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All language subtitles for SNL S01E18 Raquel Welch.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 00:00:04,537 --> 00:00:09,720 AND NOW OUR FINAL CATEGORY. IN THE CATEGORY OF BEST PERFORMANCE BY AN ACTOR IN A 2 00:00:09,744 --> 00:00:12,122 IN THE CATEGORY OF BEST PERFORMANCE BY AN ACTOR IN A POLITICAL CAMPAIGN, THE NOMINEES 3 00:00:12,146 --> 00:00:12,956 PERFORMANCE BY AN ACTOR IN A POLITICAL CAMPAIGN, THE NOMINEES ARE... 4 00:00:12,980 --> 00:00:14,791 POLITICAL CAMPAIGN, THE NOMINEES ARE... JIMMY CARTER, FOR HIS USE OF THE 5 00:00:14,815 --> 00:00:17,994 ARE... JIMMY CARTER, FOR HIS USE OF THE TERM "ETHNIC PURITY"... 6 00:00:18,018 --> 00:00:20,097 JIMMY CARTER, FOR HIS USE OF THE TERM "ETHNIC PURITY"... HENRY JACKSON, FOR THE MOST 7 00:00:20,121 --> 00:00:21,397 TERM "ETHNIC PURITY"... HENRY JACKSON, FOR THE MOST FORGETTABLE STANCE ON ANY 8 00:00:21,421 --> 00:00:23,299 HENRY JACKSON, FOR THE MOST FORGETTABLE STANCE ON ANY ISSUE... 9 00:00:23,323 --> 00:00:25,602 FORGETTABLE STANCE ON ANY ISSUE... RONALD REAGAN, FOR NOT MAKING 10 00:00:25,626 --> 00:00:27,637 ISSUE... RONALD REAGAN, FOR NOT MAKING ANY MORE MOVIES... 11 00:00:27,661 --> 00:00:30,240 RONALD REAGAN, FOR NOT MAKING ANY MORE MOVIES... GERALD FORD, FOR SHORTENING THE 12 00:00:30,264 --> 00:00:32,743 ANY MORE MOVIES... GERALD FORD, FOR SHORTENING THE NATION'S ATTENTION SPAN... 13 00:00:32,767 --> 00:00:35,612 GERALD FORD, FOR SHORTENING THE NATION'S ATTENTION SPAN... GEORGE WALLACE, FOR HIS UNDYING 14 00:00:35,636 --> 00:00:38,181 NATION'S ATTENTION SPAN... GEORGE WALLACE, FOR HIS UNDYING DEVOTION TO CIVIL RIGHTS... 15 00:00:38,205 --> 00:00:39,716 GEORGE WALLACE, FOR HIS UNDYING DEVOTION TO CIVIL RIGHTS... MORRIS UDALL, FOR HIS CLEVER 16 00:00:39,740 --> 00:00:42,685 DEVOTION TO CIVIL RIGHTS... MORRIS UDALL, FOR HIS CLEVER CHOICE OF THE NAME "MO"... 17 00:00:42,709 --> 00:00:45,355 MORRIS UDALL, FOR HIS CLEVER CHOICE OF THE NAME "MO"... HUBERT HUMPHREY, FOR HIS NEW, 18 00:00:45,379 --> 00:00:47,657 CHOICE OF THE NAME "MO"... HUBERT HUMPHREY, FOR HIS NEW, FRESH, YOUNG IDEALISM... 19 00:00:47,681 --> 00:00:49,159 HUBERT HUMPHREY, FOR HIS NEW, FRESH, YOUNG IDEALISM... JERRY BROWN, FOR 20 00:00:49,183 --> 00:00:51,094 FRESH, YOUNG IDEALISM... JERRY BROWN, FOR RING-AROUND-THE-COLLAR... 21 00:00:51,118 --> 00:00:54,131 JERRY BROWN, FOR RING-AROUND-THE-COLLAR... AND EDWARD M. KENNEDY, FOR HIS 22 00:00:54,155 --> 00:00:57,100 RING-AROUND-THE-COLLAR... AND EDWARD M. KENNEDY, FOR HIS FIRM DECISION NOT TO RUN... 23 00:00:57,124 --> 00:00:58,869 AND EDWARD M. KENNEDY, FOR HIS FIRM DECISION NOT TO RUN... YET. 24 00:00:58,893 --> 00:01:05,142 FIRM DECISION NOT TO RUN... YET. MAY I HAVE THE ENVELOPE, PLEASE? 25 00:01:05,166 --> 00:01:08,311 YET. MAY I HAVE THE ENVELOPE, PLEASE? THANK YOU. 26 00:01:08,335 --> 00:01:12,916 MAY I HAVE THE ENVELOPE, PLEASE? THANK YOU. AND THE WINNER IS... 27 00:01:12,940 --> 00:01:13,549 THANK YOU. AND THE WINNER IS... WHAT IS THIS? 28 00:01:13,573 --> 00:01:17,154 AND THE WINNER IS... WHAT IS THIS? "GET TO THE FALL, CHEVY." 29 00:01:17,178 --> 00:01:20,090 WHAT IS THIS? "GET TO THE FALL, CHEVY." [LAUGHTER] 30 00:01:20,114 --> 00:01:21,524 "GET TO THE FALL, CHEVY." [LAUGHTER] I DON'T BELIEVE THIS. 31 00:01:21,548 --> 00:01:24,694 [LAUGHTER] I DON'T BELIEVE THIS. UH, LOOK, I WROTE... EXCUSE ME. 32 00:01:24,718 --> 00:01:25,561 I DON'T BELIEVE THIS. UH, LOOK, I WROTE... EXCUSE ME. I WROTE THIS PIECE. 33 00:01:25,585 --> 00:01:26,629 UH, LOOK, I WROTE... EXCUSE ME. I WROTE THIS PIECE. THIS IS SUPPOSED TO BE THE 34 00:01:26,653 --> 00:01:27,898 I WROTE THIS PIECE. THIS IS SUPPOSED TO BE THE PUNCH LINE TO THE PIECE... THE 35 00:01:27,922 --> 00:01:29,599 THIS IS SUPPOSED TO BE THE PUNCH LINE TO THE PIECE... THE PUNCH LINE ON THE CARD. 36 00:01:29,623 --> 00:01:30,333 PUNCH LINE TO THE PIECE... THE PUNCH LINE ON THE CARD. I'M A WRITER. 37 00:01:30,357 --> 00:01:31,802 PUNCH LINE ON THE CARD. I'M A WRITER. I'M NOT JUST THE GUY WHO FALLS 38 00:01:31,826 --> 00:01:34,504 I'M A WRITER. I'M NOT JUST THE GUY WHO FALLS AND DOES THE... NEWSCASTER. 39 00:01:34,528 --> 00:01:36,106 I'M NOT JUST THE GUY WHO FALLS AND DOES THE... NEWSCASTER. AND FRANKLY, I'M HURT, AND I 40 00:01:36,130 --> 00:01:37,440 AND DOES THE... NEWSCASTER. AND FRANKLY, I'M HURT, AND I DON'T THINK IT'S FUNNY. 41 00:01:37,464 --> 00:01:39,609 AND FRANKLY, I'M HURT, AND I DON'T THINK IT'S FUNNY. AND, UH, I MEAN, I'M A POLITICAL 42 00:01:39,633 --> 00:01:41,744 DON'T THINK IT'S FUNNY. AND, UH, I MEAN, I'M A POLITICAL SATIRIST, NOT SOME GUY WHO JUST 43 00:01:41,768 --> 00:01:43,814 AND, UH, I MEAN, I'M A POLITICAL SATIRIST, NOT SOME GUY WHO JUST FALLS FOR YOU GUYS AROUND HERE, 44 00:01:43,838 --> 00:01:46,149 SATIRIST, NOT SOME GUY WHO JUST FALLS FOR YOU GUYS AROUND HERE, PRODUCER LORNE MICHAELS. 45 00:01:46,173 --> 00:01:47,550 FALLS FOR YOU GUYS AROUND HERE, PRODUCER LORNE MICHAELS. AND I'D LIKE THE CORRECT CARD IN 46 00:01:47,574 --> 00:01:48,551 PRODUCER LORNE MICHAELS. AND I'D LIKE THE CORRECT CARD IN THE CORRECT ENVELOPE. 47 00:01:48,575 --> 00:01:49,853 AND I'D LIKE THE CORRECT CARD IN THE CORRECT ENVELOPE. YOU KNOW, THERE'S A PUNCH LINE 48 00:01:49,877 --> 00:01:50,620 THE CORRECT ENVELOPE. YOU KNOW, THERE'S A PUNCH LINE TO THIS SKETCH. 49 00:01:50,644 --> 00:01:51,988 YOU KNOW, THERE'S A PUNCH LINE TO THIS SKETCH. I'D LIKE THE RIGHT TAG, PLEASE, 50 00:01:52,012 --> 00:01:54,224 TO THIS SKETCH. I'D LIKE THE RIGHT TAG, PLEASE, IF YOU DON'T MIND. 51 00:01:54,248 --> 00:01:55,225 I'D LIKE THE RIGHT TAG, PLEASE, IF YOU DON'T MIND. I'M SORRY. 52 00:01:55,249 --> 00:01:56,492 IF YOU DON'T MIND. I'M SORRY. I'LL WAIT. I'LL WAIT. 53 00:01:56,516 --> 00:02:01,231 I'M SORRY. I'LL WAIT. I'LL WAIT. I'D LIKE THE RIGHT CARD. 54 00:02:01,255 --> 00:02:02,999 I'LL WAIT. I'LL WAIT. I'D LIKE THE RIGHT CARD. I'LL WAIT. 55 00:02:03,023 --> 00:02:04,367 I'D LIKE THE RIGHT CARD. I'LL WAIT. SORRY TO KEEP THE COUNTRY 56 00:02:04,391 --> 00:02:04,968 I'LL WAIT. SORRY TO KEEP THE COUNTRY WAITING. 57 00:02:04,992 --> 00:02:07,204 SORRY TO KEEP THE COUNTRY WAITING. THIS WAS NOT MY IDEA. 58 00:02:07,228 --> 00:02:11,441 WAITING. THIS WAS NOT MY IDEA. I WILL WAIT FOR THE ENVELOPE... 59 00:02:11,465 --> 00:02:19,149 THIS WAS NOT MY IDEA. I WILL WAIT FOR THE ENVELOPE... FOR THE PUNCH LINE. 60 00:02:19,173 --> 00:02:21,184 I WILL WAIT FOR THE ENVELOPE... FOR THE PUNCH LINE. [LAUGHTER] 61 00:02:21,208 --> 00:02:24,221 FOR THE PUNCH LINE. [LAUGHTER] AND THE WINNER IS... 62 00:02:24,245 --> 00:02:25,722 [LAUGHTER] AND THE WINNER IS... "DON'T STRETCH THIS OUT, CHEVY. 63 00:02:25,746 --> 00:02:26,689 AND THE WINNER IS... "DON'T STRETCH THIS OUT, CHEVY. GET TO THE FALL." 64 00:02:26,713 --> 00:02:28,225 "DON'T STRETCH THIS OUT, CHEVY. GET TO THE FALL." THAT IS IT! 65 00:02:28,249 --> 00:02:33,529 GET TO THE FALL." THAT IS IT! [LAUGHTER AND APPLAUSE] 66 00:02:33,553 --> 00:02:36,066 THAT IS IT! [LAUGHTER AND APPLAUSE] I-I'M OUT OF THIS. 67 00:02:36,090 --> 00:02:37,200 [LAUGHTER AND APPLAUSE] I-I'M OUT OF THIS. I'M WALKING. 68 00:02:37,224 --> 00:02:38,902 I-I'M OUT OF THIS. I'M WALKING. [LAUGHTER] 69 00:02:38,926 --> 00:02:39,970 I'M WALKING. [LAUGHTER] I'LL TELL YOU SOMETHING. 70 00:02:39,994 --> 00:02:42,605 [LAUGHTER] I'LL TELL YOU SOMETHING. I'LL TELL YOU SOMETHING. 71 00:02:42,629 --> 00:02:44,440 I'LL TELL YOU SOMETHING. I'LL TELL YOU SOMETHING. I AM NOT JUST A PHYSICAL 72 00:02:44,464 --> 00:02:46,509 I'LL TELL YOU SOMETHING. I AM NOT JUST A PHYSICAL COMED... TELEVISION COMEDY... 73 00:02:46,533 --> 00:02:48,178 I AM NOT JUST A PHYSICAL COMED... TELEVISION COMEDY... I-I'M WALKING. 74 00:02:48,202 --> 00:02:48,711 COMED... TELEVISION COMEDY... I-I'M WALKING. THANK YOU. 75 00:02:48,735 --> 00:02:49,880 I-I'M WALKING. THANK YOU. I'VE LOVED DOING THE SHOW. 76 00:02:49,904 --> 00:02:50,780 THANK YOU. I'VE LOVED DOING THE SHOW. YOU'RE GREAT PEOPLE. 77 00:02:50,804 --> 00:02:57,453 I'VE LOVED DOING THE SHOW. YOU'RE GREAT PEOPLE. THANKS A GREAT DEAL. 78 00:02:57,477 --> 00:02:58,654 YOU'RE GREAT PEOPLE. THANKS A GREAT DEAL. [LAUGHTER AND APPLAUSE] 79 00:02:58,678 --> 00:03:00,523 THANKS A GREAT DEAL. [LAUGHTER AND APPLAUSE] LIVE FROM NEW YORK, IT'S 80 00:03:00,547 --> 00:03:02,792 [LAUGHTER AND APPLAUSE] LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! 81 00:03:02,816 --> 00:03:10,816 LIVE FROM NEW YORK, IT'S "SATURDAY NIGHT"! [BAND PLAYS] 82 00:03:12,192 --> 00:03:19,376 "SATURDAY NIGHT"! [BAND PLAYS] Announcer: NBC's... 83 00:03:19,400 --> 00:03:25,248 [BAND PLAYS] Announcer: NBC's... STARRING... 84 00:03:25,272 --> 00:03:27,872 Announcer: NBC's... STARRING... WITH... 85 00:04:02,675 --> 00:04:08,246 LADIES AND GENTLEMEN, RAQUEL WELCH! [CHEERS AND APPLAUSE] 86 00:04:22,295 --> 00:04:30,295 WHOO! WHOO! WELL, THANK YOU. [CLATTERING] 87 00:04:32,272 --> 00:04:35,585 WELL, THANK YOU. [CLATTERING] I, UH... 88 00:04:35,609 --> 00:04:37,320 [CLATTERING] I, UH... [LAUGHS] 89 00:04:37,344 --> 00:04:38,721 I, UH... [LAUGHS] I SAW LAST WEEK'S SHOW, AND I 90 00:04:38,745 --> 00:04:40,256 [LAUGHS] I SAW LAST WEEK'S SHOW, AND I THOUGHT IT WAS VERY FUNNY, BUT I 91 00:04:40,280 --> 00:04:41,724 I SAW LAST WEEK'S SHOW, AND I THOUGHT IT WAS VERY FUNNY, BUT I THOUGHT IT WAS A LITTLE LACKING 92 00:04:41,748 --> 00:04:43,192 THOUGHT IT WAS VERY FUNNY, BUT I THOUGHT IT WAS A LITTLE LACKING IN TASTE UNTIL I FOUND OUT WHAT 93 00:04:43,216 --> 00:04:44,394 THOUGHT IT WAS A LITTLE LACKING IN TASTE UNTIL I FOUND OUT WHAT THEY PLANNED FOR ME THIS 94 00:04:44,418 --> 00:04:44,927 IN TASTE UNTIL I FOUND OUT WHAT THEY PLANNED FOR ME THIS EVENING. 95 00:04:44,951 --> 00:04:45,795 THEY PLANNED FOR ME THIS EVENING. WHEW. 96 00:04:45,819 --> 00:04:47,330 EVENING. WHEW. [INTRO TO "SUPERSTAR" PLAYS] 97 00:04:47,354 --> 00:04:50,600 WHEW. [INTRO TO "SUPERSTAR" PLAYS] HONEY, HONEY, HONEY, HONEY. 98 00:04:50,624 --> 00:04:57,707 [INTRO TO "SUPERSTAR" PLAYS] HONEY, HONEY, HONEY, HONEY. OH. 99 00:04:57,731 --> 00:05:01,110 HONEY, HONEY, HONEY, HONEY. OH. ♪ LONG AGO 100 00:05:01,134 --> 00:05:07,517 OH. ♪ LONG AGO AND, OH, SO FAR AWAY ♪ 101 00:05:07,541 --> 00:05:13,389 ♪ LONG AGO AND, OH, SO FAR AWAY ♪ ♪ I FELL IN LOVE WITH YOU 102 00:05:13,413 --> 00:05:20,596 AND, OH, SO FAR AWAY ♪ ♪ I FELL IN LOVE WITH YOU BEFORE THE SECOND SHOW ♪ 103 00:05:20,620 --> 00:05:24,734 ♪ I FELL IN LOVE WITH YOU BEFORE THE SECOND SHOW ♪ ♪ YOUR GUITAR ♪ 104 00:05:24,758 --> 00:05:30,606 BEFORE THE SECOND SHOW ♪ ♪ YOUR GUITAR ♪ ♪ IT SOUNDS SO SWEET AND CLEAR ♪ 105 00:05:30,630 --> 00:05:36,446 ♪ YOUR GUITAR ♪ ♪ IT SOUNDS SO SWEET AND CLEAR ♪ ♪ BUT YOU'RE NOT REALLY HERE ♪ 106 00:05:36,470 --> 00:05:43,152 ♪ IT SOUNDS SO SWEET AND CLEAR ♪ ♪ BUT YOU'RE NOT REALLY HERE ♪ ♪ IT'S JUST THE RADIO ♪ 107 00:05:43,176 --> 00:05:45,254 ♪ BUT YOU'RE NOT REALLY HERE ♪ ♪ IT'S JUST THE RADIO ♪ ♪ DON'T YOU REMEMBER YOU TOLD ME 108 00:05:45,278 --> 00:05:48,658 ♪ IT'S JUST THE RADIO ♪ ♪ DON'T YOU REMEMBER YOU TOLD ME YOU LOVED ME, BABY? ♪ 109 00:05:48,682 --> 00:05:51,026 ♪ DON'T YOU REMEMBER YOU TOLD ME YOU LOVED ME, BABY? ♪ ♪ SAID YOU'D BE COMING BACK THIS 110 00:05:51,050 --> 00:05:54,430 YOU LOVED ME, BABY? ♪ ♪ SAID YOU'D BE COMING BACK THIS WAY AGAIN, BABY ♪ 111 00:05:54,454 --> 00:05:58,434 ♪ SAID YOU'D BE COMING BACK THIS WAY AGAIN, BABY ♪ ♪ BABY, BABY, BABY, BABY, OH, 112 00:05:58,458 --> 00:06:00,035 WAY AGAIN, BABY ♪ ♪ BABY, BABY, BABY, BABY, OH, BABY ♪ 113 00:06:00,059 --> 00:06:03,606 ♪ BABY, BABY, BABY, BABY, OH, BABY ♪ ♪ I LOVE YOU ♪ 114 00:06:03,630 --> 00:06:11,630 BABY ♪ ♪ I LOVE YOU ♪ ♪ I REALLY DO ♪ 115 00:06:12,472 --> 00:06:17,387 ♪ I LOVE YOU ♪ ♪ I REALLY DO ♪ ♪ LONELINESS 116 00:06:17,411 --> 00:06:22,692 ♪ I REALLY DO ♪ ♪ LONELINESS IS SUCH A SAD AFFAIR ♪ 117 00:06:22,716 --> 00:06:28,330 ♪ LONELINESS IS SUCH A SAD AFFAIR ♪ ♪ BUT I'M NOT READY 118 00:06:28,354 --> 00:06:34,626 IS SUCH A SAD AFFAIR ♪ ♪ BUT I'M NOT READY TO SLEEP WITH YOU AGAIN ♪ 119 00:06:34,894 --> 00:06:38,630 ♪ WHAT TO SAY 120 00:06:38,764 --> 00:06:44,135 TO MAKE YOU COME AGAIN? ♪ 121 00:06:44,269 --> 00:06:50,408 ♪ COME BACK AND PLAY 122 00:06:50,543 --> 00:06:56,981 YOUR SAD GUITAR ♪ 123 00:06:57,249 --> 00:07:01,063 Both: ♪ DON'T YOU REMEMBER YOU TOLD ME YOU LOVED ME, BABY? ♪ 124 00:07:01,087 --> 00:07:02,832 YOU TOLD ME YOU LOVED ME, BABY? ♪ ♪ OH, YEAH ♪ 125 00:07:02,856 --> 00:07:04,300 BABY? ♪ ♪ OH, YEAH ♪ Both: ♪ SAID YOU'D BE COMING 126 00:07:04,324 --> 00:07:07,236 ♪ OH, YEAH ♪ Both: ♪ SAID YOU'D BE COMING BACK THIS WAY AGAIN, BABY ♪ 127 00:07:07,260 --> 00:07:08,571 Both: ♪ SAID YOU'D BE COMING BACK THIS WAY AGAIN, BABY ♪ ♪ OH-OH-OH-OH ♪ 128 00:07:08,595 --> 00:07:09,405 BACK THIS WAY AGAIN, BABY ♪ ♪ OH-OH-OH-OH ♪ Both: ♪ BABY ♪ 129 00:07:09,429 --> 00:07:10,139 ♪ OH-OH-OH-OH ♪ Both: ♪ BABY ♪ ♪ BABY ♪ 130 00:07:10,163 --> 00:07:11,607 Both: ♪ BABY ♪ ♪ BABY ♪ Both: ♪ OH, BABY ♪ 131 00:07:11,631 --> 00:07:12,475 ♪ BABY ♪ Both: ♪ OH, BABY ♪ ♪ OH, BABY ♪ 132 00:07:12,499 --> 00:07:14,744 Both: ♪ OH, BABY ♪ ♪ OH, BABY ♪ ♪ OH, BABY ♪ 133 00:07:14,768 --> 00:07:17,747 ♪ OH, BABY ♪ ♪ OH, BABY ♪ ♪ I LOVE YOU ♪ 134 00:07:17,771 --> 00:07:20,215 ♪ OH, BABY ♪ ♪ I LOVE YOU ♪ ♪ I REALLY DO ♪ 135 00:07:20,239 --> 00:07:24,041 ♪ I LOVE YOU ♪ ♪ I REALLY DO ♪ ♪ YEAH! ♪ 136 00:07:24,309 --> 00:07:25,877 ♪ TOLD ME YOU LOVED ME, 137 00:07:26,011 --> 00:07:27,078 BABY ♪ 138 00:07:27,212 --> 00:07:28,713 ♪ OH, YEAH-AH-AH ♪ 139 00:07:28,848 --> 00:07:30,448 ♪ YOU SAID YOU'D BE COMING BACK 140 00:07:30,583 --> 00:07:32,350 THIS WAY AGAIN, BABY ♪ 141 00:07:32,485 --> 00:07:33,485 ♪ OOH ♪ 142 00:07:33,552 --> 00:07:34,586 ♪ OH, YEAH ♪ 143 00:07:34,720 --> 00:07:37,254 ♪ BABY, BABY, BABY, BABY, BABY, 144 00:07:37,389 --> 00:07:38,990 OH, BABY ♪ 145 00:07:39,124 --> 00:07:40,124 ♪ COME ON, BABE ♪ 146 00:07:40,192 --> 00:07:43,862 ♪ I LOVE YOU ♪ 147 00:07:43,996 --> 00:07:49,667 ♪ I REALLY DO ♪ 148 00:07:49,802 --> 00:07:52,537 [SINGING INDISTINCTLY] 149 00:07:52,671 --> 00:07:59,511 [LAUGHTER AND APPLAUSE] 150 00:07:59,778 --> 00:08:06,017 WE'LL BE RIGHT BACK AFTER THIS MESSAGE... I THINK. [CHEERS AND APPLAUSE] 151 00:08:12,558 --> 00:08:16,305 HONEY. HUH? HONEY, I'M WORRIED ABOUT OUR 152 00:08:16,329 --> 00:08:16,873 HUH? HONEY, I'M WORRIED ABOUT OUR RATS. 153 00:08:16,897 --> 00:08:19,308 HONEY, I'M WORRIED ABOUT OUR RATS. I MEAN, THEY SEEM SO, UH, DULL 154 00:08:19,332 --> 00:08:20,543 RATS. I MEAN, THEY SEEM SO, UH, DULL AND LISTLESS. 155 00:08:20,567 --> 00:08:21,477 I MEAN, THEY SEEM SO, UH, DULL AND LISTLESS. I KNOW, HONEY. 156 00:08:21,501 --> 00:08:22,945 AND LISTLESS. I KNOW, HONEY. THEY'RE NOT SLEEK AND FRISKY, 157 00:08:22,969 --> 00:08:24,414 I KNOW, HONEY. THEY'RE NOT SLEEK AND FRISKY, LIKE THE NEIGHBOR'S RATS NEXT 158 00:08:24,438 --> 00:08:25,381 THEY'RE NOT SLEEK AND FRISKY, LIKE THE NEIGHBOR'S RATS NEXT DOOR. 159 00:08:25,405 --> 00:08:26,883 LIKE THE NEIGHBOR'S RATS NEXT DOOR. YEAH, ALL THEY EVER DO 160 00:08:26,907 --> 00:08:28,651 DOOR. YEAH, ALL THEY EVER DO ANYMORE IS SIT AROUND AND WATCH 161 00:08:28,675 --> 00:08:29,251 YEAH, ALL THEY EVER DO ANYMORE IS SIT AROUND AND WATCH THE TV. 162 00:08:29,275 --> 00:08:30,019 ANYMORE IS SIT AROUND AND WATCH THE TV. YEAH. 163 00:08:30,043 --> 00:08:35,257 THE TV. YEAH. [UP-TEMPO MUSIC PLAYS] 164 00:08:35,281 --> 00:08:36,426 YEAH. [UP-TEMPO MUSIC PLAYS] WHO ARE YOU? 165 00:08:36,450 --> 00:08:38,594 [UP-TEMPO MUSIC PLAYS] WHO ARE YOU? WHY, I'M THE PIED PIPER. 166 00:08:38,618 --> 00:08:40,095 WHO ARE YOU? WHY, I'M THE PIED PIPER. ARE YOUR RODENTS GETTING ALL THE 167 00:08:40,119 --> 00:08:42,565 WHY, I'M THE PIED PIPER. ARE YOUR RODENTS GETTING ALL THE NOURISHMENT THEY DESERVE? 168 00:08:42,589 --> 00:08:43,232 ARE YOUR RODENTS GETTING ALL THE NOURISHMENT THEY DESERVE? WELL, NO. 169 00:08:43,256 --> 00:08:44,667 NOURISHMENT THEY DESERVE? WELL, NO. THE OTHER DAY, THEY ATE MY APRON 170 00:08:44,691 --> 00:08:46,001 WELL, NO. THE OTHER DAY, THEY ATE MY APRON AND PART OF THE TOASTER. 171 00:08:46,025 --> 00:08:47,437 THE OTHER DAY, THEY ATE MY APRON AND PART OF THE TOASTER. YEAH, MAYBE THEY NEED A 172 00:08:47,461 --> 00:08:48,438 AND PART OF THE TOASTER. YEAH, MAYBE THEY NEED A LITTLE MORE IRON. 173 00:08:48,462 --> 00:08:49,705 YEAH, MAYBE THEY NEED A LITTLE MORE IRON. WELL, THEN, WHY NOT TREAT 174 00:08:49,729 --> 00:08:50,573 LITTLE MORE IRON. WELL, THEN, WHY NOT TREAT THEM TODAY TO NEW 175 00:08:50,597 --> 00:08:53,676 WELL, THEN, WHY NOT TREAT THEM TODAY TO NEW PURINO RAT CHOW? 176 00:08:53,700 --> 00:08:55,778 THEM TODAY TO NEW PURINO RAT CHOW? WHAT RODENT COULD RESIST THESE 177 00:08:55,802 --> 00:08:57,413 PURINO RAT CHOW? WHAT RODENT COULD RESIST THESE EXOTIC CHEESE FLAVORS? 178 00:08:57,437 --> 00:09:00,416 WHAT RODENT COULD RESIST THESE EXOTIC CHEESE FLAVORS? GOUDA, MUENSTER, GRUYèRE, AND 179 00:09:00,440 --> 00:09:01,551 EXOTIC CHEESE FLAVORS? GOUDA, MUENSTER, GRUYèRE, AND CAMEMBERT. 180 00:09:01,575 --> 00:09:03,486 GOUDA, MUENSTER, GRUYèRE, AND CAMEMBERT. PURINO RAT CHOW IS FORTIFIED 181 00:09:03,510 --> 00:09:05,688 CAMEMBERT. PURINO RAT CHOW IS FORTIFIED WITH ALL THE ESSENTIAL NUTRIENTS 182 00:09:05,712 --> 00:09:07,590 PURINO RAT CHOW IS FORTIFIED WITH ALL THE ESSENTIAL NUTRIENTS GROWING YOUNG RATS NEED FOR 183 00:09:07,614 --> 00:09:09,592 WITH ALL THE ESSENTIAL NUTRIENTS GROWING YOUNG RATS NEED FOR GLOSSY COATS, SHARP INCISORS, 184 00:09:09,616 --> 00:09:11,594 GROWING YOUNG RATS NEED FOR GLOSSY COATS, SHARP INCISORS, AND POINTY CLAWS. 185 00:09:11,618 --> 00:09:15,331 GLOSSY COATS, SHARP INCISORS, AND POINTY CLAWS. [LAUGHTER AND APPLAUSE] 186 00:09:15,355 --> 00:09:17,199 AND POINTY CLAWS. [LAUGHTER AND APPLAUSE] SO IF YOUR RATS ARE HERE TO 187 00:09:17,223 --> 00:09:19,201 [LAUGHTER AND APPLAUSE] SO IF YOUR RATS ARE HERE TO STAY, WHY NOT TREAT YOUR PESTS 188 00:09:19,225 --> 00:09:20,202 SO IF YOUR RATS ARE HERE TO STAY, WHY NOT TREAT YOUR PESTS LIKE GUESTS? 189 00:09:20,226 --> 00:09:22,404 STAY, WHY NOT TREAT YOUR PESTS LIKE GUESTS? YES, PURINO RAT CHOW FOR 190 00:09:22,428 --> 00:09:24,606 LIKE GUESTS? YES, PURINO RAT CHOW FOR HAPPIER, HEALTHIER VERMIN. 191 00:09:24,630 --> 00:09:26,764 ALSO, KEEP YOUR EYES OPEN FOR 192 00:09:26,899 --> 00:09:29,333 NEW PURINO ROACH CHOW... 193 00:09:29,468 --> 00:09:32,436 AND NEW PURINO LOUSE CHOW. 194 00:09:32,571 --> 00:09:34,706 FOR FLAVORS SO RICH, NUTRITION 195 00:09:34,840 --> 00:09:36,808 SO COMPLETE, ALL YOU ADD IS 196 00:09:36,942 --> 00:09:38,442 LOVE. 197 00:09:38,577 --> 00:09:40,411 [CHEERS AND APPLAUSE] 198 00:09:44,716 --> 00:09:48,731 Announcer: AND NOW, MR. JOSEPH FRANKLIN OF THE U.S. COUNCIL OF STANDARDS AND 199 00:09:48,755 --> 00:09:49,465 MR. JOSEPH FRANKLIN OF THE U.S. COUNCIL OF STANDARDS AND MEASURES. 200 00:09:49,489 --> 00:09:51,000 COUNCIL OF STANDARDS AND MEASURES. HELLO. TONIGHT, I'D LIKE TO 201 00:09:51,024 --> 00:09:52,502 MEASURES. HELLO. TONIGHT, I'D LIKE TO TALK TO YOU ABOUT HOW THE NEW 202 00:09:52,526 --> 00:09:54,003 HELLO. TONIGHT, I'D LIKE TO TALK TO YOU ABOUT HOW THE NEW METRIC-SYSTEM CONVERSION WILL 203 00:09:54,027 --> 00:09:55,538 TALK TO YOU ABOUT HOW THE NEW METRIC-SYSTEM CONVERSION WILL AFFECT YOU IN ONE OF A SERIES OF 204 00:09:55,562 --> 00:09:56,939 METRIC-SYSTEM CONVERSION WILL AFFECT YOU IN ONE OF A SERIES OF PUBLIC RE-EDUCATION PROGRAMS 205 00:09:56,963 --> 00:09:58,474 AFFECT YOU IN ONE OF A SERIES OF PUBLIC RE-EDUCATION PROGRAMS DESIGNED TO MAKE AMERICANS AWARE 206 00:09:58,498 --> 00:10:00,009 PUBLIC RE-EDUCATION PROGRAMS DESIGNED TO MAKE AMERICANS AWARE OF THE METRIC CONVERSION TO TAKE 207 00:10:00,033 --> 00:10:01,344 DESIGNED TO MAKE AMERICANS AWARE OF THE METRIC CONVERSION TO TAKE PLACE IN THE NEXT 10 YEARS. 208 00:10:01,368 --> 00:10:02,845 OF THE METRIC CONVERSION TO TAKE PLACE IN THE NEXT 10 YEARS. NOW, MOST AMERICANS ALREADY KNOW 209 00:10:02,869 --> 00:10:04,213 PLACE IN THE NEXT 10 YEARS. NOW, MOST AMERICANS ALREADY KNOW THAT THE MEASUREMENT OF MILES 210 00:10:04,237 --> 00:10:05,581 NOW, MOST AMERICANS ALREADY KNOW THAT THE MEASUREMENT OF MILES WILL BE DISCARDED IN FAVOR OF 211 00:10:05,605 --> 00:10:06,715 THAT THE MEASUREMENT OF MILES WILL BE DISCARDED IN FAVOR OF KILOMETERS, A SYSTEM OF 212 00:10:06,739 --> 00:10:08,217 WILL BE DISCARDED IN FAVOR OF KILOMETERS, A SYSTEM OF MEASUREMENT BASED ON THE UNIT OF 213 00:10:08,241 --> 00:10:10,053 KILOMETERS, A SYSTEM OF MEASUREMENT BASED ON THE UNIT OF TENS AND ALREADY IN USE IN MOST 214 00:10:10,077 --> 00:10:11,020 MEASUREMENT BASED ON THE UNIT OF TENS AND ALREADY IN USE IN MOST OF THE WORLD. 215 00:10:11,044 --> 00:10:12,788 TENS AND ALREADY IN USE IN MOST OF THE WORLD. FEW PEOPLE, HOWEVER, KNOW ABOUT 216 00:10:12,812 --> 00:10:14,524 OF THE WORLD. FEW PEOPLE, HOWEVER, KNOW ABOUT THE NEW METRIC ALPHABET... THE 217 00:10:14,548 --> 00:10:16,325 FEW PEOPLE, HOWEVER, KNOW ABOUT THE NEW METRIC ALPHABET... THE "DECABET"... "DECA" FROM THE 218 00:10:16,349 --> 00:10:18,227 THE NEW METRIC ALPHABET... THE "DECABET"... "DECA" FROM THE GREEK "10," AND "BET" FROM OUR 219 00:10:18,251 --> 00:10:19,562 "DECABET"... "DECA" FROM THE GREEK "10," AND "BET" FROM OUR OWN "ALPHABET." 220 00:10:19,586 --> 00:10:21,796 GREEK "10," AND "BET" FROM OUR OWN "ALPHABET." LET'S TAKE A LOOK, SHALL WE? 221 00:10:21,820 --> 00:10:23,621 "A," "B," "C," AND "D," OUR MOST 222 00:10:23,755 --> 00:10:25,790 POPULAR LETTERS, WILL REMAIN THE 223 00:10:25,924 --> 00:10:26,924 SAME. 224 00:10:27,025 --> 00:10:28,460 "E" AND "F," HOWEVER, WILL BE 225 00:10:28,594 --> 00:10:29,727 COMBINED AND GRAPHICALLY 226 00:10:29,861 --> 00:10:31,996 SIMPLIFIED TO ONE CHARACTER. 227 00:10:32,131 --> 00:10:36,033 THE GROUPINGS "G," "H," "I" AND 228 00:10:36,168 --> 00:10:37,969 "L," "M," "N," "O" WILL BE 229 00:10:38,104 --> 00:10:40,171 CONDENSED TO SINGLE LETTERS... 230 00:10:40,306 --> 00:10:41,506 INCIDENTALLY, A BOON TO THOSE 231 00:10:41,640 --> 00:10:42,873 WHO ALWAYS THOUGHT THAT "LMNO" 232 00:10:43,008 --> 00:10:44,875 WAS ONE LETTER, ANYWAY. 233 00:10:45,010 --> 00:10:46,344 AND FINALLY, THE SO-CALLED 234 00:10:46,479 --> 00:10:47,945 "TRASH LETTERS," OR "P," "Q," 235 00:10:48,080 --> 00:10:49,547 "R," "S," "T," "U," "V," "W," 236 00:10:49,681 --> 00:10:51,015 "X," "Y," AND "Z," WILL BE 237 00:10:51,150 --> 00:10:52,383 CONDENSED TO THIS EASILY 238 00:10:52,518 --> 00:10:54,385 RECOGNIZABLE DARK CHARACTER. 239 00:10:54,520 --> 00:10:58,323 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. 240 00:10:58,457 --> 00:10:59,991 10 LETTERS, 10 FINGERS... 241 00:11:00,126 --> 00:11:01,192 SIMPLE, ISN'T IT? 242 00:11:01,327 --> 00:11:02,727 NOW LET'S TAKE A LOOK AT HOW 243 00:11:02,861 --> 00:11:04,329 THESE CHANGES WILL AFFECT OUR 244 00:11:04,463 --> 00:11:05,863 DAILY SPEECH HABITS. 245 00:11:05,998 --> 00:11:07,265 IN THE E-F GROUPING ADDITION, 246 00:11:07,399 --> 00:11:08,666 THE WORD "EAGLE" WOULD REMAIN 247 00:11:08,800 --> 00:11:10,168 BASICALLY THE SAME IN CHARACTER, 248 00:11:10,302 --> 00:11:11,102 BUT WOULD BE PRONOUNCED 249 00:11:11,237 --> 00:11:13,338 "EFAGLEF." 250 00:11:13,472 --> 00:11:14,272 HOWEVER, CERTAIN WORDS 251 00:11:14,406 --> 00:11:15,550 PREVIOUSLY BEGINNING WITH THE 252 00:11:15,574 --> 00:11:16,841 LETTER "F," LIKE "FISH," WOULD 253 00:11:16,975 --> 00:11:18,255 BE PRONOUNCED WITH AN ADDITIONAL 254 00:11:18,377 --> 00:11:18,876 "E" SOUND. 255 00:11:19,011 --> 00:11:20,311 THUS, THE SENTENCE "I CAUGHT A 256 00:11:20,446 --> 00:11:21,812 BIG FISH " WOULD READ " I CAUGHT 257 00:11:21,947 --> 00:11:23,914 A BIG EFISH." 258 00:11:24,049 --> 00:11:25,183 THE G-H-I GROUPING CHARACTER 259 00:11:25,317 --> 00:11:26,484 MIGHT INCLUDE THESE EXAMPLES. 260 00:11:26,619 --> 00:11:30,087 "GOAT" WOULD REMAIN "GOAT." 261 00:11:30,222 --> 00:11:32,056 "GHOTEL" WILL CARRY THE G-LETTER 262 00:11:32,191 --> 00:11:33,525 ADDITION, BUT, AS IN MANY WORDS 263 00:11:33,659 --> 00:11:34,892 BEGINNING WITH THE G-H SOUND, 264 00:11:35,027 --> 00:11:36,494 AS IN "GHANA," THE G WILL REMAIN 265 00:11:36,629 --> 00:11:37,028 SILENT. 266 00:11:37,163 --> 00:11:38,429 THUS, "HOTEL." 267 00:11:38,564 --> 00:11:39,797 HOWEVER, WORDS BEGINNING WITH 268 00:11:39,931 --> 00:11:41,266 "I," LIKE "INDUSTRY," WOULD BE 269 00:11:41,400 --> 00:11:43,535 PRONOUNCED "GHINDUSTRY." 270 00:11:43,669 --> 00:11:44,749 THE MEANING WILL REMAIN THE 271 00:11:44,870 --> 00:11:45,236 SAME. 272 00:11:45,371 --> 00:11:46,837 LMNO's GROUPING IS SIMILAR. 273 00:11:46,972 --> 00:11:49,874 "MUCUS" WOULD BE "LMNOUCUS." 274 00:11:50,008 --> 00:11:51,742 "LIGHT," ALTHOUGH IT LOOKS LIKE 275 00:11:51,877 --> 00:11:53,611 "LMNOIGHT," WOULD BE PRONOUNCED 276 00:11:53,745 --> 00:11:54,845 "LIGHT." 277 00:11:54,980 --> 00:11:56,347 AND "OPEN" WOULD THEN BE 278 00:11:56,482 --> 00:11:58,183 "LMNOPEN," AS IN, "HONEY, WOULD 279 00:11:58,317 --> 00:12:00,585 YOU LMNOPEN THE DOOR?" 280 00:12:00,719 --> 00:12:02,053 FINALLY, THE TRASH LETTERS, OR 281 00:12:02,188 --> 00:12:03,454 THE LETTERS FROM "P" TO "Z," 282 00:12:03,589 --> 00:12:04,789 WOULD MAKE A COMMON STOP SIGN 283 00:12:04,923 --> 00:12:07,392 APPEAR LIKE THIS. 284 00:12:07,526 --> 00:12:08,560 SO THERE YOU HAVE IT. 285 00:12:08,694 --> 00:12:09,934 WE EVENTUALLY HOPE TO ESTABLISH 286 00:12:09,961 --> 00:12:11,529 THE UNIVERSAL METRIC ALPHABET BY 287 00:12:11,664 --> 00:12:12,797 1979. 288 00:12:12,931 --> 00:12:14,065 JOIN ME NEXT TIME, WHEN WE 289 00:12:14,200 --> 00:12:15,600 EXPLORE CHANGES IN ALPHABET SOUP 290 00:12:15,734 --> 00:12:17,134 AND SPELLING-BEE-CONTEST RULES. 291 00:12:17,269 --> 00:12:18,536 BUT NOW, LET'S SING THAT OLD 292 00:12:18,671 --> 00:12:19,970 CHILDHOOD ALPHABET SONG... 293 00:12:20,105 --> 00:12:22,440 ♪ A, B, C, D, E, F, G ♪ 294 00:12:22,575 --> 00:12:23,575 AS WE WILL HEAR IT IN THE 295 00:12:23,709 --> 00:12:24,409 FUTURE. 296 00:12:24,543 --> 00:12:26,644 ♪ A, B, C, D, EF ♪ 297 00:12:26,778 --> 00:12:28,112 ♪ GHI, J, K, LMNO ♪ 298 00:12:28,247 --> 00:12:30,281 KKRRRAAH! 299 00:12:30,416 --> 00:12:32,217 [CHEERS AND APPLAUSE] 300 00:12:42,628 --> 00:12:47,143 COME ON IN, CHIEF. THE COAST IS CLEAR. OH, YEAH. 301 00:12:47,167 --> 00:12:49,044 THE COAST IS CLEAR. OH, YEAH. GEE, I WONDER WHY THEY WOULDN'T 302 00:12:49,068 --> 00:12:50,679 OH, YEAH. GEE, I WONDER WHY THEY WOULDN'T LET US IN THE STUDIO, HMM? 303 00:12:50,703 --> 00:12:51,947 GEE, I WONDER WHY THEY WOULDN'T LET US IN THE STUDIO, HMM? HMM. I DON'T KNOW. 304 00:12:51,971 --> 00:12:53,649 LET US IN THE STUDIO, HMM? HMM. I DON'T KNOW. PROBABLY THE GUARD JUST DIDN'T 305 00:12:53,673 --> 00:12:54,517 HMM. I DON'T KNOW. PROBABLY THE GUARD JUST DIDN'T RECOGNIZE US. 306 00:12:54,541 --> 00:12:56,685 PROBABLY THE GUARD JUST DIDN'T RECOGNIZE US. WELL, THAT'S VERY STRANGE, 307 00:12:56,709 --> 00:12:58,120 RECOGNIZE US. WELL, THAT'S VERY STRANGE, 'CAUSE THEY ALL KNOW AND LOVE 308 00:12:58,144 --> 00:12:58,720 WELL, THAT'S VERY STRANGE, 'CAUSE THEY ALL KNOW AND LOVE US. 309 00:12:58,744 --> 00:13:00,523 'CAUSE THEY ALL KNOW AND LOVE US. EVERYBODY LOVES THE MUPPETS. 310 00:13:00,547 --> 00:13:01,056 US. EVERYBODY LOVES THE MUPPETS. MM-HMM. 311 00:13:01,080 --> 00:13:02,558 EVERYBODY LOVES THE MUPPETS. MM-HMM. LISTEN, SCRED. 312 00:13:02,582 --> 00:13:03,392 MM-HMM. LISTEN, SCRED. [CHOKING] 313 00:13:03,416 --> 00:13:04,193 LISTEN, SCRED. [CHOKING] WE'RE LOVABLE. 314 00:13:04,217 --> 00:13:05,794 [CHOKING] WE'RE LOVABLE. NEVER FORGET THAT, SCRED! 315 00:13:05,818 --> 00:13:07,095 WE'RE LOVABLE. NEVER FORGET THAT, SCRED! MMM. 316 00:13:07,119 --> 00:13:08,330 NEVER FORGET THAT, SCRED! MMM. YES, OH, AFFECTIONATE ONE. 317 00:13:08,354 --> 00:13:09,431 MMM. YES, OH, AFFECTIONATE ONE. WE'LL JUST HAVE TO FIND 318 00:13:09,455 --> 00:13:10,599 YES, OH, AFFECTIONATE ONE. WE'LL JUST HAVE TO FIND SOMEBODY AND ASK 'EM WHERE WE 319 00:13:10,623 --> 00:13:11,900 WE'LL JUST HAVE TO FIND SOMEBODY AND ASK 'EM WHERE WE COME IN THE SHOW... THAT'S ALL. 320 00:13:11,924 --> 00:13:13,402 SOMEBODY AND ASK 'EM WHERE WE COME IN THE SHOW... THAT'S ALL. CHIEF, HERE'S SOMEBODY NOW. 321 00:13:13,426 --> 00:13:14,236 COME IN THE SHOW... THAT'S ALL. CHIEF, HERE'S SOMEBODY NOW. HMM. 322 00:13:14,260 --> 00:13:14,936 CHIEF, HERE'S SOMEBODY NOW. HMM. WELL, HI, THERE. 323 00:13:14,960 --> 00:13:16,405 HMM. WELL, HI, THERE. YOU'RE THE MUPPETS, AREN'T YOU? 324 00:13:16,429 --> 00:13:17,273 WELL, HI, THERE. YOU'RE THE MUPPETS, AREN'T YOU? UH, YES, YES. 325 00:13:17,297 --> 00:13:18,807 YOU'RE THE MUPPETS, AREN'T YOU? UH, YES, YES. THAT IS INDEED US, MM-HMM. 326 00:13:18,831 --> 00:13:20,576 UH, YES, YES. THAT IS INDEED US, MM-HMM. OH, I'VE ALWAYS THOUGHT YOU 327 00:13:20,600 --> 00:13:21,977 THAT IS INDEED US, MM-HMM. OH, I'VE ALWAYS THOUGHT YOU PEOPLE WERE SO LOVABLE. 328 00:13:22,001 --> 00:13:23,011 OH, I'VE ALWAYS THOUGHT YOU PEOPLE WERE SO LOVABLE. YOU HEAR THAT, SCRED? 329 00:13:23,035 --> 00:13:24,112 PEOPLE WERE SO LOVABLE. YOU HEAR THAT, SCRED? [GRUNTS] 330 00:13:24,136 --> 00:13:25,747 YOU HEAR THAT, SCRED? [GRUNTS] OH, THAT'S TRUE, LADY, YEAH. 331 00:13:25,771 --> 00:13:27,383 [GRUNTS] OH, THAT'S TRUE, LADY, YEAH. WE'RE KNOWN FAR AND WIDE FOR 332 00:13:27,407 --> 00:13:28,484 OH, THAT'S TRUE, LADY, YEAH. WE'RE KNOWN FAR AND WIDE FOR BEING LOVABLE. 333 00:13:28,508 --> 00:13:30,386 WE'RE KNOWN FAR AND WIDE FOR BEING LOVABLE. UH, CHIEF, THAT LADY IS 334 00:13:30,410 --> 00:13:34,423 BEING LOVABLE. UH, CHIEF, THAT LADY IS RAQUEL WELCH. 335 00:13:34,447 --> 00:13:35,624 UH, CHIEF, THAT LADY IS RAQUEL WELCH. OH. 336 00:13:35,648 --> 00:13:36,758 RAQUEL WELCH. OH. OH, YEAH. 337 00:13:36,782 --> 00:13:37,393 OH. OH, YEAH. WELL, UH. 338 00:13:37,417 --> 00:13:38,694 OH, YEAH. WELL, UH. [CLEARS THROAT] 339 00:13:38,718 --> 00:13:39,595 WELL, UH. [CLEARS THROAT] [LAUGHS] 340 00:13:39,619 --> 00:13:40,362 [CLEARS THROAT] [LAUGHS] YEAH. 341 00:13:40,386 --> 00:13:42,331 [LAUGHS] YEAH. YOU SURE ARE RAQUEL WELCH... 342 00:13:42,355 --> 00:13:43,865 YEAH. YOU SURE ARE RAQUEL WELCH... ALL OVER, AREN'T YOU? 343 00:13:43,889 --> 00:13:46,335 YOU SURE ARE RAQUEL WELCH... ALL OVER, AREN'T YOU? MM-HMM. 344 00:13:46,359 --> 00:13:48,504 ALL OVER, AREN'T YOU? MM-HMM. FEELS LIKE RAQUEL WELCH, TOO. 345 00:13:48,528 --> 00:13:49,505 MM-HMM. FEELS LIKE RAQUEL WELCH, TOO. CAREFUL, THERE, HONEY. 346 00:13:49,529 --> 00:13:50,739 FEELS LIKE RAQUEL WELCH, TOO. CAREFUL, THERE, HONEY. UH, YOU KNOW, UM... 347 00:13:50,763 --> 00:13:51,840 CAREFUL, THERE, HONEY. UH, YOU KNOW, UM... [CLEARS THROAT] 348 00:13:51,864 --> 00:13:53,576 UH, YOU KNOW, UM... [CLEARS THROAT] YOU KNOW, WE MUPPETS ARE VERY, 349 00:13:53,600 --> 00:13:54,943 [CLEARS THROAT] YOU KNOW, WE MUPPETS ARE VERY, VERY LOVABLE. 350 00:13:54,967 --> 00:13:56,512 YOU KNOW, WE MUPPETS ARE VERY, VERY LOVABLE. I MEAN, UH... 351 00:13:56,536 --> 00:13:58,581 VERY LOVABLE. I MEAN, UH... RELAX, BABY. 352 00:13:58,605 --> 00:14:00,148 I MEAN, UH... RELAX, BABY. YOU KNOW, MATTER OF FACT, 353 00:14:00,172 --> 00:14:01,217 RELAX, BABY. YOU KNOW, MATTER OF FACT, UNTIL YOU'VE MADE IT WITH A 354 00:14:01,241 --> 00:14:03,185 YOU KNOW, MATTER OF FACT, UNTIL YOU'VE MADE IT WITH A MUPPET, UH... YOU KNOW WHAT I'M 355 00:14:03,209 --> 00:14:04,086 UNTIL YOU'VE MADE IT WITH A MUPPET, UH... YOU KNOW WHAT I'M SAYING? 356 00:14:04,110 --> 00:14:06,355 MUPPET, UH... YOU KNOW WHAT I'M SAYING? [LAUGHTER AND APPLAUSE] 357 00:14:06,379 --> 00:14:07,256 SAYING? [LAUGHTER AND APPLAUSE] UH, UH, UH. 358 00:14:07,280 --> 00:14:08,457 [LAUGHTER AND APPLAUSE] UH, UH, UH. WAIT A MINUTE, LOVER. 359 00:14:08,481 --> 00:14:09,725 UH, UH, UH. WAIT A MINUTE, LOVER. YOU KNOW WHAT I'M SAYING? 360 00:14:09,749 --> 00:14:11,627 WAIT A MINUTE, LOVER. YOU KNOW WHAT I'M SAYING? ARE YOU TALKING ABOUT MAKING 361 00:14:11,651 --> 00:14:12,494 YOU KNOW WHAT I'M SAYING? ARE YOU TALKING ABOUT MAKING LOVE TO ME? 362 00:14:12,518 --> 00:14:13,462 ARE YOU TALKING ABOUT MAKING LOVE TO ME? UH, WELL... 363 00:14:13,486 --> 00:14:14,663 LOVE TO ME? UH, WELL... [CHUCKLING] 364 00:14:14,687 --> 00:14:16,532 UH, WELL... [CHUCKLING] BECAUSE, UH, YOU GUYS ARE 365 00:14:16,556 --> 00:14:17,933 [CHUCKLING] BECAUSE, UH, YOU GUYS ARE JUST PUPPETS, RIGHT? 366 00:14:17,957 --> 00:14:19,801 BECAUSE, UH, YOU GUYS ARE JUST PUPPETS, RIGHT? I MEAN, YOU DON'T EVEN EXIST 367 00:14:19,825 --> 00:14:20,769 JUST PUPPETS, RIGHT? I MEAN, YOU DON'T EVEN EXIST BELOW THE WAIST. 368 00:14:20,793 --> 00:14:22,471 I MEAN, YOU DON'T EVEN EXIST BELOW THE WAIST. UH, WELL... 369 00:14:22,495 --> 00:14:23,472 BELOW THE WAIST. UH, WELL... [CHUCKLES] 370 00:14:23,496 --> 00:14:25,274 UH, WELL... [CHUCKLES] I MEAN, ALL YOU ARE IS JUST THE 371 00:14:25,298 --> 00:14:26,908 [CHUCKLES] I MEAN, ALL YOU ARE IS JUST THE TOP HALF OF A PERSON, RIGHT? 372 00:14:26,932 --> 00:14:28,910 I MEAN, ALL YOU ARE IS JUST THE TOP HALF OF A PERSON, RIGHT? WELL, UH... 373 00:14:28,934 --> 00:14:29,945 TOP HALF OF A PERSON, RIGHT? WELL, UH... YEAH, BUT, UH... 374 00:14:29,969 --> 00:14:31,813 WELL, UH... YEAH, BUT, UH... GOOD TOP, THOUGH. 375 00:14:31,837 --> 00:14:33,181 YEAH, BUT, UH... GOOD TOP, THOUGH. SO THAT KIND OF MAKES YOU 376 00:14:33,205 --> 00:14:34,650 GOOD TOP, THOUGH. SO THAT KIND OF MAKES YOU JUST A LOT OF TALK... ALL TALK, 377 00:14:34,674 --> 00:14:35,251 SO THAT KIND OF MAKES YOU JUST A LOT OF TALK... ALL TALK, RIGHT? 378 00:14:35,275 --> 00:14:36,852 JUST A LOT OF TALK... ALL TALK, RIGHT? WELL, I'M PRETTY GOOD WITH MY 379 00:14:36,876 --> 00:14:37,319 RIGHT? WELL, I'M PRETTY GOOD WITH MY HANDS. 380 00:14:37,343 --> 00:14:38,654 WELL, I'M PRETTY GOOD WITH MY HANDS. I'VE NOTICED. 381 00:14:38,678 --> 00:14:40,289 HANDS. I'VE NOTICED. YEAH, MM-HMM. 382 00:14:40,313 --> 00:14:42,023 I'VE NOTICED. YEAH, MM-HMM. UH, I'M SORRY, BOYS. 383 00:14:42,047 --> 00:14:43,726 YEAH, MM-HMM. UH, I'M SORRY, BOYS. PLOOBIS, SCRED. 384 00:14:43,750 --> 00:14:44,627 UH, I'M SORRY, BOYS. PLOOBIS, SCRED. YEAH? 385 00:14:44,651 --> 00:14:45,927 PLOOBIS, SCRED. YEAH? YOU'RE NOT ON THIS WEEK. 386 00:14:45,951 --> 00:14:46,462 YEAH? YOU'RE NOT ON THIS WEEK. I'M SORRY. 387 00:14:46,486 --> 00:14:47,496 YOU'RE NOT ON THIS WEEK. I'M SORRY. WHAT'S THAT SUPPOSED TO 388 00:14:47,520 --> 00:14:47,963 I'M SORRY. WHAT'S THAT SUPPOSED TO MEAN? 389 00:14:47,987 --> 00:14:48,864 WHAT'S THAT SUPPOSED TO MEAN? WE WORK THIS SHOW. 390 00:14:48,888 --> 00:14:50,165 MEAN? WE WORK THIS SHOW. YEAH, I KNOW, BUT I GUESS YOU 391 00:14:50,189 --> 00:14:51,066 WE WORK THIS SHOW. YEAH, I KNOW, BUT I GUESS YOU DIDN'T GET THE CALL. 392 00:14:51,090 --> 00:14:52,033 YEAH, I KNOW, BUT I GUESS YOU DIDN'T GET THE CALL. UH, I'M SORRY, RAQUEL. 393 00:14:52,057 --> 00:14:52,901 DIDN'T GET THE CALL. UH, I'M SORRY, RAQUEL. IS EVERYTHING OKAY? 394 00:14:52,925 --> 00:14:53,869 UH, I'M SORRY, RAQUEL. IS EVERYTHING OKAY? OH, YEAH, IT'S OKAY. 395 00:14:53,893 --> 00:14:55,170 IS EVERYTHING OKAY? OH, YEAH, IT'S OKAY. THEY'RE JUST ALL TALK, ANYWAYS. 396 00:14:55,194 --> 00:14:57,273 OH, YEAH, IT'S OKAY. THEY'RE JUST ALL TALK, ANYWAYS. OH, YEAH? OH, YEAH? 397 00:14:57,297 --> 00:14:58,674 THEY'RE JUST ALL TALK, ANYWAYS. OH, YEAH? OH, YEAH? UGH. I'M LEAVING. 398 00:14:58,698 --> 00:14:59,275 OH, YEAH? OH, YEAH? UGH. I'M LEAVING. I'M LEAVING. 399 00:14:59,299 --> 00:15:00,476 UGH. I'M LEAVING. I'M LEAVING. AW. 400 00:15:00,500 --> 00:15:03,211 I'M LEAVING. AW. OH, UH, I'M SORRY ABOUT THIS, 401 00:15:03,235 --> 00:15:04,179 AW. OH, UH, I'M SORRY ABOUT THIS, RAQUEL. 402 00:15:04,203 --> 00:15:05,981 OH, UH, I'M SORRY ABOUT THIS, RAQUEL. AND BY THE WAY, I JUST WANT TO 403 00:15:06,005 --> 00:15:07,549 RAQUEL. AND BY THE WAY, I JUST WANT TO APOLOGIZE FOR WHAT I SAID 404 00:15:07,573 --> 00:15:10,519 AND BY THE WAY, I JUST WANT TO APOLOGIZE FOR WHAT I SAID BEFORE, BECAUSE I CAN SEE YOU 405 00:15:10,543 --> 00:15:11,754 APOLOGIZE FOR WHAT I SAID BEFORE, BECAUSE I CAN SEE YOU GET HIT ON ALL THE TIME. 406 00:15:11,778 --> 00:15:13,255 BEFORE, BECAUSE I CAN SEE YOU GET HIT ON ALL THE TIME. [LAUGHS] YEAH, BUT NEVER BY 407 00:15:13,279 --> 00:15:14,122 GET HIT ON ALL THE TIME. [LAUGHS] YEAH, BUT NEVER BY A MUPPET BEFORE. 408 00:15:14,146 --> 00:15:15,391 [LAUGHS] YEAH, BUT NEVER BY A MUPPET BEFORE. OH, WELL, IF YOU'D LIKE 409 00:15:15,415 --> 00:15:16,091 A MUPPET BEFORE. OH, WELL, IF YOU'D LIKE MY NUMBER... 410 00:15:16,115 --> 00:15:17,793 OH, WELL, IF YOU'D LIKE MY NUMBER... SCRED? SCRED? 411 00:15:17,817 --> 00:15:20,929 MY NUMBER... SCRED? SCRED? YOU'RE NOT ON THIS WEEK, OKAY? 412 00:15:20,953 --> 00:15:22,298 SCRED? SCRED? YOU'RE NOT ON THIS WEEK, OKAY? I'M VERY SORRY ABOUT THAT. 413 00:15:22,322 --> 00:15:22,998 YOU'RE NOT ON THIS WEEK, OKAY? I'M VERY SORRY ABOUT THAT. THEY DIDN'T KNOW. 414 00:15:23,022 --> 00:15:23,865 I'M VERY SORRY ABOUT THAT. THEY DIDN'T KNOW. NOBODY GAVE THEM THE CALL. 415 00:15:23,889 --> 00:15:24,866 THEY DIDN'T KNOW. NOBODY GAVE THEM THE CALL. I THINK THE BEES OR THE SHARKS 416 00:15:24,890 --> 00:15:26,101 NOBODY GAVE THEM THE CALL. I THINK THE BEES OR THE SHARKS ARE ON, OR SOMETHING IS ON. 417 00:15:26,125 --> 00:15:27,403 I THINK THE BEES OR THE SHARKS ARE ON, OR SOMETHING IS ON. BUT YOU'RE DOING VERY WELL SO 418 00:15:27,427 --> 00:15:27,869 ARE ON, OR SOMETHING IS ON. BUT YOU'RE DOING VERY WELL SO FAR. 419 00:15:27,893 --> 00:15:29,037 BUT YOU'RE DOING VERY WELL SO FAR. EVERYBODY LOVES THE SHOW. 420 00:15:29,061 --> 00:15:30,005 FAR. EVERYBODY LOVES THE SHOW. THE SONG WAS GREAT. 421 00:15:30,029 --> 00:15:33,074 EVERYBODY LOVES THE SHOW. THE SONG WAS GREAT. AND ALL I CAN SAY IS, RELAX AND 422 00:15:33,098 --> 00:15:34,376 THE SONG WAS GREAT. AND ALL I CAN SAY IS, RELAX AND TAKE YOUR SHIRT OFF. 423 00:15:34,400 --> 00:15:38,180 AND ALL I CAN SAY IS, RELAX AND TAKE YOUR SHIRT OFF. [LAUGHTER] 424 00:15:38,204 --> 00:15:40,716 TAKE YOUR SHIRT OFF. [LAUGHTER] WELL, UNH-UNH. 425 00:15:40,740 --> 00:15:41,883 [LAUGHTER] WELL, UNH-UNH. WELL, RAQUEL, THIS IS YOUR 426 00:15:41,907 --> 00:15:42,785 WELL, UNH-UNH. WELL, RAQUEL, THIS IS YOUR RIGHT AS AN AMERICAN. 427 00:15:42,809 --> 00:15:43,686 WELL, RAQUEL, THIS IS YOUR RIGHT AS AN AMERICAN. YOU DON'T HAVE TO. 428 00:15:43,710 --> 00:15:44,353 RIGHT AS AN AMERICAN. YOU DON'T HAVE TO. THANKS. 429 00:15:44,377 --> 00:15:45,387 YOU DON'T HAVE TO. THANKS. YOU DON'T HAVE TO DO THAT. 430 00:15:45,411 --> 00:15:47,389 THANKS. YOU DON'T HAVE TO DO THAT. ALL RIGHT. 431 00:15:47,413 --> 00:15:48,624 YOU DON'T HAVE TO DO THAT. ALL RIGHT. I DON'T HAVE TO, RIGHT? 432 00:15:48,648 --> 00:15:49,958 ALL RIGHT. I DON'T HAVE TO, RIGHT? NO, YOU DON'T HAVE TO. 433 00:15:49,982 --> 00:15:51,159 I DON'T HAVE TO, RIGHT? NO, YOU DON'T HAVE TO. OH, 'CAUSE THIS IS A TASTEFUL 434 00:15:51,183 --> 00:15:52,928 NO, YOU DON'T HAVE TO. OH, 'CAUSE THIS IS A TASTEFUL SHOW WITH A LOT OF CLASS, RIGHT? 435 00:15:52,952 --> 00:15:53,896 OH, 'CAUSE THIS IS A TASTEFUL SHOW WITH A LOT OF CLASS, RIGHT? RIGHT, RIGHT. 436 00:15:53,920 --> 00:15:55,430 SHOW WITH A LOT OF CLASS, RIGHT? RIGHT, RIGHT. NOW, LADIES AND GENTLEMEN 437 00:15:55,454 --> 00:15:57,132 RIGHT, RIGHT. NOW, LADIES AND GENTLEMEN [CHUCKLES] I AM VERY PLEASED 438 00:15:57,156 --> 00:15:59,468 NOW, LADIES AND GENTLEMEN [CHUCKLES] I AM VERY PLEASED TO INTRODUCE TO YOU A LOVELY 439 00:15:59,492 --> 00:16:01,570 [CHUCKLES] I AM VERY PLEASED TO INTRODUCE TO YOU A LOVELY LADY... IN FACT, A GENIUS IN THE 440 00:16:01,594 --> 00:16:02,805 TO INTRODUCE TO YOU A LOVELY LADY... IN FACT, A GENIUS IN THE WORLD OF CONTEMPORARY MUSIC, 441 00:16:02,829 --> 00:16:04,406 LADY... IN FACT, A GENIUS IN THE WORLD OF CONTEMPORARY MUSIC, MISS PHOEBE SNOW. 442 00:16:04,430 --> 00:16:06,642 WORLD OF CONTEMPORARY MUSIC, MISS PHOEBE SNOW. [APPLAUSE] 443 00:16:06,666 --> 00:16:09,099 MISS PHOEBE SNOW. [APPLAUSE] [INTRO TO "ALL OVER" PLAYS] 444 00:16:19,011 --> 00:16:25,761 ♪ NINE OF DIAMONDS, NINE OF DIAMONDS ♪ ♪ LORD, THAT'S A LUCKY CARD ♪ 445 00:16:25,785 --> 00:16:27,295 NINE OF DIAMONDS ♪ ♪ LORD, THAT'S A LUCKY CARD ♪ ♪ WE'LL CELEBRATE IT 446 00:16:27,319 --> 00:16:29,231 ♪ LORD, THAT'S A LUCKY CARD ♪ ♪ WE'LL CELEBRATE IT WHEN WE'VE MADE IT ♪ 447 00:16:29,255 --> 00:16:32,501 ♪ WE'LL CELEBRATE IT WHEN WE'VE MADE IT ♪ ♪ I'LL JUMP ALL OVER YOUR YARD ♪ 448 00:16:32,525 --> 00:16:35,604 WHEN WE'VE MADE IT ♪ ♪ I'LL JUMP ALL OVER YOUR YARD ♪ ♪ I'LL JUMP ALL OVER YOUR YARD ♪ 449 00:16:35,628 --> 00:16:38,874 ♪ I'LL JUMP ALL OVER YOUR YARD ♪ ♪ I'LL JUMP ALL OVER YOUR YARD ♪ ♪ I'LL JUMP ALL OVER ♪ 450 00:16:38,898 --> 00:16:40,576 ♪ I'LL JUMP ALL OVER YOUR YARD ♪ ♪ I'LL JUMP ALL OVER ♪ ♪ I DON'T KNOW WHAT HIT ME, BUT 451 00:16:40,600 --> 00:16:41,944 ♪ I'LL JUMP ALL OVER ♪ ♪ I DON'T KNOW WHAT HIT ME, BUT I'M SEEING STARS ♪ 452 00:16:41,968 --> 00:16:44,312 ♪ I DON'T KNOW WHAT HIT ME, BUT I'M SEEING STARS ♪ ♪ OOH, LA LA LA LA ♪ 453 00:16:44,336 --> 00:16:45,915 I'M SEEING STARS ♪ ♪ OOH, LA LA LA LA ♪ ♪ THIS COMIC-BOOK LIFE IS 454 00:16:45,939 --> 00:16:47,315 ♪ OOH, LA LA LA LA ♪ ♪ THIS COMIC-BOOK LIFE IS LIKE BEING ON MARS ♪ 455 00:16:47,339 --> 00:16:49,818 ♪ THIS COMIC-BOOK LIFE IS LIKE BEING ON MARS ♪ ♪ OOH, LA LA LA LA ♪ 456 00:16:49,842 --> 00:16:53,321 LIKE BEING ON MARS ♪ ♪ OOH, LA LA LA LA ♪ ♪ THOUSANDS OF WARM HANDS ARE 457 00:16:53,345 --> 00:16:55,190 ♪ OOH, LA LA LA LA ♪ ♪ THOUSANDS OF WARM HANDS ARE TOUCHING ME ♪ 458 00:16:55,214 --> 00:16:59,161 ♪ THOUSANDS OF WARM HANDS ARE TOUCHING ME ♪ ♪ ALL OVER, ALL OVER ♪ 459 00:16:59,185 --> 00:17:01,730 TOUCHING ME ♪ ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL 460 00:17:01,754 --> 00:17:02,464 ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ 461 00:17:02,488 --> 00:17:05,100 ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ ♪ ALL OVER, ALL OVER ♪ 462 00:17:05,124 --> 00:17:08,003 OVER ♪ ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL 463 00:17:08,027 --> 00:17:09,805 ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ 464 00:17:09,829 --> 00:17:14,643 ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ [INSTRUMENTAL SOLO] 465 00:17:14,667 --> 00:17:16,211 OVER ♪ [INSTRUMENTAL SOLO] ♪ THE NIGHT QUEEN FRIGHT WIG 466 00:17:16,235 --> 00:17:17,746 [INSTRUMENTAL SOLO] ♪ THE NIGHT QUEEN FRIGHT WIG STREET PARADE MAY FADE ♪ 467 00:17:17,770 --> 00:17:20,015 ♪ THE NIGHT QUEEN FRIGHT WIG STREET PARADE MAY FADE ♪ ♪ OOH, LA LA LA LA ♪ 468 00:17:20,039 --> 00:17:21,216 STREET PARADE MAY FADE ♪ ♪ OOH, LA LA LA LA ♪ ♪ WHEN WE LAUGH AT THE 469 00:17:21,240 --> 00:17:23,151 ♪ OOH, LA LA LA LA ♪ ♪ WHEN WE LAUGH AT THE STATUES OF GODS THEY HAVE MADE ♪ 470 00:17:23,175 --> 00:17:25,387 ♪ WHEN WE LAUGH AT THE STATUES OF GODS THEY HAVE MADE ♪ ♪ OOH, LA LA LA LA ♪ 471 00:17:25,411 --> 00:17:28,958 STATUES OF GODS THEY HAVE MADE ♪ ♪ OOH, LA LA LA LA ♪ ♪ OCEANS OF LOVE WAVES ARE 472 00:17:28,982 --> 00:17:30,425 ♪ OOH, LA LA LA LA ♪ ♪ OCEANS OF LOVE WAVES ARE WASHING ME ♪ 473 00:17:30,449 --> 00:17:31,560 ♪ OCEANS OF LOVE WAVES ARE WASHING ME ♪ ♪ WHOO, WHOO ♪ 474 00:17:31,584 --> 00:17:34,763 WASHING ME ♪ ♪ WHOO, WHOO ♪ ♪ ALL OVER ♪ 475 00:17:34,787 --> 00:17:38,656 ♪ WHOO, WHOO ♪ ♪ ALL OVER ♪ ♪ ALL OVER ♪ 476 00:17:43,629 --> 00:17:49,878 ♪ NINE OF DIAMONDS, NINE OF DIAMONDS ♪ ♪ LORD, THAT'S A LUCKY CARD ♪ 477 00:17:49,902 --> 00:17:51,413 NINE OF DIAMONDS ♪ ♪ LORD, THAT'S A LUCKY CARD ♪ ♪ WE'LL CELEBRATE IT 478 00:17:51,437 --> 00:17:53,115 ♪ LORD, THAT'S A LUCKY CARD ♪ ♪ WE'LL CELEBRATE IT WHEN WE'VE MADE IT ♪ 479 00:17:53,139 --> 00:17:56,118 ♪ WE'LL CELEBRATE IT WHEN WE'VE MADE IT ♪ ♪ I'LL JUMP ALL OVER YOUR YARD ♪ 480 00:17:56,142 --> 00:17:57,720 WHEN WE'VE MADE IT ♪ ♪ I'LL JUMP ALL OVER YOUR YARD ♪ ♪ I SAID, I'LL JUMP ALL OVER 481 00:17:57,744 --> 00:17:59,521 ♪ I'LL JUMP ALL OVER YOUR YARD ♪ ♪ I SAID, I'LL JUMP ALL OVER YOUR YARD ♪ 482 00:17:59,545 --> 00:18:02,224 ♪ I SAID, I'LL JUMP ALL OVER YOUR YARD ♪ ♪ I'LL JUMP ALL OVER ♪ 483 00:18:02,248 --> 00:18:05,628 YOUR YARD ♪ ♪ I'LL JUMP ALL OVER ♪ ♪ ALL OVER, ALL OVER ♪ 484 00:18:05,652 --> 00:18:07,863 ♪ I'LL JUMP ALL OVER ♪ ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL 485 00:18:07,887 --> 00:18:08,497 ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ 486 00:18:08,521 --> 00:18:11,667 ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ ♪ ALL OVER, ALL OVER ♪ 487 00:18:11,691 --> 00:18:14,036 OVER ♪ ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL 488 00:18:14,060 --> 00:18:15,738 ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ 489 00:18:15,762 --> 00:18:20,709 ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ [INSTRUMENTAL SOLO] 490 00:18:20,733 --> 00:18:22,544 OVER ♪ [INSTRUMENTAL SOLO] ♪ IF YOU FEEL LIKE YOUR TRAIN OF 491 00:18:22,568 --> 00:18:23,612 [INSTRUMENTAL SOLO] ♪ IF YOU FEEL LIKE YOUR TRAIN OF THOUGHT'S BEEN DERAILED ♪ 492 00:18:23,636 --> 00:18:25,848 ♪ IF YOU FEEL LIKE YOUR TRAIN OF THOUGHT'S BEEN DERAILED ♪ ♪ OOH, LA LA LA LA ♪ 493 00:18:25,872 --> 00:18:27,750 THOUGHT'S BEEN DERAILED ♪ ♪ OOH, LA LA LA LA ♪ ♪ LET OUT YOUR WILD WISHES 494 00:18:27,774 --> 00:18:29,051 ♪ OOH, LA LA LA LA ♪ ♪ LET OUT YOUR WILD WISHES FROM WHERE THEY'VE BEEN JAILED ♪ 495 00:18:29,075 --> 00:18:31,319 ♪ LET OUT YOUR WILD WISHES FROM WHERE THEY'VE BEEN JAILED ♪ ♪ OOH, LA LA LA LA ♪ 496 00:18:31,343 --> 00:18:34,489 FROM WHERE THEY'VE BEEN JAILED ♪ ♪ OOH, LA LA LA LA ♪ ♪ YOU FEEL THE FUTURE 497 00:18:34,513 --> 00:18:36,792 ♪ OOH, LA LA LA LA ♪ ♪ YOU FEEL THE FUTURE EMBRACING YOU ♪ 498 00:18:36,816 --> 00:18:40,562 ♪ YOU FEEL THE FUTURE EMBRACING YOU ♪ ♪ ALL OVER, ALL OVER ♪ 499 00:18:40,586 --> 00:18:42,965 EMBRACING YOU ♪ ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL 500 00:18:42,989 --> 00:18:43,598 ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ 501 00:18:43,622 --> 00:18:46,802 ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ ♪ ALL OVER, ALL OVER ♪ 502 00:18:46,826 --> 00:18:49,171 OVER ♪ ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL 503 00:18:49,195 --> 00:18:52,641 ♪ ALL OVER, ALL OVER ♪ ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ 504 00:18:52,665 --> 00:18:55,343 ♪ I HOPE THIS WILL NEVER BE ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 505 00:18:55,367 --> 00:18:56,011 OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ WHOO! ♪ 506 00:18:56,035 --> 00:18:58,914 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ WHOO! ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 507 00:18:58,938 --> 00:19:01,650 ♪ WHOO! ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 508 00:19:01,674 --> 00:19:04,586 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 509 00:19:04,610 --> 00:19:07,956 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OH-OH, OH-OH-OH-OH ♪ 510 00:19:07,980 --> 00:19:10,893 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OH-OH, OH-OH-OH-OH ♪ ♪ OH-OH-OH, OH-OH-OH-OH ♪ 511 00:19:10,917 --> 00:19:11,794 ♪ OH-OH, OH-OH-OH-OH ♪ ♪ OH-OH-OH, OH-OH-OH-OH ♪ ♪ ALL OVER ♪ 512 00:19:11,818 --> 00:19:13,328 ♪ OH-OH-OH, OH-OH-OH-OH ♪ ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 513 00:19:13,352 --> 00:19:14,196 ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ ALL OVER ♪ 514 00:19:14,220 --> 00:19:15,530 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 515 00:19:15,554 --> 00:19:17,099 ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ ALL OVER ♪ 516 00:19:17,123 --> 00:19:19,568 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 517 00:19:19,592 --> 00:19:21,704 ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 518 00:19:21,728 --> 00:19:22,637 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ ALL OVER ♪ 519 00:19:22,661 --> 00:19:24,673 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 520 00:19:24,697 --> 00:19:25,941 ♪ ALL OVER ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ WHOA-OH-OH! ♪ 521 00:19:25,965 --> 00:19:28,410 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ WHOA-OH-OH! ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 522 00:19:28,434 --> 00:19:29,411 ♪ WHOA-OH-OH! ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ WHOO, WHOO! ♪ 523 00:19:29,435 --> 00:19:31,446 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ WHOO, WHOO! ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 524 00:19:31,470 --> 00:19:37,986 ♪ WHOO, WHOO! ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ 525 00:19:38,010 --> 00:19:39,088 ♪ OOH-OOH-OOH, LA LA LA LA ♪ ♪ OOH-OOH-OOH, LA LA LA LA ♪ [MUSIC ENDS] 526 00:19:39,112 --> 00:19:41,672 ♪ OOH-OOH-OOH, LA LA LA LA ♪ [MUSIC ENDS] [CHEERS AND APPLAUSE] 527 00:19:51,723 --> 00:19:54,903 GOOD AFTERNOON. THIS IS TOM TRYMAN. AND THIS IS 528 00:19:54,927 --> 00:19:56,171 THIS IS TOM TRYMAN. AND THIS IS JESSICA ANTLERDANCE. 529 00:19:56,195 --> 00:19:57,439 AND THIS IS JESSICA ANTLERDANCE. AND OF COURSE, WE'RE HERE 530 00:19:57,463 --> 00:19:58,807 JESSICA ANTLERDANCE. AND OF COURSE, WE'RE HERE IN VAIL, COLORADO, TO COVER THE 531 00:19:58,831 --> 00:20:01,243 AND OF COURSE, WE'RE HERE IN VAIL, COLORADO, TO COVER THE CLAUDINE LONGET INVITATIONAL. 532 00:20:01,267 --> 00:20:03,178 IN VAIL, COLORADO, TO COVER THE CLAUDINE LONGET INVITATIONAL. THIS IS, OF COURSE, A MEN'S 533 00:20:03,202 --> 00:20:04,680 CLAUDINE LONGET INVITATIONAL. THIS IS, OF COURSE, A MEN'S FREESTYLE SKIING COMPETITION. 534 00:20:04,704 --> 00:20:06,114 THIS IS, OF COURSE, A MEN'S FREESTYLE SKIING COMPETITION. SO, WITHOUT FURTHER ADO, 535 00:20:06,138 --> 00:20:07,349 FREESTYLE SKIING COMPETITION. SO, WITHOUT FURTHER ADO, LET'S GO TO THE SLOPES. 536 00:20:07,373 --> 00:20:09,150 SO, WITHOUT FURTHER ADO, LET'S GO TO THE SLOPES. TOM? 537 00:20:09,174 --> 00:20:10,719 LET'S GO TO THE SLOPES. TOM? WELL, WE CERTAINLY HAVE A 538 00:20:10,743 --> 00:20:12,020 TOM? WELL, WE CERTAINLY HAVE A BEAUTIFUL DAY FOR IT, TOM. 539 00:20:12,044 --> 00:20:13,288 WELL, WE CERTAINLY HAVE A BEAUTIFUL DAY FOR IT, TOM. RIGHT YOU ARE, JESSICA. 540 00:20:13,312 --> 00:20:14,690 BEAUTIFUL DAY FOR IT, TOM. RIGHT YOU ARE, JESSICA. AND OF COURSE, FIRST OUT WILL 541 00:20:14,714 --> 00:20:15,591 RIGHT YOU ARE, JESSICA. AND OF COURSE, FIRST OUT WILL BE HELMUT KINDLE. 542 00:20:15,615 --> 00:20:16,725 AND OF COURSE, FIRST OUT WILL BE HELMUT KINDLE. HELMUT IS A 24-YEAR-OLD 543 00:20:16,749 --> 00:20:17,959 BE HELMUT KINDLE. HELMUT IS A 24-YEAR-OLD FRENCHMAN... I'M SORRY... 544 00:20:17,983 --> 00:20:18,894 HELMUT IS A 24-YEAR-OLD FRENCHMAN... I'M SORRY... HE'S A WEST GERMAN. 545 00:20:18,918 --> 00:20:20,095 FRENCHMAN... I'M SORRY... HE'S A WEST GERMAN. AND THIS IS HIS SECOND RUN OF 546 00:20:20,119 --> 00:20:21,029 HE'S A WEST GERMAN. AND THIS IS HIS SECOND RUN OF THE DAY, I BELIEVE. 547 00:20:21,053 --> 00:20:23,198 AND THIS IS HIS SECOND RUN OF THE DAY, I BELIEVE. HE HAD AN INITIAL TIME OF 41.8. 548 00:20:23,222 --> 00:20:24,266 THE DAY, I BELIEVE. HE HAD AN INITIAL TIME OF 41.8. LOOKING VERY GOOD HERE. 549 00:20:24,290 --> 00:20:25,233 HE HAD AN INITIAL TIME OF 41.8. LOOKING VERY GOOD HERE. THAT'S RIGHT, TOM. 550 00:20:25,257 --> 00:20:26,502 LOOKING VERY GOOD HERE. THAT'S RIGHT, TOM. BUT HELMUT INJURED HIS ANKLE 551 00:20:26,526 --> 00:20:28,069 THAT'S RIGHT, TOM. BUT HELMUT INJURED HIS ANKLE LAST MONTH, AND THAT'S BOUND TO 552 00:20:28,093 --> 00:20:29,471 BUT HELMUT INJURED HIS ANKLE LAST MONTH, AND THAT'S BOUND TO AFFECT HIS PERFORMANCE HERE 553 00:20:29,495 --> 00:20:30,238 LAST MONTH, AND THAT'S BOUND TO AFFECT HIS PERFORMANCE HERE TODAY. 554 00:20:30,262 --> 00:20:31,473 AFFECT HIS PERFORMANCE HERE TODAY. HE CAUGHT AN EDGE THERE, BUT 555 00:20:31,497 --> 00:20:32,340 TODAY. HE CAUGHT AN EDGE THERE, BUT HE SEEMS TO BE OKAY. 556 00:20:32,364 --> 00:20:33,174 HE CAUGHT AN EDGE THERE, BUT HE SEEMS TO BE OKAY. HE'S IN GOOD SHAPE. 557 00:20:33,198 --> 00:20:34,543 HE SEEMS TO BE OKAY. HE'S IN GOOD SHAPE. ACTUALLY, I THINK HE'S A 558 00:20:34,567 --> 00:20:35,411 HE'S IN GOOD SHAPE. ACTUALLY, I THINK HE'S A LITTLE... 559 00:20:35,435 --> 00:20:35,977 ACTUALLY, I THINK HE'S A LITTLE... [GUNSHOT] 560 00:20:36,001 --> 00:20:37,178 LITTLE... [GUNSHOT] UH-OH! HE SEEMS TO HAVE BEEN 561 00:20:37,202 --> 00:20:38,280 [GUNSHOT] UH-OH! HE SEEMS TO HAVE BEEN ACCIDENTALLY SHOT BY 562 00:20:38,304 --> 00:20:40,115 UH-OH! HE SEEMS TO HAVE BEEN ACCIDENTALLY SHOT BY CLAUDINE LONGET. 563 00:20:40,139 --> 00:20:41,249 ACCIDENTALLY SHOT BY CLAUDINE LONGET. YES. AND I'M AFRAID 564 00:20:41,273 --> 00:20:42,818 CLAUDINE LONGET. YES. AND I'M AFRAID HELMUT KINDLE IS OUT OF THIS 565 00:20:42,842 --> 00:20:43,786 YES. AND I'M AFRAID HELMUT KINDLE IS OUT OF THIS RACE. 566 00:20:43,810 --> 00:20:45,186 HELMUT KINDLE IS OUT OF THIS RACE. YES, IT'S A SHAME, BUT THAT'S 567 00:20:45,210 --> 00:20:46,488 RACE. YES, IT'S A SHAME, BUT THAT'S ALL PART OF THE EXCITING WORLD 568 00:20:46,512 --> 00:20:48,457 YES, IT'S A SHAME, BUT THAT'S ALL PART OF THE EXCITING WORLD OF PROFESSIONAL SKIING, TOM. 569 00:20:48,481 --> 00:20:49,758 ALL PART OF THE EXCITING WORLD OF PROFESSIONAL SKIING, TOM. WELL, HE DEFINITELY SEEMS 570 00:20:49,782 --> 00:20:50,926 OF PROFESSIONAL SKIING, TOM. WELL, HE DEFINITELY SEEMS OUT OF IT, JESSICA, AND I 571 00:20:50,950 --> 00:20:52,160 WELL, HE DEFINITELY SEEMS OUT OF IT, JESSICA, AND I COULDN'T AGREE MORE. 572 00:20:52,184 --> 00:20:53,829 OUT OF IT, JESSICA, AND I COULDN'T AGREE MORE. AND NOW HERE COMES THE MAN TO 573 00:20:53,853 --> 00:20:54,996 COULDN'T AGREE MORE. AND NOW HERE COMES THE MAN TO BEAT... WE'RE GOING TO BE SEEING 574 00:20:55,020 --> 00:20:56,064 AND NOW HERE COMES THE MAN TO BEAT... WE'RE GOING TO BE SEEING HIM IN A SECOND... OF COURSE, 575 00:20:56,088 --> 00:20:57,332 BEAT... WE'RE GOING TO BE SEEING HIM IN A SECOND... OF COURSE, JEAN-PAUL BAPTISTE, A 576 00:20:57,356 --> 00:20:59,501 HIM IN A SECOND... OF COURSE, JEAN-PAUL BAPTISTE, A 28-YEAR-OLD CIVIL ENGINEER FROM 577 00:20:59,525 --> 00:21:00,536 JEAN-PAUL BAPTISTE, A 28-YEAR-OLD CIVIL ENGINEER FROM BERN, SWITZERLAND. 578 00:21:00,560 --> 00:21:01,503 28-YEAR-OLD CIVIL ENGINEER FROM BERN, SWITZERLAND. AND HE'S STRONG. 579 00:21:01,527 --> 00:21:02,237 BERN, SWITZERLAND. AND HE'S STRONG. HE'S AGILE. 580 00:21:02,261 --> 00:21:03,872 AND HE'S STRONG. HE'S AGILE. HE'S GOT A GREAT DEAL OF POWER, 581 00:21:03,896 --> 00:21:04,372 HE'S AGILE. HE'S GOT A GREAT DEAL OF POWER, JESSICA. 582 00:21:04,396 --> 00:21:05,774 HE'S GOT A GREAT DEAL OF POWER, JESSICA. HE'LL NEED ALL THE POWER HE'S 583 00:21:05,798 --> 00:21:06,975 JESSICA. HE'LL NEED ALL THE POWER HE'S GOT ON THOSE MOGULS, TOM. 584 00:21:06,999 --> 00:21:08,176 HE'LL NEED ALL THE POWER HE'S GOT ON THOSE MOGULS, TOM. LOOK AT THE WAY HIS LEGS 585 00:21:08,200 --> 00:21:09,277 GOT ON THOSE MOGULS, TOM. LOOK AT THE WAY HIS LEGS ABSORB THOSE SHOCKS AS HE 586 00:21:09,301 --> 00:21:10,479 LOOK AT THE WAY HIS LEGS ABSORB THOSE SHOCKS AS HE MANEUVERS HIS WAY DOWN THIS 587 00:21:10,503 --> 00:21:11,179 ABSORB THOSE SHOCKS AS HE MANEUVERS HIS WAY DOWN THIS BUMPY TERRAIN. 588 00:21:11,203 --> 00:21:12,514 MANEUVERS HIS WAY DOWN THIS BUMPY TERRAIN. THERE'S A VERY NICE MOVE THERE, 589 00:21:12,538 --> 00:21:13,281 BUMPY TERRAIN. THERE'S A VERY NICE MOVE THERE, A LOT OF SPRING. 590 00:21:13,305 --> 00:21:14,583 THERE'S A VERY NICE MOVE THERE, A LOT OF SPRING. HE'S REALLY PLAYING THIS HILL. 591 00:21:14,607 --> 00:21:15,951 A LOT OF SPRING. HE'S REALLY PLAYING THIS HILL. IT'S EASY TO SEE WHY HE WON A 592 00:21:15,975 --> 00:21:17,218 HE'S REALLY PLAYING THIS HILL. IT'S EASY TO SEE WHY HE WON A BRONZE MEDAL AT INNSBRUCK... A 593 00:21:17,242 --> 00:21:18,454 IT'S EASY TO SEE WHY HE WON A BRONZE MEDAL AT INNSBRUCK... A STRONG SKIER AND A FIERCE 594 00:21:18,478 --> 00:21:19,087 BRONZE MEDAL AT INNSBRUCK... A STRONG SKIER AND A FIERCE COMPETITOR. 595 00:21:19,111 --> 00:21:20,088 STRONG SKIER AND A FIERCE COMPETITOR. WELL, I WOULD HAVE TO SAY, 596 00:21:20,112 --> 00:21:22,290 COMPETITOR. WELL, I WOULD HAVE TO SAY, IT'S A VERY FAST TIME UP TO THIS 597 00:21:22,314 --> 00:21:22,858 WELL, I WOULD HAVE TO SAY, IT'S A VERY FAST TIME UP TO THIS POINT. 598 00:21:22,882 --> 00:21:24,225 IT'S A VERY FAST TIME UP TO THIS POINT. HE'S DOING VERY WELL. 599 00:21:24,249 --> 00:21:25,994 POINT. HE'S DOING VERY WELL. AND THERE'S A VERY NICE MOVE. 600 00:21:26,018 --> 00:21:27,362 HE'S DOING VERY WELL. AND THERE'S A VERY NICE MOVE. I WOULD SAY AT THIS HALFWAY 601 00:21:27,386 --> 00:21:28,864 AND THERE'S A VERY NICE MOVE. I WOULD SAY AT THIS HALFWAY POINT THAT HE'S CERTAINLY GOING 602 00:21:28,888 --> 00:21:30,231 I WOULD SAY AT THIS HALFWAY POINT THAT HE'S CERTAINLY GOING TO TAKE THIRD, OR MAYBE EVEN A 603 00:21:30,255 --> 00:21:30,999 POINT THAT HE'S CERTAINLY GOING TO TAKE THIRD, OR MAYBE EVEN A SECOND PLACE, BECAUSE... 604 00:21:31,023 --> 00:21:31,633 TO TAKE THIRD, OR MAYBE EVEN A SECOND PLACE, BECAUSE... [GUNSHOT] 605 00:21:31,657 --> 00:21:32,300 SECOND PLACE, BECAUSE... [GUNSHOT] UH-OH! UH-OH! 606 00:21:32,324 --> 00:21:33,602 [GUNSHOT] UH-OH! UH-OH! IT LOOKS TO ME LIKE HE HAS BEEN 607 00:21:33,626 --> 00:21:34,770 UH-OH! UH-OH! IT LOOKS TO ME LIKE HE HAS BEEN ACCIDENTALLY SHOT BY 608 00:21:34,794 --> 00:21:35,737 IT LOOKS TO ME LIKE HE HAS BEEN ACCIDENTALLY SHOT BY CLAUDINE LONGET. 609 00:21:35,761 --> 00:21:36,738 ACCIDENTALLY SHOT BY CLAUDINE LONGET. JUST GRAZED, I THINK, TOM. 610 00:21:36,762 --> 00:21:37,305 CLAUDINE LONGET. JUST GRAZED, I THINK, TOM. [GUNSHOT] 611 00:21:37,329 --> 00:21:37,840 JUST GRAZED, I THINK, TOM. [GUNSHOT] OH, NO. 612 00:21:37,864 --> 00:21:39,140 [GUNSHOT] OH, NO. THAT ONE GOT HIM... HE'S DOWN. 613 00:21:39,164 --> 00:21:40,709 OH, NO. THAT ONE GOT HIM... HE'S DOWN. NO, HE'S DOWN THIS TIME. 614 00:21:40,733 --> 00:21:41,409 THAT ONE GOT HIM... HE'S DOWN. NO, HE'S DOWN THIS TIME. NO, NO. 615 00:21:41,433 --> 00:21:42,845 NO, HE'S DOWN THIS TIME. NO, NO. NO, HE'S GETTING UP. 616 00:21:42,869 --> 00:21:44,412 NO, NO. NO, HE'S GETTING UP. ALWAYS THE MARK OF A FINE 617 00:21:44,436 --> 00:21:45,814 NO, HE'S GETTING UP. ALWAYS THE MARK OF A FINE ATHLETE IS THE ABILITY TO 618 00:21:45,838 --> 00:21:47,583 ALWAYS THE MARK OF A FINE ATHLETE IS THE ABILITY TO RECOVER IN DIFFICULT SITUATIONS. 619 00:21:47,607 --> 00:21:48,884 ATHLETE IS THE ABILITY TO RECOVER IN DIFFICULT SITUATIONS. I CAN'T BELIEVE HE'S GOING 620 00:21:48,908 --> 00:21:50,018 RECOVER IN DIFFICULT SITUATIONS. I CAN'T BELIEVE HE'S GOING FOR THE FINISH LINE, AND... 621 00:21:50,042 --> 00:21:50,586 I CAN'T BELIEVE HE'S GOING FOR THE FINISH LINE, AND... [GUNSHOT] 622 00:21:50,610 --> 00:21:52,087 FOR THE FINISH LINE, AND... [GUNSHOT] OH, NO. AGAIN... AGAIN, HE HAS 623 00:21:52,111 --> 00:21:53,522 [GUNSHOT] OH, NO. AGAIN... AGAIN, HE HAS BEEN ACCIDENTALLY SHOT BY 624 00:21:53,546 --> 00:21:54,990 OH, NO. AGAIN... AGAIN, HE HAS BEEN ACCIDENTALLY SHOT BY CLAUDINE LONGET, AND, THIS TIME, 625 00:21:55,014 --> 00:21:56,224 BEEN ACCIDENTALLY SHOT BY CLAUDINE LONGET, AND, THIS TIME, I THINK HE'S DOWN TO STAY, 626 00:21:56,248 --> 00:21:56,725 CLAUDINE LONGET, AND, THIS TIME, I THINK HE'S DOWN TO STAY, JESSICA. 627 00:21:56,749 --> 00:21:57,960 I THINK HE'S DOWN TO STAY, JESSICA. WE'RE RUNNING A LITTLE LATE, 628 00:21:57,984 --> 00:21:59,160 JESSICA. WE'RE RUNNING A LITTLE LATE, TOM, SO LET'S JUST CUT TO A FEW 629 00:21:59,184 --> 00:22:00,195 WE'RE RUNNING A LITTLE LATE, TOM, SO LET'S JUST CUT TO A FEW HIGHLIGHTS OF THIS EVENT. 630 00:22:00,219 --> 00:22:01,396 TOM, SO LET'S JUST CUT TO A FEW HIGHLIGHTS OF THIS EVENT. ALL RIGHT, LET'S DO THAT. 631 00:22:01,420 --> 00:22:03,499 HIGHLIGHTS OF THIS EVENT. ALL RIGHT, LET'S DO THAT. HERE, SHE MISTAKENLY DROPPED HER 632 00:22:03,523 --> 00:22:04,399 ALL RIGHT, LET'S DO THAT. HERE, SHE MISTAKENLY DROPPED HER GUN, AND IT WENT OFF. 633 00:22:04,423 --> 00:22:05,734 HERE, SHE MISTAKENLY DROPPED HER GUN, AND IT WENT OFF. HERE, SHE WAS SHOWING THE GUN 634 00:22:05,758 --> 00:22:06,368 GUN, AND IT WENT OFF. HERE, SHE WAS SHOWING THE GUN TO A FRIEND. 635 00:22:06,392 --> 00:22:07,603 HERE, SHE WAS SHOWING THE GUN TO A FRIEND. YEAH. I THINK SHE WAS JUST 636 00:22:07,627 --> 00:22:08,837 TO A FRIEND. YEAH. I THINK SHE WAS JUST CLEANING HER GUN HERE, WASN'T 637 00:22:08,861 --> 00:22:09,471 YEAH. I THINK SHE WAS JUST CLEANING HER GUN HERE, WASN'T SHE? 638 00:22:09,495 --> 00:22:11,006 CLEANING HER GUN HERE, WASN'T SHE? [GUNFIRE] 639 00:22:11,030 --> 00:22:12,107 SHE? [GUNFIRE] AND ONCE AGAIN, OF COURSE, 640 00:22:12,131 --> 00:22:13,375 [GUNFIRE] AND ONCE AGAIN, OF COURSE, SHOWING A GUN TO A FRIEND. 641 00:22:13,399 --> 00:22:14,643 AND ONCE AGAIN, OF COURSE, SHOWING A GUN TO A FRIEND. HERE, I THINK SHE JUST PUT THE 642 00:22:14,667 --> 00:22:15,811 SHOWING A GUN TO A FRIEND. HERE, I THINK SHE JUST PUT THE GUN DOWN IN THE SNOW, AND IT 643 00:22:15,835 --> 00:22:17,579 HERE, I THINK SHE JUST PUT THE GUN DOWN IN THE SNOW, AND IT WENT OFF BY MISTAKE. 644 00:22:17,603 --> 00:22:18,780 GUN DOWN IN THE SNOW, AND IT WENT OFF BY MISTAKE. THAT LOOKED ALMOST LIKE SKEET 645 00:22:18,804 --> 00:22:19,347 WENT OFF BY MISTAKE. THAT LOOKED ALMOST LIKE SKEET SHOOTING. 646 00:22:19,371 --> 00:22:20,248 THAT LOOKED ALMOST LIKE SKEET SHOOTING. [CHUCKLES] 647 00:22:20,272 --> 00:22:21,517 SHOOTING. [CHUCKLES] YOU MUST MEAN "SKI SHOOTING." 648 00:22:21,541 --> 00:22:24,085 [CHUCKLES] YOU MUST MEAN "SKI SHOOTING." [LAUGHTER] 649 00:22:24,109 --> 00:22:25,153 YOU MUST MEAN "SKI SHOOTING." [LAUGHTER] AHH. 650 00:22:25,177 --> 00:22:25,754 [LAUGHTER] AHH. OH, WELL. 651 00:22:25,778 --> 00:22:27,088 AHH. OH, WELL. THIS HAS BEEN TOM TRYMAN. 652 00:22:27,112 --> 00:22:28,790 OH, WELL. THIS HAS BEEN TOM TRYMAN. AND JESSICA ANTLERDANCE. 653 00:22:28,814 --> 00:22:30,191 THIS HAS BEEN TOM TRYMAN. AND JESSICA ANTLERDANCE. HERE IN VAIL, COLORADO, AT 654 00:22:30,215 --> 00:22:31,192 AND JESSICA ANTLERDANCE. HERE IN VAIL, COLORADO, AT THE CLAUDINE LONGET 655 00:22:31,216 --> 00:22:32,327 HERE IN VAIL, COLORADO, AT THE CLAUDINE LONGET INVITATIONAL. 656 00:22:32,351 --> 00:22:33,529 THE CLAUDINE LONGET INVITATIONAL. "SKI SHOOTING"... THAT'S VERY 657 00:22:33,553 --> 00:22:34,029 INVITATIONAL. "SKI SHOOTING"... THAT'S VERY FUNNY. 658 00:22:34,053 --> 00:22:35,931 "SKI SHOOTING"... THAT'S VERY FUNNY. [CHUCKLES] 659 00:22:35,955 --> 00:22:38,066 FUNNY. [CHUCKLES] RIGHT NOW, HERE'S A WORD FROM 660 00:22:38,090 --> 00:22:40,130 [CHUCKLES] RIGHT NOW, HERE'S A WORD FROM POLAROID. 661 00:22:43,328 --> 00:22:49,043 HI. I'M JANE CURTIN. AND THIS IS POLAROID'S DELUXE SX-70 LAND CAMERA. 662 00:22:49,067 --> 00:22:50,646 AND THIS IS POLAROID'S DELUXE SX-70 LAND CAMERA. AND HERE ARE THREE PICTURES OF 663 00:22:50,670 --> 00:22:52,347 SX-70 LAND CAMERA. AND HERE ARE THREE PICTURES OF JOHN BELUSHI WE TOOK RIGHT HERE. 664 00:22:52,371 --> 00:22:53,181 AND HERE ARE THREE PICTURES OF JOHN BELUSHI WE TOOK RIGHT HERE. YES, JANE. 665 00:22:53,205 --> 00:22:54,883 JOHN BELUSHI WE TOOK RIGHT HERE. YES, JANE. THEY DEVELOPED RIGHT IN MINUTES. 666 00:22:54,907 --> 00:22:56,485 YES, JANE. THEY DEVELOPED RIGHT IN MINUTES. THIS WAS FROM 3 FEET... 667 00:22:56,509 --> 00:22:58,387 THEY DEVELOPED RIGHT IN MINUTES. THIS WAS FROM 3 FEET... THAT'S AS CLOSE AS MOST CAMERAS 668 00:22:58,411 --> 00:22:59,053 THIS WAS FROM 3 FEET... THAT'S AS CLOSE AS MOST CAMERAS CAN GET. 669 00:22:59,077 --> 00:23:00,955 THAT'S AS CLOSE AS MOST CAMERAS CAN GET. HERE'S 2 FEET... THIS IS THE 670 00:23:00,979 --> 00:23:02,857 CAN GET. HERE'S 2 FEET... THIS IS THE HEAD-AND-SHOULDERS PORTRAIT. 671 00:23:02,881 --> 00:23:05,026 HERE'S 2 FEET... THIS IS THE HEAD-AND-SHOULDERS PORTRAIT. AND 10 INCHES... NOW, THAT'S A 672 00:23:05,050 --> 00:23:05,560 HEAD-AND-SHOULDERS PORTRAIT. AND 10 INCHES... NOW, THAT'S A CLOSE-UP. 673 00:23:05,584 --> 00:23:06,828 AND 10 INCHES... NOW, THAT'S A CLOSE-UP. THAT'S QUITE A DIFFERENCE, 674 00:23:06,852 --> 00:23:07,296 CLOSE-UP. THAT'S QUITE A DIFFERENCE, JANE. 675 00:23:07,320 --> 00:23:08,096 THAT'S QUITE A DIFFERENCE, JANE. [CHUCKLES] 676 00:23:08,120 --> 00:23:09,331 JANE. [CHUCKLES] YOU KNOW, IT'S CLOSER THAN 677 00:23:09,355 --> 00:23:10,766 [CHUCKLES] YOU KNOW, IT'S CLOSER THAN ALMOST ANY OTHER CAMERA YOU CAN 678 00:23:10,790 --> 00:23:12,033 YOU KNOW, IT'S CLOSER THAN ALMOST ANY OTHER CAMERA YOU CAN GET WITHOUT A SPECIAL LENS. 679 00:23:12,057 --> 00:23:13,935 ALMOST ANY OTHER CAMERA YOU CAN GET WITHOUT A SPECIAL LENS. AND WITH THE SX-70, YOU LOOK 680 00:23:13,959 --> 00:23:15,904 GET WITHOUT A SPECIAL LENS. AND WITH THE SX-70, YOU LOOK INTO THE VIEWFINDER AND FOCUS 681 00:23:15,928 --> 00:23:17,038 AND WITH THE SX-70, YOU LOOK INTO THE VIEWFINDER AND FOCUS RIGHT THROUGH THE LENS. 682 00:23:17,062 --> 00:23:19,841 INTO THE VIEWFINDER AND FOCUS RIGHT THROUGH THE LENS. SO THE PICTURE YOU SEE IS THE 683 00:23:19,865 --> 00:23:20,942 RIGHT THROUGH THE LENS. SO THE PICTURE YOU SEE IS THE PICTURE YOU GET. 684 00:23:20,966 --> 00:23:22,477 SO THE PICTURE YOU SEE IS THE PICTURE YOU GET. THEN JUST PUSH THE LITTLE 685 00:23:22,501 --> 00:23:24,145 PICTURE YOU GET. THEN JUST PUSH THE LITTLE BUTTON AND... 686 00:23:24,169 --> 00:23:25,847 THEN JUST PUSH THE LITTLE BUTTON AND... KKHHH! WHOOM! 687 00:23:25,871 --> 00:23:27,516 BUTTON AND... KKHHH! WHOOM! YOU SEE? THIS IS FOR YOU, JOHN. 688 00:23:27,540 --> 00:23:28,817 KKHHH! WHOOM! YOU SEE? THIS IS FOR YOU, JOHN. OH, THANKS, JANE. 689 00:23:28,841 --> 00:23:30,385 YOU SEE? THIS IS FOR YOU, JOHN. OH, THANKS, JANE. AND THAT PICTURE WILL BE 690 00:23:30,409 --> 00:23:31,886 OH, THANKS, JANE. AND THAT PICTURE WILL BE DEVELOPED IN JUST MINUTES. 691 00:23:31,910 --> 00:23:33,087 AND THAT PICTURE WILL BE DEVELOPED IN JUST MINUTES. FOR COLOR PICTURES FROM 692 00:23:33,111 --> 00:23:37,292 DEVELOPED IN JUST MINUTES. FOR COLOR PICTURES FROM 10.4 INCHES TO INFINITY THAT 693 00:23:37,316 --> 00:23:39,260 FOR COLOR PICTURES FROM 10.4 INCHES TO INFINITY THAT DEVELOP WHILE YOU WATCH, ONLY 694 00:23:39,284 --> 00:23:41,797 10.4 INCHES TO INFINITY THAT DEVELOP WHILE YOU WATCH, ONLY POLAROID'S DELUXE... DELUXE 695 00:23:41,821 --> 00:23:43,198 DEVELOP WHILE YOU WATCH, ONLY POLAROID'S DELUXE... DELUXE SX-70. 696 00:23:43,222 --> 00:23:44,399 POLAROID'S DELUXE... DELUXE SX-70. VERY NICE, JANE. 697 00:23:44,423 --> 00:23:46,356 SX-70. VERY NICE, JANE. THANKS, JOHN. 698 00:24:06,877 --> 00:24:10,692 [SIGHS] MR. HUGHES. HOWARD, I'VE BEEN WAITING 699 00:24:10,716 --> 00:24:11,659 MR. HUGHES. HOWARD, I'VE BEEN WAITING 3 HOURS AND 15 MINUTES. 700 00:24:11,683 --> 00:24:12,694 HOWARD, I'VE BEEN WAITING 3 HOURS AND 15 MINUTES. IF YOU'RE NOT OUT HERE IN 701 00:24:12,718 --> 00:24:13,828 3 HOURS AND 15 MINUTES. IF YOU'RE NOT OUT HERE IN 10 SECONDS, YOU'LL BE FLYING 702 00:24:13,852 --> 00:24:15,797 IF YOU'RE NOT OUT HERE IN 10 SECONDS, YOU'LL BE FLYING SOLO TONIGHT. 703 00:24:15,821 --> 00:24:18,533 10 SECONDS, YOU'LL BE FLYING SOLO TONIGHT. JANE, IT'S ME... HOWARD. 704 00:24:18,557 --> 00:24:20,102 SOLO TONIGHT. JANE, IT'S ME... HOWARD. GUESS WHAT. GUESS WHAT. 705 00:24:20,126 --> 00:24:20,735 JANE, IT'S ME... HOWARD. GUESS WHAT. GUESS WHAT. WHAT? 706 00:24:20,759 --> 00:24:21,603 GUESS WHAT. GUESS WHAT. WHAT? GUESS WHAT. 707 00:24:21,627 --> 00:24:25,006 WHAT? GUESS WHAT. I'M RIGHT HERE. 708 00:24:25,030 --> 00:24:26,208 GUESS WHAT. I'M RIGHT HERE. LISTEN, BOSS, YOU BETTER PULL 709 00:24:26,232 --> 00:24:27,041 I'M RIGHT HERE. LISTEN, BOSS, YOU BETTER PULL THIS MOVIE TOGETHER. 710 00:24:27,065 --> 00:24:28,143 LISTEN, BOSS, YOU BETTER PULL THIS MOVIE TOGETHER. FIRST, YOU FIRE THE DIRECTOR, 711 00:24:28,167 --> 00:24:29,177 THIS MOVIE TOGETHER. FIRST, YOU FIRE THE DIRECTOR, HIRE YOURSELF, AND THEN YOU 712 00:24:29,201 --> 00:24:30,245 FIRST, YOU FIRE THE DIRECTOR, HIRE YOURSELF, AND THEN YOU DON'T SHOW UP ON THE SET FOR 713 00:24:30,269 --> 00:24:30,812 HIRE YOURSELF, AND THEN YOU DON'T SHOW UP ON THE SET FOR THREE WEEKS. 714 00:24:30,836 --> 00:24:32,314 DON'T SHOW UP ON THE SET FOR THREE WEEKS. YOU'RE THE MOST UNPROFESSIONAL 715 00:24:32,338 --> 00:24:33,881 THREE WEEKS. YOU'RE THE MOST UNPROFESSIONAL TEXAS BILLIONAIRE I'VE EVER MET. 716 00:24:33,905 --> 00:24:34,816 YOU'RE THE MOST UNPROFESSIONAL TEXAS BILLIONAIRE I'VE EVER MET. I LOVE YOU, JANE. 717 00:24:34,840 --> 00:24:36,184 TEXAS BILLIONAIRE I'VE EVER MET. I LOVE YOU, JANE. I LOVE YOU. I LOVE YOU. 718 00:24:36,208 --> 00:24:37,385 I LOVE YOU, JANE. I LOVE YOU. I LOVE YOU. I HAVE PERSONALLY ATTAINED A 719 00:24:37,409 --> 00:24:39,654 I LOVE YOU. I LOVE YOU. I HAVE PERSONALLY ATTAINED A LAND SPEED OF 565 MILES AN HOUR. 720 00:24:39,678 --> 00:24:44,459 I HAVE PERSONALLY ATTAINED A LAND SPEED OF 565 MILES AN HOUR. KISS ME, BABY. 721 00:24:44,483 --> 00:24:45,460 LAND SPEED OF 565 MILES AN HOUR. KISS ME, BABY. LOOK, I PUT IN A LOT OF 722 00:24:45,484 --> 00:24:46,628 KISS ME, BABY. LOOK, I PUT IN A LOT OF FLYING TIME WITH YOU, BUDDY, AND 723 00:24:46,652 --> 00:24:47,695 LOOK, I PUT IN A LOT OF FLYING TIME WITH YOU, BUDDY, AND YOU SAID YOU'D MAKE ME INTO A 724 00:24:47,719 --> 00:24:48,230 FLYING TIME WITH YOU, BUDDY, AND YOU SAID YOU'D MAKE ME INTO A BIG STAR. 725 00:24:48,254 --> 00:24:49,598 YOU SAID YOU'D MAKE ME INTO A BIG STAR. WELL, I WANT OUT OF THIS CHEAP 726 00:24:49,622 --> 00:24:50,098 BIG STAR. WELL, I WANT OUT OF THIS CHEAP WESTERN. 727 00:24:50,122 --> 00:24:51,065 WELL, I WANT OUT OF THIS CHEAP WESTERN. I LOVE YOU, JANE. 728 00:24:51,089 --> 00:24:53,368 WESTERN. I LOVE YOU, JANE. AND DO YOU KNOW WHY I LOVE YOU? 729 00:24:53,392 --> 00:24:54,236 I LOVE YOU, JANE. AND DO YOU KNOW WHY I LOVE YOU? I LOVE YOU BECAUSE 730 00:24:54,260 --> 00:24:55,337 AND DO YOU KNOW WHY I LOVE YOU? I LOVE YOU BECAUSE THE UNITED STATES IS SOON 731 00:24:55,361 --> 00:24:56,538 I LOVE YOU BECAUSE THE UNITED STATES IS SOON GOING TO BE AT WAR WITH THE 732 00:24:56,562 --> 00:24:57,772 THE UNITED STATES IS SOON GOING TO BE AT WAR WITH THE AXIS POWERS, AND OUR LOVE IS 733 00:24:57,796 --> 00:24:59,007 GOING TO BE AT WAR WITH THE AXIS POWERS, AND OUR LOVE IS MUCH MORE THAN BEING ABLE TO 734 00:24:59,031 --> 00:25:00,275 AXIS POWERS, AND OUR LOVE IS MUCH MORE THAN BEING ABLE TO CREATE A MACHINE GUN THAT CAN 735 00:25:00,299 --> 00:25:02,577 MUCH MORE THAN BEING ABLE TO CREATE A MACHINE GUN THAT CAN FIRE 400 ROUNDS OF 50-CALIBER 736 00:25:02,601 --> 00:25:04,479 CREATE A MACHINE GUN THAT CAN FIRE 400 ROUNDS OF 50-CALIBER AMMUNITION PER SECOND. 737 00:25:04,503 --> 00:25:06,248 FIRE 400 ROUNDS OF 50-CALIBER AMMUNITION PER SECOND. OH, JANE, OUR LOVE IS LIKE AN 738 00:25:06,272 --> 00:25:08,049 AMMUNITION PER SECOND. OH, JANE, OUR LOVE IS LIKE AN INDUSTRY MEETING THE NEEDS OF 739 00:25:08,073 --> 00:25:10,619 OH, JANE, OUR LOVE IS LIKE AN INDUSTRY MEETING THE NEEDS OF WAR... SEX, WAR, SEX, WAR... 740 00:25:10,643 --> 00:25:12,154 INDUSTRY MEETING THE NEEDS OF WAR... SEX, WAR, SEX, WAR... SEX IS WHAT WE NEED TO SAVE THIS 741 00:25:12,178 --> 00:25:13,355 WAR... SEX, WAR, SEX, WAR... SEX IS WHAT WE NEED TO SAVE THIS PICTURE, JANE. 742 00:25:13,379 --> 00:25:14,122 SEX IS WHAT WE NEED TO SAVE THIS PICTURE, JANE. SEX? 743 00:25:14,146 --> 00:25:16,258 PICTURE, JANE. SEX? YOU HERMIT, I'M JANE RUSSELL! 744 00:25:16,282 --> 00:25:17,759 SEX? YOU HERMIT, I'M JANE RUSSELL! I'VE GOT THE BEST GAZONGAS IN 745 00:25:17,783 --> 00:25:19,327 YOU HERMIT, I'M JANE RUSSELL! I'VE GOT THE BEST GAZONGAS IN THE BUSINESS. 746 00:25:19,351 --> 00:25:20,061 I'VE GOT THE BEST GAZONGAS IN THE BUSINESS. GAZONGAS! 747 00:25:20,085 --> 00:25:21,229 THE BUSINESS. GAZONGAS! GAZONGAS... THAT'S IT. 748 00:25:21,253 --> 00:25:22,697 GAZONGAS! GAZONGAS... THAT'S IT. A LIGHT SO POWERFUL, IT COULD 749 00:25:22,721 --> 00:25:23,798 GAZONGAS... THAT'S IT. A LIGHT SO POWERFUL, IT COULD DEFLECT OFF THE MOON. 750 00:25:23,822 --> 00:25:25,167 A LIGHT SO POWERFUL, IT COULD DEFLECT OFF THE MOON. FROM RELAY STATION TO RELAY 751 00:25:25,191 --> 00:25:26,668 DEFLECT OFF THE MOON. FROM RELAY STATION TO RELAY STATION TO EARTH, SATELLITES AND 752 00:25:26,692 --> 00:25:27,669 FROM RELAY STATION TO RELAY STATION TO EARTH, SATELLITES AND ROCKETS... GAZONGA! 753 00:25:27,693 --> 00:25:29,271 STATION TO EARTH, SATELLITES AND ROCKETS... GAZONGA! ELECTRONIC BEAMS BOUNCING FROM 754 00:25:29,295 --> 00:25:30,272 ROCKETS... GAZONGA! ELECTRONIC BEAMS BOUNCING FROM PLANET TO PLANET! 755 00:25:30,296 --> 00:25:32,174 ELECTRONIC BEAMS BOUNCING FROM PLANET TO PLANET! GAZONGA! GAZONGA! 756 00:25:32,198 --> 00:25:33,941 PLANET TO PLANET! GAZONGA! GAZONGA! ALL MEN LINKED ELECTRONICALLY... 757 00:25:33,965 --> 00:25:35,710 GAZONGA! GAZONGA! ALL MEN LINKED ELECTRONICALLY... AND THAT'S WHY I HAVE PERSONALLY 758 00:25:35,734 --> 00:25:37,345 ALL MEN LINKED ELECTRONICALLY... AND THAT'S WHY I HAVE PERSONALLY DESIGNED A BRASSIERE FOR YOU. 759 00:25:37,369 --> 00:25:38,346 AND THAT'S WHY I HAVE PERSONALLY DESIGNED A BRASSIERE FOR YOU. OH, BROTHER. 760 00:25:38,370 --> 00:25:40,081 DESIGNED A BRASSIERE FOR YOU. OH, BROTHER. WELL, BOSS, I GO THROUGH BRAS 761 00:25:40,105 --> 00:25:41,650 OH, BROTHER. WELL, BOSS, I GO THROUGH BRAS LIKE YOU GO THROUGH SOCKS, SO... 762 00:25:41,674 --> 00:25:42,850 WELL, BOSS, I GO THROUGH BRAS LIKE YOU GO THROUGH SOCKS, SO... WELL, THIS ONE'S GOING TO 763 00:25:42,874 --> 00:25:44,018 LIKE YOU GO THROUGH SOCKS, SO... WELL, THIS ONE'S GOING TO CHANGE THE LOOK OF WOMEN IN 764 00:25:44,042 --> 00:25:44,619 WELL, THIS ONE'S GOING TO CHANGE THE LOOK OF WOMEN IN FILMS, JANE. 765 00:25:44,643 --> 00:25:46,288 CHANGE THE LOOK OF WOMEN IN FILMS, JANE. SKIP, BRING OUT THE BRA. 766 00:25:46,312 --> 00:25:47,422 FILMS, JANE. SKIP, BRING OUT THE BRA. YOU'RE GOING TO LOVE THIS ONE. 767 00:25:47,446 --> 00:25:53,261 SKIP, BRING OUT THE BRA. YOU'RE GOING TO LOVE THIS ONE. WE'RE ON OUR WAY. 768 00:25:53,285 --> 00:25:54,796 YOU'RE GOING TO LOVE THIS ONE. WE'RE ON OUR WAY. THIS IS SKIP DIXON, MY MOST 769 00:25:54,820 --> 00:25:56,464 WE'RE ON OUR WAY. THIS IS SKIP DIXON, MY MOST TRUSTED MORMON WELDER. 770 00:25:56,488 --> 00:25:57,265 THIS IS SKIP DIXON, MY MOST TRUSTED MORMON WELDER. HOWDY. 771 00:25:57,289 --> 00:25:58,800 TRUSTED MORMON WELDER. HOWDY. START IT UP, SKIP. 772 00:25:58,824 --> 00:26:01,369 HOWDY. START IT UP, SKIP. OKAY. 773 00:26:01,393 --> 00:26:03,238 START IT UP, SKIP. OKAY. ALL RIGHT, PUT IT ON, HONEY. 774 00:26:03,262 --> 00:26:04,072 OKAY. ALL RIGHT, PUT IT ON, HONEY. CUT THE MOTORS. 775 00:26:04,096 --> 00:26:04,906 ALL RIGHT, PUT IT ON, HONEY. CUT THE MOTORS. CUT THE MOTORS. 776 00:26:04,930 --> 00:26:06,241 CUT THE MOTORS. CUT THE MOTORS. I CAN'T WEAR THAT THING. 777 00:26:06,265 --> 00:26:07,576 CUT THE MOTORS. I CAN'T WEAR THAT THING. WHY NOT? 778 00:26:07,600 --> 00:26:09,010 I CAN'T WEAR THAT THING. WHY NOT? IT'S A 72-HOUR MODEL. 779 00:26:09,034 --> 00:26:13,215 WHY NOT? IT'S A 72-HOUR MODEL. WAIT TILL YOU FEEL THE LIFT. 780 00:26:13,239 --> 00:26:14,382 IT'S A 72-HOUR MODEL. WAIT TILL YOU FEEL THE LIFT. WELL, IT HASN'T EVEN BEEN 781 00:26:14,406 --> 00:26:15,250 WAIT TILL YOU FEEL THE LIFT. WELL, IT HASN'T EVEN BEEN SAFETY-CHECKED YET. 782 00:26:15,274 --> 00:26:17,919 WELL, IT HASN'T EVEN BEEN SAFETY-CHECKED YET. WELL, THEN, I'LL PUT IT ON. 783 00:26:17,943 --> 00:26:19,954 SAFETY-CHECKED YET. WELL, THEN, I'LL PUT IT ON. I KNOW THIS THING IS THE BEST IN 784 00:26:19,978 --> 00:26:20,788 WELL, THEN, I'LL PUT IT ON. I KNOW THIS THING IS THE BEST IN ITS CLASS. 785 00:26:20,812 --> 00:26:21,956 I KNOW THIS THING IS THE BEST IN ITS CLASS. I'VE WORKED DAY AND NIGHT TO 786 00:26:21,980 --> 00:26:23,124 ITS CLASS. I'VE WORKED DAY AND NIGHT TO BUILD THIS THING... DAY AND 787 00:26:23,148 --> 00:26:23,592 I'VE WORKED DAY AND NIGHT TO BUILD THIS THING... DAY AND NIGHT! 788 00:26:23,616 --> 00:26:24,326 BUILD THIS THING... DAY AND NIGHT! IT NEEDS TO BE 789 00:26:24,350 --> 00:26:25,260 NIGHT! IT NEEDS TO BE SAFETY-CHECKED, HOWARD. 790 00:26:25,284 --> 00:26:26,261 IT NEEDS TO BE SAFETY-CHECKED, HOWARD. BUT, BOSS, I DON'T... 791 00:26:26,285 --> 00:26:27,295 SAFETY-CHECKED, HOWARD. BUT, BOSS, I DON'T... VERY DANGEROUS, HOWARD. 792 00:26:27,319 --> 00:26:28,697 BUT, BOSS, I DON'T... VERY DANGEROUS, HOWARD. YOU'RE GONNA KILL US ALL WITH... 793 00:26:28,721 --> 00:26:29,698 VERY DANGEROUS, HOWARD. YOU'RE GONNA KILL US ALL WITH... OH, MY GOD! 794 00:26:29,722 --> 00:26:30,465 YOU'RE GONNA KILL US ALL WITH... OH, MY GOD! BOSS! WATCH IT! 795 00:26:30,489 --> 00:26:31,132 OH, MY GOD! BOSS! WATCH IT! OH, MY GOD! 796 00:26:31,156 --> 00:26:31,766 BOSS! WATCH IT! OH, MY GOD! BOSS! BOSS! 797 00:26:31,790 --> 00:26:33,568 OH, MY GOD! BOSS! BOSS! OH! OH! HOWARD! HOWARD! 798 00:26:33,592 --> 00:26:35,036 BOSS! BOSS! OH! OH! HOWARD! HOWARD! OH! OH! 799 00:26:35,060 --> 00:26:37,305 OH! OH! HOWARD! HOWARD! OH! OH! BOSS! HEY! 800 00:26:37,329 --> 00:26:38,573 OH! OH! BOSS! HEY! OH! OH! 801 00:26:38,597 --> 00:26:40,029 BOSS! HEY! OH! OH! OH! HOWARD! 802 00:26:40,298 --> 00:26:42,499 WE MUST HAVE MORE TIME! 803 00:26:42,634 --> 00:26:43,800 WE MUST HAVE MORE TIME! 804 00:26:43,934 --> 00:26:47,371 WE MUST HAVE MORE TIME! 805 00:26:47,505 --> 00:26:48,838 OH! 806 00:26:55,112 --> 00:26:58,693 Announcer: THIS HAS BEEN ANOTHER GREAT MOMENT IN HERSTORY. 807 00:26:58,717 --> 00:27:00,963 ANOTHER GREAT MOMENT IN HERSTORY. [CHEERS AND APPLAUSE] 808 00:27:00,987 --> 00:27:02,898 HERSTORY. [CHEERS AND APPLAUSE] I'M HERE TO TELL YOU THAT, ON 809 00:27:02,922 --> 00:27:04,766 [CHEERS AND APPLAUSE] I'M HERE TO TELL YOU THAT, ON MAY 8th, MADELINE KAHN IS GOING 810 00:27:04,790 --> 00:27:05,601 I'M HERE TO TELL YOU THAT, ON MAY 8th, MADELINE KAHN IS GOING TO BE BACK. 811 00:27:05,625 --> 00:27:06,935 MAY 8th, MADELINE KAHN IS GOING TO BE BACK. SHE WAS ON BEFORE, BUT BECAUSE 812 00:27:06,959 --> 00:27:08,336 TO BE BACK. SHE WAS ON BEFORE, BUT BECAUSE OF THE STRIKE, WE COULDN'T DO A 813 00:27:08,360 --> 00:27:09,705 SHE WAS ON BEFORE, BUT BECAUSE OF THE STRIKE, WE COULDN'T DO A COMPLETE SHOW, BUT SHE IS GOING 814 00:27:09,729 --> 00:27:10,739 OF THE STRIKE, WE COULDN'T DO A COMPLETE SHOW, BUT SHE IS GOING TO BE BACK ON MAY 8th. 815 00:27:10,763 --> 00:27:12,207 COMPLETE SHOW, BUT SHE IS GOING TO BE BACK ON MAY 8th. AND NOT ONLY IS MADELINE KAHN 816 00:27:12,231 --> 00:27:13,809 TO BE BACK ON MAY 8th. AND NOT ONLY IS MADELINE KAHN GOING TO BE ON THE SHOW MAY 8th, 817 00:27:13,833 --> 00:27:15,978 AND NOT ONLY IS MADELINE KAHN GOING TO BE ON THE SHOW MAY 8th, BUT CARLY SIMON, AS A SPECIAL 818 00:27:16,002 --> 00:27:17,178 GOING TO BE ON THE SHOW MAY 8th, BUT CARLY SIMON, AS A SPECIAL MUSICAL GUEST. 819 00:27:17,202 --> 00:27:18,480 BUT CARLY SIMON, AS A SPECIAL MUSICAL GUEST. AND SHE HASN'T BEEN SINGING IN A 820 00:27:18,504 --> 00:27:20,381 MUSICAL GUEST. AND SHE HASN'T BEEN SINGING IN A LONG TIME. 821 00:27:20,405 --> 00:27:22,485 AND SHE HASN'T BEEN SINGING IN A LONG TIME. [APPLAUSE] 822 00:27:25,109 --> 00:27:30,191 Announcer: AND NOW "WEEKEND UPDATE" WITH CHEVY CHASE. 823 00:27:30,215 --> 00:27:31,692 "WEEKEND UPDATE" WITH CHEVY CHASE. NO. NO, NO. 824 00:27:31,716 --> 00:27:33,461 WITH CHEVY CHASE. NO. NO, NO. IT'S JUST OUT OF BATTERIES. 825 00:27:33,485 --> 00:27:35,663 NO. NO, NO. IT'S JUST OUT OF BATTERIES. [LAUGHTER] 826 00:27:35,687 --> 00:27:36,932 IT'S JUST OUT OF BATTERIES. [LAUGHTER] LISTEN, TAKE THE ELECTRIC 827 00:27:36,956 --> 00:27:38,233 [LAUGHTER] LISTEN, TAKE THE ELECTRIC TOOTHBRUSH... I GOT TO GO. 828 00:27:38,257 --> 00:27:39,034 LISTEN, TAKE THE ELECTRIC TOOTHBRUSH... I GOT TO GO. I GOT TO GO. 829 00:27:39,058 --> 00:27:40,501 TOOTHBRUSH... I GOT TO GO. I GOT TO GO. [LAUGHTER AND APPLAUSE] 830 00:27:40,525 --> 00:27:41,136 I GOT TO GO. [LAUGHTER AND APPLAUSE] GOOD EVENING. 831 00:27:41,160 --> 00:27:44,940 [LAUGHTER AND APPLAUSE] GOOD EVENING. I'M CHEVY CHASE, AND YOU CAN'T. 832 00:27:44,964 --> 00:27:46,408 GOOD EVENING. I'M CHEVY CHASE, AND YOU CAN'T. OUR TOP STORY TONIGHT... 833 00:27:46,432 --> 00:27:47,842 I'M CHEVY CHASE, AND YOU CAN'T. OUR TOP STORY TONIGHT... PRESIDENT FORD HAS BEEN 834 00:27:47,866 --> 00:27:49,210 OUR TOP STORY TONIGHT... PRESIDENT FORD HAS BEEN CRITICIZED ALL WEEK BY 835 00:27:49,234 --> 00:27:51,046 PRESIDENT FORD HAS BEEN CRITICIZED ALL WEEK BY CONSERVATIVE SUPPORTERS FOR HIS 836 00:27:51,070 --> 00:27:52,948 CRITICIZED ALL WEEK BY CONSERVATIVE SUPPORTERS FOR HIS APPEARANCE ON AND ENDORSEMENT OF 837 00:27:52,972 --> 00:27:54,882 CONSERVATIVE SUPPORTERS FOR HIS APPEARANCE ON AND ENDORSEMENT OF A LATE-NIGHT COMEDY TV SHOW, 838 00:27:54,906 --> 00:27:56,985 APPEARANCE ON AND ENDORSEMENT OF A LATE-NIGHT COMEDY TV SHOW, WHICH SPECIALIZES IN BAD TASTE, 839 00:27:57,009 --> 00:27:58,920 A LATE-NIGHT COMEDY TV SHOW, WHICH SPECIALIZES IN BAD TASTE, CHEAP-SHOT HUMOR, AND FILTHY 840 00:27:58,944 --> 00:28:01,522 WHICH SPECIALIZES IN BAD TASTE, CHEAP-SHOT HUMOR, AND FILTHY LANGUAGE WHEREVER POSSIBLE. 841 00:28:01,546 --> 00:28:03,224 CHEAP-SHOT HUMOR, AND FILTHY LANGUAGE WHEREVER POSSIBLE. REPLYING TO ALLEGATIONS THAT THE 842 00:28:03,248 --> 00:28:04,892 LANGUAGE WHEREVER POSSIBLE. REPLYING TO ALLEGATIONS THAT THE PROGRAM MADE THE PRESIDENT LOOK 843 00:28:04,916 --> 00:28:06,361 REPLYING TO ALLEGATIONS THAT THE PROGRAM MADE THE PRESIDENT LOOK STUPID, MR. FORD REPORTEDLY 844 00:28:06,385 --> 00:28:07,895 PROGRAM MADE THE PRESIDENT LOOK STUPID, MR. FORD REPORTEDLY SAID, "NONSENSE. 845 00:28:07,919 --> 00:28:09,630 STUPID, MR. FORD REPORTEDLY SAID, "NONSENSE. PASS THE SOUP ONTO MY FACE, 846 00:28:09,654 --> 00:28:10,898 SAID, "NONSENSE. PASS THE SOUP ONTO MY FACE, PLEASE." 847 00:28:10,922 --> 00:28:12,400 PASS THE SOUP ONTO MY FACE, PLEASE." HE IS SEEN HERE READING THE 848 00:28:12,424 --> 00:28:14,102 PLEASE." HE IS SEEN HERE READING THE STATEMENT FROM A BLANK PIECE OF 849 00:28:14,126 --> 00:28:14,602 HE IS SEEN HERE READING THE STATEMENT FROM A BLANK PIECE OF PAPER. 850 00:28:14,626 --> 00:28:15,770 STATEMENT FROM A BLANK PIECE OF PAPER. [LAUGHTER] 851 00:28:15,794 --> 00:28:16,771 PAPER. [LAUGHTER] WELL, VICE PRESIDENT 852 00:28:16,795 --> 00:28:18,173 [LAUGHTER] WELL, VICE PRESIDENT NELSON ROCKEFELLER STATED THAT 853 00:28:18,197 --> 00:28:19,640 WELL, VICE PRESIDENT NELSON ROCKEFELLER STATED THAT HE BELIEVES THERE ARE COMMUNISTS 854 00:28:19,664 --> 00:28:21,376 NELSON ROCKEFELLER STATED THAT HE BELIEVES THERE ARE COMMUNISTS IN HENRY JACKSON'S CAMPAIGN 855 00:28:21,400 --> 00:28:22,410 HE BELIEVES THERE ARE COMMUNISTS IN HENRY JACKSON'S CAMPAIGN ORGANIZATION. 856 00:28:22,434 --> 00:28:23,678 IN HENRY JACKSON'S CAMPAIGN ORGANIZATION. INFURIATED BY THE CHARGE, 857 00:28:23,702 --> 00:28:25,113 ORGANIZATION. INFURIATED BY THE CHARGE, JACKSON DEMANDED AN IMMEDIATE 858 00:28:25,137 --> 00:28:26,614 INFURIATED BY THE CHARGE, JACKSON DEMANDED AN IMMEDIATE RETRACTION AND APOLOGY AND 859 00:28:26,638 --> 00:28:27,983 JACKSON DEMANDED AN IMMEDIATE RETRACTION AND APOLOGY AND CALLED FOR ROCKEFELLER'S 860 00:28:28,007 --> 00:28:28,816 RETRACTION AND APOLOGY AND CALLED FOR ROCKEFELLER'S RESIGNATION. 861 00:28:28,840 --> 00:28:30,185 CALLED FOR ROCKEFELLER'S RESIGNATION. TODAY, THE VICE PRESIDENT 862 00:28:30,209 --> 00:28:31,853 RESIGNATION. TODAY, THE VICE PRESIDENT APOLOGIZED AND RESIGNED AND GAVE 863 00:28:31,877 --> 00:28:33,521 TODAY, THE VICE PRESIDENT APOLOGIZED AND RESIGNED AND GAVE AWAY HIS ENTIRE FAMILY TO SINGER 864 00:28:33,545 --> 00:28:34,589 APOLOGIZED AND RESIGNED AND GAVE AWAY HIS ENTIRE FAMILY TO SINGER ROY CLARK. 865 00:28:34,613 --> 00:28:36,491 AWAY HIS ENTIRE FAMILY TO SINGER ROY CLARK. [LAUGHTER] 866 00:28:36,515 --> 00:28:37,993 ROY CLARK. [LAUGHTER] LATER, JACKSON WAS SEEN PAWNING 867 00:28:38,017 --> 00:28:39,427 [LAUGHTER] LATER, JACKSON WAS SEEN PAWNING HIS WATCH IN PENNSYLVANIA FOR 868 00:28:39,451 --> 00:28:40,996 LATER, JACKSON WAS SEEN PAWNING HIS WATCH IN PENNSYLVANIA FOR ADDED CAMPAIGN FUNDS. 869 00:28:41,020 --> 00:28:42,130 HIS WATCH IN PENNSYLVANIA FOR ADDED CAMPAIGN FUNDS. [LAUGHTER] 870 00:28:42,154 --> 00:28:45,633 ADDED CAMPAIGN FUNDS. [LAUGHTER] THIS JUST IN... 871 00:28:45,657 --> 00:28:49,070 [LAUGHTER] THIS JUST IN... 253 CONVICTED MURDERERS AND 872 00:28:49,094 --> 00:28:50,805 THIS JUST IN... 253 CONVICTED MURDERERS AND RAPISTS HAVE REPORTEDLY ESCAPED 873 00:28:50,829 --> 00:28:52,474 253 CONVICTED MURDERERS AND RAPISTS HAVE REPORTEDLY ESCAPED FROM A MAXIMUM-SECURITY PRISON 874 00:28:52,498 --> 00:28:53,674 RAPISTS HAVE REPORTEDLY ESCAPED FROM A MAXIMUM-SECURITY PRISON NEAR THE SMALL TOWN OF 875 00:28:53,698 --> 00:28:54,809 FROM A MAXIMUM-SECURITY PRISON NEAR THE SMALL TOWN OF KINGSDALE, MARYLAND. 876 00:28:54,833 --> 00:28:56,311 NEAR THE SMALL TOWN OF KINGSDALE, MARYLAND. RESIDENTS ARE ADVISED TO ANSWER 877 00:28:56,335 --> 00:28:57,945 KINGSDALE, MARYLAND. RESIDENTS ARE ADVISED TO ANSWER THEIR DOORS VERY POLITELY. 878 00:28:57,969 --> 00:29:00,281 RESIDENTS ARE ADVISED TO ANSWER THEIR DOORS VERY POLITELY. [LAUGHTER] 879 00:29:00,305 --> 00:29:02,683 THEIR DOORS VERY POLITELY. [LAUGHTER] DR. TIMOTHY LEARY, GURU OF THE 880 00:29:02,707 --> 00:29:05,853 [LAUGHTER] DR. TIMOTHY LEARY, GURU OF THE 1960s LSD PSYCHEDELIC ERA, WAS 881 00:29:05,877 --> 00:29:07,455 DR. TIMOTHY LEARY, GURU OF THE 1960s LSD PSYCHEDELIC ERA, WAS PAROLED AND RELEASED FROM PRISON 882 00:29:07,479 --> 00:29:08,123 1960s LSD PSYCHEDELIC ERA, WAS PAROLED AND RELEASED FROM PRISON THIS WEEK. 883 00:29:08,147 --> 00:29:09,524 PAROLED AND RELEASED FROM PRISON THIS WEEK. LEARY HAD WON NOTORIETY FOR 884 00:29:09,548 --> 00:29:10,992 THIS WEEK. LEARY HAD WON NOTORIETY FOR ADVISING YOUNG PEOPLE TO TUNE 885 00:29:11,016 --> 00:29:12,360 LEARY HAD WON NOTORIETY FOR ADVISING YOUNG PEOPLE TO TUNE IN, TURN ON, AND DROP OUT. 886 00:29:12,384 --> 00:29:14,029 ADVISING YOUNG PEOPLE TO TUNE IN, TURN ON, AND DROP OUT. HE WON HIS RELEASE AFTER TELLING 887 00:29:14,053 --> 00:29:15,263 IN, TURN ON, AND DROP OUT. HE WON HIS RELEASE AFTER TELLING THE PAROLE BOARD THAT HE WOULD 888 00:29:15,287 --> 00:29:16,597 HE WON HIS RELEASE AFTER TELLING THE PAROLE BOARD THAT HE WOULD ADVISE YOUNG PEOPLE TO TUNE OUT, 889 00:29:16,621 --> 00:29:17,832 THE PAROLE BOARD THAT HE WOULD ADVISE YOUNG PEOPLE TO TUNE OUT, TURN IN, AND GIVE UP. 890 00:29:17,856 --> 00:29:19,367 ADVISE YOUNG PEOPLE TO TUNE OUT, TURN IN, AND GIVE UP. WHEN ASKED ABOUT HIS FUTURE 891 00:29:19,391 --> 00:29:20,902 TURN IN, AND GIVE UP. WHEN ASKED ABOUT HIS FUTURE PLANS, HE REPLIED, "I DON'T 892 00:29:20,926 --> 00:29:22,537 WHEN ASKED ABOUT HIS FUTURE PLANS, HE REPLIED, "I DON'T KNOW, BUT FIRST, I GUESS I'LL 893 00:29:22,561 --> 00:29:23,871 PLANS, HE REPLIED, "I DON'T KNOW, BUT FIRST, I GUESS I'LL JUST TAKE A LITTLE TRIP 894 00:29:23,895 --> 00:29:25,073 KNOW, BUT FIRST, I GUESS I'LL JUST TAKE A LITTLE TRIP SOMEWHERE." 895 00:29:25,097 --> 00:29:27,409 JUST TAKE A LITTLE TRIP SOMEWHERE." [LIGHT LAUGHTER] 896 00:29:27,433 --> 00:29:28,776 SOMEWHERE." [LIGHT LAUGHTER] JIMMY CARTER SAID IN HIS 897 00:29:28,800 --> 00:29:30,545 [LIGHT LAUGHTER] JIMMY CARTER SAID IN HIS CAMPAIGN THAT HE IS INCAPABLE OF 898 00:29:30,569 --> 00:29:31,446 JIMMY CARTER SAID IN HIS CAMPAIGN THAT HE IS INCAPABLE OF TELLING A LIE. 899 00:29:31,470 --> 00:29:32,580 CAMPAIGN THAT HE IS INCAPABLE OF TELLING A LIE. WELL, YESTERDAY, IN 900 00:29:32,604 --> 00:29:34,249 TELLING A LIE. WELL, YESTERDAY, IN PENNSYLVANIA, A FACTORY WORKER 901 00:29:34,273 --> 00:29:35,983 WELL, YESTERDAY, IN PENNSYLVANIA, A FACTORY WORKER ASKED CARTER WHY HE WANTS TO BE 902 00:29:36,007 --> 00:29:36,684 PENNSYLVANIA, A FACTORY WORKER ASKED CARTER WHY HE WANTS TO BE PRESIDENT. 903 00:29:36,708 --> 00:29:38,119 ASKED CARTER WHY HE WANTS TO BE PRESIDENT. CARTER ALLEGEDLY ANSWERED, "TO 904 00:29:38,143 --> 00:29:39,654 PRESIDENT. CARTER ALLEGEDLY ANSWERED, "TO TELL THE HONEST TRUTH, I WISH TO 905 00:29:39,678 --> 00:29:41,089 CARTER ALLEGEDLY ANSWERED, "TO TELL THE HONEST TRUTH, I WISH TO BE PRESIDENT BECAUSE THE POWER 906 00:29:41,113 --> 00:29:42,457 TELL THE HONEST TRUTH, I WISH TO BE PRESIDENT BECAUSE THE POWER OF THE OFFICE WOULD GET ME OFF 907 00:29:42,481 --> 00:29:44,159 BE PRESIDENT BECAUSE THE POWER OF THE OFFICE WOULD GET ME OFF SEXUALLY." 908 00:29:44,183 --> 00:29:46,661 OF THE OFFICE WOULD GET ME OFF SEXUALLY." [LAUGHTER AND APPLAUSE] 909 00:29:46,685 --> 00:29:48,263 SEXUALLY." [LAUGHTER AND APPLAUSE] AND ONCE AGAIN, GEORGE WALLACE 910 00:29:48,287 --> 00:29:49,864 [LAUGHTER AND APPLAUSE] AND ONCE AGAIN, GEORGE WALLACE WAS QUESTIONED BY REPORTERS AS 911 00:29:49,888 --> 00:29:51,533 AND ONCE AGAIN, GEORGE WALLACE WAS QUESTIONED BY REPORTERS AS TO HIS PHYSICAL CAPABILITIES TO 912 00:29:51,557 --> 00:29:52,767 WAS QUESTIONED BY REPORTERS AS TO HIS PHYSICAL CAPABILITIES TO HANDLE THE PRESIDENCY. 913 00:29:52,791 --> 00:29:53,901 TO HIS PHYSICAL CAPABILITIES TO HANDLE THE PRESIDENCY. AIMING TO SET THE RECORD 914 00:29:53,925 --> 00:29:55,303 HANDLE THE PRESIDENCY. AIMING TO SET THE RECORD STRAIGHT ON THIS ISSUE ONCE AND 915 00:29:55,327 --> 00:29:56,737 AIMING TO SET THE RECORD STRAIGHT ON THIS ISSUE ONCE AND FOR ALL, WALLACE DEMONSTRATED 916 00:29:56,761 --> 00:29:58,306 STRAIGHT ON THIS ISSUE ONCE AND FOR ALL, WALLACE DEMONSTRATED HIS STRENGTH AT A LUNCHEON TODAY 917 00:29:58,330 --> 00:29:59,774 FOR ALL, WALLACE DEMONSTRATED HIS STRENGTH AT A LUNCHEON TODAY BY CRUSHING A SMALL CHILD WITH 918 00:29:59,798 --> 00:30:00,442 HIS STRENGTH AT A LUNCHEON TODAY BY CRUSHING A SMALL CHILD WITH HIS BARE HANDS. 919 00:30:00,466 --> 00:30:05,646 BY CRUSHING A SMALL CHILD WITH HIS BARE HANDS. [LAUGHTER AND APPLAUSE] 920 00:30:05,670 --> 00:30:07,048 HIS BARE HANDS. [LAUGHTER AND APPLAUSE] THE 103rd RUNNING OF THE 921 00:30:07,072 --> 00:30:08,783 [LAUGHTER AND APPLAUSE] THE 103rd RUNNING OF THE KENTUCKY DERBY TAKES PLACE NEXT 922 00:30:08,807 --> 00:30:10,452 THE 103rd RUNNING OF THE KENTUCKY DERBY TAKES PLACE NEXT WEEK, AND THE ODDS-ON FAVORITE 923 00:30:10,476 --> 00:30:12,153 KENTUCKY DERBY TAKES PLACE NEXT WEEK, AND THE ODDS-ON FAVORITE IS SAID TO BE HONEST PLEASURE. 924 00:30:12,177 --> 00:30:13,588 WEEK, AND THE ODDS-ON FAVORITE IS SAID TO BE HONEST PLEASURE. CHURCHILL DOWNS TODAY REPORTED 925 00:30:13,612 --> 00:30:15,090 IS SAID TO BE HONEST PLEASURE. CHURCHILL DOWNS TODAY REPORTED THAT IT HAS ACCEPTED AN ENTRY BY 926 00:30:15,114 --> 00:30:16,891 CHURCHILL DOWNS TODAY REPORTED THAT IT HAS ACCEPTED AN ENTRY BY RUFFIAN, THE LATE FILLY, WHO IS 927 00:30:16,915 --> 00:30:18,526 THAT IT HAS ACCEPTED AN ENTRY BY RUFFIAN, THE LATE FILLY, WHO IS NOW A 3-YEAR-OLD AND FINALLY 928 00:30:18,550 --> 00:30:19,561 RUFFIAN, THE LATE FILLY, WHO IS NOW A 3-YEAR-OLD AND FINALLY ELIGIBLE TO RUN. 929 00:30:19,585 --> 00:30:20,761 NOW A 3-YEAR-OLD AND FINALLY ELIGIBLE TO RUN. INSIDERS BELIEVE SHE WILL 930 00:30:20,785 --> 00:30:21,696 ELIGIBLE TO RUN. INSIDERS BELIEVE SHE WILL BE RIDDEN BY JOCKEY 931 00:30:21,720 --> 00:30:23,431 INSIDERS BELIEVE SHE WILL BE RIDDEN BY JOCKEY FRANCISCO FRANCO, WHO, IT IS 932 00:30:23,455 --> 00:30:25,333 BE RIDDEN BY JOCKEY FRANCISCO FRANCO, WHO, IT IS SAID, IS FINALLY DOWN TO RACING 933 00:30:25,357 --> 00:30:26,601 FRANCISCO FRANCO, WHO, IT IS SAID, IS FINALLY DOWN TO RACING WEIGHT. 934 00:30:26,625 --> 00:30:28,403 SAID, IS FINALLY DOWN TO RACING WEIGHT. [LAUGHTER AND APPLAUSE] 935 00:30:28,427 --> 00:30:29,737 WEIGHT. [LAUGHTER AND APPLAUSE] RIGHT NOW, LET'S GO TO 936 00:30:29,761 --> 00:30:30,905 [LAUGHTER AND APPLAUSE] RIGHT NOW, LET'S GO TO LARAINE NEWMAN, OUR 937 00:30:30,929 --> 00:30:32,574 RIGHT NOW, LET'S GO TO LARAINE NEWMAN, OUR "WEEKEND UPDATE" ELECTION '76 938 00:30:32,598 --> 00:30:33,841 LARAINE NEWMAN, OUR "WEEKEND UPDATE" ELECTION '76 POLITICAL ANALYST. 939 00:30:33,865 --> 00:30:37,579 "WEEKEND UPDATE" ELECTION '76 POLITICAL ANALYST. LARAINE? 940 00:30:37,603 --> 00:30:39,981 POLITICAL ANALYST. LARAINE? LARAINE? 941 00:30:40,005 --> 00:30:41,483 LARAINE? LARAINE? THANK YOU, CHEVY. 942 00:30:41,507 --> 00:30:43,684 LARAINE? THANK YOU, CHEVY. AS THE MIDDLE PRIMARIES APPROACH 943 00:30:43,708 --> 00:30:45,453 THANK YOU, CHEVY. AS THE MIDDLE PRIMARIES APPROACH US IN THIS ELECTION '76, 944 00:30:45,477 --> 00:30:47,422 AS THE MIDDLE PRIMARIES APPROACH US IN THIS ELECTION '76, "SATURDAY NIGHT" ASKED 1,200 945 00:30:47,446 --> 00:30:49,457 US IN THIS ELECTION '76, "SATURDAY NIGHT" ASKED 1,200 RESPONDENTS WHOM THEY PLAN TO 946 00:30:49,481 --> 00:30:50,992 "SATURDAY NIGHT" ASKED 1,200 RESPONDENTS WHOM THEY PLAN TO VOTE FOR THIS NOVEMBER. 947 00:30:51,016 --> 00:30:52,827 RESPONDENTS WHOM THEY PLAN TO VOTE FOR THIS NOVEMBER. "SATURDAY NIGHT" ASKED ME TO 948 00:30:52,851 --> 00:30:54,795 VOTE FOR THIS NOVEMBER. "SATURDAY NIGHT" ASKED ME TO ANALYZE THE RESULTS, WHICH WENT 949 00:30:54,819 --> 00:30:56,696 "SATURDAY NIGHT" ASKED ME TO ANALYZE THE RESULTS, WHICH WENT LIKE THIS. 950 00:30:56,720 --> 00:30:58,888 AS YOU CAN SEE, MORE PEOPLE 951 00:30:59,023 --> 00:31:02,392 VOTED, 23%, "DON'T KNOW" THAN 952 00:31:02,527 --> 00:31:03,860 FOR ANY CANDIDATE. 953 00:31:03,994 --> 00:31:06,263 WHO ARE THESE "DON'T KNOWS," AND 954 00:31:06,397 --> 00:31:07,797 WHY DON'T THEY KNOW? 955 00:31:07,931 --> 00:31:09,966 WE ASKED THE "DON'T KNOWS" SOME 956 00:31:10,100 --> 00:31:12,035 QUESTIONS, AND THERE ARE SOME 957 00:31:12,170 --> 00:31:13,570 INTERESTING RESULTS. 958 00:31:13,704 --> 00:31:15,438 OF THE PEOPLE WHO ANSWERED 959 00:31:15,573 --> 00:31:19,008 "DON'T KNOW," 31% ARE MALE, 35% 960 00:31:19,143 --> 00:31:22,712 ARE FEMALE, AND 36% DON'T KNOW. 961 00:31:22,980 --> 00:31:29,130 WHEN ASKED WHY THEY DON'T KNOW WHOM TO VOTE FOR, 45% SAID THEY DON'T CARE, 12% SAID THEY RESENT 962 00:31:29,154 --> 00:31:31,666 WHOM TO VOTE FOR, 45% SAID THEY DON'T CARE, 12% SAID THEY RESENT THE POLL, AND 32% SAID THEY 963 00:31:31,690 --> 00:31:33,000 DON'T CARE, 12% SAID THEY RESENT THE POLL, AND 32% SAID THEY DON'T KNOW. 964 00:31:33,024 --> 00:31:35,102 THE POLL, AND 32% SAID THEY DON'T KNOW. WHEN ASKED WHEN THEY WILL KNOW, 965 00:31:35,126 --> 00:31:37,805 DON'T KNOW. WHEN ASKED WHEN THEY WILL KNOW, 13% SAID THEY WOULD KNOW SOON, 966 00:31:37,829 --> 00:31:40,608 WHEN ASKED WHEN THEY WILL KNOW, 13% SAID THEY WOULD KNOW SOON, 47% SAID THEY WOULD NEVER KNOW, 967 00:31:40,632 --> 00:31:43,344 13% SAID THEY WOULD KNOW SOON, 47% SAID THEY WOULD NEVER KNOW, AND 40% DON'T KNOW. 968 00:31:43,368 --> 00:31:44,879 47% SAID THEY WOULD NEVER KNOW, AND 40% DON'T KNOW. ALREADY THIS CAMPAIGN, THE 969 00:31:44,903 --> 00:31:46,447 AND 40% DON'T KNOW. ALREADY THIS CAMPAIGN, THE "DON'T KNOWS" HAVE PLAYED A 970 00:31:46,471 --> 00:31:47,549 ALREADY THIS CAMPAIGN, THE "DON'T KNOWS" HAVE PLAYED A SIGNIFICANT ROLE. 971 00:31:47,573 --> 00:31:49,284 "DON'T KNOWS" HAVE PLAYED A SIGNIFICANT ROLE. GEORGE WALLACE COUNTED HEAVILY 972 00:31:49,308 --> 00:31:50,918 SIGNIFICANT ROLE. GEORGE WALLACE COUNTED HEAVILY UPON THIS GROUP IN HIS EARLY 973 00:31:50,942 --> 00:31:52,687 GEORGE WALLACE COUNTED HEAVILY UPON THIS GROUP IN HIS EARLY PRIMARIES, BUT THEY DIDN'T TURN 974 00:31:52,711 --> 00:31:53,188 UPON THIS GROUP IN HIS EARLY PRIMARIES, BUT THEY DIDN'T TURN OUT. 975 00:31:53,212 --> 00:31:54,955 PRIMARIES, BUT THEY DIDN'T TURN OUT. IF ONE CANDIDATE CAN CAPTURE 976 00:31:54,979 --> 00:31:56,824 OUT. IF ONE CANDIDATE CAN CAPTURE THESE "DON'T KNOWS," HE'LL BE 977 00:31:56,848 --> 00:31:58,293 IF ONE CANDIDATE CAN CAPTURE THESE "DON'T KNOWS," HE'LL BE WAY AHEAD OF THE PACK. 978 00:31:58,317 --> 00:32:00,228 THESE "DON'T KNOWS," HE'LL BE WAY AHEAD OF THE PACK. BUT THE QUESTION BECOMES HOW TO 979 00:32:00,252 --> 00:32:02,263 WAY AHEAD OF THE PACK. BUT THE QUESTION BECOMES HOW TO GET THE "DON'T KNOWS" INTERESTED 980 00:32:02,287 --> 00:32:04,265 BUT THE QUESTION BECOMES HOW TO GET THE "DON'T KNOWS" INTERESTED IN THE POLITICAL PROCESS, HOW TO 981 00:32:04,289 --> 00:32:06,167 GET THE "DON'T KNOWS" INTERESTED IN THE POLITICAL PROCESS, HOW TO GET THEM TO THE POLLS, AND HOW 982 00:32:06,191 --> 00:32:08,069 IN THE POLITICAL PROCESS, HOW TO GET THEM TO THE POLLS, AND HOW TO GET THEM TO MARK THE BALLOT 983 00:32:08,093 --> 00:32:09,970 GET THEM TO THE POLLS, AND HOW TO GET THEM TO MARK THE BALLOT IN THE RIGHT PLACE. 984 00:32:09,994 --> 00:32:12,674 TO GET THEM TO MARK THE BALLOT IN THE RIGHT PLACE. HOW DOES A CANDIDATE DO THIS? 985 00:32:12,698 --> 00:32:14,742 IN THE RIGHT PLACE. HOW DOES A CANDIDATE DO THIS? I DON'T KNOW. 986 00:32:14,766 --> 00:32:16,644 HOW DOES A CANDIDATE DO THIS? I DON'T KNOW. LARAINE NEWMAN REPORTING. 987 00:32:16,668 --> 00:32:21,148 I DON'T KNOW. LARAINE NEWMAN REPORTING. [APPLAUSE] 988 00:32:21,172 --> 00:32:22,550 LARAINE NEWMAN REPORTING. [APPLAUSE] TWO WEEKS AGO, 989 00:32:22,574 --> 00:32:24,252 [APPLAUSE] TWO WEEKS AGO, HENRY KISSINGER CALLED WOODWARD 990 00:32:24,276 --> 00:32:25,453 TWO WEEKS AGO, HENRY KISSINGER CALLED WOODWARD AND BERNSTEIN'S BOOK 991 00:32:25,477 --> 00:32:27,121 HENRY KISSINGER CALLED WOODWARD AND BERNSTEIN'S BOOK "FINAL DAYS" IRRESPONSIBLE AND 992 00:32:27,145 --> 00:32:28,423 AND BERNSTEIN'S BOOK "FINAL DAYS" IRRESPONSIBLE AND SAID THE AUTHORS "LACK 993 00:32:28,447 --> 00:32:29,224 "FINAL DAYS" IRRESPONSIBLE AND SAID THE AUTHORS "LACK COMPASSION." 994 00:32:29,248 --> 00:32:30,825 SAID THE AUTHORS "LACK COMPASSION." TODAY, KISSINGER, WHO IS THE 995 00:32:30,849 --> 00:32:32,293 COMPASSION." TODAY, KISSINGER, WHO IS THE COMPASSIONATE ARCHITECT OF 996 00:32:32,317 --> 00:32:33,928 TODAY, KISSINGER, WHO IS THE COMPASSIONATE ARCHITECT OF RICHARD NIXON'S COMPASSIONATE 997 00:32:33,952 --> 00:32:35,697 COMPASSIONATE ARCHITECT OF RICHARD NIXON'S COMPASSIONATE VIETNAM POLICY, GOT A REPLY FROM 998 00:32:35,721 --> 00:32:37,432 RICHARD NIXON'S COMPASSIONATE VIETNAM POLICY, GOT A REPLY FROM WOODWARD AND BERNSTEIN WHO SAID 999 00:32:37,456 --> 00:32:39,100 VIETNAM POLICY, GOT A REPLY FROM WOODWARD AND BERNSTEIN WHO SAID THAT THEY DON'T MEAN TO KICK A 1000 00:32:39,124 --> 00:32:40,167 WOODWARD AND BERNSTEIN WHO SAID THAT THEY DON'T MEAN TO KICK A MAN WHEN HE'S DOWN. 1001 00:32:40,191 --> 00:32:41,836 THAT THEY DON'T MEAN TO KICK A MAN WHEN HE'S DOWN. THEY MEAN TO KICK HIM, BREAK HIS 1002 00:32:41,860 --> 00:32:43,404 MAN WHEN HE'S DOWN. THEY MEAN TO KICK HIM, BREAK HIS THUMBS, DANCE ON HIS FACE WITH 1003 00:32:43,428 --> 00:32:45,039 THEY MEAN TO KICK HIM, BREAK HIS THUMBS, DANCE ON HIS FACE WITH GOLF SHOES, AND CRACK HIS TEETH 1004 00:32:45,063 --> 00:32:47,174 THUMBS, DANCE ON HIS FACE WITH GOLF SHOES, AND CRACK HIS TEETH WITH A SMALL HAMMER. 1005 00:32:47,198 --> 00:32:48,743 GOLF SHOES, AND CRACK HIS TEETH WITH A SMALL HAMMER. ACCORDING TO WELL-PLACED STATE 1006 00:32:48,767 --> 00:32:49,810 WITH A SMALL HAMMER. ACCORDING TO WELL-PLACED STATE DEPARTMENT SOURCES, 1007 00:32:49,834 --> 00:32:51,479 ACCORDING TO WELL-PLACED STATE DEPARTMENT SOURCES, HENRY KISSINGER HAS BEEN SOLD TO 1008 00:32:51,503 --> 00:32:52,913 DEPARTMENT SOURCES, HENRY KISSINGER HAS BEEN SOLD TO THE CLEVELAND INDIANS FOR A 1009 00:32:52,937 --> 00:32:54,515 HENRY KISSINGER HAS BEEN SOLD TO THE CLEVELAND INDIANS FOR A REPORTED $12 MILLION, THE 1010 00:32:54,539 --> 00:32:56,251 THE CLEVELAND INDIANS FOR A REPORTED $12 MILLION, THE HIGHEST PRICE EVER PAID BY A 1011 00:32:56,275 --> 00:32:58,219 REPORTED $12 MILLION, THE HIGHEST PRICE EVER PAID BY A MAJOR LEAGUE BASEBALL TEAM FOR A 1012 00:32:58,243 --> 00:33:01,222 HIGHEST PRICE EVER PAID BY A MAJOR LEAGUE BASEBALL TEAM FOR A SECRETARY OF STATE. 1013 00:33:01,246 --> 00:33:03,258 MAJOR LEAGUE BASEBALL TEAM FOR A SECRETARY OF STATE. WELL, NBC'S BARBARA WALTERS HAS 1014 00:33:03,282 --> 00:33:05,293 SECRETARY OF STATE. WELL, NBC'S BARBARA WALTERS HAS LEFT THE NETWORK FOR A REPORTED 1015 00:33:05,317 --> 00:33:07,194 WELL, NBC'S BARBARA WALTERS HAS LEFT THE NETWORK FOR A REPORTED $5 MILLION JOB IN ABC'S NEWS 1016 00:33:07,218 --> 00:33:08,095 LEFT THE NETWORK FOR A REPORTED $5 MILLION JOB IN ABC'S NEWS DEPARTMENT. 1017 00:33:08,119 --> 00:33:10,131 $5 MILLION JOB IN ABC'S NEWS DEPARTMENT. HERE WITH A LIVE INTERVIEW WITH 1018 00:33:10,155 --> 00:33:11,999 DEPARTMENT. HERE WITH A LIVE INTERVIEW WITH MS. WALTERS IS CORRESPONDENT 1019 00:33:12,023 --> 00:33:14,435 HERE WITH A LIVE INTERVIEW WITH MS. WALTERS IS CORRESPONDENT GARRETT MORRIS. 1020 00:33:14,459 --> 00:33:16,704 MS. WALTERS IS CORRESPONDENT GARRETT MORRIS. MS. WALTERS, WE UNDERSTAND 1021 00:33:16,728 --> 00:33:18,839 GARRETT MORRIS. MS. WALTERS, WE UNDERSTAND THAT YOU HAVE JUST SIGNED A 1022 00:33:18,863 --> 00:33:21,041 MS. WALTERS, WE UNDERSTAND THAT YOU HAVE JUST SIGNED A MILLION-DOLLAR CONTRACT WITH 1023 00:33:21,065 --> 00:33:21,643 THAT YOU HAVE JUST SIGNED A MILLION-DOLLAR CONTRACT WITH ABC. 1024 00:33:21,667 --> 00:33:22,710 MILLION-DOLLAR CONTRACT WITH ABC. WHY? 1025 00:33:22,734 --> 00:33:25,480 ABC. WHY? TOM SNYDER. 1026 00:33:25,504 --> 00:33:27,915 WHY? TOM SNYDER. YOU AND MR. SNYDER DON'T GET 1027 00:33:27,939 --> 00:33:28,983 TOM SNYDER. YOU AND MR. SNYDER DON'T GET ALONG WELL? 1028 00:33:29,007 --> 00:33:31,486 YOU AND MR. SNYDER DON'T GET ALONG WELL? I SIMPLY CANNOT SEE HIS EARS. 1029 00:33:31,510 --> 00:33:33,053 ALONG WELL? I SIMPLY CANNOT SEE HIS EARS. HAVE YOU EVER NOTICED THAT? 1030 00:33:33,077 --> 00:33:34,789 I SIMPLY CANNOT SEE HIS EARS. HAVE YOU EVER NOTICED THAT? IT'S THE WAY THE MAN WEARS HIS 1031 00:33:34,813 --> 00:33:37,257 HAVE YOU EVER NOTICED THAT? IT'S THE WAY THE MAN WEARS HIS HAIR... WIGHT OVER HIS EARS. 1032 00:33:37,281 --> 00:33:38,815 IT LOOKS LIKE HE CUTS HIS HAIR 1033 00:33:38,949 --> 00:33:41,584 IN HOWAND OR SOMETHING. 1034 00:33:41,719 --> 00:33:42,952 WHERE? 1035 00:33:43,086 --> 00:33:44,421 HOWAND. 1036 00:33:44,555 --> 00:33:47,390 IT'S JUST NORTH OF FWANCE. 1037 00:33:47,658 --> 00:33:52,273 UH, UH, ARE YOU SURE YOUR LEAVING NBC HAS NOTHING TO DO WITH THE MONEY, I MEAN, THE 1038 00:33:52,297 --> 00:33:53,608 LEAVING NBC HAS NOTHING TO DO WITH THE MONEY, I MEAN, THE MILLION DOLLARS A YEAR? 1039 00:33:53,632 --> 00:33:55,276 WITH THE MONEY, I MEAN, THE MILLION DOLLARS A YEAR? IT'S NOT THE MONEY. 1040 00:33:55,300 --> 00:33:57,111 MILLION DOLLARS A YEAR? IT'S NOT THE MONEY. IT'S HIS EARS... NO EARS. 1041 00:33:57,135 --> 00:34:00,648 IT'S NOT THE MONEY. IT'S HIS EARS... NO EARS. IT WOOKS SIWWY. 1042 00:34:00,672 --> 00:34:02,583 IT'S HIS EARS... NO EARS. IT WOOKS SIWWY. UH, WHEN DOES YOUR CONTRACT 1043 00:34:02,607 --> 00:34:04,185 IT WOOKS SIWWY. UH, WHEN DOES YOUR CONTRACT WITH ABC GO INTO EFFECT? 1044 00:34:04,209 --> 00:34:05,787 UH, WHEN DOES YOUR CONTRACT WITH ABC GO INTO EFFECT? AS SOON AS I WEARN TO 1045 00:34:05,811 --> 00:34:07,822 WITH ABC GO INTO EFFECT? AS SOON AS I WEARN TO PRONOUNCE HAWWY WEASONER. 1046 00:34:07,846 --> 00:34:11,626 AS SOON AS I WEARN TO PRONOUNCE HAWWY WEASONER. [LAUGHTER AND APPLAUSE] 1047 00:34:11,650 --> 00:34:14,729 PRONOUNCE HAWWY WEASONER. [LAUGHTER AND APPLAUSE] UH, THIS IS GARRETT MORRIS 1048 00:34:14,753 --> 00:34:16,364 [LAUGHTER AND APPLAUSE] UH, THIS IS GARRETT MORRIS REPORTING. 1049 00:34:16,388 --> 00:34:17,832 UH, THIS IS GARRETT MORRIS REPORTING. THIS STORY JUST IN FROM 1050 00:34:17,856 --> 00:34:18,366 REPORTING. THIS STORY JUST IN FROM EGYPT. 1051 00:34:18,390 --> 00:34:20,134 THIS STORY JUST IN FROM EGYPT. THE CHILDREN OF ISRAEL JOURNEYED 1052 00:34:20,158 --> 00:34:21,736 EGYPT. THE CHILDREN OF ISRAEL JOURNEYED FROM RAMSES TO SUKKOTH, ABOUT 1053 00:34:21,760 --> 00:34:23,504 THE CHILDREN OF ISRAEL JOURNEYED FROM RAMSES TO SUKKOTH, ABOUT 600,000 ON FOOT THAT WERE MEN 1054 00:34:23,528 --> 00:34:24,572 FROM RAMSES TO SUKKOTH, ABOUT 600,000 ON FOOT THAT WERE MEN BESIDE CHILDREN. 1055 00:34:24,596 --> 00:34:26,341 600,000 ON FOOT THAT WERE MEN BESIDE CHILDREN. AND A MIXED MULTITUDE WENT UP 1056 00:34:26,365 --> 00:34:28,075 BESIDE CHILDREN. AND A MIXED MULTITUDE WENT UP ALSO WITH THEM AND FLOCKS AND 1057 00:34:28,099 --> 00:34:29,811 AND A MIXED MULTITUDE WENT UP ALSO WITH THEM AND FLOCKS AND HERDS EVEN VERY MUCH CATTLE. 1058 00:34:29,835 --> 00:34:31,646 ALSO WITH THEM AND FLOCKS AND HERDS EVEN VERY MUCH CATTLE. AND THEY BAKED UNLEAVENED CAKES 1059 00:34:31,670 --> 00:34:33,514 HERDS EVEN VERY MUCH CATTLE. AND THEY BAKED UNLEAVENED CAKES OF THE DOUGH WHICH THEY BROUGHT 1060 00:34:33,538 --> 00:34:35,182 AND THEY BAKED UNLEAVENED CAKES OF THE DOUGH WHICH THEY BROUGHT FORTH OUT OF EGYPT FOR WAS NOT 1061 00:34:35,206 --> 00:34:36,884 OF THE DOUGH WHICH THEY BROUGHT FORTH OUT OF EGYPT FOR WAS NOT LEAVEN BECAUSE THEY WERE THRUST 1062 00:34:36,908 --> 00:34:38,386 FORTH OUT OF EGYPT FOR WAS NOT LEAVEN BECAUSE THEY WERE THRUST OUT OF EGYPT AND COULD NOT 1063 00:34:38,410 --> 00:34:38,886 LEAVEN BECAUSE THEY WERE THRUST OUT OF EGYPT AND COULD NOT TARRY. 1064 00:34:38,910 --> 00:34:40,521 OUT OF EGYPT AND COULD NOT TARRY. NEITHER HAD THEY PREPARED FOR 1065 00:34:40,545 --> 00:34:41,856 TARRY. NEITHER HAD THEY PREPARED FOR THEMSELVES ANY VICTUAL. 1066 00:34:41,880 --> 00:34:43,991 NEITHER HAD THEY PREPARED FOR THEMSELVES ANY VICTUAL. MORE ON THIS STORY LATER. 1067 00:34:44,015 --> 00:34:46,293 THEMSELVES ANY VICTUAL. MORE ON THIS STORY LATER. STILL TO COME, A WEDDING IN 1068 00:34:46,317 --> 00:34:49,437 MORE ON THIS STORY LATER. STILL TO COME, A WEDDING IN BEIRUT AFTER THIS MESSAGE. 1069 00:34:58,196 --> 00:35:03,577 HI. I'M GORE VIDAL. 200 YEARS AGO TODAY, MY 1070 00:35:03,601 --> 00:35:05,046 I'M GORE VIDAL. 200 YEARS AGO TODAY, MY ANCESTORS PLANTED THE FIRST 1071 00:35:05,070 --> 00:35:06,547 200 YEARS AGO TODAY, MY ANCESTORS PLANTED THE FIRST SEEDS FROM WHICH THIS NATION 1072 00:35:06,571 --> 00:35:07,782 ANCESTORS PLANTED THE FIRST SEEDS FROM WHICH THIS NATION WOULD ULTIMATELY GROW. 1073 00:35:07,806 --> 00:35:09,383 SEEDS FROM WHICH THIS NATION WOULD ULTIMATELY GROW. AARON BURR, A RELATIVE THROUGH 1074 00:35:09,407 --> 00:35:10,751 WOULD ULTIMATELY GROW. AARON BURR, A RELATIVE THROUGH MARRIAGE, WAS MOVING INTO 1075 00:35:10,775 --> 00:35:12,253 AARON BURR, A RELATIVE THROUGH MARRIAGE, WAS MOVING INTO POSITION TO BECOME THE THIRD 1076 00:35:12,277 --> 00:35:13,888 MARRIAGE, WAS MOVING INTO POSITION TO BECOME THE THIRD PRESIDENT OF THE UNITED STATES. 1077 00:35:13,912 --> 00:35:15,389 POSITION TO BECOME THE THIRD PRESIDENT OF THE UNITED STATES. THE BOUVIER FAMILY, OF WHICH 1078 00:35:15,413 --> 00:35:16,991 PRESIDENT OF THE UNITED STATES. THE BOUVIER FAMILY, OF WHICH JACQUELINE KENNEDY WAS A PART, 1079 00:35:17,015 --> 00:35:18,592 THE BOUVIER FAMILY, OF WHICH JACQUELINE KENNEDY WAS A PART, WERE DISTINGUISHING THEMSELVES 1080 00:35:18,616 --> 00:35:20,228 JACQUELINE KENNEDY WAS A PART, WERE DISTINGUISHING THEMSELVES IN SOCIAL AND ECONOMIC CIRCLES, 1081 00:35:20,252 --> 00:35:21,762 WERE DISTINGUISHING THEMSELVES IN SOCIAL AND ECONOMIC CIRCLES, AND MY OWN GREAT-GRANDPARENTS 1082 00:35:21,786 --> 00:35:23,231 IN SOCIAL AND ECONOMIC CIRCLES, AND MY OWN GREAT-GRANDPARENTS WERE SIRING MY GRANDFATHER, 1083 00:35:23,255 --> 00:35:24,365 AND MY OWN GREAT-GRANDPARENTS WERE SIRING MY GRANDFATHER, SENATOR THOMAS GORE. 1084 00:35:24,389 --> 00:35:25,900 WERE SIRING MY GRANDFATHER, SENATOR THOMAS GORE. LITTLE DID ANY OF THESE PEOPLE 1085 00:35:25,924 --> 00:35:27,535 SENATOR THOMAS GORE. LITTLE DID ANY OF THESE PEOPLE KNOW THAT THEIR GREAT-GRANDSON, 1086 00:35:27,559 --> 00:35:29,037 LITTLE DID ANY OF THESE PEOPLE KNOW THAT THEIR GREAT-GRANDSON, ME, WOULD GO ON TO BECOME THE 1087 00:35:29,061 --> 00:35:30,705 KNOW THAT THEIR GREAT-GRANDSON, ME, WOULD GO ON TO BECOME THE ONLY LITERARY FIGURE OF THE 20th 1088 00:35:30,729 --> 00:35:32,707 ME, WOULD GO ON TO BECOME THE ONLY LITERARY FIGURE OF THE 20th CENTURY WHO WHINES. 1089 00:35:32,731 --> 00:35:34,375 ONLY LITERARY FIGURE OF THE 20th CENTURY WHO WHINES. I'M GORE VIDAL. 1090 00:35:34,399 --> 00:35:38,112 CENTURY WHO WHINES. I'M GORE VIDAL. AND THAT'S THE WAY IT WAS. 1091 00:35:38,136 --> 00:35:39,981 I'M GORE VIDAL. AND THAT'S THE WAY IT WAS. Announcer: THE PRECEDING HAS 1092 00:35:40,005 --> 00:35:43,205 AND THAT'S THE WAY IT WAS. Announcer: THE PRECEDING HAS BEEN A BISEXUAL MINUTE. 1093 00:35:45,810 --> 00:35:50,825 AND NOW HERE IS CHIEF METEOROLOGIST JOHN BELUSHI TO DISCUSS SONGS WRITTEN ABOUT THE 1094 00:35:50,849 --> 00:35:51,425 METEOROLOGIST JOHN BELUSHI TO DISCUSS SONGS WRITTEN ABOUT THE WEATHER. 1095 00:35:51,449 --> 00:35:52,961 DISCUSS SONGS WRITTEN ABOUT THE WEATHER. HIS TALK TONIGHT IS ENTITLED 1096 00:35:52,985 --> 00:35:54,395 WEATHER. HIS TALK TONIGHT IS ENTITLED "DOWNPOURS AND DOWNBEATS." 1097 00:35:54,419 --> 00:35:54,862 HIS TALK TONIGHT IS ENTITLED "DOWNPOURS AND DOWNBEATS." JOHN. 1098 00:35:54,886 --> 00:35:56,030 "DOWNPOURS AND DOWNBEATS." JOHN. THANK YOU, CHEVY. 1099 00:35:56,054 --> 00:35:57,599 JOHN. THANK YOU, CHEVY. YOU KNOW, THROUGHOUT HISTORY, 1100 00:35:57,623 --> 00:35:59,100 THANK YOU, CHEVY. YOU KNOW, THROUGHOUT HISTORY, MAN HAS WRITTEN SONGS ABOUT 1101 00:35:59,124 --> 00:36:00,969 YOU KNOW, THROUGHOUT HISTORY, MAN HAS WRITTEN SONGS ABOUT WEATHER AND CLIMATIC CONDITIONS, 1102 00:36:00,993 --> 00:36:02,637 MAN HAS WRITTEN SONGS ABOUT WEATHER AND CLIMATIC CONDITIONS, "STORMY WEATHER," "RAINDROPS 1103 00:36:02,661 --> 00:36:04,138 WEATHER AND CLIMATIC CONDITIONS, "STORMY WEATHER," "RAINDROPS KEEP FALLING ON MY HEAD," 1104 00:36:04,162 --> 00:36:05,206 "STORMY WEATHER," "RAINDROPS KEEP FALLING ON MY HEAD," "APRIL SHOWERS," 1105 00:36:05,230 --> 00:36:06,808 KEEP FALLING ON MY HEAD," "APRIL SHOWERS," "WE'RE HAVING A HEAT WAVE," 1106 00:36:06,832 --> 00:36:08,542 "APRIL SHOWERS," "WE'RE HAVING A HEAT WAVE," "A FOGGY DAY IN LONDON TOWN," 1107 00:36:08,566 --> 00:36:09,410 "WE'RE HAVING A HEAT WAVE," "A FOGGY DAY IN LONDON TOWN," "MISTY," AND 1108 00:36:09,434 --> 00:36:11,112 "A FOGGY DAY IN LONDON TOWN," "MISTY," AND "YOU'LL NEVER WALK ALONE," TO 1109 00:36:11,136 --> 00:36:12,213 "MISTY," AND "YOU'LL NEVER WALK ALONE," TO NAME BUT A FEW. 1110 00:36:12,237 --> 00:36:14,248 "YOU'LL NEVER WALK ALONE," TO NAME BUT A FEW. MOST OF THESE SONGS ARE HARMLESS 1111 00:36:14,272 --> 00:36:15,850 NAME BUT A FEW. MOST OF THESE SONGS ARE HARMLESS ENOUGH, BUT A FEW SPREAD 1112 00:36:15,874 --> 00:36:17,785 MOST OF THESE SONGS ARE HARMLESS ENOUGH, BUT A FEW SPREAD DANGEROUS MISINFORMATION ABOUT 1113 00:36:17,809 --> 00:36:19,320 ENOUGH, BUT A FEW SPREAD DANGEROUS MISINFORMATION ABOUT WEATHER AND ITS EFFECT. 1114 00:36:19,344 --> 00:36:21,155 DANGEROUS MISINFORMATION ABOUT WEATHER AND ITS EFFECT. TAKE, FOR EXAMPLE, "IT NEVER 1115 00:36:21,179 --> 00:36:23,091 WEATHER AND ITS EFFECT. TAKE, FOR EXAMPLE, "IT NEVER RAINS IN SOUTHERN CALIFORNIA," 1116 00:36:23,115 --> 00:36:24,959 TAKE, FOR EXAMPLE, "IT NEVER RAINS IN SOUTHERN CALIFORNIA," WHEREAS, IN REALITY, SOUTHERN 1117 00:36:24,983 --> 00:36:26,894 RAINS IN SOUTHERN CALIFORNIA," WHEREAS, IN REALITY, SOUTHERN CALIFORNIA HAS A NORMAL ANNUAL 1118 00:36:26,918 --> 00:36:30,264 WHEREAS, IN REALITY, SOUTHERN CALIFORNIA HAS A NORMAL ANNUAL PRECIPITATION OF 14.68 INCHES. 1119 00:36:30,288 --> 00:36:32,066 CALIFORNIA HAS A NORMAL ANNUAL PRECIPITATION OF 14.68 INCHES. OR CONSIDER THE IRRESPONSIBLE 1120 00:36:32,090 --> 00:36:33,935 PRECIPITATION OF 14.68 INCHES. OR CONSIDER THE IRRESPONSIBLE MELODY ABOUT WINTER... "LET IT 1121 00:36:33,959 --> 00:36:36,938 OR CONSIDER THE IRRESPONSIBLE MELODY ABOUT WINTER... "LET IT SNOW, LET IT SNOW, LET IT SNOW." 1122 00:36:36,962 --> 00:36:38,840 MELODY ABOUT WINTER... "LET IT SNOW, LET IT SNOW, LET IT SNOW." ALL VERY EASY TO SAY, BUT WHAT 1123 00:36:38,864 --> 00:36:40,875 SNOW, LET IT SNOW, LET IT SNOW." ALL VERY EASY TO SAY, BUT WHAT ABOUT THE THOUSANDS OF LIVESTOCK 1124 00:36:40,899 --> 00:36:42,910 ALL VERY EASY TO SAY, BUT WHAT ABOUT THE THOUSANDS OF LIVESTOCK WHO FREEZE TO DEATH OR STARVE AS 1125 00:36:42,934 --> 00:36:44,912 ABOUT THE THOUSANDS OF LIVESTOCK WHO FREEZE TO DEATH OR STARVE AS A RESULT OF HEAVY SNOWFALLS EACH 1126 00:36:44,936 --> 00:36:45,479 WHO FREEZE TO DEATH OR STARVE AS A RESULT OF HEAVY SNOWFALLS EACH YEAR? 1127 00:36:45,503 --> 00:36:46,981 A RESULT OF HEAVY SNOWFALLS EACH YEAR? I DOUBT THAT THESE POOR, 1128 00:36:47,005 --> 00:36:49,017 YEAR? I DOUBT THAT THESE POOR, SUFFERING ANIMALS WOULD FIND THE 1129 00:36:49,041 --> 00:36:50,652 I DOUBT THAT THESE POOR, SUFFERING ANIMALS WOULD FIND THE WEATHER OUTSIDE DELIGHTFUL. 1130 00:36:50,676 --> 00:36:52,419 SUFFERING ANIMALS WOULD FIND THE WEATHER OUTSIDE DELIGHTFUL. THE OTHER DAY, WHILE RIDING IN 1131 00:36:52,443 --> 00:36:53,721 WEATHER OUTSIDE DELIGHTFUL. THE OTHER DAY, WHILE RIDING IN AN ESCALATOR, I HEARD 1132 00:36:53,745 --> 00:36:55,056 THE OTHER DAY, WHILE RIDING IN AN ESCALATOR, I HEARD ROBERT GOULET SINGING 1133 00:36:55,080 --> 00:36:56,457 AN ESCALATOR, I HEARD ROBERT GOULET SINGING "DON'T RAIN ON MY PARADE." 1134 00:36:56,481 --> 00:36:58,126 ROBERT GOULET SINGING "DON'T RAIN ON MY PARADE." PEOPLE ALWAYS ARE SINGING ABOUT 1135 00:36:58,150 --> 00:36:59,527 "DON'T RAIN ON MY PARADE." PEOPLE ALWAYS ARE SINGING ABOUT "DON'T RAIN ON MY PARADE." 1136 00:36:59,551 --> 00:37:01,228 PEOPLE ALWAYS ARE SINGING ABOUT "DON'T RAIN ON MY PARADE." BUT THERE ARE A LOT WORSE THINGS 1137 00:37:01,252 --> 00:37:02,630 "DON'T RAIN ON MY PARADE." BUT THERE ARE A LOT WORSE THINGS THAT COULD HAPPEN TO THEIR 1138 00:37:02,654 --> 00:37:04,032 BUT THERE ARE A LOT WORSE THINGS THAT COULD HAPPEN TO THEIR PARADE THAN A LITTLE RAIN. 1139 00:37:04,056 --> 00:37:05,733 THAT COULD HAPPEN TO THEIR PARADE THAN A LITTLE RAIN. WHAT ABOUT "DON'T BLOW YOUR NOSE 1140 00:37:05,757 --> 00:37:06,768 PARADE THAN A LITTLE RAIN. WHAT ABOUT "DON'T BLOW YOUR NOSE ON MY PARADE," HUH? 1141 00:37:06,792 --> 00:37:08,235 WHAT ABOUT "DON'T BLOW YOUR NOSE ON MY PARADE," HUH? OH, THAT'S THE SORT OF THING 1142 00:37:08,259 --> 00:37:09,837 ON MY PARADE," HUH? OH, THAT'S THE SORT OF THING THAT COULD REALLY RUIN A PARADE. 1143 00:37:09,861 --> 00:37:11,372 OH, THAT'S THE SORT OF THING THAT COULD REALLY RUIN A PARADE. OR WHAT ABOUT, "DON'T THROW UP 1144 00:37:11,396 --> 00:37:13,007 THAT COULD REALLY RUIN A PARADE. OR WHAT ABOUT, "DON'T THROW UP ON MY PARADE" OR "DON'T DUMP 1145 00:37:13,031 --> 00:37:14,776 OR WHAT ABOUT, "DON'T THROW UP ON MY PARADE" OR "DON'T DUMP YOUR KITTY LITTER ON MY PARADE" 1146 00:37:14,800 --> 00:37:16,610 ON MY PARADE" OR "DON'T DUMP YOUR KITTY LITTER ON MY PARADE" OR "DON'T DRAIN YOUR BOILS ON MY 1147 00:37:16,634 --> 00:37:17,244 YOUR KITTY LITTER ON MY PARADE" OR "DON'T DRAIN YOUR BOILS ON MY PARADE"? 1148 00:37:17,268 --> 00:37:19,013 OR "DON'T DRAIN YOUR BOILS ON MY PARADE"? AFTER A FEW THINGS LIKE THAT, A 1149 00:37:19,037 --> 00:37:20,648 PARADE"? AFTER A FEW THINGS LIKE THAT, A LITTLE RAIN WOULDN'T SEEM SO 1150 00:37:20,672 --> 00:37:21,582 AFTER A FEW THINGS LIKE THAT, A LITTLE RAIN WOULDN'T SEEM SO BAD, WOULD IT? 1151 00:37:21,606 --> 00:37:23,350 LITTLE RAIN WOULDN'T SEEM SO BAD, WOULD IT? AFTER THAT, YOU MIGHT EVEN WANT 1152 00:37:23,374 --> 00:37:24,886 BAD, WOULD IT? AFTER THAT, YOU MIGHT EVEN WANT IT TO RAIN ON YOUR PARADE. 1153 00:37:24,910 --> 00:37:26,054 AFTER THAT, YOU MIGHT EVEN WANT IT TO RAIN ON YOUR PARADE. YOU MIGHT EVEN HEAR 1154 00:37:26,078 --> 00:37:27,254 IT TO RAIN ON YOUR PARADE. YOU MIGHT EVEN HEAR ROBERT GOULET SING, 1155 00:37:27,278 --> 00:37:29,023 YOU MIGHT EVEN HEAR ROBERT GOULET SING, "PLEASE RAIN ON MY PARADE," YOU 1156 00:37:29,047 --> 00:37:29,523 ROBERT GOULET SING, "PLEASE RAIN ON MY PARADE," YOU KNOW? 1157 00:37:29,547 --> 00:37:30,457 "PLEASE RAIN ON MY PARADE," YOU KNOW? JOHN. JOHN. 1158 00:37:30,481 --> 00:37:31,525 KNOW? JOHN. JOHN. WAIT A MINUTE. 1159 00:37:31,549 --> 00:37:33,260 JOHN. JOHN. WAIT A MINUTE. YOU KNOW WHAT'S SOMETHING THAT 1160 00:37:33,284 --> 00:37:36,497 WAIT A MINUTE. YOU KNOW WHAT'S SOMETHING THAT REALLY HONKS ME OFF, HUH? 1161 00:37:36,521 --> 00:37:38,132 YOU KNOW WHAT'S SOMETHING THAT REALLY HONKS ME OFF, HUH? "SOMEWHERE OVER THE RAINBOW." 1162 00:37:38,156 --> 00:37:39,934 REALLY HONKS ME OFF, HUH? "SOMEWHERE OVER THE RAINBOW." NOW, NOT THE SONG SO MUCH AS THE 1163 00:37:39,958 --> 00:37:40,467 "SOMEWHERE OVER THE RAINBOW." NOW, NOT THE SONG SO MUCH AS THE MOVIE. 1164 00:37:40,491 --> 00:37:41,102 NOW, NOT THE SONG SO MUCH AS THE MOVIE. JOHN. 1165 00:37:41,126 --> 00:37:42,303 MOVIE. JOHN. WAIT, WAIT, WAIT. 1166 00:37:42,327 --> 00:37:43,805 JOHN. WAIT, WAIT, WAIT. JUST LET ME SAY SOMETHING. 1167 00:37:43,829 --> 00:37:45,439 WAIT, WAIT, WAIT. JUST LET ME SAY SOMETHING. NOW, THE TIN MAN GOT A HEART, 1168 00:37:45,463 --> 00:37:45,940 JUST LET ME SAY SOMETHING. NOW, THE TIN MAN GOT A HEART, OKAY? 1169 00:37:45,964 --> 00:37:47,441 NOW, THE TIN MAN GOT A HEART, OKAY? THE SCARECROW GOT A BRAIN. 1170 00:37:47,465 --> 00:37:48,976 OKAY? THE SCARECROW GOT A BRAIN. EVERYBODY GOT SOMETHING BUT 1171 00:37:49,000 --> 00:37:49,476 THE SCARECROW GOT A BRAIN. EVERYBODY GOT SOMETHING BUT TOTO. 1172 00:37:49,500 --> 00:37:50,477 EVERYBODY GOT SOMETHING BUT TOTO. TOTO GOT DIDDLY. 1173 00:37:50,501 --> 00:37:51,112 TOTO. TOTO GOT DIDDLY. JOHN. 1174 00:37:51,136 --> 00:37:52,246 TOTO GOT DIDDLY. JOHN. NOW, NOW, WAIT. 1175 00:37:52,270 --> 00:37:53,915 JOHN. NOW, NOW, WAIT. NOW, IT'S NOT BECAUSE HE'S AN 1176 00:37:53,939 --> 00:37:55,616 NOW, NOW, WAIT. NOW, IT'S NOT BECAUSE HE'S AN ANIMAL BECAUSE THE LION WAS AN 1177 00:37:55,640 --> 00:37:57,384 NOW, IT'S NOT BECAUSE HE'S AN ANIMAL BECAUSE THE LION WAS AN ANIMAL, AND HE GOT A MEDAL, YOU 1178 00:37:57,408 --> 00:37:57,819 ANIMAL BECAUSE THE LION WAS AN ANIMAL, AND HE GOT A MEDAL, YOU KNOW? 1179 00:37:57,843 --> 00:37:59,187 ANIMAL, AND HE GOT A MEDAL, YOU KNOW? I MEAN, THE WIZARD... IF THE 1180 00:37:59,211 --> 00:38:00,621 KNOW? I MEAN, THE WIZARD... IF THE WIZARD WAS ONLY SMART ENOUGH. 1181 00:38:00,645 --> 00:38:01,923 I MEAN, THE WIZARD... IF THE WIZARD WAS ONLY SMART ENOUGH. IF HE COULD HAVE GIVEN HIM 1182 00:38:01,947 --> 00:38:02,990 WIZARD WAS ONLY SMART ENOUGH. IF HE COULD HAVE GIVEN HIM SOMETHING, YOU KNOW? 1183 00:38:03,014 --> 00:38:03,524 IF HE COULD HAVE GIVEN HIM SOMETHING, YOU KNOW? JOHN. 1184 00:38:03,548 --> 00:38:05,093 SOMETHING, YOU KNOW? JOHN. DON'T TOUCH ME! 1185 00:38:05,117 --> 00:38:06,493 JOHN. DON'T TOUCH ME! NOW, THE WIZARD, HE COULD HAVE 1186 00:38:06,517 --> 00:38:07,862 DON'T TOUCH ME! NOW, THE WIZARD, HE COULD HAVE GIVEN HIM SOMETHING... A LIVER 1187 00:38:07,886 --> 00:38:08,262 NOW, THE WIZARD, HE COULD HAVE GIVEN HIM SOMETHING... A LIVER SNAP. 1188 00:38:08,286 --> 00:38:09,697 GIVEN HIM SOMETHING... A LIVER SNAP. HE COULD HAVE GIVEN HIM A LIVER 1189 00:38:09,721 --> 00:38:10,364 SNAP. HE COULD HAVE GIVEN HIM A LIVER SNAP, RIGHT? 1190 00:38:10,388 --> 00:38:11,565 HE COULD HAVE GIVEN HIM A LIVER SNAP, RIGHT? HE COULD HAVE GIVEN HIM A 1191 00:38:11,589 --> 00:38:13,500 SNAP, RIGHT? HE COULD HAVE GIVEN HIM A DOG-AND-TICK... FLEA-AND-TICK 1192 00:38:13,524 --> 00:38:15,336 HE COULD HAVE GIVEN HIM A DOG-AND-TICK... FLEA-AND-TICK COLLAR OR SOMETHING, JUST A 1193 00:38:15,360 --> 00:38:17,171 DOG-AND-TICK... FLEA-AND-TICK COLLAR OR SOMETHING, JUST A LITTLE SOMETHING, YOU KNOW? 1194 00:38:17,195 --> 00:38:19,373 COLLAR OR SOMETHING, JUST A LITTLE SOMETHING, YOU KNOW? NO BIG DEAL. 1195 00:38:19,397 --> 00:38:20,775 LITTLE SOMETHING, YOU KNOW? NO BIG DEAL. TOTO'S A LITTLE DOG! 1196 00:38:20,799 --> 00:38:23,039 NO BIG DEAL. TOTO'S A LITTLE DOG! [SCREAMING INDISTINCTLY] 1197 00:38:32,609 --> 00:38:36,457 WELL, THAT'S THE NEWS. GOOD NIGHT AND HAVE A PLEASANT TOMORROW. 1198 00:38:36,481 --> 00:38:41,896 GOOD NIGHT AND HAVE A PLEASANT TOMORROW. [CHEERS AND APPLAUSE] 1199 00:38:41,920 --> 00:38:43,664 TOMORROW. [CHEERS AND APPLAUSE] AND NOW, HERE'S 1200 00:38:43,688 --> 00:38:48,335 [CHEERS AND APPLAUSE] AND NOW, HERE'S JOHN SEBASTIAN. 1201 00:38:48,359 --> 00:38:50,337 AND NOW, HERE'S JOHN SEBASTIAN. [INTRO TO "WELCOME BACK" 1202 00:38:50,361 --> 00:38:56,110 JOHN SEBASTIAN. [INTRO TO "WELCOME BACK" PLAYS] 1203 00:38:56,134 --> 00:38:57,478 [INTRO TO "WELCOME BACK" PLAYS] ♪ WELCOME BACK ♪ 1204 00:38:57,502 --> 00:38:59,614 [PLAYS] ♪ WELCOME BACK ♪ [MICROPHONE FEEDBACK] 1205 00:38:59,638 --> 00:39:03,050 ♪ WELCOME BACK ♪ [MICROPHONE FEEDBACK] CAN I START AGAIN? 1206 00:39:03,074 --> 00:39:05,152 [MICROPHONE FEEDBACK] CAN I START AGAIN? ♪ WELCOME BACK ♪ 1207 00:39:05,176 --> 00:39:07,855 CAN I START AGAIN? ♪ WELCOME BACK ♪ ♪ AND I SMILE WHEN I THINK HOW 1208 00:39:07,879 --> 00:39:10,391 ♪ WELCOME BACK ♪ ♪ AND I SMILE WHEN I THINK HOW YOU MUST HAVE BEEN ♪ 1209 00:39:10,415 --> 00:39:11,526 ♪ AND I SMILE WHEN I THINK HOW YOU MUST HAVE BEEN ♪ ♪ AND I KNOW ♪ 1210 00:39:11,550 --> 00:39:15,963 YOU MUST HAVE BEEN ♪ ♪ AND I KNOW ♪ [LAUGHING] 1211 00:39:15,987 --> 00:39:19,266 ♪ AND I KNOW ♪ [LAUGHING] [MUSIC STOPS] 1212 00:39:19,290 --> 00:39:22,603 [LAUGHING] [MUSIC STOPS] ONE, TWO, A ONE, TWO, THREE, 1213 00:39:22,627 --> 00:39:23,604 [MUSIC STOPS] ONE, TWO, A ONE, TWO, THREE, FOUR. 1214 00:39:23,628 --> 00:39:25,606 ONE, TWO, A ONE, TWO, THREE, FOUR. [INTRO TO "WELCOME BACK" 1215 00:39:25,630 --> 00:39:31,546 FOUR. [INTRO TO "WELCOME BACK" PLAYS] 1216 00:39:31,570 --> 00:39:34,148 [INTRO TO "WELCOME BACK" PLAYS] ♪ WELCOME BACK ♪ 1217 00:39:34,172 --> 00:39:36,484 [PLAYS] ♪ WELCOME BACK ♪ ♪ YOUR DREAMS WERE YOUR TICKET 1218 00:39:36,508 --> 00:39:38,185 ♪ WELCOME BACK ♪ ♪ YOUR DREAMS WERE YOUR TICKET OUT ♪ 1219 00:39:38,209 --> 00:39:40,054 ♪ YOUR DREAMS WERE YOUR TICKET OUT ♪ ♪ WELCOME BACK ♪ 1220 00:39:40,078 --> 00:39:42,824 OUT ♪ ♪ WELCOME BACK ♪ ♪ TO THAT SAME OLD PLACE THAT 1221 00:39:42,848 --> 00:39:45,326 ♪ WELCOME BACK ♪ ♪ TO THAT SAME OLD PLACE THAT YOU LAUGHED ABOUT ♪ 1222 00:39:45,350 --> 00:39:46,794 ♪ TO THAT SAME OLD PLACE THAT YOU LAUGHED ABOUT ♪ ♪ WELL, THE NAMES HAVE ALL 1223 00:39:46,818 --> 00:39:49,664 YOU LAUGHED ABOUT ♪ ♪ WELL, THE NAMES HAVE ALL CHANGED SINCE YOU HUNG AROUND ♪ 1224 00:39:49,688 --> 00:39:51,833 ♪ WELL, THE NAMES HAVE ALL CHANGED SINCE YOU HUNG AROUND ♪ ♪ BUT THOSE DREAMS HAVE REMAINED 1225 00:39:51,857 --> 00:39:53,568 CHANGED SINCE YOU HUNG AROUND ♪ ♪ BUT THOSE DREAMS HAVE REMAINED AND THEY'VE TURNED AROUND ♪ 1226 00:39:53,592 --> 00:39:54,936 ♪ BUT THOSE DREAMS HAVE REMAINED AND THEY'VE TURNED AROUND ♪ ♪ WHO'D HAVE THOUGHT THEY'D LEAD 1227 00:39:54,960 --> 00:39:55,770 AND THEY'VE TURNED AROUND ♪ ♪ WHO'D HAVE THOUGHT THEY'D LEAD YA ♪ 1228 00:39:55,794 --> 00:39:57,204 ♪ WHO'D HAVE THOUGHT THEY'D LEAD YA ♪ ♪ WHO'D HAVE THOUGHT THEY'D LEAD 1229 00:39:57,228 --> 00:39:58,138 YA ♪ ♪ WHO'D HAVE THOUGHT THEY'D LEAD YA ♪ 1230 00:39:58,162 --> 00:40:00,307 ♪ WHO'D HAVE THOUGHT THEY'D LEAD YA ♪ ♪ BACK HERE WHERE WE NEED YA ♪ 1231 00:40:00,331 --> 00:40:02,176 YA ♪ ♪ BACK HERE WHERE WE NEED YA ♪ ♪ HERE WHERE WE NEED YA ♪ 1232 00:40:02,200 --> 00:40:04,311 ♪ BACK HERE WHERE WE NEED YA ♪ ♪ HERE WHERE WE NEED YA ♪ ♪ YEAH, WE TEASE HIM A LOT 1233 00:40:04,335 --> 00:40:06,447 ♪ HERE WHERE WE NEED YA ♪ ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ 1234 00:40:06,471 --> 00:40:08,649 ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ 1235 00:40:08,673 --> 00:40:10,785 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, 1236 00:40:10,809 --> 00:40:11,986 ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1237 00:40:12,010 --> 00:40:13,020 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ SING THIS PART. 1238 00:40:13,044 --> 00:40:15,155 WELCOME BACK ♪ SING THIS PART. ♪ WELCOME BACK, WELCOME BACK, 1239 00:40:15,179 --> 00:40:17,992 SING THIS PART. ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1240 00:40:18,016 --> 00:40:19,994 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ ♪ WE ALWAYS COULD SPOT A 1241 00:40:20,018 --> 00:40:21,662 WELCOME BACK ♪ ♪ WE ALWAYS COULD SPOT A FRIEND ♪ 1242 00:40:21,686 --> 00:40:23,831 ♪ WE ALWAYS COULD SPOT A FRIEND ♪ ♪ WELCOME BACK ♪ 1243 00:40:23,855 --> 00:40:26,266 FRIEND ♪ ♪ WELCOME BACK ♪ ♪ AND I SMILE WHEN I THINK HOW 1244 00:40:26,290 --> 00:40:28,569 ♪ WELCOME BACK ♪ ♪ AND I SMILE WHEN I THINK HOW YOU MUST HAVE BEEN ♪ 1245 00:40:28,593 --> 00:40:31,038 ♪ AND I SMILE WHEN I THINK HOW YOU MUST HAVE BEEN ♪ ♪ AND I KNOW WHAT A SCENE YOU 1246 00:40:31,062 --> 00:40:33,040 YOU MUST HAVE BEEN ♪ ♪ AND I KNOW WHAT A SCENE YOU WERE LEARNING IN ♪ 1247 00:40:33,064 --> 00:40:35,042 ♪ AND I KNOW WHAT A SCENE YOU WERE LEARNING IN ♪ ♪ WAS THERE SOMETHING THAT MADE 1248 00:40:35,066 --> 00:40:37,144 WERE LEARNING IN ♪ ♪ WAS THERE SOMETHING THAT MADE YOU COME BACK AGAIN ♪ 1249 00:40:37,168 --> 00:40:41,148 ♪ WAS THERE SOMETHING THAT MADE YOU COME BACK AGAIN ♪ ♪ AND WHAT COULD EVER LEAD YA ♪ 1250 00:40:41,172 --> 00:40:45,285 YOU COME BACK AGAIN ♪ ♪ AND WHAT COULD EVER LEAD YA ♪ ♪ BACK HERE WHERE WE NEED YA ♪ 1251 00:40:45,309 --> 00:40:47,354 ♪ AND WHAT COULD EVER LEAD YA ♪ ♪ BACK HERE WHERE WE NEED YA ♪ ♪ YEAH, WE TEASE HIM A LOT 1252 00:40:47,378 --> 00:40:49,590 ♪ BACK HERE WHERE WE NEED YA ♪ ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ 1253 00:40:49,614 --> 00:40:51,826 ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ 1254 00:40:51,850 --> 00:40:54,028 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, 1255 00:40:54,052 --> 00:40:56,096 ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1256 00:40:56,120 --> 00:40:58,332 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, 1257 00:40:58,356 --> 00:41:00,535 WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1258 00:41:00,559 --> 00:41:02,870 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK ♪ 1259 00:41:02,894 --> 00:41:05,334 WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK ♪ [HARMONICA PLAYS] 1260 00:41:16,173 --> 00:41:22,256 ♪ AND I KNOW WHAT A SCENE YOU WERE LEARNING IN ♪ ♪ WAS THERE SOMETHING THAT MADE 1261 00:41:22,280 --> 00:41:24,391 WERE LEARNING IN ♪ ♪ WAS THERE SOMETHING THAT MADE YOU COME BACK AGAIN ♪ 1262 00:41:24,415 --> 00:41:28,162 ♪ WAS THERE SOMETHING THAT MADE YOU COME BACK AGAIN ♪ ♪ AND WHAT COULD EVER LEAD YA ♪ 1263 00:41:28,186 --> 00:41:32,533 YOU COME BACK AGAIN ♪ ♪ AND WHAT COULD EVER LEAD YA ♪ ♪ BACK HERE WHERE WE NEED YA ♪ 1264 00:41:32,557 --> 00:41:34,535 ♪ AND WHAT COULD EVER LEAD YA ♪ ♪ BACK HERE WHERE WE NEED YA ♪ ♪ YEAH, WE TEASE HIM A LOT 1265 00:41:34,559 --> 00:41:36,704 ♪ BACK HERE WHERE WE NEED YA ♪ ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ 1266 00:41:36,728 --> 00:41:39,006 ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ 1267 00:41:39,030 --> 00:41:41,108 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, 1268 00:41:41,132 --> 00:41:42,543 ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1269 00:41:42,567 --> 00:41:43,277 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ SING. 1270 00:41:43,301 --> 00:41:45,446 WELCOME BACK ♪ SING. ♪ WELCOME BACK, WELCOME BACK, 1271 00:41:45,470 --> 00:41:47,648 SING. ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1272 00:41:47,672 --> 00:41:49,684 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK ♪ 1273 00:41:49,708 --> 00:41:53,854 WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK ♪ ♪ YEAH, WE TEASE HIM A LOT 1274 00:41:53,878 --> 00:41:56,023 ♪ WELCOME BACK, WELCOME BACK ♪ ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ 1275 00:41:56,047 --> 00:41:58,158 ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK, WELCOME BACK ♪ 1276 00:41:58,182 --> 00:42:00,194 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK, WELCOME BACK ♪ ♪ YEAH, WE TEASE HIM A LOT 1277 00:42:00,218 --> 00:42:02,396 ♪ WELCOME BACK, WELCOME BACK ♪ ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ 1278 00:42:02,420 --> 00:42:04,465 ♪ YEAH, WE TEASE HIM A LOT 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ 1279 00:42:04,489 --> 00:42:06,701 'CAUSE WE GOT HIM ON THE SPOT ♪ ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, 1280 00:42:06,725 --> 00:42:08,803 ♪ WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1281 00:42:08,827 --> 00:42:10,871 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, 1282 00:42:10,895 --> 00:42:13,007 WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1283 00:42:13,031 --> 00:42:15,109 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, 1284 00:42:15,133 --> 00:42:17,712 WELCOME BACK ♪ ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ 1285 00:42:17,736 --> 00:42:20,296 ♪ WELCOME BACK, WELCOME BACK, WELCOME BACK ♪ [CHEERS AND APPLAUSE] 1286 00:42:32,082 --> 00:42:37,330 HI, I'M LORNE MICHAELS, THE PRODUCER OF "SATURDAY NIGHT." RIGHT NOW, WE'RE BEING SEEN BY 1287 00:42:37,354 --> 00:42:38,832 PRODUCER OF "SATURDAY NIGHT." RIGHT NOW, WE'RE BEING SEEN BY APPROXIMATELY 22 MILLION 1288 00:42:38,856 --> 00:42:39,499 RIGHT NOW, WE'RE BEING SEEN BY APPROXIMATELY 22 MILLION VIEWERS. 1289 00:42:39,523 --> 00:42:41,334 APPROXIMATELY 22 MILLION VIEWERS. BUT PLEASE ALLOW ME, IF I MAY, 1290 00:42:41,358 --> 00:42:43,136 VIEWERS. BUT PLEASE ALLOW ME, IF I MAY, TO ADDRESS MYSELF TO FOUR VERY 1291 00:42:43,160 --> 00:42:45,973 BUT PLEASE ALLOW ME, IF I MAY, TO ADDRESS MYSELF TO FOUR VERY SPECIAL PEOPLE... JOHN, PAUL, 1292 00:42:45,997 --> 00:42:47,708 TO ADDRESS MYSELF TO FOUR VERY SPECIAL PEOPLE... JOHN, PAUL, GEORGE, AND RINGO, THE BEATLES. 1293 00:42:47,732 --> 00:42:49,476 SPECIAL PEOPLE... JOHN, PAUL, GEORGE, AND RINGO, THE BEATLES. LATELY THERE HAVE BEEN A LOT OF 1294 00:42:49,500 --> 00:42:51,111 GEORGE, AND RINGO, THE BEATLES. LATELY THERE HAVE BEEN A LOT OF RUMORS TO THE EFFECT THAT THE 1295 00:42:51,135 --> 00:42:52,713 LATELY THERE HAVE BEEN A LOT OF RUMORS TO THE EFFECT THAT THE FOUR OF YOU MIGHT BE GETTING 1296 00:42:52,737 --> 00:42:53,480 RUMORS TO THE EFFECT THAT THE FOUR OF YOU MIGHT BE GETTING BACK TOGETHER. 1297 00:42:53,504 --> 00:42:54,514 FOUR OF YOU MIGHT BE GETTING BACK TOGETHER. THAT WOULD BE GREAT. 1298 00:42:54,538 --> 00:42:55,983 BACK TOGETHER. THAT WOULD BE GREAT. IN MY BOOK, THE BEATLES ARE THE 1299 00:42:56,007 --> 00:42:57,484 THAT WOULD BE GREAT. IN MY BOOK, THE BEATLES ARE THE BEST THING THAT EVER HAPPENED TO 1300 00:42:57,508 --> 00:42:57,952 IN MY BOOK, THE BEATLES ARE THE BEST THING THAT EVER HAPPENED TO MUSIC. 1301 00:42:57,976 --> 00:42:59,453 BEST THING THAT EVER HAPPENED TO MUSIC. IT GOES EVEN DEEPER THAN THAT... 1302 00:42:59,477 --> 00:43:00,988 MUSIC. IT GOES EVEN DEEPER THAN THAT... YOU'RE NOT JUST A MUSICAL GROUP, 1303 00:43:01,012 --> 00:43:01,989 IT GOES EVEN DEEPER THAN THAT... YOU'RE NOT JUST A MUSICAL GROUP, YOU'RE A PART OF US. 1304 00:43:02,013 --> 00:43:03,023 YOU'RE NOT JUST A MUSICAL GROUP, YOU'RE A PART OF US. WE GREW UP WITH YOU. 1305 00:43:03,047 --> 00:43:04,458 YOU'RE A PART OF US. WE GREW UP WITH YOU. IT'S FOR THIS REASON THAT I AM 1306 00:43:04,482 --> 00:43:05,759 WE GREW UP WITH YOU. IT'S FOR THIS REASON THAT I AM INVITING YOU TO COME ON OUR 1307 00:43:05,783 --> 00:43:07,995 IT'S FOR THIS REASON THAT I AM INVITING YOU TO COME ON OUR SHOW. 1308 00:43:08,019 --> 00:43:09,630 INVITING YOU TO COME ON OUR SHOW. NOW, WE'VE HEARD AND READ A LOT 1309 00:43:09,654 --> 00:43:11,098 SHOW. NOW, WE'VE HEARD AND READ A LOT ABOUT PERSONALITY AND LEGAL 1310 00:43:11,122 --> 00:43:12,800 NOW, WE'VE HEARD AND READ A LOT ABOUT PERSONALITY AND LEGAL CONFLICTS THAT MIGHT PREVENT YOU 1311 00:43:12,824 --> 00:43:14,001 ABOUT PERSONALITY AND LEGAL CONFLICTS THAT MIGHT PREVENT YOU GUYS FROM REUNITING. 1312 00:43:14,025 --> 00:43:15,603 CONFLICTS THAT MIGHT PREVENT YOU GUYS FROM REUNITING. THAT'S SOMETHING WHICH IS NONE 1313 00:43:15,627 --> 00:43:16,570 GUYS FROM REUNITING. THAT'S SOMETHING WHICH IS NONE OF MY BUSINESS. 1314 00:43:16,594 --> 00:43:18,171 THAT'S SOMETHING WHICH IS NONE OF MY BUSINESS. YOU GUYS WILL HAVE TO HANDLE 1315 00:43:18,195 --> 00:43:18,672 OF MY BUSINESS. YOU GUYS WILL HAVE TO HANDLE THAT. 1316 00:43:18,696 --> 00:43:20,407 YOU GUYS WILL HAVE TO HANDLE THAT. BUT IT'S ALSO BEEN SAID THAT NO 1317 00:43:20,431 --> 00:43:22,542 THAT. BUT IT'S ALSO BEEN SAID THAT NO ONE HAS YET TO COME UP WITH 1318 00:43:22,566 --> 00:43:24,745 BUT IT'S ALSO BEEN SAID THAT NO ONE HAS YET TO COME UP WITH ENOUGH MONEY TO SATISFY YOU. 1319 00:43:24,769 --> 00:43:26,480 ONE HAS YET TO COME UP WITH ENOUGH MONEY TO SATISFY YOU. WELL, IF IT'S MONEY YOU WANT, 1320 00:43:26,504 --> 00:43:27,948 ENOUGH MONEY TO SATISFY YOU. WELL, IF IT'S MONEY YOU WANT, THERE'S NO PROBLEM HERE. 1321 00:43:27,972 --> 00:43:29,449 WELL, IF IT'S MONEY YOU WANT, THERE'S NO PROBLEM HERE. THE NATIONAL BROADCASTING 1322 00:43:29,473 --> 00:43:31,118 THERE'S NO PROBLEM HERE. THE NATIONAL BROADCASTING COMPANY HAS AUTHORIZED ME TO 1323 00:43:31,142 --> 00:43:33,654 THE NATIONAL BROADCASTING COMPANY HAS AUTHORIZED ME TO OFFER YOU A CERTIFIED CHECK 1324 00:43:33,678 --> 00:43:36,857 COMPANY HAS AUTHORIZED ME TO OFFER YOU A CERTIFIED CHECK FOR $3,000. 1325 00:43:36,881 --> 00:43:37,625 OFFER YOU A CERTIFIED CHECK FOR $3,000. HERE IT IS. 1326 00:43:37,649 --> 00:43:39,292 FOR $3,000. HERE IT IS. CAN WE, UH, GET A CLOSE-UP OF 1327 00:43:39,316 --> 00:43:40,995 HERE IT IS. CAN WE, UH, GET A CLOSE-UP OF THIS, DAVE? 1328 00:43:41,019 --> 00:43:42,395 CAN WE, UH, GET A CLOSE-UP OF THIS, DAVE? WHICH CAMERA IS IT ON? 1329 00:43:42,419 --> 00:43:43,631 THIS, DAVE? WHICH CAMERA IS IT ON? AH. 1330 00:43:43,655 --> 00:43:45,565 WHICH CAMERA IS IT ON? AH. MOVE IN THERE. 1331 00:43:45,589 --> 00:43:47,267 AH. MOVE IN THERE. NOW, HERE IT IS AS YOU CAN SEE, 1332 00:43:47,291 --> 00:43:48,902 MOVE IN THERE. NOW, HERE IT IS AS YOU CAN SEE, VERIFIABLY, IT IS A CHECK MADE 1333 00:43:48,926 --> 00:43:51,338 NOW, HERE IT IS AS YOU CAN SEE, VERIFIABLY, IT IS A CHECK MADE OUT TO YOU, THE BEATLES, FOR 1334 00:43:51,362 --> 00:43:54,008 VERIFIABLY, IT IS A CHECK MADE OUT TO YOU, THE BEATLES, FOR $3,000. 1335 00:43:54,032 --> 00:43:56,276 OUT TO YOU, THE BEATLES, FOR $3,000. ALL YOU HAVE TO DO IS SING THREE 1336 00:43:56,300 --> 00:43:58,578 $3,000. ALL YOU HAVE TO DO IS SING THREE BEATLE TUNES... "SHE LOVES YOU, 1337 00:43:58,602 --> 00:44:00,047 ALL YOU HAVE TO DO IS SING THREE BEATLE TUNES... "SHE LOVES YOU, YEAH, YEAH, YEAH." 1338 00:44:00,071 --> 00:44:02,215 BEATLE TUNES... "SHE LOVES YOU, YEAH, YEAH, YEAH." THAT'S $1,000 RIGHT THERE. 1339 00:44:02,239 --> 00:44:03,416 YEAH, YEAH, YEAH." THAT'S $1,000 RIGHT THERE. YOU KNOW THE WORDS. 1340 00:44:03,440 --> 00:44:04,384 THAT'S $1,000 RIGHT THERE. YOU KNOW THE WORDS. IT'LL BE EASY. 1341 00:44:04,408 --> 00:44:06,253 YOU KNOW THE WORDS. IT'LL BE EASY. LIKE I SAID, THIS IS MADE OUT... 1342 00:44:06,277 --> 00:44:08,022 IT'LL BE EASY. LIKE I SAID, THIS IS MADE OUT... THIS CHECK HERE IS MADE OUT TO 1343 00:44:08,046 --> 00:44:08,856 LIKE I SAID, THIS IS MADE OUT... THIS CHECK HERE IS MADE OUT TO THE BEATLES. 1344 00:44:08,880 --> 00:44:10,691 THIS CHECK HERE IS MADE OUT TO THE BEATLES. YOU DIVIDE IT ANY WAY YOU WANT. 1345 00:44:10,715 --> 00:44:12,492 THE BEATLES. YOU DIVIDE IT ANY WAY YOU WANT. IF YOU WANT TO GIVE RINGO LESS, 1346 00:44:12,516 --> 00:44:15,829 YOU DIVIDE IT ANY WAY YOU WANT. IF YOU WANT TO GIVE RINGO LESS, THAT'S UP TO YOU. 1347 00:44:15,853 --> 00:44:17,698 IF YOU WANT TO GIVE RINGO LESS, THAT'S UP TO YOU. I'D RATHER NOT GET INVOLVED. 1348 00:44:17,722 --> 00:44:19,266 THAT'S UP TO YOU. I'D RATHER NOT GET INVOLVED. I'M SINCERE ABOUT THIS. 1349 00:44:19,290 --> 00:44:21,001 I'D RATHER NOT GET INVOLVED. I'M SINCERE ABOUT THIS. IF IT HELPS YOU TO REACH A 1350 00:44:21,025 --> 00:44:23,070 I'M SINCERE ABOUT THIS. IF IT HELPS YOU TO REACH A DECISION TO REUNITE, WELL, THEN, 1351 00:44:23,094 --> 00:44:24,738 IF IT HELPS YOU TO REACH A DECISION TO REUNITE, WELL, THEN, IT'S WORTH THE INVESTMENT. 1352 00:44:24,762 --> 00:44:25,873 DECISION TO REUNITE, WELL, THEN, IT'S WORTH THE INVESTMENT. YOU HAVE AGENTS. 1353 00:44:25,897 --> 00:44:27,841 IT'S WORTH THE INVESTMENT. YOU HAVE AGENTS. YOU KNOW WHERE I CAN BE REACHED. 1354 00:44:27,865 --> 00:44:29,509 YOU HAVE AGENTS. YOU KNOW WHERE I CAN BE REACHED. JUST THINK ABOUT IT, OKAY? 1355 00:44:29,533 --> 00:44:32,253 YOU KNOW WHERE I CAN BE REACHED. JUST THINK ABOUT IT, OKAY? THANK YOU. 1356 00:44:41,111 --> 00:44:42,911 MEDICATION TIME, GENTLEMEN. 1357 00:45:01,931 --> 00:45:06,068 UM, MISS RATCHED, MR. McMURPHY IS HERE. 1358 00:45:20,684 --> 00:45:25,199 DAMN. ARE YOU THE BULL-GOOSE LOONY AROUND HERE? 1359 00:45:25,223 --> 00:45:32,105 ARE YOU THE BULL-GOOSE LOONY AROUND HERE? YOU'RE AS BIG AS A MOUNTAIN. 1360 00:45:32,129 --> 00:45:34,007 AROUND HERE? YOU'RE AS BIG AS A MOUNTAIN. GENTLEMEN, IT'S BEEN BROUGHT 1361 00:45:34,031 --> 00:45:35,942 YOU'RE AS BIG AS A MOUNTAIN. GENTLEMEN, IT'S BEEN BROUGHT TO MY ATTENTION THAT SOMEONE HAS 1362 00:45:35,966 --> 00:45:37,844 GENTLEMEN, IT'S BEEN BROUGHT TO MY ATTENTION THAT SOMEONE HAS BEEN GIVING THEIR MEDICATION TO 1363 00:45:37,868 --> 00:45:39,280 TO MY ATTENTION THAT SOMEONE HAS BEEN GIVING THEIR MEDICATION TO BROCCOLI. 1364 00:45:39,304 --> 00:45:41,114 BEEN GIVING THEIR MEDICATION TO BROCCOLI. BILLY, WHO IS IT? 1365 00:45:41,138 --> 00:45:44,652 BROCCOLI. BILLY, WHO IS IT? [STUTTERING] 1366 00:45:44,676 --> 00:45:46,520 BILLY, WHO IS IT? [STUTTERING] WHAT DO YOU THINK ABOUT THIS, 1367 00:45:46,544 --> 00:45:48,355 [STUTTERING] WHAT DO YOU THINK ABOUT THIS, BROCCOLI? 1368 00:45:48,379 --> 00:45:50,857 WHAT DO YOU THINK ABOUT THIS, BROCCOLI? EVERYB... 1369 00:45:50,881 --> 00:45:51,992 BROCCOLI? EVERYB... E-EV... 1370 00:45:52,016 --> 00:45:55,563 EVERYB... E-EV... EV... EVERYB... B... B... BODY'S BEEN 1371 00:45:55,587 --> 00:45:56,430 E-EV... EV... EVERYB... B... B... BODY'S BEEN DOING IT. 1372 00:45:56,454 --> 00:45:58,765 EV... EVERYB... B... B... BODY'S BEEN DOING IT. WHAT DO YOU THINK ABOUT THIS, 1373 00:45:58,789 --> 00:46:03,036 DOING IT. WHAT DO YOU THINK ABOUT THIS, BROCCOLI? 1374 00:46:03,060 --> 00:46:04,871 WHAT DO YOU THINK ABOUT THIS, BROCCOLI? OKAY. 1375 00:46:04,895 --> 00:46:06,574 BROCCOLI? OKAY. AT THE CLOSE OF LAST MEETING, WE 1376 00:46:06,598 --> 00:46:07,874 OKAY. AT THE CLOSE OF LAST MEETING, WE WERE DISCUSSING BILLY'S 1377 00:46:07,898 --> 00:46:09,510 AT THE CLOSE OF LAST MEETING, WE WERE DISCUSSING BILLY'S NOMINATION FOR BEST SUPPORTING 1378 00:46:09,534 --> 00:46:10,511 WERE DISCUSSING BILLY'S NOMINATION FOR BEST SUPPORTING ACTOR. 1379 00:46:10,535 --> 00:46:13,280 NOMINATION FOR BEST SUPPORTING ACTOR. WHO DO YOU THINK WILL WIN, 1380 00:46:13,304 --> 00:46:15,583 ACTOR. WHO DO YOU THINK WILL WIN, BROCCOLI? 1381 00:46:15,607 --> 00:46:20,254 WHO DO YOU THINK WILL WIN, BROCCOLI? UH, LOOK, UH, NURSE RATCHED, 1382 00:46:20,278 --> 00:46:22,223 BROCCOLI? UH, LOOK, UH, NURSE RATCHED, UH, NURSE RATCHED, I WANT TO 1383 00:46:22,247 --> 00:46:24,258 UH, LOOK, UH, NURSE RATCHED, UH, NURSE RATCHED, I WANT TO MAKE THIS AS EASY AS POSSIBLE 1384 00:46:24,282 --> 00:46:25,025 UH, NURSE RATCHED, I WANT TO MAKE THIS AS EASY AS POSSIBLE FOR YOU. 1385 00:46:25,049 --> 00:46:27,228 MAKE THIS AS EASY AS POSSIBLE FOR YOU. BUT IN A FEW MINUTES, THE OSCARS 1386 00:46:27,252 --> 00:46:29,263 FOR YOU. BUT IN A FEW MINUTES, THE OSCARS ARE GONNA BE ON, AND I SAY WE 1387 00:46:29,287 --> 00:46:31,164 BUT IN A FEW MINUTES, THE OSCARS ARE GONNA BE ON, AND I SAY WE ALL BE ALLOWED TO WATCH IT. 1388 00:46:31,188 --> 00:46:32,666 ARE GONNA BE ON, AND I SAY WE ALL BE ALLOWED TO WATCH IT. DO YOU KNOW WHAT I MEAN? 1389 00:46:32,690 --> 00:46:34,568 ALL BE ALLOWED TO WATCH IT. DO YOU KNOW WHAT I MEAN? IT MIGHT UPSET THE GENTLEMEN 1390 00:46:34,592 --> 00:46:36,169 DO YOU KNOW WHAT I MEAN? IT MIGHT UPSET THE GENTLEMEN IF WE CHANGE THE SCHEDULE. 1391 00:46:36,193 --> 00:46:39,473 IT MIGHT UPSET THE GENTLEMEN IF WE CHANGE THE SCHEDULE. HOWEVER, WE CAN VOTE. 1392 00:46:39,497 --> 00:46:40,941 IF WE CHANGE THE SCHEDULE. HOWEVER, WE CAN VOTE. MAJORITY RULE. 1393 00:46:40,965 --> 00:46:43,244 HOWEVER, WE CAN VOTE. MAJORITY RULE. WHO WOULD LIKE TO SEE THE 1394 00:46:43,268 --> 00:46:47,981 MAJORITY RULE. WHO WOULD LIKE TO SEE THE OSCARS? 1395 00:46:48,005 --> 00:46:49,450 WHO WOULD LIKE TO SEE THE OSCARS? COME ON, YOU GUYS, VOTE. 1396 00:46:49,474 --> 00:46:50,851 OSCARS? COME ON, YOU GUYS, VOTE. DON'T YOU WANT TO SEE THE 1397 00:46:50,875 --> 00:46:51,552 COME ON, YOU GUYS, VOTE. DON'T YOU WANT TO SEE THE OSCARS? 1398 00:46:51,576 --> 00:46:53,721 DON'T YOU WANT TO SEE THE OSCARS? COME ON, GET THOSE HANDS UP, YOU 1399 00:46:53,745 --> 00:46:54,488 OSCARS? COME ON, GET THOSE HANDS UP, YOU LOONIES. 1400 00:46:54,512 --> 00:46:56,557 COME ON, GET THOSE HANDS UP, YOU LOONIES. COME ON. 1401 00:46:56,581 --> 00:46:57,991 LOONIES. COME ON. COME ON, GET THEM UP THERE. 1402 00:46:58,015 --> 00:46:58,592 COME ON. COME ON, GET THEM UP THERE. COME ON. 1403 00:46:58,616 --> 00:46:59,926 COME ON, GET THEM UP THERE. COME ON. DON'T YOU WANT TO SEE THE 1404 00:46:59,950 --> 00:47:00,494 COME ON. DON'T YOU WANT TO SEE THE OSCARS? 1405 00:47:00,518 --> 00:47:01,729 DON'T YOU WANT TO SEE THE OSCARS? GET THAT HAND UP THERE. 1406 00:47:01,753 --> 00:47:03,230 OSCARS? GET THAT HAND UP THERE. COME ON, YOU BUNCH OF MENTAL 1407 00:47:03,254 --> 00:47:03,864 GET THAT HAND UP THERE. COME ON, YOU BUNCH OF MENTAL REJECTS. 1408 00:47:03,888 --> 00:47:05,031 COME ON, YOU BUNCH OF MENTAL REJECTS. GET THOSE UP THERE. 1409 00:47:05,055 --> 00:47:05,766 REJECTS. GET THOSE UP THERE. ALL RIGHT. 1410 00:47:05,790 --> 00:47:07,301 GET THOSE UP THERE. ALL RIGHT. COME ON, GET THEM UP THERE. 1411 00:47:07,325 --> 00:47:08,435 ALL RIGHT. COME ON, GET THEM UP THERE. ALL RIGHT. 1412 00:47:08,459 --> 00:47:10,871 COME ON, GET THEM UP THERE. ALL RIGHT. ALL RIGHT, IT'S A LANDSLIDE. 1413 00:47:10,895 --> 00:47:11,639 ALL RIGHT. ALL RIGHT, IT'S A LANDSLIDE. LOOK. 1414 00:47:11,663 --> 00:47:14,408 ALL RIGHT, IT'S A LANDSLIDE. LOOK. THERE ARE 12 PATIENTS ON THIS 1415 00:47:14,432 --> 00:47:15,142 LOOK. THERE ARE 12 PATIENTS ON THIS WARD. 1416 00:47:15,166 --> 00:47:18,078 THERE ARE 12 PATIENTS ON THIS WARD. I ONLY COUNT SIX HANDS. 1417 00:47:18,102 --> 00:47:20,681 WARD. I ONLY COUNT SIX HANDS. WHAT DO YOU MEAN? 1418 00:47:20,705 --> 00:47:22,283 I ONLY COUNT SIX HANDS. WHAT DO YOU MEAN? WHAT DO YOU MEAN "SIX"? 1419 00:47:22,307 --> 00:47:24,285 WHAT DO YOU MEAN? WHAT DO YOU MEAN "SIX"? ARE YOU TELLING ME THAT YOU'RE 1420 00:47:24,309 --> 00:47:30,123 WHAT DO YOU MEAN "SIX"? ARE YOU TELLING ME THAT YOU'RE COUNTING THESE VEGETABLES? 1421 00:47:30,147 --> 00:47:31,858 ARE YOU TELLING ME THAT YOU'RE COUNTING THESE VEGETABLES? COME ON, YOU GUYS, DON'T YOU 1422 00:47:31,882 --> 00:47:33,627 COUNTING THESE VEGETABLES? COME ON, YOU GUYS, DON'T YOU WANT TO SEE THE OSCARS? 1423 00:47:33,651 --> 00:47:35,729 COME ON, YOU GUYS, DON'T YOU WANT TO SEE THE OSCARS? COME ON, GET THOSE HANDS UP. 1424 00:47:35,753 --> 00:47:36,597 WANT TO SEE THE OSCARS? COME ON, GET THOSE HANDS UP. LET'S GO. 1425 00:47:36,621 --> 00:47:37,431 COME ON, GET THOSE HANDS UP. LET'S GO. COME ON. 1426 00:47:37,455 --> 00:47:38,699 LET'S GO. COME ON. SEE THE OSCARS. 1427 00:47:38,723 --> 00:47:40,066 COME ON. SEE THE OSCARS. DON'T LET HER PUSH YOU AROUND, 1428 00:47:40,090 --> 00:47:41,602 SEE THE OSCARS. DON'T LET HER PUSH YOU AROUND, YOU KNOW WHAT I MEAN? 1429 00:47:41,626 --> 00:47:42,369 DON'T LET HER PUSH YOU AROUND, YOU KNOW WHAT I MEAN? COME ON. 1430 00:47:42,393 --> 00:47:44,405 YOU KNOW WHAT I MEAN? COME ON. COME ON, WHICH ONE OF YOU NUTS 1431 00:47:44,429 --> 00:47:47,207 COME ON. COME ON, WHICH ONE OF YOU NUTS HAS GOT ANY GUTS? 1432 00:47:47,231 --> 00:47:51,011 COME ON, WHICH ONE OF YOU NUTS HAS GOT ANY GUTS? OH, YOU BASKET CASE. 1433 00:47:51,035 --> 00:47:51,912 HAS GOT ANY GUTS? OH, YOU BASKET CASE. DAMN. 1434 00:47:51,936 --> 00:47:54,247 OH, YOU BASKET CASE. DAMN. MEETING ADJOURNED. 1435 00:47:54,271 --> 00:47:58,585 DAMN. MEETING ADJOURNED. MUSIC APPRECIATION TIME. 1436 00:47:58,609 --> 00:48:01,129 MEETING ADJOURNED. MUSIC APPRECIATION TIME. [SLOW MUSIC PLAYS] 1437 00:48:15,492 --> 00:48:23,276 [Indian accent] MMM, JUICY FRUIT. AH, CHIEF, YOU SLY SON OF A 1438 00:48:23,300 --> 00:48:23,744 FRUIT. AH, CHIEF, YOU SLY SON OF A GUN. 1439 00:48:23,768 --> 00:48:24,878 AH, CHIEF, YOU SLY SON OF A GUN. YOU FOOLED THEM. 1440 00:48:24,902 --> 00:48:26,213 GUN. YOU FOOLED THEM. YOU FOOLED THEM ALL. 1441 00:48:26,237 --> 00:48:28,114 YOU FOOLED THEM. YOU FOOLED THEM ALL. THEY ALL THOUGHT YOU WERE A RED 1442 00:48:28,138 --> 00:48:28,749 YOU FOOLED THEM ALL. THEY ALL THOUGHT YOU WERE A RED INDIAN. 1443 00:48:28,773 --> 00:48:30,317 THEY ALL THOUGHT YOU WERE A RED INDIAN. WELL, I KNOW THAT THEY 1444 00:48:30,341 --> 00:48:31,251 INDIAN. WELL, I KNOW THAT THEY THOUGHT THAT. 1445 00:48:31,275 --> 00:48:32,152 WELL, I KNOW THAT THEY THOUGHT THAT. I KNEW THAT. 1446 00:48:32,176 --> 00:48:34,521 THOUGHT THAT. I KNEW THAT. [CLUNKING] 1447 00:48:34,545 --> 00:48:36,122 I KNEW THAT. [CLUNKING] I DROPPED MY MOP. 1448 00:48:36,146 --> 00:48:38,592 [CLUNKING] I DROPPED MY MOP. YOU KNOW SOMETHING, CHIEF? 1449 00:48:38,616 --> 00:48:41,161 I DROPPED MY MOP. YOU KNOW SOMETHING, CHIEF? YOU KNOW, I CAN'T TAKE IT HERE 1450 00:48:41,185 --> 00:48:42,996 YOU KNOW SOMETHING, CHIEF? YOU KNOW, I CAN'T TAKE IT HERE NO MORE. 1451 00:48:43,020 --> 00:48:44,765 YOU KNOW, I CAN'T TAKE IT HERE NO MORE. WHAT DO YOU SAY WE BUST OUT OF 1452 00:48:44,789 --> 00:48:46,633 NO MORE. WHAT DO YOU SAY WE BUST OUT OF THIS LOONY BIN, GO DOWNTOWN, AND 1453 00:48:46,657 --> 00:48:48,369 WHAT DO YOU SAY WE BUST OUT OF THIS LOONY BIN, GO DOWNTOWN, AND WATCH THE OSCARS ON TV IN SOME 1454 00:48:48,393 --> 00:48:48,836 THIS LOONY BIN, GO DOWNTOWN, AND WATCH THE OSCARS ON TV IN SOME BAR? 1455 00:48:48,860 --> 00:48:49,936 WATCH THE OSCARS ON TV IN SOME BAR? WHAT DO YOU SAY? 1456 00:48:49,960 --> 00:48:51,505 BAR? WHAT DO YOU SAY? WELL, I CAN'T DO THAT. 1457 00:48:51,529 --> 00:48:53,474 WHAT DO YOU SAY? WELL, I CAN'T DO THAT. YOU SEE... 1458 00:48:53,498 --> 00:48:55,576 WELL, I CAN'T DO THAT. YOU SEE... I AM REALLY A VERY TINY PERSON. 1459 00:48:55,600 --> 00:48:57,077 YOU SEE... I AM REALLY A VERY TINY PERSON. I'M VERY, VERY SMALL. 1460 00:48:57,101 --> 00:48:58,412 I AM REALLY A VERY TINY PERSON. I'M VERY, VERY SMALL. I'M ONLY THIS BIG. 1461 00:48:58,436 --> 00:49:00,514 I'M VERY, VERY SMALL. I'M ONLY THIS BIG. IF YOU WERE TO PUT ME INTO YOUR 1462 00:49:00,538 --> 00:49:01,915 I'M ONLY THIS BIG. IF YOU WERE TO PUT ME INTO YOUR POCKET... 1463 00:49:01,939 --> 00:49:03,250 IF YOU WERE TO PUT ME INTO YOUR POCKET... AND YOU WERE TO HAVE SOME 1464 00:49:03,274 --> 00:49:04,651 POCKET... AND YOU WERE TO HAVE SOME KLEENEX IN YOUR POCKET AT 1465 00:49:04,675 --> 00:49:06,186 AND YOU WERE TO HAVE SOME KLEENEX IN YOUR POCKET AT THE SAME TIME, YOU WOULD FIND 1466 00:49:06,210 --> 00:49:07,621 KLEENEX IN YOUR POCKET AT THE SAME TIME, YOU WOULD FIND THAT YOU WOULD NOT FIND ME. 1467 00:49:07,645 --> 00:49:08,555 THE SAME TIME, YOU WOULD FIND THAT YOU WOULD NOT FIND ME. I AM THAT SMALL. 1468 00:49:08,579 --> 00:49:10,090 THAT YOU WOULD NOT FIND ME. I AM THAT SMALL. THAT IS HOW SMALL I AM. 1469 00:49:10,114 --> 00:49:11,759 I AM THAT SMALL. THAT IS HOW SMALL I AM. THEN WE'LL MAKE OUR OWN 1470 00:49:11,783 --> 00:49:12,426 THAT IS HOW SMALL I AM. THEN WE'LL MAKE OUR OWN OSCARS. 1471 00:49:12,450 --> 00:49:13,927 THEN WE'LL MAKE OUR OWN OSCARS. WHAT DO YOU SAY, CHIEF? 1472 00:49:13,951 --> 00:49:15,662 OSCARS. WHAT DO YOU SAY, CHIEF? COME ON, LET'S MAKE OUR OWN 1473 00:49:15,686 --> 00:49:16,329 WHAT DO YOU SAY, CHIEF? COME ON, LET'S MAKE OUR OWN OSCARS. 1474 00:49:16,353 --> 00:49:19,633 COME ON, LET'S MAKE OUR OWN OSCARS. AND NOW, FOR BEST ACTRESS, THE 1475 00:49:19,657 --> 00:49:20,801 OSCARS. AND NOW, FOR BEST ACTRESS, THE NOMINEES ARE... 1476 00:49:20,825 --> 00:49:22,369 AND NOW, FOR BEST ACTRESS, THE NOMINEES ARE... ISABELLE ADJANI FOR 1477 00:49:22,393 --> 00:49:24,004 NOMINEES ARE... ISABELLE ADJANI FOR "THE STORY OF ADELE H." 1478 00:49:24,028 --> 00:49:25,873 ISABELLE ADJANI FOR "THE STORY OF ADELE H." ANN-MARGRET FOR "TOMMY." 1479 00:49:25,897 --> 00:49:28,008 "THE STORY OF ADELE H." ANN-MARGRET FOR "TOMMY." LOUISE FLETCHER FOR "ONE FLEW 1480 00:49:28,032 --> 00:49:29,543 ANN-MARGRET FOR "TOMMY." LOUISE FLETCHER FOR "ONE FLEW OVER THE CUCKOO'S NEST." 1481 00:49:29,567 --> 00:49:31,412 LOUISE FLETCHER FOR "ONE FLEW OVER THE CUCKOO'S NEST." GLENDA JACKSON FOR "HEDDA." 1482 00:49:31,436 --> 00:49:32,579 OVER THE CUCKOO'S NEST." GLENDA JACKSON FOR "HEDDA." CAROL KANE FOR 1483 00:49:32,603 --> 00:49:33,714 GLENDA JACKSON FOR "HEDDA." CAROL KANE FOR "HESTER STREET." 1484 00:49:33,738 --> 00:49:36,298 CAROL KANE FOR "HESTER STREET." MAY I HAVE THE ENVELOPE PLEASE? 1485 00:49:48,652 --> 00:49:54,590 AND THE WINNER IS... LOUISE FLETCHER FOR "ONE FLEW OVER THE CUCKOO'S NEST." 1486 00:50:18,314 --> 00:50:23,964 OH. WELL, BILLY, WHAT IS YOUR MOTHER GOING TO THINK NOW THAT YOU 1487 00:50:23,988 --> 00:50:25,466 WELL, BILLY, WHAT IS YOUR MOTHER GOING TO THINK NOW THAT YOU LOST? 1488 00:50:25,490 --> 00:50:30,337 GOING TO THINK NOW THAT YOU LOST? P-P-P-PLEASE D-D-D-DON'T 1489 00:50:30,361 --> 00:50:32,138 LOST? P-P-P-PLEASE D-D-D-DON'T T-T-T... 1490 00:50:32,162 --> 00:50:40,162 P-P-P-PLEASE D-D-D-DON'T T-T-T... [MOANING] 1491 00:50:40,237 --> 00:50:42,683 T-T-T... [MOANING] LISTEN, THE OSCAR IS MINE! 1492 00:50:42,707 --> 00:50:45,251 [MOANING] LISTEN, THE OSCAR IS MINE! IT'S MINE, YOU LOW-ENERGY COW. 1493 00:50:45,275 --> 00:50:46,186 LISTEN, THE OSCAR IS MINE! IT'S MINE, YOU LOW-ENERGY COW. IT'S MINE. 1494 00:50:46,210 --> 00:50:48,355 IT'S MINE, YOU LOW-ENERGY COW. IT'S MINE. I DESERVE IT FOR "CHINATOWN," 1495 00:50:48,379 --> 00:50:49,823 IT'S MINE. I DESERVE IT FOR "CHINATOWN," FOR "LAST DETAIL," 1496 00:50:49,847 --> 00:50:51,324 I DESERVE IT FOR "CHINATOWN," FOR "LAST DETAIL," "FIVE EASY PIECES." 1497 00:50:51,348 --> 00:50:52,258 FOR "LAST DETAIL," "FIVE EASY PIECES." THAT'S MY OSCAR! 1498 00:50:52,282 --> 00:50:53,694 "FIVE EASY PIECES." THAT'S MY OSCAR! ANY VIOLENT BEHAVIOR, AND 1499 00:50:53,718 --> 00:50:55,161 THAT'S MY OSCAR! ANY VIOLENT BEHAVIOR, AND YOU'LL BE FORCED TO FRY YOUR 1500 00:50:55,185 --> 00:50:55,729 ANY VIOLENT BEHAVIOR, AND YOU'LL BE FORCED TO FRY YOUR ANTENNA. 1501 00:50:55,753 --> 00:50:57,063 YOU'LL BE FORCED TO FRY YOUR ANTENNA. I SHOULD HAVE GOT BEST 1502 00:50:57,087 --> 00:50:58,532 ANTENNA. I SHOULD HAVE GOT BEST SUPPORTING FOR "EASY RIDER." 1503 00:50:58,556 --> 00:50:59,933 I SHOULD HAVE GOT BEST SUPPORTING FOR "EASY RIDER." I DIRECTED "DRIVE, HE SAID" 1504 00:50:59,957 --> 00:51:00,868 SUPPORTING FOR "EASY RIDER." I DIRECTED "DRIVE, HE SAID" WITH BRUCE DERN. 1505 00:51:00,892 --> 00:51:01,935 I DIRECTED "DRIVE, HE SAID" WITH BRUCE DERN. WE BOTH TALK A LOT. 1506 00:51:01,959 --> 00:51:03,069 WITH BRUCE DERN. WE BOTH TALK A LOT. YOU KNOW WHAT I MEAN? 1507 00:51:03,093 --> 00:51:04,270 WE BOTH TALK A LOT. YOU KNOW WHAT I MEAN? FRY HIM! 1508 00:51:04,294 --> 00:51:05,405 YOU KNOW WHAT I MEAN? FRY HIM! FRY ME? 1509 00:51:05,429 --> 00:51:08,274 FRY HIM! FRY ME? I DID... I DID A... 1510 00:51:08,298 --> 00:51:11,645 FRY ME? I DID... I DID A... HE'S A VEGETABLE. 1511 00:51:11,669 --> 00:51:14,047 I DID... I DID A... HE'S A VEGETABLE. HE'S NOTHING BUT A VEGETABLE. 1512 00:51:14,071 --> 00:51:18,719 HE'S A VEGETABLE. HE'S NOTHING BUT A VEGETABLE. BUTTER. 1513 00:51:18,743 --> 00:51:20,787 HE'S NOTHING BUT A VEGETABLE. BUTTER. BUTTER. 1514 00:51:20,811 --> 00:51:22,745 BUTTER. BUTTER. BUTTER. 1515 00:51:43,666 --> 00:51:50,149 Announcer: AND NOW "GILDA'S EQUAL TIME." I'VE BEEN WORKING WITH 1516 00:51:50,173 --> 00:51:52,151 "GILDA'S EQUAL TIME." I'VE BEEN WORKING WITH RAQUEL WELCH ALL WEEK, AND WHAT 1517 00:51:52,175 --> 00:51:54,020 I'VE BEEN WORKING WITH RAQUEL WELCH ALL WEEK, AND WHAT I'VE DISCOVERED ARE THE MANY 1518 00:51:54,044 --> 00:51:55,622 RAQUEL WELCH ALL WEEK, AND WHAT I'VE DISCOVERED ARE THE MANY DIFFICULTIES AND BURDENS 1519 00:51:55,646 --> 00:51:57,591 I'VE DISCOVERED ARE THE MANY DIFFICULTIES AND BURDENS INVOLVED IN BEING A SEX SYMBOL 1520 00:51:57,615 --> 00:51:59,025 DIFFICULTIES AND BURDENS INVOLVED IN BEING A SEX SYMBOL FOR AN ENTIRE NATION. 1521 00:51:59,049 --> 00:52:00,827 INVOLVED IN BEING A SEX SYMBOL FOR AN ENTIRE NATION. I FEEL THAT RAQUEL IS OFTEN 1522 00:52:00,851 --> 00:52:02,729 FOR AN ENTIRE NATION. I FEEL THAT RAQUEL IS OFTEN SUBJECT TO ABUSE AND RIDICULE 1523 00:52:02,753 --> 00:52:04,631 I FEEL THAT RAQUEL IS OFTEN SUBJECT TO ABUSE AND RIDICULE AND, EVEN ON THIS SHOW, WE'VE 1524 00:52:04,655 --> 00:52:06,533 SUBJECT TO ABUSE AND RIDICULE AND, EVEN ON THIS SHOW, WE'VE MADE A LOT OF JOKES ABOUT HER 1525 00:52:06,557 --> 00:52:07,200 AND, EVEN ON THIS SHOW, WE'VE MADE A LOT OF JOKES ABOUT HER BODY. 1526 00:52:07,224 --> 00:52:09,068 MADE A LOT OF JOKES ABOUT HER BODY. AND I FEEL THAT IT'S MY 1527 00:52:09,092 --> 00:52:11,971 BODY. AND I FEEL THAT IT'S MY RESPONSIBILITY TO MYSELF AND TO 1528 00:52:11,995 --> 00:52:14,441 AND I FEEL THAT IT'S MY RESPONSIBILITY TO MYSELF AND TO ALL WOMEN TO SPEAK OUT FOR 1529 00:52:14,465 --> 00:52:17,444 RESPONSIBILITY TO MYSELF AND TO ALL WOMEN TO SPEAK OUT FOR RAQUEL AS A PERSON. 1530 00:52:17,468 --> 00:52:21,615 ALL WOMEN TO SPEAK OUT FOR RAQUEL AS A PERSON. NOW, I HAVE SEEN HER COMPLETELY 1531 00:52:21,639 --> 00:52:24,484 RAQUEL AS A PERSON. NOW, I HAVE SEEN HER COMPLETELY NAKED. 1532 00:52:24,508 --> 00:52:26,152 NOW, I HAVE SEEN HER COMPLETELY NAKED. IT WASN'T BY ACCIDENT. 1533 00:52:26,176 --> 00:52:28,455 NAKED. IT WASN'T BY ACCIDENT. THE OTHER DAY AT REHEARSAL, AS A 1534 00:52:28,479 --> 00:52:30,624 IT WASN'T BY ACCIDENT. THE OTHER DAY AT REHEARSAL, AS A MATURE ADULT, I SNUCK INTO THE 1535 00:52:30,648 --> 00:52:32,792 THE OTHER DAY AT REHEARSAL, AS A MATURE ADULT, I SNUCK INTO THE BATHROOM AND WENT QUIETLY INTO 1536 00:52:32,816 --> 00:52:34,527 MATURE ADULT, I SNUCK INTO THE BATHROOM AND WENT QUIETLY INTO THE STALL NEXT TO HERS. 1537 00:52:34,551 --> 00:52:36,829 BATHROOM AND WENT QUIETLY INTO THE STALL NEXT TO HERS. I CLIMBED UP ON THE TOILET SEAT, 1538 00:52:36,853 --> 00:52:39,866 THE STALL NEXT TO HERS. I CLIMBED UP ON THE TOILET SEAT, AND I PEEKED OVER THE TOP. 1539 00:52:39,890 --> 00:52:41,868 I CLIMBED UP ON THE TOILET SEAT, AND I PEEKED OVER THE TOP. I FEEL I SHOULD TELL YOU THAT 1540 00:52:41,892 --> 00:52:45,204 AND I PEEKED OVER THE TOP. I FEEL I SHOULD TELL YOU THAT RAQUEL WELCH AND I HAVE EXACTLY 1541 00:52:45,228 --> 00:52:48,074 I FEEL I SHOULD TELL YOU THAT RAQUEL WELCH AND I HAVE EXACTLY THE SAME BODY. 1542 00:52:48,098 --> 00:52:49,609 RAQUEL WELCH AND I HAVE EXACTLY THE SAME BODY. WE'RE BOTH ALIKE. 1543 00:52:49,633 --> 00:52:51,110 THE SAME BODY. WE'RE BOTH ALIKE. WE'RE BOTH WOMEN. 1544 00:52:51,134 --> 00:52:53,112 WE'RE BOTH ALIKE. WE'RE BOTH WOMEN. WE HAVE EXACTLY THE SAME 1545 00:52:53,136 --> 00:52:54,581 WE'RE BOTH WOMEN. WE HAVE EXACTLY THE SAME PARTS... 1546 00:52:54,605 --> 00:52:56,249 WE HAVE EXACTLY THE SAME PARTS... ONLY MINE NEED A LITTLE 1547 00:52:56,273 --> 00:52:58,752 PARTS... ONLY MINE NEED A LITTLE REGROUPING. 1548 00:52:58,776 --> 00:53:00,921 ONLY MINE NEED A LITTLE REGROUPING. AND NOW BACK TO RAQUEL WITH THIS 1549 00:53:00,945 --> 00:53:03,665 REGROUPING. AND NOW BACK TO RAQUEL WITH THIS WEEK'S FILM BY GARY WEIS. 1550 00:53:09,518 --> 00:53:11,319 [UPBEAT MUSIC PLAYS] 1551 00:54:08,111 --> 00:54:10,378 [MUSIC CONTINUES] 1552 00:55:43,440 --> 00:55:47,287 PHOEBE, YOU'RE GONNA BE DOING A BENEFIT PRETTY SOON FOR THE NEW YORK PUBLIC LIBRARY. 1553 00:55:47,311 --> 00:55:48,755 A BENEFIT PRETTY SOON FOR THE NEW YORK PUBLIC LIBRARY. A LOT OF REALLY TERRIFIC PEOPLE 1554 00:55:48,779 --> 00:55:49,689 NEW YORK PUBLIC LIBRARY. A LOT OF REALLY TERRIFIC PEOPLE ARE GONNA BE THERE. 1555 00:55:49,713 --> 00:55:50,990 A LOT OF REALLY TERRIFIC PEOPLE ARE GONNA BE THERE. DO YOU WANT TO TELL US WHO? 1556 00:55:51,014 --> 00:55:51,525 ARE GONNA BE THERE. DO YOU WANT TO TELL US WHO? SURE. 1557 00:55:51,549 --> 00:55:52,726 DO YOU WANT TO TELL US WHO? SURE. IT'S GONNA BE PAUL SIMON, 1558 00:55:52,750 --> 00:55:53,393 SURE. IT'S GONNA BE PAUL SIMON, JIMMY CLIFF, 1559 00:55:53,417 --> 00:55:54,895 IT'S GONNA BE PAUL SIMON, JIMMY CLIFF, THE BRECKER BROTHERS, AND MYSELF 1560 00:55:54,919 --> 00:55:56,162 JIMMY CLIFF, THE BRECKER BROTHERS, AND MYSELF AT MADISON SQUARE GARDEN ON 1561 00:55:56,186 --> 00:55:56,630 THE BRECKER BROTHERS, AND MYSELF AT MADISON SQUARE GARDEN ON MAY 3rd. 1562 00:55:56,654 --> 00:55:57,864 AT MADISON SQUARE GARDEN ON MAY 3rd. THAT SOUNDS REALLY GREAT. 1563 00:55:57,888 --> 00:55:59,098 MAY 3rd. THAT SOUNDS REALLY GREAT. I KNOW I'D LIKE TO BE THERE. 1564 00:55:59,122 --> 00:56:00,366 THAT SOUNDS REALLY GREAT. I KNOW I'D LIKE TO BE THERE. I'M SURE EVERYBODY ELSE WOULD, 1565 00:56:00,390 --> 00:56:00,700 I KNOW I'D LIKE TO BE THERE. I'M SURE EVERYBODY ELSE WOULD, TOO. 1566 00:56:00,724 --> 00:56:02,035 I'M SURE EVERYBODY ELSE WOULD, TOO. SING ANOTHER SONG FOR US, OKAY? 1567 00:56:02,059 --> 00:56:02,669 TOO. SING ANOTHER SONG FOR US, OKAY? I'LL TRY. 1568 00:56:02,693 --> 00:56:09,743 SING ANOTHER SONG FOR US, OKAY? I'LL TRY. ALL RIGHT. 1569 00:56:09,767 --> 00:56:11,745 I'LL TRY. ALL RIGHT. [INTRO TO "TWO-FISTED LOVE" 1570 00:56:11,769 --> 00:56:18,251 ALL RIGHT. [INTRO TO "TWO-FISTED LOVE" PLAYS] 1571 00:56:18,275 --> 00:56:24,891 [INTRO TO "TWO-FISTED LOVE" PLAYS] ♪ MY BABY'S OUT THERE 1572 00:56:24,915 --> 00:56:28,462 [PLAYS] ♪ MY BABY'S OUT THERE IN HIS SPACECRAFT ♪ 1573 00:56:28,486 --> 00:56:31,865 ♪ MY BABY'S OUT THERE IN HIS SPACECRAFT ♪ ♪ SEARCHING FOR SOME ENERGY ♪ 1574 00:56:31,889 --> 00:56:33,834 IN HIS SPACECRAFT ♪ ♪ SEARCHING FOR SOME ENERGY ♪ ♪ GEEEEE ♪ 1575 00:56:33,858 --> 00:56:36,436 ♪ SEARCHING FOR SOME ENERGY ♪ ♪ GEEEEE ♪ ♪ OH, IT'S CRISIS TIME ♪ 1576 00:56:36,460 --> 00:56:37,938 ♪ GEEEEE ♪ ♪ OH, IT'S CRISIS TIME ♪ ♪ STUCK IN THE SUBURBS ♪ 1577 00:56:37,962 --> 00:56:40,239 ♪ OH, IT'S CRISIS TIME ♪ ♪ STUCK IN THE SUBURBS ♪ ♪ DYING ON THE VINE ♪ 1578 00:56:40,263 --> 00:56:43,409 ♪ STUCK IN THE SUBURBS ♪ ♪ DYING ON THE VINE ♪ ♪ HE KNOWS HOW TO GIVE ME 1579 00:56:43,433 --> 00:56:49,115 ♪ DYING ON THE VINE ♪ ♪ HE KNOWS HOW TO GIVE ME GIFTS FROM ABOVE ♪ 1580 00:56:49,139 --> 00:56:52,385 ♪ HE KNOWS HOW TO GIVE ME GIFTS FROM ABOVE ♪ ♪ HE KNOWS HOW TO GIVE ME 1581 00:56:52,409 --> 00:56:57,190 GIFTS FROM ABOVE ♪ ♪ HE KNOWS HOW TO GIVE ME TWO-FISTED LOVE ♪ 1582 00:56:57,214 --> 00:56:58,391 ♪ HE KNOWS HOW TO GIVE ME TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1583 00:56:58,415 --> 00:56:59,526 TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1584 00:56:59,550 --> 00:57:02,195 ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1585 00:57:02,219 --> 00:57:07,634 ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ OH, HELP US, MARY JANE ♪ 1586 00:57:07,658 --> 00:57:11,471 ♪ TWO-FISTED LOVE ♪ ♪ OH, HELP US, MARY JANE ♪ ♪ WE ARE WANDERING OUT ON 1587 00:57:11,495 --> 00:57:16,109 ♪ OH, HELP US, MARY JANE ♪ ♪ WE ARE WANDERING OUT ON THIS DESERT PLAIN ♪ 1588 00:57:16,133 --> 00:57:21,781 ♪ WE ARE WANDERING OUT ON THIS DESERT PLAIN ♪ ♪ OH, WE HAVE NO CANTEEN ♪ 1589 00:57:21,805 --> 00:57:25,385 THIS DESERT PLAIN ♪ ♪ OH, WE HAVE NO CANTEEN ♪ ♪ CAN THE THIRSTY STAY SANE 1590 00:57:25,409 --> 00:57:31,591 ♪ OH, WE HAVE NO CANTEEN ♪ ♪ CAN THE THIRSTY STAY SANE AFTER WHAT THEY'VE SEEN? ♪ 1591 00:57:31,615 --> 00:57:35,829 ♪ CAN THE THIRSTY STAY SANE AFTER WHAT THEY'VE SEEN? ♪ ♪ MY BABY'S OUT THERE 1592 00:57:35,853 --> 00:57:39,599 AFTER WHAT THEY'VE SEEN? ♪ ♪ MY BABY'S OUT THERE IN HIS SPACECRAFT ♪ 1593 00:57:39,623 --> 00:57:42,903 ♪ MY BABY'S OUT THERE IN HIS SPACECRAFT ♪ ♪ SEARCHING FOR SOME ENERGY ♪ 1594 00:57:42,927 --> 00:57:44,971 IN HIS SPACECRAFT ♪ ♪ SEARCHING FOR SOME ENERGY ♪ ♪ GEEEEE ♪ 1595 00:57:44,995 --> 00:57:47,373 ♪ SEARCHING FOR SOME ENERGY ♪ ♪ GEEEEE ♪ ♪ OH, THAT DEVIL MOON ♪ 1596 00:57:47,397 --> 00:57:48,742 ♪ GEEEEE ♪ ♪ OH, THAT DEVIL MOON ♪ ♪ HOW CAN YOU CREATE WHEN YOU 1597 00:57:48,766 --> 00:57:50,276 ♪ OH, THAT DEVIL MOON ♪ ♪ HOW CAN YOU CREATE WHEN YOU CAN'T STAY IN TUNE? ♪ 1598 00:57:50,300 --> 00:57:54,080 ♪ HOW CAN YOU CREATE WHEN YOU CAN'T STAY IN TUNE? ♪ ♪ BECAUSE HE KNOWS HOW TO GIVE 1599 00:57:54,104 --> 00:58:00,286 CAN'T STAY IN TUNE? ♪ ♪ BECAUSE HE KNOWS HOW TO GIVE ME GIFTS FROM ABOVE ♪ 1600 00:58:00,310 --> 00:58:03,423 ♪ BECAUSE HE KNOWS HOW TO GIVE ME GIFTS FROM ABOVE ♪ ♪ HE KNOWS HOW TO GIVE ME 1601 00:58:03,447 --> 00:58:08,028 ME GIFTS FROM ABOVE ♪ ♪ HE KNOWS HOW TO GIVE ME TWO-FISTED LOVE ♪ 1602 00:58:08,052 --> 00:58:09,328 ♪ HE KNOWS HOW TO GIVE ME TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1603 00:58:09,352 --> 00:58:10,597 TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1604 00:58:10,621 --> 00:58:12,532 ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1605 00:58:12,556 --> 00:58:14,956 ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ [SAXOPHONE SOLO] 1606 00:58:26,636 --> 00:58:34,636 ♪ OHHHHH ♪ ♪ WHOO-OOH-OOH ♪ ♪ AHHHHH ♪ 1607 00:58:43,353 --> 00:58:46,733 ♪ WHOO-OOH-OOH ♪ ♪ AHHHHH ♪ ♪ BABY'S IN MY ARMS 1608 00:58:46,757 --> 00:58:50,336 ♪ AHHHHH ♪ ♪ BABY'S IN MY ARMS USING CHEMISTRY ♪ 1609 00:58:50,360 --> 00:58:53,740 ♪ BABY'S IN MY ARMS USING CHEMISTRY ♪ ♪ TO GET THE BEST OF ME ♪ 1610 00:58:53,764 --> 00:58:55,642 USING CHEMISTRY ♪ ♪ TO GET THE BEST OF ME ♪ ♪ MEEEEE ♪ 1611 00:58:55,666 --> 00:58:58,111 ♪ TO GET THE BEST OF ME ♪ ♪ MEEEEE ♪ ♪ OH, THE PAST IS GONE ♪ 1612 00:58:58,135 --> 00:58:59,813 ♪ MEEEEE ♪ ♪ OH, THE PAST IS GONE ♪ ♪ STAY BY MY SIDE AND WE CAN 1613 00:58:59,837 --> 00:59:00,947 ♪ OH, THE PAST IS GONE ♪ ♪ STAY BY MY SIDE AND WE CAN CARRY ON ♪ 1614 00:59:00,971 --> 00:59:04,718 ♪ STAY BY MY SIDE AND WE CAN CARRY ON ♪ ♪ BECAUSE HE KNOWS HOW TO GIVE 1615 00:59:04,742 --> 00:59:09,956 CARRY ON ♪ ♪ BECAUSE HE KNOWS HOW TO GIVE ME GIFTS FROM ABOVE ♪ 1616 00:59:09,980 --> 00:59:13,627 ♪ BECAUSE HE KNOWS HOW TO GIVE ME GIFTS FROM ABOVE ♪ ♪ I MEAN, HE KNOWS HOW TO GIVE 1617 00:59:13,651 --> 00:59:18,698 ME GIFTS FROM ABOVE ♪ ♪ I MEAN, HE KNOWS HOW TO GIVE ME TWO-FISTED LOVE ♪ 1618 00:59:18,722 --> 00:59:20,000 ♪ I MEAN, HE KNOWS HOW TO GIVE ME TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1619 00:59:20,024 --> 00:59:21,234 ME TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1620 00:59:21,258 --> 00:59:23,269 ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ 1621 00:59:23,293 --> 00:59:25,772 ♪ TWO-FISTED LOVE ♪ ♪ TWO-FISTED LOVE ♪ ♪ OHHH-HEE ♪ 1622 00:59:25,796 --> 00:59:29,208 ♪ TWO-FISTED LOVE ♪ ♪ OHHH-HEE ♪ ♪ HELP US, MARY JANE ♪ 1623 00:59:29,232 --> 00:59:32,879 ♪ OHHH-HEE ♪ ♪ HELP US, MARY JANE ♪ ♪ WE ARE WANDERING OUT ON 1624 00:59:32,903 --> 00:59:34,848 ♪ HELP US, MARY JANE ♪ ♪ WE ARE WANDERING OUT ON THIS DESERT PLAIN ♪ 1625 00:59:34,872 --> 00:59:39,686 ♪ WE ARE WANDERING OUT ON THIS DESERT PLAIN ♪ ♪ OHHHHH ♪ 1626 00:59:39,710 --> 00:59:43,189 THIS DESERT PLAIN ♪ ♪ OHHHHH ♪ ♪ WE HAVE NO CANTEEN ♪ 1627 00:59:43,213 --> 00:59:46,660 ♪ OHHHHH ♪ ♪ WE HAVE NO CANTEEN ♪ ♪ CAN THE THIRSTY STAY SANE 1628 00:59:46,684 --> 00:59:48,561 ♪ WE HAVE NO CANTEEN ♪ ♪ CAN THE THIRSTY STAY SANE AFTER WHAT THEY'VE SEEN? ♪ 1629 00:59:48,585 --> 00:59:52,899 ♪ CAN THE THIRSTY STAY SANE AFTER WHAT THEY'VE SEEN? ♪ ♪ DOO, DOO, DOO, DOO, DOO, DOO ♪ 1630 00:59:52,923 --> 01:00:00,140 AFTER WHAT THEY'VE SEEN? ♪ ♪ DOO, DOO, DOO, DOO, DOO, DOO ♪ ♪ DOO, DOO, DOO, DOO, DOO ♪ 1631 01:00:00,164 --> 01:00:03,242 ♪ DOO, DOO, DOO, DOO, DOO, DOO ♪ ♪ DOO, DOO, DOO, DOO, DOO ♪ ♪ OHHHHH ♪ 1632 01:00:03,266 --> 01:00:04,377 ♪ DOO, DOO, DOO, DOO, DOO ♪ ♪ OHHHHH ♪ YEAH. 1633 01:00:04,401 --> 01:00:06,334 ♪ OHHHHH ♪ YEAH. [CHEERS AND APPLAUSE] 1634 01:00:15,911 --> 01:00:23,911 [INTRO TO "IT AIN'T NECESSARILY SO" PLAYS] ♪ IT AIN'T NECESSARILY SO ♪ 1635 01:00:33,330 --> 01:00:39,912 [NECESSARILY SO" PLAYS] ♪ IT AIN'T NECESSARILY SO ♪ ♪ IT AIN'T NECESSARILY SO ♪ 1636 01:00:39,936 --> 01:00:43,349 ♪ IT AIN'T NECESSARILY SO ♪ ♪ IT AIN'T NECESSARILY SO ♪ ♪ THE THINGS THAT YOU'RE LIABLE 1637 01:00:43,373 --> 01:00:47,253 ♪ IT AIN'T NECESSARILY SO ♪ ♪ THE THINGS THAT YOU'RE LIABLE TO READ IN THE BIBLE 1638 01:00:47,277 --> 01:00:55,277 ♪ THE THINGS THAT YOU'RE LIABLE TO READ IN THE BIBLE AIN'T NECESSARILY SO ♪ 1639 01:00:56,186 --> 01:00:59,465 TO READ IN THE BIBLE AIN'T NECESSARILY SO ♪ ♪ LITTLE DAVID WAS SMALL 1640 01:00:59,489 --> 01:01:02,868 AIN'T NECESSARILY SO ♪ ♪ LITTLE DAVID WAS SMALL BUT, OH, MY ♪ 1641 01:01:02,892 --> 01:01:06,306 ♪ LITTLE DAVID WAS SMALL BUT, OH, MY ♪ ♪ LITTLE DAVID WAS SMALL 1642 01:01:06,330 --> 01:01:09,742 BUT, OH, MY ♪ ♪ LITTLE DAVID WAS SMALL BUT, OH, MY ♪ 1643 01:01:09,766 --> 01:01:12,912 ♪ LITTLE DAVID WAS SMALL BUT, OH, MY ♪ ♪ HE FOUGHT BIG GOLIATH 1644 01:01:12,936 --> 01:01:16,349 BUT, OH, MY ♪ ♪ HE FOUGHT BIG GOLIATH WHO LAY DOWN AND DIETH ♪ 1645 01:01:16,373 --> 01:01:19,519 ♪ HE FOUGHT BIG GOLIATH WHO LAY DOWN AND DIETH ♪ ♪ LITTLE DAVID WAS SMALL 1646 01:01:19,543 --> 01:01:27,543 WHO LAY DOWN AND DIETH ♪ ♪ LITTLE DAVID WAS SMALL BUT, OH, MY ♪ 1647 01:01:29,453 --> 01:01:32,532 ♪ LITTLE DAVID WAS SMALL BUT, OH, MY ♪ ♪ YEAH, YEAH, YEAH, YEAH ♪ 1648 01:01:32,556 --> 01:01:38,070 BUT, OH, MY ♪ ♪ YEAH, YEAH, YEAH, YEAH ♪ ♪ MOSES WAS FOUND IN A STREAM ♪ 1649 01:01:38,094 --> 01:01:40,973 ♪ YEAH, YEAH, YEAH, YEAH ♪ ♪ MOSES WAS FOUND IN A STREAM ♪ ♪ DID YOU KNOW THAT MOSES WAS 1650 01:01:40,997 --> 01:01:45,378 ♪ MOSES WAS FOUND IN A STREAM ♪ ♪ DID YOU KNOW THAT MOSES WAS FOUND IN A STREAM ♪ 1651 01:01:45,402 --> 01:01:49,048 ♪ DID YOU KNOW THAT MOSES WAS FOUND IN A STREAM ♪ ♪ HE FLOATED ON WATER TILL 1652 01:01:49,072 --> 01:01:51,984 FOUND IN A STREAM ♪ ♪ HE FLOATED ON WATER TILL PHARAOH'S YOUNG DAUGHTER ♪ 1653 01:01:52,008 --> 01:01:55,755 ♪ HE FLOATED ON WATER TILL PHARAOH'S YOUNG DAUGHTER ♪ ♪ SHE FISHED HIM, SHE SAYS, FROM 1654 01:01:55,779 --> 01:02:01,561 PHARAOH'S YOUNG DAUGHTER ♪ ♪ SHE FISHED HIM, SHE SAYS, FROM THAT STREAM ♪ 1655 01:02:01,585 --> 01:02:07,267 ♪ SHE FISHED HIM, SHE SAYS, FROM THAT STREAM ♪ ♪ METHUSELAH LIVED 900 YEARS ♪ 1656 01:02:07,291 --> 01:02:08,368 THAT STREAM ♪ ♪ METHUSELAH LIVED 900 YEARS ♪ YEAH. 1657 01:02:08,392 --> 01:02:14,940 ♪ METHUSELAH LIVED 900 YEARS ♪ YEAH. ♪ METHUSELAH LIVED 900 YEARS ♪ 1658 01:02:14,964 --> 01:02:18,244 YEAH. ♪ METHUSELAH LIVED 900 YEARS ♪ ♪ BUT WHO CALLS THAT LIVIN' 1659 01:02:18,268 --> 01:02:21,547 ♪ METHUSELAH LIVED 900 YEARS ♪ ♪ BUT WHO CALLS THAT LIVIN' WHEN NO GAL'S GONNA GIVE IN 1660 01:02:21,571 --> 01:02:28,454 ♪ BUT WHO CALLS THAT LIVIN' WHEN NO GAL'S GONNA GIVE IN TO NO MAN WHAT'S 900 YEARS ♪ 1661 01:02:28,478 --> 01:02:31,424 WHEN NO GAL'S GONNA GIVE IN TO NO MAN WHAT'S 900 YEARS ♪ ♪ NO, NO, NO, NO, NO, NO, NO ♪ 1662 01:02:31,448 --> 01:02:34,927 TO NO MAN WHAT'S 900 YEARS ♪ ♪ NO, NO, NO, NO, NO, NO, NO ♪ ♪ IT AIN'T NECESSARILY ♪ 1663 01:02:34,951 --> 01:02:38,164 ♪ NO, NO, NO, NO, NO, NO, NO ♪ ♪ IT AIN'T NECESSARILY ♪ ♪ AIN'T NECESSARILY ♪ 1664 01:02:38,188 --> 01:02:46,188 ♪ IT AIN'T NECESSARILY ♪ ♪ AIN'T NECESSARILY ♪ ♪ AIN'T NECESSARILY SO ♪ 1665 01:02:48,532 --> 01:02:50,732 ♪ AIN'T NECESSARILY ♪ ♪ AIN'T NECESSARILY SO ♪ [APPLAUSE] 1666 01:03:03,278 --> 01:03:09,228 OH, YEAH. OH. OH, MIGHTY FAVOG, ARE YOU IN 1667 01:03:09,252 --> 01:03:10,296 OH. OH, MIGHTY FAVOG, ARE YOU IN HERE ANYWHERE? 1668 01:03:10,320 --> 01:03:11,064 OH, MIGHTY FAVOG, ARE YOU IN HERE ANYWHERE? [COUGHS] 1669 01:03:11,088 --> 01:03:11,864 HERE ANYWHERE? [COUGHS] I'M OVER HERE. 1670 01:03:11,888 --> 01:03:13,099 [COUGHS] I'M OVER HERE. HE'S OVER HERE, CHIEF. 1671 01:03:13,123 --> 01:03:14,366 I'M OVER HERE. HE'S OVER HERE, CHIEF. OH, I HEARD HIS VOICE. 1672 01:03:14,390 --> 01:03:15,168 HE'S OVER HERE, CHIEF. OH, I HEARD HIS VOICE. YEAH, YEAH. 1673 01:03:15,192 --> 01:03:16,635 OH, I HEARD HIS VOICE. YEAH, YEAH. OH, WOW. 1674 01:03:16,659 --> 01:03:17,870 YEAH, YEAH. OH, WOW. OH. 1675 01:03:17,894 --> 01:03:20,372 OH, WOW. OH. OH, MIGHTY FAVOG. 1676 01:03:20,396 --> 01:03:21,407 OH. OH, MIGHTY FAVOG. TALK TO ME. 1677 01:03:21,431 --> 01:03:23,109 OH, MIGHTY FAVOG. TALK TO ME. LISTEN, THINGS ARE IN A 1678 01:03:23,133 --> 01:03:24,210 TALK TO ME. LISTEN, THINGS ARE IN A TERRIBLE STATE. 1679 01:03:24,234 --> 01:03:25,611 LISTEN, THINGS ARE IN A TERRIBLE STATE. YOU'RE TELLING ME? 1680 01:03:25,635 --> 01:03:27,580 TERRIBLE STATE. YOU'RE TELLING ME? LISTEN, OUR LAND OF GORCH IS 1681 01:03:27,604 --> 01:03:28,581 YOU'RE TELLING ME? LISTEN, OUR LAND OF GORCH IS GONE FOREVER. 1682 01:03:28,605 --> 01:03:30,216 LISTEN, OUR LAND OF GORCH IS GONE FOREVER. YEAH, THEY BURNED OUR 1683 01:03:30,240 --> 01:03:30,950 GONE FOREVER. YEAH, THEY BURNED OUR SCENERY. 1684 01:03:30,974 --> 01:03:32,752 YEAH, THEY BURNED OUR SCENERY. THEY BURNED OUR SCENERY. 1685 01:03:32,776 --> 01:03:34,687 SCENERY. THEY BURNED OUR SCENERY. WE'RE NO LONGER BOOKED ON THE 1686 01:03:34,711 --> 01:03:35,254 THEY BURNED OUR SCENERY. WE'RE NO LONGER BOOKED ON THE SHOW. 1687 01:03:35,278 --> 01:03:37,256 WE'RE NO LONGER BOOKED ON THE SHOW. AND THEY SAID WE'RE PUPPETS AND 1688 01:03:37,280 --> 01:03:39,291 SHOW. AND THEY SAID WE'RE PUPPETS AND THAT WE DON'T EVEN HAVE A LOWER 1689 01:03:39,315 --> 01:03:40,193 AND THEY SAID WE'RE PUPPETS AND THAT WE DON'T EVEN HAVE A LOWER HALF. 1690 01:03:40,217 --> 01:03:41,861 THAT WE DON'T EVEN HAVE A LOWER HALF. WHAT DO WE DO? 1691 01:03:41,885 --> 01:03:46,298 HALF. WHAT DO WE DO? DON'T LOOK DOWN. 1692 01:03:46,322 --> 01:03:48,101 WHAT DO WE DO? DON'T LOOK DOWN. UH... 1693 01:03:48,125 --> 01:03:49,568 DON'T LOOK DOWN. UH... UH, THIS IS TERRIBLE. 1694 01:03:49,592 --> 01:03:51,570 UH... UH, THIS IS TERRIBLE. OUR WORLD IS COMING TO AN END. 1695 01:03:51,594 --> 01:03:53,539 UH, THIS IS TERRIBLE. OUR WORLD IS COMING TO AN END. YOU WANT YOUR GOD'S ADVICE? 1696 01:03:53,563 --> 01:03:54,607 OUR WORLD IS COMING TO AN END. YOU WANT YOUR GOD'S ADVICE? OH, PLEASE. 1697 01:03:54,631 --> 01:03:56,442 YOU WANT YOUR GOD'S ADVICE? OH, PLEASE. YES, PLEASE, OH, PLEASE. 1698 01:03:56,466 --> 01:03:57,276 OH, PLEASE. YES, PLEASE, OH, PLEASE. PLEASE. 1699 01:03:57,300 --> 01:03:59,411 YES, PLEASE, OH, PLEASE. PLEASE. DON'T BEG. 1700 01:03:59,435 --> 01:04:02,248 PLEASE. DON'T BEG. MY ADVICE IS "FORGET IT." 1701 01:04:02,272 --> 01:04:02,849 DON'T BEG. MY ADVICE IS "FORGET IT." HUH? 1702 01:04:02,873 --> 01:04:03,750 MY ADVICE IS "FORGET IT." HUH? FORGET IT. 1703 01:04:03,774 --> 01:04:05,484 HUH? FORGET IT. NO, WHAT DO YOU MEAN, "FORGET 1704 01:04:05,508 --> 01:04:05,918 FORGET IT. NO, WHAT DO YOU MEAN, "FORGET IT"? 1705 01:04:05,942 --> 01:04:07,253 NO, WHAT DO YOU MEAN, "FORGET IT"? I MEAN, FORGET IT. 1706 01:04:07,277 --> 01:04:08,054 IT"? I MEAN, FORGET IT. PACK IT IN. 1707 01:04:08,078 --> 01:04:08,721 I MEAN, FORGET IT. PACK IT IN. QUIT. 1708 01:04:08,745 --> 01:04:10,522 PACK IT IN. QUIT. OH, NO, NO, NO, NO. 1709 01:04:10,546 --> 01:04:12,191 QUIT. OH, NO, NO, NO, NO. WE CAN'T DO THAT. 1710 01:04:12,215 --> 01:04:13,592 OH, NO, NO, NO, NO. WE CAN'T DO THAT. SURE YOU CAN. 1711 01:04:13,616 --> 01:04:15,795 WE CAN'T DO THAT. SURE YOU CAN. LISTEN, YOU'RE ONLY PUPPETS. 1712 01:04:15,819 --> 01:04:16,595 SURE YOU CAN. LISTEN, YOU'RE ONLY PUPPETS. OOH. 1713 01:04:16,619 --> 01:04:18,530 LISTEN, YOU'RE ONLY PUPPETS. OOH. YOU'RE NOT EVEN REAL. 1714 01:04:18,554 --> 01:04:19,331 OOH. YOU'RE NOT EVEN REAL. OOH. 1715 01:04:19,355 --> 01:04:21,734 YOU'RE NOT EVEN REAL. OOH. YOU JUST GET PUT AWAY IN THE 1716 01:04:21,758 --> 01:04:22,468 OOH. YOU JUST GET PUT AWAY IN THE TRUNK. 1717 01:04:22,492 --> 01:04:23,569 YOU JUST GET PUT AWAY IN THE TRUNK. OOH! 1718 01:04:23,593 --> 01:04:26,472 TRUNK. OOH! SCRED, I CAN'T HANDLE THIS. 1719 01:04:26,496 --> 01:04:29,142 OOH! SCRED, I CAN'T HANDLE THIS. OH, MIGHTY FAVOG... 1720 01:04:29,166 --> 01:04:30,509 SCRED, I CAN'T HANDLE THIS. OH, MIGHTY FAVOG... WHERE'S THE TRUNK? 1721 01:04:30,533 --> 01:04:32,311 OH, MIGHTY FAVOG... WHERE'S THE TRUNK? IT'S RIGHT OVER THERE. 1722 01:04:32,335 --> 01:04:34,113 WHERE'S THE TRUNK? IT'S RIGHT OVER THERE. OH, NO, NOT THE TRUNK. 1723 01:04:34,137 --> 01:04:35,782 IT'S RIGHT OVER THERE. OH, NO, NOT THE TRUNK. ANYTHING BUT THE TRUNK. 1724 01:04:35,806 --> 01:04:37,884 OH, NO, NOT THE TRUNK. ANYTHING BUT THE TRUNK. IT DON'T HURT TO GET IN THE 1725 01:04:37,908 --> 01:04:38,751 ANYTHING BUT THE TRUNK. IT DON'T HURT TO GET IN THE TRUNK. 1726 01:04:38,775 --> 01:04:41,320 IT DON'T HURT TO GET IN THE TRUNK. PUPPETS DON'T HAVE FEELINGS. 1727 01:04:41,344 --> 01:04:42,688 TRUNK. PUPPETS DON'T HAVE FEELINGS. OOH. 1728 01:04:42,712 --> 01:04:44,757 PUPPETS DON'T HAVE FEELINGS. OOH. DO YOU BELIEVE THIS IS REALLY 1729 01:04:44,781 --> 01:04:45,658 OOH. DO YOU BELIEVE THIS IS REALLY HAPPENING? 1730 01:04:45,682 --> 01:04:46,458 DO YOU BELIEVE THIS IS REALLY HAPPENING? I CAN'T. 1731 01:04:46,482 --> 01:04:49,061 HAPPENING? I CAN'T. SCRED, I CAN'T BELIEVE THIS. 1732 01:04:49,085 --> 01:04:50,129 I CAN'T. SCRED, I CAN'T BELIEVE THIS. OKAY, GET TRUNK. 1733 01:04:50,153 --> 01:04:51,798 SCRED, I CAN'T BELIEVE THIS. OKAY, GET TRUNK. JUST OPEN IT UP AND GET RIGHT 1734 01:04:51,822 --> 01:04:52,165 OKAY, GET TRUNK. JUST OPEN IT UP AND GET RIGHT IN. 1735 01:04:52,189 --> 01:04:53,099 JUST OPEN IT UP AND GET RIGHT IN. IT'S LATCHED. 1736 01:04:53,123 --> 01:04:53,933 IN. IT'S LATCHED. JUST A SECOND. 1737 01:04:53,957 --> 01:04:54,700 IT'S LATCHED. JUST A SECOND. I GOT IT. 1738 01:04:54,724 --> 01:04:55,334 JUST A SECOND. I GOT IT. I GOT IT. 1739 01:04:55,358 --> 01:04:56,769 I GOT IT. I GOT IT. YOU CAN'T OPEN IT 'CAUSE 1740 01:04:56,793 --> 01:04:57,670 I GOT IT. YOU CAN'T OPEN IT 'CAUSE YOU'RE PUPPETS. 1741 01:04:57,694 --> 01:05:01,107 YOU CAN'T OPEN IT 'CAUSE YOU'RE PUPPETS. I'LL GET IT IN A MINUTE. 1742 01:05:01,131 --> 01:05:02,541 YOU'RE PUPPETS. I'LL GET IT IN A MINUTE. JUST RIP IT OPEN. 1743 01:05:02,565 --> 01:05:03,642 I'LL GET IT IN A MINUTE. JUST RIP IT OPEN. YOU'RE STRONG. 1744 01:05:03,666 --> 01:05:04,743 JUST RIP IT OPEN. YOU'RE STRONG. HERE WE GO. 1745 01:05:04,767 --> 01:05:05,711 YOU'RE STRONG. HERE WE GO. OH, LOOK! 1746 01:05:05,735 --> 01:05:07,613 HERE WE GO. OH, LOOK! EVERYBODY ELSE IS ALREADY IN 1747 01:05:07,637 --> 01:05:08,181 OH, LOOK! EVERYBODY ELSE IS ALREADY IN HERE. 1748 01:05:08,205 --> 01:05:10,149 EVERYBODY ELSE IS ALREADY IN HERE. HIYA, WISSS, HAVEN'T SEEN YOU 1749 01:05:10,173 --> 01:05:11,284 HERE. HIYA, WISSS, HAVEN'T SEEN YOU SINCE NOVEMBER. 1750 01:05:11,308 --> 01:05:12,518 HIYA, WISSS, HAVEN'T SEEN YOU SINCE NOVEMBER. OH, LOOK AT THAT. 1751 01:05:12,542 --> 01:05:14,353 SINCE NOVEMBER. OH, LOOK AT THAT. PLOOBIS, WHERE HAVE YOU BEEN? 1752 01:05:14,377 --> 01:05:16,122 OH, LOOK AT THAT. PLOOBIS, WHERE HAVE YOU BEEN? IT'S BEEN ONE OF THOSE DAYS, 1753 01:05:16,146 --> 01:05:16,655 PLOOBIS, WHERE HAVE YOU BEEN? IT'S BEEN ONE OF THOSE DAYS, PEUTA. 1754 01:05:16,679 --> 01:05:18,090 IT'S BEEN ONE OF THOSE DAYS, PEUTA. EVERYBODY, MOVE OVER. 1755 01:05:18,114 --> 01:05:20,693 PEUTA. EVERYBODY, MOVE OVER. WE'RE COMING IN. 1756 01:05:20,717 --> 01:05:22,561 EVERYBODY, MOVE OVER. WE'RE COMING IN. PLOOBIS, YOU CAN'T FIT IN 1757 01:05:22,585 --> 01:05:23,129 WE'RE COMING IN. PLOOBIS, YOU CAN'T FIT IN HERE. 1758 01:05:23,153 --> 01:05:24,931 PLOOBIS, YOU CAN'T FIT IN HERE. THERE'S NO ROOM TO BREATHE. 1759 01:05:24,955 --> 01:05:26,699 HERE. THERE'S NO ROOM TO BREATHE. PEUTA, YOU'RE A PUPPET. 1760 01:05:26,723 --> 01:05:28,000 THERE'S NO ROOM TO BREATHE. PEUTA, YOU'RE A PUPPET. YOU DON'T BREATHE. 1761 01:05:28,024 --> 01:05:28,968 PEUTA, YOU'RE A PUPPET. YOU DON'T BREATHE. YOU'RE NOT ALIVE. 1762 01:05:28,992 --> 01:05:29,535 YOU DON'T BREATHE. YOU'RE NOT ALIVE. WHAT? 1763 01:05:29,559 --> 01:05:31,003 YOU'RE NOT ALIVE. WHAT? I DON'T WANT TO TALK ABOUT 1764 01:05:31,027 --> 01:05:31,370 WHAT? I DON'T WANT TO TALK ABOUT IT. 1765 01:05:31,394 --> 01:05:32,471 I DON'T WANT TO TALK ABOUT IT. JUST GET DOWN THERE. 1766 01:05:32,495 --> 01:05:33,472 IT. JUST GET DOWN THERE. DON'T CLOSE IT! 1767 01:05:33,496 --> 01:05:34,273 JUST GET DOWN THERE. DON'T CLOSE IT! WAIT A MINUTE! 1768 01:05:34,297 --> 01:05:35,174 DON'T CLOSE IT! WAIT A MINUTE! I'M NOT IN YET! 1769 01:05:35,198 --> 01:05:36,342 WAIT A MINUTE! I'M NOT IN YET! GET IN HERE, SCRED. 1770 01:05:36,366 --> 01:05:37,310 I'M NOT IN YET! GET IN HERE, SCRED. WAIT A MINUTE! 1771 01:05:37,334 --> 01:05:38,410 GET IN HERE, SCRED. WAIT A MINUTE! OH, THERE'S VAZH. 1772 01:05:38,434 --> 01:05:39,312 WAIT A MINUTE! OH, THERE'S VAZH. HI, THERE, VAZH. 1773 01:05:39,336 --> 01:05:44,217 OH, THERE'S VAZH. HI, THERE, VAZH. HOW ARE YOU? 1774 01:05:44,241 --> 01:05:46,385 HI, THERE, VAZH. HOW ARE YOU? NOW, IF I COULD JUST TALK THE 1775 01:05:46,409 --> 01:05:48,387 HOW ARE YOU? NOW, IF I COULD JUST TALK THE PRODUCER INTO LETTING ME HOST 1776 01:05:48,411 --> 01:05:49,555 NOW, IF I COULD JUST TALK THE PRODUCER INTO LETTING ME HOST THE SHOW. 1777 01:05:49,579 --> 01:05:51,512 PRODUCER INTO LETTING ME HOST THE SHOW. [GROWLS] 1778 01:05:59,922 --> 01:06:05,471 RAQUEL, THIS IS PROBABLY THE FIRST TIME IN THE HISTORY OF "SATURDAY NIGHT" THAT WE'VE 1779 01:06:05,495 --> 01:06:07,139 FIRST TIME IN THE HISTORY OF "SATURDAY NIGHT" THAT WE'VE ALREADY GOTTEN TELEGRAMS ON THE 1780 01:06:07,163 --> 01:06:07,707 "SATURDAY NIGHT" THAT WE'VE ALREADY GOTTEN TELEGRAMS ON THE SHOW. 1781 01:06:07,731 --> 01:06:08,641 ALREADY GOTTEN TELEGRAMS ON THE SHOW. OH, YEAH? 1782 01:06:08,665 --> 01:06:10,576 SHOW. OH, YEAH? AND, UH, THIS IS A TELEGRAM 1783 01:06:10,600 --> 01:06:11,076 OH, YEAH? AND, UH, THIS IS A TELEGRAM WE GOT. 1784 01:06:11,100 --> 01:06:12,678 AND, UH, THIS IS A TELEGRAM WE GOT. IT LOOKS LIKE A MAILGRAM, BUT IT 1785 01:06:12,702 --> 01:06:13,145 WE GOT. IT LOOKS LIKE A MAILGRAM, BUT IT ISN'T. 1786 01:06:13,169 --> 01:06:14,046 IT LOOKS LIKE A MAILGRAM, BUT IT ISN'T. IT'S A TELEGRAM. 1787 01:06:14,070 --> 01:06:15,214 ISN'T. IT'S A TELEGRAM. IT HAS THE IMPACT OF A 1788 01:06:15,238 --> 01:06:16,782 IT'S A TELEGRAM. IT HAS THE IMPACT OF A MAILGRAM. 1789 01:06:16,806 --> 01:06:18,083 IT HAS THE IMPACT OF A MAILGRAM. IT'S FROM A MAN, A 45-YEAR-OLD 1790 01:06:18,107 --> 01:06:19,351 MAILGRAM. IT'S FROM A MAN, A 45-YEAR-OLD VET WHO WRITES THAT HE'S IN A 1791 01:06:19,375 --> 01:06:19,886 IT'S FROM A MAN, A 45-YEAR-OLD VET WHO WRITES THAT HE'S IN A HOSPITAL. 1792 01:06:19,910 --> 01:06:21,186 VET WHO WRITES THAT HE'S IN A HOSPITAL. HE HAS A TERMINAL ILLNESS, BUT 1793 01:06:21,210 --> 01:06:22,054 HOSPITAL. HE HAS A TERMINAL ILLNESS, BUT HE LOVED THE SHOW. 1794 01:06:22,078 --> 01:06:23,255 HE HAS A TERMINAL ILLNESS, BUT HE LOVED THE SHOW. HE LOVED YOU, HE LOVED YOUR 1795 01:06:23,279 --> 01:06:24,524 HE LOVED THE SHOW. HE LOVED YOU, HE LOVED YOUR NUMBERS, HE LOVED YOUR DANCE, 1796 01:06:24,548 --> 01:06:25,825 HE LOVED YOU, HE LOVED YOUR NUMBERS, HE LOVED YOUR DANCE, AND HE'D LIKE YOU TO TAKE YOUR 1797 01:06:25,849 --> 01:06:27,793 NUMBERS, HE LOVED YOUR DANCE, AND HE'D LIKE YOU TO TAKE YOUR SHIRT OFF, IF YOU WOULD, PLEASE. 1798 01:06:27,817 --> 01:06:29,461 AND HE'D LIKE YOU TO TAKE YOUR SHIRT OFF, IF YOU WOULD, PLEASE. HE WILL BE DYING WITHIN THE 1799 01:06:29,485 --> 01:06:29,996 SHIRT OFF, IF YOU WOULD, PLEASE. HE WILL BE DYING WITHIN THE WEEK. 1800 01:06:30,020 --> 01:06:31,430 HE WILL BE DYING WITHIN THE WEEK. THIS IS HIS LAST WISH. 1801 01:06:31,454 --> 01:06:32,064 WEEK. THIS IS HIS LAST WISH. HMM. 1802 01:06:32,088 --> 01:06:34,355 THIS IS HIS LAST WISH. HMM. WELL, WHY NOT? 1803 01:06:50,238 --> 01:06:55,443 ACTION-PACKED, HUH? GOOD NIGHT, EVERYBODY. [APPLAUSE] 1804 01:07:02,751 --> 01:07:04,151 Announcer: THE MUPPETS ARE 1805 01:07:04,286 --> 01:07:05,453 FRANK OZ, JERRY NELSON, 1806 01:07:05,588 --> 01:07:07,121 ALICE TWEENY, RICHARD HUNT, AND 1807 01:07:07,255 --> 01:07:07,855 JIM HENSON. 1808 01:07:07,990 --> 01:07:09,356 NEXT WEEK, NBC WEEKEND WITH 1809 01:07:09,491 --> 01:07:10,291 LAURA DOBBIN. 1810 01:07:10,425 --> 01:07:12,093 WE'LL BE BACK IN TWO WEEKS ON 1811 01:07:12,227 --> 01:07:13,962 MAY 8th WITH HOST MADELINE KAHN 1812 01:07:14,096 --> 01:07:15,496 AND A RARE APPEARANCE BY 1813 01:07:15,631 --> 01:07:16,631 CARLY SIMON. 1814 01:07:16,732 --> 01:07:17,131 THIS IS 1815 01:07:17,265 --> 01:07:18,666 DON "DAYLIGHT SAVINGS" PARDO, 1816 01:07:18,801 --> 01:07:20,267 AND TONIGHT I'M SETTING MYSELF 1817 01:07:20,402 --> 01:07:21,168 AHEAD ONE HOUR. 1818 01:07:21,303 --> 01:07:23,104 WON'T YOU JOIN ME? 194574