203 00:07:04,525 --> 00:07:05,869 CLEARLY STATES THAT "IN ADDITION TO SERVICES DESCRIBED ABOVE..." SEE RIGHT THERE? 204 00:07:05,893 --> 00:07:07,670 ADDITION TO SERVICES DESCRIBED ABOVE... "SEE RIGHT THERE? "PERFORMER AGREES THAT HE WILL 205 00:07:07,694 --> 00:07:09,238 ABOVE... "SEE RIGHT THERE? "PERFORMER AGREES THAT HE WILL PLAY ALL PARTS DARKER THAN 206 00:07:09,262 --> 00:07:13,075 "PERFORMER AGREES THAT HE WILL PLAY ALL PARTS DARKER THAN TONY ORLANDO." 207 00:07:13,099 --> 00:07:15,144 PLAY ALL PARTS DARKER THAN TONY ORLANDO." NOW, THE WAY I READ IT, THAT 208 00:07:15,168 --> 00:07:16,413 TONY ORLANDO." NOW, THE WAY I READ IT, THAT MEAN ALL PARTS! 209 00:07:16,437 --> 00:07:18,915 NOW, THE WAY I READ IT, THAT MEAN ALL PARTS! SO YOU ARE PLAYING A LOT OF 210 00:07:18,939 --> 00:07:19,783 MEAN ALL PARTS! SO YOU ARE PLAYING A LOT OF WOMEN ROLES? 211 00:07:19,807 --> 00:07:20,583 SO YOU ARE PLAYING A LOT OF WOMEN ROLES? IS THAT IT? 212 00:07:20,607 --> 00:07:22,419 WOMEN ROLES? IS THAT IT? YEAH, I'VE DONE TINA TURNER. 213 00:07:22,443 --> 00:07:25,087 IS THAT IT? YEAH, I'VE DONE TINA TURNER. I'VE DONE LEON SPINKS' MOTHER. 214 00:07:25,111 --> 00:07:27,023 YEAH, I'VE DONE TINA TURNER. I'VE DONE LEON SPINKS' MOTHER. I'VE DONE A LOT OF MAIDS, HONEY. 215 00:07:27,047 --> 00:07:27,824 I'VE DONE LEON SPINKS' MOTHER. I'VE DONE A LOT OF MAIDS, HONEY. AND... OH! 216 00:07:27,848 --> 00:07:30,493 I'VE DONE A LOT OF MAIDS, HONEY. AND... OH! DO YOU REMEMBER THE CORETTA KING 217 00:07:30,517 --> 00:07:32,161 AND... OH! DO YOU REMEMBER THE CORETTA KING MUD-WRESTLING PIECE? 218 00:07:32,185 --> 00:07:33,095 DO YOU REMEMBER THE CORETTA KING MUD-WRESTLING PIECE? NO, NO, I DO NOT. 219 00:07:33,119 --> 00:07:33,996 MUD-WRESTLING PIECE? NO, NO, I DO NOT. I CERTAINLY DO NOT. 220 00:07:34,020 --> 00:07:35,097 NO, NO, I DO NOT. I CERTAINLY DO NOT. NO, WELL, THAT WAS ME! 221 00:07:35,121 --> 00:07:35,932 I CERTAINLY DO NOT. NO, WELL, THAT WAS ME! THAT WAS ME, CICELY! 222 00:07:35,956 --> 00:07:37,199 NO, WELL, THAT WAS ME! THAT WAS ME, CICELY! GARRETT, WHAT IS HAPPENING TO 223 00:07:37,223 --> 00:07:37,667 THAT WAS ME, CICELY! GARRETT, WHAT IS HAPPENING TO YOU? 224 00:07:37,691 --> 00:07:38,334 GARRETT, WHAT IS HAPPENING TO YOU? HUH? 225 00:07:38,358 --> 00:07:40,202 YOU? HUH? I MEAN, LOOK AT WHAT YOU'RE 226 00:07:40,226 --> 00:07:40,804 HUH? I MEAN, LOOK AT WHAT YOU'RE DOING. 227 00:07:40,828 --> 00:07:42,672 I MEAN, LOOK AT WHAT YOU'RE DOING. WHEN WE WORKED TOGETHER AT THE 228 00:07:42,696 --> 00:07:44,607 DOING. WHEN WE WORKED TOGETHER AT THE BLACK RESENTMENT DRAMA WORKSHOP 229 00:07:44,631 --> 00:07:46,175 WHEN WE WORKED TOGETHER AT THE BLACK RESENTMENT DRAMA WORKSHOP IN THE 1960s, I EXPECTED 230 00:07:46,199 --> 00:07:48,077 BLACK RESENTMENT DRAMA WORKSHOP IN THE 1960s, I EXPECTED SOMETHING REALLY VERY BIG FROM 231 00:07:48,101 --> 00:07:48,578 IN THE 1960s, I EXPECTED SOMETHING REALLY VERY BIG FROM YOU. 232 00:07:48,602 --> 00:07:50,513 SOMETHING REALLY VERY BIG FROM YOU. I MEAN, THE RANGE YOU SHOWED... 233 00:07:50,537 --> 00:07:52,048 YOU. I MEAN, THE RANGE YOU SHOWED... YOUR TALENT, YOUR VOICE. 234 00:07:52,072 --> 00:07:53,750 I MEAN, THE RANGE YOU SHOWED... YOUR TALENT, YOUR VOICE. REMEMBER WHEN LEE STRASBERG 235 00:07:53,774 --> 00:07:55,585 YOUR TALENT, YOUR VOICE. REMEMBER WHEN LEE STRASBERG STOPPED BY TO WATCH US DO THE 236 00:07:55,609 --> 00:07:56,285 REMEMBER WHEN LEE STRASBERG STOPPED BY TO WATCH US DO THE IMPROVS? 237 00:07:56,309 --> 00:07:58,087 STOPPED BY TO WATCH US DO THE IMPROVS? I MEAN, YOU WERE THE ONLY ONE 238 00:07:58,111 --> 00:07:59,388 IMPROVS? I MEAN, YOU WERE THE ONLY ONE THAT HE REMEMBERED. 239 00:07:59,412 --> 00:08:01,023 I MEAN, YOU WERE THE ONLY ONE THAT HE REMEMBERED. GOD KNOWS I HOPE HE'S NOT 240 00:08:01,047 --> 00:08:02,725 THAT HE REMEMBERED. GOD KNOWS I HOPE HE'S NOT WATCHING THE SHOW TONIGHT. 241 00:08:02,749 --> 00:08:04,694 GOD KNOWS I HOPE HE'S NOT WATCHING THE SHOW TONIGHT. I MEAN, WHERE'S YOUR INTEGRITY? 242 00:08:04,718 --> 00:08:06,028 WATCHING THE SHOW TONIGHT. I MEAN, WHERE'S YOUR INTEGRITY? WHAT HAPPENED TO IT? 243 00:08:06,052 --> 00:08:07,029 I MEAN, WHERE'S YOUR INTEGRITY? WHAT HAPPENED TO IT? WELL, UH... 244 00:08:07,053 --> 00:08:08,932 WHAT HAPPENED TO IT? WELL, UH... I MEAN, YOU HAVE TALENT, AND 245 00:08:08,956 --> 00:08:10,767 WELL, UH... I MEAN, YOU HAVE TALENT, AND YOU ARE JUST THROWING IT AWAY. 246 00:08:10,791 --> 00:08:12,368 I MEAN, YOU HAVE TALENT, AND YOU ARE JUST THROWING IT AWAY. DON'T YOU KNOW YOU HAVE A 247 00:08:12,392 --> 00:08:15,304 YOU ARE JUST THROWING IT AWAY. DON'T YOU KNOW YOU HAVE A RESPONSIBILITY AS A BLACK ACTOR 248 00:08:15,328 --> 00:08:17,507 DON'T YOU KNOW YOU HAVE A RESPONSIBILITY AS A BLACK ACTOR TO PERFECT YOUR CRAFT? 249 00:08:17,531 --> 00:08:19,275 RESPONSIBILITY AS A BLACK ACTOR TO PERFECT YOUR CRAFT? AND YOU ARE HERE ON THIS STAGE, 250 00:08:19,299 --> 00:08:21,010 TO PERFECT YOUR CRAFT? AND YOU ARE HERE ON THIS STAGE, IN FRONT OF ALL THESE PEOPLE ON 251 00:08:21,034 --> 00:08:22,812 AND YOU ARE HERE ON THIS STAGE, IN FRONT OF ALL THESE PEOPLE ON TELEVISION, ACTING LIKE A CLOWN. 252 00:08:22,836 --> 00:08:25,815 IN FRONT OF ALL THESE PEOPLE ON TELEVISION, ACTING LIKE A CLOWN. WHAT ARE YOU DOING IT FOR? 253 00:08:25,839 --> 00:08:27,817 TELEVISION, ACTING LIKE A CLOWN. WHAT ARE YOU DOING IT FOR? MONEY? 254 00:08:27,841 --> 00:08:29,151 WHAT ARE YOU DOING IT FOR? MONEY? WELL, YOU KNOW, IT DOESN'T 255 00:08:29,175 --> 00:08:31,488 MONEY? WELL, YOU KNOW, IT DOESN'T LOOK BAD ON MY RéSUMé, YOU KNOW? 256 00:08:31,512 --> 00:08:33,490 WELL, YOU KNOW, IT DOESN'T LOOK BAD ON MY RéSUMé, YOU KNOW? AND I GET TO KEEP THE DRESSES. 257 00:08:33,514 --> 00:08:34,824 LOOK BAD ON MY RéSUMé, YOU KNOW? AND I GET TO KEEP THE DRESSES. [LAUGHS] 258 00:08:34,848 --> 00:08:36,359 AND I GET TO KEEP THE DRESSES. [LAUGHS] LISTEN, LISTEN, DEAR, WE'RE 259 00:08:36,383 --> 00:08:37,827 [LAUGHS] LISTEN, LISTEN, DEAR, WE'RE GONNA TALK ABOUT THIS LATER. 260 00:08:37,851 --> 00:08:38,995 LISTEN, LISTEN, DEAR, WE'RE GONNA TALK ABOUT THIS LATER. WE'LL BE RIGHT BACK. 261 00:08:39,019 --> 00:08:41,780 GONNA TALK ABOUT THIS LATER. WE'LL BE RIGHT BACK. [CHEERS AND APPLAUSE] 262 00:08:46,893 --> 00:08:50,428 ♪ LOVE ME TENDER ♪ 263 00:08:50,563 --> 00:08:51,997 Announcer: THE NEW JERSEY 264 00:08:52,131 --> 00:08:53,464 CIVIC COLISEUM IS PROUD TO 265 00:08:53,599 --> 00:08:55,567 PRESENT, APPEARING LIVE FOR A 266 00:08:55,701 --> 00:08:57,168 LIMITED ENGAGEMENT... 267 00:08:57,302 --> 00:09:01,006 ELVIS PRESLEY'S COAT! 268 00:09:01,140 --> 00:09:02,674 HEAR THE HITS OF THE KING AND 269 00:09:02,808 --> 00:09:04,175 SEE THE COAT THAT MADE HIM 270 00:09:04,309 --> 00:09:06,110 FAMOUS. 271 00:09:06,378 --> 00:09:11,728 ♪ NUMBER 47 SAID TO NUMBER 3, "YOU'RE THE CUTEST JAILBIRD I EVER DID SEE ♪ 272 00:09:11,752 --> 00:09:13,229 3, "YOU'RE THE CUTEST JAILBIRD I EVER DID SEE ♪ ♪ I SURE WOULD BE DELIGHTED WITH 273 00:09:13,253 --> 00:09:14,397 I EVER DID SEE ♪ ♪ I SURE WOULD BE DELIGHTED WITH YOUR COMPANY ♪ 274 00:09:14,421 --> 00:09:16,065 ♪ I SURE WOULD BE DELIGHTED WITH YOUR COMPANY ♪ ♪ COME ON AND DO THE JAILHOUSE 275 00:09:16,089 --> 00:09:17,066 YOUR COMPANY ♪ ♪ COME ON AND DO THE JAILHOUSE ROCK WITH ME" ♪ 276 00:09:17,090 --> 00:09:18,568 ♪ COME ON AND DO THE JAILHOUSE ROCK WITH ME" ♪ ♪ LET'S ROCK ♪ 277 00:09:18,592 --> 00:09:21,070 ROCK WITH ME" ♪ ♪ LET'S ROCK ♪ IT'S SEXY! 278 00:09:21,094 --> 00:09:22,906 ♪ LET'S ROCK ♪ IT'S SEXY! ♪ I'M IN LOVE ♪ 279 00:09:22,930 --> 00:09:24,908 IT'S SEXY! ♪ I'M IN LOVE ♪ ♪ I'M ALL SHOOK UP ♪ 280 00:09:24,932 --> 00:09:26,242 ♪ I'M IN LOVE ♪ ♪ I'M ALL SHOOK UP ♪ SIMPLY MIND-BOGGLING. 281 00:09:26,266 --> 00:09:27,243 ♪ I'M ALL SHOOK UP ♪ SIMPLY MIND-BOGGLING. UNCANNY. 282 00:09:27,267 --> 00:09:27,877 SIMPLY MIND-BOGGLING. UNCANNY. IT'S VISUAL. 283 00:09:27,901 --> 00:09:28,912 UNCANNY. IT'S VISUAL. I THINK IT WAS REMARKABLE. 284 00:09:28,936 --> 00:09:29,913 IT'S VISUAL. I THINK IT WAS REMARKABLE. I'M GONNA HAVE TO BRING THE 285 00:09:29,937 --> 00:09:30,580 I THINK IT WAS REMARKABLE. I'M GONNA HAVE TO BRING THE KIDS. 286 00:09:30,604 --> 00:09:32,314 I'M GONNA HAVE TO BRING THE KIDS. Announcer: SAID ONE CRITIC, 287 00:09:32,338 --> 00:09:33,950 KIDS. Announcer: SAID ONE CRITIC, "IT WAS THE CLOSEST THING TO 288 00:09:33,974 --> 00:09:35,785 Announcer: SAID ONE CRITIC, "IT WAS THE CLOSEST THING TO ELVIS HIMSELF." 289 00:09:35,809 --> 00:09:41,290 "IT WAS THE CLOSEST THING TO ELVIS HIMSELF." ♪ AND BLUE HAWAII ♪ 290 00:09:41,314 --> 00:09:43,459 ELVIS HIMSELF." ♪ AND BLUE HAWAII ♪ WELL, THE LIGHTS. 291 00:09:43,483 --> 00:09:44,460 ♪ AND BLUE HAWAII ♪ WELL, THE LIGHTS. THE SOUNDS. 292 00:09:44,484 --> 00:09:46,462 WELL, THE LIGHTS. THE SOUNDS. I THINK I'VE SEEN ALL OF THE 293 00:09:46,486 --> 00:09:49,398 THE SOUNDS. I THINK I'VE SEEN ALL OF THE IMITATION-COAT SHOWS, BUT THEY 294 00:09:49,422 --> 00:09:52,535 I THINK I'VE SEEN ALL OF THE IMITATION-COAT SHOWS, BUT THEY DON'T COMPARE TO THE REAL THING. 295 00:09:52,559 --> 00:09:55,538 IMITATION-COAT SHOWS, BUT THEY DON'T COMPARE TO THE REAL THING. NOW THE STAGE IS BARE, AND 296 00:09:55,562 --> 00:09:58,041 DON'T COMPARE TO THE REAL THING. NOW THE STAGE IS BARE, AND I'M STANDING THERE WITH 297 00:09:58,065 --> 00:10:00,342 NOW THE STAGE IS BARE, AND I'M STANDING THERE WITH EMPTINESS ALL AROUND. 298 00:10:00,366 --> 00:10:01,844 I'M STANDING THERE WITH EMPTINESS ALL AROUND. Announcer: THE KING MAY BE 299 00:10:01,868 --> 00:10:04,379 EMPTINESS ALL AROUND. Announcer: THE KING MAY BE DEAD, BUT THE COAT LIVES ON. 300 00:10:04,403 --> 00:10:05,604 ENGAGEMENT BEGINS TUESDAY, 301 00:10:05,738 --> 00:10:06,204 NOVEMBER 7th. 302 00:10:06,338 --> 00:10:06,905 IT'S A TRIP. 303 00:10:07,039 --> 00:10:08,216 I MEAN, YOU REALLY HAVE TO SEE 304 00:10:08,240 --> 00:10:09,240 IT. 305 00:10:12,912 --> 00:10:14,713 [TELEPHONE RINGING] 306 00:10:24,556 --> 00:10:32,556 HELLO? WIDETTE RESIDENCE. OH, HI, PAULA! OH, NO, I'M SORRY. 307 00:10:33,100 --> 00:10:34,210 OH, HI, PAULA! OH, NO, I'M SORRY. WE CAN'T GO TO THE 308 00:10:34,234 --> 00:10:35,778 OH, NO, I'M SORRY. WE CAN'T GO TO THE "SAVE THE WHALES" CONCERT. 309 00:10:35,802 --> 00:10:37,647 WE CAN'T GO TO THE "SAVE THE WHALES" CONCERT. WE'RE HAVING EARL AND WILMA BASS 310 00:10:37,671 --> 00:10:38,547 "SAVE THE WHALES" CONCERT. WE'RE HAVING EARL AND WILMA BASS OVER FOR DINNER. 311 00:10:38,571 --> 00:10:39,716 WE'RE HAVING EARL AND WILMA BASS OVER FOR DINNER. [VEHICLE APPROACHES] 312 00:10:39,740 --> 00:10:40,984 OVER FOR DINNER. [VEHICLE APPROACHES] OH, LOOK, PAULA, BOB JUST PULLED 313 00:10:41,008 --> 00:10:41,784 [VEHICLE APPROACHES] OH, LOOK, PAULA, BOB JUST PULLED INTO THE DRIVEWAY. 314 00:10:41,808 --> 00:10:42,752 OH, LOOK, PAULA, BOB JUST PULLED INTO THE DRIVEWAY. I'LL TALK TO YOU LATER. 315 00:10:42,776 --> 00:10:45,209 INTO THE DRIVEWAY. I'LL TALK TO YOU LATER. GOODBYE. 316 00:10:51,917 --> 00:10:56,099 HI, HONEY BUNS, I'M HOME. HI, SWEETHEART. OH, GOOD! 317 00:10:56,123 --> 00:10:58,400 HI, SWEETHEART. OH, GOOD! YOU BROUGHT THE CHEESECAKES HOME 318 00:10:58,424 --> 00:10:59,468 OH, GOOD! YOU BROUGHT THE CHEESECAKES HOME FOR DESSERT. 319 00:10:59,492 --> 00:11:00,469 YOU BROUGHT THE CHEESECAKES HOME FOR DESSERT. THANK YOU. 320 00:11:00,493 --> 00:11:01,270 FOR DESSERT. THANK YOU. COME HERE. 321 00:11:01,294 --> 00:11:02,605 THANK YOU. COME HERE. COME HERE AND LOOK OUT THE 322 00:11:02,629 --> 00:11:03,139 COME HERE. COME HERE AND LOOK OUT THE WINDOW. 323 00:11:03,163 --> 00:11:04,641 COME HERE AND LOOK OUT THE WINDOW. LOOK AT THIS. 324 00:11:04,665 --> 00:11:06,442 WINDOW. LOOK AT THIS. THOSE DAMN NEIGHBOR KIDS HAVE 325 00:11:06,466 --> 00:11:08,244 LOOK AT THIS. THOSE DAMN NEIGHBOR KIDS HAVE PUT TOILET PAPER ALL OVER THE 326 00:11:08,268 --> 00:11:10,079 THOSE DAMN NEIGHBOR KIDS HAVE PUT TOILET PAPER ALL OVER THE TREES IN THE FRONT YARD AGAIN. 327 00:11:10,103 --> 00:11:11,347 PUT TOILET PAPER ALL OVER THE TREES IN THE FRONT YARD AGAIN. OH, THOSE BRATS! 328 00:11:11,371 --> 00:11:13,116 TREES IN THE FRONT YARD AGAIN. OH, THOSE BRATS! I DON'T KNOW WHY THEY ALWAYS 329 00:11:13,140 --> 00:11:13,950 OH, THOSE BRATS! I DON'T KNOW WHY THEY ALWAYS PICK ON US. 330 00:11:13,974 --> 00:11:16,953 I DON'T KNOW WHY THEY ALWAYS PICK ON US. I DON'T KNOW. IT'S UNFAIR. 331 00:11:16,977 --> 00:11:24,977 PICK ON US. I DON'T KNOW. IT'S UNFAIR. HI, DAD. 332 00:11:25,652 --> 00:11:26,495 I DON'T KNOW. IT'S UNFAIR. HI, DAD. HI, JEFF. 333 00:11:26,519 --> 00:11:27,897 HI, DAD. HI, JEFF. YOU GOT A GAME TONIGHT? 334 00:11:27,921 --> 00:11:29,498 HI, JEFF. YOU GOT A GAME TONIGHT? YEAH, WE'RE PLAYING 335 00:11:29,522 --> 00:11:30,867 YOU GOT A GAME TONIGHT? YEAH, WE'RE PLAYING WILLIAM TAFT HIGH. 336 00:11:30,891 --> 00:11:31,367 YEAH, WE'RE PLAYING WILLIAM TAFT HIGH. AH. 337 00:11:31,391 --> 00:11:32,935 WILLIAM TAFT HIGH. AH. YOU SHOULD EAT LIGHT IF YOU GOT 338 00:11:32,959 --> 00:11:33,602 AH. YOU SHOULD EAT LIGHT IF YOU GOT A GAME. 339 00:11:33,626 --> 00:11:34,704 YOU SHOULD EAT LIGHT IF YOU GOT A GAME. [CHUCKLES] 340 00:11:34,728 --> 00:11:36,438 A GAME. [CHUCKLES] SOMETIMES I THINK HE HAS A 341 00:11:36,462 --> 00:11:39,441 [CHUCKLES] SOMETIMES I THINK HE HAS A HOLLOW LEG. 342 00:11:39,465 --> 00:11:41,443 SOMETIMES I THINK HE HAS A HOLLOW LEG. AH, IT DOESN'T MATTER. 343 00:11:41,467 --> 00:11:42,679 HOLLOW LEG. AH, IT DOESN'T MATTER. I'LL PROBABLY JUST BE A 344 00:11:42,703 --> 00:11:43,746 AH, IT DOESN'T MATTER. I'LL PROBABLY JUST BE A BENCH WARMER AGAIN. 345 00:11:43,770 --> 00:11:44,847 I'LL PROBABLY JUST BE A BENCH WARMER AGAIN. OH, COME ON, NOW. 346 00:11:44,871 --> 00:11:46,282 BENCH WARMER AGAIN. OH, COME ON, NOW. DON'T TALK LIKE THAT, JEFF. 347 00:11:46,306 --> 00:11:47,650 OH, COME ON, NOW. DON'T TALK LIKE THAT, JEFF. YOU JUST GET OUT THERE AND 348 00:11:47,674 --> 00:11:48,184 DON'T TALK LIKE THAT, JEFF. YOU JUST GET OUT THERE AND HUSTLE! 349 00:11:48,208 --> 00:11:51,854 YOU JUST GET OUT THERE AND HUSTLE! ALL RIGHT, DAD! 350 00:11:51,878 --> 00:11:52,755 HUSTLE! ALL RIGHT, DAD! TWO POINTS! 351 00:11:52,779 --> 00:11:53,622 ALL RIGHT, DAD! TWO POINTS! [LAUGHS] 352 00:11:53,646 --> 00:11:55,424 TWO POINTS! [LAUGHS] GOODBYE, SON! GOOD LUCK! 353 00:11:55,448 --> 00:11:57,026 [LAUGHS] GOODBYE, SON! GOOD LUCK! JUST ABOUT ALL I SEE OF THAT 354 00:11:57,050 --> 00:11:58,594 GOODBYE, SON! GOOD LUCK! JUST ABOUT ALL I SEE OF THAT GUY IS WHEN HE'S GOING OUT THE 355 00:11:58,618 --> 00:11:59,028 JUST ABOUT ALL I SEE OF THAT GUY IS WHEN HE'S GOING OUT THE DOOR. 356 00:11:59,052 --> 00:12:01,030 GUY IS WHEN HE'S GOING OUT THE DOOR. I KNOW. I KNOW. 357 00:12:01,054 --> 00:12:02,198 DOOR. I KNOW. I KNOW. LORDY. 358 00:12:02,222 --> 00:12:05,489 I KNOW. I KNOW. LORDY. HI, MOM. HI, DAD. 359 00:12:12,198 --> 00:12:17,246 I DON'T FEEL SO GOOD. I THINK I'M COMING DOWN WITH THE FLU OR SOMETHING. 360 00:12:17,270 --> 00:12:18,748 I THINK I'M COMING DOWN WITH THE FLU OR SOMETHING. MAYBE YOU BETTER STAY HOME 361 00:12:18,772 --> 00:12:21,584 FLU OR SOMETHING. MAYBE YOU BETTER STAY HOME INSTEAD OF GOING FIGURE SKATING. 362 00:12:21,608 --> 00:12:22,985 MAYBE YOU BETTER STAY HOME INSTEAD OF GOING FIGURE SKATING. OH, YOU FEEL LIKE YOU MIGHT 363 00:12:23,009 --> 00:12:24,087 INSTEAD OF GOING FIGURE SKATING. OH, YOU FEEL LIKE YOU MIGHT HAVE A BIT OF A FEVER. 364 00:12:24,111 --> 00:12:25,554 OH, YOU FEEL LIKE YOU MIGHT HAVE A BIT OF A FEVER. WE BETTER TAKE YOUR TEMPERATURE. 365 00:12:25,578 --> 00:12:28,058 HAVE A BIT OF A FEVER. WE BETTER TAKE YOUR TEMPERATURE. YEAH. 366 00:12:39,125 --> 00:12:46,209 OH, MOM, DO WE HAVE TO? COME ON, YOUNG LADY, INTO THE BEDROOM. 367 00:12:46,233 --> 00:12:46,776 COME ON, YOUNG LADY, INTO THE BEDROOM. COME ON. 368 00:12:46,800 --> 00:12:48,945 BEDROOM. COME ON. OH, PLEASE, MOM. 369 00:12:48,969 --> 00:12:50,213 COME ON. OH, PLEASE, MOM. WELL, LOOK, IF YOU FEEL SICK, 370 00:12:50,237 --> 00:12:51,247 OH, PLEASE, MOM. WELL, LOOK, IF YOU FEEL SICK, WE MIGHT AS WELL TAKE YOUR 371 00:12:51,271 --> 00:12:51,848 WELL, LOOK, IF YOU FEEL SICK, WE MIGHT AS WELL TAKE YOUR TEMPERATURE. 372 00:12:51,872 --> 00:12:52,414 WE MIGHT AS WELL TAKE YOUR TEMPERATURE. NOW COME ON. 373 00:12:52,438 --> 00:12:53,549 TEMPERATURE. NOW COME ON. NOW, YOUR MOTHER'S RIGHT, 374 00:12:53,573 --> 00:12:54,083 NOW COME ON. NOW, YOUR MOTHER'S RIGHT, YOUNG LADY. 375 00:12:54,107 --> 00:12:55,584 NOW, YOUR MOTHER'S RIGHT, YOUNG LADY. [GROANING] 376 00:12:55,608 --> 00:13:03,608 YOUNG LADY. [GROANING] [DOORBELL RINGS] 377 00:13:04,617 --> 00:13:06,929 [GROANING] [DOORBELL RINGS] AH, EARL, WILMA, COME ON IN. 378 00:13:06,953 --> 00:13:07,730 [DOORBELL RINGS] AH, EARL, WILMA, COME ON IN. HI, BOB. 379 00:13:07,754 --> 00:13:08,697 AH, EARL, WILMA, COME ON IN. HI, BOB. HOW ARE YOU? 380 00:13:08,721 --> 00:13:09,598 HI, BOB. HOW ARE YOU? HI, BOBBY. 381 00:13:09,622 --> 00:13:11,934 HOW ARE YOU? HI, BOBBY. I SEE THOSE KIDS T.B.'d... 382 00:13:11,958 --> 00:13:13,836 HI, BOBBY. I SEE THOSE KIDS T.B.'d... T.P.'d YOUR LAWN AGAIN. 383 00:13:13,860 --> 00:13:15,371 I SEE THOSE KIDS T.B.'d... T.P.'d YOUR LAWN AGAIN. OH, YEAH, WE GET IT, TOO, 384 00:13:15,395 --> 00:13:15,872 T.P.'d YOUR LAWN AGAIN. OH, YEAH, WE GET IT, TOO, BOBBY. 385 00:13:15,896 --> 00:13:17,506 OH, YEAH, WE GET IT, TOO, BOBBY. WELL, AT LEAST WE'RE NOT THE 386 00:13:17,530 --> 00:13:18,207 BOBBY. WELL, AT LEAST WE'RE NOT THE ONLY ONES. 387 00:13:18,231 --> 00:13:19,008 WELL, AT LEAST WE'RE NOT THE ONLY ONES. I DON'T KNOW. 388 00:13:19,032 --> 00:13:19,675 ONLY ONES. I DON'T KNOW. COME ON IN. 389 00:13:19,699 --> 00:13:21,043 I DON'T KNOW. COME ON IN. TAKE A LOAD OFF YOUR FEET. 390 00:13:21,067 --> 00:13:28,717 COME ON IN. TAKE A LOAD OFF YOUR FEET. SIT DOWN. 391 00:13:28,741 --> 00:13:29,685 TAKE A LOAD OFF YOUR FEET. SIT DOWN. WHERE'S BETTY? 392 00:13:29,709 --> 00:13:31,154 SIT DOWN. WHERE'S BETTY? WELL, SHE'S GOT HER HANDS 393 00:13:31,178 --> 00:13:32,021 WHERE'S BETTY? WELL, SHE'S GOT HER HANDS FULL RIGHT NOW. 394 00:13:32,045 --> 00:13:33,222 WELL, SHE'S GOT HER HANDS FULL RIGHT NOW. TAMMY CAME DOWN WITH A 395 00:13:33,246 --> 00:13:34,623 FULL RIGHT NOW. TAMMY CAME DOWN WITH A TEMPERATURE THERE, SO SHE'S 396 00:13:34,647 --> 00:13:36,125 TAMMY CAME DOWN WITH A TEMPERATURE THERE, SO SHE'S PUTTING HER TO BED AND MAKING 397 00:13:36,149 --> 00:13:37,760 TEMPERATURE THERE, SO SHE'S PUTTING HER TO BED AND MAKING SURE SHE GETS A LITTLE REST, YOU 398 00:13:37,784 --> 00:13:38,194 PUTTING HER TO BED AND MAKING SURE SHE GETS A LITTLE REST, YOU KNOW? 399 00:13:38,218 --> 00:13:40,863 SURE SHE GETS A LITTLE REST, YOU KNOW? AAH! 400 00:13:40,887 --> 00:13:43,032 KNOW? AAH! OHH, MOM! 401 00:13:43,056 --> 00:13:44,633 AAH! OHH, MOM! HERE'S YOUR... YOUR EVENING 402 00:13:44,657 --> 00:13:45,334 OHH, MOM! HERE'S YOUR... YOUR EVENING NEWSPAPER. 403 00:13:45,358 --> 00:13:46,035 HERE'S YOUR... YOUR EVENING NEWSPAPER. UH-HUH. 404 00:13:46,059 --> 00:13:46,635 NEWSPAPER. UH-HUH. THANKS A LOT. 405 00:13:46,659 --> 00:13:47,804 UH-HUH. THANKS A LOT. I WAS JUST READING ABOUT THAT 406 00:13:47,828 --> 00:13:48,570 THANKS A LOT. I WAS JUST READING ABOUT THAT CARTER, YOU KNOW? 407 00:13:48,594 --> 00:13:49,005 I WAS JUST READING ABOUT THAT CARTER, YOU KNOW? YEAH. 408 00:13:49,029 --> 00:13:51,207 CARTER, YOU KNOW? YEAH. I DON'T KNOW ABOUT HIM 409 00:13:51,231 --> 00:13:52,141 YEAH. I DON'T KNOW ABOUT HIM ANYMORE. 410 00:13:52,165 --> 00:13:53,242 I DON'T KNOW ABOUT HIM ANYMORE. YOU KNOW WHAT I MEAN? 411 00:13:53,266 --> 00:13:54,710 ANYMORE. YOU KNOW WHAT I MEAN? WHAT DO YOU MEAN, YOU DON'T 412 00:13:54,734 --> 00:13:55,144 YOU KNOW WHAT I MEAN? WHAT DO YOU MEAN, YOU DON'T KNOW? 413 00:13:55,168 --> 00:13:56,813 WHAT DO YOU MEAN, YOU DON'T KNOW? I KNOW ABOUT HIM. 414 00:13:56,837 --> 00:13:58,614 KNOW? I KNOW ABOUT HIM. I GOT MAD WHEN HE FIRED 415 00:13:58,638 --> 00:13:59,715 I KNOW ABOUT HIM. I GOT MAD WHEN HE FIRED BELLA ABZUG. 416 00:13:59,739 --> 00:14:01,350 I GOT MAD WHEN HE FIRED BELLA ABZUG. WASN'T THAT AN ASININE THING TO 417 00:14:01,374 --> 00:14:01,717 BELLA ABZUG. WASN'T THAT AN ASININE THING TO DO? 418 00:14:01,741 --> 00:14:02,651 WASN'T THAT AN ASININE THING TO DO? YEAH, THAT WAS. 419 00:14:02,675 --> 00:14:04,053 DO? YEAH, THAT WAS. BUT I DON'T KNOW ABOUT THE WAY 420 00:14:04,077 --> 00:14:05,454 YEAH, THAT WAS. BUT I DON'T KNOW ABOUT THE WAY THE PRESS IS TREATING HIM, YOU 421 00:14:05,478 --> 00:14:05,855 BUT I DON'T KNOW ABOUT THE WAY THE PRESS IS TREATING HIM, YOU KNOW? 422 00:14:05,879 --> 00:14:07,290 THE PRESS IS TREATING HIM, YOU KNOW? I MEAN, WHO WANTS TO HEAR ABOUT 423 00:14:07,314 --> 00:14:08,624 KNOW? I MEAN, WHO WANTS TO HEAR ABOUT THE PRESIDENT'S HEMORRHOIDS? 424 00:14:08,648 --> 00:14:10,293 I MEAN, WHO WANTS TO HEAR ABOUT THE PRESIDENT'S HEMORRHOIDS? EVERYBODY'S GOT THEM! 425 00:14:10,317 --> 00:14:12,128 THE PRESIDENT'S HEMORRHOIDS? EVERYBODY'S GOT THEM! DON'T MAKE SUCH A FUSS OVER IT. 426 00:14:12,152 --> 00:14:14,297 EVERYBODY'S GOT THEM! DON'T MAKE SUCH A FUSS OVER IT. OH, THAT'S TRUE. 427 00:14:14,321 --> 00:14:15,464 DON'T MAKE SUCH A FUSS OVER IT. OH, THAT'S TRUE. HI! 428 00:14:15,488 --> 00:14:16,665 OH, THAT'S TRUE. HI! HI, BETTY! 429 00:14:16,689 --> 00:14:18,267 HI! HI, BETTY! SIT DOWN, BETTY. 430 00:14:18,291 --> 00:14:19,936 HI, BETTY! SIT DOWN, BETTY. I SIT IN MY CAB ALL DAY. 431 00:14:19,960 --> 00:14:22,771 SIT DOWN, BETTY. I SIT IN MY CAB ALL DAY. AH, WELL, ALL RIGHT. 432 00:14:22,795 --> 00:14:23,940 I SIT IN MY CAB ALL DAY. AH, WELL, ALL RIGHT. [CHUCKLES] 433 00:14:23,964 --> 00:14:25,074 AH, WELL, ALL RIGHT. [CHUCKLES] WELL, COME ON. 434 00:14:25,098 --> 00:14:26,943 [CHUCKLES] WELL, COME ON. HELP YOURSELF TO SOME TWINKIES, 435 00:14:26,967 --> 00:14:28,610 WELL, COME ON. HELP YOURSELF TO SOME TWINKIES, RING DINGS, HO HOS, SCOOTER 436 00:14:28,634 --> 00:14:30,379 HELP YOURSELF TO SOME TWINKIES, RING DINGS, HO HOS, SCOOTER PIES, YODELS, DEVIL DOGS, AND 437 00:14:30,403 --> 00:14:32,215 RING DINGS, HO HOS, SCOOTER PIES, YODELS, DEVIL DOGS, AND DRAKE'S CAKES. 438 00:14:32,239 --> 00:14:34,016 PIES, YODELS, DEVIL DOGS, AND DRAKE'S CAKES. WELL, MY GOD, WHERE'S YOUR 439 00:14:34,040 --> 00:14:34,783 DRAKE'S CAKES. WELL, MY GOD, WHERE'S YOUR SUZY Q's? 440 00:14:34,807 --> 00:14:36,252 WELL, MY GOD, WHERE'S YOUR SUZY Q's? WOULD WE FORGET YOUR 441 00:14:36,276 --> 00:14:37,386 SUZY Q's? WOULD WE FORGET YOUR SUZY Q's, WILMA? 442 00:14:37,410 --> 00:14:39,255 WOULD WE FORGET YOUR SUZY Q's, WILMA? DID YOU FORGET ME SUZY Q's? 443 00:14:39,279 --> 00:14:40,056 SUZY Q's, WILMA? DID YOU FORGET ME SUZY Q's? OH, NO. 444 00:14:40,080 --> 00:14:41,557 DID YOU FORGET ME SUZY Q's? OH, NO. OH, BLESS YOU. 445 00:14:41,581 --> 00:14:43,326 OH, NO. OH, BLESS YOU. NOW, HOW... HOW LONG HAVE WE 446 00:14:43,350 --> 00:14:44,626 OH, BLESS YOU. NOW, HOW... HOW LONG HAVE WE KNOWN EACH OTHER NOW? 447 00:14:44,650 --> 00:14:45,161 NOW, HOW... HOW LONG HAVE WE KNOWN EACH OTHER NOW? OH. 448 00:14:45,185 --> 00:14:50,166 KNOWN EACH OTHER NOW? OH. WELL, NOW, LET'S SEE, UM... 449 00:14:50,190 --> 00:14:53,669 OH. WELL, NOW, LET'S SEE, UM... I MET BETTY ABOUT A YEAR AGO, 450 00:14:53,693 --> 00:14:56,172 WELL, NOW, LET'S SEE, UM... I MET BETTY ABOUT A YEAR AGO, WHEN WE WERE BOTH BRINGING OUR 451 00:14:56,196 --> 00:14:58,507 I MET BETTY ABOUT A YEAR AGO, WHEN WE WERE BOTH BRINGING OUR WICKER CHAIRS TO BE RE-CANED. 452 00:14:58,531 --> 00:14:59,842 WHEN WE WERE BOTH BRINGING OUR WICKER CHAIRS TO BE RE-CANED. OH, THAT'S RIGHT, FOR THE 453 00:14:59,866 --> 00:15:01,510 WICKER CHAIRS TO BE RE-CANED. OH, THAT'S RIGHT, FOR THE PORCH. 454 00:15:01,534 --> 00:15:03,512 OH, THAT'S RIGHT, FOR THE PORCH. MY HEAVENS. 455 00:15:03,536 --> 00:15:04,180 PORCH. MY HEAVENS. YEAH. 456 00:15:04,204 --> 00:15:05,781 MY HEAVENS. YEAH. I DIDN'T REALIZE IT WAS SUCH 457 00:15:05,805 --> 00:15:06,749 YEAH. I DIDN'T REALIZE IT WAS SUCH A LONG TIME AGO. 458 00:15:06,773 --> 00:15:08,351 I DIDN'T REALIZE IT WAS SUCH A LONG TIME AGO. COME ON, PUT THE THING ON RIGHT 459 00:15:08,375 --> 00:15:09,352 A LONG TIME AGO. COME ON, PUT THE THING ON RIGHT THERE. 460 00:15:09,376 --> 00:15:10,452 COME ON, PUT THE THING ON RIGHT THERE. DO YOU WANT A... 461 00:15:10,476 --> 00:15:11,254 THERE. DO YOU WANT A... YEAH, I... 462 00:15:11,278 --> 00:15:12,421 DO YOU WANT A... YEAH, I... WANT A COASTER FOR THAT? 463 00:15:12,445 --> 00:15:13,789 YEAH, I... WANT A COASTER FOR THAT? WHY, YES, THAT WOULD BE NICE. 464 00:15:13,813 --> 00:15:15,057 WANT A COASTER FOR THAT? WHY, YES, THAT WOULD BE NICE. LET'S SEE WHAT I CAN DO FOR 465 00:15:15,081 --> 00:15:15,557 WHY, YES, THAT WOULD BE NICE. LET'S SEE WHAT I CAN DO FOR YOU HERE. 466 00:15:15,581 --> 00:15:16,893 LET'S SEE WHAT I CAN DO FOR YOU HERE. I'LL SEE IF I CAN FIND YOU ONE. 467 00:15:16,917 --> 00:15:18,227 YOU HERE. I'LL SEE IF I CAN FIND YOU ONE. OH, WHAT'S THAT? 468 00:15:18,251 --> 00:15:19,896 I'LL SEE IF I CAN FIND YOU ONE. OH, WHAT'S THAT? OHH! MY CONTACT LENS! 469 00:15:19,920 --> 00:15:20,796 OH, WHAT'S THAT? OHH! MY CONTACT LENS! MY CONTACT LENS! 470 00:15:20,820 --> 00:15:21,797 OHH! MY CONTACT LENS! MY CONTACT LENS! IT'S ON THE FLOOR. 471 00:15:21,821 --> 00:15:23,165 MY CONTACT LENS! IT'S ON THE FLOOR. I THINK IT'S ON THE FLOOR. 472 00:15:23,189 --> 00:15:23,866 IT'S ON THE FLOOR. I THINK IT'S ON THE FLOOR. NOBODY MOVE. 473 00:15:23,890 --> 00:15:24,700 I THINK IT'S ON THE FLOOR. NOBODY MOVE. DON'T WALK AROUND. 474 00:15:24,724 --> 00:15:25,902 NOBODY MOVE. DON'T WALK AROUND. LET'S JUST BEND DOWN AND FIND 475 00:15:25,926 --> 00:15:26,202 DON'T WALK AROUND. LET'S JUST BEND DOWN AND FIND IT. 476 00:15:26,226 --> 00:15:27,469 LET'S JUST BEND DOWN AND FIND IT. BEND DOWN WHERE YOU'RE STANDING 477 00:15:27,493 --> 00:15:28,604 IT. BEND DOWN WHERE YOU'RE STANDING AND FEEL WITH YOUR FINGERS. 478 00:15:28,628 --> 00:15:29,071 BEND DOWN WHERE YOU'RE STANDING AND FEEL WITH YOUR FINGERS. OKAY. 479 00:15:29,095 --> 00:15:31,135 AND FEEL WITH YOUR FINGERS. OKAY. [FABRIC TEARING] 480 00:15:45,677 --> 00:15:49,480 [ALL CHANTING IN NATIVE LANGUAGE] 481 00:15:55,254 --> 00:16:00,836 Announcer: A NATION STANDS AT THE BRINK OF CIVIL WAR. ONE BASTION OF SANITY STANDS 482 00:16:00,860 --> 00:16:03,372 THE BRINK OF CIVIL WAR. ONE BASTION OF SANITY STANDS BETWEEN ORDER AND CHAOS... THE 483 00:16:03,396 --> 00:16:06,596 ONE BASTION OF SANITY STANDS BETWEEN ORDER AND CHAOS... THE UNITED STATES EMBASSY. 484 00:16:13,572 --> 00:16:19,188 [SPEAKING FOREIGN LANGUAGE] I... LISTEN. I AM SORRY, BUT I DON'T SPEAK 485 00:16:19,212 --> 00:16:19,855 I... LISTEN. I AM SORRY, BUT I DON'T SPEAK IRANIAN. 486 00:16:19,879 --> 00:16:21,190 I AM SORRY, BUT I DON'T SPEAK IRANIAN. JUST, LIKE, SIT DOWN. 487 00:16:21,214 --> 00:16:23,125 IRANIAN. JUST, LIKE, SIT DOWN. [SPEAKING FOREIGN LANGUAGE] 488 00:16:23,149 --> 00:16:26,295 JUST, LIKE, SIT DOWN. [SPEAKING FOREIGN LANGUAGE] NO, NO, SIT. SIT DOWN. 489 00:16:26,319 --> 00:16:27,964 [SPEAKING FOREIGN LANGUAGE] NO, NO, SIT. SIT DOWN. I DON'T UNDERSTAND. 490 00:16:27,988 --> 00:16:29,631 NO, NO, SIT. SIT DOWN. I DON'T UNDERSTAND. JUST SIT DOWN. 491 00:16:29,655 --> 00:16:31,800 I DON'T UNDERSTAND. JUST SIT DOWN. [SPEAKING FOREIGN LANGUAGE] 492 00:16:31,824 --> 00:16:33,802 JUST SIT DOWN. [SPEAKING FOREIGN LANGUAGE] ♪ YMCA ♪ 493 00:16:33,826 --> 00:16:35,471 [SPEAKING FOREIGN LANGUAGE] ♪ YMCA ♪ ♪ IT'S FUN TO STAY AT THE ♪ 494 00:16:35,495 --> 00:16:38,307 ♪ YMCA ♪ ♪ IT'S FUN TO STAY AT THE ♪ ♪ YMCA ♪ 495 00:16:38,331 --> 00:16:41,143 ♪ IT'S FUN TO STAY AT THE ♪ ♪ YMCA ♪ ♪ YOU CAN GET YOURSELF CLEAN ♪ 496 00:16:41,167 --> 00:16:42,644 ♪ YMCA ♪ ♪ YOU CAN GET YOURSELF CLEAN ♪ [MUSIC STOPS] 497 00:16:42,668 --> 00:16:43,379 ♪ YOU CAN GET YOURSELF CLEAN ♪ [MUSIC STOPS] UH... 498 00:16:43,403 --> 00:16:44,013 [MUSIC STOPS] UH... HI. 499 00:16:44,037 --> 00:16:44,646 UH... HI. HI. 500 00:16:44,670 --> 00:16:47,249 HI. HI. UH, I-I'M AN AMERICAN CITIZEN, 501 00:16:47,273 --> 00:16:49,618 HI. UH, I-I'M AN AMERICAN CITIZEN, AND I WOULD LIKE TO SEE THE 502 00:16:49,642 --> 00:16:50,819 UH, I-I'M AN AMERICAN CITIZEN, AND I WOULD LIKE TO SEE THE AMBASSADOR. 503 00:16:50,843 --> 00:16:52,355 AND I WOULD LIKE TO SEE THE AMBASSADOR. WELL, I'M SORRY, BUT HE'S, 504 00:16:52,379 --> 00:16:53,722 AMBASSADOR. WELL, I'M SORRY, BUT HE'S, LIKE, IN A REALLY, REALLY 505 00:16:53,746 --> 00:16:55,557 WELL, I'M SORRY, BUT HE'S, LIKE, IN A REALLY, REALLY IMPORTANT MEETING. 506 00:16:55,581 --> 00:16:57,526 LIKE, IN A REALLY, REALLY IMPORTANT MEETING. OKAY, WELL... WELL, THEN 507 00:16:57,550 --> 00:16:59,195 IMPORTANT MEETING. OKAY, WELL... WELL, THEN MAYBE YOU CAN HELP ME. 508 00:16:59,219 --> 00:17:01,430 OKAY, WELL... WELL, THEN MAYBE YOU CAN HELP ME. SEE, LIKE, I WAS WONDERING IF I 509 00:17:01,454 --> 00:17:03,499 MAYBE YOU CAN HELP ME. SEE, LIKE, I WAS WONDERING IF I GAVE YOU MY AMERICAN PASSPORT 510 00:17:03,523 --> 00:17:05,734 SEE, LIKE, I WAS WONDERING IF I GAVE YOU MY AMERICAN PASSPORT NUMBER, COULD YOU POSSIBLY GIVE 511 00:17:05,758 --> 00:17:08,570 GAVE YOU MY AMERICAN PASSPORT NUMBER, COULD YOU POSSIBLY GIVE ME, LIKE, YOU KNOW, $700 IN 512 00:17:08,594 --> 00:17:10,406 NUMBER, COULD YOU POSSIBLY GIVE ME, LIKE, YOU KNOW, $700 IN TRAVELERS CHECKS SO THAT, LIKE, 513 00:17:10,430 --> 00:17:12,574 ME, LIKE, YOU KNOW, $700 IN TRAVELERS CHECKS SO THAT, LIKE, YOU KNOW, I COULD GET HOME? 514 00:17:12,598 --> 00:17:14,110 TRAVELERS CHECKS SO THAT, LIKE, YOU KNOW, I COULD GET HOME? AND, LIKE, WHEN I GOT BACK TO 515 00:17:14,134 --> 00:17:15,677 YOU KNOW, I COULD GET HOME? AND, LIKE, WHEN I GOT BACK TO THE STATES, YOU KNOW, I'D MAKE 516 00:17:15,701 --> 00:17:17,313 AND, LIKE, WHEN I GOT BACK TO THE STATES, YOU KNOW, I'D MAKE ARRANGEMENTS, YOU KNOW, LIKE TO 517 00:17:17,337 --> 00:17:18,481 THE STATES, YOU KNOW, I'D MAKE ARRANGEMENTS, YOU KNOW, LIKE TO PAY BACK THE MONEY. 518 00:17:18,505 --> 00:17:20,416 ARRANGEMENTS, YOU KNOW, LIKE TO PAY BACK THE MONEY. YOU KNOW, I HAD THE MONEY, BUT, 519 00:17:20,440 --> 00:17:22,018 PAY BACK THE MONEY. YOU KNOW, I HAD THE MONEY, BUT, YOU KNOW, I WAS TRAVELING 520 00:17:22,042 --> 00:17:23,852 YOU KNOW, I HAD THE MONEY, BUT, YOU KNOW, I WAS TRAVELING THROUGH AFGHANISTAN AND THAT, 521 00:17:23,876 --> 00:17:25,854 YOU KNOW, I WAS TRAVELING THROUGH AFGHANISTAN AND THAT, YOU KNOW, LIKE WITH SOME GUY WHO 522 00:17:25,878 --> 00:17:27,023 THROUGH AFGHANISTAN AND THAT, YOU KNOW, LIKE WITH SOME GUY WHO CAUGHT HEPATITIS. 523 00:17:27,047 --> 00:17:27,589 YOU KNOW, LIKE WITH SOME GUY WHO CAUGHT HEPATITIS. OH. 524 00:17:27,613 --> 00:17:29,358 CAUGHT HEPATITIS. OH. AND, YOU KNOW, I INCURRED A 525 00:17:29,382 --> 00:17:31,160 OH. AND, YOU KNOW, I INCURRED A LOT OF HEAVY MEDICAL EXPENSES, 526 00:17:31,184 --> 00:17:31,860 AND, YOU KNOW, I INCURRED A LOT OF HEAVY MEDICAL EXPENSES, YOU KNOW? 527 00:17:31,884 --> 00:17:32,428 LOT OF HEAVY MEDICAL EXPENSES, YOU KNOW? MM. 528 00:17:32,452 --> 00:17:34,230 YOU KNOW? MM. UH, HE WAS THIS GERMAN GUY, 529 00:17:34,254 --> 00:17:34,897 MM. UH, HE WAS THIS GERMAN GUY, KURT. 530 00:17:34,921 --> 00:17:37,566 UH, HE WAS THIS GERMAN GUY, KURT. OH, WELL, THIS REALLY DOES 531 00:17:37,590 --> 00:17:39,135 KURT. OH, WELL, THIS REALLY DOES SOUND LIKE SOMETHING FOR THE 532 00:17:39,159 --> 00:17:39,902 OH, WELL, THIS REALLY DOES SOUND LIKE SOMETHING FOR THE AMBASSADOR. 533 00:17:39,926 --> 00:17:40,836 SOUND LIKE SOMETHING FOR THE AMBASSADOR. REALLY. 534 00:17:40,860 --> 00:17:42,938 AMBASSADOR. REALLY. MR. AMBASSADOR, WE HAVE AN 535 00:17:42,962 --> 00:17:44,873 REALLY. MR. AMBASSADOR, WE HAVE AN AMERICAN CITIZEN OUT HERE. 536 00:17:44,897 --> 00:17:46,942 MR. AMBASSADOR, WE HAVE AN AMERICAN CITIZEN OUT HERE. HE'S IN A REALLY TIGHT SPOT. 537 00:17:46,966 --> 00:17:48,377 AMERICAN CITIZEN OUT HERE. HE'S IN A REALLY TIGHT SPOT. MISS NORWALK, DIDN'T I TELL 538 00:17:48,401 --> 00:17:49,478 HE'S IN A REALLY TIGHT SPOT. MISS NORWALK, DIDN'T I TELL YOU I DON'T WANT TO BE 539 00:17:49,502 --> 00:17:50,679 MISS NORWALK, DIDN'T I TELL YOU I DON'T WANT TO BE INTERRUPTED WHILE I'M IN 540 00:17:50,703 --> 00:17:52,014 YOU I DON'T WANT TO BE INTERRUPTED WHILE I'M IN CONFERENCE? 541 00:17:52,038 --> 00:17:54,517 INTERRUPTED WHILE I'M IN CONFERENCE? SORRY. 542 00:17:54,541 --> 00:17:56,185 CONFERENCE? SORRY. THINGS HAVE BEEN REALLY HAIRY 543 00:17:56,209 --> 00:17:57,286 SORRY. THINGS HAVE BEEN REALLY HAIRY AROUND HERE, MAN. 544 00:17:57,310 --> 00:17:59,455 THINGS HAVE BEEN REALLY HAIRY AROUND HERE, MAN. [Laughing] I CAN DIG IT, 545 00:17:59,479 --> 00:17:59,855 AROUND HERE, MAN. [Laughing] I CAN DIG IT, MAN. 546 00:17:59,879 --> 00:18:00,423 [Laughing] I CAN DIG IT, MAN. UH... 547 00:18:00,447 --> 00:18:01,590 MAN. UH... [CLEARS THROAT] 548 00:18:01,614 --> 00:18:03,259 UH... [CLEARS THROAT] FOR SURE. 549 00:18:03,283 --> 00:18:04,860 [CLEARS THROAT] FOR SURE. LISTEN, LIKE, UM, YOU'RE AN 550 00:18:04,884 --> 00:18:06,328 FOR SURE. LISTEN, LIKE, UM, YOU'RE AN AMERICAN AND EVERYTHING. 551 00:18:06,352 --> 00:18:07,063 LISTEN, LIKE, UM, YOU'RE AN AMERICAN AND EVERYTHING. UH-HUH. 552 00:18:07,087 --> 00:18:08,830 AMERICAN AND EVERYTHING. UH-HUH. AND, LIKE, EVERY TIME I SEE 553 00:18:08,854 --> 00:18:10,599 UH-HUH. AND, LIKE, EVERY TIME I SEE AN AMERICAN, I ALWAYS ASK THEM 554 00:18:10,623 --> 00:18:12,301 AND, LIKE, EVERY TIME I SEE AN AMERICAN, I ALWAYS ASK THEM IF MAYBE THEY MIGHT HAVE SOME 555 00:18:12,325 --> 00:18:13,735 AN AMERICAN, I ALWAYS ASK THEM IF MAYBE THEY MIGHT HAVE SOME TAPES OR SOME RECORDS OR 556 00:18:13,759 --> 00:18:15,504 IF MAYBE THEY MIGHT HAVE SOME TAPES OR SOME RECORDS OR SOMETHING TO LISTEN TO, 'CAUSE 557 00:18:15,528 --> 00:18:17,173 TAPES OR SOME RECORDS OR SOMETHING TO LISTEN TO, 'CAUSE LIKE I SAID, NOTHING HERE IN 558 00:18:17,197 --> 00:18:18,006 SOMETHING TO LISTEN TO, 'CAUSE LIKE I SAID, NOTHING HERE IN TEHRAN, MAN. 559 00:18:18,030 --> 00:18:19,775 LIKE I SAID, NOTHING HERE IN TEHRAN, MAN. I HEAR YOU, MAN, BUT, LIKE, 560 00:18:19,799 --> 00:18:21,177 TEHRAN, MAN. I HEAR YOU, MAN, BUT, LIKE, WHEN KURT WENT INTO THE 561 00:18:21,201 --> 00:18:23,045 I HEAR YOU, MAN, BUT, LIKE, WHEN KURT WENT INTO THE HOSPITAL, I GAVE ALL MY TAPES TO 562 00:18:23,069 --> 00:18:23,979 WHEN KURT WENT INTO THE HOSPITAL, I GAVE ALL MY TAPES TO HIM, YOU KNOW? 563 00:18:24,003 --> 00:18:24,547 HOSPITAL, I GAVE ALL MY TAPES TO HIM, YOU KNOW? OH. 564 00:18:24,571 --> 00:18:27,083 HIM, YOU KNOW? OH. I HAVE AN ABBA TAPE, THOUGH, 565 00:18:27,107 --> 00:18:29,318 OH. I HAVE AN ABBA TAPE, THOUGH, THAT HE LAID ON ME... ABBA? 566 00:18:29,342 --> 00:18:30,086 I HAVE AN ABBA TAPE, THOUGH, THAT HE LAID ON ME... ABBA? NO. EW. 567 00:18:30,110 --> 00:18:31,720 THAT HE LAID ON ME... ABBA? NO. EW. EW, NO, I DON'T LIKE THEM. 568 00:18:31,744 --> 00:18:32,488 NO. EW. EW, NO, I DON'T LIKE THEM. THANK YOU. 569 00:18:32,512 --> 00:18:34,256 EW, NO, I DON'T LIKE THEM. THANK YOU. OKAY, WELL, I'LL JUST HANG 570 00:18:34,280 --> 00:18:35,591 THANK YOU. OKAY, WELL, I'LL JUST HANG OUT UNTIL I CAN SEE THE 571 00:18:35,615 --> 00:18:36,392 OKAY, WELL, I'LL JUST HANG OUT UNTIL I CAN SEE THE AMBASSADOR. 572 00:18:36,416 --> 00:18:37,426 OUT UNTIL I CAN SEE THE AMBASSADOR. OKAY, FAR OUT. 573 00:18:37,450 --> 00:18:38,494 AMBASSADOR. OKAY, FAR OUT. OKAY, FAR OUT. 574 00:18:38,518 --> 00:18:39,828 OKAY, FAR OUT. OKAY, FAR OUT. HI, I'M JASON. 575 00:18:39,852 --> 00:18:41,497 OKAY, FAR OUT. HI, I'M JASON. [SPEAKING FOREIGN LANGUAGE] 576 00:18:41,521 --> 00:18:44,166 HI, I'M JASON. [SPEAKING FOREIGN LANGUAGE] ♪ YMCA ♪ 577 00:18:44,190 --> 00:18:44,833 [SPEAKING FOREIGN LANGUAGE] ♪ YMCA ♪ HI. 578 00:18:44,857 --> 00:18:46,335 ♪ YMCA ♪ HI. ♪ THEY HAVE EVERYTHING ♪ 579 00:18:46,359 --> 00:18:48,170 HI. ♪ THEY HAVE EVERYTHING ♪ ♪ FOR YOU MEN TO ENJOY ♪ 580 00:18:48,194 --> 00:18:49,572 ♪ THEY HAVE EVERYTHING ♪ ♪ FOR YOU MEN TO ENJOY ♪ GAIL BARNES OF THE 581 00:18:49,596 --> 00:18:50,739 ♪ FOR YOU MEN TO ENJOY ♪ GAIL BARNES OF THE WASHINGTON POST. 582 00:18:50,763 --> 00:18:52,741 GAIL BARNES OF THE WASHINGTON POST. I HAVE AN 11:00 APPOINTMENT WITH 583 00:18:52,765 --> 00:18:54,243 WASHINGTON POST. I HAVE AN 11:00 APPOINTMENT WITH THE AMBASSADOR, PLEASE. 584 00:18:54,267 --> 00:18:55,844 I HAVE AN 11:00 APPOINTMENT WITH THE AMBASSADOR, PLEASE. I'M SORRY, MISS BARNES, BUT 585 00:18:55,868 --> 00:18:57,313 THE AMBASSADOR, PLEASE. I'M SORRY, MISS BARNES, BUT THE AMBASSADOR'S IN A REALLY 586 00:18:57,337 --> 00:18:58,380 I'M SORRY, MISS BARNES, BUT THE AMBASSADOR'S IN A REALLY IMPORTANT MEETING. 587 00:18:58,404 --> 00:18:59,915 THE AMBASSADOR'S IN A REALLY IMPORTANT MEETING. BUT HONESTLY, YOU'RE THE NEXT 588 00:18:59,939 --> 00:19:00,682 IMPORTANT MEETING. BUT HONESTLY, YOU'RE THE NEXT APPOINTMENT. 589 00:19:00,706 --> 00:19:02,017 BUT HONESTLY, YOU'RE THE NEXT APPOINTMENT. WELL, WHO IS HE WITH? 590 00:19:02,041 --> 00:19:03,685 APPOINTMENT. WELL, WHO IS HE WITH? IS IT THE SHAH? 591 00:19:03,709 --> 00:19:05,687 WELL, WHO IS HE WITH? IS IT THE SHAH? WELL, THAT'S FOR ME TO KNOW 592 00:19:05,711 --> 00:19:06,888 IS IT THE SHAH? WELL, THAT'S FOR ME TO KNOW AND YOU TO FIND OUT. 593 00:19:06,912 --> 00:19:07,723 WELL, THAT'S FOR ME TO KNOW AND YOU TO FIND OUT. [CHUCKLES] 594 00:19:07,747 --> 00:19:08,557 AND YOU TO FIND OUT. [CHUCKLES] [CHUCKLES] 595 00:19:08,581 --> 00:19:09,858 [CHUCKLES] [CHUCKLES] I REALLY DON'T HAVE TIME TO 596 00:19:09,882 --> 00:19:10,326 [CHUCKLES] I REALLY DON'T HAVE TIME TO WASTE. 597 00:19:10,350 --> 00:19:11,193 I REALLY DON'T HAVE TIME TO WASTE. I NEED TO SEE... 598 00:19:11,217 --> 00:19:11,893 WASTE. I NEED TO SEE... HEY, HEY. 599 00:19:11,917 --> 00:19:12,728 I NEED TO SEE... HEY, HEY. HI, SUGAR LIPS. 600 00:19:12,752 --> 00:19:13,629 HEY, HEY. HI, SUGAR LIPS. WHAT'S HAPPENING? 601 00:19:13,653 --> 00:19:15,131 HI, SUGAR LIPS. WHAT'S HAPPENING? OH, GUY, ROGER, YOU'RE LATE. 602 00:19:15,155 --> 00:19:17,799 WHAT'S HAPPENING? OH, GUY, ROGER, YOU'RE LATE. THE MEETING ALREADY STARTED. 603 00:19:17,823 --> 00:19:18,967 OH, GUY, ROGER, YOU'RE LATE. THE MEETING ALREADY STARTED. OH, EXCUSE ME. 604 00:19:18,991 --> 00:19:21,137 THE MEETING ALREADY STARTED. OH, EXCUSE ME. UM, THIS IS GAIL BARNES FROM THE 605 00:19:21,161 --> 00:19:22,438 OH, EXCUSE ME. UM, THIS IS GAIL BARNES FROM THE WASHINGTON POST. 606 00:19:22,462 --> 00:19:24,340 UM, THIS IS GAIL BARNES FROM THE WASHINGTON POST. THIS IS ROGER FERGUSON FROM 607 00:19:24,364 --> 00:19:26,275 WASHINGTON POST. THIS IS ROGER FERGUSON FROM ACME INDUSTRIAL CORPORATION. 608 00:19:26,299 --> 00:19:27,943 THIS IS ROGER FERGUSON FROM ACME INDUSTRIAL CORPORATION. YOU MEAN HE'S THE C.I.A. 609 00:19:27,967 --> 00:19:29,278 ACME INDUSTRIAL CORPORATION. YOU MEAN HE'S THE C.I.A. [CHUCKLES] 610 00:19:29,302 --> 00:19:31,079 YOU MEAN HE'S THE C.I.A. [CHUCKLES] YOU'RE AN AMERICAN, AREN'T YOU? 611 00:19:31,103 --> 00:19:31,980 [CHUCKLES] YOU'RE AN AMERICAN, AREN'T YOU? YES, I AM. 612 00:19:32,004 --> 00:19:32,881 YOU'RE AN AMERICAN, AREN'T YOU? YES, I AM. ALL RIGHT. 613 00:19:32,905 --> 00:19:34,450 YES, I AM. ALL RIGHT. DO YOU KNOW WHETHER OR NOT 614 00:19:34,474 --> 00:19:35,684 ALL RIGHT. DO YOU KNOW WHETHER OR NOT THE SHAH'S IN WITH THE 615 00:19:35,708 --> 00:19:36,418 DO YOU KNOW WHETHER OR NOT THE SHAH'S IN WITH THE AMBASSADOR? 616 00:19:36,442 --> 00:19:37,520 THE SHAH'S IN WITH THE AMBASSADOR? WELL, I'M SORRY. 617 00:19:37,544 --> 00:19:39,188 AMBASSADOR? WELL, I'M SORRY. I CAN'T DISCUSS IRAN'S INTERNAL 618 00:19:39,212 --> 00:19:40,656 WELL, I'M SORRY. I CAN'T DISCUSS IRAN'S INTERNAL POLITICAL SITUATION AT THIS 619 00:19:40,680 --> 00:19:41,823 I CAN'T DISCUSS IRAN'S INTERNAL POLITICAL SITUATION AT THIS TIME. 620 00:19:41,847 --> 00:19:43,325 POLITICAL SITUATION AT THIS TIME. WELL, THANKS FOR NOTHING. 621 00:19:43,349 --> 00:19:46,495 TIME. WELL, THANKS FOR NOTHING. [CHUCKLES] 622 00:19:46,519 --> 00:19:51,833 WELL, THANKS FOR NOTHING. [CHUCKLES] HEY, IS THE, UH, AH-SHAY IN? 623 00:19:51,857 --> 00:19:53,569 [CHUCKLES] HEY, IS THE, UH, AH-SHAY IN? WHAT KIND OF MOOD'S THE OLD MAN 624 00:19:53,593 --> 00:19:53,969 HEY, IS THE, UH, AH-SHAY IN? WHAT KIND OF MOOD'S THE OLD MAN IN? 625 00:19:53,993 --> 00:19:57,306 WHAT KIND OF MOOD'S THE OLD MAN IN? HE IS REALLY P.O.'d. 626 00:19:57,330 --> 00:19:58,641 IN? HE IS REALLY P.O.'d. WELL, WHAT'S GOING ON OUT 627 00:19:58,665 --> 00:19:59,642 HE IS REALLY P.O.'d. WELL, WHAT'S GOING ON OUT THERE? 628 00:19:59,666 --> 00:20:01,477 WELL, WHAT'S GOING ON OUT THERE? WHAT THE HELL'S GOING ON? 629 00:20:01,501 --> 00:20:03,312 THERE? WHAT THE HELL'S GOING ON? IT'S A ZOO OUT THERE. 630 00:20:03,336 --> 00:20:04,313 WHAT THE HELL'S GOING ON? IT'S A ZOO OUT THERE. [CHUCKLES] 631 00:20:04,337 --> 00:20:06,382 IT'S A ZOO OUT THERE. [CHUCKLES] YOU KNOW, IT TOOK ME AN HOUR... 632 00:20:06,406 --> 00:20:08,350 [CHUCKLES] YOU KNOW, IT TOOK ME AN HOUR... AN HOUR AND A HALF TO DRIVE A 633 00:20:08,374 --> 00:20:09,351 YOU KNOW, IT TOOK ME AN HOUR... AN HOUR AND A HALF TO DRIVE A BLOCK. 634 00:20:09,375 --> 00:20:10,386 AN HOUR AND A HALF TO DRIVE A BLOCK. BOY, AM I GLAD I HAD MY TAPE 635 00:20:10,410 --> 00:20:10,686 BLOCK. BOY, AM I GLAD I HAD MY TAPE DECK. 636 00:20:10,710 --> 00:20:12,188 BOY, AM I GLAD I HAD MY TAPE DECK. I'D HAVE GONE NUTS. 637 00:20:12,212 --> 00:20:14,256 DECK. I'D HAVE GONE NUTS. WHAT'S GOING ON AROUND HERE?! 638 00:20:14,280 --> 00:20:15,391 I'D HAVE GONE NUTS. WHAT'S GOING ON AROUND HERE?! THEY'RE CRAZY. 639 00:20:15,415 --> 00:20:17,293 WHAT'S GOING ON AROUND HERE?! THEY'RE CRAZY. ROGER, IT'S REALLY HEAVY. 640 00:20:17,317 --> 00:20:19,094 THEY'RE CRAZY. ROGER, IT'S REALLY HEAVY. I MEAN, THE IRANIAN PEOPLE 641 00:20:19,118 --> 00:20:23,599 ROGER, IT'S REALLY HEAVY. I MEAN, THE IRANIAN PEOPLE DIDN'T LIKE THE SHAH ANYMORE. 642 00:20:23,623 --> 00:20:26,768 I MEAN, THE IRANIAN PEOPLE DIDN'T LIKE THE SHAH ANYMORE. WHERE DID YOU GET THAT? 643 00:20:26,792 --> 00:20:29,104 DIDN'T LIKE THE SHAH ANYMORE. WHERE DID YOU GET THAT? THEY'RE CRAZY ABOUT THE SHAH! 644 00:20:29,128 --> 00:20:29,605 WHERE DID YOU GET THAT? THEY'RE CRAZY ABOUT THE SHAH! GEEZ. 645 00:20:29,629 --> 00:20:31,240 THEY'RE CRAZY ABOUT THE SHAH! GEEZ. WELL, I DON'T KNOW, BUT, 646 00:20:31,264 --> 00:20:32,874 GEEZ. WELL, I DON'T KNOW, BUT, LIKE, YOU KNOW THAT MILLION 647 00:20:32,898 --> 00:20:34,677 WELL, I DON'T KNOW, BUT, LIKE, YOU KNOW THAT MILLION PEOPLE THAT MADE YOU LATE HERE 648 00:20:34,701 --> 00:20:35,211 LIKE, YOU KNOW THAT MILLION PEOPLE THAT MADE YOU LATE HERE TODAY? 649 00:20:35,235 --> 00:20:36,745 PEOPLE THAT MADE YOU LATE HERE TODAY? DID YOU HEAR WHAT THEY'RE 650 00:20:36,769 --> 00:20:37,413 TODAY? DID YOU HEAR WHAT THEY'RE YELLING? 651 00:20:37,437 --> 00:20:39,582 DID YOU HEAR WHAT THEY'RE YELLING? "MARG BAR SHAH." 652 00:20:39,606 --> 00:20:41,083 YELLING? "MARG BAR SHAH." SO? 653 00:20:41,107 --> 00:20:43,419 "MARG BAR SHAH." SO? GUY, THAT MEANS "DEATH TO THE 654 00:20:43,443 --> 00:20:45,087 SO? GUY, THAT MEANS "DEATH TO THE SHAH." 655 00:20:45,111 --> 00:20:49,258 GUY, THAT MEANS "DEATH TO THE SHAH." [WHISTLES] OH, BOY. 656 00:20:49,282 --> 00:20:50,626 SHAH." [WHISTLES] OH, BOY. OOH, WELL, I BETTER GET IN 657 00:20:50,650 --> 00:20:51,126 [WHISTLES] OH, BOY. OOH, WELL, I BETTER GET IN THERE. 658 00:20:51,150 --> 00:20:52,294 OOH, WELL, I BETTER GET IN THERE. REALLY. 659 00:20:52,318 --> 00:20:54,129 THERE. REALLY. SOLDIER. 660 00:20:54,153 --> 00:20:55,564 REALLY. SOLDIER. [Crying] BUT I AM THE SHAH! 661 00:20:55,588 --> 00:20:56,632 SOLDIER. [Crying] BUT I AM THE SHAH! I DON'T WANT TO LEAVE! 662 00:20:56,656 --> 00:20:57,733 [Crying] BUT I AM THE SHAH! I DON'T WANT TO LEAVE! ALL MY HORSES ARE HERE! 663 00:20:57,757 --> 00:20:58,834 I DON'T WANT TO LEAVE! ALL MY HORSES ARE HERE! ALL MY HORSES ARE HERE! 664 00:20:58,858 --> 00:21:01,503 ALL MY HORSES ARE HERE! ALL MY HORSES ARE HERE! BELIEVE ME... BELIEVE ME... 665 00:21:01,527 --> 00:21:05,173 ALL MY HORSES ARE HERE! BELIEVE ME... BELIEVE ME... SAY, UH, YOU'RE A REPORTER, 666 00:21:05,197 --> 00:21:07,175 BELIEVE ME... BELIEVE ME... SAY, UH, YOU'RE A REPORTER, AREN'T YOU? 667 00:21:07,199 --> 00:21:08,910 SAY, UH, YOU'RE A REPORTER, AREN'T YOU? YES, I'M A CORRESPONDENT... 668 00:21:08,934 --> 00:21:10,679 AREN'T YOU? YES, I'M A CORRESPONDENT... THE MIDDLE EAST, THAT IS... FOR 669 00:21:10,703 --> 00:21:11,913 YES, I'M A CORRESPONDENT... THE MIDDLE EAST, THAT IS... FOR THE WASHINGTON POST. 670 00:21:11,937 --> 00:21:13,582 THE MIDDLE EAST, THAT IS... FOR THE WASHINGTON POST. LIKE, YOU WRITE ARTICLES 671 00:21:13,606 --> 00:21:14,750 THE WASHINGTON POST. LIKE, YOU WRITE ARTICLES FREELANCE, RIGHT? 672 00:21:14,774 --> 00:21:16,151 LIKE, YOU WRITE ARTICLES FREELANCE, RIGHT? WELL, LIKE, I HAD THIS IDEA, YOU 673 00:21:16,175 --> 00:21:17,219 FREELANCE, RIGHT? WELL, LIKE, I HAD THIS IDEA, YOU KNOW, FOR A STORY ABOUT 674 00:21:17,243 --> 00:21:18,520 WELL, LIKE, I HAD THIS IDEA, YOU KNOW, FOR A STORY ABOUT TRAVELING IN THE MIDDLE EAST, 675 00:21:18,544 --> 00:21:19,054 KNOW, FOR A STORY ABOUT TRAVELING IN THE MIDDLE EAST, YOU KNOW? 676 00:21:19,078 --> 00:21:20,723 TRAVELING IN THE MIDDLE EAST, YOU KNOW? LIKE, YOU COULD WRITE ABOUT, YOU 677 00:21:20,747 --> 00:21:22,291 YOU KNOW? LIKE, YOU COULD WRITE ABOUT, YOU KNOW, A LIST OF NUDE BEACHES, 678 00:21:22,315 --> 00:21:23,925 LIKE, YOU COULD WRITE ABOUT, YOU KNOW, A LIST OF NUDE BEACHES, YOU KNOW, WHERE TO GET THE BEST 679 00:21:23,949 --> 00:21:25,561 KNOW, A LIST OF NUDE BEACHES, YOU KNOW, WHERE TO GET THE BEST DOPE AT LOCAL PRICES, YOU KNOW, 680 00:21:25,585 --> 00:21:27,229 YOU KNOW, WHERE TO GET THE BEST DOPE AT LOCAL PRICES, YOU KNOW, HOW TO CHANGE MONEY ON THE BLACK 681 00:21:27,253 --> 00:21:28,731 DOPE AT LOCAL PRICES, YOU KNOW, HOW TO CHANGE MONEY ON THE BLACK MARKET, YOU KNOW, HOW TO GET 682 00:21:28,755 --> 00:21:30,432 HOW TO CHANGE MONEY ON THE BLACK MARKET, YOU KNOW, HOW TO GET HOME WHEN YOU'VE BEEN RIPPED OFF 683 00:21:30,456 --> 00:21:32,067 MARKET, YOU KNOW, HOW TO GET HOME WHEN YOU'VE BEEN RIPPED OFF AND STUFF, YOU KNOW, BUT, LIKE, 684 00:21:32,091 --> 00:21:33,736 HOME WHEN YOU'VE BEEN RIPPED OFF AND STUFF, YOU KNOW, BUT, LIKE, MOST OF MY NOTES ARE HOME IN THE 685 00:21:33,760 --> 00:21:34,737 AND STUFF, YOU KNOW, BUT, LIKE, MOST OF MY NOTES ARE HOME IN THE STATES, YOU KNOW? 686 00:21:34,761 --> 00:21:36,505 MOST OF MY NOTES ARE HOME IN THE STATES, YOU KNOW? I WAS WONDERING IF, LIKE, YOU 687 00:21:36,529 --> 00:21:38,340 STATES, YOU KNOW? I WAS WONDERING IF, LIKE, YOU KNOW, THE WASHINGTON POST COULD 688 00:21:38,364 --> 00:21:40,208 I WAS WONDERING IF, LIKE, YOU KNOW, THE WASHINGTON POST COULD ADVANCE ME THE MONEY, LIKE, YOU 689 00:21:40,232 --> 00:21:42,077 KNOW, THE WASHINGTON POST COULD ADVANCE ME THE MONEY, LIKE, YOU KNOW, $400 OR $500 IN TRAVELERS 690 00:21:42,101 --> 00:21:43,211 ADVANCE ME THE MONEY, LIKE, YOU KNOW, $400 OR $500 IN TRAVELERS CHECKS, YOU KNOW? 691 00:21:43,235 --> 00:21:44,446 KNOW, $400 OR $500 IN TRAVELERS CHECKS, YOU KNOW? AND THEN, LIKE, WHEN I GOT HOME, 692 00:21:44,470 --> 00:21:45,614 CHECKS, YOU KNOW? AND THEN, LIKE, WHEN I GOT HOME, I COULD WRITE THE ARTICLE AND 693 00:21:45,638 --> 00:21:46,282 AND THEN, LIKE, WHEN I GOT HOME, I COULD WRITE THE ARTICLE AND MAIL IT TO YOU. 694 00:21:46,306 --> 00:21:47,449 I COULD WRITE THE ARTICLE AND MAIL IT TO YOU. WHY DON'T YOU WRITE IT TO 695 00:21:47,473 --> 00:21:48,784 MAIL IT TO YOU. WHY DON'T YOU WRITE IT TO HIGH TIMES. 696 00:21:48,808 --> 00:21:49,951 WHY DON'T YOU WRITE IT TO HIGH TIMES. THAT'S A HIP IDEA. 697 00:21:49,975 --> 00:21:50,619 HIGH TIMES. THAT'S A HIP IDEA. [DOOR OPENS] 698 00:21:50,643 --> 00:21:52,087 THAT'S A HIP IDEA. [DOOR OPENS] [Crying] BUT I AM THE SHAH! 699 00:21:52,111 --> 00:21:53,255 [DOOR OPENS] [Crying] BUT I AM THE SHAH! ALL MY PARTIES ARE HERE! 700 00:21:53,279 --> 00:21:54,156 [Crying] BUT I AM THE SHAH! ALL MY PARTIES ARE HERE! ALL MY CARS ARE... 701 00:21:54,180 --> 00:21:55,824 ALL MY PARTIES ARE HERE! ALL MY CARS ARE... WHOO, BOY! 702 00:21:55,848 --> 00:21:57,993 ALL MY CARS ARE... WHOO, BOY! IS THE AMBASSADOR EVER MAD! 703 00:21:58,017 --> 00:21:59,060 WHOO, BOY! IS THE AMBASSADOR EVER MAD! AND THE SHAH'S A WRECK. 704 00:21:59,084 --> 00:22:00,028 IS THE AMBASSADOR EVER MAD! AND THE SHAH'S A WRECK. WELL, WOULDN'T... 705 00:22:00,052 --> 00:22:01,397 AND THE SHAH'S A WRECK. WELL, WOULDN'T... HE'S TAKING IT PRETTY HARD, 706 00:22:01,421 --> 00:22:02,230 WELL, WOULDN'T... HE'S TAKING IT PRETTY HARD, BOY. 707 00:22:02,254 --> 00:22:03,699 HE'S TAKING IT PRETTY HARD, BOY. I MEAN, WOULDN'T YOU BE A 708 00:22:03,723 --> 00:22:04,199 BOY. I MEAN, WOULDN'T YOU BE A WRECK? 709 00:22:04,223 --> 00:22:05,668 I MEAN, WOULDN'T YOU BE A WRECK? IT'S NEVER EASY TO DEAL WITH 710 00:22:05,692 --> 00:22:08,337 WRECK? IT'S NEVER EASY TO DEAL WITH REJECTION. 711 00:22:08,361 --> 00:22:12,007 IT'S NEVER EASY TO DEAL WITH REJECTION. OKAY. SOLDIER. 712 00:22:12,031 --> 00:22:13,375 REJECTION. OKAY. SOLDIER. [Crying] I DON'T WANT TO 713 00:22:13,399 --> 00:22:13,709 OKAY. SOLDIER. [Crying] I DON'T WANT TO GO! 714 00:22:13,733 --> 00:22:17,045 [Crying] I DON'T WANT TO GO! WE DON'T HAVE TO GO! 715 00:22:17,069 --> 00:22:19,381 GO! WE DON'T HAVE TO GO! HOW COME THAT GUY GETS TO GO 716 00:22:19,405 --> 00:22:20,982 WE DON'T HAVE TO GO! HOW COME THAT GUY GETS TO GO IN THERE RIGHT AWAY? 717 00:22:21,006 --> 00:22:22,818 HOW COME THAT GUY GETS TO GO IN THERE RIGHT AWAY? HE'S WITH THE C.I.A. 718 00:22:22,842 --> 00:22:24,986 IN THERE RIGHT AWAY? HE'S WITH THE C.I.A. THE C.I.A.? 719 00:22:25,010 --> 00:22:26,689 HE'S WITH THE C.I.A. THE C.I.A.? I'M HOLDING HALF A POUND OF HASH 720 00:22:26,713 --> 00:22:27,155 THE C.I.A.? I'M HOLDING HALF A POUND OF HASH HERE. 721 00:22:27,179 --> 00:22:28,990 I'M HOLDING HALF A POUND OF HASH HERE. IT'S LIKE "MIDNIGHT EXPRESS." 722 00:22:29,014 --> 00:22:30,492 HERE. IT'S LIKE "MIDNIGHT EXPRESS." [SPEAKING FOREIGN LANGUAGE] 723 00:22:30,516 --> 00:22:33,161 IT'S LIKE "MIDNIGHT EXPRESS." [SPEAKING FOREIGN LANGUAGE] [INTERCOM BUZZES] 724 00:22:33,185 --> 00:22:34,430 [SPEAKING FOREIGN LANGUAGE] [INTERCOM BUZZES] MISS NORWALK, WILL YOU SEE 725 00:22:34,454 --> 00:22:35,698 [INTERCOM BUZZES] MISS NORWALK, WILL YOU SEE THAT THE SHAH'S CAR IS BROUGHT 726 00:22:35,722 --> 00:22:36,898 MISS NORWALK, WILL YOU SEE THAT THE SHAH'S CAR IS BROUGHT AROUND TO THE BACK ENTRANCE 727 00:22:36,922 --> 00:22:37,766 THAT THE SHAH'S CAR IS BROUGHT AROUND TO THE BACK ENTRANCE RIGHT AWAY, PLEASE? 728 00:22:37,790 --> 00:22:41,269 AROUND TO THE BACK ENTRANCE RIGHT AWAY, PLEASE? FOR SURE, MR. AMBASSADOR. 729 00:22:41,293 --> 00:22:42,604 RIGHT AWAY, PLEASE? FOR SURE, MR. AMBASSADOR. WOULD YOU SEND THE SHAH'S CAR... 730 00:22:42,628 --> 00:22:44,005 FOR SURE, MR. AMBASSADOR. WOULD YOU SEND THE SHAH'S CAR... [Crying] NO, I DON'T WANT 731 00:22:44,029 --> 00:22:44,440 WOULD YOU SEND THE SHAH'S CAR... [Crying] NO, I DON'T WANT TO GO! 732 00:22:44,464 --> 00:22:44,940 [Crying] NO, I DON'T WANT TO GO! COME ON. 733 00:22:44,964 --> 00:22:45,941 TO GO! COME ON. YOU'RE ALREADY A FEW MINUTES 734 00:22:45,965 --> 00:22:46,241 COME ON. YOU'RE ALREADY A FEW MINUTES LATE. 735 00:22:46,265 --> 00:22:47,142 YOU'RE ALREADY A FEW MINUTES LATE. YOUR HIGHNESS... YOUR 736 00:22:47,166 --> 00:22:48,210 LATE. YOUR HIGHNESS... YOUR HIGHNESS, IS IT TRUE THAT THE 737 00:22:48,234 --> 00:22:49,345 YOUR HIGHNESS... YOUR HIGHNESS, IS IT TRUE THAT THE U.S. IS ASKING YOU TO LEAVE THE 738 00:22:49,369 --> 00:22:49,745 HIGHNESS, IS IT TRUE THAT THE U.S. IS ASKING YOU TO LEAVE THE COUNTRY? 739 00:22:49,769 --> 00:22:50,746 U.S. IS ASKING YOU TO LEAVE THE COUNTRY? NO! NO! NO! 740 00:22:50,770 --> 00:22:52,581 COUNTRY? NO! NO! NO! DOES THAT ANSWER YOUR QUESTION? 741 00:22:52,605 --> 00:22:53,915 NO! NO! NO! DOES THAT ANSWER YOUR QUESTION? WELL, WHY ARE YOU CRYING? 742 00:22:53,939 --> 00:22:54,850 DOES THAT ANSWER YOUR QUESTION? WELL, WHY ARE YOU CRYING? WHERE'S MY CAR? 743 00:22:54,874 --> 00:22:56,518 WELL, WHY ARE YOU CRYING? WHERE'S MY CAR? THEY LET SHAHS CRY, TOO. 744 00:22:56,542 --> 00:22:57,118 WHERE'S MY CAR? THEY LET SHAHS CRY, TOO. COME ON! 745 00:22:57,142 --> 00:22:58,487 THEY LET SHAHS CRY, TOO. COME ON! YOU KNOW, YOU CAN OPEN UP A NICE 746 00:22:58,511 --> 00:22:59,688 COME ON! YOU KNOW, YOU CAN OPEN UP A NICE IRANIAN RESTAURANT... LET'S 747 00:22:59,712 --> 00:23:00,622 YOU KNOW, YOU CAN OPEN UP A NICE IRANIAN RESTAURANT... LET'S GO... IN WASHINGTON. 748 00:23:00,646 --> 00:23:01,790 IRANIAN RESTAURANT... LET'S GO... IN WASHINGTON. COME ON! 749 00:23:01,814 --> 00:23:03,291 GO... IN WASHINGTON. COME ON! WHERE ARE YOU GOING? 750 00:23:03,315 --> 00:23:05,961 COME ON! WHERE ARE YOU GOING? POOR SHAH... GUY. 751 00:23:05,985 --> 00:23:08,129 WHERE ARE YOU GOING? POOR SHAH... GUY. [INTERCOM BUZZES] 752 00:23:08,153 --> 00:23:08,697 POOR SHAH... GUY. [INTERCOM BUZZES] YEAH? 753 00:23:08,721 --> 00:23:10,632 [INTERCOM BUZZES] YEAH? MISS NORWALK, LET'S PROCEED 754 00:23:10,656 --> 00:23:12,334 YEAH? MISS NORWALK, LET'S PROCEED WITH THE NEXT APPOINTMENT. 755 00:23:12,358 --> 00:23:13,935 MISS NORWALK, LET'S PROCEED WITH THE NEXT APPOINTMENT. OKAY, MR. AMBASSADOR. 756 00:23:13,959 --> 00:23:16,739 WITH THE NEXT APPOINTMENT. OKAY, MR. AMBASSADOR. THE AMBASSADOR WILL SEE YOU NOW, 757 00:23:16,763 --> 00:23:17,740 OKAY, MR. AMBASSADOR. THE AMBASSADOR WILL SEE YOU NOW, FINALLY. 758 00:23:17,764 --> 00:23:20,564 THE AMBASSADOR WILL SEE YOU NOW, FINALLY. [SPEAKING FOREIGN LANGUAGE] 759 00:23:29,408 --> 00:23:36,258 ♪ YMCA ♪ ♪ IT'S FUN TO STAY AT THE YMCA ♪ [DOOR CLOSES] 760 00:23:36,282 --> 00:23:37,426 ♪ IT'S FUN TO STAY AT THE YMCA ♪ [DOOR CLOSES] ♪ YOU CAN GET YOURSELF 761 00:23:37,450 --> 00:23:38,093 [DOOR CLOSES] ♪ YOU CAN GET YOURSELF CLEAN ♪ 762 00:23:38,117 --> 00:23:39,762 ♪ YOU CAN GET YOURSELF CLEAN ♪ ♪ YOU CAN HAVE A GOOD MEAL ♪ 763 00:23:39,786 --> 00:23:42,720 CLEAN ♪ ♪ YOU CAN HAVE A GOOD MEAL ♪ ♪ YOU CAN DO WHATEVER YOU FEEL ♪ 764 00:23:47,592 --> 00:23:53,442 LADIES AND GENTLEMEN, THE TALKING HEADS. [CHEERS AND APPLAUSE] 765 00:23:53,466 --> 00:23:55,277 TALKING HEADS. [CHEERS AND APPLAUSE] [INTRO TO "TAKE ME TO THE 766 00:23:55,301 --> 00:23:57,661 [CHEERS AND APPLAUSE] [INTRO TO "TAKE ME TO THE RIVER" PLAYS] 767 00:24:22,393 --> 00:24:30,393 ♪ I DON'T KNOW WHY ♪ ♪ I LOVE YOU LIKE I DO ♪ ♪ ALL THE CHANGES THAT YOU PUT 768 00:24:30,770 --> 00:24:33,248 ♪ I LOVE YOU LIKE I DO ♪ ♪ ALL THE CHANGES THAT YOU PUT ME THROUGH ♪ 769 00:24:33,272 --> 00:24:38,253 ♪ ALL THE CHANGES THAT YOU PUT ME THROUGH ♪ ♪ TAKE MY MONEY, MY CIGARETTES ♪ 770 00:24:38,277 --> 00:24:41,757 ME THROUGH ♪ ♪ TAKE MY MONEY, MY CIGARETTES ♪ ♪ HAVEN'T SEEN ALL THE WORST OF 771 00:24:41,781 --> 00:24:42,758 ♪ TAKE MY MONEY, MY CIGARETTES ♪ ♪ HAVEN'T SEEN ALL THE WORST OF IT YET ♪ 772 00:24:42,782 --> 00:24:44,927 ♪ HAVEN'T SEEN ALL THE WORST OF IT YET ♪ ♪ I WANT KNOW ♪ 773 00:24:44,951 --> 00:24:48,096 IT YET ♪ ♪ I WANT KNOW ♪ ♪ CAN YOU TELL ME? ♪ 774 00:24:48,120 --> 00:24:54,937 ♪ I WANT KNOW ♪ ♪ CAN YOU TELL ME? ♪ ♪ I LOVE TO STAY ♪ 775 00:24:54,961 --> 00:24:59,942 ♪ CAN YOU TELL ME? ♪ ♪ I LOVE TO STAY ♪ ♪ TAKE ME TO THE RIVER ♪ 776 00:24:59,966 --> 00:25:05,280 ♪ I LOVE TO STAY ♪ ♪ TAKE ME TO THE RIVER ♪ ♪ DIP ME IN THE WATER ♪ 777 00:25:05,304 --> 00:25:10,118 ♪ TAKE ME TO THE RIVER ♪ ♪ DIP ME IN THE WATER ♪ ♪ DIP ME IN THE RIVER ♪ 778 00:25:10,142 --> 00:25:12,955 ♪ DIP ME IN THE WATER ♪ ♪ DIP ME IN THE RIVER ♪ ♪ WALK ME IN THE WATER ♪ 779 00:25:12,979 --> 00:25:15,290 ♪ DIP ME IN THE RIVER ♪ ♪ WALK ME IN THE WATER ♪ ♪ WASHING ME DOWN ♪ 780 00:25:15,314 --> 00:25:17,626 ♪ WALK ME IN THE WATER ♪ ♪ WASHING ME DOWN ♪ ♪ WASHING ME ♪ 781 00:25:17,650 --> 00:25:20,128 ♪ WASHING ME DOWN ♪ ♪ WASHING ME ♪ ♪ HOLD ME ♪ 782 00:25:20,152 --> 00:25:22,631 ♪ WASHING ME ♪ ♪ HOLD ME ♪ ♪ SQUEEZE ME ♪ 783 00:25:22,655 --> 00:25:25,300 ♪ HOLD ME ♪ ♪ SQUEEZE ME ♪ ♪ LOVE ME ♪ 784 00:25:25,324 --> 00:25:28,470 ♪ SQUEEZE ME ♪ ♪ LOVE ME ♪ ♪ TEASE ME ♪ 785 00:25:28,494 --> 00:25:30,973 ♪ LOVE ME ♪ ♪ TEASE ME ♪ ♪ TILL I CAN'T ♪ 786 00:25:30,997 --> 00:25:33,475 ♪ TEASE ME ♪ ♪ TILL I CAN'T ♪ ♪ TILL I CAN'T ♪ 787 00:25:33,499 --> 00:25:35,477 ♪ TILL I CAN'T ♪ ♪ TILL I CAN'T ♪ ♪ I CANT TAKE NO MORE ♪ 788 00:25:35,501 --> 00:25:40,649 ♪ TILL I CAN'T ♪ ♪ I CANT TAKE NO MORE ♪ ♪ DIP ME IN THE WATER ♪ 789 00:25:40,673 --> 00:25:45,821 ♪ I CANT TAKE NO MORE ♪ ♪ DIP ME IN THE WATER ♪ ♪ DROP ME IN THE RIVER ♪ 790 00:25:45,845 --> 00:25:50,826 ♪ DIP ME IN THE WATER ♪ ♪ DROP ME IN THE RIVER ♪ ♪ PUT ME IN THE WATER ♪ 791 00:25:50,850 --> 00:25:53,495 ♪ DROP ME IN THE RIVER ♪ ♪ PUT ME IN THE WATER ♪ ♪ DIP ME IN THE RIVER ♪ 792 00:25:53,519 --> 00:25:55,831 ♪ PUT ME IN THE WATER ♪ ♪ DIP ME IN THE RIVER ♪ ♪ WASHING ME DOWN ♪ 793 00:25:55,855 --> 00:25:59,790 ♪ DIP ME IN THE RIVER ♪ ♪ WASHING ME DOWN ♪ ♪ WASHING ME DOWN ♪ 794 00:26:07,632 --> 00:26:15,316 ♪ I DON'T KNOW WHY ♪ ♪ I LOVE YOU LIKE I DO ♪ ♪ ALL THE TROUBLE THAT YOU PUT 795 00:26:15,340 --> 00:26:17,152 ♪ I LOVE YOU LIKE I DO ♪ ♪ ALL THE TROUBLE THAT YOU PUT ME THROUGH ♪ 796 00:26:17,176 --> 00:26:19,988 ♪ ALL THE TROUBLE THAT YOU PUT ME THROUGH ♪ ♪ THERE'S 16 CANDLES UP THERE 797 00:26:20,012 --> 00:26:22,323 ME THROUGH ♪ ♪ THERE'S 16 CANDLES UP THERE ON MY WALL ♪ 798 00:26:22,347 --> 00:26:25,493 ♪ THERE'S 16 CANDLES UP THERE ON MY WALL ♪ ♪ HERE AM I, BIGGEST FOOL OF 799 00:26:25,517 --> 00:26:26,161 ON MY WALL ♪ ♪ HERE AM I, BIGGEST FOOL OF THEM ALL ♪ 800 00:26:26,185 --> 00:26:28,664 ♪ HERE AM I, BIGGEST FOOL OF THEM ALL ♪ ♪ OH, AND I WANT TO KNOW ♪ 801 00:26:28,688 --> 00:26:31,833 THEM ALL ♪ ♪ OH, AND I WANT TO KNOW ♪ ♪ CAN YOU TELL ME? ♪ 802 00:26:31,857 --> 00:26:37,005 ♪ OH, AND I WANT TO KNOW ♪ ♪ CAN YOU TELL ME? ♪ ♪ I LOVE TO STAY ♪ 803 00:26:37,029 --> 00:26:43,178 ♪ CAN YOU TELL ME? ♪ ♪ I LOVE TO STAY ♪ ♪ DIP ME IN THE RIVER ♪ 804 00:26:43,202 --> 00:26:48,183 ♪ I LOVE TO STAY ♪ ♪ DIP ME IN THE RIVER ♪ ♪ DIP ME IN THE WATER ♪ 805 00:26:48,207 --> 00:26:53,354 ♪ DIP ME IN THE RIVER ♪ ♪ DIP ME IN THE WATER ♪ ♪ DROP ME IN THE RIVER ♪ 806 00:26:53,378 --> 00:26:55,691 ♪ DIP ME IN THE WATER ♪ ♪ DROP ME IN THE RIVER ♪ ♪ DROP ME IN THE WATER ♪ 807 00:26:55,715 --> 00:26:58,193 ♪ DROP ME IN THE RIVER ♪ ♪ DROP ME IN THE WATER ♪ ♪ WASHING ME DOWN ♪ 808 00:26:58,217 --> 00:27:01,697 ♪ DROP ME IN THE WATER ♪ ♪ WASHING ME DOWN ♪ ♪ WASHING ME DOWN ♪ 809 00:27:01,721 --> 00:27:03,031 ♪ WASHING ME DOWN ♪ ♪ WASHING ME DOWN ♪ ♪ OOH, YEAH ♪ 810 00:27:03,055 --> 00:27:06,367 ♪ WASHING ME DOWN ♪ ♪ OOH, YEAH ♪ ♪ OOH, AHH ♪ 811 00:27:06,391 --> 00:27:10,872 ♪ OOH, YEAH ♪ ♪ OOH, AHH ♪ ♪ AHH, AHH, AHH ♪ 812 00:27:10,896 --> 00:27:13,875 ♪ OOH, AHH ♪ ♪ AHH, AHH, AHH ♪ ♪ AHH, AYE, OOP ♪ 813 00:27:13,899 --> 00:27:15,877 ♪ AHH, AHH, AHH ♪ ♪ AHH, AYE, OOP ♪ ♪ BA DA DA DA DA ♪ 814 00:27:15,901 --> 00:27:18,880 ♪ AHH, AYE, OOP ♪ ♪ BA DA DA DA DA ♪ ♪ OH, OOH, OOH, OOH, OH ♪ 815 00:27:18,904 --> 00:27:21,216 ♪ BA DA DA DA DA ♪ ♪ OH, OOH, OOH, OOH, OH ♪ ♪ BA-BA-BA-BA-BA-BA-BA ♪ 816 00:27:21,240 --> 00:27:23,384 ♪ OH, OOH, OOH, OOH, OH ♪ ♪ BA-BA-BA-BA-BA-BA-BA ♪ ♪ AHH ♪ 817 00:27:23,408 --> 00:27:25,553 ♪ BA-BA-BA-BA-BA-BA-BA ♪ ♪ AHH ♪ ♪ AHH, WHOO ♪ 818 00:27:25,577 --> 00:27:27,555 ♪ AHH ♪ ♪ AHH, WHOO ♪ ♪ AHH ♪ 819 00:27:27,579 --> 00:27:31,559 ♪ AHH, WHOO ♪ ♪ AHH ♪ [FINALE PLAYS] 820 00:27:31,583 --> 00:27:33,684 ♪ AHH ♪ [FINALE PLAYS] [CHEERS AND APPLAUSE] 821 00:27:45,163 --> 00:27:46,964 [DRAMATIC MUSIC PLAYS] 822 00:28:45,990 --> 00:28:53,990 [WIND HOWLING] WHOO! HELLO, HELLO, HELLO. 823 00:28:54,700 --> 00:28:56,344 WHOO! HELLO, HELLO, HELLO. [BABBLING] 824 00:28:56,368 --> 00:28:58,346 HELLO, HELLO, HELLO. [BABBLING] WHAT'S THE NEWS, FRENCHY? 825 00:28:58,370 --> 00:29:00,082 [BABBLING] WHAT'S THE NEWS, FRENCHY? WELL, THE SNOWS HAVE BLOCKED 826 00:29:00,106 --> 00:29:01,850 WHAT'S THE NEWS, FRENCHY? WELL, THE SNOWS HAVE BLOCKED ALL THE PATHS, AND THE LAKE ARE 827 00:29:01,874 --> 00:29:02,417 WELL, THE SNOWS HAVE BLOCKED ALL THE PATHS, AND THE LAKE ARE FROZEN. 828 00:29:02,441 --> 00:29:04,119 ALL THE PATHS, AND THE LAKE ARE FROZEN. AND I WAS CHECKING THE TRAP 829 00:29:04,143 --> 00:29:05,721 FROZEN. AND I WAS CHECKING THE TRAP LINE, AND I PASSED BY OLD 830 00:29:05,745 --> 00:29:06,788 AND I WAS CHECKING THE TRAP LINE, AND I PASSED BY OLD CALLOP'S CABIN. 831 00:29:06,812 --> 00:29:09,091 LINE, AND I PASSED BY OLD CALLOP'S CABIN. I FOUND HIM FROZEN TO DEATH IN 832 00:29:09,115 --> 00:29:10,225 CALLOP'S CABIN. I FOUND HIM FROZEN TO DEATH IN HIS OWN BED. 833 00:29:10,249 --> 00:29:13,394 I FOUND HIM FROZEN TO DEATH IN HIS OWN BED. BUT I BROUGHT HIS CAT. 834 00:29:13,418 --> 00:29:15,230 HIS OWN BED. BUT I BROUGHT HIS CAT. THAT COULD FETCH A GOOD PRICE IN 835 00:29:15,254 --> 00:29:16,064 BUT I BROUGHT HIS CAT. THAT COULD FETCH A GOOD PRICE IN TOWN. 836 00:29:16,088 --> 00:29:20,568 THAT COULD FETCH A GOOD PRICE IN TOWN. YEAH, IF WE EVER GET TO TOWN! 837 00:29:20,592 --> 00:29:22,403 TOWN. YEAH, IF WE EVER GET TO TOWN! OH, HELLO, THERE. 838 00:29:22,427 --> 00:29:24,239 YEAH, IF WE EVER GET TO TOWN! OH, HELLO, THERE. HOW IS POOR RENE? 839 00:29:24,263 --> 00:29:25,907 OH, HELLO, THERE. HOW IS POOR RENE? AAH, NO BETTER. 840 00:29:25,931 --> 00:29:27,075 HOW IS POOR RENE? AAH, NO BETTER. OHH. 841 00:29:27,099 --> 00:29:28,076 AAH, NO BETTER. OHH. NO BETTER. 842 00:29:28,100 --> 00:29:29,077 OHH. NO BETTER. POOR RENE. 843 00:29:29,101 --> 00:29:31,113 NO BETTER. POOR RENE. THERE'S NOT MUCH WE CAN DO ABOUT 844 00:29:31,137 --> 00:29:31,546 POOR RENE. THERE'S NOT MUCH WE CAN DO ABOUT IT. 845 00:29:31,570 --> 00:29:33,048 THERE'S NOT MUCH WE CAN DO ABOUT IT. I FEEL SO HELPLESS. 846 00:29:33,072 --> 00:29:34,315 IT. I FEEL SO HELPLESS. YEAH, CAN'T DO NOTHING ABOUT 847 00:29:34,339 --> 00:29:34,616 I FEEL SO HELPLESS. YEAH, CAN'T DO NOTHING ABOUT IT. 848 00:29:34,640 --> 00:29:35,383 YEAH, CAN'T DO NOTHING ABOUT IT. NOTHING TO DO. 849 00:29:35,407 --> 00:29:36,384 IT. NOTHING TO DO. IT'S ALL RIGHT! 850 00:29:36,408 --> 00:29:37,052 NOTHING TO DO. IT'S ALL RIGHT! WHAT? 851 00:29:37,076 --> 00:29:38,720 IT'S ALL RIGHT! WHAT? IT'S ALL RIGHT. 852 00:29:38,744 --> 00:29:39,721 WHAT? IT'S ALL RIGHT. IT'S OKAY. 853 00:29:39,745 --> 00:29:42,724 IT'S ALL RIGHT. IT'S OKAY. I'M THE FRONTIER MIDWIFE IS 854 00:29:42,748 --> 00:29:43,225 IT'S OKAY. I'M THE FRONTIER MIDWIFE IS HERE. 855 00:29:43,249 --> 00:29:45,227 I'M THE FRONTIER MIDWIFE IS HERE. QUICK NOW, LET'S THROW SOME WOOD 856 00:29:45,251 --> 00:29:47,595 HERE. QUICK NOW, LET'S THROW SOME WOOD ON THE FIRE AND PUT ON A POT OF 857 00:29:47,619 --> 00:29:49,097 QUICK NOW, LET'S THROW SOME WOOD ON THE FIRE AND PUT ON A POT OF BOILING-HOT WATER. 858 00:29:49,121 --> 00:29:50,398 ON THE FIRE AND PUT ON A POT OF BOILING-HOT WATER. BOILING WATER?! 859 00:29:50,422 --> 00:29:52,467 BOILING-HOT WATER. BOILING WATER?! JUST DO AS I TELL YOU TO DO! 860 00:29:52,491 --> 00:29:54,102 BOILING WATER?! JUST DO AS I TELL YOU TO DO! NOW, I'M GONNA NEED SOME 861 00:29:54,126 --> 00:29:56,171 JUST DO AS I TELL YOU TO DO! NOW, I'M GONNA NEED SOME BANDAGES, PLENTY OF THEM, CLEAN 862 00:29:56,195 --> 00:29:56,738 NOW, I'M GONNA NEED SOME BANDAGES, PLENTY OF THEM, CLEAN ONES. 863 00:29:56,762 --> 00:29:57,906 BANDAGES, PLENTY OF THEM, CLEAN ONES. RIP THEM UP. COME ON. 864 00:29:57,930 --> 00:29:59,908 ONES. RIP THEM UP. COME ON. HELP RIP IT UP. 865 00:29:59,932 --> 00:30:03,078 RIP THEM UP. COME ON. HELP RIP IT UP. COME... RI... RIP IT UP, I SAY! 866 00:30:03,102 --> 00:30:04,646 HELP RIP IT UP. COME... RI... RIP IT UP, I SAY! HEY, THAT'S MY BED. 867 00:30:04,670 --> 00:30:06,614 COME... RI... RIP IT UP, I SAY! HEY, THAT'S MY BED. THOSE SHEETS COME ALL THE WAY 868 00:30:06,638 --> 00:30:07,615 HEY, THAT'S MY BED. THOSE SHEETS COME ALL THE WAY FROM ST. LOUIS! 869 00:30:07,639 --> 00:30:08,784 THOSE SHEETS COME ALL THE WAY FROM ST. LOUIS! NOW, LISTEN. 870 00:30:08,808 --> 00:30:10,786 FROM ST. LOUIS! NOW, LISTEN. DOES ANYBODY KNOW WHO THIS 871 00:30:10,810 --> 00:30:11,452 NOW, LISTEN. DOES ANYBODY KNOW WHO THIS WOMAN IS? 872 00:30:11,476 --> 00:30:13,955 DOES ANYBODY KNOW WHO THIS WOMAN IS? NOW, IF YOU AIN'T GONNA HELP, 873 00:30:13,979 --> 00:30:16,624 WOMAN IS? NOW, IF YOU AIN'T GONNA HELP, GO ON OUTSIDE AND PACE BACK AND 874 00:30:16,648 --> 00:30:19,127 NOW, IF YOU AIN'T GONNA HELP, GO ON OUTSIDE AND PACE BACK AND FORTH. 875 00:30:19,151 --> 00:30:21,963 GO ON OUTSIDE AND PACE BACK AND FORTH. WELL, I SAID GO ON OUT AND PACE 876 00:30:21,987 --> 00:30:23,131 FORTH. WELL, I SAID GO ON OUT AND PACE BACK AND FORTH! 877 00:30:23,155 --> 00:30:25,901 WELL, I SAID GO ON OUT AND PACE BACK AND FORTH! NOW, I WANT ONE MAN WITH CLEAN 878 00:30:25,925 --> 00:30:28,603 BACK AND FORTH! NOW, I WANT ONE MAN WITH CLEAN HANDS AND A STRONG STOMACH... 879 00:30:28,627 --> 00:30:30,772 NOW, I WANT ONE MAN WITH CLEAN HANDS AND A STRONG STOMACH... STRONG STOMACH. 880 00:30:30,796 --> 00:30:32,774 HANDS AND A STRONG STOMACH... STRONG STOMACH. I GOT A STRONG STOMACH. 881 00:30:32,798 --> 00:30:35,110 STRONG STOMACH. I GOT A STRONG STOMACH. WELL, I'VE GOT STRONG HANDS, 882 00:30:35,134 --> 00:30:38,280 I GOT A STRONG STOMACH. WELL, I'VE GOT STRONG HANDS, BUT MY STOMACH IS FILTHY. 883 00:30:38,304 --> 00:30:39,781 WELL, I'VE GOT STRONG HANDS, BUT MY STOMACH IS FILTHY. WELL, YOU DON'T WANT ME. 884 00:30:39,805 --> 00:30:41,349 BUT MY STOMACH IS FILTHY. WELL, YOU DON'T WANT ME. WELL, LISTEN, LISTEN... DON'T 885 00:30:41,373 --> 00:30:42,851 WELL, YOU DON'T WANT ME. WELL, LISTEN, LISTEN... DON'T YOU BE TELLING ME NOTHING. 886 00:30:42,875 --> 00:30:44,686 WELL, LISTEN, LISTEN... DON'T YOU BE TELLING ME NOTHING. I'M THE FRONTIER MIDWIFE. 887 00:30:44,710 --> 00:30:46,822 YOU BE TELLING ME NOTHING. I'M THE FRONTIER MIDWIFE. I GIVE THE ORDERS 'ROUND HERE. 888 00:30:46,846 --> 00:30:50,158 I'M THE FRONTIER MIDWIFE. I GIVE THE ORDERS 'ROUND HERE. BUT WE DON'T NEED YOU. 889 00:30:50,182 --> 00:30:51,793 I GIVE THE ORDERS 'ROUND HERE. BUT WE DON'T NEED YOU. YOU DON'T NEED ME? 890 00:30:51,817 --> 00:30:53,962 BUT WE DON'T NEED YOU. YOU DON'T NEED ME? WHAT YOU MEAN, YOU DON'T NEED 891 00:30:53,986 --> 00:30:54,462 YOU DON'T NEED ME? WHAT YOU MEAN, YOU DON'T NEED ME? 892 00:30:54,486 --> 00:30:56,798 WHAT YOU MEAN, YOU DON'T NEED ME? IF WE'RE GONNA OPEN THE WEST, WE 893 00:30:56,822 --> 00:30:58,867 ME? IF WE'RE GONNA OPEN THE WEST, WE NEED MEN AND WOMEN TO DO IT. 894 00:30:58,891 --> 00:31:01,102 IF WE'RE GONNA OPEN THE WEST, WE NEED MEN AND WOMEN TO DO IT. I SEEN TOO MANY INFANTS DIE... 895 00:31:01,126 --> 00:31:03,171 NEED MEN AND WOMEN TO DO IT. I SEEN TOO MANY INFANTS DIE... DIE NEEDLESSLY... BECAUSE OF 896 00:31:03,195 --> 00:31:06,174 I SEEN TOO MANY INFANTS DIE... DIE NEEDLESSLY... BECAUSE OF IGNORANT AND STUBBORN MEN! 897 00:31:06,198 --> 00:31:08,009 DIE NEEDLESSLY... BECAUSE OF IGNORANT AND STUBBORN MEN! BUT, MA'AM, THERE AIN'T 898 00:31:08,033 --> 00:31:13,181 IGNORANT AND STUBBORN MEN! BUT, MA'AM, THERE AIN'T NOBODY, UH, HAVING A BABY HERE. 899 00:31:13,205 --> 00:31:15,350 BUT, MA'AM, THERE AIN'T NOBODY, UH, HAVING A BABY HERE. I MEAN, RENE IS FEELING POORLY, 900 00:31:15,374 --> 00:31:18,686 NOBODY, UH, HAVING A BABY HERE. I MEAN, RENE IS FEELING POORLY, BUT HE'LL BE ALL RIGHT. 901 00:31:18,710 --> 00:31:20,856 I MEAN, RENE IS FEELING POORLY, BUT HE'LL BE ALL RIGHT. THE FACT IS, MA'AM, WE 902 00:31:20,880 --> 00:31:23,225 BUT HE'LL BE ALL RIGHT. THE FACT IS, MA'AM, WE HAVEN'T SEEN A WOMAN FOR TWO 903 00:31:23,249 --> 00:31:24,726 THE FACT IS, MA'AM, WE HAVEN'T SEEN A WOMAN FOR TWO YEARS. 904 00:31:24,750 --> 00:31:26,394 HAVEN'T SEEN A WOMAN FOR TWO YEARS. WE DON'T SEE NO WOMAN EXCEPT 905 00:31:26,418 --> 00:31:27,896 YEARS. WE DON'T SEE NO WOMAN EXCEPT FOR YOU! 906 00:31:27,920 --> 00:31:30,565 WE DON'T SEE NO WOMAN EXCEPT FOR YOU! AFRAID, UH, THIS JUST ISN'T 907 00:31:30,589 --> 00:31:32,734 FOR YOU! AFRAID, UH, THIS JUST ISN'T YOUR EPISODE, MA'AM. 908 00:31:32,758 --> 00:31:33,902 AFRAID, UH, THIS JUST ISN'T YOUR EPISODE, MA'AM. WHAT DO YOU MEAN? 909 00:31:33,926 --> 00:31:35,503 YOUR EPISODE, MA'AM. WHAT DO YOU MEAN? LET... LET ME... LET ME GO 910 00:31:35,527 --> 00:31:36,004 WHAT DO YOU MEAN? LET... LET ME... LET ME GO FIRST! 911 00:31:36,028 --> 00:31:36,838 LET... LET ME... LET ME GO FIRST! I'VE BEEN SICK! 912 00:31:36,862 --> 00:31:40,175 FIRST! I'VE BEEN SICK! ALL RIGHT! 913 00:31:40,199 --> 00:31:41,943 I'VE BEEN SICK! ALL RIGHT! Announcer: JOIN US NEXT WEEK 914 00:31:41,967 --> 00:31:43,478 ALL RIGHT! Announcer: JOIN US NEXT WEEK ON "FRONTIER MIDWIFE," WHEN 915 00:31:43,502 --> 00:31:45,146 Announcer: JOIN US NEXT WEEK ON "FRONTIER MIDWIFE," WHEN FRONTIER MIDWIFE DELIVERS HER 916 00:31:45,170 --> 00:31:47,770 ON "FRONTIER MIDWIFE," WHEN FRONTIER MIDWIFE DELIVERS HER OWN BABY. 917 00:31:51,309 --> 00:31:57,025 ANWAR SADAT BUYS HIMSELF AN INFLATABLE CHILD. THIS STORY AND MORE COMING UP ON 918 00:31:57,049 --> 00:32:02,030 INFLATABLE CHILD. THIS STORY AND MORE COMING UP ON "WEEKEND UPDATE." 919 00:32:02,054 --> 00:32:03,198 THIS STORY AND MORE COMING UP ON "WEEKEND UPDATE." Announcer: AND NOW 920 00:32:03,222 --> 00:32:04,599 "WEEKEND UPDATE." Announcer: AND NOW "WEEKEND UPDATE," WITH THE 921 00:32:04,623 --> 00:32:06,034 Announcer: AND NOW "WEEKEND UPDATE," WITH THE "WEEKEND UPDATE" NEWS TEAM. 922 00:32:06,058 --> 00:32:07,702 "WEEKEND UPDATE," WITH THE "WEEKEND UPDATE" NEWS TEAM. BROUGHT TO YOU BY BRISCUITS, THE 923 00:32:07,726 --> 00:32:09,304 "WEEKEND UPDATE" NEWS TEAM. BROUGHT TO YOU BY BRISCUITS, THE CRACKERS THAT COME IN BITE-SIZE 924 00:32:09,328 --> 00:32:11,806 BROUGHT TO YOU BY BRISCUITS, THE CRACKERS THAT COME IN BITE-SIZE AND CIRCUM-SIZE. [Circumcise] 925 00:32:11,830 --> 00:32:13,641 CRACKERS THAT COME IN BITE-SIZE AND CIRCUM-SIZE. [Circumcise] ANCHORPERSONS JANE CURTAIN AND 926 00:32:13,665 --> 00:32:15,476 AND CIRCUM-SIZE. [Circumcise] ANCHORPERSONS JANE CURTAIN AND BILL MURRAY. 927 00:32:15,500 --> 00:32:16,477 ANCHORPERSONS JANE CURTAIN AND BILL MURRAY. GOOD EVENING. 928 00:32:16,501 --> 00:32:17,545 BILL MURRAY. GOOD EVENING. I'M JANE CURTAIN. 929 00:32:17,569 --> 00:32:19,281 GOOD EVENING. I'M JANE CURTAIN. BEFORE WE BEGIN, WEEKEND UPDATE 930 00:32:19,305 --> 00:32:21,016 I'M JANE CURTAIN. BEFORE WE BEGIN, WEEKEND UPDATE AND THE ENTIRE "SATURDAY NIGHT" 931 00:32:21,040 --> 00:32:22,650 BEFORE WE BEGIN, WEEKEND UPDATE AND THE ENTIRE "SATURDAY NIGHT" STAFF WOULD LIKE TO TAKE THIS 932 00:32:22,674 --> 00:32:24,319 AND THE ENTIRE "SATURDAY NIGHT" STAFF WOULD LIKE TO TAKE THIS MOMENT TO PAY HOMAGE TO A MAN 933 00:32:24,343 --> 00:32:26,054 STAFF WOULD LIKE TO TAKE THIS MOMENT TO PAY HOMAGE TO A MAN WHOSE RECENT PASSING HAS DEEPLY 934 00:32:26,078 --> 00:32:27,055 MOMENT TO PAY HOMAGE TO A MAN WHOSE RECENT PASSING HAS DEEPLY AFFECTED US ALL. 935 00:32:27,079 --> 00:32:28,556 WHOSE RECENT PASSING HAS DEEPLY AFFECTED US ALL. TRUE, THERE ARE QUESTIONS 936 00:32:28,580 --> 00:32:30,358 AFFECTED US ALL. TRUE, THERE ARE QUESTIONS CONCERNING THE CIRCUMSTANCES OF 937 00:32:30,382 --> 00:32:32,093 TRUE, THERE ARE QUESTIONS CONCERNING THE CIRCUMSTANCES OF HIS DEATH, BUT HE WAS A SOLID 938 00:32:32,117 --> 00:32:33,828 CONCERNING THE CIRCUMSTANCES OF HIS DEATH, BUT HE WAS A SOLID ROCK DURING TIMES OF CONFUSION 939 00:32:33,852 --> 00:32:35,696 HIS DEATH, BUT HE WAS A SOLID ROCK DURING TIMES OF CONFUSION AND FEAR AND A REAL FELLA IN OUR 940 00:32:35,720 --> 00:32:37,565 ROCK DURING TIMES OF CONFUSION AND FEAR AND A REAL FELLA IN OUR MOMENTS OF JOY AND APPRECIATION. 941 00:32:37,589 --> 00:32:39,534 AND FEAR AND A REAL FELLA IN OUR MOMENTS OF JOY AND APPRECIATION. HE LEAVES BEHIND A GREAT FORTUNE 942 00:32:39,558 --> 00:32:41,369 MOMENTS OF JOY AND APPRECIATION. HE LEAVES BEHIND A GREAT FORTUNE IN MEMORIES AND HOPES, AND NO 943 00:32:41,393 --> 00:32:43,038 HE LEAVES BEHIND A GREAT FORTUNE IN MEMORIES AND HOPES, AND NO ONE WILL EVER REPLACE HIM. 944 00:32:43,062 --> 00:32:44,539 IN MEMORIES AND HOPES, AND NO ONE WILL EVER REPLACE HIM. THIS TRIBUTE IS TO YOU, 945 00:32:44,563 --> 00:32:46,707 ONE WILL EVER REPLACE HIM. THIS TRIBUTE IS TO YOU, SID VICIOUS. 946 00:32:46,731 --> 00:32:50,378 THIS TRIBUTE IS TO YOU, SID VICIOUS. AND NOW THE NEWS. 947 00:32:50,402 --> 00:32:51,246 SID VICIOUS. AND NOW THE NEWS. THE DETAILS OF 948 00:32:51,270 --> 00:32:52,814 AND NOW THE NEWS. THE DETAILS OF NELSON ROCKEFELLER'S WILL WERE 949 00:32:52,838 --> 00:32:54,215 THE DETAILS OF NELSON ROCKEFELLER'S WILL WERE DIVULGED YESTERDAY, AND IT 950 00:32:54,239 --> 00:32:55,817 NELSON ROCKEFELLER'S WILL WERE DIVULGED YESTERDAY, AND IT INCLUDED THE NAME OF THE WOMAN 951 00:32:55,841 --> 00:32:57,385 DIVULGED YESTERDAY, AND IT INCLUDED THE NAME OF THE WOMAN WHO WAS WITH HIM WHEN HE DIED, 952 00:32:57,409 --> 00:32:58,453 INCLUDED THE NAME OF THE WOMAN WHO WAS WITH HIM WHEN HE DIED, MEGAN MARSHACK. 953 00:32:58,477 --> 00:33:00,221 WHO WAS WITH HIM WHEN HE DIED, MEGAN MARSHACK. IN IT, HE RELEASED HER FROM A 954 00:33:00,245 --> 00:33:02,190 MEGAN MARSHACK. IN IT, HE RELEASED HER FROM A $45,000 LOAN AND GAVE HER A GIFT 955 00:33:02,214 --> 00:33:03,858 IN IT, HE RELEASED HER FROM A $45,000 LOAN AND GAVE HER A GIFT CERTIFICATE FOR A COURSE IN 956 00:33:03,882 --> 00:33:05,827 $45,000 LOAN AND GAVE HER A GIFT CERTIFICATE FOR A COURSE IN CARDIAC LIFE-SAVING PROCEDURE AT 957 00:33:05,851 --> 00:33:08,330 CERTIFICATE FOR A COURSE IN CARDIAC LIFE-SAVING PROCEDURE AT A NEW YORK HOSPITAL. 958 00:33:08,354 --> 00:33:09,397 CARDIAC LIFE-SAVING PROCEDURE AT A NEW YORK HOSPITAL. IN A RELATED STORY, 959 00:33:09,421 --> 00:33:10,999 A NEW YORK HOSPITAL. IN A RELATED STORY, SARA JANE MOORE, WHO IS SERVING 960 00:33:11,023 --> 00:33:12,600 IN A RELATED STORY, SARA JANE MOORE, WHO IS SERVING A PRISON TERM FOR ATTEMPTING TO 961 00:33:12,624 --> 00:33:13,768 SARA JANE MOORE, WHO IS SERVING A PRISON TERM FOR ATTEMPTING TO ASSASSINATE PRESIDENT 962 00:33:13,792 --> 00:33:15,403 A PRISON TERM FOR ATTEMPTING TO ASSASSINATE PRESIDENT GERALD FORD, EXPRESSED SHOCK AND 963 00:33:15,427 --> 00:33:17,072 ASSASSINATE PRESIDENT GERALD FORD, EXPRESSED SHOCK AND ANGER UPON LEARNING SHE WAS LEFT 964 00:33:17,096 --> 00:33:18,273 GERALD FORD, EXPRESSED SHOCK AND ANGER UPON LEARNING SHE WAS LEFT OUT OF THE FORMER VICE 965 00:33:18,297 --> 00:33:19,240 ANGER UPON LEARNING SHE WAS LEFT OUT OF THE FORMER VICE PRESIDENT'S WILL. 966 00:33:19,264 --> 00:33:21,242 OUT OF THE FORMER VICE PRESIDENT'S WILL. SHE COMMENTED, "NOW I'M GLAD I 967 00:33:21,266 --> 00:33:21,977 PRESIDENT'S WILL. SHE COMMENTED, "NOW I'M GLAD I MISSED." 968 00:33:22,001 --> 00:33:23,311 SHE COMMENTED, "NOW I'M GLAD I MISSED." BILL? 969 00:33:23,335 --> 00:33:24,679 MISSED." BILL? IN CALIFORNIA, THE TREND 970 00:33:24,703 --> 00:33:26,181 BILL? IN CALIFORNIA, THE TREND CONTINUES AS STEPHEN WEED, THE 971 00:33:26,205 --> 00:33:27,682 IN CALIFORNIA, THE TREND CONTINUES AS STEPHEN WEED, THE FORMER FIANCé OF PATTY HEARST, 972 00:33:27,706 --> 00:33:28,950 CONTINUES AS STEPHEN WEED, THE FORMER FIANCé OF PATTY HEARST, HAS FILED SUIT TO RECOVER 973 00:33:28,974 --> 00:33:30,485 FORMER FIANCé OF PATTY HEARST, HAS FILED SUIT TO RECOVER ONE-HALF THE MONEY SHE RECEIVED 974 00:33:30,509 --> 00:33:31,987 HAS FILED SUIT TO RECOVER ONE-HALF THE MONEY SHE RECEIVED FROM HER TRUST FUND WHILE THEY 975 00:33:32,011 --> 00:33:32,854 ONE-HALF THE MONEY SHE RECEIVED FROM HER TRUST FUND WHILE THEY LIVED TOGETHER. 976 00:33:32,878 --> 00:33:34,622 FROM HER TRUST FUND WHILE THEY LIVED TOGETHER. WEED, WHO NOW INSISTS ON BEING 977 00:33:34,646 --> 00:33:36,324 LIVED TOGETHER. WEED, WHO NOW INSISTS ON BEING CALLED "STEPHEN WEED HEARST," 978 00:33:36,348 --> 00:33:38,159 WEED, WHO NOW INSISTS ON BEING CALLED "STEPHEN WEED HEARST," CLAIMS THAT PATTY ONCE PROMISED 979 00:33:38,183 --> 00:33:39,861 CALLED "STEPHEN WEED HEARST," CLAIMS THAT PATTY ONCE PROMISED NEVER TO ABANDON HIM, EVEN IF 980 00:33:39,885 --> 00:33:41,729 CLAIMS THAT PATTY ONCE PROMISED NEVER TO ABANDON HIM, EVEN IF SHE WERE "KIDNAPPED, ABUSED IN A 981 00:33:41,753 --> 00:33:43,331 NEVER TO ABANDON HIM, EVEN IF SHE WERE "KIDNAPPED, ABUSED IN A CLOSET, AND FORCED TO ROB A 982 00:33:43,355 --> 00:33:44,665 SHE WERE "KIDNAPPED, ABUSED IN A CLOSET, AND FORCED TO ROB A SPORTING-GOODS STORE." 983 00:33:44,689 --> 00:33:46,001 CLOSET, AND FORCED TO ROB A SPORTING-GOODS STORE." MORE ON THAT STORY AS IT 984 00:33:46,025 --> 00:33:47,335 SPORTING-GOODS STORE." MORE ON THAT STORY AS IT DEVELOPS. 985 00:33:47,359 --> 00:33:48,803 MORE ON THAT STORY AS IT DEVELOPS. THIS WEEK, AN A.P. POLL SHOWED 986 00:33:48,827 --> 00:33:50,238 DEVELOPS. THIS WEEK, AN A.P. POLL SHOWED THAT THE NUMBER OF PEOPLE WHO 987 00:33:50,262 --> 00:33:51,772 THIS WEEK, AN A.P. POLL SHOWED THAT THE NUMBER OF PEOPLE WHO THINK PRESIDENT CARTER IS DOING 988 00:33:51,796 --> 00:33:54,542 THAT THE NUMBER OF PEOPLE WHO THINK PRESIDENT CARTER IS DOING A GOOD JOB FELL FROM 42% TO 28% 989 00:33:54,566 --> 00:33:56,444 THINK PRESIDENT CARTER IS DOING A GOOD JOB FELL FROM 42% TO 28% IN JUST FIVE MONTHS. 990 00:33:56,468 --> 00:33:57,678 A GOOD JOB FELL FROM 42% TO 28% IN JUST FIVE MONTHS. AS PUNISHMENT FOR THE POOR 991 00:33:57,702 --> 00:33:59,080 IN JUST FIVE MONTHS. AS PUNISHMENT FOR THE POOR SHOWING, THE CARTER FAMILY HAS 992 00:33:59,104 --> 00:34:00,515 AS PUNISHMENT FOR THE POOR SHOWING, THE CARTER FAMILY HAS BEEN SET ADRIFT IN AN OPEN BOAT 993 00:34:00,539 --> 00:34:01,916 SHOWING, THE CARTER FAMILY HAS BEEN SET ADRIFT IN AN OPEN BOAT FOR THE NORTH ATLANTIC FOR THE 994 00:34:01,940 --> 00:34:05,086 BEEN SET ADRIFT IN AN OPEN BOAT FOR THE NORTH ATLANTIC FOR THE NEXT 14 DAYS. 995 00:34:05,110 --> 00:34:06,521 FOR THE NORTH ATLANTIC FOR THE NEXT 14 DAYS. GERALD FORD'S DAUGHTER, SUSAN, 996 00:34:06,545 --> 00:34:07,889 NEXT 14 DAYS. GERALD FORD'S DAUGHTER, SUSAN, WAS MARRIED THIS AFTERNOON IN 997 00:34:07,913 --> 00:34:09,190 GERALD FORD'S DAUGHTER, SUSAN, WAS MARRIED THIS AFTERNOON IN PALM DESERT, CALIFORNIA, TO 998 00:34:09,214 --> 00:34:10,225 WAS MARRIED THIS AFTERNOON IN PALM DESERT, CALIFORNIA, TO SECRET SERVICE AGENT 999 00:34:10,249 --> 00:34:11,226 PALM DESERT, CALIFORNIA, TO SECRET SERVICE AGENT CHARLES VANCE. 1000 00:34:11,250 --> 00:34:12,527 SECRET SERVICE AGENT CHARLES VANCE. A FAMILY SPOKESMAN REPORTED 1001 00:34:12,551 --> 00:34:14,062 CHARLES VANCE. A FAMILY SPOKESMAN REPORTED THAT, FOR A WEDDING PRESENT, THE 1002 00:34:14,086 --> 00:34:15,497 A FAMILY SPOKESMAN REPORTED THAT, FOR A WEDDING PRESENT, THE FORMER PRESIDENT GAVE HIS FOOL 1003 00:34:15,521 --> 00:34:16,864 THAT, FOR A WEDDING PRESENT, THE FORMER PRESIDENT GAVE HIS FOOL DAUGHTER A FULL AND COMPLETE 1004 00:34:16,888 --> 00:34:18,299 FORMER PRESIDENT GAVE HIS FOOL DAUGHTER A FULL AND COMPLETE PARDON AND THE OTHER HALF OF A 1005 00:34:18,323 --> 00:34:21,069 DAUGHTER A FULL AND COMPLETE PARDON AND THE OTHER HALF OF A MOTHER/DAUGHTER FACE-LIFT. 1006 00:34:21,093 --> 00:34:21,969 PARDON AND THE OTHER HALF OF A MOTHER/DAUGHTER FACE-LIFT. JANE? 1007 00:34:21,993 --> 00:34:23,704 MOTHER/DAUGHTER FACE-LIFT. JANE? NEXT THURSDAY, THE FORD MOTOR 1008 00:34:23,728 --> 00:34:25,240 JANE? NEXT THURSDAY, THE FORD MOTOR COMPANY WILL BE ARRAIGNED ON 1009 00:34:25,264 --> 00:34:26,607 NEXT THURSDAY, THE FORD MOTOR COMPANY WILL BE ARRAIGNED ON THREE COUNTS OF CRIMINAL 1010 00:34:26,631 --> 00:34:28,309 COMPANY WILL BE ARRAIGNED ON THREE COUNTS OF CRIMINAL NEGLIGENCE IN AN INDIANA COURT, 1011 00:34:28,333 --> 00:34:29,977 THREE COUNTS OF CRIMINAL NEGLIGENCE IN AN INDIANA COURT, AS A RESULT OF DEATHS CAUSED BY 1012 00:34:30,001 --> 00:34:31,612 NEGLIGENCE IN AN INDIANA COURT, AS A RESULT OF DEATHS CAUSED BY FLAMING EXPLOSION OF GAS TANKS 1013 00:34:31,636 --> 00:34:32,847 AS A RESULT OF DEATHS CAUSED BY FLAMING EXPLOSION OF GAS TANKS IN PINTO AUTOMOBILES. 1014 00:34:32,871 --> 00:34:34,315 FLAMING EXPLOSION OF GAS TANKS IN PINTO AUTOMOBILES. REPORTEDLY, FORD WILL PLEAD 1015 00:34:34,339 --> 00:34:36,051 IN PINTO AUTOMOBILES. REPORTEDLY, FORD WILL PLEAD INNOCENT, EXPLAINING IT WAS ONLY 1016 00:34:36,075 --> 00:34:37,618 REPORTEDLY, FORD WILL PLEAD INNOCENT, EXPLAINING IT WAS ONLY TRYING TO TEST-MARKET ITS NEW 1017 00:34:37,642 --> 00:34:38,786 INNOCENT, EXPLAINING IT WAS ONLY TRYING TO TEST-MARKET ITS NEW PRODUCT, A PORTABLE, 1018 00:34:38,810 --> 00:34:42,957 TRYING TO TEST-MARKET ITS NEW PRODUCT, A PORTABLE, FIVE-PASSENGER STOVE. 1019 00:34:42,981 --> 00:34:44,725 PRODUCT, A PORTABLE, FIVE-PASSENGER STOVE. URGENT PLEAS TO SPARE THE LIFE 1020 00:34:44,749 --> 00:34:46,461 FIVE-PASSENGER STOVE. URGENT PLEAS TO SPARE THE LIFE OF PAKISTAN EX-PRIME MINISTER 1021 00:34:46,485 --> 00:34:48,329 URGENT PLEAS TO SPARE THE LIFE OF PAKISTAN EX-PRIME MINISTER BHUTTO ARE POURING IN FROM WORLD 1022 00:34:48,353 --> 00:34:49,797 OF PAKISTAN EX-PRIME MINISTER BHUTTO ARE POURING IN FROM WORLD LEADERS... JIMMY CARTER, 1023 00:34:49,821 --> 00:34:50,865 BHUTTO ARE POURING IN FROM WORLD LEADERS... JIMMY CARTER, LEONID BREZHNEV, 1024 00:34:50,889 --> 00:34:52,534 LEADERS... JIMMY CARTER, LEONID BREZHNEV, VALéRY GISCARD DESTAING, AND 1025 00:34:52,558 --> 00:34:54,035 LEONID BREZHNEV, VALéRY GISCARD DESTAING, AND POPE JOHN PAUL II. 1026 00:34:54,059 --> 00:34:55,503 VALéRY GISCARD DESTAING, AND POPE JOHN PAUL II. BHUTTO HAS BEEN SENTENCED TO 1027 00:34:55,527 --> 00:34:56,904 POPE JOHN PAUL II. BHUTTO HAS BEEN SENTENCED TO HANG FOR A 1974 CONSPIRACY 1028 00:34:56,928 --> 00:34:57,638 BHUTTO HAS BEEN SENTENCED TO HANG FOR A 1974 CONSPIRACY CONVICTION. 1029 00:34:57,662 --> 00:34:59,240 HANG FOR A 1974 CONSPIRACY CONVICTION. TODAY, IN A DESPERATE EFFORT TO 1030 00:34:59,264 --> 00:35:00,708 CONVICTION. TODAY, IN A DESPERATE EFFORT TO SAVE BHUTTO FROM THE GALLOWS 1031 00:35:00,732 --> 00:35:02,343 TODAY, IN A DESPERATE EFFORT TO SAVE BHUTTO FROM THE GALLOWS NEXT WEEK, THE GOVERNOR OF UTAH 1032 00:35:02,367 --> 00:35:03,911 SAVE BHUTTO FROM THE GALLOWS NEXT WEEK, THE GOVERNOR OF UTAH OFFERED TO SEND A FIRING SQUAD 1033 00:35:03,935 --> 00:35:08,249 NEXT WEEK, THE GOVERNOR OF UTAH OFFERED TO SEND A FIRING SQUAD TO PAKISTAN FREE OF CHARGE. 1034 00:35:08,273 --> 00:35:09,917 OFFERED TO SEND A FIRING SQUAD TO PAKISTAN FREE OF CHARGE. IN LAST NOVEMBER'S ELECTIONS, 1035 00:35:09,941 --> 00:35:11,652 TO PAKISTAN FREE OF CHARGE. IN LAST NOVEMBER'S ELECTIONS, PHILADELPHIA MAYOR FRANK RIZZO 1036 00:35:11,676 --> 00:35:13,488 IN LAST NOVEMBER'S ELECTIONS, PHILADELPHIA MAYOR FRANK RIZZO LOST HIS BID FOR A THIRD TERM IN 1037 00:35:13,512 --> 00:35:15,190 PHILADELPHIA MAYOR FRANK RIZZO LOST HIS BID FOR A THIRD TERM IN OFFICE AND RETURNED TO PRIVATE 1038 00:35:15,214 --> 00:35:15,690 LOST HIS BID FOR A THIRD TERM IN OFFICE AND RETURNED TO PRIVATE LIFE. 1039 00:35:15,714 --> 00:35:17,292 OFFICE AND RETURNED TO PRIVATE LIFE. WELL, "WEEKEND UPDATE," CURIOUS 1040 00:35:17,316 --> 00:35:18,793 LIFE. WELL, "WEEKEND UPDATE," CURIOUS ABOUT WHAT HAPPENED TO RIZZO, 1041 00:35:18,817 --> 00:35:20,361 WELL, "WEEKEND UPDATE," CURIOUS ABOUT WHAT HAPPENED TO RIZZO, TRACKED HIM DOWN AND FOUND HIM 1042 00:35:20,385 --> 00:35:21,829 ABOUT WHAT HAPPENED TO RIZZO, TRACKED HIM DOWN AND FOUND HIM OPERATING A TOLL GATE ON THE 1043 00:35:21,853 --> 00:35:23,030 TRACKED HIM DOWN AND FOUND HIM OPERATING A TOLL GATE ON THE PENNSYLVANIA TURNPIKE. 1044 00:35:23,054 --> 00:35:24,499 OPERATING A TOLL GATE ON THE PENNSYLVANIA TURNPIKE. GOOD LUCK, FRANK, IN WHATEVER 1045 00:35:24,523 --> 00:35:25,032 PENNSYLVANIA TURNPIKE. GOOD LUCK, FRANK, IN WHATEVER YOU DO. 1046 00:35:25,056 --> 00:35:26,033 GOOD LUCK, FRANK, IN WHATEVER YOU DO. BILL? 1047 00:35:26,057 --> 00:35:27,802 YOU DO. BILL? THIS JUST IN... THE NEW NBC 1048 00:35:27,826 --> 00:35:29,337 BILL? THIS JUST IN... THE NEW NBC SITCOM "HELLO, LARRY" HAS 1049 00:35:29,361 --> 00:35:30,605 THIS JUST IN... THE NEW NBC SITCOM "HELLO, LARRY" HAS CHANGED ITS TITLE TO 1050 00:35:30,629 --> 00:35:33,608 SITCOM "HELLO, LARRY" HAS CHANGED ITS TITLE TO "GOODBYE, FREDDY." 1051 00:35:33,632 --> 00:35:35,276 CHANGED ITS TITLE TO "GOODBYE, FREDDY." ACCORDING TO RELIABLE SOURCES, 1052 00:35:35,300 --> 00:35:36,911 "GOODBYE, FREDDY." ACCORDING TO RELIABLE SOURCES, THE EARTH, WOBBLY AFTER A PASS 1053 00:35:36,935 --> 00:35:38,346 ACCORDING TO RELIABLE SOURCES, THE EARTH, WOBBLY AFTER A PASS THROUGH THE CONSTELLATION 1054 00:35:38,370 --> 00:35:39,847 THE EARTH, WOBBLY AFTER A PASS THROUGH THE CONSTELLATION PISCES, IS HEADING STEADILY 1055 00:35:39,871 --> 00:35:41,583 THROUGH THE CONSTELLATION PISCES, IS HEADING STEADILY TOWARDS THE SUN, AND TEMPERATURE 1056 00:35:41,607 --> 00:35:43,084 PISCES, IS HEADING STEADILY TOWARDS THE SUN, AND TEMPERATURE COULD SOAR TO 4,000 DEGREES 1057 00:35:43,108 --> 00:35:44,752 TOWARDS THE SUN, AND TEMPERATURE COULD SOAR TO 4,000 DEGREES FAHRENHEIT WITHIN THE NEXT FEW 1058 00:35:44,776 --> 00:35:45,320 COULD SOAR TO 4,000 DEGREES FAHRENHEIT WITHIN THE NEXT FEW MONTHS. 1059 00:35:45,344 --> 00:35:45,653 FAHRENHEIT WITHIN THE NEXT FEW MONTHS. OUCH. 1060 00:35:45,677 --> 00:35:46,887 MONTHS. OUCH. LEAVE YOUR COATS AT HOME, HUH? 1061 00:35:46,911 --> 00:35:49,056 OUCH. LEAVE YOUR COATS AT HOME, HUH? JANE? 1062 00:35:49,080 --> 00:35:50,291 LEAVE YOUR COATS AT HOME, HUH? JANE? [INHALES SHARPLY] 1063 00:35:50,315 --> 00:35:51,926 JANE? [INHALES SHARPLY] CONGRESSMAN DANIEL FLOOD, WHOSE 1064 00:35:51,950 --> 00:35:53,495 [INHALES SHARPLY] CONGRESSMAN DANIEL FLOOD, WHOSE TRIAL ON CHARGES OF EXTORTION 1065 00:35:53,519 --> 00:35:55,130 CONGRESSMAN DANIEL FLOOD, WHOSE TRIAL ON CHARGES OF EXTORTION AND INFLUENCE PEDDLING ENDED IN 1066 00:35:55,154 --> 00:35:56,831 TRIAL ON CHARGES OF EXTORTION AND INFLUENCE PEDDLING ENDED IN A HUNG JURY LAST WEEK, MAY BE IN 1067 00:35:56,855 --> 00:35:57,698 AND INFLUENCE PEDDLING ENDED IN A HUNG JURY LAST WEEK, MAY BE IN TROUBLE AGAIN. 1068 00:35:57,722 --> 00:35:59,234 A HUNG JURY LAST WEEK, MAY BE IN TROUBLE AGAIN. IT APPEARS THAT THE SINGLE JUROR 1069 00:35:59,258 --> 00:36:00,535 TROUBLE AGAIN. IT APPEARS THAT THE SINGLE JUROR WHO FORCED THE MISTRIAL BY 1070 00:36:00,559 --> 00:36:01,836 IT APPEARS THAT THE SINGLE JUROR WHO FORCED THE MISTRIAL BY STUBBORNLY HOLDING OUT FOR 1071 00:36:01,860 --> 00:36:03,171 WHO FORCED THE MISTRIAL BY STUBBORNLY HOLDING OUT FOR ACQUITTAL MAY HAVE BEEN THE 1072 00:36:03,195 --> 00:36:04,672 STUBBORNLY HOLDING OUT FOR ACQUITTAL MAY HAVE BEEN THE OBJECT OF JURY TAMPERING. 1073 00:36:04,696 --> 00:36:06,508 ACQUITTAL MAY HAVE BEEN THE OBJECT OF JURY TAMPERING. THE INVESTIGATION BEGAN WHEN 1074 00:36:06,532 --> 00:36:08,443 OBJECT OF JURY TAMPERING. THE INVESTIGATION BEGAN WHEN CURIOUS NEIGHBORS COMMENTED ON 1075 00:36:08,467 --> 00:36:09,611 THE INVESTIGATION BEGAN WHEN CURIOUS NEIGHBORS COMMENTED ON THE $150-MILLION 1076 00:36:09,635 --> 00:36:11,646 CURIOUS NEIGHBORS COMMENTED ON THE $150-MILLION VETERANS-HOSPITAL FACILITY GOING 1077 00:36:11,670 --> 00:36:14,649 THE $150-MILLION VETERANS-HOSPITAL FACILITY GOING UP IN THE JUROR'S BACKYARD. 1078 00:36:14,673 --> 00:36:16,083 VETERANS-HOSPITAL FACILITY GOING UP IN THE JUROR'S BACKYARD. AND NOW WE'D LIKE TO WELCOME 1079 00:36:16,107 --> 00:36:17,619 UP IN THE JUROR'S BACKYARD. AND NOW WE'D LIKE TO WELCOME BACK "WEEKEND UPDATE'S" STATION 1080 00:36:17,643 --> 00:36:18,186 AND NOW WE'D LIKE TO WELCOME BACK "WEEKEND UPDATE'S" STATION MANAGER. 1081 00:36:18,210 --> 00:36:19,287 BACK "WEEKEND UPDATE'S" STATION MANAGER. HERE IS DAN AYKROYD, 1082 00:36:19,311 --> 00:36:20,355 MANAGER. HERE IS DAN AYKROYD, "STRICTLY SPEAKING." 1083 00:36:20,379 --> 00:36:21,856 HERE IS DAN AYKROYD, "STRICTLY SPEAKING." HIS TOPIC TONIGHT IS AMERICA'S 1084 00:36:21,880 --> 00:36:23,424 "STRICTLY SPEAKING." HIS TOPIC TONIGHT IS AMERICA'S NEW RELATIONSHIP WITH RED CHINA. 1085 00:36:23,448 --> 00:36:24,625 HIS TOPIC TONIGHT IS AMERICA'S NEW RELATIONSHIP WITH RED CHINA. DAN? 1086 00:36:24,649 --> 00:36:25,515 THANK YOU, JANE. 1087 00:36:25,650 --> 00:36:26,516 THANK YOU VERY MUCH. 1088 00:36:26,651 --> 00:36:27,811 WELL, HERE IT IS, EARLY 1979. 1089 00:36:27,918 --> 00:36:29,085 THE UNITED STATES HAS FINALLY 1090 00:36:29,220 --> 00:36:30,220 FORMALLY RECOGNIZED THE 1091 00:36:30,254 --> 00:36:31,334 PEOPLE'S REPUBLIC OF CHINA. 1092 00:36:31,455 --> 00:36:32,535 NOW, DON'T GET ME WRONG AND 1093 00:36:32,657 --> 00:36:33,817 START THINKING, "OH, NO, HERE 1094 00:36:33,924 --> 00:36:35,124 COMES ANOTHER 'IT'S ABOUT TIME 1095 00:36:35,259 --> 00:36:36,259 WE RECOGNIZED RED CHINA' 1096 00:36:36,327 --> 00:36:37,607 EDITORIAL," BECAUSE, TRUTHFULLY, 1097 00:36:37,728 --> 00:36:38,888 I DON'T THINK IT'S SUCH A HOT 1098 00:36:38,996 --> 00:36:39,496 IDEA AT ALL. 1099 00:36:39,630 --> 00:36:40,630 AND I'M NOT A PRO-TAIWAN 1100 00:36:40,731 --> 00:36:42,365 ADVOCATE, EITHER. 1101 00:36:42,633 --> 00:36:46,381 I CAN'T FEEL SORRY FOR A COUNTRY THAT HAS A CORNER ON THE WORLD MARKET OF CERAMIC SOUVENIRS. 1102 00:36:46,405 --> 00:36:47,649 THAT HAS A CORNER ON THE WORLD MARKET OF CERAMIC SOUVENIRS. NO, THERE'S A MUCH DEEPER 1103 00:36:47,673 --> 00:36:48,983 MARKET OF CERAMIC SOUVENIRS. NO, THERE'S A MUCH DEEPER TRAGEDY INHERENT IN THE NEW 1104 00:36:49,007 --> 00:36:50,318 NO, THERE'S A MUCH DEEPER TRAGEDY INHERENT IN THE NEW SINO-AMERICAN RELATIONSHIP. 1105 00:36:50,342 --> 00:36:51,786 TRAGEDY INHERENT IN THE NEW SINO-AMERICAN RELATIONSHIP. I'M TALKING ABOUT THE AMERICAN 1106 00:36:51,810 --> 00:36:53,288 SINO-AMERICAN RELATIONSHIP. I'M TALKING ABOUT THE AMERICAN PLAN TO EXPORT TO CHINA MASSIVE 1107 00:36:53,312 --> 00:36:54,422 I'M TALKING ABOUT THE AMERICAN PLAN TO EXPORT TO CHINA MASSIVE SHIPMENTS OF A CERTAIN 1108 00:36:54,446 --> 00:36:55,823 PLAN TO EXPORT TO CHINA MASSIVE SHIPMENTS OF A CERTAIN DARK-COLORED SUGAR-PHOSPHORUS 1109 00:36:55,847 --> 00:36:57,258 SHIPMENTS OF A CERTAIN DARK-COLORED SUGAR-PHOSPHORUS SOFT DRINK IN A RED AND WHITE 1110 00:36:57,282 --> 00:36:58,726 DARK-COLORED SUGAR-PHOSPHORUS SOFT DRINK IN A RED AND WHITE CAN AND A CERTAIN DOUBLE-PATTY 1111 00:36:58,750 --> 00:37:00,195 SOFT DRINK IN A RED AND WHITE CAN AND A CERTAIN DOUBLE-PATTY HAMBURGER WITH A BRAND NAME WE 1112 00:37:00,219 --> 00:37:01,729 CAN AND A CERTAIN DOUBLE-PATTY HAMBURGER WITH A BRAND NAME WE ALL HEARD AS CHILDREN AND A SONG 1113 00:37:01,753 --> 00:37:03,198 HAMBURGER WITH A BRAND NAME WE ALL HEARD AS CHILDREN AND A SONG ABOUT A CERTAIN FARMER WHO HAD 1114 00:37:03,222 --> 00:37:04,499 ALL HEARD AS CHILDREN AND A SONG ABOUT A CERTAIN FARMER WHO HAD HERE A DUCK, THERE A DUCK, 1115 00:37:04,523 --> 00:37:06,668 ABOUT A CERTAIN FARMER WHO HAD HERE A DUCK, THERE A DUCK, EVERYWHERE A DUCK, DUCK. 1116 00:37:06,692 --> 00:37:08,203 HERE A DUCK, THERE A DUCK, EVERYWHERE A DUCK, DUCK. WHAT ARE THE CHINESE OFFERING US 1117 00:37:08,227 --> 00:37:09,304 EVERYWHERE A DUCK, DUCK. WHAT ARE THE CHINESE OFFERING US IN THIS NEW EXCHANGE? 1118 00:37:09,328 --> 00:37:10,805 WHAT ARE THE CHINESE OFFERING US IN THIS NEW EXCHANGE? ANCIENT MEDICINE, HERBAL CURES, 1119 00:37:10,829 --> 00:37:12,039 IN THIS NEW EXCHANGE? ANCIENT MEDICINE, HERBAL CURES, A FEW TIPS ON MASS MANUAL 1120 00:37:12,063 --> 00:37:12,674 ANCIENT MEDICINE, HERBAL CURES, A FEW TIPS ON MASS MANUAL AGRICULTURE. 1121 00:37:12,698 --> 00:37:13,974 A FEW TIPS ON MASS MANUAL AGRICULTURE. AND WHAT ARE WE OFFERING THEM? 1122 00:37:13,998 --> 00:37:14,975 AGRICULTURE. AND WHAT ARE WE OFFERING THEM? JUNK FOOD. 1123 00:37:14,999 --> 00:37:16,143 AND WHAT ARE WE OFFERING THEM? JUNK FOOD. WELL, I DON'T THINK IT'S A FAIR 1124 00:37:16,167 --> 00:37:16,578 JUNK FOOD. WELL, I DON'T THINK IT'S A FAIR EXCHANGE. 1125 00:37:16,602 --> 00:37:17,712 WELL, I DON'T THINK IT'S A FAIR EXCHANGE. EVERY AMERICAN WHO HAS VISITED 1126 00:37:17,736 --> 00:37:18,846 EXCHANGE. EVERY AMERICAN WHO HAS VISITED RED CHINA GENERALLY COMES BACK 1127 00:37:18,870 --> 00:37:19,980 EVERY AMERICAN WHO HAS VISITED RED CHINA GENERALLY COMES BACK WITH THE IMPRESSION OF A MILD, 1128 00:37:20,004 --> 00:37:21,015 RED CHINA GENERALLY COMES BACK WITH THE IMPRESSION OF A MILD, COOPERATIVE, GENTLE RACE OF 1129 00:37:21,039 --> 00:37:21,816 WITH THE IMPRESSION OF A MILD, COOPERATIVE, GENTLE RACE OF PEOPLE WHO LIVE ON A 1130 00:37:21,840 --> 00:37:22,650 COOPERATIVE, GENTLE RACE OF PEOPLE WHO LIVE ON A NONAGGRESSIVE DIET OF 1131 00:37:22,674 --> 00:37:23,651 PEOPLE WHO LIVE ON A NONAGGRESSIVE DIET OF VEGETABLES AND BROWN RICE. 1132 00:37:23,675 --> 00:37:24,785 NONAGGRESSIVE DIET OF VEGETABLES AND BROWN RICE. BUT IF THE CURRENT TRADE 1133 00:37:24,809 --> 00:37:26,187 VEGETABLES AND BROWN RICE. BUT IF THE CURRENT TRADE AGREEMENT CONTINUES, THE WORLD 1134 00:37:26,211 --> 00:37:27,589 BUT IF THE CURRENT TRADE AGREEMENT CONTINUES, THE WORLD WILL SOON HAVE TO FACE MILLIONS 1135 00:37:27,613 --> 00:37:29,056 AGREEMENT CONTINUES, THE WORLD WILL SOON HAVE TO FACE MILLIONS OF HAMBURGER-GOBBLING GOOKS WITH 1136 00:37:29,080 --> 00:37:30,391 WILL SOON HAVE TO FACE MILLIONS OF HAMBURGER-GOBBLING GOOKS WITH A HEAVY THIRST FOR CARBONATED 1137 00:37:30,415 --> 00:37:31,492 OF HAMBURGER-GOBBLING GOOKS WITH A HEAVY THIRST FOR CARBONATED BEVERAGES AND AN INBRED 1138 00:37:31,516 --> 00:37:32,727 A HEAVY THIRST FOR CARBONATED BEVERAGES AND AN INBRED KNOWLEDGE OF MARTIAL ARTS. 1139 00:37:32,751 --> 00:37:33,728 BEVERAGES AND AN INBRED KNOWLEDGE OF MARTIAL ARTS. FRANKLY, I DON'T THINK THEY'RE 1140 00:37:33,752 --> 00:37:34,696 KNOWLEDGE OF MARTIAL ARTS. FRANKLY, I DON'T THINK THEY'RE GOING TO BE ABLE TO HANDLE IT 1141 00:37:34,720 --> 00:37:35,029 FRANKLY, I DON'T THINK THEY'RE GOING TO BE ABLE TO HANDLE IT ALL. 1142 00:37:35,053 --> 00:37:36,297 GOING TO BE ABLE TO HANDLE IT ALL. BESIDES, WE'VE ONLY KNOWN THEM 1143 00:37:36,321 --> 00:37:37,632 ALL. BESIDES, WE'VE ONLY KNOWN THEM FOR A COUPLE OF WEEKS, AND HERE 1144 00:37:37,656 --> 00:37:38,966 BESIDES, WE'VE ONLY KNOWN THEM FOR A COUPLE OF WEEKS, AND HERE WE ARE, ALREADY FREELY IMPARTING 1145 00:37:38,990 --> 00:37:40,167 FOR A COUPLE OF WEEKS, AND HERE WE ARE, ALREADY FREELY IMPARTING TO THEM THE VERY SECRETS AND 1146 00:37:40,191 --> 00:37:41,469 WE ARE, ALREADY FREELY IMPARTING TO THEM THE VERY SECRETS AND FORMULAS THAT ARE THE HALLMARKS 1147 00:37:41,493 --> 00:37:42,570 TO THEM THE VERY SECRETS AND FORMULAS THAT ARE THE HALLMARKS IN THE AMERICAN IDENTITY. 1148 00:37:42,594 --> 00:37:43,838 FORMULAS THAT ARE THE HALLMARKS IN THE AMERICAN IDENTITY. IT'S TAKEN US 30 YEARS TO 1149 00:37:43,862 --> 00:37:44,939 IN THE AMERICAN IDENTITY. IT'S TAKEN US 30 YEARS TO DEVELOP THE COLA, THE 1150 00:37:44,963 --> 00:37:46,407 IT'S TAKEN US 30 YEARS TO DEVELOP THE COLA, THE DOUBLE-MEAT PATTY, THE LOW-TAR 1151 00:37:46,431 --> 00:37:47,742 DEVELOP THE COLA, THE DOUBLE-MEAT PATTY, THE LOW-TAR CIGARETTE, AND THE COMPACT 1152 00:37:47,766 --> 00:37:48,409 DOUBLE-MEAT PATTY, THE LOW-TAR CIGARETTE, AND THE COMPACT MUSCLE CAR. 1153 00:37:48,433 --> 00:37:49,544 CIGARETTE, AND THE COMPACT MUSCLE CAR. WHY SHOULD WE SUDDENLY START 1154 00:37:49,568 --> 00:37:50,578 MUSCLE CAR. WHY SHOULD WE SUDDENLY START SELLING THEM TO A HORDE OF 1155 00:37:50,602 --> 00:37:51,078 WHY SHOULD WE SUDDENLY START SELLING THEM TO A HORDE OF STRANGERS? 1156 00:37:51,102 --> 00:37:52,347 SELLING THEM TO A HORDE OF STRANGERS? THEY'RE ALL GOING TO WAKE UP ONE 1157 00:37:52,371 --> 00:37:53,381 STRANGERS? THEY'RE ALL GOING TO WAKE UP ONE MORNING AND WANT MORE, AND 1158 00:37:53,405 --> 00:37:54,515 THEY'RE ALL GOING TO WAKE UP ONE MORNING AND WANT MORE, AND BELIEVE ME, ON A DIET OF OUR 1159 00:37:54,539 --> 00:37:55,750 MORNING AND WANT MORE, AND BELIEVE ME, ON A DIET OF OUR HAMBURGERS, THEY'LL BE READY TO 1160 00:37:55,774 --> 00:37:56,751 BELIEVE ME, ON A DIET OF OUR HAMBURGERS, THEY'LL BE READY TO MOVE IN HERE AND TAKE IT. 1161 00:37:56,775 --> 00:37:58,119 HAMBURGERS, THEY'LL BE READY TO MOVE IN HERE AND TAKE IT. A LONG TIME AGO, NAPOLéON SAID 1162 00:37:58,143 --> 00:37:59,554 MOVE IN HERE AND TAKE IT. A LONG TIME AGO, NAPOLéON SAID THAT CHINA IS A SLEEPING GIANT. 1163 00:37:59,578 --> 00:38:00,855 A LONG TIME AGO, NAPOLéON SAID THAT CHINA IS A SLEEPING GIANT. WELL, IF CHINA IS A SLEEPING 1164 00:38:00,879 --> 00:38:02,290 THAT CHINA IS A SLEEPING GIANT. WELL, IF CHINA IS A SLEEPING GIANT AND WE HAVE TO SELL THEM A 1165 00:38:02,314 --> 00:38:03,725 WELL, IF CHINA IS A SLEEPING GIANT AND WE HAVE TO SELL THEM A PRODUCT, FOR GOD'S SAKE, LET IT 1166 00:38:03,749 --> 00:38:09,731 GIANT AND WE HAVE TO SELL THEM A PRODUCT, FOR GOD'S SAKE, LET IT BE SOMINEX. 1167 00:38:09,755 --> 00:38:10,898 PRODUCT, FOR GOD'S SAKE, LET IT BE SOMINEX. THAT'S THE NEWS. 1168 00:38:10,922 --> 00:38:12,667 BE SOMINEX. THAT'S THE NEWS. GOOD NIGHT, AND HAVE A PLEASANT 1169 00:38:12,691 --> 00:38:15,051 THAT'S THE NEWS. GOOD NIGHT, AND HAVE A PLEASANT TOMORROW. 1170 00:38:20,164 --> 00:38:26,347 ♪ FREAK OUT ♪ ♪ LE FREAK, SO CHIC ♪ ♪ FREAK OUT ♪ 1171 00:38:26,371 --> 00:38:28,683 ♪ LE FREAK, SO CHIC ♪ ♪ FREAK OUT ♪ ♪ LE FREAK, SO CHIC ♪ 1172 00:38:28,707 --> 00:38:34,355 ♪ FREAK OUT ♪ ♪ LE FREAK, SO CHIC ♪ ♪ FREAK O-U-U-U-U-U-UT! ♪ 1173 00:38:34,379 --> 00:38:36,357 ♪ LE FREAK, SO CHIC ♪ ♪ FREAK O-U-U-U-U-U-UT! ♪ THANK YOU. THANK YOU. 1174 00:38:36,381 --> 00:38:37,858 ♪ FREAK O-U-U-U-U-U-UT! ♪ THANK YOU. THANK YOU. WELCOME TO THE AUTO TRAIN 1175 00:38:37,882 --> 00:38:38,426 THANK YOU. THANK YOU. WELCOME TO THE AUTO TRAIN LOUNGE! 1176 00:38:38,450 --> 00:38:39,827 WELCOME TO THE AUTO TRAIN LOUNGE! I'M YOUR H... EXCUSE ME. 1177 00:38:39,851 --> 00:38:41,296 LOUNGE! I'M YOUR H... EXCUSE ME. I'M YOUR HOST, NICK RAILS, AND 1178 00:38:41,320 --> 00:38:42,797 I'M YOUR H... EXCUSE ME. I'M YOUR HOST, NICK RAILS, AND I'LL BE THE ENTERTAINMENT, LIKE 1179 00:38:42,821 --> 00:38:44,231 I'M YOUR HOST, NICK RAILS, AND I'LL BE THE ENTERTAINMENT, LIKE IT OR LOVE IT, ALL THE WAY TO 1180 00:38:44,255 --> 00:38:45,065 I'LL BE THE ENTERTAINMENT, LIKE IT OR LOVE IT, ALL THE WAY TO ORLANDO. 1181 00:38:45,089 --> 00:38:46,066 IT OR LOVE IT, ALL THE WAY TO ORLANDO. [PIANO TINKLING] 1182 00:38:46,090 --> 00:38:48,903 ORLANDO. [PIANO TINKLING] ♪ PEOPLE ALL OVER THE WORLD ♪ 1183 00:38:48,927 --> 00:38:50,738 [PIANO TINKLING] ♪ PEOPLE ALL OVER THE WORLD ♪ ♪ GET YOUR CAR ♪ 1184 00:38:50,762 --> 00:38:54,575 ♪ PEOPLE ALL OVER THE WORLD ♪ ♪ GET YOUR CAR ♪ ♪ DRIVE IT ONTO THE AUTO TRAIN ♪ 1185 00:38:54,599 --> 00:38:58,078 ♪ GET YOUR CAR ♪ ♪ DRIVE IT ONTO THE AUTO TRAIN ♪ ♪ THE NEXT STOP THAT WE MAKE ♪ 1186 00:38:58,102 --> 00:39:02,583 ♪ DRIVE IT ONTO THE AUTO TRAIN ♪ ♪ THE NEXT STOP THAT WE MAKE ♪ ♪ WILL BE FLORIDA ♪ 1187 00:39:02,607 --> 00:39:04,018 ♪ THE NEXT STOP THAT WE MAKE ♪ ♪ WILL BE FLORIDA ♪ HOW MANY PEOPLE YOUR FIRST TRIP 1188 00:39:04,042 --> 00:39:05,320 ♪ WILL BE FLORIDA ♪ HOW MANY PEOPLE YOUR FIRST TRIP TO THE SUNSHINE STATE, HUH? 1189 00:39:05,344 --> 00:39:06,654 HOW MANY PEOPLE YOUR FIRST TRIP TO THE SUNSHINE STATE, HUH? HOW MANY PEOPLE, FIRST TRIP TO 1190 00:39:06,678 --> 00:39:08,656 TO THE SUNSHINE STATE, HUH? HOW MANY PEOPLE, FIRST TRIP TO FLORIDA ON THE AUTO TRAIN? 1191 00:39:08,680 --> 00:39:09,791 HOW MANY PEOPLE, FIRST TRIP TO FLORIDA ON THE AUTO TRAIN? YOU KNOW, WHEN WE GET DOWN 1192 00:39:09,815 --> 00:39:11,091 FLORIDA ON THE AUTO TRAIN? YOU KNOW, WHEN WE GET DOWN THERE, YOU REALLY HAVE TO WATCH 1193 00:39:11,115 --> 00:39:12,193 YOU KNOW, WHEN WE GET DOWN THERE, YOU REALLY HAVE TO WATCH THE UNLOADING OF THE CARS 1194 00:39:12,217 --> 00:39:13,494 THERE, YOU REALLY HAVE TO WATCH THE UNLOADING OF THE CARS BECAUSE THE AUTO TRAIN STAFF IS 1195 00:39:13,518 --> 00:39:13,994 THE UNLOADING OF THE CARS BECAUSE THE AUTO TRAIN STAFF IS THE BEST. 1196 00:39:14,018 --> 00:39:15,229 BECAUSE THE AUTO TRAIN STAFF IS THE BEST. IT'S REALLY SOMETHING TO SEE. 1197 00:39:15,253 --> 00:39:16,431 THE BEST. IT'S REALLY SOMETHING TO SEE. LET ME SEE WHO'S HERE ENJOYING 1198 00:39:16,455 --> 00:39:17,532 IT'S REALLY SOMETHING TO SEE. LET ME SEE WHO'S HERE ENJOYING THE RIDE ON THE AUTO TRAIN. 1199 00:39:17,556 --> 00:39:19,033 LET ME SEE WHO'S HERE ENJOYING THE RIDE ON THE AUTO TRAIN. UH-OH, A SERVICEMAN! 1200 00:39:19,057 --> 00:39:19,934 THE RIDE ON THE AUTO TRAIN. UH-OH, A SERVICEMAN! TEN-HUT! 1201 00:39:19,958 --> 00:39:21,936 UH-OH, A SERVICEMAN! TEN-HUT! NICK RAILS, REPORTING AS 1202 00:39:21,960 --> 00:39:22,603 TEN-HUT! NICK RAILS, REPORTING AS ORDERED! 1203 00:39:22,627 --> 00:39:24,004 NICK RAILS, REPORTING AS ORDERED! GIVE ME YOUR NAME, RANK, AND 1204 00:39:24,028 --> 00:39:25,206 ORDERED! GIVE ME YOUR NAME, RANK, AND SERIAL NUMBER, WILL YOU? 1205 00:39:25,230 --> 00:39:26,374 GIVE ME YOUR NAME, RANK, AND SERIAL NUMBER, WILL YOU? I'M CAPTAIN DR. RICELEET, 1206 00:39:26,398 --> 00:39:27,508 SERIAL NUMBER, WILL YOU? I'M CAPTAIN DR. RICELEET, UNITED STATES ARMY MEDICAL 1207 00:39:27,532 --> 00:39:27,875 I'M CAPTAIN DR. RICELEET, UNITED STATES ARMY MEDICAL CORPS. 1208 00:39:27,899 --> 00:39:29,076 UNITED STATES ARMY MEDICAL CORPS. I'M ON ROUTE TO THE COMBINED 1209 00:39:29,100 --> 00:39:30,144 CORPS. I'M ON ROUTE TO THE COMBINED SERVICES TRAUMA CENTER IN 1210 00:39:30,168 --> 00:39:31,312 I'M ON ROUTE TO THE COMBINED SERVICES TRAUMA CENTER IN KEY WEST, FLORIDA. 1211 00:39:31,336 --> 00:39:32,714 SERVICES TRAUMA CENTER IN KEY WEST, FLORIDA. AND, UH, WHAT KIND OF CAR DO 1212 00:39:32,738 --> 00:39:33,781 KEY WEST, FLORIDA. AND, UH, WHAT KIND OF CAR DO YOU HAVE, CAPTAIN DR.? 1213 00:39:33,805 --> 00:39:35,483 AND, UH, WHAT KIND OF CAR DO YOU HAVE, CAPTAIN DR.? UH, I GOT A '68 'VETTE, WITH 1214 00:39:35,507 --> 00:39:36,818 YOU HAVE, CAPTAIN DR.? UH, I GOT A '68 'VETTE, WITH A BLOWN 427 AND A HEARST 1215 00:39:36,842 --> 00:39:38,285 UH, I GOT A '68 'VETTE, WITH A BLOWN 427 AND A HEARST COMPETITION SHIFTER ON THE 1216 00:39:38,309 --> 00:39:39,920 A BLOWN 427 AND A HEARST COMPETITION SHIFTER ON THE FLOOR AND A FUZZ-BUSTER ON THE 1217 00:39:39,944 --> 00:39:40,388 COMPETITION SHIFTER ON THE FLOOR AND A FUZZ-BUSTER ON THE DASH. 1218 00:39:40,412 --> 00:39:41,689 FLOOR AND A FUZZ-BUSTER ON THE DASH. I MADE IT FROM UTICA TO 1219 00:39:41,713 --> 00:39:43,257 DASH. I MADE IT FROM UTICA TO WASHINGTON IN 2 HOURS AND 20 1220 00:39:43,281 --> 00:39:43,758 I MADE IT FROM UTICA TO WASHINGTON IN 2 HOURS AND 20 MINUTES. 1221 00:39:43,782 --> 00:39:44,925 WASHINGTON IN 2 HOURS AND 20 MINUTES. OOH-HOO! 1222 00:39:44,949 --> 00:39:46,060 MINUTES. OOH-HOO! THAT MUST BE SOME KIND OF 1223 00:39:46,084 --> 00:39:46,861 OOH-HOO! THAT MUST BE SOME KIND OF RECORD, I THINK. 1224 00:39:46,885 --> 00:39:48,363 THAT MUST BE SOME KIND OF RECORD, I THINK. WHAT DO YOU DO IN THE SERVICE? 1225 00:39:48,387 --> 00:39:51,031 RECORD, I THINK. WHAT DO YOU DO IN THE SERVICE? UH, I'M AN ARMY UROLOGIST. 1226 00:39:51,055 --> 00:39:52,199 WHAT DO YOU DO IN THE SERVICE? UH, I'M AN ARMY UROLOGIST. YOU KNOW, I WOULD LIKE TO 1227 00:39:52,223 --> 00:39:53,534 UH, I'M AN ARMY UROLOGIST. YOU KNOW, I WOULD LIKE TO TALK WITH YOU LATER, IF I COULD. 1228 00:39:53,558 --> 00:39:54,335 YOU KNOW, I WOULD LIKE TO TALK WITH YOU LATER, IF I COULD. I'D APPRECIATE IT. 1229 00:39:54,359 --> 00:39:55,570 TALK WITH YOU LATER, IF I COULD. I'D APPRECIATE IT. WELL, WE'VE GOT AN ARMY DOCTOR 1230 00:39:55,594 --> 00:39:55,870 I'D APPRECIATE IT. WELL, WE'VE GOT AN ARMY DOCTOR ON. 1231 00:39:55,894 --> 00:39:57,538 WELL, WE'VE GOT AN ARMY DOCTOR ON. IS THERE SOMETHING WE CAN DO? 1232 00:39:57,562 --> 00:39:59,206 ON. IS THERE SOMETHING WE CAN DO? YEAH, HERE'S SOMETHING FOR ALL 1233 00:39:59,230 --> 00:40:01,709 IS THERE SOMETHING WE CAN DO? YEAH, HERE'S SOMETHING FOR ALL YOU ARMY MEDICS. 1234 00:40:01,733 --> 00:40:05,713 YEAH, HERE'S SOMETHING FOR ALL YOU ARMY MEDICS. ♪ G.I.'s WHO'VE BEEN DRAFTED ♪ 1235 00:40:05,737 --> 00:40:07,715 YOU ARMY MEDICS. ♪ G.I.'s WHO'VE BEEN DRAFTED ♪ ♪ VIET VETS WHO'VE BEEN 1236 00:40:07,739 --> 00:40:09,884 ♪ G.I.'s WHO'VE BEEN DRAFTED ♪ ♪ VIET VETS WHO'VE BEEN SHAFTED ♪ 1237 00:40:09,908 --> 00:40:12,887 ♪ VIET VETS WHO'VE BEEN SHAFTED ♪ ♪ THEY ALL KNOW THE WORDS TO THE 1238 00:40:12,911 --> 00:40:15,890 SHAFTED ♪ ♪ THEY ALL KNOW THE WORDS TO THE THEME FROM "M.A.S.H." ♪ 1239 00:40:15,914 --> 00:40:18,726 ♪ THEY ALL KNOW THE WORDS TO THE THEME FROM "M.A.S.H." ♪ THANK YOU. 1240 00:40:18,750 --> 00:40:21,061 THEME FROM "M.A.S.H." ♪ THANK YOU. SAY, UH, HERE'S AN ODD COUPLE. 1241 00:40:21,085 --> 00:40:22,229 THANK YOU. SAY, UH, HERE'S AN ODD COUPLE. WHAT'S YOUR NAME? 1242 00:40:22,253 --> 00:40:22,963 SAY, UH, HERE'S AN ODD COUPLE. WHAT'S YOUR NAME? [MUMBLES] 1243 00:40:22,987 --> 00:40:24,098 WHAT'S YOUR NAME? [MUMBLES] EXCUSE ME. I'M SORRY. 1244 00:40:24,122 --> 00:40:25,433 [MUMBLES] EXCUSE ME. I'M SORRY. I DON'T THINK EVERYBODY HEARD 1245 00:40:25,457 --> 00:40:25,767 EXCUSE ME. I'M SORRY. I DON'T THINK EVERYBODY HEARD YOU. 1246 00:40:25,791 --> 00:40:27,435 I DON'T THINK EVERYBODY HEARD YOU. WHAT'S YOUR NAME? 1247 00:40:27,459 --> 00:40:28,936 YOU. WHAT'S YOUR NAME? LESLIE NEWCOMBE. 1248 00:40:28,960 --> 00:40:30,605 WHAT'S YOUR NAME? LESLIE NEWCOMBE. LESLIE, AND WHAT KIND OF CAR 1249 00:40:30,629 --> 00:40:31,639 LESLIE NEWCOMBE. LESLIE, AND WHAT KIND OF CAR DID YOU BRING ON? 1250 00:40:31,663 --> 00:40:33,107 LESLIE, AND WHAT KIND OF CAR DID YOU BRING ON? IT AIN'T NONE OF MY CAR. 1251 00:40:33,131 --> 00:40:33,941 DID YOU BRING ON? IT AIN'T NONE OF MY CAR. IT'S HIS CAR. 1252 00:40:33,965 --> 00:40:35,242 IT AIN'T NONE OF MY CAR. IT'S HIS CAR. WHAT KIND IS IT? 1253 00:40:35,266 --> 00:40:37,211 IT'S HIS CAR. WHAT KIND IS IT? '78 WHITE AND GREEN FOUR-DOOR 1254 00:40:37,235 --> 00:40:38,880 WHAT KIND IS IT? '78 WHITE AND GREEN FOUR-DOOR PLYMOUTH FURY! 1255 00:40:38,904 --> 00:40:39,881 '78 WHITE AND GREEN FOUR-DOOR PLYMOUTH FURY! UH-HUH. 1256 00:40:39,905 --> 00:40:42,550 PLYMOUTH FURY! UH-HUH. ARE YOU FROM FLORIDA? 1257 00:40:42,574 --> 00:40:45,386 UH-HUH. ARE YOU FROM FLORIDA? I'M FROM ILLINOIS. 1258 00:40:45,410 --> 00:40:47,755 ARE YOU FROM FLORIDA? I'M FROM ILLINOIS. BUT I WAS DOWN THERE A COUPLE 1259 00:40:47,779 --> 00:40:48,790 I'M FROM ILLINOIS. BUT I WAS DOWN THERE A COUPLE WEEKS AGO. 1260 00:40:48,814 --> 00:40:50,458 BUT I WAS DOWN THERE A COUPLE WEEKS AGO. HAD A REAL GOOD TIME, YOU KNOW, 1261 00:40:50,482 --> 00:40:52,192 WEEKS AGO. HAD A REAL GOOD TIME, YOU KNOW, SO, UH, THEY WANT ME BACK, AND I 1262 00:40:52,216 --> 00:40:53,861 HAD A REAL GOOD TIME, YOU KNOW, SO, UH, THEY WANT ME BACK, AND I THINK MAYBE THIS TIME I'LL 1263 00:40:53,885 --> 00:40:55,596 SO, UH, THEY WANT ME BACK, AND I THINK MAYBE THIS TIME I'LL PROBABLY STAY ABOUT 8 OR 10 1264 00:40:55,620 --> 00:40:58,098 THINK MAYBE THIS TIME I'LL PROBABLY STAY ABOUT 8 OR 10 YEARS. 1265 00:40:58,122 --> 00:40:58,699 PROBABLY STAY ABOUT 8 OR 10 YEARS. OUCH. 1266 00:40:58,723 --> 00:41:00,401 YEARS. OUCH. WELL, THIS ONE'S FOR YOU, THEN, 1267 00:41:00,425 --> 00:41:00,835 OUCH. WELL, THIS ONE'S FOR YOU, THEN, HUH? 1268 00:41:00,859 --> 00:41:03,337 WELL, THIS ONE'S FOR YOU, THEN, HUH? ♪ I SEE A TRAIN A-COMIN' ♪ 1269 00:41:03,361 --> 00:41:05,840 HUH? ♪ I SEE A TRAIN A-COMIN' ♪ ♪ COMIN' AROUND THE BEND ♪ 1270 00:41:05,864 --> 00:41:08,008 ♪ I SEE A TRAIN A-COMIN' ♪ ♪ COMIN' AROUND THE BEND ♪ ♪ I AIN'T SEEN NO SUNSHINE SINCE 1271 00:41:08,032 --> 00:41:09,677 ♪ COMIN' AROUND THE BEND ♪ ♪ I AIN'T SEEN NO SUNSHINE SINCE I DON'T KNOW WHEN ♪ 1272 00:41:09,701 --> 00:41:11,846 ♪ I AIN'T SEEN NO SUNSHINE SINCE I DON'T KNOW WHEN ♪ ♪ WELL, I'M STUCK IN... ♪ 1273 00:41:11,870 --> 00:41:12,847 I DON'T KNOW WHEN ♪ ♪ WELL, I'M STUCK IN... ♪ ♪ GAINESVILLE ♪ 1274 00:41:12,871 --> 00:41:15,015 ♪ WELL, I'M STUCK IN... ♪ ♪ GAINESVILLE ♪ ♪ GAINESVILLE PRISON ♪ 1275 00:41:15,039 --> 00:41:18,185 ♪ GAINESVILLE ♪ ♪ GAINESVILLE PRISON ♪ ♪ AND TIME KEEPS DRAGGIN' ON ♪ 1276 00:41:18,209 --> 00:41:20,020 ♪ GAINESVILLE PRISON ♪ ♪ AND TIME KEEPS DRAGGIN' ON ♪ ♪ BUT THAT TRAIN KEEPS 1277 00:41:20,044 --> 00:41:25,693 ♪ AND TIME KEEPS DRAGGIN' ON ♪ ♪ BUT THAT TRAIN KEEPS A-ROLLIN' ON DOWN TO ORLANDO ♪ 1278 00:41:25,717 --> 00:41:26,527 ♪ BUT THAT TRAIN KEEPS A-ROLLIN' ON DOWN TO ORLANDO ♪ [CHUCKLES] 1279 00:41:26,551 --> 00:41:27,227 A-ROLLIN' ON DOWN TO ORLANDO ♪ [CHUCKLES] THANK YOU. 1280 00:41:27,251 --> 00:41:28,896 [CHUCKLES] THANK YOU. HEY, FREE DRINK FOR THIS LADY ON 1281 00:41:28,920 --> 00:41:30,498 THANK YOU. HEY, FREE DRINK FOR THIS LADY ON NICK RAILS, PLEASE, WOULD YOU? 1282 00:41:30,522 --> 00:41:31,732 HEY, FREE DRINK FOR THIS LADY ON NICK RAILS, PLEASE, WOULD YOU? MAKE IT ONE OF YOUR ORANGE 1283 00:41:31,756 --> 00:41:32,733 NICK RAILS, PLEASE, WOULD YOU? MAKE IT ONE OF YOUR ORANGE BLOSSOMS, WOULD YOU? 1284 00:41:32,757 --> 00:41:34,435 MAKE IT ONE OF YOUR ORANGE BLOSSOMS, WOULD YOU? IT'S A SPECIAL DRINK INVENTED BY 1285 00:41:34,459 --> 00:41:35,603 BLOSSOMS, WOULD YOU? IT'S A SPECIAL DRINK INVENTED BY OUR BARTENDER, JAMAL. 1286 00:41:35,627 --> 00:41:37,104 IT'S A SPECIAL DRINK INVENTED BY OUR BARTENDER, JAMAL. COULD WE HAVE A HAND FOR HIM? 1287 00:41:37,128 --> 00:41:37,772 OUR BARTENDER, JAMAL. COULD WE HAVE A HAND FOR HIM? JAMAL! 1288 00:41:37,796 --> 00:41:39,406 COULD WE HAVE A HAND FOR HIM? JAMAL! [SCATTERED APPLAUSE] 1289 00:41:39,430 --> 00:41:40,240 JAMAL! [SCATTERED APPLAUSE] [CHUCKLES] 1290 00:41:40,264 --> 00:41:42,710 [SCATTERED APPLAUSE] [CHUCKLES] YOU KNOW, "J," THE FIRST PLACE I 1291 00:41:42,734 --> 00:41:44,411 [CHUCKLES] YOU KNOW, "J," THE FIRST PLACE I GO DOWN IN ORLANDO IS 1292 00:41:44,435 --> 00:41:46,481 YOU KNOW, "J," THE FIRST PLACE I GO DOWN IN ORLANDO IS DISNEY WORLD, BECAUSE IT'S 1293 00:41:46,505 --> 00:41:48,315 GO DOWN IN ORLANDO IS DISNEY WORLD, BECAUSE IT'S ALWAYS NEW, IT'S ALWAYS 1294 00:41:48,339 --> 00:41:50,518 DISNEY WORLD, BECAUSE IT'S ALWAYS NEW, IT'S ALWAYS EXCITING, IT'S ALWAYS ALIVE. 1295 00:41:50,542 --> 00:41:51,686 ALWAYS NEW, IT'S ALWAYS EXCITING, IT'S ALWAYS ALIVE. WHAT DO YOU DO? 1296 00:41:51,710 --> 00:41:53,488 EXCITING, IT'S ALWAYS ALIVE. WHAT DO YOU DO? I LIKE TO GET A SHOESHINE, A 1297 00:41:53,512 --> 00:41:54,922 WHAT DO YOU DO? I LIKE TO GET A SHOESHINE, A HAIRCUT, AND TAKE OUT MY 1298 00:41:54,946 --> 00:41:56,724 I LIKE TO GET A SHOESHINE, A HAIRCUT, AND TAKE OUT MY JET-SKI, CRUISE THE BEACHES FOR 1299 00:41:56,748 --> 00:41:59,727 HAIRCUT, AND TAKE OUT MY JET-SKI, CRUISE THE BEACHES FOR SOME YOUNG WHITE GIRLS. 1300 00:41:59,751 --> 00:42:00,862 JET-SKI, CRUISE THE BEACHES FOR SOME YOUNG WHITE GIRLS. YOU KNOW, I NEVER KNOW 1301 00:42:00,886 --> 00:42:02,096 SOME YOUNG WHITE GIRLS. YOU KNOW, I NEVER KNOW WHETHER HE'S KIDDING OR NOT! 1302 00:42:02,120 --> 00:42:03,097 YOU KNOW, I NEVER KNOW WHETHER HE'S KIDDING OR NOT! [CHUCKLES] 1303 00:42:03,121 --> 00:42:04,565 WHETHER HE'S KIDDING OR NOT! [CHUCKLES] HEY, HERE'S A NICE COUPLE! 1304 00:42:04,589 --> 00:42:05,666 [CHUCKLES] HEY, HERE'S A NICE COUPLE! WHO ARE YOU FOLKS? 1305 00:42:05,690 --> 00:42:06,667 HEY, HERE'S A NICE COUPLE! WHO ARE YOU FOLKS? UH, THE SULFREES. 1306 00:42:06,691 --> 00:42:07,401 WHO ARE YOU FOLKS? UH, THE SULFREES. THE SULFREES, YEAH. 1307 00:42:07,425 --> 00:42:08,135 UH, THE SULFREES. THE SULFREES, YEAH. THE SULFREES, YEAH. 1308 00:42:08,159 --> 00:42:09,303 THE SULFREES, YEAH. THE SULFREES, YEAH. ELAINE SULFREE. 1309 00:42:09,327 --> 00:42:10,771 THE SULFREES, YEAH. ELAINE SULFREE. UH, BILL SULFREE, FROM 1310 00:42:10,795 --> 00:42:12,172 ELAINE SULFREE. UH, BILL SULFREE, FROM NEW LONDON, CONNECTICUT. 1311 00:42:12,196 --> 00:42:13,273 UH, BILL SULFREE, FROM NEW LONDON, CONNECTICUT. ARE YOU GOING DOWN TO VISIT 1312 00:42:13,297 --> 00:42:13,808 NEW LONDON, CONNECTICUT. ARE YOU GOING DOWN TO VISIT RELATIVES? 1313 00:42:13,832 --> 00:42:15,309 ARE YOU GOING DOWN TO VISIT RELATIVES? MY MOTHER. 1314 00:42:15,333 --> 00:42:16,644 RELATIVES? MY MOTHER. I HAD A FEELING. 1315 00:42:16,668 --> 00:42:18,679 MY MOTHER. I HAD A FEELING. SHE JUST GOT A NEW PACEMAKER. 1316 00:42:18,703 --> 00:42:20,681 I HAD A FEELING. SHE JUST GOT A NEW PACEMAKER. WE'RE GONNA SPEND ANOTHER ONE 1317 00:42:20,705 --> 00:42:22,483 SHE JUST GOT A NEW PACEMAKER. WE'RE GONNA SPEND ANOTHER ONE OF OUR VACATIONS IN FLORIDA, 1318 00:42:22,507 --> 00:42:24,184 WE'RE GONNA SPEND ANOTHER ONE OF OUR VACATIONS IN FLORIDA, DRIVING HER MOTHER AROUND, 1319 00:42:24,208 --> 00:42:26,086 OF OUR VACATIONS IN FLORIDA, DRIVING HER MOTHER AROUND, BUT WE WANT OUR CHILDREN TO DO 1320 00:42:26,110 --> 00:42:27,522 DRIVING HER MOTHER AROUND, BUT WE WANT OUR CHILDREN TO DO THE SAME FOR US, SO... 1321 00:42:27,546 --> 00:42:29,123 BUT WE WANT OUR CHILDREN TO DO THE SAME FOR US, SO... WHAT KIND OF CAR DO YOU 1322 00:42:29,147 --> 00:42:29,657 THE SAME FOR US, SO... WHAT KIND OF CAR DO YOU HAVE? 1323 00:42:29,681 --> 00:42:31,492 WHAT KIND OF CAR DO YOU HAVE? OH, WE HAVE A NEW MERCEDES, 1324 00:42:31,516 --> 00:42:33,127 HAVE? OH, WE HAVE A NEW MERCEDES, AND HE'S GONNA TEACH ME TO 1325 00:42:33,151 --> 00:42:34,028 OH, WE HAVE A NEW MERCEDES, AND HE'S GONNA TEACH ME TO DRIVE. 1326 00:42:34,052 --> 00:42:36,931 AND HE'S GONNA TEACH ME TO DRIVE. IT'S A 450SL, CREAM COLORED. 1327 00:42:36,955 --> 00:42:38,332 DRIVE. IT'S A 450SL, CREAM COLORED. IT'S EGGSHELL, FOR CRYIN' 1328 00:42:38,356 --> 00:42:38,933 IT'S A 450SL, CREAM COLORED. IT'S EGGSHELL, FOR CRYIN' OUT LOUD. 1329 00:42:38,957 --> 00:42:40,100 IT'S EGGSHELL, FOR CRYIN' OUT LOUD. EGGSHELL, EGGSHELL. 1330 00:42:40,124 --> 00:42:42,703 OUT LOUD. EGGSHELL, EGGSHELL. YOU KNOW, I AM FASCINATED BY 1331 00:42:42,727 --> 00:42:45,406 EGGSHELL, EGGSHELL. YOU KNOW, I AM FASCINATED BY HOW MANY JEWS DRIVE GERMAN CARS. 1332 00:42:45,430 --> 00:42:48,576 YOU KNOW, I AM FASCINATED BY HOW MANY JEWS DRIVE GERMAN CARS. I USED TO HAVE A VOLKSWAGEN. 1333 00:42:48,600 --> 00:42:49,944 HOW MANY JEWS DRIVE GERMAN CARS. I USED TO HAVE A VOLKSWAGEN. I SAW "HOLOCAUST." 1334 00:42:49,968 --> 00:42:52,079 I USED TO HAVE A VOLKSWAGEN. I SAW "HOLOCAUST." I WALKED OUT TO MY BUG THE NEXT 1335 00:42:52,103 --> 00:42:54,281 I SAW "HOLOCAUST." I WALKED OUT TO MY BUG THE NEXT MORNING, AND I THREW UP ALL OVER 1336 00:42:54,305 --> 00:42:55,282 I WALKED OUT TO MY BUG THE NEXT MORNING, AND I THREW UP ALL OVER IT. 1337 00:42:55,306 --> 00:42:56,918 MORNING, AND I THREW UP ALL OVER IT. I HAD TO GET RID OF IT, AND I'M 1338 00:42:56,942 --> 00:42:57,885 IT. I HAD TO GET RID OF IT, AND I'M NOT EVEN JEWISH. 1339 00:42:57,909 --> 00:42:59,486 I HAD TO GET RID OF IT, AND I'M NOT EVEN JEWISH. BUT THAT IS ONE OF THE GREAT 1340 00:42:59,510 --> 00:43:01,188 NOT EVEN JEWISH. BUT THAT IS ONE OF THE GREAT THINGS ABOUT THE AUTO TRAIN... 1341 00:43:01,212 --> 00:43:02,322 BUT THAT IS ONE OF THE GREAT THINGS ABOUT THE AUTO TRAIN... WHAT HAPPENS HERE. 1342 00:43:02,346 --> 00:43:03,724 THINGS ABOUT THE AUTO TRAIN... WHAT HAPPENS HERE. IT D... HERE, LISTEN TO THIS. 1343 00:43:03,748 --> 00:43:05,026 WHAT HAPPENS HERE. IT D... HERE, LISTEN TO THIS. SEE IF THIS MAKES SENSE TO 1344 00:43:05,050 --> 00:43:06,861 IT D... HERE, LISTEN TO THIS. SEE IF THIS MAKES SENSE TO ANYBODY. 1345 00:43:06,885 --> 00:43:09,430 SEE IF THIS MAKES SENSE TO ANYBODY. AFTER I FINISH THE SHOW, I GO 1346 00:43:09,454 --> 00:43:12,232 ANYBODY. AFTER I FINISH THE SHOW, I GO BACK TO THE FIRST VISTA CRUISER, 1347 00:43:12,256 --> 00:43:14,869 AFTER I FINISH THE SHOW, I GO BACK TO THE FIRST VISTA CRUISER, BEHIND THE AUTOMOBILE CAR, AND 1348 00:43:14,893 --> 00:43:17,605 BACK TO THE FIRST VISTA CRUISER, BEHIND THE AUTOMOBILE CAR, AND I SIT THERE, AND I LOOK DOWN ON 1349 00:43:17,629 --> 00:43:20,240 BEHIND THE AUTOMOBILE CAR, AND I SIT THERE, AND I LOOK DOWN ON THE CARS, 18 TO A FLATCAR, AND 1350 00:43:20,264 --> 00:43:23,911 I SIT THERE, AND I LOOK DOWN ON THE CARS, 18 TO A FLATCAR, AND IT HITS ME... NO CAR IS TREATED 1351 00:43:23,935 --> 00:43:26,047 THE CARS, 18 TO A FLATCAR, AND IT HITS ME... NO CAR IS TREATED ANY BETTER THAN ANY OTHER CAR ON 1352 00:43:26,071 --> 00:43:27,214 IT HITS ME... NO CAR IS TREATED ANY BETTER THAN ANY OTHER CAR ON THE AUTO TRAIN. 1353 00:43:27,238 --> 00:43:28,849 ANY BETTER THAN ANY OTHER CAR ON THE AUTO TRAIN. NO CAR IS BETTER THAN ANY OTHER 1354 00:43:28,873 --> 00:43:30,051 THE AUTO TRAIN. NO CAR IS BETTER THAN ANY OTHER CAR ON THE AUTO TRAIN. 1355 00:43:30,075 --> 00:43:31,719 NO CAR IS BETTER THAN ANY OTHER CAR ON THE AUTO TRAIN. SAME GOES FOR ALL OF US. 1356 00:43:31,743 --> 00:43:34,789 CAR ON THE AUTO TRAIN. SAME GOES FOR ALL OF US. WHEN I GET OFF THIS TRAIN, I 1357 00:43:34,813 --> 00:43:37,858 SAME GOES FOR ALL OF US. WHEN I GET OFF THIS TRAIN, I MIGHT FIND OUT THAT THIS GUY 1358 00:43:37,882 --> 00:43:42,029 WHEN I GET OFF THIS TRAIN, I MIGHT FIND OUT THAT THIS GUY THAT I MET DRIVES A PACER, AND I 1359 00:43:42,053 --> 00:43:43,363 MIGHT FIND OUT THAT THIS GUY THAT I MET DRIVES A PACER, AND I DRIVE A MONARCH. 1360 00:43:43,387 --> 00:43:48,368 THAT I MET DRIVES A PACER, AND I DRIVE A MONARCH. BUT I DON'T CARE AT ALL. 1361 00:43:48,392 --> 00:43:49,937 DRIVE A MONARCH. BUT I DON'T CARE AT ALL. THAT'S WHAT HAPPENS ON THIS 1362 00:43:49,961 --> 00:43:50,471 BUT I DON'T CARE AT ALL. THAT'S WHAT HAPPENS ON THIS TRAIN. 1363 00:43:50,495 --> 00:43:54,809 THAT'S WHAT HAPPENS ON THIS TRAIN. IT DOES SOMETHING. 1364 00:43:54,833 --> 00:43:58,479 TRAIN. IT DOES SOMETHING. ♪ DON'T GO CHANGIN' ♪ 1365 00:43:58,503 --> 00:44:01,315 IT DOES SOMETHING. ♪ DON'T GO CHANGIN' ♪ ♪ TO TRY TO PLEASE ME ♪ 1366 00:44:01,339 --> 00:44:03,985 ♪ DON'T GO CHANGIN' ♪ ♪ TO TRY TO PLEASE ME ♪ ♪ YOU NEVER LET NICK RAILS DOWN 1367 00:44:04,009 --> 00:44:06,654 ♪ TO TRY TO PLEASE ME ♪ ♪ YOU NEVER LET NICK RAILS DOWN BEFORE ♪ 1368 00:44:06,678 --> 00:44:10,992 ♪ YOU NEVER LET NICK RAILS DOWN BEFORE ♪ ♪ YOU'LL ALWAYS HAVE MY UNSPOKEN 1369 00:44:11,016 --> 00:44:13,494 BEFORE ♪ ♪ YOU'LL ALWAYS HAVE MY UNSPOKEN PLEASURE ♪ 1370 00:44:13,518 --> 00:44:17,331 ♪ YOU'LL ALWAYS HAVE MY UNSPOKEN PLEASURE ♪ ♪ I LOVE YOU JUST THE WAY YOU ♪ 1371 00:44:17,355 --> 00:44:22,837 PLEASURE ♪ ♪ I LOVE YOU JUST THE WAY YOU ♪ ♪ A-A-A-A-A-A-A-A-A-A ♪ 1372 00:44:22,861 --> 00:44:27,341 ♪ I LOVE YOU JUST THE WAY YOU ♪ ♪ A-A-A-A-A-A-A-A-A-A ♪ ♪ ARE, ARE, ARE, ARE, ARE ♪ 1373 00:44:27,365 --> 00:44:30,344 ♪ A-A-A-A-A-A-A-A-A-A ♪ ♪ ARE, ARE, ARE, ARE, ARE ♪ ♪ WHOA ♪ 1374 00:44:30,368 --> 00:44:36,017 ♪ ARE, ARE, ARE, ARE, ARE ♪ ♪ WHOA ♪ ♪ WHOA, O-H-H-H-H-H-H-H ♪ 1375 00:44:36,041 --> 00:44:36,684 ♪ WHOA ♪ ♪ WHOA, O-H-H-H-H-H-H-H ♪ [APPLAUSE] 1376 00:44:36,708 --> 00:44:38,019 ♪ WHOA, O-H-H-H-H-H-H-H ♪ [APPLAUSE] THANK YOU. 1377 00:44:38,043 --> 00:44:39,887 [APPLAUSE] THANK YOU. YOU'RE GONNA BE IN ORLANDO IN 1378 00:44:39,911 --> 00:44:40,755 THANK YOU. YOU'RE GONNA BE IN ORLANDO IN NINE HOURS. 1379 00:44:40,779 --> 00:44:41,555 YOU'RE GONNA BE IN ORLANDO IN NINE HOURS. THANK YOU. 1380 00:44:41,579 --> 00:44:43,457 NINE HOURS. THANK YOU. I HOPE YOU ENJOYED YOURSELVES. 1381 00:44:43,481 --> 00:44:44,725 THANK YOU. I HOPE YOU ENJOYED YOURSELVES. THANK YOU SO MUCH. 1382 00:44:44,749 --> 00:44:46,060 I HOPE YOU ENJOYED YOURSELVES. THANK YOU SO MUCH. THE BAR'S NOT CLOSED. 1383 00:44:46,084 --> 00:44:48,845 THANK YOU SO MUCH. THE BAR'S NOT CLOSED. I HOPE YOU ENJOYED YOURSELVES. 1384 00:45:07,838 --> 00:45:12,119 GOOD EVENING. WELCOME TO "BLACK PERSPECTIVE." I'M YOUR HOST, GARRETT MORRIS. 1385 00:45:12,143 --> 00:45:13,821 WELCOME TO "BLACK PERSPECTIVE." I'M YOUR HOST, GARRETT MORRIS. TONIGHT WE'RE GONNA BE 1386 00:45:13,845 --> 00:45:15,823 I'M YOUR HOST, GARRETT MORRIS. TONIGHT WE'RE GONNA BE DISCUSSING ROLE MODELS WITH 1387 00:45:15,847 --> 00:45:18,159 TONIGHT WE'RE GONNA BE DISCUSSING ROLE MODELS WITH OUR GUEST, CICELY TYSON, WHO, AS 1388 00:45:18,183 --> 00:45:20,161 DISCUSSING ROLE MODELS WITH OUR GUEST, CICELY TYSON, WHO, AS A DOUBLE EMMY AWARD-WINNING 1389 00:45:20,185 --> 00:45:22,096 OUR GUEST, CICELY TYSON, WHO, AS A DOUBLE EMMY AWARD-WINNING ACTRESS, IS HERSELF A MOST 1390 00:45:22,120 --> 00:45:24,231 A DOUBLE EMMY AWARD-WINNING ACTRESS, IS HERSELF A MOST POSITIVE ROLE MODEL FOR YOUNG 1391 00:45:24,255 --> 00:45:24,999 ACTRESS, IS HERSELF A MOST POSITIVE ROLE MODEL FOR YOUNG BLACKS. 1392 00:45:25,023 --> 00:45:26,067 POSITIVE ROLE MODEL FOR YOUNG BLACKS. GOOD EVENING, CICELY. 1393 00:45:26,091 --> 00:45:27,434 BLACKS. GOOD EVENING, CICELY. GOOD EVENING, GARRETT, AND 1394 00:45:27,458 --> 00:45:28,936 GOOD EVENING, CICELY. GOOD EVENING, GARRETT, AND THANK YOU. 1395 00:45:28,960 --> 00:45:31,605 GOOD EVENING, GARRETT, AND THANK YOU. IT IS TRUE THAT I TRY THROUGH MY 1396 00:45:31,629 --> 00:45:33,140 THANK YOU. IT IS TRUE THAT I TRY THROUGH MY WORK... I MEAN, THROUGH THE 1397 00:45:33,164 --> 00:45:34,842 IT IS TRUE THAT I TRY THROUGH MY WORK... I MEAN, THROUGH THE PARTS THAT I CHOOSE... TO SHOW 1398 00:45:34,866 --> 00:45:36,510 WORK... I MEAN, THROUGH THE PARTS THAT I CHOOSE... TO SHOW THAT, UH, THE BLACK WOMAN HAS 1399 00:45:36,534 --> 00:45:38,179 PARTS THAT I CHOOSE... TO SHOW THAT, UH, THE BLACK WOMAN HAS BEEN A STRONG, POSITIVE FIGURE 1400 00:45:38,203 --> 00:45:39,780 THAT, UH, THE BLACK WOMAN HAS BEEN A STRONG, POSITIVE FIGURE THROUGHOUT AMERICAN HISTORY, 1401 00:45:39,804 --> 00:45:40,214 BEEN A STRONG, POSITIVE FIGURE THROUGHOUT AMERICAN HISTORY, YES. 1402 00:45:40,238 --> 00:45:41,582 THROUGHOUT AMERICAN HISTORY, YES. WELL, CERTAINLY YOUR 1403 00:45:41,606 --> 00:45:43,184 YES. WELL, CERTAINLY YOUR PORTRAYALS OF, UH, JANE PITTMAN, 1404 00:45:43,208 --> 00:45:44,719 WELL, CERTAINLY YOUR PORTRAYALS OF, UH, JANE PITTMAN, OF HARRIET TUBMAN, WHO RAN THE 1405 00:45:44,743 --> 00:45:46,120 PORTRAYALS OF, UH, JANE PITTMAN, OF HARRIET TUBMAN, WHO RAN THE UNDERGROUND RAILROAD... AND 1406 00:45:46,144 --> 00:45:47,387 OF HARRIET TUBMAN, WHO RAN THE UNDERGROUND RAILROAD... AND RIGHT ON TO THAT... HAVE 1407 00:45:47,411 --> 00:45:48,889 UNDERGROUND RAILROAD... AND RIGHT ON TO THAT... HAVE DEMONSTRATED THE COURAGE, THE 1408 00:45:48,913 --> 00:45:50,490 RIGHT ON TO THAT... HAVE DEMONSTRATED THE COURAGE, THE DETERMINATION OF THE BLACK WOMAN 1409 00:45:50,514 --> 00:45:51,792 DEMONSTRATED THE COURAGE, THE DETERMINATION OF THE BLACK WOMAN THROUGHOUT OUR HISTORY. 1410 00:45:51,816 --> 00:45:53,227 DETERMINATION OF THE BLACK WOMAN THROUGHOUT OUR HISTORY. BUT, NOW, HOLLYWOOD WASN'T 1411 00:45:53,251 --> 00:45:54,795 THROUGHOUT OUR HISTORY. BUT, NOW, HOLLYWOOD WASN'T ALWAYS THAT KIND TO THE BLACK 1412 00:45:54,819 --> 00:45:55,896 BUT, NOW, HOLLYWOOD WASN'T ALWAYS THAT KIND TO THE BLACK WOMAN, NOW, WAS IT? 1413 00:45:55,920 --> 00:45:56,363 ALWAYS THAT KIND TO THE BLACK WOMAN, NOW, WAS IT? OH, NO. 1414 00:45:56,387 --> 00:45:57,297 WOMAN, NOW, WAS IT? OH, NO. ALL RIGHT, TELL THEM. 1415 00:45:57,321 --> 00:45:58,199 OH, NO. ALL RIGHT, TELL THEM. IT CERTAINLY WAS NOT, 1416 00:45:58,223 --> 00:45:58,665 ALL RIGHT, TELL THEM. IT CERTAINLY WAS NOT, GARRETT. 1417 00:45:58,689 --> 00:45:59,233 IT CERTAINLY WAS NOT, GARRETT. UH-HUH. 1418 00:45:59,257 --> 00:46:02,402 GARRETT. UH-HUH. UNTIL JUST A FEW YEARS AGO, 1419 00:46:02,426 --> 00:46:03,871 UH-HUH. UNTIL JUST A FEW YEARS AGO, THE ONLY PARTS AVAILABLE TO 1420 00:46:03,895 --> 00:46:05,505 UNTIL JUST A FEW YEARS AGO, THE ONLY PARTS AVAILABLE TO BLACK ACTRESSES HAVE BEEN THOSE 1421 00:46:05,529 --> 00:46:06,140 THE ONLY PARTS AVAILABLE TO BLACK ACTRESSES HAVE BEEN THOSE OF MAIDS. 1422 00:46:06,164 --> 00:46:07,808 BLACK ACTRESSES HAVE BEEN THOSE OF MAIDS. YOU VERY WELL KNOW THAT. 1423 00:46:07,832 --> 00:46:09,977 OF MAIDS. YOU VERY WELL KNOW THAT. FOR A WHILE, I... I MEAN, I GREW 1424 00:46:10,001 --> 00:46:11,212 YOU VERY WELL KNOW THAT. FOR A WHILE, I... I MEAN, I GREW UP BELIEVING THAT WHITE PEOPLE 1425 00:46:11,236 --> 00:46:12,546 FOR A WHILE, I... I MEAN, I GREW UP BELIEVING THAT WHITE PEOPLE DIDN'T KNOW HOW TO PICK UP AFTER 1426 00:46:12,570 --> 00:46:13,114 UP BELIEVING THAT WHITE PEOPLE DIDN'T KNOW HOW TO PICK UP AFTER THEMSELVES. 1427 00:46:13,138 --> 00:46:15,783 DIDN'T KNOW HOW TO PICK UP AFTER THEMSELVES. [LAUGHS] 1428 00:46:15,807 --> 00:46:18,119 THEMSELVES. [LAUGHS] OF COURSE, NOW I KNOW SEVERAL 1429 00:46:18,143 --> 00:46:20,287 [LAUGHS] OF COURSE, NOW I KNOW SEVERAL SELF-SUFFICIENT WHITES. 1430 00:46:20,311 --> 00:46:22,456 OF COURSE, NOW I KNOW SEVERAL SELF-SUFFICIENT WHITES. CICELY, CI... UH, LOOK, UM... 1431 00:46:22,480 --> 00:46:23,624 SELF-SUFFICIENT WHITES. CICELY, CI... UH, LOOK, UM... I KNOW A FEW, TOO. 1432 00:46:23,648 --> 00:46:26,460 CICELY, CI... UH, LOOK, UM... I KNOW A FEW, TOO. [Laughing] I'M SURE YOU DO! 1433 00:46:26,484 --> 00:46:28,796 I KNOW A FEW, TOO. [Laughing] I'M SURE YOU DO! UH, CICELY, NOW, NOW, LOOK, 1434 00:46:28,820 --> 00:46:30,231 [Laughing] I'M SURE YOU DO! UH, CICELY, NOW, NOW, LOOK, YOU TELL US... WHY DO YOU THINK 1435 00:46:30,255 --> 00:46:31,665 UH, CICELY, NOW, NOW, LOOK, YOU TELL US... WHY DO YOU THINK THAT HOLLYWOOD, UNTIL RECENTLY, 1436 00:46:31,689 --> 00:46:33,067 YOU TELL US... WHY DO YOU THINK THAT HOLLYWOOD, UNTIL RECENTLY, REFUSED TO OFFER POSITIVE ROLE 1437 00:46:33,091 --> 00:46:34,568 THAT HOLLYWOOD, UNTIL RECENTLY, REFUSED TO OFFER POSITIVE ROLE MODELS TO THE BLACK WOMAN? 1438 00:46:34,592 --> 00:46:35,569 REFUSED TO OFFER POSITIVE ROLE MODELS TO THE BLACK WOMAN? I MEAN... 1439 00:46:35,593 --> 00:46:37,571 MODELS TO THE BLACK WOMAN? I MEAN... WELL, I THINK... 1440 00:46:37,595 --> 00:46:39,106 I MEAN... WELL, I THINK... GARRETT, I THINK, UNTIL 1441 00:46:39,130 --> 00:46:40,775 WELL, I THINK... GARRETT, I THINK, UNTIL RECENTLY, THIS WAS A MAN'S 1442 00:46:40,799 --> 00:46:41,475 GARRETT, I THINK, UNTIL RECENTLY, THIS WAS A MAN'S SOCIETY. 1443 00:46:41,499 --> 00:46:41,976 RECENTLY, THIS WAS A MAN'S SOCIETY. MM-HMM. 1444 00:46:42,000 --> 00:46:43,811 SOCIETY. MM-HMM. AND, UM, AN ETHNIC GROUP OR 1445 00:46:43,835 --> 00:46:45,579 MM-HMM. AND, UM, AN ETHNIC GROUP OR RACE WAS REALLY JUDGED BY ITS 1446 00:46:45,603 --> 00:46:46,046 AND, UM, AN ETHNIC GROUP OR RACE WAS REALLY JUDGED BY ITS MEN. 1447 00:46:46,070 --> 00:46:46,613 RACE WAS REALLY JUDGED BY ITS MEN. MM. 1448 00:46:46,637 --> 00:46:48,482 MEN. MM. SO WHAT I THINK HAPPENED WAS 1449 00:46:48,506 --> 00:46:52,319 MM. SO WHAT I THINK HAPPENED WAS THAT THE BLACK WOMAN HAS JUST 1450 00:46:52,343 --> 00:46:54,688 SO WHAT I THINK HAPPENED WAS THAT THE BLACK WOMAN HAS JUST GOTTEN A RAW DEAL BECAUSE BLACK 1451 00:46:54,712 --> 00:46:56,757 THAT THE BLACK WOMAN HAS JUST GOTTEN A RAW DEAL BECAUSE BLACK MAN HAS ALWAYS BEEN SUCH A 1452 00:46:56,781 --> 00:47:02,930 GOTTEN A RAW DEAL BECAUSE BLACK MAN HAS ALWAYS BEEN SUCH A LOSER. 1453 00:47:02,954 --> 00:47:05,933 MAN HAS ALWAYS BEEN SUCH A LOSER. SAY WHAT? 1454 00:47:05,957 --> 00:47:08,435 LOSER. SAY WHAT? I MEAN, YOU ARE ALL SO 1455 00:47:08,459 --> 00:47:10,771 SAY WHAT? I MEAN, YOU ARE ALL SO SHIFTLESS AND LAZY, I MEAN, 1456 00:47:10,795 --> 00:47:12,606 I MEAN, YOU ARE ALL SO SHIFTLESS AND LAZY, I MEAN, JUST TOO SHIFTLESS AND TOO LAZY 1457 00:47:12,630 --> 00:47:13,674 SHIFTLESS AND LAZY, I MEAN, JUST TOO SHIFTLESS AND TOO LAZY TO GET ANYWHERE! 1458 00:47:13,698 --> 00:47:15,009 JUST TOO SHIFTLESS AND TOO LAZY TO GET ANYWHERE! WAIT A MINUTE, CICELY. 1459 00:47:15,033 --> 00:47:16,277 TO GET ANYWHERE! WAIT A MINUTE, CICELY. I'M NOT SURE I UNDERSTAND WHAT 1460 00:47:16,301 --> 00:47:17,111 WAIT A MINUTE, CICELY. I'M NOT SURE I UNDERSTAND WHAT YOU'RE SAYING NOW. 1461 00:47:17,135 --> 00:47:18,312 I'M NOT SURE I UNDERSTAND WHAT YOU'RE SAYING NOW. COULD YOU ELABORATE ON THAT? 1462 00:47:18,336 --> 00:47:19,746 YOU'RE SAYING NOW. COULD YOU ELABORATE ON THAT? IT'S NOT COMPLICATED AT ALL, 1463 00:47:19,770 --> 00:47:20,281 COULD YOU ELABORATE ON THAT? IT'S NOT COMPLICATED AT ALL, GARRETT. 1464 00:47:20,305 --> 00:47:21,182 IT'S NOT COMPLICATED AT ALL, GARRETT. IT IS VERY SIMPLE. 1465 00:47:21,206 --> 00:47:22,516 GARRETT. IT IS VERY SIMPLE. WELL, BREAK IT DOWN FOR ME. 1466 00:47:22,540 --> 00:47:23,984 IT IS VERY SIMPLE. WELL, BREAK IT DOWN FOR ME. IT'S VERY SIMPLE. 1467 00:47:24,008 --> 00:47:25,953 WELL, BREAK IT DOWN FOR ME. IT'S VERY SIMPLE. BLACK MEN JUST RUINED IT FOR 1468 00:47:25,977 --> 00:47:27,454 IT'S VERY SIMPLE. BLACK MEN JUST RUINED IT FOR BLACK WOMEN. 1469 00:47:27,478 --> 00:47:29,256 BLACK MEN JUST RUINED IT FOR BLACK WOMEN. I MEAN, YOU WERE ALWAYS BUSY 1470 00:47:29,280 --> 00:47:31,258 BLACK WOMEN. I MEAN, YOU WERE ALWAYS BUSY GETTING HIGH, PIMPING, TRYING TO 1471 00:47:31,282 --> 00:47:33,127 I MEAN, YOU WERE ALWAYS BUSY GETTING HIGH, PIMPING, TRYING TO PROVE YOUR MANHOOD BY FIGHTING 1472 00:47:33,151 --> 00:47:34,962 GETTING HIGH, PIMPING, TRYING TO PROVE YOUR MANHOOD BY FIGHTING AND STEALING AND WHEELING AND 1473 00:47:34,986 --> 00:47:36,763 PROVE YOUR MANHOOD BY FIGHTING AND STEALING AND WHEELING AND DEALING, INSTEAD OF STUDYING 1474 00:47:36,787 --> 00:47:41,101 AND STEALING AND WHEELING AND DEALING, INSTEAD OF STUDYING LIKE THE JEWISH MEN! 1475 00:47:41,125 --> 00:47:42,602 DEALING, INSTEAD OF STUDYING LIKE THE JEWISH MEN! UH... 1476 00:47:42,626 --> 00:47:44,538 LIKE THE JEWISH MEN! UH... I MEAN, DO YOU THINK THAT 1477 00:47:44,562 --> 00:47:46,240 UH... I MEAN, DO YOU THINK THAT BARBRA STREISAND HAS ANY 1478 00:47:46,264 --> 00:47:48,408 I MEAN, DO YOU THINK THAT BARBRA STREISAND HAS ANY DIFFICULTY GETTING PARTS? 1479 00:47:48,432 --> 00:47:50,077 BARBRA STREISAND HAS ANY DIFFICULTY GETTING PARTS? WELL, NOW, LISTEN, BITCH, 1480 00:47:50,101 --> 00:47:50,477 DIFFICULTY GETTING PARTS? WELL, NOW, LISTEN, BITCH, UH... 1481 00:47:50,501 --> 00:47:51,946 WELL, NOW, LISTEN, BITCH, UH... NOW JUST WAIT A MINUTE, NOW! 1482 00:47:51,970 --> 00:47:53,347 UH... NOW JUST WAIT A MINUTE, NOW! I MEAN, THAT'S WHAT WRONG WITH 1483 00:47:53,371 --> 00:47:54,114 NOW JUST WAIT A MINUTE, NOW! I MEAN, THAT'S WHAT WRONG WITH YOU BLACK MEN! 1484 00:47:54,138 --> 00:47:55,115 I MEAN, THAT'S WHAT WRONG WITH YOU BLACK MEN! JOKE! JOKE! 1485 00:47:55,139 --> 00:47:56,383 YOU BLACK MEN! JOKE! JOKE! CICELY, YOU HAVE THE MOST 1486 00:47:56,407 --> 00:47:57,918 JOKE! JOKE! CICELY, YOU HAVE THE MOST BEAUTIFUL EYES I HAVE SEEN IN MY 1487 00:47:57,942 --> 00:47:58,352 CICELY, YOU HAVE THE MOST BEAUTIFUL EYES I HAVE SEEN IN MY LIFE! 1488 00:47:58,376 --> 00:47:59,686 BEAUTIFUL EYES I HAVE SEEN IN MY LIFE! OH, MAN, DON'T GIVE ME THAT! 1489 00:47:59,710 --> 00:48:00,955 LIFE! OH, MAN, DON'T GIVE ME THAT! THE AVENUES OPEN TO WHITE 1490 00:48:00,979 --> 00:48:02,289 OH, MAN, DON'T GIVE ME THAT! THE AVENUES OPEN TO WHITE MEN, CICELY, WERE TRADITIONALLY 1491 00:48:02,313 --> 00:48:03,224 THE AVENUES OPEN TO WHITE MEN, CICELY, WERE TRADITIONALLY CLOSED TO BLACK MEN! 1492 00:48:03,248 --> 00:48:04,124 MEN, CICELY, WERE TRADITIONALLY CLOSED TO BLACK MEN! NOW, YOU KNOW THAT! 1493 00:48:04,148 --> 00:48:06,327 CLOSED TO BLACK MEN! NOW, YOU KNOW THAT! HEY, LISTEN... YOU ALL FALL 1494 00:48:06,351 --> 00:48:08,495 NOW, YOU KNOW THAT! HEY, LISTEN... YOU ALL FALL BACK ON THAT OLD STORY ALL THE 1495 00:48:08,519 --> 00:48:09,029 HEY, LISTEN... YOU ALL FALL BACK ON THAT OLD STORY ALL THE TIME! 1496 00:48:09,053 --> 00:48:10,564 BACK ON THAT OLD STORY ALL THE TIME! IT'S OLD. IT'S CLICHéD. 1497 00:48:10,588 --> 00:48:11,398 TIME! IT'S OLD. IT'S CLICHéD. FORGET IT! 1498 00:48:11,422 --> 00:48:12,900 IT'S OLD. IT'S CLICHéD. FORGET IT! THE BLACK MAN JUST NEVER GOT 1499 00:48:12,924 --> 00:48:14,568 FORGET IT! THE BLACK MAN JUST NEVER GOT HIMSELF TOGETHER, AND THAT'S ALL 1500 00:48:14,592 --> 00:48:15,469 THE BLACK MAN JUST NEVER GOT HIMSELF TOGETHER, AND THAT'S ALL THERE IS TO IT! 1501 00:48:15,493 --> 00:48:17,037 HIMSELF TOGETHER, AND THAT'S ALL THERE IS TO IT! I MEAN, LOOK WHAT Y'ALL DID TO 1502 00:48:17,061 --> 00:48:17,637 THERE IS TO IT! I MEAN, LOOK WHAT Y'ALL DID TO DETROIT! 1503 00:48:17,661 --> 00:48:21,976 I MEAN, LOOK WHAT Y'ALL DID TO DETROIT! THAT USED TO BE A NICE TOWN. 1504 00:48:22,000 --> 00:48:23,344 DETROIT! THAT USED TO BE A NICE TOWN. WELL, NOW, COME TO THINK OF 1505 00:48:23,368 --> 00:48:24,511 THAT USED TO BE A NICE TOWN. WELL, NOW, COME TO THINK OF IT, MY DADDY WAS A LITTLE 1506 00:48:24,535 --> 00:48:25,479 WELL, NOW, COME TO THINK OF IT, MY DADDY WAS A LITTLE SHIFTLESS, YOU KNOW. 1507 00:48:25,503 --> 00:48:26,213 IT, MY DADDY WAS A LITTLE SHIFTLESS, YOU KNOW. UH-HUH. 1508 00:48:26,237 --> 00:48:27,982 SHIFTLESS, YOU KNOW. UH-HUH. WELL, I WISH I COULD CONTINUE 1509 00:48:28,006 --> 00:48:29,516 UH-HUH. WELL, I WISH I COULD CONTINUE WITH THIS, BUT WE'RE OUT OF 1510 00:48:29,540 --> 00:48:30,017 WELL, I WISH I COULD CONTINUE WITH THIS, BUT WE'RE OUT OF TIME. 1511 00:48:30,041 --> 00:48:31,651 WITH THIS, BUT WE'RE OUT OF TIME. UH, TUNE IN NEXT WEEK WHEN WE 1512 00:48:31,675 --> 00:48:32,953 TIME. UH, TUNE IN NEXT WEEK WHEN WE TALK TO FORMER SENATOR 1513 00:48:32,977 --> 00:48:34,755 UH, TUNE IN NEXT WEEK WHEN WE TALK TO FORMER SENATOR EDWARD BROOKS ABOUT HIS PERJURED 1514 00:48:34,779 --> 00:48:36,123 TALK TO FORMER SENATOR EDWARD BROOKS ABOUT HIS PERJURED TESTIMONY IN HIS DIVORCE 1515 00:48:36,147 --> 00:48:36,957 EDWARD BROOKS ABOUT HIS PERJURED TESTIMONY IN HIS DIVORCE PROCEEDINGS. 1516 00:48:36,981 --> 00:48:38,025 TESTIMONY IN HIS DIVORCE PROCEEDINGS. AND NOW STAY TUNED TO 1517 00:48:38,049 --> 00:48:39,426 PROCEEDINGS. AND NOW STAY TUNED TO "THE WORLD AT WAR," STARRING 1518 00:48:39,450 --> 00:48:40,261 AND NOW STAY TUNED TO "THE WORLD AT WAR," STARRING RICHARD BURTON. 1519 00:48:40,285 --> 00:48:41,628 "THE WORLD AT WAR," STARRING RICHARD BURTON. NOW, YOU KNOW, I NEVER... 1520 00:48:41,652 --> 00:48:42,729 RICHARD BURTON. NOW, YOU KNOW, I NEVER... NOW JUST A MINUTE. 1521 00:48:42,753 --> 00:48:44,131 NOW, YOU KNOW, I NEVER... NOW JUST A MINUTE. WE MAY BE OUT OF TIME, BUT I 1522 00:48:44,155 --> 00:48:45,632 NOW JUST A MINUTE. WE MAY BE OUT OF TIME, BUT I HAVE A FEW STORIES TO TELL YOU. 1523 00:48:45,656 --> 00:48:46,934 WE MAY BE OUT OF TIME, BUT I HAVE A FEW STORIES TO TELL YOU. NOW, I'LL TELL YOU ALL THE 1524 00:48:46,958 --> 00:48:48,468 HAVE A FEW STORIES TO TELL YOU. NOW, I'LL TELL YOU ALL THE THINGS THAT I WANT TO TELL YOU. 1525 00:48:48,492 --> 00:48:51,612 NOW, I'LL TELL YOU ALL THE THINGS THAT I WANT TO TELL YOU. [INDISTINCT SHOUTING] 1526 00:48:58,501 --> 00:49:04,618 IT IS THE DAY BEFORE 300,000 ALLIED FORCES HIT THE BEACHES AT NORMANDY TO SAVE A NAZI-OCCUPIED 1527 00:49:04,642 --> 00:49:05,319 ALLIED FORCES HIT THE BEACHES AT NORMANDY TO SAVE A NAZI-OCCUPIED FRANCE. 1528 00:49:05,343 --> 00:49:06,954 NORMANDY TO SAVE A NAZI-OCCUPIED FRANCE. THE LEADERS OF BOTH THE ALLIED 1529 00:49:06,978 --> 00:49:08,455 FRANCE. THE LEADERS OF BOTH THE ALLIED AND AXIS POWERS HAD READIED 1530 00:49:08,479 --> 00:49:10,190 THE LEADERS OF BOTH THE ALLIED AND AXIS POWERS HAD READIED THEMSELVES FOR THE CONFRONTATION 1531 00:49:10,214 --> 00:49:11,792 AND AXIS POWERS HAD READIED THEMSELVES FOR THE CONFRONTATION THAT WOULD DECIDE THE FATE OF 1532 00:49:11,816 --> 00:49:15,296 THEMSELVES FOR THE CONFRONTATION THAT WOULD DECIDE THE FATE OF THE ENTIRE FREE WORLD. 1533 00:49:15,320 --> 00:49:16,397 THAT WOULD DECIDE THE FATE OF THE ENTIRE FREE WORLD. ONE MAN, GENERAL 1534 00:49:16,421 --> 00:49:18,098 THE ENTIRE FREE WORLD. ONE MAN, GENERAL DWIGHT D. EISENHOWER, MADE A 1535 00:49:18,122 --> 00:49:19,699 ONE MAN, GENERAL DWIGHT D. EISENHOWER, MADE A LAST-DITCH EFFORT TO AVOID 1536 00:49:19,723 --> 00:49:21,201 DWIGHT D. EISENHOWER, MADE A LAST-DITCH EFFORT TO AVOID BLOODSHED AND PEACEFULLY 1537 00:49:21,225 --> 00:49:22,303 LAST-DITCH EFFORT TO AVOID BLOODSHED AND PEACEFULLY LIBERATE FRANCE. 1538 00:49:22,327 --> 00:49:24,638 BLOODSHED AND PEACEFULLY LIBERATE FRANCE. TO ACCOMPLISH THIS, HE CALLED UP 1539 00:49:24,662 --> 00:49:26,473 LIBERATE FRANCE. TO ACCOMPLISH THIS, HE CALLED UP THE WALKER BRIGADE. 1540 00:49:26,497 --> 00:49:29,497 TO ACCOMPLISH THIS, HE CALLED UP THE WALKER BRIGADE. [DRAMATIC MUSIC PLAYING] 1541 00:49:34,972 --> 00:49:39,353 GOOD EVENING. I'M RICHARD BURTON. IKE WAS HESITANT TO LAUNCH A 1542 00:49:39,377 --> 00:49:40,587 I'M RICHARD BURTON. IKE WAS HESITANT TO LAUNCH A "D" DAY ATTACK THAT WOULD 1543 00:49:40,611 --> 00:49:42,122 IKE WAS HESITANT TO LAUNCH A "D" DAY ATTACK THAT WOULD JEOPARDIZE THE LIVES OF HUNDREDS 1544 00:49:42,146 --> 00:49:43,157 "D" DAY ATTACK THAT WOULD JEOPARDIZE THE LIVES OF HUNDREDS OF THOUSANDS OF MEN. 1545 00:49:43,181 --> 00:49:44,724 JEOPARDIZE THE LIVES OF HUNDREDS OF THOUSANDS OF MEN. SO WHEN IT WAS SUGGESTED THAT 1546 00:49:44,748 --> 00:49:46,126 OF THOUSANDS OF MEN. SO WHEN IT WAS SUGGESTED THAT THE 45-MAN WALKER BRIGADE 1547 00:49:46,150 --> 00:49:47,494 SO WHEN IT WAS SUGGESTED THAT THE 45-MAN WALKER BRIGADE CONFRONT THE NAZI GUNS ON 1548 00:49:47,518 --> 00:49:48,895 THE 45-MAN WALKER BRIGADE CONFRONT THE NAZI GUNS ON JUNE 5, IKE JUMPED AT THE 1549 00:49:48,919 --> 00:49:49,729 CONFRONT THE NAZI GUNS ON JUNE 5, IKE JUMPED AT THE NOTION. 1550 00:49:49,753 --> 00:49:51,565 JUNE 5, IKE JUMPED AT THE NOTION. WALKER PLATOON, TEN-HUT! 1551 00:49:51,589 --> 00:49:53,200 NOTION. WALKER PLATOON, TEN-HUT! LITTLE IS KNOWN ABOUT THE 1552 00:49:53,224 --> 00:49:54,201 WALKER PLATOON, TEN-HUT! LITTLE IS KNOWN ABOUT THE WALKER BRIGADE. 1553 00:49:54,225 --> 00:49:55,836 LITTLE IS KNOWN ABOUT THE WALKER BRIGADE. THIS RARE FOOTAGE SHOWS THAT 1554 00:49:55,860 --> 00:49:57,604 WALKER BRIGADE. THIS RARE FOOTAGE SHOWS THAT THEY WERE A GROUP OF PATRIOTIC 1555 00:49:57,628 --> 00:49:59,206 THIS RARE FOOTAGE SHOWS THAT THEY WERE A GROUP OF PATRIOTIC MEN WHO WERE EAGER TO SERVE 1556 00:49:59,230 --> 00:50:00,140 THEY WERE A GROUP OF PATRIOTIC MEN WHO WERE EAGER TO SERVE THEIR COUNTRY. 1557 00:50:00,164 --> 00:50:02,342 MEN WHO WERE EAGER TO SERVE THEIR COUNTRY. DON'T LET LOOKS DECEIVE YOU. 1558 00:50:02,366 --> 00:50:03,665 THE WALKER BRIGADE WAS NOT 1559 00:50:03,800 --> 00:50:05,301 COMPOSED OF DISABLED SOLDIERS. 1560 00:50:05,435 --> 00:50:07,036 THEY WERE A GROUP OF ABLE-BODIED 1561 00:50:07,170 --> 00:50:08,570 MEN WHO KNEW THAT THE GENEVA 1562 00:50:08,705 --> 00:50:10,239 CONVENTION STATED THAT THE ENEMY 1563 00:50:10,374 --> 00:50:12,241 CANNOT SHOOT AT ANY SOLDIER WHO 1564 00:50:12,376 --> 00:50:15,011 HAS A WALKER. 1565 00:50:15,278 --> 00:50:20,194 AND SO IT BEGAN. IN THE GRAY DAWN OF JUNE 5, THE GREATEST AIRLIFT IN THE HISTORY 1566 00:50:20,218 --> 00:50:21,795 IN THE GRAY DAWN OF JUNE 5, THE GREATEST AIRLIFT IN THE HISTORY OF AMBULATORY AIDS TOOK PLACE 1567 00:50:21,819 --> 00:50:26,755 GREATEST AIRLIFT IN THE HISTORY OF AMBULATORY AIDS TOOK PLACE OVER FRANCE. 1568 00:50:27,024 --> 00:50:30,393 THE STRATEGY... WORK BEHIND 1569 00:50:30,527 --> 00:50:32,061 GERMAN LINES AT ORLEANS, 1570 00:50:32,195 --> 00:50:33,862 APPROACH JERRY'S SOUTHERN FRONT, 1571 00:50:33,997 --> 00:50:35,564 DRIVE HIM NORTH, AND FORCE HIM 1572 00:50:35,698 --> 00:50:37,233 TO SURRENDER, HIS BACK TO THE 1573 00:50:37,367 --> 00:50:40,836 ENGLISH CHANNEL. 1574 00:50:41,104 --> 00:50:49,104 SLOWLY, THE WALKER BRIGADE ADVANCED ALONG THE PERIMETER OF BATTLE. 1575 00:50:53,817 --> 00:50:55,729 ADVANCED ALONG THE PERIMETER OF BATTLE. THE WALKERS DROVE DEEP INTO AXIS 1576 00:50:55,753 --> 00:50:57,197 BATTLE. THE WALKERS DROVE DEEP INTO AXIS TERRITORY, RELENTLESSLY 1577 00:50:57,221 --> 00:50:59,066 THE WALKERS DROVE DEEP INTO AXIS TERRITORY, RELENTLESSLY APPROACHING ORLEANS, WHERE THE 1578 00:50:59,090 --> 00:51:00,734 TERRITORY, RELENTLESSLY APPROACHING ORLEANS, WHERE THE ENTIRE GERMAN WEHRMACHT WAS 1579 00:51:00,758 --> 00:51:03,737 APPROACHING ORLEANS, WHERE THE ENTIRE GERMAN WEHRMACHT WAS COILED AND READY TO STRIKE. 1580 00:51:03,761 --> 00:51:05,739 ENTIRE GERMAN WEHRMACHT WAS COILED AND READY TO STRIKE. IF THEIR MISSION FAILED, THE 1581 00:51:05,763 --> 00:51:07,807 COILED AND READY TO STRIKE. IF THEIR MISSION FAILED, THE ULTIMATE CONFLICT WOULD BE AT 1582 00:51:07,831 --> 00:51:09,643 IF THEIR MISSION FAILED, THE ULTIMATE CONFLICT WOULD BE AT HAND, A CLASH BETWEEN TWO 1583 00:51:09,667 --> 00:51:11,778 ULTIMATE CONFLICT WOULD BE AT HAND, A CLASH BETWEEN TWO OPPOSING FORCES WHOSE COMBINED 1584 00:51:11,802 --> 00:51:13,247 HAND, A CLASH BETWEEN TWO OPPOSING FORCES WHOSE COMBINED POWER COULD DESTROY 1585 00:51:13,271 --> 00:51:14,415 OPPOSING FORCES WHOSE COMBINED POWER COULD DESTROY CIVILIZATION. 1586 00:51:14,439 --> 00:51:16,816 POWER COULD DESTROY CIVILIZATION. THIS WAS THE CONFRONTATION THAT 1587 00:51:16,840 --> 00:51:19,019 CIVILIZATION. THIS WAS THE CONFRONTATION THAT THESE HEROIC MEN, 45 STRONG, 1588 00:51:19,043 --> 00:51:21,522 THIS WAS THE CONFRONTATION THAT THESE HEROIC MEN, 45 STRONG, WANTED TO PREVENT. 1589 00:51:21,546 --> 00:51:23,390 THESE HEROIC MEN, 45 STRONG, WANTED TO PREVENT. AT EXACTLY 11:31 A.M., THE 1590 00:51:23,414 --> 00:51:25,492 WANTED TO PREVENT. AT EXACTLY 11:31 A.M., THE UNDAUNTED WALKER BRIGADE BROKE 1591 00:51:25,516 --> 00:51:27,127 AT EXACTLY 11:31 A.M., THE UNDAUNTED WALKER BRIGADE BROKE THROUGH A CRACK IN THE 1592 00:51:27,151 --> 00:51:28,962 UNDAUNTED WALKER BRIGADE BROKE THROUGH A CRACK IN THE SIEGFRIED LINE. 1593 00:51:28,986 --> 00:51:32,966 THROUGH A CRACK IN THE SIEGFRIED LINE. AND AT EXACTLY 11:32, JERRY, 1594 00:51:32,990 --> 00:51:34,468 SIEGFRIED LINE. AND AT EXACTLY 11:32, JERRY, WITH NO REGARD FOR THE 1595 00:51:34,492 --> 00:51:36,803 AND AT EXACTLY 11:32, JERRY, WITH NO REGARD FOR THE GENEVA CONVENTION, DECIMATED THE 1596 00:51:36,827 --> 00:51:41,808 WITH NO REGARD FOR THE GENEVA CONVENTION, DECIMATED THE WALKER BRIGADE. 1597 00:51:41,832 --> 00:51:43,477 GENEVA CONVENTION, DECIMATED THE WALKER BRIGADE. "D" DAY WENT ON AS SCHEDULED. 1598 00:51:43,501 --> 00:51:45,245 WALKER BRIGADE. "D" DAY WENT ON AS SCHEDULED. THE WALKER BRIGADE WAS IDIOTIC, 1599 00:51:45,269 --> 00:51:46,913 "D" DAY WENT ON AS SCHEDULED. THE WALKER BRIGADE WAS IDIOTIC, A STUPID IDEA FROM A MILITARY 1600 00:51:46,937 --> 00:51:48,582 THE WALKER BRIGADE WAS IDIOTIC, A STUPID IDEA FROM A MILITARY STANDPOINT, BUT A GOOD ONE IF 1601 00:51:48,606 --> 00:51:50,284 A STUPID IDEA FROM A MILITARY STANDPOINT, BUT A GOOD ONE IF YOU HOST A SHOW LIKE THIS AND 1602 00:51:50,308 --> 00:51:51,885 STANDPOINT, BUT A GOOD ONE IF YOU HOST A SHOW LIKE THIS AND ARE RUNNING OUT OF RARE FILM 1603 00:51:51,909 --> 00:51:53,320 YOU HOST A SHOW LIKE THIS AND ARE RUNNING OUT OF RARE FILM FOOTAGE THAT STILL MAKES 1604 00:51:53,344 --> 00:51:55,322 ARE RUNNING OUT OF RARE FILM FOOTAGE THAT STILL MAKES WORLD WAR II LOOK INTERESTING. 1605 00:51:55,346 --> 00:51:56,590 FOOTAGE THAT STILL MAKES WORLD WAR II LOOK INTERESTING. I'M RICHARD BURTON. 1606 00:51:56,614 --> 00:51:58,358 WORLD WAR II LOOK INTERESTING. I'M RICHARD BURTON. PLEASE JOIN ME NEXT TIME WHEN 1607 00:51:58,382 --> 00:52:00,194 I'M RICHARD BURTON. PLEASE JOIN ME NEXT TIME WHEN "WORLD AT WAR" BRINGS YOU RARE 1608 00:52:00,218 --> 00:52:01,795 PLEASE JOIN ME NEXT TIME WHEN "WORLD AT WAR" BRINGS YOU RARE FOOTAGE ABOUT THE DIALYSIS 1609 00:52:01,819 --> 00:52:02,529 "WORLD AT WAR" BRINGS YOU RARE FOOTAGE ABOUT THE DIALYSIS DIVISION. 1610 00:52:02,553 --> 00:52:04,834 FOOTAGE ABOUT THE DIALYSIS DIVISION. TILL THEN, GOOD NIGHT. 1611 00:52:16,866 --> 00:52:20,380 HI, CARLA, I'M HOME. OH, GOOD. DINNER'S ALMOST READY. 1612 00:52:20,404 --> 00:52:22,716 OH, GOOD. DINNER'S ALMOST READY. OH, GREAT. I'M STARVED. 1613 00:52:22,740 --> 00:52:24,084 DINNER'S ALMOST READY. OH, GREAT. I'M STARVED. HOW WAS YOUR FIRST DAY AT 1614 00:52:24,108 --> 00:52:24,585 OH, GREAT. I'M STARVED. HOW WAS YOUR FIRST DAY AT SCHOOL? 1615 00:52:24,609 --> 00:52:26,120 HOW WAS YOUR FIRST DAY AT SCHOOL? OH, GOD, IT WAS FABULOUS. 1616 00:52:26,144 --> 00:52:27,721 SCHOOL? OH, GOD, IT WAS FABULOUS. YOU KNOW, TEACHING HANDICAPPED 1617 00:52:27,745 --> 00:52:29,289 OH, GOD, IT WAS FABULOUS. YOU KNOW, TEACHING HANDICAPPED CHILDREN REALLY TEACHES YOU A 1618 00:52:29,313 --> 00:52:30,924 YOU KNOW, TEACHING HANDICAPPED CHILDREN REALLY TEACHES YOU A LOT ABOUT YOUR OWN LIMITATIONS. 1619 00:52:30,948 --> 00:52:32,259 CHILDREN REALLY TEACHES YOU A LOT ABOUT YOUR OWN LIMITATIONS. I KNOW WHAT YOU MEAN. 1620 00:52:32,283 --> 00:52:33,793 LOT ABOUT YOUR OWN LIMITATIONS. I KNOW WHAT YOU MEAN. WHEN A REALLY BAD CASE COMES 1621 00:52:33,817 --> 00:52:35,229 I KNOW WHAT YOU MEAN. WHEN A REALLY BAD CASE COMES INTO THE EMERGENCY ROOM, I 1622 00:52:35,253 --> 00:52:36,863 WHEN A REALLY BAD CASE COMES INTO THE EMERGENCY ROOM, I THINK, "THERE BUT FOR THE GRACE 1623 00:52:36,887 --> 00:52:37,931 INTO THE EMERGENCY ROOM, I THINK, "THERE BUT FOR THE GRACE OF GOD," YOU KNOW? 1624 00:52:37,955 --> 00:52:39,699 THINK, "THERE BUT FOR THE GRACE OF GOD," YOU KNOW? BUT WE HAD A BURN VICTIM THAT WE 1625 00:52:39,723 --> 00:52:41,335 OF GOD," YOU KNOW? BUT WE HAD A BURN VICTIM THAT WE HAD TO WORK ON FOR SIX HOURS. 1626 00:52:41,359 --> 00:52:42,302 BUT WE HAD A BURN VICTIM THAT WE HAD TO WORK ON FOR SIX HOURS. AM I EXHAUSTED. 1627 00:52:42,326 --> 00:52:43,570 HAD TO WORK ON FOR SIX HOURS. AM I EXHAUSTED. OH, HERE. TURN AROUND. 1628 00:52:43,594 --> 00:52:44,804 AM I EXHAUSTED. OH, HERE. TURN AROUND. I'LL GIVE YOU A BACKRUB. 1629 00:52:44,828 --> 00:52:45,739 OH, HERE. TURN AROUND. I'LL GIVE YOU A BACKRUB. OH, THANK YOU. 1630 00:52:45,763 --> 00:52:46,540 I'LL GIVE YOU A BACKRUB. OH, THANK YOU. HOW'S THAT? 1631 00:52:46,564 --> 00:52:47,541 OH, THANK YOU. HOW'S THAT? THAT'S WONDERFUL. 1632 00:52:47,565 --> 00:52:48,542 HOW'S THAT? THAT'S WONDERFUL. OH, GOOD. 1633 00:52:48,566 --> 00:52:49,376 THAT'S WONDERFUL. OH, GOOD. FREEZE! 1634 00:52:49,400 --> 00:52:51,500 OH, GOOD. FREEZE! EX-POLICE! 1635 00:52:53,102 --> 00:52:54,342 Announcer: AND NOW IT'S TIME 1636 00:52:54,437 --> 00:52:55,471 FOR ANOTHER EPISODE OF 1637 00:52:55,605 --> 00:52:57,406 "EX-POLICE." 1638 00:52:57,674 --> 00:53:01,655 EX-POLICE?! WE WERE KICKED OFF THE FORCE ABOUT A YEAR AGO. 1639 00:53:01,679 --> 00:53:03,357 WE WERE KICKED OFF THE FORCE ABOUT A YEAR AGO. BUT THAT WON'T KEEP US FROM 1640 00:53:03,381 --> 00:53:04,491 ABOUT A YEAR AGO. BUT THAT WON'T KEEP US FROM ENFORCING THE LAW. 1641 00:53:04,515 --> 00:53:06,126 BUT THAT WON'T KEEP US FROM ENFORCING THE LAW. BUT WHAT LAW DID WE BREAK? 1642 00:53:06,150 --> 00:53:06,960 ENFORCING THE LAW. BUT WHAT LAW DID WE BREAK? COME ON. 1643 00:53:06,984 --> 00:53:11,298 BUT WHAT LAW DID WE BREAK? COME ON. GET OFF IT, MISS LESBO! 1644 00:53:11,322 --> 00:53:12,166 COME ON. GET OFF IT, MISS LESBO! YOU'RE CRAZY. 1645 00:53:12,190 --> 00:53:13,300 GET OFF IT, MISS LESBO! YOU'RE CRAZY. DON'T GIVE US THAT. 1646 00:53:13,324 --> 00:53:14,535 YOU'RE CRAZY. DON'T GIVE US THAT. WE LIVE IN THIS BUILDING. 1647 00:53:14,559 --> 00:53:16,637 DON'T GIVE US THAT. WE LIVE IN THIS BUILDING. WE'VE SEEN YOU TWO... TWO SINGLE 1648 00:53:16,661 --> 00:53:18,172 WE LIVE IN THIS BUILDING. WE'VE SEEN YOU TWO... TWO SINGLE WOMEN IN A ONE-BEDROOM 1649 00:53:18,196 --> 00:53:19,506 WE'VE SEEN YOU TWO... TWO SINGLE WOMEN IN A ONE-BEDROOM APARTMENT. 1650 00:53:19,530 --> 00:53:21,375 WOMEN IN A ONE-BEDROOM APARTMENT. REMEMBER LAST WEEK IN THE 1651 00:53:21,399 --> 00:53:22,042 APARTMENT. REMEMBER LAST WEEK IN THE GARAGE? 1652 00:53:22,066 --> 00:53:23,743 REMEMBER LAST WEEK IN THE GARAGE? I CAME ON TO YOU, AND YOU 1653 00:53:23,767 --> 00:53:25,912 GARAGE? I CAME ON TO YOU, AND YOU IGNORED ME, DYKE! 1654 00:53:25,936 --> 00:53:27,648 I CAME ON TO YOU, AND YOU IGNORED ME, DYKE! I IGNORED YOU BECAUSE YOU 1655 00:53:27,672 --> 00:53:28,982 IGNORED ME, DYKE! I IGNORED YOU BECAUSE YOU MAKE MY FLESH CRAWL. 1656 00:53:29,006 --> 00:53:30,984 I IGNORED YOU BECAUSE YOU MAKE MY FLESH CRAWL. AAH! 1657 00:53:31,008 --> 00:53:31,818 MAKE MY FLESH CRAWL. AAH! BULL DYKES! 1658 00:53:31,842 --> 00:53:32,686 AAH! BULL DYKES! OHH! OHH! 1659 00:53:32,710 --> 00:53:34,254 BULL DYKES! OHH! OHH! BUTCHES! FEMALE HOMOS! 1660 00:53:34,278 --> 00:53:35,622 OHH! OHH! BUTCHES! FEMALE HOMOS! THEY'RE ALL THE SAME! 1661 00:53:35,646 --> 00:53:37,558 BUTCHES! FEMALE HOMOS! THEY'RE ALL THE SAME! HAVE YOU EVER SEEN A 14-YEAR-OLD 1662 00:53:37,582 --> 00:53:39,159 THEY'RE ALL THE SAME! HAVE YOU EVER SEEN A 14-YEAR-OLD GIRL TURNING TRICKS ON THE 1663 00:53:39,183 --> 00:53:41,094 HAVE YOU EVER SEEN A 14-YEAR-OLD GIRL TURNING TRICKS ON THE STREET BECAUSE SHE FOUND OUT HER 1664 00:53:41,118 --> 00:53:42,462 GIRL TURNING TRICKS ON THE STREET BECAUSE SHE FOUND OUT HER MOTHER WAS A LESBIAN? 1665 00:53:42,486 --> 00:53:44,198 STREET BECAUSE SHE FOUND OUT HER MOTHER WAS A LESBIAN? WELL, I HAVE, AND IT'S NOT A 1666 00:53:44,222 --> 00:53:45,131 MOTHER WAS A LESBIAN? WELL, I HAVE, AND IT'S NOT A PRETTY SIGHT! 1667 00:53:45,155 --> 00:53:46,266 WELL, I HAVE, AND IT'S NOT A PRETTY SIGHT! JOE, MAYBE YOU SHOULD STOP 1668 00:53:46,290 --> 00:53:47,401 PRETTY SIGHT! JOE, MAYBE YOU SHOULD STOP POUNDING HER HEAD AGAINST THE 1669 00:53:47,425 --> 00:53:47,734 JOE, MAYBE YOU SHOULD STOP POUNDING HER HEAD AGAINST THE WALL. 1670 00:53:47,758 --> 00:53:48,768 POUNDING HER HEAD AGAINST THE WALL. SHE'S ALREADY UNCONSCIOUS. 1671 00:53:48,792 --> 00:53:49,869 WALL. SHE'S ALREADY UNCONSCIOUS. SHE PROBABLY CAN'T HEAR WHAT 1672 00:53:49,893 --> 00:53:50,737 SHE'S ALREADY UNCONSCIOUS. SHE PROBABLY CAN'T HEAR WHAT YOU'RE SAYING ANYWAY. 1673 00:53:50,761 --> 00:53:55,409 SHE PROBABLY CAN'T HEAR WHAT YOU'RE SAYING ANYWAY. YEAH, YOU'RE RIGHT. 1674 00:53:55,433 --> 00:53:58,245 YOU'RE SAYING ANYWAY. YEAH, YOU'RE RIGHT. IT'S TOO LATE. SHE'S DEAD. 1675 00:53:58,269 --> 00:54:00,247 YEAH, YOU'RE RIGHT. IT'S TOO LATE. SHE'S DEAD. ANOTHER HOMOSEXUALITY-RELATED 1676 00:54:00,271 --> 00:54:04,751 IT'S TOO LATE. SHE'S DEAD. ANOTHER HOMOSEXUALITY-RELATED DEATH. 1677 00:54:04,775 --> 00:54:06,186 ANOTHER HOMOSEXUALITY-RELATED DEATH. BETTER MAKE IT LOOK LIKE THE 1678 00:54:06,210 --> 00:54:07,087 DEATH. BETTER MAKE IT LOOK LIKE THE OTHER DYKE DID IT. 1679 00:54:07,111 --> 00:54:08,422 BETTER MAKE IT LOOK LIKE THE OTHER DYKE DID IT. YEAH, THROW THAT GLASS OF 1680 00:54:08,446 --> 00:54:09,889 OTHER DYKE DID IT. YEAH, THROW THAT GLASS OF WATER THERE IN THE LESBO'S FACE. 1681 00:54:09,913 --> 00:54:13,893 YEAH, THROW THAT GLASS OF WATER THERE IN THE LESBO'S FACE. YEAH. 1682 00:54:13,917 --> 00:54:17,731 WATER THERE IN THE LESBO'S FACE. YEAH. [GASPING] 1683 00:54:17,755 --> 00:54:18,732 YEAH. [GASPING] WHAT HAPPENED? 1684 00:54:18,756 --> 00:54:20,133 [GASPING] WHAT HAPPENED? WE WERE WALKING BY. 1685 00:54:20,157 --> 00:54:21,435 WHAT HAPPENED? WE WERE WALKING BY. WE HEARD SOME NOISE. 1686 00:54:21,459 --> 00:54:23,303 WE WERE WALKING BY. WE HEARD SOME NOISE. YOU AND YOUR FRIEND WERE HAVING 1687 00:54:23,327 --> 00:54:24,170 WE HEARD SOME NOISE. YOU AND YOUR FRIEND WERE HAVING AN ARGUMENT. 1688 00:54:24,194 --> 00:54:26,072 YOU AND YOUR FRIEND WERE HAVING AN ARGUMENT. YOU MUST HAVE KILLED HER BEFORE 1689 00:54:26,096 --> 00:54:27,941 AN ARGUMENT. YOU MUST HAVE KILLED HER BEFORE YOU FELL DOWN AND HIT YOUR HEAD 1690 00:54:27,965 --> 00:54:29,476 YOU MUST HAVE KILLED HER BEFORE YOU FELL DOWN AND HIT YOUR HEAD ON THE SOFA, KNOCKING YOU 1691 00:54:29,500 --> 00:54:30,377 YOU FELL DOWN AND HIT YOUR HEAD ON THE SOFA, KNOCKING YOU UNCONSCIOUS. 1692 00:54:30,401 --> 00:54:32,145 ON THE SOFA, KNOCKING YOU UNCONSCIOUS. ME AND CATHY ARGUING? 1693 00:54:32,169 --> 00:54:33,980 UNCONSCIOUS. ME AND CATHY ARGUING? YEAH, IT WAS A LOVERS' 1694 00:54:34,004 --> 00:54:35,982 ME AND CATHY ARGUING? YEAH, IT WAS A LOVERS' QUARREL, SOMETHING ABOUT HER 1695 00:54:36,006 --> 00:54:37,651 YEAH, IT WAS A LOVERS' QUARREL, SOMETHING ABOUT HER LEAVING YOU FOR SOME OTHER DYKE. 1696 00:54:37,675 --> 00:54:39,419 QUARREL, SOMETHING ABOUT HER LEAVING YOU FOR SOME OTHER DYKE. BUT THAT'S IMPOSSIBLE. 1697 00:54:39,443 --> 00:54:40,787 LEAVING YOU FOR SOME OTHER DYKE. BUT THAT'S IMPOSSIBLE. WE WEREN'T LOVERS! 1698 00:54:40,811 --> 00:54:42,021 BUT THAT'S IMPOSSIBLE. WE WEREN'T LOVERS! NOW I REMEMBER. 1699 00:54:42,045 --> 00:54:43,624 WE WEREN'T LOVERS! NOW I REMEMBER. YOU'RE THE EX-POLICE. 1700 00:54:43,648 --> 00:54:45,058 NOW I REMEMBER. YOU'RE THE EX-POLICE. YOU BROKE IN HERE! 1701 00:54:45,082 --> 00:54:47,227 YOU'RE THE EX-POLICE. YOU BROKE IN HERE! YOU TOOK A PRETTY SEVERE BLOW 1702 00:54:47,251 --> 00:54:48,629 YOU BROKE IN HERE! YOU TOOK A PRETTY SEVERE BLOW ON THE HEAD, MA'AM. 1703 00:54:48,653 --> 00:54:50,664 YOU TOOK A PRETTY SEVERE BLOW ON THE HEAD, MA'AM. MAYBE YOU'RE IMAGINING THINGS. 1704 00:54:50,688 --> 00:54:52,165 ON THE HEAD, MA'AM. MAYBE YOU'RE IMAGINING THINGS. YOU ACCUSED US OF BEING 1705 00:54:52,189 --> 00:54:53,900 MAYBE YOU'RE IMAGINING THINGS. YOU ACCUSED US OF BEING LESBIANS, AND THEN YOU... THEN 1706 00:54:53,924 --> 00:54:54,868 YOU ACCUSED US OF BEING LESBIANS, AND THEN YOU... THEN YOU KILLED HER! 1707 00:54:54,892 --> 00:54:56,035 LESBIANS, AND THEN YOU... THEN YOU KILLED HER! MURDERERS! 1708 00:54:56,059 --> 00:54:56,870 YOU KILLED HER! MURDERERS! SHUT UP! 1709 00:54:56,894 --> 00:55:00,206 MURDERERS! SHUT UP! AAH! 1710 00:55:00,230 --> 00:55:01,841 SHUT UP! AAH! SHE'S THE ONLY LIVING PERSON 1711 00:55:01,865 --> 00:55:02,942 AAH! SHE'S THE ONLY LIVING PERSON WHO KNOWS ABOUT US. 1712 00:55:02,966 --> 00:55:03,943 SHE'S THE ONLY LIVING PERSON WHO KNOWS ABOUT US. BETTER KILL HER. 1713 00:55:03,967 --> 00:55:04,745 WHO KNOWS ABOUT US. BETTER KILL HER. YEAH. 1714 00:55:04,769 --> 00:55:06,313 BETTER KILL HER. YEAH. NO, NO, NO, WAIT. 1715 00:55:06,337 --> 00:55:07,347 YEAH. NO, NO, NO, WAIT. NO GUNSHOTS. 1716 00:55:07,371 --> 00:55:08,548 NO, NO, NO, WAIT. NO GUNSHOTS. OUT THE WINDOW. 1717 00:55:08,572 --> 00:55:10,717 NO GUNSHOTS. OUT THE WINDOW. OH, IT'S ALWAYS OUT THE 1718 00:55:10,741 --> 00:55:15,054 OUT THE WINDOW. OH, IT'S ALWAYS OUT THE WINDOW. 1719 00:55:15,078 --> 00:55:17,891 OH, IT'S ALWAYS OUT THE WINDOW. [GRUNTING] 1720 00:55:17,915 --> 00:55:19,559 WINDOW. [GRUNTING] MEET YOUR MAKER, DYKE. 1721 00:55:19,583 --> 00:55:20,560 [GRUNTING] MEET YOUR MAKER, DYKE. [HORN HONKS] 1722 00:55:20,584 --> 00:55:25,565 MEET YOUR MAKER, DYKE. [HORN HONKS] HAPPY LANDINGS! 1723 00:55:25,589 --> 00:55:27,066 [HORN HONKS] HAPPY LANDINGS! BETTER GET OUT OF HERE BEFORE 1724 00:55:27,090 --> 00:55:29,810 HAPPY LANDINGS! BETTER GET OUT OF HERE BEFORE THE REAL POLICE COME. 1725 00:55:37,734 --> 00:55:42,982 CARLA BRYSON SURVIVED HER 16-STORY PLUNGE TO STAND TRIAL FOR THE MURDER OF HER ROOMMATE, 1726 00:55:43,006 --> 00:55:43,750 16-STORY PLUNGE TO STAND TRIAL FOR THE MURDER OF HER ROOMMATE, CATHY LABERGE. 1727 00:55:43,774 --> 00:55:45,018 FOR THE MURDER OF HER ROOMMATE, CATHY LABERGE. THE JUDGE AND JURY DID NOT 1728 00:55:45,042 --> 00:55:46,320 CATHY LABERGE. THE JUDGE AND JURY DID NOT BELIEVE HER STORY ABOUT THE 1729 00:55:46,344 --> 00:55:47,854 THE JUDGE AND JURY DID NOT BELIEVE HER STORY ABOUT THE EX-POLICE, AND SHE WAS SENTENCED 1730 00:55:47,878 --> 00:55:49,222 BELIEVE HER STORY ABOUT THE EX-POLICE, AND SHE WAS SENTENCED TO 20 YEARS AT THE CALIFORNIA 1731 00:55:49,246 --> 00:55:50,624 EX-POLICE, AND SHE WAS SENTENCED TO 20 YEARS AT THE CALIFORNIA STATE WOMEN'S PENITENTIARY AT 1732 00:55:50,648 --> 00:55:52,091 TO 20 YEARS AT THE CALIFORNIA STATE WOMEN'S PENITENTIARY AT CHINO, WHERE, SIX MONTHS LATER, 1733 00:55:52,115 --> 00:55:53,527 STATE WOMEN'S PENITENTIARY AT CHINO, WHERE, SIX MONTHS LATER, SHE DIED OF INJURIES SUSTAINED 1734 00:55:53,551 --> 00:55:54,795 CHINO, WHERE, SIX MONTHS LATER, SHE DIED OF INJURIES SUSTAINED WHILE BEING ASSAULTED BY A 1735 00:55:54,819 --> 00:55:57,619 SHE DIED OF INJURIES SUSTAINED WHILE BEING ASSAULTED BY A FELLOW INMATE. 1736 00:56:07,063 --> 00:56:10,444 Announcer: FINALLY, IT'S HERE, THE RECORD ALBUM THAT HAD TO BE MADE. 1737 00:56:10,468 --> 00:56:11,745 HERE, THE RECORD ALBUM THAT HAD TO BE MADE. FINALLY, THE WOMAN AND THE 1738 00:56:11,769 --> 00:56:13,279 TO BE MADE. FINALLY, THE WOMAN AND THE ISLAND OF THE SAME NAME MEET... 1739 00:56:13,303 --> 00:56:16,115 FINALLY, THE WOMAN AND THE ISLAND OF THE SAME NAME MEET... "CICELY SINGS SICILY," THE VOICE 1740 00:56:16,139 --> 00:56:18,084 ISLAND OF THE SAME NAME MEET... "CICELY SINGS SICILY," THE VOICE OF CICELY TYSON, THE SONGS OF 1741 00:56:18,108 --> 00:56:19,185 "CICELY SINGS SICILY," THE VOICE OF CICELY TYSON, THE SONGS OF SICILY, ITALY. 1742 00:56:19,209 --> 00:56:20,620 OF CICELY TYSON, THE SONGS OF SICILY, ITALY. BUT IT'S NOT JUST AN ALBUM FOR 1743 00:56:20,644 --> 00:56:22,121 SICILY, ITALY. BUT IT'S NOT JUST AN ALBUM FOR PEOPLE WHO LOVE THE TWO CICELYS. 1744 00:56:22,145 --> 00:56:23,790 BUT IT'S NOT JUST AN ALBUM FOR PEOPLE WHO LOVE THE TWO CICELYS. IT'S AN ALBUM EVERYONE WILL 1745 00:56:23,814 --> 00:56:24,290 PEOPLE WHO LOVE THE TWO CICELYS. IT'S AN ALBUM EVERYONE WILL WANT. 1746 00:56:24,314 --> 00:56:25,124 IT'S AN ALBUM EVERYONE WILL WANT. HERE! 1747 00:56:25,148 --> 00:56:26,593 WANT. HERE! [SINGING IN ITALIAN] 1748 00:56:26,617 --> 00:56:28,228 HERE! [SINGING IN ITALIAN] Announcer: "QUANTU E BEDDA 1749 00:56:28,252 --> 00:56:28,862 [SINGING IN ITALIAN] Announcer: "QUANTU E BEDDA CEFALU"! 1750 00:56:28,886 --> 00:56:34,322 CEFALU"! ♪ QUANTU E BEDDA CEFALU ♪ 1751 00:56:51,708 --> 00:56:53,241 THIS RECORD IS NOT AVAILABLE IN 1752 00:56:53,376 --> 00:56:54,242 RECORD STORES. 1753 00:56:54,377 --> 00:56:56,177 YOU GET... 1754 00:57:07,990 --> 00:57:11,192 AND MORE! 1755 00:57:11,327 --> 00:57:12,628 FINALLY, THE VOICE OF 1756 00:57:12,762 --> 00:57:14,596 CICELY TYSON MEETS THE SONGS OF 1757 00:57:14,731 --> 00:57:16,498 SICILY, ITALY, NOW DURING THE 1758 00:57:16,633 --> 00:57:18,467 INTRODUCTORY PERIOD ONLY $7.95, 1759 00:57:18,601 --> 00:57:20,469 BUT, SORRY, ONLY ONE ALBUM SOLD 1760 00:57:20,603 --> 00:57:21,336 PER FAMILY. 1761 00:57:21,471 --> 00:57:24,005 "CICELY SINGS SICILY," AVAILABLE 1762 00:57:24,140 --> 00:57:27,008 ONLY THROUGH... 1763 00:57:27,143 --> 00:57:28,677 FROM TAX SHELTER RECORDS, A 1764 00:57:28,812 --> 00:57:30,178 DIVISION OF ARIZONA LAND 1765 00:57:30,313 --> 00:57:32,280 DEVELOPMENT CORP. 1766 00:57:39,722 --> 00:57:47,722 HELLO, I'M EMILY LITELLA, AND THIS THE "EMILY LITELLA-VISION SHOW." 1767 00:57:48,933 --> 00:57:51,244 THIS THE "EMILY LITELLA-VISION SHOW." SO... 1768 00:57:51,268 --> 00:57:53,747 "EMILY LITELLA-VISION SHOW." SO... SO SIT BACK AND RELAX AND MAKE 1769 00:57:53,771 --> 00:57:56,215 SO... SO SIT BACK AND RELAX AND MAKE YOURSELF A NICE CUP OF TEA AND 1770 00:57:56,239 --> 00:57:58,418 SO SIT BACK AND RELAX AND MAKE YOURSELF A NICE CUP OF TEA AND SOME TOAST, LIKE I'VE MADE 1771 00:57:58,442 --> 00:57:59,285 YOURSELF A NICE CUP OF TEA AND SOME TOAST, LIKE I'VE MADE MYSELF. 1772 00:57:59,309 --> 00:58:01,287 SOME TOAST, LIKE I'VE MADE MYSELF. MMM! 1773 00:58:01,311 --> 00:58:02,789 MYSELF. MMM! GOOD TOAST. 1774 00:58:02,813 --> 00:58:04,223 MMM! GOOD TOAST. NOW, TONIGHT ON 1775 00:58:04,247 --> 00:58:06,493 GOOD TOAST. NOW, TONIGHT ON "LITELLA-VISION," WE'RE ALL 1776 00:58:06,517 --> 00:58:08,562 NOW, TONIGHT ON "LITELLA-VISION," WE'RE ALL GOING TO WATCH A SPECIAL 1777 00:58:08,586 --> 00:58:11,164 "LITELLA-VISION," WE'RE ALL GOING TO WATCH A SPECIAL PRESENTATION, THE VERY NICE LOVE 1778 00:58:11,188 --> 00:58:13,166 GOING TO WATCH A SPECIAL PRESENTATION, THE VERY NICE LOVE DUET ON THE STAIRS FROM 1779 00:58:13,190 --> 00:58:15,301 PRESENTATION, THE VERY NICE LOVE DUET ON THE STAIRS FROM GEORGE GERSHWIN'S IMMORAL 1780 00:58:15,325 --> 00:58:21,808 DUET ON THE STAIRS FROM GEORGE GERSHWIN'S IMMORAL CLASSIC "PORKY AND BESS." 1781 00:58:21,832 --> 00:58:29,483 GEORGE GERSHWIN'S IMMORAL CLASSIC "PORKY AND BESS." ♪ PORKY, I'S YOUR WOMAN NOW ♪ 1782 00:58:29,507 --> 00:58:32,318 CLASSIC "PORKY AND BESS." ♪ PORKY, I'S YOUR WOMAN NOW ♪ ♪ I IS ♪ 1783 00:58:32,342 --> 00:58:34,320 ♪ PORKY, I'S YOUR WOMAN NOW ♪ ♪ I IS ♪ ♪ I IS ♪ 1784 00:58:34,344 --> 00:58:37,156 ♪ I IS ♪ ♪ I IS ♪ ♪ AND I AIN'T NEVER GOIN' 1785 00:58:37,180 --> 00:58:38,157 ♪ I IS ♪ ♪ AND I AIN'T NEVER GOIN' NOWHERES ♪ 1786 00:58:38,181 --> 00:58:45,665 ♪ AND I AIN'T NEVER GOIN' NOWHERES ♪ ♪ 'LESS'N YOU SHARES THE FUN ♪ 1787 00:58:45,689 --> 00:58:49,503 NOWHERES ♪ ♪ 'LESS'N YOU SHARES THE FUN ♪ ♪ BE-BE-BE-BE-BE-BE-BESS ♪ 1788 00:58:49,527 --> 00:58:54,007 ♪ 'LESS'N YOU SHARES THE FUN ♪ ♪ BE-BE-BE-BE-BE-BE-BESS ♪ ♪ YOU IS MY WO-WO-WO-WO-WOMAN 1789 00:58:54,031 --> 00:58:56,175 ♪ BE-BE-BE-BE-BE-BE-BESS ♪ ♪ YOU IS MY WO-WO-WO-WO-WOMAN NOW ♪ 1790 00:58:56,199 --> 00:58:59,679 ♪ YOU IS MY WO-WO-WO-WO-WOMAN NOW ♪ ♪ SOMEHOW ♪ 1791 00:58:59,703 --> 00:59:03,517 NOW ♪ ♪ SOMEHOW ♪ ♪ BUT I AIN'T GOIN' ♪ 1792 00:59:03,541 --> 00:59:06,352 ♪ SOMEHOW ♪ ♪ BUT I AIN'T GOIN' ♪ ♪ YOU HEAR ME SAYIN' ♪ 1793 00:59:06,376 --> 00:59:10,356 ♪ BUT I AIN'T GOIN' ♪ ♪ YOU HEAR ME SAYIN' ♪ ♪ IF YOU AIN'T GOIN' ♪ 1794 00:59:10,380 --> 00:59:13,693 ♪ YOU HEAR ME SAYIN' ♪ ♪ IF YOU AIN'T GOIN' ♪ ♪ WITH YOU I'M STAYIN' ♪ 1795 00:59:13,717 --> 00:59:17,697 ♪ IF YOU AIN'T GOIN' ♪ ♪ WITH YOU I'M STAYIN' ♪ ♪ BE-BE-BE-BE-BE-BE-BESS ♪ 1796 00:59:17,721 --> 00:59:22,035 ♪ WITH YOU I'M STAYIN' ♪ ♪ BE-BE-BE-BE-BE-BE-BESS ♪ ♪ YOU IS MY WO-WO-WO-WOMAN 1797 00:59:22,059 --> 00:59:24,203 ♪ BE-BE-BE-BE-BE-BE-BESS ♪ ♪ YOU IS MY WO-WO-WO-WOMAN N-NOW ♪ 1798 00:59:24,227 --> 00:59:30,999 ♪ YOU IS MY WO-WO-WO-WOMAN N-NOW ♪ ♪ I'S YOURS FOREVER ♪ 1799 00:59:37,339 --> 00:59:42,689 Both: ♪ MORNIN' TIME AND EVENIN' TIME ♪ ♪ AND SUMMERTIME AND 1800 00:59:42,713 --> 00:59:44,524 EVENIN' TIME ♪ ♪ AND SUMMERTIME AND WINTERTIME ♪ 1801 00:59:44,548 --> 00:59:45,692 ♪ AND SUMMERTIME AND WINTERTIME ♪ ♪ WHOA, MY BESSIE ♪ 1802 00:59:45,716 --> 00:59:47,694 WINTERTIME ♪ ♪ WHOA, MY BESSIE ♪ ♪ PORKY ♪ 1803 00:59:47,718 --> 00:59:48,862 ♪ WHOA, MY BESSIE ♪ ♪ PORKY ♪ ♪ WE'S HAPPY NOW ♪ 1804 00:59:48,886 --> 00:59:56,036 ♪ PORKY ♪ ♪ WE'S HAPPY NOW ♪ ♪ I'S YOUR WOMAN NOW ♪ 1805 00:59:56,060 --> 01:00:03,710 ♪ WE'S HAPPY NOW ♪ ♪ I'S YOUR WOMAN NOW ♪ ♪ WE IS WARM ♪ 1806 01:00:03,734 --> 01:00:11,673 ♪ I'S YOUR WOMAN NOW ♪ ♪ WE IS WARM ♪ Both: ♪ NOW ♪ 1807 01:00:15,177 --> 01:00:23,177 ♪ B-B-B-BESS ♪ ♪ B-B-B-BESS ♪ ♪ B-B-B-BESS, YOU IS M-M-M-MY 1808 01:00:24,221 --> 01:00:25,364 ♪ B-B-B-BESS ♪ ♪ B-B-B-BESS, YOU IS M-M-M-MY WOMAN ♪ 1809 01:00:25,388 --> 01:00:28,201 ♪ B-B-B-BESS, YOU IS M-M-M-MY WOMAN ♪ WASN'T THAT ABSOLUTELY LOVELY? 1810 01:00:28,225 --> 01:00:30,169 WOMAN ♪ WASN'T THAT ABSOLUTELY LOVELY? IT'S GOOD TO KNOW THAT PEOPLE 1811 01:00:30,193 --> 01:00:32,171 WASN'T THAT ABSOLUTELY LOVELY? IT'S GOOD TO KNOW THAT PEOPLE ARE FINALLY WRITING OPERAS FOR 1812 01:00:32,195 --> 01:00:35,008 IT'S GOOD TO KNOW THAT PEOPLE ARE FINALLY WRITING OPERAS FOR STUTTERING PIGS. 1813 01:00:35,032 --> 01:00:37,110 ARE FINALLY WRITING OPERAS FOR STUTTERING PIGS. NOW ALL OF YOU BE SURE TO JOIN 1814 01:00:37,134 --> 01:00:38,578 STUTTERING PIGS. NOW ALL OF YOU BE SURE TO JOIN ME NEXT WEEK ON THE 1815 01:00:38,602 --> 01:00:40,747 NOW ALL OF YOU BE SURE TO JOIN ME NEXT WEEK ON THE "EMILY LITELLA-VISION SHOW," 1816 01:00:40,771 --> 01:00:42,415 ME NEXT WEEK ON THE "EMILY LITELLA-VISION SHOW," WHEN WE'LL BE WATCHING 1817 01:00:42,439 --> 01:00:44,417 "EMILY LITELLA-VISION SHOW," WHEN WE'LL BE WATCHING WILLIAM SHAKESPEARE'S TRAGIC 1818 01:00:44,441 --> 01:00:48,588 WHEN WE'LL BE WATCHING WILLIAM SHAKESPEARE'S TRAGIC LOVE SAGA, "RODEO AND JULIET." 1819 01:00:48,612 --> 01:00:50,590 WILLIAM SHAKESPEARE'S TRAGIC LOVE SAGA, "RODEO AND JULIET." THIS HAS BEEN "LITELLA-VISION." 1820 01:00:50,614 --> 01:00:54,254 LOVE SAGA, "RODEO AND JULIET." THIS HAS BEEN "LITELLA-VISION." NOW SHUT IT OFF AND GO TO BED! 1821 01:01:01,390 --> 01:01:07,741 Announcer: ONCE AGAIN, TALKING HEADS. [CHEERS AND APPLAUSE] 1822 01:01:07,765 --> 01:01:09,909 TALKING HEADS. [CHEERS AND APPLAUSE] [INTRO TO "ARTISTS ONLY" 1823 01:01:09,933 --> 01:01:11,973 [CHEERS AND APPLAUSE] [INTRO TO "ARTISTS ONLY" PLAYS] 1824 01:01:39,428 --> 01:01:44,610 ♪ I'M PAINTING ♪ ♪ I'M PAINTING AGAIN ♪ ♪ I'M PAINTING ♪ 1825 01:01:44,634 --> 01:01:46,612 ♪ I'M PAINTING AGAIN ♪ ♪ I'M PAINTING ♪ ♪ I'M PAINTING AGAIN ♪ 1826 01:01:46,636 --> 01:01:48,447 ♪ I'M PAINTING ♪ ♪ I'M PAINTING AGAIN ♪ ♪ I'M CLEANING ♪ 1827 01:01:48,471 --> 01:01:50,449 ♪ I'M PAINTING AGAIN ♪ ♪ I'M CLEANING ♪ ♪ I'M CLEANING AGAIN ♪ 1828 01:01:50,473 --> 01:01:51,951 ♪ I'M CLEANING ♪ ♪ I'M CLEANING AGAIN ♪ ♪ I'M CLEANING ♪ 1829 01:01:51,975 --> 01:01:54,335 ♪ I'M CLEANING AGAIN ♪ ♪ I'M CLEANING ♪ ♪ CLEANING MY BRAIN ♪ 1830 01:02:22,705 --> 01:02:27,887 ♪ PRETTY SOON NOW ♪ ♪ I WILL BE BITTER ♪ ♪ PRETTY SOON NOW ♪ 1831 01:02:27,911 --> 01:02:29,889 ♪ I WILL BE BITTER ♪ ♪ PRETTY SOON NOW ♪ ♪ WILL BE A QUITTER ♪ 1832 01:02:29,913 --> 01:02:31,557 ♪ PRETTY SOON NOW ♪ ♪ WILL BE A QUITTER ♪ ♪ PRETTY SOON NOW ♪ 1833 01:02:31,581 --> 01:02:33,059 ♪ WILL BE A QUITTER ♪ ♪ PRETTY SOON NOW ♪ ♪ I WILL BE BITTER ♪ 1834 01:02:33,083 --> 01:02:36,062 ♪ PRETTY SOON NOW ♪ ♪ I WILL BE BITTER ♪ ♪ YOU CAN'T SEE IT TILL IT'S 1835 01:02:36,086 --> 01:02:38,406 ♪ I WILL BE BITTER ♪ ♪ YOU CAN'T SEE IT TILL IT'S FINISHED ♪ 1836 01:03:35,945 --> 01:03:41,961 ♪ I DON'T HAVE TO PROVE THAT I AM CREATIVE ♪ ♪ I DON'T HAVE TO PROVE THAT I 1837 01:03:41,985 --> 01:03:43,629 AM CREATIVE ♪ ♪ I DON'T HAVE TO PROVE THAT I AM CREATIVE ♪ 1838 01:03:43,653 --> 01:03:47,133 ♪ I DON'T HAVE TO PROVE THAT I AM CREATIVE ♪ ♪ ALL MY PICTURES ARE CONFUSED ♪ 1839 01:03:47,157 --> 01:03:49,635 AM CREATIVE ♪ ♪ ALL MY PICTURES ARE CONFUSED ♪ ♪ AND NOW I'M GOING TO TAKE ME 1840 01:03:49,659 --> 01:03:52,459 ♪ ALL MY PICTURES ARE CONFUSED ♪ ♪ AND NOW I'M GOING TO TAKE ME TO YOU ♪ 1841 01:04:22,458 --> 01:04:27,262 [FINALE PLAYS] [CHEERS AND APPLAUSE] 1842 01:04:47,283 --> 01:04:49,084 [CHEERS AND APPLAUSE] 1843 01:05:01,197 --> 01:05:09,197 [LAUGHS] IT'S BEEN A WONDERFUL, WONDERFUL WEEK FOR ME! 1844 01:05:11,909 --> 01:05:14,553 IT'S BEEN A WONDERFUL, WONDERFUL WEEK FOR ME! I'VE HAD AN ABSOLUTE BALL! 1845 01:05:14,577 --> 01:05:16,055 WEEK FOR ME! I'VE HAD AN ABSOLUTE BALL! I LOVE THEM ALL! 1846 01:05:16,079 --> 01:05:17,723 I'VE HAD AN ABSOLUTE BALL! I LOVE THEM ALL! MY BEST FRIENDS! 1847 01:05:17,747 --> 01:05:19,392 I LOVE THEM ALL! MY BEST FRIENDS! NIGHT! THANK YOU! NIGHT! 1848 01:05:19,416 --> 01:05:20,226 MY BEST FRIENDS! NIGHT! THANK YOU! NIGHT! HI, LOU! 1849 01:05:20,250 --> 01:05:22,350 NIGHT! THANK YOU! NIGHT! HI, LOU! NIGHT! 1850 01:05:34,830 --> 01:05:36,664 Announcer: NEXT SATURDAY 1851 01:05:36,799 --> 01:05:38,366 NIGHT, OUR HOST WILL BE 1852 01:05:38,500 --> 01:05:40,568 RICK NELSON, WITH MUSICAL GUEST 1853 01:05:40,702 --> 01:05:41,836 JUDY COLLINS. 1854 01:05:41,971 --> 01:05:44,072 THIS IS YOUR OLD VALENTINE, 1855 01:05:44,206 --> 01:05:46,674 DON PARDO, SAYING "GOOD NIGHT." 201089

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